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Mary Shannon: Good morning, again.
Katie Baxter: One question.
Liza Diaz: Yeah. Choose
Katie Baxter: Send.
Liza Diaz: a number?
Katie Baxter: Submit.
Nancy Fawbush: Yep yep yep yep.
Mary Shannon: All
Katie Baxter: Mm.
Mary Shannon: set?
Nancy Fawbush: Mm-hmm.
Katie Baxter: Yeah.
Mary Shannon: Good Okay. Let's see what we can find here. Okay. A very warm welcome again to everyone. Um here we are already at our uh functional design meeting. Um and this is what we are going to do. The opening, which we are doing now, um and the special note, I'm project manager but on the meetings I'm also the secretary, which means I will make uh minutes as I did of the previous meeting. And uh I put these as fast as possible in the uh project folder, so you can see them and review what we have discussed. Um if I'm right, there are three presentations, I guess each one of you has prepared one?
Liza Diaz: Yes.
Mary Shannon: Good. And um we will also take a look at new project requirements, um if you haven't heard about them yet. And then of course we have to take a decision on the remote control functions and we have some more time, forty minutes. But I think we will need it. Um well I don't know who wants to go first with his presentation.
Katie Baxter: I'll go first. Okay.
Nancy Fawbush: Yeah.
Katie Baxter: I'll go first
Liza Diaz: Well.
Mary Shannon: You
Katie Baxter: yeah.
Mary Shannon: can go first, okay.
Nancy Fawbush: Well, shall I go first with the users?
Liza Diaz: Well
Nancy Fawbush: I think well okay no problem.
Mary Shannon: Is there
Liza Diaz: everybody
Mary Shannon: an order? I
Liza Diaz: already
Mary Shannon: haven't
Liza Diaz: has
Nancy Fawbush: Ja
Liza Diaz: his presentation,
Nancy Fawbush: precies, ja precies,
Liza Diaz: so
Katie Baxter: So.
Nancy Fawbush: ja precies
Liza Diaz: you can adjust
Katie Baxter: Huh?
Liza Diaz: it.
Katie Baxter: Okay, um
Mary Shannon: And one question, uh your name Denni, is it with a
Nancy Fawbush: E_I_E_.
Mary Shannon: I_E_ E_I_E_, okay. Thank you.
Katie Baxter: Okay, um I wanted to explain the working design of the remote control. It's possibly very handy if you want to uh design one of those. Um well so it basically works uh as I uh uh r wrote down uh in this uh little uh summary. Uh you press a button, uh that's when you do pr example when you uh want to turn up the volume, um a little connection is made uh the the rubber uh button just presses on a
Mary Shannon: Sorry.
Katie Baxter: on a little print plate uh which uh makes uh uh a connection that uh gives the chips, uh which is uh mounted beneath those uh that plastic of a rubber button. Uh senses that a connection has been made, and know and knows what button you pressed, becau uh for example the the volume up or volume down button. Um uh the the chip uh makes a Morse code uh like uh signal which uh then is si uh signalled to uh several transistors which makes uh which sends the signal to a little let. You know what a let is?
Liza Diaz: Yeah.
Katie Baxter: Okay. And that makes uh the the infra-red lights signal which is sent to the television set. Uh which has a sensor in it to uh sense uh the signal of the infra-red. That's basically uh how it works. Um the findings uh uh that I found uh searching up some uh detailed information about the remote controls, are that uh they are very easy to produce, uh it is pis uh it's possible to uh make them in mass production because it is as eas it is as easy as uh printing a page, uh just uh fibreglass plate um is b uh is uh covered with uh some uh coatings and uh uh and chips. Uh and the technology's already available, we don't have to find out how remote controls uh have to work or uh how that how uh to make some chips that are possible to uh to to transmit those uh signals. Uh I made a little uh uh animation of about how a tran our
Liza Diaz: Oh
Katie Baxter: uh
Liza Diaz: right.
Katie Baxter: remote controller works.
Nancy Fawbush: Animation.
Katie Baxter: we tel
Liza Diaz: There is something turning.
Katie Baxter: There.
Mary Shannon: Yeah, it's a little bug it's in the in the smart board.
Katie Baxter: Okay. Uh well the sub-component, I suppose that you understand what a sub-component is, is f in this example it's the button. Uh when it is pressed down, um, the switch is ter is uh is switched on, so with uh the wire is sent to the to the chip in uh co-operation with the battery of course, because to make uh a a signal possible you have to have some sort of uh li uh a d ad uh electronic uh
Nancy Fawbush: Infrared light.
Katie Baxter: Yes, uh, okay. Um w after it's being composed by the chip uh the signal uh is transported uh to the infra-red bulb, and from there it signals a Morse code-like signal to the to the b to the bulb in uh in the television set. Okay. S Uh I wrote down some personal preferences about uh the remote control. Of course it is very handy if the remote control is hand held, so you don't have to uh uh wind it up or something, or just is it's it's very light to uh to make uh to use it. Uh I personally uh pref prefer that uh it would be p uh come available in the various colours, and uh easy to use buttons. But I suppose that the one of the other team members
Liza Diaz: Yeah, I've got
Katie Baxter: uh
Liza Diaz: it there too.
Katie Baxter: uh thought of that uh too. And it is possible for several designs and um easy to use b uh sorry, easy to use buttons. Perhaps soft touch, uh touch screen uh buttons because uh the rubber buttons are always uh uh they uh slightly uh they can be slightly damaged, uh so the numbers on the buttons are not possible uh to read anymore. And uh well as I said uh before th uh we can uh make several designs.
Liza Diaz: Yeah.
Katie Baxter: Okay, well, that's my contribution to this meeting, and uh
Nancy Fawbush: To this meeting.
Mary Shannon: Okay,
Katie Baxter: two
Mary Shannon: thank
Katie Baxter: of
Mary Shannon: you.
Katie Baxter: these this
Liza Diaz: Shall
Katie Baxter: meeting.
Liza Diaz: I go uh next?
Mary Shannon: Yep.
Katie Baxter: So.
Liza Diaz: 'Kay.
Mary Shannon: Please.
Liza Diaz: So.
Nancy Fawbush: Smoking.
Liza Diaz: Well uh, my name's, and I looked at uh technical functions design of the remote. Uh I did this by uh looking at examples other remote controls, of how they uh they look, and information from the web that I found. Um well what I found was that uh th the actual use of the remote control is to send messages to television set, how you uh d what you described uh just early. And this can be all sorts of medsa messages, turn it on, turn it off, uh change the channel, adjust volume, that kind of thing. Uh play video, teletext, but also t uh play C_D_ if you use it your C_D_ player the remote control will that one. There are some uh examples of remote controls. You can see they are very different. The one has got all the functions that you could possibly need and an lot of uh buttons etcetera. And the other is uh more user friendly, little with big buttons. And uh not n all the the the the stuff you can do with it, but uh the the essential stuff is there. Um I guess you could better y you should look at a a user centred uh approach, because the customers have to use them and and if they don't think it's usable they won't uh buy it. A lot of buttons they may think from I don't need s as much as that. Uh, well perf personal preferences is is uh a simple remote, with uh the basic functions that you can need that you could use. But uh keep in mind the new functions of T_V_ what we discussed earlier, split screen and uh is that a function that you should have? Because all the T_V_s will have them. Or because of only a few and isn't really necessary. And then uh make it I would make so that you can could uh use it on more than one appliance. If you have one that uh uh does with the vi the the video, it could also work with uh with the stereo, because play is play and stop stop and that sort of thing. The shu c you could reuse the buttons so that you don't have to have a lot of buttons for uh anything. And it should be a user friendly, clear buttons, and not too much. And that is my presentation.
Mary Shannon: Okay,
Katie Baxter: Okay.
Mary Shannon: thank you.
Nancy Fawbush: 'Kay. Check.
Liza Diaz: You must still have it open.
Nancy Fawbush: Kijke
Nancy Fawbush: 'Kay, so. We're going to j discuss the functional requirements of the remote, that m that means that functions user n want to have on the remote control, or just Yeah, and the users, actually. The methods I I prefer is we're going to look which section of the users we are going to focus a l on more. Are the younger people going to buy the remote control or the elderly people? And then tho that section we're going to focus and adjust the remote more to that section than the whole user section. Okay. Some data. Younger people, from sixteen to thir forty five um years are more interested in fj features like L_C_D_ screens, speech recognition e etcetera. And we possess about two third of the market from in that range of age. The elderly people, from forty five years to sixty five years are not that much interested in features, and we possess less than two third, that's two fifth, of the market share in that area. Goed so.
Katie Baxter: Hmm.
Nancy Fawbush: 'Kay. Findings. Fifty percent of the users lose their remote often. So we don't have to make it very small,
Liza Diaz: Yeah.
Nancy Fawbush: like uh like a mobile phone or something, but some somewhat bi bigger than small, so you don't lose it that much anymore. Seventy five percent of the users also find it ugly,
Katie Baxter: Mm.
Nancy Fawbush: and fif seventy five of the users zap a lot, so the buttons sh should be that small, or shouldn't be that complex because we have to search for the buttons, which one are you going to use. Next. Important issues about the remote. I think it would be better with a personal reference, but okay. Remote control has to have to have a low power usage, because s w seventy five percent of the users only zap one time an hour, so the power usage is also one one time an hour, or so, with a high power usage we would use a lot of but batteries. The volume button and the channel buttons are the two most important buttons on the remote control, so those they those have to h be find very easily. And have to be somewhat like bigger etcetera. It has also be have to find easily when the label is gone. My colleague
Katie Baxter: Mm.
Nancy Fawbush: also announced it that labels should be scratched off
Liza Diaz: Hmm.
Nancy Fawbush: or would be s uh senden okay. So uh if that's k uh if that's the problem, you also have to find it easily on the remote. Buttons. Like what all colleagues said, have to have to be minimalized. or should be covered, or in L_C_D_ screen. L_C_D_ screen is easy because we have the L_C_D_ screen, we have the various options. Put one option and then you have the all the buttons of that options, so the other options would be gone. And you don't see the buttons. So L_C_D_ screens should be easy, but an L_C_D_ screen, the problem with the L_ sc L_C_D_ screen is that elderly people fr from forty five to for sixty five years don't use the L_C_D_ screen a lot. So we have to that keep that in mind that if you're going to implement L_C_D_ screen, you don't have to make it that hard to learn or to use.
Katie Baxter: Uh L_C_D_ screen as in uh touch screen?
Nancy Fawbush: Yeah, touch screen,
Katie Baxter: Okay.
Nancy Fawbush: yeah. The last but not least, younger people are more critical about the features. Because they use the remote control often more often, and are more technical than the ol older people. And the older people spend more money,
Liza Diaz: Mm.
Nancy Fawbush: and easily on a remote control.
Katie Baxter: 'Kay.
Nancy Fawbush: So we have to keep in mind to to focus not a lot not that much on the younger pep younger people, but also somewhat on the elderly people. And on my personal preferences, I don't have any mo more time to come with that, but like I said, L_C_D_ screen is easily to use because you have you can implement a lot of buttons in one remote with not that much buttons. And it should be easy to use. Especially the volume buttons, the channel buttes buttons and the number buttons to zap through the channels. And that is it.
Katie Baxter: Okay.
Mary Shannon: Okay,
Liza Diaz: Oh right.
Mary Shannon: thank you. Um, well thank you all, huh. I dunno uh did everyone receive an email with uh the new project requirements?
Liza Diaz: No.
Mary Shannon: No? Well,
Liza Diaz: Res I did not.
Katie Baxter: No.
Liza Diaz: Perhaps the rest?
Mary Shannon: then I think it's a good thing
Nancy Fawbush: Ja,
Mary Shannon: that I made a separate slide of them so you can all read them. Oh, well not in this presentation. Hmm. Should be in there. Well, I can tell you them uh from my laptop. Um teletext does has become outdated since the popularity
Liza Diaz: Oh.
Mary Shannon: of the internet. So that's uh the first thing we I think we should pay less attention to uh teletext. Uh the remote control should only be used for the television, otherwise the project becomes more complex, which endangers the time to market, and of course would make it more costly, I think. Um our current customers are within the age group of forty plus, and new product should reach a new market with customers that are younger than forty, and you talked about that before. And uh a last point, but also very important, our corporate image should stay recognisable in our products, which means that our uh corporate colour and slogan must be implemented in the new design. So we have to keep that in mind. Um well uh according to our agenda it's then time to take a decision on the remote control functions.
Liza Diaz: Mm.
Mary Shannon: So, who has any idea about what should be on it, and what shouldn't?
Liza Diaz: Well you said it should only
Nancy Fawbush: Be television.
Liza Diaz: uh work with one appliance? Or with one uh d che only the T_V_?
Mary Shannon: Yeah.
Katie Baxter: Yeah.
Mary Shannon: Only be used
Liza Diaz: And
Mary Shannon: for television.
Liza Diaz: the video also, or not uh?
Nancy Fawbush: Only
Mary Shannon: Well
Nancy Fawbush: the
Mary Shannon: it
Nancy Fawbush: television.
Mary Shannon: says only for television here,
Liza Diaz: Oh.
Mary Shannon: huh.
Liza Diaz: Alright. Okay.
Mary Shannon: Makes it a lot easier, huh?
Liza Diaz: Yeah.
Katie Baxter: Mm.
Nancy Fawbush: So yeah, then you can yeah. Requirements, no? Functions.
Mary Shannon: Mm-hmm.
Liza Diaz: Then it should
Katie Baxter: Yeah for
Liza Diaz: have uh on, off,
Nancy Fawbush: Yeah,
Katie Baxter: Standby
Liza Diaz: and
Nancy Fawbush: the
Liza Diaz: uh
Nancy Fawbush: basics
Katie Baxter: options, yeah?
Nancy Fawbush: then by a volume, channel, one till two zero
Katie Baxter: Uh yeah.
Nancy Fawbush: numbers on it,
Liza Diaz: Yeah. And per
Nancy Fawbush: oh teletext
Liza Diaz: perhaps uh
Nancy Fawbush: doesn't have to be?
Liza Diaz: No.
Nancy Fawbush: Um
Liza Diaz: Well uh uh
Nancy Fawbush: other functions.
Liza Diaz: yes yes s
Nancy Fawbush: Yeah
Liza Diaz: sh A button
Nancy Fawbush: I had
Liza Diaz: where you can uh change from one number to two
Katie Baxter: Two
Liza Diaz: numbers.
Katie Baxter: s two
Nancy Fawbush: Yeah,
Katie Baxter: two digits,
Nancy Fawbush: yeah.
Katie Baxter: oh
Liza Diaz: Can
Katie Baxter: okay.
Liza Diaz: you Don't know
Katie Baxter: Yeah
Liza Diaz: if
Katie Baxter: I
Liza Diaz: that's
Katie Baxter: understand
Liza Diaz: got a name,
Katie Baxter: what
Nancy Fawbush: I
Katie Baxter: you
Nancy Fawbush: think
Liza Diaz: but
Katie Baxter: mean.
Nancy Fawbush: it's I
Katie Baxter: Yeah.
Nancy Fawbush: think it's easy to implement a button with a s s what which especially do that, because some T_V_s, if you press the t one and then the two,
Katie Baxter: It makes
Nancy Fawbush: it
Katie Baxter: it twelve,
Nancy Fawbush: be between
Katie Baxter: yeah.
Nancy Fawbush: five secs it make twelve,
Liza Diaz: Yeah.
Nancy Fawbush: and that's
Katie Baxter: Indeed.
Liza Diaz: S
Katie Baxter: Okay.
Nancy Fawbush: that's not relaxed
Katie Baxter: Well, not
Nancy Fawbush: to
Katie Baxter: really
Nancy Fawbush: user.
Katie Baxter: And and there are some models that don't uh accommodate that function. So
Nancy Fawbush: Yeah.
Katie Baxter: d uh wh the Philip's television makes it possible in that indeed to uh press one and then two to
Nancy Fawbush: So
Katie Baxter: make
Nancy Fawbush: that
Katie Baxter: uh
Liza Diaz: Yeah.
Katie Baxter: the
Nancy Fawbush: it easy
Katie Baxter: uh tj
Nancy Fawbush: and
Katie Baxter: to reach
Nancy Fawbush: fast.
Katie Baxter: channel twelve. But
Nancy Fawbush: Yeah.
Katie Baxter: uh all the television makes uh use of those button
Liza Diaz: Yeah.
Katie Baxter: where you first press that button and then press two digits to uh
Liza Diaz: Yeah, so you
Katie Baxter: to get
Liza Diaz: should have that one on.
Katie Baxter: Uh yeah, think so.
Liza Diaz: Mute misschien
Nancy Fawbush: plus, or?
Liza Diaz: also.
Katie Baxter: Mm.
Mary Shannon: Uh well new product should reach a market with customers that are younger than forty, and now
Nancy Fawbush: Forties,
Mary Shannon: we have
Nancy Fawbush: okay
Mary Shannon: current
Nancy Fawbush: because
Mary Shannon: customers uh of forty plus.
Nancy Fawbush: because younger people as Uh younger people have now, sixteen till to twenty five age, are f eighty one percent interested in L_C_D_ screen. From twenty six to thirty five have sixty six percent, and thirty six to forty five, fifty five percent, so I think to um Because on most recog remote controls um the print plate will be broken how much, two years. You have to press h very hard
Katie Baxter: Mm-hmm.
Nancy Fawbush: to go to the
Mary Shannon: Mm-hmm.
Nancy Fawbush: next channel. With the L_C_D_ screen it's easier because you only have to wipe the screen to uh
Katie Baxter: Yeah, we we
Nancy Fawbush: for
Katie Baxter: could
Nancy Fawbush: fingerprint,
Katie Baxter: yeah.
Nancy Fawbush: and then you
Katie Baxter: But
Nancy Fawbush: can
Katie Baxter: I
Nancy Fawbush: use
Katie Baxter: think
Nancy Fawbush: it
Katie Baxter: that
Nancy Fawbush: again.
Katie Baxter: uh that collides with our mission to make it very cheap. Because
Nancy Fawbush: Yeah,
Katie Baxter: L_C_D_
Nancy Fawbush: okay.
Katie Baxter: screens are very expensive.
Nancy Fawbush: Yeah but
Katie Baxter: A touch
Nancy Fawbush: a
Katie Baxter: screen
Nancy Fawbush: you don't
Liza Diaz: An
Nancy Fawbush: know
Katie Baxter: uh probably uh even more. So,
Nancy Fawbush: True.
Katie Baxter: true, true. But uh Well um an L_C_D_ screen uh, how was the information?
Nancy Fawbush: Yeah, it only says that this perce percentage like L_C_D_ screen. Because, yeah and it says that younger age between sixteen and forty five highly interesting features more critical.
Katie Baxter: So
Nancy Fawbush: And if
Katie Baxter: perhaps
Nancy Fawbush: the only f
Katie Baxter: we should we should focus on that L_C_D_ screen.
Nancy Fawbush: Yeah, because our target is sixteen to forty five.
Liza Diaz: But,
Katie Baxter: Yeah but uh will
Liza Diaz: do you
Katie Baxter: we not uh exceed our uh our
Nancy Fawbush: Yeah you don't
Katie Baxter: uh production
Nancy Fawbush: know how much it costs.
Katie Baxter: uh
Nancy Fawbush: Yeah, you don't know how much it costs, the L_C_D_ screen.
Katie Baxter: Is it possible to find out, anyway?
Nancy Fawbush: No, I don't have
Katie Baxter: You
Nancy Fawbush: any
Katie Baxter: know?
Nancy Fawbush: costs here, I only have percentages.
Liza Diaz: But if you would do an L_C_D_ screen do we have don don't you have any buttons? Or because
Nancy Fawbush: Yeah.
Liza Diaz: if it only directs at the T_V_, then you only have uh I don't know what you want to
Katie Baxter: No, an
Liza Diaz: do
Katie Baxter: L_C_D_
Liza Diaz: with
Katie Baxter: screen's
Liza Diaz: the L_C_D_
Katie Baxter: just
Liza Diaz: screen.
Katie Baxter: like uh like a drawn here. Um just uh displays several buttons,
Liza Diaz: Yeah?
Katie Baxter: for example um if you wanted the minimal uh use b uh buttons, such as channel and volume, you just h uh displays four buttons on the screen
Liza Diaz: Oh right,
Katie Baxter: and
Liza Diaz: so you
Katie Baxter: it's
Liza Diaz: can
Katie Baxter: possible to p uh press them down,
Liza Diaz: Oh,
Katie Baxter: just like a touch screen.
Liza Diaz: yeah alright. So you can adjust which buttons you want on that
Nancy Fawbush: Yeah,
Liza Diaz: s
Nancy Fawbush: if
Liza Diaz: screen.
Katie Baxter: Yeah,
Nancy Fawbush: you
Katie Baxter: we
Nancy Fawbush: want
Katie Baxter: can make
Nancy Fawbush: to adjust,
Katie Baxter: it possible
Nancy Fawbush: like
Katie Baxter: to do that,
Nancy Fawbush: for
Katie Baxter: yeah.
Nancy Fawbush: example, adjust the audio settings, you press audio on the touchscreen and you get
Katie Baxter: Yeah
Nancy Fawbush: the buttons for
Katie Baxter: yeah.
Nancy Fawbush: audio settings,
Liza Diaz: Yeah alright, oh right.
Nancy Fawbush: so the other buttons are gone.
Liza Diaz: Yeah.
Katie Baxter: Yeah, yeah.
Mary Shannon: So we're going for an L_C_D_ screen?
Liza Diaz: Yeah.
Nancy Fawbush: I
Liza Diaz: Would
Nancy Fawbush: think
Liza Diaz: be yeah.
Nancy Fawbush: it's the most
Katie Baxter: That's
Nancy Fawbush: easier
Katie Baxter: my
Nancy Fawbush: thing,
Katie Baxter: uh
Nancy Fawbush: yeah.
Mary Shannon: And hoping that when we produce a lot it won't be too expensive.
Nancy Fawbush: No.
Katie Baxter: Yeah.
Liza Diaz: Well we had twelve fifty, I guess,
Nancy Fawbush: Yeah.
Liza Diaz: for uh
Katie Baxter: Twelve
Liza Diaz: production?
Katie Baxter: fifty.
Liza Diaz: Yeah. I dunno how expensive an
Katie Baxter: Um.
Liza Diaz: L_C_D_ screen is. Any guesses?
Katie Baxter: Well I suppose wi if the mar if our um if the i if the young people are interested in L_C_D_ screens, we should
Nancy Fawbush: Highly.
Katie Baxter: make 'em.
Mary Shannon: Mm-hmm.
Katie Baxter: And
Liza Diaz: Yeah.
Katie Baxter: if that is
Liza Diaz: But
Katie Baxter: our d uh market share to uh and our goal to uh deliver those uh remote
Liza Diaz: But
Katie Baxter: controls
Liza Diaz: he also said that we should not only focus on the younger people, but also on the older,
Nancy Fawbush: Yeah,
Liza Diaz: and will
Nancy Fawbush: but
Liza Diaz: they use it if it only has an
Nancy Fawbush: Um,
Liza Diaz: L_C_D_ screen?
Nancy Fawbush: s forty six to forty five, thirty three percent, and sixty fifty six to sixty five twelve percent. But
Liza Diaz: Oh, so
Nancy Fawbush: our
Liza Diaz: still a little
Nancy Fawbush: our
Liza Diaz: bit people
Nancy Fawbush: our what's it, project requirements are the new products should be reached for new
Katie Baxter: Yeah.
Nancy Fawbush: markets, to customers that are
Liza Diaz: Yeah
Nancy Fawbush: younger
Liza Diaz: that's
Nancy Fawbush: than forty.
Liza Diaz: right. But you don't want to alienate the other uh
Nancy Fawbush: No, that not now, but, so
Liza Diaz: But if they also buy it then it's alright. I guess.
Nancy Fawbush: Yeah, but market share fro for for
Katie Baxter: Yeah.
Nancy Fawbush: forty years and younger is higher than that of sixty five
Liza Diaz: Yeah.
Nancy Fawbush: and younger.
Liza Diaz: Alright.
Mary Shannon: Okay, so
Liza Diaz: An
Mary Shannon: L_C_D_ it is?
Liza Diaz: Yes.
Katie Baxter: Mm.
Mary Shannon: Okay.
Katie Baxter: It's treasure.
Mary Shannon: And
Katie Baxter: I
Mary Shannon: what
Katie Baxter: hope
Mary Shannon: else?
Katie Baxter: we uh h and
Nancy Fawbush: Yeah,
Katie Baxter: let's
Nancy Fawbush: i
Katie Baxter: hope to
Nancy Fawbush: i if
Katie Baxter: reach
Nancy Fawbush: it
Katie Baxter: those uh
Nancy Fawbush: Yeah, if it costs
Katie Baxter: those sales.
Nancy Fawbush: gets too much, too expensive, then yeah, we should be sticking to rubber buttons.
Liza Diaz: Yeah.
Katie Baxter: Yeah, can you um uh s I think that that they will send you some information about uh the cost of L_C_D_ uh
Nancy Fawbush: N
Katie Baxter: screens.
Liza Diaz: Yeah.
Nancy Fawbush: nothing, no costs at all.
Katie Baxter: Uh
Liza Diaz: But
Katie Baxter: so if
Liza Diaz: perhaps
Katie Baxter: you
Liza Diaz: later,
Katie Baxter: uh Yeah,
Liza Diaz: so uh
Katie Baxter: so if you uh you receive an email about that, uh can you post it in the
Nancy Fawbush: Yeah,
Katie Baxter: or shouldn't
Nancy Fawbush: in
Katie Baxter: we post that in uh our projects mail uh folder.
Nancy Fawbush: I think
Liza Diaz: Yeah.
Nancy Fawbush: that should yeah I think we all get the costs of everything.
Liza Diaz: I
Katie Baxter: Because you are
Liza Diaz: don't
Katie Baxter: the the Marketing uh
Nancy Fawbush: Yeah,
Katie Baxter: Expert.
Nancy Fawbush: okay, I'll I'll
Katie Baxter: I
Nancy Fawbush: post
Katie Baxter: uh
Nancy Fawbush: it.
Liza Diaz: Well perhaps we should have a backup plan that we would use buttons
Katie Baxter: Yeah sure,
Liza Diaz: if it's
Katie Baxter: sure.
Liza Diaz: uh
Nancy Fawbush: Yeah.
Mary Shannon: Yeah,
Liza Diaz: too expensive.
Mary Shannon: okay. But for now
Nancy Fawbush: Okay,
Mary Shannon: it's L_C_D_.
Nancy Fawbush: L_C_D_,
Liza Diaz: Yeah.
Nancy Fawbush: yeah.
Mary Shannon: Okay.
Nancy Fawbush: Then you have the seventy five percent of users find it r ugly.
Liza Diaz: The L_C_D_?
Nancy Fawbush: Yeah,
Liza Diaz: Oh
Nancy Fawbush: and
Liza Diaz: that's
Nancy Fawbush: eighty
Liza Diaz: a
Nancy Fawbush: percent
Liza Diaz: bit of a problem.
Nancy Fawbush: of the users would spend more money with a when a remote would look fancy.
Liza Diaz: Oh, that's
Katie Baxter: Mm.
Liza Diaz: a bit of a problem.
Nancy Fawbush: Tha i l i it'll look fancy with
Katie Baxter: It's
Nancy Fawbush: L_C_D_
Katie Baxter: looks fancy
Nancy Fawbush: screen.
Katie Baxter: one yeah, of L_C_D_
Liza Diaz: Yeah, but
Katie Baxter: screen.
Liza Diaz: they
Nancy Fawbush: Yeah.
Liza Diaz: don't they
Mary Shannon: Yeah.
Liza Diaz: don't like it. They think it's ugly. When it has an L_C_D_
Nancy Fawbush: Yeah, just
Liza Diaz: screen.
Nancy Fawbush: a the plain remotes, not not specific L_C_D_ remotes.
Liza Diaz: Oh, alright, I thought that you said that.
Nancy Fawbush: So
Mary Shannon: Yeah, and maybe you can make something fancy out of an L_C_D_ remote,
Liza Diaz: Yeah.
Mary Shannon: because it's new,
Nancy Fawbush: Mm-hmm.
Mary Shannon: as far as I know.
Nancy Fawbush: Yeah,
Katie Baxter: Mm yeah.
Nancy Fawbush: of course. And
Katie Baxter: And
Nancy Fawbush: then
Katie Baxter: then
Nancy Fawbush: you have
Katie Baxter: not
Nancy Fawbush: the other
Katie Baxter: yeah.
Nancy Fawbush: thing, that seventy five percent zap a lot, but that's
Katie Baxter: Um.
Nancy Fawbush: not a f question with the L_C_D_ screen. Only thing you have to do is wipe the screen off once each time,
Katie Baxter: Yeah.
Nancy Fawbush: to get all the fingerprints off it.
Liza Diaz: Yeah.
Katie Baxter: Mm. Okay?
Mary Shannon: Okay, what else does our remote need?
Nancy Fawbush: Um
Liza Diaz: A mute button.
Mary Shannon: Mute button.
Nancy Fawbush: Mm-hmm.
Liza Diaz: I think.
Nancy Fawbush: The most important
Liza Diaz: And
Nancy Fawbush: things on a f on an on an uh remote control are channel selection, volume con selection,
Katie Baxter: Yeah.
Nancy Fawbush: and power s power usage.
Liza Diaz: Yeah.
Nancy Fawbush: And a teletext, but that
Liza Diaz: But
Nancy Fawbush: is not of the question. Other things are
Liza Diaz: you put a button of
Nancy Fawbush: Sorry?
Liza Diaz: for teletext on the for the people who want to use it?
Nancy Fawbush: Yeah, it
Liza Diaz: Remembering
Nancy Fawbush: could be.
Liza Diaz: we have got a big remote
Nancy Fawbush: Yeah.
Liza Diaz: that you have to fill.
Mary Shannon: Mm-hmm. Yeah, and we could make an a a separate menu on the L_C_D_
Nancy Fawbush: Yeah, teletext.
Mary Shannon: uh
Katie Baxter: Yeah.
Mary Shannon: screen
Liza Diaz: Yeah.
Mary Shannon: for teletext.
Katie Baxter: And there's
Nancy Fawbush: And
Katie Baxter: also
Nancy Fawbush: other
Katie Baxter: a
Nancy Fawbush: other less important things are screen settings, audio settings, and channel settings,
Liza Diaz: Yeah, they
Nancy Fawbush: but
Liza Diaz: are less important, but I think they should
Nancy Fawbush: Less important.
Liza Diaz: be there,
Nancy Fawbush: Yeah,
Liza Diaz: or not?
Nancy Fawbush: should be there, but not
Katie Baxter: A sh but in a sub sub-menu
Nancy Fawbush: press
Katie Baxter: or
Nancy Fawbush: Yeah,
Katie Baxter: something
Nancy Fawbush: sub-menu,
Katie Baxter: like that.
Nancy Fawbush: yeah.
Katie Baxter: Uh I think it's also important to uh make it possible to um how do you call it in English, uh, to not use batteries, and use ac uh bat uh batteries to uh
Mary Shannon: Mm-hmm.
Liza Diaz: Like with
Katie Baxter: to be
Liza Diaz: a with
Katie Baxter: yeah
Liza Diaz: a mouse, you
Katie Baxter: yeah sure.
Liza Diaz: have not,
Katie Baxter: Indeed.
Liza Diaz: yeah.
Katie Baxter: So uh you can mount uh the the the uh
Nancy Fawbush: Yeah, in a breath it's
Katie Baxter: uh the remote control to um
Mary Shannon: Mm-hmm.
Nancy Fawbush: Charted.
Liza Diaz: We should think
Katie Baxter: to refill
Liza Diaz: of the twelve fifty
Katie Baxter: the
Liza Diaz: we have but
Nancy Fawbush: Yeah, but we don't
Liza Diaz: I
Nancy Fawbush: we
Liza Diaz: don't
Nancy Fawbush: don't
Liza Diaz: know
Nancy Fawbush: have
Liza Diaz: how
Nancy Fawbush: any
Liza Diaz: much
Nancy Fawbush: costs
Liza Diaz: that's
Katie Baxter: Yeah.
Liza Diaz: going
Nancy Fawbush: now, so
Liza Diaz: to uh
Katie Baxter: Okay,
Nancy Fawbush: Yeah.
Katie Baxter: because i uh when you get an L_C_D_ screen, you run it on batteries,
Liza Diaz: Yeah.
Katie Baxter: the batteries will be uh empty
Nancy Fawbush: Yeah
Katie Baxter: very
Nancy Fawbush: e
Katie Baxter: soon,
Nancy Fawbush: e power
Katie Baxter: very
Nancy Fawbush: supply
Katie Baxter: fast.
Nancy Fawbush: is one of
Liza Diaz: You
Nancy Fawbush: the
Liza Diaz: should
Nancy Fawbush: most important things.
Liza Diaz: Perhaps you should be able to
Katie Baxter: Yeah.
Liza Diaz: to switch the control off. If you have an L_C_D_ screen that's burns all the time I dunno.
Katie Baxter: Yeah, yeah. Yeah.
Liza Diaz: You shouldn't on and off because that's ver extra, that you have t first you have to turn the remote on, and then you can uh
Mary Shannon: Mm-hmm.
Katie Baxter: Uh
Liza Diaz: I don't
Nancy Fawbush: Yeah, I
Liza Diaz: know.
Nancy Fawbush: think it's it's not that easy because I don't think people will like it who who uh that you have to turn it on
Liza Diaz: Nee
Nancy Fawbush: first
Liza Diaz: that's
Nancy Fawbush: and then
Liza Diaz: that's
Nancy Fawbush: use it, so
Liza Diaz: uh yeah.
Nancy Fawbush: I think it's better when th the T_V_ shuts down, the remote shuts down.
Liza Diaz: But
Katie Baxter: And
Liza Diaz: then you
Katie Baxter: go
Liza Diaz: can't
Katie Baxter: to standby mode when you don't use
Nancy Fawbush: Yeah.
Liza Diaz: Yeah.
Katie Baxter: it, so that
Liza Diaz: Yeah yeah au automac matically, that it
Katie Baxter: Yeah, automatically.
Liza Diaz: yeah.
Nancy Fawbush: Yeah.
Katie Baxter: After two
Nancy Fawbush: After
Katie Baxter: minutes
Nancy Fawbush: two
Katie Baxter: or three
Nancy Fawbush: minutes, yeah
Katie Baxter: minutes,
Nancy Fawbush: two three
Katie Baxter: something
Nancy Fawbush: minutes,
Katie Baxter: like
Nancy Fawbush: yeah.
Katie Baxter: that.
Liza Diaz: Yeah.
Mary Shannon: Yeah. And maybe a low battery indicator?
Katie Baxter: Yeah.
Mary Shannon: On the screen.
Katie Baxter: Sure.
Nancy Fawbush: Yeah. And then b that uh before an hour when its get again gets empty.
Katie Baxter: Yeah.
Nancy Fawbush: Then you have plenty of time to recharge it, of put
Katie Baxter: Mm.
Nancy Fawbush: it in a recharger. Charger.
Mary Shannon: So we are going for the for the recharger.
Katie Baxter: Yeah.
Nancy Fawbush: Yeah,
Mary Shannon: Okay.
Nancy Fawbush: if it's. Uh.
Liza Diaz: If it's sensible.
Nancy Fawbush: Yeah, because when you're watching T_V_,
Liza Diaz: Yeah.
Nancy Fawbush: you're zapping and you have to put it in a recharger,
Liza Diaz: Yeah,
Nancy Fawbush: and I don't
Liza Diaz: b when
Katie Baxter: No,
Nancy Fawbush: think
Liza Diaz: the
Nancy Fawbush: it
Liza Diaz: batteries
Katie Baxter: when you
Liza Diaz: are low
Katie Baxter: when you're done with s uh w uh
Nancy Fawbush: Yeah, okay, but then we
Katie Baxter: watching
Nancy Fawbush: have to be
Katie Baxter: your
Nancy Fawbush: sure
Katie Baxter: television,
Nancy Fawbush: that the
Katie Baxter: you
Nancy Fawbush: the
Katie Baxter: have
Nancy Fawbush: the
Katie Baxter: to put
Nancy Fawbush: the batteries
Katie Baxter: it
Nancy Fawbush: go hours, six hours, five,
Katie Baxter: Yeah sure,
Nancy Fawbush: six hours,
Liza Diaz: But you'll
Katie Baxter: of course.
Nancy Fawbush: then.
Liza Diaz: also forget to put it in,
Nancy Fawbush: Yeah, then
Liza Diaz: because
Katie Baxter: Yeah,
Nancy Fawbush: you have
Liza Diaz: you
Katie Baxter: but
Nancy Fawbush: a problem.
Liza Diaz: throw it on the couch and you don't remember.
Katie Baxter: But you also forget to buy batteries,
Liza Diaz: Yeah. That's
Katie Baxter: and
Liza Diaz: right.
Katie Baxter: then you can you can't use it, so
Liza Diaz: Yeah.
Katie Baxter: I
Nancy Fawbush: Or we have to be sure that the batteries last couple of days when they're recharged.
Katie Baxter: Yeah.
Nancy Fawbush: So.
Liza Diaz: Well I think the batteries should should w should work a lot longer than a couple of days,
Nancy Fawbush: Yeah because
Liza Diaz: or not?
Nancy Fawbush: you have b but
Liza Diaz: 'Cause
Nancy Fawbush: you have L_C_D_ screen.
Liza Diaz: Yeah, that's right,
Nancy Fawbush: High power
Liza Diaz: but
Nancy Fawbush: usage.
Katie Baxter: High power user cell, i uh it should be uh a standard move to to put your remote control in the charger when you're done
Nancy Fawbush: Yes.
Katie Baxter: watching television, that's also a a a great advantage because you can't lose it anymore. Because you are
Nancy Fawbush: True.
Katie Baxter: obliged to uh put it in the charger
Nancy Fawbush: Yeah. Yeah.
Katie Baxter: and not
Nancy Fawbush: True.
Katie Baxter: to uh leave it in a couch uh between some cushions.
Liza Diaz: Yeah. Right.
Nancy Fawbush: Yeah,
Katie Baxter: Okay.
Nancy Fawbush: you made a point there.
Liza Diaz: But
Mary Shannon: Yeah,
Liza Diaz: then you also
Mary Shannon: also.
Liza Diaz: have to s have somewhere where you can put a remo recharger near your couch because otherwise you have to
Nancy Fawbush: Yeah, otherwise
Liza Diaz: walk
Nancy Fawbush: all
Liza Diaz: a
Nancy Fawbush: your
Liza Diaz: long
Nancy Fawbush: yeah.
Liza Diaz: way when you twoft want to turn on the T_V_.
Nancy Fawbush: Just a small device.
Liza Diaz: Yeah.
Katie Baxter: Yeah it
Nancy Fawbush: Plug
Liza Diaz: I think
Katie Baxter: hasn't
Nancy Fawbush: it in,
Katie Baxter: It
Liza Diaz: everything
Katie Baxter: doesn't
Nancy Fawbush: that's
Katie Baxter: have
Nancy Fawbush: it.
Liza Diaz: has
Katie Baxter: to be big.
Liza Diaz: it
Nancy Fawbush: Yeah,
Liza Diaz: for
Nancy Fawbush: like a
Liza Diaz: and
Nancy Fawbush: like
Liza Diaz: I
Nancy Fawbush: telephone
Liza Diaz: guess.
Nancy Fawbush: charger or something.
Katie Baxter: Yeah just just a cable, or
Nancy Fawbush: Yeah.
Katie Baxter: a even a a a a a charger where you can mount it on.
Nancy Fawbush: Yeah.
Katie Baxter: Something like that, just u
Liza Diaz: Yeah.
Katie Baxter: Okay.
Liza Diaz: Alright.
Mary Shannon: Okay, well
Nancy Fawbush: It has to be
Mary Shannon: I've
Nancy Fawbush: easy to use also, or
Mary Shannon: Yeah,
Nancy Fawbush: things.
Mary Shannon: you have some more points.
Nancy Fawbush: Uh market share, speaker re speech recognition. I think.
Katie Baxter: Functional designs uh for the elderly uh you could make it possible to enlarge the screen, so make
Nancy Fawbush: Also.
Katie Baxter: it possible to not uh display uh a button at ten points uh,
Nancy Fawbush: Well I
Katie Baxter: or
Nancy Fawbush: think that this should be standard. Large
Katie Baxter: Yeah but it is
Nancy Fawbush: button
Katie Baxter: uh one
Nancy Fawbush: large
Katie Baxter: of the functions
Nancy Fawbush: buttons.
Katie Baxter: you have to uh specify.
Nancy Fawbush: Yeah? Okay.
Katie Baxter: Because we can look at uh uh perhaps uh forty buttons at a screen, but the elderly only look at two buttons. Okay.
Mary Shannon: And you said something about speech recognition?
Nancy Fawbush: Yeah, it
Katie Baxter: Speech
Nancy Fawbush: says also
Katie Baxter: recognition?
Nancy Fawbush: Yeah.
Katie Baxter: Hello. Twelve Euro twelve
Liza Diaz: Yeah,
Nancy Fawbush: Twelve.
Liza Diaz: twelve
Katie Baxter: Euro
Liza Diaz: fifty,
Katie Baxter: fifty.
Liza Diaz: twelve fifty.
Nancy Fawbush: That's an also ninety one percent sixteen to twenty five, twenty six to thirty five years, seventy six percent, and thirty six to forty five, thirty five percent.
Liza Diaz: So it's pretty
Katie Baxter: Well,
Liza Diaz: big.
Katie Baxter: spread
Nancy Fawbush: But
Katie Baxter: it by a
Nancy Fawbush: then
Katie Baxter: big
Nancy Fawbush: I
Katie Baxter: market.
Nancy Fawbush: I I
Mary Shannon: Even bigger than for L_C_D_.
Liza Diaz: Yeah.
Nancy Fawbush: Yeah.
Liza Diaz: W I know let's do a speech.
Katie Baxter: Well let's leave out all the remote controls and just put a
Liza Diaz: Yeah.
Katie Baxter: microphone
Liza Diaz: Yeah.
Katie Baxter: on top
Nancy Fawbush: Yeah.
Katie Baxter: of the television to
Nancy Fawbush: Ninety. Twenty five.
Liza Diaz: You can clap
Katie Baxter: Yeah
Liza Diaz: or something.
Katie Baxter: Yeah.
Nancy Fawbush: channel.
Katie Baxter: Turn volume up.
Liza Diaz: Yeah.
Katie Baxter: Hey, that that's an idea.
Liza Diaz: Now you shouldn't say the wrong thing, I dunno.
Nancy Fawbush: Yeah.
Katie Baxter: Okay, well that should it has to be remote control, not
Nancy Fawbush: Yeah,
Katie Baxter: Yeah.
Nancy Fawbush: twelve.
Liza Diaz: But they want to talk into the remo remote
Nancy Fawbush: Yeah.
Liza Diaz: control,
Katie Baxter: Sure
Liza Diaz: or
Katie Baxter: why
Liza Diaz: something,
Katie Baxter: not
Liza Diaz: or?
Nancy Fawbush: Is
Katie Baxter: why
Nancy Fawbush: this
Katie Baxter: not
Nancy Fawbush: only would you would you pay more for speech recognition in a remote control. It's
Katie Baxter: Yeah,
Nancy Fawbush: the only thing it says.
Katie Baxter: mm.
Liza Diaz: Oh, but do we want to implement that, or?
Nancy Fawbush: I think an L_C_D_ screen should be suf sufficient.
Katie Baxter: Yeah.
Mary Shannon: But when you look at the percentages
Nancy Fawbush: Yeah, it says a lot, but
Katie Baxter: Perhaps the options
Mary Shannon: Speech
Katie Baxter: should
Mary Shannon: recognition
Katie Baxter: be uh
Mary Shannon: scores even higher, huh?
Katie Baxter: Why not?
Mary Shannon: Yeah,
Katie Baxter: Why not?
Mary Shannon: well, maybe because of the cost, but uh
Liza Diaz: Yeah.
Mary Shannon: nobody knows uh how
Katie Baxter: Let's
Mary Shannon: much
Katie Baxter: hope uh
Mary Shannon: uh
Liza Diaz: I
Nancy Fawbush: No
Liza Diaz: know
Katie Baxter: to have
Nancy Fawbush: I
Mary Shannon: it
Nancy Fawbush: think
Katie Baxter: some
Nancy Fawbush: I
Mary Shannon: will
Katie Baxter: uh
Nancy Fawbush: think
Mary Shannon: cost
Nancy Fawbush: it's
Katie Baxter: d
Nancy Fawbush: better to have
Mary Shannon: uh.
Nancy Fawbush: L_ L_C_D_ screen, because in the area of tw thirty six to forty five, we have about thirty percent of the market share in in our hands, and fifty five of those people want L_C_D_ screen and thirty five want speech recognition. So I think it's better to keep it with L_C_D_ screen.
Liza Diaz: Mm.
Mary Shannon: But would it be useful to imple implement both?
Nancy Fawbush: Yeah,
Mary Shannon: On one remote?
Nancy Fawbush: if the
Liza Diaz: Well
Nancy Fawbush: costs
Mary Shannon: Or
Nancy Fawbush: al allow it.
Mary Shannon: Yeah,
Liza Diaz: I
Mary Shannon: I
Liza Diaz: don't
Mary Shannon: dunno.
Liza Diaz: know if that can be done with the cost of twelve fifty.
Nancy Fawbush: Nee.
Liza Diaz: With that uh
Nancy Fawbush: If it should be done, if it could be done,
Liza Diaz: Yeah,
Katie Baxter: We
Nancy Fawbush: I
Katie Baxter: should
Nancy Fawbush: won't
Katie Baxter: do
Nancy Fawbush: matter.
Katie Baxter: it.
Liza Diaz: but how
Nancy Fawbush: Yeah.
Liza Diaz: would
Katie Baxter: Yeah.
Liza Diaz: you
Katie Baxter: Sure.
Liza Diaz: like to implement that, that you say volume up, and then it goes
Katie Baxter: Yeah.
Liza Diaz: up,
Nancy Fawbush: Yeah.
Liza Diaz: or? Uh.
Katie Baxter: Certain systems already exist, I think.
Nancy Fawbush: Mm-hmm.
Liza Diaz: Then you also have to have different languages if we go international. Then uh
Nancy Fawbush: True.
Liza Diaz: it's y
Katie Baxter: True,
Liza Diaz: it's
Katie Baxter: yeah.
Liza Diaz: yours to do
Nancy Fawbush: Yeah.
Liza Diaz: a
Nancy Fawbush: True.
Liza Diaz: French and
Katie Baxter: Yeah.
Liza Diaz: Dutch and English and
Nancy Fawbush: But that should
Katie Baxter: This should be
Nancy Fawbush: also
Katie Baxter: uh accommodated
Nancy Fawbush: be with f
Katie Baxter: with some software,
Nancy Fawbush: should be also with L_C_D_
Katie Baxter: uh,
Nancy Fawbush: screen.
Katie Baxter: uh. Yeah.
Nancy Fawbush: Because then I think in Chinese
Liza Diaz: Yeah,
Nancy Fawbush: is
Liza Diaz: that's
Nancy Fawbush: different
Liza Diaz: right.
Nancy Fawbush: written, volume is different written than um
Liza Diaz: Yeah.
Nancy Fawbush: Swahili
Katie Baxter: Right.
Nancy Fawbush: or something.
Katie Baxter: Swahili.
Liza Diaz: Yeah you
Katie Baxter: Swahili.
Liza Diaz: can use icons for the
Katie Baxter: Yeah.
Nancy Fawbush: Ja, well possible.
Liza Diaz: a speaker and uh
Katie Baxter: Indeed.
Liza Diaz: But if that's better
Nancy Fawbush: Yeah, yeah
Liza Diaz: than
Nancy Fawbush: yeah
Liza Diaz: language
Nancy Fawbush: yeah.
Liza Diaz: for
Katie Baxter: Yeah.
Liza Diaz: the for the remote.
Katie Baxter: So we want to uh yeah it's international
Liza Diaz: Then it's
Katie Baxter: uh
Liza Diaz: Yeah.
Katie Baxter: okay. Okay.
Nancy Fawbush: 'Kay, what else?
Mary Shannon: So, no speech recognition? Or
Liza Diaz: Well, if it could be done, we
Nancy Fawbush: Yeah, we
Katie Baxter: Y
Nancy Fawbush: have
Katie Baxter: it
Nancy Fawbush: to
Katie Baxter: should
Nancy Fawbush: keep
Katie Baxter: be done.
Nancy Fawbush: Yeah.
Katie Baxter: If it could be done, should be done.
Liza Diaz: Yeah.
Mary Shannon: Yeah, and then we have different languages.
Liza Diaz: Yeah, that should be uh
Katie Baxter: That's not so difficult
Liza Diaz: anything matters.
Katie Baxter: at all,
Mary Shannon: Okay,
Katie Baxter: because
Mary Shannon: just make
Katie Baxter: I
Mary Shannon: a separate
Katie Baxter: already
Mary Shannon: remote
Katie Baxter: use
Mary Shannon: for
Katie Baxter: on several
Mary Shannon: each uh
Katie Baxter: voice operated systems, and they are all possible to uh not all, but
Liza Diaz: Well, you
Nancy Fawbush: I think
Liza Diaz: sh
Nancy Fawbush: it's
Liza Diaz: you
Nancy Fawbush: difficult.
Liza Diaz: should to adjust the thing.
Nancy Fawbush: Every language of dialects
Liza Diaz: Yeah.
Nancy Fawbush: I think it's very differen difficult.
Liza Diaz: And you have to speak the so that it
Nancy Fawbush: Yeah.
Liza Diaz: can understand.
Nancy Fawbush: I think it can't be implemented, but maybe
Liza Diaz: You could use that n as an option,
Nancy Fawbush: Yeah,
Liza Diaz: if you
Nancy Fawbush: 's
Liza Diaz: have
Nancy Fawbush: an option, yes.
Liza Diaz: money left, or something.
Katie Baxter: Yeah, sure, indeed.
Nancy Fawbush: Fifty Euro cents.
Liza Diaz: Yeah. Let's do speech.
Nancy Fawbush: Yeah.
Katie Baxter: For speech recognition.
Mary Shannon: Okay, so we only do this when we have enough money left.
Liza Diaz: Yeah.
Mary Shannon: Okay. Well I've written down an an on or off button, volume selection, channel selection, uh the digits from one to zero, huh. Um or from zero to nine. Uh a digits button to switch uh between one and two digits, mute button, a separate menu for teletext, a battery indicator. Um we're going to use a docking station and uh probably L_C_D_ and if there's enough money, speech recognition.
Liza Diaz: Mm.
Mary Shannon: And uh the possibility to uh enlarge buttons or to have large buttons
Nancy Fawbush: Mm,
Liza Diaz: Yeah.
Nancy Fawbush: yes.
Liza Diaz: I
Mary Shannon: in
Liza Diaz: With
Mary Shannon: general.
Liza Diaz: uh teletext if it wasn't ver very important,
Nancy Fawbush: No,
Liza Diaz: it was
Nancy Fawbush: but
Liza Diaz: but You also now have colours. I don't know if we should implement that.
Nancy Fawbush: Curved?
Liza Diaz: Yeah, when you press the red button, you go to page one hundred two, and when you press the
Katie Baxter: Uh yeah.
Liza Diaz: I don't know if we should
Nancy Fawbush: Um.
Liza Diaz: implement that, because it says that teletext not really
Katie Baxter: S
Liza Diaz: important,
Katie Baxter: Shortcuts.
Liza Diaz: but
Katie Baxter: Uh.
Liza Diaz: yeah, the shortcut,
Nancy Fawbush: I
Liza Diaz: and
Nancy Fawbush: think
Liza Diaz: you can't
Nancy Fawbush: we should
Liza Diaz: go
Nancy Fawbush: we
Liza Diaz: to
Nancy Fawbush: could
Liza Diaz: sport.
Nancy Fawbush: that we could also implement a audio settings, screen settings and channel settings, but as sub-menus.
Liza Diaz: Yeah.
Katie Baxter: Mm.
Nancy Fawbush: D Mainly if you turn the uh remote control on, you have to u you have to see from one till zero, channel and volume. And if you want to use teletext screen or audio, then you can
Katie Baxter: Sh
Nancy Fawbush: press it.
Katie Baxter: Yeah,
Nancy Fawbush: It
Katie Baxter: just
Nancy Fawbush: should be
Katie Baxter: just
Nancy Fawbush: available
Katie Baxter: sub-menu.
Nancy Fawbush: but not
Katie Baxter: Yeah.
Liza Diaz: 'Cause
Katie Baxter: Not
Liza Diaz: it should
Katie Baxter: directly
Nancy Fawbush: not
Liza Diaz: be there.
Nancy Fawbush: Yeah.
Katie Baxter: uh available.
Nancy Fawbush: Yeah.
Katie Baxter: Okay.
Mary Shannon: Okay, too much teletext support, but in a separate menu, and
Nancy Fawbush: Yeah.
Katie Baxter: Mm.
Liza Diaz: So actually it is there but it's
Nancy Fawbush: Yeah, but
Liza Diaz: just
Nancy Fawbush: s
Liza Diaz: not r ready
Katie Baxter: Directly
Liza Diaz: there.
Katie Baxter: available.
Nancy Fawbush: Yeah.
Katie Baxter: So does it confuse uh the
Liza Diaz: You'll
Katie Baxter: user?
Liza Diaz: have to search
Nancy Fawbush: They'd
Liza Diaz: for
Nancy Fawbush: have
Liza Diaz: it.
Nancy Fawbush: to be easy
Katie Baxter: Uh.
Nancy Fawbush: to use.
Katie Baxter: I'll search um. If you want to use teletext, you can push the teletext
Liza Diaz: Yeah.
Katie Baxter: button and then the options uh become available.
Liza Diaz: Yeah, that's a
Nancy Fawbush: The sign of it.
Mary Shannon: Okay, but no more buttons or functions, or?
Nancy Fawbush: Uh,
Katie Baxter: No.
Liza Diaz: I guess
Nancy Fawbush: no.
Liza Diaz: not.
Nancy Fawbush: What else can you do with
Liza Diaz: We've
Nancy Fawbush: a
Liza Diaz: got
Nancy Fawbush: television?
Liza Diaz: anon
Mary Shannon: Aren't we forgetting something
Liza Diaz: Have got got
Mary Shannon: very
Liza Diaz: two
Mary Shannon: important?
Liza Diaz: examples here, but I don't think there's anything
Nancy Fawbush: Uh
Liza Diaz: we're missing.
Nancy Fawbush: play, pause, doesn't n need to be
Liza Diaz: Well, we
Nancy Fawbush: there.
Liza Diaz: don't have the video orders
Nancy Fawbush: Yes, so this is your presentation. We could check the other remote controls with
Liza Diaz: Yeah, you
Nancy Fawbush: technical
Liza Diaz: could look
Nancy Fawbush: functions.
Liza Diaz: here all the the
Nancy Fawbush: Which ones were yours?
Liza Diaz: Uh th th th th I don't know, technical
Nancy Fawbush: Techni
Liza Diaz: functions. They're a bit small, you can we should stretch them, because
Mary Shannon: Ping.
Nancy Fawbush: Ja ja ja ja ja. Technical functions. Yeah okay.
Liza Diaz: I guess we've got them all.
Nancy Fawbush: Uh I think I go to have volume, mute but I Yeah. Very slow. Yeah, the zoom buttons.
Liza Diaz: And for a T_V_?
Nancy Fawbush: Yeah, b wide
Liza Diaz: Can you zoom
Nancy Fawbush: screen,
Liza Diaz: in a T_V_?
Nancy Fawbush: high screen, different
Liza Diaz: Or
Nancy Fawbush: things
Liza Diaz: that
Nancy Fawbush: you
Liza Diaz: you
Nancy Fawbush: have,
Liza Diaz: can put 'em on uh on
Nancy Fawbush: yeah different
Liza Diaz: on wide
Nancy Fawbush: uh
Liza Diaz: and
Nancy Fawbush: Yeah.
Liza Diaz: yeah. But that should also be a sub then, a sub uh menu
Katie Baxter: Menu.
Nancy Fawbush: Yeah
Liza Diaz: thing.
Nancy Fawbush: it should be available, but then in separate screen settings or something.
Liza Diaz: Yeah,
Katie Baxter: Mm.
Liza Diaz: so we should also implement se screen settings.
Nancy Fawbush: Yeah, screen settings, audio settings,
Liza Diaz: Oh
Nancy Fawbush: teletext
Liza Diaz: right.
Nancy Fawbush: settings you have.
Liza Diaz: Yeah.
Nancy Fawbush: Channel settings.
Liza Diaz: Yeah, so you can program
Nancy Fawbush: So those
Liza Diaz: the
Nancy Fawbush: four, and of course the main.
Liza Diaz: Yeah, so the first you see the main, and the other ones you can
Nancy Fawbush: Yeah.
Liza Diaz: uh go
Nancy Fawbush: Yeah.
Liza Diaz: to uh
Nancy Fawbush: Like tap screens or something
Liza Diaz: Yeah.
Nancy Fawbush: or, I dunno.
Liza Diaz: I
Nancy Fawbush: Something
Liza Diaz: hope we can do this.
Katie Baxter: There are a
Nancy Fawbush: Yeah,
Katie Baxter: lot of options
Nancy Fawbush: if
Katie Baxter: depending
Nancy Fawbush: uh
Katie Baxter: uh on what kind of television you got. 'Cause if you don't got a wide screen television you don't need the uh
Nancy Fawbush: No, you don't
Katie Baxter: the screen
Nancy Fawbush: yu a
Katie Baxter: settings
Nancy Fawbush: no you then
Katie Baxter: uh
Nancy Fawbush: you
Katie Baxter: for
Nancy Fawbush: don't no ni
Katie Baxter: uh
Nancy Fawbush: don't then you don't use it.
Katie Baxter: Yeah and if the television does not support such uh operations
Nancy Fawbush: Mm-hmm.
Liza Diaz: We don't have to use that top. Yeah.
Nancy Fawbush: Yeah.
Katie Baxter: Yeah.
Nancy Fawbush: So you leave it alone.
Katie Baxter: Yeah.
Nancy Fawbush: Yeah. Or it could be possible to have a a standard version of the remote,
Liza Diaz: Yeah.
Nancy Fawbush: an expanded version.
Liza Diaz: And do we want them in different colours,
Nancy Fawbush: Yeah.
Liza Diaz: or And
Nancy Fawbush: Colours.
Liza Diaz: and the buttons, should they have
Nancy Fawbush: Yeah.
Liza Diaz: colours?
Katie Baxter: Colours I think the main colour of the
Liza Diaz: Oh but we
Katie Baxter: remote
Liza Diaz: don't have
Katie Baxter: control
Liza Diaz: any buttons.
Katie Baxter: is uh the colour of the L_C_D_ screen.
Liza Diaz: Yeah.
Katie Baxter: I
Mary Shannon: Yeah.
Katie Baxter: Because
Nancy Fawbush: Yeah,
Katie Baxter: we don't
Nancy Fawbush: then
Katie Baxter: want
Nancy Fawbush: defines
Katie Baxter: a lot
Nancy Fawbush: itself.
Katie Baxter: a devi yeah
Nancy Fawbush: Because
Katie Baxter: a device
Nancy Fawbush: uh
Katie Baxter: self s g
Nancy Fawbush: how many percent? Eighty percent?
Liza Diaz: They think it's ugly,
Nancy Fawbush: Would spend
Liza Diaz: right?
Nancy Fawbush: more money if it looks fancy.
Katie Baxter: Okay, so use uh very uh lot of peo
Liza Diaz: Perhaps you can uh make adjustable fronts, like with the telephones.
Katie Baxter: Adjust with phones, yes
Liza Diaz: You can uh But
Katie Baxter: Okay.
Liza Diaz: I
Katie Baxter: Twelve
Liza Diaz: don't
Katie Baxter: Euro fifty.
Liza Diaz: think that uh
Katie Baxter: Well, make it available in different colours, you mean? Sure.
Liza Diaz: Yeah.
Nancy Fawbush: Yeah.
Katie Baxter: Red, white, blue, black.
Nancy Fawbush: Rasta
Mary Shannon: And a see-through
Nancy Fawbush: colours.
Katie Baxter: Grey.
Mary Shannon: uh
Katie Baxter: Yeah
Liza Diaz: Yeah.
Katie Baxter: sea view,
Nancy Fawbush: Yeah, see
Katie Baxter: yes,
Nancy Fawbush: through version.
Katie Baxter: Simpson's versions and
Nancy Fawbush: Yeah. If you press a button, it turns green.
Liza Diaz: Yeah.
Mary Shannon: Okay,
Katie Baxter: Leave.
Liza Diaz: A
Mary Shannon: well
Liza Diaz: disco version.
Mary Shannon: that's the
Liza Diaz: Five minutes?
Mary Shannon: signal for las final five minutes. Um so I have uh the things I just read. Um then we have uh separate menus for teletext, screen settings, audio settings, and
Katie Baxter: Yeah.
Mary Shannon: what else?
Nancy Fawbush: Channel settings?
Liza Diaz: Oh yeah, right.
Mary Shannon: Channel
Liza Diaz: So you
Mary Shannon: settings.
Liza Diaz: can program the T_V_.
Nancy Fawbush: Yeah.
Mary Shannon: Okay.
Nancy Fawbush: Mm.
Liza Diaz: Perhaps you should you'd throw them on on in one pile. So, options, and then you sub them.
Nancy Fawbush: Yeah.
Liza Diaz: Otherwise
Nancy Fawbush: Could
Liza Diaz: you
Nancy Fawbush: be possible.
Liza Diaz: have all those teletext, perhaps teletext
Katie Baxter: Mm.
Liza Diaz: not, but
Nancy Fawbush: Or like uh you
Mary Shannon: No,
Nancy Fawbush: have
Mary Shannon: we
Nancy Fawbush: a menu
Mary Shannon: said teletext
Nancy Fawbush: button, you
Mary Shannon: also
Nancy Fawbush: press
Mary Shannon: a separate menu.
Nancy Fawbush: Yeah, or
Liza Diaz: Yeah,
Nancy Fawbush: otherwise
Liza Diaz: but I
Nancy Fawbush: you have a menu button, press menu then you have uh
Liza Diaz: Yeah.
Nancy Fawbush: main uh menu search uh all the all the settings.
Liza Diaz: Yeah.
Mary Shannon: Okay,
Liza Diaz: But
Mary Shannon: but we can work that out
Nancy Fawbush: Yeah,
Mary Shannon: later,
Nancy Fawbush: no problem.
Mary Shannon: I guess. So
Nancy Fawbush: Yep.
Mary Shannon: we're having a a general menu with the most used functions, uh teletext, screen settings, audio settings, channel settings, and maybe there are options for the remote itself? Like
Liza Diaz: I don't
Mary Shannon: uh
Liza Diaz: know.
Mary Shannon: large icons or small icons and
Nancy Fawbush: Um,
Mary Shannon: I don't know what
Katie Baxter: No.
Mary Shannon: else, but
Nancy Fawbush: I think b because we don't have a lot of buttons on the one screen, I
Liza Diaz: Or
Nancy Fawbush: think
Liza Diaz: do we
Nancy Fawbush: the
Liza Diaz: have
Nancy Fawbush: buttons
Liza Diaz: any buttons?
Nancy Fawbush: Yeah,
Liza Diaz: On the
Nancy Fawbush: but
Liza Diaz: remote.
Nancy Fawbush: but or
Liza Diaz: Which
Nancy Fawbush: like
Liza Diaz: one?
Nancy Fawbush: you have you only have channel button or volume button. Those buttons
Liza Diaz: But
Nancy Fawbush: you
Mary Shannon: Yeah,
Nancy Fawbush: can
Liza Diaz: that's
Mary Shannon: but
Liza Diaz: also
Mary Shannon: on
Nancy Fawbush: you
Mary Shannon: the
Nancy Fawbush: can
Mary Shannon: L_C_D_,
Liza Diaz: in the L_C_D_,
Mary Shannon: huh?
Liza Diaz: right?
Nancy Fawbush: Yeah.
Mary Shannon: Right, yeah, okay.
Nancy Fawbush: Yeah,
Liza Diaz: So we don't
Nancy Fawbush: th
Liza Diaz: have any normal buttons
Nancy Fawbush: No, no
Liza Diaz: that
Nancy Fawbush: normal
Liza Diaz: uh No,
Nancy Fawbush: buttons,
Liza Diaz: alright.
Nancy Fawbush: yeah. Maybe only the on and o
Liza Diaz: Yet
Nancy Fawbush: on
Liza Diaz: on
Nancy Fawbush: and off
Liza Diaz: and off
Nancy Fawbush: button.
Liza Diaz: is
Mary Shannon: But
Liza Diaz: p is
Mary Shannon: we don't
Liza Diaz: perhaps
Katie Baxter: Uh
Nancy Fawbush: But
Mary Shannon: need
Katie Baxter: not
Nancy Fawbush: I don't
Mary Shannon: a special
Katie Baxter: button
Liza Diaz: you kno
Nancy Fawbush: think
Mary Shannon: we don't need a special options menu for the remote itself.
Nancy Fawbush: Mm,
Liza Diaz: No,
Nancy Fawbush: no.
Liza Diaz: no.
Mary Shannon: Okay.
Liza Diaz: Oh well, you should be able to set which T_V_ you have. If you
Katie Baxter: Yeah
Liza Diaz: have
Katie Baxter: sure, of
Liza Diaz: if
Katie Baxter: course
Liza Diaz: you
Katie Baxter: you need
Liza Diaz: have uh
Katie Baxter: uh a settings button, uh or a settings option for the remote control.
Liza Diaz: Yeah. But isn't idea to use uh uh what you said, uh normal on and off button for the T_V_,
Nancy Fawbush: No no
Liza Diaz: that
Nancy Fawbush: no,
Liza Diaz: you
Nancy Fawbush: because
Liza Diaz: don't have
Nancy Fawbush: we
Liza Diaz: to
Nancy Fawbush: we
Liza Diaz: use a
Nancy Fawbush: discussed that you could charge it, otherwise is it it jumps to stand-by mode
Liza Diaz: Yeah
Nancy Fawbush: automatically.
Liza Diaz: but but not for the remote but for the T_V_, that
Nancy Fawbush: Yeah,
Liza Diaz: you
Nancy Fawbush: but
Liza Diaz: use
Nancy Fawbush: a T_V_ of course, th that's the I think that's a best thing is that to implement that one in the menu with the volume and channel.
Liza Diaz: But a not as normal button,
Nancy Fawbush: No.
Liza Diaz: in the L_C_D_, yeah.
Mary Shannon: Well maybe there should be a separate button apart from the L_C_D_, because you can't turn it on when the L_C_D_ is off. So how do you turn the thing on? There has to be a
Liza Diaz: No you just
Mary Shannon: on button
Liza Diaz: tap
Mary Shannon: on the remote,
Liza Diaz: I
Nancy Fawbush: Yeah,
Liza Diaz: think.
Nancy Fawbush: you
Katie Baxter: Just
Nancy Fawbush: tap.
Katie Baxter: tap
Mary Shannon: huh?
Katie Baxter: it.
Nancy Fawbush: Touch
Mary Shannon: Tap
Nancy Fawbush: screen,
Mary Shannon: the thing. Okay.
Nancy Fawbush: yeah then it's turn
Mary Shannon: And then
Nancy Fawbush: turn off,
Mary Shannon: the television
Nancy Fawbush: turn on.
Mary Shannon: is on also, or just the remote?
Nancy Fawbush: No, just the remote. A television
Mary Shannon: Sure.
Liza Diaz: But
Nancy Fawbush: don't have to be on, that one you can
Katie Baxter: Yeah, it
Nancy Fawbush: press
Katie Baxter: should
Nancy Fawbush: on,
Katie Baxter: be in standby mode,
Nancy Fawbush: yeah stand-by,
Katie Baxter: but
Nancy Fawbush: then press on remote, press on and then T_V_ should be available.
Liza Diaz: Yeah a yeah.
Nancy Fawbush: Or not.
Liza Diaz: I don't know whether it's handy to have a n a normal on button, a r just uh
Nancy Fawbush: Separate.
Liza Diaz: rubber uh for for T_V_, so you can turn it on and then you can choose the channel. Otherwise you I don't know whether or not that's
Katie Baxter: A A A normal button
Liza Diaz: Yeah,
Katie Baxter: on the remote control,
Liza Diaz: yeah.
Katie Baxter: or norm?
Liza Diaz: To turn it on. Of or you should put it in the L_C_D_ screen.
Katie Baxter: Yeah, because uh when you touch the L_C_D_ screen when it is in standby mode, it should pop on.
Liza Diaz: Yeah, I have, yeah.
Mary Shannon: Okay,
Katie Baxter: Wh uh why
Mary Shannon: well
Katie Baxter: would it be a a need to have a normal button?
Liza Diaz: Well I I guess if you use the L_C_D_ screen, you first have to search where is the on button, then you uh you you then turn it, and then the T_V_ goes on. But if you have a normal on button on the on the remote, then you do the on, and then you search the channel which you want.
Nancy Fawbush: Yeah, but I think the re the remote control, if you press tap the screen, it always should jump to the screen which has the volume button, channel
Katie Baxter: Mm.
Nancy Fawbush: button, and of course of also the on and off button.
Liza Diaz: Oh right.
Katie Baxter: I think it looks a lot more fancy if
Liza Diaz: Yeah,
Katie Baxter: you use
Liza Diaz: I think
Katie Baxter: uh
Liza Diaz: so too.
Katie Baxter: if
Liza Diaz: Otherwise
Katie Baxter: you don't have any
Liza Diaz: y
Katie Baxter: buttons
Liza Diaz: wet e k
Katie Baxter: on
Liza Diaz: Yeah.
Katie Baxter: the s on
Mary Shannon: Yeah.
Nancy Fawbush: Yeah.
Katie Baxter: on remote control.
Mary Shannon: So actually we're going to create a a button-less uh
Liza Diaz: Yeah.
Mary Shannon: remote. No buttons at all. Okay, well that's might be a unique selling point, huh for
Nancy Fawbush: Mm-hmm.
Mary Shannon: a remote.
Liza Diaz: If we can afford
Mary Shannon: Okay, well
Liza Diaz: it.
Nancy Fawbush: Yeah,
Mary Shannon: I
Nancy Fawbush: if we
Mary Shannon: guess
Nancy Fawbush: can afford
Mary Shannon: we have to
Nancy Fawbush: it. Yeah.
Mary Shannon: postpone
Katie Baxter: Oh, okay
Mary Shannon: further discussion to uh our next meeting, because we're running out of time. Um for now, we're having a lunch break,
Katie Baxter: Oh.
Mary Shannon: and then there will be uh half an hour for the uh next share of individual work. I will uh write uh minutes, if I can create them out of this. And
Katie Baxter: Mm.
Mary Shannon: uh put them in the the project documents uh folder. And here are the individual actions for the for the other roles. And of course specific instructions will be sent to you again by your uh personal coach.
Liza Diaz: Alright.
Mary Shannon: Luckily as we are. Okay, well thank you very much,
Nancy Fawbush: Mm-hmm.
Mary Shannon: for now, and uh
Liza Diaz: Lunch.
Mary Shannon: have a nice lunch, huh?
Katie Baxter: Okay. Food.
Liza Diaz: Should we put this back in our rooms, or uh?
Katie Baxter: Yeah, think so.
Liza Diaz: Yeah. | Mary Shannon opened the meeting and then Katie Baxter discussed the interior workings of a remote along with his personal preferences for the appearance of a remote. Liza Diaz discussed the technical functions of a remote and indicated that a user centered approach to designing the interface would be preferable. Nancy Fawbush discussed the functional requirements of a remote and user tendencies in using remotes. Nancy Fawbush indicated that an ideal remote would include an LCD screen, would not be too small in size, and is easy to use. Mary Shannon briefed the team on some new requirements and led them in a discussion in which the team discussed their target group and made decisions on the appearance and functions of their upcoming product. | 4 | amisum | train |
Maria Rascon: Okay, welcome everyone to our next meeting. I'm writing and busy leading the meeting, but um I've prepared a little presentation once again um or at least an agenda I think uh the biggest part of the presentation will be uh on your side. Um we are here at the conceptual design meeting, which is hereby opened. Um once again I will try to uh write some minutes which I just from the previous meeting uh placed inside our project folder, which was quite some typing. Um we uh three presentations, if I'm right, and after that we will take a decision on the remote control concepts. And just as the last time we have forty minutes to accomplish that. Okay, well I'd say let's start with the
Doris Sauceda: 'Kay.
Maria Rascon: first presentation. Um in the same order as last
Sharon Strahm: W sure.
Maria Rascon: time?
Laurie Payne: Mm.
Maria Rascon: Okay.
Laurie Payne: Alright.
Maria Rascon: Well, take it away.
Sharon Strahm: Okay uh welcome you. Components design, um uh first of all uh I would like to uh uh accommodate some of those uh things I uh uh elaborate some of the things I did. I I elaborated on the concept. What should be um uh said about uh the components, uh its properties and what kind of materials should we use to uh to make uh one of those r remote controls. Uh well of all I've uh d subtracted some of the components is that are used uh are w w from what remote control's formed. Uh first of all, the case, the case, the surrounding of the of the the remote control. I would like to uh give you an idea of uh how I thought about.
Doris Sauceda: Don't destroy my giraffe.
Sharon Strahm: Giraffe's gone now. Okay um the case was is made from rubber, I suppose. There's one of the because when you use a remote control a lot of people uh will uh will uh drop their remote control and they
Laurie Payne: Hmm.
Sharon Strahm: break uh becau the uh titanium was also an option. But uh it's a very expensive material. Uh rubber is, I think, uh the best suitable uh material uh to use uh for our uh for our remote control. Um it's poss it's also possible to uh create fancy colours with rubber. Uh rubber l makes it easy to uh to to it lets lets itself colour. Uh titanium uh you have to paint it and with that uh it's possible to scratch it or uh yeah make it ugly. Uh rubber uh the total uh piece of rubber that's sor uh that's that's used uh to make the case is uh the same colour, so if you scratch it it's still the same colour, perhaps uh it's a little bit damaged. But it's a very strong material. Um I h I had an idea single covered uh curved, sorry, single curved. Uh so it's t two dimensional. I think it's uh it's best to draw oh green.
Laurie Payne: It's a colour.
Doris Sauceda: Bright colour.
Sharon Strahm: Uh
Doris Sauceda: Fancy colour.
Sharon Strahm: New.
Doris Sauceda: Forward.
Sharon Strahm: Blank. Okay.
Doris Sauceda: You have to go t
Sharon Strahm: Let's make it uh black. Okay. I thought of an idea like this. Oh that. Um delete. Blank. Okay. So it also looks nice when it's on your table. So you get uh it doesn't lay flat down on the table, but it's c it's stands.
Doris Sauceda: Oh it's a side view.
Sharon Strahm: Side view yes it's side view so uh I I'm not technically good at th three D_ modelling, but. Um uh it's just an idea I had so it's uh it's very uh so its also looks nice when it's on the table. Um the graphical user interface and the buttons, uh we also thought about that already. Uh I thought about uh the L_C_D_ touch screen, which is uh is easy to clean too. One of the great uh advantages of the L_C_D_ screen you just use some or uh another uh cleaning uh uh cl some cleaning stuff. And um it should be made of strong plastic and it should be bright. Well I already uh s uh explained some properties of that material and I think uh well we also we almost concluded about that uh this should uh be uh our uh
Doris Sauceda: True.
Sharon Strahm: button component. So uh uh that's all about uh the buttons. Uh the batteries, uh we also thought about that already, uh will be chargeable with uh uh an option for a mount station so you can uh put the uh the remote control in a mount station so its charges itself up instead of uh plugging it in or something like that. Questions,
Doris Sauceda: No no no
Laurie Payne: No.
Doris Sauceda: no
Sharon Strahm: Okay.
Doris Sauceda: no. Just looking.
Sharon Strahm: And they should be long lasting, not uh not be empty uh in about uh two minutes or uh thirty minutes or forty minutes of use. And next step is the chip uh th the component that's uh makes or transmits the signal to the television. Uh there was an option to use s a rather simple chip but I think uh because uh of our uh highly uh requiring uh requirements, there should be an advanced chip in it with uh also the ability to uh facilitate speaker speech recognition uh which unfortunately is still in a test phase, so uh there should be some more uh investigation on that side. Uh my personal preferences uh I also overheard in the last meeting that there shou we should use uh our own business colours. That was correct, wasn't it?
Maria Rascon: Mm-hmm.
Sharon Strahm: Okay. I think they are rather boring for um for use with rubber.
Maria Rascon: Well, business colours I thought it was the the slogan and uh the corporate image, so yeah, it
Sharon Strahm: Okay
Maria Rascon: needs colour,
Sharon Strahm: they should be m sh they should be in mind, wasn't
Maria Rascon: but I
Sharon Strahm: it?
Maria Rascon: don't think you have to make the entire thing in the corporate
Sharon Strahm: Okay
Maria Rascon: colour.
Sharon Strahm: so it d it doesn't says uh to uh have the
Maria Rascon: It
Sharon Strahm: slogan?
Maria Rascon: must be recognisable.
Sharon Strahm: Okay okay. Well that's possible of course. We could make
Laurie Payne: You can put
Sharon Strahm: a little
Laurie Payne: the
Sharon Strahm: R_
Laurie Payne: R_ and R_.
Sharon Strahm: and R_ on the top of the machine. Uh so they are pretty boring, I suggest, because just the availability with rubber to make fantastic colours uh and also in a lot of possible colours, so it's possible to make very uh fancy uh remote controls which peopl uh who people in which people will find they're uh interesting. And uh will buy uh them faster when they look at the same old grey or black uh colours. Uh s as I said uh before rubber is uh is impossible to damage severely of course you can break it when you you when you break it in s for example with a pair of scissors or something like that, but i if you drop it it's not uh broken uh right away s instead of using uh plastic, hard plastic or uh titanium. And I personally liked uh the single curved uh remote control, because it yeah it makes sense. Okay. Well that's all about my uh my findings.
Laurie Payne: Alright.
Maria Rascon: Okay, thank you.
Doris Sauceda: Mm mm
Laurie Payne: I will
Doris Sauceda: mm.
Laurie Payne: go next.
Doris Sauceda: Next.
Laurie Payne: Alright so I thought a little bit about the interface. Uh how it should look. And uh uh we uh determined that will not be no buttons, but only an L_C_D_ screen, so I had to uh look on that. And the design is therefore we just uh uh thought of. Uh first there are some new findings and new technology for speech recognition. And this is that uh um uh uh you you ask you give a question through through the device and it answers you. And they already uh put this in an in a coffee maker. And so that it you say uh good morning, uh coffee maker, and it says t says to you back good morning
Sharon Strahm: Mm.
Laurie Payne: Joe or what's your name. This uh and there's an easy way to uh program that uh you say record into the device into the speaker and then you say the question and three seconds later you say the answer and then when you say the question it gives you the answer.
Sharon Strahm: Mm.
Laurie Payne: Um
Maria Rascon: Mm.
Laurie Payne: perhaps it's useful, perhaps for because
Sharon Strahm: Mm.
Laurie Payne: people um lose the remote, they can yell uh remote where are you and calls or something.
Doris Sauceda: It's true.
Laurie Payne: And perhaps we could uh implement that. And then I have to go out of the presentation because
Sharon Strahm: Oh
Laurie Payne: I
Sharon Strahm: my God.
Laurie Payne: tried to make some kind of a a idea of how it should look like but I can't draw, so uh don't make too much of it. I tried to uh the L_C_D_ screen I tried to sort of to draw. I thought uh at least uh the icon for the volume. I don't know if there is an icon for the program, but
Sharon Strahm: Not just a P_.
Laurie Payne: yeah.
Doris Sauceda: P_ yeah, just a P_.
Laurie Payne: So
Sharon Strahm: ...
Laurie Payne: uh and then the buttons above and uh below the and the and the mute button also recognisable as an icon. Um.
Doris Sauceda: Where's where's the button for two?
Laurie Payne: I forgot that one.
Doris Sauceda: Okay.
Laurie Payne: I thought I forgot something, but uh. And uh and uh the numbers, that should be a bit larger I think it's not really on scale and and
Sharon Strahm: Ah.
Laurie Payne: so forth.
Doris Sauceda: Doesn't matter.
Laurie Payne: Um an options button. And I thought the the button for teletext apar uh apart because it's not really options, I think.
Sharon Strahm: Mm-hmm.
Laurie Payne: It's uh options
Doris Sauceda: No.
Laurie Payne: is the settings of the remote and of the T_V_ and that kind of uh thing.
Sharon Strahm: Yep.
Laurie Payne: So could call it settings or something. But this is a bit uh how I thought it. And uh the L_C_D_ uh somewhere on the remote. Perhaps we could be more curvy the remote perhaps should, so that it's better in your hand or something uh.
Sharon Strahm: Oh okay, yeah.
Laurie Payne: But uh and and uh a microph microphone for the speech uh recognition if we want to implement that. Uh and then uh if you press the op options button, now we have an example of and then you should get the other options with what what you could do and that you could do with something like this this.
Sharon Strahm: Oh yeah,
Laurie Payne: And uh it's also uh I thought think we discussed uh earlier that uh older people don't really want to use uh these extra settings. And older people a also don't really want to use this uh th this kind of option menus. So they want to u use one button and then something happens, and not choose with uh this kind of uh And you could put in a an a really s little scrolling device on the
Maria Rascon: Mm-hmm.
Laurie Payne: side of your uh remote, so you
Sharon Strahm: Mm.
Laurie Payne: could scroll scroll uh across these uh things.
Sharon Strahm: Okay.
Laurie Payne: That's an option. And that was my uh finding dinge.
Maria Rascon: Thanks.
Laurie Payne: Yeah.
Doris Sauceda: Okay.
Maria Rascon: Now our third
Sharon Strahm: Go Danny, go Danny.
Maria Rascon: team member with his presentation.
Doris Sauceda: Okay, going to you about trend watching. The trends from the past years what the people like, what the youngsters, what the elderly people liked about shapes, material and stuff. 'Kay. The method I used was Like I told I watched the trends from the past years about colours, shapes, material they wanted uh from elderly and young people. So we can keep that in mind for designing f uh the device itself. Findings I made. The most important thing people liked last year was that the remote control should be look look fancy. The second important thing that w should be if inv in innov innovative, okay, like the L_C_D_ screen that's quite innovative so that should be great meeting for this. And the third thing is it should be easy to use. I think with only one menu, four button, channel, volume, it should also be enough for easy to use. The personal preferences for the young people, they liked fruity colours like uh
Sharon Strahm: Fruity?
Doris Sauceda: banana yellow, uh
Sharon Strahm: Fruity.
Doris Sauceda: strawberry red and stuff.
Laurie Payne: Grass green.
Doris Sauceda: Yeah. Like that. The round shapes, and soft material m materials like the rubber.
Sharon Strahm: Mm.
Doris Sauceda: It should be
Sharon Strahm: Okay.
Doris Sauceda: soft uh i it should feeling spongy or s Sponge Bob like things.
Laurie Payne: Let's
Doris Sauceda: Th
Laurie Payne: build it into a sponge.
Doris Sauceda: Elderly people like au colours which y are being seen in autumn like um woods um dark brown, red, deep reds and stuff. They liked square shapes with round edges. And hard materials like wood, um titanium. They those kind of materials they liked. This is a bit like the young peoples like the fruity colours, innovative, all the colours you see, the blue, the red, the white, the yellow, that stuff. And then I th I I personally thought the front side of the shape should be something for the youngsters
Maria Rascon: Oh y
Doris Sauceda: like like this or something. It's it's a bit like a banana. And the colour should be yellow, or something. And for the elderly people just plain old. Because we decided to have two kind of remotes, two designs, or was it two
Laurie Payne: It
Doris Sauceda: colours?
Laurie Payne: was one
Doris Sauceda: Different
Laurie Payne: remote,
Doris Sauceda: colours, yeah.
Laurie Payne: I think, different
Doris Sauceda: We should
Laurie Payne: colours.
Doris Sauceda: decide whether it's going to be with round shapes. I think like my colleague, you said, is that's e better, or for the elderly people something like like the iPod or something, with round squares. Simple but easy to use.
Sharon Strahm: Mm.
Doris Sauceda: So that's it.
Sharon Strahm: Okay.
Maria Rascon: So
Doris Sauceda: That
Maria Rascon: for
Doris Sauceda: is
Maria Rascon: the older
Doris Sauceda: my
Maria Rascon: people, a more traditional
Doris Sauceda: Yeah,
Maria Rascon: uh
Doris Sauceda: like the
Maria Rascon: form.
Doris Sauceda: older o older colours I can maybe
Laurie Payne: You could you could uh change the colours, that was also the idea. I
Doris Sauceda: Yeah.
Laurie Payne: don't know which shape you should should take, but.
Doris Sauceda: Colours th the elderly
Maria Rascon: Yeah,
Doris Sauceda: people
Maria Rascon: I guess changing colours will be easier than changing
Laurie Payne: Yeah.
Sharon Strahm: Changing
Maria Rascon: uh
Sharon Strahm: just the shape of the
Maria Rascon: the shape
Sharon Strahm: uh
Maria Rascon: of it.
Sharon Strahm: remote control?
Laurie Payne: Perhaps you could find something in the middle.
Sharon Strahm: Yeah,
Laurie Payne: Round
Sharon Strahm: s
Laurie Payne: but square.
Sharon Strahm: round corners, but s but square, yeah.
Laurie Payne: Yeah.
Maria Rascon: But maybe then both groups won't buy it.
Sharon Strahm: Yeah.
Laurie Payne: Uh i i if you do it uh uh square, with round corners but a little uh in the middle of it uh i Do
Sharon Strahm: Yeah
Laurie Payne: you
Sharon Strahm: I know what
Laurie Payne: know
Sharon Strahm: you
Laurie Payne: what
Sharon Strahm: mean,
Laurie Payne: I mean?
Sharon Strahm: kind of like a.
Laurie Payne: wait, like like this uh a bit.
Sharon Strahm: Yeah.
Laurie Payne: So it's a bit square, but it's also a bit uh round.
Sharon Strahm: Kinda like a beer glass.
Laurie Payne: So
Sharon Strahm: Yeah.
Laurie Payne: but then
Sharon Strahm: I know what you mean.
Laurie Payne: Same sides.
Sharon Strahm: It's also easy
Laurie Payne: But that's
Sharon Strahm: to
Laurie Payne: uh
Sharon Strahm: to have to to put in your hand.
Laurie Payne: Yeah but that's also how other remotes are shaped, so that's uh
Sharon Strahm: Yeah.
Laurie Payne: But perhaps that's a good thing, so that's easy to use. People know the
Sharon Strahm: Will recognise that's as a remote
Laurie Payne: Yeah.
Sharon Strahm: control.
Doris Sauceda: Uh
Sharon Strahm: Uh when I saw your d Oh.
Doris Sauceda: Look something like that. Autumn colours like red, brown. They liked the wood
Sharon Strahm: Huh.
Doris Sauceda: a lot.
Maria Rascon: Mm-hmm.
Doris Sauceda: So
Laurie Payne: Yeah.
Doris Sauceda: maybe we could give it like wooden loo look look or something
Laurie Payne: Yeah.
Sharon Strahm: Yeah, kinda
Doris Sauceda: in
Sharon Strahm: like old
Doris Sauceda: that
Sharon Strahm: cars,
Doris Sauceda: colour. And
Sharon Strahm: uh
Doris Sauceda: a bit bit
Laurie Payne: Yeah.
Doris Sauceda: old school style renaissance, medieval kind of things.
Laurie Payne: Swords.
Sharon Strahm: Let's
Doris Sauceda: Those
Sharon Strahm: put
Doris Sauceda: kind
Sharon Strahm: it all
Doris Sauceda: of Yeah,
Sharon Strahm: together.
Doris Sauceda: those kind of things. So you see the big difference between the young people? Fresh,
Laurie Payne: Yeah.
Doris Sauceda: exciting. And the old people,
Laurie Payne: But that's easily
Doris Sauceda: old
Laurie Payne: to do
Doris Sauceda: and
Laurie Payne: with
Doris Sauceda: boring.
Laurie Payne: the colour, I think.
Doris Sauceda: So Sorry?
Laurie Payne: That's easy to do with the colours,
Doris Sauceda: Yeah
Laurie Payne: I
Doris Sauceda: I think
Laurie Payne: think.
Doris Sauceda: it's it's easier to do in colour than in shape.
Laurie Payne: Yeah.
Sharon Strahm: Uh.
Doris Sauceda: Because otherwise
Maria Rascon: Yeah we
Doris Sauceda: we have
Maria Rascon: think so
Doris Sauceda: to
Maria Rascon: too.
Doris Sauceda: get different shapes, and colour way easier than yeah the shapes. In material yeah rubber, rubber is, like I said, young people like more soft materials and spongy ones and the old people like plain wood.
Laurie Payne: Yeah.
Sharon Strahm: Yeah.
Doris Sauceda: So we have to decide if we're going to use real hard rubber, or soft rubber.
Laurie Payne: Yeah
Doris Sauceda: Or something something
Laurie Payne: think
Doris Sauceda: between
Laurie Payne: uh
Doris Sauceda: that.
Sharon Strahm: Soft
Laurie Payne: Also
Sharon Strahm: rubber.
Laurie Payne: in between.
Doris Sauceda: Yeah soft rubber which you can you can feel
Sharon Strahm: Yeah
Doris Sauceda: in it.
Sharon Strahm: I know what you Um.
Laurie Payne: I don't think you should
Doris Sauceda: Or
Laurie Payne: be able to mould it, but
Doris Sauceda: No. Or
Sharon Strahm: It should
Doris Sauceda: or wh what's
Sharon Strahm: shouldn't
Doris Sauceda: something
Sharon Strahm: be.
Doris Sauceda: harder. No no no but but you have to like like like a a eraser or something. That's the bit you
Laurie Payne: Yeah.
Doris Sauceda: can press it in, or something harder.
Sharon Strahm: Uh.
Laurie Payne: Bit like this kind of rubber. This uh
Doris Sauceda: Yeah, something like this, yeah.
Laurie Payne: But it's quite hard, this.
Doris Sauceda: Yeah it's quite hard but you can press it in.
Laurie Payne: Yeah.
Doris Sauceda: It's feels kind s spongy.
Sharon Strahm: Spongy.
Maria Rascon: Hmm.
Doris Sauceda: Something.
Laurie Payne: I
Doris Sauceda: No.
Laurie Payne: don't think it's rubber.
Doris Sauceda: N n n
Maria Rascon: So we need a spongy feeling.
Laurie Payne: Uh did you have something about uh
Doris Sauceda: Are you going to invite
Sharon Strahm: Yeah.
Doris Sauceda: Sponge Bob, maybe he can
Laurie Payne: So
Sharon Strahm: Ding
Laurie Payne: we
Sharon Strahm: ding.
Laurie Payne: should first decide about shape, I think.
Doris Sauceda: Yeah I
Laurie Payne: Which
Doris Sauceda: think
Laurie Payne: uh
Doris Sauceda: that's the better thing to do.
Laurie Payne: Then you can fit the L_C_D_ screen in it, and can decide uh.
Sharon Strahm: Um I also s uh can't help but notice that you uh used an you had a remote control and the L_C_D_ screen was uh rather small.
Doris Sauceda: Yeah w
Sharon Strahm: Um.
Laurie Payne: Yeah
Doris Sauceda: I think
Sharon Strahm: ...
Doris Sauceda: that
Laurie Payne: it's
Doris Sauceda: L_C_D_
Laurie Payne: supposed
Doris Sauceda: screen
Laurie Payne: to be
Doris Sauceda: should
Laurie Payne: bit
Doris Sauceda: be
Laurie Payne: s bit s bit
Sharon Strahm: This
Doris Sauceda: like
Sharon Strahm: was your size,
Laurie Payne: Yeah.
Sharon Strahm: but I think it should be larger.
Doris Sauceda: Yeah three quarter of the
Sharon Strahm: Yeah, three
Doris Sauceda: of
Sharon Strahm: quarters.
Doris Sauceda: the
Sharon Strahm: So uh so you don't have to put your
Doris Sauceda: Yeah
Sharon Strahm: oh.
Doris Sauceda: the buttons won't get that small
Sharon Strahm: Uh new,
Doris Sauceda: when the L_C_D_ screen
Sharon Strahm: blank.
Doris Sauceda: is
Sharon Strahm: So uh when you get this uh
Laurie Payne: Ooh
Sharon Strahm: Uh kinda like this.
Doris Sauceda: Mm-hmm.
Sharon Strahm: Or
Laurie Payne: Yeah.
Sharon Strahm: should it be larger?
Doris Sauceda: Larger I think.
Sharon Strahm: Larger? Because you want to put your hands
Laurie Payne: But if
Doris Sauceda: Yeah
Laurie Payne: you pu
Doris Sauceda: becau because
Laurie Payne: Now
Sharon Strahm: You want
Doris Sauceda: you have
Laurie Payne: you can put your hand there and then you won't touch the screen.
Sharon Strahm: Yeah.
Laurie Payne: Perhaps
Doris Sauceda: Yeah okay,
Laurie Payne: that's
Doris Sauceda: true,
Laurie Payne: best.
Doris Sauceda: true, true true.
Sharon Strahm: Your thumb here.
Laurie Payne: But not on the screen because
Sharon Strahm: Yeah.
Laurie Payne: Yeah that's uh
Doris Sauceda: Yeah.
Laurie Payne: that's an idea. Looks a
Sharon Strahm: Because
Laurie Payne: bit like
Sharon Strahm: when you
Laurie Payne: a Game
Sharon Strahm: put your
Laurie Payne: Boy
Sharon Strahm: f
Laurie Payne: now.
Sharon Strahm: Yeah but if yo if you make the the L_C_D_ screen as large as the remote control itself, uh you'll you'll always get some You
Laurie Payne: You always touch it,
Doris Sauceda: Yeah
Sharon Strahm: Yeah.
Laurie Payne: yeah.
Doris Sauceda: yeah
Sharon Strahm: Going
Doris Sauceda: yeah
Sharon Strahm: to be
Doris Sauceda: yeah.
Sharon Strahm: very greasy and stuff.
Doris Sauceda: But it won't get that small because you have how much? Nine ten eleven twelve thirteen fourteen fifteen buttons on the screen.
Laurie Payne: Yeah.
Doris Sauceda: One to zero,
Sharon Strahm: Yeah you don't want
Doris Sauceda: the
Sharon Strahm: it
Doris Sauceda: two
Sharon Strahm: too
Doris Sauceda: digit,
Sharon Strahm: small. How yeah how large
Doris Sauceda: You have to you have to Because some fat people with d thick fingers
Sharon Strahm: Yeah they have thick
Doris Sauceda: will
Sharon Strahm: fingers.
Doris Sauceda: press three buttons at same time.
Sharon Strahm: But if you wanna make it in international, Japanese uh people got uh rather small hands
Doris Sauceda: Yeah true, but
Sharon Strahm: and
Doris Sauceda: Yeah,
Sharon Strahm: we got
Doris Sauceda: we
Sharon Strahm: these
Doris Sauceda: have
Sharon Strahm: large
Doris Sauceda: we have the zoom option, right?
Sharon Strahm: Zoom opt Ah yeah of course, yeah. You can make it larger to to uh to uh with accompanying
Doris Sauceda: Yeah.
Sharon Strahm: uh greater fields to push the button.
Maria Rascon: Yeah.
Doris Sauceda: Yeah.
Maria Rascon: And we won't include a a pen, or something to point,
Doris Sauceda: No.
Maria Rascon: hey, we we want to do it with our fingers,
Doris Sauceda: Yeah.
Maria Rascon: right?
Sharon Strahm: Your fingers, yeah.
Doris Sauceda: Yeah.
Sharon Strahm: You don't
Maria Rascon: Yeah.
Sharon Strahm: want
Laurie Payne: Y
Sharon Strahm: uh
Laurie Payne: you
Sharon Strahm: Because
Laurie Payne: could
Sharon Strahm: if
Doris Sauceda: Use
Sharon Strahm: you
Laurie Payne: include
Sharon Strahm: lose
Doris Sauceda: a pen
Sharon Strahm: the
Doris Sauceda: You
Sharon Strahm: pen
Laurie Payne: a
Doris Sauceda: you
Laurie Payne: pen.
Doris Sauceda: c you
Sharon Strahm: uh
Doris Sauceda: can lose the pen.
Maria Rascon: Yeah but I
Sharon Strahm: if
Maria Rascon: think
Sharon Strahm: you lose the pen
Maria Rascon: people want
Sharon Strahm: uh
Maria Rascon: to
Sharon Strahm: you
Maria Rascon: use
Sharon Strahm: can't
Maria Rascon: a remote
Sharon Strahm: use
Maria Rascon: with with their
Doris Sauceda: Yeah
Maria Rascon: fingers
Doris Sauceda: the fingers,
Maria Rascon: because
Laurie Payne: Yeah
Maria Rascon: th
Laurie Payne: o
Maria Rascon: they're used
Doris Sauceda: yeah.
Laurie Payne: yeah,
Maria Rascon: to that and
Laurie Payne: if they think it's handy to use a pen. Yeah I think this uh this is a good size for the screen. I don't know how how large the actual remote should be but a little bit
Maria Rascon: And
Laurie Payne: like
Maria Rascon: maybe we
Laurie Payne: this,
Maria Rascon: have
Laurie Payne: or
Maria Rascon: to
Laurie Payne: something.
Maria Rascon: add a tissue to remove the grease from all the fingers,
Laurie Payne: Yeah.
Sharon Strahm: Yeah
Maria Rascon: huh.
Doris Sauceda: Yeah but that
Sharon Strahm: You
Doris Sauceda: that can
Sharon Strahm: can
Doris Sauceda: be
Sharon Strahm: do
Doris Sauceda: with
Sharon Strahm: whatever
Doris Sauceda: plain
Sharon Strahm: uh any uh
Doris Sauceda: soft tissue.
Sharon Strahm: cloth.
Doris Sauceda: Yeah, you
Maria Rascon: Okay
Doris Sauceda: can buy
Maria Rascon: well
Doris Sauceda: those
Maria Rascon: maybe,
Doris Sauceda: at
Maria Rascon: if I can interrupt you, maybe I should uh should show some points on which we uh should take a decision.
Sharon Strahm: Sure.
Maria Rascon: So we can discuss these points. those points um energy question mark. How how should we uh supply the thing with energy and how are we going to do it with separate docking station and then put in it. Uh chip on print and case. Those are points my uh coach advised Doris Sauceda to discuss here, but I hope you have ideas about them.
Laurie Payne: I think energy were batteries and then uh and uh
Sharon Strahm: The docking station.
Laurie Payne: Yeah.
Maria Rascon: Yeah. So that's the
Doris Sauceda: Maybe
Maria Rascon: the
Doris Sauceda: it's
Maria Rascon: the
Doris Sauceda: better
Maria Rascon: first
Doris Sauceda: to
Maria Rascon: point. We
Doris Sauceda: to
Maria Rascon: already
Doris Sauceda: include
Maria Rascon: decided that on
Sharon Strahm: W
Maria Rascon: the
Doris Sauceda: rechargeable
Maria Rascon: previous
Doris Sauceda: batteries
Maria Rascon: meeting.
Laurie Payne: Yeah.
Doris Sauceda: which you can recharge
Laurie Payne: Yeah.
Doris Sauceda: through the docking station.
Laurie Payne: Yeah.
Doris Sauceda: So
Maria Rascon: Mm-hmm.
Sharon Strahm: Yeah.
Doris Sauceda: if
Laurie Payne: Just
Doris Sauceda: the badg
Laurie Payne: like
Doris Sauceda: the
Laurie Payne: with
Doris Sauceda: batteries
Laurie Payne: the
Doris Sauceda: are
Laurie Payne: telephone.
Doris Sauceda: dead
Sharon Strahm: I kinda
Doris Sauceda: then you can
Sharon Strahm: like
Doris Sauceda: re
Sharon Strahm: your
Doris Sauceda: you can uh change them.
Sharon Strahm: Yeah you got some uh some of those uh uh wireless uh mice?
Doris Sauceda: Yeah
Sharon Strahm: Mouse.
Doris Sauceda: yeah
Sharon Strahm: Computer
Doris Sauceda: yeah
Sharon Strahm: mouse.
Doris Sauceda: like those.
Sharon Strahm: Kinda like those kind of batteries.
Doris Sauceda: Yep.
Laurie Payne: but it should be th I think normal batteries, not
Doris Sauceda: Yeah,
Laurie Payne: not
Doris Sauceda: normal
Laurie Payne: like two or
Doris Sauceda: plain you
Laurie Payne: two uh
Doris Sauceda: No normal plain batteries
Laurie Payne: Yeah.
Doris Sauceda: you can buy at the supermarket
Sharon Strahm: Yeah.
Doris Sauceda: or retail
Maria Rascon: Simple
Doris Sauceda: shop.
Maria Rascon: rechargeable
Doris Sauceda: Yeah.
Maria Rascon: uh
Laurie Payne: Yeah.
Maria Rascon: batteries.
Laurie Payne: Um what was with the chip on print?
Sharon Strahm: The chip on print? Um Uh you gotta f Yeah. I think so. Chip on print with a with a
Doris Sauceda: Print
Sharon Strahm: simple
Doris Sauceda: plate.
Sharon Strahm: uh a sim not a simple but a We also discussed that. Didn't we?
Maria Rascon: Yeah but how did this how does that with a L_C_D_ screen? You still have a print plate.
Sharon Strahm: Uh
Doris Sauceda: Yeah yeah yeah. You always have a print plate.
Sharon Strahm: Beg your pardon?
Doris Sauceda: You always have a print plate, right?
Sharon Strahm: Yeah sure,
Maria Rascon: Mm-hmm.
Sharon Strahm: of course, yeah.
Doris Sauceda: Always, so I dunno what w what we have to decide about that.
Maria Rascon: Yeah well it's a good question. It just was in there and I didn't
Sharon Strahm: Well
Maria Rascon: have
Sharon Strahm: uh
Maria Rascon: any
Sharon Strahm: chip
Maria Rascon: information
Sharon Strahm: on print,
Maria Rascon: about it,
Sharon Strahm: I
Maria Rascon: but
Sharon Strahm: think what they mean uh with the regular rubber buttons that you got, uh it's always clear for the remote control when you press uh a certain button.
Maria Rascon: Mm-hmm.
Sharon Strahm: But when you got a L_C_D_ screen,
Doris Sauceda: Yeah, okay.
Sharon Strahm: with no uh with not the buttons
Doris Sauceda: But
Sharon Strahm: are not always on the same place, for example if you enlarge a button, or if you got several
Laurie Payne: Yeah.
Sharon Strahm: options uh appearing on your screen, uh the co-ordinations aren't always the same. When you got a regular button, th the button of stand-by is always on the same
Doris Sauceda: Yeah
Sharon Strahm: place
Doris Sauceda: okay, but
Sharon Strahm: and you got on the
Doris Sauceda: the
Sharon Strahm: and on the
Doris Sauceda: p print plate of L_ L_C_D_ screen is more advanced than a normal
Sharon Strahm: Yeah.
Doris Sauceda: print plate, so that that's not of any discussion, I think.
Maria Rascon: Well you need some kind of C_P_U_, I guess.
Sharon Strahm: I suppose
Doris Sauceda: Mm,
Sharon Strahm: so.
Doris Sauceda: I don't I dunno I don't think that's
Sharon Strahm: It is a simple C_P_U_ but it doesn't
Doris Sauceda: Yeah yeah okay but I d I I don't know if nor o s it's
Sharon Strahm: Yeah
Doris Sauceda: quite
Sharon Strahm: because
Doris Sauceda: a simple
Sharon Strahm: it has
Doris Sauceda: L_C_D_.
Sharon Strahm: to uh b
Doris Sauceda: Yeah, it's quite a simple L_C_D_ screen. I think they don't need that big
Sharon Strahm: Yeah but
Doris Sauceda: of C_P_U_.
Sharon Strahm: it the the remote control has to know whether you're in a settings menu or just uh you just want to turn up the volume.
Doris Sauceda: Yeah, okay, true true. True.
Sharon Strahm: So it has to have some kind of a calculation unit or C_P_U_ to know uh in which state you are and uh which button you are pressing in at the right moment.
Maria Rascon: Mm-hmm. Because we're projecting projecting the buttons on the L_C_D_
Sharon Strahm: Yeah.
Maria Rascon: screen.
Sharon Strahm: And a touch screen makes it uh possible to uh to get the co-ordination of your finger
Maria Rascon: Yeah.
Sharon Strahm: on the screen. And the case, yeah we already discussed
Laurie Payne: It's
Sharon Strahm: the case,
Laurie Payne: rubber.
Sharon Strahm: we wanted to make it from rubber
Laurie Payne: Yeah
Sharon Strahm: and
Laurie Payne: but
Sharon Strahm: uh
Laurie Payne: but a hard rubber like this? Or softer rubber or
Sharon Strahm: Uh hard rubber I think.
Laurie Payne: Yeah.
Sharon Strahm: That's the easy to ha uh to to
Doris Sauceda: Yeah.
Sharon Strahm: uh
Laurie Payne: It bounces back from
Sharon Strahm: Yeah.
Laurie Payne: the floor where you
Sharon Strahm: Yeah
Doris Sauceda: We
Laurie Payne: throw
Sharon Strahm: sure,
Doris Sauceda: have different
Laurie Payne: it.
Sharon Strahm: look.
Doris Sauceda: colours.
Laurie Payne: Yeah yeah this
Doris Sauceda: So
Laurie Payne: in different
Doris Sauceda: the shapes
Sharon Strahm: D
Laurie Payne: colours?
Doris Sauceda: is something between the square shapes with round colo corners and a round shapes? No I don't think, I think it's more round than square.
Laurie Payne: Yeah it's a bit. But I think
Doris Sauceda: So it
Laurie Payne: it
Doris Sauceda: meets
Laurie Payne: should be a bit longer,
Doris Sauceda: I think
Laurie Payne: perhaps.
Doris Sauceda: it meets more the young people than the older people.
Laurie Payne: Yeah.
Maria Rascon: Yeah. But
Laurie Payne: I
Maria Rascon: that's
Laurie Payne: think
Maria Rascon: what
Laurie Payne: so
Maria Rascon: we want,
Laurie Payne: too.
Doris Sauceda: Yeah, that's our target.
Sharon Strahm: It's our main target.
Doris Sauceda: Yeah.
Laurie Payne: Yeah.
Maria Rascon: Mm-hmm.
Doris Sauceda: Lower than forty years, I think it
Sharon Strahm: Well
Doris Sauceda: was.
Sharon Strahm: and how about my idea uh of making it um with one single curve?
Doris Sauceda: Oh yeah that that
Sharon Strahm: So i
Doris Sauceda: I think I thought that
Laurie Payne: Yeah.
Doris Sauceda: was a quite good
Sharon Strahm: Because it's a gadget and you want
Doris Sauceda: Yeah.
Sharon Strahm: to show it off, of course.
Maria Rascon: Yeah yeah you have
Laurie Payne: Yeah.
Maria Rascon: a fancy design,
Sharon Strahm: Uh.
Maria Rascon: then, right away.
Doris Sauceda: You can
Maria Rascon: So
Doris Sauceda: put
Sharon Strahm: Because
Doris Sauceda: it
Sharon Strahm: it
Doris Sauceda: on your table with
Sharon Strahm: Yeah.
Doris Sauceda: the L_C_D_ screen, you don't have to put it get it in your hand, you can put it next to you and then
Sharon Strahm: Yeah.
Doris Sauceda: dive it in
Laurie Payne: Yeah, that's
Doris Sauceda: and.
Laurie Payne: a good idea.
Sharon Strahm: It's a lot easier.
Doris Sauceda: Yeah.
Laurie Payne: Yeah, alright.
Doris Sauceda: So
Sharon Strahm: So, so
Maria Rascon: Okay
Sharon Strahm: you got uh
Maria Rascon: so
Sharon Strahm: Did
Laurie Payne: And then
Sharon Strahm: you write that down? Uh got a single curved uh rubber f uh fancy coloured
Doris Sauceda: You can't
Sharon Strahm: remote
Doris Sauceda: you
Sharon Strahm: control.
Doris Sauceda: You can't oh, you c you can draw it on your paper and then load
Sharon Strahm: Yeah.
Doris Sauceda: it on the
Laurie Payne: Yeah, you can uh
Maria Rascon: Yeah
Laurie Payne: It's
Maria Rascon: but
Laurie Payne: pretty
Maria Rascon: I wrote it
Laurie Payne: easy
Maria Rascon: down.
Laurie Payne: but
Doris Sauceda: And load
Laurie Payne: And
Doris Sauceda: it on the the user the server.
Maria Rascon: What about the user interface, there are also some some questions uh about the concepts I think you have some ideas
Laurie Payne: Yeah,
Maria Rascon: on that.
Laurie Payne: I had what
Maria Rascon: You
Laurie Payne: I
Maria Rascon: you showed your
Laurie Payne: just
Maria Rascon: drawing.
Laurie Payne: uh I should again. I miss a few buttons, but. Well. At least uh what we should also have on, I just remembered, um a menu to go back through the first uh
Doris Sauceda: Mm-hmm.
Laurie Payne: if if you touch options,
Doris Sauceda: Yeah,
Laurie Payne: you
Doris Sauceda: you
Laurie Payne: can't
Doris Sauceda: have to go
Laurie Payne: go
Doris Sauceda: back.
Laurie Payne: back to this
Doris Sauceda: Yeah
Laurie Payne: uh
Doris Sauceda: uh uh.
Laurie Payne: right away now. This
Doris Sauceda: Isn't it better to have the sound and the general buttons horizontal?
Laurie Payne: I don't know.
Doris Sauceda: With the minus and the plus.
Laurie Payne: I think
Doris Sauceda: I
Laurie Payne: it's
Doris Sauceda: think it's easier
Laurie Payne: I don't
Doris Sauceda: than
Laurie Payne: know. I I thought it was uh easier to handle
Doris Sauceda: Yeah.
Laurie Payne: this way, but I don't know what they think.
Sharon Strahm: Sorry?
Laurie Payne: Would
Maria Rascon: Mm.
Laurie Payne: you like the the buttons horizontal or v vertical?
Doris Sauceda: For sound and
Sharon Strahm: Depends
Laurie Payne: Th
Doris Sauceda: channel.
Sharon Strahm: on the screen. If you make the screen vertical it doesn't matter. If you make it uh in a rectangle
Laurie Payne: Right
Doris Sauceda: Yeah.
Laurie Payne: well if we make it like this,
Sharon Strahm: I so
Laurie Payne: I
Sharon Strahm: it's
Laurie Payne: think
Sharon Strahm: it's
Laurie Payne: if you
Sharon Strahm: it's it's
Laurie Payne: put it like
Sharon Strahm: Square.
Laurie Payne: this
Doris Sauceda: I think it's it's easier to have it something like Oh a button uh minus here, plus over here. A minus here, plus over here.
Sharon Strahm: Oh, okay.
Doris Sauceda: And on here.
Laurie Payne: Yeah.
Doris Sauceda: The other buttons and on here the top. The options
Laurie Payne: Yeah. But I think
Doris Sauceda: and
Laurie Payne: I
Doris Sauceda: then
Laurie Payne: wou
Doris Sauceda: you have something like uh the P_ over here, and the sound.
Laurie Payne: I think
Doris Sauceda: Something
Laurie Payne: that's a
Doris Sauceda: uh
Laurie Payne: matter of what you're used to. I think I would put a plus and a min uh here. And then the P_ in the mid in the middle and the sound uh in the middle.
Sharon Strahm: Uh.
Doris Sauceda: Something like Sh
Sharon Strahm: Take your time.
Doris Sauceda: Plus minus plus uh
Laurie Payne: Almost.
Doris Sauceda: minus.
Laurie Payne: Yeah but I think when you are holding it, you could press the minus and the plus and with the other finger the minus and the plus.
Doris Sauceda: Yeah I think you're going to s you're going to use it with one thumb.
Laurie Payne: Yeah but I think Yeah I don't know. Perhaps
Sharon Strahm: W
Laurie Payne: I have some examples.
Sharon Strahm: We'll leave
Laurie Payne: I don't
Sharon Strahm: that
Laurie Payne: know
Sharon Strahm: to the usability engineering then.
Doris Sauceda: Who's the usability engineering?
Laurie Payne: That's Doris Sauceda.
Doris Sauceda: She is.
Laurie Payne: But I'm going to look if I've got some examples 'cause perhaps you should choose what's most
Doris Sauceda: Oh.
Laurie Payne: often used. The
Sharon Strahm: Yeah.
Doris Sauceda: Um
Laurie Payne: 'Cause they can use that better.
Sharon Strahm: Consistency.
Laurie Payne: Yeah.
Doris Sauceda: Oh I have that
Laurie Payne: I
Doris Sauceda: those s numbers.
Laurie Payne: Here is our here are uh
Doris Sauceda: Or a good watch.
Laurie Payne: I don't really know.
Doris Sauceda: B
Maria Rascon: Everybody's searching in his data.
Doris Sauceda: Channel
Laurie Payne: Yeah.
Doris Sauceda: selection. Per hour one hundred and sixty eight. Volume selection four times
Laurie Payne: Yeah
Doris Sauceda: an
Laurie Payne: but
Doris Sauceda: hour
Laurie Payne: But I mean if it's usually plus or min above each other or next to each other
Sharon Strahm: Yeah.
Laurie Payne: on a normal remote.
Doris Sauceda: Uh
Sharon Strahm: So not how much n not how often it's used, but
Laurie Payne: W what's
Doris Sauceda: Yeah,
Laurie Payne: what's
Doris Sauceda: that
Laurie Payne: usual
Doris Sauceda: depends
Laurie Payne: or normal.
Doris Sauceda: on on on
Laurie Payne: Yes
Doris Sauceda: the
Laurie Payne: I'm
Doris Sauceda: remote.
Laurie Payne: looking here. But here's it's
Sharon Strahm: Uh.
Laurie Payne: below, here also, and now here's here's next to each other. I think it's it's a
Doris Sauceda: I think because I have two televisions at home. One is horizontal, one is vertical, so it
Sharon Strahm: Yeah it does
Laurie Payne: Yeah.
Sharon Strahm: it
Doris Sauceda: depends.
Sharon Strahm: doesn't really matter, but
Doris Sauceda: Yeah. Depends.
Sharon Strahm: Uh.
Laurie Payne: I think the the the volume was usually uh above each other, because you go higher and
Doris Sauceda: Yeah,
Laurie Payne: down.
Doris Sauceda: lower.
Laurie Payne: And the the pay the the the program is next to each other, because you would go further and back.
Doris Sauceda: True.
Laurie Payne: That's how it's is usually when I look here
Sharon Strahm: Okay,
Laurie Payne: that's
Sharon Strahm: um.
Laurie Payne: what I see.
Sharon Strahm: Let's cut to the chase.
Doris Sauceda: It's got to change.
Maria Rascon: Yeah well I think we have we don't have to decide about that now how where we will put the buttons
Laurie Payne: I don't know.
Doris Sauceda: Yeah is it
Maria Rascon: just
Doris Sauceda: is
Maria Rascon: the
Doris Sauceda: user interface.
Laurie Payne: Yeah.
Maria Rascon: concepts.
Doris Sauceda: Component.
Laurie Payne: This concept is in the actual design, but you should know where you would place
Sharon Strahm: Okay,
Laurie Payne: a
Sharon Strahm: well le Yeah. Interface,
Laurie Payne: And the speech
Sharon Strahm: yeah.
Laurie Payne: uh shall we implement that? Or uh
Maria Rascon: Yeah well we just heard about the new uh
Doris Sauceda: Yeah
Maria Rascon: technology,
Doris Sauceda: I
Sharon Strahm: Technologies,
Doris Sauceda: think it's it's
Sharon Strahm: uh.
Maria Rascon: huh?
Doris Sauceda: easy for that, where are you, but then it says I'm
Sharon Strahm: Yeah.
Doris Sauceda: here.
Laurie Payne: Yeah.
Sharon Strahm: Makes it
Laurie Payne: But
Sharon Strahm: possible
Laurie Payne: then you
Sharon Strahm: to
Laurie Payne: should
Doris Sauceda: Yeah.
Laurie Payne: also find a place You could if you do it like this you could put it in a corner or something.
Sharon Strahm: Mm.
Laurie Payne: You can talk into the corner.
Doris Sauceda: Yeah, a microphone, yeah.
Laurie Payne: Yeah.
Sharon Strahm: Not even
Maria Rascon: Mm-hmm.
Sharon Strahm: necessary, because a lotta you can make a very sensitive microphone, so it makes it possible to uh just put it arou uh underneath it or on the on the bottom of the uh
Laurie Payne: Yeah.
Maria Rascon: Yeah
Sharon Strahm: remote.
Maria Rascon: maybe at the
Laurie Payne: But
Maria Rascon: bottom where you can can hel hold it
Laurie Payne: Yeah,
Maria Rascon: with
Laurie Payne: that's
Maria Rascon: you hand
Sharon Strahm: Yeah.
Laurie Payne: also.
Maria Rascon: that there's also a microphone uh
Sharon Strahm: Right.
Maria Rascon: over there.
Laurie Payne: So,
Sharon Strahm: But
Laurie Payne: in
Sharon Strahm: that's
Laurie Payne: the
Sharon Strahm: not
Laurie Payne: middle
Sharon Strahm: import
Laurie Payne: or something.
Sharon Strahm: I
Maria Rascon: Yeah,
Sharon Strahm: think
Maria Rascon: yeah.
Sharon Strahm: that's not im very important because yeah, it doesn't matter where the microphone is.
Laurie Payne: but you should uh decide where you want
Sharon Strahm: Ah
Laurie Payne: to
Sharon Strahm: okay,
Laurie Payne: put it.
Sharon Strahm: sure, okay,
Laurie Payne: Right?
Sharon Strahm: well tha
Doris Sauceda: Um I
Sharon Strahm: Underneath?
Doris Sauceda: think where it isn't seen the most.
Sharon Strahm: Indeed. It shouldn't be uh
Doris Sauceda: Inside.
Laurie Payne: You
Sharon Strahm: very
Laurie Payne: could p you
Sharon Strahm: uh
Laurie Payne: could
Sharon Strahm: visible.
Laurie Payne: put it in a logo of the company.
Maria Rascon: Yeah.
Sharon Strahm: Yeah sure,
Doris Sauceda: Yeah.
Maria Rascon: Well
Sharon Strahm: why
Maria Rascon: maybe
Sharon Strahm: no
Maria Rascon: just
Doris Sauceda: I i
Maria Rascon: in the
Doris Sauceda: between
Maria Rascon: the spot
Doris Sauceda: the
Maria Rascon: you just
Doris Sauceda: round of the R_.
Maria Rascon: pointed out
Laurie Payne: Yeah.
Doris Sauceda: Yeah.
Maria Rascon: because I think it should be in a in an important position where people can see it, because it is the the unique uh idea of our remote, huh, the the speech
Laurie Payne: Yeah.
Maria Rascon: control.
Doris Sauceda: Yeah,
Laurie Payne: So where
Doris Sauceda: okay.
Laurie Payne: do you want to put it?
Maria Rascon: Well maybe
Sharon Strahm: Yeah but it doesn't makes
Maria Rascon: where
Sharon Strahm: it uh
Maria Rascon: the one hand
Sharon Strahm: any more fancy because you get to see uh
Laurie Payne: Yeah actually it does
Doris Sauceda: Yeah.
Laurie Payne: because it you can you can find it better if you use it.
Doris Sauceda: Yeah bu but
Laurie Payne: It's a way for you to uh
Sharon Strahm: Uh.
Laurie Payne: So it makes more sense just 'cause other remotes don't have that.
Sharon Strahm: Yeah, okay.
Maria Rascon: But are we talking about the button, or about the microphone?
Laurie Payne: About a microphone,
Maria Rascon: Yeah
Laurie Payne: there
Maria Rascon: because
Laurie Payne: is no button.
Maria Rascon: a microphone is very small thing, but you can make it look like it's big
Laurie Payne: Yeah.
Maria Rascon: so as its its really an important function of the remote.
Doris Sauceda: I think the left s under corner should be the best. Where isn't i it isn't most in sight.
Laurie Payne: Yeah.
Sharon Strahm: Okay.
Doris Sauceda: I think.
Sharon Strahm: Well put it there. I don't mind. That doesn't doesn't really matter.
Doris Sauceda: No. Actually doesn't.
Sharon Strahm: Okay.
Laurie Payne: Alright.
Sharon Strahm: So?
Laurie Payne: Any more uh
Maria Rascon: So well uh type, supplements,
Sharon Strahm: Interface type.
Maria Rascon: anything. Yeah, well we already s discussed
Sharon Strahm: The L_C_D_
Maria Rascon: that, huh, the the
Sharon Strahm: yeah,
Maria Rascon: L_C_D_
Sharon Strahm: uh
Maria Rascon: and
Sharon Strahm: supplements
Laurie Payne: Yeah.
Sharon Strahm: well
Doris Sauceda: I
Sharon Strahm: the
Doris Sauceda: think
Sharon Strahm: supplement
Doris Sauceda: I
Sharon Strahm: is
Doris Sauceda: thought
Sharon Strahm: to yeah.
Doris Sauceda: the, like you said, like scroll next to the remote
Laurie Payne: Yeah.
Doris Sauceda: isn't that handy. I think it's better to just up what you'd like to do on the screen. If you want to go back you have to back button go back,
Laurie Payne: Yeah.
Doris Sauceda: if you want to choose audio settings you press audio settings and it goes to that s sub-menu.
Sharon Strahm: Hey,
Laurie Payne: Um yeah. Yeah the the young people do like
Sharon Strahm: Use
Laurie Payne: uh scroll
Sharon Strahm: the scroll.
Doris Sauceda: Yeah?
Laurie Payne: uh
Sharon Strahm: Yeah
Doris Sauceda: You do
Laurie Payne: yeah.
Doris Sauceda: like
Sharon Strahm: I think
Doris Sauceda: it?
Sharon Strahm: so too. So why not, on on side.
Laurie Payne: Or at least Yeah I don't know if it's really the scroll, but the menu they like most, and I think you can never get through a menu
Sharon Strahm: Fast,
Laurie Payne: great with a
Sharon Strahm: yeah.
Laurie Payne: scroll uh
Doris Sauceda: Yeah
Sharon Strahm: So
Doris Sauceda: I think
Sharon Strahm: if you've
Doris Sauceda: it
Sharon Strahm: got a
Doris Sauceda: is
Sharon Strahm: settings,
Doris Sauceda: is faster.
Sharon Strahm: if you
Doris Sauceda: Becau I think the scroll's easier if you have a lot of options,
Sharon Strahm: Yes.
Doris Sauceda: but if you don't have a lot
Laurie Payne: But you
Doris Sauceda: of
Laurie Payne: have
Doris Sauceda: option
Laurie Payne: it's
Doris Sauceda: then
Sharon Strahm: You
Laurie Payne: f uh
Sharon Strahm: have a lot of options,
Laurie Payne: we have
Sharon Strahm: because when
Laurie Payne: five
Sharon Strahm: you use
Laurie Payne: or
Sharon Strahm: Yeah
Laurie Payne: four
Sharon Strahm: you get
Laurie Payne: or
Sharon Strahm: w
Laurie Payne: something.
Sharon Strahm: when you
Doris Sauceda: Y
Sharon Strahm: use uh the settings menu for example to look up some uh uh some channels on your uh on your television,
Maria Rascon: Mm-hmm.
Sharon Strahm: you should scroll scroll down uh on a menu
Doris Sauceda: Uh-huh.
Sharon Strahm: which probably does not fit on your screen.
Doris Sauceda: Yeah, okay,
Laurie Payne: Yeah.
Doris Sauceda: true.
Sharon Strahm: So then it's uh very handy to to scroll down,
Doris Sauceda: Okay.
Sharon Strahm: you make just a rubber just like uh on your mouse or. Just put it on the side and it's very easy to use.
Doris Sauceda: Okay, no problem.
Maria Rascon: And I think I would it would make even more fancy because you have another interesting thing
Sharon Strahm: Yeah,
Maria Rascon: on the side which
Sharon Strahm: yeah.
Maria Rascon: you
Laurie Payne: Yeah.
Maria Rascon: can touch and
Laurie Payne: It's also different.
Maria Rascon: Yeah.
Sharon Strahm: Yeah.
Doris Sauceda: Okay.
Maria Rascon: Okay. Well there's our five minutes uh warning. Um any more uh questions about about the design or the user
Doris Sauceda: Um.
Maria Rascon: interface or different components, everyone?
Doris Sauceda: No, colours are clear, shape is
Maria Rascon: Everybody
Doris Sauceda: clear,
Maria Rascon: think they can
Doris Sauceda: material
Maria Rascon: can
Doris Sauceda: is clear.
Sharon Strahm: Okay, what's the standard colour?
Maria Rascon: work for that?
Doris Sauceda: And a standard, yeah
Maria Rascon: Is
Doris Sauceda: we
Maria Rascon: there
Doris Sauceda: don't
Maria Rascon: a standard colour?
Doris Sauceda: no we
Sharon Strahm: I
Doris Sauceda: have
Sharon Strahm: I
Doris Sauceda: different colour. How many colours
Sharon Strahm: You got
Doris Sauceda: are
Sharon Strahm: you
Doris Sauceda: we
Sharon Strahm: got
Doris Sauceda: going
Laurie Payne: You
Sharon Strahm: different
Laurie Payne: should
Doris Sauceda: to
Sharon Strahm: colours,
Laurie Payne: you should have
Sharon Strahm: but
Laurie Payne: a
Sharon Strahm: you
Laurie Payne: black
Sharon Strahm: should
Laurie Payne: one
Sharon Strahm: have a standard
Laurie Payne: because uh
Sharon Strahm: colour.
Laurie Payne: I think black
Doris Sauceda: Black.
Laurie Payne: is standard.
Doris Sauceda: Yeah, black I
Sharon Strahm: Black?
Doris Sauceda: think is is the standard.
Sharon Strahm: With the with the yellow
Laurie Payne: But if you
Sharon Strahm: uh
Laurie Payne: want to be different,
Doris Sauceda: Dark grey, something
Laurie Payne: then uh
Doris Sauceda: like this this colour or something.
Sharon Strahm: Just a regular uh
Doris Sauceda: Yeah
Sharon Strahm: remote
Doris Sauceda: like like
Sharon Strahm: colour.
Doris Sauceda: yeah.
Sharon Strahm: And then have
Doris Sauceda: Or
Sharon Strahm: uh
Doris Sauceda: or silver.
Sharon Strahm: different covers uh to
Doris Sauceda: I
Sharon Strahm: use.
Doris Sauceda: think it's better to have silver nowadays.
Sharon Strahm: Silver,
Laurie Payne: Silver.
Sharon Strahm: yeah.
Doris Sauceda: I think
Maria Rascon: Yeah.
Doris Sauceda: you see more silver
Sharon Strahm: You see a lot
Doris Sauceda: than
Sharon Strahm: of
Doris Sauceda: black.
Sharon Strahm: t uh
Maria Rascon: But
Sharon Strahm: silver
Maria Rascon: still silver
Sharon Strahm: televisions.
Maria Rascon: and black
Laurie Payne: Silver
Maria Rascon: are
Doris Sauceda: Yeah
Laurie Payne: rubber.
Maria Rascon: well
Doris Sauceda: the the
Maria Rascon: silver
Doris Sauceda: silver black
Maria Rascon: is
Doris Sauceda: are
Maria Rascon: new
Doris Sauceda: our main
Maria Rascon: but also
Doris Sauceda: colours.
Maria Rascon: traditional, so
Doris Sauceda: Yeah.
Maria Rascon: uh
Doris Sauceda: I think we have silver, black and between those is like I dunno s five colours between them or something.
Maria Rascon: Yeah w what about a yellow thing, I mean it
Sharon Strahm: Yeah y I
Doris Sauceda: Yeah
Sharon Strahm: think
Doris Sauceda: yeah yeah
Sharon Strahm: it's
Doris Sauceda: it'll be
Sharon Strahm: better
Doris Sauceda: a banana
Sharon Strahm: to
Doris Sauceda: yellow, we have.
Maria Rascon: could be ugly, but it's definitely fancy.
Doris Sauceda: R red.
Sharon Strahm: Yeah th yeah.
Laurie Payne: But
Sharon Strahm: That's right.
Laurie Payne: yeah.
Doris Sauceda: Green,
Sharon Strahm: But if you use
Doris Sauceda: wood,
Sharon Strahm: uh
Doris Sauceda: brown.
Sharon Strahm: silver,
Doris Sauceda: Yeah.
Sharon Strahm: uh rubber s silver rubber isn't fancy.
Doris Sauceda: True.
Sharon Strahm: When you use titanium, silver is fancy, but when
Laurie Payne: Yeah.
Sharon Strahm: you use silver rubber, it isn't fancy. Silver has to shine, and rubber doesn't shine.
Maria Rascon: Mm-hmm.
Sharon Strahm: Especially when it's made of soft rubber like this.
Laurie Payne: Yeah.
Sharon Strahm: You understand?
Doris Sauceda: Yeah, I understand.
Maria Rascon: Yeah I would think about colours like uh red, yellow,
Doris Sauceda: Yeah
Maria Rascon: green,
Sharon Strahm: Yeah.
Doris Sauceda: o
Maria Rascon: blue,
Doris Sauceda: of course.
Maria Rascon: just
Doris Sauceda: The fruity colours
Sharon Strahm: Fruity.
Maria Rascon: Yeah.
Laurie Payne: Just all kind
Doris Sauceda: and
Laurie Payne: of colour.
Doris Sauceda: the
Sharon Strahm: Fruity
Doris Sauceda: autumn colours,
Sharon Strahm: loops.
Doris Sauceda: like red and brown, dark red
Maria Rascon: Mm-hmm.
Doris Sauceda: and brown.
Maria Rascon: Maroon.
Laurie Payne: Yeah.
Maria Rascon: Yeah.
Sharon Strahm: Okay.
Maria Rascon: Okay, so
Laurie Payne: And and do we have to have a normal black one, or uh
Maria Rascon: Who's
Laurie Payne: Is it
Maria Rascon: pinging?
Doris Sauceda: No.
Maria Rascon: You are pingin Okay.
Sharon Strahm: You ping.
Maria Rascon: Okay, so uh that wraps it up? Everybody
Laurie Payne: Yeah.
Maria Rascon: knows uh what to do? Well
Sharon Strahm: Well
Maria Rascon: I
Sharon Strahm: not
Maria Rascon: wrote
Laurie Payne: Well
Sharon Strahm: what
Laurie Payne: I
Maria Rascon: it
Laurie Payne: don't
Sharon Strahm: to
Maria Rascon: down
Sharon Strahm: do.
Laurie Payne: know
Maria Rascon: here.
Laurie Payne: what to do,
Maria Rascon: I
Laurie Payne: but.
Maria Rascon: wrote
Sharon Strahm: Not what
Maria Rascon: it down here
Sharon Strahm: to
Maria Rascon: what to do um.
Sharon Strahm: do. Look.
Maria Rascon: The next meeting is once again in thirty minutes.
Sharon Strahm: Okay.
Maria Rascon: Um here are the individual actions, and especially notice that uh the Industrial
Laurie Payne: Ooh.
Maria Rascon: Designer and Laurie Payne are going to work together
Laurie Payne: Right.
Maria Rascon: on a prototype drawing on
Doris Sauceda: S
Maria Rascon: a smart board,
Laurie Payne: Yeah.
Maria Rascon: and of course
Doris Sauceda: tough.
Maria Rascon: to all four of us uh specific instructions
Doris Sauceda: We'll be
Maria Rascon: will
Doris Sauceda: available.
Maria Rascon: be emailed by
Laurie Payne: But
Maria Rascon: our
Laurie Payne: do
Maria Rascon: personal
Laurie Payne: we have
Maria Rascon: coach.
Laurie Payne: to We'll work together, but do we have to stay here, or do we
Maria Rascon: Well I I'd say just wait uh for
Laurie Payne: Right.
Maria Rascon: email and uh find out.
Laurie Payne: Yes.
Maria Rascon: I don't know.
Laurie Payne: Okay.
Sharon Strahm: Thin I think we should work.
Maria Rascon: Okay well that was what I had to say,
Laurie Payne: Yeah I
Maria Rascon: uh,
Laurie Payne: think.
Maria Rascon: final thoughts from anyone, or?
Laurie Payne: No.
Doris Sauceda: No.
Maria Rascon: We're finished. Okay, well thank you very much.
Laurie Payne: Yeah.
Doris Sauceda: Finished.
Sharon Strahm: Thank you very much.
Laurie Payne: So we have to keep talking English now? | After Maria Rascon opened the meeting, Sharon Strahm discussed his preference for making a remote which is single-curved, made of rubber, contains an LCD, has a docking station to recharge the batteries, and uses a simple chip. Laurie Payne discussed how speech recognition could be useful to users who often lose their remotes, the layout of the interface, and the option to include a scroll device on the side of the remote to access a menu containing extra features. Doris Sauceda discussed the results of trend-watching reports and his preference for a banana-like remote for younger people and a traditional remote for older people. The trend-watching reports indicated that products should be fancy, innovative, easy to use, in fruity colors, in soft and spongy materials, and in hard materials in autumn colors with square shapes with round edges if appealing to elderly people. The team discussed case shapes, color options, types of rubber, and dimensions. The team then made decisions regarding energy sources, components, and the remote interface. | 4 | amisum | train |
Dessie Hamrick: Mm uh.
Patricia Slater: We're
Dessie Hamrick: Mm.
Patricia Slater: the first.
Dessie Hamrick: We're first.
Patricia Slater: Marketing Expert yes,
Beatrice Petko: Mm.
Beatrice Petko: So you found your spots.
Patricia Slater: Yes.
Dessie Hamrick: Move
Patricia Slater: Bling
Dessie Hamrick: to the
Patricia Slater: bling.
Dessie Hamrick: meeting room.
Patricia Slater: Yeah.
Dessie Hamrick: Okay.
Patricia Slater: Right.
Beatrice Petko: Okay.
Patricia Slater: Uh where has my screen gone?
Nicole Irizarry: Hi.
Dessie Hamrick: Hello, good day.
Nicole Irizarry: Oh yeah,
Patricia Slater: Hmm.
Nicole Irizarry: we have to talk in, huh.
Dessie Hamrick: Yep.
Patricia Slater: Yeah. My screen is gone. Oh.
Beatrice Petko: It's called black.
Dessie Hamrick: Kick-off meeting, wow.
Nicole Irizarry: I'm
Dessie Hamrick: It's uh
Nicole Irizarry: afraid
Dessie Hamrick: looks
Nicole Irizarry: I'm a
Dessie Hamrick: uh
Nicole Irizarry: bit
Dessie Hamrick: nice.
Nicole Irizarry: slow for this stuff uh.
Dessie Hamrick: Hmm?
Beatrice Petko: Okay.
Nicole Irizarry: I'm afraid I'm a bit too slow. I don't know how much preparation you guys
Dessie Hamrick: Yeah.
Nicole Irizarry: did, but not
Patricia Slater: Yeah.
Nicole Irizarry: a lot.
Dessie Hamrick: No, it's it was uh
Beatrice Petko: You
Dessie Hamrick: not enough.
Beatrice Petko: see this beautiful presentation.
Patricia Slater: Yeah. Very
Beatrice Petko: Okay
Patricia Slater: nice.
Beatrice Petko: let's get started.
Patricia Slater: Yeah.
Beatrice Petko: Uh I sort of prepared this. Uh opening acquaintance, tool training, uh how to use the things here.
Patricia Slater: Mm.
Beatrice Petko: Uh project plan discussion, and yeah then the rest of the meeting.
Nicole Irizarry: Mm-hmm.
Beatrice Petko: Um we're supposed to develop a new remote control, that's both original, trendy and user-friendly. So, hope you have good ideas. I don't.
Dessie Hamrick: I did my best.
Nicole Irizarry: Not
Beatrice Petko: we're
Nicole Irizarry: yet.
Beatrice Petko: work we're working uh from top to bottom. Uh functional design, then we do some in individual work, then we have a meeting to discuss the results, etcetera etcetera. And at the end of the day we should have a prototype drawn up. Uh we have available the smart board and the whiteboard. Um uh we should take some practice. I have some instructions now to do that.
Patricia Slater: Yeah.
Beatrice Petko: Uh well you know how to the documents work. So Uh this for toolbar. You see it next. Um we have a pen. And we can use this pen to perform.
Nicole Irizarry: Operations.
Beatrice Petko: Yes. So It doesn't always work. Yes.
Patricia Slater: Yeah.
Beatrice Petko: Okay so you can draw.
Patricia Slater: Draw.
Beatrice Petko: Okay
Patricia Slater: Alright.
Beatrice Petko: and in the format menu you can select colour and line width, etcetera etcetera.
Patricia Slater: 'Kay.
Beatrice Petko: Okay? Uh Okay. Each of you can uh take some practice and you should draw an animal. Uh you should explain Uh with different colours and with different pen widths. And you should explain why you draw that particular animal. So, Julian.
Dessie Hamrick: Okay.
Patricia Slater: Don't take up too much space.
Dessie Hamrick: Um yeah.
Nicole Irizarry: Different pen widths, how do you do that?
Beatrice Petko: Uh with the format menu.
Nicole Irizarry: Oh okay.
Beatrice Petko: And use different colours etcetera.
Nicole Irizarry: Are
Beatrice Petko: And
Nicole Irizarry: you serious?
Beatrice Petko: what's that supposed to be?
Dessie Hamrick: It's a
Patricia Slater: Should it
Dessie Hamrick: giraffe.
Patricia Slater: be one
Dessie Hamrick: Yeah.
Beatrice Petko: Oh yeah. Oh yeah four legs.
Dessie Hamrick: Okay.
Beatrice Petko: Uh-huh.
Patricia Slater: Giraffe's yellow.
Dessie Hamrick: Uh it needs some uh some yellow uh Oh format.
Patricia Slater: Can you use one blank sheet per drawing? Or
Beatrice Petko: Yeah.
Patricia Slater: y you must save it at the end and then
Beatrice Petko: Yeah you can press the next button, which is uh yeah.
Dessie Hamrick: That's some spots.
Beatrice Petko: I'll show
Nicole Irizarry: I
Beatrice Petko: you.
Nicole Irizarry: in the file option menu.
Beatrice Petko: Yeah. In file menu.
Patricia Slater: Okay, then m make a new one.
Nicole Irizarry: How much time do we have to draw anyway? 'Cause I can
Beatrice Petko: Yeah.
Nicole Irizarry: take forever on this.
Dessie Hamrick: Okay. Do I have to explain uh why I chose this uh this animal?
Beatrice Petko: Yeah.
Dessie Hamrick: I think it's a it's a great animal.
Beatrice Petko: What is it?
Dessie Hamrick: It's a it's a giraffe.
Beatrice Petko: A giraffe okay.
Dessie Hamrick: Yeah,
Beatrice Petko: Yeah
Dessie Hamrick: that's
Beatrice Petko: I see
Dessie Hamrick: a
Beatrice Petko: a long neck but
Patricia Slater: It's more like a dinosaur.
Dessie Hamrick: Um Okay I'll will give it an uh an eye.
Beatrice Petko: Okay.
Patricia Slater: Uh.
Beatrice Petko: That's nice of you.
Dessie Hamrick: Hey. Come on.
Patricia Slater: Some leaf to eat.
Beatrice Petko: Okay. Yeah pretty good. Uh could you press the next uh
Dessie Hamrick: The next? Yes.
Beatrice Petko: Okay. Then
Patricia Slater: Yeah.
Beatrice Petko: uh.
Dessie Hamrick: Here you go.
Patricia Slater: Thanks.
Dessie Hamrick: Hmm.
Patricia Slater: Yeah.
Nicole Irizarry: Is this part of our a acquai or introduction
Beatrice Petko: Yeah
Nicole Irizarry: to each
Beatrice Petko: sorry,
Nicole Irizarry: other?
Beatrice Petko: introduction
Patricia Slater: Uh
Beatrice Petko: and get acquainted and
Nicole Irizarry: Alright.
Beatrice Petko: That's the idea, so
Nicole Irizarry: Uh. Your line broke.
Patricia Slater: Yeah. Alright. It's
Beatrice Petko: Yeah
Patricia Slater: not
Beatrice Petko: it's
Patricia Slater: that
Beatrice Petko: a bit
Patricia Slater: fast.
Beatrice Petko: slow, so
Patricia Slater: Yeah.
Beatrice Petko: Yeah.
Patricia Slater: I see. It misses the spot.
Beatrice Petko: pressure.
Nicole Irizarry: I'm guessing a turtle. No. I'm kidding.
Patricia Slater: I say good guess. Uh
Beatrice Petko: Why a turtle?
Nicole Irizarry: Because of its shell.
Patricia Slater: Because it's slow.
Beatrice Petko: It's
Dessie Hamrick: 'Cause
Beatrice Petko: slow.
Dessie Hamrick: it's so 'cause it's
Beatrice Petko: You
Dessie Hamrick: green.
Beatrice Petko: were slow too so
Patricia Slater: Yeah I was a bit slow too.
Nicole Irizarry: Dude you're
Patricia Slater: So
Nicole Irizarry: a good drawer.
Patricia Slater: Uh some other line uh width uh
Nicole Irizarry: Do you have a turtle pet?
Patricia Slater: No.
Nicole Irizarry: Uh okay.
Patricia Slater: I dunno. Does it have legs?
Nicole Irizarry: Yeah yeah
Beatrice Petko: Yeah
Nicole Irizarry: yeah.
Beatrice Petko: sure.
Patricia Slater: Yeah?
Beatrice Petko: Yeah not exactly legs but
Nicole Irizarry: Stumpy
Beatrice Petko: More
Nicole Irizarry: stuff.
Beatrice Petko: like fins or
Patricia Slater: It's more like a tank. Yeah that's fins but I don't
Nicole Irizarry: They
Patricia Slater: know
Nicole Irizarry: kind
Patricia Slater: where.
Nicole Irizarry: of l look like mole legs. With sharp nails
Beatrice Petko: Yeah.
Nicole Irizarry: on.
Patricia Slater: Some spots. Ah some eye.
Beatrice Petko: Yeah it's l looks
Patricia Slater: Yeah
Beatrice Petko: very friendly.
Patricia Slater: that's a fr friendly turtle I guess. Yeah well I think it's uh fair enough.
Beatrice Petko: Yeah okay.
Nicole Irizarry: A little tail maybe.
Patricia Slater: Right. I don't know what the position is. Does it have ears?
Nicole Irizarry: Uh no.
Beatrice Petko: No.
Patricia Slater: No.
Dessie Hamrick: No.
Patricia Slater: Oh okay.
Nicole Irizarry: The little holes
Patricia Slater: Can you
Nicole Irizarry: maybe.
Patricia Slater: erase ears or
Beatrice Petko: Yeah yeah yeah.
Patricia Slater: Yeah?
Beatrice Petko: There's a a gum,
Patricia Slater: Alright.
Beatrice Petko: gum
Patricia Slater: Eraser.
Beatrice Petko: to.
Nicole Irizarry: And
Patricia Slater: So
Nicole Irizarry: why did you choose this animal?
Beatrice Petko: He
Patricia Slater: I
Beatrice Petko: said
Patricia Slater: dunno.
Beatrice Petko: it was slow.
Patricia Slater: I it just came into my mind. So
Nicole Irizarry: Alright.
Patricia Slater: there's no particular reason I pen.
Beatrice Petko: I like it.
Patricia Slater: Yeah. Well I'm guess I'm done.
Beatrice Petko: Okay.
Patricia Slater: That's my turtle.
Beatrice Petko: Your turn
Nicole Irizarry: Alright.
Beatrice Petko: Niels.
Patricia Slater: How to select the next or
Beatrice Petko: The next
Patricia Slater: here.
Beatrice Petko: yeah.
Patricia Slater: Yeah. Here you go.
Beatrice Petko: Makes new
Nicole Irizarry: Colours
Beatrice Petko: paper.
Nicole Irizarry: were under format right?
Beatrice Petko: Yeah.
Nicole Irizarry: Let's see.
Beatrice Petko: Orange.
Nicole Irizarry: How am I gonna do this? Um
Nicole Irizarry: Mm uh.
Dessie Hamrick: A rabbit I
Beatrice Petko: Kangaroo.
Dessie Hamrick: think. Kangaroo.
Nicole Irizarry: Not quite actually.
Dessie Hamrick: Fox.
Patricia Slater: A fox yeah. Firefox.
Beatrice Petko: Dog.
Nicole Irizarry: No.
Beatrice Petko: Cat.
Nicole Irizarry: Aye.
Beatrice Petko: It's a cat.
Nicole Irizarry: It's a cat.
Dessie Hamrick: Mm.
Nicole Irizarry: Not
Patricia Slater: A cat
Nicole Irizarry: quite
Patricia Slater: who
Nicole Irizarry: yet
Patricia Slater: had an
Nicole Irizarry: through.
Patricia Slater: accident or
Beatrice Petko: Why a cat?
Nicole Irizarry: Uh yeah I dunno. They're my favourite pets.
Beatrice Petko: You have some uh?
Nicole Irizarry: Uh I have colour already. Yeah I'm not so good at drawing with this kind of st Oh shit. Um
Beatrice Petko: The pen, yeah.
Nicole Irizarry: Excuse my language.
Beatrice Petko: Sure.
Nicole Irizarry: I don't know how to draw its face. But you get the idea. It's
Beatrice Petko: Yeah.
Nicole Irizarry: a cat. It's
Beatrice Petko: Alright.
Nicole Irizarry: my favourite uh pet animal, 'cause they're cute, they're independent and cuddly, I dunno.
Beatrice Petko: Okay.
Nicole Irizarry: That's it. Or do I
Beatrice Petko: Yeah.
Nicole Irizarry: need to use more colours and
Beatrice Petko: I think it's okay.
Nicole Irizarry: Alright.
Beatrice Petko: You get idea
Nicole Irizarry: Yeah.
Beatrice Petko: right? Okay um we have a financial aspect to this project. Um we can sell them at twenty five Euros. Uh the aim is to reach uh uh to sell as much as fifty million Euros. Uh that's quite a big amount of money. And the production cost should be the half of the selling price.
Nicole Irizarry: So we have
Beatrice Petko: Okay
Nicole Irizarry: to s
Beatrice Petko: now it's time for some discussion.
Dessie Hamrick: Okay.
Beatrice Petko: Uh
Dessie Hamrick: What uh what uh do you want to discuss?
Nicole Irizarry: Yeah.
Beatrice Petko: Yeah. We should get started.
Patricia Slater: Yeah.
Dessie Hamrick: Yep.
Beatrice Petko: Uh I'm taking notes.
Patricia Slater: Okay. Great.
Beatrice Petko: Um we each have a specific task, as I saw in my mail.
Nicole Irizarry: Mm-hmm.
Beatrice Petko: I
Patricia Slater: Yeah.
Beatrice Petko: didn't know if you received the same mail. Yeah?
Patricia Slater: Yeah.
Nicole Irizarry: I guess so.
Beatrice Petko: Okay
Nicole Irizarry: Yeah.
Beatrice Petko: so the um uh this industrati Industrial Designer should produce a working design. Am I correct?
Nicole Irizarry: True.
Beatrice Petko: Okay. Uh Dessie Hamrick should specify the technical functions. Right?
Dessie Hamrick: Yep.
Beatrice Petko: Yeah? And the Marketing uh Expert should come up with user requirements.
Patricia Slater: Yeah.
Beatrice Petko: Uh did any of you already do some work on this part or
Nicole Irizarry: Well I started making an overview for myself, um what I had to do, 'cause we have three design steps and in every step I have
Beatrice Petko: Mm-hmm.
Nicole Irizarry: a s specific task to perform or whatever.
Beatrice Petko: Mm-hmm.
Nicole Irizarry: So I had to uh, I dunno, make an overview for myself about
Beatrice Petko: Mm-hmm.
Nicole Irizarry: what I have to do, and kind of let it work in to get ideas about
Beatrice Petko: Mm-hmm. And
Nicole Irizarry: well how
Beatrice Petko: do you
Nicole Irizarry: I
Beatrice Petko: have
Nicole Irizarry: have to fill
Beatrice Petko: any
Nicole Irizarry: it.
Beatrice Petko: ideas about the product
Nicole Irizarry: Well I started
Beatrice Petko: uh so far?
Nicole Irizarry: I started with the first phase, I think was the functional.
Beatrice Petko: Mm-hmm.
Nicole Irizarry: And uh let's see I had to focus on the working design, which
Beatrice Petko: Mm-hmm.
Nicole Irizarry: you said. How does the apparatus work? And well I basically had two points. Uh according to the coffee uh machine example,
Patricia Slater: Yeah.
Beatrice Petko: Yeah.
Nicole Irizarry: I have batteries to supply energy, and we ye use button presses to activate or deactivate certain functions on
Beatrice Petko: Mm-hmm.
Nicole Irizarry: the T_V_.
Beatrice Petko: Okay.
Nicole Irizarry: And that's basically all I have so far.
Beatrice Petko: Yeah I got another point. It uses infrared light
Dessie Hamrick: Yeah.
Beatrice Petko: to communicate
Dessie Hamrick: Wireless
Patricia Slater: Yeah.
Beatrice Petko: the
Dessie Hamrick: uh
Beatrice Petko: signal
Dessie Hamrick: huh.
Beatrice Petko: to
Patricia Slater: Yeah.
Beatrice Petko: the
Nicole Irizarry: Alright.
Beatrice Petko: T_V_ apparatus or stereo.
Nicole Irizarry: Yeah.
Patricia Slater: So that's very common.
Dessie Hamrick: Uh it's uh some buttons for for the on off function. You d you already told that. And for the changing up to the to all the channels and changing the volume. That
Nicole Irizarry: Yeah.
Dessie Hamrick: are the the basic options for a remote control.
Nicole Irizarry: Yeah I kept it global 'cause that it activates or deactivates specific functions, 'cause
Dessie Hamrick: Okay,
Nicole Irizarry: I wasn't
Dessie Hamrick: yeah.
Nicole Irizarry: thinking yet about that. I mean, you wanna ch ch flip
Dessie Hamrick: Yeah.
Nicole Irizarry: the channel but you might wanna use teletext also.
Dessie Hamrick: Yep.
Patricia Slater: Yeah.
Nicole Irizarry: I dunno what the word is in English. Uh
Beatrice Petko: Same I believe.
Patricia Slater: Yeah.
Beatrice Petko: Uh and what did Patricia Slater do?
Patricia Slater: Uh well from a marketing uh perspective, um well the function des design phase uh consists out of the user requirements.
Beatrice Petko: Mm-hmm.
Patricia Slater: Um what needs and desires are to be fulfilled? So there are a few means to reach that um by by doing research
Beatrice Petko: Mm-hmm.
Patricia Slater: uh to see what existing products are there out in the market. I mean, what functions do they
Beatrice Petko: Mm.
Patricia Slater: have. Um especially what are their shortcomings? Are there any
Beatrice Petko: Mm-hmm.
Patricia Slater: new functions uh which can be added to our
Beatrice Petko: Mm-hmm.
Patricia Slater: product? Um therefore we have to to do some internet search.
Beatrice Petko: Yep.
Patricia Slater: For example for um well what kind of applications do current remote controls support, and what are f featur features of uh current and future televisions?
Beatrice Petko: Yes.
Patricia Slater: So we can see uh what needs to be supported. Um and we can interview current users and future users. What w what would
Beatrice Petko: Okay.
Patricia Slater: they like to see uh on a new remote control?
Beatrice Petko: Okay.
Patricia Slater: Um especially for future users, uh I'm thinking of early adopters, because they they use new technology first,
Beatrice Petko: Mm-hmm.
Patricia Slater: and they play with a lot of tools and stuff so maybe they have some good ideas to uh
Beatrice Petko: Okay.
Patricia Slater: to add.
Beatrice Petko: And you can get that information?
Patricia Slater: I think I can get that information, yeah.
Beatrice Petko: Okay. That
Patricia Slater: So
Beatrice Petko: would be very handy.
Patricia Slater: yeah.
Beatrice Petko: Um but have you any idea so far as what uh the user requirements are?
Patricia Slater: No n not specifically. More
Beatrice Petko: No?
Patricia Slater: to how to get them and
Beatrice Petko: No
Dessie Hamrick: I
Beatrice Petko: okay.
Dessie Hamrick: got some uh requirements it has
Beatrice Petko: Yeah?
Patricia Slater: Yeah?
Dessie Hamrick: uh it has to be user-friendly.
Patricia Slater: Yeah.
Nicole Irizarry: Yeah.
Beatrice Petko: Of course.
Nicole Irizarry: Obviously.
Dessie Hamrick: Uh really easy to use buttons, not not uh very small buttons, but not the the also the big big buttons, but just normal buttons. It has to be a small unit. It has to be uh yeah, you can take it with you uh everywhere in in your house. So it has n has not to be l yeah, gigantic uh
Beatrice Petko: Big,
Dessie Hamrick: machine.
Beatrice Petko: mm-hmm.
Patricia Slater: Yeah.
Dessie Hamrick: Uh and a and a good uh zapping range.
Beatrice Petko: Uh what do you mean by that?
Patricia Slater: Yeah.
Dessie Hamrick: Uh the distance uh from your television to your uh remote control has to be, uh yeah um yeah, quite a big distance.
Patricia Slater: Yeah.
Dessie Hamrick: It has to be capable for zapping uh
Patricia Slater: From the other end of the
Dessie Hamrick: Yeah.
Patricia Slater: room or something? Yeah.
Beatrice Petko: Okay um Well I don't think I have anything more to add at the moment. Um I think the best is to go to work.
Nicole Irizarry: Whoa. Is that you or
Beatrice Petko: Yeah.
Nicole Irizarry: alright.
Beatrice Petko: Okay.
Patricia Slater: Any more points to discuss?
Beatrice Petko: Yeah. I think we can go ahead with what we have. I will summarise the things we discussed and put it in the project folder. Uh the use of Nicole Irizarry can work on the working design, etcetera etcetera. And it seems you get more information by email.
Patricia Slater: Alright.
Beatrice Petko: So
Nicole Irizarry: Alright.
Dessie Hamrick: Okay.
Beatrice Petko: that was it for Patricia Slater.
Patricia Slater: 'Kay. Thanks.
Beatrice Petko: Uh
Dessie Hamrick: Are you going to put the the notes on the
Beatrice Petko: Yeah,
Patricia Slater: Yeah.
Beatrice Petko: in the project
Patricia Slater: The pro
Beatrice Petko: folder.
Patricia Slater: okay.
Dessie Hamrick: Okay.
Beatrice Petko: Yeah.
Nicole Irizarry: Alright.
Beatrice Petko: I'm writing very fast.
Dessie Hamrick: Yeah.
Patricia Slater: Yeah. Okay.
Beatrice Petko: Hope it's readable.
Patricia Slater: Uh.
Dessie Hamrick: Yep.
Beatrice Petko: Okay
Patricia Slater: I guess
Beatrice Petko: um
Patricia Slater: so.
Beatrice Petko: anything more you want to add to the discussion?
Nicole Irizarry: Well no I'm just a bit wondering what we're gonna do the next uh
Dessie Hamrick: Yeah. Do we only have
Nicole Irizarry: session?
Dessie Hamrick: to to do uh phase one, the functional design uh?
Beatrice Petko: Yeah. Because then we have a
Dessie Hamrick: After that we are going to the conceptual uh
Beatrice Petko: Yeah.
Patricia Slater: Yeah. We're just
Beatrice Petko: Y
Patricia Slater: working
Beatrice Petko: you
Patricia Slater: the three
Beatrice Petko: do some
Patricia Slater: phases.
Beatrice Petko: individual work, we have meeting, individual work, meeting. And at the end of the day we have a final meeting. And then I have to prepare uh I have to defend our design, so make it good.
Nicole Irizarry: Yeah
Patricia Slater: Okay.
Nicole Irizarry: okay. We'll do our
Dessie Hamrick: Okay.
Nicole Irizarry: best.
Beatrice Petko: I
Patricia Slater: Better
Beatrice Petko: depend
Patricia Slater: make it
Beatrice Petko: on you.
Nicole Irizarry: I am gonna work on the conceptual design already 'cause
Beatrice Petko: Yeah?
Nicole Irizarry: yeah it's
Beatrice Petko: If
Nicole Irizarry: fairly
Beatrice Petko: you can mix
Nicole Irizarry: important
Beatrice Petko: it it's okay.
Nicole Irizarry: to know what kind of components we want
Beatrice Petko: Mm-hmm.
Nicole Irizarry: to put in.
Beatrice Petko: Yeah.
Nicole Irizarry: Do we I mean, is it gonna be a multimedia control centre? Do we want to be able to use the video recorder
Patricia Slater: Yeah.
Nicole Irizarry: with it?
Beatrice Petko: Yeah.
Patricia Slater: That is my question also because like
Beatrice Petko: Well
Patricia Slater: new
Beatrice Petko: I
Patricia Slater: new
Beatrice Petko: think
Patricia Slater: functions
Beatrice Petko: that is the user
Patricia Slater: Requirements.
Beatrice Petko: requirements part.
Patricia Slater: Yeah.
Beatrice Petko: As to what
Nicole Irizarry: Yeah.
Beatrice Petko: they want.
Nicole Irizarry: True.
Beatrice Petko: Uh do they want all those functions on
Patricia Slater: Yeah.
Beatrice Petko: that small
Nicole Irizarry: But but we
Patricia Slater: Unit.
Nicole Irizarry: need good communication
Beatrice Petko: Yeah.
Nicole Irizarry: about this stuff, 'cause I have to f put the components into the design.
Patricia Slater: Yeah.
Beatrice Petko: Mm-hmm.
Dessie Hamrick: I would
Nicole Irizarry: So
Dessie Hamrick: first
Nicole Irizarry: if
Dessie Hamrick: m
Nicole Irizarry: I don't know what
Patricia Slater: Yeah
Nicole Irizarry: components
Patricia Slater: well
Nicole Irizarry: to put in,
Patricia Slater: I I was
Beatrice Petko: Yeah
Nicole Irizarry: it's kind
Dessie Hamrick: Yeah.
Nicole Irizarry: of
Beatrice Petko: I
Nicole Irizarry: hard.
Beatrice Petko: understand.
Dessie Hamrick: I I think we have first to start with the basic functions
Patricia Slater: Yeah
Dessie Hamrick: and we can uh
Patricia Slater: well
Beatrice Petko: You
Dessie Hamrick: expand
Beatrice Petko: can
Patricia Slater: like
Beatrice Petko: always
Patricia Slater: l
Dessie Hamrick: them.
Beatrice Petko: add
Patricia Slater: li
Beatrice Petko: a
Patricia Slater: like
Beatrice Petko: few
Patricia Slater: some
Dessie Hamrick: Yeah.
Patricia Slater: like some some remotes who are out there, which I know, there's one button which is very easy to switch between devices.
Beatrice Petko: Yeah.
Patricia Slater: So you can switch to your video and
Beatrice Petko: Hmm,
Patricia Slater: then
Beatrice Petko: the
Patricia Slater: the same
Beatrice Petko: C_D_
Patricia Slater: buttons
Beatrice Petko: player.
Patricia Slater: control your video.
Beatrice Petko: Yeah.
Dessie Hamrick: Yeah.
Patricia Slater: And another function I'll think of switch to your media centre, because that's getting very popular.
Nicole Irizarry: Yeah
Patricia Slater: And
Nicole Irizarry: so
Patricia Slater: then use your Windows media centre under your T_V_ with the same remote control.
Beatrice Petko: Yeah.
Patricia Slater: So
Nicole Irizarry: Okay.
Patricia Slater: with the switch, one single switch
Nicole Irizarry: Yeah
Beatrice Petko: Okay.
Nicole Irizarry: I I know what you mean, but you'll ne need several other buttons for a video
Patricia Slater: S
Nicole Irizarry: player. You need a play
Beatrice Petko: Mm-hmm.
Nicole Irizarry: and a forw fast forward and a stop
Patricia Slater: Yeah
Nicole Irizarry: function.
Patricia Slater: records
Nicole Irizarry: And
Patricia Slater: and
Beatrice Petko: Okay.
Nicole Irizarry: you
Patricia Slater: stuff
Nicole Irizarry: you
Patricia Slater: like
Nicole Irizarry: don't
Patricia Slater: that.
Nicole Irizarry: need that for a T_V_.
Patricia Slater: No.
Nicole Irizarry: And and for a t uh teletext
Beatrice Petko: You need additional
Nicole Irizarry: you need
Beatrice Petko: yeah.
Dessie Hamrick: Yeah.
Nicole Irizarry: additional buttons as well, so
Patricia Slater: Yeah.
Beatrice Petko: Yeah.
Nicole Irizarry: I kind of need
Beatrice Petko: Uh
Nicole Irizarry: to know what we uh need.
Patricia Slater: Yeah.
Nicole Irizarry: Whatever, I'll just put my ideas in uh
Beatrice Petko: Yeah.
Nicole Irizarry: in here and then we can
Patricia Slater: In
Nicole Irizarry: discuss
Patricia Slater: the project
Nicole Irizarry: it
Patricia Slater: uh
Nicole Irizarry: with the next uh
Patricia Slater: Yeah.
Beatrice Petko: Yeah. We could just start with the assumption
Nicole Irizarry: meeting.
Beatrice Petko: that's only for T_V_ and video. And um reserve the possibility to add
Nicole Irizarry: Okay.
Beatrice Petko: other features. So
Nicole Irizarry: Okay.
Beatrice Petko: we have a basic starting point and you can always extend that so make sure it's extendible.
Dessie Hamrick: Yeah
Patricia Slater: Yeah.
Nicole Irizarry: Alright.
Beatrice Petko: Yeah.
Dessie Hamrick: it it has yeah it has to be user-friendly. So it's hasn't it's yeah.
Beatrice Petko: Th the least amount of
Dessie Hamrick: Yeah.
Beatrice Petko: functions possible so it's
Dessie Hamrick: Okay.
Beatrice Petko: easier to get to know
Nicole Irizarry: Yeah.
Beatrice Petko: how it
Dessie Hamrick: Yeah.
Nicole Irizarry: I
Beatrice Petko: works etcetera.
Patricia Slater: Yeah.
Nicole Irizarry: understand. Yeah.
Beatrice Petko: Yeah? Okay
Nicole Irizarry: Alright.
Patricia Slater: Yes.
Beatrice Petko: and uh I'll see you again uh when the computer tells us to.
Nicole Irizarry: Yeah.
Dessie Hamrick: Can we
Patricia Slater: Half
Dessie Hamrick: leave now
Patricia Slater: an hour.
Dessie Hamrick: or
Beatrice Petko: Yeah, you're di dismissed.
Nicole Irizarry: Thanks.
Patricia Slater: You're fired.
Beatrice Petko: Not yet.
Patricia Slater: No.
Dessie Hamrick: Mm.
Nicole Irizarry: Alright.
Beatrice Petko: Okay.
Patricia Slater: Alright let's move on.
Beatrice Petko: Let's see what we got to do.
Patricia Slater: Yeah.
Nicole Irizarry: See you later.
Patricia Slater: Yeah
Dessie Hamrick: Okay.
Beatrice Petko: Yeah.
Patricia Slater: see you later.
Dessie Hamrick: Good luck.
Beatrice Petko: Yeah. Thank you.
Patricia Slater: Well good luck.
Nicole Irizarry: What the | When the meeting begins Beatrice Petko lists the agenda and then describes the project, which is to develop a new remote control that is original, trendy, and user-friendly. The group practices using the smart board by choosing an animal to draw and then explaining why they picked it. Beatrice Petko goes over the product budget and they proceed to have discussion. They each identify their individual tasks during each phase based on their role in the group. They briefly discuss characteristics of a desirable remote, including medium size buttons, small unit, and work within a good zapping range. The team again discusses their individual responsibilities and move on to ponder whether the remote will be multifunctional or only for the TV. They decide to first assume it is only for TV and video, but allowing the possibility to add more features. They close the meeting upon establishing what each person will do. | 4 | amisum | train |
Bettie Hill: Hello. Yes, I made it. English from on. Drawing or
Angela Duffy: Yeah just testing.
Bettie Hill: Yeah.
Angela Duffy: Mm?
Sarah Wilson: Just
Angela Duffy: English.
Sarah Wilson: kidding. So annoying.
Angela Duffy: Break is over.
Bettie Hill: Ooh it works.
Angela Duffy: Whoo. Spicy.
Bettie Hill: Spicy. Where are are all the other presentations?
Sarah Wilson: I just put it in the in the shared folder so
Bettie Hill: The
Sarah Wilson: it should
Bettie Hill: conceptual
Sarah Wilson: be
Bettie Hill: or
Sarah Wilson: yeah I think so. Yeah, conceptual design.
Bettie Hill: Ah.
Sarah Wilson: What or whatever
Bettie Hill: Because
Sarah Wilson: does it
Bettie Hill: I see only my own presentation
Sarah Wilson: No no no, can you go back one?
Bettie Hill: yeah.
Sarah Wilson: Uh 'cause it has to be PowerPoint pre yeah
Bettie Hill: This?
Sarah Wilson: components design, that's it.
Bettie Hill: I'll just put it
Angela Duffy: So,
Bettie Hill: in there.
Angela Duffy: he's coming.
Sarah Wilson: I did
Bettie Hill: Or not.
Sarah Wilson: get a bit more done than the
Elizabeth Case: Okay.
Sarah Wilson: last time,
Angela Duffy: Oh
Sarah Wilson: 'cause
Angela Duffy: okay.
Sarah Wilson: I knew that I didn't have time so I just copy and paste everything into
Bettie Hill: Ah,
Sarah Wilson: the
Bettie Hill: I can't
Angela Duffy: Ah.
Bettie Hill: cut and paste it into
Angela Duffy: She.
Bettie Hill: the
Angela Duffy: You
Bettie Hill: other
Angela Duffy: can
Bettie Hill: folder
Angela Duffy: look
Bettie Hill: but
Angela Duffy: at the final report, 'cause I have to record everything we are deciding and such, so
Bettie Hill: Move to
Angela Duffy: I'm
Bettie Hill: meeting
Angela Duffy: trying
Bettie Hill: room.
Angela Duffy: to write it down between everything else.
Bettie Hill: Yeah.
Sarah Wilson: Sometimes I have these pop-ups or these sounds and there's nothing there,
Angela Duffy: Oh.
Sarah Wilson: and
Bettie Hill: Yeah Bettie Hill too,
Sarah Wilson: also with I don't know how to use PowerPoint, so it takes Bettie Hill forever to get something done with
Elizabeth Case: I
Sarah Wilson: it.
Elizabeth Case: I've got the same problem as well.
Sarah Wilson: Yeah.
Bettie Hill: Yeah.
Angela Duffy: Yeah. Here we go again. Welcome.
Sarah Wilson: Thi
Angela Duffy: we have again three presentations and then we have to decide on what concepts the phone has to f the remote control has to support. So
Sarah Wilson: Mm-hmm.
Angela Duffy: who wants go.
Bettie Hill: Yes.
Sarah Wilson: Who
Angela Duffy: Yes?
Sarah Wilson: wants to start?
Bettie Hill: Bettie Hill first or
Angela Duffy: Yeah
Elizabeth Case: Oh.
Angela Duffy: sure.
Elizabeth Case: No.
Angela Duffy: Doesn't matter.
Elizabeth Case: Yeah.
Bettie Hill: yeah.
Elizabeth Case: No problem
Bettie Hill: Alright. Did you open it already or
Angela Duffy: No.
Bettie Hill: no. Ah. Ah. Yes.
Bettie Hill: So welcome to the marketing presentation once again. Um this time about trendwatching. Uh well there has been inv investigation again, in the in the remote control market. Uh it shows a number of developments. Uh I will address them uh in a moment. Um fashion watch watchers uh have detected the trends for young public, because that's our public. Um well fruit and vegetables will be will be the most important theme for clothing, uh shoes and furniture. And the feel of the material is expected to be spongey. So um the developments I will address them oh yeah well this is the fruit and vegetables looks of fresh bright colours. So to give you an idea. Um well the developments? Uh development one. Uh well most important aspect for remote control happens to be a fancy look-and-feel. Instead of the current uh functional look-and-feel. Um well fancy stands for an original look-and-feel of the case and the interface. And the second most important aspect is that a remote control should be technological uh innovative. Um well it stands for the use of technical features that do not exist in current remote controls. I think we pretty much covered that with our screen and um
Sarah Wilson: Sound.
Bettie Hill: and speech recognition, so
Sarah Wilson: Yeah
Bettie Hill: I
Sarah Wilson: yeah
Bettie Hill: don't
Sarah Wilson: uh uh.
Bettie Hill: expect that to be a problem. And the third development um is that the remote control should be easy to use. Um Well the first aspect uh was twice as important as the second aspect,w which was twice as important as the third aspect. So
Angela Duffy: Mm-hmm.
Bettie Hill: um that kind of gets you this ratios. So fancy look-and-feel uh is the most important uh point of attention. Uh so the fruits and vegetables in combination with the spongey material. Um well technolog technological innovation, we've covered that pretty much I guess. Um and easy to use, I don't think that will be problem. So my point of attention is especially this part. That this
Sarah Wilson: Yeah.
Bettie Hill: will be a crux. So that was the marketing uh presentation. I had only one document left.
Sarah Wilson: And shall I go first?
Elizabeth Case: Yeah.
Sarah Wilson: So
Elizabeth Case: No. I
Sarah Wilson: I
Elizabeth Case: I don't mi I don't mind. That's
Bettie Hill: So kind of this
Sarah Wilson: Yeah?
Elizabeth Case: Do you want to go first? Okay.
Angela Duffy: Yeah yeah sure.
Bettie Hill: So
Angela Duffy: No.
Bettie Hill: a k
Elizabeth Case: Yeah.
Bettie Hill: a small example. Kind of this this look. Uh nothing about the buttons but just
Elizabeth Case: Yeah.
Bettie Hill: sponge kind of thing, and and some fruit and colours I dunno. Just made a quick design.
Angela Duffy: Cool.
Elizabeth Case: It's better
Bettie Hill: Alright.
Elizabeth Case: than than
Sarah Wilson: Alright.
Elizabeth Case: my uh drawing.
Angela Duffy: Yeah you're just the user interface hmm?
Elizabeth Case: Yeah
Sarah Wilson: Uh
Elizabeth Case: okay but I
Sarah Wilson: components.
Elizabeth Case: have to design the
Angela Duffy: Yeah layout.
Elizabeth Case: Yeah.
Sarah Wilson: Oh no.
Angela Duffy: Yeah okay.
Bettie Hill: Yeah. It's okay.
Angela Duffy: You probably opened it.
Sarah Wilson: Yeah true. Um
Angela Duffy: F_ five.
Bettie Hill: F_ five.
Sarah Wilson: Alright. So I'm dealing with the components design. Um let's see. I uh used some design examples we had uh from similar products. And I used uh possibilities from our manufacturing department about current components which will have to be implemented in the design. That's why I had to, wanted to go first. Well they gave Bettie Hill um an idea about what people want. We're f mainly focusing on this group, but I want to make the distinction clear. Uh I could not drag the pictures into the the slides so s so I don't have examples of how it looks like. But it comes down to what you uh what you think we should do with the spongey and the fruity looking uh type. If you, the young dynamic people want soft primary colours uh, which looks like fruits you know, you can and shapes that are curved and not uh solid straight lines anymore. So this basically um yeah goes on to what you were mentioning earlier. There is a lot of um factors involved in choosing the components. There's a lot of options that we have to discuss. Uh for example the energy source. we have four types. The basic battery. Uh we have a hand dynamo, which we yeah we Dutch refer
Angela Duffy: Yeah.
Sarah Wilson: to it as the kneipgatt. Uh the kinetic provision of energy which means if you move the thing, if you shake it. Which will be fun for toddlers right, if they wanna
Bettie Hill: Yeah.
Sarah Wilson: use the And uh of course solar cells. But I dunno how we would use that into the
Bettie Hill: Wi
Sarah Wilson: design of the actual product. So
Bettie Hill: an indoors.
Sarah Wilson: uh
Bettie Hill: Oh.
Angela Duffy: Yeah
Sarah Wilson: my
Angela Duffy: okay.
Sarah Wilson: yeah
Angela Duffy: Calculator's
Sarah Wilson: also
Angela Duffy: can do it.
Sarah Wilson: also in you know countries where there's n isn't much light like in Scandinavia, they wouldn't be y able to use it half
Elizabeth Case: Yeah.
Sarah Wilson: of the year you know. So
Bettie Hill: Yeah.
Sarah Wilson: that's
Angela Duffy: Mm-hmm.
Sarah Wilson: not cool either. So um for the uh a case, there's uh the traditional uncurved flat hard case. Single curved, which means that it has uh curves in one dimension. Or the double curved. Um I wasn't able to finish my uh personal preferences sheet, but well you know that we will have to go for the double curved 'cause it's daring and different from what we have now.
Bettie Hill: Yeah.
Sarah Wilson: Uh the case materials. Well we have all kinds of hard uh materials like the the hard plastic, the wood and the titanium. I would definitely go for rubber 'cause it fits most in what people wanna see nowadays.
Bettie Hill: Yeah.
Sarah Wilson: Um poo, this is a lot of text. I wasn't able to organise this yet. We have yeah several uh interface designs. Uh we can use a scroll buttons for the menus, but we already kind of decided to go for
Elizabeth Case: Yeah.
Sarah Wilson: the
Elizabeth Case: Pushbuttons.
Sarah Wilson: f for the pushbuttons,
Elizabeth Case: Yeah.
Sarah Wilson: for the the arrow buttons. So that's
Bettie Hill: Yeah.
Sarah Wilson: not really interesting. Electronics? Yeah, maybe we wanna decide on what electronics to use the advanced chip I think is easiest to implement uh for the production, 'cause they they can print it better. Um Yeah. I think this is about it. Yeah I was working on some per personal preferences. I first uh chose for the battery, 'cause yeah I'm traditional and that's the most obvious, easiest choice to go to. But I really think that we should maybe uh think about the kinetic energy, where
Elizabeth Case: Yeah.
Sarah Wilson: you have to move the thing to
Elizabeth Case: Yeah.
Angela Duffy: Yeah.
Sarah Wilson: be able to
Elizabeth Case: As
Bettie Hill: Yeah.
Sarah Wilson: use
Elizabeth Case: an optional
Sarah Wilson: it.
Elizabeth Case: uh feature. Or combine uh both with with one uh
Bettie Hill: I
Angela Duffy: Uh
Bettie Hill: guess
Angela Duffy: I
Bettie Hill: we
Sarah Wilson: Yeah
Bettie Hill: can
Angela Duffy: think
Bettie Hill: only
Sarah Wilson: maybe
Angela Duffy: you
Bettie Hill: choose
Sarah Wilson: we
Angela Duffy: can only
Bettie Hill: one.
Angela Duffy: fit one uh source of energy
Elizabeth Case: Okay.
Angela Duffy: on the
Sarah Wilson: I can imagine that the kinetic uh type energy source would be more expensive to make. But it is more longlasting, that the people don't have to ever buy batteries again.
Bettie Hill: Yeah.
Angela Duffy: Yeah
Bettie Hill: And it's more fun.
Angela Duffy: I
Sarah Wilson: And
Angela Duffy: didn't
Sarah Wilson: it's also
Angela Duffy: receive
Sarah Wilson: more fun
Angela Duffy: any
Sarah Wilson: yeah.
Angela Duffy: info
Sarah Wilson: I always chuck
Angela Duffy: uh.
Sarah Wilson: my uh remote control
Bettie Hill: Yeah,
Sarah Wilson: around, so
Bettie Hill: just
Angela Duffy: Yeah.
Bettie Hill: playing with it and especially when the material's rubber. It can
Angela Duffy: S
Bettie Hill: be done, I mean,
Angela Duffy: yeah it's
Bettie Hill: you can't
Angela Duffy: safe.
Bettie Hill: harm
Sarah Wilson: Yeah
Bettie Hill: it,
Sarah Wilson: y
Bettie Hill: so it's a
Elizabeth Case: And
Bettie Hill: perfect
Elizabeth Case: throw
Sarah Wilson: exactly.
Elizabeth Case: it.
Bettie Hill: combination
Sarah Wilson: You
Bettie Hill: I
Sarah Wilson: don't
Bettie Hill: guess.
Sarah Wilson: have to be scared about bouncing it off the g floor and breaking it or whatever.
Bettie Hill: Yeah.
Elizabeth Case: Okay.
Sarah Wilson: So that's the end of it.
Elizabeth Case: Yeah.
Bettie Hill: So
Sarah Wilson: Uh
Angela Duffy: 'Kay next.
Sarah Wilson: go ahead.
Bettie Hill: So double curved is like this, this, this, or
Sarah Wilson: No it means curved in two dimensions. So uh w single curved? Uh let's say would be a b square box,
Bettie Hill: Mm.
Sarah Wilson: but then with curves on one dimension.
Bettie Hill: Yeah.
Sarah Wilson: And double curved would means that it would have curves
Bettie Hill: Also in
Sarah Wilson: curves
Bettie Hill: in
Angela Duffy: Uh
Bettie Hill: height?
Sarah Wilson: in every direction.
Bettie Hill: Yeah
Sarah Wilson: Like
Bettie Hill: okay.
Sarah Wilson: three
Angela Duffy: Okay.
Sarah Wilson: D_.
Elizabeth Case: Yeah.
Angela Duffy: Can we uh
Elizabeth Case: One
Sarah Wilson: Yeah.
Elizabeth Case: one uh very important thing I was uh yeah thinking about is the speech uh option. We were going to use that.
Angela Duffy: Yeah.
Elizabeth Case: Yeah. So um Yeah um yeah that's one thing uh which I'm not sure uh of how to implement it uh into the
Sarah Wilson: Design?
Angela Duffy: Well
Elizabeth Case: remote control.
Angela Duffy: the visual representation is not
Elizabeth Case: No okay
Angela Duffy: there with
Elizabeth Case: but
Angela Duffy: speech
Elizabeth Case: it
Angela Duffy: but
Elizabeth Case: has
Angela Duffy: you
Elizabeth Case: to be
Angela Duffy: can
Elizabeth Case: combined with with the menu uh for functions and
Angela Duffy: Yeah.
Elizabeth Case: So
Angela Duffy: Just
Elizabeth Case: okay.
Angela Duffy: yeah. I think you can just uh match the speech commands with the functions
Elizabeth Case: Yeah.
Angela Duffy: that are already present.
Elizabeth Case: Okay.
Angela Duffy: So
Bettie Hill: Yeah with
Angela Duffy: I don't
Bettie Hill: the programme.
Angela Duffy: think you have to design anything
Elizabeth Case: But do uh j do
Angela Duffy: else
Elizabeth Case: we
Angela Duffy: for that.
Elizabeth Case: uh do the speech just for the basic options, for the simple buttons?
Angela Duffy: Both.
Elizabeth Case: For for everything, also for
Angela Duffy: Yeah.
Elizabeth Case: the advanced options? Okay. Uh we have this very uh basic uh trendy design. Everybody says it so that's what's uh yeah um Yeah in the in the last uh meeting we uh we were yeah putting the the simple and the advanced options separated. That's yeah obvious. Um yeah. Pressing the the menu option uh will disable uh all other options on your uh remote control. And only the the L_C_D_ panel will uh light up and then you can only uh change the yeah
Bettie Hill: And
Elizabeth Case: the options.
Bettie Hill: and the and the buttons that you need to
Elizabeth Case: Yeah.
Bettie Hill: control
Angela Duffy: Yeah.
Bettie Hill: it, I guess.
Elizabeth Case: Um yeah design has to be very attractive but that's your your op your yeah. you have to uh delete this but this
Angela Duffy: Yeah.
Elizabeth Case: is the the the simple uh layout. Uh display on the upper side with the the menu button and maybe a some sort of cancel button or save button.
Angela Duffy: That
Elizabeth Case: I'm
Angela Duffy: would be the back.
Elizabeth Case: The
Bettie Hill: Yeah.
Elizabeth Case: back.
Angela Duffy: Back and okay.
Bettie Hill: Back
Elizabeth Case: Back
Bettie Hill: and okay.
Elizabeth Case: and okay yeah. Uh
Angela Duffy: You did read the minutes I wrote?
Elizabeth Case: What?
Angela Duffy: You did read the minutes I wrote?
Elizabeth Case: A little
Sarah Wilson: I
Elizabeth Case: bit I think but not not
Angela Duffy: Oh okay
Elizabeth Case: everything w
Angela Duffy: 'cause I pretty much summed up all the buttons there
Elizabeth Case: Okay.
Angela Duffy: were. So
Elizabeth Case: Oh I uh didn't read that.
Angela Duffy: I hate
Elizabeth Case: But
Angela Duffy: doing work for nothing.
Elizabeth Case: But this is the the basic uh design uh for the for the m yeah for the buttons. Um I wanted to to categorise everything. Uh with a speech display uh yeah, sound, everything you you noted in your uh minutes. Um every pushbutton has uh has its own uh LED light. So
Angela Duffy: Mm-hmm.
Elizabeth Case: you can uh yeah change uh m make it more trendy for for younger people. And uh if there are older people they wanted more uh yeah more uh luxurous so that's an a also an option. Um that was it.
Angela Duffy: That was it?
Elizabeth Case: Yeah.
Angela Duffy: Okay. Uh again. Ugh.
Angela Duffy: Okay so what we have to decide is what kind of components do we use? Uh energy source, chip type, case type. And user interface. But I didn't see a clear distinction between these so I think what we have is okay. So we only, we already decided that kinetic would be the choice for energy.
Bettie Hill: No.
Angela Duffy: Uh the case would be doubly curved.
Bettie Hill: Rubber
Angela Duffy: So
Sarah Wilson: And
Bettie Hill: material.
Sarah Wilson: rubber. Rubber material.
Angela Duffy: Rubber material. And that's the only thing we have left.
Sarah Wilson: Yeah we need the the chip on print to be able to support the the screen and uh
Angela Duffy: Oh okay.
Sarah Wilson: and f
Angela Duffy: No it's easy.
Sarah Wilson: audio function.
Bettie Hill: So that's uh is that is that the advanced chip?
Sarah Wilson: Yeah.
Angela Duffy: Advanced
Sarah Wilson: Yeah.
Angela Duffy: chip.
Bettie Hill: Wow.
Angela Duffy: Okay.
Sarah Wilson: you would have a simple chip, just for pressing
Bettie Hill: Yeah.
Sarah Wilson: buttons. But we need more.
Bettie Hill: Alright. Kinetic.
Sarah Wilson: I'm just thinking,
Angela Duffy: Too.
Bettie Hill: Double
Sarah Wilson: this
Bettie Hill: curved.
Sarah Wilson: is not my department, but I I'm not sure what this is gonna cost, to be able to
Angela Duffy: Uh
Sarah Wilson: m
Angela Duffy: I didn't get any info on this. So
Sarah Wilson: So 'cause we need to sell it for twenty five Euro a piece.
Angela Duffy: Yeah.
Sarah Wilson: That's gonna be difficult huh?
Elizabeth Case: Yeah.
Bettie Hill: The cost of making it should be twelve and a half?
Angela Duffy: I have total
Sarah Wilson: Yeah.
Angela Duffy: here.
Sarah Wilson: Yeah
Angela Duffy: Yeah
Sarah Wilson: yeah
Angela Duffy: I
Sarah Wilson: yeah.
Angela Duffy: don't know. I didn't get any information about that
Elizabeth Case: We're
Angela Duffy: so
Elizabeth Case: going to produce it in uh China so it's no problem.
Angela Duffy: Yeah.
Sarah Wilson: Child labour man, we love it.
Bettie Hill: Yeah, so it's
Angela Duffy: Who doesn't.
Bettie Hill: cheap.
Angela Duffy: Uh let's see. Is there a new thing?
Bettie Hill: Um well the interface type supplements.
Angela Duffy: Yeah the interface, maybe can
Elizabeth Case: Uh it's it's quite
Angela Duffy: Ooh.
Elizabeth Case: difficult because we we haven't got all the options uh
Angela Duffy: No. Uh
Elizabeth Case: yeah.
Angela Duffy: do you have a picture of doubly curved case? And could you put that in the group folder?
Sarah Wilson: Um
Angela Duffy: Of the project folder.
Sarah Wilson: let Bettie Hill see. Wait a sec.
Bettie Hill: If you go to your homepage or something, you should
Sarah Wilson: Yeah I'm going there now.
Bettie Hill: get your own information.
Sarah Wilson: Inspiration.
Bettie Hill: I got my fresh and fyoo fruity uh picture uh also uh
Sarah Wilson: Well
Bettie Hill: over there,
Angela Duffy: Ah
Bettie Hill: so
Angela Duffy: you didn't draw it yourself.
Bettie Hill: No.
Angela Duffy: Ah.
Bettie Hill: Too less time.
Sarah Wilson: Um
Bettie Hill: Yeah,
Sarah Wilson: yeah maybe
Bettie Hill: also the
Sarah Wilson: it's
Bettie Hill: menu. Yeah
Elizabeth Case: Yeah.
Bettie Hill: that that
Elizabeth Case: This
Bettie Hill: w
Elizabeth Case: is the the menu I was
Bettie Hill: Yeah.
Elizabeth Case: uh looking uh
Bettie Hill: Yeah I
Sarah Wilson: Maybe
Bettie Hill: was thinking
Sarah Wilson: it's easier
Bettie Hill: of that
Elizabeth Case: at.
Bettie Hill: also, with with a
Elizabeth Case: Yeah.
Bettie Hill: with a
Angela Duffy: Arrow.
Bettie Hill: uh arrow.
Elizabeth Case: Arrow yeah.
Bettie Hill: So
Angela Duffy: Yeah.
Bettie Hill: that indicates that there's an menu under that menu.
Sarah Wilson: Yeah. Yeah perfect.
Bettie Hill: So
Elizabeth Case: Yeah.
Sarah Wilson: Maybe
Angela Duffy: 'S
Sarah Wilson: it's easier
Angela Duffy: the target
Sarah Wilson: if you guys
Angela Duffy: group.
Sarah Wilson: come
Elizabeth Case: S
Sarah Wilson: over
Elizabeth Case: yeah.
Sarah Wilson: here. S
Bettie Hill: Oh
Angela Duffy: Yeah
Bettie Hill: yeah.
Sarah Wilson: see
Angela Duffy: sure.
Sarah Wilson: this is the the the standard traditional type, where the form uh yeah serves the function, you know. It's like really basic. But this m is more appealing to old people and we don't
Angela Duffy: Yeah.
Bettie Hill: Yeah.
Sarah Wilson: want that. This is what we're looking for. And th that means curved in both dire dire uh dimensions.
Angela Duffy: Oh okay.
Sarah Wilson: Not only
Angela Duffy: I
Sarah Wilson: like
Angela Duffy: see.
Sarah Wilson: this but
Angela Duffy: Yeah also like
Sarah Wilson: it has
Angela Duffy: this.
Sarah Wilson: to
Angela Duffy: So
Sarah Wilson: be
Angela Duffy: you can hold it.
Sarah Wilson: exactly. It has to be kind of instead of the PlayStation, the module. It has to be like the the Game Cube, you know, where
Elizabeth Case: Yeah.
Sarah Wilson: your thumbs would be laying in the instrument and it has to
Elizabeth Case: But
Sarah Wilson: be
Elizabeth Case: it
Sarah Wilson: nice
Elizabeth Case: has also
Sarah Wilson: to hold.
Elizabeth Case: to it
Sarah Wilson: And
Elizabeth Case: it has also to be uh luxurous uh for for yeah rich people. Th
Sarah Wilson: It ha
Elizabeth Case: this looks a little bit like like for
Angela Duffy: The
Elizabeth Case: only
Angela Duffy: children's
Elizabeth Case: for children.
Angela Duffy: story. Yeah I've
Sarah Wilson: Yeah
Angela Duffy: got
Sarah Wilson: but
Angela Duffy: it.
Sarah Wilson: that's
Elizabeth Case: So
Sarah Wilson: that's the
Angela Duffy: Distinction.
Sarah Wilson: the problem
Angela Duffy: Yeah.
Sarah Wilson: uh yeah the dilemma actually, 'cause we wanna appeal to the to the young public with fancy with flashy colours, and with a lot of shape. And Yeah,
Elizabeth Case: Yeah.
Sarah Wilson: and the and
Elizabeth Case: The
Sarah Wilson: the rubber,
Elizabeth Case: colour
Sarah Wilson: it it will look cheap always,
Elizabeth Case: Yeah. Okay
Sarah Wilson: you know,
Elizabeth Case: but
Sarah Wilson: with the
Elizabeth Case: the the colours, you you can make it uh make the colours with LEDs uh beneath the the buttons. If you
Angela Duffy: Mm-hmm.
Elizabeth Case: press a button and you can disable the the colour LEDs for for people that don't like it.
Bettie Hill: Mm.
Sarah Wilson: There is mobile phones, in which you can change the colour also of the
Elizabeth Case: Yeah.
Sarah Wilson: lights. Maybe we should consider this function.
Angela Duffy: Mm-hmm.
Sarah Wilson: To customise it and so I mean kids can make it look more flashy with different kinds of colours
Elizabeth Case: Yeah.
Sarah Wilson: and people who want something, you know,
Angela Duffy: Different.
Sarah Wilson: different, or more uh design,
Angela Duffy: Mm-hmm.
Sarah Wilson: they can go for one colour like uh for example this uh photo
Angela Duffy: Camera.
Sarah Wilson: th camera.
Bettie Hill: Yeah. Cool. S underwater
Angela Duffy: Yeah
Bettie Hill: uh
Angela Duffy: submarine.
Bettie Hill: yeah.
Sarah Wilson: Personally I think it's really ugly.
Elizabeth Case: Yeah.
Sarah Wilson: Just
Angela Duffy: Well
Sarah Wilson: give Bettie Hill the thing that it's inside there
Bettie Hill: Yeah.
Sarah Wilson: maybe
Elizabeth Case: Very
Angela Duffy: Yeah
Sarah Wilson: I'm
Elizabeth Case: cheap
Angela Duffy: but
Sarah Wilson: too old
Angela Duffy: this
Elizabeth Case: uh
Sarah Wilson: for
Elizabeth Case: cheap
Sarah Wilson: this
Angela Duffy: this
Sarah Wilson: stuff.
Elizabeth Case: look.
Angela Duffy: the is for the.
Sarah Wilson: Yeah.
Bettie Hill: Yeah.
Angela Duffy: Okay.
Sarah Wilson: So
Angela Duffy: Uh
Sarah Wilson: those I think are all my oh.
Angela Duffy: Ah yeah bright colours.
Bettie Hill: Yeah. Also a
Sarah Wilson: And
Bettie Hill: kind
Sarah Wilson: this
Bettie Hill: of
Sarah Wilson: is,
Bettie Hill: rubber uh
Sarah Wilson: this is with the curved that I mean.
Bettie Hill: Yeah.
Angela Duffy: That's singly curved.
Sarah Wilson: Yeah.
Angela Duffy: Okay.
Sarah Wilson: Yeah?
Bettie Hill: That should be nice.
Angela Duffy: Well we could make a compromise between that. But I don't know if it's worth the effort.
Sarah Wilson: A compromise between what?
Angela Duffy: Uh instead of doubly curved we take a single curved. So to
Bettie Hill: So
Angela Duffy: appeal
Bettie Hill: s
Angela Duffy: a
Sarah Wilson: This,
Angela Duffy: little more to the
Sarah Wilson: this
Angela Duffy: all
Sarah Wilson: would
Angela Duffy: the public.
Sarah Wilson: be uh single curved uh?
Angela Duffy: Mm-hmm.
Bettie Hill: Yeah there's only in in this dimension.
Angela Duffy: Yeah.
Bettie Hill: Like this.
Sarah Wilson: Yeah.
Bettie Hill: So curvy or not.
Angela Duffy: Also.
Sarah Wilson: Yeah.
Bettie Hill: Yeah
Sarah Wilson: Exactly. Exactly.
Bettie Hill: so we keep it singly c single curved then?
Angela Duffy: Yeah that would be an option. I don't know what you think.
Bettie Hill: Yeah.
Sarah Wilson: I think the I mean our aim is to make something different right? To
Bettie Hill: Yeah.
Sarah Wilson: make something new.
Angela Duffy: Mm-hmm.
Sarah Wilson: I would go for the double curved.
Angela Duffy: Okay.
Sarah Wilson: And
Angela Duffy: Yeah
Sarah Wilson: I I'm
Angela Duffy: I'd agree.
Sarah Wilson: I'm thinking uh you know uh a drawing palette,
Angela Duffy: Mm-hmm.
Sarah Wilson: where you have the shape for your thumb. So it kind of holds nicely, something
Elizabeth Case: Yeah
Bettie Hill: Yeah.
Sarah Wilson: like that.
Elizabeth Case: but if
Sarah Wilson: Well
Elizabeth Case: you
Sarah Wilson: this
Elizabeth Case: if
Sarah Wilson: is
Elizabeth Case: you make
Sarah Wilson: really
Elizabeth Case: it
Sarah Wilson: your
Elizabeth Case: more
Sarah Wilson: decision
Elizabeth Case: curved
Sarah Wilson: but
Elizabeth Case: we we can make more and more options for buttons. If you have uh it have it in your hand, you you you are not only um yeah you don't need one dimension but you can use other dimensions for pressing the the buttons.
Sarah Wilson: Yeah. As well. You can make a trigger button
Elizabeth Case: Yeah.
Sarah Wilson: or something like that.
Elizabeth Case: Something to shoot at your television
Sarah Wilson: Yeah or that that is the confirmation button or
Angela Duffy: Mm-hmm.
Sarah Wilson: something,
Elizabeth Case: Yeah.
Sarah Wilson: that you scroll with your thumb, with the arrows,
Elizabeth Case: That's
Sarah Wilson: and then confirm.
Elizabeth Case: yeah.
Angela Duffy: Mm-hmm.
Sarah Wilson: That would be a nice way to use it but I mean, yeah, I'm thinking big already, and we need something
Angela Duffy: Different.
Sarah Wilson: that well that
Angela Duffy: Stands
Sarah Wilson: that you
Angela Duffy: out.
Sarah Wilson: can able to use in
Angela Duffy: Or
Sarah Wilson: one hand I think.
Angela Duffy: Oh yeah a one hand uh
Sarah Wilson: Yeah.
Angela Duffy: solution.
Bettie Hill: So from top view it looks kinda like this. But from the side you you can have it also in a kind of shape. Maybe because
Angela Duffy: can
Bettie Hill: the
Angela Duffy: turn it
Bettie Hill: the screen
Angela Duffy: maybe.
Bettie Hill: is on top you
Angela Duffy: To switch
Bettie Hill: can have
Angela Duffy: from buttons to interface hmm. If you turn it a little.
Bettie Hill: Maybe you can c have this kind of shape. A little upwards. So that the screen is more
Angela Duffy: Oh yeah. Least you
Bettie Hill: towards
Angela Duffy: can easily
Bettie Hill: yourself,
Angela Duffy: see it.
Bettie Hill: so you can easily see your screen.
Sarah Wilson: How
Bettie Hill: Well well
Sarah Wilson: about
Bettie Hill: you have it in your hand so it's a kind of an angle from your eyes to the screen. So this this
Sarah Wilson: Mm-hmm.
Bettie Hill: is so the screen is positioned over here. Oh. Something like that. And the buttons are more, well it's very thick now but
Sarah Wilson: Yeah I understand what you mean.
Bettie Hill: That's uh
Sarah Wilson: How
Bettie Hill: that's
Sarah Wilson: about we do a uh a pop-up screen, like the laptop.
Angela Duffy: If
Sarah Wilson: So
Angela Duffy: you can
Sarah Wilson: that
Angela Duffy: uh flip.
Sarah Wilson: the only the simple functions will be visible at first.
Bettie Hill: Yeah? That
Sarah Wilson: And
Bettie Hill: that
Sarah Wilson: then
Bettie Hill: you can
Sarah Wilson: if
Bettie Hill: press
Sarah Wilson: you want
Bettie Hill: it and then it comes up? Or
Sarah Wilson: Yeah. Something like that.
Angela Duffy: Uh so you have a the the side view.
Bettie Hill: But then the side view can be straight. If you have a pop-up screen. But I dunno if that's too expensive.
Angela Duffy: So
Bettie Hill: I
Sarah Wilson: Yeah.
Angela Duffy: and
Bettie Hill: mean
Angela Duffy: you
Bettie Hill: maybe
Angela Duffy: want
Bettie Hill: it's
Angela Duffy: to
Bettie Hill: too much
Angela Duffy: be able to make this.
Sarah Wilson: No uh like I would draw it like this. Let's say this is the side view. That you have a a screen that will come up here, and can go down that way. If you know what I mean.
Elizabeth Case: Okay.
Sarah Wilson: So that it would come
Elizabeth Case: Yeah.
Sarah Wilson: up like that.
Angela Duffy: Okay so the buttons are on top here, and you flip it over that
Sarah Wilson: Yeah
Angela Duffy: way.
Sarah Wilson: or preferably even keep the simple buttons here,
Angela Duffy: Yeah.
Sarah Wilson: and then under the screen even you
Bettie Hill: Oh
Angela Duffy: Oh
Sarah Wilson: could put
Bettie Hill: the advanced
Sarah Wilson: more
Angela Duffy: yeah. Yeah
Sarah Wilson: more
Bettie Hill: buttons.
Angela Duffy: yeah
Sarah Wilson: advanced
Angela Duffy: yeah
Sarah Wilson: buttons.
Bettie Hill: Right.
Angela Duffy: yeah. Right.
Elizabeth Case: That's
Angela Duffy: Yeah that's good
Bettie Hill: Yeah.
Angela Duffy: idea.
Elizabeth Case: the the more advanced options were uh for the for the menu.
Angela Duffy: Yeah.
Bettie Hill: Yeah.
Elizabeth Case: But
Sarah Wilson: F
Elizabeth Case: you
Sarah Wilson: for
Elizabeth Case: you
Sarah Wilson: the
Elizabeth Case: want
Sarah Wilson: L_C_D_ menu
Elizabeth Case: okay.
Sarah Wilson: right?
Bettie Hill: Yeah.
Elizabeth Case: You just
Sarah Wilson: So
Elizabeth Case: want to hide them all? The
Bettie Hill: Yeah.
Angela Duffy: No not all
Sarah Wilson: w
Elizabeth Case: oh.
Angela Duffy: because
Sarah Wilson: w
Angela Duffy: you need most of them, the arrow buttons. But you can hide the okay and the back
Elizabeth Case: Yeah
Angela Duffy: uh
Elizabeth Case: yeah
Angela Duffy: button.
Elizabeth Case: yeah.
Angela Duffy: And the menu button also because when you flip it open
Bettie Hill: Yeah.
Angela Duffy: and you can maybe even drop the menu button because maybe if you flip it open it will auto activate
Sarah Wilson: Oh
Angela Duffy: amauto uh uh automatically.
Sarah Wilson: Activate and th the yeah.
Bettie Hill: So okay b but you have t you need some button to flip this
Angela Duffy: Why? You
Bettie Hill: open.
Angela Duffy: could
Sarah Wilson: True.
Angela Duffy: just
Sarah Wilson: True.
Angela Duffy: make it mechanical.
Sarah Wilson: But you can make a, yeah, you can make a trigger here. You
Bettie Hill: Yeah.
Sarah Wilson: know a simple uh
Bettie Hill: Yeah and
Sarah Wilson: with
Bettie Hill: it
Sarah Wilson: a
Bettie Hill: says menu and it flips open and
Elizabeth Case: That's
Bettie Hill: then you have the buttons to control
Elizabeth Case: but it's it's
Bettie Hill: it, in combination
Elizabeth Case: not
Sarah Wilson: Yeah.
Bettie Hill: with your
Elizabeth Case: it's not very uh
Sarah Wilson: Exactly.
Elizabeth Case: very strong uh yeah if you drop it one time.
Bettie Hill: True. It uh c it can
Sarah Wilson: Well
Bettie Hill: go open.
Sarah Wilson: yeah the the idea
Angela Duffy: If you
Sarah Wilson: of
Angela Duffy: cover
Sarah Wilson: it was,
Angela Duffy: it with rubber.
Sarah Wilson: is that because you close it, you cover the L_C_D_ screen and it won't be vulnerable to scratches or whatever.
Bettie Hill: An adv
Elizabeth Case: Okay.
Bettie Hill: an
Angela Duffy: Mm.
Bettie Hill: adv and it will be
Sarah Wilson: And
Bettie Hill: covered in some kind of uh thin rubber layer or something
Sarah Wilson: Exactly.
Angela Duffy: Yeah.
Bettie Hill: like that.
Angela Duffy: So
Sarah Wilson: Exactly.
Angela Duffy: it can bounce.
Sarah Wilson: We just have to
Bettie Hill: Yeah,
Sarah Wilson: make sure that the closing
Bettie Hill: uh
Sarah Wilson: mechanism
Bettie Hill: It's
Sarah Wilson: won't
Bettie Hill: very
Sarah Wilson: break.
Bettie Hill: no it's
Sarah Wilson: Th
Bettie Hill: very
Sarah Wilson: it's
Bettie Hill: strong.
Sarah Wilson: very solid
Angela Duffy: Yeah
Bettie Hill: Yeah.
Sarah Wilson: yeah.
Angela Duffy: okay so that that may work.
Sarah Wilson: That actually will offer some extra
Angela Duffy: Okay
Sarah Wilson: protection
Angela Duffy: but then we still
Sarah Wilson: for
Angela Duffy: have
Sarah Wilson: the
Angela Duffy: the the the thing of the the the shape.
Sarah Wilson: Yeah.
Angela Duffy: Yeah.
Sarah Wilson: Yeah
Angela Duffy: What
Sarah Wilson: I was
Angela Duffy: kind of
Sarah Wilson: thinking, if if you have your hand, it this is your th
Angela Duffy: Harder.
Bettie Hill: Yeah the lower part doesn't work I guess, so maybe you should try it over there.
Sarah Wilson: Okay. If this is your thumb, and this is your hand like that. With your uh wrist. That you, that it would be kind of shape like this, you know. So it's easier to hold in your hand, to
Elizabeth Case: But
Sarah Wilson: y
Elizabeth Case: when
Bettie Hill: Yeah.
Elizabeth Case: you are
Sarah Wilson: f
Elizabeth Case: left-handed, that's that's a problem.
Sarah Wilson: Uh yeah. Yeah of course. Yeah
Angela Duffy: Maybe
Sarah Wilson: then w
Angela Duffy: can design
Sarah Wilson: then you would
Angela Duffy: two versions.
Sarah Wilson: have to
Bettie Hill: Yeah.
Elizabeth Case: But that's
Sarah Wilson: to make
Elizabeth Case: that's
Sarah Wilson: it like
Elizabeth Case: very expensive
Sarah Wilson: this. Like
Elizabeth Case: uh
Sarah Wilson: like you drew here.
Bettie Hill: Yeah.
Sarah Wilson: And maybe th then make this thicker also than the centre. Give it
Angela Duffy: Mm-hmm. And
Sarah Wilson: I would
Angela Duffy: ergonomical
Sarah Wilson: give it a female
Angela Duffy: shape.
Sarah Wilson: shape but uh
Elizabeth Case: Yeah.
Sarah Wilson: yeah. Anyway.
Angela Duffy: Yeah.
Bettie Hill: Yeah.
Angela Duffy: The female shape yeah. With two
Bettie Hill: Yeah.
Sarah Wilson: Obviously.
Elizabeth Case: We we could make some some
Sarah Wilson: Make
Elizabeth Case: rubber
Sarah Wilson: it more appealing
Elizabeth Case: uh
Angela Duffy: uh
Sarah Wilson: to
Elizabeth Case: some
Sarah Wilson: guys.
Elizabeth Case: rubber uh yeah
Sarah Wilson: I mean
Elizabeth Case: mouse, with which you can change
Angela Duffy: Oh
Elizabeth Case: uh
Angela Duffy: yeah. Some
Elizabeth Case: and
Angela Duffy: uh
Elizabeth Case: so if you
Angela Duffy: k esk uh yeah.
Elizabeth Case: Yeah.
Bettie Hill: Yeah but but that's optional for later I guess. I
Elizabeth Case: Okay.
Angela Duffy: Yeah.
Bettie Hill: mean, we have to
Sarah Wilson: Yeah
Bettie Hill: make
Sarah Wilson: but we have hardware inside, which is so it has to have some sort of
Elizabeth Case: Some
Sarah Wilson: basic shape.
Elizabeth Case: yeah.
Bettie Hill: Yeah
Angela Duffy: Yeah
Bettie Hill: we we better
Angela Duffy: yeah.
Sarah Wilson: And
Bettie Hill: so
Sarah Wilson: also
Bettie Hill: choose
Sarah Wilson: the screen,
Bettie Hill: one
Sarah Wilson: you cannot mould it. You
Elizabeth Case: No
Sarah Wilson: know
Elizabeth Case: no no
Sarah Wilson: kind
Bettie Hill: Yeah
Elizabeth Case: no.
Sarah Wilson: of thing.
Bettie Hill: so okay we should better choose one sh one shape.
Elizabeth Case: Okay.
Sarah Wilson: Yeah.
Bettie Hill: But that's the kind of the idea, so it lays good in the hand, and then
Sarah Wilson: And then
Bettie Hill: on
Sarah Wilson: you can
Bettie Hill: on the side with with your
Sarah Wilson: You
Bettie Hill: thumb,
Sarah Wilson: can place the screen
Bettie Hill: you
Sarah Wilson: here,
Bettie Hill: you can
Sarah Wilson: which can
Bettie Hill: you can
Sarah Wilson: come.
Bettie Hill: use, yeah, you
Angela Duffy: Yeah.
Bettie Hill: can use the button option
Sarah Wilson: And but then I w I
Angela Duffy: spongey?
Sarah Wilson: would
Bettie Hill: Spongey.
Sarah Wilson: I would do the arrows here, kind of thing.
Bettie Hill: Spongey can be reached
Sarah Wilson: Those buttons?
Bettie Hill: by means of
Sarah Wilson: And the simple buttons here, so
Bettie Hill: Yeah.
Sarah Wilson: that
Angela Duffy: Yeah.
Elizabeth Case: Yeah.
Bettie Hill: And and the and the control thngs in the middle? The the
Sarah Wilson: I Uh
Bettie Hill: the
Sarah Wilson: y
Bettie Hill: arrows?
Sarah Wilson: eah
Elizabeth Case: No
Sarah Wilson: that's
Elizabeth Case: the
Sarah Wilson: what
Elizabeth Case: arrow's
Sarah Wilson: I mean. The
Elizabeth Case: over
Angela Duffy: Yeah.
Sarah Wilson: arrows
Elizabeth Case: here.
Sarah Wilson: over here,
Bettie Hill: Yeah
Elizabeth Case: Yeah.
Sarah Wilson: and
Bettie Hill: and then
Sarah Wilson: here the
Bettie Hill: numbers.
Angela Duffy: Buttons.
Sarah Wilson: s simple uh
Angela Duffy: Okay.
Bettie Hill: Yeah. Alright.
Angela Duffy: I think that uh
Bettie Hill: Uh
Angela Duffy: it's a nice design.
Bettie Hill: pretty nice design. Yeah.
Angela Duffy: It's cool.
Bettie Hill: Yeah it looks uh pretty fancy.
Angela Duffy: Yeah.
Sarah Wilson: or do we wanna make its shape look like a banana or something? I dunno.
Angela Duffy: Yeah that's
Bettie Hill: Uh bananas wierd shape and other fruits also, so
Sarah Wilson: Yeah.
Bettie Hill: it's better to have um some sort of basic print and then a fruit print in some primary uh colours.
Sarah Wilson: Yeah
Bettie Hill: I
Sarah Wilson: we
Bettie Hill: don't
Sarah Wilson: could
Bettie Hill: know
Sarah Wilson: make
Bettie Hill: what what colours should the basic print be like? Like some soft
Angela Duffy: Orange or
Bettie Hill: green
Angela Duffy: something.
Bettie Hill: or something? Or
Elizabeth Case: Or blue?
Bettie Hill: and then
Elizabeth Case: Dark blue or
Bettie Hill: Oh yeah yeah, dark blue and then
Sarah Wilson: We should use
Bettie Hill: and then very bright, uh a yellow
Elizabeth Case: Yeah.
Bettie Hill: banana, an orange, uh a green apple, stuff like that, with very uh bright tones I guess.
Angela Duffy: Mm.
Sarah Wilson: Yeah
Bettie Hill: So
Sarah Wilson: w
Bettie Hill: you have
Sarah Wilson: we
Bettie Hill: something
Sarah Wilson: need very
Bettie Hill: like
Sarah Wilson: primary colours, like
Angela Duffy: Yeah.
Bettie Hill: Yeah.
Sarah Wilson: bright red, bright yellow.
Elizabeth Case: Yeah but the primary colours w we can uh create with the with the LEDs on the on the remote
Sarah Wilson: Yeah.
Elizabeth Case: control.
Sarah Wilson: Yeah okay
Elizabeth Case: If
Sarah Wilson: yeah.
Elizabeth Case: you we uh yeah. If you make it uh just a yeah bl give it a blue colour, then it's just a neutral colour, also for the for the more uh yeah for the people.
Bettie Hill: Mm. That
Angela Duffy: Huh
Bettie Hill: doesn't
Angela Duffy: cool.
Bettie Hill: really work. To draw,
Angela Duffy: No it's.
Bettie Hill: I guess. Oh. What's
Angela Duffy: Yeah
Bettie Hill: this?
Angela Duffy: it's text.
Bettie Hill: Right.
Angela Duffy: N
Bettie Hill: Hm.
Angela Duffy: no you have to exit. You
Elizabeth Case: So
Angela Duffy: could
Elizabeth Case: that's
Angela Duffy: also make line with uh
Bettie Hill: Yeah. Two hours further.
Angela Duffy: Yeah.
Bettie Hill: thickness. Oh.
Elizabeth Case: So that's blue.
Bettie Hill: Oh. Wh why not go for the twenty?
Angela Duffy: Mm. Yeah.
Bettie Hill: Yeah.
Elizabeth Case: Mm.
Bettie Hill: That's
Angela Duffy: Y
Bettie Hill: what I call painting. So that's that's a dark blue basic colour
Elizabeth Case: Yeah.
Bettie Hill: I guess.
Angela Duffy: Yeah and then on
Bettie Hill: It's pretty
Angela Duffy: top
Bettie Hill: nice.
Angela Duffy: of that.
Bettie Hill: And then uh Oh
Angela Duffy: Some
Bettie Hill: Yeah
Angela Duffy: yellow.
Bettie Hill: with some some yellow banana
Angela Duffy: Banana colour.
Bettie Hill: Like.
Sarah Wilson: And how about some uh some flashing standby lights? Like you have on the Samsung, well I don't like to call brands phones, the you know that 'cause I remember from one of our first meetings that uh people lose their uh remote controls often.
Bettie Hill: Yeah?
Sarah Wilson: So it not not only in in the colours of the LEDs, that we want something to keep it visible at all times, or
Bettie Hill: How do you mean?
Sarah Wilson: Um
Angela Duffy: Yeah
Bettie Hill: Some
Angela Duffy: if
Bettie Hill: some
Angela Duffy: you
Elizabeth Case: Yeah.
Angela Duffy: if flashing colour so you can't lose it, basically.
Sarah Wilson: Yeah. Exactly.
Angela Duffy: Well I
Elizabeth Case: Maybe
Angela Duffy: think
Elizabeth Case: a
Angela Duffy: it's a bit too much but
Sarah Wilson: Yeah.
Bettie Hill: Yeah an orange. Well alright well this
Angela Duffy: Yeah.
Bettie Hill: is more like purple I guess, but
Angela Duffy: Yeah.
Bettie Hill: it's should be more real dark blue, so the contrast with the with the fruit objects is uh pretty
Elizabeth Case: Yeah.
Bettie Hill: high.
Sarah Wilson: Yeah.
Bettie Hill: So uh yeah. That would be a nice uh nice device
Elizabeth Case: And
Bettie Hill: I guess.
Elizabeth Case: which which colour should uh should I give the the display? Uh Or
Angela Duffy: Who?
Bettie Hill: I mean, the the colour of the background of the
Elizabeth Case: Yeah.
Bettie Hill: display?
Elizabeth Case: Yeah.
Bettie Hill: Ah well I don't guess it s has to be a
Angela Duffy: And then you
Bettie Hill: sixty
Angela Duffy: can use yellow
Bettie Hill: uh
Angela Duffy: or semething.
Bettie Hill: sixty six five thousand uh
Angela Duffy: Why
Bettie Hill: colour,
Angela Duffy: not?
Bettie Hill: so yeah too expensive.
Angela Duffy: Aye.
Bettie Hill: So
Elizabeth Case: Yeah.
Bettie Hill: just just a a blue blue
Elizabeth Case: Mm.
Bettie Hill: backlight or
Elizabeth Case: Yeah.
Bettie Hill: something like that. Green is too old-fashioned. But blue,
Sarah Wilson: As
Bettie Hill: blue's
Sarah Wilson: long
Bettie Hill: okay.
Sarah Wilson: as you loo
Bettie Hill: J
Sarah Wilson: use uh high contrast between the the background and the foreground colour.
Elizabeth Case: Yeah maybe
Sarah Wilson: So
Angela Duffy: Like
Sarah Wilson: that
Elizabeth Case: a
Sarah Wilson: people
Angela Duffy: this.
Sarah Wilson: with
Elizabeth Case: maybe
Sarah Wilson: uh
Elizabeth Case: a white
Sarah Wilson: with
Elizabeth Case: a white backlight?
Bettie Hill: White backlight, and dark.
Elizabeth Case: Dark uh letters, yeah.
Bettie Hill: Yeah. Whatever which is visible.
Elizabeth Case: Yeah.
Bettie Hill: I know you sh you should test it under uh under a light conditions. I mean it's hard
Elizabeth Case: Yeah.
Bettie Hill: to tell
Sarah Wilson: And also
Bettie Hill: uh I
Sarah Wilson: for
Bettie Hill: dunno.
Sarah Wilson: people who are a bit colourblind.
Angela Duffy: Colourblind yeah.
Bettie Hill: Yeah. True.
Angela Duffy: No so that's mostly red and green I believe.
Bettie Hill: Which which uh colour should the buttons be?
Elizabeth Case: That's adjustable.
Angela Duffy: Woah.
Bettie Hill: Why
Angela Duffy: All
Bettie Hill: adjustable?
Angela Duffy: all buttons?
Elizabeth Case: Yeah? Or
Angela Duffy: Okay.
Bettie Hill: No
Elizabeth Case: not.
Bettie Hill: uh
Elizabeth Case: That's how we are going to make it uh more trendy. Or is
Bettie Hill: But
Elizabeth Case: it uh too expensive?
Bettie Hill: maybe I mean they
Angela Duffy: It's
Bettie Hill: have
Angela Duffy: difficult.
Bettie Hill: to they have to have some colour right? And if the background is
Angela Duffy: Blue.
Bettie Hill: very dark blue
Angela Duffy: Maybe green.
Sarah Wilson: But don't we wanna make the background the the bright colo colours? So th the total
Angela Duffy: Yeah
Sarah Wilson: of the
Angela Duffy: you can
Sarah Wilson: thing is very bright? Like the pictures I showed you guys. Those
Bettie Hill: Yeah?
Sarah Wilson: things were all like like
Angela Duffy: Mm-hmm
Sarah Wilson: bright
Angela Duffy: flashy.
Sarah Wilson: red, bright red, flashy.
Bettie Hill: So more like
Angela Duffy: Mm bzz.
Bettie Hill: Doesn't work very well. Uh. More like this colour.
Sarah Wilson: Yeah something like that, something that
Bettie Hill: And then
Sarah Wilson: stands out more.
Bettie Hill: then yellow and orange and red objects on it
Elizabeth Case: Mm.
Bettie Hill: or something.
Sarah Wilson: Yeah.
Bettie Hill: But then then again, which colour should the buttons be? The the press buttons. Should they be white or black or
Angela Duffy: Red maybe.
Elizabeth Case: And it it looks
Bettie Hill: Uh
Elizabeth Case: quite
Angela Duffy: Black.
Elizabeth Case: cheap, that colour I think. It's it's not
Sarah Wilson: The green?
Elizabeth Case: Yeah.
Bettie Hill: Yeah
Angela Duffy: Why?
Bettie Hill: but it's pretty
Elizabeth Case: I dunno.
Bettie Hill: fresh, on the
Angela Duffy: Yeah.
Bettie Hill: other side.
Angela Duffy: So
Sarah Wilson: It's actually a pretty trendy colour at the moment.
Elizabeth Case: It's it's trendy okay.
Bettie Hill: Yeah.
Elizabeth Case: But
Bettie Hill: My couch
Elizabeth Case: Mm.
Bettie Hill: is in that colour.
Angela Duffy: Ooh.
Bettie Hill: Yeah. Well
Elizabeth Case: Yeah.
Bettie Hill: it works pretty well. And then time was up.
Angela Duffy: Uh not yet.
Bettie Hill: Uh.
Sarah Wilson: Do you get a pop-up if
Angela Duffy: Yeah
Sarah Wilson: we
Angela Duffy: within five minutes yeah.
Bettie Hill: That
Sarah Wilson: Alright.
Bettie Hill: you have five minutes
Angela Duffy: Y left
Bettie Hill: left or
Angela Duffy: yeah left and then uh I have to kick you
Bettie Hill: So
Angela Duffy: out.
Bettie Hill: something like this.
Elizabeth Case: Yeah.
Bettie Hill: That should be pretty nice colour. But maybe the buttons, all buttons in red is maybe a bad contrast for colourblind
Angela Duffy: Yeah
Bettie Hill: people.
Angela Duffy: yeah.
Sarah Wilson: No
Bettie Hill: Because
Sarah Wilson: that's
Bettie Hill: the
Sarah Wilson: actu
Bettie Hill: of the
Elizabeth Case: But
Bettie Hill: green.
Elizabeth Case: the but the buttons have their own LEDs or not?
Bettie Hill: Yeah.
Angela Duffy: They have LEDs but they
Sarah Wilson: Red
Angela Duffy: have a colour.
Sarah Wilson: and green are actually the b the easiest to discriminate. Even for colourblind.
Bettie Hill: Yeah?
Sarah Wilson: They will see one of each as grey.
Bettie Hill: Yeah.
Sarah Wilson: But if you use uh green on blue, those kind of colours will look the same.
Elizabeth Case: Okay.
Bettie Hill: Okay.
Sarah Wilson: I think.
Bettie Hill: So red buttons are okay?
Sarah Wilson: I think so.
Elizabeth Case: Okay. That
Angela Duffy: You can
Elizabeth Case: that's
Angela Duffy: make
Elizabeth Case: a
Angela Duffy: them
Elizabeth Case: default
Angela Duffy: red.
Elizabeth Case: uh setting. The the red buttons.
Angela Duffy: Yeah. But I think you need to keep in mind that the LEDs are just extra light.
Bettie Hill: How do you mean? Yeah.
Angela Duffy: Uh they they don't determine the colour
Elizabeth Case: Okay. Yeah
Angela Duffy: that much,
Elizabeth Case: I I
Angela Duffy: I
Elizabeth Case: was
Angela Duffy: think.
Elizabeth Case: think about a red uh red LEDs and blue LEDs and
Angela Duffy: 'Cause
Bettie Hill: No
Angela Duffy: you have to
Bettie Hill: that's that's
Angela Duffy: print
Bettie Hill: too
Angela Duffy: on
Bettie Hill: busy
Angela Duffy: them you
Bettie Hill: I guess.
Angela Duffy: have
Elizabeth Case: Yeah.
Angela Duffy: a background. Each number is transparent.
Elizabeth Case: Yeah.
Angela Duffy: Uh partly but you have to print on the number. Or the the sign.
Elizabeth Case: Okay.
Angela Duffy: So you can't
Bettie Hill: You better
Angela Duffy: change
Bettie Hill: bet
Angela Duffy: the colour so
Bettie Hill: better better keep the LED and the button itself in the same colour
Elizabeth Case: Okay.
Angela Duffy: Yeah.
Bettie Hill: I guess. So just an extra
Angela Duffy: Bit of light.
Sarah Wilson: You can
Bettie Hill: bit of light
Sarah Wilson: what
Bettie Hill: and
Sarah Wilson: we
Bettie Hill: attention.
Sarah Wilson: should
Angela Duffy: Bit
Sarah Wilson: do
Angela Duffy: of feedback.
Sarah Wilson: I think is is make kind of a see-through plastic button, with
Elizabeth Case: Yeah.
Angela Duffy: Yeah.
Sarah Wilson: uh one coloured LED behind it.
Angela Duffy: Yeah.
Bettie Hill: Yeah.
Sarah Wilson: So that the whole button will shine
Angela Duffy: Mm-hmm.
Sarah Wilson: as the colour the And if you think about easy to use buttons, we have to, well we have to make it the shape so that it's easy to hold f for both hands, but also that you can reach the buttons
Angela Duffy: Mm-hmm.
Sarah Wilson: with your thumb,
Bettie Hill: Yeah.
Sarah Wilson: if
Angela Duffy: Okay
Sarah Wilson: you hold
Angela Duffy: with
Sarah Wilson: the machine.
Angela Duffy: Uh Don't mean to discourage you but uh basically you two are going to work on the smartboard. Next thirty minutes to design
Sarah Wilson: Ah, right.
Angela Duffy: something so
Bettie Hill: Alright.
Angela Duffy: And the You will do the evaluation.
Bettie Hill: Of the product?
Angela Duffy: Yeah.
Bettie Hill: Which we don't have yet.
Angela Duffy: Yeah uh about
Bettie Hill: So wh how should I do that?
Angela Duffy: Yeah I don't know.
Bettie Hill: Oh
Angela Duffy: You
Bettie Hill: okay.
Angela Duffy: probably get a mail.
Bettie Hill: Or you you or you send it to Bettie Hill. Or just because
Angela Duffy: Yeah.
Bettie Hill: you are
Angela Duffy: Once
Bettie Hill: going
Angela Duffy: they
Bettie Hill: to
Angela Duffy: are finished.
Bettie Hill: design it
Angela Duffy: Yeah.
Bettie Hill: on this board right?
Angela Duffy: Yeah but maybe you can do the evaluation you don't have to evaluate yet but you can make a procedure which to follow.
Bettie Hill: Yeah.
Angela Duffy: I don't know.
Bettie Hill: I I probably get instruction on that,
Angela Duffy: Yeah.
Bettie Hill: how to do that, so I make another presentation I guess.
Angela Duffy: Yeah.
Bettie Hill: I kn I know what's gonna happen in
Angela Duffy: About.
Bettie Hill: in
Angela Duffy: Yeah.
Bettie Hill: yeah so
Angela Duffy: You have the basic idea.
Bettie Hill: I've a basic idea.
Angela Duffy: And you two uh are going to do this.
Elizabeth Case: Yeah.
Sarah Wilson: So
Angela Duffy: Look-and-feel
Sarah Wilson: we're gonna work
Angela Duffy: and
Sarah Wilson: here? On this sketchboard?
Angela Duffy: Yeah.
Bettie Hill: Yeah.
Angela Duffy: Good
Sarah Wilson: Alright.
Angela Duffy: luck.
Sarah Wilson: Thanks.
Bettie Hill: Yeah. Alright so that's
Angela Duffy: So
Bettie Hill: uh
Angela Duffy: I uh make new page and uh be creative.
Bettie Hill: Yeah.
Sarah Wilson: Alright.
Elizabeth Case: But we have to do it at this moment, after
Angela Duffy: Yeah
Elizabeth Case: th this
Angela Duffy: you
Elizabeth Case: meeting?
Angela Duffy: have uh
Sarah Wilson: Thirty minutes.
Angela Duffy: thirty minutes.
Elizabeth Case: Okay.
Angela Duffy: Then we have to uh see something
Bettie Hill: Yeah.
Angela Duffy: which we
Elizabeth Case: Yeah.
Angela Duffy: can
Sarah Wilson: Alright.
Angela Duffy: uh
Elizabeth Case: Ah
Angela Duffy: show
Elizabeth Case: so this
Angela Duffy: to the
Elizabeth Case: is
Angela Duffy: management.
Elizabeth Case: basically the what what we are thinking about?
Sarah Wilson: Yeah. Shall
Angela Duffy: I would
Sarah Wilson: we uh
Angela Duffy: yeah.
Sarah Wilson: make a new uh
Elizabeth Case: Yeah
Angela Duffy: Yeah.
Elizabeth Case: l
Bettie Hill: Yeah.
Elizabeth Case: let's just uh delete all
Angela Duffy: Next.
Elizabeth Case: these uh or
Sarah Wilson: Yeah, I just
Elizabeth Case: Oh, next.
Sarah Wilson: make a new one.
Bettie Hill: Yeah.
Sarah Wilson: Alright.
Angela Duffy: Oh and save this uh board.
Sarah Wilson: Huh?
Angela Duffy: Just
Sarah Wilson: Yeah
Angela Duffy: save
Sarah Wilson: I'll just
Angela Duffy: it.
Sarah Wilson: I'll just keep it there.
Angela Duffy: Yeah okay but just press save and uh
Sarah Wilson: Yeah.
Angela Duffy: It'll be fine.
Bettie Hill: On the left. S so, yeah.
Sarah Wilson: Uh sorry.
Angela Duffy: You can also include clip-art.
Sarah Wilson: Okay.
Bettie Hill: Yeah.
Sarah Wilson: Current
Angela Duffy: So if you'll
Sarah Wilson: colour?
Angela Duffy: rather draw in paint or something
Sarah Wilson: So um
Elizabeth Case: Okay. Uh
Sarah Wilson: Shall we make some outline sketches of the basic shape first?
Elizabeth Case: Yeah.
Sarah Wilson: Because
Elizabeth Case: And then after
Sarah Wilson: I
Elizabeth Case: that we
Sarah Wilson: I
Elizabeth Case: can make the user uh inter interface.
Angela Duffy: then look.
Sarah Wilson: Yeah 'cause I have to uh focus on the on the
Bettie Hill: This?
Sarah Wilson: basic look-and-feel
Angela Duffy: Yeah.
Sarah Wilson: design.
Elizabeth Case: Yeah.
Sarah Wilson: So how it's gonna look. And you have to think
Bettie Hill: Uh
Sarah Wilson: uh
Bettie Hill: pretty
Sarah Wilson: how we're
Bettie Hill: accurate.
Sarah Wilson: gonna put the screen in it and those kind of things. So if I'm drawing and you think okay I'm not gonna be
Bettie Hill: Oh
Sarah Wilson: able
Bettie Hill: we
Sarah Wilson: to put
Bettie Hill: skip
Sarah Wilson: a screen
Bettie Hill: this I
Sarah Wilson: in
Bettie Hill: guess.
Sarah Wilson: there,
Bettie Hill: Sound
Sarah Wilson: you have to
Bettie Hill: button
Sarah Wilson: correct.
Bettie Hill: press.
Elizabeth Case: Yep.
Sarah Wilson: Uh
Angela Duffy: Yeah.
Sarah Wilson: do you mind if I
Angela Duffy: You
Sarah Wilson: draw
Angela Duffy: can also
Sarah Wilson: in black
Angela Duffy: include
Sarah Wilson: then?
Angela Duffy: it. It's
Sarah Wilson: For
Angela Duffy: not much
Sarah Wilson: normal
Angela Duffy: work.
Sarah Wilson: sketches.
Bettie Hill: Light only
Elizabeth Case: Oh
Bettie Hill: button
Elizabeth Case: no it's it's
Bettie Hill: user
Elizabeth Case: okay.
Bettie Hill: ca user interaction.
Sarah Wilson: so we kind
Bettie Hill: Yeah.
Sarah Wilson: of
Angela Duffy: That's
Sarah Wilson: want
Angela Duffy: included.
Sarah Wilson: the girlish
Angela Duffy: Yeah
Bettie Hill: Yeah.
Angela Duffy: okay.
Bettie Hill: So
Sarah Wilson: figure.
Bettie Hill: the pl the plastic plastic buttons also help uh because of um they are only
Sarah Wilson: I'm
Bettie Hill: lit
Sarah Wilson: not so good
Bettie Hill: during
Sarah Wilson: at drawing.
Bettie Hill: interaction. So
Sarah Wilson: Excuse Bettie Hill?
Bettie Hill: Well it's a good thing that the buttons aren't um, well that they are plastic, because then you can light up the light
Elizabeth Case: Yeah.
Bettie Hill: on
Elizabeth Case: Yeah.
Bettie Hill: when when they are usable.
Sarah Wilson: No uh uh.
Bettie Hill: Maybe you should draw it very large
Elizabeth Case: Yeah
Bettie Hill: like this.
Elizabeth Case: but
Angela Duffy: Yeah.
Elizabeth Case: this part isn't uh functioning
Angela Duffy: Sensitive.
Bettie Hill: Oh
Elizabeth Case: properly.
Bettie Hill: right.
Sarah Wilson: How do we uh
Bettie Hill: Erase?
Sarah Wilson: uh or insert text?
Angela Duffy: I dunno. Maybe just start typing.
Elizabeth Case: It's a bit
Sarah Wilson: Oh that's
Elizabeth Case: uh
Sarah Wilson: a
Elizabeth Case: large.
Sarah Wilson: bit big. Yeah.
Angela Duffy: You also do the other sides. Not only on the front si uh the top
Sarah Wilson: Yeah.
Angela Duffy: side
Sarah Wilson: Ex
Angela Duffy: but
Sarah Wilson: exactly.
Angela Duffy: also the the side view.
Elizabeth Case: L
Sarah Wilson: Uh
Elizabeth Case: let's make first the the the all
Angela Duffy: Uh.
Elizabeth Case: the views. The the front view, side view and the back view.
Sarah Wilson: Uh I thought for the side view, that
Angela Duffy: Jesus.
Sarah Wilson: the w
Angela Duffy: What
Sarah Wilson: the
Angela Duffy: do
Sarah Wilson: basic
Angela Duffy: I write
Sarah Wilson: section
Angela Duffy: down?
Bettie Hill: Yeah.
Sarah Wilson: would be rather
Angela Duffy: Why can't
Sarah Wilson: uh
Angela Duffy: I work here? This
Sarah Wilson: a bit
Angela Duffy: is much
Sarah Wilson: thicker than the middle,
Bettie Hill: Much
Sarah Wilson: where
Angela Duffy: easier.
Sarah Wilson: you're
Bettie Hill: easier,
Elizabeth Case: Yeah.
Sarah Wilson: holding
Bettie Hill: yeah.
Sarah Wilson: it with your 'cause your
Angela Duffy: Yeah.
Sarah Wilson: fingers have to fit underneath
Elizabeth Case: The middle has
Sarah Wilson: and
Elizabeth Case: to be
Angela Duffy: Mm.
Elizabeth Case: very small
Bettie Hill: I don't
Elizabeth Case: so
Bettie Hill: see
Elizabeth Case: you
Bettie Hill: a
Elizabeth Case: can
Bettie Hill: sign that the meeting
Elizabeth Case: have
Bettie Hill: is over
Elizabeth Case: it in your
Bettie Hill: yet
Elizabeth Case: hand.
Sarah Wilson: Exactly
Bettie Hill: but
Angela Duffy: No
Sarah Wilson: but
Angela Duffy: so
Sarah Wilson: the
Angela Duffy: I just
Sarah Wilson: uh
Angela Duffy: work here
Sarah Wilson: but
Angela Duffy: a
Sarah Wilson: the
Angela Duffy: few minutes.
Sarah Wilson: upper
Bettie Hill: Yeah.
Sarah Wilson: side has to be a bit more like that I think.
Elizabeth Case: Yeah
Sarah Wilson: Uh don't
Elizabeth Case: the display,
Sarah Wilson: you think?
Elizabeth Case: we yeah we can
Sarah Wilson: So
Elizabeth Case: put
Sarah Wilson: the
Elizabeth Case: a
Sarah Wilson: display
Elizabeth Case: display.
Sarah Wilson: we will put in here, the basic uh functions in here, where it's most reachable.
Elizabeth Case: Yeah.
Sarah Wilson: The
Elizabeth Case: The the
Sarah Wilson: The th
Elizabeth Case: arrow functions.
Sarah Wilson: Exactly.
Elizabeth Case: Yeah. Yeah.
Sarah Wilson: Oh. This is hard. What do don't have to draw it exactly do we?
Elizabeth Case: No it's it's uh it's okay.
Sarah Wilson: Wait. Let Bettie Hill try it one more time. Maybe I've uh it's easier if I draw it in once. Okay, of course it will become way more ugly.
Elizabeth Case: You can make it m larger. Maybe it's easier to to draw uh
Sarah Wilson: Yeah. This'll take forever. It's fun to work with this pen. Um so, larger.
Bettie Hill: Oh.
Elizabeth Case: Yeah
Bettie Hill: Wrong
Elizabeth Case: that's
Sarah Wilson: And
Bettie Hill: one.
Elizabeth Case: that's the basic idea. Yeah.
Sarah Wilson: yeah. So side.
Angela Duffy: Five minutes left before the meeting ends.
Sarah Wilson: 'Kay. Um other views?
Bettie Hill: Alright.
Elizabeth Case: Yeah only if you are going to put buttons on the side of the
Sarah Wilson: Uh
Elizabeth Case: unit.
Sarah Wilson: Yeah.
Elizabeth Case: That's the question.
Bettie Hill: But we we
Sarah Wilson: Let's fill i fill in the buttons later.
Elizabeth Case: Yeah.
Sarah Wilson: So this is gonna be from the
Bettie Hill: I is it if
Sarah Wilson: uh from
Bettie Hill: if this is from the side woah.
Elizabeth Case: From
Sarah Wilson: yeah
Elizabeth Case: the
Sarah Wilson: yeah.
Bettie Hill: Steady.
Sarah Wilson: Sorry.
Bettie Hill: Because there the screen goes up like that right?
Sarah Wilson: Yeah.
Bettie Hill: So then it's like this, or
Sarah Wilson: Yeah?
Bettie Hill: that's not convenient because then you have the screen like this and look like the it's better to have it somewhat like this. Or does it flip
Elizabeth Case: Yeah
Sarah Wilson: The
Elizabeth Case: I'm
Sarah Wilson: the
Elizabeth Case: I'm
Sarah Wilson: idea
Bettie Hill: all the way?
Sarah Wilson: is that it has to flip up
Elizabeth Case: May
Sarah Wilson: to here.
Elizabeth Case: maybe it's it's easier to to integrate the the the L_C_D_ screen just into this this bubble.
Sarah Wilson: Okay.
Elizabeth Case: Because it do doesn't have to flip then. Because
Sarah Wilson: Yeah.
Elizabeth Case: we have en enough
Sarah Wilson: Yeah yeah
Elizabeth Case: space
Sarah Wilson: yeah.
Elizabeth Case: for for making a an L_C_D. Because
Bettie Hill: It's
Elizabeth Case: here
Bettie Hill: better to to
Sarah Wilson: True.
Bettie Hill: have this like this I guess, and then flip it like
Elizabeth Case: But why
Bettie Hill: this.
Elizabeth Case: why do we need uh the flipping uh
Sarah Wilson: you can adjust the angle to which it flips. So it can also from this angle, it can flip all the
Elizabeth Case: Okay.
Sarah Wilson: way up to there.
Elizabeth Case: Yeah.
Sarah Wilson: You can flip it up to there if you
Bettie Hill: Yeah.
Sarah Wilson: want.
Bettie Hill: So w yeah. But we still keep the flipping mechanism.
Sarah Wilson: Think
Elizabeth Case: Yeah.
Sarah Wilson: so.
Angela Duffy: Yeah we keep the flip? Keep the
Sarah Wilson: Yeah
Angela Duffy: flip
Sarah Wilson: because
Angela Duffy: live.
Sarah Wilson: I think it will feel weird if you would make this smaller and this bigger or something that
Elizabeth Case: Yeah.
Sarah Wilson: I dunno.
Elizabeth Case: Uh the the shape is okay but yeah? I don't see the the yeah why why we should use the the flipping uh mechanism.
Bettie Hill: Yeah.
Sarah Wilson: I
Elizabeth Case: Because
Sarah Wilson: thought
Elizabeth Case: we
Sarah Wilson: it would be cool.
Elizabeth Case: Okay yeah. It's it's for
Bettie Hill: Yeah
Elizabeth Case: for
Bettie Hill: but
Elizabeth Case: for
Bettie Hill: maybe
Elizabeth Case: more trendy uh
Bettie Hill: Yeah but maybe we we should then
Elizabeth Case: Because we have enough space. H here we got uh the basic functions,
Bettie Hill: Yeah
Elizabeth Case: the
Bettie Hill: there the middle
Elizabeth Case: the arrow uh yeah button.
Bettie Hill: Sh sh shouldn't we integrate it?
Elizabeth Case: Yeah and
Bettie Hill: And then
Elizabeth Case: then h we sh mm.
Bettie Hill: like i oh th doh. Come on. So this is the shape. Oh. It hasn't
Sarah Wilson: It doesn't aim so well.
Bettie Hill: Okay but the screen is a bit lower because if it falls
Elizabeth Case: Yeah,
Bettie Hill: on the other side,
Elizabeth Case: then it's
Bettie Hill: it doesn't fall on the screen. So there's a layer of rubber on
Sarah Wilson: Yeah
Bettie Hill: the side.
Sarah Wilson: yeah yeah. Definitely.
Bettie Hill: So no flipping but just
Elizabeth Case: No flipping or
Angela Duffy: No flipping?
Bettie Hill: no.
Elizabeth Case: you wanted the flipping so
Sarah Wilson: Yeah I guess but uh I mean
Elizabeth Case: But
Sarah Wilson: most
Elizabeth Case: if you
Sarah Wilson: votes
Elizabeth Case: if you
Sarah Wilson: count right?
Elizabeth Case: If you drop it it it just breaks. And it has to be very strong because of the. Yeah
Bettie Hill: Throwing
Angela Duffy: It's shaking.
Sarah Wilson: Yeah.
Bettie Hill: and the kinetics. Oh.
Elizabeth Case: kind of
Bettie Hill: We
Sarah Wilson: Yeah
Bettie Hill: better
Sarah Wilson: true
Bettie Hill: make
Sarah Wilson: true.
Bettie Hill: we better make it like this.
Sarah Wilson: Yeah.
Bettie Hill: Eventually.
Angela Duffy: Yeah just
Sarah Wilson: Yeah
Elizabeth Case: And
Sarah Wilson: if
Angela Duffy: light
Elizabeth Case: it's
Sarah Wilson: you if
Angela Duffy: on top.
Sarah Wilson: you're going
Elizabeth Case: also
Sarah Wilson: for
Elizabeth Case: for
Sarah Wilson: the kinetics
Elizabeth Case: the for
Bettie Hill: Yeah.
Elizabeth Case: the children, it's yeah for people
Angela Duffy: Safer.
Elizabeth Case: not sixteen years.
Angela Duffy: Mm.
Bettie Hill: Uh
Elizabeth Case: But
Bettie Hill: they
Angela Duffy: Yeah
Elizabeth Case: there
Bettie Hill: are
Elizabeth Case: are
Bettie Hill: responsible
Angela Duffy: okay
Elizabeth Case: more
Angela Duffy: that the
Bettie Hill: enough
Angela Duffy: target
Bettie Hill: to have a mobile
Angela Duffy: group.
Bettie Hill: phone, so also to to
Elizabeth Case: Yeah
Bettie Hill: deal
Elizabeth Case: okay.
Bettie Hill: with their
Elizabeth Case: That's true.
Bettie Hill: uh remote uh control. Yes.
Elizabeth Case: Okay. Yeah?
Angela Duffy: Well.
Sarah Wilson: Yeah. I'm just
Angela Duffy: I just
Sarah Wilson: thinking
Angela Duffy: uh ended
Sarah Wilson: totally
Angela Duffy: the meeting.
Sarah Wilson: different
Angela Duffy: You
Sarah Wilson: designs
Angela Duffy: two go
Sarah Wilson: also.
Angela Duffy: design.
Elizabeth Case: Okay
Sarah Wilson: Remember
Elizabeth Case: wi
Sarah Wilson: that the weird pocketphone thingy
Angela Duffy: Oh.
Sarah Wilson: which
Angela Duffy: By the way.
Sarah Wilson: looked like
Angela Duffy: Um
Sarah Wilson: kind of a Gameboy.
Elizabeth Case: Yeah.
Sarah Wilson: Maybe we should try something like that.
Angela Duffy: I
Sarah Wilson: But yeah.
Angela Duffy: uh thought up a name for our product.
Bettie Hill: Yeah?
Sarah Wilson: Oh
Angela Duffy: Yeah.
Sarah Wilson: right.
Angela Duffy: It's called uh the Real Remote.
Bettie Hill: Ooh.
Sarah Wilson: Alright.
Angela Duffy: With a copyright sign after Real.
Bettie Hill: Yeah.
Elizabeth Case: The
Bettie Hill: Alright.
Elizabeth Case: Real Remote.
Sarah Wilson: Yeah. I like it. Okay.
Angela Duffy: So
Bettie Hill: Good.
Angela Duffy: maybe
Sarah Wilson: This
Angela Duffy: you
Sarah Wilson: can
Angela Duffy: can
Sarah Wilson: go.
Angela Duffy: include that somewhere.
Bettie Hill: Yeah. We should work in our own room right? Or
Angela Duffy: Yeah.
Sarah Wilson: Oh
Bettie Hill: not?
Sarah Wilson: yeah we have to f uh include that in our design
Angela Duffy: I don't see
Sarah Wilson: as
Angela Duffy: any
Sarah Wilson: well.
Angela Duffy: power cables here so
Sarah Wilson: Let's see.
Bettie Hill: Yeah. Yes.
Sarah Wilson: What the hell's that?
Angela Duffy: 'Kay.
Bettie Hill: See you two
Elizabeth Case: I think
Bettie Hill: in half
Elizabeth Case: uh
Bettie Hill: an hour
Elizabeth Case: it's
Bettie Hill: uh
Elizabeth Case: the sensors. Okay.
Sarah Wilson: Uh
Angela Duffy: Good luck.
Elizabeth Case: Yep. Okay that's the side. Ah it's it's okay. But do we want uh options on the on the side with the with the buttons?
Sarah Wilson: Yeah.
Elizabeth Case: Or just
Sarah Wilson: I
Elizabeth Case: leave
Sarah Wilson: think
Elizabeth Case: it?
Sarah Wilson: we do.
Elizabeth Case: Uh could make an uh a volume button uh scroll, volume button.
Sarah Wilson: Yeah or j or also scrolling for the m
Elizabeth Case: For
Sarah Wilson: yeah.
Elizabeth Case: menu.
Sarah Wilson: Yeah?
Elizabeth Case: Or
Sarah Wilson: I dunno. We w kind of wanted to stick with the
Elizabeth Case: Yeah. No,
Sarah Wilson: Yeah I'm just
Elizabeth Case: yeah.
Sarah Wilson: thinking, if we i we wanna make something different right? So the with the scroll is is more futuristic than the standard arrow buttons.
Elizabeth Case: Yeah.
Sarah Wilson: I think.
Elizabeth Case: Mm. Yeah you are going to design it so. | Bettie Hill talked about trendwatching and explained that the current trends are for fruit and vegetable themed products and products with a spongy texture. For users, the three most important aspects of a remote control are a fancy look and feel, technological innovation, and ease of use. Sarah Wilson talked about the options for energy source, case shape and material, and internal components. The group decided on using kinetic energy, and a double-curved rubber case. Elizabeth Case talked about speech recognition and what functions will be controlled through buttons or the lcd screen menu. Angela Duffy ran through the group's decisions so far and led a discussion of their remaining options, including the colour of the case and buttons, and whether the remote should flip open or not. | 4 | amisum | train |
Victoria Pimentel: Okay. Uh first of all I'll start with the costs, because that's going to influence
Louise Griego: Oh no.
Victoria Pimentel: our design.
Betty Rogers: Oh,
Victoria Pimentel: If you Don't know if you al already had a look or not?
Carolyn Clark: Did you
Louise Griego: No
Carolyn Clark: do your
Louise Griego: n
Betty Rogers: No.
Carolyn Clark: questionnaire already?
Louise Griego: I I already did it. It's not much. It's just
Victoria Pimentel: Because
Louise Griego: one
Carolyn Clark: Uh
Louise Griego: question.
Betty Rogers: Oh
Victoria Pimentel: we have a problem. If you look closely,
Louise Griego: Yeah.
Victoria Pimentel: you can see.
Carolyn Clark: It wants
Victoria Pimentel: Um I already took the liberty to make some suggestions.
Victoria Pimentel: At the moment we have fifteen buttons, one L_C_D_ screen, one advanced chip-on-print. We use a uh sensor, that's for the speech. Uh we use kinetic energy. And we wanted uh the buttons in a special colour. Okay. What's the first thing we should drop? The special colour of the buttons?
Louise Griego: No that's that's for the trendy uh
Victoria Pimentel: Okay.
Louise Griego: feel and look. So
Carolyn Clark: Yeah
Victoria Pimentel: Uh
Carolyn Clark: but everything is.
Victoria Pimentel: Should we switch to a hand dynamo? Uh that's
Betty Rogers: No.
Victoria Pimentel: the still the same idea as the kinetic energy because you have to use
Louise Griego: Yeah,
Victoria Pimentel: it
Louise Griego: b
Victoria Pimentel: and do
Betty Rogers: Yeah
Victoria Pimentel: things.
Louise Griego: but
Betty Rogers: but young people like that. So
Victoria Pimentel: Batteries?
Betty Rogers: just do normal battery.
Victoria Pimentel: Batteries.
Louise Griego: I think
Carolyn Clark: Just
Louise Griego: the
Carolyn Clark: a
Louise Griego: battery
Carolyn Clark: normal
Louise Griego: option.
Carolyn Clark: battery then, yeah.
Betty Rogers: Yeah. It has to be twelve and a half.
Victoria Pimentel: Yeah.
Betty Rogers: Or not?
Louise Griego: Oh.
Carolyn Clark: Oh my goodness.
Victoria Pimentel: So You're going to redesign something.
Louise Griego: Oh no.
Victoria Pimentel: Okay, so we're at twenty five.
Betty Rogers: Uh, yeah.
Victoria Pimentel: Um Do we keep the shape doubly curved or g do we go for single curved?
Carolyn Clark: Well I guess i we'll have to go for single curve then. I mean we have to drop on everything.
Victoria Pimentel: Mm-hmm.
Betty Rogers: But
Victoria Pimentel: Uh
Betty Rogers: we can keep it single curved with uh top view still curved, but from the side it's it's flat, and
Carolyn Clark: Yeah.
Betty Rogers: the screen screen is just Well you just have to hold it like this then. So
Victoria Pimentel: Yeah.
Carolyn Clark: How
Victoria Pimentel: Um
Carolyn Clark: about Sorry.
Victoria Pimentel: Uh another option I saw was to drop the buttons one through nine, so you can't directly access a channel, but instead use only the up and down arrows.
Carolyn Clark: That's what
Victoria Pimentel: That
Carolyn Clark: I
Victoria Pimentel: would
Carolyn Clark: was thinking.
Victoria Pimentel: skip
Louise Griego: Yeah.
Victoria Pimentel: nine buttons and four and a half Euros.
Betty Rogers: Alright.
Victoria Pimentel: Yeah?
Betty Rogers: Let's
Carolyn Clark: A a
Betty Rogers: do it then. Yeah.
Victoria Pimentel: Uh then
Louise Griego: But
Victoria Pimentel: we have
Louise Griego: we
Victoria Pimentel: left
Louise Griego: don't have any basic options any more.
Victoria Pimentel: Uh yeah. We do.
Carolyn Clark: And uh
Betty Rogers: F_
Carolyn Clark: 'cause
Betty Rogers: eight.
Carolyn Clark: then they don't have to n They don't need special colour as well.
Victoria Pimentel: They don't need special colours. Fine. That's more like it.
Betty Rogers: Yeah.
Victoria Pimentel: You were saying something.
Carolyn Clark: That was exactly my point. Like
Victoria Pimentel: Yeah.
Carolyn Clark: let's drop all the buttons, and just make one I mean we're gonna use the L_C_D_ screen anyway.
Victoria Pimentel: Mm-hmm.
Carolyn Clark: So we'll just have to use it for everything.
Victoria Pimentel: Yeah.
Carolyn Clark: And then you can make an overview of channels in the screen, and select a channel,
Victoria Pimentel: Yeah, some
Carolyn Clark: click
Victoria Pimentel: more menu options. Yeah. Okay so maybe we can drop few more buttons. But um Now let's look.
Louise Griego: Yeah we c could We only need the the the the the menu arrow arrow button uh thing. Everything you can do with with menu. So
Victoria Pimentel: Mm-hmm.
Louise Griego: With the
Carolyn Clark: Yeah
Louise Griego: display.
Carolyn Clark: we need one integrated button for everything
Louise Griego: Yeah.
Carolyn Clark: then.
Betty Rogers: The joystick.
Carolyn Clark: Yeah. Kind of. I was
Victoria Pimentel: Uh
Carolyn Clark: Because Yeah.
Victoria Pimentel: Yeah, scroll-wheel, push-button uh
Betty Rogers: Integrated
Carolyn Clark: If you if you go
Betty Rogers: scroll-wheel
Carolyn Clark: to
Betty Rogers: push-button,
Carolyn Clark: If
Betty Rogers: yeah.
Carolyn Clark: you go to our uh view, like you if you are in the sound system there,
Victoria Pimentel: Yeah.
Carolyn Clark: uh and you wanna adjust the treble for instance,
Victoria Pimentel: Yeah.
Carolyn Clark: this is just uh an example,
Victoria Pimentel: Mm-hmm.
Carolyn Clark: y y you wanna see a bar on which you can adjust it from
Victoria Pimentel: Mm-hmm.
Carolyn Clark: zero to ten for example.
Victoria Pimentel: Mm-hmm.
Carolyn Clark: But you want a sound preview of how it's gonna sound, right? So
Victoria Pimentel: Yeah.
Carolyn Clark: you wanna click on it, activate it, whe and when you move it, hear the difference of the treble coming out
Victoria Pimentel: Yeah.
Carolyn Clark: or going into the sound. So you'll you'll need a a kind of a joystick
Betty Rogers: Yeah or
Carolyn Clark: uh
Betty Rogers: or the
Carolyn Clark: button.
Betty Rogers: integrated scroll-wheel push-button.
Carolyn Clark: Yeah.
Betty Rogers: So that's kind of on your mouse and then you can click it, adjust it, click again and then you're out of it. But
Carolyn Clark: Exactly.
Betty Rogers: you still But you then still need to have Well you can use the scroll-wheel as well for um maybe for the channels. But you still um
Carolyn Clark: Yeah it's r Yeah.
Betty Rogers: You still have to have some some button in the
Louise Griego: So
Betty Rogers: menu
Louise Griego: you do one
Betty Rogers: to go
Louise Griego: inte
Betty Rogers: back.
Louise Griego: You can do one integrated scroll-wheel push-button.
Betty Rogers: Yeah.
Louise Griego: And then just drop all the other buttons.
Victoria Pimentel: Uh yeah.
Betty Rogers: Well not all. Not
Louise Griego: But
Betty Rogers: s not sound
Louise Griego: but
Betty Rogers: I
Louise Griego: th
Betty Rogers: guess.
Louise Griego: the cost of one
Carolyn Clark: No.
Louise Griego: integrated button is far more than a few extra push-buttons.
Victoria Pimentel: Yeah. It's uh One integrated button is five times the cost of a normal
Louise Griego: Yeah.
Victoria Pimentel: button.
Betty Rogers: Mm.
Louise Griego: So we
Victoria Pimentel: So
Louise Griego: have to to make it s uh more uh It has
Victoria Pimentel: You
Louise Griego: to be
Victoria Pimentel: could also drop j three more of these, without losing much functionality.
Betty Rogers: Yeah.
Victoria Pimentel: You
Betty Rogers: Wh
Victoria Pimentel: just
Betty Rogers: wh
Victoria Pimentel: drop
Betty Rogers: what
Victoria Pimentel: the
Betty Rogers: what
Victoria Pimentel: Okay
Betty Rogers: what
Victoria Pimentel: and
Betty Rogers: is
Victoria Pimentel: the Back.
Betty Rogers: the what is the uh sample sensor sample speaker?
Victoria Pimentel: Oh, that's for the speech.
Betty Rogers: Speech recognition.
Victoria Pimentel: Yeah.
Louise Griego: Could
Betty Rogers: Right.
Louise Griego: drop the speech recognition.
Victoria Pimentel: S s Drop speech recognition?
Carolyn Clark: No but
Victoria Pimentel: Yeah that's
Louise Griego: We
Victoria Pimentel: possible.
Louise Griego: we d
Carolyn Clark: Yeah it's it's expensive, but uh we never considered the possibilities of uh speech recognition. 'Cause it can take the function of a lot of uh
Victoria Pimentel: Buttons.
Betty Rogers: Buttons.
Carolyn Clark: uh buttons.
Victoria Pimentel: That's
Louise Griego: Yeah.
Victoria Pimentel: not
Carolyn Clark: I
Victoria Pimentel: very easy to use.
Betty Rogers: No,
Carolyn Clark: No.
Betty Rogers: it can be disturbed by by noise and
Carolyn Clark: Yeah
Betty Rogers: stuff
Carolyn Clark: but lets
Betty Rogers: like
Carolyn Clark: just say that
Betty Rogers: that. Let
Carolyn Clark: the speech
Betty Rogers: let let
Carolyn Clark: recognition
Betty Rogers: Betty Rogers see what's more
Carolyn Clark: works.
Betty Rogers: what's more popular. I guess the the screen was more popular than um than the speech recognition.
Louise Griego: Yeah.
Betty Rogers: I have to look on that. Let Betty Rogers see. Uh well no I was wrong. There are more people who like speech recognition than
Victoria Pimentel: Yep.
Betty Rogers: an L_C_D_ screen.
Victoria Pimentel: Okay. Because if you d
Betty Rogers: But
Victoria Pimentel: lose
Betty Rogers: if it
Victoria Pimentel: the L_C_D_ screen,
Betty Rogers: But it
Victoria Pimentel: we
Betty Rogers: it it's a it's a both
Louise Griego: We
Betty Rogers: a
Louise Griego: lose
Victoria Pimentel: need
Betty Rogers: hypers
Louise Griego: our
Victoria Pimentel: a lot
Louise Griego: whole
Victoria Pimentel: of
Louise Griego: concept. Uh
Victoria Pimentel: Yeah.
Louise Griego: so No we
Victoria Pimentel: We need
Louise Griego: just
Victoria Pimentel: a
Betty Rogers: No,
Victoria Pimentel: lot of extra
Betty Rogers: but
Victoria Pimentel: buttons.
Louise Griego: We keep
Betty Rogers: Well
Louise Griego: the
Betty Rogers: we
Louise Griego: L_C_D_.
Betty Rogers: Yeah we keep the screen. I mean it's it's about the same. Eight one to ninety one percent, uh
Carolyn Clark: We
Victoria Pimentel: Okay
Betty Rogers: sixty
Carolyn Clark: uh we
Victoria Pimentel: so
Betty Rogers: six
Carolyn Clark: we
Victoria Pimentel: we drop
Betty Rogers: to
Carolyn Clark: haven't
Betty Rogers: seventy
Victoria Pimentel: the speech.
Carolyn Clark: really
Betty Rogers: six.
Carolyn Clark: integrated this the speech into the system, so we can might as well s
Victoria Pimentel: And
Carolyn Clark: drop
Victoria Pimentel: drop
Carolyn Clark: that.
Victoria Pimentel: it
Betty Rogers: Yeah.
Louise Griego: Yeah.
Victoria Pimentel: yeah?
Betty Rogers: Let's
Victoria Pimentel: Okay.
Betty Rogers: drop
Victoria Pimentel: S
Betty Rogers: the speech.
Victoria Pimentel: Fo Four less Euros.
Betty Rogers: Sixteen
Victoria Pimentel: So
Betty Rogers: Euros.
Victoria Pimentel: we still have three and a half Euro to lose.
Carolyn Clark: We need
Betty Rogers: But
Carolyn Clark: to
Betty Rogers: y y
Carolyn Clark: lose some buttons.
Victoria Pimentel: Yeah if you lose the the Back, the Okay button Uh v let's say we only have the four arrows,
Betty Rogers: Yeah.
Victoria Pimentel: and the Menu button.
Betty Rogers: Yeah.
Victoria Pimentel: Then
Betty Rogers: And
Victoria Pimentel: you're
Betty Rogers: then and then use um
Victoria Pimentel: Oh and the power button we have also.
Betty Rogers: The the Okay. And the menu button does also does the okay function then.
Victoria Pimentel: Yeah.
Betty Rogers: And then when you in the menu
Victoria Pimentel: So that's one
Betty Rogers: S
Victoria Pimentel: Euro.
Betty Rogers: so so you activate the menu.
Louise Griego: If we do uh two integrated scroll-wheel push-buttons, we
Victoria Pimentel: Yeah.
Louise Griego: can drop all the the push-buttons.
Victoria Pimentel: Yeah?
Louise Griego: With
Victoria Pimentel: And
Louise Griego: with one uh integrated button we can uh do the whole menu thing.
Betty Rogers: Yeah
Louise Griego: With
Betty Rogers: yeah.
Louise Griego: the other, we can do the the channel, the volume, et cetera.
Betty Rogers: Yeah.
Victoria Pimentel: That would save zero point two Euros compared to No.
Louise Griego: No it's three Euros. No? Um
Victoria Pimentel: Yeah.
Louise Griego: No
Victoria Pimentel: To
Louise Griego: it's
Victoria Pimentel: This
Louise Griego: it's
Victoria Pimentel: together
Louise Griego: n Yeah.
Victoria Pimentel: is more expensive than
Louise Griego: Yeah yeah
Victoria Pimentel: Oof,
Louise Griego: yeah.
Victoria Pimentel: it's almost the same as t keeping this.
Betty Rogers: Well okay.
Victoria Pimentel: And we can
Betty Rogers: For
Victoria Pimentel: drop
Louise Griego: It's
Betty Rogers: example
Victoria Pimentel: these
Louise Griego: the
Betty Rogers: if you have f
Victoria Pimentel: two.
Betty Rogers: f four buttons, channel up and down, uh volume
Victoria Pimentel: Volume.
Betty Rogers: left right Okay, I've I think we have to keep that.
Victoria Pimentel: And the
Betty Rogers: And
Victoria Pimentel: power
Betty Rogers: then
Victoria Pimentel: button.
Betty Rogers: and the power button. So that's five.
Victoria Pimentel: That's the basic.
Betty Rogers: That's basic. That that's what you need anyway. And then for the menu, um you can have a button that activates menu. Or d or do we just integrate an an an scroll-wheel with a push-button. And then if the moment you use the scroll-wheel, the the the menu gets activated, and then you can scroll, choose an option, click on it, it goes into an feature. Click on it again, selects features, scroll, adjust it. Click again, it's okay. Then you only need one button to move back. Or or under each option, you set a you set an a screen thing what says back, and you select that one, click again, and you go one step back. And in that menu, scroll, click, one step back. So that then you need five buttons,
Victoria Pimentel: Yep.
Betty Rogers: and one integrated scroll-wheel push-button.
Carolyn Clark: Which
Betty Rogers: But
Victoria Pimentel: Okay
Betty Rogers: we
Victoria Pimentel: th
Betty Rogers: can't
Victoria Pimentel: that's
Carolyn Clark: That's
Betty Rogers: drop three buttons. But I
Carolyn Clark: even
Betty Rogers: see
Victoria Pimentel: Yeah
Betty Rogers: that's
Victoria Pimentel: that's one Euro more expensive.
Betty Rogers: Yeah. So that's not a good
Victoria Pimentel: That's
Betty Rogers: idea.
Victoria Pimentel: not an option.
Betty Rogers: Because which buttons do we have now? Those five which I mentioned, and then menu, and
Victoria Pimentel: Menu,
Betty Rogers: then
Victoria Pimentel: power.
Betty Rogers: Yeah. F of the four things?
Victoria Pimentel: Four arrows?
Betty Rogers: Yeah, th power.
Victoria Pimentel: Power. Uh
Betty Rogers: Which
Carolyn Clark: Yeah, if
Betty Rogers: more?
Carolyn Clark: you if you go to eight I don't know how to
Victoria Pimentel: Yeah. Okay. So four arrows?
Betty Rogers: Yeah.
Victoria Pimentel: Uh
Betty Rogers: Power.
Victoria Pimentel: power I believe?
Betty Rogers: Th Yeah that's five.
Victoria Pimentel: Uh We have a Back and a Okay button.
Betty Rogers: Yeah, okay that's seven,
Victoria Pimentel: And
Betty Rogers: and
Victoria Pimentel: the
Betty Rogers: one to activate the menu,
Victoria Pimentel: Menu.
Betty Rogers: yeah. So okay that's eight. Well we can't reduce that. We we keep the display. Oh, well
Victoria Pimentel: Yeah,
Betty Rogers: okay.
Victoria Pimentel: and even if we drop three buttons from here, we still have to make some adjustments around here. So
Betty Rogers: Yeah.
Carolyn Clark: Yeah, we need the chip for the for the
Victoria Pimentel: The
Carolyn Clark: L_C_
Victoria Pimentel: L_C_D_?
Carolyn Clark: display.
Victoria Pimentel: Yeah.
Louise Griego: Let's
Betty Rogers: Yeah
Louise Griego: make
Betty Rogers: well we
Louise Griego: the
Betty Rogers: need
Louise Griego: Let's
Betty Rogers: the
Louise Griego: make
Betty Rogers: advanced
Louise Griego: the case plastic.
Betty Rogers: Instead
Victoria Pimentel: Then I rather
Betty Rogers: of r
Victoria Pimentel: make it wood. Because then also it's good in the market with the
Louise Griego: Yeah.
Victoria Pimentel: forty five plus uh
Carolyn Clark: Yeah.
Victoria Pimentel: people.
Betty Rogers: Yeah
Carolyn Clark: True.
Betty Rogers: but but that's not
Louise Griego: But
Betty Rogers: our market.
Victoria Pimentel: No that maybe not. But maybe it's better than plastic anyway.
Betty Rogers: Ah no, hard plastic.
Louise Griego: Plastic
Carolyn Clark: Oh.
Louise Griego: with a with a special colour. A
Betty Rogers: Yeah,
Louise Griego: woo wood
Betty Rogers: plastic
Louise Griego: uh wood
Betty Rogers: with special
Louise Griego: uh wood
Betty Rogers: colour.
Louise Griego: colour.
Victoria Pimentel: Yeah?
Louise Griego: That's
Victoria Pimentel: Yeah
Louise Griego: an option.
Victoria Pimentel: okay
Betty Rogers: No
Victoria Pimentel: uh
Betty Rogers: but I I Because we have to use the special colour anyway. You forgot that.
Louise Griego: Yeah.
Victoria Pimentel: Yep. Yeah, yeah.
Betty Rogers: So
Louise Griego: So
Betty Rogers: let's
Louise Griego: we do
Betty Rogers: go
Louise Griego: one
Betty Rogers: for the plastic.
Louise Griego: one s Yeah.
Victoria Pimentel: Yeah, okay. Plastic.
Betty Rogers: And since it's not kinetic, it doesn't have to flip
Victoria Pimentel: Uh that's
Betty Rogers: around
Victoria Pimentel: easy
Betty Rogers: that
Victoria Pimentel: because
Betty Rogers: much?
Victoria Pimentel: plastic
Carolyn Clark: Hmm.
Victoria Pimentel: is free.
Louise Griego: Hmm.
Betty Rogers: We still have problem of two Euros.
Victoria Pimentel: Yeah, okay. Uh if we dropped uh
Louise Griego: No the buttons, those are really needed.
Victoria Pimentel: Yeah?
Betty Rogers: Yeah
Louise Griego: Yeah
Betty Rogers: we can't
Louise Griego: th th
Betty Rogers: drop
Louise Griego: it's
Betty Rogers: them.
Louise Griego: it's uh An advanced chip-on-print.
Carolyn Clark: Yeah uh
Victoria Pimentel: You still need
Carolyn Clark: You
Betty Rogers: Do we
Victoria Pimentel: that.
Betty Rogers: really need
Carolyn Clark: uh uh
Betty Rogers: that advanced chip for an L_C_D_ display?
Carolyn Clark: Yeah. So the other option would be to go for the the sample speaker, and Which can use a regular chip, wh which is six Euros
Victoria Pimentel: S
Carolyn Clark: in total. That doesn't matter.
Betty Rogers: Oh.
Victoria Pimentel: No,
Betty Rogers: I rather
Victoria Pimentel: I
Betty Rogers: keep
Victoria Pimentel: keep
Betty Rogers: I rather
Victoria Pimentel: the re
Betty Rogers: keep the display.
Victoria Pimentel: Yeah.
Carolyn Clark: Well
Victoria Pimentel: Yeah.
Carolyn Clark: yeah.
Victoria Pimentel: Because
Betty Rogers: So
Victoria Pimentel: we already designed for
Betty Rogers: the
Victoria Pimentel: it.
Betty Rogers: only
Victoria Pimentel: So
Betty Rogers: option is an hand
Carolyn Clark: Exactly.
Betty Rogers: dynamo.
Louise Griego: Oh
Victoria Pimentel: Yeah
Louise Griego: that
Victoria Pimentel: and something else.
Betty Rogers: Oh no tha Oh that's
Carolyn Clark: Yeah
Betty Rogers: one
Carolyn Clark: but
Betty Rogers: Euro,
Carolyn Clark: the
Betty Rogers: right.
Carolyn Clark: uh can't we f uh fit all the buttons in an intreg integrated scroll push-button? 'Cause that will save us one and a half Euro already. And
Betty Rogers: And
Carolyn Clark: then
Betty Rogers: then
Carolyn Clark: if
Betty Rogers: integrated
Carolyn Clark: w
Betty Rogers: s Yeah but that would make it not so
Victoria Pimentel: No
Betty Rogers: easy
Victoria Pimentel: y
Betty Rogers: to use.
Victoria Pimentel: you
Betty Rogers: I mean it's
Victoria Pimentel: would
Betty Rogers: not
Victoria Pimentel: rec
Betty Rogers: that important, easy to use, but
Victoria Pimentel: Then you
Carolyn Clark: Th then we have
Victoria Pimentel: have
Carolyn Clark: to scroll through a lot of menus to be able to get where you want,
Victoria Pimentel: Then you
Carolyn Clark: huh?
Victoria Pimentel: still
Carolyn Clark: And
Betty Rogers: Yeah.
Victoria Pimentel: need
Carolyn Clark: uh
Victoria Pimentel: two additional buttons I believe. For
Carolyn Clark: Yeah
Victoria Pimentel: the volume.
Carolyn Clark: d at l
Victoria Pimentel: You
Carolyn Clark: Yeah.
Victoria Pimentel: can use those Yeah.
Carolyn Clark: At least one for power.
Louise Griego: But
Victoria Pimentel: Oh
Louise Griego: the
Victoria Pimentel: yeah and power. That's
Carolyn Clark: Oh.
Victoria Pimentel: three buttons and this would
Carolyn Clark: Yeah it's
Victoria Pimentel: cost
Carolyn Clark: just as expensive as what
Louise Griego: But
Carolyn Clark: we
Louise Griego: the
Carolyn Clark: have
Louise Griego: integrated
Carolyn Clark: now.
Victoria Pimentel: Yeah.
Louise Griego: uh button? How many func functions can it uh have?
Victoria Pimentel: Three. Up, down,
Carolyn Clark: Yeah
Victoria Pimentel: Okay.
Carolyn Clark: endlessly. I mean it can
Louise Griego: Okay.
Carolyn Clark: be a power button as soon as it powered on. You
Betty Rogers: You
Carolyn Clark: can
Betty Rogers: you
Carolyn Clark: go
Betty Rogers: press
Carolyn Clark: into
Betty Rogers: it for
Carolyn Clark: you
Betty Rogers: like three
Carolyn Clark: in
Betty Rogers: seconds.
Carolyn Clark: you main menu, you can choose uh flip channel, uh you can choose sound options, any options.
Betty Rogers: Then then then you should do everything in the menu.
Carolyn Clark: Yeah.
Betty Rogers: On the screen.
Victoria Pimentel: Yeah, okay. It
Carolyn Clark: Maybe
Victoria Pimentel: would
Carolyn Clark: we
Victoria Pimentel: save
Carolyn Clark: should. 'Cause we
Victoria Pimentel: enough
Carolyn Clark: don't have money and w we
Victoria Pimentel: Yeah
Carolyn Clark: want
Victoria Pimentel: you
Carolyn Clark: the
Victoria Pimentel: can
Carolyn Clark: screen.
Victoria Pimentel: choose this, drop these, then we have a half Euro left.
Betty Rogers: Yeah.
Victoria Pimentel: So we can maybe still use power button.
Betty Rogers: Yeah,
Victoria Pimentel: Yeah.
Betty Rogers: but we'd Alright.
Carolyn Clark: I guess
Betty Rogers: It
Carolyn Clark: we
Betty Rogers: s
Carolyn Clark: have
Betty Rogers: it saves
Carolyn Clark: to.
Betty Rogers: us four Euros and it costs us two and a half. So let's see, we
Carolyn Clark: We'll
Betty Rogers: we drop
Carolyn Clark: we'll
Victoria Pimentel: Yeah.
Carolyn Clark: be
Betty Rogers: the price
Carolyn Clark: on
Victoria Pimentel: You see?
Betty Rogers: by one and a half. But we still have thirteen
Victoria Pimentel: Oh still
Betty Rogers: left.
Victoria Pimentel: Yeah? Oh then I miscalculated. Oh yeah. Shit.
Betty Rogers: There
Victoria Pimentel: Drop
Betty Rogers: goes
Victoria Pimentel: the special
Betty Rogers: the special co
Louise Griego: Oh no.
Betty Rogers: Well
Victoria Pimentel: colour.
Betty Rogers: That would make it less appealing. So that's no option.
Victoria Pimentel: 'Kay. What else? Uncurved?
Louise Griego: No no, it has to be um
Betty Rogers: We sure
Louise Griego: curved.
Betty Rogers: about the advanced chip we need for the display?
Victoria Pimentel: Yeah.
Carolyn Clark: Yeah it says right here.
Louise Griego: Okay.
Victoria Pimentel: They made
Betty Rogers: Well
Victoria Pimentel: it very easy for us.
Betty Rogers: yeah. yeah. We made it hard for ourselves with the display, but
Victoria Pimentel: Ah,
Betty Rogers: it's a cool
Victoria Pimentel: I
Betty Rogers: feature.
Victoria Pimentel: don't think I can s uh persuade the management to say, this is better for the market so you sell more
Louise Griego: Okay.
Victoria Pimentel: than
Louise Griego: Wh what we could do is um drop the the special colour,
Carolyn Clark: Yeah.
Louise Griego: and uh do the special colour for the buttons.
Victoria Pimentel: Buttons. That's Oh yeah since we only have one button.
Louise Griego: Yeah.
Betty Rogers: Yeah but I mean what is meant by special colour?
Victoria Pimentel: I just
Louise Griego: Just
Victoria Pimentel: m
Louise Griego: something
Victoria Pimentel: I don't
Louise Griego: else
Victoria Pimentel: I
Louise Griego: than
Victoria Pimentel: think
Louise Griego: than black or white
Victoria Pimentel: Uh
Louise Griego: I think.
Victoria Pimentel: yeah it's I think it's grey, regular.
Betty Rogers: S yeah. Alright.
Victoria Pimentel: Grey and rubber.
Carolyn Clark: But we definitely want
Victoria Pimentel: Of
Carolyn Clark: the
Victoria Pimentel: plastic.
Carolyn Clark: thing to be a special colour
Louise Griego: Yeah.
Carolyn Clark: though.
Betty Rogers: Yeah. So I rather
Carolyn Clark: Damn.
Betty Rogers: have an hand dynamo
Carolyn Clark: Yeah and then
Betty Rogers: than than drop the colour.
Carolyn Clark: Yeah
Victoria Pimentel: Yeah.
Betty Rogers: You
Carolyn Clark: yeah
Betty Rogers: can still
Carolyn Clark: yeah
Betty Rogers: play
Carolyn Clark: yeah.
Betty Rogers: with it then I guess. I don't know.
Victoria Pimentel: Yeah.
Betty Rogers: Yeah, but a hand dynamo costs a lot of energy to keep the screen working. So I guess that isn't an option.
Louise Griego: The display
Carolyn Clark: Well,
Betty Rogers: Yeah.
Carolyn Clark: you only have to
Louise Griego: The
Carolyn Clark: power it up when you wanna use it.
Betty Rogers: Yeah.
Louise Griego: But if
Carolyn Clark: I
Louise Griego: you
Carolyn Clark: don't
Louise Griego: have
Carolyn Clark: know.
Louise Griego: to power the for ten minutes, then
Victoria Pimentel: No
Louise Griego: the
Victoria Pimentel: I don't think
Betty Rogers: Yeah.
Victoria Pimentel: the current status of uh chips are pretty uh
Louise Griego: Yeah.
Victoria Pimentel: energy conserving, no.
Betty Rogers: Yeah true.
Carolyn Clark: Yeah.
Betty Rogers: Let's let's go for the hand dynamo then.
Victoria Pimentel: Yeah hand dynamo? Do you want an extra button?
Betty Rogers: Or or do we Or do we do uncurved and flat? Instead of
Louise Griego: No no it has to be curved.
Betty Rogers: Yeah it
Carolyn Clark: Yeah.
Betty Rogers: has to be curved and
Louise Griego: Yeah.
Betty Rogers: has to have that colour.
Louise Griego: Just put
Carolyn Clark: Yeah.
Louise Griego: a
Betty Rogers: And
Louise Griego: special
Betty Rogers: a screen.
Carolyn Clark: Yeah.
Louise Griego: special
Carolyn Clark: That's
Louise Griego: colour
Carolyn Clark: the most
Louise Griego: of the buttons,
Carolyn Clark: import
Louise Griego: or something.
Victoria Pimentel: Yep? Instead of
Louise Griego: Yeah or
Victoria Pimentel: an
Betty Rogers: Yeah.
Victoria Pimentel: additional
Louise Griego: spe
Victoria Pimentel: power
Louise Griego: special
Victoria Pimentel: button?
Louise Griego: form?
Betty Rogers: S what what is special f Oh yeah, special form.
Victoria Pimentel: Yeah?
Betty Rogers: Maybe that's nicer.
Victoria Pimentel: It's for scroll
Louise Griego: Yeah.
Betty Rogers: But
Victoria Pimentel: Without
Betty Rogers: we don't have any buttons. So
Carolyn Clark: We only
Betty Rogers: do
Carolyn Clark: have
Betty Rogers: d Uh make
Louise Griego: Yeah.
Betty Rogers: it a
Louise Griego: But
Betty Rogers: special
Louise Griego: it's
Betty Rogers: colour
Louise Griego: it's for
Betty Rogers: then.
Louise Griego: the integrated button, I think also. Or
Betty Rogers: Yeah
Carolyn Clark: Yeah
Betty Rogers: ma
Carolyn Clark: but
Betty Rogers: make it a special colour
Victoria Pimentel: Yeah
Betty Rogers: then.
Victoria Pimentel: but it's just a scroll-wheel which
Louise Griego: Yeah.
Victoria Pimentel: you can push
Louise Griego: Okay.
Victoria Pimentel: down.
Louise Griego: Yeah.
Victoria Pimentel: So
Betty Rogers: Okay. Make
Victoria Pimentel: Yeah?
Betty Rogers: it a special colour and then it look fancy.
Louise Griego: Yep.
Victoria Pimentel: So
Betty Rogers: So
Victoria Pimentel: Woah we're within budget.
Betty Rogers: Yeah.
Victoria Pimentel: It's
Louise Griego: Oh
Victoria Pimentel: a
Betty Rogers: Let's
Victoria Pimentel: miracle.
Louise Griego: just oh
Betty Rogers: let's
Louise Griego: ma
Betty Rogers: save
Louise Griego: make
Betty Rogers: it.
Louise Griego: it two special colours, but we only have one button.
Betty Rogers: Yeah.
Louise Griego: Okay.
Betty Rogers: Let's do it like this, I mean, because
Victoria Pimentel: Yeah?
Betty Rogers: it does not lose our identity of the product as we
Victoria Pimentel: Okay. Um, well. 'Kay, this was old.
Carolyn Clark: Well we come back to the drawing board then, huh?
Louise Griego: Yeah.
Victoria Pimentel: Yeah back to work.
Betty Rogers: Yeah all
Louise Griego: Okay.
Betty Rogers: your
Victoria Pimentel: Uh
Betty Rogers: designs are uh pretty much
Carolyn Clark: It's
Victoria Pimentel: Did
Carolyn Clark: silly
Victoria Pimentel: I
Carolyn Clark: 'cause we we
Victoria Pimentel: save
Carolyn Clark: should have had this
Victoria Pimentel: it?
Carolyn Clark: meeting before we start drawing.
Victoria Pimentel: Yeah.
Betty Rogers: Yeah but that but that's the fun part of
Victoria Pimentel: I
Betty Rogers: it.
Victoria Pimentel: I wanted to go,
Carolyn Clark: Oh yeah?
Victoria Pimentel: but I wasn't allowed. So
Carolyn Clark: okay.
Betty Rogers: Alright.
Victoria Pimentel: Uh I just forgot to save this. Just a minute.
Betty Rogers: Yeah what's the next uh phase?
Victoria Pimentel: Yeah, this the last phase of course, so
Betty Rogers: Uh the agenda. By your humble P_M_.
Victoria Pimentel: Hmm.
Betty Rogers: Oh f
Victoria Pimentel: Oh.
Betty Rogers: Frustrated. Alright. Yeah.
Victoria Pimentel: Okay. Um Well we first should have had a uh prototype presentation. But well as you saw that hadn't made no sense, because we had to
Carolyn Clark: Drop
Victoria Pimentel: drop
Carolyn Clark: everything.
Victoria Pimentel: it.
Betty Rogers: Drop, yeah.
Carolyn Clark: Yeah.
Victoria Pimentel: Uh
Carolyn Clark: We went straight into finance?
Victoria Pimentel: Yeah. Yeah it was more important, so
Betty Rogers: Yeah.
Victoria Pimentel: I
Carolyn Clark: For
Victoria Pimentel: just
Carolyn Clark: Yeah.
Betty Rogers: Yeah.
Victoria Pimentel: pushed
Carolyn Clark: Yeah.
Victoria Pimentel: up the agenda. Uh, evaluation criteria. You have t
Betty Rogers: Yeah
Victoria Pimentel: produced
Betty Rogers: that
Victoria Pimentel: something
Betty Rogers: that's
Victoria Pimentel: about that?
Betty Rogers: Yeah. I uh I sure did. And it combines with product evaluation. Uh so
Victoria Pimentel: Uh you put it in the.
Betty Rogers: We all have to keep in mind what has changed now. So what we have left on the
Victoria Pimentel: Yeah.
Betty Rogers: Because evaluation is based on the initial uh user requirements. Alright.
Victoria Pimentel: F_ five.
Betty Rogers: Let's make it big. Um Well we evaluate uh the design with a seven point scale, as following. Well the remote controls according criteria blah blah blah. True or false, and then on a scale of seven points, a scale,
Carolyn Clark: Mm-hmm.
Betty Rogers: as we all know it. Um Well the criteria are based on the user requirements, uh the trends from the marketing research, and the marketing strategy of the company itself. Um well they are in a Word document, which I will open now.
Victoria Pimentel: Alt up
Betty Rogers: Yeah. I don't know it's open yet. No. And we all have to uh agree on a certain level. What's this? Oh. I don't know.
Victoria Pimentel: Freaky.
Betty Rogers: Um Well the first point is the remote control matches the operating behaviour of the young user. So that means the operating behaviour was using quite a lot of functions. How do you think about that?
Carolyn Clark: I think it does. Because the operating behaviour of the young user was also defined in colour and shape and the use of L_C_D_, right?
Victoria Pimentel: Yeah. Uh, of course
Betty Rogers: Yeah
Victoria Pimentel: we dropped
Betty Rogers: the us
Victoria Pimentel: a
Betty Rogers: u
Victoria Pimentel: little bit of those uh
Betty Rogers: It it it's
Carolyn Clark: Yeah.
Betty Rogers: it's mainly con mainly concentrating on a lot of functions, in
Victoria Pimentel: Mm-hmm.
Betty Rogers: this question. So do you think
Carolyn Clark: Well, we have extended menus, on
Betty Rogers: Yeah.
Carolyn Clark: the
Betty Rogers: You
Carolyn Clark: on the
Betty Rogers: can
Carolyn Clark: L_C_D_
Betty Rogers: you can ma
Carolyn Clark: screen.
Betty Rogers: Yeah,
Louise Griego: Yep.
Carolyn Clark: So
Betty Rogers: you can make a lot of extended menus. That's true. I mean the the possibilities are almost unlimited,
Carolyn Clark: I
Betty Rogers: to to build in menus in the screen.
Carolyn Clark: No.
Betty Rogers: So on a scale from one to seven, what do you
Louise Griego: Two
Betty Rogers: think?
Louise Griego: or three.
Betty Rogers: Huh?
Louise Griego: Two or three.
Betty Rogers: Two or three? Something like that? Well we
Victoria Pimentel: Two.
Betty Rogers: have
Carolyn Clark: Yeah.
Betty Rogers: to choose one. So uh what do you say?
Victoria Pimentel: Uh y
Betty Rogers: I agree
Victoria Pimentel: we should
Betty Rogers: on two.
Victoria Pimentel: fill this in now.
Betty Rogers: Yeah.
Victoria Pimentel: Yeah okay.
Betty Rogers: I
Victoria Pimentel: Uh
Betty Rogers: uh I say two, personally. But
Louise Griego: Yeah.
Victoria Pimentel: Yeah in
Carolyn Clark: Yeah
Victoria Pimentel: the
Carolyn Clark: alright.
Victoria Pimentel: new design I s would say it's three. But now, in original design I say
Betty Rogers: Yeah
Victoria Pimentel: two.
Betty Rogers: well we have to evaluate I guess what we have now.
Victoria Pimentel: Okay then I say three.
Betty Rogers: Yeah? You say three,
Carolyn Clark: Yeah
Betty Rogers: and you you
Carolyn Clark: yeah.
Betty Rogers: said al also three? Three?
Louise Griego: Yeah.
Betty Rogers: Okay well I say still two, but it has to be three then.
Victoria Pimentel: Hey, you're marketing, eh.
Betty Rogers: Yeah I know. So it's made bold. But it's
Victoria Pimentel: Hmm.
Betty Rogers: nah, it's
Victoria Pimentel: M
Betty Rogers: not very
Victoria Pimentel: maybe
Betty Rogers: clear
Victoria Pimentel: underline.
Betty Rogers: on the sc
Louise Griego: Or give it a colour.
Betty Rogers: Maybe other colour, yeah. That's better. Uh
Victoria Pimentel: Red.
Betty Rogers: Yeah. Alright. Oh, it doesn't have to be bold anymore. Alright.
Victoria Pimentel: Oh yeah very true.
Betty Rogers: Yeah.
Louise Griego: Yeah true one.
Betty Rogers: Um well the remote
Victoria Pimentel: He
Betty Rogers: control
Victoria Pimentel: types everything.
Betty Rogers: has Wha
Carolyn Clark: Definitely one.
Louise Griego: Yeah.
Carolyn Clark: It has to be.
Betty Rogers: The remote control has irrelevant or less used functions. For example audio settings
Louise Griego: It
Betty Rogers: and
Louise Griego: hides
Betty Rogers: screen settings.
Louise Griego: uh
Victoria Pimentel: Everything.
Louise Griego: basic functions.
Victoria Pimentel: You don't
Betty Rogers: Yeah.
Victoria Pimentel: use anything
Betty Rogers: Well,
Victoria Pimentel: else.
Betty Rogers: yeah. So
Carolyn Clark: You're
Betty Rogers: it
Carolyn Clark: not gonna
Betty Rogers: it's
Carolyn Clark: find
Betty Rogers: a very
Carolyn Clark: them.
Betty Rogers: true point. I mean
Victoria Pimentel: Yeah. Yeah
Betty Rogers: it hides
Victoria Pimentel: okay.
Betty Rogers: all those function.
Victoria Pimentel: Yeah.
Louise Griego: Yeah
Betty Rogers: But, I mean
Louise Griego: true.
Betty Rogers: uh they're hidden in the screen. If you don't want to use them, you don't s you s just scroll over them. And you place them
Victoria Pimentel: Mm-hmm.
Betty Rogers: F I don't know where. So that's very true, I guess, for our case. Uh
Carolyn Clark: Yeah
Betty Rogers: the
Carolyn Clark: the
Betty Rogers: second
Carolyn Clark: next
Betty Rogers: point.
Carolyn Clark: Not so much
Betty Rogers: It
Carolyn Clark: so.
Betty Rogers: shows the relevant and most used functions.
Victoria Pimentel: Nope.
Betty Rogers: Power button. Do we ha still have a power button?
Victoria Pimentel: Uh
Betty Rogers: Well yeah the button's integrated,
Victoria Pimentel: check with the
Betty Rogers: huh?
Carolyn Clark: Yeah.
Victoria Pimentel: Excel sheet.
Louise Griego: I think
Carolyn Clark: Yeah
Louise Griego: we
Carolyn Clark: it's
Louise Griego: are
Carolyn Clark: uh it's integrated.
Betty Rogers: Yeah we dropped it. You j you just push
Louise Griego: It's
Betty Rogers: it
Louise Griego: in
Betty Rogers: in
Louise Griego: Oh
Betty Rogers: for
Louise Griego: yeah it was integrateds.
Victoria Pimentel: Yeah
Louise Griego: Yeah.
Betty Rogers: Yeah
Victoria Pimentel: integrate
Betty Rogers: just just
Victoria Pimentel: it.
Betty Rogers: push it in for th for three seconds or something, and then
Carolyn Clark: E exactly
Victoria Pimentel: Yeah.
Betty Rogers: Yeah.
Carolyn Clark: just like a m
Betty Rogers: I
Carolyn Clark: mobile.
Betty Rogers: don't
Victoria Pimentel: Just go scrolling and it
Betty Rogers: know.
Victoria Pimentel: will
Betty Rogers: Yeah.
Victoria Pimentel: activate.
Betty Rogers: Um it shows the relevant and most used functions. Yeah uh on the other uh on one side I would say yes, and the other side I would say no. So it's I don't know.
Victoria Pimentel: It shows the most used functions and they are relevant,
Louise Griego: Can you uh
Victoria Pimentel: but
Betty Rogers: Yeah.
Louise Griego: change channels directly with with just one button? No, you have to
Betty Rogers: With
Louise Griego: scroll
Betty Rogers: the scroll
Louise Griego: through
Betty Rogers: butt
Louise Griego: the menu, before
Betty Rogers: Yeah and then say channel.
Louise Griego: Yeah.
Betty Rogers: And then
Louise Griego: So it's
Carolyn Clark: Well
Louise Griego: it's
Carolyn Clark: uh we
Louise Griego: not
Carolyn Clark: should b build it so that if you don't kind of push into the menu or something, if When it's on, yeah, it's
Betty Rogers: Hmm?
Victoria Pimentel: You
Carolyn Clark: turned
Victoria Pimentel: say
Carolyn Clark: on,
Victoria Pimentel: you double click on the
Carolyn Clark: It automatically
Betty Rogers: Yeah.
Carolyn Clark: has the the programme and the volume function, but as soon as you click it you go into the menu or some
Betty Rogers: Yeah.
Carolyn Clark: Of you Or you double click
Betty Rogers: But
Carolyn Clark: it.
Betty Rogers: but how do you change from volume to channel?
Carolyn Clark: No because it has four arrows, right?
Victoria Pimentel: No, not
Louise Griego: No.
Victoria Pimentel: anymore.
Betty Rogers: No.
Victoria Pimentel: Because he's
Carolyn Clark: Oh
Victoria Pimentel: now have
Carolyn Clark: yeah.
Victoria Pimentel: a scroll-wheel
Louise Griego: Yeah.
Victoria Pimentel: that you can push in.
Carolyn Clark: Yeah
Victoria Pimentel: Like
Carolyn Clark: I was
Victoria Pimentel: on
Carolyn Clark: thinking
Victoria Pimentel: the the mouse.
Carolyn Clark: still about our uh integrated joystick.
Betty Rogers: No we have n we have no buttons left. So
Carolyn Clark: Say.
Betty Rogers: the joystick was not an option.
Carolyn Clark: Yeah that
Betty Rogers: So
Carolyn Clark: is a bummer.
Betty Rogers: so
Victoria Pimentel: Yeah.
Betty Rogers: you hav So you you have to double-click, I mean, for, I mean, uh
Victoria Pimentel: To
Betty Rogers: volume,
Victoria Pimentel: get into menu.
Betty Rogers: and three
Victoria Pimentel: Yeah.
Betty Rogers: double click for the menu, or something.
Louise Griego: Oh no.
Betty Rogers: Yeah.
Victoria Pimentel: Or hold it ten
Betty Rogers: Yeah.
Victoria Pimentel: seconds.
Betty Rogers: Yeah. Alright.
Carolyn Clark: We'll make it a Morse code.
Betty Rogers: But but ease of use was not very important, may I remind
Victoria Pimentel: No no
Betty Rogers: you.
Victoria Pimentel: no.
Betty Rogers: So
Victoria Pimentel: Uh
Betty Rogers: that's
Victoria Pimentel: it should be trendy.
Betty Rogers: Yeah but that that's not a question. Uh the remote control shows the relevant and most used functions. Well I think it's pretty much in the middle.
Victoria Pimentel: Yeah. Four.
Betty Rogers: You have to search for them in in the
Victoria Pimentel: Yeah, im in the menu.
Betty Rogers: in the s in the screen, in the menu. So
Carolyn Clark: Yeah.
Louise Griego: Seven.
Betty Rogers: So maybe it's more like a f a five.
Louise Griego: Yeah.
Betty Rogers: Or
Carolyn Clark: Yeah
Louise Griego: Five.
Carolyn Clark: I would go for five or six, yeah.
Betty Rogers: Yeah. Five or six?
Victoria Pimentel: Five.
Carolyn Clark: Okay
Louise Griego: Five.
Carolyn Clark: five.
Louise Griego: Yep.
Betty Rogers: Five? Alright.
Carolyn Clark: Let's not diss our remote.
Betty Rogers: Yeah.
Victoria Pimentel: It's the weirdest
Betty Rogers: Oh.
Victoria Pimentel: remote control I've ever seen. So
Betty Rogers: Yeah.
Carolyn Clark: Yep. Just one button.
Betty Rogers: Yeah.
Victoria Pimentel: Well
Betty Rogers: Alright.
Victoria Pimentel: it's
Betty Rogers: Uh
Victoria Pimentel: different.
Betty Rogers: the the
Carolyn Clark: But
Betty Rogers: remote
Carolyn Clark: Uh
Betty Rogers: control
Carolyn Clark: yep.
Betty Rogers: makes use of technolog technological innovation like L_C_D_ screen and speech
Victoria Pimentel: Yeah.
Betty Rogers: recognition. Well yeah but we dropped the speech recognition.
Victoria Pimentel: Yeah,
Betty Rogers: But
Victoria Pimentel: it's
Betty Rogers: it
Victoria Pimentel: still
Betty Rogers: has at least one innovation.
Victoria Pimentel: Yeah, I say two.
Betty Rogers: I say two
Louise Griego: Yeah.
Betty Rogers: then.
Carolyn Clark: We still have the fruit and vegetable print.
Betty Rogers: Yeah
Victoria Pimentel: Oh,
Betty Rogers: but
Victoria Pimentel: that's
Carolyn Clark: Fr
Victoria Pimentel: the
Carolyn Clark: Oh
Victoria Pimentel: next.
Carolyn Clark: I
Betty Rogers: that that's
Carolyn Clark: mean
Betty Rogers: not
Carolyn Clark: the
Betty Rogers: that's not this question.
Carolyn Clark: Oh
Betty Rogers: Uh
Carolyn Clark: never
Betty Rogers: thi
Carolyn Clark: mind.
Betty Rogers: uh that's the other question.
Carolyn Clark: I'm a bit lost.
Betty Rogers: This one.
Louise Griego: I think a two.
Victoria Pimentel: Two.
Betty Rogers: Two
Louise Griego: No.
Betty Rogers: yeah. I think
Louise Griego: Yep.
Betty Rogers: L_C_D_'s more useful than speech
Victoria Pimentel: Yeah
Betty Rogers: What?
Victoria Pimentel: definitely.
Betty Rogers: Oh not the bold one.
Carolyn Clark: It's way more practical, yeah.
Betty Rogers: Right. Okay, it has a fancy look and feel by using fruit and vegetable prints, primary colours and sponge-like material. It should have
Carolyn Clark: Yeah.
Betty Rogers: been two questions. I realise now, because sponge-like material is dropped. But the look and feel
Victoria Pimentel: You
Carolyn Clark: Yeah.
Victoria Pimentel: still have rubber d
Carolyn Clark: So we still
Victoria Pimentel: Or no.
Carolyn Clark: uh
Louise Griego: No
Carolyn Clark: we still
Louise Griego: you got
Carolyn Clark: have the
Louise Griego: a
Carolyn Clark: primary
Louise Griego: plastic.
Carolyn Clark: colours.
Betty Rogers: Yeah.
Victoria Pimentel: Yeah.
Carolyn Clark: But only
Louise Griego: Yeah.
Carolyn Clark: on the on the outside, not on the button.
Betty Rogers: The button has also colour.
Carolyn Clark: Yeah?
Victoria Pimentel: Yeah.
Betty Rogers: Yeah.
Carolyn Clark: Okay.
Victoria Pimentel: The one button we have.
Carolyn Clark: Yeah.
Betty Rogers: Yeah.
Carolyn Clark: Yeah
Betty Rogers: The
Carolyn Clark: still
Betty Rogers: one.
Carolyn Clark: we we dropped also on the the double uh curve.
Victoria Pimentel: Yeah you
Betty Rogers: Mm
Victoria Pimentel: could check
Betty Rogers: mm.
Victoria Pimentel: with the
Louise Griego: Yeah.
Victoria Pimentel: Excel sheet.
Louise Griego: You
Betty Rogers: Yeah
Louise Griego: only
Betty Rogers: we have
Louise Griego: have
Betty Rogers: single
Louise Griego: one
Betty Rogers: curve now,
Louise Griego: Yeah.
Carolyn Clark: And
Betty Rogers: and no
Carolyn Clark: and colour.
Betty Rogers: and no material.
Carolyn Clark: Yeah. S
Betty Rogers: So maybe in the middle or
Louise Griego: Four.
Betty Rogers: something.
Victoria Pimentel: Yeah.
Louise Griego: Yeah.
Carolyn Clark: Yeah.
Betty Rogers: Yeah, I mean it's
Victoria Pimentel: Yeah or three.
Betty Rogers: worth
Carolyn Clark: Uh
Betty Rogers: the Yeah.
Victoria Pimentel: We have
Carolyn Clark: Actually
Victoria Pimentel: something.
Carolyn Clark: we d we didn't do so well on this one. Because it's basically an old one, uh with little curve on the side, and in a different colour. Still, it's still
Betty Rogers: Yeah.
Carolyn Clark: hard. I mean the sponge-like and the three D_ shape, that would give it something young and
Victoria Pimentel: New.
Carolyn Clark: fresh.
Victoria Pimentel: Yeah.
Betty Rogers: Yeah. But then we would have to drop
Louise Griego: Red.
Betty Rogers: the screen. Oh red. Yeah.
Victoria Pimentel: You like both.
Betty Rogers: Yeah. I like bold. Uh the remote control displays the corporate logo.
Victoria Pimentel: Um oh yeah.
Louise Griego: Mm yeah
Carolyn Clark: Of course.
Louise Griego: yeah.
Betty Rogers: Yeah.
Victoria Pimentel: I
Betty Rogers: You just
Victoria Pimentel: just
Betty Rogers: have to draw
Victoria Pimentel: couldn't
Betty Rogers: it.
Victoria Pimentel: Um, just one minute.
Carolyn Clark: Yeah but it
Louise Griego: It's the white
Carolyn Clark: be
Louise Griego: part
Carolyn Clark: because
Louise Griego: uh
Carolyn Clark: uh we couldn't hardly draw on the b s on the lower half of the screen, we could not make it big enough to actually draw in the
Louise Griego: Yeah.
Betty Rogers: Yeah.
Carolyn Clark: So
Louise Griego: We have a we
Carolyn Clark: I
Victoria Pimentel: So
Carolyn Clark: mean
Louise Griego: have a
Carolyn Clark: I wanted to put digits on the buttons as well. But
Betty Rogers: But there's uh enough space for the corporate logo. I mean, if
Carolyn Clark: Hell
Betty Rogers: there's only
Carolyn Clark: yeah.
Betty Rogers: one
Carolyn Clark: If we
Betty Rogers: thing.
Carolyn Clark: have only one button.
Betty Rogers: Yeah. So I will say that is very true.
Louise Griego: Mm-hmm.
Carolyn Clark: And even the shape we have now uh simulates kind of an R_ and the reversed R_, doesn't it?
Betty Rogers: Yeah. The
Carolyn Clark: So
Betty Rogers: remote control is easy to use. Well I would say
Carolyn Clark: No.
Betty Rogers: Skill, uh I would say six, or something. I don't think it's easy to use, or not
Carolyn Clark: The only
Betty Rogers: so.
Louise Griego: Ah
Carolyn Clark: e the only
Louise Griego: i
Carolyn Clark: thing easy about it is that you don't have to move your fingers.
Betty Rogers: Yeah.
Carolyn Clark: 'Cause it has only
Louise Griego: And
Carolyn Clark: one
Louise Griego: that
Carolyn Clark: button.
Louise Griego: you only have to control one button.
Carolyn Clark: Yeah exactly.
Betty Rogers: Yeah. It it it has a nice screen. But Yeah.
Louise Griego: It gives visual feedback. So
Betty Rogers: Yeah. Well I I would say a five or a six.
Carolyn Clark: I would
Louise Griego: I think
Carolyn Clark: say six.
Louise Griego: a five. Five.
Betty Rogers: What do you say? Easy
Carolyn Clark: It's
Betty Rogers: to use?
Carolyn Clark: really not
Betty Rogers: Five
Carolyn Clark: easy
Betty Rogers: or a
Carolyn Clark: to
Betty Rogers: six?
Carolyn Clark: use. 'Cause
Victoria Pimentel: No
Carolyn Clark: you're putting
Victoria Pimentel: not
Carolyn Clark: everything
Victoria Pimentel: anymore.
Betty Rogers: So a six, more.
Victoria Pimentel: Yeah.
Betty Rogers: Yeah, uh I would go for the six too.
Louise Griego: Okay. Yeah.
Betty Rogers: So
Carolyn Clark: Most votes count. Um
Betty Rogers: Um
Louise Griego: Yeah that
Betty Rogers: well,
Louise Griego: looks uh great.
Betty Rogers: another question, uh the remote control is durable. I don't know if that's the correct
Louise Griego: Yeah.
Betty Rogers: word.
Carolyn Clark: Definitely
Betty Rogers: But
Louise Griego: Nah
Betty Rogers: uh
Carolyn Clark: in casing,
Betty Rogers: In
Carolyn Clark: 'cause
Betty Rogers: use,
Carolyn Clark: we have a hard
Betty Rogers: both
Carolyn Clark: plastic
Betty Rogers: battery as casing?
Carolyn Clark: Yeah.
Betty Rogers: Yeah?
Carolyn Clark: Yeah because the the batteries, those thingies last forever.
Betty Rogers: True, true.
Carolyn Clark: And the
Betty Rogers: And the casing is plastic,
Carolyn Clark: the casing, hard plastic also lasts forever.
Louise Griego: Yep.
Betty Rogers: Yeah.
Victoria Pimentel: Yeah.
Betty Rogers: If you don't drop it too much, it's
Carolyn Clark: So
Betty Rogers: uh should last pretty long.
Carolyn Clark: I would go for one.
Betty Rogers: Yeah? But uh I think rubber compared
Louise Griego: Yeah.
Betty Rogers: is better.
Louise Griego: S
Betty Rogers: So I think a two is more appropriate
Louise Griego: Yep.
Carolyn Clark: Okay yeah.
Betty Rogers: than
Louise Griego: Wow.
Betty Rogers: Yeah. Logo.
Victoria Pimentel: Yeah.
Betty Rogers: Okay I will go go for two. Uh the last one? The remote control's a good example for company's motto, we put
Carolyn Clark: Oh.
Betty Rogers: the fashion in electronics.
Carolyn Clark: No m
Louise Griego: No we put the electronics into the fashion.
Betty Rogers: uh turn around. Yeah.
Victoria Pimentel: Yeah
Carolyn Clark: I
Betty Rogers: But
Carolyn Clark: would
Betty Rogers: um
Victoria Pimentel: well
Carolyn Clark: g
Victoria Pimentel: yeah.
Carolyn Clark: I would go for four.
Betty Rogers: Yeah?
Victoria Pimentel: No
Carolyn Clark: Because we
Betty Rogers: It's
Carolyn Clark: kind
Betty Rogers: not
Carolyn Clark: of tried to but we kind of failed with the budget that we have.
Betty Rogers: Yeah, true.
Victoria Pimentel: Yeah okay.
Betty Rogers: So a four. It's it g it g goes, it's not the best we could do,
Carolyn Clark: Yeah.
Betty Rogers: I guess. But it all has to do with the budget, because it's it's not the bad idea we had, so
Carolyn Clark: Yeah. Yeah yeah.
Louise Griego: Yeah, four
Betty Rogers: Alright,
Louise Griego: is okay.
Betty Rogers: yeah. Right.
Victoria Pimentel: So
Betty Rogers: So
Carolyn Clark: That's it.
Betty Rogers: if I understood it right, we have to count these numbers.
Victoria Pimentel: Ooh. And
Betty Rogers: Uh
Victoria Pimentel: Yeah? What?
Betty Rogers: Yeah. Mm-hmm. Oh
Victoria Pimentel: Yeah.
Betty Rogers: Oh Alright. Word document, the
Victoria Pimentel: Yeah.
Betty Rogers: Yeah
Victoria Pimentel: That
Betty Rogers: we have to count them.
Victoria Pimentel: Count them.
Betty Rogers: Uh
Victoria Pimentel: Add them? Or
Betty Rogers: Yeah just add them and then uh
Victoria Pimentel: Could
Betty Rogers: divide
Victoria Pimentel: somebody start
Betty Rogers: them.
Victoria Pimentel: calculator?
Betty Rogers: Yeah. Mm. I
Carolyn Clark: Ah
Betty Rogers: all made
Carolyn Clark: we can
Betty Rogers: it
Carolyn Clark: do
Betty Rogers: po
Carolyn Clark: the
Betty Rogers: I
Carolyn Clark: math.
Betty Rogers: I all made it I all made it
Carolyn Clark: Uh
Betty Rogers: possible uh for a positive questions,
Victoria Pimentel: Mm-hmm.
Betty Rogers: so we can count it. I mean if you have reversed
Victoria Pimentel: Yeah,
Betty Rogers: question,
Victoria Pimentel: yeah.
Betty Rogers: you have to
Victoria Pimentel: You
Betty Rogers: reverse
Victoria Pimentel: have to
Betty Rogers: the scale, uh
Victoria Pimentel: 'Kay.
Carolyn Clark: Yeah.
Betty Rogers: Yes.
Victoria Pimentel: So four and
Carolyn Clark: Did you make this questionnaire or what?
Betty Rogers: Yeah. Thanks.
Victoria Pimentel: Nice work.
Louise Griego: Okay.
Carolyn Clark: Oh.
Louise Griego: Three plus?
Carolyn Clark: I wouldn't be able to
Victoria Pimentel: O
Carolyn Clark: do
Victoria Pimentel: one.
Carolyn Clark: it that fast.
Louise Griego: Plus one.
Victoria Pimentel: Plus five.
Louise Griego: Plus five?
Victoria Pimentel: Bo
Betty Rogers: Oh Easy. Question number four, yeah?
Victoria Pimentel: Uh two.
Betty Rogers: Yeah.
Carolyn Clark: F
Victoria Pimentel: Four.
Louise Griego: Oh. Wait a second. Oh. It's it's gone wrong.
Betty Rogers: How hard is it?
Louise Griego: Okay. It's your
Carolyn Clark: Pretty
Louise Griego: turn.
Carolyn Clark: difficult.
Betty Rogers: Yeah just
Victoria Pimentel: Start
Betty Rogers: use
Louise Griego: No it's
Victoria Pimentel: over?
Louise Griego: if you press
Betty Rogers: Oh there tho
Louise Griego: twice
Betty Rogers: uh there's
Louise Griego: on the
Betty Rogers: no
Louise Griego: plus
Betty Rogers: n
Louise Griego: button, then you
Betty Rogers: There's
Louise Griego: get
Betty Rogers: no num
Louise Griego: s s
Betty Rogers: pads.
Victoria Pimentel: You can
Louise Griego: No.
Victoria Pimentel: Oh yeah.
Louise Griego: That's why it's uh
Betty Rogers: It's a it's a bit uh
Carolyn Clark: Just type in the digits. They're all one digit numbers right? And then you can count them together.
Betty Rogers: Yeah. I think you can
Louise Griego: Just
Betty Rogers: just
Louise Griego: count
Betty Rogers: count
Louise Griego: it
Betty Rogers: them
Louise Griego: to
Betty Rogers: by a
Louise Griego: Yeah.
Betty Rogers: Um let's move
Victoria Pimentel: Okay.
Betty Rogers: over. Three, plus one,
Victoria Pimentel: Three, four,
Betty Rogers: four. Nine.
Victoria Pimentel: nine. Uh
Betty Rogers: Uh, yeah. Are you here? Eleven.
Carolyn Clark: Eleven.
Victoria Pimentel: Eleven,
Carolyn Clark: Fifteen.
Betty Rogers: Fifteen.
Victoria Pimentel: fifteen.
Louise Griego: Sixteen.
Carolyn Clark: Sixteen.
Betty Rogers: Sixteen, yeah.
Carolyn Clark: Seventeen.
Victoria Pimentel: Seventeen.
Betty Rogers: No sixteen. Uh sixteen plus
Carolyn Clark: Oh
Betty Rogers: six.
Carolyn Clark: what?
Louise Griego: Twenty two.
Victoria Pimentel: S
Betty Rogers: Twenty
Carolyn Clark: How
Betty Rogers: two.
Carolyn Clark: hard is this?
Victoria Pimentel: Uh
Betty Rogers: Twenty two, yeah?
Carolyn Clark: Never
Louise Griego: Twenty four.
Carolyn Clark: mind.
Betty Rogers: Tw
Carolyn Clark: Twenty four.
Louise Griego: Twenty six.
Carolyn Clark: Twenty eight.
Louise Griego: Oh,
Betty Rogers: Twenty
Louise Griego: sorry.
Betty Rogers: Twenty eight.
Louise Griego: Oh my.
Victoria Pimentel: That was the last one. That was
Carolyn Clark: Twenty
Victoria Pimentel: that.
Carolyn Clark: eight.
Victoria Pimentel: Yeah.
Louise Griego: Okay. Twenty eight.
Victoria Pimentel: So
Betty Rogers: Twen Uh okay.
Victoria Pimentel: divided by nine.
Betty Rogers: By nine.
Louise Griego: Hmm.
Betty Rogers: That's uh three uh
Victoria Pimentel: So
Betty Rogers: Or
Carolyn Clark: Yeah the
Betty Rogers: le
Carolyn Clark: lower
Betty Rogers: less
Carolyn Clark: the
Betty Rogers: than a three.
Carolyn Clark: The lower the score the better, right?
Victoria Pimentel: Yeah.
Betty Rogers: Yeah. Twenty
Carolyn Clark: Yeah but
Betty Rogers: eight
Victoria Pimentel: Divided
Betty Rogers: di
Victoria Pimentel: by nine.
Betty Rogers: divided by nine
Victoria Pimentel: So
Betty Rogers: makes
Victoria Pimentel: thr t
Betty Rogers: three
Victoria Pimentel: two.
Betty Rogers: point one one one one one
Victoria Pimentel: So
Betty Rogers: one
Victoria Pimentel: we're
Betty Rogers: one.
Victoria Pimentel: better than average.
Carolyn Clark: But
Betty Rogers: Yeah.
Carolyn Clark: I Are you sure we this number actually tells us somethings?
Victoria Pimentel: No.
Carolyn Clark: I don't think so because some
Louise Griego: Some
Carolyn Clark: questions
Louise Griego: questions are
Carolyn Clark: are
Louise Griego: Yeah.
Carolyn Clark: related to positive issues and some to negative. So if you give a true to a positive, it actually means that the low the lower the better. But if you give true to a negative question
Betty Rogers: Yeah, but there are no negative questions I guess.
Carolyn Clark: No?
Betty Rogers: Good example. Durable
Carolyn Clark: Durable,
Betty Rogers: use.
Carolyn Clark: that's good.
Betty Rogers: Easy to use.
Carolyn Clark: Easy to use.
Betty Rogers: This is good. Fancy look and feel, that's good.
Carolyn Clark: Yeah.
Betty Rogers: Technology innovation was
Carolyn Clark: Also
Betty Rogers: good, because
Carolyn Clark: good.
Betty Rogers: of a marketing uh requirement. Re
Carolyn Clark: Yeah
Betty Rogers: relevant
Carolyn Clark: okay.
Betty Rogers: most used function.
Carolyn Clark: I guess you
Betty Rogers: And
Carolyn Clark: did do it.
Betty Rogers: hides these functions. That was also a good thing.
Louise Griego: Oh yeah. Yeah.
Carolyn Clark: Oh yeah
Betty Rogers: And
Carolyn Clark: yeah.
Betty Rogers: then matches
Carolyn Clark: No
Betty Rogers: the opera of the user was also
Louise Griego: Yeah.
Betty Rogers: a good thing.
Carolyn Clark: Okay.
Betty Rogers: So it
Carolyn Clark: Okay.
Betty Rogers: were all positive questions,
Carolyn Clark: Yeah true.
Betty Rogers: by uh by purpose. So Yes, so the It tells us something, yes. Becau But
Louise Griego: Oh
Betty Rogers: the
Louise Griego: great.
Betty Rogers: picture would be a lot different if we didn't have to drop those uh
Victoria Pimentel: Things,
Betty Rogers: those
Victoria Pimentel: yeah.
Betty Rogers: things,
Carolyn Clark: Yeah
Betty Rogers: I guess.
Carolyn Clark: definitely definitely.
Victoria Pimentel: Okay.
Carolyn Clark: Because now it's just an average
Betty Rogers: Yeah.
Carolyn Clark: It's remote.
Betty Rogers: Nah it it's it's better than average, but
Carolyn Clark: Yeah okay because of the L_C_D_ screen. But
Betty Rogers: Yeah.
Carolyn Clark: uh
Betty Rogers: So
Carolyn Clark: it
Betty Rogers: th
Carolyn Clark: looks
Victoria Pimentel: It's still
Carolyn Clark: and stuff, it still
Victoria Pimentel: yeah.
Carolyn Clark: uh
Betty Rogers: Yeah.
Victoria Pimentel: Has
Carolyn Clark: it's
Victoria Pimentel: some
Carolyn Clark: not,
Victoria Pimentel: shortcomings.
Carolyn Clark: it's not really eye-catching, except for
Betty Rogers: No.
Carolyn Clark: the colour.
Betty Rogers: The colour and the screen.
Carolyn Clark: Yeah.
Victoria Pimentel: Okay so Um this we had, this we had.
Carolyn Clark: Product
Victoria Pimentel: We have
Carolyn Clark: evaluation.
Victoria Pimentel: to do a product evaluation. Uh prototype presentation we dropped. So Uh the finance we looked. We have redesigned. Uh not on that, but
Betty Rogers: Yeah we we have to maybe if we have to redesign it on this
Louise Griego: Okay
Carolyn Clark: Shall
Louise Griego: it's your
Carolyn Clark: we try?
Louise Griego: turn now.
Victoria Pimentel: So you can just make one big L_C_D_ screen.
Carolyn Clark: Black.
Betty Rogers: With some casing around it, yeah.
Carolyn Clark: Okay uh we're still gonna go for the fancy colours?
Victoria Pimentel: Yeah
Betty Rogers: Yeah.
Victoria Pimentel: uh
Louise Griego: Yeah.
Carolyn Clark: But are we gonna stick with the green or are we gonna do blue?
Louise Griego: Yeah we we can just uh use this one. And then uh over-paint it with uh
Victoria Pimentel: The the button has
Louise Griego: uh
Betty Rogers: Yeah.
Victoria Pimentel: a special
Louise Griego: the green
Victoria Pimentel: colour, the
Louise Griego: uh he only
Victoria Pimentel: frame
Louise Griego: needs
Victoria Pimentel: has a special colour.
Louise Griego: one button.
Carolyn Clark: One scroll
Victoria Pimentel: It's
Carolyn Clark: button
Victoria Pimentel: plastic.
Louise Griego: Yeah.
Carolyn Clark: and
Louise Griego: Or we have to delete this one
Victoria Pimentel: And
Louise Griego: or
Victoria Pimentel: single curved.
Betty Rogers: Yeah.
Victoria Pimentel: Oh and you might want to add a uh infrared LED.
Betty Rogers: Oh yeah.
Louise Griego: Oh oh no.
Carolyn Clark: For
Victoria Pimentel: Otherwise
Carolyn Clark: what?
Victoria Pimentel: it uh doesn't function uh
Louise Griego: Okay.
Victoria Pimentel: so well.
Betty Rogers: Yeah.
Louise Griego: So that's
Betty Rogers: Do we have to do other things?
Victoria Pimentel: Well
Betty Rogers: Or just redesign?
Victoria Pimentel: I have to um um make an uh report of every decision we made so far.
Betty Rogers: Alright.
Victoria Pimentel: And I try to get chip just before uh I uh receive the Excel sheet.
Betty Rogers: Yeah.
Victoria Pimentel: So I
Betty Rogers: So you made a start, right?
Victoria Pimentel: Yeah I'm I'm somewhere, but maybe
Carolyn Clark: Should
Victoria Pimentel: you
Carolyn Clark: give
Victoria Pimentel: can
Carolyn Clark: it
Victoria Pimentel: help
Carolyn Clark: some
Victoria Pimentel: Betty Rogers.
Carolyn Clark: time?
Betty Rogers: Yeah.
Carolyn Clark: Yay.
Victoria Pimentel: Uh
Louise Griego: Okay, but how do we make the the scroll
Victoria Pimentel: I was here.
Louise Griego: uh button?
Victoria Pimentel: So
Louise Griego: It's just one
Carolyn Clark: Have to
Betty Rogers: Alright.
Carolyn Clark: take this away also.
Louise Griego: yeah.
Victoria Pimentel: Ah
Carolyn Clark: And this um
Louise Griego: Uh that's the infrared uh
Carolyn Clark: Oh
Louise Griego: thing.
Betty Rogers: The
Carolyn Clark: yeah,
Betty Rogers: the
Carolyn Clark: of course.
Betty Rogers: target group has a
Louise Griego: Yeah.
Betty Rogers: weak
Carolyn Clark: Um
Betty Rogers: spot for fruit
Carolyn Clark: pen
Betty Rogers: and vegetables,
Carolyn Clark: yeah?
Betty Rogers: like primary
Carolyn Clark: Format.
Betty Rogers: colours, spongy shape.
Carolyn Clark: Current
Betty Rogers: The
Carolyn Clark: colour
Betty Rogers: playfulness,
Carolyn Clark: red.
Betty Rogers: we decided to use kinetic
Carolyn Clark: Oh
Betty Rogers: energy as a power
Carolyn Clark: Yeah
Betty Rogers: sour
Carolyn Clark: we did our special colour for
Louise Griego: Yeah.
Carolyn Clark: the
Betty Rogers: Okay.
Carolyn Clark: Line
Betty Rogers: That's
Carolyn Clark: widths,
Betty Rogers: conceptual,
Carolyn Clark: now that's
Betty Rogers: yes.
Carolyn Clark: a ten.
Victoria Pimentel: That's enough to get started
Louise Griego: Yeah. Um,
Victoria Pimentel: with,
Louise Griego: uh it's
Betty Rogers: Mm.
Louise Griego: just a
Carolyn Clark: It's gonna
Louise Griego: scroll
Carolyn Clark: be one str
Betty Rogers: How
Victoria Pimentel: so
Betty Rogers: many
Carolyn Clark: scroll.
Louise Griego: Yeah, is
Betty Rogers: pages?
Louise Griego: it's horizontal or vertical?
Victoria Pimentel: Uh, I just took one for every step
Betty Rogers: Alright.
Victoria Pimentel: and then
Louise Griego: I think
Victoria Pimentel: a
Betty Rogers: Y
Victoria Pimentel: conclusion.
Betty Rogers: you have
Carolyn Clark: Horizontal's
Betty Rogers: you have done the
Carolyn Clark: easier
Betty Rogers: first two.
Carolyn Clark: too,
Victoria Pimentel: Yeah.
Carolyn Clark: 'cause you
Betty Rogers: Okay,
Carolyn Clark: can
Betty Rogers: and and the look
Louise Griego: Yeah.
Betty Rogers: and feel is
Carolyn Clark: Is it more natural
Victoria Pimentel: Well
Carolyn Clark: than this?
Victoria Pimentel: I think I have to make a p
Carolyn Clark: So
Victoria Pimentel: an
Carolyn Clark: let's
Victoria Pimentel: issue
Carolyn Clark: say
Victoria Pimentel: called finance.
Carolyn Clark: Whoops. 'Kay.
Betty Rogers: Yeah.
Louise Griego: Yes.
Carolyn Clark: Basically.
Louise Griego: It doesn't
Betty Rogers: The items
Louise Griego: look like
Betty Rogers: we had
Louise Griego: uh
Betty Rogers: to drop.
Victoria Pimentel: Yeah.
Louise Griego: Uh it it's it's not Yeah. It's not very fashionable anymore. But uh it's okay.
Carolyn Clark: It's really ugly.
Louise Griego: Yeah.
Betty Rogers: Where did we start with price? Twenty
Louise Griego: Maybe
Betty Rogers: six
Louise Griego: m make
Betty Rogers: and a half.
Louise Griego: it bigger? Or
Victoria Pimentel: Mm-hmm.
Betty Rogers: Or not? Or twenty six? Something like that.
Louise Griego: Yeah. That looks little bit more uh Maybe
Carolyn Clark: Oh
Louise Griego: that's a s a special colour for it.
Betty Rogers: This?
Louise Griego: So we can make it uh special?
Carolyn Clark: What do you mean? Like a other colour than this one?
Louise Griego: Or or speckles in it? I dunno. Uh
Betty Rogers: Speckles?
Carolyn Clark: Yeah can we do it uh uh can we do a print?
Louise Griego: I'm not sure.
Carolyn Clark: I think we
Victoria Pimentel: ... I.
Carolyn Clark: have
Victoria Pimentel: don't
Carolyn Clark: to choose,
Victoria Pimentel: think so,
Carolyn Clark: yeah?
Victoria Pimentel: if you see
Betty Rogers: Uh
Victoria Pimentel: the options. But
Carolyn Clark: Okay special colour. We do have special colour. Does it
Louise Griego: Yeah
Carolyn Clark: mean uh
Louise Griego: red
Carolyn Clark: that
Louise Griego: is already a special colour, I think. So It's
Betty Rogers: Yeah.
Louise Griego: not very special, but uh
Carolyn Clark: Shall we just give it some dots to make it look pretty?
Louise Griego: Yeah.
Carolyn Clark: Purdy.
Louise Griego: Just
Betty Rogers: Yeah.
Louise Griego: uh
Betty Rogers: Some
Louise Griego: put the
Betty Rogers: some
Louise Griego: purple
Betty Rogers: big dots.
Louise Griego: uh purple on it.
Carolyn Clark: Purple?
Louise Griego: That's trendy.
Betty Rogers: Yeah.
Carolyn Clark: Yeah yeah. Oh no
Betty Rogers: ... We. have the
Carolyn Clark: my
Betty Rogers: original
Carolyn Clark: remote
Betty Rogers: balance
Carolyn Clark: has acne.
Betty Rogers: sheet, or
Victoria Pimentel: Yeah.
Betty Rogers: Yeah.
Louise Griego: Woah.
Carolyn Clark: No. That's why we have that button.
Louise Griego: Oh yeah.
Carolyn Clark: It's so cute.
Louise Griego: Hmm. Oh what?
Carolyn Clark: Doh.
Betty Rogers: Woah. Just cut. Control Z_.
Louise Griego: Oh no.
Carolyn Clark: Is that that?
Betty Rogers: Yeah.
Louise Griego: No no. Yeah.
Betty Rogers: Yeah.
Carolyn Clark: How the
Louise Griego: Oh it's
Carolyn Clark: We
Louise Griego: it's just
Carolyn Clark: did we do
Louise Griego: one
Carolyn Clark: that?
Louise Griego: computer?
Betty Rogers: Just
Louise Griego: Or
Betty Rogers: dual screen.
Louise Griego: No. But can we delete it, just with delete? Or
Carolyn Clark: We can try. That doesn't respond also to the undo. It looks like it's
Louise Griego: Crashed.
Carolyn Clark: No,
Louise Griego: Oh, no.
Betty Rogers: Very
Louise Griego: Okay.
Betty Rogers: nice.
Carolyn Clark: Where do you want some more dots?
Louise Griego: Yeah, over here. Hmm?
Victoria Pimentel: You can't even draw anymore.
Betty Rogers: Yeah.
Victoria Pimentel: Even
Louise Griego: What's
Betty Rogers: Y y
Victoria Pimentel: children
Louise Griego: this?
Betty Rogers: you
Victoria Pimentel: can draw.
Betty Rogers: you you push the button or something. Or
Victoria Pimentel: Can you just push
Louise Griego: Oh
Victoria Pimentel: pen
Louise Griego: yeah.
Victoria Pimentel: and then
Louise Griego: Oh
Victoria Pimentel: keep
Louise Griego: that's
Victoria Pimentel: on
Louise Griego: the select button. It's
Victoria Pimentel: Hmm.
Louise Griego: uh
Carolyn Clark: Okay, it's not the prettiest, I know.
Louise Griego: No,
Carolyn Clark: It's
Louise Griego: it
Betty Rogers: Lot
Carolyn Clark: not
Louise Griego: looks
Carolyn Clark: so
Betty Rogers: of options.
Carolyn Clark: random huh?
Louise Griego: It's okay. Specially the the R_.
Betty Rogers: Yeah, the R_ and another R_.
Carolyn Clark: Yeah okay.
Betty Rogers: It's called the Real Remote, right?
Victoria Pimentel: Yeah.
Betty Rogers: Maybe maybe it c it can say that. The Real Remote.
Victoria Pimentel: Yeah just on the the m um the L_C_D_ display.
Betty Rogers: Yeah. Welcome.
Carolyn Clark: We can make
Victoria Pimentel: This
Carolyn Clark: a
Victoria Pimentel: is
Carolyn Clark: l
Victoria Pimentel: your
Carolyn Clark: a logo.
Victoria Pimentel: Real Remote.
Betty Rogers: Yeah. Yeah.
Carolyn Clark: Like uh
Victoria Pimentel: Yeah.
Carolyn Clark: put it like the shape.
Louise Griego: D designed by
Carolyn Clark: Something like that.
Louise Griego: Okay.
Carolyn Clark: I mean it's not too uh That's not their logo, is it?
Louise Griego: No. Do they have a lo Oh, the here. This i this is the logo.
Carolyn Clark: Yeah. It's
Louise Griego: Two
Carolyn Clark: a
Louise Griego: R_s and a one.
Victoria Pimentel: Yeah. You can just reuse that, because the name is the same.
Betty Rogers: You can copy
Victoria Pimentel: Initials.
Betty Rogers: and paste the picture if you want.
Carolyn Clark: How Shall we do the logo in black or not?
Victoria Pimentel: Mm.
Louise Griego: Yeah.
Betty Rogers: Yeah. What is that? Look more Looks more like a campfire.
Carolyn Clark: Are you dissing my drawing? This one?
Betty Rogers: Yeah.
Carolyn Clark: It looks like a ribbon.
Betty Rogers: Yeah.
Louise Griego: Okay.
Carolyn Clark: So who wants to draw? This is actually quite fun. Do we need to do anything? I hear you
Louise Griego: Are
Carolyn Clark: people
Louise Griego: we uh ready?
Carolyn Clark: are typing.
Louise Griego: Uh Or
Betty Rogers: Type in your report.
Carolyn Clark: Oh, okay.
Betty Rogers: I don't see any new messages. So
Victoria Pimentel: Luckily.
Betty Rogers: Hmm? Luckily, yeah.
Louise Griego: Is this uh the last assignment? Or
Victoria Pimentel: Yeah, it's uh
Louise Griego: Final
Victoria Pimentel: Yeah.
Carolyn Clark: It's almost four.
Betty Rogers: What time do we have to deliver the report? Four o'clock or
Carolyn Clark: At four, yeah,
Betty Rogers: Or before that?
Victoria Pimentel: Okay.
Betty Rogers: Just
Victoria Pimentel: And
Betty Rogers: compare
Victoria Pimentel: copy this.
Betty Rogers: uh
Victoria Pimentel: Just a minute.
Carolyn Clark: This is really bizarre.
Victoria Pimentel: It's
Carolyn Clark: It looks like there's a It looks
Louise Griego: Um
Carolyn Clark: like
Louise Griego: bug.
Carolyn Clark: a butterfly.
Louise Griego: Bug.
Victoria Pimentel: It's somewhere I
Louise Griego: No
Victoria Pimentel: d
Louise Griego: it's
Victoria Pimentel: It
Louise Griego: in inside
Victoria Pimentel: isn't inside.
Louise Griego: the
Victoria Pimentel: Yeah, and don't know how it's
Betty Rogers: No it's
Victoria Pimentel: or
Betty Rogers: on
Victoria Pimentel: eject
Betty Rogers: the on
Victoria Pimentel: it.
Betty Rogers: the beamer I guess.
Louise Griego: No it Oh.
Carolyn Clark: No, but it
Victoria Pimentel: From
Carolyn Clark: i
Victoria Pimentel: up there?
Carolyn Clark: It's not a bu a beamer.
Victoria Pimentel: No.
Carolyn Clark: B It's a normal T_V_ screen, kind of thing.
Louise Griego: Hey,
Victoria Pimentel: Yeah it's
Louise Griego: you've
Victoria Pimentel: somewhere
Louise Griego: got it
Victoria Pimentel: in
Louise Griego: uh
Victoria Pimentel: here.
Louise Griego: read only. So you have to uh
Victoria Pimentel: Save copy.
Betty Rogers: Yeah. Strange. This something what's projection
Victoria Pimentel: Yeah.
Betty Rogers: from behind, I guess.
Louise Griego: It's too uh
Carolyn Clark: Oh. Yeah there is some kind of projection I think.
Victoria Pimentel: Yes.
Betty Rogers: Yeah it it's a beamer, but then with
Carolyn Clark: With
Betty Rogers: a within
Carolyn Clark: a
Betty Rogers: a
Carolyn Clark: with a mirror, huh?
Betty Rogers: mirror,
Carolyn Clark: Or something.
Betty Rogers: yeah.
Carolyn Clark: Yeah.
Betty Rogers: So it looks like a big screen, but in fact it isn't.
Carolyn Clark: So are we gonna
Louise Griego: It
Carolyn Clark: change
Louise Griego: is
Carolyn Clark: anything to this? I mean is
Betty Rogers: Well
Carolyn Clark: it gonna
Betty Rogers: it's it's
Victoria Pimentel: Well
Betty Rogers: single single
Louise Griego: It's
Betty Rogers: curved.
Louise Griego: now single curved. So
Betty Rogers: Th this
Carolyn Clark: This
Betty Rogers: is
Carolyn Clark: is
Louise Griego: It's
Betty Rogers: flat.
Carolyn Clark: gonna be
Louise Griego: flat.
Carolyn Clark: flat. Yeah
Louise Griego: Oh
Carolyn Clark: exactly.
Betty Rogers: Yeah.
Louise Griego: no. Okay. It doesn't matter. It's
Betty Rogers: But it's
Louise Griego: it's
Betty Rogers: it's better to have in the front, this kind of shape, because it looks nice. I mean you see more of this than of that.
Carolyn Clark: Yeah.
Betty Rogers: Yeah, more like that.
Carolyn Clark: Yeah. And this is also gonna be
Betty Rogers: It's not very uh ideal.
Carolyn Clark: Nope.
Betty Rogers: Do like this.
Carolyn Clark: But sometimes then uh all of a sudden it does work.
Betty Rogers: Yeah. What's this?
Louise Griego: That's the detector uh for the
Betty Rogers: Ooh.
Louise Griego: Okay.
Betty Rogers: But
Carolyn Clark: Maybe
Betty Rogers: I don't see a detector over there.
Louise Griego: Yeah. I don't know.
Carolyn Clark: No it's I think you only need two points. Or not. No,
Betty Rogers: I
Carolyn Clark: you sh
Betty Rogers: thought it was a kind of thing to put it on, and then draw right
Louise Griego: Maybe that's
Betty Rogers: lines
Louise Griego: why
Betty Rogers: or something.
Louise Griego: it's it's not working, because it's more
Carolyn Clark: Slanted yeah.
Louise Griego: Yeah.
Betty Rogers: Yeah.
Carolyn Clark: Yeah.
Betty Rogers: Or just messed it up.
Carolyn Clark: Well maybe.
Louise Griego: Oh. Oh yeah.
Carolyn Clark: Yeah
Betty Rogers: Yeah.
Carolyn Clark: it it matters for the aim of this
Louise Griego: Yeah.
Carolyn Clark: thing.
Betty Rogers: Yeah but it wasn't good.
Louise Griego: You've to make it s uh ninety degrees.
Betty Rogers: Yeah it it has to touch the corners, I guess. But th this one wasn't good, because if I was drawing here, I drew a line and then it came over here.
Victoria Pimentel: Um now you probably have to recalibrate.
Louise Griego: You have
Victoria Pimentel: Oh, five minutes to the end of the meeting.
Betty Rogers: Oh.
Louise Griego: Oh we're always
Victoria Pimentel: And
Louise Griego: long.
Victoria Pimentel: the recalibration is done using this icon here.
Louise Griego: Yeah,
Betty Rogers: Ooh.
Louise Griego: can we t can we get to that i Oh it's not working anymore.
Victoria Pimentel: Yeah well I just
Louise Griego: Oh
Betty Rogers: Yeah
Louise Griego: yeah
Betty Rogers: yeah,
Louise Griego: yeah
Betty Rogers: it's
Louise Griego: yeah
Betty Rogers: it's
Louise Griego: yeah, it's
Betty Rogers: okay.
Louise Griego: it's working, it's working.
Betty Rogers: It's working again.
Carolyn Clark: Yeah.
Betty Rogers: It's better than before.
Louise Griego: Yeah.
Victoria Pimentel: Okay.
Betty Rogers: Yeah.
Louise Griego: We're improving uh Yeah.
Victoria Pimentel: You go ahead.
Betty Rogers: Yeah
Louise Griego: Yeah.
Betty Rogers: that's improved uh pretty much.
Carolyn Clark: Yeah it's only a bit like to
Betty Rogers: Yeah.
Carolyn Clark: that side, but that is that one by the way.
Betty Rogers: Yeah but
Carolyn Clark: 'Cause
Betty Rogers: it's better,
Louise Griego: No it
Betty Rogers: it's
Carolyn Clark: this
Betty Rogers: better
Carolyn Clark: one makes the angle either like this. So i if I change this, it will go there,
Betty Rogers: Mm.
Carolyn Clark: if I change that, will go there.
Betty Rogers: No. It's better than it was I guess.
Carolyn Clark: Mm-hmm. I will take this away 'cause it looks messy.
Betty Rogers: Silly. Yeah. Works pretty well. Five minutes before the
Victoria Pimentel: Yeah.
Betty Rogers: meeting's over. And
Victoria Pimentel: Yeah.
Betty Rogers: then? We have
Victoria Pimentel: Then
Betty Rogers: to present
Victoria Pimentel: I have to uh uh write this, and I don't know if you have to present, because I didn't receive any information about that so far.
Betty Rogers: Alright.
Carolyn Clark: Maybe we will.
Victoria Pimentel: Maybe
Betty Rogers: So
Victoria Pimentel: we get
Betty Rogers: it
Victoria Pimentel: a
Betty Rogers: after
Victoria Pimentel: a final
Betty Rogers: the after
Victoria Pimentel: mail.
Betty Rogers: after these five minutes,
Victoria Pimentel: Yeah.
Betty Rogers: you have to
Victoria Pimentel: Yeah, I have still ten minutes
Carolyn Clark: What's
Victoria Pimentel: to finish
Carolyn Clark: this anyway?
Victoria Pimentel: the report.
Louise Griego: So
Betty Rogers: Alright.
Louise Griego: cake.
Betty Rogers: After after that five minutes,
Carolyn Clark: It
Betty Rogers: you have
Carolyn Clark: looks
Betty Rogers: ten
Carolyn Clark: like
Betty Rogers: minutes
Carolyn Clark: candle
Betty Rogers: to finish
Carolyn Clark: wax.
Betty Rogers: it, or
Victoria Pimentel: Yeah.
Betty Rogers: Alright. And we uh
Victoria Pimentel: And you can uh just uh relax and uh have cup of coffee
Betty Rogers: Right.
Victoria Pimentel: or
Betty Rogers: Chill.
Victoria Pimentel: oh no, they don't have beer here so
Betty Rogers: Huh.
Victoria Pimentel: you can't celebrate. You can just if you ma finish my presentation please. Uh
Betty Rogers: Uh
Victoria Pimentel: over there.
Betty Rogers: Yeah?
Victoria Pimentel: The presentation is still open. So if you finish that then you'll see uh Yeah next.
Betty Rogers: Next slide.
Victoria Pimentel: Oh yeah, we have to do the project uh evaluation. Just uh do that quickly.
Betty Rogers: Yeah?
Victoria Pimentel: Uh
Betty Rogers: How do you do it?
Victoria Pimentel: Uh well basically what that says, we discuss it and um So
Betty Rogers: Alright.
Victoria Pimentel: how were did the project process uh go? Did you, were you all pleased with the process as it was? Or
Carolyn Clark: Uh
Victoria Pimentel: are there
Carolyn Clark: th
Victoria Pimentel: uh
Carolyn Clark: uh do you mean the the interaction between
Victoria Pimentel: Yeah
Carolyn Clark: us?
Victoria Pimentel: the interaction
Carolyn Clark: Or
Victoria Pimentel: and the steps we followed, and and so forth.
Carolyn Clark: Yeah well at first I was really stressed. Because
Betty Rogers: Yeah.
Carolyn Clark: it went a bit fast. But then as I knew the tempo that I had to be on, the second time I think I did a bit better.
Betty Rogers: Yeah.
Victoria Pimentel: Yeah.
Carolyn Clark: And the third time yeah, I
Betty Rogers: And
Carolyn Clark: mean
Betty Rogers: we move
Louise Griego: No.
Betty Rogers: more to to working together as team, because
Victoria Pimentel: Mm-hmm.
Betty Rogers: at first you you make your individual contribution, and then come here, and you have no idea what the
Louise Griego: No.
Betty Rogers: others have to make.
Carolyn Clark: Yeah, yeah yeah
Betty Rogers: And then
Carolyn Clark: yeah.
Betty Rogers: finally you have some idea, okay this is gonna w this is what we gonna make together and okay I will arrange this and
Victoria Pimentel: Mm-hmm.
Betty Rogers: you will arrange that, and you have a k a kind of idea what you can expect on the next half hour when you have to work on your own. So The
Carolyn Clark: Yeah
Louise Griego: Yeah.
Betty Rogers: process,
Carolyn Clark: we
Betty Rogers: I mean, the interaction between us became better and better
Louise Griego: Yeah.
Betty Rogers: I guess.
Victoria Pimentel: Mm-hmm.
Louise Griego: Especially
Carolyn Clark: Mm-hmm.
Louise Griego: after the first meeting.
Betty Rogers: Yeah,
Louise Griego: And
Betty Rogers: especially if f f if you see uh you se you saw the largest difference from the first to the second
Louise Griego: Yeah.
Carolyn Clark: Yeah.
Betty Rogers: meeting
Carolyn Clark: Definitely.
Betty Rogers: I guess.
Victoria Pimentel: Okay and was that due to my leadership?
Louise Griego: Yeah yeah yeah.
Carolyn Clark: Well you did become more assertive the the second time round, so that
Victoria Pimentel: Yeah?
Carolyn Clark: Yeah.
Louise Griego: Yeah.
Betty Rogers: Yeah.
Victoria Pimentel: That okay?
Carolyn Clark: You were more in charge kind of thing.
Victoria Pimentel: Okay. Um was there uh enough room for creativity?
Carolyn Clark: I guess so.
Betty Rogers: Yeah.
Louise Griego: Yeah but
Carolyn Clark: I mean
Louise Griego: only the the financial parts uh
Betty Rogers: Li Limiteded
Louise Griego: Yeah.
Betty Rogers: afterwards, but If if you don't take that into account, there's plenty
Carolyn Clark: I
Betty Rogers: of room for creativ creativity. Also not only the drawing and the the making of the thing itself, but also in explaining it to the other people, by means of uh
Carolyn Clark: We were pretty democratic.
Betty Rogers: the the board and uh PowerPoint and Word and stuff like
Victoria Pimentel: So
Betty Rogers: that.
Victoria Pimentel: and the uh about the board digital pen? Uh was that
Carolyn Clark: Yeah.
Victoria Pimentel: helpful or
Betty Rogers: Mm
Victoria Pimentel: Ooh.
Betty Rogers: uh I think in in essence the digital pen is better than the SMARTboard. Because it it it just works better. I
Victoria Pimentel: Yeah
Betty Rogers: mean uh uh
Victoria Pimentel: it
Betty Rogers: I've
Victoria Pimentel: works.
Betty Rogers: made yeah, uh I've made several notes just to test it, and and just put the pen in into it, and then it came onto my screen and it looked perfectly.
Louise Griego: Yeah.
Betty Rogers: So
Victoria Pimentel: Mm-hmm.
Betty Rogers: it it's better a better device than uh than the screen.
Carolyn Clark: Maybe Yeah.
Betty Rogers: But the screen is useful, in essence, but it doesn't work that well.
Carolyn Clark: It's uh it's The the pen is more intuitive, 'cause we're all used to writing
Victoria Pimentel: Use
Carolyn Clark: with
Victoria Pimentel: the
Carolyn Clark: pen.
Victoria Pimentel: pen.
Carolyn Clark: And uh as I said, uh I uh have no idea how PowerPoint works, so will take Betty Rogers half a day to be able to make a normal PowerPoint presentation.
Betty Rogers: Yeah.
Carolyn Clark: But once I get to know the program probably, I mean, it looks better, you know. Or uh something like that. You can give it a kind of a home style, like we have i the the logo and everything.
Victoria Pimentel: Yeah yeah.
Carolyn Clark: And
Betty Rogers: Yep.
Carolyn Clark: I don't know.
Victoria Pimentel: Blink. Oh.
Betty Rogers: Warning. Finish
Louise Griego: Finish
Betty Rogers: meeting
Louise Griego: meeting.
Betty Rogers: now.
Victoria Pimentel: Okay, are are there any new ideas about this? All I think I
Betty Rogers: Well,
Victoria Pimentel: didn't
Betty Rogers: it
Victoria Pimentel: really receive,
Betty Rogers: It's use
Victoria Pimentel: yeah.
Betty Rogers: especially useful, I guess, to to evaluate designs and graph graphical stuff.
Victoria Pimentel: Uh uh
Betty Rogers: And and
Victoria Pimentel: w uh S sorry uh
Betty Rogers: the screen and stuff like that.
Victoria Pimentel: Mm-hmm.
Louise Griego: I think the PowerPoint is is too limited. You can't uh draw easy in in PowerPoint. It has to be uh yeah. The drawing board has to be integrated into PowerPoint, so that you can just easily
Betty Rogers: Yeah.
Carolyn Clark: Yeah the the the problem with PowerPoint for Betty Rogers is that you have to i put in the pre-made chunks c as
Louise Griego: Yeah.
Carolyn Clark: well. You
Victoria Pimentel: Yeah.
Carolyn Clark: know, you can draw something on
Betty Rogers: Yeah.
Carolyn Clark: the sketch-board and then take it there, or whatever.
Betty Rogers: Yeah. But it it's useful to to show something to to
Louise Griego: Yeah
Betty Rogers: an
Louise Griego: just
Betty Rogers: a small
Louise Griego: for text,
Betty Rogers: audience, and
Louise Griego: for
Betty Rogers: then
Louise Griego: text
Betty Rogers: to
Louise Griego: it's uh it's okay. But
Betty Rogers: Yeah. These these kind of screens this size are useful to discuss things. So Yes.
Victoria Pimentel: Oh.
Betty Rogers: Check your email.
Victoria Pimentel: Uh we should uh enter our questionnaire.
Betty Rogers: You also.
Louise Griego: 'Kay.
Victoria Pimentel: Ah. Woah.
Carolyn Clark: Alright.
Betty Rogers: Right.
Victoria Pimentel: Okay.
Louise Griego: Okay.
Victoria Pimentel: Uh okay.
Carolyn Clark: Alright.
Betty Rogers: Yes boss.
Carolyn Clark: Well,
Victoria Pimentel: That's
Carolyn Clark: s
Victoria Pimentel: the management.
Carolyn Clark: see you in a second huh?
Betty Rogers: Well see you soon.
Louise Griego: Oh. Okay.
Victoria Pimentel: Hope so.
Betty Rogers: Yeah.
Victoria Pimentel: Um
Carolyn Clark: Yeah we have to pull it this way, huh? Wait. | Victoria Pimentel decided to start by looking at costs instead of the prototype presentation because the original design was too expensive and had to be changed. The group discussed which features should be dropped. The group decided that the LCD screen was integral to their design, but dropped the speech recognition. They decided to drop all the buttons in favour of an integrated scroll push-button, and to use a hand dynamo instead of kinetic energy as a power source. Betty Rogers led the prototype evaluation, based on the new design. The group were satisfied with the overall score of 3.1. Carolyn Clark and user interface designer worked on a drawing of the new design, while Victoria Pimentel and marketing manager worked on the final report. Victoria Pimentel led an evaluation of the project process. The group thought that they worked well together, especially after the first meeting. They were happy with the room for creativity, but thought they were limited by the budget. They preferred the digital pens to the SMARTboard. They had mixed feelings about using PowerPoint. | 4 | amisum | train |
Sheryl Correa: Hi.
Candice Mendoza: Hi.
Rebecca Hartman: Hello.
Sheryl Correa: Oh.
Rebecca Hartman: Good morning.
Sheryl Correa: Good morning.
Candice Mendoza: Morning.
Diana Heath: Good morning.
Rebecca Hartman: Uh before I start with the meeting I have a few things to tell you about the the setting we're in, uh because we're uh being watched by uh Big Brother. So um
Diana Heath: By Big Brother?
Rebecca Hartman: Yeah. Yeah.
Diana Heath: Okay.
Rebecca Hartman: This uh These are cameras, so are these.
Diana Heath: Mm-hmm.
Rebecca Hartman: This thing uh that looks like a pie, are
Diana Heath: Yeah.
Rebecca Hartman: actually all microphones.
Diana Heath: Okay.
Rebecca Hartman: So you must be careful with uh with uh all this. uh as I can you uh you have placed your laptops uh place where must be. And that has to do with the camera settings, so we don't have our uh laptops in front of the cameras.
Diana Heath: Of our faces.
Rebecca Hartman: And Indeed. So they can see our faces. Okay.
Rebecca Hartman: Welcome at the kick-off meeting. My name is uh Danny Wolfs. Uh this is the agenda for today. Uh first a little opening. Uh I will introduce myself, uh and uh I think it's very uh good to introduce uh yourself. Uh then uh a little bit of acquaintance, acquaintance to uh to to ourselves. So uh we get to know each other. Uh that will be done uh with a tool training from the he these two uh smart boards. Then the project plan. What we're going to do, and how we're going to do it. Uh and discussion about that and a little closing at the end. Okay uh, my name is uh Danny Wolfs. I'm Rebecca Hartman. What's your name?
Sheryl Correa: I'm Juergen Toffs I'm Sheryl Correa.
Rebecca Hartman: User interface, okay.
Candice Mendoza: Hi, my uh I'm Candice Mendoza.
Rebecca Hartman: Industrial, yes.
Diana Heath: I'm uh Tim. Um my function is Diana Heath.
Rebecca Hartman: Okay, thank you. First a little about the project aim. Uh the the the aim is to make a new remote control. Uh maybe you have read uh read the website. It's a very uh, yeah, very uh ambitious uh company. They uh they wanna do something else. I w Uh there must be a new remote control. Uh first of all uh it must be original, uh and trendy. That's two things really uh close to each other. But at the same time uh user-friendly. And they have uh Yeah, that's uh very important uh for them. Uh there are three stages. There is a functional design. So uh what are we going uh to uh to do? What are we going to uh uh make f uh kind of functions in the remote? And why are we going to do it? Then the conceptual design. How are going to do it? And that's uh really global. Uh because at the detailed design, how, part two, uh we go uh to dig in uh really about how the the te the technical of If it's uh it's possible technical-wise. Uh each stage is uh uh is broken up in two uh two stages, individual work and a meeting. So it's uh it's very straightforward. Okay, the tool training. We have two smart boards. This one is for the presentations, the PowerPoint presentations or the Word presentation of whatever you uh you had. Uh and this is uh only for uh drawing. So uh we uh must let it uh stand on this uh this programme. This is called a smart board thing
Diana Heath: Speaks for
Rebecca Hartman: uh
Diana Heath: itself.
Rebecca Hartman: Yeah, it speaks for itself. Um and as you uh may have heard, the documents in the shared folder uh can be uh showed on this screen. Not in y the the My Documents. So if you wanna show something, put it in the shared folder. Uh This uh is very straightforward, with the save, the print, the undo, the blank, the select, the pen. Well, I don't uh gonna explain it all, because I think you know uh how it works. Um we must not forget uh everything we draw on here, uh all must be saved. We we may not delete anything. So uh if you have uh drawn something, save it. Never delete it. That's a very important uh thing. Okay. Uh little uh little kinda exercise to uh know each other. At uh the white board on the left. Every uh every one of us uh must draw our favourite animal, and uh tell uh tell us why we uh had uh chosen that animal. Uh important is that we use different colours, and uh different pen widths. Widths. Widths.
Diana Heath: I have a question.
Rebecca Hartman: Yes?
Diana Heath: Um this exercise,
Rebecca Hartman: Yeah.
Diana Heath: um did the company board tell you to do it, or uh did you just make it up yourself?
Rebecca Hartman: No no no. It's uh it's uh I I
Diana Heath: It's
Rebecca Hartman: I
Diana Heath: part
Rebecca Hartman: must
Diana Heath: of the
Rebecca Hartman: do
Diana Heath: introduction,
Rebecca Hartman: it. Yeah, yeah, yeah.
Diana Heath: okay.
Rebecca Hartman: 'Cause we uh really don't know each other, and uh it's kinda new. So getting used to each other, we can uh have a little fun then, before we
Diana Heath: Okay.
Rebecca Hartman: uh dig in really to the hard stuff. That kind of thing. Would you start with drawing your uh favourite
Diana Heath: Um,
Rebecca Hartman: animal?
Diana Heath: yeah. I don't know really how it works. But maybe
Rebecca Hartman: Okay,
Diana Heath: you can
Rebecca Hartman: okay.
Diana Heath: show us first?
Rebecca Hartman: Yeah, okay. Drawing goes with uh this thing. Do not touch your hand on uh this little uh thingy here. That's uh important. So hold it uh like
Diana Heath: You
Rebecca Hartman: this.
Diana Heath: g you get electrocuted or
Rebecca Hartman: Yeah, kinda. So, um You must p p uh push a little uh Good. Because And uh wait uh wait a few seconds. so uh
Sheryl Correa: Ach.
Rebecca Hartman: watch it. Oh yeah. Well I'm gonna paint in the red.
Sheryl Correa: Ooph.
Rebecca Hartman: Oh. That's the background colour. Well, undo. Um The pen? No. One minute please.
Rebecca Hartman: Yeah, that's the one. Well, five. Okay. My favourite animal huh?
Diana Heath: It's like Pictionary?
Rebecca Hartman: Yeah, you can guess what
Diana Heath: The
Rebecca Hartman: it is.
Diana Heath: the one who says it first gets a raise.
Rebecca Hartman: May uh paint uh next.
Diana Heath: It's a pork?
Rebecca Hartman: No, it's not an orc. You don't see it uh at the ears?
Diana Heath: Mm yeah, I have it at home.
Rebecca Hartman: You have an orc at home?
Sheryl Correa: Very artistic.
Rebecca Hartman: Thank you. So it's a cat.
Diana Heath: What's it called?
Rebecca Hartman: Simba.
Diana Heath: Ah.
Rebecca Hartman: 'Cause uh we have a cat at home and he's called Simba. 'Cause
Sheryl Correa: Okay.
Rebecca Hartman: he looks like the uh the the lion from The Lion King.
Diana Heath: Miniature
Rebecca Hartman: So we
Diana Heath: size?
Rebecca Hartman: uh found it kinda cool to uh name it after a lion.
Diana Heath: Okay.
Rebecca Hartman: He's happy with us, so uh he's smiling.
Sheryl Correa: Wow. He does have body uh
Rebecca Hartman: No, only the face. Because
Sheryl Correa: Huh.
Rebecca Hartman: we have we have twen twenty five minutes.
Diana Heath: Okay.
Rebecca Hartman: So we uh
Diana Heath: We have to speed up.
Rebecca Hartman: Yeah.
Diana Heath: Remember you use uh different colours, and different pen widths.
Rebecca Hartman: Yeah. Okay, who wants to go next?
Diana Heath: I Okay.
Rebecca Hartman: Yeah? So choose a colour, choose a pen width and draw a
Sheryl Correa: You don't have to change the colour and the pen width during
Diana Heath: Save it.
Sheryl Correa: uh the drawing. Or
Rebecca Hartman: Yeah.
Diana Heath: You have to save it.
Rebecca Hartman: Save it, okay.
Diana Heath: I've done it. New? 'Kay.
Sheryl Correa: You have to draw uh push hard on the pen or uh
Diana Heath: Mm uh Not really. Um
Rebecca Hartman: Kind of firm touch.
Diana Heath: That one.
Sheryl Correa: Oh. Uh hmm.
Diana Heath: Yeah? Okay. Open. Which one is it? Smart board? Okay.
Sheryl Correa: Okay.
Rebecca Hartman: Yeah.
Diana Heath: And now?
Diana Heath: Okay. Okay, thanks. 'Kay, I've speed up. 'Kay, that's fine. Line width.
Candice Mendoza: By the way, why was your cat uh red?
Rebecca Hartman: Because uh my cat is red uh
Candice Mendoza: Oh,
Rebecca Hartman: at
Sheryl Correa: Oh.
Rebecca Hartman: home.
Candice Mendoza: okay.
Rebecca Hartman: And I have red hair, so uh
Sheryl Correa: It's
Candice Mendoza: Oh,
Sheryl Correa: a very
Candice Mendoza: yeah,
Sheryl Correa: bloody
Candice Mendoza: sure.
Sheryl Correa: cat.
Rebecca Hartman: must be red.
Sheryl Correa: It's a frog.
Candice Mendoza: No, it's a turtle.
Diana Heath: It's not an apple.
Candice Mendoza: Must be a dog.
Sheryl Correa: A dog?
Candice Mendoza: Yeah.
Diana Heath: Hmm. Colour. Something like this. Smaller.
Sheryl Correa: Huh? Oh, it is a turtle.
Rebecca Hartman: It is a turtle. Why a turtle? Why? Tim?
Diana Heath: Um 'Cause I liked Teenage Mutant Hero Turtles.
Rebecca Hartman: You watched it a lot?
Diana Heath: Uh?
Rebecca Hartman: You watched it a lot?
Sheryl Correa: It's uh inside its shell. You'll be uh finished
Diana Heath: No,
Sheryl Correa: sooner.
Diana Heath: it's uh
Rebecca Hartman: It's a scared turtle.
Diana Heath: No no. It's coming up. Mm. Uh.
Sheryl Correa: Wow.
Rebecca Hartman: Okay,
Diana Heath: Something
Rebecca Hartman: Tim.
Diana Heath: like this.
Rebecca Hartman: Thank you.
Diana Heath: Okay, you know Very artistic.
Rebecca Hartman: Jurgen, you want to go next?
Sheryl Correa: Yes. Okay.
Diana Heath: Yeah?
Sheryl Correa: Wha Thank you.
Diana Heath: Here you go.
Sheryl Correa: Yeah. Um How did it work?
Rebecca Hartman: Format?
Sheryl Correa: Performance?
Rebecca Hartman: And then you have the the current colour, you can change. So no red or green.
Sheryl Correa: And a pen?
Rebecca Hartman: And uh line uh width. I had five. Tim had Uh
Sheryl Correa: Um
Rebecca Hartman: Tim, what kinda line width
Diana Heath: Uh
Rebecca Hartman: did you
Diana Heath: the
Rebecca Hartman: have?
Diana Heath: big lines were like nine.
Rebecca Hartman: Okay. It's a dog.
Sheryl Correa: Well, very good. I just
Candice Mendoza: Uh.
Sheryl Correa: uh thought I'd pick
Rebecca Hartman: Okay.
Sheryl Correa: the easiest one.
Rebecca Hartman: Why a dog? You have a dog at home?
Sheryl Correa: Well, we had a dog,
Diana Heath: Uh,
Rebecca Hartman: Had
Diana Heath: it's
Sheryl Correa: a
Rebecca Hartman: a
Sheryl Correa: few
Diana Heath: p
Rebecca Hartman: dog?
Sheryl Correa: years ago.
Rebecca Hartman: Yeah?
Sheryl Correa: And and it, yeah, when it died we didn't get a new one or something.
Rebecca Hartman: Ah.
Diana Heath: It's
Sheryl Correa: But
Diana Heath: pretty good
Sheryl Correa: uh
Diana Heath: uh
Rebecca Hartman: You have an artistic uh inner middle.
Diana Heath: An artist.
Sheryl Correa: Uh a Graphical User Designer, so
Candice Mendoza: Hmm.
Sheryl Correa: Hey.
Diana Heath: Think you uh picked the wrong uh function. Wrong job.
Sheryl Correa: Oh. No. Can work together. Ah colour.
Rebecca Hartman: So I think you can see it's real uh really a easy programme to use. Not difficult at all.
Diana Heath: Wha
Sheryl Correa: Well, it's
Rebecca Hartman: Okay,
Sheryl Correa: okay.
Rebecca Hartman: thank you.
Diana Heath: That's enough, thanks.
Rebecca Hartman: Janus?
Candice Mendoza: Yeah, sure.
Rebecca Hartman: The last one?
Sheryl Correa: Yeah.
Candice Mendoza: Uh thanks.
Diana Heath: I wonder.
Rebecca Hartman: Yeah. After a cat, a turtle and a dog. I think he's gonna draw an elephant.
Candice Mendoza: but I'm gonna do something much more difficult.
Rebecca Hartman: Uh-oh.
Sheryl Correa: Uh-oh. Oh, he is the artistic design.
Diana Heath: I'm gonna design a remote uh remote control
Sheryl Correa: Remote
Diana Heath: animal.
Sheryl Correa: control animal.
Candice Mendoza: Exactly.
Diana Heath: Oh.
Candice Mendoza: Uh
Diana Heath: Sorry.
Sheryl Correa: Well with the interface, it might be easier to ha to draw here and
Diana Heath: Yeah.
Sheryl Correa: display there uh.
Diana Heath: That that might be easier. But at the other hand, uh a pen like that is easy to hold in your hand, and
Rebecca Hartman: No.
Diana Heath: I think it's easier to
Rebecca Hartman: Better
Diana Heath: draw.
Rebecca Hartman: to draw with a
Diana Heath: Yeah. With
Rebecca Hartman: with
Diana Heath: a pen
Sheryl Correa: Than
Diana Heath: than with
Sheryl Correa: on
Diana Heath: a
Sheryl Correa: the,
Diana Heath: mouse
Sheryl Correa: with
Diana Heath: mouse.
Sheryl Correa: Yeah, I m I mean like uh like
Diana Heath: Mouth.
Sheryl Correa: on here, drawing drawing
Diana Heath: Oh,
Sheryl Correa: uh.
Diana Heath: okay.
Sheryl Correa: And then
Diana Heath: Yeah.
Sheryl Correa: displaying
Diana Heath: W
Sheryl Correa: on screen,
Diana Heath: with
Sheryl Correa: but
Diana Heath: this paper
Rebecca Hartman: But what
Diana Heath: it's too
Rebecca Hartman: is he
Diana Heath: mu
Rebecca Hartman: uh?
Diana Heath: too expensive.
Sheryl Correa: Too expensive,
Rebecca Hartman: Is it a rabbit?
Sheryl Correa: yeah.
Candice Mendoza: Yes.
Rebecca Hartman: Do you have a rabbit at home?
Candice Mendoza: No.
Diana Heath: It's a rabbit
Sheryl Correa: A
Diana Heath: with
Sheryl Correa: green
Diana Heath: uh
Sheryl Correa: rabbit.
Diana Heath: broken legs?
Rebecca Hartman: Is
Candice Mendoza: No.
Rebecca Hartman: it a white rabbit f It's the white rabbit from The Matrix.
Candice Mendoza: Yeah, exactly.
Rebecca Hartman: Okay, then
Sheryl Correa: There,
Rebecca Hartman: yeah.
Sheryl Correa: the g white green rabbit.
Candice Mendoza: So.
Sheryl Correa: He's a little bit stoned there.
Candice Mendoza: Uh I figured this is a pretty b good impression of a rabbit.
Diana Heath: Yeah. It
Candice Mendoza: Uh
Diana Heath: will
Candice Mendoza: uh
Diana Heath: do.
Candice Mendoza: Uh well.
Rebecca Hartman: Okay. Finishing touch and then we're going further.
Diana Heath: Project Manager? Uh
Rebecca Hartman: Yeah?
Candice Mendoza: Where does the pen go? Just
Diana Heath: Have
Candice Mendoza: uh
Diana Heath: you been uh counting the time?
Rebecca Hartman: Yeah, a little.
Diana Heath: Okay. Let's go on then.
Rebecca Hartman: Well, I think the dog is the the most uh
Candice Mendoza: Uh I figured
Rebecca Hartman: artistic.
Candice Mendoza: the rabbit was actually the most uh impressive.
Rebecca Hartman: Don't choose for youself.
Candice Mendoza: Oh,
Rebecca Hartman: That's
Candice Mendoza: sorry.
Rebecca Hartman: selfish. Okay,
Diana Heath: It's pretty
Rebecca Hartman: now we're
Diana Heath: abstract.
Rebecca Hartman: gonna dig into the to the serious stuff. Uh the selling price for the remote will be uh twenty five Euro, and the production cost uh may not be more than uh twenty and a half Euro. So uh from my point of view, I don't think it's uh gonna be very uh very high tech, high definition, uh ultra modern uh kinda remote, for twelve uh fift uh twelve and a half Euro. Uh the profit we must make with uh the new remote is uh fifty million Euro. So that's a lot. We have to sell uh a lot of uh
Sheryl Correa: Yeah, how much is it?
Diana Heath: Like how much?
Sheryl Correa: Hundred million uh remotes
Rebecca Hartman: Uh
Sheryl Correa: or something?
Rebecca Hartman: I think uh w when the selling price is twenty five,
Sheryl Correa: Oh
Rebecca Hartman: uh
Sheryl Correa: yeah.
Candice Mendoza: Twenty million.
Rebecca Hartman: uh you got two million,
Candice Mendoza: Two million, oh yeah, two
Rebecca Hartman: two
Candice Mendoza: million.
Rebecca Hartman: million remotes.
Candice Mendoza: Yeah.
Rebecca Hartman: But our marketing range is uh, market range is international. So we have uh virtually the whole world we can sell uh we can sell our r remotes to. At least that uh countries which have uh
Diana Heath: Yeah.
Rebecca Hartman: a television. Um So now it's time uh for us to uh going uh to discuss a little uh things. You can think about uh experience with a remote control uh yourself, at home. What you think might be uh a useful uh new feature. What uh what can distinguish our new trendy remote control from all the others. Um so uh let's uh let's uh discuss a little. I'm gonna join you at the table. Well what what's the most uh important thing at a remote control?
Sheryl Correa: Um well I think the most important thing of a remote control is that you can switch channels. And my opinion is you should keep it as basic as possible.
Rebecca Hartman: Okay.
Sheryl Correa: Uh
Rebecca Hartman: So not a not a remote control who uh uh which can uh can be used for television and a D_V_D_ and radio and Or
Diana Heath: Yeah.
Rebecca Hartman: just only
Diana Heath: I think so. Uh but I have some points. Can I show them on the on the big screen?
Rebecca Hartman: If you
Diana Heath: Maybe?
Rebecca Hartman: have them on uh I
Diana Heath: Yeah.
Rebecca Hartman: can uh
Diana Heath: Yeah, I can find Uh.
Rebecca Hartman: Okay.
Rebecca Hartman: Oh, in case you want it This is a dead kind of fly. Between the the the, yeah, the the uh
Diana Heath: Screen?
Rebecca Hartman: Yeah, be
Diana Heath: Okay.
Rebecca Hartman: The screens.
Sheryl Correa: Is it possible to open pen drawings in this uh on
Rebecca Hartman: No
Sheryl Correa: this
Rebecca Hartman: no
Sheryl Correa: screen?
Rebecca Hartman: no. Only All the drawings go there, at the left uh
Sheryl Correa: Uh but um which The ones we made on the
Rebecca Hartman: Oh, that pen drawings. Uh no, I think uh when it is uh in Word and you have saved it in the Shared Documents folder, you can show it there.
Sheryl Correa: Oh, only in Word, okay.
Rebecca Hartman: Yeah.
Diana Heath: Okay, I have some uh points from marketing point of view.
Rebecca Hartman: Yeah.
Diana Heath: Um just the standard thing li things like uh intuitive, uh small, fairly cheap. Uh it's pretty cheap, twenty five Euros. Uh brand independent. Um I think, it doesn't have to matter uh which brand your T_V_ or
Rebecca Hartman: Yeah.
Diana Heath: other thing is. Um
Rebecca Hartman: Okay. Five minutes.
Diana Heath: Five minutes? Okay,
Rebecca Hartman: Yeah.
Diana Heath: I'll wrap it up quickly. Um I personally think it has to be multi-purpose. Uh most
Rebecca Hartman: Yeah.
Diana Heath: of the remote c uh remote controls are uh just for one purpose.
Rebecca Hartman: Yeah.
Diana Heath: And uh by making it multi-purpose, it uh has a new feature, adds a new feature to the market, and distinguish from uh from current products.
Rebecca Hartman: Mm-hmm.
Diana Heath: Um maybe some other technology than infrared. Uh I rather find it very annoying um, like when someone is standing in front of the T_V_ then you can't switch it. Um think about um sending it over radio waves or bluetooth.
Rebecca Hartman: Okay. Okay.
Diana Heath: That might be a little bit uh expensive. Um And something like an L_C_D_ screen.
Sheryl Correa: For what purpose?
Diana Heath: Um uh like I said here um Maybe it's easy. It's nice as an added feature feature, that um, when you're on a certain channel, you can see on the L_C_D_ screen uh what programmes are
Rebecca Hartman: Okay.
Diana Heath: coming up or
Rebecca Hartman: So it be uh a multi-purpose uh very technically uh high uh
Diana Heath: From my point
Rebecca Hartman: remote?
Diana Heath: of view, yeah.
Rebecca Hartman: Yeah, it must be really uh innovative, technical-wise?
Diana Heath: Yeah, it has to be uh Yeah, our company is very uh good in making new
Rebecca Hartman: Yeah.
Diana Heath: innovative uh things.
Rebecca Hartman: So yeah,
Diana Heath: So
Rebecca Hartman: I
Sheryl Correa: We
Diana Heath: i
Rebecca Hartman: I agree
Diana Heath: i
Rebecca Hartman: with you.
Diana Heath: i
Rebecca Hartman: So
Diana Heath: i
Rebecca Hartman: we must focus on things who are really uh really add something to uh to
Diana Heath: To the current market.
Rebecca Hartman: Yeah.
Diana Heath: Look, you got some cheap uh remote controls there. They just uh Yeah, you got a dozen of 'em.
Rebecca Hartman: No.
Diana Heath: But when you enter a new market with a remote control
Rebecca Hartman: Mm-hmm.
Diana Heath: and uh wanna gain market share
Rebecca Hartman: Yeah.
Diana Heath: you have to do something special,
Rebecca Hartman: Yeah.
Diana Heath: I think.
Rebecca Hartman: But we have to keep an eye that it's Uh at the beginning of such a project, it's it's it's very uh cool to talk about, well, this would be cool, that would be cool.
Diana Heath: Yeah.
Rebecca Hartman: Uh but we must not uh lose uh sight of the the user uh uh friendly uh
Diana Heath: Yeah, of course.
Sheryl Correa: And and
Diana Heath: But
Sheryl Correa: the
Diana Heath: it's
Sheryl Correa: price.
Diana Heath: But but this is just from marketing uh
Rebecca Hartman: Yeah okay.
Diana Heath: aspect.
Rebecca Hartman: Yeah.
Diana Heath: I don't
Rebecca Hartman: Okay.
Diana Heath: know anything about user interface or
Sheryl Correa: Okay.
Diana Heath: design.
Rebecca Hartman: And that's because we have him.
Candice Mendoza: And and him.
Sheryl Correa: And him.
Rebecca Hartman: Okay, uh next meeting will start in thirty minutes. So uh you uh will have uh individual actions where I presume uh will be some feedback, uh via the m the mail. Um the the the Industrial uh Designer has to uh look at the working design. Uh Sheryl Correa has to look at the technical functions. So
Sheryl Correa: Yeah.
Rebecca Hartman: that's the
Sheryl Correa: Um
Rebecca Hartman: thing we uh discussed.
Sheryl Correa: one
Rebecca Hartman: Yeah?
Sheryl Correa: thing uh, we must first agree on uh what we're going to m going to make. Do we Are we going to use um it it for multiple systems? Or uh We should have some agreement on that
Rebecca Hartman: Okay.
Sheryl Correa: before we
Rebecca Hartman: Um
Diana Heath: Mm
Rebecca Hartman: wha
Diana Heath: uh I I don't think we have to be, we have to agree on that. Uh
Candice Mendoza: I figure
Diana Heath: I think
Candice Mendoza: we could get
Diana Heath: th that's
Candice Mendoza: back to
Diana Heath: a
Candice Mendoza: it
Diana Heath: pha
Candice Mendoza: on the next meeting actually.
Diana Heath: Yeah. That's a phase
Sheryl Correa: Okay.
Diana Heath: further.
Candice Mendoza: Yeah.
Diana Heath: Ju just uh make some mock-ups, some some general ideas.
Sheryl Correa: Ah okay.
Diana Heath: And and then we can plan Yeah.
Rebecca Hartman: Yeah.
Diana Heath: We can plan further,
Rebecca Hartman: Yeah.
Diana Heath: I think.
Rebecca Hartman: But maybe, because uh you are working on the user requirements, you are working on the technical functions, we uh must uh have a little or kinda uh uh uh How do you call it?
Sheryl Correa: Consensus
Rebecca Hartman: Uh
Sheryl Correa: on the, what
Rebecca Hartman: Uh
Sheryl Correa: we're gonna
Rebecca Hartman: a little
Sheryl Correa: do.
Rebecca Hartman: plan on on what we're going to do. So you don't uh uh come up with the user requirements who don't fit the the the the technical functions at all. Some basic things we co we want to going to do. Uh I think that's well uh Yeah. Will come in handy.
Diana Heath: Mm yeah. I don't
Sheryl Correa: Yeah.
Diana Heath: know. You decide.
Rebecca Hartman: Okay.
Diana Heath: You're Rebecca Hartman.
Rebecca Hartman: W He says
Sheryl Correa: Well yeah, if the technical functions have to be designed, I I've gotta know for what kind of machines
Rebecca Hartman: Yeah.
Sheryl Correa: they will be. Or do we use it a text screen? Or uh will it be with uh with bluetooth
Rebecca Hartman: Well,
Sheryl Correa: or
Rebecca Hartman: th that's that's really a step further. But
Sheryl Correa: Okay.
Rebecca Hartman: if you say uh is it uh uh one way or multi-purpose,
Sheryl Correa: Mm-hmm.
Rebecca Hartman: that's
Diana Heath: Uh tha
Rebecca Hartman: a
Diana Heath: that's a same step further.
Candice Mendoza: Yeah,
Rebecca Hartman: Why?
Candice Mendoza: actually it is.
Diana Heath: Yeah.
Rebecca Hartman: Why?
Candice Mendoza: Then looking at
Diana Heath: Uh.
Candice Mendoza: individual components, so
Diana Heath: Yeah.
Candice Mendoza: that's actually a f step
Rebecca Hartman: Yeah.
Candice Mendoza: further.
Diana Heath: Like we all have a list of uh things that has to b that have to be in it, or how it has to be like. And then in the next meeting
Rebecca Hartman: Yeah.
Diana Heath: we decide
Candice Mendoza: Yeah, we
Diana Heath: w
Candice Mendoza: can
Diana Heath: what
Candice Mendoza: take it from
Diana Heath: it's
Candice Mendoza: there.
Diana Heath: gonna be.
Candice Mendoza: Yeah,
Rebecca Hartman: Okay.
Candice Mendoza: I agree
Diana Heath: A
Candice Mendoza: uh, we can take it from there.
Diana Heath: And then you s then you can delete uh
Candice Mendoza: Or edit.
Diana Heath: the o the obsolete uh
Rebecca Hartman: Okay.
Diana Heath: details.
Rebecca Hartman: So
Diana Heath: I think.
Rebecca Hartman: uh each individually i individually uh must think on what's uh at uh his point of view is the most important.
Diana Heath: Yeah.
Rebecca Hartman: And uh then we're going to fit uh all the pieces together the next meeting.
Diana Heath: Yeah.
Rebecca Hartman: I must finish off now, so it's over. You uh will receive specific specific instructions uh by your personal coach. And I see you in uh thirty minutes.
Candice Mendoza: Okay,
Sheryl Correa: Okay.
Rebecca Hartman: Thank you.
Candice Mendoza: cheers.
Sheryl Correa: Sorry.
Diana Heath: Damn.
Rebecca Hartman: Be careful.
Sheryl Correa: Yes.
Diana Heath: Success?
Sheryl Correa: Yeah.
Sheryl Correa: No. Come up. | The participants introduced themselves and their roles to each other. Rebecca Hartman introduced the aim of the project and gave a brief agenda for the entire project. He then introduced and explained how to use the meeting-room materials. The group acquainted themselves with the materials by drawing on the smartboard. Rebecca Hartman presented the project budget and explained that the device would not be made very high-tech due to the small budget. He explained that the device would be sold internationally. The group discussed their initial ideas of features to include in the design; Diana Heath discussed usability features, such as the ability to control multiple devices and an LCD screen, to make the product unique. Rebecca Hartman instructed Candice Mendoza to work on the working design and Sheryl Correa to research the technical functions. The group discussed the timing of when they would make decisions on the features discussed. | 4 | amisum | train |
Carol Galvan: Hello.
Susan Seevers: Hey guys.
Patricia Blake: Hi.
Patrice Bender: Hi.
Carol Galvan: Hi.
Patricia Blake: I see my bunny is still standing
Carol Galvan: Yeah.
Patricia Blake: No. one drawing
Carol Galvan: It's
Patricia Blake: it.
Carol Galvan: too beautiful.
Patrice Bender: Yeah,
Patricia Blake: Uh
Patrice Bender: true.
Patricia Blake: I figured uh that much.
Susan Seevers: Too wicked.
Patrice Bender: Mm.
Carol Galvan: A minute please, my uh laptop is uh oh, there it is, thank you.
Carol Galvan: So welcome back. At the functional design meeting um the plan is uh that uh each one of you, so not Susan Seevers but only you uh will uh present uh the the things you worked on uh the last uh half hour. I will uh take minutes and will put uh the minutes that I have at the end of the session in the shared. Also the minutes of the previous session are also in the shared folder now, so you can read that uh now or afterwards. Um uh I had an email from the from the management board uh, I don't know if you a al also uh received it, but there were four points uh which uh I think are very important. First one is uh they think that uh teletext teletext becomes outdated uh and internet will be the the main uh focus. Uh second one is also important uh, because it's one of the discussion points of the previous session. Uh the remote control shou should onl only be used for the television, so it uh not gonna it's not gonna be a multi-purpose remote control, so uh that's one thing to keep in mind. Uh second, and I think that's important for the Marketing uh Expert, uh the current uh customers uh are in the age group group of uh forty years and older, but with this uh new remote uh they uh will uh would like to reach uh a group uh younger than uh forty. Uh and uh I think to keep in mind, but not really uh for now is that they uh want the the the slogan and the and the logo uh to uh to be recognised more in the remote. So, we have uh forty minutes, so I think uh not more than ten minutes uh uh per presentation uh each, and please uh use uh all the the the facilities so that you have either SMARTboards, the the Word files, what you uh whatever you want. So uh Tim, can you start?
Susan Seevers: Okay.
Carol Galvan: Yeah?
Susan Seevers: 'Kay, welcome. I have some uh new findings on uh Marketing Expert
Patrice Bender: Mm-hmm
Susan Seevers: level, which I will show you. The method I used was um giving orders to our usability lab uh to do a questionnaire. Um one hundred respondents were involved and my marketing uh department generated a report with a lot of results. Um, these were a couple of findings, first page of three. Um, we have three audiences of two audiences, I'm sorry. Uh the first one, this scale, from sixteen to forty five age. Uh the second one is from sixty four uh forty six to sixty five. Um, as you can see here, the market share for the first audience is about sixty percent um sixty five. Uh second audience audience is uh thirty five percent. Mm and some interests from the from the age groups, uh it seems like the young users of remote controls really like the fancy uh new technology stuff, like uh an L_C_D_ screen on the remote control, um speech recognition. I don't think that's uh really appropriate. Um, and when you see uh the audience, the age is going up uh Yeah, they don't really want it anymore, at least the new technologies. Second findings out of the questionnaire um are the opinion the opinions uh of the audience about current remote controls. First point is, seventy five percent of the users find the most repo remote controls very ugly, uh and eighty percent of the users would spend more money when a remote control would look fancy. So that's maybe something for the User Interface uh Designer. Okay, third findings. According to the frequency of use versus importance investigation, um following buttons are most important. Um, I will tell something about the way this uh this test was, yeah, done. Um, persons were asked uh what the buttons were uh they use most,
Carol Galvan: Mm-hmm.
Susan Seevers: how much an hour, and uh in the second table the importance of those buttons. Um, when you multiply them, you get the these three points. Switching channels, um yeah, that's pretty uh pretty normal, that's what you do with a remote control. Um the second, teletext, uh and the third, uh volume controls. Um, I think it's good uh that we know what the user want wants, uh at least the these three points have to be uh very
Carol Galvan: But
Susan Seevers: clear.
Carol Galvan: it's strange that the the manage board the management board said that the teletext will be uh outdated by the internet.
Susan Seevers: Yeah,
Carol Galvan: So
Susan Seevers: okay.
Carol Galvan: that that's strange.
Susan Seevers: Yeah, okay, but uh at the moment uh teletext is Yeah, th the best thing you can get uh on T_V_,
Carol Galvan: Yeah, okay.
Susan Seevers: like getting information. So
Carol Galvan: Yeah.
Susan Seevers: uh, when you ask people, what do they use, they use teletext and not
Carol Galvan: Okay.
Susan Seevers: the internet on a remote control.
Carol Galvan: Yeah, okay.
Susan Seevers: That's ridiculous.
Carol Galvan: Yeah.
Susan Seevers: That's a ne i it It's a new technology, but
Carol Galvan: Yeah.
Susan Seevers: it's not incorporated right now. Okay, my personal preferences. Um, I think we should aim at the uh audience from sixteen to forty five. Mm, first of all um it's the biggest share, the biggest audience, sixty five percent. Uh second, I think you will get the most revenue from i from it. Um, yeah, people from sixteen to forty five watch a lot of T_V_, more than uh people who are el uh elder. Um second point, we have to impro improve the most used functions, as I said here, switching channels, teletext and volume controls. Third point um that came out of the uh of the questionnaire, uh people used to uh get lost off the remote controller, so maybe it's an idea for us uh to design ex kind of placeholder
Carol Galvan: Yeah, that's
Susan Seevers: uh
Carol Galvan: a cool idea.
Susan Seevers: on side of the, yeah, of the T_V_ where you can put the the remote control in. Um, that's about it, I think. Yeah.
Patricia Blake: When you mentioned uh improving functions, what uh what do you mean by that
Susan Seevers: Uh
Patricia Blake: what
Susan Seevers: not not
Patricia Blake: what are
Susan Seevers: the
Patricia Blake: you think
Susan Seevers: r
Patricia Blake: about?
Susan Seevers: not the functions, but
Patricia Blake: Uh, the
Susan Seevers: uh
Patricia Blake: funtionability.
Susan Seevers: it came out that a lot of buttons weren't even used uh on a remote control. So you can have a remote control full of buttons, a hundreds hundreds of buttons, but if you don't use them,
Carol Galvan: Yeah.
Susan Seevers: yeah it's
Patricia Blake: Ah okay, so focusing more on the used
Susan Seevers: Yeah,
Patricia Blake: buttons.
Susan Seevers: they have to be on it
Patricia Blake: Yeah.
Susan Seevers: j just to t to get it done if necessary, but um the most used buttons uh have to be bigger or
Patricia Blake: Could you use perhaps uh one button for multiple functions, like example pressing it in longer makes it switch to an different function for
Susan Seevers: Yeah,
Patricia Blake: example.
Susan Seevers: perhaps. Just
Patricia Blake: Thank you.
Susan Seevers: for the minor functions perhaps.
Patricia Blake: Yeah, ma perhaps just, just an idea.
Susan Seevers: Just to get less buttons on the remote control, to make it easier and quicker to learn.
Patricia Blake: Yeah.
Susan Seevers: Yeah? 'Kay, that's it.
Carol Galvan: Thank you, Tim.
Patricia Blake: Uh
Carol Galvan: Janus, can
Patricia Blake: yeah
Carol Galvan: you
Patricia Blake: yeah,
Carol Galvan: uh
Patricia Blake: I'll go, sure.
Patricia Blake: Right uh, I'll be uh explaining a bit about uh working design about uh the project. Well uh what I did was I dissected uh uh current remote controls and um I viewed how how they w looked, how they worked, uh what kind of components are involved, and how they are connected together. And uh after that I put up a scheme about how uh these things are organised and I'll show it to you in in a in a few seconds. And I'll explain a bit about uh how it works and how we could uh build one and why I think several possibilities uh that we discussed in the earlier meeting falls off. Um right. Uh well what I did was uh I I checked uh remote controls and the uh remote controls of today are all infrared, not like all probably know. And the thing about that is um the remote controls uh have to act as a T_V_ or uh a stereo or something, and those uh have a transmitter that's also focused on infrared, so if we want to uh build uh mm a remote control uh with Bluetooth for instance then uh the T_V_ should have Bluetooth too in order to communicate, so that would mean extra cost for the user and thus uh that's that wouldn't mean a a cheap uh remote control for us. So that's probably why most controls are still infrared. Furthermore they all have uh a a very simple structure, so that would probably uh mean lower costs and uh i that could mean for us a good thing uh 'cause uh well we we should be able to build a relatively cheap uh a cheap uh remote. Well uh as I mentioned ready, we have some Bluetooth Well it may be possible, but uh I figured it wouldn't be possible in within our budget, but that's not for Susan Seevers to decide, but that's maybe something for marketing to look into. F because uh well my personal opinion is uh is not to do uh Bluetooth or or radio waves, although
Susan Seevers: What do you think about uh incorporating Bluetooth or a radio uh receiver uh in the place-holder next to the T_V_, connected to the T_V_?
Patricia Blake: Yeah, actually
Susan Seevers: So
Patricia Blake: I have
Susan Seevers: it's
Patricia Blake: t
Susan Seevers: in the wrong product.
Patricia Blake: Yeah. Yeah, I actually I figured that would be that would be rather nice, but then you'd still have the uh the infrared function. So
Susan Seevers: Yeah.
Patricia Blake: in in theory you'd actually just move the problem,
Susan Seevers: Yeah.
Patricia Blake: but uh what I did uh think about was when you mentioned about the uh the cup-holder, is why not uh introduce a speech function like where is the remote. If somebody says, where is the remote, then it goes uh beep uh beep beep beep or something, I dunno, maybe uh
Susan Seevers: Yeah.
Patricia Blake: maybe something to look into, I dunno uh what the cost that something like that would be. But it may be uh may be something to explore. Uh I'll I'll just explain a bit of the components. Uh first you have the energy source. The energy source would be a battery, simple uh battery uh that you can find anywhere. I figured that would be best, 'cause when the battery uh stops functioning uh we could just uh use you could just go out and buy a new one. So we didn't and we don't have to do all uh to be too complicated about that. Uh the energy source is connected to the infrared button, but uh the infrared button uh works only via the chip and the subcomponent to uh the switch there is a switch uh between these. When the switch is pressed in a w on this this case it switches a button, when a button is prush pushed in, uh a electric current goes through here, and in uh immediately, a l a bulb lights up uh displaying to the user that something has happened. That's uh that's so the h user won't be um thinking, well uh did the button be pressed, w what happened uh. Or I press button but nothing's happening on the T_V_, so is is something wrong or something. So that's just to uh to to explain the of to to uh make it clearer to the user. Uh w well the signal goes via chip that's translated into uh electric sig uh electronic signals and then it's processed and then it's sent to the infrared bulb where it will be uh uh received on the receiving end. And those uh interpreted by the device, well in this case the television. Uh well my personal preferences here, well we have to keep it simple. Not too many uh gadgets and functions, just like you said uh well the most users n uh you have a lot of buttons and you u u use you don't use them, w spend more time on those. Uh I I think we should stick by with infrared transmitting and uh no receiving. So uh no input from the television. So I think we shouldn't be uh spending time on um teletext and st things like that, because when you uh want teletext on uh infrared you'd have to build in a receiver too, and so in order to receive the signals from uh what's on T_V_ and such. So I figure that would be uh spending too much money and time and
Susan Seevers: Um, yeah, maybe another problem uh, I think current T_V_s can even send
Patricia Blake: Yes,
Susan Seevers: infrared.
Patricia Blake: but what should we uh s I I I f I agree with you, but should
Susan Seevers: Huh.
Patricia Blake: we spend money or and time on building a receiver into the uh remote control?
Susan Seevers: Mm-hmm.
Patricia Blake: 'Cause that would be I mean extra components, extra
Susan Seevers: Yeah.
Patricia Blake: designs, um larger g uh remote control.
Susan Seevers: Yeah.
Patricia Blake: These all uh all stuff that we have to take in account. So I I my personal opinion is no no no receiver at all. Um,
Susan Seevers: Yeah.
Patricia Blake: well we should uh look into the design and the functionability. Like I said, uh use one button for instance for m multiple functions, or well uh just hide the few buttons o of switching it open or something, the usual uh stuff. And uh don't overbuild, we shouldn't make a big uh remote control for simple functions, but we we should stick to the basics. So that was my uh my personal opinion. And that was my uh my presentation uh
Patrice Bender: Okay.
Carol Galvan: Okay, thank you Janus.
Patrice Bender: Yes, I can go
Carol Galvan: You do?
Patrice Bender: ahead.
Carol Galvan: The last presentation.
Patrice Bender: Last presentation.
Carol Galvan: You have plenty of time,
Patrice Bender: Okay.
Carol Galvan: Tim and uh Janus don't uh talk to ten minutes, so uh take your time. If you take your time too long I will uh eventually uh warn you.
Patrice Bender: Well, I'm going to give a presentation abut some of the technical functions of these design and uh usability functions. Um what's my opinion about what's most important to combine the design, technical possibilities and the user friendliness in one, so if you um going to design a remote that looks good, that shouldn't weigh over the if it's possible to make, but also the user friendliness, so tha that's that's some of the main points. And another one is um the use um of many functions will will make it more difficult, so use as as little functions as possible or at least don't display them all at once on the same remote. If you have fifty functions
Susan Seevers: Hmm.
Patrice Bender: you don't want fifty buttons uh t uh to be shown at the same time, 'cause when you visit an internet uh site you don't want fifty links uh to see, but maybe use a hierarch hierarchy uh structure. And uh well one of the ideas was maybe uh use touch screen, but s I don't know in how far
Susan Seevers: Hmm.
Patrice Bender: that is possible, since we are sticking to uh um infrared and and the remote cannot receive anything, but uh we might uh consider that. Um well, of course I I hope this is all clear to you. If you you can use remote like this with all the functions, many functions, but Well, your thumb is a little bigger than th it than this. You have to be very careful what you push, and um if you're looking for teletext you'll be uh searching for half an hour from uh um yeah well, where is it? Where the hell he here I guess and, yeah, when you have to uh use something else. So just keep it simple, make clear buttons, easy to use. For example if you want to use a play and back and stop, that's very important. Um well this was because of our last discussion, if multiple machines are used, create easy switch between the machines, but um it's no longer uh applying. Well yeah, I prefer to use it only for T_V_ and um n uh not to give too many options and and if possible, uh the buttons should give a dr direct action, not first select
Carol Galvan: Uh you you just said um uh you wanted to to combine more functions in one,
Patrice Bender: Yeah,
Carol Galvan: so
Patrice Bender: and
Carol Galvan: uh
Patrice Bender: so
Patricia Blake: Yeah,
Carol Galvan: you
Patrice Bender: that's
Patricia Blake: but
Patrice Bender: where
Carol Galvan: you
Patrice Bender: the difficulties
Carol Galvan: want to keep it simple,
Patrice Bender: lie.
Carol Galvan: but I think that if you want to do that, then you can't escape the the fact that there will be buttons uh which give s uh more options than one.
Patrice Bender: Yeah,
Patricia Blake: Yeah.
Patrice Bender: this so
Patricia Blake: Yeah,
Patrice Bender: that's
Patricia Blake: but
Patrice Bender: the thing you have to weigh against each other. Do we want to use a few options and might not be so or original,
Carol Galvan: Mm-hmm.
Patrice Bender: or uh multi-purpose as we thought,
Carol Galvan: Okay.
Patrice Bender: or do we want to use um many buttons.
Carol Galvan: Yeah.
Patrice Bender: So um weighing those factors.
Susan Seevers: Hmm it's maybe an option uh if you use an L_C_D_ or a touch screen um, that in the middle are the the main keys, like displayed on the Uh yeah.
Patrice Bender: The doesn't.
Susan Seevers: this? No? Yeah. Something like that. Okay, just uh in the middle the general functions, like play, uh channel switching,
Patrice Bender: Yeah.
Susan Seevers: and then uh at the top or at the bottom, some menus like uh settings or that you can drop down.
Patrice Bender: Yeah, but when all the questions I had Do we want to use uh a menu display on the T_V_? Or um does have to f everything uh be in remotes? 'Cause if you use
Susan Seevers: Mm.
Patrice Bender: a memory display on the T_V_, you can simply push uh a more menu and then select the options you want to have and press okay. Uh so that's my recommendation,
Susan Seevers: Nah.
Patrice Bender: if you use many options in one buttle button,
Susan Seevers: Mm-hmm.
Patrice Bender: um display the menu on the T_V_ and
Susan Seevers: Yeah.
Patrice Bender: don't um use combination of t of two buttons at the same time or pressing buttons three times for five seconds, is
Susan Seevers: Yeah.
Patrice Bender: too complicated for most users.
Susan Seevers: I
Patricia Blake: Yeah,
Susan Seevers: think
Patricia Blake: but
Susan Seevers: so too, but and that's partly because um uh a lot of T_V_s have different menus, and when you have a particular menu uh at your device, uh it could be that don't correspond to the menu what's actually on T_V_.
Patrice Bender: Yeah, that will be a problem.
Susan Seevers: Yeah.
Patricia Blake: Well you d you have to keep in mind that uh several T_V_s uh don't even have a menu structure, or they have a very simple menu structure, so you have to keep in mind that not all uh d not our remote won't be able to work on all televisions.
Patrice Bender: Yes.
Patricia Blake: And that would be uh a
Patrice Bender: So
Patricia Blake: considerable
Patrice Bender: if
Patricia Blake: problem.
Patrice Bender: we have to stick with current technologies and uh um well yeah, the restrictions of what's uh is on the market today,
Patricia Blake: Yeah.
Patrice Bender: um you should keep it s at this. Use big clear buttons. Not too many. So maybe we'll loose a few option uh options, but I think i this is more important. Um especially the important buttons, um if you want to switch channel, change your volume, uh use teletext, it uh it has to work at once and more advanced options may be
Patricia Blake: Not embed
Patrice Bender: put it s somewhere away on the remote, behind uh
Patricia Blake: Yeah,
Patrice Bender: a
Patricia Blake: but
Patrice Bender: little
Patricia Blake: then with something
Patrice Bender: uh
Patricia Blake: like a touch
Patrice Bender: little
Patricia Blake: screen
Patrice Bender: thing
Patricia Blake: could
Patrice Bender: or a touch
Patricia Blake: could make
Patrice Bender: screen.
Patricia Blake: more menu up pop up or
Patrice Bender: And
Patricia Blake: something.
Patrice Bender: yeah, if you want to uh uh s put on stand-by or change the channel, that should always be possible to do. Not first change menu options or
Patricia Blake: Yeah.
Patrice Bender: switch something. Um, well yeah, as you already told, give some feedback.
Patricia Blake: Yeah.
Patrice Bender: If the user is pushing a button he should know if the television or n at least remote is reacting and not just that the batteries may be low. And um, well, my conclusion is uh is uh less is more, keep it simple. So uh maybe we should just ease down on the functionality to uh to keep it accessible on t because you all know, if there are a lot of function on the the television, some you you'll never know uh and never use, and
Susan Seevers: Yeah.
Patrice Bender: therefore it's uh important if you want to change the volume or channel that is always accessible and easy and other functions um that are not so important um well you we should consider just not using them
Susan Seevers: Yeah. Uh, I think the idea uh about uh touch screen um is very good. Um, because recently uh I saw news item on T_V_ um about uh new telephones uh for elder people. Um, they have like a touch screen with uh really big pictures on it like uh uh call uh hang-up, um and that's a big ad advantage I think, because one the one hand uh you make the remote control compatible for elder users just by uh scaling up the pictures or something.
Carol Galvan: Mm-hmm.
Susan Seevers: It's uh very visual intended. What was I to say more?
Patrice Bender: Maybe that's an option. Um keep the primary buttons visible.
Susan Seevers: Yeah.
Patrice Bender: Uh make a remote that fits easily in the hands and for some design issues uh well, put a logo on it and maybe use it uh in some aesthetic uh aesthetic form. But uh th the important buttons m make them always accessible and pushable and clear and maybe use a touch screen, or if that's uh will become too difficult just uh like televi some o older telephones use a l uh maybe it's possible to to flip them open and uh just expand the number of options that are normally visible.
Susan Seevers: Yeah okay,
Patrice Bender: Um
Susan Seevers: but but if you pick the the idea, the left idea
Patrice Bender: Yeah.
Susan Seevers: then what's gonna be displayed on the touch screen?
Patricia Blake: The extra functions.
Patrice Bender: The extra functions,
Susan Seevers: Yeah,
Patrice Bender: you uh
Susan Seevers: but
Patrice Bender: you
Susan Seevers: l
Patrice Bender: just
Susan Seevers: like
Patrice Bender: see
Susan Seevers: menu
Patrice Bender: a menu
Susan Seevers: functions
Patrice Bender: from
Susan Seevers: or
Patrice Bender: system
Patricia Blake: Yeah.
Patrice Bender: functions or teletext functions, and you just choose one, and then
Susan Seevers: Ah
Patrice Bender: all
Susan Seevers: okay.
Patrice Bender: all the options will become available and you just c s yeah t scroll through them.
Patricia Blake: Wouldn't it be better to make just one big touch screen,
Susan Seevers: Yeah, I
Patricia Blake: uh one
Susan Seevers: think
Patricia Blake: one
Susan Seevers: so.
Patricia Blake: small uh touch screen uh applet and uh I'll just make um uh let's say fifteen buttons on it, and uh we have three of those, uh actually just uh menus with sub-menus, with or sub-items,
Susan Seevers: Yeah.
Patricia Blake: sub-functions.
Patrice Bender: Well um then I'd like to make a proposal. If you make one big touch screen,
Patricia Blake: Yes.
Patrice Bender: use the same concept as here, keep the buttons
Patricia Blake: Yeah.
Patrice Bender: always available
Susan Seevers: Yeah.
Patrice Bender: and use the lower part of the touch screen for the rest.
Patricia Blake: Yeah,
Susan Seevers: Yeah.
Patricia Blake: yeah, like like the iPod idea that
Patrice Bender: Yeah.
Patricia Blake: that we just saw. You just have a f a few selected buttons and uh a few menus, and with this idea you could actually make uh several you can also improve uh later on.
Patrice Bender: Yes.
Patricia Blake: Uh uh I think that will be great.
Patrice Bender: Okay.
Carol Galvan: So you think it's will be better to have a t kinda total touch screen.
Susan Seevers: Yeah, I think so.
Patricia Blake: Yeah, I wou I would actually go for
Carol Galvan: Jirun?
Patricia Blake: the
Patrice Bender: Okay, I agree, but I think it's very important that they always um make the same buttons accessible, so use just for special options a part of the touch screen.
Susan Seevers: Yeah, of
Carol Galvan: Yeah.
Susan Seevers: course.
Patricia Blake: Yeah.
Patrice Bender: And so um an elder designer picks up th the of an elder parents or
Carol Galvan: Yeah
Patrice Bender: grandparent
Carol Galvan: yeah yeah.
Patrice Bender: picks up the remote from the little child and who's all in the systems functions, you'll have to have the possibility to turn off the T_V_ or to switch the channel without um well using all the menu structures to get back to the primary functions.
Carol Galvan: Yeah.
Susan Seevers: Yeah, I had another uh idea about maybe parental control.
Patrice Bender: Mm-hmm.
Susan Seevers: Um, like building in uh some kind of PIN code uh which allows uh parents to switch to all channels,
Patrice Bender: Yeah.
Susan Seevers: uh but children uh if children don't don't know the PIN code,
Patrice Bender: Yeah
Susan Seevers: they
Patrice Bender: wh
Susan Seevers: can't switch to uh violent uh
Patrice Bender: Is that possible
Susan Seevers: channels or
Patrice Bender: to use
Patricia Blake: That
Patrice Bender: or no?
Patricia Blake: is possible, that well
Susan Seevers: Th
Patricia Blake: that actually
Susan Seevers: there's
Patricia Blake: depends
Susan Seevers: just
Patricia Blake: on the television, but I
Patrice Bender: Well,
Patricia Blake: think I
Patrice Bender: yeah
Patricia Blake: figure
Patrice Bender: well,
Patricia Blake: that would
Patrice Bender: does
Patricia Blake: be
Patrice Bender: it have
Susan Seevers: Ju
Patrice Bender: to depend
Susan Seevers: just a simple
Patrice Bender: on the television?
Susan Seevers: log-in, something
Patricia Blake: Well,
Susan Seevers: like that.
Carol Galvan: Yeah.
Patricia Blake: y you s you see the fi uh thing is when you buy a remote, you you set the uh channels,
Susan Seevers: Yeah.
Patricia Blake: the the channels are different on each te television, they
Susan Seevers: Yeah.
Patricia Blake: aren't set in a preset order, so uh if you uh lock on a remote, uh let's say channel fifteen,
Susan Seevers: Mm-hmm.
Patricia Blake: well channel fifteen on this television is different than channel fifteen on the other
Susan Seevers: Yeah,
Patricia Blake: television,
Susan Seevers: okay.
Patricia Blake: so that would be uh that would be
Carol Galvan: Yeah.
Patricia Blake: actually the main concern.
Patrice Bender: Well, I
Carol Galvan: Yeah.
Patrice Bender: think that he means that um maybe by some option uh make sure that um remote control and the T_V_ match, and then after that you can um use some s insert some passwords as being apparent that the children cannot use this uh
Susan Seevers: Yeah.
Patrice Bender: change the settings of the T_V_, like colour and then volume and uh
Susan Seevers: Yeah, th that kind of stuff, but maybe um if you log in first as
Patrice Bender: Mm-hmm.
Susan Seevers: a parent um, you address the the channels
Patricia Blake: Yes.
Susan Seevers: and like uh oh, that's channel fifteen, that's uh vi violent channel,
Patrice Bender: Oh,
Patricia Blake: Yes.
Susan Seevers: uh
Patrice Bender: something
Susan Seevers: m my
Patrice Bender: like
Susan Seevers: ki
Patrice Bender: that.
Susan Seevers: my kids uh I don't want my kids to watch that,
Patricia Blake: Yeah.
Susan Seevers: then you set the priority to only parents,
Patricia Blake: Yeah.
Carol Galvan: Okay, yeah.
Patrice Bender: Well
Patricia Blake: Yeah,
Patrice Bender: b
Susan Seevers: for
Patricia Blake: that
Susan Seevers: example.
Patricia Blake: would b
Patrice Bender: but make
Susan Seevers: But
Patrice Bender: it a separate option in the menu,
Patricia Blake: Yeah,
Patrice Bender: so
Patricia Blake: that.
Patrice Bender: that it's
Susan Seevers: Yeah
Patrice Bender: it's
Susan Seevers: okay,
Patrice Bender: dif
Susan Seevers: but
Patrice Bender: dis displayed
Susan Seevers: but
Patrice Bender: from uh
Susan Seevers: yeah, that's
Patrice Bender: displayed
Susan Seevers: just
Patrice Bender: here, so uh
Susan Seevers: that's
Patrice Bender: parents
Susan Seevers: an a
Patrice Bender: uh
Susan Seevers: an added
Carol Galvan: Yeah.
Susan Seevers: feature.
Carol Galvan: Okay. But let's not uh go too wide about the those things, that's
Susan Seevers: Yeah,
Carol Galvan: that
Susan Seevers: th
Carol Galvan: why we're
Susan Seevers: th
Carol Galvan: here.
Susan Seevers: those
Carol Galvan: It's
Susan Seevers: things
Carol Galvan: it's
Susan Seevers: are
Carol Galvan: a nice
Susan Seevers: nice.
Carol Galvan: idea, but I think that's we wel later in the stage. I've one little question about um a total touch screen or uh um
Susan Seevers: Partial.
Carol Galvan: a p yeah, a partial, uh because I think uh elderly people may be uh not used to uh a touch screen, so they want the the the normal functions like teletext, volume changing, um
Susan Seevers: Yeah.
Carol Galvan: uh to be uh, yeah, kinda traditionals uh and uh the the the the other functions, the more
Susan Seevers: Mm-hmm.
Carol Galvan: difficult functions uh to be uh maybe on the touch screen, but to keep this as uh normal as possible, to keep it
Susan Seevers: Yeah,
Carol Galvan: accessible.
Susan Seevers: but but if you display it on L_C_D_ screen with r r really big numbers
Patrice Bender: Yeah, you can de display it on
Susan Seevers: that's
Patrice Bender: the
Susan Seevers: just
Patrice Bender: on the
Susan Seevers: as
Patrice Bender: old
Susan Seevers: e
Patrice Bender: style.
Patricia Blake: Uh. I
Patrice Bender: You
Susan Seevers: just
Patrice Bender: can
Patricia Blake: I do
Patrice Bender: display
Susan Seevers: as easy.
Carol Galvan: Yeah.
Patrice Bender: actual buttons on the
Carol Galvan: Yeah,
Patrice Bender: touch screens.
Carol Galvan: that's
Patricia Blake: Uh
Susan Seevers: Yeah.
Carol Galvan: true,
Patricia Blake: I
Carol Galvan: that's
Patricia Blake: do agree,
Carol Galvan: true.
Patricia Blake: because well, it's just not the same when you touch a touch screen or when
Patrice Bender: Yeah,
Patricia Blake: you touch
Patrice Bender: okay.
Patricia Blake: a button, but
Susan Seevers: Yeah, it's different.
Patricia Blake: well we have to look at what's our target uh audience. W
Carol Galvan: Yeah.
Patricia Blake: we are aiming for younger people
Carol Galvan: Yeah,
Patricia Blake: and
Susan Seevers: Yeah,
Carol Galvan: that's
Patricia Blake: they they
Carol Galvan: true,
Patricia Blake: chose
Carol Galvan: yeah.
Susan Seevers: age b below forty.
Carol Galvan: Yeah, yeah yeah,
Patricia Blake: So
Carol Galvan: yeah,
Patricia Blake: that's
Carol Galvan: that's
Patricia Blake: that's
Carol Galvan: a good
Patricia Blake: probably
Carol Galvan: point.
Patricia Blake: uh a
Carol Galvan: Yep.
Susan Seevers: And th those young people, yeah. Y you
Carol Galvan: Mm-hmm.
Susan Seevers: saw it in my marketing report, they like the new fancy
Carol Galvan: They
Susan Seevers: stuff,
Carol Galvan: like the
Susan Seevers: so
Carol Galvan: fancy stuff, yeah. That's
Susan Seevers: A touch
Carol Galvan: true.
Susan Seevers: screen, like Microsoft al already developed something like that for
Carol Galvan: Mm-hmm.
Susan Seevers: uh uh multi-media applications.
Carol Galvan: Mm
Susan Seevers: I th I think we can do that too.
Carol Galvan: Yeah. Okay, as you can see uh the minutes from the second meeting, this one, are uh are
Susan Seevers: Done.
Carol Galvan: done. Uh I've uh added the this uh four things from the management board just to keep in mind.
Patrice Bender: Mm-hmm.
Carol Galvan: Um each time I uh I had a sort of uh summary on what you told and uh what you personal think. Uh so that can be uh can be read out. Uh a f a few things I uh I noticed uh were um Moment. Ooh.
Carol Galvan: Uh th the the main points in uh this uh uh in this uh meeting is I think uh how uh it's going to look uh with uh we must keep it simple, but have the opportunity to uh have more options and have them uh hidden or something, so they don't uh you don't have a big uh thing full of uh buttons the point that uh you uh wanna use one uh controller uh for uh uh hypothetically each television, so you must uh the the the the functions, know, like the menus or the the parental control must be all uh by the done by the remote control and not by the television. I think that's the point what uh
Patrice Bender: Mm-hmm. Yes.
Carol Galvan: we discussed.
Susan Seevers: Yeah, yeah, some of them. The menus uh are not identical for all th for all T_V_s, so you have to display it on
Patrice Bender: Well
Susan Seevers: one uh T_V_.
Patrice Bender: you can use um when you uh how do you call it, s um synchronized, the um remote and the T_V_,
Susan Seevers: Yeah, but that's not
Patrice Bender: then
Susan Seevers: possible.
Patrice Bender: there's always, there are always uh possibilities to change the colour and the brightness and the volume
Susan Seevers: Mm-hmm, mm yeah.
Patrice Bender: and um well maybe we can look out if there's options that the remote um in its memory can see what kinda T_V_ it is, from ah, it's a Philips, this and this and that, and then give the options that are capable the capable
Carol Galvan: Yeah,
Patrice Bender: from
Carol Galvan: but you
Patrice Bender: the
Carol Galvan: have
Patrice Bender: t
Susan Seevers: Add
Carol Galvan: uh
Susan Seevers: th that
Carol Galvan: uh
Susan Seevers: that's
Carol Galvan: an
Susan Seevers: an opportunity.
Carol Galvan: yeah, but you have an international market range, so you have I think
Patrice Bender: Well
Carol Galvan: a
Patrice Bender: there
Carol Galvan: big
Patrice Bender: are
Carol Galvan: range
Patrice Bender: universal
Carol Galvan: of
Patrice Bender: d um um remotes
Carol Galvan: Yeah.
Patrice Bender: and they all have a functionality for all the T_V_s, uh so this
Susan Seevers: Yeah.
Patrice Bender: wouldn't
Carol Galvan: Okay.
Patrice Bender: be a
Patricia Blake: But
Patrice Bender: extra
Patricia Blake: they
Patrice Bender: feature to
Susan Seevers: But
Patrice Bender: incorporate the men menus
Carol Galvan: And it's
Patrice Bender: of these.
Carol Galvan: not too complex to do it.
Patricia Blake: Well
Susan Seevers: No.
Patricia Blake: they uh they all have to be programmed to fit your T_V_
Carol Galvan: Yeah.
Patricia Blake: and that that is bit of a tricky job.
Patrice Bender: Yeah.
Patricia Blake: I actually use one of those when They are they are kinda kinda troublesome, but but the thing is whe when you uh start uh building something like this you have to build a receiver into the uh t into the remotes, because uh in order for the remote to process something from the T_V_,
Patrice Bender: Yeah.
Patricia Blake: like uh
Patrice Bender: Well
Patricia Blake: to synchronise
Patrice Bender: Yeah.
Patricia Blake: and you have to send and receive,
Patrice Bender: Mm-hmm.
Patricia Blake: and
Patrice Bender: Oh
Patricia Blake: that's well
Patrice Bender: um
Susan Seevers: No no no.
Patrice Bender: mo no, you can just
Carol Galvan: Just
Susan Seevers: He
Patrice Bender: say
Susan Seevers: he
Carol Galvan: build
Patrice Bender: uh
Carol Galvan: it
Susan Seevers: he
Carol Galvan: in.
Susan Seevers: he Susan Seevers he
Patrice Bender: the
Susan Seevers: means
Patrice Bender: c
Susan Seevers: just just one other thing.
Patrice Bender: Yeah.
Susan Seevers: Uh, with the current remote controls,
Patricia Blake: Yeah.
Susan Seevers: the universal ones,
Patricia Blake: Yes.
Susan Seevers: um you have to press
Patrice Bender: In codes, y
Susan Seevers: yeah,
Patrice Bender: you you
Susan Seevers: you have
Patrice Bender: get
Susan Seevers: to press
Patrice Bender: a
Susan Seevers: a code
Patrice Bender: b a book
Susan Seevers: for
Patrice Bender: with
Susan Seevers: T_V_.
Patrice Bender: codes. You look up, I have a Philips H_ fifty
Patricia Blake: Yeah.
Patrice Bender: five
Susan Seevers: Yeah.
Patrice Bender: and it says press code
Patricia Blake: Oh, okay,
Patrice Bender: four five
Patricia Blake: yeah, sure,
Patrice Bender: five and you press
Patricia Blake: uh
Patrice Bender: code four five five on the
Patricia Blake: Yeah yeah
Patrice Bender: uh
Patricia Blake: yeah.
Patrice Bender: in the remote and it displays all your uh menu options.
Patricia Blake: Oh, yeah yeah, sure, that would be possible,
Susan Seevers: Yeah.
Patricia Blake: yeah.
Susan Seevers: Now we uh just connect uh the T_V_ type uh to a set of
Patrice Bender: Memory
Susan Seevers: options,
Patrice Bender: in
Susan Seevers: in
Patrice Bender: the
Carol Galvan: Yep.
Patrice Bender: in
Susan Seevers: just
Patrice Bender: the remote.
Susan Seevers: just in the memory,
Patricia Blake: Profiles.
Susan Seevers: so that if you yeah, like profile, so that if you uh touch in like uh one four one zero
Patricia Blake: Yeah.
Susan Seevers: kind of T_V_ uh the memory uh pops up the options.
Patricia Blake: Yeah. Yeah,
Carol Galvan: Okay.
Patricia Blake: that would be possible. Yeah, sure.
Susan Seevers: I th don't think that's uh that takes a lot of storage space or
Patricia Blake: No,
Susan Seevers: some
Patricia Blake: that wouldn't
Susan Seevers: just
Patricia Blake: be
Susan Seevers: varia
Patricia Blake: uh
Susan Seevers: variables.
Patricia Blake: Yeah,
Patrice Bender: Yeah, well
Patricia Blake: a few
Patrice Bender: um
Patricia Blake: variables.
Patrice Bender: if you look at the um manuals from universal uh remotes, there are
Susan Seevers: Mm-hmm.
Patrice Bender: maybe um three four hundreds T_V_s
Susan Seevers: Yeah.
Patricia Blake: Yeah.
Patrice Bender: at maximum. If you have all of them, all the old and new T_V_s summed up, so uh I think uh it is possible.
Patricia Blake: Ah it is. It
Susan Seevers: But,
Patricia Blake: is definitely
Susan Seevers: on the other
Patricia Blake: po
Susan Seevers: hand
Carol Galvan: We have five minutes to go.
Susan Seevers: on the other hand, uh if you have a remote
Patrice Bender: Yeah.
Susan Seevers: and buy a new T_V_ that isn't incorporated in the remote
Patrice Bender: Well then you have to buy a new one, it's very good for marketing
Susan Seevers: New remote?
Patrice Bender: Maybe, or an update, software update.
Susan Seevers: A firmware upgrade or
Patrice Bender: Firmware
Susan Seevers: something,
Patricia Blake: Yeah,
Patrice Bender: update,
Patricia Blake: firmware
Patrice Bender: you say.
Patricia Blake: upgrade.
Susan Seevers: but from where? Ah. Maybe
Patricia Blake: That's maybe the
Susan Seevers: w
Patricia Blake: cup holder.
Susan Seevers: No m
Patrice Bender: Yeah.
Susan Seevers: may
Patricia Blake: Yeah.
Susan Seevers: no, maybe we can incorporate some kind of uh U_S_B_ or a firewire connection, so that you can uh connect it to the P_C_ and download the newest firmware from uh from the internet.
Patricia Blake: Well, not everybody has uh has uh a P_C_ at home. Well the most most people have,
Patrice Bender: Well,
Patricia Blake: but not not
Patrice Bender: at
Patricia Blake: everybody
Patrice Bender: uh you can
Patricia Blake: and
Patrice Bender: go back to the shop and
Susan Seevers: Yeah,
Patrice Bender: uh
Susan Seevers: like
Patrice Bender: they
Patricia Blake: Yeah.
Susan Seevers: a s kind of service centre.
Patrice Bender: Yeah, ser o
Patricia Blake: Yeah, maybe something like service
Patrice Bender: and
Susan Seevers: Yeah.
Patrice Bender: they can
Patricia Blake: cen
Patrice Bender: download it for you.
Patricia Blake: Or you could well you could s actually look at the place-holder you talked about earlier, and
Patrice Bender: Mm-hmm.
Patricia Blake: you could probably uh make a connection to uh an telephone line or
Patrice Bender: Yeah.
Patricia Blake: a
Patrice Bender: Well already
Patricia Blake: internet connection.
Patrice Bender: digital information is sent t to the the standards, T_V_ uh
Patricia Blake: Yeah.
Patrice Bender: connections, you can see what's uh programme is on on the new uh channels, so maybe j they we can send that information along with standard T_V_ uh
Patricia Blake: Well then then it's be uh back to the
Patrice Bender: Receiving.
Patricia Blake: building a receiving uh
Patrice Bender: Oh yeah.
Susan Seevers: Yeah.
Patricia Blake: well uh if it's actually worth it to build it in, we could actually look
Patrice Bender: Yeah.
Patricia Blake: at into it, but I dunno, it it would be uh
Patrice Bender: Difficult.
Patricia Blake: bringing more costs uh with with it and
Patrice Bender: Yeah.
Susan Seevers: I I think it's uh most cheap or cheapest to just do the updates uh at the service centre
Patricia Blake: Yeah,
Patrice Bender: Yeah
Susan Seevers: or
Patricia Blake: that would be
Patrice Bender: yeah,
Susan Seevers: at
Patricia Blake: probably
Susan Seevers: the shop.
Patrice Bender: uh
Patricia Blake: best,
Patrice Bender: s
Patricia Blake: yeah.
Carol Galvan: Yeah.
Patrice Bender: I think some I think
Patricia Blake: Like
Patrice Bender: it's
Patricia Blake: when
Patrice Bender: good
Patricia Blake: you when
Patrice Bender: idea,
Patricia Blake: you buy
Patrice Bender: yeah.
Patricia Blake: a T_V_ you just ask
Susan Seevers: It's
Patricia Blake: well
Susan Seevers: it's
Patricia Blake: I'll
Susan Seevers: it's not a lot of work, just one uh docking station where you put it in,
Patricia Blake: Yeah.
Susan Seevers: press start, bling bling, updated.
Patricia Blake: Yeah, that would be best,
Patrice Bender: Yeah.
Patricia Blake: yeah.
Susan Seevers: Yeah.
Patrice Bender: Yeah.
Susan Seevers: You don't buy a T_V_ every week,
Patrice Bender: Okay,
Patricia Blake: No
Susan Seevers: new
Patrice Bender: let's
Patricia Blake: no.
Susan Seevers: teev
Patrice Bender: uh save
Patricia Blake: Exactly,
Patrice Bender: this
Susan Seevers: so.
Patrice Bender: in the meanwhile
Patricia Blake: so
Patrice Bender: uh
Patrice Bender: Um m for which one are we going? My mistake.
Susan Seevers: Let's vote.
Patrice Bender: That one or uh
Patricia Blake: Yeah, my vote goes out to the right.
Patrice Bender: Your vote and
Susan Seevers: My vote too.
Patrice Bender: your
Carol Galvan: Yeah.
Patrice Bender: Okay.
Susan Seevers: And your vote?
Patrice Bender: Well, I was uh doubting about which one to take, but uh you've convinced Susan Seevers that uh if you di display buttons
Susan Seevers: Yeah.
Patrice Bender: about the same as they would look on a normal um
Carol Galvan: Yeah.
Patrice Bender: remote all elderly people will know what to do.
Susan Seevers: And also like a clapping uh li like device that uh
Patrice Bender: Opens
Susan Seevers: pops
Patrice Bender: up
Patricia Blake: Flips
Patrice Bender: is
Susan Seevers: open.
Patricia Blake: open.
Patrice Bender: too difficult or uh
Susan Seevers: Uh too difficult, um maybe uh it's easier to break it.
Carol Galvan: N yeah.
Patrice Bender: Break it, I don't
Susan Seevers: Yeah,
Patrice Bender: get
Susan Seevers: th th th that i uh
Carol Galvan: It's very sensitive.
Patrice Bender: Oh
Susan Seevers: Yeah.
Patrice Bender: so Yeah.
Susan Seevers: Like my telephone, it's uh it's sensitive too.
Carol Galvan: Yeah.
Patrice Bender: Yeah.
Carol Galvan: Okay well uh it's almost at the end. So we have now a lunch break, finally,
Susan Seevers: Ah.
Carol Galvan: yeah. Uh after the lunch break uh it's back to uh individual work, once again uh thirty minutes. Uh I will put my minutes uh I have updated them so uh s they're updated in the shared folder too.
Susan Seevers: Thirty minutes?
Carol Galvan: Thirty minutes, the
Susan Seevers: How minutes?
Carol Galvan: Failure. Uh uh the specifi uh specific instructions for the next uh meeting you will all will receive uh at the uh the the email. I don't think I can uh say much about it, so uh uh wait for your email and uh hopefully you get it done uh in the in the thirty minutes, and I w will see you after the lunch break and the thirty minutes.
Susan Seevers: One question,
Carol Galvan: Yeah?
Susan Seevers: uh how late do we have to get back be back here?
Carol Galvan: Uh well uh thirty minutes.
Patrice Bender: A quarter to one
Carol Galvan: Uh,
Patrice Bender: maybe?
Carol Galvan: yeah.
Susan Seevers: Thirty minutes lunch break?
Carol Galvan: Thirty minutes lunch break, yeah.
Patrice Bender: Okay.
Susan Seevers: I thought
Carol Galvan: Oh.
Susan Seevers: forty five.
Carol Galvan: Forty five?
Susan Seevers: Yeah.
Carol Galvan: Uh then would it be uh one o'clock.
Susan Seevers: Yeah.
Carol Galvan: Or we
Susan Seevers: Okay.
Carol Galvan: we ask our personal coach.
Susan Seevers: Yeah.
Carol Galvan: Okay. Thank you. Thank you, uh that was a very uh good session I think,
Patrice Bender: Yeah,
Carol Galvan: we
Patrice Bender: is
Carol Galvan: uh
Patrice Bender: it possible
Carol Galvan: we
Patrice Bender: to store this on
Susan Seevers: Yeah,
Patrice Bender: the share
Susan Seevers: Susan Seevers too.
Patrice Bender: documents or
Carol Galvan: Uh
Patrice Bender: what
Carol Galvan: ye well
Susan Seevers: Save as.
Carol Galvan: Yeah, because uh all uh things are uh stored in smart board dot uh
Susan Seevers: Yeah, v
Carol Galvan: X_D_K_ and
Susan Seevers: But
Carol Galvan: that's in
Susan Seevers: but you can open a from your pr from
Patrice Bender: 'Kay,
Susan Seevers: your
Patrice Bender: save
Susan Seevers: laptop.
Patrice Bender: it as an image on
Susan Seevers: Yeah,
Patrice Bender: the
Susan Seevers: maybe.
Patrice Bender: res
Susan Seevers: Save as.
Patricia Blake: Export.
Susan Seevers: No.
Carol Galvan: No.
Patricia Blake: Maybe not export function.
Susan Seevers: Export.
Carol Galvan: Well I
Susan Seevers: Export
Carol Galvan: can I can uh
Susan Seevers: H_T_M_L_.
Patrice Bender: No, and use an image if possible.
Susan Seevers: Huh, image?
Patrice Bender: J_ PEG.
Patricia Blake: G_ yeah, J_ PEG.
Patrice Bender: J_ PEG. Yeah, it's better
Susan Seevers: Paper size A_ four. Uh screen size. In this
Patrice Bender: Yeah.
Susan Seevers: directory.
Patricia Blake: N oh.
Patrice Bender: Oh yeah, it's not connected to the
Carol Galvan: You all uh have
Patrice Bender: to
Carol Galvan: the
Patrice Bender: our P_C_s.
Carol Galvan: the questionnaire
Susan Seevers: No?
Carol Galvan: again about uh the after work.
Susan Seevers: Yeah, it is connected.
Patrice Bender: It's connected?
Susan Seevers: Yeah, I think so.
Patricia Blake: To
Carol Galvan: Deskt
Patricia Blake: room.
Carol Galvan: Huh. No.
Patricia Blake: I'll just uh saved in my documents.
Susan Seevers: Oh.
Patricia Blake: Yeah in my own uh in my own messenger.
Patrice Bender: Yeah.
Carol Galvan: Project documents,
Patricia Blake: Yeah.
Carol Galvan: yeah.
Patrice Bender: It gives the na Oh. Yes.
Patricia Blake: Okay,
Carol Galvan: Okay,
Patricia Blake: nice.
Carol Galvan: thank you.
Patrice Bender: The questionnaire, fill in uh we fill out d after lunch or uh
Carol Galvan: Uh well, it's it's simply filling oh no, it's uh it's also filling out no, I'd do it after lunch I think.
Patrice Bender: Okay.
Carol Galvan: I'm hungry, so do it after
Patricia Blake: Aye,
Carol Galvan: lunch.
Patrice Bender: Yes.
Carol Galvan: Thank you all.
Patricia Blake: cheers.
Susan Seevers: Thank you.
Carol Galvan: You're welcome.
Patrice Bender: We can leave the P_C_ on I think, yeah and
Susan Seevers: Yeah,
Patrice Bender: return
Susan Seevers: of
Patrice Bender: to
Carol Galvan: Yeah.
Patrice Bender: the
Susan Seevers: course.
Carol Galvan: Well I bring it to my uh personal room.
Patrice Bender: Yeah, bring
Susan Seevers: To my
Patrice Bender: to
Susan Seevers: exave
Patrice Bender: I gotta
Susan Seevers: executive
Patrice Bender: bring it home.
Carol Galvan: My executive uh big room with the
Patrice Bender: A big office.
Carol Galvan: with the panting.
Patrice Bender: Yes.
Susan Seevers: Aye.
Susan Seevers: Yeah. Okay. | When this functional design meeting opens Carol Galvan tells the group about the project restrictions he received from management by email. Susan Seevers is first to present, summarizing user requirements data from a questionaire given to 100 respondents. Susan Seevers explains various user preferences and complaints about remotes as well as different interests among age groups. He prefers that they aim users from ages 16-45, improve the most-used functions, and make a placeholder for the remote. Patricia Blake begins explaining the working design. He talks about existing products, most of which use infared since it is simple and cost-effective. He suggests adding a speech function, when someone asks where the remote is and it beeps. He also explains the various components, materials, and energy sources of a remote, giving preference to a remote with multifunctional buttons and without a receiver. The interface specialist presents, talking about the possible components of the remote and concluding that the remote should be simple and accessible without too much functionality. The group continues the meeting by having discussion about the possibility of a touch screen, LCD, and other functions. The group closes the meeting and goes to lunch. | 4 | amisum | train |
Manie Mccluskey: Hello again.
Natalie Graser: Hi.
Isabel Ankney: Hello.
Wendy Whitfill: Hey, Project Manager.
Isabel Ankney: Um, Project Manager, I
Manie Mccluskey: Mm yeah.
Isabel Ankney: have something tell you. I have a little problems with my laptop.
Manie Mccluskey: Okay.
Isabel Ankney: And uh s s s so I had a little less time to complete.
Manie Mccluskey: Okay.
Isabel Ankney: No, a little problem, uh big problem. I just thought
Wendy Whitfill: What was it,
Isabel Ankney: Um,
Wendy Whitfill: problem?
Isabel Ankney: it didn't work anymore.
Wendy Whitfill: The laptop?
Isabel Ankney: The entire Windows uh
Wendy Whitfill: It hang hung.
Isabel Ankney: It it hung.
Wendy Whitfill: Ha-ha. Oh. Project Manager.
Manie Mccluskey: Yes.
Wendy Whitfill: You're
Manie Mccluskey: Yes.
Wendy Whitfill: our Project Manager.
Manie Mccluskey: Your project manager. Welcome to the conceptual design meeting for Real Reaction. Uh, hello again. Uh it's uh the same as the last time. Uh uh, also this time there will be uh three presentations. And we um must uh reach a decision on uh the remote control concepts. Um uh, and the end, I uh, when I finish it off I have some uh input from uh a master class I uh visited. information.
Isabel Ankney: During lunch, yeah.
Wendy Whitfill: Master.
Isabel Ankney: He's the master, yeah.
Wendy Whitfill: Master
Manie Mccluskey: The
Wendy Whitfill: of
Manie Mccluskey: the the the the concepts on uh we uh where we uh must reach a decision on. Um uh, our from uh are of two sorts. Components concepts and user interface concepts. Uh, the first one is uh really about the the the the the total package uh with uh Well, we have decided to do a do the uh with a touch-screen that must be a case around it so uh it won't be uh uh as breakable. Uh how how about the energy? Can you uh can you reload it or uh just have batteries which you must exchange? Uh, the user interface concept. Uh, with the type and uh the the supplements. So uh where to put what button. And uh uh I would say uh Jans, can you begin?
Natalie Graser: Yeah, sure.
Manie Mccluskey: Okay. At the end, uh I will take notes uh
Natalie Graser: Okay.
Manie Mccluskey: and at the end of the minutes uh will uh be at the shared folder.
Natalie Graser: Uh, let Wendy Whitfill see. I think it's this one. Ha.
Isabel Ankney: Wow.
Natalie Graser: Right. Uh, well, I'll be talking about the components. Uh, what I did was I reviewed previously used items uh by uh two two uh different uh age groups.
Manie Mccluskey: Mm-hmm.
Natalie Graser: Uh below forty five and above. And uh I just uh watch what the differences are and I checked uh, well, what what d do we want, and how we uh d aim a at uh the target group. Well uh what I found was that a senior um senior citizens uh
Wendy Whitfill: I'm sorry.
Natalie Graser: Ye Ah, it's
Wendy Whitfill: Okay.
Natalie Graser: it's
Wendy Whitfill: Go
Natalie Graser: okay.
Wendy Whitfill: on.
Natalie Graser: Uh They, well, they like more the they like the traditional materials, like wood and and such more. Wood and chrome. And uh uh they like uh straightforward shapes. Um, uh they they they they like luxurious uh styles, where whereas the young and dynamic, they like a more uh soft materials. Think of the Teletubbies, for instance. Uh uh, soft and fluffy and colourful and Well uh, shapes are curved and round. Y y you get the picture. And uh they like sports and gaming, and that gives them uh the vitality. Uh, so w well
Manie Mccluskey: One
Natalie Graser: uh, firs
Manie Mccluskey: one little question. Um
Natalie Graser: Yes.
Manie Mccluskey: about the the material.
Natalie Graser: Yeah.
Manie Mccluskey: Uh a soft material for a remote control?
Natalie Graser: No, I'll I'll get to that.
Manie Mccluskey: Okay.
Natalie Graser: You you'll see. Yeah.
Manie Mccluskey: Yeah. Thank you.
Natalie Graser: Uh, well f first off, let's start start with the energy. W I uh I had a choice between uh a few different uh sources.
Manie Mccluskey: Mm-hmm.
Natalie Graser: But uh the two basic sources that I found were the best possible were the battery uh versus kinetic. Uh kinetic, that's when you move something, then uh it gets energy. I figured, well that's ki kinda high-tech, when when you have a remote control that well, when you pick it up, it has power. That would be actually very nice, uh
Manie Mccluskey: Oh.
Natalie Graser: I figured. Well, we could also use a battery, that's a
Wendy Whitfill: Yeah
Natalie Graser: bit
Wendy Whitfill: but when the power gets low, you have to shake it or something?
Natalie Graser: Yeah. Yeah yeah, you c just you have to shake it around
Wendy Whitfill: Uh,
Natalie Graser: a little bit.
Wendy Whitfill: and
Natalie Graser: And
Wendy Whitfill: uh
Natalie Graser: then
Wendy Whitfill: uh
Natalie Graser: then it d then it has some more uh energy. Well,
Wendy Whitfill: Hmm.
Natalie Graser: y you could just go for a battery. Or you can go for both?
Isabel Ankney: Oh, have you the option of using a solar panel
Natalie Graser: Yeah, I actually did. But uh the thing is about solar panel is you have to have l uh light. Well, sunlight preferably.
Isabel Ankney: W
Natalie Graser: Uh,
Isabel Ankney: nah.
Natalie Graser: and you you could you could use normal light, but uh
Isabel Ankney: Mm.
Natalie Graser: you wouldn't get the same amount of energy that you would from a battery or something.
Isabel Ankney: Yeah.
Natalie Graser: Uh for uh ultimate b uh n uh use of uh solar panels, you could actually use uh you could use uh solar panels, but uh you ha you'd have to implement them into uh the remote control, leaving you uh a bit less space for
Wendy Whitfill: Mm
Natalie Graser: the
Wendy Whitfill: yeah.
Natalie Graser: interface.
Isabel Ankney: Yeah.
Wendy Whitfill: It's too
Natalie Graser: So
Wendy Whitfill: less
Natalie Graser: uh
Wendy Whitfill: space.
Natalie Graser: so i i it it wo what's actually I I c just in f I've figured it out that well, uh seeing that you'll always be uh within the l uh distance of T_V_, and the from T_V_ there comes a a a whole bunch of light. So it would actually power itself uh from
Isabel Ankney: Yeah.
Natalie Graser: a T_V_. But, well you just take up all the space, and you
Isabel Ankney: Okay.
Natalie Graser: wouldn't uh have the full amount of power actually used.
Manie Mccluskey: But you
Natalie Graser: So
Manie Mccluskey: prefer kinetic?
Natalie Graser: I I prefer kinetic because
Manie Mccluskey: Okay.
Natalie Graser: it's uh well, the costs aren't that much higher, and um, ju just a bit more high-tech than than a normal battery. I mean,
Manie Mccluskey: Yeah,
Natalie Graser: if
Manie Mccluskey: but you don't move a a remote control
Natalie Graser: No,
Manie Mccluskey: too
Natalie Graser: but
Manie Mccluskey: much.
Natalie Graser: uh d Well, you pick it up and you press buttons and y well,
Manie Mccluskey: And that's
Natalie Graser: you
Manie Mccluskey: enough to to keep the energy level uh
Natalie Graser: Yeah, well uh actually it is.
Manie Mccluskey: Okay.
Natalie Graser: And it it if it isn't, you just shake it a bit and and add add with power up again.
Isabel Ankney: Yeah.
Natalie Graser: But, what l what Jarek said, you could you could use a battery that you'd just keep it on the recharging whenever it moves. And for rest, you'd just add juice on the battery.
Manie Mccluskey: Okay.
Wendy Whitfill: And when the battery doesn't work, I usually shake too. So Like slamming on
Natalie Graser: Exactly.
Wendy Whitfill: it. It's exactly the same.
Natalie Graser: And
Manie Mccluskey: Thank
Natalie Graser: so that
Manie Mccluskey: you, Tim.
Natalie Graser: Uh Uh well, f furthermore, you you we uh checked uh the cases. We have uh different options uh concerning the cases. You ha I you sim uh you simply add a basic uh standard uh model uh it was kind of square and uh I figured that's a bit boring. So you you we could go for uh the single curved or the double curved. Um, single curve, it's just a well, uh, you know, it's just uh a nice curve. Or but but you could go in a in an double curves. And that's like several different dimensions. That gives
Manie Mccluskey: Yeah.
Natalie Graser: you an whole new uh
Manie Mccluskey: Dynamic
Wendy Whitfill: Hmm.
Natalie Graser: effec
Manie Mccluskey: dynamic look?
Natalie Graser: Yeah, that gives you a younger and uh more high-tech look, I f I figured. But, that uh we'll discuss later.
Wendy Whitfill: But, are you going to draw it?
Natalie Graser: What?
Wendy Whitfill: The
Natalie Graser: You
Isabel Ankney: Th
Natalie Graser: want Wendy Whitfill to draw
Isabel Ankney: th
Wendy Whitfill: Yeah.
Natalie Graser: in
Isabel Ankney: yeah.
Natalie Graser: three-D_?
Wendy Whitfill: Yeah.
Isabel Ankney: Yeah.
Wendy Whitfill: Uh, I c I can't imagine.
Natalie Graser: Uh,
Wendy Whitfill: I can't imagine
Natalie Graser: yeah, I ca
Wendy Whitfill: how
Natalie Graser: I
Wendy Whitfill: how
Natalie Graser: ca
Wendy Whitfill: how
Natalie Graser: I could
Wendy Whitfill: it
Natalie Graser: I
Wendy Whitfill: looks
Natalie Graser: could show
Wendy Whitfill: like.
Natalie Graser: you. I could show you. Well uh let's say y uh you uh
Wendy Whitfill: Yeah.
Natalie Graser: Let's say that's your standard uh
Wendy Whitfill: Design.
Isabel Ankney: Yeah.
Natalie Graser: That's a bit your d standard design.
Wendy Whitfill: Mm-hmm.
Natalie Graser: could actually go like uh something like this. And then uh in three-D_ effect you could go
Isabel Ankney: Um
Wendy Whitfill: Uh
Natalie Graser: So y you you just Yeah, this is a this bit uh difficulty in I didn't take a major in art. So But but you could have uh uh a whole new uh the back
Wendy Whitfill: Oh,
Natalie Graser: back
Wendy Whitfill: okay.
Natalie Graser: the the the depth, you could you could uh just
Wendy Whitfill: Okay.
Natalie Graser: play around a bit with. You you don't have to use standard uh
Wendy Whitfill: Oh, okay.
Manie Mccluskey: A little artistic.
Natalie Graser: Yeah you could y It leaves more space for creativity.
Manie Mccluskey: Okay.
Wendy Whitfill: Okay.
Natalie Graser: Uh that might be an idea, but just a Well, furthermore, uh well, uh plastic versus rubber? You We could choose uh what uh what's better, plastic um or rubber. I I ch prefer rubber because it feels uh Yeah.
Manie Mccluskey: It's soft.
Natalie Graser: Yeah, it's soft and it's that
Manie Mccluskey: That's
Natalie Graser: I like
Manie Mccluskey: the material
Natalie Graser: soft.
Manie Mccluskey: the younger people want uh,
Natalie Graser: Yeah,
Manie Mccluskey: ain't
Natalie Graser: yeah
Manie Mccluskey: it?
Natalie Graser: I mean uh plastic uh is Plastic also has that cheap feeling to it, like plastic uh Your your I usually associate plastic with uh something that's cheap. Uh that's maybe just Wendy Whitfill, but Uh, we could uh uh, oh, talk about it later. Uh furthermore, buttons. Uh traditional uh or a touch screen. Well, we discussed it in a previous meeting, so I figured I'll just leave it at the L_C_D_. And uh chip set, well uh if we are going to use traditional buttons, we could go uh with a simple chip set. But uh if we decide to go on a n uh um L_C_D_ screen, we would use an uh we have to use an a advanced chip set. And that would bring uh the necessary costs with with it. So that's something we th have to keep in mind. If it isn't uh manageable uh budget-wise, we'd have to go over to uh to sim to simple buttons.
Wendy Whitfill: Well, I think uh we're going to sell tell ten millions of them. So uh I bet a big company in uh Korea or Taiwan, like uh Samsung,
Natalie Graser: Yeah.
Isabel Ankney: Yeah.
Wendy Whitfill: can give us uh a big discount on the chips, so
Natalie Graser: Yeah, probably.
Wendy Whitfill: U usually, chips are uh aren't more expensive than one dollar.
Natalie Graser: Yeah, probably, but
Wendy Whitfill: So
Natalie Graser: But uh yeah, that's
Wendy Whitfill: That that
Natalie Graser: that's
Wendy Whitfill: shouldn't be a real issue,
Natalie Graser: That shouldn't
Wendy Whitfill: I think.
Natalie Graser: shouldn't be uh that big a issue. I'll I'll I'll just add, uh uh I put a big summary here, so we could discuss it a bit. Uh what i what are your ideas concerning battery versus kinetic?
Isabel Ankney: Um, I think you should use kinetic as a back-up.
Natalie Graser: Yeah, you you you should we
Wendy Whitfill: Yeah, a
Natalie Graser: should
Wendy Whitfill: combination.
Isabel Ankney: A combination,
Natalie Graser: A combination.
Isabel Ankney: yeah.
Natalie Graser: Uh, you use the battery and w charge it up with kinetic. When you pick it up, it
Wendy Whitfill: Yeah.
Natalie Graser: charges up.
Wendy Whitfill: Like an uh aku uh
Natalie Graser: Yeah.
Wendy Whitfill: Acu uh,
Natalie Graser: Yeah
Wendy Whitfill: yeah.
Natalie Graser: yeah, I know.
Isabel Ankney: Okay. Yeah.
Manie Mccluskey: Just like the watch
Wendy Whitfill: Well,
Manie Mccluskey: from Seiko.
Wendy Whitfill: Yeah.
Isabel Ankney: Psycho-kinetic.
Natalie Graser: Yeah, I con Exactly.
Manie Mccluskey: Yeah.
Isabel Ankney: Yeah.
Natalie Graser: What uh what do you think? You agree?
Manie Mccluskey: I I uh I would prefer uh both uh too.
Natalie Graser: Yeah? Both?
Wendy Whitfill: Combine
Manie Mccluskey: Yeah.
Wendy Whitfill: them.
Manie Mccluskey: Combine them.
Natalie Graser: Okay. Uh, well that would bring the m m some more costs, but I mean the Who cares,
Wendy Whitfill: Okay.
Natalie Graser: right. That's Manie Mccluskey's
Isabel Ankney: Buy
Natalie Graser: problem.
Isabel Ankney: a fifty
Wendy Whitfill: Of
Isabel Ankney: cents
Wendy Whitfill: course.
Isabel Ankney: battery and uh
Wendy Whitfill: Fifty
Natalie Graser: Yeah,
Wendy Whitfill: cent.
Natalie Graser: well Fifty cent uh Uh, why doesn't And then we have single-curved versus double-curved. That
Isabel Ankney: Well maybe I have something in my presentation to uh to cope with that.
Natalie Graser: Okay. No, we'll we'll just wait and uh Uh, plastic versus rubber.
Wendy Whitfill: Rubber.
Natalie Graser: Any ideas?
Manie Mccluskey: Rubber.
Natalie Graser: Uh,
Manie Mccluskey: Yeah.
Natalie Graser: rubber?
Isabel Ankney: Um,
Natalie Graser: You
Isabel Ankney: isn't possible to make combination with kind of rubber is or bendable remotes where you've got a. Or do
Natalie Graser: Uh,
Isabel Ankney: you
Natalie Graser: I
Isabel Ankney: think
Natalie Graser: figured
Isabel Ankney: it
Natalie Graser: it will be m rather than
Isabel Ankney: Rubber
Natalie Graser: hard
Isabel Ankney: casing,
Wendy Whitfill: Rather
Isabel Ankney: yeah.
Wendy Whitfill: hard.
Natalie Graser: Nah, rubber c uh this is a casing, yeah. Rubber casing, because well if you use an uh d a touch-screen, uh it's just a casing uh around it. So um,
Isabel Ankney: Yeah.
Natalie Graser: you could go for plastic, but I figured
Wendy Whitfill: Yeah.
Isabel Ankney: Um,
Natalie Graser: I
Isabel Ankney: well
Natalie Graser: I I
Isabel Ankney: d
Natalie Graser: would choose rubber.
Isabel Ankney: Maybe I can ask it right now the question that I have. Uh, is it possible uh of is it necessary to make a touch-screen square? It isn't, I think, yeah?
Natalie Graser: Well, m I don't know.
Wendy Whitfill: Well,
Natalie Graser: No.
Wendy Whitfill: I think that touch-screens are generally square.
Manie Mccluskey: Yeah.
Natalie Graser: Yeah.
Wendy Whitfill: But it's the
Isabel Ankney: We're
Wendy Whitfill: case you put around it
Natalie Graser: That
Wendy Whitfill: that
Isabel Ankney: We put
Natalie Graser: isn't
Wendy Whitfill: makes
Isabel Ankney: fashion
Wendy Whitfill: the shape.
Isabel Ankney: in electronics, so
Wendy Whitfill: Hmm?
Isabel Ankney: maybe we can uh
Wendy Whitfill: Yeah okay, but if you have a square uh L_C_D_ screen,
Isabel Ankney: Mm
Wendy Whitfill: and
Isabel Ankney: yeah.
Wendy Whitfill: you put a case around it that has uh like bulbs or
Isabel Ankney: Mm-hmm.
Wendy Whitfill: that that covers part of the L_C_D_ screen.
Natalie Graser: Yeah, that would
Wendy Whitfill: That
Natalie Graser: cover it. That that would solve
Wendy Whitfill: That's
Natalie Graser: the problem.
Wendy Whitfill: it's
Isabel Ankney: Oh,
Wendy Whitfill: custom customisable
Isabel Ankney: yeah. Okay,
Wendy Whitfill: and
Isabel Ankney: I
Manie Mccluskey: Mm yeah.
Isabel Ankney: I get it.
Natalie Graser: So mm Uh uh so uh so what are the opinions? Uh rubber or plastic? I I I prefer rubber.
Wendy Whitfill: Yeah, Wendy Whitfill too.
Manie Mccluskey: Wendy Whitfill too.
Isabel Ankney: Okay.
Natalie Graser: Yeah, you
Manie Mccluskey: Yeah?
Natalie Graser: too? You sure? You
Isabel Ankney: That's good.
Natalie Graser: you
Isabel Ankney: Well,
Natalie Graser: you seemed
Isabel Ankney: as
Natalie Graser: to hesitate
Isabel Ankney: long a
Natalie Graser: a bit.
Isabel Ankney: as long as it's it's uh it's firm, and you don't uh
Wendy Whitfill: Mm yeah.
Isabel Ankney: it's not bendable or something, I th I think that goes too far.
Natalie Graser: Yeah, it it shouldn't it shouldn't
Manie Mccluskey: Okay.
Natalie Graser: flop over when you
Isabel Ankney: Oh.
Natalie Graser: hold it in your hand uh No, that that that that's gonna The the chip set will hold it firm in place, and
Isabel Ankney: Okay.
Natalie Graser: uh and and uh and a L_C_D_ screen also
Isabel Ankney: It might even bounce back when you drop it on the floor.
Natalie Graser: Yeah it m might it might.
Isabel Ankney: Okay.
Natalie Graser: Uh, tra uh traditional versus L_C_D_, well I figured we we all set on that. And uh, then also the simple versus advanced. Well I figure if we go for L_ L_C_D_, we we should have the advanced.
Manie Mccluskey: Mm
Wendy Whitfill: Yeah.
Manie Mccluskey: yeah.
Natalie Graser: So that shouldn't be a problem. Okay, well that's my uh
Manie Mccluskey: Thank you.
Natalie Graser: Uh, you're welcome.
Wendy Whitfill: Can I uh do my thing?
Manie Mccluskey: Yeah.
Wendy Whitfill: It uh
Manie Mccluskey: Do your thing,
Isabel Ankney: Do
Manie Mccluskey: Tim.
Isabel Ankney: your thing.
Manie Mccluskey: Bring it on.
Wendy Whitfill: Expert map. Okay uh Last week I went to uh Paris and Milan for some trend-watching. For marketing. Our research and development department and I went to Paris and Milan. In Paris and Milan, we uh asked different people, uh differing in age and in income, uh the amount of money to spend, um what they like in design uh and material nowadays. Findings. Our main audience, uh so that's people below forty, uh prefer the following. At first, the colours of fruit. Very basic colours, like Janus explained. Um, fresh colours, uh green, red, uh strawberry red, uh yellow, banana yellow. Um, considering material, um Yeah. They like spongy material,
Isabel Ankney: Spongeball.
Wendy Whitfill: like yeah a sponge-ball. Like a s soft material. Janus
Manie Mccluskey: Yeah.
Wendy Whitfill: m uh mentioned it also. I think he did some uh some findings himself.
Natalie Graser: Well,
Wendy Whitfill: You
Natalie Graser: the Teletubbies
Wendy Whitfill: wer
Natalie Graser: sh
Wendy Whitfill: you weren't in Paris? Okay. Like this. Like big uh
Manie Mccluskey: Flashy.
Wendy Whitfill: g flashy colours.
Manie Mccluskey: Yeah.
Wendy Whitfill: Fresh. It's nice, I think. Okay, our secondary audience, uh people above forty a forty years in age, they like the dark traditional colours. Uh Yeah, uh materials like wood
Manie Mccluskey: Yeah,
Wendy Whitfill: that
Manie Mccluskey: but wood is not a not a material you which you build a a remote control of.
Natalie Graser: Well, you could.
Wendy Whitfill: No
Natalie Graser: You
Wendy Whitfill: n
Natalie Graser: you
Wendy Whitfill: j
Natalie Graser: could.
Wendy Whitfill: just
Manie Mccluskey: Yeah
Wendy Whitfill: j
Manie Mccluskey: but
Wendy Whitfill: just a w
Manie Mccluskey: never seen
Natalie Graser: Well uh
Manie Mccluskey: one.
Isabel Ankney: It'll float.
Wendy Whitfill: No, okay, but just just a wooden uh
Manie Mccluskey: Case.
Wendy Whitfill: look.
Manie Mccluskey: Oh, a wooden
Natalie Graser: Yeah.
Manie Mccluskey: look, yeah.
Wendy Whitfill: Like uh you have those fake uh
Isabel Ankney: Tables.
Wendy Whitfill: fake panels on the floor. The that isn't wood anyway, but
Manie Mccluskey: Okay.
Wendy Whitfill: Okay? But, that's our secondary audience.
Manie Mccluskey: Yeah.
Wendy Whitfill: So, uh we decided to take mm yeah the people below forty.
Manie Mccluskey: Yeah.
Wendy Whitfill: So, that this doesn't apply. 'Kay, the third. Uh, there're some overall thoughts about new remote controls. They have to look fancy. Um, they should be technological in innovative. That means uh there have to be fancy things in. Uh, and easy to use. But that's common. My personal preferences. We have to aim at a mu at the main audience. And uh, therefore use fresh colours.
Manie Mccluskey: Would you prefer uh uh that you can choose the colour of your uh remote control
Wendy Whitfill: Uh,
Manie Mccluskey: or
Wendy Whitfill: I'll I'll come to that in a second
Manie Mccluskey: Okay.
Wendy Whitfill: point. Here, think about removable covers, as seen
Manie Mccluskey: Okay.
Wendy Whitfill: in mobile telephon telephone market. To customise your own remote control. Like the Nokia uh the
Manie Mccluskey: Yeah.
Wendy Whitfill: removable covers, uh just put a red
Manie Mccluskey: Okay.
Wendy Whitfill: on it and go to the shop and buy a green one. Uh, a third, material being used uh could well be stuff like rubber. Um, two advantages. Uh, it fits within the current market trends. And uh it adds safety to your remote uh when you drop it. So Uh to come back to your question, I think uh and the people in Milan and Paris also think that uh the rubber should be pretty hard. Like uh seen on regular mobile phones. Actually, they have a lot in common. The phones and the
Natalie Graser: Well, I actually saw a phone that you could use as a remote, so
Wendy Whitfill: Yeah.
Isabel Ankney: Ah.
Natalie Graser: Yeah.
Wendy Whitfill: Yeah.
Manie Mccluskey: Maybe
Wendy Whitfill: Okay.
Manie Mccluskey: you could use your remote as a phone.
Natalie Graser: Hey.
Isabel Ankney: Hey.
Natalie Graser: That
Manie Mccluskey: There
Natalie Graser: might
Manie Mccluskey: are numbers
Natalie Graser: be a next
Manie Mccluskey: on
Natalie Graser: step.
Manie Mccluskey: it, so uh
Wendy Whitfill: Yeah, exactly. Uh, in my second sheet of personal preferences, uh we have to reconsider the speech function uh recognition. Uh, it's very innovative. Innovative.
Manie Mccluskey: So that you say um S_P_S_S_, and it goes to
Wendy Whitfill: Yeah,
Manie Mccluskey: uh
Wendy Whitfill: like something.
Manie Mccluskey: Okay.
Wendy Whitfill: speech recognition and stuff. But, we have to keep the cost in uh in mind, but
Isabel Ankney: Twelve
Wendy Whitfill: it
Isabel Ankney: fifty uh
Wendy Whitfill: Yeah, it it can be uh very expensive. 'Kay, second. Uh, building games like Snake or Tetris to amuse the younger users. Uh, also the link with uh mobile phones.
Manie Mccluskey: Yeah, but
Wendy Whitfill: Uh
Manie Mccluskey: you don't use that th games when you watching television,
Wendy Whitfill: No,
Manie Mccluskey: I think.
Wendy Whitfill: but
Natalie Graser: Well,
Wendy Whitfill: No,
Natalie Graser: yeah.
Wendy Whitfill: okay. But you don't use games when you're d when you're making a telephone call. It's just the same.
Isabel Ankney: When your parents are watching some boring program, you can take the remote and do something else.
Wendy Whitfill: Yeah.
Manie Mccluskey: Yeah, okay.
Wendy Whitfill: When you're at college.
Natalie Graser: You take
Wendy Whitfill: Uh
Manie Mccluskey: You
Natalie Graser: your
Manie Mccluskey: take
Natalie Graser: uh
Manie Mccluskey: your remote
Isabel Ankney: Take
Natalie Graser: remote
Manie Mccluskey: control
Natalie Graser: with
Wendy Whitfill: No.
Natalie Graser: you to school.
Manie Mccluskey: with you.
Wendy Whitfill: You al you also take
Isabel Ankney: it.
Wendy Whitfill: uh t you take your IPac and go uh play games. Yeah.
Natalie Graser: Yeah.
Wendy Whitfill: Yeah. Well, I do that, but Okay, and um And third, I stick with it, the log-in functionality uh with the slogan, take parental control to a new dimension.
Isabel Ankney: Ooh.
Natalie Graser: Very
Wendy Whitfill: That's
Isabel Ankney: S
Natalie Graser: nice.
Wendy Whitfill: it.
Manie Mccluskey: Uh great.
Isabel Ankney: Mm-hmm.
Isabel Ankney: In Okay. Um the interface contents. Well that's a just simple PowerPoint mock-up I want to m make it more as dynamic for you so I'll draw there. But, the main concept is um take one big touch screen. Um, always display the primary buttons clear and visible. Maybe even li like this with uh u uses of a lot of space. And uh make the menu structure changeable. So if you press um system, that's Yeah, well m multiple system options can, maybe five or ten or or one, can fit in. Or maybe even a step further when you want to um t um have some other options that are not programmable with one horizontal button. And um other buttons can may be displayed here if that's necessary. And um well, how do uh do we want to look at uh uh f um Yeah Does a remote look Well, it's you've gotta hold it in one hand. So um the middle like all remotes have to be in a little bit small, so you can put it in inside your hands. And some remotes you can use with your thumb. But I think that's too difficult for this one. So you can make it s a little broader. Yeah. And here? And maybe use your thumb on the on the main buttons. And use your other hands on the menu structure. So here are gonna be the program buttons. One, two, three, four, et cetera. And the the volume control and program control maybe. And, down here, um, I added, this could be one uh big L_C_D_. Um, the menu structure. So you can use it in uh in this way. Um One thing you've gotta keep in mind, keep the remote clear of too much functions at the same time. Um, know that if you are changing the menu structure here, um And well, I still believe you should keep displaying the buttons. But if you're programming the colour of the T_V_, do not display twenty other options that are possible. Just keep it as simple as uh as possible. And do not use too many levels. Do not have to select a screen first and then brightness and then colour and un-plus, and um push plus twenty times. But just the um uh just in one button if possible. And um, well, you kn you all know the T_V_ levels. Um, channel one, two. And when you get to n to uh to ten, ye and want to go back, uh well you have a problem. Just m most most modern T_V_s, you you press one zero, and it goes to ten. And else, to one and through after that. So the s a button less. And um, things like teletext, put them in the menu. Things like um um Yeah.
Wendy Whitfill: Yeah. Uh, what do you think about a back-and-forth come-up uh button?
Isabel Ankney: Yeah, yeah
Wendy Whitfill: L
Isabel Ankney: w
Wendy Whitfill: like in uh internet
Isabel Ankney: Yeah,
Wendy Whitfill: explorer.
Isabel Ankney: I I find I must trying to uh tell it. And this is program uh plus and minus. Uh
Wendy Whitfill: Yeah okay, but does it that is for uh going from four to five.
Isabel Ankney: Yes.
Wendy Whitfill: But if you go from two to
Isabel Ankney: Or
Wendy Whitfill: eight,
Isabel Ankney: if you're watching
Wendy Whitfill: and you want
Isabel Ankney: Studio Sports on uh on seventeen,
Wendy Whitfill: Yeah,
Isabel Ankney: and
Wendy Whitfill: and on
Isabel Ankney: your
Wendy Whitfill: two.
Isabel Ankney: wife is watching
Wendy Whitfill: That you
Isabel Ankney: some
Wendy Whitfill: can switch
Isabel Ankney: soap on
Wendy Whitfill: switch
Isabel Ankney: two
Wendy Whitfill: easy.
Isabel Ankney: Well yes, I think that's a good idea. But um, well m my preference
Wendy Whitfill: Yeah it
Isabel Ankney: would
Wendy Whitfill: is.
Isabel Ankney: to be put it in the menu structure.
Wendy Whitfill: Yeah.
Isabel Ankney: And if you're using that button a lot of times, well of course the menu will still be displayed on the screen. You just don't have to play games uh in-between. But if you're really switching between two channels, you won't have time uh
Wendy Whitfill: Mm
Isabel Ankney: to
Wendy Whitfill: no.
Isabel Ankney: d use the other options. Um, yeah already already told that.
Wendy Whitfill: That's
Isabel Ankney: Yeah.
Wendy Whitfill: it.
Isabel Ankney: That's my conclusion.
Wendy Whitfill: Okay.
Manie Mccluskey: Oh, okay. Uh I think we can discuss a little about the the three uh kind of revolutionary things uh Tim uh came with. The parental control, the games, and the voice recognition. Uh There's n not uh too much decision on uh that one so uh I think that parental control is a good function to uh to put in the remote. I don't know how you think
Wendy Whitfill: Yeah.
Manie Mccluskey: about it.
Isabel Ankney: Well, I agree, just put it in the menu structure somewhere.
Manie Mccluskey: Yeah.
Isabel Ankney: Um, yeah um system
Wendy Whitfill: Yeah but
Isabel Ankney: properties, um parental control.
Wendy Whitfill: What I see uh How I see it is you put it on the the remote
Isabel Ankney: Yeah.
Wendy Whitfill: and then you have like a Windows log-on screen with parents, children.
Isabel Ankney: Mm.
Wendy Whitfill: Something
Manie Mccluskey: Yeah.
Wendy Whitfill: like that.
Isabel Ankney: Um,
Wendy Whitfill: And w
Isabel Ankney: w
Wendy Whitfill: when you want
Isabel Ankney: well,
Wendy Whitfill: to use
Isabel Ankney: yeah.
Wendy Whitfill: the parents uh option,
Isabel Ankney: It it
Wendy Whitfill: you
Isabel Ankney: has
Wendy Whitfill: have to
Isabel Ankney: to be fast. You don't want to to go down and watch the news at eight o'clock and turn it on and wait twenty seconds for for uh the log-on screen and then remember your code and all kinds
Wendy Whitfill: Yeah,
Isabel Ankney: of settings.
Wendy Whitfill: ok
Manie Mccluskey: No but I think most people uh find it uh much more important that their children don't watch uh sex or violence uh
Isabel Ankney: Mm-hmm.
Manie Mccluskey: on the television, and uh wait
Isabel Ankney: Why
Manie Mccluskey: uh ten or fifteen seconds
Isabel Ankney: Mm-hmm.
Manie Mccluskey: longer, so they can uh finally watch it uh because
Isabel Ankney: You c
Manie Mccluskey: of
Isabel Ankney: may
Manie Mccluskey: that.
Isabel Ankney: use
Manie Mccluskey: Uh
Isabel Ankney: like when there's uh X_P_, uh a
Wendy Whitfill: Yeah.
Isabel Ankney: simple log-on, d
Wendy Whitfill: Yeah.
Isabel Ankney: you just
Manie Mccluskey: Yeah.
Isabel Ankney: push uh one
Wendy Whitfill: Yeah.
Isabel Ankney: or two
Wendy Whitfill: Pu
Isabel Ankney: or
Wendy Whitfill: push
Isabel Ankney: three.
Wendy Whitfill: parents.
Isabel Ankney: And if
Wendy Whitfill: That
Isabel Ankney: you push
Wendy Whitfill: then
Isabel Ankney: parents,
Wendy Whitfill: then
Isabel Ankney: then
Wendy Whitfill: then
Isabel Ankney: Yeah.
Wendy Whitfill: you have to uh
Isabel Ankney: To log in.
Wendy Whitfill: go to three-digit
Isabel Ankney: Yeah.
Wendy Whitfill: uh
Isabel Ankney: And if you
Wendy Whitfill: log-in.
Isabel Ankney: puts a
Wendy Whitfill: Like
Isabel Ankney: ye
Wendy Whitfill: two one three.
Isabel Ankney: Uh-huh.
Wendy Whitfill: And it's in.
Isabel Ankney: And
Manie Mccluskey: Yeah.
Isabel Ankney: if you w you push p children, uh you don't have to uh
Wendy Whitfill: It automatically
Isabel Ankney: log in, but
Wendy Whitfill: goes
Isabel Ankney: you can only
Wendy Whitfill: Yeah.
Manie Mccluskey: Yeah.
Isabel Ankney: watch uh children's channels or uh
Manie Mccluskey: Yeah.
Isabel Ankney: Okay. Well
Natalie Graser: I don't know if it's worth uh the time and effort we are going to spend on it. Because well it's a simple function, but it's gonna take a lot of resources and a lot of time um to programming it. Because you'll have to start working with the profiles and such.
Wendy Whitfill: Mm-hmm.
Natalie Graser: And I'm not sure if it's actually worth uh investing that much time and effort into it. I don't
Manie Mccluskey: Well
Natalie Graser: know
Manie Mccluskey: I
Natalie Graser: what
Manie Mccluskey: think that's a b there's a big market for it, because uh you
Wendy Whitfill: Mm yeah.
Manie Mccluskey: Yeah, you read many times in magazines same kind of stuff, and you heard on the news that uh that he Yeah,
Wendy Whitfill: V violent
Manie Mccluskey: they
Wendy Whitfill: T_V_.
Manie Mccluskey: believe that children uh are influenced by the television, and uh Well, we're we're aiming uh to uh below uh forty uh years. But there are a lot of uh people will below forty who have uh children
Isabel Ankney: Yeah.
Manie Mccluskey: in young age uh who who want um to uh not watch uh violent or uh
Isabel Ankney: Well, maybe um some idea on that.
Manie Mccluskey: Yeah.
Isabel Ankney: Just make through a remote as it is,
Manie Mccluskey: Yeah.
Isabel Ankney: but make an option to insert profiles, 'cause if my
Wendy Whitfill: Yeah, of
Isabel Ankney: grandad
Wendy Whitfill: course.
Isabel Ankney: would buy this remote, he wouldn't want to bother with all all the all the
Manie Mccluskey: Yeah.
Isabel Ankney: uh things to do. Just make it an option in menu, ins install powerful profiles or something.
Manie Mccluskey: Yeah yeah.
Wendy Whitfill: Yeah.
Manie Mccluskey: That's a that's a better idea?
Wendy Whitfill: Yeah, w It just has to be w when it's deliver out of the store,
Manie Mccluskey: Yeah.
Wendy Whitfill: it has to be just simple and plain. But
Manie Mccluskey: Yeah, okay.
Wendy Whitfill: if you want to install it personally uh If I got kids, and I could choose between uh two remote controls. One
Manie Mccluskey: Yeah, with
Wendy Whitfill: uh
Manie Mccluskey: and one without.
Wendy Whitfill: w with parent control and one without, and I would would buy the one with.
Manie Mccluskey: Yeah.
Isabel Ankney: Um, b
Wendy Whitfill: I
Isabel Ankney: well,
Wendy Whitfill: th
Isabel Ankney: still
Wendy Whitfill: Yeah.
Isabel Ankney: some question I have about how to incorporate those ones. You're thinking about some channels they uh cannot see, but well, I I when I think, oh yeah, for the f for all the standard channels, and only for maybe after ten o'clock uh in the evening violent films and movies uh will come and uh maybe maybe some some timing uh will be uh needed
Wendy Whitfill: Yeah.
Isabel Ankney: instead of uh of channels, because if you're watching uh, I don't know, you're in the at day uh, cartoons will come up m on maybe Friday night. I don't know.
Manie Mccluskey: Yeah, maybe it can work with show view. Uh, you you can control your video recorder with show view. Uh, when you tick in a number, it will uh start and end uh recording. But maybe there's some option that uh that t uh the kind of show view numbers are violent, and that they are blocked out.
Isabel Ankney: Yeah, the disadvantage vantage is that someone will has to send all the show-view numbers of the programs that
Manie Mccluskey: That's
Isabel Ankney: they
Manie Mccluskey: true.
Isabel Ankney: remotes
Manie Mccluskey: Yeah.
Isabel Ankney: and edit it all, will have
Wendy Whitfill: Yeah
Isabel Ankney: to
Wendy Whitfill: but
Isabel Ankney: decide
Wendy Whitfill: yeah
Isabel Ankney: uh
Wendy Whitfill: but that isn't possible.
Isabel Ankney: That isn't possible.
Manie Mccluskey: Yeah.
Natalie Graser: But, well, if you want to I i i if we in incorporate uh the parental control, uh let's say we do, and and well whatever, cho uh child just goes up to the T_V_ and presses up for instance.
Wendy Whitfill: Yeah.
Natalie Graser: Well uh, nob nobody's stopping the child from uh well checking uh the channel.
Wendy Whitfill: Hmm.
Isabel Ankney: Well,
Natalie Graser: But that
Isabel Ankney: yeah you could say if parental control is only it it'll go from fourteen to sixteen with the page-up then, but
Natalie Graser: Well, I'm not sure because um for that
Wendy Whitfill: Yeah.
Natalie Graser: to happen, you d you will have to receive a signal from the uh remote control, so it would, yeah, have to be constant uh constant signalling.
Isabel Ankney: Mm-hmm.
Natalie Graser: What m what may be better is to incorporate an uh a separate device that uh that you can program with the remote control. And that uh provides parental control, for instance. And that's just an optional uh device. So there's n that's there's uh besides uh the remote control, you'll have a separate uh
Manie Mccluskey: I wouldn't put it in an optional device. That that then then then it becomes too much, I think.
Natalie Graser: Yeah?
Manie Mccluskey: If we do it, we
Wendy Whitfill: Yeah,
Manie Mccluskey: we
Wendy Whitfill: and
Manie Mccluskey: must do it in a kind of ways that like a profile, a parent profile, and a family
Isabel Ankney: Yeah,
Manie Mccluskey: profile,
Isabel Ankney: on a separate
Manie Mccluskey: and otherwise.
Isabel Ankney: menu uh option.
Wendy Whitfill: And and you know w uh when you install another device, uh children can still go up to the T_V_, p pop open uh the thing
Manie Mccluskey: Yeah.
Wendy Whitfill: and and and g
Natalie Graser: Yeah,
Wendy Whitfill: go
Natalie Graser: that's
Wendy Whitfill: to a
Natalie Graser: true.
Wendy Whitfill: channel.
Natalie Graser: That's true, but uh at same instant, same happens when uh you have remote control.
Wendy Whitfill: Yeah, yeah of course.
Natalie Graser: So
Wendy Whitfill: But
Natalie Graser: But, only difference is uh the uh the people buying the remote control will now get the f added feature of parental control, and those
Wendy Whitfill: Yeah.
Natalie Graser: people wouldn't uh necessary want it.
Wendy Whitfill: Ah it's Yeah.
Natalie Graser: So, you
Wendy Whitfill: Yeah, okay.
Natalie Graser: you'd
Wendy Whitfill: But it's
Natalie Graser: be
Wendy Whitfill: just an an added feature
Manie Mccluskey: Yeah.
Natalie Graser: Yeah.
Wendy Whitfill: feature.
Manie Mccluskey: Okay. And what do you uh guys think of the games in the voice recognition? I personally think that that becomes too much.
Isabel Ankney: Yeah, well yeah, I
Manie Mccluskey: It's more like it gets you to the functionality,
Isabel Ankney: A mail
Manie Mccluskey: but
Isabel Ankney: too from management that it's very popular to use voice recon recognition.
Manie Mccluskey: Yeah.
Isabel Ankney: But I don't think when you're watching T_V_ uh, hearing loud noises from
Wendy Whitfill: Mm yeah.
Isabel Ankney: the T_V_,
Manie Mccluskey: Yeah.
Isabel Ankney: someone screaming one, and you f the channel switches, uh Yeah.
Manie Mccluskey: Yeah.
Wendy Whitfill: Yeah, like f voice recognition is too much, I think.
Isabel Ankney: Yeah.
Wendy Whitfill: But
Manie Mccluskey: Okay. And games?
Wendy Whitfill: games. It doesn't
Natalie Graser: Yeah. I can
Isabel Ankney: W
Natalie Graser: see games
Isabel Ankney: you
Natalie Graser: happening.
Wendy Whitfill: Yeah.
Isabel Ankney: can put it on chip anyway, so
Natalie Graser: Yeah.
Isabel Ankney: uh
Wendy Whitfill: That that
Manie Mccluskey: That
Wendy Whitfill: doesn't
Manie Mccluskey: would
Wendy Whitfill: c
Isabel Ankney: As
Wendy Whitfill: that doesn't
Isabel Ankney: long as
Wendy Whitfill: co
Isabel Ankney: it's isn't a primary feature of the remote, but
Wendy Whitfill: Yeah,
Isabel Ankney: uh
Wendy Whitfill: that that doesn't cost a lot of
Manie Mccluskey: Okay.
Wendy Whitfill: extra resources,
Manie Mccluskey: So
Wendy Whitfill: I
Manie Mccluskey: that
Wendy Whitfill: think.
Manie Mccluskey: will uh that that that must be in it, you think?
Natalie Graser: Yeah, that will be nice.
Manie Mccluskey: Okay. So the games uh are in it. The voice recognition are not. And the parental control are
Isabel Ankney: Optional
Manie Mccluskey: optional?
Wendy Whitfill: Yeah, it's
Isabel Ankney: in
Wendy Whitfill: it's in it. But
Isabel Ankney: But
Wendy Whitfill: too ma
Isabel Ankney: how we do it?
Wendy Whitfill: I I think so, but
Manie Mccluskey: Yeah.
Isabel Ankney: Well, I think also it's a good idea, buts very difficult to incorporate. So we should make it too complex. Is
Manie Mccluskey: Okay.
Isabel Ankney: t some menu uh function, you choose parental control, and maybe four files will emerge from menu where put
Wendy Whitfill: Yeah.
Isabel Ankney: it on. But uh how how it's gonna work uh uh
Manie Mccluskey: Yeah,
Isabel Ankney: will f
Manie Mccluskey: okay.
Isabel Ankney: be a problem.
Manie Mccluskey: Uh, but uh will there uh uh Like the first idea uh from uh You can buy it without and uh with parental contr
Isabel Ankney: Mm-hmm.
Manie Mccluskey: control? Or are we
Isabel Ankney: Well
Manie Mccluskey: going to put it in and uh just
Isabel Ankney: Ye
Manie Mccluskey: uh
Isabel Ankney: I I think best would be uh to put it in and make
Wendy Whitfill: To put
Isabel Ankney: it an menu option.
Wendy Whitfill: Yeah,
Isabel Ankney: You can
Wendy Whitfill: to
Isabel Ankney: put
Wendy Whitfill: put
Isabel Ankney: on
Wendy Whitfill: it in always.
Manie Mccluskey: Yeah?
Isabel Ankney: Yeah. And you can just uh s when you buy it, you can select um personal preference, parental control on, and the password or
Manie Mccluskey: Mm yeah.
Isabel Ankney: something.
Natalie Graser: Well, I don't know. I I figure if you had two different remotes, you could bo choose one with uh well uh uh a receiver in it. So you could actually easily uh build in uh parental control. But it would would be uh more expensive. So, a and that that way uh you could make cheap model and a expensive model. Could ma make the uh simple model and the deluxe model, uh for instance.
Isabel Ankney: Oh, it's a p Yeah.
Wendy Whitfill: Yeah, but T_V_s aren't capable of sending.
Natalie Graser: Yes they are.
Wendy Whitfill: Yeah?
Natalie Graser: Yeah.
Wendy Whitfill: I thought they were just
Manie Mccluskey: Yeah,
Natalie Graser: Yeah,
Manie Mccluskey: you yo
Natalie Graser: you you
Wendy Whitfill: a
Natalie Graser: have
Wendy Whitfill: able
Natalie Graser: some
Wendy Whitfill: to
Natalie Graser: T_V_s
Wendy Whitfill: receive.
Natalie Graser: any
Wendy Whitfill: Yeah, some.
Manie Mccluskey: Yeah,
Wendy Whitfill: But
Manie Mccluskey: but most often
Natalie Graser: Yeah.
Manie Mccluskey: not.
Natalie Graser: That is true, that is true.
Isabel Ankney: Well, maybe you just have to restrict it to what programs, where the parent says, you cannot watch channel seven, nine, and ten,
Wendy Whitfill: Yeah.
Isabel Ankney: and you cannot watch all channels after ten o'clock. And there's just some little uh clock in
Natalie Graser: Well
Isabel Ankney: the
Natalie Graser: yeah,
Wendy Whitfill: Yeah,
Isabel Ankney: remote.
Natalie Graser: you could
Wendy Whitfill: j
Natalie Graser: you could easily
Wendy Whitfill: just some rules.
Manie Mccluskey: Yeah.
Natalie Graser: you could easily you could easily to the mote control. But you still have the problem about uh the television itself.
Isabel Ankney: No, no, it's very simple. There uh th I h I've seen some of remotes who have a clock in it.
Natalie Graser: Yeah, yeah yeah.
Isabel Ankney: So, the remote does doesn't transmit when it's after
Wendy Whitfill: Yeah, okay.
Isabel Ankney: twelve
Wendy Whitfill: But,
Isabel Ankney: clock.
Wendy Whitfill: on the T_V_
Isabel Ankney: Yeah?
Wendy Whitfill: at least my T_V_, is a is a compartment which you can press.
Isabel Ankney: Yeah.
Wendy Whitfill: And
Natalie Graser: Yeah.
Wendy Whitfill: there are buttons uh behind
Natalie Graser: Yeah.
Wendy Whitfill: it
Isabel Ankney: Yeah.
Wendy Whitfill: which you can use, if
Isabel Ankney: Well,
Wendy Whitfill: you d if
Isabel Ankney: that's
Wendy Whitfill: you don't if you don't have a
Isabel Ankney: To put it very blunt, that's not our problem. Just have um the parents buy uh some
Wendy Whitfill: Yeah.
Isabel Ankney: glue and uh
Wendy Whitfill: Yeah.
Isabel Ankney: It's not not a part of the remote.
Wendy Whitfill: Yeah, of course.
Natalie Graser: Yeah, that is true. Yeah, that is true.
Isabel Ankney: You have to f
Natalie Graser: Yeah,
Isabel Ankney: Yeah.
Natalie Graser: you could you
Isabel Ankney: Uh,
Natalie Graser: could you
Isabel Ankney: or
Natalie Graser: could go
Isabel Ankney: make
Natalie Graser: like
Isabel Ankney: it ourselves
Natalie Graser: uh that
Isabel Ankney: very
Natalie Graser: that would
Isabel Ankney: diffic
Natalie Graser: actually make uh things a lot more easy. You
Isabel Ankney: Yeah.
Natalie Graser: could just blame it on television and
Isabel Ankney: Yeah.
Natalie Graser: uh make it their problem.
Wendy Whitfill: Yeah.
Natalie Graser: Yeah, I figured I figure we could do that. Yeah,
Isabel Ankney: Okay.
Natalie Graser: yeah, sure.
Wendy Whitfill: Or
Natalie Graser: Uh,
Wendy Whitfill: j
Natalie Graser: I'm
Wendy Whitfill: Yeah.
Natalie Graser: not sure what marketing thinks about it, but
Wendy Whitfill: Ah I have to uh consult my legal advisor about it.
Manie Mccluskey: Okay. So uh I think we have decided on the things that Uh from Janus, the energy, the combination between battery and kinetic. The case will be double-curved and uh rubber, in a fr flashy fruity colour uh that with cover is removable. The buttons will be uh touch-screen. Uh but there may not be too many buttons. And in the the menu structure, uh there must not to be uh Five minutes to go. Uh, too uh too many levels. And uh it must be easy to use. The parental control will be incorporated, but it must be not too complex. And the games are in it. So
Isabel Ankney: Okay.
Manie Mccluskey: I think we have uh we
Wendy Whitfill: Consensus.
Manie Mccluskey: have decided uh, okay. Uh, little more.
Wendy Whitfill: Oh. Oh.
Isabel Ankney: Oh.
Wendy Whitfill: I I have one thing left.
Manie Mccluskey: Yeah.
Wendy Whitfill: Maybe for uh Jerome.
Isabel Ankney: Yeah? I'm listening.
Wendy Whitfill: Um, the views. Maybe it's uh handy to build in an expert view and a simple view.
Manie Mccluskey: Like a like a moat or s or something.
Wendy Whitfill: Yeah.
Manie Mccluskey: Yeah.
Isabel Ankney: Um,
Wendy Whitfill: Like at
Natalie Graser: User
Wendy Whitfill: In
Isabel Ankney: well
Natalie Graser: profile.
Wendy Whitfill: the experts view, you have
Manie Mccluskey: Yeah,
Wendy Whitfill: a lot
Manie Mccluskey: but
Wendy Whitfill: of
Manie Mccluskey: you
Wendy Whitfill: more
Manie Mccluskey: have that
Wendy Whitfill: buttons.
Isabel Ankney: What
Manie Mccluskey: in
Isabel Ankney: I
Manie Mccluskey: the
Isabel Ankney: was thinking about is just a menu structure, when you don't use it is simple.
Manie Mccluskey: Yeah.
Wendy Whitfill: Yeah.
Isabel Ankney: And
Manie Mccluskey: You
Isabel Ankney: when
Manie Mccluskey: use
Isabel Ankney: you push
Manie Mccluskey: the
Isabel Ankney: uh system properties, uh entire list pops up with e ev all kind of f stuff you can program.
Manie Mccluskey: Yeah.
Wendy Whitfill: Mm yeah, okay.
Manie Mccluskey: It's
Wendy Whitfill: Fairly
Manie Mccluskey: already
Wendy Whitfill: enough.
Manie Mccluskey: incorporated
Wendy Whitfill: Yeah.
Manie Mccluskey: a little in
Natalie Graser: Well
Manie Mccluskey: that
Natalie Graser: yeah, you
Manie Mccluskey: concept.
Natalie Graser: you could actually build in a function that you can program it yourself, for the more advanced users.
Wendy Whitfill: Yeah, wh which buttons you
Natalie Graser: Yeah,
Wendy Whitfill: like
Natalie Graser: which
Wendy Whitfill: or not.
Natalie Graser: buttons do you want to in it. Because you can
Wendy Whitfill: Yeah.
Natalie Graser: you can like build in a back-forward button, and uh some po somebody would just want to watch two channels.
Wendy Whitfill: Yeah. Just leave the other numbers away.
Manie Mccluskey: Okay.
Natalie Graser: Yeah, you could you could m have people want uh
Manie Mccluskey: We
Natalie Graser: want
Manie Mccluskey: take
Natalie Graser: that.
Manie Mccluskey: it to the other meeting, okay?
Wendy Whitfill: Okay.
Manie Mccluskey: I have a little
Wendy Whitfill: Go on.
Manie Mccluskey: w uh little
Natalie Graser: Ah, yeah,
Manie Mccluskey: chat
Natalie Graser: sure.
Manie Mccluskey: to do and uh then we uh
Wendy Whitfill: A
Manie Mccluskey: finish.
Wendy Whitfill: little
Manie Mccluskey: I went
Wendy Whitfill: chat.
Manie Mccluskey: to uh a master class and uh uh two things uh are uh are uh can come in handy uh for us. First thing uh is uh we talked about knowledge uh management. Knowledge engineering and uh uh the fact that uh that uh that the idea of knowledge, uh sharing and learning knowledge from other companies is uh like that. It's it's uh very hot at the moment, so it's it's mostly for the management expert to to look what other
Wendy Whitfill: Marketing.
Manie Mccluskey: uh marketing or did I said management?
Wendy Whitfill: Management.
Manie Mccluskey: Oh. Just talking about
Wendy Whitfill: Yeah,
Manie Mccluskey: myself.
Wendy Whitfill: that's my function,
Manie Mccluskey: Uh
Wendy Whitfill: to
Manie Mccluskey: W
Wendy Whitfill: Okay. Go on.
Manie Mccluskey: What other companies uh had to uh also with the the the the marketing campaign when they put on a newer remote, just some uh Yeah. Import export. And uh
Isabel Ankney: Som
Manie Mccluskey: another
Isabel Ankney: some
Manie Mccluskey: one.
Isabel Ankney: bench-marker.
Manie Mccluskey: Uh, they're a ha they're at Yeah, benchmarking, that's the word I saw. I uh couldn't uh Okay, uh another uh thing is uh there were there there was a survey, and um uh it came out that um people like to buy things from a single large provider, instead of those who uh are partnering uh with us. So, we must uh we must bring it as if uh Real Reaction is uh is big company, uh a trustful company, and uh
Wendy Whitfill: How
Manie Mccluskey: it has m
Wendy Whitfill: I know a marketing name for our product.
Manie Mccluskey: Okay.
Wendy Whitfill: R_ th R_ to the third power. R_ three. Real Reaction remote.
Manie Mccluskey: I had a
Isabel Ankney: Oh.
Manie Mccluskey: I had another idea to put uh uh the whole the whole idea of uh Real Reaction and uh uh uh
Wendy Whitfill: Mm-hmm?
Manie Mccluskey: a single brand and uh uh that kind of thing. When you uh put on remote, you see a kind of a just like when you telephone, you see a little
Isabel Ankney: Uh,
Manie Mccluskey: uh animation.
Isabel Ankney: logo.
Wendy Whitfill: Bling.
Isabel Ankney: Yeah?
Manie Mccluskey: Real Reaction remote.
Isabel Ankney: Yeah.
Manie Mccluskey: And uh with the with the with the motto, we put fashion in electronics. And
Wendy Whitfill: Yeah.
Manie Mccluskey: then you go uh
Wendy Whitfill: Yeah, okay, but it has to be like a split
Manie Mccluskey: The
Wendy Whitfill: second, because
Isabel Ankney: Yeah.
Wendy Whitfill: you have to put in a
Isabel Ankney: Well,
Wendy Whitfill: code also and
Isabel Ankney: you can show somebody a logo for point five seconds, they'll still remember it.
Wendy Whitfill: Yeah.
Manie Mccluskey: Yeah.
Isabel Ankney: And it it l
Manie Mccluskey: But
Isabel Ankney: linger
Manie Mccluskey: w
Isabel Ankney: on every time you see
Manie Mccluskey: th
Isabel Ankney: it.
Manie Mccluskey: the idea from this uh thing is that we must present it as a as we are a a single large provider who will stand on our own.
Natalie Graser: Well, if you if you have the l L_C_D_ screen, you can you can uh have a small logo i uh at the
Wendy Whitfill: Yeah.
Natalie Graser: bottom. And it could just stay
Wendy Whitfill: That
Natalie Graser: there.
Wendy Whitfill: spins
Manie Mccluskey: Mm
Wendy Whitfill: around
Manie Mccluskey: yep,
Natalie Graser: Yeah, that
Manie Mccluskey: yeah.
Natalie Graser: spins
Wendy Whitfill: like
Natalie Graser: around
Wendy Whitfill: all
Natalie Graser: or
Wendy Whitfill: the
Natalie Graser: something.
Wendy Whitfill: time.
Isabel Ankney: Very annoying.
Manie Mccluskey: Also also.
Natalie Graser: Hmm.
Manie Mccluskey: But we we are uh
Wendy Whitfill: It it's just like a uh globe in Internet
Manie Mccluskey: Yeah
Wendy Whitfill: Explorer.
Manie Mccluskey: yeah y yeah
Natalie Graser: Yeah.
Manie Mccluskey: yeah.
Isabel Ankney: Yeah.
Natalie Graser: Yeah, something
Manie Mccluskey: Okay,
Natalie Graser: like that.
Manie Mccluskey: but
Natalie Graser: A
Manie Mccluskey: uh
Natalie Graser: small icon.
Isabel Ankney: Yeah,
Manie Mccluskey: think about
Isabel Ankney: I
Manie Mccluskey: that kind
Isabel Ankney: It's
Manie Mccluskey: of
Isabel Ankney: ok
Manie Mccluskey: things.
Isabel Ankney: For
Manie Mccluskey: That's
Wendy Whitfill: Okay.
Manie Mccluskey: what they said
Isabel Ankney: f
Manie Mccluskey: in the master class.
Isabel Ankney: Oh, for the next meeting, right?
Manie Mccluskey: N Uh,
Wendy Whitfill: Who uh
Manie Mccluskey: next meeting starts in thirty minutes. So uh maybe you can go to Paris and Milan uh
Wendy Whitfill: Who
Manie Mccluskey: once again.
Wendy Whitfill: who gave you the master class?
Manie Mccluskey: The master class?
Wendy Whitfill: Ronald Betenberg?
Manie Mccluskey: Franz Mehler's.
Wendy Whitfill: Okay, thanks.
Manie Mccluskey: Uh, very special, uh next uh session. Uh idea that you uh the the industrial uh development uh centre and uh user interface uh will work together on a prototype. And uh will drawing it on the SMARTboard. So that's a kinda new uh thing.
Wendy Whitfill: Ah.
Manie Mccluskey: And um, Wendy Whitfill will uh will uh ke he will be keeping busy with the product uh evaluation. But the most uh specific instructions will be sent to you by email.
Isabel Ankney: Um
Natalie Graser: So we're going to work together
Isabel Ankney: Stay here
Natalie Graser: right
Isabel Ankney: and
Natalie Graser: now?
Manie Mccluskey: Yeah, the well, uh dids this what I uh what I heard. I
Wendy Whitfill: In the master class.
Manie Mccluskey: Not in the master class.
Wendy Whitfill: Yeah.
Manie Mccluskey: So you uh just wait for the specific instructions and uh
Isabel Ankney: P_.
Manie Mccluskey: But I think it was a very uh very good uh session, uh gentlemen.
Isabel Ankney: Ah,
Natalie Graser: Definitely.
Isabel Ankney: no new
Wendy Whitfill: Wendy Whitfill
Isabel Ankney: email.
Wendy Whitfill: too.
Manie Mccluskey: I will
Isabel Ankney: Okay.
Manie Mccluskey: thank you all.
Natalie Graser: Well thank you too.
Isabel Ankney: Thank you. Thank
Manie Mccluskey: And
Isabel Ankney: you
Manie Mccluskey: uh
Isabel Ankney: very much.
Wendy Whitfill: Thank you too,
Manie Mccluskey: Give Wendy Whitfill
Wendy Whitfill: lord.
Manie Mccluskey: a good evaluation.
Isabel Ankney: Yeah. Uh-huh.
Wendy Whitfill: 'Kay guys,
Natalie Graser: You wish.
Wendy Whitfill: lot of success.
Natalie Graser: M
Isabel Ankney: See you.
Natalie Graser: Aye? Cheers.
Manie Mccluskey: Cheers. See you in a half hour.
Natalie Graser: Hey.
Manie Mccluskey: But keep an eye on your uh
Natalie Graser: Yeah, uh
Manie Mccluskey: laptops
Natalie Graser: I'm not sure
Manie Mccluskey: for
Natalie Graser: if
Manie Mccluskey: a
Natalie Graser: we
Manie Mccluskey: real
Natalie Graser: uh we
Manie Mccluskey: uh
Natalie Graser: Because I saw something about individual actions.
Manie Mccluskey: Yeah, but th there's there's still the my uh instructions that you will work together.
Isabel Ankney: Yeah. Here? Or uh
Manie Mccluskey: That's
Isabel Ankney: Yeah.
Manie Mccluskey: not my problem.
Isabel Ankney: If you got
Manie Mccluskey: Bye-bye.
Isabel Ankney: a No. So Stupid
Natalie Graser: Well,
Isabel Ankney: manager.
Natalie Graser: yeah.
Manie Mccluskey: Manie Mccluskey always works alone.
Natalie Graser: Right. Uh Do you have new email?
Isabel Ankney: No. Don't
Natalie Graser: Hmm.
Isabel Ankney: get what's | Manie Mccluskey went over the agenda. Natalie Graser gave a presentation about the options for power source, materials and components. He recommended using kinetic energy, and having a double-curved rubber case. The group decided to combine batteries and kinetic energy. Wendy Whitfill reported on current trends among young people for fresh fruity colours and spongy material. He explained that the remote should look fancy, and be technologically innovative and easy to use. He suggested using removable customisable covers, speech recognition, installing some games into the remote, and implementing a parental control feature. Isabel Ankney talked about having a simple layout with not many buttons. Most features will be controlled through the menu. The group discussed the various options and decided to use games but not speech recognition. After a lot of discussion they decided to implement a simple parental control feature. Manie Mccluskey talked about what he had learned at a masterclass on knowledge management. The group discussed how to incorporate the company logo and motto onto the remote, including having an animated logo on the touch screen. Manie Mccluskey gave the group instructions about what to do before the next meeting. | 4 | amisum | train |
Virginia Stalker: Hello.
Virginia Stalker: Dang it.
Lenore Rivera: And then you have to place your laptop on the marked spot.
Virginia Stalker: Alright.
Lenore Rivera: It's important to place your laptop exactly on the marked spot over here.
Elizabeth Derks: Okay.
Elizabeth Derks: No, that's okay.
Elizabeth Derks: your mouse.
Virginia Stalker: What?
Elizabeth Derks: No mouse needed?
Virginia Stalker: I've got a touch-pad. Do you know
Elizabeth Derks: Mm.
Virginia Stalker: how how I can wake it up?
Elizabeth Derks: A touch-pad?
Virginia Stalker: No, my laptop.
Elizabeth Derks: Slap it.
Virginia Stalker: You with your brilliant ideas. I don't know if I can touch the power button. Do you know how how I can wake
Elizabeth Derks: Is
Virginia Stalker: it up?
Lenore Rivera: No. Yeah. Try the power button.
Virginia Stalker: Oh. Come on, move it.
Elizabeth Derks: Um
Virginia Stalker: Now, wake up, bitch.
Lenore Rivera: Huh.
Elizabeth Derks: F_ five. F_ five.
Tiffany Norman: I've lost my screen. Uh
Virginia Stalker: Yeah, so did I. I closed
Elizabeth Derks: I don't.
Virginia Stalker: it. That wasn that wasn't very smart, I guess. Get back to Virginia Stalker. Yes.
Tiffany Norman: I closed the
Virginia Stalker: I closed it.
Elizabeth Derks: You've got your name.
Lenore Rivera: Yeah, my name is name.
Virginia Stalker: No, I didn't restart it, I just closed it. Yes.
Elizabeth Derks: Hope it working.
Virginia Stalker: Alright.
Tiffany Norman: No.
Elizabeth Derks: Never close your laptop.
Lenore Rivera: Yeah? Everybody's ready?
Virginia Stalker: Great.
Elizabeth Derks: Yeah.
Lenore Rivera: Great.
Virginia Stalker: Thanks.
Lenore Rivera: Well, welcome to the kick-off meeting. I uh forgot to put my name over here, it's uh it's Martin. Uh, so you all know. Well, this is the agenda for today. Well, the opening I'm doing right now. Uh, we gonna do some acquaintance acquaintance things. Uh give some um examples of the tool training, project plan discussion and the closing. We have twenty five minutes. Okay, the project aim is to design a new remote control.
Virginia Stalker: Mm-hmm.
Lenore Rivera: Uh, some of the oje objectives are that is has to be original, trendy, and user-friendly. So
Elizabeth Derks: Okay.
Lenore Rivera: now we all know what our goal is. Um, I oh forget I forget the whole acquaintance part, but we we all know each other. We all know each other's names. Joost,
Virginia Stalker: Yes.
Elizabeth Derks: What
Lenore Rivera: Guido,
Elizabeth Derks: is your
Tiffany Norman: Yes.
Elizabeth Derks: name?
Lenore Rivera: Antek.
Tiffany Norman: Antek.
Elizabeth Derks: Antek Ahmet.
Lenore Rivera: Okay.
Elizabeth Derks: And
Lenore Rivera: I
Elizabeth Derks: Joost.
Lenore Rivera: think we uh al already uh
Elizabeth Derks: Okay.
Lenore Rivera: been through that part.
Elizabeth Derks: Yeah.
Lenore Rivera: Okay, it consists of uh three levels of design. Uh we begin with the functional design, then we go to the conceptual design and the detailed design. Every uh level of design consists of some individual work, and we uh close it with a meeting. You all received an email with a example of our explanation of what uh the particular level of design uh means to the different uh functions, and uh you p you probably read that already,
Virginia Stalker: Yes.
Elizabeth Derks: Yes.
Lenore Rivera: so I don't have to tell you about that. Okay, first we're gonna um uh gonna try some different things with the tools we have over here, so you get acquainted with these uh um uh meeting tools. We have the smart-boards, uh the thes those two boards. This is the presentation boards, wh which one I'm using right now. You can uh um there's a document folder called um the sh shared document folder. You can upload your uh documents to that folder and then you can open them over here, so you can do your PowerPoint presentations on this screen. We also have the white-board. Uh, we're gonna
Elizabeth Derks: Can
Lenore Rivera: skip
Elizabeth Derks: we see the
Lenore Rivera: through
Elizabeth Derks: white-board
Lenore Rivera: th
Elizabeth Derks: on our laptops?
Lenore Rivera: No, no. Just on the on the screen over there.
Elizabeth Derks: that
Lenore Rivera: Oh, no.
Elizabeth Derks: X_B_K_
Lenore Rivera: Probably is, but I don't
Elizabeth Derks: but
Lenore Rivera: know if the software is on the laptop. Is is if it's mainly a thing for in the meeting, so I don't
Elizabeth Derks: Okay.
Lenore Rivera: think it's I don't know if it's important. This an explanation of the smart-boards. There is a tool-bar over here. It's quite simple. You have the the pen function, eraser function. It's like a very simple uh paint application. Uh, we well, we use the same file during uh the whole day, and uh you can make new sheets by uh by pu puttin pressing on the blank button. It works like this. Oh. If pen is selected, yes. Oh, no no.
Elizabeth Derks: With that pen?
Lenore Rivera: It's not But it is pen. It's not working like a pen yet.
Elizabeth Derks: Mm.
Lenore Rivera: Huh.
Lenore Rivera: Huh.
Elizabeth Derks: Mm.
Lenore Rivera: It's doing some stuff now.
Elizabeth Derks: Little bit
Lenore Rivera: So
Elizabeth Derks: slower.
Lenore Rivera: you can use a pen. You can use an eraser. And you can make new uh fi uh new blanks, and you can change uh the line width and the colour of the pen by pressing on forward, which y you have to select pen format. And then select current colour or line width. So, it's quite easy. Uh well, now you're all uh acquainted with the different tools. Right, we're gonna try out the electronic white-boards. Uh, every participant should draw his favourite animal and some of its favourite characteristics, on blank sheets with different colours, with different pen widths. Uh, I'll start off then. I'll use this uh same sheet. Alright. Oh, let Virginia Stalker think. Different colours. Oh.
Lenore Rivera: Well, I'm gonna draw um a p piranha. Uh, a fish.
Elizabeth Derks: piranha. Okay.
Lenore Rivera: Uh.
Lenore Rivera: Mm-hmm.
Elizabeth Derks: Oh.
Lenore Rivera: I'm gonna use some different colour now. Some a little white. Looks like a fish. Think it is. Oh.
Lenore Rivera: Oh. Uh, colour. This is black? I think so.
Elizabeth Derks: Yellow
Lenore Rivera: Oh. Oh, this is just uh useless uh drawings but Oh teeth. I need teeth. Well, they're not supposed to be green, or whatever colour this is.
Elizabeth Derks: Hmm.
Lenore Rivera: Okay. What was uh I have su to sum up
Elizabeth Derks: Different.
Lenore Rivera: its favourite characteris Well, I like its uh sharp razor sharp teeth. Plus, uh the the big uh forehead and uh a small uh, well a small actual face. And I like its overall uh aggressive look and Well, that's what I like about uh piranha.
Elizabeth Derks: Okay.
Lenore Rivera: I think that's kind of what uh the intention should be. Well, who wants to be next?
Virginia Stalker: Nobody, I guess.
Elizabeth Derks: I will
Lenore Rivera: You
Elizabeth Derks: try.
Lenore Rivera: go, Guido?
Elizabeth Derks: Yeah.
Lenore Rivera: Okay.
Elizabeth Derks: I will try. Uh
Lenore Rivera: Uh, make a new sheet. Uh, it's by pressing on blank.
Elizabeth Derks: Blank?
Lenore Rivera: Yep.
Elizabeth Derks: Okay. Then pen again?
Lenore Rivera: Yep.
Elizabeth Derks: Okay. Okay, um
Virginia Stalker: Format.
Elizabeth Derks: control.
Elizabeth Derks: Uh Ah, purple. Um, I don't know what my uh favourite uh animal is, but the easiest animal I can think is is a bird. Uh I will
Virginia Stalker: You know,
Elizabeth Derks: That's my bird.
Virginia Stalker: I thought of that actually.
Elizabeth Derks: Yeah?
Virginia Stalker: Yeah.
Elizabeth Derks: Isn't it quite it's a little bit light. Uh, another colour maybe. A red one. A small one. Uh, line width. Two? Three. Oh that's okay. That's another one.
Lenore Rivera: Well, tell us something about
Elizabeth Derks: Ano
Lenore Rivera: uh your favourite characteristics of these uh particular
Elizabeth Derks: Uh
Lenore Rivera: birds.
Virginia Stalker: Its simplicity.
Elizabeth Derks: uh it's a Yeah, it's uh the most simple uh animal I know, I think. Um, I don't know. Maybe because uh there's there's some s uh free uh maybe in the sky
Lenore Rivera: Oh, okay.
Elizabeth Derks: or something like that.
Lenore Rivera: Okay.
Elizabeth Derks: Maybe a little bit. Yeah. I don't know.
Lenore Rivera: Okay. No, uh
Elizabeth Derks: So
Lenore Rivera: it's clear.
Elizabeth Derks: more uh birds?
Lenore Rivera: N no no. We get your point.
Elizabeth Derks: Okay,
Lenore Rivera: Okay.
Elizabeth Derks: okay,
Lenore Rivera: Who wants to be next?
Elizabeth Derks: okay.
Virginia Stalker: Yeah, whatever. I'll go next. Thanks. I haven't
Elizabeth Derks: M
Virginia Stalker: got a favourite animal too, so
Elizabeth Derks: Pictionary.
Virginia Stalker: Oh. What should I draw?
Elizabeth Derks: A cow.
Lenore Rivera: Oh.
Virginia Stalker: Thank you, I'll draw a penguin.
Elizabeth Derks: Okay.
Virginia Stalker: Yeah. I'll draw a penguin. Whatever. I can't draw, so you can start to laugh already.
Lenore Rivera: I'll do
Virginia Stalker: Whatever.
Lenore Rivera: so.
Virginia Stalker: Something like that.
Virginia Stalker: Come on.
Elizabeth Derks: Yeah, it's little bit hard.
Virginia Stalker: Mm hmm hmm, orange.
Elizabeth Derks: Orange, of course.
Virginia Stalker: Whatever.
Virginia Stalker: Oh, it's better than your bird.
Elizabeth Derks: Uh yeah.
Virginia Stalker: Everything's better than your bird.
Elizabeth Derks: Yeah. True.
Virginia Stalker: Whatever. Hey, it's blue. No. Whatever. Um, I like its ugliness and uh Yeah, whatever. The way it walks or whatever.
Lenore Rivera: Okay.
Virginia Stalker: Your turn.
Tiffany Norman: 'Kay.
Virginia Stalker: Drawing.
Tiffany Norman: I'm going to draw a cat. I don't know why, but a cat is a very uh smart animal. And you can have them at home. Which is not as the case with uh with bingwings and
Lenore Rivera: Well, you can have a piranha at home.
Tiffany Norman: Ye yes,
Lenore Rivera: Huh.
Tiffany Norman: yeah.
Virginia Stalker: Or a line.
Elizabeth Derks: A little
Virginia Stalker: I
Elizabeth Derks: bit.
Virginia Stalker: mean a bird.
Elizabeth Derks: Yeah. Don't mess with my birds, yeah.
Virginia Stalker: Hmm. It's a handicapped
Tiffany Norman: from
Virginia Stalker: cat.
Tiffany Norman: it.
Elizabeth Derks: cat.
Lenore Rivera: I don't think uh I don't think uh Darwin would agree with that.
Tiffany Norman: It's Ah, it's not scared. He's crying but
Lenore Rivera: Okay.
Virginia Stalker: He's crying because it's ugl because of his ugliness.
Lenore Rivera: What do you like about it then?
Tiffany Norman: Uh it's i most cats are small.
Lenore Rivera: Oh, okay.
Tiffany Norman: You can handle them.
Lenore Rivera: Okay. Okay. Okay,
Elizabeth Derks: Okay.
Lenore Rivera: and then we are uh through the tool training, I guess.
Virginia Stalker: I wouldn't call it training, but
Lenore Rivera: Okay, this is uh something about the project finance. The selling price of our remote control is gonna be twenty five Euros. And our profit aim is fifteen million Euros. We're very ambitious on this one. The market range is international, so it's gonna be sold world-wide, and the production cost should be a maximum of twelve Euro fifty per remote control. So that's clear. Yeah?
Elizabeth Derks: Okay.
Virginia Stalker: Alright.
Lenore Rivera: Okay, we're now gonna discuss some stuff when well, we're gonna brainstorm about uh what kind of kemoro romo remote control it's gonna be. Uh, well tell Virginia Stalker about your experiences with the remote controls. Do you have uh know what good experiences with remote controls? Or do they
Tiffany Norman: Yes.
Lenore Rivera: annoy you sometimes? Are they difficult to understand, or maybe they don't interact with different kind of uh
Elizabeth Derks: Hmm.
Lenore Rivera: equipment
Virginia Stalker: I don't
Lenore Rivera: very
Virginia Stalker: th
Lenore Rivera: well?
Virginia Stalker: I don't think the four of us got problems with remote controls, but
Lenore Rivera: Yeah,
Virginia Stalker: if
Lenore Rivera: okay.
Virginia Stalker: you see elderly people, all these buttons, and then they buy new
Elizabeth Derks: Different.
Virginia Stalker: T_V_ because their previous one was stolen or whatever.
Lenore Rivera: Okay.
Virginia Stalker: And then a totally different remote control with with different functions on different places, and half of the functions a are removed, or whatever. Uh, so I think what we need is is a clear uh remote control with uh grouped buttons, you know. All th all the buttons which apply to the text functions in in one uh
Lenore Rivera: Different functions
Virginia Stalker: Well,
Lenore Rivera: of
Virginia Stalker: one
Lenore Rivera: of
Virginia Stalker: area or
Lenore Rivera: uh
Virginia Stalker: whatever, not like the button to enter text on top of the remote control and the button to um, yeah, to minimise it to this this or whatever o o
Lenore Rivera: Okay.
Virginia Stalker: other functions totally somewhere else. I
Lenore Rivera: Yeah.
Virginia Stalker: think we should group them. And same
Lenore Rivera: Okay.
Virginia Stalker: for the for the volume buttons and the
Lenore Rivera: And uh,
Virginia Stalker: the
Lenore Rivera: is
Virginia Stalker: t
Lenore Rivera: it gonna be a remote control that's um what it can be used for different kind of equipment, like your T_V_ and your
Virginia Stalker: Well
Lenore Rivera: home
Virginia Stalker: I was
Lenore Rivera: stereo?
Virginia Stalker: I was
Elizabeth Derks: Yeah.
Virginia Stalker: thinking
Lenore Rivera: Uh
Virginia Stalker: uh since a T_V_ is uh mostly used together with a V_C_R_ or D_V_D_ player or
Lenore Rivera: Mm-hmm.
Virginia Stalker: recorder, and not with a stereo,
Lenore Rivera: Mm-hmm.
Virginia Stalker: I think it should be good to include functions for V_C_R_s and D_V_D_ players,
Lenore Rivera: But uh,
Virginia Stalker: recorders.
Lenore Rivera: the D_V_D_ players and home cinema sets often
Virginia Stalker: Yeah.
Lenore Rivera: double as stereo hi-fi sets probably. It's what, from
Elizabeth Derks: But
Lenore Rivera: my
Elizabeth Derks: isn't
Lenore Rivera: experience.
Virginia Stalker: I
Elizabeth Derks: it
Virginia Stalker: don't know. Hi-fi set is uh
Lenore Rivera: Okay.
Virginia Stalker: not often used uh as I know of in combination with television.
Lenore Rivera: But we gonna
Elizabeth Derks: It's only for television, I thought.
Virginia Stalker: Yes.
Elizabeth Derks: Not
Lenore Rivera: Oh, it is only for televis
Elizabeth Derks: I thought it was only for television. So
Virginia Stalker: Yes, it is only for television,
Elizabeth Derks: so we
Virginia Stalker: but
Elizabeth Derks: probably
Virginia Stalker: uh
Elizabeth Derks: don't
Lenore Rivera: So wha
Elizabeth Derks: have
Lenore Rivera: what
Elizabeth Derks: to have to uh
Virginia Stalker: Well
Elizabeth Derks: have
Lenore Rivera: What
Elizabeth Derks: the functions
Lenore Rivera: wha
Elizabeth Derks: for D_V_D_ player
Lenore Rivera: what
Virginia Stalker: well
Elizabeth Derks: or
Lenore Rivera: uh
Virginia Stalker: we we're
Lenore Rivera: what
Virginia Stalker: gonna
Elizabeth Derks: V_C_R_.
Virginia Stalker: brainstorm
Lenore Rivera: document
Virginia Stalker: about that. If we think it's useful, we do it.
Lenore Rivera: But, where where did it uh Where did you find that?
Elizabeth Derks: Uh, in the email.
Lenore Rivera: Oh, okay.
Virginia Stalker: That's
Elizabeth Derks: I thought
Virginia Stalker: right. It's a television
Elizabeth Derks: it said
Virginia Stalker: remote
Elizabeth Derks: uh
Virginia Stalker: control. But
Elizabeth Derks: Yeah,
Tiffany Norman: Yes,
Elizabeth Derks: television
Virginia Stalker: I
Elizabeth Derks: remote
Virginia Stalker: was thinking
Elizabeth Derks: control.
Virginia Stalker: since it
Lenore Rivera: Yeah,
Virginia Stalker: is
Lenore Rivera: but
Virginia Stalker: useful
Lenore Rivera: most
Virginia Stalker: with
Lenore Rivera: television
Virginia Stalker: D_V_D_
Lenore Rivera: remote controls support other functions as well.
Tiffany Norman: Yes, that's
Lenore Rivera: So we can
Tiffany Norman: uh
Lenore Rivera: No,
Elizabeth Derks: True.
Tiffany Norman: something
Lenore Rivera: we
Elizabeth Derks: Yeah.
Lenore Rivera: have to
Tiffany Norman: extras.
Lenore Rivera: think about that.
Elizabeth Derks: True.
Lenore Rivera: Okay, uh
Virginia Stalker: Yep.
Lenore Rivera: but uh we've gonna put some a uh is is it so user-friendliness, is a is a pri priority in this
Virginia Stalker: Yeah,
Tiffany Norman: Yeah.
Lenore Rivera: case,
Virginia Stalker: also
Elizabeth Derks: Yeah,
Virginia Stalker: no
Lenore Rivera: or
Virginia Stalker: one's gonna
Elizabeth Derks: yeah.
Virginia Stalker: buy it.
Lenore Rivera: Okay.
Elizabeth Derks: Yeah.
Virginia Stalker: I guess.
Tiffany Norman: Only the
Elizabeth Derks: True.
Tiffany Norman: experts.
Lenore Rivera: Well,
Virginia Stalker: Yeah.
Lenore Rivera: this the maybe is uh some aspect of the uh, or or some point at at which we can excel by making it very useful. That w Well, then you're you're the usability uh man, so this uh gonna be a
Elizabeth Derks: Oh
Lenore Rivera: very
Elizabeth Derks: my
Lenore Rivera: important
Elizabeth Derks: God.
Lenore Rivera: task for you then.
Virginia Stalker: Yeah.
Elizabeth Derks: Okay.
Lenore Rivera: Okay. Well, other ideas? How can we make it trendy or something? Do uh by
Tiffany Norman: Uh,
Lenore Rivera: just sh shape
Tiffany Norman: to go
Lenore Rivera: and the look
Tiffany Norman: with
Lenore Rivera: of it?
Tiffany Norman: to go with fashion
Lenore Rivera: Maybe
Tiffany Norman: and
Lenore Rivera: a can opener underneath it? I don't
Elizabeth Derks: For the
Lenore Rivera: know.
Elizabeth Derks: bear.
Lenore Rivera: Or someth something
Elizabeth Derks: Uh
Lenore Rivera: special, like uh M_P_ three player inside
Elizabeth Derks: I
Lenore Rivera: of it,
Elizabeth Derks: I uh, no
Lenore Rivera: or uh
Elizabeth Derks: I
Lenore Rivera: Oh,
Elizabeth Derks: think
Lenore Rivera: well
Elizabeth Derks: it
Lenore Rivera: then the production costs are gonna be too high probably.
Virginia Stalker: Yeah,
Elizabeth Derks: Uh,
Virginia Stalker: way
Elizabeth Derks: I
Virginia Stalker: too
Elizabeth Derks: th
Virginia Stalker: high.
Elizabeth Derks: I think yo we have to keep it simple, to
Virginia Stalker: Yep.
Elizabeth Derks: get a whole market. It's international,
Lenore Rivera: Okay.
Elizabeth Derks: so
Lenore Rivera: Maybe with different
Elizabeth Derks: we have
Lenore Rivera: type
Elizabeth Derks: to use
Lenore Rivera: of fronts
Elizabeth Derks: a standard.
Lenore Rivera: or uh Well, m has to be something
Virginia Stalker: Well that's an idea of course, yeah.
Lenore Rivera: spectacular or uh one which makes it We gonna skip back to the goals probably. Uh,
Virginia Stalker: Mm-hmm.
Lenore Rivera: original, trendly, and user-friendly Well, we al also already talked about user-friendliness.
Elizabeth Derks: Hmm.
Lenore Rivera: No, well something trendy and original, well that that goes hand in hand I guess.
Virginia Stalker: Yeah.
Lenore Rivera: When something is original, it tends to be trendy, probably, or we should make it combination of that. 'Kay, so you the um technical part of the process is something you're gonna look after for, so you have to think about what kind of uh equipment you want to uh, you know, you want to manage with it. Well, and that's an important part for you then,
Elizabeth Derks: Use
Lenore Rivera: with
Elizabeth Derks: friendly.
Lenore Rivera: gogors regards to the user-friendly
Elizabeth Derks: Yep.
Lenore Rivera: part of it. Well, and you uh should look out for what makes it trendy. Well, you know, y like some special feature. Or some Does it does it gets
Virginia Stalker: Yeah.
Lenore Rivera: some gadgetness or something.
Virginia Stalker: Yes, what the market wishes.
Lenore Rivera: Okay. Well, the closing. Next meeting starts in thirty minutes. Individual, I think so. The Tiffany Norman will w or the working design, of course, we will uh Already s said that. Elizabeth Derks is it a User Inter
Elizabeth Derks: Yeah.
Lenore Rivera: User
Elizabeth Derks: Yeah,
Virginia Stalker: Yeah.
Elizabeth Derks: yeah.
Lenore Rivera: Interface
Elizabeth Derks: Interface
Lenore Rivera: the technical
Elizabeth Derks: d
Lenore Rivera: functions design. And the Management Expert of uh Virginia Stalker. User requirements specifi Well, this one was already clear to us. Specific instructions will be sent to you by your personal coach. I don't know how much time we have left. Oh, not many I guess. We started at twelve.
Virginia Stalker: You just got a message.
Lenore Rivera: Oh, and what does it said?
Virginia Stalker: And it said
Elizabeth Derks: Oh, I don't
Virginia Stalker: uh five minutes, so we
Lenore Rivera: W
Virginia Stalker: got four and a half.
Lenore Rivera: Okay, well um
Elizabeth Derks: I didn't get a message.
Virginia Stalker: No. He's the
Elizabeth Derks: Oh,
Virginia Stalker: whatever.
Elizabeth Derks: the Project
Tiffany Norman: Team
Elizabeth Derks: Manager.
Tiffany Norman: Leader.
Lenore Rivera: No,
Virginia Stalker: Team
Lenore Rivera: we're
Virginia Stalker: Leader.
Lenore Rivera: uh ahead of schedule then.
Virginia Stalker: He is the whatever.
Lenore Rivera: Yeah, close it. I'm
Elizabeth Derks: Okay.
Lenore Rivera: gonna make some minutes or take some minutes. And
Virginia Stalker: Yes.
Lenore Rivera: uh it's it's clear you can put the stuff in the project documents presentations.
Elizabeth Derks: Okay.
Lenore Rivera: You can all
Virginia Stalker: Project
Lenore Rivera: Or we're
Virginia Stalker: joc
Lenore Rivera: all uh
Virginia Stalker: project documents is for showing uh on the white-board.
Lenore Rivera: Yeah. Yeah,
Virginia Stalker: Yeah.
Lenore Rivera: but we're all familiar with uh uh Microsoft PowerPoint, are
Virginia Stalker: Yes.
Lenore Rivera: we?
Elizabeth Derks: Yeah.
Lenore Rivera: Yeah, okay. I'm
Virginia Stalker: Alright.
Lenore Rivera: gonna wri uh write some stuff down and then we're ready.
Virginia Stalker: Okay.
Lenore Rivera: Or we can leave already I guess. or
Virginia Stalker: Yeah.
Lenore Rivera: uh or sh or should we uh or is important that we leave at exact uh
Tiffany Norman: No.
Virginia Stalker: No.
Lenore Rivera: Okay.
Virginia Stalker: I don't think so.
Elizabeth Derks: I don't think
Virginia Stalker: Yes?
Elizabeth Derks: Oh
Lenore Rivera: Yes.
Virginia Stalker: Great.
Tiffany Norman: Oh.
Lenore Rivera: We'll see each other in uh thirty minutes.
Virginia Stalker: Yeah. Good luck.
Lenore Rivera: Yeah, good luck.
Elizabeth Derks: I will need it.
Virginia Stalker: I will need it. | Virginia Stalker and industrial designer had problems with their laptops. Lenore Rivera opened the meeting and introduced the project, to design a remote control. The remote should be trendy, original and user friendly. Lenore Rivera explained how to use the SMARTboard, and the group did a tool training exercise, using the SMARTboard to draw their favourite animals. Lenore Rivera talked about the budget and projected profit. The group discussed initial ideas for the remote, including that it should be a simple design with grouped buttons. They discussed whether the remote should include functions for controlling video and DVD players. Lenore Rivera went over the roles of the participants and closed the meeting. | 4 | amisum | train |
Julie Joe: Here we go again.
Bernice Miller: My mouse is not working anymore.
Julie Joe: Oh.
Florine Tobar: Oh.
Bernice Miller: uh
Julie Joe: Okay.
Bernice Miller: when I put it in, is is going to beep beep beep.
Florine Tobar: Oh, I got a nice little screen over here. I got like this big black border uh on every side.
Jennie Johnson: Okay.
Julie Joe: Mm, okay.
Jennie Johnson: Everybody ready?
Florine Tobar: I'll I'll fix it.
Julie Joe: Yeah,
Florine Tobar: Yeah,
Jennie Johnson: Welcome
Florine Tobar: whatever.
Jennie Johnson: at the
Julie Joe: it's okay.
Jennie Johnson: functional design, again presented by Maarten. Uh this is the agenda, the opening. Uh, we've got three presentations. And I'm gonna show you some of the new projects requirements that were sent to Florine Tobar. And we're gonna make a decision on the remote control functions. We have uh forty minutes.
Florine Tobar: Yes.
Jennie Johnson: Oh, well this is the the closing already. So uh well we start off with the th the first presentation then. think
Julie Joe: Okay.
Jennie Johnson: um in we have to do it in uh in right order. Maybe the
Florine Tobar: I don't know what the right order is. So
Jennie Johnson: Well,
Julie Joe: No.
Jennie Johnson: it
Bernice Miller: Huh.
Jennie Johnson: Oh that. It won't doesn't Maybe we should start with the the technical functions.
Bernice Miller: Okay, how
Jennie Johnson: Yeah?
Bernice Miller: can I get this on the
Jennie Johnson: Well it's you
Bernice Miller: whiteboard?
Jennie Johnson: dumped the file in the
Julie Joe: In project.
Jennie Johnson: uh
Bernice Miller: Okay,
Jennie Johnson: in the sh in the project
Bernice Miller: I've done
Jennie Johnson: document
Bernice Miller: that.
Jennie Johnson: folder. You've already done that?
Julie Joe: No
Bernice Miller: Yes.
Julie Joe: can that open.
Jennie Johnson: Well let's close this one. We'll just uh open a new
Julie Joe: Open
Jennie Johnson: one.
Julie Joe: it there.
Jennie Johnson: Uh, well. Yes. Uh-oh. New thing. Oh yeah, uh I have to say something. Uh, due to some uh technical problems I haven't uh digitized the last uh the meeting minutes. But
Florine Tobar: Mm-hmm.
Jennie Johnson: I'll uh make sure that uh happens next time.
Julie Joe: Okay. About the
Jennie Johnson: And
Julie Joe: get
Jennie Johnson: I'll get this one uh in digital uh form too.
Bernice Miller: 'Kay, we're going to um uh talk about working design. Um, the method of the remote control is uh electrical energy, it activates a chip uh in the remote.
Bernice Miller: the television. Mm, it's a nowadays very uh known, a known uh uh technology. Um, the known technology can make a cost very low. Uh, it's a wild uh a wide sale uh of uh remote controls in the world. And and the components are very uh very cheap. Um, Uh, diodes, uh bat batteries and uh uh LED lights, they're needed and they're uh everywhere available. Uh, again, it's a fair price. It's a common uh technology uh, like I told um Uh, the circuit board, it's the most um important uh um part of the remote control. Uh, we can use for that uh fibreglass with copper wires, it's it is uh can be made as fast as printing paper. It's uh it's
Jennie Johnson: Okay.
Bernice Miller: all very uh Yeah, they're making it uh all the time. Uh,
Jennie Johnson: Okay.
Bernice Miller: and it's not uh very specialised uh technology. I haven't come to here, but um I've got uh some uh images of uh remote controls. They were not uh very uh trendy or just uh just a remote control like everyone knows. So I don't know uh why I should put it here. Uh
Jennie Johnson: Okay. But it's the technical side of the remote control.
Bernice Miller: Yes, but uh I uh haven't made it
Jennie Johnson: Oh.
Bernice Miller: because uh of the time.
Jennie Johnson: Okay.
Bernice Miller: But
Jennie Johnson: Well, we'll we'll have to skip that part then.
Bernice Miller: What?
Julie Joe: Okay.
Jennie Johnson: But you don't think it's a problem um to design uh the technical part of the remote control?
Bernice Miller: No.
Jennie Johnson: It's gonna be easy?
Bernice Miller: Yes.
Jennie Johnson: Okay.
Julie Joe: But nothing restricted for user interface?
Jennie Johnson: Yeah.
Julie Joe: With
Bernice Miller: Um,
Julie Joe: technical
Jennie Johnson: M
Bernice Miller: no,
Julie Joe: I don't know.
Bernice Miller: it's uh
Jennie Johnson: Okay.
Bernice Miller: it's just a part of uh a known technology, yeah.
Julie Joe: 'Kay.
Bernice Miller: Remote control is nothing special nowadays.
Jennie Johnson: R
Julie Joe: Okay.
Jennie Johnson: regardless of what type of functions we want to implement. Doesn't really matter.
Bernice Miller: Um
Julie Joe: But I kind of
Bernice Miller: I don't
Julie Joe: uh
Bernice Miller: think so,
Jennie Johnson: Okay.
Bernice Miller: because of
Julie Joe: Yes.
Bernice Miller: the all
Jennie Johnson: Yeah,
Bernice Miller: the
Jennie Johnson: okay.
Bernice Miller: televisions uh
Julie Joe: Uh
Bernice Miller: there are a few maybe a couple of televisions with the new functions,
Jennie Johnson: Okay.
Bernice Miller: but is it useful to put them on a on a standard uh remote?
Jennie Johnson: Well, we'll see. We'll see later on.
Julie Joe: Well, the technical functions. Um, well I don't know if you got the same uh pictures as I got,
Jennie Johnson: No.
Julie Joe: but
Bernice Miller: No.
Julie Joe: uh I got these two, and I think they're we have to focus uh on uh the uh one hand the expert view or the novice user. th I think it's it's very much uh depending on the user requirements, I don't s uh know who's doing
Jennie Johnson: Well, uh will
Julie Joe: t
Jennie Johnson: there be some uh user requirements later on?
Julie Joe: Yeah,
Jennie Johnson: The ones
Julie Joe: but it
Jennie Johnson: I I've uh received
Julie Joe: I think
Jennie Johnson: from
Julie Joe: that's
Jennie Johnson: the account
Julie Joe: very
Jennie Johnson: manager.
Julie Joe: important to watch
Jennie Johnson: Yeah.
Julie Joe: uh what kind of functions there we want to uh put in a remote control.
Jennie Johnson: Well, we'll keep this in mind, and then discuss it later on.
Julie Joe: Yeah, well y we can put functions in it when uh yeah, when we uh get the user requirements
Jennie Johnson: Uh-huh.
Julie Joe: uh and we can
Jennie Johnson: Okay,
Julie Joe: update
Jennie Johnson: but this
Julie Joe: it.
Jennie Johnson: real this uh big d uh distinction between this type of remote. we should we should choose one uh we should not compromise but uh really choose for uh expert
Florine Tobar: Yes,
Jennie Johnson: viewer or novice
Florine Tobar: I agree.
Jennie Johnson: v
Florine Tobar: Yeah.
Jennie Johnson: Yeah? Well, what that's what you want trying to say.
Julie Joe: Well, yeah w if you want try a a a huge market, if you want to reach a huge market, uh like elderly people and we have to choose for
Jennie Johnson: Okay.
Julie Joe: novice user.
Jennie Johnson: Okay.
Julie Joe: But I don't know. It's it's really um
Jennie Johnson: Yeah,
Julie Joe: depending
Jennie Johnson: well
Julie Joe: on how
Jennie Johnson: some
Julie Joe: how
Jennie Johnson: of
Julie Joe: how
Jennie Johnson: these
Julie Joe: far
Jennie Johnson: Uh, yeah.
Julie Joe: the the the remote controls are already in n um
Jennie Johnson: Well, some
Julie Joe: in
Jennie Johnson: of
Julie Joe: use.
Jennie Johnson: that will Yeah, but i but it will be more clear when we come to the uh u uh some of the new requirements.
Julie Joe: Yeah,
Florine Tobar: Yes.
Julie Joe: probably,
Jennie Johnson: So
Julie Joe: yeah. Uh well, there are l at least uh basic functions, uh like just th the channels uh one till nine, uh on and off switch, which must be clear with a red button or something like that. Um, most standard uh have volume, of course, and a mute function, and, of course, the next and previous channel. I think that's just basic what we need.
Jennie Johnson: Mm-hmm.
Julie Joe: And from that on we can user requirements what we need more. Uh Yeah, I just um um I thought Joost was looking at the trendy the trends in the markets,
Florine Tobar: Yes.
Julie Joe: and I don't know if there uh are any um uh if you put more functions, more buttons, maybe it's com becoming less trendy or something like that. M you can just
Florine Tobar: I haven't really found a
Julie Joe: you
Florine Tobar: conclusion
Julie Joe: can k
Florine Tobar: like that.
Julie Joe: you can keep it in mind that.
Florine Tobar: Yeah.
Julie Joe: I don't know. Uh, I th I thought the the with less buttons you can make a more trendier uh
Florine Tobar: Design.
Julie Joe: yeah, more trendier design, I think. I think.
Florine Tobar: Sounds interesting.
Julie Joe: Yeah? Uh, well, that's all I have to say, I think.
Jennie Johnson: Okay.
Julie Joe: Yeah, that
Florine Tobar: Alright.
Julie Joe: was it.
Jennie Johnson: Well, then Florine Tobar can uh
Florine Tobar: Yes.
Jennie Johnson: tell us something about the current market.
Florine Tobar: Yeah. It's alright. Um
Florine Tobar: Alright, done some requirements. Um yes. The working method um there were hundred uh uh w h one hundred people, uh how do you say uh, f watched using remote controls in the usability lab and they also uh filled out a questionnaire uh with a few questions. Uh, I've lined them up here. Uh, ask whether um common remote control looks good or not, about willingness to spend money on remote control, about zapping behaviour, and uh and stuff like that. I uh have found some interesting things. We do we do got a market. Um, three out of four people claim m uh to find remote controls ugly. So if we make a trendy design, we sure have seventy fi seventy five percent of the market, which you can reach. Um, three out of four users uh zaps a lot, as I uh quoted here from the uh results. Zap buttons are used one hundred and sixty eight times per hour. That's quite a lot. Um, relevant options are, of course, power buttons. Although, only used once per hour. Uh, channel selection, volume and buttons for text, and the more um, yeah, other functions, like audio settings, video settings, sound settings are not said to be very important and uh very much used. Furthermore, fifty percent says uh they only use ten percent of the buttons on a remote control. That doesn't say we got we can leave ninety percent off. But it sure um says we shouldn't make it too uh complicated. Fifty percent also claims uh to have lost a remote control very often in the room. And um an important thing here, the most important customers uh, which is over seventy percent of our market, is in the age range of thirty six to sixty five years old. And uh elderly people, our market, are less interested in uh nice features, but more willingly to spend more money on remote controls. So, what I was thinking oh, wrong side. We shouldn't implement too much features on uh on our remote control, because elderly people will get th lost. Group features for a higher usability, uh what I was claiming in the previous meeting. Um, all the settings, about audio settings, video settings and channel settings, which are not very often used, we could group them uh on one button and make them accessible uh in one menu button or whatever, because they are used very rarely and well, it uh there are a lot of options there, so we can really make uh yeah, how do you say, we can spare at buttons over there.
Jennie Johnson: Okay.
Florine Tobar: And um, if you want to implement V_C_R_ and D_V_D_ options, group them in the button, not too uh Yeah. Small buttons, so they won't be very um, how do you say
Jennie Johnson: Visually presents.
Florine Tobar: Yes, won't be very present, thank you. And a trendy look, well uh, although seventy percent of the market is uh consists of elderly people uh who don't really care for trendy looks or whatever, I guess it can do no harm to make it trendy for the other thirty percent. That was kind of what I found.
Jennie Johnson: Okay.
Julie Joe: Okay.
Florine Tobar: Okay.
Jennie Johnson: Well, then we I'm gonna show you some of the new project requirements and then we gonna discuss on uh
Florine Tobar: Yes.
Jennie Johnson: what features we find important. Uh, well some of the uh new requirements make some of your findings quite uh irrelevant, I think. Because um uh s decided to put They have decide to put two additional requirements forward. Well, now I see
Florine Tobar: Two?
Jennie Johnson: four. That's kinda strange. Well, they say tele teletext becomes outdated since the popularity of the internet. Well, I think
Julie Joe: Well
Jennie Johnson: that may be so, but well, we can't just leave the teletext button off.
Florine Tobar: No
Jennie Johnson: It's impossible,
Julie Joe: No
Florine Tobar: uh,
Julie Joe: way.
Jennie Johnson: I
Florine Tobar: I
Jennie Johnson: think.
Florine Tobar: agree, I agree.
Jennie Johnson: So the compromise we could make is just to make one teletext button, you know, like on and off, and don't make a lot of special put a lot of special features on it to
Florine Tobar: Not too
Jennie Johnson: make
Florine Tobar: much,
Jennie Johnson: it transparent
Florine Tobar: no.
Jennie Johnson: or You know, it's just you want you want to be able to make use of teletext, but not to play with it that much.
Florine Tobar: Yeah.
Jennie Johnson: So we have to think of that. The remote control should only be used for television. Otherwise, the project becomes more complex, which endangers the time t t ma uh the time to market. So maybe we should leave all D_V_D_ and V_C_R_ related features
Julie Joe: Yeah.
Jennie Johnson: off completely.
Florine Tobar: Okay.
Jennie Johnson: I don't know. I think that uh that's what they're trying to say. Uh, our current customers are within the age group of forty plus. New products should reach a new market with customers that are younger than forty. So you uh talked about the elderly who were willing
Florine Tobar: Mm-hmm.
Jennie Johnson: to spend more on a remote control and who were interested. But, well, they're not relevant because we are aiming at a younger
Florine Tobar: I don't really agree actually, to be honest. It's a very small market which we will approach then if we uh want to reach customers younger than forty. It's only like thirty percent of the total market.
Jennie Johnson: Yeah, but it is
Florine Tobar: Mayb
Jennie Johnson: it's
Florine Tobar: yeah?
Jennie Johnson: is a dif it's a fact that the th th that bigger market you're talking about, we already cover that. Our company already sells remote control to the older people, but we we also want, you know, a new customer group. That's the one we haven't covered yet. So I think that's what the problem is. We haven't
Florine Tobar: Okay.
Jennie Johnson: got remote controls for uh Well
Florine Tobar: Maybe
Jennie Johnson: I think, yeah.
Florine Tobar: maybe we can compromise a little
Jennie Johnson: Yeah,
Florine Tobar: bit.
Jennie Johnson: I think so. Maybe if
Florine Tobar: Not
Jennie Johnson: it's
Florine Tobar: too much then, bu
Jennie Johnson: no no,
Florine Tobar: alright.
Jennie Johnson: but I think we have to just keep in mind what the older age group wants. So maybe we can make a remote control that's primarily interesting for the younger group, but isn't that bad for an older person either.
Florine Tobar: Yes.
Jennie Johnson: Uh, our corporate image sh should stay recognisable in our products. Okay, something else nice to
Julie Joe: But
Jennie Johnson: know.
Julie Joe: what's our slogan?
Jennie Johnson: Sorry? Yeah,
Julie Joe: The slogan uh
Jennie Johnson: you will have to look that up.
Florine Tobar: Yeah, I'll have a look. We
Jennie Johnson: I
Florine Tobar: put
Jennie Johnson: think it's
Florine Tobar: the
Julie Joe: Puts
Jennie Johnson: something
Florine Tobar: fashion
Julie Joe: fashion
Jennie Johnson: about
Julie Joe: in
Florine Tobar: in
Jennie Johnson: the
Florine Tobar: electronics.
Julie Joe: electronics.
Jennie Johnson: Oh, okay. I thought it w might be, let's make things better or something, but
Florine Tobar: Sense
Julie Joe: Sense
Florine Tobar: and simplicity.
Julie Joe: simplicity.
Jennie Johnson: Okay well, let's go back to the the agenda. So we've now had to the three presentations. We know about the new project requirements. That means we can uh well d yeah, discuss on the remote control functions. Well, if I can uh make a start, I think it's becoming more clear what kind of remote control it's gonna be, and I already talked about the maybe you have a f familiar with the rem remote control that has the the can opener underneath it. I think we're we're looking for some Yeah, we we're looking for a really simple remote control with only basic T_V_ functions. Y
Julie Joe: Yeah.
Florine Tobar: Well,
Jennie Johnson: well,
Florine Tobar: to
Jennie Johnson: that
Florine Tobar: be honest, if um our uh aim group is uh till forty, not
Jennie Johnson: Yeah.
Florine Tobar: older than forty, maybe that's not very uh yeah, we don't really need
Jennie Johnson: Yeah.
Florine Tobar: to have a simple remote control. I think we can implement more functions then, because um
Julie Joe: Yeah, but
Florine Tobar: basically
Julie Joe: wha
Florine Tobar: uh the younger people are more able to adapt to new technology and therefore
Jennie Johnson: Yeah, yeah. M
Florine Tobar: will be a more
Jennie Johnson: yeah, that's
Julie Joe: But
Jennie Johnson: why um well a lot of um the use the requirements the the account manager sent Florine Tobar, I think they are are c are contradicting each other, because they want a simpler design,
Florine Tobar: Yes.
Jennie Johnson: and no uh other uh s functions than just T_V_, but they s do aim at a younger
Julie Joe: Yeah, but you
Jennie Johnson: Well,
Florine Tobar: Yeah.
Julie Joe: sai
Jennie Johnson: ma
Julie Joe: you said that that a lot of functions aren't used. So why should j we put this function in?
Florine Tobar: Well,
Julie Joe: I
Florine Tobar: I
Julie Joe: think
Florine Tobar: think
Julie Joe: more I think uh people younger people are more looking for just a trendy look than uh more functions.
Jennie Johnson: But I think uh you we can make some discuss uh distinctions in uh what kin in the, know, th th in functions you have Y Well you have different kind of uh equipment in your room, like a t
Florine Tobar: Yes.
Jennie Johnson: T_V_ and a D_V_D_ player. You can uh, know, you you can make very d you can put very detailed functions regarding the T_V_ set on your remote control uh with the with uh the, you know, audio settings and uh v uh screen settings. We don't want that. I think that was that became clear. We don't want. But w maybe we should put some func uh, I know that the younger people will most likely have a D_V_D_ player they want to, you know, they want to
Florine Tobar: Yeah,
Jennie Johnson: uh
Julie Joe: Yeah, but
Florine Tobar: control.
Julie Joe: uh you
Jennie Johnson: control,
Julie Joe: said Yeah,
Jennie Johnson: remotely.
Julie Joe: d yeah, but th the functions are not in the remote control we're making.
Jennie Johnson: No, yeah, th
Julie Joe: It's
Jennie Johnson: th the
Julie Joe: n
Jennie Johnson: user requirements of the the The new project requirements told
Julie Joe: Yeah.
Jennie Johnson: us not to But maybe w Yeah.
Julie Joe: Yeah.
Jennie Johnson: I think we maybe should Yeah, well we should uh put some functions for other maybe for other equipment on it. But just the basic functions. Maybe like rewind and wind, or n what d what
Bernice Miller: But
Jennie Johnson: do
Florine Tobar: Not
Bernice Miller: you
Jennie Johnson: you
Bernice Miller: can
Jennie Johnson: guys
Florine Tobar: much
Bernice Miller: put
Florine Tobar: more
Jennie Johnson: think?
Bernice Miller: them
Florine Tobar: than
Bernice Miller: under
Florine Tobar: that.
Bernice Miller: the same button.
Florine Tobar: Yep.
Jennie Johnson: Yeah, if as far as possible.
Florine Tobar: Or we can u u we could put 'em behind the flip-flap or whatever. So
Jennie Johnson: But what
Florine Tobar: t
Jennie Johnson: do you think? Do th should we implement features that uh uh or functions that to control other devices?
Julie Joe: No.
Jennie Johnson: No, you don't think
Julie Joe: No,
Jennie Johnson: so?
Julie Joe: new requirements say
Jennie Johnson: Yeah,
Julie Joe: no.
Jennie Johnson: the new requirements say so.
Julie Joe: So
Bernice Miller: But you can put a play and stop and and
Jennie Johnson: Well, maybe
Bernice Miller: rewind.
Jennie Johnson: it's maybe
Florine Tobar: Yeah.
Jennie Johnson: there
Julie Joe: Yeah,
Jennie Johnson: there there is
Julie Joe: but
Jennie Johnson: something th m most of the time these functions don't support the particular device as well as their their own remote control. You know, a lot of D_V_D_ players have some tricky
Bernice Miller: Yes, but
Jennie Johnson: settings
Bernice Miller: we
Florine Tobar: Y yes.
Jennie Johnson: with
Julie Joe: I i if it's too simple uh th they won't use the remote control,
Jennie Johnson: Yep,
Julie Joe: they
Jennie Johnson: exactly.
Julie Joe: use their own th th with
Jennie Johnson: That's
Julie Joe: lot
Jennie Johnson: that's
Julie Joe: more
Florine Tobar: But
Jennie Johnson: wha
Julie Joe: functions.
Florine Tobar: but for for example, V_C_R_, that's better example in this case.
Jennie Johnson: No no, you
Julie Joe: No,
Jennie Johnson: don't
Julie Joe: no.
Bernice Miller: Huh.
Jennie Johnson: No no, you
Julie Joe: Exactly.
Jennie Johnson: don't need it. No, no.
Florine Tobar: just play, stop, rewind and uh fast
Jennie Johnson: Okay,
Florine Tobar: forward.
Jennie Johnson: but we have to think uh w we have to think D_V_D_ I th
Florine Tobar: Yeah,
Jennie Johnson: uh,
Florine Tobar: I know, but
Jennie Johnson: I
Florine Tobar: uh
Jennie Johnson: guess, so um but uh from my experience it's kinda a lot of D_V_D_ players, you know, like forwarding, goes differently. Uh, you get two speed or eight speed or sixteen speed.
Julie Joe: Mm, yeah.
Jennie Johnson: It's c sometimes a bit difficult. Maybe if we just leave the D_V_D_ functional m uh Well, I was thinking about putting it in, but concerning the project requirements and what you just
Florine Tobar: Yes.
Jennie Johnson: said, I
Julie Joe: Yeah,
Jennie Johnson: think we m
Julie Joe: but just
Jennie Johnson: should focus on the T_V_ then.
Julie Joe: keep it simple and look more at
Jennie Johnson: And
Julie Joe: th
Jennie Johnson: uh and it's just an uh a complimentary remote and not a universal one. If you want to
Julie Joe: No.
Jennie Johnson: keep it simple, you can make a universal remote.
Julie Joe: It's only for television.
Jennie Johnson: Okay.
Julie Joe: So
Bernice Miller: Yes,
Jennie Johnson: It's
Bernice Miller: but
Jennie Johnson: just
Bernice Miller: there are
Jennie Johnson: a s it
Bernice Miller: there
Jennie Johnson: it should
Bernice Miller: are
Jennie Johnson: be something that is like a gadget on your coffee table, and it's just for when you you you jump on the couch, you pick up the
Julie Joe: Yeah.
Jennie Johnson: the the nice remote, the simple one, just
Florine Tobar: Yeah.
Jennie Johnson: to put on the television,
Julie Joe: Yeah,
Jennie Johnson: nothing more.
Julie Joe: nothing more.
Jennie Johnson: Okay.
Julie Joe: Exactly.
Florine Tobar: Alright.
Jennie Johnson: Um, but
Bernice Miller: But
Jennie Johnson: what
Bernice Miller: how wi how
Jennie Johnson: televis
Bernice Miller: will you be able to handle a whole market? There are uh a dozen of uh dozens of of remote controls
Jennie Johnson: Yeah, we
Bernice Miller: that
Jennie Johnson: we'll
Bernice Miller: have
Jennie Johnson: make w this one trendy.
Julie Joe: Yeah.
Jennie Johnson: And
Julie Joe: The
Jennie Johnson: simple. Well,
Julie Joe: user
Jennie Johnson: we we
Julie Joe: interface
Jennie Johnson: will come to that,
Julie Joe: is
Jennie Johnson: but
Julie Joe: easy.
Jennie Johnson: ju first on the on the functions. So we should put uh zap buttons on it. Um, also
Julie Joe: And the
Jennie Johnson: numbers,
Julie Joe: basic
Jennie Johnson: to uh to
Julie Joe: yeah,
Jennie Johnson: go to
Julie Joe: basic
Jennie Johnson: the specific
Julie Joe: functions,
Florine Tobar: Yes,
Jennie Johnson: channels.
Julie Joe: yeah.
Florine Tobar: definitely, yeah.
Jennie Johnson: Uh,
Julie Joe: It's too much integrated
Jennie Johnson: Okay,
Julie Joe: in
Jennie Johnson: a
Julie Joe: the
Jennie Johnson: t a
Julie Joe: other.
Jennie Johnson: teletext button should be there. But
Julie Joe: Yeah.
Jennie Johnson: just one big teletext button, on and off. Probably.
Florine Tobar: Yeah, and maybe two or three other options, but not nothing more than that. I think stop function is very useful. If you have a uh a page which consists of more pages, and you are not a very quick reader,
Jennie Johnson: Oh,
Florine Tobar: then
Jennie Johnson: okay.
Florine Tobar: I think it's very irritating if
Jennie Johnson: Yeah,
Florine Tobar: the next
Jennie Johnson: but uh
Florine Tobar: page
Jennie Johnson: I think
Florine Tobar: shows
Jennie Johnson: that
Florine Tobar: up,
Jennie Johnson: becomes
Florine Tobar: but
Jennie Johnson: too difficult, it's not a very common function and people
Florine Tobar: Well,
Jennie Johnson: will have
Florine Tobar: I use
Jennie Johnson: to read
Florine Tobar: it
Jennie Johnson: up
Florine Tobar: very
Jennie Johnson: on
Florine Tobar: regularly,
Jennie Johnson: their remote
Florine Tobar: the action.
Jennie Johnson: then.
Florine Tobar: I re I use it
Jennie Johnson: Yeah, yeah, but maybe
Florine Tobar: quite often.
Jennie Johnson: you s yeah yeah, maybe y you do, but
Julie Joe: Will
Jennie Johnson: I've never
Julie Joe: you look
Jennie Johnson: heard of it in the first place. And we have to well
Julie Joe: Look at the market.
Jennie Johnson: t yeah, and t and teletext is becoming outdated. We just want to see what programmes are on and what time it is probably. Yeah. I don't know. I think that that's kin getting too complex for our remote.
Julie Joe: Well
Jennie Johnson: I don't
Florine Tobar: Might
Jennie Johnson: know what
Florine Tobar: be.
Jennie Johnson: you
Florine Tobar: Might
Jennie Johnson: th guys think.
Florine Tobar: be.
Julie Joe: Yeah, I uh, it's Sunday I always use it for the uh yeah, for the soccer uh
Jennie Johnson: Yeah, but do you like to have a such a s stop button? Or do you think it uh I think it's a kind of uh uh
Julie Joe: Well,
Jennie Johnson: very
Julie Joe: uh
Jennie Johnson: rare and
Julie Joe: when
Jennie Johnson: special
Julie Joe: you uh
Jennie Johnson: function.
Julie Joe: uh when you look uh for example um, a couple of weeks ago I looked at the for the flights, and
Jennie Johnson: Yeah.
Julie Joe: there are a lot of flights
Jennie Johnson: Okay,
Julie Joe: in
Jennie Johnson: it
Julie Joe: one
Jennie Johnson: goes
Julie Joe: page,
Jennie Johnson: Yeah, but
Julie Joe: so
Jennie Johnson: that's
Julie Joe: if
Jennie Johnson: kind of
Julie Joe: if
Jennie Johnson: stuff
Julie Joe: th
Jennie Johnson: we should do on the internet right now. That's
Bernice Miller: Yes,
Jennie Johnson: why
Bernice Miller: but you
Jennie Johnson: it was
Bernice Miller: could
Julie Joe: Yeah,
Jennie Johnson: uh
Bernice Miller: put
Jennie Johnson: said
Julie Joe: but
Jennie Johnson: in the in the use in the r
Bernice Miller: on
Jennie Johnson: new requirements.
Bernice Miller: the z on the zap buttons you can put it to uh to uh access all the same pages. If you have
Jennie Johnson: Well
Bernice Miller: seven
Jennie Johnson: yeah uh,
Bernice Miller: pages,
Jennie Johnson: lots of
Bernice Miller: you
Jennie Johnson: new
Bernice Miller: can
Jennie Johnson: televisions
Bernice Miller: go up and down.
Jennie Johnson: can store pages, you know, and
Bernice Miller: Yes.
Jennie Johnson: then you can just skip manually through them using
Julie Joe: True.
Jennie Johnson: I think we should just put one teletext button on it. Then we meet uh the new requirements. we also meet the other thin y you sh you just re we have to choose for the the simple design, I
Julie Joe: A simple
Jennie Johnson: guess.
Julie Joe: yeah.
Jennie Johnson: Okay. Um, well, what functions do we have to decide on? Or do we uh I dunno if we have t stif specifically name all the functions we n we want. We have the zap and uh the volume. Should we do m make them very big? The the the zap button. D
Florine Tobar: I
Jennie Johnson: d
Florine Tobar: think
Bernice Miller: Yes.
Florine Tobar: the plus and the minus button
Jennie Johnson: Th that's
Florine Tobar: should
Jennie Johnson: that's
Florine Tobar: be uh
Jennie Johnson: that's considered to be
Julie Joe: But
Jennie Johnson: trendy
Florine Tobar: quite present,
Jennie Johnson: also.
Julie Joe: trendy, yeah.
Florine Tobar: yep.
Julie Joe: I don't
Jennie Johnson: Or
Julie Joe: know.
Jennie Johnson: maybe you should place them on a uh,
Bernice Miller: Maybe
Jennie Johnson: in a special
Bernice Miller: we can make
Jennie Johnson: way?
Bernice Miller: uh a kind of a joystick.
Jennie Johnson: Yeah, something or uh somethin special way to to zap through the it has to s it has to be yeah,
Julie Joe: Original.
Jennie Johnson: and quick. You have
Julie Joe: It was uh
Jennie Johnson: to use it very quickly.
Florine Tobar: Yep.
Julie Joe: True.
Florine Tobar: If you grab the remote, your hands should be on top
Jennie Johnson: Yeah,
Florine Tobar: of the plus.
Jennie Johnson: and it the buttons should make it um possible to to zap through your channels in a rapid at a rapid pace.
Florine Tobar: Yes.
Jennie Johnson: Oh, what should we decide on then? I
Bernice Miller: But
Jennie Johnson: think in a in a case
Julie Joe: Yeah.
Jennie Johnson: of this simple remote control, the technical aspects which uh weren't worked out already, but it w shouldn't be a problem then.
Bernice Miller: No, it's o just signals uh
Jennie Johnson: Yep.
Julie Joe: Maybe
Bernice Miller: and
Julie Joe: uh
Bernice Miller: the television d uh does the rest.
Jennie Johnson: No, okay, but we don't have to uh, when we don't want to uh control other devices, I think
Bernice Miller: No.
Jennie Johnson: it makes it even more simple.
Julie Joe: Uh maybe we uh uh the batteries maybe. If you use large batteries or small batter batteries.
Bernice Miller: The most
Jennie Johnson: I think
Bernice Miller: standard batteries.
Jennie Johnson: I think
Florine Tobar: I
Jennie Johnson: that
Florine Tobar: think
Jennie Johnson: we
Julie Joe: Yeah?
Jennie Johnson: should
Florine Tobar: double
Jennie Johnson: use
Florine Tobar: A_.
Jennie Johnson: uh d yeah, not
Florine Tobar: Yep.
Jennie Johnson: not uh the b the watch kind th the most uh Well, it has to be simple, and I
Julie Joe: Yeah.
Florine Tobar: The
Jennie Johnson: wi
Florine Tobar: most ordinary uh
Jennie Johnson: Which are most likely
Florine Tobar: batteries.
Jennie Johnson: to be found somewhere in
Julie Joe: Okay.
Jennie Johnson: the house, you know.
Florine Tobar: Yep.
Jennie Johnson: Oh. How much time do we ha we have left uh? M
Florine Tobar: I
Jennie Johnson: m
Florine Tobar: think
Jennie Johnson: m more
Florine Tobar: about
Jennie Johnson: than thirty
Florine Tobar: twenty minutes.
Jennie Johnson: minutes? Uh ten twenty minutes.
Bernice Miller: But
Jennie Johnson: Well,
Bernice Miller: i
Julie Joe: Early
Jennie Johnson: uh these
Julie Joe: break.
Jennie Johnson: these shouldn't
Bernice Miller: in a way we have to be uh uh special.
Jennie Johnson: Yeah. Yeah, okay. But that's that's Do you uh have you have you think about tha thought about that? How we can what the extra touch can be.
Bernice Miller: Maybe
Jennie Johnson: Do you suggest
Bernice Miller: th m
Jennie Johnson: design or the shape or some gadget f f kind of feature or Well, it was something about how we lose them. Maybe it should be a remote control when you you clap you hands it makes some noise or some gadget kind of thing.
Florine Tobar: I think
Julie Joe: To
Florine Tobar: that's
Julie Joe: find
Florine Tobar: n
Julie Joe: him.
Florine Tobar: that's more
Jennie Johnson: Yeah.
Florine Tobar: for
Julie Joe: That's
Florine Tobar: a
Julie Joe: maybe yeah.
Florine Tobar: for an age range or uh ten to twelve or whatever.
Jennie Johnson: I don't know. I don't know. Nah, um a lot of people like to have such kind kind of kind of gay kind of things. It w it w should be like a birthday present or something that you give
Florine Tobar: Yeah,
Jennie Johnson: someone, and it is
Florine Tobar: yeah,
Jennie Johnson: i
Florine Tobar: that's
Jennie Johnson: has
Florine Tobar: good
Jennie Johnson: something
Florine Tobar: one,
Jennie Johnson: nice.
Julie Joe: Yeah.
Florine Tobar: yep.
Jennie Johnson: Or maybe it w should have a big uh light that can flash or something on it, or maybe it should or an or the like the the can opener. Maybe it contains some feature that you don't normally link to a remote control. I think it's very impor because we're gonna make such a basic
Julie Joe: Yeah.
Jennie Johnson: remote control, we have to do something to make it special. It's gonna cost twenty five Euros.
Florine Tobar: Ye I think the can opener i is a brilliant idea actually, because
Jennie Johnson: Yeah, but
Julie Joe: Yeah,
Jennie Johnson: the
Julie Joe: but
Jennie Johnson: well,
Florine Tobar: television
Julie Joe: that's
Jennie Johnson: it's already been
Florine Tobar: and
Jennie Johnson: done.
Florine Tobar: beer
Julie Joe: yeah.
Florine Tobar: is not a rare combination.
Jennie Johnson: Nah. Yeah, that's true. But and I think it's gonna be uh very uh it has to be sturdy or something, so maybe with
Florine Tobar: Yes.
Jennie Johnson: with bouncing pads so that you can just throw it on the floor or something. it
Julie Joe: Yeah.
Jennie Johnson: has to be used something special,
Florine Tobar: Yep.
Jennie Johnson: and you really it has to, you know y not s people, when they buy it, they have to think, well this one lasts for a long time. We're really gonna use them. Not some thing you you throw away next week, you know.
Florine Tobar: No, that's true.
Jennie Johnson: So maybe uh that's i I think that's when uh when we decide on these type of functions, know, basic functions, uh it's very important to find something like this. So there's a very important task for you. And maybe we can all think
Julie Joe: Be
Jennie Johnson: about
Julie Joe: original,
Jennie Johnson: it.
Julie Joe: yeah.
Jennie Johnson: Uh, also for you maybe, when t you it's very nice when you can be entra when you can be trendy, and and
Julie Joe: Mm-hmm.
Jennie Johnson: uh and al as in a
Julie Joe: And
Jennie Johnson: friend
Julie Joe: use
Jennie Johnson: use
Julie Joe: friendly,
Jennie Johnson: friendly as well,
Julie Joe: yeah.
Jennie Johnson: you know. So
Julie Joe: Yeah.
Jennie Johnson: big buttons, flashy design,
Florine Tobar: Yeah.
Jennie Johnson: and maybe some kind of gadget kind of thing.
Julie Joe: Must
Jennie Johnson: Uh-huh.
Florine Tobar: Yeah,
Julie Joe: brain-storm.
Florine Tobar: a swapable front or whatever.
Jennie Johnson: Yeah, or just different colours would be uh I don't know if people also wanna spend more money on fronts for their uh
Julie Joe: Well
Bernice Miller: For
Jennie Johnson: remote
Bernice Miller: the remote
Jennie Johnson: control. It
Bernice Miller: control.
Jennie Johnson: could be be Yeah, you never know, but
Julie Joe: Why not?
Florine Tobar: Yeah.
Julie Joe: More money for us.
Jennie Johnson: But it and
Julie Joe: Yeah.
Jennie Johnson: I think we have to make it quite big.
Julie Joe: Quite big.
Florine Tobar: Yes,
Julie Joe: Yeah,
Jennie Johnson: Yeah,
Julie Joe: you
Florine Tobar: definitely,
Julie Joe: think?
Florine Tobar: definitely.
Bernice Miller: That's
Jennie Johnson: people
Bernice Miller: to be uh
Jennie Johnson: So,
Bernice Miller: a
Jennie Johnson: and and
Bernice Miller: formed
Jennie Johnson: also
Bernice Miller: for
Jennie Johnson: because
Bernice Miller: your hand.
Jennie Johnson: uh it is expensive. If you want it to be something, you know, it's ha doesn't have much functions want to be
Florine Tobar: Yes,
Jennie Johnson: you
Florine Tobar: it
Jennie Johnson: don't want to
Florine Tobar: it
Jennie Johnson: get
Florine Tobar: it
Jennie Johnson: it l
Florine Tobar: should be
Jennie Johnson: make
Florine Tobar: f
Jennie Johnson: it
Florine Tobar: be visible nearly anywhere in the room. As I uh as I said during my
Jennie Johnson: Mm-hmm.
Florine Tobar: presentation, fifty percent
Jennie Johnson: And
Florine Tobar: uh
Jennie Johnson: shou and should ni
Florine Tobar: o
Jennie Johnson: look nice when you put it on a table. I I think you m might wanna put it
Julie Joe: A
Jennie Johnson: uh
Julie Joe: standard or
Jennie Johnson: yeah,
Julie Joe: something.
Jennie Johnson: that it it it it stands up.
Florine Tobar: Yeah.
Jennie Johnson: Yeah, you have to put it on its So it's like a vase or uh something you put on a table.
Florine Tobar: A face? Or uh yeah,
Jennie Johnson: no
Florine Tobar: yeah.
Jennie Johnson: no,
Florine Tobar: Yeah.
Bernice Miller: More
Jennie Johnson: put
Bernice Miller: like
Jennie Johnson: stuff
Bernice Miller: a joystick
Jennie Johnson: inside it. But,
Bernice Miller: then.
Jennie Johnson: it's like like a statue or something
Florine Tobar: Yeah, yeah, I see what you
Julie Joe: It's
Florine Tobar: mean,
Julie Joe: like you have
Florine Tobar: yep.
Julie Joe: uh four phones.
Jennie Johnson: Yeah yeah, but
Julie Joe: Something
Jennie Johnson: yeah, but you
Julie Joe: like that.
Jennie Johnson: also can put it somewhere
Florine Tobar: If you do that, but
Jennie Johnson: near
Florine Tobar: I don't
Jennie Johnson: the window
Florine Tobar: know
Jennie Johnson: in
Florine Tobar: if that's possible
Jennie Johnson: That it's
Florine Tobar: within
Jennie Johnson: it's
Florine Tobar: the
Jennie Johnson: fashionable.
Florine Tobar: production cost of twelve and a half Euros.
Jennie Johnson: I I don't
Florine Tobar: I in in the base we could like make uh a button, and if you push it, the remote control itself s makes noise.
Jennie Johnson: Oh,
Florine Tobar: That's
Jennie Johnson: yeah.
Florine Tobar: probably stupid, but uh as I found here uh, fifty percent, was it fifty?
Bernice Miller: But that's
Florine Tobar: Uh
Bernice Miller: that's
Florine Tobar: fifty
Bernice Miller: fun
Florine Tobar: percent
Bernice Miller: for the first time, and then
Florine Tobar: fifty
Bernice Miller: the second
Florine Tobar: percent often loses remote control.
Jennie Johnson: Yeah, but but when you when it gets lost, how can you press the button to make
Florine Tobar: No
Jennie Johnson: it
Florine Tobar: uh, of the base the the the
Jennie Johnson: Oh,
Florine Tobar: the
Jennie Johnson: okay.
Florine Tobar: the
Julie Joe: On the television.
Florine Tobar: the the thing you put it in.
Julie Joe: Oh, like
Jennie Johnson: Uh,
Julie Joe: this.
Jennie Johnson: that's
Florine Tobar: If
Jennie Johnson: kind
Florine Tobar: an
Jennie Johnson: of nice.
Florine Tobar: a button in in that
Bernice Miller: Or you
Jennie Johnson: And
Florine Tobar: uh
Bernice Miller: can
Jennie Johnson: then also you don't even need batteries, because you can make it uh chargeable.
Julie Joe: A char chargeable.
Florine Tobar: Yeah, you
Bernice Miller: Yeah.
Florine Tobar: can
Julie Joe: Yeah.
Florine Tobar: ma make rechargeable one, yeah.
Jennie Johnson: Yeah,
Florine Tobar: Why
Jennie Johnson: that
Florine Tobar: not.
Jennie Johnson: w yeah, but yeah, the pro No, well I think that it might
Julie Joe: Why
Jennie Johnson: be
Julie Joe: not.
Jennie Johnson: t p Well, nee but we don't Yeah. Maybe you, but we don't know much about production cost, but when you you can imagine that when you spend twenty five Euros on a remote control and it's a basic
Bernice Miller: With recharger.
Jennie Johnson: remote control, then the then the money there must be money to spend on that kind of st you know, rechargeable
Florine Tobar: It should only
Jennie Johnson: units.
Florine Tobar: cost twelve and a half Euros, of course. Aye?
Jennie Johnson: Yeah, but we would d ma
Julie Joe: Production.
Jennie Johnson: we'd do it in Taiwan and So, it's not gonna be that expen
Florine Tobar: Yeah, okay.
Julie Joe: It should be
Jennie Johnson: Uh
Julie Joe: possible.
Jennie Johnson: I I think it's a great idea.
Julie Joe: a good idea.
Florine Tobar: Yeah.
Jennie Johnson: S some kind of be
Julie Joe: To make
Jennie Johnson: I've
Julie Joe: a
Jennie Johnson: never
Julie Joe: base
Jennie Johnson: seen that
Julie Joe: or
Jennie Johnson: before,
Julie Joe: something?
Jennie Johnson: and you make it uh um be uh, you see it with uh the mo the mouses nowadays.
Florine Tobar: Yes. Yes, definitely. Yeah.
Bernice Miller: Yes, but is that handy?
Jennie Johnson: Well, I well it's really ch you can recharge it, so you ha never have the battery
Julie Joe: It's
Jennie Johnson: problem.
Julie Joe: it's
Jennie Johnson: That's
Julie Joe: it's
Jennie Johnson: one.
Julie Joe: it's
Jennie Johnson: And uh you can always
Bernice Miller: But
Jennie Johnson: find
Julie Joe: it's not
Jennie Johnson: your
Bernice Miller: but
Julie Joe: the
Jennie Johnson: remote
Julie Joe: purpose
Jennie Johnson: control
Bernice Miller: remote
Julie Joe: to
Jennie Johnson: up
Julie Joe: be handy,
Bernice Miller: controls
Julie Joe: it's
Bernice Miller: remote controls nowadays can can last uh two years, three years, with with t two batteries.
Jennie Johnson: Uh, okay. Well, maybe yeah, you could
Bernice Miller: And
Jennie Johnson: when
Bernice Miller: then
Jennie Johnson: that's
Bernice Miller: you
Jennie Johnson: when it's too costly, you could probably skip the recharger, but you will you do need uh also an uh, also you would need a battery in the the base unit as well, you know. Does
Bernice Miller: Yes.
Jennie Johnson: it makes
Florine Tobar: Well
Jennie Johnson: it kinda
Florine Tobar: y
Bernice Miller: Or
Florine Tobar: you you could connect that to two hundred to twenty volts, of course.
Julie Joe: Mm.
Jennie Johnson: Yeah,
Florine Tobar: I
Jennie Johnson: yeah.
Florine Tobar: don't know.
Jennie Johnson: Okay.
Julie Joe: Yeah,
Jennie Johnson: Yeah.
Julie Joe: but that's not it's ugly,
Jennie Johnson: Yeah, but
Julie Joe: I think.
Jennie Johnson: then it's very easy to make it also a rechargeab I don't think that is gonna cost much to make it also a recharge
Julie Joe: No.
Jennie Johnson: function in it.
Florine Tobar: On the other hand, if you don't do it, we can also make a nice bay. I mean, it looks trendy and still still put a bleep function in it, but
Jennie Johnson: Yeah.
Florine Tobar: um I think the bay is definitely uh
Jennie Johnson: I think it's a good idea. And make it, you know, we we um Well, we uh it's it isn't a t a most uh costly uh remote control. We can save on the on the functions. We just put some simple button in, make it big and sturdy, nothing more, and just make s sure there's some noise that it can make, or probably some kind of cheap light thing around it or that it uh that it lights
Florine Tobar: Sure,
Jennie Johnson: up,
Florine Tobar: why not.
Jennie Johnson: it's also
Florine Tobar: Yep.
Jennie Johnson: nice. And if you put it away, I think it's uh w
Florine Tobar: Yeah.
Jennie Johnson: we have to we uh that's uh it's
Julie Joe: Yeah.
Jennie Johnson: not a easy market. We have to something special.
Florine Tobar: Yeah.
Jennie Johnson: And for twenty five
Julie Joe: True.
Jennie Johnson: Euros people want something remote c special from your mote control,
Julie Joe: Yeah.
Jennie Johnson: and we
Florine Tobar: Definitely.
Jennie Johnson: can't deliver that in r with uh regards to the functions, because we aren't gonna
Florine Tobar: With eye
Jennie Johnson: put
Florine Tobar: candy, ear candy, whatever.
Jennie Johnson: Yeah.
Florine Tobar: Yeah, definitely.
Jennie Johnson: And then uh when make it, you know, nice looking shape and this and then you also you got the stand-up thing. Yeah. I think
Florine Tobar: Yeah.
Jennie Johnson: I think
Julie Joe: Yeah,
Jennie Johnson: it's a
Julie Joe: it
Jennie Johnson: good
Julie Joe: must
Jennie Johnson: idea.
Julie Joe: be must be a gadget to have.
Jennie Johnson: Yeah.
Florine Tobar: Definitely, yeah.
Jennie Johnson: Oh, if it let's well, we will see what's possible concerning the the costs, and if it's possible we'll do that.
Julie Joe: Yeah.
Jennie Johnson: And we even try to save up on other stuff to make sure we can do such a thing. And the first thing we the most likeable thing to to n to skip is then probably the recharge function or something. If that's too expensive,
Julie Joe: Yeah,
Jennie Johnson: we won't
Julie Joe: we
Jennie Johnson: do
Julie Joe: c
Jennie Johnson: that. But it would be nice.
Florine Tobar: It would be nice,
Jennie Johnson: It's
Florine Tobar: yes.
Jennie Johnson: the idea. I know that batteries last long nowadays. And and what people just think about, well, I'll never have to buy any r batteries again, so y b because it's very annoying when your battery is empty. And you know then when you haven't batteries around, and probably for two weeks, your remo I've
Florine Tobar: Most televisions
Jennie Johnson: experienced that
Florine Tobar: break
Jennie Johnson: that
Florine Tobar: down before the battery pack is empty, so
Jennie Johnson: Yeah, okay.
Florine Tobar: yes.
Jennie Johnson: So, easy functions. Well, we will we will I think we'll work that out, zapping, numbers on it,
Julie Joe: Or just
Jennie Johnson: bi
Julie Joe: give a beep when the battery's out or uh down.
Florine Tobar: Yeah, why
Jennie Johnson: Yeah.
Florine Tobar: not.
Jennie Johnson: But it's also annoying. 'cause as
Florine Tobar: Hmm.
Jennie Johnson: long as it stays as it ke keeps working, you're not
Julie Joe: Yeah.
Jennie Johnson: very motivated to do something about it.
Julie Joe: true.
Jennie Johnson: Then
Florine Tobar: No,
Jennie Johnson: it
Florine Tobar: that's
Jennie Johnson: beeps
Florine Tobar: true.
Jennie Johnson: all the time and. You don't want to have ever have those problems, and you won't have if if you have the rechargeable. And you don't have to use the unit, you can also put it on the side if people don't like it. Uh,
Florine Tobar: Why
Jennie Johnson: i i in
Florine Tobar: not.
Jennie Johnson: the in
Bernice Miller: But
Jennie Johnson: the ma
Bernice Miller: you pay for it.
Jennie Johnson: Yeah, but it w I mean, if if they pay for it because they think, oh, that's a great idea, I'm gonna use it. And when it, you know, when time goes by and they think, well, I'll never put him in the recharger, I think last long enough, then they put it on side and they can use it now and then. Then when they look get m I I I know for sure that everybody who buys this remote control, within a couple of months of they will be in the situation that they they're seeking for the remote control, they wanna see something
Julie Joe: Yeah.
Jennie Johnson: quick and uh just push the button and th uh, I think
Florine Tobar: Bleep
Jennie Johnson: it's brilliant.
Florine Tobar: bleep bleep, oh there it is, yeah.
Jennie Johnson: Yeah,
Julie Joe: Yeah.
Jennie Johnson: I've never
Florine Tobar: Yeah.
Jennie Johnson: it's so simple, but I've never seen it.
Florine Tobar: No.
Julie Joe: And you can leave
Florine Tobar: Nearly.
Jennie Johnson: M
Julie Joe: it just there.
Jennie Johnson: maybe we should really do this.
Julie Joe: Yeah.
Florine Tobar: Yeah.
Jennie Johnson: Okay now, well, how much time have we got left? These clocks aren't uh synched.
Julie Joe: Yes.
Jennie Johnson: Oh, now I've put uh well, it is twenty p
Julie Joe: Yeah, I'll
Jennie Johnson: Okay, so we have ten minutes or something?
Florine Tobar: Something like that, yeah.
Jennie Johnson: Yeah, but we're uh we're done.
Julie Joe: Uh
Jennie Johnson: I
Julie Joe: fifteen
Jennie Johnson: think.
Julie Joe: minutes.
Jennie Johnson: We've decided on the functions. Well, there is some oh. There is a closing sheet. We have lunch break, and then we have thirty minutes of individual work.
Florine Tobar: Oh.
Jennie Johnson: Oh okay, I'll make sure I'll I had some problems with uh the digitising the the first minutes, the the s the next minutes won't be a problem, but I'll try to make sure the first one will be in the folder too, but maybe it won't work, but you'll see. I think these
Florine Tobar: We'll
Jennie Johnson: are
Florine Tobar: see.
Jennie Johnson: more important than the first ones, so
Julie Joe: Can you make an uh uh a part of f folder for the minutes maybe? That not not
Florine Tobar: Maarten,
Julie Joe: everything
Florine Tobar: five
Julie Joe: in one
Florine Tobar: minutes.
Julie Joe: one
Jennie Johnson: Oh,
Julie Joe: uh
Jennie Johnson: five minutes.
Julie Joe: folder.
Jennie Johnson: Yeah, because uh I I d I did uh the first minutes I did were were were a bit scratchy, you know. Then I did a s second one with a nicer layout, which I could uh, know, use for the other ones well, but uh I d think uh I forgot to do put done under the first one, and when you go write
Julie Joe: Yeah.
Jennie Johnson: a second uh it's get it's not working when you try to write second
Julie Joe: Maybe.
Jennie Johnson: uh paper
Florine Tobar: No, that's
Jennie Johnson: or
Florine Tobar: true
Jennie Johnson: something.
Florine Tobar: uh, yeah.
Jennie Johnson: And then you you had to overwrite it or someth I don't know. Becau I d uh, it was not my uh pen.
Florine Tobar: Should we by the way draw um
Jennie Johnson: this kind of
Florine Tobar: on
Jennie Johnson: looks
Florine Tobar: our nice
Jennie Johnson: you like.
Florine Tobar: whiteboard, um a little uh idea of
Jennie Johnson: Of the shape.
Florine Tobar: yeah.
Julie Joe: Or the
Jennie Johnson: Yeah,
Julie Joe: sh
Jennie Johnson: probably,
Florine Tobar: I
Jennie Johnson: it
Florine Tobar: dunno.
Jennie Johnson: would be nice.
Florine Tobar: Has anyone got um
Julie Joe: Do you get
Florine Tobar: a
Julie Joe: an idea
Florine Tobar: little
Julie Joe: of
Florine Tobar: bit
Julie Joe: the shape?
Florine Tobar: detailed ideas about the shape? I don't,
Bernice Miller: Maybe like
Florine Tobar: for one.
Bernice Miller: this pen.
Florine Tobar: A bit bigger I guess,
Jennie Johnson: No,
Florine Tobar: but
Jennie Johnson: bigger.
Julie Joe: A little bit bigger, yeah but
Florine Tobar: The shape is nice, it's um something different, and
Bernice Miller: It
Florine Tobar: we
Bernice Miller: has
Florine Tobar: want
Bernice Miller: to feel
Florine Tobar: we
Bernice Miller: nice
Florine Tobar: want
Jennie Johnson: Well,
Florine Tobar: that.
Bernice Miller: in
Jennie Johnson: I
Bernice Miller: your hand.
Jennie Johnson: I
Florine Tobar: Yeah.
Jennie Johnson: I have to say, I have this uh can opening remote control in my head most of all, or I think some maybe we should no, that will be too
Julie Joe: Oh, uh
Jennie Johnson: costly.
Julie Joe: look uh look
Jennie Johnson: We shou
Julie Joe: at
Jennie Johnson: we
Julie Joe: the
Jennie Johnson: could
Julie Joe: pictures.
Jennie Johnson: also, that was a would also be an idea, but I don't think it I don't know if it exists already, you should like make Alessi or something design it.
Florine Tobar: Okay, yeah.
Jennie Johnson: That would also be nice. But that's
Florine Tobar: Yeah,
Jennie Johnson: gonna
Florine Tobar: but
Jennie Johnson: then you c then you
Florine Tobar: twelve
Jennie Johnson: don't
Florine Tobar: and a half Euros? Uh
Jennie Johnson: Yeah, but then you don't have t yeah it that's not something i that's in the production cost a one it's a one time, you know s was it's a single cost.
Florine Tobar: Yeah.
Jennie Johnson: Yeah, m but but then you can nah, I don't thin I think that it would be more expensive, because I've bought the Alessi stuff more often and even small pencil holders or something are more expensive.
Florine Tobar: Yeah, that's true.
Jennie Johnson: Would be a nice idea though. I don't know. I think it uh has to be a r it has to have round forms or something. Like something like that or so or so
Florine Tobar: Something like that is very ergonomic.
Jennie Johnson: And on th and then uh
Florine Tobar: So
Jennie Johnson: s a base unit underneath it. It's also round. Put it in there uh wire on it. Maybe
Florine Tobar: Yeah.
Jennie Johnson: uh, I don't know, some some lights, a big but well.
Julie Joe: Yeah, flash lights at the
Jennie Johnson: Volume and
Julie Joe: side.
Jennie Johnson: programme,
Julie Joe: At
Jennie Johnson: yeah.
Julie Joe: the side,
Florine Tobar: Yes,
Julie Joe: or something
Florine Tobar: volume and
Julie Joe: like
Florine Tobar: programme
Julie Joe: that.
Florine Tobar: should be there I guess, because you
Jennie Johnson: And
Florine Tobar: hands
Jennie Johnson: some
Florine Tobar: wi
Jennie Johnson: of the
Florine Tobar: uh y
Jennie Johnson: extra
Florine Tobar: your
Jennie Johnson: funct
Florine Tobar: hands will be in the smaller part.
Jennie Johnson: Some of the
Julie Joe: Yeah.
Jennie Johnson: extra functions over here.
Florine Tobar: Yeah, and
Jennie Johnson: Numbers.
Florine Tobar: the numbers on top,
Julie Joe: Yeah.
Florine Tobar: I guess.
Jennie Johnson: And and lights? How we're g well, maybe uh s a ring of no, no, you have to Maybe on the side
Florine Tobar: Maybe
Jennie Johnson: of it.
Florine Tobar: ro roun rounds uh
Julie Joe: Yeah,
Florine Tobar: uh
Julie Joe: side
Florine Tobar: l
Julie Joe: of
Florine Tobar: sorry.
Julie Joe: it.
Jennie Johnson: Along
Julie Joe: Just
Jennie Johnson: the side
Julie Joe: two LEDs
Jennie Johnson: uh strip
Julie Joe: or something
Jennie Johnson: of yeah.
Julie Joe: on the side.
Florine Tobar: Maybe lights
Julie Joe: Yeah.
Florine Tobar: also around the volume and the p the plus minus programme buttons.
Jennie Johnson: Yeah, but I also meant the
Florine Tobar: Oh.
Jennie Johnson: the blinking li w you know, the ones that also blink when you try to uh uh locate your remote.
Florine Tobar: Okay.
Julie Joe: Yeah.
Florine Tobar: Yeah.
Jennie Johnson: Well,
Julie Joe: Well, uh
Jennie Johnson: theys have
Julie Joe: probably
Jennie Johnson: to be
Julie Joe: at the side. You know look
Jennie Johnson: Yeah.
Julie Joe: at the front,
Jennie Johnson: Yeah,
Julie Joe: but
Jennie Johnson: yeah. Exactly. When you you see it from the side, then it would look just like that.
Julie Joe: Yeah,
Jennie Johnson: And
Julie Joe: exactly,
Jennie Johnson: then you have
Julie Joe: and then there is yeah.
Jennie Johnson: a strip of uh lights or
Julie Joe: Yeah,
Jennie Johnson: something.
Florine Tobar: Okay, yeah.
Julie Joe: something like that, yeah.
Jennie Johnson: Well, uh I think it's nice, for one thing. maybe put something on top of it or, you know, like that's
Julie Joe: No.
Jennie Johnson: looks funny. I don't know.
Julie Joe: No.
Jennie Johnson: Or some
Florine Tobar: I
Jennie Johnson: bump.
Florine Tobar: think I think
Jennie Johnson: Maybe
Florine Tobar: that'll
Jennie Johnson: some
Florine Tobar: be too big tha
Jennie Johnson: Yeah?
Florine Tobar: too big then.
Julie Joe: Bumper or something.
Jennie Johnson: We'll have to think about it. I think we're
Florine Tobar: Yeah.
Jennie Johnson: we're done.
Julie Joe: Yeah.
Florine Tobar: Yes, we are.
Jennie Johnson: We can
Julie Joe: Lunch
Jennie Johnson: save
Julie Joe: break.
Florine Tobar: Alright.
Jennie Johnson: this one.
Florine Tobar: Yes, I guess it's lunch time.
Julie Joe: Okay then.
Jennie Johnson: Mm mm.
Florine Tobar: I don't know. Half and hour? I thought
Julie Joe: Okay,
Florine Tobar: our
Julie Joe: five
Florine Tobar: next uh
Julie Joe: uh
Florine Tobar: next individual round was half an hour.
Jennie Johnson: Yeah, that was what
Florine Tobar: I don't
Jennie Johnson: uh
Florine Tobar: know about the lunch break.
Jennie Johnson: Mm, we'll hear about it.
Florine Tobar: Well
Julie Joe: Oh. | Jennie Johnson opened the meeting. Bernice Miller reported on working design, explaining how a remote control works and describing its main components. Julie Joe talked about what functions should be included. He suggested they should focus on either expert or novice users. The basic functions should include an on/off switch, buttons for channels one to nine, volume, mute and buttons for next and previous channel. He suggested that a trendy design should not have many buttons. Florine Tobar reported on user requirements, including how users rated the importance of different features. He stressed that a trendy design is important, that users zap a lot, and that remotes often get lost. Jennie Johnson informed the group of new requirements. The remote is only for TV, should not include a teletext feature, and should feature the company colour and slogan. The group discussed what functions and features the remote should have, and whether to include DVD/VCR controls, a teletext button, stop button, changeable covers, and a base/recharger with locator function. The group also discussed making the remote a rounded, ergonomic shape, and using flashing lights to help locate it when lost. | 4 | amisum | train |
Sally Ratzlaff: Okay, all set? Welcome
Michele Clevenger: Uh,
Christina Grubb: Yes.
Michele Clevenger: okay.
Sally Ratzlaff: to the conceptual design meeting. The agenda. The opening. I'll again be the secretary and make minutes, take minutes, uh and it will be three presentations, just like the last meeting. So um, who wants to start off? Technical uh designer again?
Michele Clevenger: Again.
Sally Ratzlaff: Okay.
Michele Clevenger: Hmm.
Sally Ratzlaff: Uh, yeah. Uh, before we begin it, I want to say I've I've put the minutes of the uh second meeting in the shared folder, but they're still not uh quite okay. It uh it uh still some technical difficulties so the
Michele Clevenger: Mm-hmm.
Sally Ratzlaff: the first part of the minutes are very hard to read, because there are two documents that uh were layered over each other.
Romona Carroll: Okay.
Sally Ratzlaff: So But uh, from now on I won't use my pen anymore, so will be p just ordinary
Michele Clevenger: Uh,
Sally Ratzlaff: keyboard.
Michele Clevenger: may be better, yeah.
Romona Carroll: Keyboard work.
Sally Ratzlaff: I
Romona Carroll: Yeah.
Sally Ratzlaff: think it will will be more uh easy
Michele Clevenger: Yeah.
Sally Ratzlaff: for you to read the minutes.
Romona Carroll: Alright.
Christina Grubb: Okay, when we talk about uh design, um it's really about the material and the and uh uh really the we build uh the remote controls of. Um, a remote control consist of uh components and the components of a remote control consist of uh properties and material. We have to choose th uh these uh wisely and it could affect uh uh a kind of grow of in uh in buying uh the remote controls. Um, the components of a remote control are of course the case Uh the properties of the case, um it has to be solid uh in hard material like uh hard plastic uh with soft rubber for uh falling and and uh uh yeah, it feels uh good in your hand. Mm the buttons has to be uh solid too, and the material is soft rubber. Uh I've got a uh email from the possibilities of Real Reaction. Um uh they're telling Romona Carroll that um when we build uh a remote control of um of plastic or rubber, the uh buttons have to be uh rubber too. Mm It's okay. Yeah. I when we use a rubbled a doubled curved case, we must use a rubber push-buttons to uh the the rubber double-curved case is a is a t uh three-dimensional uh curve in the in the design, which is uh necessary when we want to be trendy. Uh Um
Michele Clevenger: Oh.
Christina Grubb: the energy source, uh I've got a lot of possibilities for that too. Um, uh the basic battery, which I thi prefer because of its uh its non uh non-depending of of of uh um Uh here you have to have a hand uh yeah, kinetic uh energy. Also in uh this one, like in the watches, but a remote control can lie on a table for a day, and then you push uh a button and so you don't have to uh walk with it all the all the time. Mm, solar cells are also uh a bit weird for uh remote controls. Um uh also the case material, uh I think that plastic is the is the best with rubber, because uh wood or titanium would also be a bit weird.
Michele Clevenger: Oh titanium is probably trendy, I think.
Romona Carroll: That's true, I guess. Yeah.
Michele Clevenger: Well, maybe a little bit expensive. I don't know.
Romona Carroll: Huh.
Christina Grubb: Uh, they don't tell anything about the cost of uh titanium. Um the chip uh the chip set uh and the board is uh all off the shelf. Also, the speaker in the remote control, when we want to retrieve it. Um, the base station is also off the shelf, all the materials and the components are uh just available in uh in our uh factory. Mm, I've told about uh the three first points. Mm, the simple electronical chip uh is is available uh with the LED transmitter uh transmitter. Uh, it's all uh off the shelf and even the speaker and the wireless retriever are all uh available in our company. Um, another possibility. I uh yeah, I looked up on was uh the L_C_D_ displays. Could be uh something special to our uh remote control, and it's possible, but it only cost a bit more, but maybe it can be uh within the limits of twenty five Euros.
Sally Ratzlaff: Twelve and a half.
Christina Grubb: Ah yeah.
Sally Ratzlaff: Actually
Romona Carroll: Yeah.
Michele Clevenger: Yeah, production cost.
Christina Grubb: I th I got an email with uh some examples and it these were were the most trendiest one. You see uh a covers, which can be
Sally Ratzlaff: What are those, t tooth uh brushes,
Christina Grubb: Um,
Sally Ratzlaff: or so
Christina Grubb: I don't know. Um
Sally Ratzlaff: But it's actually kind
Michele Clevenger: I
Sally Ratzlaff: of uh well, it resembles the design I had
Christina Grubb: Yes.
Sally Ratzlaff: in mind for this
Romona Carroll: Yep.
Sally Ratzlaff: proj You know the the cartoonish Alessi kind of design.
Christina Grubb: Yes, maybe we can uh bri uh bring a couple of uh
Sally Ratzlaff: And we can we can steal
Christina Grubb: couple
Sally Ratzlaff: their
Christina Grubb: of
Sally Ratzlaff: ideas.
Christina Grubb: types of uh maybe a kind of uh whole uh um a whole set of uh different uh remote controls. Maybe we can
Sally Ratzlaff: Huh.
Christina Grubb: bring a whole line uh with uh with a huge variety of uh
Sally Ratzlaff: Well,
Christina Grubb: uh house
Sally Ratzlaff: it's
Michele Clevenger: Different
Sally Ratzlaff: a possibility,
Christina Grubb: uh stuff.
Michele Clevenger: colours
Sally Ratzlaff: too.
Michele Clevenger: also.
Christina Grubb: Like uh maybe radios and uh television
Sally Ratzlaff: Uh-uh.
Christina Grubb: also uh in this in this in the same style, but
Romona Carroll: Yeah, that'll
Sally Ratzlaff: Okay.
Romona Carroll: be for the future, I guess.
Christina Grubb: Yes, because we have to uh
Sally Ratzlaff: Next time we're here.
Christina Grubb: we have
Romona Carroll: Yeah.
Michele Clevenger: Yeah.
Christina Grubb: to we have to bring the logo and all the stuff
Sally Ratzlaff: Oh,
Christina Grubb: uh
Sally Ratzlaff: okay.
Christina Grubb: back into it.
Romona Carroll: Yeah. Definitely.
Sally Ratzlaff: Okay.
Christina Grubb: Thank
Romona Carroll: Alright.
Christina Grubb: you.
Michele Clevenger: Okay. uh
Romona Carroll: Yeah. That's okay.
Michele Clevenger: Ah.
Michele Clevenger: Well, I shall go to the next slide. Um um, I still don't have any information about user requirements. I was about just uh the basic functions and I got
Sally Ratzlaff: Oh, we
Michele Clevenger: uh
Sally Ratzlaff: decided upon that in the last meeting.
Michele Clevenger: Yeah,
Sally Ratzlaff: Didn't
Michele Clevenger: but
Sally Ratzlaff: we?
Michele Clevenger: but then wh I don't know when there are new user requirements.
Sally Ratzlaff: Oh, okay.
Michele Clevenger: I ha I
Sally Ratzlaff: Well,
Michele Clevenger: ha
Sally Ratzlaff: tha
Michele Clevenger: I
Sally Ratzlaff: I didn't
Michele Clevenger: have the
Sally Ratzlaff: receive
Michele Clevenger: I
Sally Ratzlaff: any
Michele Clevenger: have
Sally Ratzlaff: new requirements or somethi Just
Michele Clevenger: nothing.
Sally Ratzlaff: no, but we decided to use only b basic functions only.
Michele Clevenger: Well, I have here a couple of basic functions I could think of.
Sally Ratzlaff: Okay.
Michele Clevenger: I dunno if they're maybe a little bit more, but
Sally Ratzlaff: Well we maybe we can think of that later.
Michele Clevenger: Yeah.
Sally Ratzlaff: W just these are the ones you already summed up in the
Michele Clevenger: Yeah, I I uh well, I pointed them out here,
Sally Ratzlaff: Okay.
Michele Clevenger: just to make it a little bit easier. Um Another function uh is of course we already discuss it on the side. Um, I don't know what costs of it. Uh, I've no idea about it. Uh, I was also looking for what you said, for I got an email uh uh about uh L_C_D_ in in in front of the remote control. I don't know if that's a good idea, or maybe it's a little bit too much for twelve and a half. Production.
Sally Ratzlaff: Yeah.
Christina Grubb: Uh-huh.
Michele Clevenger: If we got already uh something like a
Sally Ratzlaff: That
Michele Clevenger: base.
Sally Ratzlaff: might get redundant also maybe. I don't know what kind of
Michele Clevenger: Yeah,
Sally Ratzlaff: information
Michele Clevenger: I don't know.
Sally Ratzlaff: it
Michele Clevenger: I d
Sally Ratzlaff: would
Michele Clevenger: I
Romona Carroll: Mm yeah.
Michele Clevenger: uh ju I was just thinking about it. Then
Sally Ratzlaff: Yeah.
Michele Clevenger: I got a pop-ups
Sally Ratzlaff: Yeah, it's
Christina Grubb: Maybe
Sally Ratzlaff: okay.
Michele Clevenger: to go
Christina Grubb: we
Michele Clevenger: to
Christina Grubb: can
Michele Clevenger: the meeting.
Christina Grubb: bring t
Michele Clevenger: But
Christina Grubb: uh uh teletext to the t
Michele Clevenger: The remote control.
Christina Grubb: to the remote control.
Michele Clevenger: a
Romona Carroll: Then you
Michele Clevenger: little
Romona Carroll: and then you've got a flag
Michele Clevenger: uh too
Romona Carroll: s
Sally Ratzlaff: Okay.
Michele Clevenger: A little bit
Sally Ratzlaff: That's
Romona Carroll: Very
Sally Ratzlaff: not
Romona Carroll: big R_C_. Yeah.
Michele Clevenger: A little bit
Sally Ratzlaff: It was
Michele Clevenger: too
Sally Ratzlaff: not
Michele Clevenger: big,
Sally Ratzlaff: a good
Michele Clevenger: I think.
Sally Ratzlaff: idea.
Michele Clevenger: Exactly.
Sally Ratzlaff: Okay.
Michele Clevenger: Um, yeah. Well, the functions are are not more to discuss, I
Sally Ratzlaff: No.
Michele Clevenger: think. It's
Sally Ratzlaff: No.
Michele Clevenger: it's
Romona Carroll: No.
Michele Clevenger: just the base things we already discussed that the no V_C_R_ or that kind of uh, so that's very easy. Um
Sally Ratzlaff: But you do mention the next and previous uh button.
Michele Clevenger: Mm-hmm.
Romona Carroll: Next channel,
Michele Clevenger: Well,
Romona Carroll: previous
Michele Clevenger: that's next
Romona Carroll: channel.
Michele Clevenger: channel.
Sally Ratzlaff: Oh,
Michele Clevenger: I
Sally Ratzlaff: okay,
Michele Clevenger: mean
Sally Ratzlaff: o
Michele Clevenger: next channel.
Sally Ratzlaff: okay
Michele Clevenger: Uh
Sally Ratzlaff: okay.
Michele Clevenger: Um oh, I I got an email with with an uh
Sally Ratzlaff: Huh.
Michele Clevenger: a remote control with a base. So, it's uh just an idea. And I um uh thinked of the button sizes and I'm not sure uh if they have to be big or uh just small
Christina Grubb: But you're the expert.
Romona Carroll: I think it depends on the function.
Michele Clevenger: Well, I'm not a e I'm the expert for user-friendly, but not for trendiness.
Sally Ratzlaff: Mm-hmm.
Michele Clevenger: Maybe
Romona Carroll: Well,
Michele Clevenger: it
Romona Carroll: if you save uh Perhaps uh s tiny buttons aren't user-friendly, then we wouldn't im implement that of course.
Michele Clevenger: Well uh okay, that's your point. Um, yeah. Yeah, okay. Yeah, I've nothing to s
Sally Ratzlaff: Well,
Romona Carroll: Oh, that's
Sally Ratzlaff: w
Romona Carroll: right.
Sally Ratzlaff: when we only use basic functions, we have the possibility to make the buttons larger.
Michele Clevenger: Uh, with a little
Romona Carroll: Yeah.
Michele Clevenger: bit larger, yeah. I thought so, but maybe with the
Sally Ratzlaff: Well, I think we already agreed upon the fact that the the the skip buttons and the cha and the volume buttons, th th those two have
Michele Clevenger: Yeah,
Sally Ratzlaff: yeah,
Michele Clevenger: that
Sally Ratzlaff: they have
Michele Clevenger: groups.
Sally Ratzlaff: to be large. Uh,
Michele Clevenger: Large?
Sally Ratzlaff: I mean th th the the two two basic buttons, you know, the to skip channels
Michele Clevenger: Yeah.
Sally Ratzlaff: and
Romona Carroll: Yep.
Sally Ratzlaff: to uh I think yeah, I don't know why, but I think that is that's t
Michele Clevenger: Most
Romona Carroll: Those
Sally Ratzlaff: trendy
Romona Carroll: are probably
Sally Ratzlaff: too,
Michele Clevenger: the most
Romona Carroll: the
Sally Ratzlaff: because
Michele Clevenger: used
Romona Carroll: the
Sally Ratzlaff: that's
Romona Carroll: th
Michele Clevenger: uh
Sally Ratzlaff: the mo it
Michele Clevenger: buttons.
Sally Ratzlaff: it you know, it's uh acc acc um accentu uh, how do you say it? It puts an extra accent on the the on the simplicity of
Romona Carroll: Yes.
Sally Ratzlaff: our remotes
Michele Clevenger: True.
Sally Ratzlaff: to j to make
Michele Clevenger: Yeah.
Sally Ratzlaff: these two most basic functions extra big, like
Romona Carroll: Those are
Sally Ratzlaff: t
Romona Carroll: probably the b four most most used buttons on the
Sally Ratzlaff: Yeah.
Romona Carroll: th in the
Christina Grubb: You
Romona Carroll: remote
Christina Grubb: did
Sally Ratzlaff: And
Romona Carroll: control.
Christina Grubb: the
Sally Ratzlaff: you
Christina Grubb: research.
Sally Ratzlaff: want
Michele Clevenger: Yeah.
Sally Ratzlaff: to acc accentuate that, you know.
Romona Carroll: Sorry?
Christina Grubb: It's from your research.
Romona Carroll: Yeah, sure.
Michele Clevenger: Okay.
Sally Ratzlaff: So
Michele Clevenger: Uh, that was all y uh personal preference I didn't have. I
Sally Ratzlaff: Okay.
Michele Clevenger: didn't had any time left. So
Sally Ratzlaff: No uh, that's coo it's cool.
Romona Carroll: You don't care. No, sorry.
Michele Clevenger: Yeah,
Romona Carroll: Yeah. Oh. Go away.
Romona Carroll: Come
Michele Clevenger: It's
Romona Carroll: on.
Michele Clevenger: there. Yeah, click on it. Couple time.
Romona Carroll: Oh, great. Well, I've done some research again about trends on the internet. Um I've done some investigation, and uh well I uh got some information from fashion watchers from Paris and uh Milan. Some uh some findings the most important thing is fancy look and feel of the remote control. Uh, well, we were going to imply that, so that's nice. The second important thing is uh innovative technology in the R_C_. Uh, our market really likes really likes that. And uh the third point there in this uh order if of importance, the third point, is a high ease of use. And uh, well, for the idea, I've put some trends uh for the market of elderly people. Dark colours, simple recognisable shapes. So we probably won't do that. The younger market likes uh Well, the themes of of this year are uh surprisingly fruits and vegetables and spongy material. I found this image, which is uh Well, it symbolises the idea of fruits and vegetables. I don't see the spongy part in it. But with a little bit of fancy
Sally Ratzlaff: Well maybe c then we have to do something with Sponge Bob then.
Romona Carroll: Exactly. I got some ideas Uh well, yeah, pictures isn't really good word, but um some symbols of fruits or vegetables maybe. Uh, catchy colours. Fruit is uh yellow, green, red, whatever. So,
Sally Ratzlaff: It doesn't
Romona Carroll: remote
Sally Ratzlaff: stroke
Romona Carroll: controls
Sally Ratzlaff: with the
Romona Carroll: in
Sally Ratzlaff: with the
Romona Carroll: in
Sally Ratzlaff: dark
Romona Carroll: catchy
Sally Ratzlaff: colours.
Romona Carroll: colours. Uh, no, we don't want dark colours.
Sally Ratzlaff: Not the dark colours? Okay.
Romona Carroll: No, I just put them there to uh, yeah, uh for general idea.
Sally Ratzlaff: Okay.
Romona Carroll: And uh, the docking st uh I think the spongy material is is very irritating for the uh remote control itself. But to Yeah, the To implement some spongy thing, maybe we can do it in the in the docking station. At the bottom of the docking station or whatever. And uh, we could bring one line with a dark colour uh to um uh p uh yeah uh uh v how do you say?
Sally Ratzlaff: For diversity or something.
Romona Carroll: Yeah,
Sally Ratzlaff: Uh
Romona Carroll: also a bit for elderly people who are a little bit crazy and want
Michele Clevenger: Well, how
Romona Carroll: maybe
Michele Clevenger: uh
Romona Carroll: want a little younger design but still the dark colour. I mean it it it reaches a different market uh, but it it it doesn't cost really much effort to b to uh bring uh like a black R_C_ on the market or whatever.
Michele Clevenger: But
Romona Carroll: Yes.
Michele Clevenger: how do we use uh fruits and vegetables in Christ's sake with remote
Sally Ratzlaff: No,
Michele Clevenger: control?
Sally Ratzlaff: but I
Romona Carroll: Yeah,
Sally Ratzlaff: I
Romona Carroll: there's
Sally Ratzlaff: I think
Romona Carroll: there's
Michele Clevenger: Uh,
Sally Ratzlaff: that uh
Romona Carroll: always
Sally Ratzlaff: our
Michele Clevenger: make
Romona Carroll: a
Sally Ratzlaff: design
Michele Clevenger: it a banana?
Sally Ratzlaff: already resembles so a piece of fruit. It's
Romona Carroll: Well
Sally Ratzlaff: like a pear
Romona Carroll: there
Sally Ratzlaff: or
Romona Carroll: there's
Sally Ratzlaff: something.
Romona Carroll: always empty space of course on a remote control. I mean I think this part of the R_C_ uh well
Sally Ratzlaff: No, I don't think you have to do it
Romona Carroll: the
Sally Ratzlaff: like
Romona Carroll: upper the upper part or whatever is uh is not not used with buttons, I guess. So you you can put some fruity things
Sally Ratzlaff: Yeah, but it that doesn't have to remind you, you know, like explicitly of s our f of a of
Romona Carroll: No,
Sally Ratzlaff: a
Romona Carroll: of
Sally Ratzlaff: specific
Romona Carroll: course not.
Sally Ratzlaff: piece of fruit, but just, you know, like the the the the round curves. And so y I I think this
Romona Carroll: Especially
Sally Ratzlaff: y it already
Romona Carroll: i
Sally Ratzlaff: sem resembles uh something like a
Michele Clevenger: Yeah,
Sally Ratzlaff: pear
Michele Clevenger: but
Sally Ratzlaff: to Romona Carroll or something.
Michele Clevenger: th
Romona Carroll: Yeah,
Michele Clevenger: yeah, but
Romona Carroll: yeah.
Michele Clevenger: that
Romona Carroll: Yeah, exactly.
Michele Clevenger: Yeah,
Romona Carroll: If we
Sally Ratzlaff: Yeah.
Romona Carroll: make it
Michele Clevenger: but
Romona Carroll: little
Michele Clevenger: that's
Romona Carroll: bit greenish.
Sally Ratzlaff: You do get the idea, eh? The fruity
Michele Clevenger: Yeah
Sally Ratzlaff: kind
Michele Clevenger: uh
Sally Ratzlaff: of round
Michele Clevenger: uh
Romona Carroll: A
Sally Ratzlaff: 'Kay.
Romona Carroll: and we could use one of these for the uh
Sally Ratzlaff: Yeah,
Romona Carroll: w
Sally Ratzlaff: uh
Romona Carroll: what is it?
Sally Ratzlaff: yeah, I don't know.
Christina Grubb: Grapes.
Romona Carroll: Uh Isn't
Sally Ratzlaff: Uh, this is a b yeah.
Romona Carroll: Wha whatever.
Michele Clevenger: But d don't we need a creative artist or something like that to m
Sally Ratzlaff: Yeah, yeah.
Michele Clevenger: make
Sally Ratzlaff: Of
Michele Clevenger: it
Sally Ratzlaff: course
Michele Clevenger: to feel
Sally Ratzlaff: we have
Michele Clevenger: like
Sally Ratzlaff: uh
Michele Clevenger: a a
Romona Carroll: Yeah,
Michele Clevenger: a
Romona Carroll: sure.
Michele Clevenger: a vegetable or fruit?
Romona Carroll: Yeah.
Sally Ratzlaff: we have a very big uh
Romona Carroll: Well, w we can
Sally Ratzlaff: the s
Romona Carroll: uh w
Christina Grubb: For a big team
Romona Carroll: we can
Christina Grubb: of artists.
Sally Ratzlaff: Of d
Romona Carroll: we
Sally Ratzlaff: design
Romona Carroll: can produce
Sally Ratzlaff: team, yeah.
Romona Carroll: multiple uh multiple things. This is then the uh pear. I don't know the English word,
Sally Ratzlaff: Yeah, but
Romona Carroll: so forget it.
Sally Ratzlaff: It's pear, I guess.
Romona Carroll: And um,
Christina Grubb: But
Romona Carroll: maybe,
Christina Grubb: uh but I think
Romona Carroll: yeah, a
Christina Grubb: we
Romona Carroll: b
Christina Grubb: don't
Romona Carroll: a banana
Christina Grubb: have to make
Romona Carroll: is uh is n not easy for a remote control, but m yeah.
Christina Grubb: we
Sally Ratzlaff: No.
Christina Grubb: can't make all uh ten designs. We have to make one design I th I I think.
Sally Ratzlaff: No, but I think it's it's
Romona Carroll: Mayb
Sally Ratzlaff: already
Romona Carroll: maybe two or three.
Sally Ratzlaff: what we were were up to.
Michele Clevenger: Yeah.
Sally Ratzlaff: Uh, it's
Romona Carroll: Yeah.
Sally Ratzlaff: it doesn't have to resemble uh what I already said, a specific piece of fruit, but just,
Romona Carroll: No
Sally Ratzlaff: you
Romona Carroll: sure,
Sally Ratzlaff: know, like
Romona Carroll: but
Sally Ratzlaff: a fruity
Romona Carroll: but
Sally Ratzlaff: thing going on.
Romona Carroll: B
Sally Ratzlaff: And it's it looks
Romona Carroll: but
Sally Ratzlaff: fruity
Romona Carroll: that's great,
Sally Ratzlaff: to Romona Carroll.
Romona Carroll: and and and what I was what
Sally Ratzlaff: And
Romona Carroll: what
Sally Ratzlaff: uh, but
Romona Carroll: I was
Sally Ratzlaff: I
Romona Carroll: saying,
Sally Ratzlaff: do like
Romona Carroll: the catchy
Sally Ratzlaff: the
Romona Carroll: colours
Sally Ratzlaff: yeah, I do like uh the f uh to the idea of making a a y uh, a catchy colour design and a d because I do I think a dark colour would be nice too.
Romona Carroll: Yeah.
Christina Grubb: But pictures of fruit,
Sally Ratzlaff: Maybe it's too much,
Christina Grubb: vegetables
Sally Ratzlaff: you
Michele Clevenger: But,
Sally Ratzlaff: know.
Romona Carroll: Yeah,
Michele Clevenger: we we have
Romona Carroll: uh
Michele Clevenger: to um
Romona Carroll: not really.
Christina Grubb: vegetables
Romona Carroll: Pictures was a
Michele Clevenger: There have to
Romona Carroll: was
Michele Clevenger: be
Romona Carroll: a bad
Michele Clevenger: the
Romona Carroll: word,
Michele Clevenger: the
Romona Carroll: but
Michele Clevenger: the the firm colours, our own
Sally Ratzlaff: Okay,
Michele Clevenger: uh
Sally Ratzlaff: but
Michele Clevenger: colours
Sally Ratzlaff: what
Michele Clevenger: has
Sally Ratzlaff: are
Michele Clevenger: to
Sally Ratzlaff: the
Michele Clevenger: be
Sally Ratzlaff: This
Michele Clevenger: in it.
Sally Ratzlaff: is
Romona Carroll: Well
Sally Ratzlaff: yellow.
Romona Carroll: we c yeah.
Michele Clevenger: Yellow, a Real Reaction.
Christina Grubb: Yes, you can put a logo on top of it.
Romona Carroll: Yeah,
Sally Ratzlaff: But I don't
Romona Carroll: sure.
Sally Ratzlaff: think our
Michele Clevenger: Uh,
Sally Ratzlaff: our
Michele Clevenger: yeah.
Sally Ratzlaff: company colours are this fashionable.
Romona Carroll: Maybe we can
Christina Grubb: Yes,
Romona Carroll: if
Christina Grubb: it's really
Romona Carroll: if
Christina Grubb: fruity.
Romona Carroll: we got
Michele Clevenger: We
Romona Carroll: our
Michele Clevenger: uh
Romona Carroll: docking
Michele Clevenger: f
Romona Carroll: station over here. I can't draw with this thing, but I'll try.
Michele Clevenger: A yellow
Romona Carroll: If this
Michele Clevenger: do
Romona Carroll: is our docking station, we can make
Michele Clevenger: Uh, yeah.
Romona Carroll: our logo over here. It doesn't work. And then
Michele Clevenger: Yeah, and the button then.
Christina Grubb: With a strawberry on top.
Sally Ratzlaff: Yeah, on uh
Romona Carroll: Well,
Sally Ratzlaff: n uh on the bottom of the remote
Romona Carroll: the button
Sally Ratzlaff: you can
Romona Carroll: button
Sally Ratzlaff: do
Romona Carroll: over here or whatever, I don't
Michele Clevenger: Okay,
Romona Carroll: know.
Michele Clevenger: yeah.
Romona Carroll: On the front, of course, because else you can't find it.
Michele Clevenger: Okay.
Romona Carroll: Well, that were my ideas a little bit. I'll close
Sally Ratzlaff: Okay.
Romona Carroll: 'em down. Um, go away.
Sally Ratzlaff: Okay, you can you open the conceptual design
Romona Carroll: Conceptual
Sally Ratzlaff: presentation?
Romona Carroll: design, yes.
Sally Ratzlaff: See what was on the agenda.
Michele Clevenger: Lazy.
Romona Carroll: The agenda.
Sally Ratzlaff: This is his own remote Because. um,
Michele Clevenger: Yeah.
Sally Ratzlaff: maybe we can start with the technical uh functions, but I don't think it's there uh, yeah um, do we want to um use an L_C_D_ display, for example?
Christina Grubb: Only if we
Romona Carroll: I don't I don't know what to display on it.
Christina Grubb: Maybe
Romona Carroll: I mean
Christina Grubb: maybe we
Sally Ratzlaff: Romona Carroll
Christina Grubb: can
Sally Ratzlaff: neither.
Christina Grubb: make a T_V_ guide on it, for the channel you're on.
Romona Carroll: Yeah, but
Sally Ratzlaff: Yeah, but
Romona Carroll: it
Sally Ratzlaff: it's
Romona Carroll: should
Sally Ratzlaff: so
Romona Carroll: be li like this big, and I
Christina Grubb: No,
Romona Carroll: don't
Christina Grubb: no,
Romona Carroll: think
Sally Ratzlaff: I
Christina Grubb: only
Sally Ratzlaff: don't think
Christina Grubb: the
Sally Ratzlaff: we
Christina Grubb: T_V_
Sally Ratzlaff: should do
Christina Grubb: channel
Sally Ratzlaff: it.
Christina Grubb: with the with uh with uh four programmes. You can uh zap through them with the page up page down button.
Romona Carroll: Yes sure, but it it has to to show an entire title of a programme or at least a q a quite
Christina Grubb: Yes, it
Romona Carroll: quite
Christina Grubb: can
Romona Carroll: large part of it and then
Christina Grubb: On
Romona Carroll: you
Christina Grubb: your
Romona Carroll: get a very large L_C_D_
Christina Grubb: No,
Romona Carroll: screen,
Christina Grubb: on
Romona Carroll: because
Christina Grubb: your mobile phone you can y you can read text also. So why not on your remote?
Sally Ratzlaff: Yeah, but no.
Romona Carroll: Yeah,
Sally Ratzlaff: I
Romona Carroll: I don't
Sally Ratzlaff: do
Romona Carroll: know.
Sally Ratzlaff: I think it's a bit redundant, actually. And it's also not I don't th even think it it looks s like sexy
Michele Clevenger: Well well
Sally Ratzlaff: or
Michele Clevenger: what
Sally Ratzlaff: something,
Michele Clevenger: would you
Sally Ratzlaff: it's
Michele Clevenger: display on it then?
Christina Grubb: Uh, programme uh information
Romona Carroll: Programme information.
Christina Grubb: or
Michele Clevenger: But
Christina Grubb: or
Michele Clevenger: is
Romona Carroll: But
Michele Clevenger: it
Christina Grubb: or
Michele Clevenger: isn't
Christina Grubb: or
Michele Clevenger: that
Christina Grubb: g
Michele Clevenger: a already
Christina Grubb: or a guide
Michele Clevenger: on T_V_, a lot of new T_V_s?
Romona Carroll: Well a lot a lot of
Christina Grubb: But
Romona Carroll: T_V_s indeed show uh when you uh
Sally Ratzlaff: But you're already
Romona Carroll: zap
Sally Ratzlaff: watching
Romona Carroll: to
Sally Ratzlaff: the
Michele Clevenger: Yeah.
Romona Carroll: a
Sally Ratzlaff: T_V_, you're not gonna watch your remote control.
Christina Grubb: Yes, but you also want to know what's next.
Romona Carroll: But then we also uh w need to bring out a line of T_V_s which we were planning
Michele Clevenger: Yeah, and
Romona Carroll: to,
Michele Clevenger: we
Romona Carroll: but
Michele Clevenger: also
Romona Carroll: whatever.
Michele Clevenger: have to
Romona Carroll: Because
Michele Clevenger: yeah.
Romona Carroll: the T_V_ has to send information back to the R_C_, and I don't know if that's
Christina Grubb: Yes,
Romona Carroll: possible.
Christina Grubb: that's uh really possible.
Romona Carroll: Yes, yes, o of course it's possible, but you gotta uh implement it in the T_V_s, and I don't think everyone's gonna buy a Real Reaction T_V_ within a month after the release of our uh remote
Michele Clevenger: And
Sally Ratzlaff: I
Romona Carroll: control.
Sally Ratzlaff: really
Michele Clevenger: I also
Sally Ratzlaff: understand you want to make your job more exciting by putting an L_C_D_ in it, but I I really don't think it's a good n goo because it also doesn't stroke with we wanted uh c When we talk about the materials, uh it's a good idea to use these plastic materials with soft rubber stuff on it. It was our idea, you know, to give it a more sturdy look and that you
Romona Carroll: Yeah.
Sally Ratzlaff: ca like you can throw with it. But I don't think a L_C_D_ display fits in that image. You know, it's like more vulnerable, and it adds
Romona Carroll: That's
Sally Ratzlaff: nothing
Romona Carroll: true,
Sally Ratzlaff: really,
Romona Carroll: that's
Sally Ratzlaff: you know.
Romona Carroll: true, it breaks f yeah, it it it's not very solid, it's uh frag
Sally Ratzlaff: Yeah, yeah.
Romona Carroll: fragile.
Sally Ratzlaff: You could make it, but it's just it it doesn't I don't think it it's coherent with the design we're after.
Romona Carroll: No. No. I don't think so ei either.
Sally Ratzlaff: But that's my opinion. Well, you you y Okay, we can vote for it. You want the L_C_D_ display.
Christina Grubb: No.
Sally Ratzlaff: I don't want to and he doesn't, so it's up to him. If
Michele Clevenger: Yeah,
Sally Ratzlaff: we wanna
Michele Clevenger: I
Romona Carroll: Ah.
Michele Clevenger: dunno.
Sally Ratzlaff: And I've read somewhere that I've got some kind of veto veto uh rights.
Michele Clevenger: Oh,
Romona Carroll: Bastard.
Michele Clevenger: okay.
Sally Ratzlaff: So I can also say
Michele Clevenger: We can you
Sally Ratzlaff: But did
Michele Clevenger: away.
Sally Ratzlaff: we skip the Yeah, you could do m but what what i so what i but do
Michele Clevenger: Yeah,
Sally Ratzlaff: you think
Michele Clevenger: I don't
Sally Ratzlaff: we should
Michele Clevenger: know. Uh, uh I i if it's it's a simple
Sally Ratzlaff: We're not even
Michele Clevenger: p
Sally Ratzlaff: sure what what information we want to display
Michele Clevenger: No,
Christina Grubb: No
Sally Ratzlaff: on
Michele Clevenger: that
Sally Ratzlaff: it. So
Michele Clevenger: that's right,
Christina Grubb: uh
Michele Clevenger: and
Christina Grubb: um
Michele Clevenger: uh I also have to think about new functions, maybe buttons or something like that to control it. Kind of L_C_D_ or something or
Christina Grubb: Y yes,
Romona Carroll: Yeah,
Christina Grubb: you
Romona Carroll: I guess.
Christina Grubb: can use uh buttons uh uh w that are already uh on the remote control
Michele Clevenger: But how
Christina Grubb: for
Michele Clevenger: does
Christina Grubb: double
Michele Clevenger: it
Christina Grubb: functions.
Michele Clevenger: display then? W
Christina Grubb: Uh, then you
Michele Clevenger: when
Christina Grubb: push
Michele Clevenger: I go to
Christina Grubb: a
Michele Clevenger: the
Christina Grubb: button.
Michele Clevenger: second channel, what what does it show Romona Carroll?
Christina Grubb: The title and the information about the programme.
Michele Clevenger: About
Christina Grubb: But
Michele Clevenger: that programme?
Christina Grubb: but uh yeah, what he said was right, about the televisions, they have to be uh customised
Sally Ratzlaff: Nah,
Christina Grubb: to the
Sally Ratzlaff: that's not gonna work.
Christina Grubb: But
Romona Carroll: No.
Christina Grubb: maybe in future it
Sally Ratzlaff: Yeah.
Christina Grubb: will be a giant hit, and when you are the first you
Sally Ratzlaff: Oh,
Christina Grubb: have
Sally Ratzlaff: well
Christina Grubb: the
Sally Ratzlaff: uh I've
Christina Grubb: biggest
Sally Ratzlaff: seen it done
Christina Grubb: uh
Sally Ratzlaff: before. Do
Michele Clevenger: Yeah.
Sally Ratzlaff: you know th like the the bigger rem uh universal remotes, they have d L_C_D_ displays, but then it's very functional to indicate which what uh uh device you are controlling. So it's that that's what I've seen.
Romona Carroll: Yeah,
Christina Grubb: Yes,
Romona Carroll: that's
Christina Grubb: you
Romona Carroll: true,
Christina Grubb: can put
Romona Carroll: if you
Christina Grubb: uh
Romona Carroll: uh
Christina Grubb: a little
Romona Carroll: Yeah.
Christina Grubb: L_C_D_ display on it with uh with lots of information.
Sally Ratzlaff: But
Christina Grubb: But
Sally Ratzlaff: it just
Christina Grubb: uh I
Sally Ratzlaff: it j
Christina Grubb: haven't thought
Sally Ratzlaff: it doesn't
Christina Grubb: about it.
Sally Ratzlaff: doesn't match with the our whole basic concept.
Christina Grubb: But whe but when you put a a a transparent uh plastic uh uh screen on top of it, it i it isn't vulnerable.
Sally Ratzlaff: Well
Christina Grubb: You can throw with
Sally Ratzlaff: yeah, yeah,
Christina Grubb: it
Sally Ratzlaff: okay.
Christina Grubb: and
Sally Ratzlaff: That's maybe not the most important, but it's just
Michele Clevenger: Is it fashion?
Christina Grubb: When
Sally Ratzlaff: I don't
Christina Grubb: when
Sally Ratzlaff: think
Christina Grubb: you put
Sally Ratzlaff: so.
Christina Grubb: uh maybe a colour L_C_D_ t uh screen on it, it's very special and very trendy to have
Michele Clevenger: I don't
Christina Grubb: uh
Michele Clevenger: know.
Christina Grubb: a remote
Michele Clevenger: That's
Christina Grubb: control
Michele Clevenger: not up to you. That's up to
Christina Grubb: from
Michele Clevenger: market if i if it's trendy.
Sally Ratzlaff: Yeah, well do you ha do you have to You haven't
Romona Carroll: No.
Sally Ratzlaff: looked after the trendiness of L_C_D_ displays,
Michele Clevenger: Because
Romona Carroll: Well,
Michele Clevenger: our
Sally Ratzlaff: have
Romona Carroll: I
Michele Clevenger: our
Romona Carroll: think
Michele Clevenger: motto
Sally Ratzlaff: you?
Romona Carroll: it's uh
Michele Clevenger: is
Romona Carroll: I think
Michele Clevenger: we put
Romona Carroll: it's pretty
Michele Clevenger: fashion
Romona Carroll: trendy, to be honest, uh but um I don't know if if if well, I'm coming back to the costs again, but I think uh we gotta build a b pretty cheap design to to stay within our limits. And I think uh especially colour L_C_D_, which is indeed pretty trendy. But I don't think Uh, I think it will be too expensive.
Christina Grubb: But uh I've got a the email with uh with the possibilities. And L_C_D_ was a possibility for the remote
Sally Ratzlaff: Yeah yeah
Christina Grubb: control.
Sally Ratzlaff: yeah.
Christina Grubb: So why don't we use it.
Romona Carroll: Uh,
Sally Ratzlaff: Yeah,
Romona Carroll: did
Sally Ratzlaff: but
Romona Carroll: it
Sally Ratzlaff: we're
Romona Carroll: say
Sally Ratzlaff: gonna
Romona Carroll: a price
Sally Ratzlaff: if it
Romona Carroll: also uh for for uh monogramme uh L_C_D_ or uh coloured L_C_D_?
Michele Clevenger: Yeah, if you want to be trendy you have to be coloured. Coloured
Romona Carroll: Yeah really, if y if you
Michele Clevenger: If you have black
Romona Carroll: c i
Michele Clevenger: and white or something, or grey,
Romona Carroll: I in
Sally Ratzlaff: Then
Michele Clevenger: that's
Sally Ratzlaff: uh then
Romona Carroll: in
Sally Ratzlaff: you
Romona Carroll: two
Sally Ratzlaff: better
Romona Carroll: thousand
Sally Ratzlaff: don't
Romona Carroll: and four
Sally Ratzlaff: yeah,
Romona Carroll: you
Sally Ratzlaff: d
Romona Carroll: can't uh put something on the market which is a monogramme. Really.
Christina Grubb: No, but it doesn't sa say anything about a colour or But, mm, I alf I also got a possibility to put uh a scroll button on it. But
Sally Ratzlaff: Uh
Christina Grubb: I didn't
Sally Ratzlaff: uh I really
Christina Grubb: think
Sally Ratzlaff: don't
Christina Grubb: that
Sally Ratzlaff: feel the whole idea of an L_C_D_ display. I'm sorry. It can't co you cannot convince Romona Carroll. I don't know how well how to with you guys, but I don't really feel it. We already we're
Michele Clevenger: It's too
Sally Ratzlaff: uh
Michele Clevenger: much uh maybe uh with
Sally Ratzlaff: Yeah,
Michele Clevenger: with
Sally Ratzlaff: we
Romona Carroll: Yeah.
Michele Clevenger: the
Sally Ratzlaff: already
Michele Clevenger: L_C_D_
Sally Ratzlaff: have
Michele Clevenger: and
Sally Ratzlaff: the
Michele Clevenger: the
Sally Ratzlaff: the
Michele Clevenger: docking
Sally Ratzlaff: th th th
Michele Clevenger: station
Sally Ratzlaff: base station
Michele Clevenger: and
Sally Ratzlaff: gadgets, and want and it uh uh, do it has to be a simple design, which
Christina Grubb: Yes, but o
Sally Ratzlaff: sturdy,
Christina Grubb: on
Romona Carroll: W we've
Christina Grubb: the
Romona Carroll: we've gotta
Sally Ratzlaff: which
Romona Carroll: find
Michele Clevenger: With one
Romona Carroll: a balance,
Sally Ratzlaff: soft
Michele Clevenger: thing
Romona Carroll: of course.
Michele Clevenger: special.
Romona Carroll: And I think
Michele Clevenger: Not a whole
Sally Ratzlaff: I don't
Michele Clevenger: package
Sally Ratzlaff: think
Michele Clevenger: of specialty.
Sally Ratzlaff: I j uh, and really, I don't see how the the L_C_D_ display is gonna add anything, you know, on a design level. Uh, I think it's
Christina Grubb: No,
Sally Ratzlaff: slicker
Christina Grubb: when y
Sally Ratzlaff: to have no L_ CEDs. Y we want to
Christina Grubb: But
Sally Ratzlaff: it's
Christina Grubb: it look
Sally Ratzlaff: simplicity, w you have two big buttons and you can do whatever you want
Christina Grubb: Yes, but
Sally Ratzlaff: with these two buttons, so
Christina Grubb: that
Sally Ratzlaff: you don't
Christina Grubb: remote
Sally Ratzlaff: need
Christina Grubb: controls
Sally Ratzlaff: an L_C_D_.
Christina Grubb: are already on the market.
Sally Ratzlaff: It doesn't fit
Christina Grubb: The simple
Sally Ratzlaff: in our philosophy uh behind the whole remote.
Christina Grubb: Yes, but but when you want to have something special
Sally Ratzlaff: Yeah, but we already have the docking station, which is
Christina Grubb: Yes,
Romona Carroll: We have
Christina Grubb: but
Romona Carroll: a
Michele Clevenger: And
Christina Grubb: you
Romona Carroll: pear.
Christina Grubb: had
Michele Clevenger: uh
Christina Grubb: a
Michele Clevenger: the
Christina Grubb: picture of it from another company.
Sally Ratzlaff: It has to be developed,
Michele Clevenger: Yeah.
Sally Ratzlaff: but no, but it that's that's
Michele Clevenger: It's
Sally Ratzlaff: our
Michele Clevenger: just
Sally Ratzlaff: that's
Michele Clevenger: an
Sally Ratzlaff: our
Michele Clevenger: it's just
Sally Ratzlaff: killer
Michele Clevenger: an idea.
Sally Ratzlaff: feature. That's
Michele Clevenger: It's
Sally Ratzlaff: our
Christina Grubb: Yes,
Michele Clevenger: a it's
Christina Grubb: it
Sally Ratzlaff: what
Christina Grubb: was
Sally Ratzlaff: makes
Christina Grubb: already
Sally Ratzlaff: it special.
Christina Grubb: made. Tha the remote control
Sally Ratzlaff: Yeah,
Michele Clevenger: True.
Sally Ratzlaff: we're gonna
Christina Grubb: on the docking
Sally Ratzlaff: develop
Christina Grubb: station.
Sally Ratzlaff: our own r
Romona Carroll: Is
Sally Ratzlaff: n
Romona Carroll: that
Sally Ratzlaff: docking
Romona Carroll: so?
Sally Ratzlaff: station.
Romona Carroll: Was it
Christina Grubb: Yes, he
Michele Clevenger: Well
Christina Grubb: have
Romona Carroll: it
Michele Clevenger: uh
Christina Grubb: a picture
Romona Carroll: wasn't just
Michele Clevenger: I
Christina Grubb: of
Michele Clevenger: uh
Romona Carroll: a
Christina Grubb: it.
Romona Carroll: prototype?
Michele Clevenger: Yeah, I dunno.
Romona Carroll: Exactly, I've never seen it
Sally Ratzlaff: Uh,
Romona Carroll: in
Sally Ratzlaff: but
Romona Carroll: a store.
Sally Ratzlaff: re we really have to cut this off, I re I know you I I I I I get the idea you really like it, you know, the the L_C_D_ thing, but I I think it's it's not a good idea, and we have already mentioned all the arguments. I don't uh, do you guys agre How do you guys think? I d
Michele Clevenger: No, it's too much.
Romona Carroll: I think it's a little too much, yeah.
Michele Clevenger: It's overdone.
Sally Ratzlaff: Okay, we s skip
Christina Grubb: Okay.
Sally Ratzlaff: the L_C_D_ display.
Romona Carroll: Okay.
Sally Ratzlaff: I'm sorry, maybe
Michele Clevenger: Democratically.
Sally Ratzlaff: you can
Romona Carroll: No.
Sally Ratzlaff: do something if we are at your own place, or make it make
Christina Grubb: Mayb
Sally Ratzlaff: it make it happen in your basement or something.
Christina Grubb: I will
Sally Ratzlaff: But
Christina Grubb: rule the world with
Romona Carroll: Yeah,
Sally Ratzlaff: Probably
Romona Carroll: yeah, yeah, yeah.
Sally Ratzlaff: so. Okay.
Christina Grubb: it.
Sally Ratzlaff: But for the technical part. The m material, I think uh it was a good idea to use the plastic and uh the rubber.
Christina Grubb: Yes,
Sally Ratzlaff: Uh
Christina Grubb: maybe a bit of a cushion is
Sally Ratzlaff: Yeah yeah yeah, p Exactly. This
Romona Carroll: Yeah,
Sally Ratzlaff: is what
Romona Carroll: for
Sally Ratzlaff: it
Romona Carroll: the
Sally Ratzlaff: w
Romona Carroll: spongy uh
Sally Ratzlaff: Yeah, but
Christina Grubb: Yes.
Romona Carroll: feel.
Sally Ratzlaff: it it was already
Michele Clevenger: With a spongy
Sally Ratzlaff: what
Romona Carroll: Yeah.
Sally Ratzlaff: we're
Michele Clevenger: Bob feel.
Sally Ratzlaff: uh we're after, you know, to give it uh, you know, the soft touch in your hands
Michele Clevenger: Yeah.
Sally Ratzlaff: and also to, know, like Yeah, that is y the b airbag
Christina Grubb: Like a
Sally Ratzlaff: kind of
Christina Grubb: b
Sally Ratzlaff: thing.
Christina Grubb: yes.
Sally Ratzlaff: You
Michele Clevenger: Yeah,
Sally Ratzlaff: can st
Michele Clevenger: you just
Romona Carroll: Yeah,
Michele Clevenger: can
Romona Carroll: airbag.
Michele Clevenger: drop it.
Sally Ratzlaff: throw it at your
Michele Clevenger: Yeah.
Sally Ratzlaff: little brother's
Romona Carroll: If you drop
Sally Ratzlaff: head.
Romona Carroll: it if you drop it the airbag comes out,
Michele Clevenger: Yeah.
Romona Carroll: yeah.
Sally Ratzlaff: Yeah. No no no, not that
Christina Grubb: Maybe
Sally Ratzlaff: comfy.
Christina Grubb: it but then we have to look that it uh w uh will not um be too childish to see.
Sally Ratzlaff: Yeah yeah. Yeah. Okay, that's a that's a good point. And that's why I like the dark t col dark colour bit, you know,
Romona Carroll: Yeah.
Sally Ratzlaff: because it may be the design uh, it's uh maybe it is a bit of
Michele Clevenger: But
Sally Ratzlaff: the
Michele Clevenger: not black I think.
Sally Ratzlaff: it's a bit nineties
Romona Carroll: No.
Sally Ratzlaff: maybe, what we're what we're up to rat fun to
Michele Clevenger: Well
Sally Ratzlaff: this point.
Michele Clevenger: if if it's fruit and vegetables, it have to be colourful.
Sally Ratzlaff: Yeah, that's
Romona Carroll: Yeah,
Sally Ratzlaff: that's true, but
Romona Carroll: b
Michele Clevenger: But
Romona Carroll: yeah,
Michele Clevenger: can
Romona Carroll: that's
Michele Clevenger: we
Romona Carroll: what
Michele Clevenger: ge uh
Romona Carroll: w I I
Sally Ratzlaff: but
Romona Carroll: was
Sally Ratzlaff: it
Michele Clevenger: uh
Sally Ratzlaff: has
Romona Carroll: pointing
Sally Ratzlaff: to be
Romona Carroll: at.
Sally Ratzlaff: a little big solid. It mustn't be too, n you know, th too overwhelming, then when you put it
Michele Clevenger: Can
Sally Ratzlaff: on
Michele Clevenger: we
Sally Ratzlaff: your
Michele Clevenger: combine
Sally Ratzlaff: just
Michele Clevenger: it or something? Uh with
Sally Ratzlaff: Yeah.
Michele Clevenger: uh yellow and black?
Sally Ratzlaff: Yeah, maybe so.
Michele Clevenger: Make it a bee?
Romona Carroll: What?
Michele Clevenger: A bee.
Romona Carroll: Oh, a bee. Oh.
Sally Ratzlaff: No, uh I don't like the yellow and black combination. But it is our company colours.
Christina Grubb: Yes,
Sally Ratzlaff: Apparently.
Michele Clevenger: Yeah,
Christina Grubb: real real
Michele Clevenger: it's our
Christina Grubb: good colours.
Michele Clevenger: yeah. We we have to use yellow.
Romona Carroll: Yeah. Hmm.
Christina Grubb: Hmm.
Sally Ratzlaff: I don't like yellow, and uh maybe
Romona Carroll: Well,
Sally Ratzlaff: I
Romona Carroll: we
Sally Ratzlaff: don't
Romona Carroll: can
Sally Ratzlaff: know.
Romona Carroll: as as I
Christina Grubb: But that's not really fruity.
Romona Carroll: draw really nicely over there. We can put the logo on our uh on our base station. Uh, yeah. And maybe
Sally Ratzlaff: But
Romona Carroll: very very tiny on the remote control itself. But, i
Sally Ratzlaff: Okay, but what uh, what are other tef technical things we have to discuss?
Christina Grubb: Uh fronts of the We can have uh different uh uh fronts of the
Sally Ratzlaff: Should we do that?
Christina Grubb: telephone.
Sally Ratzlaff: I don't think you we should do that. Maybe just bring it
Michele Clevenger: Different
Sally Ratzlaff: out in different
Michele Clevenger: fronts.
Sally Ratzlaff: colours, but not
Romona Carroll: Yeah.
Sally Ratzlaff: af that you can
Romona Carroll: I
Sally Ratzlaff: switch
Romona Carroll: guess that's that's
Sally Ratzlaff: fronts
Romona Carroll: enough.
Sally Ratzlaff: afterwards, that's also too much. People
Romona Carroll: That's
Sally Ratzlaff: don't
Romona Carroll: way too
Sally Ratzlaff: wanna
Romona Carroll: Nokia.
Sally Ratzlaff: spend more money
Michele Clevenger: Yeah.
Sally Ratzlaff: on their remote control, I guess.
Michele Clevenger: Uh, you can you can l uh
Christina Grubb: Are these designs?
Michele Clevenger: let choose the customer which colour he wants,
Sally Ratzlaff: Yeah,
Michele Clevenger: yeah.
Sally Ratzlaff: yeah.
Romona Carroll: Yeah, definitely.
Michele Clevenger: Yeah, Three
Romona Carroll: Just bring
Michele Clevenger: three
Romona Carroll: more
Michele Clevenger: or
Romona Carroll: designs
Michele Clevenger: four
Romona Carroll: on the market.
Michele Clevenger: uh four uh colours,
Sally Ratzlaff: But
Michele Clevenger: or
Sally Ratzlaff: uh,
Michele Clevenger: something
Romona Carroll: Why
Sally Ratzlaff: without
Romona Carroll: not,
Michele Clevenger: like that.
Sally Ratzlaff: gon
Romona Carroll: yeah.
Sally Ratzlaff: uh okay. So, are we through the technical part then?
Christina Grubb: Yes.
Sally Ratzlaff: Okay. So we uh agreed upon uh n uh well, not u
Christina Grubb: It
Sally Ratzlaff: unanimously
Michele Clevenger: Well, yeah, the
Christina Grubb: this a real
Sally Ratzlaff: or how you call
Christina Grubb: uh
Sally Ratzlaff: it,
Christina Grubb: young
Michele Clevenger: Three
Sally Ratzlaff: but
Michele Clevenger: to one.
Christina Grubb: young and dynamic
Sally Ratzlaff: Yeah.
Michele Clevenger: That's
Christina Grubb: uh uh styles.
Sally Ratzlaff: The materials you uh mentioned in your your personal
Christina Grubb: Yes.
Sally Ratzlaff: preferences were all were quite okay. O
Michele Clevenger: And
Christina Grubb: Yes,
Michele Clevenger: tita
Sally Ratzlaff: o only only
Michele Clevenger: uh
Sally Ratzlaff: the
Michele Clevenger: titanium,
Sally Ratzlaff: last point your
Michele Clevenger: is uh is
Sally Ratzlaff: no titanium's
Michele Clevenger: is it a no?
Sally Ratzlaff: not not
Michele Clevenger: Is
Sally Ratzlaff: out of question, I guess.
Christina Grubb: But
Michele Clevenger: It's
Christina Grubb: also
Michele Clevenger: just like that,
Christina Grubb: w
Michele Clevenger: th this titanium.
Christina Grubb: Yes, b bu but
Sally Ratzlaff: But
Christina Grubb: when
Sally Ratzlaff: is
Christina Grubb: we
Sally Ratzlaff: it
Christina Grubb: use
Sally Ratzlaff: possible
Christina Grubb: s
Sally Ratzlaff: to use
Christina Grubb: soft
Sally Ratzlaff: both the the
Christina Grubb: mm
Sally Ratzlaff: plastic and so uh soft things and t p titanium, as well?
Romona Carroll: Sure.
Sally Ratzlaff: Makes
Christina Grubb: Mm.
Sally Ratzlaff: it in a homogeneous
Michele Clevenger: No, not all,
Sally Ratzlaff: uh
Michele Clevenger: not all
Sally Ratzlaff: design.
Michele Clevenger: of them.
Christina Grubb: But it it then it uh you can't throw it it. It will uh make a huge noise or break other stuff when you throw
Sally Ratzlaff: It
Christina Grubb: with
Sally Ratzlaff: will
Christina Grubb: uh
Sally Ratzlaff: it
Christina Grubb: titanium
Sally Ratzlaff: will break other stuff w
Christina Grubb: with
Sally Ratzlaff: when
Christina Grubb: your remote
Sally Ratzlaff: it's plastic,
Christina Grubb: control.
Sally Ratzlaff: as well.
Christina Grubb: No uh,
Sally Ratzlaff: Yeah.
Christina Grubb: titanium
Romona Carroll: Yeah, that's
Christina Grubb: is a
Romona Carroll: true.
Christina Grubb: bit uh
Sally Ratzlaff: No, but uh uh, you
Christina Grubb: it's
Sally Ratzlaff: should
Christina Grubb: a bit
Sally Ratzlaff: ma
Christina Grubb: harder.
Sally Ratzlaff: Yeah.
Christina Grubb: But also on the colours, the
Sally Ratzlaff: Okay,
Christina Grubb: young
Sally Ratzlaff: think of the possibilities and make it in completely titanium. Well would it be more trendy? More chic?
Romona Carroll: Yeah, I think it
Michele Clevenger: Uh, I think
Romona Carroll: I think
Michele Clevenger: titanium
Romona Carroll: it does.
Michele Clevenger: nowadays is way more often used than plastic.
Christina Grubb: Yes, but a titanium
Michele Clevenger: In trendy things.
Christina Grubb: remote control, when you're uh watching T_V_ uh or your hands
Romona Carroll: Yeah,
Christina Grubb: are
Romona Carroll: o
Christina Grubb: a little bit sweaty, and the
Romona Carroll: On the other hand, if you want
Michele Clevenger: Yeah.
Romona Carroll: to make fruit fruity
Michele Clevenger: It's cold
Romona Carroll: stuff
Michele Clevenger: in the winter.
Romona Carroll: with
Christina Grubb: Yes.
Romona Carroll: uh
Sally Ratzlaff: Yeah, but I I really like the idea of the the the plastic and the big kind of
Michele Clevenger: Yeah.
Sally Ratzlaff: thing. But the question is i then it's, you know, is is
Romona Carroll: Yeah,
Sally Ratzlaff: it
Romona Carroll: that's
Sally Ratzlaff: fits
Romona Carroll: true,
Sally Ratzlaff: in our
Romona Carroll: that's
Sally Ratzlaff: s philosophy
Romona Carroll: true.
Sally Ratzlaff: to make it uh sturdy and simple and uh, know, like uh
Christina Grubb: Sports and gaming.
Sally Ratzlaff: When
Christina Grubb: Define.
Sally Ratzlaff: you make it titanium, it becomes more like some kind of gadget you actually don't need. And when it's big and plastic, it's like some fun stuff you can always have around. It's always fun to have something big and plastic
Romona Carroll: Yes.
Michele Clevenger: You
Sally Ratzlaff: around.
Romona Carroll: Yeah.
Michele Clevenger: have that uh M_P_ three player of Nike, I saw. Isn't that titanium with a little bit of rubber?
Christina Grubb: Yes, it's w
Michele Clevenger: Isn't it
Christina Grubb: but it is uh plastic.
Michele Clevenger: Is plastic? Well, it's titanium looking.
Christina Grubb: Yes,
Romona Carroll: What?
Christina Grubb: w we can do that on
Michele Clevenger: Yeah,
Christina Grubb: the
Michele Clevenger: he is. Here
Christina Grubb: on the
Michele Clevenger: he is. Uh, the I don't know if you know the M_P_ three player of Nike. 'Kay, uh that
Romona Carroll: Oh, yeah.
Michele Clevenger: that's
Romona Carroll: Okay,
Michele Clevenger: very
Romona Carroll: yeah.
Michele Clevenger: uh with rubber,
Sally Ratzlaff: Yeah,
Romona Carroll: Yeah,
Michele Clevenger: so
Romona Carroll: I
Sally Ratzlaff: that's
Michele Clevenger: it's
Romona Carroll: see.
Sally Ratzlaff: beautiful.
Michele Clevenger: very
Christina Grubb: We can
Romona Carroll: Yeah, but
Christina Grubb: make
Romona Carroll: but
Christina Grubb: this
Romona Carroll: but
Christina Grubb: as
Michele Clevenger: rough.
Christina Grubb: a style too. Uh, this is uh just
Sally Ratzlaff: Oh,
Romona Carroll: Yeah,
Sally Ratzlaff: maybe
Christina Grubb: a
Romona Carroll: I
Sally Ratzlaff: th
Romona Carroll: th
Sally Ratzlaff: maybe
Romona Carroll: I think
Sally Ratzlaff: this is
Romona Carroll: that's
Sally Ratzlaff: an
Romona Carroll: difficult, because uh that's different material, and then you gotta have like uh uh uh two material lines
Christina Grubb: No,
Romona Carroll: of
Christina Grubb: we
Romona Carroll: of
Christina Grubb: c we can
Romona Carroll: of
Christina Grubb: make it from the same kind of plastic.
Romona Carroll: Yeah, if it's just a colour uh which you uh which you change then, I guess it's it's nice to have one of these. Uh
Christina Grubb: Uh
Sally Ratzlaff: No, I do like the idea of maybe a t titanium kind type of body w and then with s plastic colouration around it. You
Romona Carroll: Yeah.
Sally Ratzlaff: know, like the the soft stuff, but I don't know if it's possible.
Christina Grubb: I don't have the information. Uh, I I didn't got it
Sally Ratzlaff: But you can't make the plastic give uh the ti titanium look.
Christina Grubb: Yes.
Michele Clevenger: True.
Sally Ratzlaff: But make
Romona Carroll: Mm-hmm.
Sally Ratzlaff: it just like shiny.
Michele Clevenger: Yeah yeah, true.
Sally Ratzlaff: Maybe
Christina Grubb: Like
Sally Ratzlaff: we should
Christina Grubb: the
Sally Ratzlaff: uh
Christina Grubb: M_P_
Sally Ratzlaff: shou
Michele Clevenger: Yeah,
Christina Grubb: three player.
Michele Clevenger: maybe that's good idea, yeah. But if you want to la uh yeah, last longer
Romona Carroll: Yeah.
Michele Clevenger: than two weeks or something
Sally Ratzlaff: And
Michele Clevenger: like
Sally Ratzlaff: uh and
Michele Clevenger: that, you can maybe
Sally Ratzlaff: maybe we sh should we t I don't know if we should talk about uh, how how much time
Christina Grubb: Uh, in
Sally Ratzlaff: have
Christina Grubb: a
Sally Ratzlaff: we
Christina Grubb: lot
Sally Ratzlaff: got left?
Christina Grubb: of other uh
Michele Clevenger: I don't know. What time
Sally Ratzlaff: Forty
Michele Clevenger: does
Sally Ratzlaff: minutes.
Christina Grubb: in a lot of other product uh categories like uh even in b in bags industry. Uh, they began with uh t typical uh leather bags, but then they became stylish, with all all si all sort of colours, and
Romona Carroll: Yeah.
Christina Grubb: w kind of fon of uh of fronts,
Sally Ratzlaff: Okay.
Christina Grubb: like we can use on the telephone and it Like Eastpack uh began a revolution with it with all this uh kind of bags and and colours and
Sally Ratzlaff: You putting
Christina Grubb: and
Sally Ratzlaff: in different colours.
Christina Grubb: Yes, and and styles.
Sally Ratzlaff: Okay.
Christina Grubb: They have uh also uh a kind of uh um uh roses on it, a and
Romona Carroll: Uh
Christina Grubb: uh
Romona Carroll: yeah,
Sally Ratzlaff: Okay.
Romona Carroll: yeah.
Sally Ratzlaff: Yeah, but w yeah. Well, it is. It's a possibility. But, let's think
Christina Grubb: Then
Sally Ratzlaff: about the
Christina Grubb: we
Sally Ratzlaff: bas
Christina Grubb: can always uh use the same design for a greater resemblance, but with new uh
Romona Carroll: Yes.
Christina Grubb: with new colours, new
Romona Carroll: New prints
Sally Ratzlaff: Mm-hmm,
Christina Grubb: yes.
Romona Carroll: on it. Yep.
Sally Ratzlaff: mm-hmm. But wha th our basic idea y I mean, you gonna we're probably gonna have like two type of materials, like the d d b the plastic uh enclosure and then the the pads that surround it. And and pro and lights. We have to incorporate the lights too. But, uh do w gonna gonna are we going to give it a two-tone colour look, like the the plastic mould is in in one colour and the s the cushion pads around it are in another colour? Is that the idea? Is that a good idea?
Romona Carroll: How do you mean? Th th the uh
Michele Clevenger: The rubber.
Romona Carroll: base
Sally Ratzlaff: How many
Romona Carroll: in a
Sally Ratzlaff: colours
Romona Carroll: in another
Sally Ratzlaff: are we how many colours are we gonna we're uh uh f uh f Only five minutes left, by the way.
Romona Carroll: Yes.
Sally Ratzlaff: How many colours are we gonna give it? Like two-tone
Christina Grubb: There
Sally Ratzlaff: colour? T
Michele Clevenger: Yeah.
Christina Grubb: there
Michele Clevenger: Uh
Christina Grubb: are three
Michele Clevenger: no, not
Christina Grubb: uh components
Michele Clevenger: too much I think.
Christina Grubb: three components type. You have the buttons, the the
Romona Carroll: How the buttons
Christina Grubb: case
Romona Carroll: yeah.
Christina Grubb: uh itself,
Sally Ratzlaff: I think maybe the case
Christina Grubb: and the
Sally Ratzlaff: itself
Christina Grubb: rubber
Sally Ratzlaff: should
Christina Grubb: and th
Sally Ratzlaff: be in one colour and then the rubber of the buttons, and the cushions
Christina Grubb: Yes.
Sally Ratzlaff: as well should be in another
Michele Clevenger: Or
Sally Ratzlaff: colour.
Michele Clevenger: you just
Romona Carroll: Yeah.
Michele Clevenger: make uh one colour, uh maybe with a a z a kind of like a big wave or something like uh
Sally Ratzlaff: Okay, but not
Michele Clevenger: In
Sally Ratzlaff: more
Michele Clevenger: in
Sally Ratzlaff: than
Michele Clevenger: another colour.
Sally Ratzlaff: Well, yeah,
Michele Clevenger: Not
Sally Ratzlaff: it's
Michele Clevenger: more than two colours
Sally Ratzlaff: No.
Michele Clevenger: I think.
Romona Carroll: No,
Michele Clevenger: It's
Romona Carroll: definitely
Michele Clevenger: a g a
Romona Carroll: not.
Michele Clevenger: little
Sally Ratzlaff: Maybe we should
Michele Clevenger: bit too
Sally Ratzlaff: talk
Michele Clevenger: flashy.
Sally Ratzlaff: about it on a l in
Romona Carroll: Yes,
Sally Ratzlaff: a
Christina Grubb: Yeah,
Sally Ratzlaff: later meeting.
Christina Grubb: or
Romona Carroll: definitely.
Christina Grubb: or when you use the buttons as black, it you can use two colours as well
Sally Ratzlaff: Okay.
Christina Grubb: uh
Sally Ratzlaff: But we have to uh think of some other uh important things. Uh oh yeah, the the functionalities
Michele Clevenger: The
Sally Ratzlaff: of
Michele Clevenger: funct
Sally Ratzlaff: the the
Michele Clevenger: yeah,
Sally Ratzlaff: buttons.
Michele Clevenger: I was I was thinking about th the st do we still want a joystick idea.
Sally Ratzlaff: No.
Romona Carroll: No, I think that's too vulnerable.
Michele Clevenger: Yeah.
Sally Ratzlaff: I think this is okay, the so we have the basic. Then we have the numbers. We have the power button. We have
Michele Clevenger: The
Sally Ratzlaff: we have a teletext button.
Michele Clevenger: volume, teletext and
Sally Ratzlaff: And maybe want to access a a menu or something.
Romona Carroll: Yeah, but
Sally Ratzlaff: Most
Romona Carroll: that's
Sally Ratzlaff: T_V_s
Romona Carroll: that's
Sally Ratzlaff: have a
Romona Carroll: I
Sally Ratzlaff: menu.
Romona Carroll: was thinking that's gotta be on the television.
Sally Ratzlaff: Yeah, but
Michele Clevenger: Yeah
Sally Ratzlaff: I think
Michele Clevenger: yeah yeah
Sally Ratzlaff: you ha
Michele Clevenger: yeah,
Sally Ratzlaff: I really need
Michele Clevenger: b
Sally Ratzlaff: a menu button. That's just i the
Michele Clevenger: Yeah,
Sally Ratzlaff: only
Michele Clevenger: but
Sally Ratzlaff: button
Michele Clevenger: wha what
Sally Ratzlaff: only
Michele Clevenger: kind of menu?
Sally Ratzlaff: You know,
Michele Clevenger: Is
Sally Ratzlaff: I
Michele Clevenger: uh isn't that different from every television?
Sally Ratzlaff: No, I think most T_V_s
Romona Carroll: Mm.
Sally Ratzlaff: have an uh
Romona Carroll: Yeah,
Sally Ratzlaff: a
Romona Carroll: if
Sally Ratzlaff: menu
Romona Carroll: it's c
Sally Ratzlaff: nowadays
Romona Carroll: if
Sally Ratzlaff: to access the uh uh screen settings. And
Romona Carroll: Yeah,
Sally Ratzlaff: so
Romona Carroll: I think it's okay to to add a menu button for uh
Sally Ratzlaff: But that
Romona Carroll: and if
Sally Ratzlaff: that
Romona Carroll: the
Sally Ratzlaff: covers
Romona Carroll: T_V_ doesn't
Sally Ratzlaff: all the
Romona Carroll: have a menu,
Sally Ratzlaff: all the
Romona Carroll: then
Sally Ratzlaff: other settings. It covers everything then.
Christina Grubb: But then
Romona Carroll: Yeah.
Christina Grubb: you have to put uh up and down and uh left
Romona Carroll: Yeah,
Christina Grubb: and right
Romona Carroll: you
Sally Ratzlaff: No,
Romona Carroll: can
Sally Ratzlaff: you can
Romona Carroll: put
Sally Ratzlaff: use
Romona Carroll: that on
Sally Ratzlaff: the
Romona Carroll: the two eight four and six
Sally Ratzlaff: And you
Romona Carroll: or
Sally Ratzlaff: al
Romona Carroll: whatever.
Sally Ratzlaff: can also use the normal
Christina Grubb: Okay.
Sally Ratzlaff: skip buttons for that. Th in that way
Romona Carroll: Mm,
Sally Ratzlaff: we
Romona Carroll: yeah.
Sally Ratzlaff: have like only the numbers, the power button, skip and volume, and then uh uh ten uh rem
Romona Carroll: A mute and
Sally Ratzlaff: uh yeah,
Romona Carroll: a
Michele Clevenger: Mute.
Romona Carroll: teletext
Sally Ratzlaff: mute. A teletext
Romona Carroll: and a menu.
Sally Ratzlaff: and a menu, and then then i
Romona Carroll: That's
Sally Ratzlaff: that's
Romona Carroll: all.
Sally Ratzlaff: it. It's all we need.
Michele Clevenger: Yeah.
Romona Carroll: Hmm.
Sally Ratzlaff: Okay,
Romona Carroll: Great.
Sally Ratzlaff: uh
Romona Carroll: Yeah.
Michele Clevenger: Okay, that's not mu
Sally Ratzlaff: another
Michele Clevenger: not
Sally Ratzlaff: stuf
Michele Clevenger: much functions.
Sally Ratzlaff: some stuff
Michele Clevenger: So
Sally Ratzlaff: about the the the design of the docking station. Something important about a s uh, no, uh which sh uh should remind us of the remote itself, I guess.
Romona Carroll: Yeah, definitely.
Sally Ratzlaff: Uh, in one colour.
Romona Carroll: Are we gonna
Sally Ratzlaff: Just
Romona Carroll: do
Sally Ratzlaff: use
Romona Carroll: something with the uh spongy thing there?
Sally Ratzlaff: I think the
Christina Grubb: Uh
Sally Ratzlaff: spongy thing already um comes forward in the in the in the cushions, pads and
Romona Carroll: Yeah,
Sally Ratzlaff: things on the
Romona Carroll: that's
Sally Ratzlaff: s uh
Romona Carroll: true,
Sally Ratzlaff: side.
Romona Carroll: that's
Sally Ratzlaff: And we
Romona Carroll: true.
Sally Ratzlaff: will make it spongy and and uh and uh well, the fruity thing is just the shape should be fru i did I think this is kind of fruity, you know. Just round shapes with uh
Romona Carroll: Yeah, it's kinda fruity, and with th with catchy colours uh
Sally Ratzlaff: Yeah,
Romona Carroll: uh
Sally Ratzlaff: but we're gonna have
Romona Carroll: w
Sally Ratzlaff: to we really have to think I think colours is very important, because it has to be flashy, but and but it d it doesn't have to be annoying, that when you uh, know, some things is just over the top, and when you have
Romona Carroll: Yeah,
Sally Ratzlaff: it on
Romona Carroll: definitely.
Sally Ratzlaff: your table for more than two weeks, you it just gets annoying, because it's so big and flashy. Uh, it has to be some level of subtlety, but we have to still have to think of how we manage to uh to get
Romona Carroll: Yeah.
Sally Ratzlaff: to that. Okay.
Romona Carroll: Okay.
Sally Ratzlaff: Guess we're through then.
Romona Carroll: I
Michele Clevenger: Okay.
Romona Carroll: guess so.
Sally Ratzlaff: But we I think also we just so we have to do something with colour but also, I I think we have to keep the dark colour thing in mind. I think
Romona Carroll: Yes.
Sally Ratzlaff: that's
Michele Clevenger: Yeah.
Sally Ratzlaff: uh adds to the too much colour maybe m
Michele Clevenger: Too much
Sally Ratzlaff: um
Michele Clevenger: colour, i it uh when you got it in a living room, it's
Sally Ratzlaff: But
Michele Clevenger: too
Sally Ratzlaff: our
Michele Clevenger: much
Sally Ratzlaff: des
Michele Clevenger: maybe.
Sally Ratzlaff: design
Romona Carroll: Yea yeah.
Sally Ratzlaff: experts
Michele Clevenger: It
Sally Ratzlaff: will
Michele Clevenger: has to
Sally Ratzlaff: uh
Michele Clevenger: be
Sally Ratzlaff: work that out. Okay,
Romona Carroll: Yep.
Sally Ratzlaff: well
Michele Clevenger: Yeah.
Sally Ratzlaff: I think the meeting will be over within a minute. So
Romona Carroll: Something
Sally Ratzlaff: we will
Romona Carroll: like
Sally Ratzlaff: wrap
Romona Carroll: that.
Sally Ratzlaff: up. Or is there anything we'd like to discuss?
Romona Carroll: I guess not.
Sally Ratzlaff: That's right. Okay.
Romona Carroll: Do you, guys?
Michele Clevenger: No.
Romona Carroll: No?
Sally Ratzlaff: Okay. Well, you will read the minutes uh in the you can find them
Romona Carroll: In
Sally Ratzlaff: in
Romona Carroll: the shared
Sally Ratzlaff: the
Michele Clevenger: Oh, okay,
Romona Carroll: folder.
Michele Clevenger: yeah.
Sally Ratzlaff: pro probably. Yeah uh no, for su for sure because I'm will now type them out.
Christina Grubb: What are we going to do now?
Sally Ratzlaff: Uh,
Romona Carroll: You'll
Sally Ratzlaff: y yeah.
Romona Carroll: see in you email,
Michele Clevenger: Yeah.
Romona Carroll: I guess.
Sally Ratzlaff: I think uh
Romona Carroll: Yeah, I don't know. I don't know.
Michele Clevenger: I hope so. And the other thing is that you don't have kind of prototype or something like that. You see a kinda prototype you can
Christina Grubb: I
Michele Clevenger: a
Christina Grubb: will
Michele Clevenger: little
Christina Grubb: make one
Michele Clevenger: bit more
Christina Grubb: in the
Michele Clevenger: uh
Christina Grubb: next uh twenty minutes.
Michele Clevenger: Yeah.
Romona Carroll: Construct one, yeah.
Sally Ratzlaff: But
Michele Clevenger: With you laptop?
Sally Ratzlaff: toilet paper roll
Michele Clevenger: Yeah.
Sally Ratzlaff: and uh Okay.
Michele Clevenger: Oh my God.
Romona Carroll: Alright, shall we get back to work?
Sally Ratzlaff: Yep.
Romona Carroll: Great.
Sally Ratzlaff: I was waiting for
Michele Clevenger: Well
Sally Ratzlaff: the
Michele Clevenger: you
Sally Ratzlaff: l
Michele Clevenger: are.
Sally Ratzlaff: last
Romona Carroll: Yeah.
Sally Ratzlaff: message,
Michele Clevenger: We're not.
Sally Ratzlaff: but
Romona Carroll: Bastard.
Christina Grubb: Back to the pen.
Romona Carroll: You lazy
Sally Ratzlaff: Mm yeah. | Christina Grubb talked about the options available for materials and components. He suggested that the case should be double-curved, and be made from plastic and rubber rather than wood or titanium. He also recommended using basic batteries rather than solar or kinetic power. He also mentioned the possibility of using an LCD screen to add something special. Michele Clevenger went over the functions to be included in the remote. The group discussed using large buttons for the most frequently used functions. Romona Carroll gave a presentation on trend watching. A fancy look and feel is most important to users, followed by technological innovation and ease of use. The younger market also likes the theme of fruit and vegetables and spongy material, which could be implemented through fruity colours and using a spongy material for the base. The group discussed how to incorporate a fruit and vegetable theme, as well as the company colours and logo. The group discussed whether to include an LCD screen, and eventually decided against it. Sally Ratzlaff closed the meeting and told the group they would receive emails about their tasks for the next meeting. | 4 | amisum | train |
Sheila Miller: Great man. Who starts?
Tammy Call: Well I'll uh start just with another presentation,
Sheila Miller: Alright,
Tammy Call: then
Sheila Miller: great.
Tammy Call: we can uh look at th at the agenda uh for this meeting.
Sheila Miller: Alright.
Tammy Call: Okay. I've put some uh new things in the in the map.
Sheila Miller: Mm-hmm.
Tammy Call: Uh oh. This is it. I don't know the shortcut, so Ah F_ five. Well our functional design meeting, that's the stage we're in.
Jewell Foster: Mm.
Tammy Call: And you also ha all three of you have uh prepared something about it.
Sheila Miller: Yes.
Tammy Call: Well in uh just have a look at the notes from the previous meeting, what we uh thought we had dec decided. But uh Uh then we'll uh look at uh the three uh presentations uh from you.
Sheila Miller: 'Kay.
Tammy Call: I think you have prepared uh all
Jewell Foster: Well,
Tammy Call: three
Jewell Foster: yeah.
Sheila Miller: Yeah.
Tammy Call: uh? Um we'll look at th the new project requirements we uh I dunno. Y you also have uh received that mail, the new project requirements from our bosses?
Jewell Foster: No.
Sheila Miller: No.
Tammy Call: Oh I've received a mail
Sheila Miller: You're the
Tammy Call: with
Sheila Miller: only one.
Tammy Call: uh some additional requirements,
Jewell Foster: Oh
Sheila Miller: Alright.
Tammy Call: and I'll have a look if Well I think we should show them before your presentations, because it's not really uh smart uh to uh to include some things uh we can't, because of the new requirements.
Sheila Miller: 'Kay.
Tammy Call: Well um then we can make some decisions about our remote control functions. We have to deb we have to decide it in this meeting what our function will be. And then uh we can discuss uh some more closely.
Jewell Foster: We have
Tammy Call: Uh
Jewell Foster: forty minutes for this uh discussion?
Tammy Call: Uh yeah, I think so.
Jewell Foster: Alright.
Tammy Call: Well uh the closing uh we'll not uh look at it yet.
Sheila Miller: Alright.
Tammy Call: Um now I'll look at show this board. Um Well uh notes, first meeting. Now. I gave a disc a a presentation. Uh we familiarised ourself with the boards and then we discussed some first ideas. So we said that uh we have to merge the strong points from our uh competitors,
Sheila Miller: Right.
Tammy Call: and uh look at their uh remote controls. We should make it uh compatible with our new D_V_D_ and other releases we have, our technical releases.
Jewell Foster: Huh?
Tammy Call: Uh not too many one buttons. One recognisable button in the middle, where you do the most important functions with. And um well they can have two functions, because uh you have a D_V_D_ and a television.
Jewell Foster: Yeah.
Tammy Call: Um the design has to fit the hand, be original, but also be familiar. It's uh one of our ideas. Yeah well that wa It's just thirty minutes ago, so it's not quite uh
Jewell Foster: Mm-hmm, now it's right.
Sheila Miller: Yeah.
Tammy Call: But well I have to do it. The materials uh well should be hard plastic with rubber from, and uh well the labelling of the buttons should be indestructible. It should
Jewell Foster: It's
Tammy Call: be
Jewell Foster: meant
Tammy Call: uh recognisable
Jewell Foster: to be easily
Tammy Call: at
Jewell Foster: wiped
Tammy Call: all
Jewell Foster: out,
Tammy Call: times.
Jewell Foster: yeah.
Dierdre Taylor: Mm.
Tammy Call: Yes.
Sheila Miller: Okay.
Tammy Call: Well fronts were to be just like mobile telephones. And uh the technical aspects um And also labelling of the buttons, the functions should be universal standards. Well that's just uh some ideas from the first meeting.
Jewell Foster: Mm-hmm.
Tammy Call: It's quite logical al all of it. Um now the new project requirements, I'll just show them. I got this mail from uh our bosses. Well, teletext goes out.
Dierdre Taylor: Oh.
Tammy Call: We will not use teletext.
Sheila Miller: Okay.
Tammy Call: Maybe
Jewell Foster: I I
Tammy Call: a
Jewell Foster: disagree,
Tammy Call: new sort
Jewell Foster: but
Tammy Call: of thing,
Jewell Foster: uh it's
Tammy Call: but
Jewell Foster: not
Tammy Call: n
Jewell Foster: uh t
Tammy Call: but not teletext.
Jewell Foster: it's not my place to
Tammy Call: Well
Jewell Foster: disagree I guess.
Tammy Call: the second is a bit sh pity because we just said
Dierdre Taylor: Oh.
Tammy Call: we wanted to d include the D_V_D_ and they don't want it, because
Sheila Miller: Alright.
Tammy Call: of our time we have for this project.
Jewell Foster: Oh, alright.
Dierdre Taylor: Oh that's a shame.
Tammy Call: So that's a shame, because uh especially for the third requirement we want to reach people under the thirty years. Because uh we don't have those customers a lot at th at this point. Um well it's a bit pity because it's just those people want to have uh one remote control for all those technical devices they
Sheila Miller: Yeah.
Tammy Call: can uh
Sheila Miller: But let's
Tammy Call: reach
Sheila Miller: forget
Tammy Call: it.
Sheila Miller: about it. It's just time-consuming,
Tammy Call: Yeah.
Sheila Miller: so we uh have to go
Tammy Call: Well
Sheila Miller: on.
Tammy Call: and uh our corporate image should stay rec recognisable in our products. So uh we have to uh use uh maybe a slogan, maybe a colour, and um Yeah well uh on our remote controls the design has to be uh, well as we already said a actually, uh familiar.
Sheila Miller: Yes.
Tammy Call: Uh not only just uh the shape but also our company.
Jewell Foster: Yeah, we are a real fashionable company. I read uh I read it
Tammy Call: Yeah.
Dierdre Taylor: Yeah.
Jewell Foster: on the
Tammy Call: Yeah.
Sheila Miller: Mm.
Jewell Foster: I didn't know what company we were, but we uh especially trendy uh
Tammy Call: Yeah.
Jewell Foster: trendy trendy stuff. So it
Tammy Call: Okay.
Jewell Foster: has to be uh a modern design. That's important to know, uh when you design a thing of course.
Tammy Call: Yes. I I uh noted uh our uh slogan that we have, our company. It's uh we mm put the fashion in electronics.
Jewell Foster: Yeah.
Sheila Miller: Right.
Tammy Call: So maybe that's a slogan we can put uh somewhere on our remote control or something.
Dierdre Taylor: Yeah.
Tammy Call: Alright then um we're going to uh have
Sheila Miller: Yeah.
Tammy Call: three presentations. You want to start?
Sheila Miller: Yeah. I think I have to start.
Tammy Call: Oh you have to start? I didn't see anything about uh
Sheila Miller: Oh no,
Tammy Call: who had to
Jewell Foster: The
Sheila Miller: no
Tammy Call: start.
Jewell Foster: order?
Sheila Miller: problem.
Jewell Foster: No.
Tammy Call: Well
Dierdre Taylor: Mm.
Tammy Call: s
Sheila Miller: I
Tammy Call: then start.
Sheila Miller: just have to uh to think which file's mine, 'cause I was uh bit in a hurry.
Tammy Call: Okay. Well uh
Sheila Miller: I think it's this one. But I'm not sure.
Tammy Call: You
Sheila Miller: Hmm?
Tammy Call: already uh opened uh
Sheila Miller: Yeah.
Tammy Call: PowerPoint.
Sheila Miller: S Right. Yes. This is it.
Tammy Call: Yeah.
Sheila Miller: Well, I'm going to tell you something about functional requirements.
Tammy Call: Mm-hmm.
Sheila Miller: Um to start with these points. Uh next sheet? Um at first I tell you something about what people dislike about the current uh controls, because it's uh a smart thing to exclude those things. Uh, furthermore it's very important what they do like and what they do use. Um then I tell something about um the most important issues. So we have to focus on those three thing three things. And in the end I'll um show you our target audience or our target product users, customers. Well, um the first findings are that people um think most controls are very kind of ug ugly. That's seventy five per cent of the current users. They don't like it, so we might think about fronts in that section. Um They also say, that's about uh I thought it was fifty per cent, uh that more money will be spent on uh better looking controls. So it's very important that you design a a nice looking control. Um the current user uses his machine just about well all of the time for a few functions. Uh, almost every user uses it d the the control for just ten per cent of its capacity. So it's really important to make the the buttons for the common uh tasks kind of big or kind of uh flashy. Furthermore, it's uh seventy five per cent of the users uh zaps a lot. Thus it might be uh might be smart to make a a big uh zapping button or something in the middle, so you can reach it with your thumb.
Jewell Foster: You can
Sheila Miller: Yeah,
Jewell Foster: zap away.
Tammy Call: Yeah.
Jewell Foster: Yeah.
Sheila Miller: yeah right. Right. A lot of losers um users lose their controls in their in their living room. So it might be sensible to make some kind of a button on your television, that's your um your control beeps or something, that you can find
Dierdre Taylor: Yeah.
Sheila Miller: this very easily. I dunno, maybe that's
Tammy Call: Well
Sheila Miller: an idea. 'Cause it's
Jewell Foster: Oh.
Sheila Miller: uh a big I think fifty per cent of the users loses his its control,
Jewell Foster: Oh?
Tammy Call: It should
Sheila Miller: within the
Tammy Call: actually
Sheila Miller: same room.
Tammy Call: uh It
Dierdre Taylor: Yeah.
Tammy Call: should actually be loose from the television, because it can also be used for other televisions. So if you deliver a small uh click-on device that you can put on your television, that bleeps to your remote control,
Sheila Miller: Yeah
Tammy Call: everyone
Sheila Miller: but what
Tammy Call: can
Sheila Miller: if
Tammy Call: use
Sheila Miller: you lose
Tammy Call: it.
Sheila Miller: your click-on device?
Tammy Call: No you can click it on your television.
Sheila Miller: Yeah but if someone d somebody else uses it in ano other room or something?
Tammy Call: Yeah in another room, yeah.
Sheila Miller: Nee
Tammy Call: Well
Sheila Miller: but it it specifically
Tammy Call: yes.
Sheila Miller: says it's uh the the control is lost in the same room.
Jewell Foster: Mm-hmm.
Tammy Call: Yeah.
Sheila Miller: So Well a beeping
Tammy Call: Well
Sheila Miller: device would
Tammy Call: we'll
Sheila Miller: be
Tammy Call: have a look at it, yeah.
Sheila Miller: Uh furthermore the learning time is a problem. Uh thirty four thirty four per cent um thinks it's it's too uh too difficult to learn. So the the learning curve should be very short uh for the dumbest people should be able to use it.
Jewell Foster: I think our uh user uh expert should also consider manual a manual for the remote, of course.
Sheila Miller: Yeah
Jewell Foster: Uh
Sheila Miller: but people don't read manuals.
Jewell Foster: I didn't read it? Oh,
Sheila Miller: No.
Dierdre Taylor: No.
Jewell Foster: alright. users to uh add one? Do you think?
Dierdre Taylor: I don't think
Sheila Miller: I think you should put more time in the in the design of uh
Dierdre Taylor: Yeah.
Sheila Miller: pick up and use,
Jewell Foster: Mm-hmm.
Dierdre Taylor: Yes
Sheila Miller: than
Dierdre Taylor: you should
Sheila Miller: a manual.
Dierdre Taylor: You should
Jewell Foster: Yeah alright.
Tammy Call: Yep.
Dierdre Taylor: could take
Jewell Foster: Because
Dierdre Taylor: a look at
Jewell Foster: they don't
Dierdre Taylor: it
Jewell Foster: use
Dierdre Taylor: and
Jewell Foster: it?
Dierdre Taylor: and
Jewell Foster: Alright.
Dierdre Taylor: and know how it how it's supposed to work.
Sheila Miller: Yeah. Right.
Tammy Call: but it c
Sheila Miller: And
Tammy Call: can
Sheila Miller: it should
Tammy Call: be very
Sheila Miller: be consistent
Tammy Call: short.
Dierdre Taylor: Yeah but
Sheila Miller: with consistent
Dierdre Taylor: nobody reads
Sheila Miller: with older
Dierdre Taylor: a manual
Sheila Miller: remotes.
Dierdre Taylor: about a remote control, I think.
Tammy Call: Yes okay.
Jewell Foster: Well maybe for
Sheila Miller: Alright.
Jewell Foster: the If you don't recognise a button who d who d who do I call uh wh
Dierdre Taylor: Yeah right.
Jewell Foster: when I don't
Dierdre Taylor: It sh it
Jewell Foster: know
Dierdre Taylor: should
Jewell Foster: it?
Dierdre Taylor: be there, the manual. But but not to how the remote. Only
Sheila Miller: And we don't have much time. So it's better to uh put our attention to the the design. So you can pick up and use it, than
Tammy Call: Well
Sheila Miller: I
Tammy Call: we
Sheila Miller: think.
Tammy Call: are a design
Dierdre Taylor: Hmm.
Tammy Call: team, we can say to some uh writer uh make a manual
Sheila Miller: Yeah
Tammy Call: point.
Sheila Miller: right,
Jewell Foster: Isn't it
Sheila Miller: right.
Jewell Foster: part of
Tammy Call: So
Jewell Foster: the of the u No. No.
Tammy Call: Well
Jewell Foster: Never mind.
Tammy Call: we'll have a look.
Sheila Miller: Next
Tammy Call: Um
Sheila Miller: point.
Tammy Call: yes?
Sheila Miller: Um R_S_I_. Well that's about twenty per cent I thought. But uh the designer should uh take it uh should uh Wie zeg
Jewell Foster: Consider
Sheila Miller: ik dat?
Jewell Foster: the m
Sheila Miller: Yeah, consider the consequences of using your remote. It
Jewell Foster: Yeah.
Sheila Miller: should be a good in your hand.
Jewell Foster: Mm-hmm.
Tammy Call: Yep.
Sheila Miller: Right, this is the most important part. Um, we're Like the requirements said, we're gonna specify of we're gonna target a younger audience. Um, that's about sixty per cent of the market, so it's uh quite important. Um research shows that they like to have a little L_C_D_ screen on their on their uh zapping uh device. Uh I
Tammy Call: Well
Sheila Miller: thought it was the age between sixteen and twenty, ninety nine per cent of uh the people like that. So it's very important we should definitely have that in our uh designs.
Tammy Call: Well with twelve Euro fifty as production cost, we can't
Jewell Foster: It's
Tammy Call: uh
Jewell Foster: going
Tammy Call: afford
Jewell Foster: to be expensive.
Tammy Call: an
Dierdre Taylor: No.
Tammy Call: L_C_D_
Jewell Foster: Yeah.
Tammy Call: uh
Sheila Miller: Yeah but they think it's really important. So if
Tammy Call: Yeah.
Sheila Miller: we want to s If we have a big If we make lots of uh of the stuff, maybe we can uh buy it very cheap, I dunno. We have to uh
Jewell Foster: Well we'll
Tammy Call: Well
Jewell Foster: uh consider it uh.
Tammy Call: Yeah well uh it's
Jewell Foster: We'll
Tammy Call: your
Jewell Foster: think abo
Tammy Call: your task
Jewell Foster: we'll think
Tammy Call: to uh look into the costs uh of
Sheila Miller: Yeah,
Tammy Call: those uh
Sheila Miller: I don't know. I don't have any information on
Tammy Call: Nigh
Sheila Miller: that. So
Jewell Foster: No, we'll
Tammy Call: I
Jewell Foster: look
Tammy Call: know.
Jewell Foster: we'll look into that later.
Sheila Miller: Right.
Jewell Foster: Alright?
Sheila Miller: And uh another thing is uh speech uh recognition. They also like that, but research is very uh costly.
Dierdre Taylor: I
Sheila Miller: So
Dierdre Taylor: think that's uh difficult to realise also.
Sheila Miller: Yeah, but it it might be important for
Jewell Foster: We
Sheila Miller: the sale.
Jewell Foster: have very demanding clients.
Tammy Call: It's not yet a standard uh development uh those
Dierdre Taylor: No and we have
Tammy Call: so
Dierdre Taylor: customers in multiple
Tammy Call: We
Sheila Miller: think
Tammy Call: sh
Dierdre Taylor: uh
Sheila Miller: L_C_D_ is
Dierdre Taylor: countries
Sheila Miller: more
Dierdre Taylor: I think.
Sheila Miller: reachable than the speech
Tammy Call: Yeah
Sheila Miller: recognition.
Tammy Call: absolutely.
Dierdre Taylor: Yeah.
Sheila Miller: So we might consider L_C_D_ screens.
Jewell Foster: Yeah, yeah, alright. Well
Dierdre Taylor: No.
Jewell Foster: we'll consider both and and see what uh what what we can find, I think.
Sheila Miller: Alright.
Tammy Call: Yep.
Jewell Foster: We don't rule them out uh yet.
Tammy Call: 'Kay.
Sheila Miller: Alright. Um, I think that's it. Um
Tammy Call: Alright.
Sheila Miller: I think it is sensible to u uh to take this take these points into the notes.
Tammy Call: Yes.
Sheila Miller: So you can Right.
Tammy Call: Well you I c I can uh still see your presentation.
Sheila Miller: Yeah. Right.
Tammy Call: It's in the Well uh next um I dunno who is next. You uh got uh
Jewell Foster: Shall I give
Dierdre Taylor: Oh
Jewell Foster: a
Dierdre Taylor: you
Jewell Foster: technical
Dierdre Taylor: go.
Jewell Foster: talk?
Tammy Call: Yes.
Jewell Foster: Alright.
Tammy Call: Well go ahead.
Jewell Foster: Well uh it is my task to uh explain uh or to point out a working design.
Tammy Call: Yip.
Jewell Foster: We have that here. Okay, how do you enlarge it, so that
Tammy Call: F_
Jewell Foster: you can
Tammy Call: five.
Jewell Foster: have the F_ F_ five.
Tammy Call: F_ five.
Jewell Foster: Yep.
Sheila Miller: Alright.
Jewell Foster: Well, the working design, that's my uh
Sheila Miller: Next button.
Jewell Foster: Well alright uh, you know who I am and what I do. So uh we have this. It's a bit uh unclear because I wanted to copy paste something. It
Sheila Miller: Oh
Jewell Foster: was
Sheila Miller: right.
Jewell Foster: originally in black and white but it became black and
Sheila Miller: Purple.
Jewell Foster: purple. But I think you can read it.
Sheila Miller: Yeah, yeah,
Jewell Foster: Um
Sheila Miller: yeah. A bit.
Jewell Foster: well um I think it's important uh for you to realise the basic function of a remote control. Uh well you can see uh
Sheila Miller: Maybe you can select it. So it uh inverts.
Jewell Foster: And I then can select I can select on the
Sheila Miller: the
Jewell Foster: dings It
Sheila Miller: p the
Jewell Foster: goes
Sheila Miller: whole
Jewell Foster: to the next
Sheila Miller: picture.
Jewell Foster: page.
Sheila Miller: Nah, uh
Tammy Call: Click.
Sheila Miller: never mind.
Jewell Foster: Well, you can read it, it's not
Dierdre Taylor: Yeah,
Jewell Foster: too difficult.
Dierdre Taylor: go
Jewell Foster: Meanwhile,
Dierdre Taylor: ahead.
Jewell Foster: this is a schematic uh um view of uh how a basic remote control works. You have uh basically uh the energy, the power of the of the remote control, uh and the sender, w which is the LED, the the the the the the the the the bulb that sends the the infrared
Sheila Miller: Yeah.
Jewell Foster: beam to the, no, to the set.
Sheila Miller: Alright.
Jewell Foster: And uh the source is of course the user. Uh the user interface is um uh the the the buttons of course. And the the user interface sends uh the the different signals of the different buttons to the chip, and the chip uh sends it to the LED, and the LED sends it to the receiver. That's the that's the basic
Tammy Call: Yep.
Jewell Foster: idea. Very basic. Um well I have uh uh put it in a in in in a a couple of basic steps. Uh the remote uh is basically just waiting for a user to press a key. It does nothing until uh of course uh the key is pressed. The key a signal to a chip, uh the chip senses the connection. uh and recognise the key. So well you understand. The chip uh produces Morse code, um a specific code to indicate that specific button that is pressed, of course. And it uses transistors in the in the remote control to amplify and to send uh that signal again to the to the LED, which is the bulb, of course. Now the LED produces an infrared beam and signals the, well it's uh very simple, and signals the
Tammy Call: Yeah.
Jewell Foster: uh signals to the sensor on the T_V_ set, and the T_V_ set uh also recognises the the the signal, and performs the assigned task.
Tammy Call: So it is also why we have to have a button that says uh I'm now busy with a D_V_D_ uh if we had done that. And a
Jewell Foster: Ah
Tammy Call: button
Jewell Foster: bu Yeah,
Tammy Call: for
Jewell Foster: but we don't.
Tammy Call: T_V_.
Jewell Foster: Uh we No
Tammy Call: So
Jewell Foster: no, but Yeah. Exactly. Uh well this is uh the basic uh function of a remote. I've some couple of pictures here. It's a very basic one. And uh if we if we're going to add an uh an uh L_C_D_ screen to it, it uh won't look anything like this, but This is very basic uh basically the the shape of um of a remote control. It has uh very little buttons and But it it uh it's it's quite um Yeah, you can easily recognise the buttons. They're uh far enough apart and an anything. It's not very um
Dierdre Taylor: High
Jewell Foster: uh
Dierdre Taylor: tech.
Jewell Foster: not very high-tech uh indeed, and it's not very user-friendly. So we have to uh change a little bit uh to that, uh so that uh it becomes more user-friendly, and that uh problems like uh R_S_I_ and uh those kinds
Sheila Miller: Right.
Jewell Foster: of thing don't don't
Sheila Miller: Can I say
Jewell Foster: oc
Sheila Miller: something?
Jewell Foster: don't occur. Yeah.
Sheila Miller: Um I have a table here about uh the l the relevance of the buttons. Uh the power button is used very much, channel selection, volume and teletext. Well teletext is not an option,
Jewell Foster: Mm-hmm.
Sheila Miller: so that uh But I think it's very important to make um the power, channel and volume buttons uh near to the thumb, so you can't have R_S_I_ uh consequences.
Jewell Foster: Yeah, because they are the the most important buttons
Sheila Miller: Right.
Jewell Foster: and you can
Sheila Miller: Make
Jewell Foster: immediately
Sheila Miller: them big, make them easy to uh
Tammy Call: Well
Sheila Miller: to press.
Jewell Foster: You
Dierdre Taylor: You
Jewell Foster: don't
Tammy Call: but
Dierdre Taylor: can
Jewell Foster: have
Dierdre Taylor: also
Jewell Foster: to look and
Tammy Call: but
Jewell Foster: and
Dierdre Taylor: like
Jewell Foster: search for them.
Tammy Call: if you have
Sheila Miller: Right.
Tammy Call: um the most used buttons all in one place, and you keep making the same um well moves.
Sheila Miller: Yeah,
Dierdre Taylor: Yeah,
Sheila Miller: right.
Dierdre Taylor: I was
Tammy Call: But
Dierdre Taylor: thinking
Sheila Miller: Right.
Tammy Call: if
Dierdre Taylor: you
Tammy Call: y if
Dierdre Taylor: can
Tammy Call: you would put it at a different place, then you have to move your hands, and that's
Sheila Miller: Yeah,
Dierdre Taylor: Are
Tammy Call: on
Sheila Miller: that's
Dierdre Taylor: some
Tammy Call: of
Sheila Miller: right.
Tammy Call: the things
Dierdre Taylor: of the
Tammy Call: about R_S_I_.
Sheila Miller: That's right.
Dierdre Taylor: the
Sheila Miller: That's right.
Jewell Foster: Well
Dierdre Taylor: the
Jewell Foster: you
Dierdre Taylor: um
Sheila Miller: We
Jewell Foster: you can't have any uh every button under the thumb, of course.
Tammy Call: No but the most
Sheila Miller: But
Tammy Call: important buttons m maybe you can just put them a bit apart
Sheila Miller: Yeah.
Tammy Call: so you would
Sheila Miller: That's very important. And
Tammy Call: reject R_ R_S_I_ R_S_I_.
Dierdre Taylor: Maybe you can make, for for channel changing, two little buttons on the side of the remote, so you can just do like this. Like
Tammy Call: Yes
Dierdre Taylor: some
Tammy Call: I've saw
Dierdre Taylor: uh
Tammy Call: that on m on mi mobile telephones
Dierdre Taylor: little
Tammy Call: they also
Dierdre Taylor: uh
Sheila Miller: But
Tammy Call: have
Sheila Miller: is
Dierdre Taylor: Gameboy
Tammy Call: uh
Sheila Miller: that
Tammy Call: those
Sheila Miller: is
Dierdre Taylor: things
Tammy Call: buttons.
Sheila Miller: that useable?
Dierdre Taylor: or some Hmm?
Sheila Miller: Do people, uh when they pick up a remote, know that they have to do that? It's
Dierdre Taylor: Well
Sheila Miller: a f it's a new feature,
Tammy Call: Well it
Sheila Miller: you
Tammy Call: it's
Sheila Miller: can
Jewell Foster: Yeah.
Sheila Miller: make make
Dierdre Taylor: Yeah alright,
Sheila Miller: a double
Dierdre Taylor: but
Sheila Miller: feature l like a button on the top and under
Dierdre Taylor: Yeah,
Sheila Miller: it.
Tammy Call: Well
Dierdre Taylor: but
Tammy Call: also i
Dierdre Taylor: if
Tammy Call: if
Dierdre Taylor: you s
Tammy Call: someone
Dierdre Taylor: say
Tammy Call: puts
Dierdre Taylor: them
Tammy Call: picks
Dierdre Taylor: up
Tammy Call: up
Dierdre Taylor: and down,
Tammy Call: his uh
Dierdre Taylor: they they'll
Tammy Call: remote
Dierdre Taylor: understand it, I think.
Tammy Call: Yeah.
Dierdre Taylor: Eighty
Jewell Foster: Well,
Dierdre Taylor: per cent would.
Tammy Call: If someone puts up i uh picks up his remote, and he picks up it he he touches the side then
Sheila Miller: Yeah,
Tammy Call: he's a already
Sheila Miller: he feels
Tammy Call: on the next
Sheila Miller: it immediately.
Tammy Call: channel.
Dierdre Taylor: Yeah
Tammy Call: That's
Dierdre Taylor: that's
Tammy Call: very
Dierdre Taylor: true.
Tammy Call: irritating,
Sheila Miller: Yeah, that's right.
Tammy Call: I think.
Sheila Miller: Yeah.
Dierdre Taylor: Yeah
Tammy Call: Well.
Dierdre Taylor: but
Sheila Miller: Right, continue. Sorry.
Jewell Foster: But in e in any case the
Tammy Call: No.
Jewell Foster: the basic function should be uh indeed, and as you say at the thumb. I think that's a good idea, and uh and that the less important uh buttons, like the the the different channels, uh the numbers one two three four five as well, should be uh yeah well not in reach, because uh they don't use it uh all the time. Well it's uh pretty pretty
Tammy Call: Yep.
Jewell Foster: basically uh as you said. And I have some pictures of the inside workings, but uh I don't want to get too technical, because
Tammy Call: Mm-hmm.
Jewell Foster: uh that's not uh very uh
Sheila Miller: Yeah, that's
Jewell Foster: useful
Sheila Miller: right.
Tammy Call: That's
Jewell Foster: for
Tammy Call: your
Jewell Foster: you.
Tammy Call: part of the job.
Jewell Foster: So yeah exactly this is uh how it uh looks from the inside.
Tammy Call: Yep.
Jewell Foster: And uh well that's about it I think. Oh yeah, I still have this. Oh I had to delete this, but I had to make a schematic
Sheila Miller: Alright.
Jewell Foster: uh of the of the new But I had too
Tammy Call: Okay.
Jewell Foster: too little time, but uh don't uh
Tammy Call: Well
Jewell Foster: don't look at it please.
Sheila Miller: Alright.
Jewell Foster: I I think
Tammy Call: we understand.
Jewell Foster: it's it's clear uh
Tammy Call: We understand.
Sheila Miller: Yeah,
Jewell Foster: how
Sheila Miller: it's
Jewell Foster: it
Sheila Miller: clear.
Jewell Foster: works. Alright.
Tammy Call: Oh right,
Jewell Foster: That's
Tammy Call: no.
Jewell Foster: the most important thing.
Tammy Call: Nice.
Jewell Foster: Alright.
Tammy Call: Then
Jewell Foster: Uh
Tammy Call: uh Mike can uh give the third presentation. How
Jewell Foster: Right.
Tammy Call: late is did we start his presentation
Sheila Miller: I dunno.
Tammy Call: uh?
Sheila Miller: I think uh w About
Tammy Call: Wha
Sheila Miller: twenty minutes ago?
Tammy Call: Yeah. Well
Sheila Miller: Losing time losing
Tammy Call: then we
Sheila Miller: time.
Tammy Call: have still the time, so But we do have to come to a decision,
Sheila Miller: Yeah right.
Tammy Call: right
Sheila Miller: So
Tammy Call: later on. So
Dierdre Taylor: Mm. Well I thought um everybody on the website uh would see the same thing, but
Sheila Miller: I don't think
Dierdre Taylor: obviously
Sheila Miller: so.
Dierdre Taylor: that's not the case.
Jewell Foster: Yeah, uh there are different uh We have all have different home pages,
Tammy Call: Oh yeah?
Dierdre Taylor: Yeah.
Jewell Foster: with different links. Yeah.
Sheila Miller: Yeah right.
Tammy Call: Uh?
Dierdre Taylor: For instance you couldn't see this.
Tammy Call: Okay, yeah well.
Dierdre Taylor: Um Yeah. Well I'm Mike, User Interface
Tammy Call: Mm-hmm.
Dierdre Taylor: Designer. The the method? Well I used my own experience with remotes, took a good l look uh at the remotes on the corporate website, which are these two.
Tammy Call: Yeah.
Dierdre Taylor: Um
Sheila Miller: These are already in use?
Dierdre Taylor: Yes, these are from from another uh manufacturer.
Sheila Miller: Alright,
Dierdre Taylor: Um
Sheila Miller: okay.
Dierdre Taylor: This one is engineering-centred, so this one has the most functions and um things. This one is user-centred.
Tammy Call: Yeah.
Jewell Foster: Mm-hmm.
Dierdre Taylor: Um
Sheila Miller: Well
Tammy Call: I like user-centred.
Sheila Miller: Yeah, Sheila Miller too.
Dierdre Taylor: I like user-centr centred
Tammy Call: Yeah.
Dierdre Taylor: uh uh also the best.
Tammy Call: We also do that.
Dierdre Taylor: Um Well, I thought uh that we uh reduce the the option to control the D_V_D_ also, and teletext and that kind of stuff.
Sheila Miller: Mm.
Dierdre Taylor: Uh so I thought we we we would use more or need more buttons than this one.
Sheila Miller: But we have to reject
Dierdre Taylor: But
Sheila Miller: that, because
Dierdre Taylor: Yes.
Sheila Miller: of the requirements?
Tammy Call: Yeah.
Dierdre Taylor: Th that's why this mm is not relevant any more I
Sheila Miller: Alright.
Dierdre Taylor: feel. Um I think this is about the maximum number of buttons uh we'll need.
Sheila Miller: Yeah, right.
Dierdre Taylor: I um I kinda like the shape. I think this is what we talked about. But
Sheila Miller: Yeah.
Jewell Foster: You can't really see uh the differ from different sides. But I think
Dierdre Taylor: No
Jewell Foster: uh
Dierdre Taylor: I've Well I showed it somewhere. Um
Jewell Foster: Uh you can draw it if you Yeah.
Dierdre Taylor: Oh yeah. I think we should go further with the idea of a removable front. So
Tammy Call: Mm-hmm.
Dierdre Taylor: we can can uh yeah customise the
Tammy Call: Well absolutely, but i th they all have to have something about um the recognition from our company. So
Dierdre Taylor: Mm?
Tammy Call: we cannot just uh
Dierdre Taylor: Yeah.
Tammy Call: make someone
Dierdre Taylor: It's a front.
Tammy Call: w
Dierdre Taylor: It's not the the whole remote that changes, of
Tammy Call: No
Dierdre Taylor: course.
Tammy Call: but
Sheila Miller: But
Dierdre Taylor: You
Tammy Call: that's
Sheila Miller: it
Dierdre Taylor: can
Tammy Call: th the side they look uh look at is the front. So if y if you make a a front with just a a tiger on it, then uh
Dierdre Taylor: Mm.
Tammy Call: our recognition is totally gone.
Sheila Miller: Yeah, that's right.
Dierdre Taylor: Or you can you can can put the same symbol on on every
Sheila Miller: Yeah,
Dierdre Taylor: remote. So
Sheila Miller: that's
Dierdre Taylor: l
Sheila Miller: a must.
Dierdre Taylor: like
Sheila Miller: We
Tammy Call: Yeah,
Sheila Miller: must
Dierdre Taylor: Ericsson
Sheila Miller: have
Jewell Foster: We
Sheila Miller: that.
Jewell Foster: can
Tammy Call: we
Jewell Foster: put
Tammy Call: must.
Dierdre Taylor: does
Jewell Foster: it on the on the back side.
Tammy Call: Yeah
Dierdre Taylor: every uh
Tammy Call: well and and
Dierdre Taylor: S something like this.
Tammy Call: Yes.
Dierdre Taylor: It's recognisable.
Tammy Call: 'Kay.
Sheila Miller: We can
Dierdre Taylor: Um
Sheila Miller: make a symbol of the company right here. And if you
Dierdre Taylor: Yeah?
Sheila Miller: put a front on it, there's a hole on the front. So
Jewell Foster: Yeah,
Sheila Miller: the symbol's
Jewell Foster: so that
Sheila Miller: always
Dierdre Taylor: Yeah
Jewell Foster: you
Tammy Call: Yeah
Dierdre Taylor: yeah.
Jewell Foster: don't
Tammy Call: yeah
Dierdre Taylor: Something
Jewell Foster: replace
Tammy Call: yeah.
Dierdre Taylor: like that,
Jewell Foster: the symbol,
Dierdre Taylor: in the
Jewell Foster: yeah.
Tammy Call: Or
Sheila Miller: on
Tammy Call: the
Sheila Miller: Yeah.
Dierdre Taylor: Yeah.
Tammy Call: th the the lowest part of the remote isn't changed
Sheila Miller: Yeah,
Tammy Call: by the front.
Sheila Miller: yeah.
Jewell Foster: Mm-hmm.
Sheila Miller: But
Dierdre Taylor: Yeah.
Sheila Miller: let's
Tammy Call: Those
Sheila Miller: not
Tammy Call: kind
Sheila Miller: focus
Tammy Call: of things.
Sheila Miller: on the
Tammy Call: Yes.
Sheila Miller: front.
Tammy Call: Okay.
Dierdre Taylor: Um Well so uh uh like I said I thought we'd we'd use more function. If we we had to include more functions. But we don't. So um
Tammy Call: Mm-hmm.
Dierdre Taylor: Yeah.
Sheila Miller: Alright.
Dierdre Taylor: I think this is about the maximum number of buttons we need. Maybe some less. Like eject we don't need, and some other buttons we don't need. I think
Jewell Foster: Mike,
Dierdre Taylor: uh
Jewell Foster: uh can you put uh that picture from Sheila Miller on the in the Word documents file?
Dierdre Taylor: Yeah,
Jewell Foster: In Map?
Dierdre Taylor: I will. I think uh for the remote um uh less is more. The less buttons the better the design. Um
Tammy Call: Yeah.
Sheila Miller: Yeah,
Dierdre Taylor: We
Sheila Miller: I
Dierdre Taylor: should
Sheila Miller: agree.
Dierdre Taylor: go with that concept I think. I know.
Tammy Call: Alright.
Sheila Miller: I've I've got another point.
Tammy Call: Yeah?
Sheila Miller: Um there are two target audi audiences, and we've uh chose for the younger one. Um,
Dierdre Taylor: Mm.
Sheila Miller: research has shown that um it's a high interested uh in features. They are high high interested in feature. But they are more critical. Fo Yeah, critical.
Jewell Foster: The
Sheila Miller: So
Jewell Foster: younger uh
Sheila Miller: The younger audience.
Jewell Foster: Mm-hmm.
Sheila Miller: So we must um must design uh a control that really speaks to the people.
Tammy Call: Well what if we um I at I at home have a remote that has um the most familiar uh buttons on the top,
Sheila Miller: Mm-hmm.
Tammy Call: and the bottom side of the front has a little clip, a f a little uh You can click away and then you have f much more functions that most people don't use but s some do do.
Jewell Foster: Mm-hmm. I think uh the most functions uh underneath that uh
Sheila Miller: Clip aren't
Jewell Foster: uh
Sheila Miller: used much.
Jewell Foster: No um
Tammy Call: Well but
Jewell Foster: mm
Tammy Call: because
Jewell Foster: usually
Tammy Call: you say they their features are important, they want
Sheila Miller: Yeah right.
Tammy Call: m um
Jewell Foster: But
Tammy Call: a lot, but not
Dierdre Taylor: Yeah, but what kind of features?
Jewell Foster: Yeah
Dierdre Taylor: Like
Jewell Foster: I think
Dierdre Taylor: L_C_D_ screens
Sheila Miller: Yeah
Dierdre Taylor: and
Jewell Foster: m
Sheila Miller: but
Jewell Foster: most
Dierdre Taylor: voice recognition.
Sheila Miller: Yeah.
Dierdre Taylor: But I've
Jewell Foster: Most
Sheila Miller: Here, look
Jewell Foster: uh
Sheila Miller: at these numbers. The newest features are, like I said, are uh L_C_D_ and uh speech uh control. Our audience, these people, are very like these uh features.
Tammy Call: Yeah.
Jewell Foster: Mm-hmm.
Sheila Miller: You see? So
Jewell Foster: Uh.
Sheila Miller: we must build in something, or they will to uh go to the concurrent.
Jewell Foster: Yeah.
Sheila Miller: The
Jewell Foster: Our
Tammy Call: Competitors.
Jewell Foster: competitor.
Sheila Miller: concurrent?
Jewell Foster: Yeah.
Sheila Miller: Competitors, right. So, I do think we have to uh have some features.
Tammy Call: Yeah.
Sheila Miller: Even though they
Tammy Call: Well
Sheila Miller: cost a little more.
Tammy Call: maybe w we could uh s On um some uh calculators you have lo those little little
Sheila Miller: Right.
Tammy Call: L_C_D_
Sheila Miller: Right.
Tammy Call: th that you can click on or something, or that you can click uh out uh of the remote. And if if that's gives you a little bit of sta status
Sheila Miller: Like
Tammy Call: information.
Sheila Miller: a ticker-tape.
Tammy Call: Yeah.
Sheila Miller: Which programme you are l watching or something.
Dierdre Taylor: Yeah, that's nice.
Tammy Call: Those kind of things, uh because you also have those uh those program recognition for your V_ V_C_R_s. And uh
Sheila Miller: Yeah, right.
Tammy Call: well
Jewell Foster: Yeah.
Tammy Call: if y
Sheila Miller: Yeah right.
Tammy Call: if your remote picks that up also, you they can display which programme you're currently watching.
Jewell Foster: Yeah. So it it just signals the the different uh sig uh the different symbols on the screen
Tammy Call: Yeah.
Jewell Foster: you have, uh because if you change to s channel two you have two on the screen and two on your on your um
Tammy Call: For example.
Jewell Foster: on your L_C_D_ screen.
Tammy Call: It it could be such a little uh th that you can click in and out and you and you have it.
Dierdre Taylor: Yeah, we should keep that simple too.
Jewell Foster: But should
Dierdre Taylor: It
Tammy Call: Yeah.
Jewell Foster: it uh really be
Dierdre Taylor: will
Jewell Foster: uh clickable, uh
Sheila Miller: No not
Tammy Call: Well
Sheila Miller: clickable.
Tammy Call: maybe.
Dierdre Taylor: No, it
Sheila Miller: Nah,
Jewell Foster: or
Dierdre Taylor: should
Sheila Miller: no
Dierdre Taylor: be
Sheila Miller: no no.
Dierdre Taylor: uh integrated. I
Sheila Miller: Yeah,
Jewell Foster: or just
Sheila Miller: just
Dierdre Taylor: think
Jewell Foster: integrate
Sheila Miller: at
Jewell Foster: inside to
Sheila Miller: at
Jewell Foster: try to
Sheila Miller: the
Jewell Foster: make
Sheila Miller: top.
Jewell Foster: it d more trendy.
Sheila Miller: So when you s you sit like this you can can watch. I think
Tammy Call: Yeah.
Sheila Miller: it
Dierdre Taylor: Yeah,
Sheila Miller: should be
Dierdre Taylor: something
Sheila Miller: at the top.
Dierdre Taylor: like on
Tammy Call: Yeah.
Dierdre Taylor: um some radios in car. You Where it's, yeah, walking
Sheila Miller: Yeah right.
Dierdre Taylor: to
Sheila Miller: It's
Tammy Call: R_D_S_s
Sheila Miller: a
Dierdre Taylor: Yeah.
Tammy Call: or
Sheila Miller: ticker-tape
Tammy Call: something.
Sheila Miller: idea.
Jewell Foster: But that's of course uh a bit more uh expensive than uh the basic uh calculator design, with the scrolling text and that kind of thing.
Dierdre Taylor: Wa
Sheila Miller: Well it's just
Tammy Call: Well
Sheila Miller: one
Tammy Call: I
Sheila Miller: script.
Tammy Call: think it's you got
Dierdre Taylor: Yeah.
Tammy Call: It just means it's a script that's uh keeps it uh rolling, and it's not uh That's five minutes off uh implementing
Sheila Miller: Yeah,
Tammy Call: time
Sheila Miller: five
Tammy Call: I think
Sheila Miller: minutes
Tammy Call: uh
Sheila Miller: of ja ja for programming.
Tammy Call: Yeah.
Sheila Miller: So I don't think that's the issue.
Tammy Call: No.
Jewell Foster: Alright.
Sheila Miller: Alright, we go with the L_C_D_ screen?
Tammy Call: Uh well I think so, yes.
Dierdre Taylor: Yeah
Sheila Miller: 'Kay.
Tammy Call: Um
Dierdre Taylor: well we we we still need to know how much that will cost.
Sheila Miller: Right, I don't know if I can
Tammy Call: We're
Sheila Miller: find
Tammy Call: g
Sheila Miller: that,
Tammy Call: No but
Sheila Miller: but
Tammy Call: we're we'll
Dierdre Taylor: Or
Tammy Call: have
Dierdre Taylor: maybe
Tammy Call: to look into
Dierdre Taylor: you will
Tammy Call: that.
Dierdre Taylor: get that information uh
Sheila Miller: Next
Tammy Call: Um
Sheila Miller: time. Yeah right.
Tammy Call: we can use
Dierdre Taylor: Yeah.
Tammy Call: this board again, I think. Uh we can put some um decisions about um the controls we want, th the issue. Where is my presentation? Uh
Sheila Miller: Yeah, I understand what you're saying.
Tammy Call: Uh
Sheila Miller: We should have a general idea of how it's gonna look.
Tammy Call: Well I mean we're all here now, I think. These I've already given you. So we have to decide on the different remote control functions.
Sheila Miller: Right.
Tammy Call: So we want to have a small L_C_D_ screen
Sheila Miller: At the top.
Tammy Call: that's special.
Jewell Foster: Shouldn't we start with the most important
Dierdre Taylor: At
Jewell Foster: parts?
Dierdre Taylor: the top
Tammy Call: Yes.
Jewell Foster: The L_C_D_
Dierdre Taylor: or
Jewell Foster: screen
Dierdre Taylor: at the bottom?
Jewell Foster: alright
Sheila Miller: I think
Jewell Foster: but
Sheila Miller: the top
Jewell Foster: we should
Sheila Miller: is more
Jewell Foster: start
Sheila Miller: uh
Jewell Foster: with the power button? Uh
Tammy Call: Yeah.
Sheila Miller: When
Dierdre Taylor: Yeah
Sheila Miller: you s
Dierdre Taylor: but
Sheila Miller: How do you zap? You just sit in your chair?
Jewell Foster: Huh?
Sheila Miller: With
Dierdre Taylor: Yeah
Sheila Miller: the
Dierdre Taylor: but
Sheila Miller: remote?
Dierdre Taylor: with with the L_C_D_ screen on the top it
Tammy Call: That
Dierdre Taylor: gets
Tammy Call: thing is
Dierdre Taylor: a bit
Tammy Call: terrible.
Dierdre Taylor: unnatural. 'Cause most remotes have some space left at the bottom.
Sheila Miller: Yeah but that's where your hand ball might be.
Tammy Call: Uh
Sheila Miller: Yeah,
Dierdre Taylor: Yeah,
Sheila Miller: I dunno.
Dierdre Taylor: no Mm.
Jewell Foster: And then uh
Sheila Miller: We'll draw two, and then we'll see uh
Jewell Foster: Maybe we should uh centralise the discussion here. I dunno what uh you were
Sheila Miller: No
Jewell Foster: talking about but
Sheila Miller: Um he
Jewell Foster: we
Sheila Miller: thinks
Jewell Foster: are busy with something.
Sheila Miller: Yeah, right. He thinks it's better to put the L_C_D_ at the bottom, and I think it's better at the top.
Jewell Foster: Uh-huh. Why
Tammy Call: Well
Jewell Foster: do you think it's better at the bottom?
Dierdre Taylor: Uh well because most uh remotes have um some space left at the bottom, and that way you can keep the shape recognisable for
Sheila Miller: But
Dierdre Taylor: everybody.
Sheila Miller: your
Jewell Foster: But you
Dierdre Taylor: I
Jewell Foster: just
Dierdre Taylor: c
Jewell Foster: can put uh the the the the the whole interface a bit down, so that there's
Sheila Miller: Yeah.
Dierdre Taylor: Well
Jewell Foster: room
Sheila Miller: The
Dierdre Taylor: I d
Jewell Foster: for
Dierdre Taylor: I think
Jewell Foster: the for
Dierdre Taylor: that's
Sheila Miller: the
Jewell Foster: the interface.
Sheila Miller: ticker
Dierdre Taylor: that's
Sheila Miller: The L_C_D_
Dierdre Taylor: ugly
Sheila Miller: is
Dierdre Taylor: but
Sheila Miller: like like small. It's it's wide. It's
Jewell Foster: Uh-huh.
Sheila Miller: not not high. But
Tammy Call: Well
Jewell Foster: And and
Tammy Call: I th
Jewell Foster: we
Tammy Call: I
Jewell Foster: can
Dierdre Taylor: I
Tammy Call: think
Dierdre Taylor: th
Tammy Call: Mike Mike has a point, because
Dierdre Taylor: Yeah.
Tammy Call: um
Dierdre Taylor: Power
Tammy Call: when when
Dierdre Taylor: button
Tammy Call: uh when I
Dierdre Taylor: always
Tammy Call: use a remote
Dierdre Taylor: Yeah.
Tammy Call: I l I hate the buttons but buttons at the at the
Jewell Foster: Bottom.
Dierdre Taylor: Yeah.
Tammy Call: bottom. So and and
Dierdre Taylor: Yeah,
Tammy Call: I
Dierdre Taylor: y
Tammy Call: I like
Dierdre Taylor: you
Tammy Call: to
Dierdre Taylor: gotta
Tammy Call: use the
Dierdre Taylor: zap
Tammy Call: ones
Dierdre Taylor: like this or you want
Tammy Call: on the
Dierdre Taylor: to
Tammy Call: top. So
Sheila Miller: Yeah
Tammy Call: when
Dierdre Taylor: Yeah.
Sheila Miller: right.
Tammy Call: I
Sheila Miller: But
Tammy Call: u when I have to have an L_C_D_
Jewell Foster: Well
Tammy Call: s scr
Sheila Miller: We're making
Tammy Call: window
Jewell Foster: that's
Sheila Miller: a remote
Jewell Foster: a
Sheila Miller: with
Jewell Foster: bit exaggerated. Well, I agree with you.
Sheila Miller: with a few functions you know.
Jewell Foster: It's
Sheila Miller: We
Jewell Foster: it's also more recognisable. It looks more like a calculator to people, if you have the l the the
Tammy Call: Yes but we we we
Jewell Foster: the
Tammy Call: we
Jewell Foster: thing
Tammy Call: don't
Jewell Foster: on top.
Tammy Call: want that.
Dierdre Taylor: Yeah you don't want
Tammy Call: We don't
Dierdre Taylor: You want
Tammy Call: want
Dierdre Taylor: uh
Tammy Call: them to look
Dierdre Taylor: Yeah
Tammy Call: like a calculator.
Dierdre Taylor: it
Tammy Call: We
Dierdre Taylor: it
Tammy Call: want to
Dierdre Taylor: it
Tammy Call: look
Dierdre Taylor: must
Tammy Call: it
Dierdre Taylor: be a remote.
Tammy Call: like our original
Jewell Foster: Yeah
Tammy Call: but
Jewell Foster: w
Tammy Call: familiar
Jewell Foster: well, but uh you
Dierdre Taylor: Yeah.
Jewell Foster: don't have to throw uh um important aspe
Sheila Miller: High-tech.
Jewell Foster: important aspect like familiarity
Tammy Call: Yea
Jewell Foster: uh completely away, uh because
Tammy Call: Maybe
Jewell Foster: I think
Tammy Call: a
Jewell Foster: it's
Tammy Call: bic
Jewell Foster: uh
Tammy Call: uh better uh white uh We White?
Jewell Foster: I think
Sheila Miller: Width.
Jewell Foster: it's still important to
Tammy Call: Width.
Jewell Foster: have it at the top,
Tammy Call: Uh
Jewell Foster: because it's
Tammy Call: format
Jewell Foster: uh
Tammy Call: yeah format? Line width? Width?
Sheila Miller: Th
Jewell Foster: it's more familiar
Sheila Miller: that's not
Jewell Foster: that
Sheila Miller: a problem.
Jewell Foster: way.
Tammy Call: Yeah?
Sheila Miller: When I draw here it Oh. Huh?
Tammy Call: It's a bit off.
Sheila Miller: Yeah, it's off.
Tammy Call: Well.
Jewell Foster: A little a little bit.
Sheila Miller: It it needs to be calibrated
Tammy Call: Well
Sheila Miller: again.
Tammy Call: uh let's
Sheila Miller: Well
Tammy Call: uh talk about that later uh
Jewell Foster: Maybe you should another pen. Maybe that's uh better.
Sheila Miller: Where?
Jewell Foster: You e you only have
Tammy Call: It's
Jewell Foster: one pen
Tammy Call: special
Jewell Foster: for that
Tammy Call: pen.
Jewell Foster: screen. Yeah.
Sheila Miller: Alright, we have to make a decision now, because
Tammy Call: Yeah.
Sheila Miller: we don't have much time.
Tammy Call: No.
Sheila Miller: Um I think we have uh a few functions, and we can put uh the L_C_D_ above it, and still have lots of room at the bottom,
Jewell Foster: Yeah. I
Sheila Miller: where you can put
Jewell Foster: I
Sheila Miller: your
Jewell Foster: agree.
Sheila Miller: hand.
Tammy Call: I think it should be at the button, bottom.
Jewell Foster: Well
Dierdre Taylor: At the bottom?
Jewell Foster: I'm
Tammy Call: Bottom.
Jewell Foster: the I I'm the designer,
Tammy Call: The L_C_D_.
Jewell Foster: so um
Dierdre Taylor: In a
Sheila Miller: At
Dierdre Taylor: few
Sheila Miller: the
Dierdre Taylor: minutes
Sheila Miller: bot
Dierdre Taylor: Oh yeah, oh
Tammy Call: Yeah.
Dierdre Taylor: yeah, I totally
Sheila Miller: So
Dierdre Taylor: agree. Yeah.
Sheila Miller: We are two uh V_S_ two.
Tammy Call: Well but uh what what if we we
Dierdre Taylor: He's
Tammy Call: first
Dierdre Taylor: the boss.
Tammy Call: decide the different functions,
Jewell Foster: Yeah.
Tammy Call: and then
Sheila Miller: Right.
Tammy Call: look at the
Sheila Miller: Great.
Tammy Call: design.
Jewell Foster: Uh we uh
Tammy Call: Because
Jewell Foster: we
Tammy Call: we
Jewell Foster: were
Tammy Call: have to
Jewell Foster: busy
Tammy Call: decide
Jewell Foster: with that.
Tammy Call: this.
Jewell Foster: Uh yeah we should uh summon the
Tammy Call: Yeah.
Jewell Foster: the different uh aspects of the thing. So, we have the power button.
Sheila Miller: And moreover I think that you two should be uh come to consensus about the L_C_D_
Tammy Call: Yes.
Sheila Miller: s. It's uh your it's your job.
Jewell Foster: Yeah of course. Uh it's uh.
Dierdre Taylor: No
Jewell Foster: Yeah.
Dierdre Taylor: it's
Tammy Call: Well
Jewell Foster: W
Dierdre Taylor: our
Tammy Call: we have
Dierdre Taylor: job.
Jewell Foster: wh
Tammy Call: a power button. Guys?
Jewell Foster: While you have to agree, I
Sheila Miller: Yeah,
Jewell Foster: can say
Sheila Miller: right.
Jewell Foster: it's like this and
Tammy Call: Guys?
Sheila Miller: Alright,
Jewell Foster: you must agree.
Sheila Miller: let's
Jewell Foster: Yeah.
Sheila Miller: keep
Tammy Call: We
Sheila Miller: it
Tammy Call: have
Sheila Miller: central.
Tammy Call: a power button, setting buttons, L_C_D_ window,
Dierdre Taylor: The ten
Tammy Call: the number
Dierdre Taylor: numbers?
Tammy Call: buttons
Dierdre Taylor: Yeah?
Jewell Foster: Channel, yeah.
Tammy Call: Uh
Dierdre Taylor: Volume?
Jewell Foster: Volume control.
Tammy Call: Yes.
Jewell Foster: Um
Sheila Miller: Mm.
Tammy Call: Uh
Jewell Foster: Well let's look at your uh design.
Tammy Call: the mute
Jewell Foster: Uh
Tammy Call: button. I h love that one.
Jewell Foster: Uh-huh.
Dierdre Taylor: I think we we should use something like this um to um The the channel up and channel down button?
Tammy Call: Yes.
Dierdre Taylor: Yeah, in circle, you know?
Tammy Call: Yeah. Yeah yeah yeah. Well
Dierdre Taylor: And
Tammy Call: that's
Dierdre Taylor: and
Tammy Call: that's
Dierdre Taylor: a
Tammy Call: also
Dierdre Taylor: volume
Tammy Call: design.
Dierdre Taylor: control also
Tammy Call: Yes.
Dierdre Taylor: in it.
Sheila Miller: Right.
Tammy Call: Um
Jewell Foster: Yeah.
Tammy Call: Well
Jewell Foster: But
Tammy Call: h
Jewell Foster: th
Tammy Call: ho
Jewell Foster: th on this remote th these controls are for something else, a D_V_D_
Tammy Call: Yes.
Jewell Foster: player or
Tammy Call: Yes.
Jewell Foster: something.
Dierdre Taylor: Yes,
Tammy Call: They
Jewell Foster: So
Tammy Call: are
Dierdre Taylor: as
Tammy Call: for some
Dierdre Taylor: I
Tammy Call: uh
Dierdre Taylor: already
Tammy Call: video
Dierdre Taylor: said,
Tammy Call: uh
Dierdre Taylor: we could drop some of these buttons.
Sheila Miller: You should put that uh power button, channel and volume should have the most uh importance.
Dierdre Taylor: Yeah. I think these should be in one big circle in the middle.
Sheila Miller: Yeah, but what he said about R_S_I_ was t kinda true. When when you uh put them all in the same place, the most used buttons, you're doing the same thing all the time, and that's just what R_S_I_'s all about. So it might be smarter to put them a little more
Tammy Call: Apart.
Sheila Miller: away from each other.
Tammy Call: So people have to move their hand. And they get less uh complaints of R_S_I_.
Jewell Foster: Yeah, it's it's also not good to completely stay in one position constantly with one hand. Y
Tammy Call: That's what I always do, because
Jewell Foster: Yeah.
Tammy Call: all my i important buttons
Jewell Foster: It's
Tammy Call: are the
Jewell Foster: good
Tammy Call: same
Jewell Foster: to move
Tammy Call: place.
Jewell Foster: uh from time to time. Yeah.
Dierdre Taylor: Yeah
Sheila Miller: Um
Dierdre Taylor: but
Tammy Call: Yes?
Dierdre Taylor: people don't like it when their buttons are all over the place. They
Jewell Foster: No
Tammy Call: Well
Jewell Foster: but
Tammy Call: not
Dierdre Taylor: they need
Jewell Foster: now
Dierdre Taylor: to
Jewell Foster: y
Dierdre Taylor: be centred.
Jewell Foster: W would we have to choose a
Sheila Miller: Frequency
Jewell Foster: way
Sheila Miller: of
Jewell Foster: in middle?
Sheila Miller: uh button use.
Tammy Call: Yes.
Sheila Miller: Um channels are uh most uh is most used within the hour.
Tammy Call: Uh-huh.
Dierdre Taylor: Volume
Sheila Miller: You
Dierdre Taylor: hardly.
Sheila Miller: can see. So the the channel uh channel buttons should
Jewell Foster: Mm-hmm.
Sheila Miller: be far far apart, I think, up and down.
Dierdre Taylor: No I don't think.
Jewell Foster: Oh.
Tammy Call: Up
Jewell Foster: Far
Tammy Call: and
Jewell Foster: apart?
Tammy Call: down far apart from each other?
Sheila Miller: You thinking uh about
Dierdre Taylor: Yeah but
Sheila Miller: R_S_I_?
Dierdre Taylor: Yeah
Tammy Call: Well
Dierdre Taylor: but
Sheila Miller: Y
Tammy Call: not
Sheila Miller: look
Tammy Call: too
Sheila Miller: at
Tammy Call: much.
Sheila Miller: uh look
Dierdre Taylor: No.
Sheila Miller: at the frequency. Nei not too much, but
Dierdre Taylor: The other the other two uh frustrations are far more important. So
Jewell Foster: I think you can have the two buttons of up and down close together, but you don't have uh have to have volume control
Tammy Call: Well
Jewell Foster: and
Tammy Call: for example
Jewell Foster: and
Tammy Call: the power
Jewell Foster: zapping button
Tammy Call: button,
Jewell Foster: close together.
Tammy Call: you can
Dierdre Taylor: Well they are used four times
Tammy Call: If someone
Dierdre Taylor: an hour,
Tammy Call: is
Dierdre Taylor: so
Tammy Call: constantly z zapping, it's not going to miss, that it that the power button is not right beside it. Because I
Sheila Miller: Nei
Tammy Call: have
Sheila Miller: nei nei
Tammy Call: someone
Sheila Miller: n I I
Tammy Call: But
Sheila Miller: totally
Tammy Call: the buttons
Sheila Miller: agree.
Tammy Call: is way. So
Sheila Miller: But
Tammy Call: that one
Sheila Miller: just
Tammy Call: can be put away.
Sheila Miller: Yeah. Right. Yeah. I
Tammy Call: The power
Sheila Miller: agree.
Tammy Call: button can uh be uh uh
Dierdre Taylor: Power bu button should be left at the top.
Tammy Call: Yes.
Sheila Miller: And should and should be red.
Jewell Foster: Yeah.
Tammy Call: Oh man, five minutes. Yeah, well
Sheila Miller: Right,
Tammy Call: five minutes left.
Sheila Miller: just make some decisions.
Tammy Call: Yep.
Sheila Miller: The most important things we have to uh
Tammy Call: Um how are we going to do it
Jewell Foster: C c
Tammy Call: with
Jewell Foster: can you
Tammy Call: those
Jewell Foster: make you
Tammy Call: numbers?
Jewell Foster: make We can use uh the drawing board now, I think. Uh it it doesn't work well but But it it
Tammy Call: Well
Jewell Foster: would be
Tammy Call: I have
Jewell Foster: pretty
Tammy Call: it here.
Jewell Foster: pretty uh nice if we could just draw a simple
Sheila Miller: I do
Jewell Foster: thing.
Tammy Call: Yeah
Sheila Miller: think you
Tammy Call: well
Sheila Miller: have
Tammy Call: that's
Sheila Miller: to
Tammy Call: going
Sheila Miller: keep
Tammy Call: to take
Sheila Miller: you
Tammy Call: too
Sheila Miller: have
Tammy Call: too
Sheila Miller: to
Tammy Call: much
Sheila Miller: keep
Tammy Call: time.
Sheila Miller: it central now. Just
Dierdre Taylor: Mm.
Tammy Call: Yes.
Sheila Miller: uh
Dierdre Taylor: Yeah.
Sheila Miller: you decide that, you decide that,
Jewell Foster: Mm.
Sheila Miller: and
Tammy Call: Yes.
Jewell Foster: Alright.
Sheila Miller: ready.
Tammy Call: Well the L_C_D_. Um you are Industrial, you are User Interface. So I think it's going to go to Mike.
Sheila Miller: Yeah.
Tammy Call: But you will have to make consensus with. Well
Dierdre Taylor: Well consensus,
Tammy Call: Well
Dierdre Taylor: um
Tammy Call: it's a bit
Sheila Miller: Nei.
Tammy Call: hard,
Dierdre Taylor: We we
Tammy Call: because
Dierdre Taylor: can
Tammy Call: we
Sheila Miller: We're
Dierdre Taylor: put
Tammy Call: are going
Dierdre Taylor: it in
Tammy Call: to
Dierdre Taylor: the
Tammy Call: be
Dierdre Taylor: middle,
Sheila Miller: No
Tammy Call: uh individually.
Dierdre Taylor: so
Tammy Call: That's a bit
Sheila Miller: We're
Tammy Call: uh
Sheila Miller: deciding now,
Tammy Call: Yes.
Sheila Miller: so Top or bottom?
Jewell Foster: Well uh yeah I I still think it's it's quite important though to uh
Tammy Call: Yes it
Jewell Foster: to
Tammy Call: is.
Jewell Foster: have it at the top, so Yeah. You say familiarity isn't important but
Tammy Call: Well what if we're going to now decide about the functions, and the design comes into the next round?
Sheila Miller: Okay.
Tammy Call: Plus the d th
Jewell Foster: Yeah
Tammy Call: the design
Jewell Foster: d
Tammy Call: round is still to come huh?
Sheila Miller: Yeah,
Jewell Foster: Yeah.
Sheila Miller: right. Okay.
Dierdre Taylor: Alright.
Tammy Call: Alright these functions.
Jewell Foster: As we we we
Tammy Call: The number
Jewell Foster: we agreed,
Tammy Call: f
Jewell Foster: we do
Tammy Call: Well
Jewell Foster: have a L_C_D_.
Tammy Call: yes,
Jewell Foster: So
Tammy Call: that's alright.
Sheila Miller: Yeah,
Jewell Foster: that's
Sheila Miller: okay.
Tammy Call: W the number function.
Jewell Foster: that's enough. Yeah.
Tammy Call: Are we going to uh do it like uh on Mike's screen with uh one button that says I'm going to do a t two number digital?
Dierdre Taylor: No.
Tammy Call: How do you want it to do then?
Jewell Foster: There's
Dierdre Taylor: Well
Jewell Foster: one two
Dierdre Taylor: just
Jewell Foster: three four five
Dierdre Taylor: when
Jewell Foster: six
Dierdre Taylor: you
Tammy Call: It
Jewell Foster: six
Tammy Call: it has
Dierdre Taylor: push
Jewell Foster: seven
Tammy Call: to
Dierdre Taylor: a
Jewell Foster: eight
Tammy Call: r
Jewell Foster: nine
Tammy Call: recognise
Dierdre Taylor: one one
Jewell Foster: zero.
Dierdre Taylor: and
Tammy Call: one as there could still come more.
Dierdre Taylor: No, if you
Jewell Foster: Oh,
Dierdre Taylor: On
Jewell Foster: like that.
Dierdre Taylor: most
Jewell Foster: Um
Dierdre Taylor: T_V_s if you uh press two numbers shortly after each other,
Tammy Call: Yes.
Jewell Foster: They'd recognise
Dierdre Taylor: d it Yeah.
Jewell Foster: it. Th
Tammy Call: Alright
Jewell Foster: that's
Tammy Call: so
Jewell Foster: the
Tammy Call: no
Jewell Foster: most
Tammy Call: button for
Dierdre Taylor: Yeah.
Tammy Call: that.
Jewell Foster: That that's
Dierdre Taylor: Yeah.
Jewell Foster: very easy.
Sheila Miller: No.
Jewell Foster: Yeah.
Tammy Call: Okay uh anyone any uh oth other functionalities of our uh remote?
Jewell Foster: I think these are the the most important
Sheila Miller: Do
Jewell Foster: functions.
Sheila Miller: you still have the pictures over there?
Dierdre Taylor: Yeah.
Tammy Call: So
Sheila Miller: Yeah, that's about it. You do need the uh multi Or did uh No, like this one. You do need them?
Tammy Call: No, we'd
Sheila Miller: Yeah,
Tammy Call: uh just said we
Sheila Miller: I
Tammy Call: didn't
Sheila Miller: know.
Tammy Call: uh
Sheila Miller: But are we Alright, alright
Tammy Call: Well
Sheila Miller: uh
Tammy Call: uh
Sheila Miller: Now okay.
Tammy Call: Um well because we can't integrate it with any other uh remotes, all those buttons on those pictures are uh irrelevant.
Sheila Miller: Right.
Tammy Call: So just for a television is that all we need?
Sheila Miller: Yeah, it's most useable this way.
Dierdre Taylor: Yeah.
Jewell Foster: basic function.
Tammy Call: Teletext is gone. So all those buttons that ar are to do with teletext Oh screen placing. We'll have uh those uh buttons about uh And uh the two important ones we're l f forgetting. Uh there's um screen. You can make it wider and
Sheila Miller: Yeah.
Tammy Call: less wide. And the button that you can go to A_V_ for your video.
Sheila Miller: Right. I do
Jewell Foster: Oh yeah.
Sheila Miller: think we have to put that underneath a clip.
Tammy Call: Those two? But it's just two,
Jewell Foster: Uh
Tammy Call: and we make
Jewell Foster: just
Tammy Call: a clip?
Jewell Foster: two just two under uh under
Tammy Call: Th that's
Jewell Foster: uh
Tammy Call: a
Dierdre Taylor: We
Tammy Call: bit
Dierdre Taylor: we
Tammy Call: uh
Dierdre Taylor: can make
Tammy Call: waste.
Dierdre Taylor: make uh a little row of like four buttons down here.
Tammy Call: Yes.
Sheila Miller: Yeah. Okay, right.
Jewell Foster: I
Tammy Call: Or
Jewell Foster: I think
Tammy Call: at
Jewell Foster: uh
Tammy Call: the top. Your L_C_D_ screen is
Dierdre Taylor: Or
Tammy Call: going
Dierdre Taylor: at
Tammy Call: to go.
Jewell Foster: But you you can
Dierdre Taylor: Yeah
Jewell Foster: put
Dierdre Taylor: alright
Jewell Foster: uh
Dierdre Taylor: then.
Jewell Foster: two or three buttons under uh another section. Uh that's that's too complicated.
Tammy Call: Yes.
Jewell Foster: You can just put it somewhere They
Tammy Call: Yeah
Jewell Foster: they aren't used much, not as much as those other, so you
Dierdre Taylor: Oh,
Jewell Foster: can
Dierdre Taylor: they
Jewell Foster: put
Dierdre Taylor: can
Jewell Foster: it somewhere
Dierdre Taylor: be small or round
Jewell Foster: Yeah s
Dierdre Taylor: like
Jewell Foster: bit
Dierdre Taylor: buttons.
Jewell Foster: smaller and s Well uh and and I think more at the bottom. Yeah. Yeah or at the top, yeah. What do you think uh those those buttons? Above
Tammy Call: Well I
Jewell Foster: or
Tammy Call: think they
Jewell Foster: down?
Tammy Call: should in an in an isolated part of the remote.
Jewell Foster: And w where? Well we design it later. We have it, and we design
Tammy Call: Yes?
Jewell Foster: later where everything
Tammy Call: Yes.
Jewell Foster: goes. Yeah.
Tammy Call: Yes. Well any other uh
Sheila Miller: Well if you you
Dierdre Taylor: Why go
Sheila Miller: take
Dierdre Taylor: to
Sheila Miller: those
Dierdre Taylor: video?
Sheila Miller: th If you
Tammy Call: Go to video, that's always on your remote control.
Sheila Miller: Yeah, but
Tammy Call: To
Sheila Miller: you can z
Tammy Call: A_V_
Sheila Miller: you
Tammy Call: uh
Sheila Miller: can
Tammy Call: to
Sheila Miller: zap
Tammy Call: A_V_
Sheila Miller: t
Jewell Foster: The
Sheila Miller: you
Jewell Foster: the video
Sheila Miller: can
Tammy Call: A_V_
Jewell Foster: channel
Sheila Miller: you
Jewell Foster: uh?
Sheila Miller: can zap
Tammy Call: A_V_.
Sheila Miller: to the video channel
Dierdre Taylor: That's
Sheila Miller: from
Dierdre Taylor: just
Sheila Miller: zero
Dierdre Taylor: zero.
Sheila Miller: to uh
Dierdre Taylor: Yeah.
Tammy Call: Well
Jewell Foster: No no
Tammy Call: l
Jewell Foster: not
Tammy Call: n no
Jewell Foster: always.
Tammy Call: not at not at
Jewell Foster: Ze
Tammy Call: my remote.
Jewell Foster: yeah zero is a different channel than uh
Tammy Call: Yeah.
Jewell Foster: the
Dierdre Taylor: Yeah,
Jewell Foster: the
Dierdre Taylor: but
Jewell Foster: video
Dierdre Taylor: you can
Jewell Foster: channel.
Dierdre Taylor: can zap
Sheila Miller: Yeah, but
Dierdre Taylor: down
Sheila Miller: when you zap down zero
Tammy Call: Yes.
Sheila Miller: you get to A_V_.
Dierdre Taylor: Yes, I
Tammy Call: I
Dierdre Taylor: think
Tammy Call: don't.
Dierdre Taylor: th
Tammy Call: I go to ninety-nine.
Dierdre Taylor: No,
Sheila Miller: Ah uh
Dierdre Taylor: then
Sheila Miller: well
Dierdre Taylor: you press ninety
Sheila Miller: whatever,
Dierdre Taylor: nine. I think go to video is an
Tammy Call: Th
Dierdre Taylor: irrelevant
Tammy Call: that's the button
Dierdre Taylor: button,
Tammy Call: uh
Dierdre Taylor: but
Tammy Call: No.
Jewell Foster: But it's easy to go If you are at uh at channel uh fifty five and you want to uh go immediately to the video channel, you do you have to push a to
Tammy Call: No
Jewell Foster: to get
Tammy Call: you can
Jewell Foster: below
Tammy Call: ch push
Jewell Foster: zero.
Tammy Call: zero.
Jewell Foster: It's more
Tammy Call: Yeah.
Jewell Foster: easy to get to uh
Tammy Call: Yeah, I I
Jewell Foster: where the
Tammy Call: think
Jewell Foster: specific uh
Tammy Call: that
Jewell Foster: video
Tammy Call: one
Jewell Foster: channel
Tammy Call: button
Jewell Foster: button.
Tammy Call: is uh I use it uh
Sheila Miller: Yeah, but if we're choosing to uh incorporate these buttons, you have to have uh channel setting, if you wa if you have a new T_V_. You have
Tammy Call: Yeah?
Sheila Miller: to set the channels. Right all th these uh different buttons you
Tammy Call: These
Sheila Miller: have
Tammy Call: buttons,
Sheila Miller: to
Tammy Call: I don't have buttons for channel setting uh especially on my remote.
Sheila Miller: Ah,
Jewell Foster: Yeah well
Sheila Miller: I do.
Jewell Foster: uh
Tammy Call: It's
Jewell Foster: d
Tammy Call: it's
Dierdre Taylor: Yeah well
Jewell Foster: different
Tammy Call: incorporated
Jewell Foster: screen settings
Tammy Call: with
Dierdre Taylor: y you must
Tammy Call: p
Dierdre Taylor: have.
Jewell Foster: a
Tammy Call: m
Jewell Foster: Yeah, sk
Tammy Call: plus and down, uh
Jewell Foster: Yeah y
Tammy Call: those
Jewell Foster: you you you
Dierdre Taylor: Yeah you yeah
Jewell Foster: you
Dierdre Taylor: you have
Jewell Foster: have
Dierdre Taylor: one
Jewell Foster: screen width.
Dierdre Taylor: one button from s set frequency o or something, and then with plus and min minus you can uh adjust
Sheila Miller: Right.
Dierdre Taylor: the uh
Sheila Miller: That's the only one we put uh in there.
Tammy Call: So we still have one uh four?
Sheila Miller: For a screen uh fu uh
Tammy Call: Ch
Sheila Miller: channel setting.
Tammy Call: ch
Jewell Foster: Yeah to uh oh yeah of course to configure
Sheila Miller: Programme,
Jewell Foster: the
Sheila Miller: right.
Jewell Foster: programme
Tammy Call: Okay.
Jewell Foster: the
Tammy Call: Oh the Okay button?
Jewell Foster: Yeah.
Sheila Miller: Uh
Tammy Call: Oh you always have in the centre an Okay button,
Jewell Foster: Yeah.
Dierdre Taylor: Yeah, alright.
Tammy Call: for your menu. Menu button.
Jewell Foster: You should Yeah. I think that's important. Uh
Tammy Call: Channel, setting, menu. We
Jewell Foster: And and the settings
Tammy Call: have
Jewell Foster: to change the brightness
Tammy Call: to go.
Jewell Foster: the settings to change the brightness and the contrast.
Tammy Call: Okay.
Jewell Foster: Channel, yeah.
Tammy Call: So um
Jewell Foster: Chief?
Tammy Call: Save.
Jewell Foster: Chief?
Tammy Call: Yes see.
Jewell Foster: Th the menu menu button is also important. Then
Tammy Call: Yes
Jewell Foster: you can
Tammy Call: I have
Jewell Foster: uh
Tammy Call: put it in.
Jewell Foster: Where? I don't see it.
Tammy Call: Here.
Jewell Foster: Oh Menu, alright.
Dierdre Taylor: I think things like uh contrast and brightness should be um
Jewell Foster: In the menu.
Dierdre Taylor: in the menu,
Jewell Foster: And
Dierdre Taylor: yeah.
Jewell Foster: you can uh then adjust it with the zapping buttons or something.
Dierdre Taylor: Yeah, the
Jewell Foster: Because uh
Tammy Call: Alright.
Jewell Foster: the zapping buttons aren't
Dierdre Taylor: Or
Jewell Foster: used
Dierdre Taylor: the volume
Jewell Foster: then if you
Dierdre Taylor: or
Jewell Foster: are in
Dierdre Taylor: something
Jewell Foster: the menu.
Dierdre Taylor: like
Tammy Call: Guys?
Dierdre Taylor: that.
Jewell Foster: Yeah. Or
Tammy Call: We're
Jewell Foster: the
Tammy Call: going
Jewell Foster: volume,
Tammy Call: to
Jewell Foster: yeah.
Tammy Call: uh go to our uh rooms, and uh we'll
Dierdre Taylor: Your pen.
Tammy Call: have to decide s
Sheila Miller: Ah.
Tammy Call: things on our own I think.
Sheila Miller: Great.
Tammy Call: So
Jewell Foster: Yes chief.
Sheila Miller: Alright.
Dierdre Taylor: I thought
Tammy Call: Well
Dierdre Taylor: we'd
Tammy Call: see
Dierdre Taylor: uh
Tammy Call: you
Dierdre Taylor: lunch
Jewell Foster: Yeah
Tammy Call: uh
Jewell Foster: this
Tammy Call: W w
Jewell Foster: is
Dierdre Taylor: uh
Tammy Call: we
Dierdre Taylor: right
Tammy Call: have lunchtime,
Dierdre Taylor: now,
Jewell Foster: this
Dierdre Taylor: or
Jewell Foster: is your
Dierdre Taylor: not?
Jewell Foster: thing.
Tammy Call: by the way, now
Sheila Miller: Ah.
Dierdre Taylor: Yeah,
Tammy Call: uh so
Sheila Miller: Okay.
Dierdre Taylor: lunch
Tammy Call: uh
Dierdre Taylor: break.
Jewell Foster: I am hungry.
Tammy Call: Lunch.
Sheila Miller: Get into my belly.
Tammy Call: Ah. We didn't exactly do everything
Jewell Foster: See you later mate.
Tammy Call: but So | There are some new requirements for the project: the device will have to be for TV only, they should ignore the teletext function, as it is dated, and, also, the remote should be recognisable as a Real Reaction product. The target group will be people below 30. It transpires that customers are willing to pay more for fancier looking remotes, especially if they include LCD screens and speech recognition. Functions like zapping are very prevalent, as well as complaints about remotes being difficult to learn and easy to lose. The function of the remote is relatively simple: by pressing a button a current is passed to the chip, and defines what signal is to be sent to the receiver (the TV) via infrared. The team agreed to follow a user-centred approach and simplify the design by somehow minimising the number of buttons. They plan to include an LCD screen to display relevant information. Other functions are served by push buttons: OK, menu, screen sizing, AV, settings buttons, mute, digits 1-9, power, volume control, channel up/down with the last three types being prominent on the device. The exact design and placement of the components will be decided in the next meeting. | 4 | amisum | train |
Laura Byrd: Okay. Uh door is closed. Well, begin. Because
Diana Dubow: I'm listening.
Laura Byrd: if we have as much time as the last uh meeting,
Diana Dubow: Right.
Laura Byrd: we'll have to hurry up. Um well I'll start with the presentation again,
Diana Dubow: Great.
Laura Byrd: the agenda. Yo. So. Uh This one I think. Uh yeah. Well alright. Um well, I'll show you the notes. It's not as uh interesting as it should be because we just uh had the meeting, but I'll show them. We'll get your presentations on the conceptual design. Um Then we'll have to dec decide about the control, the remote control concepts.
Claire Blake: Mm-hmm.
Laura Byrd: I've put a f uh a file in the project management folder, which says exactly uh what kind of decisions we should take. So this time we exactly know what to decide about.
Diana Dubow: Alright, great.
Laura Byrd: And then we'll close again.
Claire Blake: Alright.
Laura Byrd: Uh Well these are some examples, but we'll talk about them later. We'll first look at your uh presentations.
Claire Blake: Mm-hmm.
Laura Byrd: Alright? Walter will uh start again
Diana Dubow: Yeah, great.
Laura Byrd: this time? Yo.
Diana Dubow: Alright, Trendwatch.
Laura Byrd: 'Kay.
Diana Dubow: Right. I will speak about uh latest trends trends, latest fashion updates, and uh things we must not do.
Laura Byrd: 'Kay.
Diana Dubow: Uh the trends. It's very important that uh the control is fancy looking and good uh feeling. Uh this because of our last model was very functional, but it uh people didn't like that, so our new mo model must be very good-looking. That's uh uh have to
Claire Blake: Mm-hmm
Diana Dubow: take a look at.
Claire Blake: Alright.
Diana Dubow: And uh the feeling has to be very great. Also the menus and things like that they have to they have to feel great.
Claire Blake: Alright.
Diana Dubow: Um there's a minus uh two times here, because this is the most important point. This is uh two times as less
Laura Byrd: Less.
Diana Dubow: important, and uh same for this one. Um, technological technological innovations, that's uh regarded very highly too. Uh such as an uh L_C_D_ screen, uh speech uh acknowledgement, as we uh
Laura Byrd: Well, yeah.
Diana Dubow: talked about earlier. So we have to have uh something like that, like we uh
Laura Byrd: L_C_D_ and our uh our fronts.
Diana Dubow: Right. Uh the last point is easy to use. Well I think that uh speaks for s for itself. I don't know who's uh who's going to look at that.
Claire Blake: Easy to use?
Laura Byrd: Well,
Diana Dubow: Yeah?
Laura Byrd: easy
Claire Blake: I think
Laura Byrd: to use
Claire Blake: that's your
Laura Byrd: uh
Claire Blake: ta
Laura Byrd: s is a bit uh contradictionary with the first uh Functional is not an issue,
Diana Dubow: Yeah,
Laura Byrd: and
Diana Dubow: I know.
Laura Byrd: then easy to use. Well we have to choose one of them.
Diana Dubow: I think we have to go for the first
Laura Byrd: Yeah.
Diana Dubow: one. It's the most
Claire Blake: Mm.
Diana Dubow: important one. So we have to uh take that one.
Laura Byrd: Okay.
Diana Dubow: So it it it isn't very important that that it works easy.
Sheila Lopez: Well
Diana Dubow: But
Sheila Lopez: something
Diana Dubow: it
Sheila Lopez: fancy
Diana Dubow: has
Sheila Lopez: looking
Diana Dubow: to look
Sheila Lopez: can
Diana Dubow: great.
Sheila Lopez: be can be easy to use.
Laura Byrd: Yeah. We'll we'll look at uh.
Diana Dubow: We'll see.
Claire Blake: You Yeah. Yeah, yeah, you can make a very complicated uh uh remote anyway, so ease
Diana Dubow: Yeah,
Claire Blake: of use
Diana Dubow: right.
Claire Blake: It's not
Diana Dubow: But
Claire Blake: a very
Diana Dubow: the most
Claire Blake: comp
Diana Dubow: important
Claire Blake: complicated
Diana Dubow: thing
Claire Blake: device.
Diana Dubow: is that it looks great and people say wow, that's real great uh great concept.
Claire Blake: Alright.
Laura Byrd: 'Kay.
Diana Dubow: Alright. Uh these are the new colours of this year. So it must be very bright, very colourful. People like this. So we we have to think uh in this direction. So
Laura Byrd: So
Diana Dubow: i set your mind to it.
Laura Byrd: Well
Diana Dubow: Findings? Fashion update? Fruit and vegetables are cool. I am told.
Claire Blake: Uh you
Diana Dubow: The group
Claire Blake: think?
Diana Dubow: we are targeting is uh very pleased with fruit and vegetables. So we we we might cons consider in front of uh in in that sort of uh
Laura Byrd: Yeah,
Diana Dubow: way.
Laura Byrd: well
Sheila Lopez: Bananas.
Diana Dubow: Uh furthermore uh material, that's your part, should be very strong. I was thinking of something like uh well uh iron plate over it, maybe in a
Claire Blake: Mm.
Diana Dubow: colour or something, that
Laura Byrd: Yeah.
Diana Dubow: looks so f really flashy but it it is also strong. And
Laura Byrd: B
Diana Dubow: that's uh also for the younger public.
Laura Byrd: Well the the handy thing about our fronts is that we can follow these trends e ev every year. Th this year it's fruits but next year it's it's
Diana Dubow: Yeah,
Laura Byrd: something
Diana Dubow: that's
Laura Byrd: totally
Diana Dubow: great.
Laura Byrd: different.
Sheila Lopez: Yeah.
Diana Dubow: But I think we can all make the the fronts of titanium or something uh
Laura Byrd: Yes.
Diana Dubow: really thin. So it looks very heavy but you can still uh use it very easily.
Claire Blake: Mm.
Laura Byrd: Yep, alright.
Diana Dubow: Well, the don'ts. Older people like dark colours and simple shapes. Well we don't want uh older people, we want young people. So uh we're gonna turn that around. We're
Claire Blake: Alright.
Diana Dubow: gonna have real uh cool shapes and lots of colours. Right?
Laura Byrd: Wood
Diana Dubow: Okay.
Laura Byrd: is popular. Aha.
Diana Dubow: We don't want wood.
Claire Blake: Yeah,
Laura Byrd: Yeah
Claire Blake: among the old
Laura Byrd: yeah
Claire Blake: people,
Laura Byrd: yeah.
Claire Blake: yeah.
Diana Dubow: Old people. So, that's it for Diana Dubow.
Laura Byrd: Alright. Nice, uh well show us.
Claire Blake: Right, I am going to you the design Uh again I have uh put up the specification properties. This uh so um uh the different uh components of the of of the device. And the materials? Um I have heard several things, so I uh I'll have to change that on the way. But uh the case? Uh I suggested uh in the previous meeting hard plastic. But uh as you
Diana Dubow: Yeah,
Claire Blake: indicated
Diana Dubow: we should change
Claire Blake: uh
Diana Dubow: that.
Claire Blake: it should be strong. It should feel strong. So maybe plastic is not uh sufficient. We should
Laura Byrd: Well
Claire Blake: move
Laura Byrd: maybe
Claire Blake: to uh
Laura Byrd: it
Claire Blake: something
Laura Byrd: it it is, but it doesn't look strong. So maybe
Claire Blake: Well yeah. Y Hard plastic i is of course uh pretty pretty tough, but it doesn't have a really really tough
Diana Dubow: No no no.
Claire Blake: look.
Laura Byrd: But we still
Claire Blake: So
Laura Byrd: have to look at our price of course. Because
Claire Blake: Yeah.
Laura Byrd: uh
Claire Blake: Also
Laura Byrd: if we
Claire Blake: Yeah.
Laura Byrd: want an L_C_D_ uh window etcetera uh
Claire Blake: Mm-hmm. But we'll return to that.
Laura Byrd: Yeah?
Claire Blake: Uh the buttons of course rubber, I think everyone agrees. And electrical cables, copper is all pretty basic stuff. The chips made of silicon, I guess. I think that's the best uh way to do it. And infra infrared l LED is uh just a simple bulb. Then I've uh had a few findings, made a few findings. Uh the target audience product style. Um it's uh um generally the case that uh senior and wealthy people above uh forty five years old uh like, as you said, uh particularly the traditional materials as such as wood and materials such as that. They also like straightforward shapes and luxurious style. But of course that's not our uh things this. So this is things we must not do.
Laura Byrd: Yes.
Claire Blake: And then we have uh young uh and dynamic uh people, which is of course our uh group, the people we aim at. Um under forty five years old. Uh they like soft materials uh with primary colours. Soft materials is of course uh agai again a bit a contradiction with uh our uh material choice of what you said, that uh it should be hard an and and and and strong looking.
Diana Dubow: Mm. Yeah.
Claire Blake: But they like soft
Sheila Lopez: Yeah.
Claire Blake: materials, uh so we might uh we have to consider that. And also they like curved round shapes. So not uh too formal like like uh the older people want. And if uh also a finding but not very ap applicable here, that sports and gaming devices such as uh discmans for jogging and that those kind of devices, gaming devices, should define the characteristics of the device. But uh since we don't have a really a sports or gaming device, so we don't really have to consider that.
Laura Byrd: Sports uh, they're uh that uh are
Sheila Lopez: Soccer
Laura Byrd: accessible
Sheila Lopez: fronts.
Laura Byrd: on on your L_C_D_ uh window uh
Sheila Lopez: Mm.
Laura Byrd: Huh?
Claire Blake: Mm.
Laura Byrd: That's nice.
Sheila Lopez: Hmm.
Claire Blake: Well
Laura Byrd: All
Claire Blake: I also
Laura Byrd: the
Claire Blake: have
Laura Byrd: results?
Claire Blake: um
Diana Dubow: We keep coming back to the fronts.
Sheila Lopez: Yeah.
Claire Blake: several examples of uh styles, so you can get a clear picture of uh
Laura Byrd: Yeah.
Claire Blake: what I mean. Uh these are the basic uh older older peoples' stuff.
Laura Byrd: Yeah.
Diana Dubow: Yeah.
Claire Blake: It was not very uh interesting uh, very classical looking, but that's
Laura Byrd: Mm-hmm.
Claire Blake: n that's not what we want. We have
Sheila Lopez: Hmm.
Claire Blake: these kind of things. I don't know what exactly they are. It
Laura Byrd: Nai.
Claire Blake: looks
Laura Byrd: Uh
Claire Blake: like Well
Laura Byrd: no.
Claire Blake: you know uh you recognise the shapes, it's very primary colours, uh bright colours and uh round shapes. You also uh see uh this device, it's not very round and
Diana Dubow: Fruity.
Claire Blake: Fruity of course.
Diana Dubow: Fruity.
Claire Blake: Yeah, it uh
Laura Byrd: It's t terrible.
Claire Blake: That's true.
Laura Byrd: Alright.
Claire Blake: And uh well round shapes, primary colours. You can see it all here. And of course
Laura Byrd: Hmm?
Claire Blake: uh this famous device. I think as you know something uh some
Laura Byrd: Yeah,
Claire Blake: devices
Laura Byrd: alright.
Claire Blake: like this. So
Diana Dubow: Well
Claire Blake: to give
Diana Dubow: it's
Claire Blake: you an idea
Diana Dubow: got
Claire Blake: of uh
Diana Dubow: a strong look, this.
Claire Blake: This has a strong look. Although
Diana Dubow: Yeah.
Claire Blake: it's plastic, it's
Diana Dubow: Yeah,
Claire Blake: it's
Diana Dubow: it still
Claire Blake: grey
Diana Dubow: has a strong
Claire Blake: to
Diana Dubow: look.
Claire Blake: to
Laura Byrd: Yeah.
Claire Blake: to give it iron look.
Laura Byrd: And it's round.
Claire Blake: That's uh
Diana Dubow: But then you are losing your fruity colours.
Claire Blake: Yeah. Well we have to make
Laura Byrd: Well
Claire Blake: a
Laura Byrd: you can make th th th that middle ring can you you can make another colour.
Diana Dubow: That's true.
Laura Byrd: So uh those
Claire Blake: Well we
Laura Byrd: kind
Claire Blake: can't
Laura Byrd: of
Claire Blake: really
Laura Byrd: things
Claire Blake: make
Laura Byrd: you can
Claire Blake: a round
Laura Byrd: you can combine.
Claire Blake: uh a round remote control. I don't think that's very practical, but
Laura Byrd: No, it isn't.
Claire Blake: But uh it's important to to uh to think about
Laura Byrd: Okay.
Claire Blake: the colour. Because if we make it grey or or silvery looking, it it does make it a lot more uh does make it looking a lot more stronger.
Diana Dubow: Yeah
Laura Byrd: Yes.
Claire Blake: 'Cause
Diana Dubow: but
Claire Blake: if you look at
Diana Dubow: the
Claire Blake: this, it it doesn't look very very strong, becau But this is plastic,
Diana Dubow: But
Claire Blake: and
Diana Dubow: it
Claire Blake: and
Diana Dubow: doesn't
Claire Blake: this too,
Diana Dubow: have to
Claire Blake: but
Diana Dubow: look strong. The the results are, the feel of the material is expected to be strongy.
Claire Blake: The feel?
Diana Dubow: The
Claire Blake: Uh
Diana Dubow: feel.
Claire Blake: alright. Well
Laura Byrd: So, if
Sheila Lopez: And
Laura Byrd: you
Sheila Lopez: it
Laura Byrd: ti
Sheila Lopez: it doesn't have to be strong, also.
Laura Byrd: Well
Diana Dubow: Nah yeah the feel
Laura Byrd: You you
Sheila Lopez: Only the feel.
Laura Byrd: Maybe you should have uh some some coloured titanium or something. So it it looks pretty but it feels strong.
Diana Dubow: Right.
Claire Blake: Mm-hmm.
Sheila Lopez: Oh.
Diana Dubow: I
Claire Blake: And
Diana Dubow: agree.
Claire Blake: I Then I have some more findings. Um uh about the energy energy source of the of the device, uh I uh suggest uh the basic battery. I uh got some other um uh uh energy sources of course. But solar energy is not very practical inside a house, because you don't have a have a lot of uh sun. And uh kinetic and and and dynamos are are not very practical, I think, for uh for a simple remote, that's a bit, oh, that's a bit uh
Laura Byrd: No titanium.
Claire Blake: That's a bit uh much. Uh the disadvantage of that that you can use no titanium. That that's the information I received. If you use the curved case, uh a curved case, double curved then you
Laura Byrd: What do you exactly
Claire Blake: can't use titanium.
Laura Byrd: mean with double curved?
Claire Blake: Now uh this uh to give it a more modern look. And uh now the the shape, yeah, a curved case. Um yeah I think uh sort of triangle-shaped bottom or something. Uh a more modern look not plain, long box style, but
Laura Byrd: Double curved?
Diana Dubow: I dunno.
Sheila Lopez: Yeah.
Laura Byrd: It
Claire Blake: I'll draw
Laura Byrd: it mean
Claire Blake: it, but
Laura Byrd: Yeah, well
Claire Blake: maybe
Laura Byrd: okay.
Sheila Lopez: Yeah.
Claire Blake: later. And it makes uh it gives it a more u user friendly shape, than if you have uh. Um anyway Um f as uh for the buttons, simple push buttons. No uh otherwi uh no um difficult scroll things or some uh things like that, because it makes more complex and expensive. And, uh as we agreed, we don't use a speaker or a sensor or um uh speak uh speech uh
Diana Dubow: Yeah right.
Claire Blake: controlled device. Because it makes it also more complex and expensive. But we do use an L_C_D_ screen, so we uh we do have to consider uh of we have to use a more advanced chip, which is more complex and expensive. But
Laura Byrd: Well
Claire Blake: It's worth the trouble I think,
Sheila Lopez: The buttons
Claire Blake: because
Sheila Lopez: can be made of an uh a soft material. Because people like that.
Laura Byrd: This soft material thing
Claire Blake: Uh rubber
Laura Byrd: from
Claire Blake: is a
Laura Byrd: uh
Claire Blake: soft material, I guess.
Laura Byrd: Yeah.
Diana Dubow: Yeah.
Claire Blake: Uh
Sheila Lopez: Yeah.
Diana Dubow: Right.
Sheila Lopez: Right.
Claire Blake: soft
Sheila Lopez: Yeah.
Claire Blake: enough. So that's uh basically what I
Laura Byrd: Alright.
Claire Blake: want to talk about.
Laura Byrd: Okay. We will take that. And then uh Mike?
Laura Byrd: Okay.
Sheila Lopez: Yeah. Well um nah the method um we will um include the buttons as we discussed uh earlier. Um an L_C_D_ s screen will be implemented. Um we must decide where, this meeting. Um there are new developments in speech recognition um systems, um and they are already being uh used on uh coffee machines. And um well they're cheap, so we could use them
Laura Byrd: Oh
Sheila Lopez: now. Um
Laura Byrd: That's interesting.
Sheila Lopez: it's not really speech recognition, it's more um like you can um talk to the chip, uh record the message and record an answer, and then once you uh talk to the remote, then um he will a answer with the the prerecorded message that you left. So if
Claire Blake: Oh,
Diana Dubow: Oh
Sheila Lopez: I say
Diana Dubow: okay.
Claire Blake: yeah, I understand. Yeah.
Sheila Lopez: hi Mike, and you have recorded uh hi Mike back, then you
Laura Byrd: Okay.
Sheila Lopez: will get that.
Diana Dubow: Right.
Laura Byrd: But you can also say that, when you say something, it does some function.
Sheila Lopez: No it doesn't
Diana Dubow: No.
Sheila Lopez: does not
Laura Byrd: Oh.
Sheila Lopez: do anything. But
Laura Byrd: That's
Diana Dubow: But that
Laura Byrd: a bit
Sheila Lopez: i
Diana Dubow: that
Sheila Lopez: it's
Laura Byrd: uh
Diana Dubow: makes
Sheila Lopez: just
Diana Dubow: it cheap.
Sheila Lopez: a
Diana Dubow: It's
Claire Blake: Yeah.
Diana Dubow: it's
Sheila Lopez: Yeah
Diana Dubow: just
Laura Byrd: Yes.
Sheila Lopez: it's
Diana Dubow: a an
Sheila Lopez: it's cheap.
Diana Dubow: extra
Laura Byrd: I
Diana Dubow: function,
Laura Byrd: understand.
Diana Dubow: and it's cheap.
Laura Byrd: But it has no functionality
Diana Dubow: No
Laura Byrd: for our remote
Diana Dubow: but
Sheila Lopez: No but
Laura Byrd: at
Sheila Lopez: that's
Laura Byrd: all.
Sheila Lopez: the gadget they want,
Diana Dubow: Yeah,
Sheila Lopez: or the
Diana Dubow: right.
Sheila Lopez: gimmicks.
Claire Blake: But it
Diana Dubow: Young
Claire Blake: it's
Diana Dubow: people
Claire Blake: n
Diana Dubow: love
Claire Blake: nice
Diana Dubow: them.
Claire Blake: for young
Sheila Lopez: Yes,
Claire Blake: people. They
Sheila Lopez: we
Claire Blake: like
Diana Dubow: Yeah,
Claire Blake: gadgets. Yeah.
Diana Dubow: ple
Sheila Lopez: we should really uh include that one, I think.
Diana Dubow: Right.
Claire Blake: If
Laura Byrd: Hmm.
Claire Blake: it's
Sheila Lopez: Um
Claire Blake: cheap. Yeah.
Sheila Lopez: Well, as I said uh earlier I think the uh L_C_D_ screen should be uh positioned at the lower end of the remote. Um the buttons for screen width and general settings and uh and that kind of stuff um we can also do let that kind of functions um be shown in the L_C_D_ screen,
Laura Byrd: So you
Sheila Lopez: uh
Laura Byrd: put a menu
Sheila Lopez: instead
Laura Byrd: in the
Sheila Lopez: of
Laura Byrd: L_C_D_?
Sheila Lopez: uh extra buttons. I think young people and yeah w well every user would like that. Um the buttons um should be positioned uh positioned the same way as they are on a, well, conventional remote, I think. For the learnability and uh well to keep it recognisable. A voice recognition can be uh implemented. And uh I drew an example, but it did not work quite the well uh the
Diana Dubow: Alright.
Sheila Lopez: way I
Claire Blake: Can you
Sheila Lopez: wanted
Claire Blake: draw
Diana Dubow: How
Claire Blake: it
Sheila Lopez: it
Claire Blake: now
Sheila Lopez: to do.
Claire Blake: of uh
Sheila Lopez: Hmm?
Claire Blake: Can
Laura Byrd: Ah.
Diana Dubow: How
Claire Blake: you
Sheila Lopez: Well
Claire Blake: draw it now?
Sheila Lopez: I have the I can draw it again, and I know what I did wrong. I didn't tick the note bo box in
Claire Blake: Mm.
Sheila Lopez: the.
Claire Blake: Alright.
Sheila Lopez: Um
Diana Dubow: How do you uh uh give input to the menu on the L_C_D_ screen?
Sheila Lopez: Um with the uh the up and down and and well
Diana Dubow: Alright.
Sheila Lopez: buttons
Diana Dubow: So you have
Sheila Lopez: and
Diana Dubow: a
Sheila Lopez: the
Diana Dubow: menu button, and then you can go up
Sheila Lopez: Well
Laura Byrd: But
Diana Dubow: and down.
Sheila Lopez: I will draw what
Laura Byrd: then
Sheila Lopez: I
Laura Byrd: we should
Sheila Lopez: had drawn
Laura Byrd: also have
Sheila Lopez: on
Laura Byrd: an
Sheila Lopez: the screen.
Laura Byrd: uh an Okay button.
Diana Dubow: Yeah right.
Sheila Lopez: Yes. Um I shall draw this.
Claire Blake: button, yeah.
Sheila Lopez: If it uh works.
Laura Byrd: Just uh There is already a blank. Yes? So
Diana Dubow: Yeah.
Laura Byrd: Yeah.
Sheila Lopez: Mm so have I. Nah.
Diana Dubow: You have to push hard.
Claire Blake: I suggest a banana shape. Because
Diana Dubow: Yeah.
Claire Blake: of the fruity uh
Diana Dubow: Yeah.
Claire Blake: fashion.
Laura Byrd: No m
Claire Blake: Yellow
Laura Byrd: Next
Claire Blake: and
Laura Byrd: year that's out.
Claire Blake: Yeah alright, yeah. Just a hunch.
Sheila Lopez: Well these little buttons are a bit difficult to uh
Laura Byrd: Yeah.
Sheila Lopez: draw uh
Claire Blake: Those are the
Sheila Lopez: correct.
Claire Blake: the cha the channel buttons of course?
Sheila Lopez: Yeah just uh the numbers.
Claire Blake: And then below is the L_C_D_ screen?
Sheila Lopez: These these will be bigger in the the real
Claire Blake: Alright,
Sheila Lopez: design.
Claire Blake: yeah.
Sheila Lopez: This must be the Okay button used to uh interact with the L_C_D_
Claire Blake: Mm-hmm.
Sheila Lopez: screen. And with this you can uh,
Laura Byrd: Yeah.
Sheila Lopez: yes, go to through the menus and that can Um
Diana Dubow: You've
Sheila Lopez: the video button should be uh an
Laura Byrd: Yes.
Sheila Lopez: apart button, because you want it to uh t, yeah,
Diana Dubow: Right.
Sheila Lopez: to use it fast within one uh click.
Laura Byrd: And
Diana Dubow: And you
Laura Byrd: what's
Sheila Lopez: Um
Laura Byrd: the
Diana Dubow: you
Laura Byrd: menu
Diana Dubow: need
Laura Byrd: button?
Diana Dubow: a you
Sheila Lopez: it's
Diana Dubow: need a speaker. For
Sheila Lopez: Hmm?
Diana Dubow: the
Sheila Lopez: This button can also be the Menu button, we use in the
Laura Byrd: But
Sheila Lopez: menus
Laura Byrd: how
Sheila Lopez: Well
Laura Byrd: did
Sheila Lopez: we we can
Laura Byrd: How do
Sheila Lopez: add
Laura Byrd: you get
Sheila Lopez: another
Laura Byrd: out
Sheila Lopez: button
Laura Byrd: of the menu
Sheila Lopez: here,
Laura Byrd: then?
Sheila Lopez: but
Laura Byrd: Yeah. Maybe I you could
Claire Blake: Uh
Laura Byrd: j
Claire Blake: by
Laura Byrd: just
Claire Blake: pe
Laura Byrd: do
Claire Blake: pressing
Laura Byrd: an an
Claire Blake: the
Laura Byrd: exit
Claire Blake: menu button
Laura Byrd: with Okay.
Claire Blake: again. By pressing
Laura Byrd: Uh
Claire Blake: the menu button again, you
Diana Dubow: Yeah.
Claire Blake: go uh
Sheila Lopez: Yeah.
Diana Dubow: Yeah.
Claire Blake: out. It's usual the the the d kind
Laura Byrd: Yes,
Claire Blake: of
Laura Byrd: well but
Claire Blake: the way
Laura Byrd: bec because
Claire Blake: it
Laura Byrd: when you
Claire Blake: works.
Laura Byrd: push Menu
Claire Blake: Yeah?
Laura Byrd: you get in, and
Claire Blake: Yeah?
Laura Byrd: then you have to push Okay when you get to
Sheila Lopez: Ah
Laura Byrd: a choice.
Sheila Lopez: right.
Claire Blake: Yeah.
Sheila Lopez: Well
Laura Byrd: And
Claire Blake: But
Sheila Lopez: you
Claire Blake: you can
Sheila Lopez: you
Claire Blake: men you can press menu again to get out.
Laura Byrd: Well that's also the Okay button. That's
Sheila Lopez: No no,
Claire Blake: No.
Laura Byrd: you
Sheila Lopez: we
Laura Byrd: you
Sheila Lopez: we
Laura Byrd: should have
Sheila Lopez: we should
Laura Byrd: uh
Sheila Lopez: uh add uh a extra Menu button and this
Laura Byrd: Or you
Sheila Lopez: the
Laura Byrd: can
Sheila Lopez: Okay button.
Laura Byrd: put in the L_C_D_'s uh window an option Get Out.
Diana Dubow: Exit.
Laura Byrd: Exit.
Sheila Lopez: Ah once you have an extra Menu button, you don't need that that extra option.
Laura Byrd: Well,
Sheila Lopez: You
Diana Dubow: But
Sheila Lopez: have
Laura Byrd: it's
Diana Dubow: we
Laura Byrd: just
Sheila Lopez: uh
Diana Dubow: need
Laura Byrd: a
Diana Dubow: a
Sheila Lopez: redundancy.
Laura Byrd: choice.
Diana Dubow: we need a a recording recording button for the speech uh part. Or don't
Sheila Lopez: Yeah, if we decide to uh to implement that,
Claire Blake: Why
Sheila Lopez: maybe
Claire Blake: would
Sheila Lopez: we
Claire Blake: you
Sheila Lopez: should.
Claire Blake: put it uh then, and where is the recording uh the microphone? Where would
Sheila Lopez: Well
Claire Blake: you put
Sheila Lopez: they
Claire Blake: it?
Sheila Lopez: that could be anywhere. That's very small. It could be uh down here.
Claire Blake: Uh-huh.
Sheila Lopez: Um. Well, not here. I yeah I suggest here. But that's just a little
Diana Dubow: Right, and
Claire Blake: Microphone,
Diana Dubow: spea
Sheila Lopez: gap.
Diana Dubow: speaker
Claire Blake: yeah.
Sheila Lopez: Yeah.
Diana Dubow: at the back, or something.
Sheila Lopez: Well the speaker and the microphone, I think, are the same uh little hole thingy.
Claire Blake: Yeah I understand.
Sheila Lopez: Yeah.
Claire Blake: Uh
Diana Dubow: Alright.
Claire Blake: but uh we could uh d do, but it's perhaps more expensive, uh the
Sheila Lopez: Well i
Claire Blake: speaker on the back or something.
Sheila Lopez: Um there are a all already being implemented in in coffee machines, so they won't be uh very expensive. But
Laura Byrd: Huh?
Claire Blake: Alright.
Diana Dubow: Alright.
Laura Byrd: Yeah? Okay.
Sheila Lopez: This is my suggested
Laura Byrd: Well,
Sheila Lopez: design.
Laura Byrd: okay, alright.
Sheila Lopez: Um
Laura Byrd: Um then let's
Sheila Lopez: Yes.
Laura Byrd: have a look at the decisions we are going to have to make.
Sheila Lopez: And oh I think as you can see so, the L_C_D_ screen does look better uh at the lower end, or
Laura Byrd: I'd
Sheila Lopez: at the bottom.
Laura Byrd: I agree.
Diana Dubow: Yeah,
Sheila Lopez: But
Diana Dubow: fine.
Laura Byrd: Fine.
Diana Dubow: Move on.
Claire Blake: Well yeah yeah yeah.
Laura Byrd: Yeah.
Sheila Lopez: Oh, um I had some uh examples.
Claire Blake: I can live with
Sheila Lopez: You
Claire Blake: it.
Sheila Lopez: can
Laura Byrd: Yes?
Sheila Lopez: uh But I did not like it very much, but Well these are
Laura Byrd: Too big.
Sheila Lopez: quite obvious, very ugly remote.
Diana Dubow: Yeah.
Claire Blake: They do
Sheila Lopez: Um
Claire Blake: they don't look fruity enough.
Diana Dubow: Nei
Sheila Lopez: No,
Diana Dubow: They're n they're not
Laura Byrd: They're
Sheila Lopez: well
Diana Dubow: trendy.
Laura Byrd: all
Sheila Lopez: th
Laura Byrd: black.
Sheila Lopez: Yeah. Well not all.
Laura Byrd: Hey, that one I like.
Sheila Lopez: Uh
Claire Blake: Tho
Sheila Lopez: this is
Claire Blake: Yeah
Sheila Lopez: for children
Claire Blake: those
Sheila Lopez: but
Diana Dubow: It doesn't
Sheila Lopez: th
Diana Dubow: look strong.
Laura Byrd: No.
Sheila Lopez: No.
Claire Blake: But it doesn't uh the
Sheila Lopez: W but with the colours i it's a
Laura Byrd: The
Sheila Lopez: bit the way
Laura Byrd: remote.
Sheila Lopez: we're going to.
Diana Dubow: Yeah right.
Claire Blake: Yeah, ok Yeah.
Sheila Lopez: Well this is a
Laura Byrd: Terrible.
Diana Dubow: This
Sheila Lopez: terrible
Diana Dubow: is just crazy.
Laura Byrd: It's it's
Sheila Lopez: Um
Laura Byrd: all
Sheila Lopez: this
Laura Byrd: too
Sheila Lopez: looks
Laura Byrd: much
Claire Blake: But it
Laura Byrd: buttons.
Claire Blake: it must
Laura Byrd: Too many
Claire Blake: not look
Laura Byrd: buttons.
Sheila Lopez: Yeah.
Claire Blake: too childish
Laura Byrd: That's
Claire Blake: of course huh?
Sheila Lopez: This uh these are the L_C_D_ screens. I think we should, if it's um possible, uh one with colours, but
Diana Dubow: Nah th
Sheila Lopez: I don't know
Diana Dubow: It's
Laura Byrd: Well,
Sheila Lopez: uh
Diana Dubow: too expensive.
Laura Byrd: that's too expensive
Sheila Lopez: Too expensive?
Laura Byrd: I think.
Diana Dubow: Yeah.
Sheila Lopez: Alright. Well
Claire Blake: But
Laura Byrd: Alright.
Claire Blake: it Yeah.
Sheila Lopez: Nah.
Laura Byrd: Yeah. Okay.
Sheila Lopez: Ha,
Laura Byrd: Huh.
Sheila Lopez: even more. N
Laura Byrd: Mm no.
Diana Dubow: But
Laura Byrd: 'Kay.
Diana Dubow: are we going for a strange uh form?
Laura Byrd: No,
Diana Dubow: 'Cause
Laura Byrd: not
Diana Dubow: people
Laura Byrd: very
Diana Dubow: like that.
Laura Byrd: strange.
Claire Blake: Not not too strange.
Diana Dubow: Not too strange.
Claire Blake: No.
Diana Dubow: You
Laura Byrd: It still
Diana Dubow: can make
Laura Byrd: has
Diana Dubow: the
Laura Byrd: t
Diana Dubow: the underside, you can make it more round,
Laura Byrd: Yes.
Diana Dubow: where
Laura Byrd: Th
Diana Dubow: the L_C_D_ is.
Laura Byrd: a a kind of bridge. So it
Sheila Lopez: Well
Laura Byrd: f falls over the hand. Yeah? Yeah? Yeah.
Diana Dubow: You know?
Laura Byrd: Well I have at home a remote with a bridge. It's just a half round half half circle at And then it falls exactly over the hand, and that's very nice. That's It feels comfortable.
Diana Dubow: Yeah, but people like something uh new
Claire Blake: Exotic
Diana Dubow: you know.
Claire Blake: yeah.
Diana Dubow: Yeah,
Claire Blake: We
Diana Dubow: different.
Claire Blake: have t Yeah, yeah.
Laura Byrd: Yeah.
Claire Blake: I will
Diana Dubow: Y
Claire Blake: design
Diana Dubow: yis
Claire Blake: it, we design it later. So we'll get
Diana Dubow: Alright.
Claire Blake: to that later I guess.
Diana Dubow: Great.
Laura Byrd: Yeah, alright. Um where did I put it?
Claire Blake: The specific shape. The
Laura Byrd: I got this from our friends. So
Claire Blake: Our sources.
Laura Byrd: Uh yeah the conceptual design. These are a few examples which we have to decide about. All the the materials from the case, uh the electric cable that's all your uh your side of the story. Um
Diana Dubow: Your bag.
Laura Byrd: Yeah. Um now from the user interface, your uh package? Um where No well, that's more like the buttons where they have to come. And um B a bit of, yeah well, a bit of uh design.
Sheila Lopez: Yeah, this is what we've just done.
Claire Blake: But
Laura Byrd: Yes,
Claire Blake: uh we
Sheila Lopez: Right?
Laura Byrd: but
Claire Blake: should
Laura Byrd: we have
Claire Blake: decide
Laura Byrd: to decide
Claire Blake: now.
Laura Byrd: about these now.
Sheila Lopez: Ah right.
Diana Dubow: Yeah. Materials
Laura Byrd: And uh
Diana Dubow: are the most,
Laura Byrd: the trend-watching.
Diana Dubow: most impor
Laura Byrd: So as you said, fruity is in, well sells good. Wow.
Diana Dubow: Yeah.
Laura Byrd: Uh these things.
Claire Blake: So we have to uh put it in one uh document.
Laura Byrd: Uh yes. Um so if we uh go through
Claire Blake: Copy
Laura Byrd: them
Claire Blake: paste uh this story into a into a Word document, and then uh put the answers after the subjects. Yeah. Well we have to decide all these things?
Sheila Lopez: Yeah but all these examples are uh of a coffee machine.
Laura Byrd: Yeah well uh
Claire Blake: W
Laura Byrd: Why
Claire Blake: we can
Laura Byrd: should
Claire Blake: uh
Laura Byrd: I uh
Claire Blake: override them?
Laura Byrd: Yeah. So
Claire Blake: Well a case? Uh that's Diana Dubow. Uh I suggest Well what do I
Laura Byrd: What
Claire Blake: suggest actually?
Laura Byrd: what kind of properties should it have? Well we just listened.
Sheila Lopez: I
Claire Blake: Uh
Sheila Lopez: think
Claire Blake: s solid,
Sheila Lopez: we
Claire Blake: yeah. Yeah.
Sheila Lopez: Why don't we um use uh titanium or or a hard, yeah, some kind of metal for the uh the
Diana Dubow: Do you know the
Sheila Lopez: the
Diana Dubow: new
Sheila Lopez: whole
Diana Dubow: uh
Sheila Lopez: remote except the front. That Just like um
Claire Blake: Yeah,
Sheila Lopez: most
Diana Dubow: No
Claire Blake: I understand.
Sheila Lopez: cell
Diana Dubow: no
Sheila Lopez: phones are.
Claire Blake: Yeah. So we have titanium.
Diana Dubow: The front is the most important.
Claire Blake: Yeah but the non-removable elements of the of the remote, so not the front, could be titanium, to give
Sheila Lopez: Yeah.
Claire Blake: that uh strong look.
Laura Byrd: You know what?
Claire Blake: And then the front is made of plastic. And you can put that on and off, and switch it.
Sheila Lopez: Yeah.
Diana Dubow: But the feel of plastic isn't strong.
Claire Blake: No but you
Sheila Lopez: No but
Claire Blake: have
Sheila Lopez: you you
Claire Blake: titanium
Sheila Lopez: have this
Claire Blake: of course.
Sheila Lopez: Yeah.
Claire Blake: Uh you have
Diana Dubow: Yeah alright,
Claire Blake: the best
Diana Dubow: alright.
Claire Blake: of both worlds.
Diana Dubow: 'Kay.
Sheila Lopez: Yeah, you have the re remote in your hand like this. So you feel titanium.
Claire Blake: And of course, yeah, you have the the the plastic front end. But
Diana Dubow: Yeah.
Claire Blake: you also have the
Diana Dubow: Fronts
Claire Blake: titanium.
Diana Dubow: are are cheaper than
Sheila Lopez: Yeah.
Diana Dubow: when
Claire Blake: Yeah
Diana Dubow: they're
Claire Blake: of
Diana Dubow: from
Claire Blake: course,
Diana Dubow: plas
Claire Blake: but yeah you have to make a
Sheila Lopez: And I don't
Claire Blake: decision.
Sheila Lopez: know if you can make steel just any way you want it to.
Diana Dubow: Yeah, but it it's expensive.
Claire Blake: I guess so. Uh
Sheila Lopez: Yeah.
Claire Blake: titanium I sh I think
Diana Dubow: Bendable.
Claire Blake: uh Huh?
Diana Dubow: Bendable.
Claire Blake: Well, well the
Sheila Lopez: Well any colour
Claire Blake: According to my sources, uh it's it's totally possible to make an entire uh uh uh Titanium is available, and uh we can uh make uh an entire remote out of it, if we
Sheila Lopez: Yeah,
Claire Blake: want.
Sheila Lopez: then you you paint it in the colour you want
Diana Dubow: Yeah.
Sheila Lopez: it.
Claire Blake: Mm.
Sheila Lopez: The plastic is
Diana Dubow: Paint spray.
Sheila Lopez: is the colour you want
Claire Blake: Mm.
Sheila Lopez: it.
Diana Dubow: Yeah alright.
Sheila Lopez: So Yeah.
Diana Dubow: So,
Laura Byrd: Alright.
Diana Dubow: we're going for a titanium back and a
Laura Byrd: I've
Diana Dubow: plastic
Laura Byrd: uh
Diana Dubow: front?
Claire Blake: Yeah,
Sheila Lopez: Mm.
Claire Blake: I think
Laura Byrd: Titanium
Claire Blake: that's a nice
Laura Byrd: back, plastic
Claire Blake: trade-off.
Laura Byrd: front. Okay. Um well I am going to put it in here, uh because we can
Diana Dubow: Yeah,
Laura Byrd: uh
Diana Dubow: great.
Laura Byrd: look.
Sheila Lopez: Yeah.
Laura Byrd: I
Claire Blake: Alright.
Laura Byrd: Um solid feel and trendy look. So material, um hard plastic
Claire Blake: Yeah,
Laura Byrd: for
Claire Blake: for
Laura Byrd: the front?
Claire Blake: the front and
Diana Dubow: Yeah.
Claire Blake: then titanium for the back. For the non-removable uh part.
Diana Dubow: But then you have the problem, when you have a titanium back, you can't switch it. When you want an other colour on the front, it doesn't match.
Claire Blake: Well
Diana Dubow: You know?
Claire Blake: but
Sheila Lopez: Well titanium is neutral.
Claire Blake: The titan titanium isn't isn't v very Yeah, i it doesn't uh curves. No uh I nei.
Diana Dubow: I
Claire Blake: Titanium is very
Diana Dubow: understand.
Claire Blake: No no no, but you
Diana Dubow: Yeah,
Claire Blake: know
Diana Dubow: yeah,
Claire Blake: b Titanium
Diana Dubow: yeah.
Claire Blake: is very basic colour, and it doesn't
Sheila Lopez: Hmm.
Diana Dubow: Yeah.
Claire Blake: really matter if we have a purple front on it or
Sheila Lopez: Yeah.
Claire Blake: a orange
Diana Dubow: Alright.
Claire Blake: front. I dunno if if you disagree,
Sheila Lopez: Well
Claire Blake: but I think
Diana Dubow: Yeah.
Claire Blake: it's
Diana Dubow: Alright.
Sheila Lopez: Our customers will
Claire Blake: doesn't
Sheila Lopez: use
Claire Blake: matter
Sheila Lopez: those
Claire Blake: very
Sheila Lopez: uh
Claire Blake: much.
Sheila Lopez: funky uh trendy colours, and they don't
Claire Blake: And even
Sheila Lopez: use
Claire Blake: if it
Sheila Lopez: uh
Claire Blake: does uh doesn't
Sheila Lopez: wood.
Claire Blake: match, it will uh People
Diana Dubow: Funky
Claire Blake: like
Diana Dubow: customers.
Sheila Lopez: Mm.
Claire Blake: mm
Sheila Lopez: Yeah.
Diana Dubow: Alright.
Laura Byrd: Okay. And
Claire Blake: colours
Laura Byrd: well
Claire Blake: that
Laura Byrd: the
Claire Blake: don't match.
Laura Byrd: the electrical cable is just normal
Claire Blake: Cop copper
Laura Byrd: uh.
Claire Blake: uh material.
Sheila Lopez: Yeah.
Claire Blake: Excuse Diana Dubow?
Sheila Lopez: The electrical cable
Laura Byrd: It's
Sheila Lopez: uh
Laura Byrd: uh
Claire Blake: Yeah copper
Laura Byrd: from
Claire Blake: i
Laura Byrd: uh
Claire Blake: just
Sheila Lopez: does
Laura Byrd: our
Claire Blake: a
Laura Byrd: coffee
Claire Blake: ba basic
Laura Byrd: uh
Claire Blake: uh
Sheila Lopez: No we don't use an electrical cable. Yeah inside, but this is for
Claire Blake: Yeah
Sheila Lopez: the
Claire Blake: in
Sheila Lopez: coffee uh machine.
Claire Blake: Yeah well inside the remote control we use a
Laura Byrd: Of course.
Sheila Lopez: Yeah,
Claire Blake: couple
Sheila Lopez: but
Claire Blake: of uh
Sheila Lopez: that's not what's meant here, I think.
Diana Dubow: Nei. So external.
Claire Blake: Oh external?
Diana Dubow: Yeah.
Sheila Lopez: Yeah.
Claire Blake: Well A coffee grind doesn't have Na ja. Never mind the coffee grind.
Laura Byrd: Well uh all the all the inside work of our remote is uh standard work. So
Claire Blake: Right?
Laura Byrd: The chip is normal silicon. Uh the buttons are normal, etcetera. Okay?
Claire Blake: Alright.
Laura Byrd: So that's just easy.
Claire Blake: Mm-hmm.
Laura Byrd: Uh we decide about that just by looking at our competitors and our earlier uh remotes. The conceptual specification of the user interface? Um well we have our beautiful drawing.
Sheila Lopez: Well I got a better one here and I will um
Diana Dubow: Alright.
Laura Byrd: Well you can put that in uh
Sheila Lopez: The shared
Laura Byrd: into
Sheila Lopez: folder.
Laura Byrd: the shared folder, and then I'll put it in our end report.
Sheila Lopez: I will work this out uh
Laura Byrd: Yes,
Sheila Lopez: for
Laura Byrd: you can
Sheila Lopez: the uh next meeting.
Laura Byrd: Mm yeah. You can uh put some uh which button is what.
Sheila Lopez: Yeah yeah yeah.
Laura Byrd: Okay. Um the trend-watching included these days. And what do we? We thing that fruit and bright colours are
Claire Blake: Yeah the the the front
Diana Dubow: I think
Claire Blake: w
Diana Dubow: we can launch a couple of packages. You can buy
Sheila Lopez: Yeah.
Diana Dubow: a different kind of of of machine, but it's the same thing, but with another front.
Laura Byrd: Yes.
Claire Blake: Mm-hmm.
Diana Dubow: So
Laura Byrd: We can also uh
Sheila Lopez: Yeah
Laura Byrd: implement
Sheila Lopez: that's the
Diana Dubow: And
Sheila Lopez: whole
Diana Dubow: you
Laura Byrd: um
Sheila Lopez: idea
Diana Dubow: can
Sheila Lopez: of the
Diana Dubow: you
Claire Blake: Yeah.
Sheila Lopez: front.
Diana Dubow: can
Laura Byrd: we can also implement
Claire Blake: Yeah.
Laura Byrd: fronts from um movies that are very hot. Uh
Sheila Lopez: Yes.
Diana Dubow: Yeah right.
Sheila Lopez: But
Laura Byrd: those
Sheila Lopez: that's
Laura Byrd: kind
Sheila Lopez: for later
Laura Byrd: of things.
Sheila Lopez: on. The fronts y you can do anything with them.
Laura Byrd: Yeah.
Diana Dubow: Yeah but if you if you launch uh five different packages like
Sheila Lopez: Yeah,
Diana Dubow: iPod
Sheila Lopez: right
Diana Dubow: mini
Sheila Lopez: For the uh initiative uh
Diana Dubow: Yeah.
Sheila Lopez: launch.
Claire Blake: For the for the launch, yeah.
Diana Dubow: It's
Sheila Lopez: Mm.
Diana Dubow: good marketing.
Laura Byrd: Launch
Claire Blake: So e
Laura Byrd: different
Claire Blake: th then
Laura Byrd: lines
Claire Blake: a c
Laura Byrd: at once.
Claire Blake: couple of basic colours. Not not very uh
Diana Dubow: Yeah, n not too
Claire Blake: sim
Diana Dubow: heavy.
Claire Blake: Not
Diana Dubow: You can always take another pick.
Claire Blake: Yeah.
Laura Byrd: We should not give them the m the most lovely front
Diana Dubow: They have
Laura Byrd: when
Diana Dubow: to
Laura Byrd: they
Diana Dubow: buy
Laura Byrd: buy
Diana Dubow: it
Laura Byrd: it
Diana Dubow: later
Laura Byrd: for the first
Diana Dubow: on.
Sheila Lopez: Oh
Laura Byrd: time. Yeah.
Diana Dubow: Yeah
Sheila Lopez: yeah.
Diana Dubow: right.
Sheila Lopez: Yeah.
Claire Blake: Yeah.
Laura Byrd: Come on.
Diana Dubow: More basic.
Laura Byrd: We still have to make those fifty
Sheila Lopez: Yeah.
Laura Byrd: million,
Diana Dubow: Yeah.
Claire Blake: Very
Laura Byrd: yeah?
Claire Blake: boring, yeah.
Sheila Lopez: Well
Claire Blake: The most
Sheila Lopez: you can you
Claire Blake: boring
Sheila Lopez: can give
Claire Blake: fronts
Sheila Lopez: them uh s
Claire Blake: possible.
Sheila Lopez: s three
Laura Byrd: The most
Sheila Lopez: or so, so that they
Laura Byrd: ugly.
Sheila Lopez: can uh experiment with it and
Diana Dubow: Yeah,
Sheila Lopez: that
Diana Dubow: right.
Sheila Lopez: they want more.
Laura Byrd: Two.
Claire Blake: Yeah but you you can have some basic colours, and
Sheila Lopez: Yeah.
Claire Blake: then we come with the special patterns on them,
Sheila Lopez: Red
Claire Blake: and
Laura Byrd: Yeah.
Sheila Lopez: red,
Claire Blake: and
Sheila Lopez: blue
Claire Blake: uh
Sheila Lopez: and
Diana Dubow: Yeah.
Sheila Lopez: green you give them
Claire Blake: And
Sheila Lopez: or something,
Claire Blake: uh
Sheila Lopez: and then you can give them
Laura Byrd: Yeah.
Sheila Lopez: uh
Laura Byrd: Alright.
Sheila Lopez: other ones.
Laura Byrd: Um well the buttons etcetera, we get from Mike. Uh this fruit and bright colours, yeah well I think we'll have to in the next uh half an hour, we'll have to uh s s specify the different uh types we want to launch, when we uh well
Claire Blake: Uh we
Laura Byrd: introduce
Claire Blake: still have
Laura Byrd: our
Claire Blake: to make
Laura Byrd: remote.
Claire Blake: We have still have to make the es the the real basic design. Because
Diana Dubow: Yeah.
Claire Blake: yeah we have the
Diana Dubow: But we
Claire Blake: sketch but
Diana Dubow: we must remember that fancy look-and-feel is the most important thing.
Laura Byrd: Yes.
Diana Dubow: Else it w won't sell. So
Laura Byrd: Yes.
Claire Blake: Alright, yeah.
Laura Byrd: Well I'll have to, before I get another warning for five minutes, I'm going to get Where is my mouse? Uh where is my mouse?
Diana Dubow: Lost my mouse.
Laura Byrd: Oh yeah. Um this is it.
Diana Dubow: Unbelievable.
Laura Byrd: Well, um this we have.
Diana Dubow: Yeah.
Laura Byrd: Uh basic stuff. Interface we have. Supplements, L_C_D_. Maybe a a cheap voice recording. Well
Sheila Lopez: Yeah we should
Claire Blake: The price?
Sheila Lopez: do that.
Laura Byrd: Yes. Alright. Individual actions.
Claire Blake: We all agree on that. Yeah.
Sheila Lopez: Mm.
Laura Byrd: Industry designer, User Interface, Mike. You're going to work together on a prototype drawing on the SMARTboard.
Sheila Lopez: Yeah, we can do that.
Claire Blake: Together or uh Yeah
Diana Dubow: Yeah
Claire Blake: together.
Diana Dubow: togeth
Claire Blake: How Yeah yeah, but
Laura Byrd: That's
Claire Blake: how
Sheila Lopez: But
Laura Byrd: what
Claire Blake: do I
Sheila Lopez: bu
Laura Byrd: I got
Sheila Lopez: we
Laura Byrd: uh
Sheila Lopez: stay
Laura Byrd: to
Sheila Lopez: we
Laura Byrd: hear.
Sheila Lopez: stay here or something?
Laura Byrd: Yes well we'll get it to hear that I think. But I think so. Th they're saying SMARTboard
Diana Dubow: You can
Laura Byrd: and
Diana Dubow: take
Laura Byrd: that's
Diana Dubow: the
Laura Byrd: it
Diana Dubow: SMARTboard.
Sheila Lopez: Ah
Laura Byrd: This
Sheila Lopez: right.
Laura Byrd: is the SMARTboard, so
Sheila Lopez: And take it to our rooms and uh
Laura Byrd: Um so you can uh you you are going to make a prototype, and y Well that's includes uh specifying the buttons
Sheila Lopez: Ah, specific
Laura Byrd: etcetera.
Sheila Lopez: instructions will be sent to you by your
Laura Byrd: Yeah.
Sheila Lopez: personal coach.
Laura Byrd: So you'll get it on your em on your laptop. Um well you will go and do something else uh on the project
Diana Dubow: Have fun.
Claire Blake: Some
Laura Byrd: yeah project
Claire Blake: Some
Laura Byrd: evaluation.
Claire Blake: non functional tasks.
Laura Byrd: So um,
Diana Dubow: 'Kay.
Laura Byrd: what are you going to do? Uh I don't know what product evaluation exactly means, but uh you'll get uh the specifications.
Diana Dubow: We don't have produ product yet, so
Laura Byrd: Yeah. That's why I uh
Diana Dubow: kind of difficult.
Laura Byrd: But uh
Claire Blake: You're fired. No but
Laura Byrd: How long do we still have?
Claire Blake: Well, can we talk about something else? Uh
Laura Byrd: Yeah.
Claire Blake: Uh no I don't know anything, but maybe uh
Sheila Lopez: Yeah.
Claire Blake: anyone
Diana Dubow: Ajax.
Sheila Lopez: Um
Claire Blake: else uh Yeah?
Diana Dubow: Nah.
Sheila Lopez: Will we use uh round buttons or square ones for the
Diana Dubow: Um
Claire Blake: Round I think.
Sheila Lopez: for
Diana Dubow: round.
Sheila Lopez: the numbers?
Diana Dubow: Yeah.
Sheila Lopez: Yeah
Diana Dubow: Round.
Sheila Lopez: I I I also
Claire Blake: To make it
Sheila Lopez: uh
Claire Blake: as
Sheila Lopez: thought
Claire Blake: uh
Sheila Lopez: Yeah.
Claire Blake: as round as possible.
Sheila Lopez: And these uh these s these buttons
Laura Byrd: Why
Sheila Lopez: uh
Laura Byrd: does
Sheila Lopez: are more uh triangle-ish
Diana Dubow: Curvy.
Sheila Lopez: shaped
Diana Dubow: Yeah. So you can
Sheila Lopez: with
Diana Dubow: see
Sheila Lopez: a square
Diana Dubow: you have
Sheila Lopez: one in
Diana Dubow: to
Sheila Lopez: the
Laura Byrd: Ah
Sheila Lopez: middle.
Laura Byrd: f fuck
Sheila Lopez: Yeah.
Diana Dubow: up or down.
Laura Byrd: you.
Sheila Lopez: Yeah.
Claire Blake: But now I see
Diana Dubow: And
Claire Blake: the
Diana Dubow: this must be uh volume I think,
Laura Byrd: Heh?
Diana Dubow: and this programme.
Sheila Lopez: Mm. Well
Laura Byrd: We
Sheila Lopez: most
Laura Byrd: can't
Sheila Lopez: of the time
Laura Byrd: get
Sheila Lopez: uh up and down is programme and left and right are volume, I think.
Claire Blake: Well th th th th
Diana Dubow: Yeah.
Claire Blake: th that
Sheila Lopez: Yeah, it depends, but
Claire Blake: depends uh. Well we
Sheila Lopez: If
Claire Blake: uh
Sheila Lopez: you turn up the volume, you always see this thingy
Claire Blake: We
Sheila Lopez: go
Claire Blake: we j
Sheila Lopez: up.
Claire Blake: we'll just give
Diana Dubow: Yeah,
Claire Blake: them
Diana Dubow: that's
Claire Blake: an
Diana Dubow: right.
Claire Blake: uh We'll design it, and then they
Sheila Lopez: Yeah.
Claire Blake: can give comments on it.
Sheila Lopez: Yeah
Diana Dubow: Yeah.
Sheila Lopez: alright.
Laura Byrd: Ts
Diana Dubow: Okay.
Laura Byrd: It doesn't work any more. We can't save them. So we'll just have them uh
Diana Dubow: Yeah,
Laura Byrd: standing
Diana Dubow: I noticed.
Laura Byrd: there.
Diana Dubow: You can't uh click the corners.
Laura Byrd: No. It's a bit uh
Diana Dubow: It's a
Laura Byrd: bit
Diana Dubow: real
Laura Byrd: a pity.
Diana Dubow: real
Laura Byrd: Well
Diana Dubow: great
Laura Byrd: we still
Diana Dubow: thing.
Laura Byrd: have uh more than five minutes. Um So what are we going to do? I as Project Manager ha don't have a clue.
Diana Dubow: Let's start the design.
Laura Byrd: Oh we can uh decide how we implement the feeling from our company into the remote.
Claire Blake: Well
Sheila Lopez: Mm.
Claire Blake: yeah. Um I think um a logo, our company logo, and the slogan should
Laura Byrd: Also
Claire Blake: be or
Laura Byrd: the slogan?
Claire Blake: could be
Laura Byrd: On the
Claire Blake: Yeah, why not? If there's enough space, you can put
Sheila Lopez: Uh
Claire Blake: uh
Sheila Lopez: I
Claire Blake: We'll
Diana Dubow: O
Sheila Lopez: I'd
Claire Blake: we'll
Sheila Lopez: say only the logo.
Diana Dubow: Yeah. Diana Dubow too.
Sheila Lopez: Too much text and it gets
Claire Blake: Well,
Sheila Lopez: too
Claire Blake: our
Sheila Lopez: too
Claire Blake: slogan
Sheila Lopez: busy.
Claire Blake: is not very long. It's just a simple What
Sheila Lopez: Well
Laura Byrd: We
Claire Blake: is it?
Laura Byrd: put the
Sheila Lopez: it's
Laura Byrd: fashion
Sheila Lopez: quite
Laura Byrd: in electronics.
Sheila Lopez: a long phrase.
Laura Byrd: We put the
Diana Dubow: But
Laura Byrd: fashion in electronics.
Diana Dubow: we kree we
Claire Blake: You
Diana Dubow: keep
Claire Blake: c
Diana Dubow: adjusting to the fashion with our fronts. So
Claire Blake: But you can put it on the back, on the titanium part. The logo and the
Diana Dubow: Yeah,
Sheila Lopez: Ah
Diana Dubow: right.
Sheila Lopez: the
Claire Blake: and
Sheila Lopez: logo
Claire Blake: the
Sheila Lopez: should be on
Diana Dubow: The
Sheila Lopez: the
Diana Dubow: logo
Sheila Lopez: top I think.
Laura Byrd: On the top. Yeah. Well
Claire Blake: Yeah they do.
Laura Byrd: in
Claire Blake: Well
Laura Byrd: in
Diana Dubow: Yeah.
Laura Byrd: in
Claire Blake: yeah.
Laura Byrd: the right top corner?
Sheila Lopez: Right corner, yes.
Laura Byrd: And well you
Claire Blake: Right
Laura Byrd: c
Claire Blake: corner,
Laura Byrd: On the back,
Claire Blake: or
Laura Byrd: you can put
Claire Blake: maybe
Laura Byrd: uh
Claire Blake: here
Laura Byrd: h
Claire Blake: in the middle?
Laura Byrd: At the bottom, you can put the logo with the
Sheila Lopez: uh the text?
Laura Byrd: Yeah.
Sheila Lopez: Yeah.
Diana Dubow: But
Laura Byrd: Just
Diana Dubow: the
Sheila Lopez: Uh yeah,
Diana Dubow: logo
Laura Byrd: just
Sheila Lopez: at
Laura Byrd: small.
Sheila Lopez: the back?
Diana Dubow: the logo shouldn't be exchangeable, when you get
Claire Blake: Yeah
Diana Dubow: off the
Claire Blake: it
Diana Dubow: front.
Sheila Lopez: Well
Claire Blake: it
Sheila Lopez: you
Claire Blake: should
Sheila Lopez: c
Claire Blake: be
Sheila Lopez: Well
Laura Byrd: Yeah
Claire Blake: hard
Laura Byrd: well
Claire Blake: on
Sheila Lopez: uh
Claire Blake: the
Sheila Lopez: Yes.
Claire Blake: on the on
Diana Dubow: Yeah.
Claire Blake: the board, and
Sheila Lopez: You
Diana Dubow: Yeah.
Sheila Lopez: can
Claire Blake: you can
Sheila Lopez: The logo
Claire Blake: remove
Sheila Lopez: can
Claire Blake: the front.
Sheila Lopez: be on on every uh
Diana Dubow: Yeah,
Sheila Lopez: front.
Diana Dubow: but you can scratch it off or something. It's better if you have it uh
Sheila Lopez: Yeah, but then you must uh really
Laura Byrd: Carved
Sheila Lopez: uh
Laura Byrd: into the material.
Sheila Lopez: yeah push it in or something.
Laura Byrd: No, you you can carve it into the titanium at the back.
Claire Blake: I l I like the idea of the of the slogan on the on the on the thing. But
Sheila Lopez: Yeah,
Claire Blake: am
Sheila Lopez: on
Claire Blake: I the
Sheila Lopez: the
Claire Blake: only
Sheila Lopez: backside.
Claire Blake: one, or uh
Laura Byrd: Well, management
Sheila Lopez: Well
Laura Byrd: would
Sheila Lopez: n
Laura Byrd: like
Sheila Lopez: n not
Laura Byrd: it.
Sheila Lopez: not on the front side, I think.
Laura Byrd: The front side,
Claire Blake: No
Laura Byrd: no
Claire Blake: not
Laura Byrd: no
Claire Blake: on
Laura Byrd: l
Claire Blake: the front,
Laura Byrd: no
Claire Blake: but
Laura Byrd: slogan.
Claire Blake: on the backside.
Sheila Lopez: On the back
Claire Blake: Uh
Sheila Lopez: Yes, you you can, yeah, push that in,
Laura Byrd: Sorry.
Sheila Lopez: so that it is
Claire Blake: I think
Sheila Lopez: always
Claire Blake: it's a nice
Sheila Lopez: be
Claire Blake: idea,
Sheila Lopez: there.
Claire Blake: to make it more recognisable,
Diana Dubow: Yeah.
Claire Blake: that the
Sheila Lopez: Yeah.
Claire Blake: next to the logo you have the slogan.
Diana Dubow: I agree.
Claire Blake: To make more uh
Diana Dubow: But
Claire Blake: of
Diana Dubow: not
Claire Blake: an impression.
Diana Dubow: too big. Just
Claire Blake: Not
Diana Dubow: uh
Claire Blake: too big. No, very small. Not
Diana Dubow: Yeah.
Claire Blake: on the entire back, but uh just very small. But readable enough of course.
Diana Dubow: Okay.
Laura Byrd: Yes,
Claire Blake: But
Laura Byrd: slogan
Claire Blake: we'll uh we'll
Laura Byrd: from
Claire Blake: take that uh with us
Laura Byrd: company
Sheila Lopez: Yeah
Claire Blake: into
Sheila Lopez: I
Claire Blake: the
Sheila Lopez: think
Claire Blake: design.
Sheila Lopez: over here the logo.
Claire Blake: Lo Uh yeah.
Laura Byrd: on the
Claire Blake: Or
Laura Byrd: back
Claire Blake: maybe here in the middle, but we'll decide
Laura Byrd: with
Claire Blake: later.
Laura Byrd: logo and logo also on the front but not exchange uh Uh? Hmm? Uh when changing fronts. Alright,
Claire Blake: Do you do you see
Laura Byrd: that's
Claire Blake: a
Laura Byrd: decided.
Claire Blake: bit of the of the um
Laura Byrd: Five minutes left.
Claire Blake: of the uh titanium? O on the front? Uh maybe if we
Sheila Lopez: Yes we
Claire Blake: make this
Sheila Lopez: could
Claire Blake: this this lower part titanium, the front is the the upper part, and the the bit with the with the L_C_D_ screen. So
Laura Byrd: So a bit of titanium between?
Claire Blake: Yeah.
Diana Dubow: Yeah.
Claire Blake: No no betwe of
Laura Byrd: That's
Claire Blake: between
Laura Byrd: a bit
Claire Blake: we
Laura Byrd: Oh
Claire Blake: can
Laura Byrd: that
Claire Blake: do
Laura Byrd: that's
Claire Blake: but
Laura Byrd: that's pretty cool.
Claire Blake: But then you have two parts
Sheila Lopez: No, they
Claire Blake: of
Sheila Lopez: have
Claire Blake: front,
Diana Dubow: No
Sheila Lopez: two
Diana Dubow: no
Sheila Lopez: fronts,
Diana Dubow: no no.
Sheila Lopez: that.
Claire Blake: two
Diana Dubow: You
Claire Blake: fronts
Diana Dubow: have to
Claire Blake: that
Diana Dubow: make
Sheila Lopez: You
Diana Dubow: this
Laura Byrd: No?
Sheila Lopez: you
Diana Dubow: titanium
Sheila Lopez: can
Diana Dubow: too.
Sheila Lopez: Yeah. Yeah.
Claire Blake: This enti
Diana Dubow: Else
Claire Blake: entire
Diana Dubow: you you
Claire Blake: bottom?
Diana Dubow: get problems
Sheila Lopez: Yeah.
Diana Dubow: with the L_C_D_.
Sheila Lopez: Yeah.
Laura Byrd: Yes.
Diana Dubow: Like dust in it and so things like
Sheila Lopez: Yeah.
Diana Dubow: that. When you exchange all the fronts and it's open.
Laura Byrd: I already
Sheila Lopez: No, you
Laura Byrd: have
Sheila Lopez: can
Laura Byrd: uh
Sheila Lopez: you can
Laura Byrd: all
Sheila Lopez: just
Laura Byrd: kinds of uh
Sheila Lopez: And then not a
Laura Byrd: filth
Sheila Lopez: straight
Laura Byrd: between
Sheila Lopez: line
Laura Byrd: the
Sheila Lopez: but uh
Laura Byrd: mobile.
Sheila Lopez: some sort of wave
Claire Blake: And then the lower part
Sheila Lopez: or
Claire Blake: is titanium?
Sheila Lopez: something. This is titanium.
Claire Blake: I think
Diana Dubow: Yeah.
Sheila Lopez: And
Claire Blake: that's
Sheila Lopez: this
Claire Blake: nice,
Sheila Lopez: is uh
Diana Dubow: Some
Claire Blake: yeah.
Diana Dubow: some kind of wei weight
Laura Byrd: Yeah.
Diana Dubow: in it. Yeah.
Laura Byrd: Round forms.
Sheila Lopez: F front.
Claire Blake: Yeah. I like that bit of uh titanium also
Sheila Lopez: Yeah.
Claire Blake: on
Diana Dubow: Yeah.
Claire Blake: the
Sheila Lopez: With the
Claire Blake: uh
Laura Byrd: Yep.
Sheila Lopez: with the
Claire Blake: A bit
Sheila Lopez: curved
Claire Blake: like uh
Sheila Lopez: edge.
Claire Blake: a bit like your mobile phone. Maybe you can show
Sheila Lopez: Yeah.
Claire Blake: it. It also has the
Sheila Lopez: Yeah.
Claire Blake: those two distinct uh
Sheila Lopez: Tada.
Claire Blake: Mm bit like this.
Sheila Lopez: Yeah.
Laura Byrd: Yeah.
Diana Dubow: Yeah,
Claire Blake: Uh it's uh
Diana Dubow: you can make it go round this corner too where the logo is. Because it has to
Laura Byrd: What?
Diana Dubow: be uh there all the time
Claire Blake: Yeah
Diana Dubow: you know.
Claire Blake: yeah.
Sheila Lopez: Ah.
Claire Blake: That uh Yeah.
Laura Byrd: So
Diana Dubow: So
Laura Byrd: round
Diana Dubow: uh
Claire Blake: Maybe
Diana Dubow: a
Laura Byrd: where?
Claire Blake: a nice touch, yeah.
Diana Dubow: little corner
Sheila Lopez: Yeah,
Diana Dubow: of
Sheila Lopez: that's
Diana Dubow: titanium.
Laura Byrd: Oh,
Sheila Lopez: nice finishing
Laura Byrd: yeah.
Sheila Lopez: touch you need.
Laura Byrd: Yes, that also sounds uh pretty uh
Diana Dubow: So
Laura Byrd: neat.
Diana Dubow: this
Claire Blake: I think I'm
Diana Dubow: this
Claire Blake: going
Diana Dubow: is
Claire Blake: to buy
Diana Dubow: the
Claire Blake: it.
Diana Dubow: exchangeable part.
Laura Byrd: We want
Sheila Lopez: Yeah, this
Laura Byrd: it.
Sheila Lopez: is the front.
Laura Byrd: And it's only f twenty five Euros. Come
Sheila Lopez: This
Claire Blake: That's
Laura Byrd: on.
Claire Blake: a bit too much, but No,
Laura Byrd: No that's nothing.
Claire Blake: no no no, but
Laura Byrd: The Phillips
Sheila Lopez: is
Claire Blake: I think
Laura Byrd: remote
Claire Blake: uh
Laura Byrd: uh costs
Claire Blake: this
Sheila Lopez: the
Claire Blake: looks
Laura Byrd: more.
Claire Blake: uh pretty nice actually. Of course,
Diana Dubow: Right.
Claire Blake: because it's my design but No
Sheila Lopez: My design.
Claire Blake: our d our design, alright.
Diana Dubow: Taking
Laura Byrd: Well
Diana Dubow: all the
Laura Byrd: uh
Diana Dubow: credit.
Laura Byrd: you two are going to work together. You'll get your uh specifications on your uh laptop, and then
Sheila Lopez: Yeah.
Laura Byrd: uh
Sheila Lopez: We'll stay here I guess?
Diana Dubow: But
Laura Byrd: you
Diana Dubow: there's
Laura Byrd: uh
Diana Dubow: a problem. We can't uh take a blank one. Or can we?
Laura Byrd: Well I think we can, I just
Sheila Lopez: Well we
Laura Byrd: It's
Sheila Lopez: can uh erase an animal I guess.
Diana Dubow: Yeah.
Sheila Lopez: Uh the
Diana Dubow: Nah
Sheila Lopez: fourth
Diana Dubow: that's
Sheila Lopez: one.
Diana Dubow: alright,
Claire Blake: But don't
Diana Dubow: that's
Claire Blake: erase
Diana Dubow: alright.
Claire Blake: my cat.
Laura Byrd: Yeah,
Sheila Lopez: Uh the
Laura Byrd: o
Sheila Lopez: fourth one is empty, isn't it? Yeah.
Laura Byrd: Oh
Claire Blake: I want to preserve it.
Diana Dubow: This one is empty.
Sheila Lopez: Yeah.
Diana Dubow: You have to empty one huh?
Laura Byrd: Oh, we have a one.
Claire Blake: What are you doing chief?
Laura Byrd: So, you
Diana Dubow: Alright.
Laura Byrd: can uh draw a
Sheila Lopez: Yeah
Laura Byrd: Yeah.
Sheila Lopez: I think we have to wait?
Laura Byrd: Well
Claire Blake: Yeah
Diana Dubow: No
Laura Byrd: I'll
Claire Blake: until
Laura Byrd: get a
Claire Blake: the
Laura Byrd: I'll get the
Claire Blake: until the beep
Laura Byrd: message.
Claire Blake: goes. But I don't uh Do we have to stay here, or I think
Laura Byrd: No,
Claire Blake: we have to return
Laura Byrd: I
Diana Dubow: Yeah.
Laura Byrd: think
Claire Blake: first.
Laura Byrd: uh Well you'll Maybe you can uh keep your uh laptop here.
Sheila Lopez: Maybe.
Laura Byrd: Or get your mouse. Because it's little
Claire Blake: The
Laura Byrd: bit
Claire Blake: high powers
Laura Byrd: uh
Claire Blake: from above
Laura Byrd: hard to work with these uh plates.
Claire Blake: will have
Diana Dubow: Yeah.
Claire Blake: to tell us, yeah.
Diana Dubow: It's not relaxing.
Laura Byrd: I always have a mouse next to my laptop. I hate
Diana Dubow: I
Laura Byrd: these
Diana Dubow: I don't
Claire Blake: Yeah,
Diana Dubow: have
Claire Blake: touch-pads,
Diana Dubow: a laptop.
Claire Blake: yeah.
Laura Byrd: Ugh.
Claire Blake: We can uh do a touch-pad on our remote.
Diana Dubow: Yeah right.
Claire Blake: No
Sheila Lopez: Yeah.
Claire Blake: just kidding.
Diana Dubow: Dream on.
Claire Blake: Well we have uh b you have to have a bit of humour in the in the discussions too, because it becomes too
Laura Byrd: And in your remote control.
Claire Blake: too too
Laura Byrd: So we put
Claire Blake: too
Laura Byrd: a
Claire Blake: stressy.
Laura Byrd: touch pad on it, and say ha ha.
Sheila Lopez: Aha. This has no function.
Diana Dubow: Half
Laura Byrd: Yeah. We know you'll you'll you'll hate it but
Claire Blake: But uh th youth doesn't care about functio functionality,
Diana Dubow: No.
Claire Blake: so
Laura Byrd: But they do want some gadgets.
Diana Dubow: It's
Laura Byrd: So
Diana Dubow: all about cool things.
Laura Byrd: that's wha what we're doing.
Claire Blake: Yeah.
Diana Dubow: And it will sell. We will be rich.
Claire Blake: Bless you.
Laura Byrd: Well we won't. Our bosses will be rich.
Claire Blake: Mm.
Sheila Lopez: We've done too much in the previous meetings.
Claire Blake: Too much?
Sheila Lopez: Yes, we've got nothing to do now.
Claire Blake: Well they
Laura Byrd: Well,
Claire Blake: uh
Laura Byrd: that's not bad, is it?
Diana Dubow: No.
Claire Blake: I think that's good. We all had uh our talk and we agree I guess on uh several thing, on most uh on things.
Laura Byrd: Mm.
Sheila Lopez: Its the best remote ever.
Laura Byrd: So
Sheila Lopez: Pinball.
Laura Byrd: Oh. Oh he's totally off again. Well
Diana Dubow: No man. You just have to push harder.
Claire Blake: Yeah you have to push harder.
Laura Byrd: But when I start here,
Claire Blake: Mm.
Laura Byrd: it's here. So
Diana Dubow: Yeah.
Sheila Lopez: Yes,
Laura Byrd: is
Sheila Lopez: but
Laura Byrd: it
Sheila Lopez: you you get really close to the screen with your hand, and I don't think that's
Diana Dubow: Mm.
Sheila Lopez: Hmm.
Diana Dubow: Recalibrate
Laura Byrd: Nope.
Diana Dubow: it.
Claire Blake: Where's the good old chalk board with the
Diana Dubow: Yeah.
Claire Blake: the green board with the, how do you call it, chalk, yeah.
Sheila Lopez: We can better uh draw a design on this.
Claire Blake: Yeah, maybe.
Sheila Lopez: Yeah, but we can't.
Claire Blake: Maybe if i if that thing is recalibrated, we can draw a thing quick, and then before it uh
Laura Byrd: Yeah.
Claire Blake: goes
Laura Byrd: Let's
Claire Blake: off
Laura Byrd: go.
Claire Blake: again.
Sheila Lopez: Well
Diana Dubow: Finish meeting now.
Laura Byrd: Finish the meeting now. Alright now we know what to do, so
Sheila Lopez: We'll stay here?
Laura Byrd: Um
Diana Dubow: Yeah. Oh.
Sheila Lopez: Or we'll get the
Claire Blake: Maybe
Sheila Lopez: email.
Laura Byrd: Message?
Claire Blake: w maybe
Laura Byrd: No,
Claire Blake: we
Laura Byrd: get
Claire Blake: maybe
Laura Byrd: away.
Claire Blake: w m Can we get email here? Huh? Yeah.
Sheila Lopez: Yeah.
Claire Blake: Guess so.
Laura Byrd: Um I I'm not sure. Maybe you Yeah. Well you'll have
Sheila Lopez: Well
Laura Byrd: to
Sheila Lopez: we'll
Laura Byrd: work on
Sheila Lopez: wait
Laura Byrd: this one.
Sheila Lopez: a few seconds
Laura Byrd: Yeah.
Sheila Lopez: and then we'll get an email.
Laura Byrd: That's a good idea.
Diana Dubow: Alright. Have fun lads.
Laura Byrd: Well
Sheila Lopez: Yeah.
Claire Blake: A happy
Laura Byrd: Good
Claire Blake: hol
Laura Byrd: luck.
Claire Blake: happy holidays. | For the conceptual design, Diana Dubow talked about the public's preference for looks and texture over technological innovation; however, they both seem to be more important than ease of use. The current fashion among younger people favours bright colours and fruit and vegetable themes: pertinent exchangeable fronts can express such trends on the remote. Materials also need to be strong: Diana Dubow suggested an iron-plate or titanium front. Claire Blake suggested they use rubber push buttons (and no scroll wheel), simple battery (instead of solar cells or kinetic dynamo), and advanced chip. Speech recognition can be implemented, but it does not link speech commands to remote control actions. He also advised that the users within the target group prefer primary colours, soft textures and curved shapes. The team drew a provisional prototype. They placed the LCD below the buttons. If it is implemented, a recording button, microphone and speaker need to be included in the design. Finally, they decided to have a titanium case with plastic front and the company logo and slogan engraved. Packages with a variety of changeable fronts will be launched. | 4 | amisum | train |
Helen Macdonald: Uh fourth meeting.
Michelle Turney: We have to do what?
Helen Macdonald: Some extra deciding.
Jennifer Zager: W what? Alri
Michelle Turney: Oh.
Jennifer Zager: alright.
Helen Macdonald: Well
Jennifer Zager: We'll see.
Helen Macdonald: I'll show you the notes again. Very interesting. Well you'll you two will uh present us your prototype.
Jennifer Zager: Yeah.
Helen Macdonald: Then um I guess that's your bit?
Carolyn Hoffman: Yeah.
Helen Macdonald: I I didn't s see anything about it, so I already uh thought you uh you were to do that. So the you're uh. I'll show you how we're going to do with financing this
Michelle Turney: Mm.
Helen Macdonald: uh design.
Jennifer Zager: Yeah, that's important too. Yeah.
Helen Macdonald: And then we'll
Michelle Turney: Bit late.
Helen Macdonald: evaluate, after after we have redesigned it. Because uh well we'll see about the costs. Um we'll uh evaluate our p our uh production and then uh we can close.
Jennifer Zager: Alright.
Helen Macdonald: Well the finance uh we'll do later, so um firstly uh I'll show you the notes. I don't think it's very interesting.
Michelle Turney: I think it is.
Helen Macdonald: Oh nei. Uh no. Alright. This is copy paste. So
Jennifer Zager: From Carolyn Hoffman of course, yeah.
Helen Macdonald: Of course. You had
Jennifer Zager: Well
Helen Macdonald: some
Jennifer Zager: from us
Helen Macdonald: very
Jennifer Zager: all, yeah,
Helen Macdonald: strange
Jennifer Zager: from
Helen Macdonald: layout.
Jennifer Zager: all of us. Yeah. It's a nice chorus, yeah.
Helen Macdonald: Well um We ge we went through the agenda, and well we had some uh some presentations from you three. And uh I summarised what you said to us. So uh I don't think it's very interesting and go through it again.
Jennifer Zager: Repeat it yeah.
Helen Macdonald: So uh
Jennifer Zager: Alright.
Helen Macdonald: This is what we decided. It's also copy paste from what we made together. So
Carolyn Hoffman: Okay.
Helen Macdonald: we still know that. And then uh we can we can uh use the time better. Well uh next you two will uh present uh the pot prototype for us.
Jennifer Zager: Alright, we both uh will?
Helen Macdonald: Yeah.
Jennifer Zager: Or one of us will?
Michelle Turney: Alright.
Jennifer Zager: Uh
Michelle Turney: No you go and I'll uh
Jennifer Zager: Alright. If I
Michelle Turney: supplement
Jennifer Zager: make mistakes
Michelle Turney: you.
Jennifer Zager: uh you'll uh
Michelle Turney: Yeah.
Helen Macdonald: Correct.
Jennifer Zager: Right. Uh well this is our design. Uh it's pretty uh much uh like uh Mike draw uh drew uh the in the during the last meeting. With uh the different uh perspectives of it. Uh we'll begin uh with the front. We have of course uh the the round shape uh the round uh basic shape. Um with uh the upper part being the front. Th So there's this part um which is made of hard plastic, the front. And uh we're we're using different colours. Of course for the launch we use the basic ugly colours, and
Helen Macdonald: Yeah.
Jennifer Zager: later we'll put out uh more interesting covers with different patterns
Helen Macdonald: Mm-hmm.
Jennifer Zager: and pictures and everything. But basically, different colours, bright colours not black, too dark. Fancy colours. Um then we have uh the lower part of the of the device. Uh which is of course um part of the back actually, because it's also titanium. You can see it also on the on the on the side view, that only this part is the front, and the rest of it, the under uh the under side uh of it, yeah, the back side and the lower part of the front is of course titanium made of titanium, and has the titanium colour of course, the look. Um
Helen Macdonald: Mm.
Jennifer Zager: then we have uh on back on the front uh the logo in the upper corner, uh which is uh made uh which is also part of the back, part of the titanium uh
Michelle Turney: Yeah, it's a double R_,
Jennifer Zager: titanium
Michelle Turney: but
Jennifer Zager: part. Yeah?
Michelle Turney: It's a double R_.
Jennifer Zager: It's a double R_. Yeah the
Michelle Turney: But
Jennifer Zager: logo Uh uh
Michelle Turney: it's
Helen Macdonald: Yeah,
Michelle Turney: very difficult
Helen Macdonald: alright.
Jennifer Zager: it's
Michelle Turney: to to
Jennifer Zager: difficult
Michelle Turney: draw
Jennifer Zager: to draw
Michelle Turney: that in
Jennifer Zager: so small, but
Michelle Turney: Yeah.
Jennifer Zager: it's our double R_ uh
Helen Macdonald: Okay.
Jennifer Zager: logo is in there.
Helen Macdonald: Yeah.
Jennifer Zager: Um so that's the logo in the upper lef uh right corner. Then we have the buttons. Uh it's difficult to draw again the little oval or round I think oval will be better for
Michelle Turney: Oval
Jennifer Zager: the
Michelle Turney: yeah.
Jennifer Zager: for the d for the different
Helen Macdonald: Alright.
Jennifer Zager: uh channel buttons. So uh oval, n those are here. And then we have the m The m
Michelle Turney: Channel up and volume?
Jennifer Zager: Yeah the the con the the the, yeah, the t volume and the channel controls uh in the middle here. Um um with kind of arrow shapes, which makes it also a bit more exciting than basic round or um uh uh square buttons. And also here are the two uh buttons we agreed on. We have the Okay button. Oh nei we uh the Okay button's here in the middle
Michelle Turney: Yeah.
Jennifer Zager: of
Helen Macdonald: Mm-hmm.
Jennifer Zager: the of the operators, of the channel and uh volume um changers. And then we've here the Menu button and the
Helen Macdonald: Alright.
Michelle Turney: Menu for
Jennifer Zager: And
Michelle Turney: the
Jennifer Zager: the video
Michelle Turney: L_C_D_
Jennifer Zager: button.
Michelle Turney: screen.
Jennifer Zager: The
Carolyn Hoffman: Mm right.
Helen Macdonald: So
Jennifer Zager: Yeah. And of course this low part, this is the L_C_D_ screen.
Helen Macdonald: 'Kay.
Jennifer Zager: Uh this is what we made of it. You can make uh suggestions uh
Helen Macdonald: Well
Jennifer Zager: if you want.
Michelle Turney: Well, at
Helen Macdonald: if
Michelle Turney: the back
Helen Macdonald: I look at it, the side the side view
Jennifer Zager: Maybe we maybe we should finish first uh our
Michelle Turney: Yeah.
Jennifer Zager: talk and then you can add
Helen Macdonald: Oh
Jennifer Zager: suggestions.
Helen Macdonald: yeah alright.
Jennifer Zager: Maybe I I don't want to
Helen Macdonald: Yeah.
Jennifer Zager: I don't want to suppress you but n I'll uh finish this uh quick. Um okay I've had everything I guess on
Michelle Turney: No
Jennifer Zager: the
Michelle Turney: the
Jennifer Zager: front?
Michelle Turney: back. the
Jennifer Zager: Yeah
Michelle Turney: logo
Jennifer Zager: the back. Yeah.
Michelle Turney: and our uh l uh
Jennifer Zager: We thought about Yeah, uh the back is of course totally titanium. And we thought about the logo big in the middle.
Helen Macdonald: Mm-hmm.
Jennifer Zager: Just so again the double R_. We have
Carolyn Hoffman: Mm-hmm.
Jennifer Zager: then the logo on front and on the back. Maybe that's
Helen Macdonald: Okay.
Jennifer Zager: too much but
Michelle Turney: No
Jennifer Zager: you
Michelle Turney: I don't
Jennifer Zager: have to
Michelle Turney: think
Jennifer Zager: say uh say that if you think that way. And
Michelle Turney: And the
Jennifer Zager: the company slogan, we thought in a kind of arc
Helen Macdonald: Yeah.
Jennifer Zager: shape
Carolyn Hoffman: Yeah.
Jennifer Zager: uh above the logo. That's basically what we were thinking about, and
Helen Macdonald: Okay.
Michelle Turney: And about
Helen Macdonald: W
Michelle Turney: the side view um This the front won't be as thick, but
Helen Macdonald: Well I
Michelle Turney: again
Helen Macdonald: see, but
Michelle Turney: th the the drawing technique makes it very difficult to
Jennifer Zager: Oh and uh
Michelle Turney: to
Jennifer Zager: before
Michelle Turney: really
Jennifer Zager: I forget.
Michelle Turney: uh
Helen Macdonald: Well.
Jennifer Zager: Yeah the the voice,
Helen Macdonald: Yeah
Jennifer Zager: of course,
Helen Macdonald: I see
Jennifer Zager: the voice
Helen Macdonald: it.
Jennifer Zager: recorder is uh at the bottom.
Helen Macdonald: Yes.
Jennifer Zager: And you can record it uh using, yeah, the the
Helen Macdonald: When I
Jennifer Zager: the
Helen Macdonald: look
Jennifer Zager: back
Helen Macdonald: at
Jennifer Zager: of
Michelle Turney: Well,
Jennifer Zager: the
Helen Macdonald: uh
Michelle Turney: it
Jennifer Zager: f
Michelle Turney: won't
Helen Macdonald: when
Michelle Turney: be visible.
Helen Macdonald: I look at
Jennifer Zager: w
Helen Macdonald: this
Jennifer Zager: device.
Helen Macdonald: side view,
Michelle Turney: Mm?
Helen Macdonald: I think w when I have that in my hand, it's terrible. If
Jennifer Zager: Why?
Helen Macdonald: if you look if if this this is thick, and this is thin, th th then
Jennifer Zager: Well
Helen Macdonald: it that
Jennifer Zager: it fits
Helen Macdonald: it lies over your hands.
Jennifer Zager: uh it
Helen Macdonald: But
Jennifer Zager: it it it fits the hand, mean
Michelle Turney: Yeah.
Jennifer Zager: uh the the
Carolyn Hoffman: Yeah,
Helen Macdonald: Well
Jennifer Zager: the
Carolyn Hoffman: I
Jennifer Zager: the
Carolyn Hoffman: agree.
Helen Macdonald: what what what I what I agree is that when uh when um you have such of uh an arc in the middle, so that the the a the ends and the fronts is a bit thicker, so
Michelle Turney: If
Helen Macdonald: th then
Michelle Turney: y
Helen Macdonald: it falls over your hands.
Michelle Turney: If you handle a remote, you you usually don't have your hand straight
Jennifer Zager: In
Michelle Turney: like
Jennifer Zager: the middle
Michelle Turney: this. You
Jennifer Zager: in the
Michelle Turney: you have it a bit
Carolyn Hoffman: It depends
Michelle Turney: uh
Carolyn Hoffman: on the size.
Michelle Turney: Yeah.
Carolyn Hoffman: If it's kinda small, this is is great. But if it's it's larger, then you want to grab it.
Helen Macdonald: And how
Michelle Turney: Yeah.
Helen Macdonald: large is it?
Carolyn Hoffman: Yeah, that's the question.
Jennifer Zager: That's the question. Uh well Yeah. H What do you suggest I mean we do? This
Helen Macdonald: Well
Jennifer Zager: was
Helen Macdonald: uh
Jennifer Zager: Mike's prototype, and y you seemed to agreed on it. But now
Helen Macdonald: Well
Jennifer Zager: you
Helen Macdonald: the
Jennifer Zager: have
Helen Macdonald: sides
Jennifer Zager: a totally
Helen Macdonald: I
Jennifer Zager: different.
Helen Macdonald: haven't seen yet, uh?
Michelle Turney: Well,
Jennifer Zager: The size? Yeah
Michelle Turney: they
Jennifer Zager: well
Michelle Turney: lay there
Jennifer Zager: the size
Helen Macdonald: They the
Michelle Turney: all
Jennifer Zager: doesn't
Helen Macdonald: the
Michelle Turney: the time.
Helen Macdonald: the
Jennifer Zager: really
Helen Macdonald: the
Jennifer Zager: matter
Helen Macdonald: the side
Jennifer Zager: w I mean
Helen Macdonald: view,
Jennifer Zager: Side? Uh
Helen Macdonald: we
Jennifer Zager: oh
Helen Macdonald: didn't
Jennifer Zager: the side?
Helen Macdonald: uh
Jennifer Zager: W we we he drew the s the
Michelle Turney: Yeah
Jennifer Zager: side,
Michelle Turney: yeah.
Jennifer Zager: but you d you weren't paying attention as usual. Well any case, we'll discuss it now. Uh I think uh this is a pretty good uh good idea.
Carolyn Hoffman: Yeah, I agree with the L_C_D_ screen. You have it in your palm like this, and you can watch uh watch the screen. And if you have it li in the middle,
Helen Macdonald: Yeah.
Carolyn Hoffman: your hand might be over it.
Jennifer Zager: But you you hold it like this.
Michelle Turney: Yeah you
Jennifer Zager: You're not holding it like this
Michelle Turney: you don't
Jennifer Zager: or something.
Michelle Turney: you don't grab it, you you
Jennifer Zager: You, yeah, y How do you call it? Yeah. Well y y y you don't have it like this. You
Helen Macdonald: No
Jennifer Zager: have
Helen Macdonald: no
Jennifer Zager: it
Helen Macdonald: no.
Jennifer Zager: more like this. using buttons this way, or
Carolyn Hoffman: Like
Jennifer Zager: if you're
Carolyn Hoffman: you're
Jennifer Zager: right-handed,
Carolyn Hoffman: holding your telephone.
Jennifer Zager: this
Helen Macdonald: Yep.
Jennifer Zager: way.
Michelle Turney: Yeah.
Jennifer Zager: So you Yeah.
Carolyn Hoffman: Because
Jennifer Zager: So
Carolyn Hoffman: if you have a screen on it, you wanna look at your screen.
Michelle Turney: Hmm.
Jennifer Zager: Yeah
Michelle Turney: That
Jennifer Zager: well
Michelle Turney: way, it it falls into your hand. I think.
Helen Macdonald: Okay.
Carolyn Hoffman: Yeah, I
Jennifer Zager: And
Carolyn Hoffman: agree
Jennifer Zager: maybe
Carolyn Hoffman: on
Jennifer Zager: you
Carolyn Hoffman: this.
Jennifer Zager: can you can grab it a bit higher, so Well
Carolyn Hoffman: No, I don't think so. That's not uh
Michelle Turney: No but but
Jennifer Zager: Well
Carolyn Hoffman: the
Jennifer Zager: the
Carolyn Hoffman: point
Jennifer Zager: the Well that's a reason to to to put the L_C_D_ screen uh of course on the upper side, but
Michelle Turney: Well f for as far as I can see, three of us agree and
Helen Macdonald: Yeah
Michelle Turney: only
Helen Macdonald: well
Michelle Turney: Nils
Helen Macdonald: uh I think uh if you t if you three uh agree then then that's it.
Michelle Turney: But you're Helen Macdonald, you can make the hard decisions.
Helen Macdonald: Yes. So
Jennifer Zager: If
Helen Macdonald: uh
Jennifer Zager: necessary.
Helen Macdonald: I c
Jennifer Zager: But
Helen Macdonald: I c
Jennifer Zager: uh
Helen Macdonald: Well,
Jennifer Zager: are d
Helen Macdonald: we'll
Jennifer Zager: Can you
Helen Macdonald: we
Jennifer Zager: live
Helen Macdonald: we'll
Jennifer Zager: with
Helen Macdonald: do
Jennifer Zager: it?
Helen Macdonald: it
Jennifer Zager: Uh
Helen Macdonald: like this.
Michelle Turney: Yeah?
Helen Macdonald: Alright,
Jennifer Zager: Y
Helen Macdonald: if you think that that's the
Jennifer Zager: Yeah,
Helen Macdonald: way
Jennifer Zager: y y
Helen Macdonald: it
Jennifer Zager: y
Helen Macdonald: should
Jennifer Zager: y you said it was totally uh unusable.
Helen Macdonald: No
Jennifer Zager: But do you
Helen Macdonald: No, when I I my personal taste is that I want it to fall over my hands with a thick But
Jennifer Zager: But d you don't think this
Helen Macdonald: In
Jennifer Zager: is
Helen Macdonald: the market
Jennifer Zager: completely unusable
Helen Macdonald: uh
Jennifer Zager: I guess. I think.
Helen Macdonald: No not totally.
Jennifer Zager: Not totally, well
Helen Macdonald: For Carolyn Hoffman, I I wouldn't buy it. Let's
Jennifer Zager: Yeah
Helen Macdonald: say it
Jennifer Zager: but
Helen Macdonald: like
Jennifer Zager: of course
Helen Macdonald: that.
Jennifer Zager: y you are also human. We have to
Helen Macdonald: No
Jennifer Zager: take uh every everyone into
Carolyn Hoffman: And you might
Jennifer Zager: account.
Carolyn Hoffman: be
Jennifer Zager: So
Carolyn Hoffman: uh You might be target customer.
Jennifer Zager: Yeah. Well
Helen Macdonald: Yes
Jennifer Zager: uh who who
Michelle Turney: Mm.
Helen Macdonald: but
Jennifer Zager: else thinks like you? We don't know. Maybe
Helen Macdonald: Yeah, we
Jennifer Zager: a
Helen Macdonald: don't
Jennifer Zager: thousand
Helen Macdonald: know, but
Jennifer Zager: people,
Helen Macdonald: that's
Jennifer Zager: or
Helen Macdonald: uh
Jennifer Zager: a million people.
Helen Macdonald: that's that's that's more market research. So let it be like this at uh
Jennifer Zager: Let
Helen Macdonald: at this
Jennifer Zager: it
Helen Macdonald: moment.
Jennifer Zager: be. Alright.
Helen Macdonald: Okay?
Jennifer Zager: So that's that. Uh any other suggestions?
Helen Macdonald: No, I think it's great.
Carolyn Hoffman: Yeah.
Michelle Turney: But what about the redesigning?
Helen Macdonald: Comes to that later.
Michelle Turney: Okay.
Helen Macdonald: Um you. Uh c You can uh Walter.
Jennifer Zager: You're very personal
Helen Macdonald: You can do the
Jennifer Zager: again.
Helen Macdonald: evaluation uh criteria on this?
Carolyn Hoffman: Alright. Great.
Helen Macdonald: That's more useful than just speaking.
Carolyn Hoffman: Well, this is just a short intro. I'm
Helen Macdonald: Yes.
Carolyn Hoffman: going to do uh the ev evaluation. That's gonna be done at the end of seven point skill criteria. So I made a I made a few questions on the hand of uh uh the impor most important requirements and
Helen Macdonald: Mm-hmm.
Carolyn Hoffman: trends. And we have to look if our uh if our device uh is working correctly. Well, I put some questions in a Word file. See if I can find them. Uh uh uh uh mm.
Helen Macdonald: 'Kay.
Carolyn Hoffman: Well
Michelle Turney: Hmm.
Carolyn Hoffman: I uh think you have all seen uh this kind of evaluation, so uh I don't have to explain it. Uh the first question is, uh is the device good-looking? Because normal p uh most people thought that um earlier devices were ugly ugly. Seventy five percent of them. So what do we think?
Jennifer Zager: Well d we designed it, so of course we are very
Michelle Turney: Mm.
Helen Macdonald: Yeah,
Carolyn Hoffman: Yeah
Helen Macdonald: we're we're not quite uh objective about
Jennifer Zager: Yeah.
Carolyn Hoffman: No,
Helen Macdonald: this.
Michelle Turney: Well
Carolyn Hoffman: I know, but
Michelle Turney: we designed it to be good-looking.
Carolyn Hoffman: I have to uh evaluate it. So I have to take this questionnaire.
Jennifer Zager: So and
Helen Macdonald: To
Jennifer Zager: we
Helen Macdonald: the customers?
Jennifer Zager: ha we have answer now?
Helen Macdonald: To
Carolyn Hoffman: Yeah
Helen Macdonald: potential
Jennifer Zager: Yeah.
Helen Macdonald: customers who have to take this
Carolyn Hoffman: Yeah,
Helen Macdonald: questionnaire?
Carolyn Hoffman: but I can't
Helen Macdonald: Nei.
Carolyn Hoffman: can
Helen Macdonald: Oh no.
Carolyn Hoffman: s
Michelle Turney: Hmm.
Helen Macdonald: I know, I know, I know. But um Well we can go, uh because of the time, uh pretty quick through this. Uh do we find it good-looking? Well we think so.
Jennifer Zager: I
Helen Macdonald: Uh
Michelle Turney: Yeah.
Carolyn Hoffman: Yeah,
Jennifer Zager: Yeah, I
Michelle Turney: We
Jennifer Zager: think
Michelle Turney: designed
Carolyn Hoffman: but
Jennifer Zager: it
Michelle Turney: it
Carolyn Hoffman: uh,
Michelle Turney: to
Carolyn Hoffman: you
Michelle Turney: be
Carolyn Hoffman: know
Michelle Turney: good-looking,
Helen Macdonald: Yeah.
Michelle Turney: so
Carolyn Hoffman: We dis we di we designed it to be perfect. So But we have to be critic critical about it. And I have to uh take all these points and get a average at the end. So we we
Helen Macdonald: Well,
Carolyn Hoffman: know where we stand.
Helen Macdonald: one.
Carolyn Hoffman: 'Cause th there are some things we might have uh bi might have forgotten.
Helen Macdonald: Well so it's point four.
Carolyn Hoffman: Right, so
Helen Macdonald: Easy
Jennifer Zager: Well
Helen Macdonald: to find
Jennifer Zager: l well
Helen Macdonald: t
Jennifer Zager: let's start with the beginning, just one
Carolyn Hoffman: Right.
Jennifer Zager: by one.
Carolyn Hoffman: Uh is it good-looking?
Jennifer Zager: Well, I guess uh I think uh
Helen Macdonald: Two.
Jennifer Zager: it's uh it's it's um pointed towards the youth of course, uh if you look at the design and and the colours and everything. That was our target audience of course. But it's also not completely um uh u unacceptable for older people I guess. Uh it's it's not f a device
Carolyn Hoffman: The titanium
Jennifer Zager: that
Carolyn Hoffman: might be uh f
Jennifer Zager: Yeah,
Carolyn Hoffman: for
Jennifer Zager: that's
Carolyn Hoffman: older people.
Jennifer Zager: that's uh for older people, it's it's more that classical
Carolyn Hoffman: It you put
Jennifer Zager: look.
Carolyn Hoffman: uh
Jennifer Zager: So
Carolyn Hoffman: put a black front on it or something.
Michelle Turney: Hmm.
Jennifer Zager: Uh no. I think Yeah they like black of course, but I think they'll uh they they think uh the the titanium look of it is also Uh I think it's also good for them, so I think we both uh have uh consider considered uh the youth and also a bit older people. So I
Carolyn Hoffman: Right.
Jennifer Zager: think it's very good-looking and not only for youth uh young people.
Michelle Turney: I think we shouldn't discuss any points points that long, because
Carolyn Hoffman: Right.
Michelle Turney: I don't know
Helen Macdonald: No.
Michelle Turney: how how many points there
Helen Macdonald: I
Michelle Turney: are
Helen Macdonald: totally
Michelle Turney: but
Jennifer Zager: Yeah,
Michelle Turney: uh
Helen Macdonald: agree.
Jennifer Zager: the fourteen
Helen Macdonald: We
Michelle Turney: Yeah.
Carolyn Hoffman: Right,
Jennifer Zager: yeah.
Carolyn Hoffman: a number
Helen Macdonald: we have
Carolyn Hoffman: please.
Helen Macdonald: to get get on,
Michelle Turney: Yeah.
Helen Macdonald: go
Jennifer Zager: Is
Helen Macdonald: through
Jennifer Zager: it
Helen Macdonald: this.
Jennifer Zager: easy to t change channels? Yeah well I think so.
Carolyn Hoffman: So the last one is seven. Easy
Michelle Turney: Um,
Carolyn Hoffman: to change channels?
Helen Macdonald: No,
Michelle Turney: no
Helen Macdonald: not
Michelle Turney: it's
Helen Macdonald: false.
Michelle Turney: uh
Helen Macdonald: It's one.
Carolyn Hoffman: Oh, sorry. Yeah, right.
Helen Macdonald: Well uh two?
Carolyn Hoffman: Change channels?
Helen Macdonald: Y Well we have to go through it.
Jennifer Zager: I think it's uh as easy as uh can be made. Uh
Carolyn Hoffman: Right.
Jennifer Zager: So I Yeah. You How can you make it any easier?
Carolyn Hoffman: The power, channel and volume
Michelle Turney: With
Carolyn Hoffman: buttons
Michelle Turney: two
Carolyn Hoffman: are easy
Michelle Turney: huge
Carolyn Hoffman: accessible?
Michelle Turney: buttons.
Jennifer Zager: Yeah,
Helen Macdonald: Yep.
Jennifer Zager: huge is a Yeah.
Helen Macdonald: Two.
Carolyn Hoffman: Two? Alright. The uh device is easy to find if you lose it?
Helen Macdonald: Well, no.
Jennifer Zager: D
Helen Macdonald: We didn't
Jennifer Zager: we
Helen Macdonald: implement
Jennifer Zager: d we don't
Helen Macdonald: anything about that.
Jennifer Zager: we don't have
Michelle Turney: Well
Jennifer Zager: uh
Michelle Turney: it's
Jennifer Zager: that
Michelle Turney: easier
Jennifer Zager: s
Michelle Turney: to find than a a normal black one or something, because of the colour. But
Helen Macdonald: Well six
Carolyn Hoffman: Yeah.
Jennifer Zager: Yeah.
Helen Macdonald: then.
Carolyn Hoffman: Six? Right.
Jennifer Zager: Well we don't have the device that beeps uh when you lost
Helen Macdonald: Are
Jennifer Zager: it
Helen Macdonald: the
Jennifer Zager: or so,
Helen Macdonald: functions
Jennifer Zager: but um um
Helen Macdonald: easy to learn? Well w I we do want we have a l f
Michelle Turney: We have so few
Helen Macdonald: f
Michelle Turney: functions,
Helen Macdonald: less
Michelle Turney: so
Helen Macdonald: of
Michelle Turney: Yeah.
Helen Macdonald: an
Carolyn Hoffman: Yeah, I agree.
Helen Macdonald: And the device R_S_I_ sensitive?
Michelle Turney: Well, I should I
Helen Macdonald: Yeah.
Michelle Turney: think two, because the voice recorder
Helen Macdonald: Ah.
Michelle Turney: is n not
Carolyn Hoffman: Yeah.
Michelle Turney: self learning.
Jennifer Zager: Yeah. Yeah.
Carolyn Hoffman: Alright.
Jennifer Zager: Mm?
Carolyn Hoffman: Two?
Helen Macdonald: Yeah, but just do some We
Carolyn Hoffman: Yeah
Helen Macdonald: we
Jennifer Zager: Are we take
Helen Macdonald: I th
Jennifer Zager: too much
Helen Macdonald: I th
Jennifer Zager: time?
Helen Macdonald: I think this is too time consuming. Uh not
Carolyn Hoffman: Yeah,
Helen Macdonald: not towards
Carolyn Hoffman: I agree.
Helen Macdonald: you,
Carolyn Hoffman: No.
Helen Macdonald: but towards this all. Th
Carolyn Hoffman: Yeah.
Helen Macdonald: this is
Carolyn Hoffman: Right,
Helen Macdonald: We you have
Carolyn Hoffman: R_
Helen Macdonald: to
Carolyn Hoffman: R_S_I_
Helen Macdonald: put
Carolyn Hoffman: sensitive?
Helen Macdonald: it to the customers.
Carolyn Hoffman: R_S_I_ sensitive?
Helen Macdonald: Uh well well a bit, so four.
Carolyn Hoffman: Four. Um
Helen Macdonald: Yes.
Jennifer Zager: Yeah, very much. One.
Helen Macdonald: One. And features included also one. And One.
Carolyn Hoffman: Yeah.
Helen Macdonald: Uh those uh nine uh is the fancy-looking. Uh we still think so.
Jennifer Zager: Yeah.
Helen Macdonald: Device fancy
Jennifer Zager: And I
Helen Macdonald: feeling.
Jennifer Zager: think fancy-feeling
Helen Macdonald: Yeah,
Jennifer Zager: too, because of the
Helen Macdonald: cool
Michelle Turney: Yeah.
Jennifer Zager: titanium
Helen Macdonald: man.
Jennifer Zager: back. Yeah.
Carolyn Hoffman: Right.
Helen Macdonald: Are there enough technology? Yeah
Michelle Turney: Yeah.
Helen Macdonald: well also we have two.
Carolyn Hoffman: Yeah, that's great.
Michelle Turney: The
Helen Macdonald: to use? Yes we have not many buttons.
Jennifer Zager: So well maybe two
Carolyn Hoffman: Well,
Jennifer Zager: because
Michelle Turney: Two
Helen Macdonald: Two,
Jennifer Zager: of the voice
Carolyn Hoffman: with
Helen Macdonald: three.
Jennifer Zager: recorder.
Michelle Turney: two.
Carolyn Hoffman: the uh Three.
Michelle Turney: T
Helen Macdonald: Are
Jennifer Zager: F
Helen Macdonald: the trends about fruit and vegetables implemented? Well in our covers,
Michelle Turney: Yeah.
Helen Macdonald: in our fronts. So
Jennifer Zager: Yeah.
Helen Macdonald: yes, one.
Jennifer Zager: One or two.
Helen Macdonald: Is
Michelle Turney: One
Jennifer Zager: Yeah.
Helen Macdonald: the material
Michelle Turney: or two, another
Carolyn Hoffman: Nah
Helen Macdonald: attractive?
Michelle Turney: two.
Carolyn Hoffman: f four I think.
Jennifer Zager: Four?
Carolyn Hoffman: If you look at this
Jennifer Zager: Well, it doesn't really resemble any fruit, uh that's true.
Carolyn Hoffman: No.
Jennifer Zager: But but we have the the the the the
Helen Macdonald: Oh okay.
Jennifer Zager: sparkly fruity
Michelle Turney: Well
Jennifer Zager: colours
Michelle Turney: three.
Jennifer Zager: of course.
Carolyn Hoffman: Three,
Helen Macdonald: Okay.
Carolyn Hoffman: alright.
Jennifer Zager: And you can also have front with uh with
Carolyn Hoffman: Yeah, that's true.
Helen Macdonald: Is
Jennifer Zager: fruit
Helen Macdonald: the material
Carolyn Hoffman: But
Jennifer Zager: on
Michelle Turney: Mm.
Helen Macdonald: attractive? Well
Michelle Turney: Yeah.
Helen Macdonald: the titanium
Jennifer Zager: it.
Helen Macdonald: is strong, and uh the rest f uh the buttons feel soft. So I would say at least two.
Carolyn Hoffman: Right.
Helen Macdonald: Okay. Well Yeah.
Michelle Turney: This is the last meeting?
Helen Macdonald: Yes, but we
Carolyn Hoffman: The
Michelle Turney: Yeah.
Carolyn Hoffman: average
Helen Macdonald: we have to design
Carolyn Hoffman: will uh
Helen Macdonald: much
Carolyn Hoffman: come later.
Helen Macdonald: more, because there was some irritating account manager coming to Carolyn Hoffman.
Jennifer Zager: I
Helen Macdonald: Um
Jennifer Zager: knew things uh were going uh
Helen Macdonald: Oh.
Jennifer Zager: too smoothly. There had
Helen Macdonald: Uh
Jennifer Zager: to be some kind of trouble
Michelle Turney: Yeah.
Jennifer Zager: along
Helen Macdonald: Yes.
Jennifer Zager: the way.
Helen Macdonald: Well, look at the costs at this point.
Jennifer Zager: My god.
Helen Macdonald: I had to fit it in.
Carolyn Hoffman: It has to go to twelve, right?
Helen Macdonald: I twelve and a half.
Carolyn Hoffman: Twelve and a half.
Helen Macdonald: So Well what costs a lot? The sample spea costs four.
Jennifer Zager: The what? The
Helen Macdonald: The sample speaker,
Carolyn Hoffman: Out.
Helen Macdonald: the s sensor.
Carolyn Hoffman: That's easy. Kick it out.
Helen Macdonald: Kick it out.
Michelle Turney: The what?
Carolyn Hoffman: Yeah.
Helen Macdonald: We have to go to twelve and a
Carolyn Hoffman: The
Helen Macdonald: half.
Carolyn Hoffman: speaker.
Helen Macdonald: The speaker costs
Michelle Turney: Oh.
Helen Macdonald: far, by far the most.
Jennifer Zager: Yeah w
Carolyn Hoffman: That's some wrong
Jennifer Zager: tha that's
Carolyn Hoffman: info,
Jennifer Zager: uh
Carolyn Hoffman: man.
Jennifer Zager: that's a bit an optional
Helen Macdonald: It
Jennifer Zager: option.
Helen Macdonald: it isn't worth it.
Jennifer Zager: No.
Carolyn Hoffman: No.
Jennifer Zager: No, d
Helen Macdonald: We
Jennifer Zager: th
Helen Macdonald: could make
Jennifer Zager: No.
Helen Macdonald: two
Carolyn Hoffman: It's
Helen Macdonald: different
Carolyn Hoffman: uh
Helen Macdonald: versions, one with and one without. But for
Carolyn Hoffman: It's
Helen Macdonald: this
Carolyn Hoffman: just extra. Kick it out.
Helen Macdonald: So, zero.
Jennifer Zager: Yeah.
Helen Macdonald: Then we go to fourteen point six.
Carolyn Hoffman: What more?
Helen Macdonald: Well the titanium I don't want to lose actually.
Jennifer Zager: No.
Carolyn Hoffman: Batteries are uh
Helen Macdonald: L_C_
Carolyn Hoffman: quite
Helen Macdonald: three? Yeah hand dynamo? Y t come on,
Michelle Turney: Um
Carolyn Hoffman: Uh no,
Helen Macdonald: w
Carolyn Hoffman: no
Helen Macdonald: a remote
Carolyn Hoffman: no
Helen Macdonald: control
Jennifer Zager: N
Carolyn Hoffman: no.
Helen Macdonald: has a battery.
Jennifer Zager: Uh well we have a bit of a problem I think. Because
Michelle Turney: Well well
Jennifer Zager: uh
Michelle Turney: why why why should we use a advanced chip?
Helen Macdonald: Well be for the
Jennifer Zager: the
Helen Macdonald: L_C_D_
Jennifer Zager: L_C_D_
Helen Macdonald: uh you
Jennifer Zager: screen.
Helen Macdonald: had said.
Jennifer Zager: Yeah.
Michelle Turney: Yeah?
Carolyn Hoffman: Hmm.
Michelle Turney: Can't we do that with a regular chip?
Jennifer Zager: No.
Michelle Turney: Why not?
Jennifer Zager: Because uh that uh y
Helen Macdonald: Well
Jennifer Zager: because
Helen Macdonald: what what's the difference between
Jennifer Zager: my information
Helen Macdonald: simple
Jennifer Zager: says
Helen Macdonald: and regular?
Jennifer Zager: it. Huh?
Helen Macdonald: What's the difference between a simple
Michelle Turney: Yeah.
Helen Macdonald: and
Michelle Turney: Regular
Helen Macdonald: a regular chip?
Michelle Turney: is normal.
Carolyn Hoffman: Yeah.
Helen Macdonald: And simple?
Jennifer Zager: Uh
Michelle Turney: Simple.
Jennifer Zager: well
Helen Macdonald: Nothing.
Jennifer Zager: yeah I I read something about it, but
Michelle Turney: Elementary.
Helen Macdonald: Well?
Jennifer Zager: Yeah, I
Helen Macdonald: Your part.
Jennifer Zager: I read something about it, but it wasn't very clear. I d I didn't in include it in my report.
Helen Macdonald: What happens if we do
Jennifer Zager: Single Well you have to use a chip. So Well you have
Helen Macdonald: How
Jennifer Zager: to
Helen Macdonald: much
Jennifer Zager: use
Helen Macdonald: do we
Jennifer Zager: the
Helen Macdonald: win?
Jennifer Zager: advanced
Michelle Turney: We we
Jennifer Zager: chip,
Michelle Turney: we
Helen Macdonald: One.
Jennifer Zager: if you have
Michelle Turney: Why?
Jennifer Zager: the L_C_D_ screen.
Michelle Turney: We have very little options furthermore, for the
Jennifer Zager: But
Helen Macdonald: Yeah.
Jennifer Zager: if you have a regular chip, you can't have the L_C_D_ screen.
Michelle Turney: Uh well we have to put
Carolyn Hoffman: Yeah,
Michelle Turney: that in.
Carolyn Hoffman: we need to have the the L_C_D_
Jennifer Zager: That that's
Carolyn Hoffman: screen.
Jennifer Zager: a fact.
Helen Macdonald: Well,
Jennifer Zager: Uh
Helen Macdonald: we could say, well this special colour, that
Carolyn Hoffman: No
Helen Macdonald: isn't that that isn't there, because the the fronts they will buy it. The special colour.
Carolyn Hoffman: Yeah,
Jennifer Zager: Yeah, but it's
Carolyn Hoffman: but
Jennifer Zager: only
Michelle Turney: Nah.
Jennifer Zager: one half.
Carolyn Hoffman: No,
Jennifer Zager: Uh
Carolyn Hoffman: that's
Jennifer Zager: it d
Carolyn Hoffman: n
Jennifer Zager: it doesn't
Carolyn Hoffman: It's not relevant.
Helen Macdonald: Yeah,
Michelle Turney: Yeah, you must change
Helen Macdonald: then
Michelle Turney: the
Helen Macdonald: you
Michelle Turney: chip
Helen Macdonald: s then
Michelle Turney: uh
Helen Macdonald: you only
Michelle Turney: back.
Helen Macdonald: have one half left.
Michelle Turney: You
Carolyn Hoffman: Yeah.
Michelle Turney: must change the chip back, Nils.
Helen Macdonald: Uh yeah.
Jennifer Zager: But we d Then we have to lose the L_C_D_ screen.
Carolyn Hoffman: No, Then the whole concept is uh
Jennifer Zager: Yeah, I know but that's what my information says. I di I didn't uh
Michelle Turney: Hmm.
Jennifer Zager: put
Carolyn Hoffman: You
Jennifer Zager: uh the advanced chip
Michelle Turney: No
Jennifer Zager: in there for fun.
Carolyn Hoffman: You
Michelle Turney: we
Carolyn Hoffman: can make
Michelle Turney: oh
Carolyn Hoffman: you
Jennifer Zager: You
Carolyn Hoffman: can
Jennifer Zager: have
Carolyn Hoffman: make
Jennifer Zager: to use
Carolyn Hoffman: it cheaper.
Jennifer Zager: it.
Carolyn Hoffman: But if you don't sell
Michelle Turney: You
Helen Macdonald: Yeah.
Michelle Turney: you we have an advanced chip-on-print, and we have an L_C_ display. I think that's
Helen Macdonald: Yeah?
Michelle Turney: a bit double. Y
Helen Macdonald: No,
Michelle Turney: we don't need both.
Helen Macdonald: the advanced chip is needed to
Jennifer Zager: For
Helen Macdonald: have
Jennifer Zager: the L_C_D_
Helen Macdonald: an L_C_D_
Jennifer Zager: screen.
Helen Macdonald: display.
Jennifer Zager: Yeah. Yeah.
Michelle Turney: Says.
Helen Macdonald: Says, his Uh that was in the second meeting, I think.
Jennifer Zager: Well uh and what do they mean with curves uh again? Because we you
Helen Macdonald: Well
Jennifer Zager: have
Helen Macdonald: I
Jennifer Zager: uncurved
Helen Macdonald: I did single curve to Well you said s double
Michelle Turney: I?
Helen Macdonald: curved, uh he,
Jennifer Zager: Yeah.
Helen Macdonald: because uh I thought it's a b a bit cheaper already. We can
Carolyn Hoffman: No
Helen Macdonald: also
Jennifer Zager: Well
Helen Macdonald: make it flat.
Carolyn Hoffman: no
Jennifer Zager: But
Carolyn Hoffman: no
Jennifer Zager: what
Carolyn Hoffman: no.
Jennifer Zager: what
Helen Macdonald: But
Jennifer Zager: did what do n Sorry, but What do they mean with the curves? Is th
Helen Macdonald: Curved? Yes,
Jennifer Zager: Is this
Helen Macdonald: that's
Jennifer Zager: a
Helen Macdonald: curved.
Jennifer Zager: curve? One curve? Yeah, this
Helen Macdonald: Yes.
Jennifer Zager: is actually two curves, yeah. It's
Helen Macdonald: No,
Jennifer Zager: how
Helen Macdonald: it's
Jennifer Zager: you
Helen Macdonald: one
Jennifer Zager: It's
Helen Macdonald: curve.
Jennifer Zager: how you look at
Michelle Turney: One
Jennifer Zager: it.
Michelle Turney: curve.
Helen Macdonald: One curve, simple.
Jennifer Zager: Well then we have a huge problem I think. W t we can never get uh below the
Helen Macdonald: We
Jennifer Zager: twelve
Helen Macdonald: have a big
Jennifer Zager: and a
Helen Macdonald: financial
Jennifer Zager: half.
Helen Macdonald: problem.
Michelle Turney: Well we make it more expensive to buy.
Helen Macdonald: Well, then we have two dollars less profit. Come on, if we if we if we make this fifty million, they won't hesitate to uh congratulate us, so uh
Carolyn Hoffman: If if you make people brand-aware, they are willing to pay more. But
Jennifer Zager: But uh I
Carolyn Hoffman: Because we we use a brand at the front and uh I dun at the back. If you have uh lots of uh marketing people might buy.
Michelle Turney: Yeah or we could
Carolyn Hoffman: If you if
Michelle Turney: replace
Carolyn Hoffman: you make it cool
Michelle Turney: it
Carolyn Hoffman: to have
Helen Macdonald: By the way, we also have this one.
Carolyn Hoffman: Oh, that's just great.
Helen Macdonald: Oh, costs nothing.
Carolyn Hoffman: Oh,
Helen Macdonald: That's nice.
Carolyn Hoffman: alright.
Helen Macdonald: Plastic
Jennifer Zager: Hey but uh
Helen Macdonald: is
Jennifer Zager: I think you'll agree that uh that we that now we have this uh screen, it's it's very uh not practical to ha to consider this after we have designed the entire thing.
Helen Macdonald: Yes, but I just got it.
Jennifer Zager: Well
Michelle Turney: Why
Jennifer Zager: that's pretty
Michelle Turney: why
Jennifer Zager: uh
Michelle Turney: don't we
Jennifer Zager: l
Michelle Turney: replace
Carolyn Hoffman: That is
Michelle Turney: the titanium
Carolyn Hoffman: pretty stupid.
Jennifer Zager: N
Michelle Turney: with
Jennifer Zager: not
Michelle Turney: uh
Jennifer Zager: very practical.
Michelle Turney: plastic
Jennifer Zager: Well
Michelle Turney: coloured titanium, uh
Helen Macdonald: Who?
Michelle Turney: titanium-coloured plastic?
Helen Macdonald: You want to dump the titanium?
Michelle Turney: Yeah well if we uh we we have to get cheaper.
Helen Macdonald: And make all plastic, then we ha then we're there.
Jennifer Zager: But I'm n I don't agree.
Michelle Turney: But
Jennifer Zager: I think
Michelle Turney: then we we've got to uh
Helen Macdonald: Th then
Michelle Turney: run
Helen Macdonald: you
Michelle Turney: through
Helen Macdonald: have
Michelle Turney: the
Helen Macdonald: a
Michelle Turney: eval
Helen Macdonald: ugly,
Michelle Turney: evaluation
Helen Macdonald: stupid,
Michelle Turney: process again.
Helen Macdonald: l ugly looking, dumb remote
Michelle Turney: Ah no
Helen Macdonald: that
Michelle Turney: no.
Helen Macdonald: that no-one would buy.
Michelle Turney: It's not ugly looking. The looks remain the same.
Helen Macdonald: No, I don't think so.
Carolyn Hoffman: Y
Michelle Turney: Well, I
Jennifer Zager: I
Michelle Turney: do
Jennifer Zager: think
Michelle Turney: think so.
Jennifer Zager: the titanium just uh provided the the tough look and
Helen Macdonald: Yes.
Jennifer Zager: the and the
Helen Macdonald: And the feel,
Michelle Turney: feel.
Helen Macdonald: and th that it is strong, and
Jennifer Zager: And also the the older people will like it because of that. And
Carolyn Hoffman: Yeah,
Jennifer Zager: because i
Carolyn Hoffman: I
Jennifer Zager: Alright
Carolyn Hoffman: agree.
Jennifer Zager: it's not our target audience, but it's it's useful
Helen Macdonald: We still
Jennifer Zager: if it's uh
Helen Macdonald: we had to focus
Jennifer Zager: important for old
Helen Macdonald: to
Jennifer Zager: people.
Helen Macdonald: get more people
Jennifer Zager: Yeah.
Helen Macdonald: from the younger group, but not lose the one
Jennifer Zager: I think the titanium is very important.
Michelle Turney: Yeah alright but then we we
Jennifer Zager: Yeah
Michelle Turney: won't
Jennifer Zager: we have a
Michelle Turney: get
Jennifer Zager: problem,
Michelle Turney: there.
Jennifer Zager: yeah. W But you can better, yeah, dump the L_C_D_ screen
Michelle Turney: We
Jennifer Zager: then.
Michelle Turney: can dump the special colour. We l we use plastic. And plastic is already in colour I think.
Carolyn Hoffman: I don't think you should dump the L_C_D_ screen.
Jennifer Zager: Well what else? W I
Michelle Turney: No,
Jennifer Zager: mean
Michelle Turney: nothing.
Jennifer Zager: uh
Carolyn Hoffman: Or you shou
Michelle Turney: Amen.
Carolyn Hoffman: It's Or change the titanium or dump the L_C_D_ screen. But I think you could better change
Jennifer Zager: Yeah.
Carolyn Hoffman: uh titanium to hard a hard kind of plastic looking like titanium
Michelle Turney: Yeah.
Carolyn Hoffman: than lose the L_C_D_ screen. Because you have lots of functions in it too.
Jennifer Zager: Yeah,
Michelle Turney: Yeah.
Jennifer Zager: well yeah. Alright.
Helen Macdonald: Why can't
Jennifer Zager: I
Helen Macdonald: I
Jennifer Zager: agree
Michelle Turney: But
Jennifer Zager: with that. So we u we use uh Unfortunately. Um.
Helen Macdonald: I'll put in the report
Jennifer Zager: Titanium-coloured
Helen Macdonald: we that we think that fourteen
Jennifer Zager: plastic.
Helen Macdonald: point one is the l m lowest price you can make a remote for that's trendy d these
Carolyn Hoffman: Yeah, I
Helen Macdonald: days.
Carolyn Hoffman: agree.
Jennifer Zager: So titanium-coloured plastic for the back.
Helen Macdonald: I I'll talk to the managers.
Michelle Turney: No no no no. W Titanium stays there.
Helen Macdonald: Titanium, I thi I think this this is this is e really good re
Jennifer Zager: Yeah
Carolyn Hoffman: Osl
Jennifer Zager: this is
Helen Macdonald: remote.
Jennifer Zager: good, but it it's not
Helen Macdonald: But
Jennifer Zager: good enough. So we have to use the ditch the titanium, I'm afraid.
Helen Macdonald: Ah those
Michelle Turney: Well
Helen Macdonald: those account managers, what do th d what do they know? Come on.
Jennifer Zager: What
Helen Macdonald: Riot.
Jennifer Zager: do we Well what do we know? All we want is a is a fancy design but we don't really
Helen Macdonald: Yes,
Jennifer Zager: consider the costs.
Helen Macdonald: yes.
Jennifer Zager: So
Michelle Turney: No because we did not know anything about
Carolyn Hoffman: If
Michelle Turney: it.
Jennifer Zager: Yeah
Carolyn Hoffman: you
Helen Macdonald: One
Carolyn Hoffman: don't
Jennifer Zager: al
Helen Macdonald: and
Carolyn Hoffman: have
Jennifer Zager: alright,
Helen Macdonald: a
Carolyn Hoffman: the
Helen Macdonald: half
Carolyn Hoffman: money,
Helen Macdonald: Euros.
Jennifer Zager: yeah.
Carolyn Hoffman: you can't
Jennifer Zager: But
Carolyn Hoffman: make it.
Helen Macdonald: Hmm?
Jennifer Zager: we
Carolyn Hoffman: So
Jennifer Zager: have
Carolyn Hoffman: s
Jennifer Zager: to deal with it now. So
Carolyn Hoffman: If you don't have the money, you can't make it. So this is too expensive.
Helen Macdonald: So?
Jennifer Zager: So
Carolyn Hoffman: So we have to make it cheaper.
Jennifer Zager: Titanium gone and add plastic.
Carolyn Hoffman: Right.
Michelle Turney: Yeah, but then we've got money left.
Jennifer Zager: And on plastic times two and then we uh are there?
Helen Macdonald: Well, no it's just uh all plastic.
Jennifer Zager: No
Helen Macdonald: Well alright.
Jennifer Zager: No
Helen Macdonald: Huh.
Jennifer Zager: yeah well Oh six. A lot of plastic,
Carolyn Hoffman: It's
Jennifer Zager: yeah.
Carolyn Hoffman: just free, man.
Helen Macdonald: Four. So
Jennifer Zager: No two for the to make it clear.
Helen Macdonald: But then we can add the special colour?
Michelle Turney: Yeah.
Helen Macdonald: As we have money over uh left.
Michelle Turney: Yeah.
Helen Macdonald: And we still
Michelle Turney: W
Helen Macdonald: have money left. What do we want, guys?
Jennifer Zager: I want gold plating. No no
Carolyn Hoffman: Yeah right.
Jennifer Zager: um
Carolyn Hoffman: I want chrome.
Michelle Turney: Well I think uh the case is double curved then.
Helen Macdonald: Yes.
Michelle Turney: Because
Jennifer Zager: We have
Michelle Turney: you y have that
Jennifer Zager: we
Michelle Turney: curve
Jennifer Zager: have to
Michelle Turney: and
Jennifer Zager: uh
Michelle Turney: you have
Jennifer Zager: fill
Helen Macdonald: Y Oh
Michelle Turney: that
Helen Macdonald: no.
Michelle Turney: curve.
Jennifer Zager: W
Michelle Turney: Yeah
Jennifer Zager: we ha
Carolyn Hoffman: Well,
Michelle Turney: well
Carolyn Hoffman: th that
Michelle Turney: uh
Carolyn Hoffman: that
Helen Macdonald: Alright.
Carolyn Hoffman: is the problem.
Jennifer Zager: No no no, but th that's
Helen Macdonald: Safe.
Jennifer Zager: not f um
Michelle Turney: Well y we have curves
Jennifer Zager: Well
Michelle Turney: in all
Jennifer Zager: you
Michelle Turney: directions.
Jennifer Zager: can you can double curve, if you don't have titanium. And that we dropped, so it
Helen Macdonald: So
Jennifer Zager: it can be done.
Helen Macdonald: alright.
Jennifer Zager: But it's pretty funny. We we do want to reach twelve point five. But it
Helen Macdonald: Finance?
Michelle Turney: I mean,
Jennifer Zager: isn't bad to to to stay
Michelle Turney: this
Jennifer Zager: at eleven.
Michelle Turney: this ain't titanium, but it looks like it.
Jennifer Zager: We
Helen Macdonald: Well,
Jennifer Zager: get more salary,
Helen Macdonald: guys?
Jennifer Zager: if we make
Carolyn Hoffman: Yeah.
Jennifer Zager: if cheaper
Helen Macdonald: Guys?
Jennifer Zager: than twelve uh
Helen Macdonald: We
Jennifer Zager: twelve
Helen Macdonald: have
Jennifer Zager: and
Helen Macdonald: to
Jennifer Zager: a
Carolyn Hoffman: Shoot.
Jennifer Zager: half.
Helen Macdonald: dump our titanium, and we'll hate the managers for that, but now we're going to
Jennifer Zager: Objection.
Helen Macdonald: evaluate our project, of uh project,
Michelle Turney: Pro project.
Helen Macdonald: project. Well, satisfaction on for example, are we satisfactory about our creativity?
Jennifer Zager: Well I can't get no satisfaction, but uh I think it's uh Well in in if we consider the costs then this is the best, yeah.
Carolyn Hoffman: Yeah.
Helen Macdonald: I think it's terrible
Michelle Turney: Yeah.
Helen Macdonald: that we got uh those costs at the last moment.
Michelle Turney: Yeah.
Carolyn Hoffman: Yeah, Carolyn Hoffman too.
Helen Macdonald: That's really bad.
Jennifer Zager: Its it's
Helen Macdonald: But
Jennifer Zager: uh ridiculous actually,
Michelle Turney: And
Helen Macdonald: that
Michelle Turney: uh
Jennifer Zager: but
Helen Macdonald: that
Michelle Turney: unrealistic.
Helen Macdonald: that's that, yeah that's a reason, but also for our creativity. We had um nice design, and then you get the cost, and you had to dump all your creativity.
Michelle Turney: Well
Carolyn Hoffman: Right.
Michelle Turney: we we we used our creativity, but we just had to adapt it to the costs.
Jennifer Zager: Which isn't very practical, but
Helen Macdonald: Yeah.
Michelle Turney: Nei.
Jennifer Zager: that's the way.
Michelle Turney: Uh no.
Helen Macdonald: Well,
Jennifer Zager: Uh-huh.
Helen Macdonald: alright. Uh leadership next.
Michelle Turney: Terrible.
Helen Macdonald: Uh teamwork?
Carolyn Hoffman: Leadership.
Michelle Turney: Leadership?
Carolyn Hoffman: Well
Michelle Turney: Well
Carolyn Hoffman: it's It was very democratic.
Helen Macdonald: Uh yeah
Michelle Turney: Yeah.
Helen Macdonald: well I think
Michelle Turney: Yeah.
Helen Macdonald: so also. I al I I've uh filled that in in a the questionnaires uh each time, so
Carolyn Hoffman: Yeah yeah.
Helen Macdonald: Well the managers were terrible. So, with their all their useless requirements. But o alright,
Jennifer Zager: Well
Helen Macdonald: the teamwork?
Jennifer Zager: uh they they didn't think of the requirements. It's the requirements of the user, uh I guess.
Helen Macdonald: No they said, oh we won't d uh we won't uh use
Jennifer Zager: Yeah.
Helen Macdonald: teletext, uh we won't use the D_V_D_.
Jennifer Zager: Yeah but they base that on on the user specifications.
Helen Macdonald: Alright, teamwork?
Carolyn Hoffman: Well
Helen Macdonald: Well great I think.
Michelle Turney: Right
Carolyn Hoffman: Yeah,
Michelle Turney: yeah.
Carolyn Hoffman: think so too.
Helen Macdonald: Uh well what do you, what did you think about the SMARTboard?
Jennifer Zager: It was a complete disaster. No
Carolyn Hoffman: Yeah, I
Jennifer Zager: Uh
Helen Macdonald: Well
Carolyn Hoffman: don't
Jennifer Zager: it it it
Carolyn Hoffman: like
Michelle Turney: No,
Jennifer Zager: uh
Carolyn Hoffman: it.
Michelle Turney: that's
Jennifer Zager: it is
Michelle Turney: a SMARTboard,
Jennifer Zager: uh
Carolyn Hoffman: Yeah?
Michelle Turney: and that's a digital pen.
Helen Macdonald: It's
Michelle Turney: Or
Helen Macdonald: also
Michelle Turney: not?
Helen Macdonald: a It's both
Jennifer Zager: No
Helen Macdonald: the
Jennifer Zager: it's
Helen Macdonald: SMARTboards.
Jennifer Zager: other way around. That's the SMARTboard. That's
Helen Macdonald: I liked
Jennifer Zager: the digital
Helen Macdonald: this
Jennifer Zager: panel.
Helen Macdonald: SMARTboard,
Carolyn Hoffman: This
Helen Macdonald: but I hated
Carolyn Hoffman: this
Helen Macdonald: that one.
Carolyn Hoffman: this isn't a SMARTboard,
Helen Macdonald: Well it's
Carolyn Hoffman: right?
Helen Macdonald: both a SMARTboard.
Jennifer Zager: That's that's the smart
Carolyn Hoffman: Yeah right. B but you This is
Michelle Turney: Oh
Carolyn Hoffman: just
Michelle Turney: they're both
Carolyn Hoffman: a large
Michelle Turney: SMARTboards.
Carolyn Hoffman: t large television.
Helen Macdonald: No.
Carolyn Hoffman: You u you use the
Jennifer Zager: A televi
Helen Macdonald: It's both
Jennifer Zager: Yeah.
Helen Macdonald: a SMARTboard, but this one is used for a desktop, and that one is used to to
Carolyn Hoffman: Yeah,
Helen Macdonald: draw.
Carolyn Hoffman: but you ca This is just a beamer function. And here, on this one, you can uh draw the pictures and things
Helen Macdonald: Well,
Carolyn Hoffman: like that.
Helen Macdonald: wi w which
Carolyn Hoffman: But
Helen Macdonald: one did you like?
Jennifer Zager: Yeah.
Carolyn Hoffman: That one.
Jennifer Zager: Left or right?
Michelle Turney: Yeah.
Helen Macdonald: That one.
Carolyn Hoffman: That one isn't accurate. It just
Helen Macdonald: Yeah.
Carolyn Hoffman: doesn't work. You can
Michelle Turney: But I I think this is meant by the digital pen.
Helen Macdonald: Yes. Th that is so.
Carolyn Hoffman: Yeah,
Jennifer Zager: Well
Carolyn Hoffman: but
Jennifer Zager: I didn't
Carolyn Hoffman: I
Jennifer Zager: use
Carolyn Hoffman: think
Michelle Turney: Yeah.
Helen Macdonald: We're now
Carolyn Hoffman: there's
Jennifer Zager: uh
Helen Macdonald: talking
Carolyn Hoffman: a big
Helen Macdonald: about
Carolyn Hoffman: distinction
Helen Macdonald: the SMARTboards.
Carolyn Hoffman: between the these th I don't need a SMARTboard.
Jennifer Zager: Nei It
Michelle Turney: Well
Jennifer Zager: it's much m
Michelle Turney: we we used that one,
Carolyn Hoffman: Yeah,
Michelle Turney: and
Carolyn Hoffman: but
Michelle Turney: we needed
Carolyn Hoffman: give
Michelle Turney: it. I
Carolyn Hoffman: Carolyn Hoffman
Michelle Turney: think.
Carolyn Hoffman: a beamer. That's uh that's much
Michelle Turney: Yeah
Carolyn Hoffman: uh
Michelle Turney: alright,
Carolyn Hoffman: much
Michelle Turney: but
Carolyn Hoffman: cheaper.
Helen Macdonald: Or install a laptop to a beamer, or have this one standing here in an I I like it.
Carolyn Hoffman: Right.
Michelle Turney: Yeah I like
Helen Macdonald: Okay,
Michelle Turney: that
Helen Macdonald: alright.
Michelle Turney: one, but that one is terrible.
Jennifer Zager: But uh you can uh I I sent it about three times now. Uh a green uh board with uh chalk is much
Helen Macdonald: Yeah.
Jennifer Zager: more useful than that
Carolyn Hoffman: Yeah.
Jennifer Zager: thing.
Helen Macdonald: Yeah, it is.
Jennifer Zager: The simple uh
Helen Macdonald: So
Jennifer Zager: sch
Carolyn Hoffman: I agree.
Jennifer Zager: school board.
Helen Macdonald: And uh the digi the digital pen? Did uh did you like that one?
Carolyn Hoffman: No.
Jennifer Zager: I I didn't use it. I wrote things down but I didn't
Helen Macdonald: I used
Jennifer Zager: import
Helen Macdonald: it
Jennifer Zager: it
Helen Macdonald: uh
Jennifer Zager: into my
Helen Macdonald: just
Jennifer Zager: laptop.
Helen Macdonald: to check it out, but uh
Carolyn Hoffman: Yeah.
Helen Macdonald: You you
Jennifer Zager: That's
Helen Macdonald: can't
Jennifer Zager: the
Helen Macdonald: send that to anyone,
Carolyn Hoffman: Yeah.
Helen Macdonald: because you
Carolyn Hoffman: It
Helen Macdonald: you've
Carolyn Hoffman: isn't
Helen Macdonald: scrabbled
Carolyn Hoffman: practical.
Helen Macdonald: something on a page for yourself,
Carolyn Hoffman: Right.
Helen Macdonald: and then you're going to send it, yeah. Well, no.
Jennifer Zager: W But also y you write things down. And i you can also bring your your
Carolyn Hoffman: Your
Jennifer Zager: your
Carolyn Hoffman: notepad.
Jennifer Zager: note block. So
Carolyn Hoffman: Yeah.
Jennifer Zager: what's the what's
Helen Macdonald: It's,
Jennifer Zager: the
Helen Macdonald: no,
Jennifer Zager: th
Helen Macdonald: it
Jennifer Zager: what's
Helen Macdonald: it's useless.
Jennifer Zager: the point of importing it
Michelle Turney: Well
Jennifer Zager: into
Michelle Turney: I I drew this. Mm. And I made a mistake. But it it would have been uh useful, if
Helen Macdonald: Yes.
Michelle Turney: I I could show this on the screen.
Jennifer Zager: Yeah alright.
Helen Macdonald: For
Jennifer Zager: For
Helen Macdonald: drawings,
Jennifer Zager: drawings, but
Helen Macdonald: yes.
Michelle Turney: Yeah
Jennifer Zager: not
Michelle Turney: for drawings.
Jennifer Zager: for personal notes. I think that's not very
Michelle Turney: N notes mm.
Jennifer Zager: Uh I mean you can bring your paperwork along and p Well of course
Helen Macdonald: But
Carolyn Hoffman: Yeah,
Jennifer Zager: if
Carolyn Hoffman: it
Jennifer Zager: you
Carolyn Hoffman: might
Jennifer Zager: have
Carolyn Hoffman: be
Jennifer Zager: a lot
Carolyn Hoffman: useful
Jennifer Zager: of paper
Carolyn Hoffman: for drawings.
Jennifer Zager: If
Carolyn Hoffman: I
Jennifer Zager: you've
Carolyn Hoffman: I agree
Michelle Turney: Mm.
Carolyn Hoffman: on that.
Jennifer Zager: If
Helen Macdonald: But
Jennifer Zager: you've
Helen Macdonald: for notes, it i you you have to put that in a strict Uh you have to put a name, standard date, and all those things. And notes uh for a meeting are very strict. So if you uh were to write them down for yourself, and then put that in your computer, you still have to type it over to Word.
Carolyn Hoffman: Yeah,
Helen Macdonald: So it
Carolyn Hoffman: right.
Helen Macdonald: doesn't d doesn't have any
Carolyn Hoffman: That Stefan
Jennifer Zager: Yeah
Carolyn Hoffman: use.
Jennifer Zager: I understand. But I think uh d this option is only useful if you've got a lot of paperwork. You can't It's not very uh ni
Carolyn Hoffman: No,
Jennifer Zager: Yeah
Carolyn Hoffman: I
Jennifer Zager: well
Carolyn Hoffman: don't think so.
Jennifer Zager: a lot of documents
Carolyn Hoffman: It's
Jennifer Zager: are Yeah.
Carolyn Hoffman: it's only useful if you have to
Michelle Turney: Yeah.
Carolyn Hoffman: draw something.
Michelle Turney: it's really useful, I think.
Carolyn Hoffman: Yeah.
Helen Macdonald: Yep. Alright.
Jennifer Zager: Mu
Helen Macdonald: Um
Jennifer Zager: Yeah right.
Helen Macdonald: etcetera? Well uh the laptops?
Carolyn Hoffman: Yeah, great.
Helen Macdonald: Of course
Michelle Turney: Yeah.
Helen Macdonald: great.
Carolyn Hoffman: Yeah.
Michelle Turney: Hmm.
Jennifer Zager: Can we keep them?
Helen Macdonald: Yeah.
Jennifer Zager: Uh.
Helen Macdonald: You can. B by my
Carolyn Hoffman: Wireless uh wireless
Michelle Turney: Thanks Project
Carolyn Hoffman: things.
Michelle Turney: Manager.
Helen Macdonald: Yeah. Other uh things we used here? I hated the cameras, I hated the microphones.
Carolyn Hoffman: Well
Helen Macdonald: But
Carolyn Hoffman: these
Helen Macdonald: No
Carolyn Hoffman: chairs,
Jennifer Zager: Well
Carolyn Hoffman: man.
Jennifer Zager: did you really uh
Carolyn Hoffman: Really great.
Jennifer Zager: Did you really take uh take those in account? I
Helen Macdonald: No.
Jennifer Zager: half of time I didn't
Helen Macdonald: No.
Jennifer Zager: notice they were there.
Helen Macdonald: I
Jennifer Zager: So
Helen Macdonald: haven't looked w one time directly at the camera. I don't care about it.
Michelle Turney: Well
Jennifer Zager: But
Michelle Turney: I
Jennifer Zager: we
Michelle Turney: did.
Jennifer Zager: shouldn't talk about that. Because this
Helen Macdonald: Well
Jennifer Zager: is
Helen Macdonald: w
Jennifer Zager: a
Helen Macdonald: why
Jennifer Zager: realistic
Helen Macdonald: not?
Jennifer Zager: environment.
Helen Macdonald: Uh etcetera We
Jennifer Zager: Right.
Helen Macdonald: N new
Jennifer Zager: Okay.
Helen Macdonald: ideas found? What kind of ideas for n a future schedule What? For future um
Michelle Turney: Well
Helen Macdonald: meetings you have
Michelle Turney: I missed
Helen Macdonald: got?
Michelle Turney: uh the option to uh
Carolyn Hoffman: Communicate
Michelle Turney: to email,
Carolyn Hoffman: in between.
Michelle Turney: yeah. Email
Carolyn Hoffman: Yeah, right.
Helen Macdonald: Chatting
Michelle Turney: or chat
Jennifer Zager: But
Helen Macdonald: and
Jennifer Zager: yeah.
Michelle Turney: or
Helen Macdonald: emailing.
Michelle Turney: something.
Jennifer Zager: W
Carolyn Hoffman: Yeah.
Jennifer Zager: well th that's just the the environment they set us up f with. So
Michelle Turney: Yeah alright, but that's one n new idea.
Carolyn Hoffman: Yeah, I agree.
Helen Macdonald: Well, new ideas found by this. Not. Nothing.
Carolyn Hoffman: Well,
Helen Macdonald: We
Carolyn Hoffman: more
Helen Macdonald: don't
Carolyn Hoffman: more
Helen Macdonald: want this.
Carolyn Hoffman: information in the beginning.
Helen Macdonald: We hate this.
Michelle Turney: Yeah.
Carolyn Hoffman: That's
Helen Macdonald: Digital pen is useless.
Michelle Turney: No
Helen Macdonald: So
Michelle Turney: it isn't.
Helen Macdonald: Yeah,
Jennifer Zager: Well,
Helen Macdonald: for drawings.
Jennifer Zager: for drawing for drawings.
Michelle Turney: Yeah.
Jennifer Zager: Yeah.
Michelle Turney: So it isn't useless.
Helen Macdonald: But uh two t But uh th then you have to have a lot of drawings, because
Jennifer Zager: Well
Helen Macdonald: if I had a company and I'm going to uh buy those expensive huge expensive uh things, I and I have to w pay those uh papers uh that are expensive, I'm not going to uh
Carolyn Hoffman: For
Jennifer Zager: No
Carolyn Hoffman: people who uh sketch th the whole day, I can
Michelle Turney: Yeah.
Carolyn Hoffman: imagine that it's useful.
Helen Macdonald: Well th
Jennifer Zager: But it's
Helen Macdonald: then
Jennifer Zager: still
Helen Macdonald: still
Jennifer Zager: an expensive
Helen Macdonald: they they they
Jennifer Zager: uh expensive
Helen Macdonald: should have a a nice graphics programme on the laptop. Because this is huge
Carolyn Hoffman: Well
Helen Macdonald: uh
Michelle Turney: Well
Helen Macdonald: this
Michelle Turney: you
Helen Macdonald: v
Michelle Turney: you
Helen Macdonald: very
Michelle Turney: can't you
Helen Macdonald: very
Michelle Turney: can't
Helen Macdonald: uh
Michelle Turney: draw
Helen Macdonald: expensive
Michelle Turney: on a laptop
Helen Macdonald: paper.
Michelle Turney: like you like you paint of or draw with your hand.
Carolyn Hoffman: Yeah, I agree.
Michelle Turney: With
Jennifer Zager: But
Michelle Turney: the mouse
Jennifer Zager: if w
Michelle Turney: it is
Jennifer Zager: Yeah.
Michelle Turney: No.
Helen Macdonald: Yeah.
Jennifer Zager: Well and
Carolyn Hoffman: Mouse
Jennifer Zager: if
Carolyn Hoffman: is ju just isn't working if you're sketching.
Michelle Turney: Uh indeed.
Jennifer Zager: And but what if uh maybe this this board uh SMARTboard is malfunctioning or someone. But suppose it was working correctly, what uh would it be useful then, if it wasn't off all the time?
Helen Macdonald: Well no. I
Jennifer Zager: A
Helen Macdonald: hated to draw like that. You you can't
Jennifer Zager: Really?
Helen Macdonald: draw anything uh neat.
Carolyn Hoffman: Yeah, but he's saying if it is correct, and you can draw very,
Jennifer Zager: Anything you want. Any b b
Carolyn Hoffman: yeah,
Jennifer Zager: Yeah.
Helen Macdonald: I
Carolyn Hoffman: very
Jennifer Zager: L li
Helen Macdonald: if
Carolyn Hoffman: precise
Helen Macdonald: it
Jennifer Zager: li
Helen Macdonald: if it would be perfect following.
Jennifer Zager: Yeah.
Helen Macdonald: Well
Jennifer Zager: Well
Helen Macdonald: th
Jennifer Zager: it
Helen Macdonald: th
Jennifer Zager: isn't, but
Helen Macdonald: then
Jennifer Zager: maybe
Helen Macdonald: still
Carolyn Hoffman: Yeah,
Jennifer Zager: that thing
Carolyn Hoffman: mu
Helen Macdonald: it's
Jennifer Zager: is uh is
Helen Macdonald: it's it's very expensive uh towards a a just a green
Jennifer Zager: Yeah,
Helen Macdonald: uh
Jennifer Zager: board,
Michelle Turney: Yeah,
Jennifer Zager: a school
Michelle Turney: but
Jennifer Zager: board,
Michelle Turney: but
Jennifer Zager: yeah.
Michelle Turney: then you can
Helen Macdonald: school board.
Michelle Turney: uh save it in instantly, and
Jennifer Zager: Yeah.
Michelle Turney: and and
Helen Macdonald: Yep.
Jennifer Zager: I it
Michelle Turney: re-use
Carolyn Hoffman: It
Jennifer Zager: has
Carolyn Hoffman: saves
Jennifer Zager: It
Michelle Turney: it,
Carolyn Hoffman: time.
Jennifer Zager: is
Michelle Turney: and
Jennifer Zager: useful.
Michelle Turney: uh
Jennifer Zager: Yeah.
Helen Macdonald: Yeah yeah.
Jennifer Zager: This uh if it works correct, maybe this thing this thing is just malfunctioning. So uh if we get in uh if we get another one and you make sure it does work,
Helen Macdonald: Yep.
Jennifer Zager: I think then it's pretty useful.
Helen Macdonald: Yeah.
Jennifer Zager: Because uh yeah you can draw t things quickly and uh clearly for anyone uh in the discussion room. And then you can save it immediately.
Helen Macdonald: Well, they are now.
Michelle Turney: Hmm.
Carolyn Hoffman: Celebration.
Helen Macdonald: It is. So,
Jennifer Zager: Did you type
Helen Macdonald: congratulations
Jennifer Zager: that?
Michelle Turney: Hmm.
Helen Macdonald: crew.
Michelle Turney: Celebration.
Helen Macdonald: Se
Carolyn Hoffman: Well
Michelle Turney: Yeah, we can go to the bar and uh with our
Helen Macdonald: Finally my beer.
Michelle Turney: newly earned money.
Helen Macdonald: Well, that's it I think.
Michelle Turney: Yeah.
Helen Macdonald: Um I don't know how long we still have. I dunno how long uh we had for this last meeting. But uh
Jennifer Zager: Maybe till four o'clock or something? Well dunno. Yeah.
Helen Macdonald: Well yeah, it is a bit uh Well we still have to make the end report and uh all those things. I have to do that.
Carolyn Hoffman: Yeah. You better
Helen Macdonald: I
Carolyn Hoffman: get started.
Helen Macdonald: Di did you um save
Michelle Turney: Oh.
Helen Macdonald: this one in the folder?
Michelle Turney: No.
Helen Macdonald: Can you
Michelle Turney: No
Helen Macdonald: do that?
Michelle Turney: no no no.
Jennifer Zager: No we must save this thing, yeah. In the shared map map.
Michelle Turney: But Nils you've got some work left.
Helen Macdonald: I don't know what you have
Jennifer Zager: Map,
Helen Macdonald: to do.
Jennifer Zager: is it a good word? The
Carolyn Hoffman: Huh.
Jennifer Zager: folder, yeah.
Michelle Turney: I have to go to a
Helen Macdonald: Yeah.
Michelle Turney: physiotherapy.
Helen Macdonald: Oh it worked. Two
Michelle Turney: Wow.
Helen Macdonald: times quick.
Carolyn Hoffman: Oh, alright.
Helen Macdonald: Cool.
Jennifer Zager: So it is useful,
Michelle Turney: Yeah.
Jennifer Zager: yeah.
Michelle Turney: It
Carolyn Hoffman: Oh
Michelle Turney: is
Jennifer Zager: No
Michelle Turney: handy.
Carolyn Hoffman: great,
Jennifer Zager: but uh
Carolyn Hoffman: man. I'm gonna
Helen Macdonald: This
Carolyn Hoffman: buy
Helen Macdonald: is nice.
Carolyn Hoffman: one buy
Jennifer Zager: Radical.
Carolyn Hoffman: one for my bedroom.
Helen Macdonald: Uh
Jennifer Zager: Yeah.
Helen Macdonald: D design.
Jennifer Zager: Do you believe it yourself?
Helen Macdonald: S Oh. He saved them all ten. Well alright. Um
Michelle Turney: Well they they wanted everything we produced, so
Jennifer Zager: They
Helen Macdonald: Yeah.
Jennifer Zager: also want to see my cat and his rabbit, and uh
Helen Macdonald: Well
Michelle Turney: My big bird.
Jennifer Zager: Your big beautiful bird.
Helen Macdonald: Where is this?
Jennifer Zager: Maybe the pen is just uh uh broken and the board isn't. Of or the other way around uh
Carolyn Hoffman: Maybe you are broken.
Jennifer Zager: Yeah I think so too.
Carolyn Hoffman: You
Michelle Turney: I think
Carolyn Hoffman: know.
Michelle Turney: you have we have to make clear to her that we are ready.
Carolyn Hoffman: I think she's listening.
Helen Macdonald: I also think so. She
Jennifer Zager: Who
Helen Macdonald: already
Jennifer Zager: is
Helen Macdonald: knows.
Jennifer Zager: she you're talking about? Oh
Helen Macdonald: She?
Jennifer Zager: you mean our uh
Helen Macdonald: Big brother.
Jennifer Zager: coach, our f personal coach.
Helen Macdonald: Our manager.
Jennifer Zager: Is she also our accountant? Is she responsible for
Helen Macdonald: Yeah.
Jennifer Zager: sending that information so late?
Helen Macdonald: I don't think so.
Jennifer Zager: Oh.
Michelle Turney: Close
Jennifer Zager: Because
Michelle Turney: your laptop.
Jennifer Zager: then we have to confront her with our
Michelle Turney: So she can see we're ready.
Carolyn Hoffman: I feel watched.
Helen Macdonald: Alright.
Michelle Turney: Yeah.
Helen Macdonald: We put the fashion in
Michelle Turney: Let's
Helen Macdonald: electronics,
Michelle Turney: take this remote into
Helen Macdonald: but
Michelle Turney: uh
Helen Macdonald: we couldn't
Michelle Turney: production.
Helen Macdonald: because of the costs. That that's
Jennifer Zager: Yeah. That
Helen Macdonald: the
Jennifer Zager: that's
Helen Macdonald: title
Jennifer Zager: our new
Helen Macdonald: of
Jennifer Zager: slogan.
Helen Macdonald: our uh
Carolyn Hoffman: Yeah.
Helen Macdonald: end document.
Jennifer Zager: Yeah, I
Helen Macdonald: We
Jennifer Zager: like
Helen Macdonald: couldn't
Jennifer Zager: that.
Helen Macdonald: put the fashion into the electronics.
Jennifer Zager: Blame our accountants.
Carolyn Hoffman: Do that.
Helen Macdonald: Yeah, that's a nice title.
Carolyn Hoffman: Yeah.
Jennifer Zager: But we couldn't, yeah.
Carolyn Hoffman: Very catching.
Helen Macdonald: Oh.
Jennifer Zager: Well I th
Carolyn Hoffman: I'm
Jennifer Zager: Yeah.
Carolyn Hoffman: sure management would like that.
Helen Macdonald: Well
Michelle Turney: She's on the move.
Helen Macdonald: I'm going to resign after this project anyway, so
Carolyn Hoffman: Oh, that's just great. | Jennifer Zager and Michelle Turney presented the drawing of a prototype. It is rounded, with the front made of hard plastic in different colours. The back, as well as the lower part of the front are made of titanium. The back has the logo and slogan of the company engraved in its middle. The buttons include oval digit buttons, arrow-shaped channel and volume controls in the middle; below those, is the menu (for the LCD) and the video button. The LCD can be found at the lower section of the device. After the presentation, the product was evaluated. This was done on a scale of 1(excellent)-7(very bad) on fancifulness, ease of use, finding the device when it is lost, hi-tech features, incorporation of fashion trends, and ergonomic design. Because it was over budget, titanium was replaced by plastic and the speech recognition was discarded. They thought it would have been more sensible to have the component costs before the prototype design. Finally, the team evaluated the project process in terms of creativity (generally satisfied), leadership (the process was democratic, not happy with management), teamwork (happy with it), and means (SMARTboard was 'a disaster' and the digital pens only good for drawings). | 4 | amisum | train |
Sharon Perry: Okay. Well, let's start. What are doing? Oops.
Gina Martin: Hmm.
Barbara Martel: Ah, pinball.
Sharon Perry: Okay. Okay. Not doing.
Demetria Dixon: Mm.
Sharon Perry: Uh
Demetria Dixon: Ah.
Gina Martin: Oh.
Demetria Dixon: Hey. Ah. Now I have my screen back too.
Sharon Perry: Very good. Okay.
Demetria Dixon: Yeah.
Sharon Perry: we have presentations. So first, it's your turn.
Gina Martin: Mine. Oh
Sharon Perry: Yeah.
Gina Martin: great
Barbara Martel: Huh.
Sharon Perry: Isn't it amazing.
Demetria Dixon: Yeah. Very interesting.
Gina Martin: Uh
Sharon Perry: Industrial Designer. Interface concept.
Gina Martin: Yes, well uh let's uh talk about the interface uh concept. Uh, first I'll uh I'll uh discuss the buttons we just chose, uh show you some samples, uh uh discuss some colours and design maybe, already. And uh my personal preferences. Well we chose the power button to switch the television on and off. The bu uh the mute button to switch the volume on and o on and off. and uh off uh uh zero to nine, and the uh button to choose uh higher channels than nine. Uh the volume and channel quadrants, uh left and right, up and down arrows, to uh do the volume and channel. And the menu menu button to man manipulate the L_C_D_ uh display. Um, I found some uh interesting uh uh samples. Examples. Um, well uh what's pretty standard is uh that it's that they're all pretty uh uh high uh
Demetria Dixon: Large.
Gina Martin: Yeah.
Demetria Dixon: A
Gina Martin: Yeah.
Demetria Dixon: lot
Gina Martin: Large
Demetria Dixon: a lot of buttons
Gina Martin: and and and
Demetria Dixon: buttons.
Gina Martin: pretty thin and uh and long. Um, power buttons are mostly at the top uh left or right. Um, well we see the the the same uh arrows. Like there. And uh Yeah, well arrow b buttons can be blue. And what's interesting is the the the icons on the buttons. Some buttons have icons like the play and stop, but we don't use that. But uh, these we we have to choose the right icons, or or letters. Uh this is the V_ for volume, but they're both uh a V_. So it's it's not really very uh clear what's the function of that.
Demetria Dixon: Yeah.
Gina Martin: Um Yeah. So, that's
Sharon Perry: Can you go back one page? For the uh menu, what do we use for that?
Gina Martin: Uh,
Sharon Perry: We don't
Gina Martin: well
Sharon Perry: have buttons for the menu. Or we may use channel of volume and
Gina Martin: Yeah. I thought that was our uh idea.
Sharon Perry: Okay.
Gina Martin: So,
Sharon Perry: But
Gina Martin: uh
Sharon Perry: uh
Gina Martin: how
Sharon Perry: You have to put it on the
Gina Martin: Like this.
Sharon Perry: Yeah.
Gina Martin: Or or this. And that the menu button is okay.
Sharon Perry: Yeah but, has to be clear that you can use the arrows.
Gina Martin: Yeah, okay.
Demetria Dixon: Yes.
Gina Martin: Uh, so the The icons on the arrows, as well, you
Sharon Perry: Mm-hmm.
Gina Martin: mean.
Sharon Perry: Yes. The second one.
Gina Martin: Yeah. Uh, well that's something to uh think about.
Sharon Perry: Okay.
Barbara Martel: Uh, maybe I'll have something in my uh presentation. And
Gina Martin: Okay.
Barbara Martel: you
Demetria Dixon: Okay.
Barbara Martel: will see it.
Gina Martin: Um, well I don't I don't know if we have to discuss this already, or in the next uh meeting. But uh, as we have to uh to to design the the case and the whole uh remote control in our uh our our corporate uh company uh uh colours and the logo, I would uh recommend a yellow case. Uh, round edges. The logo at the bottom. And uh, well maybe each each uh set of buttons uh has uh has his own colour. So, it's good. Uh, recognisable. K so, I think.
Sharon Perry: Not too much colours.
Gina Martin: Uh, no. Not too much. But uh
Sharon Perry: No, it's not flower power.
Gina Martin: No, no, no. But this has to be has to be trendy and uh
Sharon Perry: S okay.
Gina Martin: and Uh, yeah so good uh good icons on the buttons, and uh and big buttons is my uh personal uh opinion.
Sharon Perry: Okay.
Gina Martin: That was that.
Sharon Perry: Thank you. So, you're next.
Barbara Martel: I'm next, okay.
Barbara Martel: Yes. No. Here we go. Uh, at
Demetria Dixon: Okay.
Barbara Martel: first we will uh I will f
Demetria Dixon: Mm-hmm.
Barbara Martel: uh say something about what younger people want, our uh group w uh w uh we want to uh sell our remote controls to. And I'll discuss what my opinion is about the costs, about uh what battery is in it, what kind of buttons also. First uh, the younger people, they want like soft mat uh materials and primary colours. Like, totally yellow, totally red. Uh, so it's visible. Uh, the shapes are curved and round, like uh you also said. Maybe it's nice to uh get a remote control not like all the other ones, straight and uh flat and long. But to give him the shape of your hand, so you it's easier to use or something like that. But that's just an idea. And then, I'll have to discuss about the costs uh of all the things for the remote control. The battery, there are few options. Uh, I think the best option is to use uh the basic battery. So, everybody can buy it uh at the at the supermarket. Or use uh a k uh kinetic battery like uh within a watch. When you uh shake it a few times, it it's loaded. Uh, the the form of the remote control, I think it's also nice have it curved. And maybe like it's hand-shaped. Uh, so uh you take it here in your hand and here are the buttons. Uh material, you use plastic. Hard plastic uh because uh it won't have to burst uh like in the in one time. And also rubber because the younger people like that, what we see in the research. Uh the push-buttons. We have one new thing uh discovered. It's a scroll push uh thing like a mouse. Maybe it's uh easy to use uh for the channels. When you want to go m move up, you just scroll up and click on the button, if you wanna see the next, uh if you wanna see that channel. And also for the mouse, uh for the volume, it's also uh easy to use. Just scroll a bit up, scroll a bit down. And that's also easy just w when you have a thing like this, and you get it here. You can do it with your thumb. And with your
Demetria Dixon: Hmm.
Barbara Martel: l left hand you can uh push the buttons uh if you push uh channel one, you can see channel one. The electrics um with a scroll push uh button, we must use regular uh chips. There are also uh simple chips. They are uh cheaper. Um, but then we have just a basic uh uh remote control, and I think there are a lot of those uh things, and people won't buy it any more. They have seen enough of it. And you have also advanced um chips. But that's with the L_C_D_ uh screen. And the costs will increase a lot more. And I think our budget is too low to use and an L_C_D_, and the chip who is more expensive. And maybe it's also then uh thoughtful if we u uh use uh as um different kind of uh shapes for the for remote control, that we then use the primary colours. Like, you get a yellow uh remote control, red one, blue one, et cetera. You have any more questions about this? I think the main
Demetria Dixon: Yep.
Barbara Martel: thing is we look at the costs.
Sharon Perry: Hmm.
Barbara Martel: And not too basic, not a
Demetria Dixon: Yeah.
Barbara Martel: basic remote control, who
Demetria Dixon: But,
Barbara Martel: everybody
Demetria Dixon: thi
Barbara Martel: already
Demetria Dixon: i uh
Barbara Martel: has.
Demetria Dixon: This is with an L_C_D_? No,
Barbara Martel: Not
Demetria Dixon: not.
Barbara Martel: with an L_C_D_.
Sharon Perry: No, isn't.
Barbara Martel: No.
Sharon Perry: But the L_C_D_ is easy when you use the scroll uh buttons. Then you can scroll, you see what number,
Barbara Martel: Yeah.
Sharon Perry: and then you push.
Barbara Martel: But then, what I say, the costs will uh get a lot higher.
Sharon Perry: But then it's not easy to use scroll uh wheel.
Barbara Martel: Th then
Sharon Perry: If
Barbara Martel: you'll
Sharon Perry: you
Barbara Martel: see
Sharon Perry: don't
Barbara Martel: it on the television.
Sharon Perry: Hmm, yes. But then. Yeah, then you go one down one up. When
Barbara Martel: Yeah
Sharon Perry: you scroll.
Barbara Martel: but l when you see a menu uh on the television, it's like you see uh one to twenty, you go uh uh s scroll
Sharon Perry: Yeah but
Barbara Martel: up,
Sharon Perry: like
Barbara Martel: and
Sharon Perry: we said
Barbara Martel: push
Sharon Perry: before,
Barbara Martel: number tw
Sharon Perry: it
Barbara Martel: twenty.
Sharon Perry: has to be used on every television. So you may not be uh No. The television must do that.
Barbara Martel: Mm-hmm.
Sharon Perry: So
Barbara Martel: Yeah, I think the younger people will have newer televisions, which can provide our uh
Sharon Perry: Yeah
Barbara Martel: remote
Sharon Perry: but
Barbara Martel: control.
Sharon Perry: young people have to have all their uh room. And mostly they are smaller.
Barbara Martel: Yes.
Sharon Perry: So
Barbara Martel: But that won't be a problem. I think.
Sharon Perry: Most the times that are not advanced televisions.
Barbara Martel: No, but then we'll get to the regular uh remote controls. And I think, what I said, everybody has them uh has them already. And they go to a uh supermarket and buy them uh for two Euros. Uh, and ge and get the most cheapest uh thing. And I think we must look further to uh to devel d develop something news.
Sharon Perry: Okay.
Demetria Dixon: Uh, can you give an indication in b uh in the cost difference between uh the chip with L_C_D_ or without?
Barbara Martel: I got it on my screen and it was uh higher. But I don't know uh how much higher.
Demetria Dixon: 'Cause it I think
Sharon Perry: That's
Demetria Dixon: if
Sharon Perry: important.
Demetria Dixon: we have an L_C_D_, it will also sell a lot better.
Barbara Martel: That's true.
Demetria Dixon: And that might uh bring back the costs uh
Barbara Martel: But then we'll I think we must discuss who uh what will be better. If we have a better shape of the um remote control, or better options on it. With a scroll menu, a w scroll thing, and a L_C_D_. And then a flat um remote control. remote control, with scroll, without L_C_D_.
Sharon Perry: Yeah. Maybe you can look how how much it is
Barbara Martel: I can
Sharon Perry: for
Barbara Martel: uh
Sharon Perry: the
Barbara Martel: look on my
Sharon Perry: L_C_D_. It's
Barbara Martel: uh
Sharon Perry: very important.
Barbara Martel: Uh Note that the push-button requires a simple chip chip. A scroll wheel requires minimally a regular chip, which is a higher price range. The display requires a advanced chip, which is which in turn is more expensive than the regular chip.
Sharon Perry: Yeah, more expensive. But how much?
Barbara Martel: Doesn't say.
Sharon Perry: Oh.
Demetria Dixon: Huh.
Gina Martin: Hmm.
Sharon Perry: Okay.
Barbara Martel: That's from my manufacturing division.
Sharon Perry: Okay.
Demetria Dixon: 'Kay.
Sharon Perry: Well, thank
Demetria Dixon: My
Sharon Perry: you.
Demetria Dixon: turn?
Barbara Martel: Yes?
Sharon Perry: Next.
Demetria Dixon: Mm. So So Yeah. So, my uh presentation is about trend-watching. Uh, I did some trend-watching. It's very important to uh keep up with latest trends. 'Cause if you don't, you won't sell. So, well how we did do that? Uh, well we made an investigation of the market, by Trendwatchers. They uh watch in uh cities like uh Paris and Milan. Of course, well known for their uh trend uh trends. And well, uh what did you find? Uh, we have two groups, young and trendy, and the old and rich. Well th and the young and trendy, they uh they starting to like uh fruit and vegetables uh as a theme for n uh clothes, shoes, and also uh products. And um, material? That should feel have uh a spongy feeling. And to get a feeling for what it is, uh here is an image of it. Then the old and rich. They like uh dark colours, and simple, recognisable shapes. And um, they also like uh familiar material, uh especially wood. Now, another picture. To get a feeling for this. Well, uh then already come to my personal preferences. We uh aim at the younger market. So, we should also be uh look at their uh trends. However, with trends it's always if there's it's now. It it it might last one year, and next year it be uh can be totally different. And I think we want to sell our product for longer than one year. So, we m must not just only look at what the trend is now, as it might be totally different next year. So, that's uh one thing to keep in mind.
Barbara Martel: Changing covers.
Demetria Dixon: Yeah. Any questions?
Barbara Martel: Nope.
Gina Martin: No.
Sharon Perry: No. It's clear. So now, it's uh Ah, let's see.
Sharon Perry: Now, w we have to decide
Sharon Perry: Well, we have to decide on the concept. So, we have to look at 'S next. Components and user interface concept. So Now, we have to make some concept. Maybe one of you can paint it on the board. First, uh user interface.
Barbara Martel: Uh, uh-uh. How w how we how we make it? Uh
Sharon Perry: Yes, a concept on uh
Barbara Martel: Shouldn't
Sharon Perry: Just
Barbara Martel: we first
Demetria Dixon: Yeah.
Barbara Martel: discuss about like what w
Sharon Perry: Yeah, but
Barbara Martel: we
Sharon Perry: maybe
Barbara Martel: all
Sharon Perry: we can paint it. Uh, what do we want?
Barbara Martel: Yeah, but if I paint with
Sharon Perry: I'll paint. Okay. Well
Demetria Dixon: Mm.
Sharon Perry: Something like this? Or
Gina Martin: Mm,
Sharon Perry: Shapes
Gina Martin: yes.
Sharon Perry: or What do we need?
Demetria Dixon: Can make
Gina Martin: What?
Demetria Dixon: several uh concepts.
Sharon Perry: Yes, okay.
Demetria Dixon: We have this, and we had the idea of an um a more uh uh uh like sh in the shape of your hand.
Sharon Perry: Okay.
Barbara Martel: More like something
Demetria Dixon: Yeah I I I uh yes.
Barbara Martel: M like Yeah I can't dr I can't draw it. Uh
Sharon Perry: And you have to.
Barbara Martel: I have to.
Sharon Perry: Yeah.
Barbara Martel: I'm not a designer. It's more three D_. Like, um when you have a part here. This is the remote control. And then you have something like th this under it. So, it's easier
Gina Martin: Mm.
Barbara Martel: to get it like this.
Gina Martin: Yeah.
Demetria Dixon: Yeah.
Barbara Martel: It's like a gun.
Demetria Dixon: A
Sharon Perry: So, it has to be
Demetria Dixon: g
Sharon Perry: soft?
Demetria Dixon: Mm.
Barbara Martel: And it has to be soft, yeah.
Sharon Perry: Okay.
Barbara Martel: So, you can
Sharon Perry: And uh,
Barbara Martel: squeeze
Sharon Perry: the
Barbara Martel: in
Sharon Perry: buttons?
Barbara Martel: it and Sorry?
Sharon Perry: Buttons.
Barbara Martel: Buttons on top of it. And here. The scrolling. You can do it with your thumb.
Gina Martin: But but i that's the only scroll uh button on it then?
Barbara Martel: But
Sharon Perry: No,
Barbara Martel: now
Sharon Perry: it
Barbara Martel: we
Sharon Perry: won't.
Barbara Martel: use one scroll button and the other one is here. One till uh uh zero till nine.
Sharon Perry: But,
Gina Martin: Yeah, okay. But
Demetria Dixon: Yeah.
Sharon Perry: well
Barbara Martel: And
Gina Martin: but
Sharon Perry: there
Barbara Martel: the
Sharon Perry: one
Barbara Martel: b
Gina Martin: how
Sharon Perry: for the sound and one for the channels.
Gina Martin: Yeah.
Barbara Martel: Yeah?
Gina Martin: How
Barbara Martel: Or two buttons.
Gina Martin: Okay.
Demetria Dixon: And
Sharon Perry: Uh,
Demetria Dixon: i if
Sharon Perry: two
Demetria Dixon: we go
Sharon Perry: scroll
Demetria Dixon: to uh
Sharon Perry: uh
Barbara Martel: If
Sharon Perry: wheels.
Barbara Martel: uh 'Kay c If we do If we use one, then we'll have just a switch on it, and you'll just switch it, and now it's
Gina Martin: Mm.
Barbara Martel: the sound to switch
Sharon Perry: That's th
Barbara Martel: back
Sharon Perry: that's more difficult.
Demetria Dixon: But if we have
Sharon Perry: It's
Demetria Dixon: uh
Sharon Perry: better
Demetria Dixon: a Demetria Dixon
Sharon Perry: in
Demetria Dixon: Yeah. If we have a menu, uh how do we uh choose other options?
Barbara Martel: with the menu uh button. And then you also can scroll uh scroll in it. Just not like all
Demetria Dixon: Yeah.
Barbara Martel: the other ones, with uh this thing, and uh here an arrow, here an arrow, here an arrow, here an arrow. Because uh, from h hundred uh remote controls, ninety nine have it.
Sharon Perry: But
Gina Martin: Yeah.
Sharon Perry: if we don't have a L_C_D_ we don't have a menu.
Barbara Martel: Uh,
Demetria Dixon: Uh-uh.
Barbara Martel: then we have it on the T_V_, the menu.
Sharon Perry: Yeah, but again maybe th How do we know the T_V_ can handle it? You don't know. So,
Barbara Martel: I
Sharon Perry: there's
Barbara Martel: don't
Sharon Perry: no
Barbara Martel: know.
Sharon Perry: menu.
Barbara Martel: It's like some sort of uh teletext option, but we don't have teletext.
Sharon Perry: No. So you can't use it.
Barbara Martel: And if we put an L_C_D_ thing on it, then the costs will uh be much higher.
Sharon Perry: Okay, we make two concepts. One with L_C_D_. One without L_C_D_.
Barbara Martel: 'Kay. But you all like this kind of thing. Uh
Sharon Perry: Good concept. But
Barbara Martel: With the scroll button.
Sharon Perry: That's one.
Barbara Martel: And and this one
Demetria Dixon: Uh-uh.
Barbara Martel: has to be soft. And this has to be harder, because when it falls, it mu mu must not burst. Or some kind of rubber around it.
Gina Martin: Mm-hmm.
Sharon Perry: It's one. Two. Number two.
Gina Martin: And you can and you can uh make the the power button as a trigger. Like
Barbara Martel: Yeah.
Gina Martin: uh
Barbara Martel: Yeah. Ah that's nice. Here. Trigger.
Sharon Perry: No.
Gina Martin: Just
Sharon Perry: But
Gina Martin: to
Sharon Perry: when you handle it,
Gina Martin: uh
Sharon Perry: you put it on and off. It's not good to use.
Gina Martin: Oh, like
Sharon Perry: Yeah, but
Gina Martin: a
Sharon Perry: I'll zap. Fuck. Out.
Gina Martin: Yeah.
Sharon Perry: No, it's not good.
Demetria Dixon: Yeah.
Sharon Perry: Now, second concept. One with L_C_D_, one without L_C_D_. Then uh Paint it.
Barbara Martel: Paint it? With the scroll thing on,
Sharon Perry: One
Barbara Martel: like this?
Sharon Perry: with two scroll buttons and one with without. Yeah. Uh, one
Barbara Martel: So?
Sharon Perry: with a with a menu, and one without a menu. And the one with with a menu has an L_C_D_.
Barbara Martel: Draw it.
Sharon Perry: Unbelievable. Do I have to do everything. Blank. You have
Sharon Perry: Not so difficult.
Gina Martin: But
Demetria Dixon: Yeah.
Gina Martin: if you put push the the menu button
Sharon Perry: Uh, that's the menu.
Gina Martin: Yeah, wh
Sharon Perry: There
Gina Martin: what
Sharon Perry: for the L_C_D_ screen.
Gina Martin: Yes, but you don't know which of the scroll buttons you have to choose.
Sharon Perry: You have to For the menu.
Gina Martin: Yeah.
Sharon Perry: Mm-hmm. One that way. And one that way. So Then it depends on the cost. S On and off.
Barbara Martel: But is it easy to use? When you have it on your left side, and
Sharon Perry: When it's not too big. Just like a a phone.
Gina Martin: Mm-hmm.
Demetria Dixon: M uh yeah, maybe it's better if the uh scroll-wheels are um
Barbara Martel: Separate, more separate,
Demetria Dixon: more separate,
Barbara Martel: h yeah.
Demetria Dixon: yeah.
Sharon Perry: Yes,
Demetria Dixon: Like, you have
Sharon Perry: okay.
Demetria Dixon: the menu button in between uh
Barbara Martel: Yeah. On the left a scroll button, and on the right a scroll button.
Barbara Martel: But would it be easy to use then? If it's like you have a big uh
Sharon Perry: Very good. Is it better? When you uh the menu, you have to go there there there there.
Barbara Martel: I also think
Demetria Dixon: Yeah.
Barbara Martel: this concept is not what the young people were looking for. They were like round curves, uh different uh
Sharon Perry: Yeah, okay. That's that's the outside.
Barbara Martel: Okay, okay,
Sharon Perry: But now
Barbara Martel: okay.
Sharon Perry: the First the buttons.
Barbara Martel: Mm-hmm.
Demetria Dixon: Think we have we have now two buttons missing. The uh um The mute button.
Sharon Perry: Sorry?
Demetria Dixon: We have two buttons missing. The mute button. And um, the to to uh have to uh numbers
Sharon Perry: Mute. And the other. Yeah.
Demetria Dixon: Okay.
Sharon Perry: Not so difficult.
Demetria Dixon: But, uh
Barbara Martel: Personally, I think two scroll buttons uh aren't easy to handle.
Sharon Perry: But how do you wanna solve it?
Barbara Martel: With the switch button.
Sharon Perry: Yeah but on the menu that's not uh easy. Then
Barbara Martel: No
Sharon Perry: you
Barbara Martel: like
Sharon Perry: go down,
Barbara Martel: uh
Sharon Perry: you switch, you go into the right, you switch, you go down.
Barbara Martel: Oh, you mean like that.
Sharon Perry: Yeah.
Barbara Martel: Uh, then you can also have like uh th um
Sharon Perry: A joystick.
Barbara Martel: Yeah, and joystick, I think.
Sharon Perry: Yeah. But is it uh Does that break, a joystick? Or a small one just like in a laptop.
Barbara Martel: Yeah like in a laptop, s uh s some sort of thing. A little bit bigger, with
Sharon Perry: Mean, it's
Barbara Martel: easier
Sharon Perry: better.
Barbara Martel: thi
Sharon Perry: But how expensive it is?
Barbara Martel: I don't know.
Sharon Perry: Oh. Why do I pay you for? Um, well um Better ideas.
Demetria Dixon: Okay.
Barbara Martel: Or no scroll uh things. Just a shape. And No, no.
Sharon Perry: For the
Barbara Martel: It won't
Sharon Perry: young
Barbara Martel: work.
Sharon Perry: peoples I think scroll
Barbara Martel: Yeah.
Sharon Perry: button's good.
Barbara Martel: Uh-huh.
Sharon Perry: So Think we have to keep them.
Barbara Martel: Or a remote control more like joystick.
Sharon Perry: Yeah, but is it A small one.
Barbara Martel: A small one like this, like a Nintendo uh k
Sharon Perry: No just like in a
Barbara Martel: Playstation thing.
Sharon Perry: a laptop. Small, round. Then it's not so big.
Barbara Martel: No, no, no. I mean the the shape of the
Sharon Perry: Oh the
Barbara Martel: remote
Sharon Perry: sh
Barbara Martel: control. Just
Sharon Perry: Yeah,
Barbara Martel: like a
Sharon Perry: but
Barbara Martel: Playstation
Sharon Perry: then
Barbara Martel: thing.
Sharon Perry: you can to use t with one hand.
Barbara Martel: Yeah.
Sharon Perry: So Maybe, if it's possible, it's not too expensive, I think a joystick is better. A small one. So, please look at it.
Barbara Martel: No, that's okay, I got
Demetria Dixon: And on the L_C_D_, how much it costs? Uh, it costs extra?
Barbara Martel: Uh they're not uh in details. It's more expensive or
Sharon Perry: Yeah
Barbara Martel: less
Sharon Perry: we
Barbara Martel: expensive,
Sharon Perry: I think
Barbara Martel: huh?
Sharon Perry: you get it. So, after this meeting you have half an hour to uh fix it.
Barbara Martel: Then I have to come with it.
Sharon Perry: Yes.
Barbara Martel: I got my personal costs. I I don't I don't know the costs.
Sharon Perry: Your problem. Not mine.
Barbara Martel: Then I'll uh make something up.
Sharon Perry: Okay. So, do we have other concepts? Then for the components, we use a normal battery.
Gina Martin: Mm,
Sharon Perry: Then it's
Gina Martin: yeah.
Sharon Perry: Ch cheapest
Barbara Martel: Yeah, or
Sharon Perry: way,
Barbara Martel: the
Sharon Perry: I think.
Barbara Martel: or the kinetic uh with normal
Sharon Perry: No,
Barbara Martel: battery.
Sharon Perry: no kinetic.
Barbara Martel: Yeah, I think it's
Sharon Perry: Kinetic
Barbara Martel: uh, yeah,
Sharon Perry: is uh ch makes it more expensive.
Barbara Martel: more expensive. Yeah.
Sharon Perry: So
Demetria Dixon: Yeah.
Sharon Perry: we use a normal battery.
Gina Martin: Yeah.
Barbara Martel: Okay.
Demetria Dixon: Yes.
Sharon Perry: Chip. Depends on the L_C_D_.
Barbara Martel: Depends on the scroll.
Sharon Perry: Scroll.
Barbara Martel: If we use a scroll, then we have the uh regular chip. If we don't use a scroll, then we can use the simple chip. And
Sharon Perry: Yeah.
Barbara Martel: that's
Sharon Perry: And uh, we If you use the L_C_D_, we have to
Barbara Martel: Uh the most expensive.
Sharon Perry: Yes,
Barbara Martel: Yeah.
Sharon Perry: okay. So, depends on the L_C_D_
Barbara Martel: If we
Sharon Perry: and the scroll.
Barbara Martel: Yeah.
Sharon Perry: Okay.
Barbara Martel: If we No okay scroll-wheel. So, I have this. So, it will be uh the advanced chip, or the uh regu uh or the regular chip.
Sharon Perry: Okay. So, uh the shapes of the design depends on the L_C_D_ and But, it has to be small. I think.
Barbara Martel: Or shall we just put it on the pistol thing? And then just put also on L_C_D_ on it?
Sharon Perry: If you have pistol, it L_C_D_'s not easy. Y y
Barbara Martel: Just use your thumb.
Sharon Perry: Yeah but If you use a phone.
Barbara Martel: If you Yeah. I use my thumb.
Sharon Perry: k Yeah, but but then you have it. Like, th if you have pistol, you have it so.
Barbara Martel: Yeah.
Sharon Perry: And the screen is Well,
Barbara Martel: If
Sharon Perry: then
Barbara Martel: you have
Sharon Perry: you
Barbara Martel: a joystick
Sharon Perry: have
Barbara Martel: on
Sharon Perry: to keep it this way to look at the screen.
Barbara Martel: No, if you have like uh an uh uh a ni a uh Playstation uh game controller.
Sharon Perry: Yeah.
Barbara Martel: And you move up, f forward, down, left. Then you have uh just, yeah, a little bit curved. It's not just uh
Sharon Perry: No.
Barbara Martel: straight.
Sharon Perry: No, no.
Barbara Martel: That's how we use it.
Demetria Dixon: Uh
Barbara Martel: That's why they make joysticks like that, I think.
Sharon Perry: Yeah, but then
Demetria Dixon: Uh,
Sharon Perry: you look
Demetria Dixon: yeah, but
Sharon Perry: forward. And then you can
Demetria Dixon: Yeah.
Sharon Perry: y
Barbara Martel: Yeah?
Sharon Perry: N well,
Demetria Dixon: If you
Sharon Perry: if you have to look at it.
Barbara Martel: 'Kay. Here's our designer.
Demetria Dixon: If we have uh then something standing here, with the L_C_D_.
Barbara Martel: Yeah.
Sharon Perry: Then it goes like this.
Barbara Martel: Yeah, why not.
Sharon Perry: If th n well
Barbara Martel: It's for the younger people.
Sharon Perry: Yes, of course.
Barbara Martel: It's something new.
Gina Martin: It's
Sharon Perry: That's
Gina Martin: uh
Sharon Perry: good good. But the um, it may not break.
Barbara Martel: Now we put uh rubber around it.
Sharon Perry: Okay. If that's possible.
Demetria Dixon: Um,
Barbara Martel: Hard
Demetria Dixon: Yeah.
Barbara Martel: plastic, uh the shape, and around it hard uh around it rubber. And the uh the hand shape is also rubber.
Sharon Perry: Okay.
Gina Martin: Or you
Demetria Dixon: I
Gina Martin: can
Demetria Dixon: can't
Gina Martin: uh
Demetria Dixon: see the.
Gina Martin: turn it inside.
Demetria Dixon: But, uh the
Gina Martin: But
Demetria Dixon: easy
Gina Martin: that's
Demetria Dixon: of uh, th the ease of use wasn't uh the most important uh aspect of it.
Barbara Martel: Huh.
Gina Martin: No, that's true.
Demetria Dixon: Uh, for us it's about to sell it. Uh
Sharon Perry: Yeah of
Barbara Martel: This
Sharon Perry: course.
Barbara Martel: is something new.
Sharon Perry: Okay. Then this is the design. And the buttons are on the next page. So, depends on the cost. So,
Barbara Martel: Costs are okay.
Sharon Perry: um we have one minute.
Demetria Dixon: One.
Sharon Perry: I think.
Demetria Dixon: No.
Sharon Perry: No.
Demetria Dixon: You have more.
Sharon Perry: More. Seven.
Demetria Dixon: You have still ten.
Sharon Perry: Next meeting. Thirty minutes. So hurry up.
Barbara Martel: Oh, that's us together.
Sharon Perry: You two stay here. Paint it.
Gina Martin: Okay.
Sharon Perry: Now you have to. So I think it's clear. Check your mail. So
Demetria Dixon: Yeah.
Barbara Martel: Yes.
Sharon Perry: It has to be ready in the next meeting. So
Demetria Dixon: What?
Gina Martin: Cookie.
Demetria Dixon: Okay.
Sharon Perry: Next meeting is called the detailed design. So Everyth everything has to be ready.
Demetria Dixon: Okay.
Sharon Perry: Thanks for your attention.
Barbara Martel: 'Kay.
Demetria Dixon: See you at the next meeting.
Barbara Martel: Bye bye. | Barbara Martel gave a presentation on the interface concept, discussing which buttons will be needed and then looking at some examples of existing remote controls. He suggested using a yellow case with rounded edges and the logo at the bottom, and large, clearly marked buttons. The interface expert informed the group that young people like curved shapes, soft materials and primary colours, and suggested making a hand-shaped remote in plastic and rubber. He talked about the possibility of using a scroll button, and the different chips which could be used. The group discussed using an LCD screen, but did not have enough information about costs to make a decision. Demetria Dixon talked about new trends, including the trends for spongy materials and fruit and vegetable themed products. The group had a discussion and decided to create two designs, one with an LCD screen and one without, and the interface designer drew them on the board. They put off making a final decision about using an LCD screen, scroll buttons and a menu button until they could find out about costs. | 4 | amisum | train |
Madeline Negro: Good
Maria Stroth: G
Madeline Negro: morning, Flores.
Maria Stroth: good morning.
Madeline Negro: Marketing Expert.
Maria Stroth: Oh yeah.
Madeline Negro: Right.
Maria Stroth: Are you ready? You should put the laptop uh right into the square.
Madeline Negro: For the cameras
Maria Stroth: For i for the cameras, yes.
Madeline Negro: Alright.
Maria Stroth: Good morning, Sebastian.
Wendy Pearson: Good morning, Mister P_M_. How are you today?
Maria Stroth: I'm fine.
Wendy Pearson: How was your business trip to Boston?
Maria Stroth: Um well, actually I didn't go,
Madeline Negro: Geez.
Maria Stroth: didn't feel like it. So Do you want to open it as read-only. Um I guess I should close it here.
Madeline Negro: You have the same message of uh Windows cannot um sen oh stand-by. Close the the
Jacqueline Ortiz: Okay.
Madeline Negro: window.
Maria Stroth: Okay, the waiting
Madeline Negro: So
Maria Stroth: is for our Marketing Expert,
Madeline Negro: That's
Maria Stroth: Ruud.
Madeline Negro: right. Ruud.
Maria Stroth: Um project kick-off.
Wendy Pearson: Is there a schedule for this meeting?
Maria Stroth: Yes, there is actually. Um I will li list the agenda for today. For this meeting. Good morning, Ruud.
Jacqueline Ortiz: Good morning.
Maria Stroth: Uh it's important um
Wendy Pearson: I shall close the door.
Maria Stroth: yeah, great. It's important that the laptops are um exactly on the square, um for the cameras. Okay.
Maria Stroth: Okay. Um we're here to develop uh a new product. Um I'm sure you've had a mail from our account manager
Madeline Negro: Mm-hmm.
Maria Stroth: about it. Um and um this is the first meeting to to generate some uh uh some ideas about it. Um you are here in a specific role. Uh Ruud is here as Jacqueline Ortiz, Roo is here as Madeline Negro and Sebastian is here uh in the role of Industrial Designer. Is that correct?
Wendy Pearson: That's correct.
Madeline Negro: Mm-hmm.
Maria Stroth: Okay. Um we're going to do um uh uh a little tool training uh for the tools we are going to use uh during uh the meetings we are going to have here. Um then I will tell you a little bit about my idea of the project plan, uh and we will have a discussion. Uh this meeting should take no more than twenty five minutes, so
Madeline Negro: Alright.
Maria Stroth: we
Wendy Pearson: Okay.
Maria Stroth: should keep that in mind.
Wendy Pearson: Um is there any room for a little presentation? Uh maybe during the discussion uh
Maria Stroth: There is?
Wendy Pearson: section?
Maria Stroth: Yeah, there is.
Wendy Pearson: Okay.
Maria Stroth: No problem. Um okay, this new product we are are g are going to develop, um it's a remote control, a television remote control. Um and first of all it should be original, it should be trendy and user-friendly. Those are kind of easy um uh uh goals, um and I'm sure we can find more goals for the for the product we are going to develop. Um we will discuss uh later on more ideas about uh how the remote should look and how it sh it should function and
Madeline Negro: Okay.
Maria Stroth: all those kind of things. The market, we should have a look at the market. Um we are going to use a a pred a project method uh during uh this development, um which consists of three different design stages. Uh the functional design, the conceptual design and the detailed design, um all of these stages um um mean that we do some individual work, prepare, and then uh meet to discuss our uh uh the the
Madeline Negro: Progressions.
Maria Stroth: the progressions, yes. Um the first stage, the functional design um we are going to search for the user requirements, and we will um make a specific uh specification of that. Um the second is the technical functional design, um what effect should the remote have? Well in this case control t the the television
Madeline Negro: It's for the
Maria Stroth: I
Madeline Negro: vision.
Maria Stroth: think.
Madeline Negro: Yeah.
Maria Stroth: Um and the last one is the working design. How exactly does it work in the technical sense. Um the other design stages, uh we will discuss that later. So we'll kop it keep it with the functional design. Okay, um before we think about remote control we will um work with some of the tools we have uh here. Um as you see now I can give a presentation. Um it's also possible to use this one as well. You can uh uh display pr uh two presentations if you want to. Um to um presentate, to show us uh a file you'll need to uh place it in your project documents folder, which is on your desktop, at least it should be. Um then we have this electronic white-board system. Um yeah, I will show that now. Um you can draw on the board using this pen. There are little um uh
Madeline Negro: Sensors.
Maria Stroth: sensors, so do not grab it here, but a lit more a little bit more to the uh to the end. Um well, it it's on the um eraser now, so we click the pen button.
Maria Stroth: Okay, so not too fast writing. Um you can insert a new um slide or or white-board uh uh file um by either using the insert function or by clicking the next button or the blank button. It's quite the same. Um all our um whi um uh SMARTboard um notes should be kept in the same file. So do not m make a new file. Just use this one uh during the day. Um you can use the eraser to make something go away.
Madeline Negro: But we all use the same white-board file
Maria Stroth: Yes.
Madeline Negro: So we can work together on it while we're or
Maria Stroth: Yeah.
Madeline Negro: should we only use it in?
Maria Stroth: Yeah, in the meetings, only in the
Madeline Negro: Yeah,
Maria Stroth: meetings.
Madeline Negro: okay.
Maria Stroth: It's really like like a regu
Madeline Negro: Yeah, alright.
Maria Stroth: regular whiteboard.
Madeline Negro: Yep.
Maria Stroth: Um you can choose the format, um sorry. Uh Let Jacqueline Ortiz see. Um Well I guess it's maybe because I'm not s uh pen selected. Yep. Current colour, you can choose another colour. And um for example black, and you c I can choose the line width. Um so now I d have a different line width and uh colour. Okay. Quite easy, do have any questions, just c ask Jacqueline Ortiz. Um to um oh well, I'm I wrote down the documents uh should be in the project documents folder if you want to uh discuss it with us. Um as a little training um I will ask Ruud first to draw uh uh your own animal on a new slide uh with uh a different colour and a different line width than the one uh now selected.
Jacqueline Ortiz: Okay.
Jacqueline Ortiz: Um green.
Jacqueline Ortiz: An animal. Okay. Um
Jacqueline Ortiz: Uh
Madeline Negro: It's a bunny.
Jacqueline Ortiz: a wee rabbit.
Maria Stroth: A rabbit.
Wendy Pearson: Alright.
Maria Stroth: Okay, well great. Um Roo, could you do the same please?
Madeline Negro: But of course,
Maria Stroth: But
Madeline Negro: Flores.
Maria Stroth: a different animal with a different colour and a different line width.
Madeline Negro: Blank.
Maria Stroth: Sebastian is thinking about the animal.
Wendy Pearson: I'm just uh guessing what should be my favourite animal.
Maria Stroth: Okay.
Madeline Negro: Yeah, I'm think about it too. Format.
Madeline Negro: Well, it looked more than a bunny than a cat, but it works, right?
Maria Stroth: It it should be a cat.
Jacqueline Ortiz: Yeah.
Maria Stroth: Okay?
Wendy Pearson: Well, I'll give it a try.
Wendy Pearson: Mm.
Maria Stroth: I'm guessing a horse.
Wendy Pearson: Very good.
Madeline Negro: With a very small legs.
Wendy Pearson: I very good in drawing.
Madeline Negro: You should feed that uh that animal.
Wendy Pearson: Well, I guess you uh get the idea.
Maria Stroth: Yes, okay.
Wendy Pearson: Beautiful.
Maria Stroth: Beautiful. Okay, so um you can use this at any time during the presentation if you want to. Um any questions well, just just let Jacqueline Ortiz know. Um okay, back to our project. Um the remote control we are going to develop um will have a selling price of about twenty five Euros. Uh the profit we are looking for for this product is fifty million Euros, which is quite a number. Um we uh we will focus this internationally, so the product will be sold um, if there is market uh interest, uh in in more than one country. And um the production costs should not be more than uh twelve Euro fifty, so we should keep that in mind by uh w w during the development, um because uh, well, those are important numbers. Um then the discussion, maybe the time for Sebastian to show his presentation.
Wendy Pearson: Yes, um I have some technical uh issues which I would like to present to you uh before we start the discussion, because uh there might be some uh
Maria Stroth: Limitations.
Wendy Pearson: influations influences.
Maria Stroth: Okay.
Madeline Negro: Okay.
Wendy Pearson: Okay?
Maria Stroth: Okay, great.
Wendy Pearson: Okay. Um first about my role, role of Wendy Pearson. I would like to think about uh the implementation of uh of things, and the technical possibilities and impossibilities. So if someone of you comes up with uh ideas, uh I'll try to translate them in technical functions, but uh there might be some impossibilities. So that's one. Uh I also will propose some uh um uh some implementations for that, but well, these are quite the same. Sorry about that. Um and I also will remind people of some new technical possibilities which are available and which might be interesting to implement in our product.
Madeline Negro: Okay.
Wendy Pearson: I have some uh initial ideas about some things um which are maybe nice to take with you in the upcoming uh discussion. One thing about uh interopera operability. Um I think a modern uh remote control should uh control a device diverse subset of equipment. Uh for instance, uh D_V_D_ players, cell phones, video and audio equipment. So one re uh one remote control for all your equipment.
Madeline Negro: And for a cell phone?
Wendy Pearson: Well, there should be some interoperabi
Madeline Negro: Yeah,
Wendy Pearson: interoperability
Madeline Negro: okay.
Wendy Pearson: between them.
Madeline Negro: Yeah.
Wendy Pearson: I think it could come in handy. We should discuss that. Um and we should think about the way how these things uh should communicate with each other. We're not uh living in the uh nineteen eighties anymore, so infrared is not uh is not really uh hot uh technical stuff anymore. But you should uh think about the things
Madeline Negro: But
Wendy Pearson: like uh Bluetooth.
Madeline Negro: Yeah, but the infrared, it's uh, well, a little bit old-fashioned, if you would
Wendy Pearson: Mm-hmm.
Madeline Negro: call it like that.
Wendy Pearson: But it's
Madeline Negro: But
Wendy Pearson: cost-effective.
Madeline Negro: all the T_V_s are
Wendy Pearson: Yes.
Madeline Negro: uh equipped with infrared, so
Wendy Pearson: Mm-hmm.
Madeline Negro: y
Wendy Pearson: Well,
Madeline Negro: you you can
Wendy Pearson: not all, not all. So that's the point.
Madeline Negro: Most of them.
Wendy Pearson: So
Madeline Negro: Or you shou sh use a you should equip infrared and Bluetooth together
Wendy Pearson: Maybe,
Madeline Negro: in one
Wendy Pearson: but
Madeline Negro: remote.
Wendy Pearson: that's uh something we should discuss
Madeline Negro: Yeah.
Wendy Pearson: and uh about every everybody should think about it. So that's just my role, I'll just uh give you uh everybody some technical input, and I think now the time is to have a little discussion about what uh the product should be and how it should look,
Maria Stroth: Yeah.
Wendy Pearson: but take these things into account when you start the discussion.
Maria Stroth: Okay, so the the main por uh the main points you are uh telling us are focus on the inter uh operability,
Wendy Pearson: Yes, so
Maria Stroth: and
Wendy Pearson: one thing uh one remote control should uh control one or more uh pieces of equipment,
Maria Stroth: Okay, and
Wendy Pearson: and
Maria Stroth: and
Wendy Pearson: the
Maria Stroth: uh
Wendy Pearson: way of communicating with these equipments.
Maria Stroth: Okay. Okay, good.
Wendy Pearson: Okay.
Maria Stroth: Um that was your presentation?
Wendy Pearson: That's it.
Maria Stroth: Okay, okay. Um okay. Great. Um I'll go back to my own presentation. Um Mm. Okay. Um I I do think it's time now to to discuss uh mm some things. Um Sebastian told us a few things about the technical implemen uh implications. Um there are other things like um how to make it trendy, which is I think uh um most uh Ru uh Ruud's uh role. Um the way how it should be controlled by the user, which is uh Roo uh r uh during this part.
Madeline Negro: Mm-hmm.
Maria Stroth: Um so let's start with you. H how do you think the remote should um function for the user?
Madeline Negro: Well, I had a few uh things in mind. Um well, the interoperability, just like uh Sebastian said, um the remote should work on different T_V_s or even different uh um Yeah uh, what is it, devices?
Maria Stroth: Yep.
Madeline Negro: Um so i i I think it's a universal remote control for customers to buy just new in uh a store.
Wendy Pearson: Yes, I think it should
Madeline Negro: It's not
Wendy Pearson: be
Madeline Negro: for
Wendy Pearson: something
Madeline Negro: uh
Wendy Pearson: like
Madeline Negro: for
Wendy Pearson: that.
Madeline Negro: uh for uh Philips or whatever to buy our remote for their own product, right?
Maria Stroth: Okay, so we're we're going business to consumer, not we're we're it's
Madeline Negro: Yeah,
Maria Stroth: not a
Madeline Negro: I do I don't know that. It's no I have uh
Wendy Pearson: We're
Madeline Negro: don't
Wendy Pearson: not
Madeline Negro: have
Wendy Pearson: developing
Madeline Negro: the information
Wendy Pearson: this
Madeline Negro: for
Wendy Pearson: product
Madeline Negro: it.
Wendy Pearson: for a specific vendor, are
Maria Stroth: No.
Wendy Pearson: we? No,
Maria Stroth: No.
Wendy Pearson: we're
Madeline Negro: No,
Wendy Pearson: just
Madeline Negro: okay.
Wendy Pearson: developing this product, and we want to sell it to a very broad uh public, so
Madeline Negro: Yeah.
Maria Stroth: Yeah.
Wendy Pearson: it should fit to every device.
Maria Stroth: Uh Ruud, y
Jacqueline Ortiz: Yeah,
Maria Stroth: do
Jacqueline Ortiz: I
Maria Stroth: you
Jacqueline Ortiz: think
Maria Stroth: agree?
Jacqueline Ortiz: I think they're right, yeah.
Maria Stroth: Okay. Okay.
Madeline Negro: Um Well, the techni fu technical function uh what you said is just by pressing the button you should change the state of the T_V_. That's just the basic f technical function.
Maria Stroth: Yeah.
Madeline Negro: So that was my really my part for uh this session. Um
Maria Stroth: So is that
Wendy Pearson: Yeah.
Maria Stroth: ease of use or uh is that more like um
Madeline Negro: Well, that's just the fu the technical function is pure what should the remote control do, wh what is his task uh
Wendy Pearson: Mm-hmm.
Madeline Negro: as an uh as an uh device. It just should change the T_V_'s
Maria Stroth: Okay.
Madeline Negro: state. So that's it. Um but
Wendy Pearson: And
Madeline Negro: furthermore
Wendy Pearson: you you see uh the buttons as a as a means of doing this?
Madeline Negro: Yeah.
Wendy Pearson: Or are there any o other
Madeline Negro: Yeah,
Wendy Pearson: controls?
Madeline Negro: with buttons.
Wendy Pearson: Are there
Madeline Negro: Yeah,
Wendy Pearson: only
Madeline Negro: or
Wendy Pearson: any other
Madeline Negro: maybe
Wendy Pearson: cont
Madeline Negro: you want a touch-screen or
Wendy Pearson: Well,
Madeline Negro: But
Wendy Pearson: I I've seen these remote controls with uh this little stick uh which you can move forward,
Madeline Negro: Yeah.
Wendy Pearson: sidewords.
Maria Stroth: Uh-huh.
Wendy Pearson: You know these things. And um it's
Madeline Negro: They're
Wendy Pearson: very
Madeline Negro: very vu
Wendy Pearson: easy
Madeline Negro: vulnerable.
Wendy Pearson: for a user to to switch w yes,
Madeline Negro: Yeah.
Wendy Pearson: to to switch b uh between uh channels or uh change uh between tracks on a on a C_D_, on on a chapters, you know, on a D_V_D_ player. So maybe that's an idea, I don't know.
Madeline Negro: Yeah. And for other user interface I had um, well, it's more industrial thing. Uh point at a T_V_, I think it's it's quite disturbing when you always have to
Wendy Pearson: Mm-hmm.
Madeline Negro: point directly to the T_V_, so you must point everywhere, so
Wendy Pearson: Okay.
Madeline Negro: maybe infrared
Maria Stroth: Maybe
Madeline Negro: is
Maria Stroth: not even pointed.
Madeline Negro: Yeah,
Maria Stroth: Yeah.
Madeline Negro: just don't even point it, so in that case infrared should uh maybe uh be restriction to
Wendy Pearson: Mm-hmm.
Madeline Negro: that.
Maria Stroth: Okay
Wendy Pearson: Uh
Maria Stroth: Uh
Wendy Pearson: is that uh are there restriction for the range, the operating range too? So when you're not able to point at the device um
Madeline Negro: Yeah, if you
Wendy Pearson: the
Madeline Negro: g
Wendy Pearson: range
Madeline Negro: if you
Wendy Pearson: is
Madeline Negro: go to
Wendy Pearson: very
Madeline Negro: radio
Wendy Pearson: limited.
Madeline Negro: or or yeah. For T_V_, you're always in in the neighbourhood of a T_V_, so I don't think think the range should
Wendy Pearson: Mm-hmm.
Madeline Negro: be a problem to
Wendy Pearson: Mm-hmm.
Madeline Negro: that, but if you want to uh get it working with a radio, and you're in outside your garden with just one uh speaker,
Wendy Pearson: Mm-hmm.
Madeline Negro: then maybe the range should be uh
Wendy Pearson: Okay.
Maria Stroth: Okay,
Madeline Negro: But
Maria Stroth: gentlemen, um uh just a reminder, we d we have five minutes left for
Wendy Pearson: Okay.
Maria Stroth: this meeting
Madeline Negro: Yeah.
Maria Stroth: um
Madeline Negro: Two more things.
Maria Stroth: okay.
Madeline Negro: Um You should able to feel the buttons without uh it mis um you have to know what you do without looking at the buttons, so it should be as user interface um for feeling should be uh good to understand. You
Maria Stroth: Okay,
Madeline Negro: must feel
Maria Stroth: s
Madeline Negro: the buttons for
Maria Stroth: yeah.
Madeline Negro: volume or whatever, I think.
Maria Stroth: Yeah.
Madeline Negro: And of course you don't always know where all buttons are, so it should be visible al um in dark too. So
Maria Stroth: Okay.
Madeline Negro: when it's dark Those are two really uh user interface
Maria Stroth: Uh I'll write down glow in the dark.
Madeline Negro: Yeah. That's
Maria Stroth: Is tha
Madeline Negro: perfect.
Wendy Pearson: Okay.
Maria Stroth: Okay. Okay,
Wendy Pearson: Do
Maria Stroth: um
Wendy Pearson: do you
Maria Stroth: uh I just want to hear uh Ruud's um input for this meeting. Um do you have anything already w um ab idea about how the market uh will respond to the such a product? Or what we should take um in account when developing such a product?
Jacqueline Ortiz: Uh I think most most things have already been said, like uh control multiple devices.
Maria Stroth: Mm-hmm.
Jacqueline Ortiz: And uh, yeah, infrared might be an issue.
Maria Stroth: Because?
Jacqueline Ortiz: Uh well, he said about n abo what he said about pointing.
Maria Stroth: Mm-hmm.
Jacqueline Ortiz: But uh lots of devices already use infrared. So implement that.
Maria Stroth: Okay. Okay.
Maria Stroth: Okay, Sebastian, did you have any other
Wendy Pearson: Um
Maria Stroth: ideas?
Wendy Pearson: well yes, I had, uh about three minutes ago, but I've seem to forget them forgot them. Um oh yes, I remember. Um you said something about visibility in the dark. Um
Madeline Negro: Yeah.
Wendy Pearson: uh would it be nice for a user to have display on this uh remote control, on which you can see functions? Which makes it easier to operate
Madeline Negro: Yeah.
Wendy Pearson: it.
Madeline Negro: Well, maybe I um but
Wendy Pearson: I
Madeline Negro: it
Wendy Pearson: I don't
Madeline Negro: it
Wendy Pearson: know.
Madeline Negro: can be quite simple, you can just have white buttons
Wendy Pearson: Mm-hmm.
Madeline Negro: with a black mark
Wendy Pearson: Okay.
Madeline Negro: on it. The uh the the digits in
Wendy Pearson: Mm-hmm.
Madeline Negro: black. Uh then it's already visible in dark.
Wendy Pearson: Okay.
Madeline Negro: So it it don't have to be a lightning or or a fancy well,
Wendy Pearson: Okay.
Madeline Negro: it can
Maria Stroth: Okay.
Madeline Negro: be for
Maria Stroth: Yeah,
Madeline Negro: design,
Maria Stroth: yeah,
Madeline Negro: of course.
Maria Stroth: okay, because because we wa we want to develop a trendy product.
Wendy Pearson: Yes, but
Maria Stroth: So
Wendy Pearson: there's a cost limitation too. Well, that's
Maria Stroth: Yeah,
Jacqueline Ortiz: Yeah.
Wendy Pearson: more
Maria Stroth: twelve Euro fifty,
Wendy Pearson: So
Maria Stroth: yeah.
Wendy Pearson: that's a big problem, I think. I think the the financial part of this project uh implicates that it's not going to be a high high-end product. The
Maria Stroth: Okay.
Wendy Pearson: cost price is very low. Um
Madeline Negro: Just remind something. The digits of uh the the painting on the buttons should not fade.
Maria Stroth: Okay,
Wendy Pearson: Okay.
Madeline Negro: You have a m
Wendy Pearson: Very
Maria Stroth: okay.
Madeline Negro: uh
Wendy Pearson: good point. Yeah.
Madeline Negro: Always have s the soft buttons, always uh clear the the the paint on it. The marks.
Wendy Pearson: Okay.
Maria Stroth: Okay, um I ha I have one point f um which which comes in mind now. Um uh d I think the device should either be rechargeable very
Wendy Pearson: Mm-hmm.
Maria Stroth: easily
Wendy Pearson: Okay.
Maria Stroth: um or it should not consume too much um power. Because it's very annoying if you need to change the batteries every s uh uh every other week.
Madeline Negro: Yeah.
Wendy Pearson: Okay.
Maria Stroth: So um maybe we could um for example uh only
Madeline Negro: But um
Maria Stroth: light the buttons that are um
Madeline Negro: Necessary,
Maria Stroth: uh applicable at that
Madeline Negro: yeah.
Maria Stroth: moment or yeah. I dunno, it's uh that's more Sebastian's
Madeline Negro: Yeah.
Maria Stroth: uh um
Wendy Pearson: Hmm.
Madeline Negro: But then Bluetooth uh might be problem. 'Cause I think Bluetooth uh
Wendy Pearson: It's use uh a lot of uh
Madeline Negro: Yeah,
Maria Stroth: Well
Wendy Pearson: well
Maria Stroth: does
Madeline Negro: I know
Maria Stroth: it?
Madeline Negro: it from the cell
Maria Stroth: I'm
Madeline Negro: phone.
Maria Stroth: not sure.
Wendy Pearson: Well,
Maria Stroth: Uh
Wendy Pearson: cell phones have uh integrated Bluetooth also and, well, it's it seems to work uh quite okay.
Maria Stroth: Yeah.
Madeline Negro: But
Wendy Pearson: technically
Madeline Negro: you can't
Wendy Pearson: it will
Madeline Negro: you
Wendy Pearson: be
Madeline Negro: can't
Wendy Pearson: possible.
Madeline Negro: use Bluetooth all the time, twenty four hours a day.
Wendy Pearson: No,
Maria Stroth: Okay.
Wendy Pearson: you cannot.
Madeline Negro: Does it
Maria Stroth: Gentlemen,
Madeline Negro: It's over?
Maria Stroth: I'm
Wendy Pearson: Okay.
Maria Stroth: afraid we do not have any more time. Um
Wendy Pearson: Okay.
Maria Stroth: so we will go back to our own uh work. Um next meeting starts in thirty minutes and um, well, you know your o your individual actions or your personal coach will probably email you about th it. Um so this was it.
Madeline Negro: Okay.
Maria Stroth: See you in thirty minutes.
Madeline Negro: Great. | Maria Stroth opened the meeting and introduced the project, describing what the project would involve, the role of each participant and the agenda for the first meeting. He the demonstrated the equipment the group would be using, and the group practiced using the SMARTboard by drawing their favourite animals. Maria Stroth then went over the project budget. Wendy Pearson gave a brief presentation about his role and his initial ideas for the project, suggesting that the remote should be used for multiple devices and that the group should consider using bluetooth rather than infrared. Maria Stroth then asked the others about their initial ideas. Madeline Negro agreed that the remote should control multiple devices. They also discussed having glow in the dark buttons, using bluetooth instead of infrared and using a display and/or a joystick instead of conventional buttons. However, they were unsure about what the budget would allow. Maria Stroth suggested that the remote should be rechargeable or not use much power, but this might be difficult if using bluetooth. Maria Stroth closed the meeting. | 4 | amisum | train |
Rita Armon: Do you need to change anything on it
Dolores Spencer: Um
Rita Armon: Because? otherwise I will already open it.
Dolores Spencer: Mm, don't think so.
Rita Armon: Okay.
Dolores Spencer: Unless uh things have suddenly change again.
Rita Armon: Is it much changes?
Dolores Spencer: Uh don't know. Maybe uh
Rita Armon: Uh I didn't
Dolores Spencer: you've got new information,
Rita Armon: No no. I do
Dolores Spencer: like
Rita Armon: hot have
Dolores Spencer: uh last time.
Rita Armon: Only the same information.
Dolores Spencer: Okay.
Rita Armon: Hello, Sebastian.
Dawn Conley: Hello hello Mister P_M_.
Rita Armon: I believe uh Miss uh Tentel is with us as well, in the control room.
Dawn Conley: Well, that's where the thinking goes on.
Rita Armon: Oh, it's that Roo again, always late. Bongiorno.
Patsy Hinderliter: Bongiorno.
Dawn Conley: I think you should punish him. You're the P_M_.
Rita Armon: Hmm.
Patsy Hinderliter: Punish.
Rita Armon: I see some interesting okay.
Dawn Conley: Possibilities,
Patsy Hinderliter: You wish.
Dawn Conley: yeah?
Rita Armon: People, welcome back.
Patsy Hinderliter: Welcome.
Rita Armon: The third
Patsy Hinderliter: Uh
Rita Armon: meeting.
Dolores Spencer: Oop.
Rita Armon: I some points I would like to uh some some issues I would like to point out. Um first of all, um if you make minutes yourself as well, uh like Sebastian does, um could you put them on the shared folder? If you do not make minutes, no problem, but it's easy for Dolores Spencer to see what
Patsy Hinderliter: Yeah.
Rita Armon: you uh wrote down, so I could uh can uh um use that in the in the report. Um the second thing, um I was th uh s thinking to myself, I have this little remote control, and I'm talking to it, but I still need to point to the television, because it works with infrared. That's quite strange.
Dawn Conley: Yes.
Rita Armon: Okay.
Dawn Conley: So
Rita Armon: We'll come to that later, I g I think. Um the agenda for now uh uh are there any pre-discussion questions?
Patsy Hinderliter: No.
Dawn Conley: Not at all.
Dolores Spencer: No.
Rita Armon: Okay. Um we wi we will have your individual presentations, uh then the decision on the remote control concept, um and uh the closing. Forty minutes in total for this. So um I think we we can immedis immediately start with the individual presentations,
Dawn Conley: Okay.
Rita Armon: um the progress you've made. Um I think it might be smart to look at uh Ruud's um information first,
Dolores Spencer: 'Kay.
Rita Armon: because I understood there are some uh significant changes in the market
Dolores Spencer: Hmm?
Rita Armon: situation.
Patsy Hinderliter: Alright.
Dolores Spencer: Oh.
Dawn Conley: Just press the okay button, it
Dolores Spencer: Yeah,
Dawn Conley: works.
Dolores Spencer: Okay.
Rita Armon: Um
Dolores Spencer: Yeah.
Rita Armon: yeah.
Dolores Spencer: Yeah. My method?
Dawn Conley: How surprising.
Dolores Spencer: Well, findings. Uh Ease of use is important, but uh innovation is more important, and a fancy look and feel is uh even more important. watchers have found out that the young target group likes fruit and vegetables in their uh clothes, shoes and furniture, and that they want spongy material. Probably watch too much Sponge Bob. Uh the older group uh still prefers dark colours. Simple shapes uh m material. But we since we are concentrating on uh the
Rita Armon: Uh
Dolores Spencer: younger
Rita Armon: w
Dolores Spencer: group
Rita Armon: wait a
Dawn Conley: Oh
Rita Armon: sec
Dawn Conley: wait uh wait up.
Rita Armon: wait a se uh could you go to the previous slide? Um because I'm taking minutes and it
Dolores Spencer: 'Kay.
Rita Armon: Um were the important themes enclose. Yeah okay. The feel of to be spongy
Dawn Conley: Uh so do you think um when fruit and vegetables are important for clothing and shoes that they are in remote controls also?
Dolores Spencer: Well, uh one example given was this, so um I assume they just want something colourful. Not uh
Dawn Conley: Not
Dolores Spencer: specifically
Dawn Conley: something dull.
Dolores Spencer: uh an apple as a
Dawn Conley: Okay.
Dolores Spencer: remote control
Patsy Hinderliter: But they
Dolores Spencer: or
Patsy Hinderliter: like
Dolores Spencer: something.
Patsy Hinderliter: dark colours, you said in
Dolores Spencer: No,
Patsy Hinderliter: the
Dolores Spencer: uh
Patsy Hinderliter: p
Dolores Spencer: the younger group likes uh more colourful
Patsy Hinderliter: Okay.
Dolores Spencer: uh objects.
Patsy Hinderliter: Well then I suggest that the
Dolores Spencer: But
Patsy Hinderliter: corporate colours are grey and yellow. I
Dawn Conley: But
Patsy Hinderliter: had
Dawn Conley: can you can you go back to that slide? The
Dolores Spencer: Which one?
Dawn Conley: uh
Dolores Spencer: This?
Dawn Conley: just one slide back, no no no. Yes. Okay, and the feel of the material has to be spongy.
Dolores Spencer: Yes.
Dawn Conley: Has it something to do with that uh natural feeling also, do you think?
Dolores Spencer: Uh well, it might. But personally I wouldn't like a sponge as a remote control. But Maybe soft material or something. But not
Rita Armon: Okay, so
Dolores Spencer: a real
Rita Armon: so,
Dolores Spencer: sponge.
Rita Armon: yeah, it might not be t uh it it shouldn't be too hard. It it maybe it rubber or or
Dolores Spencer: Yeah, exactly.
Rita Armon: yeah. Okay.
Dolores Spencer: Yeah, and like uh
Patsy Hinderliter: Or we could
Dolores Spencer: the older
Patsy Hinderliter: make
Dolores Spencer: group
Patsy Hinderliter: oh.
Dolores Spencer: likes familiar materials, but that doesn't mean we should use wood, So
Dawn Conley: Okay.
Dolores Spencer: Well, this this is an example of what they would like. But since we're conten concentrating on uh the younger group, I think we should use soft materials and uh make it colourful or uh like cell phones, exch exchangeable covers.
Rita Armon: Yeah.
Dolores Spencer: So we could provide both for the young and the old what they like.
Rita Armon: Well, that's interesting.
Dawn Conley: It's quite interesting.
Rita Armon: You could make a few v very colourful ones,
Patsy Hinderliter: Yeah, o o
Rita Armon: and uh a very traditional
Dawn Conley: Yes.
Rita Armon: co
Patsy Hinderliter: I'm thinking
Rita Armon: cover.
Patsy Hinderliter: about uh the Bananarama telephone uh telephone from uh Siemens. The yellow uh rubber
Rita Armon: Yeah, yeah.
Patsy Hinderliter: telephone. It's the it's the rubber uh
Rita Armon: Yeah, it is, it
Patsy Hinderliter: cover.
Rita Armon: is i yeah.
Patsy Hinderliter: And uh colourful. It
Rita Armon: Yeah.
Patsy Hinderliter: looks likes a banana. We have the fruit, we have the colours.
Rita Armon: Do
Patsy Hinderliter: We have
Rita Armon: you know
Patsy Hinderliter: the simple
Rita Armon: the phone?
Patsy Hinderliter: design.
Dawn Conley: I don't know the phone, but
Rita Armon: It's the Siemens
Dawn Conley: I can imagine
Rita Armon: uh
Dawn Conley: it.
Rita Armon: C_ twenty five,
Patsy Hinderliter: Um
Rita Armon: I believe it's it's
Patsy Hinderliter: thirty
Rita Armon: the
Patsy Hinderliter: five.
Rita Armon: one the Post-bank uh gave away,
Dawn Conley: Oh, that one,
Rita Armon: the
Patsy Hinderliter: And
Dawn Conley: yes.
Rita Armon: very
Patsy Hinderliter: the b the light
Dawn Conley: Now
Patsy Hinderliter: blue
Dawn Conley: I kn uh oh, I know,
Patsy Hinderliter: and
Dawn Conley: I know.
Patsy Hinderliter: it's also in yellow.
Dawn Conley: Yes, I I've seen it. I've seen it.
Rita Armon: You kn you know, Ruud, as well? About
Dolores Spencer: I've
Rita Armon: th
Dolores Spencer: seen it, but
Rita Armon: Okay. Okay. Um uh okay. Do
Dolores Spencer: 'Kay.
Rita Armon: you have uh thit that was
Dolores Spencer: Uh that's about it.
Rita Armon: Okay. Okay, so the the m uh important findings are uh innovation is more important than ease of use for the our target group.
Dolores Spencer: Yes.
Rita Armon: And um colouring is important and and
Dolores Spencer: Uh
Rita Armon: uh
Dolores Spencer: soft material.
Rita Armon: soft materials. Okay.
Dawn Conley: So So ease of use is important, but technology is twice as important. And what was even more important?
Dolores Spencer: Uh the fancy look and feel.
Dawn Conley: Okay. So that's the most important thing for
Dolores Spencer: Yes.
Dawn Conley: our customers.
Dolores Spencer: Apparently.
Rita Armon: Okay, Roo,
Patsy Hinderliter: Yeah.
Rita Armon: could you do your presentation?
Patsy Hinderliter: Mm-hmm. Well, I don't ha really have much to add, um because most of things we already said in uh the previous uh discussion. Um
Rita Armon: Okay, well it's good to to sum up uh the things we already thought about.
Patsy Hinderliter: Uh the previous ideas were voice recognition and uh the round button for uh the p channel programming and uh volume. Well, a few interface I uh I found on the internet are are these. These are both with uh with voice recognition, but they're very advanced and very high-tech and just um, well, a weird um
Rita Armon: Shape.
Patsy Hinderliter: shape. So I suggest I couldn't uh I had a small uh mock-up uh sign on the on paper. But it didn't work. My pen didn't load um the information. So I made a really simple f uh a shape on uh in um PowerPoint. But we could make uh a round uh an oval uh um
Dawn Conley: Mm-hmm. But it's it's
Patsy Hinderliter: remote
Dawn Conley: kind
Patsy Hinderliter: control.
Dawn Conley: of uh
Patsy Hinderliter: Uh yellow.
Dawn Conley: it's kind of o organic, so that's very good.
Rita Armon: Yeah.
Dolores Spencer: Yeah.
Rita Armon: And what I'm thinking about, maybe um we should make very light but um uh a grip um I mean this is how you hold a remote control.
Dawn Conley: Yes.
Rita Armon: Um it shouldn't be too uh glatt, too
Dawn Conley: Slippery.
Rita Armon: slippery, s because
Patsy Hinderliter: But
Rita Armon: um
Patsy Hinderliter: if you
Dawn Conley: You have
Patsy Hinderliter: have
Dawn Conley: to
Patsy Hinderliter: something
Dawn Conley: grab it.
Patsy Hinderliter: like uh the Siemens phone,
Rita Armon: Yeah.
Patsy Hinderliter: it's rubber. So
Rita Armon: Yeah, exactly.
Patsy Hinderliter: it's easy in your hand Uh
Rita Armon: Yeah.
Patsy Hinderliter: indeed.
Dawn Conley: Yes. There are there are also remote controls who have uh a little shape underneath
Rita Armon: Yeah,
Dawn Conley: where
Rita Armon: ex
Dawn Conley: you can put
Rita Armon: for
Dawn Conley: your fingers
Rita Armon: your fingers,
Dawn Conley: in,
Rita Armon: yeah.
Dawn Conley: so you can get
Patsy Hinderliter: Yeah.
Dawn Conley: a really good grip on it. So you you don't have to um attain much pressure to it. It's it's a lot easier.
Rita Armon: Yeah.
Dawn Conley: So
Rita Armon: It grips
Dawn Conley: m
Rita Armon: automatically.
Dawn Conley: Yes.
Rita Armon: Yeah,
Dawn Conley: But
Rita Armon: okay.
Dawn Conley: I'll I'll go into that deeper in my presentation.
Rita Armon: Okay, good.
Patsy Hinderliter: Great.
Patsy Hinderliter: Oh and um to add on um Ruud's information, in this um interface we can have uh high-tech with the voice recognition and uh, well, the the fancy colours and uh and so on, and still have the ease of use, because we have an easy interface. And all the other remote controls are high-tech in buttons
Rita Armon: Yeah.
Patsy Hinderliter: and uh
Rita Armon: Way
Patsy Hinderliter: and so
Rita Armon: too
Patsy Hinderliter: on.
Rita Armon: much I think for
Patsy Hinderliter: Yeah.
Rita Armon: our goal, yeah.
Patsy Hinderliter: So if you have the voice recognition, you can you can programme like thirty uh um
Rita Armon: Okay,
Patsy Hinderliter: thirty c
Dawn Conley: Okay,
Patsy Hinderliter: uh
Rita Armon: b but I think
Dawn Conley: but
Patsy Hinderliter: controls
Dawn Conley: I'll
Rita Armon: we'll
Dawn Conley: I'll
Patsy Hinderliter: on
Dawn Conley: go
Patsy Hinderliter: it.
Dawn Conley: into that,
Rita Armon: yeah.
Dawn Conley: because there are are some possibilities and some impossibilities. Um I had a talk with uh our manufacturing uh division, and uh we had a talk about all the different components um who are in this design. Uh these are the things we've looked at. And of course I used the web to uh find my information. About the casing, we have three different casing possibilities. We have the uncurved or flat case. Uh that's the most common uh remote con control form uh we're used to is just a it ju it's just a box. I'm sorry I I don't have any pictures of uh of this thing. We have uh a curved one. It's uh curved in two dimensions. You have to imagine it's a bit like a wave form. So it's uh
Rita Armon: Okay.
Dawn Conley: a little more advanced in its in its shape. Uh and we have an even more advanced uh shape, which is curved in three dimension. I c I think you can compare it a little bit with the uh big grey image uh you had in your presentation.
Patsy Hinderliter: Yeah.
Dawn Conley: The the big remote control,
Patsy Hinderliter: Right.
Dawn Conley: something like that. But it's quite uh advanced and it's it's quite daring to to use I think. Um for these casings we have uh different types of finishing. We can use plastic, which is uh very slippery and maybe not so nice, but you can give it any colour, uh which is the same for rubber, but it's not slippery. We can use wood and titanium. Well, um we cannot use the titanium on the double curve cases. And these latex cases, there's there's just the plastic ones uh won't allow the use of solar cells as an energy source source. Which brings Dolores Spencer to the different energy sources. Um well, we even seem to have uh hand dyn dynamos for uh powering our uh remote controls. You really have to imagine like winding
Patsy Hinderliter: Great.
Dawn Conley: up your uh
Rita Armon: Well,
Dawn Conley: I
Rita Armon: it
Dawn Conley: d
Rita Armon: would be very new to the market, but
Dawn Conley: It would be very new, but it's a kind of a retro uh style, I
Rita Armon: Yeah.
Dawn Conley: think. Uh Well, this is quite interesting. Uh there's there's also a kinetic energy supply. So um when you're watching T_V_ uh or
Patsy Hinderliter: Like the
Dawn Conley: when
Patsy Hinderliter: watch.
Dawn Conley: you're you you have to um make some kind of energy kinetic energy by shaking the remote or throwing it against the wall, whatever you wish. It have it it has to move, that's the the sense of it. And you can store the energy in the in the thing.
Rita Armon: I think um, if if I can hook on to that, um the kinetic thing
Dawn Conley: Mm-hmm.
Rita Armon: is very funny.
Dawn Conley: It's very funny indeed.
Rita Armon: I mean solar is of course it's nice, but it's,
Dawn Conley: Mm-hmm.
Rita Armon: well, your uh your calculator has a solar panel.
Dawn Conley: Indeed.
Rita Armon: Um hand
Patsy Hinderliter: But
Rita Armon: dynamo
Patsy Hinderliter: if you're watching a movie, how many times uh you take the the remote control and and
Rita Armon: Well, maybe
Patsy Hinderliter: if
Rita Armon: m
Patsy Hinderliter: uh if you have a watch, you have the kinetic uh idea in a watch also.
Rita Armon: Yeah,
Dawn Conley: Mm-hmm.
Rita Armon: I know.
Patsy Hinderliter: You you walk
Dawn Conley: Yes.
Patsy Hinderliter: and
Rita Armon: Yeah.
Patsy Hinderliter: uh but
Dawn Conley: But
Patsy Hinderliter: uh you you're
Dawn Conley: you
Patsy Hinderliter: sitting
Dawn Conley: know
Patsy Hinderliter: on a couch.
Dawn Conley: you know from your own watch your watch uses uh a minimal con it consumes a minimal amount of energy. the the shaking of your body, which is almost uh every activity makes your uh body shake, uh it charges it. But uh the problem here is that it it supplies a a very little amount of kinetic energy. So I think uh you have a problem when you're watching a movie and uh you haven't moved the remote uh i remote control in a
Rita Armon: Yeah.
Dawn Conley: in an amount of time,
Rita Armon: And
Dawn Conley: and you
Rita Armon: wha
Dawn Conley: want t to switch uh the channel or something, well, m it might not work. So that's something you have to keep in mind.
Rita Armon: Okay.
Dawn Conley: So, but maybe maybe there's a possibility com to combine it with m uh traditional batteries, on the batteries and
Rita Armon: Yeah.
Dawn Conley: um when there's enough kinet kinetic energy, use the kinetic energy, and otherwise use the batteries.
Rita Armon: Okay, because I guess the voice recognition feature u consumes quite a f uh a lot of power.
Dawn Conley: Uh yes, it does.
Rita Armon: Yeah.
Dawn Conley: I'll come to that later.
Rita Armon: Okay.
Dawn Conley: And we of course have the traditional uh solar power, which is just uh uh uh uh uh a piece of material on the remote control which transfers light energy into electricity. The user interface controls, um of course we have the push-buttons and uh we also have scroll-wheels. And these scroll-wheels can also be integrated with buttons. So it's just like a mouse. You can scroll 'em, you can also push it. Um uh in the indicators we have the L_C_D_ displays, which means uh you can watch uh in a display w
Patsy Hinderliter: Mm-hmm.
Dawn Conley: which channel you have chosen or something like that of the li amount of volume which is uh currently uh and we also have double scroll-buttons, which are just two of these things. So we don't really have the the kind of button we had in mind in our uh uh in our last meeting, the the thing with the the round
Patsy Hinderliter: Mm-hmm.
Dawn Conley: with the four
Patsy Hinderliter: Oh, we can just make four push-buttons in a form of a round.
Dawn Conley: Yes. That is possible too. Yes.
Patsy Hinderliter: But I th I don't think uh the scroll-wheels I had some I had some information about it too.
Dawn Conley: Mm-hmm.
Patsy Hinderliter: I don't think there's any possibility for us to use scroll-wheels.
Rita Armon: Well
Patsy Hinderliter: I d I can't see uh any uh scenario where you would use a scroll-wheel with a
Dawn Conley: Well,
Patsy Hinderliter: button on it.
Dawn Conley: mayb uh well, m Dolores Spencer neither. Maybe when you
Rita Armon: This
Dawn Conley: integrate
Rita Armon: will be the
Dawn Conley: some
Rita Armon: remote,
Dawn Conley: functions.
Patsy Hinderliter: Yeah.
Rita Armon: right? Um with uh maybe a channel selector. What about integrating a scroll-bar on this side?
Patsy Hinderliter: Yeah, uh that's
Dawn Conley: Uh
Patsy Hinderliter: a possibility,
Dawn Conley: it's
Patsy Hinderliter: but
Rita Armon: Because
Dawn Conley: do it's
Rita Armon: this
Dawn Conley: done
Rita Armon: is
Dawn Conley: before.
Rita Armon: how you keep it
Dawn Conley: Yes.
Patsy Hinderliter: But Flores,
Dawn Conley: It's quite quite good, yes.
Patsy Hinderliter: think about a scenario where y where you would use the scroll-button
Rita Armon: Volume?
Patsy Hinderliter: for
Dawn Conley: Well, it's it well, i what he means is there's an
Patsy Hinderliter: A volume,
Dawn Conley: button
Patsy Hinderliter: okay.
Dawn Conley: integrated in the scroll-wheel. There's no scenario where you use uh the button in the scroll-wheel. You just use the wheel.
Rita Armon: Well, what about mute?
Dawn Conley: About mute. Well,
Rita Armon: Thi
Dawn Conley: yes.
Rita Armon: i i m I guess uh th this
Dawn Conley: Okay.
Rita Armon: is my volume button.
Dawn Conley: Yes.
Rita Armon: And I can either on this side or this
Dawn Conley: Well,
Rita Armon: side
Dawn Conley: okay.
Rita Armon: um
Dawn Conley: Well, that that that's one possibility, okay.
Rita Armon: And click it to muten the device.
Dawn Conley: Well, okay.
Rita Armon: And and
Dawn Conley: It's quite
Rita Armon: it
Dawn Conley: goods.
Rita Armon: makes it different from the traditional uh devices on this market. So I'm looking for a way to uh make it a little different than the traditional
Dawn Conley: Mm-hmm.
Rita Armon: ones.
Dawn Conley: Yes.
Rita Armon: So maybe um I guess that that's something you two uh
Patsy Hinderliter: Yeah.
Rita Armon: need to think about. Uh Ruud, wha what do you thing about uh a scroll-bar?
Dolores Spencer: Um
Rita Armon: Uh scroll-wheel.
Patsy Hinderliter: Wheel.
Dolores Spencer: Uh well, it's obvious obviously new. So it might attract uh the young customers.
Dawn Conley: Hmm.
Rita Armon: Okay.
Dawn Conley: But it's done before, uh there are many other devices um like uh telephones and our uh radio, pocket radios. We use this.
Rita Armon: Yeah.
Dawn Conley: And Well, it's it's been done years ago and I don't see it anywhere now. So
Rita Armon: Well,
Dawn Conley: maybe
Rita Armon: all
Dawn Conley: it's
Rita Armon: the Sony
Dawn Conley: not no.
Rita Armon: telephones use it, for example, for volume. but on their side th the the volume button is on the side, because
Dawn Conley: Hmm.
Rita Armon: you gri grab it like this.
Dawn Conley: Yes, but it uses two separate buttons.
Rita Armon: Yeah. I know,
Dawn Conley: It
Rita Armon: it's
Dawn Conley: doesn't
Rita Armon: not really
Dawn Conley: use
Rita Armon: a
Dawn Conley: a.
Rita Armon: scroll-wheel. No. Yeah.
Dawn Conley: Well. Uh something for uh
Rita Armon: For
Dawn Conley: Roo
Rita Armon: you too,
Dawn Conley: here.
Rita Armon: yeah.
Patsy Hinderliter: Yeah, I believe uh if you have uh what we've earlier said, um the grip uh places in in the remote control. You have your hand on one place on the remote control, so you have to place all the buttons in a range
Dawn Conley: Wi within
Patsy Hinderliter: of your
Dawn Conley: reach.
Patsy Hinderliter: thumb.
Dawn Conley: Yes, you have to.
Patsy Hinderliter: So in that
Dawn Conley: Yes.
Patsy Hinderliter: case uh the volume button on the side uh
Dawn Conley: yes.
Patsy Hinderliter: of the remote control would be perfect.
Dawn Conley: Yeah, yeah.
Rita Armon: Okay.
Dawn Conley: Okay.
Rita Armon: Sebastian. Um
Dawn Conley: Okay, um we have to know, if you want to use uh these rubber double-curved c uh case, um you must use these push uh push-buttons. There's no way you can integrate L_C_D_ displays. There's no way you can integrate scroll-wheels, because it's all curved. There's
Rita Armon: Yeah.
Dawn Conley: there are no uh flat areas where you can incorporate these things. So that's a limitation. About um the components, uh just the hardware. We basically have uh three types of chips we can use and uh these chips incorporate all the Logica and um um uh hardware that is needed to send uh to send a signal. Uh we have a simple, regular and advanced chip. And there is something like a sample sensor and sample speaker, which is a little cryptic uh to Dolores Spencer. But I think that's the the voice recognition thing that we are uh thinking
Patsy Hinderliter: Yeah
Dawn Conley: about.
Patsy Hinderliter: yeah, you can um I have some information about it. Uh in the voice recognition you say a word you can
Dawn Conley: Mm-hmm.
Patsy Hinderliter: programme words like
Dawn Conley: Okay.
Patsy Hinderliter: uh v uh volume up.
Dawn Conley: Okay. So
Patsy Hinderliter: Of mute, let's
Dawn Conley: so
Patsy Hinderliter: say mute.
Dawn Conley: okay.
Patsy Hinderliter: Um you programme it, you m mute and you g you give um an uh an action to it
Dawn Conley: Mm-hmm.
Patsy Hinderliter: that that's really the mute function
Dawn Conley: Yeah.
Patsy Hinderliter: and uh when you speak in the the remote control, it repeats uh your saying. So that's the sample sensor.
Dawn Conley: Okay.
Patsy Hinderliter: So if you say mute, it says mute again,
Dawn Conley: Mm-hmm.
Patsy Hinderliter: and then it's um well, I believe
Rita Armon: It
Patsy Hinderliter: it's
Rita Armon: performs
Patsy Hinderliter: uh
Rita Armon: the action.
Patsy Hinderliter: Yeah, and
Rita Armon: Yeah.
Patsy Hinderliter: then uh he he
Dawn Conley: Okay.
Patsy Hinderliter: repeats its action what which he believes it is. So you
Rita Armon: Yeah.
Patsy Hinderliter: say mute, he repeats mute and you makes a computer sound mute, and then goes to the mute
Dawn Conley: Okay.
Patsy Hinderliter: function.
Dawn Conley: Okay, so that's basically the the voice recognition item we were searching for. Okay. This sample sensor uh requires an regular chip, I thought. Um no op I'm not very sure. No, it's not in here. If we want to use the L_C_D_ display, we really need the advanced version, which is a bit l little bit more costly. If we want to use the scroll-wheels we need the regular version. And if we don't want to use uh any of these uh more advanced functions we can keep with the simple uh chip, which is a bit cheaper.
Rita Armon: Okay. Uh well
Dawn Conley: Okay.
Rita Armon: uh d did we already decide on the display? To
Dawn Conley: Um no, but I think that's something for uh Roo here
Patsy Hinderliter: Yeah.
Dawn Conley: to
Patsy Hinderliter: Well,
Dawn Conley: think about.
Patsy Hinderliter: I don't have um I haven't looked for uh for information about it, but I don't think information uh y I don't think you need it on a display.
Rita Armon: No.
Patsy Hinderliter: Especially
Dawn Conley: I I don't
Patsy Hinderliter: when
Dawn Conley: think
Patsy Hinderliter: when
Dawn Conley: either.
Patsy Hinderliter: we have to look at a cost, I don't think uh
Dawn Conley: No. I
Patsy Hinderliter: 'cause
Dawn Conley: don't think
Patsy Hinderliter: uh
Dawn Conley: you need it.
Patsy Hinderliter: uh all any T_V_ can uh can uh view
Rita Armon: On
Patsy Hinderliter: a
Rita Armon: screen
Patsy Hinderliter: digit
Rita Armon: display.
Patsy Hinderliter: on uh on screen, yeah.
Rita Armon: Yeah.
Dawn Conley: Okay.
Rita Armon: Okay th
Dawn Conley: Okay, well my conclusion, um unfortunately the market has decided the a little uh other than I thought. I thought um the market would like uh a sort m sort of titanium casing, but they seem to like natural uh stuff. So maybe we should think about uh wood finish. Um I've chosen the more battery with solar cell uh solution for the energy. It's more reliable, it's cheaper.
Rita Armon: Okay.
Dawn Conley: So I
Rita Armon: Good.
Dawn Conley: don't think we should use the dynamo
Rita Armon: Kineti
Dawn Conley: thing.
Rita Armon: okay.
Dawn Conley: The
Dolores Spencer: Hmm.
Dawn Conley: kinetic thing it it's it's a possibility. It's it's more advanced, but I'm I think you should combine it with batteries.
Rita Armon: Okay, it's
Dawn Conley: Otherwise
Rita Armon: maybe
Dawn Conley: it will
Rita Armon: a bit
Dawn Conley: not
Rita Armon: too too
Dawn Conley: too
Rita Armon: flashy,
Dawn Conley: advanced,
Rita Armon: too
Dawn Conley: uh well.
Rita Armon: yeah.
Dawn Conley: It's in in in some way it can give us an advance, because you will save on your batteries. But
Rita Armon: Yeah, but that that's the same with the solar cell.
Dawn Conley: Yes.
Rita Armon: That's no
Dawn Conley: And
Rita Armon: different.
Dawn Conley: I think it's more robust. It's
Rita Armon: Yeah.
Dawn Conley: more uh
Rita Armon: Okay.
Patsy Hinderliter: But what
Dawn Conley: Uh
Patsy Hinderliter: about
Dawn Conley: it's more
Patsy Hinderliter: um
Dawn Conley: functional.
Patsy Hinderliter: the markets uh wants colourfuls uh designs? So if you use titanium
Rita Armon: No no, but the uh um
Dawn Conley: The titanium
Rita Armon: that's what Sebastian
Dawn Conley: thing uh
Rita Armon: said. He said uh
Dawn Conley: we
Rita Armon: this
Dawn Conley: have to
Rita Armon: is
Dawn Conley: skip
Rita Armon: what
Dawn Conley: it.
Rita Armon: uh this is my personal preference.
Patsy Hinderliter: Okay.
Rita Armon: But but yet, I understood that the market is different.
Patsy Hinderliter: Oh, sorry. Yeah.
Rita Armon: So
Dawn Conley: So
Rita Armon: um
Dawn Conley: I think we should skip the titanium uh stuff,
Patsy Hinderliter: Yeah.
Dawn Conley: and we should uh use wood or something like that.
Dolores Spencer: And
Patsy Hinderliter: And I
Dolores Spencer: yeah,
Patsy Hinderliter: would
Rita Armon: No,
Patsy Hinderliter: think
Dolores Spencer: the
Rita Armon: r rubber with colours.
Dolores Spencer: yeah, the older people liked wood.
Dawn Conley: Oh okay, sorry. So it
Dolores Spencer: No
Dawn Conley: it
Dolores Spencer: the
Dawn Conley: needs to be rubber.
Rita Armon: Colourful
Dolores Spencer: Yeah, the younger
Dawn Conley: Okay.
Dolores Spencer: people
Rita Armon: and
Dolores Spencer: liked soft material.
Dawn Conley: Okay,
Rita Armon: Yeah.
Dawn Conley: spongy materials.
Dolores Spencer: Yeah.
Dawn Conley: Okay, um well um these scroll-wheels, I think uh they they can be they can be handy. So
Patsy Hinderliter: And they can be implemented with a regular chip?
Dawn Conley: Yes, they can. But they really need the regular chip, you cannot use
Patsy Hinderliter: Okay,
Dawn Conley: the sa
Patsy Hinderliter: but we
Dawn Conley: simple
Patsy Hinderliter: also uh we already need the regular chip for the sample uh
Dawn Conley: Well, I'm not
Patsy Hinderliter: sensor
Dawn Conley: very sure.
Patsy Hinderliter: speaker
Dawn Conley: Maybe that's an
Patsy Hinderliter: oh,
Dawn Conley: uh
Rita Armon: But but
Dawn Conley: a different
Rita Armon: do
Patsy Hinderliter: evalu
Rita Armon: we want the curved uh uh design, or
Dawn Conley: I think so, if you if you stick with the the simple uh straight-forward uh not curve design,
Rita Armon: I it's
Dawn Conley: i uh
Rita Armon: too
Dawn Conley: it's too
Rita Armon: dull.
Dawn Conley: dull.
Dolores Spencer: Yeah.
Rita Armon: Yeah.
Dawn Conley: I don't think c our customers will like it. And um if you uh take the double-curved, uh then you cannot um you can only use the rubber buttons
Rita Armon: Yeah.
Dawn Conley: and you cannot use the scroll-wheels. So
Rita Armon: Okay.
Dawn Conley: I
Rita Armon: Okay.
Dawn Conley: think this is the best of two worlds.
Rita Armon: Okay, what about um the issue I um addressed at the beginning of the meeting? Um the voice function w with the infrared uh issue.
Dawn Conley: Yes.
Rita Armon: Because it it's of
Dawn Conley: It's
Rita Armon: cour
Dawn Conley: it's uh I uh I can imagine it's very dull to talk to a device w if you have to point to another device.
Rita Armon: Yeah.
Dawn Conley: It's very unlogical.
Patsy Hinderliter: infrared uh remote controls don't have to be pointed at all.
Dawn Conley: Well the
Rita Armon: Well
Dawn Conley: there has to be some pointing at. But
Rita Armon: It depends
Patsy Hinderliter: Well,
Rita Armon: also
Patsy Hinderliter: if you
Rita Armon: on
Patsy Hinderliter: if
Rita Armon: your
Patsy Hinderliter: you
Rita Armon: on
Patsy Hinderliter: take your
Rita Armon: your
Patsy Hinderliter: hand before it, okay, it won't work, but you can point it just
Rita Armon: Well, it depends
Patsy Hinderliter: to the other
Rita Armon: on
Patsy Hinderliter: wall.
Rita Armon: your walls actually. If you
Patsy Hinderliter: Yeah.
Rita Armon: have uh have um smooth walls, it it it probably you're probably right. But if you have carpets on the wall,
Dawn Conley: All
Rita Armon: which
Dawn Conley: lights get
Rita Armon: our
Dawn Conley: absorbed,
Rita Armon: natural
Dawn Conley: yeah.
Rita Armon: loving friends probably do have, then um yeah, th th it might be a bit more of a issue.
Dawn Conley: Yes, because
Rita Armon: So
Dawn Conley: the walls they they reflect the infrared light.
Rita Armon: Yeah.
Dawn Conley: So it has an it's easier. Um I suggest we use the the sensor sample. Uh the sample sensor and sample speaker. Um
Patsy Hinderliter: And the regular
Dawn Conley: with a
Patsy Hinderliter: chip.
Dawn Conley: with a regular chip. I think uh it gives us the advantage
Patsy Hinderliter: And and
Dawn Conley: of
Patsy Hinderliter: the scroll uh scroll-wheels.
Dawn Conley: Yes,
Patsy Hinderliter: Yeah.
Dawn Conley: yes.
Rita Armon: I
Dawn Conley: And
Rita Armon: like the
Dawn Conley: uh
Rita Armon: scroll
Dawn Conley: skip
Rita Armon: wheels uh idea.
Dawn Conley: and skip the L_C_D_ part.
Rita Armon: Yeah.
Dawn Conley: I don't think it it's any uh value added
Patsy Hinderliter: No.
Dawn Conley: thing. So
Patsy Hinderliter: Think so too.
Rita Armon: Well, it looks
Dawn Conley: Okay.
Rita Armon: uh yeah, well um according to Ruud, the the the market likes um
Dawn Conley: Technology.
Rita Armon: new flashy technology, and
Dawn Conley: Yes.
Rita Armon: I mean L_C_D_
Dawn Conley: It's
Rita Armon: is
Dawn Conley: not very flashy and
Rita Armon: well,
Dawn Conley: new.
Rita Armon: ok I know, but it's m it's less um s
Dolores Spencer: Standard?
Rita Armon: standard than than Well, we are not very w we do not know uh much about the the f the financial part. That's the problem.
Dawn Conley: Mm-hmm.
Rita Armon: Because if we do have enough um space in in our finance,
Dawn Conley: Mm-hmm.
Rita Armon: I would say do integrate it, because it it adds a little ext extra
Dawn Conley: Yes.
Rita Armon: high-tech feeling to it.
Patsy Hinderliter: But we already have the scroll-wheels, the sp uh the speaker uh the speak recognition,
Rita Armon: Mm yeah.
Patsy Hinderliter: the rubber,
Dawn Conley: Uh I think our customers
Patsy Hinderliter: the fancy
Dawn Conley: will go
Patsy Hinderliter: colours.
Dawn Conley: insane.
Rita Armon: Okay, okay.
Dawn Conley: It's it's too much.
Rita Armon: Yeah. Okay, I I agree. I think i Ruud, do you have any um anything you would like to um add or or maybe thoughts or
Dolores Spencer: Nah, um n no, I don't think so. M
Rita Armon: No? Sebast uh nee, Roo? Roo, do you
Patsy Hinderliter: Um
Rita Armon: have any other
Patsy Hinderliter: no. Nothing more.
Rita Armon: Nothing more. Um
Dawn Conley: Okay. Uh the n the next
Rita Armon: Sebas
Dawn Conley: phase will be um the um not the what is the next phase f Flores?
Rita Armon: Well, we we need to describe uh decisions now.
Dawn Conley: Okay.
Rita Armon: So um
Dawn Conley: So i
Rita Armon: on the energy,
Dawn Conley: Okay.
Rita Armon: well, we decided. Chip.
Dawn Conley: Okay.
Rita Armon: The case uh rubber with uh c one
Dawn Conley: Okay,
Rita Armon: one
Dawn Conley: okay.
Rita Armon: uh one curve. User interface um
Patsy Hinderliter: Uh but uh can't scroll-wheels uh work with one uh one-curved case?
Dawn Conley: Yes,
Patsy Hinderliter: Yeah,
Dawn Conley: they can
Patsy Hinderliter: okay.
Dawn Conley: work.
Patsy Hinderliter: Sorry,
Dawn Conley: They
Patsy Hinderliter: yeah.
Dawn Conley: cannot work with double-curved.
Patsy Hinderliter: Oh, sorry.
Dawn Conley: That's that's
Patsy Hinderliter: Yeah.
Dawn Conley: problem. I'll check it for you.
Rita Armon: Um then the corporate identity should be uh in the product. I guess that is something for Roo and Sebastian. Uh you talked about it before, the colours, grey and yellow.
Patsy Hinderliter: Yeah.
Rita Armon: Keep it in mind. And um the buttons, well we talked about it now. The next phase, um Sebastian, um
Dawn Conley: Yes.
Rita Armon: is um the design of the look and feel.
Dawn Conley: Mm-hmm.
Rita Armon: The user interface design. And for you, the product evaluation. Um I'm sure your personal coach will give you more information on that. Um and uh the I_D_ and the U_I_D_ need to work together on the prototype drawing on the SMARTboard.
Dawn Conley: Okay.
Rita Armon: And I'm going uh to plan my holidays.
Dawn Conley: Okay. So you will
Patsy Hinderliter: The project
Dawn Conley: be on the Bahamas.
Patsy Hinderliter: drawing is
Dawn Conley: Uh
Patsy Hinderliter: for the next
Rita Armon: Yeah, it's it's uh when we come back in
Patsy Hinderliter: Yeah,
Rita Armon: thirty minutes,
Patsy Hinderliter: right.
Rita Armon: uh you will have a uh prototype ready.
Dawn Conley: Okay. So can you uh give us a summary of all uh decisions we've made?
Rita Armon: Yeah? I can. Um maybe one of you could write it down.
Dawn Conley: I'll do.
Rita Armon: Great. Um Uh you you need to help Dolores Spencer. Um
Dawn Conley: Okay. W start with the casing.
Rita Armon: The casing is curved,
Patsy Hinderliter: Single-curved.
Dawn Conley: Okay,
Rita Armon: single-curved.
Dawn Conley: single-curved case. Okay. What about the energy source?
Rita Armon: Traditional batteries uh and solar.
Patsy Hinderliter: But can there be uh wor can they work together? Or do we have to choose between them? 'Cause if we
Rita Armon: No,
Patsy Hinderliter: have to
Rita Armon: they
Patsy Hinderliter: choose
Rita Armon: can be complementary.
Dawn Conley: I
Rita Armon: Uh
Patsy Hinderliter: yeah?
Dawn Conley: I
Rita Armon: al
Dawn Conley: think they can.
Rita Armon: al
Dawn Conley: Yes.
Rita Armon: I uh
Patsy Hinderliter: Okay.
Dawn Conley: Well, uh
Patsy Hinderliter: What
Rita Armon: Every
Patsy Hinderliter: if not?
Rita Armon: device
Dawn Conley: It it should be. There should be really no problem. They
Patsy Hinderliter: Okay.
Dawn Conley: can be supplementary. That's no problem.
Rita Armon: Yeah.
Dawn Conley: So
Rita Armon: Okay, um
Dawn Conley: So
Rita Armon: th
Dawn Conley: uh uh just uh the energy source is um
Rita Armon: Battery
Dawn Conley: the batteries and
Rita Armon: and
Dawn Conley: the
Rita Armon: solar,
Dawn Conley: solar. Okay.
Rita Armon: yeah.
Dawn Conley: What about uh the finishing of the case? We have decided we wanted to use the rubber?
Rita Armon: Yeah,
Patsy Hinderliter: Yeah.
Rita Armon: with colourful rubber. Uh if it's possible with uh different um covers, but I'm not sure if our suppliers can uh can help us with uh with such uh uh a wish.
Dawn Conley: Okay, and I think we should use the company colours. Something like black and red. uh black and yellow.
Rita Armon: Uh grey and yellow
Patsy Hinderliter: Grey and
Rita Armon: or
Patsy Hinderliter: yellow.
Rita Armon: black and
Dawn Conley: Grey
Rita Armon: yellow.
Dawn Conley: yellow,
Rita Armon: Yeah.
Dawn Conley: okay.
Patsy Hinderliter: Yellow case and grey buttons, I think.
Rita Armon: Yeah, although
Dolores Spencer: Hmm.
Rita Armon: I don't think that's very colourful. Except for the yellow of course, but um I could think of a more uh attractive uh c uh set
Dawn Conley: Oh,
Rita Armon: of colours.
Dawn Conley: I think it's uh it's not very dull. It's quite modern actually. Don't you think?
Rita Armon: Well, I was
Patsy Hinderliter: I believe
Rita Armon: more thinking
Patsy Hinderliter: the
Rita Armon: about the fruit colours that the Ruud showed us before.
Patsy Hinderliter: But you have already um you must have a red uh on and off button. And um
Rita Armon: Well, it it doesn't
Patsy Hinderliter: Well
Rita Armon: have to be red.
Patsy Hinderliter: well
Rita Armon: Uh I mean th uh I think these colours are really what our young people are looking for. Um so maybe it shouldn't even be two colours, it should be a full
Dawn Conley: Hmm.
Rita Armon: colour cover with such an image or or I mean
Dawn Conley: Okay.
Rita Armon: thinking in two colours is is too black and white for our m uh c uh market group, I guess.
Dolores Spencer: Or black and yellow.
Rita Armon: Black and yellow, yeah.
Dawn Conley: Okay, but uh I'm afraid it's not possible to print a picture on uh the device. Because uh I agree it would be nice to have have something like that on the device itself. But
Patsy Hinderliter: Well, there is. Just a week ago, a keyboard manufacturer
Dawn Conley: Oh, I've
Patsy Hinderliter: would
Dawn Conley: read.
Patsy Hinderliter: print,
Dolores Spencer: Yeah.
Dawn Conley: Yes.
Patsy Hinderliter: with and uh
Dawn Conley: Yes, but our manufacturing department is not so advanced in its uh techniques. They're actually very slow
Patsy Hinderliter: No.
Dawn Conley: in its techniques.
Rita Armon: Okay,
Dawn Conley: So
Rita Armon: so we have to deal with wh what's possible here.
Dawn Conley: So I'm afraid it's not possible.
Rita Armon: Yeah. Okay. Um more f more more decisions we made. Um Um
Patsy Hinderliter: A scroll-wheel.
Rita Armon: The scroll-heel. Yes, the voice recognition we
Patsy Hinderliter: Voice
Rita Armon: already
Patsy Hinderliter: recognition,
Rita Armon: decided.
Patsy Hinderliter: of course.
Dawn Conley: Okay, so scroll-wheel. But there will be some additional buttons, I guess.
Rita Armon: Yeah.
Dawn Conley: And th the they should be spongy also, because they're they're rubber too.
Rita Armon: Uh I'm going to leave that up to you two.
Patsy Hinderliter: What what did you say?
Dawn Conley: Well uh you can use well, when you use the buttons, they'll they'll be made of rubber too. So
Patsy Hinderliter: Yeah.
Dawn Conley: it has th the spongy uh feel also.
Rita Armon: Yeah.
Dawn Conley: So I I think that's okay.
Patsy Hinderliter: Yeah, or you could use plastic buttons. In the rubber.
Rita Armon: I think rubber is nice. Because it uh i I mean what do you touch the button, and what do they want spongy uh uh devices,
Patsy Hinderliter: Yeah, b
Rita Armon: or or i
Patsy Hinderliter: But then you just have the the fact that um the drawings on the buttons will disappear eventually. What I said in the in the first uh discussion, uh the digit six on the button, it will disappear when it's from rubber.
Rita Armon: Uh is that uh does our our
Patsy Hinderliter: It
Rita Armon: supplier
Patsy Hinderliter: is not uh
Rita Armon: say
Patsy Hinderliter: something
Rita Armon: so?
Patsy Hinderliter: uh it's no information I read about it or so, but
Dolores Spencer: Uh
Patsy Hinderliter: it's
Dolores Spencer: didn't
Patsy Hinderliter: just from
Dolores Spencer: did we inc uh include the digi digits or uh leave them
Patsy Hinderliter: No,
Dolores Spencer: to the
Patsy Hinderliter: but
Dolores Spencer: speech
Patsy Hinderliter: but
Dolores Spencer: recognition?
Patsy Hinderliter: uh it
Dolores Spencer: 'Cause things like uh volume could be uh placed next to the button.
Rita Armon: Yeah. You could place a um
Dolores Spencer: There
Rita Armon: uh
Dolores Spencer: the
Rita Armon: this
Dolores Spencer: icons.
Rita Armon: this would be the button. The scroll-wheel, I mean.
Patsy Hinderliter: Yeah,
Rita Armon: And
Patsy Hinderliter: b
Rita Armon: you could
Patsy Hinderliter: yeah.
Rita Armon: place the indica
Dawn Conley: Yes.
Rita Armon: th th the signals the
Dolores Spencer: So you don't
Dawn Conley: That's okay.
Patsy Hinderliter: Yeah,
Dolores Spencer: touch
Patsy Hinderliter: that's possible,
Dolores Spencer: the icons that
Patsy Hinderliter: but
Dolores Spencer: much.
Patsy Hinderliter: then you have still the images on the rubber of the case. So still then, if you feel uh li uh if you feel your remote control, you just rub on the cover, so you rub on the painting.
Rita Armon: No no, there's no painting, only uh
Patsy Hinderliter: Yeah.
Rita Armon: yellow or But it's into
Patsy Hinderliter: Yeah, but
Rita Armon: the
Patsy Hinderliter: but
Rita Armon: rubber.
Patsy Hinderliter: the the plus or the minus.
Dawn Conley: Yes, the
Patsy Hinderliter: You
Dawn Conley: signs.
Patsy Hinderliter: have to draw
Rita Armon: Yeah, but
Patsy Hinderliter: the
Rita Armon: this is on the pla yeah,
Patsy Hinderliter: Yeah,
Rita Armon: I
Patsy Hinderliter: it's
Rita Armon: know.
Patsy Hinderliter: on the cover.
Rita Armon: Um
Patsy Hinderliter: So if you uh
Rita Armon: I think uh I know which you understand af uh I know
Patsy Hinderliter: You
Rita Armon: what
Patsy Hinderliter: just
Rita Armon: you mean.
Patsy Hinderliter: move the problem.
Rita Armon: What about um making this rubber and making this plastic?
Dawn Conley: Uh I see what you mean. Well, maybe that's possible, because um uh our manufacturing division also offers plastic finishing. So maybe they can combine these two.
Rita Armon: Yeah. Well actually, we should have it the other way around, I guess. A plastic cover with rubber finishing. I mean, this is this is the finishing. This is um what's on the edge. What you feel.
Dawn Conley: Yeah.
Rita Armon: But the front, on which the the buttons are doesn't
Dawn Conley: Mm-hmm.
Rita Armon: have to be rubber. I
Dawn Conley: Well,
Rita Armon: mean
Dawn Conley: I'm I'm not so sure, I think
Patsy Hinderliter: Y
Dawn Conley: it
Patsy Hinderliter: uh can
Dawn Conley: c should
Patsy Hinderliter: you separate
Dawn Conley: be
Patsy Hinderliter: these uh these
Dawn Conley: Well, I'm not sure, I have to ask with manufacturing, but I'm I'm not sure that's what you want, because our customers specifically ask for the spongy feel, and that's what you get with rubber. So if you want the spongy feel, you need uh to make these buttons all all of rubber.
Rita Armon: I know, but do you touch this or do you touch this? I
Dawn Conley: I
Rita Armon: mean,
Dawn Conley: think
Rita Armon: I
Dawn Conley: both.
Rita Armon: I never touch between the buttons.
Patsy Hinderliter: I do.
Dawn Conley: I do.
Patsy Hinderliter: Or the s uh the sideways.
Dawn Conley: I think
Patsy Hinderliter: Or the
Rita Armon: Yeah, the side,
Patsy Hinderliter: the
Rita Armon: exactly,
Patsy Hinderliter: back. Or
Rita Armon: the
Patsy Hinderliter: the
Rita Armon: sideways.
Patsy Hinderliter: back.
Rita Armon: The side, but
Patsy Hinderliter: I
Rita Armon: do you
Patsy Hinderliter: think
Rita Armon: touch between the the these buttons?
Patsy Hinderliter: Yes, especially when there are l a few buttons on it, you have uh a lot of space to touch. So you just have it in your hand completely or or
Rita Armon: Okay.
Patsy Hinderliter: i
Rita Armon: Well,
Patsy Hinderliter: you
Rita Armon: we
Patsy Hinderliter: play
Rita Armon: do
Patsy Hinderliter: with
Rita Armon: not
Patsy Hinderliter: it.
Rita Armon: have very much time uh left. Um I guess you two have to figure that out.
Patsy Hinderliter: Yeah.
Rita Armon: I'm going to leave the decision to you, um because you have to make its prototype, and um yeah y you have the most knowledge about the suppliers, the possibilities and uh
Patsy Hinderliter: Yeah.
Dawn Conley: Okay.
Rita Armon: so I'm going to leave it the decision with you. Um Sebastian, did you write enough decisions down?
Dawn Conley: Um not quite. Um what about uh the chips? We use the regular chip?
Patsy Hinderliter: Regular.
Dawn Conley: Okay.
Rita Armon: Yeah.
Dawn Conley: And
Patsy Hinderliter: Use with.
Dawn Conley: Well no, I think that's about it. Yes.
Rita Armon: Okay. With those regular chips we can still uh control advanced functions. The chip is is not really
Dawn Conley: The only difference between the advanced and the regular version is that the advanced uh version of the chip supports L_C_D_.
Rita Armon: Okay,
Dawn Conley: That's
Rita Armon: well.
Dawn Conley: all. And we've decided not to use L_C_D_.
Rita Armon: Yeah.
Dawn Conley: So
Rita Armon: Okay. Um okay, then I think we are uh quite finished. Um I'll see you guys in thirty minutes and um
Patsy Hinderliter: For the finishing touch.
Rita Armon: Yeah? Yeah,
Dawn Conley: Okay.
Rita Armon: um if you write wrote anything down, uh could you put it on the shared folder?
Dawn Conley: Okay.
Patsy Hinderliter: Uh yeah.
Rita Armon: Yeah.
Patsy Hinderliter: But um Sebastian has everything.
Rita Armon: I know, but well
Dawn Conley: I'll put it online.
Rita Armon: Great.
Rita Armon: Right. | For the conceptual design, Dolores Spencer talked about the public's preference for looks over technological innovation; however, they both seem to be more important than ease of use. The current fashion among younger people favours bright colours and fruit and vegetable themes and spongy materials: pertinent exchangeable fronts can express such trends on the remote, and could also provide themes for other target groups. They could also add some rubber to provide easy grip of the device. Cases can be flat, single- or double-curved. They can be made of plastic, rubber, wood or titanium. Hand or kinetic dynamos, batteries, and solar cells can be used as energy sources. Possible interfaces are push buttons, scroll wheels, and LCDs. A way to make this device different would be to use a scroll-wheel on the side with integrated button for volume control and mute. Speech recognition can be implemented by adding a sample sensor and speaker on the remote. The final decisions also included combined battery with solar cells. The team will design a single-curved device with a scroll wheel and speech recognition, in black and yellow, the company colours. | 4 | amisum | train |
Dessie Cleveland: That's the same as uh on the top of it uh with the the round uh
Virginia Warrington: Like
Dessie Cleveland: button.
Virginia Warrington: this one.
Dessie Cleveland: But uh we don't uh we don't uh we do think it's um well
Virginia Warrington: It's
Dessie Cleveland: what
Virginia Warrington: important.
Dessie Cleveland: if with ease of use, w which prefers the which the the customer of
Virginia Warrington: Uh
Dessie Cleveland: the
Virginia Warrington: I
Dessie Cleveland: user
Virginia Warrington: think
Dessie Cleveland: prefers.
Virginia Warrington: th this is device which which has a learning curve. Um novice users u use this device as uh normal users use uh a c a remote control. And after a while they start to develop uh some skills in the the voice recognition functions, and then they will not use this dial as often. But other
Susan Dorazio: Okay.
Virginia Warrington: users who are new to this device need something like that. They n they need understand what uh channels and uh change the volume, so it's easier for them
Susan Dorazio: Could could I see the scroll bar as as as a sort of shortcut?
Virginia Warrington: Yeah, maybe
Susan Dorazio: A
Virginia Warrington: so.
Susan Dorazio: a and
Virginia Warrington: Yes,
Susan Dorazio: the voice
Virginia Warrington: it's
Susan Dorazio: recognition as well, th maybe you could uh
Virginia Warrington: Well,
Susan Dorazio: could
Virginia Warrington: it's
Susan Dorazio: uh
Virginia Warrington: it's it's another approach, it's more that our um. There are there are many ways of doing uh things uh on such a device.
Susan Dorazio: Yeah.
Virginia Warrington: It's
Susan Dorazio: Okay.
Virginia Warrington: it's quite easy.
Susan Dorazio: Okay, good. And and the case is is rubber?
Virginia Warrington: Yes, rubber?
Susan Dorazio: And the buttons?
Dessie Cleveland: Plastic
Virginia Warrington: There are
Dessie Cleveland: or rubber.
Virginia Warrington: plastic
Dessie Cleveland: Well,
Virginia Warrington: or rubber.
Dessie Cleveland: yeah.
Susan Dorazio: Okay, and uh the colouring?
Virginia Warrington: Uh yellow with uh
Susan Dorazio: with with grey or black.
Virginia Warrington: grey or black or something like that. Whatever cost uh cost uh the least.
Susan Dorazio: Okay, we'll we'll come to that later. Um okay. Anything else to add or
Virginia Warrington: No. Uh maybe we should uh think about these buttons.
Susan Dorazio: Yeah.
Caroline Morris: Well, you
Virginia Warrington: But
Caroline Morris: could use two of them to um channels on the channel button, 'cause
Virginia Warrington: Yes,
Caroline Morris: you have
Virginia Warrington: but
Caroline Morris: to
Virginia Warrington: it but these
Caroline Morris: assign
Virginia Warrington: are tasks
Caroline Morris: two channel
Virginia Warrington: that are only
Caroline Morris: new channels.
Virginia Warrington: executed once, I think.
Susan Dorazio: M uh
Virginia Warrington: Or
Susan Dorazio: yeah.
Virginia Warrington: not?
Susan Dorazio: M m but maybe you
Caroline Morris: You
Susan Dorazio: want a button to uh for example the voice recognition, or
Virginia Warrington: Well
Susan Dorazio: train
Virginia Warrington: okay.
Susan Dorazio: the voice.
Virginia Warrington: Okay, yeah, that's right. Or something
Dessie Cleveland: And
Virginia Warrington: li
Dessie Cleveland: a button
Virginia Warrington: like that.
Dessie Cleveland: for disabling the voice recognition.
Susan Dorazio: Yeah al although by pressing the button for I n don't know two, three seconds, you could also say it you'd disable it
Virginia Warrington: Yes.
Susan Dorazio: with a little beep and
Dessie Cleveland: Yeah.
Susan Dorazio: and but o okay, that that's not really really important.
Dessie Cleveland: That's the basic idea, yeah.
Susan Dorazio: The basic okay.
Dessie Cleveland: Of our prototype.
Susan Dorazio: Okay. Um you thought of some evaluation crit criteria?
Caroline Morris: Yes.
Susan Dorazio: Okay.
Caroline Morris: Uh my name is not name but
Susan Dorazio: You are nameless.
Caroline Morris: Uh well, I used the the uh documents. And these uh were the most important criteria. It should be. yeah,
Virginia Warrington: Is it spongy?
Caroline Morris: that's uh how the fashion guys uh state it. Fancy look and feel. So
Dessie Cleveland: So just walk through it step by step. mean, is it fancy, everything I believe uh
Caroline Morris: Uh well
Dessie Cleveland: I
Caroline Morris: appar
Dessie Cleveland: believe it's fancy.
Virginia Warrington: I believe it's fancy too.
Caroline Morris: Yeah,
Susan Dorazio: No.
Dessie Cleveland: Oh,
Caroline Morris: So
Dessie Cleveland: sorry.
Virginia Warrington: Okay.
Susan Dorazio: Okay, so this these are the cr uh the criteria.
Caroline Morris: Yeah, I think these are the most important
Susan Dorazio: Okay,
Caroline Morris: criteria.
Susan Dorazio: well
Caroline Morris: So uh that's about
Susan Dorazio: the
Caroline Morris: it.
Susan Dorazio: then we'll switch to my presentation. Um
Susan Dorazio: The production costs. The costs are not under Can I
Susan Dorazio: Um this is the
Dessie Cleveland: Twenty two.
Susan Dorazio: Yeah, it's it's
Dessie Cleveland: Yikes.
Susan Dorazio: w way above um uh above the the the twelve Euro fifty. And what makes it very expensive is uh for example the solar cell.
Virginia Warrington: Well it's
Susan Dorazio: So
Virginia Warrington: very expensive.
Susan Dorazio: I guess we should skip that, because it's not that important.
Virginia Warrington: Okay.
Dessie Cleveland: Why does the price and and the s oh, one uh exa
Susan Dorazio: Yeah, the
Dessie Cleveland: yeah.
Susan Dorazio: the price, the the number
Dessie Cleveland: The number
Susan Dorazio: of items
Dessie Cleveland: of uh
Susan Dorazio: and
Dessie Cleveland: yeah.
Susan Dorazio: the the sum.
Virginia Warrington: Okay.
Susan Dorazio: Um well, this is what I would call our luxury model. Um
Dessie Cleveland: And and
Susan Dorazio: if you
Dessie Cleveland: does
Susan Dorazio: would
Dessie Cleveland: it
Susan Dorazio: if you look at the uh w w w what we could do to make it more um to make it just between the twelve Euro fifty, um then I did the following changes. Twelve Euro forty cents I came up with by leaving out the solar cells,
Virginia Warrington: Mm-hmm.
Susan Dorazio: um by not using the voice recognition feature,
Virginia Warrington: Mm-hmm.
Susan Dorazio: because it's uh it's a four Euro uh addition to the price. Um Yeah, I believe Uh, push-button, well It makes it the thirteen yeah. Push-buttons are buttons are are not the most expensive, but do add extra cost.
Virginia Warrington: Hmm.
Susan Dorazio: So um yeah, th this design is not um within our price model.
Virginia Warrington: Okay.
Susan Dorazio: Um
Virginia Warrington: But I'm afraid it's not complete. Because we use spec uh specic uh special materials, the last item. And you have not added one item there.
Susan Dorazio: Yeah.
Virginia Warrington: So it's c way too expensive.
Susan Dorazio: It's still too expensive, yeah.
Dessie Cleveland: But
Susan Dorazio: Um
Dessie Cleveland: that's that's only for the buttons. So
Susan Dorazio: I I guess
Dessie Cleveland: the button
Susan Dorazio: if we
Dessie Cleveland: we
Susan Dorazio: leave
Dessie Cleveland: can use
Susan Dorazio: the
Dessie Cleveland: plastic.
Susan Dorazio: if we leave this one out, um oh. And uh maybe not
Dessie Cleveland: And
Susan Dorazio: use
Dessie Cleveland: the pla
Susan Dorazio: the
Dessie Cleveland: uh
Susan Dorazio: special form.
Dessie Cleveland: And a plastic b just plastic buttons,
Virginia Warrington: But
Dessie Cleveland: a plas
Virginia Warrington: it
Dessie Cleveland: uh instead of rubber.
Susan Dorazio: It becomes a very dull remote
Virginia Warrington: Yes.
Susan Dorazio: control, I know. But it's the board decision. Um And um yeah.
Virginia Warrington: Well, b basically it when when this is our only option, we should even consider changing the casing, because I think there's very little added value in
Susan Dorazio: Yeah.
Virginia Warrington: uh an enhanced case with these dull functions.
Susan Dorazio: Yeah, I
Virginia Warrington: So
Susan Dorazio: know. Maybe we should look at an uh focus on another uh
Virginia Warrington: Type of m maybe
Susan Dorazio: Yeah,
Virginia Warrington: another
Susan Dorazio: m
Virginia Warrington: market
Susan Dorazio: uh maybe
Virginia Warrington: segment.
Susan Dorazio: not not all that fancy, but just way way more easy uh uh
Virginia Warrington: Yeah.
Susan Dorazio: um basic
Virginia Warrington: Yes.
Susan Dorazio: and uh m maximise the profits and um
Virginia Warrington: That's maybe that's better.
Susan Dorazio: Yeah.
Virginia Warrington: Maybe we could uh we should go for straight and simple,
Susan Dorazio: Yeah.
Virginia Warrington: but that's not what uh has been asked.
Susan Dorazio: I know, I know.
Virginia Warrington: So we should kick the board's uh Well
Susan Dorazio: Yeah. Although I think we yeah, but we could still make uh a remote control that ap uh um applies um more to young people uh by giving it another colour already.
Virginia Warrington: Hmm.
Susan Dorazio: Um so it is possible to make uh uh a device that attracts a little bit more to young people.
Virginia Warrington: Yes.
Susan Dorazio: Um but uh I agree it's it's not a fancy high-tech uh device. Definitely not, no. It's not that innovative. Or however you s pronounce that. Um
Dessie Cleveland: Yeah, too bad.
Susan Dorazio: so, okay. Um Oh, this is the wrong one. So uh that means redesign. We do not have the time o uh now to to redesign the product.
Dessie Cleveland: Mm-hmm.
Susan Dorazio: Um but we can evaluate the process and um uh uh the satisfaction on how things went. Um I'm not sure if we need to evaluate uh the device first. I guess
Caroline Morris: Um well, since we're not gonna manufacture it anyway
Susan Dorazio: Yeah. Yeah, that's true.
Virginia Warrington: Well, maybe it's good to do it anyway, because if we
Susan Dorazio: We
Virginia Warrington: evaluate
Susan Dorazio: l we can learn.
Virginia Warrington: it, we we can also determine if our
Susan Dorazio: Yeah.
Virginia Warrington: objectives are good.
Susan Dorazio: Yeah.
Virginia Warrington: So
Susan Dorazio: I agree. Well
Virginia Warrington: Is it fancy?
Susan Dorazio: I d it
Caroline Morris: Uh
Susan Dorazio: is it is
Caroline Morris: Yay. Is it? Is it fancy?
Susan Dorazio: Yeah,
Dessie Cleveland: Um
Susan Dorazio: I think
Dessie Cleveland: the yellow
Susan Dorazio: so.
Dessie Cleveland: rubber,
Virginia Warrington: I think so.
Dessie Cleveland: I think so.
Susan Dorazio: You like the rubber, uh Roo.
Dessie Cleveland: I'm into it.
Caroline Morris: So uh one?
Virginia Warrington: But
Susan Dorazio: Yeah.
Virginia Warrington: it's not that fancy.
Susan Dorazio: No,
Virginia Warrington: I
Susan Dorazio: I'll
Virginia Warrington: mean
Susan Dorazio: I'll I'll give it a two.
Virginia Warrington: I think uh I think it would have been more fancy if we used the titanium housing the casing. It would be
Susan Dorazio: You
Virginia Warrington: even
Susan Dorazio: like
Virginia Warrington: more
Susan Dorazio: tita
Virginia Warrington: oh, you really like titanium. I'm I'm into it.
Susan Dorazio: That's a flavour as well.
Virginia Warrington: It has flavour. Yes, that's right. You should taste it.
Susan Dorazio: Right. Um
Caroline Morris: Is it uh
Susan Dorazio: Yeah, I know, but but it but that's fancy in the way um I mean fancy has has a lot of
Virginia Warrington: It has to do with fashion, I guess.
Susan Dorazio: Yeah.
Virginia Warrington: So do
Dessie Cleveland: It's trendy
Caroline Morris: And
Dessie Cleveland: trendy,
Caroline Morris: w
Dessie Cleveland: fun
Caroline Morris: yeah,
Dessie Cleveland: yeah.
Caroline Morris: w what they want wanted was uh colours and soft materials. So
Susan Dorazio: Yeah.
Caroline Morris: in that way
Susan Dorazio: It applies. It
Caroline Morris: It
Susan Dorazio: yeah.
Caroline Morris: it's fancy.
Dessie Cleveland: Well, just
Virginia Warrington: Okay.
Dessie Cleveland: give it a two.
Susan Dorazio: Yeah.
Virginia Warrington: Yes. I
Dessie Cleveland: It's
Virginia Warrington: think
Dessie Cleveland: not the
Virginia Warrington: I
Dessie Cleveland: ultimate
Virginia Warrington: th I think
Dessie Cleveland: uh fancy
Virginia Warrington: it would have
Dessie Cleveland: two,
Virginia Warrington: been
Dessie Cleveland: but
Virginia Warrington: I would have think uh it could have been more fancy by using the double-curved case. It would have been even more fancy, but we decided not to, because if we use a double-curved
Dessie Cleveland: Yeah, but that's sti that's
Virginia Warrington: case,
Dessie Cleveland: uh
Virginia Warrington: we could not use solar. So
Dessie Cleveland: Looking at the user uh needs, we only uh don't we don't have the double-curved case. We w we do have uh the rubber, we do have the colours. That's two out of three.
Virginia Warrington: Yes.
Dessie Cleveland: So I believe uh we are close uh to
Susan Dorazio: Yeah,
Dessie Cleveland: two.
Susan Dorazio: I I agree.
Virginia Warrington: Yes, I agree too. It's okay. We did yes, we did good.
Caroline Morris: Okay, and uh was it innovative?
Susan Dorazio: Well, with the voice recognition feature and uh
Dessie Cleveland: But that's not in it.
Caroline Morris: Yep.
Dessie Cleveland: Ov or can we
Susan Dorazio: No,
Virginia Warrington: Well,
Susan Dorazio: we
Virginia Warrington: let's
Susan Dorazio: are
Virginia Warrington: let's
Susan Dorazio: evaluating
Virginia Warrington: this
Susan Dorazio: this
Virginia Warrington: product.
Susan Dorazio: this uh design
Dessie Cleveland: Okay.
Susan Dorazio: now.
Virginia Warrington: So
Susan Dorazio: This
Virginia Warrington: I
Susan Dorazio: prototype.
Virginia Warrington: I I think it is. I think it's innovative.
Susan Dorazio: Yeah.
Dessie Cleveland: And the scroll uh wheel. The solar not many remotes have the solar, I think.
Virginia Warrington: No. It could have been a little bit more innovative u by using the kinetic uh energy source,
Caroline Morris: Yeah,
Virginia Warrington: but
Caroline Morris: and
Virginia Warrington: it's
Caroline Morris: uh
Virginia Warrington: it's
Susan Dorazio: That
Virginia Warrington: way
Susan Dorazio: would
Virginia Warrington: too
Susan Dorazio: have been a thrill.
Virginia Warrington: yes, but
Caroline Morris: So uh also a
Virginia Warrington: I
Caroline Morris: uh
Virginia Warrington: think
Caroline Morris: two?
Virginia Warrington: uh
Susan Dorazio: Yep.
Virginia Warrington: it's a two.
Caroline Morris: Is it easy to use?
Susan Dorazio: I'm
Dessie Cleveland: Yeah.
Susan Dorazio: not sure. I'm not sure.
Dessie Cleveland: Well yeah, the voice recognition of course is hard to learn, I think. Well, hard it's not for the for the e for the elderly.
Virginia Warrington: Well,
Dessie Cleveland: They won't use it.
Virginia Warrington: but there are two parts in this remote control. What you see here is is the basic part. Everybody can use it, so that's easy to use.
Susan Dorazio: Yeah.
Virginia Warrington: That's for a novice user. When you have a more advanced, elaborate user, well, such a user really would like to explore all these additional functions. So in that in that way it is advanced,
Susan Dorazio: Yeah.
Virginia Warrington: and I think it's easy to use for for both uh types of users. So
Dessie Cleveland: I think
Virginia Warrington: uh It's maybe it's not very uh
Dessie Cleveland: I
Virginia Warrington: easy
Dessie Cleveland: think a three.
Virginia Warrington: for
Dessie Cleveland: Wouldn't give it more.
Susan Dorazio: Uh I'm doubting doubting as well. Um
Caroline Morris: Well the p the most important function is easy to use.
Susan Dorazio: Yeah.
Caroline Morris: The the zapping, channel switching, volume. But the more advanced functions are probably a bit harder.
Susan Dorazio: Okay. Uh two or three? Three? Wha wh what would be your guess? I mean
Virginia Warrington: Okay.
Susan Dorazio: ease of use um does not only apply to the most basic functions. It's the uh it's it's overall. Is the device easy to use?
Virginia Warrington: Yeah, that's right. You're right in that, but I I guess uh an advanced user will will find the voice recognition function easy to use,
Susan Dorazio: Yeah.
Virginia Warrington: because he is already he or she is already an advanced user.
Susan Dorazio: Yeah.
Virginia Warrington: So After
Susan Dorazio: Um
Virginia Warrington: all, I think personally I would give a two. But
Susan Dorazio: Okay. Uh Roo, a three?
Dessie Cleveland: Yep.
Susan Dorazio: Ruud?
Caroline Morris: Good question. Uh I'll go uh for the two.
Susan Dorazio: Okay.
Virginia Warrington: So, it's two, two and three. Two threes. So that's
Susan Dorazio: So I could
Virginia Warrington: ten.
Susan Dorazio: make it
Dessie Cleveland: If
Susan Dorazio: e easy?
Dessie Cleveland: you make it a four
Virginia Warrington: So that's
Dessie Cleveland: it will be three
Virginia Warrington: w
Dessie Cleveland: in general.
Virginia Warrington: No, two and a half.
Dessie Cleveland: If he makes it a four.
Virginia Warrington: Six
Dessie Cleveland: Not a three.
Virginia Warrington: and four. Six and four is ten. Divided by four is two and a half. So
Dessie Cleveland: Darn. Nee.
Caroline Morris: Hmm?
Virginia Warrington: Yes.
Susan Dorazio: Roo.
Caroline Morris: Huh?
Dessie Cleveland: A seven, a three No.
Caroline Morris: Yeah.
Dessie Cleveland: A four
Caroline Morris: I
Dessie Cleveland: and
Caroline Morris: yeah.
Dessie Cleveland: a three together.
Virginia Warrington: Four?
Dessie Cleveland: Yeah, you
Caroline Morris: Yeah,
Dessie Cleveland: have a two,
Caroline Morris: two,
Dessie Cleveland: he
Caroline Morris: two,
Dessie Cleveland: has
Virginia Warrington: Two?
Dessie Cleveland: a two.
Caroline Morris: three
Dessie Cleveland: Three? And
Susan Dorazio: No,
Dessie Cleveland: a three?
Caroline Morris: No.
Dessie Cleveland: Nee. I know.
Susan Dorazio: Okay, but if I would say a three, then it's six, and four is ten.
Virginia Warrington: Divided by four.
Susan Dorazio: Divided by four is two point
Dessie Cleveland: Yes.
Susan Dorazio: five.
Dessie Cleveland: So if you want to have the conclusion as a three three. Then you would make a four. If you fill out a four
Virginia Warrington: That's
Susan Dorazio: But
Virginia Warrington: not
Susan Dorazio: I'm
Virginia Warrington: even
Susan Dorazio: filling in a three. Does it will so it will be a two point five.
Virginia Warrington: But that's not possible to fill in,
Susan Dorazio: Yes,
Virginia Warrington: so
Susan Dorazio: it
Virginia Warrington: we have
Susan Dorazio: is.
Virginia Warrington: to round it.
Susan Dorazio: I have a veto. Exactly. It's not about the content, it's about okay, um
Caroline Morris: Is
Susan Dorazio: is
Caroline Morris: it
Susan Dorazio: it
Caroline Morris: easy
Susan Dorazio: easy
Caroline Morris: to
Susan Dorazio: to
Caroline Morris: find?
Susan Dorazio: f Yeah, definitely.
Virginia Warrington: Yes.
Dessie Cleveland: Yeah, we haven't re uh re uh really worked it out, but you
Virginia Warrington: It
Dessie Cleveland: c you
Virginia Warrington: it most
Dessie Cleveland: can
Virginia Warrington: definitely
Dessie Cleveland: you
Virginia Warrington: is
Dessie Cleveland: can
Virginia Warrington: it's
Dessie Cleveland: just
Virginia Warrington: very
Dessie Cleveland: say find
Virginia Warrington: easy.
Dessie Cleveland: and he repeats find.
Susan Dorazio: Yeah, or beeps or yeah.
Dessie Cleveland: Yeah, but
Virginia Warrington: Yes.
Dessie Cleveland: that's the that's the the
Virginia Warrington: Maybe
Dessie Cleveland: basic idea
Virginia Warrington: Uh
Dessie Cleveland: of the the
Virginia Warrington: I
Dessie Cleveland: speaker
Virginia Warrington: I think
Dessie Cleveland: uh
Virginia Warrington: I
Susan Dorazio: I'm
Virginia Warrington: think
Susan Dorazio: here, I'm here.
Virginia Warrington: something like that. Maybe you have to uh programme it once,
Susan Dorazio: Yeah.
Virginia Warrington: so to that l respond to uh a certain word or a
Susan Dorazio: Yeah.
Virginia Warrington: certain sentence, something
Dessie Cleveland: But even
Virginia Warrington: like
Dessie Cleveland: without
Virginia Warrington: where
Dessie Cleveland: it
Virginia Warrington: are you, and then it will sing I'm here.
Susan Dorazio: Yeah.
Virginia Warrington: So something like that. So
Susan Dorazio: Well, I
Virginia Warrington: I, th
Susan Dorazio: uh we should not uh stay too long on this subject uh because of the time, but
Dessie Cleveland: Yeah.
Susan Dorazio: I personally give it a one. Um Sebastian?
Virginia Warrington: Yeah, Caroline Morris too.
Dessie Cleveland: Caroline Morris too.
Caroline Morris: Yeah, I agree.
Susan Dorazio: Right, well. The feel of the remote control is spongy. Well, uh it can't be more spongy. So
Virginia Warrington: Well, it can be. There are cases um in which the outside casing is um can be uh how d how do you prono is
Dessie Cleveland: Was
Virginia Warrington: is
Dessie Cleveland: it one of our options?
Virginia Warrington: moldable. No, it's not
Caroline Morris: No.
Virginia Warrington: one of our option,
Caroline Morris: Uh
Susan Dorazio: No
Caroline Morris: this
Susan Dorazio: okay,
Virginia Warrington: but
Dessie Cleveland: So,
Susan Dorazio: but
Dessie Cleveland: in
Caroline Morris: this
Dessie Cleveland: the
Susan Dorazio: but
Virginia Warrington: when
Caroline Morris: was
Dessie Cleveland: in
Virginia Warrington: you look
Caroline Morris: a most
Virginia Warrington: in the market,
Caroline Morris: spongy option.
Virginia Warrington: when
Susan Dorazio: for the
Virginia Warrington: you
Susan Dorazio: options
Virginia Warrington: look
Susan Dorazio: given, it's the most
Virginia Warrington: Uh
Susan Dorazio: spongy
Virginia Warrington: yes,
Susan Dorazio: one.
Virginia Warrington: but
Dessie Cleveland: Yeah.
Virginia Warrington: that's not that's not uh what they are talking about, I think. Because we compare all these uh characteristics characteristics with uh market uh with
Susan Dorazio: Yeah.
Virginia Warrington: with the real market. So
Susan Dorazio: Yeah.
Virginia Warrington: there are uh remote controls out there which are a lot more spongy. They're
Susan Dorazio: They're
Virginia Warrington: out
Susan Dorazio: out
Virginia Warrington: there.
Dessie Cleveland: But
Susan Dorazio: there.
Dessie Cleveland: I think in this case in this case we've done the best we could.
Virginia Warrington: Yes,
Susan Dorazio: Yeah.
Virginia Warrington: but it's not good enough, so it's a two.
Susan Dorazio: I'll give it a one.
Dessie Cleveland: I wan I'll take one.
Virginia Warrington: You take one? What do you give it?
Caroline Morris: Well yeah, it depends, 'cause it's the most spongy we could
Susan Dorazio: Yeah, I know, but you have
Caroline Morris: but
Susan Dorazio: to name a fig uh a
Caroline Morris: yeah.
Susan Dorazio: number. Because we need to go on in for the time.
Caroline Morris: Well, if I give it a one
Dessie Cleveland: It will be a
Caroline Morris: there'll
Dessie Cleveland: one.
Caroline Morris: be one hell of a calculation. So I'll just give it a two and make this a one point five.
Virginia Warrington: No no no. Uh I'll I'll change it, I'll make it m my my mark will be a four.
Susan Dorazio: You are okay. The remote control offers enough features. Well, Ruud, what what do you think about it?
Caroline Morris: Well, the basic layout doesn't offem offer much, but the voice recognition could add a lot. So
Virginia Warrington: Basically
Caroline Morris: Yeah, depends.
Virginia Warrington: it's it's completely programmable.
Susan Dorazio: Yeah.
Virginia Warrington: You can add very m much functionality by uh using the voice recognition mode.
Susan Dorazio: Yeah, I
Virginia Warrington: So
Susan Dorazio: know.
Virginia Warrington: it's quite advanced.
Susan Dorazio: What what we didn't talk
Dessie Cleveland: Yeah,
Susan Dorazio: about
Dessie Cleveland: but
Susan Dorazio: is
Dessie Cleveland: it
Susan Dorazio: um
Dessie Cleveland: ha
Susan Dorazio: uh
Dessie Cleveland: doesn't has the digits. I believe it's If you uh ask yourself it offers enough features, I don't I don't think it is it has all the features um a normal remote has.
Susan Dorazio: I think it has.
Caroline Morris: Uh depends on what you
Susan Dorazio: Yeah.
Caroline Morris: uh implement
Susan Dorazio: Bec
Caroline Morris: in the speech
Susan Dorazio: because
Caroline Morris: feat
Susan Dorazio: you can um we didn't talk about it, but you do have uh remote controls that are able to adapt another signal.
Virginia Warrington: Yes.
Susan Dorazio: So, you place a a regular uh remote control in front of the other one, hit the one or the two or the three, whatever, and it r records the uh the um the
Virginia Warrington: Has
Susan Dorazio: the
Virginia Warrington: uh the signals
Caroline Morris: Signal.
Virginia Warrington: sent
Dessie Cleveland: Yeah.
Virginia Warrington: to
Susan Dorazio: signals.
Virginia Warrington: it.
Susan Dorazio: So you could uh uh uh enter any comment you like, as long it's able to as long as our device is able to reproduce the infrared signal. So I think th this uh this is uh a a remote control with a very high level of features.
Virginia Warrington: Absolutely.
Susan Dorazio: Although there are i a few buttons, but
Virginia Warrington: Yes.
Susan Dorazio: the inside is is quite
Virginia Warrington: But
Susan Dorazio: uh
Virginia Warrington: that that's its
Susan Dorazio: advanced.
Virginia Warrington: power, I guess, because uh a regular programmable uh remote control contains, well, uh really a lot of buttons.
Susan Dorazio: Yeah.
Virginia Warrington: At at least uh forty buttons.
Susan Dorazio: Yeah.
Virginia Warrington: So it's it's quite s complicated to get uh to get used to. And this is quite s simple. You can
Susan Dorazio: Yep.
Virginia Warrington: use your voice to to programme it. It's
Susan Dorazio: Yeah. Okay, um let's give it a number. I'll give it uh a one. For for the for this t uh type of market, I think it's a one.
Dessie Cleveland: I'll give a two.
Virginia Warrington: Yeah, I'll give it a one.
Caroline Morris: Um I think think a one, 'cause v with a voice recognition you could add anything you want, so that's like um
Virginia Warrington: Yes. I I've I think we've uh succe succeed in in developing a product that's actually quite good, but not for this kind of market, and not for this kind of price. So
Susan Dorazio: Yeah. So high quality, low
Virginia Warrington: Hmm.
Susan Dorazio: acceptance. The product is is is uh b high qua uh has a high quality and and is uh advanced.
Virginia Warrington: Yes.
Susan Dorazio: But whether or not our clients are are um willing to pay twenty five Euros
Virginia Warrington: Mm-hmm.
Susan Dorazio: for this kind of device is doub is well, is not sure.
Virginia Warrington: Mm-hmm.
Susan Dorazio: D do you agree?
Virginia Warrington: Yes, I agree.
Caroline Morris: Maybe
Virginia Warrington: I
Caroline Morris: even because it doesn't look advanced.
Susan Dorazio: Yeah.
Virginia Warrington: Yeah, okay.
Susan Dorazio: Maybe
Virginia Warrington: But
Susan Dorazio: we should have a radar uh function.
Virginia Warrington: Yes.
Dessie Cleveland: But we could couldn't uh what what's the selling price? Fifty?
Susan Dorazio: Twenty
Dessie Cleveland: Uh
Susan Dorazio: five Euros.
Dessie Cleveland: twenty five. And costs were twelve fifty.
Susan Dorazio: Yeah.
Dessie Cleveland: But even now, if only our production costs w uh were exceeded the double, Think. Production cost was were t uh was twenty two?
Susan Dorazio: Mm-hmm.
Dessie Cleveland: So uh selling price uh would be uh
Virginia Warrington: M about fifty Euros.
Dessie Cleveland: yeah.
Virginia Warrington: That's quite ex
Dessie Cleveland: That's
Virginia Warrington: well,
Dessie Cleveland: price,
Virginia Warrington: it's
Dessie Cleveland: but
Virginia Warrington: not
Dessie Cleveland: w w
Virginia Warrington: it's not very expensive for a remote control that
Dessie Cleveland: No.
Virginia Warrington: that has this functionality.
Dessie Cleveland: An original remote control of any T_V_ kind, uh a Phillips remote control,
Virginia Warrington: Yes,
Dessie Cleveland: y you
Virginia Warrington: it's
Dessie Cleveland: pay uh
Virginia Warrington: more than fifty Euros. It's quite expensive,
Dessie Cleveland: Yeah, I kn
Virginia Warrington: yes.
Dessie Cleveland: I know uh from a few years ago, it it
Susan Dorazio: Bu
Dessie Cleveland: it
Susan Dorazio: but
Dessie Cleveland: costed hundred
Susan Dorazio: well
Dessie Cleveland: Gilders.
Susan Dorazio: yeah, I know, but you're paying for th for the brand, because there are uh remote controls which control your stereo, television, D_V_D_, C_D_
Virginia Warrington: Yes.
Susan Dorazio: player,
Virginia Warrington: Yes,
Susan Dorazio: for
Virginia Warrington: but you can
Susan Dorazio: under
Virginia Warrington: you
Susan Dorazio: twenty
Virginia Warrington: c
Susan Dorazio: five Euros.
Virginia Warrington: Yes, but you can learn this thing, all these functions. And it's
Susan Dorazio: Yeah.
Virginia Warrington: easier to use because those uh remote controls don't offer voice recognition and this one does.
Susan Dorazio: Yeah.
Virginia Warrington: So I think it's worth its price.
Susan Dorazio: Okay. Um you had an overall rating. Um
Caroline Morris: Yeah, but uh
Susan Dorazio: That's counting.
Caroline Morris: with these ratings uh
Virginia Warrington: Well, it's it's about
Caroline Morris: should be about
Virginia Warrington: one
Dessie Cleveland: Four
Virginia Warrington: point
Caroline Morris: one point
Dessie Cleveland: six
Virginia Warrington: five.
Dessie Cleveland: seven
Caroline Morris: s seven,
Dessie Cleveland: eight.
Virginia Warrington: Something like
Caroline Morris: yeah.
Virginia Warrington: that.
Susan Dorazio: Okay.
Dessie Cleveland: Nine divided by six.
Susan Dorazio: Okay. Um we'll go further on with the the rest of the evaluation.
Susan Dorazio: About the project itself, not about the product. Um What did you think about uh the process, the project process? Ruud?
Susan Dorazio: Try
Virginia Warrington: Well
Susan Dorazio: to translate that.
Dessie Cleveland: Hmm.
Susan Dorazio: Any any other Uh,
Virginia Warrington: Well,
Dessie Cleveland: Yeah,
Susan Dorazio: Roo?
Dessie Cleveland: I think
Virginia Warrington: I think
Caroline Morris: Ye
Dessie Cleveland: uh
Susan Dorazio: Roo.
Dessie Cleveland: The process was good. But w um we weren't aware of the prices of the costs.
Susan Dorazio: Yeah.
Dessie Cleveland: And and that was the the big deal.
Virginia Warrington: Mm.
Dessie Cleveland: I if we knew that before,
Virginia Warrington: Actually,
Dessie Cleveland: we c we
Virginia Warrington: we had
Dessie Cleveland: could have made the the choice
Susan Dorazio: Better
Dessie Cleveland: between
Susan Dorazio: decision.
Virginia Warrington: Yes.
Dessie Cleveland: what yeah.
Virginia Warrington: We had we had too little information actually.
Susan Dorazio: Yeah.
Virginia Warrington: So And uh um the the the well, looking at room for creativity, there was w way too the the choice
Susan Dorazio: Less.
Virginia Warrington: of components was way too narrow. So
Susan Dorazio: Yeah.
Virginia Warrington: there was not really a process of uh
Susan Dorazio: So we could we we could be we could've been creative. But um
Virginia Warrington: Well
Susan Dorazio: it was tempered by the choice of components and the
Virginia Warrington: Yes.
Caroline Morris: The prices.
Susan Dorazio: the price.
Virginia Warrington: Well, in the first meeting we we already were very creative. We we
Susan Dorazio: Yeah.
Virginia Warrington: thought of possibilities who are not possible uh with the the current uh offer of uh manufacturing components. So
Susan Dorazio: Yeah.
Virginia Warrington: We're tempered by that, yes.
Susan Dorazio: Okay, Roo? Any other thoughts on that?
Dessie Cleveland: No, no.
Susan Dorazio: Ruud?
Caroline Morris: I agree.
Susan Dorazio: You agree, okay. Uh leadership.
Dessie Cleveland: Fantastic.
Susan Dorazio: Okay, Roo's on for his promotion.
Virginia Warrington: Yeah, okay.
Susan Dorazio: Okay.
Virginia Warrington: I think we're a good team.
Susan Dorazio: I think so too, it's it's it's uh of course a laboratory environment. I missed it um to be able to contact you in between
Virginia Warrington: Yes.
Dessie Cleveland: Yeah.
Susan Dorazio: and uh say uh, hey Roo uh. Um
Virginia Warrington: Well, I tried once, but that was not allowed.
Susan Dorazio: Yeah. So um Yeah, but but si uh w w w when taken in account the the situation, uh I think we performed pretty well.
Virginia Warrington: I think so too.
Dessie Cleveland: Yeah.
Susan Dorazio: Yeah. Um the means, the SMARTboard, the digital pen. Did you like
Virginia Warrington: Uh.
Susan Dorazio: 'em?
Virginia Warrington: The digital pen was okay, but SMARTboard was really bad.
Dessie Cleveland: Yeah.
Virginia Warrington: It
Susan Dorazio: Because
Virginia Warrington: it's
Susan Dorazio: of the response or
Virginia Warrington: The response
Dessie Cleveland: Response
Virginia Warrington: is
Dessie Cleveland: and
Virginia Warrington: very slow and the possibilities are very limited. It's not accurate.
Susan Dorazio: Okay.
Dessie Cleveland: Uh it it
Susan Dorazio: Uh
Dessie Cleveland: has yeah. Yeah, it's not accurate. The p the pointing of the pen is not um the place where it it writes its um uh where it uh
Caroline Morris: Draws.
Dessie Cleveland: Yeah, where it draws. It's uh the drawing on on the b on the board is r right from the pen.
Susan Dorazio: Okay, so it
Dessie Cleveland: So
Susan Dorazio: it
Dessie Cleveland: uh
Susan Dorazio: had to be um
Dessie Cleveland: You to take
Susan Dorazio: better
Dessie Cleveland: in account
Susan Dorazio: aligned,
Dessie Cleveland: that
Susan Dorazio: or
Dessie Cleveland: your
Susan Dorazio: what's
Dessie Cleveland: you
Susan Dorazio: the
Dessie Cleveland: m
Susan Dorazio: word? Uh
Dessie Cleveland: yeah uh
Susan Dorazio: yeah.
Virginia Warrington: Maybe it's it needs to be calibrateds.
Dessie Cleveland: It's too slow
Susan Dorazio: It it was calibrated just before this meeting. Uh
Virginia Warrington: It
Susan Dorazio: the
Virginia Warrington: is?
Susan Dorazio: one before, the third meeting.
Virginia Warrington: Okay.
Susan Dorazio: So uh it's not the calibration, it's the thing itself,
Dessie Cleveland: Hmm.
Virginia Warrington: Okay.
Susan Dorazio: I think. Uh Ruud, w uh did you use the pen a lot? Or
Caroline Morris: No.
Susan Dorazio: not at all? Not
Caroline Morris: Not
Susan Dorazio: at all.
Caroline Morris: really.
Susan Dorazio: Okay. I thought it was quite a handy
Virginia Warrington: I
Susan Dorazio: uh
Virginia Warrington: I think
Susan Dorazio: thing,
Virginia Warrington: so too.
Susan Dorazio: although I would like to see um O_C_R_.
Virginia Warrington: Yes.
Dessie Cleveland: Yep.
Virginia Warrington: Yes.
Dessie Cleveland: If it has O_C_R_, uh I think uh I would use, but uh I I just uh took notes
Susan Dorazio: Yeah.
Dessie Cleveland: for myself and and and that's it. It w it w yeah. It was necessary for Caroline Morris to uh
Susan Dorazio: To digitise them.
Dessie Cleveland: Yeah, type it.
Susan Dorazio: Yeah.
Virginia Warrington: Mm-hmm.
Dessie Cleveland: I type faster than I write. So
Susan Dorazio: Yeah.
Virginia Warrington: But I think it's a great solution for uh for uh a known problem, uh writing down some notes, some some inf uh information, and then um forgetting your notebook somewhere
Susan Dorazio: Yeah.
Virginia Warrington: and losing all that information. Because you have everything in one place and it's quite easy quite easy it's it's possible to make this information digital and share it with others in
Susan Dorazio: Yeah.
Virginia Warrington: a quite easy way. I think it's a good product. I only think it's th the the shape of the pen is too big.
Susan Dorazio: Yeah.
Virginia Warrington: It's not quite uh ergonomic.
Dessie Cleveland: Economic.
Virginia Warrington: Eco ergonomic.
Susan Dorazio: I know. Yeah. Okay. Um What w Uh Ruud, what did you think about the SMARTboards?
Caroline Morris: Oh, I only use it to draw a rabbit,
Susan Dorazio: Yeah.
Caroline Morris: so
Susan Dorazio: Okay, you can't really
Caroline Morris: can't say
Susan Dorazio: decide.
Caroline Morris: much about it.
Susan Dorazio: No. I missed a feature to easily select uh a slide and uh distribute it to the laptops. I think that would be very easy if you could say okay, I want to use this for my own work or my own presentation further on or
Virginia Warrington: Yes.
Caroline Morris: No, or the other
Dessie Cleveland: Yeah.
Caroline Morris: way around.
Susan Dorazio: Or the other way around, that you
Virginia Warrington: Yes,
Susan Dorazio: could
Virginia Warrington: yes.
Susan Dorazio: show but m
Virginia Warrington: That's
Dessie Cleveland: But
Virginia Warrington: quite what
Caroline Morris: Yeah.
Virginia Warrington: PowerPoint
Dessie Cleveland: y you
Virginia Warrington: does.
Dessie Cleveland: can if
Susan Dorazio: I
Dessie Cleveland: you
Susan Dorazio: know.
Dessie Cleveland: save this image, you can open it in your shared work folder.
Susan Dorazio: I know, but
Dessie Cleveland: So it's almost yeah.
Susan Dorazio: I know, but we couldn't use that feature, so I missed it.
Dessie Cleveland: Yep.
Susan Dorazio: We weren't able to do that. At least the um I wasn't explained how to
Dessie Cleveland: Mm-hmm.
Susan Dorazio: do such
Dessie Cleveland: A
Susan Dorazio: a th
Dessie Cleveland: and the function of of filling an an uh
Virginia Warrington: An object,
Dessie Cleveland: an oval or
Virginia Warrington: yes.
Dessie Cleveland: an an object.
Virginia Warrington: Yes. The drawing
Dessie Cleveland: I
Virginia Warrington: cap
Dessie Cleveland: it's not
Virginia Warrington: capabilities
Dessie Cleveland: possible
Virginia Warrington: are very limited.
Dessie Cleveland: yeah.
Susan Dorazio: Okay.
Virginia Warrington: And and uh w you were when you're using uh Windows, you're used to a certain interface and certain buttons, uh which you can use for drawing.
Susan Dorazio: Yeah.
Virginia Warrington: And a lot of these buttons don't appear here. So
Dessie Cleveland: Oh
Virginia Warrington: it's
Dessie Cleveland: it looks
Susan Dorazio: Okay,
Dessie Cleveland: like
Susan Dorazio: so
Dessie Cleveland: paint
Susan Dorazio: y it it's
Dessie Cleveland: actually.
Susan Dorazio: not even as advanced as paint.
Virginia Warrington: Not not uh n not way.
Susan Dorazio: Yeah.
Virginia Warrington: It's quite uh limited.
Susan Dorazio: Okay. Uh no. Yeah, the project is evaluated. Um but, well, we need to redesign uh
Virginia Warrington: Okay.
Susan Dorazio: the product.
Virginia Warrington: Oh, very good, celebration.
Susan Dorazio: Celebrate.
Virginia Warrington: Pop
Dessie Cleveland: Great.
Virginia Warrington: uh pop up the champagne.
Dessie Cleveland: It
Susan Dorazio: Okay.
Dessie Cleveland: was a privilege working with you.
Susan Dorazio: Um you're dismissed. No, I think we are uh ready.
Virginia Warrington: Okay.
Dessie Cleveland: To private rooms?
Virginia Warrington: I see some action over there.
Susan Dorazio: Private room, Roo. That sounds quite scary.
Virginia Warrington: Okay.
Susan Dorazio: No, let's find uh the way to.
Virginia Warrington: uh we're done, we're finished, I believe. So, are there any more cycles in this process? I think not.
Susan Dorazio: I don't believe so. Well, maybe we'd get an email. Thank you for your
Virginia Warrington: But um how much time did we get for this meeting?
Susan Dorazio: Forty minutes.
Virginia Warrington: And how much time is left?
Susan Dorazio: A minute or or ten maybe. M
Virginia Warrington: Ten minutes.
Susan Dorazio: Yeah, ten or five.
Virginia Warrington: Okay. Okay.
Susan Dorazio: So, we can uh redesign our uh Uh I would like to
Virginia Warrington: Well, I think we we we all know what the redesign should be. A simple, dull, uh one-coloured box.
Caroline Morris: And no added value.
Virginia Warrington: No, it's
Caroline Morris: At
Virginia Warrington: it's
Caroline Morris: all.
Virginia Warrington: just the
Caroline Morris: So
Virginia Warrington: same product that is already on the market.
Susan Dorazio: Oh.
Dessie Cleveland: But you see the problem, y
Susan Dorazio: Yeah.
Dessie Cleveland: you can't continue your uh your line. Well, it's fluffy alright. Spongy.
Virginia Warrington: What is that?
Dessie Cleveland: A giraffe?
Susan Dorazio: Yeah.
Virginia Warrington: It's a giraffe eating a eating leaves from a tree.
Susan Dorazio: It's blue
Caroline Morris: In
Susan Dorazio: tongue.
Caroline Morris: interesting design.
Susan Dorazio: Yeah. This is a new model. But
Virginia Warrington: So you're actually promoting Bluetooth. Or blue tongue.
Susan Dorazio: Blue tongue.
Caroline Morris: Oh uh it it does uh have a natural uh feeling. So
Susan Dorazio: It's spongy.
Caroline Morris: Yeah.
Susan Dorazio: That
Virginia Warrington: Blue
Susan Dorazio: is
Virginia Warrington: tongue.
Susan Dorazio: uh it's a new feature next to Bluetooth to um disable all Bluetooth devices.
Virginia Warrington: Okay.
Susan Dorazio: Um
Dessie Cleveland: Right.
Virginia Warrington: Let's wrap it up.
Susan Dorazio: Yeah, we're done here. Gentlemen, thank you for your cooperation.
Virginia Warrington: Thank you Mister manager. Now, let's have uh a bottle of champagne.
Dessie Cleveland: Leave it here.
Susan Dorazio: Yes.
Dessie Cleveland: That's alright. | Dessie Cleveland and Virginia Warrington presented a prototype drawing of the remote control design. It can be used as a normal remote, but the speech recognition also provides a more advanced alternative interface. The speech recognition works as a finding mechanism as well. The rubber case is yellow with grey or black, with buttons either made of plastic or rubber. An extra button could activate/deactivate the voice recognition. The prototype proved extremely over budget. The main contributing factors were the solar cell and speech recognition. One way to compensate for the loss of features, but still attract their target group, would be to add more colour to the design. After the costing, the original prototype was evaluated on a scale of 1(excellent)-7(very bad). The criteria used were fancifulness (2), technological innovation (2), ease of use (2.5), whether it is easy to find (1), sponginess (1.5), number of features (1). Finally, the team evaluated the project process in terms of creativity (choices too narrow), leadership and teamwork (happy with it, but they missed communicating in between meetings), and means (SMARTboard was not satisfactory, but the digital pens were alright, but not too useful). The delay in providing costs of components was criticised. | 4 | amisum | train |
Ruby Deleo: Wait for the marketing director actually, so. Anyways. Uh.
Ruby Deleo: See, shall we wait? I'm not sure if he's late or delayed or whatever, so I'm gonna start soon, we have now don't have much time anyway.
Louise Silva: Oh, there he
Lena Hodges: Yes.
Emily Ramos: Okay,
Louise Silva: is.
Ruby Deleo: There
Emily Ramos: we
Lena Hodges: Sorry,
Ruby Deleo: you are, okay.
Lena Hodges: a little bit of pl
Ruby Deleo: Uh no
Lena Hodges: little
Ruby Deleo: problem. We're
Lena Hodges: with
Ruby Deleo: about
Lena Hodges: computer.
Ruby Deleo: to start, so have a seat. Okay, welcome again. Today, functional design phase. I'll take you over the minutes of last last meeting. Okay, that was just to
Lena Hodges: Uh.
Ruby Deleo: get to know each other have, a little thoughts on what your vision is and on this project, so I put the minutes on the I made on the on the p the the project share, so if you wanna review them, they're there. I will do so after every meeting, so if you have some information you wanna take back you can find it there. Anyways, um today three presentations, from every one of you. Um after that I got some new project requirements from project board, so we're gonna go af go after over this later. But I wanna start with uh stuff you did first, so we can see what everybody came up with. And after that we can have the new requirements and share some thoughts, so. Who would like wanna go first?
Lena Hodges: Yeah, sure, no problem.
Louise Silva: Go ahead.
Ruby Deleo: Take it.
Lena Hodges: Um there was a little problem with my computer so not uh the whole uh presentation uh
Ruby Deleo: Anyway, let's see what you have.
Lena Hodges: Yeah. Um
Lena Hodges: Okay, and
Ruby Deleo: Uh it's still a bit open.
Lena Hodges: I want to open the my s oh no.
Ruby Deleo: You should close it on your own notebook, I guess. Yeah.
Lena Hodges: Oh no,
Ruby Deleo: So
Lena Hodges: that's
Ruby Deleo: there? Okay.
Lena Hodges: okay. Uh slide show. Yes. The functional requirements, it's uh uh very important for uh the user, he he wants to yeah. The the method used not m a slide because it went wrong, but the method we use uh, um we tested it w uh with uh a hundred uh men, and we asked them to w uh what the remote uh f feel uh like and uh what what's uh important.
Ruby Deleo: If I
Lena Hodges: Uh
Ruby Deleo: can cut in, is it people or men?
Lena Hodges: People, sorry.
Ruby Deleo: Is it people, okay.
Lena Hodges: Both
Ruby Deleo: 'Cause I
Lena Hodges: women
Ruby Deleo: thought it was
Lena Hodges: and
Ruby Deleo: only
Lena Hodges: men,
Ruby Deleo: men, so
Lena Hodges: yeah. Okay.
Ruby Deleo: 'Kay.
Lena Hodges: Uh the findings um uh seventy five percent of the users find most remote controls ugly. Um
Louise Silva: That's shocking
Ruby Deleo: So we
Lena Hodges: Yeah,
Ruby Deleo: have
Louise Silva: uh.
Ruby Deleo: to s we have to do something
Lena Hodges: and
Ruby Deleo: about that.
Lena Hodges: yeah, most th th they want to spend money for a better system, for better remote control, so we can do uh a l a little uh nice things with it, and um they use yeah, they use zap a lot, um uh fifty percent say they only So that's the most important things.
Ruby Deleo: Okay.
Lena Hodges: Um oh yeah, not all of it is it on mine on my PowerPoint presentation,
Ruby Deleo: Okay,
Lena Hodges: but
Ruby Deleo: just talk
Lena Hodges: um
Ruby Deleo: ahead.
Lena Hodges: uh the relevant buttons are the power, the channel selection and the volume selection. It's
Ruby Deleo: Mm-hmm.
Lena Hodges: uh the most basic buttons that a user wants uh to use. Uh less important is tel teletext,
Ruby Deleo: Mm-hmm.
Lena Hodges: uh um they use it, but it's not uh very uh important uh on the scale of zero to ten they six and a half uh
Ruby Deleo: Okay, that's okay.
Lena Hodges: and but not important is the channel selection, the the hmm?
Ruby Deleo: That's a little weird.
Lena Hodges: Oh, the
Louise Silva: Which channel
Lena Hodges: the
Louise Silva: selection?
Lena Hodges: no no no no no, that's very important, but uh w and not important in the audio settings, display settings and
Ruby Deleo: Okay,
Lena Hodges: uh
Ruby Deleo: we can we
Louise Silva: Oh,
Ruby Deleo: can
Louise Silva: okay.
Ruby Deleo: hide those under
Lena Hodges: Yeah.
Ruby Deleo: a menu or something, okay.
Lena Hodges: Um new preferences preferences. Uh um um beep to find your control, was that
Ruby Deleo: That's
Lena Hodges: was
Ruby Deleo: like
Lena Hodges: in
Ruby Deleo: a
Lena Hodges: the
Ruby Deleo: button
Lena Hodges: test,
Ruby Deleo: on your T_V_?
Lena Hodges: the the most people uh f find it uh irritating uh when they cannot find a rem
Emily Ramos: Mm.
Lena Hodges: their remote
Ruby Deleo: Remote,
Lena Hodges: control,
Ruby Deleo: okay.
Lena Hodges: so uh I think it's a bee beep to sound it and uh you can find it. And another thing uh they want was uh speech recognition um so they can say uh what they want to let's go to channel one and uh
Ruby Deleo: Okay.
Lena Hodges: that's uh kind of things. And they want maybe an uh L_C_D_ screen um to to look it um wh what's on every channel uh and uh what
Ruby Deleo: We wanna
Lena Hodges: do
Ruby Deleo: have
Lena Hodges: I want
Ruby Deleo: a little preview
Lena Hodges: with it?
Ruby Deleo: on the remote control.
Lena Hodges: Yeah.
Ruby Deleo: Preview what's on the channel. Okay.
Louise Silva: Is that manageable? 'Cause it sounds pretty expensive too.
Ruby Deleo: That sounds
Lena Hodges: Yeah.
Ruby Deleo: too It's possible, but uh I think it's expensive, but do continue.
Louise Silva: Okay.
Lena Hodges: Yeah. Um Uh my personal preferences is uh a button for my favourite channel, so I can uh I dunno, so I can zap to my uh f uh quick uh to my favourite channel wh what I uh so, the remote mu must see or um must um see wha what mine preferences are for which
Ruby Deleo: Okay,
Lena Hodges: channel,
Ruby Deleo: you don't
Lena Hodges: so
Ruby Deleo: set it yourself,
Lena Hodges: I can
Ruby Deleo: it just
Lena Hodges: zap t
Ruby Deleo: remembers
Lena Hodges: to
Ruby Deleo: the channel that you are on most, for example.
Lena Hodges: What?
Ruby Deleo: You want the you want it to be programmed, for example
Lena Hodges: Yeah.
Ruby Deleo: y programmed f or
Lena Hodges: Yeah.
Ruby Deleo: you want it to recognise your favourite channel?
Lena Hodges: Recognise
Ruby Deleo: Let's see, you you spend twenty minutes each day on that channel,
Lena Hodges: Yeah.
Ruby Deleo: so it recognises your favourite channel.
Lena Hodges: Yeah, that's uh what my personal preference
Ruby Deleo: Okay,
Lena Hodges: like.
Ruby Deleo: so it's it it does it recognise itself, you don't have to set
Lena Hodges: No,
Ruby Deleo: it Okay.
Lena Hodges: itself. Maybe it's easier to to sell it, but
Ruby Deleo: Okay.
Lena Hodges: I don't know it's manageable, but we
Ruby Deleo: I see.
Lena Hodges: will uh we will see. Yeah, it's a little bit uh it's the end of it. It's
Ruby Deleo: Okay.
Lena Hodges: a little bit
Louise Silva: Okay.
Lena Hodges: uh I lost it, the computer uh crashed, so.
Ruby Deleo: No problem, it's it's okay, that's
Louise Silva: Shall I go?
Ruby Deleo: Yeah, go
Louise Silva: Okay.
Ruby Deleo: ahead.
Lena Hodges: Yeah.
Louise Silva: So, some technical
Lena Hodges: Darn
Louise Silva: functions.
Lena Hodges: computer.
Louise Silva: Basically I have some issues which you discussed earlier.
Lena Hodges: Yeah.
Louise Silva: Uh let's just start with the method. It sounds really easy, what does the user do, what does the th remote control do, but there are quite some issues. So the things I'm going to concentrate on are the user aspect, because the technical aspect, that's pretty much covered. We can do that. What goes wrong at the user. Gets the remote control. Where is the remote control? We've all had it once, I want
Lena Hodges: Yeah.
Louise Silva: to watch some television, where's the remote control? That was one of your ideas which you posted
Lena Hodges: Yeah.
Louise Silva: in the network folder,
Ruby Deleo: That seems
Louise Silva: a
Ruby Deleo: very
Louise Silva: really
Ruby Deleo: good.
Louise Silva: good idea. Uh these are just the issues. I come to some uh personal experience, findings, possible solutions later. Searches for the button. There are many buttons on a remote control which are not clear. Uh so either we lose those or we try to make it a little bit more clear.
Lena Hodges: Mm uh.
Ruby Deleo: Mm-hmm.
Louise Silva: Uh also symbols tend to fade after a while. There's nothing more annoying than faded symbols, because you don't know which channel is this button, so possibly we could find
Ruby Deleo: Okay,
Louise Silva: uh
Ruby Deleo: so have it more make it more
Louise Silva: something
Ruby Deleo: durable
Louise Silva: for that,
Ruby Deleo: actually.
Louise Silva: yes.
Ruby Deleo: Okay.
Louise Silva: Uh covered that. Oh yes, user presses the button. Um usually when you have a lot of buttons, buttons are small. So you press more once remote control goes
Ruby Deleo: Okay, so
Louise Silva: kablouey
Ruby Deleo: the buttons should
Louise Silva: or something
Ruby Deleo: be
Louise Silva: like that, so we have to pay attention not to put too mun too many buttons on
Ruby Deleo: Mm-hmm.
Louise Silva: uh the remote control.
Ruby Deleo: Yeah.
Louise Silva: And possibly also the size, so
Ruby Deleo: Wow.
Louise Silva: more important buttons,
Ruby Deleo: The s Yeah.
Louise Silva: bigger
Ruby Deleo: Make it
Louise Silva: si
Ruby Deleo: make them bigger. Even
Louise Silva: So
Ruby Deleo: more
Louise Silva: this
Ruby Deleo: durable
Louise Silva: is basically
Ruby Deleo: uh.
Louise Silva: what I h had in mind in the fade-proof symbols, locator, a sound, uh so clear we should stick to existing symbols, but maybe we could do a little uh investigation to see whether some symbols are uh need to be replaced by others.
Ruby Deleo: Okay.
Louise Silva: Uh This I pretty much covered. So what we want to go to is not this one, but more
Ruby Deleo: Yeah, it's true.
Lena Hodges: Yeah.
Louise Silva: less buttons, easy, some bigger buttons. So that's basically uh
Ruby Deleo: Yeah,
Louise Silva: what
Ruby Deleo: that's
Louise Silva: I had
Ruby Deleo: clear.
Louise Silva: in mind. This is not the final design, this
Ruby Deleo: No,
Louise Silva: is just
Ruby Deleo: of course
Louise Silva: a general
Ruby Deleo: uh
Louise Silva: idea of
Ruby Deleo: Yeah.
Louise Silva: how I'd like to see uh
Ruby Deleo: I must
Louise Silva: basically
Ruby Deleo: say that
Louise Silva: the
Ruby Deleo: it
Louise Silva: general idea.
Ruby Deleo: Hmm.
Louise Silva: So that was it.
Ruby Deleo: That was it. Okay, that was good. So we agree on the the part that we need to get something on the on the remote to find it somewhere
Louise Silva: Yeah,
Ruby Deleo: and
Louise Silva: I think
Ruby Deleo: increase
Louise Silva: it's a
Ruby Deleo: it
Louise Silva: really good idea.
Ruby Deleo: the durability of of the thing, so
Louise Silva: Yeah.
Ruby Deleo: The other aspects, we'll just see how what you came up with and what's possible for that budget.
Louise Silva: Yeah.
Ruby Deleo: Okay.
Emily Ramos: Okay, that's fine Um. Okay, now work a little with Lena Hodges. Okay. Well, let's start it as it is. Okay, uh the method. There are a few questions that need to be answered, uh you already uh talked about it a little bit. Which buttons are wanted, uh is our remote control universal or should it be programmable. Uh if it should be programmeab grammeale then we need um something like a mode that you can switch it. buttons have to send out a different signal then they would normally do.
Ruby Deleo: Mm-hmm.
Emily Ramos: And uh how big is the remote control uh going to be? I'll tell you why that's important to Lena Hodges. Um there are a lot of technical parts in the remote control, so uh uh that's why I also would like to say uh go a little bit easy on the designs, uh I heard ab uh you talking about beeps and about uh video screens, but uh the material inside and the technical aspects are quite complex already.
Ruby Deleo: Mm-hmm.
Emily Ramos: So keep in mind that everything that you keep uh think of, it has to b to be built. So it's
Ruby Deleo: Yeah.
Emily Ramos: that's
Ruby Deleo: Of course,
Emily Ramos: not as easy as
Ruby Deleo: hmm.
Emily Ramos: it s
Louise Silva: Okay.
Emily Ramos: might look like. Uh material study, I'm working on that um for the the costs. I have to check out how far I can go with that. Normally, a circuit board is made of fibreglass uh and the wires are made of copper. Uh that is how it is done and all the remote controls work that way, I think we can just go on with that. Um then I've read more integration of materials means less cost for the production. The more we can make uh at once uh in one piece, uh that is cheaper.
Ruby Deleo: You mean integrate them all into the circuit board.
Emily Ramos: Exactly,
Ruby Deleo: Okay.
Emily Ramos: so if we make a circuit board with the the connections already on it, then that's cheaper.
Ruby Deleo: Yeah,
Emily Ramos: So we
Ruby Deleo: okay.
Emily Ramos: have to
Ruby Deleo: So you have
Emily Ramos: make something that's not too difficult in design again. This is what look like uh looks like if you press one button, so this is not the entire thing. You have the the power coming in, then you have like a switch. The switch uh uh uh if you p press it then some electrical charge goes into the processor, that thinks over a Morse code, that's how you should see it. The Morse code goes to the amplifier, then uh the signal is sent to two uh light bulbs. You have infrared and an interv um uh how to say it? Uh a light in indication, light that you know
Ruby Deleo: Mm-hmm.
Emily Ramos: that it's functioning. Uh here again, that's my story about the different modes, if you do want to make remote uh universal, then the processor has to uh make up a different Morse code when some button is pressed. That makes it much more complex, so we really need to have a look, do we want that or not. Uh I don't have any personal p uh preferences uh so far, except for uh
Ruby Deleo: Okay.
Emily Ramos: the materials to be used uh light, that they are light.
Ruby Deleo: Okay. That was it?
Emily Ramos: That was
Ruby Deleo: I'll get
Emily Ramos: it.
Ruby Deleo: back to my thing then. Uh
Ruby Deleo: Okay, back this up to the screen. So I got some new information on the project specifications are changing a little. Like you said uh teletext is not not very popular anymore because the uh the internet, nowadays people don't use the teletext anymore or hardly, so it can either Well, I don't think we should remove the button, because there are always people who are using it.
Louise Silva: Yeah.
Ruby Deleo: But I don't think it should be very it should be one of the big buttons for example. Just put it somewhere or under second option or whatever. It's not important anymore. Um we're targeting young people now, because our um This is a new product and with this new product we want to appeal to
Lena Hodges: Uh.
Ruby Deleo: younger people, which are um the younger
Lena Hodges: Yeah.
Ruby Deleo: people were defined under forty.
Emily Ramos: Hmm.
Ruby Deleo: I so I think it's
Lena Hodges: B
Ruby Deleo: that's also good with the fashion and everything, so
Lena Hodges: Yeah,
Ruby Deleo: yeah.
Lena Hodges: and they want to pay for it and uh
Ruby Deleo: They want to pay for it, people are willing to spend money actually to buy a um remote that they like.
Lena Hodges: With
Ruby Deleo: If they like
Lena Hodges: more
Ruby Deleo: the way it looks, the way it functions, so they're actually gonna spend uh spend money on it.
Lena Hodges: Where with more technical specifications
Ruby Deleo: Yeah.
Lena Hodges: in the
Ruby Deleo: see how far we can go with it anyway, so
Lena Hodges: Yeah.
Ruby Deleo: And one thing that should be important is that the corporate l colour and slogan are recognisable, and yellow, but I'm not sure if we I think we should keep the the logo in mind, because with colours you can uh have a lot of uh fashionable colours and everything on it, which suits everybody's taste. So With that concept I started thinking, so why not just steal Nokia's idea and just make changeable
Louise Silva: Oh.
Ruby Deleo: covers for your I mean those cost hardly anything I think,
Emily Ramos: Yeah.
Ruby Deleo: and people could even spend extra money on buying a cover and so have an entire new remote control that they like to see. Or we can sh for example we can make a different a basic design. And sell the covers separately, for example. That's just a little marketing idea that could be applied, so you can p it appeals to really everyone. So you don't have to I think you don't have to make entire remote controls. We make a basic one and manufacture this cover separately.
Emily Ramos: Mm-hmm.
Ruby Deleo: So that was that was my idea on what we could do to appeal this product to everyone.
Emily Ramos: Hmm.
Ruby Deleo: So just I'm not sure if you came up with anything in the meantime, after making a presentation.
Lena Hodges: Yeah.
Ruby Deleo: Would you like to share?
Emily Ramos: No, I think this is a good idea.
Ruby Deleo: Okay.
Emily Ramos: But
Lena Hodges: But
Louise Silva: Is
Lena Hodges: oh?
Louise Silva: it manageable?
Emily Ramos: Go ahead.
Lena Hodges: Yeah,
Louise Silva: Is it easy?
Lena Hodges: with with an L_C_D_ screen you can
Ruby Deleo: Oh yeah. I think
Emily Ramos: Y
Ruby Deleo: we should lose the L_C_D_ screen, like you
Emily Ramos: Yes,
Ruby Deleo: said.
Lena Hodges: Why?
Louise Silva: Yeah.
Ruby Deleo: I
Emily Ramos: I
Ruby Deleo: think
Emily Ramos: think so too.
Lena Hodges: Nokia
Ruby Deleo: for example it's
Lena Hodges: w
Ruby Deleo: it's huge I think the L_C_D_ is huge, it consumes batteries like hell.
Lena Hodges: Uh.
Ruby Deleo: I think it takes up a lot of
Emily Ramos: Yeah.
Ruby Deleo: a lot of power.
Louise Silva: And it costs too much
Ruby Deleo: It costs
Louise Silva: to fabricate,
Ruby Deleo: a lot,
Louise Silva: so
Ruby Deleo: I think.
Emily Ramos: Okay,
Lena Hodges: Okay.
Emily Ramos: uh
Louise Silva: we're
Ruby Deleo: What
Louise Silva: on a
Ruby Deleo: we
Louise Silva: tight
Ruby Deleo: could do,
Louise Silva: budget here.
Ruby Deleo: what could be possible, is maybe not an L_C_D_ screen but with a preview, but y I'm not sure if it's even possible.
Emily Ramos: Mm.
Ruby Deleo: For example, a little T_V_ guide.
Emily Ramos: Hmm.
Ruby Deleo: Like you have a little just just a text only, not
Emily Ramos: Mm-hmm.
Lena Hodges: Yeah.
Ruby Deleo: colour, just a little text thing so you can use your remote as a T_V_ guide. I'm not sure
Emily Ramos: Hmm.
Ruby Deleo: it's even
Emily Ramos: I
Ruby Deleo: possible, but
Emily Ramos: have to check that
Ruby Deleo: maybe
Emily Ramos: out, I'm
Ruby Deleo: okay,
Emily Ramos: not sure.
Ruby Deleo: make it Yeah, find a little compromise in that, but
Lena Hodges: Yeah.
Ruby Deleo: What did I write down? I think the p yeah, the beep is a very simple thing to imple implement, just
Emily Ramos: That must
Ruby Deleo: make
Emily Ramos: be
Ruby Deleo: a
Emily Ramos: possible.
Ruby Deleo: button on your T_V_ and just hit the button, it beeps somewhere. I
Emily Ramos: Ja.
Ruby Deleo: think it's easy to implement, we should
Emily Ramos: I'm
Ruby Deleo: go for
Emily Ramos: sorry,
Ruby Deleo: that.
Emily Ramos: whe
Louise Silva: And
Ruby Deleo: Uh speech
Louise Silva: it's
Emily Ramos: where do
Ruby Deleo: recognition.
Emily Ramos: you wanna hit the T_ you wanna we want a button on the television.
Ruby Deleo: I thin Yeah, I mean where
Emily Ramos: In
Ruby Deleo: else should you
Emily Ramos: th
Ruby Deleo: put it?
Emily Ramos: okay, but that rules out a universal remote control. Because that's
Ruby Deleo: Yeah,
Emily Ramos: not possible
Ruby Deleo: but
Emily Ramos: uh.
Ruby Deleo: how are you gonna use that if your I mean if your remote control is
Emily Ramos: Uh.
Ruby Deleo: lost, how
Emily Ramos: Yeah.
Ruby Deleo: are you gonna press where are you gonna press the button?
Emily Ramos: Exactly.
Louise Silva: Maybe just a slap-on sticker with a button which sends out a small
Ruby Deleo: A slap-on
Louise Silva: signal.
Ruby Deleo: sticker. Oh, you mean as like a separate thing you can attach
Lena Hodges: Mm uh.
Ruby Deleo: to your T_V_.
Louise Silva: Yeah,
Ruby Deleo: Yeah, that could
Louise Silva: exactly.
Ruby Deleo: be possible. A little little box you can attach
Emily Ramos: Okay,
Ruby Deleo: to your T_V_ is fine
Emily Ramos: then
Ruby Deleo: then, okay.
Emily Ramos: uh I'd I'd like to know now if we want the uh universal remote control or not, because that's uh
Ruby Deleo: I think it's
Emily Ramos: determines
Ruby Deleo: universal.
Emily Ramos: everything I'm gonna do.
Ruby Deleo: I think we should
Emily Ramos: If not
Ruby Deleo: go for universal, because
Emily Ramos: Okay.
Ruby Deleo: apparently we're a separate company making separate c remote controls to sell to a lot of diverse
Lena Hodges: Yeah.
Ruby Deleo: people. I think universal remote control
Lena Hodges: Um
Ruby Deleo: should be possible.
Emily Ramos: Okay,
Lena Hodges: Everyone
Emily Ramos: then I go for that.
Lena Hodges: uh wants to buy it, so
Ruby Deleo: Yeah, I think
Emily Ramos: Yeah.
Lena Hodges: we
Ruby Deleo: we're targeting
Lena Hodges: w
Ruby Deleo: everyone,
Lena Hodges: yeah.
Ruby Deleo: so
Emily Ramos: Okay.
Ruby Deleo: remote
Emily Ramos: No, it's fine with Lena Hodges, but then I know what to look
Ruby Deleo: Okay,
Emily Ramos: for.
Ruby Deleo: universal is good. Speech recognition, I think it's very hard, because we're selling across multiple countries. So I think
Lena Hodges: Yeah.
Ruby Deleo: implementing speech recognition is such a small um
Lena Hodges: Or one.
Ruby Deleo: apparatus, it's very hard to do.
Lena Hodges: Or
Louise Silva: And it's
Lena Hodges: when you say one two uh i it uh it's
Ruby Deleo: Yeah,
Lena Hodges: enough,
Ruby Deleo: but I
Lena Hodges: right?
Ruby Deleo: don't see
Lena Hodges: But
Ruby Deleo: Arabian people speaking
Lena Hodges: Oh
Ruby Deleo: one,
Lena Hodges: yeah.
Ruby Deleo: two uh whatever.
Louise Silva: Besides that, the technology isn't really super yet, so that
Ruby Deleo: It's
Lena Hodges: Yeah.
Ruby Deleo: Yeah.
Louise Silva: is a problem in
Ruby Deleo: It's
Louise Silva: implementing
Ruby Deleo: not a mature technology,
Louise Silva: this.
Lena Hodges: Okay.
Ruby Deleo: I think it takes a lot of memory and everything in in a remote control,
Louise Silva: It's a good
Ruby Deleo: so
Louise Silva: idea, but it's just not I don't think the market's ripe for that yet.
Ruby Deleo: I don't think it should be implemented in a remote control yet uh.
Emily Ramos: Uh-huh.
Lena Hodges: Yeah.
Ruby Deleo: What else do we have? Um well you should you should look into the in into the materials that are real durable.
Emily Ramos: Mm-hmm.
Ruby Deleo: So the the the symbols won't fade, maybe a little
Emily Ramos: Exactly.
Ruby Deleo: harder plastic
Emily Ramos: I
Ruby Deleo: or especially
Emily Ramos: already noted
Ruby Deleo: li
Emily Ramos: that.
Ruby Deleo: we don't maybe we don't have have to do all the buttons, but especially the ones that are um the popular buttons,
Emily Ramos: Mm,
Ruby Deleo: so
Emily Ramos: okay.
Ruby Deleo: those always fade first.
Emily Ramos: Okay.
Ruby Deleo: Mm the thing is the most important things that we have now.
Emily Ramos: Hmm.
Ruby Deleo: Let's see.
Emily Ramos: If we uh make a remote control with changeable covers, then we can also make uh a cover for every language area. That's
Ruby Deleo: For
Emily Ramos: fo
Ruby Deleo: example?
Emily Ramos: is uh especially for older people, that they can read it read
Ruby Deleo: Well,
Emily Ramos: it in their
Ruby Deleo: we're
Emily Ramos: own
Ruby Deleo: not
Emily Ramos: language.
Ruby Deleo: we're not
Lena Hodges: Yeah.
Ruby Deleo: targeting older people, we should remember that. Everything
Emily Ramos: That's
Ruby Deleo: we target is under
Emily Ramos: okay,
Ruby Deleo: forty, so.
Emily Ramos: okay.
Ruby Deleo: You assume that that they read correctly and
Emily Ramos: Huh.
Ruby Deleo: I think they're The most
Lena Hodges: But
Ruby Deleo: important
Lena Hodges: b
Ruby Deleo: thing about young people is that they're really sensitive to to trends that are passing through the world,
Emily Ramos: Uh
Ruby Deleo: so
Emily Ramos: okay.
Louise Silva: But should the exchangeable covers include the buttons themselves or just
Ruby Deleo: No, of
Louise Silva: the
Ruby Deleo: course. No, I think it's just something you you put over them, because
Emily Ramos: Hmm.
Ruby Deleo: Yeah we c Yeah, you ca
Lena Hodges: But
Ruby Deleo: Well,
Lena Hodges: every
Louise Silva: C
Ruby Deleo: tha that's
Louise Silva: that's
Ruby Deleo: not
Louise Silva: a
Ruby Deleo: a that's
Louise Silva: problem
Ruby Deleo: not a
Louise Silva: with
Ruby Deleo: bad
Louise Silva: the with
Ruby Deleo: that's
Louise Silva: the
Ruby Deleo: not
Louise Silva: text
Ruby Deleo: even
Louise Silva: then.
Ruby Deleo: it's not even a bad idea.
Emily Ramos: Hmm.
Ruby Deleo: I mean, for example, if you're if you're into the durability issue you could For example, if your buttons are faded, after
Emily Ramos: Mm.
Ruby Deleo: I mean if you make a durable remote, they are faded, you can just buy a new cover. Uh
Emily Ramos: Okay.
Ruby Deleo: I'm not sure it's it's hard to make.
Emily Ramos: Uh
Ruby Deleo: So it's
Emily Ramos: but
Ruby Deleo: a good
Emily Ramos: I know
Ruby Deleo: and a
Emily Ramos: that
Ruby Deleo: bad idea.
Emily Ramos: the buttons are like a Nokia telephone on uh one sleeve, so you
Ruby Deleo: Mm-hmm.
Emily Ramos: don't have to change your whole cover. Uh we can make something that you can only remove the sleeve. Know
Lena Hodges: Oh.
Emily Ramos: what
Louise Silva: Oh
Emily Ramos: I mean?
Louise Silva: yeah, I know what you
Emily Ramos: It
Louise Silva: mean.
Emily Ramos: works the same as a Nokia telephone, it's it's in my
Ruby Deleo: Yeah, I
Emily Ramos: uh
Ruby Deleo: know, it's just
Emily Ramos: 'kay.
Ruby Deleo: just
Lena Hodges: Yeah.
Ruby Deleo: a one one piece of rubber for example,
Emily Ramos: Exactly.
Ruby Deleo: okay.
Louise Silva: Yeah.
Ruby Deleo: Yeah, that's what I something I have to look into. Either either change both the buttons and and the cover or just the cover, I'm not sure which
Emily Ramos: Hmm.
Ruby Deleo: which is easier, so Um anyway, yeah, this is what we're gonna do afterwards, just lunch break and have more individual work after that, so let's see what we let's see we So you have to come up with a components concept, yeah. I want some you should do some trend-watching, because
Lena Hodges: Yeah.
Ruby Deleo: even if we're if we're gonna do those covers and everything, what people really want, that's what we need
Lena Hodges: Yeah.
Ruby Deleo: to know in this phase, because that's gonna be the essential final design that we're gonna come up with.
Lena Hodges: Okay.
Ruby Deleo: Um Yeah, I think user interface is fairly obvious. I mean it
Louise Silva: Pretty
Ruby Deleo: should
Louise Silva: straightforward.
Ruby Deleo: be very intuitive, s Yeah, it should speak for itself. Uh for example I bought a remote control last week with a new T_V_, it was it l it's like all buttons and you have no idea what it does at first, and I'm total T_V_ new, anyway. So I think it should be have less or l very little buttons and maybe a second second level menu for the advanced things. Or maybe just stick 'em under a menu, like you said the um the sound options and the surround and whatever, they're more complicated, just stick 'em under one menu and uh give it a just put it in in s in a software piece, you can menu and you can uh select
Emily Ramos: Mm.
Ruby Deleo: everything you want to to set on your T_V_.
Louise Silva: Is it techni technically possible to uh send a signal to a television and then
Emily Ramos: Yeah.
Louise Silva: pops up a menu, because we're working with different types of television, so we're going to work
Ruby Deleo: That
Louise Silva: with that?
Ruby Deleo: is true.
Emily Ramos: I don't think so.
Ruby Deleo: No, that's true.
Emily Ramos: No, I don't think so. Because the television needs to respond to
Ruby Deleo: Yeah,
Emily Ramos: the signal,
Ruby Deleo: that's true.
Louise Silva: It's
Emily Ramos: and if
Louise Silva: an
Emily Ramos: it doesn't
Louise Silva: in-built
Emily Ramos: know how,
Louise Silva: menu,
Emily Ramos: it's
Louise Silva: isn't it? Yes.
Emily Ramos: Exactly, that's not possible.
Louise Silva: So basically we
Ruby Deleo: I'm not sure if it's impossible, but uh there's a chance it's not, so.
Louise Silva: Or we could use a double-sided for less used functions you
Ruby Deleo: A double-sided remote control?
Louise Silva: Yeah,
Ruby Deleo: I don't think that's useful.
Louise Silva: with the cover. I it's basically an idea to overcome these issues, because
Ruby Deleo: Yeah, but then you're gonna have a lot of wasted buttons. For example you have a Sony T_V_ and the half of the buttons won't function if you have
Emily Ramos: Hmm.
Ruby Deleo: a for a Sony
Louise Silva: No,
Ruby Deleo: that
Louise Silva: but
Lena Hodges: Yeah.
Ruby Deleo: won't
Louise Silva: basic
Ruby Deleo: for
Louise Silva: functions
Ruby Deleo: a Philips T_V_.
Louise Silva: but functions which are not frequently used. Because
Ruby Deleo: I don't
Louise Silva: if
Ruby Deleo: think
Louise Silva: we
Ruby Deleo: we
Louise Silva: use
Ruby Deleo: should
Louise Silva: a
Ruby Deleo: Yeah,
Louise Silva: universal
Ruby Deleo: for exam
Louise Silva: remote control, we're going to have to have most buttons on it, so
Lena Hodges: Mm
Ruby Deleo: I'm not s
Lena Hodges: yeah.
Ruby Deleo: yeah, for ex you have to make it a little decision between the part if you want a universal remote control that it should do what people usually do with their T_V_s, not
Emily Ramos: Mm.
Ruby Deleo: not the very complicated settings that you
Emily Ramos: Mm.
Ruby Deleo: can usually do that with uh either a old old remote control if they really hate that thing, but
Emily Ramos: But that
Ruby Deleo: you
Emily Ramos: might
Ruby Deleo: can't
Emily Ramos: be broken.
Ruby Deleo: you cannot take into consideration all the different brands of T_V_s. I think there's I think there is a standard for
Emily Ramos: Hmm.
Ruby Deleo: example between uh because usually the the menu is the menu button is is usable
Emily Ramos: Hmm.
Ruby Deleo: between different brands. Especially the big ones, the
Emily Ramos: Hmm.
Ruby Deleo: big brands, so. 'Cause everybody I have a universal remote control and it can use the menu button,
Emily Ramos: Hmm.
Ruby Deleo: so I think I'm not sure, if you can put some research into that, if it's possible. Uh
Emily Ramos: Mm okay.
Ruby Deleo: I think just a b and the navigation is very basic, it's usually the same thing.
Emily Ramos: For instance, if your old remote control is broken and you buy ours, then uh you
Ruby Deleo: Yeah.
Emily Ramos: should be able to get everything out of the television that's in it.
Ruby Deleo: Yeah, that's
Lena Hodges: Yeah.
Louise Silva: Yeah.
Ruby Deleo: true.
Emily Ramos: Because
Ruby Deleo: I
Emily Ramos: otherwise
Ruby Deleo: think
Emily Ramos: you'll
Ruby Deleo: so
Lena Hodges: Yeah.
Emily Ramos: lose
Ruby Deleo: uh
Emily Ramos: functions
Ruby Deleo: we need
Emily Ramos: by
Ruby Deleo: to put
Emily Ramos: buying
Ruby Deleo: some research
Emily Ramos: our
Ruby Deleo: into that if if we can open the menu, I think it's possible,
Emily Ramos: Okay,
Ruby Deleo: just the way how to.
Emily Ramos: I thi I think so too.
Lena Hodges: Yeah, yeah.
Ruby Deleo: Yeah, then then you could do everything I suppose, because usually the T_V_s have tha that inside in this other little piece of software, so it's okay.
Emily Ramos: And I think that our r remote control should not look like uh any other. For instance uh Sony makes all their remote controls exactly the same
Ruby Deleo: Mm-hmm.
Emily Ramos: for all their devices, and you always grab the wrong one because formatting of the buttons is exactly
Ruby Deleo: Yeah.
Emily Ramos: the same, only the labels are different.
Ruby Deleo: Yeah I think
Emily Ramos: We should
Ruby Deleo: it
Emily Ramos: not
Ruby Deleo: should
Emily Ramos: do
Ruby Deleo: be
Emily Ramos: that.
Ruby Deleo: a little distinct from everything else,
Emily Ramos: Exactly.
Ruby Deleo: because it's
Lena Hodges: Yeah.
Ruby Deleo: either it's both
Louise Silva: Yeah, I have
Ruby Deleo: mayb
Louise Silva: some ideas.
Ruby Deleo: maybe the shape can be a little different.
Louise Silva: I
Ruby Deleo: Maybe
Louise Silva: have
Ruby Deleo: it's
Louise Silva: some
Ruby Deleo: a little
Louise Silva: ideas.
Lena Hodges: Um
Ruby Deleo: more
Emily Ramos: Mm
Ruby Deleo: curves
Emily Ramos: that's your
Ruby Deleo: or whatever.
Emily Ramos: uh
Lena Hodges: yeah.
Emily Ramos: division.
Lena Hodges: And uh with
Ruby Deleo: So um
Lena Hodges: different colours uh.
Louise Silva: I'll put some on paper and present them next time uh
Ruby Deleo: Yeah,
Louise Silva: the ideas
Ruby Deleo: this.
Louise Silva: that I have.
Ruby Deleo: Not
Lena Hodges: Okay.
Ruby Deleo: sure what because we have forty minutes, I'm not sure how much time we have left for the meeting anyway, so.
Louise Silva: I heard a beep
Ruby Deleo: Yeah, but
Louise Silva: go.
Ruby Deleo: it wasn't Lena Hodges, it was him closing
Lena Hodges: Yeah.
Ruby Deleo: something. So anyway, yeah, we could do some i do some work now on on the design for example. I mean what do you want, do you want, but
Louise Silva: Yeah, but we like some some curves or
Ruby Deleo: Yeah, may maybe something like this. But though smooth inside. So you have the transmitter here for example.
Louise Silva: Yeah.
Ruby Deleo: Let's see that you what would be
Lena Hodges: Uh.
Ruby Deleo: handy. I think that the the buttons should be the channel buttons should
Lena Hodges: And a
Ruby Deleo: be
Lena Hodges: light uh
Ruby Deleo: uh on their own. Let's see one, two God damn it.
Louise Silva: Oh, we get the general ideas, yes.
Ruby Deleo: Yeah, okay. Another one here. Let's see what I think this should these are always on top of the of the control,
Emily Ramos: Hmm.
Ruby Deleo: so they should be here.
Louise Silva: Yeah, and since you're holding it like this, I suggest you put
Ruby Deleo: Think it's
Louise Silva: the
Ruby Deleo: like this.
Louise Silva: channel
Lena Hodges: Volume.
Louise Silva: up channel down and volume
Ruby Deleo: Withi within
Louise Silva: yeah
Ruby Deleo: the Yeah,
Louise Silva: yeah.
Ruby Deleo: just take it.
Louise Silva: So you have the up channel the down channel the volume, do we want that horizontal or vertical?
Ruby Deleo: Do you take triangles or
Lena Hodges: Uh it's it's fine,
Ruby Deleo: Um
Lena Hodges: I think.
Ruby Deleo: I think
Louise Silva: This
Ruby Deleo: it
Louise Silva: is
Ruby Deleo: should
Louise Silva: basically
Ruby Deleo: be
Louise Silva: what people are accustomed
Ruby Deleo: I think
Louise Silva: to,
Ruby Deleo: it
Emily Ramos: Yeah.
Louise Silva: so
Ruby Deleo: Maybe we should make 'em bigger or whatever.
Louise Silva: Yeah, but
Lena Hodges: Oh
Louise Silva: this
Lena Hodges: d
Louise Silva: is just a g
Ruby Deleo: Yeah.
Louise Silva: general idea. Uh maybe the menu button can go i
Ruby Deleo: Yeah, in the middle. It's
Louise Silva: in the
Ruby Deleo: it's
Louise Silva: middle.
Ruby Deleo: usually uh there, but
Louise Silva: Whoa.
Ruby Deleo: Mm.
Emily Ramos: Perhaps we should also make uh something like a flash on it, if you if it's lost, for people that are deaf. They they won't
Lena Hodges: Yeah.
Emily Ramos: hear the the beep.
Ruby Deleo: Yeah, but for example if it's lost in your armchair, we'll
Louise Silva: You
Ruby Deleo: not
Emily Ramos: Yeah.
Louise Silva: won't
Ruby Deleo: see
Louise Silva: be able
Ruby Deleo: the flash.
Louise Silva: to find it.
Ruby Deleo: And flash
Emily Ramos: Uh.
Ruby Deleo: takes up a lot of batteries again.
Emily Ramos: Yeah, it's true, but it's it's only has to do so when you press the button that
Lena Hodges: Just
Emily Ramos: it's lost.
Ruby Deleo: Yeah.
Louise Silva: We could make
Emily Ramos: So.
Louise Silva: a combination that it goes beep and that you that some
Lena Hodges: And
Louise Silva: light
Lena Hodges: L_E_D_
Louise Silva: lights
Lena Hodges: uh
Emily Ramos: deaf
Louise Silva: up.
Emily Ramos: people?
Lena Hodges: on
Ruby Deleo: Yeah,
Lena Hodges: it.
Ruby Deleo: I thought about for deaf people for example, so. We could do that.
Lena Hodges: Just
Ruby Deleo: Uh
Lena Hodges: a light
Ruby Deleo: let's see.
Lena Hodges: on it or
Louise Silva: So we have the basic channels we've got here, uh the power button
Ruby Deleo: Oh yeah, it's
Louise Silva: somewhere
Ruby Deleo: true.
Louise Silva: over here?
Ruby Deleo: Um that
Lena Hodges: Very
Ruby Deleo: thing
Lena Hodges: important.
Ruby Deleo: should be central. You shouldn't be you uh shouldn't press it by accident, but it shouldn't be stacked
Lena Hodges: Oh,
Ruby Deleo: away somewhere.
Louise Silva: I usually
Lena Hodges: that's
Louise Silva: press
Lena Hodges: It's
Louise Silva: it on top. At least
Ruby Deleo: Yeah.
Louise Silva: that's what I'm accustomed to.
Emily Ramos: I
Ruby Deleo: Yeah,
Emily Ramos: have another idea,
Ruby Deleo: like that's
Emily Ramos: I'm
Ruby Deleo: gonna work.
Lena Hodges: And
Emily Ramos: not sure if it's possible.
Louise Silva: What would you like to?
Ruby Deleo: Yeah, I thought maybe we should
Lena Hodges: But you
Ruby Deleo: move
Lena Hodges: r
Ruby Deleo: the buttons down and
Lena Hodges: And you are
Ruby Deleo: put
Lena Hodges: reading
Ruby Deleo: it here
Lena Hodges: from
Ruby Deleo: for
Lena Hodges: the
Ruby Deleo: example
Lena Hodges: t
Ruby Deleo: to
Lena Hodges: you always read from the top to the the bottom
Ruby Deleo: From
Lena Hodges: of
Ruby Deleo: top
Lena Hodges: it.
Ruby Deleo: to bottom. Yeah,
Lena Hodges: Yeah,
Ruby Deleo: that's
Lena Hodges: so
Ruby Deleo: true, you should
Emily Ramos: Mm.
Lena Hodges: it's
Ruby Deleo: I think the bu the power button should be on top, 'cause
Lena Hodges: Yeah.
Ruby Deleo: it's the first thing you do, turn it on. So power button on top. Um
Louise Silva: Okay, mute button.
Ruby Deleo: Mute.
Louise Silva: Is that
Ruby Deleo: Do we
Louise Silva: somewhere
Ruby Deleo: hardly
Louise Silva: here?
Ruby Deleo: I think it should be at the bottom
Louise Silva: Is
Lena Hodges: So
Ruby Deleo: somewhere.
Louise Silva: that
Lena Hodges: i
Louise Silva: used
Lena Hodges: it's
Louise Silva: often?
Lena Hodges: sorry?
Louise Silva: The mute button?
Ruby Deleo: Mute.
Louise Silva: Do people
Ruby Deleo: Turn the
Louise Silva: use
Ruby Deleo: sound
Louise Silva: that
Ruby Deleo: off.
Lena Hodges: No,
Louise Silva: often?
Lena Hodges: it's no.
Louise Silva: here,
Lena Hodges: Uh.
Louise Silva: at least
Lena Hodges: Hmm.
Louise Silva: in general, but
Ruby Deleo: I don't think it's important,
Louise Silva: It's
Ruby Deleo: but
Louise Silva: not
Ruby Deleo: I
Louise Silva: that
Ruby Deleo: think
Louise Silva: important,
Ruby Deleo: it
Louise Silva: no.
Ruby Deleo: I think it should be you c you could put
Lena Hodges: Or
Ruby Deleo: it somewhere here.
Lena Hodges: or with the volume selection.
Ruby Deleo: No, because it Yeah, people are accustomed
Lena Hodges: Around
Ruby Deleo: to that, it's
Lena Hodges: uh not uh not at top at the around the volume selection.
Ruby Deleo: Can I have that?
Lena Hodges: I don't
Louise Silva: Sure.
Lena Hodges: know where
Ruby Deleo: That's j
Lena Hodges: exactly, but
Ruby Deleo: Take this out and here see Uh are we gonna take triangles anyway? I'm drawing triangles, but
Louise Silva: That's pretty much what people are accustomed to, aren't they?
Ruby Deleo: Yeah, it's maybe a bigger lesser than thing. So anyway, I think this is should be the channels and
Lena Hodges: Wha
Ruby Deleo: or
Louise Silva: Well,
Ruby Deleo: sh
Louise Silva: I'm accustomed to
Lena Hodges: No.
Louise Silva: the channels
Lena Hodges: Yeah.
Louise Silva: being
Emily Ramos: Yeah,
Louise Silva: on
Emily Ramos: Lena Hodges
Ruby Deleo: Here,
Emily Ramos: too.
Louise Silva: top.
Ruby Deleo: okay.
Lena Hodges: Yeah, that's better.
Ruby Deleo: Okay,
Lena Hodges: On
Ruby Deleo: should we
Lena Hodges: the
Ruby Deleo: chan
Lena Hodges: right.
Ruby Deleo: okay, this two, channel up and
Emily Ramos: Shall
Ruby Deleo: down.
Emily Ramos: we uh also look if it's possible to make a rechargeable remote? That you don't have to
Lena Hodges: Yeah.
Emily Ramos: buy
Ruby Deleo: Well,
Emily Ramos: new batteries
Ruby Deleo: for
Emily Ramos: if
Ruby Deleo: that
Emily Ramos: every
Ruby Deleo: is it's on one part it's um it's
Lena Hodges: Maybe
Ruby Deleo: a good
Lena Hodges: it's
Ruby Deleo: thing
Lena Hodges: more
Ruby Deleo: to recharge
Lena Hodges: ex
Emily Ramos: Mm,
Lena Hodges: expensive.
Ruby Deleo: it
Emily Ramos: yeah.
Ruby Deleo: Maybe we should what what could be possible is
Emily Ramos: Uh.
Ruby Deleo: one with rechargeable batteries for example. You have just put Penlite batteries that are rechargeable,
Emily Ramos: But that's
Ruby Deleo: because
Emily Ramos: already
Louise Silva: But
Ruby Deleo: it's
Emily Ramos: possible.
Ruby Deleo: an it's
Louise Silva: isn't
Ruby Deleo: it's
Louise Silva: that expensive in the
Ruby Deleo: it's
Louise Silva: entire
Ruby Deleo: very annoying.
Louise Silva: package?
Ruby Deleo: I'm not sure y I'm not sure it's if it's expensive, but just take a look at it, because it might be a very good idea. Because if it's it's uh useful to have it rechargeable,
Emily Ramos: Yes.
Ruby Deleo: but at the same time, if you don't want recha if you forgot to recharge it and you wanna watch T_V_ now,
Emily Ramos: Yes.
Ruby Deleo: you wanna be able to put different batteries in it, use it now and not in half an hour.
Emily Ramos: Okay. Uh you could make a device, but I'm not sure how that uh is possible with the costs, that you can put in normal
Ruby Deleo: How about
Emily Ramos: batteries, rechargeable, but
Ruby Deleo: I
Emily Ramos: it
Ruby Deleo: think I have a nice idea.
Emily Ramos: you're the remote also can act as a recharger. So then you can choose, you have every decision. Know what I mean?
Ruby Deleo: Not exactly
Emily Ramos: You can
Ruby Deleo: uh.
Emily Ramos: uh put in normal Penlites, rechargeable Penlites,
Lena Hodges: Hmm.
Emily Ramos: but they can also be recharged with the remote,
Lena Hodges: Yeah
Emily Ramos: with
Lena Hodges: yeah.
Emily Ramos: a wire.
Ruby Deleo: I think it's uh it's a pretty good
Emily Ramos: So
Ruby Deleo: idea to have
Lena Hodges: Yeah,
Ruby Deleo: uh like
Emily Ramos: but
Ruby Deleo: sort of a
Lena Hodges: that's
Ruby Deleo: maybe
Lena Hodges: g
Ruby Deleo: a base station that you put on the T_V_. Could be flat, you could insert your uh remote into it.
Emily Ramos: But I think that will cost a lot. Uh
Ruby Deleo: I'm
Emily Ramos: a normal
Ruby Deleo: not sure.
Emily Ramos: wire would be better. Like a
Ruby Deleo: A what?
Emily Ramos: like a P_D_A_, a hand-held. You can uh just put it in the electricity and it charges itself, you
Ruby Deleo: Well,
Emily Ramos: don't need
Ruby Deleo: we
Emily Ramos: basic
Ruby Deleo: were
Emily Ramos: station.
Ruby Deleo: talking about the fact that we wanted to insert either a beep or a flash into
Emily Ramos: Yes.
Ruby Deleo: the thing with a little separate signal or So you
Emily Ramos: That
Ruby Deleo: could
Emily Ramos: is
Ruby Deleo: put that
Emily Ramos: possible,
Ruby Deleo: on a T_V_
Emily Ramos: that's true.
Ruby Deleo: for example. It could be very flat,
Lena Hodges: But
Ruby Deleo: could be very small. It's a very
Lena Hodges: Which
Ruby Deleo: small Yeah, I'm drawing it big now, but So you can put
Emily Ramos: Mm.
Ruby Deleo: your remote on flat for example.
Lena Hodges: Yeah.
Ruby Deleo: And at the backside of remote just just just a little hole
Emily Ramos: Yeah.
Ruby Deleo: for example um you just put it down, it
Emily Ramos: Yeah.
Ruby Deleo: recharges for example. I don't think it's very
Louise Silva: But again,
Ruby Deleo: expensive.
Louise Silva: isn't
Lena Hodges: Yeah.
Louise Silva: that too expensive? 'Cause that means
Ruby Deleo: I'm not
Louise Silva: that
Ruby Deleo: sure
Louise Silva: we
Ruby Deleo: if it
Louise Silva: have
Ruby Deleo: costs
Louise Silva: to implement
Ruby Deleo: a lot, that
Emily Ramos: Mm.
Ruby Deleo: that's
Louise Silva: rechargeable
Ruby Deleo: what he r
Louise Silva: batteries, a docking
Ruby Deleo: That's that
Louise Silva: station
Ruby Deleo: you that's what you buy yourself.
Emily Ramos: Yes. I'm going to try to find that out. I'm not sure if there's information
Ruby Deleo: It's just
Emily Ramos: available
Ruby Deleo: an
Lena Hodges: But
Ruby Deleo: idea,
Emily Ramos: on this,
Ruby Deleo: we
Emily Ramos: but
Ruby Deleo: have to find out if it's
Louise Silva: And
Ruby Deleo: possible.
Louise Silva: do people actually want that?
Lena Hodges: Yeah, they
Louise Silva: To
Lena Hodges: want
Louise Silva: pay extra
Lena Hodges: to pay for it.
Ruby Deleo: Do they want
Louise Silva: they want
Ruby Deleo: but
Louise Silva: to
Ruby Deleo: they
Louise Silva: pay
Ruby Deleo: want
Louise Silva: for
Ruby Deleo: a
Lena Hodges: Yeah.
Ruby Deleo: rechargeable
Louise Silva: rechargeable?
Ruby Deleo: one? I'm not sure, you should find out if
Lena Hodges: Th uh
Ruby Deleo: it's if rechargeable is important.
Lena Hodges: there was not a el ask esque
Emily Ramos: Hmm.
Ruby Deleo: Yeah.
Emily Ramos: These are uh comfort issues.
Lena Hodges: But
Emily Ramos: So I think people will pay they wanted to pay for comfort. Well, this
Ruby Deleo: They want
Emily Ramos: is
Ruby Deleo: to
Emily Ramos: comfort.
Ruby Deleo: pay for comfort, we just assu we we could either make a separate
Lena Hodges: But f
Ruby Deleo: station which
Lena Hodges: hmm.
Ruby Deleo: just sends a signal to the remote control to either beep or flash
Emily Ramos: Yes.
Ruby Deleo: to find it, um and Yeah, we have to either that
Emily Ramos: Hmm.
Ruby Deleo: or make it integrated with a with a docking
Emily Ramos: Yeah.
Ruby Deleo: station.
Emily Ramos: Exactly. I think this is a brilliant product. I would buy
Ruby Deleo: I
Emily Ramos: it myself.
Ruby Deleo: think it would be good actually. I like the beep
Emily Ramos: Uh.
Ruby Deleo: part anyway. So um let's go
Emily Ramos: I
Ruby Deleo: through
Emily Ramos: like
Ruby Deleo: the
Emily Ramos: the covers. That's a brilliant idea.
Louise Silva: Can can we
Emily Ramos: I never
Louise Silva: save
Emily Ramos: thought
Ruby Deleo: Covers
Louise Silva: this
Ruby Deleo: is
Louise Silva: or
Ruby Deleo: covers is good. Yeah, it's Oh we can save this. Up and saved. We even saved the ant. Um Okay. So what we have is you have I think you have to do a lot of work on if it's possible for the cost.
Emily Ramos: I hope if I have information about
Ruby Deleo: Maybe
Emily Ramos: that, I'm gonna
Ruby Deleo: yeah, or
Louise Silva: Yeah.
Lena Hodges: Yeah.
Ruby Deleo: maybe you can find out i what people are willing to pay. We are going for twenty five Euros
Lena Hodges: Yeah,
Ruby Deleo: sales
Lena Hodges: okay.
Ruby Deleo: price, but just try to find out what they're willing to pay for
Lena Hodges: Yeah
Ruby Deleo: it, because
Lena Hodges: yeah yeah.
Ruby Deleo: if they're willing to pay more, we could lose a little profit and maybe attract
Emily Ramos: Mm.
Ruby Deleo: more customers, uh we
Emily Ramos: Yeah.
Ruby Deleo: just have to
Lena Hodges: Yeah.
Ruby Deleo: see what it looks like.
Emily Ramos: I would like to make a decision. What it costs and what kind of materials that we can uh choose what we want
Ruby Deleo: Yeah,
Emily Ramos: in
Ruby Deleo: if
Emily Ramos: it
Ruby Deleo: you have
Emily Ramos: and
Ruby Deleo: some financial information that
Emily Ramos: exactly, I need it.
Ruby Deleo: that'd be nice, so. Hmm.
Louise Silva: Could you post some other essentials of what people want, so that I can work with some buttons, where to put it
Lena Hodges: Yeah.
Louise Silva: You seem to have information on that, I'd like to uh see some of it.
Emily Ramos: Was it not possible to uh send emails around the office?
Ruby Deleo: No, it wasn't
Louise Silva: No,
Ruby Deleo: wasn't
Louise Silva: it's not.
Ruby Deleo: allo
Emily Ramos: Not.
Ruby Deleo: it was possible, not
Louise Silva: No.
Ruby Deleo: allowed, so. So that's
Lena Hodges: Yeah.
Ruby Deleo: um why I'm not sure that you're allowed to share
Lena Hodges: My computer
Ruby Deleo: documents
Lena Hodges: crashed,
Ruby Deleo: on the on the draft.
Lena Hodges: so
Emily Ramos: Yeah,
Lena Hodges: uh
Emily Ramos: okay.
Ruby Deleo: I don't care.
Lena Hodges: I
Ruby Deleo: I
Lena Hodges: lost
Louise Silva: Oh, your computer.
Ruby Deleo: haven't
Lena Hodges: my
Ruby Deleo: heard
Lena Hodges: uh
Ruby Deleo: any
Lena Hodges: presentation,
Ruby Deleo: complaints
Louise Silva: Okay.
Ruby Deleo: yet, so.
Lena Hodges: but
Ruby Deleo: Um
Lena Hodges: I have the uh
Louise Silva: Well, I have your PowerPoint presentation, I can get some
Lena Hodges: Yeah, but
Louise Silva: inf
Lena Hodges: I
Louise Silva: information out of that.
Lena Hodges: Here I have the
Louise Silva: Let's see.
Lena Hodges: the s the homepage of uh our internet,
Ruby Deleo: Yeah, the
Lena Hodges: and
Ruby Deleo: oh,
Lena Hodges: here
Ruby Deleo: they
Lena Hodges: is
Ruby Deleo: inc
Lena Hodges: my
Ruby Deleo: uh they include the new one. Or
Louise Silva: Oh,
Ruby Deleo: just
Louise Silva: where
Ruby Deleo: for you.
Louise Silva: would we
Lena Hodges: here is my marketing report, maybe you ca
Ruby Deleo: Oh
Lena Hodges: you
Ruby Deleo: no,
Lena Hodges: can
Ruby Deleo: I didn't
Lena Hodges: look
Ruby Deleo: have
Lena Hodges: at
Ruby Deleo: that.
Lena Hodges: uh that and
Louise Silva: Where would we want the uh teletext
Lena Hodges: Ah yeah.
Louise Silva: button? Because we
Lena Hodges: And
Louise Silva: decided
Ruby Deleo: All
Lena Hodges: one
Ruby Deleo: it tells
Louise Silva: that
Ruby Deleo: just
Louise Silva: it's n not that important.
Ruby Deleo: let's
Louise Silva: Do we
Ruby Deleo: make
Louise Silva: put
Ruby Deleo: make
Louise Silva: it
Ruby Deleo: a new
Louise Silva: somewhere
Ruby Deleo: tick
Louise Silva: over
Ruby Deleo: the new
Louise Silva: here?
Ruby Deleo: one. Um other side. Yeah, let's increase it a little because
Lena Hodges: And uh wha what people
Louise Silva: Or
Lena Hodges: want,
Louise Silva: maybe this is something for the next meeting,
Lena Hodges: I've
Louise Silva: I can
Lena Hodges: uh
Louise Silva: draw out some
Ruby Deleo: Yeah,
Louise Silva: ideas.
Ruby Deleo: draw us up some some designs of of
Lena Hodges: I
Ruby Deleo: possible
Lena Hodges: have another thing
Ruby Deleo: just
Lena Hodges: uh
Ruby Deleo: keep in mind that the important buttons should be on top
Louise Silva: Yeah.
Ruby Deleo: and either big, so the
Louise Silva: Well,
Ruby Deleo: more
Louise Silva: we have
Ruby Deleo: less important
Louise Silva: decided more or less the
Ruby Deleo: More
Louise Silva: basic
Ruby Deleo: or less.
Louise Silva: structure. I can put the other buttons
Ruby Deleo: Just
Louise Silva: in
Ruby Deleo: play a little with this, put l shift a little up
Louise Silva: Yeah.
Ruby Deleo: or down and we'll see what looks best.
Emily Ramos: What uh what did you wanna say?
Ruby Deleo: Or
Lena Hodges: Yeah.
Ruby Deleo: just po post your
Lena Hodges: Um
Ruby Deleo: designs from time to time on the
Louise Silva: Yeah.
Ruby Deleo: product share.
Lena Hodges: Uh what I al already said is the
Louise Silva: Maybe
Lena Hodges: the uh
Louise Silva: another idea
Lena Hodges: the remote controls
Louise Silva: uh.
Lena Hodges: are always lost, but it it's also for people, they want to learn it fast, not uh
Emily Ramos: Mm.
Lena Hodges: they
Emily Ramos: Mm.
Lena Hodges: want to
Ruby Deleo: Yeah, so we don't want we want very
Lena Hodges: No
Ruby Deleo: little buttons, just the buttons
Emily Ramos: Mm.
Ruby Deleo: you use a lot.
Lena Hodges: It's yeah, it's easy to learn
Louise Silva: Yes, but
Lena Hodges: wi
Louise Silva: it
Lena Hodges: and
Louise Silva: should
Lena Hodges: uh
Louise Silva: cover all the functions, so possibly,
Ruby Deleo: Well what
Louise Silva: just an
Lena Hodges: Um
Louise Silva: idea that
Ruby Deleo: we had
Louise Silva: popped
Ruby Deleo: function
Louise Silva: in
Ruby Deleo: that what people do, so. People change channels, people they change the volume and they they change channel, they turn T_V_ off and on, for example. That's the basic fu that's what you do I'm not sure who present that again, but those are the basic function that people use it for, so those should be very well represented.
Louise Silva: Yeah,
Lena Hodges: And
Louise Silva: but we could go a step further, because some T_V_s have the uh possibility
Lena Hodges: The
Louise Silva: to adjust brightness,
Lena Hodges: If
Louise Silva: that kind of menus.
Ruby Deleo: That's true, but that's what we stick under the menu button. Everything is you
Louise Silva: Yes,
Ruby Deleo: say in
Louise Silva: but
Ruby Deleo: every
Louise Silva: it
Ruby Deleo: T_V_ that's configured under the menu.
Emily Ramos: But
Louise Silva: Because
Emily Ramos: that's the question,
Louise Silva: we're making
Emily Ramos: is
Lena Hodges: Um
Emily Ramos: it? Because it needs to be configured in the television under the menu.
Ruby Deleo: Yeah, but
Emily Ramos: If it isn't, then we cannot reach it.
Louise Silva: We need to adjust
Ruby Deleo: But
Louise Silva: to
Ruby Deleo: I think
Louise Silva: the
Ruby Deleo: most modern T_V_s
Louise Silva: technology.
Ruby Deleo: have it
Emily Ramos: I think
Ruby Deleo: in
Emily Ramos: so
Ruby Deleo: their
Emily Ramos: too.
Ruby Deleo: menu.
Emily Ramos: I think
Louise Silva: True.
Emily Ramos: so too. Uh isn't there a possibility to do research on that, so we know that for sure? If you rule out functions, then uh and that gets known, then people are not gonna buy it. Then the
Louise Silva: No,
Emily Ramos: consumer
Louise Silva: I thi
Emily Ramos: bond or something says uh you cannot do this and that with it.
Lena Hodges: If um
Emily Ramos: That's a bad bad com commercial
Ruby Deleo: Uh we'll
Emily Ramos: for
Ruby Deleo: we'll see what we can come up with.
Lena Hodges: Another
Emily Ramos: okay.
Lena Hodges: thing I want to say is that uh we are looking at the market for the age uh
Ruby Deleo: Under
Lena Hodges: younger
Ruby Deleo: forty.
Lena Hodges: than forty.
Ruby Deleo: Yeah?
Emily Ramos: That's true.
Lena Hodges: Um on my report, I didn't uh ish I didn't show it in my uh presentation,
Ruby Deleo: Mm-hmm.
Lena Hodges: because my computer crashed.
Ruby Deleo: Yeah yeah.
Lena Hodges: Um they want to pay for an L_C_D_ screen
Emily Ramos: Hmm.
Lena Hodges: and speech recognition.
Emily Ramos: Hmm.
Ruby Deleo: The want to
Lena Hodges: So
Ruby Deleo: pay for Oh.
Emily Ramos: Did they really said
Lena Hodges: i
Emily Ramos: it like that?
Lena Hodges: yeah.
Emily Ramos: Those two things.
Lena Hodges: Yeah, and
Emily Ramos: Do they realise
Ruby Deleo: Uh
Emily Ramos: how
Ruby Deleo: shall
Emily Ramos: much
Ruby Deleo: we?
Emily Ramos: that costs? That's
Lena Hodges: Yeah.
Emily Ramos: almost undoable.
Louise Silva: Oh,
Ruby Deleo: Younger,
Louise Silva: we're not going
Ruby Deleo: age
Louise Silva: to be able
Lena Hodges: Uh
Ruby Deleo: sixteen
Louise Silva: to sell it
Ruby Deleo: and
Louise Silva: for
Ruby Deleo: forty
Louise Silva: twenty-five
Lena Hodges: but
Ruby Deleo: five.
Louise Silva: then, with
Ruby Deleo: That's
Louise Silva: an L_C_D_
Ruby Deleo: all here, here
Louise Silva: screen.
Ruby Deleo: it says
Emily Ramos: No, that's that's. Even if i if
Ruby Deleo: Yeah,
Emily Ramos: we have
Ruby Deleo: age
Emily Ramos: this
Lena Hodges: If
Ruby Deleo: sixteen
Lena Hodges: if
Emily Ramos: lost
Ruby Deleo: forty
Lena Hodges: they
Emily Ramos: unit,
Ruby Deleo: fi interest
Emily Ramos: then
Ruby Deleo: in main features
Emily Ramos: we
Ruby Deleo: more
Emily Ramos: cannot
Ruby Deleo: critical.
Emily Ramos: do it for that price.
Ruby Deleo: Okay, so we're not focusing on this. Um All the interest in features, not really the L_C_ oh here. Would you pay for uh speech recognition in a remote control. Hmm, okay?
Emily Ramos: Yeah, that's true.
Lena Hodges: So uh we can
Ruby Deleo: Speech recognition is
Lena Hodges: We
Ruby Deleo: quite
Lena Hodges: can look at the possibilities for an uh L_C_D_ and uh
Emily Ramos: Mm.
Ruby Deleo: Yeah, just look
Lena Hodges: I
Ruby Deleo: at
Lena Hodges: dunno.
Ruby Deleo: the possibilities
Lena Hodges: Yeah.
Ruby Deleo: then, because if apparently
Emily Ramos: Hmm.
Ruby Deleo: it's what people want,
Lena Hodges: How
Ruby Deleo: it's
Lena Hodges: much it
Ruby Deleo: supposed
Lena Hodges: will cost
Ruby Deleo: to be a luxurious
Emily Ramos: Uh.
Lena Hodges: and
Ruby Deleo: remote, maybe it's not even that expensive. Or find a compromise, maybe just a black and white
Emily Ramos: Uh
Ruby Deleo: or
Emily Ramos: I
Ruby Deleo: for some extra
Lena Hodges: Um
Ruby Deleo: information
Louise Silva: Well
Ruby Deleo: on it,
Louise Silva: I doubt it, but
Emily Ramos: But
Ruby Deleo: on your
Emily Ramos: I
Ruby Deleo: programmes.
Emily Ramos: really need finance information.
Ruby Deleo: Lena Hodges too. I mean we all do.
Emily Ramos: We all do.
Lena Hodges: It
Ruby Deleo: Right.
Lena Hodges: will come uh
Ruby Deleo: I think it's something we should put into consideration. Apparently it's what people want, so.
Emily Ramos: Mm.
Ruby Deleo: We should see if what it costs, if it's possible.
Emily Ramos: Uh.
Lena Hodges: Yeah.
Ruby Deleo: Yeah. Yeah, we should do a little thing about design, because it looks boring really to Lena Hodges. Even if you put it even if you put a different cover on it, it looks still
Lena Hodges: Different
Ruby Deleo: looks boring,
Lena Hodges: colours
Ruby Deleo: so.
Emily Ramos: Hmm.
Lena Hodges: maybe.
Emily Ramos: And the design,
Lena Hodges: But
Emily Ramos: it should differ. This
Lena Hodges: all
Emily Ramos: is Philips, huh? Philips has
Ruby Deleo: I
Emily Ramos: this.
Ruby Deleo: have no clue.
Louise Silva: Well,
Ruby Deleo: I just
Louise Silva: I had basically
Ruby Deleo: drew something what
Emily Ramos: Okay.
Ruby Deleo: which would fit into your hand easily.
Emily Ramos: Hmm. Uh.
Louise Silva: Something like this. To make it kind of futuristic.
Emily Ramos: Mm. Oh, I realise if we make it small, then it needs to be a little thicker,
Ruby Deleo: I
Emily Ramos: because
Ruby Deleo: think
Emily Ramos: I
Ruby Deleo: it's
Emily Ramos: need
Ruby Deleo: a
Emily Ramos: to
Ruby Deleo: very
Emily Ramos: put all the electronics in it.
Ruby Deleo: Sorry?
Emily Ramos: If we make it s uh smaller, uh less wide,
Ruby Deleo: Yeah?
Emily Ramos: then we need to m make it a little thicker, because I have to put all the electronics
Ruby Deleo: Okay.
Emily Ramos: in it.
Ruby Deleo: Mm-hmm. Yeah, but you have
Lena Hodges: Okay.
Ruby Deleo: to j just keep in mind it shouldn't be too heavy. I mean we can stick it in in there, I think.
Emily Ramos: No.
Ruby Deleo: Huh
Louise Silva: So what
Ruby Deleo: even
Louise Silva: kind
Ruby Deleo: if
Louise Silva: of
Ruby Deleo: in the worst case we can even Could you give Lena Hodges the pen back?
Louise Silva: Yeah, sure.
Ruby Deleo: So let's say that people would want an L_C_D_ thing. Let's take take the basic design again, what we oh, crap uh came up with. I'll just make it a little bigger now. So a transmitter here. Anyway. We could let's say we have an L_C_D_ screen, people want an L_C_D_ screen. So then we should probably put it here. It doesn't have to be really big, but
Emily Ramos: Hmm.
Ruby Deleo: just just have to be has to be there. Think it's a good place, people don't
Lena Hodges: If you're reading from top to bottom, I think it's better to put it uh at
Ruby Deleo: No?
Lena Hodges: the top.
Ruby Deleo: It's not that
Emily Ramos: Lena Hodges
Ruby Deleo: uh it's
Lena Hodges: It's
Emily Ramos: too.
Ruby Deleo: not
Lena Hodges: j
Ruby Deleo: the most important function, it's just
Emily Ramos: Ah
Ruby Deleo: an extra thing, it just
Lena Hodges: Uh.
Ruby Deleo: you press the buttons
Emily Ramos: but.
Ruby Deleo: on top, because
Lena Hodges: But
Ruby Deleo: your
Lena Hodges: i
Ruby Deleo: finger is
Lena Hodges: if
Ruby Deleo: on top.
Lena Hodges: you if you are going to uh put the L_C_D_ on it, I think it's very important to use it, uh because it's use it uh
Ruby Deleo: How can you use an L_C_D_ screen?
Lena Hodges: But nee the function of it. So you can use it maximum, because uh it's a lot it costs a lot. So
Ruby Deleo: Yeah, but why I I'm
Louise Silva: Now
Ruby Deleo: not sure.
Louise Silva: it's pretty much tucked away in your hand.
Ruby Deleo: Uh if you t
Emily Ramos: Hmm.
Ruby Deleo: if you press a button, you can see it, ri I'm not sure wha I'm trying to imagine myself
Emily Ramos: No.
Ruby Deleo: what it would look like.
Emily Ramos: M I
Louise Silva: I'm
Emily Ramos: personally would prefer it on the top.
Ruby Deleo: You would prefer
Lena Hodges: Yeah.
Ruby Deleo: it n Okay.
Emily Ramos: Huh.
Ruby Deleo: So we have three people saying it should be on top. Okay,
Emily Ramos: But
Ruby Deleo: but then
Emily Ramos: it
Ruby Deleo: you would would s have to stack away your buttons somewhere else.
Emily Ramos: Hmm.
Ruby Deleo: Anyways.
Lena Hodges: It's expensive to build it, so
Emily Ramos: Mm.
Ruby Deleo: Uh this
Lena Hodges: you
Louise Silva: I'm
Ruby Deleo: looks
Lena Hodges: must
Louise Silva: still
Ruby Deleo: a little
Louise Silva: not
Lena Hodges: use
Louise Silva: convinced
Lena Hodges: the maximum
Louise Silva: of
Lena Hodges: of it.
Louise Silva: the
Ruby Deleo: About the L_C_D_s thing.
Louise Silva: Yeah.
Emily Ramos: Hmm.
Ruby Deleo: Well if it if it's if it's possible wi
Emily Ramos: They
Ruby Deleo: if
Emily Ramos: want
Ruby Deleo: it's
Emily Ramos: it uh.
Ruby Deleo: not too expensive, we should include it, because it's it's cool.
Emily Ramos: We should just try to make that if it's possible. If it is possible we should really do it, but we need that information.
Lena Hodges: Huh. Uh.
Emily Ramos: Also
Lena Hodges: But
Emily Ramos: keep in mind
Lena Hodges: uh
Emily Ramos: again, the L_C_D_ screen is very flat, but it needs transistors, resistors, I don't know what more and that needs space. So I have to look if that's possible.
Lena Hodges: Yeah, I know uh.
Emily Ramos: But if
Louise Silva: So basically
Emily Ramos: we
Louise Silva: can I
Ruby Deleo: Uh we have
Louise Silva: what
Ruby Deleo: green
Louise Silva: we have
Ruby Deleo: now
Louise Silva: to decide
Ruby Deleo: uh
Louise Silva: now is uh what goes on top. Do we put the volume control and the channel control here, or do we put it on he Would we like
Lena Hodges: In
Louise Silva: to press
Lena Hodges: middle
Ruby Deleo: Or
Lena Hodges: of
Ruby Deleo: maybe
Louise Silva: it
Lena Hodges: it.
Ruby Deleo: we should m
Louise Silva: in the
Ruby Deleo: we
Louise Silva: middle?
Ruby Deleo: could uh draw
Lena Hodges: In the middle.
Ruby Deleo: draw something a bit that has it on on on the bottom. Maybe in a circle for example, like we like in this example. I think this is not good, but for we could make circular buttons for example.
Emily Ramos: Hmm.
Ruby Deleo: For up
Louise Silva: Yes,
Ruby Deleo: and
Louise Silva: but
Ruby Deleo: down,
Louise Silva: we
Ruby Deleo: ma
Louise Silva: do agree
Ruby Deleo: make
Louise Silva: that
Ruby Deleo: it a circle
Louise Silva: we
Ruby Deleo: on it, because it
Louise Silva: keep this at the centre, because it's basically
Lena Hodges: Yeah.
Louise Silva: the most important
Ruby Deleo: I think the channel
Lena Hodges: It's the
Ruby Deleo: button
Lena Hodges: most
Louise Silva: function.
Ruby Deleo: should
Lena Hodges: import
Ruby Deleo: be in the centre.
Lena Hodges: yeah.
Ruby Deleo: Channel button should be st stick together, for example here in this section. Because it's
Louise Silva: Well, that
Ruby Deleo: uh
Louise Silva: would make them quite small.
Ruby Deleo: We're not sure
Louise Silva: So maybe
Ruby Deleo: about the size
Louise Silva: you'd put
Ruby Deleo: anyway,
Louise Silva: them here.
Ruby Deleo: just a general design. You can make it as big as you want. For example if
Louise Silva: Yes,
Ruby Deleo: you take
Louise Silva: but a big remote
Ruby Deleo: uh
Louise Silva: control probably not something which
Emily Ramos: Hmm.
Louise Silva: people
Ruby Deleo: No,
Louise Silva: would like.
Ruby Deleo: let's see. For example
Emily Ramos: If
Ruby Deleo: just
Emily Ramos: we have a a space issue, we can also lose one battery. It is rechargeable, so we can stick with one instead
Ruby Deleo: Yeah.
Emily Ramos: of two. That
Ruby Deleo: I
Emily Ramos: might
Ruby Deleo: don't
Emily Ramos: be
Ruby Deleo: think
Emily Ramos: an option.
Ruby Deleo: if we if we even use an L_C_D_ screen, we need to, definitely.
Emily Ramos: Yeah, but if we need two batteries and an L_C_D_ screen, that means a lot of space that we need.
Ruby Deleo: Yeah, but
Emily Ramos: But it
Ruby Deleo: we
Emily Ramos: has
Ruby Deleo: have
Emily Ramos: to be a little
Ruby Deleo: to
Emily Ramos: bit
Ruby Deleo: see what
Emily Ramos: heavier.
Ruby Deleo: the si what the size is.
Emily Ramos: Okay.
Ruby Deleo: The L_C_D_ doesn't have to nee doesn't need to be very big.
Emily Ramos: No, but the things behind it. space.
Ruby Deleo: Mm let's see.
Emily Ramos: Like
Lena Hodges: Finish
Emily Ramos: a process uh.
Lena Hodges: meeting now. It's
Ruby Deleo: Finish
Lena Hodges: on
Ruby Deleo: meeting
Lena Hodges: your computer.
Ruby Deleo: now. Okay, we will.
Louise Silva: So would
Ruby Deleo: So
Louise Silva: we
Ruby Deleo: either
Louise Silva: like this or would we like the
Ruby Deleo: We either we have to decide what
Emily Ramos: I like
Ruby Deleo: what
Emily Ramos: this
Ruby Deleo: people
Emily Ramos: one
Ruby Deleo: want.
Emily Ramos: more.
Ruby Deleo: Either this one, this this could be the luxurious one. So we have channel buttons here. I'm just drawing something uh. Uh I think this would this would look cool. You could have it for example small
Lena Hodges: Uh.
Ruby Deleo: buttons here for some extra functions, so if your basic function's here, we should like we decided before, programmes up and down,
Emily Ramos: Mm.
Ruby Deleo: and
Louise Silva: Let's
Lena Hodges: Or
Ruby Deleo: volume
Louise Silva: see
Ruby Deleo: here.
Louise Silva: what we have here.
Lena Hodges: And uh what about speech recognition uh
Ruby Deleo: Well you can just no, I'm not
Lena Hodges: Yeah,
Ruby Deleo: sure if we can do that, but
Lena Hodges: yeah,
Ruby Deleo: we could
Lena Hodges: but
Ruby Deleo: put a microphone
Lena Hodges: or
Ruby Deleo: in
Lena Hodges: or
Ruby Deleo: here
Lena Hodges: an
Ruby Deleo: for
Lena Hodges: L_C_D_
Ruby Deleo: example.
Lena Hodges: or an uh speech.
Emily Ramos: Mm.
Lena Hodges: I think it's L_C_D_ is better now.
Ruby Deleo: Just to do research into both, w what it costs and what it
Lena Hodges: Yeah.
Ruby Deleo: takes for space.
Emily Ramos: I'll try
Lena Hodges: Yeah.
Emily Ramos: to.
Ruby Deleo: But let's cut the meeting for now
Emily Ramos: One more
Ruby Deleo: yes.
Emily Ramos: uh thing I'd like to say, uh let's give this uh a name, and not like some vague serial number that no one understands, like
Louise Silva: Okay.
Emily Ramos: with cars.
Lena Hodges: Yeah, okay,
Emily Ramos: Shall we
Lena Hodges: yeah,
Emily Ramos: all try uh to think about a name?
Louise Silva: So I think
Lena Hodges: that's
Louise Silva: of a name.
Lena Hodges: yeah, that's
Ruby Deleo: Yeah,
Lena Hodges: okay.
Ruby Deleo: let's think of a name, okay. Uh okay.
Lena Hodges: Oh, good.
Ruby Deleo: Okay, at anyways,
Louise Silva: So
Ruby Deleo: the the minutes will be on the on the web shortly, so there we go
Louise Silva: Yes,
Ruby Deleo: uh.
Louise Silva: go and finish up and I'll see you at lunch.
Lena Hodges: Yeah.
Emily Ramos: Good luck.
Ruby Deleo: Yeah, to all.
Lena Hodges: Same.
Louise Silva: Yeah.
Emily Ramos: Yeah, I've Do we uh save the? | Customers are willing to pay more for fancier looking remotes. They like innovative technology like speech recognition and LCD screens. It also transpires that remotes are easy to lose. Everyone agreed that they need to incorporate a locating mechanism in their design, and that changeable covers could make appealing-looking remotes. The need for clarity of button functions was mentioned. On the other hand, materials should be more durable. The function of the remote is relatively simple: by pressing a button a current is passed to the chip, and defines what signal is to be sent to the receiver (the TV) via infrared. There are some new requirements: the target group will be people below 40, the device will have to be for TV only, they should ignore the teletext function, and, also, the remote should be recognisable as a Real Reaction product. They drew some of their ideas, and discussed the positioning of the buttons and the LCD. The most used buttons are going to be placed on top. It might be possible to use a charger for the remote. The concept of the design will be finalised in the next meeting. | 4 | amisum | train |
Nancy Stokes: Did you manage?
April Whitten: Yeah, sh not quite.
Nancy Stokes: Okay.
April Whitten: You will uh
Nancy Stokes: Ah. Hello.
Tina Turben: Hello. So, are you d what were j you guys discussing?
Nancy Stokes: No, just uh ask if if he
April Whitten: Woah.
Nancy Stokes: could manage.
April Whitten: Yeah.
Tina Turben: Okay. Did you find anything new?
April Whitten: Mm uh nothing special. Uh
Tina Turben: Mm-hmm.
Nancy Stokes: I have a lot
April Whitten: Yeah,
Nancy Stokes: of
April Whitten: the
Nancy Stokes: new information.
April Whitten: for uh
Tina Turben: Great,
April Whitten: the trendy
Tina Turben: great.
April Whitten: uh stuff. A little
Tina Turben: Come
April Whitten: bit.
Tina Turben: on.
April Whitten: I uh now will show it.
Nancy Stokes: Hey, everything alright.
Jessie Philipp: Well, I had
Nancy Stokes: Did you
Jessie Philipp: just
Nancy Stokes: manage?
Jessie Philipp: a little bit of time so
Nancy Stokes: Okay.
April Whitten: Okay.
Jessie Philipp: I hope it's something
Tina Turben: What's uh here.
Jessie Philipp: uh we can work with. But
April Whitten: Yeah, I had the same. It just uh
Nancy Stokes: Do you have a lot of
April Whitten: shuts
Nancy Stokes: new information?
April Whitten: itself down and
Jessie Philipp: Hmm?
Nancy Stokes: Do you have a lot of new information?
Jessie Philipp: Well, I heard that there was a new uh component speech recognition component,
April Whitten: Oh.
Jessie Philipp: which was
Nancy Stokes: That's true.
Tina Turben: And there
Jessie Philipp: pretty
Tina Turben: we are.
Jessie Philipp: much up to standard, so
Nancy Stokes: Huh.
Jessie Philipp: we might use that I put that in my drawing, but again I didn't not have that much time. So
Nancy Stokes: Alright. I have a lot
Tina Turben: What
Nancy Stokes: of
Tina Turben: the
Nancy Stokes: new
Tina Turben: f oh, yeah
Nancy Stokes: information. I have
Tina Turben: uh.
Nancy Stokes: a complete list of
Tina Turben: It doesn't
Nancy Stokes: uh
Tina Turben: do what I want
Nancy Stokes: everything that
Tina Turben: it
Nancy Stokes: we can use, all the components that all av available.
Jessie Philipp: Okay, that's just super. Let April Whitten just
Nancy Stokes: I still don't have any finance information, but at least we have a lot more to go on now
Jessie Philipp: uh
Tina Turben: Okay fine, that's too bad.
Jessie Philipp: You need to
Tina Turben: Yeah, I have
Jessie Philipp: start
Tina Turben: to start
Jessie Philipp: it up first?
Tina Turben: our
Jessie Philipp: Okay
Tina Turben: 'Kay. Okay, go again. Well second phase, conceptual design. It's fine, everybody knows what we're talking about So.
April Whitten: Yep.
Tina Turben: take you past the minutes of last meeting again. Again you get your three presentate to see what you came up with. So too bad we don't have any finance information apparently. So that's too bad. So then we'll just have to d uh have to go on, you know, the information that we have to make the make final decisions on uh on a conceptual design. So Here we go. Anyway, last w last w what discussed last time, you all remember that, that we have to keep the electronics size in mind. Same goes for you. We have to have an easy design with big buttons which are durable and there are people actually spen willing to spend money to do to get more features and uh among those features L_C_D_ screen and voice recognition are very popular. So we have to make a move on that area, I guess. S especially s when when the new uh component is applicable in our uh product, we'll be fine. Anyways, well teletext wasn't important and that's what I took. And the consumer, yeah, we aim for young consumers, so that's fine. And well actually we yeah, we did need some more data on finances, but w yeah we still don't have that apparently.
April Whitten: Mm uh-huh.
Tina Turben: That's too bad. Yeah, we need to im de we are going to implement the beep and the flash thing to recover your remote. So one of these interchangeable covers apparently which will make it a more fashionable product. So anyway. Guess we'll have to do this after the after the you give your presentations. So I'll just close this one now, and let's uh let's see,
Jessie Philipp: Okay,
April Whitten: I
Jessie Philipp: what
April Whitten: bet
Jessie Philipp: t
Tina Turben: We have a lot to tell. You had a lot to go on. So uh how
Nancy Stokes: Yep,
Tina Turben: about
Nancy Stokes: that's
Tina Turben: you
Nancy Stokes: right.
Tina Turben: go first.
Jessie Philipp: Okay, yeah.
April Whitten: Oh okay.
Nancy Stokes: Let's see where my presentation is. Okay, um this I mentioned before. Every feature for our remote control needs to have their own operating electronic devices. We need to take care of that. Then warning, uh there has to be a chip in our remote control. And the chip requirements uh needed for a normal button uh is just a simple chip, uh scroll-wheel, and L_C_D_ is an advanced. Of course this is more expensive than this. So we have to decide on that in a minute.
Tina Turben: Okay.
Nancy Stokes: The available uh components for energy are, we have a basic battery, a hand an uh dynamo, like in uh old torches. We have a kin uh kinetic provision, then you have to shake the remote control to get the energy. And we have solar cells. I suggest that we uh decide on that one uh immediately. Then I have all lists. So My personal
April Whitten: Um
Nancy Stokes: uh fav favourite is the kinetic provision because uh
Tina Turben: Does it provide
Nancy Stokes: I ha
Tina Turben: enough energy?
Nancy Stokes: I think so, yes.
Tina Turben: Also if if we were choose the the L_C_D_ option,
Nancy Stokes: Yes.
Tina Turben: would it give enough energy Okay,
Nancy Stokes: Yes.
Tina Turben: that's the
Nancy Stokes: Because
Tina Turben: just assume
Nancy Stokes: I had
Tina Turben: it
Nancy Stokes: the
Tina Turben: takes.
Nancy Stokes: information uh you take uh the remote control, you pick it up at least two times a day. So then it's already shaken and gives
Tina Turben: Well,
Nancy Stokes: energy.
Tina Turben: I'm not sure if it's
Jessie Philipp: Is
Tina Turben: shaken
Jessie Philipp: that enough?
Tina Turben: enough, because
Jessie Philipp: Because I don't really see people
Nancy Stokes: Or
Jessie Philipp: shaking their remote
Tina Turben: No,
Jessie Philipp: control
Tina Turben: I don't
Jessie Philipp: before
Tina Turben: think so,
Jessie Philipp: using
Tina Turben: because
Jessie Philipp: it.
Tina Turben: uh watches can go on kinetic
Nancy Stokes: Think
Tina Turben: energy because they move all the time. But I'm sure t I mean remotes lie
Nancy Stokes: Hmm.
Tina Turben: still I think like
Nancy Stokes: Hmm.
Tina Turben: ninety nine percent of the time. So I don't think that's a really good the other alternative were solar cells. I don't think that's applicable
Nancy Stokes: Other
Tina Turben: because
Nancy Stokes: options are solar
Jessie Philipp: No.
Nancy Stokes: cells, hand dynamo and basic battery.
Tina Turben: I thin
Jessie Philipp: And
Tina Turben: why
Jessie Philipp: what
Tina Turben: why
Jessie Philipp: does
Tina Turben: shouldn't
Jessie Philipp: the
Tina Turben: we
Jessie Philipp: hand
Tina Turben: take a basic
Jessie Philipp: dynamo
Tina Turben: battery?
April Whitten: Yeah.
Jessie Philipp: oh,
April Whitten: A
Jessie Philipp: sorry.
April Whitten: rechargeable maybe.
Nancy Stokes: Only basic battery? Okay,
Tina Turben: Why
Nancy Stokes: but
Tina Turben: not?
Nancy Stokes: I think
April Whitten: Re
Tina Turben: I mean
Nancy Stokes: this
Tina Turben: everybody
Nancy Stokes: is
April Whitten: rechargeable
Nancy Stokes: not a r.
Tina Turben: everybody
April Whitten: basi
Tina Turben: knows how to use that. It's it's common. So and it's available
Nancy Stokes: Yeah.
Tina Turben: everywhere. So why sh
Nancy Stokes: Yeah,
Tina Turben: mm
Nancy Stokes: but
Tina Turben: I
Nancy Stokes: I think
Tina Turben: think
April Whitten: Yeah.
Nancy Stokes: this rules
Tina Turben: better.
Nancy Stokes: out our unit our rechargeable unit. This is really a
Tina Turben: Yeah,
Nancy Stokes: really
Tina Turben: but
Nancy Stokes: basic
Tina Turben: it's
Nancy Stokes: battery, a normal battery.
Tina Turben: Yeah, uh
Jessie Philipp: Oh.
Tina Turben: it wasn't it wasn't in the options,
Nancy Stokes: Huh?
Tina Turben: a rechargeable m module actually.
Nancy Stokes: Okay, that's uh. Okay?
Tina Turben: Okay yeah,
April Whitten: Yep.
Tina Turben: b you c of course you
April Whitten: Basic.
Tina Turben: could place re re-chargeable batteries. But that's up to the consumer himself. So
Nancy Stokes: Okay, but then we don't offer a re-chargement function. That's what it says.
Tina Turben: Well, mm it's not in the list. So we cannot choose from it. So
Nancy Stokes: Exactly.
Tina Turben: Okay,
Nancy Stokes: Alright.
Tina Turben: will just
Nancy Stokes: Right.
Tina Turben: take regular batteries.
Nancy Stokes: Yep.
April Whitten: Okay.
Nancy Stokes: Next one is curving. Uh we can make a model that has one curve, two or three. And uh
Jessie Philipp: Curves being?
Nancy Stokes: uh th uh the shape. Of course uh the more
April Whitten: Okay.
Jessie Philipp: Of
Nancy Stokes: curves
Jessie Philipp: the
Nancy Stokes: the more expensive.
Jessie Philipp: remote control
Nancy Stokes: Exactly.
April Whitten: But
Jessie Philipp: itself,
Nancy Stokes: Yes.
Jessie Philipp: okay.
April Whitten: But It
Jessie Philipp: I
April Whitten: dep
Jessie Philipp: was thinking along the line of one curve. I'll show that in my design.
April Whitten: But
Nancy Stokes: Hmm.
Tina Turben: Okay, we'll get back
Jessie Philipp: So
Tina Turben: on that
Jessie Philipp: we'll
Tina Turben: later.
Jessie Philipp: get
April Whitten: Yeah.
Jessie Philipp: back to that.
Tina Turben: Just
Nancy Stokes: Hmm. I think one
April Whitten: Yeah.
Nancy Stokes: curve is uh
Tina Turben: But
Nancy Stokes: fine.
Tina Turben: what were the implications
April Whitten: Depends
Tina Turben: if you if
April Whitten: on the
Tina Turben: put
April Whitten: user.
Tina Turben: more curves it it's gets more expensive.
Nancy Stokes: More expensive.
Tina Turben: Okay,
Nancy Stokes: More difficult
Tina Turben: so I
Nancy Stokes: to
Tina Turben: think
Nancy Stokes: make.
Tina Turben: with with the extras that we had there it's two curves I suppose.
Nancy Stokes: Exactly.
Tina Turben: Okay.
Nancy Stokes: And I believe even that the r the number of options we have on putting things in it uh goes down
Tina Turben: Also decreases,
Nancy Stokes: with
Tina Turben: okay.
Nancy Stokes: exactly. Material. I have to offer a plastic, rubber, wood or titanium. Uh if we choose plastic, we cannot choose solar cells for energy. If
Tina Turben: Okay.
Nancy Stokes: we choose titanium, uh we cannot use more than one curve. But we don't
Tina Turben: More
Nancy Stokes: have that
Tina Turben: than
Nancy Stokes: so
Tina Turben: one
Nancy Stokes: fast.
Tina Turben: curve, uh yeah
Jessie Philipp: Okay,
Tina Turben: okay.
Jessie Philipp: I t
Tina Turben: We'll just go
Jessie Philipp: I'd
Tina Turben: uh
Jessie Philipp: go for plastic because
Tina Turben: 'Cause
Jessie Philipp: I
Tina Turben: it
Jessie Philipp: have
Tina Turben: yeah,
Jessie Philipp: a
Tina Turben: I'm
Jessie Philipp: couple
Tina Turben: not sure.
Jessie Philipp: of curves in my
Nancy Stokes: Mm.
Jessie Philipp: design.
April Whitten: Yeah.
Nancy Stokes: Mm.
Jessie Philipp: Well, g let's
Tina Turben: We'll discuss
Jessie Philipp: just
Tina Turben: that
Jessie Philipp: get
Tina Turben: later.
Jessie Philipp: back
Tina Turben: Okay,
Jessie Philipp: to
Tina Turben: we have
Jessie Philipp: that.
April Whitten: Yeah.
Tina Turben: so I think
Nancy Stokes: Okay.
Tina Turben: we can rule out um I'm not sure we can rule anything out. We'll do that
Nancy Stokes: No.
Tina Turben: when y when you get your design.
Nancy Stokes: But I think wood is not an option either.
Jessie Philipp: No, wood's
Tina Turben: No, wood
Jessie Philipp: not
Tina Turben: i wood's
Jessie Philipp: an
Tina Turben: not
Jessie Philipp: option.
Tina Turben: an option.
Jessie Philipp: No.
Tina Turben: Well
Nancy Stokes: Okay.
Tina Turben: it it's stylish, but we can yeah,
Nancy Stokes: Hmm.
Tina Turben: but you can
April Whitten: No.
Tina Turben: change your covers anyway.
Nancy Stokes: Okay. My personal thought was uh rubber because I had an email, I believe it was from you,
Tina Turben: Yeah, is
Nancy Stokes: uh
Tina Turben: it
Nancy Stokes: f
Tina Turben: keep in
Nancy Stokes: against
Tina Turben: mind that
Nancy Stokes: falling.
Tina Turben: it it's it's uh it fal uh remote controls fall a lot on the ground. So you don't want it to break. So either have rubber edges
Nancy Stokes: Hmm.
Tina Turben: or a rubber remote control is
Nancy Stokes: Okay.
Tina Turben: very durable. But
Jessie Philipp: Yeah,
Nancy Stokes: Uh
Tina Turben: Continue.
Jessie Philipp: but it doesn't
April Whitten: No.
Jessie Philipp: have to be unbreakable, because we
Tina Turben: Don't have to be un-breakable,
Jessie Philipp: do need
Tina Turben: it's
Jessie Philipp: to keep
Tina Turben: p it's
Jessie Philipp: selling
Tina Turben: a
Jessie Philipp: these thing
Tina Turben: it's not supposed to
Nancy Stokes: Mm.
Tina Turben: ju yeah, break after one use.
Jessie Philipp: Okay,
Nancy Stokes: Yeah.
Tina Turben: I mean
Jessie Philipp: well
Tina Turben: it
Jessie Philipp: that
Tina Turben: they they
Jessie Philipp: that's
Tina Turben: fall a lot.
Jessie Philipp: definitely
Tina Turben: So
Jessie Philipp: true.
Nancy Stokes: Mm. I think we have to decide on this anyway. Uh because if we make removeable covers, it has to be one of those mat materials. We have no more than this. So
Jessie Philipp: Because it well, ru will rubber actually protect the remote control itself? Because
Tina Turben: Well,
Jessie Philipp: it
Tina Turben: you have for if you if for example if you take hard plastic. If it falls it might crack. And rubber uh kind of
Jessie Philipp: Yeah, but
Tina Turben: softens
Jessie Philipp: then you buy
Tina Turben: the fall.
Jessie Philipp: a new cover. But
Tina Turben: I'm
Jessie Philipp: rubber
Tina Turben: not sure if it's the it's the entire cover you change. Uh, it's
Nancy Stokes: Mm-hmm.
April Whitten: Are
Tina Turben: could
April Whitten: are
Tina Turben: be.
April Whitten: we focussi focussing
Tina Turben: You know
April Whitten: on on the
Tina Turben: what, th we're focusing very much on the covers now.
April Whitten: But
Tina Turben: we're going for the basic design. If we wanna expand our options, f be fashionable, then we can get changeable covers. But I think the basic
April Whitten: But
Tina Turben: thing
Nancy Stokes: Mm-hmm.
Tina Turben: let's just rule out wood for now and
Nancy Stokes: Okay.
Tina Turben: continue.
April Whitten: Not that but are we focussing on the uh younger people or the elder people?
Tina Turben: We're definitely focussing on the younger
April Whitten: Younger,
Tina Turben: people, 'cause
April Whitten: okay.
Tina Turben: that was
April Whitten: Yeah,
Tina Turben: our
April Whitten: that's okay.
Tina Turben: main goal.
April Whitten: Nah, that's
Nancy Stokes: Alright. Then I proceed, but I need to know after this meeting. So
Tina Turben: Okay okay,
Jessie Philipp: Okay.
Tina Turben: we will.
Nancy Stokes: Interface, uh I have four things to offer, pu uh normal push-buttons of course. Um uh we have a lot of expertise on that one. We have a large history, our company, on
Tina Turben: Mm-hmm.
Nancy Stokes: push-buttons. Scroll-wheels, uh those can be pushed as well, although that is more expensive. Um liquid crystal colour display and um What is this? Okay, and if we use rubber, I already mentioned that, we can only use rubber buttons. So rubber can only match with rubber.
Tina Turben: Mm-hmm.
Nancy Stokes: Which one of those are we gonna use? Push-buttons, that's b uh I think
Tina Turben: Evident.
Nancy Stokes: basic.
Tina Turben: Yeah, o of course we're gonna use. But I didn't
Jessie Philipp: Yeah,
Nancy Stokes: Huh.
Jessie Philipp: of
Tina Turben: I didn't
Jessie Philipp: cour
April Whitten: But
Tina Turben: go on the thought of a scroll-wheel actually. I'm still deciding
Nancy Stokes: No.
Tina Turben: on what what what could you use it for. Maybe
Nancy Stokes: I
Tina Turben: for
Nancy Stokes: think
Tina Turben: volume
Nancy Stokes: the channels.
Tina Turben: control. Channel, I think that would be annoying
Nancy Stokes: Oh.
Tina Turben: because it might accidentally scroll onto another channel.
Nancy Stokes: Yeah.
Tina Turben: I think a push-button for channel would be better. I mean it for volume control it's
Nancy Stokes: Huh?
Tina Turben: it's a smoother
Nancy Stokes: Huh.
Tina Turben: motion, you can just increase or decrease. But
Nancy Stokes: Hmm.
Jessie Philipp: Yeah,
Tina Turben: not
Jessie Philipp: but
Tina Turben: sure.
Jessie Philipp: there
Tina Turben: For
Jessie Philipp: is
Tina Turben: channels
Jessie Philipp: a
Nancy Stokes: But
Jessie Philipp: is
Tina Turben: will
Jessie Philipp: it
Tina Turben: be good.
Jessie Philipp: really necessary 'cause a normal
Tina Turben: I don't think so. I haven't I haven't
Jessie Philipp: push-button
Tina Turben: taken it
Jessie Philipp: can
Tina Turben: into
Jessie Philipp: do
Tina Turben: consideration.
Jessie Philipp: that
Nancy Stokes: Huh?
Jessie Philipp: job.
Nancy Stokes: Oh.
April Whitten: But
Nancy Stokes: Ah
April Whitten: th
Nancy Stokes: so but
April Whitten: the
Tina Turben: I
Nancy Stokes: it
Tina Turben: don't
Nancy Stokes: looks
April Whitten: younger
Tina Turben: think
Nancy Stokes: cool.
Tina Turben: we really
April Whitten: people
Tina Turben: need one.
Nancy Stokes: Mm
April Whitten: my
Nancy Stokes: no.
April Whitten: investigation turns out that the younger people want a little bit uh material
Nancy Stokes: Oh.
April Whitten: that that
Nancy Stokes: Ah.
April Whitten: is uh
Nancy Stokes: flashy
April Whitten: spongy
Nancy Stokes: and yeah.
April Whitten: and uh
Nancy Stokes: I think
April Whitten: So
Nancy Stokes: would be cool, scroll-wheel. It's not that much uh if we take
April Whitten: A
Nancy Stokes: a normal
April Whitten: sc
Nancy Stokes: scroll-wheel without the pushing, then it's not expensive. We can do that.
Tina Turben: But why
Jessie Philipp: Yeah,
Tina Turben: do
Jessie Philipp: but
Nancy Stokes: Think.
Tina Turben: we need
Jessie Philipp: why
Tina Turben: it?
Jessie Philipp: would we use it?
Nancy Stokes: Ah we don't need it,
April Whitten: Yeah.
Nancy Stokes: but it's uh it's
Tina Turben: If we don't
Nancy Stokes: design
Tina Turben: need it, why
Nancy Stokes: a design
Tina Turben: put it in your
Nancy Stokes: thing.
Tina Turben: why
April Whitten: Yeah,
Tina Turben: put it
April Whitten: you
Tina Turben: in your
April Whitten: get
Tina Turben: in your if it's if it's not something people are looking for or is useful.
April Whitten: No.
Nancy Stokes: I think they are looking for that. Of course we
Tina Turben: Are
Nancy Stokes: have
Tina Turben: they?
Nancy Stokes: uh a young target group. So they might find that
April Whitten: Scroll-wheel?
Tina Turben: Yeah, but
Nancy Stokes: attractive
Tina Turben: if it's
April Whitten: Uh
Nancy Stokes: in
Tina Turben: if
April Whitten: I don't
Nancy Stokes: a remote
Tina Turben: it's
April Whitten: know.
Tina Turben: not
Nancy Stokes: con
Tina Turben: useful, I don't think it I don't think it gives an extra
April Whitten: Yeah,
Tina Turben: function
April Whitten: that's it.
Tina Turben: to the remote. Anyway
Nancy Stokes: Okay. So push-buttons we will use. Uh L_C_D_ screen?
Jessie Philipp: Perhaps. I
Nancy Stokes: Is that
Jessie Philipp: have
Tina Turben: What
Nancy Stokes: s
Tina Turben: you
Jessie Philipp: t
Tina Turben: what
Jessie Philipp: I have
Tina Turben: what'd you
Jessie Philipp: two
Tina Turben: get on
Jessie Philipp: different
April Whitten: Yeah.
Tina Turben: the L_C_D_ screen? Is it expensive? Does it
Nancy Stokes: chip in it. And that is more
Tina Turben: And
Nancy Stokes: expensive.
Tina Turben: how much more expensive is that?
Nancy Stokes: I
Tina Turben: Or
Nancy Stokes: have no idea. I have no absolute numbers.
Tina Turben: No
Jessie Philipp: Okay.
Nancy Stokes: I
Tina Turben: absolute
Nancy Stokes: only have
Tina Turben: numbers, but it's just more expensive and takes more room I suppose in your in your
Nancy Stokes: Yeah, but
Tina Turben: design.
Nancy Stokes: I don't think room is really an issue.
Tina Turben: Don't think it's an issue, okay. Oh let's go for let's say because it is uh very hot in n our target group I think, we should take it take it t to consideration to build an L_C_D_ screen in it.
Jessie Philipp: I have two designs, one including uh
April Whitten: For the
Jessie Philipp: an
April Whitten: future.
Jessie Philipp: L_C_D_ screen,
Tina Turben: Okay.
Jessie Philipp: wh which is basically
April Whitten: Yeah.
Jessie Philipp: the deluxe edition. And then I also have a standard edition, which wi we can also choose
Tina Turben: Which basically
Jessie Philipp: to
Tina Turben: has
Jessie Philipp: develop
Tina Turben: the same functionality,
Jessie Philipp: too.
Tina Turben: but
April Whitten: Yep
Tina Turben: lacks the L_C_D_ screen.
Jessie Philipp: Exactly.
Tina Turben: Okay.
Jessie Philipp: But
Tina Turben: We'll
Jessie Philipp: we'll
Tina Turben: pick a we'll pick from uh we'll just combine everything later.
Nancy Stokes: Mm-hmm. Okay. Electronics, uh the first one is the chip. Uh that's no longer an option, it has to be an advanced one now. 'Cause we have the L_C_D_
Jessie Philipp: Yep.
Nancy Stokes: screen. Then we have an infrared sender, I think that's basic, we cannot do
Jessie Philipp: Basically,
Nancy Stokes: without.
April Whitten: Yep.
Jessie Philipp: it
Nancy Stokes: Otherwise it's not s a remote
Tina Turben: Mm-hmm.
Nancy Stokes: control. And we have the sample sensor and speaker, the voice recognition thing. Are we gonna do that or not?
Tina Turben: Once
Jessie Philipp: Oh,
Tina Turben: again I was
Jessie Philipp: I
Tina Turben: would
Jessie Philipp: got
Tina Turben: ask you if it's expensive, but apparently you don't have any data.
Nancy Stokes: I
Tina Turben: So
Nancy Stokes: only have uh uh relative
Tina Turben: Well what d what
Nancy Stokes: information.
Tina Turben: was exact what you got on the on the
Jessie Philipp: I
Tina Turben: new
Jessie Philipp: got
Tina Turben: component?
Jessie Philipp: an email that it's relatively small.
Tina Turben: That's small. So we can implement it.
Jessie Philipp: Yes, let
Tina Turben: So
Jessie Philipp: April Whitten just
Tina Turben: why why if it's small and we can imp why shouldn't we?
Jessie Philipp: Get back.
Nancy Stokes: Oh how did
Tina Turben: And
Nancy Stokes: you
Tina Turben: there's um
Nancy Stokes: That
Tina Turben: get
Nancy Stokes: goes also
Tina Turben: your mar
Nancy Stokes: for the scroll-wheel,
Tina Turben: marketing
Nancy Stokes: by
Tina Turben: report?
Nancy Stokes: the way.
Tina Turben: What was uh the last number of how many people were interested in voice recognition?
April Whitten: Um uh
Tina Turben: Although it's hard for different countries of course.
April Whitten: The most of them um
Tina Turben: But you have to programme it yourself, I suppose, with your own voice.
April Whitten: Um uh more than uh sixty percent.
Tina Turben: More than sixty percent of the people would like
April Whitten: Yeah.
Tina Turben: voice recognition.
April Whitten: Mean of uh seventy percent I think.
Nancy Stokes: Hmm.
April Whitten: Uh I'm I have to look it up.
Tina Turben: If it's small, if it's fits,
Nancy Stokes: Yeah.
Tina Turben: if if people like it, why not?
Nancy Stokes: Hmm. But don't
Tina Turben: So
Nancy Stokes: we have any w uh information about scroll-wheel? Scroll-wheel. If people
April Whitten: No.
Nancy Stokes: would like that.
April Whitten: No,
Nancy Stokes: That's strange, because that's the same
April Whitten: only
Nancy Stokes: story. It's it's not necessary
April Whitten: Ah. I don't
Nancy Stokes: like
April Whitten: know.
Nancy Stokes: an L_C_D_, but it's just it adds something to the
Tina Turben: Yeah, but we got some data
Nancy Stokes: design.
Tina Turben: on people that actually are int are interested in that, and I
Nancy Stokes: Hmm.
Tina Turben: don't think a scroll-wheel offers new functionality,
April Whitten: On the most
Tina Turben: whereas
April Whitten: spee
Nancy Stokes: No.
Tina Turben: speech recognition and L_C_D_ screen
April Whitten: But
Tina Turben: do offer new functionality in
Nancy Stokes: Oh
Tina Turben: your
Nancy Stokes: that's
Tina Turben: product.
Nancy Stokes: r But I think uh we now already have to uh implement uh an advanced chip.
Tina Turben: Uh I think
Nancy Stokes: So
Tina Turben: so, because
Nancy Stokes: it's
Tina Turben: if
Nancy Stokes: m
Tina Turben: I
April Whitten: Yeah,
Tina Turben: think we're
April Whitten: for
Tina Turben: specially
April Whitten: the future.
Tina Turben: w if you're going maybe uh if you have the two editions you wanna wanna give out, probably you have one with uh with speech recognition and
Jessie Philipp: Well, they b they basically can have speech recognition. I mainly focused
Tina Turben: Um
Jessie Philipp: on the L_C_D_ uh aspect.
Tina Turben: Yeah, hold on a minute. Were were you we're finished? Or
Nancy Stokes: No, but that's that's okay.
Tina Turben: Oh. Because if there's something that
Jessie Philipp: 'Cause you wanted to see them,
Nancy Stokes: There
Tina Turben: 'Cause
Jessie Philipp: right?
Nancy Stokes: is
Tina Turben: have
Nancy Stokes: still
Tina Turben: did
Nancy Stokes: time.
Tina Turben: you have all the materials? Or everything
Nancy Stokes: Yes,
Tina Turben: that you
Nancy Stokes: this
Tina Turben: desc
Nancy Stokes: was uh the last M_S_. I have
Tina Turben: Okay,
Nancy Stokes: a clear
Tina Turben: so
Nancy Stokes: picture.
Tina Turben: uh just just go for design for now. Just m have a seat for a second. Uh We'll combine everything
Jessie Philipp: So this
Tina Turben: after
Jessie Philipp: is basically
Tina Turben: this.
Jessie Philipp: the deluxe edition.
Tina Turben: Why is
Jessie Philipp: I
Tina Turben: it
Jessie Philipp: j
Tina Turben: s why is it squared?
Jessie Philipp: Why is it square?
Tina Turben: Why did you pick square? Or
Jessie Philipp: It
Tina Turben: uh not
Jessie Philipp: 'cause it's
Tina Turben: square,
Jessie Philipp: designy.
Tina Turben: but why is it yeah, sharp
Jessie Philipp: It's basically
Tina Turben: corners.
Jessie Philipp: it has some futuristic Potentially,
April Whitten: Yeah.
Jessie Philipp: yeah. I don't really know. But I just
April Whitten: People
Jessie Philipp: thought that
Tina Turben: Looks
Jessie Philipp: uh
Tina Turben: like
Jessie Philipp: in
Tina Turben: a Star Trek
Jessie Philipp: normal
Tina Turben: phaser.
Jessie Philipp: remote controls you have like smooth curves and this and that, and this is something new, this is something different, something fresh.
Tina Turben: It's true.
Jessie Philipp: And basically what you
April Whitten: Ri
Jessie Philipp: can see here is that it has a little, yeah, let's say gap which you can put
Tina Turben: Yeah.
Jessie Philipp: your finger
Tina Turben: Or
Jessie Philipp: in.
Tina Turben: Okay, so just yeah,
April Whitten: So
Tina Turben: you
April Whitten: only
Tina Turben: can rest
April Whitten: r
Jessie Philipp: So
Tina Turben: it on
April Whitten: right-handed.
Jessie Philipp: you
Tina Turben: your
Jessie Philipp: can
Tina Turben: finger.
Jessie Philipp: you can
Tina Turben: Okay.
Jessie Philipp: hold it really comfortable, that's
Tina Turben: Mm-hmm.
April Whitten: But
Jessie Philipp: basically
April Whitten: it
Jessie Philipp: the
April Whitten: but
Jessie Philipp: idea.
April Whitten: it's only right-handed then. Not
Jessie Philipp: Or
Tina Turben: No,
April Whitten: for
Jessie Philipp: left
April Whitten: the left.
Jessie Philipp: hand.
Tina Turben: it
April Whitten: Or
Tina Turben: just
Jessie Philipp: I doesn't
Tina Turben: uh it's
Jessie Philipp: really matter.
Tina Turben: a curve inside a thing.
Nancy Stokes: Hmm.
Tina Turben: So
Jessie Philipp: As you can
April Whitten: Where?
Jessie Philipp: see, this is the
April Whitten: Wher
Tina Turben: It's on the back.
Jessie Philipp: remote control
April Whitten: Oh in the back, okay.
Jessie Philipp: Uh you can't really see
April Whitten: Oh
Jessie Philipp: it
April Whitten: yeah
Jessie Philipp: that
April Whitten: yeah.
Jessie Philipp: well, but this is the L_C_D_ screen.
April Whitten: Okay.
Jessie Philipp: So just imagine it goes that way.
Tina Turben: Yeah,
April Whitten: Oh
Tina Turben: I think it's
April Whitten: yeah
Tina Turben: okay.
Jessie Philipp: Then
April Whitten: yeah.
Jessie Philipp: you can
April Whitten: Okay.
Jessie Philipp: see you can hold
April Whitten: Yeah.
Jessie Philipp: it
April Whitten: Yeah yeah.
Jessie Philipp: in your left or in your right hand. And
April Whitten: Yeah.
Jessie Philipp: I also made
April Whitten: I
Jessie Philipp: a
April Whitten: thought it
Jessie Philipp: quick image, 'cause I did not have that much time, of the standard edition which has basically the keys are pretty much the same.
Tina Turben: Keys are probably the n the number keys, I suppose.
Jessie Philipp: Yeah. I had to do this really fast. So excuse April Whitten for the uh inconvenience
Tina Turben: Okay.
Jessie Philipp: here, but as you can see, the keys moved.
Tina Turben: Well, you can work on the actual concept or actual
Jessie Philipp: Yeah.
Tina Turben: design later with him.
Jessie Philipp: So these
Tina Turben: But
Jessie Philipp: are basically the two types we have. So if we were to select the L_C_D_ screen, the transmitter here, you can see the light i
Tina Turben: Well, I think what you have to keep in mind is that um you're moving the the the number keys from the top. Uh in the the simple design you have them at a top, and the uh complex design you have them at the bottom. So it would that would give us a totally different design. So which actually making a whole different product instead of two different models. I think it would be very expensive to produce two whole different products.
Jessie Philipp: Well we can
Tina Turben: So
Jessie Philipp: shift that. But normally, as you can see there, we put the uh number buttons right on top. Whereas because we had the L_C_D_ screen here, we had to move them downward, so
Tina Turben: Yeah, uh
Jessie Philipp: what
Tina Turben: or
Jessie Philipp: you could say
Tina Turben: for
Jessie Philipp: is
Tina Turben: example,
Jessie Philipp: that
Tina Turben: why did you pick the mm the numbers uh all the way below, and the and the channels and volume
Jessie Philipp: Because
Tina Turben: control
April Whitten: Well
Jessie Philipp: these are basically
April Whitten: it it's
Jessie Philipp: the functions
April Whitten: yeah.
Jessie Philipp: you use the most. So if you hold it in your hand like this, you put your finger in the gap, this is the m most easy part.
Tina Turben: Okay.
Jessie Philipp: Bit.
Nancy Stokes: Hmm,
Jessie Philipp: For zapping,
Tina Turben: That's
Nancy Stokes: I agree.
Tina Turben: fine.
April Whitten: Yeah.
Jessie Philipp: cau
Tina Turben: That's
Jessie Philipp: because
Tina Turben: fine.
Jessie Philipp: people are zapping
Tina Turben: Just as long
Jessie Philipp: most
Tina Turben: as you
Jessie Philipp: of the time.
Tina Turben: tak took it into consideration what people would prefer. Uh, okay if
Nancy Stokes: Hmm.
Tina Turben: you all agree, I'm fine with it. But
April Whitten: Yeah.
Jessie Philipp: Okay. So that's pretty much ha which I had in mind. As you can see here, this can be spaced for extra keys, which is the design
Tina Turben: Okay.
Jessie Philipp: thingys.
April Whitten: No it maybe it's better to look uh what the people want.
Tina Turben: Yeah,
April Whitten: So I
Tina Turben: I
April Whitten: can
Tina Turben: think
April Whitten: uh
Tina Turben: we'll
April Whitten: show my uh investigation.
Tina Turben: I think we're going towards the deluxe edition anyway, because that seems
April Whitten: Yeah,
Tina Turben: to be
April Whitten: maybe
Tina Turben: what the
April Whitten: it's
Tina Turben: people
April Whitten: better.
Tina Turben: want. But let's see what's
Jessie Philipp: Yeah.
Tina Turben: what they want
April Whitten: Especially
Tina Turben: now.
April Whitten: for young people.
Tina Turben: Mm-hmm.
April Whitten: Um where is that? Where is th
Tina Turben: That's mine.
April Whitten: Oh. Uh
Tina Turben: No, you should send it to the f to the folder first.
April Whitten: Yeah. Mm
Tina Turben: Okay
April Whitten: I forgot
Tina Turben: um,
April Whitten: that.
Tina Turben: let's just assume we go to forty one.
April Whitten: Okay, now it must be there. Yeah, here it is. Oh yeah.
April Whitten: Okay, uh the investigation turns out that the most appear uh people want um um uh look and feel likes is uh uh the s the same as before, but it must be w a little bit fancier than uh the the look of it. Um the second important thing is um the it must be uh technol technological uh innova vative. So that's the L_C_D_ screen is perfect, I think, and not uh
Jessie Philipp: Speech recognition.
April Whitten: Yeah, tha that's uh very important. And a third thing is um yeah, it's uh should be easy to use, so not not too much bu buttons and uh channel selection. I think that's uh what you showed is uh perfect. And what the pe young people want is uh in Paris and and in Milan uh it showed out that the fruit and vegetables are uh are trendy.
Tina Turben: Mm-hmm.
April Whitten: Th they you s you see it in the clothes and everything. And um the contrast uh of it, it must uh the the buttons must a little bit spongy material. So uh
Nancy Stokes: Hmm.
April Whitten: rubber, I think uh th that's
Nancy Stokes: No.
April Whitten: the best.
Tina Turben: Mm-hmm.
Jessie Philipp: Then
Nancy Stokes: Yeah,
Jessie Philipp: rubber
Nancy Stokes: uh
Jessie Philipp: would
Nancy Stokes: I agree.
Jessie Philipp: be the best as a material
April Whitten: No.
Jessie Philipp: indeed.
Tina Turben: I think so.
April Whitten: So
Jessie Philipp: If
April Whitten: we
Jessie Philipp: that
April Whitten: are
Jessie Philipp: is
April Whitten: uh
Jessie Philipp: the uh
April Whitten: we were focussing uh
Nancy Stokes: Okay,
April Whitten: on the
Nancy Stokes: agreement.
April Whitten: younger people.
Tina Turben: Okay.
April Whitten: So the elder, yeah, they wanted a little bit of wood in it and uh that's uh th that's not uh important
Tina Turben: Okay,
April Whitten: now.
Tina Turben: so we're definitely
Jessie Philipp: It could
Tina Turben: going
Jessie Philipp: be
Tina Turben: for
Jessie Philipp: a c
Tina Turben: rubber.
Jessie Philipp: it could be a
April Whitten: Yeah.
Jessie Philipp: cover. But it's not.
April Whitten: Yeah,
Jessie Philipp: Our focus
Tina Turben: Let's just
Jessie Philipp: is
April Whitten: but
Tina Turben: go
Jessie Philipp: the young audience. So let's
April Whitten: Yeah.
Jessie Philipp: stick to that.
Tina Turben: Uh-huh.
April Whitten: 'Cause uh n I I I I thought uh it makes a young uh classic remote with uh
Tina Turben: Nah, I think we're in this case you're losing the the focus on the
April Whitten: Yeah,
Tina Turben: young group, because
April Whitten: that's
Tina Turben: we're
April Whitten: why I I d
Tina Turben: that's what
April Whitten: uh
Tina Turben: we're focussing on. So I think
April Whitten: decided
Tina Turben: the spongy feel gives us rubber.
Nancy Stokes: Mm-hmm.
April Whitten: With a fruit uh
Tina Turben: Yeah, w th apparently
April Whitten: cover ov or something
Tina Turben: Yeah,
April Whitten: like that. Uh
Tina Turben: apparently yeah, maybe also yeah, I tend to disagree with with uh with a sharp form. I suppose it basi if you're uh saying fruits and vegetables, maybe it's supposed to be a little little
April Whitten: Yeah,
Tina Turben: more round.
April Whitten: in in form of an uh vegetable or an uh fruit,
Tina Turben: Yeah, for exa
April Whitten: maybe.
Tina Turben: maybe like
Jessie Philipp: Yeah,
Tina Turben: uh
Jessie Philipp: but
Tina Turben: like
Jessie Philipp: that's
Tina Turben: a
Jessie Philipp: just
Tina Turben: pear
April Whitten: And
Tina Turben: or
Jessie Philipp: more
Tina Turben: something.
Jessie Philipp: a se a seasonal,
April Whitten: Oh, where is your
Jessie Philipp: a trend thing.
Nancy Stokes: That's true.
Tina Turben: That's what
Jessie Philipp: The
Tina Turben: we're doing.
Jessie Philipp: idea now is is
April Whitten: A
Jessie Philipp: is
April Whitten: trendy
Jessie Philipp: that you can uh put a cover on it, for example, with fruit, like a shape
Tina Turben: Mm.
Jessie Philipp: or whatever.
Nancy Stokes: Hmm.
Tina Turben: I think shape
Jessie Philipp: But
Tina Turben: is
Jessie Philipp: not
Tina Turben: is important,
April Whitten: Here he
Jessie Philipp: 'cause
Tina Turben: because
Jessie Philipp: a
April Whitten: here
Jessie Philipp: n next
April Whitten: you can
Tina Turben: they s
Jessie Philipp: year
April Whitten: put
Tina Turben: they
Jessie Philipp: it
April Whitten: a
Tina Turben: really
Jessie Philipp: will it'll
Tina Turben: extend.
Jessie Philipp: be something
Nancy Stokes: Hmm.
Jessie Philipp: completely different.
Nancy Stokes: Oh,
Jessie Philipp: And
Nancy Stokes: that's
Jessie Philipp: then
Nancy Stokes: true.
Jessie Philipp: you have your apple-shaped remote control, which is not trendy anymore. So
Tina Turben: Yeah,
Jessie Philipp: I think
Tina Turben: but now
Jessie Philipp: that's
Tina Turben: you have
Jessie Philipp: more
Tina Turben: your
Jessie Philipp: something
Tina Turben: your
Jessie Philipp: you can
Tina Turben: like
Jessie Philipp: focus
Tina Turben: your Star Trek phaser thing shaped control. So I I th
Jessie Philipp: Well, you
Tina Turben: the
Jessie Philipp: can
Tina Turben: edges
Jessie Philipp: s
April Whitten: Uh maybe
Tina Turben: are really
April Whitten: it
Tina Turben: really sharp. I'm
Jessie Philipp: What
Tina Turben: uh
Jessie Philipp: you
Tina Turben: not
Jessie Philipp: can
Tina Turben: su
Jessie Philipp: do is smooth the edges indeed. But that will bring extra c expenses.
Nancy Stokes: Mm-hmm.
Tina Turben: Or maybe just make it make
April Whitten: But
Tina Turben: it up into into a low a smooth curve instead of just less
April Whitten: Yeah.
Tina Turben: sharp twist
April Whitten: All
Tina Turben: on the outside.
April Whitten: uh veg uh fruit and vegetables are round. So it's
Nancy Stokes: Mm-hmm.
April Whitten: better
Tina Turben: I think I think there needs to be a little I think it's too too sharp. The edges are too sharp. The
April Whitten: Yeah.
Tina Turben: bottom is fine of course if it's square. But maybe just th make uh the top a little round it off on the sides. So
Nancy Stokes: But I think,
Tina Turben: I mean
Nancy Stokes: according
Tina Turben: y
Nancy Stokes: to my information, this would be two curves.
Tina Turben: That
April Whitten: Two?
Tina Turben: would
Nancy Stokes: We
Tina Turben: be
Nancy Stokes: have
Tina Turben: two
Nancy Stokes: one
Tina Turben: curves.
Nancy Stokes: left and one right, and that disables what was it again?
April Whitten: But
Nancy Stokes: It's
April Whitten: it
Nancy Stokes: some it's something that we cannot do then.
Tina Turben: One cur you could also make the curve go through of course. But that would make
Jessie Philipp: Well
Tina Turben: make the top round.
Nancy Stokes: Okay, that's not a problem.
Jessie Philipp: For the
Nancy Stokes: That's
Jessie Philipp: gap.
Nancy Stokes: only for the titanium. We don't have.
April Whitten: But it's that that's for
Jessie Philipp: And we
April Whitten: the
Jessie Philipp: could
April Whitten: comfort.
Jessie Philipp: have one here.
April Whitten: It's it's not for the trendy thing of it.
Jessie Philipp: No, no no no no. What I'm just 'cause you mentioned that more curves the more expensive, so I'm just
April Whitten: Yeah?
Jessie Philipp: taking that
April Whitten: Okay,
Jessie Philipp: into account.
Nancy Stokes: Yes.
April Whitten: yeah.
Tina Turben: But let's see, titanium would give us only one
Nancy Stokes: Then
Tina Turben: curve.
Nancy Stokes: w yeah, but we don't
Tina Turben: So but
Nancy Stokes: have
Tina Turben: we're
Nancy Stokes: that.
Tina Turben: not
Nancy Stokes: So
Tina Turben: d we're
Nancy Stokes: we have
Tina Turben: not
April Whitten: So
Tina Turben: using
April Whitten: the
Tina Turben: titanium.
April Whitten: no.
Nancy Stokes: We have
Jessie Philipp: Well
Nancy Stokes: no.
Jessie Philipp: we picked rubber, right?
Tina Turben: Right, we did. So
Nancy Stokes: But they
April Whitten: We
Nancy Stokes: uh
Jessie Philipp: So basically
April Whitten: m
Jessie Philipp: what we can do is m
Tina Turben: Just doodle
Jessie Philipp: make
Tina Turben: something
Jessie Philipp: these
April Whitten: form.
Tina Turben: on the board on
Jessie Philipp: edges
Tina Turben: the left.
Jessie Philipp: a little bit less sharp. But the problem then is that it will start to resemble m the remote controls as we have them today. We were looking at something fresh, something trendy
Tina Turben: Well actually, we're setting ourselves apart from by technology alone actually. So that let's see what you're doing.
Nancy Stokes: They th these wha are what they call the curves. This side,
Tina Turben: Oh,
Nancy Stokes: this
Tina Turben: okay.
Nancy Stokes: side, this is
Jessie Philipp: Okay.
Nancy Stokes: how
Tina Turben: I don't
Nancy Stokes: they count.
Tina Turben: think like that. Not not really the curves on the on the side of the
Nancy Stokes: No
Tina Turben: remote.
Nancy Stokes: no. This is what they uh what they mean.
Jessie Philipp: Okay,
Nancy Stokes: Okay, that's not
Jessie Philipp: so
Nancy Stokes: really
Jessie Philipp: that's basically
Tina Turben: Okay,
Nancy Stokes: a
Tina Turben: now
Nancy Stokes: good.
Jessie Philipp: silly.
Tina Turben: I uh of course now I understand why they have more uh like um Why the curves um decrease the the um the size the electronics that can be inside. So Okay. I don't think the outside would be called as a curve really.
April Whitten: Yeah.
Nancy Stokes: It's like this.
Tina Turben: I think it's for all the basic well, looking from the side anyway. Well, if you see what I have to come up with some designs fast anyway. So
April Whitten: But you can
Nancy Stokes: Hmm.
April Whitten: make uh if you want to use a fruit in uh in uh
Tina Turben: Okay.
Jessie Philipp: But isn't
April Whitten: Uh
Jessie Philipp: the f the fruit like a cover thing, because we
Tina Turben: Well, you shouldn't focus on the mostly
April Whitten: Hey,
Tina Turben: on the covers,
April Whitten: you
Tina Turben: because lot of things we came up with, shouldn't be too really too much shouldn't
April Whitten: You
Tina Turben: be
April Whitten: can
Tina Turben: too
April Whitten: make
Tina Turben: focussed
April Whitten: it like
Tina Turben: on the covers because
Nancy Stokes: Hmm.
Jessie Philipp: No,
Tina Turben: it's kind
April Whitten: Like
Jessie Philipp: but
Tina Turben: of an
April Whitten: this.
Tina Turben: idea of our own, but we're not sure if
Jessie Philipp: But
Tina Turben: we can
Jessie Philipp: if
Tina Turben: actually
Jessie Philipp: we put that
Tina Turben: make
Jessie Philipp: directly
Tina Turben: that.
Jessie Philipp: into the design, we limit ourselves extremely. Because it that's just for one
Tina Turben: That's
Jessie Philipp: seasonal
Tina Turben: the one
April Whitten: Well
Tina Turben: thing I'm also
Jessie Philipp: trend.
Tina Turben: afraid of with this one because it
April Whitten: Oh.
Tina Turben: the edges are really um they might
April Whitten: As
Tina Turben: stick
April Whitten: a
Nancy Stokes: Hmm.
April Whitten: example.
Tina Turben: out on the on the side
April Whitten: But
Tina Turben: for example. If you have
April Whitten: I
Tina Turben: a
April Whitten: d
Tina Turben: basic design, a little m a little smaller on the on the s on the edges, you could put more covers on it, y one one with square or um sharp corners
Jessie Philipp: Okay,
Tina Turben: if you want to.
Jessie Philipp: so that's
Tina Turben: So
Jessie Philipp: well, that's
Tina Turben: M
Jessie Philipp: probabl,
Tina Turben: just round it off a little, I guess, because
Nancy Stokes: Hmm.
Tina Turben: so we have more options
Jessie Philipp: you'd just
Tina Turben: I suppose.
Jessie Philipp: like it to go a little bit more like this.
Tina Turben: I think so because it looks leaner and
Jessie Philipp: Okay.
Tina Turben: we should just go with that. Anyway,
April Whitten: Hmm.
Tina Turben: you have all the time in the world to make to make the final design in a minute with him. So So we decided on what what did you guys wanna know again because this is um anyway, I'll fire up my thing. So so
Jessie Philipp: Did
Tina Turben: we come
Jessie Philipp: you
Tina Turben: to a decision.
Jessie Philipp: present e everything you wanted to?
Nancy Stokes: Yep.
Jessie Philipp: Okay.
Nancy Stokes: So I can uh qui
Tina Turben: Uh
Nancy Stokes: oh. I can quickly
Tina Turben: what
Nancy Stokes: make a conclusion
Tina Turben: the
Nancy Stokes: of what we have decided so far.
Jessie Philipp: Uh we still need to decide on a couple of things you
Tina Turben: Ah.
Jessie Philipp: you needed to know.
Tina Turben: Yeah. Okay, anyway. Uh energy, we choose regular regular batteries.
April Whitten: Yeah.
Tina Turben: The chip is advanced because we have the advanced features. The case, it will be the material will be rubber, suppose. Wouldn't the b the design we talked about. Uh user interface, type. Well I think we took all the components separately what we want. Um let's see um supplements. I'm not sure what they mean by that. Anyway, um apparently you guys, you should work together on the final design, both on internal and external design. So Yeah, you should you should probably find out how the product will fall into the market, how uh
April Whitten: Yeah.
Tina Turben: what's gonna happen with the final design as we have it now. So
April Whitten: Yeah
Tina Turben: Yeah, of course you've got your specific instruction as usual. So
Nancy Stokes: Hmm.
Tina Turben: Wanna spend some more um I think we're in a pretty much in agreement actually, which
Nancy Stokes: Hmm.
Tina Turben: is good. So
Jessie Philipp: Are we all in agreement about the, well, the primary structure of the of my design?
Tina Turben: Lef let's
Jessie Philipp: Except for
Tina Turben: see,
Jessie Philipp: the
Tina Turben: where
Jessie Philipp: edges.
Tina Turben: the pen go? Here.
Jessie Philipp: Like the keys there.
Tina Turben: Yeah uh open your thing again. Let's see what if you can come up with anything new. Um I'll just do a next one. So what would give us your ne your design would be the lights would be on top, right? Uh one
Jessie Philipp: Yeah.
Tina Turben: on each one on each side.
Jessie Philipp: To create a kind of disco effect when you That was basically
Tina Turben: Is
Jessie Philipp: what
Tina Turben: it
Jessie Philipp: w
Tina Turben: is it the lights for for finding the finding remote or lights that it
Jessie Philipp: Light for
Tina Turben: that
Jessie Philipp: the finding of the remote. We can also use one light for showing that the signal is being sent. But
Tina Turben: Yeah, I think that should just be a simple LED or something. Like that that's not that important of course. It just like a matter of a a beep if you pre that you just know that that there's context. So I don't think that's super important. But Hmm.
Jessie Philipp: So we have the teletext we have here, we have the mute.
Tina Turben: Uh sh
Jessie Philipp: L_C_D_ screen. This
Tina Turben: Oh.
Jessie Philipp: is the on off button.
April Whitten: And speech w recognition. Are we
Jessie Philipp: Speech recognition, I
April Whitten: We
Jessie Philipp: where did I imagine. I did that pretty
April Whitten: Little
Jessie Philipp: much over
April Whitten: uh
Jessie Philipp: here,
April Whitten: voice
Jessie Philipp: so that you could
April Whitten: uh
Jessie Philipp: use it like this
April Whitten: Record and a uh
Jessie Philipp: and
April Whitten: no.
Jessie Philipp: speak to it. Then you have the uh extra keys for teletext, mute, two buttons which can be pretty much anything or nothing. We can also just not use them.
Tina Turben: Let's see, I'll just make
Jessie Philipp: Main controls and a key-pad.
April Whitten: Yeah.
Tina Turben: One light here. And just make it red now. But it could be any colour. So
Jessie Philipp: Will be fine.
Tina Turben: Okay, whatever. Fine, anyway. What do we have here? M I'll make it um are we gonna use square buttons or round ones actually? Personally I would prefer round ones.
Nancy Stokes: April Whitten too.
Jessie Philipp: Yeah, but that
April Whitten: Form
Jessie Philipp: would this
April Whitten: of fruit.
Jessie Philipp: was just in
April Whitten: It's
Jessie Philipp: the design.
April Whitten: better.
Jessie Philipp: Because if you
Nancy Stokes: Hmm.
Tina Turben: Yeah,
Jessie Philipp: I had
Tina Turben: for
Jessie Philipp: a square design. So I had
Tina Turben: Okay.
Jessie Philipp: square buttons. But in that case the round buttons would be
Tina Turben: Okay,
Jessie Philipp: more appropriate.
Tina Turben: I assume it for so we take a r take a round power button right here. Whatever. Uh back to black. Uh not too big though. See this would be good. Um let's see. Are these for any extra controls?
Jessie Philipp: Yeah. The
Tina Turben: Okay.
Jessie Philipp: left one is teletext and the right one is mute. And these two buttons are or not
Tina Turben: Okay.
Jessie Philipp: necessary or
Tina Turben: If we go for for round buttons in general, do we want to the menu key in the middle to be round? For example, if you let's see, put it this here. I think we'll go with the triangles that Come on.
Jessie Philipp: Yeah, the triangles would be best indeed.
Tina Turben: Triangles are good. Yeah, they're a little too big now. But Anyway, okay. So do you want for example a round button in the middle or square one?
Jessie Philipp: I personally think that a round b
Nancy Stokes: Hmm.
Jessie Philipp: button looks bit silly, but
Tina Turben: I'm
April Whitten: Yeah.
Tina Turben: not sure uh, I just just came up with it. This aligns nicely. So Okay. We'll just take the take the round button, suppose. Uh oh the square button, sorry.
Jessie Philipp: Does everybody agree on that?
April Whitten: Yep.
Tina Turben: I suppose
Nancy Stokes: I would prefer
Tina Turben: so.
Nancy Stokes: round. But doesn't
Jessie Philipp: You
Nancy Stokes: matter,
Jessie Philipp: prefer a round?
Nancy Stokes: doesn't matter.
Jessie Philipp: Okay.
Tina Turben: Okay.
Nancy Stokes: That's not a big deal, think.
Tina Turben: So there's our numbers. Think we need an extra button here of course for yeah, like you had for the higher numbers. And you could include a button here for the mute, I suppose. For something else, just to
Jessie Philipp: Yeah,
Tina Turben: mirror
Jessie Philipp: you can.
Tina Turben: mirror
Jessie Philipp: But it
Tina Turben: the effect
Jessie Philipp: but it's not
Tina Turben: with this.
Jessie Philipp: necessary, becau
Tina Turben: That's not necessary because it you can take this away, but there it looks like there's a hole there, just to mirror the effect. Okay, so we have
Jessie Philipp: We could
Tina Turben: a
Jessie Philipp: put
Tina Turben: few
Jessie Philipp: our logo there.
Tina Turben: Nah, I think it it would be nice to put the logo here, for example, if you have some buttons here. We could put a logo here because it's very
April Whitten: And what
Tina Turben: always
April Whitten: about
Tina Turben: in your field of vision. If you're watching
April Whitten: Oh.
Tina Turben: it, the L_C_D_ screen, blah blah.
April Whitten: What about a button for your uh favourite channel?
Jessie Philipp: Oh that
Tina Turben: Well
Jessie Philipp: could
Tina Turben: we could
Jessie Philipp: be
Tina Turben: we
Jessie Philipp: that
Tina Turben: could include
Jessie Philipp: b
Tina Turben: either
April Whitten: Uh
Tina Turben: here
April Whitten: yeah. With the extra controls.
Tina Turben: or here,
April Whitten: Uh
Tina Turben: for example. But you think
Jessie Philipp: Well
Tina Turben: here
April Whitten: Uh
Jessie Philipp: now
Tina Turben: or here?
April Whitten: one
Jessie Philipp: it's getting
April Whitten: one set
Jessie Philipp: a little bit too crowded up
Tina Turben: I know.
Jessie Philipp: there. So
April Whitten: Yeah,
Jessie Philipp: Is your
April Whitten: up uh
Jessie Philipp: So it can basically be the button down below or one of the four buttons
Tina Turben: No, we could
Jessie Philipp: up there.
Tina Turben: put
Jessie Philipp: Because
Tina Turben: this one as favourite
April Whitten: One of
Tina Turben: channel
April Whitten: the four.
Tina Turben: for exam
April Whitten: Uh, it's better than, I think.
Tina Turben: What
Jessie Philipp: One
Tina Turben: are these
Jessie Philipp: of
Tina Turben: for?
Jessie Philipp: the four
Tina Turben: Okay.
Jessie Philipp: is
April Whitten: It's a favourite
Jessie Philipp: better, I
April Whitten: channel.
Jessie Philipp: suppose.
Tina Turben: What?
April Whitten: What? Nee, uh one of the four uh
Jessie Philipp: Because it's
April Whitten: It's
Jessie Philipp: a little
April Whitten: better
Jessie Philipp: bit
April Whitten: th
Jessie Philipp: confusing to have twelve buttons down there, because you're only accustomed to eleven, I'd say.
Tina Turben: You're accustomed to eleven? My uh okay, have it your way. I mean, think this looks rather
Jessie Philipp: Oh, we still need
Tina Turben: like
Jessie Philipp: an okay
Tina Turben: like there's something
Jessie Philipp: button.
Tina Turben: missing for example. I mean why wouldn't you include a 'cause there is a um a piece of electronics under there anyway. So why not
Nancy Stokes: Hmm.
Tina Turben: give it a function.
Nancy Stokes: Hmm.
Tina Turben: Let's say I mean could be anything.
Jessie Philipp: Well, you could
Tina Turben: But
Jessie Philipp: also
Tina Turben: th
Jessie Philipp: shift the two buttons to be nicely aligned.
Tina Turben: No, I don't think because this is a zero. But you want
April Whitten: Yeah.
Tina Turben: zero to be mis-aligned with the rest. Anyway, so this is the basic design, we wanna have um on and off what are we missing?
Jessie Philipp: Oh,
Tina Turben: If
Jessie Philipp: we're
Tina Turben: it
Jessie Philipp: pretty
Tina Turben: looks
Jessie Philipp: much missing
Tina Turben: um
Jessie Philipp: an okay button, but we have a button up there
Tina Turben: Okay,
Jessie Philipp: which is still
Tina Turben: so
Jessie Philipp: free.
Tina Turben: we want the
Jessie Philipp: So
Tina Turben: remote to be the s the side view actually, what I'm gonna draw. So Um probably think you want the curve to be here. So have your finger under here like this,
Jessie Philipp: Yeah,
Tina Turben: I suppose?
Jessie Philipp: pretty much.
Tina Turben: Okay. Just gonna be sh
April Whitten: Hmm.
Tina Turben: Yeah. Want this straight or what? Let's keep it at this. So it would be like this. Do we want something interesting with it or see. Would give us a light here. Maybe it's boring. You want it curved or what? Maybe you want
Jessie Philipp: Well, I think
Tina Turben: Should
Jessie Philipp: it
Tina Turben: like
Jessie Philipp: looks
Tina Turben: this?
Jessie Philipp: better curved. But that's probably uh
Tina Turben: Will give us
April Whitten: Mm.
Tina Turben: design
Nancy Stokes: Huh.
Tina Turben: problem because we have
Nancy Stokes: It can be
April Whitten: Why?
Nancy Stokes: curved.
Jessie Philipp: It can be curved, because
Nancy Stokes: Yes.
Jessie Philipp: that yeah, it's a little bit more
Tina Turben: It can be
Jessie Philipp: trendy
Tina Turben: curved.
Jessie Philipp: to
Tina Turben: Okay?
Jessie Philipp: be curved.
Tina Turben: I think so. That's why I asked you. Okay. So
Nancy Stokes: I would curve the whole actually.
Jessie Philipp: Hmm?
Nancy Stokes: I would curve the whole. Like um like it hangs over your hand a little bit.
Tina Turben: Oh crap.
April Whitten: Yeah.
Nancy Stokes: Then it will bounce and you don't drop it so easily.
Tina Turben: Yeah. Oh. Anyway, so you want to a little more like this?
Nancy Stokes: Yeah, something like that,
April Whitten: Uh-huh.
Nancy Stokes: yes.
Tina Turben: And just s s
Nancy Stokes: Yes, exactly.
Tina Turben: Stop the curve here or continue it
Nancy Stokes: I think continue like that.
April Whitten: Yep.
Nancy Stokes: Then there's also
Tina Turben: So we
Nancy Stokes: enough
Tina Turben: have our L_C_D_
Nancy Stokes: room for the
Tina Turben: screen.
Nancy Stokes: electronics.
Tina Turben: Let's see.
Jessie Philipp: But
Tina Turben: In
Jessie Philipp: it pretty much looks like a banana already.
Nancy Stokes: Yeah.
Jessie Philipp: Uh
April Whitten: Yeah.
Nancy Stokes: Let's make
April Whitten: Perfect.
Nancy Stokes: it yellow
Tina Turben: Bana
Nancy Stokes: then.
Tina Turben: it's
Nancy Stokes: Uh
Tina Turben: banana vision.
Jessie Philipp: It's fruit.
April Whitten: Yeah,
Jessie Philipp: Yeah.
April Whitten: it's perfect.
Tina Turben: So you have your L_C_D_ screen right here, suppose. Um that would make We use the colours now. But Um
Nancy Stokes: Maybe once we can make a special edition in according with Chiquita. Have ourselves sponsored.
Tina Turben: You got sponsor, now you get a free one with every pack of Chiquita.
Nancy Stokes: Uh but it's a good trade-off for them if they can have their logo on it.
Tina Turben: So it would give the buttons
Jessie Philipp: Or
Tina Turben: here.
Jessie Philipp: they can design their own cover.
Nancy Stokes: Mm-hmm. They might
Jessie Philipp: We
Nancy Stokes: wanna
Jessie Philipp: could
Tina Turben: I
Nancy Stokes: be
Jessie Philipp: set
Nancy Stokes: the
Tina Turben: suppose
Nancy Stokes: first
Jessie Philipp: up a
Nancy Stokes: ones
Tina Turben: I suppose
Nancy Stokes: to
Jessie Philipp: a
Nancy Stokes: uh
Jessie Philipp: marketing
Tina Turben: we can
Jessie Philipp: uh
Tina Turben: put
April Whitten: Yeah.
Tina Turben: um
Jessie Philipp: agreement.
Tina Turben: let's see. Um
Nancy Stokes: Oh, perhaps they can use it. Or give a special edition uh
Tina Turben: Uh I suppose
Nancy Stokes: with with
Tina Turben: we can put the batteries in here because it has the most space, for example.
Jessie Philipp: Won't that be a problem with the L_C_D_ screen?
Tina Turben: I don't think so because it's the biggest part of the
Nancy Stokes: Mm.
Tina Turben: uh of the uh
Jessie Philipp: Yeah, but the L_C_D_ screen probably needs quite
Tina Turben: Let's
Jessie Philipp: the chip.
Nancy Stokes: I think this is possible.
Tina Turben: I think it's possible.
Jessie Philipp: Okay.
Tina Turben: I think it's the best place yeah, you could also
Nancy Stokes: Huh.
Tina Turben: put 'em here. But
Nancy Stokes: It doesn't matter. You can actually uh place a chip for the L_C_D_ screen and at the bottom, and and wire it. Doesn't
Tina Turben: Okay,
Nancy Stokes: matter.
Jessie Philipp: Okay, that's not a
April Whitten: Okay.
Jessie Philipp: problem.
Tina Turben: so
Jessie Philipp: Okay.
Tina Turben: we put the batteries here. That's fine. Yep. Blah.
Jessie Philipp: I think we get the idea.
Tina Turben: Um, any other com what what are we missing here? Something a speech recognition. Um where do we want the microphone, for example, to be? On the side
April Whitten: Top?
Tina Turben: or on the or,
Jessie Philipp: Oh,
Tina Turben: for
April Whitten: W
Tina Turben: example, on top?
April Whitten: On
Jessie Philipp: basically
April Whitten: there.
Tina Turben: Like here.
Jessie Philipp: the idea that I had
Nancy Stokes: I think
Jessie Philipp: was it
Nancy Stokes: on
Jessie Philipp: to
Nancy Stokes: top.
Jessie Philipp: be pretty
Tina Turben: To be
Jessie Philipp: much in combination with the transmitter. 'Cause you can talk to it like this.
Tina Turben: Okay, I w thought
April Whitten: No.
Tina Turben: maybe it's either be here or because it's mi it might interfere with the transmitter, I'm not sure. But 'Cause transmitter would be
Jessie Philipp: Well,
Tina Turben: here.
Jessie Philipp: the email said it was a quite a small component. So I don't
Tina Turben: Why uh
Jessie Philipp: see
Tina Turben: once again,
Jessie Philipp: that.
Tina Turben: like you said, the component can be somewhere at the bottom while we wire the microphone up there. Anyway. Um yeah, it could be either be here or make a double microphone.
Nancy Stokes: Mm-hmm.
Tina Turben: I wouldn't mind.
Nancy Stokes: It is, I believe, also able to talk.
Tina Turben: It's able to talk to you.
Jessie Philipp: It's
Nancy Stokes: I have a
Jessie Philipp: a
Nancy Stokes: sample uh sample sensor and the speaker sensor.
Tina Turben: A speaker sensor.
Nancy Stokes: Uh the speaker sensor we already have, but s I don't know what they exactly mean by a sample sensor. Could it talk back? Like uh g uh give confirmation or something. I think it can. I think if you have a a speech
Jessie Philipp: Well,
Nancy Stokes: recognition
Jessie Philipp: the
Nancy Stokes: component, then
Tina Turben: I
Nancy Stokes: a
Tina Turben: think
Nancy Stokes: s
Tina Turben: so, it
Nancy Stokes: speaking
Tina Turben: I think it could.
Nancy Stokes: component is not that hard to to put in either.
Tina Turben: Yeah.
April Whitten: Mm-hmm.
Tina Turben: I mean it could be a all this stuff could be integrated into the L_C_D_ screen, which
Nancy Stokes: Hmm.
Tina Turben: you could navigate with this, I suppose. Navigate
Nancy Stokes: Hmm.
Tina Turben: through everything.
Nancy Stokes: Hmm.
Tina Turben: If
Jessie Philipp: Yeah,
Tina Turben: you have
Jessie Philipp: but do
Tina Turben: I
Jessie Philipp: you
Tina Turben: think
Nancy Stokes: But
Tina Turben: you sh I
Jessie Philipp: actually
Tina Turben: think the
Jessie Philipp: need
Tina Turben: advanced
Jessie Philipp: the remote
Tina Turben: options
Jessie Philipp: talking
Tina Turben: should be
Jessie Philipp: back?
Nancy Stokes: Mm-hmm.
Tina Turben: I think it sh
Nancy Stokes: Yeah.
Tina Turben: the advanced option could also be integrated in the L_C_D_ screen, of course, because you don't have to have a button for everything. You can just navigate
Nancy Stokes: Hmm.
Tina Turben: through th m your menu that you have here for advanced
Nancy Stokes: Hmm.
Tina Turben: options with this. Think that would be fine.
Nancy Stokes: Mm.
Tina Turben: So that's w m would be making use of the L_C_D_ screen.
Nancy Stokes: Hmm.
Tina Turben: Mm.
Nancy Stokes: We already have a sound component, by the way, for the beep. So
Tina Turben: Beep.
Nancy Stokes: beep.
Jessie Philipp: Beep.
April Whitten: Beep.
Tina Turben: Um, so the flashing of the beep, we have well anything. We could Yeah, but you could put a speaker or something on on
Jessie Philipp: At
Tina Turben: the side
Jessie Philipp: the back, yeah.
Tina Turben: for example.
Nancy Stokes: Hmm.
Jessie Philipp: Like that. Or at the side.
Tina Turben: For
Jessie Philipp: Which is.
Tina Turben: how do you draw that again? Uh whatever, looks stupid.
Jessie Philipp: So what's basically edi the editi idea, sorry, now?
Tina Turben: I
Jessie Philipp: We
Tina Turben: think
Jessie Philipp: need
Tina Turben: this
Jessie Philipp: to stay
Tina Turben: is
Jessie Philipp: here
Tina Turben: pretty
Jessie Philipp: and work out that.
Nancy Stokes: I'm not sure.
April Whitten: Oh.
Nancy Stokes: I
Tina Turben: I
Nancy Stokes: should be
Tina Turben: think
Nancy Stokes: getting
Tina Turben: you have to stay
Nancy Stokes: new information,
Tina Turben: here
Nancy Stokes: I
Tina Turben: because
Nancy Stokes: guess.
Tina Turben: we are supposed to five minutes to finish the meeting. Oh, like my the info that I got was that you're uh we're gonna work on our own because you're gonna do the market market
April Whitten: Yep.
Tina Turben: uh analysing I'm supposed to do the little work on the year-end report. So the project report.
April Whitten: Okay.
Tina Turben: Hmm. Okay, I
Jessie Philipp: Well,
Tina Turben: think we're
Jessie Philipp: I suppose we'll
Tina Turben: everybody satisfied with the with the current design we have?
Nancy Stokes: Yes.
Tina Turben: So we're s
April Whitten: Ah, that's fine.
Tina Turben: supposed to be rubber.
Jessie Philipp: Pretty much.
Tina Turben: I think well, I think the
April Whitten: Round.
Tina Turben: the remote control is gonna be black because we we forgot to
April Whitten: Wh
Tina Turben: talk about I
April Whitten: Why?
Tina Turben: mean the the company colours are important apparently. So we have
Nancy Stokes: But
Tina Turben: the
Nancy Stokes: we
Tina Turben: logo
Nancy Stokes: have
Tina Turben: up there.
Nancy Stokes: any
Tina Turben: So
Nancy Stokes: company
Tina Turben: are we gonna
Nancy Stokes: logo.
Tina Turben: base
Nancy Stokes: We have
Tina Turben: colour is black?
Nancy Stokes: yes, but and yellow.
Tina Turben: And yeah, of course we could use yellow buttons or yellow navigation or whatever.
Nancy Stokes: I would change. I would take a yellow
Tina Turben: Yellow
Nancy Stokes: remote
Tina Turben: but
Nancy Stokes: control.
Tina Turben: yellow control. It's
Nancy Stokes: To have it flashy, to have it it's for young people.
Jessie Philipp: Yeah, but when
Tina Turben: Okay.
Jessie Philipp: you use covers,
Nancy Stokes: Need do be different.
Jessie Philipp: it
April Whitten: It's the colour of
Jessie Philipp: basically
Tina Turben: Well,
April Whitten: a
Tina Turben: don't don't stick
Jessie Philipp: easier
Tina Turben: yourself on the
Jessie Philipp: to
Tina Turben: covers
Jessie Philipp: have a
Tina Turben: right
Jessie Philipp: n
Tina Turben: now.
Jessie Philipp: have a neutral colour on the base.
Tina Turben: But don't stick yourself on the cover because
Nancy Stokes: Hmm.
Jessie Philipp: No, we're designing the remote control now, but taking
Nancy Stokes: But we need to
Jessie Philipp: that
Nancy Stokes: be different.
Jessie Philipp: into consideration, it's better
Tina Turben: Nah.
Jessie Philipp: to have a neutral base colour than to have a flashy
Tina Turben: Yeah, but the info. I think
April Whitten: But,
Tina Turben: we should
April Whitten: the
Tina Turben: go
April Whitten: you
Tina Turben: with uh with the company colour because what specific
Nancy Stokes: Mm-hmm.
Tina Turben: info that I got from the project board. So I
April Whitten: The young
Tina Turben: think
April Whitten: people
Tina Turben: we should go
April Whitten: want
Tina Turben: with that.
April Whitten: uh a trendy uh
Tina Turben: They want
April Whitten: remote
Tina Turben: something
April Whitten: control.
Tina Turben: trendy.
April Whitten: So
Nancy Stokes: Huh. It's
April Whitten: colourful
Nancy Stokes: either
April Whitten: uh is
Nancy Stokes: black cover with yellow buttons or vice versa. And I would say take a yellow cover and black buttons.
Jessie Philipp: It is more trendy. That's
Tina Turben: I
Nancy Stokes: To
Tina Turben: think
Nancy Stokes: be
Jessie Philipp: definitely
Tina Turben: we
Nancy Stokes: different.
Tina Turben: should th
Jessie Philipp: true.
Tina Turben: then
April Whitten: Yeah.
Tina Turben: take it take yellow. Take what you c yellow remote control. So let's see if if we can do the LED onto it.
April Whitten: You have the basic colours, blue,
Tina Turben: Uh
April Whitten: green,
Tina Turben: oh.
April Whitten: red.
Nancy Stokes: Yeah, we have so many colours already. So
Tina Turben: You know what?
April Whitten: Oh, it's
Tina Turben: I'm
April Whitten: okay.
Tina Turben: not gonna do this.
Nancy Stokes: Oh no, that
Tina Turben: That's up
Nancy Stokes: I
Tina Turben: to
Nancy Stokes: think
Tina Turben: you guys.
Nancy Stokes: it's good thing to be different than
April Whitten: Yeah.
Tina Turben: You doodle
April Whitten: Colourful,
Tina Turben: a doodle
April Whitten: you
Tina Turben: us a nice
April Whitten: you
Nancy Stokes: Well
Tina Turben: nice design for for the next
Nancy Stokes: Mm-hmm.
Tina Turben: meeting, we'll be done. I think
April Whitten: Yep.
Tina Turben: we're all happy now.
Nancy Stokes: I still
Tina Turben: Yeah.
Nancy Stokes: don't have
April Whitten: Yeah.
Nancy Stokes: my scroll-wheel though.
Tina Turben: Stupid
Nancy Stokes: Uh
Jessie Philipp: Oh,
Nancy Stokes: that's
Tina Turben: scroll-wheel.
Jessie Philipp: where would you
April Whitten: Yeah.
Jessie Philipp: like to put it?
Nancy Stokes: Nah, that's true.
Tina Turben: 'Kay I'm not sure uh I really, I'm no I have no clue what we could use the scroll-wheel for.
Jessie Philipp: Uh you could use it for
Nancy Stokes: No,
Jessie Philipp: the channels
Nancy Stokes: forget it.
Jessie Philipp: and
April Whitten: Oh yeah.
Jessie Philipp: for the volume. But
Nancy Stokes: No
Jessie Philipp: it's
Nancy Stokes: look,
April Whitten: You
Nancy Stokes: it
Jessie Philipp: has
April Whitten: can
Jessie Philipp: no
Tina Turben: It takes space, a
Jessie Philipp: real
Tina Turben: lot of space.
Jessie Philipp: added value.
Nancy Stokes: No,
Tina Turben: And
Nancy Stokes: that's
Tina Turben: it
Nancy Stokes: not
Tina Turben: could
Nancy Stokes: my point. It's not because it's functional, but it's just to add to the design, to have it flashy.
April Whitten: Ah
Nancy Stokes: It
April Whitten: may
Nancy Stokes: it
Jessie Philipp: Yeah,
Nancy Stokes: has
Jessie Philipp: but if
Nancy Stokes: no
Jessie Philipp: it
Nancy Stokes: function,
Jessie Philipp: has
Nancy Stokes: I
Jessie Philipp: no function,
Nancy Stokes: agree.
Tina Turben: I'm not
Nancy Stokes: I
Tina Turben: sure
Nancy Stokes: agree.
Jessie Philipp: then
Tina Turben: if it if it has no function, why even put it there?
Nancy Stokes: Oh, so
Tina Turben: And
Nancy Stokes: many things
April Whitten: But
Nancy Stokes: have
Tina Turben: th
Nancy Stokes: no
Tina Turben: that's
Nancy Stokes: function,
Tina Turben: just so
April Whitten: uh
Tina Turben: much
April Whitten: uh
Tina Turben: things
April Whitten: scroll
Nancy Stokes: just
Tina Turben: that
Nancy Stokes: design.
Tina Turben: make
April Whitten: for
Tina Turben: it look flash
April Whitten: a channel s selection or volume
Nancy Stokes: Mm-hmm. Hmm.
Tina Turben: I think channel selection would be annoying
April Whitten: Ma
Tina Turben: because it just c you could scroll past the channel
Nancy Stokes: Mm-hmm.
Tina Turben: or
Nancy Stokes: Let's vote
April Whitten: Oh
Nancy Stokes: on
April Whitten: okay.
Nancy Stokes: it. Then we
Tina Turben: Hmm.
Nancy Stokes: don't have to talk about it any longer.
April Whitten: Oh okay.
Nancy Stokes: What do you want? In or out?
Jessie Philipp: Basically out. I
Nancy Stokes: Okay.
Jessie Philipp: don't see the
Nancy Stokes: You are out of course. You
April Whitten: Out.
Nancy Stokes: are okay, clear.
Tina Turben: No r no scroll-wheel. Okay. Um I don't see anything missing really. Yeah, we should
Jessie Philipp: Do you
Tina Turben: too
Jessie Philipp: have
Tina Turben: bad we
Jessie Philipp: all
Tina Turben: don't
Jessie Philipp: your
Tina Turben: have the
Jessie Philipp: answers?
Tina Turben: finance. We could've
Nancy Stokes: I have all my answers, yes.
Jessie Philipp: Okay.
Tina Turben: Yeah, it's I'm not sure if we're if we're gonna get finance anyway because I thought we cou I thought
April Whitten: I
Tina Turben: it was
April Whitten: have
Tina Turben: gonna be
April Whitten: to
Tina Turben: an
April Whitten: call
Tina Turben: issue
April Whitten: this in a form.
Tina Turben: at
Nancy Stokes: Hmm.
Tina Turben: the first time we started. I thought it was
Nancy Stokes: Hmm.
Tina Turben: gonna be a cost issue which
Nancy Stokes: Hmm.
Tina Turben: material we were gonna take
Nancy Stokes: There is I
Tina Turben: relative
Nancy Stokes: have one
Tina Turben: to
Nancy Stokes: question.
Tina Turben: the advanced chips or anything. So you just do whatever
Nancy Stokes: Hmm.
Tina Turben: you like and
Nancy Stokes: Hmm.
Tina Turben: uh
Nancy Stokes: I only
Tina Turben: doesn't
Nancy Stokes: have one
Tina Turben: care
Nancy Stokes: question
Tina Turben: what it costs.
Nancy Stokes: with the material, but I don't have information that. We've
Tina Turben: I think
Nancy Stokes: chosen
Tina Turben: we're
Nancy Stokes: rubber.
Tina Turben: rubber is not expensive.
Nancy Stokes: No,
Tina Turben: Definitely.
Nancy Stokes: but can we make yellow rubber? I think so
Tina Turben: You can make
Jessie Philipp: Yes,
Tina Turben: rubber in any
April Whitten: Ah.
Jessie Philipp: you
Tina Turben: colour.
Jessie Philipp: can colour
Tina Turben: In
Nancy Stokes: Okay.
Tina Turben: any
Jessie Philipp: rubber,
Tina Turben: colour. So
Jessie Philipp: yeah.
Tina Turben: I mean you can't make yellow titanium, but
April Whitten: But
Tina Turben: you
April Whitten: we ha
Tina Turben: can make
April Whitten: w
Nancy Stokes: Mm.
Tina Turben: yellow rubber.
April Whitten: we
Nancy Stokes: Okay.
April Whitten: don't uh use our reco uh we uh removable cover?
Tina Turben: Uh yeah
April Whitten: No,
Tina Turben: we can
April Whitten: huh?
Tina Turben: make uh for example it's just something you can click on it like uh that's but it's not som not apparently that's not something we're working with in the
April Whitten: Maybe
Tina Turben: basic design.
April Whitten: maybe
Tina Turben: So.
April Whitten: later, maybe
Nancy Stokes: Hmm.
April Whitten: we can
Tina Turben: Yeah, it
April Whitten: uh
Tina Turben: could be. It can be done, for e | For the conceptual design, Nancy Stokes suggested to use kinetic dynamo as energy source. The decision veered towards the basic battery option with no recharging station. They also decided to go for a single-curved design. The available materials for the casing are plastic, wood, rubber and titanium. Possible interfaces are push buttons, scroll wheels, and LCDs. The inclusion of advanced features, like LCD screen and speech recognition, can only be speculative, because the team have no pricing information. Jessie Philipp presented two provisional designs, standard and luxury. The latter has an LCD screen at the top. They are both rectangular with a curve grooved in where the finger rests. There are two lights to help find the remote, all the standard buttons and speech recognition. April Whitten talked about the public's preference for looks over technological innovation; however, they both seem to be more important than ease of use. The current fashion among younger people favours bright colours and fruit and vegetable themes and spongy materials: pertinent exchangeable fronts can express such trends on the remote. Based on Jessie Philipp's drawing, they designed another version shaped slightly like a banana, and discussed the positions of buttons and all other components. | 4 | amisum | train |
Amy Knoedler: Can
Emily Mckinney: Uh
Amy Knoedler: I close this?
Emily Mckinney: we don't have any changes, do we So?
Amy Knoedler: Oh,
Emily Mckinney: no.
Amy Knoedler: okay.
Amy Knoedler: There we go. Okay, here we are again. Detailed design oh, come on. Well Ah s Forgot to insert the minutes, but it's about the same thing we discussed before. Uh Could open that anyway, think.
Amy Knoedler: Other design anyway, we took as we took w we took rubber as as the material last time. We also that you're just busy with it. Took the advanced chip to t implement the advanced features. Well, we discussed the design, no sharp corners, we rounded it off, like you see on the other screen, which is fine. Um we agreed that the colour should be b uh yellow and black. Yellow in the back because it's m trendy, more trendy than black anyway. So then we ca yeah. We agreed that we would implement both the L_C_D_ and speech recognition, but I'll get to that in a moment. 'Cause some changes in the finances have left us implications anyway. So so,
Constance Moore: Hmm.
Amy Knoedler: like I said, we had no insight in finances, no prices, but we have 'em now, and it's bad. Anyway. We are Oh. Prototype presentation, well first you guys built the prototype. So you could could present that. But um let's see what be handy to do. Nee no, you just go ahead and present the w we'll scrap it later because
Myrle Shaffer: I think it's more or less the as we had.
Amy Knoedler: What?
Emily Mckinney: It's basically
Constance Moore: Hmm?
Emily Mckinney: what we agreed upon,
Amy Knoedler: Oh
Emily Mckinney: but just
Amy Knoedler: that's
Emily Mckinney: a little bit
Myrle Shaffer: No much
Emily Mckinney: more specified.
Myrle Shaffer: s
Amy Knoedler: hasn't changed that much, huh?
Myrle Shaffer: No no no, not at
Amy Knoedler: I
Myrle Shaffer: all.
Amy Knoedler: didn't expect anyway. You just coloured it.
Emily Mckinney: Uh s Final design.
Emily Mckinney: Basically in what we discussed, cover and buttons will be made of rubber, yellow colour, black components, as you can see right over here.
Amy Knoedler: Mm-hmm.
Emily Mckinney: We
Amy Knoedler: I like the menu.
Emily Mckinney: chose a different type of colour for the menu. A bit darker yellow so that it com really shows in this keypad.
Amy Knoedler: Mm-hmm.
Emily Mckinney: If you black, it's really that good a contrast. So
Amy Knoedler: And I suppose the the the yellow is not printed on the on the rubber. It's it's part of the rubber, I suppose.
Emily Mckinney: Probab Yeah.
Amy Knoedler: I think that's more
Emily Mckinney: That's
Amy Knoedler: I think
Emily Mckinney: the be
Amy Knoedler: that's more durable anyway than
Myrle Shaffer: Hmm.
Amy Knoedler: printed on to
Emily Mckinney: And it I guess it's more easier to just paint
Myrle Shaffer: Yeah, of course.
Emily Mckinney: it on the rubber than to uh
Constance Moore: Mm
Myrle Shaffer: That's
Constance Moore: yeah.
Myrle Shaffer: uh the integration story again.
Constance Moore: Okay.
Emily Mckinney: So we
Amy Knoedler: Oh
Emily Mckinney: have
Amy Knoedler: yeah.
Emily Mckinney: it's a bit round shaped, that's what we had uh We chose the buttons to be uh teletext, okay button, favourite channel and the mute.
Amy Knoedler: Mm-hmm.
Emily Mckinney: So that's basically what we chose there.
Amy Knoedler: Okay.
Emily Mckinney: If you have anything to add, please interrupt
Myrle Shaffer: No,
Emily Mckinney: Constance Moore.
Myrle Shaffer: uh this is just a description of what we see there. So
Amy Knoedler: Yeah.
Constance Moore: Yeah
Emily Mckinney: Oh.
Myrle Shaffer: Speaks for itself.
Emily Mckinney: That's pretty much it.
Amy Knoedler: Okay. Now it's my time to ruin everything. Well, not ruin everything, but
Emily Mckinney: Oh
Amy Knoedler: no,
Emily Mckinney: sorry.
Amy Knoedler: nah. Finances, that's what we have here, what you drew. We have battery power, we have advanced chips and the sam the sensor. The sample sensor and uh for speak recognition anyway. So which you see the which is de o one of the most expensive parts. So well, we have sin one curve, a design. Rubber design. And we had a special colour. Suppose yellow is a special colour. So just half a Euro for You have pushbuttons and an L_C_D_ display. You have the total of seventeen Euros in
Myrle Shaffer: Hmm.
Amy Knoedler: production cost, which is higher than the twelve and a half that we are permitted to use. So,
Constance Moore: Hmm.
Amy Knoedler: easy. What do we scrap. Well
Myrle Shaffer: I
Amy Knoedler: think
Myrle Shaffer: d
Amy Knoedler: I had the best solution that I came up with is just to s take out the speech recognition.
Myrle Shaffer: Yeah.
Emily Mckinney: I'd say that
Amy Knoedler: Because
Emily Mckinney: too.
Amy Knoedler: the L_C_D_ has more support on customer
Myrle Shaffer: Hmm.
Amy Knoedler: side. There are ninety one percent of uh the people, or something like that. But ninety percent who favour an L_C_D_ display, and only sixty percent that favour speech recognition. I think it's
Emily Mckinney: Uh we don't
Amy Knoedler: also
Emily Mckinney: really
Amy Knoedler: harder
Emily Mckinney: have
Constance Moore: Yeah.
Amy Knoedler: to.
Emily Mckinney: a extra function with the speech sample, which you can't do with a normal
Myrle Shaffer: Hmm.
Emily Mckinney: remote control, which people already do. So
Amy Knoedler: So I ju I took that out. So and so it's still stuck with thirteen, so I had to take out the special colour I suppose. And, yeah, I didn't see anything else I could take out. Yeah,
Constance Moore: Pushbut
Amy Knoedler: I could take out the push-buttons, but we need those.
Myrle Shaffer: Huh.
Amy Knoedler: So,
Constance Moore: Special colour,
Amy Knoedler: generally
Constance Moore: yeah.
Amy Knoedler: what I came up with, in order to be cou to to have production cost of twelve and a half Euros, spe scrap speech recognition and the separate covers can account for the if people want it, we'll just then we'll do it in black. We'll just deliver it in black, have the it has all the function that it's supposed to have, and if you want it if you want the custom design, then you can buy the separate covers. You
Emily Mckinney: Well,
Amy Knoedler: make it
Emily Mckinney: I'd
Amy Knoedler: d orange
Emily Mckinney: I tend
Amy Knoedler: or whatever
Emily Mckinney: to
Amy Knoedler: you want.
Emily Mckinney: disagree with you on that, because the trend issue was a big issue when
Amy Knoedler: It
Emily Mckinney: we
Amy Knoedler: was
Emily Mckinney: started
Amy Knoedler: a big
Emily Mckinney: designing
Amy Knoedler: issue, but
Emily Mckinney: this. So can't we just
Amy Knoedler: I'll
Emily Mckinney: basically
Amy Knoedler: just go back. Uh let's
Emily Mckinney: extend
Amy Knoedler: just let's
Emily Mckinney: it
Amy Knoedler: see
Emily Mckinney: to
Amy Knoedler: what
Emily Mckinney: thirteen?
Amy Knoedler: okay, let's just see what we no, we we have to be
Constance Moore: Yeah,
Amy Knoedler: under
Constance Moore: it
Amy Knoedler: twelve and a half. It
Constance Moore: The
Amy Knoedler: it's
Constance Moore: p
Amy Knoedler: not uh
Myrle Shaffer: Okay,
Amy Knoedler: the project
Myrle Shaffer: but there's
Amy Knoedler: is a
Myrle Shaffer: another
Amy Knoedler: no-go
Constance Moore: And
Myrle Shaffer: problem.
Amy Knoedler: if
Constance Moore: the
Amy Knoedler: we
Constance Moore: p
Amy Knoedler: go over twelve and a half,
Emily Mckinney: Okay.
Amy Knoedler: so.
Myrle Shaffer: But there's another
Constance Moore: What
Myrle Shaffer: problem. we take cover, for instance black, then we need button, 'cause black and black doesn't work obviously.
Amy Knoedler: I think you that's what you were ass assigned to do really, to
Myrle Shaffer: Huh.
Amy Knoedler: to see how b th both those work together.
Myrle Shaffer: Huh. Yeah.
Amy Knoedler: So I think yeah, it's I think it's y one of the it's a good way to um to help people
Myrle Shaffer: Hmm.
Amy Knoedler: uh to make to keep the product trendy too.
Myrle Shaffer: Hmm.
Amy Knoedler: Just keep you just make new covers for the for
Myrle Shaffer: Right.
Amy Knoedler: it, like we agreed before.
Myrle Shaffer: I agree.
Amy Knoedler: And everything that's left is is the basic function that uh that we want our product to have. Because the expensive parts are in either the advanced chip. But we need that for the L_C_D_
Emily Mckinney: Yeah.
Amy Knoedler: display.
Myrle Shaffer: Mm-hmm.
Emily Mckinney: We do.
Amy Knoedler: Then again, we have the L_C_D_ display, which is also expensive. B yeah, but those go together. And yeah, we could take out the curve.
Myrle Shaffer: Or say let's
Emily Mckinney: We
Myrle Shaffer: lose
Emily Mckinney: could take
Myrle Shaffer: rubber,
Emily Mckinney: out
Myrle Shaffer: take
Emily Mckinney: a
Myrle Shaffer: plastic.
Emily Mckinney: curve indeed.
Amy Knoedler: Could we could take out the curve. Is that an option?
Myrle Shaffer: Yes.
Amy Knoedler: you?
Myrle Shaffer: Although
Constance Moore: But uh
Myrle Shaffer: we are
Emily Mckinney: I
Myrle Shaffer: demolishing
Emily Mckinney: think the colour
Myrle Shaffer: a
Constance Moore: the
Myrle Shaffer: little
Emily Mckinney: is
Myrle Shaffer: bit
Emily Mckinney: more
Myrle Shaffer: the style.
Emily Mckinney: important than
Myrle Shaffer: But
Emily Mckinney: the
Constance Moore: and
Amy Knoedler: Yeah.
Emily Mckinney: really the curve, because if you just end up with an entirely black remote
Constance Moore: Yeah.
Amy Knoedler: I think
Emily Mckinney: control
Amy Knoedler: it's it it
Constance Moore: The
Amy Knoedler: does
Constance Moore: people
Amy Knoedler: ruin it, but
Myrle Shaffer: Yeah.
Amy Knoedler: the fact that I t took that decision or t Took this example actually, not really decision, but the example is because we do offer the um the possibility of adding your own custom covers. So you can change any colour you want. So it's just you deliver a basic remote control with a possibility to change you into whatever you want.
Myrle Shaffer: Can we then not also uh change the material? We take plastic for the basic cover
Amy Knoedler: You can take
Myrle Shaffer: and
Amy Knoedler: plastic, but I d it's something that's stuck into my mind is that something that really came forward from the marketing research is that people like the the the the squishy
Constance Moore: Spongy,
Amy Knoedler: feeling of
Constance Moore: yeah.
Amy Knoedler: the spongy feeling of the
Myrle Shaffer: We can put
Constance Moore: Yeah.
Amy Knoedler: and
Myrle Shaffer: those
Amy Knoedler: it really
Myrle Shaffer: to the
Amy Knoedler: makes it
Myrle Shaffer: to the other covers.
Amy Knoedler: also makes it different from the existing remote controls,
Constance Moore: And
Amy Knoedler: because they're all plastic.
Myrle Shaffer: That's
Amy Knoedler: So
Myrle Shaffer: true.
Amy Knoedler: which in in turn Rubber would increase
Myrle Shaffer: But
Amy Knoedler: durability
Myrle Shaffer: okay.
Amy Knoedler: because it doesn't break.
Myrle Shaffer: But what do you then suggest we'd lose? Because we have to lose two things and I
Amy Knoedler: I
Myrle Shaffer: guess.
Amy Knoedler: al like I said,
Constance Moore: But
Amy Knoedler: I lost the speech recognition
Myrle Shaffer: Yes.
Amy Knoedler: and I lost the special colour, which would make this
Myrle Shaffer: Okay, and that's enough?
Amy Knoedler: black a black and grey. Yeah, that's that that that's enough,
Emily Mckinney: So
Amy Knoedler: because
Emily Mckinney: black and grey is okay.
Amy Knoedler: I guess those are the
Constance Moore: But
Amy Knoedler: basic colours. So
Myrle Shaffer: Hmm.
Emily Mckinney: Which we can
Amy Knoedler: Oh.
Emily Mckinney: fabricate, okay.
Constance Moore: The
Amy Knoedler: I think those
Constance Moore: people
Amy Knoedler: are basic col
Constance Moore: want to pay for for it, so
Amy Knoedler: They want
Constance Moore: why
Amy Knoedler: to
Constance Moore: why uh do we have to keep us uh uh um
Amy Knoedler: To
Constance Moore: on
Amy Knoedler: ensure
Constance Moore: the twelve
Amy Knoedler: the profit.
Constance Moore: and a half?
Amy Knoedler: That that's th that's the order. We're just uh we're the project team and we got our our orders from the pro from
Constance Moore: Yeah.
Amy Knoedler: the boss of our company which say we don't
Constance Moore: But
Amy Knoedler: wanna
Constance Moore: we
Amy Knoedler: spend
Constance Moore: can
Amy Knoedler: more
Constance Moore: take
Amy Knoedler: than
Constance Moore: a risk.
Amy Knoedler: twelve fifty for this. But that's not for our that's not our decision to take.
Emily Mckinney: No, we
Amy Knoedler: We have
Emily Mckinney: basically
Amy Knoedler: a budget
Constance Moore: yeah
Amy Knoedler: of twelve fifty
Myrle Shaffer: Hmm.
Amy Knoedler: per product.
Emily Mckinney: We
Amy Knoedler: So
Emily Mckinney: need to stick to that.
Amy Knoedler: Stick that. I don't think it's really bad either. I mean if we we have the the backup of or the backup design thing
Constance Moore: I hope the people will like it, but
Amy Knoedler: to have I think they would do. Th I think they do like because yo we you we agree upon that the that the the the cover thing was a nice idea, because p you could have all sort of designs while at the same time just manufacturing one product,
Constance Moore: Yeah.
Amy Knoedler: one basic product which you could turn into any any taste you want. So I think it's the best solution
Myrle Shaffer: Perhaps
Amy Knoedler: to
Myrle Shaffer: we should
Amy Knoedler: make
Myrle Shaffer: make
Amy Knoedler: those
Constance Moore: Yeah.
Amy Knoedler: cu custom
Myrle Shaffer: m
Amy Knoedler: covers for the design aspect
Myrle Shaffer: Huh.
Amy Knoedler: and keep the functionality between of within the th the boundaries of the your f uh your
Constance Moore: The first sheet.
Amy Knoedler: budget. So
Myrle Shaffer: Perhaps we should make clear to our customer that we had to do this to stay under the cost. And that's uh they know that this is an option and that we had to drop the option to stay under the cost, that they know that.
Amy Knoedler: Well I don't think Yeah.
Myrle Shaffer: Perhaps they
Amy Knoedler: Is it
Myrle Shaffer: decide
Amy Knoedler: worth
Emily Mckinney: But they
Amy Knoedler: is
Myrle Shaffer: tha
Emily Mckinney: don't
Amy Knoedler: it is it does it mean anything to the customer? Like, it like,
Myrle Shaffer: Of course.
Amy Knoedler: we don't
Myrle Shaffer: Perhaps
Amy Knoedler: care
Myrle Shaffer: they
Amy Knoedler: we don't
Myrle Shaffer: uh
Amy Knoedler: care that you had to
Myrle Shaffer: no, but perhaps they think uh okay, the cover is such a nice idea, uh let's that that then they uh that allow us to make some more costs. We ca we uh we
Amy Knoedler: True,
Myrle Shaffer: can at least
Amy Knoedler: but
Myrle Shaffer: tell
Amy Knoedler: we did
Myrle Shaffer: them
Amy Knoedler: we
Myrle Shaffer: that
Amy Knoedler: didn't get that. So
Myrle Shaffer: You don't know
Amy Knoedler: I
Myrle Shaffer: that.
Amy Knoedler: think it's it should either be a pack,
Emily Mckinney: Well
Myrle Shaffer: Huh.
Amy Knoedler: maybe we sh that should be sold in in the s in stores with with a standard cover or something.
Myrle Shaffer: No, I'm not
Amy Knoedler: But
Myrle Shaffer: uh talking about that cost but the one that g has given us the order to design this. We could at least m uh make it like
Amy Knoedler: They could,
Myrle Shaffer: this,
Amy Knoedler: but
Myrle Shaffer: like
Amy Knoedler: uh
Myrle Shaffer: you said, and then tell them okay, we had to drop this and that, just that you know. It is an still an option, but
Amy Knoedler: It's
Myrle Shaffer: not
Amy Knoedler: an option,
Myrle Shaffer: for this
Amy Knoedler: but
Myrle Shaffer: price.
Amy Knoedler: yeah, it's true. So actually uh it's not that much of an increase, but yeah.
Emily Mckinney: And
Amy Knoedler: We
Emily Mckinney: if
Amy Knoedler: cannot
Emily Mckinney: we
Amy Knoedler: contact them. It's just
Myrle Shaffer: Exactly,
Constance Moore: Yeah.
Amy Knoedler: the order that
Myrle Shaffer: but
Amy Knoedler: we got. So that's what we gotta go with. So it's either one fi just just to get it f just to get it through final, it's either turned into plastic, drop the squishy feel, make it make it more
Constance Moore: Yeah.
Amy Knoedler: breakable,
Myrle Shaffer: Hmm.
Amy Knoedler: um or turn it yellow. So It's uh something we have to decide on.
Myrle Shaffer: I'd say lose the curve
Amy Knoedler: I say
Myrle Shaffer: and
Amy Knoedler: lose
Myrle Shaffer: the colour
Amy Knoedler: the curve.
Myrle Shaffer: and
Amy Knoedler: Oh that's true, we could lose the c yeah, I forgot that, sorry. Uh the curve. So
Emily Mckinney: So which curve is that ba that's basically
Amy Knoedler: That's just
Emily Mckinney: that
Amy Knoedler: this
Emily Mckinney: curve.
Amy Knoedler: one just d this is the banana curve.
Myrle Shaffer: Hmm.
Constance Moore: Yeah,
Amy Knoedler: So
Constance Moore: that's
Emily Mckinney: So
Amy Knoedler: this
Constance Moore: better.
Emily Mckinney: we could
Amy Knoedler: would
Emily Mckinney: u
Amy Knoedler: this
Emily Mckinney: still
Amy Knoedler: would
Emily Mckinney: have
Amy Knoedler: be straight.
Emily Mckinney: the comfort.
Amy Knoedler: No, uh no, that would be a curve inside the thing, I guess. No, would ju then it would just be a straight remote. Just like like that.
Myrle Shaffer: Hmm.
Amy Knoedler: Which would, yeah, turn it into something far more ordinary. we could make
Emily Mckinney: I
Amy Knoedler: it yellow then, but
Emily Mckinney: second that.
Amy Knoedler: You second that, you second that we lose the curve.
Emily Mckinney: No, that it would turn out to be a pretty straight-forward remote control.
Amy Knoedler: Okay,
Emily Mckinney: So that's
Constance Moore: Yeah.
Amy Knoedler: yeah.
Emily Mckinney: not really
Constance Moore: Yeah.
Amy Knoedler: So I think it
Emily Mckinney: that
Amy Knoedler: would be a good idea to keep the curve to separate it from the rest of the remote control
Myrle Shaffer: Hmm.
Amy Knoedler: world, so to speak. So we keep the curve. So
Emily Mckinney: I would
Amy Knoedler: the only only solution is either to use the l y lose the yellow or lose the rubber. And I'm in favour of keeping the rubber, because it has more
Myrle Shaffer: Oh.
Amy Knoedler: more advantages
Myrle Shaffer: I agree.
Amy Knoedler: than the colour yellow
Emily Mckinney: Yeah.
Amy Knoedler: has.
Emily Mckinney: I would
Myrle Shaffer: No.
Emily Mckinney: say
Constance Moore: Yep.
Emily Mckinney: I would agree with you on the colour, because that's an extra option, an extra service we can deliver for
Amy Knoedler: Mm-hmm.
Emily Mckinney: a little bit of more money. So
Amy Knoedler: Yeah, um I guess
Emily Mckinney: we
Amy Knoedler: people
Emily Mckinney: can always
Amy Knoedler: are
Emily Mckinney: do
Amy Knoedler: willing
Emily Mckinney: that.
Amy Knoedler: to pay for that. So I think we can
Constance Moore: Yeah.
Amy Knoedler: take that
Myrle Shaffer: Hmm?
Amy Knoedler: option and just with uh with the idea in the back of our head that you can customise your remote control. So
Myrle Shaffer: Yes.
Amy Knoedler: I think that would still make it a nice product. Okay, we're final on that. So it's too bad we can't make the whole super thing. But anyways we're here. Um
Emily Mckinney: Which
Amy Knoedler: yeah.
Emily Mckinney: is basically what we discussed.
Amy Knoedler: This we discussed just now. That's just now just we could just discuss how the project went. I mean, was kind of
Constance Moore: And I want to
Amy Knoedler: I
Constance Moore: do
Amy Knoedler: sort
Constance Moore: that.
Amy Knoedler: of expected that everything would turn out this way, but because you yeah, everything cannot be for free. We didn't I think it was too bad we didn't have the financial info the last time. Because
Emily Mckinney: Yes,
Amy Knoedler: that
Myrle Shaffer: Huh.
Amy Knoedler: was I th
Emily Mckinney: we
Amy Knoedler: it was
Emily Mckinney: could
Amy Knoedler: really
Emily Mckinney: have
Amy Knoedler: essential really to ma because we spent uh uh entire stage designing a product of which we had no idea what
Myrle Shaffer: Hmm.
Amy Knoedler: it would cost. So we just
Constance Moore: Yeah.
Amy Knoedler: put something I think it's really nor not in stroke with reality actually. So
Myrle Shaffer: Constance Moore too, I felt a bit blind throughout the project, because
Amy Knoedler: Yeah.
Myrle Shaffer: in the beginning I had no list of
Amy Knoedler: Yeah, I
Myrle Shaffer: available
Amy Knoedler: think
Constance Moore: Yeah.
Amy Knoedler: would
Myrle Shaffer: materials,
Amy Knoedler: have been.
Myrle Shaffer: and then I d
Constance Moore: But
Amy Knoedler: Materials
Myrle Shaffer: had not list
Amy Knoedler: would
Myrle Shaffer: of
Amy Knoedler: be
Myrle Shaffer: available
Amy Knoedler: ok
Myrle Shaffer: c finances.
Amy Knoedler: at least
Myrle Shaffer: So
Amy Knoedler: the last meeting I would have expected had to have that. So I suppose
Constance Moore: Let's um see um
Amy Knoedler: Yeah, let's see if it sells. I mean I suppose this sells,
Constance Moore: Um
Amy Knoedler: because it's very very extended. But
Emily Mckinney: Well I hope it
Constance Moore: Let's
Emily Mckinney: sells.
Constance Moore: Uh
Myrle Shaffer: Hmm.
Amy Knoedler: I suppose it sells, because it's good.
Constance Moore: Oh.
Amy Knoedler: I mean it's got everything for the for the reasonable price, because we didn't
Myrle Shaffer: Hmm.
Amy Knoedler: know what it's gonna cost anyway.
Constance Moore: Hmm. Okay, let's eval evaluate uh the product of us, our design. Um I have some uh a method, a requirements and scale of. I uh will pre present uh some statements and we will decided together wha what if it's true or false and
Amy Knoedler: Okay.
Constance Moore: uh then we see uh if the requirements of the user
Amy Knoedler: Have
Constance Moore: are
Amy Knoedler: been
Constance Moore: fulfilled
Amy Knoedler: met,
Constance Moore: or not.
Amy Knoedler: okay.
Constance Moore: And I will uh make a new blank sheet.
Amy Knoedler: Yeah.
Constance Moore: So so the buttons, the look and feel. I thought it was okay, but the advanced uh settings, um screen, audio and channel
Emily Mckinney: Which are basically
Amy Knoedler: They're stuck under menu.
Emily Mckinney: accessible
Constance Moore: We are not
Emily Mckinney: through the menu
Amy Knoedler: For
Emily Mckinney: button.
Amy Knoedler: the menu.
Myrle Shaffer: Hmm.
Amy Knoedler: I think those are totally met, because
Constance Moore: Oh
Amy Knoedler: we
Constance Moore: the menu button
Amy Knoedler: we really
Constance Moore: is
Amy Knoedler: took
Emily Mckinney: Yeah.
Constance Moore: it.
Amy Knoedler: them for the
Constance Moore: Hi
Amy Knoedler: they
Constance Moore: Oh, okay.
Amy Knoedler: have the feel they want, they have the simplicity they want.
Constance Moore: Then it's all uh
Amy Knoedler: I think it's very uh very well met. Either two
Constance Moore: S
Amy Knoedler: or
Myrle Shaffer: One.
Amy Knoedler: one
Constance Moore: it's
Amy Knoedler: maybe.
Constance Moore: true.
Amy Knoedler: I think we took that everything they wanted into consideration.
Constance Moore: Yeah.
Amy Knoedler: So it could either be a two or a one.
Constance Moore: So d Oh wait.
Amy Knoedler: One and a half.
Constance Moore: Uh pen.
Emily Mckinney: Which
Constance Moore: The
Emily Mckinney: is not
Constance Moore: p
Emily Mckinney: an option.
Constance Moore: Oh yeah, it's red,
Amy Knoedler: Just
Constance Moore: okay,
Amy Knoedler: create our
Constance Moore: but
Amy Knoedler: own option.
Constance Moore: Look and feel is everybo it's true.
Amy Knoedler: Yeah.
Constance Moore: So Anyone? And the next one uh yeah, when it's
Amy Knoedler: It's
Constance Moore: lost
Amy Knoedler: perfect.
Constance Moore: uh you can find
Amy Knoedler: Even
Constance Moore: it.
Amy Knoedler: for deaf people,
Constance Moore: It's
Amy Knoedler: yeah.
Myrle Shaffer: Hmm.
Amy Knoedler: It's I don't think it's perfect, but we did everything possible to to
Emily Mckinney: To
Amy Knoedler: get
Emily Mckinney: make
Amy Knoedler: it back.
Emily Mckinney: it that
Amy Knoedler: Because
Emily Mckinney: way,
Amy Knoedler: if
Emily Mckinney: yeah.
Amy Knoedler: it's stuck in you couch, you can see the light. Maybe you can hear it. But
Constance Moore: Yeah.
Amy Knoedler: I mean we tried, so
Constance Moore: And it's
Amy Knoedler: I think it that's that deserves a one.
Constance Moore: and it's yeah.
Amy Knoedler: Definitely.
Constance Moore: To. That's okay then. And the next one. How is that? Uh w we had we don't have an uh
Myrle Shaffer: Manual.
Constance Moore: manual, yeah. But
Myrle Shaffer: I
Constance Moore: I think
Myrle Shaffer: think
Constance Moore: that's
Myrle Shaffer: the
Constance Moore: a
Myrle Shaffer: L_C_D_ display
Constance Moore: part of it. But
Myrle Shaffer: could be a little
Amy Knoedler: I'd
Myrle Shaffer: bit more
Amy Knoedler: use an
Myrle Shaffer: difficult
Amy Knoedler: remote control.
Myrle Shaffer: then a normal remote control,
Emily Mckinney: Mm yeah.
Myrle Shaffer: but then again, it's for young people. So
Constance Moore: Yeah, an L_C_D_, it tells a lot about uh
Myrle Shaffer: Yeah, I
Emily Mckinney: And
Myrle Shaffer: th
Emily Mckinney: it's pretty straight-forward, you have
Myrle Shaffer: Exactly.
Amy Knoedler: It's
Emily Mckinney: a
Amy Knoedler: pretty straight-forward,
Emily Mckinney: navigation
Amy Knoedler: uh-huh.
Myrle Shaffer: No,
Emily Mckinney: no
Myrle Shaffer: that's
Emily Mckinney: keys
Myrle Shaffer: true.
Emily Mckinney: to navigate through the L_C_D_
Myrle Shaffer: I think it won't
Emily Mckinney: menus.
Myrle Shaffer: be
Constance Moore: Yeah.
Myrle Shaffer: a big problem.
Emily Mckinney: So
Constance Moore: So it's a one or
Emily Mckinney: One
Constance Moore: a
Emily Mckinney: I
Constance Moore: I
Emily Mckinney: d no,
Constance Moore: don't know.
Emily Mckinney: actu
Amy Knoedler: I think but we didn't
Constance Moore: For
Amy Knoedler: even
Constance Moore: the advanced
Amy Knoedler: there was
Constance Moore: uh
Amy Knoedler: no
Constance Moore: settings.
Amy Knoedler: issue on making a manual actually. We didn't
Constance Moore: No okay,
Amy Knoedler: really
Constance Moore: that
Amy Knoedler: discuss
Constance Moore: uh that's
Amy Knoedler: it,
Constance Moore: true.
Amy Knoedler: but I don't think it takes no, it really does doesn't take time to learn, I think. We took
Emily Mckinney: No,
Amy Knoedler: it
Constance Moore: Oh,
Amy Knoedler: s
Emily Mckinney: it
Amy Knoedler: it's
Constance Moore: so
Emily Mckinney: it
Amy Knoedler: so
Constance Moore: it
Emily Mckinney: is
Amy Knoedler: easy, we
Emily Mckinney: pretty
Amy Knoedler: have so
Emily Mckinney: straight-forward.
Amy Knoedler: little button, everything speaks for itself really. So
Myrle Shaffer: Ah.
Amy Knoedler: I think
Myrle Shaffer: Um
Amy Knoedler: that's yeah, we didn't it's
Constance Moore: Takes
Amy Knoedler: either
Constance Moore: no
Amy Knoedler: two
Constance Moore: ti
Amy Knoedler: or one, I guess. Maybe it's a two, because d uh the L_C_D_ is a little is a little new and
Myrle Shaffer: With
Amy Knoedler: there
Myrle Shaffer: the
Amy Knoedler: is
Myrle Shaffer: more
Amy Knoedler: there are some
Myrle Shaffer: important
Amy Knoedler: option
Myrle Shaffer: functions
Amy Knoedler: hidden under
Constance Moore: Yeah.
Myrle Shaffer: on.
Amy Knoedler: the menu button. So I might
Emily Mckinney: Yeah.
Amy Knoedler: make this a two instead of a one, I
Emily Mckinney: Yeah.
Amy Knoedler: guess.
Constance Moore: And the L_C_D_, you have to see it.
Amy Knoedler: So just make that a two.
Constance Moore: Um mm Oh, it's a little bit learning. Okay. Uh yeah it's uh a little bit same. But
Myrle Shaffer: Mm-hmm.
Constance Moore: it tells you
Amy Knoedler: You
Constance Moore: or
Amy Knoedler: can use the
Constance Moore: not?
Amy Knoedler: L_C_D_ in a good way. I think so. I think it's perfect, the w where it is, what it can do, if it useful. I think
Constance Moore: But wha
Amy Knoedler: so.
Constance Moore: w
Myrle Shaffer: Mm-hmm.
Constance Moore: oh, yeah. What are we uh displaying on the L_C_D_ screen? Just uh only the channels and or
Myrle Shaffer: the menus uh
Constance Moore: What
Myrle Shaffer: Things
Constance Moore: uh?
Myrle Shaffer: like brightness and uh those kind of things we've put in the menu, because we have no buttons for
Emily Mckinney: Well,
Myrle Shaffer: those.
Emily Mckinney: basically the menu options indeed. But
Constance Moore: Oh, in the L_C_D_
Amy Knoedler: No, y
Constance Moore: screen.
Amy Knoedler: I mean
Myrle Shaffer: Yes.
Amy Knoedler: in the L_C_D_ screen, the small screen. What
Constance Moore: And
Amy Knoedler: does it
Constance Moore: for
Amy Knoedler: display?
Constance Moore: a channel selection, uh or
Amy Knoedler: Well I
Constance Moore: that's
Amy Knoedler: thought it was
Constance Moore: not
Amy Knoedler: I thought it was I thought that people wanted previews on their I'm
Constance Moore: Yeah,
Amy Knoedler: not sure
Constance Moore: I
Amy Knoedler: if
Constance Moore: thought
Amy Knoedler: that even possible,
Constance Moore: I thought
Amy Knoedler: but
Constance Moore: too but yeah.
Amy Knoedler: 'cause it's this requires a quite quite a bit of band-width. I don't think it's possible really. But the
Constance Moore: But
Amy Knoedler: they didn't really define in what should be used for.
Constance Moore: Maybe
Emily Mckinney: No.
Constance Moore: a T_V_ guide or something
Amy Knoedler: But I think in
Constance Moore: in
Amy Knoedler: for
Constance Moore: your
Amy Knoedler: example
Constance Moore: L_C_D_
Amy Knoedler: like
Myrle Shaffer: Mm.
Constance Moore: uh
Amy Knoedler: T_V_ guides, I think that's
Constance Moore: Yeah.
Amy Knoedler: that th that you can transmit through it and everything. Just for extra information on your programmes.
Constance Moore: Yeah, it must be clear
Amy Knoedler: But
Constance Moore: then
Amy Knoedler: also
Constance Moore: what
Amy Knoedler: things like
Constance Moore: what
Amy Knoedler: like
Constance Moore: what for
Amy Knoedler: like
Constance Moore: we
Amy Knoedler: menus
Constance Moore: use it.
Amy Knoedler: or p how about preferences of your uh with configuring your remote control for
Emily Mckinney: Yeah.
Amy Knoedler: favourite your favourite channel for example,
Constance Moore: Yeah.
Amy Knoedler: how do you configure that. So that could be done by L_C_D_ display. I think it's good. No, maybe it's not a one because it's we're not using it perfectly. We didn't give it I don't thing over-discussing. Now we gave it enough thought though.
Constance Moore: Yeah.
Amy Knoedler: I think we d should just lower this. Maybe maybe it's a three though. We could've used it more effectively probably.
Constance Moore: Yeah, indeed. So everybody's agree with an uh three on it, it's
Myrle Shaffer: Yes.
Emily Mckinney: Yeah.
Amy Knoedler: Yeah, we
Emily Mckinney: Two
Amy Knoedler: are using
Emily Mckinney: or
Constance Moore: W
Amy Knoedler: it, but
Emily Mckinney: three.
Amy Knoedler: it's not
Constance Moore: Yeah.
Emily Mckinney: So
Amy Knoedler: it's not poorly used, but it's not efficiently used, I think. We could have ev even lost the selection button and uh done everything via L_C_D_ selection.
Constance Moore: Yeah.
Amy Knoedler: It's now it's just extra to illustrate im
Constance Moore: Yeah,
Amy Knoedler: uh
Constance Moore: I
Amy Knoedler: extra features, but okay.
Constance Moore: A three.
Myrle Shaffer: Nah, it's not really only an extra.
Emily Mckinney: You
Constance Moore: Ah,
Myrle Shaffer: No
Emily Mckinney: can
Myrle Shaffer: menus.
Constance Moore: nothing,
Myrle Shaffer: Think about
Constance Moore: that's
Emily Mckinney: seven.
Constance Moore: A seven. Uh that's uh
Amy Knoedler: Can you talk
Emily Mckinney: Or
Amy Knoedler: to
Emily Mckinney: we
Amy Knoedler: remote
Emily Mckinney: could
Amy Knoedler: control?
Emily Mckinney: say
Amy Knoedler: Well,
Emily Mckinney: it
Amy Knoedler: it can't talk anymore.
Constance Moore: Yeah.
Amy Knoedler: So we scrap that.
Emily Mckinney: Or we could say neutral, we
Amy Knoedler: Oh yeah
Emily Mckinney: 'cause we scratched the
Amy Knoedler: Just
Emily Mckinney: C
Amy Knoedler: to be a prick, but of course you can talk
Constance Moore: Yeah
Amy Knoedler: to your remote control, it doesn't do
Constance Moore: yeah
Amy Knoedler: anything. But
Constance Moore: yeah
Amy Knoedler: you
Constance Moore: yeah.
Amy Knoedler: c you can talk to
Constance Moore: Not
Amy Knoedler: it.
Constance Moore: with the speech recognition. Uh yeah, all the trends and no colours uh anymore. So
Amy Knoedler: Well, we did take everything into consideration of course. Uh the
Constance Moore: Yeah,
Amy Knoedler: shape i shape
Constance Moore: uh
Amy Knoedler: is i
Constance Moore: um
Amy Knoedler: I think
Constance Moore: only
Amy Knoedler: we
Constance Moore: in the
Amy Knoedler: yeah,
Constance Moore: curves.
Amy Knoedler: I think that's okay.
Constance Moore: But the colours, we don't have special
Emily Mckinney: No,
Constance Moore: colours
Emily Mckinney: we
Constance Moore: on
Emily Mckinney: don't
Constance Moore: it.
Emily Mckinney: have the colour.
Amy Knoedler: Yeah,
Emily Mckinney: So
Amy Knoedler: special
Emily Mckinney: I
Amy Knoedler: co but we took into consideration the fact that it's customisable
Constance Moore: Yeah, but
Amy Knoedler: to the
Constance Moore: we
Amy Knoedler: fashi
Emily Mckinney: Yes, but
Constance Moore: yeah,
Emily Mckinney: the
Myrle Shaffer: Hmm.
Constance Moore: we don't have
Emily Mckinney: end
Constance Moore: it,
Emily Mckinney: product
Constance Moore: so d
Emily Mckinney: So
Amy Knoedler: We don't have it we
Constance Moore: In
Amy Knoedler: do have
Constance Moore: the end
Amy Knoedler: it,
Constance Moore: product.
Amy Knoedler: it's
Myrle Shaffer: But
Amy Knoedler: just sold as a package. It does it's not
Myrle Shaffer: M
Amy Knoedler: part of the basic product.
Myrle Shaffer: Changing covers is also trend that
Amy Knoedler: It
Myrle Shaffer: we followed.
Amy Knoedler: that that's what I call trendy. I mean the shape is trendy. The the sh the the functions are trendy. It's just the colours that are not supporting the basic model.
Constance Moore: Now
Amy Knoedler: Because you ha it's just not affordable
Constance Moore: But it's
Emily Mckinney: Maybe
Constance Moore: not a
Emily Mckinney: we
Amy Knoedler: at
Constance Moore: one.
Emily Mckinney: should
Amy Knoedler: the moment.
Emily Mckinney: go with a two then, because it's not perfect,
Constance Moore: Yeah.
Emily Mckinney: because we can't do it initially, but
Constance Moore: Oh.
Myrle Shaffer: Mm-hmm.
Amy Knoedler: It's possible,
Emily Mckinney: we
Amy Knoedler: but you have to pay extra for the for the possibility of having it in a f a different colour.
Constance Moore: Oh well Oops.
Constance Moore: Oh it's a two, right?
Emily Mckinney: Yeah.
Myrle Shaffer: Mm-hmm.
Constance Moore: On the last one. Uh that n that's
Emily Mckinney: Overall
Amy Knoedler: Overall
Constance Moore: all.
Amy Knoedler: score.
Emily Mckinney: score.
Constance Moore: Overall. It's um
Amy Knoedler: One two
Constance Moore: ten,
Amy Knoedler: three. sixteen.
Constance Moore: sixteen three uh
Amy Knoedler: Two two point
Constance Moore: two
Amy Knoedler: some
Constance Moore: two
Amy Knoedler: two
Constance Moore: point
Amy Knoedler: point something.
Constance Moore: seven
Myrle Shaffer: Hmm.
Constance Moore: or something like that. I don't know why.
Emily Mckinney: Ten, sixteen, divided by
Myrle Shaffer: Six.
Constance Moore: Six.
Emily Mckinney: Is two two third.
Amy Knoedler: Two and two thirds.
Constance Moore: Um So we can say it's it's the product is it's okay.
Amy Knoedler: It's okay,
Constance Moore: Y
Amy Knoedler: but
Constance Moore: not
Myrle Shaffer: Mm-hmm.
Amy Knoedler: that's yo m mostly
Emily Mckinney: There's
Amy Knoedler: it's it's influenced by the fact that we didn't have enough resources to implement speech recognition.
Myrle Shaffer: Mm-hmm.
Amy Knoedler: 'Cause yeah, that gives you a seven, which ruins your your average.
Constance Moore: Yeah.
Amy Knoedler: Without that it would be like under it wouldn't yeah, it would be under two. So I think we have
Constance Moore: Woah.
Amy Knoedler: even with this it's reasonable.
Emily Mckinney: Yeah, if we make it into a four, as in neutral, because we didn't implement it, so we can't say that we
Constance Moore: Yeah.
Emily Mckinney: that it's really not well implemented. We come out on a average of two one eighth.
Amy Knoedler: Well I think it's two is okay.
Emily Mckinney: So which is pretty w
Myrle Shaffer: Mm-hmm.
Emily Mckinney: good.
Amy Knoedler: Yeah, two is
Emily Mckinney: It's
Amy Knoedler: pretty
Emily Mckinney: at
Amy Knoedler: good.
Emily Mckinney: least on the positive side. So
Myrle Shaffer: Hmm,
Amy Knoedler: Definitely.
Emily Mckinney: We
Constance Moore: Yeah.
Myrle Shaffer: of
Emily Mckinney: could
Myrle Shaffer: course.
Emily Mckinney: definitely have done better if we've had more resources, but
Amy Knoedler: Yeah, I think it's
Myrle Shaffer: Mm-hmm.
Amy Knoedler: probably
Constance Moore: Yeah.
Amy Knoedler: I I do admit that we d did miss a little or didn't sp didn't talk talk enough about the possibility of the L_C_D_ display. We could
Constance Moore: Yeah.
Amy Knoedler: have used it more efficiently, we just didn't think of it that
Emily Mckinney: Yeah.
Amy Knoedler: way.
Constance Moore: Yeah, with.
Emily Mckinney: True.
Amy Knoedler: So like I said, changing
Constance Moore: The scale.
Amy Knoedler: channels, everything hidden in your L_C_D_ display, so you just need the navigation buttons to do everything.
Myrle Shaffer: But I think for this price, this is it's really a reasonable product.
Amy Knoedler: I
Myrle Shaffer: It's
Amy Knoedler: think
Myrle Shaffer: a good
Amy Knoedler: we
Myrle Shaffer: product.
Amy Knoedler: div I think we did very well, uh ev even
Constance Moore: Yeah.
Amy Knoedler: if you look at this score, we did quite well.
Constance Moore: With
Myrle Shaffer: Oh.
Constance Moore: an L_C_D_ screen.
Amy Knoedler: It just looking for improvements what what
Myrle Shaffer: Oh.
Amy Knoedler: you could have improved.
Myrle Shaffer: Yeah.
Amy Knoedler: So.
Myrle Shaffer: But if pep people really want speech recognition, then they must be prepared to pu to pay more, because it's
Constance Moore: Yeah,
Myrle Shaffer: cannot
Amy Knoedler: They sh
Myrle Shaffer: be
Constance Moore: you
Myrle Shaffer: done
Constance Moore: can
Myrle Shaffer: for
Constance Moore: make
Amy Knoedler: they should
Myrle Shaffer: this.
Constance Moore: 'em another
Amy Knoedler: get kids,
Constance Moore: one.
Amy Knoedler: and just stick 'em in T_V_ and say change
Myrle Shaffer: Hmm
Amy Knoedler: the channel.
Myrle Shaffer: yeah. Ah but for this price uh you cannot ask that.
Amy Knoedler: I don' think
Myrle Shaffer: You
Amy Knoedler: so.
Myrle Shaffer: cannot
Amy Knoedler: Uh
Myrle Shaffer: th
Amy Knoedler: it's just
Myrle Shaffer: think
Amy Knoedler: not
Myrle Shaffer: of
Amy Knoedler: it
Myrle Shaffer: that
Amy Knoedler: it's not affordable.
Myrle Shaffer: No,
Amy Knoedler: Or your
Myrle Shaffer: it's
Amy Knoedler: sh
Myrle Shaffer: not.
Amy Knoedler: you should lose the L_C_D_ screen probably, but I think
Myrle Shaffer: Mm-hmm.
Amy Knoedler: that's I think the L_C_D_ screen is more worth than speech
Myrle Shaffer: Oh
Amy Knoedler: recognition.
Myrle Shaffer: It's also more attractive.
Amy Knoedler: Definitely. Okay, that was that.
Constance Moore: Yeah. Yeah.
Amy Knoedler: So that's the final
Emily Mckinney: So
Amy Knoedler: product
Emily Mckinney: did you
Amy Knoedler: without the speakers, I guess. Let's see, what was left in the the Another one.
Amy Knoedler: Hmm. Yeah, we evaluate the product. General project, what's i in For example, I thou I thought we were pretty creative in what we created. We took the whole new approach of making exchangeable cover for example, which I thought was pretty creative, because it was never never ever listed somewhere.
Myrle Shaffer: Hmm.
Constance Moore: Favourite channel.
Amy Knoedler: Well Anyways. Yeah, leadership is up to you. I mean perhaps I screwed up because I d put a put a speech recognition into it. But that's not for
Constance Moore: Yeah,
Amy Knoedler: Constance Moore to decide.
Constance Moore: I know.
Amy Knoedler: I think
Constance Moore: Yeah.
Amy Knoedler: we did pretty well as team-work though. Because, yeah
Myrle Shaffer: Yes.
Amy Knoedler: was very hard to work with one another if you cannot
Myrle Shaffer: Hmm.
Amy Knoedler: communicate in the meantime, because
Myrle Shaffer: Hmm.
Amy Knoedler: when
Constance Moore: Yeah,
Amy Knoedler: I got
Constance Moore: you're
Amy Knoedler: the when
Constance Moore: working
Amy Knoedler: I got the
Constance Moore: separate.
Amy Knoedler: input for the financial results,
Myrle Shaffer: Yeah.
Amy Knoedler: initially of course I wanted to contact you. Say, look,
Constance Moore: Yeah.
Amy Knoedler: this is
Myrle Shaffer: Huh.
Amy Knoedler: you're doing the wrong thing, you're s you're wasting your time now, because we're implementing
Emily Mckinney: Yeah.
Amy Knoedler: stuff that
Constance Moore: Yeah,
Amy Knoedler: we cannot
Myrle Shaffer: Hmm.
Constance Moore: yeah
Amy Knoedler: afford.
Constance Moore: yeah.
Amy Knoedler: So
Myrle Shaffer: Hmm.
Amy Knoedler: it would be better if y if there was more communication between
Constance Moore: Yeah yeah
Amy Knoedler: uh
Constance Moore: yeah. Direct
Emily Mckinney: And we
Amy Knoedler: because
Emily Mckinney: could
Amy Knoedler: that's
Emily Mckinney: share
Constance Moore: uh communication
Amy Knoedler: that's
Emily Mckinney: information
Amy Knoedler: what would w you what
Constance Moore: with
Emily Mckinney: which
Amy Knoedler: you would
Emily Mckinney: we
Amy Knoedler: normally
Emily Mckinney: received.
Amy Knoedler: do,
Constance Moore: yeah.
Amy Knoedler: either call or email someone. So
Myrle Shaffer: Hmm.
Amy Knoedler: that was too bad con was impossible here anyways.
Myrle Shaffer: That's the same thing that I had in the beginning. Everybody was using materials that s I didn't have. So
Amy Knoedler: It didn't
Constance Moore: Yeah.
Amy Knoedler: have or didn't knew what they costs
Myrle Shaffer: Oh.
Amy Knoedler: or whatever. There was just
Emily Mckinney: Yeah.
Amy Knoedler: too little information about what things actually cost and
Myrle Shaffer: Hmm.
Amy Knoedler: if you could use them. So that was a little unclear I suppose. I think a SMARTboard SMARTboard is pretty cool. I think uh s especially for design issues,
Constance Moore: My handwriting
Amy Knoedler: it's very
Constance Moore: is
Amy Knoedler: easy
Constance Moore: little
Amy Knoedler: just
Constance Moore: bit
Amy Knoedler: to
Constance Moore: yeah.
Amy Knoedler: give your give your thoughts a little
Constance Moore: Yeah.
Amy Knoedler: it's easier to share them.
Myrle Shaffer: Hmm.
Emily Mckinney: Although for actual design I'd say
Amy Knoedler: It's
Emily Mckinney: the
Amy Knoedler: a little
Emily Mckinney: response
Amy Knoedler: less
Emily Mckinney: time
Amy Knoedler: it the
Emily Mckinney: should
Amy Knoedler: response time
Emily Mckinney: be
Amy Knoedler: is
Emily Mckinney: a
Amy Knoedler: le
Emily Mckinney: little bit
Amy Knoedler: it's
Emily Mckinney: higher,
Amy Knoedler: very bad.
Myrle Shaffer: Hmm.
Emily Mckinney: because
Amy Knoedler: It's good to visualise everything, but I think the response time should could be a lot better.
Emily Mckinney: The digital
Constance Moore: But
Emily Mckinney: pen
Constance Moore: th
Emily Mckinney: was
Constance Moore: that's
Emily Mckinney: definitely better to draw my
Amy Knoedler: Definitely.
Emily Mckinney: ideas
Myrle Shaffer: Mm-hmm.
Emily Mckinney: and to
Amy Knoedler: Yeah,
Constance Moore: Yeah, okay.
Emily Mckinney: further
Amy Knoedler: it's
Emily Mckinney: elaborate
Amy Knoedler: true.
Emily Mckinney: on that. So
Myrle Shaffer: But there's uh also one problem with this I noticed. Uh you have to finish a page before
Amy Knoedler: No, you don't
Myrle Shaffer: going
Amy Knoedler: have
Myrle Shaffer: to a
Amy Knoedler: to.
Myrle Shaffer: n
Constance Moore: No.
Amy Knoedler: No, you don't. I jin
Constance Moore: You
Myrle Shaffer: Oh.
Amy Knoedler: I
Constance Moore: can
Amy Knoedler: didn't check the finish button. I just you just ditch
Constance Moore: Done
Amy Knoedler: it and
Constance Moore: and
Amy Knoedler: you
Constance Moore: then
Amy Knoedler: can
Constance Moore: it's
Amy Knoedler: copy
Constance Moore: okay.
Amy Knoedler: it or whatever.
Myrle Shaffer: Okay, I saw that uh
Amy Knoedler: Uh only if you uh check the notes or press done. Then it um then you can then it exports to Word
Myrle Shaffer: Hmm.
Amy Knoedler: automatically. But it's not necessary to check either one of those two. You
Myrle Shaffer: Yeah,
Amy Knoedler: can
Myrle Shaffer: but
Amy Knoedler: just
Myrle Shaffer: I made
Amy Knoedler: preview
Constance Moore: Oh,
Amy Knoedler: your p you
Constance Moore: okay.
Amy Knoedler: can just preview your page in the in the programme.
Myrle Shaffer: Okay,
Constance Moore: Okay,
Myrle Shaffer: but I made three pages
Constance Moore: yeah.
Myrle Shaffer: and they were not finished. And when the third one was finished, I wanted to download it and then it was not possible anymore, because you have to close all the pinnits uh the pages before going further.
Amy Knoedler: Okay, before starting
Constance Moore: Okay.
Amy Knoedler: a ne a new page. Okay,
Myrle Shaffer: Exactly.
Amy Knoedler: that could
Myrle Shaffer: So
Amy Knoedler: be
Myrle Shaffer: we cannot
Amy Knoedler: b.
Myrle Shaffer: work on more
Constance Moore: Oh.
Myrle Shaffer: than one page at same time. That's not possible.
Constance Moore: Hmm.
Myrle Shaffer: You
Amy Knoedler: Okay.
Myrle Shaffer: have to finish
Emily Mckinney: Oh can
Myrle Shaffer: it completely,
Emily Mckinney: you?
Myrle Shaffer: then
Emily Mckinney: Okay.
Myrle Shaffer: download it, it's then start a new one.
Amy Knoedler: Yeah, okay.
Myrle Shaffer: That's not very uh handy, but
Amy Knoedler: That's
Myrle Shaffer: if you know that, then
Amy Knoedler: Yeah,
Myrle Shaffer: it's not a
Amy Knoedler: it's
Myrle Shaffer: problem.
Amy Knoedler: understandable, okay. Any new ideas? Yeah, more communication between between uh that's the thing I noticed, that communication is very um
Constance Moore: Important
Amy Knoedler: very
Constance Moore: to mm
Amy Knoedler: important, because if you get new information, it's essential f for the other team-mates to know that as soon as possible, because you would avoid making doing extra work, because you were doing extra work now uh m working on the on the speech recognition,
Constance Moore: Yeah.
Amy Knoedler: you have limitation both on the technical on the d on the design side. So I think that could have been better. But that's I think it's more of a a setting here that you cannot communicate
Myrle Shaffer: Hmm.
Amy Knoedler: than uh than somewhere else. So
Emily Mckinney: Yeah, well it could also possibly be well, is it a more real-time information base, so we can all see
Amy Knoedler: Yeah, I think so. And l less
Emily Mckinney: which
Amy Knoedler: p
Emily Mckinney: information
Amy Knoedler: less spam
Emily Mckinney: is available
Amy Knoedler: probably. I'm
Emily Mckinney: to
Amy Knoedler: not
Myrle Shaffer: Mm-hmm.
Emily Mckinney: one
Amy Knoedler: sure
Emily Mckinney: another.
Amy Knoedler: i I'm not sure you got spammed as well, but I get spammed like every t every two minutes there
Myrle Shaffer: Ah.
Amy Knoedler: was a there
Myrle Shaffer: Well
Amy Knoedler: was another email about master classes or something. So
Myrle Shaffer: Hmm.
Amy Knoedler: which were totally useless actually. I thought I should probably look into them, but they were all useless. So I just
Emily Mckinney: Well, I personally
Constance Moore: Mm
Emily Mckinney: did not have that, but
Amy Knoedler: Oh okay.
Emily Mckinney: That's probably your l description. But I also didn't not really. But still, you had that as well.
Myrle Shaffer: Huh.
Emily Mckinney: Is that we finished up the design and then we checked the website, and
Myrle Shaffer: Yeah.
Emily Mckinney: then there
Constance Moore: Yeah,
Emily Mckinney: was
Constance Moore: after
Emily Mckinney: just extra information.
Constance Moore: After five minutes, uh
Myrle Shaffer: Yeah,
Emily Mckinney: There was a little delay in the
Constance Moore: Yeah.
Emily Mckinney: bit
Amy Knoedler: I didn't have
Emily Mckinney: of a
Amy Knoedler: any
Emily Mckinney: c
Amy Knoedler: uh more information, it's just
Emily Mckinney: crucial
Amy Knoedler: always
Emily Mckinney: delay.
Amy Knoedler: the same here.
Myrle Shaffer: Mm.
Amy Knoedler: So that's that's kind of a
Constance Moore: Email uh
Amy Knoedler: It would change, but not for Constance Moore. So I'd I had no extra information to go
Myrle Shaffer: Hmm.
Amy Knoedler: on that one than what you give Constance Moore
Myrle Shaffer: Hmm.
Amy Knoedler: actually. I couldn't do any research myself or
Myrle Shaffer: Hmm.
Amy Knoedler: I see, that's yeah, w I could have done a little extra work probably, then
Constance Moore: it's
Amy Knoedler: But I was busy enough anyway. So
Myrle Shaffer: Hmm.
Constance Moore: Yeah.
Amy Knoedler: Any new ideas found? Or is that a 'cause
Myrle Shaffer: No.
Amy Knoedler: uh yeah, it's well, probably
Emily Mckinney: How much
Amy Knoedler: is.
Emily Mckinney: time do we have for this anyway?
Amy Knoedler: I have no clue. That's like oh,but it Should i if the project is evaluated and it was it was in b within budget, we should celebrate. So
Myrle Shaffer: Okay, bring out the beer.
Emily Mckinney: Yeah. Champagne.
Amy Knoedler: Uh okay,
Constance Moore: I want one
Amy Knoedler: think that's
Constance Moore: for
Amy Knoedler: about
Constance Moore: my own.
Amy Knoedler: it. Uh I'm not sure what we should still do though uh t let's see what all your tasks were finished, right?
Constance Moore: Yeah.
Amy Knoedler: What you ha
Myrle Shaffer: I have
Amy Knoedler: from
Myrle Shaffer: no
Amy Knoedler: your
Myrle Shaffer: more email.
Amy Knoedler: assistant. So
Myrle Shaffer: My
Amy Knoedler: let's
Myrle Shaffer: coach is uh being very silent now.
Constance Moore: Yeah,
Amy Knoedler: Okay,
Constance Moore: my
Amy Knoedler: I
Constance Moore: personal
Amy Knoedler: should
Constance Moore: coach
Amy Knoedler: I think
Constance Moore: i
Amy Knoedler: I sh I still have the the total report to finish up. I think we took very little time now, because Yeah, we're in agreement, everything the design is okay. The one thing we missed though, we don't
Constance Moore: What
Amy Knoedler: have a product name. How about you
Myrle Shaffer: we
Emily Mckinney: Product
Amy Knoedler: cook a how
Myrle Shaffer: haven't
Emily Mckinney: name.
Myrle Shaffer: think
Amy Knoedler: about
Myrle Shaffer: above
Constance Moore: Yeah,
Amy Knoedler: you
Myrle Shaffer: about
Amy Knoedler: cook
Myrle Shaffer: that.
Amy Knoedler: up a product
Constance Moore: name.
Amy Knoedler: name?
Myrle Shaffer: Huh. It's better than thi I think than a serial number. Sony uh T_R_ something uh
Constance Moore: Or
Myrle Shaffer: f
Amy Knoedler: Just
Constance Moore: fruit
Myrle Shaffer: means nothing
Constance Moore: name.
Myrle Shaffer: to Constance Moore.
Amy Knoedler: oh, think of a catchy name.
Myrle Shaffer: Uh
Amy Knoedler: I'll be working on this until the beep until it beeps. So
Myrle Shaffer: Like fruit names.
Constance Moore: Fruit name or something like that. The
Amy Knoedler: What?
Constance Moore: banana
Amy Knoedler: Fruit?
Constance Moore: remote or something.
Amy Knoedler: You don't want
Constance Moore: I
Amy Knoedler: it to
Constance Moore: don't
Amy Knoedler: resemble
Constance Moore: know.
Amy Knoedler: a banana.
Constance Moore: Yeah, it's the form
Emily Mckinney: The
Constance Moore: of
Amy Knoedler: It's
Emily Mckinney: bana
Constance Moore: it.
Amy Knoedler: not yellow anyway.
Emily Mckinney: 'cause it's not yellow
Constance Moore: Yeah
Emily Mckinney: anymore.
Amy Knoedler: It's not
Constance Moore: oh,
Amy Knoedler: yellow anymore.
Constance Moore: yeah.
Amy Knoedler: It is curved, but
Constance Moore: Uh yeah.
Emily Mckinney: Well,
Constance Moore: Uh
Emily Mckinney: uh I was going for the R_C_ deluxe, but it's not really a catchy name or anything, it's more
Amy Knoedler: No, it's
Myrle Shaffer: Uh
Amy Knoedler: Hmm.
Myrle Shaffer: at least it's not something with numbers. Numbers are so meaningless to the
Constance Moore: Yeah.
Myrle Shaffer: people. I mean.
Emily Mckinney: Something
Constance Moore: That's true.
Emily Mckinney: with our company name, can we do anything with that?
Constance Moore: Reaction,
Emily Mckinney: Maybe there's something
Constance Moore: Real
Emily Mckinney: on
Constance Moore: Reaction.
Emily Mckinney: the website which will help us out.
Myrle Shaffer: Real Reaction.
Emily Mckinney: The reaction
Amy Knoedler: Real Reaction
Emily Mckinney: deluxe.
Amy Knoedler: future R_C_. Step into the future of of remote controlling your T_V_.
Emily Mckinney: Is that a name or a c
Amy Knoedler: No
Emily Mckinney: campaign?
Amy Knoedler: that's a that's a catchy slogan.
Emily Mckinney: Yeah. Or
Amy Knoedler: Control
Emily Mckinney: the
Amy Knoedler: your remote control.
Emily Mckinney: The real reactor.
Myrle Shaffer: Real react.
Amy Knoedler: I go for future R_C_ probably. Something like It's
Myrle Shaffer: The
Amy Knoedler: short
Myrle Shaffer: Real Reactor,
Amy Knoedler: f
Myrle Shaffer: I don't find that uh that bad at all.
Amy Knoedler: Real reactor?
Myrle Shaffer: Yeah. Because
Amy Knoedler: Uh
Myrle Shaffer: our
Amy Knoedler: that
Myrle Shaffer: name
Amy Knoedler: that's
Myrle Shaffer: is Real Reaction.
Emily Mckinney: a an option.
Amy Knoedler: That makes Constance Moore think of different products than a remote control really. I'm not sure. Real reaction in a real
Constance Moore: Zapping. The
Emily Mckinney: So that's one option.
Amy Knoedler: Real reactor.
Amy Knoedler: Didn't notice.
Myrle Shaffer: I'm looking for things in the name.
Amy Knoedler: Mm.
Myrle Shaffer: So that the first three letters are s
Emily Mckinney: Should I
Myrle Shaffer: the
Emily Mckinney: write
Myrle Shaffer: same.
Emily Mckinney: the banana
Myrle Shaffer: R_E_A_
Emily Mckinney: down
Myrle Shaffer: R_E_A_.
Emily Mckinney: or
Constance Moore: Yeah, sure.
Amy Knoedler: I take f yeah,
Emily Mckinney: Sure?
Amy Knoedler: take a banana.
Constance Moore: The banana.
Amy Knoedler: Hmm.
Constance Moore: Remote. Banana recei
Myrle Shaffer: The triple
Constance Moore: R_C_.
Myrle Shaffer: R_. Real Reaction remotes
Constance Moore: Remote.
Myrle Shaffer: control.
Emily Mckinney: Well I
Myrle Shaffer: Triple R_.
Constance Moore: R_ three C_.
Emily Mckinney: Uh do you mean it like
Constance Moore: R_ three C_.
Myrle Shaffer: yeah.
Emily Mckinney: You mean it like this?
Myrle Shaffer: Yeah, that.
Constance Moore: Real Reaction Remote Control. R_ three C_. Oh yeah.
Amy Knoedler: No, not like that. It should be it should be longer, because it's not a product name that you f
Myrle Shaffer: I
Amy Knoedler: print
Myrle Shaffer: think
Amy Knoedler: on a box.
Myrle Shaffer: triple R_. Doesn't
Amy Knoedler: Just
Myrle Shaffer: sound?
Amy Knoedler: write out triple,
Constance Moore: Yeah, triple
Amy Knoedler: like a word
Constance Moore: R_.
Amy Knoedler: triple R_C_, triple
Myrle Shaffer: Yeah.
Amy Knoedler: stripe Oh. Triple
Constance Moore: Triple
Myrle Shaffer: Ah.
Amy Knoedler: dash
Constance Moore: R_C_.
Amy Knoedler: R_ dash s s C_.
Constance Moore: The triple R_C_, yeah.
Amy Knoedler: Yeah.
Constance Moore: R_ s R_ three C_.
Amy Knoedler: R_ dash C_.
Emily Mckinney: Dash
Myrle Shaffer: I
Emily Mckinney: C_?
Myrle Shaffer: think I like it
Amy Knoedler: Dash.
Myrle Shaffer: like this more.
Amy Knoedler: Triple R_ or triple R_C_?
Emily Mckinney: Like a
Constance Moore: Triple
Emily Mckinney: C_ right
Constance Moore: R_ dash.
Emily Mckinney: now or a dash in a C_?
Amy Knoedler: How about do both? Sure if it looks stupid. Uh I think that the the R_C_ together takes away the the the image of it's a triple
Myrle Shaffer: Hmm.
Amy Knoedler: Uh the first the
Myrle Shaffer: Mm.
Amy Knoedler: first one looks like it's a triple
Constance Moore: That
Amy Knoedler: remote control, but it's only a single remote control. And it's especially on the triple R_ that's important.
Constance Moore: Yeah,
Myrle Shaffer: I
Amy Knoedler: The Real
Myrle Shaffer: would
Amy Knoedler: Reaction
Constance Moore: this
Amy Knoedler: Remote.
Myrle Shaffer: huh.
Constance Moore: yeah.
Myrle Shaffer: I would lose the C_ and just name it triple
Emily Mckinney: Is it triple
Myrle Shaffer: R_.
Emily Mckinney: R_C_s? No.
Myrle Shaffer: It sounds like uh thinking about two
Constance Moore: Triple
Myrle Shaffer: different
Constance Moore: remote.
Myrle Shaffer: things and combining it. I would just say triple R_s triple R_
Constance Moore: Yeah.
Amy Knoedler: Yeah,
Emily Mckinney: Well,
Amy Knoedler: triple
Emily Mckinney: that's another
Amy Knoedler: R_
Emily Mckinney: option.
Amy Knoedler: yeah, you can
Myrle Shaffer: That's also short,
Constance Moore: It's okay.
Myrle Shaffer: catchy.
Emily Mckinney: Okay,
Amy Knoedler: Yeah, triple
Emily Mckinney: so which
Amy Knoedler: R_.
Emily Mckinney: ones are we going to scratch definitely?
Constance Moore: The banana.
Myrle Shaffer: Banana.
Amy Knoedler: Banana
Constance Moore: Banana.
Amy Knoedler: remote.
Emily Mckinney: I say this one as well.
Constance Moore: Yeah, the deluxe.
Amy Knoedler: I think we're all in agreement about the triple R_. I think
Myrle Shaffer: Yes.
Constance Moore: The
Amy Knoedler: triple R_
Constance Moore: r
Emily Mckinney: Triple
Amy Knoedler: is cool.
Emily Mckinney: R_?
Constance Moore: triple R_.
Emily Mckinney: Triple
Amy Knoedler: And it
Constance Moore: Yeah.
Amy Knoedler: looks
Emily Mckinney: R_
Amy Knoedler: cool
Emily Mckinney: it is.
Amy Knoedler: when you print it in font, looks pretty cool.
Myrle Shaffer: did you do now?
Amy Knoedler: Just like this just and you just print triple R_,
Myrle Shaffer: Yeah.
Amy Knoedler: it looks doesn't look bad, it's short, it's okay.
Myrle Shaffer: Yeah.
Amy Knoedler: So have to write my report now, I guess. Um Um Yeah, so we have everything. We have the product, we have the costs,
Myrle Shaffer: Yep.
Amy Knoedler: we have
Constance Moore: It can't
Amy Knoedler: the
Constance Moore: work.
Amy Knoedler: possibility
Constance Moore: That will not
Amy Knoedler: of everything. Okay. I think it's adjourned. Retire to my lair and finish the report. That was a short meeting.
Myrle Shaffer: Mm-hmm.
Amy Knoedler: But efficient though.
Myrle Shaffer: The boss is always the last one to go home. So
Amy Knoedler: Probably. See. Okay,
Constance Moore: Okay.
Amy Knoedler: goodbye.
Myrle Shaffer: See you in a minute.
Constance Moore: Damn. I will write that one in a Word uh document.
Myrle Shaffer: Okay.
Amy Knoedler: Could you guys draw Constance Moore a picture of the final design to put on the cover of the
Emily Mckinney: Yeah,
Amy Knoedler: report?
Emily Mckinney: sure.
Myrle Shaffer: Can't we take this one?
Constance Moore: Oh sh
Myrle Shaffer: Otherwise we have to
Constance Moore: Um
Myrle Shaffer: do it all over again.
Emily Mckinney: I don't really know whether we can save it as a picture or no.
Myrle Shaffer: Is it okay if I try? Is that okay with
Emily Mckinney: Sure.
Constance Moore: Yeah,
Myrle Shaffer: you?
Constance Moore: okay, I will ask you when uh
Myrle Shaffer: I'll put it
Constance Moore: I
Myrle Shaffer: back
Constance Moore: need
Myrle Shaffer: in
Constance Moore: the
Myrle Shaffer: a minute.
Constance Moore: information. So it's oh.
Myrle Shaffer: Okay, it has been saving something, but
Constance Moore: Uh
Myrle Shaffer: where to I don't know.
Constance Moore: Oh. Merge.
Myrle Shaffer: Oh, can I say exp yes, I can.
Constance Moore: Sucks.
Myrle Shaffer: Export as J_ PEG.
Myrle Shaffer: Okay, can I not put this wherever I wants. My document is the wrong one, huh.
Constance Moore: Yeah, but
Myrle Shaffer: I cannot.
Emily Mckinney: Network
Constance Moore: I don't know.
Emily Mckinney: places.
Constance Moore: Smart no. Ma it's maybe it's not on the network of uh the rest.
Myrle Shaffer: I don't think so.
Constance Moore: That one is.
Myrle Shaffer: Document and settings.
Emily Mckinney: I wouldn't pick that one, no.
Myrle Shaffer: That's a pity. That means that we have to gonna draw it again. Are you gonna do that?
Emily Mckinney: Sure.
Myrle Shaffer: Okay.
Emily Mckinney: Oh.
Myrle Shaffer: That Yes. Okay. Okay. Okay. Yes, that's correct.
Constance Moore: Yeah. Okay.
Myrle Shaffer: Okay. No. Oh, it's export.
Constance Moore: Oh yeah,
Myrle Shaffer: Okay.
Constance Moore: Can I see scores? Uh,
Myrle Shaffer: Oh, of course. Sorry.
Constance Moore: one one, two threes, two Okay, then we'll overall, two points. Yes.
Emily Mckinney: I see you later.
Constance Moore: Yeah.
Constance Moore: Mm. | Emily Mckinney and Myrle Shaffer presented a prototype drawing of the remote control design. The rubber case is yellow with black buttons and dark yellow for the menus. There are buttons for teletext, favourite channel, mute and OK. It incorporates both LCD screen and speech recognition. The prototype proved over budget (17 euros). The main contributing factors were the LCD and speech recognition. The latter was taken out, along with the special colour. Everyone agreed that the financial information should not have been given to them at the last moment. After the costing, the original prototype was evaluated on a scale of 1(excellent)-7(very bad). The criteria used were look and feel (1), whether it is easy to find (1), whether it is easy to learn (2), use of LCD (3), speech recognition (7), trendiness (2). Finally, the team evaluated the project process in terms of creativity (satisfactory), leadership and teamwork (happy with it, but they missed communicating in between meetings), and means (SMARTboard could be improved in terms of response time, the digital pens could not be used on more than one page at the same time). Finally, the decided to call their design Triple-R. | 4 | amisum | train |
William Popek: Okay Right. Um well this is the meeting for our our project. Um and um this is just what we're gonna be doing over the next twenty five minutes.
Carmelo Rann: Mm-hmm.
William Popek: Um so first of all, just to kind of make sure that we all know each other, I'm Laura and I'm William Popek. Do
Carmelo Rann: Great.
William Popek: you want to introduce yourself again?
Dennis Marshall: Hi, I'm David and be an industrial designer.
William Popek: Okay.
Carmelo Rann: And Andrew and I'm uh marketing
Michael Cannon: Um
Carmelo Rann: expert.
Michael Cannon: I'm Craig and I'm User Interface.
William Popek: Great. Okay. Um so we're designing a new remote control and um Oh I have to record who's here actually. So David, Andrew and Craig, it? And you all arrived on time. Um yeah so des uh design a new remote control. Um, as you can see it's supposed to be original, trendy and user friendly. Um so that's kind of our our brief, as it were. Um and so there are three different stages to the design. Um I'm not really sure what what you guys have already received um in your emails. What did you get?
Dennis Marshall: Um, I just got the project announcement about
William Popek: Mm-hmm.
Dennis Marshall: what the project is. Designing
Carmelo Rann: Mm-hmm.
Dennis Marshall: a remote control. That's about it,
Carmelo Rann: Mm-hmm.
Dennis Marshall: didn't
Carmelo Rann: Yeah,
Dennis Marshall: get
Carmelo Rann: that's
Dennis Marshall: anything
Carmelo Rann: that's
Dennis Marshall: else.
William Popek: Is that what
Carmelo Rann: it.
William Popek: everybody
Michael Cannon: Yeah.
Dennis Marshall: Did
William Popek: got?
Dennis Marshall: you get the same thing?
William Popek: Okay.
Carmelo Rann: Yeah.
William Popek: Um. So we're gonna have like individual work and then a meeting about it. And repeat that process three times. Um and at this point we get try out the whiteboard over there. Um. So uh you get to draw your favourite animal and sum up your favourite characteristics of it. So who would like to go
Carmelo Rann: I
William Popek: first?
Carmelo Rann: will go. That's fine.
William Popek: Very good.
Carmelo Rann: Alright. So This one here, right?
William Popek: Mm-hmm.
Carmelo Rann: Okay. Very nice. Alright. My favourite animal is like
Carmelo Rann: A beagle.
Carmelo Rann: Um charac favourite characteristics of it? Is that right?
William Popek: Yeah.
Carmelo Rann: Uh,
William Popek: Yeah.
Carmelo Rann: right, well basically um high priority for any animal for is that they be willing take a lot of physical their family. And, yeah that they have lots of personality and uh be fit and in robust good health. So this is blue. Blue beagle. My family's beagle.
William Popek: Right. Lovely.
Michael Cannon: Well, my favourite animal would be a monkey.
Michael Cannon: Then they're small cute and furry, and uh when planet of the apes becomes real, I'm gonna be up there with them.
William Popek: Right.
Dennis Marshall: Cool. There's too much gear.
William Popek: You can take as long over this as you like, because we haven't got an awful lot to discuss. Ok oh we do we do. Don't feel like you're in a rush, anyway.
Dennis Marshall: Okay.
Carmelo Rann: I coulda told you a whole lot more about beagles.
William Popek: Ach
Carmelo Rann: Boy, let Carmelo Rann tell
William Popek: why not
Carmelo Rann: you.
William Popek: We might have to get you up again then. I don't know what mine is. I'm gonna have to think on the spot now.
Carmelo Rann: Impressionist.
Dennis Marshall: Can't draw.
William Popek: Is
Dennis Marshall: Um.
William Popek: that a whale?
Dennis Marshall: Yeah. Um, well anyway, I don't know, it's just the first animal I can think off the top of my head. is 'cause I'm allergic to most animals. Allergic
William Popek: Ah.
Dennis Marshall: to animal fur, so um fish was a natural choice. Um, yeah, and I kind of like whales. They come in and go eat everything in sight. And they're quite
Carmelo Rann: Alright.
Dennis Marshall: harmless and mild and interesting.
Carmelo Rann: Mm.
William Popek: Okay. God, I still don't know what I'm gonna write about. Um.
Carmelo Rann: Superb sketch, by the way.
Dennis Marshall: Tail's a bit big, I think.
William Popek: I was gonna choose a dog as well. But I'll just draw a different kind of dog.
Carmelo Rann: Yep.
William Popek: M my favourite animal is my own dog at home. Um That doesn't really look like him, actually. He looks more like a pig, actually. Ah well.
Carmelo Rann: I see a dog in there.
William Popek: Do you?
Carmelo Rann: Yep.
William Popek: Oh that's very good of you.
Carmelo Rann: Now I see a rooster.
William Popek: Uh.
Carmelo Rann: What kind is it?
William Popek: Um he's a mixture of uh various things. Um and what do I like about him, um That's just to suggest that his tail wags. Um he's very friendly and cheery and always pleased to see you, and very kind of affectionate and um uh and he's quite quite wee as well so you know he can doesn't take up too much space. Um and uh And he does a funny thing where he chases his tail as well, which is quite amusing,
Carmelo Rann: Is
William Popek: so
Carmelo Rann: he aware that th it's his own cha tail he's chasing?
William Popek: It is. I think it is. He only does it after he's had his dinner and um he'll just all of a sudden just get up and start chasing his tail
Carmelo Rann: Hmm.
William Popek: 'round the living room.
Dennis Marshall: It's an after dinner dog then.
William Popek: Yeah, so
Carmelo Rann: Probably when
William Popek: uh
Carmelo Rann: he was little he got lots of attention for doing it and
William Popek: Yeah,
Carmelo Rann: has
William Popek: maybe.
Carmelo Rann: forever been conditioned.
William Popek: Maybe. Right, um where did you find this? Just down here? Yeah. Okay. Um what are we doing next? Uh um. Okay, uh we now need to discuss the project finance. Um so according to the brief um we're gonna be selling this remote control for twenty five Euro, um and we're aiming to make fifty million Euro. Um so we're gonna be selling this on an international scale. And uh we don't
Carmelo Rann: 'Kay.
William Popek: want it to cost any more than uh twelve fifty Euros, so fifty percent of the selling price.
Carmelo Rann: Um, can we just go over that again?
William Popek: Sure.
Carmelo Rann: Uh, so bas at twel Alright, yeah. Okay. So cost like production cost is
William Popek: All together.
Carmelo Rann: twelve fifty, but selling price is is that wholesale or retail? Like on the shelf.
William Popek: Um I dunno. I imagine That's a good
Carmelo Rann: Our
William Popek: question.
Carmelo Rann: sale our sale anyway.
William Popek: I imagine it probably is our
Carmelo Rann: Yeah,
William Popek: sale
Carmelo Rann: okay
William Popek: actually because it's probably
Carmelo Rann: okay.
William Popek: up to the the um the retailer to uh
Carmelo Rann: Okay.
William Popek: sell it for whatever price they want.
Carmelo Rann: Mm-hmm.
William Popek: Um.
Carmelo Rann: Alright.
William Popek: But I I don't know, I mean do you think the fact that it's going to be sold internationally will have a bearing on how we design it at all?
Carmelo Rann: Yes.
William Popek: Think it will?
Carmelo Rann: Mm-hmm.
William Popek: Um.
Carmelo Rann: Mm-hmm.
William Popek: Hmm.
Carmelo Rann: Well right away I'm wondering if there's um th th uh, like with D_V_D_ players, if there are zones.
William Popek: Oh yeah,
Carmelo Rann: Um
William Popek: regions and
Carmelo Rann: f
William Popek: stuff, yeah.
Carmelo Rann: frequencies or something
William Popek: Yeah.
Carmelo Rann: um
William Popek: Okay.
Carmelo Rann: as well as uh characters, um different uh keypad styles and s symbols.
Dennis Marshall: Hmm.
William Popek: Yeah. Well for
Carmelo Rann: Um.
William Popek: a remote control, do you think that will be I suppose
Carmelo Rann: I don't
William Popek: it's
Carmelo Rann: know.
William Popek: depends on how complicated our remote control is.
Carmelo Rann: Yeah.
Dennis Marshall: It does make sense from maybe the design point of view 'cause you have more complicated characters like European languages, then you need more buttons.
William Popek: Yeah,
Carmelo Rann: Yeah.
Dennis Marshall: So,
William Popek: yeah.
Dennis Marshall: possibly.
Carmelo Rann: Yeah.
William Popek: Okay.
Carmelo Rann: And then a and then al the other thing international is on top of the price. I'm thinking the price might might appeal to a certain market in one region, whereas in another it'll be different, so
William Popek: What, just like
Carmelo Rann: Just
William Popek: in
Carmelo Rann: a
William Popek: terms
Carmelo Rann: chara just
William Popek: of like
Carmelo Rann: a characteristic
William Popek: the wealth of the
Carmelo Rann: of
William Popek: country?
Carmelo Rann: the
William Popek: Like how
Carmelo Rann: Just
William Popek: much money people have to spend on things
Carmelo Rann: Or just
William Popek: like?
Carmelo Rann: like, basic product podi positioning, the twenty five Euro remote control might be a big hit in London, might not be such a big hit in Greece, who knows,
William Popek: Aye, I
Carmelo Rann: something
William Popek: see what
Carmelo Rann: like
William Popek: you
Carmelo Rann: that,
William Popek: mean,
Carmelo Rann: yeah.
William Popek: yeah. Marketing. Good marketing
Carmelo Rann: Yep.
William Popek: thoughts. Oh gosh, I should be writing all this down. Um.
Carmelo Rann: Right away I'm making some kind of assumptions about what what information we're given here,
William Popek: Mm.
Carmelo Rann: thinking, 'kay trendy probably means something other than just basic,
William Popek: Yeah.
Carmelo Rann: something other than just standard. Um so I'm wondering right away, is selling twenty five Euros, is that sort of the thi is this gonna to be like the premium product kinda
William Popek: Yeah,
Carmelo Rann: thing
William Popek: yeah.
Carmelo Rann: or
William Popek: Like how much does, you know, a remote control cost.
Carmelo Rann: Uh-huh.
William Popek: Well twenty five Euro, I mean that's um that's about like eighteen pounds or something, isn't it?
Carmelo Rann: Mm-hmm.
William Popek: Or no, is it as much as that? Sixteen
Carmelo Rann: Yep.
William Popek: seventeen eighteen pounds.
Carmelo Rann: Yeah, I'd say so, yeah.
William Popek: Um, I dunno, I've never bought a remote control, so I don't
Carmelo Rann: No.
William Popek: know how how good a remote
Carmelo Rann: Yeah,
William Popek: control that would get you.
Carmelo Rann: yeah.
William Popek: Um. But yeah, I suppose it has to look kind of cool
Carmelo Rann: Mm-hmm.
William Popek: and gimmicky. Um right, okay. Okay. Um well d Does anybody have anything to add to uh to the finance issue at all?
Carmelo Rann: Do
William Popek: Thin
Carmelo Rann: we have any other background information on like how that compares to other
William Popek: No, actually. That
Carmelo Rann: other
William Popek: would be useful, though, wouldn't it, if you knew like
Carmelo Rann: Yeah.
William Popek: what your money would get you
Dennis Marshall: Hmm.
William Popek: now.
Carmelo Rann: Mm-hmm.
William Popek: Mm-hmm.
Carmelo Rann: Yeah, interesting thing about discussing um production of a remote control for Carmelo Rann is that l as you point out, I just don't think of remote controls as somethin something people consciously assess in their purchasing habits.
William Popek: Yeah,
Carmelo Rann: It's just
William Popek: yeah.
Carmelo Rann: like getting shoelaces with shoes or something.
William Popek: Oh.
Carmelo Rann: It just
William Popek: Five
Carmelo Rann: comes
William Popek: minutes
Carmelo Rann: along.
William Popek: to end of meeting. Oh, okay. We're a bit behind.
Carmelo Rann: Do you know what I mean?
Michael Cannon: Yeah.
Carmelo Rann: Like
Dennis Marshall: Yeah.
Carmelo Rann: so sort of like how do you I I mean one one way of looking at it would be, well the people producing television sets, maybe they have to buy remote controls. Or another way is maybe people who have T_V_ sets are really fed up with their remote control and they really want
Michael Cannon: I
Carmelo Rann: a
Michael Cannon: know
Carmelo Rann: better
Michael Cannon: um
Carmelo Rann: one or something.
Michael Cannon: My
Carmelo Rann: But
Michael Cannon: parents went out and bought um remote controls because um they got fed up of having four or five different remote controls for each things
Carmelo Rann: Right.
Michael Cannon: the house.
Carmelo Rann: Right. Okay so
Michael Cannon: how many devices control.
Carmelo Rann: Right, so in function one of the priorities might be
William Popek: Yeah.
Carmelo Rann: to combine as many uses
William Popek: Right, so do you think that should be like a main design aim of our remote control d you know,
Carmelo Rann: I think so.
William Popek: do your
Carmelo Rann: Yeah,
William Popek: your satellite and
Carmelo Rann: yeah.
William Popek: your regular telly and
Carmelo Rann: Yeah.
William Popek: your V_C_R_ and everything?
Carmelo Rann: Well like um, maybe what we could use is a sort of like a example of a successful other piece technology is palm palm pilots. They're gone from being just like little sort of scribble boards to cameras, M_P_ three players,
William Popek: Mm-hmm.
Carmelo Rann: telephones, everything, agenda. So, like, I wonder if we might add something new to the to the remote control
William Popek: Yeah.
Carmelo Rann: market, such as the lighting in your house, or um
William Popek: Or even like, you know, notes about um what you wanna watch. Like you might put in there oh I want
Carmelo Rann: Yeah,
William Popek: to watch such and such
Carmelo Rann: yeah.
William Popek: and look a Oh that's a good idea.
Carmelo Rann: An
William Popek: So extra functionalities.
Carmelo Rann: Yeah. Like, p personally for Carmelo Rann, at home I've I've combined the um the audio video of my television set and my D_V_D_ player and my C_D_ player. So they w all work actually function together but I have different remote controls for each of them.
William Popek: Mm-hmm.
Carmelo Rann: So it's sort of ironic that that then they're in there um you know, the sound and everything it's just one system. But each one's
William Popek: Hmm.
Carmelo Rann: got its own little part.
William Popek: Um okay, uh I'd wel we're gonna have to wrap up pretty quickly in the next couple of minutes. Um I'll just check we've nothing else. Okay. Um so anything else anybody wants to add about what they don't like about remote controls they've used, what they would really like to be part of this new one at all?
Dennis Marshall: And you keep losing them.
William Popek: You keep
Carmelo Rann: Mm.
William Popek: losing them. Okay.
Dennis Marshall: Finding them is really
Carmelo Rann: Mm.
Dennis Marshall: a pain, you know. I
Carmelo Rann: Mm.
Dennis Marshall: mean it's usually quite small, or when you want
Carmelo Rann: Mm-hmm.
Dennis Marshall: it right, it slipped
Carmelo Rann: Mm-hmm.
Dennis Marshall: behind the couch or it's
William Popek: Yeah.
Carmelo Rann: Yeah.
Dennis Marshall: kicked under the table.
William Popek: W
Carmelo Rann: Yeah.
William Popek: You get
Dennis Marshall: You
William Popek: those
Dennis Marshall: know.
William Popek: ones where you can,
Carmelo Rann: That's just really
William Popek: if
Carmelo Rann: good
William Popek: you
Carmelo Rann: Dennis Marshall
William Popek: like, whistle or make a really high pitched noise they beep.
Carmelo Rann: Yep.
William Popek: There I mean is that something we'd want to include, do you think?
Carmelo Rann: Uh,
William Popek: Dunno.
Carmelo Rann: sure.
William Popek: Okay maybe.
Carmelo Rann: I remember when the first remote control my my family had was on a cable. Actually had a cable between it and the T_V_ and big like buttons that sort of like, like on a blender or something.
William Popek: My goodness.
Carmelo Rann: And um, you know, when I think about what they are now, it's better,
William Popek: Still
Carmelo Rann: Maybe
William Popek: feels
Carmelo Rann: we could
William Popek: quite
Carmelo Rann: think
William Popek: primitive.
Carmelo Rann: about how, could be more, you know, streamlined.
William Popek: Maybe
Carmelo Rann: S
William Popek: like a touch screen or something?
Carmelo Rann: Something like that, yeah.
William Popek: Okay.
Carmelo Rann: Or whatever would be technologically reasonable.
William Popek: Uh-huh, okay. Well
Carmelo Rann: 'Cause
William Popek: I guess
Carmelo Rann: it could
William Popek: that's
Carmelo Rann: b
William Popek: up
Carmelo Rann: it
William Popek: to
Carmelo Rann: could
William Popek: our industrial
Carmelo Rann: it could be
William Popek: designer.
Carmelo Rann: that f it could be that functionally that doesn't make it any better, but that just the appeal
William Popek: It looks
Carmelo Rann: of
William Popek: better.
Carmelo Rann: of not having You know, these days there's a r pe things in people's homes are becoming more and more like chic, you know.
William Popek: Yeah.
Carmelo Rann: Um, nicer materials and
William Popek: Okay.
Carmelo Rann: might be
William Popek: Okay.
Carmelo Rann: be worth exploring anyway.
Michael Cannon: Uh.
William Popek: Right, well um so just to wrap up, the next meeting's gonna be in thirty minutes. So that's about um about ten to twelve by my watch. Um so inbetween now and then, um as Dennis Marshall, you're gonna be working on you know the actual working
Dennis Marshall: Yep.
William Popek: design of it so y you know what you're doing there. Um for user interface, technical functions, I guess that's you know like what we've been talking about, what it'll actually do. Um and uh marketing executive, you'll be just thinking about what it actually what, you know, what requirements it has to has to fulfil and you'll all get instructions emailed to you, I guess.
Carmelo Rann: Okay.
William Popek: Um. Yeah, so it's th the functional design stage is next, I guess. And uh and that's the end of the meeting. So I got
Carmelo Rann: Um.
William Popek: that little message a lot sooner than I thought I would, so
Carmelo Rann: Before we wrap up, just to make sure we're all on the same page here,
William Popek: Mm-hmm.
Carmelo Rann: um, do we We were given sort of an example of a coffee machine or something,
William Popek: Uh-huh,
Carmelo Rann: right?
William Popek: yeah.
Dennis Marshall: Mm-hmm.
Carmelo Rann: Well, um are we at ma right now on the assumption that our television remote control may have features which go beyond the television? Or are we keeping
William Popek: Th
Carmelo Rann: sort of like a a design commitment to television features?
William Popek: Okay,
Carmelo Rann: I
William Popek: well
Carmelo Rann: I don't know.
William Popek: just very quickly 'cause this we're supposed to finish now.
Carmelo Rann: Yep.
William Popek: Um I guess
Carmelo Rann: Yeah, sure.
William Popek: that's up to us, I mean you probably want some kind of unique selling point of it,
Carmelo Rann: Okay.
William Popek: so um,
Dennis Marshall: I
William Popek: you
Dennis Marshall: think
William Popek: know
Dennis Marshall: one factor would be production cost.
Carmelo Rann: Okay, yeah.
Dennis Marshall: Because
William Popek: Yeah.
Dennis Marshall: there's a cap there, so um
Carmelo Rann: Okay.
Dennis Marshall: depends on how much you can cram into that price.
William Popek: Mm-hmm.
Carmelo Rann: Okay.
Dennis Marshall: Um.
William Popek: Yeah.
Dennis Marshall: I think that that's the main factor.
William Popek: Okay.
Carmelo Rann: Okay.
William Popek: Right, okay, we'll that's that's the end of the meeting, then.
Carmelo Rann: Alright.
William Popek: Um. So, uh thank you all for coming.
Dennis Marshall: Cool. | William Popek introduced the upcoming project to the team members and then the team members participated in an exercise in which they drew their favorite animal and discussed what they liked about the animal. William Popek talked about the project finances and selling prices. The team then discussed various features to consider in making the remote. | 5 | amisum | train |
Andrew Runions: 'S to do now is
Noah Bonawitz: Yeah.
Andrew Runions: to decide how to fulfil what your stuff is, so
Richard Rapp: Okay.
Andrew Runions: in that sense
Noah Bonawitz: Yeah,
Andrew Runions: so
Noah Bonawitz: sure.
Andrew Runions: it does kind of
Richard Rapp: Okay,
Andrew Runions: make
Noah Bonawitz: It
Andrew Runions: sense,
Richard Rapp: well
Noah Bonawitz: kinda
Andrew Runions: yeah.
Noah Bonawitz: does make, doesn't it, because when we get into the end of meeting we're kind of talking about action and design as opposed
Andrew Runions: Yep.
Noah Bonawitz: to background.
Richard Rapp: Okay.
Noah Bonawitz: Everything I have is kinda background.
Richard Rapp: Okay we to go?
Andrew Runions: Yep.
Richard Rapp: Well how um on the in this meeting then if we um I'll just just recap on the minutes from the last meeting. And we uh decided on
Andrew Runions: Yep.
Richard Rapp: decided on our our target group being fifteen to thirty five,
Noah Bonawitz: Mm-hmm.
Richard Rapp: and we decided that it was gonna be non-rechargeable battery-powered, that we're gonna group our audio-visual and other functions into into those categories, um. And I told you guys about the three requirements about ignoring, except the T_V_, and trying to incorporate the corporate colour slogan. Um so that was the last meeting. Is there
Andrew Runions: Mm-hmm.
Richard Rapp: anything have I forgotten anything?
Andrew Runions: No.
Noah Bonawitz: Uh
Richard Rapp: Is that
Noah Bonawitz: that
Richard Rapp: everything?
Noah Bonawitz: sounds.
Richard Rapp: Okay. Um so if we have the three presentations, and then if you have anything to kind of that you know you're gonna want to discuss, maybe just make a note of it, and we'll have all the discussion at the end. That might
Noah Bonawitz: Sure.
Richard Rapp: be a better idea this time. And so
Noah Bonawitz: Okay.
Richard Rapp: if we start off uh with Andrew and then Craig and then David, if that's
Noah Bonawitz: Sure.
Richard Rapp: alright. Um
Andrew Runions: Yep.
Richard Rapp: and then after that we'll have to make some decisions about stuff,
Noah Bonawitz: Yeah,
Richard Rapp: right.
Noah Bonawitz: cool.
Richard Rapp: So if
Noah Bonawitz: Why don't
Richard Rapp: you wanna
Noah Bonawitz: I get that?
Richard Rapp: take this.
Noah Bonawitz: Hmm.
Richard Rapp: Screwed in quite tightly. Uh what did uh how did we leave it with speech recognition now? We did we say we were gonna try maybe incorporate it but we hadn't made a definite
Andrew Runions: Mm-hmm.
Richard Rapp: decision on that? Right. Oh I should also point out that um the you know the kind of final objective of this meeting is to reach a decision on the concepts of the product.
Noah Bonawitz: Okay.
Richard Rapp: So um that's kind of the end result hopefully.
Noah Bonawitz: Okay. Um alright so c is it function F_ eight?
Richard Rapp: Uh-huh. Hopefully
Noah Bonawitz: Hmm.
Richard Rapp: appear in a wee second.
Noah Bonawitz: Come on. I think it's working.
Richard Rapp: Up there we go.
Noah Bonawitz: great let Noah Bonawitz just start this. Okay great. So um uh s move on. Uh-huh oh where'd it all go? It's not good.
Richard Rapp: Oh no.
Noah Bonawitz: Okay lemme just see where I can find it.
Noah Bonawitz: This looks more like it. I think I just opened up the template. Sorry
Richard Rapp: Oh
Noah Bonawitz: about that.
Richard Rapp: right.
Noah Bonawitz: Okay alright so let's have a look here. Okay so
Richard Rapp: Here
Noah Bonawitz: this
Richard Rapp: we go.
Noah Bonawitz: was the method that um I've taken. Uh basically what I wanna do here, before we get into it uh too far, is I want to show you all the background information I have that I think we need to acknowledge if we want this to be successful.
Richard Rapp: Okay.
Noah Bonawitz: And uh and then sorta g go through some of the way that I've dealt with that information, and then sort of bring us all together into it to see sorta see how this fits in with the overall vision. Um so I've tried to take a whole lot of market research and summarise it for us, and then ide identify uh trends that are are sort of in sync and are important to our our uh p project plan that we have so far, and then uh initiate a kind of discussion on design options so that it sorta helps us to to narrow in on on aspects that will inform other uh other elements of the of the project. Does that make sense,
Richard Rapp: Mm-hmm.
Noah Bonawitz: tha
Andrew Runions: Yep.
Noah Bonawitz: that sort of strategy? I thought that that will impact on the rest of what we do, so that's why I suggested
Richard Rapp: Aye a
Noah Bonawitz: we
Richard Rapp: fair
Noah Bonawitz: get
Richard Rapp: point
Noah Bonawitz: in this.
Richard Rapp: definitely.
Noah Bonawitz: Okay so out of um different uh figures and ratings ob uh of people in general, um consumers in general, the number one thing that was found was that uh the br t television remote control, a fancy look and feel, okay, and not, it specified, not a functional look or or feel,
Richard Rapp: Okay.
Noah Bonawitz: uh b f f fancy. Um however, this is where we kinda have to be very, I think, creative about it. Number two was that it be innovative. Okay so that tells Noah Bonawitz that we have to find a way to be innovative without a adding just unnecessary um sort of functional bits to it. Uh and third priority uh for ease of use, so again that kind of gives us a general picture of how it has to be, um quite user friendly while still having technology. So it I'll just say right away as a bit of a foreshadowing into how we proceed with this in terms of m marketing, is that I think um what we should think about is how the um about how the innovation uh contributes to the look and feel, and not so much to the functionality of it. For example
Richard Rapp: Aye right.
Noah Bonawitz: like when you pick it up and push it like it all lights up or something, you know what I mean, like, or it's got something else to it
Richard Rapp: Uh-huh.
Noah Bonawitz: that just seems innovative because obviously the thing that the message here is ease of use. So how do you make innovation make something more more easy to use? Well that's I guess where we're gonna go with this.
Richard Rapp: Okay.
Noah Bonawitz: Okay then there's the other aspect of the back the the market um research I have here is on fashion style, okay, which as we've agreed is a priority. Uh top European fashion trend um that I read about says there's this emerging theme of fruit and vegetables, okay, especially in clothes and furniture. And when I first saw that I thought hmm, well do we want to actually try and think about this trend and how we add something to it, or we get right into it, or we completely steer away from it, do you know what I
Richard Rapp: Okay
Noah Bonawitz: mean?
Richard Rapp: okay.
Noah Bonawitz: So my my feeling is that we w do want to observe this trend, but we want to think also about the fact that it sort of has to fit in with something which is not specifically electronics. Um 'cause I think what we're in what we're in is partly sort of home decor, partly something like a computer, um so I think we might wanna be careful about how you know how quickly we create like a remote control in the shape of an apple or something, I think that would be pushing it. And then in terms of m material trends are for things to be soft and spongy and sort of, you might say ergonomic or or friendly to handle, which is which also in indicated that last year this was this was not the case. So um probably a lot of the competition on the market will be still in last year's mode, so if we try and really capitalise on that, I think that'll be in our favour. Um So these this is the summary of everything. market of who we're selling to. Uh innovative design technology's also a must in that it's seen it'd be seen to be uh cutting edge, uh but ease of use t has to be insured throughout. That was like the number three thing. And then at the end there are vibrant natural colours um that's the way I interpreted it anyway, softness in materials, shape, and function, and so I've written at written at the bottom to give us sort of a context of discussion, Mac iPods,
Richard Rapp: Mm-hmm.
Noah Bonawitz: something which is, I'd have to say very high-tech, ten gigabytes, whatever, but when you hold it in your hand there's like no buttons. You know
Richard Rapp: Mm
Noah Bonawitz: what a Mac
Richard Rapp: that's
Noah Bonawitz: iPod
Richard Rapp: true,
Noah Bonawitz: is?
Richard Rapp: yeah.
Noah Bonawitz: I'm thinking however Mac iPod is sort of last year's because it's very hard and sort of glassy and glossy, so I'm thinking if we imagine that we're taking some of the features of a Mac iPod and we're then making it s more of like a more of like a comfortable type of or more of like a maybe more vibrant to friendly thing to have. Um and then so this is w with all that information what I'm what I'm suggesting in this slide here is that we we take these ideas, and as we get into more the more um techni like sort of production side of things, that we think about shape, materials, and themes or series that go throughout. Sort of like a I dunno like um we think of some kind of a thin theme that unifies it all, that we agree on, uh sorta like a marketing identity. Um Does that make sense? Yeah. So so like I threw out a few ideas there just to kinda get us thinking along those lines like lemon, lime, I dunno, green colours, pe whatever, it's just an idea, 'cause I'm thinking that some of these ideas will seem quite coherent if we use them in terms of their what people associate this them with in terms of texture, shape, colours, things like that.
Richard Rapp: Mm 'kay. Great.
Noah Bonawitz: Like um the ones the ones which I'm most fond of in terms of giving like a theme to it would be like um like lemon or something like that, you know something which is, like you see a lot in in other areas. Like I see lots of websites and things that seem to associate with like lemon and lime and
Richard Rapp: Okay.
Noah Bonawitz: So anyway it's just just an idea.
Richard Rapp: Yeah.
Noah Bonawitz: I'm thinking maybe we could incorporate some of these features into a fairly um into something which is which seems to have something to it which is almost gimmicky because like um like something to do with like lighting within it. Like you know just within
Richard Rapp: Ah.
Noah Bonawitz: the simple sense, when you pick up a phone and touch a button it uh lights up, q usually the buttons light up. How can we build on that? Maybe like it could light up in different colours or something or or people could buy the buy the control and then it comes with different like covers or something so.
Richard Rapp: Okay.
Noah Bonawitz: Anyway those are that's all I have, but
Richard Rapp: That's
Noah Bonawitz: uh
Richard Rapp: great.
Noah Bonawitz: hopefully we can we can revisit those ideas
Richard Rapp: Uh-huh.
Noah Bonawitz: when we get into
Richard Rapp: Okay great. Um thank you for that. Uh
Noah Bonawitz: Yep.
Richard Rapp: Craig do you wanna uh plug yours in then?
Robert Freshour: Is it working?
Richard Rapp: Mm. Not quite.
Noah Bonawitz: Did you press F_ eight?
Andrew Runions: It's probably not sending. Yeah.
Richard Rapp: Oh something coming
Andrew Runions: Yep,
Richard Rapp: now,
Andrew Runions: there
Richard Rapp: yeah.
Andrew Runions: it is.
Richard Rapp: There we go.
Robert Freshour: And so think of this concept. Um to research it I've um had a look on the the homepage again. It's provided Noah Bonawitz with more examples of um previously existing c remote controls. Um there's a wee bit of discussion about the other existing ones there, um so I've taken the um suggestions from them and tried to incorporate them into this um So then this we're looking for um suggestions on size th um size of control and the buttons, um the shape of the control, whereabout the buttons should be located on the control.
Richard Rapp: Mm.
Robert Freshour: Um what I found from the research is that most the current controls are just basically big bricks with loads of buttons all over them. Um they're not very attractive to look at, and they're not very comfortable to hold, they're I just hold 'em like big bricks, and they're very easily lost. Um they tend to be very dark colours, so if there are shadowy places down the side of couches you can't really see them.
Richard Rapp: Mm-hmm.
Robert Freshour: Um the the controls themselves tend to use a very inconsistent colour scheme. Um for instance, the stand-by button isn't always red, uh it really should be. It's uh something the user then uh identify with. This is a red switch off, that's how it should be. Um I'm not sure if there's any other examples of that, but something to look out for. Um there's a problem that I've I've got couple of preferences for the the end control um I get 'em with the the red colour button for stand-by and s the other examples of that um The buttons should be large. They shouldn't be tiny little things like you get on some mobile phones. They should be easy to press, very comfortable. Um one of the examples given on the homepage was um there's an up and down volume button but both of them have a V_ on them,
Richard Rapp: Mm-hmm.
Robert Freshour: so the up volume button looks like it should be a down volume button, that's kinda confusing. Um should avoid s things like that. Um if the the corporate colour scheme allows it we should have a very bright colour so that it can be easily identified anywhere.
Richard Rapp: Okay.
Robert Freshour: Um obviously trying trying to avoid being tacky there, but it could um tie-in very easily with your
Noah Bonawitz: Yeah.
Robert Freshour: your lime
Noah Bonawitz: Okay,
Robert Freshour: and lemon idea.
Noah Bonawitz: do we have a corporate colour scheme? I didn't
Richard Rapp: I
Noah Bonawitz: know.
Richard Rapp: think it's yellow because like the website is yellow and
Noah Bonawitz: Okay.
Richard Rapp: there's a band at the bottom is yellow, so
Andrew Runions: And the Play-Doh
Noah Bonawitz: Okay.
Andrew Runions: 's yellow.
Richard Rapp: yellow, lemon,
Robert Freshour: Fantastic.
Richard Rapp: you know definitely food for thought there,
Noah Bonawitz: Okay.
Richard Rapp: but keep going and we'll discuss it
Robert Freshour: Um
Richard Rapp: after.
Noah Bonawitz: Yeah.
Robert Freshour: any extra features we add beyond the basic ones should be m hidden, they shouldn't be on the um shouldn't be visible without something be opened or
Richard Rapp: Mm-hmm.
Robert Freshour: some sort of special extra effort. Um if we did decide to go for voice activation there sh should always be a button as alternative, possibly hidden in the the opened up section um making that something is wrong with it or with somebody's voice, maybe they got a cold or Um we should definitely avoid the big square block look. That's just wrong.
Noah Bonawitz: Mm-hmm.
Richard Rapp: Mm 'kay.
Robert Freshour: And um we got an email uh from I think it's the the research department, and they've said th the voice control um can now talk back if you ask it a question.
Richard Rapp: Mm.
Robert Freshour: So it sh it could be good to have them um confirm any action you take
Richard Rapp: Aye
Robert Freshour: and
Richard Rapp: that's a good idea,
Robert Freshour: possibility.
Richard Rapp: yeah.
Robert Freshour: Right and these are problems I've had with it. Um I don't know where the slogan should go, or really what the slogan is. I think it's um, fashion into electronics.
Richard Rapp: Yeah.
Robert Freshour: And we don't know how flexible the colour scheme is. I mean you say you wanted the the corporate colours, but they don't say you know if we can use
Noah Bonawitz: Mm.
Robert Freshour: any other colours at all or
Noah Bonawitz: Mm.
Richard Rapp: Okay.
Robert Freshour: That's
Andrew Runions: Cool.
Robert Freshour: it.
Richard Rapp: Okay.
Noah Bonawitz: Great. Lots of good information there.
Richard Rapp: Yeah that
Andrew Runions: Mm-hmm.
Richard Rapp: that was very good, and
Andrew Runions: Mm
Richard Rapp: uh
Andrew Runions: 'kay
Richard Rapp: now with
Andrew Runions: um.
Richard Rapp: David.
Robert Freshour: I think I'm cool.
Noah Bonawitz: It's a shame the cable wasn't just in the middle
Richard Rapp: I know
Noah Bonawitz: of the table,
Richard Rapp: it'd be handy,
Noah Bonawitz: huh?
Richard Rapp: wouldn't it.
Noah Bonawitz: Just um
Andrew Runions: Oops.
Richard Rapp: Do y do you wanna sit in the the line of sight of this
Andrew Runions: Yeah
Richard Rapp: um
Andrew Runions: okay. Let Noah Bonawitz just get this
Richard Rapp: Yeah.
Andrew Runions: going first. Ah there it is.
Noah Bonawitz: It takes a second, doesn't it?
Andrew Runions: 'Kay, that should it. Okay um I guess the same thing again, I started with something very basic. So just so you guys have some idea of what's involved in my process,
Noah Bonawitz: Mm-hmm.
Andrew Runions: um and then you can just work through it and we 'll either modify it or start from scratch um depending on what your needs are. Um the components are exactly the same.
Richard Rapp: Mm-hmm.
Andrew Runions: Um I think, like what you guys said, um the most input that's needed is basically in the user interface. The rest of the components um they do have an impact in terms of cost and complexity. Um like you said time to market was a problem, um and how many components are physically in there in cost. And the power is basically a factor of that. Um and the lower components, the power, the logic, the transmitter, and the infrared, um they affect you in terms of the size of your device, um and that would have some inte impact on how y I think more how you hold rather than um the actual use using the the remote control because um like we've said we've defined, like we only want the basic things that to be visible, and the rest of them we try to hide.
Noah Bonawitz: Mm-hmm.
Andrew Runions: So um you know it's just a matter of working out space. So I guess three things, um cost, um complexity, and the size. These are the three things that um will have an impact on you. So just go through it in the components. Um these are the options that are available to you, um I'm not very sure about the voice thing 'cause I got another email and it was in fact quite sketchy on what n the voice options are.
Robert Freshour: Right.
Andrew Runions: Um it said it could talk to you, but it never said anything about being able to listen. I it said something about a sensor but never clarified that.
Noah Bonawitz: Mm.
Richard Rapp: Hmm.
Andrew Runions: So maybe if you well I could see the other email that they sent you, um 'cause they got back to Noah Bonawitz with like different requirements, or different offerings of what components availa Okay so
Robert Freshour: Right.
Andrew Runions: your basic components are buttons,
Richard Rapp: Mm.
Andrew Runions: okay and you have a wheel available, like a mouse scroll wheel,
Noah Bonawitz: Mm-hmm.
Andrew Runions: okay there's an L_C_D_ display, um I think these are quite standard things.
Noah Bonawitz: They're standard, aren't they?
Andrew Runions: No um they're well in the sense that these are all the options available for you. I'll explain to you the complexity and the cost thing again a bit
Noah Bonawitz: Yeah.
Andrew Runions: later. Okay um then there's um how the case actually looks. It can actually be flat or it can be curved, um and then the different types of materials that you can use, um I don't think you can use them in a combination,
Richard Rapp: Mm-hmm.
Andrew Runions: um but um I could check back for you, but I don't think you can actually use them in a combination.
Richard Rapp: We you couldn't have like plastic and rubber?
Andrew Runions: Um I think plastic and rubber would be fine, but plastic, rubber, and wood, I wasn't I'm not very sure about the titanium.
Richard Rapp: Yeah.
Andrew Runions: They had some restrictions
Noah Bonawitz: Hmm.
Andrew Runions: on using the rubber and the titanium.
Richard Rapp: Mm
Andrew Runions: Um
Richard Rapp: 'kay.
Andrew Runions: the rubber was a restriction on the kind of power source you could use, but the titanium had a different kind of things on the shape of the
Richard Rapp: Okay.
Andrew Runions: thing, so I think that there is some restriction on um I think you could probably group plastic and rubber together,
Richard Rapp: Mm-hmm.
Andrew Runions: wood and titanium, but you know it might be easier from a cost perspective and a
Noah Bonawitz: Mm-hmm.
Andrew Runions: complexity just to use one.
Noah Bonawitz: Mm-hmm.
Andrew Runions: You know as opposed to two.
Noah Bonawitz: Mm-hmm.
Andrew Runions: Um and the other components are logic chips, um again I'll I'll go back to the component chips. The com how complex or how easy the logic is, it depends on how many functions you have on the on the unit um and that impacts cost. Um
Noah Bonawitz: Mm-hmm.
Andrew Runions: I don't think the logic chip has a issue about size 'cause they
Noah Bonawitz: Mm-hmm.
Andrew Runions: should be about the same size. Power consumption should be about the same. Um
Noah Bonawitz: Hmm.
Andrew Runions: I think the main impact is complexity, um and the other thing is um the power options. Um the first one is a standard battery. Okay the second one I think is more of a gimmick then actually a useable thing, it's a wind-up
Richard Rapp: I'll clear
Andrew Runions: you know,
Richard Rapp: one of these
Andrew Runions: a
Richard Rapp: things
Andrew Runions: crank.
Richard Rapp: for you. Just
Noah Bonawitz: Hmm.
Richard Rapp: by moving
Andrew Runions: Yeah
Richard Rapp: it yeah.
Andrew Runions: but that that might be something I think that's more of a look and feel decision because I don't think you can have one power source if you're using the alternative power sources. I think whatever it is you still need a battery 'cause
Richard Rapp: Mm.
Andrew Runions: I don't think anybody wants to keep doing one thing.
Noah Bonawitz: No.
Andrew Runions: Okay the other ones
Noah Bonawitz: Yeah.
Andrew Runions: are a solar powered cell, which may not be a great idea in Europe or any country that has seasons 'cause half the year you'd be dead. a battery
Noah Bonawitz: Mm-hmm.
Andrew Runions: and something else.
Richard Rapp: Mm-hmm.
Andrew Runions: Um and the kinetic one I guess for Noah Bonawitz is the most interesting one because it's movement and people like to fiddle with their
Richard Rapp: Mm.
Andrew Runions: and it's a nice sales gimmick I think. From a marketing
Noah Bonawitz: Mm-hmm.
Andrew Runions: gimmick it it's a technology thing, it's a shake it it doesn't work, shake it, knock it or something. You know
Richard Rapp: W
Noah Bonawitz: Hmm.
Richard Rapp: yeah.
Andrew Runions: you know you
Richard Rapp: Uh
Andrew Runions: have you had
Richard Rapp: yeah
Andrew Runions: those
Richard Rapp: yeah,
Andrew Runions: balls,
Richard Rapp: I see.
Andrew Runions: you know those
Noah Bonawitz: Yeah.
Andrew Runions: stress balls where you bounce the ball and it and it lights up and it goes, you know that might be a gimmick combined with rubber.
Noah Bonawitz: Hmm.
Andrew Runions: You know just to
Richard Rapp: Yeah.
Andrew Runions: if you get frustrated wi remote control you can throw it, kind of you know just uh
Noah Bonawitz: Hmm.
Richard Rapp: I know what you mean yeah.
Andrew Runions: you know um so. Um okay my from my role, I don't think that personal preferences but role preferences, I think um something comfortable to hold,
Noah Bonawitz: Mm-hmm.
Andrew Runions: um small and slim I guess that's more in the sense of small and slim in terms of comfortable not so small you can't, you know like a phone
Richard Rapp: Mm-hmm.
Andrew Runions: or something, too small phone. Um and the other thing is from a production point of view um the less components we use and the simpler the components means you reduce your cost and you increase your profit.
Richard Rapp: Mm-hmm.
Andrew Runions: Um and also the time to market and the complexity of developing
Noah Bonawitz: Mm-hmm
Andrew Runions: designing
Noah Bonawitz: mm-hmm
Andrew Runions: and debugging
Noah Bonawitz: mm-hmm.
Andrew Runions: it um so.
Noah Bonawitz: Mm-hmm.
Andrew Runions: Um okay let Noah Bonawitz just go back and talk about some of the restrictions. Um The user interface restrictions basically means that if you use more complicated features, like the buttons are standard okay, the L_C_D_ panel and the scroll wheel you need more complicated logic.
Richard Rapp: Mm.
Andrew Runions: Um the case okay with a rubber case you can't have the solar panels. Okay with the titanium case, let Noah Bonawitz just check that um, titanium case can't be curved, it has to be square.
Richard Rapp: Okay.
Andrew Runions: Okay um there's no restriction on the plastic,
Noah Bonawitz: It can't
Andrew Runions: and
Noah Bonawitz: be curved.
Andrew Runions: it can't be curved
Noah Bonawitz: Okay.
Andrew Runions: on the wood. So that's again, I don't think you can use them in a combination,
Richard Rapp: Okay.
Andrew Runions: um especially the titanium I I suspect they're
Richard Rapp: Right.
Andrew Runions: very fixed to a particular need. So um mixing them may not be a good idea
Richard Rapp: Okay.
Andrew Runions: um yep.
Richard Rapp: Right
Andrew Runions: That's
Noah Bonawitz: Uh
Andrew Runions: it.
Noah Bonawitz: question
Richard Rapp: can
Noah Bonawitz: on
Richard Rapp: I
Noah Bonawitz: can I ask a question?
Richard Rapp: Yeah well yeah it's just I'm quite keen to get the discussion going with the time we've left so
Noah Bonawitz: Okay.
Richard Rapp: but yeah you c ask
Noah Bonawitz: Can
Richard Rapp: away.
Noah Bonawitz: we uh power a light in this? Can we get a strong enough battery to power a light?
Andrew Runions: Um I think we could because the L_C_D_ panel requires power, and the L_C_D_ is a form of a light
Richard Rapp: Mm.
Noah Bonawitz: Okay.
Andrew Runions: so that
Noah Bonawitz: So maybe one of the things we can just try and include is a really good battery.
Richard Rapp: Why what kind of light do you want are you thinking
Noah Bonawitz: Well
Richard Rapp: of?
Noah Bonawitz: I mean I'm thinking it might be That for uh this to be a high-tech thing it's
Richard Rapp: Uh-huh.
Noah Bonawitz: gonna have to have something high-tech about it
Richard Rapp: Yeah.
Noah Bonawitz: and that's gonna take battery power, and to make that to make that a realistic goal I think one of the issues that will come up later is,
Andrew Runions: Are
Noah Bonawitz: can
Andrew Runions: you
Noah Bonawitz: the
Andrew Runions: thinking
Noah Bonawitz: battery power
Andrew Runions: are you
Noah Bonawitz: it?
Andrew Runions: thinking of of a light in the sense of um a light light, or a light in the sense of
Noah Bonawitz: Illuminate
Andrew Runions: it glows
Noah Bonawitz: the buttons.
Andrew Runions: kind of
Noah Bonawitz: Yeah
Andrew Runions: you
Noah Bonawitz: it
Andrew Runions: know
Noah Bonawitz: glows.
Andrew Runions: Frankenstein, it's alive.
Noah Bonawitz: Well m I'm thinking along the lines of you're you're in the dark watching a D_V_D_
Andrew Runions: Okay.
Noah Bonawitz: and you um you find the thing in the dark and you go like this, and that's what everybody does. Oh where's the volume button in the dark,
Richard Rapp: Yeah yeah yeah.
Andrew Runions: Okay.
Noah Bonawitz: and uh y you just touch it, or you just pick it up, and it lights up or something.
Richard Rapp: Like a phone
Andrew Runions: Okay.
Noah Bonawitz: Like
Richard Rapp: yeah,
Noah Bonawitz: a phone,
Richard Rapp: like
Noah Bonawitz: yeah
Richard Rapp: the backlight
Noah Bonawitz: yeah.
Richard Rapp: in a phone. Okay cool.
Noah Bonawitz: Whereas with phones, people charge them once a week.
Richard Rapp: Yeah.
Noah Bonawitz: We're gonna need to put in a really good battery so people don't have to charge their r remote control every few days.
Andrew Runions: Um that's why I think the option of the the kinetic thing which basically means as long as you shake it like a watch, like an automatic
Noah Bonawitz: But are people gonna
Andrew Runions: watch
Richard Rapp: Mm.
Noah Bonawitz: wanna shake their movie controller?
Andrew Runions: um it's probably sensitive enough when you fiddle it.
Noah Bonawitz: Right.
Andrew Runions: So
Noah Bonawitz: Sure.
Richard Rapp: Mm.
Andrew Runions: you could trigger that to a light, like I said the bouncing ball thing, or you
Richard Rapp: Okay.
Andrew Runions: could trigger that to use that to power
Noah Bonawitz: Okay.
Andrew Runions: the light as opposed to
Noah Bonawitz: Right.
Andrew Runions: so when they pick it up, right, and then
Richard Rapp: Okay.
Andrew Runions: that that sorta triggers
Noah Bonawitz: Mm-hmm.
Andrew Runions: the
Richard Rapp: Right
Andrew Runions: glowingness.
Richard Rapp: okay
Noah Bonawitz: Okay,
Richard Rapp: um
Noah Bonawitz: great.
Richard Rapp: well let's just go right back to the marketing ideas for a start, and just giving an Andrew Runions idea on the time, we've got about fifteen minutes to play with at most.
Noah Bonawitz: Okay.
Richard Rapp: So um yeah so just t to bear in mind that the ultimate goal of this meeting is to reach an decision on the the the concepts of the product. So
Noah Bonawitz: Okay.
Richard Rapp: back to your idea about um incorporating the idea of like fruit and veg, and
Noah Bonawitz: Yeah.
Richard Rapp: the corporate colour, and things like that.
Noah Bonawitz: Yeah.
Richard Rapp: Um I mean what does everybody think about Does anybody have any ideas of about how we can fit all that in together? I mean that's kind of the user interface type of thing, what are your thoughts on that?
Robert Freshour: Um I think we could go for like um maybe not a p a fruit shape but a very sort of curvy type shape. Um you could have the same sort of texture and colour as a fruit.
Richard Rapp: So maybe do y are we thinking something that like s could sit in your hand comfortably, or do you th you'd hold onto comfortably or
Robert Freshour: Um probably something that s sits in your hand comfortably, sort of
Richard Rapp: So
Robert Freshour: feels
Richard Rapp: something
Robert Freshour: right in
Richard Rapp: quite
Robert Freshour: your hand.
Richard Rapp: curvy? Okay um right okay. Colour-wise I mean you made a re uh was it you or uh I can't remember who made the point about how if you've a nice bright colour you'll not lose it, was that Whose
Andrew Runions: I think
Noah Bonawitz: What's
Andrew Runions: he
Noah Bonawitz: that?
Andrew Runions: made that.
Richard Rapp: about how if you have a bright colour you'll not lose it so much.
Noah Bonawitz: Yeah.
Richard Rapp: Um and when the corporate colour is yellow, I mean maybe we could think about about the colour of the whole product being
Noah Bonawitz: Okay.
Richard Rapp: yellow I don't know. Um And then obviously the uh the materials when it
Noah Bonawitz: Well
Richard Rapp: That's all.
Noah Bonawitz: I mean I'm thinking that what we need to do is have something that kind of unifies a lot of the different concepts, and
Richard Rapp: Mm-hmm.
Noah Bonawitz: if we think that what we are w our number one marketing motive is um the look and feel.
Richard Rapp: Mm-hmm.
Noah Bonawitz: So for the look and feel to seem coherent and not just sorta bits and bits and pieces of of concept and technology or or whatever or fashion, then we should have it kind of come back to one thing that we kind of all sorta can visualize. Um maybe what we could do is t th think about a concept which touches b back to the on the um the colour, you said
Richard Rapp: Mm-hmm.
Noah Bonawitz: company colour yellow. I mean if we think of something, like I was saying also lime
Richard Rapp: Mm-hmm.
Noah Bonawitz: and lemon you know, what can we come up with something where we we try and associate it with with like the series. We just come up with something like that we kind of use it as a theme to inspire the
Richard Rapp: Okay.
Noah Bonawitz: shapes and things.
Richard Rapp: Right.
Andrew Runions: Is there a particular shape that you're interested in? Like does marketing have any research on does it need to be long? Does it need with
Richard Rapp: Oh
Andrew Runions: a square
Richard Rapp: you know like
Andrew Runions: thing
Richard Rapp: in circular
Andrew Runions: wha
Richard Rapp: in shape or
Andrew Runions: Yeah 'cause that will n help narrow down the choice of
Noah Bonawitz: Yeah.
Richard Rapp: Choice of material
Andrew Runions: Like fruit.
Richard Rapp: yeah. 'Cause
Andrew Runions: I'm
Robert Freshour: See
Andrew Runions: thinking
Richard Rapp: I I
Robert Freshour: I'm
Andrew Runions: fruits
Richard Rapp: I
Andrew Runions: in
Richard Rapp: was
Andrew Runions: my head,
Richard Rapp: kinda
Andrew Runions: but that's
Richard Rapp: thinking
Andrew Runions: tacky.
Richard Rapp: about as well you know how you get these shock resistant mobile phones, and they're plastic but then also have like rubber on the outside, and it kinda feels it feels kind of warmer to the touch. It feels
Noah Bonawitz: Yeah.
Richard Rapp: a bit more comfortable, and maybe we could incorporate plastic and rubber into it. And then then we could have curved shapes, 'cause wood or titanium, yeah, it's gonna have to be boxy and rectangular and I think we might be moving away from that you know so um Well I'm do we really want it in like the shape of a lemon or
Noah Bonawitz: No no no
Richard Rapp: no I don't think we do either.
Noah Bonawitz: not at all. It's more more just that we we think about like what it is we're trying to achieve, so and then we have one one sorta theme that we stick with. Do you
Richard Rapp: Okay
Noah Bonawitz: know what I mean?
Richard Rapp: right well um so thoughts about the actual shape of the thing.
Robert Freshour: I'd quite like a sort of uh snowman type shape.
Richard Rapp: A snowman shape?
Robert Freshour: Um so a p sort of larger bit sits in your hand,
Richard Rapp: Uh-huh.
Robert Freshour: and then you got maybe another bubble at the top for just any other function you need.
Richard Rapp: That's quite
Noah Bonawitz: Right,
Richard Rapp: a distinctive shape, that
Noah Bonawitz: sure.
Richard Rapp: would be good wouldn't it.
Noah Bonawitz: Yeah.
Richard Rapp: Yeah so yeah should we go with that?
Noah Bonawitz: Um can we yeah like to and wha like do you have a
Richard Rapp: Do you wanna draw
Noah Bonawitz: Can you
Richard Rapp: it on
Noah Bonawitz: like
Richard Rapp: the board?
Noah Bonawitz: yeah just t we can visualize it.
Robert Freshour: Um something like that um you got two groups there um maybe it could fold up and you get a third group inside
Noah Bonawitz: Okay.
Richard Rapp: Ooh
Robert Freshour: or
Richard Rapp: that'd be good.
Robert Freshour: uh you have volume controls about there.
Noah Bonawitz: Okay.
Richard Rapp: Mm-hmm.
Noah Bonawitz: Yep.
Richard Rapp: So call it the snowman-shape trademark. Yeah that's cool. Um and I mean colour-wise what does everybody think? I think it is quite important to get yellow in there somewhere. I mean do you want the whole thing yellow, maybe like yellow and white do you want
Noah Bonawitz: Mm.
Richard Rapp: something
Robert Freshour: So I reckon it'd look quite nice if we just had um this here, had a sorta background yellow,
Richard Rapp: Uh-huh.
Robert Freshour: and then have sort of a nice bold colour for the buttons.
Richard Rapp: Okay cool. Um and also I mean how are we going to incorporate the slogan in? The fact that it talks to you, I mean it might be quite cool if when you first start using it it says, what is it, putting fashion into electronics or something, I dunno. Or when you like or if you turn it off or something if
Robert Freshour: I think
Richard Rapp: it
Robert Freshour: that
Richard Rapp: can
Robert Freshour: might
Richard Rapp: speak
Robert Freshour: scare Noah Bonawitz.
Richard Rapp: if it could actually say the slogan it might be a bit more powerful than just having it written on it somewhere. I d I d any thoughts on that at all?
Robert Freshour: I think that'd probably scare Noah Bonawitz. You turn it on your control possessed s.
Richard Rapp: I know. Um unless an a I mean if you also would that work if we wanted to incorporate um an L_C_D_ display, where would we put that? Would we put that on the inside or
Robert Freshour: Um
Andrew Runions: Do we need an L_C_D_ display? What what's the functionality
Richard Rapp: It's
Andrew Runions: of
Richard Rapp: bound
Andrew Runions: that?
Richard Rapp: to increase the cost of it a lot, I
Andrew Runions: Yeah but the
Richard Rapp: would've
Andrew Runions: question
Richard Rapp: thought.
Andrew Runions: is what
Noah Bonawitz: What would
Andrew Runions: are
Noah Bonawitz: it
Andrew Runions: we
Noah Bonawitz: achieve?
Andrew Runions: using it what would we what would we achieve from it? Putting
Noah Bonawitz: Well
Andrew Runions: in lights is cheap but putting in an L_C_D_ panel
Noah Bonawitz: L_C_
Andrew Runions: just
Noah Bonawitz: well
Andrew Runions: to make it glow is
Noah Bonawitz: I'd
Andrew Runions: a bit
Noah Bonawitz: when
Andrew Runions: of
Noah Bonawitz: you used
Andrew Runions: a
Noah Bonawitz: to mention the L_C_D_ I'd think I wonder what that would be about. And the th the thing I could see it helping with would be if it was somehow connected with um listings. So as
Richard Rapp: Yeah.
Noah Bonawitz: you scroll through, 'cause we said we might have a jog dial, so
Andrew Runions: Mm-hmm.
Noah Bonawitz: as you scroll through your stations you can y it actually tells you what it is.
Andrew Runions: I think that will be a problem because we don't have an input device to get the listings into
Noah Bonawitz: Right,
Andrew Runions: it,
Noah Bonawitz: okay.
Andrew Runions: so
Richard Rapp: Mm
Andrew Runions: um
Richard Rapp: oh
Andrew Runions: it's
Richard Rapp: yeah
Andrew Runions: a bit
Richard Rapp: that's
Andrew Runions: nuts
Richard Rapp: true.
Andrew Runions: to get the
Richard Rapp: Yeah.
Andrew Runions: Monday Tuesday
Richard Rapp: So
Noah Bonawitz: Mm-hmm.
Andrew Runions: Wednesday
Noah Bonawitz: Mm-hmm.
Richard Rapp: so
Andrew Runions: you
Richard Rapp: no
Andrew Runions: know.
Richard Rapp: need for an L_C_D_ display?
Andrew Runions: Um I I'm not saying there's no need for an L_C_D_ display, but um
Richard Rapp: I think that would
Andrew Runions: it's
Richard Rapp: make it very
Andrew Runions: what's
Richard Rapp: complex.
Andrew Runions: what what would it tell the user, 'cause the L_C_D_ tends to be an output as
Richard Rapp: Yeah.
Andrew Runions: uh as opposed to an input so
Richard Rapp: Yeah.
Andrew Runions: um does the remote control need to talk back to the
Noah Bonawitz: Mm
Andrew Runions: user?
Noah Bonawitz: not real
Andrew Runions: We have the option of the speaker as well the sa the same thing goes for the speaker, is there a need for the remote control to
Richard Rapp: I
Noah Bonawitz: Mm-hmm.
Richard Rapp: don't know if there is
Andrew Runions: to
Richard Rapp: really,
Andrew Runions: talk back?
Robert Freshour: Nah.
Richard Rapp: no um
Andrew Runions: Um
Richard Rapp: I would say no need for a talk-back. Uh does anybody disagree with that?
Noah Bonawitz: No.
Andrew Runions: You could
Richard Rapp: No?
Andrew Runions: put a game on it.
Richard Rapp: Easy.
Andrew Runions: When the T_V_ dies you can play with the remote control.
Noah Bonawitz: Mm
Richard Rapp: Okay
Noah Bonawitz: mm.
Richard Rapp: um right so you're gonna have the three different sets of of functionalities, um I mean do you wanna group them into s head of the snowman, body of the snowman, inside of the snowman, is that what you're thinking?
Robert Freshour: Um well I think the advanced ones the the ones you don't usually use could be hid inside.
Richard Rapp: Okay.
Robert Freshour: B um I think the we had were fairly basic ones, they'd have to go on the the front somewhere.
Richard Rapp: Okay right um what else do you need to talk about?
Noah Bonawitz: Well i
Andrew Runions: Where
Noah Bonawitz: I was
Andrew Runions: would
Noah Bonawitz: just
Andrew Runions: you physically position the buttons? Um I think that that has some impact on
Noah Bonawitz: Yeah.
Andrew Runions: on on many things.
Noah Bonawitz: Yeah.
Robert Freshour: Um
Andrew Runions: Um maybe you wanna draw onto the
Richard Rapp: So I'm just gonna um pop this in here 'cause I have a slide about decision making
Andrew Runions: Yep.
Richard Rapp: which I'd forgotten about.
Richard Rapp: Oh sh God we've got five minutes um okay uh back we go. Um energy what do you think that's suggesting we're how we're powering the thing? I really like the idea of this kinetic thing where you'd have the back-up of the battery,
Noah Bonawitz: Yeah,
Richard Rapp: but have
Noah Bonawitz: sure.
Richard Rapp: have kinetic power,
Noah Bonawitz: Um
Richard Rapp: I mean what does
Noah Bonawitz: I've
Richard Rapp: anybody
Noah Bonawitz: had
Richard Rapp: think
Noah Bonawitz: kinetic
Richard Rapp: about that?
Noah Bonawitz: things before, and the the the one issue we need to keep in mind with them is that you're committing the user to moving it, and
Andrew Runions: No, like I said we
Noah Bonawitz: watches
Andrew Runions: have a h
Noah Bonawitz: yeah
Andrew Runions: hybrid kind of thing,
Noah Bonawitz: Sure,
Andrew Runions: so it's not gonna
Noah Bonawitz: okay,
Andrew Runions: charge the battery,
Noah Bonawitz: right, okay.
Andrew Runions: it's just
Richard Rapp: Okay.
Noah Bonawitz: Support for it. I mean
Andrew Runions: Yeah.
Noah Bonawitz: just it's just worth pointing out because like I've I've known I've known people to have kinetic watches that they wear all the time,
Richard Rapp: Mm-hmm.
Noah Bonawitz: and it's just like magic because it's always powered and there's no battery. I've also known people to have things like like a jewellery watch they wear from time to time, and they eventually just say it's just too much of a nuisance because
Richard Rapp: Yeah.
Noah Bonawitz: I don't wear
Andrew Runions: Yep.
Noah Bonawitz: it all the time. Like remote control is similar, you're away on vacation, I dunno whatever, you something,
Richard Rapp: Yeah.
Noah Bonawitz: and it just starts to get worn down. So
Richard Rapp: Well
Noah Bonawitz: we should
Richard Rapp: I suppose that if
Noah Bonawitz: think
Richard Rapp: you're
Noah Bonawitz: about
Richard Rapp: if you're away and you're not using it, then you're not using any power either. So you'd have the battery as the kind of to keep it ticking over
Noah Bonawitz: Yeah.
Richard Rapp: idea I'm really sorry we're gonna have to wrap up quite quickly, we don't have as much time as I thought.
Noah Bonawitz: Yep.
Richard Rapp: Um so I think that's what energy is referring to here. Chip on print, is that that's an industrial design thing, is it David?
Andrew Runions: Yes yes.
Richard Rapp: Okay um as for the case, kind of discussed that
Noah Bonawitz: And this size here, I'd suggest this be small,
Richard Rapp: Yeah I
Noah Bonawitz: like
Richard Rapp: know we're gonna
Noah Bonawitz: quite
Richard Rapp: have like
Noah Bonawitz: small.
Richard Rapp: rubber buttons that feel kind of
Robert Freshour: Yeah
Richard Rapp: Okay.
Robert Freshour: I think so yeah.
Noah Bonawitz: Um just a a lot of the um I mean one of the things running through my mind right now, I realise we're being efficient to wrap up the meeting
Richard Rapp: Mm-hmm.
Noah Bonawitz: and have lots of decisions made, um but we are leaning quite a bit to the side of being low-tech, rubber buttons plastic frame, it's almost like we're reproducing the same old remote control
Richard Rapp: Mm 'kay.
Noah Bonawitz: that's out there. Should we think about how we are actually getting this high-tech user friendly uh um theme like what is it that we're u we're using to to achieve those goals? Like
Richard Rapp: Could have things like backlighting the buttons and
Noah Bonawitz: Okay
Richard Rapp: stuff like
Noah Bonawitz: so
Richard Rapp: that.
Noah Bonawitz: so backlighting,
Andrew Runions: Or even
Noah Bonawitz: that
Andrew Runions: a
Noah Bonawitz: would
Andrew Runions: clear
Noah Bonawitz: be good.
Andrew Runions: case. Um
Noah Bonawitz: Yeah clear, that'd be
Andrew Runions: you
Richard Rapp: Aye
Andrew Runions: know a
Richard Rapp: that
Andrew Runions: a
Richard Rapp: would be
Andrew Runions: glowing
Richard Rapp: a
Noah Bonawitz: Okay.
Richard Rapp: good idea.
Andrew Runions: a a glowing yellow type case where the yellow is showable, but in the dark it sort of, it's alive.
Noah Bonawitz: Yeah sure.
Andrew Runions: Um in
Richard Rapp: S
Andrew Runions: in a
Richard Rapp: so
Andrew Runions: slight
Richard Rapp: like
Andrew Runions: subtle
Noah Bonawitz: Yeah that'd
Andrew Runions: way.
Noah Bonawitz: be really
Richard Rapp: cur
Noah Bonawitz: good.
Richard Rapp: slightly transparent
Andrew Runions: Yeah
Richard Rapp: case, so
Andrew Runions: yeah.
Richard Rapp: it's yellow,
Noah Bonawitz: Yeah.
Richard Rapp: like tinted yellow, but
Andrew Runions: Yeah.
Richard Rapp: you can maybe see through it. Is that what
Andrew Runions: Or
Richard Rapp: you mean?
Andrew Runions: or there might be a light running through it like a mouse.
Noah Bonawitz: Sure.
Andrew Runions: You know you have cordless mice and they don't eat that much power
Noah Bonawitz: Yeah,
Andrew Runions: right. So the power the
Noah Bonawitz: yeah.
Andrew Runions: battery in that sense, maybe
Noah Bonawitz: Yeah.
Andrew Runions: you have one or two stratig strategically placed lights
Noah Bonawitz: Sure.
Andrew Runions: that sort of
Noah Bonawitz: Yeah they they emanate a light through it.
Andrew Runions: Yeah
Richard Rapp: Okay.
Andrew Runions: but because the case is transparent
Richard Rapp: Lights.
Andrew Runions: so it
Noah Bonawitz: 'Kay.
Andrew Runions: gives it a little bit of a glow,
Noah Bonawitz: Yeah, mm-hmm.
Andrew Runions: doesn't
Richard Rapp: Okay.
Andrew Runions: make it freaky.
Noah Bonawitz: Um and then the other thing that we we're s we've committed ourselves to achieving is simplicity, and so I'm thinking maybe should we try and think about having something like um some kind of an innovative concept about how the um the volume and the channels are controlled, 'cause that's the main thing people will f wanna
Richard Rapp: Mm.
Noah Bonawitz: do. Could we use like a jog dial, like a nice just sort of round, somewhere on it where you just
Andrew Runions: The question
Noah Bonawitz: roll
Andrew Runions: is
Noah Bonawitz: it?
Andrew Runions: when you're rolling
Noah Bonawitz: Or
Andrew Runions: it, how do you wanna roll it? Do you want 'em to roll it like that? Do you want 'em to roll it like that? 'Cause in a mouse your hand's in a position
Robert Freshour: Mm.
Noah Bonawitz: Yeah.
Richard Rapp: Yeah.
Andrew Runions: to roll it, whereas the other thing about having it jog dial this way, it tends to get moved accidentally.
Noah Bonawitz: Mm-hmm.
Richard Rapp: Yeah
Noah Bonawitz: Well
Richard Rapp: if
Noah Bonawitz: why
Richard Rapp: you
Noah Bonawitz: don't we
Richard Rapp: are
Noah Bonawitz: do
Richard Rapp: holding
Noah Bonawitz: it like
Richard Rapp: it
Noah Bonawitz: a
Richard Rapp: in your
Noah Bonawitz: mouse
Richard Rapp: hand
Noah Bonawitz: then?
Richard Rapp: you could you could do that, couldn't you? If you're holding it in your hand
Andrew Runions: That's
Richard Rapp: you could
Andrew Runions: a very unnatural motion
Richard Rapp: Do you think?
Andrew Runions: to yeah.
Richard Rapp: Okay.
Andrew Runions: Can you imagine you have to scroll a lot. Um it might work for volume,
Noah Bonawitz: Yeah.
Andrew Runions: and maybe some of the brightness controls and stuff like that,
Richard Rapp: Mm.
Andrew Runions: but not for channels right. If you have a Telewest box you've got like, you
Noah Bonawitz: Mm-hmm.
Andrew Runions: don't have to buy all the channels, you've about fifty channels, can you imagine
Richard Rapp: Yeah
Andrew Runions: trying
Noah Bonawitz: Yeah.
Andrew Runions: to.
Richard Rapp: okay okay
Noah Bonawitz: Yeah,
Andrew Runions: Um
Noah Bonawitz: sure.
Richard Rapp: um
Andrew Runions: and I don't think having that you know too quick too
Noah Bonawitz: Mm.
Andrew Runions: slow kin
Robert Freshour: Well,
Andrew Runions: it's confusing
Robert Freshour: but
Andrew Runions: to the
Robert Freshour: then
Andrew Runions: I dunno.
Robert Freshour: for um for skipping a large amount of channels you do have to uh to skip the channel button, the
Richard Rapp: Yeah.
Andrew Runions: But
Robert Freshour: number
Andrew Runions: users
Robert Freshour: part.
Noah Bonawitz: Yeah.
Andrew Runions: tend to tend to want to use that and once they lose out on the user experience they're like
Richard Rapp: Okay.
Robert Freshour: Uh but
Andrew Runions: Because that's becomes the most accessible
Richard Rapp: Okay.
Andrew Runions: thing
Noah Bonawitz: But that's
Andrew Runions: in front
Noah Bonawitz: not a bad
Andrew Runions: of
Noah Bonawitz: thing is it?
Richard Rapp: Just
Noah Bonawitz: Because when you think about it, the alternative is to go push
Robert Freshour: Yeah.
Noah Bonawitz: the button.
Andrew Runions: Yeah.
Noah Bonawitz: Jog dials are much easier than that.
Richard Rapp: Okay
Noah Bonawitz: You
Richard Rapp: um
Noah Bonawitz: just roll.
Richard Rapp: right well wouldn't it we do need to make a decision on whether we want to incorporate a jog dial in nice and quickly. Um I'm all for them actually, I think they're quite you
Noah Bonawitz: Yeah.
Richard Rapp: know th very quick to m to use.
Noah Bonawitz: Yeah.
Richard Rapp: So does anybody oppose the idea of of incorporating one into the design at all? No. And the other thing was um can we think of any way of getting the slogan into this thing?
Noah Bonawitz: Yeah like I mean if we if if we keep coming back to this board here,
Richard Rapp: Uh-huh.
Noah Bonawitz: I wouldn't be surprised if we could take this idea, imagine that, I dunno, that it's within the shape of the hand, it's quite small
Richard Rapp: Uh-huh ooh okay,
Noah Bonawitz: I dunno.
Richard Rapp: we really gotta wrap up so
Noah Bonawitz: Yeah.
Richard Rapp: yeah.
Noah Bonawitz: It's small, and that we've got like the the l slogan somewhere like on the casing
Richard Rapp: Okay
Noah Bonawitz: at the side,
Richard Rapp: well if we can do
Noah Bonawitz: and that
Richard Rapp: that, great.
Noah Bonawitz: yeah
Richard Rapp: Yeah okay.
Noah Bonawitz: well I mean isn't that what we just h said said we s just have to decide now?
Richard Rapp: Yeah let's let's try and get the slogan on there
Noah Bonawitz: Yeah.
Richard Rapp: um, and
Noah Bonawitz: And then
Andrew Runions: So
Noah Bonawitz: like
Andrew Runions: you
Noah Bonawitz: a
Andrew Runions: wanna
Noah Bonawitz: jo
Andrew Runions: expand the shape of the
Noah Bonawitz: And then like a jog dial somewhere that fits in with the shape of it like I dunno like here, in with
Andrew Runions: That
Noah Bonawitz: the
Andrew Runions: that might have one problem in terms of um
Noah Bonawitz: It would get bumped, it's doesn't
Andrew Runions: in terms
Noah Bonawitz: really fit
Andrew Runions: of
Noah Bonawitz: with your
Andrew Runions: whether
Noah Bonawitz: hand.
Andrew Runions: you're left handed or you're right handed
Noah Bonawitz: Yeah.
Andrew Runions: you
Richard Rapp: Mm.
Andrew Runions: might be locking yourself in.
Noah Bonawitz: Or maybe
Robert Freshour: Mm.
Noah Bonawitz: just fit
Andrew Runions: Could
Noah Bonawitz: it
Andrew Runions: I just
Noah Bonawitz: in like down the middle
Richard Rapp: Okay.
Noah Bonawitz: here.
Andrew Runions: could I just jump in and suggest something
Richard Rapp: Right
Noah Bonawitz: A
Andrew Runions: quickly?
Richard Rapp: I'm
Noah Bonawitz: jog
Richard Rapp: gonna have
Noah Bonawitz: di
Richard Rapp: to I'm really gonna have to hurry you on here 'cause we're we're
Noah Bonawitz: Yeah.
Richard Rapp: actually over time.
Noah Bonawitz: It's kind
Richard Rapp: Um
Noah Bonawitz: of
Richard Rapp: is there anything
Noah Bonawitz: yeah
Richard Rapp: anybody's unsure about? Just for in closing just the next meeting's gonna be in thirty minutes, and so you can see in the screen here what each of you are gonna hopefully be doing,
Noah Bonawitz: Yeah.
Richard Rapp: uh I know that the designers are gonna be working with Play-doh on that. So um that'll
Noah Bonawitz: Huh.
Richard Rapp: be that'll be good. Um and I'll get the the minutes up as soon as possible. Anything at all you think we haven't discussed that we need to? Is everybody
Noah Bonawitz: Um
Richard Rapp: kind of happy about
Andrew Runions: Um
Richard Rapp: what they're gonna be doing?
Andrew Runions: I think one thing would be the jog dial 'cause that's gonna have quite a big impact on
Noah Bonawitz: Yeah I think
Andrew Runions: the thing
Noah Bonawitz: the jog
Andrew Runions: um
Noah Bonawitz: dial, you know it just after you drew that, what if it was flat and you just
Andrew Runions: Yeah
Noah Bonawitz: spun
Andrew Runions: that's what
Noah Bonawitz: it,
Andrew Runions: I was thinking
Noah Bonawitz: that'd be great.
Andrew Runions: the a slide, because
Noah Bonawitz: Yeah.
Andrew Runions: then you you don't have to put the hand.
Noah Bonawitz: Yep.
Andrew Runions: I think incorporating a logo is quite straight forward. There's
Richard Rapp: Okay.
Andrew Runions: lots of space for it um
Richard Rapp: That's kind of a design thing that you guys can
Andrew Runions: Yeah
Richard Rapp: can discuss,
Andrew Runions: but it's
Richard Rapp: yeah.
Noah Bonawitz: Sure,
Andrew Runions: also a a marketing
Noah Bonawitz: yeah,
Andrew Runions: and a function
Noah Bonawitz: yeah
Richard Rapp: Okay.
Noah Bonawitz: and materials we sorta said we'd do plastic and rubber, didn't
Andrew Runions: Yeah.
Noah Bonawitz: we,
Richard Rapp: Yeah.
Noah Bonawitz: and I think maybe we should try and stay away from just the big protruding rubber buttons, 'cause that'd just be so standard.
Richard Rapp: To make something flush with the case?
Noah Bonawitz: Something a bit more flush, yeah,
Richard Rapp: Okay right.
Noah Bonawitz: or maybe have rubber incorporated into the case as well, so
Richard Rapp: Okay.
Noah Bonawitz: that it has and also t plastic
Richard Rapp: Sp kinda
Noah Bonawitz: I've
Richard Rapp: grippy?
Noah Bonawitz: seen can get really textured, so you can get plastics that actually feel soft in your hand.
Andrew Runions: Feel like fruit.
Richard Rapp: Okay.
Andrew Runions: Fruits kids.
Noah Bonawitz: They feel kind of like um, you get pens
Andrew Runions: No like
Noah Bonawitz: now and then that you'd think that
Andrew Runions: Yeah
Noah Bonawitz: they were
Andrew Runions: yeah.
Noah Bonawitz: rubber but they're not, they're actually just plastic that's textured, kind
Andrew Runions: Yeah
Noah Bonawitz: of a
Andrew Runions: yeah
Noah Bonawitz: little
Andrew Runions: kinda
Noah Bonawitz: bit
Richard Rapp: Okay
Noah Bonawitz: like
Andrew Runions: like that yeah.
Richard Rapp: I'm gonna have to I'm gonna have to call this to a close 'cause we're way over time. So um that's really good, like we've s had much to talk about that um pretty much run
Noah Bonawitz: Okay.
Richard Rapp: out of time to do so. So off
Noah Bonawitz: Okay.
Richard Rapp: you go and design stuff wooh.
Andrew Runions: Play-doh time.
Richard Rapp: Yeah quite jealous actually.
Andrew Runions: You got to choose first. No, we're kidding. Okay, can I just swipe your power cable, I don't think it matters. Okay lemme okay, I'm gonna pull everybody out first and then put in whoever needs to be left. It's you.
Andrew Runions: Argh. This is a real hassle and a oops. I'm gonna take the microphones, 'cause it's too lazy t take them off again. Cool. | Richard Rapp recapped the decisions made in the previous meeting. Noah Bonawitz discussed his findings from trend watching reports, stressing the need for a product that has a fancy look and feel, is technologically innovative, is easy to use, and incorporates some aspect of fruit and vegetables in its design. The interface specialist presented research on the appearance of current remotes, concluding that current remotes are generally unappealing in terms of look and usability. The interface specialist presented ideas on how to remedy the unappealing aspects of current remotes in the team's design and also how to incorporate the corporate color scheme into the design. Andrew Runions presented options for materials, components, and batteries and discussed the restrictions involved in using certain materials. The team then discussed options for the shape and color scheme of the remote, as well as what components, batteries, and materials to use. | 5 | amisum | train |
Brian Shephard: Okay we all all set? Right. Well this is the uh final detailed design meeting. Um we're gonna discuss the look and feel design, the user interface design, and we're gonna evaluate the product. And the end result of this meeting has to be a decision on the details of this remote control, like absolute final decision, um and then I'm gonna have to specify the final design in the final report. So um just from from last time to recap, we said we were gonna have a snowman shaped remote control with no L_C_D_ display, no need for talk-back, it was hopefully gonna be kinetic power and battery uh with rubber buttons, maybe backlighting the buttons with some internal L_E_D_s to shine through the casing, um hopefully a jog-dial, and incorporating the slogan somewhere as well. Anything I've missed?
Charles Tesch: No.
Brian Shephard: Okay um so uh if you want to present your prototype go ahead.
William Liles: Uh-oh. This is it?
Charles Tesch: Ninja Homer, made in Japan.
William Liles: Um, a few changes we've made. Um,
Brian Shephard: Okay.
William Liles: well look at the expense sheet, and uh
Brian Shephard: Mm.
William Liles: it turned to be quite a lot expensive to have open up and have lots of buttons and stuff inside,
Brian Shephard: Mm-hmm.
William Liles: so instead we've um this is gonna be an L_C_D_ screen, um just a a very very basic one, very small um with access to the menu through the the scroll wheel and uh confirm um button.
Nathanael Mason: Mm 'kay.
Charles Tesch: And there isn't uh d it doesn't open up to the advanced functions? So the advanced functions are still hidden from you, but they're hidden in the sense that um they're not in use.
Nathanael Mason: Where are they?
Charles Tesch: Um they're in the L_C_D_ panel and the jog-dial?
Nathanael Mason: Ah, right.
Charles Tesch: Okay
Nathanael Mason: Great.
Charles Tesch: 'cause
Brian Shephard: So w what kind of thing uh is gonna be
Charles Tesch: The L_C_D_ panel just displays um functionally what you're doing. If you're using
Nathanael Mason: Right.
Charles Tesch: an advanced function right, like um c brightness, contrast, whatever,
Nathanael Mason: Okay.
Charles Tesch: it will just say You know it's like only has four columns, it's a very simple L_C_D_ like,
Nathanael Mason: Right.
Charles Tesch: whereas many the minimum amount we need that the user will automatically know like this is brightness or this is contrast.
Brian Shephard: Mm-hmm.
Nathanael Mason: Right,
Brian Shephard: Okay cool.
Charles Tesch: It might even
Nathanael Mason: 'kay.
Charles Tesch: be one, a bit more complex L_C_D_ panel with
Nathanael Mason: Okay.
Charles Tesch: pictures like maybe the sun or the, you know, the the symbols of the various
Nathanael Mason: Mm-hmm,
Brian Shephard: Oh
Charles Tesch: functions.
Brian Shephard: right okay.
Nathanael Mason: and what is
Brian Shephard: Cool.
Nathanael Mason: this here?
Charles Tesch: That's a number pad.
Nathanael Mason: Okay so the number pad is
Brian Shephard: Where
Nathanael Mason: 'Kay,
Brian Shephard: are we gonna
Nathanael Mason: great.
Brian Shephard: have the slogan?
Charles Tesch: Um
William Liles: You know, just like
Charles Tesch: they're al along
William Liles: right
Charles Tesch: this
William Liles: inside
Charles Tesch: Yeah.
William Liles: there.
Brian Shephard: Okay cool.
Charles Tesch: You have this space here, and then you have this thing on the side as well, or at the bottom.
Brian Shephard: Okay.
Charles Tesch: 'Cause slogans are usually quite small, right, they're not like
Nathanael Mason: Mm.
Charles Tesch: huge so they're s
Nathanael Mason: Yep.
Charles Tesch: Say a button's
Brian Shephard: Okay.
Nathanael Mason: Looks
Charles Tesch: about
Nathanael Mason: good.
Charles Tesch: say a button's about this size, right,
Nathanael Mason: Yep.
Charles Tesch: so you would still have plenty
Nathanael Mason: Mm-hmm.
Charles Tesch: of space for a slogan, say even
Brian Shephard: So
Charles Tesch: for that.
Brian Shephard: if this isn't to scale, what kind of dimensions are you thinking about here?
William Liles: Well we want the other buttons to be big enough to push easily
Brian Shephard: Mm-hmm.
William Liles: with a finger so we reckon maybe that'll be about the same size as the palm
Nathanael Mason: Okay.
William Liles: of your hand.
Charles Tesch: Yep so that would be about a centimetre for a button, so one two three four centimetres. Plus maybe half
Nathanael Mason: Mm-hmm.
Charles Tesch: o five
Nathanael Mason: About nine
Charles Tesch: six
Nathanael Mason: in total.
Brian Shephard: Six,
Charles Tesch: seven
Brian Shephard: seven,
Charles Tesch: eight,
Brian Shephard: eight, nine, ten.
Charles Tesch: about
Brian Shephard: So
Charles Tesch: yeah nine total.
Brian Shephard: we're
Nathanael Mason: That
Brian Shephard: talking
Nathanael Mason: sounds
Brian Shephard: about
Nathanael Mason: good.
Brian Shephard: ten
Nathanael Mason: Yeah.
Brian Shephard: centimetres. That would be
Nathanael Mason: Yep.
Brian Shephard: good. So
Charles Tesch: Nine,
Brian Shephard: ten
Charles Tesch: ten.
Brian Shephard: centimetres in height.
Charles Tesch: Yep.
Brian Shephard: Okay um.
Nathanael Mason: That'd be good, in fact a pen is about ten centimetres usually, so that would be that sounds a really good size
Brian Shephard: Yeah.
Nathanael Mason: if, you see it there.
Brian Shephard: That's great and it's very bright as well.
Nathanael Mason: Mm.
Brian Shephard: So um okay.
Nathanael Mason: Is it possible uh I'm just gonna bring up the idea of colours. Is these are these the colours that of production,
William Liles: Well I'm
Nathanael Mason: or is this just what we had available?
William Liles: We're gonna have again the the sort of the foggy um yellow from last time that lit up when you pushed the button.
Nathanael Mason: Right.
William Liles: Um
Brian Shephard: Okay so just could you just list all the things that it does s so I can write them in the report.
William Liles: But um this button um, because it's red it's sort of very prominent, we're gonna use it as uh it can be the power button if you hold it for maybe two seconds it'll
Brian Shephard: Mm-hmm.
William Liles: send a stand-by signal. Um apart from
Charles Tesch: Excuse
William Liles: that
Charles Tesch: Nathanael Mason.
William Liles: it's gonna
Charles Tesch: Sure.
William Liles: be used as a confirm button for the L_C_D_ screen
Brian Shephard: Okay.
William Liles: and you use this as a jog-dial.
Brian Shephard: Okay so that's like an okay button, right.
Nathanael Mason: Mm-hmm.
Charles Tesch: Oh we've discussed
William Liles: I don't
Charles Tesch: how
William Liles: know.
Charles Tesch: h high it is, but how wide is it?
Brian Shephard: Okay.
Nathanael Mason: How high is it?
Charles Tesch: No as in the height,
Nathanael Mason: Yeah.
Charles Tesch: but what about the width?
William Liles: Didn't
Brian Shephard: Oh
William Liles: put five
Brian Shephard: oh
William Liles: centimetres.
Brian Shephard: like depth of the actual
Charles Tesch: Do we need five?
Brian Shephard: thing.
Charles Tesch: I don't think
William Liles: Um.
Charles Tesch: five is be about th three and a half.
Nathanael Mason: Okay.
William Liles: Something
Brian Shephard: Oh is this
William Liles: by
Brian Shephard: k
William Liles: there.
Brian Shephard: to get an idea of scale
Charles Tesch: Yeah,
Brian Shephard: from your
Nathanael Mason: Sure.
Brian Shephard: from your
Charles Tesch: yeah.
Brian Shephard: thing there okay. So you can power on and off,
Nathanael Mason: Three and
Brian Shephard: what else
Nathanael Mason: a half.
Brian Shephard: can you do?
William Liles: Um you can skip straight to a channel using these buttons.
Brian Shephard: Okay.
William Liles: Um, were gonna have the volume control here, but um because we've got the the L_C_D_ and the jog-dial we just thought we'd um use that as the volume.
Brian Shephard: Okay jog-dial for volume. And what
Nathanael Mason: Mm-hmm.
Brian Shephard: else do you do with the jog-dial?
William Liles: Um you can use it for um more advanced functions like contrast, colour and
Brian Shephard: Contrast, brightness,
William Liles: Um yeah.
Brian Shephard: yeah, and anything else?
William Liles: Um just whatever else we wanted to include as the advanced functions, um we didn't actually go through and specify the
Brian Shephard: Well of the designers what are they?
William Liles: Uh what can a T_V_ do?
Charles Tesch: Okay things like um brightness, contrast,
Brian Shephard: Uh-huh.
Charles Tesch: um maybe tuning the channels.
Brian Shephard: Okay channel tuning.
Charles Tesch: Um.
Brian Shephard: That's a good one.
Charles Tesch: What else? Um the various inputs. Are you having a V_C_R_, are you
Nathanael Mason: Mm-hmm,
Charles Tesch: having
Nathanael Mason: mm-hmm.
Charles Tesch: you know which input do you have?
Brian Shephard: Okay auxiliary
Nathanael Mason: Mm-hmm, probably
Brian Shephard: inputs.
Charles Tesch: Um.
Nathanael Mason: colour or sharpness.
Charles Tesch: Yep, colour, sharpness.
Brian Shephard: Sharpness.
Charles Tesch: Um a lot of these things will have to be um free and open for users to define them.
Nathanael Mason: Mm-hmm.
Brian Shephard: Okay what about uh sound settings? Uh d can you change any of those at all?
Nathanael Mason: Audio.
Charles Tesch: Audio, we have like
William Liles: Um.
Charles Tesch: your basic y your base, your mid-range, your high range. Um.
William Liles: the the balance hmm.
Charles Tesch: Yep, left-right balance, um maybe even pre-programmed sound modes, like
Brian Shephard: Okay.
Charles Tesch: um the user could determine like a series of sound modes, and then
Nathanael Mason: Mm-hmm.
Charles Tesch: what could happen would be um when you click on that then it would go to that setting.
Brian Shephard: Okay,
Nathanael Mason: Mm 'kay.
Charles Tesch: Yeah.
Brian Shephard: is there anything else at all it can do? That 'cause that's that's fine. Just need to know so I can write it down. Okay um right I g I guess that's it, so we can now um We can now have a little look at the the Excel sheet and price listing, and see if we need to
William Liles: Mm-hmm.
Brian Shephard: um if we need to rethink anything at all. So um for this first part here power-wise, have we
Charles Tesch: The
Brian Shephard: got
Charles Tesch: battery.
Brian Shephard: battery? Do we have kinetic as well?
Charles Tesch: No.
Brian Shephard: No. Okay,
Charles Tesch: Um.
Brian Shephard: just battery.
Charles Tesch: We need an
Brian Shephard: And that's because of cost restraints
Charles Tesch: Yep.
Brian Shephard: is it?
William Liles: Yeah.
Brian Shephard: Okay um
Charles Tesch: Yeah advanced
Brian Shephard: what about the
Charles Tesch: chip.
Brian Shephard: electronics here?
Charles Tesch: We
Brian Shephard: Advanced
Charles Tesch: need an advanced
Brian Shephard: chip.
Charles Tesch: chip I think, yep. Let Nathanael Mason just confirm that. Yes I think so. Yep.
Brian Shephard: Okay um the case, what does it mean by single and double, do you know?
William Liles: Um I think single would just be sort of one sort of oval whereas double is this sort of thing.
Charles Tesch: Yeah.
Brian Shephard: So we want double-curved?
Charles Tesch: Yep.
Brian Shephard: Okay. Um.
Charles Tesch: Plastic.
Brian Shephard: Is there any rubber at all in the buttons
Charles Tesch: I think we're
Brian Shephard: or any
Charles Tesch: gonna have to skip the rubber.
Brian Shephard: Okay,
Charles Tesch: Um.
Brian Shephard: um and we wanted special colours didn't
Charles Tesch: Yep.
Brian Shephard: we? So I'll have to put that Oh no wait we ho how many colours have we got there?
Charles Tesch: For the case itself, one colour. It's one special colour.
Brian Shephard: Just one colour, okay.
Charles Tesch: 'Cause the case unit itself, the rest of our components
Brian Shephard: Okay
Charles Tesch: go on top
Nathanael Mason: Mm.
Charles Tesch: of it.
Brian Shephard: so interface-wise, is it this third option we
Charles Tesch: Yes.
Brian Shephard: have, the two of them there?
Charles Tesch: One and the L_C_ display.
Brian Shephard: Okay and then buttons,
Charles Tesch: How many
Brian Shephard: we have what,
William Liles: Um we have
Brian Shephard: two
William Liles: um
Brian Shephard: colours?
William Liles: got some
Nathanael Mason: Or even
William Liles: push buttons
Nathanael Mason: clear.
William Liles: as well.
Charles Tesch: We've got push buttons as well.
Brian Shephard: Like uh
William Liles: 'Kay.
Brian Shephard: oh wait so push button and integrated scroll wheel push okay.
William Liles: So I reckon we've got one button for this thing 'cause it's just one big sheet of rubber.
Brian Shephard: Uh-huh.
William Liles: I'm not sure if that counts but
Brian Shephard: Okay.
Charles Tesch: Okay let's just be safe and put like say four buttons for that one.
Brian Shephard: Okay.
Charles Tesch: Okay um and maybe a special colour for the buttons, so maybe four again.
Brian Shephard: Four.
William Liles: You can see we're we're all very
Brian Shephard: So
William Liles: far
Brian Shephard: w
William Liles: beyond
Brian Shephard: why
William Liles: the
Brian Shephard: are we arriving at the number four? Where does the number four come from?
Charles Tesch: 'Cause that's one button by its the complexity of twelve buttons.
Brian Shephard: Okay right, so
Charles Tesch: So
Brian Shephard: we're writing
Charles Tesch: we're
Brian Shephard: down
Charles Tesch: just
Brian Shephard: four.
Charles Tesch: estimating that yeah it would be less.
Brian Shephard: Okay. How about these? Are we wanting them in
Charles Tesch: No.
Brian Shephard: no they're just is
Charles Tesch: Yep.
Brian Shephard: everything gonna be plastic?
Charles Tesch: Yep.
Brian Shephard: Okay. So we're w w quite far over. Now we're gonna something's gonna have to go. Um we're at sixteen point eight and
Nathanael Mason: Uh how mm-hmm how are we going to achieve this high-end product if
Brian Shephard: Well we h something has to
Nathanael Mason: We
Brian Shephard: go
Nathanael Mason: only have
Brian Shephard: to the tune
Nathanael Mason: very
Brian Shephard: of
Nathanael Mason: sparse
Brian Shephard: two point t three Euro, so let Nathanael Mason see, what are we
Nathanael Mason: Two
Brian Shephard: I mean
Nathanael Mason: point three? Four point three no?
Brian Shephard: oh yes sorry, four point three. My maths is all out.
William Liles: Well we could take out ones by making it single curved, just fill in those bits.
Brian Shephard: Yeah.
Nathanael Mason: And then where
Charles Tesch: How
Nathanael Mason: is
Charles Tesch: much
Nathanael Mason: the
Charles Tesch: would that save us?
Brian Shephard: How much would that save
Charles Tesch: That
Brian Shephard: us?
Charles Tesch: will only save
William Liles: That
Charles Tesch: you one.
William Liles: is one.
Brian Shephard: One.
Charles Tesch: The other thing could be that um you could take away the L_C_D_ panel and the advanced chip together, um because when you do something on the T_V_,
Nathanael Mason: Mm-hmm.
Charles Tesch: the T_V_ responds and reacts as well, so the user could be looking at the T_V_ and pushing his thing
William Liles: That's
Charles Tesch: so
William Liles: fair
Charles Tesch: we
William Liles: enough,
Charles Tesch: may
William Liles: yeah.
Charles Tesch: not need to
Nathanael Mason: Mm-hmm.
Charles Tesch: so when we scroll we need just some way to
Nathanael Mason: Mm-hmm.
Charles Tesch: get the T_V_ to respond,
Brian Shephard: Okay
Nathanael Mason: Mm-hmm.
Brian Shephard: so
Charles Tesch: which I think is a technically doable thing so
Nathanael Mason: Mm-hmm.
Brian Shephard: So w what's our reviewed suggestion? Um take away the L_C_ display?
Charles Tesch: Yep. And
Nathanael Mason: Mm-hmm.
Charles Tesch: the advanced chip goes away as well.
Brian Shephard: To be replaced with a
Charles Tesch: Regular chip.
Brian Shephard: regular chip.
Charles Tesch: Yep.
Nathanael Mason: Mm-hmm.
Brian Shephard: Okay.
Charles Tesch: So what that means is that
Brian Shephard: And
Charles Tesch: um
Brian Shephard: so we've got point three to get rid of. Um and we ha where are the four the four push buttons are where exactly now?
Charles Tesch: The twelve buttons that you see there.
Brian Shephard: Twelve buttons.
William Liles: That's um one piece of rubber but it's gonna have twelve button
Brian Shephard: Yeah.
William Liles: things underneath
Charles Tesch: Functionally
William Liles: so
Charles Tesch: you're gonna have to intercept So four is a good estimate for
Brian Shephard: Do you think?
Charles Tesch: Yeah, so you can't actually cut It's like three times the number of
Brian Shephard: Like
Charles Tesch: buttons,
Brian Shephard: is
Charles Tesch: four, eight, twelve.
Brian Shephard: is that one big button or is it twelve buttons, how
Charles Tesch: It
Brian Shephard: can it be something in between?
Charles Tesch: It needs to be more than one big button because if you open up your phone, underneath
Nathanael Mason: Mm-hmm.
Charles Tesch: there's actually
Brian Shephard: Mm.
Charles Tesch: one button underneath, it's just that the panel itself is a single panel.
Nathanael Mason: Mm-hmm.
Brian Shephard: Okay well we have point three to get rid of somewhere.
Charles Tesch: We just
Brian Shephard: Mm.
Charles Tesch: report that it has to be over budget, or the colours, you
Brian Shephard: No
Charles Tesch: could
Brian Shephard: can
Charles Tesch: take away
Brian Shephard: do.
Charles Tesch: s colours for th for the buttons.
Nathanael Mason: Yeah we could just go with
William Liles: Yeah w
Nathanael Mason: um
Charles Tesch: Normal coloured buttons.
Brian Shephard: Well do you want colour differentiation here?
Charles Tesch: No
William Liles: Um
Charles Tesch: that's not the button we're talking
Brian Shephard: Oh yeah
Charles Tesch: about.
Brian Shephard: sorry
Charles Tesch: That's
Brian Shephard: yeah then.
Charles Tesch: the buttons only refer to the pad so
Brian Shephard: Right so
Charles Tesch: Should we take that off uh?
Brian Shephard: Ah.
Charles Tesch: Hey
Brian Shephard: That's
Charles Tesch: it's back
Brian Shephard: it.
Charles Tesch: to the original.
Nathanael Mason: Hmm.
Charles Tesch: Um so then these just become normal coloured buttons,
Nathanael Mason: Mm-hmm.
Charles Tesch: so that might be some some way of cutting the cost.
Nathanael Mason: Mm.
Brian Shephard: Okay, ach that's a shame. Um right, so take away that completely? Ah. And now we're under budget. So we do have point five Euro to play with if we wanted. Um
William Liles: So I reckon
Nathanael Mason: How about with embossing the logo, isn't that going to cost us some money?
Brian Shephard: Doesn't say so.
Nathanael Mason: Yeah. That's
William Liles: Reckon that
Nathanael Mason: a freebie.
William Liles: probably counts as a special form for the buttons.
Charles Tesch: Yeah.
Brian Shephard: a good idea. Just one? Does that mean that one button has a special form or
William Liles: I think there's just one button so
Brian Shephard: Yeah
William Liles: handy.
Brian Shephard: okay. Well well there we go. So I'm just gonna have to redraw this now. So we're not gonna have the L_C_D_ anymore, and we'll just gonna have an on t on the T_V_ it'll show you what you're doing, which I think is fair enough, and so this is gonna be one big thing here. Um.
Nathanael Mason: Was the goal in your in your prototype design that it be as low profile as possible?
Charles Tesch: What do you mean by
William Liles: Yeah.
Charles Tesch: profile?
Nathanael Mason: Sort of flat as possible.
Charles Tesch: No.
William Liles: You see I envision it as being um quite deep sort of
Nathanael Mason: Yeah.
William Liles: deep enough to be comfy to hold in your hands
Nathanael Mason: Yeah that's
William Liles: rather
Nathanael Mason: what I
William Liles: than
Nathanael Mason: was
William Liles: being
Nathanael Mason: thinking,
William Liles: wide
Nathanael Mason: to
William Liles: and flat.
Nathanael Mason: Sure,
Charles Tesch: We
Nathanael Mason: okay.
Charles Tesch: didn't have enough Play-Doh to make it three
Nathanael Mason: Yeah
Charles Tesch: D_.
Nathanael Mason: alright yeah fair enough. Okay, just thought I'd ask.
Charles Tesch: So there's one more dimension to the thing
Nathanael Mason: Mm-hmm.
Charles Tesch: which we need to to add, and you might want to add in the report, height.
Brian Shephard: Right okay.
Charles Tesch: Yeah.
Brian Shephard: So just to well to be thorough then, width-wise we're looking at about what three centimetres or something?
Charles Tesch: Yeah.
Brian Shephard: Okay and then so
Nathanael Mason: Hmm.
Brian Shephard: height-wise How how tall do you envisage it being? About
William Liles: Yeah
Brian Shephard: that
William Liles: it works,
Brian Shephard: big?
Charles Tesch: Two.
William Liles: yeah.
Brian Shephard: About two centimetres, okay.
Nathanael Mason: Two's not very high at all though. Maybe
Charles Tesch: This
Nathanael Mason: a bit
Charles Tesch: is
Nathanael Mason: higher?
Charles Tesch: about this is about two. Slightly more than
William Liles: See,
Charles Tesch: two,
Nathanael Mason: Yeah.
Charles Tesch: so
William Liles: about that thick.
Brian Shephard: Okay.
Nathanael Mason: Maybe closer
Brian Shephard: Ach, that
Nathanael Mason: to
Brian Shephard: is
Nathanael Mason: three even
Brian Shephard: Yeah.
Charles Tesch: Okay.
Nathanael Mason: or two and a half.
Brian Shephard: Okay we'll s we'll say two point five. Okay um so we have it within cost anyway. Um so yeah project evaluation is this point. Um.
Nathanael Mason: Mm-hmm.
Brian Shephard: Right uh. Okay so can we close that? This is what it's the final spec that it's gonna be.
Nathanael Mason: Mm-hmm.
Brian Shephard: Someone is gonna have to yeah that's fine that's fine.
Nathanael Mason: Um it's probably just I dunno if it's worth getting into, but um just in in that we want this to be stylish, should we think a little bit more out of the box in terms of a button grid, because I've seen there's lots of devices out there that that instead of taking your standard nine nine square grid, and they have it sort of stylized or in different concept that that
Charles Tesch: I think that's something that's very hard to catch,
Nathanael Mason: Yeah.
Charles Tesch: so you you restrict the number of people who wanna try something.
Nathanael Mason: Sure, okay.
Charles Tesch: The the look and the colour is something which is cool,
Nathanael Mason: Yeah, alright.
Charles Tesch: but I think that there's also that factor of if it's too unfamiliar
Nathanael Mason: Okay,
Charles Tesch: then
Nathanael Mason: sure.
Charles Tesch: um because when you put
Nathanael Mason: What about
Charles Tesch: it on the
Nathanael Mason: button
Charles Tesch: shelf
Nathanael Mason: shape? Square buttons?
Charles Tesch: Yeah button shape might be a good idea to change,
Nathanael Mason: Okay.
Charles Tesch: rather than rather than positioning,
Nathanael Mason: Yeah.
Charles Tesch: 'cause I think positioning is
Nathanael Mason: Sure.
Charles Tesch: we're kinda engrained into the
William Liles: Yeah.
Charles Tesch: the telephone kind
Nathanael Mason: Yeah.
Charles Tesch: of
Brian Shephard: Okay.
Charles Tesch: pad.
Brian Shephard: Right um. So at this point we uh, let Nathanael Mason see, discuss uh how satisfied we all are with um with these four points, with the room for creativity in the project, and leadership and teamwork, and the stuff we had around
Nathanael Mason: Mm 'kay.
Brian Shephard: us I guess. Um, let Nathanael Mason see uh
Nathanael Mason: Do you want Nathanael Mason to d um Do you want Nathanael Mason to do my um design evaluation last?
Charles Tesch: Maybe
Brian Shephard: Yeah I wasn't
Charles Tesch: we should
Nathanael Mason: Or
Brian Shephard: really
Charles Tesch: do the
Brian Shephard: sure
Charles Tesch: design evaluation
Brian Shephard: what that was
Charles Tesch: first.
Brian Shephard: Yeah,
Nathanael Mason: Evaluation.
Brian Shephard: yeah go for that first. I wasn't entirely sure what uh
Nathanael Mason: Okay.
Brian Shephard: who was supposed to be doing that, but
Nathanael Mason: Sure.
Brian Shephard: y you go for it.
Nathanael Mason: Um, alright so the way this works, I'm gonna need to plug into PowerPoint,
Brian Shephard: Okay.
Nathanael Mason: I'll try and do it as quick as possible.
Brian Shephard: Okay.
Nathanael Mason: Um, this is um I'll just go over your head if that's okay.
Brian Shephard: Yeah.
Charles Tesch: I don't think you need the power, so
Nathanael Mason: What's that?
Charles Tesch: No, that's okay that's okay.
Nathanael Mason: I don't need the PowerPoint?
Charles Tesch: No, the power cord itself.
Nathanael Mason: Oh course,
Charles Tesch: Yeah,
Nathanael Mason: yeah that's
Charles Tesch: so
Nathanael Mason: true.
Charles Tesch: then you have
Nathanael Mason: Let
Charles Tesch: a
Nathanael Mason: Nathanael Mason
Charles Tesch: bit
Nathanael Mason: get
Charles Tesch: more
Nathanael Mason: that.
Charles Tesch: freedom to
Nathanael Mason: A bit more. Okay,
Charles Tesch: You you still have your blue
Nathanael Mason: so
Charles Tesch: fingers.
Nathanael Mason: what this is is a set-up for us to
William Liles: Is it?
Nathanael Mason: um
Charles Tesch: You
Nathanael Mason: uh use
Charles Tesch: killed
Nathanael Mason: a kind
Charles Tesch: a monster.
Nathanael Mason: of a like a The idea is that I've set up I've reviewed all of the um the points of discussion from the beginning, and used that as a criteria of evaluation for the um uh for the current design uh th or the plan, and uh so we can review that. Uh I think it's gonna end up being sort of elementary because we're sort we're in n we're not gonna probably use it to change anything but Doesn't seem like it's going, does it?
Brian Shephard: Oh there it is.
Nathanael Mason: Yeah, okay great. Uh and I'm gonna write up our results on the board, so this'll be a way for us to go through and decide if we're um sort of review where we stand with it. Okay, so um So to sort of b bring together two things, sort of design goals and also the market research that we had, uh when we rate this, one is v high in in succeeding or fitting to our original aim and seven is low, okay.
Brian Shephard: Mm 'kay.
Nathanael Mason: So these i these i th are the and um we've been asked to uh to collectively rate this, so what we can do is try and just y work on a consensus system so we just come to an agreement.
Brian Shephard: Okay.
Nathanael Mason: Okay? So the first one uh, stylish look and feel.
Charles Tesch: I rate that pretty highly.
Brian Shephard: Well yeah,
William Liles: Yeah.
Brian Shephard: I mean compared to most
Nathanael Mason: Yeah.
Brian Shephard: remote controls you see that's pretty good. I dunno
Nathanael Mason: Yeah.
Brian Shephard: like a six or something.
Nathanael Mason: Yeah
Brian Shephard: What
Nathanael Mason: um
Brian Shephard: does anybody else think?
Nathanael Mason: Nathanael Mason uh my only reservation with it was that we basically went with yellow because it's the company's colour,
Brian Shephard: Mm.
Nathanael Mason: and I don't know if yellow's gonna really be a hit.
Brian Shephard: Mm.
Nathanael Mason: But
Brian Shephard: Okay.
William Liles: I'm seeing five then.
Nathanael Mason: What do you guys think?
Brian Shephard: I would say five or six.
Nathanael Mason: Okay.
Brian Shephard: David?
Charles Tesch: Yep I'm fine with that.
Nathanael Mason: Okay let's go with five then.
Brian Shephard: Okay.
Nathanael Mason: Fi oh uh just
Charles Tesch: It's
Nathanael Mason: actually
Charles Tesch: one
Nathanael Mason: the opposite.
Charles Tesch: to seven, right?
Nathanael Mason: The
Brian Shephard: Oh yes sorry
Nathanael Mason: So it meant
Brian Shephard: then, then I would say two
Nathanael Mason: three,
Brian Shephard: or three.
Nathanael Mason: okay.
Charles Tesch: Wait, what's the scale, one to seven,
William Liles: One's
Charles Tesch: right?
Brian Shephard: Yeah.
William Liles: high-ish
Nathanael Mason: Yeah,
William Liles: isn't it?
Nathanael Mason: one is high.
William Liles: Ah, okay so yeah, two or three.
Nathanael Mason: 'Kay
Charles Tesch: Okay, it's
Nathanael Mason: Let's
Charles Tesch: upside-down.
Nathanael Mason: go with two point five then. Okay, um control high tech innovation.
Brian Shephard: Well it
Nathanael Mason: We
Brian Shephard: has
Nathanael Mason: had to
Brian Shephard: the
Nathanael Mason: remove
Brian Shephard: wee jog-dial but
Nathanael Mason: Yeah, so we've had to remove a few of our features we
Brian Shephard: Mm.
Nathanael Mason: wanted, but jog-dial 's
Brian Shephard: I'd
Nathanael Mason: good.
Charles Tesch: Say
Brian Shephard: go with
Charles Tesch: it's more
Brian Shephard: three
William Liles: Eight
Brian Shephard: or
William Liles: three.
Brian Shephard: four,
Charles Tesch: medium,
Brian Shephard: maybe three.
Charles Tesch: but going towards a little bit higher than medium
Nathanael Mason: Okay,
Charles Tesch: kind of
Brian Shephard: Yeah
Charles Tesch: thing.
Brian Shephard: about
Nathanael Mason: three?
Brian Shephard: three, okay.
Charles Tesch: Yep.
Nathanael Mason: Okay, um Style reflects a fruit inspired colour, design. I
Charles Tesch: Lemon.
Nathanael Mason: shouldn't have said colour, but just
Brian Shephard: Well that's
Charles Tesch: Okay,
Brian Shephard: kind
Charles Tesch: the
Brian Shephard: of
Charles Tesch: blue
William Liles: Yeah.
Charles Tesch: the blue
Nathanael Mason: Sorta.
Charles Tesch: colours and don't re don't actually represent the colour, except
Nathanael Mason: Yeah.
Charles Tesch: for the b the the red button, they because for want of a
Brian Shephard: But
Nathanael Mason: Right.
Brian Shephard: the yellow, I mean it could be
Nathanael Mason: Yeah,
Brian Shephard: a lemon
Nathanael Mason: could
Brian Shephard: yellow
Nathanael Mason: be. Yeah.
Brian Shephard: colour,
Charles Tesch: Yeah, the
Brian Shephard: couldn't
Charles Tesch: the yellow
Brian Shephard: it?
Charles Tesch: is more representative of the colour, but
Nathanael Mason: Okay.
Charles Tesch: the
Brian Shephard: Yeah.
Charles Tesch: button itself, the blue can be anything else.
Nathanael Mason: Okay so we'll go two.
Brian Shephard: Mm-hmm.
Nathanael Mason: Yeah? Okay, and um design is simple to use, simple in features.
Brian Shephard: Well yeah, I mean it's really basic
Nathanael Mason: F
Brian Shephard: looking
Nathanael Mason: f
Brian Shephard: isn't it? I
Nathanael Mason: yeah
Brian Shephard: mean I'd give that nearly a one.
Nathanael Mason: f fairly basic, you guys think?
William Liles: Yeah one.
Charles Tesch: Yep,
Nathanael Mason: Yeah, one?
Charles Tesch: that's
Nathanael Mason: Okay.
Charles Tesch: fine.
Nathanael Mason: Um, soft and spongy, have we achieved that? We've used mostly plastic in the end so it's going to be quite
William Liles: Yeah I think
Nathanael Mason: a bit
William Liles: it's
Nathanael Mason: of
William Liles: about
Nathanael Mason: a compromise
William Liles: five.
Nathanael Mason: for price. Five?
Brian Shephard: Five? That's
William Liles: Yeah
Brian Shephard: really low. Well
William Liles: well we have to use uh plastic so it's
Brian Shephard: Yeah
William Liles: probably
Brian Shephard: I
Nathanael Mason: That's
William Liles: gonna
Brian Shephard: suppose
William Liles: be
Brian Shephard: mm 'kay.
Nathanael Mason: Um
Charles Tesch: Yeah,
Nathanael Mason: could
Charles Tesch: company
Nathanael Mason: we have
Charles Tesch: logo.
Nathanael Mason: used an entirely rubber frame to it? Was that an option?
William Liles: I think I'd probably
Charles Tesch: I think
William Liles: increase
Charles Tesch: it'll
William Liles: the cost.
Charles Tesch: be cost
William Liles: We've only
Nathanael Mason: It
Charles Tesch: prohibitive,
Nathanael Mason: would
William Liles: got
Nathanael Mason: cost more than plastic.
William Liles: like what,
Charles Tesch: yeah.
William Liles: ten
Nathanael Mason: Okay,
William Liles: cents left
Nathanael Mason: logo,
William Liles: so
Nathanael Mason: we've got it in there, haven't we?
Charles Tesch: Yep.
Brian Shephard: Yep. Gonna have that on the side, aren't we, like there or something?
Nathanael Mason: Huh. And um it's within budget, yep. It is, isn't it?
William Liles: Yeah.
Nathanael Mason: Okay, so we can say then that uh out of a possible or what would be our goal here?
Brian Shephard: Out of forty nine, I guess.
Nathanael Mason: Yeah, out of forty nine with with zero being the highest. We are at uh two, seven, eight, ten, fifteen point five.
Brian Shephard: 'S pretty
Nathanael Mason: So
Brian Shephard: good.
Nathanael Mason: it's pretty good. Translates to something like about approximately seventy two percent efficacy of our original goal. Right?
Brian Shephard: Uh
Nathanael Mason: I think
Brian Shephard: yeah.
Nathanael Mason: 'cause if you turn that into a hundred it would be about
Brian Shephard: Twice that,
Nathanael Mason: about thirty
Brian Shephard: about thirty
Nathanael Mason: one,
Brian Shephard: one.
Nathanael Mason: and then invert that, it's
Brian Shephard: So yeah ab well yeah about sixty nine, seventy percent
Nathanael Mason: Oh right,
Brian Shephard: yeah.
Nathanael Mason: about seventy, yeah seventy percent.
Brian Shephard: It's pretty good.
Nathanael Mason: Okay, good. That was just a little formality for us to go through.
Brian Shephard: Okay.
Nathanael Mason: Yep, oh hundred pound pen. Sorry alright.
Brian Shephard: Nobody saw it, honestly.
Nathanael Mason: No.
Charles Tesch: The cameras did.
Nathanael Mason: Hmm.
Brian Shephard: Is that you all have all finished, or
Nathanael Mason: Yeah that's that's Nathanael Mason. I did have one other um one other frame I thought, I mean I I d not knowing how we would deal with this information, I thought okay in theory this kind of a process would be about refining our design, revisiting
Brian Shephard: Uh-huh.
Nathanael Mason: our original goals. It's not something I need to p push through, but I thought should we thinking more about the dimensions, um sort of like more of a three dimensional shapes as well as opposed to just that flat um
Brian Shephard: Mm-hmm.
Nathanael Mason: Could our design involve a series of colours so that it's more of like a line where we have like sort of the,
Charles Tesch: Yep.
Nathanael Mason: I don't know like the harvest line or the vibrant, I dunno the Whatever just some theme and then we have different tones, lime green, lemon.
Brian Shephard: Okay.
Nathanael Mason: It's just discussion. I mean obviously we can just abandon this, it's fine. I'm just thinking about what we originally set out to do. Um,
Brian Shephard: Right.
Nathanael Mason: yep so there. That's all.
Brian Shephard: Okay, great um are you submitting the the um evaluation criteria or am I? I don't know what your instructions have been.
Nathanael Mason: Um, I think to record it and uh I haven't been asked to submit it yet. Yeah.
Brian Shephard: Okay, uh just wondering if I need to include it in the minutes, because if you're submitting it anyway
Nathanael Mason: I
Brian Shephard: then
Nathanael Mason: will, yeah.
Brian Shephard: Okay great.
Charles Tesch: It keeps getting too big.
Brian Shephard: Cool. Um right, uh well next up then, because we've done finance, is the project evaluation.
Charles Tesch: 'Kay I'm I'm listening I'm just trying to incorporate the logo into the
Brian Shephard: Oh right,
Charles Tesch: the
Brian Shephard: okay.
Charles Tesch: thing, so I'm playing with the Play-Doh as well. Just in case you're wondering,
Nathanael Mason: Huh.
Charles Tesch: why is he still playing with the Play-Doh?
Charles Tesch: Just about right L_E_G_O_ Lego.
William Liles: My leg.
Brian Shephard: Right, okay. Um well do you wanna um just individually say what you think about about these four points and or not those four points, my four points, sorry, forgotten that. You got a different uh
Nathanael Mason: Yep. I like those printer cables that just have the two little butterfly clips
Brian Shephard: Oh yeah,
Nathanael Mason: like that.
Brian Shephard: they're good
Nathanael Mason: It's
Brian Shephard: aren't
Nathanael Mason: really
Brian Shephard: they, yeah.
Nathanael Mason: quick.
Brian Shephard: Right
Nathanael Mason: To use.
Brian Shephard: okay, um yeah here we are. Uh as a note we'll do this alphabetically. Um do you wanna start
Nathanael Mason: Sure,
Brian Shephard: Andrew?
Nathanael Mason: um so what is it you're asking of Nathanael Mason now?
Brian Shephard: I don't know, just um your opinion on those four those four points really and how we
Nathanael Mason: Or sort of our work
Brian Shephard: used
Nathanael Mason: on
Brian Shephard: them.
Nathanael Mason: setting this up.
Brian Shephard: Yeah.
Nathanael Mason: Yeah. Well, is it uh okay I'll just go through your system then. The the room uh is fairly institutional, but um the main thing is, I think um our use of this space is more just to report on things as opposed to be creative and constructive and it would probably help to um have l sort of a cumulative effect of we have ideas and we come back and then the ideas are still in discussion, you know, as
Brian Shephard: Uh-huh.
Nathanael Mason: in other words this this room is sort of a centre point of creativity, whereas in reality as we've gone through this, it's not really the centre point of creativity, it's more just a
Brian Shephard: Well d do
Nathanael Mason: d
Brian Shephard: you feel
Nathanael Mason: debating
Brian Shephard: though that that you were able to have quite a lot of creative input into the
Nathanael Mason: Yeah,
Brian Shephard: thing?
Nathanael Mason: yeah but that's just the thing is the quest in terms of the the first point there, the room, it feels as though the creativity goes on when we leave, and then we come here and then we kind of put out our ideas and then, you
Brian Shephard: But
Nathanael Mason: know.
Brian Shephard: I don't I don't think it means the room as in this room. I think
Nathanael Mason: Oh,
Brian Shephard: it means like you
Nathanael Mason: oh right right, oh
Brian Shephard: know
Nathanael Mason: right okay
Brian Shephard: Yeah.
Nathanael Mason: room for creativ Oh right I just looked up and saw okay whiteboard,
Brian Shephard: Room.
Nathanael Mason: digital pens, the room.
Brian Shephard: Oh yeah.
Nathanael Mason: No, of course, yeah.
Brian Shephard: Well I dunno do you th
Nathanael Mason: Sorry.
Brian Shephard: I think it means um
Nathanael Mason: Huh.
Brian Shephard: I think it means did you feel
Nathanael Mason: Yeah.
Brian Shephard: you were able to give creative input so
Nathanael Mason: Yeah I th okay on th um yeah dif answering the question uh in those terms I'd say that actually there's sort of a tease of creativity because we're asked to work through this, but actually the guidelines are fairly contrived in terms of
Brian Shephard: Mm-hmm.
Nathanael Mason: um okay fashion trends, say fruit and vegetable colour scheme, but then i then we're told okay use the co company
Brian Shephard: Mm.
Nathanael Mason: company colours. So what do we do. We're told okay um think in terms of style and look and feel and technology, but build something for twelve and a half pounds,
Brian Shephard: Okay.
Nathanael Mason: so actually the creativity was more more of like a um a f sort of a f formality then an actual
Charles Tesch: You
Brian Shephard: Okay.
Charles Tesch: feel like you're caged within
Nathanael Mason: Yeah
Charles Tesch: whatever
Nathanael Mason: within the constraints
Charles Tesch: y It's
Nathanael Mason: the
Charles Tesch: like a balloon in a cage, it can
Nathanael Mason: Yeah.
Charles Tesch: only go so big and not hit the side. The
Nathanael Mason: Yeah,
Charles Tesch: constraints
Brian Shephard: Okay
Nathanael Mason: yeah.
Brian Shephard: uh
Charles Tesch: do come
Brian Shephard: do
Nathanael Mason: So
Brian Shephard: you know
Charles Tesch: in
Brian Shephard: what,
Charles Tesch: very fast.
Brian Shephard: actually let's take each point and everybody discuss it, I think.
Nathanael Mason: Yeah.
Brian Shephard: Yeah. So still on the topic of room for creativity uh next up is Craig.
William Liles: Um I agree with his point it's um it is quite a lot of fun t to go and then you have sort of hit the end then go right, gotta cut everything out 'cause we don't have enough money.
Brian Shephard: Yeah.
Charles Tesch: Yeah.
Nathanael Mason: Yep.
Charles Tesch: I think another point is that the meetings um are more brainstorming sessions than
Nathanael Mason: Yeah.
Charles Tesch: meetings, so time is also a very s um strong factor, and structure.
Brian Shephard: Yeah.
Nathanael Mason: Yeah.
Charles Tesch: Because for a brainstorming meeting you want a structure that allows you to allows ideas to get tossed,
Nathanael Mason: Mm-hmm,
Brian Shephard: Mm.
Charles Tesch: um
Nathanael Mason: mm-hmm.
Charles Tesch: to be evaluated, and to be reviewed, and to get feedback and
Nathanael Mason: Yeah,
Charles Tesch: come back. And
Nathanael Mason: yeah.
Charles Tesch: I guess that point about the room not being r very friendly to that, I think
Nathanael Mason: Yeah.
Charles Tesch: that's a very big thing, and I think the fact that we're wearing these things
Nathanael Mason: Yeah,
Charles Tesch: restricts
Nathanael Mason: sure.
Charles Tesch: I feel it 'cause I wear
Brian Shephard: Yeah.
Charles Tesch: m my glasses, right, and that but that irritates Nathanael Mason right
Nathanael Mason: Yeah.
Charles Tesch: it it it does actually you know affect
Nathanael Mason: New creativity.
Charles Tesch: how, w whether you feel comfortable to communicate. I feel like I'm hiding behind the equipment,
Nathanael Mason: Yep.
Charles Tesch: rather than the equipment is helping Nathanael Mason, and
Nathanael Mason: Right.
Brian Shephard: So you
Charles Tesch: you
Brian Shephard: think
Charles Tesch: know.
Brian Shephard: a more relaxed atmosphere would be more kind of conducive
Charles Tesch: Not not so much
Brian Shephard: to
Charles Tesch: an
Brian Shephard: creative
Charles Tesch: atmosphere,
Brian Shephard: thought
Charles Tesch: the atmosphere
Brian Shephard: or
Charles Tesch: is very relaxed, but
Brian Shephard: Yeah,
Charles Tesch: the
Brian Shephard: but actual
Charles Tesch: the
Brian Shephard: environment?
Charles Tesch: gear yeah you know that creates
Nathanael Mason: Mm.
Charles Tesch: boundaries to that um
Nathanael Mason: Mm-hmm.
Charles Tesch: and
Brian Shephard: Okay.
Charles Tesch: and the time the time given also
Nathanael Mason: Mm-hmm.
Brian Shephard: Okay.
Charles Tesch: restricts
Brian Shephard: Very good. Um what about leadership? I don't know if that means like, if I did a good job or something. I don't really know.
Nathanael Mason: Yeah, well well I mean my sense on that is sort of what kind of guidance and direction, encouragement
Brian Shephard: From like your personal coach person and stuff like that, do you think maybe?
Nathanael Mason: Yeah from and you as well I think, just sort of acting as team leader.
Brian Shephard: Okay.
Nathanael Mason: Um yeah I think I think it's
Charles Tesch: Excuse
Nathanael Mason: I think
Charles Tesch: Nathanael Mason.
Nathanael Mason: it's good. I mean my personal views on on leadership is that effective effective leadership sort of um gives people a certain room for freedom and delegation, but then to come back with something that they take great ownership and
Brian Shephard: Mm-hmm.
Nathanael Mason: you know, innovative thought with. In in reality I think here the the different elements of leadership such as the the original b briefing and then the personal coach and the and then you know having having you with your the meeting agenda is actually quite a quite a quite a con confining framework to work within. And so it is leadership almost to the point of sort of disempowering the the the team member,
Brian Shephard: Uh-huh,
Nathanael Mason: so
Brian Shephard: okay.
Nathanael Mason: But it's not bad leadership, it's just sort of s fairly strong, you know. It turns it turns the individual into more of like a um sort of a predetermined mechanism, as opposed to a
Brian Shephard: So you think maybe
Nathanael Mason: sort of a free
Brian Shephard: a little too controlling or
Nathanael Mason: Yeah, oh yeah, without
Charles Tesch: I think
Nathanael Mason: without
Charles Tesch: controlling
Nathanael Mason: a doubt.
Charles Tesch: is not the right word, I think
Nathanael Mason: Yeah maybe not
Charles Tesch: the
Nathanael Mason: co
Charles Tesch: interactions
Nathanael Mason: confining.
Charles Tesch: are very structured. I
Nathanael Mason: Yeah.
Charles Tesch: think structure is probably
Nathanael Mason: Yeah,
Charles Tesch: what you're saying that,
Nathanael Mason: yeah.
Charles Tesch: each individual is structured to one particular
Nathanael Mason: Mm-hmm,
Charles Tesch: task,
Nathanael Mason: mm-hmm.
Charles Tesch: and
Brian Shephard: Okay.
Charles Tesch: one parti rather than controlling. I don't think there's
Nathanael Mason: Mm-hmm.
Charles Tesch: a sense of control 'cause
Nathanael Mason: Mm-hmm.
Charles Tesch: all the decisions have been made in terms of a, like a consensus
Nathanael Mason: Mm-hmm,
Charles Tesch: right,
Nathanael Mason: mm-hmm.
Charles Tesch: we go around and we think about it, but
Brian Shephard: Uh-huh.
Charles Tesch: that
Nathanael Mason: Mm-hmm,
Charles Tesch: you know process actually
Nathanael Mason: mm-hmm.
Charles Tesch: says you have to do it in a certain way.
Nathanael Mason: Mm-hmm.
Brian Shephard: Okay.
Charles Tesch: It doesn't tell you, you know, some ways that you might wanna be a bit more
Nathanael Mason: Mm.
Charles Tesch: creative in terms
Nathanael Mason: Mm-hmm,
Charles Tesch: of the
Nathanael Mason: mm-hmm.
Charles Tesch: process you
Nathanael Mason: Yeah.
Charles Tesch: know, not the
Brian Shephard: Okay, uh what about teamwork?
Nathanael Mason: Um did, you
William Liles: Uh,
Nathanael Mason: wanna comment
William Liles: reckon
Nathanael Mason: Craig?
William Liles: that was a bit hard because we could only discuss things in the meeting.
Nathanael Mason: Yeah.
Brian Shephard: Yeah.
William Liles: If we could just go up to somebody outside the meeting and have a quick talk with them, that would've been a lot easier.
Nathanael Mason: Yeah.
Brian Shephard: Okay.
Nathanael Mason: Fully
Charles Tesch: I think you
Nathanael Mason: agree.
Charles Tesch: tried to use the common share folder to to to to communicate, but um it just comes back to us so slow in the email
Brian Shephard: Mm.
Nathanael Mason: Yeah.
Charles Tesch: um it it doesn't have a, you know, a messenger will go.
Brian Shephard: Did
Nathanael Mason: Yeah.
Brian Shephard: uh did you guys get the email I sent you?
William Liles: Not just yet.
Charles Tesch: Yeah.
Brian Shephard: Oh that's
Nathanael Mason: Yeah,
Brian Shephard: alright. I was
Nathanael Mason: got
Brian Shephard: wondering
Nathanael Mason: the email.
Brian Shephard: if that got
Charles Tesch: Okay.
Brian Shephard: there okay. Okay, um so um to s to to summarize the teamwork issue, saying that if we could communicate outside the meeting, you know just like quick questions, quick thoughts, whatever,
Nathanael Mason: Yeah.
Brian Shephard: it probably would be
Nathanael Mason: Yeah,
Brian Shephard: bit
Charles Tesch: I think
Brian Shephard: easier.
Charles Tesch: the
Nathanael Mason: in
Charles Tesch: tools
Nathanael Mason: it
Charles Tesch: that they were given, the tool set that were given to us are fancy but they don't support collaboration,
Nathanael Mason: Mm-hmm,
Charles Tesch: I think that's the
Nathanael Mason: mm-hmm,
Charles Tesch: word. They don't
Nathanael Mason: mm-hmm,
Charles Tesch: support the
Brian Shephard: Oh
Charles Tesch: team
Nathanael Mason: exactly.
Brian Shephard: right,
Charles Tesch: working
Brian Shephard: okay.
Charles Tesch: together,
Nathanael Mason: Yeah,
Charles Tesch: you
Nathanael Mason: I mean
Charles Tesch: know,
Nathanael Mason: if you
Charles Tesch: they're still very individual tools.
Nathanael Mason: Yeah, I mean sort of taking upon that idea, w the way I see this i is that it's uh the the s the structure in which we've we've approached this whole task is quite contrary to the p principle of teamwork because the the tasks were d d sort of um divided, and then the work went on in isolation
Brian Shephard: Mm.
Nathanael Mason: I I don't know what you guys did while you were together, maybe that was a bit different, but
Charles Tesch: We had
Nathanael Mason: um
Charles Tesch: Play-Doh fun.
Nathanael Mason: yeah, but um but actually if you if you imagine not entire the completely same task given to us but us said okay, first thing we have to do is come up with um let's say um a design concept, and we sit here together and do it,
Brian Shephard: Yeah.
Nathanael Mason: well that's what teamwork is. To s to say okay go off and don't talk to each other,
Brian Shephard: Yeah.
Nathanael Mason: it's actually p sort of predisposes you to quite the contrary of teamwork.
Brian Shephard: Okay.
Nathanael Mason: Um not that we haven't done I think the best we could have done.
Brian Shephard: Okay.
Nathanael Mason: I'm not dissatisfied with it.
Brian Shephard: Right, uh anything else to say on teamwork at all?
Charles Tesch: No, not really.
Brian Shephard: Okay, um what about the you know how we used the whiteboard, the digital pens, the projector, stuff like that? Um did
Nathanael Mason: Mm-hmm.
Brian Shephard: anybody think anything was like really useful, anything was pretty un f unsupportive?
Nathanael Mason: I think the whiteboard, for Nathanael Mason, is the kind of thing I would use all the time, but it's um not quite as useful as to us as it could have been, maybe just in the way that we we use it, in the sense that once we have an idea out there or while work was going on in between meetings, that could have been up on a board
Brian Shephard: Mm.
Nathanael Mason: uh you know as opposed to in like in text. Um, and then we could then keep our ideas sort of building on that. I know that people who design cars and you know in aviation they quite often just have a simple like fibreglass prototype and it's completely you know um abs abstract from
Brian Shephard: Mm-hmm.
Nathanael Mason: the final product, but they use it as a kind of a context to sort
Brian Shephard: Yeah.
Nathanael Mason: of walk around and puzzle and
Brian Shephard: And point
Nathanael Mason: and
Brian Shephard: at?
Nathanael Mason: point and discuss
Brian Shephard: Yeah.
Nathanael Mason: and and and in a way everybody's as we discuss things in the in theoretically and out of our notebooks, we're just we're actually just each of us discussing something that's in each of our own minds. It wasn't until we had
Brian Shephard: Yeah.
Nathanael Mason: this here, you know, like at one point I peeked across and looked at Craig's paper and I'm like, now I know what he's thinking 'cause I
Brian Shephard: Ah.
Nathanael Mason: saw his book. But the b the b whiteboard could've actually been this kind of continuing um
Brian Shephard: So do you think producing a prototype earlier in the process woulda been a good idea?
Nathanael Mason: Think could be, yeah.
Charles Tesch: I think um the the focus of it a lot was the PowerPoint as opposed
Brian Shephard: Yeah.
Charles Tesch: to the to the
Nathanael Mason: Yeah,
Charles Tesch: whiteboard, and
Nathanael Mason: yeah.
Charles Tesch: I think that m um
Nathanael Mason: Yeah.
Charles Tesch: is also does
Nathanael Mason: Yeah, yeah.
Charles Tesch: you know hinder us and things I think.
Nathanael Mason: Mm-hmm.
Charles Tesch: It will be cooler to have the whiteboard rather
Nathanael Mason: Mm-hmm.
Charles Tesch: than the the PowerPoint, or
Nathanael Mason: Yeah.
Charles Tesch: maybe the whiteboard and the PowerPoint in the same place,
Nathanael Mason: Yeah,
Brian Shephard: Okay.
Nathanael Mason: yeah.
Charles Tesch: you know in the centre of
Nathanael Mason: Yeah,
Charles Tesch: the
Nathanael Mason: because the PowerPoint was provided to us while we had time to prepare, whereas I can imagine if I'd been encouraged to use Paintbrush, for example,
Brian Shephard: Alright.
Nathanael Mason: or whatever, I would've actually used it, um 'ca you know, just 'cause that's sorta how we what we were set up to to use while we had our time.
Brian Shephard: Okay
Charles Tesch: I
Brian Shephard: uh
Charles Tesch: think that there were too many PowerPoints in the meetings.
Nathanael Mason: Mm-hmm.
William Liles: Yeah.
Charles Tesch: 'Cause the plug-in
Brian Shephard: Yeah.
Charles Tesch: and the plugging spent we spent
Nathanael Mason: Yeah.
Charles Tesch: a lot of time doing that. And a
Brian Shephard: Yeah.
Charles Tesch: lot of the information on the PowerPoints, I don't think, you know, we needed to
Nathanael Mason: No,
Charles Tesch: actually it could have,
Nathanael Mason: not
Charles Tesch: we
Nathanael Mason: quite.
Charles Tesch: could have gone through it verbally, especially
Nathanael Mason: Yeah.
Charles Tesch: my slides, I felt that
Nathanael Mason: Yeah.
Charles Tesch: they just
Brian Shephard: Okay.
Charles Tesch: you know as opposed to having
Nathanael Mason: Yeah.
Charles Tesch: to present them.
Brian Shephard: What about the digital pens, did you find them easy enough to use?
William Liles: Oh they're a
Nathanael Mason: Sure,
William Liles: bit clunky.
Nathanael Mason: yeah.
Charles Tesch: Yep clunky. Agreed.
Brian Shephard: Yeah.
Nathanael Mason: Yeah. Yep.
Brian Shephard: Clunky, okay.
Nathanael Mason: Mm.
Brian Shephard: Um
Charles Tesch: Having to tick it before you go off was a bit hindering as well,
Nathanael Mason: Mm.
Charles Tesch: 'cause you're
Brian Shephard: Yeah.
Charles Tesch: half way through a thought, and then you run out of paper and then you have to jump.
Brian Shephard: I know, I think
Nathanael Mason: Yeah.
Brian Shephard: at the very start of today I like wrote a whole load of stuff, didn't click note on one, then went back and wrote one tiny wee thing on the another page, but then did click note,
Nathanael Mason: Hmm.
Brian Shephard: and so I'm quite worried that I've just written over the top
Nathanael Mason: Hmm.
Brian Shephard: of it
Nathanael Mason: Mm-hmm,
Brian Shephard: or something,
Nathanael Mason: mm-hmm.
Brian Shephard: but they'll have my paper anyway um
Nathanael Mason: Hmm.
Brian Shephard: and haven't done that
Charles Tesch: But I
Brian Shephard: since.
Charles Tesch: think the pen is v is very intuitive, everybody knows how to use it, we don't
Nathanael Mason: Mm-hmm,
Charles Tesch: have
Brian Shephard: Yeah,
Charles Tesch: to worry.
Nathanael Mason: mm-hmm,
Charles Tesch: So
Brian Shephard: yeah.
Charles Tesch: I think the pen's good.
Nathanael Mason: mm-hmm.
Charles Tesch: It's about the best thing.
Nathanael Mason: And o on the topic of the technology, it just occurred to Nathanael Mason that we actually didn't need to move our computers because each computer has all of the files.
Brian Shephard: Yeah.
Nathanael Mason: It just occurred to Nathanael Mason that they
Charles Tesch: Yeah
Nathanael Mason: all
Charles Tesch: we only needed one computer
Nathanael Mason: We only actually
Charles Tesch: and
Nathanael Mason: needed one computer.
Brian Shephard: Yeah,
Nathanael Mason: If there
Brian Shephard: that's
Nathanael Mason: had been
Brian Shephard: true.
Nathanael Mason: a fifth, that coulda
William Liles: Good
Nathanael Mason: just
William Liles: point.
Nathanael Mason: been sitting there ready to go the whole
Charles Tesch: And
Nathanael Mason: time.
Charles Tesch: the computer may not um be conducive to a meeting because
Nathanael Mason: Yeah.
Charles Tesch: um you tend to look at your computer and wanna have
Nathanael Mason: Yeah.
Charles Tesch: the urge to check something,
Nathanael Mason: Yeah.
Brian Shephard: Yeah.
Charles Tesch: you know, it's useful but
Brian Shephard: Do you think the computers just provide distraction in a meeting?
Charles Tesch: I think too many computers are just
William Liles: Yeah.
Charles Tesch: distracting.
Brian Shephard: Okay.
Charles Tesch: Um
Brian Shephard: I know I I like to have things written down in front of Nathanael Mason actually,
Nathanael Mason: Mm-hmm.
Brian Shephard: like a lot of the stuff that was emailed
Nathanael Mason: Yep.
Brian Shephard: to Nathanael Mason I ended up you know like
Nathanael Mason: Mm-hmm.
Brian Shephard: writing down there
Charles Tesch: Yep.
Brian Shephard: or something so I could look at it
Nathanael Mason: Mm-hmm.
Brian Shephard: really quickly and not have the distraction of all of that, um I don't know about anybody
Nathanael Mason: Mm-hmm.
Brian Shephard: else. Um what else uh any wh I do I'm not really sure what they're looking for when they say new ideas found. Um
William Liles: Is this
Brian Shephard: I don't
William Liles: for
Brian Shephard: know
William Liles: the project
Brian Shephard: is could you think of like
William Liles: or
Brian Shephard: anything else that would have been helpful today at all?
Nathanael Mason: Well, the w main one for Nathanael Mason is that uh the process na in a natural f context would not have been interrupted by this necessity to discommunicate ourselves
Brian Shephard: Mm.
Nathanael Mason: from each other. So,
Brian Shephard: Yeah if we just
Nathanael Mason: that's
Brian Shephard: had
Nathanael Mason: kind
Brian Shephard: uh
Nathanael Mason: of a new idea for Nathanael Mason is like just sort of that idea, well you know it's kind of s hard to keep f working forward on a team a team based project
Brian Shephard: Mm-hmm.
Nathanael Mason: when when you're told you must now work away from your team.
Brian Shephard: Yeah I I dunno I think it was quite good that we had time limits on the meetings because they really could have run on and like my experience
Nathanael Mason: Oh
Brian Shephard: with meetings
Nathanael Mason: yeah.
Brian Shephard: is that they really do, and
Nathanael Mason: Yeah,
Brian Shephard: you can spend a lot
Nathanael Mason: yeah.
Brian Shephard: of time talking about The only thing is though like when we had our meeting about the conceptual design, I thought there maybe another fifteen minutes would have been useful there but
Nathanael Mason: Mm-hmm,
Brian Shephard: um
Nathanael Mason: mm-hmm, mm-hmm.
Brian Shephard: yeah. I really thi i I think maybe if we'd like all been working in the one room, and they just said you know like every hour or something everybody make sure yo you know
Nathanael Mason: Mm-hmm.
Brian Shephard: just have a have a short meeting and then just
Nathanael Mason: Mm-hmm.
Brian Shephard: c just to have like something written down,
Nathanael Mason: Mm-hmm.
Brian Shephard: just like you know a a milestone if you like um rather than having meetings, but There you
Nathanael Mason: Hmm.
Brian Shephard: go. Um so in closing, I haven't got my five minutes to go. Thin Oh there it i Five minutes to go. Wonderful. Okay um are the costs within the budget, yes they are. And is the project evaluated, yes it is. So now celebrate.
Nathanael Mason: Great. So
Charles Tesch: And we
Nathanael Mason: it
Charles Tesch: have Ninja Homer.
Nathanael Mason: So now
William Liles: Oh
Nathanael Mason: we
William Liles: yeah.
Brian Shephard: Well apparently now I write the final report.
William Liles: Do we know what
Brian Shephard: What
William Liles: the
Brian Shephard: are you
William Liles: other
Brian Shephard: guys
William Liles: ones are?
Brian Shephard: doing now?
Nathanael Mason: I I don't know.
Brian Shephard: You dunno?
William Liles: Oh wow.
Nathanael Mason: Hmm.
Brian Shephard: That is lovely.
William Liles: Hey yeah, I said Ninja Homer.
Nathanael Mason: What did you call it?
Charles Tesch: Ninja Homer. See it looks like Homer Simpson
Nathanael Mason: Huh, huh.
Charles Tesch: but it's
Brian Shephard: So
Charles Tesch: electronic
Brian Shephard: is that j
Charles Tesch: so it's made
Brian Shephard: is that
Charles Tesch: in
Nathanael Mason: Logo.
Charles Tesch: Japan.
Brian Shephard: just is that just a logo or does it do anything?
Charles Tesch: Yeah it's just a logo.
Brian Shephard: Just a logo and
Nathanael Mason: Huh.
Brian Shephard: then like Ninja
Charles Tesch: Ninja
Brian Shephard: Homer,
Charles Tesch: Homer.
Brian Shephard: right okay.
Nathanael Mason: Mm.
Charles Tesch: The the red is supposed to represent the whatever else you wanna print on the side of it.
Nathanael Mason: Mm-hmm.
Brian Shephard: I think it's
Nathanael Mason: Fashion
Brian Shephard: quite nice.
Nathanael Mason: technology or something.
Charles Tesch: You can wear Homer, you can throw Homer when you're frustrated, doh.
Nathanael Mason: Hmm, hmm, hmm.
Brian Shephard: Oh no, that's cool, it's got I'm kind
Nathanael Mason: Hmm.
Brian Shephard: of
Charles Tesch: It's
Brian Shephard: I'm
Charles Tesch: clunky.
Brian Shephard: slightly gutted that we couldn't get plastic and rubber, I think that would have been nice.
Nathanael Mason: Yeah, yeah.
Brian Shephard: Ah well, maybe from now on real reaction
Nathanael Mason: Mm-hmm.
Brian Shephard: should give us more money.
Charles Tesch: Oh,
Nathanael Mason: Hmm.
Charles Tesch: I did learn something new, Play-Doh is useful.
Brian Shephard: Play-Doh
Charles Tesch: No
Brian Shephard: s
Charles Tesch: it is it is. It is useful and in
Nathanael Mason: Huh.
Charles Tesch: in in in in in in um
Nathanael Mason: Huh.
Charles Tesch: conceptualizing, in being creative.
Brian Shephard: Really?
Charles Tesch: 'Cause like you say, it's something you can put your hands on and feel and touch
Nathanael Mason: Yeah.
Brian Shephard: Yeah.
Charles Tesch: and get a sense for. Like we were playing with the Play-Doh and the ideas came with the Play-Doh
Brian Shephard: Did they?
Charles Tesch: rather than with everything else. You might wanna write that
Nathanael Mason: Yeah.
Charles Tesch: down. It's just,
Brian Shephard: Okay.
Charles Tesch: I'm just fiddling with the Play-Doh, and I'm going yeah
Brian Shephard: Play-Doh.
Charles Tesch: yeah it's kinda
Nathanael Mason: No,
Charles Tesch: cool.
Nathanael Mason: it's true, yeah.
William Liles: Guess I'd forgot how good s Play-Doh smells.
Nathanael Mason: Hmm.
Brian Shephard: Yeah, it smells funny doesn't it.
Nathanael Mason: And
Brian Shephard: Um
Nathanael Mason: some Play-Dohs are actually I think edible aren't they?
Charles Tesch: No,
Brian Shephard: Yeah
Charles Tesch: all
Brian Shephard: like
Charles Tesch: Play-Doh
Brian Shephard: the stuff
Charles Tesch: is
Brian Shephard: for
William Liles: I
Charles Tesch: edible.
William Liles: think they're all non-toxic
Brian Shephard: I think
William Liles: 'cause
Brian Shephard: it has
William Liles: it's aimed
Brian Shephard: to
William Liles: for like
Brian Shephard: be, yeah.
William Liles: two-year-olds.
Charles Tesch: It's just wheat, it's the stuff that your mom could make with preservatives and uh
Nathanael Mason: Wow,
Brian Shephard: Yeah
Nathanael Mason: hmm.
Brian Shephard: um so to wha what are your summarising words about Play-Doh?
Charles Tesch: It's helpful to the creative
Nathanael Mason: Huh.
Charles Tesch: process. Um
Brian Shephard: Okay.
Charles Tesch: it engages all your senses not just your sight, but your sense
Nathanael Mason: Yep.
Charles Tesch: of feel your sense of touch. And
Nathanael Mason: Taste.
Charles Tesch: it helps you to understand dimension as well. I think that
Brian Shephard: Yeah.
Charles Tesch: that's very helpful because
Nathanael Mason: Yeah.
Charles Tesch: it it starts to pop up, whereas on a piece of paper, on a computer, on
Brian Shephard: Yeah.
Nathanael Mason: Mm-hmm,
Charles Tesch: a board,
Nathanael Mason: yep.
Charles Tesch: um
Nathanael Mason: Yeah.
Charles Tesch: even with a three D_ graphic thing it still, it requires
William Liles: Yeah
Charles Tesch: a
William Liles: it's not
Charles Tesch: lot
William Liles: very
Charles Tesch: of
Nathanael Mason: Yeah.
William Liles: tangible.
Charles Tesch: yeah
Brian Shephard: Mm-hmm.
Charles Tesch: tangible,
Nathanael Mason: Mm-hmm,
Charles Tesch: that's a nice
Nathanael Mason: mm-hmm,
Charles Tesch: word.
Nathanael Mason: mm-hmm.
Charles Tesch: It becomes tangible.
Nathanael Mason: Mm-hmm.
Brian Shephard: Tangible. Okay uh Mm. I don't know if there's anything else
Charles Tesch: Nope.
Brian Shephard: we needed to discuss. That that's about it really. Just sit still I guess for a little while.
Nathanael Mason: Do we retreat to our, to continue our
Charles Tesch: I think we
Brian Shephard: Um
Charles Tesch: could probably do
Nathanael Mason: r
Charles Tesch: it here
Nathanael Mason: reporting
Charles Tesch: as long as we
Nathanael Mason: or
Charles Tesch: don't
Nathanael Mason: what i
Brian Shephard: Well
Charles Tesch: collaborate.
Brian Shephard: I dunno. Um I'm sure the little uh the little thing'll pop up any minute now.
Charles Tesch: Can we turn off the microphones?
Brian Shephard: Yeah, yeah if the meeting's over then yeah I guess so. | Brian Shephard recapped the decisions made in the previous meeting and two team members presented their prototype and discussed the features the prototype contained. The team then looked at the production costs of the remote and had to decide which features to retain or lose in order to maintain the target cost. In maintaining the target cost, the team had to lose a number of features which they originally wanted, such as a kinetic battery, an LCD display, and various color options. The team then evaluated the prototype on the basis of its appearance, technological innovation, and spongy quality. The prototype did fairly well in the evaluation. The team then conducted an evaluation of the project process. The team felt that their creativity was hindered by the project budget and their inability to discuss the project outside of their meetings and that the structure of the task did not foster teamwork. | 5 | amisum | train |
Richard King: Okay, well I think we're ready to begin Right. my name's Adam Duguid, we're here because of real reaction, um, we have in the group
Norman Bellows: Oh, Ebenezer Ademesoye. Would you Norman Bellows to that S
Richard King: Um, yeah, go for it mate.
Norman Bellows: Um, N_E_Z_
Richard King: N_ E_ Z_.
Norman Bellows: E_R_.
Richard King: Ebenezer. And your role is?
Norman Bellows: I'm Norman Bellows.
Richard King: You're Norman Bellows, okay. Next we have?
Robert Williams: Tarik Rahman. T_A_R_I_K_.
Richard King: T_ R_ I_ K_. And your role in this is?
Robert Williams: Industrial Designer.
Richard King: Industrial Designer. And, lastly we have?
Vernon Anderson: Uh, Dave Cochrane.
Richard King: And you're going to be the User Interface,
Vernon Anderson: User
Richard King: is
Vernon Anderson: Interface
Richard King: it?
Vernon Anderson: Defin
Richard King: Designer. Okay.
Vernon Anderson: yes.
Richard King: Right. This is the agenda for today's meeting. As you can see, w opening, acquaintance, tool training, project plan discussion, and closing. Um, we already got n through opening, and partially through acquaintance. So, the reason we're here, we're gonna design a new remote control, as you probably all know. The very broad overview is original, trendy, and user-friendly. Course, we'll have to go into a bit more um detail than that, but uh personally I think that the original is gonna be a very key aspect to this design. Um, there's a lot of remote controls out there anyway, so we're gonna need something that's really gonna set it apart. This is how today seems to be going to work. We're gonna have the three kay phases, as you've probably already been told, the functional, architectural, and the detailed design. Um First one's gonna be covering the user requirement spec, technical functions, working design. Second seems to be conceptual components, properties, materials, and the last one is a detailed analysis of our design so far. Of course, you've all got the similar emails, I believe, right. What can I say? Ebenezer, you wanna have a you wanna draw your favourite animal?
Norman Bellows: Sure. Whiteboard. 'Kay. S okay. I will make this quick, since we don't have much time. Um.
Norman Bellows: 'Kay, so it's not the best picture in the world. Here we have an elephant. First point, begins with an E_, same like Ebenezer. Also, elephants have a very good memory, much like myself, and I can't remember but I think I used to have a pet elephant. So elephants are big, strong and gentle, and they have great memories, and they begin with the letter E_, just like Ebenezer.
Richard King: Brilliantly done.
Norman Bellows: Thank
Richard King: Thank
Norman Bellows: you.
Richard King: you. Tarik, would you like to have a shot at a bit of artistry?
Norman Bellows: Oh.
Richard King: Oh, um,
Norman Bellows: Oh
Richard King: you
Robert Williams: Do
Richard King: can
Robert Williams: we take
Richard King: clip
Robert Williams: them
Richard King: them
Robert Williams: off?
Richard King: to your belt.
Norman Bellows: oh I think you
Robert Williams: Oh right,
Norman Bellows: ga
Robert Williams: okay.
Richard King: You should also l um
Norman Bellows: The
Richard King: have your the
Norman Bellows: little
Richard King: lapel mic on as well.
Robert Williams: Ah-ha.
Norman Bellows: The the Oh that's good, we can clip them on. Okay. Yeah, there
Robert Williams: Now where do I put the
Norman Bellows: Just um somewhere
Richard King: Yep, the, it's just across there, that's it. Yep.
Robert Williams: Is this supposed to be clipped as well?
Norman Bellows: I think so.
Richard King: Yeah. It'll follow you if you
Norman Bellows: Yeah. There you go.
Richard King: You can probably just stick it in your pocket for now, I wouldn't worry too much. Should have good range.
Robert Williams: Uh, destroying your elephant here.
Robert Williams: Uh, here we have a tiger. Uh I've always loved tigers. They're just they're big, they're biggest cats, uh I did a project on cats in the wild when I was a kid, just 'cause it was looks the best, the stripes, orange. My dad used to talk about he's from Bangladesh so he used to tell Norman Bellows all about them when he was when I was a kid. And uh they're just the most feared of of uh animals in the wild. So uh that's why I like them. Didn't say an anything about Norman Bellows really but
Richard King: Excellent, thank you very much. Dave, if you'd like to uh have a dash.
Vernon Anderson: Um
Vernon Anderson: Um, the monkey, um. The one f uh in fact this is a somewhat oblique reference in fact to uh well my I have a three uh three y year old daughter who h who who who is affectionately known as Miss Monkey. Um, monkeys have attitude. Which I think is a good thing. evolution they and other primates are terribly interesting. Um, so I like monkeys. And and th th th th thi thi this one seems to have perhaps more attitude than most.
Richard King: Cheers.
Richard King: Hardly what I'd call the best drawing in the world but it'll do for now. Also not quite as feared as your average tiger, but uh cats are one of my favourite animals, they're very independent, they're snotty as hell at the best of times, and uh, what can you say, you got to love those qualities in an animal. Right. I think we've all managed to master the whiteboard there by looks of it, so, on to it. Project finance. As you can see, twelve point five Euros per unit. That's not a terrible lot as far as I'm aware, and we're hoping to sell them for twenty five. If we're aiming for fifty million Euros we're gonna have to be selling an awful lot of them.
Norman Bellows: Oh, that was profiting, that was an amount, so that's the amount made,
Richard King: Yep.
Norman Bellows: okay.
Richard King: Well, fifty million, and if you're making twelve point five Euros on each one, then,
Norman Bellows: Yeah.
Richard King: awful lot need to be sold. Okay. Now we better actually just get on with the uh the meat of the project. So I'm gonna guess that we've all used remote controls. Any ideas of where you think a new remote control could go into this market?
Vernon Anderson: Well, one thing I'm aware of is, th there uh um at the sort of v very high price end of the market there's there's a em emerging market for sort of touch screen L_C_D_ remotes that can be uh programmed in m much more sophisticated ways than sort of conventional models, so you get the sort of you get um you you can redesign the interface to your own needs, you can programme in macros, and you get a much greater degree um um I mean you get in these sort of three in one, five in one, whatevers, but you can get integration between the different uh the the the diff the different things that it's designed to control, to a much greater extent, and you can have one uh you know one macro to turn the uh you know turn the T_V_ to the right channel, get the uh re uh rewind the tape in the V_C_R_ and get it to play once it's rewound, for instance.
Richard King: Okay.
Vernon Anderson: Um b it occurs to Norman Bellows there might be a niche for uh for a remote that aimed towards some of that sort of functionality but using a just conventional push button design. And therefore putting it into a um well much lower price bracket.
Richard King: Okay, yeah, tha that's true, with the price range we're looking at, going for a touch screen would probably be possibly
Vernon Anderson: Absolutely
Richard King: out of
Vernon Anderson: prohibitive,
Richard King: our yeah.
Vernon Anderson: yeah.
Norman Bellows: Oh.
Richard King: But you think uh again something to control multiple units in uh a simple fashion.
Vernon Anderson: Yeah, I mean I wouldn't like to say you g I mean you get ones that you can switch between multiple units, but something that could um operate between multiple units in a more integrated fashion. Some and ideally something into which it would have some at least limited facility for um running macros.
Richard King: Would the the idea something along the lines of, one on button would turn on say the video recorder, the T_V_, maybe the sound system as well, all in one go, is that
Vernon Anderson: For
Richard King: kind
Vernon Anderson: instance,
Richard King: of
Vernon Anderson: um let's say oh oh um, or um you know you pr uh you press uh say the play button for the D_V_D_ player and it turns the T_V_ on and onto the right channel as well, um
Richard King: Okay, that
Norman Bellows: 'Kay
Richard King: sounds like a a good strong idea. Um Any takes on this?
Norman Bellows: Well um I've noticed that uh gaming c is becoming quite popular with television, um when I was younger we used to e play games using our cable, using the cable subscribed the cable providers,
Vernon Anderson: Mm-hmm.
Norman Bellows: but our remote controls would get worn out really easily, and the remote control was not a great kind of keyboar, um keypad, for playing games. So
Richard King: Okay.
Norman Bellows: perhaps one that was more um specialised for game playing or interactive television. They they've recently brought out this new remote control, for people to set their favourite channels, or um to record things. Instead of people entering in what time things start, you simply stri slide a bar to say what time it begins, and slide
Richard King: Okay.
Norman Bellows: another bar to say what time it ends, you know that's
Richard King: Yeah I've heard I've seen the
Robert Williams: Mm.
Richard King: bar-code design before, yeah.
Vernon Anderson: Mm-hmm.
Norman Bellows: Yeah, it's it's taken out the Y you don't have to be uh really clever to use a remote control. I think for gaming, you know you want you want some big buttons for up, down, left and right, shoot. Uh, you wanna be able to change angles in interactive television, so you need buttons to change the television angle, the camera angles and stuff like that.
Richard King: Okay,
Robert Williams: 'Kay.
Richard King: well we're beginning to run out of time now, so,
Norman Bellows: Yeah.
Richard King: we've got a couple of ideas, we can we'll have to work fast, um, alright as you can see we've got thirty minutes until the next meeting, so we'll have to try and decide on some of the basic functionality, um, how the user interface might work, that'll be a key aspect especially if the idea of um some kind of macros facility because you have to program it, you have to have a lot of response back, or at least some kind.
Vernon Anderson: Mm-hmm.
Richard King: Um And we're gonna maybe n try and have to figure out
Norman Bellows: What the user wants
Richard King: what
Norman Bellows: uh.
Richard King: the user wants, yes.
Norman Bellows: Okay.
Richard King: Um, right. Has anybody got anything they'd like to add at this stage, anything they think that might have been missed so far?
Robert Williams: Well when you're talking about gaming and stuff, do you think they should have some sort of stick on it, rather than
Norman Bellows: Oh.
Robert Williams: buttons?
Norman Bellows: Okay,
Robert Williams: Like uh control pads, you know of games, but
Norman Bellows: Mm-hmm.
Robert Williams: or is that a bit ridiculous?
Richard King: I I don't see why not, almost everybody is probably used to a console by now, and all of them incorporate small keypads on them, even the mobile phones these days are beginning to use them as well, so
Robert Williams: Yeah.
Richard King: it's probably an interface that most people are used to. Um and that could allow n easy navigation, used as a joystick as well.
Vernon Anderson: Mm-hmm. The other key feature that uh that would be a good idea built into it is t is is to make something you know fairly sort of ergonomic, something that just fits fits as comfortably as possible into the hand. But of course, uh al al also allows for the possibility of a more sort of slightly unconventional or attractive uh sha
Richard King: Okay.
Vernon Anderson: shape for it overall,
Richard King: So, small,
Vernon Anderson: A
Richard King: stylish,
Vernon Anderson: curve, mm-hmm.
Richard King: and something that's
Vernon Anderson: Something
Richard King: just
Vernon Anderson: sort
Richard King: a little
Vernon Anderson: of
Richard King: different.
Vernon Anderson: sort of sl slightly sort of biomorphic in form, uh which it would need to be to sort of conform to the shape of the hand more efficiently anyway.
Richard King: Okay. That's definitely something that we should be able to do quite easily. I would I would have hoped so anyway. Um, right. I'd say we finish this one up, we get started, I'll get in, I'll write up what we've um kind of quickly done, and I'll get that out to everybody.
Norman Bellows: 'Kay.
Richard King: Yeah?
Norman Bellows: So.
Richard King: Okay. Um, as far as I'm aware we leave the microphones here, um unless we get told otherwise, and just take the laptops with us. | The team members introduced themselves to each other by name and by their roles in the project. Richard King introduced the upcoming project to the team and then the team members participated in an exercise in which they drew their favorite animal and discussed why they liked the animal. Richard King discussed the project finances and selling prices. The team then discussed various features to consider in producing the remote such as gaming options, an LCD screen, and combining functionality so as to control multiple devices. | 5 | amisum | train |
Matthew Deboer: Just put it on the deskt desktop.
Roger Dunnam: No on the desktop you'll find you should that there's a project documents link. A well actually just there.
Matthew Deboer: Project documents, yeah.
Roger Dunnam: Yeah. That's it. If you dump it in there.
Matthew Deboer: What's your username?
Roger Dunnam: Your username.
Matthew Deboer: What's your username and password? Mm-hmm. Sorry. Okay.
Roger Dunnam: Okay.
Matthew Deboer: There we go.
Roger Dunnam: Excellent. Right. Hopefully that's us ready to uh to go. So. Functional design meeting. We'll have to flesh out some of the uh stuff. Um we'll start with the minutes of the last meeting. Not a lot thankfully to say. We introduced ourselves, the of a macro facility, interacting the T_V_ a bit more, um mentioning of bar-code, joystick for user manipulation, um and ergonomics of the remote control as well. Um it's come to my attention the following. Teletext has become outdated due to the populat popularity of the internet. Remote control should only be used for the T_V_. Um due for uh time to market and possibly also cost issues. Um also key is the corporate image should stay recognisable, um f uh your colour and slogan of course is down at the bottom there. Um. Now. Just to say quickly uh I would have thought that only being used for a television the macro facility may now not be required.
Andrew Holland: Mm.
Roger Dunnam: Um or at l its functionality would have been of limited use. So to the point in my opinion anyway that it might not be worth pursuing. Um if anybody disagrees we can uh definitely say so. Um and hopefully we'll just crack on and we'll get everything going. Um I'd like to if possible hear from our Marketing Expert first,
Matthew Deboer: 'Kay.
Roger Dunnam: to help us gain an idea of where we're going to go. So um I'll just load up your presentation from here if you want.
Matthew Deboer: Sure. Um, sh would you like to I'll just do it from here.
Roger Dunnam: Yep. Sorry. Uh. Is yours the
Matthew Deboer: Um, try second one maybe. Try it, yeah maybe.
Roger Dunnam: Oh sorry.
Matthew Deboer: Yeah. Okay.
Roger Dunnam: Okay, right.
Matthew Deboer: Oh, I thought I put in my last name, I guess not, but.
Roger Dunnam: Uh if you that's all right.
Matthew Deboer: Okay.
Roger Dunnam: If you do you want Matthew Deboer to just cycle through it for you or?
Matthew Deboer: Oh yeah, that'd be, that'd
Roger Dunnam: Yeah?
Matthew Deboer: great. Okay. Functional requirement by Matthew Deboer Ebenezer.
Roger Dunnam: Okay.
Matthew Deboer: Okay, so um we did some research, we asked one hundred people their opinions on remote controls. We asked some uh open ended questions, just, what are your opinions on the remote control, got a lot of re responses, and we asked some very specific questions, and we got a lot of good feedback. Please bear in mind this is only a hundred people, so even when the groups are divided into fifteen to twenty five, twenty five to thirty five, there's only maybe ten people fifteen people in each group. Okay.
Roger Dunnam: Okay.
Matthew Deboer: So we got some the bad stuff we got, remotes are often lost. I often lose my remote control, the back of the couch, some place, and even if it's not lost permanently, it takes Matthew Deboer a few minutes to find it. Most buttons are not used any more, like you said, teletext is outdated now. I remember trying to load a D_V_D_ player recently, and there were so many buttons, it took Matthew Deboer I don't know maybe ten minutes to to go through each button, 'cause you have to press the shift button to access the yellow buttons, you know there's just a lot of stuff that no one really uses. And if they do, not very often. Takes too long to master the remote control. I've seen some remote controls that are big, they have a lot of buttons, you have to hold down more than one key at one time to do something, they're just not great to use. We just got a lot of bad complaints about remote controls, people do not like remote controls. Some of the good stuff we got. Between the age of uh fifteen and twenty five, most people would be willing to pay extra for voice recognition software. Now don't get excited yet, I've got more to say on that. Most people'd be willing to pay for that um most people want remote controls to be pretty, they want it to be fancy, th they they want it to be different, everybody has a white remote control with black buttons, and a red button and a green button, not everybody wants that. Finally, my opinion.
Roger Dunnam: Yep.
Matthew Deboer: The voice recognition thing is cool. And uh voice recognition, the software, open source software exist already. It's a bit sketchy at some times, uh, you're not gonna get good always accurate results, but for a very fixed number of words, you know you have, how many different words can you have for a remote control, up, down, left, right, channel five, channel seven, you know, how many, you can't have that many words. For a fixed vocabulary it works quite well. I'm pretty sure people would buy it. But after a while people may wanna return it, because if you have to to say som I mean most people use a remote control for switching to channels, and they say they do that about ninety eight percent of the time. Using the remote control, ninety eight percent of the time for changing channels, and that's for flickering through channels. So if you have to say up, up, up, up, if you have to do that all the time, then people might get a bit fed up with that and they may return it. However, oh, because the voice recognition software exists already, there's no need to spend money on research and development, but this does mean the need for microphones in the in the remote control, which is an unusual feature in my opinion. But if we do have the voice recognition thing, there's a lot of stuff that you can uh get rid of. See, you could there're two options. Either you have voice recognition by itself, which I think is a bit impractical for like night time if you wanna be watching television and you wanna be quiet, or I don't know you have a visitor coming round and the remote's only trained for you, it's a bit impractical to have just voice recognition by itself. So you can have voice recognition and a regular remote. But imagine you got rid of the regular remote part, then you can design the remote to look any way you want it to look, because there are no restrictions on physical size, or shape, it it could be as fancy as you want it to be, you know, it could be like a lollipop or something like that, something weird like that. As long as the voice recognition stuff works, that's that's fine.
Roger Dunnam: Okay, yep.
Matthew Deboer: So we have the three birds, that we have the the fancy bit, right, the voice recognition's fancy, it's cool, it's different, it's radical, so, and then we have an extra bit I don't remember so I'm pretty sure people will buy the remote, but is it practical to have a voice recognition system in a remote control, I think is a big question. Um, will people will people be willing to wait for the the period that it'll take to train the remote, 'cause I think it will the remote will uh get better over time with the same user user, but for the first week or for the first two weeks are you willing to wait, are you willing to have a bad remote control. And uh what if you have visitors come round, they stay the night, they wanna use the T_V_, they can't use the remote because they speak differently to you. Um, how do you account for regional accents and stuff like that. Uh, will people return the remote control, I think a lot of young people will buy the remote control, if they have the money, you know, so,
Roger Dunnam: Mm-hmm.
Matthew Deboer: do our audience have the money, but would they return it after a while because it's not as fast as pressing a button, it's not a practical. So.
Roger Dunnam: If
Matthew Deboer: These
Roger Dunnam: you could
Matthew Deboer: are things
Roger Dunnam: uh
Matthew Deboer: I think we should consider. I
Roger Dunnam: sor
Matthew Deboer: think it's cool,
Roger Dunnam: if you could speed it up a bit, yeah.
Matthew Deboer: I'm sorry?
Roger Dunnam: If you could uh speed it up a bit please,
Matthew Deboer: Sure.
Roger Dunnam: yeah.
Matthew Deboer: I'm about
Roger Dunnam: Sorry.
Matthew Deboer: to end, yeah.
Roger Dunnam: Cool.
Matthew Deboer: I think it's cool but there are definitely some considerations.
Roger Dunnam: Okay.
Matthew Deboer: So, yeah.
Roger Dunnam: Excellent. Right. Um. Hear from Andrew Holland now I think might be an idea.
Andrew Holland: Okay.
Roger Dunnam: Um,
Lee Berry: How did where
Roger Dunnam: you've
Lee Berry: did
Roger Dunnam: got your presentation now,
Andrew Holland: Yeah,
Roger Dunnam: is it
Andrew Holland: it's
Roger Dunnam: on
Andrew Holland: in
Roger Dunnam: the
Andrew Holland: the it's the folder
Lee Berry: did you
Andrew Holland: yeah.
Lee Berry: get
Roger Dunnam: is
Lee Berry: all your
Roger Dunnam: it?
Lee Berry: in
Roger Dunnam: Okay.
Lee Berry: information?
Matthew Deboer: There was uh a website,
Lee Berry: Oh.
Matthew Deboer: uh, right here.
Lee Berry: Ah, okay.
Roger Dunnam: Technical functions?
Andrew Holland: Mm.
Roger Dunnam: No. Yeah.
Matthew Deboer: G I started making stuff up, then I got an email saying
Roger Dunnam: Okay.
Andrew Holland: Okay, this is a brief run through of the um of the technical functions of the remote. As um is uh the the the presentation is uh already slightly obsolete because I had in mind something that would uh be i be aimed at controlling multiple devices but uh there's still stuff of relevance, so
Roger Dunnam: Okay.
Andrew Holland: press on. I've looked at looked at a num uh couple other uh remote control models just an basic design principles. Um and wasn't really satisfied by what I saw I have to say so this is more sort of springboard for uh how these could be improved on. Um um basically the job of the device is to send commands to an appliance, in this case the television set. Um to save you getting off your backside. Um and there's two main trends in th in the sort of design practice. On the one hand and this uh this particularly relates to its sort of earliest models where with you know i so so many buttons on it so about the size of the television set. Um giving you every possible function that the that the device has, the remote control controls. And most of these functions are not going to be used, it creates a rather user unfriendly interface. And on the other hand there's a user focused approach that pares things down to just what what is most likely to get used. Um With uh a and a and of course there is a certain amount of sort of loss of function here obviously, but mostly that's relatively peripheral functions. And so you go for something that's fairly intuitive to use, and um well f the for the most part for T_V_ remote it's uh tha that would be channel control and volume. Um and if you if you if you are wanting to incorporate uh control of a D_V_ D_V_D_ or uh V_C_R_ presumably into that then there's a play, pause, stop, rewind, fast-forward, record, so forth. Um. My own view is that we should definitely be going for a user focused design. Um but uh the pro I think the problem with a lot of the sort of user focused designs that are about is that they sort of make assumptions in advance about what uh what a given user's going to uh want mo want to do from want it to do most. So, something that's uh something that is more programmable, that uh perh perhaps has the full range of functions available to it but you can then specify yourself what you're most likely to want. Um so that those are then immediately accessible through fairly minimal number of controls, um I liked Ebenezer's idea of including a joystick in that and uh possibly a sort of fairly minimal number of sort of function buttons, and have a disp you then have some sort of basic display on it so that if you're um sort of cha changing from different modes for the device it'll tell you just exactly what uh you know each direction of the uh of the um joystick's going to do or wha or what each function button's going to do. Um, this is actually a again slightly taking inspiration off of uh games controllers,
Matthew Deboer: Mm.
Andrew Holland: you know the Playstation control where you have four basic function buttons that are just marked with um distinctive uh geometrical shapes but the and then dependent on what you're doing with it what game and so on um those uh those functions are then sort of further specified. And so it's taking taking the lead from that. Um.
Roger Dunnam: Okay. Yeah. Right.
Andrew Holland: That's it.
Roger Dunnam: Um, if we could hear from our Industrial engineer, or
Lee Berry: Yeah.
Roger Dunnam: Designer.
Lee Berry: Uh, I was still working on stuff, I hadn't got it finished. Um, alright. Click to save in where do I have to save it?
Roger Dunnam: If you look on the desktop you'll find that there's a link to the project folder, or project documents. If you save it in there we can open it up from here.
Lee Berry: Um, what I've done with it, I'm sorry.
Lee Berry: Shit. Um
Roger Dunnam: Are you finding it okay or?
Lee Berry: I'm just closing it now. where I've saved it.
Matthew Deboer: Well like if you go to one, uh whichever one you were
Lee Berry: that's
Matthew Deboer: working
Lee Berry: it there, yeah.
Matthew Deboer: yeah, and you just click file save as.
Lee Berry: Oh right.
Roger Dunnam: Okay.
Lee Berry: right I'm responsible for working design, uh, this is basically the inside going on of the the uh remote control. So we have the energy source, we have the user interface, this this is what I've seen. Uh the sender will push the button, the chip will respond, uh and then the dig digital signal is sent to the T_V_. So uh uh, if you go to next slide, you'll see you'll see uh what do we need on the user interface. Do we need uh many buttons, or do we need l many light bulbs that could be easier to uh to realise which appliances are on or not. Um, or would that take too much power, would we need more um components in there to supply the power? Um, the joystick is another thing, if we were gonna add that, um, there'd be more components to deal with that.
Roger Dunnam: Mm-hmm.
Lee Berry: Um, so uh we need to I dunno exactly what That's the design of the the the layout of the uh electronic design, but um obviously there'll be more details once we've decided what we're putting on the user interface.
Roger Dunnam: Okay.
Lee Berry: So, that'll be decided, I guess. Uh, and the next slide. Oh, yeah Um, if you go to the next slide then.
Roger Dunnam: Oh. Yeah.
Lee Berry: I just used the it was a mess, uh I was just putting adding it together at the end there.
Roger Dunnam: Ah, don't
Lee Berry: Uh
Roger Dunnam: worry about it at all mate.
Lee Berry: Uh so you have the energy source obviously connected to the chip, and the user interface obviously contains everything. You have the switch turn it on, infrared bulb, uh will contact the T_V_ and will have whatever device or D_V_D_ player, the bulb will turn on to say it's on. Uh, so do we need on the control uh different buttons to decide, or different light bulbs, would it be easier? Um, I dunno what we should decide on that.
Roger Dunnam: Okay. Well. Oh sorry, I'm I'm interrupting you. Are
Lee Berry: No,
Roger Dunnam: you
Lee Berry: it's finished,
Roger Dunnam: is it
Lee Berry: yeah.
Roger Dunnam: yeah? Okay. Right. Um, right we can probably skip that for now. So, we've had some stuff put forward, um along with the new user requirements, um we've had a lot of kind of input I'd say so far. Um I hear what Matthew Deboer's saying about um voice activated control. However I've got a couple of worries about that. The power required, um and the ability
Lee Berry: Cost.
Roger Dunnam: to
Lee Berry: Mm.
Roger Dunnam: the cost, it seems like for uh an embedded system, this could cause us issues. Um for example you see that there's fairly robust services on uh computers via uh via voice, I_B_M_ do um drag and dictate,
Matthew Deboer: Mm-hmm.
Roger Dunnam: but these require a lot of memory and usually um state quite advanced processor requirements. Um voice activation could be an interesting idea but I think that our Ind Industrial Designer would probably upon some research say that it's maybe not feasible.
Matthew Deboer: 'Kay.
Roger Dunnam: Um that's just my view
Andrew Holland: Mm.
Roger Dunnam: right now, however the idea of a joystick and then maybe an L_C_D_ which has been kind of put forward so far, it's almost like having a small T_ not T_V_ to say, but if you can control almost all of the functionality from the display, I don't know how much power an L_C_D_ would take,
Matthew Deboer: Mm.
Roger Dunnam: but it might be quite low?
Lee Berry: L_C_D_
Matthew Deboer: I uh
Lee Berry: on the remote just telling you what's on, or uh,
Roger Dunnam: Well literally
Lee Berry: interactive
Roger Dunnam: um
Lee Berry: L_C_D_ or
Roger Dunnam: if you can imagine the display maybe slightly larger than um those on a a mobile phone, something
Andrew Holland: Mm.
Roger Dunnam: where you can read an an um fair amount of information, traverse maybe quite a few menus, if we maybe used mobile phones as a good example, they usually incorporate they have the keypad, and then evr all the other functionality is usually associated inside by traversing around.
Matthew Deboer: Mm-hmm.
Roger Dunnam: That could be one possibility. Um and then we could have like say the common buttons as you say,
Andrew Holland: Mm.
Roger Dunnam: volume control, changing channels
Andrew Holland: I I was thinking that the remote the um sort of default functions for the joystick would be up and down for uh volume, left and right for channels.
Roger Dunnam: We
Lee Berry: Do you think that people will get mixed up, like, they'll be looking at this screen and that screen and then, you know, trying to get everything working, would it be a bit confusing?
Andrew Holland: Um I think probably for the first couple of hours of using it
Lee Berry: Yeah.
Andrew Holland: um but you know muscle memory's a wonderful thing, um.
Matthew Deboer: Mm.
Andrew Holland: And I think and I think that size of uh display was about what I had in mind. Um though I mean I w I would say that uh we could probably probably be required to um mo most of the mobile phone displays you see these days are colour but we should probably try to stick to black and white.
Roger Dunnam: I
Andrew Holland: Si
Roger Dunnam: would agree with
Andrew Holland: si
Roger Dunnam: you.
Andrew Holland: simply to keep m keep the unit cost down. Um I mean colour could be a sort of subsequent development but uh you know cost a bit of extra money f w w w w w once everyone's got the first, you know, oh colour's out, we'll have to replace
Roger Dunnam: Mm-hmm.
Andrew Holland: it won't we. It does nothing extra.
Roger Dunnam: That would be my feeling as well, I think we could possibly create quite a useful user interface. Um
Matthew Deboer: Sure
Roger Dunnam: now I mean
Matthew Deboer: but
Roger Dunnam: I don't sorry, go for it.
Matthew Deboer: the idea of a remote with a menu or and a joystick I think like I h if I was in the habit of buying remote controls then I would want one, but I think we don't have a specific audience, you know, like what is our target audience, what niche are niche are we trying to market and corner. You know, you know what I'm saying, like, for whom is this intended? Everybody?
Roger Dunnam: I think it could probably be aimed at most people who've used a mobile. And that might be just another way of saying try to target most people.
Matthew Deboer: Most people, yeah.
Andrew Holland: Mm.
Roger Dunnam: might be s you know um we're kind of almost relying on their experience with a mobile phone I suppose.
Matthew Deboer: Mm-hmm.
Roger Dunnam: But that does cover a very large section of the people out there.
Matthew Deboer: Sure. I think that's fair
Roger Dunnam: Um,
Andrew Holland: Mm.
Matthew Deboer: yeah.
Roger Dunnam: I mean I imagine as well that the actual L_C_D_ and maybe to a certain extent the joystick as well would be for the additional functionality. Which maybe doesn't get used as often, maybe it makes it easy for them to figure out how to um change the channels as in the frequencies and such for reprogramming it.
Matthew Deboer: Mm-hmm.
Roger Dunnam: Um and you can still have the main buttons that allow the people to turn the machine on and off, d up and down, it depends, I mean maybe we have the fol um the joystick as a separate one for the other functions then, that there's just a a small number of as you were saying uh buttons that have already been defined.
Matthew Deboer: Mm-hmm.
Roger Dunnam: So like we go for the nice standard um up and down for and volume control. So that literally anybody can come along, pick up the remote and still know what do do. And
Matthew Deboer: Mm-hmm.
Roger Dunnam: they can completely ignore most of the functionality which would be for say the o actual owner of the the T_V_ and who would normally use the unit.
Matthew Deboer: Mm-hmm.
Andrew Holland: Mm.
Roger Dunnam: I dunno.
Andrew Holland: I th the thing I like about the uh the uh joystick is that uh you you you then basically you can then basically put it I mean for for T_ T_ for T_V_ remote alone, you could put um I mean there are like I say the the the main things people do with a T_V_ remote control is the volume and the channel. You can pack all that onto was onto a single control.
Roger Dunnam: Mm-hmm.
Andrew Holland: Um. But uh but the but then o uh obviously if uh you know I mean with things like ch with things like tuning and channels um you know adjusting brightn uh brightness and fiddly things that no one really bothers with, most T_V_s these days actually have menus anyway so
Roger Dunnam: Mm-hmm.
Andrew Holland: this would be a fairly rational way of integra integrating the uh the remote with the device it's controlling. Um concern about our market. Um, if we are I mean most of the uh of the replacement remote market is sort of remote control rationalisation. Um, you've got twenty different devices
Matthew Deboer: Yeah.
Andrew Holland: in your living room,
Matthew Deboer: Mm-hmm.
Andrew Holland: you want one wo y you want one that'll do the job of all of them.
Roger Dunnam: Mm-hmm.
Andrew Holland: Um, if all you're replacing is one of the you know however many remotes you have in your living room, um you know you still need separate remotes for everything else. I just think that uh
Roger Dunnam: Well this
Andrew Holland: possibly
Roger Dunnam: is a requirement that we have
Andrew Holland: mm.
Roger Dunnam: to stick to I'm afraid, this isn't one that I've just arbitrarily decided on.
Andrew Holland: Mm.
Roger Dunnam: So um this is this is one of the solid ones that has to be obeyed, for now.
Andrew Holland: Mm.
Roger Dunnam: So I can understand your point, and I would agree with you, but this is our design spec for now. 'Fraid to say. Um
Andrew Holland: Does that um would that include um access to say interactive functions on digital or cable?
Matthew Deboer: Yeah.
Roger Dunnam: I would say so, yes, because then we have to be able to control the remote boxes, and that is a separate unit. Um I think that it I would say that the design spec we've been with is for the television only for now.
Andrew Holland: Mm-hmm.
Roger Dunnam: And until we
Matthew Deboer: Hmm.
Roger Dunnam: hear otherwise we should go with just that.
Matthew Deboer: Okay, specifically
Andrew Holland: Okay.
Matthew Deboer: television.
Roger Dunnam: Okay. Maybe we'll hear differently, but
Matthew Deboer: So
Roger Dunnam: for
Matthew Deboer: the
Roger Dunnam: now
Matthew Deboer: joystick is just for differentness.
Andrew Holland: Mm.
Roger Dunnam: It would be ease of manipulation of certain functions,
Matthew Deboer: Okay.
Roger Dunnam: yes.
Andrew Holland: Just
Roger Dunnam: Um
Andrew Holland: a thought. Um maybe then our market should be T_V_ manufacturers, rather than the public. Try and sell it t sell it to them to supply with um
Roger Dunnam: There is that possibility, yes. B However I don't know exactly where we'll be going with that, but
Matthew Deboer: Mm.
Roger Dunnam: it might not even be the avenue of Matthew Deboer, that might be sales,
Matthew Deboer: Mm-hmm.
Roger Dunnam: who are not in this meeting.
Matthew Deboer: It's just, the way I figure it, twelve point five Euros per unit,
Roger Dunnam: Mm-hmm.
Matthew Deboer: we have to sell at least like three million or something like that, not to account for all the the money we waste on remotes that no one buys, you know, like if we made a perf if we made a ks
Roger Dunnam: Mm-hmm.
Matthew Deboer: for every remote we made someone bought it, then we have to sell a lot of remote controls. We just Is this gonna be enough to to sell?
Roger Dunnam: Well, something else that you brought up was uh the ability to lose a remote, which as you said you've done, in fact we've probably all done.
Matthew Deboer: Yeah.
Roger Dunnam: Um, I don't know if it's a gimmick or not, but have any of you ever seen those odd little key rings where if you whistle, it will beep and you tell you where it is.
Matthew Deboer: I had
Andrew Holland: Mm,
Matthew Deboer: one of those,
Andrew Holland: yeah,
Matthew Deboer: and my
Andrew Holland: I've
Matthew Deboer: brother,
Andrew Holland: seen them.
Matthew Deboer: and my
Roger Dunnam: Um.
Matthew Deboer: dad, could have beat Matthew Deboer up because it it went off all the time accidentally.
Roger Dunnam: Well the other option of course is that um
Matthew Deboer: The clapping one.
Roger Dunnam: the well I was going to say clapping, um Um digital telephones, uh for example, one unit has of course you have to have that base unit, somewhere where there's a button, but maybe it's a button that you attach to the T_V_.
Matthew Deboer: To a television.
Andrew Holland: Mm.
Roger Dunnam: Something which you when you press that, it would beep to give its location away, on the remote unit.
Matthew Deboer: Yeah.
Roger Dunnam: And
Andrew Holland: Yeah, I think that's
Roger Dunnam: that
Andrew Holland: a good
Roger Dunnam: could
Andrew Holland: idea.
Roger Dunnam: be something could um
Matthew Deboer: Yeah,
Roger Dunnam: separate
Matthew Deboer: that's a good idea.
Roger Dunnam: us a bit. And that way, because we're attaching what would be a small button to the T_V_, again say what, it would be a small transmitter, um watch battery type scenario I would say, or something that if it was problems enough you could actually even just um I don't power that might be something that we could look into.
Lee Berry: Yeah
Roger Dunnam: Yep. Yeah, it's uh putting a lot on your shoulders there, so I mean that could be something that separates us a bit from the market
Matthew Deboer: I
Roger Dunnam: as
Matthew Deboer: think
Roger Dunnam: well.
Matthew Deboer: so, yeah.
Roger Dunnam: So. To go on from here. Um we have to decide exactly what we're going to do with the remote. Before we leave this meeting, it would be best to say this is what we're going this is the design we're gonna try and get, this is how we're gonna make ourselves look unique. Do we go for
Andrew Holland: Mm.
Roger Dunnam: maybe a remote contro uh sorry, we're gonna go for a remote control obviously, do we go for a small joystick that would operate say changing channels, up and down, and then, what, another button that would say that it's now being used to manoeuvre round the L_C_D_.
Andrew Holland: Mm yeah.
Lee Berry: We're
Andrew Holland: Yeah,
Lee Berry: just saying volume.
Andrew Holland: I think that's
Lee Berry: Should volume be important in the joystick, do you think?
Roger Dunnam: We could use
Andrew Holland: Yeah.
Roger Dunnam: say the left and right for changing channels and the up and down
Andrew Holland: For
Roger Dunnam: for
Andrew Holland: volume.
Roger Dunnam: volume,
Lee Berry: Yep.
Matthew Deboer: But
Roger Dunnam: and
Matthew Deboer: we have a frequency of how what people use a remote control for most.
Roger Dunnam: Okay.
Matthew Deboer: Um, power
Lee Berry: I
Matthew Deboer: is used like once per hour, channel selection is used a hundred and sixty eight
Roger Dunnam: Mm-hmm.
Matthew Deboer: per hour, that's by far the biggest one, and then teletext, is still here, that's like fourteen,
Roger Dunnam: Vol
Matthew Deboer: and volume selection.
Roger Dunnam: Volume selection okay, yep, the teletext we're gambling with, and we're gonna say
Matthew Deboer: No,
Roger Dunnam: it's
Matthew Deboer: yeah,
Roger Dunnam: dead,
Matthew Deboer: okay okay.
Roger Dunnam: the way of the dodo
Matthew Deboer: Yeah, um
Roger Dunnam: So we well, sorry, we could maybe even go as far as saying power button, small joystick, L_C_D_, and then what maybe is it one more button to say that you're using the menu system, and with the possibility of pushing down on the joystick to say okay? So we're having very very few buttons involved,
Andrew Holland: Actually
Roger Dunnam: but
Andrew Holland: how
Roger Dunnam: navigation around a menu for most things.
Andrew Holland: Actually I would say maybe two two function buttons, the y we're now using the menus button and um and an og and an okay button. I
Roger Dunnam: Okay.
Andrew Holland: mean certainly something I've found with the joystick on mo the joysticks on mobile phones is that a lot of the time th the device mistakes you trying to move it in one direction or the other for pushing down for okay.
Roger Dunnam: Okay.
Andrew Holland: Or vice versa. And that's really irritating.
Matthew Deboer: Mm-hmm.
Roger Dunnam: Um
Andrew Holland: The o the o the other dis design constraint I think we should bear in mind is that people are you know very much used to using a remote control one handedly, um, so we need to make sure that e even with the joystick, you know something that can just sit comfortably in the palm of the hand and have the joystick just controlled by the thumb.
Roger Dunnam: Okay. So um we're actually that sounds like a rough idea. Do we incorporate the idea of trying to f locate the remote control again via a beeping noise?
Lee Berry: Yeah, think so.
Roger Dunnam: Do
Matthew Deboer: Um, I think
Roger Dunnam: you
Matthew Deboer: because
Roger Dunnam: mind looking?
Matthew Deboer: it's so small it might be an uh I mean if we only have like two three buttons it might be essential to have to have
Roger Dunnam: The ability
Matthew Deboer: that
Roger Dunnam: to locate it again.
Matthew Deboer: Yeah.
Roger Dunnam: So that would require a um transmitter maybe attached to the T_V_, just so that it says find Matthew Deboer, and what, a basically a small microphone um on the actual unit, can maybe hide it in
Lee Berry: Light
Roger Dunnam: the base.
Lee Berry: bulb as
Andrew Holland: Oh.
Lee Berry: well, no?
Roger Dunnam: Sorry?
Andrew Holland: So so a small speaker you mean.
Matthew Deboer: Speaker
Roger Dunnam: Some speaker, sorry, yeah.
Matthew Deboer: yeah.
Lee Berry: And a light bulb? No. To flash. No.
Roger Dunnam: Um
Lee Berry: Nah, you'd see it anyway, if you hear
Roger Dunnam: E
Lee Berry: it.
Roger Dunnam: us we might be better with the sound possibly
Matthew Deboer: W
Lee Berry: Yeah.
Roger Dunnam: we could maybe
Matthew Deboer: those
Roger Dunnam: incorporate
Matthew Deboer: little key-rings have both, so
Roger Dunnam: th e the true fact, considering the cost of an L_E_D_,
Matthew Deboer: Yeah.
Roger Dunnam: we could just incorporate it anyway.
Matthew Deboer: Yeah.
Roger Dunnam: The L_E_D_s can be surprisingly bright now.
Matthew Deboer: Yeah.
Lee Berry: Mm-hmm.
Andrew Holland: Mm-hmm.
Roger Dunnam: Um.
Andrew Holland: Blue ones particularly. Plus that's a nice wee design touch.
Matthew Deboer: Yeah.
Roger Dunnam: So by the sounds of it, with what we're suggesting so far, your design um the user interface is still quite open, you could go for quite an interesting design. Because
Andrew Holland: Mm-hmm.
Roger Dunnam: we're only going to have a very few key and you've got you know a small L_C_D_, joystick, e I think it leaves you open to a a potential wide range of shapes, something that can make it stand out slightly.
Andrew Holland: Mm-hmm.
Roger Dunnam: Um if you could look into what we've suggested so far, the feasibility of um small transmitter, um and such, maybe if an L_C_D_ screen requires too much power, or such. Ebenezer, um, Marketing Expert
Matthew Deboer: Well I can give you the frequency, what people what options people use most often, I guess that's gonna be important in the ts defining the the software side of the interface, right. You
Roger Dunnam: If,
Matthew Deboer: want the stuff.
Roger Dunnam: yeah if you could maybe as well see what people think about the idea of this minimalist approach that we've taken, where of a joystick to control the very basic functions,
Matthew Deboer: Okay.
Roger Dunnam: and then the idea of manipulating it like you would a mobile.
Matthew Deboer: Okay.
Roger Dunnam: I don't know how easy that will be within the time frame, but could
Matthew Deboer: Mm-hmm.
Roger Dunnam: be something we could maybe look into.
Matthew Deboer: Sure. Sure.
Roger Dunnam: Okay. Um any last comments that anybody would like to put forward? Anything that they think has been missed out. Bit of a wide open question there of course.
Matthew Deboer: Mm.
Roger Dunnam: Feel free to email Matthew Deboer if you think that uh we've screwed something up and wanna get it rectified as soon as possible.
Matthew Deboer: Sure. 'Kay.
Roger Dunnam: Right.
Matthew Deboer: Yeah.
Lee Berry: So I should just look at um the speaker, the speaker and an L_E_D_. And
Roger Dunnam: Speaker and L_E_D_ for locating, um,
Lee Berry: Yeah,
Matthew Deboer: Transmitter.
Lee Berry: and a transmitter.
Roger Dunnam: transmitter
Andrew Holland: Actually one one wee thought about that. Um, if we do end up trying to market this to television manufacturers then the um then the transmitter could actually be built into the television.
Roger Dunnam: getting the external power source, yep, that's quite true. Um, and something that we can can easily be adopted at the last minute as well I'd say.
Andrew Holland: Yeah.
Roger Dunnam: The electronics could be s either placed externally or internally, makes no difference
Andrew Holland: Mm-hmm.
Roger Dunnam: to the final product of the actual remote control, so that's good. Uses maybe gives us a new potential market.
Andrew Holland: Mm-hmm.
Roger Dunnam: 'Kay.
Andrew Holland: You know
Lee Berry: P
Andrew Holland: I think I mean if it w if we get a major television manufacturer to say y oh yeah we'll have that, save us the bother, then that's you know vast amounts of sales. Quite quickly.
Roger Dunnam: Oh, one thing that we've almost not talked about at all, my apologies for that, um, user interface, we also need to maybe get the slogan in here, um it's,
Lee Berry: Fashion.
Roger Dunnam: I'm pointing at my laptop, what in God Real reaction, and such. So um
Lee Berry: The slogan is yeah,
Roger Dunnam: Oh, sorry.
Lee Berry: the slogan's we put the fashion in electronics, isn't it?
Roger Dunnam: My apologies. No it could well be, I've probably missed that. Um,
Lee Berry: 'S also
Roger Dunnam: I
Lee Berry: look
Roger Dunnam: think
Lee Berry: cool.
Roger Dunnam: that's l almost the last minute thing we can just incorporate into the actual plastic on top. So
Andrew Holland: Mm.
Roger Dunnam: I'm not too concerned a that we haven't gone into depth about that. But it might be something you could consider when you're thinking about shapes? In fact we might
Andrew Holland: Mm-hmm.
Roger Dunnam: like to put a slogan on, and um
Andrew Holland: Mm-hmm.
Roger Dunnam: possibly the two R_s to signify the company. Rather than real reaction.
Andrew Holland: Mm. Yeah. I thought the uh the d the double arc could perhaps uh be the uh the enter button.
Roger Dunnam: Sounds good. And I'd say that that's us for now. Okay. | Roger Dunnam recapped the events of the previous meeting and briefed the team on some new requirements the team must follow when designing the remote. Matthew Deboer presented research on consumer preferences and user requirements for remotes. Matthew Deboer also presented information regarding voice recognition and what demographic finds the feature appealing. Andrew Holland described the technical functions of a remote and stressed the need for a user focused design. Lee Berry discussed the interior workings of a remote. The team then discussed the option to include voice recognition, LCD, and a feature to locate a misplaced remote. The team briefly discussed who they were aiming their product to along with the idea of marketing their product to television manufacturers. The team also decided on some features to include in their product. | 5 | amisum | train |
Leroy Reid: Alright, yeah. crack on Okay. so we'll start off with a quick overview of the minutes. I think to sum up the last meeting, would be to say um the requirements that we've um set out. Those are we were going to go for what seemed to be a fairly minimal design based on uh a small joystick, L_C_D_ and a couple of other buttons for navigation um with power being I suppose one of the main single purpose buttons. Um we were also going to use novelty of being able to locate the remote control again via a small transmitter with any luck, the idea to try and separate us and also because of the minimal design um looks like we'll be able to be fairly adventurous in the actual physical shape of our remote control with any luck. Um that pretty much sums up the last one. So we'll just crack on, um like to maybe start with Andrew Bayless if it's possible.
Andrew Bayless: Uh
Leroy Reid: Um
Andrew Bayless: uh okay.
Leroy Reid: uh
Andrew Bayless: I'll just
Leroy Reid: the con today is the concep today. This uh meeting is the conceptual design phase and is um Sorry about this. And is to cover things like um what the parts might be made of, um, can we uh outsource these from elsewhere, um will we have to construct any items ourselves?
Andrew Bayless: Uh I have a presentation I just saved it in the uh
Leroy Reid: Yeah, okay
Andrew Bayless: the
Leroy Reid: well I'll just uh
Andrew Bayless: folder.
Leroy Reid: I'll load it up then. Um. Which one
Andrew Bayless: Uh.
Leroy Reid: do y Oh, interface concept?
Charles Solis: Yeah, that's John Davies.
Leroy Reid: That's you. We've got trend watching, that's
Andrew Bayless: It's
Leroy Reid: you.
Andrew Bayless: uh Components design.
Leroy Reid: Components design.
Leroy Reid: Okay.
Andrew Bayless: Alright. So Uh. The case uh le that's what I wrote first of all, could be plastic our plastic. Uh but later on we found out that um it can be rubber as well, or titanium or even wood. So uh we decide what it's gonna be. Probably plastic. Uh we need infra-red transmitter. Get that off the shelf. Uh joystick we'll probably if we're gonna use it, um could be plastic w or rubber even as well. Um if you go on to the next slide. Uh If you go on to f uh findings, it's like two or three slides down. Right.
Leroy Reid: Okay.
Andrew Bayless: So, this is what I found we can use. Uh three different types of batteries. Um can either use a hand dynamo, or the kinetic type ones, you know that they use in watches, or
Leroy Reid: Okay.
Andrew Bayless: else uh a solar powered one. Um.
Leroy Reid: Now, the kinetic one,
John Davies: Cost
Leroy Reid: we've
John Davies: is
Leroy Reid: 'cause that's the ones where like you the movement causes
John Davies: Yeah.
Andrew Bayless: Yeah.
Leroy Reid: it. Um the bat uh the battery for a a watch wouldn't require a lot of power, would be my one query. Is
Charles Solis: Mm.
Leroy Reid: a kinetic one going to be able to supply enough power?
Charles Solis: There's
Leroy Reid: Do
Charles Solis: also
Leroy Reid: you
Andrew Bayless: Uh.
Leroy Reid: think?
Charles Solis: a watch moves around a great deal more.
Leroy Reid: W
Andrew Bayless: Yeah,
John Davies: Yeah.
Andrew Bayless: I don't think it would. Um. And solar cells, I dunno about that.
John Davies: yeah.
Andrew Bayless: Uh. We should probably just use conventional batteries. Um, just like in usual remote controls.
Leroy Reid: Which I suppose
Andrew Bayless: Um.
Leroy Reid: as well would allow us to go off the shelf again, you'd say?
Andrew Bayless: Yeah. Um. And these are three different types of or two different types three different types of shapes you can have. Uh one is a flat one, and then more original ones are single curved one or one with a double curved. Um the materials are tha there as you can see, but uh you can't have a titanium one for a double curved, uh which would
John Davies: Titanium,
Andrew Bayless: be
John Davies: the really strong metal, titanium?
Andrew Bayless: Yeah,
John Davies: Is it not
Andrew Bayless: and
John Davies: also
Andrew Bayless: light.
John Davies: it's expensive?
Andrew Bayless: Uh, i think so as well, yeah. They make
Leroy Reid: Um.
Andrew Bayless: mountain bikes out of that, don't they.
Leroy Reid: Um.
Andrew Bayless: So it's really light as well.
Leroy Reid: Curious. Um, I don't know if you'd be able to off the top of your head or not, the single curved and double curved, would you be able to give an example?
Andrew Bayless: Um.
Leroy Reid: Um could you maybe
Andrew Bayless: T
Leroy Reid: draw
Andrew Bayless: yeah.
Leroy Reid: something? I you don't doesn't have to be perfect, it's just 'cause I'm not quite sure if I understand the difference between the two.
Andrew Bayless: Uh. Well for a curved, well I was thinking to f for to sit in your the palm of your hand. Uh maybe like this, with the uh joy pad here. Joystick here. And maybe um an okay button around here, so that the thumb can uh use it quite easily. Um I don't exactly Double curved. It probably means this is probably double curved. Uh whereas a single curved would be like that. I guess. Or not necessarily.
Leroy Reid: So it might literally just be
John Davies: Two curves.
Leroy Reid: okay.
Andrew Bayless: Yeah like that. Whereas this is two curves. Um so I guess that's what they mean
Leroy Reid: Alright.
Andrew Bayless: by uh double curve. Um which obviously it looks better than the single curve, but uh you can't have it in titanium, which is uh a nice material.
Leroy Reid: Mm.
Andrew Bayless: Uh and for the buttons, um it can have the scroll wheel which they use in mouses for com P_C_s. Uh but um it requires a more expensive chip to use, and if you wanna use L_C_D_ it's even more expensive. So you have to decide, there's trade-offs there. Um if you want the buttons to be oh yeah, if you have a double curve uh control and it's rubber, then you have these rubber buttons as well. But you're gonna ha I reckon you're gonna have to have uh key a number keypad anyway for the amount of channels these days. You wouldn't want to just have to scroll through all the channels to get to the one you want. You wanna enter just the number of it, if you know it. So um I reckon we're gonna have to have a number keypad anyway. Do you think?
Leroy Reid: Okay, that was definitely something we can talk about. Um so you've got a little bit about the the chip that we might require as well?
Andrew Bayless: Yeah. So, depends where gonna spend the money if you want the f fancy L_C_D_ display.
Leroy Reid: Um, do you have any idea so far, like when we're saying that we'd need an advanced chip for an L_C_D_, does that in shoot the cost up by a drastic amount? Or?
John Davies: Need an advanced chip for the L_C_D_. Is that did I
Leroy Reid: Well I think compared
Andrew Bayless: Yep.
Leroy Reid: to say just pressing buttons.
John Davies: Advanced, like
Leroy Reid: if you press
John Davies: three eight
Leroy Reid: a
John Davies: six
Leroy Reid: button
John Davies: advance.
Leroy Reid: that sends a certain transmission through the infra-red, whereas I think if we're controlling the L_C_D_ we definitely require a much more powerful chip.
John Davies: Okay.
Leroy Reid: Just compared to the chip you would use for pushing buttons I think is the
John Davies: Okay,
Leroy Reid: the
John Davies: sure.
Leroy Reid: point being made.
Charles Solis: Mm.
Leroy Reid: If I've not over-stepped. Yeah?
Andrew Bayless: Yeah i
Leroy Reid: Okay, um should I go on, or go back?
Andrew Bayless: Um
John Davies: Mm, if we only have twelve Pounds fifty, twelve Euros, not even twelve Pounds. Twelve Euros, what's that, like eight pounds or something like that, nine Pounds?
Leroy Reid: Well we'd also be relying on the um the bulk buying in producement and such.
John Davies: Okay, that's
Leroy Reid: I
John Davies: good
Leroy Reid: assume.
John Davies: point.
Leroy Reid: We have to look into the costs of those. So, sorry.
Andrew Bayless: Uh the previous slides just explain what's in the internal components of the uh remote control. If you go to the one before that uh so it just says what it does, translate the key press into an infra-red signal and this is received by the T_V_. Uh the chip just needs to detect the signal or detect the key press and then uh it'll send it to the tr the amplifier.
Leroy Reid: Okay.
Andrew Bayless: And uh then the next slide just shows how the uh copper wires uh interact with the buttons, the rubber buttons, uh to uh get sent to the chip. So that's just how the control works inside. Um we have to decide on what buttons we're gonna use.
Leroy Reid: Okay. Um. So in the information that you've been supplied, how feasible would you say that the idea of using an L_C_D_ looks?
Andrew Bayless: Um I think we can do it if uh we use conventional batteries and not have solar cells or kinetic. Um and then maybe use single curved uh case. Because we might need it to be curved for the uh thumb to use the joyst joystick easily. Um and then you'll need the advanced chip obviously for the L_C_D_.
Leroy Reid: Um I mean that sounds like quite a good requirement to John Davies. Um conventional battery would seem to make sense. Um
Charles Solis: Mm-hmm.
Leroy Reid: I'm not sure if there's any cost differences between single and double curved and I'm I don't know about anybody else, but plastic or rubber as a traditional form of casing would seem to be
Charles Solis: Mm.
Leroy Reid: a good way forward?
Charles Solis: Um I'm actually gonna be bold and go oo go straight for rubber um for reasons I'll go into
Leroy Reid: Okay.
Charles Solis: uh
John Davies: I also
Charles Solis: in more
John Davies: have
Charles Solis: detail.
John Davies: a preference for rubber.
Leroy Reid: Okay, well um
John Davies: Based on my research.
Leroy Reid: Yeah, well will we move on to user interface, and yeah? Um
Charles Solis: Mm.
Leroy Reid: sorry, as long as were you?
Andrew Bayless: Yep I'm finished.
Leroy Reid: Yeah. Okay. Um and d d d interface concept.
Charles Solis: Yep. Now I'm gonna have to work between the uh the slides and the uh
Leroy Reid: Yeah.
Charles Solis: and the white board 'cause I actually I have some fairly concrete things this time. Uh um I was given a H_T_M_L_ file giving um various ideas from uh from other previous remote control designs, and pretty much decided to just dump them all. I wasn't very impressed by them and they didn't seem to re uh nothing I saw seemed to meet the sorts of design specifications that we're going for today. Um so what I ra rather than looking at other remotes, uh ra oomp be better to simply look at the human hand. Um and try and f um and try and figure out a way of laying out the elements we've already decided on, um so that if r a if so that the finger is e each finger or thumb is wherever it needs to be already. Um so uh next slide, if you please. Um and what we've basically decided on was the the um the joy uh the joystick, two function buttons and the L_C_D_, just keep it paired down to the absolute minimum. I don't actually think we need the um the numeric keypad because if you m because one of the menus that we could have available um v via via the L_C_D_ is one where you scroll through channels, so if there's something f and be bear in mind since this isn't meant to work for um
John Davies: digital.
Andrew Bayless: Ah, okay.
Charles Solis: f f f for di for digital or um or for or for cable, whatever, you're basically looking at four or five terrestrial channels, and then um your V_C_ uh and then the channel through your V_C_R_ and or D_V_D_ player. And or um box. So it's not I'm not really excessively concerned about that. You must have two two modes, basic mode, where um the joystick's uh left right left right for channels, up down for volume, um and the uh uh and the menu mode for uh further functions. Um now the reason I was particularly interested in using rubber for this is that if we're going to have a highly ergonomic design, um it needs to be ergonomic for left or right handed people. Um,
Leroy Reid: Can I
Charles Solis: so you
Leroy Reid: just jump in slightly there?
Charles Solis: Mm-hmm.
Leroy Reid: That would suggest the double curved design's probably going to be most appropriate, then.
Charles Solis: Yes, absolutely.
Leroy Reid: okay.
Charles Solis: Um, basi basically what I basically what the what be having um, I would say, the the whole thing articulated at two points, so that if you if you're handing it from a lef uh left or right handed user you can adjust it so that the um the L_C_ the L_C_D_ and the uh The joystick would be in the right place. And
Leroy Reid: Mm.
Charles Solis: also this is a rather nicer de uh design gimmick that the the um you know the whole thing you know it should have sort of organic feel to it that it should be, you know, soft to touch and can be moved around all nice. Um
Leroy Reid: Okay.
Charles Solis: okay
Leroy Reid: Um,
Charles Solis: on to
Leroy Reid: yeah.
Charles Solis: on to the next uh to the next slide.
Leroy Reid: Just to let you know we'll probably be quite tight for time as well,
Charles Solis: Okay.
Leroy Reid: because I think you've probably got a lot you'd like to say, I guess.
Charles Solis: Yeah, 'kay basically um I can add pretty pictures to this. The um Assuming the hand the hand to be in about sort of this position, um hol uh holding the remote, the um the joystick unit should rest over the uh the joint of the f of the uh four finger so that it's directly accessible for the thumb. Um and it would need t there would need to be a it would need to be articulated just below that so that it could be switched around for uh left or right handed users. So. You then have a grip section that can be more or less the same irrespective of handedness. You just have big two big buttons that cover most of the area so it can in the upper part, one for the four finger, one for the middle finger. Um,
John Davies: Is this the
Charles Solis: and
John Davies: joystick?
Charles Solis: that Th this part here is the joystick. This would be the actual grip. Probably where you'd want to have the battery as well.
John Davies: Okay.
Charles Solis: That would be probably the bulkiest part. And you then have, at the uh at the bottom, the L_C_D_, and this would need to be articulated as well. And basically I'd want this to rest here, right at the base of the wrist. So it would fit just nicely in the hand. And again, this part could be rotated, so it can So so so that it can be adjusted to either left or right handed user. Um So the t uh the top function button in basic mode would be the on off switch and menu mode would be the enter button. And then the bottom function buttons switches between between modes. Um now programming it actually thi this is one thing I've found with um the replacement remote control. Programming them can be a right pain. So I thought th the simplest way around that would be to have um a cable to connect it to the computer some fair iv fairly fairly simple software on the computer just so that you on your computer just so that you could um pr program it at a rather in a rather more comfortable interface. And you could download programs for it from uh for uh T_V_s from all sort of main manufacturers. Um though you i it would be necessary to have uh have a m uh have a ha have a mode for programming it without the computer, uh just in case there are there are still people left out there who don't have them yet.
John Davies: Mm.
Charles Solis: Um. But uh. Yeah.
Leroy Reid: Okay.
Charles Solis: That's that's my idea.
Leroy Reid: Excellent, right.
John Davies: Mm.
Leroy Reid: Um uh.
John Davies: 'Kay.
Leroy Reid: File open.
John Davies: We go.
Leroy Reid: Trend watching.
John Davies: Okay. So uh to gather my research, two basic methods. We compared uh whether people want the remote control to do a lot of stuff or they want it to look cool. And then we we research uh fashion trends in Europe, what's what's the new black, you know, as it goes. Next slide please.
Leroy Reid: Okay.
John Davies: Uh we found, in order of importance, people want the remote control to look cool more than they want it to to be cool. As in they want it to do a lot of good s they want it to look like it does a lot, and if it does do a lot that's a bonus, but they don't care so much, you know. They want it to be that's sounds a bit like a contradiction. Technology technical technologically innovative. People want it to be that, but s still they care more about the way it looks than what it does. So like the interface is really important. And easy to use, it it just so happens that uh from the second point to the third point is twice as important I mean the second point is twice as important as the third point. People want it I is it has to be cooler than easy to use, you know, if it has the newest features, even if it's difficult to use, prefer it to have the newest features. And if it's easy to use that's a bonus. The fashion, now this is seems a bit odd to John Davies, but fruit and veg is the new is the new black for furniture, for clothes, for shoes. How that relates to a remote control I don't know. But I I see I come on to that in the next in the next slide. Spongy. I've als I've been saying everything's the new black. Well spongy's the new black as well. So we have the choice between rubber and plastic. If it's the type of rubber that you can squeeze, you know, it's spongy, then
Andrew Bayless: Oh
John Davies: can
Andrew Bayless: yeah,
John Davies: I
Andrew Bayless: I
John Davies: skip
Andrew Bayless: forgot to
John Davies: the
Andrew Bayless: mention
John Davies: rest?
Andrew Bayless: that. The uh rubber material is the type of stress ball material,
John Davies: Okay.
Andrew Bayless: not just normal rubber.
John Davies: Okay,
Andrew Bayless: Forgot
John Davies: so
Andrew Bayless: to say that.
John Davies: kinda spongy material. So
Leroy Reid: Okay.
John Davies: um so my personal opinion? Um we want something fancy and techni technologically innovative, obviously. But what we what we need is something that looks like it's from the future that looks cool, that's that's different, you know, that's everyone has a white remote control, black remote control, you need something cool. Like, titanium is cool but it's expensive. And maybe it's a bit of overkill for a remote control. Um now the fruit and veg options, either we we go in that direction or we stay totally away from it. Um I mean the research did come up with fruit and veg, so maybe it is important for it's the up to the interface guy. So if we stay away from it, s you know stay away from it, but if we're gonna go along with it then it doesn't necessarily have to be like an apple or something like that, or a kiwi fruit. It could be something like, I say potato peeler but I'm sure you guys have a have a much cooler idea than I do. So I think cool is the key. Few questions about a spongy remote control. I've never seen one before. I've seen plastic remote controls. I think maybe they were I don't know, back in the day when they first came up with remote controls, they had a reason for it being
Leroy Reid: Mm-hmm.
John Davies: sturdy, you know. For being strong and sturdy. So um if we want something strong and sturdy, I say stay with plastic or titanium, but if we go with spongy, we can stress that you can drop this as many times as you want, it doesn't matter, it's spongy material, it's not gonna break, you know. I just don't know how the L_E_D_ and the lights are gonna fit into a spongy material because it's not gonna be completely squeezable. So how do things fit it? And if we are gonna use spongy, we can say it's long lasting, you know it's damage resistant and stuff like that, so. So just to summarise, people want stuff that's cool, that's that looks like it's cool, and if it is cool then that's a bonus doesn't have to be um people like fruit and veg. We can either go down that alley or stay totally away from it. People like spongy material. we have to think of how practical it is, and how we can further promote that idea. And also, this was this year. So, things change all the time, every year you know they they always talk about this year, this is the new black. Well next year something else is gonna be the
Leroy Reid: Mm-hmm.
John Davies: new black and we're stuck with last year's fruit and veg type stuff. 'Kay.
Leroy Reid: Okay.
John Davies: That's John Davies.
Leroy Reid: Well, um I would say that the most you could probably hope for is gaining a year's lead on most people anyway. You always have to bring out new designs, so if we can get next year then that's possibly a good place to start anyway.
Charles Solis: Mm-hmm.
Leroy Reid: Um. Seems like a a lot of the components could be off the shelf, so I don't exactly what cost would be incurred. Um I can see your point about the number keypad, but I've I would say that we can probably incorporate it into the menu system
Andrew Bayless: Yeah.
Charles Solis: Mm-hmm.
Leroy Reid: if you need to do traversal of a large number of channels. would be that even if at a later date this was to be taking control of um boxes as well um having the use of the L_C_D_ and the joystick would probably allow you to manipulate enough channel numbers for you to be
Charles Solis: Yeah, actually if you've got a lot of channels, the number keypad can be quite annoying as well, becau it's you know if you're trying to remember what uh, you know, what number's the discovery channel or whatever. It's just
John Davies: That's
Charles Solis: irritating.
John Davies: a good point. You can
Leroy Reid: Mm-hmm.
John Davies: incorporate
Charles Solis: But if you
John Davies: names
Charles Solis: h but but
John Davies: into
Charles Solis: but
John Davies: the
Charles Solis: if
John Davies: menu.
Charles Solis: you have a John Davies but if you have a menu structure, then you can sub-group them.
John Davies: Okay.
Charles Solis: So
John Davies: Even
Leroy Reid: Okay.
Charles Solis: you
John Davies: news, music. Like they do on uh sky digital kinda.
Charles Solis: Yeah.
John Davies: Yeah.
Leroy Reid: So what it looks like to John Davies is we'll use a large number of standard components, um, say something like um lithium ion battery, the kind that you find in most um small hand held devices now. Um Looks like we going for a double curved design. Um I don't know what cost implications there are in that. Um, looks like we're pretty much decided on some kind of flexible rubber. Though I'd have to say depending on how flexible it is, we might need to have some kind of inner frame.
Charles Solis: Yeah, I I would say definitely, I mean I mean I mean the the idea of having it sort of articulated i th there would be basically two points of articulation. W um one below and one above the m the uh the main sort of grip.
Leroy Reid: Do you
Charles Solis: So
Leroy Reid: think there's any way we could maybe remove the articulation? I can see why it looks appealing, but it could be a weak point in um the structure, do you think? That would
Charles Solis: Mm.
Leroy Reid: be a worry of mine.
Andrew Bayless: If you're going with the fruit and veg thing, looks like a banana. F if you wanna design it that way.
Charles Solis: I d I don't thi I don't think that it would be a a structural weakness, I mean if you have a firm s sub-structure, you can then incorporate articulation into that. If you then have a sort of outer skin of mm flexible, spongy rubber then you have something that is you know very much you know organic, and I think would look rather co I mean mi rather cool. I mean my drawing there doesn't doesn't do it justice, it makes it makes it look more a little bit more like a vibrator than a than a uh than a remote control, but uh.
Leroy Reid: Yeah, we won't add that functionality.
John Davies: Okay. Course not.
Leroy Reid: However, one interesting point is, I don't know how serious you were there, but we if we take some of the ideas why don't we make the damn thing yellow to incorporate
Andrew Bayless: Yeah.
Leroy Reid: the des the colour of the logo?
John Davies: Sure,
Andrew Bayless: Okay.
John Davies: yeah.
Leroy Reid: I dunno. It's an
Charles Solis: Mm-hmm.
Leroy Reid: certainly a different colour from your average um
Charles Solis: Make it harder to lose, as well.
Andrew Bayless: Yeah.
Leroy Reid: That's
John Davies: Sure.
Leroy Reid: true. Was there anything in your research
John Davies: The noise for when you lose the banana, um f yeah, for when you lose the remote control, it could be like a a monkey noise or something like that, rather than a standard beep beep. Y you know, you lose the monkey the banana, y
Andrew Bayless: monkey.
John Davies: you lose the banana, you press a button, and you hear like monkey screams or something like that to direct you towards the banana.
Charles Solis: I th uh I mean if it I think that's something that could perhaps be programmable, though maybe have monkey as default.
John Davies: S
Charles Solis: Um.
John Davies: oh, I was gonna talk about the programmable remote control. Now I think it'd be cool if you had one remote control that could work with all T_V_s, you know you s you click a button and it finds the frequency that works with your particular television.
Charles Solis: Mm-hmm.
John Davies: But why you'd need to program it like as as a standard feature, I I don't know.
Charles Solis: Well basi basically the um for f for uh I mean e each manufacturer will have a partic will have a particular command set that uh
Leroy Reid: Mm-hmm.
Charles Solis: the T_V_ responds to. It's
John Davies: Yeah.
Charles Solis: not simply a matter of frequency. So um usually what's done is you have this big booklet full of different possi you'll have all of them sort of programmed in to the uh remote, and you'll have this little booklet of codes
John Davies: Mm-hmm.
Charles Solis: you then find your um ma uh find your manufacturer and try the different codes that
John Davies: Mm-hmm.
Charles Solis: come under that manufacturer's name 'til you find the right one.
John Davies: That's
Charles Solis: It's
John Davies: because televisions, they don't give the remote control any type of feedback when you send it.
Charles Solis: Yeah, that's right.
John Davies: Okay.
Charles Solis: So that's that's quite annoying and we probably would still have to do that. But if we had um some sort of hook-up to your computer as an option, then if you've got a computer you can avoid that rather irritating thing.
Leroy Reid: An interesting point is that if the person doesn't have the computer, we can still make the process easier because instead of having to look up codes, maybe we can have it that one of the options they have is that they look up the name of the company on the L_C_D_ and then
Charles Solis: Yeah.
Leroy Reid: they maybe look up different names
Charles Solis: Yeah.
Leroy Reid: of um different actual units that have been produced. Or we have the remote control just go through them until it's like does this do the correct function, and such.
John Davies: Is it is it actually a book of names to digits, or is it like a few pages?
Charles Solis: Um booklet. Some pages.
John Davies: I was just thinking, if we were to store this information, some type of mapping. This person probably need to use this feature like once, you know, when you first buy the remote control, or whenever they buy a new television, so once
Charles Solis: Yeah.
John Davies: every
Leroy Reid: Doesn't have
John Davies: s
Leroy Reid: to be used very often that's right, yeah.
John Davies: Yeah,
Charles Solis: Yeah.
John Davies: and it's
Charles Solis: But it's a but it's a nuisance. And it's a nuisance very close to the to um to actually purchasing it,
John Davies: Mm.
Charles Solis: so it's something that you're likely to be thinking about. If you if there's w i if there's one in the shop that's that says it can avoid much of that nuisance, you might be
John Davies: Mm.
Charles Solis: favourably inclined towards it. Um mm.
Leroy Reid: Okay, this just to give us a
John Davies: Mm.
Leroy Reid: rough idea of what we're meant to be doing for the next stage. I'm pretty sure that you got that anyway. This is the conceptual one. Um. I think we've come up I think we've covered everything we need to here. Um I think we've decided on what, you know, decided on standard items for most of um rubber and such, so we're now looking at the detailed design and what we need to be doing for the next meeting. Um So for example, um I'll just start at the top, you've got yourself and Andrew Bayless gonna be working quite closely at this stage 'cause it'll be hard not to, obviously. Um looking from prototyping of some des description using clay. Um I suppose you'll be told a lot more about that as uh progress. Um The user interface design, They're kind of it looks they're the idea I've pushed forward so far is maybe more of a physical one there, whereas possibly be more interested in maybe how the L_C_D_'s going to incorporate, do you think? Or
Charles Solis: Mm.
Leroy Reid: do you s perceive that most the design design decisions still need to be based on the physical layout?
Charles Solis: Um well I I think other than ge getting a sort of more aesthetically pleasing form for it, um mo most of the sort of layout design decisions are are made, I would say. Um but then again, the um the menu structure to to a considerable extent that's gonna vary according to the model of television, and also any customisations that the user might wish to incorporate. So um and one of the nice things about having an L_C_D_ and a menu structure is that there is that flexibility to it.
Leroy Reid: Mm-hmm, that's very true. Um. Okay. Um got product evaluation as well.
John Davies: Yeah,
Leroy Reid: Um.
John Davies: you see I don't some of these things kinda logically follow the others. How can t product evaluation, doesn't that come after actually seen a product
Leroy Reid: I
John Davies: prototype.
Leroy Reid: I think we'd be yeah, no, it'd be more a case of how do we envisage us performing the product evaluation once we have a model to test with.
John Davies: Oh, that's the okay, sure sure sure.
Leroy Reid: Um so it'd be a case of do you think that just bringing users in to have them test it out, uh maybe putting a certain number of products into the field in certain places
John Davies: Mm-hmm.
Leroy Reid: which I suppose is quite similar. Or just kind of hitting the streets and you know saying this is a new remote control, what do you think of the look of it?
John Davies: Okay, sure.
Leroy Reid: Um
John Davies: At this stage we still have no no target audience or
Leroy Reid: I think the target audience is pretty much anybody under the age of say maybe sixty or something ludicrous.
John Davies: 'Kay.
Leroy Reid: Um the reason I'm saying that is we're just looking at a a replacement remote control, something that's stylish, so maybe you're even just maybe you're narrowing down your target audience simply by saying
John Davies: And it's stylish.
Leroy Reid: if they're buying it that often or they're maybe looking to replace something then, they've got a bit of free cash, so that puts them potentially in the younger age bracket.
John Davies: Mm-hmm.
Leroy Reid: Maybe even single, just for the reasons of um uh excess cash flow.
John Davies: Mm.
Leroy Reid: Although of course I mean at twenty five Euros, I don't think we're looking at charging the earth for the uh device.
John Davies: Yep.
Charles Solis: Yeah.
Leroy Reid: Think that's
John Davies: Okay.
Leroy Reid: well within the normal bracket. Um your idea of the U_S_B_ would I think would largely depend on the cost. U_S_B_'s definitely one of the cheapest interfaces out there, but it might push the cost of the overall unit up 'cause it would require not just the connection but the chip for communicating with the rest of the system. That one
John Davies: Programmable
Leroy Reid: might have to be based
John Davies: memory
Leroy Reid: on
John Davies: as well.
Andrew Bayless: The U_S_B_ for which?
John Davies: For the remote control.
Leroy Reid: The the idea was that maybe it could connect up for um allowing a software interface on the P_C_
Andrew Bayless: Oh
Leroy Reid: for
Andrew Bayless: right,
Leroy Reid: a
Andrew Bayless: okay.
Leroy Reid: larger programming due to the fact that we've gone for such a nice, easy minimal design, normally.
John Davies: We've w
Leroy Reid: Um.
John Davies: definitely talking some type of
Andrew Bayless: But didn't they just say it's just for T_V_, or are we gonna
Leroy Reid: It's just for T_V_, but for
John Davies: Different.
Leroy Reid: programming it to use your T_V_, you
Andrew Bayless: Okay,
Leroy Reid: might hook
Andrew Bayless: yeah.
Leroy Reid: it up to the P_C_. I I'm not sure, but I'm thinking maybe that the additional cost of the U_S_B_ might be prohibitive.
Charles Solis: Mm.
Leroy Reid: We don't know unless it would make sense to.
John Davies: But
Charles Solis: Yeah,
John Davies: you're
Charles Solis: I mean
John Davies: gonna
Charles Solis: it's
John Davies: need some type of flash memory or something. Well something that doesn't you
Charles Solis: Yeah.
John Davies: wouldn't have to redo the whole thing once the batteries are changed, you know, once
Charles Solis: Yeah.
John Davies: you turn off the power.
Charles Solis: The other thing I mean it I mean it would need to ha it would need to have um some sort of on board memory
John Davies: Yeah.
Charles Solis: anyway. Um f for one for one thing because I do think that the menu system should be um uh I mean although you know, it's not going to be terribly complicated if it's just controlling one device, the menu system ought to be um o ought to be customisable and
John Davies: Different
Charles Solis: uh
John Davies: languages, uh different skins
Leroy Reid: Mm-hmm.
John Davies: and stuff like
Charles Solis: Mm-hmm.
John Davies: that.
Leroy Reid: W
Charles Solis: How uh how uh how you want say the um the the menu structure for flicking through channels if you've got lots of channels.
John Davies: Sure. I
Charles Solis: That sort
John Davies: if
Charles Solis: of
John Davies: it
Charles Solis: thing.
John Davies: was customisable as in different languages and stuff, that does open it is supposed to be international, right? So.
Leroy Reid: It would make sense to.
John Davies: It would make sense
Leroy Reid: I would
John Davies: if
Leroy Reid: say
John Davies: you could
Leroy Reid: to. Um and we'd better be careful about the time as well.
John Davies: Okay.
Leroy Reid: We've already had the five minute warning, so. Um. I would say yeah. International would make sense. Um you're gonna look at product evaluation. I'm I'd better start writing up a hell of a lot of crap. Um you're gonna look a bit more at the kind of the physical make up you say. Um looks
Charles Solis: Yeah.
Leroy Reid: like we're gonna need a maybe a kind of prototype in clay. Uh we'll see how that goes. Um.
Charles Solis: Are we going to be supplied with the clay is what I want to know. Where is the clay?
Leroy Reid: So um do I think we've got an idea of where we need to go for the next meeting, would you say?
John Davies: Yeah.
Charles Solis: Mm-hmm.
Andrew Bayless: they're going with the fashion thing, like
John Davies: The fruit and
Andrew Bayless: the
John Davies: veg.
Andrew Bayless: design, spongy
John Davies: This one.
Andrew Bayless: rubber. Yeah.
Charles Solis: Mm.
Leroy Reid: Yeah, I would s that would be my
Charles Solis: I
Leroy Reid: my
Charles Solis: th
Leroy Reid: feeling.
Charles Solis: I think I would largely want to actually steer clear of the whole sort of fruit and veg thing. Bu but um but the spongy idea I like. I like it a lot.
Leroy Reid: We
John Davies: Yeah.
Leroy Reid: seem to have quite a general consensus that the idea of the the r rubber could be quite
John Davies: Yeah.
Charles Solis: I having it i having it sort of br bright yellow I think that's quite a good idea, though maybe we could have options for colours as well.
John Davies: Yeah.
Charles Solis: and again this has the advantage of being harder to lose.
John Davies: Sure. I mean we are trying to promote a remote control, but we wanna keep the company brand as well, so.
Charles Solis: Mm-hmm.
Leroy Reid: Yeah. So we always need to remember that somewhere we're meant to be getting the slogan on. Possibly I'm think I'm not sure but I'm seeing a little bit of space around maybe the joystick area which could
Charles Solis: Mm.
Leroy Reid: be used.
Charles Solis: Yeah.
Leroy Reid: Um.
Charles Solis: I was like like I said before I I think we should have the R_R_ on the uh on the top function button.
Leroy Reid: Okay. And I think that says it all really.
John Davies: I think so too.
Leroy Reid: Right. See
John Davies: Sa
Leroy Reid: everybody in a half hour. | Leroy Reid recapped the decisions made in the previous meeting. Andrew Bayless presented options for batteries, materials and shapes to use for the case, buttons, and chips. Charles Solis discussed how to create an interface for an ergonomic remote which conforms to the shape and movements of the human hand, as well as an option in which users could connect their remotes to computers in order to download program settings. John Davies discussed findings from trendwatching reports, which indicated a need for products which look fancy, are technologically innovative, are easy to use, have a fruit and vegetable theme, and are spongy. The team then discussed what materials and components to use, the color of the remote, and programming options for the remote. | 5 | amisum | train |
Larry Mckee: Hmm hmm hmm.
Juan Jeffery: Are we we're not allowed to dim the lights so people can see that a bit better?
Larry Mckee: Yeah.
Juan Jeffery: Okay, that's fine. Am I supposed to be standing up there?
Joshua Brumbaugh: So
Juan Jeffery: Okay.
Joshua Brumbaugh: we've got both of these clipped on? She gonna answer Joshua Brumbaugh
Juan Jeffery: Yeah,
Joshua Brumbaugh: or not?
Juan Jeffery: I've got
Joshua Brumbaugh: Right, both of them, okay.
Juan Jeffery: Yes.
Joshua Brumbaugh: God. Jesus, it's gonna fall off.
Larry Mckee: Okay Yep yep, Okay.
Juan Jeffery: Okay.
Larry Mckee: Tu tu tu tu
Juan Jeffery: Hello everybody.
Larry Mckee: Hi, good morning.
Juan Jeffery: Um I'm Sarah, Juan Jeffery and this is our first meeting, surprisingly enough. Okay, this is our agenda, um we will do some stuff, get to know each other a bit better to feel more comfortable with each other. Um then we'll go do tool training, talk about the project plan, discuss our own ideas and everything um and we've got twenty five minutes to do that, as far as I can understand. Now, we're developing a remote control which you probably already know. Um, we want it to be original, something that's uh people haven't thought of, that's not out in the shops, um, trendy, appealing to a wide market, but you know, not a hunk of metal, and user-friendly, grannies to kids, maybe even pooches should be able to use it. Okay, um, first is the functional design, um this is where we all go off and do our individual work, um what needs need to be fulfilled by the product, um what effects the product has to have and how it's actually going to do that. Um, conceptual design, what we're thinking, how it's gonna go and then the detailed design, how we're actually gonna put it into practice and make it work.
Larry Mckee: 'Kay.
Juan Jeffery: Okay, right. We're gonna practice with the pens and draw our favourite animal on the white board, I'll go first, and um sum up the characteristics of that animal. So
Larry Mckee: Oops.
Juan Jeffery: Okay, I'll leave space for everyone else. Um
Juan Jeffery: What's missing?
Juan Jeffery: We're running out of blue. Okay. I'm not gonna ask you to guess, I'm going to tell you that's supposed to be a tiger.
Larry Mckee: Mm.
Juan Jeffery: And I see them
Larry Mckee: Oh
Juan Jeffery: as
Larry Mckee: sorry.
Juan Jeffery: majestic,
Larry Mckee: Mm-hmm.
Juan Jeffery: and independent, and proud. Now, who would like to go next?
Larry Mckee: Yeah, Joshua Brumbaugh.
Juan Jeffery: 'Kay.
Larry Mckee: Cat. Where did this come from?
Juan Jeffery: Is that your lapel then?
Larry Mckee: Uh,
Juan Jeffery: There you go.
Larry Mckee: yep. Thank you. Uh, maybe you can guess what I'm trying to make?
Joshua Brumbaugh: A kind of dog?
Larry Mckee: Yep. It's actually sitting, so
Joshua Brumbaugh: Sorry?
Charlie Baird: It's sitting
Larry Mckee: it's sitting,
Charlie Baird: down.
Larry Mckee: it's not standing.
Joshua Brumbaugh: Uh.
Larry Mckee: Okay, I see it as one thing it's very supportive. It's your best friend your you can talk to a dog, it can be your best friend, it doesn't discriminate between you, based on what you are. Second it's loyal and third thing it's got intuition. dogs can som sometimes can make out between a thief and a
Joshua Brumbaugh: Mm-hmm.
Larry Mckee: person so basically these are the three unique features I think belong to a dog.
Juan Jeffery: Okay, thank you.
Larry Mckee: Thank you.
Charlie Baird: Yeah I'll
Larry Mckee: Okay.
Charlie Baird: have a go.
Larry Mckee: Sorry.
Joshua Brumbaugh: Please, please
Charlie Baird: Thanks.
Joshua Brumbaugh: leave Joshua Brumbaugh a space at the bottom, I'm little,
Charlie Baird: Alright,
Joshua Brumbaugh: you can get to
Charlie Baird: okay.
Joshua Brumbaugh: the top, with standing on a chair.
Charlie Baird: Well since you guys have chosen the ones I wanted to do, I'll have
Juan Jeffery: Okay.
Charlie Baird: to have to
Larry Mckee: Does
Charlie Baird: go
Larry Mckee: it
Charlie Baird: for
Larry Mckee: look
Charlie Baird: something
Larry Mckee: like a dog
Charlie Baird: a bit
Larry Mckee: actually?
Charlie Baird: random. And also, my drawing skill isn't that great
Juan Jeffery: Well,
Charlie Baird: so,
Juan Jeffery: as you can see, the quality
Charlie Baird: yeah.
Larry Mckee: Mm.
Juan Jeffery: of the work today is um
Joshua Brumbaugh: I think it's outstandingly good.
Charlie Baird: Okay, now I'm gonna have to change what is was originally gonna be because that looks like a beak now, so.
Joshua Brumbaugh: Crocodile?
Juan Jeffery: Gonna be
Charlie Baird: Yeah,
Juan Jeffery: a
Charlie Baird: it
Juan Jeffery: bird.
Charlie Baird: can be a crocodile, it can be
Juan Jeffery: Is
Charlie Baird: a
Juan Jeffery: it
Charlie Baird: crocodile.
Juan Jeffery: gonna be it's
Charlie Baird: an
Juan Jeffery: gonna
Charlie Baird: at
Juan Jeffery: be
Charlie Baird: first
Juan Jeffery: a bird.
Charlie Baird: firstly it was an attempt at a T_ Rex and then it sort
Joshua Brumbaugh: O
Charlie Baird: of changed into a pelican but it can be a crocodile now actually.
Juan Jeffery: That's lovely.
Charlie Baird: Yeah
Joshua Brumbaugh: Beauti
Charlie Baird: and
Joshua Brumbaugh: that's
Charlie Baird: uh I'll have to think on the spot of uh things that it is. Um uh scary, uh strong, yeah that's about it I think.
Juan Jeffery: Okay it's fine.
Joshua Brumbaugh: Okay. Um, I'm very impressed your artistic skills,
Charlie Baird: Uh
Joshua Brumbaugh: mine's are dreadful.
Charlie Baird: uh
Joshua Brumbaugh: Oops this is now coming apart, let Joshua Brumbaugh just put the top in.
Charlie Baird: Wo
Joshua Brumbaugh: I hope that clicks in, I'll just I'll hold it on, okay. Oops, oh dear, what happened there?
Juan Jeffery: Technical help.
Joshua Brumbaugh: Hopefully
Charlie Baird: Hmm.
Joshua Brumbaugh: that'll stay on, two-handed version.
Charlie Baird: Okay.
Joshua Brumbaugh: Okay, uh Again this is off the top of my head, I was gonna do a big
Charlie Baird: Uh
Joshua Brumbaugh: cat too, um. Oh
Juan Jeffery: Hmm.
Joshua Brumbaugh: dear, it doesn't look what like what I want it to be.
Charlie Baird: S
Joshua Brumbaugh: Uh.
Charlie Baird: Uh
Joshua Brumbaugh: It's not a vampire bat honestly.
Juan Jeffery: Okay, yeah.
Joshua Brumbaugh: Uh and somewhere there's a body behind.
Charlie Baird: Okay,
Joshua Brumbaugh: That's
Charlie Baird: some
Joshua Brumbaugh: my dreadful
Charlie Baird: sort of
Joshua Brumbaugh: that's the worst yet,
Charlie Baird: bird.
Joshua Brumbaugh: that's it's meant to be an eagle
Juan Jeffery: A seagu
Charlie Baird: Ah
Larry Mckee: Eagle,
Juan Jeffery: right,
Charlie Baird: eagle,
Larry Mckee: okay.
Charlie Baird: right
Juan Jeffery: not
Joshua Brumbaugh: you
Charlie Baird: okay.
Joshua Brumbaugh: can
Juan Jeffery: a seagull.
Joshua Brumbaugh: tell it's a flying animal could have been a seagull, I never thought of a seagull. An eagle, um again I'm thinking on my feet goodness. I suppose they're all so independent, I'd put that one down again. Da dum um.
Charlie Baird: They're good at golf.
Joshua Brumbaugh: Indepen independent, right, did you say they're good at golf?
Charlie Baird: Yeah,
Joshua Brumbaugh: Are they?
Charlie Baird: no yeah,
Juan Jeffery: Eagle.
Joshua Brumbaugh: Oh.
Charlie Baird: an eagle.
Joshua Brumbaugh: Oh right, okay, I'm not good at golf. I'd say they're quite free-spirited, flying around everywhere, doing their own thing. And uh, birds of prey aren't they, oh dear,
Juan Jeffery: Mm-hmm.
Joshua Brumbaugh: intrepid. I'll put that, intrepid. There we go,
Juan Jeffery: That's
Joshua Brumbaugh: hope
Juan Jeffery: lovely.
Joshua Brumbaugh: that pen's gonna be okay. Whoops.
Juan Jeffery: Okay. That was fun, right. Um finance-wise, we've got a selling price at twenty five Euros, which I don't actually know what that is in Pounds, at all. Any ideas?
Charlie Baird: It's about
Joshua Brumbaugh: Seventeen.
Charlie Baird: mm,
Larry Mckee: One point four
Charlie Baird: mm yeah.
Larry Mckee: or something like that. One point four Euro would make a Pound or something
Charlie Baird: Yeah,
Larry Mckee: like that.
Charlie Baird: yeah, something like that, so
Larry Mckee: Yeah.
Charlie Baird: that
Juan Jeffery: D
Charlie Baird: yeah about seventeen,
Juan Jeffery: fifteen?
Joshua Brumbaugh: Seventeen
Juan Jeffery: Seventeen.
Charlie Baird: seventeen
Joshua Brumbaugh: Pounds.
Charlie Baird: Pounds,
Juan Jeffery: Okay,
Charlie Baird: something like that.
Juan Jeffery: that's expensive.
Joshua Brumbaugh: Should we be making notes of this? We can just refer to this later can't
Charlie Baird: But
Juan Jeffery: I
Joshua Brumbaugh: we?
Juan Jeffery: think so,
Joshua Brumbaugh: Yeah,
Juan Jeffery: I think
Joshua Brumbaugh: okay.
Juan Jeffery: so, I'll be able to um pull it up, or
Joshua Brumbaugh: Okay.
Juan Jeffery: I could put it
Charlie Baird: Havi
Juan Jeffery: in the shared folder or
Charlie Baird: having
Juan Jeffery: something.
Charlie Baird: said that though, if you wanna get one of those the the ones on the market at the moment they're s they're about twenty pounds anyway. So,
Joshua Brumbaugh: Right.
Juan Jeffery: Really?
Charlie Baird: it'd still be yeah, we had to
Joshua Brumbaugh: So
Charlie Baird: buy one.
Juan Jeffery: Mm.
Joshua Brumbaugh: so
Juan Jeffery: I
Joshua Brumbaugh: I suppose
Juan Jeffery: think
Joshua Brumbaugh: later it depends if we want to undercut the price, we d or or is it going to make our product look a cheapie-cheapie option?
Juan Jeffery: Yeah,
Charlie Baird: Hmm.
Juan Jeffery: um production cost's at twelve fifty, so
Larry Mckee: Okay, pretty huge margin.
Juan Jeffery: half of the selling price is
Charlie Baird: Yeah.
Juan Jeffery: taken
Joshua Brumbaugh: Mm.
Juan Jeffery: up by building it.
Joshua Brumbaugh: Mm-hmm.
Juan Jeffery: Um, and profit aim is fifty million Euros, which is uh
Joshua Brumbaugh: In our first year?
Juan Jeffery: Yi yes, um yeah, I presume so.
Joshua Brumbaugh: Mm-hmm.
Larry Mckee: So
Juan Jeffery: Um
Larry Mckee: then
Joshua Brumbaugh: You've got market range international and you did say earlier it's got to be a um accessible and usable by sort of all age groups
Juan Jeffery: Mm-hmm.
Joshua Brumbaugh: just t we're not focusing on business market, any particular thing, it's
Juan Jeffery: No,
Joshua Brumbaugh: everyone user-friendly
Juan Jeffery: yeah.
Joshua Brumbaugh: to everyone. Okay. Big
Juan Jeffery: So
Joshua Brumbaugh: target group.
Juan Jeffery: yes, yes, I don't think we have to I don't think it's a case of worrying about different languages and things like that,
Joshua Brumbaugh: No.
Juan Jeffery: um making that a key point, just that it's going to be in the international market like
Joshua Brumbaugh: Mm.
Juan Jeffery: Australia, America, things like that. Okay. What are your experiences with remote controls? I mean I've got we got um we had three videos, a T_V_ and a sort of amp thing all
Larry Mckee: Mm-hmm.
Juan Jeffery: set up
Charlie Baird: Yeah.
Juan Jeffery: so we got one of the universal remote controls,
Joshua Brumbaugh: Alright.
Charlie Baird: Yeah.
Larry Mckee: Yeah,
Juan Jeffery: um
Larry Mckee: that c
Juan Jeffery: that you programme each of your things into, but that kept losing the signals so we'd have to re-programme it every now and again. I think it was quite a cheapie as well,
Joshua Brumbaugh: Mm-hmm.
Charlie Baird: Yeah
Juan Jeffery: so
Charlie Baird: uh.
Juan Jeffery: that might have had something to do with it, but that was quite good, the fact that you could
Charlie Baird: Use all the ones
Juan Jeffery: You didn't
Charlie Baird: at the same
Juan Jeffery: have
Charlie Baird: time.
Juan Jeffery: six remote controls sitting
Joshua Brumbaugh: Right.
Juan Jeffery: in front of
Larry Mckee: Okay,
Juan Jeffery: you.
Larry Mckee: you wanna integrate everything into one like
Charlie Baird: Yeah,
Joshua Brumbaugh: Mm-hmm.
Larry Mckee: Okay.
Charlie Baird: 'cause
Joshua Brumbaugh: My
Charlie Baird: you
Joshua Brumbaugh: experience has only been being given the remote control with the object I buy, not doing any tampering with it and programming, using it to programme T_V_ and uh uh videos and things. But basically on, off, volume up and down, channel one, two, th that basic functions,
Juan Jeffery: Mm.
Joshua Brumbaugh: I don't think I could go any further with it than that, so, I suppose it's got to be something usable by someone like Joshua Brumbaugh as well.
Juan Jeffery: Yeah, the main that's the main stuff anyway,
Joshua Brumbaugh: Mm-hmm.
Juan Jeffery: I mean and you don't want to I hate I hate looking at a control and seeing a million tiny little buttons with tiny little words
Joshua Brumbaugh: Mm.
Juan Jeffery: saying what they all do and just
Charlie Baird: Yeah.
Juan Jeffery: sitting there searching for the teletext
Joshua Brumbaugh: Mm.
Juan Jeffery: button or
Joshua Brumbaugh: And
Juan Jeffery: something
Joshua Brumbaugh: symbols
Juan Jeffery: like that.
Joshua Brumbaugh: that you don't necessarily
Juan Jeffery: Yeah.
Joshua Brumbaugh: understand, symbols you're meant to understand that you don't.
Larry Mckee: So simplification
Juan Jeffery: Um.
Larry Mckee: of symbols you could think
Juan Jeffery: When
Larry Mckee: of.
Juan Jeffery: they're when you've got the main things on the front of it and a section opens up or something to the other functions where you can do sound or options
Joshua Brumbaugh: Oh yeah.
Juan Jeffery: kind of recording, things like that inside it.
Joshua Brumbaugh: Mm-hmm.
Juan Jeffery: 'Cause it doesn't make when you pick it up it doesn't make it really complicated to
Joshua Brumbaugh: Mm.
Juan Jeffery: look at, it's obvious
Joshua Brumbaugh: Mm-hmm.
Juan Jeffery: what
Charlie Baird: Mm.
Juan Jeffery: you're doing, um.
Joshua Brumbaugh: Actually that just raises a point, I wonder what our design people think, but you know on a mobile phone,
Larry Mckee: Mm-hmm.
Joshua Brumbaugh: you can press a key and it gives you a menu, it's
Larry Mckee: Menu,
Joshua Brumbaugh: got a menu
Larry Mckee: alright.
Joshua Brumbaugh: display, I wonder if incorporating that into the design of a remote control might be useful,
Charlie Baird: Yeah.
Joshua Brumbaugh: so you've got a little
Larry Mckee: Uh
Joshua Brumbaugh: L_C_D_
Larry Mckee: uh
Joshua Brumbaugh: display.
Larry Mckee: Right, I was thinking on the same lines you, instead of having too many b buttons and make it complicated for the user, may h maybe have an L_C_D_ di display or something like that, like a mobile,
Joshua Brumbaugh: With menus,
Larry Mckee: yeah and with
Joshua Brumbaugh: yeah,
Larry Mckee: menus.
Joshua Brumbaugh: yeah.
Larry Mckee: And if it's s somewhat similar to what you have on mobile phone, people might find it easier to browse and navigate also
Joshua Brumbaugh: Yeah.
Larry Mckee: maybe.
Juan Jeffery: What about the older generation? What about granny and grandads? Um,
Larry Mckee: You mean to save it lesser
Juan Jeffery: my grandad
Larry Mckee: number.
Juan Jeffery: can answer his mobile phone, but
Charlie Baird: Yeah.
Juan Jeffery: he couldn't even dream
Joshua Brumbaugh: Mm-hmm.
Juan Jeffery: of texting or something
Joshua Brumbaugh: Mm-hmm.
Juan Jeffery: like that.
Joshua Brumbaugh: Can he programme his remote control or is it basic
Larry Mckee: Right.
Joshua Brumbaugh: with that too?
Juan Jeffery: I don't think they tape things,
Charlie Baird: Yeah,
Juan Jeffery: I
Joshua Brumbaugh: Right.
Juan Jeffery: don't think
Charlie Baird: my
Juan Jeffery: they
Charlie Baird: grandad's
Juan Jeffery: use
Charlie Baird: actually better than Joshua Brumbaugh at using teletext, so.
Joshua Brumbaugh: Right. So that's a problem regardless of of any design modifications you you come up with,
Charlie Baird: Yeah.
Joshua Brumbaugh: that's gonna be a problem anyway with the older generation
Juan Jeffery: Mm, yeah,
Joshua Brumbaugh: perhaps,
Juan Jeffery: the
Joshua Brumbaugh: and
Juan Jeffery: age
Joshua Brumbaugh: that's another
Juan Jeffery: gap.
Joshua Brumbaugh: issue
Charlie Baird: Yeah,
Joshua Brumbaugh: how we tackle that.
Charlie Baird: what it just needs to be as long as it's sort of self-intuitive and you can can work out what everything's doing, 'cause I mean, menus on sort of new phones now they've sort of got all these pictures and stuff which makes it fairly obvious what you're trying to do.
Juan Jeffery: Mm.
Larry Mckee: Mm-hmm.
Charlie Baird: But
Juan Jeffery: I
Charlie Baird: I
Juan Jeffery: d
Charlie Baird: don't know how
Juan Jeffery: I don't like the, you know the new phones that have kind of got a Windows-based
Charlie Baird: Oh yeah.
Juan Jeffery: running system.
Joshua Brumbaugh: Mm-hmm.
Juan Jeffery: I find it really confusing, I kept getting lost in the phone, I di I've not got a new one but uh my
Joshua Brumbaugh: Right.
Juan Jeffery: friend got a new one and I was trying to do things with it and I just kept getting lost, but that's just Joshua Brumbaugh.
Charlie Baird: Yeah, I don't I don't know how for twenty fi, or twelve Euros fifty how much of a excellent screen you could get,
Juan Jeffery: Yeah.
Charlie Baird: you'd you'd have to sort of keep
Joshua Brumbaugh: Mm-hmm.
Charlie Baird: it down to a black and white L_C_D_ thing anyway,
Joshua Brumbaugh: Is
Charlie Baird: I'd
Joshua Brumbaugh: it possible
Charlie Baird: assume.
Joshua Brumbaugh: that that for the older generation you could have like an extra button that you press for large print like you do in large print books?
Larry Mckee: Okay.
Joshua Brumbaugh: Obviously
Juan Jeffery: Teletext
Joshua Brumbaugh: it displays
Juan Jeffery: has got that
Joshua Brumbaugh: less
Juan Jeffery: option
Joshua Brumbaugh: on
Juan Jeffery: as
Joshua Brumbaugh: the
Juan Jeffery: well.
Joshua Brumbaugh: screen, it displays less on the screen but as long as they can read it that's the main thing.
Juan Jeffery: Yeah. Or what about kind of a dual function? In that you've got the basic buttons just for your play, volume, programme things
Joshua Brumbaugh: Mm-hmm.
Juan Jeffery: and also and then a menu to go into with obvious pictures, obvious symbols and
Joshua Brumbaugh: Yeah.
Juan Jeffery: that's where you control
Joshua Brumbaugh: Mm-hmm.
Juan Jeffery: recording and things like that.
Joshua Brumbaugh: Mm. The other thing is, just ch chucking into mobile phone f design features again, it could have a flip top remote control so that when you flip over the top, your screen is you can have a bigger screen in
Juan Jeffery: Mm-hmm.
Joshua Brumbaugh: the
Larry Mckee: Mm, okay.
Joshua Brumbaugh: the flip over.
Juan Jeffery: I think
Larry Mckee: S
Juan Jeffery: that's a cost thing,
Charlie Baird: Y
Juan Jeffery: I don't
Larry Mckee: It
Juan Jeffery: I
Joshua Brumbaugh: Yeah?
Larry Mckee: might
Juan Jeffery: don't know how much we're gonna know about
Larry Mckee: it might save a b bit of space, it's i instead
Joshua Brumbaugh: Mm-hmm.
Larry Mckee: of looking bulky, it might look
Juan Jeffery: Yes,
Larry Mckee: small.
Juan Jeffery: no
Joshua Brumbaugh: Yeah,
Juan Jeffery: that's important.
Charlie Baird: Yeah.
Larry Mckee: But it might have
Joshua Brumbaugh: like
Larry Mckee: its
Joshua Brumbaugh: smaller.
Larry Mckee: cost implications.
Juan Jeffery: Okay.
Joshua Brumbaugh: And there's no reason we need to make it look as fashionable and stylish as a mobile phone, it can still be lightweight plastic,
Juan Jeffery: Mm.
Joshua Brumbaugh: you know?
Larry Mckee: Right.
Joshua Brumbaugh: Something that's easily moulded and produced.
Juan Jeffery: Yeah.
Joshua Brumbaugh: Sorry I'm treading on your territory guys.
Charlie Baird: No uh uh
Juan Jeffery: Um, right, okay we've got half an hour before the next meeting, so we're all gonna go off and do our individual things. Um I think that's probably about it and then we'll come back and liaise again
Charlie Baird: Yeah.
Juan Jeffery: and I get to do another fantastic PowerPoint presentation.
Charlie Baird: Just just a quick thing about
Juan Jeffery: Sure.
Charlie Baird: the um about what you're saying about the uh does does it need to be fashionable? The sort of I I had a quick look at the company website and it's like the the uh we put the fashion into electronics,
Joshua Brumbaugh: Ah
Charlie Baird: so
Joshua Brumbaugh: right.
Charlie Baird: I think
Larry Mckee: Okay.
Juan Jeffery: Okay.
Charlie Baird: think the
Joshua Brumbaugh: Okay.
Charlie Baird: whole design thing might be qui
Joshua Brumbaugh: Sure
Charlie Baird: I mean
Joshua Brumbaugh: b
Charlie Baird: you don't you
Joshua Brumbaugh: y yeah.
Charlie Baird: you can still have plastic and it'd look quite
Joshua Brumbaugh: But
Charlie Baird: good but
Joshua Brumbaugh: yeah, I mean it doesn't have to be that, you know th that was my main point,
Charlie Baird: Yeah.
Joshua Brumbaugh: we don't have to use metal, I don't know if using
Juan Jeffery: Mm.
Joshua Brumbaugh: plastic does make it cheaper, I presume it would.
Charlie Baird: Yeah.
Joshua Brumbaugh: Yeah,
Juan Jeffery: I would
Charlie Baird: Yeah.
Juan Jeffery: it
Joshua Brumbaugh: yeah,
Juan Jeffery: would probably.
Joshua Brumbaugh: yeah.
Juan Jeffery: I mean there's Sky remote controls and everything. They're kind of moulded and look a bit different, and the Telewest remote controls are silver plastic, which
Joshua Brumbaugh: Right.
Juan Jeffery: looks a bit smarter, so yeah I guess that's stuff we can think
Joshua Brumbaugh: Okay.
Juan Jeffery: about. Okay, so let's break it up there.
Joshua Brumbaugh: 'Kay.
Juan Jeffery: Okay?
Charlie Baird: Okay.
Juan Jeffery: So, see you in half an hour.
Joshua Brumbaugh: back to our room?
Juan Jeffery: I think
Larry Mckee: Mm,
Juan Jeffery: so,
Larry Mckee: yeah.
Joshua Brumbaugh: Yep?
Juan Jeffery: yeah. | Juan Jeffery gave an introduction to the goal of the project, to create a trendy yet user-friendly remote. She presented a long-range agenda for the whole project. The group introduced themselves to each other and practiced with the meeting room tools by drawing on the board. Juan Jeffery presented the project budget, the projected price point, and the projected profit aim for the project. Then the group began a discussion about their own experiences with remote controls to generate initial design ideas for making the product user-friendly. They discussed grouping features into a menu and adding an LCD display. They also discussed the look of various materials that may be used in the design, in keeping with the company's goal to create fashionable electronics. | 5 | amisum | train |
Michael Albright: Um we are So the meeting will have about the same format as the last time. So switching over I've just left uh
Robert Foster: Mm-hmm.
Michael Albright: my first two screens. Um I have mailed you the minutes of the last meeting uh just to save time.
Robert Foster: Okay. Cool.
Michael Albright: Um and is there any questions you have that arised from last meeting that are particularly bothering you?
Robert Foster: Mm um.
Michael Albright: N
Robert Foster: No I don't think so.
Michael Albright: No? Okay, cool.
Clifton Ellis: No.
Michael Albright: Then we shall start with a presentation from Raj.
Richard Thibodeaux: Yeah. Hi, Richard Thibodeaux Raj, again Uh. in this meeting I I'm going to discuss about the trend watching, uh how these trends is going to affect our market potential and how important is this. So we have to look on this. First of all methodology. The met methodology to find out the trend was incl uh was done in a way We have done a rec not only a recent remote control market survey, but we also considered the latest fre fashion trends of the market, we think that this is also a factor which will affect our sales and profit. So what are our findings? In our uh in our findings we have seen that when we did our remote control market survey we found that uh people l uh people do have preference for tho fancy mobi uh f remote controls which look and feel very good, rather than having a functional look and feel uh good. So this sh this clearly indicates their preference for the design their outlook of the remote controls. So we should take into uh we should consider this factor as the most important factor, because this factor is twice as important, the second factor which is further ti twice the as important as the sec as uh the third factor. So this factor becomes the most important factor in our surv uh uh in our mark uh means in take in designing our rem uh remote controls.
Robert Foster: The last one is the most important one, is
Richard Thibodeaux: No
Robert Foster: it?
Richard Thibodeaux: the first
Robert Foster: Oh, sorry.
Richard Thibodeaux: one is the uh the outlook of the mobile, the it should have a fancy outlook,
Robert Foster: Okay.
Richard Thibodeaux: the fancy design
Robert Foster: Okay.
Richard Thibodeaux: uh rather than just having a functional look and feel good, it should have a fancy look and foo feel good. The second most important aspect is that remote control should be a technologically uh innovative. We must have some technological advancement in the remote control tha rather than just putting it as it is as the other remo uh remote controls are. So it uh should be technologically innovative like glow-in-the-dark or speech recognition, something like that. So that indicates our technological advancement.
Robert Foster: Mm-hmm.
Richard Thibodeaux: And the third most important aspect in the ta to take into consideration is that it should be easy to use,
Robert Foster: Mm-hmm.
Richard Thibodeaux: like it shouldn't be too much co complicated, there shouldn't be too many buttons on this mobi uh remote control, it shouldn't be too complicated uh like this way. And it should be uh and customers should be provided with manuals that is easy to understand in their local language, something. So that they could know how to use these remote controls. When we did uh f fashions uh, recent fashion uh our recent fashion update shows that
Robert Foster: Sorry.
Richard Thibodeaux: Ah yeah?
Robert Foster: I was just reading fruit and vegetables. Hard to know how we are going to incorporate that.
Richard Thibodeaux: Y yeah uh yeah, we have to, because uh d you can see how people have related their clothes, shoes, and everything with fruits and vegetables, because the g world is now changing it's trend towards organic,
Robert Foster: Okay.
Richard Thibodeaux: becoming more and
Robert Foster: Yeah.
Richard Thibodeaux: more organic, becoming
Clifton Ellis: We should make a big sponge lemon and
Robert Foster: Yeah.
Richard Thibodeaux: Yeah.
Clifton Ellis: then it'd be it would be yellow.
Richard Thibodeaux: So
Robert Foster: Th
Clifton Ellis: It's Yeah.
Robert Foster: that's
Richard Thibodeaux: Yeah.
Robert Foster: very good.
Richard Thibodeaux: So something
Robert Foster: Glow-in-the-dark.
Richard Thibodeaux: like that we we should do.
Robert Foster: Okay.
Richard Thibodeaux: And people uh the f feel of the material is expected to be spongy rather than just having a plastic look, hard look.
Robert Foster: Well, that's
Clifton Ellis: Mm.
Robert Foster: good. That's
Richard Thibodeaux: Yeah.
Robert Foster: what we kind of
Richard Thibodeaux: Yeah.
Robert Foster: predicted
Richard Thibodeaux: So
Robert Foster: anyway.
Richard Thibodeaux: so that they could play with it while handi uh while handling it.
Robert Foster: Okay.
Richard Thibodeaux: So that should also be taken
Robert Foster: Okay.
Richard Thibodeaux: into consideration. So
Robert Foster: Okay.
Richard Thibodeaux: these are my views. So
Robert Foster: spongy, not real spongy, you can
Richard Thibodeaux: No it
Robert Foster: Do
Richard Thibodeaux: ca
Robert Foster: you think like rubber would be good or does it
Richard Thibodeaux: y
Robert Foster: really want to be
Richard Thibodeaux: a The
Robert Foster: like gel kind of
Richard Thibodeaux: rubber
Robert Foster: stuff?
Richard Thibodeaux: which is good for health and which is quite disposable
Robert Foster: Okay.
Richard Thibodeaux: that we
Robert Foster: Quite
Richard Thibodeaux: can take
Robert Foster: disposable.
Richard Thibodeaux: into co Yeah.
Robert Foster: Okay.
Richard Thibodeaux: 'Cause we It shouldn't be have any harm to the environment also,
Robert Foster: Oh
Richard Thibodeaux: because
Robert Foster: okay.
Michael Albright: Alright,
Richard Thibodeaux: our company
Michael Albright: okay.
Richard Thibodeaux: is very well for taking all these concerns into consideration,
Robert Foster: Uh-huh.
Richard Thibodeaux: so we don't want to have any harm to the society,
Robert Foster: Okay.
Richard Thibodeaux: so
Michael Albright: Fashion.
Robert Foster: Cool.
Michael Albright: Mm
Richard Thibodeaux: So
Michael Albright: 'kay.
Richard Thibodeaux: that's all.
Michael Albright: Fruit and veg, well there you go. Just what I think of
Robert Foster: Mm.
Michael Albright: when I think of a
Robert Foster: A remote control?
Michael Albright: remote control.
Robert Foster: Yeah. And were there any factors that weren't important in the survey, that they said we don't want?
Richard Thibodeaux: S uh we
Robert Foster: Or
Richard Thibodeaux: didn't
Robert Foster: was it just
Richard Thibodeaux: find out any such
Robert Foster: Okay.
Richard Thibodeaux: point. Uh
Michael Albright: Mm-mm-mm-mm.
Richard Thibodeaux: yes, there could be, but we couldn't find out any,
Robert Foster: Cool.
Richard Thibodeaux: so
Michael Albright: Mm-mm-mm-mm-mm.
Robert Foster: F_, what is it? Um.
Michael Albright: Function F_ eight.
Robert Foster: yeah.
Michael Albright: Hmm.
Robert Foster: Okay.
Richard Thibodeaux: Yeah.
Robert Foster: No signal.
Richard Thibodeaux: Oh no,
Robert Foster: Is that?
Clifton Ellis: No,
Richard Thibodeaux: Yeah,
Clifton Ellis: it's got
Richard Thibodeaux: uh yeah,
Clifton Ellis: it's got
Richard Thibodeaux: uh yeah.
Clifton Ellis: it.
Richard Thibodeaux: Yeah.
Robert Foster: Okay,
Michael Albright: Excuse
Robert Foster: and then
Michael Albright: Richard Thibodeaux.
Robert Foster: F_ five, right?
Michael Albright: Uh, yeah.
Robert Foster: Okay. Um okay, so the interface concept um. Yeah. The interface specification, what people um how they interact with it basically, I think. Um so the method, we looked at existing designs, what are the what's good about them, what's bad about them, um I looked at their flaws, so we're going to look at their flaws, everything. Um and what the survey told us and what we think would be good, so a bit of imagination.
Michael Albright: Mm 'kay.
Robert Foster: Uh the findings, I've got some pictures to show you as well.
Michael Albright: either.
Robert Foster: Yeah.
Richard Thibodeaux: Hmm.
Robert Foster: Okay, so most remote controls use graphical interface, where you um have got s buttons and you point it rather than having the output as a a stream of text or something.
Michael Albright: Uh okay.
Robert Foster: Um and we also found that there's inconsistent layout, which makes it confusing. So I think for our remote control There is some inconsistency already in ec existing in between remote controls, but I think standard kind of um shape and uh play and those kind of but buttons like the the top right for on and off or something, I think,
Michael Albright: Right,
Robert Foster: people
Michael Albright: okay.
Robert Foster: find that
Michael Albright: Yeah.
Robert Foster: important,'cause then it's easy to use. And we've got some pictures of some uh new remote controls to show you. Do
Michael Albright: Excellent.
Robert Foster: I press Escape F_ five?
Michael Albright: Uh
Robert Foster: Or
Michael Albright: no
Robert Foster: just
Michael Albright: just escape
Robert Foster: Escape,
Michael Albright: should
Robert Foster: okay.
Michael Albright: uh
Robert Foster: Um, oh I still haven't got my glasses on. Yeah, okay. So these are the some of the pictures of existing ones.
Clifton Ellis: Wow.
Robert Foster: I'll just walk you through them. This one is a voice recognition. And
Michael Albright: 'Kay.
Robert Foster: that's the kind
Michael Albright: Looks
Robert Foster: of idea
Michael Albright: pretty
Robert Foster: we're going
Michael Albright: complicated.
Robert Foster: for. There's um an L_C_D_ thing, which we thought could I thought could get a bit confusing and a bit
Michael Albright: Right,
Robert Foster: expensive
Michael Albright: okay.
Robert Foster: as well for us. This one is got a kind of scroll like a mouse,
Michael Albright: Mm-hmm,
Robert Foster: which
Michael Albright: like the middle button.
Robert Foster: Yeah.
Michael Albright: Okay.
Robert Foster: Um and But I'm not exactly sure how you'd use that, like
Michael Albright: Ah it's
Robert Foster: would
Michael Albright: kinda
Robert Foster: the
Michael Albright: like scrolling
Robert Foster: computer
Michael Albright: uh
Robert Foster: come
Michael Albright: right, well, if I s if I'm thinking of the right one, I've got the same thing in front of my monitor, you scroll it and the when you reach the sort of um menu item that you require, you press the
Robert Foster: Uh-huh,
Michael Albright: middle
Robert Foster: that's like
Michael Albright: of the scroll.
Robert Foster: the L_C_D_ one, is
Michael Albright: Right,
Robert Foster: it?
Michael Albright: okay.
Robert Foster: But the one below that has got like a little scroll function on the side. But I presume that the functions must come up on the T_V_ screen.
Michael Albright: Yeah,
Robert Foster: I
Michael Albright: presumably.
Robert Foster: think
Richard Thibodeaux: Yeah.
Robert Foster: that's what that is. So these are just a few ideas. Again that's just quite boring shape, grey, looks quite space-agey, but too many buttons, I think
Michael Albright: Yeah,
Robert Foster: on
Clifton Ellis: Uh
Robert Foster: that
Clifton Ellis: it looks
Michael Albright: looks
Robert Foster: one.
Clifton Ellis: threatening.
Michael Albright: like uh looks like something out
Robert Foster: Yeah,
Michael Albright: of a jet.
Robert Foster: it does look kind of dangerous.
Clifton Ellis: It looks like
Richard Thibodeaux: Hmm.
Robert Foster: Um
Clifton Ellis: yeah.
Robert Foster: this one I thought was really cool. It's w it's got the programmability function that we talked about. You can put it in there, it's for your kids, and it's quite an organic shape and the little circle around there is pretty cool.
Michael Albright: Okay.
Robert Foster: And that's really easy to use, bright, so I like this one lot for our design. I think something like that would be good.
Clifton Ellis: Wow.
Michael Albright: Yeah,
Robert Foster: Of course
Michael Albright: I m
Robert Foster: yellow.
Michael Albright: I mean the one thing I think about about these ones is um these kl uh secured areas um, I've seen a lot of them with the the cover missing.
Robert Foster: Right,
Michael Albright: So
Robert Foster: yeah.
Michael Albright: like have it hinge rather than sort
Robert Foster: Yeah,
Michael Albright: of clip on
Robert Foster: that's
Michael Albright: or whatever.
Robert Foster: true. Yeah. Um so maybe that could be built into one of the things and it comes up on the T_V_ or something. And this one, the over-sized one, I don't know about you, but I think it's a bit too gimmicky. I don't think
Michael Albright: Yeah.
Robert Foster: that will
Michael Albright: I mean is
Robert Foster: sell
Michael Albright: that not
Robert Foster: very
Michael Albright: sort
Robert Foster: well.
Michael Albright: of to assist the blind or something, is it?
Robert Foster: I guess so. I don't know. I think
Michael Albright: Strange.
Clifton Ellis: Then
Robert Foster: that's a bit
Clifton Ellis: d blind don't watch T_V_.
Robert Foster: Yeah
Michael Albright: No they do,
Robert Foster: exactly.
Michael Albright: they do. They
Clifton Ellis: They
Michael Albright: listen
Clifton Ellis: do?
Michael Albright: to it. Yeah.
Robert Foster: Yeah. And um this one is just pointing out. I like some of these things um the the raised symbols and everything, but pointing out um that this one the volume it is kind of pressing down, but it would actually go up, because
Michael Albright: Right,
Robert Foster: of the
Michael Albright: okay.
Robert Foster: shape. So that could that's a bit confusing. Um but the buttons on this I think are it's just showing you how you can have different different um buttons. They don't have to be all the same. So that's quite cool. Um.
Michael Albright: 'Kay but people tend to recognise certain shapes to do certain things anyway,
Robert Foster: Yeah,
Michael Albright: don't they?
Robert Foster: exactly. Um F_ five. Yes. So there are some of the findings. So we need to combine those ones um
Michael Albright: Brilliant. That's handy.
Robert Foster: Um yeah it is, just in time, very handy. Um so I think maybe incorporating that in our design would be good. It's you
Michael Albright: Okay.
Robert Foster: program it like you say, record, um and then, play, and then, record, play machine, and stuff like that, so that's And it's much Yeah. So that's quite cool. Uh personal preferences just some imagination, the raised symbols I thought were good, the L_C_D_, it does look smart, but I think maybe for our budget, do you think that would be a bit too expensive to have the
Clifton Ellis: The L_C_D_
Robert Foster: Yeah.
Clifton Ellis: and the other stuff uh, I think.
Robert Foster: And the speech recognition, 'cause I think we're definitely going for the speech recognition, are we?
Richard Thibodeaux: But in our market survey we have seen that people are willing to pay more, but
Robert Foster: Uh-huh.
Richard Thibodeaux: they want the quality, they want f fancy look, they want some new design, something new.
Michael Albright: Okay.
Robert Foster: Uh-huh.
Richard Thibodeaux: Uh
Robert Foster: But our budget,
Michael Albright: It's still
Richard Thibodeaux: yeah.
Michael Albright: it's still got
Robert Foster: we've
Michael Albright: to get within
Richard Thibodeaux: Yeah.
Robert Foster: Yeah.
Michael Albright: our twelve fifty,
Richard Thibodeaux: So even
Michael Albright: you know.
Richard Thibodeaux: if we increase our cost little bit, within uh some limits, and we give something new technological advancement as well as new design with fancy outlook,
Robert Foster: Uh-huh.
Richard Thibodeaux: I think we will meet the requirements and we will be able to have a good sales
Robert Foster: Okay.
Richard Thibodeaux: in the market.
Robert Foster: I'm not
Michael Albright: Okay.
Robert Foster: sure if
Clifton Ellis: Ben
Robert Foster: the if
Clifton Ellis: bana
Robert Foster: for twenty five Euros uh per uh twelve Euros fifty m
Michael Albright: Yeah.
Robert Foster: manufacturing cost,
Michael Albright: I can't see tha Although, th I mean
Robert Foster: The
Michael Albright: to
Robert Foster: L_C_D_.
Michael Albright: be to be sure they have got I mean they are going crazy with the L_C_D_ technology now, so that you've got your L_C_D_ T_V_s and everything so maybe the small
Robert Foster: Yeah.
Michael Albright: But I mean like I I the black and white, I guess, it just doesn't look funky enough.
Robert Foster: No.
Michael Albright: Um but, I mean, like even mobile phones or whatever have now have colour L_C_D_ screens, w
Robert Foster: Yeah.
Michael Albright: I ju
Clifton Ellis: Hmm.
Robert Foster: S
Michael Albright: I mean I wouldn't know about the costs of them.
Robert Foster: Uh-huh.
Clifton Ellis: But uh
Michael Albright: Twelve
Clifton Ellis: price
Richard Thibodeaux: And
Michael Albright: fifty.
Richard Thibodeaux: the
Clifton Ellis: not withstanding, is it, is be just overload?
Richard Thibodeaux: Uh
Robert Foster: Yeah, that's
Richard Thibodeaux: i
Robert Foster: the thing, because
Michael Albright: Possibly.
Richard Thibodeaux: it will be easy because there will be, on L_C_D_ s screen, there will be different frent icons, they can just click
Clifton Ellis: But but
Richard Thibodeaux: ok okay, whatever
Clifton Ellis: the
Richard Thibodeaux: they
Clifton Ellis: thing
Richard Thibodeaux: wa
Clifton Ellis: is when you use a remote control, you never look at it, right?
Michael Albright: Yeah.
Clifton Ellis: You're looking at the
Robert Foster: Yeah.
Clifton Ellis: T_V_
Michael Albright: Yeah.
Clifton Ellis: and
Robert Foster: That's true, yeah.
Clifton Ellis: and it's uh It just seems kind of like a
Robert Foster: And one of the
Clifton Ellis: a needless
Robert Foster: survey
Clifton Ellis: th
Robert Foster: findings was that they want it easy to use, so I
Michael Albright: Right.
Robert Foster: think I'm not sure about the L_C_D_. It's a it's great, it's a good idea, but for our budget and for the thing we're trying to go for eas easy to use, it's not the thing we should go for, I think. Child-friendly, I thought this was good, as you pointed out the um the bit, it often goes missing especially with children, but it's a good shape and the organic is kind of we could make a vegetabley kind of round shape, I think.
Clifton Ellis: So which
Michael Albright: Yeah.
Clifton Ellis: vegetable?
Michael Albright: Well I mean we
Robert Foster: Yeah,
Michael Albright: could make a
Robert Foster: I know, carrot.
Michael Albright: Yeah. Well, si
Clifton Ellis: Okay.
Michael Albright: since we're going for the uh the k the sort of company colours, I think your lemon wasn't that far
Clifton Ellis: The the lemon.
Michael Albright: s
Robert Foster: Yeah.
Clifton Ellis: Well what are the options?
Michael Albright: And if it doesn't work you know,
Robert Foster: But
Michael Albright: we've
Robert Foster: we don't
Michael Albright: just
Robert Foster: want
Michael Albright: made
Robert Foster: it to
Michael Albright: a lemon.
Robert Foster: be Yeah. Um the child-friendly, yeah. Easy to use, it seems quite easy to use. I like the d the different shapes of the buttons and
Michael Albright: Mm-hmm.
Robert Foster: stuff. I think
Michael Albright: I
Robert Foster: that's
Michael Albright: like
Robert Foster: a good idea
Michael Albright: I like
Robert Foster: to go
Michael Albright: the colourful
Robert Foster: for.
Michael Albright: buttons as well.
Robert Foster: Yeah. And the mouse one, I thought it was a good idea, because people use mo mice mouses now with the scrolling
Michael Albright: Yeah.
Robert Foster: thing. Um.
Michael Albright: I mean we are marketing to sort of twenty five to thirty
Robert Foster: Yeah.
Michael Albright: five, so most people will have come in contact with that
Robert Foster: S yeah.
Michael Albright: kind of use.
Robert Foster: So they'd be able to use that um, as I said I think i I'd presume it would come up on the screen.
Michael Albright: Yeah.
Robert Foster: Um so there
Michael Albright: And
Robert Foster: you
Michael Albright: that
Robert Foster: go.
Michael Albright: means tha that means you get to bump that bit to the T_V_ maker, so
Robert Foster: Yeah.
Clifton Ellis: Oh.
Robert Foster: So that's um the user interface
Michael Albright: 'Kay.
Robert Foster: design. So
Clifton Ellis: Okay.
Robert Foster: okay, I'll take this out now then.
Clifton Ellis: Um
Robert Foster: There you go.
Clifton Ellis: so I guess there are a lot of options that we're gonna have to choose from among,
Michael Albright: Yeah,
Clifton Ellis: and
Michael Albright: looks
Clifton Ellis: I'll
Michael Albright: like it.
Clifton Ellis: I'll give you the uh,
Robert Foster: Mm.
Clifton Ellis: I guess, technical considerations for those.
Michael Albright: Uh
Clifton Ellis: And I'm gonna use the whiteboard, just 'cause we haven't used it.
Michael Albright: Yeah, I was just thinking the self same
Clifton Ellis: Right.
Michael Albright: thing.
Clifton Ellis: So, the way I'm gonna do this is uh we're gonna take a look at some old remote controls, see how they work, uh reuse the the vital kind of um essential pieces of it, and then we'll throw in our new innovations um and keep it all within budget. So uh
Michael Albright: Magic man.
Clifton Ellis: yeah, looking inside a a very simple remote control. Um this is what they sent Richard Thibodeaux. 'Kay. Here's uh the competition, I suppose. Um you open it up, there's a circuit board inside,
Michael Albright: Mm-hmm.
Clifton Ellis: um and there's a a chip, a processor, the T_A_ one one eight three five, which um receives input from the buttons,
Michael Albright: So
Clifton Ellis: and
Michael Albright: this
Clifton Ellis: ch
Michael Albright: is a standard off the shelf kind of a chip, is it?
Clifton Ellis: Right, it's very they're very cheap remote. This remote costs nothing, you know. Um so that takes a signals from the buttons and translates it into a sequence of pulses that it then sends to the to the amplifier, which is made of some transistors and amplifiers, op-amps, and then that gets sent to the uh to the L_E_D_ light, which I can kinda see is that little red light bulb
Robert Foster: Mm-hmm.
Clifton Ellis: at the end,
Michael Albright: Right.
Clifton Ellis: and that sends out the infrared uh light signal to the television. Oh here it is. Um so this is kind of the the bear essentials that we need to have in our remote control, because
Michael Albright: Okay.
Clifton Ellis: it it defines
Michael Albright: So
Clifton Ellis: the uh
Michael Albright: can we make them to pretty much any size we like or is there a minimum
Clifton Ellis: R
Michael Albright: or?
Clifton Ellis: Um no, I mean this is a very old one, so now with the new technology this is a
Michael Albright: They gotta be
Clifton Ellis: a minimally small and cheap thing
Michael Albright: Almost
Clifton Ellis: to
Michael Albright: a
Clifton Ellis: make.
Michael Albright: key-ring.
Clifton Ellis: Right. So this is what we need to have for certain. Um.
Michael Albright: Okay.
Clifton Ellis: So you know, as we said, we got the outer casing, which we have to decide, you know, what's it gonna be, um the board we have to use basically uh the same set-up, processor, um we'll probably use the more advanced processor than they had, amplifier and transmitter are all standard. Um so for the casing, uh this an e-mail I got from our manufacturing team uh, you know, we have a bunch of options from wood, titanium, rubber, plastic, whatnot, um latex, double-curved, curved. So
Michael Albright: 'Kay.
Clifton Ellis: lots of choices, what do we think? Uh or
Michael Albright: Well.
Clifton Ellis: sponge, I guess, isn't on there, right.
Robert Foster: Mm.
Clifton Ellis: Organic
Michael Albright: Well, I mean like
Clifton Ellis: sponge.
Robert Foster: I'm
Michael Albright: la
Robert Foster: not
Michael Albright: latex
Robert Foster: sure about the sponge.
Michael Albright: has a kinda spongy feeling to it, doesn't it. Um
Clifton Ellis: Uh yeah, it's very elasticy for sure.
Michael Albright: Yeah.
Robert Foster: Yeah.
Michael Albright: And that would k also give it kinda durability and
Robert Foster: Yeah.
Clifton Ellis: Um.
Michael Albright: and ther that's also f sorta relatively cheap to cast.
Clifton Ellis: Yeah so
Michael Albright: Um so maybe s uh a sort of uh plastic initial plastic with a a latex kinda sheath?
Clifton Ellis: Okay so, here are a a plastic, uh latex
Robert Foster: I like the rubber, the stress balls, I think, you know,
Michael Albright: Oh right,
Robert Foster: that
Michael Albright: okay.
Robert Foster: could be a bit of a gimmick like it's
Clifton Ellis: Oh
Michael Albright: I don't
Clifton Ellis: right.
Michael Albright: know what that
Robert Foster: good
Michael Albright: stuff
Robert Foster: to hold
Michael Albright: is.
Robert Foster: and
Clifton Ellis: So something with give to it.
Michael Albright: Yeah.
Robert Foster: Yeah.
Clifton Ellis: Okay.
Robert Foster: And
Clifton Ellis: And
Robert Foster: that might be quite durable and easy to chuck around.
Clifton Ellis: and the colour is yellow, right?
Robert Foster: Yeah,
Michael Albright: Or at least
Robert Foster: y
Michael Albright: incorporating,
Robert Foster: yellow
Michael Albright: yeah.
Robert Foster: incorporated,
Clifton Ellis: Yellow,
Robert Foster: yeah.
Clifton Ellis: okay. Um.
Michael Albright: I mean I forgot i we're sort of uh I don't know what other
Robert Foster: I think
Michael Albright: standard silver kind of
Robert Foster: Mm.
Michael Albright: Other parts or uh
Robert Foster: Yeah, the buttons w like, 'cause there's gonna be the the cover the the rubber or the plastic casing and then the buttons in probably
Michael Albright: Mm-hmm.
Robert Foster: two different colours or i if
Clifton Ellis: Mm' kay.
Robert Foster: we're having buttons actually,
Clifton Ellis: So
Robert Foster: I
Clifton Ellis: yellow
Robert Foster: don
Michael Albright: Um.
Clifton Ellis: for the body, and then what colour for the buttons?
Michael Albright: Um I quite like the multi-coloured buttons myself.
Robert Foster: Yeah.
Clifton Ellis: So multi-coloured buttons.
Robert Foster: You do have ones like um play could be green or on and off is red, and stuff like that, yeah.
Michael Albright: Yeah or yeah a limit uh maybe
Robert Foster: Makes
Michael Albright: even
Robert Foster: it
Michael Albright: just
Robert Foster: easy
Michael Albright: a limited
Robert Foster: to use.
Michael Albright: multi-colour so it it doesn't look too childish,
Robert Foster: Yeah,
Michael Albright: perhaps.
Robert Foster: that's true, because that blue one did look
Michael Albright: Yeah.
Robert Foster: quite hardish.
Clifton Ellis: Okay.
Michael Albright: Although I mean this uh uh also comes to shape as well. I mean if we are gonna make it a novel I mean double-curved sounds good to Richard Thibodeaux if
Clifton Ellis: Okay.
Michael Albright: we're talking
Robert Foster: Mm-hmm.
Michael Albright: about sorta ergonomic and easy use,
Robert Foster: Mm-hmm. Yeah.
Michael Albright: a bit comfier, you know.
Robert Foster: Yeah.
Clifton Ellis: Mm 'kay so the shape we wanna go Um how exactly? Maybe double
Robert Foster: Like uh an hour glass kind of figure, is that what you're thinking of, or
Michael Albright: Yeah
Robert Foster: just
Michael Albright: it's uh,
Robert Foster: like
Michael Albright: yeah,
Robert Foster: a
Michael Albright: that that'd be that's sort of comfortable to hold, easy to hold so you don't
Robert Foster: It's
Michael Albright: drop
Robert Foster: not
Michael Albright: it.
Clifton Ellis: What about
Robert Foster: Yeah.
Clifton Ellis: a banana? Yeah?
Robert Foster: We could make novelty remote controls.
Clifton Ellis: Okay,
Michael Albright: Well, yeah, I mean like
Clifton Ellis: like we could have a big banana shaped remote control, 'cause it's yellow fruit,
Michael Albright: Yeah,
Clifton Ellis: right?
Michael Albright: yeah. Mm
Robert Foster: Yeah.
Michael Albright: and a lemon might be a
Robert Foster: But
Michael Albright: little
Robert Foster: then how
Michael Albright: hard
Robert Foster: would
Michael Albright: to
Robert Foster: you point
Michael Albright: grip.
Robert Foster: it?
Richard Thibodeaux: Ah
Michael Albright: Yeah.
Richard Thibodeaux: yeah. Mm-hmm.
Robert Foster: How would you point it?
Clifton Ellis: Oh
Robert Foster: What
Clifton Ellis: i it doesn't matter which end you point, I guess. We could have a little L_E_D_s on each end.
Michael Albright: They only cost pennies.
Richard Thibodeaux: Yeah, I appreciate this idea, because then this this will help us in our advertisement also and we can relate with fruits and vegetables, the people's choices. That what our data shows that,
Robert Foster: Yeah.
Richard Thibodeaux: so this w this
Michael Albright: Huh?
Richard Thibodeaux: w
Robert Foster: y I'm I'm not sure about the banana idea.
Clifton Ellis: So a
Michael Albright: Um.
Clifton Ellis: spongy
Robert Foster: Rubber
Clifton Ellis: banana
Robert Foster: banana.
Michael Albright: I mean
Clifton Ellis: re Yeah.
Michael Albright: that that th
Robert Foster: Okay.
Michael Albright: does it does seem a bit uh again childish maybe.
Robert Foster: Yeah.
Clifton Ellis: Okay, okay.
Robert Foster: I think maybe just draw on the kind of fruit and vegetable shape. And what else did you say about fashions? What was trendy?
Richard Thibodeaux: Uh the fashion trend shows
Michael Albright: S
Richard Thibodeaux: that fruits and vegetables,
Clifton Ellis: See
Richard Thibodeaux: like people uh
Michael Albright: And sponginess.
Richard Thibodeaux: now
Robert Foster: And
Clifton Ellis: So
Robert Foster: spongy,
Clifton Ellis: maybe an an
Richard Thibodeaux: Spongy.
Robert Foster: yeah.
Clifton Ellis: unidentifiable fruit or
Robert Foster: Yeah.
Clifton Ellis: fiable fruit or vegetable
Robert Foster: Yeah.
Clifton Ellis: like so it would have a stem perhaps and
Robert Foster: Maybe,
Clifton Ellis: a
Robert Foster: yeah.
Clifton Ellis: maybe a it'd be s
Michael Albright: Huh.
Robert Foster: Like
Clifton Ellis: axially
Robert Foster: what's
Clifton Ellis: symmetric.
Robert Foster: what's that, I don't even know the name of it, some kind of, you know where it's like looks like a little snowman kind of thing. I don't know the name of that.
Clifton Ellis: So it'd look like this kinda.
Robert Foster: Yeah, that's what I was thinking.
Clifton Ellis: Like a gourd
Michael Albright: Uh.
Robert Foster: Yeah,
Clifton Ellis: almost,
Robert Foster: maybe that's what they are.
Clifton Ellis: or a squash of some sort?
Robert Foster: 'Cause that you can hold it in like the bottom bit and
Clifton Ellis: Yeah, and it has a a clear top and bottom so
Robert Foster: Yeah.
Clifton Ellis: y so you could say, you know, it transmits from this end.
Michael Albright: Yeah, why the hell not. Let's
Robert Foster: I don't know.
Michael Albright: that'll make us fifty
Robert Foster: What do you
Michael Albright: million
Robert Foster: guy
Michael Albright: Euros.
Robert Foster: What do you think?
Michael Albright: Um. Well, I guess it's kind of dra uh you don't necessarily have to have it sort of clearly identified as a fruit just
Robert Foster: No.
Michael Albright: to have that kind of fruitish shape,
Clifton Ellis: Yeah.
Robert Foster: Yeah.
Michael Albright: yeah?
Richard Thibodeaux: Yeah, then only we can relate it
Michael Albright: Yeah,
Richard Thibodeaux: with
Michael Albright: we
Richard Thibodeaux: something.
Michael Albright: can relate it by advertising
Richard Thibodeaux: Yeah.
Michael Albright: or
Richard Thibodeaux: Exactly.
Clifton Ellis: Okay, so double-curved, single-curved, what do we feel?
Michael Albright: Yeah.
Richard Thibodeaux: Or the public choose
Robert Foster: Uh-huh.
Richard Thibodeaux: what they want.
Michael Albright: There's
Clifton Ellis: Okay.
Michael Albright: a good man. There's a good idea.
Robert Foster: Okay.
Clifton Ellis: Okay um, I guess, since you're the marketing guy.
Richard Thibodeaux: Yeah, sure.
Clifton Ellis: We'll
Richard Thibodeaux: I will
Clifton Ellis: uh
Richard Thibodeaux: be happy to do that.
Clifton Ellis: Okay, we could do that. Um.
Robert Foster: Okay. And buttons would, did we say? Uh different shapes of buttons?
Michael Albright: Um I l I su I mean for the specific functions, you know, up and down, uh
Robert Foster: Mm.
Michael Albright: play, stop.
Clifton Ellis: Okay,
Michael Albright: They've
Clifton Ellis: so
Michael Albright: got, I mean, they've got standard sort of intuitive um
Clifton Ellis: so buttons.
Michael Albright: things that are always used.
Clifton Ellis: Okay, just like that.
Robert Foster: Yeah.
Michael Albright: That's cool. I like it.
Clifton Ellis: Okay.
Michael Albright: Um.
Clifton Ellis: With the scroll-wheel or no?
Robert Foster: Yeah, what about the scroll wheel and speech recognition?
Michael Albright: Uh speech recognition, I think, so we need a microphone presumably.
Clifton Ellis: Okay uh I could put the microphone here.
Robert Foster: Mm-hmm.
Clifton Ellis: Okay there's the microphone.
Michael Albright: Yeah.
Clifton Ellis: Where should I put
Michael Albright: I mean
Clifton Ellis: the
Michael Albright: ho
Clifton Ellis: microphone?
Michael Albright: h h wel are we sure that scroll wheel does give ease of use?
Robert Foster: Yeah, I'm not sure. Um I mean those ideas I saw were just for inspiration, I think.
Michael Albright: Glad, we're not doing
Robert Foster: Um
Michael Albright: this for real.
Robert Foster: yeah, I can no I'm not sure. I couldn Yeah.
Michael Albright: Yeah.
Clifton Ellis: Okay.
Michael Albright: And uh I think if this this new software for the sound recognition is the
Robert Foster: Yeah.
Clifton Ellis: Okay.
Michael Albright: microphone
Clifton Ellis: So should the microphone be just anywhere on it or
Michael Albright: I would put it sort of sub-centrally, so it's Yeah.
Robert Foster: Yeah.
Clifton Ellis: 'Kay there's the mic.
Michael Albright: So it can be sort of
Robert Foster: That's
Michael Albright: held
Robert Foster: cool.
Michael Albright: and w We really need really gonna need to hold it, if it's gonna be voice recognition.
Clifton Ellis: Um n well we can Whoops.
Michael Albright: Oops.
Clifton Ellis: Um.
Michael Albright: Um.
Robert Foster: So let's not use the whiteboard any more.
Clifton Ellis: Yeah. Um.
Michael Albright: Upsidaisy.
Clifton Ellis: Oops, sorry. Okay.
Robert Foster: And uh so what else was there? Um the What about the glow-in-the-dark thing, the strip around it? Are we just gonna
Michael Albright: I
Robert Foster: leave
Michael Albright: s
Robert Foster: that?
Michael Albright: I still like it. Um
Robert Foster: You still like it.
Michael Albright: but that's Richard Thibodeaux.
Robert Foster: 'Cause we've got the uh technological innovation with the speech
Clifton Ellis: Right.
Robert Foster: recognition
Michael Albright: Yes,
Robert Foster: system.
Michael Albright: or maybe it's just going a bit uh too far. I mean we are pushing it probably with
Robert Foster: 'Cause
Michael Albright: funny
Robert Foster: um it
Michael Albright: fruit
Robert Foster: could
Michael Albright: shapes.
Robert Foster: Yeah.
Michael Albright: Um don't wanna sort of overkill.
Robert Foster: Especially with yellow. Mm. I dunno.
Clifton Ellis: Hmm.
Michael Albright: 'Cause I mean like uh if we I mean how good is the speech recognition thing? Do we want to go for buttons at all, do we want to just have a device that maybe sits and pretends it's a fruit?
Robert Foster: Then you put it in the fruit bowl?
Michael Albright: Yeah, you know, and then
Clifton Ellis: They
Michael Albright: you
Clifton Ellis: can
Michael Albright: just
Clifton Ellis: work
Michael Albright: tal
Clifton Ellis: from
Michael Albright: I
Clifton Ellis: a
Michael Albright: mean
Clifton Ellis: You don't
Michael Albright: like
Clifton Ellis: have
Michael Albright: everybody's
Clifton Ellis: to hold it.
Michael Albright: got fruit bowl in front of the telly.
Clifton Ellis: Yeah.
Robert Foster: Mm-hmm.
Michael Albright: Um.
Clifton Ellis: I it could even encourage healthier habits for television watchers,
Robert Foster: Yeah.
Clifton Ellis: you know they have
Michael Albright: Yeah.
Clifton Ellis: uh fruits
Michael Albright: Make them
Clifton Ellis: all round
Michael Albright: make
Clifton Ellis: them.
Michael Albright: them think
Clifton Ellis: Now
Michael Albright: of fruit, yeah.
Richard Thibodeaux: Yeah.
Clifton Ellis: just make sure they don't eat the remote.
Michael Albright: I mean uh
Robert Foster: Yeah, do we
Michael Albright: some
Robert Foster: need buttons?
Michael Albright: uh I l like think of a fruit that could sit sort of independently on its own like uh, I dunno, an apple.
Robert Foster: Mm.
Michael Albright: Then it's just apple so sort of Uh,
Clifton Ellis: Yeah.
Michael Albright: yellow apples though Hmm.
Robert Foster: I quite like the shape. I quite like the design of that, uh 'cause that could sit on its own and
Michael Albright: Yeah.
Robert Foster: it's quite
Michael Albright: Okay,
Robert Foster: got
Michael Albright: yeah,
Robert Foster: a quite
Michael Albright: that's
Robert Foster: steady
Michael Albright: good.
Robert Foster: base.
Michael Albright: Groovy.
Clifton Ellis: Okay.
Robert Foster: Um
Clifton Ellis: But
Robert Foster: and
Clifton Ellis: yeah
Robert Foster: as we say we n we don't wanna be too ridiculous with the fruit things
Michael Albright: Yeah,
Robert Foster: you know.
Clifton Ellis: But yeah, about the speech thing, it doesn't have to be hand held or close. It can sit at a distance and
Michael Albright: Yeah.
Clifton Ellis: pick
Robert Foster: Okay.
Clifton Ellis: it up
Michael Albright: So
Clifton Ellis: still.
Michael Albright: I mean like you could actually Yeah,
Richard Thibodeaux: Or
Michael Albright: gives you
Richard Thibodeaux: we
Michael Albright: the
Richard Thibodeaux: can
Michael Albright: options.
Richard Thibodeaux: we can do one thing, we can just have a remote control and casings of different different shapes, different fruit shapes
Robert Foster: Mm-hmm.
Richard Thibodeaux: in such a way that a any casing can be could be fit into this mobile general piece.
Robert Foster: Mm-hmm.
Richard Thibodeaux: So whatever people want, like if somebody want it in banana shape, we will put that casing onto that mobile phone,
Robert Foster: Mm-hmm.
Richard Thibodeaux: okay,
Michael Albright: So a selection
Richard Thibodeaux: it will look
Michael Albright: of casings.
Richard Thibodeaux: l Uh yeah.
Robert Foster: Yeah,
Richard Thibodeaux: In
Michael Albright: It
Richard Thibodeaux: that
Michael Albright: kind
Robert Foster: 'cause
Michael Albright: of
Robert Foster: you
Michael Albright: fi
Richard Thibodeaux: w
Robert Foster: said
Michael Albright: it fits
Robert Foster: about disposable,
Michael Albright: with f fits with
Robert Foster: didn't
Michael Albright: marketing
Robert Foster: you?
Richard Thibodeaux: S s
Michael Albright: um
Richard Thibodeaux: sorry?
Robert Foster: You said about disposable earli people want disposable things so
Richard Thibodeaux: Uh
Robert Foster: we could
Richard Thibodeaux: like
Robert Foster: do that,
Richard Thibodeaux: if
Robert Foster: like
Richard Thibodeaux: this
Robert Foster: have a
Richard Thibodeaux: is
Robert Foster: choice.
Richard Thibodeaux: a like if this is a mobile phone uh we will design casing in such a way like half of, we need not to have a full cover,
Robert Foster: Yeah.
Richard Thibodeaux: we will just have a half of cover, okay?
Michael Albright: Like
Richard Thibodeaux: If somebody
Michael Albright: like mobiles,
Richard Thibodeaux: wants it
Robert Foster: Yeah.
Michael Albright: yeah.
Richard Thibodeaux: i in banana shape, we will fit banana shape casing onto that, so it will give a banana shape look. If somebody wanted in apple shape we will design that, we will put we will put apple shape casing on that. It will give apple shape look.
Robert Foster: Okay.
Richard Thibodeaux: So in that way you can have any, that means whatever you want,
Robert Foster: Okay.
Richard Thibodeaux: without
Robert Foster: We still
Richard Thibodeaux: uh yeah.
Robert Foster: need the buttons in the same places
Richard Thibodeaux: Yeah,
Robert Foster: thought, don't
Richard Thibodeaux: button will
Robert Foster: we?
Richard Thibodeaux: be
Michael Albright: You
Richard Thibodeaux: on
Michael Albright: can
Richard Thibodeaux: the upper
Michael Albright: standardise
Richard Thibodeaux: side,
Michael Albright: those, I mean.
Richard Thibodeaux: buttons will be the on the upper side.
Robert Foster: Oh, that's the
Richard Thibodeaux: Yeah,
Robert Foster: other side. Oh,
Richard Thibodeaux: buttons
Robert Foster: okay.
Richard Thibodeaux: will be on the upper side, lower side we will just put the casing, so half of that will be look
Robert Foster: Oh, half
Richard Thibodeaux: the
Robert Foster: a fruit.
Richard Thibodeaux: Yeah,
Robert Foster: Oh,
Richard Thibodeaux: not
Robert Foster: okay,
Richard Thibodeaux: not the
Robert Foster: okay.
Richard Thibodeaux: upper side. So from lower you can, it means while you are holding of from this side you c you can have banana look or apple
Robert Foster: Okay,
Richard Thibodeaux: look, whatever.
Robert Foster: okay.
Richard Thibodeaux: So in that way we need not to d have different different shape mobiles everything, we will just design casings fruit shape.
Robert Foster: Okay.
Clifton Ellis: Yeah
Michael Albright: I think
Richard Thibodeaux: And
Clifton Ellis: yeah.
Michael Albright: tho I think if you're gonna have a facia then you'd want to have it so that it does go over the buttons, 'cause when if you think about it if they're wanting it, 'cause they want to look at it, if they're using it, and what they want to look at is facing away from them.
Robert Foster: Mm
Michael Albright: It doesn't really
Robert Foster: mm.
Michael Albright: You know 'cause that'd be in the palm of their hand and they wouldn't be able to see
Robert Foster: Yeah.
Michael Albright: it, unless you have sort of you got the buttons options on one side, and you get the facia on the other side with a microphone so that you can place it face down. And you've got the facia, and you can just talk at the
Robert Foster: Mm-hmm.
Michael Albright: Maybe.
Clifton Ellis: Okay, um so
Michael Albright: So you've narrowed it down to half a dozen options.
Clifton Ellis: Yeah, s I guess we decided on material, right? So that that spongy latex rubber
Robert Foster: Yeah.
Clifton Ellis: everything feel,
Michael Albright: Yeah.
Clifton Ellis: and the colours we got down,
Robert Foster: Yeah.
Clifton Ellis: and
Michael Albright: Yeah.
Clifton Ellis: the shape, maybe we'll just make it kinda mix and match type of shape or
Robert Foster: Well, um because Well, I I'm not sure if we should go so far in the whole fruit thing, because I think we should maybe just take the inspiration from the fruit and uh
Michael Albright: Okay,
Robert Foster: because
Michael Albright: so we stick with what we've got there.
Robert Foster: what Yeah, w I think wh wha would we're trying to get to twenty five, thirty five year olds who want it quite trendy as well they said. They wanted something that looks fancy and I think maybe fruit could be a bit of a too much of a gimmick, but something ergonomically shaped and organic, like good to hold, based on fruits and natural things like that,
Michael Albright: Mm 'kay.
Robert Foster: because al already we're going a bit gaudy with the yellow, you know.
Michael Albright: Mm-hmm.
Robert Foster: I
Clifton Ellis: Yeah.
Robert Foster: mean we could make it nice pale yellow.
Michael Albright: Well, it's kind of gotta be our company's yellow.
Robert Foster: Okay.
Clifton Ellis: Okay.
Robert Foster: Okay.
Michael Albright: So again I mean like we could have, uh I mean, we could quite easily have the the main body be a different
Robert Foster: Yeah. Maybe we
Michael Albright: colour,
Robert Foster: could have
Michael Albright: but
Robert Foster: that
Michael Albright: have
Robert Foster: pale yellow and then an outside bit bright yellow with, you said, the logan the slogan.
Michael Albright: kinda going round, yeah.
Clifton Ellis: Mm.
Robert Foster: Because
Michael Albright: Um I mean e even if I mean not necessarily that the um the whole body has to be of the company colour, so
Robert Foster: Yeah.
Michael Albright: you know um blue and yellow tend to go to we well together. So you have the main body blue with the yellow logo and slogan running
Robert Foster: Yeah.
Michael Albright: up one side of it kind
Robert Foster: Yeah.
Michael Albright: of thing.
Robert Foster: Uh-huh.
Clifton Ellis: Mm-hmm.
Michael Albright: W sort of
Clifton Ellis: Great. Um as for the energy source um, you know, almost every remote control uses just batteries, but we don't have to be limited by that. We can use a hand-dynamo. Um I don't
Michael Albright: Uh
Clifton Ellis: know what that means, we crank
Michael Albright: It's
Clifton Ellis: it?
Michael Albright: I think it's basically the more you move i it, it's got a wee thing inside that just kinda
Clifton Ellis: Right, it's
Michael Albright: powers
Clifton Ellis: like those
Michael Albright: it.
Clifton Ellis: watches
Michael Albright: Uh
Clifton Ellis: that you
Michael Albright: yeah.
Clifton Ellis: c So, this
Robert Foster: Oh,
Clifton Ellis: might
Robert Foster: a
Clifton Ellis: be
Robert Foster: d
Clifton Ellis: an idea for
Robert Foster: a
Clifton Ellis: something
Robert Foster: dynamo?
Clifton Ellis: that people really wanna grab,
Richard Thibodeaux: Yeah,
Clifton Ellis: you can shake it if it's
Robert Foster: Yeah.
Clifton Ellis: out of power.
Robert Foster: Yeah,
Michael Albright: Yeah, I
Robert Foster: like
Michael Albright: like
Robert Foster: with
Michael Albright: that,
Robert Foster: those
Michael Albright: yeah.
Robert Foster: watches that you kind
Michael Albright: Yeah.
Robert Foster: of twist. Yeah
Clifton Ellis: Okay. So
Michael Albright: Okay.
Richard Thibodeaux: But
Robert Foster: that's
Clifton Ellis: if
Robert Foster: quite
Clifton Ellis: it if
Robert Foster: cool.
Clifton Ellis: it's not working,
Michael Albright: You shake
Clifton Ellis: I guess people's
Michael Albright: it and
Clifton Ellis: natural
Michael Albright: scream at
Clifton Ellis: reaction
Michael Albright: it.
Clifton Ellis: anyway is to
Michael Albright: Yeah.
Clifton Ellis: just
Richard Thibodeaux: But
Clifton Ellis: shake the thing.
Robert Foster: Yeah, it
Richard Thibodeaux: but
Robert Foster: is,
Richard Thibodeaux: do
Robert Foster: yeah.
Richard Thibodeaux: you think that it will be a good idea to use dynamo, tha these type of cells? Because then people have to, well like if the cell is out
Michael Albright: It does leave
Richard Thibodeaux: of
Michael Albright: them with
Richard Thibodeaux: bat
Michael Albright: an obligation to
Richard Thibodeaux: Yeah, to
Michael Albright: Especially
Richard Thibodeaux: mo
Michael Albright: if they want to use it uh uh
Richard Thibodeaux: Yeah.
Michael Albright: sp uh specifically as um voice activated.
Richard Thibodeaux: Yeah,
Michael Albright: Then
Richard Thibodeaux: because
Clifton Ellis: Right.
Robert Foster: Yeah,
Richard Thibodeaux: most
Michael Albright: if it's just
Richard Thibodeaux: of the
Michael Albright: sitting
Richard Thibodeaux: people
Robert Foster: then
Michael Albright: on the
Robert Foster: they have to pick it up and then activate
Richard Thibodeaux: Yeah.
Robert Foster: it and then Yeah.
Michael Albright: Okay, okay.
Robert Foster: That's true.
Clifton Ellis: Okay.
Michael Albright: Right um what are the other options?
Clifton Ellis: Uh there's solar power.
Richard Thibodeaux: Uh,
Clifton Ellis: Um.
Richard Thibodeaux: solar power will w also not be a good idea, because then they have to keep m their mobiles outside
Michael Albright: Yeah.
Richard Thibodeaux: in
Clifton Ellis: Yeah.
Richard Thibodeaux: solar energy, and the days when there is no sola
Michael Albright: I'm
Richard Thibodeaux: sunlight
Michael Albright: I'm with uh Raj
Richard Thibodeaux: Yeah.
Michael Albright: on that, I
Clifton Ellis: Okay,
Michael Albright: think,
Richard Thibodeaux: Yeah.
Clifton Ellis: so
Michael Albright: you
Clifton Ellis: probably
Michael Albright: know,
Clifton Ellis: just
Michael Albright: I've got I've
Richard Thibodeaux: What
Michael Albright: got no
Richard Thibodeaux: we
Michael Albright: I've got a north facing
Richard Thibodeaux: w
Michael Albright: house, there's not really
Richard Thibodeaux: yeah.
Michael Albright: ever sun
Robert Foster: But
Michael Albright: coming
Richard Thibodeaux: I
Robert Foster: w
Michael Albright: in
Richard Thibodeaux: think
Michael Albright: my
Robert Foster: like
Michael Albright: window.
Richard Thibodeaux: we should
Robert Foster: just
Richard Thibodeaux: a rechargeable
Robert Foster: normal light?
Michael Albright: Oh
Richard Thibodeaux: battery
Michael Albright: that's true.
Richard Thibodeaux: will be a good idea. They can
Michael Albright: I mean
Richard Thibodeaux: they
Michael Albright: I
Richard Thibodeaux: can
Michael Albright: w I
Richard Thibodeaux: recharge
Michael Albright: w uh that
Richard Thibodeaux: it.
Michael Albright: idea that I thought um just on the basis of like ridding them of batteries and that
Clifton Ellis: Mm.
Michael Albright: kind of bother
Robert Foster: And we're
Michael Albright: is
Robert Foster: a very
Michael Albright: having
Robert Foster: environmentally
Michael Albright: a,
Robert Foster: friendly company,
Michael Albright: yeah, having
Robert Foster: aren't
Richard Thibodeaux: Yeah.
Robert Foster: we as
Michael Albright: a
Robert Foster: well?
Michael Albright: rechargeable stand, so
Robert Foster: Yeah.
Michael Albright: that not only it doubles
Richard Thibodeaux: Yeah.
Michael Albright: as a stand, but um for using it as uh recharging it, but also for using it
Robert Foster: Yeah.
Michael Albright: as sound recognition.
Clifton Ellis: 'Kay.
Robert Foster: Like like a hand like one of those portable phones
Michael Albright: Yeah
Robert Foster: kind
Richard Thibodeaux: Yeah,
Robert Foster: of thing.
Michael Albright: that
Richard Thibodeaux: that's
Michael Albright: kind of thing.
Clifton Ellis: Okay.
Richard Thibodeaux: Yeah, exactly.
Clifton Ellis: So uh a rechargeable battery.
Michael Albright: Yeah.
Richard Thibodeaux: Yeah.
Clifton Ellis: Okay.
Michael Albright: Rechargeable.
Clifton Ellis: Um the user interface, the buttons, I guess we talked about this already.
Robert Foster: Mm.
Michael Albright: What's
Clifton Ellis: Um.
Michael Albright: chip on print? What's
Clifton Ellis: Hmm?
Michael Albright: Sorry, never mind.
Clifton Ellis: Uh th the uh the electronics um, basically the more features we add um Oops, this one. So the more features we add the fancier chips we need to buy
Robert Foster: Mm-hmm.
Clifton Ellis: and put in, which adds to the cost
Robert Foster: Mm-hmm.
Clifton Ellis: as you can expect. Um. But uh I think we can keep it all under budget. So uh yes, so the speech thing you said our our techno our research and development department came up with some break-through.
Robert Foster: Mm-hmm.
Clifton Ellis: So
Michael Albright: Yeah,
Robert Foster: Just
Michael Albright: and if
Robert Foster: in time.
Michael Albright: we if we're
Clifton Ellis: just
Michael Albright: just
Clifton Ellis: in time.
Michael Albright: having buttons and the speech then we're getting our cheapest option of chipping.
Clifton Ellis: Right, right.
Michael Albright: That's good. Uh woah.
Clifton Ellis: Yeah,
Michael Albright: Okay,
Clifton Ellis: and
Michael Albright: we're
Clifton Ellis: keeping
Michael Albright: we're kind
Clifton Ellis: the L_C_D_
Michael Albright: of uh
Clifton Ellis: screen out.
Michael Albright: we're kind of um Excuse m I've just deleted that whole thing. Um we're kind of running out of time, so if you could Uh. Was that you? Um
Clifton Ellis: Huh?
Michael Albright: that was your bit's covered, I just
Clifton Ellis: Oh
Michael Albright: dele
Clifton Ellis: yeah that
Michael Albright: I
Clifton Ellis: was that
Michael Albright: just
Clifton Ellis: was
Michael Albright: accidentally
Clifton Ellis: it.
Michael Albright: deleted what I was supposed to say next.
Richard Thibodeaux: Uh excuse Richard Thibodeaux,
Michael Albright: Um,
Richard Thibodeaux: Bri
Michael Albright: yeah.
Clifton Ellis: So
Michael Albright: Oh, yeah.
Clifton Ellis: control F_ eight, right?
Robert Foster: Yeah, mine seems to have turned off. I can't
Michael Albright: And I just
Robert Foster: do
Michael Albright: touch
Robert Foster: anything.
Michael Albright: the pad.
Richard Thibodeaux: You just touch the pad, yeah.
Robert Foster: No.
Richard Thibodeaux: No?
Michael Albright: It's actually shut down.
Robert Foster: It's on, but there's nothing
Michael Albright: Okay,
Robert Foster: on the screen.
Michael Albright: um now
Clifton Ellis: Try uh
Michael Albright: what
Clifton Ellis: flipping the screen
Michael Albright: we
Clifton Ellis: down.
Michael Albright: have uh our next meeting's in half an hour
Clifton Ellis: 'Kay.
Michael Albright: and what I would like you guys to do is work on giving Richard Thibodeaux a model in clay.
Clifton Ellis: Oh, I get to do it, too.
Michael Albright: Yeah.
Robert Foster: Cool.
Michael Albright: It's
Clifton Ellis: Oh
Michael Albright: you guys.
Clifton Ellis: neat.
Michael Albright: Yeah. So um, you know I mean, luckily we chose a nice simple shape.
Robert Foster: Yeah.
Clifton Ellis: Yeah,
Robert Foster: Mm.
Clifton Ellis: yeah.
Michael Albright: Um and further instructions will be sent by your personal coaches.
Robert Foster: Okay.
Clifton Ellis: Okay.
Richard Thibodeaux: That's great.
Clifton Ellis: Save everything to the shared documents, is that right?
Michael Albright: Uh yeah, I hope
Robert Foster: Yeah.
Michael Albright: I can recover this, 'cause I've accidentally deleted it.
Richard Thibodeaux: Mm-hmm.
Michael Albright: Which doesn't really help Richard Thibodeaux much.
Robert Foster: I think, I've saved mine already.
Michael Albright: Yeah, can you save that uh send that last one again, please, Raj, as I still
Richard Thibodeaux: Yeah.
Michael Albright: can't find it on the
Richard Thibodeaux: Uh it was under a different name. I will show you, in shared documents.
Michael Albright: Okay.
Richard Thibodeaux: Uh working components. Oh, you didn't get that.
Michael Albright: No.
Richard Thibodeaux: I will send new.
Michael Albright: Okay, thank you.
Richard Thibodeaux: Uh I'll put it in shared documents, again.
Michael Albright: Um yeah, Project, Project Documents.
Richard Thibodeaux: Project documents, sorry, I put it in the shared documents.
Michael Albright: Uh right, that's
Richard Thibodeaux: Uh yeah.
Michael Albright: that's the that it goes there automatically if you put it in Project Documents. Project Documents is on the um desktop.
Richard Thibodeaux: Right, that's great. But I cou can't open that, because it w asks uh for some username or password.
Clifton Ellis: Oh.
Michael Albright: Really?
Richard Thibodeaux: I'll show you.
Clifton Ellis: Uh these lapel mics are trouble.
Richard Thibodeaux: Ts
Michael Albright: Oh right, I think um Hold on.
Richard Thibodeaux: Sorry. Uh.
Michael Albright: Yeah, I don't know if y it it just ca it just came up on my um on my agenda. S Um presumably there's clay somewhere. Um. Four.
Richard Thibodeaux: Yeah, that's great.
Michael Albright: Whoops. Light, light, please. Light. Right, there you go.
Richard Thibodeaux: Yeah, th thank you.
Michael Albright: Yeah, quite. And we're using this our basic chip set, so it's all
Richard Thibodeaux: Oh sorry.
Michael Albright: good.
Clifton Ellis: Are we done with our meeting?
Richard Thibodeaux: Uh
Michael Albright: Um I think
Richard Thibodeaux: excuse
Michael Albright: we're almost
Richard Thibodeaux: Richard Thibodeaux, Brian.
Michael Albright: done, yeah.
Richard Thibodeaux: You have
Clifton Ellis: Yeah.
Richard Thibodeaux: to keep your pen separate, because I used your pen.
Michael Albright: Oh oops. Sorry
Richard Thibodeaux: S
Michael Albright: man. Uh okay, still didn't manage to get down all the last bits so we had rechargeable and Uh. Apples. Mm-mm-mm-mm-mm. 'Kay, so we came up with that, that's okay. What's supplements? Supplements. Uh uh. See.
Robert Foster: Cool. Fun.
Michael Albright: I shoulda something like that. If I kn see I I knew that. I shoulda sort of engineered it so we k ended up making a diffi difficult shape.
Richard Thibodeaux: Hmm.
Michael Albright: Just for cruelty.
Robert Foster: Yeah.
Richard Thibodeaux: Hmm.
Robert Foster: Star fruit.
Michael Albright: I wonder
Richard Thibodeaux: So
Michael Albright: if they mean
Richard Thibodeaux: sh
Michael Albright: like literally make it, sort of buttons
Richard Thibodeaux: should
Michael Albright: and everything.
Robert Foster: No.
Richard Thibodeaux: Should we leave
Robert Foster: Oh yeah,
Richard Thibodeaux: now,
Robert Foster: we can do buttons.
Richard Thibodeaux: Brian? Or
Michael Albright: Um.
Richard Thibodeaux: we are going to discuss something?
Michael Albright: Uh no, I think that's us our discussion over unless anybody's got questions or confusions,
Robert Foster: No I'm good.
Michael Albright: 'cause I'm confused.
Richard Thibodeaux: Yeah.
Michael Albright: Huh?
Robert Foster: Okay.
Richard Thibodeaux: Excuse Richard Thibodeaux.
Michael Albright: Um uh we'll probably get questionnaire in a minute, it's a
Robert Foster: Mm.
Richard Thibodeaux: Sorry. Thank you. Yeah.
Michael Albright: There we go. Warning, finish meeting now.
Richard Thibodeaux: So.
Michael Albright: I rounded it up far too fast. Um. Where are we going? My Documents, that's not what I want. My Project Documents. There we go. | Richard Thibodeaux presented the results of a market survey that indicated users' most important preferences in remote control features. He discussed trends in fashion that should be incorporated into the prototype design. Robert Foster compared the designs of several competitors' remotes to decide which features should be used in their own design. She discussed using voice recognition, an LCD screen, and color to make the device easier to use and to improve its look. Clifton Ellis went over all of the internal components and materials that will be incorporated in the design. He gave a layout of the placement of the components in the device. The group decided to use a rubber or latex material to give the device a spongy feel. He discussed the color and shape of the remote with the group and the placement of the components on the device. The group discussed colors and shapes further, and decided that the remote will be yellow, and perhaps having a fruit-inspired shape. The group decided to use a rechargeable battery and recharging stand. Michael Albright instructed Robert Foster and Clifton Ellis to construct the prototype. | 5 | amisum | train |
Jeffrey Edwards: I'm proud of it.
Michael Martin: Okay. This is our final meeting, the detailed meeting. And again I'll take minutes. The what we have to get through in this meeting is firstly the prototype presentation from you two, so you can show us what you've been working
Luigi Costa: Yeah.
Michael Martin: on so diligently. Um
Guy Houston: It
Michael Martin: then
Guy Houston: does look very cool.
Michael Martin: then Cat's going to present the evaluation criteria that we're going to be evaluating this against. Then I need to say some st a few things about finance, 'cause we have to check that it's within the finance criteria. Um and then be making sure that product fits both the evaluation criteria from Cat the financial. Um and then we uh will have a brief evaluation of the whole process of production and design that we've been through. So we've got forty minutes.
Guy Houston: And
Michael Martin: S
Guy Houston: then do get to make a remote control?
Michael Martin: 'Cause we missed out.
Guy Houston: Yeah.
Michael Martin: So it's now I guess that we're supposed to start at fifteen thirty five, so we've got until four fifteen.
Jeffrey Edwards: Uh-huh.
Michael Martin: Is that
Jeffrey Edwards: How
Michael Martin: right?
Jeffrey Edwards: how much do we have, forty minutes?
Luigi Costa: Yeah, about
Michael Martin: Yeah,
Luigi Costa: four
Guy Houston: Yeah.
Luigi Costa: fifteen,
Michael Martin: until
Jeffrey Edwards: Yeah.
Luigi Costa: yeah.
Michael Martin: about four fifteen. So yeah.
Jeffrey Edwards: Okay, so.
Michael Martin: Go for it. Do you want
Luigi Costa: So, you said um are are we starting with the
Michael Martin: Yes.
Luigi Costa: the
Jeffrey Edwards: Presentation.
Luigi Costa: so will you maybe start with like the mm the shape and things and and then I will explain the the user interface th uh things,
Jeffrey Edwards: Okay.
Luigi Costa: like the buttons and the scrolling things and
Jeffrey Edwards: Okay. So um basically going with our trend of vegetables and we selected the colour and approximate shape of banana. Um
Guy Houston: You think bananas are a safe thing to use? It's a bit um phallic.
Jeffrey Edwards: Yeah. Um
Luigi Costa: Well, but it's it's just an a
Michael Martin: Dual
Luigi Costa: approximation.
Michael Martin: use, perfect.
Jeffrey Edwards: Yeah.
Michael Martin: Dual use, perfect.
Guy Houston: Oh, your remote control? Oh that's just bad.
Michael Martin: Does it vibrate when you press the buttons? Sorry, sorry.
Jeffrey Edwards: Um so basically it's the it's the flip open thing again.
Michael Martin: Mm-hmm.
Jeffrey Edwards: So now we we have the okay, so Ma Maarika explain you the user interface there. And it flips open on the side, so it opens like that.
Michael Martin: Mm-hmm.
Jeffrey Edwards: And we have the user interface
Michael Martin: Wow.
Jeffrey Edwards: o in here and uh the the L_C_D_ and and the scroll are inside. Um well, everything else is probably user interface, so. Yeah,
Luigi Costa: Uh
Michael Martin: And it's
Jeffrey Edwards: yeah.
Luigi Costa: yeah.
Michael Martin: the whole thing's made of rubber,
Luigi Costa: Rubber.
Jeffrey Edwards: Oh
Michael Martin: is that
Jeffrey Edwards: yeah. Yeah, it has, yeah.
Luigi Costa: Yeah,
Guy Houston: Is it to scale, or do you think you can make it a bit smaller?
Luigi Costa: Um it could be made a bit smaller, and and of it would be and yeah,
Guy Houston: Yeah.
Luigi Costa: but um one thing we actually kind of um forgot while designing, that one side was supposed to be rounder, so we
Jeffrey Edwards: Yeah,
Luigi Costa: said the back side
Jeffrey Edwards: well,
Luigi Costa: round,
Jeffrey Edwards: but
Luigi Costa: yeah.
Jeffrey Edwards: i since it's made of rubber anyway. I
Michael Martin: Mm-hmm.
Jeffrey Edwards: I think
Luigi Costa: Yeah.
Jeffrey Edwards: it's
Guy Houston: It
Jeffrey Edwards: it's
Guy Houston: l does
Jeffrey Edwards: uh
Guy Houston: look like the curvy and then the whole shape's curvy, so I
Jeffrey Edwards: Yeah.
Guy Houston: that this
Michael Martin: Yeah.
Guy Houston: curvy does look quite like a vegetable.
Luigi Costa: Yeah.
Jeffrey Edwards: Mm. Hmm.
Luigi Costa: And it's spongy as well.
Guy Houston: I wasn't
Luigi Costa: So
Guy Houston: very keen on that, but yeah.
Michael Martin: Huh.
Luigi Costa: so uh the user interface as as we discussed last time uh mm on on the on the cover we just have the very basic things.
Michael Martin: Mm-hmm.
Luigi Costa: So we have that n uh channels here starting from um uh one two three there would be numbers in in
Michael Martin: Yeah.
Luigi Costa: the on the actual one. So it's four, up to four, up to seven,
Michael Martin: Six
Luigi Costa: up
Michael Martin: seven
Luigi Costa: to nine
Michael Martin: eight nine.
Luigi Costa: and zero, z
Michael Martin: I
Luigi Costa: zero
Michael Martin: like
Luigi Costa: here.
Michael Martin: that.
Luigi Costa: Yeah. And then, well this is on off button. It's it's quite standard mm place for it and and also the colour is quite often red, so it's it's kind of user friendly.
Michael Martin: Yeah.
Luigi Costa: And then these ones would be for flipping the channels back and like the previous one and the next one.
Michael Martin: Uh-huh.
Luigi Costa: And and we would also have a l little um thing saying here, previous and ne prevon prevon next.
Guy Houston: So
Michael Martin: Yeah.
Guy Houston: where's the volume?
Luigi Costa: The volume is is scrolling. On
Jeffrey Edwards: It's
Luigi Costa: the side,
Jeffrey Edwards: on the side.
Luigi Costa: this
Guy Houston: Ah,
Luigi Costa: one.
Guy Houston: you
Luigi Costa: Yeah
Guy Houston: did
Luigi Costa: you
Guy Houston: get
Luigi Costa: just
Guy Houston: that
Luigi Costa: do
Guy Houston: in
Luigi Costa: it
Guy Houston: then,
Luigi Costa: like this.
Guy Houston: mm-hmm.
Luigi Costa: And and and it's it's on the back is mm cover or back lid, because if you flip it open, you can still do the scrolling here.
Guy Houston: Oh
Michael Martin: Mm-hmm.
Guy Houston: okay,
Luigi Costa: See? So the volume is you just scroll, but then once you flip it open, okay, there there you have the screen
Michael Martin: Yeah.
Luigi Costa: and and you have the mm spinning wheel with
Michael Martin: Mm-hmm.
Luigi Costa: options to choose. You can move back and forth and then if you need to m choose something on the screen, you just push the cen mm the middle button.
Michael Martin: Mm-hmm.
Guy Houston: Cool. Oh, the thing we forgot was like a mute button.
Luigi Costa: A mute
Jeffrey Edwards: Uh
Luigi Costa: button.
Jeffrey Edwards: no,
Guy Houston: Yeah.
Jeffrey Edwards: we we'd not put
Luigi Costa: Well,
Jeffrey Edwards: so on
Luigi Costa: we'll have this on the screen, on the display.
Jeffrey Edwards: on the cover
Michael Martin: Y or
Jeffrey Edwards: we
Michael Martin: you could
Jeffrey Edwards: have
Michael Martin: have
Jeffrey Edwards: the
Michael Martin: it
Jeffrey Edwards: the
Michael Martin: so
Guy Houston: On
Jeffrey Edwards: bare
Guy Houston: the
Michael Martin: you
Jeffrey Edwards: essentials.
Guy Houston: wheel, like
Michael Martin: on the
Guy Houston: if
Michael Martin: wheel
Guy Houston: you hold
Michael Martin: if
Guy Houston: the
Michael Martin: you.
Guy Houston: wheel down then it will
Jeffrey Edwards: Uh on
Guy Houston: mute.
Jeffrey Edwards: the L_C_D_ we r you know, the main
Luigi Costa: Well,
Jeffrey Edwards: menu will
Luigi Costa: but
Jeffrey Edwards: have
Luigi Costa: the
Jeffrey Edwards: various
Luigi Costa: but the mute
Jeffrey Edwards: options.
Luigi Costa: yeah, the scrolling is kind of you have to scroll all the way to make it mute, right?
Michael Martin: But if you
Guy Houston: Yeah,
Michael Martin: hold
Guy Houston: but it's a
Michael Martin: it
Guy Houston: scroll
Jeffrey Edwards: Mm.
Michael Martin: in,
Guy Houston: and click, isn't it?
Michael Martin: if it's a scroll and click so you
Luigi Costa: Okay,
Michael Martin: hold it in?
Guy Houston: Okay, cool.
Luigi Costa: yeah,
Guy Houston: So that
Luigi Costa: okay.
Guy Houston: that solves the whole mute issue.
Jeffrey Edwards: Mm.
Luigi Costa: Yeah. And okay, so i so the the voice recognition is also just part of it. You can't really see it in
Michael Martin: no.
Luigi Costa: the interface.
Jeffrey Edwards: Yeah, it's
Luigi Costa: Yeah.
Jeffrey Edwards: hidden in there
Luigi Costa: And
Jeffrey Edwards: somewhere.
Luigi Costa: we do have the logo on it as
Michael Martin: Mm-hmm,
Luigi Costa: well.
Michael Martin: very good.
Luigi Costa: So I think
Michael Martin: And it's
Luigi Costa: it
Michael Martin: with the the black and yellow you're even in the right colours.
Luigi Costa: Yeah. Yeah, I
Jeffrey Edwards: Cool.
Luigi Costa: think um we could do l the logo in grey,
Michael Martin: Mm-hmm.
Luigi Costa: as it is on the website.
Guy Houston: Yeah.
Jeffrey Edwards: We
Luigi Costa: In the actual
Jeffrey Edwards: ran out
Luigi Costa: one.
Jeffrey Edwards: of resources here, so.
Luigi Costa: Yeah. So if
Jeffrey Edwards: You
Luigi Costa: you
Jeffrey Edwards: can
Luigi Costa: have
Jeffrey Edwards: have
Luigi Costa: questions.
Jeffrey Edwards: a look.
Michael Martin: Very good, let's have a look. Test it out. Uh it's a sort of intermediate colour, I guess.
Guy Houston: Yeah, oh, we hold the remote. Oh, but it it does feel all cold and slimy. I hate Play-Do, it's just minging. But yeah, uh that's cool, cool.
Michael Martin: Very good.
Guy Houston: Mm-hmm.
Michael Martin: Okay, so maybe if we go on to evaluation cri criteria
Guy Houston: Okay.
Michael Martin: and then we'll
Jeffrey Edwards: Yeah,
Michael Martin: there
Jeffrey Edwards: see
Michael Martin: I
Jeffrey Edwards: the
Michael Martin: suspect
Jeffrey Edwards: budget.
Michael Martin: we're gonna have a couple of minor finance issues, but um we'll se I'm sure we can get around them somehow.
Michael Martin: We'll just send all of our manufacturing to some nice poor country and cut some of the prices that way.
Guy Houston: Wales.
Michael Martin: Wales, for example.
Guy Houston: Mm. Cool, okay. Right, okay.
Guy Houston: Fabulous,
Michael Martin: Marketing Expert.
Guy Houston: yeah. Okay, cool. So what we're gonna do is prefer prepare the evaluation of the new design.
Michael Martin: Mm-hmm.
Guy Houston: Um so we're gonna be using a seven point scale, so one is, you know, yes, it totally meets with that requirement and seven is, no, it really doesn't, we need to go back and start again. Um, you know. Basically, what I did was I went through all the like user requirements and things that we've done and we've worked on and like made a list of them. Um you know, so that we can evaluate each one and like so it was about going back to the start and saying oh yeah, we did manage to do that, or oh no, we really forgot about
Luigi Costa: Yeah.
Guy Houston: that.
Michael Martin: Mm-hmm.
Guy Houston: Okay? Cool, so these are what they are. Oh
Michael Martin: So for each of these we need to give it a one to seven. Is that right?
Guy Houston: Yes, I did have A_, B_, C_, and D_ down here, but it seems to have turned into like
Michael Martin: Mm
Guy Houston: just bullet
Michael Martin: dots,
Guy Houston: points.
Michael Martin: never mind.
Guy Houston: Okay. But if you can imagine that they say A_, B_, C_, and D_, then that would be really good.
Jeffrey Edwards: I guess we'll give it maximum points in everything.
Luigi Costa: Yeah, the yeah, it's definitely attractive.
Michael Martin: Yeah, I agree.
Luigi Costa: Oh, the locatable thing we actually forgot.
Guy Houston: Well, I thought we'd um kinda said that you'd have a little thing to stick on the T_V_?
Luigi Costa: Yeah.
Michael Martin: Yeah,
Luigi Costa: Shall I just prepare it
Michael Martin: just
Luigi Costa: now?
Michael Martin: prepare one now.
Guy Houston: Yeah.
Luigi Costa: It will be red, too.
Guy Houston: Cool. Okay. So, be attractive to look at. That's this one. What do you all say?
Jeffrey Edwards: So?
Michael Martin: I reckon
Luigi Costa: S seven
Michael Martin: it
Luigi Costa: was th the maximum, yeah?
Michael Martin: Yeah.
Guy Houston: Yeah.
Luigi Costa: I I go for seven.
Michael Martin: Seven,
Guy Houston: Oh
Michael Martin: yeah,
Jeffrey Edwards: Yes.
Michael Martin: it's terribly
Guy Houston: we're all so
Michael Martin: sexy.
Guy Houston: proud of the.
Michael Martin: Yeah.
Guy Houston: Okay, so that'll be a seven for A_. Could oh no, you can't whilst that's up there. Okay um uh what I've done on the next page is I've set it up so we just put the marks in.
Michael Martin: Ah, okay.
Jeffrey Edwards: Okay.
Michael Martin: Excellent. Except we can't
Guy Houston: Yeah.
Michael Martin: uh we
Guy Houston: But
Michael Martin: can
Jeffrey Edwards: But
Guy Houston: that's
Jeffrey Edwards: we can
Michael Martin: if
Guy Houston: alright.
Jeffrey Edwards: we can
Michael Martin: we
Guy Houston: If you
Jeffrey Edwards: I can
Guy Houston: take
Jeffrey Edwards: I can take
Guy Houston: a note
Jeffrey Edwards: note
Guy Houston: of them,
Michael Martin: then
Guy Houston: and
Jeffrey Edwards: uh
Guy Houston: then
Michael Martin: yeah,
Guy Houston: I'll
Michael Martin: I'll
Jeffrey Edwards: uh
Guy Houston: put
Michael Martin: take
Guy Houston: them
Michael Martin: a
Guy Houston: in
Michael Martin: note,
Guy Houston: in a minute.
Michael Martin: it's fine.
Guy Houston: Okay, so we're all agreeing on seven for A_?
Michael Martin: Yeah.
Guy Houston: Cool, okay. Does it match the operating behaviour of the user?
Luigi Costa: I
Jeffrey Edwards: Um
Luigi Costa: would
Michael Martin: I think
Luigi Costa: think
Michael Martin: it does.
Luigi Costa: yes,
Guy Houston: Yeah.
Luigi Costa: yeah.
Jeffrey Edwards: the the
Guy Houston: I
Jeffrey Edwards: only
Guy Houston: mean
Jeffrey Edwards: thing that we were considering was that uh this thing is kind of more for right-handed people than for left-handed people, so if you're left-handed you're kind of
Luigi Costa: Yeah,
Jeffrey Edwards: left uh
Luigi Costa: so
Michael Martin: Alright.
Jeffrey Edwards: scrolling
Luigi Costa: y so we
Jeffrey Edwards: with your
Luigi Costa: we
Jeffrey Edwards: finger.
Luigi Costa: might do we might want to do like a uh another m model another another version, which is like exactly the mirror image of this one.
Guy Houston: Yeah.
Michael Martin: But that's gonna be a
Jeffrey Edwards: But
Michael Martin: problem,
Jeffrey Edwards: then
Michael Martin: 'cause
Jeffrey Edwards: yeah.
Michael Martin: you don't always have all left-handers or all right-handers in a family.
Jeffrey Edwards: Yeah.
Luigi Costa: Yeah.
Jeffrey Edwards: So
Guy Houston: I th I think
Jeffrey Edwards: bu
Guy Houston: it's
Jeffrey Edwards: it's
Guy Houston: not
Jeffrey Edwards: it's not a huge problem,
Guy Houston: it's
Jeffrey Edwards: because
Guy Houston: not like
Jeffrey Edwards: i
Luigi Costa: But
Jeffrey Edwards: i it
Guy Houston: it's
Luigi Costa: then
Guy Houston: a pen.
Luigi Costa: then
Jeffrey Edwards: is operatable.
Luigi Costa: I think left-handed people are already used to discrimination
Michael Martin: Yeah.
Luigi Costa: anyway, so they just
Guy Houston: Yeah, but I mean because it's not like it's a pen, you know, left-handed
Luigi Costa: Yeah.
Guy Houston: people can't normally write right-handed, but they can normally do most things right-handed,
Michael Martin: Yeah.
Guy Houston: so I
Jeffrey Edwards: Right.
Guy Houston: would say it's not such a big issue.
Luigi Costa: Yeah, because
Michael Martin: Mm-hmm.
Luigi Costa: I mean anyway, right-handed people would be able to
Guy Houston: Yeah.
Luigi Costa: scroll with it, so i
Jeffrey Edwards: Yeah.
Michael Martin: Yeah.
Luigi Costa: if the
Guy Houston: I
Luigi Costa: majority
Guy Houston: mean you can
Luigi Costa: are right-handed,
Guy Houston: you can use
Luigi Costa: it's
Guy Houston: your finger
Luigi Costa: uh
Guy Houston: to to
Michael Martin: Mm-hmm.
Guy Houston: scroll rather than your thumb.
Michael Martin: Yeah.
Jeffrey Edwards: Yep.
Guy Houston: So I mean that does kind of negate the whole R_S_I_ issue.
Jeffrey Edwards: Mm.
Guy Houston: So maybe we need to put that needs a little bit of investigation, maybe
Michael Martin: Um
Guy Houston: give it a five, I would say? What do you what do you all think?
Michael Martin: Six.
Luigi Costa: Or maybe
Jeffrey Edwards: Mm.
Luigi Costa: six, because it's just one one i one
Michael Martin: Yeah,
Luigi Costa: among
Michael Martin: I
Luigi Costa: the issues,
Michael Martin: think
Luigi Costa: I
Michael Martin: I
Luigi Costa: mean.
Michael Martin: think
Luigi Costa: Yeah.
Michael Martin: for um I mean most people are right-handed, so in in terms of our greatest target group, I think it's pretty good,
Luigi Costa: Yeah.
Michael Martin: but
Jeffrey Edwards: One
Michael Martin: we might
Jeffrey Edwards: more
Michael Martin: want
Jeffrey Edwards: thing
Michael Martin: to
Jeffrey Edwards: is
Michael Martin: flag
Jeffrey Edwards: that i
Michael Martin: it for management, they want might want to um
Guy Houston: Okay.
Jeffrey Edwards: It
Michael Martin: They
Jeffrey Edwards: might be a little clumsy when when it opens up, right, so it opens on the side.
Michael Martin: Mm-hmm.
Luigi Costa: No, yeah,
Jeffrey Edwards: So
Luigi Costa: but mm but we have it nicely with the hinges
Jeffrey Edwards: Yeah
Luigi Costa: here yeah.
Jeffrey Edwards: yeah
Luigi Costa: So
Jeffrey Edwards: yeah,
Michael Martin: Yeah.
Jeffrey Edwards: I mean
Luigi Costa: it
Jeffrey Edwards: yeah.
Guy Houston: Yeah.
Jeffrey Edwards: So you
Guy Houston: Yeah.
Jeffrey Edwards: guys
Luigi Costa: won't
Jeffrey Edwards: can decide
Luigi Costa: be a problem,
Jeffrey Edwards: wh
Luigi Costa: it will be
Jeffrey Edwards: whether
Luigi Costa: and it will be it won't be heavy.
Jeffrey Edwards: Oops.
Guy Houston: I th I think the alternative is flipping from the top.
Luigi Costa: Yeah
Jeffrey Edwards: Yeah,
Luigi Costa: well
Jeffrey Edwards: but
Luigi Costa: yeah,
Jeffrey Edwards: we
Luigi Costa: but it's it's
Jeffrey Edwards: which
Michael Martin: The
Luigi Costa: a
Jeffrey Edwards: makes
Luigi Costa: bit
Michael Martin: length
Luigi Costa: long.
Jeffrey Edwards: it kind
Michael Martin: is gonna
Jeffrey Edwards: of really
Michael Martin: be difficu
Luigi Costa: It's a little bit long.
Jeffrey Edwards: big, yeah.
Guy Houston: Yeah
Luigi Costa: Well, I mean it can
Guy Houston: um
Luigi Costa: be opened like this of course
Guy Houston: But
Luigi Costa: and
Guy Houston: you were thinking
Luigi Costa: yeah.
Guy Houston: about making it smaller, yeah?
Michael Martin: Mm.
Jeffrey Edwards: Uh
Guy Houston: Because
Jeffrey Edwards: this
Luigi Costa: S
Jeffrey Edwards: this
Luigi Costa: uh
Jeffrey Edwards: kind
Luigi Costa: slightly
Jeffrey Edwards: of uh
Luigi Costa: smaller.
Jeffrey Edwards: makes it more and
Guy Houston: So you have
Jeffrey Edwards: two,
Guy Houston: to
Jeffrey Edwards: it
Guy Houston: keep
Jeffrey Edwards: might interfere with the
Guy Houston: that side
Jeffrey Edwards: I_R_
Guy Houston: flat.
Jeffrey Edwards: channel.
Luigi Costa: Yeah, but if we flip it open only as much as that.
Jeffrey Edwards: Okay.
Guy Houston: So it works like a mobile phone flipping, but y you know, as long as that side's flat, than that will work.
Jeffrey Edwards: Right.
Guy Houston: Okay.
Jeffrey Edwards: Okay.
Guy Houston: Um okay, so C_. Are are we admitting defeat on C_ or are we saying we're gonna stick a locator on the T_V_?
Michael Martin: No,
Jeffrey Edwards: No,
Michael Martin: we're gonna
Jeffrey Edwards: we
Michael Martin: put
Jeffrey Edwards: have
Michael Martin: it like
Jeffrey Edwards: a locator.
Michael Martin: we've got th there's the locator
Guy Houston: There's a locator.
Michael Martin: dot.
Guy Houston: Cool,
Luigi Costa: Mm
Guy Houston: so that
Luigi Costa: that
Guy Houston: means
Luigi Costa: you stick
Guy Houston: you need
Luigi Costa: on
Guy Houston: a
Luigi Costa: T_V_.
Guy Houston: that
Michael Martin: Mm.
Guy Houston: does mean you need a little speaker on it though, doesn't it? To make it beep.
Luigi Costa: Yeah
Jeffrey Edwards: Yeah.
Guy Houston: Or
Luigi Costa: well
Michael Martin: Yeah.
Guy Houston: a buzzer.
Luigi Costa: w but l but the speak sample speaker is included, so it it has some
Guy Houston: Okay.
Luigi Costa: capacity to mm to do
Jeffrey Edwards: Yeah.
Luigi Costa: some to
Guy Houston: So
Luigi Costa: make some sounds, so
Guy Houston: that's
Luigi Costa: yeah.
Guy Houston: two, so that's seven, yeah. It's locatable?
Luigi Costa: Yep.
Guy Houston: Fabulous. D_.
Jeffrey Edwards: Intuitive, completely intuitive.
Luigi Costa: Yeah. If uh uh if this means intuitive, if it means the way people kind of are used to finding things and it's
Michael Martin: Yeah.
Luigi Costa: I th I think
Michael Martin: I'd
Luigi Costa: it's
Michael Martin: say six, 'cause the I mean the the standard layout for numbers is three three three and one, rather than the way you've got it. I really like the way you have it,
Guy Houston: Yeah.
Michael Martin: but it's not the immediate thing that
Jeffrey Edwards: Intuitive.
Michael Martin: you're used to.
Guy Houston: Yeah, and I mean
Michael Martin: So
Guy Houston: d
Jeffrey Edwards: And uh even the scroll, it's a it's a new technology so m m
Michael Martin: Might
Jeffrey Edwards: might
Michael Martin: be
Jeffrey Edwards: be a little more difficult for people to get used to in the beginni so it is kind of not very intuitive but uh it's a good technology,
Michael Martin: But it
Jeffrey Edwards: I mean
Michael Martin: and
Jeffrey Edwards: once
Michael Martin: it's
Jeffrey Edwards: they
Michael Martin: something
Jeffrey Edwards: get used
Michael Martin: that
Jeffrey Edwards: to it.
Michael Martin: they will be experiencing in a lot of different places
Luigi Costa: Yeah.
Jeffrey Edwards: Yeah.
Michael Martin: soon.
Guy Houston: So,
Jeffrey Edwards: So
Guy Houston: should
Jeffrey Edwards: l
Guy Houston: we maybe say f a five
Michael Martin: Five?
Guy Houston: and say it is intuitive, but it's different, so,
Michael Martin: Yeah.
Guy Houston: do you know, I mean it's obvious how to use it, but you might have to think about it first. So we give that one a five, you
Jeffrey Edwards: Yeah,
Guy Houston: think?
Jeffrey Edwards: okay.
Michael Martin: I'm
Guy Houston: Yep.
Michael Martin: happy
Jeffrey Edwards: I'm
Michael Martin: with five?
Jeffrey Edwards: gonna
Luigi Costa: Yeah.
Jeffrey Edwards: give a seven in everything, so.
Michael Martin: Yeah.
Guy Houston: I'm glad you're accepting this. It has taken a little while, hasn't it? Um intuitive but
Guy Houston: it's really hard to write on those. I just
Jeffrey Edwards: Mm.
Guy Houston: went a bit mad, didn't I? Um okay, cool, E_, okay. Um I would guess this comes back from this whole B_ thing links in here, so possibly for left-handed. Investigate.
Michael Martin: Yep. But otherwise it's superb.
Guy Houston: So, should we give it a six?
Michael Martin: Six.
Guy Houston: Six?
Luigi Costa: Um uh the ergonom ergonomic design well
Michael Martin: Yeah.
Luigi Costa: mm I mean I d uh I dunno, I mean the the repetitive stress things, but then who would be really pushing the buttons so much on the on the remote control anyway,
Jeffrey Edwards: Yeah.
Luigi Costa: yeah?
Jeffrey Edwards: Yeah, unless
Luigi Costa: See.
Jeffrey Edwards: you are a all the time sitting.
Luigi Costa: Yeah,
Jeffrey Edwards: Yeah.
Luigi Costa: so it's kinda
Michael Martin: Well we've
Jeffrey Edwards: Yeah,
Michael Martin: banned
Guy Houston: I
Jeffrey Edwards: I
Guy Houston: used
Michael Martin: them
Jeffrey Edwards: I think
Michael Martin: from
Guy Houston: to send
Jeffrey Edwards: it is
Guy Houston: fifty
Jeffrey Edwards: ergonomic.
Guy Houston: texts a day, you know, and I never got repetitive strain injury from
Jeffrey Edwards: Mm
Guy Houston: that, so
Jeffrey Edwards: yeah.
Guy Houston: I find it quite hard to believe to be honest.
Michael Martin: Yeah.
Jeffrey Edwards: And moreover it it has um L_C_D_ and everything, so that
Luigi Costa: Yeah.
Jeffrey Edwards: uh you know
Michael Martin: Yeah,
Jeffrey Edwards: uh we minimise
Michael Martin: it's varied.
Jeffrey Edwards: the pressing of the buttons anyway.
Michael Martin: Yeah.
Guy Houston: Okay, so
Michael Martin: Six?
Guy Houston: we give that a six, yeah. Okay, F_.
Luigi Costa: Yeah,
Michael Martin: Voice
Luigi Costa: it
Michael Martin: control
Luigi Costa: does have
Michael Martin: have seven.
Luigi Costa: yeah.
Jeffrey Edwards: Absolutely.
Guy Houston: Hang on, how come it's showing up with the things there but it only had bullet points there? That's
Michael Martin: Ah,
Guy Houston: just
Michael Martin: that's the second one. So you must have changed it on this one where it's got score, but not on the previous slide.
Guy Houston: Oh okay, cool. Um right, so.
Jeffrey Edwards: So it has voice control.
Guy Houston: Yes, so that's a seven then.
Jeffrey Edwards: Yep.
Guy Houston: Um,
Michael Martin: G_
Guy Houston: cool.
Jeffrey Edwards: Anyway
Luigi Costa: Technologi
Michael Martin: technologically
Jeffrey Edwards: it ha
Michael Martin: innovative.
Jeffrey Edwards: yeah,
Luigi Costa: well
Jeffrey Edwards: it's the most sophisticated remote that I ever seen.
Luigi Costa: Yeah.
Michael Martin: But in terms of the actual technology, none of it is actually new.
Luigi Costa: well, which
Michael Martin: Yeah.
Luigi Costa: is yeah,
Guy Houston: Yeah,
Luigi Costa: it's kind
Guy Houston: but
Luigi Costa: of
Guy Houston: I
Luigi Costa: new.
Guy Houston: mean you
Michael Martin: All
Guy Houston: don't
Michael Martin: of the components have been used in other things before.
Luigi Costa: But
Jeffrey Edwards: Yeah,
Luigi Costa: at
Jeffrey Edwards: but
Luigi Costa: the same
Jeffrey Edwards: they've been
Luigi Costa: time
Jeffrey Edwards: brought
Guy Houston: They're
Jeffrey Edwards: together
Guy Houston: never
Luigi Costa: they are all
Michael Martin: But
Guy Houston: been
Jeffrey Edwards: in
Michael Martin: do
Guy Houston: used
Jeffrey Edwards: a remote.
Luigi Costa: they are all
Michael Martin: yeah,
Guy Houston: i
Luigi Costa: relatively new.
Guy Houston: they've
Michael Martin: yeah.
Guy Houston: never been using remote remote control before I don't think.
Michael Martin: Yeah. What do you reckon, five, six?
Guy Houston: Yeah, what do you all think?
Luigi Costa: Six.
Guy Houston: Six?
Jeffrey Edwards: Yeah.
Luigi Costa: I mean how how far can you go with a remote control, really?
Guy Houston: Well, that's
Luigi Costa: It
Guy Houston: it,
Luigi Costa: still
Guy Houston: I mean
Luigi Costa: has to do what i what it has to do.
Michael Martin: Yeah.
Guy Houston: Yeah, but I mean everything has been used in space before it gets to anyone else really, hasn't it? So, I don't think many
Michael Martin: Space
Guy Houston: peop
Michael Martin: remote.
Guy Houston: That's it, they can take it with them.
Michael Martin: Put fashion in electronics.
Jeffrey Edwards: Absolutely.
Luigi Costa: Yeah, isn't it fashionable? Yeah, sure.
Jeffrey Edwards: The carrot banana
Luigi Costa: It's the maximum
Jeffrey Edwards: remote.
Luigi Costa: fashion.
Guy Houston: So, we give it seven,
Luigi Costa: Fruit
Guy Houston: and
Luigi Costa: fruit
Guy Houston: we write
Luigi Costa: and vegetables are fashionable these days, so.
Guy Houston: There we go.
Luigi Costa: So
Jeffrey Edwards: I
Luigi Costa: I think
Jeffrey Edwards: think that's
Luigi Costa: we've
Jeffrey Edwards: a.
Luigi Costa: done very well, but
Guy Houston: Cool.
Michael Martin: Very good.
Jeffrey Edwards: Yeah.
Luigi Costa: What's the assessment?
Guy Houston: So, we need the average here, so we got
Luigi Costa: The average is about six and something.
Michael Martin: Yeah,
Luigi Costa: A little bit over
Michael Martin: one.
Luigi Costa: six.
Guy Houston: Seven
Michael Martin: Or a seven.
Jeffrey Edwards: There are how many sixes?
Luigi Costa: No,
Guy Houston: So we've
Luigi Costa: wait,
Guy Houston: got
Jeffrey Edwards: One,
Guy Houston: four
Luigi Costa: a
Guy Houston: sevens,
Jeffrey Edwards: two,
Luigi Costa: little bit under
Jeffrey Edwards: three.
Luigi Costa: six.
Guy Houston: so that's twenty
Luigi Costa: No, wait.
Guy Houston: eight,
Jeffrey Edwards: Three.
Guy Houston: three sixes,
Jeffrey Edwards: And one five.
Guy Houston: eighteen.
Luigi Costa: Oh, three sixes, okay,
Michael Martin: Fifty
Jeffrey Edwards: Okay,
Luigi Costa: yeah.
Jeffrey Edwards: twenty
Michael Martin: one,
Jeffrey Edwards: eight, thirty
Michael Martin: one,
Jeffrey Edwards: eight,
Michael Martin: two,
Jeffrey Edwards: fo
Michael Martin: three, four,
Jeffrey Edwards: forty
Luigi Costa: Four
Michael Martin: five,
Luigi Costa: sevens.
Michael Martin: six,
Jeffrey Edwards: six.
Michael Martin: seven, eight.
Jeffrey Edwards: Forty six and five,
Michael Martin: Six
Jeffrey Edwards: fifty one.
Michael Martin: point
Jeffrey Edwards: Fifty one divided
Luigi Costa: Six
Jeffrey Edwards: by
Luigi Costa: point something,
Michael Martin: point
Luigi Costa: yeah.
Guy Houston: Two
Michael Martin: about
Guy Houston: three
Michael Martin: six point five.
Luigi Costa: Six
Guy Houston: four
Luigi Costa: point five,
Guy Houston: Seven
Michael Martin: Close
Guy Houston: eight.
Michael Martin: enough.
Luigi Costa: yeah.
Guy Houston: Okay, that's pretty good, I think.
Michael Martin: Now wait until we get to finance and then we'll see if we can afford it. That's all you've got at the moment, or did you have anything more?
Guy Houston: Um no, that's
Michael Martin: That's
Guy Houston: it,
Michael Martin: it?
Guy Houston: yeah.
Michael Martin: Alright. So, finance. And we'll see if we can unscrew this first.
Guy Houston: Cool,
Michael Martin: Sorry, this
Guy Houston: there
Michael Martin: is
Guy Houston: we go.
Michael Martin: I'm just um
Guy Houston: There we go and there are the marks.
Michael Martin: Beautiful.
Luigi Costa: Yeah.
Michael Martin: Not anymore.
Jeffrey Edwards: Mm I guess it'll have to wait for a bit.
Michael Martin: Adjusting. There we go. Okay, so we've looked at the prototype presentation and the evaluation criteria. And now we have to calculate the production costs. So I've got an Excel spreadsheet to help us do that. Can you read that? Almost. More or less. Um I started filling it in, but of course these are provisional, so we have to go down. No hand dynamo, right?
Guy Houston: Yeah.
Luigi Costa: Yeah.
Michael Martin: One simple
Jeffrey Edwards: Mm.
Michael Martin: battery. No kinetic energy, no solar. The chip, we're going for an advanced
Jeffrey Edwards: Advanced,
Michael Martin: chip
Jeffrey Edwards: yeah.
Michael Martin: on print. We also said the sample sensor and sample speaker.
Luigi Costa: Yep.
Michael Martin: Um single-curved surface, so that
Luigi Costa: Yeah,
Michael Martin: we can fold
Luigi Costa: yes.
Michael Martin: it. Case material we said rubber.
Luigi Costa: Rubber.
Jeffrey Edwards: Yep.
Michael Martin: I don't know what special colour means.
Jeffrey Edwards: Mm anything uh I think which
Luigi Costa: I
Jeffrey Edwards: is
Luigi Costa: think
Jeffrey Edwards: not
Luigi Costa: something
Jeffrey Edwards: more.
Luigi Costa: coloured, yeah, probably. So I think this is probably special co
Michael Martin: It
Jeffrey Edwards: Yeah.
Luigi Costa: no?
Michael Martin: could be
Guy Houston: Yeah, but rubber comes coloured,
Michael Martin: Rub
Guy Houston: doesn't
Michael Martin: rubber
Guy Houston: it? You
Michael Martin: comes
Luigi Costa: Yeah.
Guy Houston: know.
Michael Martin: coloured, it's I would maybe it's like if you want titanium coloured or wood
Luigi Costa: Or
Michael Martin: coloured,
Luigi Costa: maybe
Michael Martin: it's
Luigi Costa: maybe
Michael Martin: different.
Luigi Costa: if you want some kind of pattern thing on it,
Michael Martin: Yeah,
Luigi Costa: yeah
Michael Martin: let's leave
Luigi Costa: yeah,
Michael Martin: it as zero,
Luigi Costa: okay.
Michael Martin: 'cause it's easy.
Luigi Costa: Yeah.
Guy Houston: Yeah, you might end up having to take off
Michael Martin: We
Guy Houston: the
Michael Martin: we're definitely going to
Luigi Costa: We
Michael Martin: have
Luigi Costa: have
Michael Martin: to
Luigi Costa: pushbuttons,
Michael Martin: so
Jeffrey Edwards: Mm.
Michael Martin: we've
Guy Houston: sample
Michael Martin: got pushbutton,
Guy Houston: sensor.
Michael Martin: and then
Luigi Costa: scro
Michael Martin: we've
Luigi Costa: we have scroll wheel as well.
Michael Martin: Scroll wheel with pushbutton we had, no? S for
Luigi Costa: S
Jeffrey Edwards: No
Michael Martin: the muting.
Luigi Costa: yeah,
Jeffrey Edwards: uh we
Luigi Costa: yeah,
Jeffrey Edwards: we
Luigi Costa: we had,
Jeffrey Edwards: have uh
Luigi Costa: for muting,
Jeffrey Edwards: yeah.
Luigi Costa: yeah.
Michael Martin: Yeah.
Luigi Costa: And we have L_C_ display and yeah.
Michael Martin: And button supplements.
Luigi Costa: Um
Jeffrey Edwards: Mm no.
Guy Houston: No.
Jeffrey Edwards: We
Michael Martin: No.
Jeffrey Edwards: don't have we're not using any
Michael Martin: No?
Jeffrey Edwards: of
Luigi Costa: Yeah,
Jeffrey Edwards: that.
Luigi Costa: but what do we ha we have L_C_ display, but but the wh
Michael Martin: But
Luigi Costa: but
Michael Martin: the
Luigi Costa: the
Michael Martin: the
Luigi Costa: s
Michael Martin: spinning wheel's
Luigi Costa: spinning
Michael Martin: not
Luigi Costa: wheel
Michael Martin: there. I have think
Luigi Costa: Yeah.
Michael Martin: maybe it's integrated with the L_C_ display?
Luigi Costa: Okay,
Guy Houston: We've got
Luigi Costa: let's
Guy Houston: more than one pushbutton though,
Luigi Costa: yeah.
Guy Houston: haven't we?
Michael Martin: I think the pushbutton oh.
Guy Houston: 'Cause then you have
Michael Martin: I don't know if that's one
Guy Houston: That means you can only have twenty five push buttons in total doesn't it? Not counting anything, we'd
Michael Martin: Yeah.
Guy Houston: still be in budget.
Michael Martin: That seems unlikely. Push
Jeffrey Edwards: Huh? Wh wh what
Michael Martin: what
Jeffrey Edwards: is the limit?
Michael Martin: uh
Jeffrey Edwards: Uh.
Guy Houston: Twelve
Michael Martin: whether
Guy Houston: point five.
Michael Martin: whether pushbutton means that
Luigi Costa: We have to count
Michael Martin: p
Luigi Costa: all
Michael Martin: count
Luigi Costa: of them, or
Michael Martin: by
Luigi Costa: yeah.
Michael Martin: button or do
Jeffrey Edwards: Mm
Michael Martin: we
Jeffrey Edwards: I
Michael Martin: I
Jeffrey Edwards: don't
Michael Martin: don't think
Jeffrey Edwards: think
Michael Martin: that
Jeffrey Edwards: so,
Michael Martin: makes sense.
Jeffrey Edwards: no.
Guy Houston: No. Well
Jeffrey Edwards: No
Guy Houston: it doesn't,
Jeffrey Edwards: it says
Guy Houston: but it
Jeffrey Edwards: what what is the kind
Guy Houston: uh
Michael Martin: No.
Jeffrey Edwards: of interface, if it is pushbutton then you got a zero point five, it's a scroll wheel so we we've put it's pushbutton and
Michael Martin: Yeah.
Jeffrey Edwards: scroll wheel
Guy Houston: And
Michael Martin: Yeah.
Jeffrey Edwards: and L_C_D_
Guy Houston: L_C_
Jeffrey Edwards: display,
Guy Houston: display.
Michael Martin: Yeah.
Jeffrey Edwards: so that's that's the three kind of interfaces
Michael Martin: Yeah.
Jeffrey Edwards: that we have.
Michael Martin: So, as we can see, that's way too expensive down here.
Jeffrey Edwards: Wh wh what's
Guy Houston: This
Jeffrey Edwards: our
Guy Houston: sample
Jeffrey Edwards: criteria?
Michael Martin: Our budget's
Guy Houston: sensor.
Michael Martin: twelve point five.
Jeffrey Edwards: Uh okay.
Guy Houston: Yeah, the sample sensor will have to go, 'cause that's the most expensive thing
Michael Martin: Yeah,
Guy Houston: on there.
Michael Martin: so that has implications though for the.
Jeffrey Edwards: Uh it does not have for voice recognition, but it does have for the feedback speaker. when you
Guy Houston: Yeah.
Jeffrey Edwards: say when you press one it says
Michael Martin: For the
Jeffrey Edwards: one
Michael Martin: locator.
Jeffrey Edwards: or it says hello.
Guy Houston: But that's a bit of a gimmick anyway really,
Michael Martin: Yeah.
Guy Houston: isn't
Jeffrey Edwards: Mm
Guy Houston: it? We can afford
Jeffrey Edwards: and
Guy Houston: to get
Jeffrey Edwards: the
Guy Houston: rid
Jeffrey Edwards: locator
Guy Houston: of it.
Jeffrey Edwards: also goes away.
Luigi Costa: But it was very no innovative
Michael Martin: Yeah.
Guy Houston: So that
Luigi Costa: innovativeness.
Guy Houston: means no locator,
Luigi Costa: Well um
Guy Houston: does it?
Luigi Costa: yeah.
Guy Houston: I mean does
Michael Martin: What else
Luigi Costa: Well
Michael Martin: does
Luigi Costa: the speaker
Michael Martin: it need?
Luigi Costa: uh the sample speaker is is expensive, but we could just have some some very very easy device that just beeps.
Michael Martin: Yeah, 'cause the sample
Luigi Costa: This would
Michael Martin: speaker
Luigi Costa: be
Michael Martin: was, I think, more complicated then
Luigi Costa: Yeah,
Michael Martin: just a beeping
Luigi Costa: yeah
Guy Houston: Yeah.
Luigi Costa: yeah
Michael Martin: thing.
Luigi Costa: there you record your samples
Guy Houston: Yeah.
Michael Martin: Yeah,
Luigi Costa: your speech samples
Michael Martin: okay,
Jeffrey Edwards: A also
Luigi Costa: and
Michael Martin: so
Jeffrey Edwards: i
Michael Martin: we
Jeffrey Edwards: in the case I'm not sure that you will evaluate this as a curved surface, because it's just rubber, so it's probably a flat surface rubber. Uh I mean
Michael Martin: Uh-huh.
Jeffrey Edwards: uh um
Guy Houston: Okay, yeah.
Jeffrey Edwards: yeah.
Michael Martin: Right,
Jeffrey Edwards: Um
Michael Martin: so we need one fifty off.
Guy Houston: See, I was gonna say the scroll wheel pushbutton thing, 'cause
Michael Martin: Take it down to just a scroll wheel. We could
Jeffrey Edwards: So
Michael Martin: do
Jeffrey Edwards: tha that mean that we cannot press
Luigi Costa: Yeah,
Jeffrey Edwards: how
Luigi Costa: then
Jeffrey Edwards: do we how
Luigi Costa: then
Jeffrey Edwards: do
Luigi Costa: we
Jeffrey Edwards: we
Luigi Costa: would
Jeffrey Edwards: make
Luigi Costa: be
Jeffrey Edwards: a selection
Luigi Costa: in the b budget.
Jeffrey Edwards: in uh in the L_C_D_? If in the L_C_D_ we can scroll, right? But how do we make a selection if we d
Luigi Costa: Yeah
Jeffrey Edwards: cannot
Luigi Costa: b
Jeffrey Edwards: push
Luigi Costa: no
Jeffrey Edwards: the button.
Luigi Costa: no, you can push this one, but we don't have a pushbutton uh we ca we don't have this muting mechanism for this scrolling
Guy Houston: But
Michael Martin: Yeah.
Guy Houston: that's
Luigi Costa: thing.
Guy Houston: well you would just have to to spin
Michael Martin: You can
Guy Houston: it down.
Michael Martin: have to scroll it straight r roll it straight down for
Luigi Costa: Mm-hmm.
Michael Martin: for mute.
Guy Houston: So
Jeffrey Edwards: No w
Guy Houston: that's
Jeffrey Edwards: w
Guy Houston: point
Jeffrey Edwards: w
Guy Houston: three.
Jeffrey Edwards: but ha it's it's the scroll wheel and I thought we were referring to this as a scroll spinning wheel and pushbutton thing.
Luigi Costa: But I mean we can put an additional mute button on the top as well. If you
Guy Houston: Yeah, I mean that wouldn't actually cost any more. That's the spin wheel though, isn't it? Didn't that come with the L_C_
Michael Martin: That's with the L_C_
Jeffrey Edwards: That comes with the L_C_D_?
Guy Houston: Yeah.
Michael Martin: We decided, 'cause it's not on our list.
Guy Houston: Yeah.
Jeffrey Edwards: Oh so
Luigi Costa: Mm.
Jeffrey Edwards: so the the this is.
Michael Martin: The scroll wheel is on the side.
Jeffrey Edwards: So we're adding costs for right, okay uh I mean I think this is good.
Luigi Costa: So
Guy Houston: S so we're point three
Michael Martin: We're
Guy Houston: over.
Michael Martin: point three over at the moment. It's nothing
Guy Houston: Unless
Michael Martin: n
Guy Houston: we just take off the scroll wheel altogether and just have pushbuttons for the volume. Could b still put them on the side. But
Michael Martin: Yeah,
Guy Houston: yeah. I mean
Michael Martin: I
Guy Houston: the
Michael Martin: have
Guy Houston: scroll wheel's pretty cool, but
Jeffrey Edwards: Instead of scrolling here we have two buttons here,
Guy Houston: Yeah.
Jeffrey Edwards: up for up and down.
Luigi Costa: Mm-hmm.
Guy Houston: Yeah.
Jeffrey Edwards: On the side.
Michael Martin: Yeah.
Jeffrey Edwards: Mm uh it
Luigi Costa: Okay,
Jeffrey Edwards: sounds good actually, yeah.
Luigi Costa: yeah.
Michael Martin: Rather than having three different things that people have to do.
Luigi Costa: Okay.
Michael Martin: There we go. Oh look, we're way under budget and we'll make huge profits and we'll all get bonuses.
Guy Houston: Yeah, well we could admit to the single curve, couldn't we?
Michael Martin: Or or that we have to have some sort of special colour.
Guy Houston: Yeah,
Michael Martin: So
Guy Houston: but
Michael Martin: that's alright. We we'll leave it at that
Guy Houston: Yeah.
Michael Martin: and then I'll take I can send it back to management and say we weren't quite sure about the colour, if that costs extra then we've still got some space for
Jeffrey Edwards: We
Michael Martin: it,
Jeffrey Edwards: have, yeah.
Luigi Costa: Yeah.
Michael Martin: yeah.
Guy Houston: Yeah.
Michael Martin: Excellent. Alright. So did we lose um on our evaluation criteria, as a result
Guy Houston: No.
Michael Martin: of doing that?
Guy Houston: No, I don't
Jeffrey Edwards: Not
Guy Houston: think so.
Jeffrey Edwards: really, no. Because we keep all the features, we keep voice recognition, we keep L_C_D_
Michael Martin: Mm.
Jeffrey Edwards: display.
Guy Houston: Yeah.
Jeffrey Edwards: We
Michael Martin: Yeah.
Jeffrey Edwards: instead of having scrolling we we just
Guy Houston: We just
Jeffrey Edwards: push
Guy Houston: got
Jeffrey Edwards: the buttons.
Guy Houston: rid of a gimmick that
Michael Martin: Yeah.
Jeffrey Edwards: Um
Guy Houston: was never anyway, and
Jeffrey Edwards: yeah.
Guy Houston: the scroll wheel is I mean essentially the two buttons that was it's not a great difference I don't
Michael Martin: Yeah.
Guy Houston: think.
Jeffrey Edwards: Yeah.
Michael Martin: Alright then.
Jeffrey Edwards: But we lose the locator.
Guy Houston: Really?
Michael Martin: We're
Luigi Costa: Well
Michael Martin: gonna have a beep.
Luigi Costa: we're going to have a beeping thing.
Jeffrey Edwards: So instead of speaker,
Luigi Costa: But yeah,
Michael Martin: Yeah.
Luigi Costa: it's it's not like sample speaker, but it will just beep, so we still have the locate.
Michael Martin: Yeah.
Jeffrey Edwards: 'Kay.
Guy Houston: Cool. That's not a very exciting colour. I think you should make it more vegetable-like.
Luigi Costa: Which colour,
Michael Martin: Tha.
Luigi Costa: the the colour of the phone or the colour of the
Guy Houston: Oh the the beeper thing.
Luigi Costa: But
Guy Houston: It
Luigi Costa: it can be yellow as well. It can come in the same colour as the
Michael Martin: 'Cause
Luigi Costa: the
Michael Martin: we
Luigi Costa: case.
Michael Martin: we won't have run out of our pot of Play-Doh.
Guy Houston: Yeah, I think Jen wants it to vibrate. You know, your pen
Michael Martin: Yeah,
Guy Houston: vibrates?
Michael Martin: I know I
Guy Houston: Yeah.
Michael Martin: know, my pen vibrates. But only for a very short time. Um okay. So looks like we've designed a banana. Well done, team. Um we need we've just got about ten minutes or so left of the meeting, so it would be good if we could just have a little talk about the project itself and how it went, um so that we can feed back to the management for next time they're designing a product.
Guy Houston: Cool.
Michael Martin: Feedback?
Jeffrey Edwards: I think it mm
Michael Martin: Ideas?
Luigi Costa: Yeah mm, as far as creativity is concerned, yeah I think there was there was room for creativity. The only the only problem being that at the end we had to cut some things down because
Michael Martin: Mm-hmm.
Luigi Costa: of the the budget we had.
Jeffrey Edwards: I think uh n one thing that was lacking uh was that we did not know what the various things cost to begin with.
Michael Martin: Mm-hmm.
Guy Houston: Yeah.
Jeffrey Edwards: Um we kap kept a adding things randomly.
Michael Martin: Yeah.
Jeffrey Edwards: So,
Guy Houston: If
Jeffrey Edwards: had
Guy Houston: we'd
Jeffrey Edwards: we
Guy Houston: had
Jeffrey Edwards: known
Guy Houston: that sheet at the beginning should've been like, okay, so
Jeffrey Edwards: Yeah,
Guy Houston: we can have that lot,
Jeffrey Edwards: that
Michael Martin: Mm-hmm.
Jeffrey Edwards: or not,
Guy Houston: let's
Luigi Costa: Yeah,
Guy Houston: just
Jeffrey Edwards: yeah.
Guy Houston: throw it together
Luigi Costa: yeah,
Guy Houston: and
Luigi Costa: yeah.
Guy Houston: do what
Jeffrey Edwards: Yeah.
Guy Houston: we can.
Jeffrey Edwards: So d all the random decisions at the end could have been
Guy Houston: Yeah.
Jeffrey Edwards: prevented. Mm.
Michael Martin: But in terms of the process of um going and working individually and then coming back to a meeting, that
Jeffrey Edwards: Yeah,
Michael Martin: that worked
Jeffrey Edwards: mm.
Guy Houston: I think 'cause
Michael Martin: in terms
Guy Houston: the meetings
Michael Martin: of.
Guy Houston: were so regular, you know.
Michael Martin: Mm-hmm.
Guy Houston: It wasn't like we were alone for very long, so you didn't st go off and think, wouldn't it be great to have a vibrating
Michael Martin: Mm-hmm. Banana.
Guy Houston: remote control shaped like a banana, and then, you know, come back three days later and Jen's
Luigi Costa: Yeah.
Guy Houston: going look, look, it vibrates and it looks like a banana. Um yeah, so yeah.
Luigi Costa: Yeah, the m the means were very very good, the means we used.
Michael Martin: Mm-hmm, the whiteboard digital
Luigi Costa: And
Michael Martin: pens.
Luigi Costa: the pens.
Guy Houston: Uh
Michael Martin: We like
Guy Houston: I like the
Michael Martin: the
Guy Houston: pens.
Michael Martin: pens.
Guy Houston: I want one. That would just be so cool, to d do all your notes and s
Michael Martin: Yeah, you could take it to lectures and just write stuff down
Jeffrey Edwards: Yeah
Michael Martin: and have it printed out
Jeffrey Edwards: yeah
Michael Martin: when you
Luigi Costa: Yeah,
Michael Martin: got back
Jeffrey Edwards: yeah,
Michael Martin: to the
Luigi Costa: yeah.
Michael Martin: office.
Jeffrey Edwards: that's it's it's
Michael Martin: They great?
Jeffrey Edwards: I wonder what one of these costs.
Michael Martin: Do you think they'd notice if one went?
Guy Houston: I don't think you should say that was the recording.
Michael Martin: Oh okay.
Guy Houston: Okay, cover up the microphone. Alright,
Michael Martin: Yep.
Guy Houston: let's
Michael Martin: Shh.
Guy Houston: take it.
Michael Martin: Yep.
Guy Houston: Okay.
Michael Martin: But that worked well having having a whiteboard that we could draw on as well as having the PowerPoint, 'cause the I find that the problem with PowerPoint often is that it's so static and you can't change
Guy Houston: It
Michael Martin: it
Guy Houston: is
Michael Martin: once
Guy Houston: a bit
Michael Martin: you're
Guy Houston: limiting,
Luigi Costa: Yeah.
Michael Martin: in
Jeffrey Edwards: Yeah.
Michael Martin: there,
Guy Houston: isn't it? Yeah.
Michael Martin: yep.
Luigi Costa: Yeah, and and and this time also the time limits but actually
Guy Houston: Yeah.
Luigi Costa: preparing the
Guy Houston: The
Michael Martin: Mm-hmm.
Guy Houston: thing flew in, you didn't have the whole whooshing thing,
Luigi Costa: Yeah.
Guy Houston: 'cause there wasn't time for that, so
Michael Martin: Yeah.
Guy Houston: yeah.
Michael Martin: That's alright, that always irritates
Guy Houston: Not
Michael Martin: Guy Houston
Guy Houston: that you
Michael Martin: anyway,
Guy Houston: can do that on the board, either.
Michael Martin: yeah.
Guy Houston: We could make some little
Luigi Costa: But yeah, but I mean already just just preparing the slides before
Guy Houston: Yeah,
Luigi Costa: before
Guy Houston: totally,
Luigi Costa: the meeting,
Guy Houston: I mean that was
Luigi Costa: yeah.
Guy Houston: fairly tight anyway,
Michael Martin: Mm.
Guy Houston: I mean especially with that last-minute alteration.
Luigi Costa: Yeah.
Michael Martin: Yeah.
Jeffrey Edwards: Mm yeah.
Guy Houston: back it, this is just had to be changed. And yeah, so cool.
Michael Martin: Yeah.
Guy Houston: Are we supposed to say nice things about Jen now?
Michael Martin: And presumably you don't you can say nasty things as well.
Luigi Costa: Yeah. I was
Michael Martin: I have
Luigi Costa: I was
Michael Martin: no
Luigi Costa: satisfied
Michael Martin: stake in it.
Luigi Costa: with with
Guy Houston: Yeah,
Luigi Costa: the leadership,
Guy Houston: definitely.
Jeffrey Edwards: Yeah.
Guy Houston: You weren't
Luigi Costa: yeah.
Guy Houston: like a a dictating leader, so that was always good.
Michael Martin: You have to say that, 'cause I'm taking the notes.
Luigi Costa: Mm-hmm.
Michael Martin: I'll leave the room and you can
Guy Houston: I
Michael Martin: have
Guy Houston: know
Michael Martin: another
Guy Houston: you've got
Michael Martin: go.
Guy Houston: the pen, you might attack Guy Houston with
Michael Martin: Better
Luigi Costa: And then
Michael Martin: than
Luigi Costa: the
Michael Martin: that
Luigi Costa: teamwork
Guy Houston: it.
Michael Martin: than the banana.
Luigi Costa: I think I think it worked quite
Michael Martin: I think it
Luigi Costa: quite
Michael Martin: worked
Luigi Costa: nicely,
Michael Martin: quite well.
Guy Houston: Yeah.
Luigi Costa: yeah.
Jeffrey Edwards: Yeah.
Michael Martin: Did anyone feel that they were getting sort of covered up and not being able to say
Luigi Costa: To express
Michael Martin: their bit?
Luigi Costa: them mm
Jeffrey Edwards: Mm.
Luigi Costa: mm
Jeffrey Edwards: I guess
Luigi Costa: no.
Jeffrey Edwards: it was a fairly small group, so all of us got
Michael Martin: Yeah.
Jeffrey Edwards: to express our opinions, yeah.
Guy Houston: Yeah.
Michael Martin: New ideas found. Not
Luigi Costa: Well
Michael Martin: quite
Luigi Costa: it's
Michael Martin: sure
Luigi Costa: it's
Michael Martin: what
Luigi Costa: it's
Michael Martin: about.
Luigi Costa: pretty new,
Michael Martin: Yeah.
Luigi Costa: pretty
Jeffrey Edwards: Mm.
Luigi Costa: novel solution for a for a remote control really, all this flipping
Michael Martin: Yeah.
Luigi Costa: open thing and
Guy Houston: I don't know, I don't go shopping for remote controls that
Luigi Costa: Yeah,
Guy Houston: often, maybe somebody's
Luigi Costa: neither neither do
Guy Houston: already
Luigi Costa: I, but I've
Guy Houston: though
Luigi Costa: never
Guy Houston: of
Luigi Costa: seen
Guy Houston: it.
Luigi Costa: anything and and none of my examples were was was like this, actually,
Michael Martin: Mm-hmm.
Luigi Costa: so.
Guy Houston: Yeah.
Jeffrey Edwards: Hmm.
Guy Houston: Yeah. I'll be looking out next time I need
Michael Martin: Yeah,
Guy Houston: to write
Michael Martin: that's
Guy Houston: an essay.
Michael Martin: right.
Guy Houston: That looks boring, I'll see if anyone's
Luigi Costa: Yeah maybe
Guy Houston: made
Luigi Costa: w
Guy Houston: a
Luigi Costa: maybe we
Guy Houston: remote
Luigi Costa: could have
Guy Houston: control.
Luigi Costa: a patent on this one.
Guy Houston: Yeah,
Jeffrey Edwards: Yeah.
Guy Houston: yeah.
Luigi Costa: Patent patent patent.
Michael Martin: Banana
Guy Houston: I think we'd
Michael Martin: remote.
Guy Houston: like to
Luigi Costa: Mm.
Guy Houston: think the ideas were new, but we've got no way of finding out.
Michael Martin: Yeah.
Luigi Costa: Mm-hmm.
Michael Martin: Or you can always go to Google and type in banana remote control.
Guy Houston: That
Michael Martin: Flip.
Guy Houston: vibrates
Michael Martin: Vibrate. And uh yeah.
Guy Houston: Yeah, but that would just come up with like other things really
Michael Martin: Nothing
Guy Houston: wouldn't it.
Michael Martin: that you really want. True. Yeah. Okay. So, costs are within budget,
Luigi Costa: Yes.
Guy Houston: Yes.
Michael Martin: well within budget, including a little what have we got? One Euro left over for bits that we didn't foresee. Um we've evaluated
Luigi Costa: Yes.
Michael Martin: the project. You've
Guy Houston: And it's fabulous.
Michael Martin: got the scores. Can you put that in the project documents file?
Guy Houston: It's in the project
Michael Martin: It's in
Guy Houston: documents.
Michael Martin: there already. And the process wheel didn't really have any major problems with. Were there any was there anything that you found difficult, or anything that didn't go as smoothly as you'd
Luigi Costa: And
Michael Martin: hope?
Luigi Costa: my main difficulty was the the time pressure.
Michael Martin: Yeah.
Luigi Costa: Otherwise
Guy Houston: Yeah,
Luigi Costa: it's
Jeffrey Edwards: Mm-hmm.
Guy Houston: yeah, sometimes
Luigi Costa: it's all fine.
Guy Houston: it's like a little bit rushed.
Jeffrey Edwards: I thought that was good though, because if you're given too much time
Luigi Costa: Yeah,
Jeffrey Edwards: then you got nothing
Luigi Costa: yeah,
Jeffrey Edwards: to do with your time and
Luigi Costa: yeah.
Jeffrey Edwards: um yeah. Although we could have made the R_s better had we had
Luigi Costa: Yeah.
Jeffrey Edwards: five more minute.
Michael Martin: Okay then. Um I think we're still well within our
Guy Houston: Yeah, we've got like
Michael Martin: time.
Guy Houston: five minutes left.
Michael Martin: We've got about five minutes left, but if we've finished, then we've finished.
Luigi Costa: Yeah.
Michael Martin: We're just too too efficient and
Jeffrey Edwards: We certainly
Guy Houston: Yeah.
Michael Martin: you should
Jeffrey Edwards: are,
Michael Martin: never
Jeffrey Edwards: mm.
Michael Martin: drag a meeting on just because you have extra time.
Jeffrey Edwards: Yeah.
Luigi Costa: Yes.
Michael Martin: So I would say that's the end of that meeting.
Luigi Costa: Yeah,
Michael Martin: Thank
Guy Houston: 'Kay.
Luigi Costa: it
Michael Martin: you,
Luigi Costa: was a
Michael Martin: team.
Luigi Costa: pleasure working with you.
Michael Martin: It was
Jeffrey Edwards: Yeah, same here.
Michael Martin: very productive day
Guy Houston: We
Michael Martin: and
Guy Houston: could draw animals on the board again.
Jeffrey Edwards: Mm uh no.
Michael Martin: Mm uh
Jeffrey Edwards: I don't
Michael Martin: no.
Jeffrey Edwards: think so.
Luigi Costa: You can make some animals.
Guy Houston: I
Luigi Costa: Oh,
Guy Houston: don't
Luigi Costa: you
Guy Houston: like
Luigi Costa: don't
Guy Houston: Play-Doh,
Luigi Costa: like
Guy Houston: no.
Luigi Costa: anim
Guy Houston: It's just minging. It smells so bad.
Luigi Costa: It doesn't?
Guy Houston: It
Luigi Costa: Smells
Guy Houston: does.
Luigi Costa: quite nice. Smells very sweet.
Guy Houston: Mm.
Michael Martin: Right, so we have to complete the final questionnaire and meeting summary when they
Jeffrey Edwards: Was there a
Michael Martin: send
Jeffrey Edwards: questionnaire
Michael Martin: it.
Jeffrey Edwards: already sent?
Michael Martin: I don't know if it's already sent or
Guy Houston: No,
Michael Martin: not.
Guy Houston: it hasn't been.
Michael Martin: Um presumably I
Guy Houston: Do
Michael Martin: have
Guy Houston: we have
Michael Martin: to
Guy Houston: to go back into the other room or can we stay in here now?
Michael Martin: I don't see why you can't stay here, really.
Guy Houston: Okay, so the other way.
Michael Martin: Did I save this one? Production costs.
Luigi Costa: I made your animal for you.
Michael Martin: It was supposed to be pink.
Luigi Costa: Yeah,
Michael Martin: But
Luigi Costa: that's
Michael Martin: it was blue
Luigi Costa: the
Michael Martin: on
Luigi Costa: one
Michael Martin: the board. | Michael Martin opens this detailed design meeting by going over the agenda. The designers present the prototype, which they decided to make the color and shape of a banana. They demonstrate the remote components, showing how it flips open on the side and features a LCD and scroll inside. Guy Houston gives the product evaluation, which is based on the criteria of attractiveness, whether it matches operation behavior of the user, locatability, intuitiveness, ergonomic design, and how technologically innovative it is. They rate the product using a 7 point scale and come up with an average score of 6.5. The group goes on to calculate the production cost and finds they are over the budget. They have discussion and decide to eliminate the sample speaker locator and the scroll wheel inside. The team discusses the project process- saying that they had to cut out some creativity in order to meet the budget because they had not known the cost of features beforehand. They were satisfied with the leadership but felt rushed for time. They finish the meeting 5 minutes early and Michael Martin tells them what is left to complete. | 5 | amisum | train |
Charles Reid: Oh right okay. I cover myself up.
Frank Gould: I feel like Madonna with one of these on I. said I feel like Madonna with one of these on.
Charles Reid: I've always wanted one of these, I really have. Where do you buy 'em from? They're.
Frank Gould: Right. Hello everybody.
Derrick Berry: Hello.
Frank Gould: Back again for another wonderful meeting. Is uh everyone ready?
Derrick Berry: Yeah.
Charles Reid: Yeah.
Ralph Micklos: Almost.
Frank Gould: Okay, we c we can hold on for a minute.
Charles Reid: Oh my gosh.
Frank Gould: I figured with the spam thing, if you can't beat it, join in.
Derrick Berry: That's the kind of spam that everybody likes to receive.
Ralph Micklos: Mm 'kay.
Frank Gould: Are you ready?
Frank Gould: Okay, right, well, I take it that you are all ready now. Um alright first off we'll just uh recap our last meeting. Um which was we got together just to basically decide on well to talk about what it is that we were actually uh supposed to be doing, and who we all are and stuff like that, mm get bit more of an idea together of what's going on. Um what we are gonna talk about in this meeting is um now that we know what it is that we are doing, now we know that it's a T_V_ remote and stuff and you guys have just been off doing some some uh R_ and D_ for that, that's research and development for
Charles Reid: Mm-hmm.
Frank Gould: those that haven't heard that before, see I'm learning all sorts of new technologi terms in technology today. Um yeah, we're gonna hear your uh th three little presentations, whether
Derrick Berry: Hmm.
Frank Gould: they be on computer or on the whiteboard or whatever you want.
Derrick Berry: Do you have any preference uh of order?
Frank Gould: Um I'd like to um hear o I'd like to hear who's g who's on the um from from uh Catherine actually first. I want what I'd like to hear about is uh if we've finally decided on um what
Charles Reid: Batteries.
Frank Gould: sort of energy we're gonna be using and
Derrick Berry: I think she is still finishing her.
Ralph Micklos: No no no no, it's fine I'm just preparing.
Frank Gould: It's just that yeah, let's let's hear from you first.
Derrick Berry: Hmm.
Ralph Micklos: Okay. Where is that
Derrick Berry: Okay,
Ralph Micklos: thing?
Derrick Berry: it's uh
Charles Reid: It's here.
Ralph Micklos: Oh sorry, couldn't see. Would that work?
Frank Gould: Get yourself in position.
Charles Reid: Ah.
Ralph Micklos: Okay, so that's Charles Reid again. Um so um for the energy sources we can have a basic battery, a hand dynamo which is which was used uh in the fifties for torches, if you remember that kind of which wouldn't
Frank Gould: I don't
Ralph Micklos: be v
Frank Gould: think any of us remember
Ralph Micklos: wouldn't
Frank Gould: the fifties.
Ralph Micklos: be v
Derrick Berry: Is it like
Ralph Micklos: v
Derrick Berry: a crank
Ralph Micklos: yeah,
Derrick Berry: thing
Ralph Micklos: yeah.
Derrick Berry: or something.
Ralph Micklos: It wouldn't be very fancy. You can have a kinetic provision of energy, which is used on some watches these days. So if you have just a bit of gentle movement that it will give
Charles Reid: Mm.
Ralph Micklos: it the energy to work. Or you can use solar cells, but I'm not sure about that indoors, really, but
Derrick Berry: Well, there's sometimes combinations, I mean, like calculators
Ralph Micklos: Yeah.
Derrick Berry: do combinations of battery with but also using some solar power.
Frank Gould: Do
Charles Reid: Mm.
Frank Gould: sol solar panel things, do they have to work from the sun or can they work from a light bulb?
Ralph Micklos: I dunno
Frank Gould: Does anybody
Ralph Micklos: actually.
Frank Gould: know?
Derrick Berry: Uh I think, it has to be on the on the solar energy, but I know.
Ralph Micklos: I dunno. Um. Think the the uh
Frank Gould: Okay.
Ralph Micklos: what would cost the less would be the basic battery, really.
Charles Reid: Mm.
Ralph Micklos: And uh if we want something fancier, I think the kinetic provision of energy could be nice, but I don't know if it's worth the cost. So we've got to discuss that.
Frank Gould: Mm. Okay, jolly good.
Ralph Micklos: For the case of the remotes itself, um they can be a general case, which is just a flat one. You can have uh a curved one or a double curved one, if you know what I mean, so
Frank Gould: What's a double curved one?
Ralph Micklos: You know, kind of more ergonomic, that kind of suits the palm of your hand, that kind of thing. So
Frank Gould: Okay.
Ralph Micklos: Um then the case material itself, so it can be uh uh either plastic or latex, uh rubber, wood, or titanium. And th for each of them you have uh cases where for example titanium, you can't use it for if you if we're choosing a double curved case, we can't choose titanium. And if we are choosing um solar cells then we can't choose latex for the case material, so we just have to take that into account. But if we're choosing just the flat case then we can go for anything. And I think we discussed earlier on the R_ S_ I_ problem thing, so we could uh
Frank Gould: So that might be an idea of using
Ralph Micklos: Yeah.
Frank Gould: the rubber, but then it should, you know
Derrick Berry: Let's have a squeezable remote.
Frank Gould: yeah.
Ralph Micklos: Yeah. And also it doesn't break as easily maybe, I dunno
Frank Gould: when a T_V_ programme's got one watching the match and your team's just lost, you can fuzz it across the room and it'll bounce off the wall back
Charles Reid: Yeah.
Frank Gould: at you. Yeah, I like that idea.
Charles Reid: Mm.
Ralph Micklos: So rubber would be Okay.
Charles Reid: I think rubber's
Frank Gould: Rubber, we're all we're all going we're all liking that idea? You think you can market
Charles Reid: But after
Frank Gould: that?
Charles Reid: my after my fashion thing, I think you'll realise that rubber is more
Ralph Micklos: Uh
Frank Gould: Ooh, we
Ralph Micklos: s
Frank Gould: like rubber, ooh.
Charles Reid: People.
Ralph Micklos: so if d okay. And then there are the push-buttons, so you can have basic push-buttons or a scroll-wheels, like you have on a mouse, um or you could have um L_C_D_, which gives you a display. Um scroll buttons, as well.
Frank Gould: Uh-huh.
Ralph Micklos: So if you use a rubber double curved case, you must use rubber push-buttons. So if we're going for rubber then we have to decide for the case. Um and if we choose double curved then we have to go for rubber push-buttons. So it's
Frank Gould: Well,
Ralph Micklos: a constraint.
Frank Gould: we're gonna go with I think we've decided that it's gonna be a rubber case
Ralph Micklos: Yeah, but
Frank Gould: so
Ralph Micklos: is it a double curved one or not? If it's not a double curved, then we've got the choice for the push-buttons, if it's a double curve, we've gotta go for rubber push-buttons. If that makes sense.
Frank Gould: push buttons instead of the wheel?
Ralph Micklos: Yeah.
Derrick Berry: If it's rubber, isn't it malleable anyway, it doesn't matter if it's double I mean isn't a rubber case, mean it's completely flexed, I mean, it it flexes to whatever they want it to? Mean so what's the difference between a normal rubber case and a rubble doub double rubber double curved
Ralph Micklos: No, but
Frank Gould: rubble
Derrick Berry: case?
Frank Gould: double double.
Ralph Micklos: na le you see, you've got, okay, the energy that's
Frank Gould: I'll have
Ralph Micklos: one
Frank Gould: a Big
Ralph Micklos: thing,
Frank Gould: Mac, please.
Ralph Micklos: then you have the case is uh, whether it's flat or curved. And that's we don't care if it's rub rubber or not, but then we've decided that we going for rubber for the case material. So if we've chosen rub rubber and if now we have the choice for the case whether it's flat, single curved or double curved. And I'm just saying if it if we choose it to be double curved then we need to go I dunno why, but we need to go for uh rubber push-buttons.
Derrick Berry: Okay.
Ralph Micklos: So, either I dunno we just need to decide on the
Frank Gould: Let's have
Ralph Micklos: on
Frank Gould: rubber
Ralph Micklos: the case.
Frank Gould: push buttons, hey.
Derrick Berry: Okay. Go rubber. Go
Ralph Micklos: Let's
Derrick Berry: rubber
Ralph Micklos: go crazy.
Derrick Berry: the whole way.
Ralph Micklos: And then, do I have a last slide? Yes, I do. Um so the push-buttons themselves they can be just simple or they can be so that's just the electronics between the but behind the push-buttons.
Frank Gould: Yeah.
Ralph Micklos: Um and the price that go with it with it, so the simple push-buttons are gonna be the cheapest. Uh if we get a scroll-wheel, that's a higher price range. If we get an advanced chip which is um used for the L_C_D_, the display thing, then that's even more expensive.
Frank Gould: Simple, yeah. Chip on print. It's a bit.
Frank Gould: Okay, uh what I'm not understanding here
Ralph Micklos: Mm.
Frank Gould: is uh, okay, advanced chip on print, which I presume is like one P_C_B_ and that's got all the electronics on one board
Ralph Micklos: Yeah.
Frank Gould: including the um
Ralph Micklos: The infra-red.
Frank Gould: infra-red sender?
Ralph Micklos: Yeah.
Frank Gould: Right. Um what a what alternatives do we have to that? Y um what alternatives do we have to the chip
Ralph Micklos: Well,
Frank Gould: on
Ralph Micklos: if
Frank Gould: print?
Ralph Micklos: if it's not chip on print then, I guess, you get different chip components, and you build them separately and doesn't include the infra-red. It's less expensive mm
Frank Gould: so it sounds
Ralph Micklos: Technically speaking, it's not as advanced, but it does the job, too.
Frank Gould: So, why would we not go for that? If it's something
Ralph Micklos: Fo
Frank Gould: that's inside the the unit.
Ralph Micklos: It doesn't,
Frank Gould: I it
Ralph Micklos: yeah, yeah, yeah.
Frank Gould: doesn't affects whether the customer's
Ralph Micklos: Totally.
Frank Gould: gonna buy it or not.
Ralph Micklos: Yeah.
Frank Gould: Um
Ralph Micklos: So let's not
Frank Gould: we
Ralph Micklos: go
Frank Gould: wanna
Ralph Micklos: for
Frank Gould: go
Ralph Micklos: the
Frank Gould: for an i i all so long as it works,
Ralph Micklos: Yeah, yeah.
Frank Gould: you
Ralph Micklos: I
Frank Gould: know.
Ralph Micklos: agree.
Frank Gould: So let's not let's uh not bother with the chip on print.
Ralph Micklos: So it's either um the scroll-wheel or the push-buttons.
Frank Gould: Yeah. S yeah, push buttons.
Charles Reid: What about the just
Derrick Berry: I
Charles Reid: developed
Derrick Berry: think push-buttons
Charles Reid: uh sample
Derrick Berry: is
Charles Reid: sensor?
Frank Gould: What about what?
Charles Reid: G there, the sample sensor, sample
Ralph Micklos: Well
Charles Reid: speaker thing.
Frank Gould: Well, what do we need a speaker for in a remote control unit?
Charles Reid: Mm, I dunno. Be cool.
Ralph Micklos: It'd
Charles Reid: Channel
Ralph Micklos: be it'd
Derrick Berry: Yeah.
Ralph Micklos: be cool,
Charles Reid: two.
Ralph Micklos: but they are saying they've just developed it, I'm just guessing. But it's gonna
Frank Gould: S
Ralph Micklos: be the most expensive option, probably and
Derrick Berry: Th the the speech recognition um option is it doesn't seem really very promising for us
Frank Gould: Yeah.
Derrick Berry: uh, 'cause
Frank Gould: It's not
Derrick Berry: uh
Frank Gould: something that we wanna t go into with this
Derrick Berry: The
Frank Gould: product.
Derrick Berry: yeah the example that they're already using it for is with the coffee machine, where, basically, you can program a sample wi um That when you say something it will give a response, and you program the response as well. Just uh clips of tha that you record yourself. So you can program your coffee-maker that when you say, good morning, to it it says, hello Rick, or whatever.
Frank Gould: Yeah.
Derrick Berry: But, I mean, it's not it would
Ralph Micklos: Hm.
Derrick Berry: be one thing if it was speech recognition where you say something and it turns the T_V_ on like, turn the T_V_ on, and i turns comes on, but it's not that. It just gives
Charles Reid: Oh,
Derrick Berry: you
Charles Reid: it
Derrick Berry: a
Charles Reid: just gives an answer.
Derrick Berry: it just gives you a verbal response. So, yeah, I mean,
Charles Reid: Oh, then then
Derrick Berry: like what's the point of saying,
Frank Gould: Yeah.
Derrick Berry: Hello remote, I mean, hello,
Frank Gould: Yeah.
Derrick Berry: how how are
Charles Reid: I
Derrick Berry: you?
Charles Reid: thought I thought it was when
Ralph Micklos: Just
Charles Reid: they
Ralph Micklos: if
Charles Reid: said
Ralph Micklos: you are really lonely,
Derrick Berry: Yeah,
Ralph Micklos: maybe.
Derrick Berry: if you're really lonely, it
Charles Reid: I thought
Derrick Berry: is it's
Charles Reid: when they said, voice recognition, they meant um like, channel five, and it
Derrick Berry: No,
Charles Reid: will change.
Derrick Berry: tha that
Charles Reid: Like
Derrick Berry: w
Charles Reid: you
Derrick Berry: that
Charles Reid: talk
Derrick Berry: w
Charles Reid: to it.
Derrick Berry: that would be
Charles Reid: Can
Derrick Berry: more
Charles Reid: I
Derrick Berry: promising.
Charles Reid: have channel five?
Frank Gould: Yeah.
Derrick Berry: It it's just a remote that talks to you. Uh.
Charles Reid: Oh,
Frank Gould: Yeah.
Charles Reid: then forget
Frank Gould: Yeah.
Charles Reid: about it. Oh right okay.
Derrick Berry: I mean to certain cues.
Frank Gould: Yeah.
Ralph Micklos: Okay, so I'll go back, maybe, to the previous slide and we can decide for each problem, what we should choose. So
Derrick Berry: 'Kay.
Ralph Micklos: for the energy source, do we go for the battery or the
Derrick Berry: Yeah, I'm fine with the basic battery.
Frank Gould: Basic
Charles Reid: Mm.
Frank Gould: battery. It's cheap, it's cheerful, it's worked, does work.
Derrick Berry: Hmm.
Ralph Micklos: Cheaper option. Are
Charles Reid: Mm.
Ralph Micklos: you happy with that?
Charles Reid: Yeah.
Ralph Micklos: Okay. So we'll go for the battery. Then the case, do you want it flat or curved or sing or
Frank Gould: We
Ralph Micklos: double
Frank Gould: were go
Ralph Micklos: curved?
Frank Gould: we were going with the late with the the R_S_I_ rubber, weren't
Derrick Berry: Yeah,
Frank Gould: we?
Derrick Berry: so we want it rub rubber double curved.
Frank Gould: The the
Charles Reid: So it will look like
Ralph Micklos: Double?
Charles Reid: something like
Frank Gould: The double
Charles Reid: this.
Frank Gould: whopper, please.
Ralph Micklos: Okay, so then if we use double
Frank Gould: Yep,
Ralph Micklos: curved
Frank Gould: but
Ralph Micklos: case, then we have
Frank Gould: we're going
Ralph Micklos: to
Frank Gould: for
Ralph Micklos: u
Frank Gould: the simple
Ralph Micklos: choose
Frank Gould: buttons.
Derrick Berry: So rubber
Ralph Micklos: rubber push-buttons,
Derrick Berry: rubber keys,
Frank Gould: Yeah.
Ralph Micklos: and that's
Derrick Berry: yeah.
Ralph Micklos: fine?
Frank Gould: And it's cheapest all round, it sounds kinda funky, and
Ralph Micklos: P
Frank Gould: we can also
Derrick Berry: Yeah.
Frank Gould: market it as i 'cause we were s saying earl you were saying earlier in your research that um the the people have the R_ people were getting the complaining about R_S_I_, and this is anti-R_S_I_.
Charles Reid: Yeah.
Ralph Micklos: Yeah.
Frank Gould: So that's another marketing point that we can use.
Charles Reid: Well the rubber push-buttons. Don't you have to move
Frank Gould: But
Charles Reid: your
Frank Gould: anything is gonna have buttons.
Charles Reid: Mm.
Frank Gould: Even if it's a jog wheel, it's still repetitive.
Ralph Micklos: I thought they
Frank Gould: You
Ralph Micklos: would give an option of flat buttons or a
Frank Gould: You see, you can
Ralph Micklos: That
Frank Gould: still
Ralph Micklos: they don't.
Frank Gould: get it does you still get repetitive strain injury, whether you are pressing a button or pressing a flat bit of screen. It's the v it's the
Ralph Micklos: Mm.
Frank Gould: fact that you are pressing the same doing the same movement. It's not actually what you are doing. But the fact that this this rubber i is actually used in these anti-R_S_I_ ps specific
Charles Reid: Mm. Yeah, the
Derrick Berry: Yeah.
Charles Reid: rubber's good.
Derrick Berry: We're giving them a way to burn off steam, basically, yeah.
Frank Gould: Yeah.
Charles Reid: Yeah, so they can sit there and go like
Derrick Berry: Not that watching T_V_ should be that stressful.
Frank Gould: And you know, yeah, you can fuzz it across the room and throw
Derrick Berry: Oh
Frank Gould: it
Derrick Berry: yeah,
Frank Gould: at throw
Derrick Berry: I guess
Frank Gould: it
Derrick Berry: T_V_
Frank Gould: at your
Derrick Berry: can
Frank Gould: children
Derrick Berry: be stressful, yeah, if you're watching sports.
Frank Gould: yeah.
Ralph Micklos: Alright, that's Charles Reid done.
Derrick Berry: Alright. Alright.
Frank Gould: about the um it's the interface.
Derrick Berry: Yeah, some of what I have to say ties into what Catherine was just talking about.
Frank Gould: Great.
Ralph Micklos: Sorry.
Derrick Berry: Okay, so I'm continuing with the user interface uh topic. And so basically I consulted with our manufacturing division. It sounded like Catherine was also speaking with them. Uh I also took uh Reissa's marketing findings from the last meeting into consideration um, 'cause I think that's that's crucial as far as uh what keys we're going to inc inclu what buttons we are going to include and and how they're laid out.
Frank Gould: Mm.
Derrick Berry: Uh and so the manufacturing division uh sent some some samples of of uh interface components that we might be interested in using that have been used in other products, uh like the coffee machine. So I already mentioned the speech recognition interface. I guess, we we basically vetoed that idea. It's it's pointless.
Frank Gould: Mm.
Derrick Berry: Uh it's just a sample sensor sample output. It would just be probably the most expensive part of our remote without any actual interesting functionality as far as operating the T_V_. Uh so yeah, they they also give the uh they they suggested the idea of using a spinning wheel like you use on the
Charles Reid: Mm.
Derrick Berry: side of
Frank Gould: Mm.
Derrick Berry: an M_P_ three player like iPod. Um so we've already addressed that and I think that would actually be worse for something like R_S_I_ I mean you got that thumb movement
Frank Gould: Yeah.
Derrick Berry: that you're constantly
Charles Reid: Mm.
Derrick Berry: doing.
Charles Reid: That does get
Derrick Berry: Um
Charles Reid: annoying.
Derrick Berry: the other suggestion, and I I have a feeling that we're interested in in something more general, but they suggested uh, you know, going i a little bit into a a niche, like either gearing our remote towards kids, where you could have lot of colours um, the keys might be you know, funny or or, or uh something
Frank Gould: Mm-hmm.
Derrick Berry: for the elderly, where the remote's very large and the buttons are very large and there's only a few buttons. But you know we can we can discuss this, but it sounded like from our last meeting we really wanted something that was general, but done well. Uh
Frank Gould: Yeah.
Derrick Berry: um So, the key layout and design are really crucial. You don't want uh you want people to be able to quickly access the buttons that they use a lot without uh always pressing the wrong one um. And I didn't mention that we need a power button in our last I can give you an example here of uh, good layout and bad layout uh from our manufacturing department. So this would be an example of bad layout,
Frank Gould: Yeah.
Derrick Berry: of them, so
Frank Gould: Yeah.
Derrick Berry: uh it's sort of confusing for the user. Uh
Frank Gould: Do we have an uh example
Derrick Berry: this is
Frank Gould: of
Derrick Berry: the
Frank Gould: a
Derrick Berry: example
Frank Gould: good one?
Derrick Berry: of the giant remote that's impossible to lose.
Charles Reid: Uh-huh.
Frank Gould: Brilliant.
Charles Reid: Well
Derrick Berry: And for something for kids. Yeah. Um.
Frank Gould: Yeah.
Derrick Berry: And so, yeah, I th I think my personal preferences of we've all kind of talked about and seemed to be on the same page um. Uh so I was against the speech recognition and against going uh towards anything in in a niche sense. I think it should be more general.
Frank Gould: Mm-hmm.
Derrick Berry: I didn't I didn't think the spinning-wheel or the uh L_C_ display were were crucial for us. And, yeah, that's it for Charles Reid.
Frank Gould: Okay. Well let's um so w what are our definite decisions on this then as a team? The um The the um the interface type we're going for
Derrick Berry: So we're we're not gonna have any sort of display I think uh.
Frank Gould: Just the simple
Derrick Berry: So, yeah,
Frank Gould: s
Derrick Berry: it's just gonna be
Frank Gould: simple straight set
Derrick Berry: just
Frank Gould: of
Derrick Berry: gonna
Frank Gould: buttons.
Derrick Berry: be push-buttons. Um. I think we shall have a limited number of buttons, ideally, I mean
Frank Gould: Yeah.
Derrick Berry: a a power, channel up, channel down, volume up, volume
Frank Gould: Yeah.
Derrick Berry: down, and a numerical keypad. Uh. And some sort of it will either have a a lock button like we mentioned or or a cover or something like that.
Frank Gould: Yeah.
Derrick Berry: I guess it's to the point where we need to decide about that.
Frank Gould: Okay, and we're not yeah.
Derrick Berry: Well now that we've decided
Frank Gould: Are
Derrick Berry: on
Frank Gould: we
Derrick Berry: our
Frank Gould: gonna hav hav an are we d have we decided on whether w we're gonna s supplement it with anything, you know, colours or particular gimmicky bits to it, we're not we're just gonna go for something
Derrick Berry: Um
Frank Gould: We're
Derrick Berry: it seems
Charles Reid: Maybe
Derrick Berry: like we wouldn't wanna
Charles Reid: we can
Derrick Berry: make it too busy and too sort of gaudy, but um Yeah, I would say mayb maybe a couple of colours like uh like a black with with yellow and somewhere, like maybe the R_R_
Frank Gould: Yeah.
Derrick Berry: can be yellow, or something like that.
Frank Gould: Yeah. Okay. Okey-dokey. Yeah, I don't have any other questions on this. Let's move over
Derrick Berry: I
Frank Gould: to
Derrick Berry: I guess the fact uh also that we are having a rubber case uh would prevent us from having the cover function that we thought of before. I mean, 'cause
Frank Gould: Yeah,
Derrick Berry: uh s
Frank Gould: sure.
Derrick Berry: so if we wanna have a lock of some sort it would have to be a button. But I think that should be I mean um, I can speak with the button department, but uh I think that it should be easy to have a button that just
Frank Gould: Yeah, the
Derrick Berry: prevents
Frank Gould: button that
Derrick Berry: prevents
Frank Gould: just does
Derrick Berry: the
Frank Gould: that,
Derrick Berry: other
Frank Gould: yeah.
Derrick Berry: uh the other buttons from operating. So that should be simple.
Frank Gould: Cool.
Charles Reid: Right. Well, I'm just basically letting you know what's happening in the markets
Frank Gould: Mm yeah.
Charles Reid: and what the fashions are for next year. Um. So yes, so from looking at this year's trends and fashions
Frank Gould: Mm-hmm.
Charles Reid: and also recent investigation that we've done in the remote control market, we have found that for the remote control market these are like most important aspects like that we really need to which we've already probably discussed. Um the most important aspect is look and feel. So the remote control has to look and feel fancier than the ones that already that we already have. So it has to be
Frank Gould: Yeah, why should people
Charles Reid: Yep.
Frank Gould: buy this when they're already got
Charles Reid: Exactly.
Frank Gould: a remote
Derrick Berry: Mm.
Frank Gould: that came with the T_V_?
Derrick Berry: Yeah.
Charles Reid: Um second, uh it should be technologically innovative innovative. So
Frank Gould: What's that mean?
Charles Reid: Technologically it should be like um work, basically, I guess. It should work.
Derrick Berry: Well it should be it should be
Charles Reid: Should
Derrick Berry: maybe cutting edge in some sense, I mean have something that's little more
Charles Reid: That's
Derrick Berry: technologically
Charles Reid: new.
Derrick Berry: advanced
Frank Gould: Okay,
Derrick Berry: than what's on the market.
Charles Reid: Yeah.
Frank Gould: now the trouble is is we've
Derrick Berry: Yeah.
Frank Gould: already decided that we're going with the stuff that works already, that's
Derrick Berry: Yeah.
Frank Gould: cheap.
Derrick Berry: Actually,
Charles Reid: Yeah.
Derrick Berry: I mean, these first two points we've already sort of gone away from, 'cause
Charles Reid: Mm.
Frank Gould: Yeah.
Derrick Berry: our rubber one is not fancy I mean it's different, but I wouldn't say like a rubber remote is fancy. If that's what people want then we maybe we're going in the wrong direction. And it's it's not technologically innovative either.
Charles Reid: So,
Frank Gould: Maybe
Derrick Berry: Mm.
Frank Gould: we
Charles Reid: no loose
Frank Gould: could um
Charles Reid: That's why I was thinking, Bluetooth, 'cause if you like put up Bluetooth, and it's like a Bluetooth remote control, everybody's gonna like, oh, 'cause Bluetooth is the in thing nowadays, like it really is, like people and um when it comes to marketing like that's what people go for, they don't really care whether, you know, at the end of the day whether it works properly or not.
Frank Gould: Of course, they do.
Charles Reid: Well, they do, but it's
Frank Gould: One
Charles Reid: like
Frank Gould: hundred
Charles Reid: it's not
Frank Gould: per cent, that's your first thing, you go, oh I'm not gonna buy that, 'cause I dunno if it works or not.
Charles Reid: Yeah, but it looks good. If it looks good and it's it can just be there for decoration.
Frank Gould: Okay, well, what do you two think about this?
Derrick Berry: So is is the advantage
Charles Reid: But
Derrick Berry: of
Charles Reid: like
Derrick Berry: Bluetooth that you can just like synchronise it with other electronics?
Frank Gould: Yeah, what I don't understand what
Charles Reid: You could always insert,
Frank Gould: m
Charles Reid: yeah.
Derrick Berry: Yeah, that's basically what it allows you to do, right?
Frank Gould: Yeah, and it this is just gonna all this is being used for is your television.
Charles Reid: Yeah, but, I mean, people
Frank Gould: It
Charles Reid: like
Frank Gould: would that would mean you'd need a television that has Bluetooth in it, which
Charles Reid: Well,
Frank Gould: no no
Charles Reid: if you're
Frank Gould: television
Ralph Micklos: Well
Charles Reid: looking at
Frank Gould: does, does it?
Charles Reid: if you looking at something that's going to be bought by people, you have to make it new, you have to make it
Frank Gould: That would mean
Charles Reid: state
Frank Gould: we'd have to
Charles Reid: of
Frank Gould: make
Charles Reid: the art.
Frank Gould: a television as well.
Ralph Micklos: Bluetooth would, for example, enable you, I think, to um um connect for example you if you get a w call on your mobile phone, but your mobile phone is downstairs or something, you would get on your television you're being called by this person right now. Things like that.
Frank Gould: No, that would be your telephone in with your television.
Derrick Berry: Yeah,
Ralph Micklos: No
Derrick Berry: the that wouldn't
Ralph Micklos: i
Derrick Berry: be the remote so much,
Frank Gould: Yeah,
Derrick Berry: I mean
Ralph Micklos: No,
Frank Gould: and
Ralph Micklos: but
Frank Gould: i
Ralph Micklos: if you get Bluetooth on the remote, you'd be able to
Frank Gould: Nah, the televi
Ralph Micklos: I with the television, yeah.
Frank Gould: the television would have to be
Ralph Micklos: I
Frank Gould: a
Ralph Micklos: was
Frank Gould: Bluetooth
Ralph Micklos: just trying to find
Frank Gould: compatible,
Ralph Micklos: an advantage.
Derrick Berry: Mm.
Frank Gould: basically.
Ralph Micklos: Wha what w
Charles Reid: Well,
Ralph Micklos: what
Charles Reid: it doesn't
Ralph Micklos: advantage
Frank Gould: An
Ralph Micklos: would
Frank Gould: and
Ralph Micklos: you
Frank Gould: there
Ralph Micklos: get
Frank Gould: is no
Ralph Micklos: for
Frank Gould: there
Ralph Micklos: the
Frank Gould: is no such thing.
Charles Reid: Like it doesn't have to be, you know, Bluetooth, that was just an idea, but like it needs do something that, you know, is new. Whether it's a battery it could be something really really minor, you know, like but I think we are really keeping to what is already out there, and people've already seen it, people've already got it.
Frank Gould: Okay.
Charles Reid: If we want something new, we need to move away from what we already have and um
Ralph Micklos: Maybe the kinetic
Charles Reid: just go creative.
Ralph Micklos: mo provision of energy then. It's been done for watches, but I haven't seen that for remotes,
Frank Gould: Okay.
Ralph Micklos: yet.
Frank Gould: Yeah, this that's that's
Charles Reid: And then
Frank Gould: very
Charles Reid: you can market
Frank Gould: good.
Charles Reid: it. Never have to change
Ralph Micklos: Change
Charles Reid: a
Ralph Micklos: the
Charles Reid: battery
Ralph Micklos: batteries
Charles Reid: again.
Ralph Micklos: ever again.
Frank Gould: And and this is all tying in very nicely. The fact that it's made out of this rubber, we can throw it about. Th we should encourage people to throw their remote controls about, because it charges itself
Ralph Micklos: Yeah, well,
Frank Gould: up by
Derrick Berry: Yes,
Frank Gould: doing
Ralph Micklos: and
Derrick Berry: so
Frank Gould: it.
Derrick Berry: can
Ralph Micklos: in little characters you say, yeah, but not too much.
Charles Reid: I think, safety
Frank Gould: But yeah, by the squeezing it
Charles Reid: s
Derrick Berry: Yeah,
Frank Gould: the
Derrick Berry: we can make the squeezing of the rubber be the be the generating
Frank Gould: Yeah,
Derrick Berry: like the energy
Charles Reid: Yeah.
Derrick Berry: generator.
Frank Gould: that's a great idea. Well done.
Charles Reid: Third most important aspect uh is it's easy to use. And I think we've all
Derrick Berry: we're
Charles Reid: um
Derrick Berry: all about that.
Charles Reid: worked that out. Um okay, in the fashion, how it's supposed to look. Next year's fashion i very much in fruit and vegetables are thm are like the theme for cloths, shoes and furniture. So next year people will be buying, I found this really funny, you know, strawberry shaped chairs,
Derrick Berry: Okay, so we
Charles Reid: and
Derrick Berry: could have
Charles Reid: things.
Derrick Berry: keys that are like a b like a broccoli key and a
Frank Gould: Yeah.
Derrick Berry: uh
Charles Reid: Yeah.
Derrick Berry: and an avocado
Charles Reid: Rubber
Frank Gould: I wanna
Derrick Berry: key
Frank Gould: watch
Derrick Berry: on
Frank Gould: the
Derrick Berry: them.
Charles Reid: things.
Frank Gould: pineapple channel.
Charles Reid: Um and as it's rubber the feel which is in this year is spongy, so it's it's not quite spongy,
Frank Gould: Well
Charles Reid: but
Frank Gould: spongy,
Charles Reid: spongy,
Frank Gould: that's
Charles Reid: I would
Frank Gould: where.
Charles Reid: say
Frank Gould: Yeah,
Charles Reid: is
Derrick Berry: Yeah,
Frank Gould: we're
Derrick Berry: that's
Charles Reid: yeah,
Derrick Berry: great
Frank Gould: we're
Derrick Berry: for us.
Charles Reid: so
Frank Gould: ahead
Charles Reid: we're
Frank Gould: of
Charles Reid: in.
Frank Gould: the game there.
Charles Reid: Yeah. And so personal what I was just saying like move away from the current remote controls uh like the look and the feel of the current ones and change the look and feel, while still keeping to the company's image, basically. So yeah.
Frank Gould: Okay.
Charles Reid: I had to say So
Derrick Berry: Right.
Charles Reid: we're moving in the right direction
Frank Gould: Alright,
Charles Reid: like
Frank Gould: yeah, no,
Derrick Berry: Yeah.
Frank Gould: this i this is good, so through all that we've we go we're right, we're gonna go go back to um going with the kinetic
Derrick Berry: Yeah,
Ralph Micklos: Yep.
Derrick Berry: that's great.
Frank Gould: thing, that's great, using the spongy rubber that we were talking about that anti-R_S_I_ you can as you squeeze it you are not only therapeuticising yourself, you are charging the batteries,
Charles Reid: Mm.
Frank Gould: and um I'm not sure about the buttons being in the shape of fruit though.
Derrick Berry: Yeah, I don't know how we
Ralph Micklos: No
Derrick Berry: incorporate
Ralph Micklos: vegetables.
Derrick Berry: We don't have
Charles Reid: Maybe
Derrick Berry: to follow
Charles Reid: make
Derrick Berry: every
Charles Reid: it
Derrick Berry: trend,
Charles Reid: like
Derrick Berry: I guess.
Charles Reid: fruity colours or something. Some
Derrick Berry: Uh-huh.
Charles Reid: sort. Or
Derrick Berry: The power
Charles Reid: Mm.
Derrick Berry: button could be like a big apple or something.
Ralph Micklos: Well yeah, but Apple would sue you for that.
Frank Gould: Yeah, this is true.
Derrick Berry: They don they don't own all images of apples.
Ralph Micklos: sued the Beatles so
Derrick Berry: Okay, we'll make it a uh pomegranate, a big pomegranate.
Frank Gould: Well, okay, it seems like the only thing that we haven't really finally um agreed on is its image. Like, yeah, we're we're saying no we don't want it to be fruit and vegetables, but we dunno what it should be, or like are we going yeah it looks slick, but
Charles Reid: Well
Frank Gould: what do what do we mean by slick sort of thing?
Charles Reid: I think, if it's rubber it needs to be
Frank Gould: I mean you said earlier on i it should be funky.
Charles Reid: different. I think, it's it should be you associate with rubber? You know like really different
Frank Gould: L
Charles Reid: colours
Frank Gould: keep it
Charles Reid: basically.
Frank Gould: clean, keep
Charles Reid: Okay,
Frank Gould: it clean.
Charles Reid: sor I sorry, I used the wrong word, what do you associate with the mate the material that material? Um Um like I'm just thinking bright colours.
Derrick Berry: Yeah.
Charles Reid: Bright natural colours, nothing too
Frank Gould: Bright, but not too
Charles Reid: Bright,
Frank Gould: bright.
Charles Reid: but too not yeah.
Derrick Berry: Yeah.
Charles Reid: Like no lime green or bright yellow or bright pink. Wanna make it different colours so anybody can choo like
Frank Gould: Like the volume
Charles Reid: like
Frank Gould: buttons should be the all the same colour and the d and the the channel buttons
Derrick Berry: Mm.
Frank Gould: should be one colour and stuff like that, do you mean?
Charles Reid: Yeah. And on the back of it have the logo.
Frank Gould: Okay, what?
Ralph Micklos: Yeah.
Derrick Berry: Sure.
Ralph Micklos: Why not?
Frank Gould: Okay.
Derrick Berry: The one
Frank Gould: Tha
Derrick Berry: thing I'm wondering about, I hope that we're not going like too much down a gimmicky road of of
Frank Gould: Yeah,
Derrick Berry: having
Frank Gould: I mean
Derrick Berry: I
Frank Gould: we
Derrick Berry: mean
Frank Gould: that's
Derrick Berry: if somebody
Frank Gould: we
Derrick Berry: go goes
Frank Gould: we
Derrick Berry: into the store they're gonna see like three or four normal remotes, and then a big spongy pink t tomato
Frank Gould: Yeah.
Derrick Berry: uh remote.
Frank Gould: This
Derrick Berry: I mean what are ninety
Frank Gould: is
Derrick Berry: per
Frank Gould: the
Derrick Berry: cent
Frank Gould: remote
Derrick Berry: of people
Frank Gould: control
Derrick Berry: gonna take?
Frank Gould: tomato.
Charles Reid: Well I can say in this country, you'll get, you know, lots of people wanting something really funky and cool. Like and kids will be walking in with their parents saying, Mummy I wanna buy that one. And uh parents will see the will see the pro as well, because it's um like kids won't break it, it's not breakable if you throw it around.
Frank Gould: Yeah.
Charles Reid: Especially with younger kids, you know they can pick it up and and Yeah. The only thing is is that really small kids might chew on it, but
Frank Gould: Well, it's it's gotta be chew proof.
Charles Reid: Yeah. So
Ralph Micklos: I'm gonna write that
Charles Reid: so it's
Ralph Micklos: down.
Charles Reid: rea it's quite it's quite like um user friendly and also for different families, like like family use as well, so for little kids and for old ki like teenagers will like it, I think. Especially maybe younger girls if it's in pink they'll be like pink remote control for their room something.
Frank Gould: So, what are you saying, maybe we should market it in different colours
Charles Reid: Yeah.
Frank Gould: for different so we could do
Ralph Micklos: That's
Frank Gould: like
Derrick Berry: Mm.
Frank Gould: the pink
Ralph Micklos: yeah.
Frank Gould: range, the blue range, the green range, the
Charles Reid: So like you walk in, you're like, oh I like that remote control, because it's so bright, and then, and then the shop assistant comes up and says, oh what colour would you like? and then they go like, oh I can choose the colour wow. So it puts, I think, even the customer into more control over what they're buying instead of, you've got all colour it's either that or nothing. So they also get to pick. Well, personally I like walking into a shop and choosing a colour.
Derrick Berry: Yeah I mean, that that seems
Charles Reid: It's
Derrick Berry: to work
Charles Reid: um
Derrick Berry: well with for products like iPod, where, you know, you have
Charles Reid: Yeah.
Derrick Berry: a
Frank Gould: Mm.
Derrick Berry: variety of colours, that people feel like they're customising it
Charles Reid: Mm.
Derrick Berry: when they buy it, even, you
Charles Reid: D
Derrick Berry: know,
Charles Reid: you've
Ralph Micklos: Although
Derrick Berry: just
Charles Reid: got
Derrick Berry: just
Ralph Micklos: I'd
Derrick Berry: by
Charles Reid: the
Ralph Micklos: be
Derrick Berry: the
Ralph Micklos: curious
Derrick Berry: fact of choosing.
Ralph Micklos: to see how many uh You know, there are some colours that I wouldn I would never choose, and I would be curious how many people choose that colour.
Derrick Berry: Right.
Frank Gould: Well that's that can be down to bit of market researching
Ralph Micklos: Mm.
Frank Gould: you know, if that's
Derrick Berry: Yeah.
Frank Gould: easy enough to find out what colours are more popular.
Ralph Micklos: And produce less of the silly colours, maybe.
Frank Gould: Mm. Okay. Alright. Well um, we'll alright let's what we're gonna aim to get together by the next meeting then um is from you Catherine wi your y y you know you're gonna be working on the the look and feel design.
Ralph Micklos: Yep.
Frank Gould: Um Gabriel, you're gonna be working on, you know come up with the the user interface design. Then basically, you two are gonna be working together on this. You won't be going off
Ralph Micklos: Alright.
Frank Gould: to your separate offices.
Derrick Berry: Okay.
Frank Gould: Um and I think you are gonna get a chance to play with some clay.
Derrick Berry: Oh right.
Frank Gould: I think, yeah, it's gonna
Ralph Micklos: Mm.
Frank Gould: you know, come up ki you know, be ab for the next meeting be able to come in and show us some some i some physical ideas. 'Cause at
Ralph Micklos: Cool.
Frank Gould: the moment, uh you know, it's it's hard.
Derrick Berry: Yeah.
Frank Gould: We
Ralph Micklos: It
Frank Gould: were
Ralph Micklos: is.
Frank Gould: kinda going, yeah, it's gotta feel nice, it's gotta look cool and that it's you know now we can actually start, you know, s some sort of physical something or other.
Derrick Berry: That sounds good.
Frank Gould: Um and you're gonna be working on the product evaluation.
Charles Reid: Evaluation.
Frank Gould: Um. And I will be uh talking to the bosses, basically, and uh f fielding off some more spam and uh
Ralph Micklos: Great.
Frank Gould: that's it really. Keeping things t well, uh you know, ho hopefully uh keeping things together. Um. Yeah, that's This is this is uh good. So we know for definite we know we've we've now got some definite things going on. We definitely
Derrick Berry: Mm.
Frank Gould: know how it's powered, we definitely know that um it's gonna be a simple buttons, we're not gonna be going for the new technological chip on print expensive things, so we've we're keeping the costs down. It's this rubber casing that we can sell as um fun and funky. Don't know of any other remote controls that are made out of this stuff.
Charles Reid: Mm.
Frank Gould: People, you know, people are saying, oh, standard stuff gives you repetitive strain injury, well this remote control is designed to do the complete opposite,
Charles Reid: Yeah.
Frank Gould: It's supposed to fix it rather than cause it. Um. you know, we're gonna we we're gonna as a sort of extra something on it, you know what what extra things are there extra things this product have? We'll look into this lock key
Derrick Berry: Right.
Frank Gould: facility, although whether or not it happens, or is possible, I don't know, but something to look into. Okay. I think that's um well done everybody.
Derrick Berry: Alright.
Frank Gould: Anyone have any uh any questions, everyone know what they're doing?
Derrick Berry: Yeah.
Frank Gould: 'Cause if you don't, you'll I'm sure you'll soon get an e-mail about it.
Derrick Berry: Yeah. Mm, I think we all know what
Charles Reid: S
Derrick Berry: we need to do now.
Charles Reid: This gives you all the details?
Frank Gould: Okay.
Derrick Berry: Okay.
Frank Gould: right well. It's um we're we've still couple of minutes until our meeting's due to finish. But um I got a note saying that you two who are gonna be working together so
Derrick Berry: Okay, I'll stay
Frank Gould: bef
Derrick Berry: in here.
Frank Gould: before you all disappear off just
Charles Reid: um.
Frank Gould: hold hold fire. Um.
Derrick Berry: Does the pay-raise immediately come into effect on our next pay-check, or is that
Frank Gould: Um I think, it's uh, yeah, I think, it's gonna be par part more of a profit sharing on the product.
Derrick Berry: So we're buying fut I mean, we're getting futures in the company.
Frank Gould: Yeah, I think i I think that's I think that's the way it's gonna happen at the moment.
Derrick Berry: So we really have a incentive to make this remote work.
Frank Gould: Yeah. Yeah.
Derrick Berry: I'd like to share in the coffee machine profits, because that's really doing well.
Frank Gould: I want a share in the space rocket. Did you see that this k
Derrick Berry: Yeah.
Frank Gould: that this company we've made
Charles Reid: Yeah.
Frank Gould: a spaceship.
Derrick Berry: This company has its its fingers in a lot of different pots.
Frank Gould: Yeah.
Charles Reid: Mm.
Frank Gould: Yeah.
Derrick Berry: Yeah, we're definitely not in the money making department.
Derrick Berry: Well I I did notice looking at I mean, they told you that they wanted whatev our product to represent the the R_R_ brand and and to be immediately
Frank Gould: Yeah.
Derrick Berry: noticeable. I mean, if you look like at the coffee maker at the at the corporate web page, it's
Charles Reid: Mm.
Derrick Berry: not obvious. R_R_. Well it is to us, because we we worked worked here for years and we use that coffee machine, but it's doesn't have the colour scheme of of the of the company anywhere on it obviously it's just
Frank Gould: Mm.
Derrick Berry: sil silver and black.
Ralph Micklos: That's true.
Frank Gould: And the spaceship doesn't have the R_
Derrick Berry: No.
Frank Gould: have a massive R_ and R_ down the side of it but
Derrick Berry: Mm.
Ralph Micklos: Doesn't
Frank Gould: I still want one. Okay. Um I've just had a sign flashing up saying, finish the meeting.
Ralph Micklos: Yeah.
Frank Gould: Uh.
Derrick Berry: Okay.
Frank Gould: Yeah.
Derrick Berry: Right, well, I guess that's us.
Frank Gould: Yeah. It's not telling it's not saying do anything in particular just yet. So maybe you should go back to your own offices.
Derrick Berry: Okay. Right.
Ralph Micklos: Are we taking these off?
Frank Gould: Yeah. Yeah, it says you two. | Frank Gould recapped the decisions made in the previous meeting. Ralph Micklos discussed different options for batteries, materials, and components, as well as restrictions involved in combining particular materials, components, and batteries. The team then discussed and decided what materials, components, and what type of battery to use in their product. The interface specialist presented examples of existing remotes on the market with good and bad layouts and stated what features the remote required. Charles Reid discussed research from trendwatching reports, finding that products now require technological innovativeness, a fancy look and feel, a spongy feel, and a fruit and vegetable theme. This lead to a discussion on whether to use Bluetooth or infra-red technology in remote. The team then discussed how to incorporate a fruit and vegetable theme into the remote. | 5 | amisum | train |
Timothy Pulido: It's Play-Doh.
Samuel Garcia: Play-Doh's edible. Did you know that? It's definitely
Timothy Pulido: Because kids
Howard Fields: I
Joseph Payson: I've,
Howard Fields: used to eat
Timothy Pulido: yeah.
Howard Fields: it.
Joseph Payson: I've definitely eaten it before. I didn't know was
Samuel Garcia: Yeah.
Joseph Payson: edible.
Timothy Pulido: But um,
Samuel Garcia: It's
Timothy Pulido: it's it's
Samuel Garcia: it's
Timothy Pulido: made
Samuel Garcia: chew
Timothy Pulido: edible
Samuel Garcia: proof.
Timothy Pulido: 'cause, yeah. It's made edible 'cause kids eat it, and
Samuel Garcia: Yeah.
Timothy Pulido: if it's wasn't edible then Well, normal
Joseph Payson: Actually
Timothy Pulido: babies.
Joseph Payson: that makes sense, because I remember like, peopl I dunno if my Mom ever did it but I remember other people's Moms making like home-made Play-Doh where you just like make the colouring and make some sort of sort of
Samuel Garcia: Yeah.
Joseph Payson: dough.
Timothy Pulido: Oh yeah it is, yeah. Oh yeah.
Joseph Payson: Mm-hmm.
Samuel Garcia: Right. Everybody everybody ready?
Joseph Payson: Yeah.
Howard Fields: Yep.
Samuel Garcia: Okay, let's have your um
Joseph Payson: We've got
Samuel Garcia: let's
Joseph Payson: some.
Samuel Garcia: get have the uh presentation?
Howard Fields: We've
Joseph Payson: Yeah,
Howard Fields: got a cool prototype.
Joseph Payson: it's pretty exciting. So, everything uh that we wanted we wanted it to be ergonomic and to be made out of rubber, simple and easy to use,
Howard Fields: Double curved.
Joseph Payson: yeah,
Samuel Garcia: Nice.
Joseph Payson: double curved, um but also something that was gonna jump out at people, something that would be different uh, separate it from the other remotes out on the market. So uh I think if you put this in the palm of your hand, you'll see what a nice thing we have going here.
Timothy Pulido: That is cool.
Joseph Payson: So, basically, if you hold it like that, the one on your thumb, yeah,
Samuel Garcia: Mm-hmm.
Joseph Payson: the thumb button is the power button.
Samuel Garcia: Mm-hmm.
Joseph Payson: Your index finger is channel up, middle finger is channel down, ring finger is volume up, your pinkie is volume down.
Timothy Pulido: What's the big blue thing?
Joseph Payson: That's the lock button, has a L_
Timothy Pulido: Oh
Joseph Payson: L_ on
Timothy Pulido: cool.
Joseph Payson: it and then the M_ is a mute button. And then it also has digit
Samuel Garcia: what button? Um.
Timothy Pulido: And
Joseph Payson: For muting
Timothy Pulido: mute.
Joseph Payson: the
Samuel Garcia: Oh
Joseph Payson: uh
Samuel Garcia: mute.
Joseph Payson: Um and then then you can also there's a numeric keypad on the top so you can key directly to the
Samuel Garcia: Okay.
Joseph Payson: to the channel if you want. So it's really basic functionalities as far as what keys are available, but we think it's very comfortable and very innovative and it looks different.
Samuel Garcia: That certainly does.
Joseph Payson: So all the, I mean the important keys are right at your f f you know right at uh at a convenient place for you to to access them.
Samuel Garcia: Mm.
Joseph Payson: So
Howard Fields: Which
Joseph Payson: you
Howard Fields: is
Joseph Payson: don't
Howard Fields: ant
Joseph Payson: you
Howard Fields: anti-R_S_I_.
Joseph Payson: Yeah.
Samuel Garcia: Mm.
Joseph Payson: It should be. And it's also conformable to the size of your hand. I mean if that's too big, it's a rubber remote,
Samuel Garcia: Yeah.
Joseph Payson: so you can, you know
Samuel Garcia: 'S great.
Joseph Payson: change that.
Timothy Pulido: Oh it's
Joseph Payson: So
Timothy Pulido: so
Joseph Payson: d
Timothy Pulido: cute.
Joseph Payson: does that uh what mesh with what you guys were hoping and for and expecting or
Samuel Garcia: I
Joseph Payson: does it
Samuel Garcia: have one thing about it, but it's a small thing, but it'd mean we'd have to make a right-handed one and a left-handed one.
Joseph Payson: Ah,
Howard Fields: Oh right, yeah.
Joseph Payson: that's good thinking, yeah.
Samuel Garcia: But, that's I don't see why that's not
Joseph Payson: Yeah,
Samuel Garcia: possible.
Joseph Payson: if we build rocket ships why can't we build left-handed and right-handed
Samuel Garcia: Yeah.
Joseph Payson: uh remotes.
Samuel Garcia: They make left-handed scissors, you know.
Timothy Pulido: Yeah,
Joseph Payson: Yeah,
Timothy Pulido: but
Joseph Payson: I
Timothy Pulido: then
Joseph Payson: didn't I didn't think about that, but I'd yeah,
Timothy Pulido: but then you can learn to use your right h like I was if there's left-handers and right-handers family, what, they have two remotes?
Samuel Garcia: Yes
Howard Fields: Yeah, I know I know people
Samuel Garcia: s
Howard Fields: who have left-handed and right-handed people in the family and they all use the computer for the whole the same computer the fes family
Samuel Garcia: Mm.
Howard Fields: and they have
Samuel Garcia: Sure.
Howard Fields: a mouse,
Samuel Garcia: Sure.
Howard Fields: and everybody is using right-handed mouse.
Timothy Pulido: Yeah, I'm sure they'll be able to
Joseph Payson: Uh-huh.
Timothy Pulido: I mean it's only pressing buttons, you don't have to do anything, you know, extraordinary. I think everybody can
Joseph Payson: Yeah.
Timothy Pulido: press a button with their left and right hand so
Howard Fields: Imagine d are you right handed?
Samuel Garcia: Yeah.
Howard Fields: Imagine you're doing it with your left hand, I don't think it's too
Timothy Pulido: Yeah, it's not
Howard Fields: have both uh
Timothy Pulido: Yeah. Have them in stock.
Howard Fields: Yeah.
Samuel Garcia: Yeah.
Timothy Pulido: Make 'em more appealing as well.
Samuel Garcia: But um other than that, I mean uh and that's um, you know, that's just something, I think I think it's great, yeah, great idea.
Joseph Payson: Do you think it says R_R_?
Howard Fields: I think it does.
Samuel Garcia: I think it's, well, if the R_R_ motto is, we bring
Joseph Payson: Fashion
Samuel Garcia: fashion
Joseph Payson: to electronics.
Samuel Garcia: to to electronics, I'd
Joseph Payson: Yeah.
Samuel Garcia: say
Howard Fields: Yeah.
Samuel Garcia: that could be quite fashionable.
Joseph Payson: Yeah. And it's got the b the black and yellow and blue. Plus red, which
Samuel Garcia: Yeah.
Joseph Payson: is sort of a a fruit and vegetable uh uh.
Howard Fields: There you go.
Samuel Garcia: Yeah.
Joseph Payson: So that's that's our end of things wha uh That's
Samuel Garcia: Yeah, very good, yeah. It's come up with what we've you know, the things that's what we've what we were looking at doing, hasn't
Joseph Payson: Yeah.
Samuel Garcia: it, all seems to be there. Well done.
Timothy Pulido: And all the playing around is uh
Samuel Garcia: Um before we move on
Timothy Pulido: Yeah, I'm just do you wanna plug in?
Samuel Garcia: I need that cable.
Timothy Pulido: Okay.
Samuel Garcia: Thank you. Yeah. Um. One thing I do need to do we need to look at, is the costs.
Joseph Payson: The costs, was that what you said?
Howard Fields: Play-Doh is very cheap.
Samuel Garcia: Well, yeah.
Timothy Pulido: Mm. Play-Doh
Samuel Garcia: um
Timothy Pulido: won't last very long everybody'll go like, oops, it's gone.
Joseph Payson: But it's edible.
Timothy Pulido: Mm-hmm. Mm-hmm.
Howard Fields: Chew proof.
Timothy Pulido: Well, they'll buy more of them if you eat them,
Joseph Payson: That was the main criteria from the last meeting, it had to be chew proof.
Samuel Garcia: Yeah. Uh right. Okay, now I think we'll do this
Timothy Pulido: Yeah.
Samuel Garcia: I could do you know, I can do this
Howard Fields: Oh
Samuel Garcia: o
Howard Fields: ho-ho.
Samuel Garcia: on my own or I could do it with you, but it's just easy enough to go through it with you, so we're going for the kinetic power.
Howard Fields: Yep.
Samuel Garcia: And the electronics, we decided on it being just a simple, the easiest thing that's inside it. Ooh. So the case, we've gone for the double curved. Um and it's made out of rubber. The interface is push-buttons. And button supplements well they're in diff special colours, aren't they?
Timothy Pulido: Yeah.
Samuel Garcia: So
Joseph Payson: Yeah.
Samuel Garcia: special colours.
Timothy Pulido: It's better for
Samuel Garcia: Special form, yeah, they're a special form there in shapes and stuff.
Joseph Payson: Yeah,
Timothy Pulido: And
Joseph Payson: I mean,
Timothy Pulido: special
Joseph Payson: these
Timothy Pulido: material.
Joseph Payson: these ones on the side are
Samuel Garcia: Yep.
Joseph Payson: curved kind
Samuel Garcia: Yeah.
Joseph Payson: of, so
Samuel Garcia: Um. Are they made
Howard Fields: Rubber.
Samuel Garcia: out of any special material? No they're not. They're not made out of wood or titanium or rubber or anything, they're just simple
Timothy Pulido: Well they're rubber,
Joseph Payson: The buttons
Timothy Pulido: aren't
Joseph Payson: are
Timothy Pulido: they?
Joseph Payson: rubber.
Samuel Garcia: Okay.
Howard Fields: Yeah.
Samuel Garcia: Right. So let's see if that comes within budget. And it does. That is gonna
Timothy Pulido: We're under
Samuel Garcia: cost
Timothy Pulido: budget.
Samuel Garcia: uh Yeah. That's gonna cost ten ten Euro seventy cents a unit to make. And
Joseph Payson: That's
Samuel Garcia: our target
Joseph Payson: cool.
Samuel Garcia: was it had to come in at under twelve
Joseph Payson: Yeah.
Samuel Garcia: fifty.
Joseph Payson: Yeah.
Samuel Garcia: So,
Joseph Payson: And we're actua actually making a better profit than we expected.
Samuel Garcia: this is all very very good. The bosses will be very pleased. Okay, let's just save this so I can e-mail it to you. Uh. Save
Timothy Pulido: It's already
Samuel Garcia: it
Timothy Pulido: saved,
Samuel Garcia: in
Timothy Pulido: I think.
Samuel Garcia: save it in the uh my documents.
Samuel Garcia: Splendid. Okay. So uh, that's done with this with this um doodah, so you're. Gonna do
Timothy Pulido: Thank
Samuel Garcia: what you
Timothy Pulido: you.
Samuel Garcia: were gonna do,
Timothy Pulido: Mm.
Samuel Garcia: your evaluation.
Timothy Pulido: Oh, yeah. This is where we all get to I get to write on the, oops, on the board. Right. Oh. 'S function
Samuel Garcia: F_ eight.
Timothy Pulido: Okay.
Samuel Garcia: I love the smell of that Play-Doh.
Timothy Pulido: Mm.
Joseph Payson: Yeah, have some
Samuel Garcia: I
Joseph Payson: have some.
Samuel Garcia: cou.
Timothy Pulido: Okay. So, evaluation. We're gonna do it all together so we evaluate each criteria. I've got the criterias. And we have to do it on a scale of one to seven, one being true, so it's it's more like it's fits the criteria, and seven being as in it doesn't fit the criteria. And the criterias are, and I'll draw this up on the board so we have a box
Timothy Pulido: And this is false, this is just like to keep you informed. So seven's here and one's here and then you've got in the middle. So the first criteria. Do you all get what we're doing?
Joseph Payson: Mm-hmm.
Howard Fields: Mm-hmm.
Timothy Pulido: Okay, cool. Okay, first criteria, look and feel. So the does remote look and feel fashionable to what we talked about? As it is it colour-wise and is it spongy? So what
Joseph Payson: Mm.
Timothy Pulido: mark should we
Samuel Garcia: I
Timothy Pulido: give
Samuel Garcia: would give it
Timothy Pulido: for
Samuel Garcia: a seven.
Timothy Pulido: that?
Joseph Payson: Yeah.
Timothy Pulido: As in it's not.
Joseph Payson: Oh, sorry, one.
Samuel Garcia: Oh sorry,
Howard Fields: A
Samuel Garcia: one,
Howard Fields: one.
Timothy Pulido: A one a
Samuel Garcia: d
Timothy Pulido: one.
Samuel Garcia: yeah.
Timothy Pulido: So I'll just write criteria criteria one we get one. Second criteria, new technology. Have we implemented new technology? As in the new
Howard Fields: Well,
Timothy Pulido: high-tech
Howard Fields: the kinetic thing, yeah.
Joseph Payson: Yeah.
Samuel Garcia: Yeah.
Joseph Payson: That was our main technological innovation w every everything
Timothy Pulido: So
Joseph Payson: else
Timothy Pulido: it's.
Joseph Payson: was fairly simple, but the fact
Timothy Pulido: So we'll give
Joseph Payson: that we
Timothy Pulido: it
Joseph Payson: used
Timothy Pulido: a
Joseph Payson: the kinetic energy was
Howard Fields: Well
Joseph Payson: new.
Howard Fields: so the um
Joseph Payson: It's ergonomic, but that's
Howard Fields: Yeah.
Joseph Payson: not
Samuel Garcia: Yeah,
Joseph Payson: that's
Samuel Garcia: but that's not a technological
Joseph Payson: that's a design
Howard Fields: Yeah.
Samuel Garcia: thing,
Joseph Payson: that's
Samuel Garcia: that's
Joseph Payson: a des
Samuel Garcia: another
Joseph Payson: that's
Samuel Garcia: thing,
Joseph Payson: a design
Samuel Garcia: i that's
Howard Fields: Yeah.
Joseph Payson: thing,
Samuel Garcia: another
Joseph Payson: yeah.
Samuel Garcia: marketing
Howard Fields: True.
Samuel Garcia: thing.
Timothy Pulido: Yeah.
Samuel Garcia: So on the technical side of it
Timothy Pulido: I'd
Samuel Garcia: it
Timothy Pulido: say it's about a a
Joseph Payson: It's
Timothy Pulido: twoish?
Joseph Payson: about
Howard Fields: Two.
Joseph Payson: in the mid in
Timothy Pulido: Two.
Joseph Payson: the middle somewhere, maybe, yeah, I dunno.
Timothy Pulido: Three.
Howard Fields: Yeah.
Joseph Payson: Maybe three, yeah.
Timothy Pulido: three. So criteria three is is
Samuel Garcia: Easy
Timothy Pulido: it easy
Samuel Garcia: to
Timothy Pulido: to
Samuel Garcia: use.
Timothy Pulido: use? I think it's a one,
Samuel Garcia: I'd
Joseph Payson: Yeah.
Samuel Garcia: say
Timothy Pulido: I think.
Samuel Garcia: it's I wouldn't not if you're left-handed it's not. I would
Joseph Payson: Mm.
Samuel Garcia: give it a I would give it a two,
Timothy Pulido: Two, so it's
Samuel Garcia: 'cause i i it
Joseph Payson: Okay.
Samuel Garcia: i it i it is more geared for right-handed people than left-handed people, but
Timothy Pulido: But if
Howard Fields: Mm.
Timothy Pulido: we make a right-handed and a left-handed then?
Joseph Payson: If we're gonna have one left-handed and one right-handed then I would give it a one, but otherwise
Timothy Pulido: Yeah.
Samuel Garcia: Yeah.
Joseph Payson: otherwise a two.
Howard Fields: Yeah.
Samuel Garcia: Give it a t give it a two.
Timothy Pulido: Yeah, okay. 'Kay, criteria four is
Samuel Garcia: Cost.
Timothy Pulido: costs.
Samuel Garcia: It's come
Timothy Pulido: 's
Samuel Garcia: in under budget.
Joseph Payson: Yeah.
Samuel Garcia: So
Timothy Pulido: great.
Samuel Garcia: that's a definite one.
Joseph Payson: That was great.
Timothy Pulido: Yeah.
Samuel Garcia: Amount of buttons.
Timothy Pulido: Like the amount of buttons, 'cause people
Samuel Garcia: Contains
Timothy Pulido: like a lot le
Samuel Garcia: only the
Timothy Pulido: like
Samuel Garcia: necessary buttons.
Timothy Pulido: So it's a one?
Samuel Garcia: Yeah.
Howard Fields: Yeah.
Joseph Payson: Yeah.
Timothy Pulido: Um criteria six. R_S_I_ is it good against? Yes.
Howard Fields: Yes
Samuel Garcia: So
Timothy Pulido: Very
Samuel Garcia: it's
Timothy Pulido: good.
Samuel Garcia: anti-R_S_I_.
Howard Fields: s
Timothy Pulido: It's
Howard Fields: yeah.
Timothy Pulido: one. And criteria seven, which is the last one, does it get lost? Is it easy
Howard Fields: It's
Timothy Pulido: to get
Howard Fields: yellow.
Timothy Pulido: lost?
Samuel Garcia: I don't think it's gonna get
Joseph Payson: It is
Samuel Garcia: lost
Joseph Payson: very
Samuel Garcia: easily.
Joseph Payson: bright, yeah.
Timothy Pulido: No? But it is smallish.
Joseph Payson: It's not the kinda
Howard Fields: Two.
Joseph Payson: thing that's gonna slip like between a couch cushion or something, you know. Maybe it will. Uh.
Howard Fields: T
Timothy Pulido: Mm. I think i it would, could be, could get
Joseph Payson: You think
Timothy Pulido: lost.
Joseph Payson: it could lost
Timothy Pulido: Mm.
Samuel Garcia: two.
Timothy Pulido: Yeah.
Joseph Payson: Mm.
Timothy Pulido: I mean it's
Samuel Garcia: I
Timothy Pulido: not
Samuel Garcia: mean it
Timothy Pulido: fully it's not fully like
Samuel Garcia: No,
Timothy Pulido: you can't
Samuel Garcia: I mean
Timothy Pulido: say I mean, it's not a one, definitely.
Samuel Garcia: I mean, you could
Joseph Payson: Okay.
Samuel Garcia: still flush it down the toilet theoretically,
Joseph Payson: Yeah,
Samuel Garcia: but
Joseph Payson: anything, I mean. Okay. It's bigger than the average mobile, I guess.
Timothy Pulido: Yeah.
Joseph Payson: But, yeah, it can get lost.
Timothy Pulido: The mobiles get lost all the time.
Joseph Payson: Yeah. Okay, yeah, two is
Timothy Pulido: But then
Joseph Payson: fine.
Timothy Pulido: you ring 'em and you
Howard Fields: Mm.
Joseph Payson: Yeah,
Timothy Pulido: find them.
Howard Fields: Mm.
Joseph Payson: yeah.
Timothy Pulido: So
Samuel Garcia: Okay.
Timothy Pulido: Yeah. So, that's that. So that's the evaluation, so I'd say Yay.
Samuel Garcia: Alright it's
Timothy Pulido: It's
Samuel Garcia: all
Timothy Pulido: like
Samuel Garcia: all
Howard Fields: We've,
Samuel Garcia: systems go.
Howard Fields: we've done well.
Timothy Pulido: like
Joseph Payson: Yeah.
Timothy Pulido: a number one. Um. Number one product.
Joseph Payson: Mm.
Timothy Pulido: All done, thanks.
Samuel Garcia: We can't
Timothy Pulido: We
Samuel Garcia: fail.
Timothy Pulido: fitted all the criterias. Yeah. Yeah, so
Samuel Garcia: Well done, Reissa.
Timothy Pulido: So that's that one.
Samuel Garcia: Okay, I I think um I just wanna put in as Project Manager the you know, little bit of praise for everybody here for how they've worked on it, you know, both individually and as a team. You know you've w everyone's come up with their own individual ideas in their own different departments, um and then come together and worked in, you know, integrally, you know, at the right times, psp, you know, especially you two. That's all, you know,
Joseph Payson: Yeah.
Samuel Garcia: gone very very well and and and be you know, has been good communication going on.
Joseph Payson: Yeah, during our design I mean there was some s some heated heated discussion, but we we kept we tried to keep it cool and and just
Samuel Garcia: Did you
Joseph Payson: just
Samuel Garcia: have to go down to the the corporate squash court and bash a few
Howard Fields: Well.
Samuel Garcia: balls about?
Joseph Payson: We just
Howard Fields: You
Joseph Payson: had
Howard Fields: know
Joseph Payson: to we just had to squeeze our product a little bit and
Samuel Garcia: Fantastic.
Joseph Payson: Now
Howard Fields: It
Joseph Payson: you guys
Howard Fields: is.
Joseph Payson: have been a a great team. Think we're the we're the envy of all
Timothy Pulido: been
Joseph Payson: the
Timothy Pulido: cool.
Joseph Payson: of all the other R_R_ teams,
Samuel Garcia: I think So I I, you know, and I think we've co we have come we've come up with something new, something that hasn't been done before, we haven't we're not just rehashing an old design.
Timothy Pulido: In four diff in in four meetings.
Samuel Garcia: Yeah.
Timothy Pulido: Funny, all designer meetings could be this quick.
Samuel Garcia: this isn't a simulation, maybe this is actually so it's like
Joseph Payson: Yeah I think they're actually
Samuel Garcia: Sony
Joseph Payson: trying to find
Samuel Garcia: or
Joseph Payson: ideas
Samuel Garcia: someone
Joseph Payson: for
Samuel Garcia: like that
Joseph Payson: a ideal
Samuel Garcia: they're
Joseph Payson: remote.
Samuel Garcia: they're just, yeah, they
Timothy Pulido: They're using
Samuel Garcia: get
Timothy Pulido: our ideas.
Samuel Garcia: Yeah. Yeah, two years' time this will be on the market. Ex exactly that product um thum we'll go, yeah, we designed that and no-one will believe us. But um
Joseph Payson: So at this stage, I mean, is this the last meeting of the project? We don't uh have
Timothy Pulido: Yeah.
Joseph Payson: another one after it's gone gone
Samuel Garcia: No,
Joseph Payson: to marke market
Samuel Garcia: I think
Joseph Payson: or something?
Samuel Garcia: when this meeting's finished like
Howard Fields: Y
Samuel Garcia: officially, there b we'll get a uh questionnaire
Howard Fields: Oh really?
Samuel Garcia: to fill in. Or six,
Timothy Pulido: Just
Samuel Garcia: uh
Timothy Pulido: start summarising now. You can reply to the same message.
Samuel Garcia: I haven't got message.
Timothy Pulido: See summary, there. If you just reply to that one.
Joseph Payson: So there's no way to like predict what our 'Cause we had a we originally had a As far as our financial uh um goals, we had a specific number for profits that we wanted. It was fifty mil fifty million
Timothy Pulido: Was it was it fifty or five?
Joseph Payson: I don't remember. But there's not a way to compute that, mean, since we saved on the on the production cost, do we know how much we're making on profit?
Samuel Garcia: It
Timothy Pulido: Depends
Samuel Garcia: gets
Timothy Pulido: how
Samuel Garcia: handed
Timothy Pulido: much we sell.
Samuel Garcia: over to another department.
Joseph Payson: Uh.
Samuel Garcia: What our what our project was was to come up with the product,
Joseph Payson: Hmm.
Samuel Garcia: basically. the for the and just basically is it it come can is it within budget. When it c when it comes to all the other things of how to sell it and, you know, the b the profits and all that that's other departments it's another team that actually work out the mai the
Joseph Payson: But we have a vested interest
Samuel Garcia: oh
Joseph Payson: prof
Samuel Garcia: yeah,
Joseph Payson: profit
Samuel Garcia: the all
Joseph Payson: sharing.
Samuel Garcia: the guys in the profit sharing, yeah. Um. Yeah, that's it. You know, we've we've
Timothy Pulido: We finished an hour earlier.
Samuel Garcia: we've made i we've made we've designed the product, we've ma we've got the prototype, it's within budget, it's does everything that we wanted it to do. It's new, it's it's um something that uh that isn't out there already.
Joseph Payson: I think actually and one advantage of of this is that after the uh, you know, after this fad of fruit and vegetables passes this will still be c a cool
Timothy Pulido: Mm.
Joseph Payson: remote, you know. We're not we're not you know, tying tying our cart to that one horse.
Timothy Pulido: Mm.
Samuel Garcia: Yeah. Well, this
Timothy Pulido: Definitely.
Samuel Garcia: is very marketable in that it is it's it's something that's kind of new and looks a bit quirky for people who want that, it's that it's um, hang on, I wrote it down here somewhere Oh no I thi I put it in one of my e-mails that I sent off. Um that, you know, it's marketable in the sense that it's whilst all these other remotes uh actually do give you repetitive strain injury, our one
Joseph Payson: Mm.
Samuel Garcia: does the complete opposite,
Joseph Payson: Mm.
Samuel Garcia: you know, so that's something that's new, which is one of the criteria they asked us to come up with something
Joseph Payson: Mm.
Samuel Garcia: with something new.
Joseph Payson: It make watching T_V_ healthy.
Samuel Garcia: Yeah, and
Timothy Pulido: Yeah.
Samuel Garcia: if you're not having a good time with the T_V_, you can f throw it about, you know. It's fine, it's kid proof.
Timothy Pulido: Just don't sh don't
Joseph Payson: Uh.
Timothy Pulido: throw it at any of the ornaments and break them.
Samuel Garcia: Well, you can break the ornaments, but you won't break that.
Timothy Pulido: No.
Samuel Garcia: Yeah. So all in all, I think we've done very well.
Howard Fields: Mm yep.
Samuel Garcia: Well done everybody.
Timothy Pulido: Yay.
Joseph Payson: Right, you too.
Samuel Garcia: Um. Drinks are on the company.
Howard Fields: Cool.
Samuel Garcia: In the corporate bar that's next to the corporate swimming pool on the top floor that we're that've all just gained access to.
Joseph Payson: Mm.
Howard Fields: Glad to hear that.
Samuel Garcia: Yeah. That's it.
Joseph Payson: That's it.
Samuel Garcia: Well, as far as I t as far as I know. Um.
Timothy Pulido: Yep. We haven't got the five minute left thing yet.
Samuel Garcia: No. Anyone wanna
Timothy Pulido: Mm
Samuel Garcia: play I spy?
Timothy Pulido: mm.
Joseph Payson: I guess it's probably better that we wrap it up than have five minutes of silence. Should we call the day then?
Samuel Garcia: Yeah, I guess. I mean we're gonna get asked to fill out another questionnaire.
Joseph Payson: Uh, right.
Samuel Garcia: Um. It's probably gonna be the same as one we've done before.
Joseph Payson: Mm-hmm.
Timothy Pulido: In
Samuel Garcia: But
Timothy Pulido: project.
Samuel Garcia: I'm not the authority to say that it is. Um how does everyone feel about the technology that's been used in this? The sort of using of the the pens and writing on these special pads and all that?
Timothy Pulido: I love it. I love it. I think it's cool. Being all wired up and a vibrating pen and it's cool. Being watched. Um
Joseph Payson: Your moment to shine.
Timothy Pulido: Wow.
Samuel Garcia: Yeah. I thi you know, I'd I'd n yeah, as we said earlier, I've not never seen that before. something that t the whiteboard
Howard Fields: Yeah.
Samuel Garcia: thingy, that's great. Um, but a p a pen with a camera on it, I don't think it's such a new thing. I mean it's i or in such a new idea. It would be different if it was sort of hand writing recognition stuff,
Howard Fields: Yeah.
Samuel Garcia: but as it's not it's literally that'll come up on a computer screen as a picture file rather than actual text.
Timothy Pulido: Mm.
Joseph Payson: Right, I think they do want to do hand writing recognition
Samuel Garcia: Yeah.
Joseph Payson: on that, it's just
Samuel Garcia: Yeah.
Joseph Payson: the first step.
Samuel Garcia: Mm.
Timothy Pulido: Logitech.
Joseph Payson: I guess we should end this, since we're off off topic.
Timothy Pulido: Yeah.
Joseph Payson: So. Shall we
Timothy Pulido: Meeting adjourned.
Joseph Payson: Right.
Samuel Garcia: Yeah. | The interface specialist and industrial designer presented their prototype to the team and discussed the features the prototype contained. In presenting the prototype, the issue arose that the prototype could only be used with the right hand. The team then looked at the production costs of the remote and found that their remote was actually under budget and that they could retain all the features they had originally decided upon without exceeding the target cost. The team evaluated the prototype on the basis of its look and feel, technological innovation, ease of use, costs, and its ability to be misplaced. Overall, the prototype performed very well in meeting all the criteria of the evaluation. The team then evaluated the project process, finding that they we
re happy with their product and their performance in the project. | 5 | amisum | train |
Johnny Averette: Hmm.
Michael Sheneman: Okay. Good morning everybody. Um I'm glad you could all come. I'm really excited to start this team. Um I'm just gonna have a little PowerPoint presentation for us, for our kick-off meeting. My name is Rose Lindgren. I I'll be Michael Sheneman. Um our agenda today is we are gonna do a little opening and then I'm gonna talk a little bit about the project, then we'll move into acquaintance such as getting to know each other a little bit, including a tool training exercise. And then we'll move into the project plan, do a little discussion and close, since we only have twenty five minutes. First of all our project aim. Um we are creating a new remote control which we have three goals about, it needs to be original, trendy and user-friendly. I'm hoping that we can all work together to achieve all three of those. Um so we're gonna divide us up into three compa three parts. First the functional design which will be uh first we'll do individual work, come into a meeting, the conceptional design, individual work and a meeting, and then the detailed design, individual work and a meeting. So that we'll each be doing our own ideas and then coming together and um collaborating. Okay, we're gonna get to know each other a little bit. So um, what we're gonna do is start off with um let's start off with Amina. Um
James Hillegas: Alima.
Michael Sheneman: Alima, sorry, Alima. Um we're gonna do a little tool training, so we are gonna work with that whiteboard behind you. Um introduce yourself, um say one thing about yourself and then draw your favourite animal and tell us about it.
James Hillegas: Okay. Um I don't know which one of these I have to bring with Johnny Averette.
Michael Sheneman: Probably both.
James Hillegas: Right, so, I'm supposed to draw my favourite animal. I have no drawing skills whatsoever. But uh let's see, introduce myself. My name is Alima Bucciantini. Um I'm from the state of Maine in the US. I'm doing nationalism studies, blah, blah, blah, and I have no artistic talents.
Michael Sheneman: How do you spell your name?
James Hillegas: A_ L_ I_ M_ A_.
Michael Sheneman: Thanks.
James Hillegas: Oh, on this project. So let's see if I can get um here. I will draw a little turtle for you all. Not necessarily 'cause it's my absolute favourite animal, but just that I think they're drawable. And you have the pretty little shell going on. Some little eyes. Happy. There you go. That's a turtle.
Johnny Averette: Yes.
Michael Sheneman: So what are your favourite characteristics?
James Hillegas: Um. I I like the whole having a shell thing.
Michael Sheneman: Mm.
James Hillegas: It's quite cool carry your home around where you go, um quite decorative little animals, they can swim, they can, they're very adaptable, they carry everything they need with them, um and they're easy to draw.
Michael Sheneman: Excellent. Shall we just go around the table?
Mark Taylor: Uh Okay. Well, my
Michael Sheneman: Mm.
Mark Taylor: uh and I'm Mark Taylor for the project. Um. And I'll try and draw my favourite animal. I'll I should leave that one on there
James Hillegas: No,
Mark Taylor: shouldn't
James Hillegas: you
Mark Taylor: I
James Hillegas: can erase
Mark Taylor: before
James Hillegas: the
Mark Taylor: I
James Hillegas: turtle, it's alright.
Mark Taylor: callously rub it off.
Michael Sheneman: Might be nice to have them all up there at same time.
Mark Taylor: Um I'm not gonna draw it quite to scale um.
Mark Taylor: Is that at least identifiable?
James Hillegas: Snake.
Johnny Averette: Well.
Mark Taylor: It's
Michael Sheneman: Em
Mark Taylor: a whale,
James Hillegas: Well, snake? It's
Mark Taylor: yes. Thanks.
Johnny Averette: Oh my god, it's better than what I'm gonna
James Hillegas: w
Johnny Averette: be able to do.
Mark Taylor: Um and, yeah, all they're quite intelligent um and also they're they're kind of mysterious, like we don't really know much about them or or understand how they work, how they form groups. And I just find them interesting animals.
Johnny Averette: Take my contraptions with Johnny Averette. Alright, I'm Jessy. I'm from around D_C_ ish sort of in the U_S_. And we're gonna keep the deep sea sort of theme going on, animal. Don't really know how to draw this. Just where can I Mm. Mm. Maybe if I do the water, but how? Sort of give an idea. idea how one would explain this. Mm maybe with some whiskers. Briefly, it's supposed to be a seal. You can imagine it in the water. I like them, because they are like playful and silly sort of have a good time. Not gonna try and pretend like I can get any better than that.
Michael Sheneman: Mm 'kay. Mm 'kay? I'm Rose and I'm Project Manager, from California. Um. Hmm.
Michael Sheneman: S
Johnny Averette: It's definitely significantly
James Hillegas: Oh, a cat.
Johnny Averette: harder once you are doing it.
James Hillegas: Yeah.
Michael Sheneman: Um it's actually a coyote. Let's see.
James Hillegas: Right.
Michael Sheneman: Let's see,
Johnny Averette: That's impressive.
Michael Sheneman: let's give it a little bit of a snout, I don't know,
James Hillegas: That's
Michael Sheneman: some teeth. Yeah.
James Hillegas: That's pretty
Mark Taylor: Cool.
James Hillegas: impressive.
Michael Sheneman: Oh dear. Yes. I live um I live right across the street from an open space in California. We have coyotes howl all the time. So I really enjoy their their singing, you they're really beautiful animals. Mm. Okay um, moving on to slightly more serious stuff. We're gonna talk about project finances. Um we have a couple we'd like to sell it for about twenty five Euro with the profit aim of um fifteen million Euro um from our sales and because this is such this is for television it's a we have a market range of Internet, like it's an international market range, we don't have to worry about specifics. Um in order to make a profit of this magnitude, we need to um be able to produce each one at a maximum of twelve fifty Euro. So we're selling it for twice what we'd like to produce it for. Okay um, just to generate a little bit of discussion about the project um, I could I'd like to hear about your experiences using ro remote controls, um your first ideas about um creating a new r remote control, what would be the best um like you what are the features that you really like what are the features that you don't like, etcetera, so
Johnny Averette: Um I hate when there's like four different buttons and you have to press to actually turn on the T_V_ like you have to do one for the power of the T_V_ and then like another one to get the actual screen on and something else to get it all going, I don't know. Now they keep combining all different remotes together, and I don't know if I necessarily like that 'cause I feel like you end up with multimedia overload. I just wanna watch the T_V_
Michael Sheneman: Hmm.
Johnny Averette: um. Always gets lost. Some sort of like device to help you find it.
Mark Taylor: I've used, I've used remote controls, for things like T_V_ and the C_D_ player and video recorder and I I guess they're they're pretty neat neat little tools uh. You don't have to get up and walk across the room to change
Michael Sheneman: Mm.
Mark Taylor: a channel. So especially if you're someone really lazy like Johnny Averette they they're pretty nice. Um. I find them they can be a bit annoying, especially, like you know if I'm watching T_V_ I have have to have three separate remote controls of in front of Johnny Averette, you know, one for the T_V_, one for the digital box, one for m the video recorder as well. Um. And also they tend to they tend to be a bit confusing, they've got too many buttons on them uh too too sort of too sort of complicated when all I really wanna do is switch on and off, change the channel, change the volume.
James Hillegas: Yeah um. I agree with having too many remotes around. My dad has a whole drawer at home of remotes for various things, and I don't know how to work half of them um. What's important for Johnny Averette, I guess, is that it's easy to use and that there's not too many buttons, they are not too small, you know you know you need to n to know what you're doing. And one thing I particularly like is if you are not um sort of moving it around to get it to work with the infra-red.
Johnny Averette: Yeah.
Mark Taylor: Yeah.
James Hillegas: Um, I think there is a way around that, but I know in my residence right now the the television you sort of have to walk all around the room to
Michael Sheneman: Mm-hmm.
James Hillegas: get it to turn on, so i it's just simpler just to just turn around the T_V_ itself, and I think that's if we're gonna make a remote control, it should actually work for what it's doing. So
Johnny Averette: What about like batteries and things like that, like are there some remotes that don don't require like batteries or do all remotes require batteries?
Michael Sheneman: Um I would imagine
James Hillegas: I know.
Michael Sheneman: all of them, but we could but it's possible we could use like a lithium battery um
James Hillegas: Yeah, something
Michael Sheneman: that
James Hillegas: that
Michael Sheneman: would
James Hillegas: doesn't
Michael Sheneman: last a lot longer than like
Johnny Averette: Mm-hmm.
Michael Sheneman: double A_s. Um like tho those are the batteries that are used in a lot of um M_P_ three players now and that kind of thing.
Johnny Averette: Mm-hmm.
Michael Sheneman: Um.
James Hillegas: Mm.
Michael Sheneman: Um. Okay, it seems we have a little bit of a conflict over um to uh combining all the remotes cont together versus having f five different remotes. So um like you said you don't like having all the buttons on one on one remote, and yet you don't wanna have five remotes. So how
Mark Taylor: Mm.
Michael Sheneman: do we work
James Hillegas: Yeah.
Michael Sheneman: with that?
James Hillegas: Could we get something that just has No doesn't have all the buttons that you need to program the video recorder or program s other things that I'm not very coherent about, but that just has your major buttons for that work for everything, you know volume control,
Michael Sheneman: Mm-hmm.
James Hillegas: on, off, channel changing.
Johnny Averette: And maybe that spatially divides it, so it's like if you're looki if you're trying to get the T_V_ on that's, you know, like the top thing on the remote, I dunno if d be vertical or horizontal in terms
James Hillegas: Yeah.
Johnny Averette: of how we're gonna make it, but if it's like all the T_V_ stuff was here, then all the V_C_R_ stuff was here, all the whatever else we
Michael Sheneman: Mm.
Johnny Averette: have programmed
James Hillegas: N that way
Johnny Averette: into it it's all just in its
James Hillegas: Yeah.
Johnny Averette: separate place and not like all the on buttons together, 'cause then you like, I don't even know what I'm turning on.
Michael Sheneman: Mm.
James Hillegas: Yeah, and if um if you'd save the more complicated functions maybe for separate remotes that you wouldn't need to use every day.
Johnny Averette: Mm-hmm.
Michael Sheneman: Okay, so
James Hillegas: Um.
Michael Sheneman: maybe have like one remote that has the main functions on, off, channel changing, volume, and another rote remote with all the special things. Because
James Hillegas: Yeah.
Michael Sheneman: that is one thing that um remotes tend to have buttons that the T_V_s no longer have as well.
James Hillegas: Mm.
Michael Sheneman: So
Mark Taylor: Yeah.
Michael Sheneman: like you have to have them somewhere, 'cause you're gonna m need those special functions occasionally.
James Hillegas: Right.
Michael Sheneman: Um but not necessarily on the m the normal remote.
Mark Taylor: Can I ask, are we designing a remote control for a television only um,
Michael Sheneman: Good question.
Mark Taylor: and if if this device is just to be used for the television would we even technically be possible to include video recorder functions on it?
Michael Sheneman: I don't know
Mark Taylor: Um
Michael Sheneman: that yet.
Mark Taylor: or should we just stick to just stick to having television television related buttons on
James Hillegas: Mm.
Mark Taylor: it?
Michael Sheneman: It's a good question. Um.
Johnny Averette: Mm-hmm
Michael Sheneman: I'll look into
Johnny Averette: hmm.
Michael Sheneman: that. If I can.
Johnny Averette: I think it's just T_V_, I mean, if it if we're taking it just new product a new television remote control that's not like doesn't say.
James Hillegas: Mm yeah.
Johnny Averette: You know, things might be more advanced than that.
Michael Sheneman: Mm.
Mark Taylor: So we should maybe we should assume that i t it's just a television that we're wanting to control. Well, I mean I suppose it would be nice to have playing and record and stop buttons on it for the video recorder as well I I don't know if that works technologically or not.
James Hillegas: Yes. I guess we have to define what what we're aiming for. If it's just a television then that it's a bit simpler, 'cause there's less buttons that would even need to be on it.
Mark Taylor: Yeah.
Johnny Averette: It's an idea with the buttons being really.
James Hillegas: Large.
Johnny Averette: Yeah.
James Hillegas: If you have older people or people like Johnny Averette that aren't very co-ordinated hand-eye, it's really quite important that you are
Michael Sheneman: Mm.
James Hillegas: not pressing a small like teeny mobiles phone size buttons,
Mark Taylor: Yeah.
James Hillegas: if we can help it.
Michael Sheneman: Okay. 'Kay sounds like we've had a good little discussion for our first ideas. Mind if we move on? Ps
Mark Taylor: 'Kay.
Johnny Averette: Mm-hmm.
Michael Sheneman: mm okay. Um now our next meeting starts in thirty minutes. I believe we've actually been only working on this this one for about twenty, so we can
James Hillegas: Hmm.
Michael Sheneman: continue discussing more new ideas if you'd like um, breakdown of what we'll be doing individually. Um the industrial design, Alima will
James Hillegas: Yeah.
Michael Sheneman: be doing um the working design. Um Mark Taylor, that's for. Technical functions, I guess like keeping in mind the buttons thing, the size of the buttons. Um user requirements um, so you'll be hearing about different trends, uh about different things that people need, um I guess kind of the same uh discussion that we've been having, we'll
Johnny Averette: Mm-hmm.
Michael Sheneman: get from the actual consum s consumers. Mm 'kay um. And you will get specific instructions sent by your personal coach. I realised in this past one we we didn't have much, we just wanted to get a little brain-storming done. Um so very exited to see all your animals and how what wonderful um artists we all are um. Any questions?
Mark Taylor: What we're gonna be discussing at the next meeting? Do we know that?
Michael Sheneman: I haven't gotten an agenda yet, um I'll put that together. I'm sure
Mark Taylor: Right.
Michael Sheneman: as we'll each get our own instruction and then um because what we gonna do is first our individual actions and then we'll come back together.
Mark Taylor: Yep.
Michael Sheneman: So I'm
James Hillegas: 'Kay.
Michael Sheneman: sure we'll all have more concrete things to contribute next time
Mark Taylor: Yep.
James Hillegas: I'm sure we'll be busy.
Michael Sheneman: Mm 'kay um I'll type up mi minutes and probably email those out to all of you.
Mark Taylor: Okay.
Michael Sheneman: Um just including all the things that we talked about.
Mark Taylor: Can
Michael Sheneman: Um.
Mark Taylor: you e-mail your slides as well? Is that possible?
Michael Sheneman: Yes, I yes, I think I can. Mm-hmm.
Mark Taylor: Cool.
Michael Sheneman: I'll just attach it to an email. And you're you're number two,
James Hillegas: I'm two.
Michael Sheneman: three, four?
Johnny Averette: I'm four.
Michael Sheneman: Is that correct? Okay.
James Hillegas: Alright.
Michael Sheneman: Excellent. It was lovely meeting you all.
Mark Taylor: 'Kay
Michael Sheneman: Just make sure you keep checking the company web site and the emails.
James Hillegas: 'Kay.
Michael Sheneman: Let Johnny Averette see if I can do that right now. | Michael Sheneman opened the meeting and introduced herself to the team. Michael Sheneman introduced the upcoming project in which the team is to create a remote control. The team members participated in a tool training exercise in which they each drew their favorite animal on the white-board and discussed why they liked the animal. Michael Sheneman then talked about the project finances and discussed selling prices, profit aim, market range, and production costs. Michael Sheneman then led the team in a discussion on their experiences with remotes and what features they would like to include in the remote they are producing. The team members discussed the option of combining remotes and how to produce a remote which is capable of controlling multiple devices. | 5 | amisum | train |
Pedro Ramos: Good to see you all again. Let's see if that comes up. This is our functional design meeting. Um. Just a sec while my PowerPoint comes up. Et voila. Okay. Mm um we put the fashion in electronics. Let's start. Okay, our agenda today um just check the time, it's twelve thirteen. Um. I'm gonna do an opening, talk about um did you all get the minutes? I e-mailed them to you. I'm also
Nicholas Christopher: Yep.
Pedro Ramos: putting 'em them in the shared folder. So
Donald Smith: Right.
Pedro Ramos: um then I we'll talk about our general objectives and have your three presentations. Um I'll talk about the new project requirements I've just received, and then we have to make a decision on our remote control functions. Finally we'll just close. We're starting this meeting at approximately twelve thirteen and we have forty minutes. So First of all the functional design objectives. Uh we need to keep in mind the user requirement specification, what needs and desires are to be fulfilled, the functions design, what effects the apparatus should have, and the working design, how the apparatus actually works to fulfil its function. Okay, three presentations, um you can go in any order you choose um.
Lance Lewis: Mm shall we go in the that you just did it?
Pedro Ramos: Sure, please do.
Lance Lewis: I dunno. How do I hook my screen up?
Donald Smith: I think you might have to disconnect.
Pedro Ramos: Yes I do.
Pedro Ramos: Yeah.
Nicholas Christopher: Well there's a wee
Lance Lewis: Where
Nicholas Christopher: a
Lance Lewis: does
Nicholas Christopher: wee
Lance Lewis: it go?
Nicholas Christopher: plug just
Lance Lewis: Mm-hmm.
Nicholas Christopher: that one there
Lance Lewis: Hmm, I'm not supposed to move this, but
Nicholas Christopher: Ah that's it, yep.
Nicholas Christopher: And then you have to press function F_ eight I
Pedro Ramos: Function,
Nicholas Christopher: think it
Pedro Ramos: F_
Nicholas Christopher: is
Pedro Ramos: eight,
Nicholas Christopher: on
Pedro Ramos: yeah.
Nicholas Christopher: your laptop.
Lance Lewis: Where's
Pedro Ramos: The
Lance Lewis: function?
Pedro Ramos: blue one, F_N_.
Lance Lewis: No signal.
Pedro Ramos: Is it plugged in all the way and you screwed it in and
Lance Lewis: Ah,
Donald Smith: Yeah.
Lance Lewis: wait, 's screw in.
Donald Smith: I I
Lance Lewis: Push
Donald Smith: think
Lance Lewis: the screw.
Donald Smith: you just have to push it in really hard.
Nicholas Christopher: That's it.
Donald Smith: Oh, got it.
Pedro Ramos: Mm 'kay.
Lance Lewis: Mm alright
Pedro Ramos: It's taking it a little bit
Lance Lewis: I've never attached to anything.
Donald Smith: Mm, neither have I.
Pedro Ramos: 'Kay there you go.
Lance Lewis: Alright,
Donald Smith: Alright.
Lance Lewis: so, I don't know if you guys are able to get access to um the report that was online or if I'm the only who is. But, I don't even know how to play this. No.
Pedro Ramos: Press the little presentation. It's the um it looks like a Y_ kind of over there above Draw. There, that one, there you
Lance Lewis: Alright.
Pedro Ramos: go.
Lance Lewis: So we're just gonna talk a little bit about the functional requirements that people specified when they were asked. Um I guess Real Reaction did some market research. They had a hundred subjects and their usability lab and they watched them watch T_V_ and recorded the frequency that they used particular buttons and the relevance that those buttons had. What they found was they analysed people's desires and needs. Focusing on their desires, um people specifically said that they thought remotes were ugly, seventy five per cent of the a hundred subjects noted that and that they more importantly though, eighty per cent said that they would be willing to pay more for a fancier looking remote. I don't know anything
Donald Smith: Hmm.
Lance Lewis: beyond what fancy means, but that's particularly of use to us, I think. Um also they did some questions on voice recognition and found that the desire for voice recognition was inversely related to age, so younger people were more inclined to want something with voice recognition, whereas the older people in the like sixty and above segment or so did not really think that they would pay more money for voice recognitions. Um
Donald Smith: 'Kay.
Lance Lewis: people also had certain frustrations, that I think that we could try to take into consideration with our design. That being people k um frustrated with losing their remotes. I think, over fifty percent of the people mentioned that that was their biggest frustration. People are also frustrated with the difficulty it is to learn how to use a remote and I think that ties back to what you were saying before
Donald Smith: Hmm.
Lance Lewis: just that there's too many buttons, it just needs to be easy to use. It also mentioned something called R_S_I_ and I was hoping someone might be able to inform Lance Lewis as to what R_S_I_ is, because
Nicholas Christopher: Repetitive
Lance Lewis: I don't know.
Nicholas Christopher: strain injury.
Lance Lewis: What?
Nicholas Christopher: Repetitive strain injury.
Lance Lewis: Ah. There we go. Wow.
Nicholas Christopher: So
Lance Lewis: People
Nicholas Christopher: if
Lance Lewis: do
Nicholas Christopher: you
Lance Lewis: not like that. So I guess sort of the carpal tunnel type thing, people do not like that, um the repetitive use, I guess, caused a strain. Um looking at the needs people specified, the problem right now is that people's remotes are not matching their operating behaviour. People are only using ten per cent of the buttons that they have offered to them on their remote. And what people do most often is changing the channel and changing the volume. People also zap like to change the channel, about um sixty five per cent during an hour of use. So we really just need to focus in on those volumes and channel changers rather than things like the audio settings, the screen settings and the channel settings, because they're used much more infrequently and probably just complicate what's going on. So I think that some things that we might wanna think about, the idea of an L_C_D_ screen was brought up although they didn't have any details on what people's preferences on that were, so I dunno know if that's coming to Lance Lewis later, or something like that. But something for us to consider also just the phenomenon that less is more when it comes to the buttons on the remote or what we wanna make easiest to use, make sure that, you know, something like an audio setting isn't given as much importance and visibility on the remote as something like channel changing that's used a lot more often. And basically in order for us to win over to the consumer we just need to focus on what it looks like, that it has a fancy appeal and that it's not ugly and that it feels like the way they're gonna use it, so it doesn't give them any hand injuries or things like that.
Donald Smith: Hmm.
Pedro Ramos: Thank you very much. That was that was great.
Donald Smith: Mm 'kay.
Pedro Ramos: Um 's move on to the next presentation um on effects. Was that
Lance Lewis: Hmm.
Pedro Ramos: you? Great.
Lance Lewis: Yeah, have I unscrewed it?
Pedro Ramos: Push. User interface, right. Interface.
Lance Lewis: Here we go.
Nicholas Christopher: Cheers.
Lance Lewis: Mm-hmm. And I think that's in the shared, if I did it right, if anyone wants to look at
Pedro Ramos: Mm
Lance Lewis: it.
Donald Smith: Okay,
Pedro Ramos: 'kay, thank you.
Donald Smith: great.
Pedro Ramos: Okay.
Nicholas Christopher: Here we go. Right so I'm gonna talk about the technical technical functions design of the remote control um. We need to start by considering what a remote control actually is. It's a device that allows us produce certain effects on, so i it's basically a communication device. We we tell the remote control what we want to do, it sends a message to the television saying change the channel, change the volume, uh yeah, adjust these settings, adjust the brightness. Um how do we actually go about designing a new television remote control? First thing to do is to come up with the design specifications. We need to know what our final product is gonna be like, so we need a a clear idea of exactly what this product does, uh how it works, and what the end-user is gonna want from this product. Um. Oh, a way I'd suggest that we could go about this is by designing uh several different prototypes of user interfaces for this product, um and then uh trying to get some feedback uh about h how well these particular prototypes work, uh sorta find out what people think of 'em. Um using a remote control is is quite a subjective experience. Um,
Pedro Ramos: Hmm.
Nicholas Christopher: and different different people sort of prefer different things. Um we should remember that remote controls are a a fairly standard piece of equipment. When a users using a remote control, he or she expects the buttons to be in certain places. So in some sense we're gonna we're gonna have to aim for a device which is fairly conventional in design uh so that we're not completely shocking people. But I think within that there is also room for us to introduce novel ideas uh and to make something that's that's perhaps a little bit different, something that stands out. Um also in in designing the user interface we need to consider practicalities. Uh the first of these is is technological ye uh what can we do with the current state of technology as it is. The second is is economic, uh we need to find a balance between features and price. So as you mentioned things like voice recognition would would add to the price uh but it would also im
Pedro Ramos: Hmm.
Nicholas Christopher: improve the design of the product. So I had a look on the on the web uh to see if I could find a few examples of existing television remote controls. In analysing these we can consider what what things what's good about them, uh what things do they get right, what's bad about them, what's wrong with 'em, um how we can improve on the designs that that that I found and what can we do to make our product stand out from from the large majority of remote controls. Here's two examples uh probably at the extreme ends of the spectrum. Um on the left here we've got uh an engineering-based design for a remote control, so it's one that's got lots of buttons, it's it's fully featured, everything you might possibly want to do is there, you know, it's got forward, backwards, up, down, channel numbers, volume, uh freeze frame. Yeah, it's it's fully featured and it might take a while to get to learn to use it, but once you've learned it you can you can do whatever you want with your T_V_. The one on the right is a lot more basic. It's just got the essential functions of the T_V_ changing the channel, play, stop, volume. It would be a lot quicker to learn to use it, but again th it's it's swings and roundabouts. There are disadvantages, you can't use it say to to freeze the television picture. Uh there's a lot of features that are missing from that remote control. So we've got to to find our find a way of striking a balance between the two. Um as I said before, remote controls are subjective, different people want want different things. Um personally wa what I want from a remote control is a device that's simple, it it's easy to use, uh it's got big buttons for doing the things I do most often, changing the volume, changing the channel. It it does everything that I need it to uh, as I said before, I'm quite lazy, I don't wanna walk across the room just to adjust my television. I also want something that that looks cool, um and that that feels good, that's ergonomically designed.
Pedro Ramos: Mm 'kay. Thank you very much. That was very useful. It's funny to see the drastic difference between those two remotes.
Donald Smith: Hmm.
Pedro Ramos: Um. And neither of them were very pretty, you know?
Lance Lewis: No.
Donald Smith: Yeah. I think that could be our selling point.
Pedro Ramos: Mm.
Lance Lewis: A fashion fashion remote.
Nicholas Christopher: I
Donald Smith: Right.
Nicholas Christopher: think there's there's certainly a market for technology that looks cool.
Pedro Ramos: Mm.
Lance Lewis: Mm-hmm.
Nicholas Christopher: And I think that's that's why companies like Apple've 've 've
Donald Smith: Hmm.
Nicholas Christopher: made
Lance Lewis: Yeah.
Nicholas Christopher: a lot of progress.
Donald Smith: Right, I really can't see what I'm doing, so does anyone have a
Pedro Ramos: You there it is.
Donald Smith: Ah-ha, look at that, showing up already.
Pedro Ramos: Lovely.
Lance Lewis: So wait, did it let you go on the Internet or was that just what it let you see?
Nicholas Christopher: Uh that was just on the d on
Lance Lewis: Okay.
Nicholas Christopher: the company web site, yeah.
Lance Lewis: 'Cause I was like
Pedro Ramos: Hmm.
Donald Smith: Yeah
Lance Lewis: googling and then I'm like wait it won't let Lance Lewis google.
Donald Smith: Alright um No, how do I play again?
Pedro Ramos: Um the it's right above Draw. There are three thingy if it's way at the bottom.
Donald Smith: Ah.
Pedro Ramos: Under three icons and it's the one that looks like a desk. Yeah, that one. There are
Donald Smith: Okay.
Pedro Ramos: Y_s.
Donald Smith: So this is our working design presentation. Um I had a bit of some issues with this, because I wasn't able to find everything I needed, but I guess that's we're still in early stages. Um so, yeah, this is this. Though th the thing about working design is the what we're trying to do as a working design is figure out how the aparata apparatus can fulfil its function. Um one of the examples that kept coming up for Lance Lewis is that a coffee grinder. It works because it converts electrical energy to grinding the beans and then you put the bean through a filter and that filters out, and then you get coffee at the end that's nice and hot because of the combination of electrical energy and then the other things that are brought in to make it work. Don't know if I'm explaining that very well, but how do I get to the next s ah. So h the method as um working designers figure out what you need to make it fulfil this practical function, what what needs to be done and how do we convert all the elements to make that done. So wha the easiest thing to do is to break down all the points at which you need something to happen. So you make a schematic of the way that the the energy is converted tsh towards this practical function. And then I think the easiest thing to do is gonna be work on each task separately. So um Uh.
Pedro Ramos: You just press yeah, just
Donald Smith: Uh.
Pedro Ramos: click. That'll be fine.
Donald Smith: So the findings that I got uh very just very briefly is that you have a choice of the way that the information is projected to the receiver and in my opinion infra-red is the best way to do that 'cause you don't need a sight line. So that's one thing we're gonna work on. Um the user interface is critical here, because a lot of the things that happen in a remote control happen through the chip that controls that converts the electrical energy into data, which then goes through the infra-red, so the the chip that uh I think Ian is designing, is gonna be crucial. And really it all comes down to the to the user, because they're the one that's controlling most of the working design. So the components that we find here are the energy source, you know the battery or whatever that's gonna m make it work, then the chip, which converts the data, the user that's controlling the chip, and the infra-red bulb that's gonna let us move the data to the receiver. So you have four main components and they are designed sort of like this. You have your energy source right there which then um brings uh energy or information to the chip, which is also controlled by the users. You have energy going to the user who's controlling the chip ooh 's not what I wanted to do uh uh.
Pedro Ramos: Um yeah use that thing you can go back, previous.
Donald Smith: Previous. Sorry about that, guys.
Pedro Ramos: Pardon.
Donald Smith: Oh.
Pedro Ramos: Oh,
Donald Smith: No, no,
Pedro Ramos: well.
Donald Smith: no, no, no.
Pedro Ramos: Okay.
Donald Smith: Okay, let's just get back to my schematic here.
Pedro Ramos: Ye Double click on it. With the right with the left
Donald Smith: W
Pedro Ramos: hand one.
Donald Smith: yeah, yeah. I think it's frozen. Here. Don't show Lance Lewis that tip again.
Pedro Ramos: There we
Donald Smith: There we are.
Pedro Ramos: are.
Donald Smith: Sorry about this, guys. I'm kind of pathetic with things like this. Um alright. So you have your energy source, your user interface who's controlling the chip, the chip also uses the energy, and the chip through the use of the user interface is gonna control the switch which will work your infra-red bulb, which will then bring the data to the receiver. So hopefully that makes sense for everyone in my kind of garbled way. This
Pedro Ramos: Mm-hmm.
Donald Smith: is the the parts of the working design that need to be figured out. And personal preferences, besides the fact that I can't spell, we need a long-lasting energy source, people don't wanna be changing it a lot. We need a chip that works well with the user interface, that isn't too complicated. We need a straightforward interface, like Ian was saying, simple, not overwhelming it with information and we need a reliable and clear infra-red signal, so that you're not waving your remote around and
Pedro Ramos: Mm-hmm.
Donald Smith: having to get frustrated and go do it by hands. So that's pretty much it for the working design.
Pedro Ramos: Excellent.
Pedro Ramos: So, um.
Donald Smith: Rose, do you think you can give Lance Lewis a hand with this?
Pedro Ramos: Yes, absolutely.
Pedro Ramos: Ah I can never tell which way to turn these things.
Donald Smith: Yeah.
Pedro Ramos: Lefty loosey, righty tighty, right?
Donald Smith: Yeah.
Nicholas Christopher: What's up? Lefty
Pedro Ramos: Lefty loosey,
Nicholas Christopher: loosey.
Pedro Ramos: righty tighty.
Nicholas Christopher: Uh. Never heard that before, that's good.
Pedro Ramos: Oh yes.
Nicholas Christopher: I'll think of that every time now.
Donald Smith: It's
Lance Lewis: Yeah,
Donald Smith: gonna
Lance Lewis: that's
Donald Smith: stick
Lance Lewis: a good
Donald Smith: in your
Lance Lewis: one it'll
Donald Smith: head.
Lance Lewis: stick with you.
Pedro Ramos: Mm 'kay.
Pedro Ramos: Um I have nothing on my screen. Just a sec.
Donald Smith: Mm.
Pedro Ramos: Here we are.
Donald Smith: Ooh, no signal.
Pedro Ramos: Okay, yeah, it's fine. Okay, requirements. We have a couple new requirements that I was just e-mailed right before the meeting and
Donald Smith: Okay.
Pedro Ramos: that we have to keep in in um in mind as we're creating this. We didn't bring it up yet, or at all in the meetings so far, but we're not gonna work with teletext because um well it that's been taken over by the internet, so we're not gonna worry about um we're not gonna worry about that.
Lance Lewis: What's teletext?
Pedro Ramos: Um.
Donald Smith: Uh, it's a British thing.
Lance Lewis: Oh.
Nicholas Christopher: You don't
Lance Lewis: Oh,
Nicholas Christopher: have
Lance Lewis: so
Nicholas Christopher: it in the States?
Donald Smith: No.
Pedro Ramos: It no. W d
Nicholas Christopher: Oh,
Pedro Ramos: could
Nicholas Christopher: I didn't
Pedro Ramos: would
Nicholas Christopher: realise.
Pedro Ramos: you care to explain it?
Nicholas Christopher: Um yeah, it's like a Um you have like you have uh numbers on your remote control,
Lance Lewis: Mm-hmm.
Nicholas Christopher: uh y and you type in the page number you want, so like you type a hundred on your remote control and this this kind of index appears on the television screen with just some some text and some very blocky looking graphics on it. And you just type numbers to go to different pages and it gives you information, mostly rather boring
Donald Smith: S
Nicholas Christopher: stuff like what's on T_V_ next and share prices and that kind of thing.
Donald Smith: Lottery numbers and sport scores.
Nicholas Christopher: Yep, news headlines.
Donald Smith: But if you ever see the T_V_ saying like go to page one sixty on Ceefax now, that's what they're talking about.
Pedro Ramos: How?
Lance Lewis: Oh.
Nicholas Christopher: It's earl it's pretty old technology. It's like
Pedro Ramos: Okay.
Nicholas Christopher: nineteen eighties.
Lance Lewis: That explains a lot.
Donald Smith: I have no idea why we don't have it, but
Lance Lewis: That's good.
Pedro Ramos: Interesting. Okay um, well, we're not gonna the management has decided we're not gonna work with that. Um Okay um and we're also gonna w like your question earlier um whether this is going to be t for television, video, or etcetera. Just for television. That's
Nicholas Christopher: Right.
Pedro Ramos: what we're focused on. Um otherwise becomes to complex, we wanna get this out um very quickly. We only have a a short amount of time.
Donald Smith: 'Kay.
Pedro Ramos: Um and finally there's more marketing, I think, um, our corporate image has to be recognisable. So while we're gonna make it
Donald Smith: Mm.
Pedro Ramos: look pretty we need to use our colour and our slogan i in the new design.
Nicholas Christopher: So what's our corporate image like? It's It's kind of yellow colour with uh
Pedro Ramos: Looks
Nicholas Christopher: we
Pedro Ramos: like,
Nicholas Christopher: put
Pedro Ramos: yeah,
Nicholas Christopher: fashion
Pedro Ramos: kind of
Nicholas Christopher: in
Pedro Ramos: a yellow
Nicholas Christopher: electronics.
Pedro Ramos: and black and we have that the emphasis on the R_s in
Nicholas Christopher: It's like
Pedro Ramos: um
Nicholas Christopher: double R_.
Pedro Ramos: mm-hmm.
Nicholas Christopher: Yeah.
Pedro Ramos: But it's, yeah, we put the um fashion in electronics. So we gotta keep that in that in mind.
Donald Smith: Okay, so we want something that looks good
Pedro Ramos: Yep. Yep.
Donald Smith: and is yellow.
Pedro Ramos: Yeah, or ha maybe some buttons could be yellow.
Donald Smith: Okay.
Pedro Ramos: Like, we can we can play around with it a little bit. Um. Okay, we need to talk about our functions and our target group. We need to decide who our target group is. You um in your analysis of different market um of the marketing,
Lance Lewis: Mm-hmm.
Pedro Ramos: you identified that different groups wanted different things or had certain preferences, for example that um that older people didn't really care for um voice recognition,
Lance Lewis: Mm-hmm.
Pedro Ramos: but younger people did. Um and so?
Donald Smith: Well if we're gonna say that function um fashion we put the fashion in in electronics then you automatically, I think, a sort of younger group that that's who's gonna be attracted to this.
Lance Lewis: Yes, I do think, who's gonna have the money to buy that also,
Pedro Ramos: Mm-hmm.
Lance Lewis: that one?
Pedro Ramos: It's gonna be twenty five Euro remember, so um it has to be avai marketable to um whomever it is.
Donald Smith: Mm-hmm.
Nicholas Christopher: Is it is it something that's gonna be sold separately from the television or is it something that comes w with a television? 'Cause that would affect the way that we market it.
Pedro Ramos: Well at least right now what we're doing is um deciding on just the remote itself, so it
Nicholas Christopher: Right.
Pedro Ramos: will probably be sold separately,
Nicholas Christopher: Right, okay.
Pedro Ramos: twenty five Euro by itself.
Lance Lewis: The only break-down that I was given in terms of age was the voice activation and basically there's a big jump, after thirty five people don't really care if it has voice, so it's like basically fifteen to thirty five that
Donald Smith: Mm-hmm.
Lance Lewis: think that that's a good idea. I'm gonna be given any other numbers broken down in terms of age later, but if that's sort of the only quality that we have that is divided into age then we would wanna stick between the fifteen and thirty five range.
Donald Smith: Yeah, that's probably uh a population w quite a little bit of disposable income for use on technology anyway, so
Nicholas Christopher: Yeah.
Donald Smith: that might be a fairly good target group for us.
Pedro Ramos: Now, those are that's all specific for speech recognition. Are we gonna use that as one of our functions?
Nicholas Christopher: Um.
Donald Smith: Mm.
Nicholas Christopher: I I would say no, because it's gonna add too much to the price. Especially if we are marketing it as a separate
Pedro Ramos: Mm-hmm.
Nicholas Christopher: product, people are gonna be paying uh, well, uh we've got a price limit
Pedro Ramos: Mm.
Nicholas Christopher: of was it twelve twelve and a half Euros for
Donald Smith: To produce it,
Pedro Ramos: To
Donald Smith: yeah.
Pedro Ramos: produce
Nicholas Christopher: to produce
Pedro Ramos: it, yes.
Nicholas Christopher: it? And I wonder if we can get voice recognition into that
Pedro Ramos: Mm.
Nicholas Christopher: twelve and a half Euros without having to make too many other compromises.
Lance Lewis: But what else are we gonna put, I mean not that I'm really gung-ho about it, I don't know what else you can put in a remote to make it technologically advanced though. So like other than just making
Nicholas Christopher: Yeah.
Lance Lewis: it look good,
Donald Smith: Hmm.
Lance Lewis: how is it I mean it can look really great and still have the same up-n-down
Donald Smith: But
Lance Lewis: buttons and why's anyone
Donald Smith: right.
Lance Lewis: gonna buy a new remote?
Donald Smith: Well but why are we why are we aiming for a technological advancement? Everything we're talking about is ease of use and simple and that doesn't necessarily mean
Lance Lewis: Mm-hmm.
Donald Smith: more technology, in
Pedro Ramos: That's
Donald Smith: fact
Pedro Ramos: a good
Donald Smith: it
Pedro Ramos: thing
Donald Smith: could
Pedro Ramos: to
Donald Smith: use
Pedro Ramos: keep in mind.
Donald Smith: it could mean, not. If they might be overwhelmed with with remotes that have too many buttons and too much technology.
Lance Lewis: If someone's looking to buy a new remote, don't they want like an upgrade? I dunno.
Pedro Ramos: Upgrade? Well, we can look for we can look at upgrade or we can look at um user-friendly.
Donald Smith: Yeah, simplification.
Nicholas Christopher: Yeah.
Pedro Ramos: Simplification,
Lance Lewis: Mm-hmm.
Donald Smith: They could have a crap
Pedro Ramos: so
Donald Smith: remote that came with their T_V_ that's just impossible to use, or maybe it broke, or maybe
Lance Lewis: Mm-hmm.
Donald Smith: they're just missing it.
Pedro Ramos: Uh-huh, mm. And we also need to talk about if we're only gonna have the very simple ones or also have the other ones just separate somehow or
Donald Smith: Hmm.
Lance Lewis: Can you like
Nicholas Christopher: Yeah.
Lance Lewis: I mean this may be too complicated, but, I wish I had something to explain it, like if it was just a simple, either this way or this way, that had like the main buttons and then you could like pull something out, kind of and like you got the rest
Donald Smith: Ooh.
Lance Lewis: the buttons, but the rest of them like went in.
Nicholas Christopher: The
Lance Lewis: Do you know what I'm saying?
Nicholas Christopher: remote There
Pedro Ramos: Kind
Nicholas Christopher: are
Pedro Ramos: of
Nicholas Christopher: remote
Pedro Ramos: pull out
Nicholas Christopher: controls
Pedro Ramos: of the side.
Nicholas Christopher: like that, yeah. Like some T_V_s they have a sort of uh a sliding screen on the remote control of it
Pedro Ramos: Mm.
Nicholas Christopher: that hides all the complicated buttons.
Donald Smith: Ooh.
Nicholas Christopher: So if you wanna do something complicated like programme your television or re-tune it, then you you open up this little hatch or or slide the
Lance Lewis: Mm-hmm.
Nicholas Christopher: screen down and there's
Pedro Ramos: Mm-hmm.
Nicholas Christopher: all the all the special buttons.
Lance Lewis: 'Cause then 's like people who don't wanna ever look at them, never even have to see them
Donald Smith: Mm-hmm.
Lance Lewis: and
Pedro Ramos: Mm-hmm.
Lance Lewis: if you like
Nicholas Christopher: Yeah.
Lance Lewis: get the instruction manual that comes with it and you just don't even read it then you'll never even know that those things can pull out.
Pedro Ramos: Mm-hmm.
Lance Lewis: And you're a happy person and everyone else doesn't have to have like two remotes, one that has the easy ones and one that has
Donald Smith: Yeah,
Lance Lewis: more complicated
Nicholas Christopher: Yeah.
Pedro Ramos: Mm-hmm.
Lance Lewis: ones,
Donald Smith: that's a good
Lance Lewis: but
Donald Smith: idea.
Lance Lewis: 's all still
Nicholas Christopher: I think
Lance Lewis: in
Nicholas Christopher: that's
Lance Lewis: one.
Nicholas Christopher: a good idea, yeah.
Donald Smith: Mm.
Pedro Ramos: Um we have to be careful that that that doesn't impede um the chip transmitting information,
Lance Lewis: Yeah.
Pedro Ramos: but
Donald Smith: Good
Nicholas Christopher: Yeah.
Pedro Ramos: um
Donald Smith: point.
Pedro Ramos: that's gonna be mostly technological thing.
Donald Smith: Yeah.
Pedro Ramos: Um. Okay um, so what are we emphasising? I what in this
Nicholas Christopher: Si
Pedro Ramos: project?
Nicholas Christopher: simplicity and fashion.
Lance Lewis: I think simplicity,
Pedro Ramos: Simplicity
Donald Smith: Yeah
Pedro Ramos: and fashion.
Lance Lewis: fashion.
Donald Smith: mm.
Pedro Ramos: Okay, those are very good goals, I think, um that we have to keep in mind in with everything we do. Simplicity and fashion and, yeah, or usability speci however you wanna say that, which includes um an emphasis on making the infra-red very functional,
Lance Lewis: Mm-hmm.
Pedro Ramos: so that you don't
Nicholas Christopher: Yeah.
Pedro Ramos: have to travel around a lot.
Nicholas Christopher: Yeah.
Lance Lewis: What can
Pedro Ramos: Um.
Lance Lewis: you do to like make the infra-red more functional, like why would it not be? I'm just wondering.
Pedro Ramos: I think it's a lot to do with battery,
Lance Lewis: Okay.
Pedro Ramos: but that's just my
Donald Smith: The battery and that I think that the chip takes the data and presents it well, without sort of scattering.
Pedro Ramos: Mm-hmm.
Lance Lewis: So 's just the quality of the chip.
Donald Smith: Yeah. I think so.
Lance Lewis: Okay.
Donald Smith: The quality uh quality of all the components really, I mean, we can't really do anything shoddy work, 'cause it's
Nicholas Christopher: Yeah.
Donald Smith: gonna be visible down the line.
Pedro Ramos: So our target group, we're saying, fifteen to thirty five?
Lance Lewis: Well, I dunno how useful that number is if we're not doing
Pedro Ramos: S voice recognition,
Lance Lewis: Yeah.
Pedro Ramos: which I kind of I kind of feel like voice recognition is not necessary in a remote control,
Lance Lewis: Yeah. I don't.
Pedro Ramos: like it might be necessary for a T_V_ but not for the remote
Nicholas Christopher: It's,
Pedro Ramos: c, you
Nicholas Christopher: yeah,
Pedro Ramos: know.
Nicholas Christopher: it's
Donald Smith: Mm-mm.
Nicholas Christopher: pretty
Pedro Ramos: Seems
Nicholas Christopher: it's pretty
Pedro Ramos: a little bit
Nicholas Christopher: high-tech.
Donald Smith: Yeah.
Pedro Ramos: Mm-hmm. Yeah, and it might be too expensive.
Lance Lewis: And if the whole idea is you're using a remote then why would you have voice, like you know what
Pedro Ramos: Mm-hmm.
Lance Lewis: I mean and then it's like you wouldn't need a remote you'd just talk to your T_V_.
Pedro Ramos: Yeah.
Nicholas Christopher: It's for,
Donald Smith: Ooh.
Nicholas Christopher: like, the ultimately lazy people, who can't even be bothered to pick up the remote.
Donald Smith: Yeah.
Lance Lewis: Mm yeah. Maybe
Donald Smith: I
Lance Lewis: I mean if I get m more numbers, I'll e-mail you before the next meeting in terms of ages. But this doesn't divide up anything and there was only a hundred subjects also,
Pedro Ramos: Mm-hmm.
Donald Smith: Mm-hmm.
Lance Lewis: which isn't, I mean, really isn't that representative, especially if it's a hundred subjects that th they then can subdivide into age groups that means there's very few in each age group, so
Donald Smith: Yeah, but I th I think regardless we're we're aiming for the under sixty five or something.
Pedro Ramos: Under sixty five,
Nicholas Christopher: Yep.
Pedro Ramos: okay, that's a good start. Um. I'd say we're uh can we narrow it down to maybe um teenagers and families? 'Cause that would go
Donald Smith: Or
Pedro Ramos: up
Donald Smith: like
Pedro Ramos: to like fifty?
Donald Smith: single professionals or something.
Lance Lewis: Twenty
Pedro Ramos: Okay, single
Lance Lewis: to like fifty five.
Donald Smith: Yeah.
Lance Lewis: I dunno.
Pedro Ramos: It's it's hard to
Donald Smith: It's
Pedro Ramos: narrow
Donald Smith: really hard
Pedro Ramos: it down.
Donald Smith: to figure out right now.
Nicholas Christopher: I think the product appeals across a quite a broad range of ages.
Pedro Ramos: Mm-hmm.
Nicholas Christopher: I mean, we we said simplicity is is one of the features, so it's going to appeal to people, maybe people who have problems with technology, you know, people who get
Pedro Ramos: Okay.
Nicholas Christopher: scared by having lots of buttons, and that might be older people,
Pedro Ramos: Mm-hmm.
Nicholas Christopher: but then we've also got fashion, which is something that definitely appeals
Donald Smith: Yeah.
Nicholas Christopher: to younger people.
Lance Lewis: Well maybe we don't have to defi define the target group by the demographic of age, maybe we
Pedro Ramos: Right.
Lance Lewis: can define it by like the demographic of like h t how much money they have to spend
Nicholas Christopher: Yeah.
Lance Lewis: or something like that,
Nicholas Christopher: Yeah
Lance Lewis: like,
Donald Smith: That's
Nicholas Christopher: aim
Donald Smith: a
Nicholas Christopher: for
Donald Smith: good
Lance Lewis: well
Donald Smith: point.
Nicholas Christopher: a
Lance Lewis: obviously
Pedro Ramos: Mm-hmm.
Lance Lewis: it has to
Nicholas Christopher: an
Lance Lewis: be
Nicholas Christopher: income
Lance Lewis: someone who
Nicholas Christopher: group.
Lance Lewis: owns a television,
Pedro Ramos: Mm-hmm.
Lance Lewis: and like
Donald Smith: Yeah.
Lance Lewis: how recently have they bought their television like that sort of thing.
Donald Smith: Mm.
Pedro Ramos: So maybe it's more useful to d d to define objectives like fashion and
Donald Smith: Yeah,
Pedro Ramos: simplicity than
Donald Smith: t probably.
Pedro Ramos: to find specific target group as far
Nicholas Christopher: Yeah.
Pedro Ramos: as age is because, yeah, things so different will appeal to different people, but Okay. Um oh, there're a couple functions do we want something so that do we want some kind of thing to find it if it's lost?
Donald Smith: Mm.
Lance Lewis: Yeah.
Pedro Ramos: Like a button on a T_V_ you can press and it'll ring or something, I don't know like or
Lance Lewis: H
Pedro Ramos: beep?
Lance Lewis: I mean, like I said before, fifty per cent of of the fru f like frustration someone can have that was the biggest one and half the people said that happened and we all mentioned it before we
Pedro Ramos: Mm-hmm.
Lance Lewis: knew about it.
Nicholas Christopher: Yeah.
Lance Lewis: And if we're talking about making something easy that sort of goes along with it so it wouldn't be like a random thing to sort of add in.
Donald Smith: Mm.
Lance Lewis: It would be relevant to like the overall goal
Pedro Ramos: Mm.
Lance Lewis: I think,
Donald Smith: Yeah,
Lance Lewis: so
Donald Smith: that'll probably be good.
Pedro Ramos: Okay, we have to we have about four minutes left to define our functions. So let's do that quickly. Um so we want something to keep it from getting lost.
Nicholas Christopher: Yep.
Donald Smith: Yeah.
Pedro Ramos: And we want um we want large buttons for the essential things.
Nicholas Christopher: Yeah.
Donald Smith: Yeah.
Pedro Ramos: Large, accessible buttons for the essentials. We want a possibility to um to get um a possibility to get the extra functions.
Donald Smith: Mm-hmm.
Nicholas Christopher: Yeah. Which are kind of hidden away in some way or well not hidden but they're uh they're not as prominent as the main features.
Pedro Ramos: Mm-hmm.
Lance Lewis: Hmm.
Pedro Ramos: Um, yeah, hidden way. And we also want it to be fashionable, which I'm not sure if that's a function so much as a um yeah
Lance Lewis: on your coffee table, it's not like an eye sore, that kind
Pedro Ramos: Mm-hmm.
Lance Lewis: of thing.
Donald Smith: Yeah. Alright.
Pedro Ramos: Okay, do it. Any other essential functions that we need? Battery? Do we need a
Donald Smith: Battery
Pedro Ramos: long-life battery?
Donald Smith: battery use. Yeah, but
Lance Lewis: Yeah.
Donald Smith: I think that goes in with simplicity and ease of use really.
Pedro Ramos: But
Lance Lewis: So
Pedro Ramos: we might
Lance Lewis: you
Pedro Ramos: as well.
Lance Lewis: never have to change the battery.
Donald Smith: Yeah.
Nicholas Christopher: We should maybe investigate whether it needs a battery at all. I suspect the remote control does need a battery, but
Pedro Ramos: Yeah,
Donald Smith: Yeah.
Pedro Ramos: I would imagine.
Nicholas Christopher: I dunno if you can
Pedro Ramos: Just 'cause it is an electronic device, the
Nicholas Christopher: Yeah.
Donald Smith: Mm. It I think it does. I don't I don't think of a way you can operate a chip and convert that much data without without
Nicholas Christopher: Yeah,
Donald Smith: one.
Nicholas Christopher: without the energy,
Donald Smith: But you
Nicholas Christopher: yeah.
Donald Smith: could maybe have it in a little charging station like a mobile phone, or like a little cradle for your iPod.
Nicholas Christopher: Yeah, that's
Donald Smith: You
Nicholas Christopher: that's
Donald Smith: could
Nicholas Christopher: possible.
Donald Smith: we could maybe
Nicholas Christopher: Yeah.
Donald Smith: do that instead. So you don't
Pedro Ramos: Charging.
Donald Smith: ha you got like a rechargeable battery.
Nicholas Christopher: Yeah.
Donald Smith: I dunno, that might contribute to less people losing it too if
Pedro Ramos: Mm-hmm.
Donald Smith: it it stays in one place.
Lance Lewis: Mm.
Pedro Ramos: We have to think about um space in living-rooms, too, like
Donald Smith: Mm.
Pedro Ramos: 'cause they're I mean, would you put it on top of the T_V_? I don't know, just think okay, that's that's a good idea, we'll keep it.
Donald Smith: Yeah.
Pedro Ramos: Think it's
Donald Smith: That's just off the top of my head.
Pedro Ramos: And maybe fun. Okay. Um 'kay we're gonna conclude now, has everyone said their functions and
Nicholas Christopher: Yep.
Pedro Ramos: 'kay. Um after the meeting we're gonna each complete a sks um a questionnaire and a summaries summary. I don't know what summarisation. Um and then we'll have our lunch break. After that we have thirty minutes of individual work. Um I'll make sure to put up um the minutes and the project documentation and including these PowerPoint slides. If everyone could do that as well, that'd be great. Um you each have individual actions, I_ um I_D_ Industrial Design you've your components concept, User Interface, the user interface concept, market trend wa watching. And as as per last time you'll get specific incrat instructions from your personal coach e-mailed to you. And hopefully, I hope, next time you'll be able to access more of the web site that they they seem to tell you that you could.
Donald Smith: Yeah,
Pedro Ramos: It's kinda
Donald Smith: who knows.
Pedro Ramos: frustrating, but um Be sure to note any frustrations or any um issues that come up in your um in your um summary.
Donald Smith: Okay
Pedro Ramos: Mm 'kay?
Donald Smith: Sounds good.
Pedro Ramos: Great seeing y'all.
Lance Lewis: It's good. Did you um were you able to like put yours in the group folder?
Donald Smith: Yes, I
Lance Lewis: Okay.
Donald Smith: just did that. Hopefully it is there for people.
Lance Lewis: Yep.
Donald Smith: Yeah?
Pedro Ramos: Looks like there are um looks like there's a second one kind of of mine
Donald Smith: Yeah.
Pedro Ramos: that's that I didn't do, it's from like an earlier project, I think so
Donald Smith: Okay.
Pedro Ramos: um
Lance Lewis: Where is that? Yours is
Pedro Ramos: Under the shared folder, I don't know it might not
Donald Smith: Technical.
Pedro Ramos: even be under yours
Donald Smith: So
Pedro Ramos: as well.
Donald Smith: in there we
Pedro Ramos: Projects.
Donald Smith: have technical functions presentation, working design presentation and the functional requirements. At least that's
Lance Lewis: I
Donald Smith: what I
Lance Lewis: only
Donald Smith: have
Lance Lewis: have
Donald Smith: in.
Lance Lewis: three, I just have like our three.
Donald Smith: Yeah,
Lance Lewis: Yeah.
Donald Smith: that's what I have as well, R
Pedro Ramos: Okay.
Donald Smith: Rose So.
Pedro Ramos: You don't have mine?
Lance Lewis: No, but that's 'cause I think yours is in the e-mail separate, like it's not on the server.
Pedro Ramos: S
Donald Smith: Yeah.
Pedro Ramos: Mm.
Lance Lewis: But if I open it and then save it, probably will be there. Oh wait, never mind you can't save it to the
Pedro Ramos: Okay. Well I'll figure that out in the meantime.
Donald Smith: Okay.
Lance Lewis: Okay.
Pedro Ramos: Okay. | Pedro Ramos opened the meeting and stated the agenda. Lance Lewis discussed user preferences in terms of the appearance and use of remotes, finding that users wanted fancier looking remotes, disliked losing their remotes, wanted remotes with fewer buttons, frequently use the channel changing and volume buttons, and that younger users wanted speech recognition. Nicholas Christopher described how a remote works and how to go about designing one. He presented two remotes currently on the market and the advantages and disadvantages to each design. Donald Smith described the interior workings of a remote. Pedro Ramos briefed the team on some new requirements and led them in a discussion about their target group, the option to include speech recognition, how to find a remote when lost, and batteries. | 5 | amisum | train |
Alfredo Johnson: Are you sure I got it all head's kinda small.
David Bellantoni: How're
Alfredo Johnson: Okay.
David Bellantoni: we placed in terms of the alright.
Alfredo Johnson: We're okay?
Stewart Roe: I should probably try sit straight.
Dennis Gates: Like that? Okay, cool.
Alfredo Johnson: We're good?
Stewart Roe: Oh, I think mine's fallen off.
David Bellantoni: It fell That's why.
Alfredo Johnson: I guess it's gonna be hard to drink coffee. Mm. Uh okay.
David Bellantoni: Ah.
Dennis Gates: Okay? Right, so I'm just gonna start this PowerPoint real quick.
Stewart Roe: Wow.
Dennis Gates: Yeah, PowerPoint.
Alfredo Johnson: Very official.
Dennis Gates: Yeah, well, you know,
Dennis Gates: Yeah I kinda like this I'm kinda getting into it. Right. Um. So just to kick off the meeting basically um so we're working now for a real reaction, this is uh so it right. Just got an agenda to set out what we're gonna try to accomplish in this particular first meeting. Um We're gonna just do a quick opening and we can hopefully all get acquainted with one another um then we're gonna start talk a little bit about tool training. Essentially that means getting used to the only thing that we haven't tried out yet, the whiteboard. Um we've got a general plan for the project how we're gonna go about accomplishing this and then just a bit of discussion close up. Um I guess you know game or something um in real life um so yeah basically I want to I'm just gonna you got of course you can discuss that, I'm thinking about um uh proposing that since we've got this weird blend of ourselves and our roles that we just don't ask, don't tell. Um so um if you say something about marketing, right, sorted, um
Alfredo Johnson: You're just
Dennis Gates: y
Alfredo Johnson: gonna
Dennis Gates: is
Alfredo Johnson: believe Alfredo Johnson, we'll go from there.
Dennis Gates: Exactly.
Alfredo Johnson: Fair enough.
Dennis Gates: Um I mean obvi if if you guys if if at the same time if you like logically if something doesn't like if I'm like we're gonna sell a remote control that's the size of this paper book you know um you say like well that doesn't seem like such a good idea because of X_ obviously go with it. I mean we'll discuss it but I'm not gonna ask do you know that or uh yeah it seems like
Alfredo Johnson: Prove it yeah,
Dennis Gates: yeah yeah exactly
Alfredo Johnson: okay.
Dennis Gates: so, 'cause we're what we're sort of role playing is y g yeah you're gonna tap into your own knowledge as well um. And that's the same for your when we do introductions I mean um and you talk about your background you know have fun, you know maybe you went to um uh you know maybe i you're like in Maine you went to U_C_S_B_ but you wanna say you went to Harvard or something like that, why not, you know you can this is you know I guess we can have a little bit of fun with it. So are you guys okay with that does that seem logical?
Stewart Roe: Oh yeah, that's fine.
David Bellantoni: Sure.
Alfredo Johnson: Works for Alfredo Johnson.
Dennis Gates: Sweet. Cool. So I guess that that we're totally we're making a remote control which is
Stewart Roe: Right.
Dennis Gates: thrilling um uh but the idea is that we can make something based on the whole corporate model I dunno if you guys had time to check the in real life I dunno if you guys uh checked the um uh the corporate website. Um we've got to make something as fashionable as possible, that's kind of the corporate strategy is we're gonna try to take ordinary stuff that nobody really thinks about and try to make it nice you know like John Lewis nice or you know if you go to Debenham's or something. So um basically we are reinventing the wheel but we wanna try to do it in a user friendly um slick sleek kind of way. Um way we're gonna go about doing that is basically at first we're gonna start on the basics. And that's where I'm gonna need you guys the User Interface Designers and the um um the other designer that I can't remember, the the I_D_ and the U_I_D_ right um Stewart Roe hey
David Bellantoni: Mm.
Dennis Gates: right on
Alfredo Johnson: There
Dennis Gates: alright,
Alfredo Johnson: you go.
Dennis Gates: getting into it um to guide Alfredo Johnson and guide us on this project 'cause you're gonna be you're g you guys are the bottom you know you're like no you can't do that you can't have you know X_ and Y_ um at the same time. And then um we'll work up from what is necessary to more like what would be good, you know like um I I think you guys probably got the same emails I did but the idea of um, yes a coffee pot needs to be able to hold coffee but it's also better if it's not like really cheap glass so that it if you touch it you hurt your hand, or something like that. Um and so we'll work up from there and um then we'll meet on and talk about it and then finally we'll incorporate as kind of the last stage you know where you guys build or tell Alfredo Johnson tell us what's possible and then you tell us what we can um hope for and what way to go take the the the take the basics and make it nicer and then ov obviously uh the U_I_D_ and the I_D_ you know you you can keep on the you know sort of at the cutting edge of how to get about maximising what is possible um to try t of sync it all up. So that's the detailed design. So it's a three stage kind of thing. Um right so for now just for th the white board um basically uh just to get used to it, I haven't tried it yet either um I'm just gonna start and um mm carry like five remotes around um and just write down I'm just gonna write down one of the names of my um desert discs you know if you if you were trapped on a desert island and you could only bring five C_D_s along with you name one of them that you could, not all five, if you wanna write all five go for it but name one of them that you could um. Oh, we skipped introductions. Nice. I'm a excellent Project Manager. Um. I'm Marty, um I went to uni at uh U_C_ Santa Barbara and I'm here working on a P_H_D_ in psychology. Um yeah. So
Alfredo Johnson: I'm Sarah, I went to Michigan, and I'm here doing cultural studies and I'm the Marketing Manager or something. Marketing,
Dennis Gates: Expert
Alfredo Johnson: Expert.
Dennis Gates: Don't
Alfredo Johnson: Expert.
Dennis Gates: play yourself down.
Alfredo Johnson: Fine.
Dennis Gates: Expert
Alfredo Johnson: That's Alfredo Johnson.
David Bellantoni: I'm Ron. I uh once upon a time studied in Victoria and I am David Bellantoni.
Stewart Roe: I'm Nathan, I'm from California, and I'm here doing a Masters degree in social anthropology.
Dennis Gates: Where did you go to uni Nathan?
Stewart Roe: U_C_L_A_.
Dennis Gates: Oh brilliant.
Stewart Roe: Yeah.
Dennis Gates: Cool. My little brother goes there.
Stewart Roe: Okay.
Dennis Gates: Right so desert island
Alfredo Johnson: So.
Dennis Gates: discs. Yeah.
Alfredo Johnson: So do we have to wait for you to write it down or are you gonna tell us?
Dennis Gates: Well
Alfredo Johnson: I'm
Dennis Gates: I'll t
Alfredo Johnson: waiting
Dennis Gates: i
Alfredo Johnson: to
Dennis Gates: no
Alfredo Johnson: know.
Dennis Gates: no yeah I'm just gonna write a couple of 'em down. See I'm a big music fan I don't know if you
Alfredo Johnson: Uh
Dennis Gates: guys are, I'm assuming everybody likes music to some lesser or greater extent but
Alfredo Johnson: Fair
Dennis Gates: there's
Alfredo Johnson: enough.
Dennis Gates: some other options, if you're a T_V_ slut like I am like Smallville terrible television
Alfredo Johnson: Oh,
Dennis Gates: show but I
Alfredo Johnson: Smallville.
Dennis Gates: happen to love it, it's rubbish but I love
Alfredo Johnson: I
Dennis Gates: it.
Alfredo Johnson: went to high school with Tom Willing actually.
Dennis Gates: T the the main c the
Alfredo Johnson: The
Dennis Gates: main
Alfredo Johnson: guy.
Dennis Gates: character? Wow.
Alfredo Johnson: Yeah.
Dennis Gates: Is he a wanker?
Alfredo Johnson: Yeah. Very much so. Hell of a soccer player but a total bastard nonetheless.
Dennis Gates: He looks really tall, like he's gotta
Alfredo Johnson: Yeah.
Dennis Gates: be like six six.
Alfredo Johnson: He is a big guy.
Dennis Gates: Yeah.
Alfredo Johnson: Yeah.
Dennis Gates: Um okay so I really like Jeff Buckley. You guys heard of Jeff Buckley?
Alfredo Johnson: Mm-hmm.
Stewart Roe: Mm-hmm.
Dennis Gates: Um that's cool 'cause like not very many people have. Um and um oh well I might as well throw a British person in there um you can't go wrong with Radiohead. It's a r
Alfredo Johnson: Good call.
Dennis Gates: Okay so it really works just like a pen only makes noises I think. It's kinda weird. Anyway
Alfredo Johnson: Interesting.
Dennis Gates: yeah. Yeah, you're like press and it's. Kinda cool. You'll see. Alright so um whoever wants to get up next, you can write down some telly that you watch or whatever you want.
Alfredo Johnson: I guess I'll go next then.
David Bellantoni: Go
Dennis Gates: Right
David Bellantoni: for
Dennis Gates: on.
David Bellantoni: it.
Alfredo Johnson: Okay. Don't wanna lose all my mikes, plugged in here. Okay. This is basically just pen practice huh?
Dennis Gates: W
Alfredo Johnson: Okay. Oh you're much taller than Alfredo Johnson so I'm gonna write down here. Um. Right now I'm listening to a lot of somebody nobody's ever heard of, Chris Bathgate,
Dennis Gates: Mm.
Alfredo Johnson: local Michigan folk singer,
Dennis Gates: Nice.
Stewart Roe: Wow.
Alfredo Johnson: really lame and uh uh what else did I bring with Alfredo Johnson? Probably classical, to totally geek
Dennis Gates: Okay
Alfredo Johnson: it out,
Dennis Gates: yeah yeah.
Alfredo Johnson: yeah I think. And my family guy D_V_D_s
Dennis Gates: Well
Alfredo Johnson: but
Dennis Gates: yeah.
Alfredo Johnson: we don't need to write that one down.
Dennis Gates: Oh, family
Alfredo Johnson: So
Dennis Gates: guy. Isn't h has
Alfredo Johnson: yeah.
Dennis Gates: h do you watch the new season?
Alfredo Johnson: No. Are you getting it online, or is it
Dennis Gates: I
Alfredo Johnson: on
Dennis Gates: think I'm gonna
Alfredo Johnson: sky?
Dennis Gates: start downloading it yeah.
Alfredo Johnson: Yeah, that'd be nice.
David Bellantoni: Alright. Think I'm just gonna put down one uh one C_D_.
David Bellantoni: Anybody?
Dennis Gates: Mm-mm.
Stewart Roe: No.
David Bellantoni: No?
Alfredo Johnson: 'Fraid
David Bellantoni: no?
Alfredo Johnson: not.
David Bellantoni: Afro beat orchestra, very cool.
Dennis Gates: Afro beat orchestra?
David Bellantoni: Yeah.
Dennis Gates: Very
Alfredo Johnson: Mm.
Dennis Gates: cool.
David Bellantoni: Fift
Stewart Roe: Sounds
Dennis Gates: Mm.
David Bellantoni: S
Stewart Roe: nice.
David Bellantoni: they like fifteen members from Brooklyn. I'm hoping to go to the concert in Belgium, in Brussels in
Dennis Gates: Wow.
Alfredo Johnson: Exciting.
David Bellantoni: April first. Yeah. It's supposed to be
Alfredo Johnson: That'd
David Bellantoni: in Brussels
Alfredo Johnson: be.
David Bellantoni: anyways. Um thing I love about Edinburgh
Alfredo Johnson: Oh. I didn't even read those. Oops. I shouldn't admit
Dennis Gates: That's
Alfredo Johnson: that.
Dennis Gates: what a PowerPoint presentation
Stewart Roe: Oh,
Dennis Gates: is for. It's
Stewart Roe: wow.
Dennis Gates: they're designed specifically to ignore. I
Alfredo Johnson: Yeah.
Dennis Gates: it's th brilliant.
Alfredo Johnson: It's the five by five, I can't read that much.
Dennis Gates: Ah yes yes yes okay I see that. Vomit. Yes.
Alfredo Johnson: Yeah oh
Dennis Gates: Street pizza. It's so brilliant.
David Bellantoni: Love
Alfredo Johnson: it's so horrible.
David Bellantoni: um
Dennis Gates: I've seen more urine in this city
Alfredo Johnson: Oh
Dennis Gates: than
Alfredo Johnson: my
Dennis Gates: ever
Alfredo Johnson: God.
Dennis Gates: before, I
Alfredo Johnson: Seriously?
Dennis Gates: mean
David Bellantoni: I just came from Glasgow and I'm um happy to say that
Stewart Roe: There's
David Bellantoni: there's
Stewart Roe: more
David Bellantoni: the
Stewart Roe: vomit
David Bellantoni: there's
Stewart Roe: there.
David Bellantoni: the same quantity approximately. Um.
Dennis Gates: It's
David Bellantoni: I w
Dennis Gates: so minging.
Alfredo Johnson: It really
Dennis Gates: Uh.
Alfredo Johnson: is
David Bellantoni: Does uh yeah. Ready?
Stewart Roe: Alright. Yep.
David Bellantoni: Minging? Nice.
Alfredo Johnson: Yeah.
Dennis Gates: I'm going
Alfredo Johnson: Slide
Dennis Gates: local.
Alfredo Johnson: it in there.
Dennis Gates: Going
Alfredo Johnson: Yeah.
Dennis Gates: local. I have to be here for three years so I might
Alfredo Johnson: Yeah
Dennis Gates: as
Alfredo Johnson: fair
Dennis Gates: well get
Alfredo Johnson: enough.
Dennis Gates: the terminology right.
Alfredo Johnson: I've already got more than I can keep track of. And I'm gonna go home next week and everyone's gonna be like oh my God you're turning
Dennis Gates: Oh,
Alfredo Johnson: into one of those people,
Dennis Gates: have you been home yet?
Alfredo Johnson: no.
Dennis Gates: They'll be like, say something British, and you're like
Alfredo Johnson: I
Dennis Gates: oh shut
Alfredo Johnson: know.
Dennis Gates: up family.
Alfredo Johnson: I
David Bellantoni: Uh-huh.
Alfredo Johnson: know.
Stewart Roe: Um
Alfredo Johnson: Oh it should be interesting. Wait until I
Stewart Roe: Let's
Alfredo Johnson: tell them I'm
Stewart Roe: see.
Alfredo Johnson: not coming back. They're gonna love that one.
Dennis Gates: Right you s you're gonna stay here?
Alfredo Johnson: Probably. Or at
Dennis Gates: Wow.
Alfredo Johnson: least get a work visa for a while and then decide. 'Cause
Dennis Gates: Bad
David Bellantoni: Nice.
Dennis Gates: religion?
Stewart Roe: Yeah,
Alfredo Johnson: nice.
Stewart Roe: up listening to.
Alfredo Johnson: Of
Dennis Gates: Yeah
Alfredo Johnson: course.
Dennis Gates: yeah, yeah.
Alfredo Johnson: Oh,
Stewart Roe: And
Alfredo Johnson: now I can think of so
Stewart Roe: so
Alfredo Johnson: many other
Stewart Roe: there
Alfredo Johnson: ones.
Dennis Gates: Well yeah that's why
Alfredo Johnson: That's how it works.
Dennis Gates: yeah.
Stewart Roe: Something I miss about my hometown.
Dennis Gates: I miss coffee.
Stewart Roe: Burritos
Alfredo Johnson: Mm.
David Bellantoni: Nice.
Dennis Gates: Burritos.
Alfredo Johnson: Oh
Stewart Roe: that cost less than
Dennis Gates: Oh yeah two two
Alfredo Johnson: Any
Stewart Roe: eight
Dennis Gates: bucks.
Stewart Roe: Pounds.
Alfredo Johnson: thing that are like free.
Dennis Gates: Where are you from in California by the way?
Stewart Roe: I grew up in San Diego, but
Dennis Gates: Did you really? What
Stewart Roe: yeah
Dennis Gates: part?
Stewart Roe: um La Jolla, P_B_.
Dennis Gates: Yeah I'm from San Diego as well.
Alfredo Johnson: Nice.
Dennis Gates: Yeah oh
Stewart Roe: But
Dennis Gates: man.
Stewart Roe: really uh I last lived in San Francisco, I haven't lived in Cali well I haven't lived in southern California since I was eighteen.
Dennis Gates: Going to s like North Carol I'm sorry you you just can't get a better burrito than what's available in the s in San Diego.
Stewart Roe: It's different. 'Cause in San Diego th the tortillas are cooked on the grill and in northern California they steam them.
Alfredo Johnson: It must make all the difference.
Stewart Roe: Yeah, it really does.
Dennis Gates: Well it's it's i there's other things too there's you just can't
Alfredo Johnson: Ah.
Dennis Gates: place it like I when I went to school in the U_ in Santa Barbara which is central California the Mexican food is okay, it's just not good like
Stewart Roe: Mm.
Dennis Gates: and yeah it's like two bucks, like literally two bucks for this massive
Alfredo Johnson: Right.
Dennis Gates: I miss yeah good call on that.
Stewart Roe: Yeah. Where you from in
Alfredo Johnson: Mm.
Stewart Roe: San Diego?
Dennis Gates: Um just literally just metropolitan San Diego, I live like five minutes from the zoo.
Stewart Roe: Okay.
Dennis Gates: So North Park actually if you want to get real
Stewart Roe: Yeah,
Dennis Gates: specific.
Stewart Roe: my grandparents lived on um thirty second.
Dennis Gates: Yep.
Stewart Roe: Close t uh do you know where Clare de Lune coffee shop
Dennis Gates: Yes.
Stewart Roe: is, and
Dennis Gates: On university, yeah.
Stewart Roe: Cafe Forte
Dennis Gates: Yeah it's actually like literally half a mile from my house.
Stewart Roe: Cool.
Dennis Gates: Yeah, pretty cool. Small world
Stewart Roe: Yeah.
Dennis Gates: as we were discussing before. Especially when we're all from the same general region. Right so okay, success on the whiteboard.
Alfredo Johnson: There you
Dennis Gates: You can harness
Alfredo Johnson: go.
Dennis Gates: the awesome power
Stewart Roe: Wow.
Dennis Gates: a little bit introductions we talked about some of our C_D_s and things we like about the city you know, I think we'll Um right so moving on to not fun stuff uh project finance. Um basically what we're trying to do is sell this remote for twenty five Euros. Um. This is what the finance department has told Alfredo Johnson, the C_F_O_ but I don't know, I'm not sold on this, it's pretty dear, I mean twenty f that's like you know forty bucks for a remote. It would have to pretty much like do my laundry for Alfredo Johnson.
Alfredo Johnson: Mm.
Dennis Gates: Um so what we can maybe work on that a later but we're gonna make a lot on it, the profit aims to make fifty million Euros on it. Eur internationally. So um one of the things I I was gonna mention to you um you guys the designers is that um it m we probably need a rever it needs to be a universal remote control probably.
Stewart Roe: Okay.
Dennis Gates: Um so something that could do
Alfredo Johnson: Makes
Dennis Gates: N_T_S_C_
Alfredo Johnson: sense.
Dennis Gates: as well as PAL as well as various other formats like if it's gonna control D_V_D_s
Alfredo Johnson: Uh.
Dennis Gates: but um you know I'll leave that to you guys but that's something that i i it is gonna be an international sold thing. Um but we wanna try to make it for twelve fifty. So we wanna try to make a hundred percent profit on it if we can. Um s right so um just to close up, I'm not sure how much time I've used mm next time right Project Manager, sorted. Um. Is uh we'll meet in another half an hour or so um and I'd like the um Industrial Designer to get ge think about what needs to be done, like what the basic function of it. Um U_I_D_ well yeah you right g your assignments are up there and you'll also get s assignments from in your email as well more spec specifics on what do do. Um mm basic and um so I need you to tell us what um we what the user's gonna
Alfredo Johnson: What
Dennis Gates: want.
Alfredo Johnson: they're looking for.
Dennis Gates: So actually in a way you guys c maybe in our next meeting chat a bit about what the user's gonna want and what the user can have, you know like uh
Alfredo Johnson: And negotiate
Dennis Gates: so
Alfredo Johnson: that.
Dennis Gates: yeah well it is
Alfredo Johnson: Uh.
Dennis Gates: and we'll discuss the trade-offs in between um so yeah specific instructions will be sent in your email. But I think that that is more or less a good place to start for now um and as more things come up we'll have meetings and you'll get emails and so forth. Um any questions, before we get started?
David Bellantoni: I assume that we're building a stand alone uh remote control, we can't kind of build it into other uh products.
Dennis Gates: You mean to like
David Bellantoni: For instance like a mobile phone or something
Stewart Roe: Mm.
David Bellantoni: like that.
Dennis Gates: Hmm.
Stewart Roe: Sounds interesting.
Dennis Gates: Yeah.
Alfredo Johnson: I don't think there's any rules about it yet. So
Stewart Roe: Maybe our personal coach will
Alfredo Johnson: Yeah.
David Bellantoni: Or or
Stewart Roe: have something
David Bellantoni: you know
Stewart Roe: to say about
David Bellantoni: can
Stewart Roe: that.
David Bellantoni: we produ can we sell a remote control phone for twenty five pounds or less?
Dennis Gates: Well,
Alfredo Johnson: Mm.
Dennis Gates: have a think about it. I mean
David Bellantoni: Yep. Okay.
Dennis Gates: I'm I'm certainly op it seems like yeah it
Alfredo Johnson: W
Dennis Gates: it seems like
Alfredo Johnson: yeah.
Dennis Gates: it's certainly do-able isn't it. I mean um or if we can't have a full mobile phone maybe a remote that has some other kind of useful
David Bellantoni: Mm-hmm.
Stewart Roe: Yeah.
Dennis Gates: function. The clapper. No I mean no, good idea, good idea. We'll see what
Stewart Roe: Maybe
Dennis Gates: see what
Stewart Roe: a remote with changeable faces, like the faces that you can buy for phones.
Alfredo Johnson: I like
David Bellantoni: Nice.
Alfredo Johnson: the
Dennis Gates: Uh-huh
Alfredo Johnson: little cover
Stewart Roe: Yeah.
Alfredo Johnson: thingies.
Dennis Gates: y I like that
David Bellantoni: Hot.
Dennis Gates: Yeah. That's true, I guess we we probably have some time, maybe we should brainstorm a bit like what we wanna do, go back to um I don't really have any. Let Alfredo Johnson bring up something about our basic goals here, what we want to accomplish. Uh project announcement. Ts ts ts
Dennis Gates: Yeah. Not so much.
Alfredo Johnson: Hmm.
Dennis Gates: All right we'll find them, we're on our own.
David Bellantoni: Now are we also discussing kind of our initial ideas at all
Dennis Gates: Yeah
David Bellantoni: here?
Dennis Gates: yeah let's do it, let's do.
David Bellantoni: S does anybody have any initial ideas?
Dennis Gates: I'm gonna go ahead and take notes on this too 'cause
Alfredo Johnson: Good idea. Start your minutes.
Dennis Gates: Yeah I mean
Alfredo Johnson: Um
Dennis Gates: oh yeah right. So initial ideas.
Alfredo Johnson: Well it's pretty much given it's gonna be universal right,
Dennis Gates: Yeah.
Alfredo Johnson: we decided that already and it may be functioning for other things, as soon as you said that I was thinking like all the other things you could get a remote to do, like your microwave or your front
Stewart Roe: Yeah.
Alfredo Johnson: door or like to have everything on one thing, but then, I've never been a fan of those huge remotes that have like a million buttons, you
Stewart Roe: S
Alfredo Johnson: can't tell
Dennis Gates: Mm-hmm.
Alfredo Johnson: what they do.
Stewart Roe: smaller's better. Simple.
Alfredo Johnson: Yeah.
David Bellantoni: But I'm thinking
Alfredo Johnson: Specific.
David Bellantoni: I'm thinking kind of P_D_A_ uh design so touch screen design rather
Alfredo Johnson: Okay.
David Bellantoni: than button
Stewart Roe: Oh
David Bellantoni: so
Stewart Roe: right.
David Bellantoni: that you
Stewart Roe: That'd
David Bellantoni: can
Stewart Roe: be different.
David Bellantoni: kind
Alfredo Johnson: Interesting.
David Bellantoni: of flip around all sorts of different things.
Dennis Gates: Yeah that's slick isn't it. I mean like stylist yeah like a just
Alfredo Johnson: True.
Dennis Gates: a yeah. Right so we got five minutes more to chat about this, perfect. Um so we've got this kind of an idea of a trade-off between um
Alfredo Johnson: Mm.
Dennis Gates: uh size and functionality.
Alfredo Johnson: Mm.
Dennis Gates: Um
Alfredo Johnson: Right.
Dennis Gates: and
Alfredo Johnson: We
Dennis Gates: we
Alfredo Johnson: want
Dennis Gates: also
Alfredo Johnson: it to be munt multifunctional but at the same time if you get it to do too much you're not gonna be
Stewart Roe: Yeah.
Alfredo Johnson: able to
David Bellantoni: Too
Alfredo Johnson: tell
David Bellantoni: confusing.
Alfredo Johnson: them apart,
Stewart Roe: It's
Alfredo Johnson: that
Stewart Roe: gonna be
Alfredo Johnson: whole
Stewart Roe: too complicated,
Alfredo Johnson: yeah.
Stewart Roe: too crowded with buttons and things.
Dennis Gates: I'm also gonna note
Alfredo Johnson: Hmm.
Dennis Gates: for future reference this idea of um so you like maybe like an L_ like a touch screen type of remote?
David Bellantoni: Mm-hmm.
Alfredo Johnson: Mm.
David Bellantoni: Possibly.
Dennis Gates: I don't think one exists.
Alfredo Johnson: An interesting option.
Dennis Gates: Be a
Stewart Roe: Needs
Dennis Gates: good idea.
Stewart Roe: it needs one outstanding
Alfredo Johnson: Yeah.
Stewart Roe: feature to set it apart from all the
Alfredo Johnson: Definitely.
Stewart Roe: other remotes.
Dennis Gates: Yeah all the other universal remotes. Um I don't know if there's such a thing out there, I guess we could do some uh do some research on or one of us could do some research on it about whether or not there are um multi-format like um you know PAL, N_T_S_C_, region one
Alfredo Johnson: Right.
David Bellantoni: I'm pretty sure there is. I mean I
Dennis Gates: Okay.
David Bellantoni: I have a friend who has a P_D_A_
Dennis Gates: Okay.
David Bellantoni: that he just
Alfredo Johnson: That
David Bellantoni: points at his telev any television he wants and
Alfredo Johnson: Yeah.
David Bellantoni: it'll figure out the the specifications of it and will control it
Dennis Gates: Interesting.
Alfredo Johnson: Awesome.
David Bellantoni: um
Dennis Gates: Okay.
David Bellantoni: so I th I assume that that can be done with uh kind
Alfredo Johnson: Yeah.
Dennis Gates: Okay.
David Bellantoni: of around the world.
Dennis Gates: Okay. Um all right. So. I li I'm liking that idea, this idea of a touch screen remote with multi-format features.
Alfredo Johnson: Mm-hmm.
Dennis Gates: Um.
Stewart Roe: Right.
Dennis Gates: Um. Let's see.
Stewart Roe: I think, making it out of a nice material would be very important, because so many of those remotes that you see, these universal
Alfredo Johnson: Yeah.
Stewart Roe: remotes look so cheap and
Dennis Gates: Mm.
Stewart Roe: low quality.
Alfredo Johnson: Yeah. Keeping it nice and slick, would be important. And I don't know, like, there's such a problem with losing them, that adding this whole like P_D_A_ pen
Stewart Roe: Mm.
Alfredo Johnson: business is only one more thing to lose, so we're gonna have to be careful with
David Bellantoni: Oh.
Alfredo Johnson: what like Just something like keep in mind when we start actually dealing with this stuff but that would be really cool.
Dennis Gates: Uh let's see. Um.
David Bellantoni: I like the idea of the uh multi plate.
Dennis Gates: Yeah
Alfredo Johnson: Yeah.
Dennis Gates: yeah okay.
Alfredo Johnson: Fi
David Bellantoni: In
Alfredo Johnson: b like what
David Bellantoni: in
Alfredo Johnson: are they called, those face plate things? Isn't
Dennis Gates: Think
Alfredo Johnson: there
Dennis Gates: they're
Alfredo Johnson: a
Dennis Gates: just
Alfredo Johnson: name
Dennis Gates: called
Alfredo Johnson: for them?
Dennis Gates: face plates?
Alfredo Johnson: Are they?
Dennis Gates: I don't know.
Stewart Roe: something,
Alfredo Johnson: I dunno.
Stewart Roe: uh
David Bellantoni: I like.
Stewart Roe: we'll have to come up with a name,
David Bellantoni: We
Stewart Roe: patent
David Bellantoni: should
Alfredo Johnson: Yeah.
David Bellantoni: c
Stewart Roe: it.
David Bellantoni: we should come
Alfredo Johnson: Something
David Bellantoni: up with
Alfredo Johnson: really
David Bellantoni: a fuzzy
Alfredo Johnson: cool.
David Bellantoni: one as well. For
Alfredo Johnson: Leopard
David Bellantoni: those cold
Alfredo Johnson: print
Stewart Roe: Leopard
David Bellantoni: winter
Alfredo Johnson: or something.
Stewart Roe: print.
David Bellantoni: days.
Dennis Gates: Um.
Alfredo Johnson: Hmm.
Stewart Roe: I think, it wouldn't be such a bad idea to have a like a locator device, maybe a simple button that you have on your television to help you find your remote.
Alfredo Johnson: True.
Dennis Gates: Mm. But if we're bundling it unless we're selling their telly with the remote.
Alfredo Johnson: Right.
Stewart Roe: Mm.
Dennis Gates: Um
David Bellantoni: Well if we bundle it as a phone then you can always call it.
Stewart Roe: True.
David Bellantoni: If you're
Alfredo Johnson: True.
David Bellantoni: not doing that then we can have something that just kind of rings from either well there used to be those whistling devices but that's a
Alfredo Johnson: Right.
David Bellantoni: little bit annoying.
Dennis Gates: Cou could we not do something where like just a little lit like literally just a very small kind of thing that comes with the remote that you could place something else that you press and it makes the remote page. Kinda
David Bellantoni: Th
Dennis Gates: like
Alfredo Johnson: Right.
Dennis Gates: how on a lot of um uh cordless regular
David Bellantoni: Yeah.
Dennis Gates: phones,
Stewart Roe: Yeah.
Dennis Gates: you have a page button and it goes,
Alfredo Johnson: Right.
Dennis Gates: could we do something like that?
David Bellantoni: That's cool.
Stewart Roe: I think
Alfredo Johnson: Probably.
Stewart Roe: so.
David Bellantoni: I think we could design into
Stewart Roe: Yeah.
David Bellantoni: that.
Alfredo Johnson: Good.
Dennis Gates: Um yeah I think this material quality as well like I guess what we can think about what kind of um uh you know Apple 's been really successful with
Alfredo Johnson: Mm.
Dennis Gates: this surgical white kind of business or this
Alfredo Johnson: Yeah.
Dennis Gates: sleek kind of
Alfredo Johnson: And
Stewart Roe: Mm.
Dennis Gates: you
Alfredo Johnson: that
Dennis Gates: know
Alfredo Johnson: titanium the new silver sleek ones that's last couple of years,
Dennis Gates: Yeah.
Alfredo Johnson: very much so.
David Bellantoni: Curves.
Alfredo Johnson: Mm.
Dennis Gates: Yeah. We do have the minimum am amount I mean we were talking finances I dunno, selling a a forty Pound remote would h or a forty Dollar remote, twenty five Euro remote would be pretty you know
Alfredo Johnson: Right.
Dennis Gates: it's pretty expensive so maybe we might wanna trade off some of the features for a lower price. Without without getting into that whole like you know go down to bargain store remote you know bargain store universal
Alfredo Johnson: Right.
Dennis Gates: remote that's black
Stewart Roe: Yeah.
Dennis Gates: and you know m massive, some kind of
Alfredo Johnson: Mm.
Dennis Gates: I dunno a balance there in somewhere.
Alfredo Johnson: Definitely.
Dennis Gates: But um have a think about what we can do, have a think about what we want to do,
Alfredo Johnson: Yeah.
Dennis Gates: how we're gonna sell it and
Alfredo Johnson: Or if
Dennis Gates: um
Alfredo Johnson: you our users in mind, like these grandmas are not gonna be into this whole new let's design, no it's they're used to the buttons so we'll have to be careful of exactly who we're marketing this to,
Stewart Roe: Yeah.
Alfredo Johnson: and
Dennis Gates: Mm.
Alfredo Johnson: who we're gonna be able to get it out of.
Stewart Roe: 'S true.
Alfredo Johnson: But
David Bellantoni: We're talking twenty five Pounds or twenty five Euros?
Dennis Gates: Twenty five
Alfredo Johnson: Euros.
Dennis Gates: Euros.
David Bellantoni: Slight difference I guess.
Dennis Gates: Yeah. They're all weaker than they're all stronger than the Dollar.
Alfredo Johnson: Mm.
Dennis Gates: Although, computer parts, all if you're gonna upgrade your computer, buy it in the States. Like um do you guys know Fry's? Huge
David Bellantoni: No.
Dennis Gates: computer
Alfredo Johnson: Mm-mm.
Dennis Gates: uh electronics store? They serve um right they sa tha s they will sell things overseas so
Alfredo Johnson: Mm.
Dennis Gates: you can buy stuff in America and have it shipped over for like twenty thirty Pounds about. Right so um let's go ahead and wrap that up here for now, I'm gonna put these initial ideas that we've got in the um project documents, so if you guys wa need a reminder about what we've talked about
Alfredo Johnson: Okay.
Dennis Gates: um the
Stewart Roe: Okay.
Dennis Gates: different you know kind of trade-offs that we've got and the other ideas, you can consult them at your leisure. And uh right so thanks for that. Let's just uh head back to work on what we were talking about bef uh goi h h getting into.
Alfredo Johnson: half an hour?
Dennis Gates: Um. Yes.
Alfredo Johnson: 'Kay. Perfect.
Dennis Gates: Thanks guys.
Alfredo Johnson: Cool.
David Bellantoni: Thank you.
Stewart Roe: Alright. | Dennis Gates presented the project to the other participants by discussing the aim of creating a new, fashionable remote control device and defined the roles and tasks of each participant. The group introduced themselves to each other and trained themselves how to use the whiteboard tools. Dennis Gates discussed the financial goals of the project, including the projected profit aim and price point for the device. Dennis Gates gave each participant their assignments. The group then began a discussion of their initial ideas about the remote control and possible features. Dennis Gates announced that he would make a report containing the discussion of the group's initial ideas about the device. | 5 | amisum | train |
Ronald Johnson: That went well, thank you.
Willie Charania: That's great.
Ronald Johnson: Perfect.
Robert Bakshi: 'Kay.
Willie Charania: Alright, let Ronald Johnson just PowerPoint this up.
Willie Charania: Right so um this meeting will be about the conceptual design, don't ask Ronald Johnson s precisely what conceptual design is, it's just something important that we need to do. Um, think of it 's kind of uh turning the abstract into slightly more concrete. In this meeting ideally we'll come to some final decisions on what we're gonna do for the prototype. Um. Right so um, apologies for the last meeting, it was brought my attention that I did not make the roles clear enough, um, so I will attempt to do so more accurately in this particular meeting. Um, fair enough, thanks for the input, 's always good. Um. So, basically all we're gonna do is have some presentations again much like last time, um, and gonna go through you, uh whoever wants to go first is f fine by Ronald Johnson um and we'll collate what we know about um what we discussed in the last meeting, possible directions. And then we'll make some more decisions on um basic uh firm up our idea on how we want this remote control to look and work. So, perfect. So, without th further ado, whoever wants to go first is free to.
Robert Bakshi: I'll go first.
Ronald Johnson: Go ahead.
Willie Charania: Alright Nathan, take it away.
Willie Charania: It is Nathan right? I'm not calling you the wrong name over
Robert Bakshi: No
Willie Charania: and over
Robert Bakshi: Nathan's
Willie Charania: again?
Robert Bakshi: fine.
Willie Charania: Good.
Robert Bakshi: It's either Nathan or participant two.
Hector Davis: Mister
Robert Bakshi: Uh.
Hector Davis: participant two that is.
Ronald Johnson: Nice.
Robert Bakshi: Okay.
Willie Charania: Nice.
Robert Bakshi: Um, basically what I'm gonna have to talk to you about today is um component design and it's been brought to my attention that we may be somewhat limited as to what we can do because of what our manufacturer offers, so
Willie Charania: Mm.
Robert Bakshi: Basically what I'm gonna be doing is talking to you about that. Um, components of a remote control, okay. We've already kind of gone over this but we're gonna have to get into more detail and probably have to reach some conclusions some time soon. Energy source, um, our manufacturer offers a variety of energy sources, your standard battery, solar cells. Our manufacturer didn't say anything about lithium so we might have to look if we do go that route, we might have to look elsewhere. Um, and also there's a kinetic energy possibility. Basically, it's like a um the idea of moving the remote would create enough energy to keep it running. So that's one possibility but I don't know whether that would be powerful enough to illuminate a touch screen.
Willie Charania: Hmm.
Ronald Johnson: Mm.
Robert Bakshi: So we'll have to look into that. Um, the case, we have a few options, plastic, rubber or wood. Um and then as far as the way it's shaped, we can do standard boring flat, which we probably don't wanna do, curved or very sexy double curved.
Willie Charania: What kind of th thickness are we looking at?
Robert Bakshi: Um, I imagine that we could specify. Um, I don't see any reason to go outside of the convention of three or four millimetres.
Willie Charania: Okay,
Robert Bakshi: Yeah.
Willie Charania: brilliant.
Robert Bakshi: Um, the buttons, there are multiple scroll buttons available from our manufacturer, but to use those we'd have to use more chips, um and that would cost us more. And if we do go with the rubber doubled curved case um we'll have to use rubber push buttons because the other buttons aren't compatible
Willie Charania: Hmm.
Robert Bakshi: with that.
Ronald Johnson: Right.
Robert Bakshi: Um and just a little note there, touch screen equals many chips which equals many Euro.
Ronald Johnson: Right. Nice.
Robert Bakshi: Um, one thing that I noticed was that most remotes operate on a infrare on the infrared part of the spectrum. So you notice when you push a button on a remote you can't see anything coming out of it but in fact there is light coming out of the remote and you know the television can detect that. And if you were to record if you were to make a video recording you could actually see the light. Uh one thing that I thought might be interesting was to use part use visible light coming out of the remote, just kind of as a fun gimmick.
Willie Charania: Hmm.
Robert Bakshi: So you
Ronald Johnson: Interesting.
Robert Bakshi: could actually see something coming out of the remote when you pushed it. Course it'd have to be a part of the spectrum that wouldn't damage the human eye or anything
Ronald Johnson: Mm.
Robert Bakshi: like that.
Ronald Johnson: Good call.
Willie Charania: M Maybe is there an option that we can have that off or on so a person can select like
Ronald Johnson: Choose
Robert Bakshi: Yeah.
Ronald Johnson: it.
Robert Bakshi: I am sure that we could do that. Um, of
Willie Charania: Yeah
Robert Bakshi: course
Willie Charania: I like the idea, it's a good idea.
Robert Bakshi: Yeah, just as a fun gimmick.
Willie Charania: Yeah.
Robert Bakshi: Just to set us apart a little bit. Um, and then on to the circuit board that we're gonna use, also known as the chip. Uh, we really don't have any way around the T_A_ one one eight three five. Um findings, okay, we're very limited by what our current manufacturers can offer, um and my question to all of you is, should we look to other manufacturies or should we just make do with what we have available?
Hector Davis: Interesting question.
Robert Bakshi: 'S a bit of a challenge question.
Willie Charania: Mm.
Ronald Johnson: Well
Hector Davis: Yes.
Ronald Johnson: I'd say shop around but with our time constraints, is that really a feasible option?
Willie Charania: Mm.
Robert Bakshi: Right, that's my concern too. Um, if we do go the lithium battery route then we'll have to go outside our current manufacturer. My personal preference is I'll just throw my cards on the table, uh I think we should probably go the solar battery route, just to kinda keep with the environmentally friendly theme that we have going on. Uh, I like the idea of the visible light signalling, that's something to set us apart and uh I was thinking about I was thinking of ways that we could produce the remote in a variety of different case materials to suit different tastes. So we're not so confined by one style and say some
Ronald Johnson: Right.
Robert Bakshi: you know, say our the one if we just go with one and it doesn't go over well then we're in a bad situation.
Willie Charania: Mm.
Ronald Johnson: Right.
Willie Charania: Can we do marketing piloting too? Try to see what kind before we launch can we see
Ronald Johnson: Um
Willie Charania: how they're received?
Ronald Johnson: It's an option, uh but actually there's I've got some research already on like what we're looking at and trends
Willie Charania: Okay.
Ronald Johnson: in casing right now
Willie Charania: Okay.
Ronald Johnson: which actually might even come into play beforehand,
Willie Charania: Okay,
Ronald Johnson: it
Willie Charania: perfect.
Ronald Johnson: may help us decide for now.
Willie Charania: Great, thank
Ronald Johnson: Temporarily
Willie Charania: you very much
Ronald Johnson: anyway.
Robert Bakshi: Oh yeah,
Willie Charania: Nathan. That's
Robert Bakshi: you're
Willie Charania: perfect,
Robert Bakshi: welcome.
Willie Charania: so I guess that makes sense for you to take it from here.
Ronald Johnson: I guess so, 'cause I found some interesting things. You
Willie Charania: Fascinating,
Ronald Johnson: waiting
Hector Davis: Did
Willie Charania: compelling
Hector Davis: you?
Ronald Johnson: for Ronald Johnson?
Willie Charania: even.
Ronald Johnson: I know, what a teaser ain't it. Um. Right. So current market trends. Screen. Um, basically I was looking at what's going on in the remote control market right now and what's going on in other design fields, to see sort of what's what's trendy, what's new, what's happening. Um, remote control right now basically everybody says they want newer, fancier, more exciting they're sick of this boring, normal, functional, um that we need innovative design options and there needs to be an easy user interface. Um the challenge is that current trends right now, across the board in fashion, in furniture, in technology, is a very organic fruit and vegetable kind of thing. Now I'm not saying we should have, you know, tomato shaped remote controls or anything, but I think it is possible maybe to use um natural colours, like if wood is an option,
Robert Bakshi: Mm.
Ronald Johnson: that whole organic, sleek, clean, v line thing may be something we can look into. Different skin options, or if we can't afford this touch plate thing, or touch face screen interface um, maybe having the b images be specific, like you could choose your menu bullets to be
Willie Charania: Tomatoes.
Ronald Johnson: a different shape or okay, not the example I would choose, but you know what I mean to t sort of and th apparently the feel of the next couple of years is spongy,
Robert Bakshi: Mm.
Ronald Johnson: uh not
Hector Davis: I
Ronald Johnson: something
Hector Davis: like
Ronald Johnson: I
Hector Davis: it,
Ronald Johnson: I've
Hector Davis: I like
Ronald Johnson: come
Hector Davis: it.
Ronald Johnson: up with a though if we can get around to getting piloting, I thought maybe a casing option like uh not like a skin, but like a holder almost
Robert Bakshi: Hmm.
Ronald Johnson: if you could do like um, leather options or wood options or something
Robert Bakshi: I should have mentioned this um. As far as the rubber that we can use
Ronald Johnson: Mm-hmm.
Robert Bakshi: we can use a rubber as part of the case, it has a consistency of those stress balls.
Hector Davis: Yes.
Ronald Johnson: Mm. Might be an
Hector Davis: Fabulous.
Ronald Johnson: interesting
Willie Charania: Slick,
Ronald Johnson: way to go.
Willie Charania: slick.
Ronald Johnson: Um, yeah so something to sit on for now. So overall I think we should stick with what we're finding, everyone's looking for easy to use, technologically innovative and this fancy new I think perhaps the double curve thing and maybe this rubber
Robert Bakshi: Mm.
Ronald Johnson: option is our best way to go for right now. Um.
Willie Charania: Interface, oh the interface graphics for
Ronald Johnson: Yeah.
Willie Charania: the um
Ronald Johnson: Um. Well I d but then if the touch screen thing isn't
Willie Charania: Yeah.
Ronald Johnson: gonna work out for us that's really a non-issue.
Robert Bakshi: I like the idea of of rubber too because it's tends to be associated with being durable, something that you can drop and it doesn't
Willie Charania: Mm.
Robert Bakshi: matter.
Ronald Johnson: True.
Robert Bakshi: 'Cause so many you go to so many houses these days and you see broken remote controls.
Ronald Johnson: Very true.
Willie Charania: Yeah,
Ronald Johnson: Very
Robert Bakshi: Taped
Willie Charania: it's
Ronald Johnson: true.
Willie Charania: like,
Robert Bakshi: with duck tape
Willie Charania: yep
Robert Bakshi: and
Ronald Johnson: Very
Robert Bakshi: what have
Ronald Johnson: much
Robert Bakshi: you,
Ronald Johnson: so.
Robert Bakshi: you wouldn't have that problem
Ronald Johnson: Um
Willie Charania: it's
Robert Bakshi: if
Willie Charania: ubiquitous
Robert Bakshi: you used rubber.
Hector Davis: We can
Willie Charania: isn't
Hector Davis: have a
Willie Charania: it?
Hector Davis: duck tape casing.
Ronald Johnson: We could. I think that goes against the whole fancy something, a new line, but worth a shot.
Hector Davis: It could go with the granola crowd.
Ronald Johnson: Ah, it could be, it could be, um. Yeah that's what I know.
Willie Charania: Great, thanks for that Sarah.
Ronald Johnson: No problem.
Willie Charania: Ron?
Hector Davis: Phew.
Hector Davis: Computer's adjusting. One moment please. So interme interface concept by your faithful user interface designer. So yur user interface, guys, is basically aspects of a computer system that can see or hear otherwise uh perceive. Uh, commands and mechanisms, that basically user uses to control the operator operating system. Here's a d series of different remote controls that are out on the market today. I think we're definitely trying to get away from this kind of a look.
Willie Charania: Yeah
Hector Davis: Um, so the following are a bunch of different uh interface uh concepts. Uh voice recognition, we we um actually have some new uh information from our research design team but uh I'll get to that in a moment. Um, so current voice recognition starts up to about eighty speech samples, um and basically you record your own verbal labels c and connect them to the remote control. Now our design team, research team, has been able to uh set up a system in which uh you can teach the remote control voice c recognition system to respond to um with standard responses. Like you could say good morning uh remote control and it'll say in a sexy female voice, Good morning Joe. Um. In fact we already have
Ronald Johnson: Mm.
Hector Davis: this for a coffee maker line
Willie Charania: Lot of single people on the um on the re on the remote control
Hector Davis: On the remote
Willie Charania: research
Hector Davis: control
Ronald Johnson: Yeah.
Willie Charania: team at the
Hector Davis: right.
Ronald Johnson: Very true, very true.
Hector Davis: Um, another concept is what uh Apple has come up with, the spinning
Willie Charania: Mm.
Hector Davis: wheel with uh L_C_ display like on the uh iPod which I am sure most of you know about.
Ronald Johnson: Mm.
Hector Davis: Um and then we have the scroll button with integrated push-button, kind
Willie Charania: Mm.
Hector Davis: of like a modern a bit
Robert Bakshi: Mm.
Hector Davis: bulky, a bit crazy, I don't think that's we're necessarily going for.
Robert Bakshi: No.
Hector Davis: And uh some special components, uh ideas like uh blocking, having the ability to block channels from your for your children um and uh dedicated buttons for for commonly used uh channels and even uh ideas like secured or hidden programming but uh I again if we go with touch screen I don't think that's a big issue. Um and uh this is kind of the uh the big daddy
Ronald Johnson: Hmm.
Hector Davis: of remote controls here. Uh the jumbo universal remote control is almost impossible to misplace or
Willie Charania: Yeah,
Hector Davis: lose.
Willie Charania: I can see.
Hector Davis: Um, again probably not what we're going for so I I mean my ideas here and kind of where I think we're heading is something slightly larger than a regular iPod uh with a hard cla
Ronald Johnson: Okay.
Hector Davis: c uh plastic casing although I think some of the suggestions we've come up with are definitely uh very good ideas. Uh changeable casings uh our design team was possibly talking about including one extra face plate with the package to kind of set the idea that you can
Ronald Johnson: Mm,
Hector Davis: change
Ronald Johnson: right.
Hector Davis: it and you can try changing it and kind of get used to thinking about maybe buying another one which can add value to our uh bottom line. Uh touch screen interface, um possibly having go-to buttons being uh stuck into the system so those don't move away from the screen, uh, the important ones like power, volume and jump between channels. Um, and of course our voice command system which I've talked a little bit about already
Willie Charania: Mm.
Hector Davis: and uh the use of recognisable colours and shapes to aid recognition of the features um that are around so red for power, um
Ronald Johnson: Mm.
Hector Davis: arrows for different volume ups and downs and channels ups and downs and what not. And uh perhaps even adding in some stupid little jokes with the voice recognition idea like perh mm for instance my toastie maker that I got from my bank has jokes when it's ready.
Ronald Johnson: Nice.
Willie Charania: Great.
Hector Davis: And uh that is about it.
Willie Charania: Great, wonderful Ron, cool. Lot of good ideas, good facts to have.
Ronald Johnson: Mm.
Willie Charania: That's what they need, it's like a little dongle it just sticks up this further so you don't have to stand up every time, just
Robert Bakshi: Yeah.
Willie Charania: connect
Ronald Johnson: Mm.
Willie Charania: it, my kingdom. Right so, good to know all that stuff, thanks guys, um. Now we kind of have to come to some decisions, um, I figure we can just go down the line and all three of us can have a chat about it. Um. Based on what Nathan presented as far as the um various costs and benefits um I think, I dunno, what do you guys think about the touch screen at this point?
Ronald Johnson: I think it's our most marketable feature just because it's so new and it's something that is showing up in other places.
Willie Charania: 'Kay. 'Kay.
Ronald Johnson: But can we really afford it 'cause it looks like they would be, that would be a really main cost source then
Willie Charania: Mm-hmm.
Ronald Johnson: right?
Robert Bakshi: My estimate is that in order to incorporate touch screen technology it's gonna cost us upwards of seventeen fifty Euro
Willie Charania: To produce
Ronald Johnson: Per?
Robert Bakshi: per remote,
Willie Charania: each one.
Robert Bakshi: yeah that's just an estimate
Ronald Johnson: Piece.
Robert Bakshi: though.
Hector Davis: Oh you guys are always the dampers on these projects.
Ronald Johnson: I know
Willie Charania: Mm.
Hector Davis: You industrial designers.
Robert Bakshi: I know. It's
Willie Charania: Hmm.
Robert Bakshi: fun.
Ronald Johnson: And our goal was to be under twelve fifty or we have to be under twelve fifty?
Willie Charania: Well.
Ronald Johnson: Do we remember?
Robert Bakshi: I thought there was some flexibility with that.
Ronald Johnson: Okay.
Willie Charania: There is, it's just, it is a question
Ronald Johnson: Can
Willie Charania: of
Ronald Johnson: we justify it?
Willie Charania: and how much ca o does that mean we're gonna have to increase the price to make money. Um, from twelve fifty if we d wanna get our fift uh hundred per cent profit margin um that would mean selling it from twenty five. If you multiply seventeen fifty by two that's thirty five.
Ronald Johnson: Right.
Willie Charania: So
Hector Davis: Where do you guys come up with these numbers?
Robert Bakshi: That's just off the top of my head, it is pending further emails.
Willie Charania: From the board,
Robert Bakshi: Right.
Willie Charania: um, well
Ronald Johnson: Though I think that's what people would pay for, I mean if you're gonna pay for an expensive high class remote, you're gonna expect it to do something
Willie Charania: That's true, I mean
Robert Bakshi: It is the new it would be in a class of its own.
Ronald Johnson: Yeah.
Willie Charania: And that's to be fair the um the per cent of the market we're not going for mass any you know, mass sales anyway, we're gonna make I mean we we're not talking about selling eight zillion of these things, we just couldn't,
Ronald Johnson: Right.
Willie Charania: not for twenty-five Euros, so we could probably maybe shrink the profit margins rather than selling for twenty five, sell 'em for thirty, but that's something that we can have finance deal with.
Ronald Johnson: Yeah.
Willie Charania: Um, I say that we provisionally go with the touch screen or wh y wh what was your thought on the matter Ron?
Hector Davis: I'm thinking that's uh definitely a good idea and I also think that we could probably come up with some sort of a cheaper uh means to to go about this kind of production,
Ronald Johnson: See if we can cut
Hector Davis: my
Ronald Johnson: some corners.
Hector Davis: my team in the uh on the third floor suggested that uh
Ronald Johnson: Right. Well and we can look into this other manufacturing option, and maybe we can get 'em somewhere else cheaper.
Willie Charania: Mm.
Hector Davis: Yeah.
Robert Bakshi: It's true. We could initially go with what we have and
Ronald Johnson: Right.
Robert Bakshi: if we can find them
Ronald Johnson: It's
Robert Bakshi: cheaper
Ronald Johnson: a starting
Robert Bakshi: later
Ronald Johnson: point
Robert Bakshi: on
Ronald Johnson: anyway, so.
Willie Charania: No we could have a s very simple touch screen, you know, there's always the opportunity, if it's gonna be about the size of the iPod or whatever, you know, w we yeah, I guess we can play around with it a bit. Alright, let's
Ronald Johnson: Mm.
Willie Charania: let's say that okay so the touch screen will be our um our main selling point here.
Hector Davis: I
Willie Charania: So
Hector Davis: mean I think that we really have two main selling points,
Ronald Johnson: Yeah 'cause
Hector Davis: I think
Ronald Johnson: with voice
Hector Davis: that our casing
Ronald Johnson: recognition
Hector Davis: and the voice recognition
Ronald Johnson: I mean really this is pretty bells and whistles kinda remote.
Robert Bakshi: Yeah.
Willie Charania: The voice rec thing, I mean, if if we're looking at bottom line, now we're looking at upping the cost to seventeen to get the touch screen on, I think we might have to drop the voice rec.
Ronald Johnson: I think we'd have to decide between 'em definitely.
Willie Charania: Yeah.
Hector Davis: To be honest, we
Ronald Johnson: Price-wise.
Hector Davis: have the capa we have the design in-house, I mean we've we've come up with this, with
Ronald Johnson: True.
Hector Davis: this new voice we're
Ronald Johnson: We've
Hector Davis: using
Ronald Johnson: already got
Hector Davis: it for
Ronald Johnson: it.
Hector Davis: our coffee machines already. I can pass you on that email from my uh guy in uh guy down the hall. Sounds good.
Willie Charania: Hmm. voice rec?
Robert Bakshi: I think if we we do both the obviously production costs are going to go way up um but it does put it into it'd become the Rolls Royce of remote controls basically.
Ronald Johnson: Pretty much.
Robert Bakshi: It would be very nice.
Hector Davis: I mean we we have to r reflect back on what our market research did say.
Ronald Johnson: Right and they said they wanted voice recognition. Course, maybe they hadn't thought of this whole touch screen option, but definitely we know the market is there for voice recognition so to say we have the technology and we're not gonna use it even though we know it'll sell is a call I don't think I can give the highs ups.
Willie Charania: Mm.
Ronald Johnson: Like really I can't go in and say no we're gonna just ignore everything we know.
Willie Charania: Yeah.
Hector Davis: Does having both really up our costs?
Willie Charania: I can't see how it wouldn't, I mean, there's you know the old aphorism, you can have it fast, you can have it cheap or you can have it quality, pick two of three. You know, you can't
Ronald Johnson: Yeah.
Willie Charania: you can't have all three.
Robert Bakshi: Yeah, 'cause you
Willie Charania: It's
Robert Bakshi: you
Willie Charania: just
Robert Bakshi: just
Willie Charania: impossible.
Robert Bakshi: upping the number of chips that you need to deal with each different
Ronald Johnson: Yeah.
Robert Bakshi: function.
Willie Charania: Well if we're gonna pick betwe e alright so we have to pick between one of the two. Um. Otherwise, yeah, we just it just becomes cost prohibitive. What which, which do we suspect we should hold o we should hold on to?
Ronald Johnson: Well, we already have research backing voice recognition as you know fiscally solvent. But uh I I I personally would tend to another direction but if that's what's gonna sell I think that's what we need to go with and maybe we can table this touch screen for our next model.
Robert Bakshi: I would have to side with that, I think
Willie Charania: 'Kay.
Robert Bakshi: the voice recognition is simpler, we already have the all the technology in-house, it's ready to go, it's packaged, it's
Willie Charania: What does the cost look like Ron? Is it cheaper to do the V_R_ or to do the uh touch screen? Nathan?
Hector Davis: Well my p
Ronald Johnson: Mm.
Hector Davis: is
Robert Bakshi: Um, this is just off the top of my head keep in mind, but I think the voice recognition would they're both mm they're both gonna push the costs up, but um, since we already have the technology
Willie Charania: Mm.
Robert Bakshi: in-house for the voice recognition we're not gonna have to do as much
Ronald Johnson: Right.
Robert Bakshi: design work and sometimes the design work is what push the costs up,
Willie Charania: Right.
Robert Bakshi: if you know what I mean.
Ronald Johnson: Right.
Hector Davis: Um, I definitely have to agree with that last
Ronald Johnson: And
Hector Davis: comment.
Ronald Johnson: we're still not then we don't have to deal with this battery issue nearly as much either,
Willie Charania: Mm.
Ronald Johnson: we can stick with what we've already got. In a lot other ways too.
Willie Charania: Okay. So I'm getting alright so more or less you guys think that o o of the two of 'em, the voice recognition will be better. Okay.
Ronald Johnson: I think it's our lower risk option which
Willie Charania: Yeah.
Ronald Johnson: for right now we can have it on the market sooner which is all in all our best option.
Willie Charania: Okay. Sorted. We will omit the touch screen in favour of voice recognition.
Hector Davis: It's you and Ronald Johnson outside a little here.
Ronald Johnson: So and when are we gonna have basic prototypes coming up next that's you guys's next step right?
Willie Charania: Yeah, well we'll we'll sic we'll sort out what it what f what else we're gonna talk about
Robert Bakshi: Yeah.
Willie Charania: for
Ronald Johnson: Right.
Willie Charania: the prototype but yeah that's our next step, it'll
Ronald Johnson: Okay.
Willie Charania: be a developing
Robert Bakshi: Are
Willie Charania: of
Robert Bakshi: we
Willie Charania: prototype.
Robert Bakshi: going to talk now about um the materials that we're gonna use for
Willie Charania: Yes.
Robert Bakshi: the case and
Ronald Johnson: Mm-hmm.
Willie Charania: We'll
Robert Bakshi: all
Willie Charania: just
Robert Bakshi: those
Willie Charania: run
Robert Bakshi: things?
Willie Charania: through it yeah,
Robert Bakshi: Okay.
Willie Charania: yeah, um. You discussed either a lithium or a solar power. Would the solar power be enough to fuel a voice recognition? Or this kinesthetic one, would that be enough to fuel a voice recognition remote
Robert Bakshi: Um,
Willie Charania: control?
Robert Bakshi: the solar power definitely would be but I think just to keep people from getting annoyed, 'cause sometimes solar power fails and there's no way round that, we should install a small backup battery.
Willie Charania: Mm.
Ronald Johnson: Yeah.
Robert Bakshi: Just to cover those moments when for whatever reason, the remote hasn't
Ronald Johnson: Well what
Robert Bakshi: been
Ronald Johnson: of
Robert Bakshi: exposed
Ronald Johnson: people with like
Robert Bakshi: to
Ronald Johnson: the T_V_ in their basement,
Willie Charania: Mm.
Ronald Johnson: like what if
Willie Charania: Yep.
Ronald Johnson: wha we can't guarantee sunlight everywhere so having a
Robert Bakshi: It's
Ronald Johnson: secondary
Robert Bakshi: true.
Ronald Johnson: source is probably
Robert Bakshi: Yeah, it works about the same as a solar powered calculator,
Hector Davis: Calculator.
Robert Bakshi: and you know
Ronald Johnson: Yeah.
Robert Bakshi: how those those don't really
Ronald Johnson: True.
Robert Bakshi: require that much light,
Ronald Johnson: True.
Robert Bakshi: um, but obviously a little more light than a calculator, but we're not talking about a lot of light. Doesn't have to be out taking a sunbath for
Ronald Johnson: Right.
Robert Bakshi: a few
Willie Charania: Right.
Robert Bakshi: hours a day or anything.
Ronald Johnson: Okay.
Willie Charania: Okay. What do you think Ron?
Hector Davis: I'm willing to agree with everything that's been said.
Willie Charania: Okay.
Hector Davis: Uh I have to say though that um another idea's come up in my head. idea of having a hand-held remote control and maybe kind of have a round remote control that kind of looks like a paperweight or something like that, kind of
Ronald Johnson: Uh
Hector Davis: a sleek little uh
Willie Charania: Hmm.
Hector Davis: neat
Robert Bakshi: Hmm.
Hector Davis: thing that sits on your table or something.
Ronald Johnson: Interesting.
Robert Bakshi: Why,
Hector Davis: Just a thought.
Robert Bakshi: why
Willie Charania: Yeah.
Robert Bakshi: moving away from hand-held, why? What's the uh
Hector Davis: Well
Robert Bakshi: idea?
Hector Davis: if you don't need to pick it up it could kind
Ronald Johnson: I
Hector Davis: of
Ronald Johnson: if
Hector Davis: be
Ronald Johnson: it's
Hector Davis: a selling
Ronald Johnson: got voice
Hector Davis: point.
Ronald Johnson: recognition it can be technically anywhere in your room and
Robert Bakshi: Hmm.
Ronald Johnson: still do its job.
Robert Bakshi: Do you think people that are people that buy a remote, are they always gonna wanna use the voice recognition or is it just something that they do sometimes.
Ronald Johnson: True, and i probabl I think we're banking on selling it to more than just voice recognition people, like we want it to work fundamentally
Willie Charania: Well
Ronald Johnson: as
Willie Charania: we have
Ronald Johnson: a basic
Willie Charania: to have buttons
Ronald Johnson: manual
Willie Charania: on it too
Ronald Johnson: too,
Willie Charania: as well.
Ronald Johnson: right.
Willie Charania: But that's done, that's no bother I mean if you look at the catalogue from places like with sharper image or whatever you know they might have or like um who is it, Apple makes these really pretentious speakers with the th sub-woofers you know like clear and glass
Ronald Johnson: Mm-hmm.
Willie Charania: and you know and
Robert Bakshi: Right.
Willie Charania: then they got these little
Ronald Johnson: Yep.
Willie Charania: pyramidal type of um speakers.
Ronald Johnson: Yeah.
Willie Charania: I mean, why not have a little rounded kind of thing, it could still have the basic buttons on it. Um, 'cause we're going for basic functionality primarily as well.
Ronald Johnson: With the bu yeah.
Willie Charania: And maybe a menu button and so forth, you know um use a channel button to scroll through the menu d if they want to record programmes or whatever you know I mean we
Robert Bakshi: I
Willie Charania: can
Robert Bakshi: think,
Willie Charania: sort
Ronald Johnson: Mm-hmm.
Willie Charania: that
Robert Bakshi: I think
Willie Charania: out.
Robert Bakshi: you're on to something because
Willie Charania: Yeah.
Robert Bakshi: we need to escape the traditional shape of a remote. Maybe something
Ronald Johnson: True.
Robert Bakshi: that looks nice on a table is would be good,
Ronald Johnson: Way
Robert Bakshi: even
Ronald Johnson: to go.
Robert Bakshi: though and hand-held the same time.
Hector Davis: I think it's all about following Apple's lead on a lot of these
Ronald Johnson: Yeah
Hector Davis: things.
Ronald Johnson: I'm thinking of the airport
Hector Davis: Mm-hmm.
Ronald Johnson: portal, you know
Willie Charania: Mm.
Ronald Johnson: like that little pod looking thing?
Robert Bakshi: Yeah,
Hector Davis: Exactly.
Robert Bakshi: those are nice.
Willie Charania: Yeah, I mean a nice although we do um wh uh is I'm recalling that she mentioned that we n need to get away from the surgical white kind of brushed
Ronald Johnson: Right.
Willie Charania: aluminium thing
Robert Bakshi: Mm.
Willie Charania: and get back to it but you could have a very tasteful um wood coloured or earth
Ronald Johnson: That would
Willie Charania: tone
Ronald Johnson: be kinda
Willie Charania: kind
Ronald Johnson: neat.
Willie Charania: of um
Ronald Johnson: Terracotta bowl or something.
Willie Charania: Still, I mean, yeah, along those lines.
Ronald Johnson: Mm.
Willie Charania: Yeah I like that, I like that idea a lot. Um, let's see what we can do as far as that goes.
Robert Bakshi: Okay.
Willie Charania: And the uh the material like the plastics and so forth, we were discussing that being uh using like a rubber kind of softer feel,
Ronald Johnson: Mm.
Willie Charania: um you know li lik if you feel the the tip on this pen it's a bit gives just a bit.
Ronald Johnson: Yeah.
Willie Charania: You know something where it's uh a a more advanced f form of plastic that has some kind of a tactile response to it.
Robert Bakshi: Right. Just kind of the squishy feel.
Ronald Johnson: Yeah, which is the next big thing, so that's not gonna hurt us either.
Willie Charania: Mm 'kay. Yeah let's see if we can do a squishy non-remote control-looking remote control. But to be fair, yeah, I mean, you just c you could just put it literally put it on the the ni the coffee table next to the telly and say
Ronald Johnson: Right.
Willie Charania: volume up. Yeah
Ronald Johnson: Handy.
Willie Charania: I like it, I like the idea, that's good. Um and we've sorted of discussed costs, um. I guess we'll a that's gonna be uh a thing, if we run a bit over-budget, that might be okay, um.
Robert Bakshi: Sorry about the uh lack of information on cost, I just haven't been provided that information by our manufacturers
Ronald Johnson: Okay.
Robert Bakshi: and
Willie Charania: We'll have more
Robert Bakshi: I'm just
Willie Charania: of an
Robert Bakshi: having
Willie Charania: idea when
Robert Bakshi: to
Willie Charania: the
Robert Bakshi: guess.
Willie Charania: prototype have more of a we'll have more of an idea later on. Um. And we just yeah go from there. Um, so we've revisited the touch screen and more or less ruled that out, um, I think so we're more or less con we wh wh we're more or less in agreement that we want to have a um a simple kind of function, you
Ronald Johnson: Mm.
Willie Charania: know, not too complex.
Ronald Johnson: Right. Well when the majority of people are only using the most primary functions on a daily basis, although I'm not saying we should completely rule out major functions, they should be secondary, at least if not functionally then visually, like those shouldn't be
Robert Bakshi: Right.
Willie Charania: Like maybe have menu
Ronald Johnson: Take precedence,
Willie Charania: things.
Robert Bakshi: If,
Ronald Johnson: yeah.
Robert Bakshi: if we're not going the touch-screen route then we can um just incorporate maybe something that folds out like what
Ronald Johnson: Right.
Robert Bakshi: you often see
Willie Charania: Mm.
Robert Bakshi: on these kinds of remotes is the most basic functions up here and
Ronald Johnson: And
Robert Bakshi: something
Ronald Johnson: they slide.
Robert Bakshi: that slides down to reveal the you know more complicated things.
Willie Charania: Yes.
Ronald Johnson: Well and do we wanna consider like an iPod screen which isn't a touch screen but you're still scrolling through menu options, in p
Hector Davis: Think then we're hitting our cost issue again.
Ronald Johnson: True, we're
Willie Charania: Yeah
Ronald Johnson: still
Willie Charania: we've
Robert Bakshi: Yeah.
Willie Charania: also
Ronald Johnson: not making
Willie Charania: got the
Ronald Johnson: it easier
Willie Charania: Ronald Johnson
Ronald Johnson: then.
Willie Charania: the thing of, if we're gonna have a non-remote-looking remote,
Ronald Johnson: True.
Willie Charania: how do we yeah.
Ronald Johnson: Fair enough.
Willie Charania: B But no I mean we could do a slide or a compartment, you know, like if it say it's
Ronald Johnson: Yeah.
Willie Charania: a lit little vaguely ovoidal type of thing, it'd be easy to have a compartment in there. Or you know, a b a b a a series of you know three or four buttons with a menu button and then a side an s up and down type of thing, like on um like on a D_V_D_ player. You
Ronald Johnson: Mm-hmm.
Willie Charania: know you see the modern D_V_D_ players'll just have um a menu button on the side and then
Ronald Johnson: Yeah it's
Willie Charania: four
Ronald Johnson: just a
Willie Charania: buttons
Ronald Johnson: scroll.
Willie Charania: around them and you
Robert Bakshi: Right.
Willie Charania: can just kind of manoeuvre
Ronald Johnson: Yeah.
Willie Charania: through the menu like that.
Robert Bakshi: So are we gonna are we talking we need to figure out what kind of buttons we're going to use, are we going to use scroll buttons? Rubber buttons? Um
Willie Charania: Well it seems like I dunno it seems to Ronald Johnson that we could just do the um stick with the rubber 'cause since we're probably gonna be using
Ronald Johnson: Yeah.
Willie Charania: some kind of um rubber for the outside case we
Ronald Johnson: Probably.
Willie Charania: might as well stick with that um.
Robert Bakshi: Right.
Hector Davis: I think to a certain extent we have to stick with uh kind of uh a little bit traditional in terms of the buttons and then
Ronald Johnson: Right.
Hector Davis: and then make our unique feature our casing and what not
Ronald Johnson: Mm.
Hector Davis: and our voice command.
Ronald Johnson: Well no it's basic just like four directions that are that can use as menu or channel and volume or however you wanna do it, are really versatile and everybody's already got them to some extent on the remotes they already own so it's not like we're dealing with everybody relearning things 'cause that's not something anybody's gonna wanna buy a new for.
Robert Bakshi: Right.
Willie Charania: Mm 'kay, um. We've already kind of covered this as well. That seems to be selling um and we we've more or less agreed that we want to kar target this youth market,
Ronald Johnson: Mm.
Willie Charania: um. Especially now with eighteen to thirty five year olds being such a large quantity of the population.
Ronald Johnson: Right, particularly in technological fields, so
Willie Charania: Mm-hmm, mm-hmm.
Ronald Johnson: that's exactly where we're headed.
Willie Charania: Okay. Um. Yeah alright, well, more or less covered what we need to cover I think fi an an any final thoughts before we think about doing the protot moving on to the prototype.
Hector Davis: Well what are we actually doing? What
Willie Charania: Right.
Hector Davis: were
Willie Charania: I was just gonna step on to um
Ronald Johnson: Uh. Oh it wasn't in the way but
Willie Charania: I wasn't?
Ronald Johnson: yeah,
Willie Charania: Oh, my
Ronald Johnson: whatever.
Willie Charania: bad um sorry.
Ronald Johnson: No, don't worry about it.
Willie Charania: The um, yeah okay I was just gonna assign tasks in the next
Hector Davis: Sure.
Willie Charania: b anyth any oth any other
Ronald Johnson: Okay.
Willie Charania: final thoughts before we go ahead and cool?
Robert Bakshi: So
Ronald Johnson: Yeah.
Robert Bakshi: have we decided that we are gonna go with different style cases for different people? Or are we just
Willie Charania: Um.
Robert Bakshi: going to go with one? ..It's very, it's very hard thing to predict because
Ronald Johnson: Yeah.
Robert Bakshi: you have different cases and that might open up your market a little bit obviously, but if you have just one case and it doesn't go very well mm.
Willie Charania: Yeah.
Ronald Johnson: Right.
Robert Bakshi: It's a tough situation, but obviously having more cases also costs more so
Willie Charania: Well then again colours wouldn't be so hard to do, you could have uh
Robert Bakshi: There's an idea.
Willie Charania: a, you know, a um uh kind of a natural wood colour, like a stained wood and
Ronald Johnson: Mm.
Willie Charania: um, I don't know, olive green or something.
Ronald Johnson: Yeah.
Willie Charania: That wouldn't be so much of a problem to incorporate into the colour of the thing.
Hector Davis: And again copying iMac's kind of for iPod Mac
Ronald Johnson: Yeah,
Hector Davis: Apple's
Ronald Johnson: get
Hector Davis: uh
Ronald Johnson: in there.
Hector Davis: colour scheme.
Ronald Johnson: Yeah, totally.
Willie Charania: Yeah, I think that's probably a good Robert Bakshi okay so let's work on uh multiple case colours. But yeah, stick with the same kind of kinda yeah, the same basic non-remote kind of remote design. Cool. Alright, so we'll have the next meeting about half an hour, um. I want the uh I'd like Nathan, I'd like you to work on just the basic look and feel, what can we accomplish, um, given these parameters that we're just gonna sort of have this kind of uh non-remote remote. Um,
Robert Bakshi: Right.
Willie Charania: what are our broad constraints before we deve design a prototype. And um Ron if you can figure out how probably best to lay out this idea of this simple design with the voice recognition built in and also this kind of drop down or s on the side kind of menu options simple. Somehow work out how we can get this all s in the same place. Um, and if you can check product evaluation with m some pilots and stuff. Um I need you guys to work together on making a prototype, um using um prototype building materials um. And also um specific instructions will be sent to you by your coaches as
Robert Bakshi: Oh
Willie Charania: well.
Robert Bakshi: excellent yeah.
Willie Charania: So that's what to start with for now, is that alright,
Ronald Johnson: Cool.
Willie Charania: you guys feel
Robert Bakshi: That
Willie Charania: clear
Robert Bakshi: sounds
Willie Charania: about this?
Robert Bakshi: good.
Hector Davis: Fabulous.
Willie Charania: Alright. I guess we'll just hit the bricks. Thanks guys.
Ronald Johnson: Cool. | Robert Bakshi presented an analysis of cost and the manufacturing options that were available to the group. Ronald Johnson presented market trends and the organic trend that this project would adopt. She discussed materials that could be used to follow this trend. Hector Davis presented several interface concepts including voice recognition, a spinning wheel design, and a touch screen interface. The group then discussed the features of the device. They discussed the costs and benefits of using either voice recognition or the touch screen interface, and decided on voice recognition based on their marketing data that favored it. They decided to use solar power to power the device. The group discussed the non-traditional look the device could have since the voice recognition would allow it to be stationary. They discussed using rubber for the case. The group talked about hiding the complicated functions from the main interface, using rubber for the buttons, and having different cases to suit different tastes. Willie Charania reiterated that the product was being marketed towards the youth market, and then gave out assignments and instructed the group to work together to build the prototype. | 5 | amisum | train |
Brett Holden: Okay. Hi everybody and welcome to our kick-off meeting for our new product that we're gonna be designing. Um I'm Mandy and I'm Brett Holden. And I know all your names again, Courtney,
Sol Carls: Yep.
Brett Holden: Fenella and Amber.
Daniel Parker: Yep.
Brett Holden: Alright. Okay, so first let's go through this PowerPoint. I wonder what button I press?
Kenneth Manning: Just do it on the arrow.
Brett Holden: Yeah, or how about I just click? Okay, here is our agenda for this meeting. Um we're gonna start with our opening which was our introductions. We're gonna know other a bit better. Um tool training, we're going to, I guess, figure out what to do on this project with our individual roles. Um we're gonna make a project plan and then have some time for discussion and close up the meeting. Okay, here is our project. We're gonna make a new remote control that's um original, trendy and also user-friendly. And how we are going to do it is each of us is going to um We're gonna have discuss the functional design first, how is it gonna be used, what's the actual goal here, it has to operate T_V_, blah blah blah. And we're going to do individual work on that and then meet. Same thing with conceptual design. Just the basic overview of the project and then we're going to do individual work, meet. That's pretty much the the whole process for today. And then the detailed design, just more in-depth, get the actual schematics of the remote. Okay. Alright. First we're gonna start off by using our tools. And the whiteboard thing, do you guys wanna give that a try even though the ink wasn't working or do you wanna do it on here.
Daniel Parker: I think we should forgo the
Sol Carls: We
Daniel Parker: can't
Sol Carls: could
Daniel Parker: actually see what we're.
Sol Carls: Yeah, we could on.
Brett Holden: Alright, let's go forward then. Um right now so we're all gonna draw our favourite animal and then sum up our favourite characteristics of that animal. Even if you are not a good drawer like Sol Carls. Alright.
Daniel Parker: Artistic skills, nil.
Kenneth Manning: Fine.
Brett Holden: Um.
Brett Holden: Bless you.
Sol Carls: Oh, thanks.
Daniel Parker: I draw like I'm in grade five.
Brett Holden: Oh do I.
Brett Holden: 'Kay, about one more minute.
Brett Holden: Okay. Okay. And who would like to start us off?
Sol Carls: I'll go.
Brett Holden: Alright.
Sol Carls: Um this is my picture. I drew fish I like fish, because uh, you know, their whole water-vascular system thing. It's pretty cool, and um they've got a pretty good habitat and they are pretty sometimes, sometimes vicious but that's okay. Yeah.
Brett Holden: Only if they're piranhas.
Sol Carls: Yeah, they they're easy, you know. Yeah.
Brett Holden: Alright. Who wants to go next?
Daniel Parker: I'll go. I drew a kitty. It's pretty much impossible to tell that's a cat, but
Sol Carls: No I
Kenneth Manning: No,
Daniel Parker: I
Sol Carls: I
Kenneth Manning: I kne
Sol Carls: see
Daniel Parker: love
Kenneth Manning: I
Sol Carls: it.
Brett Holden: No,
Kenneth Manning: knew.
Daniel Parker: cats.
Brett Holden: it looks like a cat.
Daniel Parker: I love cats because they're independent, uh they pretty much know what they want, they get it, they move on.
Brett Holden: I love cats, too.
Kenneth Manning: Yeah.
Brett Holden: I'm a cat person.
Sol Carls: I'm allergic to cats.
Kenneth Manning: Ah.
Brett Holden: Uh.
Daniel Parker: I'm allergic to cats, too.
Sol Carls: Oh, okay.
Brett Holden: If
Kenneth Manning: In
Brett Holden: you're
Kenneth Manning: my next
Brett Holden: around one
Kenneth Manning: life.
Brett Holden: I had a roommate who was um allergic, but if she was around my cat forever she became used to
Sol Carls: Yeah,
Brett Holden: it, you
Sol Carls: yeah,
Brett Holden: know,
Sol Carls: if you're
Brett Holden: it's weird.
Sol Carls: around them for a long period of time
Daniel Parker: I still
Brett Holden: Okay.
Daniel Parker: can't sleep with them in my room.
Sol Carls: Oh, yeah, this summer I, oh I had to live with cats. It was crazy. Yeah.
Brett Holden: Okay, Fenella?
Kenneth Manning: Um, I drew a badger.
Sol Carls: Cool.
Daniel Parker: Yay.
Brett Holden: Badger.
Kenneth Manning: Well, yeah.
Brett Holden: Good choice. Why a
Kenneth Manning: Uh
Brett Holden: badger?
Kenneth Manning: I dunno, they're grumpy and nocturnal and
Daniel Parker: Are you trying to suggest something?
Kenneth Manning: Well, a little bit like the Yes. Um. And then, if you know Wind in the Willows badger.
Sol Carls: Oh, okay.
Kenneth Manning: Yeah and then uh I don't know if you know Brian.
Brett Holden: Alright.
Kenneth Manning: Um, that kind of books. Badgers are cool in that one too.
Brett Holden: Okay. And I'm last. 'Kay. Look at my sad sad
Sol Carls: No,
Brett Holden: giraffe.
Sol Carls: that's good.
Brett Holden: No, no, no, it ends up looking like some kind of a dinosaur, but whatever. I don't know even much about giraffes, but I just love the way they look. They're just such odd creatures, you know. I I like that they're so unique and individual, I guess. I don't know much about their behaviour or anything, though. Only seen a couple
Sol Carls: You
Brett Holden: in
Sol Carls: don't
Brett Holden: zoos.
Sol Carls: really have to, I
Brett Holden: Yeah,
Sol Carls: mean,
Brett Holden: but you can
Sol Carls: if you
Brett Holden: appreciate
Sol Carls: like 'em
Brett Holden: the way they look. Okay. Alright. Guess we're getting straight back into business here. Um the selling price for our remote is going to be twenty-five Euro, and our profit aim is fifty million Euro. We're going to make this an international product marketed in the States, in Europe, in Asia. And um our production cost to make that profit is gonna be a max of twelve fifty Euro per remote. Okay. So we're gonna talk for a little while. Um here are some topics that we might be able to discuss. Expe our experiences with remote controls um, our first ideas about this new remote, anything that you can bring to the table for this project. So.
Kenneth Manning: Now?
Brett Holden: Yeah. You wanna start us off? Anybody have anything to offer?
Daniel Parker: Well, we wanna make a multifunctional remote, right?
Brett Holden: Right.
Daniel Parker: One remote for everything.
Kenneth Manning: And
Sol Carls: Right.
Kenneth Manning: everything being Wait,
Daniel Parker: Um.
Kenneth Manning: we have what, sound system, T_V_, D_V_D_, V_H_S_, uh
Daniel Parker: I think they'll be phasing
Kenneth Manning: TiVo?
Daniel Parker: V_H_S_
Sol Carls: Yeah, TiVo.
Daniel Parker: out shortly.
Brett Holden: TiVo.
Kenneth Manning: But it's still there, so
Daniel Parker: Okay.
Kenneth Manning: if po if we're gonna do it
Sol Carls: It needs to be compatible 'cause universal remote controls are never universal.
Brett Holden: They're never universal. That's right. Esp e especially if you buy a a not big product, D_V_D_ player, say, usually it doesn't work
Kenneth Manning: Or if
Brett Holden: if
Kenneth Manning: it's
Brett Holden: it's
Kenneth Manning: not
Brett Holden: not
Kenneth Manning: like a
Brett Holden: one
Kenneth Manning: Sony,
Brett Holden: of the
Kenneth Manning: if it's like
Brett Holden: Yeah.
Kenneth Manning: a I
Brett Holden: Yeah.
Kenneth Manning: don't know.
Brett Holden: Something
Daniel Parker: So
Brett Holden: from
Daniel Parker: we'll have
Brett Holden: Sam's
Daniel Parker: to figure
Brett Holden: club.
Daniel Parker: it how to cover all the different variances in signals.
Brett Holden: Yeah.
Sol Carls: And what we need an insanely good instruction booklet, because you always have to reconfigure all your
Brett Holden: Yeah.
Sol Carls: contraptions to go with the remote anyways.
Brett Holden: 'Kay, and um another thing that I think is important is the d the design of the product, how it feels in your hand. If it's just flat and kind of boring th those don't Nobody wants to buy those any more. They want the ergonomic ones.
Sol Carls: They want like the flashy
Brett Holden: Yeah.
Sol Carls: lights. Oh like this came
Brett Holden: Ones
Sol Carls: from Las
Brett Holden: that
Sol Carls: Vegas.
Brett Holden: ones that look high-tech, too.
Kenneth Manning: But at the same time are simple.
Sol Carls: Mm
Brett Holden: Right.
Sol Carls: yeah.
Brett Holden: So that
Daniel Parker: What
Brett Holden: people
Daniel Parker: about something
Brett Holden: like my mother
Daniel Parker: with the curvature
Brett Holden: can use it.
Daniel Parker: like that matches the curvature of a hand?
Brett Holden: Yeah. 'Kay. Anybody have any experiences with remote controls that they can remember that
Kenneth Manning: Just bad ones.
Brett Holden: Yeah. That's true.
Kenneth Manning: Um.
Daniel Parker: What kinda battery would we want to use? Because battery
Kenneth Manning: D
Daniel Parker: changing is
Kenneth Manning: Double
Daniel Parker: usually
Kenneth Manning: A_.
Sol Carls: Double A_.
Daniel Parker: Okay.
Brett Holden: Do some of them use triple A_s though?
Sol Carls: Yeah some use triple A_s.
Kenneth Manning: Some
Sol Carls: So
Brett Holden: Okay.
Kenneth Manning: but
Sol Carls: double or triple?
Kenneth Manning: Yeah, I guess then it's If we need to do triple A_ we can, but most people usually have double A_s around.
Brett Holden: Okay. Yeah. But that has to do with the size of it too.
Kenneth Manning: Right.
Daniel Parker: Yeah.
Brett Holden: Well, w as long as we know that issue is
Sol Carls: Yeah, if we
Brett Holden: Here
Sol Carls: want it
Brett Holden: we
Sol Carls: to
Brett Holden: can
Sol Carls: be more thin, then we'd probably wanna go with a triple
Brett Holden: Triple
Sol Carls: A_.
Brett Holden: A.
Daniel Parker: Can
Brett Holden: But
Daniel Parker: you with a small lithium battery?
Brett Holden: it's okay, we don't have to decide about it now, just as long as we remember battery type and size is important. Hey. Anything else? Alright. Moving along. Oh, we're closing the meeting. Next meeting is gonna start in thirty minutes. Um the I_D_, which is who? Okay, you're going to think about the working design. What do you think that means? Okay. And U_I_D_,
Kenneth Manning: Mm-hmm.
Brett Holden: the technical fun functions design, making sure it does everything that we need the remote to do, the functionality of it, operating all those different things. Okay. And the marketing person, that's Courtney, is going to do the user requirements specification. I guess that means specifying um what exactly the user is going to be looking for. Right?
Sol Carls: Right.
Brett Holden: I would think so. Okay. And you're gonna get more specific instructions emailed to you in just a little while. Okay, so does anybody have anything they wanna say before we close the meeting? Okay. This meeting is officially over. | Brett Holden introduced the project to the group and gave an agenda for the project as a whole. She then introduced a tool training exercise to acquaint the group with the meeting-room tools and to help them get to know each other. Brett Holden then presented the project budget to the group and presented the projected profit aim, the production cost, and the price point of the device. The group then began a discussion about features of remote controls and their own experiences with them. They discussed making the remote universally compatible and ergonomically-designed, and types of batteries to use. Brett Holden instructed Daniel Parker to work on the internal working design of the device. Kenneth Manning was told to work on the technical function design, and Sol Carls was instructed to research the needs of users. | 5 | amisum | train |
Robert Kime: Okay. Um welcome to our second meeting. This the functional design. And I hope you all had a good individual working time. Okay, let's get started. Okay, here's the agenda for the meeting. After the opening um I am going to fulfil the role of secretary, take the meeting minutes. And we're gonna have three presentations, one from each of you. Then we're gonna discuss some new project requirements. Um gonna come to a decision on the functions of the remote control. And then close up the meeting. And we're gonna do this all in about forty minutes. Okay. First I want to discuss the goals of this meeting. First we need to determine the user requirements and the question that we can ask ourselves is what needs and desires are to be fulfilled by this remote control. And then we're going to determine the technical functions, what is the effect of the apparatus, what actually is it supposed to do, what do people pick up the remote and use it for. And then lastly we're going to determine its working design, how exactly will it perform its functions, that's the whole technical side of 'Kay I'll just give you a minute, 'cause it looks like you're making some notes. 'Kay. Oh, well let's go ahead and, back, previous. So what I wanna do right now is hear from all three of you, on your research that you just did. Who would like to start us off?
Donald Parker: I don't
Robert Kime: 'Kay.
Donald Parker: mind going first.
Robert Kime: Okay. Um do you have a PowerPoint or no?
Donald Parker: Yeah, it's in the should be in the m
Robert Kime: Okay.
Donald Parker: Project.
Virgil Large: Do you want us to do our PowerPoints now
Donald Parker: You
Virgil Large: or
Donald Parker: know you could you could do it yourself actually.
Robert Kime: Oh.
Eddie Chio: Did you send it?
Robert Kime: Save
Donald Parker: Put it
Robert Kime: it
Donald Parker: in
Robert Kime: in the
Donald Parker: Project
Robert Kime: project documents.
Donald Parker: Documents, yeah.
Robert Kime: Okay.
Robert Kime: Mm-mm-mm. This one?
Donald Parker: Sure.
Robert Kime: Okay.
Donald Parker: Yeah.
Eddie Chio: Okay.
Donald Parker: Okay.
Eddie Chio: Great.
Donald Parker: Um well, the function of a remote control, as what uh we've been informed, is basically to send messages to the television set, for example, switch it on, switch it off, go to this channel, go to channel nine, turn volume up, etcetera. Um some of the considerations is just um for example the what it needs to include it's the numbers, you know, zero to nine, so you can move to a channel, the power button on slash off, the channel going up and down, volume going up and down, and then mute, a mute function. And then functions for V_H_S_, D_V_D_, for example, play, rewind, fast-forward, stop, pause, enter. And enter would be for like, you know, the menus. And then other menus for D_V_ as well as T_V_, whether that means like um we can go and decide the brightness of the screen, things like that, all the more complicated functions of menus. And we can decide if that's what we want, um if we
Robert Kime: Okay.
Donald Parker: want to include that on the remote, if that's something that would stay on the T_V_ itself, for example.
Robert Kime: Okay.
Donald Parker: These are two examples. Um and you can see on the left, it's got a lot more buttons, and I don't know if you can read it, but it says, step, go to, freeze, um slow, repeat, program, mute, and so those are some of the buttons and so it gives you an idea of s one example. And then on the right, it's a lot more simpler, it's got volume, it's got the play the like circle set, which is play, rewind, but it's also what is fast-forward is also like next on a menu. So you have functions that are d uh duplicating.
Robert Kime: Right.
Donald Parker: And you have a mute button and then the numbers and the eject, and the power button. So that gives you two different kinds, a more complex and more simple version. Okay.
Robert Kime: Ready.
Donald Parker: And then lastly, it's just the questions that we want to consider like what functions do we want it to include, and how simple, complex it should be? And what functions it needs to complete. Uh, what are needed to complete insulation process, 'cause, you know, that's something that also has to be considered and it's gonna be hopefully a one-time thing, when you set it up it should be set to go, but we have to include the functions that can allow it to set up i in the first place. So that's it.
Robert Kime: Alright. Very good presentation. Thank you. You speak with such authority on the matter.
Donald Parker: Mm.
Robert Kime: Okay.
Donald Parker: Left.
Robert Kime: Who would like to um follow that one up? Now, that we've
Virgil Large: I
Robert Kime: discussed
Virgil Large: can go.
Robert Kime: Okay. Do you want Virgil Large to run it or you
Virgil Large: Yeah,
Robert Kime: wanna
Virgil Large: you should run it.
Robert Kime: Okay. Functional requirements.
Virgil Large: Mm yes.
Robert Kime: 'Kay.
Robert Kime: Alright. Now we have Courtney with the functional requirements.
Virgil Large: Yes, okay so we tested a hundred subjects in our lab, and we just we watched them and we also made them fill out a questionnaire, and we found that the users are not typically happy with current remote controls. Seventy five percent think they're ugly. want are willing to more, which is good news for us um if we make look fancier, and basically w we just need something that really I mean there's some other points up there, but they it needs to be snazzy and it but yet simple. So that's really what we need to do.
Donald Parker: Wait.
Virgil Large: And we need we need it to be simple, yet it needs to be high-tech looking. So
Donald Parker: And that meaning what?
Virgil Large: Like They like I guess use the buttons a lot.
Donald Parker: Okay.
Virgil Large: Yeah. I don't know. It's from my uh research.
Donald Parker: Right.
Robert Kime: Okay, what
Virgil Large: My
Robert Kime: do you
Virgil Large: team
Robert Kime: m
Virgil Large: wasn't very
Donald Parker: Only
Virgil Large: clear.
Donald Parker: use
Robert Kime: Oh,
Donald Parker: ten
Robert Kime: I'm
Donald Parker: percent
Robert Kime: sorry.
Donald Parker: of the
Virgil Large: That's
Donald Parker: buttons.
Virgil Large: okay.
Robert Kime: What do you mean by um the current remote controls do not match well with the operating behaviour of the user, like they
Virgil Large: I
Robert Kime: have to press
Virgil Large: I
Robert Kime: the buttons.
Virgil Large: think it's like the engineering versus user,
Robert Kime: Okay.
Virgil Large: whereas like the engineering she showed that the engineering ones are more complex
Robert Kime: Oh, right.
Virgil Large: and users don't really need all of the
Robert Kime: The
Virgil Large: buttons
Robert Kime: buttons.
Virgil Large: that are contained on there,
Robert Kime: Okay.
Virgil Large: because they only use ten percent of the buttons really.
Robert Kime: Yeah. Okay.
Eddie Chio: We only use ten per cent of our brains.
Virgil Large: Good point.
Robert Kime: It works.
Virgil Large: It's a necessary evil.
Eddie Chio: yeah.
Robert Kime: Ready for the next slide?
Virgil Large: Mm-hmm. And so people say that they typically lose it, as you yourself know, because you probably lose your remote control all the time,
Robert Kime: Hmm.
Virgil Large: much like any small appliance
Donald Parker: Lost.
Virgil Large: like a cellphone, and they we need something simple, because most people, well thirty four percent say that it's just too much time to learn how to use a new one, and we don't want to go we don't want to vary too far from the normal standard
Donald Parker: S
Virgil Large: remote, but I mean they do need to be able to identify it, and R_S_I_, I'm not very sure what that is.
Robert Kime: It's okay. It's
Virgil Large: Yes,
Robert Kime: very important.
Virgil Large: it is important for the remote control world.
Donald Parker: Wait, is that like your ergonomics
Virgil Large: Sh
Donald Parker: like your hand movements or something?
Robert Kime: Could be,
Virgil Large: Uh
Robert Kime: yeah.
Virgil Large: possibly.
Eddie Chio: Do we really need t to provide more information on
Donald Parker: Like
Eddie Chio: what R_S_I_ is?
Robert Kime: Oh.
Virgil Large: Uh yeah, that's what my web site said, I
Donald Parker: Channel, volume, power.
Virgil Large: don't
Robert Kime: I think that's
Virgil Large: know.
Robert Kime: a pretty good guess though.
Virgil Large: Yeah, I would assume so. I
Donald Parker: It's
Virgil Large: think
Donald Parker: like
Virgil Large: we're
Donald Parker: if you're
Virgil Large: supposed
Donald Parker: holding
Virgil Large: to know it
Donald Parker: it
Virgil Large: as remote control experts.
Robert Kime: Yeah.
Virgil Large: But
Robert Kime: It's
Virgil Large: also
Robert Kime: okay.
Virgil Large: s so the channel, the volume and the power buttons are the most important on our company website you can find like the specific statistics concerning to how much each button is used, but those are the definitely the top ones.
Robert Kime: Okay. Next slide?
Virgil Large: Yes. And so personally I think that we need a modern eye-catching design, but it it really needs to be simple. So saying from y your slide, your presentation, the engineering versus the user-specified remotes, I think that we should go with something that's more user-friendly.
Robert Kime: User-friendly.
Virgil Large: Where the engineering ones, the boxes, tend to make it look more complicated than it really is. Um the functionality of the product really needs to be considered as to like what type of buttons do we really need on it. And it needs to be open to a wide range of consumers, so even though we need a small number of buttons, we also need to take in like are most people going to be using it for a D_V_D_ player, a TiVo, what what exactly are we using it for, as well as the age range. So we need a hip, but not a corny marketing scheme for promoting our product. And also we found our team found that speech recognition is it's like an up-and-coming thing they really consumers are really interested in it, and since our findings found that people are willing to pay more money for a remote for it to be more high-class
Robert Kime: And so just
Virgil Large: we could
Robert Kime: to
Virgil Large: consider it.
Robert Kime: just to clarify by speech recognition you mean they would say, channel five, and the thing would
Virgil Large: I
Robert Kime: go
Virgil Large: guess
Robert Kime: to channel
Virgil Large: so,
Robert Kime: five?
Virgil Large: yeah.
Robert Kime: Okay.
Donald Parker: to just say, where are you, and thing beeps, you know.
Virgil Large: Yeah, I guess
Robert Kime: Oh,
Virgil Large: we can interpret
Robert Kime: that'd
Virgil Large: it
Robert Kime: be
Virgil Large: like,
Robert Kime: lovely.
Virgil Large: we can just try out different types of speech
Donald Parker: Yeah.
Virgil Large: recognition within our
Robert Kime: Didn't
Virgil Large: remote
Robert Kime: they
Virgil Large: programme.
Robert Kime: um didn't our rival companies manufacture a remote that you would press the button on the T_V_ and it would the remote would beep so if you
Donald Parker: It's
Robert Kime: have
Donald Parker: kinda
Robert Kime: lost
Donald Parker: like what
Robert Kime: it
Donald Parker: the remote phone used to do.
Robert Kime: Mm. Oh, yeah, that's
Donald Parker: You
Robert Kime: true.
Donald Parker: know like
Robert Kime: We could
Donald Parker: go
Robert Kime: definitely
Donald Parker: to the
Robert Kime: include
Donald Parker: base.
Robert Kime: that if we wanted to.
Donald Parker: Yeah.
Robert Kime: If it's within our price. Okay. Are we ready for our last presentation, Amber?
Eddie Chio: Yeah, I'm just trying to move it.
Robert Kime: Okay.
Eddie Chio: 'Kay. I think it should be there,
Donald Parker: Working
Eddie Chio: working
Donald Parker: design.
Eddie Chio: design.
Robert Kime: There we go. 'Kay.
Eddie Chio: 'Kay. Uh I didn't get a chance
Robert Kime: Oh
Eddie Chio: to complete
Robert Kime: my
Eddie Chio: this
Robert Kime: bad.
Eddie Chio: one, 'cause some of the tools that I was given were frustrating.
Virgil Large: Oh that's fine.
Donald Parker: Help
Eddie Chio: okay
Donald Parker: Virgil Large.
Eddie Chio: th some of the things that we actually need to put into this. We need a power source, we're gonna need a smart chip if we're gonna make it multi-functional. Um extra functions will probably need an additional chip. Either that or the smart chip will have to be extremely smart.
Virgil Large: What exactly is a smart chip?
Eddie Chio: Usually a smart chip is just a chip that's been programmed and designed so that it can complete a fair range of functions.
Donald Parker: Well, how much extra would the additional chip be? Is that gonna push us over our production costs?
Eddie Chio: I wouldn't think so, 'cause we could probably get it from like, in bulk, from a a newer company.
Donald Parker: Mm-hmm.
Eddie Chio: And they tend to sell their chips pretty cheap.
Robert Kime: Okay. Ready?
Eddie Chio: Um yep, nothing here.
Robert Kime: That's okay.
Eddie Chio: Um power source, I figured, batteries, 'cause they're easily available. Typically a remote has either two double A_s or four triple A_s, sometimes three. Uh it really kinda depends on the size of the actual remote itself. Um a large on-off button, demographically we're moving towards an older generation of people, so a large on-off button would probably be good.
Robert Kime: Hmm.
Eddie Chio: Selection button for various entertainment devices, so you want something that will permit you to select the D_V_D_ player or the T_V_ or the stereo system. Um smart chip that perverts uh that permits, sorry, universal application again, something that'll allow us to skip over between devices, and that's kinda it. Uh this is my fifty second design. Power source over here. We're gonna have a switch obviously between the power source and the rest of it, and you're gonna need the switch. Um extra bulb could just be for flashiness, um subcomponent which would be like a way of diverting the power to different parts of the the device. Um the chip and of course the infra-red bulb, so it can communicate with the various devices that it needs to talk to.
Virgil Large: So what exactly we are looking at, is this like the front of the
Eddie Chio: This is just like
Virgil Large: remote?
Eddie Chio: a rough schematic.
Robert Kime: So
Eddie Chio: So this
Robert Kime: this
Eddie Chio: is
Robert Kime: would
Eddie Chio: the
Robert Kime: be
Eddie Chio: internal
Robert Kime: the front?
Eddie Chio: workings.
Robert Kime: So
Virgil Large: Oh
Robert Kime: the
Virgil Large: okay.
Robert Kime: red would be the front of the remote though,
Eddie Chio: Yeah.
Robert Kime: right?
Donald Parker: Yeah,
Robert Kime: Okay.
Donald Parker: that's gonna be what's communicating with the T_V_, but the other bulb, I think, is good to just to indicate, I'm doing something, it's sort of like a
Robert Kime: The l
Virgil Large: Like
Donald Parker: reassurance.
Virgil Large: that we
Robert Kime: the
Virgil Large: know
Eddie Chio: Yeah,
Virgil Large: the battery's
Eddie Chio: so
Robert Kime: light
Eddie Chio: you don't
Robert Kime: up
Virgil Large: working.
Eddie Chio: have to stare
Robert Kime: kind of
Eddie Chio: at that infra-red, 'cause
Robert Kime: Yeah.
Eddie Chio: you know when the battery starts dying in your remote currently, you have to actually stare at that bulb and go, okay,
Robert Kime: Hmm.
Eddie Chio: when I push this button, is it working?
Virgil Large: Okay.
Robert Kime: It'd probably be
Eddie Chio: We
Robert Kime: lighting
Eddie Chio: can skip
Robert Kime: up the key
Eddie Chio: that whole thing.
Robert Kime: too, right?
Eddie Chio: Yep.
Virgil Large: Yeah.
Donald Parker: Yeah.
Robert Kime: 'Kay.
Eddie Chio: So you can
Robert Kime: The buttons.
Eddie Chio: put it in the dark.
Virgil Large: Yeah, and that's good. We
Robert Kime: Okay.
Virgil Large: should make it glow in the dark.
Robert Kime: Yeah, definitely. 'Kay nex R Ready?
Eddie Chio: Yeah, that's it.
Robert Kime: 'Kay, any p
Virgil Large: Mm 'kay.
Robert Kime: 'Kay? Anything you wanna add for personal preferences though, you f you said already that we needed a large on-off button, you think.
Eddie Chio: I
Robert Kime: Anything
Eddie Chio: think
Robert Kime: else?
Eddie Chio: that that's a good idea, because you know that's one of the most
Donald Parker: Just
Eddie Chio: important buttons.
Robert Kime: Okay.
Donald Parker: Well, should it be larger buttons in general, you know like uh the examples that I had, they were swi quite small. So should we try and go for something that has l larger buttons?
Virgil Large: I think we should. Like I think that would be in a as in like in for the design, sorry, um. I think we should definitely go with buttons that don't look like a normal remote, 'cause most remotes have small square buttons,
Robert Kime: Mm.
Virgil Large: I think we should do something like
Donald Parker: Ovals.
Virgil Large: maybe bigger and round like
Donald Parker: Yeah,
Virgil Large: bubbles.
Donald Parker: yeah.
Robert Kime: Okay. Okay, let's talk about all of our We'll come to decision later about all the components that we need to include, let's um wrap up this one, and I'm gonna go back to my PowerPoint, 'cause we need to discuss the new project requirements which you might've already seen flashed up on the screen a bit earlier. Wait, come back. Alright. Sorry, let's go through this. Alright. Here we go. New product requirements. First it's only going to be a T_V_ remote. We're trying not to over-complicate things. So no D_V_D_, no TiVo, no stereo.
Eddie Chio: Okay.
Robert Kime: It's not gonna be multi-functional. Hey. And we th need to promote our company more, so we need to somehow include our colour and our company slogan on the remote. We're trying to get our name out there in the world. Okay. And you know what teletext is?
Donald Parker: Yeah.
Robert Kime: in States we don't have it, but
Donald Parker: I
Virgil Large: What
Robert Kime: um
Donald Parker: know.
Virgil Large: is it?
Robert Kime: it's like they just have this channel where just has news and weather, kind of sports, it's very um bland looking, it's just text on the screen,
Donald Parker: Yeah, it's like
Robert Kime: not
Donald Parker: black,
Robert Kime: even Yeah,
Donald Parker: black and
Robert Kime: just
Donald Parker: white kind
Robert Kime: black
Donald Parker: of
Robert Kime: with just
Virgil Large: Like running
Robert Kime: text.
Virgil Large: along the bottom?
Robert Kime: Yeah.
Eddie Chio: You can
Donald Parker: It'll
Eddie Chio: also
Donald Parker: give
Eddie Chio: get
Donald Parker: you
Eddie Chio: the kind of the
Donald Parker: the
Eddie Chio: T_V_ guide
Donald Parker: sports.
Eddie Chio: so
Virgil Large: Wait, is it like the Weather Channel where it's got like the ticker running on the bottom
Robert Kime: Kind
Donald Parker: Except
Virgil Large: or
Robert Kime: of.
Virgil Large: something?
Donald Parker: the entire screen.
Eddie Chio: It's the entire
Robert Kime: Yeah it's
Eddie Chio: screen
Robert Kime: the whole screen.
Eddie Chio: is just running information at random.
Donald Parker: You can
Robert Kime: So
Donald Parker: pick
Robert Kime: anyway
Donald Parker: sports,
Eddie Chio: Seemingly.
Donald Parker: you can pick the news, you entertainment, you know it's like
Virgil Large: So it's like
Robert Kime: Right.
Virgil Large: a separate channel from like what
Robert Kime: Right.
Virgil Large: you're watching?
Donald Parker: Yeah.
Robert Kime: But it's becoming out-dated now, because of the Internet. and we have twenty four hour news channels now too, so Those are our new product requirements.
Virgil Large: Okay.
Eddie Chio: Okay. So,
Robert Kime: Alright.
Eddie Chio: do we have to
Robert Kime: Mm-hmm.
Eddie Chio: include the company colour within that?
Robert Kime: Yes. It's part of the logo. Okay.
Donald Parker: Company colour being yellow.
Robert Kime: What we're going to do right now is come to some decisions, definitive that we can all agree on, about um the target group and the functions and just definite things that we need to do and then we'll close up the meeting. So. Alright. Whatever. Okay.
Robert Kime: So our target group is You mentioned um older people?
Donald Parker: Mm-hmm.
Robert Kime: Would it just be universal for everyone, you think? Because I think even if something has large buttons,
Donald Parker: It's gonna
Robert Kime: as
Donald Parker: make
Robert Kime: long
Donald Parker: it
Robert Kime: as they are not
Donald Parker: nicer.
Robert Kime: childishly large, like even
Donald Parker: Yeah.
Robert Kime: technically non-technically challenged people are gonna use it. I mean they want something user-friendly, so
Eddie Chio: Mm well, even if we kept the regular standard size of remote, if we reduced the buttons down to the ones that people are saying that they use the most often and a couple extra, 'cause
Robert Kime: Yeah.
Eddie Chio: they're saying they only use ten per cent of them,
Robert Kime: Yeah.
Eddie Chio: then we should be able to accommodate fairly decent sized buttons.
Robert Kime: Okay, so we want um for our target group would we say, I mean, young and old, all age ranges, all um, not kids obviously, right? Or kids?
Virgil Large: No, kids need to know how to use a remote,
Eddie Chio: Most
Virgil Large: I would
Eddie Chio: of them
Virgil Large: think.
Eddie Chio: will intuitively
Virgil Large: They gotta
Eddie Chio: pick
Virgil Large: change
Eddie Chio: it up
Virgil Large: between
Eddie Chio: though.
Virgil Large: Disney Channel, Cartoon Network.
Robert Kime: Okay, so we're going to go anywhere from
Virgil Large: Yeah,
Robert Kime: kids
Virgil Large: I think we need it
Robert Kime: to
Virgil Large: all.
Robert Kime: adult in the age range Um what about technic technical um specifications, like how how technically literate are these people who are going to be using our remote?
Virgil Large: Um I would say we should say dumber than the average person.
Donald Parker: We
Robert Kime: Okay.
Donald Parker: should go for the lowest denominator.
Virgil Large: Yeah.
Robert Kime: Right, okay.
Donald Parker: High
Robert Kime: So
Donald Parker: school educated.
Robert Kime: so they need no technical experience to operate
Eddie Chio: how 'bout little to no, because there is no way that you are gonna be able to make it no.
Robert Kime: Okay. And we also need to determine the specific functions of this, just to get it all out on paper. So we said it needs to send messages to the T_V_, needs to change the channel, turn on and off, just basic simple stuff like this. So if you have something just say it and we'll add it to my meeting minutes.
Donald Parker: Well it's channel, on-off button,
Robert Kime: Mm-hmm,
Donald Parker: volume,
Robert Kime: volume.
Donald Parker: mute.
Virgil Large: And channel. Yeah. Those are the most important ones.
Robert Kime: Right. And we wanna keep um I'll make a note here that we wanna keep the number of buttons down. Correct, because people only use ten percent.
Virgil Large: Yeah.
Robert Kime: 'Kay. Hey, what
Donald Parker: Um.
Robert Kime: else?
Robert Kime: Um.
Eddie Chio: Do we want this thing to be able to be found easily?
Robert Kime: I think so. What do you
Virgil Large: Sure, yeah.
Robert Kime: A finding
Eddie Chio: And
Virgil Large: I need
Robert Kime: kind
Virgil Large: we
Robert Kime: of
Virgil Large: we need a
Robert Kime: device
Eddie Chio: like
Virgil Large: like
Robert Kime: or
Eddie Chio: if
Virgil Large: homing
Robert Kime: Yeah,
Eddie Chio: this is
Donald Parker: Oh
Virgil Large: device.
Eddie Chio: gonna
Robert Kime: ho
Donald Parker: right
Eddie Chio: get
Donald Parker: yeah
Eddie Chio: lost
Robert Kime: homing
Donald Parker: okay.
Eddie Chio: underneath
Robert Kime: device.
Eddie Chio: the coach, how are we going to accommodate the quick
Robert Kime: Mm
Eddie Chio: ability
Robert Kime: 'kay.
Eddie Chio: to find
Donald Parker: Tracking.
Eddie Chio: it?
Virgil Large: Because
Robert Kime: Okay.
Virgil Large: people really are looking for a remote that's more high-tech.
Robert Kime: Right.
Eddie Chio: What if we gave it a charger? And on the charger, just like a phone, like you get a portable phone and it's got a charger,
Donald Parker: But
Eddie Chio: and
Donald Parker: you
Eddie Chio: if
Donald Parker: got
Eddie Chio: you d
Donald Parker: a base.
Eddie Chio: leave your phone somewhere, you push the button to find it, and it finds th the phone beeps for you.
Virgil Large: Because
Eddie Chio: It's useful for the remote phone.
Robert Kime: Hmm.
Virgil Large: Yeah.
Robert Kime: Would that add to our costs at all, I wonder?
Virgil Large: I would think so, because you'd have to develop a base.
Robert Kime: Right.
Donald Parker: Well, if you have the base, you could start putting in a charger and then you have a different kind of battery.
Eddie Chio: Yeah.
Virgil Large: Hmm.
Eddie Chio: Rechargeable batteries are cheaper usually.
Donald Parker: Yeah.
Robert Kime: Okay. I I think we can make a decision about that later. Uh we'll still put that as a point that we need to discuss. So that would include battery source Power source rather. Is it going to have a charger, or is it going to be run strictly off batteries? And we also need to deal with the issue you mentioned of speech recognition, if we want
Virgil Large: Right.
Robert Kime: that.
Virgil Large: Do w
Donald Parker: Well, then we could If we have the speech recognition then we can start aiming at a like another kind of more handicapped disabled uh
Robert Kime: Mm.
Donald Parker: demo demographic.
Virgil Large: Well, th there's the people who desire speech recognition, there's the different demog demographics have different desires, I don't know if you guys ge
Robert Kime: You could um
Virgil Large: It
Robert Kime: we
Virgil Large: wouldn't
Robert Kime: could
Virgil Large: copy
Robert Kime: hook it up.
Virgil Large: onto the
Robert Kime: Oh.
Virgil Large: the thing 'cause it's black, but all the different age groups have different desires for speech recognition. So basically older people don't really care. It's really the people twenty five to thirty five. I feel those are the people that really watch a lot of T_V_ though.
Robert Kime: Mm-hmm.
Virgil Large: They're the ones that get addicted to soap operas and
Donald Parker: Well
Robert Kime: And
Virgil Large: just
Robert Kime: if
Virgil Large: sitcoms and stuff.
Robert Kime: and if we introduced it when they're this age, they're going to probably always buy a remote
Virgil Large: Right.
Robert Kime: that has
Virgil Large: So
Donald Parker: Well, then then do you put the voice recognition do you put the r like receiver on the actual television, in the base, or in the actual remote,
Robert Kime: Right.
Donald Parker: whereas if you just speak in general and you don't have to have the remote in your hand and like talk at it.
Robert Kime: Yeah. and the speech recognition could be part of the lost and found device, too. If we said,
Virgil Large: Right.
Robert Kime: find remote, locate remote, or something. A certain phrase then it could beep. I dunno. Just throwing it out there.
Virgil Large: Yeah.
Robert Kime: Well
Donald Parker: Still fifteen minutes. Um.
Robert Kime: Okay, anything else we wanna discuss?
Donald Parker: Well, do we wanna include the numbers like zero through nine? Can we conceive of leaving them out?
Robert Kime: Um.
Virgil Large: Wait, on the remote itself?
Donald Parker: Yeah, like you have one, two, three, four, five, six, seven, eight, nine, zero.
Virgil Large: Well,
Robert Kime: How
Virgil Large: we definitely need those.
Robert Kime: how, yeah, how
Eddie Chio: Yeah.
Robert Kime: would you leave those out?
Donald Parker: Well, I don't know, I mean, if you can like well I don't
Robert Kime: Unless
Donald Parker: know,
Robert Kime: you
Donald Parker: if
Robert Kime: could
Donald Parker: there's
Robert Kime: say
Donald Parker: just a
Robert Kime: the
Donald Parker: way
Robert Kime: channel.
Donald Parker: of leaving them out?
Eddie Chio: I think people would find that too foreign.
Virgil Large: Yeah.
Robert Kime: Yeah, that's true.
Virgil Large: You
Robert Kime: And
Virgil Large: definitely need
Robert Kime: also remember that in this day in age we need, you know, like a hundred button, too. I used to have a remote that did not even go up past like fifty. So I couldn't whenever I got cable, I had to get a new T_V_.
Eddie Chio: It's when we get satellite.
Robert Kime: Mm. get your own remote, or digital cable.
Eddie Chio: Yeah.
Robert Kime: 'Kay. Um. I guess, we're gonna discuss the project financing later, making sure that we can fit all of the stuff that we want to on our budget. Um.
Eddie Chio: Yeah, 'cause I don't have any material pricing information available to Virgil Large at the moment, so
Robert Kime: 'Kay. And don't forget we need to include the colour of our company and the logo.
Donald Parker: The colour
Virgil Large: Wait.
Donald Parker: being yellow?
Robert Kime: I'm guessing.
Donald Parker: And how
Virgil Large: I feel
Donald Parker: do
Robert Kime: And
Donald Parker: we
Virgil Large: like
Robert Kime: the R_R_.
Virgil Large: a ye I feel
Eddie Chio: R_
Virgil Large: like a
Eddie Chio: the
Virgil Large: yellow
Eddie Chio: double
Virgil Large: one
Eddie Chio: R_.
Virgil Large: would be too garish.
Robert Kime: We could just
Donald Parker: Can't
Robert Kime: have the
Donald Parker: make
Robert Kime: logo
Donald Parker: it entirely
Robert Kime: in yellow, or maybe a
Eddie Chio: Or
Robert Kime: yellow
Eddie Chio: is the
Robert Kime: light
Eddie Chio: l
Robert Kime: for the keys.
Virgil Large: Or put like stripes, oh yeah, yellow
Eddie Chio: Yeah,
Virgil Large: lights.
Eddie Chio: yellow could be and it could doesn't have to be huge.
Virgil Large: Yeah.
Donald Parker: Well if you have like a Hang on. If you have this sort of strip kind of down at the bottom the base of it, just like yellow with the R_R_.
Robert Kime: Right. So we've simplified, we don't need all those um play, fast-forward, rewind,
Donald Parker: Right, yeah.
Virgil Large: Yeah.
Robert Kime: or no menu buttons. So we've pretty much pared it down to on-off, volume, mute, channel up and down, um the numbers Yeah.
Virgil Large: Yeah.
Robert Kime: Um can we go back to I'm gonna look really quickly back at those
Donald Parker: Two examples.
Robert Kime: examples
Donald Parker: Yeah.
Robert Kime: and see if there is anything. Which one is yours, technical functions
Donald Parker: Oh, it's
Robert Kime: or
Donald Parker: a
Robert Kime: functional
Donald Parker: Yeah.
Robert Kime: requirement? Okay.
Virgil Large: Yeah, audi audio settings and screen settings, we need those like audio settings mono, stereo, pitch, screen settings like brightness, colour, or do we just want that accessed accessed from the television
Robert Kime: The T_V_.
Virgil Large: itself?
Robert Kime: I think that that's fine just for the T_V_. I mean how often does the average user need to do that kind of stuff?
Donald Parker: Well, the other option is sort of like down at the bottom, like farther away, you just have this sort of box inset where it's like the buttons that you don't use as much, but
Robert Kime: Hmm.
Donald Parker: occasionally you will use.
Virgil Large: Yeah, 'cause
Donald Parker: and
Virgil Large: we need
Donald Parker: so
Virgil Large: to
Donald Parker: it's like
Virgil Large: we definitely need to have buttons for like sub-titles and things like that. It's 'cause the foreign film market is expanding and stuff, and like on television like I know f k living in Los Angeles it's tons of Spanish network television if it has English sub-titles it's definitely helpful.
Robert Kime: Couldn't we do that all through one button, something,
Donald Parker: I don't well,
Robert Kime: a menu
Donald Parker: I don't know.
Robert Kime: button, that pops up with a menu on the T_V_ that says, you know, audio, video, whatever, language, you know?
Donald Parker: Right.
Virgil Large: So we need up, down, and side-to-side buttons.
Donald Parker: Well, that
Robert Kime: For
Donald Parker: could be
Robert Kime: the menus.
Donald Parker: No you could just double up with like the channel or the volume buttons.
Eddie Chio: Mm-hmm.
Robert Kime: That's true.
Virgil Large: Yeah,
Donald Parker: Channel
Virgil Large: okay.
Donald Parker: is just up and down.
Virgil Large: Okay, yeah.
Donald Parker: And then add a
Robert Kime: Something that
Virgil Large: Such as, yeah, the
Robert Kime: looks
Virgil Large: one
Robert Kime: mayb you know.
Virgil Large: the one over there on the left the engineering
Robert Kime: Y
Virgil Large: centred
Robert Kime: right,
Virgil Large: one.
Robert Kime: right
Donald Parker: Yeah.
Robert Kime: right right. That one?
Donald Parker: So we just have it like add a menu button then for the various things needed,
Robert Kime: Right.
Donald Parker: including v
Robert Kime: In
Donald Parker: voice
Robert Kime: the middle
Donald Parker: recognition if we have
Robert Kime: perhaps.
Donald Parker: any like settings for voice recognition now included in the menu.
Robert Kime: Yep.
Virgil Large: Ooh, I just got an idea for a design.
Robert Kime: good.
Robert Kime: Anybody have anything else they'd like to bring up in this meeting?
Eddie Chio: I had something, but I forgot.
Robert Kime: Okay. get out of here. Let's go back to the meeting closure then and see what we need to do next. Mm. Alright. After this meeting we're gonna be sent a questionnaire and summary again which we need to reply to that e-mail. And then we're gonna have lunch break. And after lunch thirty minutes of individual work time. Um I'm gonna put the minutes I put the minutes for the first meeting already in the project documents folder, if you'd like to review them. And I'm gonna type up the minutes for this one as well. Um here's what we're each going to do. The I_D_ is going to work on the components concept, um U_I_D_ the user interface concept, and you're going to do some trend watching. 'Kay. Specific instructions will be sent to you by your personal coach. And if anybody has anything they would like to add? No? Okay, well, this meeting is officially over. Thank you all. | Donald Parker presented the basic functions of the device and discussed the designs of two existing products, showing an example of the simple design that the group wants to implement. Virgil Large presented feedback from users, showing that users want a simple but fancy-looking remote control and that young users want speech recognition. She discussed including only the most basic functions in the interface. Eddie Chio presented her internal design of the device and discussed the processor chip and the energy sources that will be integrated. She suggested integrating an extra lightbulb that lit up when the remote was communicating with the television. Robert Kime gave the group new requirements for the product design. The group discussed marketing the product to a wide range of customers. They had a discussion about possibly including a locator function and speech recognition. They discussed integrating the company's yellow color and logo into the design, and decreasing the number of buttons in the main interface. Robert Kime instructed Eddie Chio to prepare the components concept, Donald Parker to prepare the interface concept, and Virgil Large to prepare a trendwatching report. | 5 | amisum | train |
Gregory Solis: Hi everyone, hope you had a nice lunch Um. Alright we're moving on to conceptual design.
Anthony Moody: 'Scuse Marcus Davis.
Marcus Davis: Bless you.
Gregory Solis: Um, I'll just review what we did in our last meeting. Um, under marketing we targeted our audience, and Um, yeah. That was generally how helpful that was. Um, then we considered some design options with how it should look, um, we discussed an iPod-like button system which, uh, we haven't concluded but we're Right, um So if, you all have presentations to do, we can see what where you've come from our last time. Does everyone have
Fred Parker: Hmm.
Gregory Solis: presentations?
Marcus Davis: Yeah.
Anthony Moody: Yes.
Gregory Solis: Okay.
Fred Parker: Yes.
Gregory Solis: Would anybody like to go first?
Fred Parker: Sure.
Gregory Solis: Okay.
Fred Parker: So I've been looking at the components design. Um. Mostly by consulting remote control diagrams from the internet and also by incorporating design ideas from the last project meeting. Um, so we need some custom design parts, and other parts we'll just use standard. Um, I assume we'll be custom designing our case, probably a hard plastic or some other material case, to protect the remote and the locator. And we'll need to custom desi design a circuit board, because the board has to take the button input and send it to the output so you have to design that each time. But once we come up with a design we'll send it to the circuit people and they'll just print it out. Um, standard parts include the buttons and the wheels, um the iPod-style wheel. The infrared L_E_D_ is actually gonna be included in the circuit board that comes with it. Um, we need a radio sender and receiver, those are standard. And al we also need a beeper or buzzer or other sort of noise thing for locating the remote. So we have some material options. Um, we can use rubber, plastic, wood or titanium. Um, I'd recommend against titanium because it can only be used in the flat cases and it's really heavy. Um, and the rubber case requires rubber buttons, so if we definitely want plastic buttons, we shouldn't have a rubber case.
Gregory Solis: And
Fred Parker: And,
Gregory Solis: why not wood?
Fred Parker: hmm?
Gregory Solis: And why not wood?
Fred Parker: Uh, well we can use wood. I don't know why we'd want to. Um and also we should note that if we want an iPod-style wheel button, it's gonna require a m qu slightly more expensive chip. We can't use the minimal chip, we need the next higher grade, which is called regular. I don't think it's much more expensive, but it is more expensive. So that's what I've got on design.
Gregory Solis: 'S good.
Marcus Davis: Um, can I do next? 'Cause I have to say something about the
Gregory Solis: Hmm.
Marcus Davis: material
Anthony Moody: Yeah.
Marcus Davis: which is quite shocking.
Marcus Davis: Ha. Mm.
Marcus Davis: Right, um, I have been searching the current trends, um, both on the web and via fashion-watchers, and the findings are that the first thing to aim for is a fashion uh, fancy look and feel. Um. Next comes technologic technology and the innovations to do with that. And th last thing is the easy to use um factor Um. fancy look and feel goes far beyond the functionality of the thing, but I suppose that is included in in the ease of use. Um, our fashion-watchers in Milan and Paris have decided, well noticed, that f the fruit and vegetable theme is the is the current trend and and therefore um we need to go for that if we want, you know, wh whatever our motto is. Um. For fashion,
Gregory Solis: Mm.
Marcus Davis: we go for fashion. The fashion in electronics. So we want to put the fashion electronics, we need to go fruit and vegetables. And also go for a spongy feel, so the the question of our technology whate is Industrial Designer. As to the material should be limited to I don't know how spongy it can be, should discuss this together, I don't know how spongy can be achieved but apparently that's the way to go. Um. I I have been thinking about this fruit and vegetable thing and I prefer fruits to vegetables, but that's just a personal opinion. I think I think people like to have a fruit instead of a vegetables in their sitting room. Uh those are just suggestions and also we need to decide whether this should be printed, so that still has to do with the material discuss should we print the fruit stuff, or should the actual remote look like a fruit? Um, and finally again with the spongy. It has to be technologically innovative so maybe again our Industrial Designer should look into that or find come up with a solution that's better than mine. Um, yeah, to summarise these are the points that need to be um, touched in order to get a good decision, and hopefully our User Interface has more to say about the matter.
Anthony Moody: Mm-hmm.
Marcus Davis: Thank you for your attention.
Anthony Moody: So.
Gregory Solis: I think it's the next
Anthony Moody: Oh,
Gregory Solis: it's
Anthony Moody: uh,
Gregory Solis: the blue one,
Anthony Moody: there
Gregory Solis: yeah.
Anthony Moody: we go. Uh. Okay. Um. Well so that fruit and vegetables thing huh. I actually wasn't aware of the new trends in electronics and
Marcus Davis: Neither was I. Well
Anthony Moody: and
Marcus Davis: it's
Anthony Moody: uh
Marcus Davis: a trend in fashion, in clothing and um
Gregory Solis: Yeah but
Marcus Davis: fabrics.
Gregory Solis: you're not gonna wear your remote control.
Anthony Moody: So so okay, let Marcus Davis get this right. Okay, uh Okay, alright anyway. Um here we go. Conceptual User Interface. Trying we're gonna to about, um what kind of uh how people are actually going to be using this iPod-ish remote control, based on fruit vegetable design. And, um, basically, so, this is a touched ba a touch-based graphical interface system. Uh, so people are going to be looking at this little screen. Um, kind of I mean I assume, are we still on the screen idea?
Gregory Solis: Oh we s hadn't discussed it last
Anthony Moody: 'Cause if
Gregory Solis: time.
Anthony Moody: we're gonna have to ha if we have this it just seems like in order to have someone going around and using the um the wheel
Gregory Solis: You need a screen
Anthony Moody: you
Gregory Solis: for
Anthony Moody: it seems
Gregory Solis: it?
Anthony Moody: like you would need a screen.
Fred Parker: You need a screen with music because you're looking for a specific song, like you know that band or whatever.
Anthony Moody: But like if you
Fred Parker: With
Anthony Moody: think
Fred Parker: T_V_
Anthony Moody: about
Fred Parker: channels
Anthony Moody: it
Fred Parker: it's, you know, one two three.
Anthony Moody: yeah
Fred Parker: So
Anthony Moody: but if so is it just okay. So, b you you're gonna have to switch to like D_V_D_ and like other things like that, aren't
Gregory Solis: We're,
Anthony Moody: you?
Gregory Solis: um, we're
Anthony Moody: Are
Gregory Solis: actually
Anthony Moody: we
Gregory Solis: not having D_V_D_, that was
Fred Parker: Yeah.
Gregory Solis: one of th I
Anthony Moody: Okay.
Gregory Solis: I was sorry, I I
Anthony Moody: Alright.
Gregory Solis: meant to update you on that.
Anthony Moody: Okay.
Gregory Solis: Um.
Marcus Davis: But the screen can come up on the telly, the
Anthony Moody: Okay.
Marcus Davis: she said. That
Anthony Moody: Okay.
Fred Parker: Yeah.
Marcus Davis: correct?
Anthony Moody: So anyway if well we just we need to Okay so if we're not gonna have a screen I think I was thinking okay. So basically it's just gonna be a wheel then? And you're just gonna I mean I think you're gonna have to have some kind of a
Marcus Davis: Graphical
Anthony Moody: right.
Marcus Davis: interface?
Anthony Moody: Yeah
Marcus Davis: Uh
Anthony Moody: like you're
Marcus Davis: on
Anthony Moody: g
Marcus Davis: the you can have it on the telly though.
Anthony Moody: yeah
Gregory Solis: Yeah.
Anthony Moody: like you're gonna have to be able to switch to like a mode where you can okay we're not choosing that, I guess. But like choose channel control, like if you wa Because people aren't gonna be able to have like, um, you know, channels one two three four five six seven eight nine.
Gregory Solis: Yeah.
Anthony Moody: So that people seems to be
Gregory Solis: You've Yeah,
Anthony Moody: well
Gregory Solis: I know what you're saying,
Anthony Moody: You know.
Gregory Solis: you have
Anthony Moody: But
Gregory Solis: to
Anthony Moody: you're gonna have to scroll to get channels. So um I guess that's wh why I was thinking you may need to have some kind of a screen because So that people can go arou go back and forth and choose if or or then again if you just I guess I c I can see like some kind of a thing where like you sort of have like the number come up on the T_V_
Marcus Davis: Yeah,
Anthony Moody: like what channel you're on.
Marcus Davis: yeah,
Anthony Moody: You can
Fred Parker: Yeah.
Anthony Moody: just
Marcus Davis: yeah.
Anthony Moody: scroll and
Marcus Davis: Yeah,
Anthony Moody: you can just get
Marcus Davis: yeah.
Anthony Moody: to like five or like twelve or
Gregory Solis: But
Fred Parker: My flatmates
Gregory Solis: but imagine
Fred Parker: actually
Gregory Solis: someone
Fred Parker: had
Gregory Solis: with
Fred Parker: one with
Gregory Solis: s
Fred Parker: a wheel, and it it did show up
Anthony Moody: I
Fred Parker: on the T_V_.
Anthony Moody: oh yeah?
Gregory Solis: But i what if you have satellite and you have like two hundred channels. Then to
Anthony Moody: 'Cause
Gregory Solis: get to channel
Anthony Moody: you'll
Gregory Solis: one
Anthony Moody: have
Gregory Solis: eighty
Marcus Davis: Yeah.
Anthony Moody: to
Gregory Solis: nine
Anthony Moody: like
Gregory Solis: you have to
Fred Parker: They have to
Anthony Moody: but
Fred Parker: r
Anthony Moody: you can
Fred Parker: wheel
Anthony Moody: quickly
Fred Parker: really fast.
Gregory Solis: Yeah.
Anthony Moody: s you can
Fred Parker: But I think the wheel goes through like a hundred
Anthony Moody: Yeah.
Marcus Davis: Yeah,
Fred Parker: channels,
Marcus Davis: yeah, yeah.
Fred Parker: at least on theirs.
Anthony Moody: Yeah if you do, it w so it would have to be you I mean so you basically just kinda need to figure out like what kind of, you know, range we need to have on the wheel, and um So you're either you're you know, th you're either doing this motion to like control the channels or like once once you stop that, you know, you can like tap for, um,
Gregory Solis: Yeah.
Anthony Moody: different uh, whatchamacallits, different um, you know, functions like volume or, like you can tap just to get to different channels. Like if you just wanted to go to like from five to six you could tap or someth
Gregory Solis: Right.
Anthony Moody: And then there's also the concern about you know um how do you get to the menu if you wanna change the brightness of your television, or if you want to um you know switch around, I don't know, like, these different modes like turn on the timer or like
Gregory Solis: Yeah
Anthony Moody: something something like that, like
Gregory Solis: I mean with that many options, you'd uh I'd think that the screen would be better, because
Anthony Moody: I would think
Gregory Solis: you
Anthony Moody: so
Gregory Solis: could have
Anthony Moody: too,
Gregory Solis: that
Anthony Moody: like
Gregory Solis: menu option, sort of
Anthony Moody: So I mean and it seems it w it does seem a little silly to have this screen if you hardly are ever using it, you know, because
Gregory Solis: Yeah.
Anthony Moody: but then again it would it does make kind of if the screen's sort of just like an option that, like, is just there and you're not really using it, that's kind of
Gregory Solis: Yeah.
Fred Parker: It's
Anthony Moody: m
Fred Parker: more expensive
Anthony Moody: yeah.
Fred Parker: according to the design
Gregory Solis: Uh.
Fred Parker: people.
Anthony Moody: Yeah, that's the only
Fred Parker: You have
Anthony Moody: thing
Fred Parker: to
Anthony Moody: though.
Fred Parker: get a an advanced chip if you wanna have a screen in, which is more expensive than the regular chip, which is more expensive than the
Anthony Moody: Yeah.
Fred Parker: minimal.
Anthony Moody: So then basically
Gregory Solis: Mm.
Anthony Moody: it has to have some way to get to get to a mode on the television where you're doing, um You can get to you know, you can Like maybe it'll be that central button
Marcus Davis: Yeah,
Anthony Moody: that,
Marcus Davis: yeah,
Anthony Moody: like,
Marcus Davis: yeah.
Fred Parker: Mm-hmm.
Anthony Moody: then
Gregory Solis: Mm.
Anthony Moody: you hit that and then you can it brings up like the menu on the T_V_
Marcus Davis: Yeah.
Anthony Moody: and you can just
Gregory Solis: Yeah.
Anthony Moody: scroll around,
Gregory Solis: So
Anthony Moody: like,
Gregory Solis: the T_V_
Anthony Moody: to do
Gregory Solis: is
Anthony Moody: the timer,
Gregory Solis: the screen,
Anthony Moody: to do the
Gregory Solis: that
Anthony Moody: yeah,
Gregory Solis: yeah
Anthony Moody: yeah.
Gregory Solis: So it would have all these different options
Anthony Moody: Yeah.
Gregory Solis: of changing
Anthony Moody: But the remote
Gregory Solis: to
Anthony Moody: itself isn't really
Marcus Davis: Look
Anthony Moody: cluttered
Marcus Davis: it even
Anthony Moody: up.
Marcus Davis: has settings.
Gregory Solis: Okay.
Anthony Moody: Hmm?
Marcus Davis: On the
Gregory Solis: Yeah.
Marcus Davis: you can just
Anthony Moody: Yeah,
Marcus Davis: take theirs
Gregory Solis: Yeah.
Anthony Moody: well we
Marcus Davis: and
Anthony Moody: don't want the
Marcus Davis: just
Anthony Moody: screen I guess, but um 'cause that just it does seem like, it that would be, like, incredibly expensive, but I dunno, and then so, it just im really all you need is, like, this little wheel then, and you can control everything. So
Gregory Solis: Um, right. What if I mean, if you're thinking of the design of it now, like the a you know, physical attributes,
Anthony Moody: Yeah.
Gregory Solis: um, and you just have this, it's like just a long silver thing, or whatever we're thinking. I mean are you you gonna have any buttons on that besides power and this thing? Or
Anthony Moody: It doesn't seem that you would need anything besides pow I mean and the power button could even be like hold down the menu button for like
Gregory Solis: Yeah.
Anthony Moody: longer than one second and it turns on the T_V_.
Gregory Solis: So can we imagine that this would be smaller than the remote controls that you showed us before. I
Anthony Moody: Yeah.
Gregory Solis: mean
Anthony Moody: Yeah definitely. Like,
Gregory Solis: okay.
Anthony Moody: I think we're looking at something that could be, like like even maybe like a cir I'm f I'm seeing almost like a circular sort of like handheld like thing.
Marcus Davis: Yeah
Anthony Moody: I mean
Marcus Davis: but
Anthony Moody: it
Marcus Davis: should
Gregory Solis: Yeah.
Marcus Davis: be
Anthony Moody: it
Fred Parker: Yeah.
Marcus Davis: comfortable.
Anthony Moody: needs to be easy
Gregory Solis: Yeah.
Anthony Moody: to somehow it needs to be easy to like manipulate and use your
Gregory Solis: Yeah.
Anthony Moody: I mean how do how do I'm not really Like when I use an iPod, I end up just kind of using my index finger to like control it.
Gregory Solis: Yeah, I've
Anthony Moody: So
Gregory Solis: seen some people just going like that
Anthony Moody: Yeah.
Gregory Solis: with their
Marcus Davis: Yeah
Gregory Solis: thumb,
Anthony Moody: Or your thumb
Marcus Davis: I use
Gregory Solis: yeah.
Anthony Moody: or something.
Marcus Davis: it like that.
Fred Parker: W
Anthony Moody: So
Fred Parker: when we had the wheely remote control, we it was on the top I think, if you held it like that.
Gregory Solis: Yeah.
Anthony Moody: Yeah.
Marcus Davis: Yeah.
Anthony Moody: Yeah,
Gregory Solis: But,
Anthony Moody: so
Gregory Solis: were there buttons on there as well?
Fred Parker: Yeah well it had the wheely thing and then it had those eighteen different buttons
Gregory Solis: Mm.
Fred Parker: that I don't know what they do.
Gregory Solis: Yeah.
Anthony Moody: Mm
Fred Parker: So
Anthony Moody: yeah.
Fred Parker: we just used the top part.
Gregory Solis: Yeah.
Anthony Moody: Yeah,
Marcus Davis: Uh.
Anthony Moody: so but I mean I think it could be pretty small. Like, I d I mean, you you want it to be large enough that you can
Gregory Solis: What if, um, you had like a b a cover that went over buttons that you don't use very much? Like you so you could slide it up if you needed to like change the contrast or something like that? So the options are there but they're not in interfering with the design and the practicality of it.
Anthony Moody: But can't you just
Gregory Solis: Do do
Anthony Moody: get
Gregory Solis: you know what I'm talking
Fred Parker: Yeah.
Gregory Solis: about though? Like, uh, yeah just
Fred Parker: Yeah
Gregory Solis: something
Fred Parker: like
Anthony Moody: K
Fred Parker: maybe something on the side
Marcus Davis: Well you
Fred Parker: where
Marcus Davis: can
Fred Parker: you
Marcus Davis: have it on
Gregory Solis: Yeah,
Marcus Davis: the settings,
Fred Parker: slip a
Gregory Solis: that
Fred Parker: panel
Gregory Solis: you can flip
Fred Parker: down
Marcus Davis: no?
Fred Parker: and it's
Gregory Solis: over,
Fred Parker: got a
Gregory Solis: yeah,
Fred Parker: whole
Anthony Moody: Yeah,
Fred Parker: bunch of
Gregory Solis: yeah.
Anthony Moody: But, I mean, do you need that? If if you can get to, you know if so long as you're able to bring up the menu on the T_V_ screen.
Gregory Solis: Yeah I mean I guess
Fred Parker: Yeah.
Gregory Solis: that's the
Anthony Moody: That
Gregory Solis: thing
Anthony Moody: keeps
Gregory Solis: is
Anthony Moody: it
Gregory Solis: is if w I
Anthony Moody: really
Gregory Solis: if we can do this, that'd probably
Anthony Moody: Yeah.
Gregory Solis: be
Anthony Moody: Uh you wouldn't I don't I just don't think you would even need it.
Gregory Solis: Yeah, yeah.
Anthony Moody: So
Gregory Solis: So I
Anthony Moody: Mean
Gregory Solis: guess we have to look into the, um, like, the programming, how this how they actually programme these things,
Fred Parker: Oh
Gregory Solis: and if
Fred Parker: how they
Gregory Solis: that's
Fred Parker: make the menu show up on
Gregory Solis: yeah.
Fred Parker: the T_V_?
Anthony Moody: I mean
Fred Parker: I
Anthony Moody: you can
Fred Parker: don't
Anthony Moody: do
Gregory Solis: I
Fred Parker: know.
Anthony Moody: it,
Gregory Solis: mean
Marcus Davis: They already
Gregory Solis: it would
Marcus Davis: do
Gregory Solis: y
Marcus Davis: it.
Gregory Solis: would
Anthony Moody: you it's
Fred Parker: I
Anthony Moody: it
Fred Parker: believe
Anthony Moody: doesn't
Gregory Solis: that
Fred Parker: it's
Anthony Moody: seem
Gregory Solis: would
Fred Parker: ins
Anthony Moody: that
Gregory Solis: be
Anthony Moody: hard.
Fred Parker: it's gotta be inside the T_V_, not inside the remote.
Anthony Moody: I mean I've never bought
Fred Parker: I'm
Anthony Moody: a
Fred Parker: not
Anthony Moody: remote.
Fred Parker: sure.
Anthony Moody: It sounds like this remote's going to be purchased separately from the television, which
Fred Parker: Well
Anthony Moody: is a little
Fred Parker: they usually are. Well
Anthony Moody: My I've never bought just a remote, like, so
Marcus Davis: No.
Anthony Moody: I don't I don't really
Gregory Solis: Huh.
Anthony Moody: know. But um
Fred Parker: I guess that's right. It always comes with the T_V_.
Anthony Moody: So, um but I mean it's I've never had a hard time with like my remotes, like bringing up the menu screen if you need to like change the date or whatever, you know. And I don't think that should uh that should be too hard.
Fred Parker: Yeah, it most of the ones we've had have had the menu button, 'cause it's not like you need to have a button access to like change the contrast or something.
Anthony Moody: Yeah.
Fred Parker: 'Cause it just doesn't come up every day or something.
Anthony Moody: Yeah. Well so So, do we need I dunno. Well I guess we have to you know think about But I mean you just basically need the output signal
Fred Parker: Mm-hmm.
Anthony Moody: you know to
Gregory Solis: Yeah.
Anthony Moody: be able to bring it up.
Gregory Solis: Okay.
Anthony Moody: That's what it does anyway.
Marcus Davis: But also if you have it on the screen you can actually write everything out, because the problem with buttons is you like, they have these sort of abbreviations and
Anthony Moody: Yeah.
Fred Parker: Yeah.
Marcus Davis: codes
Gregory Solis: Yeah,
Marcus Davis: that you're supposed
Gregory Solis: you
Marcus Davis: to understand,
Gregory Solis: don't know they mean,
Marcus Davis: and
Gregory Solis: yeah,
Marcus Davis: I never
Gregory Solis: it's
Marcus Davis: get
Gregory Solis: like
Marcus Davis: it.
Anthony Moody: Yeah.
Marcus Davis: Never
Gregory Solis: yeah.
Marcus Davis: ever. So
Anthony Moody: So, but oh, you mean if we have this screen like the iPod screen?
Marcus Davis: Well on the telly.
Fred Parker: Or on the T_V_
Anthony Moody: On the
Fred Parker: too.
Anthony Moody: telly, okay, yeah. So yeah I think, I mean, I think I think the touch-based graphical interface is a really uh cool idea because you know it is so obnoxious to like have to push those like okay now I hit this you know, you have your little guide out and you're like, hit this button twice, like
Gregory Solis: Mm.
Anthony Moody: to
Marcus Davis: Mm.
Gregory Solis: And it is technologically
Anthony Moody: activate the date.
Gregory Solis: innovative in a way, so
Anthony Moody: Yeah.
Gregory Solis: that
Anthony Moody: I guess.
Gregory Solis: fits with the
Anthony Moody: And it is trendy,
Gregory Solis: B
Anthony Moody: the iPods are
Gregory Solis: Yeah.
Anthony Moody: really hot right now,
Marcus Davis: Did you
Anthony Moody: so
Marcus Davis: did you get that pc picture on did they provide you with that picture
Anthony Moody: Um,
Marcus Davis: on the web?
Anthony Moody: yeah, by web research, yeah, so
Marcus Davis: That's quite interesting. What are we going to do about this vegetable thing that I'm dreading?
Gregory Solis: Oh
Anthony Moody: Oh.
Gregory Solis: god.
Fred Parker: Oh, I was gonna say. You said uh people want spongy. Um,
Marcus Davis: Yeah.
Anthony Moody: Yeah.
Fred Parker: one of your one of the material options is a sort of rubber that's in like those stress ball things. So,
Anthony Moody: Oh, okay, that
Marcus Davis: Yeah.
Anthony Moody: would
Gregory Solis: Ah.
Anthony Moody: be cool.
Fred Parker: that would be spongy.
Gregory Solis: Yeah.
Marcus Davis: Yeah.
Anthony Moody: Mm.
Marcus Davis: Just nice feel, but I hate spongy.
Anthony Moody: Yeah, c
Gregory Solis: Yeah.
Anthony Moody: that's e that would be kind of oh, you know, usually like the touch pad things are kind of a hard plastic typ mouse type,
Gregory Solis: Yeah.
Anthony Moody: you know, thing. But what if
Gregory Solis: I
Anthony Moody: we
Gregory Solis: mean
Anthony Moody: ha
Gregory Solis: definitely the area
Anthony Moody: what if
Gregory Solis: round
Anthony Moody: we had like
Gregory Solis: it.
Anthony Moody: a spongy sort of like stress balley kinda so you're like
Fred Parker: Yeah I think it could work.
Anthony Moody: Or what
Gregory Solis: Yeah.
Anthony Moody: if we integrated the the uh the f what if the whole thing about the fruit and vegetables we somehow made it tactilely fash you know, we c tapped into that, so like it feels like
Marcus Davis: Well
Anthony Moody: a vegetable.
Marcus Davis: it could be
Gregory Solis: An
Marcus Davis: like
Gregory Solis: orange.
Fred Parker: Don't think
Marcus Davis: mobiles
Fred Parker: I'd want it to feel
Marcus Davis: that just
Fred Parker: like a banana.
Marcus Davis: you just put a cover.
Anthony Moody: Yeah.
Marcus Davis: If it's a small thing, you c instead of creating an object for it that looks like a banana, which frankly I'm not particularly fond of, um you could just have covers and then your mobile f it's like a mobile phone thing. You know you
Anthony Moody: Yeah.
Marcus Davis: had
Gregory Solis: Yeah.
Marcus Davis: there was a time when they had all these different covers
Anthony Moody: Yeah.
Fred Parker: You
Marcus Davis: for
Fred Parker: could
Marcus Davis: mobiles.
Fred Parker: do like the computers where they have like the grapefruit, apple machine and they have like the blueberry,
Marcus Davis: Yeah,
Fred Parker: like all
Marcus Davis: yeah,
Gregory Solis: Yeah.
Fred Parker: the colours
Marcus Davis: yeah.
Fred Parker: are named after fruits.
Anthony Moody: Yeah.
Gregory Solis: Yeah.
Marcus Davis: Yeah.
Anthony Moody: You could name it after fruits and vegetables,
Marcus Davis: And
Anthony Moody: or
Marcus Davis: it could the colour can fit your sitting room, so if you have red sitting room you can have strawberry, and then if you have a green one you can have well I don't know.
Anthony Moody: Yeah.
Marcus Davis: Um.
Gregory Solis: So
Anthony Moody: So
Gregory Solis: what
Anthony Moody: I think
Gregory Solis: if what
Anthony Moody: yeah, colours.
Gregory Solis: this is I'm just forming this idea in my head of how this thing is looking. If you have like that stress ball material kind of as what you're actually holding in your hand, so like what you're feeling is comfortable, and then there's more of a hard plastic thing
Marcus Davis: Yeah.
Gregory Solis: where that thing is.
Anthony Moody: Yeah.
Gregory Solis: And on that hard plastic thing you can change either the colour or the fruit or vegetable that's on there.
Anthony Moody: Yeah.
Gregory Solis: Is that kind of I 'cause I I'm thinking of silver because those are our company colours.
Anthony Moody: Yeah.
Gregory Solis: Um
Anthony Moody: Unfortunately they don't have silver fruits and vegetables. I do I dunno. Um
Gregory Solis: I mean how are you how are you all envisioning by what we've just the feedback we've just got about the
Marcus Davis: Maybe a ball.
Gregory Solis: A ball?
Marcus Davis: Know, a squashy ball. A relaxing squashy ball.
Anthony Moody: That's in the shape of a fruit, like a
Marcus Davis: That you can p well I see you're thinking, it's weird, you're thinking the opposite of Marcus Davis 'cause you're thinking you change the the hard bit
Gregory Solis: Yeah.
Marcus Davis: and I'm thinking how do you change the hard would you put a um sticker sort of? Because I was thinking if you have a cover for the squashy bit, like a
Gregory Solis: This is just Okay.
Marcus Davis: Oh,
Gregory Solis: Say
Marcus Davis: okay,
Gregory Solis: that's the s say that's
Marcus Davis: yeah.
Gregory Solis: the squashy bit. Squashy.
Marcus Davis: Yeah I was thinking of getting a cover for
Gregory Solis: That see I was thinking
Marcus Davis: Which is
Gregory Solis: this
Marcus Davis: cheaper.
Gregory Solis: s sorry
Marcus Davis: Well I don't know if it's cheaper
Gregory Solis: I was
Fred Parker: Oh.
Gregory Solis: thinking
Marcus Davis: actually.
Fred Parker: Mm.
Gregory Solis: this bit here would be the cover and like that's your actual
Anthony Moody: Yeah.
Gregory Solis: thing. And like this
Anthony Moody: Oh I like
Gregory Solis: you
Anthony Moody: that
Gregory Solis: could have
Anthony Moody: shape.
Gregory Solis: like you could have like cherries and
Anthony Moody: Yeah.
Gregory Solis: things around there. Um
Fred Parker: I was thinking
Gregory Solis: but
Fred Parker: sort of a single ball shape.
Gregory Solis: I
Anthony Moody: Yeah.
Gregory Solis: was thinking if
Fred Parker: So
Gregory Solis: it
Fred Parker: you're
Gregory Solis: was
Fred Parker: holding
Gregory Solis: like this
Fred Parker: a
Gregory Solis: 'cause
Fred Parker: squishy
Gregory Solis: the way
Fred Parker: ball
Gregory Solis: you were
Fred Parker: and
Gregory Solis: describing
Fred Parker: then it has a
Gregory Solis: the the iPod and the thi the roll thingy
Anthony Moody: It's like it
Fred Parker: Mm-hmm.
Anthony Moody: has to be s yeah.
Gregory Solis: It's almost like your thumb is farther up,
Fred Parker: Yeah I guess so.
Gregory Solis: it lower
Anthony Moody: Yeah.
Gregory Solis: then
Marcus Davis: Yeah. So it wouldn't be very big in either like how big? This big, and then you just do that,
Anthony Moody: What
Gregory Solis: Yeah,
Anthony Moody: if, yeah,
Gregory Solis: I
Marcus Davis: I
Gregory Solis: know
Marcus Davis: suppose.
Gregory Solis: what
Anthony Moody: what
Gregory Solis: you
Anthony Moody: if
Gregory Solis: meant,
Anthony Moody: the squishy,
Gregory Solis: yeah.
Anthony Moody: oh so so you're saying the squishy part's like detachable, and you can so so maybe one you know you can have like the broccoli squishy thing, and then you could have like the banana squishy thing and you could get you could have your choice, you know?
Marcus Davis: Well just a li I can't des like condom thingy, like a a cover. But well the question is, which one's easiest to change can just
Gregory Solis: Yeah.
Marcus Davis: contact our relevant department for that, and
Anthony Moody: Yeah.
Marcus Davis: just see what the cost is for covering that or covering
Anthony Moody: Yeah,
Marcus Davis: that,
Anthony Moody: yeah.
Gregory Solis: Mm.
Marcus Davis: and for now we can do two prototypes maybe and then
Anthony Moody: Yeah.
Marcus Davis: hi try and ask users
Gregory Solis: Okay.
Marcus Davis: what the best is, and
Gregory Solis: Yeah.
Anthony Moody: Yeah.
Marcus Davis: No.
Gregory Solis: Okay.
Anthony Moody: Oh.
Marcus Davis: Um. That's nicer. I think it's
Anthony Moody: Yeah.
Marcus Davis: nicer to have a drawing 'cause it's neater.
Gregory Solis: Hmm.
Marcus Davis: Um.
Gregory Solis: Well that's not very neat, but
Anthony Moody: Yeah. I mean I think uh and I think the handhe I think the handheld part is definitely So you could make that into the fruit and vegetable part.
Marcus Davis: If it's a bit like those juggling balls, you can change shape according to your to the way you hold
Fred Parker: Yeah
Marcus Davis: it.
Gregory Solis: Mm-hmm.
Marcus Davis: If
Fred Parker: you could
Marcus Davis: it's
Fred Parker: squish
Marcus Davis: got sand
Fred Parker: it.
Marcus Davis: in it maybe, or something,
Gregory Solis: Yeah.
Marcus Davis: you it it just moulds to your hand.
Anthony Moody: Yeah. So where are the fruit and vegetables now?
Marcus Davis: We
Anthony Moody: Fruits
Marcus Davis: we don't
Anthony Moody: and veg.
Fred Parker: I
Marcus Davis: know.
Fred Parker: guess they would be either in the colour of that plastic
Anthony Moody: Yeah.
Fred Parker: face on
Gregory Solis: Yeah.
Fred Parker: the front, or in the colour of the squishy thing underneath.
Marcus Davis: Yeah.
Anthony Moody: Yeah.
Marcus Davis: And the rest is the company the company colour's silver?
Gregory Solis: It was, yeah, silver and yellow. It l it looks like I don't
Anthony Moody: We could
Marcus Davis: Okay.
Anthony Moody: promote the banana one.
Gregory Solis: Yeah.
Anthony Moody: Like mm.
Gregory Solis: I mean that's another question, where are we gonna we we should have the logo somewhere on it.
Anthony Moody: Mm.
Marcus Davis: Mm-hmm. Should also fit the batteries, which we haven't
Anthony Moody: Oh
Gregory Solis: Yeah.
Anthony Moody: yeah.
Fred Parker: I think the batteries would have to go right under the plastic
Gregory Solis: Yeah,
Fred Parker: case.
Anthony Moody: Yeah.
Gregory Solis: th and that would
Marcus Davis: Okay.
Fred Parker: Especially if
Gregory Solis: that
Fred Parker: you're switching out the squishy part. Then you need to have the other part just be sort of a single unit that you can snap off.
Marcus Davis: Mm-hmm.
Gregory Solis: Mm-hmm.
Anthony Moody: Yeah, I think, um it'd be interesting to have the b the squishy bit. The part that you, yeah, can change into the different, you know, trendy vegetables and fruits. But uh
Fred Parker: Well I dunno.
Anthony Moody: it
Fred Parker: You'd spend so much time like squishing it to your own personal hand. Then you'd get a new one and you'd have to do it all over again.
Anthony Moody: Yeah.
Marcus Davis: No but it does it automatically. Does it automatically?
Anthony Moody: Yeah.
Marcus Davis: I don't know.
Gregory Solis: I don't know what the rest of my notes mean because they were made for Marcus Davis.
Marcus Davis: Okay.
Gregory Solis: But if someone components concept. Question mark. Energy. Question
Fred Parker: That was Marcus Davis.
Gregory Solis: mark. Was that you?
Fred Parker: Yes.
Gregory Solis: Okay. Oh right right. Yeah. Um, so what d but what do we know about energy? I mean we're gonna use batteries right? And
Fred Parker: which is something I don't know what it is. Something
Marcus Davis: Oh,
Fred Parker: to
Marcus Davis: a dynamo
Fred Parker: do with torches.
Marcus Davis: is ah, it's a bicycle. It's a bicycle mechanism. It's the en it's like if if something moves,
Fred Parker: Oh
Marcus Davis: when
Fred Parker: okay.
Marcus Davis: it moves,
Fred Parker: Yeah,
Marcus Davis: it
Fred Parker: the other
Marcus Davis: stores
Fred Parker: one was
Marcus Davis: energy.
Fred Parker: the other one was a kinetic thing where you'd basically have to wind it yourself. So
Marcus Davis: It's quite sweet.
Fred Parker: I sort of picked battery. We could have talked about doing a wind-up or a dynamo or a solar power. Um but I think solar power's not available with the rubber case anyways.
Gregory Solis: I think batteries
Fred Parker: It
Gregory Solis: sound good. What does
Fred Parker: it
Marcus Davis: No.
Gregory Solis: everyone
Fred Parker: seems
Gregory Solis: else
Fred Parker: a little
Gregory Solis: think?
Fred Parker: weird for
Anthony Moody: The dynamo
Fred Parker: a living room
Anthony Moody: would
Fred Parker: anyways.
Anthony Moody: be interesting.
Marcus Davis: But dynamo the the fact with dynamo is, the moment you move it, it c it creates energy on its own.
Anthony Moody: Oh.
Gregory Solis: What about Kryptonite?
Marcus Davis: Which is quite cool. So if you throw it, it's gonna store loads of energy, and you don't need to buy a battery 'cause they're quite f I find them annoying. But we need to find cost.
Gregory Solis: Yeah.
Marcus Davis: Don't know the cost.
Fred Parker: Didn't have
Marcus Davis: Does
Fred Parker: enough
Marcus Davis: anyone
Fred Parker: data
Marcus Davis: have
Fred Parker: to actually
Marcus Davis: costs on the on the
Fred Parker: All
Marcus Davis: web?
Fred Parker: it said was it gave sort of relative, some chips are more expensive than others, sort of things. It didn't give Marcus Davis any actual
Marcus Davis: Okay.
Fred Parker: cost.
Marcus Davis: Right.
Anthony Moody: Hmm.
Marcus Davis: Mm.
Fred Parker: Most of the stuff is pretty cheap though bought in bulk. So I don't think it's that much of a problem. Like the chip is probably the most expensive part.
Gregory Solis: What does chip on print mean?
Fred Parker: Um, for things like remote controls, um, they stamp out a chip,
Gregory Solis: Uh-huh.
Fred Parker: calculators too I think. Um, so you can mass produce 'em pretty cheap.
Gregory Solis: Okay.
Fred Parker: But it's not like a computer, you can't like reprogramme your remo remote controls, it's like
Gregory Solis: Right.
Fred Parker: stamped onto the chip.
Gregory Solis: So, chip on print is just means like that they're mass-produced.
Fred Parker: Yeah.
Gregory Solis: Okay. And case? Uh I guess
Fred Parker: Case
Gregory Solis: that's
Fred Parker: is
Gregory Solis: what
Fred Parker: what
Gregory Solis: we've
Fred Parker: we
Gregory Solis: been
Fred Parker: were
Gregory Solis: talking
Fred Parker: discussing
Gregory Solis: about, yeah.
Fred Parker: yeah.
Gregory Solis: Casing. Yeah. thinking of like syntactic case and thi um let's see. Is there anything else we need to
Anthony Moody: Hmm.
Gregory Solis: talk about? Oh when we move on, you two are going to be playing with play-dough. Um, and working on the look and feel of the design and user interface design. And you're gonna be doing protu product evaluation. So you'll get mm m more instructions from your personal coach.
Marcus Davis: Oh, thank
Gregory Solis: Mm.
Anthony Moody: Cool.
Marcus Davis: you.
Gregory Solis: See you soon. Does it matter that I end early?
Marcus Davis: I it's strange because
Gregory Solis: How how early is it? I didn't get a pop-up thing that said | Gregory Solis reviewed the minutes from the previous meeting. Fred Parker gave her presentation on components and discussed which would have to be custom-made and which were standard. She also discussed the various materials and chips available. Marcus Davis presented current trends in the market and in fashion. She discussed the current fruits and vegetables trend and the trend toward softer, spongier materials. Anthony Moody discussed the look of the remote with the group. They discussed including a touch-based graphical user interface but noted that it was unnecessary and costly. They discussed using the menu function on the television instead. The group discussed how the menu function would be programmed. The group then talked about the casing of the device, and decided that there would be a changeable outer casing. They discussed including fruit colors in addition to the company colors. Some part of the casing will be made of a spongy material. The group also discussed energy source options and chips. Gregory Solis instructed Anthony Moody and Fred Parker to construct the prototype and Marcus Davis to work on the prototype evaluation. | 5 | amisum | train |
Glenn Runion: Right w welcome to the the first meeting of uh Real Reaction's uh um development meetings for our our new television remote control. Uh this follows our very successful entry into the the consumer market over the last year or so um which we want to to build on, taking advantage of the uh the the latest developments in in technology and the uh the latest uh uh feelings in in consumer design and and demand and uh we want to make this the the very best product th that's possible for everybody, uh one that everybody wants, uh at a good price for the consumer and at a good price for the company. Uh and to that end we need all to work together uh to do that. Um and uh b in no particular order because ev everybody is uh just
Samuel Ponce: Mm.
Glenn Runion: as vital to this project um I'll just go round th the table, Andrew, marketing, um m Kendra with the uh um designing the the the User Interface uh uh and Kate with the the industrial design. Um. What's uh the the th th project is is here to do, is is to to get this this project up and moving, ev everybody is is free to uh say wh whatever they want, uh everybody has a contribution to make and uh everybody feel free to interrupt Samuel Ponce at any time to to say what you want to say. Um in in terms of the immediate meeting the uh um everybody knows everybody else, everybody's worked for the the company for a while, if if an anybody feels that they need to say more about themselves please do, if if if anybody wants to b briefly give their their background so that everybody's quite clear what everybody uh uh everybody's experience is please do so. Uh in fact I'd I'd I'd welcome anybody to uh say something briefly about themselves, in fact we will do that by by going round the table quickly and and saying what what contribution you you're looking to make. So we'll start with Andrew.
Samuel Ponce: Oh my name's Andrew I'm a I'm Market Research person for this uh for this meeting and uh project for this new remote control and uh yeah I'll be uh presenting information statistics on what people want to want to uh get from this new design, what people want to like and from a fashion point of view and the practicality point of view.
Glenn Runion: Right Kendra.
Charles Hoffman: I'm Kendra and I'm Us User Interface and um I haven't had a whole lot of experience in this kind of thing before but I'm m so I'll be working on the design.
Glenn Runion: Right at least means you haven't got any preconceived ideas so.
Charles Hoffman: Right. Yep, I'm just open to being creative.
Glenn Runion: Yep, good.
Michael Stumpff: Uh I'm Katie, I'm Michael Stumpff I'll just be I guess presenting about the the inter workings of our little remote control and uh yeah.
Glenn Runion: Okay, very very quickly, um this I don't want to make this meeting too structured because the the whole idea is that it's a um you know a think tank. Everybody says what they what they want to say, uh and we don't want to be constrained by uh kind of convention or uh uh slides on screens or or anything else um but um briefly um th th this is what we want to do. The the remote control needs to be original, there has to be something about it that uh other remote controls don't have so that as soon as people see it they think um yes that's different, uh I want one, um and that goes along with being trendy, uh uh you know the I want it uh scenario. User-friendly as as we all know, remote controls can be uh uh very user-unfriendly so we want to make ours one that people can pick up and think oh yes that's it's obvious how that works, uh and they also want to look at the price and think oh yeah that's something that I may not need another remote control but uh it's such a nice one I'm gonna have one. And last but not least, or indeed first of all, it it must make the company money, and we make the company money by producing what the consumer wants. The uh the further work to be done is i the um the functional design, uh what it uh what it must actually do, the uh conceptual design, uh how we actually present that to the consumer and th the the detailed design i is uh how we get that into production. Uh now th the main design tool that we have available to us at the moment is is the white board and uh uh let us very quickly do what i what it says in the in the in the prompt slide here, um In fact I suggest to avoid everybody untangling themselves from the uh the the wires, that we don't do that, um So I I everybody knows what whiteboard is so we'll um uh we'll do a virtual drawing on the on on the whiteboard of of your your own uh uh favourite animal, but le let's go round the table, your favourite animal.
Samuel Ponce: Um, badger.
Glenn Runion: Mm and why?
Samuel Ponce: Uh it's it's got nice contrast with
Glenn Runion: Uh-huh.
Samuel Ponce: black and white and uh and
Glenn Runion: Oh
Samuel Ponce: they're,
Glenn Runion: right uh my
Samuel Ponce: the
Glenn Runion: my wife says my beard looks like a badger's arse 'cause of the the white streaks in it. Kendra.
Charles Hoffman: Um probably a duck I just I li I like the way they look and they're just nice animals and I like how they can fly or swim or walk around
Glenn Runion: Uh-huh.
Charles Hoffman: or whatever.
Glenn Runion: Right, okay.
Michael Stumpff: Uh 's horses, no particular reason why.
Glenn Runion: Uh-huh, fair enough yeah. I'm not sure that I've got any favourite animal to be quite honest, I think homo sapien because of their their uh overall ability to uh uh
Samuel Ponce: Make mobile phones and T_V_ remotes
Glenn Runion: Sorry?
Samuel Ponce: to make T_V_ remotes.
Glenn Runion: Indeed absolutely yes, tha that's um Okay and uh w we need to keep in mind here that the uh we want to sell this for for twenty five Euro um, we want to m make an overall profit for the the company of fifty million Euros so we're we're looking at selling a lot of these um ag across the the entire planet and and we're looking at a gross profit of fifty percent. It needs to cost twelve Euros fifty to make Um. so we're not only looking at a a very trendy original product, we're looking at making it at a very good price. Um, okay, um would anybody like t like to to start by giving their o um sort of quick views of of current remote controls.
Charles Hoffman: Well to use with all the different buttons and uh it's handiest when you have one that works both the D_V_D_ player or whatever and the T_V_ as well. Um, but that it's easy to if you can switch back and forth instead of
Glenn Runion: No.
Charles Hoffman: having to press a bunch of different buttons and so I think it's is best when they're clearly labelled and you can see which buttons you're supposed to use, you know.
Glenn Runion: Any any thoughts about buttons or any oth other way of approaching the p the uh the problem? Or anybody else, strong feelings about remote controls? Are there you know, bad ones they've used or good ones they've used or ones
Michael Stumpff: Um
Glenn Runion: that they've lost and never found again?
Michael Stumpff: I think it's important that you should be able to when you when you press the buttons it'll actually pick up the signals from kind of anywhere and you shouldn't have to like contort yourself
Samuel Ponce: Yeah.
Michael Stumpff: the signal.
Charles Hoffman: Yeah.
Samuel Ponce: Think a lot of the time, remotes that come with T_V_ players and T_V_s and D_V_
Michael Stumpff: Mm.
Samuel Ponce: players, like they aren't like an area that's put a lot of effort into, they're very boring, very plain. Like it's
Michael Stumpff: Mm.
Samuel Ponce: very a very like um making a a stylish remote control would be a very like Easily put us one step ahead of the current competition.
Glenn Runion: Um what so wh what's in in what particular style features are you thinking about?
Samuel Ponce: Um. Something that looks looks doesn't look like remote control. So if you want, something that looks like uh something that makes you think oh what's this? Like this pen doesn't really look like a pen, but it makes
Glenn Runion: Uh-huh.
Samuel Ponce: you think oh. So, sorry that's a bit vague.
Glenn Runion: Yeah d no I mean do you think there's a risk if it doesn't look like remote control, people won't see it as a remote control um and uh
Samuel Ponce: Uh I suppose suppose that's up to the marketing to to make make people aware of the product.
Glenn Runion: Uh-huh. Any other thoughts about um th the physical appearance of a of remote controls?
Charles Hoffman: I think something that's comfortable to hold because sometimes you get the remote controls that are just those
Michael Stumpff: Mm.
Charles Hoffman: big, rectangular
Samuel Ponce: Mm.
Charles Hoffman: things and uh they're kind of awkward to hold onto, so something that's more comfortable that fits in a person's hand better.
Glenn Runion: I mean th the thing that i immediately comes to mind is computer mouses which
Michael Stumpff: Mm.
Glenn Runion: um
Charles Hoffman: Yeah.
Samuel Ponce: Yeah.
Glenn Runion: I mean y you get all sorts of shapes
Michael Stumpff: Mm.
Glenn Runion: in the shops and s you know some quite fancy ones
Charles Hoffman: Yeah.
Glenn Runion: um than the some from personal experience which look nice but aren't particularly comfortable.
Charles Hoffman: Yeah.
Glenn Runion: Um any thoughts about buttons or flat screens or uh uh
Samuel Ponce: Well from the mouse idea you could, remote is a piece of plastic with the big rubber buttons sticking out of it which you press, whereas if you want could all be flat and the buttons are very kind of almost subtle that instead of being raised out of the device uh you push into device you see, like a mouse button.
Glenn Runion: Yes, I mean the only thing is if if you're watching television in a in a a darkened room
Michael Stumpff: Mm.
Samuel Ponce: I suppose.
Glenn Runion: um you need to be able to uh fi
Samuel Ponce: Easily, yeah
Glenn Runion: find
Samuel Ponce: yeah.
Glenn Runion: the button buttons easily.
Charles Hoffman: But maybe they could be concave instead of sticking up to have them be kind of down so you could feel them
Samuel Ponce: Mm.
Michael Stumpff: Mm.
Charles Hoffman: better.
Glenn Runion: Yeah, that's uh must admit I don't think I've ever seen one with concave buttons, that's uh certainly be different. Um do we need it to uh I can't think of any re remote controls that I know of that actually light up at all. Do we
Charles Hoffman: Oh yeah.
Michael Stumpff: Mm that
Glenn Runion: do
Michael Stumpff: would
Glenn Runion: we
Michael Stumpff: be
Glenn Runion: want
Michael Stumpff: good.
Glenn Runion: uh
Charles Hoffman: Like a like a mobile phone?
Glenn Runion: Yeah.
Michael Stumpff: Mm.
Charles Hoffman: Yeah.
Samuel Ponce: Mm,
Michael Stumpff: Mm.
Samuel Ponce: yeah that would be good.
Glenn Runion: Okay. So, Andrew have you had any thoughts yet about how we might market something which there are already millions out there and that we want to uh uh uh t take over the entire um the planet with?
Samuel Ponce: Mm-hmm, um especially if we try to sell, what two million of them. Oh sorry, four million of 'em, but uh I think if w if we market it as as not as not well this you c you could either market it as the point of view we could have the two we could have parallel marketing s schemes where you've got one where it appeals to people that want to have the new device that looks cool,
Michael Stumpff: Mm.
Samuel Ponce: is fashionable and like you just it's it's like uh it's one that rather than ra I wan I want rather than a kind of a need relationship
Glenn Runion: Mm-hmm.
Samuel Ponce: with the device, but that might considering the act what the device is for and the nature of some people might not like respond to having a device that they just looks nice, therefore they want it so make it practical at the same time. I think it's this is gonna have to appeal to people that want device that can enhance their living room uh
Glenn Runion: Mm-hmm.
Samuel Ponce: but also a device that uh is practically sound.
Glenn Runion: Mm-hmm.
Samuel Ponce: So um, I dunno we'll have to decide which which angle we're gonna go to or both.
Glenn Runion: Okay,
Samuel Ponce: If you.
Glenn Runion: yeah, yeah, well I d I think an any uh any facets that we identify w we aim need to aim for for all of.
Samuel Ponce: Mm.
Glenn Runion: Um okay well first thoughts on um the the industrial design side.
Michael Stumpff: Oh I think it's it's remote controls are kind of a unique object 'cause it's you depend on them so much, but you don't i i it's you sort of just assume they're always gonna work, you don't think of them as a comp like a computer can break down and you're kinda like oh well fair enough there's all these complex things going on, it's gonna something's gonna get messed up eventually. They they just need to be very very dependable because people sort of take them for granted and then if your remote control breaks it's God forbid you actually get up and manually change the channel
Glenn Runion: Indeed.
Michael Stumpff: it just it needs to be very effective, very always dependable. Uh I don't think we should make it too small I 'cause I think it needs to it can't be too big like you were saying big an and huge and um awkward, but also if you make it too small kinda like you know how mobile phones are getting smaller and smaller um, it's just gonna end up under a couch cushion somewhere
Glenn Runion: Yeah.
Michael Stumpff: and um yeah. But so yes dependable, and have a good medium range size.
Glenn Runion: Okay, and um colours, materials? Kendra, anyone?
Charles Hoffman: Well, most I think most of the remote controls now are either just black or grey, so maybe we should go with something different or be able to I was just thinking of um what they're doing with mobile phones now how you can get the different um what are they called? Like the face-plates
Glenn Runion: Yeah.
Michael Stumpff: Mm,
Charles Hoffman: that you change
Michael Stumpff: mm-hmm.
Charles Hoffman: so we could have maybe I don't know if it would be feasible to do something with that, where you can change the face-plates or have kind of a
Glenn Runion: Uh-huh.
Charles Hoffman: variety so people can get different different things. Have it kind of look how they want to, different colours, things like that,
Glenn Runion: Right.
Charles Hoffman: probably just plastic because that's always the lightest.
Glenn Runion: Yeah. Okay that's uh Again I don't think that's ever been done before, it's uh
Michael Stumpff: Mm-hmm.
Glenn Runion: the sort of the sort of thing that would get people uh thinking yes that's something that I haven't got and uh might need so. Uh Andrew, any thoughts about uh how we might market interchangeable fronts on on the remote control?
Samuel Ponce: Um, well we could either market it together by getting control in a set colour or with like you buy it with several uh like you ge you get the f uh the face-plates with it when you buy or as a separate thing, but uh maybe thinking of that, it's considering the nature of the device, maybe a second thing like a second campaign to market
Michael Stumpff: Mm.
Samuel Ponce: new facials for your to your might go a bit astray since
Glenn Runion: Yeah.
Samuel Ponce: it is the kind of thing where y you generally get one and then forget about it. Unless
Glenn Runion: Yeah.
Samuel Ponce: you were trying to
Michael Stumpff: Well you could come
Glenn Runion: I
Michael Stumpff: up
Glenn Runion: think
Michael Stumpff: with like novelty ones, like they've done with the the mobile phones, you can get like different you know scenes from different movies and stuff
Samuel Ponce: Mm.
Michael Stumpff: on
Charles Hoffman: Yeah.
Michael Stumpff: the remote control
Samuel Ponce: Oh it's
Michael Stumpff: and
Samuel Ponce: that's
Michael Stumpff: sorta
Samuel Ponce: a that's a good idea.
Michael Stumpff: stagger the release of them and get people like oh I want that cover on it now and
Charles Hoffman: Yeah.
Michael Stumpff: that'll keep them
Glenn Runion: Mm-mm.
Samuel Ponce: Mm.
Michael Stumpff: spending money.
Glenn Runion: Right,
Samuel Ponce: Yeah true.
Glenn Runion: okay I think we've got um a good idea now. We uh meeting is uh Needs to be k uh wrapped up fairly quickly. So uh um we've got thirty minutes to start looking at the um at the design in more detail. Um then we'll we will reconvene in in thirty minutes and try to get some of these ideas uh uh more formalised. Uh thank you very much indeed.
Charles Hoffman: Okay.
Michael Stumpff: Thank you. | Glenn Runion opens the meeting by welcoming everybody and saying they will be developing a new television remote control. Then each group member states his/her name and role in the group. Glenn Runion states that the remote needs to be original, trendy, and user-friendly. The further work will be on the functional, conceptual, and detailed design. Since they all know what a whiteboard is, they do a virtual drawing by each stating their favorite animal. Glenn Runion tells them the project budget. They proceed to discuss problems with current remotes as well as preferable styles and looks, such as using face-plates so the look is changable. Glenn Runion closes the meeting. | 5 | amisum | train |
John Shoemaker: Okay, welcome to the second meeting of this group. Um I'll briefly go through the uh notes of the of the last meeting uh just done in in note form and I haven't attributed anything to individuals, because we're working strictly as a team here and uh n nobody's working
Kenneth Ogrady: Sorry.
John Shoemaker: equally, so uh. Um we we s we saw that the the problems with existing remote controls were the uh b a boring shape and boring colour. Um and and we we saw that the what we needed to to to make sure the device um controls several items, that switching was easy, that you shouldn't need to point the thing at uh anything in particular, um that it need to be contoured to make it interesting, that the keys might be concave, simply because that hasn't been done before that we know of. Um should have interchangeable fascias so people can personalise it, um illuminated so that people can see it in dark rooms. Um and that people might want it as as in addition to their existing remote controls. Um and that it sh it should just always work, whenever you uh um mm uh use it. And that it shouldn't be too small, mm that it it gets lost. Um.
John Shoemaker: Now uh uh I'll shortly ask for for three three presentations. Uh before I do that, however, I will go through some new project requirements that um the the management have placed on us and uh will be challenging in terms of what we discussed at the first meeting. Um the uh the ma the management has had it's own thoughts on this and uh the they don't necessarily agree with with what we uh we thought. Um and and then we'll as a result of that we will then talk through the the functions that we see the the device um actually b carrying out, and we have uh forty minutes to do this in and I uh
John Shoemaker: Anyway. Okay. Now, the n the new requirements are um the the management team see that um teletext is no longer of any importance given the uh the rise of the internet. Um and and they want it only to cover televisions. Um now, what is not q quite clear from their directive is whether they mean th they don't want it to cover teletext or whether they don't want it to cover, you know, videos, D_V_D_s, um satellite boxes, which uh I mean we saw as being fundamental to the uh to the exercise. The um the actual wording of the directive is that it should cover television only. Um and on that basis um I I think we we need to bear that in mind, um but possibly uh keep at the backs of our minds that the reality that people even when they uh no longer they don't look at teletext anymore, they certainly do look at other things. Um the device has to incorporate the company logo and colours. Um the the logo uh being at b the bottom of the screen there, the the the two R_s in grey against uh a yellow background. Um now this doesn't necessarily mean that we have to give up some of our ideas about making it attractive to the t to the market. But uh do do introduce some some constraints as to how we might do that. Um it also has to be simple, which to some extent goes along w with the first one, and that we've already said that it must be simple 'cause that's what people want anyway. Um but they also want it to be simple to get it to the market quickly, which um mm uh is is is their choice, but uh um we we need to talk that through. Um okay, so uh after the meeting it'll be summarised and uh um notes sent out and uh etcetera. Okay, so we'll first of all mm have individual reports from everybody. Um again I there is no order of precedence here um so I I I'll leave it up to you to who who who thinks they would like to go go first?
Joseph Peterson: Uh I don't mind.
John Shoemaker: P fine.
Joseph Peterson: Uh can I the cable?
John Shoemaker: Oh sorry, you can indeed.
Joseph Peterson: Cheers.
Joseph Peterson: I got a how do I start there?
John Shoemaker: Oh, if you click on the um uh the one that that looks like a projection screen, no the one to the right of that.
Joseph Peterson: That one.
John Shoemaker: That one.
Joseph Peterson: Cool. Well these are functionality requirements from the our our guys down in the the research lab. Took hundred people and covered all the aspects of what um is needed by people and what they want to see. Um everything kinda and how individual functions are how how how often they're used how much their and stuff. And general opinions about current current remotes. See that, as we kinda noticed, seventy five percent of people find their remote controls ugly. So some kind of a new style should be incorporated that's less ugly. Uh along with um looking less ugly, if it looks better, eighty percent of people said they'd spend more money on it. Which is a a plus for us, if we can make it look better, it'd be uh more cost effective and we can put the price up. Current remote controls do not match the operating behaviour of the user. I can empl I kinda take that to mean as um they they don't uh they, yeah, they only use they only work for the television or yeah like as in in my flat I've got six remote controls for a stereo system, a digital box, a D_V_D_ player, a video player and T_V_. If it was uh I mean th my behaviour is to use multiple things at the same time and multiple remotes aren't really matched well to my behaviour. Uh again, seventy five percent is seventy five percent of users say they zap a lot. I took to mean that they just they use it a lot, they use it regularly rather than standing up and manually change channels or volume. And uh yeah, uh I think the big issue is fifty percent users only use ten percent of the buttons, 'cause uh wh if we got a remote that like well we'll have some buttons taken off by the lack of teletext, but uh oh and we're going to see uh on the uh that some of the functions like audio settings aren't h hardly ever used and used very aren't considered relevant by the user. So I think maybe fewer buttons, which also make the design look sleeker, I dunno. Uh um yeah and uh frustrations of like people losing remote control. I dunno
John Shoemaker: Mm.
Joseph Peterson: maybe some kind of system of you press a button on the T_V_ or maybe that's b it would have to incorporate, but like some kind of system where you can f use something else to find the remote control. Maybe like it'll beep or something. And um, yep, the uh time taken to learn new remote controls is Uh don't want to make it too complicated, easy to use for uh new like first time users and stuff. And uh repetitive strain injury, I suppose we should make it more comfortable and make ma possibly even use have to make it, yeah, fewer buttons, like I was saying about the whole mice the mouse idea of it feels more comfortable. Maybe don't even
John Shoemaker: Mm.
Joseph Peterson: have to hold it as such.
John Shoemaker: Gosh, must be some telly addicts out there if they get R_S_I_ from their television remote, is all I can say.
Joseph Peterson: But uh yeah. It also asked um if we would if people would pay more for speech recognition and younger people say they would. And uh there was another section on our on the report for uh L_C_D_ displays, but the data wasn't there, so. I
John Shoemaker: Mm. Right.
Joseph Peterson: don't actually know what the results for that were,
John Shoemaker: Mm.
Joseph Peterson: so. May be incrementally emitting, but yeah.
John Shoemaker: Yeah, I must say that um the uh I c can't remember what um f you know phone service I was using the other day, but that had sorta speech recognition which worked uh remarkably well, so that is indeed a uh um
Joseph Peterson: And
John Shoemaker: a thought
Joseph Peterson: uh
John Shoemaker: and it it cuts out uh
Joseph Peterson: it would cut out the R_S_I_
John Shoemaker: I was was
Joseph Peterson: as
John Shoemaker: gonna
Joseph Peterson: well
John Shoemaker: say, you
Joseph Peterson: if
John Shoemaker: can't
Joseph Peterson: you
John Shoemaker: get a lot of R_S_I_, j just get jaw ache. Okay, sorry.
Joseph Peterson: Yeah, um oh yeah, so possibly the speech recognition is possibly something could add into the design. Oh, I've got some other things I couldn't fit onto this presentation. Um. You see this okay? Almost no? It's sorry it's a bit. I'll read out to you. Uh functionality, uh like people's opinions on functionality, the relevance to the remote and how often they're used. So um like the power. Using the using the d swi the power switch to switch on T_V_ is a high relevance of nine, but it's not frequently used. You see what I mean? Whereas
John Shoemaker: Yeah.
Joseph Peterson: channel selection, which is very high relevance
John Shoemaker: Mm-hmm.
Joseph Peterson: is used the most. So m we can maybe even start to cut down on or I was possibly even thinking of a design that maybe some of the buttons are hidden from everyday use. Maybe like uh a folding ledge or something. So that we can maybe
Paul Lange: Mm.
Joseph Peterson: go into the channel settings and the audio settings, which are low relevance and rarely used. And keep the v volume selection and channel selection very easily
John Shoemaker: Mm-hmm.
Kenneth Ogrady: It could
John Shoemaker: I mean
Kenneth Ogrady: be oh uh was gonna say uh like the phones that they use? Have you seen
Paul Lange: Mm.
Kenneth Ogrady: the new mo mobile phones that
John Shoemaker: Yeah.
Kenneth Ogrady: flip out and they have the
Joseph Peterson: Oh yeah.
Kenneth Ogrady: like texting, and then the numbers on one side, so you could have
John Shoemaker: Mm.
Kenneth Ogrady: the most used buttons on top and
John Shoemaker: Hmm,
Paul Lange: Mm.
John Shoemaker: hmm.
Kenneth Ogrady: flip
Joseph Peterson: Yeah,
Kenneth Ogrady: it out
Joseph Peterson: like the one
Kenneth Ogrady: or
Joseph Peterson: that
Kenneth Ogrady: something.
Joseph Peterson: like slides back
John Shoemaker: Uh.
Joseph Peterson: and the buttons are concealed
Kenneth Ogrady: Yeah.
John Shoemaker: Should
Joseph Peterson: underneath.
John Shoemaker: we
Paul Lange: Mm.
John Shoemaker: actually bite the bullet here? If people really don't use those buttons to any extent at all um
Joseph Peterson: Just remove them completely?
John Shoemaker: remove them altogether.
Kenneth Ogrady: That might be the
John Shoemaker: I wonder whether we could get the remote control with no buttons at all if we went for voice recognition, given that um the Um now the the age structure we were looking at um I mean w we had usage by age structure, what we didn't have was what proportion of people using remotes were in those particular age groups. Now
Joseph Peterson: Uh yeah.
John Shoemaker: do we know whether they Forty no sorry for forty five to fifty five age group, uh to put myself right in the middle of it, um u use remote controls to a great extent. Yes we
Joseph Peterson: Um no this is for
John Shoemaker: That would 've
Joseph Peterson: pay
John Shoemaker: speech
Joseph Peterson: more for
John Shoemaker: recogn
Joseph Peterson: speech recognition.
John Shoemaker: right. So, we're looking at um well again, we don't know the relative proportion the relative numbers in the age groups.
Joseph Peterson: Yeah, that's true.
John Shoemaker: If we wanted something different, truly different, then the buttonless
Paul Lange: P
John Shoemaker: remote control
Paul Lange: Well the only
John Shoemaker: w would
Paul Lange: problem
John Shoemaker: be it.
Paul Lange: I can think of with that is if you've got a lot of people that don't wanna be bothered learning how to use new rem remote controls. If you just kind of take away everything that they're used to knowing, that's gonna be quite a change.
John Shoemaker: But if you just
Paul Lange: It
John Shoemaker: lift
Paul Lange: might
John Shoemaker: it up and say, channel one or
Joseph Peterson: Or even
John Shoemaker: B_B_C_
Joseph Peterson: I mean you could even just have it left on. You
Kenneth Ogrady: Maybe
Joseph Peterson: could just
Kenneth Ogrady: i
Joseph Peterson: put it down once on top your T_V_ and never have to
Kenneth Ogrady: Yeah, have a big kind of like the satellite box or the cable box and then it doesn't matter where in the room you are, you won't
Joseph Peterson: Yeah.
Kenneth Ogrady: lose
Paul Lange: Mm.
Kenneth Ogrady: it.
John Shoemaker: It c well it I can I can see technical problems
Paul Lange: Mm.
John Shoemaker: with that in terms
Kenneth Ogrady: No.
John Shoemaker: of the, you know, the sound from the television, because if somebody actually on the television says
Paul Lange: Yeah.
John Shoemaker: uh
Joseph Peterson: B_B_C_
Kenneth Ogrady: Oh.
Joseph Peterson: one.
John Shoemaker: uh, you know, I_T_V_ and you're watching B_B_C_ then
Paul Lange: Yeah.
John Shoemaker: then it might um change itself, so it probably needs to be um
Kenneth Ogrady: Yeah, that's true.
John Shoemaker: possibly actually need a button on it just
Joseph Peterson: yeah.
John Shoemaker: to activate it. Or or something just to identify that you've lifted it up and it's use. And and then
Kenneth Ogrady: Yeah.
John Shoemaker: just say, oh I don't know, a thought and and then uh I mean that that would certainly be uh truly different. Um 'cause uh you know audio settings, nought point eight percent. I mean if they weren't there,
Joseph Peterson: Mm-mm.
John Shoemaker: would people miss them?
Paul Lange: But look at the importance of them. The volume settings.
Joseph Peterson: Relevance of two out of ten, yeah.
John Shoemaker: Vol volume,
Paul Lange: Yeah.
John Shoemaker: yes um
Paul Lange: They're not used often
John Shoemaker: th
Paul Lange: but they quite important when they're
John Shoemaker: w
Paul Lange: used.
John Shoemaker: we need to s identify
Paul Lange: Yeah.
John Shoemaker: things that people actually need and and it's a function of frequency and relevance. And um I would say ignoring ig ignoring power for the moment, um the channel and volume
Paul Lange: Mm.
John Shoemaker: and th w w given given that we've been told to ignore teletext.
Joseph Peterson: Yeah.
John Shoemaker: Uh channel and volume are the only ones that
Joseph Peterson: Stand
John Shoemaker: uh
Joseph Peterson: out.
John Shoemaker: would appear to be essential. Um. So we if we can design something that that looks interesting, know, or looks different, um incorporates the the logo and and the colours and um we can still have our interchangeable fascias even if it's the yellow and grey, um and uh I dunno, buttons or or buttons as an option.
Joseph Peterson: Uh I just had a thought actually, sorry to interrupt.
John Shoemaker: Do,
Joseph Peterson: Uh
John Shoemaker: please.
Joseph Peterson: you were saying about um it could technical problems of like uh someone on the television saying a channel
John Shoemaker: Mm-hmm.
Joseph Peterson: number and it changed we could maybe have like an activation word. 'Cause I've seen
John Shoemaker: You
Joseph Peterson: I've
John Shoemaker: cer
Joseph Peterson: seen this used
John Shoemaker: certainly
Joseph Peterson: on computers
John Shoemaker: could.
Joseph Peterson: before, where you just you address the
Paul Lange: Mm.
Joseph Peterson: remote, you address the computer, and then
John Shoemaker: Depe
Joseph Peterson: give it
John Shoemaker: uh
Joseph Peterson: a command.
John Shoemaker: i depends whether um if we want to make this so simple that anybody can walk into the room and lift it up and say
Joseph Peterson: Oh I see. Oh yeah, I see.
John Shoemaker: B_B_C_ one. Um okay, I mean you could print actually print it on the uh
Joseph Peterson: Mm-hmm,
John Shoemaker: device
Joseph Peterson: yeah.
John Shoemaker: itself. Um.
Joseph Peterson: I mean I'm just thinking of the point of view of peop you could still like lose this remote.
John Shoemaker: S th this I th that's always gonna be a problem
Joseph Peterson: Mm.
John Shoemaker: I think. Um and I I I s so I suppose one um could make it so desirable that if people lose it they immediately go out and buy another one. Anyway, sorry, carry on. Do you want to just carry on with
Joseph Peterson: Oh no I I interrupted
John Shoemaker: or no
Joseph Peterson: you, sorry.
John Shoemaker: no, no uh b I was in the middle of
Joseph Peterson: Oh okay.
John Shoemaker: in the middle of your report there.
Joseph Peterson: Um well, I was just kinda wrapping up there. Yeah, I was thinking
John Shoemaker: Mm okay.
Joseph Peterson: um, yeah, maybe such things are relevant. We could make things much more f I think the the eighty percent of people would spend more on uh a remote uh that looks better, combined with uh decrease the or take out the limited functio functions that we don't really use much. alright take out teletext, but as for channel settings and stuff it might it might um turn people somewhe peop some people that want the whole functionality away. But, since if we're marketing a more kind of fashionable approach
John Shoemaker: Mm-hmm.
Joseph Peterson: then it'd it would be fashion and fashion over practicality.
John Shoemaker: S s we could we could make it dual function voice recognition and still
Joseph Peterson: Oh, we
John Shoemaker: have
Joseph Peterson: could, yeah.
John Shoemaker: buttons on it
Joseph Peterson: We c
John Shoemaker: um
Joseph Peterson: yeah, we could even
John Shoemaker: 'cause we're
Joseph Peterson: have it as like a yeah the buttons control this and the voice functions control the f things that you would do all the time, so.
John Shoemaker: Certainly could.
Joseph Peterson: So uh
Paul Lange: Mm.
John Shoemaker: Yeah,
Joseph Peterson: yeah, if we could
John Shoemaker: yeah.
Joseph Peterson: uh power on and channel selection and and volume selection, wouldn't have to really
John Shoemaker: The I mean the the advantage of doing away the buttons altogether is it makes the thing cheaper.
Joseph Peterson: Yeah and probably it would look better as well.
John Shoemaker: No, it cou certainly opens up the possibility for making it uh, you know, visually very distinctive.
Joseph Peterson: Yeah.
John Shoemaker: Um
Joseph Peterson: yeah.
John Shoemaker: 'cause you know, it does not have to be a oblong box.
Paul Lange: Mm.
Joseph Peterson: Lined with numbered buttons
John Shoemaker: Mm, yeah.
Joseph Peterson: and
John Shoemaker: Okay, who sorry, have you have you finished
Joseph Peterson: Uh yeah,
John Shoemaker: there Andy?
Joseph Peterson: yeah,
John Shoemaker: Yep,
Joseph Peterson: that's
John Shoemaker: yep.
Joseph Peterson: everything.
John Shoemaker: Um given that we've already had a extensive discussion uh.
Kenneth Ogrady: Okay well, I can
Paul Lange: Hmm.
Kenneth Ogrady: do mine.
Joseph Peterson: Do you want the cable?
Kenneth Ogrady: Yeah, let's see if I can make this work. Um.
Paul Lange: Oh, you have to hit like function and F_ something.
Kenneth Ogrady: Oh.
Joseph Peterson: F_ eight.
Paul Lange: F_ eight.
Kenneth Ogrady: Is it doing
Paul Lange: Dunno.
Joseph Peterson: Uh, give it about twenty seconds, or so.
Kenneth Ogrady: Okay.
John Shoemaker: Ah,
Paul Lange: Oh yeah,
Kenneth Ogrady: Oh
John Shoemaker: there
Kenneth Ogrady: okay.
John Shoemaker: we
Paul Lange: it's going.
John Shoemaker: go.
Kenneth Ogrady: Okay, so this is just about the technical functions.
John Shoemaker: Alright.
Kenneth Ogrady: So the method, I looked online for examples of other similar products and then just kind of was trying to brainstorm some possible design ideas and um identify what the necessary things are, what people are what you really wanna have a remote control do. Um and then there are two different kinds that I found. There's a user centred one and an engineering centred one which I will have pictures of and
John Shoemaker: Mm-hmm.
Kenneth Ogrady: then we kinda have to decide which one this should be. So these are the two different ones. This one um this is the user centred, it has uh quite a few mm uh um fewer buttons and then this is the engineering centred, which has a lot more buttons,
John Shoemaker: Mm-hmm.
Kenneth Ogrady: and probably this is one that people complain about, about having too many buttons that you don't use. So basically, what a remote control is is you it's to send messages to the television set, you know, turn on, off, switch the channels and the volume and things such as that. And so for this product it's gonna be television only, and then it has to have the uh logos for the company and the colours. And so, for my personal preferences, I think this one is easier to use and has quite a you know, fewer buttons. Um we want something that sends messages easily to the television and I was kind of wondering about this example that they have. It looks kind of narrow at the top, and I was thinking maybe if it were wider
John Shoemaker: Mm,
Kenneth Ogrady: at the top,
John Shoemaker: yeah.
Kenneth Ogrady: then that would be easier. Um and so we have to decide what's gonna make our product different. E the unique style, maybe have it light up so it's visible in the dark, um the changeable face-plates, and the lighting up and visible I was when we were talking about havi losing it, maybe to have a button on the television that you press and it maybe if it makes a noise or lights up or something like that, so it's easier to find if someone has hidden under the couch or something like that. So that's my presentation. Yeah.
John Shoemaker: Okay, can I um I'm actually gonna use the um it's gonna cause great technical problems over here. I'm actually gonna use the
Kenneth Ogrady: F they probably clip
Paul Lange: Oh yeah, they might be
Joseph Peterson: Yeah.
Paul Lange: movable.
Kenneth Ogrady: to
Paul Lange: Oh
Kenneth Ogrady: you.
Paul Lange: yeah, they're all they're not connected to anything on the table, you just leave 'em on and walk around with 'em.
John Shoemaker: Yes, rather than the uh the the traditional in fact, um I won't even go that far. Um something like this shape, you know, sort of something that you can that's sort of a more vertical shape, um that you you sort of hold in your hand, um, well I'm trying to think uh uh uh l uh l such as I mean um something you hold up like that, possibly with a couple of buttons like that, but with the
Paul Lange: Mm.
John Shoemaker: the entire top with the, you know, the uh the infrared or whatever source. Uh so that you know, it's flying
Paul Lange: Mm.
John Shoemaker: off in all directions, so that uh um uh again the n need to look at the the the technicalities of um actually achieving that in terms of whether the, you know, the power requirements of the uh such a source, um you know, compromise the our our need for uh you know, it it being um mm permanently uh you know, available. Uh whether whether different technology um I mean th all all these remotes are presumably infrared, and like they have been for a long time. Uh we we possibly need to be looking at at at something different, um you know, short range, not like the old uh radio remote controls where you'd change next door's telly when you change yours. Um but uh uh I think basically i if we're going for i if minimum number of buttons is our priority, then we should, as I say, r know, really bite the bullets and and reduce the buttons to absolute minimum, you know, possibly with backup channel and volume buttons and on off. Um and nothing else. Um so that it can al it could uh almost end up like that, but again, except that um you know the risk of losing it. Um anyway okay um so Kate,
Paul Lange: Yes,
John Shoemaker: wh what
Paul Lange: mm.
John Shoemaker: are your uh your
Kenneth Ogrady: Oh.
John Shoemaker: thoughts on this?
Paul Lange: Which one does this plug into?
Kenneth Ogrady: Hmm I think it's all there.
Paul Lange: That one.
Kenneth Ogrady: H
Paul Lange: I can't did you could you see it on you screen when it
Kenneth Ogrady: Oh yeah. That's kind of strange.
Paul Lange: That's not cool. Oh well. Anyways. Um alright, yeah, so um I'll just do my presentation on the working design uh. Oh there we go. Okay um just at the m yeah the whole sort of method of how the remote control works. Uh the basic function of the remote control is to send messages to another sh system, the the T_V_ or the D_V_D_ player or whatever. Um and it does this uh by well, you need to start off you need an energy source and this energy source will feed into an integrated circuit chip and the circuit chip is the part that actually composes the different messages uh within the remote um which will then be sent to the uh the television, the D_V_D_ to tell that what to do. Um and you need a user interface, which controls the chip and thus the messages and uh the user interface is that's basically just you kn the s sorta design of the actual remote which you hold in your hands and what buttons will be on it. Um Oh shoot. Okay. Uh just general findings. Uh what we need uh technically speaking for the remote control is some sort of energy source, uh some sort of user interface, which I think we've mostly been talking about the user interface and the design of that. Um a circuit chip within that to uh control and send the messages and um a sender and receiver. And um oops. Uh-huh. This is just sort of a little schematic diagram of what we're looking for. Uh this
Joseph Peterson: Hmm.
Paul Lange: just kinda represents the energy source which feeds into the circuit chip uh which maybe then we could have that feed into a switch which would send signals f to um a subcomponent and on to a light bulb between so it'll light up once we start once you start pressing buttons. Um also send signals to the um infrared bulb, which will be the part that actually what? Sends signals to the the television. And then you've got your happy little T_V_ watcher there. And so my personal preferences I I just think we need sorta big uh energy source that won't die out, uh perhaps some sort of rechargeable battery or a battery dock you could place it in, so it'd constantly be charged, so you wouldn't have to uh be worrying about it running out of batteries and not changing channels for you. Uh a wide range uh sender-receiver, so that you can hit the buttons from basically anywhere in the room, and the channel'll still be changed. Uh also definitely a user-friendly interface um and I think we've all sort of mentioned adding a a locating device on it, so when it does get stuck under the couch cushions, as they inevitably do, you can find them easily. And that's pretty much it.
John Shoemaker: Okay. Uh it seems seems to Joseph Peterson there are a number of fundamental decisions to make
Paul Lange: Mm.
John Shoemaker: before we um I think your point about the the big energy source is uh
Paul Lange: Mm.
John Shoemaker: a very valid one. Um I don't suppose we've got any statistics on the the life expectancy of uh remote controls, particularly sort of independent ones. Um given you know, the number of things you buy these days, which you know, have a a a lithium whatever battery in, that's uh, you know never needs replacing. Um perhaps we should have the the disposable remote control, uh um you know, one some sort of typical usage. You know, the the the battery will last know, five, ten years. By which time I mean when all's said and done, the digital television will be taking over
Paul Lange: Mm.
John Shoemaker: in that time scale.
Joseph Peterson: Mm-hmm.
John Shoemaker: Um uh uh p perhaps we should, know, reduce the uh, you know, the sort of moving parts even more by not even having a battery compartment and uh
Paul Lange: Just having one that's guaranteed to last five to ten years?
John Shoemaker: Yeah, and
Paul Lange: Oh,
John Shoemaker: if if anybody
Paul Lange: cool.
John Shoemaker: manages to run it down, we'll we'll give 'em a new one.
Paul Lange: Yeah, fair enough.
John Shoemaker: Um it's, you know, it's what it saves in cost and you know there there's a well, it's actually a marketing gimmick. I mean it's hardly a gimmick, it's uh it's totally practical. Uh so I th think you know the idea of a rechargeable one is um uh unless you're really high tech and it sort of just recharges itself if it's n by, you know, magnetic waves or whatever, if
Joseph Peterson: It could
John Shoemaker: if
Joseph Peterson: have
John Shoemaker: it
Joseph Peterson: like uh know like a cordless phone in your house it s got like a base that
John Shoemaker: Yeah.
Joseph Peterson: sits
Paul Lange: Mm,
Joseph Peterson: there all
Paul Lange: mm.
Joseph Peterson: the time.
John Shoemaker: Are are people really gonna use it though?
Joseph Peterson: I
Kenneth Ogrady: Yeah, people
John Shoemaker: Um.
Joseph Peterson: suppose,
Kenneth Ogrady: are pro
Paul Lange: Mm
Joseph Peterson: yeah.
Kenneth Ogrady: I
Paul Lange: yeah.
Kenneth Ogrady: would think that people might forget I mean
John Shoemaker: I
Kenneth Ogrady: people
John Shoemaker: I th
Kenneth Ogrady: forget
John Shoemaker: I think
Kenneth Ogrady: to put their cordless phones back on there,
Paul Lange: Mm-mm.
Kenneth Ogrady: so.
John Shoemaker: Yeah, it's
Joseph Peterson: Yeah.
John Shoemaker: um I mean I know that somei times my my wife goes out in the morning and says oh I should have put the phone on
Paul Lange: Mm.
John Shoemaker: to charge and then then she's had those for so long that if she hasn't worked that out by now. Um.
Paul Lange: 'Cause I only remember to charge my cell phone uh when battery dies. And that's pretty
Kenneth Ogrady: Yeah.
Paul Lange: much
John Shoemaker: When it yeah, wh
Paul Lange: yeah.
John Shoemaker: when it's died is a problem.
Paul Lange: Yeah, when it turns itself
John Shoemaker: Yeah,
Paul Lange: off, that's
John Shoemaker: yeah,
Paul Lange: when I plug it in,
John Shoemaker: yeah,
Paul Lange: yeah.
John Shoemaker: so uh um what so wh what what do we think about the um the the permanent mm battery?
Paul Lange: Yeah, think that's
Joseph Peterson: Uh. That
Paul Lange: a good
Kenneth Ogrady: No.
Paul Lange: idea.
Joseph Peterson: sounds pretty good, yeah.
John Shoemaker: Is the uh you know, we we
Kenneth Ogrady: Um.
John Shoemaker: we are really going for the ultimate in ex uh external simplicity
Paul Lange: Mm.
John Shoemaker: here. Um you know, cut cost within the manufacturing and uh you know, if we have a high tech interior, then then that that sh may well be cost effective.
Kenneth Ogrady: Do they make batteries that last that long?
John Shoemaker: I mean th th certainly. Um I can't think of anything off the s top of my head, but there are certainly things that you buy. I mean calculators for example.
Paul Lange: They usually have the little light uh source, I dunno
Kenneth Ogrady: Yeah, they
Paul Lange: what
Kenneth Ogrady: have
Paul Lange: the
Kenneth Ogrady: that
Paul Lange: heck
Kenneth Ogrady: little
Paul Lange: they're called,
Kenneth Ogrady: solar
Paul Lange: the but yeah, the little cells that
John Shoemaker: Som well some do, I mean th th but
Paul Lange: Yeah.
John Shoemaker: there are battery ones that um
Joseph Peterson: Mm-hmm.
John Shoemaker: are
Paul Lange: Mm.
John Shoemaker: you know, sort of permanently sealed.
Kenneth Ogrady: Yeah.
John Shoemaker: In in fact I'd
Paul Lange: Most of them, don't they have sort of a combination of the two, like when there is light, they'll work off the light, and if
John Shoemaker: Yeah,
Paul Lange: there isn't, they'll
John Shoemaker: uh uh
Paul Lange: kick into this battery, so we can maybe do something like that whereas there is a battery, but if there's enough light, then it's using the light, so that it's not actually draining the battery all the time,
Kenneth Ogrady: Mm.
Paul Lange: but you will have the battery there for
John Shoemaker: Yeah,
Paul Lange: when
John Shoemaker: I
Paul Lange: you need
John Shoemaker: I mean
Paul Lange: it.
John Shoemaker: th th this needs going t into the technology
Paul Lange: Mm.
John Shoemaker: a bit. I mean the the actual time that a remote control is actually operating
Paul Lange: Mm.
John Shoemaker: I would think is i is is probably, you know, no more than minutes in its entire life.
Paul Lange: Oh,
John Shoemaker: Um.
Kenneth Ogrady: Yeah, some people are
John Shoemaker: If, but I say
Paul Lange: clicking,
John Shoemaker: if if people are getting
Paul Lange: yeah.
John Shoemaker: R_S_I_ from it then
Paul Lange: Yeah,
John Shoemaker: uh then
Kenneth Ogrady: Yeah.
Paul Lange: then they're
John Shoemaker: uh
Paul Lange: clicking
John Shoemaker: then
Paul Lange: a lot,
John Shoemaker: then
Paul Lange: yeah.
Kenneth Ogrady: Yeah.
John Shoemaker: perhaps we're looking
Joseph Peterson: W
John Shoemaker: at the wrong market
Joseph Peterson: like
John Shoemaker: n
Joseph Peterson: like this um this uh market research thing says number of times per hour that it's used, channel selection a hundred and sixty eight times per
John Shoemaker: Right.
Joseph Peterson: hour.
Paul Lange: Yeah.
Kenneth Ogrady: Per hour? Wow.
Joseph Peterson: Yeah.
Kenneth Ogrady: That's a lot.
Paul Lange: Yeah.
John Shoemaker: Oh, I must admit I hadn't um I'd I'd missed that. That does sound excessive.
Joseph Peterson: But then again, if you think it of the amount of, you know amount of use it's like
John Shoemaker: Yeah.
Joseph Peterson: That's it's less
Paul Lange: Yeah.
Joseph Peterson: than a second,
Kenneth Ogrady: Yeah.
Paul Lange: Yeah.
Joseph Peterson: um.
John Shoemaker: Well that's right, and and I I don't I don't even know whether the I don't even know whether the s the signal lasts as long as
Paul Lange: Mm.
John Shoemaker: you actually keep the button pressed, or whether it's just a
Joseph Peterson: Yeah.
John Shoemaker: sorta tenth of a second, no matter how long you press it for, I don't know I don't actually know.
Kenneth Ogrady: Though
John Shoemaker: Um.
Kenneth Ogrady: I think with digital T_V_, like I know on my cable box, you're not supposed to do that because the channel can't keep up with it if
John Shoemaker: Yeah.
Kenneth Ogrady: you just
Paul Lange: Mm.
Kenneth Ogrady: press it like that, so you're supposed to use the menu and go through the
John Shoemaker: Mm-hmm.
Joseph Peterson: Mm-hmm.
Kenneth Ogrady: different channels that way instead of
John Shoemaker: Mm. Right, so I've got a message to say five minutes, I dunno how long ago that appeared. Um
Kenneth Ogrady: Uh-oh.
John Shoemaker: 'cause we're we're getting um right, so I'd I need to sum up very quickly here um. We're looking at extreme simplicity. We're looking at a radically different shape. Possibly no buttons at all um, but if you can incorporate um channel change and volume buttons um in into the design, then then that's fine. Um in the I mean the the role of the of the um the user interface des designer becomes b you know more important here, because, you know, shape is no longer an a uh um a serious constraint. But we clearly only need th the main buttons, although, uh if clearly only need the main functions. Um I don't see why we shouldn't go for voice recognition um and the the only buttons that I think we need are channel control, volume control and on off. Um it needs to incorporate the corporate logo, uh the the grey and yellow colour scheme and there's no reason why we can't introduce um interchangeable uh covers. Um uh d so does that accurately summarise what we've discussed?
Joseph Peterson: Yeah.
Kenneth Ogrady: Yeah.
Paul Lange: Yep. Hmm.
John Shoemaker: Right.
Kenneth Ogrady: Um
John Shoemaker: So uh
Kenneth Ogrady: Oh I just have one question.
John Shoemaker: Yeah.
Kenneth Ogrady: So are we doing just the television or are we doing
John Shoemaker: We are doing just the television.
Kenneth Ogrady: so not D_V_D_
John Shoemaker: No.
Kenneth Ogrady: players, we okay, okay.
John Shoemaker: I think that's quite clear from the the information
Paul Lange: Mm.
John Shoemaker: that we've been given, no?
Kenneth Ogrady: Okay.
Joseph Peterson: Yeah, like in the email of television only. In fact they're in the constraints email that I got.
John Shoemaker: Right.
Joseph Peterson: Didn't you mention the teletext, just television
John Shoemaker: Oh yeah
Joseph Peterson: only?
John Shoemaker: well
Paul Lange: Mm.
John Shoemaker: th that's
Kenneth Ogrady: Yeah.
John Shoemaker: one I s that's one I sent you, which which was my interpretation
Joseph Peterson: Oh okay.
John Shoemaker: of uh
Paul Lange: Yeah.
Joseph Peterson: Oh yeah.
John Shoemaker: of the
Kenneth Ogrady: Oh
John Shoemaker: uh
Kenneth Ogrady: okay.
John Shoemaker: what came down
Paul Lange: Okay.
John Shoemaker: from from head office. Um That's that that that that's their uh their view. Okay, so uh we can all give some thought to that uh for for the next meeting, thank you
Kenneth Ogrady: Okay.
John Shoemaker: very much indeed.
Paul Lange: Cool. | John Shoemaker opens the meeting by going through notes from the last meeting, recapping the topics covered. He tells them some new project requirements given by management. Joseph Peterson presents, talking about user functionality requirements taken from research of 100 people. They discuss the possibility of making a remote that hides less frequently used buttons, one that uses voices recognition to eliminate buttons altogether, or one that combines the two functions. The interface specialist presents, showing examples of two different products- one that is user-centered and another that is engineering-centered and giving personal preference to the simpler one because it is easier to use and has fewer buttons. Next Paul Lange presents, explaining how a remote control works and giving personal preference to a remote which has a large energy source such as a rechargable battery or battery dock. The group discusses using a battery that will last 5-10 years or a solar combined with a battery. They briefly review their discussions and close the meeting. | 5 | amisum | train |
Jorge Dehart: Alright? Alright. Thank you for coming to this meeting of the uh uh design group. Um I think we uh made some definite progress at the last one um and come up with some interesting uh uh w suggestions for our our new remote control. Um I'll again very quickly uh just present some notes of that meeting. Um the the the problem with existing remote controls, we felt, was that they're ugly um and that people are prepared to pay a premium for something better. Um they've got lots buttons on them that uh people don't use and find difficult to learn. Um and people lose them. And We we thought that f for our our new uh uh remote control that everybody will want to rush out and buy, um that we're we should look at speech recognition rather than r rather than buttons, and that if we have any buttons they should be very few of them and only for those functions that are actually identified that that people use. That um we want to go for uh a long lasting battery that we gua we guarantee for the life of the uh uh the product and a shape that will be instantly recognisable, A_ um as uh a trendy remote control, and and B_ as uh a Real Reaction product. So that w uh when people are uh happy with that, they will they will want to buy uh everything else from us. Uh Okay. So again um, I'll we'll have the three three presentations from the the the three of you and then uh we'll we'll make a a final a final uh decision. Um and the the decisions that we need to to make today, finally, are um what energy source we want to use, whether i it is practical to use uh um a a a long lasting one. And uh I I think our discussion was around the fact that uh if we're gonna go for uh a long lasting power supply, then basically it's uh sealed for life and uh if anybody does manage to run one down, we'll we'll give them another one. And uh it it'll be uh, you know, prominently displayed as part of the th the advertising literature that it's um um, you know, for life, guaranteed for life. Um now the the the internal chip um and uh this is where I need uh uh Kate's expert advice and given that th this has to to go to market as quickly as possible um d d do we go for a custom designed chip? Or or do we buy one off the shelf and and programme it ourselves? Uh I mean I'm I'm I'm n not an expert on these things, but presumably, there must be loads of 'em already on the market that we can modify. But uh that that's uh that's your area of expertise. And then the uh, you know, the the overall design of the case uh is is is Kendra's field and uh we we had some discussions last time as as to uh how we might go forward and we'll we'll finalise those uh da today. Um and thi this is all linked in with the the the user interface, whether we p um go for voice, buttons, or or a bit of both. Uh and then uh, you know, f for the next meeting Kate will be looking at the the the s the look, feel and design, Kendra the uh ho how the the user actually uses it and and Andrew of course the the product evaluation. And uh Kate and Kendra will be producing a a model for us to uh to look at. Uh so, if if we can have the the three presentations again please, and uh um p perhaps you'd like to start
Robert Glass: Okay.
Jorge Dehart: uh k. Kate.
Robert Glass: Um
Jorge Dehart: Oh I'm sorry,
Robert Glass: Um
Jorge Dehart: oh sorry.
Robert Glass: there we go.
Robert Glass: 'Kay, I'll just be talking about the components design. And Okay, basically I just uh looked at what exactly do remotes do. Uh basically they wait for you to press a key or give a voice command and then this is translated uh into uh light signals which are then seen by the T_V_. Uh the materials we're gonna need to look at uh the two big ones are the integrated circuit chip and the battery and the in integrated circuit chip uh works in conjunction with a a diode transistor or resonator, uh two more resistors and a capacitor and the battery works in conjunction with a resistor and a capacitor. Um. Uh basically what happens is you'll press a number or give a voice command and this creates a a connection within the the remote that allows the chip the chip then senses this connection and produces a signal in a Morse code format. This signal's sent to the transistor which amplifies it and then sends it on to the light emitting diode and uh which is then trai changed into a infrared light which is sent to the T_V_ and sort of seen by the T_V_ and which uh changes the channels. Um. Oh. Uh cool.
Robert Glass: Uh so as for how we should end up uh using this in our remote uh t couple of main questions are the buttons. Uh y the fewer buttons you have, I guess the fewer internal connections and internal codes you're gonna need. Um however uh to n not have buttons or to use a voice commands instead of buttons might make these connections more difficult and uh raise the production cost. That's something we should think about. Also we have to work within the company constraints, and the company has informed Bradley Martinez via email that uh they're experts at pushbuttons and that seems to be the most uh cost-effective way of producing it. Um also with battery connections the company has some limits on the batteries we can use, so I was thinking perhaps a combination of solar cells with a back-up basic battery and somehow between the combination of that two we might be able to come up with something that uh will last the the lifetime or the five to ten years and we could still keep that original idea. Um we also need to look at the chips, uh v custom-designed versus off the shelf, and the custom-designed will give us much more flexibility and enable us to incorporate the voice function that we all uh seem to have agreed upon. Um, however that's gonna cost more, but uh the off the shelf is gonna be uh cheaper and it's gonna be allow us to produce it quicker and get out there faster, but it's going to be less flexible with the features, especially things like uh voice activation, which haven't really been used much on remotes, so there's not really chips out there that would be easy to uh to convert, so if we were uh definitely gonna go with the the voice option we'd probably have to design um our own chip. And that pretty much sums it up.
Jorge Dehart: Okay, so how um sorry,
Robert Glass: Mm.
Jorge Dehart: can you uh
Robert Glass: Oh
Jorge Dehart: just
Robert Glass: yep,
Jorge Dehart: put
Robert Glass: sorry.
Jorge Dehart: that one back up again, please?
Robert Glass: Yep.
Jorge Dehart: Um. Uh d d d okay, I mean uh inevitably a b a custom design chip is gonna be more expensive.
Robert Glass: Mm.
Jorge Dehart: Do we do we know uh by how
Robert Glass: Um
Jorge Dehart: much?
Robert Glass: I don't actually have any price information, no.
Jorge Dehart: And and do we know how long it'll take to uh develop a a custom chip.
Robert Glass: Um it a lot longer than an off the shelf chip. Oh w yeah, we did the the problem is the the the voice technology is not really highly
Jorge Dehart: Right,
Robert Glass: developed, it's sort of still
Jorge Dehart: okay.
Robert Glass: still in an ex experimental form, uh so it would uh it's hard to predict the time.
Jorge Dehart: Right, I think we need to make a a decision here. Uh given that the company wants this on the market quickly and cheaply,
Robert Glass: Mm.
Jorge Dehart: that would appear to uh effectively constrain us to an existing chip and thus therefore conventional button technology. Um uh now before we go round everybody else, does anybody um
Jeffrey Porter: I
Jorge Dehart: h have any have anyti ha anything to say about that?
Jeffrey Porter: I just have a question about. Um does it make a difference if there are just a few commands, for example if you um can pre-programme in like numbers one through ten and pre-programme say, you know, nine channels and then just use the voice recognition to say channel one and then you've programmed in say B_B_C_ four as your channel one, as your favourite, it's like to have a certain number of favourites um
Robert Glass: W
Jeffrey Porter: and that
Robert Glass: just
Jeffrey Porter: w
Robert Glass: to to incorporate the voice activation in it is is sorta the trick. Once
Jeffrey Porter: Okay.
Robert Glass: you've got the whole voice chip
Jeffrey Porter: Then
Robert Glass: in there,
Jeffrey Porter: it doesn't
Robert Glass: then
Jeffrey Porter: matter.
Robert Glass: it's pretty much
Jeffrey Porter: Okay.
Robert Glass: the the world the the sky is your limit, but to actually the the big step is to actually get the voice
Jeffrey Porter: Okay.
Robert Glass: activation chips in there and working.
Jorge Dehart: Cause uh I must say I find it slightly surprising given that, you know, mobile phones incorporate voice activated dialling. So uh
Jeffrey Porter: Yeah.
Jorge Dehart: um I mean I d d for slightly different well no, I mean, it's if you you speak somebody's name and it'll dial the number for you, so uh bu I mean the this this information is from is this is the internal company
Robert Glass: Uh
Jorge Dehart: information,
Robert Glass: bits
Jorge Dehart: is it?
Robert Glass: of it, yeah.
Jorge Dehart: So
Jeffrey Porter: Of course
Jorge Dehart: uh
Jeffrey Porter: mobile phones do tend to be more expensive,
Robert Glass: Yes, as well.
Jeffrey Porter: you know, hundred and fifty pounds or something. As opposed to
Jorge Dehart: Yeah,
Jeffrey Porter: the
Jorge Dehart: mm true,
Jeffrey Porter: twenty
Jorge Dehart: again but
Jeffrey Porter: Euros,
Jorge Dehart: if it's without
Jeffrey Porter: twenty
Jorge Dehart: any
Jeffrey Porter: five Euros.
Jorge Dehart: without any uh p price informations that's uh difficult to uh uh decide.
Jeffrey Porter: Yeah.
Bradley Martinez: Also lots of mobile phones have got a lot of technology in them, not just
Robert Glass: Mm.
Bradley Martinez: that,
Jorge Dehart: Yeah,
Bradley Martinez: so.
Jorge Dehart: that's that's right It's. like it's it's you can't 'cause mobile phones are expensive, you can't say it's the voice recognition
Jeffrey Porter: Yeah.
Jorge Dehart: bit that is. But we don't know. Um. I mean uh I su i I mean if given that the um the technology is not well developed and and given that it's it's never been done before, um th th the double risk, uh perhaps we ought to uh stick to uh to buttons, since the last thing we want to do is present a product that doesn't work. Um. Thoughts?
Jeffrey Porter: Well, another
Bradley Martinez: Would
Jeffrey Porter: thought I oh, sorry, go ahead.
Bradley Martinez: Oh I was just gonna say mayb maybe it sh like um maybe we can like cut corners somewhere else to bring in over cost.
Jorge Dehart: I mean do w do we think that the voice technology is fundamental to the project?
Robert Glass: Uh it's fundament well I mean I guess it it's something we've discussed uh since the the sort of the beginning, so I th I think in in our in our minds it's it's fundamental, but I don't know that the uh the upper echelons of the company would necessarily agree with that, so I think
Jorge Dehart: I mean I think
Robert Glass: you have
Jorge Dehart: we
Robert Glass: to
Jeffrey Porter: Oh yeah.
Jorge Dehart: Mm.
Robert Glass: Hm.
Jeffrey Porter: Okay. Well, I kinda think if we're gonna have the voice recognition for part of it, then maybe we should have it for the whole thing.
Jorge Dehart: Yeah, I I
Robert Glass: Mm.
Jorge Dehart: I I I think that's uh
Jeffrey Porter: And we've been talking about it the whole
Robert Glass: Mm,
Jorge Dehart: Yeah,
Jeffrey Porter: time. Anyway,
Robert Glass: mm.
Jeffrey Porter: I'm
Jorge Dehart: yeah.
Jeffrey Porter: I'm incli kinda inclined to say that we should just
Jorge Dehart: Mm,
Jeffrey Porter: go for
Jorge Dehart: right,
Jeffrey Porter: it.
Jorge Dehart: okay.
Robert Glass: Mm.
Bradley Martinez: Uh yeah, it's the second most important aspect to users that the device should be technologically innovative.
Jeffrey Porter: Yeah.
Bradley Martinez: From uh my presentation
Jorge Dehart: Yeah,
Bradley Martinez: show, so.
Jorge Dehart: it should be
Bradley Martinez: Uh technologically innovative.
Jorge Dehart: Right, okay, so.
Robert Glass: No, that
Jorge Dehart: Fine.
Robert Glass: sounds good.
Jorge Dehart: Okay.
Robert Glass: Mm.
Jorge Dehart: I it will have voice recognition
Robert Glass: Mm.
Jorge Dehart: um
Jeffrey Porter: Okay.
Robert Glass: Cool.
Jorge Dehart: uh if if that means uh if that means we can't afford buttons but I mean b b second question, do we need the five buttons for channel change, up down, volume up down and on off, just as a a backup or
Robert Glass: Um
Jorge Dehart: just so that people can
Jeffrey Porter: Yeah.
Jorge Dehart: uh j j just sit
Robert Glass: Yeah,
Jorge Dehart: there pressing
Robert Glass: I I
Jorge Dehart: buttons?
Robert Glass: would say we do, yeah.
Jeffrey Porter: I think so.
Jorge Dehart: Right. Okay. Sorry, d did you want to say anything?
Robert Glass: Uh nope,
Jorge Dehart: No?
Robert Glass: that was it,
Jorge Dehart: Okay.
Robert Glass: that was it.
Jorge Dehart: Shall we move rapidly
Robert Glass: Okay.
Jorge Dehart: on to uh
Jeffrey Porter: Okay.
Jorge Dehart: Kendra? Uh um ra rapidly move the cable over.
Jeffrey Porter: Let's see.
Jorge Dehart: Mm. Oh good.
Jeffrey Porter: Oh. Yes. Is it gonna work?
Robert Glass: Yeah,
Jorge Dehart: Mm
Robert Glass: it's thinking
Jorge Dehart: yeah,
Robert Glass: about
Jorge Dehart: it'll
Robert Glass: it.
Jorge Dehart: get there. Yep.
Jeffrey Porter: Okay.
Robert Glass: Yeah.
Jeffrey Porter: Okay, so I did some research on the internet and um what you know, the interf user interface are just aspects that are seen by users, um commands and mechanisms for the operation, and there're just kind of a variety of choices. Um findings, so a lot of times they tend to look cluttered and
Jorge Dehart: Mm-hmm.
Jeffrey Porter: these were just a couple examples of um different kinds that are a little bit more unusual. There're some
Jorge Dehart: Mm,
Jeffrey Porter: special
Jorge Dehart: yeah.
Jeffrey Porter: ones available, like this one right here, which is
Jorge Dehart: Uh-huh.
Jeffrey Porter: marketed towards children, um
Jorge Dehart: Alright.
Jeffrey Porter: different designs, and one of the things that n we need to watch out for is a V_ in volume because people some
Jeffrey Porter: Bring a little picture of what I thought ours could look like. So just kind of minimise the
Jorge Dehart: Mm-hmm.
Jeffrey Porter: clutter, avoid too many buttons and also um one of the things that people have used is a slide button, like you have on a mouse, that possibly we could use that on the sides
Bradley Martinez: Mm.
Jeffrey Porter: for volume, for example, have the slide button on the side, and then you can pre-programme the channels,
Jorge Dehart: Mm
Jeffrey Porter: the
Jorge Dehart: yeah.
Jeffrey Porter: voice recognition and then the
Jorge Dehart: Sorry
Jeffrey Porter: voice
Jorge Dehart: y
Jeffrey Porter: response
Jorge Dehart: y
Jeffrey Porter: sample
Jorge Dehart: yeah,
Jeffrey Porter: locator.
Jorge Dehart: if I can interrupt you. Well d p 'kay, do you wanna say anything
Robert Glass: Mm.
Jorge Dehart: about um slide controls? I mean I think the reason everybody uses pushbuttons is that they're
Robert Glass: Uh
Jorge Dehart: they're si simple, cheap and
Robert Glass: Uh I think they're
Jorge Dehart: reliable.
Robert Glass: they're about the same cost really. I I mean, I think it's just sort of the the there's a lot of slide buttons out there. I think it's pretty much the same sort of connection.
Jorge Dehart: Okay,
Robert Glass: Mm
Jorge Dehart: fair enough,
Robert Glass: yeah.
Jorge Dehart: fine.
Jeffrey Porter: Just because I n for example if I'm using a mouse I like to be able to slide it up and
Robert Glass: Mm.
Jeffrey Porter: down so I thought it might
Jorge Dehart: Yeah.
Jeffrey Porter: be good for volume to just be able to
Jorge Dehart: Good,
Jeffrey Porter: kind of roll it
Jorge Dehart: good.
Jeffrey Porter: and then have the up and down and then the
Jorge Dehart: Yeah.
Jeffrey Porter: this is my
Jorge Dehart: So
Jeffrey Porter: great
Jorge Dehart: three
Jeffrey Porter: little
Jorge Dehart: three
Jeffrey Porter: drawing.
Jorge Dehart: there's three buttons on a slider. Three buttons,
Jeffrey Porter: Y
Jorge Dehart: channel
Jeffrey Porter: yes,
Bradley Martinez: Well,
Jorge Dehart: up channel
Jeffrey Porter: yes.
Jorge Dehart: up
Bradley Martinez: if
Jorge Dehart: down
Bradley Martinez: you g if
Jorge Dehart: and
Bradley Martinez: you you got channel down, can have a slider in that as well. Because if it if you no if you notice on the thing it it kind of like has got kind of if you you know it s kind of like sticks, if you know what I mean, up like one unit, if you see what
Jeffrey Porter: Yeah.
Bradley Martinez: I mean.
Robert Glass: Mm.
Bradley Martinez: So it kinda goes up one, then y like you can keep rolling it up, but it's like like like like a cog or something.
Jorge Dehart: Uh-huh.
Bradley Martinez: So you kinda take it up one at a time.
Jorge Dehart: Okay.
Jeffrey Porter: The only advantage
Bradley Martinez: D
Jorge Dehart: Um
Jeffrey Porter: I was thinking of to having the buttons, like the buttons on one side for the channel,
Jorge Dehart: Mm-hmm.
Jeffrey Porter: and then the slider is that if you're just holding in your hand, and you pick it up, it's easy to n s
Bradley Martinez: Oh.
Jeffrey Porter: know, okay, this is just the volume and this is
Jorge Dehart: This
Jeffrey Porter: the channel.
Jorge Dehart: one
Bradley Martinez: Uh
Jorge Dehart: on the one
Bradley Martinez: you could
Jorge Dehart: side and one
Bradley Martinez: you
Jorge Dehart: yeah.
Bradley Martinez: could
Robert Glass: Ye yeah, 'cause
Bradley Martinez: as
Robert Glass: I've
Bradley Martinez: l
Robert Glass: definitely
Bradley Martinez: as
Jorge Dehart: Okay.
Bradley Martinez: like
Robert Glass: picked
Bradley Martinez: a mouse
Robert Glass: up remotes
Bradley Martinez: you could
Robert Glass: and like meant to
Jorge Dehart: Yeah.
Robert Glass: change the channel and turn the volume, or
Jeffrey Porter: Yeah.
Robert Glass: vice versa, so it'd be
Jorge Dehart: Yeah.
Robert Glass: kinda good to have them be feel completely different. You'd know what you were fiddling with. Yeah.
Bradley Martinez: Yeah, like
Jorge Dehart: Yeah,
Bradley Martinez: the shape
Jeffrey Porter: That
Jorge Dehart: or
Bradley Martinez: of
Jeffrey Porter: was
Bradley Martinez: it almost
Jorge Dehart: yeah
Bradley Martinez: like a
Jorge Dehart: uh
Bradley Martinez: mouse,
Jorge Dehart: th th
Bradley Martinez: with
Jorge Dehart: the
Bradley Martinez: a
Jorge Dehart: I mean thi this is what the we have to come up with is the the actual shape that people can ins instantly pick it up and and know
Robert Glass: Mm.
Jorge Dehart: know uh know what it's going to do.
Jeffrey Porter: Yeah.
Jorge Dehart: Okay, so we we're looking at sliders for both a uh volume and channel change
Jeffrey Porter: Um well I was
Jorge Dehart: of
Jeffrey Porter: thinking
Jorge Dehart: one sort.
Jeffrey Porter: kind of just for the volume,
Jorge Dehart: Just
Jeffrey Porter: but
Jorge Dehart: for the volume,
Jeffrey Porter: what
Robert Glass: Mm.
Jorge Dehart: uh.
Jeffrey Porter: what
Bradley Martinez: Dep
Jeffrey Porter: do you guys think?
Bradley Martinez: I dunno if it
Jeffrey Porter: We
Bradley Martinez: depending
Jeffrey Porter: could
Bradley Martinez: on the final shape of it, 'cause you could have like, I dunno, it looks like you can c control the volume with your thumb, and then you could control
Jeffrey Porter: Yeah,
Bradley Martinez: the buttons
Robert Glass: Yeah,
Bradley Martinez: with your fingers.
Jorge Dehart: Fingers, yeah.
Jeffrey Porter: yeah.
Jorge Dehart: I
Robert Glass: if
Jorge Dehart: mean it's
Robert Glass: yeah,
Jorge Dehart: it's
Robert Glass: in that kinda position the fingers would be better for pressing and
Jorge Dehart: It
Robert Glass: the
Jorge Dehart: yeah,
Robert Glass: that
Jorge Dehart: I mean
Robert Glass: for
Jorge Dehart: it
Jeffrey Porter: B
Robert Glass: rolling,
Jorge Dehart: it
Robert Glass: just
Jorge Dehart: it seems
Robert Glass: the way it
Jorge Dehart: to Bradley Martinez
Robert Glass: would
Jorge Dehart: that
Jeffrey Porter: Yeah.
Jorge Dehart: uh it uh it al also has the advantage that it it the two are clearly different,
Robert Glass: Mm
Jeffrey Porter: Yeah.
Robert Glass: yeah, yeah,
Jorge Dehart: um
Bradley Martinez: Oh yeah, yeah.
Jorge Dehart: that
Robert Glass: yeah.
Jorge Dehart: there's no no possibility of uh confusing the two. So
Jeffrey Porter: I'm just
Jorge Dehart: okay.
Jeffrey Porter: gonna pass this along.
Jorge Dehart: Right so uh that's sorry is that that all you
Jeffrey Porter: Yes.
Jorge Dehart: want to say at the mo okay, fine.
Jeffrey Porter: Yeah.
Jorge Dehart: Mm right.
Bradley Martinez: Here we go.
Jorge Dehart: Right.
Bradley Martinez: Uh yeah, this is my report on trend watching.
Jorge Dehart: Mm-hmm.
Bradley Martinez: The data's come off internet uh from executive summary for us on the top three things wanted by the consumer. And we got reports from Paris, Milan on new fashions. And uh the most important aspect is the l the look it has to look fancy, look and feel
Jorge Dehart: Mm-hmm.
Bradley Martinez: uh instead of the current functional look and feel. This is a st well I was gonna say yeah twice as important as the
Jorge Dehart: Mm.
Bradley Martinez: second aspect, which is the technologically innov innovative um side of it. So uh and the third being easy to use is probably a given, we have to try and incorporate, so uh
Jorge Dehart: Well I I mean I th I think that what we're suggesting ought to address all three of those.
Bradley Martinez: Uh
Jeffrey Porter: Yeah.
Bradley Martinez: exactly, yeah.
Robert Glass: Mm.
Jorge Dehart: Okay.
Bradley Martinez: I s that out of sequence? Uh yeah, sorry. Uh yeah, and uh from the fashion watchers from Milan and Paris have said fruit and vegetables are an important theme for clothes and furniture and shoes, et cetera.
Jeffrey Porter: Oh.
Bradley Martinez: Uh sorry, clothes, shoes and
Jorge Dehart: Uh-huh.
Bradley Martinez: furniture and uh a spongy material to be used on the on the outside.
Jorge Dehart: Mm I hadn't thought of that, that's different, certainly.
Robert Glass: Mm.
Bradley Martinez: Yeah. But uh I was gonna say um yeah, fruit
Jorge Dehart: What?
Bradley Martinez: and vegetables, uh important to this year um important to furniture, I'm just gonna say uh f like it's in if if fashion if we're going for the it looks fancy, then fashion is obviously the line we gotta be going through.
Jorge Dehart: Yeah.
Robert Glass: Mm-hmm.
Bradley Martinez: But fashions do don't last very long.
Robert Glass: Well that can kinda tie into our changing uh face things, like we could have
Bradley Martinez: Mm.
Robert Glass: the fruit and vegetable theme this year
Bradley Martinez: Yeah.
Robert Glass: and uh
Jeffrey Porter: Yeah.
Robert Glass: whatever happens next year, we can have the
Bradley Martinez: Yeah, we can
Robert Glass: face
Bradley Martinez: have a
Robert Glass: plates,
Bradley Martinez: sp
Robert Glass: yeah.
Bradley Martinez: like a spongy skin on it and then we
Robert Glass: Yeah,
Bradley Martinez: can just
Jorge Dehart: Uh.
Bradley Martinez: whip that off and
Robert Glass: yeah.
Jeffrey Porter: Yeah like the kind you get on like hand weights. You know, that
Robert Glass: Mm,
Jeffrey Porter: kind of spongy
Robert Glass: yeah, that weird I dunno what that is,
Jorge Dehart: Uh.
Robert Glass: but
Jeffrey Porter: yeah.
Robert Glass: yeah.
Bradley Martinez: A kind of yeah.
Robert Glass: Mm.
Jorge Dehart: Also
Bradley Martinez: Oh
Jorge Dehart: means you can drop it without damaging it.
Bradley Martinez: Yeah.
Robert Glass: Uh,
Bradley Martinez: That's
Robert Glass: yeah,
Bradley Martinez: c
Jeffrey Porter: Yeah,
Robert Glass: it's good
Bradley Martinez: cool.
Robert Glass: as well.
Jeffrey Porter: that's true.
Robert Glass: Mm-hmm.
Bradley Martinez: Um you have we could if we could save depending on the cost of the product itself, you know, could we have uh a cheaper b cheaper power source and then just have it annually renewed? Instead of having a ten year guarantee? With interchangeable covers, could just buy a new one every year, a new
Jeffrey Porter: Yeah.
Bradley Martinez: one when new fashions come out.
Robert Glass: Mm.
Jorge Dehart: I I mean it its uh I that's an interesting idea, it's like the old Swatch watch where uh um on only batteries ever got changed in those, 'cause people just bought a new one when it went out of fashion, but
Robert Glass: Mm.
Jorge Dehart: it's just never been seen as a a fashion item before.
Bradley Martinez: Yeah.
Jorge Dehart: Um that's
Jeffrey Porter: Wh
Jorge Dehart: yes
Robert Glass: I
Jorge Dehart: if if if they're made in sufficient quantity
Robert Glass: I think it's easier sometimes to have them buy changeable covers for it than to buy a whole new one, because you don't feel like you're investing in a whole new product.
Jorge Dehart: W I mean we we can uh uh b but I mean my feeling is that
Robert Glass: Yeah.
Jorge Dehart: current power sources are such that
Robert Glass: Mm.
Jorge Dehart: for relatively little cost you can make it last, you know, a long time.
Robert Glass: Yeah.
Jorge Dehart: Um but if we also make it cheap enough that people either change the cover every year or
Robert Glass: Mm.
Jorge Dehart: even buy a new one every year then it it's it's even better.
Robert Glass: Mm.
Jeffrey Porter: What if we
Bradley Martinez: Mm-hmm.
Jeffrey Porter: included the batteries in the cover?
Robert Glass: Oh yeah.
Jeffrey Porter: So
Robert Glass: I like
Jeffrey Porter: um
Robert Glass: that. That
Jeffrey Porter: like
Robert Glass: all c also kind of encourages 'em to buy new covers and yeah.
Jeffrey Porter: Yeah, so can I see that
Robert Glass: Um.
Jeffrey Porter: thing?
Jorge Dehart: S
Jeffrey Porter: Just this
Jorge Dehart: Yeah,
Jeffrey Porter: as examples.
Jorge Dehart: yeah, I n I know the only p
Jeffrey Porter: So
Jorge Dehart: I mean
Jeffrey Porter: f
Jorge Dehart: the the the the immediate thing that comes to mind with that is that it it it y you've then got the connection and you've immediately got a sort of unreliability, whereas
Robert Glass: Uh yeah.
Jorge Dehart: the advantage of having it plumbed in is that that the whole thing is all, you know, completely soldered together
Jeffrey Porter: Yeah, I
Robert Glass: Mm.
Jeffrey Porter: guess that's
Jorge Dehart: and it it it you know, total
Jeffrey Porter: true.
Jorge Dehart: reliability, but I mean I d I I uh I know what you're saying and uh understand
Bradley Martinez: Or
Jorge Dehart: where you're coming from.
Bradley Martinez: well, but like uh like more than just the battery, like a complete different like you've only got like, you know like th uh this bit's the bit you keep, and this is the expensive bit, this is like the chip and this is
Robert Glass: Mm-hmm.
Bradley Martinez: the microphone. And then this is the power source and the bit everyone sees. And then
Jorge Dehart: I th I s I think if we're gonna go down that route, then we're talking about uh even if it costs slightly more than that, um just building the whole thing in one, then having
Bradley Martinez: Yeah,
Jorge Dehart: getting
Bradley Martinez: you probably
Jorge Dehart: cheaper
Bradley Martinez: are right.
Jorge Dehart: production costs um and, you know giving people the option of buying a new uh a a complete new thing, the advantage of a replaceable cover is that even if they don't it doesn't have a cover on at all, it will still work
Robert Glass: Mm.
Jeffrey Porter: Yeah,
Jorge Dehart: um
Jeffrey Porter: that's true.
Jorge Dehart: totally.
Robert Glass: Mm.
Jorge Dehart: Um
Jeffrey Porter: Yeah,
Jorge Dehart: then if,
Jeffrey Porter: yeah.
Jorge Dehart: you know, if people lose the cover, I mean they they might be well inclined to go out and spend however many Euros on a on a new one
Jeffrey Porter: Yeah.
Jorge Dehart: um rather than a a complete new
Robert Glass: Well
Jorge Dehart: re
Robert Glass: that that's
Jeffrey Porter: Yeah.
Jorge Dehart: remote.
Robert Glass: just it with the covers, you're sort of tricking 'em into continuing to spend their money on our products without making 'em feel like they're being ripped off having to buy a new product.
Jorge Dehart: Yeah, I
Jeffrey Porter: Yeah,
Jorge Dehart: mean it
Robert Glass: So,
Jorge Dehart: is
Jeffrey Porter: just
Jorge Dehart: it's
Jeffrey Porter: another
Jorge Dehart: up to it's
Robert Glass: yeah.
Jeffrey Porter: five
Jorge Dehart: up to
Jeffrey Porter: Euro to get
Robert Glass: Yeah.
Jorge Dehart: Yeah, it's it's up to our marketing people
Robert Glass: Mm.
Jorge Dehart: to
Jeffrey Porter: Right.
Jorge Dehart: to ma to ma turn it into a a fashion item.
Robert Glass: Mm, yeah.
Jorge Dehart: Um and, you know, as as external fashions change, then we get new new covers
Robert Glass: Mm.
Jeffrey Porter: Yeah.
Jorge Dehart: on the market and, you know, readily available. And
Robert Glass: And that's the
Jorge Dehart: um
Robert Glass: sort of thing, once you get the mould set, you can just whip out different colours, different
Jeffrey Porter: Yeah,
Robert Glass: pictures
Jeffrey Porter: like they have
Robert Glass: very
Jeffrey Porter: for
Robert Glass: very
Jeffrey Porter: mobile
Robert Glass: quickly.
Jeffrey Porter: phones
Jorge Dehart: that's
Robert Glass: Yeah,
Jorge Dehart: that's
Jeffrey Porter: that
Robert Glass: yeah,
Jorge Dehart: right,
Jeffrey Porter: are just
Robert Glass: exactly,
Jorge Dehart: yeah,
Robert Glass: exactly.
Jorge Dehart: yeah.
Jeffrey Porter: fruits and animal prints
Robert Glass: Yeah.
Jeffrey Porter: and colours. Yeah,
Jorge Dehart: So
Jeffrey Porter: okay.
Jorge Dehart: uh i so uh okay. Um right, sorry. Um we hadn't finished your
Bradley Martinez: Um oh, don't worry it's all said, I was just gonna say uh yeah, are we gonna make this as part of like like uh a part of the f like it it the fashions apply to furniture, so are we gonna make this part of the furniture?
Jorge Dehart: It's the sort of thing that we want people to have prominent dis displayed
Robert Glass: Mm.
Jorge Dehart: on their
Robert Glass: Mm-hmm.
Jorge Dehart: um coffee table to say this says something about Bradley Martinez. Um
Bradley Martinez: Yeah. This is fashionable
Jorge Dehart: this
Bradley Martinez: with
Jorge Dehart: is fashionable.
Robert Glass: Yeah.
Jorge Dehart: I, you know, I'm I'm I'm with it, I'm up to date. And you know, th the the design that I've got, and and it could be a a home-made design, um you know this says this is not just a a television remote control, this is, you know, a fashion accessory. Um, so I mean the the the basic shape i is is what we uh I mean given that we've got you know one one on off button presumably,
Robert Glass: Mm.
Jorge Dehart: two buttons for uh channel change and one slider and basically nothing else, um w we need to decide on the just the basic shape of the thing. And, know whether we go down the fruit and veg route, and I don't suggest we make it look like a banana, but um know sort of the the organic, you know, curved look,
Robert Glass: Mm.
Jorge Dehart: you
Bradley Martinez: Oh
Jorge Dehart: know,
Bradley Martinez: yeah.
Jorge Dehart: t to deliberately get away from the uh um uh you know, the the the the square look of most um current uh remotes and, you know, whether whether the you know, the the fixed part of it is the corporate yellow. Um mm or uh 'cause there's certainly you know, the the corporate logo needs to be prominently uh displayed so that people s th looked at it and say right, that's a Real Reaction remote control, I want one of those.
Robert Glass: I dunno that we should make the whole thing yellow I kinda thought with a you'd have like a yellow circle with the R_R_ in it somewhere
Jorge Dehart: Yeah uh
Robert Glass: on
Jeffrey Porter: Yeah,
Jorge Dehart: the
Robert Glass: it,
Jeffrey Porter: like
Jorge Dehart: the
Robert Glass: but I'd
Jeffrey Porter: an.
Jorge Dehart: uh
Robert Glass: yellow
Jorge Dehart: or or b
Robert Glass: seems a bit of a strong colour
Jorge Dehart: Yeah,
Robert Glass: to
Jorge Dehart: I'd
Robert Glass: make
Jorge Dehart: I'd
Robert Glass: the ent like
Jorge Dehart: um
Robert Glass: the thing no,
Jorge Dehart: yeah.
Robert Glass: but I mean just
Jeffrey Porter: Yeah.
Robert Glass: like
Jorge Dehart: Uh
Robert Glass: white
Jorge Dehart: no I
Robert Glass: or
Jorge Dehart: d
Robert Glass: grey
Jorge Dehart: I I
Robert Glass: or
Jorge Dehart: agree,
Robert Glass: black
Jorge Dehart: I mean
Robert Glass: or some sort
Jorge Dehart: we're
Robert Glass: of
Jorge Dehart: we're we're
Robert Glass: blah
Jorge Dehart: simply
Robert Glass: colour.
Jorge Dehart: it's simply required
Robert Glass: Yeah,
Jorge Dehart: to
Robert Glass: yeah.
Jorge Dehart: incorporate the
Jeffrey Porter: Yeah.
Jorge Dehart: the the the corporate
Robert Glass: Yeah.
Jorge Dehart: logo prominently
Robert Glass: Mm.
Jorge Dehart: um.
Bradley Martinez: And make that a fashion
Jeffrey Porter: Well
Bradley Martinez: symbol
Jeffrey Porter: n
Bradley Martinez: as well.
Jorge Dehart: Well, th this is this is the whole point, yes, you know, I'm I've got a a Real Reaction uh remote control to go with my Real Reaction coffee maker or or whatever. And uh then people, you know, people demand more Real Reaction
Robert Glass: Mm-hmm.
Jorge Dehart: stuff.
Jeffrey Porter: Well I was sort of mm kinda picturing like maybe um a shape that's almost like a mouse.
Robert Glass: Mm.
Jorge Dehart: Yeah.
Jeffrey Porter: So
Robert Glass: Yeah.
Jeffrey Porter: that, you know, when they hold it it's because a mouse is pretty comfortable to hold in your hand um maybe we could make it a slightly different shape so they could hold on to it, but that way they can have the volume on the side and then the channel buttons and
Jorge Dehart: Yeah.
Robert Glass: Mm.
Jorge Dehart: Yeah.
Jeffrey Porter: have the power, wherever, somewhere.
Robert Glass: Yeah.
Jeffrey Porter: I mean
Jorge Dehart: I mean
Jeffrey Porter: that was
Jorge Dehart: I've
Jeffrey Porter: just
Jorge Dehart: uh
Jeffrey Porter: an
Jorge Dehart: yeah.
Jeffrey Porter: idea that I had.
Jorge Dehart: Oh no that well there's the sim my my idea was something a b probably you know a bit fatter than this but sort of
Jeffrey Porter: Yeah.
Jorge Dehart: tha that sorta shape so
Jeffrey Porter: Yeah,
Jorge Dehart: that you can
Jeffrey Porter: maybe.
Jorge Dehart: just sort of
Robert Glass: Yeah,
Jorge Dehart: ho
Robert Glass: you'd want
Jorge Dehart: hold
Robert Glass: it
Jorge Dehart: it.
Robert Glass: narrower
Jeffrey Porter: Kind
Robert Glass: than
Jeffrey Porter: of a
Robert Glass: a
Jeffrey Porter: c
Robert Glass: mouse though 'cause it a mouse you're kinda just resting on it, you want something you can definitely grip.
Jorge Dehart: W it
Robert Glass: So
Jeffrey Porter: Yeah.
Jorge Dehart: I mean
Robert Glass: maybe
Jorge Dehart: well
Robert Glass: it'd
Jorge Dehart: it's
Robert Glass: be
Jorge Dehart: sort of it's it's sort
Jeffrey Porter: Sort
Jorge Dehart: of
Jeffrey Porter: of a combination.
Robert Glass: Yeah,
Jorge Dehart: uh a
Robert Glass: yeah.
Jorge Dehart: a mouse, but held,
Robert Glass: Yeah.
Jorge Dehart: you know, so it's you sorta hold
Jeffrey Porter: Yeah.
Jorge Dehart: it in your hand like that, i
Robert Glass: Yeah,
Jorge Dehart: with,
Robert Glass: and
Jorge Dehart: you know,
Robert Glass: fiddle
Jorge Dehart: and
Robert Glass: around
Jorge Dehart: fiddling
Robert Glass: with it and press
Jorge Dehart: with the buttons.
Robert Glass: it.
Jeffrey Porter: Yeah so yeah, kind of maybe maybe a little wider than this, 'cause this is pretty comfortable to hold, and then if you had
Robert Glass: Maybe almost like a hairbrush, like you could get the about the width of that end of the
Jeffrey Porter: Yeah,
Robert Glass: pen and then it widens up top
Jeffrey Porter: then wider
Robert Glass: and you
Jeffrey Porter: up
Robert Glass: can
Jeffrey Porter: here.
Robert Glass: fiddle an
Jeffrey Porter: And then
Robert Glass: yeah.
Jeffrey Porter: it would have a l uh wider thing
Robert Glass: Yeah,
Jeffrey Porter: to uh have
Robert Glass: yeah.
Jeffrey Porter: the light, the
Robert Glass: Yeah.
Jeffrey Porter: infrared light at the T_V_ and just kinda change channels and adjust
Robert Glass: Mm.
Jeffrey Porter: the volume and the power could be wherever, up up the top or something.
Robert Glass: Yeah, cool.
Jeffrey Porter: What do you guys think about that?
Bradley Martinez: Yeah, that sounds
Jorge Dehart: Okay, yeah, yeah.
Bradley Martinez: Um I'm just I'm suddenly realising that yeah we're discussing how much how good it's gonna be to change channels t we still can just tell it to. I mean are we are we starting to get away from the the voice functionality of it?
Jeffrey Porter: Oh yeah.
Robert Glass: Yeah.
Jorge Dehart: It's a very good point.
Jeffrey Porter: It is
Robert Glass: Yeah.
Jeffrey Porter: a very good point.
Jorge Dehart: I think we d I think we decided that w we're actually going down both routes.
Robert Glass: Yeah,
Jeffrey Porter: Yeah.
Jorge Dehart: That
Robert Glass: yeah.
Jorge Dehart: um the we n we need the the manual controls and that they should be of that form,
Jeffrey Porter: Yeah.
Jorge Dehart: but that uh
Robert Glass: But
Jorge Dehart: yeah.
Robert Glass: do you know, this shape also kind of les lend itself to to voice 'cause if you're you're holding it and you're fiddling, but you can also
Jorge Dehart: Then you just
Robert Glass: bring it up
Jorge Dehart: bring
Robert Glass: like
Jorge Dehart: it up
Robert Glass: that
Jorge Dehart: to your mouth
Robert Glass: and it's
Jorge Dehart: and just
Robert Glass: microphone-esque,
Jeffrey Porter: Yeah,
Jorge Dehart: speak
Jeffrey Porter: say
Jorge Dehart: to it, yeah,
Robert Glass: yeah,
Jorge Dehart: yeah.
Bradley Martinez: Yeah,
Robert Glass: yeah.
Bradley Martinez: maybe we cou like w like we're leaving out the buttons for the the f less frequently used stuff, but maybe we could
Robert Glass: Mm.
Bradley Martinez: incorporate that into the voice.
Jorge Dehart: I th I th honest uh my personal view is that if it's not there, people wouldn't use it anyway
Bradley Martinez: Mm I suppose, but
Jorge Dehart: um.
Bradley Martinez: t there is the off chance that, you know, th the brightness is wrong on your T_V_ or the contrast needs changing.
Jorge Dehart: It's cer it's certainly possible I mean, but they
Robert Glass: Bu
Jorge Dehart: we we're going beyond
Robert Glass: Mm.
Jorge Dehart: w w given the state of the technology we want something that we kno we know will will work
Bradley Martinez: Hmm yeah.
Jorge Dehart: um.
Robert Glass: Well you can still i incorporate the voice with with less buttons. I mean uh if the power button was also somehow like a menu button you could press that and or do voice commands, and either volume thing could
Jorge Dehart: Uh
Robert Glass: also be to scroll through other options like y and you could scroll
Bradley Martinez: Yeah,
Robert Glass: through brightness
Bradley Martinez: that's a good idea.
Robert Glass: and
Jeffrey Porter: Yeah,
Robert Glass: and
Jeffrey Porter: I suppose
Robert Glass: sc and then you
Jeffrey Porter: I sup
Robert Glass: can you can minimise the buttons and still have
Jorge Dehart: Yeah.
Robert Glass: those, you know, brightness
Bradley Martinez: Yeah.
Robert Glass: and tint and stuff.
Jorge Dehart: If we we're I mean I'm getting a clear message that we think that we should have those facilities available.
Jeffrey Porter: So I guess we could have a
Robert Glass: Yeah
Jeffrey Porter: menu button as well. We could have the channels and the power and then a menu button
Robert Glass: Yeah.
Jeffrey Porter: and then the volume. So have four buttons and the volume instead of three buttons and the volume.
Jorge Dehart: Uh uh uh Okay, if we if we're going down that route, then we need some sort of display. Do we
Robert Glass: But
Jorge Dehart: need
Robert Glass: the
Jorge Dehart: some
Robert Glass: television
Jorge Dehart: sort of display?
Jeffrey Porter: Yeah,
Robert Glass: would be
Jeffrey Porter: that's
Jorge Dehart: We
Robert Glass: the display
Jorge Dehart: actually
Jeffrey Porter: on the
Robert Glass: that
Jorge Dehart: use
Jeffrey Porter: T_V_,
Jorge Dehart: the television,
Robert Glass: things
Jeffrey Porter: yeah.
Robert Glass: like that usually c pop
Jorge Dehart: okay.
Robert Glass: up on a televi
Jeffrey Porter: Yeah, and
Robert Glass: like
Jeffrey Porter: then
Robert Glass: you hit
Jeffrey Porter: y
Robert Glass: menu
Jorge Dehart: Okay,
Robert Glass: and menu will come up on television
Jorge Dehart: okay,
Robert Glass: and have like tint brightness,
Jorge Dehart: okay.
Robert Glass: and you'd use the scroll,
Bradley Martinez: Well
Robert Glass: scroll through it
Bradley Martinez: I
Robert Glass: yeah.
Bradley Martinez: mean on a
Jorge Dehart: Yep.
Bradley Martinez: as well, you could press it,
Robert Glass: Yeah,
Bradley Martinez: you could press that
Jeffrey Porter: Yeah,
Robert Glass: yeah,
Bradley Martinez: and have
Robert Glass: that's
Bradley Martinez: it as
Robert Glass: true.
Bradley Martinez: a menu
Jeffrey Porter: press
Bradley Martinez: button.
Jeffrey Porter: that is t yeah, that
Robert Glass: I
Jeffrey Porter: might
Robert Glass: never
Jeffrey Porter: work.
Robert Glass: understood how that worked though, but yeah.
Jeffrey Porter: Yeah, it's like um yeah, it's like the mouse
Robert Glass: Yeah,
Jeffrey Porter: where you just kinda click it.
Robert Glass: mm.
Jeffrey Porter: You just press it. Yeah, and you could just click that to so if you had like the menu then you could scroll through and then
Robert Glass: Mm,
Jeffrey Porter: click it
Robert Glass: oka
Jeffrey Porter: to select.
Robert Glass: yeah. Yeah.
Bradley Martinez: Uh yeah.
Jeffrey Porter: You know what I mean?
Jorge Dehart: Mm yeah. Okay, we got five minutes to go in this
Jeffrey Porter: Okay.
Jorge Dehart: meeting, so um I d I think we've actually very conveniently just uh come to uh a good point to s to
Robert Glass: Cool.
Jorge Dehart: sum up um. So um b b Kate and Kendra now go away and uh
Robert Glass: Play with
Jorge Dehart: pa play
Robert Glass: play-dough.
Jorge Dehart: play with a bit of Plasticine or play-dough, whatever it is on the other side of the Atlantic.
Bradley Martinez: Hmm.
Jorge Dehart: Um and actually put what we've discussed into something uh I was gonna say concrete, but that's a slightly inappropriate word um to something that we can we can see and um Andrew n can go away and th th think about how we can uh actually market this as a concept and not j not just a uh um a a simple remote control.
Bradley Martinez: Uh can I just get some things clear just for
Jorge Dehart: Yeah,
Bradley Martinez: my
Jorge Dehart: certainly,
Bradley Martinez: sake.
Jorge Dehart: of course.
Bradley Martinez: Our energy source is gonna be
Jorge Dehart: I
Bradley Martinez: long
Jorge Dehart: think
Bradley Martinez: term.
Jorge Dehart: I think we decided that we're gonna for for simplicity of, you know, manufacturing and uh maintenance that we will go for a a long term
Robert Glass: Mm.
Jorge Dehart: battery source
Bradley Martinez: Cool.
Jorge Dehart: um,
Bradley Martinez: Uh
Jorge Dehart: I you know, on the basis that um that, you know, if we're going for making it a fashion statement, then uh people are more likely to change it anyway uh before i it runs out and um make an assumption that we we can aim for a battery that will last most people for uh we'll say at least five five ten years
Robert Glass: Yeah.
Jorge Dehart: and that we'll w we will guarantee it for for five years um.
Bradley Martinez: And we're having a custom chip?
Jorge Dehart: We're having a a custom chip, but given the the we've cut the functions down, um that will hopefully not be too problematic, but given that um technol technological innovation is important, then we need to, I'll say it again, technologically innovate. Um and uh we we, know, we must resist any efforts to uh to try and water that down um.
Bradley Martinez: And interchangeable case?
Jorge Dehart: I i interchangeable case seems to be um
Robert Glass: Mm.
Jorge Dehart: um important to the concept. Um it it should be cheap, you know, if if
Robert Glass: Mm.
Jorge Dehart: we avoid any,
Jeffrey Porter: Yeah.
Jorge Dehart: you know, electrical connections. And uh i you know, i if we can come up with some way of of allowing people to actually personalise it
Bradley Martinez: Mm, mm-hmm.
Jorge Dehart: uh to whatever they want, then uh I mean uh uh this is totally new. We d we don't know whether that to what extent people do it or not, but if they've at least got a a good selection of um covers that they can use anyway, and uh and if if we can keep them, you know, rolling, then uh you know, so they can get them in the supermarket when they go down to um a any of the famous supermarkets, I won't mention any mention any names, um it's uh it's good for the supermarket and it's good for us and it hopefully makes them feel better.
Bradley Martinez: And uh are we gonna have it il being illuminated from inside onto the buttons or
Jorge Dehart: Um the that I mean that's no, because we've got so few buttons that it that actually makes that redundant.
Jeffrey Porter: Yeah,
Robert Glass: Mm, does actually,
Bradley Martinez: Cool.
Jeffrey Porter: I think
Robert Glass: yeah,
Jeffrey Porter: so too. Yeah, and
Robert Glass: yeah.
Jeffrey Porter: especially for making them so like
Robert Glass: Mm
Jeffrey Porter: different
Robert Glass: different
Jorge Dehart: Yeah,
Jeffrey Porter: and
Robert Glass: to feel,
Jorge Dehart: yeah.
Robert Glass: yeah, yeah.
Jeffrey Porter: Yeah.
Jorge Dehart: And the you know, that that solves one of the problems of b of battery life,
Robert Glass: Mm-hmm.
Jorge Dehart: 'cause that
Jeffrey Porter: Yeah.
Jorge Dehart: would
Robert Glass: Yep,
Jorge Dehart: well that would clobber
Robert Glass: yeah.
Jorge Dehart: the battery life, so
Robert Glass: Mm-hmm.
Jorge Dehart: no, I mean
Jeffrey Porter: Yeah.
Jorge Dehart: given the nature of the buttons we're having, it's actually uh uh unnecessary I think.
Jeffrey Porter: Yeah.
Robert Glass: Mm-hmm.
Bradley Martinez: Are we having it that it's any angle, or is it just
Jorge Dehart: As uh as wide
Robert Glass: Yeah.
Bradley Martinez: As wide
Jorge Dehart: cer
Bradley Martinez: as possible.
Jorge Dehart: certainly wider angle than than current, so that if you're holding it, you know, anyway
Jeffrey Porter: Like
Robert Glass: Mm
Jorge Dehart: like
Jeffrey Porter: this
Jorge Dehart: you're likely
Jeffrey Porter: or like
Jorge Dehart: to
Jeffrey Porter: this.
Robert Glass: yeah.
Jorge Dehart: and uh it's uh you know, i i it will work most of the time um. Not like my my mum who points it at the ceiling and wonders why the th th the television doesn't work. Um yeah, I mean I d I th I sorta envisaged that if if this was the the thing, then sort of the the whole of the top would be
Jeffrey Porter: Yeah,
Jorge Dehart: the
Robert Glass: Mm-hmm.
Jeffrey Porter: kinda
Jorge Dehart: uh
Jeffrey Porter: like this
Jorge Dehart: the
Jeffrey Porter: whole
Jorge Dehart: infrared uh.
Robert Glass: Yeah, mm.
Jeffrey Porter: So
Jorge Dehart: Um
Jeffrey Porter: you could use
Jorge Dehart: so
Jeffrey Porter: like this and it would go.
Robert Glass: Mm.
Jorge Dehart: Yeah, 'cause I mean the r reality is people are they're gonna be looking at the television whilst they're using it, the chances are, so if if
Jeffrey Porter: Yeah.
Jorge Dehart: they're holding it anyway, the they're reasonably likely to be holding it to use it, then uh
Jeffrey Porter: Yeah.
Jorge Dehart: then that that's the sort of coverage that we want. Um okay, d we're all clear
Robert Glass: Yep,
Jeffrey Porter: Yep.
Robert Glass: sounds good.
Jorge Dehart: where we go from here.
Bradley Martinez: Mm-hmm.
Jorge Dehart: Okay, so thank you very much indeed
Robert Glass: 'Kay.
Jorge Dehart: and I'll s see you all again in thirty minutes.
Jeffrey Porter: Okay.
Robert Glass: 'Kay. | Jorge Dehart opens the meeting by recapping the discussions of the previous meeting, telling the group this meeting's agenda, and stating what each person will do for the next meeting. Then Robert Glass talks about the components design and explains exactly what remotes do and how they operate. He also talks about batteries and chips. The interface specialist present research from the internet about user interface. He talks about minimizing the clutter on the remote, and suggests using a slide button like on a mouse. Bradley Martinez presents, talking about trend-watching and how fruits and vegetables are currently an important theme. They talk about making changable colors available and possibly including batteries with them. They discuss what the remote should look like in terms of shape color, and then talk about components, materials, and energy sources. Then they close the meeting. | 5 | amisum | train |
Hunter Schweitzer: Right well. Welcome to the what should be the last of these meetings and uh it looks like we've uh done a good job here and uh we'll just go through the the final uh the final details. Um okay, oh the um th the the minutes of the last meeting uh I think we'll take those as read, um Okay the um th the the next uh thing we we we'll have a look at the uh th have a look at the prototypes and uh look at the uh evaluation and finance and then uh uh just tidy up with production and um and then we can close. Um So f if if you'd like to uh present your your proposals.
Richard Weeks: Uh okay we basically have the same kinda here it's just um you hold it like this and it gets kinda moulded to the to the shape of your hand, basically. Um on the left we've got the scroll for the volume, on the right we have buttons for the channels up and down and that kinda so you can hold it and scroll, or you can hold it and and push. Uh this is the power key, um it's kinda like the biggest
Hunter Schweitzer: Uh-huh.
Richard Weeks: Uh that's the little menu key. This is the infra-red section so you g it'll be sending rays and if you're you know pointing it like that it can send it,
Hunter Schweitzer: Yep,
Richard Weeks: or if you hold it up
Hunter Schweitzer: yeah,
Richard Weeks: like that it'll send
Hunter Schweitzer: good,
Richard Weeks: it.
Hunter Schweitzer: good.
Richard Weeks: Uh we got a microphone there which for all the voice commands so you can
Hunter Schweitzer: Uh-huh.
Richard Weeks: you know talk to it like that and it'll still
Hunter Schweitzer: Yep,
Richard Weeks: understand.
Hunter Schweitzer: right.
Richard Weeks: Um the logo is down down there
Hunter Schweitzer: Uh-huh.
Dan Roybal: Mm.
Richard Weeks: um
Dan Roybal: S
Richard Weeks: and has the cover on it and you can see like it just kinda goes the red bit's the cover and it kinda goes over everything
Hunter Schweitzer: Yep,
Richard Weeks: and then there's holes
Hunter Schweitzer: yep,
Richard Weeks: for the buttons to
Hunter Schweitzer: mm-hmm.
Richard Weeks: come through. Um.
Dan Roybal: And so we figured it be of you know light, just
Richard Weeks: Mm.
Dan Roybal: kind
Hunter Schweitzer: Uh-huh.
Dan Roybal: of a light
Hunter Schweitzer: Yep yep.
Dan Roybal: non-descript grey so that people'll wanna buy the covers
Hunter Schweitzer: Yep.
Dan Roybal: and then the covers will be that sort of rubbery material like they make iPod covers, so they kinda just stretch over.
Richard Weeks: Mm.
Hunter Schweitzer: showing Tracy Judd age, I don't know what i c iPod covers are like.
Dan Roybal: Yeah, well I
Hunter Schweitzer: Yeah
Dan Roybal: I didn't know that but
Hunter Schweitzer: yeah.
Dan Roybal: yeah they're kind of it's just kind of a rubbery
Hunter Schweitzer: Uh-huh.
Dan Roybal: and that way
Richard Weeks: Yeah.
Dan Roybal: you know spongy
Hunter Schweitzer: Okay,
Dan Roybal: like is something that people
Hunter Schweitzer: yep,
Dan Roybal: wanted
Hunter Schweitzer: right.
Dan Roybal: and it just sort of stretches over and
Richard Weeks: Mm-hmm.
Dan Roybal: that way I think probably helps protect it a little bit too as well
Richard Weeks: But
Dan Roybal: and
Richard Weeks: it's also
Hunter Schweitzer: Okay.
Richard Weeks: e e easier to put on versus like mobile covers you actually have to screw them on and stuff and you kinda sometimes have to get someone to do that for you. This is very much you should be
Hunter Schweitzer: Yep.
Richard Weeks: able
Dan Roybal: just
Richard Weeks: to stretch
Dan Roybal: kinda
Richard Weeks: it over
Dan Roybal: stretch it
Richard Weeks: yourself
Dan Roybal: over
Richard Weeks: and it'll be fine.
Hunter Schweitzer: Okay,
Dan Roybal: and
Richard Weeks: Yeah.
Hunter Schweitzer: good
Dan Roybal: it'll just stay
Hunter Schweitzer: yeah.
Dan Roybal: on and then the
Richard Weeks: Yeah.
Dan Roybal: buttons come through and so and then the each one of 'em on the very end will have the logo with the yellow
Hunter Schweitzer: Yep,
Dan Roybal: circle
Hunter Schweitzer: right.
Dan Roybal: and the R_R_.
Richard Weeks: Li that'll be the covers as well,
Dan Roybal: Yeah.
Hunter Schweitzer: Yeah,
Richard Weeks: yeah
Hunter Schweitzer: yeah.
Richard Weeks: yeah.
Hunter Schweitzer: I mean tha it's it's a detailed point, I just wondered I mean h how will people put these down I wonder?
Dan Roybal: Like that.
Hunter Schweitzer: Right. Okay for some strange re reason I had it in my mind that they'd put them
Richard Weeks: Yeah
Hunter Schweitzer: down
Richard Weeks: it could
Hunter Schweitzer: vertically
Richard Weeks: stand,
Hunter Schweitzer: but
Richard Weeks: yeah.
Hunter Schweitzer: uh
Dan Roybal: Oh.
Hunter Schweitzer: uh
Richard Weeks: Well we could broaden the broaden it out a bit so it would stand
Hunter Schweitzer: Yeah,
Richard Weeks: like
Hunter Schweitzer: uh no
Richard Weeks: that.
Hunter Schweitzer: because particularly if they've dif if they're gonna have it as a you know as a fashion item
Richard Weeks: Yeah,
Hunter Schweitzer: uh
Richard Weeks: standing.
Hunter Schweitzer: I mean it it's uh it it's just I mean it's just a minor detailed point, but um as you say you can just make the base a little bit bigger
Richard Weeks: Yeah,
Hunter Schweitzer: and
Richard Weeks: we could
Hunter Schweitzer: uh
Richard Weeks: just widen it out uh
Hunter Schweitzer: Yeah and uh it just needs another uh another logo somewhere is is is is all it gives gives people the option
Richard Weeks: Mm.
Hunter Schweitzer: and if if say if they've got them
Richard Weeks: Mm.
Hunter Schweitzer: um because actually have several upon the uh
Tracy Judd: Could have one for your
Richard Weeks: Mm,
Tracy Judd: stereo, one
Hunter Schweitzer: Yeah,
Richard Weeks: yeah,
Dan Roybal: Yeah.
Richard Weeks: yeah.
Hunter Schweitzer: well.
Tracy Judd: your D_V_
Richard Weeks: Have
Tracy Judd: player.
Richard Weeks: to if we just lengthen
Dan Roybal: Yeah,
Richard Weeks: it I guess so it comes
Hunter Schweitzer: Yeah
Dan Roybal: just
Richard Weeks: down
Dan Roybal: kind
Richard Weeks: to the
Hunter Schweitzer: but
Richard Weeks: base
Hunter Schweitzer: that
Dan Roybal: of
Richard Weeks: of
Hunter Schweitzer: that's
Richard Weeks: the hand and then
Hunter Schweitzer: uh
Richard Weeks: flatten
Hunter Schweitzer: but
Richard Weeks: it out
Hunter Schweitzer: uh
Richard Weeks: and
Hunter Schweitzer: no
Richard Weeks: could
Hunter Schweitzer: the
Richard Weeks: sit there.
Hunter Schweitzer: the the overall
Dan Roybal: Or
Hunter Schweitzer: uh
Dan Roybal: just make
Richard Weeks: Yeah,
Dan Roybal: it little.
Hunter Schweitzer: the
Richard Weeks: mm.
Hunter Schweitzer: overall concept is uh
Dan Roybal: Somewhere
Richard Weeks: Yeah.
Dan Roybal: like that
Hunter Schweitzer: yeah yeah,
Richard Weeks: Yeah.
Hunter Schweitzer: no no, I mean that's
Dan Roybal: so it just
Hunter Schweitzer: these
Dan Roybal: sort
Hunter Schweitzer: uh
Dan Roybal: of
Richard Weeks: We might
Tracy Judd: Yeah I kinda
Richard Weeks: have to
Tracy Judd: had
Richard Weeks: lengthen
Tracy Judd: a
Richard Weeks: it so it kinda your
Tracy Judd: a kinda
Richard Weeks: hand still
Tracy Judd: a natural
Richard Weeks: holds it and have
Tracy Judd: kind
Dan Roybal: Yeah.
Richard Weeks: it
Tracy Judd: of
Richard Weeks: there,
Tracy Judd: a idea where
Richard Weeks: yeah,
Tracy Judd: it's like
Richard Weeks: yeah, yeah
Tracy Judd: more
Richard Weeks: like
Tracy Judd: of
Richard Weeks: that,
Tracy Judd: a kind
Richard Weeks: like
Tracy Judd: of
Richard Weeks: that.
Tracy Judd: like
Richard Weeks: Yeah.
Dan Roybal: Bu
Tracy Judd: a kinda maybe slightly like thinner, yeah, kinda
Hunter Schweitzer: Yeah.
Tracy Judd: like that kinda like a flower
Hunter Schweitzer: But uh
Tracy Judd: or a plant
Hunter Schweitzer: yeah
Richard Weeks: Mm.
Tracy Judd: for
Hunter Schweitzer: but
Tracy Judd: the more
Hunter Schweitzer: no
Tracy Judd: natural
Hunter Schweitzer: th but
Tracy Judd: kinda
Hunter Schweitzer: the yeah the the the Yeah, yeah, yeah, I mean it it's uh
Dan Roybal: fall
Hunter Schweitzer: wouldn't
Richard Weeks: The final
Dan Roybal: over.
Richard Weeks: product
Hunter Schweitzer: wouldn't do
Richard Weeks: would
Hunter Schweitzer: that,
Richard Weeks: actually
Hunter Schweitzer: indeed
Richard Weeks: stand
Hunter Schweitzer: yeah.
Richard Weeks: up, yeah.
Dan Roybal: Yeah.
Hunter Schweitzer: But th th but th yeah th b the these were all minor minor
Richard Weeks: Yeah,
Dan Roybal: Yeah.
Hunter Schweitzer: uh minor
Richard Weeks: yeah.
Hunter Schweitzer: details, I think the uh the basic
Richard Weeks: Yeah.
Hunter Schweitzer: concept
Dan Roybal: 'S a little
Hunter Schweitzer: i i
Dan Roybal: longer.
Hunter Schweitzer: is is absolutely bang on
Richard Weeks: Wee
Hunter Schweitzer: and the i it certainly meets our criteria of being uh
Richard Weeks: Mm.
Hunter Schweitzer: of you know looking different.
Dan Roybal: Yeah.
Hunter Schweitzer: Um, so good that's that that's excellent. Um right let us um What's on the next one? Oh right yes, let's have a look at the um f finance. Um, now we're given a a clear design brief, uh if I get the uh spreadsheet up. Oh.
Tracy Judd: Uh yeah, just click there. Uh the the maximise button.
Hunter Schweitzer: Oh right. Ah. Good, this is why we need to make these things simple so that the uh the the the boss can understand. Now I've um this is the company's uh uh costing for for various uh uh aspects of design and I I I've treated some of these slightly uh liberally given the constraints placed on us, um I wouldn't know for in for instance if if they require us to have it in the corporate colours, then that is not a special colour, that's a that's a standard colour. Uh, so we're just simply on batteries, the the one th the one decision I've had to make is that um we're we will have to find a s a regular standard chip to to do this with and I I um I'm I'm I'm certain that they they are around so, um that I don't think is a a serious problem. The uh the the voice sensor is is expensive but we we made a a basic decision that that was absolutely fundamental to the to the design so that that has to stay. Um then again the the the the shape of the case means that it's it's expensive to uh um l to make 'cause of the the th the double curves but on the other hand because of our overall fashion concept um we we should exceed the the sales targets. Um it's simply made of plastic so th that's uh that's no problem and uh um just because the whole the colour of the the whole thing that's uh uh there's some cost there. Um and uh we haven't actually got a scroll wheel we we we got push buttons and and a simple uh um slider so um and the and the the buttons are uh uh well I do don't know that they're special colour. Anyway the the costings uh come in at exactly on target at twelve point five uh but I thi I think we have a a very strong case to argue that uh what what we've got is is so in innovative and uh and different that um any any slight compromise we have to make on on cost is is offset by the uh you know the uh you know the the
Richard Weeks: Mm.
Hunter Schweitzer: the the concept of it being a a fashion accessory and and having the the interchangeable covers so uh um you know the if if
Hunter Schweitzer: they have to accept that we we can't operate absolutely
Richard Weeks: Mm.
Hunter Schweitzer: within uh the constraints that they give, so uh we we we present this as the uh the company's uh the the company's way forward and uh uh I I think we can argue that we we have uh come in on on budget. Um. Okay, uh. So um. Does anybody want to uh uh Andrew do you want what do you want to say about um the uh
Tracy Judd: Evaluation.
Hunter Schweitzer: yeah the evaluation where where you know well where where we're where where we're at?
Tracy Judd: The the product or the project?
Hunter Schweitzer: The the the well the I meant the product.
Tracy Judd: Um, well well my presentation just now
Hunter Schweitzer: Yeah.
Tracy Judd: Sure? uh can I get the
Hunter Schweitzer: Oh sorry yeah um, mm.
Tracy Judd: Cheers.
Hunter Schweitzer: Mm. More loud clicks in the microphone.
Tracy Judd: There we go, oh. Method of evaluation testing the product was to just if it met all the criteria all the conditions that we set out to set out to solve, from the point of view of the the consumer and the management. So what I've been asked to do is, on the whiteboard um gauge our team response to these questions. So, on a scale of one to seven, one being true and seven being being false.
Hunter Schweitzer: Seven being a nice round number to work to.
Tracy Judd: Yeah. And then at the end just take an average
Hunter Schweitzer: Tr On for true and seven for flase.
Tracy Judd: Yes.
Hunter Schweitzer: Yes.
Tracy Judd: So uh.
Tracy Judd: So, look at these questions. Is the device f flashy and fashionable?
Hunter Schweitzer: Well I think most
Richard Weeks: Yeah
Dan Roybal: I
Hunter Schweitzer: definitely.
Dan Roybal: think
Richard Weeks: I'd
Dan Roybal: it
Richard Weeks: say
Dan Roybal: is yeah.
Richard Weeks: definitely a one yeah.
Tracy Judd: So uh and also uh technologically innovative?
Hunter Schweitzer: Yes
Richard Weeks: Yeah,
Hunter Schweitzer: the
Dan Roybal: Yeah.
Hunter Schweitzer: voice technology
Richard Weeks: defi yeah,
Hunter Schweitzer: indeed.
Richard Weeks: yeah
Tracy Judd: Easy to use?
Hunter Schweitzer: I don't see
Dan Roybal: Yeah.
Hunter Schweitzer: we could've
Richard Weeks: Yeah.
Hunter Schweitzer: made it any easier.
Tracy Judd: Uh suitable for the consumer? That was um
Hunter Schweitzer: Totally.
Richard Weeks: Yeah definitely.
Dan Roybal: Yeah I think it made we met all of the consumer
Richard Weeks: Yeah.
Tracy Judd: Yeah.
Dan Roybal: wants.
Tracy Judd: Uh is it complicated?
Hunter Schweitzer: No.
Dan Roybal: No.
Tracy Judd: Doing pretty well so far aren't we? Uh functional?
Hunter Schweitzer: Yeah.
Richard Weeks: Yeah
Dan Roybal: Yeah.
Richard Weeks: definitely.
Tracy Judd: Um. Where are we?
Hunter Schweitzer: found easily.
Tracy Judd: We've b
Hunter Schweitzer: yeah I mean
Tracy Judd: built in the
Richard Weeks: Yeah.
Tracy Judd: the speech,
Hunter Schweitzer: that's
Tracy Judd: where
Hunter Schweitzer: that's
Tracy Judd: are
Richard Weeks: Yeah.
Tracy Judd: you,
Richard Weeks: Yeah,
Tracy Judd: function.
Dan Roybal: Yeah.
Hunter Schweitzer: Yeah.
Richard Weeks: mm-hmm.
Tracy Judd: Uh-huh.
Hunter Schweitzer: Does it take long to learn to use? Shouldn't.
Richard Weeks: No, not at
Tracy Judd: Mm-hmm.
Richard Weeks: all.
Tracy Judd: And uh, what else? The R_S_I_ compares to the current standards, well.
Hunter Schweitzer: Less buttons
Richard Weeks: Uh
Hunter Schweitzer: so it must be.
Tracy Judd: We we uh yeah it
Richard Weeks: Yeah
Tracy Judd: was our it was a we made
Richard Weeks: it
Tracy Judd: an
Richard Weeks: is
Tracy Judd: actual effort
Richard Weeks: sorta
Tracy Judd: to
Richard Weeks: the the handle more ergonomically correct as well.
Dan Roybal: Yeah.
Hunter Schweitzer: So yeah,
Richard Weeks: yeah.
Hunter Schweitzer: um um.
Tracy Judd: Um will device appeal to all age groups?
Hunter Schweitzer: I think it will
Richard Weeks: Mm.
Hunter Schweitzer: because
Dan Roybal: I think so.
Hunter Schweitzer: I mean uh old older people who can't manage the buttons anyway will actually probably
Tracy Judd: Yeah,
Hunter Schweitzer: like the like
Tracy Judd: uh
Richard Weeks: Mm.
Tracy Judd: that's a good call, yeah.
Hunter Schweitzer: like the voice bit
Tracy Judd: Well
Hunter Schweitzer: so
Tracy Judd: we had the we had the data saying that old people will be less likely to pay extra money but the funct the increased functionality, the e ease of use of the device might make up for that.
Richard Weeks: Mm.
Hunter Schweitzer: And it's it's it's well I don't think we're actually charging a particular premium anyway, in
Richard Weeks: I
Hunter Schweitzer: the
Tracy Judd: Mm.
Hunter Schweitzer: end,
Richard Weeks: I I think
Hunter Schweitzer: so
Richard Weeks: it
Dan Roybal: Yeah.
Richard Weeks: will tend to appeal more to younger aged groups just 'cause we have gone with the fashion
Hunter Schweitzer: Yeah.
Richard Weeks: focus and the younger
Hunter Schweitzer: Yeah.
Richard Weeks: people tend to would be more conscious of that aspect of it, but um I think it should still appeal on a certain level
Hunter Schweitzer: It will appeal
Richard Weeks: to everybody,
Hunter Schweitzer: f for dif for
Richard Weeks: yeah.
Hunter Schweitzer: different reasons
Dan Roybal: Yeah
Richard Weeks: Yeah,
Dan Roybal: I
Hunter Schweitzer: but
Dan Roybal: think
Hunter Schweitzer: it's
Richard Weeks: yeah.
Dan Roybal: just
Hunter Schweitzer: it's
Dan Roybal: the
Hunter Schweitzer: uh
Dan Roybal: simplicity of
Richard Weeks: Yeah,
Dan Roybal: it
Hunter Schweitzer: yeah
Richard Weeks: yeah.
Dan Roybal: and
Hunter Schweitzer: yeah so I I yeah I
Dan Roybal: not having to learn to programme and not having you
Hunter Schweitzer: Yeah,
Dan Roybal: know a
Hunter Schweitzer: so
Dan Roybal: million buttons.
Richard Weeks: Yeah.
Hunter Schweitzer: I think we can reasonably say it's another
Richard Weeks: Mm.
Hunter Schweitzer: another one, why not?
Tracy Judd: Uh can you just click the my mouse to move onto next page? Uh, yeah and what h did we make the management's
Hunter Schweitzer: in in in in my interpretation of management's instructions uh is that yes it it meets the requirement is t it's television
Richard Weeks: Yep.
Hunter Schweitzer: only, it's
Richard Weeks: Mm-hmm.
Hunter Schweitzer: it's simple to use, um it's
Dan Roybal: Under
Hunter Schweitzer: it's
Dan Roybal: the cost.
Hunter Schweitzer: it's within
Richard Weeks: Mm-hmm.
Hunter Schweitzer: budget,
Richard Weeks: Yep.
Hunter Schweitzer: um I it's uh yes an an any minor points we we we argue.
Tracy Judd: Um.
Hunter Schweitzer: So uh I I think we've
Richard Weeks: Yep.
Hunter Schweitzer: done an amazing job in uh
Tracy Judd: Okay.
Richard Weeks: Well done us.
Hunter Schweitzer: coming up with what
Tracy Judd: So uh one two three four five six seven eight nine ten eleven. Eleven divided by eleven's one so
Dan Roybal: Yeah,
Tracy Judd: equals average of one.
Hunter Schweitzer: Need a need a calculator for that.
Tracy Judd: And that roughly concludes my evaluation of the
Richard Weeks: Excellent.
Hunter Schweitzer: Okay,
Tracy Judd: of the product.
Hunter Schweitzer: nick
Dan Roybal: I
Hunter Schweitzer: the
Dan Roybal: mixed
Hunter Schweitzer: cable
Dan Roybal: up the colours
Hunter Schweitzer: back
Richard Weeks: Oh
Hunter Schweitzer: then.
Richard Weeks: no
Dan Roybal: a little bit.
Richard Weeks: that's
Dan Roybal: I think I all
Hunter Schweitzer: Ooh.
Dan Roybal: wrong.
Hunter Schweitzer: Right do um either of you want to uh say anything?
Richard Weeks: Uh.
Hunter Schweitzer: Mm.
Dan Roybal: Mm.
Hunter Schweitzer: Before I uh
Dan Roybal: Ps I don't think so, I mean
Hunter Schweitzer: No.
Dan Roybal: I think we worked well together and
Hunter Schweitzer: Yeah.
Dan Roybal: looked really at what the consumers wanted and what we
Hunter Schweitzer: Yeah.
Dan Roybal: were trying to make and you know, seemed to discuss things pretty well and
Richard Weeks: Mm-hmm.
Dan Roybal: come to group consensus and
Hunter Schweitzer: Well that's right, I mean th this this slide here I mean the satisfaction with uh room for creativity,
Richard Weeks: Mm.
Hunter Schweitzer: I mean I think
Richard Weeks: Yeah,
Hunter Schweitzer: we've allowed
Richard Weeks: definitely.
Hunter Schweitzer: ourselves uh as much creativity as the uh the the the product
Dan Roybal: Yeah.
Hunter Schweitzer: uh allows. Um I won't comment on leadership, uh teamwork I think we've uh I think everybody's uh
Richard Weeks: Mm-hmm.
Hunter Schweitzer: worked pretty well together. Um we've just about coped with the whiteboard and digital pens, uh I think the results speak
Richard Weeks: Mm.
Hunter Schweitzer: for itself and new ideas found, um, again gi no given relatively everyday product,
Dan Roybal: Yeah.
Hunter Schweitzer: I think
Richard Weeks: Yep.
Hunter Schweitzer: we've v very uh very effectively come up with a a new uh uh a new approach. Um are the costs within budget? Yes. Is the project evaluated? We're
Richard Weeks: Yep.
Hunter Schweitzer: we're all happy that it it meets all the criteria, um Thank you very much indeed,
Richard Weeks: Cool,
Hunter Schweitzer: I think
Richard Weeks: thank
Dan Roybal: Alright.
Richard Weeks: you,
Hunter Schweitzer: that I think that's uh
Dan Roybal: Yeah.
Hunter Schweitzer: I think we can go f for an early bath. So I call the meeting closed.
Dan Roybal: Okay.
Hunter Schweitzer: Not sure how far ahead of schedule we were there. | Hunter Schweitzer opens the meeting by stating the agenda. Then Richard Weeks and interface specialist present the prototype, showing where they placed each button, function, and the company logo. Then they talk about the material they chose, which is light gray colored and light weight plastic so that people will want to buy covers. Next they take a brief look at the finance by examining the materials used, chip required, shape, and color. They are exactly on target at twelve point five. Next Tracy Judd administers the product evaluation, and the group talks about whether the device is flashy and fashionable, technologically innovative, easy to use, suitable for the consumer, complicated, how long it would take to learn to use it, and its appeal to all age groups. They come up with an average of 1 for the evaluation. They briefly discuss the project process and agree that they worked well together, had excellent teamwork, and created an effective product that meets the budget cost. They close the meeting by thanking one another. | 5 | amisum | train |
John Aleshire: Hi Kate.
Carroll Helms: Just just
John Aleshire: Okay,
Carroll Helms: carry
John Aleshire: carry
Carroll Helms: on.
John Aleshire: on Alright. um this is the beginning of the third meeting, the conceptual design meeting. Um our agenda should be um that we're opening the meeting, I have the minutes from the previous meeting are on the shared f drive at this point. Um and we should each have a presentation to make. Um we have certain decisions to make and we have forty minutes total. It's twenty five after two at the moment, so forty minutes is five after three um, which I'll be keeping an eye on the clock for us. Okay. Um there are the decisions we have to turn to, but we'll come back to them in a minute after I take us to the minutes of the previous meeting. Right um as we remember, I opened the meeting, the four of us were present, the meeting the first meeting's minutes were reviewed and approved. Um Sarah, you presented a marketing research report um which pretty much rep represented that fifteen to thirty five year olds uh it has to be hand-held, power, channel, volume, number keys, possibly a speech recognition. And then Steph did a second presentation um that those functions plus streamlining them with big user-friendly keys that were easy to use. I think all of us agreed with those things. Kate presented a working design of going after going over the basics on the whiteboard um that it should be a simple mass-produced device, because of the twelve and a half Pence cost. Um but we did talk about possibly using rechargeable batteries and having a docking place as a selling point. Um and the new requirements that it for be for T_V_ only um and that it include the l so slogan and colour of the uh corporate design be included. Um the corporate image. So we agreed that the target market would be fifteen to thirty five with more money than sense, that were decision makers. Alternatively it would be a manufacturer to enclose it with the T_V_, but it still should meet those parameters. Um and that the function we agreed was volume, power, numbers, enter, channels, a way to move between channels, easy to use and hand-held. Um at that point we agreed that Sarah would look at the current cost of competition, what what do the current ones sell for. Um and Steph was gonna look at ec ergonomics. Kate was gonna look at cost and feasibility of the various possibilities that we discussed. And I was to type up these minutes and work on the final report. Is this a fair presentation of
David Blum: Yeah.
John Aleshire: what our last meeting was?
David Blum: Yes.
Carroll Helms: Mm-hmm.
John Aleshire: Okay. Right. So we're ready to close that and go back to our That one. Right. We're up to the point of the Go back. Um the three presentations. So we're going to pull the plug on Louis Kessler and turn to Sarah. Is that okay? Is that alright with everybody else?
David Blum: Yep.
Carroll Helms: Mm-hmm.
John Aleshire: Especially since Kate asked to be last. Sarah, I'm sorry if I misspelled your name, I didn't know whether it was S_A_R_A_ or S_A_R_H_.
Louis Kessler: I respond to either. No
John Aleshire: You respond
Louis Kessler: worries.
John Aleshire: to whatever you get, huh? Okay.
John Aleshire: Um, did you do your
David Blum: Yeah,
John Aleshire: Hit Ah, there it is. Ta-da.
Louis Kessler: Okay, first thing I want to address is um one of the points that Florence brought up, which was uh current cost of the competition devices, similar to the ones that Stephanie uh showed us and and they're uh twenty to sixty Euros, depending on uh branding.
David Blum: Right
Louis Kessler: Some of them that have a higher brand recognition are on the more expensive end. But I think that with the current um price that we're searching for, we're well within, even on end, of the uh of the market.
John Aleshire: Mm 'kay.
Louis Kessler: But I'm going to move on to more interesting um more vibrant things. So, I investigated the remote control market in greater detail, and my uh the theme of what I was to work on was uh trend watch. And
John Aleshire: 'Kay.
Carroll Helms: Sorry. I'm glad to see the marketing budget is being so well spent on.
Louis Kessler: I know that you all are a distance from cutting edge marketing research, so you know, I'm just gonna try to cloak it in really professional terms here. What's hot, fruit and veg. Spongy. And this is all over the catwalks, Paris, Milan, and I'm talking about clothing, furniture, shoes. This is really interesting change from past years, because
John Aleshire: Mm.
Louis Kessler: it is much more organic, um some would say approachable. And I think if we're to refashion our view of what we want in a remote control, we should perhaps think about incorporating technologically interesting fabrics and some of the bold colours into a simple handset. So. I also did a little research on um what again are the most important priorities in uh decision making about uh purchasing. Fancy. Functional is out. And f the fancy, and that's exactly the term, I'm I'm thinking polished, elegant, you know, kind of innovative, but a cut above. This is twice as important as the next finding, which is technologically innovative. This is interesting, 'cause I think in the last meeting we were talking about technology as being so important, but maybe what's innovative is having it simple with um with uh technologically superior fabrics or uh, you know, designed in interesting substances. Ease of use. Again, pretty low, I mean it's the top three, but each of the uh fancy and technologically innovative are far more important. So I think we should cloak the streamlined remote control device in a series of fruit fruit themed sleeves.
Carroll Helms: I think that's a good idea. Don't
Louis Kessler: Y
Carroll Helms: you?
Louis Kessler: yeah,
David Blum: Yes.
John Aleshire: It
Louis Kessler: you know
John Aleshire: sounds like the the uh covers that they use for the
Louis Kessler: Exactly.
John Aleshire: remote, you know, your t your cell phone.
Louis Kessler: Exactly. I was thinking though that instead of having something uh like patterned, you know, so, you know, something similar to a summer dress. you know, it would
John Aleshire: Mm.
Louis Kessler: have like fruit and veg, is that we actually make these spongy. They could be ini initially I thought we could start with kind of um fruit that would suit kind of uh a long uh hand-held, so banana, pineapple and pear. Um it could actually the sleeve could take up a lot of the development and the remote control, we'd just need to get reductionist on it. They could be interchangeable, they're spongy, that goes back to ergonomic, and the youngsters love 'em, fun for the whole family, everyone can have their own. So what we're talking about is changing. this concept. Everyone has a T_V_ remote, but then we add in the fact that they could each have their own individual fruit. That's what's hot on the catwalks. So, this is my This is what I'm thinking.
John Aleshire: Hmm. Uh-huh mm. In most families, don't isn't the remote is a remote.
Louis Kessler: Y yeah, but I think I think what this would allow is perhaps a person in the family who had the most opinion about it we all need a remote, but
John Aleshire: Mm.
Louis Kessler: the person who is really perhaps active in personalising, I'm thinking the teenager, the someone fifteen to thirty five would go out and get this additional thing the same way as you mentioned that people would get the cell
David Blum: So
Louis Kessler: phone covers.
David Blum: when your dad's sitting there, overriding your decision, going no we're gonna watch this, you can bring out your own remote and be like zap, no we're gonna watch this.
Louis Kessler: Yeah. W and
John Aleshire: Mm.
Louis Kessler: plus I think
John Aleshire: Well actually some households do have three and four
Louis Kessler: Uh yeah.
John Aleshire: T_V_s
Louis Kessler: Yeah.
John Aleshire: and they would have a remote for each one, so.
Louis Kessler: Yeah. So this is an idea and I I you know, this is exactly what the research has uh has shown. So I really open this up to uh any other feedback. This spongy fruit and veg.
Carroll Helms: Yeah,
Louis Kessler: Thanks.
Carroll Helms: I I think we're gonna have some trouble when we get down to the component design
Louis Kessler: Alright.
Carroll Helms: on this.
David Blum: Yep.
Carroll Helms: Spongy
John Aleshire: Hmm.
Carroll Helms: is gonna be difficult, I'm afraid.
John Aleshire: Hmm.
David Blum: And as for as for um well budgeting as well, if we're gonna have lots of different interchangeable components.
Louis Kessler: I I just have my ear to the market,
David Blum: Is this
Louis Kessler: guys.
David Blum: to the market?
Carroll Helms: Yeah, I mean basically we can make these things out of wood, titanium, plastic or rubber. I rubber is the closest
Louis Kessler: Is spongiest,
Carroll Helms: to spongy, yeah.
Louis Kessler: yeah. That would add
Carroll Helms: I was thinking titanium
David Blum: I was
Carroll Helms: myself.
David Blum: titanium I was thinking it's just I have been influenced by pictures of iPods,
Louis Kessler: Mm-hmm.
David Blum: and they're also minimalist and shiny.
Louis Kessler: They are and they they would fulfil the uh first um priority, which is fancy. I think many of us would associate those with fancy. Something else we could do is uh call it something that's fruit and veg oriented. We could call it uh
John Aleshire: Are we talking about the
Louis Kessler: The name.
John Aleshire: device itself or the c or a cover for the device that would be an interchangeable cov cover as a separate product?
Louis Kessler: Well it would be uh a a very simple product that would have a spongy sleeve that would be interchangeable.
John Aleshire: Perhaps
Louis Kessler: So
David Blum: Yeah, but it's kind
John Aleshire: perhaps
David Blum: of pointless,
John Aleshire: that desi
David Blum: isn't
John Aleshire: that
David Blum: it?
John Aleshire: particular suggestion needs to go back to management and perhaps go to another group to actually design as a
David Blum: Yeah.
John Aleshire: separate product.
Louis Kessler: That, you know, that
David Blum: Let's
Louis Kessler: might be
David Blum: delegate.
John Aleshire: Wo would
Louis Kessler: And
John Aleshire: that
Louis Kessler: then
John Aleshire: be
Louis Kessler: we could
John Aleshire: agreeable?
Louis Kessler: keep it
Carroll Helms: Yeah.
Louis Kessler: titanium.
Carroll Helms: W w would it be helpful if um I described the components a bit, because I think it would give you um maybe bring this discussion back to Earth of what we can actually physically do.
David Blum: Yeah, maybe. Or
John Aleshire: Do you wanna be next or you want Kate to go next?
David Blum: I think possibly it might be more useful if Kate went next.
John Aleshire: Okay, we'll move the
David Blum: Um
David Blum: You can even have them in different flavours as well. So that if you just wanna sit there and chew on the remote, it could be like
Louis Kessler: Yeah.
David Blum: pear
Louis Kessler: Or
David Blum: flavour,
Louis Kessler: s or smelly.
David Blum: yeah.
Louis Kessler: Scratchy
David Blum: Scratch and sniff.
Louis Kessler: Uh well I was really thinking a lot about the I_ uh the iMac kind of gel gem tone. It's hot on the streets,
Carroll Helms: Right,
Louis Kessler: guys.
Carroll Helms: well I I I think some of this um you're gonna be a little disappointed with some of the things I have to tell you, but I'm afraid this is the real world. So um I've been looking at the the basics of how these devices actually have to work in order to operate, and I've had some discussions with the ma manufacturing division, who have told Louis Kessler what's actually available, you know, what the current state of the art in components is, and some of the exciting new things they've got, but I'm not sure that it's quite what you want um. Now this isn't a very good overhead, but this is just to show you, this is the innards of a remote control um. I really need a pen or something but uh does my mouse work? No. Um oh yeah, can you see my little mouse pointer?
John Aleshire: Mm.
Carroll Helms: Right. This is this is the a a a remote that's been opened up
John Aleshire: Mm.
Carroll Helms: and that's the the back of the interface. And this is a push-button one, so you see these little little buttons here, they're little rubber rubber buttons that go through onto the the board at the back and they push these buttons here. Um and we that's the basic construction that we've got to got to accommodate. We got to have something that pushes the little buttons that um talk to the chip that encodes the message that sends the the message to the receiver. So um I wan I wanna go through not not just addressing the um uh the the points that you made, Sarah, but um doing my presentation in the order I wrote it. So first of all um I wanna talk about what possibilities we've got for the energy source. Um we can have your bog standard double double A_ batteries in a replaceable um little compartment. We can have a hand sorry
David Blum: A wind-up.
Carroll Helms: a wind-up, yeah, which I think is quite an interesting concept for a sorry for a remote control, but i it maybe is doesn't quite go with the um the fruit and veg. Um
John Aleshire: Alright.
Carroll Helms: one that one that I think is quite interesting is the
John Aleshire: Remember,
Carroll Helms: kinetic
John Aleshire: we only
Carroll Helms: energy
John Aleshire: have
Carroll Helms: source,
John Aleshire: forty minutes
Carroll Helms: where um
Louis Kessler: Mm.
Carroll Helms: you you actually get the energy by moving the device, which is quite
John Aleshire: Hmm.
Carroll Helms: a ni a nice and neat one. You have to it means that if it's sitting there for a long time it probably won't work, but you have to sort of throw it between your hands every now and then, it'll work.
Louis Kessler: Hmm.
Carroll Helms: Or we we had talked about solar power, but I thing that we agreed that that's not so good in the dark.
John Aleshire: Mm.
Carroll Helms: Now I'm afraid this is the options we've got on on the case. It can be made of plastic, rubber, wood o if you like, or titanium.
Louis Kessler: Hmm.
Carroll Helms: Um and the nearest we've got to st to spongy there I guess is rubber, but um
Louis Kessler: Hmm.
Carroll Helms: I'm gonna come back to the advantages of titanium, and basically it can have a flat surface, a curved surface or a double curved surface, but I think if we wanna use standard components, we're gonna have difficulty with anything much beyond that.
Louis Kessler: Hmm.
Carroll Helms: Okay, what does the interface look like? Um well push button, that's that's the one we're all familiar with. Um we can have scroll buttons and the the scroll button
John Aleshire: Hmm.
Carroll Helms: can incorporate a push, so you can have it like on a mouse where you can use it to go up and down, change volume or channel or something like that and push to select something. Um you can have multiple scroll buttons, um this is maybe getting a little bit complicated, but um it's it the technology is there. And we can also incorporate an L_C_D_ display in the remote, but this will increase the cost. Um the electronics that actually makes the device work, we've basically got three, simple, regular, advanced, and the price goes up as we choose each of this. If we want the nice cheap one, the simple, then we can only have push buttons. All the other fancy interface designs go out the window, I'm afraid. Um pay a little bit more for a regular chip and you can have scroll buttons. If you want the advanced chip it obviously costs more, the L_C_D_ display. And the manufacturing devision tell Louis Kessler that they have recently developed um sample sensor sample speaker devices. Now I don't know what that is, but I think they think it's quite important and we might want to incorporate it somewhere. Um ou our real expertise is in push buttons, I have to say, but maybe you think that's old technology.
Louis Kessler: Mm.
Carroll Helms: And well I I think we've got two options. We can either go for a really cheap model, keep all of the costs down, um which means a flat plastic case with an ordinary battery and simple push buttons. Or we can have something that looks a bit nicer, I think it, um won't necessarily l uh look like a pineapple, but um that may or may not be a good thing. Sorry. Um but it could have an L_C_D_ screen and it could have multiple scroll buttons, and it could have the the company's new development of the um sample sensor and speaker. So, thank you.
Louis Kessler: That sounds good. Any idea you you mentioned that there would be a cost difference. Um do you have any idea if if this could if the fancy model could be done in twelve Euros fifty?
Carroll Helms: Yeah, I'm afraid I don't have that information available. Um manufacturing didn't actually give attach any prices to any of this, I'm afraid.
John Aleshire: Hmm.
Louis Kessler: Hmm. Because, you know what, I'm being quite serious when I say that that um the things I mentioned are hot. But I think the important thing might be to choose one. You know, if
Carroll Helms: Yeah
Louis Kessler: if what you're telling
Carroll Helms: mm-hmm.
Louis Kessler: Louis Kessler is is um some of these things aren't just f aren't feasible, maybe we could something about naming, we could call it, you know, Blackberry. That's
David Blum: Bear
Louis Kessler: uh
David Blum: bear in mind it has to be the colours and styles of the company, so what I had been thinking was something chunky and yellow and plastic with black buttons with
Carroll Helms: Banana?
David Blum: a logo on it.
Louis Kessler: Alright, well let's see then.
David Blum: But um I I don't know how important that is
Louis Kessler: Yeah.
David Blum: to keep it exactly the colours of the Real Reaction company. It's just what I'd understood
Louis Kessler: Yeah.
David Blum: we'd be doing. That's before I heard about all this hot tips about the future, fruit-wise.
Louis Kessler: But yeah, I'm trying
Carroll Helms: We
Louis Kessler: to
Carroll Helms: we
Louis Kessler: streamline
Carroll Helms: could we could
Louis Kessler: mine
Carroll Helms: do
Louis Kessler: a little
Carroll Helms: um
Louis Kessler: bit.
Carroll Helms: a double curved rubber one, which would allow um say a banana, but um unfortunately I see from my notes that if we do that, we have to have a push button as
Louis Kessler: Yeah.
Carroll Helms: the interface, we can't do anything fancier.
Louis Kessler: Hmm.
David Blum: Shall we wait 'til I've
Louis Kessler: Yeah.
David Blum: 'til I've showed you what well, my extensive presentation on what sort of interfaces are available.
Louis Kessler: Mm.
Carroll Helms: Yep.
Louis Kessler: Thank you, Kate.
John Aleshire: Thank you, Kate.
Louis Kessler: Mm.
David Blum: You did seem to include just in more detail what I've got though. So so mine's a bit pointless. Right. F_N_ and F_ eight, did you
John Aleshire: Yes.
David Blum: say?
John Aleshire: There we go.
David Blum: I don't have it on mine though.
Louis Kessler: Oh I think um Florence resolved it by
Carroll Helms: I If you do F_
Louis Kessler: F_ eight
John Aleshire: Do
Louis Kessler: again.
John Aleshire: it again.
Carroll Helms: uh F_N_ F_ eight again, it's it'll
John Aleshire: Keep doing it until you get it in both you get it
Carroll Helms: I think
John Aleshire: there,
Carroll Helms: it
John Aleshire: you get it
Carroll Helms: yeah,
John Aleshire: yours
Carroll Helms: you
John Aleshire: without
Carroll Helms: you will do
John Aleshire: that
Carroll Helms: an
John Aleshire: one, and then you get it with both.
David Blum: Should I do it again?
Louis Kessler: Maybe.
John Aleshire: Yeah. This time it should come up both.
David Blum: Right then. I don't actually have a huge amount of different information then what
John Aleshire: Okay.
David Blum: Kate says, just that my method was to look at the, well, my my inspirations, which was a big collection of lots of different models of
John Aleshire: Mm-hmm.
David Blum: remote controls and other things that use a similar sort of thing, including M_P_ three players, uh like you know, hi-fi remotes, not
John Aleshire: Mm.
David Blum: just television and these things. Uh having a think about the feature of ea the features of each ones, um what functions we actually need, and then how to group and arrange these on the actual the actual plastic or rubber hand-held piece. Uh I've been especially interested in the iPod style scroll wheel, which Well, I couldn't find a the picture of the iPod w only linked to a web browser, so I couldn't copy and paste it, but it had a similar thing to this thing on the right. It has uh scroll wheels without without a display, but they they scroll like a computer mouse.
John Aleshire: Hmm.
David Blum: So I was thinking
Carroll Helms: Hmm.
David Blum: that uh um a really simple a really simple interface with just a couple of scroll things on it um and then instead of a display the display could appear on the television screen. Like I guess an existing Sky or cable one does. Like, you know, you press enter and it comes up with what's showing on that channel at the moment, and you can do you can scroll along and it'll show you what's on in the next half hour, and you scroll up and you can see what's on the other channels while you're watching the same channel on the screen. Uh but I'm also equally taken with this chunky plastic kiddie remote,
Louis Kessler: Mm.
David Blum: um which is really nice and fun and good to hold and nice, big, easy buttons to press, but still quite simple and quite cost effective. So what seems kind of ideal for Louis Kessler would be to just have a fairly simple, uh not fancy but not totally minimalist, I mean just pretty simple plastic, probably, I was thinking, yellow and black, just because that's the company's colours, with very very few buttons, but that would correspond to a screen that would appear on the television screen, like, you know, just small along the bottom instead of instead of having the iPod style display screen on the actual remotes, which is far too expensive.
Carroll Helms: Hmm.
David Blum: And when
John Aleshire: Mm.
David Blum: you've got a screen sitting there in front of you, you might as well have it appearing uh on the screen in front of you, it doesn't obscure much of the actual picture you're watching.
Carroll Helms: Yeah.
David Blum: And so on that you can, just much in the same way as an existing Sky remote, scroll along, scroll up and
Carroll Helms: Yeah, I'd I'd certainly
David Blum: down.
Carroll Helms: support
David Blum: And
Carroll Helms: that
David Blum: uh
Carroll Helms: idea.
David Blum: and I definitely support uh the use of plastic and or rubber. I mean titanium would be great, but I think it might be a bit too expensive and too kinda spacey. If we're k trying to keep it colourful and slightly organic, then I think titanium's too futuristic.
Carroll Helms: It's difficult to make fancy shapes in it as well, we can't for example
David Blum: Yeah.
Carroll Helms: have a double curved case in titanium unfortunately.
David Blum: Whereas a plastic's so cheap and easy and mouldable and everything else.
Louis Kessler: Hmm.
David Blum: Uh then
Carroll Helms: And the the having the the the screen on the television screen I think is a good idea, 'cause um otherwise we're we're putting up the price not only for putting building the L_C_D_ in, but for the electronics as well.
David Blum: And it's a little bit pointless as well I think.
Louis Kessler: It's
David Blum: Like
Carroll Helms: There
Louis Kessler: a
Carroll Helms: is
Louis Kessler: duplication.
David Blum: when
Carroll Helms: that.
David Blum: when when you've got when you've got the screen there, it doesn't have to be anything fancy just, a little menu showing yeah, a menu, you go into one menu and then it can have your different options, whether you wanna change the settings or the
Louis Kessler: Mm-hmm.
David Blum: you know, your information about programme that's on at the moment. I don't think that's to taxing to uh s engineer. Um. But as for actually arranging them let Louis Kessler go back to the to the picture of the kiddie one. And I quite like it, 'cause it's just smooth and hand-held and it's got these easily reachable buttons that quite nicely uh spaced out, so something a bit like that with buttons arranged in a kind of circle.
Louis Kessler: Mm-hmm.
David Blum: Up, down, left, right.
Carroll Helms: Do you want scroll buttons in that as well?
David Blum: I I was thinking not actually scroll, like a like mouse scroll, but you know, a I can't quite d uh describe it. you see on the one on the right, down at the bottom, is the mouse. Yeah, see where the mouse is, like
Carroll Helms: Mm-hmm.
David Blum: this s style thing where you c have up, down, left and right.
Carroll Helms: Right.
David Blum: And enter in the middle, so you pick your menu and then your different options and when when you click on each one, it you can go into a new menu for that. I'm getting a bit uh specific here. Really we'd have to
Carroll Helms: Yeah.
David Blum: use
Carroll Helms: I think
David Blum: something
Carroll Helms: I think
David Blum: to
Carroll Helms: that's
David Blum: show
Carroll Helms: a g
David Blum: you,
Carroll Helms: nice clean
David Blum: but
Carroll Helms: design, it's playing to our strengths which are in push button technology.
Louis Kessler: To uh
David Blum: If I don't think I
Louis Kessler: m
David Blum: can get it up on
Louis Kessler: make
David Blum: the screen.
Louis Kessler: it.
David Blum: Ah here we go. Right.
Louis Kessler: Oh nice. Um
David Blum: Well, the iPod
Louis Kessler: Hmm.
David Blum: spinning wheel is uh really complicated.
John Aleshire: Huh.
David Blum: It does
Carroll Helms: Yeah.
David Blum: scroll, but it is hugely complicated.
Louis Kessler: Mm.
David Blum: What else have we got?
Louis Kessler: Wow.
David Blum: Them, they're terrible. But they all have this this feature of this uh It's not quite a scroll wheel, but
John Aleshire: It's a selection wheel.
David Blum: it's a kind of selection in this circle, which I think is a really good idea.
Carroll Helms: But we can implement it with simple push buttons,
David Blum: Yeah,
Carroll Helms: which is much cheaper.
David Blum: like up, down, left and right. Which is good. And then and then Yeah, so I mean either a channel up and down, volume up and down, next appearing programmes up and down, uh and then also when you get into the different menus on the screen, it's got your things like settings and contrast
John Aleshire: Okay.
David Blum: up and down. So all you really need is these four buttons with the enter in the middle.
John Aleshire: Okay.
David Blum: And that's it.
Carroll Helms: In fact
David Blum: Look at look at this one.
Carroll Helms: Oh that's really nice.
David Blum: Almost impossible to misplace or l or lose.
Louis Kessler: Do you think with
David Blum: Might
Louis Kessler: um
David Blum: take up your whole living room.
Louis Kessler: It seems that that uh you guys are quite keen on the plastic, perhaps the something reminiscent of the child's remote. Do you think we could put it in a in a fruit colour? And have it abstract. You know, we could call
David Blum: Possibly.
Louis Kessler: like a fruit
David Blum: Yeah.
Carroll Helms: Hmm.
Louis Kessler: name, but it would be a little more abstract.
Carroll Helms: Mm.
David Blum: That also
Carroll Helms: We we
David Blum: is
Carroll Helms: could
David Blum: possible.
Carroll Helms: actually do it in rubber instead of
Louis Kessler: Mm-hmm.
Carroll Helms: plastic if you'd rather
Louis Kessler: I'm
Carroll Helms: if
David Blum: Just
Louis Kessler: just
Carroll Helms: you feel
Louis Kessler: just
Carroll Helms: if you
Louis Kessler: throwing
John Aleshire: Or
Carroll Helms: like
John Aleshire: call
Carroll Helms: the
Louis Kessler: out
Carroll Helms: spongy
Louis Kessler: ideas.
John Aleshire: it a or call it a banana and have
Carroll Helms: Hmm.
John Aleshire: it in yellow.
Louis Kessler: Yeah. I'm thinking maybe we need to be a little bit more abstract if the design
John Aleshire: Okay.
Louis Kessler: constraints
Carroll Helms: Yeah.
Louis Kessler: are so
David Blum: Uh just something else I need to bring to your attention is have you have you seen these on a remote? This is actually the volume up and down, but
John Aleshire: Mm-hmm.
David Blum: they both say V_ on them,
John Aleshire: Mm-hmm.
David Blum: which, when you first look at it, you expect that to be the down, because
Louis Kessler: Mm-hmm.
Carroll Helms: Yeah.
David Blum: it looks like a downward pointing arrow, but it's
John Aleshire: Hmm.
David Blum: actually the V_ to indicate that it's the volume,
Louis Kessler: Mm-hmm.
David Blum: so uh we do need to avoid little ambiguities like these.
Carroll Helms: Yeah.
John Aleshire: Hmm.
Louis Kessler: Nice. Good point.
David Blum: But we wouldn't have a specific volume up and down. If we're having the scroll wheel, then it's gonna double up as all the other up and down functions.
John Aleshire: Mm 'kay.
David Blum: But then, that's complicated.
John Aleshire: I wanna thank you all for all your presentations. We have about ten minutes left, in which time we have to make some decisions on the remote control concepts. Um and I think you all have been self-stimulating of working together. Um we need to come up with some specifics of
John Aleshire: the interface type things. So let's Mm. Right. They want us to decide what form of energy are we going to use, which the choices that we've discussed were pretty much battery, kinetic or solar. Um this is where Kate's expertise comes in, and our decision making will be a little bit guided by Kate at this point. The You were saying that the kinetic would be useful, that is you just have to move it some and you'd be able to use it um as opposed to a battery that you have to either put it in a recharger or um keep replacing the batteries. Um or solar that you'd have difficulty with it if it's a dark day, that it'll die on you, and no way to do it. That's the day you wanna use the T_V_.
Carroll Helms: Mm.
John Aleshire: Um so what's our pleasure here, what would be the cost consequences of each of the three?
Carroll Helms: Oh unfortunately I don't have costing information.
John Aleshire: Okay.
Carroll Helms: I i in terms of workability, I I think the the two front-runners are the standard battery or the kinetic, but I'm
John Aleshire: Mm 'kay.
Carroll Helms: sorry I don't figures on the difference in cost.
John Aleshire: What's the uh feelings of the group on the kinetic?
Louis Kessler: I've used kinetic in terms of watches and it's very very uh handy, you don't even notice um
David Blum: It sounds
Louis Kessler: that it's
David Blum: great.
Louis Kessler: there.
David Blum: I've never come across it before, but it sounds fantastic. Sounds
Louis Kessler: It's
David Blum: like it could be g a really good economical
Louis Kessler: Mm-hmm.
David Blum: it would make the whole thing a lot lighter, more convenient.
John Aleshire: Hmm.
Louis Kessler: It could tie in with the fanciful design as
John Aleshire: Hmm.
David Blum: Yeah.
Louis Kessler: uh,
David Blum: 'Cause
Louis Kessler: you
David Blum: it's really a quite attractive
Louis Kessler: know, throw
David Blum: thought,
Louis Kessler: the banana,
David Blum: isn't it?
Louis Kessler: you
David Blum: It's
Louis Kessler: know,
David Blum: like
Louis Kessler: just gotta keep it moving.
David Blum: yeah, a good
John Aleshire: So
Louis Kessler: Be
David Blum: selling
John Aleshire: the consensus
David Blum: point.
John Aleshire: seems to be use the kinetic if it's at all possible.
David Blum: But it does depend how much
John Aleshire: It costs.
David Blum: I mean how much it costs and how much more development and research it needs.
Louis Kessler: Yeah.
John Aleshire: Mm.
Carroll Helms: And and how much you do have to keep it moving,
John Aleshire: Mm.
Louis Kessler: Yeah.
Carroll Helms: 'cause I'm conscious that watching T_V_ can be quite a sed sedentary activity.
Louis Kessler: Mm-hmm. But I could
John Aleshire: Mm.
Louis Kessler: market that as a um as a
David Blum: Do your exercises while you're watching
Carroll Helms: Yeah.
David Blum: the
Louis Kessler: a
David Blum: T_V_.
Louis Kessler: I was thinking actually a a cost saver down the road, in terms of battery,
John Aleshire: Hmm.
Carroll Helms: True,
Louis Kessler: you know.
Carroll Helms: yeah, m more more environmentally friendly.
David Blum: Yeah,
Louis Kessler: Mm-hmm.
David Blum: that's what I
John Aleshire: Yeah.
David Blum: was thinking as
Louis Kessler: You
David Blum: well.
Louis Kessler: know, kind of the
John Aleshire: Thanks for the reminder for five minutes to finish, thanks. Um the next thing that they wanted us to do was look at chip on print as a decision.
Carroll Helms: Oh right, okay, I'd that that's something I maybe should have covered. Um chip on print is just a manufacturing technique
John Aleshire: Oh.
Carroll Helms: um and I would certainly recommend it, I think, because I'm not sure I have an alternative.
John Aleshire: Okay.
Carroll Helms: I i it it's
John Aleshire: What
Carroll Helms: just
John Aleshire: about
Carroll Helms: the way
John Aleshire: the ca
Carroll Helms: that
John Aleshire: yeah.
Carroll Helms: the the the
John Aleshire: Oh,
Carroll Helms: uh
John Aleshire: the way we
Carroll Helms: th the way it's ac it's actually
John Aleshire: uh-huh.
Carroll Helms: built and you you print onto the circuit board like you might print onto paper.
John Aleshire: Oh, okay. Um what about the case? I think they're talking there about do we want wood, plastic, titanium or rubber, and I think we've discussed not having titanium. One, it's too expensive, um and second, it won't do this double um curves. Um we've sort of eliminated wood. We said plastic or rubber. What's the pleasure?
Carroll Helms: Well if if Sarah's keen on a spongy feel, the the rubber that we're talking about is the same as you have in those little stress balls,
Louis Kessler: That's
Carroll Helms: so
Louis Kessler: exactly
Carroll Helms: it's
Louis Kessler: what I was thinking.
Carroll Helms: yeah.
Louis Kessler: I'm sold.
John Aleshire: What about you?
David Blum: Do you not think it might need like a kind of a hard plastic inner shell with the actual delicate workings inside, and then a
Louis Kessler: Mm.
David Blum: kind of spongy
Louis Kessler: Kind of like an internal egg.
John Aleshire: Cover.
David Blum: Yeah, s thick
John Aleshire: Uh-huh.
David Blum: spongy cover, so it feels like the whole thing's spongy, but actually you're not damaging anything by
John Aleshire: Plastic inside.
David Blum: squeezing it.
Louis Kessler: Yeah.
David Blum: Because
Carroll Helms: Yeah.
David Blum: I mean you could just
Carroll Helms: I'd
David Blum: get
Carroll Helms: I'd
David Blum: carried
Carroll Helms: need
David Blum: away
Carroll Helms: to talk
David Blum: with
Carroll Helms: to manufacturing
David Blum: the with the tac
Carroll Helms: again about whether that's actually possible, but I agree, it's uh sounds
David Blum: Yeah.
Carroll Helms: like a nice
David Blum: Well
Carroll Helms: idea if it
David Blum: you
Carroll Helms: is.
David Blum: do get a bit carried away with things that are tactile, you just wanna
John Aleshire: Hmm.
David Blum: stroke them and squeeze
Louis Kessler: And with sports
David Blum: them,
John Aleshire: Okay.
David Blum: and
Louis Kessler: on television. You know.
John Aleshire: Um the
Louis Kessler: I
John Aleshire: next
Carroll Helms: I
Louis Kessler: su
Carroll Helms: should
John Aleshire: part
Carroll Helms: I should
John Aleshire: they want
Carroll Helms: r
John Aleshire: is the user interface concept. I'm sorry to push you, but we only have a couple minutes to finish with.
Louis Kessler: Then I'll just say I support either from a marketing point of view I support either decision that the designers make on that.
John Aleshire: Okay, and it says interface. What type and what supplements?
David Blum: Just copy the one on the left. No um a scroll Well, like four buttons, up, down, left and right with enter in the middle, that will correspond to a menu on the screen.
Carroll Helms: Which I think technically is just push button and uh I'd certainly support
David Blum: Yeah,
Carroll Helms: that that
David Blum: I'd
Carroll Helms: that
David Blum: like
Carroll Helms: brings
David Blum: push
Carroll Helms: the cost
David Blum: buttons
Carroll Helms: down quite
David Blum: with
Carroll Helms: a lot and it's something that we're an ex the company's an expert on.
David Blum: So push buttons
John Aleshire: Okay, um that's that. Um this is gonna sound weird, but the next meeting starts in thirty minutes. Whew. And they actually want a look and feel design, user interface design, you can look and see this as well as I can. Marketing they want product
David Blum: No,
John Aleshire: evaluation.
David Blum: it's
Louis Kessler: No
David Blum: still
Louis Kessler: we can't, actually.
David Blum: it's still
John Aleshire: Oh.
David Blum: plugged in on mine
John Aleshire: Oh
David Blum: actually.
John Aleshire: my, I'm sorry.
Louis Kessler: That's why I was looking over your shoulder
John Aleshire: Oh, okay. Sorry about that. missed that one. This ought to be fun trying to get this thing to work. Ah, ta-da.
David Blum: Now it's gone again.
John Aleshire: Ah.
Carroll Helms: You know, I think the the company's s next project should to design a better overhead device that
John Aleshire: Yes,
Carroll Helms: switches immediately.
John Aleshire: because I can't even see mine. Next meeting starts in thirty minutes,
David Blum: Oh yes.
John Aleshire: these are the individual actions. Yeah, right. Um
Louis Kessler: Mm.
John Aleshire: the look and feel design is for Kate, uh Steph gets the user interface design, you get product evaluation. Um the two of you get to play with a Pla modelling clay
David Blum: Great.
John Aleshire: um to do a prototype. Uh and everybody gets individual instructions in the usual way.
Louis Kessler: Sounds good.
John Aleshire: Anything else we need to do?
David Blum: I don't think so.
John Aleshire: Go to it.
David Blum: Play-Doh.
John Aleshire: And that's the end of this meeting. That's for her benefit.
Louis Kessler: That's really all I got, guys. | John Aleshire opened the meeting and went over the minutes of the previous meeting. Louis Kessler presented findings from trend watching reports and discussed her personal preferences in how to incorporate the results of the trend watching reports into the appearance of the remote. The trend watching reports indicated that products need to reflect a fruit and vegetable theme, sponginess, fanciness, and technological innovation. The team then discussed their target group and whether to use titanium or a spongy material in their design. Carroll Helms discussed options for energy sources, materials, case shapes, and interface components such as buttons and LCD screens. David Blum examined the interfaces of existing products and discussed using menus within an interface using push buttons which operate like a scroll wheel. The team then discussed and made decisions on what energy sources, chips, case materials, and buttons to use. | 5 | amisum | train |
Douglas Williams: Okay uh Agnes, you
Harry Soden: Yep.
Douglas Williams: can help Wayne Ramirez for the
Harry Soden: Sure.
Douglas Williams: when okay. Okay, welcome back. I hope uh you have a fresh head and a fresh time. How t now the meeting actually we gathering here to discuss about the functional design meeting. Okay, and uh we'll issue some information from uh all of you. And it's in the, I think uh, in the sharing folder. And uh I will invite uh the Christine and the Ed and uh Agnes to discuss about on the various subjects. So can you go to the next slide? Yeah uh the agenda of the meeting is opening. Then uh I'm going to talk about uh the project management, what I'm going to do, and uh, of course, I'm doing the project management and secretary both, okay, to take the minutes of the meeting. And there are three presentations. One is uh new project requirements. And the second one about uh decision on remote control functions. And uh finally we are closing. Uh and the meeting time will be uh forty minutes, so you have to be very quick. And I have come up with the management come with the new proposal, okay, and I have to discuss a few points on this. Uh both says new insights in the aim of your project. Uh the one is uh the teletext becomes uh outmoded, okay because if uh because of the computer systems and the new technology. So we don't need to consider really about the teletext all in our new project design. And the second one is about uh the remote control. Should be used only for the T_V_. That's what our uh management says. And the third point, it's very very important to establish our uh marketing or uh corporate image, okay, with this new project or new product. Okay. So I will invite uh Agnes, can you go to the third slide?
Harry Soden: No, this is the third.
Douglas Williams: Okay, So, I'll invite uh Christine to discuss about uh the functional design.
David West: 'Kay, do you wanna
Harry Soden: Sure.
David West: open the
Harry Soden: Um. You're participant s
David West: I'm number.
Harry Soden: Two?
David West: That's it.
Harry Soden: Do you want the mouse, or do you want Wayne Ramirez to
David West: I'll do the notes. Yeah, thanks. So um well I I figured uh we should um identify some user requirements, and from my experience, I wanna uh, and from research I did, uh the the device has to turn the television on and off the first time you press on the big button, you can't uh can't have like uh waffling on this point, you know. Really have It needs to be able y y have to be able to find it. Because one of the biggest problems with remote controls is finding them. So uh, I also, since we have to establish our corporate image on the basis of this new product, thought we better look at things that are popular and um ex go beyond those, and, as I said in the first meeting, um and then uh we might wanna talk eventually about the materials that are appropriate to use in uh in the construction, especially in the the uh the outside of the product so that it gives the appearance, and it is reliable, and so forth. I did a little history on uh the the uh remote controls and when they were invented and so forth, so, I guess this guy Zenith uh created the Flashmatic, which I kinda like the idea, 'cause it made Wayne Ramirez think of um um maybe the remote control made a big flash when uh you turn the T_V_ on and off, that might be interesting. And um so it was highly directional flash light that uh you could turn the picture on and off, and the sound on and off, and change channels c so I think um those are still requirements we have today, uh
Harry Soden: Mm-hmm.
David West: fifty years later. And uh it was really a pioneering innovation, but it was uh sensitive to the sun, so that uh it would get would start off by the you'd get it would easily cause um problems. So, uh I in addition to uh looking at the um uh the functional requir so all these devices are examples of where uh mm they represent examples that are available today which I think the one in the middle is r
Wayne Ramirez: Fantastic.
David West: um really uh something to keep in mind. It'd be easy to find. And um it would uh y you'd you could throw it at things if if the T_V_ didn't turn on and off, you could use it for something else. And since I'm not really um Industrial Designer, I didn't really know what to do with this slide. But um I just took some different uh schematics and I put them into this, and I guess this is what a slide might look like if you were drawing a circuit board. I don't know why um we were asked to do this. So, uh personal preferences, um I think we could uh I I'm really thinking outside the box here, and I think that we should consider perhaps having an an an a a size uh a remote control that changes in size depending on the user preference. So something that's very very flexible and inflatable and then you could shrink it. I think um it could either be you could go either one extreme, be very colourful, or you could make it clear, and um kind of blend in with things, so you didn't have to um uh have a problem with the th the decoration of the of the user's home. Um I think uh it needs to be waterproof, because uh sometimes they fall into cups and, you know, it might be out by the swimming pool or something like that. Um if you uh mi one of one of my requirements was about needs t to tell you when it's done its job or not, because half the time, I keep pushing on the remote control, and I don't know if it's actually understood my message, so I think it should give you some sort of an oral cue. And uh, course I never wanna replace the battery. So, that's those are my f preferences, and that's my presentation.
Douglas Williams: Yeah, let Wayne Ramirez uh interrupt you uh if you can add other facility, other feature, like uh unbreakable.
David West: Yes.
Douglas Williams: Okay, because uh especially today, you know, you have the family and the kids, okay, and the kids throw it and they they play with their remotes
David West: Run over
Douglas Williams: and.
David West: it with a car.
Douglas Williams: Yes. Okay, so if you can add the feature, okay, for your uh fabric whatever in your outline design okay, with unbreakable, okay, I think that will give a lot of advantage for our product,
David West: Good
Douglas Williams: if I'm
David West: idea.
Douglas Williams: not wrong.
David West: Good idea, I'll I'll uh um
Douglas Williams: Maybe you can uh add it in that.
David West: Yes, very good.
Douglas Williams: Okay, uh thank you Christine, and uh uh any questions or uh clarifications, or any discussion on the functional design?
Harry Soden: Do you have any preconceived ideas in terms of materials? 'Cause, for example, in the unbreakable thing, doing something plastic would be harder, whereas
David West: Hmm.
Harry Soden: having something like, I dunno, steel or titanium
David West: Titanium.
Harry Soden: isn't really
David West: Titanium
Wayne Ramirez: Titanium.
David West: would be
Harry Soden: economically viable.
David West: be heavy, too, wouldn't
Harry Soden: Yeah.
David West: it? No, I haven't really um I wanted feedback, I think we need to rate rank these,
Harry Soden: Yeah.
David West: but we'll see what your uh personal
Harry Soden: Sure,
David West: preferences
Harry Soden: yeah.
David West: are and your
Harry Soden: No, I
David West: thoughts.
Harry Soden: just that you had any sort of
David West: I like titanium. It's light.
Harry Soden: Yeah.
Wayne Ramirez: Expensive.
David West: Uh yeah
Harry Soden: The
David West: but
Harry Soden: marketing comes
David West: uh who
Harry Soden: out.
David West: who said who said
Douglas Williams: Yes.
David West: we were, you know, nobody told Wayne Ramirez how mu what our financial objective is, so um
Douglas Williams: Yeah
David West: It'd
Douglas Williams: so
David West: be hard to inflate something ou made out
Douglas Williams: Yeah
David West: of titanium
Douglas Williams: the the
David West: though.
Douglas Williams: I'm sorry because uh the last meeting we supposed to discuss about the financial thing. Uh let Wayne Ramirez go quickly, maybe if I can go back. I know the project plan and the budget. So I can close this, not sure. Was in uh
Douglas Williams: S This.
Douglas Williams: So let Wayne Ramirez see where is this file.
Harry Soden: That's Christine's.
Douglas Williams: This is Christine.
Harry Soden: And that's mine,
Douglas Williams: That's
Harry Soden: I think.
Douglas Williams: yours, okay. Saving.
Harry Soden: In modified.
Wayne Ramirez: I don't know, I think verbally
Douglas Williams: Okay,
Wayne Ramirez: we
Douglas Williams: uh
Wayne Ramirez: can
Douglas Williams: I will I
Wayne Ramirez: we
Douglas Williams: will
Wayne Ramirez: can
Douglas Williams: send
Wayne Ramirez: pretty
Douglas Williams: you
Wayne Ramirez: much
Douglas Williams: a mail,
Wayne Ramirez: sell.
Douglas Williams: okay? The project may be the the project aim, okay. At the end of the day, the company uh wants to make at least uh the fifty million Euro. Okay, and uh of course the price will be very reasonable on the the sales side. Okay, that maybe Eddie will talk to you about uh how much uh the price and uh what's uh how much its cost for the manufacturing and how much it's going to be we sell in the market. Okay. Then uh you can come back with your feedback. And I I have one maybe the suggestion or opinion. This remote control, okay, it can be for like universal, to use for any T_V_. Okay, and it will be slim, okay, and uh
David West: Not fat?
Douglas Williams: Not fat.
David West: Not fat, huh.
Douglas Williams: Okay.
David West: Might be hard to find, though.
Douglas Williams: Yep.
Wayne Ramirez: Hmm.
Douglas Williams: But let's try it, okay,
David West: Oh,
Douglas Williams: with
David West: okay.
Douglas Williams: the different uh the designs, okay, the functional designs. Okay? So any other questions?
Wayne Ramirez: Uh from her side, I don't think uh there's too many more questions.
Douglas Williams: Okay.
Wayne Ramirez: If you can
Douglas Williams: Thank
Wayne Ramirez: come
Douglas Williams: you
Wayne Ramirez: to
Douglas Williams: Christine
Wayne Ramirez: the
Douglas Williams: for uh time being, so then uh Ed, so
Wayne Ramirez: Okay,
Douglas Williams: can you
Wayne Ramirez: from
Douglas Williams: tell
Wayne Ramirez: the
Douglas Williams: about
Wayne Ramirez: marketing yeah, from the marketing side, just to to give an idea what the management is looking for, I was looking for a a remote control to
Harry Soden: S
Wayne Ramirez: have a
Harry Soden: 'scuse
Wayne Ramirez: s
Harry Soden: Wayne Ramirez for one sec.
Wayne Ramirez: I have a sales price of twenty-five Euro with, a production price of uh twelve and a half Euro. For what uh I think from what we're trying to find, we're tr we're looking for, I don't think that price is exactly in the market. Okay?
Douglas Williams: Mm-hmm.
Wayne Ramirez: I'll explain myself here now in the sense that uh in a in the recent surveys, uh from the ages fr from fifteen to thirty-five, eighty percent are willing to spend more money for something as fancy as trendy. Twenty-five Euros, uh that's that's a preson reasonable price. That's a market price right now. Now if we're gonna take a risk,
Douglas Williams: Yep.
Wayne Ramirez: and push this up a bit, make it more expensive, but give them added things that they don't have now,
Douglas Williams: Yep.
Wayne Ramirez: then it w it could possibly sell. Obviously the risk is there. Too expensive, they're not gonna buy. But, I think uh there's one other thing interesting two things that are interesting is that uh from the fifteen to thirty-five year-old group, which always spends more money on trendy new things, speech recognition is requested. And we're talking between
David West: Speech recognition?.
Wayne Ramirez: seventy-five to ninety percent of this group is willing to pay for speech recognition on a remote.
Douglas Williams: Mm-hmm.
Wayne Ramirez: Obviously, we can't make a remote into a computer, but maybe simple commands. I dunno, louder, softer, on, off. That might be a possibility, even though it costs more, to be the first on the market to produce this. Thirty-five percent say they're too difficult to use. So we have to figure out a way of making it um more user friendly. Uh fifty percent say they can't find the remote half the time. So maybe one word speech recognition commands, say remote, and there's a beep beep beep, and they can find it through, you know, ten tons of newspapers, magazines, whatever you have at home. But, in the cost that uh the management is looking for, that's not gonna be possible. But if it's trendy, if it's fancy, it's got some colour to it, if it's very easy easy to use, if it's got simple remote speech remote uh control, like I said, louder, softer, change channel, on, off, remote, it goes beep beep, I can find my my remote without spending half a day looking for it and getting all upset 'cause I can't turn the T_V_ on. So we're gonna have to look at it in a in this global idea, with the ideas of the industrial uh design. But, price obviously we have to talk about.
Douglas Williams: Yep. So what do you think about uh the design? Do you think you can make it or uh
David West: D uh I'm sorry?
Douglas Williams: What do you think about uh the design, uh what he was talking about
Wayne Ramirez: Speech recognition.
Douglas Williams: of the speech recognition?
David West: Well, uh training is always an issue with uh commands.
Douglas Williams: Mm-hmm.
David West: So um might uh we can to spend some time in the training process, uh it could reduce th th uh the overall um cost. Not sure how. But um anyway, um I I think also that uh this might impact the battery life. And um so, maybe what we'll have to do is um add something where you can um recharge it wirelessly so that uh y you know sen send power to it. So uh or maybe uh set it out in the sun and it uh, you know, gets
Harry Soden: Hmm.
David West: uh, from the light, um a a solar cell inside there so that uh you have enough uh juice to do all these fancy things.
Harry Soden: It seems also like with the speech recognition, yeah, it's a great feature, but if you're watching T_V_, there's a lot of ambient sound, and it's words. It's not just, you know, noises like something hitting. It's actual speech, so then you have to make sure that the speech recognizer is good enough to filter out the T_V_ speech, and the the user's speech. Otherwise, you can say remote.
David West: Off.
Harry Soden: But if someone on the screen is saying the same thing, all of a sudden, you have someone in a movie saying off and your screen dies, because they've triggered the remote control and it's turned off your T_V_. So, I think if we can find a speech recognizer that can handle those types of problems, then yeah, it'd be a really good
Wayne Ramirez: Mm.
Harry Soden: marketing gimmick. But, I think we seriously need to consider how that would impact the situation.
David West: Very good point.
Wayne Ramirez: Because tha w with speech recognition uh th I'm not that good at that idea but th
Harry Soden: Mm-hmm.
Wayne Ramirez: if it's a one-word recognition, 'cause I know with telephones and cars and things I've
Harry Soden: Yeah.
Wayne Ramirez: seen in the States, a friend of mine says call Mom, and it calls up Mom.
Harry Soden: Yeah.
Wayne Ramirez: 'Kay the radio can be on and everything.
Douglas Williams: Yep.
Wayne Ramirez: Because I think s with speech recognition, if uh the the remote or like the telephone it has a exact word that
Harry Soden: Mm-hmm.
Wayne Ramirez: it has to hear. I don't think it would come through a sentence in a television. If somebody's speaking on the se the television, they're not gonna stop and say remote, okay.
Harry Soden: Mm-hmm.
Wayne Ramirez: So I think that uh something could be designed to recognise single word
Harry Soden: Oh yeah. Yeah.
Wayne Ramirez: Like
Harry Soden: No, I think
Wayne Ramirez: the t
Harry Soden: it's
Wayne Ramirez: like
Harry Soden: a great
Wayne Ramirez: the telephone.
Harry Soden: idea if we can
Wayne Ramirez: No because
Harry Soden: design
Wayne Ramirez: I
Harry Soden: it
Wayne Ramirez: this
Harry Soden: to
Wayne Ramirez: is this
Harry Soden: to
Wayne Ramirez: is
Harry Soden: suit
Wayne Ramirez: years
Harry Soden: those
Wayne Ramirez: ago
Harry Soden: requirements.
Wayne Ramirez: in the United States where we're driving down and he said call home, and the telephone called immediately
Harry Soden: Yeah.
Wayne Ramirez: so well, that's kinda cute.
Douglas Williams: Well, what I can uh suggest to you, Christine, okay, uh if you need some uh the technical feedback, or some training, okay, about uh this facility, especially for the speech recognition, I can recommend you some companies like uh Intel or I_B_M_, okay, because they're already in this uh speech recognition part, okay. And uh you can maybe have some uh technical backup from them, some kind of a technical tie-up. Okay, and uh if okay, and uh you can uh let Wayne Ramirez know, okay, so what kind of uh the details you require okay, to add this feature in this project. I don't think it's uh the difficult. And uh we need to know how much is the timeframe you need to develop, apart from uh what today.
David West: Okay, we'll find that out.
Douglas Williams: Yep.
Wayne Ramirez: From from your side uh, you're gonna have to go back the management and s
Douglas Williams: Yes.
Wayne Ramirez: be more s precise. What do they
Douglas Williams: Yes.
Wayne Ramirez: want? Uh, a risk, take a risk on the market? Something that's gonna cost more, but could very easily s
Douglas Williams: Yes.
Wayne Ramirez: make a boom in the market?
Douglas Williams: Yep.
Wayne Ramirez: Because it has to be something totally different, has to be total totally new. Something that nobody has right now.
Douglas Williams: Yeah
Wayne Ramirez: And it's
Douglas Williams: but
Wayne Ramirez: gonna cost.
Douglas Williams: but end of the day, you're the sales guy, so I will come back and sit on your head because uh you are going to give your sales projection, okay. It's
Wayne Ramirez: Mm-hmm.
Douglas Williams: uh of course it's uh good to uh tell the management how much it's cost us and how much you are going to
Wayne Ramirez: Sure.
Douglas Williams: benefit,
Wayne Ramirez: Sure.
Douglas Williams: okay. And uh, so I don't mind to convince, okay, the management to spend some more money on the project, okay, if you can make out of
Wayne Ramirez: Obviously.
Douglas Williams: the money from this
Wayne Ramirez: If the
Douglas Williams: project.
Wayne Ramirez: bottom line is positive.
Douglas Williams: Yes, okay I don't mind to convince the the management,
Wayne Ramirez: Mm.
Douglas Williams: okay. The management says, okay, so they they don't want certain facilities, which it's already worked, okay, they want something uh new, okay. I think uh like uh speech recognit definitely they will agree, I don't think they'll say no for that, okay. And uh I hope I can convince the management on that, okay. So if you have any uh new ideas, okay, for uh your you can always come up and uh you can tell Wayne Ramirez if you need any uh s special, okay, coordination, okay, between any uh technical companies, which you can uh hide their technology backup, okay, for your uh functional design or technical design, okay, then I am ready to do that. And uh what's your comments about uh
Harry Soden: Um well, I mean, maybe if I go through my presentation, you can sort of see
Wayne Ramirez: Mm.
Harry Soden: what the user perspective is, and how it ties into the other two comments.
Douglas Williams: Yeah, so you are finish, Ed, uh
Wayne Ramirez: Yes.
Douglas Williams: so I can
Wayne Ramirez: Mm.
Douglas Williams: uh Okay, I'll uh hand over to Agnes. Just gonna close this. T Uh where are you, here?
Harry Soden: Mm participant three.
Douglas Williams: Participant three.
Harry Soden: Nope, here
Douglas Williams: Okay, so I'll yep.
Douglas Williams: Okay.
Harry Soden: Good. Thanks.
Douglas Williams: Is it okay? Alri
Harry Soden: Yeah, and that's fine. Okay. So, basically, the method that we usually use in the user interface design is that we need to look at what people like and what people don't like about existing products. So, in our case, existing remote controls. And then, what the good ideas are, and what the bad ideas are, and why they're bad and good, which isn't always as obvious. We seem to have intuitions about why things are good or things are bad, but when you look, technically, at how it works, sometimes that's not the case. Then we need to decide what functionalities we really want to keep, 'cause that'll feed into both Ed's work and Christine's work. Um and then what the remote control should look like, obviously, once we've got a good idea of what the functionalities are. So, in terms of the functionalities that we need, you obviously need to be able to turn the T_V_ on and off. You need to change channels, both by directly going to a specific channel or by channel surfing. You need to be able to control the volume and then control any menus on the T_V_ to regulate contrast or whatever. So, the problems that people have expressed is that there's too many buttons on remote controls, in general. The buttons it's not clear what they're supposed to do. Um often, you need to know specific button sequences to get certain functionalities done, um which you don't necessarily always remember, especially if it's a functionality that you don't use very often. And that the buttons are too small. So, here we've got two examples where here on the left-hand side, you can see a remote control that has lots and lots of buttons. The buttons, in a lot of cases, are tiny. Um they're hard to see, and okay, they're labelled, but the labels don't necessarily tell you too much. Whereas, on the other side, you have a much simpler remote control that I think basically has the minimum functionalities that are needed. And it sort of looks simpler and just less imposing when you first look at it. So, I would be inclined to go sort of towards this, in terms of design, rather than this. And if there's specific functionalities that require more buttons, then we can figure out how to do it with existing um buttons. So my personal preferences are to keep the number of buttons to a limit, or to a minimum, sorry, make frequently used buttons bigger and more strategically placed, so like the on button being really obvious one, the channel changing and the volume, and to keep the design basically sleek
Douglas Williams: Click
Harry Soden: and simple.
Douglas Williams: mm.
Harry Soden: Which, I think ties into what Christine and Ed have both said fairly reasonably. Um so, that's pretty much it, an I don't know if you guys have any questions or
David West: Oh, it's um, seems very understandable. Clearly your research and uh and ours uh heading in the same direction,
Harry Soden: Yep.
David West: and um uh the only thing that I saw missing from uh your your research that we found was this uh ability to find the doggone thing when you need it.
Harry Soden: Yes, that's true.
David West: So uh,
Harry Soden: Yeah.
David West: you know, but that's okay. That's why we're all here at the table, so that if we think of it and our research indicates certain things and um
Harry Soden: Yeah.
David West: w we it's complementary. I also think that um uh th f the the feel of it is uh, when you hold it, is something that um uh was expressed more in in in in my uh design
Harry Soden: Mm-hmm.
David West: and
Harry Soden: Yeah.
David West: that's logical and normal 'cause those are the parameters that an Industrial Designer's more thinking about, th
Harry Soden: Yeah.
David West: th the look and the feel, and uh,
Harry Soden: Oh,
David West: you're First. Yep. Mm-hmm. Okay, so I don't have any questions. Sounds good.
Douglas Williams: So for anybody need uh any help, for time being, on this
Harry Soden: Oh
Douglas Williams: uh subjects, okay, so please come back to Wayne Ramirez, and uh Christine, maybe I can uh try to help you to get some uh the technical uh the companies to help you for uh make a design uh slim, okay, and to add some features, like we are talking about, the speech recognition and all.
Harry Soden: Should we maybe make a decision about what features we actually want to
Douglas Williams: Yeah.
Harry Soden: include, 'cause we've thrown a lot of features onto the table, but do we actually want to incorporate all of them, or have we missed
Wayne Ramirez: Hmm.
Harry Soden: anything?
David West: Do you wanna go back and look at the closing slide, maybe that would provide some guidance?
Harry Soden: Sure.
David West: Doesn't really tell us.
Douglas Williams: So not really this
Wayne Ramirez: Individual
Douglas Williams: one
Wayne Ramirez: actions.
Douglas Williams: we are talk
David West: Well it
Douglas Williams: ab
David West: says individual actions, it says
Douglas Williams: Yep.
David West: user interf so I'm supposed to do the components concept, supposed to work on the
Harry Soden: Mm-hmm.
David West: user interface concept, and you're supposed to keep watching the trends. Um and specific instructions will be sent by our our coach. I
Harry Soden: I thought
David West: think we should do as many features as uh start with all of them right now and eliminate them later in the process, that's my suggestion.
Douglas Williams: Okay, that will be great. And uh I'll send you the the minutes
David West: You can
Douglas Williams: of
David West: object
Douglas Williams: meet
David West: if you want to
Harry Soden: No, I I'm just thinking in terms of time, like
Wayne Ramirez: She's
Harry Soden: if
Wayne Ramirez: objecting.
Douglas Williams: Yeah.
Harry Soden: Yes, now I'm objecting. No, I mean, I was just thinking is it really practical to start designing something with features that we're just gonna end up throwing away? I mean, it takes a lot of time and effort for everyone to consider different features, um and s if we spend that time and effort on features that we're not gonna use, maybe it's better to spend it on the f thinking more about features that we actually do want, but
Wayne Ramirez: Oh th
David West: I think we
Harry Soden: guess
David West: should take
Wayne Ramirez: we s
David West: that as
Wayne Ramirez: we
David West: an
Wayne Ramirez: still
David West: action
Wayne Ramirez: have
David West: item for after the meeting, 'cause w
Wayne Ramirez: Yeah.
David West: our meeting time has run
Wayne Ramirez: Right.
David West: out. Somebody
Harry Soden: Sure.
David West: else has go to use this room, and,
Harry Soden: Yeah.
David West: you know, we can't hang out here and
Harry Soden: Yeah.
David West: talk
Harry Soden: Sure.
David West: about this, so
Douglas Williams: Okay, what we'll do is now we'll take for lunch break, okay, then uh we can discuss furthermore, okay, with our areas, and uh then we will come back again in the in the next meeting. So thanks for coming and uh I'll send you minutes of meeting, and uh please put your all information in the sharing folder so everybody can share the information. Okay?
Harry Soden: Okay.
Douglas Williams: So let's go for lunch then.
David West: Thank
Wayne Ramirez: Agreed.
David West: you very
Douglas Williams: Thank
David West: much.
Douglas Williams: you. | Douglas Williams gave new requirements for the product: the remote will not include a teletext function, will only be used for television, and must show the corporate image. David West presented possible components to consider. The group then discussed hard materials to include in the design. Wayne Ramirez presented an initial sales plan and showed that there is a demand for remotes featuring voice recognition and other capabilities; the group discussed how it could be integrated into the functional design. Douglas Williams offered to help David West find companies to provide help in integrating this component. The designers expressed that they needed more information from the board on their expectations for the product. Harry Soden gave a presentation on product design from the user's perspective and emphasized simplicity in design. She also suggested that the group make a decision on which features to include in the final product design, but the group decided to postpone it. The designers were given their assignments: Wayne Ramirez will present the marketing concept; Harry Soden, the user interface concept; David West, the components concept. | 5 | amisum | train |
Michael Jones: Right, so start of the first meeting
Robert Hiers: Mm-hmm.
Michael Jones: Uh. Right, so agenda of the first meeting. Where we uh We have twenty five minutes for this meeting.
Erik Phipps: Okay.
Michael Jones: We uh are to get acquainted. So does everyone want to say who they are? that seem
Robert Hiers: Yeah.
Michael Jones: sensible?
Robert Hiers: I'm Robin. I'm the Marketing.
Edwin Aplin: I'm Louisa. I'm Edwin Aplin.
Erik Phipps: I'm Nick. I am the Designer
Michael Jones: And I'm Alastair and I'm the project leader. Alright okay, so tool training. Um. Project plan. So does anyone have any uh thoughts as to the tool training that uh is required?
Erik Phipps: Tool training.
Edwin Aplin: I'm not exactly sure what you mean by tool training.
Michael Jones: am I. Oh I see, so we shouldn't really be
Michael Jones: Oh right okay, so. So we have the project team, which is to um basically to come up with a new r remote control device. Uh we have uh the starting base was the original which has been in existence now for a period of time. And uh our idea is to uh to make the new remote control device uh more user friendly than the previous one, and to to be trendier, to be with it, and therefore to uh
Erik Phipps: Yeah.
Michael Jones: to get a bigger market share and bigger audience. So um method of doing this is uh split up as you can see into uh the functional design, the conceptional design, and the detailed design. So um in each of these uh phases we'll uh basically be handing over to yourselves, the
Erik Phipps: Yes.
Michael Jones: designers of this uh this device. And uh having uh meetings so that we can uh during the course of the day um come up with a better better inst implement than we had before. And therefore um have a successful uh conclusion to the day. Um and you'll be doing uh various designs uh throughout
Robert Hiers: Mm-hmm,
Michael Jones: the day
Robert Hiers: okay.
Michael Jones: to meet this end. So we've got tool training. Try out whiteboard. Uh. So we will um. Right so everyone's to uh supposedly uh draw their favourite animal over on the white board over there. I guess this is uh make sure the whiteboard works. So
Erik Phipps: Okay.
Michael Jones: uh I don't know who wishes to go first. Do
Edwin Aplin: I
Michael Jones: you wish
Edwin Aplin: don't
Robert Hiers: I dunno.
Michael Jones: to
Edwin Aplin: mind.
Michael Jones: go f Have a first bash at uh whatever.
Edwin Aplin: Um.
Michael Jones: Ah
Edwin Aplin: Let's
Michael Jones: uh.
Edwin Aplin: see. Good job I got pockets today.
Robert Hiers: Your microphone's
Michael Jones: But now you you
Robert Hiers: just
Michael Jones: uh you'll move out from the microphone and the camera. I
Edwin Aplin: Are we
Michael Jones: take
Edwin Aplin: supposed
Michael Jones: it that
Edwin Aplin: to do this right now, do you think, or?
Michael Jones: I would I would guess so. Or
Robert Hiers: Yeah.
Erik Phipps: You've lost
Robert Hiers: I don't
Erik Phipps: uh
Robert Hiers: know.
Erik Phipps: your microphone there.
Edwin Aplin: Oh. Right
Michael Jones: Technical problems.
Edwin Aplin: here we go.
Michael Jones: I mean you designers are meant to come up with these sort of things.
Edwin Aplin: Okay. I think that I would have to say that my favourite animal is the cat. Little smiley cat there. Um and this would be because they're very independent, compared to dogs maybe. Um and they can be very very affectionate. Some people don't think so but I know very affectionate cats. Um. Um and they can look after themselves.
Michael Jones: Next.
Erik Phipps: Okay, yeah. I'll
Edwin Aplin: Shall I rub
Erik Phipps: I'll
Edwin Aplin: that out, actually?
Michael Jones: I don't see as there's any need to. There's plenty of space. I mean whatever.
Robert Hiers: We can have have a whole menagerie.
Michael Jones: Exactly.
Erik Phipps: Shall I see if I can get across without just tangling everything. Okay. There's
Michael Jones: We've
Erik Phipps: one.
Michael Jones: had more time to prepare over this side, so we've all stuck our bits and pieces in our pockets.
Erik Phipps: Didn't think of that. 'Kay uh
Michael Jones: The three
Erik Phipps: pens
Michael Jones: pens
Erik Phipps: are
Michael Jones: are
Erik Phipps: over here.
Michael Jones: underneath.
Erik Phipps: I'll try the red pen. Okay. Um. I'm gonna go for the bear but I'll have a bash at it.
Michael Jones: You get marks
Erik Phipps: Uh.
Michael Jones: for artistic impression.
Erik Phipps: Ooh ooh I lost it there. I think I've just knocked the microphone. Um.
Michael Jones: So you're just doing the face.
Erik Phipps: We'll g then we'll go for a a s small small bear. Um and I like my animal that looks nothing like a bear because um I dunno maybe because there's so many cartoon characters made up after the bear like the jungle book characters and stuff like that. Great.
Robert Hiers: Right.
Robert Hiers: Hello. Um I'm gonna go for the dog, and I'm gonna draw one badly as well. Uh.
Robert Hiers: looks like it's going to be a dachshund or something.
Edwin Aplin: That's quite good.
Robert Hiers: Right. There's my dog. And they're always happy, so whenever whenever you're feeling sort of a bit a bit down or tired, they're always coming up and they're always um quite excited. So um you can always have a lot of fun with a dog. And they're also good for exercise as well. You can sorta get out and they they sorta never get tired. And and when they're tired they're quite cute as well, so. Okay, that's why I like dogs.
Michael Jones: Right, um. Well I've not actually had too many pets uh over my uh time 'cause to be honest with you uh I'm not too keen on them anyway. Not to worry. So what my daughters have got at the moment is they've got uh a few fish and so hopefully um won't prove too difficult to draw. Uh
Michael Jones: As you can see that my artist artistic work is useless as well. Anyway um. And uh one of the best uh things about fish is that they don't really take uh too much looking after because uh with most of the animals if you're going away on holiday or whatever, you've gotta spend money or get a friend or whatever to look after them for you. Whereas if you got fish, you just gotta put the food in a a a dripper feed which feeds them over the uh couple of weeks that you're away and uh change the water every couple of months, and buy in a few plants, so. Other than the fact that they keep dying, uh fish are uh are not are are are reasonable pets in that uh they're low maintenance.
Robert Hiers: Great.
Michael Jones: Right. Okay, uh if we're still all with us. Right okay, so. Work has been done on uh this uh project where by um twenty five Euros is uh the uh expected uh selling price.
Robert Hiers: Mm-hmm.
Michael Jones: That information has come from our marketing manager here.
Robert Hiers: Yeah.
Michael Jones: So we're looking to sell internationally, not just in Europe. We're looking at um having our production costs limited to uh twelve and an half Euro per unit. And therefore making a profit margin of uh well not actually a profit margin it's uh because obviously you're gonna have overheads and various other costs to uh take uh from uh from that to give you your profit margin per unit. And so depending what the uh the overhead uh costs are will determine uh how many units we're uh looking to sell or projecting to sell at this point in time. So um Experience with remote control, first ideas. New remote. So I guess we're looking at um having a discussion at this point in time to help uh you um folks design our our new
Erik Phipps: Yes.
Michael Jones: model as it were. So uh any any thoughts?
Erik Phipps: Um I with some remote controls the buttons were a little small so they're quite hard to press so maybe we make something with uh easy to press buttons. As that is the main function.
Michael Jones: Okay, so so basically we're looking for some um we're looking for a device that is um robust
Erik Phipps: Yes.
Michael Jones: and and therefore uh won't get damaged too easily. a device that is uh What was the other things you said there?
Erik Phipps: Um sort of easy to use so the
Michael Jones: Easy
Erik Phipps: buttons
Michael Jones: to use.
Erik Phipps: are accessible.
Michael Jones: Use.
Erik Phipps: is easy to use and see.
Michael Jones: And see.
Erik Phipps: Yes.
Michael Jones: Okay. Uh.
Edwin Aplin: Can I just check? Is this just a television remote? Because a lot of um systems are kind of T_V_ video combined now, or T_V_ D_V_D_ combined. And
Michael Jones: Mm-hmm.
Edwin Aplin: one of the most annoying things is having like five remotes in the house. So if you've got a combined system, it could be a combined remote.
Robert Hiers: Mm.
Edwin Aplin: Or is it just a television that we're supposed to be doing?
Michael Jones: Oh I w um basically I'll get back to you on that. But it seems to Robert Hiers sensible, 'cause as you rightly said, there's nothing more annoying than having three or four devices littered about the uh
Robert Hiers: Yeah.
Michael Jones: about the room. And uh So a device for for all remotes.
Robert Hiers: I've
Erik Phipps: Sorry, you go. You
Robert Hiers: Okay.
Erik Phipps: go.
Robert Hiers: Yeah. Um one of the things um we found from the market research is that people often get confused by the number of buttons on them as well. 'Cause there's quite often lots and lots. And um sometimes uh they sort of remote controls defeat their own purpose because you're sat in the chair and the remote is somewhere else in the room. So whereas in the past you'd have to get up to change the channel, now you have to get up to sort of pick up the remote. So so I don't we need to sort of maybe think about how um we could maybe uh develop a remote control which moves around the room.
Michael Jones: Hmm.
Edwin Aplin: Comes to your whistle.
Robert Hiers: That's that's maybe something for the future when you can talk to your television, but
Erik Phipps: Yeah.
Michael Jones: But is it in a sense it's r um mutually exclusive. You can't have both
Robert Hiers: Yeah.
Michael Jones: the th the one device and then have few buttons on it to 'cause you want you want simplicity as well, you want any idiot to be able to use it.
Robert Hiers: Yeah.
Michael Jones: Whilst at the same time you want, as you rightly said, one remote for all.
Robert Hiers: Mm-hmm.
Michael Jones: And so these are probably mutually exclusive options
Erik Phipps: Yes.
Michael Jones: that
Robert Hiers: Mm-hmm.
Michael Jones: uh Hmm you could argue that experience of using devices and similar devices as people get more and more used to using remotes, therefore they're more with handling
Erik Phipps: Yeah.
Michael Jones: them, therefore you can make them more complicated as time goes on.
Erik Phipps: Maybe we could um have better instructions with the remote. Or are we just doing the design of the remote control itself, or sort of the instructions that would come with it?
Michael Jones: Better instructions.
Robert Hiers: Yeah. I mean we've done some research um about sort of you know what the cutting edge sort of hand held devices are, and a lot of them sort of use you know they're like they're like mini laptops.
Michael Jones: Mm-hmm.
Robert Hiers: So it's possible that we could devise a system where where you're you're basically sort of holding a a miniature computer which is controlling all your your sort of your television, your stereo, and where you know if you buy a new thing then it sort of you can link it to that as well, maybe.
Michael Jones: Okay. Um well we've got five minutes before the end of the meeting. So uh we have to uh start winding up. Um is there Next meeting in thirty minutes.
Erik Phipps: 'Kay.
Robert Hiers: Okay.
Michael Jones: So um Right, so we've got I_D_ the Come on, where's my
Robert Hiers: If you just click return it should be okay. It'll get rid of the message.
Erik Phipps: Or not.
Robert Hiers: If you hit just hit return and it should get rid of the message.
Michael Jones: Oh
Robert Hiers: Oh you've
Michael Jones: there
Robert Hiers: got.
Michael Jones: we go. Yeah. That's what I was looking for. Right. So we've got function Oh what happened to the
Edwin Aplin: I think that might be back to the start.
Robert Hiers: Yeah.
Edwin Aplin: Um if you grab the kind of uh slide
Erik Phipps: slide
Edwin Aplin: to the
Erik Phipps: four
Edwin Aplin: left and pull it down?
Robert Hiers: Yeah.
Michael Jones: Right.
Michael Jones: Right.
Erik Phipps: Okay.
Michael Jones: Sorry about that. Okay, so we've got um the working design for I_D_. For U_I_D_ the technical functions design. Marketing, the user requirement specification. Specific instructions will be sent to you by your person by your personal coach. So. Are we all clear what objectives we're looking to meet in the next thirty minutes?
Robert Hiers: Mm-hmm.
Michael Jones: And
Erik Phipps: Yes.
Michael Jones: I guess I'll try and write up some minutes of uh this meeting to uh to give it to you for the next
Erik Phipps: 'Kay,
Michael Jones: meeting.
Erik Phipps: yes.
Robert Hiers: Mm-hmm.
Edwin Aplin: I'm not exactly clear on what we're designing the rem remote for. Is this a mun multi-functional one or do we decide that ourselves as we go away and work on it?
Erik Phipps: I think you just said at the start it was a television remote control,
Michael Jones: Television
Erik Phipps: so maybe we
Edwin Aplin: Right.
Michael Jones: remote
Erik Phipps: should just
Michael Jones: control.
Erik Phipps: stick to that unless we get told otherwise.
Michael Jones: That's true, 'cause during during the course of our day we might make decisions based on information or meetings that would change
Robert Hiers: Okay
Michael Jones: where
Robert Hiers: cool.
Michael Jones: we're going. But at this point in time I think you're right that uh shall we make it just a T_V_. Okay?
Erik Phipps: 'Kay.
Michael Jones: So we will depart. We will stay here and uh and break off. And I'll do minutes and and we'll see you in half and hour.
Erik Phipps: Okay, that's great.
Edwin Aplin: Okay.
Robert Hiers: Okay
Michael Jones: Okay.
Robert Hiers: cheers.
Michael Jones: Right s | The group introduced themselves and their roles to each other. Michael Jones introduced the project aim and agenda to the group. The group acquainted themselves with the meeting-room equipment by drawing on the whiteboard. Michael Jones discussed the projected production cost and price point for the device. The group began a discussion about their own experiences with using remote controls and about usability features to be included in the design. Michael Jones instructed Erik Phipps to prepare the working design, Edwin Aplin to research technical functions, and Robert Hiers to prepare the user requirement specification. The group discussed the function of the prototype and decided that they should restrict the remote to television for the time being. | 5 | amisum | train |
Norman Siders: Okay.
Norman Siders: Right. Conceptual design meeting. Right. so Right well um from the last meeting I was trying to send you the minutes, but uh it didn't work out too well, so maybe in sort of um quick summary of the last uh meeting, I can quickly give you what we what we had. Uh right, so Wishing I hadn't closed the damn Right so we had the fact we're gonna have the the logo uh the company its uh colour incorporated the device the remote device We had uh made our decisions about uh made our decisions about uh the device itself, that it was gonna be simple to make it uh enable us to complete the project in time. We're gonna have uh effectively two pages, a front page which had the uh features that the uh the customers most wanted, and then the uh the backup features on the second page so that it could uh meet the technical requirements. And the customers wouldn't have to look at them too often, only as and when required. So. So basically what decisions uh have we uh made? Uh have there been any uh changes?
Charlie Zurawski: I think we all have a presentation again, so
Norman Siders: Right.
Charlie Zurawski: if we go through
Charles Kulas: Yeah.
Charlie Zurawski: those and then um.
Norman Siders: Three presentation,
Charlie Zurawski: Shall
Norman Siders: yeah.
Charlie Zurawski: I
Norman Siders: So
Charlie Zurawski: go first again?
Norman Siders: Yeah, fine.
Charles Kulas: Okay.
Charlie Zurawski: I see this a little more smoothly than the last one.
Charlie Zurawski: Okay right, let's get started. Um basically the uh for the Um I'll back actually. For the components design, um next step is basically the the way the remote's gonna work is still the same idea as before. still have the user interface is all the buttons we're gonna incorporate. Then there is a chip and still the sender. So um yes including the power s supply as well. Um I'll go on to my findings in each of these areas. Uh first in the power supply, we have the option of just the standard battery, um. There's a dynamo. Any of you think of kind of like the the old torches which you wind up um. There's a kinetic option, which if any of you've seen those new watches which you kind of you power up by waving around, um it just requires a small amount of movement which would mean the batteries wouldn't have to be replaced. Um that's
Charles Kulas: Mm-hmm.
Charlie Zurawski: one option, but I think that was gonna cost a little more. And then there's solar cells. Um as a final option. For the buttons, we have um an integrated push button, which is Oh just to say all all these are um supplied by Real Reaction. So I guess for the ease of for quickness and ease we should take them from at least like one of these options. Um
Norman Siders: Okay.
Charlie Zurawski: so for the buttons there's an integrated push button, which I guess is just the same as the standard ones. This says it's uh similar to uh the button on the mouse for a normal for like uh like modern computer. Um there's a scroll wheel which is you know the new mouse has just got like the centre section which you can scroll up and down, which may be for the volume. You could
Norman Siders: Mm-hmm.
Charles Kulas: Mm-hmm.
Charlie Zurawski: do do that. Um one issue for the buttons is, depending on which material we use, if we use rubber buttons then it requires a rubber case, so we have to take that into consideration. Um moving on to the printed
Norman Siders: What would
Charlie Zurawski: s
Norman Siders: be the cost do do we know?
Charlie Zurawski: Um that's on the next I th I think the there wasn't too much difference in the cost, that that related to the actual buttons, but it does affect the printed circuit board. Um which is the next section. Basically for the circuit board which is the middle, it's just see it down there the chips like the
Norman Siders: Mm-hmm.
Charlie Zurawski: like the workings of the actual um of the remote. The firm supplies a simple, a regular and an advanced um circuit board. And there's different prices according to each. So if we've got the scroll wheel for one of the buttons, that would require a slightly more advanced circuit board
Norman Siders: Mm-hmm.
Charlie Zurawski: than if we just had a standard um push button. Um one final thing we came up with was some information on the speech recognition. There's a small unit available through the company um which obviously would be an extra cost, but it wouldn't affect the size of the remote too much. Um and I guess that would require a more advanced circuit board, so there is an extra price in that sense. There is th sorry an extra cost in that sense. Um going to my personal preferences, um I thought possibly for power we could use kinetic um which is the idea of the watches um that you move you move the remote around to power it up. And this would avoid batteries running out, having to replace batteries and such like. Um for the buttons, I thought we'd probably get away with just having the standard um push buttons rather than the scroll wheel. Um and for the circuit board, again depends on which features we want in the actual in the remote. So if we wanted the scroll wheel and wanted the voice recognition, um then we'd have to get a a more costly circuit board. And that's it.
Charles Kulas: 'Kay.
Ryan Westerlund: Thanks.
Norman Siders: with the printed circuit boards you were going for the
Charlie Zurawski: Um i it kind of depends um if we're gonna have the speech recognition, we'd have to probably get an advanced one. I'm guessing.
Norman Siders: Mm-hmm.
Charlie Zurawski: Uh but I don't know, so that is something I'll have
Norman Siders: But
Charlie Zurawski: to look
Norman Siders: are we
Charlie Zurawski: into.
Norman Siders: going f R right.
Charlie Zurawski: Um that's a that's a decision for all of us. Um.
Norman Siders: So are we able to make that decision
Charlie Zurawski: Yeah
Norman Siders: now
Charlie Zurawski: yeah.
Norman Siders: in a sense that this is the point at which
Charlie Zurawski: We
Charles Kulas: Mm-hmm.
Charlie Zurawski: decide.
Norman Siders: we're discussing that issue, so
Charlie Zurawski: Yeah.
Norman Siders: would it not be best to rather than I mean one way is to do each of the presentations and then make decisions going back to the various presentations as they were. The other way would be to do the presentation
Charles Kulas: Mm-hmm.
Norman Siders: and then make the decision at that point in time.
Charlie Zurawski: Um.
Ryan Westerlund: Yeah,
Charlie Zurawski: Maybe
Ryan Westerlund: that's probably
Charlie Zurawski: w
Ryan Westerlund: a better one, to discuss it straight away.
Norman Siders: 'Cause at that point then you've got the details up there, so if we wanted to know for instance that the scroll wheel required the regular and what required advance. Then if we were
Charlie Zurawski: Um.
Norman Siders: able to see that down then we could make the decision at that point in time and then that would be the end of that issue. Does that
Charlie Zurawski: Yes.
Norman Siders: make sense?
Charles Kulas: Mm-hmm.
Ryan Westerlund: Um I have a lot of the information there. It might not be very clear.
Charlie Zurawski: Is there
Ryan Westerlund: Unless you want to plug it back in to yours.
Charlie Zurawski: Um. We could do, yeah. Um yeah we should.
Charlie Zurawski: As I say it only specified that we need a more advanced circuit board for the scroll wheel, it didn't
Norman Siders: Mm-hmm.
Charlie Zurawski: The voice recognition came as a separate piece of information. Um.
Norman Siders: No the scroll wheel required the regular, so the
Charlie Zurawski: Yeah if if you down um.
Norman Siders: Hmm.
Charlie Zurawski: It's just this bit at the bottom which I've highlighted, but the scroll wheel requires a mini m minimally a regular chip, which is in the higher price range.
Norman Siders: Okay.
Ryan Westerlund: I think
Norman Siders: The display
Ryan Westerlund: the scroll
Norman Siders: requires
Ryan Westerlund: wheel
Norman Siders: an
Ryan Westerlund: um
Norman Siders: advanced chip the display requires an advanced chip which
Charlie Zurawski: Also the
Norman Siders: in
Charlie Zurawski: display's
Norman Siders: turn
Charlie Zurawski: for something
Norman Siders: is more
Charlie Zurawski: else which
Norman Siders: expense.
Charlie Zurawski: we decided against. Um but that bit
Norman Siders: Okay.
Charlie Zurawski: And note that the push button just requires a simple chip, so that would keep the price
Norman Siders: Down.
Charlie Zurawski: down.
Ryan Westerlund: Yeah, and if we're
Charles Kulas: Mm-hmm.
Ryan Westerlund: going for sleek and sexy, I think a scroll wheel is maybe a bit kinda bulky? I I've got um pictures well I've seen pictures with it kind of sticking off the side of it, and
Norman Siders: Right.
Ryan Westerlund: they don't really look great.
Charlie Zurawski: 'Kay.
Norman Siders: Okay.
Charlie Zurawski: So maybe just a simple push button, and that would
Norman Siders: So.
Charlie Zurawski: cut costs on
Norman Siders: So
Charlie Zurawski: the
Norman Siders: we're going for p Okay. So is um
Charles Kulas: So are we going for the w are we going for the simple one, are we?
Ryan Westerlund: Yeah, a simple
Charles Kulas: Okay.
Norman Siders: Simple
Ryan Westerlund: pushbuttons.
Norman Siders: push button.
Charlie Zurawski: on the speech recognition? The um it was basically what we said before, the idea that you record in a set message, and then it picks up that message um
Norman Siders: Mm-hmm.
Charles Kulas: Yeah.
Charlie Zurawski: and replies to you. So it is basically the concept we discussed before. Um but then we don't know for sure whether it would require a more complicated circuit board. I'm guessing it would, but got like the definite information. Maybe we should go on what we're certain of rather than
Norman Siders: So if we go for the simple push button, so effectively we're going for the simple printed circuit board are we? Or are we going for the regular?
Charlie Zurawski: Um if it's just the push button then it just needs the simple circuit board.
Norman Siders: Mm-mm. But is there any other I mean okay, that's true for the for for that element, but we have to take all el elements into consideration. And so if there is one element that requires the more expensive one, or say the regular one, or
Charles Kulas: Mm.
Norman Siders: the more advanced, then that would have to be the same for all of them.
Ryan Westerlund: Hmm.
Norman Siders: S
Charles Kulas: I suppose
Ryan Westerlund: But
Charles Kulas: we need we need to find out what circuit board that requires, maybe before we m make a decision.
Ryan Westerlund: But
Norman Siders: Right.
Ryan Westerlund: the way that I interpret that um it doesn't seem to send out a signal to the telly, it just it's like a parrot just rep reply
Charles Kulas: Oh yeah,
Norman Siders: Mm-hmm.
Ryan Westerlund: replying
Charles Kulas: I suppose
Ryan Westerlund: to your message.
Charles Kulas: so, yeah.
Charlie Zurawski: So maybe that would be something
Ryan Westerlund: So
Charlie Zurawski: separate,
Ryan Westerlund: I don't think it
Charlie Zurawski: yeah.
Ryan Westerlund: would effect our
Charles Kulas: Yeah.
Ryan Westerlund: circuit
Norman Siders: No.
Ryan Westerlund: board.
Charlie Zurawski: Okay, so we'd have a simple circuit board and that would be an extra that would be in addition
Ryan Westerlund: Yeah.
Charlie Zurawski: to it.
Charles Kulas: Yeah.
Ryan Westerlund: And
Charlie Zurawski: Oh
Ryan Westerlund: I don't
Charlie Zurawski: that makes
Ryan Westerlund: think
Charlie Zurawski: sense.
Ryan Westerlund: you could really perform any of the remote functions with it. 'Cause the example that they've given there is good morning coffee machine, good morning Jo.
Norman Siders: Mm-mm.
Ryan Westerlund: It might be useful to say like where are you remote.
Charlie Zurawski: Okay.
Ryan Westerlund: Here I am, Jo.
Charles Kulas: Yeah.
Ryan Westerlund: But I think that's maybe as far as that one could go?
Norman Siders: Okay.
Charles Kulas: Yeah.
Charlie Zurawski: Yeah that makes sense, so we'd stick with the simple circuit board and then think of the speech recognition as an extra an extra
Ryan Westerlund: Yeah, just
Charlie Zurawski: possibility.
Ryan Westerlund: as a fun way to find it.
Charlie Zurawski: Okay. Um.
Norman Siders: Simple circuit board. Simple push button. Okay. W
Ryan Westerlund: And it says that
Norman Siders: w kinetic.
Ryan Westerlund: I think it said
Norman Siders: You
Ryan Westerlund: the cost
Norman Siders: were you
Ryan Westerlund: of that
Norman Siders: were
Ryan Westerlund: isn't
Norman Siders: wanting
Ryan Westerlund: too
Norman Siders: to
Ryan Westerlund: much.
Norman Siders: go for the kinetic power supply.
Charlie Zurawski: Um yeah I I thought so just for just for ease of not having to replace the batteries.
Norman Siders: Mm-hmm.
Charles Kulas: Mm-hmm.
Charlie Zurawski: Um.
Norman Siders: And how does it get uh charged up?
Charlie Zurawski: It's um I think it works on the basis they have some kind of ball bearings inside. It's um it's some on watches which you you kind of you shake to power it up. Somehow
Charles Kulas: Mm-hmm.
Charlie Zurawski: the mechanism inside powers up through movement.
Norman Siders: Okay.
Charlie Zurawski: So you'd you'd move the remote around a little bit and then that powers it up to use it.
Norman Siders: Okay.
Charles Kulas: Yeah.
Norman Siders: So the speech recognition was Are we going for speech recognition? No? 'Cause that required the advanced
Ryan Westerlund: Um I think it would be helpful to find it, but
Charles Kulas: Just
Ryan Westerlund: I don't think it'd
Charlie Zurawski: Uh yeah I
Ryan Westerlund: um
Charlie Zurawski: think did we decide it didn't affect the circuit board, it just affected
Ryan Westerlund: Yeah,
Charles Kulas: Just
Ryan Westerlund: I think so.
Charles Kulas: just
Charlie Zurawski: It was just
Charles Kulas: for the call and
Norman Siders: I had
Charles Kulas: find
Norman Siders: speech
Charles Kulas: thing.
Norman Siders: recognition requires advanced req
Charlie Zurawski: Oh
Norman Siders: require
Charlie Zurawski: no th that's what that's what I thought, but maybe maybe it doesn't. Um
Norman Siders: Oh.
Charlie Zurawski: I think I might have got that wrong.
Charles Kulas: 'Cause
Norman Siders: So
Charles Kulas: it's s it's
Norman Siders: okay.
Charles Kulas: separate isn't it, it's not part
Norman Siders: Speech
Charles Kulas: of the
Norman Siders: recognition you reckon then is
Charlie Zurawski: It's it's
Norman Siders: s
Charlie Zurawski: just an addition thing it's
Norman Siders: simple.
Charlie Zurawski: um yeah.
Norman Siders: And so we would want it in as an extra because it doesn't appear to cost too much. Would
Charlie Zurawski: 'Kay.
Ryan Westerlund: Mm-hmm.
Norman Siders: that be
Charles Kulas: Mm-hmm.
Charlie Zurawski: 'Kay shall I pass
Ryan Westerlund: I
Charlie Zurawski: on
Ryan Westerlund: think
Charlie Zurawski: to you now?
Norman Siders: In fact, it wouldn't really cost anymore, would it?
Ryan Westerlund: I'll just just check what it said. Actually I don't think it really says anything about the cost, but it says that it's already in the coffee machines, so
Charles Kulas: Yeah.
Ryan Westerlund: like it's already kind
Charlie Zurawski: I assume
Ryan Westerlund: of
Charlie Zurawski: it would cost extra, but Maybe we maybe we'll find out how much that does cost and have to decide slightly
Norman Siders: And
Charlie Zurawski: later.
Norman Siders: then have to change all change everything at the last minute. Okay.
Ryan Westerlund: Um.
Norman Siders: S
Ryan Westerlund: Oh, that was quick. Um okay, so very brief presentation, um. From looking at the remotes that are out there at the minute, none of them are particularly um sleek and sexy. Um I haven't actually got the examples of the scroll button there, um but there's some curved cases that you can see, uh a range of sizes uh. All of them have a lot of buttons there um they seem to just have the rubber buttons. Does that move it?
Norman Siders: Sorry?
Ryan Westerlund: It just seems to be skipping on without
Norman Siders: Yeah,
Ryan Westerlund: us doing
Norman Siders: I've
Ryan Westerlund: anything.
Norman Siders: found that try and get it back.
Charlie Zurawski: If you right click and then go onto a previous slide.
Ryan Westerlund: Ah it's alright. Um.
Charlie Zurawski: Okay,
Ryan Westerlund: There wasn't much more to say about that,
Charlie Zurawski: right.
Ryan Westerlund: just rambling. Um some of the uh remotes that I looked at, one of the models da did actually have voice recognition where you could um where it was connected to the remote control functions. And uh it was quite uh a swish model, where it can control uh four devices, T_V_, cable, satellite, video, D_V_D_, audio. Um so that's a bit of competition there. So I mean maybe it's better not to try and compete with that sort of thing and just to market it as a completely different um like different viewpoint as
Charlie Zurawski: Yeah,
Ryan Westerlund: a kind of
Charlie Zurawski: yeah.
Ryan Westerlund: finding your lost control rather than trying to compete with the functions. Um the scroll buttons, as you've already mentioned, um there's examples of those, but they don't look as sleek as other models. And there's no real advantage and because it impacts on other
Charlie Zurawski: On the price,
Ryan Westerlund: on the materials
Charlie Zurawski: yeah.
Ryan Westerlund: and the price it's not great.
Norman Siders: So
Ryan Westerlund: Um
Norman Siders: you were saying the scroll buttons
Ryan Westerlund: Yeah. Th there was a specialist type of remote that we could think about, um. There was children's remote, where um they just had a very limited range of buttons and they were b uh bright and colourful and um you you could program them so that they could only look at certain channels.
Charlie Zurawski: 'Kay.
Norman Siders: Mm-hmm.
Ryan Westerlund: Um but I don't know if that's really in our field? But
Charlie Zurawski: I
Ryan Westerlund: that's
Charlie Zurawski: guess
Ryan Westerlund: something
Charlie Zurawski: I guess
Ryan Westerlund: that's
Charlie Zurawski: we're going
Ryan Westerlund: out there.
Charlie Zurawski: for the biggest market, maybe not, but Was it was it specified that we went for the biggest?
Norman Siders: Well we're to go for the international market rather than a local market but that
Ryan Westerlund: Hmm.
Norman Siders: that wouldn't necessarily preclude The one thing that you can often do with products is you can uh make small modifications. So you have your basic model which you would sell at whatever, and then you could have additional features in you know like a You'd have model one, model two and model three, and therefore you can sub-divide your market up. But that's really where your field is.
Charles Kulas: Mm-hmm.
Charlie Zurawski: So maybe the children's remote should be like a a next step, but maybe I dunno for ours, maybe
Norman Siders: Anyway
Charlie Zurawski: we should
Norman Siders: you could add on for an extra package, but on this basic one I'm reckoning that we're going for the basic model to be discussed here and that uh you would have for future reference the possibility of adding in extra features at extra cost
Ryan Westerlund: Hmm.
Norman Siders: to take
Charles Kulas: Mm-hmm.
Norman Siders: care of specialist market segments.
Charles Kulas: Mm-hmm.
Ryan Westerlund: Okay. Right
Norman Siders: Is that
Ryan Westerlund: well that's something that we can
Norman Siders: So so
Ryan Westerlund: be
Norman Siders: what
Ryan Westerlund: aware
Norman Siders: are we deciding
Ryan Westerlund: of.
Norman Siders: to do
Ryan Westerlund: Um.
Norman Siders: here?
Ryan Westerlund: I think because there's already um very good voice recognition technology out there,
Norman Siders: Right.
Ryan Westerlund: and because ours might not cover the same functions that the leading brands do, it might
Norman Siders: Mm-hmm.
Ryan Westerlund: be a good idea to market it as a um finder function.
Norman Siders: Uh the fi Yeah, the finder function rather than as a speech function to find
Charlie Zurawski: Yeah.
Norman Siders: your remote.
Ryan Westerlund: Yeah.
Charlie Zurawski: So
Norman Siders: Okay.
Charlie Zurawski: you also said for going for the international market um that some some maybe older people might not like the speech recognition.
Ryan Westerlund: Oh
Charlie Zurawski: S
Ryan Westerlund: yeah.
Charlie Zurawski: s so um
Ryan Westerlund: Different languages
Charlie Zurawski: Yeah,
Ryan Westerlund: might not
Charlie Zurawski: yeah.
Ryan Westerlund: be compatible.
Charlie Zurawski: It w it would make it quite complicated,
Norman Siders: Hmm.
Charlie Zurawski: where um ours at least keeps it fairly simple and then the
Ryan Westerlund: Hmm.
Charles Kulas: Mm-hmm.
Ryan Westerlund: Yeah, 'cause I think you program um this one yourself, like to say
Charlie Zurawski: Yeah,
Ryan Westerlund: like
Charlie Zurawski: yeah.
Ryan Westerlund: whatever you want to your question.
Charles Kulas: Yeah and ours is quite a cheap device, so I don't know how much we'll be able to put into it.
Charlie Zurawski: Yeah.
Charles Kulas: Yeah.
Norman Siders: So you'd have a finder feature rather than a voice recognition feature.
Ryan Westerlund: Hmm. Maybe
Norman Siders: And you
Ryan Westerlund: unless
Norman Siders: were talking
Ryan Westerlund: something else comes up.
Norman Siders: Mm. And you were talking about scroll buttons?
Ryan Westerlund: Um yeah I think um I think we've decided that it's gonna increase the cost and give
Norman Siders: Okay.
Ryan Westerlund: no real kinda extra
Charlie Zurawski: Yeah.
Ryan Westerlund: benefit
Norman Siders: b
Ryan Westerlund: and it's gonna decrease from the sleekness of it.
Norman Siders: was that
Charlie Zurawski: Yes
Norman Siders: right?
Charlie Zurawski: yes.
Ryan Westerlund: Hmm um and just to be aware that there are kind of specialist functions and specialist remotes but we probably don't want to focus on those like such as the children's
Norman Siders: Okay.
Ryan Westerlund: remote.
Norman Siders: So not to be focused on.
Ryan Westerlund: Yeah. Um there was a mention just as kind of a warning about button design. Um just to avoid ambiguity. So it gave the example of say your volume buttons for up and down, they might both have a V_ on for volume, Um let's think how they did this.
Norman Siders: Good in in
Ryan Westerlund: I'm just
Norman Siders: Flip
Ryan Westerlund: gonna check
Norman Siders: it round
Ryan Westerlund: so I do
Norman Siders: in ninety
Ryan Westerlund: this right.
Norman Siders: degree a hundred and eighty degrees and have it up and down. An upside-down V_.
Ryan Westerlund: Um.
Norman Siders: So that would show
Ryan Westerlund: What
Norman Siders: that
Ryan Westerlund: did they
Norman Siders: volume
Ryan Westerlund: say?
Norman Siders: was going up, whereas the one underneath would see the volume going down.
Ryan Westerlund: Um I think the thing was that if you decide to do this, to have triangular buttons, um somebody might look at this one and say oh well this triangular button is pointing up, and that's the first thing that they see
Norman Siders: Right.
Ryan Westerlund: right, can it? Oh well, no, they might see yeah, they might see this pointing down
Norman Siders: Mm-hmm.
Ryan Westerlund: and think right that's gonna turn the volume down, whereas the actual button's pointing up,
Norman Siders: Mm-hmm.
Ryan Westerlund: so the function is to turn the button up. So,
Charlie Zurawski: So maybe we could have
Ryan Westerlund: be
Charlie Zurawski: like
Ryan Westerlund: careful what you put on the buttons and be careful of the shape that you make them,
Charles Kulas: Mm-hmm.
Charlie Zurawski: Yeah.
Ryan Westerlund: because they might be kind of two um contradicting
Charlie Zurawski: Yeah
Ryan Westerlund: kind
Charlie Zurawski: I I
Ryan Westerlund: of
Charlie Zurawski: know
Ryan Westerlund: shapes.
Charlie Zurawski: what you mean. So maybe we could have volume written on the side and then up and down on the on the buttons themselves.
Norman Siders: Yeah.
Ryan Westerlund: Yeah.
Norman Siders: You could have volume
Charlie Zurawski: Possible.
Norman Siders: up and volume Volume up, down and
Charlie Zurawski: Mm.
Norman Siders: Like that. And 'cause the idea was to have limited um it was to have sizable amount of information on it.
Charlie Zurawski: Yeah
Norman Siders: Limited
Charlie Zurawski: yeah.
Norman Siders: number of buttons.
Charlie Zurawski: Yeah.
Norman Siders: 'Cause it was sixteen buttons, wasn't it that
Charlie Zurawski: Yeah
Norman Siders: were
Charlie Zurawski: we got it down
Charles Kulas: Mm-hmm.
Charlie Zurawski: to not too many.
Ryan Westerlund: Um and I think that's all I had to say for that.
Charles Kulas: Okay.
Ryan Westerlund: Um so what was the decision on the um design of the volume button?
Charlie Zurawski: Um Are we are we gonna go through the design of all the buttons at the moment, or are we gonna
Charles Kulas: I've I've got
Charlie Zurawski: t
Charles Kulas: some things to say about possible design things
Charlie Zurawski: Yeah,
Charles Kulas: from
Charlie Zurawski: maybe we
Ryan Westerlund: Oh
Norman Siders: Okay.
Charlie Zurawski: should
Ryan Westerlund: okay.
Charlie Zurawski: see yours
Charles Kulas: trend
Charlie Zurawski: first.
Charles Kulas: watching. Cool.
Charles Kulas: Right, um I've been looking at some trends in in sort of basically fashion on top of doing the um research into the remote control market the the one that's the one I talked about last time, that we'd sort of asked people about remote controls and what what was good about them, what was bad, what they used. And we've also been looking at sort of fa sort of fashions and what people are wanting out of consumer goods at the moment. So we've had people in Paris and Milan watching the uh fashion trends.
Norman Siders: You know
Charles Kulas: So
Norman Siders: yourself.
Charles Kulas: So just to summarise the most important things which came out of the remote control market investigation. The most important thing was that the thing sort of look and felt fancy rather than just functional.
Charlie Zurawski: 'Kay.
Charles Kulas: And second, there should be some technological innovation. And then third and l less important than the other two, there should be an ease of use as well. And apparently, the fashion trends are that people want sort of clothes and shoes and things with a fruit and vegetables theme. Um but um the feel of the material should be spongy, which is contrary to last year, apparently. I presume it must have been not not spongy last year. So we need to emphasise the fancy design with on on our remote control above all else. And then also try and add in technological informat innovation which could be our sort of find the thing with a hand clap. And then we need to ma sort of make it easy to use that's as a third priority, so perhaps um fewer fewer buttons and functions as we've as we've discussed. And then maybe find a way to incorporate these trends so that we sort of capture people's imaginations. So maybe we could make the buttons shaped like fruit and veg, or the the buttons could be spongy, uh somehow. Maybe we could make them out of rubber rather than sort of hard plastic. And then sort of even wackier than that, we could maybe have a fruit or vegetable shaped remote, say in the shape of a banana or something like that. Right, so that'll be it. Maybe a banana or courgette or something. How how far we actually want to go along and sort of follow the trends, do we think the trends are particularly important for this type of gadget, or or you know, do they not matter that much?
Ryan Westerlund: I think if you start making the buttons fruit shaped, it might make it more complicated to use.
Norman Siders: Well you were just talking about you've got to be careful how you shape your buttons, 'cause you're can mis-direct people. And I would've
Charles Kulas: Yeah.
Norman Siders: thought
Ryan Westerlund: Yeah.
Norman Siders: the functionality 'cause the people get cheesed off by things by having to read instructions et cetera, so. ...
Ryan Westerlund: Maybe just one button, say the standby button is quite kinda separate from all the other functions. Maybe that could be a little apple. And
Norman Siders: Okay.
Ryan Westerlund: then that
Charles Kulas: Maybe
Ryan Westerlund: wouldn't
Charles Kulas: yeah.
Ryan Westerlund: get in the way of like kinda one
Norman Siders: Now?
Ryan Westerlund: to nine, and it wouldn't confuse
Norman Siders: Yeah.
Ryan Westerlund: the numbers.
Norman Siders: Stand-by button. No th that that incorporates the trend whilst at the same time not confusing people,
Charles Kulas: Mm-hmm.
Norman Siders: if you're looking for functionality.
Charlie Zurawski: Well I dunno I I guess maybe fruit and vegetables may be popular at the moment, but as we know
Norman Siders: But
Charlie Zurawski: how
Norman Siders: what
Charlie Zurawski: fickle
Norman Siders: are they gonna be
Charlie Zurawski: the
Norman Siders: next
Charlie Zurawski: fashion
Norman Siders: Yeah.
Charlie Zurawski: markets
Norman Siders: What are they
Charlie Zurawski: are,
Norman Siders: gonna be
Charlie Zurawski: maybe
Charles Kulas: Yeah
Norman Siders: next year.
Charles Kulas: yeah.
Ryan Westerlund: Hmm.
Norman Siders: But
Ryan Westerlund: S
Norman Siders: but th but okay but you you can incorporate the tr If y if you change all the buttons
Charles Kulas: Mm-hmm.
Norman Siders: then you've got the problem that this year's fruit and veg, next year's uh I was gonna say animals or elephants
Charles Kulas: Yeah,
Norman Siders: or w whatever.
Charles Kulas: I'm
Norman Siders: That
Charles Kulas: not
Norman Siders: means you're constantly changing your production schedule, and you've gotta make different
Charles Kulas: Yeah.
Norman Siders: moulds and everything else, so that's not a good idea
Charles Kulas: I'm
Norman Siders: I would
Charles Kulas: not I'm not
Norman Siders: I would
Charles Kulas: sure
Norman Siders: suggest.
Charles Kulas: what what what the sort of timescale we're thinking of selling the product over is. I don't know.
Charlie Zurawski: I mean it just seems realistic that the remote control market isn't the kind of thing which takes in those kinds of fashion
Charles Kulas: Yeah,
Charlie Zurawski: trends.
Charles Kulas: yeah.
Charlie Zurawski: to something which is maybe more universal.
Charles Kulas: Mm-hmm.
Norman Siders: Well
Ryan Westerlund: But I suppose as long as it's quite a subtle design,
Charles Kulas: Mm-hmm.
Ryan Westerlund: um
Charlie Zurawski: We c
Ryan Westerlund: even
Charlie Zurawski: maybe
Ryan Westerlund: if
Charlie Zurawski: can
Ryan Westerlund: the design
Charlie Zurawski: imply
Ryan Westerlund: kind
Charlie Zurawski: a
Ryan Westerlund: of
Charlie Zurawski: fruit
Ryan Westerlund: changes,
Charlie Zurawski: shape possibly.
Charles Kulas: Mm-hmm.
Norman Siders: Ah d d But
Charlie Zurawski: Maybe
Norman Siders: if
Charlie Zurawski: the spongy feel is something we could think
Norman Siders: Mm-hmm.
Charlie Zurawski: about, um.
Norman Siders: Well. Yep.
Charlie Zurawski: Maybe still with a rubber design we could
Norman Siders: Was that in the sort of fashion sense that this Or was the spongy feel was that uh sort of fashion? It was, wasn't it?
Charles Kulas: Yeah.
Ryan Westerlund: It
Norman Siders: So
Ryan Westerlund: seems like you're
Norman Siders: the
Ryan Westerlund: gonna have rubber cases, as well as buttons.
Charles Kulas: Yeah. Yeah.
Charlie Zurawski: Um.
Ryan Westerlund: And that you can make them curved or double-curved and that would be the kind of
Charlie Zurawski: Oh
Ryan Westerlund: sleek
Charlie Zurawski: yeah
Ryan Westerlund: and sexy
Charlie Zurawski: yeah one of
Ryan Westerlund: look.
Charlie Zurawski: the things were if you had rubber buttons then you had to have a rubber case.
Norman Siders: Mm-hmm.
Ryan Westerlund: Oh
Charlie Zurawski: Um
Ryan Westerlund: right, that
Charlie Zurawski: oh
Ryan Westerlund: fits,
Charlie Zurawski: no no
Ryan Westerlund: doesn't
Charlie Zurawski: no sorry
Ryan Westerlund: it?
Charlie Zurawski: it's if you use the uh rubber double curved case then you must use rubber buttons. That's the way round. If you have the rubber case then you have to have the rubber buttons to go with it. Which makes sense.
Ryan Westerlund: Right.
Charlie Zurawski: Um.
Norman Siders: Rubber buttons require rubber case.
Ryan Westerlund: And that would fit in with what we want, wouldn't it, for the
Charles Kulas: Mm-hmm.
Ryan Westerlund: spongy feel, to have everything rubber.
Norman Siders: Uh so, yeah. The m the main problem is how f how frequently do the fashions change? 'Cause in essence in the production you want things to stay you want
Charles Kulas: Mm-hmm.
Norman Siders: to basically mint them out 'cause if you've got fashion changes and that you're incorporating, then it means that your stock is um is
Charles Kulas: Mm-hmm.
Norman Siders: last year's stock and therefore you're selling it or having to sell it at a discounted rate which you wouldn't want
Charles Kulas: Yeah.
Norman Siders: to do. Whereas if you kept the product the same but you could have a difference from year to year, uh it seems to Charles Kulas that you could
Charles Kulas: Okay.
Norman Siders: incorporate a fashion statement if you like, rather than changing the whole kit and caboodle.
Charles Kulas: Yeah.
Charlie Zurawski: Yeah.
Norman Siders: You're just changing one aspect like like the standby button or something like that, and especially 'cause then you could make it something that
Charlie Zurawski: I suppose we maybe
Charles Kulas: Mm-hmm.
Charlie Zurawski: are limited in the fact that we still have to put the logo on the actual
Norman Siders: Well,
Charlie Zurawski: would
Norman Siders: you might
Charlie Zurawski: or
Norman Siders: be limited
Charlie Zurawski: not.
Norman Siders: in space, that yes.
Charlie Zurawski: Yeah.
Charles Kulas: Mm-hmm.
Norman Siders: Well
Ryan Westerlund: Hmm.
Norman Siders: you two are obviously gonna find that out fairly quickly when you move over to your kit modelling stage as
Charlie Zurawski: Yes
Norman Siders: to uh
Charlie Zurawski: yes.
Norman Siders: how much pl how much how much how pliable is Plasticine.
Charlie Zurawski: Maybe we could think of the the cases like changing with the fashions like the Nokia phones where you could take the casing off the outside. But
Charles Kulas: Mm-hmm.
Charlie Zurawski: whether that would be too much to incorporate in production, whether that would just increase
Norman Siders: Hmm.
Charlie Zurawski: the costs, make it more complicated.
Charles Kulas: That's
Norman Siders: So
Charles Kulas: possibly
Norman Siders: you're talking
Charles Kulas: it.
Norman Siders: there about uh changing changing the casing.
Charlie Zurawski: Yeah the a the actual the sort of the look from the outside, so where the buttons would stay the same, and
Charles Kulas: Mm-hmm.
Charlie Zurawski: the general function of the remote would stay the same, but you could change the the way it looked.
Ryan Westerlund: Yeah and then you could have Oh but you still would have to have the logo on every new case,
Charlie Zurawski: Yeah, that's
Ryan Westerlund: but you could have
Charlie Zurawski: true.
Ryan Westerlund: like pink cases for girls and
Norman Siders: Yeah
Ryan Westerlund: red
Norman Siders: you
Ryan Westerlund: ones
Norman Siders: you could
Ryan Westerlund: and
Norman Siders: do a
Ryan Westerlund: things
Norman Siders: colour
Ryan Westerlund: like
Norman Siders: change, so therefore
Ryan Westerlund: that.
Norman Siders: you would yeah yeah I mean that's effectively what they did with the with the mobile phones, was
Charlie Zurawski: Yeah.
Norman Siders: to have some in blue, some in red, some in rather
Charles Kulas: Mm-hmm.
Norman Siders: than all in black or, you know, which
Ryan Westerlund: Hmm.
Norman Siders: four do you want, as long as it's black? But uh so
Charlie Zurawski: So it is a possibility, um.
Ryan Westerlund: But we are supposed to use the um company colour scheme, aren't we? We haven't
Norman Siders: Yes
Charlie Zurawski: Oh
Ryan Westerlund: really
Charlie Zurawski: okay
Ryan Westerlund: seen
Norman Siders: oh that's
Ryan Westerlund: that yet
Norman Siders: true
Charles Kulas: Yeah.
Charlie Zurawski: yes
Norman Siders: uh
Charlie Zurawski: that
Norman Siders: that
Charlie Zurawski: is
Ryan Westerlund: It
Norman Siders: might
Ryan Westerlund: might
Norman Siders: no
Ryan Westerlund: and we might be able to do both but it might clash with certain things.
Norman Siders: Well not necessarily, because you could have your company uh We're we're meant to be finishing up. You could have your company badge and logo. I mean a lot of um computers for instance like like on the one you've got
Charles Kulas: Mm-hmm.
Norman Siders: there, it actually has a sort of um stick on badge so what you would al all you would really need, whether it, you know, whether the casing be w any colour, could be any colour, but that badge would then have to stick out on top of it so that uh in a
Charles Kulas: Mm-hmm.
Norman Siders: sense, with a with a logo like that, because it's on a white background, the only colour that it might not stick out so well on would be a white casing. 'Cause you
Charlie Zurawski: Mm-hmm.
Norman Siders: you know you're sort of you're badging it. And in fact a lot of companies get somebody else to make them and literally just badge them themselves with
Charles Kulas: Mm-hmm.
Norman Siders: their own uh badge over the top.
Charles Kulas: Mm-hmm.
Norman Siders: And in fact the way they've got that there even if you had that on a white, which is the predominant colour of the uh the Windows badge, you'd still be able to see it clearly from
Charlie Zurawski: Mm-hmm.
Norman Siders: you know a white casing
Charlie Zurawski: Yeah.
Norman Siders: uh product. So.
Ryan Westerlund: Hmm.
Charlie Zurawski: And whether we'd have a big enough market to have this kind of like secondary market of selling the cases might be something to consider.
Charles Kulas: Mm-hmm.
Ryan Westerlund: Well if it's for young people, um
Charles Kulas: Yeah.
Ryan Westerlund: like the phone generation, that sort of
Charlie Zurawski: Yeah.
Ryan Westerlund: thing'd probably go down well, and the market research has been on that side of things, hasn't it?
Charles Kulas: Yeah, I mean it's people say that it's the look, they want the fancy looking thing but I'm Yeah. I'm not convinced on whether having changeable covers would be something that people would buy into. I think with the mobiles, it's the, you know it's a communication device, people see you with it all about and
Charlie Zurawski: Yeah I suppose,
Charles Kulas: i if
Charlie Zurawski: where you
Charles Kulas: it
Charlie Zurawski: you keep the remote hidden
Norman Siders: It's
Charlie Zurawski: under
Norman Siders: uh in
Charlie Zurawski: the sofa
Norman Siders: in the
Charlie Zurawski: most
Norman Siders: house,
Charlie Zurawski: of the time.
Norman Siders: isn't it,
Charles Kulas: Yeah.
Norman Siders: I suppose.
Charles Kulas: I
Ryan Westerlund: Okay,
Charles Kulas: think
Ryan Westerlund: so if we just went for one colour of a rubber case
Norman Siders: So
Charles Kulas: Mm-hmm.
Norman Siders: don't change case. Change case colour. And we're sort of saying no to that.
Ryan Westerlund: Did we decide on the rubber case? The spongy feel, or did we think that that might go as a trend?
Charles Kulas: Well, it was different last year. The trend was different last year apparently. It was not not spongy feel. But I don't know whether the trend will change. I don't know whether it's one of those things that like sort of having all fruit shaped keys, that that probably would go out of fashion very quickly, whereas
Norman Siders: Yeah.
Charles Kulas: just the fact that it was a rubber case is probably less less of
Charlie Zurawski: Yeah,
Charles Kulas: something
Charlie Zurawski: less likely
Charles Kulas: that
Charlie Zurawski: to
Norman Siders: Sounds
Charles Kulas: y
Norman Siders: reasonable.
Charles Kulas: you're gonna end up hating in a year, you know.
Charlie Zurawski: So then
Norman Siders: If
Charlie Zurawski: th th that
Norman Siders: you're going
Charlie Zurawski: would
Norman Siders: for fashion trends like that they'll need t you'd have to have interchangeable cases so that you could or
Charlie Zurawski: Yeah.
Norman Siders: 'cause otherwise someone's
Charles Kulas: Yeah.
Norman Siders: gonna have to buy a complete new remote rather than just a case.
Charles Kulas: Mm.
Charlie Zurawski: it seems to make sense that we we'd just maybe stick with the standard rubber case, and then have the standard rubber buttons as well.
Norman Siders: Okay.
Charles Kulas: Okay.
Charlie Zurawski: Um.
Ryan Westerlund: Uh we haven't really talked about uh the curvature of the case. There's flat, there's single-curved and there's double-curved.
Charlie Zurawski: Um.
Ryan Westerlund: I'm
Charlie Zurawski: Mayb
Ryan Westerlund: not exactly sure
Charlie Zurawski: Maybe
Ryan Westerlund: what
Charlie Zurawski: curves
Ryan Westerlund: these things look
Charlie Zurawski: give
Ryan Westerlund: like.
Charlie Zurawski: it like the slightly more aesthetic feel? But the double curve wouldn't require us to perform miracles with the Plasticine.
Ryan Westerlund: Well it says that
Charles Kulas: When you say d when you say double-curved, what what exactly does that mean?
Ryan Westerlund: I'm not exactly sure.
Charles Kulas: Okay.
Ryan Westerlund: Um I'll show you the remotes that I've got. See how uh Let's just get that bigger. See how uh the one Oh I'm not plugged
Charles Kulas: No you're
Ryan Westerlund: in, am
Charles Kulas: not
Ryan Westerlund: I?
Charles Kulas: connected
Ryan Westerlund: That doesn't
Charles Kulas: to Charles Kulas
Ryan Westerlund: help.
Charles Kulas: anymore.
Norman Siders: One one thing to
Ryan Westerlund: Shall
Norman Siders: cons
Ryan Westerlund: I just turn it round for time?
Norman Siders: one thing to consider is that in some ways you want um
Charles Kulas: That should come up.
Norman Siders: by having a fairly standard case it means they can all fit together on top of each other therefore for storage purposes in shops and the like and it makes it easier that you can if you can
Charles Kulas: Mm.
Norman Siders: store them up on top
Charlie Zurawski: Mm-hmm.
Norman Siders: of each other. Whereas if you do um fancy things with it, you then gotta put it in a ca a a packaging box that that does that. And the cost of packaging could be quite important vis-a-vis the total cost of the product.
Charlie Zurawski: Yeah yeah.
Charles Kulas: Mm-hmm.
Ryan Westerlund: Hmm.
Charlie Zurawski: So shall we go through quickly and just work out what we've decide on, if we have to kind
Norman Siders: So
Charlie Zurawski: of
Norman Siders: but
Charles Kulas: Yeah.
Ryan Westerlund: Um it's not very clear up there, but you
Norman Siders: No.
Ryan Westerlund: can see some of them have got kind of bulges, like
Norman Siders: Mm
Ryan Westerlund: the second
Norman Siders: yep.
Ryan Westerlund: one and the end one
Charles Kulas: Right.
Ryan Westerlund: uh where there's a curve there. I'm not exactl I don't know if a double curve is maybe it comes up slightly,
Charles Kulas: That's
Ryan Westerlund: or?
Charles Kulas: what I was trying to work out.
Ryan Westerlund: But um
Norman Siders: Oh right.
Ryan Westerlund: it is a kinda sleeker look if you've got curves in there.
Charles Kulas: Shall we
Norman Siders: S so do you wanna go for curves, more curves? We're meant
Ryan Westerlund: Definitely
Norman Siders: to be f
Ryan Westerlund: a single,
Norman Siders: we're meant to
Ryan Westerlund: maybe
Norman Siders: be finishing
Ryan Westerlund: a double.
Norman Siders: this meeting in about a minute or so.
Charles Kulas: Yeah.
Charlie Zurawski: 'Kay, so
Ryan Westerlund: Shall
Charlie Zurawski: shall
Ryan Westerlund: we
Charlie Zurawski: we
Ryan Westerlund: go for
Charlie Zurawski: quickly
Ryan Westerlund: single curve, just to compromise?
Charlie Zurawski: We'll go for single curve, yeah.
Charles Kulas: Okay.
Norman Siders: Okay,
Charlie Zurawski: Single curve.
Norman Siders: curved or double curved? So it's single curved.
Charlie Zurawski: So did we did we decide on the kinetic power supply? The
Charles Kulas: Yeah I think
Charlie Zurawski: one
Ryan Westerlund: Yeah.
Charlie Zurawski: you move
Charles Kulas: that
Charlie Zurawski: around?
Charles Kulas: think that's a
Norman Siders: Yep.
Charles Kulas: good
Charlie Zurawski: Okay.
Charles Kulas: idea.
Charlie Zurawski: Um
Ryan Westerlund: And the rubber push buttons,
Charles Kulas: Rubber
Ryan Westerlund: rubber case.
Charles Kulas: Rubber buttons and case.
Ryan Westerlund: Um and we don't really know much about the colour scheme or logo yet do we, but
Charlie Zurawski: Oh we
Ryan Westerlund: possibly
Charlie Zurawski: ca
Ryan Westerlund: a sticker.
Charlie Zurawski: Yeah yeah, we'll still have the Are we gonna go for the simple circuit board just to keep the cost down? I th I think we can by
Charles Kulas: Yeah.
Charlie Zurawski: by not having anything too complicated.
Ryan Westerlund: Yeah.
Charlie Zurawski: Um.
Ryan Westerlund: Yeah and and the voice recognition, we can use that can't we, just to find it.
Charles Kulas: Yeah
Ryan Westerlund: Without
Norman Siders: Yes.
Charlie Zurawski: Um.
Charles Kulas: yeah.
Ryan Westerlund: affecting the circuit board.
Norman Siders: Yep.
Charlie Zurawski: And see we could always decide against it if something comes up that's just something to that we seemed to leave out.
Charles Kulas: And then are we going for sort of one button shaped like a fruit.
Ryan Westerlund: Yeah that
Charles Kulas: Or
Ryan Westerlund: sounds
Charles Kulas: veg.
Ryan Westerlund: like it wouldn't do too much harm in a couple of years. Uh what sort of shape do we want?
Charles Kulas: Don't know, maybe
Norman Siders: So
Charles Kulas: just
Norman Siders: we've got spongy feel buttons as well, have we? As well as or
Charles Kulas: Yeah.
Norman Siders: w or was that
Charles Kulas: That's ru rubber buttons, yeah.
Charlie Zurawski: Yeah, it was
Norman Siders: So
Charlie Zurawski: just
Norman Siders: it's rubber buttons, so it's not really spongy feel buttons, it's just rubber buttons.
Charlie Zurawski: 'Kay.
Charles Kulas: Yeah.
Norman Siders: With a rubber
Ryan Westerlund: Yeah,
Charles Kulas: Reasonably
Norman Siders: case
Ryan Westerlund: so it's
Charles Kulas: spongy
Ryan Westerlund: not
Norman Siders: right?
Ryan Westerlund: too wacky.
Charles Kulas: I guess, yeah.
Norman Siders: And the standby button is gonna be different.
Charles Kulas: Yeah okay.
Ryan Westerlund: Um I think an apple would be a good recognisable shape. If you start getting into kinda aubergines and things, it gets a bit weird.
Charles Kulas: Yeah.
Norman Siders: Okay so what what shape are we making the standby button?
Charles Kulas: Apple?
Ryan Westerlund: Vote?
Norman Siders: A apple. Oh oh
Charles Kulas: Yeah.
Norman Siders: Sorry?
Ryan Westerlund: Shall we vote on it?
Charles Kulas: Yeah.
Charlie Zurawski: We will go
Ryan Westerlund: Anyone
Charlie Zurawski: for the a
Ryan Westerlund: got
Charlie Zurawski: a
Ryan Westerlund: any
Charles Kulas: Apple
Charlie Zurawski: a
Ryan Westerlund: suggestions?
Charlie Zurawski: apples
Charles Kulas: apple
Charlie Zurawski: apples.
Charles Kulas: a
Ryan Westerlund: Right.
Charles Kulas: a qu Quite a big one, as well.
Ryan Westerlund: Okay. Ah.
Charles Kulas: A big apple. Uh
Ryan Westerlund: Well it could be red.
Charles Kulas: Could be a red apple, yeah. Either, don't mind.
Norman Siders: A red apple?
Ryan Westerlund: Yeah
Norman Siders: Is it?
Ryan Westerlund: 'cause we wanna incorporate a bit of colour if we can, once we find out
Charlie Zurawski: Okay.
Ryan Westerlund: um
Charlie Zurawski: And then we're gonna are you gonna work on keeping the button design quite simple? Just like the Just working out what we're gonna do for the next time.
Charles Kulas: Mm-hmm.
Charlie Zurawski: Um.
Ryan Westerlund: Yeah. Yeah that seems pretty straight forward.
Charlie Zurawski: Yeah.
Ryan Westerlund: 'Cause most of them will just be kind of mainly circular or like very plain.
Charlie Zurawski: 'Kay.
Charles Kulas: Mm-hmm. Okay.
Norman Siders: Sorry what was that last thing again there?
Ryan Westerlund: Uh just to keep the shape of the buttons simple.
Norman Siders: Right much option on that. I thought you were going for a single curve and
Ryan Westerlund: Ah just the uh shape of the buttons.
Norman Siders: Alright.
Charlie Zurawski: And j yeah, just keeping the sort of the labelling them labelling of them fairly simple as well.
Ryan Westerlund: Yeah.
Charlie Zurawski: Fairly sort of self explanatory.
Norman Siders: Right, so shape of buttons simple.
Norman Siders: Okay. So that's that, I guess. We should now go away and get these things sorted out. I guess you two are on plasticine duty or whatever.
Charlie Zurawski: Okay.
Norman Siders: Okay, so um.
Charlie Zurawski: Is that the end? Okay.
Charles Kulas: Looks like it.
Norman Siders: Okay. | Norman Siders reviewed the minutes from the last meeting. Charlie Zurawski discussed options for each of the internal components. He showed that the size of the chip was dependent on the type and number of additional features used. The group discussed incorporating speech recognition and other functions to be able to decide on chip size. They decided that using speech recognition for the locator function only would allow them to use a simple chip. Ryan Westerlund presented several existing products. She presented a specialized children's remote; the group decided to focus on a basic remote that would appeal to a wide market. She expressed that buttons are often ambiguously shaped and that their remote must have an easy-to-use interface. Charles Kulas presented trends in the remote control market and the fruit and vegetable and spongy material trends in fashion. The group discussed ways to incorporate these trends. They decided to make the standby button shaped like an apple, to use a rubber case and buttons, and to use a single-curved shape. Norman Siders instructed Ryan Westerlund and Charlie Zurawski to construct the prototype. | 5 | amisum | train |
Mark Angell: So is Why not save that.
Tommy Willis: No, you'll ha have to open it up from elsewhere.
Mark Angell: Do you want to replace existing file, no. I actually tried to transfer it to My Documents, but
Tommy Willis: Yeah, you have to you have to close that window. 'Cause that's the save one isn't it, so And then find it.
Mark Angell: spreadsheet.
Mark Angell: Yeah, but I've ta uh right, I'll just re-do it. That's the easiest way.
Mark Angell: Right.
John Rennemeyer: Well we've made our prototype anyway. We can have a good look at that.
Tommy Willis: You pass it round to have a look.
John Rennemeyer: Mm-hmm. Y no, it's a slightly curved around the sides.
Tommy Willis: Mm very nice.
John Rennemeyer: Um, it's almost curved like up to the main display as well.
Tommy Willis: Mm-hmm.
John Rennemeyer: And the little line at the bottom indicates the bit the panel that you pull down. And the extra function buttons are below that panel
Tommy Willis: Mm-hmm.
John Rennemeyer: on the little line. And we've got the stick on the button with the company logo on.
Tommy Willis: Mm-hmm.
Daniel Corn: We also have a apple slash cherry design at the top.
Tommy Willis: So it is, yeah. Cherry would be alright actually. Yeah.
John Rennemeyer: Yeah, it's bit more fun, isn't it? And it's kinda not really at a kind of you think apple, you think computers, like Apple
Daniel Corn: Yeah,
John Rennemeyer: Mac.
Daniel Corn: yeah, we might get a
Tommy Willis: Mm-hmm. Copyright, yeah. What's this
John Rennemeyer: Yeah,
Tommy Willis: this
John Rennemeyer: and cherries
Tommy Willis: one?
John Rennemeyer: are fun, summery.
Tommy Willis: What's that one there?
John Rennemeyer: Ah, that's the mute.
Tommy Willis: Oh, okay.
Daniel Corn: For the M_.
Tommy Willis: Right.
John Rennemeyer: It it'd probably have to be labelled mute. But
Daniel Corn: They're
John Rennemeyer: um,
Daniel Corn: thinking
John Rennemeyer: we didn't have anything small enough to write.
Tommy Willis: Okay.
Daniel Corn: For the first time, well it was hard to get the h um the actual labelling on the individual buttons.
Tommy Willis: Mm-hmm.
John Rennemeyer: Yeah. Uh, we just chose simple shapes for all them. Um, the important ones are the volume ones. So we made them a bit bigger.
Tommy Willis: Mm-hmm.
John Rennemeyer: The mute could possibly be a bit smaller.
Daniel Corn: Hum, you separate off in colour the volume related buttons from the channel related buttons, so you've got the volume in orange on
Tommy Willis: Yeah.
Daniel Corn: design there, and the the channel is in blue.
John Rennemeyer: Mm-hmm.
Mark Angell: R right.
John Rennemeyer: Yeah, and we chose
Mark Angell: Um,
John Rennemeyer: a V_
Mark Angell: all
John Rennemeyer: plus
Mark Angell: these things
John Rennemeyer: and V_ minus.
Mark Angell: have cost implications. And when I done my cost a I had assumed the only uh button that would be a different colour would be the uh the red apple button. So However, I've now. But um, yeah so uh but there
Tommy Willis: I'll see if I can find them.
Mark Angell: would be a cost implication on that, and uh as I suppose that so whether wanted to put in all these colours, would be uh
Daniel Corn: Yeah,
Mark Angell: open
Daniel Corn: sis
Mark Angell: to debate, I suppose.
John Rennemeyer: Well
Tommy Willis: Have
John Rennemeyer: the colours wouldn't like that's they wouldn't be too important, but we didn't have any white Play-Doh. So that's
Mark Angell: An
John Rennemeyer: where the colour buttons came from.
Mark Angell: important consideration. Right, okay so um And the second one underneath would be the idea for the
Daniel Corn: Yes, we'll have the slide-away.
Mark Angell: Right, okay.
Daniel Corn: Bottom.
Mark Angell: So we've got um detail design meeting. Right. So So, we've got prototype presentation, which we've just done, evaluation criteria, um and finance, so I guess w we have to evaluate if that meets the various uh aspects that we're looking for uh from
Tommy Willis: Mm-hmm.
Mark Angell: um our previous meeting. So
Tommy Willis: Mm-hmm.
Mark Angell: other than the fact that it doesn't have the second layer,
Daniel Corn: Mm-hmm.
Mark Angell: but um obviously obviously it would. But other than that, we got the red apple. We got the buttons and the only thing that has really changed is the is the colouration of the buttons,
Daniel Corn: Yes, yes.
Mark Angell: and the bit after the evaluation criteria is uh is the finance.
Tommy Willis: Right.
Daniel Corn: Okay.
Mark Angell: And the and the cost implication. The only snag about this is that uh the cost is probably kind of important. So um, and then the production evaluation, as to how easy that would be to uh to manufacture.
Daniel Corn: Mm-hmm.
Mark Angell: Um, and whether it would uh
Tommy Willis: So if you had to do a presentation or will you just work it on the prototype?
John Rennemeyer: Uh,
Daniel Corn: This this is
John Rennemeyer: that's
Daniel Corn: a yes, this
Tommy Willis: That's
Daniel Corn: is our presentation
Tommy Willis: the pr
John Rennemeyer: it.
Daniel Corn: of the prototype.
Tommy Willis: Okay.
Mark Angell: Right, so uh as far as the the finance of it would be concern would be to make sure that the cost aye the production cost 'cause you may remember that was one of the first uh considerations was to be in d under um uh twelve fifty or two and a half
Daniel Corn: Mm-hmm.
Mark Angell: uh twelve and a half Euros. So, there's no redesign. So that should uh Right, so, seems to Tommy Willis that the thing that I have to do is is quickly find that uh
Daniel Corn: Could we get this on the board just so we can see or do you mean do you have the figures there?
Tommy Willis: we should plug it in.
Mark Angell: Right.
Tommy Willis: Do you wanna plu do you wanna plug it in into the the
Mark Angell: Okay.
Tommy Willis: back of that one.
Daniel Corn: 'Kay, Alice. So,
Tommy Willis: We could do it as
Daniel Corn: sh
Tommy Willis: we d go along, the production costs, looking at the prototype.
Mark Angell: Right.
Daniel Corn: 'Kay this should be then.
Mark Angell: Okay, so, by the fact that we've got uh the simple chip and the uh kinetic energy source, we've got a single curved case. We've got a rubber uh case materials supplements. So,
Daniel Corn: Mm-hmm.
Mark Angell: we had decided that we're having rubber buttons and
Daniel Corn: Have a push button interface.
Mark Angell: Okay. W
Daniel Corn: Um
Mark Angell: the button supplements. Well, originally, I thought there would just be uh one in there because it was the one red apple.
Daniel Corn: Um
Mark Angell: But So the so the real w the real question then would come in. Do you make all the buttons
Tommy Willis: Well do we'll do it
Mark Angell: O
Tommy Willis: on the prototype, so do two, see how much it is.
Mark Angell: Well, so we've got one special button form, which was the apple. Everything
Tommy Willis: Yeah.
Mark Angell: else
Daniel Corn: Yeah.
Mark Angell: is gonna be a standard.
Daniel Corn: And then we'd
Mark Angell: We've
Daniel Corn: have
Mark Angell: got special material, rubber, wood, titanium, et cetera and that, so,
Tommy Willis: Mm-hmm.
Mark Angell: I was originally, I was thinking rubber wasn't special, but according to this, maybe it is.
Tommy Willis: Mm-hmm.
Mark Angell: So And the r I mean effectively we've got sixteen buttons that we're gonna have on there.
Tommy Willis: Yeah. I think you just do one, don't you, for the
Mark Angell: W I don't know is is is the sort of answer, is that meant to be all sixteen buttons, and therefore I mean, what's the op The option was maybe not to have rubber buttons, but just to have the one that was soft and spongy, and therefore
Tommy Willis: I think I think it's just it's just a one. Else
Mark Angell: Whereas it would be the special colour would be for the So you would only have the one special button that was rubber, whereas the rest would be hard plastic.
Tommy Willis: I thi I think I think the button supplement i is just a supplement for all the buttons made in a different material, rather than per button.
Mark Angell: Mm.
Tommy Willis: I don't know though.
Mark Angell: I would Every design change is uh
Tommy Willis: Hmm.
Mark Angell: I dunno, um Okay, um, if we just had all the buttons as standard, except for the one red apple, then that would take care of that, I guess. We'd have one special colour and one special button form.
Tommy Willis: Mm-hmm.
Mark Angell: And when I plugged that in last time remember it has to be under twelve and a half. As far as I know, that um that took care of the uh of the various supplements.
Tommy Willis: Mm-hmm.
Mark Angell: And if What happened?
Tommy Willis: You've just gone off the window into another one. It's on the bottom row.
John Rennemeyer: Maybe if you just minimise that one in the top right-hand corner of the little box. Yeah.
Mark Angell: Now, right. Okay, so, but the point would be that if we uh if we just did special Sorry, you were saying that it would be that one, that you would put in one there.
Tommy Willis: Yeah. Yeah.
Mark Angell: Okay.
Daniel Corn: So that's nine point one there so we've got some
Mark Angell: So it Well, is it s is no, it's nine point seven I've got.
Daniel Corn: 'Kay.
Tommy Willis: Mm-hmm.
Mark Angell: Okay.
Daniel Corn: Just give us a bit of
Mark Angell: So, that would that would work out fine if uh
Tommy Willis: Mm-hmm.
Mark Angell: uh as assuming your correction are are assuming that that one change covers all the buttons, then that would be fine.
Tommy Willis: Mm-hmm.
Mark Angell: And there's
John Rennemeyer: S
Mark Angell: nothing else as far as I can see that we we had uh planned to put
Daniel Corn: I switching
Mark Angell: on.
Daniel Corn: around those th um on the electronics we got the sample sensor. At the moment we've just got the simple chip, which costs one. Um, I
Mark Angell: Uh-huh.
Daniel Corn: guess the sample sens sample speaker would be the voice recognition thing,
Tommy Willis: Yeah.
Daniel Corn: which puts up to four? We should be slightly over our budget but if we gather something else down to slightly lower standard,
Tommy Willis: Yeah.
Daniel Corn: and maybe go with the one the special form buttons, then we could have
Mark Angell: Well,
Daniel Corn: the
Mark Angell: hold
Daniel Corn: speech
Mark Angell: on. if we Okay, that gives us twelve point seven
Daniel Corn: So uh maybe if we got rid of like the maybe one of the special colours, kept them all the same colour, then we could have the voice recognition
Mark Angell: But remember
Daniel Corn: without
Mark Angell: that the idea was to keep it the colour of the Oh, I see, so just take out the special colour for the apple and
Daniel Corn: Yeah, yeah.
John Rennemeyer: Um, D
Daniel Corn: Um
John Rennemeyer: wouldn't you have to keep the simple chip there as well? You know how you turn that one to a zero, wouldn't the chip and the
Tommy Willis: Yeah, we have to have
John Rennemeyer: sample
Tommy Willis: it
John Rennemeyer: speaker be separate things,
Daniel Corn: Oh
John Rennemeyer: so you
Daniel Corn: possibly,
John Rennemeyer: need both
Tommy Willis: Yeah.
John Rennemeyer: of them?
Daniel Corn: yeah, yeah maybe. Maybe um we'd be giving up on the kinetic. Um
Mark Angell: And go
Tommy Willis: Yeah.
Mark Angell: for battery instead. That would give
Daniel Corn: We should
Mark Angell: you one less.
Daniel Corn: Yeah, that would save us one, though we'd still be slightly
Mark Angell: But you
Daniel Corn: ov
Mark Angell: reckon that i I mean the thing is that you wanted to a appeal to people and not have to replace batteries.
Daniel Corn: Yeah, yeah. Well, since it's the through the whole technology type thing, um, you were saying in the market research that people like kind of interesting gadgets in them.
Tommy Willis: Mm-hmm.
Daniel Corn: Um, whether they would figure the the s uh sample senor and the sample speaker, voice recognition be sort of a worthwhile thing to have. And then still
Tommy Willis: Mm-hmm.
Daniel Corn: have the batteries, or whatever they would prefer not uh You know what I mean? The the problem was the battery's
Mark Angell: Mm-hmm.
Daniel Corn: running out and losing the um
Tommy Willis: Yeah.
Daniel Corn: losing the remote. So you gotta decide which of those is more important to them.
Mark Angell: But which do you think or which do we think is the more important of the options?
John Rennemeyer: I think the
Mark Angell: In
John Rennemeyer: voice
Mark Angell: a sense,
John Rennemeyer: recognition.
Mark Angell: at the moment, we've got a total which we need to reduce down by one point two. At least. Remember that was a minimum requirement. The other option if we're planning on just going for something cheap and cheerful, would be to um make it originally, we're gonna make it a simple
Tommy Willis: Shall
Daniel Corn: Yeah.
Tommy Willis: we
Mark Angell: product.
Tommy Willis: shall we evaluate the prototype as we've got it now first, and then sort of make decisions about what needs to be changed after?
Mark Angell: Mm-hmm. Makes
Tommy Willis: Okay.
Daniel Corn: Okay.
Mark Angell: sense.
Tommy Willis: Right um, I have a little thing. So, we've all got a note of it's thirteen point seven, isn't it, with everything we want on.
Mark Angell: Sorry, do you want that
Tommy Willis: Yeah,
Mark Angell: back
Tommy Willis: I
Mark Angell: up?
Tommy Willis: just had a presentation to
Mark Angell: Right.
Tommy Willis: do.
John Rennemeyer: But I do think uh the v uh voice recognition thing would be more impressive than the fact that it's got no battery.
Mark Angell: Okay, but remember the main the only reason we were planning on having the voice recognition was so that they could find the remote if it got lost.
Tommy Willis: Mm-hmm. Mm. Right okay um, This is about the evaluation criteria that we use for the the prototype we've got here. And so the method is that the design team makes a prototype, and we evaluate the prototype against some criteria that we've formulated. And those ones are gonna be in response to sort of market research, and also finance, I guess. And do that on a scale from say true being one and false being seven, so if it's neither true nor false, then that's four.
Tommy Willis: So, I got a set of criteria just based on the marketing that we need to add in a financial one as well, at the end. Um so, We have to say whether it's true or false that the product looks and feels fancy. Um The whether the product demonstrates technical innovation. Whether it's easy to use. Whether it's incorporating sort of the fashion element to attract the buyer. And whether it's a sort of recognisable Real Reaction product. And I have to go up onto the whiteboard and do this apparently,
Daniel Corn: Okay.
Tommy Willis: so I'll go over here.
Tommy Willis: Right. So the first one is um, does the product look and feel fancy. So if we do a sort of a one So
Daniel Corn: Okay, well we have a single curve, which was maybe like the
Tommy Willis: Yeah.
Daniel Corn: feel of the product's quite good. So
Tommy Willis: Okay.
Daniel Corn: uh Um, then we have the rubber kinda spongy feel, which was
Tommy Willis: Yeah.
Daniel Corn: in at the time.
Tommy Willis: Yeah.
Daniel Corn: Um,
Tommy Willis: Yeah.
Daniel Corn: sorry that'd be considered fancy.
John Rennemeyer: Yeah, I'd maybe give it a a two.
Tommy Willis: Of but I think What Is one false, or is t one true? I forgot.
John Rennemeyer: One's true.
Tommy Willis: One's true, and okay. Seven's
John Rennemeyer: And a
Tommy Willis: fal
John Rennemeyer: four is neutral.
Tommy Willis: Four is neutral, okay. So
Daniel Corn: So maybe maybe a two.
John Rennemeyer: Yeah, 'cause we haven't got the double curve, so we can't like
Mark Angell: Go
John Rennemeyer: say it's
Mark Angell: for
Tommy Willis: Right.
John Rennemeyer: completely
Mark Angell: one.
John Rennemeyer: true. But
Mark Angell: Yep.
John Rennemeyer: it's pretty close. We've got almost everything we can.
Tommy Willis: Okay.
Mark Angell: Okay.
Tommy Willis: Right. I gonna put underneath so I've got some more space. So, false is seven, true is one, and So uh say about a two for fancy,
Daniel Corn: Yeah.
Tommy Willis: you
John Rennemeyer: Yeah.
Tommy Willis: think? Okay.
Mark Angell: Yeah, why not not, m m maybe nearer three.
Tommy Willis: Okay, well d you do
Mark Angell: Two
Tommy Willis: an average
Mark Angell: three.
Tommy Willis: at the end, I don't know. Um
Mark Angell: Well, it's just that uh saying something remember that when you look down, we've got solar power, we've got uh various other things you could have,
Tommy Willis: Uh-huh.
Mark Angell: and we're not going for
Tommy Willis: This
Mark Angell: these
Tommy Willis: this
Mark Angell: options.
Tommy Willis: is just this is just for like the look. Does it sort of look
Mark Angell: Mm-hmm.
Tommy Willis: fancy rather than functional. So
John Rennemeyer: Yeah, I suppose that might be in the technical innovation bit.
Tommy Willis: Yeah, so that so sh should we go for a a two on that?
Mark Angell: Okay.
Tommy Willis: 'Kay. And I mean, how much does the product demonstrate technical innovation do
Daniel Corn: Um,
Tommy Willis: you reckon?
Daniel Corn: deciding between the kinetic power or um the speech recognition, and if we had either of those for our budget, they both show a reasonable
Tommy Willis: D
Daniel Corn: amount
Tommy Willis: yeah.
Daniel Corn: of speech recognition.
Tommy Willis: Okay. So, what about the pr The prototype as it is,
Daniel Corn: Um
Tommy Willis: we've got we've got the speech recognition on it, haven't we.
Daniel Corn: But not the kinetic.
Tommy Willis: But not the kinetic.
Daniel Corn: Like the power.
Mark Angell: No. 'Cause you can't afford that w we
Daniel Corn: No,
Mark Angell: took
Daniel Corn: we c
Mark Angell: that out
Daniel Corn: ca
Mark Angell: too.
Daniel Corn: yeah, we can't afford both.
Tommy Willis: Alright,
Mark Angell: Didn't
Tommy Willis: so
Mark Angell: you? Or
Tommy Willis: So it doesn't It's pretty The prototype as it is isn't sort of um fulfilling the
Daniel Corn: No may is maybe about
John Rennemeyer: Maybe
Daniel Corn: neutral
John Rennemeyer: a three.
Daniel Corn: plus it it it's got something, but it hasn't got
Tommy Willis: Okay. Yeah.
Mark Angell: Well, wait a minute. In
John Rennemeyer: I
Mark Angell: thirteen
John Rennemeyer: would give
Mark Angell: point
John Rennemeyer: it
Mark Angell: seven
John Rennemeyer: more than
Mark Angell: we
John Rennemeyer: a four.
Mark Angell: do have kinetic. The problem is we have to reduce down from there to
Daniel Corn: Right.
Mark Angell: get it down to twelve point five.
Daniel Corn: Okay.
Mark Angell: And one way of doing that would be to take out the kinetic. So, it's very much dependant on what you do with your options.
Tommy Willis: Right,
Mark Angell: And
Tommy Willis: okay.
Mark Angell: if
Daniel Corn: 'Kay.
Mark Angell: you're definitely going for the sample sensor and sample speaker, then because that the other functions we've got in are are more at the The special material, the rubber, wood, titanium, et cetera, if you go for that, th that's at the high end 'cause that's point six, whereas down at uh just special colours uh is point two. Now you're trying to lose one point two, so it seems to Tommy Willis that if you're going for the sample sensors speaker, you're basically then having to go for the cheaper options on everything else.
Tommy Willis: Mm-hmm.
Daniel Corn: Okay.
Mark Angell: And
Daniel Corn: Um
Mark Angell: and the simple way to do it would be to have a battery, to have your uh sample sensor speaker, and then you're looking to uh take out
Tommy Willis: S
Mark Angell: uh point two,
Tommy Willis: I'm just gonna check my email.
Mark Angell: which would be come from the button supplements category.
Tommy Willis: I'm just gonna check exactly what it said in the email for um the product.
John Rennemeyer: How much of a difference would it make if we made the case in plastic? Because we did say that we don't wanna follow the fashion too much. If the buttons are rubber that might be spongy enough. And then it
Mark Angell: Um,
John Rennemeyer: stand the
Mark Angell: interface
John Rennemeyer: test of time better.
Mark Angell: type um, well plastic rather than rubber.
Tommy Willis: Okay. But I
Mark Angell: That that that would make the significant difference. You could either you could have it If you have a in plastic rather than rubber, then that would uh enable you to get you could keep kinetic then, you could keep your sample sensor, and you'd be looking to take out point two. So you could uh fiddle that down your special form at the bottom, or your special colour at the bottom.
Daniel Corn: Mm-hmm.
John Rennemeyer: Mm-hmm.
Mark Angell: And that would enable you to to do it.
Tommy Willis: Okay.
Daniel Corn: So it says if we make a slightly more fancy, then we lose points innovation, and if we make it more innovative innovative,
Mark Angell: Yeah.
Daniel Corn: then we lose
Tommy Willis: Yeah.
Daniel Corn: points on
Mark Angell: Ye
Daniel Corn: it being fancy, so
Tommy Willis: I just read the email again and it sort of says it's evaluate the design sort of as it is, I think, so I think we need to think about finance after we've sort of evaluated that design. I don't know whether we're doing it in the wrong order or something or.
Mark Angell: Well, okay, but
John Rennemeyer: Well, I suppose it's rubber as it is, isn't it.
Mark Angell: It's rubber as it is, yes.
Tommy Willis: bit or something, 'cause we've got both the both the um
Mark Angell: We
Tommy Willis: the
Mark Angell: got we've
John Rennemeyer: Yeah.
Tommy Willis: speech
Mark Angell: we've got thirteen point seven and we've got it in at the moment and if
Tommy Willis: Yeah.
Mark Angell: and basically, we're going to reduce down from that. But the current one, you'd say would be fancy, would be too
Daniel Corn: Yeah, yeah.
Tommy Willis: Yeah. Um, for for innovation, so we've got the speech the speech thing, and
Mark Angell: Mm-hmm. I would've said about a two as well.
Tommy Willis: Do you reckon a two?
John Rennemeyer: Yeah, two or three. I'd be happy with a two.
Tommy Willis: Okay.
Mark Angell: Oh.
Tommy Willis: Two. And the next one is I'll have to get it back up now.
Mark Angell: The next on Well, I can just sing about. Easy to use. I would've said yes. I would go for a one on that at this point in time.
John Rennemeyer: Yeah.
Tommy Willis: Okay.
John Rennemeyer: Yeah, I would say so as well.
Mark Angell: Um, incorporates elements of fashion to attract buyer. Well,
Daniel Corn: Um
Mark Angell: yeah it certainly has some.
John Rennemeyer: Yeah, it's got the cherry
Daniel Corn: It does, yeah.
John Rennemeyer: and the
Tommy Willis: Um
John Rennemeyer: sponginess.
Mark Angell: Yep.
Tommy Willis: Say about a three maybe?
Mark Angell: I don't know.
Daniel Corn: Yeah,
John Rennemeyer: Maybe
Daniel Corn: m um
John Rennemeyer: two?
Daniel Corn: Yeah, it was just doing it quite well. Um, I
Mark Angell: Yep.
Daniel Corn: think we're gonna have to lose some of these, but the moment, as it stands, it's um
Mark Angell: Yeah, I
Tommy Willis: It's
Mark Angell: woulda
Tommy Willis: a
Mark Angell: said
Tommy Willis: two.
Mark Angell: two would seem reasonable. The product is a recognisable real r uh
Tommy Willis: Yeah, this
Mark Angell: reaction
Tommy Willis: is
Mark Angell: product?
Daniel Corn: Uh
Tommy Willis: This
Daniel Corn: the sensor using all of its all of its products, all of its buttons, and it's got a fairly big label on the bottom saying
John Rennemeyer: Yeah, that's
Tommy Willis: Yeah.
Daniel Corn: where
John Rennemeyer: a bit
Daniel Corn: it
John Rennemeyer: rough
Daniel Corn: comes
John Rennemeyer: at the minute.
Daniel Corn: from.
Tommy Willis: So this is about sort of the corporate
Mark Angell: Oh.
Tommy Willis: image of like new sort of sleek technology and all that sort of thing, as well
Daniel Corn: Okay.
Tommy Willis: as having the logo on and all that. So sort of Is it sort of a recognisable product. Does it fit in with our other other products, which uh are sort of coffee makers and spacecraft.
John Rennemeyer: Uh,
Tommy Willis: What
John Rennemeyer: well
Mark Angell: S
Tommy Willis: do
John Rennemeyer: it's
Tommy Willis: y
John Rennemeyer: got the same um speech feature as the coffee machine.
Daniel Corn: Also it's kind of spongy rubberiness is maybe bit more kinda comfortable than kinda sleek and new
Tommy Willis: Yeah.
Daniel Corn: age. Um,
Tommy Willis: Uh-huh.
Daniel Corn: it depends which way you look at it.
Mark Angell: Okay. So
Tommy Willis: So
Mark Angell: we're going for a
Daniel Corn: Maybe a kind of
Mark Angell: two,
Daniel Corn: three? Uh d
Tommy Willis: Two
Mark Angell: three?
John Rennemeyer: Yeah,
Tommy Willis: or three?
John Rennemeyer: two or three. Well, the logo would be more um recognisable on the actual thing. It's just that the pen wouldn't really write on that paper.
Mark Angell: Sure.
John Rennemeyer: But um,
Tommy Willis: Yeah.
John Rennemeyer: I think the logo would definitely be recognisable. And it does have attributes that other products do. Two? Aye. Go for it.
Mark Angell: Right,
Tommy Willis: Two
Mark Angell: okay.
Tommy Willis: or three.
Mark Angell: Two.
Tommy Willis: How
Mark Angell: Right, come on.
Tommy Willis: Two.
Mark Angell: That's
Tommy Willis: Okay.
Mark Angell: that decided. Right. So
Tommy Willis: Right.
Mark Angell: So we're now on to changing it to get it to fit in with the budget requirements, and then
Tommy Willis: Yeah.
John Rennemeyer: What does what do all them numbers mean then? Do we add them up and rate or anything?
Tommy Willis: Yeah we s yeah, I think we sort of add them up so sort of at an average is gonna be I'm just gonna do this
Mark Angell: About
Tommy Willis: in my
Mark Angell: a two.
Tommy Willis: head.
Mark Angell: Two.
Tommy Willis: One point eight isn't it or something. I think, anyway. So yeah, pretty close to a two.
Daniel Corn: Yeah,
Tommy Willis: So
Daniel Corn: so it's
Tommy Willis: So it's I mean it's pretty good at the moment, but it's gonna get worse, isn't it. But we've gotta
Mark Angell: Yep.
Tommy Willis: try and make sure it doesn't get
Daniel Corn: So should
Mark Angell: Two
Tommy Willis: too
Mark Angell: b
Tommy Willis: bad.
Mark Angell: two b two, yeah.
Daniel Corn: we get So are definite Was it thirteen point seven was the definite price rule if has.
Mark Angell: Yes.
Tommy Willis: Yeah.
Daniel Corn: Okay, so we need to
Mark Angell: Well, you can lose one point two and still meet
Tommy Willis: Do you wanna
Mark Angell: the requirements.
Tommy Willis: plug it into yours so we can get up the
Mark Angell: Okay, well I put it back
Tommy Willis: the
Mark Angell: on.
Tommy Willis: finances
Daniel Corn: So I guess this Is this the last stage once we sort out the finances part of it?
Tommy Willis: I'm not sure.
John Rennemeyer: we'll probably have to re-rate it.
Mark Angell: Yes, I would've thought so.
Daniel Corn: Yeah,
Tommy Willis: Yeah.
Daniel Corn: yeah we'll make the adjustments and then see how are rates are going.
Mark Angell: Okay, so what was it, control uh F_ eight, wasn't
John Rennemeyer: Ah
Mark Angell: it?
John Rennemeyer: it's on.
Tommy Willis: it's come on already.
Mark Angell: Oh. Oh. How kind. Right, okay. So, you can see there that the If you want to keep kinetic, right, you've got a choice there of going down to battery, which would save you one. You've got the sample sensor and and sample speaker, which is your big item.
Daniel Corn: Oh actually we just have a plastic case, then we lose two
Mark Angell: That's
Daniel Corn: points,
Mark Angell: right.
Daniel Corn: which gets us um
Tommy Willis: Mm.
Mark Angell: Which gets you
Daniel Corn: In right within the budget range.
Mark Angell: Yes.
John Rennemeyer: Yeah, I think that'd be fine. Because that was just a trend, and we do have rubber buttons anyway.
Daniel Corn: So that's eleven point
Tommy Willis: Yeah.
Daniel Corn: seven, and then we could make sure we definitely had all the button supplements.
Tommy Willis: Different
Mark Angell: Alright.
Tommy Willis: different colours, yeah. Yeah, I was I was thinking that because maybe maybe the sort of rubber case is a bit less in sort of the corporate identity than the
Daniel Corn: Possibly,
Tommy Willis: sort of you
Daniel Corn: yeah.
Tommy Willis: know sleeker plastic case.
Daniel Corn: Um
John Rennemeyer: Yeah.
Mark Angell: Okay,
Daniel Corn: And that would
Mark Angell: so
Daniel Corn: allow us to have all the technical innovations. So we'd lose a little bit on the maybe kind of
Mark Angell: So we're going for plastic, yes?
Tommy Willis: Lose a little bit on the fashion, yeah, but
Mark Angell: Yep.
Daniel Corn: Oh
Tommy Willis: And
Daniel Corn: yeah,
Tommy Willis: then
Daniel Corn: and that would now be Yeah, that's that's within the budget. Um Do we actually have Do we just have one special uh special forms down here?
Mark Angell: Well, uh w uh there was debate as to how you would count them.
Daniel Corn: Um
Mark Angell: You got special colour. Well originally I was assuming we had the red apple, and therefore, that was the special colour.
John Rennemeyer: Yeah, I think we should just imagine white buttons.
Daniel Corn: And we we've we've got we've got enough for another
Tommy Willis: Yeah.
Daniel Corn: we've got nought point eight left, so we've got enough for
Mark Angell: Well,
Daniel Corn: another
Mark Angell: we've got special form. Now that would be one button, and the question was was that all buttons or is that just one button. 'Cause our plan really was to have one button only with a special
Daniel Corn: Yeah, um
Mark Angell: So so no matter
Daniel Corn: But the
Mark Angell: how you
Daniel Corn: but
Mark Angell: look at that, that would be the same. The other
Daniel Corn: but
Mark Angell: thing would
Daniel Corn: but
Mark Angell: then
Daniel Corn: the
Mark Angell: be special material, rubber, wood, titanium.
Daniel Corn: I think maybe the special colour, we've got three now just because the
Tommy Willis: Yeah.
Daniel Corn: volume buttons are different, I guess we'd have the ones which are blue at the moment
Mark Angell: Alright.
Daniel Corn: would would just be
Mark Angell: So,
Daniel Corn: the standard
Mark Angell: special
Daniel Corn: colour.
Mark Angell: colour, you want three in there.
Daniel Corn: Yeah, which I think we should Yeah, they'll still be fine for the for the price.
Mark Angell: Okay.
Tommy Willis: Well I thin I think you you you just need two for the special colour 'cause it's just two supplements, you know. One original colour and then sort of two supplements, I think maybe.
Mark Angell: That makes sense.
Daniel Corn: Okay,
Tommy Willis: Okay.
Daniel Corn: uh
John Rennemeyer: Yeah.
Daniel Corn: that's probably it.
Tommy Willis: So we only ne we only need two for that.
Mark Angell: Okay.
Tommy Willis: 'Cause I mean these these are moulded. The one colour's gonna be moulded out of a piece of plas uh of rubber, isn't
Mark Angell: Okay.
Tommy Willis: it.
Mark Angell: Yeah, I would agree with that, I think. So special colours, two.
Tommy Willis: Right.
Mark Angell: And we've got special form is the one apple. The rest are all standard, although you could argue that should maybe be You were making these buttons down the bottom, I was presuming, bigger than the other ones, or were you?
Daniel Corn: Ne
Mark Angell: Was that the
Daniel Corn: uh
Mark Angell: idea?
John Rennemeyer: Yeah, the volume ones should
Daniel Corn: Maybe
John Rennemeyer: stand
Daniel Corn: that'll be
John Rennemeyer: out
Daniel Corn: a
John Rennemeyer: a bit.
Daniel Corn: second supplement.
Tommy Willis: Yeah,
Daniel Corn: Then there's
Tommy Willis: that
Daniel Corn: a spe a second special form.
Mark Angell: Uh-huh.
Tommy Willis: Yeah.
Mark Angell: I
Daniel Corn: Um
Mark Angell: would have thought that's probably about r
Daniel Corn: Well you got you got twelve.
Mark Angell: well.
Tommy Willis: Okay, so tha
Daniel Corn: So I think that should still be okay. Yeah,
Mark Angell: Right.
Daniel Corn: that's twelve point three, so we're still within budget on that.
Mark Angell: Yep, that
Daniel Corn: Um
Mark Angell: makes sense.
Daniel Corn: So decide we've lost a little bit on the fashion and lost a bit on the fancy kinda
Mark Angell: Yep.
Daniel Corn: side of it, but generally speaking, we've kept the other attributes to the
Mark Angell: I woulda said so. Yeah. So you'd maybe put fash fan uh
Daniel Corn: That's
Mark Angell: fashion
Daniel Corn: without
Mark Angell: at three rather than
Tommy Willis: So shall we do
Daniel Corn: Yeah.
Tommy Willis: a
Mark Angell: two.
Tommy Willis: Well, um
Daniel Corn: And specially it definitely could fits the the real product What was the what's the company name?
John Rennemeyer: Real Reactions?
Mark Angell: Real
Daniel Corn: R yeah.
Mark Angell: Reaction produ
Tommy Willis: Yeah.
Daniel Corn: Yeah,
Mark Angell: I'm not quite sure, what
Daniel Corn: yeah.
Mark Angell: does that mean?
Daniel Corn: I mean it still seems definitely fit that p so that's like if that's the new age kind of um inno innovative
Tommy Willis: Yeah, so
Daniel Corn: c type company, then um having the kinetic feature and the voice recognition
Tommy Willis: Uh
Daniel Corn: is
Mark Angell: Yep
Daniel Corn: p quite high up
Tommy Willis: So
Daniel Corn: on
Tommy Willis: it's
Mark Angell: I
Tommy Willis: w if we've
Mark Angell: would
Tommy Willis: if
Mark Angell: s
Tommy Willis: we've put in for another special form on a button, then maybe they could be a different shape. Like we got a cherry one. Maybe other ones could be something else shaped. I don't know. That
Daniel Corn: Um
Tommy Willis: would be poss
Mark Angell: You mean of
Tommy Willis: seeing as seeing as it's cheaper to make them a different seeing as we've got, you know, we've made it a a special form, so And that would sort of maybe keep us close on the sort of the fashion type one. And it would sort of, you know, keep it quite fancy as well, I don't
Daniel Corn: Mm-hmm.
Tommy Willis: know.
Mark Angell: Well you could argue you might do it once a year, you would change, because at the moment you're making a red apple.
Daniel Corn: Yeah
Tommy Willis: Well you
Daniel Corn: so
Tommy Willis: could
Daniel Corn: it's
Mark Angell: So
Daniel Corn: a
Mark Angell: next year you could make next year's model the same, but have it as a
Tommy Willis: Yeah.
Daniel Corn: Whatever fruit
Mark Angell: a
Daniel Corn: was in
Mark Angell: yeah
Daniel Corn: fashion
Mark Angell: whate
Daniel Corn: next
Mark Angell: whatever,
Daniel Corn: year.
Mark Angell: a lemon. Yeah, l a lemon lemon or something.
Tommy Willis: Yeah,
Mark Angell: And
Tommy Willis: I mean
Mark Angell: that
Tommy Willis: the volume buttons could be lemons or something, maybe.
Mark Angell: amount
Tommy Willis: Okay. So, we've what have we what have we rid of. We got rid of the plastic.
Mark Angell: Yeah, we've the
Tommy Willis: Is
Mark Angell: main
Tommy Willis: it
Mark Angell: thing we've
Daniel Corn: That
Mark Angell: changed
Tommy Willis: The
Daniel Corn: yeah,
Tommy Willis: rubber.
Daniel Corn: that was
Mark Angell: really
Daniel Corn: uh
Mark Angell: is
Daniel Corn: that
Mark Angell: the casing isn't it?
Daniel Corn: was
Mark Angell: We've
Tommy Willis: Yeah.
Daniel Corn: just about all. I think we've saved quite a bit because we've just got the push-button interface, which is by far the cheapest.
Tommy Willis: Yeah.
Daniel Corn: Um
Tommy Willis: But uh
Daniel Corn: So maybe in a sense not having that, maybe we've lost some maybe lost something on the innovation side? I dunno. And that is like the most standard type of button.
Tommy Willis: So I mean, we've got we got rid of the rubber case, but we've now s we now sort of got an extra form, and an extra colour for the buttons. So maybe in terms of sort of fanciness and fashionability, we're pretty much the same,
Daniel Corn: Yeah.
Tommy Willis: maybe. So, I mean we could maybe put two again on them.
Daniel Corn: And everything else has stayed pretty much the same,
Mark Angell: Well,
Daniel Corn: so
Mark Angell: ease has certainly stayed.
Daniel Corn: Yeah, plus if anything
Tommy Willis: Yeah.
Daniel Corn: that is special forms makes it slightly easier to
Mark Angell: Yeah.
Tommy Willis: Yeah.
Daniel Corn: to use.
Tommy Willis: And what about the sort of innovation?
Daniel Corn: Um,
Tommy Willis: Do you think
Daniel Corn: well we've still got the kinetic energy. Um
Tommy Willis: Okay.
Mark Angell: And the speech feature.
Daniel Corn: Yeah, the speech feature.
Tommy Willis: And then, the corporate identity.
Daniel Corn: I think we've cut just about the same. We've maybe lost Hasn't it It's hard to tell how the rubber the rubber
Mark Angell: How
Daniel Corn: casing
Mark Angell: it would play
Daniel Corn: would really
Mark Angell: out,
Daniel Corn: affect
Mark Angell: yeah.
Tommy Willis: Yeah.
Mark Angell: Oh.
Tommy Willis: Whether whether that's considered to be sort of part of the corporate identity, I don't know. I mean,
Daniel Corn: Um
Tommy Willis: it's maybe not. I mean
Daniel Corn: But I think more the the features of the actual control will be more important than maybe than the
Tommy Willis: Yeah.
Daniel Corn: the actual aesthetics, but
Tommy Willis: Yeah.
Daniel Corn: But either way, I think we've made it fairly close to what
Tommy Willis: Yeah. Okay,
John Rennemeyer: Yeah,
Tommy Willis: well I
John Rennemeyer: I
Tommy Willis: mean
John Rennemeyer: don't see how we could make it any more. Um,
Tommy Willis: We cou
John Rennemeyer: apart from maybe doing the whole thing in the kinda light shade of blue, like the casing.
Tommy Willis: Mm-hmm.
John Rennemeyer: But then what colour would you make the R_s?
Daniel Corn: just the the company logo. So maybe there's like a set design which we get
Mark Angell: Well,
Tommy Willis: Yeah.
Mark Angell: but
Daniel Corn: printed
Mark Angell: you've got
Daniel Corn: off.
Mark Angell: the company logo on there, which would effectively be a stick-on badge.
Daniel Corn: Okay.
Mark Angell: So you're in a sense, you're comparing the product without the company logo.
Tommy Willis: Yeah.
Mark Angell: And then y but you've got the space for it
Daniel Corn: Yeah,
Mark Angell: to stick
Daniel Corn: yeah.
Mark Angell: it on.
Tommy Willis: Hey, what what what's the company colour? Did you get told what the company colour is or
Daniel Corn: I'm still not quite sure we've established that.
John Rennemeyer: No, I just
Mark Angell: Don't think
John Rennemeyer: We
Mark Angell: so.
John Rennemeyer: got
Mark Angell: But
John Rennemeyer: the logo
Mark Angell: but
John Rennemeyer: off the
Mark Angell: i
John Rennemeyer: web
Mark Angell: but
John Rennemeyer: browser.
Mark Angell: in the sense that, as you saw
Tommy Willis: Oh
Mark Angell: with
Tommy Willis: right.
Mark Angell: um the Windows logo badge, it doesn't really matter. There's virtually n The way that you frame, you know, the Windows badge on there, it really doesn't matter what
Tommy Willis: Hmm.
Mark Angell: colour it is, so long as our company's logo is framed w in the same way as that with a
Tommy Willis: Mm-hmm.
Mark Angell: like a black outline. Fact, they've got black and white or black and silver. So
Tommy Willis: Mm.
Mark Angell: basically, even if you had a silver the same colour of silver on your display, because you've got effectively a double edging on the uh on the logo, it means that it splits off what your logo is from the from the product. And
Tommy Willis: Okay.
Mark Angell: that's actually quite a sneaky way of doing it.
Tommy Willis: Uh-huh. 'Cause you've got sort of we've got point two to play with if you really wanted to.
Mark Angell: You could put in another
Tommy Willis: Another colour. Or
Mark Angell: Well,
Tommy Willis: would that
Mark Angell: in
Tommy Willis: be
Mark Angell: this
Tommy Willis: t
Mark Angell: one, you've actually got three colours of buttons.
Tommy Willis: Yeah.
Mark Angell: Well, we decided that the blue ones were the um the standard colour.
Tommy Willis: Okay.
Mark Angell: So you were talking about uh um We're assuming that all the buttons on the second panel, the hidden away panel, would all be standard.
Daniel Corn: Yeah.
Tommy Willis: Yeah.
John Rennemeyer: Mm-hmm.
Mark Angell: Which m may or may not be the case.
Tommy Willis: Yeah. Shall
Daniel Corn: Um
Tommy Willis: we save the point two for profitability then?
Mark Angell: Well, yeah. Bu but but uh was the was there not a button that you were thinking of on the um on the other opt you know, on the second page, as it were, that uh you were thinking of maybe having as a different colour?
John Rennemeyer: Um, I don't think they would really need to be. I think if they were just all small round blue buttons, it'd be fine.
Daniel Corn: Yeah, maybe
John Rennemeyer: Needs
Daniel Corn: we've
John Rennemeyer: to be
Daniel Corn: m
John Rennemeyer: an enter button, but could just be the same as well.
Daniel Corn: Maybe for the the one they're gonna see all the time, we make it look good, and um,
Tommy Willis: Hmm.
Daniel Corn: fit the kind of idea of what they want. And then for the more functional buttons, we don't worry too much about that and just have that as like a plus it's hidden away anyway, you're not gonna see it at the start.
Tommy Willis: Yeah. I mean it's the sort of thing that, I mean, you wanna pick up the controller and just hit a button quickly
Mark Angell: Yeah,
Tommy Willis: to
Mark Angell: well
Tommy Willis: change the channel or volume. So, if it's dead obvious, then that's fine. But if you're opening the panel and you're looking and you're tuning, then you're paying a bit more attention. So it may be sort of different colour buttons isn't so important.
Mark Angell: Alright. Okay.
Tommy Willis: 'Cause you Yeah.
Daniel Corn: Yeah.
Mark Angell: So
Tommy Willis: So
Mark Angell: we just add that to profitability in effect.
Tommy Willis: Yeah, I mean so
John Rennemeyer: Mm-hmm.
Tommy Willis: we've dropped the cost, but
Mark Angell: Right, so we're meant to finish up in five minutes.
Tommy Willis: Same sort of function? The criteria? It's alright.
Daniel Corn: 'Kay.
Tommy Willis: Just made a load of money.
John Rennemeyer: Shouldn't we maybe lose a point on fashion, go to a three? 'Cause we've lost the overall spongy feel. 'Cause it doesn't seem right that it just hasn't changed at all.
Tommy Willis: Well, but I think we said that w Because you got rid of the rubber, we put an extra an extra sort of fruit um shape on one of the buttons.
John Rennemeyer: Alright.
Tommy Willis: le lemon
John Rennemeyer: Did we
Tommy Willis: sh
John Rennemeyer: decide what that was, which button it was?
Tommy Willis: I think well,
John Rennemeyer: On the volume ones?
Tommy Willis: we could have lemon shaped ones with the volume ones or something.
John Rennemeyer: Right.
Daniel Corn: Uh,
Tommy Willis: Or something like
Daniel Corn: That's
Tommy Willis: that.
Daniel Corn: good.
Tommy Willis: Yeah.
Daniel Corn: Definitely lemon shaped.
Tommy Willis: Did did you have to have a rubber case, though, for rubber buttons? Or was it the other way around?
Daniel Corn: You had to have rubber buttons if you had the rubber case.
Tommy Willis: Right,
Mark Angell: Mm-hmm.
Tommy Willis: okay.
Daniel Corn: So I think we can we're
Mark Angell: So
Daniel Corn: okay.
Mark Angell: we're okay this way around.
Tommy Willis: Yeah. So that so we've
Mark Angell: Until
Tommy Willis: saved
Mark Angell: the design team comes in and says, get off. But you are the design team.
Daniel Corn: Then we say it's fine, so it's all good.
Tommy Willis: Saved two Euros on that.
Mark Angell: So what bit are we on to?
John Rennemeyer: Um, can I just check if that's a cherry or an apple? Did we decide against the apple because of Apple Mac? And did we make it
Mark Angell: Yeah.
John Rennemeyer: a cherry officially?
Mark Angell: I th
Tommy Willis: Mm-hmm.
Mark Angell: I th Oh. Right, okay.
Daniel Corn: Just in case we need that point two for lawsuits and such like.
Mark Angell: Oh drats, I've botched that, haven't I.
John Rennemeyer: So were we aiming for a certain target on that scale?
Tommy Willis: Well, we're aiming for um one for all of them. M but
John Rennemeyer: Right.
Tommy Willis: it really has to fit into the budget, so I guess we just have to adjust things to get it i in the Which is fair enough.
Daniel Corn: And we seem to have least something in each criteria.
Tommy Willis: Yeah.
Daniel Corn: We haven't completely left anything out, so
Tommy Willis: Yeah, I think most
Daniel Corn: As an overall product which has to be quite cheap, we've just about achieved
Tommy Willis: Yeah.
Daniel Corn: everything.
Tommy Willis: Yep.
John Rennemeyer: So do we have anything else to discuss?
Tommy Willis: I don't know. What's on the agenda?
Mark Angell: Right, okay um What's happened here?
Mark Angell: Right, okay um
Mark Angell: Mm. Right, okay um, Right. So we got
Daniel Corn: We've got the
Mark Angell: So
Daniel Corn: closing.
Mark Angell: we've done the the finance bit and the Excel project and the We've done the redesign. So we're now on to project process. Now satisfaction with, for example, room for creativity, leadership, teamwork, means, et cetera, whiteboard, digital pens, et cetera. So, we're actually now uh, in a sense, on to the evaluation of the course rather than the evaluation of the project is
Tommy Willis: Uh-huh.
Mark Angell: m my understanding of it. So what did you and remembering that nobody's just over the curtain. So, um
Tommy Willis: Finish your meeting now.
Daniel Corn: We should just go through
John Rennemeyer: Huh.
Daniel Corn: this quickly and then
Tommy Willis: Yeah.
Mark Angell: So I suppose the easiest way of doing it is to put some notes down, which I will do.
Tommy Willis: Okay.
Mark Angell: So, uh I think I have to finish that page.
Tommy Willis: Oh.
Mark Angell: Right, okay, so
Mark Angell: Project evaluation. So, um Creativity. Did you feel you got a chance to express yourselves well enough?
Daniel Corn: Um, yeah.
John Rennemeyer: Yeah.
Mark Angell: Well
Daniel Corn: Yeah.
Mark Angell: um
Tommy Willis: I thought some of the divisions though between sort of the individual meetings were a bit arbitrary.
Mark Angell: Individual meetings. How do you mean?
Tommy Willis: Yeah. Well, we were finding out various things in
Mark Angell: In you on your own.
Tommy Willis: in be in-between the meetings, and they didn't the one meeting didn't always follow on for the other one, you know, sort of we had things thrown in at the second meeting where,
Mark Angell: Um
Tommy Willis: you know, you'd looked at the remote controls and seen the curviness, but in the first one you'd also looked at some remote controls and looked at the buttons, and I don't understand why it would be in separate meetings that you'd do that. You know, you'd sort of you'd probably present it at one or something like that.
Mark Angell: Mm, The only thing you find is in a manufacturing process, you would normally, you go to a meeting, you decide, right, you do this, you do that, you do that.
Tommy Willis: Yeah.
Mark Angell: Then you go away. You find out information. You then come back. You then discuss it. You then
Tommy Willis: Uh-huh.
Mark Angell: go and change things around, and then go back.
Tommy Willis: Yeah.
Mark Angell: So
Daniel Corn: Yeah, I suppose and then be going out and finding more information each time and
Mark Angell: Whereas,
Daniel Corn: then diff
Tommy Willis: Yeah.
Daniel Corn: things will
Mark Angell: this
Daniel Corn: be relevant.
Mark Angell: time, you're really getting it from a database source, so it's not
Tommy Willis: Yeah.
Mark Angell: uh well uh Anyway, so, what do you want to put down? I've put, seemed okay. Creativity, seemed okay. Um um flow of information on on any given subject given subject um sometimes disjointed.
Tommy Willis: Yeah.
John Rennemeyer: I think it maybe could have been a slightly more creative project. I mean a remote control isn't the most um
Tommy Willis: Yeah, the thing
John Rennemeyer: kind
Tommy Willis: itself.
John Rennemeyer: of fancy thing
Mark Angell: Um
John Rennemeyer: that you could imagine designing.
Tommy Willis: Yeah.
John Rennemeyer: at the minute.
Mark Angell: Have could have used a different example pel to increase
Tommy Willis: Yeah.
Daniel Corn: Is this go
Mark Angell: create
Daniel Corn: It kinda kis fits the purpose that it was something everyone knows about and then
Mark Angell: Creativity.
Daniel Corn: something we can at least look at and think
Tommy Willis: Mm-hmm.
Daniel Corn: how we
Mark Angell: You
Daniel Corn: can improve
Mark Angell: have to do it
Daniel Corn: on.
Mark Angell: within a set time frame is the other thing, so
Tommy Willis: Yeah. But think like it was a bit restrictive just to say that you have to design a television remote control, in a way. I mean it depends what sort of business you're in, I guess. I mean this one seems. From the website it looks it's quite innovative, but we're coming up with some bucket shop product aren't we that's, you know,
Daniel Corn: one of those things.
Tommy Willis: fifteen
Daniel Corn: Like uh,
Tommy Willis: quid.
Daniel Corn: companies can have like a range of products and
Mark Angell: I th
Daniel Corn: I don't know how it works
Mark Angell: I uh
Daniel Corn: but
Mark Angell: d
Daniel Corn: I guess that something got sent out and have like a brief to kind of
Mark Angell: But the other thing is that uh they're I'm guessing that they're trying to use this um software to to demonstrate how you could uh do a project. I
Tommy Willis: Yeah.
Mark Angell: mean, m my wife at the moment, for instance, is uh acting as a computer um for um you normally, you got a problem, so you go to your tutor and find out information to see how
Tommy Willis: Mm-hmm.
Mark Angell: to get it fixed. So what she's doing is she's having to spend a day at the computer terminal at one end so that any student that comes along can uh ask whatever question. And then you or the idea is that the whichever uh person's at the other end can point them in the right direction, show them where to either give them directly give them help, or secondly, point them in the right direction, either at the library, or uh or or come back, or go and see Joe Bloggs, or whatever. So uh, and that was a project I suspect similar to this, because they they were actually trying to debug the uh computer software to enable um to enable it to work. And
Tommy Willis: Hmm.
Mark Angell: of course, you had the
Daniel Corn: Yeah.
Mark Angell: machine crashing and various things going wrong.
Daniel Corn: Well,
Tommy Willis: Mm-hmm.
Daniel Corn: sh we look at
Mark Angell: So
Daniel Corn: the last slide, see if it's got anything else. I think
Mark Angell: Alright,
Daniel Corn: there's one
Mark Angell: so we've got
Daniel Corn: one more
Mark Angell: uh
Daniel Corn: to go.
Tommy Willis: Yeah. I mean if you look at their products on their website here, Real Reaction, I mean it's all pretty high-tech and cutting edge.
Mark Angell: New
Tommy Willis: And
Mark Angell: ideas found, did we find any, no.
Daniel Corn: It was quite good with this um the white board, having that and the digital pens. Like, that's something
Mark Angell: Alright.
Daniel Corn: that made
Tommy Willis: Yeah.
Daniel Corn: it a little easier.
Tommy Willis: Yeah.
Mark Angell: Leadership, teamwork.
Tommy Willis: we did find a new idea, I mean sort of a kinetic remote control. I've never seen one of them before. batteries, I think. So
Mark Angell: Does
Daniel Corn: voice recognition, especially not could
Tommy Willis: Mm yeah.
Mark Angell: You've got voice recognition computers, that's
Daniel Corn: Yeah.
Mark Angell: not remote controls.
Tommy Willis: Yeah.
John Rennemeyer: Well it's a different application of it.
Mark Angell: Mm-hmm.
Daniel Corn: Yeah,
Mark Angell: Okay,
Daniel Corn: so it's just like the same products, but just put together in a different way.
Tommy Willis: Mm.
Mark Angell: so how do you reckon teamwork went?
Daniel Corn: Um
Tommy Willis: That went okay, yeah.
Daniel Corn: Yeah, I guess we all had separate ideas and then discussed them.
Tommy Willis: Mm-hmm,
John Rennemeyer: Yeah.
Tommy Willis: yeah.
Mark Angell: To uh go uh reasonably well. Okay.
Tommy Willis: I don't think sort of the budget um allowed
Mark Angell: Bit
Tommy Willis: us to do anything
Mark Angell: bit arbitrary.
Tommy Willis: Well, I mean I don't think it I just don't think it fitted in with the rest of their products. I mean, they've got all these sort of, you know,
Mark Angell: Mm-hmm.
Tommy Willis: high definition D_V_D_ and portable seven inch d um lightweight computer screens, and uh I'm thinking, do you know, one cheap remote control doesn't really fit in. Surely
Mark Angell: So,
Tommy Willis: they they should produ
Mark Angell: we're m we're meant to comment on leadership and the means, E_ G_ whiteboard, digital pens, et cetera.
John Rennemeyer: Well leadership's
Mark Angell: And
John Rennemeyer: a bit
Mark Angell: and
John Rennemeyer: of a funny
Mark Angell: new
John Rennemeyer: one,
Mark Angell: i new
John Rennemeyer: isn't
Mark Angell: ideas
John Rennemeyer: it.
Mark Angell: found was the the other thing.
Tommy Willis: Yeah.
John Rennemeyer: But we can't really all fairly comment on leadership because you are Mark Angell. You were the leader. So our experience of leadership wasn't really as
Tommy Willis: Yeah.
John Rennemeyer: much as yours.
Tommy Willis: Yeah.
Mark Angell: Now, I'd much rather be in marketing but I certainly didn't get this uh computer to work as well as I would have liked. However, um Alright uh means, so whiteboard um so really, it's uh equipment. Oh.
Tommy Willis: Yeah. It worked.
John Rennemeyer: Yeah,
Tommy Willis: Comput
John Rennemeyer: very nice.
Tommy Willis: computers could be a bit difficult at times but
John Rennemeyer: But I mean, I d I don't I'm not sure I see the value in these. I mean, they record what you're writing, and then what do you do with it? Where do you get the recording? Do you plug
Tommy Willis: I
John Rennemeyer: the
Tommy Willis: think
John Rennemeyer: computer or something?
Tommy Willis: there's a little there's a little um
Daniel Corn: So
Tommy Willis: chi
Daniel Corn: it's not just for us, it's for the experiment as a whole, so
Tommy Willis: There's a little there's a little chip, I think you must plug
Daniel Corn: Should
Tommy Willis: it into
Daniel Corn: we quickly
Tommy Willis: something
Daniel Corn: look at
Tommy Willis: and
Daniel Corn: the last
Tommy Willis: it
Daniel Corn: slide?
Tommy Willis: produces
Daniel Corn: Sh
John Rennemeyer: Right.
Tommy Willis: a
John Rennemeyer: I think you watch a video of it kind of.
Tommy Willis: I don't know. Whether it just produces a big image of sort of everything you've written or something, and Page
Mark Angell: Right.
Tommy Willis: after page.
Mark Angell: New ideas found, so one or two.
Tommy Willis: Yeah. Kinetic powered remote control. Um, what was the other one?
John Rennemeyer: Voice um
Tommy Willis: Vo yeah.
John Rennemeyer: recognition thing.
Mark Angell: um and uh voice uh, was it voice activated um
Tommy Willis: Voice recognition, yeah.
Mark Angell: recognition.
Tommy Willis: S
Tommy Willis: Almost. To
John Rennemeyer: Pretty much.
Tommy Willis: fill in these fill in these
Mark Angell: Right,
Tommy Willis: questionnaires
Mark Angell: so,
Tommy Willis: Oh
Mark Angell: uh
Tommy Willis: no.
Mark Angell: are the costs within budget, yes. Is the project evaluated, yes. Uh, don't forget to complete final questionnaire and meeting summary. Then celebration.
Daniel Corn: Is that
Tommy Willis: Hmm?
Daniel Corn: everything?
Tommy Willis: I think that we've got two questionnaires and a
Mark Angell: Yeah.
Tommy Willis: report on the last meeting.
Mark Angell: Uh, so we don't re So really I tried to save this the last time at twelve point three, and it didn't seem to have saved anywhere. Mind you, the the figure last was was different, but it should be poss | The first prototype for the remote control was made of single-curved rubber with a total of 16 rubber buttons (some of them in a slide-out panel) with a cherry design on top. It uses kinetic energy and has a sample sensor for the speech recognition. The initial cost was calculated at 13.70 Euros. Although over budget, the team decided to evaluate this prototype before making any changes. On a scale from 1 (true) to 7 (false) they rated it on the basis of the following criteria: fancy design (2), technological innovation (2), ease of use (1), incorporation of fashion elements (2), and brand recognition (2). Changing the rubber case to plastic reduced the cost and allowed for an extra button-form and colour. The team were reasonably satisfied with the project in terms of teamwork and creativity, although they thought that the flow of information was sometimes disjointed. However, the idea of designing a remote control seemed unexciting, especially since the requirements restricted it to TV only, and the budget was too small. Finally, some new ideas were also found in the form of kinetic energy source and use of speech recognition. | 5 | amisum | train |
Kevin Chase: Is everyone ready to start?
Jerry Eberle: Yeah.
Derrick Garcia: Yeah.
Dennis Blount: Yes.
Kevin Chase: Okay. Great Well. welcome to the third meeting of conceptual design. I'll just get the PowerPoint presentation up and running. Okay. Um, on the agenda for this, um, for this particular meeting, we'll have your three presentations on what you've done since our last meeting, after we came up with um some general ideas of our design. And, um, then we have to make some key decisions on, on our concept, how we're gonna make it, what uh materials we're gonna use, and that sort of thing. The meeting will be forty minutes long.
Jerry Eberle: Okay.
Kevin Chase: And um we will once again have Poppy as our first presenter.
Jerry Eberle: Okay.
Kevin Chase: Alright, and I will switch up PowerPoint.
Jerry Eberle: Thank you.
Kevin Chase: Okay.
Jerry Eberle: Should be just loading. Okay. Oh, although I can't see it on my screen. That says go here. Okay. I've been doing some research into the different components that we could use, um what's available to us f to actually make the remote control. Um, first of all we have to look at how the remote control is actually made, and what is it happens inside the casing, which is more your field. Um thes, main internal feature is a circuit board, which contains all the elec electronics and also the contacts with the power source. Which is not necessarily a battery, as we're about to see. Um, there are several components of, um, the circuit board that we need to consider, where we'll be getting them from, what they'll be made of. Um, including the integrated circuit, which is also known as the chip. Which is where all the main information is uh contained. Um, diodes, transistors, resonators, resistors, and capacit capacitors all need to be considered as well. Um, and
Kevin Chase: Um
Jerry Eberle: all their positioning in the circuit.
Kevin Chase: Are they all included, like mandatorily, or r are these different options?
Jerry Eberle: Uh, these, they're all different options, they're all separate, apart from the chip,
Kevin Chase: Yeah.
Jerry Eberle: which we will probable decide whether we buy a simple, a regular, advanced. We can go into that later. Um, all the other things are individual components that we'd have to get in separately, and work out the most, like, effective um circuit, including all the wires and everything like that. And the L_E_D_ of course, that's a light emitting diode. So, we could, so we've got flex flexibility with colours and things,
Kevin Chase: Mm.
Jerry Eberle: with that as well. Okay, there are lots of different possibilities for the energy source. We could use a basic battery, but that brings with it, like they need to be recharged and the bulk, the size of it as well. And they're not so great to dispose of, environmentally. There's a hand-powered dynamo which is a sort of thing that was used for torches fifty years ago. A bit out of date. Kinetic energy is something
Kevin Chase: Um
Jerry Eberle: that's been recently developed.
Kevin Chase: What is a hand-powered dynamo?
Jerry Eberle: Um, where you manually charge up the power. Like you
Kevin Chase: Just
Jerry Eberle: wind
Kevin Chase: every,
Jerry Eberle: up
Kevin Chase: every
Jerry Eberle: something.
Kevin Chase: once in a while?
Jerry Eberle: Sorry?
Kevin Chase: Just every once in a while
Jerry Eberle: Yeah.
Kevin Chase: or constantly?
Jerry Eberle: Every once in a while I think. But
Kevin Chase: Alright.
Jerry Eberle: it's
Kevin Chase: It'd be kind of strange to always be
Jerry Eberle: Yeah.
Kevin Chase: cranking
Jerry Eberle: It would be like
Kevin Chase: it
Jerry Eberle: going
Kevin Chase: I think.
Jerry Eberle: a step back
Derrick Garcia: Yeah.
Jerry Eberle: in time. I don't think it would really be with kind of cutting edge technology.
Kevin Chase: No.
Jerry Eberle: Whereas kinetic energy is a new idea that's being used by some watches and other devices, where you just shake the device and it gives it power. I mean, the kinetic energy is transformed into power to make the circuit work. Um, or there's solar power, which we've been considering inside a building, which is where it's gonna be used, might not be quite so
Kevin Chase: Right.
Jerry Eberle: useful. But, good to look into, renewable energy, always the way. Um, lots of considerations for the case, like what sort of shape it would be, curved or flat. That's got a lot to do with the ergonomics. Like how it's comfortable and s sits in the hand. We don't want something that's huge and you can't pick up. Or too small. Or too slidy. I know I've had a remote control before which you couldn't tell which was the front and the back, 'cause it had so many buttons on, and the shape was so symmetrical that I'd be pressing like
Dennis Blount: Mm.
Jerry Eberle: a volume button instead of the on button. Because you can't really see which way round it is.
Kevin Chase: Right.
Jerry Eberle: Um, we also can choose what materials um, the we could use metal, we could use rubber which might be more um ideal for the anti-R_S_I_. It's like the same sort of rubber that's used in stress balls and
Kevin Chase: Mm-hmm.
Jerry Eberle: things like that, so it's very like soft, not so stressful on your hands. Wood. Um, again, stepping back in time again there. I don't think that's quite up to date with what we're looking for here.
Kevin Chase: Yeah.
Jerry Eberle: Um, titanium is not gonna be possible, even though it just it beyond our budget really. But, would've been maybe for future projects. Um right our choice for buttons as well. We've developed some we've got some good advances in technology, with our research team have found some uh new multiple um option scroll buttons. I think that was brought up for, um, they're basically quite a flexible design, modern, you don't have to use individual buttons. You can just slide up and down. I'm sure we're all quite familiar with those on
Derrick Garcia: Yeah.
Kevin Chase: Mm-hmm.
Jerry Eberle: mobiles or computer laptop pads.
Kevin Chase: Um one thing with the scroll buttons though. It, it we would have to have an L_C_D_ um
Jerry Eberle: Yeah. That's true.
Kevin Chase: display, and
Jerry Eberle: And that would
Kevin Chase: the
Jerry Eberle: lead to
Kevin Chase: glow
Jerry Eberle: an advanced
Kevin Chase: in the dark thing
Jerry Eberle: yeah. If
Kevin Chase: might
Jerry Eberle: we have
Kevin Chase: be difficult.
Jerry Eberle: yeah. We're going on to that later with the advanc with the L_C_D_ that means we'd need a really advanced chip.
Kevin Chase: Yeah.
Jerry Eberle: And it's
Dennis Blount: Mm-hmm.
Jerry Eberle: unlikely that that's gonna be in our budget. Um, also we've got the integrated pushbutton, which is what we're most familiar with. It's the most straightforward. But you can in like incorporate that with a scroll button as well. Got decisions to make there. this is what I was just saying before. Linked in the different depends on what type of buttons we have and the inputs. Um simple would go with the pushbutton. Um, regular you could link with the scroll button. And the advanced we'd have to go with a L_C_D_ s
Kevin Chase: Right.
Jerry Eberle: display. My personal preferences? I think we could go for the kinetic energy source. I don't, I think that's quite um an advanced kind of technology. It's not been seen before, so it could be quite a, a novelty factor, attractive as well. And also energy saving 'cause you're producing the energy, you don't need an external sort of battery supply or solar panels. You just give it a shake.
Kevin Chase: Yeah.
Jerry Eberle: Sounds brilliant to Dennis Blount. Rubber
Kevin Chase: Uh.
Jerry Eberle: casing I thing would probably the best, if we're going for the anti-R_S_I_ and like more choice with um aesthetics. Like it could be pretty much any colour we want. Um, and gives you, yeah, more flexibility there. And probably the regular chip as opposed to the simple, then we could possibly have the scroll and the push, but no L_C_D_, 'cause we probably can't afford that one.
Kevin Chase: Yeah. Um, one concern with the rubber casing
Jerry Eberle: Mm-hmm.
Kevin Chase: is that it would be rubber encapsulating all of these chips and diodes and delicate technology as like as the exterior. This is the one thing that's protecting its innards.
Jerry Eberle: I think that would, uh there would be an in sort of more internal casing. And the rubber would just be the, what's in contact with the human.
Kevin Chase: Yeah.
Jerry Eberle: Yeah.
Kevin Chase: Another thing is it might be more difficult if it's a rubber exterior talking about putting on interchangeable plates.
Jerry Eberle: Yeah.
Dennis Blount: Mm-hmm.
Kevin Chase: Um, is it I don't see how a like a rubber plate going on top it would stay there. Like if it was sort of like a clip-on plastic plate. It would work that way.
Jerry Eberle: Maybe
Derrick Garcia: W
Jerry Eberle: if the, um, if it was just kind of a, more of a rubber coating which was on to a case. So, it was kind of, the whole thing would be removable.
Derrick Garcia: Like plastic with rubber, kind
Jerry Eberle: Yeah.
Derrick Garcia: of on top
Jerry Eberle: Like
Kevin Chase: Yeah.
Jerry Eberle: I can't think of what.
Derrick Garcia: Well, there's, there is a certain phone that has like a rubber casing,
Jerry Eberle: Yeah.
Kevin Chase: Yeah.
Derrick Garcia: b like a
Jerry Eberle: Or
Derrick Garcia: Nokia
Dennis Blount: Mm-hmm.
Jerry Eberle: like an you
Derrick Garcia: it is.
Jerry Eberle: can get
Derrick Garcia: It's
Jerry Eberle: sort of outer casing for
Derrick Garcia: yeah.
Jerry Eberle: iPods and something, that's just
Kevin Chase: Yeah.
Dennis Blount: Like the
Jerry Eberle: it's
Dennis Blount: skin?
Jerry Eberle: protective as
Dennis Blount: Yeah.
Jerry Eberle: well. It, it stops it, I mean, it would reduce the impact if it was dropped or something,
Kevin Chase: Yeah.
Jerry Eberle: as well, 'cause it wouldn't damage itself so easily.
Kevin Chase: Alright.
Jerry Eberle: I think
Kevin Chase: So maybe
Jerry Eberle: i maybe
Kevin Chase: the
Dennis Blount: Okay.
Jerry Eberle: a mixture of both there,
Kevin Chase: Yeah.
Jerry Eberle: maybe. Yeah.
Dennis Blount: So the actual remote would be hard plastic and
Jerry Eberle: And
Dennis Blount: the
Jerry Eberle: then
Dennis Blount: casings
Jerry Eberle: yeah.
Derrick Garcia: Yeah.
Dennis Blount: rubber.
Jerry Eberle: Yeah.
Dennis Blount: Okay. And the buttons
Kevin Chase: Yeah.
Dennis Blount: obviously are rubber.
Jerry Eberle: Yeah.
Derrick Garcia: Yeah.
Dennis Blount: Okay.
Kevin Chase: Yeah. That sounds good. I, um, is it possible to put designs onto this type of rubber?
Jerry Eberle: As far as I know. It should be.
Kevin Chase: Okay, we'll just say yeah.
Jerry Eberle: Yeah.
Kevin Chase: Yes, just why
Jerry Eberle: Yeah,
Kevin Chase: not.
Jerry Eberle: yeah.
Kevin Chase: Alright. I like the kinetic energy source idea.
Jerry Eberle: Yeah. I
Kevin Chase: Um,
Jerry Eberle: thought that was
Kevin Chase: I don't know when people will, um, be moving a remote around a lot.
Derrick Garcia: Yeah,
Kevin Chase: But
Derrick Garcia: tha
Kevin Chase: I think
Dennis Blount: Mm-hmm.
Kevin Chase: that it's worth it, kinetety, kinetic um energy source. It could
Jerry Eberle: Yeah.
Kevin Chase: make an we could have any kind of style. It wouldn't be as heavy or bulky, and
Jerry Eberle: Yeah.
Kevin Chase: Yeah. Just for environmental reasons.
Jerry Eberle: Yeah.
Dennis Blount: I guess it's a bit scary 'cause it hasn't been done before.
Jerry Eberle: Yeah.
Dennis Blount: So it seems we'd have to do more research on it. Or I dunno
Jerry Eberle: Yeah.
Dennis Blount: if you could have a battery pack.
Jerry Eberle: Like as a
Derrick Garcia: Backup.
Jerry Eberle: backup
Dennis Blount: Yeah
Derrick Garcia: Yeah.
Jerry Eberle: for
Dennis Blount: so there's
Jerry Eberle: something.
Dennis Blount: there is a one because most remotes use two batteries
Jerry Eberle: Yeah.
Dennis Blount: I believe.
Kevin Chase: Yeah.
Dennis Blount: So, if it was running off of one battery as
Derrick Garcia: That
Dennis Blount: a
Derrick Garcia: would be good yeah.
Jerry Eberle: Yeah. Some alternative just in case
Dennis Blount: Right.
Jerry Eberle: something went wrong.
Derrick Garcia: Maybe we could you were saying about um solar power ma maybe not working indoors, but a lot of calculators,
Jerry Eberle: That's true.
Derrick Garcia: yeah,
Jerry Eberle: I just thought
Derrick Garcia: have
Jerry Eberle: of that.
Derrick Garcia: solar power.
Jerry Eberle: Yeah.
Derrick Garcia: So maybe could
Jerry Eberle: Yeah.
Derrick Garcia: be incorporated
Jerry Eberle: May
Derrick Garcia: as
Jerry Eberle: maybe that could be the backup.
Derrick Garcia: Yeah.
Jerry Eberle: Instead
Kevin Chase: Yeah.
Jerry Eberle: of a battery.
Dennis Blount: Although
Jerry Eberle: Like solar
Dennis Blount: it needs
Jerry Eberle: backup.
Dennis Blount: some light, doesn't it?
Jerry Eberle: Yeah.
Derrick Garcia: Do,
Jerry Eberle: I suppose
Kevin Chase: Yeah,
Dennis Blount: So,
Derrick Garcia: do
Kevin Chase: you
Derrick Garcia: those
Jerry Eberle: s
Kevin Chase: can
Derrick Garcia: calculators
Jerry Eberle: but
Kevin Chase: watch
Jerry Eberle: some
Kevin Chase: a T_V_
Dennis Blount: if
Kevin Chase: in the dark
Dennis Blount: we're doing
Kevin Chase: then.
Derrick Garcia: yeah.
Dennis Blount: yeah. If we're
Jerry Eberle: But
Derrick Garcia: I
Jerry Eberle: thing
Derrick Garcia: don't
Jerry Eberle: is, it's
Derrick Garcia: know how
Jerry Eberle: not
Derrick Garcia: it
Jerry Eberle: you don't
Derrick Garcia: works.
Jerry Eberle: need the solar all the time. It can be stored. It can be like
Derrick Garcia: Yeah.
Jerry Eberle: you can
Dennis Blount: Yeah.
Jerry Eberle: have the solar energy and then it can store that energy and use it. It just needs to be in light for a certain
Derrick Garcia: Yeah.
Jerry Eberle: amount of time per day. Like a few
Kevin Chase: Yeah.
Jerry Eberle: hours a day.
Kevin Chase: I think that might be a little impractical though.
Dennis Blount: Yeah. I think sometimes it's just shoved under, under a cushion, and
Kevin Chase: Yeah.
Jerry Eberle: That's true. It
Derrick Garcia: Yeah.
Jerry Eberle: could
Dennis Blount: yeah.
Jerry Eberle: easily
Kevin Chase: Like people don't wanna have to worry about that.
Jerry Eberle: Yeah.
Dennis Blount: Yeah.
Kevin Chase: Yeah.
Jerry Eberle: I suppose it would be really annoying if you get to think, oh no, I forgot to charge my remote today. Like
Kevin Chase: Yeah.
Jerry Eberle: if the kinetic thing, I think what's
Derrick Garcia: Yeah.
Jerry Eberle: best about
Kevin Chase: Yeah.
Jerry Eberle: that is that it's instant energy. You don't have to, you know, you can shake it a few times, or whatever.
Kevin Chase: Yeah.
Jerry Eberle: And
Kevin Chase: Or just like
Jerry Eberle: it
Kevin Chase: pick
Jerry Eberle: works.
Kevin Chase: it up when you're gonna
Jerry Eberle: Yeah.
Derrick Garcia: Yeah,
Kevin Chase: use
Derrick Garcia: I
Kevin Chase: it.
Derrick Garcia: suppose.
Jerry Eberle: Instead of you don't have to like make sure it's in the right place to charge and.
Kevin Chase: Yeah.
Derrick Garcia: Yeah.
Kevin Chase: Alright. Cool.
Jerry Eberle: K okay.
Kevin Chase: 'S that the end of your presentation.
Jerry Eberle: Yeah.
Derrick Garcia: Yeah.
Kevin Chase: Alright. Thank you.
Jerry Eberle: There we go.
Derrick Garcia: Thanks.
Derrick Garcia: Oh.
Derrick Garcia: It's not on my screen. Why?
Jerry Eberle: it wasn't on mine either. I don't know why. I think,
Derrick Garcia: You
Jerry Eberle: I just,
Derrick Garcia: don't know
Jerry Eberle: I
Derrick Garcia: why?
Jerry Eberle: just used the mouse on there.
Derrick Garcia: Oh okay. Is it that one?
Kevin Chase: Yeah. That's
Jerry Eberle: Yeah.
Kevin Chase: um
Derrick Garcia: Um, I'm just gonna go through the interface concept with yous now. Uh, first of all I'll explain what a user interface is. It's the aspects of a computer system which can be seen or otherwise perceived, for example, heard or felt maybe, or by the human user. And it's also the commands that the user uses to control its operation and to input data. Um, there are two types of user interfaces. There's the graphical user interface, which emphasises the use of pictures for output and a pointing device, for example a mouse for input control. So that's sort of like the scroll thing we were talking about.
Kevin Chase: Oh. Okay.
Derrick Garcia: Yeah.
Kevin Chase: Yeah.
Derrick Garcia: I'm not really sure about the pictures that maybe that's on an L_C_D_ screen.
Jerry Eberle: Mm.
Derrick Garcia: Or maybe it's the the buttons or pictures or something.
Kevin Chase: Hmm.
Jerry Eberle: Yeah.
Kevin Chase: Yeah.
Derrick Garcia: Do you think
Jerry Eberle: So
Derrick Garcia: it's
Jerry Eberle: I suppose sometime
Kevin Chase: Yeah, 'cause
Jerry Eberle: after you.
Kevin Chase: I'm sorry? Um, because command interface requires you to type textual commands and input at a keyboard, so the numbers are sort of like a keyboard.
Derrick Garcia: Yeah.
Kevin Chase: You're pressing the numbers
Derrick Garcia: Yeah.
Kevin Chase: for,
Jerry Eberle: Mm.
Kevin Chase: um,
Derrick Garcia: So you must,
Kevin Chase: for what you want.
Derrick Garcia: for the graphical user you must need some kind of presentation for the graphics. Like an
Jerry Eberle: I
Derrick Garcia: L_C_D_
Jerry Eberle: s I
Derrick Garcia: screen.
Jerry Eberle: suppose where um mm on some buttons you would have like the power would be s some kind of symbol.
Derrick Garcia: Yeah.
Jerry Eberle: And if you wanted to go onto teletext or, I know we're not having that, but
Derrick Garcia: Yeah.
Jerry Eberle: I mean a similar thing, you, they have there's a like little picture with a screen with lines across it, which
Derrick Garcia: Yeah.
Jerry Eberle: I suppose it's that sort of thing like the,
Derrick Garcia: Yeah.
Jerry Eberle: the symbol on the button. But if we're having a simplified display anyway, w that, we
Kevin Chase: Yeah,
Jerry Eberle: probably
Kevin Chase: we'll be
Jerry Eberle: won't
Kevin Chase: doing
Jerry Eberle: have to focus so much on that. It'll be more the on the numbers
Derrick Garcia: Yeah.
Jerry Eberle: and the
Kevin Chase: Yeah.
Jerry Eberle: volume.
Kevin Chase: It'd be more a command interface,
Derrick Garcia: Yeah.
Kevin Chase: and
Jerry Eberle: I suppose
Kevin Chase: then
Jerry Eberle: we need to think of symbols for like the volume, display, and
Kevin Chase: Yeah.
Jerry Eberle: stuff like that.
Dennis Blount: So it's just draf graphical for the pointing aspect? The infrared
Jerry Eberle: I
Dennis Blount: is like, that's considered a
Kevin Chase: Hmm?
Derrick Garcia: No I think it's to do with the actual symbols that are on the, that's on the buttons of the remote control, and
Dennis Blount: Okay. So when it says
Derrick Garcia: per
Dennis Blount: pointing
Jerry Eberle: For inp
Dennis Blount: device that doesn't include
Derrick Garcia: Well it could be a wee scroller thing, and something could come up on the screen.
Kevin Chase: Yeah. I think they're talking about L_C_D_ type things.
Jerry Eberle: Mm.
Dennis Blount: Okay.
Derrick Garcia: Yeah.
Dennis Blount: Okay.
Kevin Chase: Yeah.
Derrick Garcia: But um I think we're gonna go with the command interface anyway, to make
Kevin Chase: Yeah.
Derrick Garcia: it more simplistic.
Dennis Blount: Mm-hmm.
Derrick Garcia: But the, we could incorporate some of the graphical user um points, as in just to make it m um nicer to look at maybe.
Kevin Chase: What do you mean?
Derrick Garcia: Like I can't think of an example, but Sort of like little pictures rather than
Kevin Chase: Oh yeah, like
Derrick Garcia: Like
Kevin Chase: how
Derrick Garcia: a little
Kevin Chase: the buttons
Derrick Garcia: sound. Instead of saying volume, like a little speaker or something.
Kevin Chase: Yeah,
Derrick Garcia: Yeah,
Dennis Blount: Mm.
Kevin Chase: as
Derrick Garcia: something
Kevin Chase: a button though.
Derrick Garcia: y
Kevin Chase: So, it's a keyboard in the shape of it,
Derrick Garcia: Yeah
Kevin Chase: right?
Derrick Garcia: m perha yeah.
Kevin Chase: Okay.
Derrick Garcia: Yeah. Maybe.
Kevin Chase: Yeah. I like that idea.
Derrick Garcia: Um, the co uh we've decided that the command interface would be the most useful for a remote control. As it would be less complicated, and the controls would be more user-friendly. Um, the remote control would be cheaper to design, so that we'd have more money in the budget to, um, target the design area of the interface. You know, make it more trendy and original. We'll have more money if we keep it simple.
Kevin Chase: Yeah. I'm sure i like kinetic energy would probably dip into the budget.
Derrick Garcia: Yeah.
Jerry Eberle: Yeah.
Kevin Chase: A bit more too,
Derrick Garcia: Seeing
Kevin Chase: yeah.
Derrick Garcia: as it's quite a new technology. Um We, we also have to keep in mind when we're designing our, um, more user-friendly remote control, that a lot of interfaces consist of a clutter of buttons, that, um, that their functions, colours and forms aren't always helpful.
Jerry Eberle: Yeah. That's true.
Derrick Garcia: Yeah.
Jerry Eberle: That's in like the buttons with all the different like colours for different choices and things.
Derrick Garcia: Yeah.
Jerry Eberle: It can be a bit, yeah, overwhelming.
Derrick Garcia: And that all interfaces are different. So, um, that doesn't improve the use of the produ product, so we need to come up with something that's easy to understand. And maybe learn from the mistakes of other interfaces that can be too complicated for people to use.
Kevin Chase: Mm-hmm.
Jerry Eberle: Yep.
Derrick Garcia: Does anyone have any questions?
Kevin Chase: Do you think that we should keep all the buttons to one same colour, just to keep it, give it a simplistic look.
Derrick Garcia: Mm.
Dennis Blount: I think if we go with the um design plate thing, we'll have to. Just because of colour clashing, and
Kevin Chase: Yeah.
Dennis Blount: if we
Kevin Chase: Yeah.
Dennis Blount: wanted to, so and, and we might, I mean, depending on what comes out of the design, we might have to stick to just black buttons.
Derrick Garcia: But um
Kevin Chase: But what about the lighting up effect?
Dennis Blount: You mean different colours for the lighting or
Kevin Chase: Um, well, um, I thought we had um decided that we would if you touched one of the buttons they'd all light up. And
Dennis Blount: Mm-hmm.
Kevin Chase: so if they were black, it wouldn't be possible for them to light up.
Dennis Blount: Oh I see what you're saying. Well y
Kevin Chase: If they were white they would glow, probably. If they were made out of rubber.
Dennis Blount: Oh so you're picturing the light is coming from the back. I kinda pictured it as kind of coming from the sides and lighting it up frontwards.
Jerry Eberle: Oh.
Dennis Blount: But,
Kevin Chase: Oh. Where
Dennis Blount: but
Kevin Chase: would the
Dennis Blount: I guess,
Kevin Chase: light
Dennis Blount: you
Kevin Chase: come
Dennis Blount: mean from
Kevin Chase: from?
Dennis Blount: the back. Okay.
Jerry Eberle: I'd assume, like, an internal light,
Dennis Blount: Okay.
Kevin Chase: Yeah.
Derrick Garcia: Yeah.
Jerry Eberle: that comes through. So there would have to, have to be some parts maybe transparent around
Dennis Blount: Right.
Jerry Eberle: the buttons,
Kevin Chase: Yeah,
Jerry Eberle: or something.
Kevin Chase: and well rubber is a more translucent
Jerry Eberle: Yeah, yeah.
Kevin Chase: product too, so
Dennis Blount: Mm-hmm.
Jerry Eberle: It should be able
Kevin Chase: we
Jerry Eberle: to
Kevin Chase: have that taken care of.
Jerry Eberle: mm-hmm.
Derrick Garcia: In the phone that I was thinking of as well, when you change the um covers of it, the, the little buttons that actually, you know, that contro
Jerry Eberle: Li yeah.
Derrick Garcia: control stuff, are behind the rubber. So you can change the buttons when you're changing the faces. Do
Dennis Blount: Oh.
Derrick Garcia: you know what I mean?
Dennis Blount: Yeah.
Kevin Chase: Oh.
Derrick Garcia: 'Cause
Dennis Blount: They,
Derrick Garcia: it's
Dennis Blount: they
Derrick Garcia: just
Dennis Blount: insert
Derrick Garcia: the wee control,
Dennis Blount: over.
Derrick Garcia: yeah,
Dennis Blount: Okay.
Derrick Garcia: thing that's behind it. So
Kevin Chase: Mm.
Derrick Garcia: I mean, we don't have to decide on one colour. Each face could have its own colour of buttons maybe?
Jerry Eberle: Mm-hmm.
Kevin Chase: Well, if they're raised up buttons.
Derrick Garcia: Yeah.
Kevin Chase: So that you can feel them. We were talking about it being more um, a
Dennis Blount: T
Kevin Chase: lot more tangible. Um, it might be more difficult to do.
Derrick Garcia: Yeah.
Kevin Chase: If they're, if they're sticking up. If it's flat then, like o like on a cellphone or a mobile phone, it's like all very flat, and you just have to sort of press down on these tiny little buttons, but
Derrick Garcia: Yeah.
Kevin Chase: Yeah.
Jerry Eberle: I think it would be possible. I don't think it would make that much difference. I mean, the uh the dimensions of it. 'Cause if it's just like constructed in the same way as like the front cover of a mobile phone. You can like take off the hard cover and then there's the like say the buttons. And then you get to the circuit. I don't think it would matter that the buttons were bigger through the, the top casing. I'm sure you could f work it out to fit in the casing, without
Kevin Chase: Yeah.
Jerry Eberle: causing too much difficulty. I'm sure
Kevin Chase: Okay.
Derrick Garcia: Yeah.
Jerry Eberle: that'd be fine.
Kevin Chase: Alright. If it's do-able we can do. Yeah, sounds good to Dennis Blount.
Derrick Garcia: So that's everything, then?
Jerry Eberle: Okay.
Kevin Chase: Alright, thank you.
Dennis Blount: Okay is that my turn then?
Derrick Garcia: Yeah.
Dennis Blount: Alright. I have a shorter report for you today. Um, it took a while to get this, uh Uh.
Jerry Eberle: You're not plugged in yet.
Dennis Blount: Oh. That's a very good point.
Dennis Blount: Okay, so um, this report is about uh trend-watching. Um, basically so we can live up to our, our uh purpose of having a very fashionable remote control. Sorry. There we go. Um So, just so you know, my method was mainly web web-based research this time around. I also spoke with fashion experts in Milan, New York and Paris. And I looked at the design reports from previous years, here at Real Remote. Um, just so c we can work off of them, see how fashions have changed. Um, so I'll list the three most important aspects that I've come across. Um, and they, they're each more important than the one that comes after it. Uh, the first one is that there should be a fancy look-and-feel, instead of the current functional look-and-feel. Um, this should be our priority, as we've been saying. The second most important aspect is that a remote sh that the remote control should be technologically innovative. So, I think we've done a lot of talking about that, just with lighting and the buttons and the face-plates. Um, so it looks like we'll be able to keep on track with that. And the third most important aspect is that the remote control should be easy to use. So, pretty basic there. And the recent fashion update, uh, according to fashion-watchers in Paris and Milan, is that fruit and vegetables will be the most important theme for clothes, shoes and furniture. Um, also, in contra uh in contrast to last year, the feel of the material is expected to be spongy. Again, we've already discussed that with rubber versus hard plastic buttons. Um So, my personal preferences here, um of course, as we, we've already talked about the personal face-plates in this meeting, and I'd like to stick to that. The fruits and vegetable themes, I don't know if that's going to work for us. It sounds something that you'd use on kitchenware. I don't
Jerry Eberle: Mm.
Dennis Blount: know if we wanna do it on remotes. It could be one of the options. Maybe
Kevin Chase: Mm-hmm.
Dennis Blount: for the television that people have in their kitchen. Um, the temporary light-up idea, sounds like we're gonna stick to that. And then, uh, tying in a trendy look with user-friendliness.
Kevin Chase: Yeah. Yeah, it's the fruits and vegetables is the only area that I find rather jarring.
Dennis Blount: Mm-hmm.
Kevin Chase: Everything
Jerry Eberle: It
Kevin Chase: else
Jerry Eberle: is
Kevin Chase: we
Jerry Eberle: strange.
Kevin Chase: can really, we can really um, do, according to our plans already, given the market. But fruits and vegetables seems a very strange
Dennis Blount: It's,
Kevin Chase: idea
Dennis Blount: it's
Kevin Chase: for
Dennis Blount: a little
Kevin Chase: a remote
Derrick Garcia: Yeah.
Kevin Chase: control.
Jerry Eberle: Well
Dennis Blount: but it, it's everywhere. So maybe
Kevin Chase: Yeah.
Dennis Blount: we I've seen a lot of purses with olives on them, you know. But
Kevin Chase: Yeah.
Dennis Blount: I I think, I think if we stick to T_V_ based, you know, maybe T_V_ shows, or
Derrick Garcia: Yeah.
Dennis Blount: Or
Kevin Chase: But they
Dennis Blount: colour
Kevin Chase: still
Dennis Blount: schemes.
Kevin Chase: need to
Jerry Eberle: We
Kevin Chase: um fit into people's decor though.
Dennis Blount: Right.
Jerry Eberle: I think we possibly could take a more abstract design. Like look at the basic shapes of different fruits and vegetables. And then just really like strip it down to like really basic shapes. I mean we don't have to make something in the shape of a strawberry, but it could have the curves of a strawberry,
Dennis Blount: Yeah.
Jerry Eberle: or something.
Dennis Blount: The
Derrick Garcia: Yeah,
Jerry Eberle: Or a strawberry seed
Derrick Garcia: yeah.
Jerry Eberle: or
Dennis Blount: The
Jerry Eberle: a leaf.
Dennis Blount: essence of strawberry.
Jerry Eberle: Or just
Kevin Chase: Yeah.
Jerry Eberle: like
Dennis Blount: Yeah.
Jerry Eberle: you know really make it a quite abstract, if that's fits in more with what we're doing. Instead
Derrick Garcia: Yeah.
Jerry Eberle: of fruits and vegetables, just
Kevin Chase: Yeah.
Jerry Eberle: if you look at it straightforward, it's a bit yeah. It doesn't s quite fit in with the trendy well, obviously it does, if that's the current
Kevin Chase: Yeah.
Jerry Eberle: theme. But may maybe we could go more directly, I don't know.
Kevin Chase: Yeah.
Jerry Eberle: But initially, I dunno. I think if we just sort of tone it down a bit.
Kevin Chase: Tone
Dennis Blount: I guess,
Kevin Chase: it down.
Jerry Eberle: Yeah
Kevin Chase: Yeah,
Derrick Garcia: Yeah.
Dennis Blount: yeah.
Kevin Chase: like more
Jerry Eberle: and
Kevin Chase: like
Jerry Eberle: like not,
Kevin Chase: photos
Jerry Eberle: not
Kevin Chase: of fruit,
Jerry Eberle: yeah.
Kevin Chase: on,
Derrick Garcia: Or
Kevin Chase: on our product.
Derrick Garcia: banana-shaped.
Dennis Blount: One thing I was thinking though is I dunno if you all remember from our kickoff meeting, we talked about our favourite animals.
Derrick Garcia: Yeah.
Dennis Blount: So maybe there could be animal-based, you know. Because a lot of people have a house cat. Or, or a dog.
Jerry Eberle: Mm.
Dennis Blount: Um, that might be getting, you know, too specific, and we should see what the success of the first face-plates are. But it's something to keep in mind.
Kevin Chase: Mm-hmm.
Dennis Blount: And, did you have any questions? Pretty straightforward?
Jerry Eberle: Yeah.
Kevin Chase: Yeah um
Dennis Blount: Okay.
Kevin Chase: Alright, given that information, we need to start making some more specific decisions. So I'll need to um hook up the PowerPoint again.
Dennis Blount: There you go.
Dennis Blount: Have you guys been saving your PowerPoint presentations to the
Jerry Eberle: I didn't for the first one.
Dennis Blount: okay.
Jerry Eberle: But I have now.
Kevin Chase: But it's still around right?
Jerry Eberle: Yeah.
Kevin Chase: Okay.
Jerry Eberle: Uh,
Derrick Garcia: Where
Jerry Eberle: hopefully.
Derrick Garcia: do you have to save it to?
Jerry Eberle: Project documents I think.
Derrick Garcia: Okay.
Kevin Chase: Okay. I'm just trying to make this pop up now.
Kevin Chase: Alright. Here we go. Okay so we have to uh decide now exactly what we are going to do. So
Jerry Eberle: Okay.
Kevin Chase: energy, we oh.
Jerry Eberle: 'Kay.
Kevin Chase: Oh no I can't write it in when it's in this setting. Does anyone know how to take it out of Um,
Derrick Garcia: Just
Dennis Blount: The PowerPoint?
Derrick Garcia: escape
Kevin Chase: yeah.
Derrick Garcia: I think.
Kevin Chase: Yeah. Okay. Um, so back to decisions. Energy, we've decided on kinetic,
Jerry Eberle: Kinetic
Kevin Chase: right?
Derrick Garcia: Yeah.
Jerry Eberle: yeah.
Kevin Chase: Okay, so that's good.
Jerry Eberle: Are we going to have a backup?
Kevin Chase: Hmm.
Jerry Eberle: Or do we just
Kevin Chase: But would a backup really be necessary? I mean will people just use the battery if there's no, if there's,
Jerry Eberle: I think maybe
Kevin Chase: if there is backup.
Jerry Eberle: we could just go for the kinetic energy, and be bold and innovative, and
Kevin Chase: Yeah.
Jerry Eberle: hope this works, and well hope that it works.
Kevin Chase: Yeah.
Jerry Eberle: I think yeah.
Kevin Chase: There's
Jerry Eberle: I think
Kevin Chase: like no reason why it wouldn't work,
Jerry Eberle: no.
Kevin Chase: right?
Dennis Blount: So
Jerry Eberle: I, I think we should just like take uh advantage of like using this to its full potential.
Kevin Chase: Yeah. It
Jerry Eberle: Go
Kevin Chase: could even
Jerry Eberle: for
Kevin Chase: be
Jerry Eberle: it.
Kevin Chase: one of our selling points.
Jerry Eberle: It could
Derrick Garcia: Yeah.
Jerry Eberle: be fully
Kevin Chase: Yeah.
Jerry Eberle: kinetic energy.
Kevin Chase: Yeah.
Jerry Eberle: Yeah.
Kevin Chase: Environmentally conscious
Jerry Eberle: Is
Kevin Chase: or something.
Dennis Blount: So
Jerry Eberle: everyone
Dennis Blount: if it's
Jerry Eberle: happy
Dennis Blount: not working
Jerry Eberle: with that?
Dennis Blount: they just have to shake it a bit and that revitalises
Kevin Chase: Yeah.
Dennis Blount: it?
Jerry Eberle: Yeah.
Dennis Blount: Okay.
Derrick Garcia: Hope so.
Kevin Chase: Alright, the next um decision is chip on print. I don't exactly know what that means.
Jerry Eberle: Um, it was whether we went for the simple, the regular, or the advanced chip. And that linked in with what buttons we would gonna have, so
Kevin Chase: Right, and we were going for more simplistic style, right?
Jerry Eberle: Yeah, it
Derrick Garcia: Yeah.
Jerry Eberle: was so that was without the L_C_D_. So that means we're not
Kevin Chase: Yeah.
Jerry Eberle: doing the advanced. So it depends on whether we wanted the scroll buttons or just the push buttons.
Kevin Chase: I think we decided on the pushbuttons, right?
Derrick Garcia: Yeah. I
Jerry Eberle: Uh,
Derrick Garcia: don
Jerry Eberle: so that's
Dennis Blount: Mm-hmm.
Derrick Garcia: yeah.
Jerry Eberle: the simple.
Kevin Chase: Yeah. Would we need a more advanced one for uh the lighting, the interior lighting system?
Jerry Eberle: Yeah possibly. So, it's
Kevin Chase: Yeah?
Jerry Eberle: probably gonna be the regular chip that we're going to need. So it's a
Kevin Chase: Okay.
Jerry Eberle: medium. So regular
Kevin Chase: That's called
Jerry Eberle: chip.
Kevin Chase: medium, or regular?
Jerry Eberle: Regular sorry.
Kevin Chase: 'Kay.
Jerry Eberle: Regular chip.
Dennis Blount: Oh, is regular not simple?
Derrick Garcia: Yeah.
Jerry Eberle: Lighting. Yeah
Derrick Garcia: It's for
Jerry Eberle: if
Derrick Garcia: the lighting,
Jerry Eberle: we
Derrick Garcia: yeah.
Jerry Eberle: because of the lighting that we've decided to put
Dennis Blount: Right
Jerry Eberle: in as
Dennis Blount: right
Jerry Eberle: well.
Dennis Blount: right.
Kevin Chase: Okay, and cases. Um,
Jerry Eberle: So
Kevin Chase: does
Jerry Eberle: th
Kevin Chase: this, is this dependent on shape, or what it's made of, or what?
Jerry Eberle: I think this is just like gonna be the a very outer case, which we will decide on rubber.
Derrick Garcia: Yeah.
Kevin Chase: Yeah. Well, I guess plastic and
Jerry Eberle: Rubber.
Kevin Chase: coated
Derrick Garcia: Yeah
Kevin Chase: in rubber.
Jerry Eberle: Yeah.
Kevin Chase: Plastic
Jerry Eberle: Plastic
Derrick Garcia: plastic
Jerry Eberle: rubber
Derrick Garcia: coat.
Jerry Eberle: coat.
Kevin Chase: with rubber coating and interchangeable
Jerry Eberle: Interchangeable,
Kevin Chase: um
Jerry Eberle: yeah. Still going for that.
Kevin Chase: yeah, interchangeable
Jerry Eberle: Yeah.
Kevin Chase: plates. Okay. User interface concept. This is your time to shine.
Derrick Garcia: We decided on the component. I, I I'm sorry, I've lost my um PowerPoint
Jerry Eberle: Your screen?
Derrick Garcia: thing, so I can't remember what it's
Dennis Blount: Think
Derrick Garcia: ca
Dennis Blount: it was
Derrick Garcia: it's
Dennis Blount: called
Derrick Garcia: the
Dennis Blount: command
Derrick Garcia: component
Dennis Blount: interface.
Jerry Eberle: Was it
Kevin Chase: Oh, yeah. Yeah.
Dennis Blount: Command interface,
Derrick Garcia: The command
Kevin Chase: Command
Derrick Garcia: inter
Kevin Chase: interface.
Jerry Eberle: Ouch.
Derrick Garcia: The command line interface yeah.
Kevin Chase: Did you say command line?
Derrick Garcia: Yeah.
Kevin Chase: Okay. Line interface. Alright, and supplements. What's that all about?
Derrick Garcia: Um, I think that is well we haven't really made any decisions about what we're gonna do about the cluster of button functions, colours and forms, in the in consistent use Like. what what are ideas to combat these problems?
Kevin Chase: Um
Derrick Garcia: You know how um different interfaces are very different, and can be confusing because because of their difference, and because of
Kevin Chase: Mm-hmm.
Derrick Garcia: the different clusters of buttons that they have. We haven't really decided what to do about that.
Kevin Chase: Um, what are our choices here?
Derrick Garcia: Well it's just um w where where shall we locate the buttons. What kind of functions wi shall we have?
Kevin Chase: You mean like we'll have the numbers of the channels, and we'll have
Jerry Eberle: The power.
Kevin Chase: the channel-changer, and volume,
Jerry Eberle: Volume.
Kevin Chase: and power?
Dennis Blount: Mm-hmm.
Derrick Garcia: So pretty
Kevin Chase: Um
Derrick Garcia: just just the basic
Kevin Chase: Yeah.
Derrick Garcia: button
Kevin Chase: Like I
Derrick Garcia: functions.
Kevin Chase: don't know if we should go into like adjusting light levels, things like that, because different televisions will have
Jerry Eberle: May yeah. Tone, contrast,
Kevin Chase: Um,
Jerry Eberle: and things.
Kevin Chase: yeah.
Jerry Eberle: That's a bit
Dennis Blount: That was on, um one of my presentations. About how often it was used. Do you remember that?
Jerry Eberle: Yeah, it
Kevin Chase: Yep.
Jerry Eberle: was minima well,
Derrick Garcia: Yeah.
Jerry Eberle: it wasn't
Kevin Chase: Yeah,
Jerry Eberle: the
Kevin Chase: it was
Jerry Eberle: l
Kevin Chase: hardly ever used
Dennis Blount: I w
Kevin Chase: really.
Dennis Blount: Should I bring it up?
Kevin Chase: Yeah.
Jerry Eberle: Yeah. That
Kevin Chase: And
Jerry Eberle: would
Kevin Chase: most televisions
Jerry Eberle: be good.
Kevin Chase: will come with a remote.
Jerry Eberle: Yeah, and surely that would be like quite specific to
Derrick Garcia: Yeah,
Jerry Eberle: the
Derrick Garcia: each
Jerry Eberle: individual
Kevin Chase: Yeah.
Derrick Garcia: television.
Jerry Eberle: television, so
Kevin Chase: 'Kay, well we know we want numbers.
Dennis Blount: The ch t Screen settings was used um zero point five times an hour. So tw twice every once every two hours. Um, and it was considered a one point five relevance, on a scale of ten. That's brightness, colour, tone,
Jerry Eberle: Mm.
Dennis Blount: all that.
Derrick Garcia: You don't change
Jerry Eberle: I think most
Derrick Garcia: that
Jerry Eberle: of that comes
Derrick Garcia: often,
Jerry Eberle: like on the
Derrick Garcia: yeah.
Jerry Eberle: i individual television set itself, doesn't it? I'm sure it has
Dennis Blount: Mm-hmm.
Kevin Chase: Yeah, it
Jerry Eberle: its
Kevin Chase: does.
Jerry Eberle: own buttons, so you don't necessarily need to have it on remote.
Kevin Chase: Yeah, and
Derrick Garcia: Yeah.
Kevin Chase: different televisions. Like we, I don't know if we can make a remote that would be universal to all the different kinds
Jerry Eberle: Yeah.
Kevin Chase: of
Jerry Eberle: So
Kevin Chase: changes
Jerry Eberle: we're just going
Kevin Chase: like that.
Jerry Eberle: for power, channels,
Kevin Chase: Volume.
Jerry Eberle: volume,
Dennis Blount: The other one was audio settings. Mono, stereo, pitch. I mean I sometimes use that. Some T_V_s will have the option of like living room style, movie style,
Derrick Garcia: Yeah.
Dennis Blount: um and that, they say that's used zero point eight times an hour, which is actually somewhat high. Like
Jerry Eberle: Mm.
Dennis Blount: almost once an hour.
Kevin Chase: Yeah.
Dennis Blount: Um, relevance of two.
Kevin Chase: Oh. We have five minutes to finish our meeting. Crap. Okay, um, let's do this fast. Um
Dennis Blount: Well that didn't some up on mine.
Kevin Chase: Should we have audio? It only comes up on mine usually.
Derrick Garcia: It w it
Dennis Blount: Oh.
Derrick Garcia: would seem silly if we'd having anything else, just have an audio button though. Do you know?
Kevin Chase: Yeah, I don't, I it's, it's a problem with the international uh appeal, I think. Um, if we have audio because we don't know how other televisions work.
Derrick Garcia: But
Kevin Chase: But we
Derrick Garcia: we
Kevin Chase: know that everyone has this and it's the same.
Dennis Blount: Yeah I guess
Jerry Eberle: I've
Dennis Blount: that it affects the marketing, 'cause it, mm it is a good sales ploy to say, aren't you annoyed with remote controls that have all these buttons.
Derrick Garcia: Yeah.
Dennis Blount: This one has channel, volume
Jerry Eberle: Yeah, that's it.
Dennis Blount: and your
Derrick Garcia: That
Dennis Blount: channe
Jerry Eberle: We
Derrick Garcia: could
Jerry Eberle: can
Derrick Garcia: be
Jerry Eberle: just
Dennis Blount: and
Derrick Garcia: a
Jerry Eberle: go
Dennis Blount: your
Derrick Garcia: sales
Dennis Blount: power.
Jerry Eberle: for,
Kevin Chase: Yeah.
Jerry Eberle: make
Derrick Garcia: pitch.
Jerry Eberle: it a
Dennis Blount: Yeah.
Jerry Eberle: selling point that it is just
Derrick Garcia: Simple
Jerry Eberle: the basic.
Kevin Chase: Yeah.
Derrick Garcia: and
Jerry Eberle: Yeah uh I
Dennis Blount: Okay.
Kevin Chase: Alright.
Derrick Garcia: Yeah.
Jerry Eberle: brilliant.
Kevin Chase: Good. And, okay, in closing, 'cause we only have five minutes. We'll be meeting again in thirty minutes. Um, you'll be working, Poppy will be working on the look-and-feel design. Wait a minute. Is that right?
Jerry Eberle: Mm-hmm.
Kevin Chase: Yep, and um the user interface design, so this is where the trendy stuff comes in. And you'll be evaluating the product. Um, Poppy and Tara will have to work together, using modelling clay. And, um, your personal coach will give you the rest of the information of what needs to happen.
Jerry Eberle: Okay.
Kevin Chase: Alright. So, anyone else have something to say?
Jerry Eberle: Um, I just have one question about
Kevin Chase: Yeah.
Jerry Eberle: the whole fruit and vegetable aspect.
Kevin Chase: Yeah.
Dennis Blount: Mm-hmm.
Jerry Eberle: Are we seeing as that was the most popular thing that came up out of your market research, I thi I think we should keep to that rather than moving to animals or something, because
Dennis Blount: Yeah.
Kevin Chase: Yeah.
Jerry Eberle: even if that may not seem obvious to us, if that's what the surveys brought out, I think that we should probably go along with that.
Kevin Chase: Yeah.
Jerry Eberle: Um, so I suppose that'll come out in our dev design development. But you're happy to go ahead with the fruit and
Dennis Blount: Now
Jerry Eberle: veg?
Dennis Blount: do you guys need want an idea of how many uh are you gonna come up with casing ideas? Like f
Jerry Eberle: Y
Dennis Blount: five different
Derrick Garcia: Yeah.
Jerry Eberle: Yeah.
Derrick Garcia: What I
Kevin Chase: five.
Derrick Garcia: What I was thinking what do yous think of this? Um, having the numbers kind of like, not a bunch of grapes, but you know like purple and kind of in a triangle.
Dennis Blount: Mm-hmm.
Derrick Garcia: Like grapes.
Dennis Blount: Yeah you
Derrick Garcia: Like
Dennis Blount: can have
Derrick Garcia: that's
Dennis Blount: some fun
Derrick Garcia: kind
Dennis Blount: with
Derrick Garcia: of
Dennis Blount: the buttons, it's
Derrick Garcia: fruity
Dennis Blount: true.
Kevin Chase: Mm-hmm.
Derrick Garcia: or something. That's
Dennis Blount: Yeah.
Derrick Garcia: just
Jerry Eberle: We can have a look at those ideas, yeah.
Kevin Chase: Yeah.
Dennis Blount: I guess what you i ideally you'd kind of think of age markets as well. So it's
Jerry Eberle: Yeah.
Dennis Blount: a something that will, you know, appeal to the fifteen to twenty five year olds. Something that your granny would want on her remote control. Um,
Jerry Eberle: Yeah.
Kevin Chase: Yeah.
Dennis Blount: and international tastes as well, so
Jerry Eberle: Tricky.
Dennis Blount: Not easy.
Jerry Eberle: A lot
Kevin Chase: Yeah.
Jerry Eberle: of things to consider.
Derrick Garcia: Yeah.
Kevin Chase: Lots
Jerry Eberle: Hm.
Kevin Chase: of yeah. Alright.
Jerry Eberle: Okay.
Kevin Chase: 'Kay we'll stick to the fruit and veggie theme then. Alright. And, um, we'll reconvene in thirty minutes.
Jerry Eberle: Okay.
Derrick Garcia: Okay.
Kevin Chase: 'Kay.
Dennis Blount: Okay.
Kevin Chase: Bye.
Jerry Eberle: Thank you.
Kevin Chase: I'll see you later. Oh, what did I just do. Okay. | Kevin Chase opens this conceptual design meeting and gives them the agenda. Jerry Eberle presents first and talks about the components of a remote, energy source options, and materials for the remote, case, and buttons. The interface specialist presents the interface concept by explaining the difference between graphical and command interface. They decide the command interface is most useful for a remote because it is simpler and more user-friendly. The group discusses aspects of the user interface including the lighting up effect and material of the buttons. Dennis Blount presents on trend-watching and talks about how fruit and vegetables are an important fashion theme this year, and says the material used is expected to be spongy. The group discusses how they could implement these fashion trends into the design, then finalizes a few decisions about the components, materials, and energy sources. Kevin Chase closes the meeting, stating what each member's next task will be. | 5 | amisum | train |
Brian Gardner: Okay. Here we go. Alright, the agenda thi oh. Alright. Um the agenda for this meeting is um we'll initially have the prototype presentation by our two designers. And then we will evaluate it, given the criteria that um that we gave gave it. And um talk about our finances, whether we were under or over our budget. I have a um a spreadsheet where we can calculate um our prices for every aspect of of what we've made, given our options. And um product, as a group
Kevin Gianotti: Okay.
Brian Gardner: And um So first we'll have the prototype presentation. Do you need the um PowerPoint for
Kevin Gianotti: Um
Brian Gardner: this?
Kevin Gianotti: yeah. I just got a few,
Brian Gardner: Alright.
Kevin Gianotti: show them. Thank you.
Kevin Gianotti: Do you want to present it?
Thomas Hanson: Um
Kevin Gianotti: Yeah, here we are.
Thomas Hanson: This is what we came up with. It's a pretty simple design. It's um based on a mango? Yeah. And
Brian Gardner: On?
Kevin Gianotti: Mango
Thomas Hanson: we
Brian Gardner: A
Kevin Gianotti: shape.
Brian Gardner: mango. Okay.
Thomas Hanson: Yeah. And we have the company logo here and this will be the infrared
Kevin Gianotti: The
Thomas Hanson: here
Kevin Gianotti: L_E_D_.
Thomas Hanson: and this'll be the power point, the on off button
Brian Gardner: Oh. Okay.
Thomas Hanson: kind yeah.
John Brooks: I'm sorry. What was the where's
Brian Gardner: Oops.
John Brooks: the L_E_D_?
Thomas Hanson: It's in the middle of one of the little R_s.
John Brooks: Oh. Okay.
Thomas Hanson: And then the other one is the power. And uh we just have a simple design. We wanted it all to be
Kevin Gianotti: So it's palm-held.
Thomas Hanson: thumb yeah palm-held
Kevin Gianotti: Yeah.
Thomas Hanson: and
Brian Gardner: Yeah.
Thomas Hanson: all the buttons are accessible from your thumb.
Brian Gardner: Notice
Thomas Hanson: So
Brian Gardner: you have
Thomas Hanson: you
Brian Gardner: a number
Thomas Hanson: don't have
Brian Gardner: ten
Thomas Hanson: to
Brian Gardner: button.
Thomas Hanson: Oh that was a mistake, wasn't it? Right
Kevin Gianotti: You
Thomas Hanson: no,
Kevin Gianotti: just need the
Thomas Hanson: that's
Kevin Gianotti: nought.
Thomas Hanson: a zero. Take that one off.
Brian Gardner: Okay.
Thomas Hanson: Sorry. I was in charge of the numbers.
Brian Gardner: No problem. Ah.
Thomas Hanson: And this is just if you've got like eleven or twelve or thirt the plus.
Kevin Gianotti: So one plus
Thomas Hanson: You can
Kevin Gianotti: one
Thomas Hanson: go
Kevin Gianotti: would be
Thomas Hanson: one,
Kevin Gianotti: eleven, or
Thomas Hanson: three or something.
Brian Gardner: Oh.
Thomas Hanson: You
Brian Gardner: You
Thomas Hanson: press
Brian Gardner: press
Thomas Hanson: that
Brian Gardner: a plus
Thomas Hanson: first
Brian Gardner: button?
Thomas Hanson: and then you go one three yeah.
Brian Gardner: Oh okay. I've never heard of that kind before.
Thomas Hanson: Well we just thought, we have all the numbers here, so we wanted something representative of numbers larger than ten and
Kevin Gianotti: Yeah
Brian Gardner: Yeah.
Kevin Gianotti: because if you on your average um remote, if you press one twice you just go to or uh say you wanted channel twelve, you
Brian Gardner: Yeah.
Kevin Gianotti: one, and go to one then two you'd go to, instead of
John Brooks: Oh,
Kevin Gianotti: twelve
John Brooks: there's no e okay.
Kevin Gianotti: So if you did
Thomas Hanson: So
Brian Gardner: Oh.
Kevin Gianotti: like
Thomas Hanson: the plus
Kevin Gianotti: one plus
Thomas Hanson: and
Kevin Gianotti: two
Thomas Hanson: then yeah.
Kevin Gianotti: you could go to channel
Brian Gardner: I
John Brooks: Okay.
Kevin Gianotti: twelve, or two plus
Brian Gardner: But
Kevin Gianotti: two is channel twenty
Brian Gardner: Would
Kevin Gianotti: two.
Brian Gardner: you have to go zero plus one if you wanted to go to channel one or two?
Thomas Hanson: No no, th all that's why we have all these numbers. These numbers um these numbers all work independently up to nine.
Brian Gardner: Yeah but I mean if you press, it'll go to that channel right away.
Thomas Hanson: Yeah.
Brian Gardner: 'Cause you gotta press the plus afterwards.
Thomas Hanson: Oh no. Uh, the plus is only for if you're going past the number nine.
Brian Gardner: Yeah I know, but if if I wanna go to say number
John Brooks: Sixty.
Brian Gardner: like sixty five, channel sixty five, if
Thomas Hanson: You
Brian Gardner: I press
Thomas Hanson: p
Brian Gardner: the six it'll go to channel six, and then I'll
Thomas Hanson: Oh.
Brian Gardner: press the plus, and then it'll go to six and then put the five and it'll go to
Thomas Hanson: No
Brian Gardner: sixty
Thomas Hanson: you press
Brian Gardner: five?
Thomas Hanson: the plus first. I
Kevin Gianotti: Oh.
Thomas Hanson: I well it doesn't we haven't really s I would've thought you pressed the plus first and then the six five, but she says plus press
Kevin Gianotti: Well I don't
Thomas Hanson: which
Kevin Gianotti: mind, we
Thomas Hanson: what
Kevin Gianotti: can
Thomas Hanson: do you
Kevin Gianotti: further
Thomas Hanson: think
Kevin Gianotti: define
Thomas Hanson: is
Kevin Gianotti: that.
Brian Gardner: I
Thomas Hanson: simpler?
Brian Gardner: th
Thomas Hanson: It's
Brian Gardner: Um
Thomas Hanson: a
Kevin Gianotti: I wouldn't have thought it'd be a problem that it went to channel six first,
Thomas Hanson: Yeah.
Kevin Gianotti: in like on the way to channel sixty five.
Brian Gardner: Yeah it wouldn't be a problem.
Thomas Hanson: Yeah.
Brian Gardner: But
Kevin Gianotti: But I suppose
Brian Gardner: I was just
Kevin Gianotti: it's
Brian Gardner: wondering
Kevin Gianotti: not as
Brian Gardner: like as
John Brooks: Well
Kevin Gianotti: snappy.
John Brooks: the
Brian Gardner: long as we realise
John Brooks: there is
Brian Gardner: that's
John Brooks: a
Brian Gardner: what it'll do.
John Brooks: there's a
Thomas Hanson: Oops.
John Brooks: delay on remotes I think. Where you
Thomas Hanson: Yeah.
John Brooks: can have it
Kevin Gianotti: Yeah.
John Brooks: it's like a five second input
Kevin Gianotti: Yeah.
John Brooks: time.
Kevin Gianotti: If
John Brooks: So
Kevin Gianotti: you don't
John Brooks: as long
Kevin Gianotti: put
John Brooks: as you
Kevin Gianotti: it
John Brooks: hit them dada
Kevin Gianotti: Yeah.
Thomas Hanson: Yeah.
Kevin Gianotti: Yeah, that yeah.
John Brooks: it should be fine.
Brian Gardner: Yeah.
John Brooks: As long as there's not a big pause between the t hitting the two buttons.
Kevin Gianotti: Mm-hmm.
Thomas Hanson: Yeah. So
Kevin Gianotti: Um
John Brooks: Was there so on the top there is volume and
Kevin Gianotti: And channel,
Thomas Hanson: A channel.
Kevin Gianotti: which
John Brooks: Channel
Kevin Gianotti: is so
John Brooks: up volume up. Okay cool.
Kevin Gianotti: you could just
Brian Gardner: C_
Thomas Hanson: Just
Brian Gardner: and
Thomas Hanson: so
Brian Gardner: V_.
Kevin Gianotti: go
Thomas Hanson: we
Kevin Gianotti: like
Thomas Hanson: can
Kevin Gianotti: that
Thomas Hanson: flick
Kevin Gianotti: without thinking about it,
Brian Gardner: Right,
Kevin Gianotti: like
John Brooks: Yeah.
Brian Gardner: where um where's the power button?
Thomas Hanson: It's in the middle
Kevin Gianotti: It's
John Brooks: It's
Thomas Hanson: of
John Brooks: the
Thomas Hanson: one
John Brooks: R_.
Thomas Hanson: of
Kevin Gianotti: the
Thomas Hanson: the
Kevin Gianotti: bigger
Thomas Hanson: little
Kevin Gianotti: R_.
Thomas Hanson: R_s.
Brian Gardner: Oh okay.
Kevin Gianotti: So it's just like.
Thomas Hanson: Yeah, so
Brian Gardner: Yeah.
Thomas Hanson: it's
Kevin Gianotti: We
Thomas Hanson: all
Kevin Gianotti: deci
Thomas Hanson: accessible. Without m taking your hand off the remote.
Brian Gardner: Yeah.
Kevin Gianotti: Yeah
John Brooks: Mm-hmm.
Kevin Gianotti: um we went for like a a circular design for the numbers because we thought that's kind of a more natural movement than just going like that with your thumb.
Brian Gardner: Oh okay.
Kevin Gianotti: Uh e
John Brooks: Mm-hmm.
Kevin Gianotti: ergonomics
Brian Gardner: Yeah.
Kevin Gianotti: are all considered.
Thomas Hanson: And
Brian Gardner: Ergonomic,
Kevin Gianotti: Yeah.
Brian Gardner: definitely ergonomic.
Thomas Hanson: it might actually help with the repetitive stress injury
Kevin Gianotti: It could cause
Thomas Hanson: as
Kevin Gianotti: another
Thomas Hanson: well.
Kevin Gianotti: type of
Thomas Hanson: Okay.
Kevin Gianotti: repetitive stress injury though. But yeah, no I mean it's a different movement so
Thomas Hanson: Yeah.
Kevin Gianotti: yeah. Um and the feel of it, I mean, we've made this out of Play Doh, which is representing the, you know,
Brian Gardner: The
Kevin Gianotti: the
Brian Gardner: spon
Kevin Gianotti: rubber,
Brian Gardner: yeah.
Thomas Hanson: Yeah.
Kevin Gianotti: and the spongy rubberness. Um 'cause it was said before in the material specification that this the this anti-R_S_I_ um material is often used in stress balls so this has got a you know a bit of give to it,
Thomas Hanson: Yeah.
Kevin Gianotti: and it just
Brian Gardner: Yeah. Bit of a stress
Kevin Gianotti: feels
Brian Gardner: ball feel.
Kevin Gianotti: feels
Thomas Hanson: Yeah.
Kevin Gianotti: different. Would you like to feel it yourselves?
Brian Gardner: Yes.
Kevin Gianotti: How it fits
Brian Gardner: I
Kevin Gianotti: in
Brian Gardner: would.
Kevin Gianotti: the palm of your hand?
Brian Gardner: My goodness. There you go.
Kevin Gianotti: Thanks. And you?
John Brooks: Yes.
Brian Gardner: Genevieve? Yeah.
John Brooks: Oh it's nice. Oh I think I killed the five. I did. I killed
Brian Gardner: And
John Brooks: the
Brian Gardner: something
John Brooks: four.
Brian Gardner: hmm.
John Brooks: Oh god.
Kevin Gianotti: O Okay, as for the colours, we were presented with um a limited range
John Brooks: Oh it smells
Thomas Hanson: Of
Kevin Gianotti: of
John Brooks: good.
Kevin Gianotti: colours for
Thomas Hanson: Play
Kevin Gianotti: this
Thomas Hanson: Doh
Kevin Gianotti: prototype.
Thomas Hanson: yeah.
Kevin Gianotti: But we're thinking that, seeing as we're having it in interchangeable casing anyway, that this is not necessarily a representation of the true colours that we would necessarily use. Or the combination. Um and we're thinking to carry-on with the fruit and vegetable theme, the colour um combination just could just be named after different fruit, like
Brian Gardner: Oh
Kevin Gianotti: banana
Brian Gardner: right.
Kevin Gianotti: could be black and yellow, watermelon red and green, or vanilla might be the most popular if it just uh
Thomas Hanson: 'Cause it'd
Kevin Gianotti: blends
Thomas Hanson: be quite
Kevin Gianotti: in
Thomas Hanson: subtle and
Kevin Gianotti: more settled cream
Brian Gardner: Yeah.
Kevin Gianotti: instead of the
Brian Gardner: It
Kevin Gianotti: others
Brian Gardner: looks
Kevin Gianotti: are
Brian Gardner: more
Kevin Gianotti: all a bit garish.
Brian Gardner: Think like vanilla and banana would.
Kevin Gianotti: Banana's more representative of our colour scheme, like the company the yellow and black.
Thomas Hanson: Yeah.
Brian Gardner: Okay yeah.
Kevin Gianotti: So that for corporate identity that would probably be the most strength. I mean watermelon, you know, m probably appealing
Brian Gardner: Kinda
Kevin Gianotti: to
Brian Gardner: Christmas,
Kevin Gianotti: the
Brian Gardner: you know.
Kevin Gianotti: yeah,
Thomas Hanson: Yeah,
Kevin Gianotti: seasonal.
Thomas Hanson: yeah, yeah.
Kevin Gianotti: Apple green, brown, more kinda trendy, you know, khaki
Brian Gardner: Yeah.
Thomas Hanson: The pomegranate's kinda girly and funky kind of, and
Brian Gardner: Cool.
Thomas Hanson: then the vanilla's more for the more sophisticated customer who just
Kevin Gianotti: Yeah.
Thomas Hanson: wants something that fits in with all decor.
Kevin Gianotti: Okay. Um yeah we thought of the components it was definitely um a focus of ergonomics and just a single ha handheld device, I mean you don't need to use both hands, one hand to hold this and type in with the other, you can just use your thumb.
Thomas Hanson: Yeah.
Kevin Gianotti: Um, as we said the rubber's probably used for comfort and anti-R_S_I_ and that's about it.
Brian Gardner: Alright, thank you very much. Good work everyone.
John Brooks: Bravo
Brian Gardner: Alright. And so now that we've we have a prototype, uh we need to go over the finances and seeing if this prototype matches uh what our budget can handle.
Kevin Gianotti: Mm-hmm.
Brian Gardner: So, I have something I'm going to
John Brooks: You want the
Brian Gardner: Oh wait a minute. Do you need to do a presentation first?
John Brooks: I don't know what order it goes in.
Brian Gardner: Yeah. I'm
John Brooks: I have
Brian Gardner: gonna
John Brooks: one.
Brian Gardner: check that out for a second.
Kevin Gianotti: Mm go
Brian Gardner: What time is it anyw Oh yeah sorry you're right.
John Brooks: Evaluation
Brian Gardner: Evaluation
John Brooks: cri Okay.
Brian Gardner: criteria is
John Brooks: That's
Brian Gardner: next
John Brooks: John Brooks.
Brian Gardner: in line. Yeah.
John Brooks: Hello. Oh there we go.
John Brooks: Okay. Come on my computer. Come on. Sorry my computer's giving John Brooks technical difficulties.
Brian Gardner: Just press
John Brooks: Should
Brian Gardner: um
John Brooks: I press
Brian Gardner: function
John Brooks: it again?
Brian Gardner: eight again.
John Brooks: Last time I did that it sh Okay. You're right.
Brian Gardner: And then again I think. One more time.
John Brooks: Oh. Still not there.
Brian Gardner: Yeah. Yeah.
John Brooks: Okay now I think for this one I could Would you guys prefer use the whiteboard or mayb maybe I'll just do it on right on the screen where you can see it. Um, we're gonna be doing an evaluation report together based on the protoptype that we've just seen. Um and looking looking back at my notes from our both our conceptual and our functional meetings, um I made a list of what our original requirements and goals were, um, back to our kick-off meeting this morning. Um, and we'll evaluate as to whether we've s done what we set out to do. Um and we're gonna do it on a one to seven scale where one is true and seven is false. So basically the lower p the lower the points the better. Okay so question number one. Does the remote whoops. Sorry. Oh I'm not gonna be able um, I'll do it on the whiteboard. I can't change it so I'm g I'm gonna ask you to push it down once.
Brian Gardner: Okay.
John Brooks: I'll write down our scores up on the
Brian Gardner: Ooh.
John Brooks: Okay so number one. Do we have a fancy look-and-feel?
Thomas Hanson: Mm.
Kevin Gianotti: Feel I think. We've been quite successful with the
Brian Gardner: Yeah.
Kevin Gianotti: rubber coating and
Brian Gardner: The
Thomas Hanson: Well
Brian Gardner: look is a little bit more playful.
Thomas Hanson: Yeah.
Kevin Gianotti: Yeah.
John Brooks: Yeah I guess that depends on your definition of fancy, but it's definitely different. It's not
Brian Gardner: Oh definitely
John Brooks: your traditional
Brian Gardner: different yeah.
John Brooks: yeah.
Kevin Gianotti: I think the colour has a lot to do with it. I mean
John Brooks: Mm-hmm.
Kevin Gianotti: th the colours we were given for making the prototype aren't the colours that I think we would've necessarily
Thomas Hanson: Yeah.
Kevin Gianotti: chosen. It's not the kind of ooh uh
Brian Gardner: Oh you were
Kevin Gianotti: at
Brian Gardner: only
Kevin Gianotti: all
Brian Gardner: given red
Kevin Gianotti: sleek
Brian Gardner: and black?
Kevin Gianotti: red, black and yellow, and orange.
Brian Gardner: Oh okay.
Thomas Hanson: Yeah so not
Kevin Gianotti: Um
Thomas Hanson: very sleek and we don't wanna go for black because most remote controls
John Brooks: Yeah.
Thomas Hanson: are black or grey. So we want it
Brian Gardner: Yeah.
Thomas Hanson: to be stand out that way, anyway.
Kevin Gianotti: But if
Brian Gardner: Okay.
Kevin Gianotti: you can imagine that in like a s just a maybe uh a kind of pale metallic-y
Thomas Hanson: Yeah.
Kevin Gianotti: finish or something
Thomas Hanson: A metallic-y
John Brooks: Mm-hmm.
Thomas Hanson: finish we were thinking.
Kevin Gianotti: Well I
Brian Gardner: Yeah.
Kevin Gianotti: know know it's for rubber.
Thomas Hanson: Polished.
Kevin Gianotti: I mean diff if
Thomas Hanson: Okay
Kevin Gianotti: you can visualise this in nice colours I think it would look quite
Thomas Hanson: Yeah.
Kevin Gianotti: fancy.
John Brooks: Yeah.
Brian Gardner: Yeah.
John Brooks: I kinda I like the potato look.
Brian Gardner: It's
John Brooks: It's
Brian Gardner: mango.
John Brooks: very different.
Kevin Gianotti: Oh
Thomas Hanson: We
Kevin Gianotti: well, potato,
Thomas Hanson: we
Kevin Gianotti: mango,
Thomas Hanson: were
John Brooks: It's what?
Kevin Gianotti: fruit and veg.
Brian Gardner: It's mango.
John Brooks: Oh sorry the mango the mango look.
Thomas Hanson: we were thinking
Kevin Gianotti: Potato's
Thomas Hanson: about
John Brooks: Yeah
Kevin Gianotti: fine.
Thomas Hanson: yeah.
John Brooks: it
Kevin Gianotti: Potato's
John Brooks: is, fruit
Kevin Gianotti: fine.
John Brooks: or vegetable depends on your mood.
Kevin Gianotti: Yeah. Totally. It's
John Brooks: So
Kevin Gianotti: really
John Brooks: I myself
Kevin Gianotti: adaptable.
John Brooks: would say a one or a two.
Brian Gardner: Yeah. I would say two. Personally.
Thomas Hanson: I
John Brooks: It's a two?
Thomas Hanson: w I'd say two I think.
John Brooks: Okay,
Kevin Gianotti: For the
John Brooks: and p
Thomas Hanson: Fanciness.
Kevin Gianotti: fancy
Brian Gardner: Yeah.
John Brooks: One being true. So
Kevin Gianotti: I uh two,
John Brooks: Two.
Kevin Gianotti: three.
John Brooks: Okay,
Thomas Hanson: Yeah.
John Brooks: actu that's pro that's gonna get confusing, like that. Okay so question number two was is it techn technologically innovative? So I know we have the kinetic energy which is very innovative.
Brian Gardner: Yeah.
Kevin Gianotti: Yeah and the use of the rubber.
John Brooks: Use of the rubber,
Thomas Hanson: Yeah.
Kevin Gianotti: For the
John Brooks: the use
Kevin Gianotti: anti-R_S_I_.
John Brooks: of the L_E_D_.
Brian Gardner: Yeah.
Kevin Gianotti: The L_E_D_ use isn't
John Brooks: Isn't
Kevin Gianotti: particularly innovative
Thomas Hanson: Mm.
Kevin Gianotti: and we don't have any scroll buttons, it's all pushbuttons, there's no L_C_D_ control, so if we're thinking about the rest
John Brooks: Mm-hmm.
Kevin Gianotti: of the market,
Brian Gardner: Yeah.
Kevin Gianotti: it's sort of probably halfway. In some aspects it is,
Brian Gardner: Yeah. I'd
Kevin Gianotti: like
Brian Gardner: say maybe
Kevin Gianotti: we said.
Brian Gardner: three.
Thomas Hanson: I'll go for
John Brooks: Yeah.
Thomas Hanson: three as well.
John Brooks: And I think I mean it it's tough to say because we were we didn't want it to be any more innovative than this, because then that
Kevin Gianotti: Yeah.
Thomas Hanson: No.
John Brooks: would've
Brian Gardner: Yeah
Kevin Gianotti: Though
Brian Gardner: we
Kevin Gianotti: it
Brian Gardner: want
Kevin Gianotti: was
Brian Gardner: it
Kevin Gianotti: our
Brian Gardner: simple.
Kevin Gianotti: specification.
John Brooks: defeated the
Thomas Hanson: Wouldn't
John Brooks: purpose.
Thomas Hanson: be simple,
John Brooks: So
Thomas Hanson: yeah.
John Brooks: I mean I we'll put three, but I think we actually reached our goal.
Thomas Hanson: Yeah.
Brian Gardner: Yeah.
John Brooks: We didn't want it any more than that. Okay question number three. Uh, will it be easy to use?
Brian Gardner: I think so.
Kevin Gianotti: Yeah.
Thomas Hanson: Yeah
John Brooks: Yeah.
Brian Gardner: Yeah.
Kevin Gianotti: Yeah.
Thomas Hanson: very.
John Brooks: Yeah.
Thomas Hanson: I
John Brooks: S
Thomas Hanson: think one
John Brooks: Yeah I think
Thomas Hanson: for
John Brooks: it's
Thomas Hanson: that.
Brian Gardner: Yeah.
Kevin Gianotti: Yeah.
Brian Gardner: One.
John Brooks: you can't
Thomas Hanson: Yeah.
John Brooks: really get confused with that.
Thomas Hanson: No.
John Brooks: I mean,
Brian Gardner: Th
John Brooks: there'll be s we have to work out the uh number
Brian Gardner: The plus
John Brooks: the
Brian Gardner: number
John Brooks: plus
Brian Gardner: thing.
John Brooks: system.
Thomas Hanson: Yeah that's
John Brooks: But once that's
Thomas Hanson: the
John Brooks: figured
Thomas Hanson: only
John Brooks: out,
Thomas Hanson: thing
Kevin Gianotti: Yeah
Thomas Hanson: yeah.
John Brooks: it
Kevin Gianotti: and
John Brooks: should
Kevin Gianotti: perhaps
John Brooks: be fine.
Kevin Gianotti: the turning on but
John Brooks: Number four. Is this a good-looking remote?
Kevin Gianotti: Mm.
John Brooks: Remember that seventy five percent of users find most remote controls ugly.
Kevin Gianotti: Again
Thomas Hanson: It's
Kevin Gianotti: I
Thomas Hanson: definitely
Kevin Gianotti: think the colour comes into this.
Brian Gardner: Yeah colour will definitely be a factor.
John Brooks: Mm-hmm.
Brian Gardner: I think that the logo could be smaller.
Kevin Gianotti: Okay.
Thomas Hanson: Yeah.
Brian Gardner: And maybe not such a prominent way.
Thomas Hanson: But
Brian Gardner: Maybe
Thomas Hanson: the
Brian Gardner: like at the bottom, kind of.
Thomas Hanson: Remember
Kevin Gianotti: Not
Thomas Hanson: the
Kevin Gianotti: in
Thomas Hanson: management said that it it had to be prominent.
John Brooks: Whoops.
Brian Gardner: Oh it just had to be on there I guess.
John Brooks: Should
Thomas Hanson: Yeah.
John Brooks: just not touch it.
Kevin Gianotti: Don't worry.
John Brooks: This time it's the three I killed. I was just wondering if it should be like flatter. Or
Kevin Gianotti: I suppose I've got quite big
Brian Gardner: I
Kevin Gianotti: hands.
Brian Gardner: like
John Brooks: Well
Brian Gardner: the appeal of it being like a big glob in your
Thomas Hanson: Yeah.
Brian Gardner: hand.
Thomas Hanson: But you know what I've just thought of there now. What where's it gonna sit in your living room? Is it not gonna fall off the arm
Brian Gardner: Maybe
Thomas Hanson: of the
Brian Gardner: if the bottom
Thomas Hanson: sofa?
Brian Gardner: was just sort of flat,
John Brooks: Yeah the bottom
Brian Gardner: and then
John Brooks: could
Brian Gardner: the
John Brooks: be
Brian Gardner: rest
John Brooks: like
Brian Gardner: is
John Brooks: ch
Thomas Hanson: Yeah.
Brian Gardner: like
John Brooks: chopped a bit.
Thomas Hanson: But then it
Brian Gardner: round.
Thomas Hanson: wouldn't sit as comfortably in your hand.
John Brooks: Oh. That's true.
Brian Gardner: It would still be comfortable I think.
Kevin Gianotti: Thing is like
Brian Gardner: We
John Brooks: Maybe,
Kevin Gianotti: that,
Brian Gardner: c
John Brooks: it
Kevin Gianotti: it's
Brian Gardner: we
Kevin Gianotti: not
John Brooks: could
Brian Gardner: could handle
Kevin Gianotti: going anywhere
Brian Gardner: it I think.
John Brooks: it
Kevin Gianotti: particularly.
John Brooks: could be on
Thomas Hanson: Yeah.
John Brooks: the bottom, so you wouldn't loo like if it's flat here, so it sits up.
Kevin Gianotti: Yeah.
John Brooks: Like that.
Thomas Hanson: Oh that would be nice.
Brian Gardner: Ah it'd fall over all the time though. It'd be annoying.
Kevin Gianotti: Uh yeah, it's less
Thomas Hanson: Yeah.
John Brooks: I g
Kevin Gianotti: um, what's
John Brooks: If it's
Kevin Gianotti: th
John Brooks: weighted
Kevin Gianotti: ha.
John Brooks: maybe.
Kevin Gianotti: H it's got
John Brooks: Details,
Kevin Gianotti: higher centre
John Brooks: details.
Kevin Gianotti: of gravity
Brian Gardner: 'Kay we're done designing.
Kevin Gianotti: like that.
John Brooks: Okay.
Brian Gardner: Come on.
John Brooks: So, is this a good-looking remote? Would we wanna show it off
Thomas Hanson: Three.
John Brooks: to our friends?
Thomas Hanson: You would though, 'cause it's bit it's more interesting than other
John Brooks: Yeah.
Thomas Hanson: remotes.
Brian Gardner: I think, it was another colour and it was like I think it'd look okay. I think maybe
John Brooks: Yeah?
Brian Gardner: a two.
John Brooks: I mean I gue
Kevin Gianotti: I
John Brooks: yeah,
Kevin Gianotti: would
John Brooks: it's personal
Kevin Gianotti: definitely
John Brooks: taste,
Kevin Gianotti: go for
John Brooks: but
Kevin Gianotti: that rather than like your average plain
John Brooks: Yeah.
Thomas Hanson: Yeah.
Kevin Gianotti: old remote like that, but definitely in another colour, I'm not happy with those colours.
John Brooks: Okay, so should we say two for that?
Brian Gardner: Sure.
Kevin Gianotti: Yeah.
John Brooks: Yeah?
Thomas Hanson: Yeah.
John Brooks: Okay. Uh, question number five. What's um will people be willing to spend twenty five Euros on this product? Remember that eighty percent of users were willing to spend more money when a remote control looked fancy.
Thomas Hanson: I think we have to market it in the right way, that
John Brooks: Mm-hmm.
Thomas Hanson: um
Kevin Gianotti: Yeah.
Thomas Hanson: to say that it is simplistic. So people don't just see it and think, uh, this is so simplistic, I don't want
Brian Gardner: Yeah.
Thomas Hanson: to spend twenty five Euros. We have to market
John Brooks: Yeah
Thomas Hanson: it.
John Brooks: it
Kevin Gianotti: Yeah.
John Brooks: the marketing will have a lot to
Kevin Gianotti: And
John Brooks: do with it.
Thomas Hanson: And the kinetic
Kevin Gianotti: the
Thomas Hanson: energy part.
Kevin Gianotti: kinetic
Thomas Hanson: Yeah.
Kevin Gianotti: energy, shaker-style-y,
Brian Gardner: Yeah.
Kevin Gianotti: whoo, ooh no.
John Brooks: Shake it and
Brian Gardner: Durable.
John Brooks: the buttons fall off.
Thomas Hanson: Don't shake
Kevin Gianotti: But you know, those'll be firmly on.
Thomas Hanson: Oh no the plus. You're
John Brooks: No, I guess,
Thomas Hanson: use
John Brooks: I don't
Thomas Hanson: the
John Brooks: know much
Thomas Hanson: zero.
John Brooks: about the remote control industry,
Thomas Hanson: Make
John Brooks: how much
Thomas Hanson: a new
John Brooks: your
Thomas Hanson: one.
John Brooks: average sells for,
Brian Gardner: But you're our Marketing
John Brooks: but
Brian Gardner: Expert.
John Brooks: I know I am, aren't
Thomas Hanson: I
John Brooks: I?
Thomas Hanson: think they're about ten po ten pound, aren't they? About ten pounds. Fifteen?
John Brooks: don't have to buy batteries. So in the long term this can actually
Thomas Hanson: Yeah.
Kevin Gianotti: Mm,
John Brooks: save you
Kevin Gianotti: yeah,
John Brooks: money.
Brian Gardner: Oh.
Kevin Gianotti: that's
John Brooks: So we'll market
Kevin Gianotti: true.
John Brooks: it that
Brian Gardner: Exactly.
John Brooks: way too.
Kevin Gianotti: Yeah.
Brian Gardner: Exactly.
John Brooks: So yeah
Kevin Gianotti: Good
John Brooks: I think
Kevin Gianotti: point.
John Brooks: with a good marketing scheme um and the personalisation options, it'll
Brian Gardner: Yeah. I would give it a two still
Kevin Gianotti: Yeah.
Brian Gardner: though.
Kevin Gianotti: Yeah.
John Brooks: Yeah.
Thomas Hanson: Mm.
John Brooks: Okay number six. Can someone read it out? Or
Kevin Gianotti: Does this prototype match the operating behaviour of the average user.
Brian Gardner: Mm.
Thomas Hanson: Yeah.
John Brooks: Um yeah. So that was mainly that
Kevin Gianotti: Yeah.
Thomas Hanson: I think it does
Brian Gardner: Oh
John Brooks: the statistics
Brian Gardner: yeah.
Thomas Hanson: very
Kevin Gianotti: Because
John Brooks: we
Thomas Hanson: well.
John Brooks: said
Kevin Gianotti: yeah, because the most accessible buttons are the volume and the and the
Thomas Hanson: The
Kevin Gianotti: channel-changing.
Thomas Hanson: zap
John Brooks: Mm-hmm.
Kevin Gianotti: And
Brian Gardner: Yeah.
Thomas Hanson: yeah.
Kevin Gianotti: it's just you won't have to think about it. You don't have to look down to find them. They're clearly there, easy to use.
Brian Gardner: Yeah.
John Brooks: Yeah
Kevin Gianotti: Simple.
John Brooks: I
Thomas Hanson: Uh
John Brooks: guess the I think the key word there is average, 'cause there were some people that used the uh video input and sound and stuff.
Kevin Gianotti: Yeah.
John Brooks: But they're not
Kevin Gianotti: Mm.
John Brooks: you and I really. So.
Brian Gardner: Yeah.
John Brooks: Okay so one?
Thomas Hanson: Yeah.
Kevin Gianotti: Yeah.
John Brooks: Okay. Number seven. C Heather could you push it down? Will this remote control be easy to find when lost? Remember that fifty percent of users lose their remote regularly. Now is
Brian Gardner: We
John Brooks: there
Brian Gardner: have
John Brooks: the
Brian Gardner: the alarm system.
John Brooks: is the alarm system still was it implemented?
Thomas Hanson: Yeah the bu when you press
Kevin Gianotti: It
Thomas Hanson: the alarm system, the lights
Kevin Gianotti: Yeah l lights on and,
Thomas Hanson: behind
Kevin Gianotti: or flash as
Thomas Hanson: the
Kevin Gianotti: well. But I mean
Thomas Hanson: and it'll vibra
Kevin Gianotti: it's not obviously obvious from the outside that that's gonna happen
Thomas Hanson: It'll
Kevin Gianotti: 'cause
Thomas Hanson: be again
Kevin Gianotti: you can't
Thomas Hanson: in the marketing.
Kevin Gianotti: s particularly
Brian Gardner: I
Kevin Gianotti: see
Brian Gardner: thought the light
Kevin Gianotti: an
Brian Gardner: from
Kevin Gianotti: alarm.
Brian Gardner: the inside was
Thomas Hanson: Yeah.
Brian Gardner: gonna light up.
Thomas Hanson: The light it will.
Brian Gardner: Or or
Thomas Hanson: But
Brian Gardner: was
Kevin Gianotti: Yeah.
Brian Gardner: it
Kevin Gianotti: But
Brian Gardner: gonna
Kevin Gianotti: when the
Brian Gardner: make a
Kevin Gianotti: alarm's
Brian Gardner: noise?
Kevin Gianotti: not yeah.
Thomas Hanson: But both
Kevin Gianotti: If you
Brian Gardner: You press the button it makes a noise right?
Kevin Gianotti: Yeah.
Thomas Hanson: Yeah.
John Brooks: It turns into a duck
Kevin Gianotti: You
John Brooks: and starts
Kevin Gianotti: could
John Brooks: quacking.
Kevin Gianotti: s
Brian Gardner: Yeah.
Kevin Gianotti: Yeah.
John Brooks: Here I am.
Brian Gardner: Awesome.
Thomas Hanson: Oh, that would
Brian Gardner: Awesome.
Thomas Hanson: be brilliant. I'd be tempted
Kevin Gianotti: Well
John Brooks: Um
Thomas Hanson: to
Kevin Gianotti: the thing is, if it was had an alarm system, I mean, when it when it lights up as we I mean it could light up when the alarm went.
Thomas Hanson: Yeah.
Kevin Gianotti: But if it was hidden underneath the cushion or something, there wouldn't be any point. So you can't see the alarm, but it would light
Thomas Hanson: It would
Kevin Gianotti: up.
Thomas Hanson: have to be in the market
Brian Gardner: I though
John Brooks: Okay.
Brian Gardner: w it was gonna make a noise.
Kevin Gianotti: Yeah.
Thomas Hanson: Yeah but you
Kevin Gianotti: Alarm,
Thomas Hanson: still
Kevin Gianotti: but
Thomas Hanson: couldn't
Kevin Gianotti: you can't see
Thomas Hanson: see it.
Kevin Gianotti: an alarm inside uh
Thomas Hanson: It would just
Kevin Gianotti: the
Thomas Hanson: be a little
Kevin Gianotti: alarm
Thomas Hanson: speaker
Kevin Gianotti: system
Thomas Hanson: on the back
Kevin Gianotti: itself.
Thomas Hanson: or something.
Brian Gardner: Okay.
John Brooks: We oh you're just explaining why it's not on the prototype.
Kevin Gianotti: Yeah.
John Brooks: But yeah, it'll be
Kevin Gianotti: Yeah.
John Brooks: there. So we
Brian Gardner: Oh
Kevin Gianotti: It
John Brooks: can
Brian Gardner: okay.
Kevin Gianotti: w
John Brooks: we could say that
Kevin Gianotti: yeah.
Brian Gardner: Whoo. Okay.
Kevin Gianotti: Sorry.
John Brooks: We can give it a one, because compared to every other remote ever m ever made, this one will be easier to find.
Brian Gardner: Yeah,
Kevin Gianotti: Yeah.
John Brooks: Okay. Um
Brian Gardner: totally.
Kevin Gianotti: Sorry Heather. That
Brian Gardner: No
Kevin Gianotti: wasn't
Brian Gardner: problem,
Kevin Gianotti: very clear.
John Brooks: Question
Brian Gardner: mm.
John Brooks: number eight. Will it be easy to learn how to use this remote when brand new? Remember that thirty four percent of users usually found it difficult. So
Brian Gardner: Totally.
John Brooks: it has to be yeah, it's eas they'll pick
Thomas Hanson: So
John Brooks: it up
Thomas Hanson: the
John Brooks: and
Thomas Hanson: plu
John Brooks: they'll know what to do.
Thomas Hanson: the plus
John Brooks: The plus thing
Thomas Hanson: w
John Brooks: needs to be
Thomas Hanson: once
John Brooks: worked on.
Thomas Hanson: that's written down on the page that'll
Brian Gardner: Yeah.
Thomas Hanson: be really simple,
Kevin Gianotti: Yeah
Thomas Hanson: won't it?
John Brooks: Yeah.
Kevin Gianotti: I think just because it's we've
John Brooks: Well
Kevin Gianotti: decided to reduce it down to the basic buttons, I think
Thomas Hanson: Yeah.
Kevin Gianotti: that
John Brooks: Do
Kevin Gianotti: in itself makes it so
John Brooks: Does
Kevin Gianotti: much
John Brooks: it make
Kevin Gianotti: easier
John Brooks: more sense
Kevin Gianotti: to use.
John Brooks: for the middle one to be an just an enter button? So then you would have to push two buttons every time at least.
Brian Gardner: Yeah, so it's just like channel six,
Thomas Hanson: That
Brian Gardner: six,
Thomas Hanson: kind of annoys
Brian Gardner: enter.
Thomas Hanson: John Brooks though, when
Kevin Gianotti: Mm.
Thomas Hanson: it's zero six when you have to press I don't
Brian Gardner: Yeah
Thomas Hanson: know
Brian Gardner: but
Thomas Hanson: why.
Brian Gardner: you don't have to press zeros.
John Brooks: You could just press six enter,
Thomas Hanson: Oh okay.
Kevin Gianotti: And
John Brooks: or
Brian Gardner: And then
Kevin Gianotti: or
Brian Gardner: like
John Brooks: one
Thomas Hanson: Right.
Kevin Gianotti: sixty
Brian Gardner: twelve,
John Brooks: two enter.
Kevin Gianotti: six
Brian Gardner: enter.
Kevin Gianotti: enter,
Thomas Hanson: Alright,
John Brooks: Yeah.
Thomas Hanson: aye.
Kevin Gianotti: y
Brian Gardner: Yeah.
Kevin Gianotti: Yeah I think that's probably more straightforward. Yeah. Good
Thomas Hanson: Yeah.
John Brooks: Um, okay so we can
Thomas Hanson: I'd
John Brooks: we'll say
Thomas Hanson: say
John Brooks: yes it's
Thomas Hanson: w yeah one.
John Brooks: uh one?
Thomas Hanson: Yeah.
Brian Gardner: Yeah.
John Brooks: Okay.
Kevin Gianotti: Ooh. Mm.
John Brooks: Question number nine.
Kevin Gianotti: Oh.
John Brooks: Uh, will it minimise the effects of R_S_I_, which was repeated strain injury?
Thomas Hanson: Yeah.
Kevin Gianotti: Injury.
John Brooks: Um, which affected over a quarter of users. S
Thomas Hanson: Hmm.
Brian Gardner: I think so. It's like right in the
Thomas Hanson: But if you're zapping
Brian Gardner: Your thumb might get a little
Kevin Gianotti: Yeah,
Brian Gardner: bit
Thomas Hanson: yeah.
Kevin Gianotti: that's
Brian Gardner: uh
Kevin Gianotti: what I was thinking.
Thomas Hanson: I don't think it will f
Kevin Gianotti: We may have to do some more research into
Thomas Hanson: Yeah,
Kevin Gianotti: other strain
Brian Gardner: Yeah.
Kevin Gianotti: injuries that we don't know about.
Brian Gardner: But it is soft.
Kevin Gianotti: Mm-hmm.
John Brooks: It's soft,
Brian Gardner: And
John Brooks: and
Brian Gardner: that's
Thomas Hanson: Mm.
Brian Gardner: kind of what the um
Kevin Gianotti: Mm.
John Brooks: And people
Brian Gardner: the PowerPoint
John Brooks: could
Brian Gardner: slide thing said would be good for
Kevin Gianotti: Yeah.
Brian Gardner: R_S_I_,
Thomas Hanson: Yeah.
John Brooks: Mm-hmm.
Brian Gardner: so
John Brooks: I
Brian Gardner: maybe
John Brooks: don't know
Brian Gardner: it
John Brooks: what
Brian Gardner: is
John Brooks: other options
Brian Gardner: but
Kevin Gianotti: I think we're getting
John Brooks: there are.
Brian Gardner: Yeah.
Kevin Gianotti: that's true.
John Brooks: Could I mean, you could hold it in your left hand and d use your index finger. But
Kevin Gianotti: Mm.
John Brooks: there's not really any other options unless it's like a keyboard. So,
Thomas Hanson: Yeah.
Brian Gardner: Yeah.
John Brooks: I think we did as as much as you can with a remote control.
Brian Gardner: Yeah.
John Brooks: So, one or two do you think?
Thomas Hanson: I
Kevin Gianotti: I think
Thomas Hanson: I'd say t
Kevin Gianotti: yeah, I think
Thomas Hanson: two.
Kevin Gianotti: too.
Thomas Hanson: Yeah.
John Brooks: Two okay.
Brian Gardner: Yeah.
John Brooks: Okay number ten. Did we somehow incorporate the company colour and logo?
Brian Gardner: Yes we did.
Thomas Hanson: Yeah.
John Brooks: Now is the colour gonna be there even if it's like vanilla? Is the yellow
Thomas Hanson: N We we can't really do that because for example on the banana theme we can't have it as being yellow.
John Brooks: Mm-hmm.
Thomas Hanson: It won't stand out. So n it's not always gonna be the same colour.
John Brooks: It sounds like the colour's something that we
Kevin Gianotti: Yeah.
Thomas Hanson: Gray, yeah.
Brian Gardner: So it could be grey on the banana one.
Thomas Hanson: Yeah, could be grey.
Brian Gardner: Yeah.
John Brooks: But I mean the yell yeah d yellow's ugly though, depending on
Thomas Hanson: Yeah
John Brooks: the
Thomas Hanson: that's right, we didn't
John Brooks: So
Thomas Hanson: even
John Brooks: I think we'll
Thomas Hanson: rea
John Brooks: have to talk to our executive managers, and
Kevin Gianotti: Mm.
John Brooks: see if we can get away with just the R_R_.
Kevin Gianotti: Yeah.
Thomas Hanson: Yeah.
Kevin Gianotti: I think this is the the factor that we've been least successful in
John Brooks: Okay.
Thomas Hanson: Perhaps
Kevin Gianotti: confronting.
Thomas Hanson: a metallic
Brian Gardner: Mm, yeah.
Thomas Hanson: or or like that's grey, and it wouldn't be that expensive to have a little bit of metal. No?
John Brooks: Yeah.
Thomas Hanson: That
John Brooks: And
Thomas Hanson: isn't
John Brooks: the buttons
Thomas Hanson: rubber.
John Brooks: in the middle. Okay.
Kevin Gianotti: Yeah.
John Brooks: So, do you think that's more of a three then? Three, four?
Kevin Gianotti: Four I think.
John Brooks: Four?
Kevin Gianotti: Well I don't what do what
John Brooks: Well we have good
Brian Gardner: Hum.
John Brooks: reasons for it, so we but we can still put a a four?
Kevin Gianotti: Okay.
Thomas Hanson: Okay.
John Brooks: Okay, and final question. Um, did we stay true to our motto and put the fashion into electronics? Current trends of fruits and veggies, desire for sponginess.
Brian Gardner: I would say so.
Thomas Hanson: Following that briefing we
Brian Gardner: But maybe
Thomas Hanson: did.
Brian Gardner: more like two 'cause there's no like pictures of fruit, it's just sort of naming it by a fruit.
Thomas Hanson: Yeah.
Kevin Gianotti: Yeah.
John Brooks: Yeah.
Brian Gardner: With
Kevin Gianotti: Like
Brian Gardner: the
Kevin Gianotti: um
Brian Gardner: with the
Kevin Gianotti: the colour
Brian Gardner: colours.
Kevin Gianotti: scheme names and
Thomas Hanson: Yeah.
Kevin Gianotti: stuff.
John Brooks: No, uh, are the plates interchangeable? I think I missed
Thomas Hanson: Yeah.
John Brooks: a few
Kevin Gianotti: Yeah.
Brian Gardner: Yeah.
John Brooks: they are? So you can have banana and kiwi and
Thomas Hanson: Yeah.
John Brooks: okay.
Kevin Gianotti: Yeah.
Brian Gardner: Yeah.
Kevin Gianotti: Yeah.
John Brooks: Okay, so that's something that's kind of in the making too, like maybe it'll become more
Brian Gardner: That's fashionable in itself to have interchangeable plates.
John Brooks: Mm-hmm.
Kevin Gianotti: It is.
Thomas Hanson: I think w yeah, I think one. Well that was our brief and we followed the brief. Well we haven't
Kevin Gianotti: The thing
Thomas Hanson: got a big
Kevin Gianotti: is, I
Thomas Hanson: banana
Kevin Gianotti: think if somebody
Thomas Hanson: but
Kevin Gianotti: saw that and you said what was that
Thomas Hanson: Oh
Kevin Gianotti: inspired
Thomas Hanson: yeah.
Kevin Gianotti: from, I
Brian Gardner: Be
Kevin Gianotti: don't
Brian Gardner: like
Kevin Gianotti: know if you'd instantly
Thomas Hanson: No.
Kevin Gianotti: say mango.
Brian Gardner: Yeah.
Thomas Hanson: No.
Brian Gardner: Maybe if it was scented.
Kevin Gianotti: Oh
Thomas Hanson: Oh
Kevin Gianotti: yeah.
Thomas Hanson: that would be class.
Kevin Gianotti: There we go. That would be great.
Brian Gardner: Yeah we have money for that. Um
Kevin Gianotti: Um
Brian Gardner: Alright so based on this evaluation, do we average them out sorta thing?
John Brooks: Yes we do. So I wh what was I gonna put for that? A two
Brian Gardner: Oh.
John Brooks: for fashion?
Brian Gardner: I would say two.
Thomas Hanson: Yeah. Two.
Kevin Gianotti: Okay.
John Brooks: Okay, so our average there, five, six, eight, ten, eleven, twelve, thirteen, fifteen, nineteen, twenty one, divided by eleven
Thomas Hanson: It's
John Brooks: is
Brian Gardner: One point
Kevin Gianotti: It's
Brian Gardner: nine or something?
Thomas Hanson: Yeah.
Brian Gardner: I don't know these things.
Kevin Gianotti: Between
Brian Gardner: Um,
Kevin Gianotti: one and two.
Brian Gardner: between one and two.
John Brooks: Between okay.
Kevin Gianotti: So that's
Thomas Hanson: Close
Kevin Gianotti: pretty
John Brooks: Um.
Thomas Hanson: to two.
Kevin Gianotti: fantastic.
Thomas Hanson: Yeah.
John Brooks: Yeah, that's very good 'cause the highest we coulda got is one.
Thomas Hanson: I got
Brian Gardner: Alright.
John Brooks: Does that seem right then?
Thomas Hanson: Yeah, 'cause we've a four to bring down.
John Brooks: Okay.
Kevin Gianotti: Mm. It
Thomas Hanson: Uh,
Kevin Gianotti: seems
Thomas Hanson: aye.
Kevin Gianotti: like it should be more around two.
Brian Gardner: Yeah.
Thomas Hanson: Yeah. Uh, should've added five.
Kevin Gianotti: Do we have an online calculator?
Brian Gardner: I'm attempting to do that right
Kevin Gianotti: Okay.
Brian Gardner: now.
Thomas Hanson: This
Brian Gardner: Yeah
Thomas Hanson: is.
Brian Gardner: it is one point nine. Ooh.
Thomas Hanson: Yay.
Kevin Gianotti: Oh wow. Well done.
Brian Gardner: Go
Kevin Gianotti: Well
Brian Gardner: Heather
Kevin Gianotti: that's
Brian Gardner: Pauls.
Kevin Gianotti: excellent.
Brian Gardner: Yeah. Alright, now with that over and done with, our next step is to see if we are under budget. And um my computer's frozen. And now it's not. Okay. So um in our shared folder, if everyone could go there right now, um
John Brooks: Sorry.
Brian Gardner: I'm going to um
John Brooks: Are you gonna do
Brian Gardner: steal
John Brooks: that?
Brian Gardner: a cable.
John Brooks: Okay.
Brian Gardner: Um
Thomas Hanson: Is that the project document?
Brian Gardner: it's it's um it's an Excel file. Oh.
Kevin Gianotti: Production costs.
Thomas Hanson: Yeah.
Brian Gardner: Yeah. 'Kay there we go. Um, production costs. And um I have to access that as well.
Kevin Gianotti: It
Brian Gardner: One
Kevin Gianotti: says
Brian Gardner: moment.
Kevin Gianotti: it
Brian Gardner: 'Kay so far I've added what I think or what is going on? Great. It's blinking at John Brooks. It's locked for editing. Read only. I'm gonna open up a second one then 'cause it's locked for editing. I have the original in my um my email account.
John Brooks: Oh is it locked 'cause I'm in it?
Brian Gardner: I
Kevin Gianotti: I
Brian Gardner: dunno.
Kevin Gianotti: think it
John Brooks: Or
Kevin Gianotti: just means that we
John Brooks: okay.
Kevin Gianotti: can't add any more to it now. Have you have you completed it?
Brian Gardner: No.
Kevin Gianotti: Oh right.
Brian Gardner: No,
Kevin Gianotti: Okay.
Brian Gardner: I was hoping that you guys could.
Kevin Gianotti: Okay.
Brian Gardner: Um, there we go. Okay here we go. So we need to tally up how much our w our product will be costing. So um if you can look up at the screen, um
Kevin Gianotti: Yeah.
Brian Gardner: the large screen, oh I guess looking at your own too and telling John Brooks which one you think. Okay we're using kinetic which is quite a large expense at three Euros.
Kevin Gianotti: Yeah.
Thomas Hanson: Oh
Brian Gardner: Um we're
Thomas Hanson: right.
Brian Gardner: using a regular chip.
Kevin Gianotti: Yeah.
Brian Gardner: Um,
Kevin Gianotti: Double
Brian Gardner: it's cur it's double curved,
Kevin Gianotti: double-curved
Brian Gardner: so its curved
Kevin Gianotti: yeah.
Brian Gardner: all around. That's another three. We're already at five. Um, we're using plastic and rubber,
Kevin Gianotti: Yeah.
Brian Gardner: so Good thing plastic is free, we're at eight. Um
Thomas Hanson: What about
Brian Gardner: S
Thomas Hanson: a special colour? Are
Brian Gardner: Yeah.
Thomas Hanson: we using that?
Brian Gardner: I guess we should do it just for one kind.
Kevin Gianotti: Yeah.
Brian Gardner: So it's like special colour well we'll have two colours right?
Kevin Gianotti: Yeah.
Brian Gardner: Well one colour for the case, one colour for the buttons.
Kevin Gianotti: Mm-hmm.
Brian Gardner: So we can
Thomas Hanson: Yeah.
Brian Gardner: Um, we have push button interface, so that's inexpensive. And um we have a special colour for the button, and we also have a special form. And
Thomas Hanson: And a special material. Yeah.
Brian Gardner: a special material.
Kevin Gianotti: Oof.
Brian Gardner: Which puts us just barely under budget. Hurray.
Kevin Gianotti: Congratulations
John Brooks: Mm. 'S good.
Brian Gardner: Yeah.
Kevin Gianotti: guys.
Brian Gardner: Good work guys. So um
Thomas Hanson: That's good.
Brian Gardner: our operating cost is twelve twenty Euros. Awesome.
Brian Gardner: And back to our PowerPoint. So we've 'Kay. Yes we are. So we need to do a product evaluation, again, which is probably um I dunno. A different extension of a
Kevin Gianotti: Of the actual project rather than the product?
Thomas Hanson: Yeah.
Brian Gardner: Hmm.
Kevin Gianotti: A project? Is is yeah.
Brian Gardner: Yeah 'cause we're talking
Kevin Gianotti: So
Brian Gardner: about
Kevin Gianotti: wh
Brian Gardner: leadership,
Kevin Gianotti: how
Brian Gardner: teamwork.
Kevin Gianotti: we actually went round uh about doing it.
Brian Gardner: Yeah. Alright so um Do you guys feel like there was room for creativity?
Kevin Gianotti: I think we were pushed.
John Brooks: Mm-hmm.
Brian Gardner: Pushed for creativity?
Kevin Gianotti: I mean we weren't really
Thomas Hanson: The ma
Kevin Gianotti: given a lot of time, or
Thomas Hanson: Or
Kevin Gianotti: materials,
Thomas Hanson: materials.
Kevin Gianotti: yeah, to go about our design task.
Thomas Hanson: Yeah.
Kevin Gianotti: So I think we could've done with a bit more time.
Brian Gardner: Ye Okay. So it'd be like need more time and materials.
Kevin Gianotti: Yeah.
Brian Gardner: But you were allowed m creativity?
Kevin Gianotti: Yeah.
Brian Gardner: I think so as like but you were supposed to
John Brooks: Yeah
Brian Gardner: have
John Brooks: and
Brian Gardner: creativ
John Brooks: the conceptual and functional. Like we were very creative in in coming up with an idea I guess,
Thomas Hanson: Yeah.
Kevin Gianotti: Yeah.
John Brooks: but
Kevin Gianotti: Well
John Brooks: m
Kevin Gianotti: we were just limited by resources really
John Brooks: When we can down
Kevin Gianotti: and
John Brooks: to
Thomas Hanson: Yeah.
Kevin Gianotti: like
John Brooks: it. Okay.
Brian Gardner: Right.
Kevin Gianotti: if we had decided to use the L_C_D_ screen, and like solar power backup and everything, then we wouldn't have been able to afford that. So that did limit
Thomas Hanson: Creativity.
Kevin Gianotti: creativity.
Brian Gardner: Right
Kevin Gianotti: Just
John Brooks: Mm-hmm.
Kevin Gianotti: resources.
Brian Gardner: Okay
Kevin Gianotti: But yeah. The fruit and veg idea.
Brian Gardner: Great. Leadership? Is this John Brooks being
John Brooks: Yeah.
Brian Gardner: like, guys do you like John Brooks? Um.
John Brooks: Good leadership, I think we stayed on
Thomas Hanson: Yeah.
John Brooks: task.
Kevin Gianotti: Yeah
Brian Gardner: Yeah.
Kevin Gianotti: we did. We've, uh seeing as we've come out with what we intended. A pro um a product within the budget. I think
John Brooks: Mm-hmm.
Kevin Gianotti: that's a sign of good leadership and also our personal coach helped us along the way, so
Brian Gardner: Yeah.
Kevin Gianotti: you know
John Brooks: And
Kevin Gianotti: I
John Brooks: the
Kevin Gianotti: think
John Brooks: timing
Kevin Gianotti: it's been
John Brooks: was
Kevin Gianotti: fine.
John Brooks: good. We never were pushed for time, or sat around doing nothing, so
Thomas Hanson: Yeah.
Kevin Gianotti: Yeah. Good timing.
Brian Gardner: Oop Okay.
Kevin Gianotti: And
Brian Gardner: Teamwork?
Kevin Gianotti: project manager
Brian Gardner: I think we worked
Kevin Gianotti: of course.
Brian Gardner: great as a team.
Kevin Gianotti: Yeah.
Brian Gardner: Yeah?
Thomas Hanson: Yeah.
John Brooks: Was good teamwork. I think we are well-suited to our roles.
Thomas Hanson: Yeah.
Kevin Gianotti: Yeah.
Brian Gardner: Alright how were our means?
Kevin Gianotti: Um
Brian Gardner: We needed more Play Doh colours.
Thomas Hanson: Yeah.
Kevin Gianotti: Yeah and more Play Doh, 'cause that was all the red
Brian Gardner: Yeah.
Kevin Gianotti: we had. So even
Thomas Hanson: Yeah, it
Kevin Gianotti: if we
Thomas Hanson: c
Kevin Gianotti: wanted
Thomas Hanson: it might've
Kevin Gianotti: to make
Thomas Hanson: been
Kevin Gianotti: a
Thomas Hanson: bigger.
Kevin Gianotti: bigger prototype,
John Brooks: Oh really?
Kevin Gianotti: we wouldn't have been able to.
John Brooks: Okay.
Brian Gardner: But ever everything else was satisfactory? Is that
John Brooks: Yeah. The
Brian Gardner: good
Thomas Hanson: Yeah.
John Brooks: computer programmes are good. The
Kevin Gianotti: Yeah. It could be really straightforward for the computer.
John Brooks: Yeah. I don't
Kevin Gianotti: I think
John Brooks: think there
Kevin Gianotti: the
John Brooks: was
Kevin Gianotti: only
John Brooks: anything
Kevin Gianotti: thing was having to remember to you know to tick the okays
John Brooks: Yeah.
Kevin Gianotti: but I think I was the only one who struggled with that.
Thomas Hanson: I'm actually not sure if I've saved my presentations.
Brian Gardner: Yeah?
Kevin Gianotti: Mm.
John Brooks: They'll probably
Kevin Gianotti: Uh
John Brooks: still
Kevin Gianotti: John Brooks too.
John Brooks: be there.
Kevin Gianotti: Yeah.
Brian Gardner: New ideas found. I don't really know what that means.
John Brooks: Um
Kevin Gianotti: Well I think we've all learnt stuff from each other, like the n
Thomas Hanson: Yeah.
Kevin Gianotti: um
Thomas Hanson: Through discussion.
Kevin Gianotti: yeah. Just about each different. Got new ideas from each other.
John Brooks: I'm not sure, new ideas found.
Brian Gardner: Hmm?
John Brooks: Yeah well I guess we really it we bounced off of each other, which was cool.
Thomas Hanson: Yeah.
Brian Gardner: Yeah.
John Brooks: Like based on marketing stuff and then you'd say something about interface and
Kevin Gianotti: Yeah.
John Brooks: yeah,
Brian Gardner: Yeah.
Thomas Hanson: And we were
John Brooks: worked
Thomas Hanson: a able
John Brooks: well.
Thomas Hanson: to modify each other's ideas
John Brooks: Mm-hmm.
Kevin Gianotti: Yeah.
Thomas Hanson: to fit in with our areas of expertise.
Brian Gardner: Yeah. Each
John Brooks: Oh does it have smart materials
Brian Gardner: other's
John Brooks: by the way?
Kevin Gianotti: Sorry?
John Brooks: Does it have smart materials?
Brian Gardner: Mm.
Kevin Gianotti: Oh yeah.
John Brooks: Oh yeah.
Kevin Gianotti: Well mm, did it come into
Thomas Hanson: If
Kevin Gianotti: the
Thomas Hanson: if
Kevin Gianotti: into
Thomas Hanson: it if it
Kevin Gianotti: I dunno if we counted that in the costs.
Thomas Hanson: If it can be afforded.
Brian Gardner: Okay? Well with that achieved, our last slide is our closing slide. Yes our costs are within budget.
Kevin Gianotti: Yes.
Brian Gardner: It's
John Brooks: Mm-hmm.
Brian Gardner: evaluated generally positively.
Thomas Hanson: Yeah.
John Brooks: Mm-hmm.
Brian Gardner: And um don't forget to complete final questionnaire and meeting summary. Then
Kevin Gianotti: Uh.
Brian Gardner: we celebrate
Thomas Hanson: Yay.
Kevin Gianotti: Fantastic.
Brian Gardner: in such a way that
John Brooks: By
Brian Gardner: I
John Brooks: watching
Brian Gardner: have no
John Brooks: T_V_?
Brian Gardner: idea.
Kevin Gianotti: Okay, brilliant.
Brian Gardner: Alright?
Thomas Hanson: Yeah.
Kevin Gianotti: Thank you very much.
Brian Gardner: Okay, bye.
John Brooks: Mm. Conclusion? Dadada. | Brian Gardner opens the meeting by stating the agenda. The designers give the prototype presentation, showing their simple design that is based on a mango. They point out the company logo and LED, and demonstrate how the device is palm-held and thumb-acessible. They also discuss the numerical, volume, channel, and power buttons as well as the color scheme. John Brooks administers the product evaluation, and they rate each of the ten criteria on a scale of 1-7. The criteria includes fancy look-and-feel, technological innovation, ease of use, look, whether people would be willing to spend 25 Euros for it, whether its operating behavior matches the average user, ease of finding when lost, ease of learning to use, whether it will minimize RSI, incorporation of company colors and logo, and whether it follows the motto. They average the scores and get 1.9. They check the product costing and find that their operating cost is 12.20 Euros. In evaluating the project process they are pleased with their creativity, leadership, timing, teamwork, discussions, and overall product given the resources they had. They close the meeting by thanking one another. | 5 | amisum | train |
James Nelson: Okay. Oh, that's not gonna work.
James Nelson: Oh, alright. Okay.
James Nelson: Okay. Um
Donald Shaw: Uh, uh, um.
James Nelson: alright. I'll just put that there. Uh as you all know we're here to create a brand new fantastic remote. Uh I'm Nick Debusk, I'm James Nelson. Uh we'll just get started with everyone kind of letting each other know who they are and what you're doing, what your what your role is um. Go ahead.
Donald Shaw: Okay. I am Corinne Whiting and I will be Donald Shaw and in each of the three phases I will have a different role. In the function design phase I will be talking about user requirement specification, and this means what needs and desires are to be fulfilled, and I'll be doing research to figure this out. In the conceptual design phase I will be dealing with trend watching and I'll be doing marketing research on the web. phase I will be doing product evaluation and so I will be collecting the requirements and ranking all the requirements to see how we did.
James Nelson: 'Kay.
Philip Johnson: Hiya, I'm Ryan. Um I'm Philip Johnson. Um likewise I've three different roles for each stage of design. Um the functional design is looking at the tex technical functions of a remote control. Um in the concept design, the user interface, how the user reacts with the the product. And the detailed design um sort of like the user interface design, what they might be looking for, uh things like fashions, what makes wha how we're gonna make it special. That's about it.
William Prouty: Right. I'm Manuel and I'm the Designer in in this project um. In the functional design phase I'm I'll be dealing mostly with the requirements, um we'll discuss what the prog what functions the the product has to fulfil and so and so on. Um I suppose we'll work pretty much together on that one. Um um in the conceptual design um I'll be pro mostly dealing with properties and materials um of our product. And look and feel of the product itself, um so we're pretty much working together obviously on the design front here. Okay.
James Nelson: Okay. Um so we've got our opening, our our agenda the opening, uh acquaintance which we've kinda done. Uh tool training, project plan discussion and then closing. Uh grand total of twenty five minutes we have here. Um so we are putting together a new remote control. Um we want it to be something original. Um of course we're a not only a electronics company but a fashion um conscious electronics company, so we want it to be trendy um and we want it to be easy to use. Um we've got the functional design, conceptual design and detailed design um which basically is is the three of you um. And w uh well um functional design um. Um do we have um any ideas of of maybe d let's just throw out some ideas of what kind of remote control we want to have, and then we can go into how we're gonna design it and and how we're gonna do the detailing on it.
Philip Johnson: Yeah. Well uh s function of remote control is just just you know, change channels is its main function.
James Nelson: So we want it to be um a T_V_ remote or I I mean do we want it to to do other things besides just be a a television remote?
Philip Johnson: Oh right. I suppose you c try make it a universal remote
James Nelson: 'Kay.
Philip Johnson: for could work on all sort of electrical products in in one person's house.
Donald Shaw: Mm.
Philip Johnson: But, you know, they all sorta have the same role changing channels, volumes and then programming.
James Nelson: Mm-hmm. 'Kay.
Philip Johnson: I think
William Prouty: Mm.
Philip Johnson: they all work on the same prin principle as well sorta like I don't actually know. But is it just infra-red? Is that standard?
James Nelson: I
Philip Johnson: Ye
James Nelson: I think yeah,
Philip Johnson: yeah.
James Nelson: yeah, r universal remote. Um this is my first uh go-round
Donald Shaw: Huh.
James Nelson: with creating a remote control, so
Donald Shaw: Ours too.
James Nelson: I think we're all in the same boat here. Um
Philip Johnson: Um one thing I thought of with the remote control is you always lose 'em.
James Nelson: Okay.
Donald Shaw: Mm.
Philip Johnson: So if there's a g a way
Donald Shaw: Ch
Philip Johnson: of finding it quite easily,
James Nelson: So
Philip Johnson: I thought that'd
James Nelson: we
Philip Johnson: be
James Nelson: should
Philip Johnson: quite good
James Nelson: we
Philip Johnson: quite
James Nelson: should
Philip Johnson: a good feature.
James Nelson: set our remote control up to where it has a uh
Donald Shaw: Like a tracking device?
James Nelson: like a tracking device
Philip Johnson: Oh
James Nelson: or
Philip Johnson: you can get those key
James Nelson: or like a a
Philip Johnson: well you could whistle or make a noise
James Nelson: It
Philip Johnson: and
James Nelson: makes
Philip Johnson: it'd
James Nelson: a noise,
Philip Johnson: beep.
James Nelson: there's a button
William Prouty: Mm, mm.
James Nelson: on the T_V_ that you press
Donald Shaw: Mm.
Philip Johnson: Yeah.
James Nelson: and
William Prouty: Right.
James Nelson: 'Kay.
Donald Shaw: Be good.
William Prouty: So
Philip Johnson: Generally, all remotes are sort of quite similar in their appearance.
James Nelson: Yeah.
Philip Johnson: Just long.
James Nelson: Do we want so they're kinda like long and rectangular.
Philip Johnson: Yeah.
James Nelson: Do
Philip Johnson: Black
James Nelson: we want
Philip Johnson: usually.
James Nelson: something crazy? You know,
Philip Johnson: Yeah.
James Nelson: we want something new that's gonna
Donald Shaw: Lot more
James Nelson: stand
Donald Shaw: modern.
James Nelson: out.
Philip Johnson: I
James Nelson: A
Philip Johnson: think
James Nelson: m a
Philip Johnson: so.
James Nelson: modern so our remote should
Philip Johnson: Maybe
James Nelson: be
Philip Johnson: sorta spherical or something. A ball.
Donald Shaw: Maybe like user-friendly, like a little
Philip Johnson: Yeah.
Donald Shaw: you know, where you can use both hands, like a little keyboard type
Philip Johnson: People
Donald Shaw: thing.
William Prouty: Mm.
Philip Johnson: I thought maybe, because people always tend to throw a remote control about the place to one another if it was in a ball, and
James Nelson: 'Kay.
Philip Johnson: maybe the actual controls are inside or something.
Donald Shaw: Mm.
James Nelson: Um.
William Prouty: Well there are of course certain restrictions, you can't have it be any form and fulfil all functions at the
Philip Johnson: Yeah.
William Prouty: same time, so there are always the some restrictions we have to apply here. Um however um one question is how stable is that thing supposed to be, that refers to the material, pretty much um.
Donald Shaw: Mm.
William Prouty: What are we gonna build that thing out of? How sturdy is it gonna be? Do we want it to last longer or rather have people whatever,
James Nelson: Okay
William Prouty: have
James Nelson: so
William Prouty: to buy one
James Nelson: yeah,
William Prouty: every
James Nelson: so
Philip Johnson: Yeah.
James Nelson: we
William Prouty: half
James Nelson: want
William Prouty: a
James Nelson: it
William Prouty: year?
James Nelson: to be sturdy, we want it to to hold up to somebody's child, you know, throwing it across the room or, as you said, people kinda throw it, so
Philip Johnson: Yeah.
James Nelson: ball-shaped, uh you know, if it were ball-shaped maybe,
Philip Johnson: It could
James Nelson: then
Philip Johnson: be
James Nelson: it
Philip Johnson: cased on the outside and t everything could be inside.
James Nelson: 'Kay. Um so we want it to be modern, fun, sturdy, um So our form and our function. Um we want it to be um easy to find.
James Nelson: Um What else it what else do we want it to to do? So we want it to be universal. It's something that we're supposed to sell for about twenty five Euros um and you know, goals for profits are I think somewhere around uh fifty million Euros, what they wanna make on it, so.
Donald Shaw: Mm. Also since we're partners of the International Remote Control Association, maybe we wanna make it something that would globally appeal.
James Nelson: 'Kay.
Donald Shaw: That's more on the research end, but the marketing.
James Nelson: So marketing, you know, how maybe uh marketing, you could s find out what is the most universally um appealing remote control out there.
Donald Shaw: Yeah. And maybe as far as design goes, maybe we could have different ones for different target audiences,
James Nelson: 'Kay.
Donald Shaw: 'cause maybe
Philip Johnson: Ye
Donald Shaw: one won't apply to
Philip Johnson: Small.
Donald Shaw: all of the countries we're targeting.
William Prouty: Right.
James Nelson: Um
James Nelson: Do you guys have any ideas for what it should look like? Maybe we could draw it up on the on the board over there. Some ideas? We want it to be a b a ball,
Philip Johnson: I'd I could draw
James Nelson: you know,
Philip Johnson: sorta
James Nelson: we'll
Philip Johnson: the
James Nelson: draw
Philip Johnson: ball
James Nelson: up
Philip Johnson: idea.
James Nelson: we'll draw up the ball and maybe th um where the buttons are located.
Philip Johnson: My original idea was just simply sort of a sphere, where maybe you this is where it's connected together, and then when you open it out, it could fol it could be maybe flip, like a flip phone, and then when you fold it out the middle Maybe a hinge that'll have to be the strongest part of it. If that if we did use a hinge, or if it was just two parts, and then you'd have just sorta you you you know, your buttons. Thing is inside I think, sometimes remotes have too many buttons, so maybe as simple as possible, um as few buttons inside as possible. Um, I dunno, what's the idea for. Just something maybe if you ha if it had like if some kind of like light or something or lights around it. It's looking a bit like something out of Star Wars at the moment though, to be fair. But yeah.
Donald Shaw: Futuristic.
Philip Johnson: That was that was a sorta simple idea I had
James Nelson: Uh-huh.
Philip Johnson: and then you know you could about Right, it would almost be like a ball. So that was just just an idea I had. I don't know whether anybody else has other ideas?
William Prouty: Right. One problem you'd get with this design is um the ball is a nice idea because of it's stability
Philip Johnson: Yeah.
William Prouty: really, but of course, since it's a ball, it'll roll, so
Philip Johnson: Yeah.
William Prouty: we'd have to have it flat on one
Philip Johnson: Maybe
William Prouty: side
Philip Johnson: f yeah.
William Prouty: at least, down here somewhere, take away that part. That's one of the big issues.
Philip Johnson: Yeah,
William Prouty: Also
Philip Johnson: that's g that's a good idea.
William Prouty: also you risk the hinges here.
Philip Johnson: Yeah.
William Prouty: That's that's um
Philip Johnson: The
William Prouty: a
Philip Johnson: idea
William Prouty: problem.
Philip Johnson: it didn't have to necessarily be f a hinge, that
William Prouty: That's
Philip Johnson: was just one idea though.
William Prouty: that's interesting of course, but that's of course a weak point, yeah.
Philip Johnson: Yeah.
James Nelson: How would we go about um making you know getting rid of our weak points? What I mean would we just have a flat spot on the bottom of the ball? Not to put you on the spot,
William Prouty: E No
James Nelson: but
William Prouty: no, uh uh.
James Nelson: What did you say your
William Prouty: N
James Nelson: title
William Prouty: n
James Nelson: was again?
William Prouty: Uh, I'm your
James Nelson: You're the
William Prouty: Industrial Designer,
James Nelson: William Prouty.
William Prouty: so i b well, the point is that well maybe I dunno. The shape is perhaps not the most ideal.
James Nelson: Okay.
William Prouty: As as stable as it is, there must be a compromise between um
Philip Johnson: Well I I suppose that things become
William Prouty: stability
Philip Johnson: design.
William Prouty: and design
Donald Shaw: Mm-hmm.
William Prouty: here,
Philip Johnson: But I
William Prouty: so.
Philip Johnson: mean i I was trying to think of like the design of others. I can't think of anything other than a long rectangle for remote, maybe small, sort of fatter ones, but
James Nelson: Yeah.
Philip Johnson: there's nothing being done sort of out of left
James Nelson: It's
Philip Johnson: field,
James Nelson: not new, it's not
Philip Johnson: yeah.
James Nelson: innovative, it's you know, everybody does long remote because it's
Philip Johnson: Yeah.
James Nelson: easy, it's it's stable um.
Donald Shaw: 'Kay, I'll draw something.
James Nelson: So if
Donald Shaw: What?
James Nelson: no, go ahead.
Donald Shaw: My idea was just to have it be kind of like a keyboard type shape, you know, like video
Philip Johnson: Yeah.
Donald Shaw: games l so. But maybe I mean that would be kinda big and bulky. We could also try to do the hinge thing, so it could like flip out that way. I don't know. That's my idea.
Philip Johnson: I think definitely doing something different
Donald Shaw: Yeah.
Philip Johnson: is a good idea.
William Prouty: Mm.
Philip Johnson: I mean maybe design something, that's sort of like uh I suppose not everybody's everybody's hand's the same, but something that would maybe fit in the hand easier.
James Nelson: Something
Donald Shaw: Mm.
James Nelson: with a grip.
Philip Johnson: Yeah,
Donald Shaw: Yeah.
Philip Johnson: with a grip.
James Nelson: Yeah. Because even I suppose even with the ball
Philip Johnson: It still might be hard to
James Nelson: it's
Philip Johnson: it still not
James Nelson: it might
Philip Johnson: the ho
James Nelson: not be the easiest
Philip Johnson: easiest
James Nelson: to hold
Philip Johnson: thing
James Nelson: onto
Philip Johnson: to hold, yeah.
James Nelson: um.
William Prouty: Mm.
James Nelson: So perhaps the the joystick
Philip Johnson: Like
James Nelson: the
Philip Johnson: yeah.
James Nelson: the keyboard idea might work better. But then again, people like to use one hand to flip and one hand to hold their soda,
Philip Johnson: Yeah.
James Nelson: so maybe
Donald Shaw: True.
James Nelson: maybe
Philip Johnson: It's
James Nelson: we
Philip Johnson: d yeah. I think it's definitely got to be a a one-handed
Donald Shaw: Mm.
Philip Johnson: a one-handed job.
James Nelson: I feel like I'm just shooting everything down here. Uh
Donald Shaw: That's fine.
James Nelson: um
Donald Shaw: You're the boss, you're allowed to.
William Prouty: Well with the one-handed design you also have the the problem of the size w 'cause you know from cell phones, they can be too small. So
Donald Shaw: Yeah.
William Prouty: if the
James Nelson: Yeah.
William Prouty: remote is too small it if it's small it probably looks better, but may not be th as functional. So for that there's
James Nelson: Okay, so
William Prouty: So
James Nelson: unfortunately we've got about five minutes here to come up with our um remote control idea and start rolling with it. Um we've talked about our experiences with remote control and um we've got a couple ideas um. Let's see here.
James Nelson: What if we had what if we had not only um say we went with the ball the ball function um, but maybe we give it sort of grips along the side s um to make it easier to hold on to. So you know um s so
Philip Johnson: Yeah.
James Nelson: onto that way. Course that'll then remove some of our our ball. Unless this unless this part were raised, so say the cover flips over and covers that part. So the grip is No, that wouldn't work either um. But if we're gonna make it flat on the bottom, then that eliminates our ball anyways. So if it were flat on the bottom and then had the sorta grips on the side here I guess, um and then flat uh And then we have the problem with the hinge. So if we're flat on the bottom, it's not gonna roll away, it'll stay where we want.
William Prouty: The question is also, I dunno, d do you really always want to open that thing when you have to use it?
James Nelson: Mm, that's true.
William Prouty: It's probably going to lie around opened all the time anyway, so I don't know if a lid is a good idea. From stabil stability point of view uh it certainly is, but also you have to face it and take into account the more of these things break by accident, uh the more we sell. So it's don't make it too
James Nelson: So
William Prouty: stable
James Nelson: we don't have it flip open.
William Prouty: uh.
James Nelson: We just have a ball
Philip Johnson: But then maybe to go back to the to th s
William Prouty: To
Philip Johnson: something
William Prouty: the other
Philip Johnson: along
William Prouty: design.
Philip Johnson: those things then.
James Nelson: Okay, so then we forget the ball.
William Prouty: It
Donald Shaw: Looks cool though.
James Nelson: It looks cool,
William Prouty: looks
Donald Shaw: Yeah.
William Prouty: cool.
James Nelson: but it's really not it's not
William Prouty: Uh
James Nelson: functional
William Prouty: functional.
James Nelson: um. So we've got our sort of keyboard kind. What if we flipped it around here, so that it were um Sorry, that doesn't look anything like what you had there. Um so it's up and down, you hold it this way. Course
Philip Johnson: Yeah.
James Nelson: then it's it's like the rectangular again, only with a couple of jutting out points.
William Prouty: Right. Right.
James Nelson: But it's one-handed um.
William Prouty: Question is what makes those game pads functional? W I think that's pretty much the form for full hand. So it's a round shape underneath that makes it comfy,
Donald Shaw: Mm.
James Nelson: Yeah.
William Prouty: right, makes it nice, so that's the essential part. Except for that I think
James Nelson: Yeah.
William Prouty: we'll not probably not get a get away from some longer design.
Donald Shaw: Right.
William Prouty: 'Cause you also have to know which way around to point this thing.
James Nelson: Yeah,
William Prouty: You know, all that dif
James Nelson: because
William Prouty: batteries
James Nelson: it doesn't have a cord,
William Prouty: right,
James Nelson: like
William Prouty: and
James Nelson: joysticks do.
William Prouty: Batteries go weak as well, so um after a while you have to point it towards the uh towards the equipment you wanna control with it, right? So, have to m show which is the front, which is the back.
James Nelson: Is it possible to have it to where it would work with a like a sensor on either side? So that
William Prouty: I suppose
James Nelson: either
William Prouty: you could
James Nelson: way
William Prouty: do
James Nelson: you're
William Prouty: that.
James Nelson: pointing it it would
William Prouty: O
James Nelson: work.
William Prouty: of course the more technology you stick in that, the more
James Nelson: More
William Prouty: it'll
James Nelson: expensive
William Prouty: cost,
James Nelson: and
William Prouty: so.
James Nelson: yeah.
William Prouty: Course you can do that.
James Nelson: 'Kay. Um
William Prouty: I mean of course it'll be evident after a while or if you look at it, it'll it'll be evident which way around to point it, since you have the the numbers and the and the
James Nelson: True.
William Prouty: the buttons and stuff, but um it's rather about
Philip Johnson: Put
William Prouty: an
Philip Johnson: it
William Prouty: instinctual thing, like you just grab it, you don't have to s look at it, you know, which way around to point it. Otherwise the design of or the the point of putting two sensors on both sides um would probably work.
Philip Johnson: Even if you designed it in some in a way that you know, isn't a rectangle, but still pointed in a direction that had definite points. So if that's your thing and you
Donald Shaw: Yeah.
Philip Johnson: got something like that instead, and there's your s you kn you know which way you're gonna pointing it.
James Nelson: 'Kay.
Donald Shaw: Sorry
Philip Johnson: Um
Donald Shaw: to interrupt, but we have a warning
James Nelson: Are we
Donald Shaw: to
James Nelson: out
Donald Shaw: finish.
James Nelson: of time?
Donald Shaw: Yeah.
William Prouty: Mm.
James Nelson: Okay, well, just to finish up, should we s go with this plan, start making some
James Nelson: Are good ideas, what are not.
William Prouty: Let's.
Philip Johnson: Does it say what does
William Prouty: Obviously
Philip Johnson: it say for n it says on there what we need to do for the next meeting, I think.
James Nelson: Uh. Must
Philip Johnson: T
James Nelson: finish now, so. And then marketing will look and see what uh what people want.
Donald Shaw: Mm.
William Prouty: Alright.
Donald Shaw: Great.
James Nelson: Okay. And Project Manager will design a better meeting for next time around, be a little bit more prepared. And uh alright, good meeting. | James Nelson opened the meeting and had the team members introduce themselves and describe their roles in the upcoming project. James Nelson then described the upcoming project. The team then discussed their experiences with remote controls. They also discussed the project budget and which features they would like to see in the remote control they are to create. The team discussed universal usage, how to find remotes when misplaced, shapes and colors, ball shaped remotes, marketing strategies, keyboards on remotes, and remote sizes. | 5 | amisum | train |
: Okay. And don't forget the Oh yeah. Um, so hi everyone. Thanks for coming to this meeting. Um well as you all know the topic of this morning's meeting is uh the fact that we're moving and we are going to get more space. So that's a very good piece of news. Uh but we also have to find out how we use this space. So um if you want, I'll just give a brief overview of what's happening and then we can uh talk about, well, arranging these new uh the new office space So. um in case you haven't seen the the documents uh let Dennis Robinette just uh show you very briefly the the configuration of the the space. So um well, there is nothing much to say. Well you know how many of us are are present and you know that we are um a bit tight actually in our present location. Uh that's why actually the university finally um allocated us this uh this part of uh the Unimail building. So it's at the sixth floor. And it's uh sort of contiguous rooms as you you can all see from uh from here. Um so the the the one P_, two P_, three P_ means the the number of persons. As you can see we have several corridor um with a number of uh of uh of rooms, of one person rooms, two person room and and three person rooms. Um actually I think Agnes did this nice drawing so she even put the the view, so we have the old town on one side, and the mountains on the other two sides. Uh we have some bathrooms for us. Uh and a courtyard which actually means a sort of uh shaft, because uh the court is uh down at uh the first floor. Andre, just, yeah just a a clarification question, are they number of people per room indicated strict, or can we play around with? I mean if there are two people, is it really that you can't put three or uh two and a half or uh how how was it Well, calculated? it's a bit difficult to say, because um in fact we have some constraints in terms of furniture. Uh they are here. 'Kay. So um well, your your person Your your question actually is answered maybe by the third item. So each person should get um, well, it's a sort of desk, it's made of two pieces and it looks like a corner. With, of course, a chair. Uh a filing cabinet that goes under the desk uh and, well, we can put hanging shelves over the the desks. So I'm not really sure it's possible to get three um three desks in a two person office. But um we could Mm-hmm. try. What's What should be said here, I don't know if, well, you I I will maybe distribute now documents if you don't have them. Maybe it's easier. Do you need something, Martin? I Um, have everything. I can keep this for Okay, you. so Uh so it's I have it's a copy Yeah, Yeah. you have a copy, Susan. You too David, I think. Mm-hmm. So in fact there are more places than people, so we won't be that constrained. Uh as you know some of us and some of you here actually, Martin and David are part-time. So it it's for the moment quite comfortable. Normally we should even get an extra uh an extra place for, you know, temporary people coming to work on Are uh you sure on of that? projects. Uh yeah, I uh yeah, I counted so we have um fifteen pers physical persons Mm-hmm. and about uh sixteen, I think, uh persons oh, actually, Two eighteen persons in the offices. Six seven eight Yeah, nine but counting ten the eleven rea twelve the thirteen the fourteen reading room. fifteen Exactly, sixteen it so seventeen one eighteen. of the issues uh here, it's probably not on the slides, is that we would like to have uh, unlike what had until now, a lounge or reading room Mm-hmm. uh in one of the the offices. So in one of the rooms. Do we really need that? Um, I think quite a lot of people e expressed the need for that. So if we could do it, then I think it would be much nicer. Um let Dennis Robinette also uh st say something forget Yep. time we spend to for discussions about that room, so you should be able to valorize this if Okay. possible. Yeah, I I But think I still so. agree with you that the b the we are not so we are not so large, as far as space is Yeah. concerned. Uh because fifteen people to put in there eighteen positions, Mm-hmm. so uh to the best uh if you take uh two people room for the reading room, then you have Well, sixteen uh sixteen places. slots for Mm. fifteen people. So it's still should be feasible. Yeah, that that also means That's that the growth will be zero. Yeah, I think that's quite important to manage some space. Maybe we can think of, yeah, some two Visiting or three, visiti visiting yeah, researchers, for visiting people. students coming Correct. for exchange students et cetera. Yeah. Mm-hmm. Okay, so let Dennis Robinette finish with the the constraints which are almost done. So we also need to to find the a spot for the photocopier, the fax machine, and the printer. The fax, you know, is very small, but um the photocopier is quite huge, and the printer is uh well ab this size. Um okay, the offices comes with white boards. Not very uh very important. Uh the furniture that w each each person has and uh you have a list of people. So the thing uh you you ought to know is that we're not the only ones that w we're thin that that are thinking about uh for well, about putting people i in these rooms. Um there is another group that is also having discussions. So the idea is that today we'll just try to f start seeing the main constraints and then you have time to to go and think about it uh ask the people you know, your assistants, for instance, next meeting we'll try to to come with one solution. Uh, the other group will also propose a solution and then there will be another negotiation. So And w if we don't get this space then what happens? Uh if i if we don't get these? These, yeah. Um, well We j basically we stay they are where promised we are. to us so uh Do do you think there are chances that they take from us one of the rooms or uh Okay. Yeah, I I I think it's uh Uh, No the the the chances yeah. might be that there are more people to put in that space. Yeah i yeah, that's one of the the problems. I think maybe we should take this into account and maybe think of some of the bigger rooms with four people, one being temporary or or part-time. Um okay, so maybe we could try to to see now what would be the main options. Say the general uh, well, arrangement options. Do you think that we should put people, say, according to projects for instance? In in the table that um that we have, uh we also have the uh uh the p the main projects on which the people are working. So how Andre, sorry for Yeah. interrupting, but uh one Mm-hmm. again clarification question, what is the real margin of manoeuvre that we have for these discussions, because uh at least we are half per cent uh fifty per cent of from E_P_F_L_ and uh sometimes you have meetings where w y the the decision is already taken, so uh um you can spend quite a lot of time discussing things, so what what will be the impact of what we will come out Oh, actually come what up with? is fixed is the n the number of rooms. This we cannot really change. I mean at least not us, it would be much more difficult to get another another room for instance. But what is absolutely n not fixed is the arrangement of the people in the rooms. So So, another basically way of we a are all the permutations are possible at the moment. Another way of asking the question, is there any other group already working on uh on the how this should be uh should be allocated? Or are we the Um the one that is supposed to do the p the the p position for it? Well, what we are looking for is a solution that suits everyone and that makes the maximum of people happy. So uh the other group is, uh I don't think we have to see them as competitors, but they are just trying to to find another local optimum. Or But l wha why uh why don't they have any representative here. I mean Yeah, why didn't we have a meeting together? Yeah, Uh, they why have Uh do another we do group it separately? and uh uh Andre and Agnes will about it with. You are the rep representative Yeah. of this group actually. Yeah uh uh we Yeah. I I think that's Yeah, there is no real competition between the two, but we'll just try to find at least two solutions and see how how close they are, actually. It's it's I think well the m the people who who decided this thought it was the best solution to, mm well, you know, find two two kinds of opinions. Yeah. Okay. Well, we could have been eight h sitting around here and and talking, but I think it's it's more difficult. No, but you know that that's a standard thing. It's Suppose that somebody for some strange reasons want to be in the corner and we don't know about that, we'll put them put her or him somewhere else, then we will do plenty of work for nothing, Mm-hmm. because we'll not have this constraint. We'll not Well be aware of this constraint. Exactly, I think So so today the goal is not to to find the solution Oh, today, okay. but to set some constraints Okay. and then go and see the people and find out if they have any preferences. Obviously we won't be able to accommodate all the the preferences, but at least we'll find the most uh the most important ones. Well, certainly we have P s to I think ask uh Pierrette and uh and Maggie, since they're not here, because Mm-hmm. they also a Yeah. lot of students that they have to see as we do, and Yeah. so that's another consideration, too. Yeah, I think so that's one of the things I think we know that they have students, we don't know exactly if they prefer for instance to be alone, or to well, to be with their assistant, or even with another person working on the project. So that would have been maybe, yeah, another solution is to ask everyone to provide uh an arrangement, but uh I think that's a bit uh a bit hard then to to work out. Um so since all of you have a copy of the uh, well, of the drawing, I think for the next time, m maybe you could come with a concrete proposal with uh names on it. But let us try to see today whether we prefer to organise people, say, by projects or just professor and assistant. So what would be f, say, first your preferences, since Let's let's start with us, maybe today. Um what do you think about it? Would you prefer to be alone, would you prefer to be with your assistant. You who are part-time, do Hmm. you think you can come here on a very w well regular schedule or is it part-time, but variable during the week? Yeah uh, okay uh, Dennis Robinette personally I would like to to to share the other peopl n uh the room with assistants as when you have problems of normal life, like uh the printer doesn't work, uh I don't want to ask this to my supervisor, Uh-huh. And since you're coming on the uh half-time, Mm-hmm. do you think you will be able to group your presence here, say Monday, Tuesday and Wednesday morning, or is it going to be What m much uh more random? I don't think it's a good idea to share uh t to ha to share the same desk. Okay. Uh I still would like to have my drawers and these things. Yeah, I think so too. Um so Martin, you are also uh half-time and, well, the third person is Gisella. I think it's quite clear that mm each person should have their own desk and I agree with Yeah. that. That's It's no no way we we could put two persons at the same desk. Whe whe where part-time is important is that it's n an overlo load on a room, so um for sure if you have a part-time person, it reduces the the ranges of time where too many people in the room. Yeah, I think As far grouping as I am concerned I probably might be able to have a kind of a regular presence here. Um, the uh the thing that f in my case has to be taken into account is that I will have a lot of phone calls. So Mm-hmm. I'll be talking o Oh o great. o over the phone all the time. So that's not necessary Well, it depends on I I have nothing against sharing a a an office with somebody. I d already did it before, so and it was perfectly fine. It just has to be somebody who can work while somebody else is having phone calls in the in the room, which is very d much dependent on people. Some people are not disturb at all by this. Mm-hmm. Some people just can't work. Are you disturbed by the phone calls of other people? I'm not. Okay. But uh and uh what might happen, but it uh it will not be so heavy here uh at ISSCO is visitors. So that I will have more at E_P_F_L_, uh typically students Mm-hmm. coming in um or asking for things. As I'm not teaching here, I'm teaching at E_P_F_L_, this should shouldn't be a such a big load. So for Dennis Robinette it it will be essentially I will not Mm-hmm. be I will not be able to be silent in the room, because I will be communicating also through vocal means, so Mm-hmm. Ye mm before um talking more about individual preferences, is there any possibility, what they have done in the uh faculty of law, for example, that they actually split rooms? And so we would take uh uh one of the two people rooms Hmm. and split it. And you would see that you would have Yeah. the same size office, but that would give the privacy. Mm-hmm. Um insofar as in just about every other faculty in the building, every professor has their own office. Mm-hmm. And it's Hmm. it's really it goes a bit far that uh we have to have this uh all this sharing uh. So one option and that but that we would need to ask about if we could uh split one of the rooms uh Do you go for boxes for instance? In the in the bigger rooms where, yeah Like You know like cubicles. uh cubicles? Yeah. That doesn't really solve it uh Hmm. I mean there's there's You mean, really you a difference really want Mm-hmm. to to have having walls. to have your own Yeah, and sometimes Four walls. you have uh Yeah. you need to have private uh discussions Yeah, with somebody sure or sure. whatever, so Yeah, I I I will try to find out whether we can separate. I think for the moment the answer at least is no, because um it's not only, well, making a wall, but also b mm making a new door. So it's quite a lot of uh of work, but uh I will try to find this out for the next time. Um, so at least for the moment, as you can see there are uh I can show them here on the screen. So there are these two rooms on the left that uh accommodate one person. Mm-hmm. So at least Yeah. some of the professors, since you are four, uh could could go uh well, could take these uh these rooms. And quite a lot of rooms with two persons. Uh how do you feel Susan about the professor sharing the room with her assistants or the one which is the most involved in in the teaching? Well, I I think it's uh really a matter of personal preference. As you know um, I prefer to have Hmm. uh my own office. Hmm. Um, I also have uh a lot of phone calls and y you know, have to see people, and with the other work that I'm doing with the rectorate uh, that is really confidential information that Mm-hmm. Yeah. I'm treating. So Yeah. I That I have to be really careful about too. But it's a personal preference uh. Insofar as what we've had up until now, both Maggie and Pierrette have been happy to share with others. So I mean I think Mm-hmm. that we should still check with them I fully agree with that. That's uh it's much easier to Dennis Robinette to uh to foresee having two people of the same position sharing a room, than Well, not uh sharing with each other. They Oh each sharing share with with an their assistant. students. Yeah. Oh sorry, Yeah. because but that that's uh it's it's tricky because of confidentiality reasons, as you said. Yeah, you you you are discussing a budget on the on the project, you over the phone typically you don't necessary want to have somebody who will be dependent Paid on Mm-hmm. on that that budget being part of the discussion, Mm-hmm. so Yeah, that's um that's true. Um, okay. Um, maybe we could s look a bit at the projects. Do you think it's a good idea to put together in the same room as No. much as possible people from the same project, since they talk No, because quite a lot of to pro each other? project doesn't last in time. They will change. Mm-hmm. That's Okay. what Well, yeah, and some of the P_H_D_ students will hopefully Yeah, they will finish promote that. their P_H_D_ at some point. But still, th some things Well, Mm-hmm. yeah. Yeah, and also some of our the people mentioned here are working on more than one project Yeah. too. So For example, Mm-hmm. uh Marianne de uh, she's also working with Dennis Robinette on the virtual campus project, so Uh-huh. she that one wasn't mentioned, but I'm not saying Okay, that I necessarily yeah. want to be with her in the office, but Mm-hmm. uh it's just to say people are working on uh sometimes more than one project uh If if it if i if projects are what you have in mind, I think that uh meeting room is the the tool for that. Yeah. If you need Yeah. to have people in a projects talking together, they just have a meeting room if Yep. it's not too far away then then it's a very good good Yeah. practice. Well, actually, so the lounge could serve as some kind of meeting room, but there are also more formal meeting rooms Yes. available in in the building, as we That's now why know. I was quite receptive to uh Susan's remark at the beginning is I wouldn't formulate it in a such a an extreme way as, do we really need the lounge? But uh I would Mm-hmm. p probably formulate it in the way that uh, do we want to have only a lounge or s something that can be used only as a reading room? Because because meeting rooms to Dennis Robinette are very important tools to do uh collaborative work. Mm-hmm. But on the So other I hand think we we also need a have to relax, so that's Yeah, and and I think also we need a separate discussion on the furnishing of the Yes. lounge, Well, which is yeah, a we'll whole skip that other for now. topic. Yes. No I d um the lounge okay, but I think we need to also see it as a overflow place when we have Yeah. um uh visitors for any length of time, so Yeah. they actually have a place to work. 'Cause that's really my one of my worries Uh-huh. with the plan that we have here is that it's it pr provides no possible possibilities of expansion. And Um this will happen. I mean you can't you can't prevent having visitors. And you shouldn't. No, Yeah, you want to have yeah, visitors. for the moment Yeah. actually I think only one slot would be fully free. Uh Which that for is for fifteen Yeah. people it's not enough. Yeah, I that means mean uh one visitor at Yeah. a time. Or one Yeah it's intern. Yeah, that's We have we have four It's Mm-hmm. professors here and and and It's funny Mm-hmm. that uh we two move researchers. to another building because we run out of uh space and we will have the same problem. Mm. Yes, but we have more space here than Ah what we okay. currently have, Yeah, so it's already in progress. it's at least It's bad some it's And you're bad. you're working Uh I think, yeah, w Okay, so one of the things I have to do for the next time is fin find out about the separations between rooms Because this and is really related with security uh regulation as well. I mean you can't just put walls in in rooms Yeah, I without think it's any quite specific a heavy transformation authoris Yeah. of the building. Uh it's not necessary heavy in terms of work. It's heavy Mm-hmm. in terms of administrative authorisation. Mm-hmm. And At okay, least at E_P_F_L_. I'll try to find out. And the other question is, can we squeeze maybe four people in the uh or at least four places in the three three P_ room? I think so. If you organise the desks in a in a intelligent way. Mm-hmm. Yeah, hopefully visitors don't need as much say filing Yep. space, or um Yeah, right, that's the point. Yeah, they don't have that many papers. Uh okay. So that's uh I have to to ask, so you don't really feel um very strongly attached to this uh grouping by projects No. idea? No. Mm-hmm. No, Um because they can share their ideas across the project, yeah, I would say. Coffee machines are that made for that. Yeah, But uh exactly. usually, whe when new assistants come, they Mm-hmm. would like to share the room with someone that knows uh l uh it's related with the project, so he No, can Mm-hmm. that's that's proximity doesn't play a big role there. We can discuss Yeah, they with people that they the can the change. space is very small, I mean, altogether it's Mm. Mm-hmm. And uh No, you okay. don't y you don't need to discuss about the projects, you f more need about th to discuss about where is the printer, how do I get furniture, I'm I don't have a a pencil, where is the the box with the pencils, and so on. This is not project related. Mm-hmm. Mm-hmm. No, and if you look now at their uh the the current division of the offices, for example, uh Bruno and Agnes are sharing an office and they're working on totally different projects and Mm-hmm. Yeah. and they're they're just fine with that. Yeah, I think that's that's going to be one of the the main things we'll have to ask is whether people have strong preferences either in staying with someone or in uh not staying. Um, are you aware f of any strong constraints right now? Well, there there were, but they sort of disappeared as of October when the no smoking rule came in, because before we were Oh. grouping Yeah, the smokers that's true. and now that there's no smoking, uh I guess that's not very important option, though Okay, yeah, that's true. So smoking is now um no longer a constraint. Well, except for that maybe you don't even want anybody smoking on your balcony, so Yeah. Is it allowed to smoke inside an office, if it's a one No. person No, not any No. more. No, n it's It's non-smoking in campus. in principle it's a it's a no smoking building. You can smoke outside. Mm-hmm. So you can go outside onto the balcony Not even in the to cafeteria? smoke. Not even Downstairs? in the cafeteria. No. Full Yeah. That's no Okay. smoking the new building regulation. Wow. for all of the six thousand students. On the roof maybe. Uh on the balcony, actually. Yeah. The balcony, Yep. okay. Yeah. Normally. There is the there's that terrace. But Wow, Andre, uh just there there's a no place in inside the building? No. Wow, E_T_P_F_L_ is a c it's a non-smoking campus, but there are some places tha Still some places where smokers can Yeah survive. yeah yeah. But Andre, just Yeah. a comment abou Mm-hmm. about your your previous uh request. I I don't think that anyone will provide you information such as who doesn't want to be with whom. That's a typical uh output of ex uh research in expert systems. These are the rules that you never get. But uh you can get them through a proposal. The other way. So you propose Mm-hmm. a set-up, where people are with other peoples and they will find politically correct ways to tell you that uh they don't want to have a view on the mountains, but they prefer to have view on the old town, so they O on the would toilets be in or the toilets. They would um p prefer to be in another Mm-hmm. room. No, we we do have one constraint that's difficult, which is uh Gisella, because when Yeah. she's Yeah. there she's very noisy. Yeah. She's on the But phone that's a sec a lot s that's It's the just admin that's it's the admin by uh so Yeah. it's part of It's the by work. nat uh by Yeah. the nature of her work that uh Mm-hmm. a lot of it is communication. Yes, Martin said Yeah. also for him and, yeah, especially for Yep. her. Yeah the in she's the interface. And So that that's a problem, you're right, because Mm-hmm. because we don't have a one person we d we don't have enough one person rooms Yep. for uh accommodating the uh the admin place. And uh if you put two person persons or three persons for the admin space, who who who else would you put in there? Mm-hmm. Because we don't have any assistant manager or we don't have We have only one half part half-time uh admin and no other non-researcher positions, if I'm not mistaken. And this is Yep. really a piece of a problem. Maybe Yeah. you could put some visitors, but um Yeah, I know. It's I not think very Yeah. uh realistic Mm-hmm. in a in a in an admin I think room, putting but Gisella uh with the other admin of the school is not an option, because I think we weren't that's a offered excellent idea. Yeah, it would be nice, Why but don't we uh ask about that? Yeah, Okay, I'll try to because find out, but You can't uh put a researcher there. That's just Either you lose one position I th or you find another admin or assistant manager. Yeah. I mean there is certainly enough space uh down the hall, wi Yeah. if all of those uh uh offices that are, where half of them are also half time, and they're very under-used. So um Okay, we'll try, but all these, yeah, are say sort of difficult questions because they involve changing also the offices of Yep. the school and, you know, people just don't wanna change in general. Um, let's see, maybe we can find some temporary well, at least a proposal for Gisella. So, since the one-person rooms are quite, well, sort of um desired by a lot of people, she No that's should not probably sure that's not sure. No, Uh the y there are Yeah. To Dennis Robinette there Okay. are two options possible is either you we can take one of the one person rooms for the admin, because Mm-hmm. some of, typically, the professors have good reasons for sharing. Mm-hmm. Sharing either with a colleague or sharing uh with some of their uh one of their P_H_D_ students. In that case it's it's realistic. Then we could very very simply uh allocate the one pers one of the one person rooms for the admin. And that would solve the problem. The other thing is to take a two person room for the admin. That could Mm-hmm. be the one uh close to the uh close to the here in the centre so uh the Uh, the the middle one here? Yeah. But Okay. tha No no no, the other one, the the one op Yeah, here, This this one. one. Okay. But then uh that the the question of what do we do with the second position there remains fully open. Mm-hmm. So I would Well be I would be more of the opinion to to see whether it's it's so evident that, let's say the at least the two full full-time professors that are here on the list, we have one here, but uh Yeah. Maggie is is not present. Mm-hmm. If they really And Pierrette too. Yeah, and Pierrette. Yeah. If Yeah, well if if because of personal preferences they would be happy with a two person room, Mm-hmm. which might or might not be the case. I mean it's it's Yeah. certainly not uh something that we should impose, Mm-hmm. but we can ask. Yeah, because in this case, yeah, Gisella could take one of the the two person rooms and the other place would be for some kind of visitor, Yeah, but that's that not realistic either. I mean, you have you have I a fore or foreign researcher coming visiting you and you will put put him in the admin office? Ah. Okay. Uh. Uh you'll not do that. I mean uh, maybe you can do that with an exchange student, that's Yeah, Yeah, or with with an intern. younger people, yeah. But Mm-hmm. you can't take a senior visitor and uh No. him in the in So the secretary. we we invite invite and then we say, okay you can Uh sit you're with here. Gisella. Yeah. Okay. Okay so this sets a bit the stage for uh for Gisella then. Uh yeah we'll try to to find out. Um, actually, yeah, maybe we should remind that quite a lot of professors at the at the school actually share their office with their assistant. So b it looks like sort of an implicit tradition. Um Maybe As not Susan to Except said, be for followed. p in every other faculty. Okay. Yeah? Is that so? Yes, it is so Oh. Every. other faculty as far as I have seen their offices and the people Mm-hmm. that I know and that's in um in law, Yeah. uh socio-economics, Okay. uh okay? It's a They all have their own office. I mean in in the No no, that's in it. the law faculty they're at best there half time. As we said, it's Mm-hmm. it's really a matter of personal preference, it cannot be something else. It cannot Yeah. be imposed for sure. It's uh Um, okay so I think Well, this sets a bit uh the stage. Uh could we try So could you try please to uh Do you want an extra uh piece of paper? Maybe try to, job. well, think on your own and then talk a little bit just to the people around you. Again uh uh um, Andre, I think that the only realistic way we can do is to speak for our for ourselves. I can tell you Mm-hmm. according to what I know now where I would like or would be ready to be, but I really don't see how I could decide for uh Maggie or Pierrette or Yeah. whoever else on the list, No the point We're that gonna was have they to to. should try be to, there. well, just Yeah, b why why talk couldn't to them, we do like to David, couldn't or we do it like for for the the set-up of meetings. You you everyone received that and uh should provide Yeah, I would Mm-hmm. like to be here. And then you will have this multi-constraint problem and uh you work during Yeah. two hours and you come So up w with w the optimal w will solution. you ask people just for their place or also Yeah, for I the would other people's I would place? ask for their place. I mean that's that's Because that's the important Uh-huh. thing you want to know. Well, W what but that's abou what about the the the cafeteria? I mean, we are going to purchase a cafeteria with a projector and all this Uh it's a reading altogether room. or Reading room, yeah. It's Reading altogether. room, it's not a cafeteria. So in the But living that that's room an open question whether it's a it's a it's a it At the origin it was supposed to be a f pure reading room for relaxing, uh reading the newspapers, et cetera, et cetera. Mm-hmm. Uh there has been a very long discussion about that. I stinct uh this discussion is still vivid, that some of the people, I bel belong to these people, would like to have a mixed room where you can have a reading room for sure, but also meeting room if necessary. Or, as uh Susan said, a room an emergency room where you can put uh some visitors in a decent environment for for Mm-hmm. for for work, because you don't have any other place to do it. But that's that's really an open discussion and that d I think no Yeah. decision, no final Okay, decision th has then been taken about that. Okay then for the next time, um try to come up either with your own preferences, that's Yes. quite easy probably to state now that you know the constraints, Yes. or if you can poll a little bit the people around you, that would be I mean, The even one that I don't want to have in the next room? Well, just discuss i Yeah, for instance, I mean No, no, I was thinking just ask people around you Okay. what they think about this. And I think, yeah, it will be nice to to come with maybe a sketch of of these. If you can do slides, it's even better, but uh don't be that formal. And uh we'll try to at least build up one coherent proposal, and we'll merge it with the other one when the other one uh is available. Okay. Okay, I'll Um. ask um uh Maggie and Pierrette uh if That would they be great. have Oh, uh great. That would be any great. preferences. Mm-hmm. Perfect. C that that of course is one of the Yeah. main well not main but Yeah. one of the important No. features that we need to Yeah, know since about. they're not at the meeting I think Yes. it's in And out I'll try of courtesy to we should Yes. first ask Bu I ju them. just before Fine. finishing uh, I mean, we have a cafeteria or we don't eat at all? We don't have cafeteria. What do you mean by cafeteria He means reading exactly? room. A place n what mm uh What we can take a coffee also. No, there is no coffee in the reading room. No? Yeah, That w we was can the wrong bring We your coffee in the reading we did not room, have any but money for buying the coffee machines, So so so since maybe, you're a part-time here, and part-ti part-time at E_P_F_L_, there are at least two um coffee machines in the building, one at the third floor, one at the first floor. But And they we can close bring at our coffee. five or? No Ah uh automatic okay. No. Coffee uh machines. coffee machines. Okay, okay. So uh yeah. No, there's But, the cafeteria is downstairs, in Yeah, yeah, but they this. close Uh-huh. at five. Five. Ah that's the main problem. Yeah, Mm-hmm. but there's the two machines, and they're uh the vending machines where you just Yeah, put vending the money machines. and and And Mm-hmm. Okay. you you can can bring get your coffee Yeah. in the Okay. reading room. Yeah. Yeah, maybe this is not a very bad timing. Could we try T to to meet try the coffee? uh next Tuesday? Wait. Um, next Tuesday maybe at t maybe a bit later? Maybe at eleven Wait, wai wai o'clock? wai wait. Wait, Next wait. Tuesday. Tuesday um Come on, try try to be nice. Uh, well well well well, not Gi so give easy, Yes, eh? Dennis Robinette a reasonable I ha I date. have Ch no constraints, so it's fine. Um we have the Yeah, don't for forget Dennis Robinette it's we have a good the other timing. meeting the M_D_M_ meeting in the morning, so it would have to be in the afternoon. Uh-huh, Next okay. Tuesday we have a meeting, Yeah. yeah. Exactly. That might be Where is the meeting? It's Unimail? Yeah. Okay, so, yeah yeah, then it could be At that nine thirty, but we could do we could That have this meeting yeah. then in the That afternoon. Okay. Nah? that would be great, because that would Mm-hmm. allow us not to move, or Very not well. to travel Yep. twice. So about two o'clock? Would Okay. that be okay? After Yeah, lunch. Yeah. after lunch. It's not Okay. a very demanding Right. meeting, Yep. so um Okay. Perfect. Um, then let Dennis Robinette close this. And uh good luck for your arrangement games. Thank you. | Daniel Berry opened the meeting and described the layout of the new location the group might be moving to. Daniel Berry answered questions regarding the number of people per office and whether a lounge was necessary. Daniel Berry discussed constraints regarding furniture and equipment and addressed the issue that the group may not get the space they are after. The group then discussed how to arrange people within the proposed space. The group discussed grouping professors and their students together, grouping members of the same project together, the potential disturbance of phone calls to people sharing an office, physically splitting up offices for the sake of privacy by erecting walls, creating a meeting room for people of the same project to converge, how to accommodate visitors, where people can go to smoke, where to place Gisella, and how to allocate space to admin. The group also discussed the possibility of having a cafeteria and the locations of coffee machines. | 5 | amisum | train |
Carlos Brown: Right first time this time. Nu There we go. It's not that complicated, but I get it wrong every time.
John Richardson: Okay so we are just waiting for
Carlos Brown: For
John Richardson: Matthew.
Carlos Brown: Matthew, yep.
Ronald Bigham: Mm.
Ronald Bigham: Uh
Ronald Bigham: So I suggest we start the uh without
Carlos Brown: Mm-hmm.
Ronald Bigham: Matthew uh
John Richardson: Mm 'kay.
Ronald Bigham: he's uh obviously late for some reason. Good. Um. Today uh we will uh talk about uh conceptual design. I hope uh you both did some uh some
Carlos Brown: Mm-hmm.
Ronald Bigham: work uh concerning a uh conceptual design. Um this will be the uh agenda for the meeting uh. Uh I will take some minutes uh again.
Carlos Brown: Mm-hmm.
Ronald Bigham: Um we will have the presentations of y of you different
Carlos Brown: Yep.
Ronald Bigham: team members,
John Richardson: Yep.
Ronald Bigham: and then to come decisions concepts uh have. So and
John Richardson: Mm-hmm.
Ronald Bigham: that uh will uh we have some uh forty minutes uh to complete this
Carlos Brown: Mm-hmm.
Ronald Bigham: uh. So um who has the fir do you ha Anna
Carlos Brown: I have
Ronald Bigham: do you
Carlos Brown: a
Ronald Bigham: have
Carlos Brown: presentation,
Ronald Bigham: your presentation
Carlos Brown: I'm just
John Richardson: Yeah
Ronald Bigham: ready?
Carlos Brown: making
John Richardson: I
Carlos Brown: this
John Richardson: think yeah
Ronald Bigham: Okay.
John Richardson: the Matthew it is it's important that Matthew yeah is here because
Ronald Bigham: Ah there is Matthew.
John Richardson: it's really a a team uh project with a team and if someone is not
Michael Browne: Sorry.
John Richardson: here then we cannot but it's okay it's good.
Carlos Brown: Okay I'll just email you this file, my presentation.
Ronald Bigham: So. Good. Do presentation ready?
Carlos Brown: Mm-hmm I'm just emailing it to you.
Ronald Bigham: Oh okay.
Michael Browne: So
Ronald Bigham: So did you manage uh
Michael Browne: Yeah I sent you the slides you didn't see them?
Ronald Bigham: Oh yes I see him,
Michael Browne: Okay.
Ronald Bigham: good yes. No.
Michael Browne: So 'Kay.
Carlos Brown: Okay it should've gone through to you.
Ronald Bigham: Okay mm yes I have it.
Carlos Brown: Mm-hmm. Okay so this just a presentation on uh the trends that we're gonna use to make the product stand out from the rest of the products out there at the moment. Um can I just put this on? So we have to work out a way what we can do with our product to make it stand out and make it so people wanna buy it. Um. This is to do this I will not remove my microphone. We basically used um some focus group surveys which I went through with you last time, the main results of that, and um some research on the current design um and fashion trends that are out there at the moment um, and as part of this The important aspects that came out were things that we've already discussed really. The most important by far was the look and feel of it. It needs to be something that's very different from everything else out there. It needs to stand out. It needs to be not functional like the rest of the things out there at the moment. Most people find remote controls boring at the moment, we need to have something that looks interesting, that looks exciting, that will stand out. People will wanna buy it. Um That was twice as i important as the next item on here which is that it has to be technologically innovative has to have something else, apart from just the look of it. People have to then think about it and say got something there that I want. That's a really cool feature, and it has to make them wanna buy it again. Third on the list, and again innovative was twice as important as this last um aspect, it has to be easy to use. So they have to be able to be able to look at it and have some intuitive idea of how to use it um. Drawing on the fashion trends at the moment, uh fruit and vegetables um. This is basically talking about just the the feel of it, so probably not the smell of it, but the bright colours, um
Ronald Bigham: Mm.
Carlos Brown: eye-catching, really bold designs,
John Richardson: Mm-hmm.
Ronald Bigham: Mm.
Carlos Brown: and a spongy feel. Um I had a talk to the design people about this, but having a remote that's tactile, that feels different, that would be really cool. That would make it stand out.
Ronald Bigham: Hmm.
Carlos Brown: Um.
John Richardson: So can you repeat and be more precise about what you just said?
Ronald Bigham: Spongy
John Richardson: Uh
Ronald Bigham: feel?
John Richardson: about the feeling yeah uh
Carlos Brown: Well
John Richardson: yo
Carlos Brown: ma
Michael Browne: You
Carlos Brown: make
Michael Browne: can
Carlos Brown: it not necessar sp spongy is the current thing. Spongy is the current texture, but basically there are no reports no remotes at the moment which are spongy or tactile at all, so if we make it like maybe furry or
John Richardson: Okay.
Carlos Brown: soft or something, that'll be something that sets it apart,
Ronald Bigham: Mm.
Carlos Brown: rather than just bare plastic which they all are at the moment.
John Richardson: Yeah.
Ronald Bigham: Okay.
Carlos Brown: So as far as the design goes, the very most important aspect was the design, to the customers. So going with the fruit and vegetable idea, we've got the bright colours, so makes it stand out, the oranges and the the bright yellows and the florescent colours, part of the fruit and vegetables um. Going back to the idea of taking inspiration from mobile phones, they've all got those a lot of them have the changeable covers, so they can choose what colour the outside is. That's one way of looking at it um. Textured feel we just talked about. Maybe it's
Ronald Bigham: Mm-hmm.
Carlos Brown: another way of doing that. So if it's part of the the changeable covers then may maybe they can choose a different texture, a spongy one or a soft one or something like that. So they can choose it li as they want to
John Richardson: Yeah
Carlos Brown: to maybe
John Richardson: that's a very good yeah.
Carlos Brown: to fit in with their decor in their living room, or just what they like,
John Richardson: Yeah.
Carlos Brown: their sports team or whatever. Um and yeah, still taking the inspiration from the mobile phone design so functionality, the way the mobile phones work, the way the keypad looks. Also just the way that a lot of industrial design is going into mobile phones at the moment. They're big selling items. People put a lot of thought into that so we can leverage off that, and we can start using some of their ideas. Um back to technological in in innovation, not quite as important, but still a big issue. Um we talked about having a way of finding a remote control if it's been lost, uh that's one thing we could look at. There are other aspects like L_C_D_ screens and speech recognition which weren't I don't think, in my personal opinion, gonna be worth the extra expense and the extra effort that will go into them.
John Richardson: Mm-hmm.
Carlos Brown: I think we're better doing something basic like this which is very important and very will be a really cool feature to put in. And use. I had no real specific ideas for this, having your core functions big and at the top
Ronald Bigham: Mm.
Carlos Brown: maybe, by themselves,
Ronald Bigham: Yes well maybe
Carlos Brown: and
Ronald Bigham: Matthew
Carlos Brown: then
Ronald Bigham: can can
Carlos Brown: yeah
Michael Browne: Yeah.
Ronald Bigham: give
Carlos Brown: and
Ronald Bigham: some
Carlos Brown: then
Ronald Bigham: more
Carlos Brown: th
Ronald Bigham: information
Carlos Brown: th the
Ronald Bigham: on
Carlos Brown: finer
Ronald Bigham: the
Carlos Brown: details of buttons you don't use as much either hidden away or completely separate.
Ronald Bigham: Mm.
Michael Browne: Voila.
Carlos Brown: Yep and that's the presentation.
Ronald Bigham: Okay good, that's very clear.
John Richardson: Yeah
Michael Browne: Yeah.
John Richardson: very clear.
Ronald Bigham: 'Kay. Um.
Carlos Brown: So does anyone have any comments
Ronald Bigham: Uh
Carlos Brown: or ideas on that? I think you
Ronald Bigham: Maybe we yes well we maybe can decide later on um the l the the look and feel of uh I've it was a good idea maybe to to
John Richardson: To let the people choose,
Ronald Bigham: Yes
John Richardson: you mean?
Ronald Bigham: the the
John Richardson: Yeah.
Ronald Bigham: the there are changeable covers, but on the other hand I I don't know whether my superiors would be so glad with it because you have to introduce a complete uh uh new l line of uh of supplies uh
Carlos Brown: Hmm.
Ronald Bigham: it would be uh very complicated uh organisational
Carlos Brown: Well we're selling so many units of this. This is gonna be a mass marketed product,
Ronald Bigham: Hmm.
Carlos Brown: we can afford to have two
Ronald Bigham: Mm-hmm.
Carlos Brown: or three different designs
John Richardson: Yeah
Carlos Brown: at least.
John Richardson: a range of uh yeah,
Ronald Bigham: Yes.
John Richardson: a set
Carlos Brown: Mm
John Richardson: of three, four different
Carlos Brown: mm.
John Richardson: aspects.
Ronald Bigham: Mm-hmm.
John Richardson: Sure
Ronald Bigham: Yes
John Richardson: that fits the
Ronald Bigham: and of course it will be a we we get a if it works we can get uh after-sales
Carlos Brown: Mm.
Ronald Bigham: I mean that would would be very good I mean
John Richardson: Yeah.
Ronald Bigham: those covers could go for for three, five Euro.
Carlos Brown: Mm.
Ronald Bigham: That's a very good idea um And then uh maybe uh we can go a th Matthew's presentation because
Michael Browne: Yeah s
Carlos Brown: Mm-hmm.
Ronald Bigham: the
Michael Browne: then we could discuss later like we can put all ideas together.
Ronald Bigham: Together indeed
Carlos Brown: Mm.
Ronald Bigham: uh,
John Richardson: Yeah
Ronald Bigham: because
Michael Browne: It should
Ronald Bigham: you
John Richardson: yeah
Michael Browne: be
Ronald Bigham: ma
Michael Browne: easier
Ronald Bigham: might
John Richardson: I
Ronald Bigham: have
Michael Browne: with
John Richardson: agree.
Ronald Bigham: some
Michael Browne: that.
Ronald Bigham: some information on the the easy to use, what
Michael Browne: Yeah.
Carlos Brown: Mm-hmm,
Ronald Bigham: you were
John Richardson: Yeah.
Carlos Brown: yeah.
Ronald Bigham: already mentioning.
John Richardson: And
Michael Browne: So
John Richardson: your part is very related to mine because
Michael Browne: Yeah.
John Richardson: when you suggest something then it
Michael Browne: Yeah
John Richardson: has to
Michael Browne: so
John Richardson: be integrated inside.
Michael Browne: I'll I'll go with that actually
Carlos Brown: Mm-hmm.
Michael Browne: so um
Michael Browne: Okay so m so then the the idea of uh having remote is generally you have uh keys and uh different, different forms, and uh they could be like buttons or like and um they could be of uh a varying sizes if you want to to uh basically emphasize a particular key more than the other, and uh maybe like you can have different colours for example having the r red for the on off switching on and off the button. So this this is the general trend to
John Richardson: Yeah.
Michael Browne: ha
Carlos Brown: Mm-hmm.
Michael Browne: the method they do. So what I have found was that uh currently uh the they are mostly that the T_V_, V_C_R_, music system operated ones actually, and they are very specific to each other, but there are some common keys for example if you want to follow the V_C_R_ and if you want to follow the uh g uh s some uh soundtrack on the w w see they have the common thing actually
Carlos Brown: Mm.
Michael Browne: you can have and uh There is also um a speech recognition to store channel information, names, like You can basically if you have a multiple functionality, say T_V_, V_C_R_ or something I say it
Carlos Brown: Mm.
Michael Browne: to the T_V_ and the T_V_, and you can programme the keys if you want to, certain keys are even the channel information.
Carlos Brown: Mm. I like the idea though of having speech recognition for like the n the name of a channel like B_B_C_, rather than having to remember the the number of it on the keypad.
Michael Browne: Yeah
Carlos Brown: That's a good idea.
Michael Browne: yeah so you you you can just uh because uh as more and more channels come then you have more and more problems to remember the v v
Carlos Brown: Mm.
Michael Browne: exact channel numbers ex
John Richardson: Yeah.
Michael Browne: exactly, even if you arrange it by however you arrange it,
Carlos Brown: Hmm.
Michael Browne: you still have the problem to
Carlos Brown: Mm.
Michael Browne: remember exactly
Carlos Brown: Yeah I really
Michael Browne: which
Carlos Brown: like that idea.
Michael Browne: channel
John Richardson: So
Michael Browne: you
John Richardson: what
Michael Browne: want
John Richardson: functionalities
Michael Browne: to
John Richardson: do you suggest for that? For
Michael Browne: So
John Richardson: facing
Michael Browne: it
John Richardson: this
Michael Browne: it
John Richardson: problem?
Michael Browne: it's like it limited one. In the present market I saw it that says something like they are looking for eighty word thing, eighty word,
Carlos Brown: Mm-hmm.
Michael Browne: which shouldn't be th that difficult to implement, like eighty to hundred word. Basically you want you don't want to store all the channels in the
Carlos Brown: Mm.
Michael Browne: remote control, you want to st store your favourite channel.
Carlos Brown: Maybe ten channels,
Michael Browne: Yeah
Carlos Brown: yeah
Michael Browne: some
Carlos Brown: at the most.
Michael Browne: ten twelve channel information. You
John Richardson: Okay.
Michael Browne: know you don't want to st store all the hundred
Carlos Brown: Mm.
Michael Browne: channel information into that. And uh basically uh it depends like the remote with L_C_D_ display for browsing because you have multiple functionalities for example you are watching a movie, and uh uh you are having a universal remote control and you want to uh you don't know really which functionality is now, so I am using the T_V_ so every time I use it, it could be like, for example I can use a simple toggle switch, and a display, so I press it so the display says, okay, I'm in T_V_ or D_V_D_ or whatever
Carlos Brown: Mm-hmm.
John Richardson: Mm-hmm.
Michael Browne: it is, instead of having three keys separately
John Richardson: Oh yeah yeah yeah
Michael Browne: for four
John Richardson: mm.
Michael Browne: keys, to model the functionalities
Carlos Brown: Mm.
Michael Browne: will increase actually,
John Richardson: Mm.
Michael Browne: and for you and you might want
Carlos Brown: Mm.
Michael Browne: you don't want separate keys for all of them. You can't. And uh well there can be children friendly where you can programme your remote so that they they are not allowed uh to browse certain channels which you can block them, and you can operate them.
John Richardson: Mm-hmm.
Michael Browne: So these are the things presently which are seen in the market scenarios at present. I personally would look at things like having a u universal remote, is uh um is a good idea, like instead of having unusual ones for all of them you can
Carlos Brown: Mm-hmm.
Michael Browne: think of having, um with multiple functionality possibly with speech recognition. I got a mail from the the coffee machine interface unit that uh they have uh integrated the s speech recognition into a into the coffee machine, and so
Carlos Brown: Mm
Michael Browne: if you
Carlos Brown: b
Michael Browne: say hello coffee machine, it say hi Joe, or something like that, you know, and
Carlos Brown: But a coffee
Michael Browne: uh
Carlos Brown: machine, there's not too many words they'd be using with that it's a
Michael Browne: Yeah
Carlos Brown: it's
Michael Browne: you you
Carlos Brown: a
Michael Browne: won't
Carlos Brown: small
Michael Browne: be
Carlos Brown: vocabulary.
Michael Browne: using it, so it's a limited vocabulary
Carlos Brown: Mm.
Michael Browne: mm thing, and very isolated word and
Carlos Brown: Mm.
Michael Browne: it's uh it is interesting, and basically storing the channel through voice or other ways of programming your keys,
Carlos Brown: Mm.
Michael Browne: on the display for the browsing which is again and maybe having something like a blinking thing, like uh it could indicate you're uh it it could indicate what is cal like the uh whether uh
Carlos Brown: Mm.
Michael Browne: you you have enough battery in your in your uh remote,
John Richardson: Yeah.
Michael Browne: the blinking. At the same time, if it's a dark room, it can be used to locate the remote also or
John Richardson: And you want okay for coming back to one
Carlos Brown: Two thirty
John Richardson: point
Carlos Brown: five supposed
John Richardson: y
Carlos Brown: to
John Richardson: you
Carlos Brown: finish.
John Richardson: want to let the user to programming the keys? Some of them?
Michael Browne: Yeah you can let them to do
John Richardson: And
Michael Browne: that.
John Richardson: uh isn't that too difficult for the we want w I don't know if we still want the um R_C_ to be easy to use,
Carlos Brown: Hmm.
John Richardson: that's the
Michael Browne: N no but the
John Richardson: compromise.
Michael Browne: if you give it d depends on the easiness like
John Richardson: Yeah.
Michael Browne: the user how much effort he can put.
Carlos Brown: Hmm.
Michael Browne: Like for example uh I would like to store in certain way, so if you want to give the full freedom to the user
Carlos Brown: Mm.
Michael Browne: or
John Richardson: Yeah.
Michael Browne: you want to keep some constraints
Carlos Brown: Yeah.
Michael Browne: and let the user use
Carlos Brown: Mm.
Michael Browne: it with that constraint.
John Richardson: Yeah.
Carlos Brown: I think
Michael Browne: So
Carlos Brown: you can
Michael Browne: it
Carlos Brown: do
Michael Browne: de
Carlos Brown: it both ways. You can have it so it's easy they can pick it up and use it straight away without
John Richardson: A standard.
Carlos Brown: doing anythi without customizing it,
John Richardson: Yeah.
Carlos Brown: or if they want to they have the option of using these extra features.
Ronald Bigham: Um yes
Michael Browne: So
John Richardson: Yeah.
Ronald Bigham: but but I do maybe you can give a hand to us because I I'm not sure whether that that we can implement that for twelve Euro and fifty cents. I'm sorry
Carlos Brown: Hmm.
Ronald Bigham: to have
Michael Browne: So
Ronald Bigham: Every time I have to come down on this price
Carlos Brown: Hmm.
Ronald Bigham: again to so this might be a little limiting for your creativity, but
Carlos Brown: Hmm.
Ronald Bigham: it's it's it's the real We have to consider it. S so
John Richardson: Yeah.
Ronald Bigham: do we think these ideas an and my uh sp speech recognition, I mean maybe it's possible for for twelve Euro but then then it will be at cost of other functionality we might implement
Carlos Brown: Mm.
Ronald Bigham: like the uh uh the the the furry uh uh case of
Carlos Brown: Hmm.
Ronald Bigham: the
John Richardson: Mm-hmm yeah like I would say that for programming uh keys, you
Michael Browne: Yeah.
John Richardson: said, uh it could be uh easily uh done within the the package of twel twelve Euros,
Ronald Bigham: Mm.
Michael Browne: Yeah.
John Richardson: but for the A_S_R_ system, uh I'm not sure if it's feasible to have
Michael Browne: We
John Richardson: this or
Michael Browne: well we can still look
John Richardson: We
Michael Browne: at we can talk with the coffee unit and you can uh check
John Richardson: Exactly
Michael Browne: how much
John Richardson: yeah
Michael Browne: how
John Richardson: i
Michael Browne: much
John Richardson: if if
Michael Browne: they
John Richardson: it's a low vocabulary
Michael Browne: yeah
John Richardson: it's already
Michael Browne: yeah
John Richardson: implemented,
Carlos Brown: Mm.
Michael Browne: yeah.
John Richardson: and w how much it's cost, maybe with
Michael Browne: Maybe
John Richardson: a f
Michael Browne: we can come
John Richardson: cheap chip.
Ronald Bigham: Mm
Michael Browne: we we can
Ronald Bigham: mm.
Michael Browne: talk to them, and we can come with that, you know.
John Richardson: Yeah.
Michael Browne: And also well you can think of having uh since you have a you know something maybe if you added little bit of display, you might need the to che keep checking the battery, so you really need a some kind of indicator, so it
Carlos Brown: Hmm.
Michael Browne: could be a blinking option of L_E_D_
Ronald Bigham: Hmm.
Michael Browne: it could actually
John Richardson: Yeah.
Michael Browne: be used to detect also. If it's in a dark room you can basically
Carlos Brown: Mm.
Michael Browne: detect it also.
Carlos Brown: Hmm.
John Richardson: Yeah.
Ronald Bigham: Hmm.
Michael Browne: So
Ronald Bigham: Mm.
Carlos Brown: I like the idea too of being able to use the remote in the dark, so either having the buttons so you can feel the difference between them or if they
Michael Browne: No actually
Carlos Brown: if they light up or
Michael Browne: i
Carlos Brown: something.
Michael Browne: if i it is like you know it tells you um, it can be for two purposes,
Carlos Brown: Mm.
Michael Browne: like if you have an L_C_D_ display and all those things
Carlos Brown: Mm.
Michael Browne: it's not going to be the standard remote,
Carlos Brown: Hmm.
Michael Browne: which is having uh which need just uh six six volt uh
Carlos Brown: Mm.
Michael Browne: th sorry three volts um of D_C_. It may need more actually, so y you you may need to check your battery usage it and then
John Richardson: Mm.
Michael Browne: you need that, some functionality to indicate the battery
Carlos Brown: Hmm.
Michael Browne: limit.
John Richardson: It's true.
Michael Browne: And then if the battery limit is indicated, if it could be ind indicated through a blinking something
Carlos Brown: Mm.
Michael Browne: and it can change the colour depending on your uh how much is the battery, well that is good enough to even locate even if you want to.
John Richardson: Mm-hmm.
Michael Browne: You know.
Ronald Bigham: 'Kay good.
Michael Browne: Yeah so
John Richardson: I don't know how if if I have time to talk about the
Ronald Bigham: Mm yes um
Michael Browne: You you have
Ronald Bigham: I would
Michael Browne: time some more? Yep.
Ronald Bigham: Yes yes you can you can still. We have time.
Michael Browne: Sure you can you know.
John Richardson: Okay. So what I'm gonna present here is very uh um yeah basic knowledge about the all the the components that are inside a a R_C_ a remote control,
Carlos Brown: Mm-hmm.
John Richardson: and how is it manufactured h what is the process, just to explain you. So the method is ther there is a a set of components in a in a remote control like, and uh what cost the the components in themself do not cost a lot but the the way to assemble everything costs obviously, and I will uh show you my preferences uh uh at the end. So there are two uh different types of uh um
Ronald Bigham: Nice.
John Richardson: Two different ways
Michael Browne: Hmm.
John Richardson: of using the the components for making a a remote control. Uh the basic way is to use a an integrated circuit and some uh transistors with an that aims at communicating uh uh the message and to to send the message to the um to the led that will uh transmit to the receiver. And uh yeah the other components and the circuit board buttons, infrared, led, etcetera, for the components um. So you finding, just to say that the chip can detect uh when a key is pressed, and then it translate to the key, to a sequence, something like morse code, as you know,
Michael Browne: Mm-hmm.
Ronald Bigham: Mm-hmm.
John Richardson: uh with a different sequence for each key, and uh uh that's, with the components we will use, we will have different uh messages, different sequences, and the chips sends that signal signal to the transistor that amplify to make it stronger um. So electronic parts are assembled onto uh printed boards uh because it's easier to mass produce and assemble. And uh so I think for our design we want some b uh programmable uh you know V_ V_L_S_I_ or
Michael Browne: Yeah
John Richardson: F_P_G_A_
Michael Browne: mm mm-hmm.
John Richardson: uh high technology, and this is important, and also we'll use uh yeah like in any uh high-tech uh devices a chip of fi
Michael Browne: Mm-hmm.
John Richardson: fibreglass to them and connect them. So my personal design we need to find a solution what um what is the material of the cover we want to use. If it's plastic or
Carlos Brown: Mm.
John Richardson: you said that yeah you had some ideas uh like fruit, veg or I
Ronald Bigham: Well
John Richardson: dunno.
Ronald Bigham: well m m maybe
John Richardson: Yes.
Ronald Bigham: m maybe we can give the uh the uh the case a very uh uh normal a v very normal case but,
John Richardson: Yes.
Ronald Bigham: with the changeable covers to fancy it up.
Carlos Brown: Mm-hmm.
Ronald Bigham: So like a normal cheap plastic case
Carlos Brown: Mm-hmm.
Michael Browne: Yeah.
Ronald Bigham: which can
John Richardson: Yes.
Ronald Bigham: be covered up in, for instance, a wooden case. I
Carlos Brown: Mm
Ronald Bigham: mean just
John Richardson: Yeah like
Ronald Bigham: what
Carlos Brown: just
John Richardson: they
Carlos Brown: have
John Richardson: do
Carlos Brown: a
John Richardson: in
Carlos Brown: yeah
John Richardson: with cars I think. Yeah
Carlos Brown: Just
John Richardson: inside
Carlos Brown: the veneer
John Richardson: the car
Carlos Brown: on it,
John Richardson: yeah.
Carlos Brown: yeah.
John Richardson: So they also emailed Carlos Brown that uh they have available a bunch of different buttons, a scroll wheels, integrated push buttons s such as a computer mouse.
Michael Browne: Yeah.
John Richardson: And uh very cheap L_C_D_s, so liquid crystal displays, so I'm wondering, I think we might be able to integrate L_C_D_ into our R_C_. And the final point okay is um we have yeah there are some uh compromise to to do.
Carlos Brown: Hmm.
John Richardson: So we have to know that the push button requires a simple chip, but the scroll wheel uh and that kind of higher high-tech stuff needs more money um which is a higher price range alright. And the display requires an advanced chip, which in turns is more expensive than the regular chip,
Ronald Bigham: Mm-hmm.
John Richardson: w we could be able to handle that. So to to sum up um we need yeah so I I just said that the components uh the list of components uh has to be uh yeah listed and um and um assembly is a an important process that has to be taken into account. And uh for the designing of the cove uh uh cover layout
Michael Browne: Sorry.
Carlos Brown: Mm.
John Richardson: then it's better to to to maybe see that with uh the the U_R_ exp U_R_I_ Expert so that we can it's really a team-working uh.
Ronald Bigham: Mm.
John Richardson: So I I cannot design something without your agreement,
Michael Browne: Yeah
John Richardson: right?
Ronald Bigham: No
Michael Browne: so of course
Ronald Bigham: of
Michael Browne: for
Ronald Bigham: course.
Michael Browne: example uh I wanted to know like if you want to have a a fo if you want to have the L_C_D_ display
John Richardson: Yes.
Michael Browne: over there, or if you want to store a programmes with a keys What kind of things you'll need inside your thin inside W wh what
John Richardson: Yeah it's kind of um
Michael Browne: W what
John Richardson: simple pro progra programmable device,
Michael Browne: Okay.
John Richardson: and we have to insert. I
Michael Browne: Okay.
John Richardson: think we could insert one that could underlie several functions of
Michael Browne: Okay so in that case you can even look at the technology what the mobile phone is trying to use with the card.
John Richardson: Exactly yeah,
Michael Browne: Yeah where
John Richardson: for
Michael Browne: they do
John Richardson: customizing
Michael Browne: all the wi
John Richardson: and
Michael Browne: with
John Richardson: yeah.
Michael Browne: with them actually.
John Richardson: Okay.
Michael Browne: How f cost effective it would be to put that car chip into it and do the
John Richardson: Yeah.
Michael Browne: programmable
Ronald Bigham: So
Michael Browne: things.
John Richardson: Yeah
Ronald Bigham: So
John Richardson: good
Ronald Bigham: I
John Richardson: idea.
Ronald Bigham: f I think we we should come to some decisions now
John Richardson: Yeah.
Ronald Bigham: uh a about this. Um so I understand uh when we want a display we need a expensive chip, but when we want a scrolling wheel w we also need the expensive chip, so can we use same chip, so with one expensive chip we can uh implement several complicated uh or advanced features.
John Richardson: Exactly yeah that's
Ronald Bigham: Yes.
John Richardson: a very good idea, we could have uh one main chip uh that
Ronald Bigham: Mm-hmm.
John Richardson: could handle, uh it's called F_P_G_A_ chip,
Ronald Bigham: Mm-hmm.
Carlos Brown: Mm-hmm.
John Richardson: that could handle both uh like scrolling wheels as well as uh L_C_D_ and yeah.
Ronald Bigham: So when the more expensive chip you mentioned there is is possible in the in the given budget, uh maybe we should go for for the more expensive chip, so all features uh which you mentioned can be implemented based on the same chip.
John Richardson: Yes.
Michael Browne: D well
Ronald Bigham: Do you think that's feasible?
Michael Browne: Well I don't know if it'll fit into our cost of twelve point five Euro
Ronald Bigham: Uh
Michael Browne: you know.
Ronald Bigham: You th you think it's possible.
Michael Browne: Is it possible to fit in
John Richardson: Yeah
Michael Browne: to
John Richardson: also
Michael Browne: that?
John Richardson: thinking, I think both uh if we had a budget of twenty twenty
Michael Browne: Sorry.
John Richardson: uh Euros, it will be okay,
Ronald Bigham: Hmm.
John Richardson: but uh.
Carlos Brown: Well maybe we need specific costings then. Actually do maybe two designs and then cost them out and see which one is gonna fit in our budget better.
John Richardson: Yeah
Ronald Bigham: Mm
John Richardson: that's an excellent idea.
Ronald Bigham: yes wh when you make a a design ca you can next meeting you can give an quite
John Richardson: Yeah
Ronald Bigham: an exact cost price.
John Richardson: yeah.
Ronald Bigham: That w that
Carlos Brown: Mm.
Ronald Bigham: would be
John Richardson: Yeah
Ronald Bigham: a very
John Richardson: because right
Ronald Bigham: good idea.
John Richardson: now I don't have price in in head but
Ronald Bigham: Mm.
John Richardson: for next meeting I'm sure yeah be able
Ronald Bigham: Good
John Richardson: to
Ronald Bigham: good.
Michael Browne: Yeah that's uh
John Richardson: do that.
Michael Browne: that's something which I wanted to ask you also, like what will be the each individually the cost of it.
John Richardson: Yeah.
Michael Browne: For example if f if you want to put wood I wouldn't suggest for wood
John Richardson: Okay.
Michael Browne: uh 'cause it's I think it's m much easier to use a plastic or
John Richardson: I
Michael Browne: a
John Richardson: agree
Michael Browne: rubber
John Richardson: on that.
Carlos Brown: Mm.
Michael Browne: rather
John Richardson: Yeah.
Michael Browne: than wood. It will be much ch much expensive th though it's the most natural thing, but
Ronald Bigham: Yes but I can I think uh I think we can just use more cheap plastic for a kind of basic edition, and
Michael Browne: Yeah.
Ronald Bigham: then
Carlos Brown: Hmm.
Ronald Bigham: people can fancy it up with with more expensive materials
Michael Browne: Yeah it's
Ronald Bigham: which
Michael Browne: uh
Ronald Bigham: which come with a with
Michael Browne: Yeah
Ronald Bigham: another price.
Michael Browne: we we can give a preference to them, but it is but with plastic or the rubber or whatever it is it's much better with that rather than going for
Ronald Bigham: Do do you agree?
John Richardson: Yeah but i
Carlos Brown: Mm
John Richardson: it's
Carlos Brown: yeah
John Richardson: a detailed
Carlos Brown: sure.
John Richardson: uh yeah yeah uh plastic versus uh
Michael Browne: Yeah.
John Richardson: wood, and we need maybe to centre our description on uh the the really the what buttons what uh functionality we want to offer to the user,
Michael Browne: Yeah.
John Richardson: and maybe with uh graphs or I don't know uh User Interface Designer you could maybe uh help us on that.
Ronald Bigham: Ma I I think uh for next meeting we c you
John Richardson: Yeah.
Ronald Bigham: two can present a real
Michael Browne: Yea
Ronald Bigham: design.
Carlos Brown: Mm-hmm.
Michael Browne: Okay.
Ronald Bigham: Uh so drawing it on the board.
John Richardson: Perfect yeah.
Ronald Bigham: And then we now sh only have to t to decide the general function uh. So um Let let's say next meeting w you produce two designs,
Michael Browne: Yeah sure.
Ronald Bigham: one one
Michael Browne: Yeah we will
Ronald Bigham: one
Michael Browne: uh
Ronald Bigham: less advanced and one more advanced and
John Richardson: Yeah.
Ronald Bigham: with the
Michael Browne: Yeah.
Ronald Bigham: cost price.
Carlos Brown: Mm.
Ronald Bigham: Uh
Michael Browne: Uh.
Ronald Bigham: furthermore we go for the for the uh basic plastic case
Carlos Brown: Mm.
Michael Browne: Yeah.
Ronald Bigham: But that that that that can be done later.
John Richardson: Yeah customized.
Ronald Bigham: We now can concentrate on the on the basic
Carlos Brown: Mm.
Ronald Bigham: remote control. Um.
Michael Browne: Okay. We can give them smooth keys, you know. Smooth keys with bigger s uh So that you know The the problem most of the time we've seen, the keys is that it's small,
John Richardson: Yeah.
Ronald Bigham: Mm.
Michael Browne: and every time we have to be very but if i the if we if we go to a different ways of designing those keys, then you can merge them together
Carlos Brown: So is there any
Michael Browne: to
Carlos Brown: of these that you're looking at particularly or is this
Michael Browne: Oh
Carlos Brown: just
Michael Browne: you
Carlos Brown: ideas?
Michael Browne: can actually, for example, if you see, they are they are they are quite small over here,
Carlos Brown: Mm-hmm.
Michael Browne: and uh now you can, for example, as I was if
Carlos Brown: Hmm.
Michael Browne: you make them big, it may change the look of the thing
Carlos Brown: Mm.
Michael Browne: also to the people. At the
Carlos Brown: Mm.
Michael Browne: same
Ronald Bigham: Mm-hmm.
Michael Browne: time, it is m more uh like it would be more interesting for people who are having this R_S_I_ and all
Carlos Brown: Mm
Michael Browne: problem.
Ronald Bigham: Yes yes yes bi
Carlos Brown: yeah.
Ronald Bigham: big keys is
Michael Browne: Uh big keys
Ronald Bigham: is
Michael Browne: may
Ronald Bigham: good
Michael Browne: better
Ronald Bigham: thing
Carlos Brown: You see?
Ronald Bigham: I think.
Michael Browne: for them actually and uh
John Richardson: I agree yeah, and
Carlos Brown: Yeah.
John Richardson: not too m too many keys of course yeah.
Ronald Bigham: No
Carlos Brown: Mm
Ronald Bigham: no.
Michael Browne: Yeah.
Carlos Brown: well one I've had before, a r r remote control we have at home is one that's actually got a cover on the bottom so the bottom bit is just, covers half the keys most of the time,
Ronald Bigham: Mm
Carlos Brown: and
Ronald Bigham: mm mm.
Carlos Brown: then you can slide the cover back to get to the the more advanced keys.
Ronald Bigham: Mm
Michael Browne: Yeah.
Ronald Bigham: w but then you have still have uh when you don't use it you have such a a an extent of your remote control which you
Carlos Brown: Mm.
Ronald Bigham: don't use. So maybe it's possible uh, I don't know whether you can can indicate this, that you can
John Richardson: Yeah.
Ronald Bigham: elsewhere open your remote
Carlos Brown: Mm.
Ronald Bigham: control and on the inside
Carlos Brown: Yeah.
Ronald Bigham: are uh buttons you
Carlos Brown: Um
Ronald Bigham: don't
Carlos Brown: yeah
Ronald Bigham: use that much.
Carlos Brown: I've seen that before
Michael Browne: Yeah.
Carlos Brown: too. Anoth another like b it flips up and then you've got
Ronald Bigham: Yes.
Carlos Brown: another
Michael Browne: Yes.
Carlos Brown: layer of buttons underneath.
Michael Browne: Yeah so it's something like this, the model here s
Carlos Brown: Mm.
John Richardson: Mm.
Michael Browne: you can put the
Carlos Brown: But
Michael Browne: keys
John Richardson: That's what you
Carlos Brown: I've
John Richardson: mean?
Carlos Brown: seen also with keys and buttons on the top
Ronald Bigham: Yes
Carlos Brown: of here as well.
Michael Browne: Yeah.
Ronald Bigham: I I
Michael Browne: Yeah.
Ronald Bigham: th that's what I mean so I mean something like like
Carlos Brown: I
Ronald Bigham: a
Carlos Brown: like
Ronald Bigham: book.
Carlos Brown: this one. I like the shape of this one.
Michael Browne: Yeah.
Carlos Brown: Can we have can we think
John Richardson: Yeah
Carlos Brown: about maybe
John Richardson: I like
Carlos Brown: having
John Richardson: also
Carlos Brown: a
John Richardson: this
Carlos Brown: a
John Richardson: one.
Carlos Brown: non-recta non non-rectangular one, so with not just the straight little box that's a
John Richardson: Yeah,
Carlos Brown: maybe curved
Michael Browne: Yeah,
John Richardson: the point
Carlos Brown: or
Michael Browne: mm.
John Richardson: is
Carlos Brown: something.
John Richardson: w maybe we need to also to make a decision on how how how big we want to be and how many buttons
Carlos Brown: Mm
John Richardson: like
Carlos Brown: mm
John Richardson: n we
Carlos Brown: 'kay.
John Richardson: should dec
Michael Browne: We
Carlos Brown: Is this
Michael Browne: should
Carlos Brown: for the
Michael Browne: make
Carlos Brown: next
John Richardson: decide
Michael Browne: a
Carlos Brown: meeting though? I think we might be out of time
John Richardson: numbers
Ronald Bigham: Mm.
John Richardson: or
Carlos Brown: out of time for this meeting.
Michael Browne: Yeah that yeah next meeting we should be
John Richardson: Okay.
Ronald Bigham: Ju just make two designs,
Michael Browne: Yeah that
John Richardson: Yeah
Michael Browne: would
John Richardson: yeah
Michael Browne: depend
John Richardson: yeah.
Michael Browne: upon us actually.
Ronald Bigham: and the we we can decide decide between th those designs.
Carlos Brown: Yep.
Michael Browne: Yeah
Ronald Bigham: I
Michael Browne: okay.
Ronald Bigham: think that would be
John Richardson: Perfect.
Ronald Bigham: a good idea. So anyone uh any questions
Michael Browne: No
Ronald Bigham: for now?
Michael Browne: no.
Carlos Brown: No.
Michael Browne: I don't have.
Carlos Brown: So is this is there anything else I need to do from a marketing point of view for the next meeting?
Ronald Bigham: Um yes I come to that uh uh
Michael Browne: Maybe it would be interesting if you could look um for the cost inventories of other devices, if you're using speech recognition or something like that.
Ronald Bigham: Yes well m maybe uh, I don't know whether that's possible, maybe you
Carlos Brown: Mm.
Ronald Bigham: can start evaluating uh their work somehow.
Carlos Brown: Okay well is this Carlos Brown designing a way to evaluate it so Thinking about how to set up test groups and things?
Ronald Bigham: I don't know whether that's possible uh
Carlos Brown: Mm.
Ronald Bigham: in the given time but a as far as possible.
Carlos Brown: Okay.
Ronald Bigham: So
Carlos Brown: Yep.
Ronald Bigham: uh you two will be together
John Richardson: Exactly.
Ronald Bigham: w working on
Michael Browne: Mm.
Ronald Bigham: a o on two prototypes
John Richardson: Yeah.
Ronald Bigham: and further instructions will be uh will be sent to you by uh by
John Richardson: Two
Ronald Bigham: email.
John Richardson: or three
Michael Browne: Two.
John Richardson: prototypes?
Ronald Bigham: Two.
John Richardson: Two?
Michael Browne: One for like cost
Ronald Bigham: I
Michael Browne: and the one with like higher-end
John Richardson: Okay.
Ronald Bigham: Mm
Carlos Brown: Mm.
Michael Browne: so that
Ronald Bigham: and then
Michael Browne: then we can be easily comparing them
John Richardson: Yeah
Michael Browne: or
Ronald Bigham: Hmm.
John Richardson: and find
Michael Browne: you
John Richardson: maybe
Michael Browne: know
John Richardson: a compromise.
Michael Browne: find a compromise
Carlos Brown: Hmm.
Michael Browne: between both of them,
Ronald Bigham: Yes
Michael Browne: yeah
Ronald Bigham: okay.
Michael Browne: that's how it is.
John Richardson: Perfect
Carlos Brown: Mm-hmm.
John Richardson: yeah.
Michael Browne: Yep.
Ronald Bigham: Okay let's call this to an end.
Carlos Brown: Mm
Michael Browne: Okay.
Carlos Brown: 'kay. Thanks guys.
John Richardson: Thanks.
Michael Browne: So we are done for now. | Then Ronald Bigham opens the meeting announcing that they will address conceptual design and then giving the agenda. Matthew arrives late and Carlos Brown begins her presentation about trends. She emphasizes that the remote needs to be exciting, contain a cool feature, and be somewhat intuitive. She reports that currently fruits and vegetables are fashionable- thus bright eye-catching colors, bold designs, and a spongy feel is appropriate. She lists ideas such as changable covers, a locator, speech recognition, and LCD screens. The industrial specialist presents, talking about how a remote typically has different keys, structures and forms. He likes the idea of implenting speech recognition into a universal remote. They discuss without certainity about the cost of such functions. John Richardson presents about remote control components and the manufacturing process, listing options such as various buttons, scroll wheels, integrated push buttons like those in a computer mouse, and LCDs. They discuss the project budget and the possibility of using an expensive chip. They decide to make two designs, one more advanced than the other. Ronald Bigham closes the meeting by telling each group member what his/her tasks will be until the next meeting. | 5 | amisum | train |
Norman Banda: How do you wear this thing?
Clarence Jeanpierre: Hmm. Mm mm mm.
Norman Banda: Not many stuff.
Norman Banda: Original.
Clarence Jeanpierre: Is recorded? Okay? Okay so welcome everyone. So we are here for the kickoff meeting of uh the process of designing a new remote control. So I will first start with a warm welcome opening stuff, then uh we will uh see what will be uh our product and what will be the different step we will have to design it. And uh then we will uh discuss if we have few ideas and we will uh end uh by uh dispatching the different task you will be you will have to fulfil to complete this process. So
Norman Banda: Uh. Just one thing. Uh, you said twenty-five minutes, but I have something else to do uh, so gotta have another meeting uh soon, so maybe you could hurry up a bit
Clarence Jeanpierre: sorry?
Norman Banda: It's true. I have another meeting so if you could uh
Clarence Jeanpierre: You have another meeting soon?
Norman Banda: Yeah.
Clarence Jeanpierre: So you have to be quick.
Norman Banda: Yeah, for the lawnmower project.
Clarence Jeanpierre: Okay.
Norman Banda: Okay.
Clarence Jeanpierre: So the the goal is to have a remote control so to have an advantage over our competitors we have to be original, we have to be trendy and we have to also try to be user-friendly. So uh the design step will be divided in three uh main points. First it will be the functional design. Third is the conceptual design and then is the desired design. So the functional design is to identify the main user needs, the technical function the remote control should fulfil. And then we will move to f conceptual design where we'll specify the different component involved, what kind of user interf interface we want and what are the different uh trend in user interface and stuff like that. And then the desired devi design will consist in uh specifically implementing and detailing the choice we've uh made in the second point. So I will now ask you which is very important for the design of a new remote control for to uh each of us to to draw uh your favourite animal on the white board.
Norman Banda: What an original idea.
Clarence Jeanpierre: Do you have any idea of which animal you want to show us?
Norman Banda: Orangutan.
Clarence Jeanpierre: Okay that's good.
Michael Clark: No no
Clarence Jeanpierre: n
Michael Clark: n
Clarence Jeanpierre: n You
Norman Banda: no?
Clarence Jeanpierre: should
Norman Banda: But I don't have to say anything. When I'm drawing the orangutan.
Clarence Jeanpierre: If you want to react uh about this wonderful drawing uh I'll let you uh comment.
Norman Banda: It's an abstract drawing of an orangutan.
Clarence Jeanpierre: Okay it's an abstract drawing.
Norman Banda: Yes.
Clarence Jeanpierre: I think it's nice and original.
Michael Clark: You y the name
Norman Banda: I don't
Michael Clark: I think.
Norman Banda: have a red colour. Usually orangutans have red hair so this is a very important but I don't have red pen, so
Clarence Jeanpierre: Okay.
Norman Banda: Yes.
Clarence Jeanpierre: You want to draw something Christine?
James Klett: Okay uh sorry. You This
Clarence Jeanpierre: Of course your animal is recorded so it's not lost.
Norman Banda: Yes. I know.
James Klett: Sorry too uh.
Clarence Jeanpierre: Is
Norman Banda: Wha
Clarence Jeanpierre: this uh
Norman Banda: what
James Klett: Is it beautiful?
Norman Banda: is this strange beast? Is it a monster?
James Klett: Do you know? It's a cat.
Norman Banda: It's a cat?
James Klett: Isn't it?
Norman Banda: I thought these things did not exist.
James Klett: Yes
Michael Clark: James Klett
James Klett: yes is it like that. Is
Michael Clark: Ah
Norman Banda: Ah
Michael Clark: yeah.
James Klett: it better?
Clarence Jeanpierre: Ah okay
Norman Banda: yeah
Michael Clark: Yeah.
Clarence Jeanpierre: it's pretty.
James Klett: Okay. It's my cat.
Clarence Jeanpierre: Okay it's your cat.
Norman Banda: Does
James Klett: Yeah.
Norman Banda: have a name?
James Klett: The name is Caramel.
Norman Banda: Caramel.
Michael Clark: Caramel.
Norman Banda: Ah-ha.
James Klett: Yeah.
Clarence Jeanpierre: Okay. Olivier,
Michael Clark: And you
Clarence Jeanpierre: do you want to
Michael Clark: I think I'm too short for the cables.
Clarence Jeanpierre: Okay I go, but next time you'll do something I'm sure.
Norman Banda: Next time I concentrate.
Clarence Jeanpierre: I'm a bit short on cable. Okay. So what could I draw? Maybe I can draw like a very simplified cow. I don't know if it looks like a cow
Norman Banda: He looks like a bong.
Clarence Jeanpierre: Like a what?
Norman Banda: Okay. Sorry. No.
Michael Clark: Quite squarey.
Norman Banda: Scary?
Michael Clark: He also.
Clarence Jeanpierre: I dunno it it looks more like a donkey in fact I would say.
Michael Clark: Mm.
Norman Banda: I I think we will
Clarence Jeanpierre: Okay
Norman Banda: be finished
Clarence Jeanpierre: so
Norman Banda: this uh
Clarence Jeanpierre: I hope that it helps you uh in the process of designing
Norman Banda: Is it
Clarence Jeanpierre: a
Norman Banda: for
Clarence Jeanpierre: remote
Norman Banda: uh
Clarence Jeanpierre: control.
Norman Banda: for putting a for logos, no. That's
Clarence Jeanpierre: Okay. Let's move on. So Here the uh financial objective of our project. That is to say to to have a production cost lower than twelve point five Euros and have a selling price of twice that price t in order to target a profe profit of uh fifty uh million Euros.
Norman Banda: I is there a matter for a new remote control?
Clarence Jeanpierre: Yeah if it's trendy, original I d fulfil
Norman Banda: Is it uh
Clarence Jeanpierre: the user
Norman Banda: a
Clarence Jeanpierre: needs.
Norman Banda: single device remote control or is it a multi-device remote control?
Clarence Jeanpierre: We have to discuss that point.
Norman Banda: Ah this is not
Clarence Jeanpierre: On
Norman Banda: defined at all?
Clarence Jeanpierre: yeah you you can suggest points like
Norman Banda: Ah,
Clarence Jeanpierre: this. So
Norman Banda: okay.
Clarence Jeanpierre: what what so we have to decide for example if it can control one device or multiple. So what's what are your ideas about that? Maybe I can have the your opinion
Norman Banda: Well uh
Clarence Jeanpierre: from
Norman Banda: do we sell
Clarence Jeanpierre: the marketing
Norman Banda: other stuff?
Clarence Jeanpierre: side?
Norman Banda: Uh if if we bundle the remote control with something uh to sell then it could be a single device, otherwise it could be programmable one otherwise who would buy a remote control from us.
Clarence Jeanpierre: Okay, so if it selled uh by its own i it it would rather be for multiple device.
Norman Banda: Yeah.
Clarence Jeanpierre: Do you agree?
Michael Clark: Mm-hmm.
Clarence Jeanpierre: Yeah. So maybe it should be for multiple devices. And uh do you have any ideas um of uh design ideas or any uh uh technical requirement we we should uh fulfil?
Michael Clark: I think we shouldn't have too many b for
Norman Banda: No,
Michael Clark: my part.
Norman Banda: I
Michael Clark: I
Norman Banda: couldn
Michael Clark: think
Norman Banda: I cannot fi think of any requirements right now.
Michael Clark: If we don't have so many buttons could be nice.
Clarence Jeanpierre: Few buttons. Okay. And do you have it also to be to be lighted in order to be used in the dark? Might be a good idea.
Michael Clark: Yeah.
Clarence Jeanpierre: Okay. And do you have any um any uh idea of the trend the trend in domain, what it shouldn't it should look like, or things like that?
Norman Banda: Mm.
Clarence Jeanpierre: With rou okay. Like for okay.
Norman Banda: Something like that, least fits in your hand.
Michael Clark: Yeah.
Clarence Jeanpierre: Okay.
Norman Banda: Yeah. The basic requirement.
Clarence Jeanpierre: So. Fit in your hand, yeah.
Norman Banda: Only a buck.
Clarence Jeanpierre: And also it have, i it may be it may be important for the remote control to be uh To, to resist to various shocks
Michael Clark: Mm-hmm.
Clarence Jeanpierre: that can happen
Norman Banda: Waterproof.
Clarence Jeanpierre: if it fall. Water-proof as well.
Michael Clark: And I
Clarence Jeanpierre: Maybe
Michael Clark: think we
Clarence Jeanpierre: it
Michael Clark: should
Clarence Jeanpierre: is original
Michael Clark: have a device
Clarence Jeanpierre: because you can uh use it in your uh in your bath whereas the others can't. Maybe water-proof would be very original.
Michael Clark: Sorry.
Clarence Jeanpierre: Havin having a water-proof remote control so that the people can uh use it in their bath.
Norman Banda: Mm.
Clarence Jeanpierre: That could
Norman Banda: B it
Clarence Jeanpierre: be
Norman Banda: seems
Clarence Jeanpierre: uh
Norman Banda: uh so, but uh if you don't have an waterproof remote control it means you can just cover it with some plastic and you can sort of
Clarence Jeanpierre: Yeah
Norman Banda: f
Clarence Jeanpierre: but, it is still something uh you have to buy and that is um
Norman Banda: And, and
Clarence Jeanpierre: not
Norman Banda: that's one
Clarence Jeanpierre: maybe
Norman Banda: of the
Clarence Jeanpierre: very
Norman Banda: that's one of the shock I mean there are people that have a remote control and they are worried that it's going to break and they put some extra plastic around it.
Clarence Jeanpierre: Yeah,
Norman Banda: That's
Clarence Jeanpierre: mayb
Norman Banda: people they actually
Clarence Jeanpierre: B
Norman Banda: do it themselves.
Clarence Jeanpierre: But maybe we can bulk it with uh already this plastic thing
Michael Clark: Yeah.
Clarence Jeanpierre: and uh the waterproof
Michael Clark: directly.
Clarence Jeanpierre: uh
Norman Banda: I it
Clarence Jeanpierre: stuff
Norman Banda: will look
Clarence Jeanpierre: as
Norman Banda: a
Clarence Jeanpierre: well.
Norman Banda: bulky in that case.
Clarence Jeanpierre: Yeah.
Michael Clark: Yeah.
Clarence Jeanpierre: Maybe we can sell uh all that together, so so plastic protection and uh and a waterproof box as well. That might be good uh track to follow.
Norman Banda: Like as an optional thing.
Clarence Jeanpierre: Optional or selled
Michael Clark: And I I think we
Clarence Jeanpierre: with
Michael Clark: should
Clarence Jeanpierre: it?
Michael Clark: have something, most of the time I I lose my remote control. We should have
Clarence Jeanpierre: Yeah.
Michael Clark: s uh special bu button on the T_V_
Clarence Jeanpierre: Maybe we
Michael Clark: to
Clarence Jeanpierre: can
Michael Clark: make
Clarence Jeanpierre: have uh
Michael Clark: the remote control beeping.
Clarence Jeanpierre: But we don't design the T_V_.
Michael Clark: Ah
Clarence Jeanpierre: Maybe we
Michael Clark: yeah.
Clarence Jeanpierre: can have uh something you whistle and uh the remote control uh beep.
Michael Clark: Yeah.
Norman Banda: Barks.
Clarence Jeanpierre: Yeah,
Michael Clark: Barks.
Clarence Jeanpierre: barks, yeah. So we can uh have a whistle uh remote control?
Michael Clark: Yeah. Yeah whistle.
Clarence Jeanpierre: I don't know, whistle-able?
Michael Clark: Whistle
Clarence Jeanpierre: Th
Michael Clark: tracking.
Clarence Jeanpierre: Whistle tracking yeah. Whistle tracking remote control. That's a good idea, that's very original and that's can
Norman Banda: That's that's
Clarence Jeanpierre: uh improve.
Norman Banda: quite cool, but uh of course we you don't normally need uh any audio uh recording stuff on your remote control right?
Clarence Jeanpierre: Yeah d d
Norman Banda: So
Clarence Jeanpierre: uh.
Norman Banda: i it's just going to add t to the cost.
Clarence Jeanpierre: Yeah but s still we have to mm we have to have an advantage over our competitors. I think this is a good advantage.
Norman Banda: It's cool. I think I like the idea, but I'm not sure about the what you, who
Clarence Jeanpierre: Yeah.
Norman Banda: is giving who's
Clarence Jeanpierre: We have
Norman Banda: giving
Clarence Jeanpierre: to
Norman Banda: who's
Clarence Jeanpierre: ask
Norman Banda: giving our budget. Who's
Clarence Jeanpierre: Yeah. We have to ask the quest of
Norman Banda: Yeah.
Clarence Jeanpierre: that's uh design to
Norman Banda: Yeah.
Clarence Jeanpierre: the uh Industrial um Designer.
Michael Clark: Yeah.
Clarence Jeanpierre: Which is
Norman Banda: 'Kay.
Clarence Jeanpierre: you.
Michael Clark: yeah
Clarence Jeanpierre: Okay so try to find that for next meeting.
Michael Clark: Okay.
Clarence Jeanpierre: Okay. So next meeting is in thirty minutes or so uh.
Michael Clark: Don't panic.
Clarence Jeanpierre: Don't pani. So so I will ask Michael Clark to find out more about this industrial design
Michael Clark: Mm-hmm.
Clarence Jeanpierre: so any working any working function we have discussed. So then I will ask the User Interf Interface Designer to to think about the point we discussed like the number of buttons, the the fact that is lighted or not, things like that, and
Norman Banda: Mm-hmm.
Clarence Jeanpierre: what would be convenient for the user. And also um I will ask the Market Expert to uh try to find out what are the absolute requirements, what is absolutely needed in a remote control uh for the user. So. And then uh I will uh just ask you to think about that and uh look at your mail because you will receive uh some good advice soon.
Norman Banda: Mm.
Clarence Jeanpierre: So. Thank you I think that's
Norman Banda: Good.
Michael Clark: Mm-hmm.
Clarence Jeanpierre: all for this point.
James Klett: Thank you
Norman Banda: Uh, so we come back in five minutes? Half an hour.
Clarence Jeanpierre: Anyway you will receive some messages.
Clarence Jeanpierre: Be careful. You eat it? Does it move uh? Okay, but I don't know if it uh is still correctly uh We'll see.
Michael Clark: Ah. | Clarence Jeanpierre introduced the project to the group and gave a timeline for the project. The group trained themselves to use the meeting room tools by drawing on the whiteboard. Clarence Jeanpierre presented the project budget and the projected price point and profit goals. The group discussed several of their initial ideas for the features of the product. They discussed making the remote able to control multiple devices, protection from water or from dropping the remote, and a locator function. Clarence Jeanpierre then instructed Norman Banda to research users' requirements, and instructed the Industrial and User Interface Designers to research the functions and usability features that were discussed in the meeting. | 5 | amisum | train |
Dennis Vaughn: Okay.
Kevin Costello: Mm-hmm.
Dennis Vaughn: So we are here for concept design meeting. So, we will first start by summarizing the mm the previous meeting and the decision we've taken. Uh I will take notes during this meeting so uh that you can uh look at my uh folder to see the summary of this meeting afterwards. So each of you will uh show us the various investigation they've done during uh previous uh hours. We'll then t take decision in concert then uh uh we will uh define the nest next, to have to be done before the next meeting. So, last time we decided to have a simple interface. We also decided to have a wheel to change channel previous channel button. Channel digit uh buttons should be uh protected by plastic cover or something for the remote control to look very simple. We have also button for volume, and to switch on off the T_V_. We have also uh the lightening feature for the remote control to be easy to find, and for fast development and low cost we have decided to have no L_C_D_ no voice features. So now uh we will have three presentations. So the conceptual specification by Industrial Designer, the specification of the U_I_ by or
Kevin Costello: Abdul
Dennis Vaughn: U_I_
Kevin Costello: al-Hasred is my name.
Dennis Vaughn: okay. And uh the last point is uh trend watching by Market Expert. So maybe we can start with uh industrial design. So this is the presentation.
Matthew Outlaw: Uh, I_D_ you want?
Dennis Vaughn: Maybe I can switch slide
Matthew Outlaw: Yeah.
Dennis Vaughn: uh on your request.
Matthew Outlaw: I v have three slides, so. I just look at the mm um just this. On some web pages
Dennis Vaughn: Yeah.
Matthew Outlaw: to find some documentation and I think a remote control is, as I s mentioned previously, you just have a a very simple chip and the mm the user interface is just done usually by push button and in our case we are using a um a wheel control.
Matthew Outlaw: standard, and uh I just looked for the wheel sensor and the standard push button. And um yeah we can change directly.
Dennis Vaughn: Yeah.
Matthew Outlaw: In fact I have the number of that element which is very standard for remote control. The push button are usually extremely cheap, but I just have one problem and this is related with the wheel sensor, which seems to be quite expensive.
Dennis Vaughn: Okay.
Kevin Costello: Mm-hmm.
Matthew Outlaw: And I think we if we could just talk about that if we really need a wheel sensor or if we can not if if we could combine something with the push button.
Dennis Vaughn: Okay.
Matthew Outlaw: Uh
Kevin Costello: Yeah.
Matthew Outlaw: a wheel sensor is fifty time the price of a a a push button.
Dennis Vaughn: But
Kevin Costello: Mm.
Dennis Vaughn: is it a significant price on the whole remote control? Because
Matthew Outlaw: Yeah.
Dennis Vaughn: we can afford up to twelve Euros for the price of the remote control.
Matthew Outlaw: Yeah I I
Dennis Vaughn: So
Matthew Outlaw: th
Dennis Vaughn: will will will this with uh including all possible things, so buttons, wheel and the chip, be uh lower than twelve Euros to produce?
Matthew Outlaw: But I don't think that uh we should We should talk about uh the
Kevin Costello: Yeah.
Matthew Outlaw: design of the box also which
Dennis Vaughn: Okay
Matthew Outlaw: needs some
Kevin Costello: Also
Matthew Outlaw: money.
Kevin Costello: have to
Matthew Outlaw: But
Kevin Costello: say Did you receive the email about the voice recognition?
Matthew Outlaw: Um that's all
Kevin Costello: No?
Matthew Outlaw: yeah.
Dennis Vaughn: You received
Matthew Outlaw: I haven't
Dennis Vaughn: something
Matthew Outlaw: chec
Kevin Costello: Yeah. You we uh an email from the manufacturing division that they have basically a voice recognition chip already developed.
Dennis Vaughn: Hmm.
Kevin Costello: Says Yeah. It says that ri right now they just use it to uh to record uh answers to particular questions. But I guess
Dennis Vaughn: And
Kevin Costello: it could
Dennis Vaughn: could
Kevin Costello: be
Dennis Vaughn: it be adapted?
Kevin Costello: I guess it's possible. I mean instead of recording the answers you can just uh record uh something simpler like
Dennis Vaughn: Okay
Kevin Costello: a
Dennis Vaughn: and
Kevin Costello: command.
Dennis Vaughn: there can uh recognize some commands
Kevin Costello: Yeah
Dennis Vaughn: and stuff?
Kevin Costello: you reco recognize commands and you can record new commands and stuff, so if they already
Dennis Vaughn: Okay.
Kevin Costello: have it as uh as a chip
Dennis Vaughn: Yeah.
Kevin Costello: then we we could use it.
Dennis Vaughn: Okay maybe we can just uh listen to this presentation and then take decision later
Kevin Costello: Okay.
Matthew Outlaw: Mm-hmm.
Dennis Vaughn: on according
Matthew Outlaw: Yeah
Dennis Vaughn: to those news.
Matthew Outlaw: but I think it's yeah Sorry, I haven't written my personal references. Um the I I just want to mention the the problem of the the r wheels sensor which is much more expensive than any push button,
Dennis Vaughn: Okay.
Matthew Outlaw: and if we could reduce that. We
Kevin Costello: Mm-hmm.
Matthew Outlaw: we have already some good things uh with um um with the backlight of the push button.
Kevin Costello: I have a question about that actually. Um, what is the purpose of the light?
Matthew Outlaw: Just to to make something which is uh slightly more design that uh a
Kevin Costello: Is
Matthew Outlaw: squarey box
Dennis Vaughn: You can
Matthew Outlaw: with
Dennis Vaughn: easily
Matthew Outlaw: a rubber
Dennis Vaughn: find the button
Kevin Costello: But
Dennis Vaughn: in the dark or so?
Kevin Costello: But in th in the dark uh Yeah but is going to be always turned on, the light?
Dennis Vaughn: It will be turned on when the when the user move the remote control I think, no?
Kevin Costello: But if you move it then you have it, you don't need to find it.
Dennis Vaughn: Hmm.
Kevin Costello: You can see the buttons better, of course.
Dennis Vaughn: Yeah.
Kevin Costello: Yeah.
Dennis Vaughn: Yeah. Yeah. True.
Matthew Outlaw: Yeah. Actually.
Kevin Costello: But if you move it then you have to have some sensor to when you move it to detect your movement.
Matthew Outlaw: As soon as you thought to move the the remote control you have the light.
Kevin Costello: Yeah, but you need another sensor for that, right?
Matthew Outlaw: Yeah. Again.
Kevin Costello: Yeah no it's too expensive.
Matthew Outlaw: I don't think that this is really expensive, but
Kevin Costello: Okay.
Matthew Outlaw: at the end this is plenty of
Kevin Costello: Mm.
Matthew Outlaw: unexpen eh
Kevin Costello: Extra.
Matthew Outlaw: very cheap
Kevin Costello: Yeah, okay.
Matthew Outlaw: devices but uh
Kevin Costello: Mm.
Matthew Outlaw: the bill starts to be
Kevin Costello: Yeah, but I expected also the wheel would be cheap but you tell Darrell Padovano that it is very expensive so, yeah.
Matthew Outlaw: First of all I was thinking to have a a continuous light and you w when t you you you you press the on button you have
Kevin Costello: Mm.
Matthew Outlaw: the light on your remote control, when
Kevin Costello: Mm-hmm.
Matthew Outlaw: you want to turn off your device
Dennis Vaughn: But it can be uh battery consuming, no? To
Matthew Outlaw: Yeah,
Dennis Vaughn: have
Matthew Outlaw: a
Dennis Vaughn: the light
Matthew Outlaw: little
Dennis Vaughn: always on?
Matthew Outlaw: bit. A little
Kevin Costello: Mm.
Matthew Outlaw: bit.
Dennis Vaughn: Well we will discuss that after maybe
Matthew Outlaw: Yeah.
Kevin Costello: Okay.
Dennis Vaughn: the
Kevin Costello: So
Dennis Vaughn: other presentations.
Kevin Costello: uh my one, it uh should be in the shared folder.
Dennis Vaughn: Yeah.
Kevin Costello: So. It was last time I saw it.
Dennis Vaughn: And it is.
Kevin Costello: Okay. So,
Dennis Vaughn: Okay.
Kevin Costello: just move to the next slide. So basically want very simple, right? That's the major idea, as simple
Dennis Vaughn: Yeah.
Kevin Costello: as possible.
Dennis Vaughn: Yeah.
Kevin Costello: So I just look at some current designs uh on the web, of usually more complicated remote controls. And let's look at two of them because uh th even though they have many buttons they look quite simple. And in our case we just uh reject the buttons what we don't need
Dennis Vaughn: Yeah.
Kevin Costello: and it become even simpler. Um. So.
Dennis Vaughn: And also does it uh fit well in hand? Because it was uh th
Kevin Costello: Yeah.
Dennis Vaughn: your wrist problem
Kevin Costello: Well this
Dennis Vaughn: with the usage.
Kevin Costello: these uh these remotes are quite big, so go to the next page, so. We have all these buttons as you can see, but most
Dennis Vaughn: Yeah.
Kevin Costello: of them, we just need the ones in the middle.
Matthew Outlaw: Yeah.
Dennis Vaughn: Yeah.
Kevin Costello: So, from the bottom or whatever is there,
Dennis Vaughn: Yeah.
Kevin Costello: uh the uh the numbers and then the top, uh until the ten also, this middle part,
Dennis Vaughn: Yeah.
Kevin Costello: and on the left one is exactly the same. So it's basically more or less how we would like it, with a big volume control, big channel control, and mute and power, yeah?
Dennis Vaughn: Yeah.
Kevin Costello: These are the basic thing.
Dennis Vaughn: So it's only the central part.
Kevin Costello: So basically, w software we will build will look more or less the same as these two.
Dennis Vaughn: Yeah. With a maybe a more ergonomic design on on the
Kevin Costello: Yeah, if you
Dennis Vaughn: bottom
Kevin Costello: have, for
Dennis Vaughn: part.
Kevin Costello: example I think that the volume and the buttons that are there on the top are not very easy to reach with your thumb. It
Dennis Vaughn: Yeah.
Kevin Costello: could be on the right side, for example.
Dennis Vaughn: Okay.
Kevin Costello: Yeah. Because we don't have these input buttons and this other stuff that they have. And I think that the plastic cover is not very good uh
Dennis Vaughn: Okay.
Kevin Costello: idea because you open it, it can break, you ca you can do various things. Uh
Dennis Vaughn: Okay.
Kevin Costello: you just need
Dennis Vaughn: S
Kevin Costello: to put the channel numbers somewhere a bit out of the way.
Dennis Vaughn: Okay.
Kevin Costello: So
Dennis Vaughn: Will
Kevin Costello: that they're separate
Dennis Vaughn: be down
Kevin Costello: a bit,
Dennis Vaughn: or
Kevin Costello: yeah.
Dennis Vaughn: Okay.
Kevin Costello: Uh and it's easy to press the other the big buttons, but uh, it's not that difficult to press the the channel buttons either. Mm. Yeah, I think that if you put the cover it will be even more difficult for the user.
Dennis Vaughn: Okay.
Kevin Costello: Alright, you won't yeah. Usually what I have noticed that people put the plastic cover on things that you normally don't mess with, like buttons for t uh tuning the channels and
Dennis Vaughn: Okay.
Kevin Costello: stuff like that. Yeah. That you want to protect a bit. And I think it's uh it's reasonable.
Dennis Vaughn: Okay.
Kevin Costello: So, I don't think Yeah, this is just the the wheel. We could
Dennis Vaughn: Mm.
Kevin Costello: use the some wheels can be pushed down, could use the push down of the wheel for the record if we want.
Matthew Outlaw: Mm-hmm.
Kevin Costello: Uh so we could just basically use one just wheel and uh user could use just the wheel to do everything with
Dennis Vaughn: Yeah.
Kevin Costello: the channels in that case.
Dennis Vaughn: Maybe the wheel will be a good advantage over our competitors.
Matthew Outlaw: Mm-hmm.
Dennis Vaughn: Because otherwise it's pretty standard apart the fact that it's very simple. So maybe it's worse to uh
Matthew Outlaw: To
Dennis Vaughn: to
Matthew Outlaw: s
Dennis Vaughn: have more expense on that's that aspect.
Matthew Outlaw: Mm-hmm.
Kevin Costello: Yeah, I guess the market researcher will tell us all about that.
Dennis Vaughn: Okay. So we can move to the Is there any question? For designer of user interface? or we can move to the next part, maybe, and discuss afterwards?
Dennis Vaughn: Okay.
Darrell Padovano: Okay, I can go? Can
Dennis Vaughn: Yeah.
Darrell Padovano: I? So now the recent investigation we we have done fo of the remote control um. So, the most important aspect for remote controls is to be fancy look and feel and not current functional look and feel. And um the second aspect is uh that the remote control should be uh technological innovative.
Dennis Vaughn: Okay.
Darrell Padovano: And the third most important aspect is to to is that the co remote control should be easy to use. about before.
Kevin Costello: Mm-hmm.
Dennis Vaughn: Yeah.
Darrell Padovano: Yeah. And um so you you can go
Dennis Vaughn: Yeah.
Darrell Padovano: after. And there is a fashion watchers in Paris and Milan that have detected the following trends, uh fruits and vegetables will be the most important theme for clothes, shoes, and furnitures. So, maybe if our remote control have to be a fruit form or vegetable form something
Dennis Vaughn: Okay.
Darrell Padovano: like that, or
Matthew Outlaw: I support an apple.
Darrell Padovano: And the mm the material is expected to be spongy. Uh I don't know which material can be spongy,
Dennis Vaughn: Yeah.
Darrell Padovano: and if you
Dennis Vaughn: This is good
Kevin Costello: Well,
Dennis Vaughn: also
Kevin Costello: wou wou
Dennis Vaughn: for
Kevin Costello: I think we can certainly just put the electronics in a spongy thing, it it
Matthew Outlaw: Yeah.
Kevin Costello: would work, right?
Dennis Vaughn: Yeah.
Darrell Padovano: Mm-hmm.
Matthew Outlaw: Yeah.
Kevin Costello: Yeah.
Dennis Vaughn: I think it is good also f to have a spongy
Kevin Costello: You can throw it to
Dennis Vaughn: material,
Kevin Costello: the television.
Dennis Vaughn: yeah. Yeah, because
Darrell Padovano: Okay
Dennis Vaughn: it's
Matthew Outlaw: Yeah.
Dennis Vaughn: robust.
Matthew Outlaw: Darrell Padovano too.
Darrell Padovano: It's robust, yeah.
Kevin Costello: Hey that's a cool one. We could say that if you throw it, you have a sensor, and you throw it and hits the television and turns it off. When it d uh takes a shock.
Dennis Vaughn: Yeah uh
Matthew Outlaw: Ah
Darrell Padovano: Not good.
Dennis Vaughn: sorry?
Matthew Outlaw: it's okay. I know that they do that for alarm clock
Darrell Padovano: An
Matthew Outlaw: also.
Kevin Costello: Yeah.
Darrell Padovano: and and uh this uh you can yeah you can say that. You ca uh you
Dennis Vaughn: No.
Darrell Padovano: can go
Dennis Vaughn: Yeah.
Darrell Padovano: uh before,
Dennis Vaughn: Before?
Darrell Padovano: before, yes. And you know here the more iz important aspect is the fancy look and feel,
Dennis Vaughn: Yeah.
Darrell Padovano: after is uh technological innovative,
Dennis Vaughn: Yeah.
Darrell Padovano: and after the easy to
Dennis Vaughn: Yeah.
Darrell Padovano: use.
Dennis Vaughn: I think it's innovative to use the mm the wheel because I
Matthew Outlaw: Yeah.
Dennis Vaughn: think
Darrell Padovano: Yeah
Dennis Vaughn: no one
Darrell Padovano: that's why
Dennis Vaughn: else has.
Darrell Padovano: Yeah
Dennis Vaughn: Has
Darrell Padovano: that's
Dennis Vaughn: it?
Darrell Padovano: why I think we have to keep that if it's possible.
Dennis Vaughn: Yeah. I think
Matthew Outlaw: Mm-hmm.
Dennis Vaughn: it's it makes it both easy and both innos innovative.
Darrell Padovano: Innovative.
Dennis Vaughn: So
Darrell Padovano: Mm.
Dennis Vaughn: I think it's a good aspect and it should
Kevin Costello: How
Dennis Vaughn: be
Kevin Costello: do
Dennis Vaughn: kept.
Kevin Costello: we make it look cool is the question.
Dennis Vaughn: Cool, fancy?
Kevin Costello: Yeah.
Dennis Vaughn: We have to make it l look like a fruit or vegetable.
Darrell Padovano: Yeah.
Dennis Vaughn: Maybe
Matthew Outlaw: What about
Dennis Vaughn: uh
Matthew Outlaw: um
Dennis Vaughn: um
Darrell Padovano: Mm.
Dennis Vaughn: a colour that remember
Darrell Padovano: Oh,
Dennis Vaughn: some
Darrell Padovano: colour,
Dennis Vaughn: fruit
Darrell Padovano: yeah.
Dennis Vaughn: uh, things like that.
Kevin Costello: Well the obvious thing
Darrell Padovano: Oh i
Kevin Costello: is a banana, I guess.
Darrell Padovano: i
Dennis Vaughn: Maybe yeah.
Darrell Padovano: I thought about a a pear, for example. You know the pear, is like that and it's it's easy to
Dennis Vaughn: Yeah,
Darrell Padovano: to have in in
Dennis Vaughn: and
Darrell Padovano: hand
Dennis Vaughn: it's ergonomic
Darrell Padovano: and uh
Dennis Vaughn: as well.
Darrell Padovano: Yeah.
Dennis Vaughn: A pear.
Kevin Costello: The banana is also ergonomic.
Dennis Vaughn: Yeah. Maybe pear yeah or something like that.
Darrell Padovano: Or a fruit like that. I dunno.
Dennis Vaughn: Yeah. We can discuss that uh. D D Is is there anything you want to add?
Kevin Costello: Is there any fruit that is spongy?
Dennis Vaughn: I don't think so. I think we we can have like yeah a pear is good, fit well, or banana as you told.
Kevin Costello: Yeah.
Matthew Outlaw: And
Dennis Vaughn: Something like
Matthew Outlaw: for
Dennis Vaughn: that.
Matthew Outlaw: maybe look and feel, what about a a piece of ice, with blue L_E_D_ inside?
Dennis Vaughn: But that's
Kevin Costello: You can
Dennis Vaughn: not
Kevin Costello: make
Dennis Vaughn: in
Kevin Costello: it
Dennis Vaughn: the trend.
Kevin Costello: um
Matthew Outlaw: Yeah.
Dennis Vaughn: The trend is spongy, and vegetable
Matthew Outlaw: Yeah.
Dennis Vaughn: fruits.
Kevin Costello: It's not hard, the metal.
Matthew Outlaw: Yeah.
Dennis Vaughn: I
Kevin Costello: Plastic.
Dennis Vaughn: think p spongy is good because it it will be robust as well.
Matthew Outlaw: Yep.
Dennis Vaughn: So, I think we can keep the wheel because it's
Matthew Outlaw: Yeah.
Dennis Vaughn: uh easy, it's innovative, even if the cost is a bit higher, and we also have to find a, so, a fruit like pear or banana wit uh any others idea you have. What kind of fr fruit would you like to to control your T_V_ with?
Kevin Costello: Mm.
Dennis Vaughn: Odi
Matthew Outlaw: Banana I think, it's a nice idea.
Dennis Vaughn: Banana is also
Matthew Outlaw: Because
Dennis Vaughn: yellow so you you
Matthew Outlaw: But
Dennis Vaughn: can't lost your remote control
Darrell Padovano: Yeah.
Dennis Vaughn: then.
Kevin Costello: Yeah.
Matthew Outlaw: You y you don't use the banana when the
Kevin Costello: Two of
Matthew Outlaw: banana
Kevin Costello: the button,
Matthew Outlaw: is
Kevin Costello: yeah.
Matthew Outlaw: curving like that, but when the banana is curving like that,
Kevin Costello: Yeah.
Matthew Outlaw: with the wheel on the top
Kevin Costello: Yeah.
Matthew Outlaw: and to control, and here you have
Darrell Padovano: But you
Matthew Outlaw: a
Darrell Padovano: don't
Matthew Outlaw: a
Darrell Padovano: have
Matthew Outlaw: push button to
Dennis Vaughn: I think
Kevin Costello: Yeah so you
Dennis Vaughn: it's
Kevin Costello: can just
Dennis Vaughn: a
Kevin Costello: have
Dennis Vaughn: good
Kevin Costello: uh
Dennis Vaughn: idea, yeah.
Kevin Costello: just have this curve, yeah, and you move uh your hand here to press the buttons and then you move uh on the other side.
Dennis Vaughn: Yeah.
Kevin Costello: So you can
Matthew Outlaw: Yeah.
Kevin Costello: have it on on two sides and it'll be cool, no?
Dennis Vaughn: Yeah. then. Maybe we can keep the banana. And it will be very easy to find.
Kevin Costello: You
Matthew Outlaw: And
Kevin Costello: can put also
Matthew Outlaw: everybody
Kevin Costello: vibrator
Matthew Outlaw: knows
Kevin Costello: inside.
Matthew Outlaw: what is a banana. Basically.
Darrell Padovano: Yeah.
Matthew Outlaw: If you if you start with uh fancy fruits and
Kevin Costello: Ah-ha.
Matthew Outlaw: fra s
Kevin Costello: You can
Matthew Outlaw: and
Kevin Costello: also
Matthew Outlaw: tha
Kevin Costello: take into account the fact that the banana fits with the colour scheme of our company.
Matthew Outlaw: Oh,
Dennis Vaughn: Yeah.
Matthew Outlaw: yeah
Kevin Costello: Yeah.
Dennis Vaughn: Yeah it's really uh really a good point.
Kevin Costello: I hope the students of management die, but anyway. Now who are recording this meeting?
Dennis Vaughn: I think it So One second. So we have to take some decision on this aspect. So, uh so for sorry, for uh component, so
Matthew Outlaw: So
Dennis Vaughn: we have to think about those aspects, sorry.
Matthew Outlaw: So we will just use a a standard battery?
Dennis Vaughn: Yeah.
Matthew Outlaw: And uh the chip we chip imprint we know exactly which one we are going to use. Uh what do you mean by case?
Dennis Vaughn: I think it's the box that should be spongy, banana's
Matthew Outlaw: Yeah.
Dennis Vaughn: shape.
Matthew Outlaw: Uh I mean for Darrell Padovano if we use a a spongy banana case, doesn't matter. I just want to have so something
Kevin Costello: The only th
Matthew Outlaw: to prin to to fix my
Kevin Costello: Yeah.
Matthew Outlaw: my components onto that box,
Kevin Costello: Y
Matthew Outlaw: and
Kevin Costello: Yeah that
Matthew Outlaw: that's
Kevin Costello: can
Matthew Outlaw: it.
Kevin Costello: be in inside th in the
Matthew Outlaw: Yeah
Kevin Costello: structure.
Matthew Outlaw: yeah. Yeah.
Kevin Costello: But uh the thing is that the buttons and the wheel have to be I mean
Matthew Outlaw: Spongy
Kevin Costello: if it's spongy
Matthew Outlaw: also.
Kevin Costello: then the buttons and the wheel have to I mean if it's spongy then it's going to move, right? So, it's going to be bend a lot. So if we try
Matthew Outlaw: Oh
Kevin Costello: to
Dennis Vaughn: But
Matthew Outlaw: no
Kevin Costello: push the
Matthew Outlaw: I think
Kevin Costello: buttons,
Matthew Outlaw: it's
Kevin Costello: it
Matthew Outlaw: possible.
Kevin Costello: You think it's
Dennis Vaughn: No
Kevin Costello: possible?
Dennis Vaughn: the button would be In fact it it should be something odd shaped, with
Matthew Outlaw: Yeah.
Dennis Vaughn: a spongy cover.
Kevin Costello: Okay.
Matthew Outlaw: Yeah. This is uh like
Kevin Costello: Yeah.
Matthew Outlaw: the
Dennis Vaughn: Okay odd shape with spongy cover. And standard battery okay, a chip imprint, there's no specific problem. So we agree to put the wheel
Matthew Outlaw: Mm-hmm. Wheel on the top. Button, where do we want some buttons?
Kevin Costello: Well, usually hold 'Kay, we want it to be good also for the left-hand users, right?
Matthew Outlaw: Yeah.
Kevin Costello: Uh
Dennis Vaughn: So it have to it has to be symmetrical.
Kevin Costello: Yeah but okay. Sa let's say that th o It has to be basically you can only take two sides, one on ths this side where is the thumb and the other side where there is uh
Matthew Outlaw: Yep.
Kevin Costello: yeah also the thumb.
Matthew Outlaw: Yep.
Kevin Costello: Basically. Or you could use use this one, but I don't know if it's very comfortable, to use
Dennis Vaughn: Yeah
Kevin Costello: this one
Dennis Vaughn: maybe
Kevin Costello: for the
Dennis Vaughn: the
Kevin Costello: wheel.
Dennis Vaughn: thumb is more comfortable.
Kevin Costello: This for the wheel and then this for the buttons?
Dennis Vaughn: Yeah
Kevin Costello: Should
Dennis Vaughn: I think
Kevin Costello: have
Dennis Vaughn: it's
Kevin Costello: the
Dennis Vaughn: okay
Kevin Costello: two sides.
Dennis Vaughn: for both right and left.
Matthew Outlaw: Mm-hmm.
Dennis Vaughn: Mm.
Kevin Costello: So if the left, we have the op
Dennis Vaughn: I think you can turn it this way also. You can
Kevin Costello: Wheel
Dennis Vaughn: do both with
Kevin Costello: Wheel buttons.
Dennis Vaughn: both hands.
Kevin Costello: Yeah, the problem
Dennis Vaughn: I think
Kevin Costello: is if
Dennis Vaughn: it's
Kevin Costello: you have
Dennis Vaughn: okay.
Kevin Costello: buttons and wheel then when you turn it around, the buttons are on the other side. So you cannot see them.
Dennis Vaughn: Well, you
Kevin Costello: Yeah.
Dennis Vaughn: you will get used to it. And moreover,
Kevin Costello: So the buttons have to be here
Dennis Vaughn: th
Kevin Costello: and the wheel
Dennis Vaughn: the button
Kevin Costello: has
Dennis Vaughn: ar
Kevin Costello: to be
Dennis Vaughn: are lighted so you you immediately identify the right side, because
Kevin Costello: Y
Dennis Vaughn: you have light on buttons.
Kevin Costello: Yeah I know, but uh if you hold with your left hand, and the wheel is here, and the buttons are here,
Dennis Vaughn: Yeah.
Kevin Costello: then when you turn it around the buttons will be on the other side.
Dennis Vaughn: No you you I think you will use it only on the right or left hand, whether you are righty or lefty. I think for lefty it's okay. I can do this movement, and for righty as well. I think this doesn't change that much.
Kevin Costello: Okay.
Dennis Vaughn: Yeah?
Kevin Costello: Okay. Maybe. Yeah.
Dennis Vaughn: So, for interface we said also that we have uh this banana shape with button on the s on the side. And and uh a wheel on the top.
Matthew Outlaw: Mm-hmm.
Kevin Costello: Yeah.
Dennis Vaughn: So the colour is yellow. I think it's uh we defined everything according to what we should what the decision we should take, yeah. So maybe we can um we can uh work on those aspects uh until next meeting. So have the final uh look and feel design according to the decision. And have the the user interface design and uh then evaluate the prodyuc the product. That is to say, uh check if it fit the the requirement uh given by the users, but according to uh your presentation it seems to be okay. It seems to be fancy, innovative, and easy to use.
Matthew Outlaw: Mm-hmm.
Dennis Vaughn: So so to prepare the prototype I would suggest that Matthew Outlaw and Kevin Costello uh work together. That would uh
Matthew Outlaw: Yeah.
Dennis Vaughn: be better, I think. And uh And so uh you will receive further instruction by emails, as usual.
Kevin Costello: Mm-hmm.
Dennis Vaughn: So
Kevin Costello: Yes master.
Dennis Vaughn: do you need to add anything?
Kevin Costello: No.
Dennis Vaughn: You feel okay?
Kevin Costello: Yeah.
Dennis Vaughn: You feel uh free to express what you want to say?
Kevin Costello: Yeah.
Dennis Vaughn: You don't feel too constrained?
Kevin Costello: No.
Dennis Vaughn: You don't feel free to answer this?
Kevin Costello: Maybe you can make uh uh mm okay.
Dennis Vaughn: Okay, so
Matthew Outlaw: Thank you.
Dennis Vaughn: See you. | Matthew Outlaw presented the functional components that will appear in the prototype, and discussed with the group the high cost of the wheel sensor and the possibility of incorporating speech recognition. Kevin Costello presented existing remote controls to help show the interface of the prototype. He showed how the new design will be more simple and ergonomic than the models he displayed by eliminating extra functions. Darrell Padovano presented news about trends in fashion and in the market that will be incorporated into the design. A fruit and vegetable theme and spongy materials are popular trends that will be used in the design. The group finalized which features they wanted to integrate into the design. They decided to make the remote shaped like a banana and spongy, to have the buttons lighted, to have a wheel sensor at the top of the device, and to use only a standard chip and battery that would not accomodate speech recognition. Dennis Vaughn instructed Kevin Costello and Matthew Outlaw to construct the prototype, and announced that the prototype would be evaluated in the next meeting. | 5 | amisum | train |
Henry Arehart: Okay. Je croix que c'est dommage de le it will be sad to destroy this prototype. It really looks like a banana.
Corey Keane: It is a banana.
Henry Arehart: It is a
Corey Keane: It
Henry Arehart: banana.
Corey Keane: is of bananas. I would be confused with this thing.
Henry Arehart: Mm.
Corey Keane: S
Tony Lester: Mm-hmm.
Henry Arehart: Okay.
Corey Keane: How is everyone?
Henry Arehart: Hi.
Terrance Osbourn: Hi.
Henry Arehart: So we are here for the detailed design meeting.
Corey Keane: Mm-hmm.
Henry Arehart: So we will uh I will first present what we are going to do in this meeting. Then uh I've I will also take notes during this meeting and I will send you uh a summary then as usual. We will then look the our two colleagues that make good work. And uh then we will see the financial aspects and the cost of the product. Then we will uh evaluate the product. And uh end with the conclusion of this project and see whether it fits with it fulf if it fulfil the requirement or not.
Terrance Osbourn: Mm-hmm.
Henry Arehart: So d let's start with the cost aspect so so I look at the aspect discussed last time, that is to say uh to have a standard battery, to have a yellow banana shaped uh case with uh a rubber material around it to be uh
Corey Keane: Like
Henry Arehart: to
Corey Keane: a banana.
Henry Arehart: feel spongy, and uh also at the different aspect like having a wheel
Terrance Osbourn: Mm-hmm.
Henry Arehart: etcetera. And the cost ended to be ten point seven Euros. So which is uh good, because we had a price gap of twelve point five Euros.
Terrance Osbourn: Mm-hmm.
Henry Arehart: So for the financial aspect it's okay, we can uh we can continue with this product uh as if, and we are now going to see the project evaluation with uh our marketing expert.
Tony Lester: Okay. So uh you can have my
Henry Arehart: Yeah.
Tony Lester: project in
Henry Arehart: You have a presentation?
Tony Lester: Uh yeah just a
Henry Arehart: Participant
Tony Lester: Four.
Henry Arehart: four, yes.
Tony Lester: Evaluation.
Henry Arehart: Okay. Okay.
Tony Lester: Okay. So you can go. We can go through.
Henry Arehart: Okay.
Tony Lester: So I made an evaluation and the the evaluation criteria is made according to the users' requirements and the market trends we talked about uh during the previous uh meetings. So you can go through and
Henry Arehart: Okay.
Tony Lester: okay so uh we have uh six points. We we talked about before.
Henry Arehart: Okay.
Tony Lester: So want to have a product fancy look and feel, technologically innovative, easy to use, fashion, easy to find in a room, and robust,
Henry Arehart: Yeah.
Terrance Osbourn: Mm-hmm.
Tony Lester: uh and uh uh I have a scale of uh seven points.
Henry Arehart: Yeah.
Tony Lester: Okay. So I go through all the uh all the points here,
Henry Arehart: Yeah.
Tony Lester: and uh according to what you think about the this project you can uh mm make a one point, two point or seven point. Okay?
Henry Arehart: Okay.
Tony Lester: And after we ha we have an an average, and uh we see.
Terrance Osbourn: Mm-hmm.
Henry Arehart: Okay.
Tony Lester: The okay? Uh so uh fancy look and feel, what do
Henry Arehart: Okay.
Tony Lester: you think?
Henry Arehart: Maybe you can
Tony Lester: F between
Henry Arehart: presen
Tony Lester: o one and seven.
Henry Arehart: okay. Maybe hold it. So I think it's uh very uh very nice.
Corey Keane: I
Henry Arehart: What
Corey Keane: give
Henry Arehart: do
Corey Keane: it
Henry Arehart: you think?
Corey Keane: a I give it a five.
Henry Arehart: Yeah. So it's between one and seven?
Tony Lester: Yeah.
Henry Arehart: Seven is the highest uh?
Tony Lester: Seven
Henry Arehart: I will
Tony Lester: is the
Henry Arehart: give a six.
Terrance Osbourn: I will give a a five.
Tony Lester: Mm-hmm.
Corey Keane: And
Tony Lester: sorry.
Corey Keane: you? Do you vote uh Christine?
Tony Lester: eh?
Corey Keane: Do you also vote?
Tony Lester: No, I just want to see something
Henry Arehart: Maybe we all have to agree on a common
Corey Keane: Well, we can very easily.
Henry Arehart: Yeah.
Tony Lester: Mm-hmm. Uh I think uh and need to as well.
Henry Arehart: No problem.
Tony Lester: Need to
Henry Arehart: So
Tony Lester: uh I
Henry Arehart: this
Tony Lester: don't know if
Henry Arehart: is
Tony Lester: you
Henry Arehart: your
Tony Lester: we ha we have to put uh one uh f If it's better or
Henry Arehart: One
Corey Keane: I
Henry Arehart: is most.
Tony Lester: Uh-uh. Um.
Henry Arehart: Well, we can choose what we want.
Tony Lester: Yeah.
Henry Arehart: Okay,
Tony Lester: Or maybe
Henry Arehart: let's
Tony Lester: we
Henry Arehart: say
Tony Lester: can
Henry Arehart: that
Tony Lester: say
Henry Arehart: seven is the best.
Tony Lester: s seven is the best
Henry Arehart: Okay.
Tony Lester: mm.
Henry Arehart: So so do note the grade we have five, six for Tony Lester,
Terrance Osbourn: Five.
Henry Arehart: five. And
Tony Lester: Oh sorry.
Henry Arehart: what what's your choice?
Tony Lester: Six
Henry Arehart: How much would you give on the fancy aspect, on
Tony Lester: Uh
Henry Arehart: the fashionable aspect?
Tony Lester: s you can how much what?
Henry Arehart: How much would you you don't answer to this uh
Tony Lester: Oh yes
Henry Arehart: questionnaire?
Tony Lester: I mm I dunno mm, I think six, it's a good uh
Corey Keane: So it will have five point five average.
Henry Arehart: Five point five average.
Tony Lester: Yeah. Wa
Henry Arehart: Okay.
Corey Keane: Mm.
Tony Lester: can. Okay.
Henry Arehart: Well, does it
Tony Lester: I sorry. Okay. So after, the technological aspect?
Henry Arehart: Okay, techne technological aspect.
Tony Lester: So we we said uh we have uh a new technological uh thing with a wheel.
Henry Arehart: Yeah, we have the wheel.
Tony Lester: Uh.
Henry Arehart: We also have the rubber material, which make it uh like new also. I think I would give a five.
Corey Keane: It's four.
Henry Arehart: Four?
Terrance Osbourn: A four also,
Corey Keane: Yeah.
Terrance Osbourn: because, except for the wheel, we don't have so much innovation. The rubber is
Henry Arehart: Okay.
Corey Keane: D are we including
Terrance Osbourn: Uh a four.
Corey Keane: the
Terrance Osbourn: I
Corey Keane: voice
Terrance Osbourn: I
Corey Keane: are you glu we including the voice in the end or
Henry Arehart: No.
Corey Keane: not? Huh? No. Okay.
Henry Arehart: So
Tony Lester: No.
Henry Arehart: what's your uh grade?
Tony Lester: Four.
Henry Arehart: Four? So we have four, four f and five?
Tony Lester: We can put four?
Corey Keane: Yeah. For
Henry Arehart: Yeah,
Corey Keane: twenty
Henry Arehart: four.
Tony Lester: Everyone
Corey Keane: five.
Tony Lester: is okay or
Henry Arehart: Four,
Tony Lester: four poin
Henry Arehart: yeah, let's put four.
Tony Lester: Four.
Corey Keane: Yeah.
Tony Lester: Okay.
Henry Arehart: Doesn't it
Tony Lester: Very easy to use. Do you think it's easy to use?
Terrance Osbourn: Yeah.
Henry Arehart: Yeah, I think
Corey Keane: I give a
Henry Arehart: so.
Corey Keane: seven, I think.
Henry Arehart: Yeah.
Terrance Osbourn: Six.
Henry Arehart: I would give a I would give a seven as well. It's very easy to use.
Tony Lester: Mm,
Terrance Osbourn: Six.
Tony Lester: six for Tony Lester also.
Henry Arehart: So
Tony Lester: Six
Corey Keane: 'Kay.
Tony Lester: point five.
Henry Arehart: six point
Terrance Osbourn: Six
Henry Arehart: five.
Terrance Osbourn: six six point five.
Tony Lester: Okay.
Henry Arehart: Okay.
Tony Lester: Is it fashion?
Henry Arehart: Oh yeah, its its f its fruit
Tony Lester: Seven?
Henry Arehart: fruit shape. I would say seven. And is very
Tony Lester: Yeah
Henry Arehart: very
Tony Lester: it's
Henry Arehart: nice
Tony Lester: fashion,
Henry Arehart: design.
Tony Lester: because it's a fruit, and
Corey Keane: Yeah,
Tony Lester: we say
Corey Keane: we can we
Tony Lester: that
Corey Keane: can put
Tony Lester: the
Corey Keane: a seven here. Yeah.
Terrance Osbourn: Yeah,
Tony Lester: yeah, seven.
Terrance Osbourn: seven.
Henry Arehart: Yeah.
Corey Keane: Yeah.
Henry Arehart: Seven, okay.
Corey Keane: Well, we hope.
Terrance Osbourn: Easy
Tony Lester: Uh
Terrance Osbourn: to find.
Tony Lester: easy to find in a room?
Terrance Osbourn: I lost my banana.
Henry Arehart: I think you can't miss it.
Corey Keane: Yeah.
Tony Lester: Yeah?
Henry Arehart: Okay.
Terrance Osbourn: Uh.
Corey Keane: Yeah, I think it's cool. I think we can put a six here.
Tony Lester: We have the lightning, or
Henry Arehart: Yeah,
Tony Lester: The lighting.
Henry Arehart: we have the we don't sesh especially
Corey Keane: So you'll
Henry Arehart: have
Corey Keane: make
Henry Arehart: the
Corey Keane: the
Henry Arehart: lightning
Corey Keane: material
Henry Arehart: but
Corey Keane: transparent so that it uh lights up completely, or
Henry Arehart: So it's yellow. It's okay. I think
Tony Lester: Yeah.
Henry Arehart: it's very easy to
Tony Lester: Seven?
Henry Arehart: I would say seven. It's hard to
Terrance Osbourn: Six.
Henry Arehart: miss it.
Terrance Osbourn: Yeah,
Corey Keane: Yeah.
Tony Lester: Is it
Terrance Osbourn: okay.
Tony Lester: is it robust?
Henry Arehart: Yeah, it's
Terrance Osbourn: Uh f
Henry Arehart: rubber,
Terrance Osbourn: yeah,
Henry Arehart: made of rubber, I think it's m it's uh more rubber than uh
Terrance Osbourn: Yeah.
Henry Arehart: other remote
Corey Keane: Yeah
Henry Arehart: control.
Corey Keane: the only problem there might be which know, i if it's very sensitive,
Henry Arehart: Yeah.
Corey Keane: they will,
Terrance Osbourn: Yeah.
Corey Keane: I don't know
Henry Arehart: But it is uh it is surrounded by rubber material.
Corey Keane: Yeah,
Terrance Osbourn: Yeah.
Corey Keane: okay.
Henry Arehart: So maybe we can put a six.
Terrance Osbourn: Yeah.
Corey Keane: Mm.
Terrance Osbourn: Six
Tony Lester: Everybody is
Terrance Osbourn: or five.
Tony Lester: okay, six.
Terrance Osbourn: Five.
Henry Arehart: Six
Corey Keane: Six,
Henry Arehart: is okay?
Corey Keane: yeah, for
Terrance Osbourn: Six.
Tony Lester: Yeah.
Corey Keane: Tony Lester.
Tony Lester: Okay.
Henry Arehart: Yeah.
Corey Keane: Yeah.
Tony Lester: S now
Henry Arehart: Tadada.
Tony Lester: um so.
Henry Arehart: We have to
Corey Keane: Twenty.
Henry Arehart: sum up
Tony Lester: Thirteen
Henry Arehart: everything.
Tony Lester: uh, twenty, twenty six point five, uh seven,
Corey Keane: Thirty.
Tony Lester: thirty two, thirty
Corey Keane: Thir
Tony Lester: six. That's that's okay? Six.
Corey Keane: Okay.
Henry Arehart: Six is a
Tony Lester: Good.
Henry Arehart: good
Tony Lester: Uh if we say that seven it's uh
Corey Keane: Yeah,
Henry Arehart: Yeah,
Tony Lester: it's
Corey Keane: the
Henry Arehart: the
Tony Lester: the
Henry Arehart: be.
Corey Keane: top
Tony Lester: better, and when uh s
Henry Arehart: Okay,
Corey Keane: Mm.
Henry Arehart: so
Tony Lester: six
Henry Arehart: six
Tony Lester: sit
Henry Arehart: is
Tony Lester: six
Henry Arehart: a
Tony Lester: are good it's a good uh p product,
Corey Keane: So will
Tony Lester: I think.
Corey Keane: become eight soon?
Henry Arehart: So it's a good evaluation, I think. It's very promising.
Corey Keane: Yeah, well it's a bit biased.
Tony Lester: We have a good
Henry Arehart: Huh.
Tony Lester: price and uh.
Terrance Osbourn: Yeah.
Corey Keane: Okay.
Tony Lester: Good.
Henry Arehart: So this prototype is quite nice.
Corey Keane: Because I saw uh some phones that were banana shaped,
Henry Arehart: Yeah.
Corey Keane: uh wireless phones not mobile ones, wireless
Henry Arehart: Okay.
Corey Keane: for the house, uh quite big also, and they were selling something like a hundred Euros, two hundred Euros. Just a just a phone, wireless.
Terrance Osbourn: Mm-hmm.
Henry Arehart: So having this at twenty five Euros is uh quite attractive, I think.
Corey Keane: Yeah.
Henry Arehart: I think
Terrance Osbourn: But
Henry Arehart: the
Terrance Osbourn: almo also the complexity between a phone and a remote control is not
Corey Keane: Yeah.
Terrance Osbourn: cannot compare.
Corey Keane: Yeah,
Henry Arehart: Yeah.
Corey Keane: it's much more complex, but
Henry Arehart: So, I think, we can summarise. So we have seen the prototype. It's very nice according to the work of our two designer. The the the financial aspect were okay. We we have the cost below uh our threshold and so we could sell at twenty five Euros and make i make profit. The the evaluation give satisfying result as well. So I think we can move to the last part of the meeting. So the cost is in the budget, the evaluation is okay, so I th I think we can now uh open champagne and make a huge party.
Terrance Osbourn: Start
Henry Arehart: I
Terrance Osbourn: to
Henry Arehart: don't know if
Terrance Osbourn: eat banana.
Henry Arehart: it's provided by uh by the meeting staff.
Tony Lester: Mm-hmm.
Corey Keane: Okay.
Henry Arehart: Okay so congratulation.
Terrance Osbourn: Yeah.
Corey Keane: Congratulations
Henry Arehart: Nice product.
Corey Keane: to the team. Uh very well, we worked together fantastically.
Henry Arehart: Yeah. I think it was a good collaboration uh. Aspect.
Corey Keane: So what does the management say?
Henry Arehart: Sorry?
Corey Keane: What does the management say?
Henry Arehart: I think we will have um much bigger project next time and a much bigger salary as well.
Corey Keane: Ah.
Henry Arehart: All it depends on who watch this meeting.
Terrance Osbourn: Yeah.
Henry Arehart: We don't know.
Corey Keane: Yeah. Okay.
Henry Arehart: good guys,
Terrance Osbourn: Okay.
Henry Arehart: so see you for next uh successful project.
Terrance Osbourn: Yeah. Fruits.
Tony Lester: Mm 'kay.
Corey Keane: Mm. | Henry Arehart presented the final cost of the remote with the finalized list of components. The final cost was under the alotted budget; Henry Arehart announced that the project could then continue with the current prototype. Tony Lester presented an evaluation of the prototype to the group. The group evaluated the prototype based on the requirements of users presented in the first meetings. The group decided that the prototype met enough of these goals to be able to market the product. The prototype was presented and the group discussed the look of the prototype. Henry Arehart summarized the accomplishments of the meeting. | 5 | amisum | train |
Scott Macdonald: Afternoon guys. It's gonna be.
Ramon Hester: Rock and roll.
Scott Macdonald: Oh. 'Kay.
Ramon Hester: So do we need to re-train Mike on how to put his mic on?
Jacob Javier: Think
Scott Macdonald: We may
Ramon Hester: Okay,
Jacob Javier: s
Scott Macdonald: do.
Ramon Hester: can he get it all by himself this time?
Scott Macdonald: I dunno,
Jacob Javier: Mm.
Scott Macdonald: I'm feeling like a
Jacob Javier: Pro
Scott Macdonald: big boy.
Jacob Javier: Probably not, been
Ramon Hester: So
Jacob Javier: listening too much. He's
Ramon Hester: I believe
Jacob Javier: getting
Ramon Hester: I
Jacob Javier: retarded.
Ramon Hester: can fly.
Robert Forker: Alright
Jacob Javier: Yay.
Robert Forker: well we got some exciting stuff for you guys.
Jacob Javier: Or not.
Robert Forker: Or not.
Jacob Javier: Yeah.
Ramon Hester: Just what I needed was something exciting. Remember, I'm an old man.
Scott Macdonald: 'Kay, ready to go?
Robert Forker: All ready.
Scott Macdonald: 'Kay so
Jacob Javier: Apparently
Scott Macdonald: we've
Jacob Javier: I'm
Scott Macdonald: got
Jacob Javier: old as
Scott Macdonald: our
Jacob Javier: well.
Scott Macdonald: conceptual design meeting. Hopefully we've
Ramon Hester: Thirty's
Scott Macdonald: all got exciting
Ramon Hester: really young,
Scott Macdonald: ideas
Ramon Hester: eh?
Scott Macdonald: now.
Robert Forker: We do.
Scott Macdonald: Uh k exciting ideas. 'Kay so here's our agenda our agenda. Um I'm gonna open. I'm gonna talk for a bit about what we're gonna do. I'm gonna take some notes. We're gonna all do a presentation, then we're gonna make some decisions now. Yep.
Robert Forker: Alright.
Scott Macdonald: Well when I say hopefully, we have to. So I'm gonna let you guys talk before we make decisions. And does anyone really want to go first?
Robert Forker: I guess I'll go first.
Scott Macdonald: You p two?
Robert Forker: Yeah.
Scott Macdonald: What's
Robert Forker: Component, I think.
Scott Macdonald: Components
Robert Forker: Yeah.
Scott Macdonald: design.
Robert Forker: Yep that's it.
Jacob Javier: Presented by name.
Robert Forker: My name is.
Ramon Hester: Jose he
Scott Macdonald: Your
Ramon Hester: man
Scott Macdonald: name
Ramon Hester: is.
Scott Macdonald: is name?
Robert Forker: My name is name.
Scott Macdonald: Huh hi
Jacob Javier: My
Scott Macdonald: name.
Jacob Javier: name is Inigo Montoya. You killed my father.
Robert Forker: Sorry
Jacob Javier: Prepare
Robert Forker: I did this
Jacob Javier: to
Robert Forker: in a bit of a rush.
Ramon Hester: N name.
Robert Forker: So
Scott Macdonald: Right.
Jacob Javier: die.
Robert Forker: so here's a look inside your really old-looking remote control. Um you've got a printed a printed uh circuit board here, and you've got all these buttons which kinda press little rubber nubbies little holes that
Scott Macdonald: We've all
Robert Forker: activate
Scott Macdonald: broke a remote control ri um s
Robert Forker: Yeah
Scott Macdonald: yeah.
Ramon Hester: I've
Robert Forker: we've all broken a remote control. So you've also got um you've got your chip here, your batteries here, and some sorta electronics. Um
Ramon Hester: I just love you tech guys, huh. They just
Jacob Javier: Yeah there's a thingy and
Ramon Hester: Yeah
Jacob Javier: a dingy
Robert Forker: Well
Ramon Hester: y
Jacob Javier: and
Ramon Hester: do jabber.
Scott Macdonald: You press
Robert Forker: so
Scott Macdonald: this and
Robert Forker: you've
Scott Macdonald: it does
Robert Forker: got
Scott Macdonald: th
Robert Forker: here's here's a transistor, and this amplifies your signal, um you've got the L_E_D_ here on the end of the uh uh on the end of the printed circuit board. Um you've got a couple diodes here for I don't know who and whatnot.
Scott Macdonald: I dunno
Robert Forker: So
Scott Macdonald: who and whatnot.
Robert Forker: exactly.
Jacob Javier: Nah.
Robert Forker: So um we've got a i in this in this uh drawing
Ramon Hester: P
Robert Forker: he uh in this example here, this is a eighteen pin um uh chip
Ramon Hester: Yeah.
Robert Forker: I dunno. Uh it's two double A_ batteries. This is pretty standard remote. So here are options for our power sources. You can use a basic battery, which we've already discussed, um th our tech department also said we have the option of doing some kind of hand dynamo where maybe you crank it or something like that. I
Scott Macdonald: 'Kay.
Robert Forker: don't know if that's really
Jacob Javier: I wanna change that.
Robert Forker: I don't know we got some qu crazy guys down there in that department so
Scott Macdonald: Okay.
Ramon Hester: I gotta gotta flashlight, and uh
Robert Forker: You shake it.
Ramon Hester: yeah but it's interesting 'cause you shake it like this. Like this.
Robert Forker: Yeah. So that's the next bullet is the
Ramon Hester: And
Robert Forker: um
Ramon Hester: that's on the camera.
Robert Forker: the kinetic provision of energy, so it's like that flashlight where you have to shake it.
Ramon Hester: Yeah.
Scott Macdonald: 'Kay.
Robert Forker: Uh we've got solar cells, which I don't think is a very good idea because um you could not use your remote at night which doesn't make a lot of sense.
Scott Macdonald: Mm 'kay.
Robert Forker: And finally we've got our cradle o our power cradle idea.
Scott Macdonald: Okay so we basically have battery versus cradle
Robert Forker: M
Scott Macdonald: here?
Robert Forker: battery versus cradle I think
Scott Macdonald: Okay.
Robert Forker: is yeah.
Jacob Javier: I like the kinetic.
Scott Macdonald: So
Ramon Hester: I
Scott Macdonald: we have
Ramon Hester: g I
Scott Macdonald: battery
Ramon Hester: I figured
Scott Macdonald: versus
Robert Forker: It
Ramon Hester: you
Robert Forker: could
Scott Macdonald: cradle
Robert Forker: be
Ramon Hester: would.
Robert Forker: fun.
Ramon Hester: Yes. Yeah.
Scott Macdonald: It's actually a novel thing because you could sell it a as a novelty, just to be actually serious
Robert Forker: Yeah.
Scott Macdonald: for a minute here, you
Robert Forker: Well
Scott Macdonald: could
Robert Forker: it is it is more uh I mean it is more eco-friendly than the than the cradle 'cause you're still using
Scott Macdonald: Mm.
Robert Forker: power off the grid with the cradle. So
Scott Macdonald: Hmm.
Robert Forker: um our case design. We have uh choices in materials and choices in the general shapes that we can do. Our material choices are a plastic latex um ty or plastic, a rubber latex type thing, uh wood, or titanium. If we go with titanium we're gonna be uh limited in the amount of shapes we can do because it's tough to shape the titanium, and uh Yeah pers
Scott Macdonald: Wood wood would ge would give us a little bit of a marketing niche, wouldn't it.
Robert Forker: I think wood i
Scott Macdonald: Nah.
Robert Forker: I I can't see anybody
Ramon Hester: It it
Robert Forker: wanting
Ramon Hester: it
Robert Forker: to use a wooden remote, it's
Ramon Hester: Uh.
Robert Forker: just
Scott Macdonald: Okay.
Robert Forker: anti-technology really, you know.
Scott Macdonald: Hmm.
Ramon Hester: Uh uh to Ramon Hester in a marketing sense it's not it's not relative. We can we can o we can uh accentuate whatever whatever product you put in there we can find
Robert Forker: Right.
Ramon Hester: a way to accentuate
Robert Forker: And what
Ramon Hester: it.
Scott Macdonald: Okay.
Robert Forker: we may be able to do, and I think this might be the best option is to combine some a couple of these. Um my recommendation personally would be to do some kind of a plastic inner shell with a like a rubber outer shell, to make it um to mak uh like a thick plastic inner shell and a t um kind of a to have that rubber outer shell to make it more durable, and also maybe i I think it feels a little better than the plastic.
Scott Macdonald: 'Kay. Do you get a good grip on the rubber?
Robert Forker: Yeah
Scott Macdonald: Yeah okay.
Ramon Hester: And
Robert Forker: um
Ramon Hester: if you make it from that super rubber, when you drop it on the floor it can bounce right back up in your hand.
Robert Forker: Yeah.
Ramon Hester: You don't even need to lean down to get it.
Robert Forker: The advantages of working with plastic and rubber is w we we'll have a lot more um options just in terms of shape because you can extrude plastic in basically any shape you want. So um and then we can cover you know the breakable bits with rubber yeah so um
Scott Macdonald: Okay.
Robert Forker: But basically these are curved and double-curved I I believe that the tech department, in their um in their message to Ramon Hester, that they were referring to the number of th curves in the bottom. I have no idea exactly what they're talking about, but that's
Scott Macdonald: Okay.
Robert Forker: what they told Ramon Hester, uncurved, flat, curved, or double-curved. I would guess this like this pen would be kinda like a double-curved, where it's curved on m m multiple axes, right? I think curved means just curved in one axis and double-curved is curved in two axes
Scott Macdonald: Okay.
Robert Forker: or surfaces. I
Scott Macdonald: I
Robert Forker: have
Scott Macdonald: think
Robert Forker: no
Scott Macdonald: it
Robert Forker: idea.
Scott Macdonald: might mean something like that sorta shape because a double curve rather
Ramon Hester: Mm-hmm
Scott Macdonald: than
Ramon Hester: yeah
Scott Macdonald: a
Robert Forker: Oh
Ramon Hester: that's
Robert Forker: okay
Scott Macdonald: yeah that's
Ramon Hester: yeah
Robert Forker: oh
Ramon Hester: that's
Robert Forker: like
Ramon Hester: what
Robert Forker: a
Ramon Hester: I
Robert Forker: wave,
Ramon Hester: see.
Scott Macdonald: what.
Robert Forker: okay.
Ramon Hester: Yeah
Robert Forker: Alright
Ramon Hester: that's what I see
Robert Forker: that
Ramon Hester: also.
Robert Forker: makes sense okay. Um okay, with the interface we have the following options, we can u we can use push buttons, we can use a scroll wheel with an integrated push button, and
Ramon Hester: Ooh.
Robert Forker: L_C_D_ display, or multiple scrolling wheels. Um so these are all options that the user interface guy can uh has at his disposal to put together a user interface.
Scott Macdonald: Okay.
Robert Forker: For electronics, we have these very technical um descriptions here. A simple chip, which is the least expensive, but I have no numbers to give you, a regular chip, which is like the medium porridge the medium
Scott Macdonald: D do we have actually
Robert Forker: expense
Scott Macdonald: any
Robert Forker: uh
Scott Macdonald: concept of what the difference is between a simple chip and an advanced chip?
Robert Forker: Yes the difference is, with a simple chip a simple chip will operate oh why doesn't this scroll up? Previous previous, okay. Um
Scott Macdonald: Okay.
Robert Forker: an advanced chip is required to to operate um the L_C_D_ display, and it didn't say specifically, but I I have a hunch that a regular chip is gonna be the scroll wheel and the multiple scroll wheels.
Scott Macdonald: Okay.
Robert Forker: So but yeah.
Scott Macdonald: Yeah that makes sense.
Robert Forker: That's the
Scott Macdonald: So
Robert Forker: end of my presentation.
Scott Macdonald: presentation from I guess design would go best. Next.
Scott Macdonald: Technical functions or interface concept?
Robert Forker: I think
Jacob Javier: Oh interface concept.
Scott Macdonald: Yeah that's it. Yes, but it has your name on it.
Jacob Javier: Well that doesn't bo bode well for it for it tats as well. Um so, somehow that thing's too big, but um okay um our uh manufacturing division wanted the speech recognition. They say they could put it to work but um we don't think so.
Robert Forker: No.
Jacob Javier: No. It it it you'll be you know be affected by
Robert Forker: If
Jacob Javier: the by
Robert Forker: the
Jacob Javier: the other
Robert Forker: T_V_
Jacob Javier: speech
Robert Forker: is working,
Jacob Javier: and
Robert Forker: yeah. That's just I mean it'll if somebody says up in the middle of a television show, it's gonna change the channel.
Jacob Javier: Yeah and and fighting
Robert Forker: So
Jacob Javier: for the remote would not be fun anymore, and I think that's one of the things we
Scott Macdonald: But
Jacob Javier: wanna
Scott Macdonald: what if
Jacob Javier: keep.
Scott Macdonald: you actually had to press a button to make it recognize? So if you pressed it and went, up?
Jacob Javier: That kinda would
Robert Forker: Well then why don't
Jacob Javier: r
Robert Forker: you just press the up
Jacob Javier: d
Robert Forker: button?
Jacob Javier: yeah.
Scott Macdonald: Man yeah.
Jacob Javier: That would kind of lose
Scott Macdonald: But if it's just
Jacob Javier: it.
Scott Macdonald: one thing with a button that you can just go
Ramon Hester: That's right.
Robert Forker: Even
Scott Macdonald: Up.
Robert Forker: still there's gonna be interf th there's there still will be interference from the T_V_. It
Scott Macdonald: Yeah, okay.
Robert Forker: might not be it might not be completely confusing, but I think you'll still y it's still I don't think it's practical at all. I think it's a bad idea frankly.
Jacob Javier: Yeah
Scott Macdonald: Okay.
Jacob Javier: so um taking that away, our uh
Scott Macdonald: You guys know your stuff.
Jacob Javier: the the the rubber but rubber buttons are the more reliable it's the the ones that would al would allow us to to market our product as being you know less prone to damage and more resistant to things like spillage of liquids over it or you know mistreat misuses as it happens to remote controls. Um as for the point that we making about losing it. Well, we wanna small r remote control one side because uh we want it to be cool and uh designed, but um apparently um market shows that bigger s bigger um remotes get less lost,
Robert Forker: That I
Jacob Javier: about
Robert Forker: would believe.
Ramon Hester: Mm-hmm.
Scott Macdonald: Mm.
Jacob Javier: But um yeah I think we we need to compromise between those two and somehow we'll do that. Somehow. Um so the the what I would propose is something more or less in the uh direction of what is to yo the right of that slide uh but without with a l a less complicated um design, so the numbers, the volume control, and channel control, and teletext access. Uh the volume and channel control can just become those the the four button array as in if it was a round dial.
Robert Forker: Mm-hmm.
Jacob Javier: And um if you just think about it as the one to the right but with the numbers and the four buttons plus maybe a centre one with teletext.
Scott Macdonald: So we're suggesting doing a sorta scroll wheel thing for the volume?
Jacob Javier: Ye no it's
Robert Forker: That's
Jacob Javier: not
Robert Forker: not
Jacob Javier: i
Robert Forker: a
Jacob Javier: i
Robert Forker: scroll wheel.
Jacob Javier: it's just
Scott Macdonald: Nah.
Jacob Javier: four buttons that are on a cross,
Scott Macdonald: Oh okay
Jacob Javier: so
Scott Macdonald: okay.
Jacob Javier: that you
Scott Macdonald: I
Jacob Javier: ba
Scott Macdonald: see.
Jacob Javier: basically can control all of the
Robert Forker: Right.
Jacob Javier: important tasks from that alone.
Robert Forker: Instead of
Scott Macdonald: Uh,
Robert Forker: play,
Scott Macdonald: okay.
Robert Forker: stop, rewind, and fast forward there, that's up, down, louder, and quieter.
Scott Macdonald: Okay.
Jacob Javier: Yeah um yeah so I think we w we go for something mid-sized, so something looks good and uh is not too prone to get lost. That be it.
Scott Macdonald: 'Kay. So on to
Scott Macdonald: Y functional requirements or trend watching?
Ramon Hester: I dunno.
Robert Forker: Trend watching
Ramon Hester: Trend
Robert Forker: has
Ramon Hester: watching
Robert Forker: a later
Ramon Hester: I guess.
Robert Forker: date there.
Ramon Hester: Trend watching I believe.
Scott Macdonald: forty six nineteen fifty seven.
Ramon Hester: See
Scott Macdonald: Yep.
Ramon Hester: what it looks like. It's been so long. Well I don't know what to say. When I s when I see the when I see the product I I I I don't wanna buy it. I see so many of 'em out there. There's nothing about that product that makes Ramon Hester wanna choose that product over other products that are out there.
Robert Forker: Are you talking about the picture?
Ramon Hester: Yeah yeah.
Robert Forker: That's not our that's not our b design, that's just
Ramon Hester: Okay.
Robert Forker: a that's just something he a a graphic he used to show you the layout
Ramon Hester: Okay.
Robert Forker: of what the layout of the buttons might be like.
Ramon Hester: Okay 'cause 'cause right now I don't have too much to say about how to market this product because we don't have a product to market yet. And
Scott Macdonald: Mm.
Ramon Hester: uh from from talking to Mike is that we have we have uh we can market a more expensive product now. That's what I understand
Scott Macdonald: Upper
Ramon Hester: so,
Scott Macdonald: management said yes.
Ramon Hester: hello.
Scott Macdonald: Uh e excuse that, that's a bit of spam.
Ramon Hester: And and so yeah I'm a I'm a little bit stuck right now in that what uh w what is it that I'm gonna market? Uh without special or increased marketable features I don't believe the product has a consumer demand. Uh I like the idea of of the scroll makin there are so many people making these products at this price right now. What are we gonna do to make this one special and unique?
Robert Forker: What's special and unique about a scroll?
Ramon Hester: Uh well I don't
Scott Macdonald: It's cool.
Ramon Hester: yeah it's I I just see it as different. I don't say it's specially mm I don't say it's special. Uh I say that it's different I what I'm looking for as marketing is m give Ramon Hester something different. I give Ramon Hester a lower price, give Ramon Hester a higher price, give Ramon Hester some new technology, don't give Ramon Hester the same thing that everybody else is putting out there on the shelf it's f at the same price. I need something to market about this thing. We're we're a new
Scott Macdonald: I'd
Ramon Hester: firm.
Scott Macdonald: I'd say though that we if we did make the decision to go with the cradle though,
Ramon Hester: What
Scott Macdonald: the then we
Ramon Hester: i
Scott Macdonald: have that
Ramon Hester: if
Scott Macdonald: as
Ramon Hester: when
Scott Macdonald: well, but
Ramon Hester: when we
Scott Macdonald: wi with
Ramon Hester: have
Scott Macdonald: a similar
Ramon Hester: yeah when we when we have something like the cradle or or something give that's as as a marketing standard I need something to market, to make
Robert Forker: Well
Ramon Hester: this product unique.
Robert Forker: right I think the two big th points that we have so far are the having the cradle and also having uh the um the actual design of the uh case itself having like this like rubber shell maybe with a plastic
Ramon Hester: Yep.
Robert Forker: interior, having it look really nice um and also be really durable.
Ramon Hester: Mm 'kay. Just remember when I made up this report I didn't have the information that we're discussing here.
Robert Forker: Right
Scott Macdonald: Mm.
Robert Forker: yeah.
Ramon Hester: And
Scott Macdonald: Course.
Ramon Hester: and
Robert Forker: Yeah.
Ramon Hester: so so uh yeah when we have a cradle, when we have some kind of design, so what I'm saying is, from my perspective, I don't have a product to market right now. Um uh my personal preference is that we make some adjustment in the cost, either lower or develop an integrated new technol technology. That's that is the next step, there's technology and then there is technology,
Scott Macdonald: Yeah
Ramon Hester: which
Scott Macdonald: 'cause
Ramon Hester: we're
Scott Macdonald: that's.
Ramon Hester: moving into the next phase. And so uh we're gonna have some new technology to enhance the marketability. Yeah uh again I'm not sold on the product because we don't have a product in my opinion
Scott Macdonald: Mm.
Ramon Hester: yet. So
Scott Macdonald: Mm 'kay.
Ramon Hester: I
Robert Forker: Well
Ramon Hester: need
Robert Forker: let's
Ramon Hester: a product.
Robert Forker: get a product then.
Ramon Hester: I need a product to market. And I just whatever product you guys put together, we'll find a way to market it. Tha that I'm not concerned with.
Scott Macdonald: So now
Ramon Hester: If you if you give Ramon Hester if you give Ramon Hester a cut-out of what everybody else has then I need to I need to find a lower cost.
Scott Macdonald: So our big questions here really are cradle or not cradle? Do we go basic or do we go for features? Uh d does anyone really wanna do anything with the scroll wheel or should we ditch that
Robert Forker: Well my question
Scott Macdonald: off-hand
Robert Forker: is what
Scott Macdonald: first?
Robert Forker: would the scroll wheel do? Function-wise, what does that do that
Scott Macdonald: Oh but that was in your presentation so wh what would you imagine
Ramon Hester: Yeah
Scott Macdonald: it doing?
Ramon Hester: wh wh what's the wh
Robert Forker: Yeah. Well it's it's just another way to do the exact same thing that the buttons do.
Scott Macdonald: Mm 'kay.
Ramon Hester: Okay now
Jacob Javier: But
Ramon Hester: what
Jacob Javier: would
Ramon Hester: I see
Jacob Javier: we
Ramon Hester: with the scroll wheel is everybody has buttons. So from a marketing standpoint I have I have another door to walk through when we have something that's unique.
Scott Macdonald: Yeah.
Ramon Hester: If it creates something more complex or more expensive, then I don't know if that makes it uh a marketing necessity. But again, from a marketing perspective I want as much new and different about this thing as possible because we're we're co it's a very competitive market.
Scott Macdonald: What I understand about scroll wheels is they're they're quite expensive to
Robert Forker: Yeah.
Scott Macdonald: to make.
Robert Forker: Th
Scott Macdonald: So I d
Robert Forker: they are gonna be more expensive, but on the other hand, I mean, it I mean it is an alternative if if you think that's gonna sell some some uh you know if if we're gonna make up the extra cost by extra sales I think maybe it's worth it to do it, but I mean I would just use if I was gonna do this I would just use the scroll wheel for s channels up and channels down. I don't think volume or do you think volume would be
Jacob Javier: I dunno. I'll bet first in volume maybe. I dunno.
Robert Forker: No we can we can do multiple scroll wheels but
Scott Macdonald: Well I d I like the idea of basically focusing the my personal preference is focusing the p the product on the idea of the uh the case the the uh dock to put it in to to charge it. We can target like environmentally friendly ideas, that
Ramon Hester: Mm-hmm.
Scott Macdonald: sorta things. It s i m makes it easy
Ramon Hester: Yeah yeah.
Scott Macdonald: to market, it's
Ramon Hester: I
Scott Macdonald: easy
Ramon Hester: think
Scott Macdonald: to differentiate
Ramon Hester: it's
Scott Macdonald: the product,
Ramon Hester: that's right.
Scott Macdonald: yeah so.
Ramon Hester: I think so.
Scott Macdonald: And if we we keep the rest in a format that is durable because th th the whole product's gonna need to be more durable th thus
Robert Forker: Mm-hmm.
Scott Macdonald: because you're not going to be ditching it as often. It's gonna need to be more expensive because of the cradle.
Ramon Hester: Mm.
Scott Macdonald: So if we can market it in terms of
Ramon Hester: Yep.
Scott Macdonald: that and yeah
Ramon Hester: I
Scott Macdonald: well
Ramon Hester: think we got some exclusivity in that, you know, we got something that nobody
Robert Forker: Yeah.
Ramon Hester: else has right now, adjustments in the retail or wholesale price if we need to and it also can create it's own demand from it's uniqueness.
Scott Macdonald: So our big decision then is like how do we do um like we have to decide on the details and we have to decide on well n not exactly the details, but d do we have uh What type of casing? I personally like what you were saying about the plastic with the rubber.
Robert Forker: Mm-hmm. I'm thinking yeah something like kinda almost like these pens, you know, where there's you have plastic bits and then it's not really rubber but just kinda like a fused the plastic with rubber on the outside.
Scott Macdonald: Okay. Just a very thin sorta sheet for a a grip, sorta
Robert Forker: Well no
Scott Macdonald: thing
Robert Forker: ma
Scott Macdonald: or
Robert Forker: yeah
Scott Macdonald: for
Robert Forker: maybe a bit more then th is on here but ju just as a kind of an inspiration, these pens I think are are kind of
Scott Macdonald: Okay. So then if we d d do we want to do anything more basic with the uh more advanced with the user interface in terms of do we want to go for um buttons, or do we want if we're ditching the scroll wheels do we want to go L_C_D_? Do we want to give do we want to have anything else on it?
Jacob Javier: It's only a T_V_.
Robert Forker: Or from from my perspective I think L_C_D_ is a mistake because this is a universal remote and all you're doing I mean it's you're not gonna get any information back from the television, so the only information you can display on this remote is what channel you just sent it at last and there's just not a lot of information, you know, there.
Jacob Javier: Hmm.
Robert Forker: It
Scott Macdonald: Okay.
Robert Forker: receives no information. So I I don't see any reason for having an L_C_D_ 'cause it's an increased cost. Unless
Ramon Hester: Yeah.
Robert Forker: you can think of something interesting to do with it.
Ramon Hester: Yeah right now there's right now there's nothing coming out of the T_V_ to receive, so
Robert Forker: Right.
Ramon Hester: you know unless technology changes and information starts coming out of the a cable box or something there's no s I don't see the, I don't see the necessity of an L_C_D_ either. Don't see it.
Scott Macdonald: Okay so the question is now I guess we need t to decide on well y you guys basically have to now go and figure out the details of this thing. of marketing and uh project management are are there any other questions that we need to answer now before you guys can go and build this? What what overall things have we not decided on?
Robert Forker: Well we have to I think for Ramon Hester it's still not exactly clear exactly what the inter user interface is gonna be. There's the scroll wheel, in or out? What do you guys like in the user interface?
Scott Macdonald: I think maybe in terms of marketing, is that gonna make enough of a
Ramon Hester: Again.
Scott Macdonald: difference to justify the cost?
Ramon Hester: Well I think it's it's the more uniqueness you can bring to the product, the easier it is, I believe, for Ramon Hester to market. Uh again the push-buttons I I see are are everywhere. And so we can go with the same thing, but we're gonna be com competing in a in a broader market than if we go with something unique. You know the other thing I thought about was you know, do we go to something like this? Make a remote that doesn't look like a remote. It's just another it's just a an idea, and I don't know
Robert Forker: Well I dunno about like the flip-phone idea, because I think, as far as durability th it's not a big well
Ramon Hester: I
Robert Forker: maybe
Ramon Hester: mean what
Robert Forker: when
Ramon Hester: I
Robert Forker: it's
Ramon Hester: see
Robert Forker: closed.
Ramon Hester: one of the things one of the things you brought up in
Robert Forker: Mm-hmm.
Ramon Hester: an earlier presentation is, when you got children, their their stuff gets inside the circuitry, they get dirty, they get messy with drinks and stuff. This
Robert Forker: Mm-hmm.
Ramon Hester: And what I keep throwing out there I just keep throwing out ideas to try to make this thing look or act or in some way identify itself as unique or different.
Jacob Javier: Mm-hmm.
Ramon Hester: But you guys are the ones that have to c ultimately create the product within cost.
Scott Macdonald: Yeah and I guess th th the question th th that you're being asked right now is whether is the dock enough of a unique feature to be able to go out and sell that a a as a a very different product, or do we really need the scroll wheel as well? Because
Ramon Hester: Oh
Scott Macdonald: the scroll
Ramon Hester: okay
Scott Macdonald: wheel comes at quite
Ramon Hester: phew.
Scott Macdonald: a cost.
Robert Forker: Yeah.
Ramon Hester: I think you gotta g get into cost effectiveness. I think if you can have the base station with a with a locator, I think those are two very strong features, if
Robert Forker: Well
Ramon Hester: that's something that can be integrated
Robert Forker: The
Ramon Hester: without a bunch of extra cost.
Robert Forker: The locator's gonna require a radio transmitter, which
Ramon Hester: Mm-hmm.
Robert Forker: will
Scott Macdonald: That's gonna n is that gonna need a better chip as well?
Robert Forker: Um
Jacob Javier: No
Robert Forker: we're
Jacob Javier: it's
Robert Forker: probably
Jacob Javier: just
Robert Forker: gonna
Jacob Javier: different.
Robert Forker: have to go with a like a medium chip, s I would imagine. But we I we will need a receiver, an antenna.
Ramon Hester: Integrated, yeah.
Robert Forker: Yeah.
Ramon Hester: So it's just uh I I think that's
Robert Forker: It should be a really simple signal though so
Ramon Hester: I know personally that would be a very attractive feature, is to have a uh have a button I can push to find my remote control.
Scott Macdonald: And it's presumably gonna need a little speaker in it or something like that as well to beep.
Robert Forker: That's true yeah.
Scott Macdonald: But I guess a little tiny speaker is gonna be quite cheap, it's not gonna need q quality,
Robert Forker: Oh yeah
Scott Macdonald: is it? It's
Robert Forker: yeah. It'll be really cheap.
Ramon Hester: Or maybe you can like have a a smell-o-rama, you know you push a button and it s puts out a stink. You can
Jacob Javier: Maybe not.
Scott Macdonald: Makes your living room more fresh as
Ramon Hester: Yeah
Scott Macdonald: you watch.
Ramon Hester: yeah yeah yeah.
Scott Macdonald: Okay we're
Jacob Javier: S
Scott Macdonald: doing well for time here. Um we've got about another ten minutes. I think that uh
Robert Forker: So the scroll wheel, in or out?
Scott Macdonald: Mm pr my personal preference is out. I don't think the cost is justified for a little bit more uniqueness when we already have that, and I don't s think
Jacob Javier: Yeah.
Scott Macdonald: it's obvious and natural how it would be used.
Jacob Javier: Yeah I think we have like and it's not very usable and it will bring down the robustness of the whole thing, 'cause
Scott Macdonald: Mm.
Jacob Javier: it's
Ramon Hester: Yeah.
Jacob Javier: it it breaks down easier.
Robert Forker: For Ramon Hester I think the scroll wheel actually might not be so bad. I don't know exactly what the increased cost is gonna be, but I think he does have a point, i it might push somebody over the edge when they're looking at our at our remote versus something else, when they see this one has a scroll wheel to go up and down on the channels. I think it might be kinda neat to be able to do it like that.
Scott Macdonald: But
Ramon Hester: W
Scott Macdonald: then that that surely d depends a little on the T_V_ because some T_V_s are quite slow at changing channels from
Robert Forker: Sure.
Scott Macdonald: like so if you've got a scroll wheel and you s you have to scroll scroll it really really slowly just so that you're actually keeping in pace with the T_V_'s ability to to change channels. Or
Ramon Hester: Yeah.
Scott Macdonald: do you have to go through and you wait for it? You scroll it a bunch of times and you wait
Robert Forker: Well
Scott Macdonald: for
Robert Forker: I
Scott Macdonald: it
Robert Forker: think
Scott Macdonald: to
Robert Forker: wh what it would be is like like the m like this, where it's maybe you know a digital wheel,
Scott Macdonald: Mm.
Robert Forker: right, where it's where it's quantized into you know certain
Ramon Hester: Oh
Scott Macdonald: Uh
Ramon Hester: yeah.
Scott Macdonald: I see I see. That's where you
Ramon Hester: Yeah.
Robert Forker: That was that was my my intuition
Scott Macdonald: Ah I see
Robert Forker: of what the
Scott Macdonald: I see
Robert Forker: scroll
Scott Macdonald: what you're
Robert Forker: wheel
Scott Macdonald: talking
Robert Forker: would be.
Scott Macdonald: about now. Okay.
Robert Forker: It's just it's basically it it's just a f look and feel thing. It has the same exact functionality as two buttons.
Ramon Hester: I I think there's you know that uh there are so many people today that are that are surfing are television surfers, and I see the scroll as a as a great mechanism for surfing. Instead
Scott Macdonald: Yeah
Ramon Hester: of going
Scott Macdonald: if you're
Ramon Hester: button-to-bu
Scott Macdonald: just sitting there going
Ramon Hester: you just j you'd j j j j j j.
Robert Forker: Yeah.
Ramon Hester: I
Scott Macdonald: That's
Ramon Hester: really
Scott Macdonald: kinda cool actually.
Ramon Hester: I really think
Scott Macdonald: I like
Ramon Hester: that's
Scott Macdonald: that.
Ramon Hester: a really cool thing for surfing.
Robert Forker: Now just just so you know though uh you did bring up a point which is very valid, is a lot of T_V_s won't re the T_V_s won't respond exactly the same. Some of them are gonna be kinda slow switching, so you may like queue up like fifteen channel changes, and it'll be like flip, flip, flip.
Ramon Hester: Well there's
Robert Forker: But
Ramon Hester: ano
Scott Macdonald: Well not n necessarily. You could basically make it so that it'll I mean it's just gonna be sending a signal to the T_V_ yeah
Robert Forker: Right.
Scott Macdonald: the T_V_'s
Ramon Hester: That's right.
Scott Macdonald: ge so if you send about five flip channels, if you did that it's gonna flip once. If
Robert Forker: Yeah
Scott Macdonald: you
Robert Forker: it
Scott Macdonald: do
Robert Forker: just
Scott Macdonald: that.
Robert Forker: might be frustrating where you
Scott Macdonald: Other
Robert Forker: can't
Scott Macdonald: than
Robert Forker: make
Scott Macdonald: click
Robert Forker: it go
Scott Macdonald: click
Robert Forker: as fast
Scott Macdonald: click.
Robert Forker: as you want, but I think
Scott Macdonald: Yeah.
Robert Forker: once people get used to it I I do like the idea of the scroll wheel though.
Scott Macdonald: And if we're marketing it as a high niche product, then we're gonna be selling it to people who are buying good T_V_s as well, yeah, presumably.
Jacob Javier: Mm-hmm.
Ramon Hester: Yeah I think
Scott Macdonald: Primarily.
Ramon Hester: so. I I
Jacob Javier: Yep.
Ramon Hester: think so. Now the the only thing I I on the interface side of it, is that I I I see the dilemma. But if we have the option of of scrolling at any particular speed, or the option of jumping direct, okay.
Scott Macdonald: Mm-hmm.
Ramon Hester: So I can go uh presuming I have, on my television, something that tells Ramon Hester what channel I'm on, I can scroll direct from channel five to channel thirty two. I know what because it's on the television. The television tells Ramon Hester what channel it's on when I change it. So I don't know that really that's that's gonna be a a d problem, 'cause the television can go automatically from channel five to channel thirty two with the push of a button.
Scott Macdonald: Mm-hmm.
Ramon Hester: Okay? So ca can we can we create that kind of interface within a scroll system? You understand what I'm saying?
Robert Forker: I think I know what you might be getting at, or
Scott Macdonald: Oh
Robert Forker: or
Scott Macdonald: I see so if maybe if we had an L_C_D_ up the top that just did a number on it, right?
Ramon Hester: Oh
Scott Macdonald: And
Ramon Hester: no
Scott Macdonald: then
Ramon Hester: we
Scott Macdonald: it
Ramon Hester: could read
Scott Macdonald: that
Ramon Hester: it
Scott Macdonald: basically
Ramon Hester: from
Robert Forker: Well,
Ramon Hester: the television.
Robert Forker: what about this what
Scott Macdonald: Mm.
Robert Forker: about if you can programme in your favourite channels into this scroll wheel and you can just like roll through your favourite channels,
Scott Macdonald: Well that's
Robert Forker: and
Scott Macdonald: quite
Robert Forker: it c
Scott Macdonald: cool. You'd
Robert Forker: it
Scott Macdonald: need a display on the th
Robert Forker: Why?
Scott Macdonald: the thing.
Robert Forker: It'll tell you when you flip the
Ramon Hester: Yeah
Robert Forker: channel
Ramon Hester: the
Robert Forker: on the
Ramon Hester: the television
Robert Forker: T_V_.
Ramon Hester: can tell you.
Robert Forker: Yeah.
Ramon Hester: Can.
Scott Macdonald: Oh yeah yeah no I see what you're talking about. Yeah that's kinda cool. How would you program it though?
Robert Forker: Well you just it's one extra button. You
Ramon Hester: Put
Robert Forker: say programme start, and then type in 'cause you still have the typing you know you'll still have the keypad where you
Scott Macdonald: Okay
Robert Forker: can type
Scott Macdonald: okay.
Robert Forker: 'em in manually. So programme start, zero, one, enter, zero, five, enter, thirty eight, enter, programme end.
Ramon Hester: And then.
Scott Macdonald: Okay and yeah and that just basically flips between it and it'll go
Robert Forker: Mm-hmm.
Scott Macdonald: it sends out zero, five, and then thirty six, and then
Robert Forker: Mm-hmm.
Scott Macdonald: zero, one again. Yeah that's kinda cool. I like that.
Ramon Hester: And again we have another another great marketing tool. We have about three we have three or four
Scott Macdonald: That's
Ramon Hester: things
Scott Macdonald: not
Ramon Hester: here.
Scott Macdonald: gonna be too expensive because that's gonna be you're gonna be able to nab that off of computer mouse manufacturers really.
Robert Forker: Mm-hmm.
Scott Macdonald: You could basically come up with a partnership to be able to produce that quite cheaply.
Ramon Hester: I dunno and
Jacob Javier: Yeah.
Ramon Hester: an maybe we maybe even have this as in-house technology. This may be something that's available through our own uh through our own services.
Scott Macdonald: Might be, but tha that's not gonna be such a costly feature. The problem we're gonna have is making it robust.
Robert Forker: Oh well
Scott Macdonald: Making
Robert Forker: we also
Scott Macdonald: it last.
Robert Forker: have to determine in some manner how to switch between modes, between going through your favourites list and just hitting up one, up
Ramon Hester: Or
Robert Forker: two.
Ramon Hester: we go directional up
Scott Macdonald: So if there's
Ramon Hester: we
Scott Macdonald: a button
Ramon Hester: go we go
Scott Macdonald: for
Ramon Hester: this
Scott Macdonald: each
Ramon Hester: we
Scott Macdonald: type.
Ramon Hester: go this we go this way for one, we go this way for the other.
Robert Forker: No because you wanna be able to go up and down through the channels.
Scott Macdonald: Yeah people are gonna
Ramon Hester: Ah-ha
Scott Macdonald: have their favourite
Ramon Hester: okay.
Scott Macdonald: sorta, whether
Ramon Hester: Okay,
Scott Macdonald: they do that
Ramon Hester: okay,
Scott Macdonald: or whether they
Ramon Hester: well then you
Robert Forker: Right.
Ramon Hester: just have, you have a diff you have a mode
Robert Forker: I think
Ramon Hester: switch.
Scott Macdonald: Yeah
Robert Forker: we'll need
Scott Macdonald: yeah
Robert Forker: a
Scott Macdonald: the mode switch.
Robert Forker: we'll need a mode switch, but then if we have a mode switch we're gonna need some kinda indicator
Scott Macdonald: Just
Robert Forker: to
Scott Macdonald: the
Robert Forker: which,
Scott Macdonald: lights behind
Robert Forker: an
Scott Macdonald: the
Robert Forker: L_E_
Scott Macdonald: buttons. You
Robert Forker: an
Scott Macdonald: could have
Robert Forker: L_E_D_
Scott Macdonald: back-lit buttons maybe.
Robert Forker: okay.
Scott Macdonald: Would
Jacob Javier: Yeah.
Scott Macdonald: that work? Is
Robert Forker: Okay.
Scott Macdonald: that okay we have five minutes. So right details th that we've talked about here are that we want a scroll wheel. We want a mode indicator. We want back-lit buttons. And if we're making back-lit buttons period, do we want that just for the mode indicator or maybe to indicate what button you're pressing at the time, so that you know if it's actually pressed or not. I've seen some remotes do that.
Robert Forker: Okay. Just so you know I think I mean it was my understanding that before we were gonna stay in the mid-market range. It seems we're kind of approaching a higher-end
Ramon Hester: Yeah
Robert Forker: range.
Ramon Hester: yeah.
Scott Macdonald: I think
Robert Forker: I wanna make
Scott Macdonald: we
Robert Forker: sure
Scott Macdonald: are
Robert Forker: everybody's
Scott Macdonald: yeah.
Robert Forker: okay
Ramon Hester: Well you
Robert Forker: with
Ramon Hester: had acknowledged
Robert Forker: that.
Ramon Hester: that we have more money for this.
Scott Macdonald: Yeah
Ramon Hester: Didn't you
Scott Macdonald: well
Ramon Hester: say
Scott Macdonald: we don't
Ramon Hester: so?
Scott Macdonald: have it's not that we have more money, we can push up the the price.
Ramon Hester: That's what I mean. We can
Scott Macdonald: Yeah.
Ramon Hester: increase the cost.
Robert Forker: Okay.
Ramon Hester: So
Scott Macdonald: 'Kay.
Ramon Hester: I don't know I don't
Robert Forker: I just
Ramon Hester: know
Robert Forker: wanna
Ramon Hester: whether
Robert Forker: make
Ramon Hester: having
Robert Forker: sure everybody's on board with it. So
Scott Macdonald: Yeah. So we really need to be sure as to what we can push the cost up to, though we haven't got to a stage where we're ready to pin down the price of components. But I'd say what sorta price are we looking to be able to sell something like that, and what sorta price can we make it for?
Ramon Hester: Well I think th I think the design and technology has to come back and say, okay to create this product we see it's gonna cost us this much for this volume, because we do have a volume target of of fifty million profit.
Scott Macdonald: Yeah no I I think that's where we really should be more flexible than anything else because as we said in the last meeting, our management is really looking for us to push our brand.
Robert Forker: Right.
Scott Macdonald: We're entering a new market here, so I think the the profit expectation for this one product is maybe not as important as being able to
Ramon Hester: Okay I'm I'm okay with that. I guess what I just want to Ramon Hester the next step is for these guys to come come in with the design proposal w with the cost estimate attached, and then we have to take this to the next
Scott Macdonald: But
Ramon Hester: level.
Scott Macdonald: th what's our ballpark as to what we'd be able to sell something
Robert Forker: Well
Scott Macdonald: like this
Robert Forker: y yeah.
Scott Macdonald: for?
Robert Forker: Let's let's try
Ramon Hester: We have
Robert Forker: and think
Ramon Hester: to find
Robert Forker: now,
Ramon Hester: cost.
Robert Forker: how much would you pay for with all these features how much would you pay if you went to the store, and you were in the market f to replace your T_V_ remote, how much would you pay for that?
Scott Macdonald: But you've gotta think who our target market is because
Robert Forker: I'm just asking
Scott Macdonald: I I'm
Robert Forker: you.
Scott Macdonald: not our target market. I'm a student, but
Robert Forker: If
Scott Macdonald: on the other hand I would think, mm with my Project Manager salary, I
Robert Forker: Then
Scott Macdonald: would
Robert Forker: you could probably
Scott Macdonald: think
Robert Forker: afford
Scott Macdonald: yeah
Robert Forker: this.
Scott Macdonald: I could probably afford this uh would I buy it? Maybe. If I had a cool new T_V_ and this was r looking really slick and it had the dock and it had the scroll wheel, which I think's a really cool idea, that would sell Ramon Hester on it a little. Then maybe you know. I do I don't think I'd go over a hundred Euro certainly,
Robert Forker: Oh
Scott Macdonald: that would
Robert Forker: no
Scott Macdonald: be way
Robert Forker: no.
Scott Macdonald: too much, but the I would be happy paying over forty for it, I guess,
Robert Forker: I would say thirty
Scott Macdonald: but not
Robert Forker: five
Scott Macdonald: much
Robert Forker: to forty.
Ramon Hester: Yeah, I was gonna say thirty five to fifty.
Scott Macdonald: 'Kay. Thirty five to fifty Euros is our sales bracket okay.
Robert Forker: Okay.
Scott Macdonald: So
Ramon Hester: Because
Scott Macdonald: the question
Ramon Hester: one of
Scott Macdonald: is
Ramon Hester: th
Scott Macdonald: what
Ramon Hester: one
Scott Macdonald: we ca
Ramon Hester: of
Scott Macdonald: we
Ramon Hester: the
Scott Macdonald: make
Ramon Hester: things
Scott Macdonald: it
Ramon Hester: we're
Scott Macdonald: for.
Ramon Hester: marketing about this product is that this is the last one you will ever need to buy for
Robert Forker: Right.
Ramon Hester: your television.
Scott Macdonald: Mm.
Ramon Hester: It's one of the marketing features in this.
Scott Macdonald: That's why the scroll needs to be really robust.
Jacob Javier: Okay so we'll come up with something between thirty five and fifty that is rug rubber, robust, with scroll wheel, with the new facilities of the scroll wheel like favourite stuff, favourite channels,
Ramon Hester: Mm-hmm.
Robert Forker: With
Jacob Javier: and
Robert Forker: a cradle, radio
Jacob Javier: and
Robert Forker: transmitters,
Jacob Javier: with a cradle, and yeah and the locator.
Robert Forker: and back-lit buttons. And it's gonna look sexy.
Jacob Javier: Or not.
Robert Forker: Or not. It might look like clay.
Jacob Javier: Okay so you can market
Ramon Hester: Yeah yeah.
Jacob Javier: pe depending
Ramon Hester: Bas th that's
Jacob Javier: on that?
Ramon Hester: that's easy. That's that's not a, it's a. 'Cause we have about six, six, seven features in that alone.
Scott Macdonald: Yep.
Ramon Hester: Under
Jacob Javier: Cool.
Ramon Hester: the title of uniquenesses.
Jacob Javier: Hmm.
Scott Macdonald: Okay. The next meeting starts in thirty minutes, although does it? It starts at three twenty one, the next meeting. So we've got more than a thirty minutes. Um we've got
Ramon Hester: Well
Scott Macdonald: more
Ramon Hester: I have
Scott Macdonald: like fifty.
Ramon Hester: Is my three twenty one is the next meeting?
Scott Macdonald: The the ne next meeting is three twenty one yeah.
Ramon Hester: That's that's almost uh fifty minutes.
Scott Macdonald: Yeah that is. Uh
Ramon Hester: You guys
Scott Macdonald: they've
Ramon Hester: can
Scott Macdonald: they've changed the times from the presentations.
Ramon Hester: You guys you guys can uh create a All
Robert Forker: Probably.
Ramon Hester: kinds of things.
Robert Forker: We'll let you know when we're done, if we can go earlier.
Ramon Hester: Thanks, yeah.
Scott Macdonald: Okay so you guys will be getting your modelling done now
Robert Forker: Yeah.
Scott Macdonald: and uh Okay are there any other questions with regards to what this thing's gonna do, look like, how it's gonna work that need to be addressed before we really look at this in a lot of detail?
Robert Forker: I don't think so. If we have any questions we'll just email you I guess.
Scott Macdonald: Okay.
Jacob Javier: Yeah I think it pretty much everything's covered.
Scott Macdonald: Okay. This one was quite easy.
Jacob Javier: Coulda been worse.
Ramon Hester: Still.
Scott Macdonald: Always the optimist.
Jacob Javier: Yes I am.
Scott Macdonald: 'Kay thanks guys.
Ramon Hester: Thank you. I don't have any emails. This means I can go home. Oh, we all leave. | Jacob Javier presented an overview of the internal components of a remote control device. He discussed energy source and material options, and suggested that using rubber and plastic would be the most versatile option. He displayed the three options for chips. Robert Forker discussed voice recognition with the group, and the group decided to not use it in their design. He suggested using rubber buttons because of their durability. He discussed the size of the device and the layout of the interface, and suggested that the remote be moderately sized to prevent its getting lost. Ramon Hester expressed concern that the remote lacked enough features to be distinctive. The group had a discussion to decide on the product features. They decided to include a charging stand, to use a thin rubber casing material, to include a locator function and a scroll wheel with two channel-changing options to increase its usability. The group discussed the cost of the various components and decided to sell the device at a point between thirty-five and fifty Euros. Robert Forker and Jacob Javier were instructed to construct the prototype. | 5 | amisum | train |
Dale Gram: Uh 'kay. So
Anthony Bush: So so so.
Louis Muhammad: Put on your mic.
Hans Babineaux: So you forgot how this works again?
Louis Muhammad: Boss.
Dale Gram: Yep.
Hans Babineaux: Boss.
Anthony Bush: Maybe. Maybe maybe maybe.
Dale Gram: Okay so we're here to talk about the detailed design of the product 'kay?
Louis Muhammad: Yep.
Dale Gram: And here's the agenda for this meeting. Uh I'm just gonna open, say a few boring words to start with again, and start taking minutes afterwards. You guys are gonna give us a presentation of our wonder product that I can see some demonstrations of over there. Looks cool. And then we're gonna evaluate it. Then
Anthony Bush: Bra
Dale Gram: we're gonna talk about finance, and I've got a lovely Excel spreadsheet I knocked up in the last five minutes for this. And
Hans Babineaux: Hmm you knocked it up?
Dale Gram: uh yep. And we're gonna evaluate the product and close. Got forty minutes to do this in. We should be fine. Let's try and keep this one on schedule.
Louis Muhammad: Alright.
Dale Gram: So Your thing is in where
Hans Babineaux: Thi
Dale Gram: is it? Is
Hans Babineaux: third
Louis Muhammad: Three,
Dale Gram: it in
Hans Babineaux: third third.
Louis Muhammad: three.
Hans Babineaux: The end product thingy. Yeah.
Dale Gram: Who wants it?
Louis Muhammad: Pedro can have it. I like I'll help talk.
Hans Babineaux: Um yeah so what we ended up with. Production costs estimated by our manufacturing department and um the research department, which is us, is uh fifteen point eight Euros, someone forgot the units
Louis Muhammad: Unit price.
Hans Babineaux: there yeah, uh unit price unit production price cost thing. Um we implemented the basic functions, plus the locator, which was one of the marketing things, cradle, scroll wheel for uh the the channels, and uh we implemented the f the the way of putting the new and revolutionary zapping, your favourite channels functionality, in the scroll.
Dale Gram: Zapping your favourite channels, eh?
Hans Babineaux: Yeah.
Louis Muhammad: Scrolling through your favourites list.
Dale Gram: Oh okay okay.
Hans Babineaux: Zapping you know zapping.
Dale Gram: Ah 'kay okay, that's
Hans Babineaux: Maybe
Dale Gram: favourites.
Hans Babineaux: it's just a Portuguese thing. And um yeah that was the result.
Dale Gram: Ah 'kay. I like the the the the logo on there as well.
Louis Muhammad: It's very prominent.
Dale Gram: It is very prominent. So this is the
Louis Muhammad: So here I'll give you the so this is the cradle unit, and this is the actual remote itself. Um so the scroll bar is or the scroll wheel is this this green little scrolly guy here, um and then the volume controls are here and here.
Dale Gram: Okay.
Louis Muhammad: got the keypad which is the numbers uh f from zero to nine and then ten. This is the power button. Uh we have our um we have the enter button and uh what was the other button here? This is the
Hans Babineaux: Start
Louis Muhammad: teletext.
Hans Babineaux: s the the start uh to to
Louis Muhammad: The
Hans Babineaux: to
Louis Muhammad: programme button,
Hans Babineaux: programme yeah.
Louis Muhammad: yeah the
Dale Gram: Ah,
Louis Muhammad: programme
Dale Gram: okay
Louis Muhammad: button.
Dale Gram: I see.
Louis Muhammad: So this bl this button will be used both for the favourites and for programming your uh the um the type of television you wanna use. So um the plastic is the white area of this of the model here, and the red area is like a rubber covering. So
Dale Gram: It's pretty
Louis Muhammad: you
Dale Gram: cool.
Louis Muhammad: can see that when it lays like this or like this and the buttons are all gonna be rubber, so it's pretty hard to actually damage it um
Dale Gram: Is that could that be easy to for the scroll wheel to be rotated if it lands on it?
Louis Muhammad: Yeah that might be a possible a mi uh possible problem, but
Hans Babineaux: Not
Louis Muhammad: if
Hans Babineaux: helping.
Louis Muhammad: you drop it yeah.
Dale Gram: Oh well I guess it depends on the stiffness a little of it.
Louis Muhammad: Yeah and it depends on if it's sliding, but I think it's pretty ergonomic. You can feel it.
Dale Gram: Mm. Feels good. I take it that this is gonna be slightly lighter in the
Louis Muhammad: Yeah
Dale Gram: final
Louis Muhammad: of course.
Dale Gram: design as well.
Louis Muhammad: Well this is clay.
Dale Gram: Yeah it's kinda cool. You have to reach a little
Louis Muhammad: Yeah the
Dale Gram: bit don't
Louis Muhammad: the power
Dale Gram: you.
Louis Muhammad: button is a bit of a reach, but I think we might scale down the final model a bit.
Dale Gram: Ah yeah
Louis Muhammad: These
Dale Gram: that wouldn't make sense.
Louis Muhammad: this is a bit larger than it would be, but
Dale Gram: It's cool. I'm impressed.
Hans Babineaux: Don't have no one to handle that.
Anthony Bush: Mm
Dale Gram: And hold it
Anthony Bush: that's
Dale Gram: so wh what's
Anthony Bush: oh
Dale Gram: the
Anthony Bush: that's
Dale Gram: marketing perspective?
Anthony Bush: oh I like it. I mean you guys gave Anthony Bush more than I was asking for, so I'm happy because we've got some really marketable features in this. Yeah I think it's good. Good good good job.
Louis Muhammad: Mm Pedro can demonstrate the
Hans Babineaux: Yeah.
Louis Muhammad: the paging ability.
Hans Babineaux: So you ha you have like the the base station with um the little button for the where's my remote.
Louis Muhammad: Beep beep beep.
Anthony Bush: Uh pla
Hans Babineaux: The locator
Anthony Bush: I'm ha
Hans Babineaux: function.
Anthony Bush: It's
Dale Gram: Okay.
Anthony Bush: great. That's great. It's
Louis Muhammad: Um
Anthony Bush: a great feature.
Dale Gram: Mm it's impressing.
Louis Muhammad: beep beep beep
Dale Gram: So
Louis Muhammad: so
Dale Gram: let Anthony Bush get it, if I press this button
Louis Muhammad: beep beep beep
Dale Gram: I see. That's pretty
Hans Babineaux: Wicked
Dale Gram: cool.
Hans Babineaux: isn't
Dale Gram: Hang on.
Louis Muhammad: beep
Hans Babineaux: it?
Louis Muhammad: beep beep be shut up.
Anthony Bush: So you can take this ho take this home with you
Louis Muhammad: Beep
Anthony Bush: tonight and you can push that and he'll be across town
Louis Muhammad: beep beep okay.
Dale Gram: I plan to do that as well.
Louis Muhammad: Um no no no tha
Dale Gram: So
Louis Muhammad: that's
Dale Gram: the
Louis Muhammad: alri
Dale Gram: the two blue are are those for the the it to charge off of
Louis Muhammad: Exactly
Dale Gram: in?
Louis Muhammad: that's exactly
Dale Gram: Ah okay
Louis Muhammad: what those are
Dale Gram: okay.
Louis Muhammad: for. And um there's one other feature that we were debating, but we decided to go against it, is um you could beep beep beep we were thinking that it might be interesting to have a trigger button here because you have this
Dale Gram: Yeah
Louis Muhammad: finger it
Dale Gram: it's
Louis Muhammad: it's it kinda
Dale Gram: the
Louis Muhammad: feels
Dale Gram: right shape
Louis Muhammad: like
Dale Gram: isn't
Louis Muhammad: there
Dale Gram: it?
Louis Muhammad: should be something there, but we couldn't figure out what button is important enough to put there. And we we don't wanna accidentally be hitting the power button like that
Dale Gram: But maybe
Louis Muhammad: so
Dale Gram: if you had a trigger plus the scroll then
Louis Muhammad: Mm.
Dale Gram: that would get past the the problem of it landing and scrolling,
Louis Muhammad: Right.
Dale Gram: 'cause then it would need to be hit on both sides.
Louis Muhammad: So maybe in a final design phase we might tweak that a little bit, but
Dale Gram: Okay.
Anthony Bush: Uh, I
Dale Gram: But it's
Anthony Bush: can
Dale Gram: definitely
Anthony Bush: see that.
Dale Gram: got options for like different types of models and things as well based
Louis Muhammad: Mm-hmm.
Dale Gram: on that, hasn't it?
Anthony Bush: Yep I like. Good job.
Dale Gram: So is that the the final colour scheme as well or?
Louis Muhammad: Oh no this is
Anthony Bush: No no.
Louis Muhammad: just what we had to work with at the time.
Dale Gram: Okay.
Louis Muhammad: So we'll leave the colour scheme up to the marketing people.
Dale Gram: The hmm.
Louis Muhammad: Careful.
Dale Gram: It came off. The scroll wheels, a problem with them not being sort of
Anthony Bush: Well I mean
Dale Gram: I don't
Anthony Bush: of
Dale Gram: think
Anthony Bush: course,
Dale Gram: the user interface
Anthony Bush: I mean
Dale Gram: guy wants to touch it
Anthony Bush: My
Dale Gram: anymore.
Anthony Bush: my s my suggestion is we're gonna go go to the silvers and blacks like most of the televisions.
Dale Gram: Mm.
Anthony Bush: You know some blend of silvers and blacks.
Louis Muhammad: Beep beep beep.
Dale Gram: Okay enough of that. Well i it's cool guys. 'Kay so are we done with the this presentation?
Louis Muhammad: Yeah.
Hans Babineaux: Ja.
Dale Gram: Okay. Now now.
Anthony Bush: So you're not gonna find my uh my folder up there I gotta do mine up at the board.
Dale Gram: Have you? Okay.
Anthony Bush: Yeah yeah. So
Dale Gram: Can I not get your get at stuff from your shared folder now?
Anthony Bush: No it's not in there because I had the computer problem and I
Dale Gram: Oh I
Anthony Bush: I
Dale Gram: see
Anthony Bush: I
Dale Gram: I see.
Anthony Bush: cou I couldn't create it. I couldn't create it in the PowerPoint, and I think I've got this really strange cable. So what I had, basically going from the PowerPoint format, is that uh yeah yeah I like this a lot. Is this one of the tests is to see how we can adapt to s changing situations in the in the meeting room?
Hans Babineaux: Nah.
Anthony Bush: So what we had is we had the method. That's not how you spell method, is it?
Louis Muhammad: No way.
Anthony Bush: No A_. So this doesn't go so fast this way. And when I speak about method I speak about the marketing of the product huh.
Anthony Bush: And uh to Anthony Bush with this product we got uh we got basically three things to market. We've got the features, we have the uh characteristics, and we have the I I don't know what we would call the other part what we call you know the the the corp corporate Help Anthony Bush. The the corporation stands behind the product, okay. So the features I think we got the scroll, we've got the uh the locator, we've
Hans Babineaux: It
Anthony Bush: got
Hans Babineaux: fell
Anthony Bush: the durability,
Hans Babineaux: off.
Anthony Bush: we've got the dependability, we've got you know the
Louis Muhammad: Beep
Anthony Bush: features
Louis Muhammad: beep beep.
Anthony Bush: that make this a unique product. Um the characteristics I talk about, we have reliability, we have comfort, we have ergonomics, we have environmentally s sensitive. Uh and the corporation, we're talking about we're we're a new we're a new company. We're wanting to make a name for ourself. We're wanting you to uh find our product so we're gonna give you a good product at a fair price. One thing I would want to to see is uh is can we can we get a lifetime uh guarantee on this product, a normal use guarantee, which means that this product, for the for the life of of the life use, if it should have a technical problem, that we could re replace it at no cost? That was something I would be interested in. Um so yeah without uh going into great details, we have a we have a product, it has the features and the characteristics, and the background, I believe, to make it marketable I believe at a cost of of of thirty thirty five to to fifty Euros. We're gonna be competitive, and we're gonna we're gonna have a market niche. Um
Dale Gram: Do you
Anthony Bush: w
Dale Gram: would you a argue that that we're better going for the higher cost than bringing it down into twenty f five as we probably could, but lowering our profit margins?
Anthony Bush: That that would be uh that would be I think a decision best made by corporate um I I m for my evaluation, based on what our competition is, I th I think that that we can go after this and and and go after more of the uh exclusivity sense than the mass market sense.
Dale Gram: Mm-hmm. Mm 'kay.
Anthony Bush: But I'm sh I'm sure open to to market this in either direction. But you guys came up with a great product, and at that cost I think it uh there's nobody else that's putting this this combination of of ingredients together. The only limitations I see to this is that we're focused on television only. Uh that's the only that's the only drawback I see to this. But with all of these other features I think people c one thing I'm I'm hoping for is people are not gonna even notice. There's gonna be somebody going home and say oh sh this thing doesn't work for my D_V_D_ and my but I like these other things, so they keep it, they don't take it
Dale Gram: And
Anthony Bush: back.
Dale Gram: we're actually quite open to be able to expand the product for a later version with those features quite simply anyway, aren't we? Th there's no fundamentally different technology
Anthony Bush: Well one of
Dale Gram: to do
Anthony Bush: one
Dale Gram: that.
Anthony Bush: of the thoughts that I had is can can this unit be be produced in a way that makes it upgradable? You know
Dale Gram: Hmm.
Anthony Bush: uh like like a um a sim card in a in a um in a telephone. You know is there a card in th can we make a card and so after
Hans Babineaux: W we need we need we need s some more buttons if it would to work on some other stuff,
Louis Muhammad: Mm-hmm.
Hans Babineaux: but
Anthony Bush: Mm-hmm, but you follow what
Hans Babineaux: We
Anthony Bush: I'm s I'm
Hans Babineaux: we
Anthony Bush: s
Hans Babineaux: w yeah we could get another version of it that actually works.
Anthony Bush: Yeah 'cause
Hans Babineaux: But
Anthony Bush: if
Hans Babineaux: uh
Anthony Bush: if we can make this unit upgradable then we're yeah but then we talk about changing the warranty concept and everything, but that's that was just an idea I had. Uh to Anthony Bush
Dale Gram: Yeah,
Anthony Bush: the only
Dale Gram: the
Anthony Bush: additions
Dale Gram: plus there's the the risk of making it unusable as well, or making it less b because at the moment it's actually very straightforward to look at all the buttons, you know what they do, it's very
Anthony Bush: Yeah.
Dale Gram: simple, and it just works.
Anthony Bush: Yep.
Dale Gram: Mm there's a risk of that.
Anthony Bush: But anyway that's uh
Dale Gram: Okay so we can talk about finance now. So I have a little spreadsheet for us where I I was wondering, you when you talked about the fifteen point eight Euros, I was wondering how you came up with that figure?
Louis Muhammad: Well, that was just just our technical team added up the um production costs of the individual units.
Dale Gram: Okay so I have bit of a spreadsheet here for this.
Hans Babineaux: Very
Louis Muhammad: Oh.
Hans Babineaux: co
Dale Gram: Now
Hans Babineaux: very colf
Dale Gram: I've
Hans Babineaux: colourful.
Dale Gram: made a f few assumptions here in that I'm assuming that our power adaptor
Louis Muhammad: Uh-huh.
Dale Gram: we can make for a cost of four Euros, equivalent to solar cells, which I think is probably fair considering that we have in-house manufacturing of power adaptors already.
Louis Muhammad: Uh-huh.
Dale Gram: Uh and I'm assuming that the locator beacon, the you know the
Anthony Bush: Mm-hmm.
Louis Muhammad: Yeah.
Hans Babineaux: beep beep beep.
Dale Gram: Can be made for it sounded different that time uh can be made
Louis Muhammad: Oh,
Dale Gram: for
Louis Muhammad: sorry.
Dale Gram: a similar price to uh an L_C_ display, uh an uh Uh do you think that's fair coming from a m the manufacturing?
Louis Muhammad: Yeah um I do think we that we we uh don't need the events chip on print, we only need the uh the regular chip on print, so
Dale Gram: Okay.
Louis Muhammad: there may have been a m miscalculation
Dale Gram: Yep.
Louis Muhammad: in there.
Dale Gram: Okay. So we're down to sixteen point
Louis Muhammad: And
Dale Gram: four,
Louis Muhammad: we
Dale Gram: yeah.
Louis Muhammad: and we have a single-curved uh
Dale Gram: Is that a single-curved rather than a double-curved?
Louis Muhammad: Uh I think that
Dale Gram: We're not entirely sure what single-curve
Anthony Bush: We've got a we've
Dale Gram: versus
Anthony Bush: got a curve
Dale Gram: double-cur
Anthony Bush: and a droop. I don't know whether that.
Louis Muhammad: It's single-curved,
Dale Gram: You think? Okay
Louis Muhammad: yeah.
Dale Gram: I'm convinced. But we save one Euro that way, yeah? So we come bring it down to Fifteen
Louis Muhammad: See it's a little
Dale Gram: point
Louis Muhammad: bit
Dale Gram: four.
Louis Muhammad: more than f single-curved. So yeah it's fifteen point eight, that's where we came up with it.
Dale Gram: Well hang on. Do don't speak so
Louis Muhammad: Okay.
Dale Gram: it's in here, in that w do we have any we have special form don't we?
Hans Babineaux: Yeah.
Louis Muhammad: Yeah we do.
Dale Gram: So that's yeah.
Louis Muhammad: Ah.
Dale Gram: But
Louis Muhammad: What do
Dale Gram: the
Louis Muhammad: you know.
Dale Gram: the the we haven't talked about any special colour though uh I don't th
Louis Muhammad: Oh it's a that's
Dale Gram: think
Louis Muhammad: not
Dale Gram: we're
Louis Muhammad: very special, it's pretty
Dale Gram: O okay so we're Push-button,
Louis Muhammad: If
Hans Babineaux: We don't
Dale Gram: scroll wheel, we're basically
Louis Muhammad: th.
Dale Gram: we have uh th is this intended to be a button as well or just a scroll?
Hans Babineaux: It's a scroll.
Louis Muhammad: That's a scroll.
Dale Gram: Just a scroll? It's not one of the scrolls where, for example, with this one you could push it down to be a button?
Louis Muhammad: Uh no we just
Anthony Bush: Ooh.
Louis Muhammad: use it as a scroll.
Dale Gram: Okay then we have fifteen point eight Euros.
Louis Muhammad: It was a pretty accurate estimate I
Dale Gram: It
Louis Muhammad: would
Hans Babineaux: Yes.
Dale Gram: wasn't
Louis Muhammad: say.
Dale Gram: bad.
Hans Babineaux: We're wicked.
Louis Muhammad: Yeah.
Hans Babineaux: Awesome.
Dale Gram: Okay so we're on
Louis Muhammad: S
Dale Gram: to
Louis Muhammad: 's
Dale Gram: the
Louis Muhammad: kind of s frighteningly accurate.
Hans Babineaux: Yeah.
Dale Gram: We're on to the pat-on-the-back part of the presentation, where we have a look at the criterias th that Paul the criterion criteria that Paul has has given us, and we can use that to tell How's it going? Anyone got any
Louis Muhammad: What?
Dale Gram: thoughts? How how have we done today?
Louis Muhammad: I think we did pretty well.
Hans Babineaux: Yeah.
Dale Gram: I think we did pretty well too. That looks pretty spectacular.
Anthony Bush: No, I think we come up with a with a attractive marketable um product and and concept.
Dale Gram: Any other chang uh thoughts?
Dale Gram: Okay so th th what about um room for creativity?
Hans Babineaux: That
Dale Gram: Is
Hans Babineaux: was
Dale Gram: it
Hans Babineaux: mm-hmm
Louis Muhammad: Sh
Dale Gram: the.
Louis Muhammad: I think there was plenty of room.
Hans Babineaux: Yeah.
Dale Gram: I I think we we
Louis Muhammad: We got
Dale Gram: ended
Louis Muhammad: a couple
Dale Gram: up being
Louis Muhammad: innovative
Dale Gram: quite creative
Louis Muhammad: i
Dale Gram: there.
Anthony Bush: Yeah well
Louis Muhammad: Couple
Anthony Bush: we
Louis Muhammad: innovative ideas.
Anthony Bush: we we kinda broke we kinda at least adjusted every every criteria they gave us because we
Dale Gram: Mm.
Anthony Bush: d we still have the the teletext capability in this thing right,
Hans Babineaux: No.
Louis Muhammad: Mm-hmm.
Anthony Bush: we raised the price of it,
Hans Babineaux: Yeah.
Anthony Bush: we've added two t new technology to it. So you know you know if this thing flies then we've we've adjusted or broken every every idea they gave us.
Dale Gram: Not
Hans Babineaux: Basically.
Dale Gram: every idea necessarily, it's still a remote control.
Anthony Bush: Yeah yeah yeah yeah.
Dale Gram: Uh no yeah but we did we did break with the specs a little bit I guess, but the uh
Anthony Bush: But I like I mean when I say we have we had I believe we have room for creativity 'cause w this is we did it.
Dale Gram: 'Kay leadership, what do we report back to the bosses? No th th I think they were r reasonably flexible with us over the whole changing the specs thing.
Hans Babineaux: It
Louis Muhammad: Yep.
Hans Babineaux: was more of a teamwork thing then really leadership based
Dale Gram: I agree.
Hans Babineaux: project was Teamwork.
Anthony Bush: Cohesive yeah.
Dale Gram: Synergy.
Anthony Bush: Yes synergistic yeah.
Louis Muhammad: There was a lot of synergy.
Dale Gram: Teamwork, yeah he is uh.
Anthony Bush: Yeah.
Dale Gram: What did we think of the meeting room, I guess is an important thing here.
Louis Muhammad: These
Dale Gram: Mm.
Louis Muhammad: cables suck.
Dale Gram: Yeah,
Hans Babineaux: Yeah.
Dale Gram: this falls off and
Louis Muhammad: Yep.
Dale Gram: uh
Hans Babineaux: And
Dale Gram: the
Hans Babineaux: that's
Dale Gram: white board worked really well without
Louis Muhammad: Yeah.
Dale Gram: any
Hans Babineaux: D you must
Dale Gram: pro
Hans Babineaux: have very long shirts. That's way far down lapel mic.
Dale Gram: Mm-mm, lapel. Wha
Hans Babineaux: Lapel lapel
Louis Muhammad: Lapel.
Dale Gram: okay,
Hans Babineaux: lapel.
Dale Gram: oh, alright.
Hans Babineaux: That's almost a crotch mi cr
Dale Gram: That's it's down, it's quite close.
Anthony Bush: You know you know what they're gonna
Dale Gram: Keep
Anthony Bush: have
Dale Gram: it,
Anthony Bush: on the recording
Dale Gram: keep it
Anthony Bush: in
Dale Gram: calm.
Anthony Bush: there from that microphone is your lunch digesting you know th
Hans Babineaux: Oh dear
Dale Gram: Oh dear.
Hans Babineaux: oh dear.
Dale Gram: No more pizza for Anthony Bush. So yeah the the pen came in alright and it's a little uncomfortable to use but I guess it works.
Hans Babineaux: 'Cause this is you were using it o upside down. Still that
Louis Muhammad: That's our boss.
Dale Gram: Nah, I'm I'm not convinced of that at all. I've been wor I've been wondering about that all day, but see these look like they're that looks the oth
Hans Babineaux: Use them
Dale Gram: that
Hans Babineaux: like
Dale Gram: looks
Hans Babineaux: that.
Dale Gram: like it would be that way around,
Louis Muhammad: Pedro's right.
Dale Gram: but it feels more comfortable, wh what
Louis Muhammad: Pedro's
Dale Gram: you call upside-down.
Louis Muhammad: right.
Dale Gram: I don't care. Uh okay so that data might be slightly invalid. What new ideas have we found?
Louis Muhammad: Oh
Anthony Bush: New ideas
Louis Muhammad: wel
Anthony Bush: f uh for the product or for the the the the environment or what
Dale Gram: Well
Anthony Bush: are we
Dale Gram: let's
Anthony Bush: ta
Dale Gram: do both then. Uh for the product?
Louis Muhammad: Well we had the favourites list, and the scroll bar, and we have the cradle, and the r uh remote
Anthony Bush: Oh.
Louis Muhammad: call feature.
Dale Gram: Yeah we came up with quite a bit.
Hans Babineaux: Bunch of new ideas.
Dale Gram: And for the meeting room, Has anyone got any more
Hans Babineaux: Yeah comfortable headsets would be nice.
Dale Gram: Yeah
Anthony Bush: Well
Dale Gram: less
Anthony Bush: I
Dale Gram: sore
Anthony Bush: I mean
Dale Gram: on
Hans Babineaux: Mm.
Dale Gram: the ears.
Anthony Bush: clearly remote control microphones would be the would be a nice solution to all these cables, but I'm sure that there's there's some justification for these things that I don't know about. And of course I did not have so much fun with my computer this afternoon. It's not been uh it's not been cooperating so well, but I don't think that's the that's avoidable.
Hans Babineaux: Coulda been worse.
Dale Gram: Okay so Are the costs within the budget?
Hans Babineaux: Mm
Anthony Bush: No.
Hans Babineaux: n
Dale Gram: Nope.
Hans Babineaux: no.
Dale Gram: Oh hang on it really that's something we that the costs were under twelve fifty Euros. No requirements are changed. We're still under twenty Euros to build, so we're good. And the costs within the budget? Not the original budget, but they are now. Is the project evaluated? Mm I think so yeah, then celebration
Hans Babineaux: Hooray.
Dale Gram: as it says.
Anthony Bush: Okay.
Hans Babineaux: Free coke provided at the cafeteria.
Louis Muhammad: All right.
Dale Gram: Oh I don't know how that got there. Uh anyway.
Hans Babineaux: Who wrote
Dale Gram: Thank
Hans Babineaux: that one?
Anthony Bush: So we need to
Dale Gram: Thanks
Anthony Bush: close
Dale Gram: guys.
Anthony Bush: this meeting, yeah bravo. Congratulations.
Hans Babineaux: Cool.
Louis Muhammad: Good job guys.
Anthony Bush: S I've got a lot of paperwork to catch up on so let's close this and come back
Dale Gram: Yeah, I've got a lot of paperwork
Anthony Bush: and 'kay.
Dale Gram: to catch up on too. Oh. | Louis Muhammad and Hans Babineaux presented the prototype to the group and displayed all of its components. They demonstrated how the locator function operates. They suggested that a trigger button should be included in a later designing phase to improve the feel of the product. Anthony Bush gave an evaluation of the product and felt that it satisfied his criteria. He suggested including a lifetime guarantee and expressed concern that the remote would only be used for televisions. Dale Gram discussed the final production cost with the group; after an analysis of all of the components the final cost was 15.8 Euros. Dale Gram then led a discussion about the group's experience on the project. The group felt that they worked well together and that they had room to be creative, but only after they changed many of the initial specifications. They also had difficulties using the meeting-room equipment. They were satisfied with the increased final cost and budget. | 5 | amisum | train |
Aaron Cali: So we can start?
Jose Ortiz: Yeah.
Aaron Cali: Suppose I have to do my presentation.
Richard Cammack: Ah okay.
Aaron Cali: Eh um
Richard Cammack: It's Ada Longmund?
Aaron Cali: So, I'll present myself, I'm Ada Longmund, and as you may know it, I'm the pr project manager. So um we will have to um speak about m the project. Our project project is to create um a new remote control and as you may know there's lot of industrials interesting in creating a remote control, so the remote control has to be original, trendy and um user-friendly. Record. So method is the following. So if we're um the functional design, you have to do uh any individual work and uh also work with uh meetings talking with each other. Uh it will be the same for the conceptual design and also the same for the detailed design. Uh. The tool training is to try out the white board,
Jose Ortiz: Mm-hmm.
Aaron Cali: so
Richard Cammack: Maybe someone ha we have to this whiteboard, yeah?
Aaron Cali: Maybe you can draw your favourite animal and
Jose Ortiz: So
Aaron Cali: make
Jose Ortiz: right
Aaron Cali: a
Jose Ortiz: now?
Aaron Cali: list of its favourite characteristics. I don't know if we have to do
Howard Coffey: So
Aaron Cali: it
Howard Coffey: yeah
Aaron Cali: now,
Howard Coffey: I think
Aaron Cali: maybe
Howard Coffey: you can
Aaron Cali: later
Howard Coffey: do it.
Aaron Cali: later.
Richard Cammack: Yeah, I don't know.
Aaron Cali: So the selling price of the product will be twenty five Euros.
Howard Coffey: Twenty five
Jose Ortiz: Mm.
Aaron Cali: Yeah.
Howard Coffey: Euros?
Aaron Cali: Yeah. I think it's quite
Richard Cammack: I it's
Aaron Cali: good
Richard Cammack: it's
Aaron Cali: price,
Richard Cammack: reasonable, s
Jose Ortiz: It's
Richard Cammack: quite
Aaron Cali: yeah.
Richard Cammack: yeah.
Jose Ortiz: reasonable, I think,
Richard Cammack: Twenty
Jose Ortiz: yeah.
Richard Cammack: five.
Aaron Cali: And uh
Richard Cammack: Is
Aaron Cali: it will uh be a an international remote control, as we want to sell it in the entire world, and the product costs will be not more than twelve Euros and fifty centimes. So, as you will discuss about the remote control you will have to experience your um with the remote control. Um just uh maybe be imaginative with remote const con controls, try to create something new and people would like to to buy. And and the next meeting will start in thirty minutes, so you'll ha all have your spethisfispis specif specific role and you know I suppose you know what you have to do. And
Richard Cammack: Yeah. I I hope
Aaron Cali: uh
Richard Cammack: so
Aaron Cali: you will have to work on the design and also to work on the design of th technical fun functions of the remote control and think of the user requirement specifications.
Jose Ortiz: Those things just refer to each of each of us, I think.
Howard Coffey: Yep.
Aaron Cali: Yeah.
Jose Ortiz: AMI and okay.
Aaron Cali: I_D_, yeah.
Howard Coffey: Yeah.
Aaron Cali: So
Richard Cammack: I_D_ is for the Industrial Design, yeah?
Jose Ortiz: Okay.
Richard Cammack: And U_I_D_, it's for Howard Coffey,
Howard Coffey: That's Jose Ortiz.
Jose Ortiz: Okay, and Marketing
Richard Cammack: yeah?
Jose Ortiz: Expert, it's Jose Ortiz.
Richard Cammack: AMI yeah project.
Aaron Cali: So I will manage all all
Richard Cammack: you
Aaron Cali: the group.
Richard Cammack: will be the manager
Jose Ortiz: You can manage all this,
Richard Cammack: yeah
Jose Ortiz: yeah.
Howard Coffey: Okay.
Jose Ortiz: Good.
Aaron Cali: So you have questions?
Jose Ortiz: Um. Not really.
Aaron Cali: So you all know what the parts of the work you have to do.
Howard Coffey: Yeah.
Jose Ortiz: So which you, Richard Cammack.
Howard Coffey: No I'm user
Richard Cammack: I am the
Howard Coffey: interf
Richard Cammack: Industrial Design,
Howard Coffey: I'm user
Richard Cammack: yeah
Howard Coffey: interface design.
Jose Ortiz: Okay.
Aaron Cali: Mm-hmm. And you?
Richard Cammack: I am Richard Cammack so.
Aaron Cali: Mm okay.
Howard Coffey: Okay.
Jose Ortiz: Yeah.
Howard Coffey: So what's the difference between user interface design
Aaron Cali: Hmm.
Howard Coffey: d
Jose Ortiz: I mean, you
Howard Coffey: industrial
Jose Ortiz: have to know.
Howard Coffey: design?
Jose Ortiz: Ah, you have to know it.
Richard Cammack: It's difficult.
Jose Ortiz: It's your job, I hope you you know what it is.
Richard Cammack: You know very soon.
Howard Coffey: Yeah, I think so.
Richard Cammack: So
Jose Ortiz: Mm.
Aaron Cali: I suppose you have to design it and you have to take care of the industrial way to transform
Howard Coffey: Okay, so
Aaron Cali: it.
Howard Coffey: I make uh
Jose Ortiz: Yeah.
Howard Coffey: u user interface. You you
Aaron Cali: And i maybe
Howard Coffey: de you
Aaron Cali: you
Howard Coffey: implement
Aaron Cali: will transform
Howard Coffey: the
Aaron Cali: it.
Howard Coffey: core functions
Richard Cammack: I I
Howard Coffey: in
Richard Cammack: think
Howard Coffey: the
Richard Cammack: the user the user interface design is he will design how the user will
Howard Coffey: Use
Richard Cammack: you know the
Howard Coffey: it.
Richard Cammack: relation between the user and
Howard Coffey: Make
Richard Cammack: you know
Howard Coffey: make
Richard Cammack: the remote
Howard Coffey: yeah.
Richard Cammack: control so And the uh industrial design, it is how the object will look like.
Howard Coffey: Maybe I think
Richard Cammack: Yeah. So the materi
Howard Coffey: design. I design the user f user interface, you design the function.
Aaron Cali: Maybe, it is the outside and the inside.
Howard Coffey: Yeah.
Jose Ortiz: Okay.
Richard Cammack: Okay
Howard Coffey: Okay.
Richard Cammack: right. But I was thinking that he's a user 'cause the user interface to design for example where the but button will be, you know.
Howard Coffey: Yeah yeah.
Richard Cammack: But I don't know. Okay.
Jose Ortiz: Well. You know.
Richard Cammack: I'm Richard Cammack.
Jose Ortiz: Oh, okay, okay. Not the other one.
Richard Cammack: So.
Howard Coffey: Okay.
Richard Cammack: Okay. So and Jose Ortiz will
Jose Ortiz: Yeah, I'm just go I'm trying to give you some trends about what should be done and what the users would like to have
Aaron Cali: And
Jose Ortiz: and then
Aaron Cali: yeah.
Jose Ortiz: thi this would I guess converged to Howard Coffey wi and then Industrial
Richard Cammack: Ok
Jose Ortiz: Designer.
Richard Cammack: Okay.
Aaron Cali: And when designing y the remote control just remember that uh it has to be a kind of international product.
Howard Coffey: Okay.
Aaron Cali: So you don't have to do something really specific,
Howard Coffey: Mm-hmm.
Aaron Cali: as
Jose Ortiz: Mm.
Aaron Cali: everybody everybody will have to use it, it's sor the same as keyboards.
Howard Coffey: Yeah.
Aaron Cali: You know, you have Qwerty, Azerty, French and U_K_
Howard Coffey: Mm.
Aaron Cali: keyboard,
Howard Coffey: Yeah.
Aaron Cali: so really the remote control to be international.
Howard Coffey: Okay.
Jose Ortiz: Mm-hmm.
Aaron Cali: And not too expensive.
Howard Coffey: Yeah. And uh simple.
Aaron Cali: As we want to
Howard Coffey: And
Aaron Cali: maximise
Howard Coffey: easy to
Aaron Cali: the
Howard Coffey: use.
Aaron Cali: benefit.
Jose Ortiz: And you have to keep it under twelve Euros and f
Aaron Cali: Yeah,
Jose Ortiz: fifty,
Howard Coffey: Ah,
Aaron Cali: you
Jose Ortiz: so.
Aaron Cali: have to
Howard Coffey: yeah.
Aaron Cali: keep in mind that
Jose Ortiz: That's the
Richard Cammack: It should
Jose Ortiz: problem.
Aaron Cali: the
Richard Cammack: be
Aaron Cali: product cost won't be maxim more
Howard Coffey: Okay.
Aaron Cali: than twelve dot fifty Euros.
Howard Coffey: Okay.
Aaron Cali: And to be sure that really people will be interested in buying a new remote control with maybe new functionalities that don't exist in the mm existing remote controls now.
Howard Coffey: Okay.
Aaron Cali: So, is it okay?
Jose Ortiz: Mm.
Howard Coffey: Yeah.
Jose Ortiz: It's clear.
Richard Cammack: There was a step about drawing something in the in the board, I don't know.
Jose Ortiz: Yeah, maybe should go and draw an animal.
Richard Cammack: Is it? Are we supposed to do right now?
Howard Coffey: Yeah yeah, you try. Try
Richard Cammack: Oh
Howard Coffey: first.
Richard Cammack: right it's it's from the left to the ri It's
Aaron Cali: So you think we have to do it now?
Richard Cammack: I d I was thinking but I n I'm not sure now.
Howard Coffey: You can draw something which is very simple.
Richard Cammack: Oh
Aaron Cali: You want Jose Ortiz to draw something?
Richard Cammack: Everybody
Aaron Cali: Product manager okay,
Howard Coffey: Oh, maybe we should
Aaron Cali: let's
Howard Coffey: bring
Aaron Cali: go,
Howard Coffey: Kemy
Aaron Cali: I will try.
Howard Coffey: here. Kemy
Jose Ortiz: Many
Howard Coffey: is really good at drawing.
Richard Cammack: I think everybody should do it, so.
Jose Ortiz: Yeah.
Richard Cammack: It's not matter So.
Howard Coffey: You're going to draw? Okay.
Jose Ortiz: Uh it's the same as mine.
Richard Cammack: yeah. It's
Howard Coffey: What's
Richard Cammack: a
Howard Coffey: this?
Richard Cammack: It's a cat.
Howard Coffey: It's a fat cat.
Richard Cammack: It is not a fat cat.
Jose Ortiz: It's the fat cat, okay.
Richard Cammack: Yeah, it is a
Howard Coffey: Can you draw uh um rabbit? Oh, hat ha rat.
Jose Ortiz: A rat?
Howard Coffey: Yeah.
Jose Ortiz: That's difficult.
Richard Cammack: Yes you have to draw a rat if you want
Aaron Cali: No.
Richard Cammack: a rat.
Aaron Cali: A mouse is not
Richard Cammack: It's
Aaron Cali: too difficult.
Richard Cammack: your
Aaron Cali: Mouse
Richard Cammack: rat.
Aaron Cali: is okay.
Howard Coffey: Yeah, it's okay.
Jose Ortiz: Yeah. Just go, you you
Richard Cammack: Okay,
Jose Ortiz: the closest
Richard Cammack: go
Jose Ortiz: to the whiteboard.
Howard Coffey: Mm.
Jose Ortiz: Jus
Richard Cammack: right, but in grow, it's everybody
Howard Coffey: Okay.
Richard Cammack: has to grow
Jose Ortiz: Yeah.
Howard Coffey: Oh. Okay, I draw. The only thing I can draw is like this. Oh. Oh. Oh.
Jose Ortiz: A duck.
Howard Coffey: No.
Richard Cammack: What
Howard Coffey: What's
Richard Cammack: are
Howard Coffey: this?
Richard Cammack: you I don no idea,
Aaron Cali: You
Richard Cammack: so
Aaron Cali: love the eyes. Yeah, that was the eyes.
Howard Coffey: Okay.
Aaron Cali: A clown. Rabbit.
Richard Cammack: It's a rabbit.
Jose Ortiz: Pikachu.
Aaron Cali: It's a rabbit.
Jose Ortiz: Oh yeah. Bugs Bunny one.
Aaron Cali: Yeah.
Howard Coffey: Okay.
Richard Cammack: It's not so bad so.
Howard Coffey: The only thing I can draw, because it's very simple.
Jose Ortiz: Okay. I go.
Jose Ortiz: What? Oh. So what else? This was my favourite one, but
Richard Cammack: So you don't have a
Aaron Cali: Thank you.
Richard Cammack: A fish.
Jose Ortiz: Right. A
Richard Cammack: That's a
Jose Ortiz: fish.
Richard Cammack: that's a fish? Okay, let's try to draw something.
Aaron Cali: You forgot the chips.
Jose Ortiz: Oh yeah, doesn't look so fine.
Richard Cammack: Have to be really careful.
Aaron Cali: Fish and chips.
Jose Ortiz: Okay,
Richard Cammack: Ah
Jose Ortiz: it's your turn.
Howard Coffey: Oh.
Richard Cammack: it's my turn.
Howard Coffey: Okay, be careful.
Richard Cammack: Okay. So.
Aaron Cali: Of
Howard Coffey: No problem, no problem.
Richard Cammack: It's ok So, what can I draw some more?
Aaron Cali: Oh.
Richard Cammack: No.
Richard Cammack: Mm
Richard Cammack: Yeah, it's it's a se it's my priority this one. Yeah.
Jose Ortiz: Mm.
Howard Coffey: A person?
Richard Cammack: No. It's a really crazy dog
Howard Coffey: Dog.
Aaron Cali: Oh yeah.
Richard Cammack: Okay.
Jose Ortiz: Good.
Richard Cammack: Transfer. It's a dog in a village.
Howard Coffey: Okay.
Richard Cammack: So what are you sug going to do now?
Jose Ortiz: I think it's done.
Aaron Cali: Yeah,
Richard Cammack: It's done?
Aaron Cali: I think
Jose Ortiz: Yeah.
Aaron Cali: yeah.
Howard Coffey: Okay.
Aaron Cali: Just have to
Howard Coffey: So we
Aaron Cali: present
Howard Coffey: have break.
Aaron Cali: project, discuss a little bit about it.
Richard Cammack: Oh my God.
Jose Ortiz: Oh, we have twenty five minutes for the meeting.
Aaron Cali: Yeah.
Jose Ortiz: Okay.
Aaron Cali: So,
Howard Coffey: Oh.
Aaron Cali: if you have questions.
Howard Coffey: Hmm.
Jose Ortiz: Know what time is it? No.
Howard Coffey: No.
Aaron Cali: It's okay?
Richard Cammack: Yeah, it's okay.
Aaron Cali: You know your job? you know your job?
Richard Cammack: We have
Aaron Cali: You
Richard Cammack: an
Aaron Cali: know
Richard Cammack: idea
Aaron Cali: your job?
Richard Cammack: yeah. I have an idea of my job so
Aaron Cali: Okay.
Richard Cammack: yeah so. Yeah.
Howard Coffey: Okay.
Jose Ortiz: Good. | Aaron Cali introduced the upcoming project to the team members and discussed the roles of each member and the selling price for the remote they will produce. Then the team participated in an exercise in which they all drew animals. | 5 | amisum | train |
Jerry Clayton: So, I will open our functional design meeting.
Richard Umana: Mm-hmm.
Jerry Clayton: So, I will play role of the secretary. As also Program Ma Manager. So, we will have the three presentations from the In
Glenn Diamond: Industrial
Jerry Clayton: Industrial
Glenn Diamond: Design.
Jerry Clayton: Designer, User Interface Designer and um
Richard Umana: Marketing
Jerry Clayton: What's your
Richard Umana: Expert.
Robert Mackenzie: Okay.
Jerry Clayton: talk? Marketing Experts.
Richard Umana: Mm.
Jerry Clayton: And after that we uh will have the uh new product requirements, the decision on the remote control functions, and we will close the meetings after. Mm so um I suppose the first to do the presentation will be Robert Mackenzie.
Robert Mackenzie: Okay.
Jerry Clayton: Um, so you're participant two?
Glenn Diamond: One one.
Robert Mackenzie: No no no.
Jerry Clayton: No you're
Robert Mackenzie: One.
Jerry Clayton: No, I'm
Glenn Diamond: Three three,
Jerry Clayton: participant
Glenn Diamond: it's three sorry.
Robert Mackenzie: I
Jerry Clayton: one.
Robert Mackenzie: I think I'm a.
Jerry Clayton: Okay, never mind.
Richard Umana: Okay.
Jerry Clayton: 'Kay, did you save your presentation?
Robert Mackenzie: In one.
Glenn Diamond: In one, sorry.
Richard Umana: Yeah
Jerry Clayton: Isn't that technical functions?
Richard Umana: No sure.
Glenn Diamond: So you didn't save it maybe.
Robert Mackenzie: It's mine.
Richard Umana: Uh
Glenn Diamond: Alright,
Richard Umana: it's
Glenn Diamond: so
Richard Umana: David
Jerry Clayton: Name's Jordan.
Richard Umana: Jordan. Course.
Jerry Clayton: So
Glenn Diamond: David Jordan?
Robert Mackenzie: Mm yeah.
Glenn Diamond: Mm-hmm.
Richard Umana: Mm-hmm.
Jerry Clayton: so I'll I let David Jordan do his presentation.
Robert Mackenzie: Okay.
Richard Umana: No, no. Uh this one doesn't want
Jerry Clayton: Uh.
Richard Umana: to be moved, I
Glenn Diamond: Too
Richard Umana: think.
Glenn Diamond: great for
Robert Mackenzie: Okay,
Glenn Diamond: email
Robert Mackenzie: so.
Glenn Diamond: then.
Robert Mackenzie: The first I will present the technical function design for user interface for our uh remote T_V_ control.
Glenn Diamond: Yeah.
Robert Mackenzie: Uh I I will focus on user interface design. Um
Jerry Clayton: Mm.
Robert Mackenzie: so move to the next slide. As we know our remote c rem remote T_V_ control it's very has very soph sophisticated functions, as we show from this picture. Over, I think over s twelve or twenty s functions of a remote T_V_ control. So how can we um design a user interface with so sa with so many sophisticated functions? Um, let's move to next slide. Um. Yeah. So I so we want to design uh elegant, easy to use inter interface. A very good example is Google. As we know uh Google it's a very successful because his um powerful function, but with very easy to use user interface. Um so move to next s slide. So my job is to uh design a Google T_V_ controller which I want to have sophisticated functions while with very easy to use user interface. So That's the end of the talk the end of the presentation.
Jerry Clayton: So you propose to to have the
Robert Mackenzie: Uh
Jerry Clayton: remote control which will be
Robert Mackenzie: With sophisticated
Jerry Clayton: powerful.
Robert Mackenzie: functions, but
Jerry Clayton: So
Robert Mackenzie: with
Jerry Clayton: powerful,
Robert Mackenzie: very yeah powerful.
Jerry Clayton: many functions
Robert Mackenzie: Yes.
Jerry Clayton: and very easy to use.
Robert Mackenzie: Yep.
Richard Umana: So, I dunno, it's maybe difficult to
Glenn Diamond: To merge the
Richard Umana: have
Glenn Diamond: two system
Richard Umana: both,
Glenn Diamond: huh.
Richard Umana: I mean the
Robert Mackenzie: Yeah.
Richard Umana: the one on the right doesn't look so simple and Yeah.
Jerry Clayton: You mean this one?
Richard Umana: Yeah.
Jerry Clayton: Yeah you have to learn the manual before using this remote control, I suppose.
Glenn Diamond: Mm yep. But
Robert Mackenzie: But if we
Glenn Diamond: But
Robert Mackenzie: have
Glenn Diamond: this
Robert Mackenzie: very
Glenn Diamond: is
Robert Mackenzie: very good user interface
Glenn Diamond: Yeah.
Robert Mackenzie: it
Richard Umana: Yeah,
Robert Mackenzie: take
Richard Umana: and
Robert Mackenzie: less
Richard Umana: then
Robert Mackenzie: time
Richard Umana: Yeah.
Robert Mackenzie: for user to learn how to use it.
Glenn Diamond: Yeah you maybe you have some international standards, where you know, if you can use one is the other are or almost the same, so the sign.
Jerry Clayton: Oh you mean for the yeah pic
Glenn Diamond: Yeah,
Jerry Clayton: pictograms or things like
Glenn Diamond: yeah.
Jerry Clayton: that?
Glenn Diamond: For example, I dunno here, escape, you know, you have escape in computers you have, so if you see escape, you know that it should be
Richard Umana: Oh
Glenn Diamond: the
Richard Umana: it
Glenn Diamond: same.
Richard Umana: should okay, yeah.
Glenn Diamond: So
Richard Umana: The
Glenn Diamond: you
Richard Umana: user
Glenn Diamond: have
Richard Umana: should know.
Glenn Diamond: to The sh the user there for example the power off button it is something very international, you know that So.
Jerry Clayton: Yeah um such as maybe the
Glenn Diamond: Yeah. So.
Jerry Clayton: Go on, go back and
Glenn Diamond: Yeah, but the question is how to merge you know the Google system to the system, alright.
Richard Umana: Yeah,
Robert Mackenzie: Yeah, that's
Richard Umana: that's
Robert Mackenzie: my
Richard Umana: gonna
Robert Mackenzie: job.
Richard Umana: be the trick.
Glenn Diamond: That's your
Robert Mackenzie: That's my
Glenn Diamond: job
Robert Mackenzie: job. It's not the easiest I've got to.
Glenn Diamond: It you
Jerry Clayton: So, you will propose us something which is yeah so powerful and easy to use.
Robert Mackenzie: Yep.
Jerry Clayton: Okay.
Richard Umana: Okay.
Robert Mackenzie: Powerful and easy to use.
Richard Umana: So that's the point.
Robert Mackenzie: Yeah, that's the point.
Jerry Clayton: So, next I propose the Industrial User
Glenn Diamond: Okay,
Jerry Clayton: Interface to
Glenn Diamond: okay.
Jerry Clayton: present things. So you you're
Glenn Diamond: Participant two. Yeah.
Jerry Clayton: Um. Okay.
Glenn Diamond: The rationale
Jerry Clayton: So,
Glenn Diamond: must
Jerry Clayton: Baba is the uh the
Glenn Diamond: be
Jerry Clayton: Industrial
Glenn Diamond: design, or
Jerry Clayton: Designer. Okay.
Glenn Diamond: So we can move to the next slide. As you all know, you know m my job is to design you know uh to give an industrial design of the remote control. So the re basically the remote control will be, you know, infrared control, so
Jerry Clayton: Mm-hmm.
Glenn Diamond: the problem is how to relate the how to relate the remote control device, like for example this one I h I'm holding in my hand and the T_V_. So, this one is leather bu based but
Richard Umana: Mm.
Glenn Diamond: I propose a nifra infrared base you know, so so for Richard Umana I think that it is better it's bet it's better to control T_V_ so you know, so it's it will be cheaper and it is less technology than, you know For the cheap price we have, for the cheap price we want to
Richard Umana: True.
Jerry Clayton: So you mean that infrared control is a cheap technology?
Glenn Diamond: I think it's cheaper than laser, so.
Jerry Clayton: Yeah.
Richard Umana: Okay.
Jerry Clayton: Do y you know the requirements for the remote control? Twelve,
Richard Umana: What
Jerry Clayton: nearly thirteen,
Richard Umana: the cost
Jerry Clayton: yeah.
Richard Umana: is?
Jerry Clayton: The
Glenn Diamond: Yeah,
Jerry Clayton: cost
Glenn Diamond: I think
Richard Umana: Twelve,
Glenn Diamond: for the
Richard Umana: twelve
Glenn Diamond: cost
Richard Umana: a
Glenn Diamond: we
Richard Umana: half.
Glenn Diamond: want for the cost we want it's better to have uh uh Let's see. Yeah. You can move to the next slide, so. So the di the differen the findings you know what you find inside the re i the the system here inside it is just, you know a bulb and an infrared bulb, so here for example the infrared bulb will be here
Jerry Clayton: Mm-hmm.
Glenn Diamond: and the bulb it will be somewhere inside.
Richard Umana: That might
Glenn Diamond: You can go
Jerry Clayton: Okay.
Glenn Diamond: to
Richard Umana: just
Glenn Diamond: the next slide. I have
Richard Umana: So.
Glenn Diamond: some kind of pictures you know, here. You have the b the bulb, it is a blue the blue stuff here and
Jerry Clayton: Yeah.
Glenn Diamond: the infrared and the infrared bulb it is the red stuff you know and so and you have the other subcomponent that are not really here so important, so.
Jerry Clayton: What is this?
Glenn Diamond: This is in fact some other component that are in between the electrical de the electronic
Jerry Clayton: Okay.
Glenn Diamond: device. Look. But here what I wanted to emphasise it is just you know the bulb and.
Jerry Clayton: Okay.
Glenn Diamond: So and the next slide, it is the last one it's So it's I think it should be wire wireless re remote con Because you know, it's easier to manage and you know because you f the b the the battery problem can hold you know will you use a battery or the a wire to connected you. Or maybe some kind of thing that we can have both, but you know, I at my side prefer a wireless.
Jerry Clayton: Okay.
Glenn Diamond: Okay, so
Richard Umana: Okay.
Glenn Diamond: if you have some question I didn't answer?
Richard Umana: What's the average price of this technology then?
Glenn Diamond: Well the avera the average prices I think that this technology will cost, I dunno, around eight Euros, so. Or at least you know, the
Robert Mackenzie: So what, the wireless remote control? There's a wire with remote control?
Glenn Diamond: You'd yes, you can. It's so so bres you have to decide how how you will you know, put some energy inside, so you can think about wireless or you know it's it's a question that we can raise, so. We can think that you know, with the wire, you know, without a wire. We can have both also.
Robert Mackenzie: Okay.
Jerry Clayton: So you think that uh a cable between the remote control and the T_V_
Robert Mackenzie: Okay.
Jerry Clayton: won't be a good
Robert Mackenzie: Okay.
Jerry Clayton: idea. No it wou maybe it will be cheaper I dunno, I just may maybe you making
Richard Umana: But this
Jerry Clayton: a solu
Richard Umana: is what you would like to ask the user first and I don't think the user would be ready to have a
Jerry Clayton: Yeah,
Robert Mackenzie: Wireless remote control.
Jerry Clayton: but
Glenn Diamond: Yeah, but
Richard Umana: I don't
Glenn Diamond: some
Richard Umana: think
Glenn Diamond: pa
Richard Umana: well, yeah, I don't think he
Glenn Diamond: I always
Richard Umana: would,
Glenn Diamond: want to
Richard Umana: but
Glenn Diamond: have you
Richard Umana: in
Glenn Diamond: know,
Richard Umana: a
Glenn Diamond: sometime
Richard Umana: sense
Glenn Diamond: I want to have wire because
Jerry Clayton: Yeah
Glenn Diamond: you
Jerry Clayton: but
Glenn Diamond: know.
Jerry Clayton: as Industrial Designer, do you think that it will be feasible to have uh linked or to have link between the remote control and the television? I'm just asking you. Do you think it will be cheaper?
Glenn Diamond: Uh, I don't think it will be too much.
Robert Mackenzie: Okay.
Jerry Clayton: Could you answer please?
Glenn Diamond: Have to think about the question, you know, 'cause it's I
Jerry Clayton: Okay.
Glenn Diamond: think that you know you can always you know I think wha wha with the wire it's mm cheaper but you know the wireless it's more practical, so.
Jerry Clayton: Yeah, but I think the wireless problem is more the um David Jordan's problem.
Robert Mackenzie: Mm-hmm.
Jerry Clayton: As it's
Richard Umana: The wire?
Jerry Clayton: yeah.
Richard Umana: Yeah. True.
Glenn Diamond: Okay,
Jerry Clayton: I think
Glenn Diamond: yeah.
Jerry Clayton: it's more your problem. Mayb maybe you have just to to kind of research or
Robert Mackenzie: Mm-hmm.
Jerry Clayton: try to ask people if they will like something wireless or not.
Richard Umana: Uh that's my job. That's the
Jerry Clayton: Okay, I'm sorry. So
Richard Umana: Now the
Glenn Diamond: Yeah but, it should be an agreement, you know, because even if you can think of the wireless, it is it's it is the job of the the the g Graphical User Designer, but you know. If it is a lot cheaper and if you want to reach for example some the the money you have, if you want to use, so it can be good to have a wireless, it it is a question.
Robert Mackenzie: Okay.
Jerry Clayton: So just think of um the usability.
Robert Mackenzie: Design a wireless
Jerry Clayton: Yeah.
Robert Mackenzie: remote control.
Jerry Clayton: Just think of the problem. If when you have wireless remote control and if you lose
Robert Mackenzie: Yeah.
Jerry Clayton: it?
Richard Umana: Yeah.
Jerry Clayton: I think it's would be easier to have a link between the remote control and
Richard Umana: Well that's actually one of the
Jerry Clayton: the
Richard Umana: point,
Jerry Clayton: television,
Richard Umana: yeah?
Jerry Clayton: yeah.
Richard Umana: True. This you will see in my presentation then.
Jerry Clayton: So I will let you
Richard Umana: Yeah.
Jerry Clayton: to do
Glenn Diamond: Okay.
Jerry Clayton: your presentation, so.
Richard Umana: Which is participant four. So just trying to answer all the questions, if the user would be happy to have something or something else uh. We've made a study, so could you go to next slide. Sorry for the functional recurrence. So that's the standard method for marketing, okay. We had one hundred subjects, um, we observe their remote control use in a lab and then after all the experiments they had to fill up a questionnaire, um, and see what was okay or not for them.
Glenn Diamond: Mm-hmm.
Richard Umana: Okay. So then it's some statistics about what we observed and what they answered. Um actually seventy five percent of the users find m the most remote controls uh ugly, okay, so that's
Jerry Clayton: You mean the loo the
Glenn Diamond: The
Jerry Clayton: look,
Glenn Diamond: look,
Jerry Clayton: the
Glenn Diamond: how
Jerry Clayton: outside?
Glenn Diamond: it look
Jerry Clayton: Okay.
Richard Umana: Yeah,
Glenn Diamond: like.
Richard Umana: the the look is is bad for them so uh it's your job, David, maybe. Then eighty percent of users would spend more money um actually if if the remote controls were not so ugly. So this is where we could have uh yeah, good market, I guess,
Glenn Diamond: Yeah.
Richard Umana: if people are ready to pay more. So it's it's interesting information, I think. And then um yeah, the remote controls like the one you've shown previously it's not so doesn't fit the user requirements sometime, because it's too many buttons and so on. So we should change this as well. And uh users are actually zapping a lot, so they're using the device intensively, that's something to take into account as well. And um, you know, ten percent of the buttons are actually used in the remote control. And uh this is one of the main point for Richard Umana. But I'll come back to it later. 'Kay. Could you go next slide? Uh, so as you said
Jerry Clayton: Mm-hmm.
Richard Umana: uh, remote controls are often lost somewhere in the room. So this is from the experiments we've done, so if we could solve this problem this would be interesting for the user, I think. Um it takes too much time to learn how to use the remote control for thirty five percent of the people. And uh remote control are really bad for R_S_I_ problems for twenty six percent of the users.
Jerry Clayton: What is R_S_I_?
Richard Umana: R_S_I_ is like, when you're using the same um doing the same movement several times,
Glenn Diamond: Yeah.
Richard Umana: then you get injured.
Jerry Clayton: Ah um
Richard Umana: Okay?
Jerry Clayton: okay.
Richard Umana: So, those numbers are less important then the previous one, but still it has to be taken to count. So last slide. Um so my pres personal preferences for this problem is we have to meet the user needs. If we can make it look fancy then we might sell more than our uh concurrent, okay.
Glenn Diamond: Okay.
Jerry Clayton: Mm-hmm.
Richard Umana: And definitely if it could have less buttons, still maybe the same number of um
Robert Mackenzie: Functions.
Richard Umana: functions, but less buttons, this would definitely be a good way of selling more.
Glenn Diamond: Okay.
Richard Umana: Okay. So
Jerry Clayton: Mm okay. And just to have uh an idea, do you think you as Robert Mackenzie to would it be possible to have less buttons and
Robert Mackenzie: Yeah.
Jerry Clayton: still have the same functionality and to have powerful remote control, you think it's possible? Sure?
Robert Mackenzie: Yeah, I think
Jerry Clayton: Yeah?
Robert Mackenzie: possible. Because we can We can uh mix uh several function in one button.
Jerry Clayton: Yeah.
Robert Mackenzie: So lets you then you have less buttons.
Jerry Clayton: Yeah, but
Robert Mackenzie: But I'm
Jerry Clayton: do you
Robert Mackenzie: not
Jerry Clayton: think
Robert Mackenzie: sure
Jerry Clayton: it will be easy to use? Because if you have many functions just for one button it would be quite difficult for the user to know.
Richard Umana: Yeah, remember the user is not happy to read the
Jerry Clayton: Yeah,
Glenn Diamond: The manuals.
Jerry Clayton: I think
Richard Umana: manual.
Jerry Clayton: the
Richard Umana: It's
Robert Mackenzie: No you you can have a switch menu, so you can
Jerry Clayton: Yeah,
Robert Mackenzie: well
Jerry Clayton: but
Robert Mackenzie: for example
Jerry Clayton: it has to be intuitive.
Robert Mackenzie: Yeah, I think so. Like for for example you can uh you can category the function i i into several classes. Then for um you can have a switch menu, so
Jerry Clayton: Yeah,
Robert Mackenzie: you put
Jerry Clayton: okay.
Robert Mackenzie: the switch menu to it it tend to this kind of this category of functions.
Jerry Clayton: Okay,
Robert Mackenzie: Then you
Jerry Clayton: but
Robert Mackenzie: you put the switch button, then it switch to another category of functions. Yeah. For example, if you have remote control you you can rem you can control your T_V_ and also you can control your uh recorder.
Glenn Diamond: With
Robert Mackenzie: So
Glenn Diamond: a
Robert Mackenzie: there's a different functions, but i if you you there's a button you can switch between control T_V_ and control your recorder. So we can has less buttons.
Jerry Clayton: Yeah,
Robert Mackenzie: But
Jerry Clayton: but
Robert Mackenzie: what I'm not so sure is about how to make the remote control look funny look
Glenn Diamond: Look
Robert Mackenzie: fancy,
Glenn Diamond: fancy.
Robert Mackenzie: not funny.
Glenn Diamond: question that should
Robert Mackenzie: Because
Glenn Diamond: be asked to the
Robert Mackenzie: different people have a different opinion about fancy. You know.
Glenn Diamond: If you
Richard Umana: Yeah.
Glenn Diamond: ask the people, maybe the the marketing people.
Richard Umana: Yeah, this
Robert Mackenzie: Because
Richard Umana: is something
Robert Mackenzie: maybe
Richard Umana: we
Robert Mackenzie: a
Richard Umana: sh
Robert Mackenzie: colourful is fancy for some people, but maybe
Jerry Clayton: Mm-hmm.
Robert Mackenzie: simple and
Richard Umana: But this was
Robert Mackenzie: uh uniform
Richard Umana: first step and
Robert Mackenzie: colourful is fancy for some for other peoples, so.
Richard Umana: This
Glenn Diamond: I think
Richard Umana: was
Glenn Diamond: the solution
Richard Umana: the first step, yeah.
Glenn Diamond: is to have many colours of you know instead of having one grey
Jerry Clayton: Yeah, but I
Glenn Diamond: standard
Jerry Clayton: think it will increase the price of the production
Richard Umana: Specially distribution,
Jerry Clayton: of the remote
Richard Umana: yeah.
Jerry Clayton: control.
Glenn Diamond: Yeah, yeah, maybe. Yeah, maybe.
Jerry Clayton: If you need to have special colours for remote
Richard Umana: Uh
Jerry Clayton: controls it will
Robert Mackenzie: Yeah, personalised
Jerry Clayton: cost more.
Robert Mackenzie: colour. Because you
Jerry Clayton: Yeah,
Robert Mackenzie: know
Jerry Clayton: it will cost little bit more.
Robert Mackenzie: Yeah, because maybe some people prefer a red remote
Glenn Diamond: Yeah,
Robert Mackenzie: control,
Glenn Diamond: yeah,
Robert Mackenzie: some people
Glenn Diamond: yeah.
Robert Mackenzie: prefer black remote
Richard Umana: Yeah, but
Robert Mackenzie: control.
Richard Umana: this is what we would ask to the users, so.
Jerry Clayton: And
Robert Mackenzie: Maybe
Jerry Clayton: also
Robert Mackenzie: we
Jerry Clayton: f
Robert Mackenzie: can have di
Richard Umana: Yeah.
Robert Mackenzie: di we can have uh several options, so user can select which colour they prefer, so.
Jerry Clayton: Yeah, but as soon as you speak about options,
Robert Mackenzie: Mm-hmm.
Jerry Clayton: it means
Richard Umana: Yeah, remember
Jerry Clayton: that the price increases,
Richard Umana: it's
Jerry Clayton: and we don't really want
Richard Umana: twelve
Jerry Clayton: the
Richard Umana: Euros.
Jerry Clayton: price to be too too high, because we wanna be able to produce it. So, we want something fancy, as uh previously said, Florent, something very easy to use, powerful and also as uh it's written here, seventy five percent of users, they zap lot, so maybe just having many functions in one button
Robert Mackenzie: Mm-hmm.
Jerry Clayton: is not that good if you want to zap a lot.
Richard Umana: Hmm.
Jerry Clayton: And they don't really want to zap between functions of their remote control,
Robert Mackenzie: Mm-hmm.
Jerry Clayton: they want to zap between channels on T_V_. So I think you have quite lot of points to to think about
Glenn Diamond: Yeah.
Jerry Clayton: and to discuss it with
Glenn Diamond: Yeah,
Robert Mackenzie: Yeah.
Jerry Clayton: uh
Glenn Diamond: hmm.
Jerry Clayton: the other members. So, is it okay for your presentation? Nothing else
Richard Umana: Yeah, it's
Jerry Clayton: to
Richard Umana: done,
Jerry Clayton: to add?
Richard Umana: just yeah. If we would if we could remember like, not too many buttons and make it look fancy, I think
Jerry Clayton: Mm-hmm.
Richard Umana: it would
Jerry Clayton: Okay.
Richard Umana: make it.
Jerry Clayton: Mm so So,
Richard Umana: So.
Jerry Clayton: I had some new information about the product requirements, so you will have to take care of it of it in your thinking, in your designing of the remote control. So the first one is that um for the designing of the remote control we don't really want to use the teletext anymore,
Robert Mackenzie: Mm-hmm.
Jerry Clayton: as it's something that's It's is uh
Richard Umana: Lame,
Jerry Clayton: No
Richard Umana: or
Jerry Clayton: yeah, internet at home,
Robert Mackenzie: Mm-hmm.
Jerry Clayton: so it's better to use internet then teletext.
Robert Mackenzie: Yeah.
Jerry Clayton: So, you will have to think about it in your in in the design of your remote control,
Glenn Diamond: Yep.
Jerry Clayton: and also the remote control will only be used for television, so for y for you your designing, you're not you won't be uh you won't had um buttons to just to manipulate
Robert Mackenzie: Control.
Jerry Clayton: yeah to control the recorder or
Robert Mackenzie: Mm-hmm.
Jerry Clayton: maybe the garage door or things like that. It's
Richard Umana: Mm-hmm
Jerry Clayton: because if we want to to do remote control
Robert Mackenzie: Mm.
Jerry Clayton: which will be used for for the television, for the recorder, for the camcorder and all the others, it will become too complex and it will increase the pli the price and we can't do that. We really want to focus on the remote control for the television. Is it okay?
Robert Mackenzie: Okay. But there's balance between function
Jerry Clayton: So maybe
Robert Mackenzie: and the
Jerry Clayton: it
Robert Mackenzie: cost.
Jerry Clayton: will be easier for you to to design it, to have
Robert Mackenzie: Yeah.
Jerry Clayton: very
Robert Mackenzie: Okay.
Jerry Clayton: powerful and easy. And also we want the image of the uh um real reaction
Robert Mackenzie: Mm-hmm.
Jerry Clayton: be recognisable in the product, such as the colour and s the slogan.
Richard Umana: Yeah.
Jerry Clayton: I mean that's uh if uh you want to buy a remote control and if you go in a shop and if you see the remote control you will recognise
Robert Mackenzie: Mm-hm.
Jerry Clayton: directly that s it's our product.
Richard Umana: Mm-hmm.
Jerry Clayton: So you will have to use the colour of the product,
Robert Mackenzie: Okay.
Jerry Clayton: of the um um of the uh of real reaction
Robert Mackenzie: Okay.
Glenn Diamond: So.
Jerry Clayton: and uh also
Richard Umana: So has to be yellow.
Jerry Clayton: Yeah.
Glenn Diamond: Yellow.
Jerry Clayton: As we say, we put the fashion in electronics, so it has to be a fashion remote control.
Robert Mackenzie: Okay.
Jerry Clayton: Fancy, fashion, powerful, easy to use.
Robert Mackenzie: Mm-hmm.
Jerry Clayton: Require lot of requirements, but
Robert Mackenzie: Yeah.
Glenn Diamond: For cheap remote control,
Robert Mackenzie: And cheap.
Glenn Diamond: yeah.
Jerry Clayton: Yeah.
Robert Mackenzie: A low cost.
Jerry Clayton: Yeah. But uh that's your your job
Glenn Diamond: Yeah.
Jerry Clayton: to find something mm
Glenn Diamond: Yeah,
Jerry Clayton: matches.
Glenn Diamond: 'cause what I'm thinking is how will you will connect the T_V_ to internet, so. This is
Richard Umana: I don't think it's part of the remote control design anyway.
Jerry Clayton: Maybe not,
Richard Umana: It's
Jerry Clayton: but mayb
Richard Umana: maybe more in browsing.
Glenn Diamond: Yeah, but this this mean that your T_V_ would be able to, you know, connect to internet, you know, surf the web.
Robert Mackenzie: Yeah, there's that box in
Richard Umana: Yeah.
Robert Mackenzie: uh o of it. A pi There's that box in the T_V_, so with the set box you you can connect internet with your T_V_.
Glenn Diamond: Okay.
Robert Mackenzie: Ok
Richard Umana: Hm-mm.
Robert Mackenzie: It's It's not so uh popular now.
Glenn Diamond: It's pop I don't think it's popular, so that's the
Robert Mackenzie: Mm.
Glenn Diamond: problem so. You had i if you are designing a remote control for you know the global
Robert Mackenzie: Global,
Glenn Diamond: usage,
Robert Mackenzie: okay.
Glenn Diamond: so if people don't have the technology.
Jerry Clayton: So.
Richard Umana: Mm-hmm.
Jerry Clayton: So
Robert Mackenzie: So
Jerry Clayton: everybody
Robert Mackenzie: I I
Jerry Clayton: is
Robert Mackenzie: so
Jerry Clayton: okay with the new requirements?
Robert Mackenzie: As as for the colour, what what do you think?
Jerry Clayton: I think it has to be yellow.
Glenn Diamond: Yellow?
Jerry Clayton: Yeah.
Glenn Diamond: Do you
Robert Mackenzie: Yellow?
Glenn Diamond: think that people like the colour
Robert Mackenzie: T_V_
Glenn Diamond: yellow?
Robert Mackenzie: remote control?
Richard Umana: Min
Jerry Clayton: Maybe you can change the colour,
Robert Mackenzie: Okay.
Jerry Clayton: but the image of the society has to be recognised.
Robert Mackenzie: Okay.
Richard Umana: Yeah.
Glenn Diamond: I think
Jerry Clayton: Why
Glenn Diamond: if
Jerry Clayton: you
Glenn Diamond: you
Jerry Clayton: go
Glenn Diamond: have you know th like a yellow ribbon here is the double R_.
Jerry Clayton: It has to be fashion.
Glenn Diamond: Or should be. Yeah, so. Doesn't
Robert Mackenzie: Okay.
Jerry Clayton: So you
Glenn Diamond: need to be completely
Jerry Clayton: have to
Glenn Diamond: yellow, but just mm.
Jerry Clayton: Yeah. It has to be a fashion and really be uh the image of the society. Just when you enter you say oh, oh, it's real reaction. Think it's a
Robert Mackenzie: Okay,
Jerry Clayton: re reaction
Robert Mackenzie: okay.
Jerry Clayton: remote control, so.
Robert Mackenzie: Okay.
Jerry Clayton: And also it has to be attractive, of
Robert Mackenzie: Mm.
Jerry Clayton: course, because if you want to sale to sell the remote control. It's okay?
Richard Umana: Regarding the first line, what So we're just expecting no more use of the teletext.
Jerry Clayton: Yeah.
Richard Umana: And that's it.
Jerry Clayton: Yeah.
Glenn Diamond: But I dunno, but why, nobody's a threat to Richard Umana.
Richard Umana: It's already changed for
Jerry Clayton: I think it would be simpler.
Richard Umana: Mm-hmm.
Jerry Clayton: Okay. So I will close the meeting, um just after that we'll have lunch break. And you will have in thirty minutes individual work. Uh Y you You will have as the I_D_ I don't remember what is
Glenn Diamond: Industrial
Jerry Clayton: industr
Richard Umana: Industrial Designer.
Glenn Diamond: Designer,
Jerry Clayton: Industrial
Glenn Diamond: yeah.
Jerry Clayton: Designer to put
Glenn Diamond: Component
Jerry Clayton: um pon
Glenn Diamond: component,
Jerry Clayton: yeah,
Glenn Diamond: yeah.
Jerry Clayton: and Robert Mackenzie to work on the user interface concept.
Robert Mackenzie: Okay.
Jerry Clayton: And Florent to work my subject.
Richard Umana: Yep.
Jerry Clayton: And so specific instructions will be sent to you by your personal coach.
Richard Umana: Okay.
Jerry Clayton: It's okay?
Richard Umana: Yeah.
Jerry Clayton: I think the um session is closed.
Glenn Diamond: Good.
Jerry Clayton: And by the way, Mister David Jordan, please record your presentations in your own folder.
Glenn Diamond: Okay
Robert Mackenzie: Okay.
Jerry Clayton: Not in mine.
Glenn Diamond: Okay,
Robert Mackenzie: Okay.
Glenn Diamond: that's
Jerry Clayton: Should
Glenn Diamond: clear.
Jerry Clayton: be better. | Robert Mackenzie discussed some characteristics and functions to consider in designing the remote and introduced an idea for giving the remote international appeal by merging it with a system such as Google. Glenn Diamond discussed the interior workings of a remote and presented options for components and materials which would keep costs low. Richard Umana presented consumer preferences and requirements. Jerry Clayton introduced the new requirements for the project. The team then discussed different features they could include in the design of the remote. | 5 | amisum | train |
Paul Thompson: So let's start our second Richard Jacobs meeting on design.
Richard Jacobs: Mm-hmm.
Paul Thompson: So, as the previous meeting I will be the secretary
James Ortiz: Mm-hmm.
Paul Thompson: and we will have three presentations and we'll have to decide on the remote control concept and finally we'll close the decision. So I will first uh
Richard Jacobs: No y you do the minutes first or,
Paul Thompson: What?
Richard Jacobs: No?
Paul Thompson: I I think I will let uh
Richard Jacobs: Okay.
Paul Thompson: our User Interface Designer speak first, Mister David Jordan.
Jeffrey Kleinknecht: Yep.
Paul Thompson: So, we'll
Jeffrey Kleinknecht: Yeah.
Paul Thompson: S technical accessoire?
Jeffrey Kleinknecht: No no no.
Paul Thompson: Interface?
Jeffrey Kleinknecht: Yeah.
Paul Thompson: This.
Jeffrey Kleinknecht: Mm. So uh first I will present the concept of user interface. Um there's three concepts in the user interface. So first one it's a Google controller. The second is a fancy controller. The last one is uh intelligent controller. So there are three concepts in our controller. Um n next I will explain one by one, the first is Google controller. Um, so I want the controller to be easy to use, but with sophisticated functions. So it's a combination of easy to use and um sophisticated functions. Uh this is a first concept of our controller. The second concept is a fancy controller, um so we want give the customers the impression that our controller is very attractive, um they can easy recognise our controller among a lot of products, so so the u the user f the the u user interface should be very very cute, very
Richard Jacobs: Mm.
James Ortiz: Mm.
Jeffrey Kleinknecht: very g um
James Ortiz: A nice
Jeffrey Kleinknecht: attractive.
James Ortiz: one.
Jeffrey Kleinknecht: Such like this, there are several uh examples in the slides.
Paul Thompson: I'm not sure the one in the middle is very attractive.
Jeffrey Kleinknecht: Yeah, it's very, you know if you're
Paul Thompson: very big yeah.
Jeffrey Kleinknecht: Yeah. It's hard f i it's easy for you to remember it. Or to recognise it, yeah.
Paul Thompson: Okay. Yeah,
Jeffrey Kleinknecht: Yeah.
Paul Thompson: why not.
Jeffrey Kleinknecht: Yeah.
Paul Thompson: We'll have big discussion
James Ortiz: Yeah.
Paul Thompson: I suppose after that,
Jeffrey Kleinknecht: Yeah.
James Ortiz: Yeah.
Paul Thompson: so.
Richard Jacobs: Mm.
Jeffrey Kleinknecht: So the last uh concept is intelligent. We want uh we want our controller to be smart,
James Ortiz: Mm-hmm.
Richard Jacobs: Mm.
Jeffrey Kleinknecht: so maybe we should uh use um uh technology, such as speech recognition technology and gesture recognition technology, so we need to have coop some cooperation with some research institute on speech recognition and um gesture recognition. Um With this advanced features we I think we can attract a lot of user.
Paul Thompson: Okay.
Jeffrey Kleinknecht: Okay.
Paul Thompson: Something else?
Jeffrey Kleinknecht: No. There this is the three concepts of
James Ortiz: Yeah.
Jeffrey Kleinknecht: our
Paul Thompson: I just have
Jeffrey Kleinknecht: controller.
Paul Thompson: one question,
Jeffrey Kleinknecht: Yeah.
Paul Thompson: because for the intelligent controller,
Jeffrey Kleinknecht: Yeah.
Paul Thompson: you said that we can use the voice recognition or the gesture recognition, but as the um expert told us, most of the people want to use the remote control to zap t to zap between channels.
Jeffrey Kleinknecht: Yeah,
Paul Thompson: Do you
Jeffrey Kleinknecht: so
Paul Thompson: think they will be able to use gestures? Because,
Jeffrey Kleinknecht: Y
Paul Thompson: if they do all the time the same gesture, as you said previously in the last meeting, maybe they will get injuries because of that?
James Ortiz: Yeah.
Paul Thompson: or
James Ortiz: Maybe.
Paul Thompson: if you say channel three channel three two three four six five, I think they will be bored after a while. You don't think so?
Jeffrey Kleinknecht: Uh I think some time it's very uh convenient to use voice interface and gesture interface
Paul Thompson: Yeah, sure.
Jeffrey Kleinknecht: than use button. For example, if you cannot find your
Paul Thompson: I
Jeffrey Kleinknecht: uh
James Ortiz: Oh
Jeffrey Kleinknecht: controller,
James Ortiz: yeah, that's a good
Jeffrey Kleinknecht: you
Paul Thompson: That's
Jeffrey Kleinknecht: can
James Ortiz: that's
Jeffrey Kleinknecht: just
James Ortiz: a
Paul Thompson: true.
James Ortiz: good
Jeffrey Kleinknecht: uh
James Ortiz: point, so.
Jeffrey Kleinknecht: just just uh speak something such as,
James Ortiz: One and
Paul Thompson: Yeah,
Jeffrey Kleinknecht: yeah,
Paul Thompson: but suppose
Jeffrey Kleinknecht: one
Paul Thompson: you
Jeffrey Kleinknecht: two.
Paul Thompson: got a cold. You
Jeffrey Kleinknecht: Yeah.
Paul Thompson: have a mute
Richard Jacobs: Mm.
Paul Thompson: remote controller.
Jeffrey Kleinknecht: So you can use your gesture. That's no problem.
Richard Jacobs: Yeah but how how is how
Paul Thompson: Broken
Richard Jacobs: risky
Paul Thompson: arm?
Richard Jacobs: is it to trust like speech recognition or gesture recognition?
Jeffrey Kleinknecht: For limited vocabulary speech recognition is
Richard Jacobs: Okay.
Jeffrey Kleinknecht: very reliable
Richard Jacobs: Okay.
Jeffrey Kleinknecht: and for s limited vocabulary gesture recognition is also
Paul Thompson: Yeah,
Jeffrey Kleinknecht: very
Paul Thompson: but suppose you have a family watching T_V_,
Jeffrey Kleinknecht: Yeah.
Paul Thompson: and if they want to use
James Ortiz: Yep.
Paul Thompson: their private remote control in the same time, do you think it will work? Everybody wanting to change channel
Richard Jacobs: But this
Paul Thompson: in the same
Richard Jacobs: this
Paul Thompson: time?
Richard Jacobs: but this would never happen anyway.
Jeffrey Kleinknecht: Yeah, they cannot
Paul Thompson: Why?
Jeffrey Kleinknecht: speak at the same time.
Richard Jacobs: Yeah
Paul Thompson: If you have one brother and one sister and they want to
Richard Jacobs: Yeah,
Paul Thompson: watch
Richard Jacobs: but the
Paul Thompson: their favourite uh T_V_ programme, so they say oh channel four channel three channel four channel
James Ortiz: Yeah
Paul Thompson: three
Jeffrey Kleinknecht: Yeah,
James Ortiz: but
Jeffrey Kleinknecht: it's
Richard Jacobs: Yeah
Jeffrey Kleinknecht: very
Richard Jacobs: but
Paul Thompson: all
Richard Jacobs: this
Jeffrey Kleinknecht: interesting.
Paul Thompson: the time,
James Ortiz: Yeah
Paul Thompson: so.
James Ortiz: but the same can happen even with it you know this
Richard Jacobs: Yeah.
James Ortiz: kind of remote control because
Jeffrey Kleinknecht: Yeah.
Richard Jacobs: I don't think
James Ortiz: the
Paul Thompson: Yeah,
Richard Jacobs: it
Paul Thompson: but you have the remote control, so maybe you
James Ortiz: That's
Paul Thompson: can keep
James Ortiz: right.
Paul Thompson: it f with you. You're not you're not obliged
Richard Jacobs: Oh,
Paul Thompson: to
Richard Jacobs: okay,
Paul Thompson: share
Richard Jacobs: okay,
Paul Thompson: it.
Richard Jacobs: you mean it could be a problem for
Paul Thompson: Yeah,
Richard Jacobs: this
Paul Thompson: we can
Richard Jacobs: kind
Jeffrey Kleinknecht: Yeah,
Richard Jacobs: of
Jeffrey Kleinknecht: that's
Richard Jacobs: stuff.
Paul Thompson: yeah.
Jeffrey Kleinknecht: that's the advantage of intelligent controller. Even you h
Richard Jacobs: No.
Jeffrey Kleinknecht: you have the controller, I can
James Ortiz: It's
Jeffrey Kleinknecht: I can say
James Ortiz: it's
Jeffrey Kleinknecht: channel three, so it's c come
Richard Jacobs: No, but
Jeffrey Kleinknecht: to
Richard Jacobs: this
Jeffrey Kleinknecht: channel
Richard Jacobs: is disadvant
Jeffrey Kleinknecht: three, I don't have
Richard Jacobs: disadvantage.
Jeffrey Kleinknecht: to
Paul Thompson: Yeah, I think it's a disadvantage.
Jeffrey Kleinknecht: It's
Richard Jacobs: Yeah.
Jeffrey Kleinknecht: advantage.
James Ortiz: And mayb maybe we can have the switching mode to pass from you know voice controller to
Paul Thompson: Yeah, but one
James Ortiz: manual
Paul Thompson: other question.
James Ortiz: controllers,
Paul Thompson: How
James Ortiz: eh.
Paul Thompson: how much will it cost?
James Ortiz: No, more
Jeffrey Kleinknecht: How
James Ortiz: expensive
Jeffrey Kleinknecht: much?
James Ortiz: maybe.
Paul Thompson: Yeah. Because I suppose we need to do research to have something working.
Jeffrey Kleinknecht: No no we we d we we just
Richard Jacobs: Uh if
Jeffrey Kleinknecht: are
Richard Jacobs: you if
Jeffrey Kleinknecht: use
Paul Thompson: Some
Jeffrey Kleinknecht: um
Richard Jacobs: if
Paul Thompson: some
Richard Jacobs: you
Paul Thompson: efficient.
Richard Jacobs: use the basic
Jeffrey Kleinknecht: No no we just um have some cooperation with some research institute, we don't have to do some basic research on this
Paul Thompson: So
Jeffrey Kleinknecht: field.
Paul Thompson: you think it won't cost an Not a lot for us? Or?
Jeffrey Kleinknecht: Yeah, I think it's uh because uh this technology is uh um for limited wor or limited wor uh lexical recognition, it's very
Paul Thompson: Yeah, but uh uh
Jeffrey Kleinknecht: it's uh yeah.
Richard Jacobs: But it's
Jeffrey Kleinknecht: It's
Richard Jacobs: it's changing how the remote control is gonna be built. Because then you need uh I mean this doesn't have uh the power to do recognition, for example.
James Ortiz: Well y y
Jeffrey Kleinknecht: No it's
James Ortiz: you have
Jeffrey Kleinknecht: uh
James Ortiz: also the language
Jeffrey Kleinknecht: Even
James Ortiz: problem,
Jeffrey Kleinknecht: for
James Ortiz: you
Jeffrey Kleinknecht: the
James Ortiz: know when
Jeffrey Kleinknecht: f
James Ortiz: you
Jeffrey Kleinknecht: um
Paul Thompson: Mm-mm.
Jeffrey Kleinknecht: because
James Ortiz: 'Cause
Jeffrey Kleinknecht: the
James Ortiz: it
Jeffrey Kleinknecht: the vocabulary
James Ortiz: it have to be universal,
Jeffrey Kleinknecht: the
James Ortiz: so.
Paul Thompson: Yeah. I
Jeffrey Kleinknecht: The
Paul Thompson: agree
Jeffrey Kleinknecht: vocabulary
Paul Thompson: with uh
Jeffrey Kleinknecht: is very small, so
Richard Jacobs: Yeah.
Jeffrey Kleinknecht: that's
Paul Thompson: Yeah,
Jeffrey Kleinknecht: not a problem.
Paul Thompson: but there is one problem that uh Baba
James Ortiz: Yeah.
Jeffrey Kleinknecht: Yeah.
Paul Thompson: talked about is the international remote control. We need something that is international. Suppose we're we want to sell it in France.
Jeffrey Kleinknecht: Yeah.
Paul Thompson: The recognition system will be able to understand French. If you want to go to England,
Jeffrey Kleinknecht: Yeah.
Paul Thompson: it will be able to understand English, so.
Jeffrey Kleinknecht: Yeah, the key, the key
Richard Jacobs: Yeah,
Jeffrey Kleinknecht: um
Richard Jacobs: this could be downloaded by the web
Jeffrey Kleinknecht: the
Richard Jacobs: maybe,
Jeffrey Kleinknecht: key of
Richard Jacobs: or
Jeffrey Kleinknecht: our the key feature of our controller is that it's it has some some um adaptation
James Ortiz: Yeah
Jeffrey Kleinknecht: mechanism.
James Ortiz: but you know. The
Jeffrey Kleinknecht: It's
James Ortiz: product
Jeffrey Kleinknecht: It's
James Ortiz: The pro
Jeffrey Kleinknecht: it means when you when you sell this controller in China it's can recognise Chinese. It's r if you sell this controller in France
James Ortiz: It's
Jeffrey Kleinknecht: it
James Ortiz: a very
Jeffrey Kleinknecht: can
James Ortiz: smart,
Jeffrey Kleinknecht: recognise French.
Richard Jacobs: Yeah.
James Ortiz: it's a
Paul Thompson: Mm,
James Ortiz: very smart
Paul Thompson: okay.
James Ortiz: controller maybe
Jeffrey Kleinknecht: Yeah, it's
Paul Thompson: And with no increase in the pri production price
James Ortiz: Oh yeah
Paul Thompson: of the
James Ortiz: yeah
Paul Thompson: remote
James Ortiz: yeah yeah.
Paul Thompson: control?
Jeffrey Kleinknecht: Because
James Ortiz: But
Jeffrey Kleinknecht: of this product uh this technology has already been developed.
Paul Thompson: Yeah,
Jeffrey Kleinknecht: So
Paul Thompson: but how will
James Ortiz: Yeah
Paul Thompson: you
James Ortiz: but the problem is how to s you know if this is a push button controller, you
Jeffrey Kleinknecht: Yeah.
James Ortiz: can send this con this remote control everywhere in the world,
Jeffrey Kleinknecht: Yeah.
James Ortiz: the same one.
Richard Jacobs: Mm.
James Ortiz: If you have the language, you have to
Jeffrey Kleinknecht: Oh n
James Ortiz: develop
Jeffrey Kleinknecht: Yeah, yeah tha
James Ortiz: for
Jeffrey Kleinknecht: that's
James Ortiz: each
Jeffrey Kleinknecht: why
James Ortiz: country.
Jeffrey Kleinknecht: we have to do language adaptation.
James Ortiz: Yeah, but for each country you have to do one,
Jeffrey Kleinknecht: Yeah.
James Ortiz: because uh the for example
Jeffrey Kleinknecht: Even
James Ortiz: for Se
Jeffrey Kleinknecht: for each f for even for different family we have to do d
James Ortiz: Oh really?
Jeffrey Kleinknecht: yeah we would we
James Ortiz: That's
Jeffrey Kleinknecht: have to do adaptation to
Paul Thompson: Oh.
Richard Jacobs: Yeah, but then
Paul Thompson: Seems
Richard Jacobs: w
Paul Thompson: to be quite complex.
Richard Jacobs: Yeah, we have to
James Ortiz: Comple
Jeffrey Kleinknecht: No,
Richard Jacobs: take
Jeffrey Kleinknecht: it's not
Richard Jacobs: care
Jeffrey Kleinknecht: so
Richard Jacobs: of the
Jeffrey Kleinknecht: complex.
Richard Jacobs: twelve Euros problem.
Paul Thompson: And what about voice recognition, do we have microphones? And where will be they? Do you think
Jeffrey Kleinknecht: No no
Paul Thompson: if
Jeffrey Kleinknecht: no
Paul Thompson: we're
Jeffrey Kleinknecht: it's
Paul Thompson: far
Jeffrey Kleinknecht: not
Paul Thompson: from television it will work?
Jeffrey Kleinknecht: I think that's n that's not a problem because you you don't have to wear a microphone. It it just the microphone is embedded in the controller.
Paul Thompson: Yeah, but where is the controller?
Richard Jacobs: Okay.
Jeffrey Kleinknecht: Where is the controller?
Paul Thompson: Yeah.
Jeffrey Kleinknecht: It's in your family, in your home.
Richard Jacobs: No, but
Paul Thompson: Yeah,
Richard Jacobs: then it's
Paul Thompson: but
Richard Jacobs: it's
Paul Thompson: we're
Richard Jacobs: like this
Paul Thompson: here it's uh
Richard Jacobs: uh
Paul Thompson: an object. But
Jeffrey Kleinknecht: Yeah.
Paul Thompson: here you say you want to use i uh
Jeffrey Kleinknecht: Yeah you can
Paul Thompson: s
Jeffrey Kleinknecht: you
Paul Thompson: technology.
Jeffrey Kleinknecht: can embed it uh
James Ortiz: A microphone
Jeffrey Kleinknecht: microphone
James Ortiz: maybe.
Jeffrey Kleinknecht: here.
Paul Thompson: Yeah, but wha what is the use of voice or gesture recognition if you have a remote control li like this, if you have an object. If you want to use voice or gesture you need to be
James Ortiz: To talk
Paul Thompson: free,
James Ortiz: to the to the T_V_
Paul Thompson: without any
James Ortiz: maybe.
Paul Thompson: object. You just want to interact
Jeffrey Kleinknecht: Yeah yeah just
Paul Thompson: with
Jeffrey Kleinknecht: you
Paul Thompson: television.
Jeffrey Kleinknecht: just put the controller here, then you
James Ortiz: I if you say
Jeffrey Kleinknecht: you
James Ortiz: one,
Jeffrey Kleinknecht: use
James Ortiz: he switch
Jeffrey Kleinknecht: your command
James Ortiz: to channel, yeah.
Jeffrey Kleinknecht: and you do s your gesture.
Paul Thompson: Yeah, but you can lose it.
Jeffrey Kleinknecht: No no it's n y if you lose it
James Ortiz: So well for example if it is somewhere in the room if i maybe if it is in the table there you can always say s channel one and the t the remote control gives the order to the T_V_
Jeffrey Kleinknecht: Yeah.
James Ortiz: to switch to channel
Paul Thompson: Okay
James Ortiz: one.
Paul Thompson: you so you can build a kind of
James Ortiz: Devic
Paul Thompson: black box and put it
Richard Jacobs: Yeah.
Paul Thompson: on T_V_ and
James Ortiz: Yeah.
Paul Thompson: just to recognize
James Ortiz: Yeah.
Paul Thompson: gestures and voice.
James Ortiz: Yeah but so you need a camera and you know a microphone
Jeffrey Kleinknecht: Yeah.
Paul Thompson: Ah.
James Ortiz: inside your remote control.
Richard Jacobs: But you would still have the buttons. Or is it do you think it should be only voice recognition and gesture recognition? Or you you still have the possibility to use buttons?
Jeffrey Kleinknecht: I think it we should give the uh flexibility to the user
Richard Jacobs: Okay,
Jeffrey Kleinknecht: and
Richard Jacobs: so
Jeffrey Kleinknecht: we
Richard Jacobs: you
Jeffrey Kleinknecht: think yeah.
Richard Jacobs: yeah.
Paul Thompson: Yeah,
Jeffrey Kleinknecht: You can see they can switch form one modality to another.
Paul Thompson: Mm.
Richard Jacobs: Yeah, I dunno. It's a bit risky risky.
James Ortiz: Yeah.
Paul Thompson: I
Jeffrey Kleinknecht: No,
Paul Thompson: think so.
Jeffrey Kleinknecht: that's
Paul Thompson: And
Jeffrey Kleinknecht: quite
Paul Thompson: maybe
Jeffrey Kleinknecht: inter
Paul Thompson: it will be quite
Jeffrey Kleinknecht: quite attractive.
James Ortiz: But I think that, you know, switching from one country to to another will be a problem, so although y y
Jeffrey Kleinknecht: Well, if you do language adaptation, there should be no problem.
James Ortiz: Yeah but
Richard Jacobs: Yeah,
James Ortiz: i i
Richard Jacobs: I dunno.
Paul Thompson: Okay.
Jeffrey Kleinknecht: We should have confidence in technology.
James Ortiz: Yeah, we should. Uh.
Paul Thompson: Hmm. So, what do you think? We'll try the controllers you'd prefer.
James Ortiz: Mm.
Richard Jacobs: What?
Paul Thompson: Which kind of controller would you prefer to use, you as a
Richard Jacobs: If
Paul Thompson: remote
Richard Jacobs: if
Paul Thompson: control user?
Richard Jacobs: I mean, uh I'm sure if the user pays the same price, he's happy to have recognition.
Jeffrey Kleinknecht: More features, yeah.
Richard Jacobs: But
James Ortiz: Yeah, but
Richard Jacobs: if if if it like doubles uh
James Ortiz: I think he
Richard Jacobs: no
James Ortiz: need
Richard Jacobs: one would
James Ortiz: a control
Richard Jacobs: would be interested.
James Ortiz: that is very reliable, so.
Paul Thompson: So I think it would be better not to do any intelligent controller and to stay with the Google controller or a fancy controller. Maybe try to mix the Google controller and the fancy controller? Hmm?
James Ortiz: Yeah. Yeah.
Paul Thompson: Just want to have something controller which is in a kind of intelligent controller, easy to use, sophisticated and fancy.
Jeffrey Kleinknecht: Yeah
Paul Thompson: You
Jeffrey Kleinknecht: but
Paul Thompson: think
Jeffrey Kleinknecht: if
Paul Thompson: it's possible?
Jeffrey Kleinknecht: if you stick to um stick to the first two parts. So what's the difference between our controller with other products in the market? There's no k features of our controller, so is there is there any necessary to design new controller without
Richard Jacobs: Yeah.
James Ortiz: Yeah.
Jeffrey Kleinknecht: any breakthrough features?
Richard Jacobs: No, I mean
Jeffrey Kleinknecht: Would y would you replace your controller with a controller with similar function if you
James Ortiz: It's
Jeffrey Kleinknecht: do not
Richard Jacobs: Y
James Ortiz: not really
Jeffrey Kleinknecht: have some
James Ortiz: the we
Jeffrey Kleinknecht: some function
James Ortiz: we can
Jeffrey Kleinknecht: inside
James Ortiz: add for
Jeffrey Kleinknecht: it
James Ortiz: example
Jeffrey Kleinknecht: that
James Ortiz: some function like for browsing in internet, so or something like that. But uh I think a user need
Jeffrey Kleinknecht: Yeah, you y that's a fun that's not the function of the controller, that's a function of T_V_. can replace your T_V_ with a new T_V_ with internet browsing
Richard Jacobs: No,
Jeffrey Kleinknecht: function,
Richard Jacobs: but you need
Jeffrey Kleinknecht: but
Richard Jacobs: you need new remote controller then. Because if you wanna browse internet or,
James Ortiz: Don't have
Richard Jacobs: I don't know,
James Ortiz: a the
Richard Jacobs: if you
James Ortiz: the
Richard Jacobs: wanna type something, or
Jeffrey Kleinknecht: Okay.
James Ortiz: Yeah if we can send email from
Jeffrey Kleinknecht: But
James Ortiz: it.
Jeffrey Kleinknecht: it's not the only the problem only the
Richard Jacobs: No.
Jeffrey Kleinknecht: issue of controller, it's
Richard Jacobs: No.
Jeffrey Kleinknecht: it's also the issue of the T_V_.
James Ortiz: Because the p the problem I can see with with the voice or the gesture itself wh
Richard Jacobs: Cause
James Ortiz: what
Richard Jacobs: for example
James Ortiz: can happen in a
Richard Jacobs: yeah.
James Ortiz: family i i for example
Jeffrey Kleinknecht: Yeah,
James Ortiz: if
Jeffrey Kleinknecht: but we do we do we we we cannot rely one hundred percent on these features
Richard Jacobs: Yeah.
Jeffrey Kleinknecht: to u to use the controller,
Paul Thompson: Yeah, but
Jeffrey Kleinknecht: but
Paul Thompson: uh we want
Jeffrey Kleinknecht: with the
Paul Thompson: so
Jeffrey Kleinknecht: features of our controller such as you have the feature of voice recognition in your mobile but you seldom use it, your mobile, but you when you choose a new mobile,
Richard Jacobs: Yeah,
Jeffrey Kleinknecht: you
Richard Jacobs: you wou
Jeffrey Kleinknecht: choose
Richard Jacobs: you would
Jeffrey Kleinknecht: the one with voice recognition.
Richard Jacobs: True.
Jeffrey Kleinknecht: That's the feature is not one hundred percent reliable, but it's a feature to distinguish our product from our from other products.
Paul Thompson: Yeah, but
James Ortiz: Yeah
Paul Thompson: w we we want something th that works all the time,
Jeffrey Kleinknecht: Yeah.
Paul Thompson: every day, every hour,
Jeffrey Kleinknecht: Yeah,
Paul Thompson: for
Jeffrey Kleinknecht: uh
James Ortiz: And for
Paul Thompson: everyone.
James Ortiz: all the person of the family maybe,
Jeffrey Kleinknecht: Yeah, if
Paul Thompson: You
James Ortiz: so,
Jeffrey Kleinknecht: if
Paul Thompson: don't
James Ortiz: yeah.
Paul Thompson: need
Jeffrey Kleinknecht: if
Paul Thompson: to
Jeffrey Kleinknecht: if
Paul Thompson: tune
Jeffrey Kleinknecht: you're if you
Paul Thompson: it.
Jeffrey Kleinknecht: ar if you already have a product it works one hundred percent reliable, would you replace it with another one?
Paul Thompson: Yeah, why not?
Richard Jacobs: I
Paul Thompson: If
Richard Jacobs: mean,
Paul Thompson: it's
Richard Jacobs: for example the goo y
James Ortiz: Because
Richard Jacobs: you
James Ortiz: you have
Richard Jacobs: say
James Ortiz: new
Richard Jacobs: we would we would to have a Google-like
Jeffrey Kleinknecht: Yeah.
Richard Jacobs: controller.
Jeffrey Kleinknecht: Yeah.
Richard Jacobs: I don't see how adding speech or gesture recognition would make the remote control look more like Google. Google is is simple, works fine,
Jeffrey Kleinknecht: Yeah.
Richard Jacobs: so I I guess if can have a remote control that is really basic, simple and works fine,
Jeffrey Kleinknecht: Yeah.
Richard Jacobs: it's already a lot.
Jeffrey Kleinknecht: Oh yes, but
Richard Jacobs: Uh
Jeffrey Kleinknecht: there's
Richard Jacobs: thi
Jeffrey Kleinknecht: no
Richard Jacobs: this
Jeffrey Kleinknecht: big difference between the traditional controller.
Richard Jacobs: I mean, the user is not only interested in having speech or gesture recognition or
Jeffrey Kleinknecht: The then
Richard Jacobs: if he has
Jeffrey Kleinknecht: nn no.
Richard Jacobs: something
Jeffrey Kleinknecht: Tha
Richard Jacobs: that works fine and is really fancy, looks nice and
Paul Thompson: Not
Jeffrey Kleinknecht: But
Paul Thompson: too
Jeffrey Kleinknecht: the
Richard Jacobs: it's
Paul Thompson: expensive
Jeffrey Kleinknecht: there's
Richard Jacobs: easy easy
Jeffrey Kleinknecht: there's
Paul Thompson: too.
Richard Jacobs: to
Jeffrey Kleinknecht: n
Richard Jacobs: use,
Jeffrey Kleinknecht: there's n
Richard Jacobs: easy
Jeffrey Kleinknecht: not
Richard Jacobs: to use.
Jeffrey Kleinknecht: enough motivation for them to replace their old controller with a new one
Richard Jacobs: See
Jeffrey Kleinknecht: if there's no key feature in the new controller.
Richard Jacobs: That's the
Jeffrey Kleinknecht: That's
Richard Jacobs: problem,
Jeffrey Kleinknecht: the same yeah.
Richard Jacobs: yeah. I mean, I I know it's more interesting to develop a remote controller with speech and gesture and whatever.
Jeffrey Kleinknecht: Yeah.
Richard Jacobs: But you have to think,
James Ortiz: Ye
Richard Jacobs: the user is the one who gonna buy the product and
Jeffrey Kleinknecht: Yeah.
Richard Jacobs: so.
Paul Thompson: Okay.
Richard Jacobs: I mean, that's
Paul Thompson: So
Richard Jacobs: the point.
Paul Thompson: let's go to James Ortiz.
Jeffrey Kleinknecht: Okay.
James Ortiz: Okay.
Paul Thompson: Maybe we'll be able to take a decision after that,
James Ortiz: Okay.
Jeffrey Kleinknecht: Yeah.
Paul Thompson: so. Two?
James Ortiz: Yeah, participant two um
Paul Thompson: Working?
James Ortiz: Yeah, working design, so. So I think
Paul Thompson: I can
James Ortiz: Can you go to the next one? I uh it's not this one. It's uh
Paul Thompson: Okay.
James Ortiz: oth the oth so I It's the working design. Sorry. Component
Paul Thompson: It's
James Ortiz: design.
Paul Thompson: okay
James Ortiz: So this yeah so this is the described use What? Are you inst
Paul Thompson: Uh I think there's something wrong with your
Jeffrey Kleinknecht: It did didn't r receive it. Didn't
Paul Thompson: Maybe you
Jeffrey Kleinknecht: receive it.
Paul Thompson: you record it somewhere else.
James Ortiz: I don't think so.
Jeffrey Kleinknecht: Participant one. Participant one.
Paul Thompson: Interface concept. No.
Richard Jacobs: Hmm.
Paul Thompson: Mm mm.
James Ortiz: Oh. Maybe I record recorded directly on the Computer.
Richard Jacobs: Yeah.
Paul Thompson: Uh.
Richard Jacobs: Dunno.
Paul Thompson: Nope.
James Ortiz: Okay, okay. Yes.
Paul Thompson: It seems that we have a problem with the
Richard Jacobs: I dunno if you remember what you had to say or
James Ortiz: I can say it to you without.
Paul Thompson: Yeah, so
Jeffrey Kleinknecht: Yeah, maybe we can first come to
Paul Thompson: No, I think it will be more interesting
Jeffrey Kleinknecht: uh
Paul Thompson: to
Jeffrey Kleinknecht: to Frahan.
Paul Thompson: start with uh
Jeffrey Kleinknecht: With Frahan,
Richard Jacobs: I think it's
Jeffrey Kleinknecht: then
Richard Jacobs: more
Jeffrey Kleinknecht: you
Richard Jacobs: interesting
Jeffrey Kleinknecht: can prepare
Richard Jacobs: what
Jeffrey Kleinknecht: your slides,
Richard Jacobs: he says, okay.
Jeffrey Kleinknecht: then present
Paul Thompson: Yeah.
Jeffrey Kleinknecht: it later.
James Ortiz: Yeah, exac Okay.
Paul Thompson: I think it will be interesting after your
James Ortiz: Yeah.
Paul Thompson: presentation
Richard Jacobs: Yeah,
Paul Thompson: to have
Richard Jacobs: true.
Paul Thompson: um Baba's presentation.
James Ortiz: Yeah.
Jeffrey Kleinknecht: Okay.
James Ortiz: In fact, I don't
Paul Thompson: So.
James Ortiz: know, I s
Paul Thompson: Okay.
James Ortiz: because i in my presentation I don't have here with so
Paul Thompson: Okay, never
James Ortiz: It
Paul Thompson: mind.
James Ortiz: was in fact the design use to show you the design of what is inside
Jeffrey Kleinknecht: Okay.
James Ortiz: a what is inside and what are the different component of the r of the remote control.
Jeffrey Kleinknecht: Okay.
James Ortiz: So it will be interesting so I could show you some some picture
Jeffrey Kleinknecht: Okay.
James Ortiz: of what is inside and so. So I in fact the the f something I want to discuss is which kind of material are we going to use, so
Paul Thompson: Mm-hmm.
James Ortiz: will it will be wooden wooden di wooden remote control or a a plastic remote control like this one. So and in which which which kind will be the the different bu button,
Paul Thompson: Mm-hmm.
James Ortiz: so it can be some, you know, classic pushbutton like this one, or you have also some button like L_C_D_ where you know,
Jeffrey Kleinknecht: Mm-hmm.
Paul Thompson: Mm-hmm.
James Ortiz: the button the buttons are unlighted during the night, or, you know, you can
Paul Thompson: Okay.
James Ortiz: see them in the darkness.
Jeffrey Kleinknecht: Okay.
James Ortiz: And the other thing I want to discuss also is which kind of alimentation, electric alimentation do you want to have, so will it be for example uh d uh solar energy alimentation
Jeffrey Kleinknecht: Uh-huh.
James Ortiz: or will it be a battery like the classical battery so. And I think that for example for the alimentation it would be good to have uh both of them, so so for example in some country where you are in the the countryside and you are far from, you know, the cities uh
Jeffrey Kleinknecht: Mm-hmm.
James Ortiz: for example in some place in in S Senegal, so if you have electric if you have solar
Jeffrey Kleinknecht: Mm-hmm.
James Ortiz: alimentation, you just, when you want to have recharger or remote control power you just put it on the sun and after one hour you can come and so it can be interesting for people to have this kind of remote con It can be something interesting to make people buy it, for example.
Paul Thompson: Yeah, I think it's an
James Ortiz: Yeah.
Paul Thompson: added value to the remote control
James Ortiz: Yeah, yeah
Paul Thompson: and maybe
James Ortiz: mm.
Paul Thompson: it can attract all the ecological
James Ortiz: yeah,
Paul Thompson: k
Richard Jacobs: Yeah.
James Ortiz: yeah,
Paul Thompson: yeah
James Ortiz: yeah,
Paul Thompson: consumers
James Ortiz: yeah,
Richard Jacobs: Yeah.
James Ortiz: yeah.
Paul Thompson: and but about the the price of adding this solar battery, would it be something really that will increase the price of production more, no?
James Ortiz: Alrigh In fact, having them both will if we want to have battery, regular battery and and the solar energy battery it could be it'll it will add a little bit of the price,
Paul Thompson: So.
James Ortiz: but it will be an added value also that will be
Richard Jacobs: Yeah.
James Ortiz: compensated,
Paul Thompson: Okay.
James Ortiz: so hmm.
Paul Thompson: And what tha what about the uh materials?
James Ortiz: And the materials, it depends for example you if you have a wooden material it can be more the plastic material is more common it's
Paul Thompson: Impersonal,
James Ortiz: very resistant but,
Paul Thompson: mm-hmm.
James Ortiz: you know, something wooden will be like, I don't know
Paul Thompson: Yeah.
Richard Jacobs: Special
James Ortiz: high
Richard Jacobs: for
James Ortiz: cl so a special high class, or you know,
Richard Jacobs: Mm-hmm.
Paul Thompson: Yeah, and
James Ortiz: you
Paul Thompson: i
James Ortiz: can have some
Paul Thompson: if you we want to put fashion in electronics maybe we can try to do something with wood.
Jeffrey Kleinknecht: Mm-hmm.
James Ortiz: Yeah, even
Richard Jacobs: Yeah.
James Ortiz: if it is not completely wood, but just a part of the, you
Paul Thompson: Mm-hmm.
James Ortiz: know, will be wooden, in wood
Paul Thompson: Mm.
James Ortiz: and it can be interesting.
Paul Thompson: Mm okay, seems
James Ortiz: And
Paul Thompson: to be interesting,
James Ortiz: so
Paul Thompson: mm.
James Ortiz: the last point is y also would do you want to have some very cheap integrated cir circuits, chips, or do you have low level or or very very expensive, it depends, but I think that low level will be, you know, it is an interim module.
Paul Thompson: Yeah, we want something easy to use and
James Ortiz: Yeah.
Paul Thompson: so I think maybe something very low level wou
James Ortiz: Yeah. Yeah,
Paul Thompson: would be enough.
James Ortiz: yeah.
Paul Thompson: And you think that we will be
James Ortiz: Yeah, I think it will fit on the price we want, twel
Paul Thompson: Okay.
James Ortiz: twelve Euros, so.
Paul Thompson: So wood. And what about the buttons?
James Ortiz: I think the buttons I pr I prefer, you know, the L_C_D_ you know lighted buttons because, you know, it's I don't know
Paul Thompson: No it's fashion,
James Ortiz: um yeah, in the
Paul Thompson: yeah.
James Ortiz: dark, it's fashion and it's related to how beautiful it is or uh if you want to watch T_V_ in the darkness or if you want to lo find your find your your remote control that is lost, you know in the darkness it's very easy so, right.
Richard Jacobs: What about the touch scr touch screen? For example. It's it's expensive I I guess.
James Ortiz: I think a touch screen will be t as expensive as the L_C_D_ buttons so.
Richard Jacobs: Mm.
James Ortiz: But And it is a kind of other design, I mean. It can
Richard Jacobs: Yeah.
James Ortiz: also be interesting to have this kind of
Jeffrey Kleinknecht: So you got email?
Paul Thompson: I dunno. I think we have only uh five minutes left.
Richard Jacobs: Okay.
Paul Thompson: Participant four? Functional requirements?
Richard Jacobs: Uh no, trend watching. The other one.
Paul Thompson: This one?
Richard Jacobs: Yeah. Uh, I think so, just Yeah, so just to meet the user requirements I would just do a s short anal analysis of the remote control market and to kind of um have a better overview of what's the fashion in general I've checked more than only the remote control market, so next. So again, it's pretty much similar to what I've said in the previous meeting. Um user really really want a fancy look and feel. They're not so so interested in uh functional look and feel, okay. Like the one you've shown, David,
Jeffrey Kleinknecht: Mm.
Richard Jacobs: with all the buttons and I
James Ortiz: Mm.
Richard Jacobs: mean i i it sounds good technically but it's it's not what they want and uh So, second point is they still want it it to be technologically innovative, so maybe it's sort of related to what you've said with the speech recognition and so on.
Paul Thompson: Okay.
Richard Jacobs: At the same time, it's important that it's easy to use. So that were the three first points from the remote control uh analysis. Now i if we look at fashion in general um Okay. Wha what we really see this year is that uh everything from clothes to shoes and furniture is is inspired by fruits and vegetables, okay,
James Ortiz: Ah yes.
Richard Jacobs: so I think we really have to take this into account for the design of the
James Ortiz: Yeah,
Richard Jacobs: the thing.
James Ortiz: yeah. Okay, yeah.
Richard Jacobs: 'Cause it's it's really what people want. Even if it's in general fashion, we want it to be in the remote control. And then uh if if we take the ordering or the ranking of all the points, fancy look and feel has, on a score of seven would have six as importance. Uh the remote control has to be technologically innovative, it's three. Then easy to use uh it's not so important actually with respect to other y other ones.
James Ortiz: Okay.
Richard Jacobs: So we see fancy look an look and feel is the most important one, uh from Milan and Paris
James Ortiz: And fruit and vegetables yeah.
Richard Jacobs: we go to the fruits and vede vegetables. And the other point I haven't mention is people wan want to have a spongy
James Ortiz: Spongy
Richard Jacobs: touch, okay
James Ortiz: 'Kay.
Richard Jacobs: so this is this maybe doesn't really fit with the wooden design.
James Ortiz: Okay, yeah, yeah.
Richard Jacobs: I dunno.
James Ortiz: Yeah, but the problem is which kind of material do you need to to be spongy?
Richard Jacobs: Yeah thi this is this would be like um
James Ortiz: Pla
Richard Jacobs: plastic-like,
James Ortiz: S
Richard Jacobs: but
James Ortiz: Very stuff
Richard Jacobs: rubber, mayb
James Ortiz: Okay,
Richard Jacobs: maybe,
James Ortiz: rubber
Richard Jacobs: you
James Ortiz: rubber
Richard Jacobs: know, rubber-like
James Ortiz: desi okay, yeah.
Richard Jacobs: uh
James Ortiz: Yeah.
Richard Jacobs: device, so um
James Ortiz: Yeah.
Richard Jacobs: Okay, tha tha that was the main point, I think, from the trend in fashion.
James Ortiz: Okay.
Paul Thompson: So we have to take decisions about the component concepts, about the energy. So, as you say you want something technologically innovative,
James Ortiz: Yeah.
Paul Thompson: maybe using
James Ortiz: Solar.
Paul Thompson: solar energy and
Richard Jacobs: Yeah, so when I think it's
James Ortiz: Okay.
Paul Thompson: with battery would be something interesting, maybe will attract
Richard Jacobs: Mm-hmm
James Ortiz: Yeah. It will be a
Paul Thompson: pro-ecology consumers.
James Ortiz: Yeah.
Paul Thompson: Uh cheap imprint so you s you propose low level
James Ortiz: Yeah, I
Paul Thompson: chips
James Ortiz: think
Paul Thompson: would be uh enough to have something
James Ortiz: Yeah, yeah.
Paul Thompson: working well.
James Ortiz: Yeah.
Paul Thompson: Case.
Jeffrey Kleinknecht: Later?
Paul Thompson: So you think case. Something spongy. Someth no wood.
James Ortiz: No wood but
Richard Jacobs: Maybe not no
James Ortiz: Plastic?
Richard Jacobs: wood, but I mean
James Ortiz: Would some
Richard Jacobs: ma maybe not the part you
Jeffrey Kleinknecht: Pla
Richard Jacobs: touching you
Paul Thompson: Maybe
Richard Jacobs: know.
James Ortiz: I think
Paul Thompson: you
James Ortiz: we can have wood for example in the bottom and, you
Richard Jacobs: Yeah,
James Ortiz: know.
Richard Jacobs: maybe
James Ortiz: It depends
Richard Jacobs: the base.
James Ortiz: on the design we want, so.
Paul Thompson: It's
Richard Jacobs: But still y
Paul Thompson: it's natural.
James Ortiz: Yeah,
Richard Jacobs: Yeah.
Paul Thompson: Th
James Ortiz: it's natural
Paul Thompson: The feeling
James Ortiz: and i
Paul Thompson: is natural, so maybe we can stay with wood.
James Ortiz: And it can be correlated to energy, solar energy, so for the marketing aspect, you know, saying
Richard Jacobs: Yeah,
James Ortiz: that
Richard Jacobs: I mean
James Ortiz: it's
Richard Jacobs: it's not
James Ortiz: ecol
Richard Jacobs: exactly right for the spongy
James Ortiz: Mm,
Richard Jacobs: point
James Ortiz: yeah,
Richard Jacobs: of view.
James Ortiz: it's not right, so.
Paul Thompson: But it's still fashion.
Richard Jacobs: But we could maybe have both like part of wood and some rubber for the buttons, or
James Ortiz: Okay.
Richard Jacobs: I
Paul Thompson: Yeah,
Richard Jacobs: dunno.
Paul Thompson: something that you can
Richard Jacobs: Yeah.
Paul Thompson: into it. Uh and what about the user interface concept?
James Ortiz: Google and
Paul Thompson: Google and fancy?
James Ortiz: and fancy, f how about the the voice?
Paul Thompson: Because
James Ortiz: And
Paul Thompson: I think that with the voice and gesture recognition there are still some disadvantages with this.
Jeffrey Kleinknecht: Uh
James Ortiz: Uh
Jeffrey Kleinknecht: yes.
James Ortiz: maybe we can do some marketing studies asking people if they're interested and how It It is an an interesting concept to see to have
Richard Jacobs: Yeah.
James Ortiz: uh
Jeffrey Kleinknecht: Yeah.
James Ortiz: voice control.
Jeffrey Kleinknecht: Yeah. The smart
James Ortiz: Mm.
Jeffrey Kleinknecht: controller.
James Ortiz: Yeah. But and the problem is I I'm we can infer i if you have v voice control why not to put it directly on the the T_V_, so speak directly to the T_V_ and you don't need a remote control actually, so.
Paul Thompson: Yeah, but you need a receiver to recognize the gestures and the voice.
James Ortiz: But it will be embedded on the T_V_ and not on the remote control, so.
Paul Thompson: That's
Richard Jacobs: Yeah
Paul Thompson: true.
Richard Jacobs: d
Jeffrey Kleinknecht: Okay.
Richard Jacobs: I dunno.
Paul Thompson: So maybe we'll just focus on the Google controller plus the
Jeffrey Kleinknecht: Mm.
Paul Thompson: fancy controller, maybe try to mix them these two concepts together, just in one and do a remote control with solar energy
Jeffrey Kleinknecht: Yeah.
Paul Thompson: and batteries and with lev low level chips and wood.
Jeffrey Kleinknecht: It's good.
Paul Thompson: And L_C_D_ buttons.
James Ortiz: Yeah, L_C_D_.
Paul Thompson: Yeah, I think for these supplements the solar energy would be something quite interesting and not maybe too difficult
James Ortiz: Yeah,
Paul Thompson: to add.
James Ortiz: yeah, yeah. And pf what can we think a supplement to
Richard Jacobs: What interface?
Paul Thompson: Yeah, for the interface something added value.
James Ortiz: I think the supplement can be the voice. It is just, you know, it is not the most important, but it can be a part of
Paul Thompson: With a module? You mean the remote control with a mur module if you want you can
James Ortiz: Yeah,
Paul Thompson: just use
James Ortiz: yeah.
Paul Thompson: commands, words
James Ortiz: Yeah.
Paul Thompson: and
James Ortiz: Mm.
Paul Thompson: use them
Jeffrey Kleinknecht: Mm-hmm.
Paul Thompson: when you don't want to use
James Ortiz: To
Paul Thompson: your
James Ortiz: push
Paul Thompson: fingers.
James Ortiz: button, yeah, yeah. Even it is for s just some kids, you know, switching channels one two three four.
Paul Thompson: Turning the T_V_
James Ortiz: Yeah,
Paul Thompson: o
James Ortiz: turning
Paul Thompson: on o
James Ortiz: yeah,
Paul Thompson: or off.
James Ortiz: yeah. Not very complex commands, but easy commands, so.
Paul Thompson: So, adding some vocal commands.
James Ortiz: Yeah.
Paul Thompson: Simple ones?
James Ortiz: Yeah, simple ones for
Paul Thompson: Okay. So the next meeting will start in thirty meeti minutes so we'll you will all have to work in in your direction. So you will have to work on the look and feel design,
Jeffrey Kleinknecht: Yeah.
Paul Thompson: to have the easy to use, powerful and fancy remote control
Jeffrey Kleinknecht: Yep.
Paul Thompson: with some added value such as the uh simple vocal commands recognition.
Jeffrey Kleinknecht: Yeah.
Paul Thompson: Uh you will have to work more, Baba, on the um spongy way to to add spongy um
James Ortiz: expensive
Paul Thompson: touch
James Ortiz: buttons
Paul Thompson: to the buttons
James Ortiz: Yeah, to make some
Paul Thompson: and
James Ortiz: new
Paul Thompson: try to find maybe a nice shape for the wooden remote control.
James Ortiz: Yeah.
Paul Thompson: And I sup I think we'll have to evaluate th the product
Richard Jacobs: Yeah,
Paul Thompson: too.
Richard Jacobs: no not forgetting about the fruits and vegetables
Paul Thompson: Yeah.
James Ortiz: Okay, fruits.
Richard Jacobs: trends.
Paul Thompson: Yeah.
Richard Jacobs: If possible.
James Ortiz: Okay.
Paul Thompson: And remember as as I said last meeting, we really have to build a fashion remote control and uh the colour of the um the society will be really
James Ortiz: Need it to be, okay.
Paul Thompson: it will be seen in the remote control. So you will have Baba and David Jordan you will have to work together on the prototype
Jeffrey Kleinknecht: Yeah.
Paul Thompson: and you will have next time to show us um modelling a cl a clay remote control, so
Jeffrey Kleinknecht: Okay.
James Ortiz: Okay.
Paul Thompson: you will have to model model something.
Jeffrey Kleinknecht: Yep
Paul Thompson: And I think that some specific instructions will be sent to you by your personal coach.
James Ortiz: Okay.
Paul Thompson: So,
Jeffrey Kleinknecht: Okay.
Paul Thompson: no more questions, we can close the session.
Richard Jacobs: Hmm.
James Ortiz: Sounds good, mm-hmm.
Richard Jacobs: Okay.
Paul Thompson: Yeah.
Jeffrey Kleinknecht: Okay.
Paul Thompson: Okay, cool. | Jeffrey Kleinknecht presented three different concepts to consider for the user interface and introduced the idea of using speech recognition in the design of the remote. The team discussed the issue of using speech recognition at length. James Ortiz presented possible materials to use in making the case for the remote, introduced the option of using a solar battery, and discussed options for buttons. The Marketing Specialist discussed recent findings from trend watching reports. The team discussed what materials to use and their interface concept. | 5 | amisum | train |
Kenneth Spaulding: Mm-hmm So, ready?
Jeffrey Long: No
Michael Billings: 'Kay.
Jeffrey Long: not really. Just Crap.
Kenneth Spaulding: Sorry I,
Jeffrey Long: Okay.
Kenneth Spaulding: I
Michael Billings: It's perfect.
Kenneth Spaulding: um I'm
Calvin Embree: Your
Kenneth Spaulding: afraid
Calvin Embree: judgement it's is biased.
Kenneth Spaulding: Uh thi this remote control will stay a prototype.
Jeffrey Long: 'Kay, so whe where is the remote control?
Calvin Embree: So,
Michael Billings: Where
Calvin Embree: we are
Michael Billings: It's? here.
Calvin Embree: So
Kenneth Spaulding: Okay.
Calvin Embree: let's go for our detailed design meeting.
Jeffrey Long: Yep.
Calvin Embree: So I will still play the role of the secretary, and we'll have um first the project presentation by our
Michael Billings: Okay.
Calvin Embree: User Interface Designer, David Jordan,
Michael Billings: Yeah.
Kenneth Spaulding: Yeah.
Calvin Embree: and our Industrial Designer, Baba.
Kenneth Spaulding: Yeah.
Michael Billings: 'Kay.
Calvin Embree: So we'll have to evaluate the uh your proposed remote control, and um have an idea of the price that uh this thing will cost. And in case we're all agree on the fabrica of um building of this remote control, we'll evaluate the um production. So maybe I will let the our two designers talk about so
Michael Billings: I have slides.
Calvin Embree: their
Kenneth Spaulding: Okay.
Calvin Embree: You have s oh, sorry. Oops.
Michael Billings: Ah, that is
Kenneth Spaulding: Effectively
Michael Billings: three.
Kenneth Spaulding: one slide and maybe we can
Michael Billings: Product prod
Kenneth Spaulding: discuss
Jeffrey Long: What
Kenneth Spaulding: everything.
Jeffrey Long: slides?
Michael Billings: Yep. Okay. Okay. So, this is our product or prototype. This is made by clay.
Calvin Embree: Looks strange.
Michael Billings: Yeah. Uh the basic colour is uh yellow and red. Yellow is uh our company colour,
Calvin Embree: Okay.
Michael Billings: uh red it's uh is more attractive. So we used two basic colour, yellow and red. And the there's two basic shape. The first is a circle and the second is a triangle s piece. It's
Kenneth Spaulding: Okay.
Michael Billings: we call it a mushroom design. It's looks like some mushroom,
Kenneth Spaulding: Yeah.
Michael Billings: so we call it mushroom design.
Kenneth Spaulding: Uh
Michael Billings: So this is a introduction of our product. Next
Calvin Embree: Genetically
Michael Billings: a mo
Calvin Embree: modified mushroom I will say, but
Jeffrey Long: Yeah.
Calvin Embree: keep
Michael Billings: Okay,
Calvin Embree: on speaking.
Michael Billings: yeah, so next slide. So there are several key features of our pr prototype. The first is that it is fuzzy. I'm sure this would be the unique design the market.
Kenneth Spaulding: Yeah,
Calvin Embree: Oh.
Kenneth Spaulding: yeah I'm sure.
Calvin Embree: Maybe, I hope so.
Michael Billings: Yeah, so it's a fuzzy design, and a unique design.
Kenneth Spaulding: Yeah, that's
Michael Billings: Um,
Kenneth Spaulding: true.
Michael Billings: and uh the second key feature is that uh s circle channel um selection. In the traditional key uh traditional controller use button to to select the channel but now we have a s circle, so we can turn this ball to t to select channel. So it's quite
Calvin Embree: Chan
Michael Billings: convenient for user to use it.
Calvin Embree: Yeah, okay, but don't
Michael Billings: Yeah,
Calvin Embree: touch don't destroy
Michael Billings: s
Calvin Embree: your prototype.
Michael Billings: okay. Uh the third feature is a stable triangle base. Uh this sta uh this triangle base is very stable, so uh so it's it's um it's unlikely you cannot found it. So it's v Um, you can put it in the table so you can turn the the ball to cha to select the channel and there's some cute button. You c can can you can see the the shape of the buttons n is a mushroom, so
Calvin Embree: Everything's mushroom.
Kenneth Spaulding: Yeah.
Michael Billings: Yeah,
Calvin Embree: So
Michael Billings: everything's
Calvin Embree: we can
Michael Billings: mushroom.
Calvin Embree: call our
Michael Billings: Mush
Calvin Embree: remote control the mushroom.
Kenneth Spaulding: Yeah
Michael Billings: Mushroom
Kenneth Spaulding: but
Michael Billings: design,
Kenneth Spaulding: it's not
Michael Billings: yeah.
Kenneth Spaulding: like really mushroom because you have uh you know uh like lemon shape, you know, centre
Michael Billings: Yeah.
Kenneth Spaulding: is
Calvin Embree: Okay.
Kenneth Spaulding: yellow and
Michael Billings: Yeah,
Kenneth Spaulding: t
Michael Billings: th that's why if
Kenneth Spaulding: d
Michael Billings: you put it in the table, be
Kenneth Spaulding: To integrate,
Michael Billings: careful,
Kenneth Spaulding: you
Michael Billings: somebody
Kenneth Spaulding: know yeah.
Michael Billings: will eat it.
Kenneth Spaulding: I don't think I hope nobody will eat it. You know, to integrate the fruit aspect, you know the
Michael Billings: Yeah.
Calvin Embree: Oh.
Jeffrey Long: Yeah,
Kenneth Spaulding: the
Jeffrey Long: because mushroom
Kenneth Spaulding: in
Jeffrey Long: was not in the trends. I mean
Kenneth Spaulding: Really?
Jeffrey Long: there
Calvin Embree: Fruits
Kenneth Spaulding: But
Jeffrey Long: was fruits
Calvin Embree: and vegetables.
Jeffrey Long: yeah.
Kenneth Spaulding: Fruit and vegetable, so
Calvin Embree: Vegetables.
Jeffrey Long: Yeah.
Kenneth Spaulding: mushroom was
Calvin Embree: Mushroom
Kenneth Spaulding: a kind
Calvin Embree: is a vegetable.
Kenneth Spaulding: of you know
Jeffrey Long: I don't think
Kenneth Spaulding: uh
Jeffrey Long: it is.
Michael Billings: Yeah.
Calvin Embree: It's vegetable.
Kenneth Spaulding: Mushroom?
Michael Billings: Yeah.
Jeffrey Long: Mm-hmm.
Kenneth Spaulding: Oh, uh I'm not
Calvin Embree: So
Kenneth Spaulding: sure.
Calvin Embree: th it's something eatable.
Kenneth Spaulding: We can
Jeffrey Long: Yeah.
Kenneth Spaulding: it's a veg a kind of vegetable, but you know
Michael Billings: Yeah.
Kenneth Spaulding: we we integrated them with different
Jeffrey Long: But
Kenneth Spaulding: colour.
Jeffrey Long: anyway this is not a mushroom anyway, so
Michael Billings: Yeah.
Jeffrey Long: it's fine.
Kenneth Spaulding: I I think we take into account what you said about fruit and vegetable you know. This, you know, very
Jeffrey Long: No, I mean,
Kenneth Spaulding: enlighted
Jeffrey Long: yeah
Kenneth Spaulding: colours, you
Jeffrey Long: yeah.
Kenneth Spaulding: know.
Jeffrey Long: Inspira inspiration
Kenneth Spaulding: And inspired
Jeffrey Long: is
Kenneth Spaulding: colour and and very sophisticated material, so.
Jeffrey Long: True.
Michael Billings: Yeah.
Kenneth Spaulding: And so
Calvin Embree: Next slide.
Michael Billings: Uh, no this our only
Kenneth Spaulding: So
Michael Billings: two
Kenneth Spaulding: what
Michael Billings: slides.
Kenneth Spaulding: we w what I can add is that, you know he talk about what is outside,
Michael Billings: Yeah.
Kenneth Spaulding: so what is inside is what we dis what we talked before about, you know, the chip, it is a low level chip, and
Michael Billings: So we cut it to see.
Kenneth Spaulding: You know, we don't need to k.
Calvin Embree: Mm-hmm.
Kenneth Spaulding: You know wi the low level chips inside and you know the L_C_D_ button
Michael Billings: Okay.
Kenneth Spaulding: and the
Michael Billings: So
Kenneth Spaulding: i
Michael Billings: where's the battery battery?
Kenneth Spaulding: The battery it is under. It
Calvin Embree: In the base.
Kenneth Spaulding: is in
Michael Billings: Base.
Kenneth Spaulding: th in
Calvin Embree: In the
Kenneth Spaulding: in
Calvin Embree: basement.
Kenneth Spaulding: the base,
Michael Billings: Here?
Kenneth Spaulding: yeah.
Calvin Embree: In the basement. And where is
Jeffrey Long: But
Calvin Embree: the
Jeffrey Long: we
Calvin Embree: solar
Jeffrey Long: say uh
Calvin Embree: solar
Jeffrey Long: we sa
Calvin Embree: cell?
Jeffrey Long: we said solar.
Calvin Embree: Where
Kenneth Spaulding: In
Calvin Embree: is
Kenneth Spaulding: fact
Calvin Embree: the solar
Kenneth Spaulding: this
Calvin Embree: cell?
Kenneth Spaulding: this this this is a kind of you know revolutionary solar receptor that we can put outside and
Calvin Embree: Oh. Do you
Michael Billings: Okay.
Calvin Embree: think it won't be It won't cris increase the price?
Kenneth Spaulding: I don't think so,
Calvin Embree: Okay,
Kenneth Spaulding: but it
Calvin Embree: we'll
Kenneth Spaulding: it's
Calvin Embree: see after.
Kenneth Spaulding: might be
Calvin Embree: We
Kenneth Spaulding: okay, so.
Calvin Embree: will have
Kenneth Spaulding: I
Calvin Embree: first
Kenneth Spaulding: it might be
Calvin Embree: to
Kenneth Spaulding: okay.
Michael Billings: Okay.
Kenneth Spaulding: So
Calvin Embree: so, mister money, what's
Jeffrey Long: Yeah.
Calvin Embree: your opinion according to this remote control?
Jeffrey Long: I mean, we gonna try to measure how good it is instead of just talking about uh we had three keys key points to uh for this remote control design, and first one was uh
Calvin Embree: Mm-hmm.
Jeffrey Long: fancy look and feel.
Kenneth Spaulding: Yeah.
Michael Billings: Yeah.
Jeffrey Long: So w we'll try to judge this feature uh with a one to seven scale, one being uh no, I think. Uh just let Jeffrey Long check.
Kenneth Spaulding: So, four point three point five, it means it's acceptable.
Jeffrey Long: One one being true, and seven being false. Okay.
Kenneth Spaulding: Oops.
Jeffrey Long: Ouch. So
Michael Billings: Okay.
Jeffrey Long: Do we have a fancy look and feel,
Michael Billings: Yeah,
Jeffrey Long: according
Michael Billings: I
Jeffrey Long: to
Michael Billings: think
Jeffrey Long: you?
Michael Billings: so.
Kenneth Spaulding: I think you have nice colours. I don't
Jeffrey Long: But is it
Kenneth Spaulding: The sha the bowl shape
Michael Billings: Yeah,
Kenneth Spaulding: people
Michael Billings: the shape
Kenneth Spaulding: like.
Michael Billings: is unique, and the colour
Jeffrey Long: Uh I'll agree it's unique, but is it really
Michael Billings: So
Kenneth Spaulding: Is
Michael Billings: it
Kenneth Spaulding: it
Michael Billings: depend
Kenneth Spaulding: really
Michael Billings: on
Kenneth Spaulding: fancy?
Michael Billings: how d do you define fancy.
Jeffrey Long: Yeah I mean, fancy was was defined by s fruit and vegetable look.
Kenneth Spaulding: But it's you have the lemon aspect of this th this this thing.
Jeffrey Long: Yeah.
Calvin Embree: Maybe if you change if you take the buttons out,
Kenneth Spaulding: Do Don't
Calvin Embree: and maybe
Kenneth Spaulding: do that,
Calvin Embree: do
Kenneth Spaulding: please.
Calvin Embree: things like that
Jeffrey Long: I dunno where the lemon is, but I mean it's
Kenneth Spaulding: I
Jeffrey Long: not
Kenneth Spaulding: it's
Jeffrey Long: obvious.
Kenneth Spaulding: it's i this shape is a lemon like, so
Calvin Embree: It would be bet more like a lemon?
Kenneth Spaulding: Yeah.
Jeffrey Long: If
Kenneth Spaulding: Because
Jeffrey Long: I dunno, maybe
Kenneth Spaulding: i
Jeffrey Long: improving the texture of like having
Calvin Embree: Yeah.
Jeffrey Long: it less
Kenneth Spaulding: Less
Jeffrey Long: smooth
Kenneth Spaulding: button.
Jeffrey Long: or
Michael Billings: Uh so, my mush.
Calvin Embree: Looks like more fruit.
Kenneth Spaulding: Yeah,
Michael Billings: Mm.
Kenneth Spaulding: but you
Calvin Embree: Maybe
Kenneth Spaulding: don't have any
Calvin Embree: a
Kenneth Spaulding: button now.
Calvin Embree: pineapple?
Jeffrey Long: Yeah. I dunno.
Calvin Embree: And you know, you have the finger here,
Michael Billings: Yeah.
Calvin Embree: with the buttons?
Michael Billings: Hmm.
Kenneth Spaulding: That's uh yeah, is
Jeffrey Long: Yeah,
Kenneth Spaulding: that
Jeffrey Long: it's
Kenneth Spaulding: that's
Jeffrey Long: getting
Kenneth Spaulding: a good idea. So that's great.
Calvin Embree: It looks more like a pineapple.
Kenneth Spaulding: That's
Calvin Embree: Sorry.
Kenneth Spaulding: great.
Calvin Embree: What's the use for that?
Michael Billings: Uh, for
Kenneth Spaulding: I have
Michael Billings: turn
Kenneth Spaulding: no
Michael Billings: turn
Kenneth Spaulding: idea,
Michael Billings: the ball.
Kenneth Spaulding: so.
Michael Billings: If you want to turn the ball,
Kenneth Spaulding: I have no idea
Michael Billings: it's very it's very convenient for
Kenneth Spaulding: what
Michael Billings: you to to to turn the ball to change the channel.
Jeffrey Long: Okay.
Calvin Embree: And
Michael Billings: Uh.
Calvin Embree: where is the voice recognition?
Michael Billings: Ah, it's embedded, your microphone.
Jeffrey Long: Yeah, that's
Calvin Embree: Okay.
Michael Billings: Th this th th there's two
Jeffrey Long: Wait th that's
Michael Billings: two
Jeffrey Long: the
Michael Billings: functions.
Jeffrey Long: second point.
Michael Billings: This is microphone
Jeffrey Long: First one
Michael Billings: array
Jeffrey Long: is we have to judge the
Kenneth Spaulding: If it is fancy or not.
Jeffrey Long: fancy
Calvin Embree: Okay.
Jeffrey Long: look and feel.
Calvin Embree: Is it better
Jeffrey Long: I mean
Calvin Embree: like that?
Kenneth Spaulding: So
Calvin Embree: Looks
Kenneth Spaulding: we can we can
Calvin Embree: okay,
Kenneth Spaulding: say
Calvin Embree: let's say it's
Kenneth Spaulding: t
Calvin Embree: a pineapple now.
Kenneth Spaulding: The colour, is the colour acceptable?
Jeffrey Long: No, the colour is okay, that's fine.
Kenneth Spaulding: So the shape
Jeffrey Long: I mean
Kenneth Spaulding: now.
Jeffrey Long: it's
Calvin Embree: It
Jeffrey Long: but
Calvin Embree: looks
Jeffrey Long: I
Calvin Embree: like
Jeffrey Long: would say
Calvin Embree: a
Jeffrey Long: there is more too much red.
Calvin Embree: now
Kenneth Spaulding: It's
Calvin Embree: you
Kenneth Spaulding: too
Calvin Embree: took
Kenneth Spaulding: much
Calvin Embree: it.
Kenneth Spaulding: red?
Jeffrey Long: Um
Kenneth Spaulding: In
Jeffrey Long: if
Kenneth Spaulding: the basement?
Calvin Embree: It looks like a pineapple with cherry on top.
Michael Billings: Okay.
Jeffrey Long: Right. So, from one to seven?
Calvin Embree: Mm uh
Kenneth Spaulding: I will give
Calvin Embree: Seven
Kenneth Spaulding: I will
Calvin Embree: is the ma the maximum?
Jeffrey Long: No,
Kenneth Spaulding: I'll
Jeffrey Long: seven
Kenneth Spaulding: gi
Jeffrey Long: is false and one is true.
Kenneth Spaulding: I'll give two or three. Three, it's
Calvin Embree: Three,
Kenneth Spaulding: okay.
Calvin Embree: I will say three.
Kenneth Spaulding: Three, three.
Jeffrey Long: Three?
Kenneth Spaulding: Three is fine for Jeffrey Long.
Jeffrey Long: Okay.
Michael Billings: 'Kay.
Jeffrey Long: Three.
Calvin Embree: Isn't it bitter like that?
Michael Billings: Yeah yeah
Jeffrey Long: Then
Michael Billings: yeah.
Jeffrey Long: uh let Jeffrey Long
Kenneth Spaulding: What other
Jeffrey Long: The other criterion is
Kenneth Spaulding: Is it easy
Jeffrey Long: is it
Kenneth Spaulding: to use?
Jeffrey Long: technologically uh
Calvin Embree: Feasible?
Jeffrey Long: technologically in innovative.
Kenneth Spaulding: Ye uh
Calvin Embree: You said previously that you there's um microphone inside an
Kenneth Spaulding: Embedded.
Michael Billings: Yeah, this is microphone array, in fact.
Kenneth Spaulding: It's a micro
Michael Billings: There four
Kenneth Spaulding: array,
Michael Billings: microphone.
Calvin Embree: Oh. Okay,
Kenneth Spaulding: okay.
Michael Billings: So they they they
Calvin Embree: and
Michael Billings: they
Calvin Embree: you
Michael Billings: there's
Calvin Embree: have
Michael Billings: a microphone
Calvin Embree: the
Michael Billings: array.
Calvin Embree: there's the technology inside that recognise simple vocal
Michael Billings: Yeah,
Calvin Embree: comments?
Michael Billings: yeah. So you
Calvin Embree: And
Michael Billings: can
Calvin Embree: you
Michael Billings: capture
Calvin Embree: can turn
Michael Billings: voice
Calvin Embree: it so
Kenneth Spaulding: Oh
Michael Billings: yeah,
Kenneth Spaulding: yeah,
Calvin Embree: maybe
Michael Billings: you
Kenneth Spaulding: yeah.
Calvin Embree: it's
Michael Billings: c
Calvin Embree: techno
Michael Billings: Yeah,
Calvin Embree: technologically
Michael Billings: so you can
Kenneth Spaulding: And
Calvin Embree: innov
Kenneth Spaulding: I
Michael Billings: capture
Kenneth Spaulding: think
Calvin Embree: innovative?
Kenneth Spaulding: you you've never seen
Michael Billings: s voice
Kenneth Spaulding: a rou
Michael Billings: from
Kenneth Spaulding: a round
Michael Billings: different
Kenneth Spaulding: remote control, so
Michael Billings: directions.
Kenneth Spaulding: it is
Jeffrey Long: Yeah
Michael Billings: Yeah.
Jeffrey Long: bu but
Kenneth Spaulding: I
Jeffrey Long: when you say technologically it's more uh
Kenneth Spaulding: W
Jeffrey Long: I dunno,
Kenneth Spaulding: Yeah, but
Jeffrey Long: in the core, or single.
Calvin Embree: We have tactile buttons.
Jeffrey Long: Mm-hmm.
Kenneth Spaulding: I see, you have microphone array embedded. You have
Jeffrey Long: No, that's good. Yeah.
Kenneth Spaulding: That's good. And you have, you know this ki this solar
Calvin Embree: Oh,
Kenneth Spaulding: receptor
Calvin Embree: yeah.
Kenneth Spaulding: that,
Jeffrey Long: Yeah, th
Kenneth Spaulding: you
Jeffrey Long: that's
Kenneth Spaulding: know
Jeffrey Long: another
Kenneth Spaulding: Yes.
Jeffrey Long: really good point.
Kenneth Spaulding: Yeah.
Jeffrey Long: Maybe
Kenneth Spaulding: I think technically
Jeffrey Long: okay.
Kenneth Spaulding: it's acceptable, so
Calvin Embree: Maybe two?
Kenneth Spaulding: Yeah.
Jeffrey Long: So using the same scale, two?
Calvin Embree: Two?
Kenneth Spaulding: Two,
Calvin Embree: I
Kenneth Spaulding: yeah, two. It's
Calvin Embree: would
Kenneth Spaulding: it's
Calvin Embree: say
Kenneth Spaulding: fine,
Calvin Embree: two.
Kenneth Spaulding: so.
Calvin Embree: You agree?
Jeffrey Long: Okay.
Michael Billings: Yeah, I agree.
Calvin Embree: It's better
Jeffrey Long: Now
Calvin Embree: like
Jeffrey Long: maybe
Calvin Embree: that, isn't
Jeffrey Long: the most
Calvin Embree: it?
Jeffrey Long: critical one.
Calvin Embree: Okay.
Kenneth Spaulding: Most
Jeffrey Long: L last one w I would like to judge is is it easy to use?
Kenneth Spaulding: Eh, for th the vocal command yes, it's might be easy. But it's
Michael Billings: Yeah,
Kenneth Spaulding: just
Michael Billings: it's
Kenneth Spaulding: speaking.
Michael Billings: very easy.
Kenneth Spaulding: You just need
Jeffrey Long: Yeah but
Kenneth Spaulding: the
Jeffrey Long: this
Kenneth Spaulding: command.
Michael Billings: You
Jeffrey Long: this
Michael Billings: can
Jeffrey Long: turning
Michael Billings: use this in this way.
Jeffrey Long: can you can you just re explain Jeffrey Long the
Kenneth Spaulding: As a principle.
Michael Billings: Yeah.
Jeffrey Long: Please.
Michael Billings: Th this is the base.
Jeffrey Long: Yeah.
Michael Billings: So you can turn to change the channel.
Jeffrey Long: Yeah but how how intuitive is it to turn things
Michael Billings: You just
Jeffrey Long: to change
Michael Billings: tu
Jeffrey Long: channels?
Michael Billings: turn d
Kenneth Spaulding: I
Michael Billings: d
Kenneth Spaulding: think maybe if you
Jeffrey Long: Like
Kenneth Spaulding: he
Jeffrey Long: if you want
Calvin Embree: Oh,
Jeffrey Long: to
Calvin Embree: ok
Jeffrey Long: go from
Calvin Embree: I understand.
Kenneth Spaulding: If you hear some
Calvin Embree: You take
Kenneth Spaulding: click
Calvin Embree: take the remote, so and you can turn
Michael Billings: Yeah.
Calvin Embree: like that to change the channel?
Michael Billings: Yeah.
Jeffrey Long: Yeah but imagine
Calvin Embree: I
Jeffrey Long: you
Calvin Embree: think
Jeffrey Long: y
Calvin Embree: it's quite easy to so s zapping, but maybe it will be too fast.
Kenneth Spaulding: Yeah, it
Jeffrey Long: Yeah
Kenneth Spaulding: would
Jeffrey Long: I'm I'm no I'm not definitely convinced it's it's the best way to if you wanna jump from, I dunno, one to twenty?
Kenneth Spaulding: Oh
Michael Billings: Yeah.
Kenneth Spaulding: yeah, that's difficult.
Jeffrey Long: How can you
Kenneth Spaulding: That's
Jeffrey Long: go
Kenneth Spaulding: dif that's
Jeffrey Long: directly
Kenneth Spaulding: difficult.
Jeffrey Long: to twenty, for example?
Michael Billings: No, no, no. I if y
Jeffrey Long: Yeah.
Michael Billings: uh if it depend on the the angle you turn the
Jeffrey Long: Yeah.
Kenneth Spaulding: Yeah
Jeffrey Long: I
Kenneth Spaulding: but
Jeffrey Long: agree.
Kenneth Spaulding: y how
Jeffrey Long: I agree. But I mean if
Kenneth Spaulding: you need to know
Michael Billings: I if
Jeffrey Long: you're
Kenneth Spaulding: I
Jeffrey Long: fro
Michael Billings: if
Jeffrey Long: from
Michael Billings: this
Jeffrey Long: two?
Michael Billings: is a channel one. So it c it could be channel
Kenneth Spaulding: I think
Michael Billings: two,
Kenneth Spaulding: something
Michael Billings: channel
Kenneth Spaulding: that
Michael Billings: three, channel
Kenneth Spaulding: Yeah.
Michael Billings: four, channel five.
Calvin Embree: Yeah, you have
Michael Billings: So
Calvin Embree: a,
Michael Billings: change.
Calvin Embree: like
Michael Billings: Yeah.
Calvin Embree: that,
Kenneth Spaulding: And
Jeffrey Long: Yeah
Kenneth Spaulding: you
Calvin Embree: and
Kenneth Spaulding: you
Jeffrey Long: ju
Kenneth Spaulding: can
Jeffrey Long: just
Calvin Embree: so on.
Jeffrey Long: imagine you have fifty fifty
Calvin Embree: Oh
Jeffrey Long: channels
Calvin Embree: yeah.
Jeffrey Long: uh
Michael Billings: Y uh fifth channel
Jeffrey Long: We're not
Michael Billings: divided
Jeffrey Long: talking
Michael Billings: by the num by the by three hundred thirteen degree.
Jeffrey Long: Yeah.
Michael Billings: So you got how many degree you
Calvin Embree: Yeah
Michael Billings: you
Calvin Embree: but y but you have
Michael Billings: it
Calvin Embree: to go through all the channels if
Kenneth Spaulding: I
Calvin Embree: you
Michael Billings: No
Kenneth Spaulding: think
Calvin Embree: want
Kenneth Spaulding: you
Michael Billings: no,
Calvin Embree: to
Kenneth Spaulding: can
Michael Billings: you
Calvin Embree: go
Michael Billings: don't
Kenneth Spaulding: if
Michael Billings: have
Kenneth Spaulding: you have
Michael Billings: to
Kenneth Spaulding: a scale,
Michael Billings: y
Kenneth Spaulding: so
Michael Billings: no it's uh when you when you stop t uh when you stop, the the turn,
Calvin Embree: Mm-hmm.
Michael Billings: then the angle you stop is the angle you is
Jeffrey Long: Yeah.
Michael Billings: the channel you
Jeffrey Long: How d how do you know this angle is th is the correct one?
Michael Billings: It's it's very easy, because you kn you know how many channel are there in
Jeffrey Long: So
Michael Billings: the
Jeffrey Long: you you count one degree, two degrees, no.
Michael Billings: Yeah, yeah, yeah. You can do it.
Jeffrey Long: I don't think so.
Michael Billings: I think so I
Kenneth Spaulding: Yeah,
Michael Billings: think so you
Kenneth Spaulding: it's
Michael Billings: can
Kenneth Spaulding: a
Michael Billings: do
Kenneth Spaulding: bit
Michael Billings: it.
Kenneth Spaulding: difficult.
Michael Billings: I think so, you can just
Kenneth Spaulding: I think
Michael Billings: change.
Kenneth Spaulding: b but the the vocal command is easy too. You can say fifty
Jeffrey Long: Yeah voc vocal
Kenneth Spaulding: and
Jeffrey Long: command is okay.
Kenneth Spaulding: fifty it's okay, so
Jeffrey Long: But w we've said previously that maybe it's not going
Michael Billings: There's
Jeffrey Long: to be
Michael Billings: uh also
Jeffrey Long: th l
Calvin Embree: Yeah,
Michael Billings: a number,
Calvin Embree: but when you're
Michael Billings: you
Jeffrey Long: the
Michael Billings: know.
Jeffrey Long: main
Calvin Embree: zapping you're changing from one channel to the other, so you're passing through all the channels. So, when you say I want to go to the channel number twenty that's you've decided to go to channel twenty, so you can say channel twenty,
Kenneth Spaulding: Uh, yeah,
Calvin Embree: or
Kenneth Spaulding: and
Calvin Embree: channel
Kenneth Spaulding: y that's
Calvin Embree: four, because
Kenneth Spaulding: yeah.
Calvin Embree: you really want to go on this channel. But if you really
Jeffrey Long: And this
Calvin Embree: want
Jeffrey Long: would be
Calvin Embree: to
Jeffrey Long: more for browsing,
Calvin Embree: to do zapping
Jeffrey Long: ah.
Calvin Embree: you you
Jeffrey Long: Yeah.
Calvin Embree: don't really know what you want to do, you can turn it.
Kenneth Spaulding: Yeah.
Calvin Embree: Just go through all the channels
Kenneth Spaulding: To see
Calvin Embree: and maybe
Michael Billings: Mm-hmm.
Kenneth Spaulding: uh
Calvin Embree: stop if
Kenneth Spaulding: yeah
Michael Billings: Yeah.
Calvin Embree: there is something
Michael Billings: Yeah.
Kenneth Spaulding: uh
Calvin Embree: interesting?
Kenneth Spaulding: Yeah.
Jeffrey Long: Mm-hmm.
Calvin Embree: Seems to be good.
Michael Billings: Yeah.
Calvin Embree: Good choice, mister David Jordan.
Michael Billings: Yeah.
Jeffrey Long: Yeah, I mean you're famous.
Kenneth Spaulding: And but
Michael Billings: And also
Kenneth Spaulding: I'd
Michael Billings: you can, if
Jeffrey Long: You.
Michael Billings: you i
Calvin Embree: yeah, what's
Michael Billings: You ca
Calvin Embree: what's
Michael Billings: you can
Calvin Embree: this
Michael Billings: turn this.
Calvin Embree: cherry?
Michael Billings: Or you ca you can you can also
Kenneth Spaulding: It is a turn
Michael Billings: turn
Kenneth Spaulding: off
Michael Billings: this.
Kenneth Spaulding: t turn off
Michael Billings: For
Kenneth Spaulding: button,
Michael Billings: this you
Kenneth Spaulding: maybe.
Michael Billings: can tune it's for tune. You you if you want to skip from channel one to channel two, you you skip this. If you want to from uh skip from channel one to channel ten you tune this.
Jeffrey Long: Mm.
Michael Billings: It's like fine, from coarse to fine. This is coarse, this is fine.
Kenneth Spaulding: Yeah, yeah yeah. That's
Calvin Embree: Okay.
Michael Billings: So it's coarse to fine
Kenneth Spaulding: that's
Michael Billings: design.
Kenneth Spaulding: very technologic, so. Yeah.
Michael Billings: Yeah.
Jeffrey Long: Okay the uh th this looks better. Yeah.
Michael Billings: Yeah is is this is, from one channel
Kenneth Spaulding: S
Michael Billings: to
Kenneth Spaulding: But I
Michael Billings: maybe
Kenneth Spaulding: di
Michael Billings: to
Kenneth Spaulding: I didn't
Michael Billings: ten channel.
Kenneth Spaulding: see where the
Michael Billings: This
Kenneth Spaulding: t f
Michael Billings: is from
Kenneth Spaulding: the turn
Michael Billings: one channel
Kenneth Spaulding: off
Michael Billings: to
Kenneth Spaulding: t turn on turn off button so much activates maybe one of the
Calvin Embree: Yeah,
Michael Billings: Yeah.
Calvin Embree: th you
Michael Billings: Yeah.
Calvin Embree: have the vocal commands.
Kenneth Spaulding: Uh it's
Michael Billings: Yeah.
Kenneth Spaulding: k
Calvin Embree: On off.
Kenneth Spaulding: on off, yeah.
Jeffrey Long: Yeah, but it has to be on to
Calvin Embree: Most
Jeffrey Long: recognise
Calvin Embree: of the time
Jeffrey Long: fas
Calvin Embree: you have the yeah it's a sleeping remote control.
Kenneth Spaulding: Yeah, sleeping.
Jeffrey Long: Ah, that's not the ecological
Calvin Embree: That's
Jeffrey Long: part,
Calvin Embree: true. W that
Jeffrey Long: yeah.
Calvin Embree: why we have the
Jeffrey Long: Solar.
Calvin Embree: solar
Kenneth Spaulding: To compensate.
Calvin Embree: ti yeah.
Kenneth Spaulding: Yeah.
Michael Billings: Okay.
Calvin Embree: So
Jeffrey Long: So, which number?
Calvin Embree: three.
Kenneth Spaulding: Easy to use, it's very relative but three it's fine, I think, it's reasonable
Michael Billings: Mm-hmm.
Calvin Embree: Do you agree?
Kenneth Spaulding: three.
Michael Billings: Yeah,
Calvin Embree: Three?
Michael Billings: agree, agree.
Jeffrey Long: So reasonably, is four, is one?
Kenneth Spaulding: Three f three for Jeffrey Long, it's o it's okay.
Jeffrey Long: So,
Kenneth Spaulding: Four
Jeffrey Long: three.
Kenneth Spaulding: or three. Maybe you can vote to see how many everybody gives no and just take
Calvin Embree: And
Kenneth Spaulding: the mean.
Calvin Embree: what's your opinion?
Jeffrey Long: Uh
Kenneth Spaulding: Will
Jeffrey Long: we
Kenneth Spaulding: you
Jeffrey Long: wouldn't
Kenneth Spaulding: give
Jeffrey Long: say, I mean,
Kenneth Spaulding: four?
Jeffrey Long: those are sort of agreed but this one would be more five to Jeffrey Long.
Kenneth Spaulding: Five?
Jeffrey Long: I'd like I mean this is the just a prototype. I'm not really convinced it's so easy to use,
Kenneth Spaulding: Yeah,
Jeffrey Long: but
Kenneth Spaulding: so
Jeffrey Long: I don't
Kenneth Spaulding: maybe
Michael Billings: Uh
Jeffrey Long: know.
Kenneth Spaulding: if
Michael Billings: w w what do y what uh you compare with traditional
Jeffrey Long: Yeah.
Michael Billings: uh um tr traditional controller? I think it's easier than traditional controller. If you use traditional controller you have to put a button, but now you don't have to put button, you have you just turn the
Kenneth Spaulding: Yeah
Michael Billings: turn the
Kenneth Spaulding: but
Michael Billings: ball.
Kenneth Spaulding: y you know
Michael Billings: There's
Jeffrey Long: So you have
Michael Billings: two kind of balls, the smaller the the the
Jeffrey Long: yeah.
Michael Billings: so you can c you can c you can control the scale. But in the traditional controller, how do how can you control the scale?
Jeffrey Long: Uh by pushing
Kenneth Spaulding: You just push
Jeffrey Long: zero
Kenneth Spaulding: two button,
Jeffrey Long: after
Kenneth Spaulding: zero
Jeffrey Long: after
Kenneth Spaulding: and
Jeffrey Long: the first one.
Kenneth Spaulding: and
Michael Billings: Yeah,
Kenneth Spaulding: one. And
Michael Billings: yeah, yeah, y you you can do it,
Jeffrey Long: Yeah.
Michael Billings: but
Kenneth Spaulding: that's
Michael Billings: you can also do it in the b if you you do not wa if you do not want to browsing all the channel you can just p there's also a button here.
Kenneth Spaulding: Are there some buttons? Okay.
Michael Billings: Yeah, this function is just for your browsing, from one channel to th the next one, the next s sn s, the
Jeffrey Long: Mm-hmm.
Calvin Embree: It's
Michael Billings: th the
Calvin Embree: not
Michael Billings: third
Calvin Embree: what
Michael Billings: one.
Calvin Embree: you said previously. Previously
Jeffrey Long: Yeah,
Calvin Embree: you
Jeffrey Long: if you're
Calvin Embree: said
Jeffrey Long: changing
Calvin Embree: that turning
Jeffrey Long: your mind.
Calvin Embree: this was the fine
Jeffrey Long: Fine to coarse.
Calvin Embree: Fine
Michael Billings: Yeah,
Calvin Embree: to coarse. And
Michael Billings: yeah.
Calvin Embree: from ten to ten channels
Michael Billings: Y one
Calvin Embree: here.
Michael Billings: to ten, ten to twelve, uh ten to t uh twenty. Ten to twenty and this one, t one two three four five six, like this.
Calvin Embree: Okay.
Michael Billings: Uh there's different scale, so you can
Jeffrey Long: Okay.
Michael Billings: you can choose
Jeffrey Long: But this
Michael Billings: how much do
Jeffrey Long: this
Michael Billings: you want
Jeffrey Long: has
Michael Billings: to
Jeffrey Long: to
Michael Billings: sc
Jeffrey Long: stay on the table, right?
Michael Billings: Mm-hmm.
Jeffrey Long: This has to stay on the table.
Michael Billings: I i
Kenneth Spaulding: In fact on a flat
Michael Billings: this is
Kenneth Spaulding: place
Michael Billings: just a base. You can just
Kenneth Spaulding: You can
Jeffrey Long: Yeah
Michael Billings: Yeah.
Jeffrey Long: but then uh when you turn
Calvin Embree: Oh
Jeffrey Long: turn it
Kenneth Spaulding: Oh ye yes, that's
Calvin Embree: Yeah,
Jeffrey Long: Just
Kenneth Spaulding: right.
Calvin Embree: no no, no. You can't put
Jeffrey Long: It's
Calvin Embree: it out. It's just your turning from the base. You need to have everything in hand. If you want to turn, you can't use it and turn. It's impossible.
Jeffrey Long: Yeah.
Calvin Embree: You need to put it on and
Jeffrey Long: You know
Calvin Embree: turn.
Jeffrey Long: tha that's the weak point,
Kenneth Spaulding: Oh
Jeffrey Long: because with a traditional
Michael Billings: You use your
Jeffrey Long: one
Michael Billings: y
Jeffrey Long: you just have one hand.
Calvin Embree: Yeah, but
Kenneth Spaulding: my
Calvin Embree: nobody
Kenneth Spaulding: God.
Calvin Embree: would be able to take it in the pocket and bring it in the kitchen and say I've lost the remote control. Nobody would take it.
Jeffrey Long: Sure. Yeah, you would never
Calvin Embree: So nobody
Jeffrey Long: you would
Calvin Embree: w
Jeffrey Long: never lose
Calvin Embree: will
Jeffrey Long: this one,
Calvin Embree: lost
Jeffrey Long: yeah.
Calvin Embree: lose
Michael Billings: So
Calvin Embree: it.
Michael Billings: th this is a d next generation controller.
Kenneth Spaulding: yeah
Jeffrey Long: Yeah.
Michael Billings: Yeah.
Kenneth Spaulding: maybe, maybe may it's the next
Michael Billings: Okay
Kenneth Spaulding: prototype,
Michael Billings: okay,
Kenneth Spaulding: maybe
Michael Billings: okay.
Kenneth Spaulding: we cou
Calvin Embree: S maybe we can change from
Kenneth Spaulding: Four.
Calvin Embree: th
Kenneth Spaulding: Maybe four,
Michael Billings: Four.
Kenneth Spaulding: it's okay.
Michael Billings: Okay.
Calvin Embree: Four?
Kenneth Spaulding: I'll put four.
Calvin Embree: Easy to use, four. Gonna
Jeffrey Long: Four.
Calvin Embree: say four.
Kenneth Spaulding: Yeah, four it's more
Jeffrey Long: Uh
Kenneth Spaulding: reasonable.
Jeffrey Long: it's even easier to maybe.
Kenneth Spaulding: You can you can erase with this er
Jeffrey Long: Ok
Kenneth Spaulding: yeah.
Michael Billings: Okay.
Jeffrey Long: Mm.
Kenneth Spaulding: Yeah, four it's more reasonable, so. So
Jeffrey Long: So,
Kenneth Spaulding: it's
Jeffrey Long: average?
Kenneth Spaulding: nine, nine over
Jeffrey Long: Three?
Michael Billings: Three?
Kenneth Spaulding: three.
Calvin Embree: Trois. Three.
Kenneth Spaulding: Oh yeah, it's.
Michael Billings: Trois.
Jeffrey Long: Okay, so
Kenneth Spaulding: It need maybe some wo further work, but
Jeffrey Long: Yeah,
Kenneth Spaulding: it's
Jeffrey Long: especially on the easy to use
Kenneth Spaulding: Yeah, uh s
Michael Billings: Yeah.
Kenneth Spaulding: yeah.
Jeffrey Long: target.
Kenneth Spaulding: Might
Calvin Embree: So,
Kenneth Spaulding: it might be fine.
Jeffrey Long: Okay.
Calvin Embree: th the project is accepted?
Michael Billings: Yeah.
Kenneth Spaulding: Yeah, b I think
Calvin Embree: But I d m I think that it will be good to do some more work to transform this into a pineapple.
Michael Billings: Yeah.
Kenneth Spaulding: Yeah, yeah.
Michael Billings: Yeah. Okay.
Calvin Embree: So uh mm
Kenneth Spaulding: That's
Calvin Embree: mm.
Kenneth Spaulding: the finance.
Calvin Embree: Mm. Okay and we we had a project prototype presentation with the evaluation. So as we all agree to accept,
Kenneth Spaulding: Yeah.
Michael Billings: Mm.
Calvin Embree: under
Michael Billings: Okay.
Calvin Embree: certain conditions, the prototype, we'll have look to the final sh financial view. So we need to calculate the production cost.
Jeffrey Long: Mm-hmm.
Calvin Embree: As I said in the first meeting we need to have so a remote control that would cost not more than twelve and
Michael Billings: Mm-hmm.
Calvin Embree: point fifty Euros.
Michael Billings: Mm-hmm.
Calvin Embree: And if not if it's not the case y you would have to redesign it.
Kenneth Spaulding: Oh yeah.
Michael Billings: Yeah.
Calvin Embree: So, just have a look at the okay here is the Excel sheet, so so it has the energy source. We have hand dynamo. No,
Jeffrey Long: No.
Calvin Embree: we don't use that. We have battery, right?
Kenneth Spaulding: Yeah, we have battery.
Calvin Embree: Kinetic, we don't have it,
Kenneth Spaulding: No,
Calvin Embree: I suppose,
Kenneth Spaulding: um
Calvin Embree: but we
Kenneth Spaulding: solar
Calvin Embree: have solar
Kenneth Spaulding: cells,
Calvin Embree: cells.
Kenneth Spaulding: yeah.
Calvin Embree: Um, how many do y do you need, solar cells? Do you think one would be enough, or such as
Kenneth Spaulding: Uh I think in
Calvin Embree: as
Kenneth Spaulding: each
Calvin Embree: number
Kenneth Spaulding: ball
Calvin Embree: of
Kenneth Spaulding: you
Calvin Embree: branches?
Kenneth Spaulding: have three
Calvin Embree: Three?
Kenneth Spaulding: three uh yeah, three, yeah. Three three solar cells.
Calvin Embree: So, electronic. Single simple chip on print? Just
Kenneth Spaulding: S
Calvin Embree: one
Kenneth Spaulding: s
Calvin Embree: would be necessary?
Kenneth Spaulding: simple, simple, yeah.
Calvin Embree: One?
Kenneth Spaulding: Yeah.
Calvin Embree: Zero for the others. And sample sensor, sample speaker. One?
Kenneth Spaulding: Mm. One maybe, yeah.
Calvin Embree: As we have voice recognition,
Kenneth Spaulding: Yeah
Calvin Embree: I think.
Kenneth Spaulding: yeah yeah.
Calvin Embree: So
Kenneth Spaulding: Is it
Calvin Embree: the case.
Kenneth Spaulding: Is sh it
Jeffrey Long: So we are all already nineteen.
Kenneth Spaulding: Wooden.
Calvin Embree: Okay, just
Michael Billings: The solar cell
Calvin Embree: keep
Michael Billings: is too
Calvin Embree: on going,
Michael Billings: expensive.
Calvin Embree: just
Jeffrey Long: Yeah.
Calvin Embree: to have an idea.
Kenneth Spaulding: Is Yes a wooden pl I and that's There's no
Calvin Embree: Well
Kenneth Spaulding: wood, so plastic
Calvin Embree: uh
Kenneth Spaulding: just only,
Calvin Embree: yeah,
Kenneth Spaulding: I think.
Calvin Embree: but what what about case? Uncurved, flat, single curved, double curved. I think it's more like
Jeffrey Long: That's
Calvin Embree: double
Jeffrey Long: gonna be
Calvin Embree: curved.
Jeffrey Long: double
Kenneth Spaulding: Double
Jeffrey Long: curved,
Kenneth Spaulding: curve, yeah,
Jeffrey Long: yeah.
Kenneth Spaulding: double curve.
Calvin Embree: One?
Kenneth Spaulding: One, you have.
Calvin Embree: Uh wood?
Kenneth Spaulding: But it's yeah,
Jeffrey Long: Rather four
Kenneth Spaulding: a
Jeffrey Long: buttons.
Kenneth Spaulding: a rubber uh
Jeffrey Long: Oh
Calvin Embree: Uh
Jeffrey Long: no, interface.
Calvin Embree: do we need special colour? Y maybe,
Kenneth Spaulding: Yeah,
Calvin Embree: two?
Kenneth Spaulding: yeah.
Jeffrey Long: Yeah,
Calvin Embree: We have
Jeffrey Long: yeah
Calvin Embree: two
Jeffrey Long: that's
Calvin Embree: special
Kenneth Spaulding: Y
Jeffrey Long: special
Calvin Embree: colours.
Jeffrey Long: colours,
Kenneth Spaulding: y yeah, yeah.
Jeffrey Long: sure.
Calvin Embree: Push button.
Michael Billings: Mm. Yeah, we have four.
Kenneth Spaulding: Five?
Michael Billings: Five.
Calvin Embree: Okay. Scroll wheel.
Michael Billings: No.
Calvin Embree: We don no. It it's more like integrated
Kenneth Spaulding: I think
Calvin Embree: scor.
Kenneth Spaulding: that this will
Michael Billings: No
Kenneth Spaulding: be
Michael Billings: no.
Kenneth Spaulding: like a scroll
Jeffrey Long: Yeah tha
Kenneth Spaulding: wheel,
Jeffrey Long: that's
Kenneth Spaulding: actually.
Jeffrey Long: wheel.
Kenneth Spaulding: Y you
Michael Billings: No
Kenneth Spaulding: tu
Michael Billings: no no, it
Kenneth Spaulding: you turn you turn it, so
Calvin Embree: Yeah,
Michael Billings: Okay.
Calvin Embree: maybe
Jeffrey Long: Yeah.
Calvin Embree: two scroll wheel, as we
Kenneth Spaulding: Yeah,
Calvin Embree: have
Kenneth Spaulding: true.
Calvin Embree: the coarse
Kenneth Spaulding: Yeah, yeah. Yeah.
Calvin Embree: coarse to fine scroll
Kenneth Spaulding: Okay,
Calvin Embree: wheel.
Kenneth Spaulding: yeah, yeah. Scr
Calvin Embree: So,
Jeffrey Long: I think the
Calvin Embree: no
Jeffrey Long: price
Calvin Embree: button
Jeffrey Long: is okay.
Calvin Embree: supplements?
Michael Billings: No.
Calvin Embree: Okay.
Jeffrey Long: Um, no.
Calvin Embree: Okay we I think we have problem.
Kenneth Spaulding: L_C_ display, maybe. Interface.
Calvin Embree: I think we s if we keep on adding things
Kenneth Spaulding: It's okay. fine.
Calvin Embree: so we have to
Jeffrey Long: Yeah w one of the m key point is solar cells.
Calvin Embree: Maybe if w t if suppose if we change and we g put just one?
Jeffrey Long: Yeah.
Calvin Embree: Has it changed.
Kenneth Spaulding: Yeah, it was stage one, so.
Jeffrey Long: but
Calvin Embree: Okay.
Michael Billings: We have change
Jeffrey Long: just imagine
Michael Billings: the electronics
Jeffrey Long: we have
Michael Billings: to from from the the the sample
Kenneth Spaulding: So
Michael Billings: sensor to regular chip. Oh. We have to delete the the sample sensor, I think.
Jeffrey Long: Yeah.
Calvin Embree: Yeah, but we have you the the voice recognition, no?
Jeffrey Long: Yeah but this one one of the feature we were not
Michael Billings: Yeah it's
Jeffrey Long: really
Michael Billings: the one it's m maybe
Calvin Embree: Okay.
Michael Billings: we ha we have two versions, the first version, the basic version.
Kenneth Spaulding: I think you can
Michael Billings: Advanced
Kenneth Spaulding: transform
Jeffrey Long: Yeah.
Michael Billings: version
Kenneth Spaulding: the
Michael Billings: we
Kenneth Spaulding: wood
Michael Billings: have
Kenneth Spaulding: into
Michael Billings: speak.
Kenneth Spaulding: plastic, maybe. Because uh
Jeffrey Long: Yeah,
Kenneth Spaulding: it seems
Jeffrey Long: if
Kenneth Spaulding: that this
Calvin Embree: Or
Kenneth Spaulding: can
Calvin Embree: it
Kenneth Spaulding: be
Calvin Embree: would be better.
Kenneth Spaulding: yeah, wood into plastic and it it should be fine.
Michael Billings: Plastic is free.
Jeffrey Long: Yeah.
Calvin Embree: So, do we need special colour?
Jeffrey Long: Yeah, that's one of
Calvin Embree: Because we have
Jeffrey Long: the
Calvin Embree: red.
Jeffrey Long: requirement.
Kenneth Spaulding: Yeah, red and
Michael Billings: Wait.
Kenneth Spaulding: yellow.
Calvin Embree: Red and yellow.
Jeffrey Long: We
Kenneth Spaulding: Fancy.
Jeffrey Long: could
Michael Billings: We
Jeffrey Long: turn
Michael Billings: we
Jeffrey Long: we
Michael Billings: can
Jeffrey Long: could
Michael Billings: we
Jeffrey Long: turn
Michael Billings: can
Jeffrey Long: everything
Michael Billings: we c
Jeffrey Long: in either
Michael Billings: yellow.
Jeffrey Long: yellow or black. Black then is a regular colour, so.
Calvin Embree: I think so we need if we try to have a kind of
Jeffrey Long: Yeah,
Calvin Embree: pineapple
Jeffrey Long: one.
Calvin Embree: bee.
Jeffrey Long: Yeah. So push button then it's it's the next expensive
Calvin Embree: Yeah.
Jeffrey Long: one.
Calvin Embree: An but we have integrated scroll wheel with push dut button. And I think this is one.
Jeffrey Long: Yeah,
Calvin Embree: Integrated
Jeffrey Long: thi this might
Calvin Embree: scroll
Jeffrey Long: be.
Calvin Embree: wheel push button. So we'll we have only one? And push button.
Jeffrey Long: Close to.
Calvin Embree: So if we have all
Kenneth Spaulding: One.
Calvin Embree: integrated i in the scroll wheel and push button, it's uh
Kenneth Spaulding: I can remove maybe f you have five with push buttons, so we can just, I dunno, try to modify some of them to have yeah.
Jeffrey Long: Okay, so what's the bottleneck?
Michael Billings: How about we change
Jeffrey Long: Double
Michael Billings: the sale?
Jeffrey Long: curved.
Kenneth Spaulding: Double curve. We can transform the double curve into single
Calvin Embree: Something flat.
Kenneth Spaulding: c yeah. F some
Jeffrey Long: Yeah, but flat
Calvin Embree: S uncurved.
Jeffrey Long: Case, what's
Calvin Embree: Yeah, maybe
Jeffrey Long: the
Calvin Embree: not.
Jeffrey Long: ca
Kenneth Spaulding: Single curve.
Calvin Embree: Yeah.
Kenneth Spaulding: Single curve should be fine, so. Oh, what
Calvin Embree: Mm.
Michael Billings: Ah we have
Jeffrey Long: And
Michael Billings: one
Jeffrey Long: then
Calvin Embree: Nearly.
Jeffrey Long: one Euro left. Um.
Calvin Embree: Maybe don't
Kenneth Spaulding: It's
Calvin Embree: bat no battery, only solar cells.
Kenneth Spaulding: it's a bad idea, so.
Jeffrey Long: Um
Calvin Embree: I think there's a problem with the push push button. We only need maybe
Kenneth Spaulding: Two?
Calvin Embree: just one.
Kenneth Spaulding: One.
Calvin Embree: Just one. Yeah.
Kenneth Spaulding: That's fine.
Michael Billings: Okay. Okay.
Kenneth Spaulding: That's
Michael Billings: Agree.
Kenneth Spaulding: fine.
Jeffrey Long: So
Calvin Embree: So
Jeffrey Long: we have one
Kenneth Spaulding: One
Jeffrey Long: button,
Calvin Embree: yeah,
Jeffrey Long: one
Calvin Embree: you will
Jeffrey Long: wheel.
Calvin Embree: have So
Kenneth Spaulding: s
Calvin Embree: one button, and
Kenneth Spaulding: one
Calvin Embree: s
Kenneth Spaulding: scroll wheel, so
Calvin Embree: scroll wheel with push button on it.
Kenneth Spaulding: And the vocal chord, it's fine. It I th it's fine.
Calvin Embree: So
Jeffrey Long: It's good they're not charging anything for that.
Calvin Embree: So, yeah. It think we we've done good job, as the cost is
Michael Billings: Cou could we have look
Calvin Embree: twelve fifty
Michael Billings: Could we
Calvin Embree: e
Michael Billings: have look at the
Jeffrey Long: Yeah y actually
Michael Billings: p the
Jeffrey Long: it's wrong. We're not
Michael Billings: the prod
Jeffrey Long: under
Michael Billings: the p
Jeffrey Long: twelve
Michael Billings: the cost?
Jeffrey Long: Euros
Calvin Embree: Yeah, but it's
Jeffrey Long: and a half.
Calvin Embree: under or equal. It's not written.
Kenneth Spaulding: It's
Calvin Embree: Sometimes
Kenneth Spaulding: fine.
Calvin Embree: it's under or equal.
Kenneth Spaulding: It's under or
Jeffrey Long: Okay.
Kenneth Spaulding: equal. It's fine, so
Jeffrey Long: Okay.
Michael Billings: Okay. So let's say
Calvin Embree: Twelve
Michael Billings: Wha what
Calvin Embree: fifty.
Michael Billings: yeah.
Kenneth Spaulding: It's fine, twelve fifty
Michael Billings: Which part
Kenneth Spaulding: uh
Michael Billings: is the most expensive part?
Jeffrey Long: Solar cells.
Kenneth Spaulding: The solar
Calvin Embree: Yeah,
Kenneth Spaulding: cells,
Calvin Embree: I think.
Kenneth Spaulding: r is
Michael Billings: Yeah,
Kenneth Spaulding: i is it?
Michael Billings: I think it's not t t
Calvin Embree: I think, yeah. But it would i be interesting for our marketing team, to make
Kenneth Spaulding: Yeah,
Calvin Embree: a lot
Kenneth Spaulding: to
Calvin Embree: of
Kenneth Spaulding: be able to si
Calvin Embree: advertisement
Kenneth Spaulding: to sell it.
Calvin Embree: concerning these solar cells
Jeffrey Long: Yeah.
Calvin Embree: to be
Michael Billings: Cheaper.
Jeffrey Long: That's nice argument, but
Kenneth Spaulding: Yeah, with
Jeffrey Long: if
Kenneth Spaulding: mi
Jeffrey Long: it's it's still four
Kenneth Spaulding: It's it is
Jeffrey Long: our
Kenneth Spaulding: really
Jeffrey Long: of
Kenneth Spaulding: really
Jeffrey Long: twelve.
Kenneth Spaulding: uh really very very expensive, though.
Jeffrey Long: Yeah.
Kenneth Spaulding: Maybe if uh okay.
Michael Billings: Okay.
Calvin Embree: Yeah but it will be technologically innova innovative,
Kenneth Spaulding: Yeah,
Calvin Embree: so.
Kenneth Spaulding: yeah.
Jeffrey Long: Yeah but we just have one button.
Calvin Embree: So it's easy to use and powerful, as the remote control a has only one button.
Jeffrey Long: Easy. I don't know about powerful. Yeah.
Kenneth Spaulding: It's easy
Calvin Embree: Easy,
Kenneth Spaulding: to use. It's very
Calvin Embree: powerful.
Kenneth Spaulding: easy to use.
Jeffrey Long: Mm.
Calvin Embree: So I don't think we need to redesign the p the product.
Kenneth Spaulding: No.
Jeffrey Long: Uh that's what we've just done.
Kenneth Spaulding: We've done it
Calvin Embree: Yeah.
Kenneth Spaulding: with it
Jeffrey Long: Yeah.
Kenneth Spaulding: is under the if it was low, high or so.
Jeffrey Long: Um
Calvin Embree: So
Jeffrey Long: okay.
Calvin Embree: Now
Kenneth Spaulding: So So what are we going to do with this project evaluation?
Calvin Embree: So
Jeffrey Long: Well I think we have just have to discuss if
Kenneth Spaulding: Okay, okay, it's
Jeffrey Long: I dunno.
Kenneth Spaulding: fine.
Calvin Embree: So did you enjoy your clay modelling?
Michael Billings: Yes. Of course. This is
Calvin Embree: Yeah?
Michael Billings: my job.
Calvin Embree: Was it a nice way to create your remote control?
Michael Billings: Yeah, it's uh it's good, to to create a control instead of a computer.
Kenneth Spaulding: Yeah, I think I find it really funny and amazing and interesting to go through all the process to from the beginning to the end. And designing, looking at the chips, the solar cells and
Michael Billings: Yeah.
Kenneth Spaulding: uh and it was very informative for.
Calvin Embree: And for the marketing guy?
Jeffrey Long: Uh tha that was good but we should have more brainstorming like meetings, maybe.
Kenneth Spaulding: Yep.
Jeffrey Long: 'Cause we just presenting one is presenting his stuff next one his
Michael Billings: Okay.
Jeffrey Long: stuff and then we try to combine afterwards, so it
Kenneth Spaulding: Okay,
Jeffrey Long: um.
Kenneth Spaulding: okay.
Calvin Embree: And new ideas about new products, maybe, wi which would be fashion and uh and yellow.
Kenneth Spaulding: Yellow. I think you can think about a yellow T_V_ now after a fruit T_V_ or I dunno. It can be an interesting I don't know
Calvin Embree: Yes, just lemon.
Kenneth Spaulding: Yeah, just a lemon T_V_ it'd be yellow
Michael Billings: Yeah,
Kenneth Spaulding: lemon.
Michael Billings: but y you know the traditional T_V_ it's um
Kenneth Spaulding: It's flat,
Michael Billings: Yeah
Kenneth Spaulding: uh
Michael Billings: yeah it's flat,
Calvin Embree: Squared?
Michael Billings: yeah the shape is very boring.
Kenneth Spaulding: Yeah, that's
Michael Billings: Could
Kenneth Spaulding: right.
Michael Billings: we
Kenneth Spaulding: It's really boring,
Michael Billings: come up
Kenneth Spaulding: yeah.
Michael Billings: with new T_V_
Kenneth Spaulding: Yeah.
Michael Billings: with such as this kind of T_V_? So you can you have base, triangle base so you the T_V_ you
Calvin Embree: Ah,
Michael Billings: can
Calvin Embree: the lemon T_V_ with the pineapple remote control.
Kenneth Spaulding: Yeah, that's
Michael Billings: Yeah.
Kenneth Spaulding: that would be really interesting,
Michael Billings: Yeah.
Kenneth Spaulding: actually.
Michael Billings: Because the T_V_ you
Calvin Embree: Oh,
Michael Billings: also
Calvin Embree: that's interesting. You could f we could do a kind of fruit collection of electronics
Kenneth Spaulding: Device
Calvin Embree: things.
Kenneth Spaulding: devi
Michael Billings: Yeah.
Calvin Embree: Electronic
Jeffrey Long: Yeah,
Calvin Embree: device.
Jeffrey Long: but
Michael Billings: Yeah.
Jeffrey Long: just don't trust too much the
Kenneth Spaulding: The fruit?
Jeffrey Long: trends.
Kenneth Spaulding: Yeah.
Jeffrey Long: 'Cause fruit
Calvin Embree: Maybe
Jeffrey Long: and vegetables it won't last for ten years uh.
Calvin Embree: Yeah,
Kenneth Spaulding: Yeah,
Calvin Embree: maybe
Kenneth Spaulding: it's
Calvin Embree: la
Jeffrey Long: Maybe
Calvin Embree: next
Jeffrey Long: two
Calvin Embree: year
Jeffrey Long: years
Calvin Embree: it will
Jeffrey Long: it's
Calvin Embree: be
Jeffrey Long: dead.
Calvin Embree: insects.
Jeffrey Long: Yeah.
Kenneth Spaulding: But I think it's good to follow the f flow
Jeffrey Long: Yeah.
Kenneth Spaulding: and you know make it now and after, you know, if
Michael Billings: Mm.
Kenneth Spaulding: the people change their mind you change also the
Jeffrey Long: Yeah,
Kenneth Spaulding: product.
Jeffrey Long: but this is good because it's not a long long life product.
Kenneth Spaulding: Yeah.
Jeffrey Long: T_V_ is more like fifteen years, maybe, so.
Kenneth Spaulding: Yeah,
Jeffrey Long: If
Kenneth Spaulding: yeah.
Jeffrey Long: you have
Kenneth Spaulding: That's
Jeffrey Long: a lemon
Kenneth Spaulding: a
Jeffrey Long: lemon
Kenneth Spaulding: yeah,
Jeffrey Long: T_V_ for
Kenneth Spaulding: yeah. We can
Jeffrey Long: fifteen
Kenneth Spaulding: think about
Jeffrey Long: years
Kenneth Spaulding: T_V_ with you know where you can change you know the aspects o like for the cell phones, you know.
Calvin Embree: Customable
Kenneth Spaulding: Yeah, you customise
Calvin Embree: T_V_.
Kenneth Spaulding: it every ti so every
Jeffrey Long: Yeah,
Kenneth Spaulding: ti if
Jeffrey Long: yeah.
Kenneth Spaulding: people change, you just change the appearance,
Calvin Embree: Ah
Kenneth Spaulding: and
Calvin Embree: such
Kenneth Spaulding: y y
Calvin Embree: yeah.
Kenneth Spaulding: you
Calvin Embree: You've
Kenneth Spaulding: can
Jeffrey Long: Tha
Kenneth Spaulding: keep
Jeffrey Long: that
Calvin Embree: already
Jeffrey Long: would
Calvin Embree: said
Michael Billings: Okay.
Calvin Embree: mobile
Jeffrey Long: that would make
Calvin Embree: phones.
Jeffrey Long: it. Yeah.
Kenneth Spaulding: Yeah, you can keep the global appearan
Calvin Embree: Yeah, and following
Kenneth Spaulding: The mood of persons, the fashions uh
Michael Billings: Yeah.
Calvin Embree: Mm.
Kenneth Spaulding: We
Calvin Embree: It's interesting, maybe
Kenneth Spaulding: int
Calvin Embree: we can create a a line of uh T_V_
Kenneth Spaulding: Yeah,
Calvin Embree: with uh
Kenneth Spaulding: T_V_, yeah.
Michael Billings: Yeah.
Kenneth Spaulding: A
Calvin Embree: a
Kenneth Spaulding: T_V_
Calvin Embree: a tr
Kenneth Spaulding: for autumn and a T_V_ for winter, you know, so
Michael Billings: Yeah.
Kenneth Spaulding: it's So what i and do w is it Okay.
Calvin Embree: So I think the costs are within the budget. We're just
Kenneth Spaulding: Yeah, the
Calvin Embree: at
Kenneth Spaulding: pr
Michael Billings: Yep.
Jeffrey Long: Yeah.
Kenneth Spaulding: at
Calvin Embree: twelve fifty Euros. So do you think you can celebrate your creation?
Michael Billings: And you can celebrate your leadership.
Calvin Embree: Oh, thanks a lot. Thank you,
Kenneth Spaulding: Yeah
Calvin Embree: mister
Kenneth Spaulding: but I think
Calvin Embree: David Jordan.
Kenneth Spaulding: f it's really a celebrating object. So it's yellow and very
Michael Billings: Yeah.
Jeffrey Long: Hmm.
Kenneth Spaulding: a very ha it's very happy, so.
Jeffrey Long: Yeah. It's
Kenneth Spaulding: Uh it's
Jeffrey Long: party
Kenneth Spaulding: it's
Jeffrey Long: party
Kenneth Spaulding: a pr it's
Jeffrey Long: remote
Kenneth Spaulding: like
Jeffrey Long: control.
Kenneth Spaulding: yeah.
Calvin Embree: The thing now is to to sell it.
Michael Billings: Yeah, it's your job.
Kenneth Spaulding: Yeah,
Michael Billings: Sell it.
Kenneth Spaulding: right, go and sell it. Goo and
Jeffrey Long: Yeah.
Kenneth Spaulding: good luck, so
Michael Billings: Yeah. Okay and the twelve fifty twelve uh twelve
Jeffrey Long: Uh-huh. Twenty five Euros.
Michael Billings: Twenty five Euros, yeah.
Jeffrey Long: Yeah, I think it's
Michael Billings: Twenty five
Calvin Embree: It's
Michael Billings: Euros.
Calvin Embree: maybe a little bit expensive.
Jeffrey Long: It's cheap, yeah. No, I
Michael Billings: No, it's not so
Kenneth Spaulding: It
Michael Billings: expensive.
Kenneth Spaulding: should be
Jeffrey Long: I'm
Kenneth Spaulding: fine.
Jeffrey Long: not so happy about the fruit shape, you know.
Kenneth Spaulding: Wh really? It should be it should be fine, you know, actually.
Michael Billings: Okay.
Kenneth Spaulding: S
Calvin Embree: Maybe what you
Jeffrey Long: Yeah.
Calvin Embree: can do a test. Put it outside, and if bees come, it's really fruit.
Kenneth Spaulding: I
Michael Billings: Okay.
Kenneth Spaulding: I think I like the
Calvin Embree: But don't
Kenneth Spaulding: the
Calvin Embree: put
Kenneth Spaulding: colour
Calvin Embree: sugar
Kenneth Spaulding: a
Calvin Embree: in
Kenneth Spaulding: the
Calvin Embree: it,
Kenneth Spaulding: colour
Calvin Embree: it's
Kenneth Spaulding: are
Calvin Embree: not
Kenneth Spaulding: very
Calvin Embree: working.
Kenneth Spaulding: good, so actually so
Jeffrey Long: No, the colours are uh it's perfect, yeah.
Kenneth Spaulding: It's perfect, and
Jeffrey Long: True. Uh yeah, another thing is the logo is missing still.
Kenneth Spaulding: I p is
Calvin Embree: Yeah, but
Kenneth Spaulding: th
Calvin Embree: the colour, I think the colour
Kenneth Spaulding: y the
Calvin Embree: is more is
Kenneth Spaulding: the yellow
Calvin Embree: most important,
Jeffrey Long: Uh
Kenneth Spaulding: ball thing that
Calvin Embree: because I I don't think you have ever seen something like that before for a remote control.
Jeffrey Long: Still that was one of the requirements we had. It's yeah but it I don't think it's such a problem just putting
Kenneth Spaulding: Uh
Jeffrey Long: the logo somewhere.
Kenneth Spaulding: f like y we can we can put some uh double
Calvin Embree: Yeah, but we
Kenneth Spaulding: R_
Calvin Embree: decided to have something yellow and red, for the costs.
Jeffrey Long: Yeah.
Calvin Embree: So maybe we can just integrate it on th on one side,
Jeffrey Long: Mm.
Calvin Embree: the double R_.
Kenneth Spaulding: Okay yeah,
Jeffrey Long: Yeah.
Kenneth Spaulding: yeah. That's actually
Michael Billings: Mm.
Kenneth Spaulding: good idea, so
Calvin Embree: So we have the logo, we have the colour, and we have the fashion in electronics,
Michael Billings: So we have to give
Calvin Embree: so
Michael Billings: a
Calvin Embree: we have the slogan too.
Michael Billings: So we have give him give it a cute name.
Jeffrey Long: Cute
Calvin Embree: Yeah
Michael Billings: Mush
Calvin Embree: th
Michael Billings: mushroom
Jeffrey Long: na
Calvin Embree: no, it's
Michael Billings: controller.
Calvin Embree: the it's the pineapple control
Jeffrey Long: You cannot
Calvin Embree: remote
Jeffrey Long: say mushroom
Calvin Embree: control.
Jeffrey Long: because it's
Kenneth Spaulding: It's
Jeffrey Long: not
Calvin Embree: It's
Jeffrey Long: the
Kenneth Spaulding: not
Jeffrey Long: trend.
Calvin Embree: a
Kenneth Spaulding: a
Calvin Embree: pineapple
Kenneth Spaulding: mushroom.
Calvin Embree: now,
Jeffrey Long: It's not
Calvin Embree: it
Jeffrey Long: the
Kenneth Spaulding: It's
Calvin Embree: has
Jeffrey Long: trend.
Kenneth Spaulding: a
Calvin Embree: changed.
Kenneth Spaulding: pineapple remote
Calvin Embree: It's
Kenneth Spaulding: controls.
Calvin Embree: a pineapple.
Michael Billings: Pa
Calvin Embree: Pineapple.
Michael Billings: Pine apple.
Kenneth Spaulding: Yeah, pineapple remote remote
Jeffrey Long: Yeah, but
Kenneth Spaulding: control.
Jeffrey Long: just flying saucer,
Calvin Embree: With cherry
Jeffrey Long: or
Calvin Embree: on top.
Michael Billings: Okay.
Kenneth Spaulding: Oh,
Jeffrey Long: I would
Kenneth Spaulding: that
Jeffrey Long: say flying saucer.
Kenneth Spaulding: Oh unid uh
Jeffrey Long: It's
Kenneth Spaulding: unidentified
Jeffrey Long: more appropriate,
Kenneth Spaulding: remote
Jeffrey Long: somehow.
Kenneth Spaulding: control, so
Michael Billings: Okay. Okay.
Kenneth Spaulding: That's that's pineapple remote control. I think it's fine.
Jeffrey Long: Mm.
Michael Billings: Okay.
Calvin Embree: Will
Kenneth Spaulding: Yeah.
Calvin Embree: you buy one?
Kenneth Spaulding: Yeah I will try I'll
Calvin Embree: Try to.
Michael Billings: Twenty
Calvin Embree: Okay
Michael Billings: five
Kenneth Spaulding: try.
Calvin Embree: uh
Michael Billings: Euro.
Kenneth Spaulding: I can hel I will try versions so to see
Michael Billings: Okay.
Kenneth Spaulding: how easy easy
Michael Billings: Yeah
Kenneth Spaulding: to manage
Michael Billings: you told Jeffrey Long you h you d you d you lost your control your
Kenneth Spaulding: Yeah I always
Michael Billings: T_V_
Kenneth Spaulding: lose
Michael Billings: so
Kenneth Spaulding: my Yeah, so
Michael Billings: so you need to buy one.
Kenneth Spaulding: so i if it is a universal one I can use it with my T_V_, so
Michael Billings: Okay.
Kenneth Spaulding: it would
Jeffrey Long: Mm.
Kenneth Spaulding: be
Calvin Embree: One thing I like is the shape, because you know it's not like the
Michael Billings: Traditional
Calvin Embree: uh the
Michael Billings: one?
Calvin Embree: remote controls you can
Michael Billings: Yeah.
Calvin Embree: put in your pocket, on uh in
Michael Billings: So
Calvin Embree: your jacket.
Michael Billings: this one and this one. What do you choose?
Calvin Embree: I prefer the laser remote
Kenneth Spaulding: I
Calvin Embree: control.
Michael Billings: What do you choose?
Kenneth Spaulding: think I would choose this one because
Calvin Embree: No.
Kenneth Spaulding: of the colour. It's
Michael Billings: Okay.
Kenneth Spaulding: it's will enlight your house, your home and your T_V_, so.
Michael Billings: Okay.
Kenneth Spaulding: Yeah.
Calvin Embree: Oh. Maybe next if we decide to do something we'd can put light inside.
Kenneth Spaulding: Yeah, yeah that would be
Jeffrey Long: Yeah
Kenneth Spaulding: uh
Jeffrey Long: but that's
Kenneth Spaulding: an idea.
Jeffrey Long: going to be expensive, you know.
Calvin Embree: Yeah.
Jeffrey Long: We had some problems going
Calvin Embree: I
Jeffrey Long: to
Calvin Embree: think
Jeffrey Long: twelve Euros and
Calvin Embree: it
Jeffrey Long: uh I
Calvin Embree: it
Jeffrey Long: dunno.
Calvin Embree: would be interesting to just to see if we can if people will buy this one, and maybe add some
Jeffrey Long: Yeah,
Calvin Embree: features
Jeffrey Long: afterwards,
Calvin Embree: to it
Jeffrey Long: if
Michael Billings: Yeah.
Calvin Embree: after
Michael Billings: Yeah.
Calvin Embree: yeah.
Jeffrey Long: if it's a new trend. Okay.
Calvin Embree: So
Kenneth Spaulding: Yeah that's that fine. So we can celebrate now. That's our new product.
Calvin Embree: Champagne,
Jeffrey Long: We should celebrate.
Calvin Embree: mister Baba.
Kenneth Spaulding: Yes. It's it's fine. It's I like it.
Michael Billings: So buy one.
Kenneth Spaulding: Next time. Well, I'll buy one here.
Michael Billings: Yeah.
Calvin Embree: So
Jeffrey Long: Mm.
Calvin Embree: Okay, I will close this. Mm.
Kenneth Spaulding: Yeah. No?
Calvin Embree: So I think we have finished
Kenneth Spaulding: Okay.
Calvin Embree: the designing and the evaluation of our remote control
Kenneth Spaulding: Okay.
Jeffrey Long: Yeah.
Calvin Embree: and we have a nearly final product.
Jeffrey Long: Our final prototype
Kenneth Spaulding: Final
Jeffrey Long: which
Kenneth Spaulding: prototype,
Calvin Embree: Final
Kenneth Spaulding: yeah,
Calvin Embree: prototype,
Kenneth Spaulding: ye
Calvin Embree: right.
Jeffrey Long: yeah.
Kenneth Spaulding: yeah.
Michael Billings: Prototype, yeah.
Calvin Embree: So,
Michael Billings: Okay.
Calvin Embree: thank you very much.
Kenneth Spaulding: Okay.
Michael Billings: Okay.
Kenneth Spaulding: Okay.
Calvin Embree: Very productive.
Michael Billings: Okay. Thanks.
Kenneth Spaulding: S so who is going to take the remote control? | Michael Billings and Kenneth Spaulding presented their prototype for the remote. The prototype was yellow and red and was shaped like a mushroom. The team then conducted a product evaluation of the prototype. Overall, the team found the prototype to be technologically innovative but had some issues with the prototype's appearance and its usability. The team decided that the prototype required further work. The team then discussed the production costs of the remote and what features they should retain or lose in order to maintain their target cost. In discussing the production costs, the team settled on what features they wanted in the remote, while staying within the boundaries of their budget, and decided it was not necessary to completely redesign their product. The team then engaged in a project evaluation in which the team discussed the process of creating their product. | 5 | amisum | train |
John Lindsey: Okay. Good morning everybody.
Ralph Dotson: Good morning.
John Lindsey: Oh, everybody is not ready.
Thomas Outen: Uh almost. Ready.
John Lindsey: Alright. Okay, let's go. So, we're here today to to have our first kick-off meeting about uh this new project we're going to tak to talk about in a few minutes. Um so I will be uh Sebastian John Lindsey. Um you are the
Thomas Outen: I'm uh Michael. Thomas Outen.
John Lindsey: Okay.
Donald Shipley: Hi I'm Guillermo. I'm Donald Shipley.
Ralph Dotson: And I am, Ralph Dotson.
John Lindsey: Okay, very good. Thanks for being here. Um so let's have a look to the the agenda. So, we are going to go through this agenda and mainly first to uh to make to to be used to the tools uh available in this nice and smart meeting room we have here. Um then we'll go to uh the plans for project and have general discussions about it. So, the goal of this project is to uh developed a new remote control. Um it should be original, trendy, and also user friendly. As usual we will follow the the project method um that we are using in the in our company. It is in three step as you know. First the functional design. The second's a conceptual design, and then the detailed design. During each step uh of each design we wi you will work uh s separately, individually on uh your specific tasks and will m we will meet to um to discuss and take decisions about uh what you've you've you did and what uh we will do next. So first, we have to to train ourself with all the um the tools availables in the in this nice meeting room and uh particularly the the white board so uh we are going to go through the white board and take some um s some notes or do some drawings. So who want to start?
Thomas Outen: Ah well
John Lindsey: Mister.
Thomas Outen: if no one else wants to, yeah. Okay so, want Donald Shipley to draw my favourite animal. Let's see.
Thomas Outen: Well, I don't really have a favourite animal, but um uh
John Lindsey: You have one in mind?
Thomas Outen: I think I have one in mind, so uh I'm gonna about the uh spider because you can actually draw it pretty well in the corner of a white board. The spider has a spider lives in a web and uh it has eight legs, and uh it can move all about the web in two dimensions. Unless it's a three dimensional web which y they have sometimes. There are some spiders that live in like that have like uh kind of a a big ball of a of a web. And uh the other thing is some spiders can actually uh fly like uh they have uh they let out like uh a stream of like the web building material but it's it acts like a parachute so they can actually kind of go and find new uh build a new web somewhere else. So I think they did this in uh in Charlotte's Web that movie that little uh well it's actually a book first but uh um at the end all the the spiders kinda flew away. So,
John Lindsey: Okay.
Thomas Outen: that's
John Lindsey: Th
Thomas Outen: my animal.
John Lindsey: thank you. Very interesting. Guillermo you want to?
Donald Shipley: 'kay I dunno why, but when I was a child I I wanted to be a a panther not a pink panther,
Ralph Dotson: But don't
Donald Shipley: or
Ralph Dotson: you
Donald Shipley: maybe
Ralph Dotson: think
Donald Shipley: yes.
Ralph Dotson: it's very difficult to draw a panther?
Donald Shipley: Uh yeah yeah.
Ralph Dotson: So bad
John Lindsey: It
Ralph Dotson: I don't like
John Lindsey: would be
Ralph Dotson: it.
John Lindsey: very funny for us. Oh.
Donald Shipley: Okay it's a friendly panther.
Thomas Outen: Maybe it's happy 'cause it just ate someone.
Donald Shipley: Yeah maybe. Um. Actually, honestly I I I dunno what's what's his it's be behaviour, I dunno if if it's the male who who hunts or it's the female uh, I I the female lions who who hunt, so but I like it because it's fast, and it's black as well, so it can he it can hide itself very easily and it's it's it looks like um powerful, strong, uh I dunno. I I watch a a film about a black panther when I was a child and I was in that age when everything was shocking Donald Shipley a lot.
John Lindsey: Okay. Thank
Donald Shipley: Okay.
John Lindsey: you. Hemant.
Ralph Dotson: Um sure.
Thomas Outen: So you don't like pink panthers?
Donald Shipley: I like it.
Ralph Dotson: Oh yeah. Thanks. This lapel is coming out once in a while. It's not very strong. Okay. So, not the favourite animal, but I think I'll draw elephant. I'll try to draw elephant. It's a problem. Okay, thanks. Okay so, elephant goes like this, it has four feet. I don't know whether there's any dist there should be any distance or not, but I think this is the easiest. And then we have it's trunk. And yep something like this. An eye, cute. Yeah, so
John Lindsey: Poor elephant.
Ralph Dotson: and sometimes they have a hump. It seems that uh elephants are pretty friendly and they they have one very important way a different way of walking. So when they walk, wherever they are going to put their first feet, the second feet will always be. When they'll come to that position the second, the third feet will be there. That's the way they walk. And that's very peculiar about them. None of the other animals walk like this. And they are very useful to human beings. At least few few hundred years ago when there was no means of transportations or something, or when they had to carry huge um loads from one place to another, elephants were very useful. And they are found in um usually the warm countries. And um they are the biggest terrestrial animal. That's what I know about them. So, that's what I wanted to tell about
Thomas Outen: So
Ralph Dotson: elephants.
Thomas Outen: is this uh an Indian or an African elephant, 'cause you haven't drawn
Ralph Dotson: There
Thomas Outen: the
Ralph Dotson: are
Thomas Outen: ears?
Ralph Dotson: two kind of uh yeah, they are very different, Indian and African elephants. So Indian elephant is having one bump, I think, and the African have two. And then there's a difference in the trunk of the animals, these elephants who are Indian and So at some for some elephants it's the trunk is having one Do we have some message there?
John Lindsey: Yes. We have to I
Ralph Dotson: Wind
John Lindsey: have
Ralph Dotson: up?
John Lindsey: to catch you, sorry.
Ralph Dotson: Okay,
John Lindsey: We have to to
Ralph Dotson: some
John Lindsey: go through
Ralph Dotson: other time.
John Lindsey: the meeting.
Thomas Outen: Okay.
Ralph Dotson: Thank you.
John Lindsey: Thank you.
Thomas Outen: We can discuss that off-line.
John Lindsey: Yeah we'll discuss a f a fly or do we'll do another meeting abo on
Ralph Dotson: Thanks.
John Lindsey: elephants. So so another important part of the project is about money, uh and about so about finances. So we should target selling price of twenty-five Euro for this remote control and uh we have um which which would generate a profit of of um fifty million Euros, okay. And we should target the inter an international market.
Thomas Outen: So could I just ask one question, um is this a stand-alone unit that we're gonna be selling? So it's gonna be you already have a T_V_ but you're buying an extra remote control for it or something?
John Lindsey: O this is the next topic we have to discuss exactly,
Thomas Outen: Okay, alright.
John Lindsey: so let's go to it. So um we should decide which kind of remote control we want to uh we want to uh we want to go. Should be should should it be um specific remote control to some specific device? Should it be a universal one? And uh etcetera. So um so I'm waiting for your for your inputs very quickly because we have only three three minutes to go.
Thomas Outen: Okay well, so, it seems the the first thing that they've kinda specified is the price like based on how much profit we wanna make, which seems to a kind of a little strange if we don't know what the the product is yet, but I guess if that's if that's the requirement that we need to to design the the product to actually fit that that price bracket so, I guess we're gonna need to find out what's actually you know, what people ar are willing to pay for um what kind of product they're expecting for twenty-five Euro
John Lindsey: Okay.
Thomas Outen: because it seems quite a lot for a remote control, so
John Lindsey: Okay
Thomas Outen: it's
John Lindsey: I think this is more a job to our
Ralph Dotson: Marketing
John Lindsey: market
Ralph Dotson: person.
Thomas Outen: Yeah.
John Lindsey: person yeah.
Ralph Dotson: Mm-hmm.
John Lindsey: So it should be the topic of maybe of the next meeting just to to have an overview of this and uh in which direction we should go. So we need to close the meeting. Uh we'll have a new meeting soon and uh so the work every every of you ha have t d to do. So um you have to work on the on the working design, you have to uh work on the technical functions, and uh you have to work on us user requirements specs, alright?
Donald Shipley: Yeah.
John Lindsey: Um you will receive some information by emails, i as usual. Thanks for coming today.
Thomas Outen: Okay.
Ralph Dotson: Thanks.
John Lindsey: Thanks.
Thomas Outen: Alright. | John Lindsey Sebastian opens the meeting. The rest introduce themselves, including Michael the interface designer, Guillermo Donald Shipley, and Hemant Ralph Dotson. John Lindsey states the goal of the project, which is to develop a new remote control. It should be original, trendy, and user-friendly. He also mentions the three-step project- functional design, conceptual design, and detailed design. Then they take turns drawing their favorite animal on the white board. After that they briefly discuss finances. The remote control's target selling price of twenty-five Euro dollars and will be for the international market. They need to generate a profit of fifty million Euros. The question of whether the remote control should be for a specific device was brought up but not answered. John Lindsey closes the meeting, telling each group member what he is responsible for and reminding them that they will receive more information by email. | 5 | amisum | train |
Mark Rauer: Okay? Good afternoon. Hope
Larry Parker: Afternoon.
Mark Rauer: you have
Jonathan Foy: Hi.
Mark Rauer: good lunch.
Larry Parker: Yeah, we had falafel.
Mark Rauer: Oh. Nice. And you?
Jonathan Foy: Uh, yes, I had something similar non-vegetarian.
Mark Rauer: Okay. So today is um our third meeting. It will be about the conceptual design uh. If I come back to uh the minutes of the last meetings um. We decided not to go for speech recognition technologies because of some reasons and we are not decided about u the use of L_C_D_ screen on on the remote control because of costs. So maybe we wi be to clarify this question to today. Uh at the end of the meeting we should take decision on that point. So I hope uh that your respective pr presentations uh will help us. So each of you have some presentatio presentation to perform um who starts?
Daniel Schroeder: Okay,
Mark Rauer: So marketing. So you are you saved your y your presentation somewhere?
Daniel Schroeder: Yep.
Mark Rauer: So you're four?
Daniel Schroeder: Four yeah,
Mark Rauer: Which is trend watch. Okay. Mr Marketing Experts.
Daniel Schroeder: Yeah that's Daniel Schroeder.
Mark Rauer: So
Daniel Schroeder: Uh. Well I investigate the preference more d I investigate deeper the preference of the users. Uh so the the current investigation th uh th uh sorry the current the n current trends?
Jonathan Foy: Yeah.
Daniel Schroeder: Yeah?
Mark Rauer: Mm-hmm.
Daniel Schroeder: Okay. Okay. Well wha what I found um can you
Mark Rauer: Next slide?
Daniel Schroeder: Yeah.
Mark Rauer: Yeah.
Daniel Schroeder: Thank you. What I found in order of importance from less to more important is that people want an easy to use device. After they they want something new technologic technologically speaking, but the most what they what they find more more interesting, more or more important it's uh a fancy look and feel instead of uh instead of the current the current trend which was f the functional look and feel. So now more more cool aspect, ma more a cooler aspect uh rather than a device with many functions and many buttons with instead of i instead of ha of a device which can do many things, a device which is pleasant to to watch, to see.
Mark Rauer: Okay.
Daniel Schroeder: Uh also Well in in Euro in in Paris and and Milan the in Paris and in Paris and Milan the the current trend of uh of clothes, furniture and all this all this fashion it's it's fruit and the the the theme is fruit and vegetables.
Mark Rauer: Mm.
Daniel Schroeder: And also in the in the U_S_A_ the the current the mor the most popular feeling it's it's a spongy. Spongy means eponge?
Larry Parker: Mm-hmm.
Daniel Schroeder: So maybe we should we should think in in this direction, so
Jonathan Foy: What what do you mean by fruit and vegetables and spongy? What
Larry Parker: Spongy
Jonathan Foy: you mean
Larry Parker: means
Jonathan Foy: clothe
Larry Parker: it it's like
Daniel Schroeder: Fruit
Larry Parker: sp
Daniel Schroeder: vegetables is the the new have you seen the last exposition of clothes in Milan?
Jonathan Foy: No, I missed that one.
Daniel Schroeder: Yeah, I I didn't miss an I didn't miss and I saw that the fruit, there are many fr pictures of fruits and vegetables in the
Jonathan Foy: Oh,
Daniel Schroeder: clothes.
Jonathan Foy: they're okay so they're not like dressed as a carrot they just have
Daniel Schroeder: No no,
Jonathan Foy: like
Daniel Schroeder: not not yet, not
Jonathan Foy: pictures
Daniel Schroeder: yet.
Jonathan Foy: of fruit on,
Daniel Schroeder: Yeah,
Jonathan Foy: okay.
Daniel Schroeder: yeah.
Jonathan Foy: So
Daniel Schroeder: So
Jonathan Foy: we're not gonna
Daniel Schroeder: te
Jonathan Foy: have a remote
Daniel Schroeder: textu
Jonathan Foy: control
Daniel Schroeder: textures,
Jonathan Foy: in the shape of
Daniel Schroeder: yeah.
Jonathan Foy: of a banana, just
Daniel Schroeder: Yeah.
Jonathan Foy: maybe
Daniel Schroeder: Vegetable textures and all this kind.
Mark Rauer: Drawings of bananas.
Daniel Schroeder: Uh
Jonathan Foy: Okay and
Mark Rauer: Uh-huh.
Daniel Schroeder: yeah, yeah.
Larry Parker: But what's your suggestion how we can have some shape like that on the
Mark Rauer: Well
Larry Parker: remote?
Mark Rauer: so this is in the next slide certainly.
Daniel Schroeder: Uh no no, it's not.
Mark Rauer: It's not?
Daniel Schroeder: It's And
Jonathan Foy: which fruit are you thinking of
Daniel Schroeder: Um. I ha I haven't thought of any particular fruit, but the general aspect of the of the remote control may may could remind some kind of vegetable, some kind of instead of vegetable, some natur mm uh natural object or something.
Larry Parker: Mm-hmm.
Daniel Schroeder: But yeah it it
Mark Rauer: So maybe
Daniel Schroeder: depends
Mark Rauer: you
Daniel Schroeder: on
Mark Rauer: maybe
Daniel Schroeder: the
Mark Rauer: you can display a banana on the L_C_D_.
Jonathan Foy: Oh, so you want the remote control to be the shape of a fruit, or you want just some kind of like fruit logo on the
Larry Parker: Means buttons are
Daniel Schroeder: Yeah
Larry Parker: in the
Daniel Schroeder: maybe
Larry Parker: shape
Daniel Schroeder: the
Larry Parker: of
Daniel Schroeder: shape
Larry Parker: fruits,
Daniel Schroeder: the shape
Larry Parker: buttons are in the frape shape of fruits or something, apple, banana, something like that.
Daniel Schroeder: No, not n
Mark Rauer: Apple for
Daniel Schroeder: not
Mark Rauer: channel
Daniel Schroeder: not too
Mark Rauer: one.
Daniel Schroeder: much focus, not too much focu not n not too s not too similar to a fruit because
Larry Parker: Mm-hmm.
Daniel Schroeder: next year the ten the trend the trend will be different.
Larry Parker: Mm-hmm.
Daniel Schroeder: So we shouldn't be at re really attached to to the
Jonathan Foy: So
Daniel Schroeder: trend
Jonathan Foy: something
Daniel Schroeder: but
Jonathan Foy: that looks half like a fruit and half like an elephant.
Daniel Schroeder: For instance, yeah. African or as an elephant?
Larry Parker: That we can discuss afterwards.
Jonathan Foy: But okay, I'm
Mark Rauer: Okay.
Jonathan Foy: not, I'm not really sure if uh that would really appeal to everyone though, maybe just to fashion gurus, like maybe just like a little bit n a little fruit picture somewhere in the corner, but I don't know about uh I dunno how ergonomic
Daniel Schroeder: Well
Jonathan Foy: a,
Daniel Schroeder: ma
Jonathan Foy: an
Daniel Schroeder: maybe
Jonathan Foy: orange is.
Daniel Schroeder: we we should further specify what target are we focusing. I think in my opinion we should focus on on young people because they are more open to new
Jonathan Foy: To fruit?
Daniel Schroeder: devi new devices and also yeah according to the marketing report ninety p ninety five percent of young people was was was able to to buy a a n a cooler remote control.
Jonathan Foy: But is it uh is fruit cool?
Daniel Schroeder: What?
Mark Rauer: That's a question.
Daniel Schroeder: What?
Jonathan Foy: Is fruit cool?
Daniel Schroeder: Yeah? Uh Is the new trend of the
Jonathan Foy: Well I guess, you know, Apple has the iPod so, imagi just 'cause they have an apple on their on their product, doesn't mean fruit is cool.
Daniel Schroeder: No I think we we should think about a a shape with it a device with a shape of some
Jonathan Foy: Okay, but it has to be easy to uh to use though and to hold you know, you don't wanna pear or a
Daniel Schroeder: Yeah.
Jonathan Foy: watermelon.
Daniel Schroeder: Don don't you think we can find uh the shape of a fruit which is handy
Jonathan Foy: Well,
Daniel Schroeder: to
Jonathan Foy: probably
Daniel Schroeder: use?
Jonathan Foy: the only thing is a banana
Larry Parker: Banana.
Jonathan Foy: that I can think of, a cucumber.
Larry Parker: Mm-hmm.
Jonathan Foy: I
Daniel Schroeder: Or
Jonathan Foy: dunno.
Daniel Schroeder: m
Mark Rauer: Maybe too long.
Jonathan Foy: Maybe. Too green.
Daniel Schroeder: Maybe.
Jonathan Foy: So, but
Mark Rauer: A
Jonathan Foy: I mean you
Mark Rauer: banana.
Jonathan Foy: also have to you have to also
Daniel Schroeder: Um
Jonathan Foy: have, fit r all the buttons and you know. It's, it
Daniel Schroeder: Yeah.
Jonathan Foy: The thing is you have t normally with um with buttons, they have to be at some point attached to a circuit board so if you're gonna have things like on a cylindrical kind of device it may be difficult to kind of to build.
Larry Parker: I don't th it will
Daniel Schroeder: Yeah
Larry Parker: be
Daniel Schroeder: but
Larry Parker: rolling
Daniel Schroeder: I li
Larry Parker: a lot.
Daniel Schroeder: I like your idea
Mark Rauer: Okay.
Daniel Schroeder: that we shouldn't have a lot of buttons
Mark Rauer: Yeah
Daniel Schroeder: b
Mark Rauer: and
Daniel Schroeder: buttons
Mark Rauer: you you
Daniel Schroeder: so
Mark Rauer: you will not have pla enough a lot of place to put a L_C_D_ on a banana also.
Jonathan Foy: Yeah.
Daniel Schroeder: Uh do you want a an L_C_D_ with twenty five Euros?
Mark Rauer: Well,
Jonathan Foy: Well,
Mark Rauer: you're
Jonathan Foy: this
Mark Rauer: the
Jonathan Foy: is
Mark Rauer: Marketing Expert you should tell us if it
Daniel Schroeder: I
Mark Rauer: is too much
Daniel Schroeder: think
Mark Rauer: or not.
Daniel Schroeder: Well, according to the to the report people are more interested in in a fa fancy look and feel and in a technological inno in innovation, so,
Mark Rauer: So
Daniel Schroeder: I will give more importance to the look and feel than rather than the
Mark Rauer: So you you
Daniel Schroeder: new
Mark Rauer: you suggest
Daniel Schroeder: inputs
Mark Rauer: to go
Daniel Schroeder: and also
Mark Rauer: f
Daniel Schroeder: it's I'm not convinced about this L_C_D_ because you need uh internet connection, you need more things, it's not just buying a new control re
Mark Rauer: Okay.
Daniel Schroeder: remote, you need buying control remote, buying uh more
Mark Rauer: S
Daniel Schroeder: things.
Mark Rauer: so
Daniel Schroeder: It's
Mark Rauer: you're simply
Daniel Schroeder: not so simple.
Mark Rauer: you're simply looking s to a remote control that looks like a banana with
Daniel Schroeder: For instance,
Mark Rauer: few buttons
Daniel Schroeder: yeah.
Mark Rauer: with
Daniel Schroeder: Yeah
Mark Rauer: only
Daniel Schroeder: for
Mark Rauer: a few
Daniel Schroeder: for
Mark Rauer: buttons.
Daniel Schroeder: for given an an example yeah.
Mark Rauer: Okay good. So maybe you can go ahead?
Daniel Schroeder: Yeah no, it's what I already said.
Mark Rauer: Okay. Thanks. Um. Okay, I'll give the floor. So you are User Interface guy.
Jonathan Foy: Okay.
Mark Rauer: So you're three?
Jonathan Foy: Yeah.
Mark Rauer: And it's this one.
Jonathan Foy: Yep.
Mark Rauer: Go for it.
Jonathan Foy: Yep. Okay. So. S next uh slide. Okay. So I received an email um around lunchtime letting Daniel Schroeder know that the brilliant minds at our technology division had developed an integrated programmable sample sensor sample speaker unit, um which is a way for you to have a conversation with your coffee machine and or remote control.
Larry Parker: But it's just a
Jonathan Foy: It's no, what it is, it's
Larry Parker: It's
Jonathan Foy: it's
Larry Parker: not a
Jonathan Foy: very
Larry Parker: microphone.
Jonathan Foy: It has a has a microphone, has a speaker, it's got a little chip and
Larry Parker: Mm-hmm.
Jonathan Foy: it allows you
Larry Parker: Actually
Jonathan Foy: t
Larry Parker: I'm not reading microphone there, so that's why you can all have conversation,
Jonathan Foy: Well, it's
Larry Parker: it
Jonathan Foy: a sample
Larry Parker: just to speak to you.
Jonathan Foy: sensor sample speaker. Sample sensor sample speaker. It means
Larry Parker: Mm-hmm.
Jonathan Foy: that it can recognize, it can do like a match on a on a certain phrase that you speak
Larry Parker: Mm-hmm.
Jonathan Foy: and then can play back a
Larry Parker: Mm-hmm.
Jonathan Foy: phrase in response to that.
Larry Parker: Mm-hmm, mm-hmm.
Jonathan Foy: But uh there's no kind of um understanding of the phrase.
Larry Parker: Okay.
Jonathan Foy: So, I mean, you know, I guess you could build that in, you could you could link the the recognition of a certain phrase to some function on on
Larry Parker: Mm-hmm,
Jonathan Foy: the remote
Larry Parker: mm-hmm,
Jonathan Foy: control.
Larry Parker: mm-hmm.
Jonathan Foy: But basically the thing is, we have this technology available
Larry Parker: In-house.
Jonathan Foy: in-house. So,
Larry Parker: Mm-hmm.
Jonathan Foy: um but the thing is obviously there's still gonna be a cost if you
Larry Parker: Mm-hmm,
Jonathan Foy: decided to integrate that because
Larry Parker: mm-hmm.
Jonathan Foy: you still have to pay for the c production of the components, so um it it but it basically means we c we can kind of consider this from uh you know uh a theoretical or usability kind of viewpoint without worrying too much about you know how to develop it because we have this already done.
Larry Parker: Mm-hmm, mm-hmm.
Jonathan Foy: Whilst you know, some people might get annoyed if we uh if we just dump it,
Mark Rauer: I there's something that I unclear really understanding. Is this a technology that recognize keywords speech keywords?
Jonathan Foy: It's it it's no, well, it's it'll recognize uh I guess keywords, but you know keywords in a certain order like a phrase. You train it for a certain uh, for a certain phrase, you say the the example they said that they have uh up and running with their prototype is um well they've actually integrated into the into the the coffee machine that uh that we're producing is, you can say good morning to the coffee machine and it can recognize that phrase and it'll playback good morning,
Mark Rauer: And
Jonathan Foy: how
Mark Rauer: it's
Jonathan Foy: would
Mark Rauer: just
Jonathan Foy: you like
Mark Rauer: to,
Jonathan Foy: your coffee?
Mark Rauer: it's just to playback something?
Jonathan Foy: Yeah. So actually that was a bad example, 'cause it doesn't actually ask how do you want your coffee because it can't really understand the response,
Mark Rauer: Yeah
Jonathan Foy: so.
Mark Rauer: yeah. So this is not s really to do to to do control.
Jonathan Foy: Only, like, only in the sense that it it can recognize a set
Mark Rauer: Yeah.
Jonathan Foy: a set target
Mark Rauer: This
Jonathan Foy: kind
Mark Rauer: is just
Jonathan Foy: of word
Mark Rauer: more
Jonathan Foy: an
Mark Rauer: like a poi
Jonathan Foy: It's designed
Mark Rauer: pois
Jonathan Foy: it's
Mark Rauer: yeah.
Jonathan Foy: designed as a fun kind of thing,
Mark Rauer: Yeah
Jonathan Foy: but I guess
Mark Rauer: yeah.
Jonathan Foy: you could use it as uh as a way to implement uh
Mark Rauer: So
Daniel Schroeder: Yeah but
Mark Rauer: it it's c uh it it it
Daniel Schroeder: you
Mark Rauer: is
Daniel Schroeder: can
Mark Rauer: a
Daniel Schroeder: u
Mark Rauer: uh uh easy uh a fancy thing that you you can bring to we can bring to the remote control that will not have any
Jonathan Foy: Completely
Mark Rauer: uh
Jonathan Foy: pointless yeah.
Mark Rauer: yeah comp completely pointless
Jonathan Foy: Yeah.
Mark Rauer: for the inter for from the interaction point of v point of view.
Jonathan Foy: Yeah, unless you know, you like having conversation with your remote control.
Mark Rauer: Okay.
Daniel Schroeder: Yeah but the can we use it for saying okay, channel fifty,
Jonathan Foy: Well
Daniel Schroeder: channel
Jonathan Foy: yeah, that's the
Daniel Schroeder: twenty?
Jonathan Foy: thing, if you can but you have to pro though I think it's a fairly simple design so you would have to record into the device every possible combination, you have to s tr train it to l to learn channel fifteen, that whole thing, not just the word channel and the
Mark Rauer: Yeah
Jonathan Foy: word fifteen, it doesn't
Mark Rauer: yeah.
Jonathan Foy: have that
Mark Rauer: So
Jonathan Foy: kind of logic
Mark Rauer: this is
Jonathan Foy: in it.
Larry Parker: Mm-hmm.
Mark Rauer: so this
Jonathan Foy: So
Mark Rauer: is this is much more than tak taking this technology, bringing it to the remote control and using it. So this is out of discussion.
Jonathan Foy: Yeah.
Mark Rauer: So if if if it is something that you can we can bring easily and to put it into the banana remote control
Daniel Schroeder: M Mando.
Jonathan Foy: Banana-mando.
Mark Rauer: No this is mm banana-bando,
Daniel Schroeder: Banana-mando
Jonathan Foy: Banana-man
Daniel Schroeder: yeah.
Mark Rauer: yeah. Uh then it could be cool yeah.
Larry Parker: Yeah okay, let's go ahead.
Mark Rauer: Okay.
Jonathan Foy: I uh I I I don't think it's worth it though, I think it doesn't really add much to the functional design and it's it's it's not mature enough to use as a speech recognition engine,
Mark Rauer: Okay.
Jonathan Foy: so Um, yeah. So if we can just move on to the next slide, I've just done a quick mock-up of uh uh some of the features of our potential funky-looking uh
Mark Rauer: It doesn't
Jonathan Foy: remote
Mark Rauer: look like
Jonathan Foy: control
Mark Rauer: a banana at all.
Jonathan Foy: Well, you see, I was I was unaware at this point of th of the fruit focus,
Mark Rauer: Yeah.
Jonathan Foy: um, so
Mark Rauer: But
Jonathan Foy: at the
Mark Rauer: you
Jonathan Foy: moment
Daniel Schroeder: Looks
Jonathan Foy: it's more
Daniel Schroeder: like
Mark Rauer: you
Daniel Schroeder: a
Jonathan Foy: of
Mark Rauer: can
Daniel Schroeder: tr
Jonathan Foy: a
Mark Rauer: fit
Jonathan Foy: box
Mark Rauer: i
Jonathan Foy: focus.
Daniel Schroeder: look likes
Mark Rauer: you're saying
Daniel Schroeder: a
Mark Rauer: now you can
Daniel Schroeder: a tro
Mark Rauer: fit
Daniel Schroeder: a
Mark Rauer: it
Daniel Schroeder: tropical
Mark Rauer: to
Daniel Schroeder: fruit.
Mark Rauer: Yeah.
Daniel Schroeder: Yeah.
Jonathan Foy: Yeah, well, this is actu this could be a genetically engineered fruit that's designed to be you know square so that it packs tighter in the boxes. But um, I've just indicated here, we could have actually two scroll wheels, 'cause I think the scroll wheel is a fairly um
Larry Parker: Stable
Jonathan Foy: key part
Larry Parker: thing, that's
Jonathan Foy: of,
Larry Parker: right.
Jonathan Foy: you know, I think
Larry Parker: To
Jonathan Foy: everyone
Larry Parker: have,
Jonathan Foy: has has agreed that it's that it could
Larry Parker: mm-hmm,
Jonathan Foy: be quite a useful um
Larry Parker: mm-hmm.
Jonathan Foy: thing, so. But I think it's important, you know, to have two scroll wheels because, you know, you want one for for the channel, but you also want one for for the volume,
Mark Rauer: Mm.
Jonathan Foy: because it's it's the volume i it's, you know it's very handy for it to have uh instant kind
Larry Parker: Mm-hmm,
Jonathan Foy: of uh feedback
Larry Parker: mm-hmm.
Jonathan Foy: uh and response, so. But um, I've also included this turbo button because I think, you know, every design should have a turbo button,
Daniel Schroeder: What's a turbo
Jonathan Foy: and
Daniel Schroeder: button?
Jonathan Foy: well so this is you know, a unique problem with with televisions is that if you have this scro this scroll wheel for the television, the uh the tuner on the T_V_ is not gonna be able to to switch between stations as fast as you can scroll, so you know, the th the person might want to have a uh Might want to be able to scroll past television stations without seeing what's on them, in which case it just waits until you stop scrolling and then, you know, displays that station. Or they might want to scroll and and have a quick glimpse of it, even if it lags behind what they're doing.
Daniel Schroeder: It con it controls the speed?
Jonathan Foy: Yeah, so with this turbo button you can, say, skip over t channels if uh, you know, if I'm if I'm going if I'm scrolling past them and you know, it's um, you could have a little red light that comes up when they press it so they feel you know it's really going fast or whatever. So yeah, that's um, those are the two important uh features I think
Larry Parker: Mm-hmm.
Jonathan Foy: we need on the remote, but I mean we can discuss about what other kind of buttons we need, um. You know, i it could be, you know, if we if we wanna have like a very cheap kind of device, I mean, we could either consider that maybe we want to sell this as a very, if it's gonna be a banana, you know that's a pretty gimmicky kind of thing that doesn't have that much functionality, it's just you know a couple of scroll wheels and a button cause it's hard to get so many buttons on a
Mark Rauer: It's enough.
Jonathan Foy: banana and it's still very it may even be for most for some people more functional than their current remote, but if they have these scroll wheels, so, um you know, what other buttons do we want?
Larry Parker: Mm-hmm.
Jonathan Foy: I mean we could have well, I guess you need an on and off
Mark Rauer: Switch
Jonathan Foy: switch,
Mark Rauer: on.
Jonathan Foy: but you could
Mark Rauer: Yeah.
Jonathan Foy: you could o you could turn it turn it on by taking the top off the banana maybe, you know, it's kind of
Daniel Schroeder: Yeah.
Jonathan Foy: like a spy
Daniel Schroeder: So
Jonathan Foy: kind of flick thing.
Daniel Schroeder: sounds crazy. I like crazy ideas.
Jonathan Foy: That's why you're a marketing
Mark Rauer: Okay.
Daniel Schroeder: Yeah,
Jonathan Foy: guru.
Mark Rauer: So
Daniel Schroeder: of course.
Mark Rauer: i it looks like we're going completely to forget about the L_C_D_ thing.
Jonathan Foy: Well, that's the thing, as have we decided that we can only spend, uh, twenty five Euro?
Mark Rauer: I think
Jonathan Foy: Well not spend,
Mark Rauer: that
Jonathan Foy: but you know, charge twenty five Euro.
Daniel Schroeder: I I think we could use somehow the s coffee machine dialogue interface or so.
Mark Rauer: No we can we can't use that.
Daniel Schroeder: You we can?
Mark Rauer: We
Daniel Schroeder: We
Mark Rauer: can't
Daniel Schroeder: can't.
Mark Rauer: use that to
Larry Parker: Communicate.
Mark Rauer: to comman co communicate, it's just
Daniel Schroeder: Yeah,
Mark Rauer: a
Daniel Schroeder: but
Mark Rauer: thing
Daniel Schroeder: we can say
Larry Parker: It's one
Daniel Schroeder: channel
Larry Parker: way.
Daniel Schroeder: twenty five.
Mark Rauer: No.
Daniel Schroeder: No?
Jonathan Foy: But then you have to have a template for every channel, for a hundred channels, you have to be able to to recognize
Daniel Schroeder: It's
Larry Parker: Mm-hmm.
Daniel Schroeder: not a lot one
Jonathan Foy: Mm.
Daniel Schroeder: hundred templates, it's
Jonathan Foy: Well,
Daniel Schroeder: not
Jonathan Foy: I f I think it's probably more than, than our can handle because
Mark Rauer: Yeah.
Jonathan Foy: it's designed for a coffee machine, you know, to say hello in the morning.
Daniel Schroeder: Ah, it's designed for a cof okay. Is it design for a coffee machine?
Jonathan Foy: Well that's its current application, I would presume
Daniel Schroeder: Okay.
Jonathan Foy: that it's kind of, they wouldn't design it to handle a hundred things
Daniel Schroeder: Yeah.
Jonathan Foy: th so.
Daniel Schroeder: Maybe you could ask your the you could ask the engineering department
Larry Parker: Mm-hmm.
Mark Rauer: Yeah.
Daniel Schroeder: if
Mark Rauer: A
Daniel Schroeder: we
Mark Rauer: good
Daniel Schroeder: can
Mark Rauer: good good
Jonathan Foy: But
Mark Rauer: thing. You
Jonathan Foy: uh
Mark Rauer: want to g to move
Larry Parker: Yeah,
Mark Rauer: to your
Larry Parker: that's right,
Mark Rauer: slides?
Larry Parker: yeah.
Mark Rauer: You're finished?
Jonathan Foy: Well I just I just made the point, I don't I don't know if that speech recognition is, you know, even if we can do it, I think it's not really appropriate for uh
Mark Rauer: Yeah I think so.
Jonathan Foy: television environment. But um I did have one thing from a previous meeting, you were talking about um
Daniel Schroeder: Yeah.
Jonathan Foy: being able to find the remote control and I was talking about extendin being able to extend the remote control by having you know, a base station that can control other things as well.
Mark Rauer: Mm-hmm.
Jonathan Foy: It might be useful to have some kind of base station, even if it's just you press on a button on it and uh and the remote control starts beeping, you know, this is a way of finding the remote. Y in that
Mark Rauer: Mm.
Jonathan Foy: case maybe the maybe the speech recognition the speech thing could be useful just to say
Mark Rauer: Exactly yeah.
Jonathan Foy: I'm here but uh it's probably a bit of overkill if you could just have a
Larry Parker: So it's a
Jonathan Foy: a
Larry Parker: speech
Jonathan Foy: beeping
Larry Parker: synthesis kind of thing, something has
Jonathan Foy: It's
Larry Parker: been uh stored
Jonathan Foy: speech
Larry Parker: and it's just uh spoken out.
Jonathan Foy: It's it's speech synthesis and s
Larry Parker: Mm-hmm.
Jonathan Foy: it's speech kind of, not really speech recognition, but
Larry Parker: Yeah.
Jonathan Foy: kind of pattern
Larry Parker: That's right.
Jonathan Foy: matching, yeah
Mark Rauer: Oh, good idea.
Jonathan Foy: yeah.
Mark Rauer: Very good. Okay, let's move on. So you're two?
Larry Parker: That's right.
Mark Rauer: Okay.
Larry Parker: So this is going to be about the component design.
Mark Rauer: Mm-hmm.
Larry Parker: So first thing is we need power source for the remote control. So I was of the idea that we can have two kind of power supplies, one is the usual batteries which are there, they could be chargeable batteries if there's a basis station kind of thing and on top of that we can have solar cells, when the lighting conditions are good they can be used so it'll be pretty uh innovative kind. Then uh we need plastic with some elasticity so that if your if the remote control falls it's not broken directly into pieces, there should be some flexibility in t
Jonathan Foy: I guess that fits in with the spongy kind of design philosophy.
Mark Rauer: Yeah.
Larry Parker: Yeah. So there should we should think of something like that and then it should be double curve. The s science for the ease of handling and there are some other issues why we need double curve. Then controls for the traditionals u traditional users we can have the push buttons so that they don't feel that it's an alien thing for them.
Jonathan Foy: So, just one second, when you say double curve, what do you actually mean? You reckon you could like draw us a thing on the, on the whiteboard
Larry Parker: Double
Jonathan Foy: 'cause I'm
Larry Parker: curve
Jonathan Foy: not sure
Larry Parker: is, you have curves on both the sides if I'm right. So it's symmetrical kind of thing, whatever it is.
Jonathan Foy: Okay, but like,
Larry Parker: So,
Jonathan Foy: kind of convex
Larry Parker: it could
Jonathan Foy: or concave?
Larry Parker: be curve, so it could be convex, conve concave, depending on
Jonathan Foy: Mm-hmm.
Larry Parker: what what we want.
Jonathan Foy: Okay.
Larry Parker: So there are flats, there are single curve and there are double curves.
Jonathan Foy: Okay.
Larry Parker: These are the three things, and there are different materials, with plastic you can have double curve but with uh certain other materials we cannot have double curve. So there there was uh there were many other materials like wood, titanium and all those things, but plastic is I think is the most appropriate one,
Mark Rauer: Yeah.
Larry Parker: it'll bring the cost down and anyway it's
Jonathan Foy: Although, you know, wood could be uh quite a stylish uh option, if you take like, nice quality kind of wood that's got a nice grain and you
Mark Rauer: Mm
Jonathan Foy: kind of put
Mark Rauer: but
Jonathan Foy: some,
Mark Rauer: i
Jonathan Foy: some
Mark Rauer: but
Jonathan Foy: varnish
Mark Rauer: there is
Jonathan Foy: on.
Mark Rauer: no elasticity which
Larry Parker: Wooden
Mark Rauer: could
Larry Parker: cases
Mark Rauer: be
Jonathan Foy: Well it depends, I mean, you have the outs the wood itself is not gonna break so you don't have to worry too much about the case being
Mark Rauer: Yeah
Jonathan Foy: broken,
Mark Rauer: but the
Jonathan Foy: it's
Mark Rauer: components
Jonathan Foy: the inside.
Mark Rauer: inside.
Jonathan Foy: Yeah but inside you know you could have you can still have some kind of cushioning that's
Larry Parker: Mm-hmm.
Mark Rauer: Yeah.
Jonathan Foy: not visible to the to the user.
Mark Rauer: Very
Larry Parker: Mm-hmm.
Mark Rauer: too expensive to do.
Daniel Schroeder: Yeah.
Jonathan Foy: And I mean you
Mark Rauer: And
Jonathan Foy: could
Mark Rauer: also
Jonathan Foy: also,
Mark Rauer: uh
Jonathan Foy: you can have just a very thin veneer of wood as well.
Mark Rauer: Yeah but it's more easier to do a banana in plastic than uh in wood.
Jonathan Foy: That's true, but are we set on the banana idea?
Daniel Schroeder: Actually
Mark Rauer: Well it look like it
Daniel Schroeder: I was
Mark Rauer: looks
Daniel Schroeder: thinking
Mark Rauer: like you
Daniel Schroeder: that
Mark Rauer: are all
Daniel Schroeder: the
Mark Rauer: targeting that yeah?
Daniel Schroeder: the shape of a banana is not it's not really handy.
Mark Rauer: Yes it is.
Daniel Schroeder: Uh I don't know the name o o in English uh
Larry Parker: Is it
Daniel Schroeder: This
Larry Parker: an e
Daniel Schroeder: it's
Larry Parker: apple
Daniel Schroeder: not a
Larry Parker: which
Daniel Schroeder: fruit
Larry Parker: has
Daniel Schroeder: it's a vegetable.
Jonathan Foy: It's like a pumpkin or
Mark Rauer: Yeah? Pumpkin.
Daniel Schroeder: Green.
Jonathan Foy: Green.
Mark Rauer: Green. Um um um, yes I see.
Jonathan Foy: What does it taste
Daniel Schroeder: And you
Jonathan Foy: like?
Daniel Schroeder: put in the salad.
Mark Rauer: Pep pepperoni.
Daniel Schroeder: Um
Jonathan Foy: Ah yeah, is it what's it in French?
Mark Rauer: Poivron.
Daniel Schroeder: Oui c'est ca
Jonathan Foy: Yeah, okay, so capsicum or pepper.
Mark Rauer: Uh pepper.
Jonathan Foy: Yeah.
Daniel Schroeder: Pepper.
Mark Rauer: But um they do
Daniel Schroeder: And it's
Mark Rauer: d
Daniel Schroeder: al it also suits with the double curve for
Mark Rauer: Yeah.
Daniel Schroeder: easy of
Jonathan Foy: I don't know, it seems a little bit kind of bulky to Daniel Schroeder,
Daniel Schroeder: No,
Jonathan Foy: like
Daniel Schroeder: I
Mark Rauer: Yeah.
Daniel Schroeder: mean in a
Mark Rauer: It's not re
Jonathan Foy: like
Mark Rauer: it
Jonathan Foy: with
Mark Rauer: you
Jonathan Foy: a banana
Mark Rauer: you
Jonathan Foy: you
Mark Rauer: think
Jonathan Foy: can
Mark Rauer: it's
Jonathan Foy: have
Mark Rauer: really fancy and fun? You think that young people
Daniel Schroeder: I'm sure
Mark Rauer: that are
Daniel Schroeder: it's fun.
Mark Rauer: Yeah. More than a banana?
Daniel Schroeder: But banana is not so handy,
Larry Parker: Banana
Jonathan Foy: Well
Daniel Schroeder: I think
Larry Parker: is
Daniel Schroeder: that's
Larry Parker: more
Daniel Schroeder: handier.
Larry Parker: handier as compared to this I think, and to capsicum.
Jonathan Foy: But like a banana you can you can be holding like this and have the scroll wheel kind of on top and
Mark Rauer: Yeah.
Jonathan Foy: just roll it back and forth like
Mark Rauer: It's
Jonathan Foy: that,
Mark Rauer: kind
Jonathan Foy: but with
Mark Rauer: it's
Jonathan Foy: uh
Mark Rauer: kind of
Jonathan Foy: I
Mark Rauer: it's
Jonathan Foy: don't
Mark Rauer: more
Jonathan Foy: know how you would hold
Mark Rauer: uh
Jonathan Foy: a capsicum and
Mark Rauer: it's really ergonomic, it's fit in the hand and you've a lot of surface to to put the controls. Okay let's move
Daniel Schroeder: Yeah
Mark Rauer: on.
Daniel Schroeder: you're right.
Mark Rauer: So time is running, let's move on.
Larry Parker: Okay, so push buttons for the traditional users so that they don't feel they are alienated, just and a scroll button with push technology for channel selection, volume control and teletext browsing. These are the three scroll buttons which are already available with us in the company and we we can go ahead with that.
Mark Rauer: Okay.
Larry Parker: Yeah, we can go to the next slide. Then uh there are different kind of chips, one one is the basic chip and the regular chip and one an adva advanced chip. So we can have regular chip for control. Pricing is a factor for us, that's why we'll go for the regular chip. And uh regular chip supports speaker support, so this functionality could be used for tracing the mobile phone which has been misplaced.
Jonathan Foy: So is that, when you say speaker support, you mean it just has some output pinned which which which kind
Larry Parker: It
Jonathan Foy: of
Larry Parker: could be a beep kind of thing.
Jonathan Foy: Okay, but the speaker is actually attached to the to the chip in some way, or is just
Larry Parker: Yes,
Jonathan Foy: the the
Larry Parker: yes,
Jonathan Foy: signal?
Larry Parker: that's
Jonathan Foy: Okay.
Larry Parker: right, it's it's onto the chip, most most probably, not
Jonathan Foy: Okay.
Larry Parker: not hundred per cent sure about
Jonathan Foy: So
Larry Parker: that.
Jonathan Foy: are there any issues where we place this this chip to make sure you can actually hear the the speaker from the outside of the banana?
Larry Parker: That will be the volume control I think which which a user shou it it should be already pre-defined. It should be whatever will be the case,
Jonathan Foy: Okay.
Larry Parker: the chip is always going to be sitting inside.
Jonathan Foy: Yeah, but the speaker, if the speaker is actually on the chip,
Larry Parker: Mm-hmm.
Jonathan Foy: then if it's too far away from the the casing, or if the casing is too thick, then you may not hear the
Larry Parker: Uh,
Jonathan Foy: the speaker.
Larry Parker: so we can have it at one of the boundaries so that things are slightly better.
Jonathan Foy: Yeah.
Larry Parker: As or as hearing is concerned, we can have some gap at some place,
Jonathan Foy: Yeah.
Larry Parker: so
Jonathan Foy: So
Larry Parker: that
Jonathan Foy: that's something we have to keep in mind with the actual physical design is to keep the
Larry Parker: That's right.
Jonathan Foy: the speaker close enough to the outside.
Larry Parker: Okay. Yeah. So these these were the component selection and these things. We can go to the next slide. And uh these were the findings which I I saw with the web web, that user wants to have control more than one device wants to control more than one device from the same remote control, so our T_V_ remote can have little extra things to support additional devices like V_C_R_ D_V_D_ players which are usually attached with the T_V_, because users are like this and they don't want to have one remote control for everything, so with
Jonathan Foy: Although,
Larry Parker: this additional
Jonathan Foy: if
Larry Parker: little, we might be having slightly better market for us.
Jonathan Foy: It depends, if we like, if we are concentrating on like a fruit design, then maybe
Larry Parker: Mm.
Jonathan Foy: maybe we wanna sell a collection of fruit,
Larry Parker: Of fruits.
Jonathan Foy: you know, like a different fruit for each device.
Larry Parker: Mm-hmm.
Jonathan Foy: Cause that, you know, that sometimes people like to collect um
Larry Parker: Remotes
Mark Rauer: S objects.
Jonathan Foy: you know
Larry Parker: objects,
Jonathan Foy: things that
Larry Parker: okay.
Jonathan Foy: of a similar
Mark Rauer: Crazy objects.
Daniel Schroeder: I think that would
Jonathan Foy: type.
Daniel Schroeder: be funny at the beginning but after one month you will be tired of be surrounded of fruits.
Jonathan Foy: Well, you're the one who wanted to do fruit in the
Daniel Schroeder: No
Jonathan Foy: first
Daniel Schroeder: but
Jonathan Foy: place.
Daniel Schroeder: I think just one fruit to control everything.
Jonathan Foy: Like a power fruit.
Daniel Schroeder: A power fr a power M a Mando, a Supermando fruit.
Jonathan Foy: Yeah.
Mark Rauer: Okay.
Larry Parker: s and we should have it on the remote.
Daniel Schroeder: Actually
Jonathan Foy: Well
Mark Rauer: Okay,
Daniel Schroeder: I
Mark Rauer: good.
Daniel Schroeder: I didn't understand very well this trace speaker lost control.
Larry Parker: So you're having a basis station. Okay. Your usually your remote sits on that. So you and it's that's why it can have chargeable batteries. Now let's
Daniel Schroeder: So
Larry Parker: say
Daniel Schroeder: you you have to buy two things, the banana and the basis
Mark Rauer: Bu
Daniel Schroeder: station.
Mark Rauer: it's
Larry Parker: Basis station
Mark Rauer: it's.
Larry Parker: is with the thing.
Mark Rauer: You s you you thing.
Larry Parker: It's like a telephone handset is there and the basis station for the telephone hand set is there. So now what user gets additionally he doesn't have to buy batteries, they're rechargeable batteries, so over the period of cor time he'll recover the cost. So you're having the basis station and there is a button, if you press that button wherever the remote it'll start beeping so you know where the remote is.
Jonathan Foy: I
Larry Parker: Uh
Jonathan Foy: think that's a pretty handy feature.
Mark Rauer: Yeah.
Daniel Schroeder: Yeah.
Jonathan Foy: I think it's kind of people would find that worth it even if it wasn't uh a recharging station, even
Larry Parker: Mm-hmm,
Jonathan Foy: if they didn't
Larry Parker: mm-hmm,
Jonathan Foy: have to buy extra batteries, you know.
Larry Parker: mm-hmm, mm-hmm.
Daniel Schroeder: Yeah but
Jonathan Foy: So
Daniel Schroeder: I'm a bit worried about the budget.
Larry Parker: Uh this is basis station is nothing more, just it's a wire which is coming from the main cable
Mark Rauer: Mm-hmm.
Larry Parker: and uh you're having one socket on which the thing sits.
Jonathan Foy: Although you do need to include R_F_ kind of
Larry Parker: That's right.
Jonathan Foy: circuitry in
Larry Parker: But
Jonathan Foy: the remote.
Larry Parker: all these things are usually in-house so we don't have much problems. So component cost is going to be the least. Anyway, we are not using really advanced technology, L_C_D_ has already been ruled out, A_S_R_ has been ruled out. So it's the basic thing but very trendy and very user-friendly.
Jonathan Foy: Okay.
Larry Parker: And
Jonathan Foy: I'm just wondering actually, 'cause, you know, I this whole fruit thing with the banana, it's um it seemed like it first seems a bit kind of uh niche, like only a few people would really want a banana, but what if it was kind of uh a stylised banana? You know, rather than having it kind of you know yellow and really looking exactly like a banana, you could make it kind of silver. And um, you know to give you kind of the idea of a banana but without it looking you know completely kitsch. For better want of a better word you know?
Mark Rauer: You
Larry Parker: Mm-hmm.
Mark Rauer: think that yellow it's kitsch.
Jonathan Foy: Well, you know, I don
Mark Rauer: If
Jonathan Foy: I don't
Daniel Schroeder: Yeah.
Jonathan Foy: know how
Mark Rauer: you
Jonathan Foy: many
Mark Rauer: make
Jonathan Foy: peop
Mark Rauer: something that looks like a banana it should
Daniel Schroeder: No,
Mark Rauer: have
Daniel Schroeder: I
Mark Rauer: the
Daniel Schroeder: I
Mark Rauer: colour of a banana.
Larry Parker: A yeah, otherwise
Jonathan Foy: Well
Larry Parker: it'll be
Jonathan Foy: they
Larry Parker: mis
Mark Rauer: O otherwise
Larry Parker: means you don't get
Daniel Schroeder: Maybe
Larry Parker: b any feeling
Daniel Schroeder: li like
Larry Parker: then.
Daniel Schroeder: that.
Larry Parker: It's neither a
Jonathan Foy: Yeah,
Larry Parker: banana
Jonathan Foy: like this
Larry Parker: nor
Jonathan Foy: colour
Larry Parker: a
Jonathan Foy: this colour Maybe, you know, maybe like still in the shape of a banana.
Mark Rauer: Roughly.
Jonathan Foy: No, exactly. Exactly. Um, but you know, just maybe maybe not exactly the same texture as a banana and just kind of, you know because the thing is it's gonna be a little bit difficult to make um to give like the texture of a banana anyway and to k to have the exact shape. I think if you're gonna not be able to do it properly you may as well do it in a stylised way that just looks a bit more kind of, you know, twenty first century rather than
Mark Rauer: Yeah.
Jonathan Foy: sixties or seventies.
Mark Rauer: Okay.
Larry Parker: And
Mark Rauer: Let's
Larry Parker: uh
Mark Rauer: move on. Uh
Larry Parker: going to
Mark Rauer: uh
Larry Parker: the last slide.
Mark Rauer: yeah. the meeting I'd like to to draw some sketch about the pro future prot prototype.
Jonathan Foy: Okay.
Mark Rauer: Go for it.
Larry Parker: Okay.
Mark Rauer: Well no, not not you, you can finish
Larry Parker: Okay.
Mark Rauer: your slides
Larry Parker: Okay,
Mark Rauer: before
Larry Parker: so. Anyway, users'll be so the findings is users'll be very interested in our locator device to find their misplaced
Mark Rauer: Mm
Larry Parker: remotes.
Mark Rauer: okay.
Larry Parker: So that was very I thought it's a very good suggestion by everybody.
Mark Rauer: Okay.
Larry Parker: That's it.
Mark Rauer: That's all?
Larry Parker: Yep.
Mark Rauer: Okay, so mm so well done for the presentations. So we need to take some de decisions about um about what we're going to do. So I I propose that you go to the whiteboard
Jonathan Foy: Yeah.
Mark Rauer: and we're going to report all the ideas we had we had during this these presentations just to draw some sketch about
Jonathan Foy: Okay.
Mark Rauer: what will be the prod final product and uh where Superman go banana and uh uh extra
Larry Parker: Mm-hmm.
Mark Rauer: func functionalities such as wheels, um the speaker unit um well not in order not to lost the um the device, I do I don't remember you
Larry Parker: That's
Mark Rauer: call
Larry Parker: right.
Mark Rauer: it?
Larry Parker: The basis station.
Mark Rauer: Basis
Larry Parker: That's
Mark Rauer: station, yeah.
Larry Parker: right.
Mark Rauer: Uh so um so we're going for a stylish banana shape.
Jonathan Foy: Yeah, so, I guess you wanna hold like the way the end of the banana you wanna kind of hold as ma you maybe wanna kinda hold like a gun rather than 'cause you don't want it to point kind of
Mark Rauer: Yeah,
Jonathan Foy: towards the floor.
Mark Rauer: right.
Jonathan Foy: So you know, so if you have like
Daniel Schroeder: What about what about this shape? More or less.
Mark Rauer: We
Larry Parker: There's less space on this to put with the buttons.
Mark Rauer: I if it
Daniel Schroeder: Yeah,
Mark Rauer: i
Daniel Schroeder: but
Mark Rauer: if it has
Daniel Schroeder: how
Mark Rauer: really
Daniel Schroeder: many
Mark Rauer: the
Daniel Schroeder: buttons
Mark Rauer: model
Daniel Schroeder: do
Mark Rauer: shape
Daniel Schroeder: we need?
Mark Rauer: of a bana you could the the starting is good but it could it should have more the shape of a banana if you want to point really a at the thing. If you don't want to to to do that movement which is which is difficult if you don't have to do it in fact, it's better.
Larry Parker: Uh
Mark Rauer: So
Larry Parker: what about
Mark Rauer: ti
Larry Parker: a
Mark Rauer: time is running, we have to we have to we have to to move forward. So let's skip to uh this uh this this this idea. Yeah.
Jonathan Foy: Okay, so
Mark Rauer: So
Jonathan Foy: So
Mark Rauer: we have this. We have a a basis um, how do you call it?
Larry Parker: The base station.
Mark Rauer: A base station.
Larry Parker: Right.
Mark Rauer: We'll have a base station extra uh on the side.
Jonathan Foy: okay, so I guess we need, you know, something that can fit a banana shaped object.
Larry Parker: Mm-hmm.
Mark Rauer: Yeah.
Larry Parker: Yeah.
Mark Rauer: Uh, we have a R_F_ for um for beeping
Larry Parker: That's right, yeah,
Mark Rauer: for beeping.
Larry Parker: we need that, yeah.
Mark Rauer: We need b R_F_ to
Jonathan Foy: Okay,
Mark Rauer: beep.
Jonathan Foy: so it's
Mark Rauer: So
Jonathan Foy: uh
Mark Rauer: we that means we need a button on th on the on the basis.
Jonathan Foy: Yeah.
Larry Parker: Basis station.
Mark Rauer: Basis station,
Larry Parker: Yeah,
Mark Rauer: thank you.
Larry Parker: yeah.
Jonathan Foy: Alright, so we need uh okay.
Mark Rauer: Can
Jonathan Foy: Yeah.
Mark Rauer: you go quickly please? Okay. So we are going to add uh also um you as you suggested the whee some wheels to control the volumes and channels
Jonathan Foy: Yeah.
Mark Rauer: and your tur turbo turbo uh
Jonathan Foy: Yeah,
Mark Rauer: button.
Larry Parker: Turbo
Jonathan Foy: which
Larry Parker: button.
Jonathan Foy: I think it's it's probably best actually on the on the underneath of the
Mark Rauer: Yeah, on the
Jonathan Foy: the
Mark Rauer: th
Jonathan Foy: device, so you have
Mark Rauer: yeah, maybe here. And
Jonathan Foy: Yes.
Mark Rauer: the and the wheel a a at the level of the thumb for instance.
Jonathan Foy: Yeah, so you have the thumb kind of here.
Mark Rauer: And and you have two wheels.
Jonathan Foy: So yeah, you need one one here and one on on the other side,
Mark Rauer: Okay right.
Jonathan Foy: so you got volume an and channel.
Mark Rauer: Good.
Jonathan Foy: And,
Mark Rauer: So
Jonathan Foy: uh
Mark Rauer: no L_C_D_.
Jonathan Foy: No L_C_D_.
Mark Rauer: Okay great. Um. Very good.
Larry Parker: Okay.
Jonathan Foy: Oh we need a we need a power um on off switch as well.
Mark Rauer: Yeah.
Larry Parker: Uh for the remote?
Jonathan Foy: Yeah.
Mark Rauer: Oh, just
Larry Parker: Remotes
Mark Rauer: the switch,
Larry Parker: don't
Mark Rauer: no f
Larry Parker: have power
Mark Rauer: not for
Larry Parker: on
Mark Rauer: the
Larry Parker: off
Mark Rauer: T_V_
Larry Parker: switch.
Mark Rauer: for the T_V_.
Jonathan Foy: Yeah.
Mark Rauer: Uh
Larry Parker: Okay.
Mark Rauer: so
Larry Parker: S
Mark Rauer: you
Larry Parker: no, that'll be controlled by the
Daniel Schroeder: What
Larry Parker: those buttons'll be
Daniel Schroeder: a
Larry Parker: there already, yeah.
Jonathan Foy: Where?
Larry Parker: Means on
Mark Rauer: On the
Larry Parker: the
Mark Rauer: side.
Larry Parker: remote. Because
Jonathan Foy: Okay.
Larry Parker: remote is going to have both the interfaces, scroll as well as buttons. They are not going to cost you much, everything is in-house and now you don't want the traditional users to be apprehensive of this.
Jonathan Foy: Well, I dunno if the traditional user is gonna buy a a banana remote
Larry Parker: Oh,
Jonathan Foy: in the
Larry Parker: yeah.
Jonathan Foy: first place, you
Larry Parker: That's
Jonathan Foy: know.
Larry Parker: that's another issue which
Jonathan Foy: Y
Larry Parker: I
Jonathan Foy: I mean
Larry Parker: didn't think of.
Jonathan Foy: you need to kind of keep it um
Larry Parker: But you know our targets are very high, means fifty million Euros is the profit which we want
Daniel Schroeder: What
Larry Parker: make.
Daniel Schroeder: about
Jonathan Foy: Yeah, how many of these did we wanna sell? I can't remember,
Larry Parker: Twenty
Jonathan Foy: what was
Larry Parker: five. Twelve point
Mark Rauer: Twenty
Larry Parker: five
Mark Rauer: five.
Larry Parker: is the profit on one.
Jonathan Foy: Yeah, but how many units did we need to to sell?
Larry Parker: Uh forty th four.
Daniel Schroeder: Four
Larry Parker: Point
Daniel Schroeder: millions?
Larry Parker: point four million?
Jonathan Foy: Four point four million.
Larry Parker: Point four million.
Jonathan Foy: That's a lot of fruit.
Mark Rauer: Yeah.
Larry Parker: In the market.
Daniel Schroeder: What about
Mark Rauer: So.
Daniel Schroeder: a
Mark Rauer: Well. No. Time is running, we have to close the meeting in a few
Jonathan Foy: Okay.
Mark Rauer: minutes. So, okay, the next step, you can come back to your
Jonathan Foy: Okay.
Mark Rauer: seat. The next step is to go for to f is to go to uh to building a prototype, based on this, okay?
Jonathan Foy: Okay.
Mark Rauer: So next meeting you guys have to prepare the followi things. You have to uh work on the look and feel uh design and you have to work on the user interface, in fact you two you have to work together
Larry Parker: Mm-hmm.
Mark Rauer: to model the first uh f first prototype. Uh Marketing Expert uh have to go to product evaluation. Okay?
Daniel Schroeder: I wo what about adding the this word spotting, keyword spotting recognition saying volume up volume down?
Mark Rauer: It's too difficult.
Daniel Schroeder: It's too difficult but people like innovation and that's really uh innovative and I don't know if it would cost a lot, just a few five words.
Mark Rauer: It's not a possi it will not be possible to implement it for the next prototype, so t it's in the next prototype so
Jonathan Foy: Uh.
Mark Rauer: let's skip it.
Daniel Schroeder: Okay.
Larry Parker: For the future prototypes.
Mark Rauer: Yeah, maybe, for the n if if
Jonathan Foy: That can be
Mark Rauer: if
Jonathan Foy: the t
Mark Rauer: it it works well, we'll go for
Jonathan Foy: That can
Mark Rauer: uh
Jonathan Foy: be
Mark Rauer: an
Jonathan Foy: like
Mark Rauer: orange
Jonathan Foy: the turbo
Mark Rauer: one.
Jonathan Foy: banana plus plus
Mark Rauer: Yeah
Daniel Schroeder: Plus
Jonathan Foy: commando.
Daniel Schroeder: plus, okay.
Mark Rauer: yeah, honour the fruit.
Daniel Schroeder: Maybe objective banana?
Mark Rauer: Okay. Thanks very much. We'll see n next meeting. Bye.
Larry Parker: So meeting's
Jonathan Foy: Okay.
Larry Parker: over?
Jonathan Foy: Yep.
Larry Parker: Okay.
Jonathan Foy: We have to go design
Larry Parker: Okay.
Jonathan Foy: the prototype.
Larry Parker: Okay. Thank you.
Mark Rauer: Thank you.
Daniel Schroeder: Thank you.
Larry Parker: The problem is after all this meeting there is | Mark Rauer opens the meeting, stating that it is about conceptual design. He restates the last meeting's descision that they will not do speech recognition technology but says they still have to decide whether to use an LCD screen. Then they move on to the three presentations. Daniel Schroeder is first to present, and he talks about making a pleasant-looking device, particularly one that favors current trends. They then begin talking about using a fruit, vegetable, or natural object as the shape of the remote, the logo, or for the buttons. Eventually they decide to make the device the shape of a banana. Next, the user interface specialist presents. He annouces that the technology division of their company has developed an integrated programmeable sample speaker unit, which would allow a person to have a conversation with the remote control. They have the option of using that technology. He shows them his plan what the remote control could look like and the features it might have. He suggests putting two scroll wheels- one for changing the channel and another for the volume. He also included a turbo button for speed, which he thinks every design should have. Since they can only charge twenty-five euro they decide to eliminate the LCD screen idea. After that the interface specialist talks about having a base station for the purpose of finding the remote control when lost. The user could simply press a button on the base station and the remote control would start beeping. Lastly, Larry Parker presents, discussing the power source of the remote control. He suggests that they could have one of two kinds of power supplies- the usual batteries or rechargable ones if there is to be a base station and they could place solar cells on top for times when the lighting is good. He talks about using plastic with elasticity so that the remote would not break into pieces if it fell, which relates to their earlier discussion about giving it a spongy design. Plastic is also less costly than other options of wood or titanum. In addition, he talks about giving the control a double curve, curves on both the sides so that it is easy to hold and handle. They do not yet seem set about the idea of making it a banana shape, and one group member feels that the shape is not handy. The industrial desiger tells them they will use a regular chip rather than the advanced one since pricing is a factor. They agree on having base station with the remote. They go on to have discussion, with one member suggesting that they make the banana more stylized so that it looks less like a banana- for example, it could be silver. After that Mark Rauer has them discuss/reiterate the decisions made during the meeting: no LCD screen, the remote will have a base station, a RF for beeping, a button on the base station to press, possibly a stylish banana-shape for the control, 2 scroll wheels to control the volume and channels at the thumb level, a turbo button perhaps underneath the device, on/off button for the TV. | 5 | amisum | train |
Steve Crabtree: Now what.
David Hayes: 'Kay, hello everybody. Uh, I guess you all know what is it about, you all received the email, I guess. Uh, we are actually doing this meeting to start a new project which is about designing a remote control. So I'm going to be David Hayes of this uh project. And uh so I'm present myself. I'm Fabien Cardinaux and uh I I guess you can present yourself. So I dunno, you can starts.
Steve Crabtree: Okay, so my name is. You can call John Villarreal Petre, or Peter if you like. I don't care.
David Hayes: Okay.
John Villarreal: Uh my name's Bob
David Hayes: And
John Villarreal: Mor.
David Hayes: you are? In the project?
Steve Crabtree: Uh,
John Villarreal: Oh, sorry.
Steve Crabtree: in the project I'm supposed to be the technic.
John Villarreal: 'Kay. So my name's Bob Morris. I'm John Villarreal for this project.
Steve Crabtree: Bob,
John Villarreal: Bob
Steve Crabtree: okay.
John Villarreal: yeah.
Michael Reik: My name is Hamed Getabdar, uh I'm going to be Interface Designer in this project.
Steve Crabtree: Okay.
David Hayes: So, uh, so today we are doing a short meeting to present the project, so um We are gooding we are going to present the tool we are we are going to use during all this project. We are talking about the project plan, and we are going to to discuss about st our first ideas and so on, and, yeah. So we have around twenty five minutes to do this meeting. Um. So what is the goal of this project? Is to design a new remote control. So it should be, of course, new and original, and um it should be trendy, and user friendly. That mean it's a very challenging project, and uh uh. So w it's we will try to do our best, and hopefully come with something very new and that people want to buy. So, um So what's uh what are we going to do during this all this project? So it's more like we are going to do inv individual work all in o in o our specialities and we are going to meet each other quite often to discuss and to find a good way. Um.
David Hayes: Yeah and everything is will be like this. Um so now we are going to to get used t to to the tools we are going to use all during all this project. So we can try to use uh the whiteboard here. So
Steve Crabtree: Okay.
David Hayes: uh. For example we can try to write what is our our favourite animal and write the f our favourite characteristics about it. Mm.
David Hayes: Uh. So uh
David Hayes: So I will ask you all to do the same.
Steve Crabtree: Okay.
David Hayes: Just to get used to the whiteboard.
Steve Crabtree: So probably I would try to try to draw the animal. Well sh should I draw the picture of the animal? I I th
David Hayes: Yeah,
Steve Crabtree: I
David Hayes: yeah,
John Villarreal: Yeah
David Hayes: you
Steve Crabtree: think
David Hayes: can
Steve Crabtree: I
John Villarreal: go
Steve Crabtree: should.
David Hayes: draw
John Villarreal: ahead.
David Hayes: the picture, of course.
Steve Crabtree: Okay, so. Um. Okay, American, um. Um. use the bird. So I tried to sketch it out. I had to first uh write it down because I am not absolutely sure if I can draw it, but ah. Can you recognise it as a bird? Okay
John Villarreal: Okay,
Steve Crabtree: it's your turn to
John Villarreal: okay.
John Villarreal: So I think my favourite animal would be a c a cat.
David Hayes: Oh.
John Villarreal: That's its head. Um I probably like cats the most because they're cuddly and furry and uh playful. Okay.
Michael Reik: I dunno if I should go
Steve Crabtree: Oh it's
Michael Reik: with
Steve Crabtree: okay.
John Villarreal: Thanks.
Michael Reik: this. If it is enough line. I'm sorry.
John Villarreal: Maybe put it up Put it a Maybe put it on the desk or something.
Steve Crabtree: Yeah. I should get used to the tool, so.
Michael Reik: Okay.
Steve Crabtree: Oh just wait a little bit. C could we put it here, to make it as straight as possible? Ah probably not.
Michael Reik: They
Steve Crabtree: Okay,
Michael Reik: should be remote.
John Villarreal: that's better.
Steve Crabtree: it it works like this.
Michael Reik: Okay, thanks.
John Villarreal: Your lapel microphone's fallen off.
Steve Crabtree: Are you left-handed?
Michael Reik: No.
Steve Crabtree: Oh, pity.
Michael Reik: Okay. Should I clean? Okay, I think like horses uh because they are strong and beautiful, so if I want to write it here, I think I can.
David Hayes: Never mind.
Steve Crabtree: Ah, it's maybe
John Villarreal: Yeah.
Steve Crabtree: better if you leave it.
John Villarreal: Yeah. Maybe we should just continue.
David Hayes: Yeah.
John Villarreal: Yeah, don't worry about it.
David Hayes: no
John Villarreal: No.
David Hayes: worry.
Michael Reik: Okay.
Steve Crabtree: You won't draw them,
David Hayes: You can
Steve Crabtree: or?
David Hayes: draw it, if you
Michael Reik: I dunno if I can.
David Hayes: want.
Steve Crabtree: Just try. I would like to
Michael Reik: Okay.
Steve Crabtree: see how it looks like.
Michael Reik: It may be like a cow or I dunno, whatever. I'm not good very good in drawing. Okay, so this is very It's a bird, I think. I dunno what is it.
Steve Crabtree: No, I think it's clear.
Michael Reik: Four. Okay. Mm-hmm. Mm. Yeah. I'm shameful
John Villarreal: Oh
Steve Crabtree: It's okay. It's
John Villarreal: that's
Steve Crabtree: in
David Hayes: Good.
John Villarreal: good, it's good.
Steve Crabtree: it's indeed beautiful.
John Villarreal: Yeah, and strong.
Michael Reik: Yeah. Okay.
Steve Crabtree: Okay. Bob. Have to remember it. Bob.
David Hayes: So good um So, let's talk about money. Uh we are going to to sell we want to sell uh this remote control for twenty five Euro Euro. And uh our expected profit will be around fifty million Euro. And uh we are trying to to have a market all around the world. So n not only for Switzerland, but for the world. Uh. So, um. The We expect a production cost of maximum uh twelve point fifty Euro.
Steve Crabtree: Per unit, I guess.
David Hayes: Yeah,
Steve Crabtree: Y
David Hayes: of course.
Steve Crabtree: oh okay.
David Hayes: Um, so we can start today to have a first idea of what we want to do what are our experiments with remote control, and any idea? So, if you have some experience, good or bad, with remote controls you can share it and say what you f what is your idea. Anything.
Steve Crabtree: Okay.
John Villarreal: Well, from experience, um I've had remote controls in the past that have had very they've had lots and lots of buttons and they've been very small, and it's been very hard to to to use, because there's so many buttons, and you know it's very hard to see which buttons do what, and the buttons are very small and very hard to press. Um and and normally you only every use, you know, on a T_V_ remote you only ever use, mostly, you know, f four
David Hayes: Mm.
John Villarreal: or f six
Steve Crabtree: Oh.
John Villarreal: buttons. Um. So it's frustrated John Villarreal in the past, th that.
Steve Crabtree: Okay, I have also some points uh. Maybe two points. Uh first would be that in current remote controls there is no back light, so if you are if you are uh playing with this in the dark room it's
David Hayes: Yeah.
Steve Crabtree: it's probably worth to to have something like uh back light. And maybe it could be also dependant on the the amount of of light in the room, so that if if it's in the day it doesn't need to be back lighted because it works on the battery, so. So something like this. And the second thing, f second point from John Villarreal would be that in a normal remote control there is uh there are two buttons for volume control. But
David Hayes: Yeah.
Steve Crabtree: I prefer like a potential-meter or something like.
John Villarreal: Ah, okay. Okay.
Steve Crabtree: You know, some slider
David Hayes: Okay.
Steve Crabtree: or
Michael Reik: Mm-hmm.
Steve Crabtree: Not
John Villarreal: Okay,
Steve Crabtree: just two
John Villarreal: n
Steve Crabtree: discrete buttons for volume, but something which
David Hayes: Mm-hmm.
John Villarreal: Is that because
David Hayes: Yeah.
John Villarreal: the of the discrete volume levels, or is that
Steve Crabtree: Yeah, but I can reach In uh one second I can mute it down, or
John Villarreal: Yeah.
David Hayes: Are
Steve Crabtree: or make
David Hayes: you not afraid
Steve Crabtree: a
David Hayes: that
Steve Crabtree: high volume.
David Hayes: if you take your remote control you can move the slide and it could the the
Steve Crabtree: Ah,
David Hayes: volume can
Steve Crabtree: n.
David Hayes: go up very quickly and it
Steve Crabtree: If
David Hayes: can
Steve Crabtree: it drops to the floor then it starts
David Hayes: Yeah, also
Steve Crabtree: to scream.
David Hayes: if y when you take the the remote control, for example on the table, you take it and you push the button and everything is very loud, and you have
Steve Crabtree: Yeah,
David Hayes: a heart attack.
Steve Crabtree: f It depends what what you feel about that.
David Hayes: Okay.
John Villarreal: Yeah.
Steve Crabtree: Yeah but we can we can think of these things afterwards, but if you have some
David Hayes: Yeah
Michael Reik: Uh
Steve Crabtree: more notes
David Hayes: so
Michael Reik: I
David Hayes: you
Steve Crabtree: on
David Hayes: can
Steve Crabtree: that.
David Hayes: Do you
Michael Reik: Yeah,
David Hayes: have something?
Michael Reik: just a simple experience. I uh I prefer um remote control working with radio waves, because remote control working with infra-red rays
David Hayes: Yeah,
Michael Reik: you should
David Hayes: that's true.
Michael Reik: you should you should keep it in a specific direction and then try
David Hayes: Yeah
Michael Reik: it hard
David Hayes: without
Michael Reik: to
David Hayes: obstacles
Michael Reik: tune.
David Hayes: and.
Steve Crabtree: Okay.
David Hayes: Okay.
Steve Crabtree: Um.
David Hayes: Let's continue. I have a meeting in five minutes, so
John Villarreal: Okay.
David Hayes: maybe we should hurry.
Steve Crabtree: Okay,
David Hayes: Um.
Steve Crabtree: just a second.
David Hayes: So we will close uh this meeting. So we will have a next meeting in uh thirty minutes. Um. Uh. The So I will ask you to do some work. Uh the the interface interface developer will work on the on the design of the remote control, start to to have new idea and
Steve Crabtree: Which i which is Hamed,
David Hayes: read about
Michael Reik: Mm.
Steve Crabtree: Okay.
David Hayes: Yeah.
John Villarreal: He's Steve Crabtree? No, you're Steve Crabtree.
Michael Reik: Yeah.
Steve Crabtree: Uh I am the Technical
David Hayes: Oh.
Steve Crabtree: Designer, I dunno
John Villarreal: Yeah, I
Steve Crabtree: which
John Villarreal: think
Steve Crabtree: one,
John Villarreal: that's
Steve Crabtree: uh
David Hayes: Industry
John Villarreal: the first.
David Hayes: and
Steve Crabtree: v.
Michael Reik: Uh-huh.
David Hayes: Oh.
John Villarreal: I_D_. Industrial Designer. And the second one is Michael Reik.
Michael Reik: Mm-hmm.
Steve Crabtree: User
John Villarreal: And
Steve Crabtree: Interf
John Villarreal: then
Steve Crabtree: Okay.
John Villarreal: last one's marketing, which is
David Hayes: Yeah.
John Villarreal: John Villarreal.
Steve Crabtree: Okay, so I'm the first
David Hayes: So,
Steve Crabtree: one.
David Hayes: um For Michael Reik, which is Hamed
Michael Reik: Mm-hmm.
David Hayes: um, uh, you
Steve Crabtree: I
David Hayes: are going
Steve Crabtree: see.
David Hayes: to work on the technical functions of the remote control.
Michael Reik: Okay.
David Hayes: And for the Marketing uh Manager, I dunno, okay, which is Bob, uh you are going to try to to find the user requirements f uh for the remote control. Um, you will receive by email uh the specific instructions and uh by your personal coach.
Steve Crabtree: Sign.
David Hayes: Yep finished. So I see you in thirty minutes.
John Villarreal: Great, okay.
Steve Crabtree: Okay.
Michael Reik: Okay,
John Villarreal: Thanks guys. Bye.
Michael Reik: thanks. Bye.
David Hayes: Thank you.
Steve Crabtree: Uh. | David Hayes opened the meeting and had the team members introduce themselves by name and their role in the project. David Hayes introduced the upcoming project to the team and then had the team members participate in a tool training exercise in which each member drew his favorite animal on the white board and discussed what he liked about the animal. David Hayes also discussed selling prices and the project budget. The team then discussed their experiences with remotes, focusing on various features they would like to see in the remote they will produce, as well as features they find unappealing in current remotes. | 5 | amisum | train |
James Palmer: So um nice to see you again. Uh. So, uh. Tod uh for this meeting I will take the notes and do the minutes. Uh so we will see our three presentations. Um we will start with the uh Manager Expert wi who will talk about uh user re requirements, whats user needs and what it desire for this devi device.
Joseph Velasco: Okay, can I have the laptop over
James Palmer: Yep.
Joseph Velasco: here,
James Palmer: Oh, I don't think so. I think you
Joseph Velasco: Okay.
James Palmer: have
Joseph Velasco: Have to get
James Palmer: to
Joseph Velasco: up.
James Palmer: come here. I dunno. I think it should stay.
Joseph Velasco: Excuse Joseph Velasco.
Robert Headrick: Yeah, that's it.
Joseph Velasco: Okay.
James Palmer: Should stay in the square here.
Joseph Velasco: Okay.
James Palmer: Oh, maybe.
Joseph Velasco: Okay, so basically I'm gonna present
James Palmer: Oh,
Joseph Velasco: some
James Palmer: you
Joseph Velasco: findings
James Palmer: can put it here.
Joseph Velasco: of a study we conducted
James Palmer: Oh that's okay, it's jus
Joseph Velasco: uh into uh what users want in this remote control. Um so first of all we what we did is we um conducted a an experiment with a hundred test subjects. Um we put them in a in our um usability laboratory and got them to, you know, um play with remote controls and also to complete, after they'd done that, to complete a questionnaire uh to tell us what they like and what they don't like in remote controls. So basically um the major things we found out was that um basically users don't like the look and feel of of most remote controls that are currently on the market. Um they, you know, seventy five percent of the people we we uh did the experiments on, found that rem remote the remote controls that they'd used in the past were ugly. Completely ugly. Um they they didn't match the operating behaviour of the user, that is, you know, the the way users use remote controls when they're watching T_V_. Um, that the layout of the remote controls didn't match they way that they used it. Um and thirdly they say that w half of the users that we um tested said that they only used ten percent of the buttons that uh are on remote controls. Um so we collect we also some collected some usage statistics uh based on how these test subjects were using their remote control. And from this we basically came up with the figure that the channel buttons, the channel selection buttons are the most by far the most used buttons on the remote control. Um and you can see they're used a hundred and sixty eight times per hour on average, um, while the user's watching T_V_. Um the closest button that was used, well the cl the button that was used that was closest to the channel button was the teletext button, um which was used fourteen times per hour, followed by the volume button, which was four times per hour, um, all the other, all the other um buttons, such as ch um audio and picture selection um configuration buttons and things were used, you know, l approx well less than or equal to one times per hour. Um we also asked users um which buttons had the most importance to them, you know, which which buttons they felt were the most important buttons on on the remote control. And basically they came they said the channel, volume, and power buttons had the highest relevance to users, um note that only power was very infrequently used, it only had a b a a fr usage frequency of about one times per hour, but users ranked it as having a very very high relevance. Um and the audio and picture settings had a very that well the users thought that um w the audio and picture settings were very uh weren't very important to them um, and they used them very infrequently a as well. So we asked users what what um frustrates them the most about um current remote controls. And fifty percent of the users said that uh what frustrates them is losing the remote control um somewhere in the room and not being able to find it. Um they also said that it um it takes a lot of time to learn a new remote control, especially when there's many buttons and it's a, you know, a c a a unintuitive interface. Um and then thirdly, they some users commented on the fact that the the you know the way that you have to hold and press buttons on a remote control ar are bad and um cause u repetitive strain injury. We also asked some users about some specific features that they'd like to see in the on the remote control. In particular, do they want an L_C_D_ d display, and secondly, do they think speech recognition uh is a useful feature to have on a remote control. Um basically our findings are that um amongst a younger age groups uh the answer is umv overwhelmingly yes. They want these features, they want these high technology features. Um for instance, ninety one percent of pe of people aged between fifteen and twenty five said yes, they want these features. Whereas um the the trend was as users as users um became older and older uh they were less likely to want these sort of features in a um in a remote control. So I guess it depends on where we're focusing our our market. Um and as our company motto is putting fashion in electronics, um I think we're focusing on the younger younger um target demographic, and so maybe we should think about adding these sort of high technology features into our remote control.
James Palmer: Hmm.
Joseph Velasco: That's my dic that's my presentation. Thank you.
James Palmer: Thank you.
James Folse: Okay.
James Palmer: So, um maybe now we can talk about a user interface and uh about the technical function of this device. So uh Pet Peter, can you talk say something
Robert Headrick: Well
James Palmer: about that?
Robert Headrick: okay, yeah. Yeah, but the user user
James Palmer: No.
James Folse: B
Robert Headrick: interface
James Folse: you think uh
Robert Headrick: is responsible.
James Folse: I I'm User Interface
James Palmer: Ah.
Robert Headrick: Okay, so.
James Palmer: Sorry, I'm Sorry.
James Folse: Okay.
James Palmer: Sorry.
James Folse: Okay. If I could go there with this cable.
Robert Headrick: You're scaring Joseph Velasco with L_C_D_ man. And speech recognition in remote unit, it will be very e expensive.
Joseph Velasco: Yeah, it's true, but, you know, they're features that users want, so it's
Robert Headrick: Yeah.
Joseph Velasco: And our production cost of twelve fifty Euros per per unit is fairly high I think, so
Robert Headrick: Yeah.
Joseph Velasco: I think we can afford to to add these sort of features into our remote.
Robert Headrick: At least we have couple of months t to work on it so so it will be cheaper
James Folse: Sh okay.
Robert Headrick: finally.
Joseph Velasco: It is true.
James Folse: Where's delete button? Okay. Oh I'm sorry.
James Folse: Okay.
Joseph Velasco: That's the wrong one, I think.
James Palmer: Yeah, it's still Bob Morris.
James Folse: Oh. Presentation three?
Robert Headrick: Because you cancelled
James Palmer: Yeah you should have
Robert Headrick: it.
James Palmer: put yes.
Robert Headrick: Yeah.
James Folse: Oh.
James Palmer: Click on yes. yeah.
Robert Headrick: Yep.
James Folse: Okay, so here is my presentation about technical function design. I will talk about different components and s of system and how they react together. Okay, uh, first is a remote control it's a device, as, for uh, different commands uh with this device. And the main idea we don't use any cable and we can rec react simpler with the device. Uh i it has different blocks, different blocks. Uh first is remote control have sh ha should have some electric circuits uh making interface with uh keyboard and uh r reading uh keyboard and reading the keyboard uh commands. And then inter then make uh these keyboard commands, uh in interpret these int uh keyboard commands. And then there should be uh an electronic circuit making uh electronic signals according to these commands and uh finally there is a transmitter which is a cord or a a diode making uh making uh waves to transmit through the air and uh uh this air this uh wave uh will be received by the by the other device like a television or whatever, to uh r to realise the command. Okay, uh about what I found about uh different uh these different blocks are uh, usually there are two different methods uh to for designing a remote control. They are based on infra-red uh waves or uh uh
Robert Headrick: You still
James Folse: radio
Robert Headrick: want
James Folse: waves.
Robert Headrick: Joseph Velasco the presentation.
James Folse: There are two different uh uh solutions I mean. This is uh this can be uh uh the the differences the th between different kind of waves, infra-red or radio waves. And uh also as uh I understood, and uh I think it was a part of uh Bob, uh uh presentation, people prefer to have uh to have uh the remote control with less button. So for the electronic part, working and interfacing, with button, we should we should try to t try to design a remote control having uh some some simpler buttons or some rolling buttons to just to just to search between different options, and showing o something on T_V_ and putting less lesser stuff on the uh on the remote control. And uh personal preferences, uh uh uh uh certainly a remote control with uh working with radio waves is uh preferred because uh you can pr you can take it in any direction and you don't need to tune it any way. And uh uh again, using bigger buttons and less number of buttons are also preferred, as I see. Okay. That was my presentation.
Joseph Velasco: Okay.
Joseph Velasco: I have a question.
James Folse: Uh-huh.
Joseph Velasco: Do you think radio waves um will interfere with other appliances in the home?
James Folse: Uh, I don't think so, because uh we can make uh we ca we can make this wave in a specific frequency. So they can be in a range which is not inter interfering with the with other devices inside the home.
Joseph Velasco: Okay.
James Palmer: So
Robert Headrick: Yeah it should be
James Palmer: can
Robert Headrick: okay.
James Palmer: we use any any frequency? We have the right to use any frequency?
James Folse: Uh no but as I know, there is a range for uh for this uh f for for uh for this stuff, for designing this circuit. We can we can we can tune our uh transmitter to work in this range, and for this range we don't need to ask any permission.
James Palmer: Okay. And what happen with uh radio waves when two neighbours have the same have our remote control, for example? And so do they have the same frequency, or?
James Folse: Uh for this I'm not uh I I don't know the solution, but one solution can be something like putting uh p password or something inside the wave, so the only your
James Palmer: Okay.
James Folse: T_V_ can
James Palmer: A
James Folse: understand
James Palmer: kind of identification,
James Folse: it Yeah, identification
Robert Headrick: Yeah f
James Folse: code
James Palmer: okay.
James Folse: inside the
Robert Headrick: uh
James Palmer: So
Robert Headrick: I know about this, since it's my it's exactly my field, so. It's uh kind of handshaking, uh, when starting to uh when you start to communicate with the your T_V_
James Palmer: Yeah.
Robert Headrick: then then it's like an handshaking
James Palmer: So
Robert Headrick: protocol with your your remote. So so if two two devices are trying to go to communicate with the T_V_ set then the the the one which has the more energy in the wave is chosen. Well it can be a problem sometimes, but most of the time it works okay.
James Palmer: Okay.
James Folse: The password may simply uh or uh i identification code may simply solve this problem. A specific uh remote control has
Robert Headrick: Yeah
James Folse: a
Robert Headrick: but
James Folse: specific
Robert Headrick: we we don't have to think
James Folse: f
Robert Headrick: uh about this because I think as a function designer that we will use the already made uh circuits which we probably bu buy. It's worth to buy.
James Palmer: Hmm.
Robert Headrick: And they have these problems solved so.
Joseph Velasco: Okay.
Robert Headrick: So
James Folse: Mm.
Robert Headrick: we don't have to think about these.
James Folse: Mm-hmm.
James Palmer: Okay.
Joseph Velasco: Okay.
James Palmer: So, maybe you can talk about the function, and
Robert Headrick: Yes. I have only a couple of things because I had I struggled a bit with the software that I'm supposed to use in this uh uh in this company. I was used to use Linux before, so. But I tried to tried to break through this too, I guess. Mm.
James Palmer: Open.
Robert Headrick: Ah. Okay. How to make it big?
James Palmer: Slide
James Folse: Five.
James Palmer: show.
Robert Headrick: Slide show. Okay, thanks.
James Palmer: It should work, so you can.
Robert Headrick: Okay. Oh so I will speak about working design. That's the first slide. Uh what uh I have to do? A look at what the other company Okay so uh presently I am looking what is possible to use, what circuits to use and stuff like that because uh I didn't work uh with these uh circuits so far so I have to look what what is a v a v available on the market for for the communication for the I_R_ circuits and so on, so I'm currently looking what is available on the web. And uh I wanted to ask you m maybe afterwards, after after our discussion, if we have some contacts in some companies, so, which can report on what is going on there, so, I would be
James Palmer: Mm.
Robert Headrick: glad if you can
James Palmer: Yeah.
Robert Headrick: tell Joseph Velasco about them. So, you know. Uh, okay findings, that's the point that I'm working on currently but uh so far I I was uh looking what what are the blue circuit, I mean radio wave radio frequency circuits
Joseph Velasco: Mm-hmm.
Robert Headrick: are available now, but the prices I read are high. So, I know that uh the user interface people and these speak about radio frequency waves because you can you can uh
James Folse: Mm-hmm.
Robert Headrick: you can make the T_V_ do what you want even
James Palmer: Hmm.
Robert Headrick: if you are in the bathroom or so on, but you know, when you are not close to the T_V_ you probably won't need to to change the program and so on and so I am I am voting for s to stick to the um infra-red control instead of R_W_ but we will discuss it later maybe. Uh. Components to use, I'm not exactly sure what I will use for the design of the circuit. It depends uh on whether we will use the L_C_D_ and mainly the speech recognition, because the speech rec Yeah?
Joseph Velasco: Are we um are we planning to take an off the shelf an O_E_M_ component for the radio wave circuit, or are we planning to construct our own circuit
Robert Headrick: No no
Joseph Velasco: board?
Robert Headrick: no no no. This we this we buy I think, because it's rather cheap nowadays and it's
Joseph Velasco: Okay
Robert Headrick: not worth
Joseph Velasco: s
Robert Headrick: to construct ourselves.
Joseph Velasco: So we just buy a circuit board and
Robert Headrick: Exactly.
Joseph Velasco: Okay.
Robert Headrick: But I'm not sure about the circuit which is responsible for speech recognition. This I prefer that we should make ourselves.
Joseph Velasco: Okay.
Robert Headrick: But it depends whether we take a decision to use it. Same thing. It's fairly expensive to use these circuits. So, speech recognition well, L_C_D_ it's okay because it's common nowadays to use L_C_D_, so I agree on using any kind of L_C_D_, less buttons good for Joseph Velasco as a as a designer of the circuit.
James Palmer: Yeah.
Robert Headrick: But the speech recognition we have to compare whether
James Folse: Mm.
Robert Headrick: the price and the
James Palmer: Yeah.
Robert Headrick: what does it offer, you know.
James Palmer: So what do you think would
Robert Headrick: Yeah, I'm
James Palmer: be the price, it would be out of range? Or it would be maybe
Robert Headrick: Oh.
James Palmer: feasible?
Robert Headrick: I was not thinking too much about the price. But if we use the L_C_D_ uh even the radio frequency communication with the T_V_ set and the backlight and uh related things like the photo diodes and stuff, it should be okay. If we decide to use the speech recognition, then we probably could struggle but we'll see afterwards.
James Palmer: Okay.
Robert Headrick: It depends of you if if the M_E_ or U_I_D_, I'm
James Palmer: Mm.
Robert Headrick: sorry about the names, I don't really know, uh want to have it like in metal or in plastic, these things, it it depends on you not Because the the the electronic device's price is not not so big in comparison to to the overall shape and stuff like that, so.
Joseph Velasco: Okay.
Robert Headrick: We will discuss it afterwards. Oh, this is nothing. This is just my notes on what to use. preferably to use R_W_ circuit, but from the point of view uh of the design and price, I would stick to I_R_s. That's my opinion. Uh I mean if infra-red uh circuit not not the radio frequency.
James Palmer: Why? Because it's simpler?
Robert Headrick: Because because the the range where you can
James Palmer: Yeah.
Robert Headrick: use it is fair.
James Palmer: Mm.
Robert Headrick: It's okay I think. And the price is fairly cheap
James Palmer: Okay.
Robert Headrick: for this.
James Palmer: It's
Robert Headrick: Well,
James Palmer: a a
Robert Headrick: depends.
James Palmer: price matter. Yeah.
Robert Headrick: Jus just the price.
James Palmer: Mm.
Robert Headrick: Otherwise I don't care what I put there because it's the chip which I buy or which
James Palmer: Okay.
Robert Headrick: we buy. So I I I think
Joseph Velasco: What
Robert Headrick: it's
Joseph Velasco: how much
Robert Headrick: o
Joseph Velasco: more expensive?
Robert Headrick: y
Joseph Velasco: Are we talking three
Robert Headrick: o.
Joseph Velasco: times more expensive? Or
Robert Headrick: Well,
Joseph Velasco: ten
Robert Headrick: three
Joseph Velasco: times
Robert Headrick: to
Joseph Velasco: more
Robert Headrick: three
Joseph Velasco: expensive? Or
Robert Headrick: to five.
Joseph Velasco: Okay.
Robert Headrick: N not ten times, but it
Joseph Velasco: Yeah
Robert Headrick: depends what
Joseph Velasco: yeah.
Robert Headrick: what we
Joseph Velasco: That's still a lot. I think it's it's probably not
James Palmer: Hmm.
Joseph Velasco: worth spending the extra money, because
James Palmer: Yeah.
Joseph Velasco: I mean all the other remote controls on the market have infra-red, so people don't expect anything other than infra-red.
James Palmer: Yeah.
Joseph Velasco: So it's
Robert Headrick: Yeah.
Joseph Velasco: not worth spending
James Palmer: Well
Joseph Velasco: the extra
Robert Headrick: Th
Joseph Velasco: money.
Robert Headrick: they are used
James Palmer: I,
Robert Headrick: to use
James Palmer: oh
Robert Headrick: it when they can see the T_V_ so,
Joseph Velasco: Yeah.
Robert Headrick: I
James Palmer: On
Robert Headrick: don't
James Palmer: the other
Robert Headrick: know.
James Palmer: side, we want to have something new. You know,
Joseph Velasco: Yeah.
James Palmer: where we want to to have something new and So we I think we should still thinking about it. But
Joseph Velasco: But I think,
James Palmer: maybe.
Joseph Velasco: based on my usability studies I th I feel that users are prioritise the look and the feel and
James Palmer: Okay.
Joseph Velasco: the trendiness above, you know, the difference between infra-red or radio waves. So I think we're better off spending money
Robert Headrick: You the user interface,
Joseph Velasco: in the usability
Robert Headrick: and
James Palmer: Okay.
Robert Headrick: management
James Folse: Mm.
Joseph Velasco: phase.
James Palmer: Yeah.
Robert Headrick: man, uh
Joseph Velasco: Okay.
Robert Headrick: Uh okay, that's it for Joseph Velasco.
James Palmer: Okay, thank you Peter.
Robert Headrick: 'Kay.
James Palmer: So um I have to inform you I receive an email from the management bon board today and they have new requirements for the for the remote control.
Joseph Velasco: Mm.
James Palmer: Um first um, they say that's uh about something about t teletext. Uh apparently it becomes from according to them it becomes out of date. Out-dated. And uh Because of the internet popularity and everybody has internet at home, and actually it's not useful to have teletext. Um. So I think we can avoid the teletext. Um the second thing is uh they suggest that that we should uh use the remote control only for T_V_, not for D_V_D_ and other devices, because it make it it makes it's too complex and uh because we have not much time for this project we should stay on T_V_ on the only specific T_V_ remote control.
Robert Headrick: I agree.
James Palmer: The third the third one is uh about the the the image of the company. So um uh we should we should keep uh The the product should be recognisable. Uh, uh It's That mean we should use the colour of our company and maybe put somewhere the s the slogan of the company, which is uh, we put fashion of in electronics. So, when people see the the remote control, they should say oh it's from Real Reaction and he s they should recognise the company. So, um So now we we should take the decision what we are going to what function we will have on this uh on this remote control. So, mm, are we going to use L_C_D_, speech recognition? Uh.
Joseph Velasco: Well, should we start with just the core, the basic functions that we need. And then
James Palmer: Yeah.
Joseph Velasco: we can move on
James Folse: Mm.
Joseph Velasco: to the
James Folse: Yes.
Joseph Velasco: more
James Palmer: Maybe,
Joseph Velasco: advanced features.
James Palmer: maybe.
Robert Headrick: Okay, so the available things are L_C_D_, the buttons and everything. Uh radio frequency depends. And, well the recognition it depends on
James Palmer: Yeah
Robert Headrick: you guys. You
James Palmer: but
Robert Headrick: should probably speak.
James Palmer: first maybe what is what are the usual function of a standard remote control? I mean
Robert Headrick: Okay.
James Palmer: what do
Joseph Velasco: Okay, well,
James Palmer: Yeah.
Joseph Velasco: I mean the obvious one is changing channels.
James Palmer: Yeah.
James Folse: Yeah.
James Palmer: I think we should stick on very useful functions, because
Joseph Velasco: Yeah.
James Palmer: we want less button. So, yeah.
Joseph Velasco: Yeah, okay.
James Palmer: So, turning channel, of course. Volume setting.
Robert Headrick: Uh just one note to the chan channel changing. Do we will we use only two buttons, or or like numbered buttons? I mean those nine
James Palmer: Yeah.
Robert Headrick: plus one or two?
James Folse: Mm-hmm.
James Palmer: I think it would be a b
Robert Headrick: Because it's many buttons and we were speaking about lowering the number.
James Folse: Mm.
James Palmer: Yeah.
Joseph Velasco: Yeah, I
James Palmer: On the other side we have more and more channels, and if you want to pass through all the
James Folse: Yeah.
James Palmer: channels to get the channel you want, it's
Robert Headrick: Okay so so we keep all these
James Folse: Yeah
James Palmer: Maybe
James Folse: yeah,
Robert Headrick: all
James Folse: at
James Palmer: maybe
James Folse: least
Robert Headrick: these buttons.
James Palmer: we
James Folse: nine,
James Palmer: could
James Folse: ten
James Palmer: think of
James Folse: button.
James Palmer: something more betweens, like uh
Robert Headrick: Like ten plus, five plus, one plus, one minus
James Palmer: Yeah.
Robert Headrick: or something.
James Palmer: Maybe something
Robert Headrick: Or using
James Palmer: like
Robert Headrick: the
James Palmer: that.
Robert Headrick: names and the keyboard I
Joseph Velasco: Ah yeah.
Robert Headrick: dunno.
James Palmer: Uh.
James Folse: Or
James Palmer: Maybe
James Folse: Or something.
James Palmer: Oh I don't know. Oh. Maybe we could have key buttons, like uh discovery channe like documentary channel, and movies channel and
Robert Headrick: You mean
James Folse: Mm-hmm.
Robert Headrick: like
James Palmer: And
Robert Headrick: hierarchical
James Palmer: inside
Robert Headrick: structure.
James Palmer: this
James Folse: Okay.
James Palmer: this thing you can move,
James Folse: Like categorising
James Palmer: maybe switch.
James Folse: channels.
James Palmer: If you want to see a movie you click on the movie button so you have all the movie channels
James Folse: Mm-hmm.
James Palmer: and
Robert Headrick: Okay,
James Palmer: after
Robert Headrick: so
James Palmer: you've
Robert Headrick: s
James Palmer: you plus
Robert Headrick: Oh
James Palmer: plus
Robert Headrick: sorry.
James Palmer: plus.
James Folse: Okay.
James Palmer: I It just an idea. I don't know what you think about that but.
Robert Headrick: So it requires the use of L_C_D_ probably, to to tell you
Joseph Velasco: To
James Palmer: Yeah,
Joseph Velasco: have some feedback.
James Palmer: probably, yeah,
Robert Headrick: Okay,
James Palmer: yeah.
James Folse: Mm-hmm.
Joseph Velasco: Yeah.
Robert Headrick: so I'll make a note on L_C_D_.
Joseph Velasco: We could maybe also c um incorporate Petre's idea of the um slider for the volume,
James Folse: Okay.
Joseph Velasco: with the channel.
James Palmer: Okay.
Joseph Velasco: So we c you could quickly just
Robert Headrick: Yeah.
Joseph Velasco: through many channels.
Robert Headrick: Like roller for the
Joseph Velasco: For
Robert Headrick: Yeah.
Joseph Velasco: the channels, perhaps.
Robert Headrick: Okay.
James Palmer: Anything else?
Joseph Velasco: So we've got channel and volume. Um.
James Palmer: Yeah.
Robert Headrick: So we are still s speaking about the common devices or we are inviting
Joseph Velasco: I think
Robert Headrick: the
Joseph Velasco: so.
Robert Headrick: new one?
Joseph Velasco: I think basically
James Palmer: Yeah.
Joseph Velasco: the core functions we want, and then more advanced ones.
James Palmer: What about the settings of the T_V_? Because it's button we don't use very often, but it's we need it anyway.
James Folse: So
James Palmer: So
Joseph Velasco: Yeah.
James Folse: uh we don't have any uh we don't have uh we should just design the remote control and we sh we don't have any access to the to the T_V_ design or we can change some design. Because one solution for this um uh uh ch changing channels is to see a summary of all channels, some some preview of all channels and then you
Robert Headrick: On
James Folse: can
Robert Headrick: the screen,
James Folse: Yeah.
Robert Headrick: you mean?
James Folse: Yeah
Robert Headrick: Not
James Folse: b
Robert Headrick: on the control,
James Folse: Not on
Robert Headrick: but
James Folse: the
Robert Headrick: on
James Folse: control,
Robert Headrick: the screen.
James Folse: on the screen, on the T_V_ screen.
Robert Headrick: Well, this
Joseph Velasco: I don't
Robert Headrick: would
James Folse: And
Robert Headrick: avoid
James Folse: then
Robert Headrick: L_C_D_, then.
Joseph Velasco: Oh, I don't but I don't think we're we're the ones. I mean this remote control we're developing is a generic control for
James Palmer: Yeah,
Joseph Velasco: all T_V_s,
James Palmer: yeah.
James Folse: Mm-hmm.
James Palmer: know if
Robert Headrick: Oh.
Joseph Velasco: I
James Palmer: it's
Joseph Velasco: think.
James Palmer: possible to to watch something
Robert Headrick: W
James Palmer: on T_V_
Robert Headrick: I I think it it would be better to to stick to the remote control
James Palmer: Yeah.
Robert Headrick: and not to bother the T_V_ to
James Palmer: Yeah.
James Folse: Mm-hmm.
Robert Headrick: to to print these things. Well it wi it will be still more expensive, but for the L_C_D_ and this stuff is no problem
James Folse: Mm-hmm.
Robert Headrick: in the price.
Joseph Velasco: Okay.
James Palmer: So, what are we doing with the settings? Because settings if we want to do settings we need buttons for that and we want less buttons, so. Maybe with the L_C_D_ we can do something
James Folse: Yeah.
James Palmer: with less buttons, but
Joseph Velasco: But then you don't want to make the L_C_D_ display too complicated
James Palmer: Mm.
Joseph Velasco: at the same time. I mean there's always
Robert Headrick: Two T_V_s.
Joseph Velasco: we can always have these l less often used functions hidden somewhere, under a cover
James Palmer: Yeah.
Joseph Velasco: or
James Palmer: Oh yeah.
Joseph Velasco: at
Robert Headrick: Like
Joseph Velasco: the back of under
James Palmer: Oh,
Robert Headrick: ma
Joseph Velasco: a slide
James Palmer: the.
Joseph Velasco: or some
Robert Headrick: We we could have for example two buttons like simple mode and advanced mode. Or I dunno.
Joseph Velasco: Yeah.
Robert Headrick: Or
Joseph Velasco: Yeah.
Robert Headrick: like children and grandfather's mode, and
James Folse: Mm.
Robert Headrick: the, well the the user not the user, the man mana T_V_ manager mode.
Joseph Velasco: Okay.
Robert Headrick: Ah,
James Folse: Mm-hmm.
Robert Headrick: I dunno.
Joseph Velasco: So we have five minutes left.
James Palmer: Yeah.
Joseph Velasco: Um.
Robert Headrick: Uh.
Joseph Velasco: So I think s the settings we th we are agreeing are agreed that they're required.
James Palmer: Yeah.
James Folse: Mm-hmm.
Joseph Velasco: It's just
Robert Headrick: Yeah.
Joseph Velasco: how to a
James Palmer: We should hide them somewhere.
Robert Headrick: Hide
Joseph Velasco: Yeah.
Robert Headrick: them, okay.
James Palmer: In the menus of the L_C_D_
Joseph Velasco: Okay.
James Palmer: or in the back of the remote control, or something like
Joseph Velasco: Yeah.
James Palmer: that.
Joseph Velasco: Uh, okay, what else?
Robert Headrick: Um.
Joseph Velasco: I mean a power button's obviously
Robert Headrick: Yes.
Joseph Velasco: uh
Robert Headrick: This
Joseph Velasco: required.
Robert Headrick: I was thinking. Do we need a power button at all? Should should shouldn't we do it like sleep mode after five minutes of not using it? Because generally
James Palmer: It's it's a kind of setting, I think. It should
James Folse: Mm.
James Palmer: fit in those settings
James Folse: Settings.
James Palmer: functions. Because it's not a very current useful function.
Joseph Velasco: Uh, well I think when they say power button they mean to turn the T_V_ on and off.
James Palmer: No,
Robert Headrick: Yes.
James Palmer: I think it's after after five minutes
Robert Headrick: Well
James Palmer: or something
Robert Headrick: I
James Palmer: a timer
Robert Headrick: I uh
James Palmer: I I think,
Joseph Velasco: But if you're
James Palmer: no?
Joseph Velasco: watching T_V_ for two hours, you don't want your T_V_ to turn off
Robert Headrick: You don't
Joseph Velasco: after
Robert Headrick: need
Joseph Velasco: five
Robert Headrick: to
Joseph Velasco: five
Robert Headrick: every
Joseph Velasco: minute
Robert Headrick: five minutes to keep it alive. Uh probably. Okay, so we should keep this button.
Joseph Velasco: I mean based
James Folse: Yeah.
Joseph Velasco: on our usability studies again, um pe um people said that the power button was v a very
James Palmer: Oh okay,
Joseph Velasco: relevant button.
James Palmer: yeah.
James Folse: Mm-hmm.
Joseph Velasco: Um, you know, it was nine out of ten
Robert Headrick: Okay, so
Joseph Velasco: re
Robert Headrick: we
Joseph Velasco: relevance.
Robert Headrick: we could p what we could probably do is to keep also to keep uh keep the L_C_D_ and all the buttons and stuff, we could make it like a opening opening style that if you open it
James Palmer: Yeah.
Robert Headrick: you are you just turn on the T_V_ and if you close it, it will
James Palmer: Yeah.
Robert Headrick: turn off the T_V_. If if you like this,
Joseph Velasco: Okay. B Okay.
Robert Headrick: Because, well
Joseph Velasco: I think we need
Robert Headrick: it's
Joseph Velasco: to concentrate
Robert Headrick: maybe question
Joseph Velasco: on the,
Robert Headrick: for you
Joseph Velasco: you know, the
Robert Headrick: t
Joseph Velasco: major
James Folse: Mm-hmm.
Joseph Velasco: usage of the th of the control,
James Palmer: Yeah.
Joseph Velasco: which is you sit down, you turn on your T_V_, you change channels, you change the volume, you turn the T_V_ off.
James Palmer: Yeah.
Joseph Velasco: Um
James Palmer: So s yeah.
Joseph Velasco: and all the other f functionality is
James Folse: Yeah, they
Joseph Velasco: not
James Folse: can
Joseph Velasco: used very often.
James Folse: yeah they can be hide somewhere by a cover or something
James Palmer: Yeah.
James Folse: like this.
Joseph Velasco: Yeah.
James Folse: Like covering
James Palmer: On the
Robert Headrick: Yeah.
James Palmer: back, or
James Folse: cu.
Robert Headrick: I mean like the
James Folse: Yeah, like mobile phone
Robert Headrick: Yeah but
James Folse: covering.
Robert Headrick: since we have the L_C_D_, we didn't need too much button too many buttons. Um, okay, just um the decision of the power button. Should we make it a button, or some some something which would be
James Palmer: For what?
Robert Headrick: Uh
Joseph Velasco: I think a button.
James Folse: A button
Robert Headrick: power button.
James Folse: is better.
Joseph Velasco: I think it should
James Palmer: Ah
Joseph Velasco: be a
Robert Headrick: If
Joseph Velasco: bu
Robert Headrick: it
James Palmer: oh
James Folse: Yeah.
James Palmer: yeah,
Robert Headrick: if
James Palmer: yeah.
Robert Headrick: it's a button or
James Palmer: Yeah
Joseph Velasco: Its own
James Palmer: a
Robert Headrick: Okay.
James Palmer: button,
Joseph Velasco: button
James Palmer: yeah I guess
Joseph Velasco: on the
James Palmer: so.
Joseph Velasco: front.
James Folse: Mm.
Robert Headrick: Okay, one nice big button. Old fashioned button, to satisfy the grandmothers. Hmm.
Joseph Velasco: Okay.
James Palmer: So,
Robert Headrick: Mm.
Joseph Velasco: S
James Palmer: any other suggestions or functions?
Joseph Velasco: What about things like the clock and um timers?
Robert Headrick: Do we still have the time? I I just wonder.
James Palmer: Yeah, we have still one or two minutes
Robert Headrick: Okay.
James Palmer: to talk, yeah.
Robert Headrick: Oh. Well what w
James Folse: Clock
Robert Headrick: what was the question?
James Folse: or
Joseph Velasco: Uh um, you know, some func some features on the control to display a time, or
James Palmer: Usually
Joseph Velasco: t
James Palmer: it's
Joseph Velasco: to
James Palmer: already
Joseph Velasco: display
James Palmer: on T_V_ or something like
James Folse: Yes.
James Palmer: that.
Robert Headrick: Yeah but since we want to control all the televisions, and
James Palmer: Yeah.
Robert Headrick: and it would probably be worth to to set the timing on the remote, no? Because
James Folse: Mm.
Robert Headrick: if if the T_V_ turns
James Palmer: Yeah.
Robert Headrick: on itself, it
James Palmer: Yeah.
Robert Headrick: well you
James Palmer: If
Robert Headrick: know,
James Palmer: we if
Robert Headrick: if
James Palmer: we
Robert Headrick: the time
James Palmer: add
Robert Headrick: The
James Palmer: the time,
Robert Headrick: timer should be there.
James Palmer: we have to have maybe a bigger display or something like that, and is it very useful? I mean, are users wants to have the time on the on the remote?
James Folse: Mm.
James Palmer: This is the question.
Joseph Velasco: Probably not.
James Palmer: Is it useful?
James Folse: Yes.
Joseph Velasco: It's a questi yeah, it's a trade-off.
James Palmer: W In my opinion we should have only useful thing and Because
Joseph Velasco: 'Kay.
James Palmer: apparently they want The simpler
Robert Headrick: Ah,
James Palmer: it's is
Robert Headrick: yeah.
James Palmer: better.
Joseph Velasco: Okay simple.
Robert Headrick: Did you did you ever use the like the timing of turning on the T_V_, well And based on
Joseph Velasco: Very,
Robert Headrick: your
Joseph Velasco: yeah okay, very occasionally. But I do use the I do use the display of the time quite often,
James Folse: Mm.
Joseph Velasco: but
Robert Headrick: Yeah but it can be on the display in in a corner all
Joseph Velasco: Yeah.
Robert Headrick: the time on the remote.
Joseph Velasco: Yeah that's okay, that's true. Okay, so no
James Palmer: No time
Joseph Velasco: time
James Palmer: on.
Joseph Velasco: button.
James Folse: And
Joseph Velasco: Okay.
James Folse: uh do we need to include anything about the speech recognition and the speech commands,
Robert Headrick: Yes
James Folse: or?
James Palmer: I think
Robert Headrick: yes.
James Folse: I I thin I think it will not take lots of place, we just need a microphone and the software, so people may be attracted to buy this stuff and it's not very difficult to uh put a software inside the the electronic device and put a microphone. It doesn't take that much place and also that much It doesn't cost that much.
James Palmer: Yeah.
Robert Headrick: Yeah but we we should be careful about the battery life, then. If we use
James Palmer: So
Robert Headrick: the
James Palmer: maybe
Robert Headrick: speech
James Palmer: we think
Robert Headrick: recognition.
James Palmer: we can think more about that, and discuss that maybe last time
James Folse: Mm-hmm.
James Palmer: next time.
Robert Headrick: Yeah.
James Palmer: And uh yeah, now the meeting room is busy. Somebody booked the meeting room just for at one P_M_, and so we should leave. Uh. So, um. So now we are going for for a small lunch. It's uh funded by the company. And uh after we have uh thirteen minutes to to do indevel individual works. And uh I will do the minutes. And uh you are going to work on your individual works. And uh you will receive as usual your specific instruction and so on.
Joseph Velasco: Okay,
James Palmer: Thank you everybody.
Joseph Velasco: cool. Okay
James Folse: Thanks.
Joseph Velasco: Thank you. | James Palmer opened the meeting and then Joseph Velasco discussed user requirements. Joseph Velasco also found that younger users want an LCD display and a remote capable of speech recognition. The interface specialist discussed the interior workings of a remote and stated a preference for using radio waves over infra-red technology. Robert Headrick discussed particular components that a remote could include. James Palmer briefed the team on some new requirements and initiated a discussion in which the team discussed and decided on various features to include in the remote they will produce. | 5 | amisum | train |
Edward Reese: Hello, uh
Shawn Mccosker: Hello.
Edward Reese: this
Charles Brady: Mm-hmm.
Edward Reese: meeting
Raymond Williams: Hello.
Edward Reese: we are it's fo should on the conceptual design of the remote. Um the goal of this meeting is to reach a decision at the end on the concept and I think the last time we talked about an a lot and we had a rough idea of what is going to be, but uh in th at the end of this meeting we have to to reach a decision. So, uh we will have again three presentation, from all of you, and uh I hope will be fast because I would like to have to for long discussion and and decisions. So, who wants to start?
Raymond Williams: I s
Edward Reese: Okay.
Shawn Mccosker: Okay.
Raymond Williams: No, no, you you start.
Shawn Mccosker: Okay,
Edward Reese: So
Shawn Mccosker: I'll
Edward Reese: start,
Shawn Mccosker: start.
Edward Reese: uh
Shawn Mccosker: Can open my presentation please.
Edward Reese: Uh.
Shawn Mccosker: I'm number four. Trend.
Edward Reese: This one?
Shawn Mccosker: Yep. Can you pass the mouse, please. Oh
Edward Reese: Turn.
Shawn Mccosker: okay, that's fine. Okay. Um so basically I just want to presented to you present to you some recent results we've had from um looking at uh um some remote control market research and some fashion trends around the world. Um fashion trends we got from talking our our contacts Um so f from our market research basically we've come to the conclusion that a fancy look and feel, um as opposed to a functional look and feel, is our number one priority. Um fancy is is
Edward Reese: Hmm.
Shawn Mccosker: is is
Charles Brady: Hmm.
Shawn Mccosker: the, you know, highest priority. Secondly um that our remote control needs to be techn technologically innovative. Um so this is t number two priority but it's two times less important as the fancy criteria. Um and third thirdly the easiness of use is is the um is is important as well, but again two times less important as the technologically innovativeness of the remote control. From our f fashion people in Paris and Milan, um we've discovered that this year um fruit the fruit and vegetable motif will be the most important thing in in clothes, shoes and furniture. So, I'm pretty confident that our remote control fits into the furniture category. And also um the feel of material this year um is expected to be spongy.
Edward Reese: Okay.
Shawn Mccosker: Um so hopefully our remote control reflects that s in some way.
Charles Brady: What does it mean, spongy
Shawn Mccosker: Uh sort of um squishy. Um.
Charles Brady: Like soft, or something?
Shawn Mccosker: Yeah soft, like a uh
Edward Reese: Like
Shawn Mccosker: like a
Edward Reese: a
Shawn Mccosker: sponge.
Edward Reese: sponge.
Shawn Mccosker: I
Edward Reese: Yeah.
Shawn Mccosker: don't
Charles Brady: Okay.
Shawn Mccosker: know. Yeah.
Charles Brady: I will see.
Shawn Mccosker: Um so in conclusion, we need a our remote control needs to be something that's really fancy, um has lots of technolog tech technology in it. Um somehow
Charles Brady: Okay.
Shawn Mccosker: would be good to have it related to fruit and vegetables with a spongy feel. And that it's easy to use and from our last meeting our you know Fabian told us that w you know one of the requirements is that we have to reflect the look and feel of our of th the Real Reaction company. Um.
Edward Reese: Yeah, uh
Shawn Mccosker: That's it.
Edward Reese: yeah. Easy to use, is it uh a as much as important than technology or fancy thing. It's less important, right?
Shawn Mccosker: Less important. So
Edward Reese: Yeah yeah.
Shawn Mccosker: um fanciness first and
Edward Reese: Okay.
Shawn Mccosker: then two ti you know, half as important as that is technology technology, and half important as technology is easy to use. So.
Edward Reese: So, Hamed, can you.
Raymond Williams: Yeah. The second one. Could you please
Edward Reese: Mm-hmm.
Raymond Williams: show the presentation number three.
Charles Brady: I think the biggest struggle will be the easy to use feature. We'll see.
Raymond Williams: Yeah.
Edward Reese: Um. Number?
Raymond Williams: Three.
Edward Reese: Three. This one?
Raymond Williams: Yes. Just Could you please check if it is the first one or the second. Uh, n n no, it's the first one. The second one.
Edward Reese: So it's not this one.
Raymond Williams: Uh yeah. Okay. Okay So am going to talk about a little bit about how this remote control should be to be more easy to use I think uh I think the feature easy to use is more important than being fancy, but okay, we can discuss about it uh later. Um generally, generally uh this remote control uh uh should be should be something, in my opinion, uh the first feature is just to be easy to use. So, the more frequent buttons should be larger, they should be placed in a good position uh uh inside the remote control. And uh s uh I can conclude like this, that we shouldn't need to learn how to use it. It should be we shouldn't need to es open a a t book and uh start reading and uh learning how to use this uh this uh remote control. Okay. So what I found out that uh as I said uh I think it's better to put uh more frequent uh uh uh ke uh buttons which are used more in the middle of the remote control, and they should be bigger in size. Uh the shape of remote control should be in a way which can which should be taken easily in hand. It should not be completely like uh a cube. It should be it should have round edge, so
Charles Brady: Exactly.
Raymond Williams: uh then it's easier. And maybe uh just like some toys, some joystick which is easier to take inside the hand. And uh also f uh uh m because because customers doesn't like to buy lots of battery, it should not uh consume lots of energy. Okay. And my personal p uh preference is uh, as I said, uh just putting this buttons in a special places and covered some buttons which are not used uh that much like settings button, like mobile phone. Usually some mobile phone cover the dialling number part, so we can cover these buttons which are not used or uh number buttons for the for the for the can channels, and just put uh volume change or s ch can uh channel change buttons uh uh in the remote control. And if the user needed to do some more complex task uh he he can open the cover and then change settings or something like this. Uh. And also uh I think if we put some some some some some buttons inside of the remote control it can be used easier. Not on remote control. I dunno if I can explain well. But uh just inside. For example, a sliding or rolling uh uh d uh stuff, if we put it inside then we can easily manipulate with uh thumb. So it can be another uh preference. And uh I dunno but uh I think usage of a speech recogn uh r recogniser can be good. I know that it consumes lots of energy, but if we do it in some way that it asleeps when there is no sound and when it detects some sound it may consume less energy. And I think it's good because it's something new and usually young people like something new. So it may not be very useful but because it's new, people may buy it. Uh I personally think there should be a big difference between uh between something. Otherwise they prefer to buy something which is coming from a famous company, or. Okay. That's mine.
Edward Reese: Okay.
Charles Brady: Uh okay, so good news from Shawn Mccosker uh uh for Shawn Mccosker from Hamed, but bad news from Bob obviously, because spongy design, I don't like it as Okay, so could you please, Fabien, open it.
Edward Reese: Yeah.
Charles Brady: I'm person two. And which one, uh first one. I'm not sure but check the first one. I Most of the things I have to write myself on the
Edward Reese: This
Charles Brady: board,
Edward Reese: one, yeah.
Charles Brady: but Yeah, that's it. Just It's only this slide? Yeah. This this is just uh one thing I wanted to mention and show you that I just uh I just found this, that our company uh developed a s a seven f seven fingers or I'll just
Shawn Mccosker: Inch.
Charles Brady: Yeah, seven seven inch T_ T_F_T_ screen, which is good news for us, since we wanted to include a display there. Uh so I I probably
Edward Reese: Oh,
Charles Brady: draw it down raw scheme. This is this is the stuff that I
Edward Reese: Oops.
Charles Brady: can use to Okay, so the this will be like the overall scheme or overall requirements from the engineering point of view. Uh first thing is uh this will be the overall shape, no uh I'm not speaking about the real shape of the device, but the shape of the inside of the device. So there will be some circuit uh for the power. So, say power circuit here. Uh the main energy will be taken from batteries that we can uh uh And if we decide to use the speech recognition stuff there, we must use additional source of energy, which I found the best is to use the solar cells which can which can uh supply everything. I was computing all the all the things related to the speech recognition, and it's okay to use just uh two batteries and solar cells, so. So no problem. There can be also solar cell. Uh the main board with all the circuits will take at least seven to seven centimetres, so this is my like hard requirement for the guys from the design. So
Raymond Williams: Mm-hmm.
Charles Brady: at least seven to seven. It depends where you put your screen, because the screen is uh seven inch, so it depends on you where where you put it. It doesn't matter. Um it's just one cord from from the main board to the screen which can be elsewhere. So this will be T_F_T_. And on the main board we have the um interface to the microphone, which is somewhere, say here. Interface to the microphone. Then the graphical card uh for the T_F_T_ and the third unit is the I_R_. The good news is that we can uh we decided to use the infra-red unit because our company has also developed the chip for communication by the infra-red, including all the stuff inside, so it will be very cheap for us. So infra-red here. So the once again the overall requirements, seven to seven centimetres for the board, which has to be which can be spongy but has to be this size, and the T_F_T_ which is seven inches. Um I have to check what I wanted to Uh from my point of view I don't care about the about the material used for the overall des uh ov all the device.
Edward Reese: Can you fit any uh for example a T_F_T_ or any electronic device in a spongy thing, or is there any problem for that? For example, put electronic card on a spongy thing, I can I can imagine it could be a problem.
Charles Brady: A all these things in in uh in this box are okay to put in in any shape, basically. But we
Edward Reese: Yep.
Charles Brady: have to take care of the T_F_T_. Well, sponginess. Maybe it a good feature, since it takes if it's around the T_F_T_
Edward Reese: Okay.
Charles Brady: then it's
Edward Reese: So
Charles Brady: good, because it's just keeps it safe, I dunno.
Raymond Williams: Well maybe it
Shawn Mccosker: So
Raymond Williams: can have two shells, a hard shell inside and a spongy
Edward Reese: Okay.
Raymond Williams: shell
Edward Reese: Maybe
Raymond Williams: outside.
Edward Reese: put electronic in a box and a spongy thing around.
Charles Brady: Well,
Edward Reese: maybe after.
Shawn Mccosker: So
Charles Brady: it's maybe
Edward Reese: Yeah.
Shawn Mccosker: Ca
Charles Brady: related to the U_I_.
Shawn Mccosker: Can I ask a question.
Charles Brady: A Yeah, that's all from Shawn Mccosker.
Shawn Mccosker: This seven inch T_F_T_ screen,
Charles Brady: Yeah?
Shawn Mccosker: how big is it in reality?
Charles Brady: Well, seven to seven inches.
Shawn Mccosker: So like that.
Charles Brady: Yes.
Shawn Mccosker: That's quite big. Uh uh have we decided that we're gonna use this T_F_T_ screen?
Charles Brady: Yeah
Edward Reese: No,
Charles Brady: but
Edward Reese: I don't think it's seven by seven, I think it's
Charles Brady: To
Edward Reese: seven
Charles Brady: be honest,
Edward Reese: the diagonal
Charles Brady: I was
Edward Reese: is seven. Usually when they say
Shawn Mccosker: But
Edward Reese: seven
Shawn Mccosker: I mean even
Raymond Williams: Yeah
Edward Reese: inch
Shawn Mccosker: even
Edward Reese: I
Raymond Williams: yes.
Shawn Mccosker: that
Edward Reese: think
Shawn Mccosker: is
Edward Reese: it's
Shawn Mccosker: like
Edward Reese: the
Shawn Mccosker: this
Edward Reese: diagonal.
Shawn Mccosker: big.
Edward Reese: Yeah. I dunno I dun I dun One each. But, yeah,
Charles Brady: Yeah, honestly speaking I was thinking that it was seven centimetres initially,
Shawn Mccosker: Yeah.
Charles Brady: but it's seven inches. But I I think we can we can cut it.
Shawn Mccosker: You can cut the T_F_T_ screen.
Charles Brady: Yeah, no no problem,
Edward Reese: Let's
Charles Brady: because
Edward Reese: go.
Charles Brady: because because then the size of the graphic card will be one fourth. So Yeah, but no
Edward Reese: So
Charles Brady: problem
Edward Reese: let's cut
Charles Brady: to
Edward Reese: the
Charles Brady: to
Edward Reese: T_F_T_.
Charles Brady: Shawn Mccosker to cut the screen.
Raymond Williams: Mm.
Shawn Mccosker: Okay, so
Charles Brady: So so for the same price we have four
Edward Reese: Mm.
Charles Brady: screens now.
Shawn Mccosker: Okay.
Edward Reese: These technical engineers, huh.
Shawn Mccosker: So, what's the size of the device?
Charles Brady: Ah well this is like this is almost nothing. Seven to seven to at least well some three millimetres or something.
Shawn Mccosker: Even from my perspective seven t seven centimetres by seven centimetres is still
Charles Brady: Yeah, but we wanted the big
Shawn Mccosker: Is it
Charles Brady: buttons
Shawn Mccosker: Can you hold
Charles Brady: and
Shawn Mccosker: that,
Charles Brady: stuff
Shawn Mccosker: or?
Charles Brady: like that, you know. Because if it's t too small we can we can lose it, at home, you know.
Edward Reese: What user wants. He wants a small remote control,
Raymond Williams: Uh.
Shawn Mccosker: Yeah,
Edward Reese: or? Uh
Shawn Mccosker: a small
Edward Reese: uh
Charles Brady: I thought
Shawn Mccosker: c
Charles Brady: that
Shawn Mccosker: control
Charles Brady: it it
Shawn Mccosker: that they
Charles Brady: should
Shawn Mccosker: can
Edward Reese: with
Charles Brady: fit
Shawn Mccosker: hold
Edward Reese: big
Shawn Mccosker: in
Charles Brady: in
Shawn Mccosker: hand.
Charles Brady: the
Edward Reese: buttons.
Charles Brady: hand or
Raymond Williams: Yes.
Charles Brady: something.
Edward Reese: It's difficult. A
Shawn Mccosker: But
Edward Reese: sm
Shawn Mccosker: is something that's seven centimetres square e easy to hold?
Charles Brady: W I I think so. I if the roller buttons are on the side you don't have to catch it like that, but just like this, and you know follow follow Well, that's that's no task for Shawn Mccosker, but well
Edward Reese: So
Charles Brady: seven
Edward Reese: maybe you
Charles Brady: to
Edward Reese: can
Charles Brady: seven
Edward Reese: finish
Charles Brady: at least
Edward Reese: your presentation,
Charles Brady: yeah, but
Edward Reese: and afterwards we will discuss
Raymond Williams: Maybe this.
Charles Brady: Oh,
Edward Reese: about
Shawn Mccosker: Okay.
Charles Brady: okay.
Edward Reese: all this.
Charles Brady: Okay thanks.
Edward Reese: That's it. Okay. So. No. Uh, so I think we have a lot We have to take decision today, so I think we have to do some work to finalise our idea and take decisions. Uh first I think energy it's a key problem because uh it depend what can we have as feature if we use only batteries, for example, or something like that. Because can we have L_C_D_ and speech recognition with battery, and it's
Charles Brady: Not
Edward Reese: also r related to the size of the of the devi of the
Charles Brady: J
Edward Reese: device?
Charles Brady: uh just a point to the energy th things.
Edward Reese: Okay.
Charles Brady: so no problem in energy,
Edward Reese: So
Charles Brady: I think.
Edward Reese: Okay.
Charles Brady: But
Raymond Williams: So but
Charles Brady: we have to use the solar cell. Otherwise
Edward Reese: Uh
Charles Brady: not.
Edward Reese: like but using how many batteries, for example? Are are what Maybe what is the size of the battery
Charles Brady: Yeah I was thinking just common A_A_ cells.
Edward Reese: Okay. Uh
Charles Brady: So like
Edward Reese: one
Charles Brady: three
Edward Reese: two
Charles Brady: to five centimetres, I dunno exactly,
Edward Reese: Okay.
Charles Brady: but.
Shawn Mccosker: So if we use s solar cells, um
Charles Brady: S
Shawn Mccosker: where is the sun if someone's watching
Charles Brady: Uh
Shawn Mccosker: T_V_
Charles Brady: d
Shawn Mccosker: inside?
Charles Brady: doesn't need to be sun. It it's just the daylight, you know.
Edward Reese: The
Shawn Mccosker: Okay.
Edward Reese: television
Charles Brady: Yeah well I I
Edward Reese: lights.
Charles Brady: suppose that I suppose that uh that this remote control won't be in the in the room like this, where there is light only when
Raymond Williams: Mm-hmm.
Charles Brady: when there are people, but.
Edward Reese: At least when there is T_V_ you can get light
Charles Brady: Yeah
Edward Reese: from
Charles Brady: from the
Edward Reese: the
Charles Brady: T_
Edward Reese: T_V_.
Raymond Williams: Yeah.
Charles Brady: I don't think it's enough, uh.
Edward Reese: I dunno.
Shawn Mccosker: Okay.
Edward Reese: Okay. Mm.
Charles Brady: Ah it's a it's a compromise, no?
Edward Reese: At least it's new and maybe technology
Charles Brady: Yeah,
Edward Reese: New
Charles Brady: that's
Shawn Mccosker: It's
Edward Reese: technology.
Charles Brady: why I
Shawn Mccosker: it's
Charles Brady: wanted
Shawn Mccosker: quite innovative,
Charles Brady: to to include
Shawn Mccosker: yes.
Edward Reese: Yeah.
Charles Brady: the speech recognition,
Raymond Williams: Hmm.
Charles Brady: because you wanted
Edward Reese: Um.
Charles Brady: all the new
Shawn Mccosker: And if you
Charles Brady: things.
Shawn Mccosker: watch T_V_ outside it's very
Edward Reese: So
Shawn Mccosker: useful.
Edward Reese: I think before talking about the other thing, it's important thing it's the case. Uh what what are gonna be the size, because its weight drives the other what we are going to use as features and so on. For example for the for the L_C_D_, if we choose to have a small device, we cannot use this um a such a a a screen.
Charles Brady: Uh the s the screen is okay, but the board, uh that's the problem. Well what what would you guess as a shape? Or what
Raymond Williams: Mm.
Charles Brady: what would be the shape?
Raymond Williams: I think I think their being uh large or small is not important. The only important thing is to be able to take it in uh inside hand easily. So let's say
Charles Brady: Mm.
Raymond Williams: an average size, okay, and it should not be very heavy also. And I prefer to is it shouldn't have a uniform shape, so in the middle it should be a little bit thinner, maybe maybe. So we c it's like like some joysticks. You can take uh some some joystick you can take inside hand easier because it's it's designed for your f uh taking into account your finger shape and your palm shape. So the general shape should be like this. I think uh seven centimetre by seven centimetre is a little bit large. So uh
Charles Brady: Okay.
Raymond Williams: seven not seven but let's say five by ten it's I think it's that's my opinion.
Shawn Mccosker: Which
Raymond Williams: It's
Shawn Mccosker: is the same
Raymond Williams: easier.
Shawn Mccosker: area.
Raymond Williams: Yeah.
Shawn Mccosker: Could
Charles Brady: Okay.
Shawn Mccosker: you re could you redesign your board?
Charles Brady: Five to ten.
Shawn Mccosker: Oh, five
Charles Brady: Well that
Shawn Mccosker: five centimetres by ten centimetres.
Charles Brady: Yeah, right.
Shawn Mccosker: Yeah.
Charles Brady: Yeah, I think it's feasib Well one um um How could we do it? We could put the board next to, well, under the L_C_D_ and for
Raymond Williams: Mm-hmm.
Charles Brady: example make the L_C_D_ be totally unrelated to the thing that you hold in your hand. Like holding something, and the L_C_D_ to be just on top of it, you know somehow. Well But maybe
Edward Reese: Oh.
Charles Brady: let's stick to the s spongy thing, like one unit.
Edward Reese: I've
Charles Brady: Well
Edward Reese: I
Charles Brady: fi
Edward Reese: s
Charles Brady: five
Edward Reese: I
Charles Brady: to
Edward Reese: think
Charles Brady: ten it would be feasible.
Edward Reese: the easiest thing would be to to have a smaller L_C_D_, if it's possible.
Raymond Williams: Mm.
Charles Brady: Okay, so five to ten, I I think it's it's
Edward Reese: Okay.
Charles Brady: feasible.
Edward Reese: So we
Charles Brady: I'll make
Edward Reese: are agree
Charles Brady: it.
Edward Reese: with a small
Raymond Williams: Or
Charles Brady: Fo
Edward Reese: L_C_D_.
Raymond Williams: uh
Charles Brady: Five by ten.
Raymond Williams: or I don't know but I don't want to now invent something new, because we didn't discuss about it. So using some L_C_D_s we can touch, so we can remove uh keys and just uh having uh, I dunno the name, L_C_D_ responding to fingers.
Edward Reese: Yeah.
Raymond Williams: Touching the screen. Something
Edward Reese: Tactile
Raymond Williams: like
Shawn Mccosker: Mm,
Edward Reese: or something,
Shawn Mccosker: touch screen.
Edward Reese: yeah. Touch screen, yeah.
Raymond Williams: So But for now if we don't want to use such kind of screens
Edward Reese: Yeah.
Raymond Williams: I I think we using a a smaller screen is better, because
Edward Reese: The problem is we have a limit in a month of time, so we cannot do
Charles Brady: Mm-hmm.
Edward Reese: something very new. So
Shawn Mccosker: So
Edward Reese: let's go
Charles Brady: Okay,
Edward Reese: for
Charles Brady: so
Edward Reese: a small L_C_D_.
Charles Brady: Yeah, so
Raymond Williams: A smaller
Charles Brady: so just
Raymond Williams: s
Charles Brady: just give Shawn Mccosker the the the five by ten numbers that
Edward Reese: Yeah
Charles Brady: you find
Edward Reese: okay.
Charles Brady: the best and send
Raymond Williams: Okay.
Charles Brady: it Shawn Mccosker and
Edward Reese: So,
Charles Brady: I will
Edward Reese: five
Charles Brady: work
Edward Reese: by
Charles Brady: it
Edward Reese: s
Charles Brady: out.
Edward Reese: ten.
Charles Brady: Hmm.
Edward Reese: Um so what about, so the case we talked about. Um something easy to use, you said something easy to use but how does that fit in a fashion way, like with fruit and vegetable, and about the colour and logo of the of the company and so on, now, can we do that? My first idea is because our colour is more yellow, and the it should be easy to take in a hand, I thought about banana, or something like that, which is fruits, and
Charles Brady: Seven to ten banana.
Edward Reese: A big
Charles Brady: Okay.
Edward Reese: banana.
Charles Brady: Rather mango or something or.
Edward Reese: Um.
Shawn Mccosker: Well it's it's definitely the obvious choice, with the colour of
Edward Reese: Yeah.
Shawn Mccosker: our company. I mean what
Edward Reese: Yeah.
Shawn Mccosker: other
Edward Reese: But
Shawn Mccosker: what other fruit
Edward Reese: it's just
Shawn Mccosker: and vegetables
Edward Reese: an idea. I dunno what you think
Shawn Mccosker: Do you
Edward Reese: about,
Shawn Mccosker: know of any any other fruit
Edward Reese: but
Shawn Mccosker: and vegetables that are yellow?
Edward Reese: Yeah. I dunno if it can fit with the technology. You are the specialists of that.
Charles Brady: You mean banana. Well, but If it's If it If the banana is big enough. Then, yes.
Edward Reese: So
Charles Brady: But if you want to look at the screen, no. Well
Edward Reese: Yeah, and
Raymond Williams: I think this
Edward Reese: The
Raymond Williams: is
Edward Reese: screen has
Raymond Williams: not good.
Edward Reese: to be square? Or it can be like a a shape, quite,
Charles Brady: Well,
Edward Reese: uh
Charles Brady: it can
Edward Reese: with
Charles Brady: be
Edward Reese: curves.
Charles Brady: whatever you want. But
Edward Reese: It could.
Charles Brady: if it's square then we get four screens out of one by cutting just. But if you want some shape then we
Edward Reese: Yeah.
Charles Brady: can only get like two screens out of seven to seven inches,
Raymond Williams: Mm.
Charles Brady: so. It's like more more expensive to have shape like that. But I don't care. You know, if we fit
Shawn Mccosker: Well
Charles Brady: this requirement.
Shawn Mccosker: I'd like a shaped screen. I think that's more important than saving
Charles Brady: Okay
Edward Reese: Okay
Shawn Mccosker: a bit
Edward Reese: okay.
Shawn Mccosker: of money on
Raymond Williams: Mm.
Shawn Mccosker: on the T_F_T_ screen.
Charles Brady: Yeah, m maybe the banana could be like a bit uh fatter than than the c
Edward Reese: Yeah.
Charles Brady: c common
Edward Reese: Yeah,
Charles Brady: one.
Edward Reese: it should
Charles Brady: But
Edward Reese: remember banana, but it's not doesn't have to b
Charles Brady: Like modified
Edward Reese: to be uh uh
Charles Brady: banana, okay.
Edward Reese: really the size and exactly the shape of a banana.
Charles Brady: Well it we'll stick to banana, or?
Raymond Williams: Okay.
Shawn Mccosker: Yeah, banana's
Edward Reese: Okay.
Shawn Mccosker: good.
Charles Brady: Okay.
Shawn Mccosker: Okay.
Charles Brady: Mm-mm.
Edward Reese: So, the last point we decided it's infra-red, I guess.
Raymond Williams: Yeah, I
Charles Brady: Yeah,
Edward Reese: Everybody's
Raymond Williams: think infra-red.
Charles Brady: yeah.
Edward Reese: agreed.
Charles Brady: Sure.
Edward Reese: Uh, so that's it I think about the concepts. You have other thing to add to this point, or uh no? So, uh about the user interface, so we are going to use L_C_D_. In the last meeting we talked about uh hidden buttons. I don't know what we are going to do with that. You
Charles Brady: Like
Edward Reese: talked
Charles Brady: like
Edward Reese: about
Charles Brady: peeling
Edward Reese: the
Charles Brady: of
Edward Reese: buttons
Charles Brady: the banana
Edward Reese: on the
Raymond Williams: Yeah,
Edward Reese: side
Charles Brady: you s
Raymond Williams: peeling of the banana.
Charles Brady: It
Edward Reese: Mm
Charles Brady: would be cool, yeah.
Edward Reese: what?
Charles Brady: Peeling of the banana, you know,
Raymond Williams: Yeah.
Charles Brady: should should discover the other buttons,
Raymond Williams: Mm.
Charles Brady: which are hidden.
Edward Reese: Yeah. Okay. And you mean the first layer would be spongy.
Raymond Williams: Yeah.
Charles Brady: First layer obviously spo Yeah, w
Edward Reese: So
Charles Brady: It's it's like
Edward Reese: Is
Charles Brady: silly, but the people
Edward Reese: it
Charles Brady: will really appreciate
Edward Reese: is
Charles Brady: it, yeah
Edward Reese: it
Charles Brady: I think.
Edward Reese: possible to do that? It would be a great idea, but is it possible technically?
Raymond Williams: Uh
Edward Reese: Like doing a spongy layer of
Shawn Mccosker: I think
Edward Reese: the banana,
Shawn Mccosker: if we
Edward Reese: and
Shawn Mccosker: if
Edward Reese: you
Shawn Mccosker: we
Edward Reese: open
Shawn Mccosker: have a
Edward Reese: it.
Shawn Mccosker: spongy layer on the outside of the banana then
Edward Reese: Yeah.
Shawn Mccosker: it's easy to make that, you know, to
Raymond Williams: Mm-hmm.
Shawn Mccosker: manipulate that
Edward Reese: Yeah.
Shawn Mccosker: to
Raymond Williams: Yeah,
Edward Reese: Yeah.
Raymond Williams: some
Shawn Mccosker: hav be a cover that you can pull off and
Raymond Williams: Something like a plastic cover covering uh some interface, U_S_B_ interface as in the in uh digital camera. If you see it's like peeling. You open a plastic cover and you see some U_S_B_ interfaces, some some interfaces for adaptor. So keys can be uh buttons can be covered like this, with a plastic cover and uh when uh and when you open this cover it's like peeling a banana. So, something like this.
Edward Reese: Yeah, but do you see that as a rigid thing, or like like a banana, something very soft, you can open like banana, or.
Charles Brady: Well is it possible to make it soft?
Raymond Williams: Yeah, yeah,
Edward Reese: Yeah.
Raymond Williams: yeah it's a lic like a plastic cover, so.
Charles Brady: So I think
Edward Reese: So,
Charles Brady: if it's so then it's
Edward Reese: I dunno
Charles Brady: cool?
Edward Reese: what you think, Bob, but it would be great for users I think, and very
Shawn Mccosker: I think for
Edward Reese: good
Shawn Mccosker: sure.
Edward Reese: for marketing.
Shawn Mccosker: Definitely. The softer the better.
Edward Reese: Yeah.
Charles Brady: Cool.
Shawn Mccosker: Yeah.
Charles Brady: Honestly speaking, I cannot imagine it, so far, but
Edward Reese: Yeah.
Charles Brady: it will be terrible.
Edward Reese: Um.
Charles Brady: Mm.
Edward Reese: And setting buttons hidden in.
Edward Reese: Mm, other remarks, or something, or. Something we didn't talk about yes yet, or. I think we are almost there. Uh maybe, how can we, if we have a soft thing, like this, and to open it we have to attach it somewhere, I dunno how to do that technically, or.
Raymond Williams: Mm-hmm.
Edward Reese: And how
Charles Brady: Pof.
Shawn Mccosker: We could use Velcro.
Edward Reese: Yeah, maybe.
Shawn Mccosker: Or uh ma maybe a magnetic
Raymond Williams: Yes, yeah it's a good idea.
Shawn Mccosker: thing.
Raymond Williams: Magnetic.
Edward Reese: Ma magnetic oh.
Raymond Williams: Mm. Yeah or a Yeah it can is it can be a plastic cover uh sticking to the to the all the stuff like uh with magnetic p uh magnetic uh magnetic uh materials in the border, so it's it sticks like refrigerator door, completely.
Edward Reese: Okay.
Raymond Williams: And when you try to open it, it will be opened easily. So you you can be sure that it will not be open while you're uh while while uh you are commonly using uh buttons on
Edward Reese: Okay.
Raymond Williams: the banana.
Edward Reese: And what would be the matter here of the first layer I mean? Mm. Likes. Soft plastic, or
Shawn Mccosker: Yeah, I imagine some sort of vinyl
Edward Reese: Yeah,
Shawn Mccosker: thing.
Edward Reese: yeah, yeah.
Shawn Mccosker: In a in a sort of a with a suede sort of feel. Maybe.
Charles Brady: Well since since the since the things like the like the screen and um how to say that, solar cell has to be has to be like kept kept in the shape, we cannot b uh So we need that the that the peeling uh I dunno but we should we should take care of these two two things. So, if if uh the solar cell won't be visible while the banana is closed, then the material must be able to put the light inside, you know. So that we can reach the energy out of it out of that.
Shawn Mccosker: Mm.
Raymond Williams: Mm.
Shawn Mccosker: So you're saying is it possible to have a solar cell and this removable cover
Charles Brady: It is
Shawn Mccosker: and
Charles Brady: possible, but, well if
Shawn Mccosker: And
Charles Brady: it
Shawn Mccosker: a and a banana.
Raymond Williams: Mm.
Charles Brady: I dunno. I dunno how to how to do it if if t if to if it's better to put the solar cell to the t to the peeling or outside it,
Edward Reese: Hmm.
Shawn Mccosker: Yeah.
Charles Brady: or or inside. But then it must be some window there,
Shawn Mccosker: Okay.
Charles Brady: you know.
Raymond Williams: Mm.
Edward Reese: And something we forgot, maybe, uh about the speech recognition system, are we going to use it, or not?
Raymond Williams: Yes, I think.
Shawn Mccosker: I think
Raymond Williams: I
Shawn Mccosker: it's
Raymond Williams: think
Shawn Mccosker: important.
Raymond Williams: so.
Edward Reese: It
Shawn Mccosker: I think
Edward Reese: i Yeah,
Shawn Mccosker: One
Edward Reese: it seems
Shawn Mccosker: of our
Edward Reese: feasible,
Shawn Mccosker: p
Edward Reese: and it
Shawn Mccosker: priorities
Edward Reese: would be
Shawn Mccosker: is
Edward Reese: something
Shawn Mccosker: tech
Edward Reese: very
Shawn Mccosker: technology.
Edward Reese: great.
Raymond Williams: Mm.
Shawn Mccosker: And
Edward Reese: So we have the de design, the a good shape,
Raymond Williams: Mm-hmm.
Edward Reese: new and so on, and we have also the technology thing w will be.
Shawn Mccosker: Mm-hmm.
Edward Reese: And
Raymond Williams: Mm.
Edward Reese: even the easy to use thing, so it will be perfect.
Raymond Williams: Mm.
Edward Reese: So
Shawn Mccosker: Yeah.
Edward Reese: we add also
Charles Brady: Yeah.
Edward Reese: the speech recognition device.
Charles Brady: I agree.
Edward Reese: So, that great. We have decided everything. And think we are on a good way. So, um uh the next meeting will start in thirty minutes. Um, so uh the the Industrial Manager uh will uh will work on the look and feel design. The User Interface uh uh Mana uh Manager will work on the user interface device. And the Shawn Mccosker will do the first project evaluation.
Shawn Mccosker: Okay.
Edward Reese: So, I hope you can do that in thirty minutes. And uh, yeah, I uh I think you should work together, s you uh Hamed and Peter, to work uh in a in a first prototype, and uh more about the shape and so on and how you can manage to put everything together. And um as usual you will receive some specific instructions on. So
Charles Brady: Okay.
Edward Reese: thank you all everybody, and see you in thirty minutes.
Shawn Mccosker: Okay. Thank
Charles Brady: Okay.
Shawn Mccosker: you.
Raymond Williams: Thank you. | Edward Reese stated that the goal for the current meeting was to decide upon a concept for the remote the team is creating. Shawn Mccosker discussed his findings from trend watching reports. He found that current trends are such that a product must have a fancy look and feel, be technologically innovative, be easy to use, incorporate a fruit and vegetable motif, and must be spongy. Raymond Williams discussed how to create an interface for a remote that is easy to use. Raymond Williams discussed the placement of commonly used buttons, the overall shape of a remote, and how to hide less commonly used buttons. Charles Brady discussed various components and energy sources the remote could include. Charles Brady focused on the use of a TFT screen and the use of solar cells to supplement the energy from two regular batteries. The team then discussed and made decisions regarding the option to use solar cells, the specifications of an LCD screen, how to incorporate a fruit and vegetable motif into their design, and how to hide lesser used buttons. | 5 | amisum | train |
Charles Bridgewater: Okay, so now we are on the conceptual design meeting.
Gary Caponigro: Mm-hmm.
Charles Bridgewater: Uh y getting close to the last is the penultim meeting.
James Inciong: How was lunch?
Charles Bridgewater: Mm great.
Gary Caponigro: Thanks Don't be sarcastic Mark.
Charles Bridgewater: So um I will again do the secretary part uh we will have three presentation first um uh the
Gary Caponigro: Uh
Charles Bridgewater: industrial
Gary Caponigro: Rama.
Charles Bridgewater: design,
Carl Mize: Ramaro.
Charles Bridgewater: first Rama then Mark and then Sammy. Um um we have to take a decision on the control remote control concepts and we have forty minutes.
James Inciong: Mm.
Charles Bridgewater: So what we want to the decision we want to take this meeting on the um first on the component concept, so what kind of energy we use uh what kind of chip on print and one ki kind of case. And also on user interface concept uh what kind of interface we use and if there is some supplements. And at the end um Sammy will give um a trend watching on what he's he's been doing. It's So, let's go. First with Rama.
Charles Bridgewater: Participant two.
Carl Mize: Yeah, participant two. Component.
Charles Bridgewater: Mm-hmm.
Carl Mize: Yep. So we're to mainly design f mainly need to know which components we'll use for energy, and the material and interface. For energy there are maybe two or three possibilities. First one, we can use simple battery, or we can use traditional solar cells or mm and the material we can have plastic, rubber which is good for this R_S_A_
Gary Caponigro: Ah.
Carl Mize: and then uh titanium, which can be which have very good look an and then interface we're to use push buttons or liquid crystal d L_C_D_ display. And we can use some, moving kind of thing. So, as we discussed before, we need to we would like to have some speech recognition s chip in our remote control. So this can be simple kind of programmable chip and which can use microphone sensors. And we also want to look at our remote control, so. Still we are looking for possible uh technical uh specifications and how w easy we can do and within our pri range, like we're to in our twelve Euros or around that. So we are looking for simple devices or simple technology to do the location of remote control in a room
Charles Bridgewater: Mm-hmm,
Carl Mize: or
Charles Bridgewater: okay.
Carl Mize: in a house. So uh we discussed an Excuse Gary Caponigro. So we would like to propose battery instead of solar cells and it would be problematic uh to have
Gary Caponigro: Mm-hmm.
Carl Mize: enough energy with the solar cells and so we would like to just use simple battery. And also we want to go for titanium design instead of rubber or and well the problem is with this design we found that we can't use double-curved shapes.
Gary Caponigro: What is a double-curved shape?
Carl Mize: Like you can have two curves.
Gary Caponigro: Uh-huh.
James Inciong: Why?
Carl Mize: Uh it's I think in manufacturing I guess it's problematic. So, we want to go for simple push buttons because it need a simple chip and it's really lesser uh re really less expensive compared to L_C_D_ which are uh which needs advanced chip technology and it's more expensive, since we
James Inciong: Mm-hmm.
Carl Mize: want to put some other features such as speech recognition we want to reduce uh
Gary Caponigro: The cost.
Charles Bridgewater: Um I want
Carl Mize: cost.
Charles Bridgewater: to know why it b uh just uh sorry but for the point before uh
Carl Mize: Uh
Charles Bridgewater: why not the rubber, if
Carl Mize: Uh
Charles Bridgewater: it is something that it seems to be
Carl Mize: And also
Charles Bridgewater: light.
Carl Mize: like in if you put a it's be difficult to do all the moulding of buttons and these things
Charles Bridgewater: Okay.
Carl Mize: and
Charles Bridgewater: You m titanium it's more uh
Carl Mize: Yeah.
James Inciong: W we can use something like you know the whole body's titanium but there are some rubber or I dunno some rubber parts like
Gary Caponigro: Mm like
Carl Mize: Yeah.
Gary Caponigro: this?
Charles Bridgewater: Yes
James Inciong: to make it
Charles Bridgewater: so
James Inciong: feel better
Charles Bridgewater: mm
James Inciong: and to you know
Carl Mize: Like in cell phones recently
Gary Caponigro: Mm-hmm.
Carl Mize: these
Charles Bridgewater: Uh-huh.
James Inciong: Yeah.
Carl Mize: you can
James Inciong: Yeah.
Carl Mize: with the rubber in four directions
Charles Bridgewater: Okay.
Carl Mize: and yeah. But full assembly We'll use mainly for titanium
Charles Bridgewater: Okay.
Carl Mize: rubber is expensive
Charles Bridgewater: Okay.
Carl Mize: and also it's bit difficult to do all the shapes
Charles Bridgewater: Okay.
Carl Mize: uh. And this push
Charles Bridgewater: Uh
Carl Mize: buttons
Charles Bridgewater: yeah
Carl Mize: we
Charles Bridgewater: so
Carl Mize: we would like to use push buttons instead of L_C_D_s and so we want to mo I mean we're we want to put speech recognition so we want to reduce price on this technology and so that we can have
Charles Bridgewater: Okay,
Carl Mize: enough space
Charles Bridgewater: s so
Carl Mize: or enough money
Charles Bridgewater: simple
Carl Mize: for
Charles Bridgewater: button and uh
Carl Mize: S
Charles Bridgewater: speech
Carl Mize: S
Gary Caponigro: Speech
Charles Bridgewater: recognition for the more complicated.
Carl Mize: Y
James Inciong: Mm-hmm.
Carl Mize: yeah we have simple buttons and speech recognition technology,
Charles Bridgewater: Okay.
James Inciong: Okay,
Carl Mize: so
James Inciong: and still we have mm can we still include the L_ L_S_D_ display?
Gary Caponigro: L_C_D_.
James Inciong: L_C_D_ yeah L_C_D_.
Carl Mize: Uh l
Gary Caponigro: Seems not, it's either
Carl Mize: So
Gary Caponigro: L_C_D_
Carl Mize: uh
Gary Caponigro: or push-button.
Carl Mize: it's
James Inciong: No,
Carl Mize: like
James Inciong: it's
Carl Mize: a
James Inciong: not gonna be a t no touchable but still like a source of information or source for menus.
Gary Caponigro: Ah.
Carl Mize: Yeah maybe maybe we can see depending on how we'll come up with our full design then if we have enough money or like for
James Inciong: Okay,
Carl Mize: and
James Inciong: so
Carl Mize: because
James Inciong: try
Carl Mize: the
James Inciong: it,
Carl Mize: speech
James Inciong: let's t
Carl Mize: recognition technology will take at least five Euros or or something so
Gary Caponigro: The
Carl Mize: we want to reduce
Gary Caponigro: L_C_D_
Carl Mize: the
Gary Caponigro: would
Carl Mize: cost on display or this
Gary Caponigro: The display
Carl Mize: inter
Gary Caponigro: would only be display and not uh
James Inciong: Yeah,
Gary Caponigro: touch sensitive
James Inciong: yeah,
Gary Caponigro: you mean.
James Inciong: it's
Gary Caponigro: Just
James Inciong: it's
Gary Caponigro: uh
James Inciong: not
Gary Caponigro: for
James Inciong: gonna
Gary Caponigro: output,
James Inciong: be a touch pad, uh just
Gary Caponigro: yeah.
James Inciong: a display for
Gary Caponigro: Yeah.
Carl Mize: Ok
James Inciong: giving you information.
Carl Mize: Yeah, that
Charles Bridgewater: Mm-hmm.
Carl Mize: can we we can consider, because like it won't take
James Inciong: Mm-hmm.
Carl Mize: much money I guess, because
Charles Bridgewater: Okay.
Carl Mize: Okay, yep.
Charles Bridgewater: Mm.
Carl Mize: You have any further questions or?
Gary Caponigro: I guess no um. So the batteries uh are
Carl Mize: Yeah.
Gary Caponigro: going to be very light.
Carl Mize: Yeah, we're to go for li and now I think we have many options in the market so we can
Gary Caponigro: Okay
Carl Mize: go for small
James Inciong: Mm-hmm.
Carl Mize: nickel or
James Inciong: Mm-hmm.
Carl Mize: alkaline batteries for really light batteries and with uh good price.
Gary Caponigro: So this device on n that can be used for speech recognition could also be used for just uh the finding it basically, instead of clapping why not
Carl Mize: Yeah, that's
Gary Caponigro: just be
Carl Mize: then the
Gary Caponigro: ask.
Carl Mize: the one thing we want to know is like because remote control is used for like in the household so it it it will be it m maybe at least five, six people want to use it so
Gary Caponigro: Mm-hmm.
Carl Mize: so how to uh uh how to define our re speech recognition whether we want to do s speaker independent or speaker dependent. If we're going for more speaker independent then it would be like again cumbersome and we need really m more technology and
Charles Bridgewater: Okay, for
Carl Mize: so
Charles Bridgewater: the location.
Carl Mize: Yeah, if
Charles Bridgewater: Hmm.
Carl Mize: if everybody in the house n to locate then we're to go for some speaker independent technology or
Gary Caponigro: Okay.
Carl Mize: something.
Charles Bridgewater: Okay. So let's now go to the you don't have more
Gary Caponigro: No,
Charles Bridgewater: question?
Gary Caponigro: it's okay.
James Inciong: No more
Charles Bridgewater: Um
James Inciong: questions.
Carl Mize: Yep. Thank
Charles Bridgewater: mm
Carl Mize: you.
Gary Caponigro: Puts less of constraint
Charles Bridgewater: thank you
Gary Caponigro: on
Charles Bridgewater: mm.
Gary Caponigro: what we can do but
James Inciong: Mm yeah,
Charles Bridgewater: Yeah.
Carl Mize: Yeah.
James Inciong: yeah.
Gary Caponigro: it's always like that. We have dreams and the in the end we find out that it's not feasible.
Charles Bridgewater: Yeah,
Carl Mize: Oh.
Charles Bridgewater: but
Gary Caponigro: Anyway.
Carl Mize: We
Charles Bridgewater: mm.
Carl Mize: have uh some limitations.
Gary Caponigro: Yeah.
James Inciong: But still uh L_S_D_'s already
Gary Caponigro: L_C_D_.
James Inciong: quite nice,
Gary Caponigro: L_S_D_
James Inciong: L_C_
Gary Caponigro: is something else, and it's quite nice
James Inciong: I'm
Gary Caponigro: as
James Inciong: an
Gary Caponigro: well.
James Inciong: artist, sorry.
Charles Bridgewater: Okay.
Gary Caponigro: So,
James Inciong: So uh, that's
Charles Bridgewater: Um
Gary Caponigro: go
James Inciong: not
Gary Caponigro: on uh
James Inciong: I hope
Gary Caponigro: artist.
James Inciong: that's not too much.
Charles Bridgewater: yeah. Now
James Inciong: Okay.
Charles Bridgewater: let's talk about uh interface.
James Inciong: Uh participant number three.
Charles Bridgewater: Three.
Carl Mize: Three.
James Inciong: Uh
Charles Bridgewater: Which one?
Gary Caponigro: Hmm.
James Inciong: mm mm uh have a look at this no it's yeah.
Charles Bridgewater: Okay.
James Inciong: Uh so the concept of the interface. Generally I developed quite a broad concept not only for the interface, but for possible instruction or user's manual and uh all the complex things that come together with your T_V_ and remote controls. So let's start with this. We got our perfect remote control with a lot of buttons and uh we got explanation for every button and you can use your time and uh it will take i some days to learn all this buttons and um the L_C_D_ is going to be somewhere here and uh go back button, I don't know really where it is, maybe one of this buttons, and um power on and off mm I
Charles Bridgewater: Mm.
James Inciong: I don't remember so uh it it it should be maybe this button is power on and off? Or no? I can see nothing. So that's our concept. It's called the millennium remote control.
Gary Caponigro: Let's change millenniums.
James Inciong: Yeah.
Carl Mize: So maybe you can use in the end
Gary Caponigro: doesn't
Carl Mize: and
Gary Caponigro: make sense. This is very
James Inciong: Really? I
Gary Caponigro: ugly.
James Inciong: thought you like it.
Gary Caponigro: Oh no,
James Inciong: Ah okay just press
Gary Caponigro: too much
James Inciong: the button,
Gary Caponigro: concept.
James Inciong: please uh.
Gary Caponigro: Ah.
Charles Bridgewater: No.
Carl Mize: Uh
James Inciong: Yeah, we will not use this. We will not use this. But instead of this I will devise
Gary Caponigro: Ah,
James Inciong: That's
Gary Caponigro: back
James Inciong: our
Gary Caponigro: today.
James Inciong: concept. And it's got just few buttons, quite low looking, and all this stuff we already we already discussed.
Charles Bridgewater: Mm-hmm. 'Kay.
James Inciong: And uh what will people say? They'll say it's perfect. Or what will say? Uh they will say it's splendid. And uh e everyone will say I'll buy it.
Charles Bridgewater: Mm-hmm.
James Inciong: And everyone's gonna be satisfied.
Gary Caponigro: Do you think it can come in several colours? Or did the
James Inciong: I would make a backlight of the L_C_D_ screen with different colours.
Gary Caponigro: Um but not the case.
James Inciong: Not the case.
Gary Caponigro: Uh the case would only be in that uh aluminium uh titanium stuff, like
James Inciong: Yeah.
Carl Mize: Mm.
Charles Bridgewater: Because apparently from your survey people like colours, no?
Gary Caponigro: Yeah,
Carl Mize: Yeah.
Gary Caponigro: well they like uh something which is
James Inciong: Okay,
Gary Caponigro: uh
James Inciong: so let's remember there's a Nokia phone which changeable panels.
Gary Caponigro: Mm yeah, okay, so that would
James Inciong: Do you
Gary Caponigro: be
James Inciong: like it?
Gary Caponigro: the option. I don't know I don't have a Nokia phone, but
Carl Mize: But it's
Gary Caponigro: I
Carl Mize: uh
Gary Caponigro: don't use that but again, uh
James Inciong: That's why you
Gary Caponigro: I
James Inciong: don't
Gary Caponigro: might
James Inciong: have it.
Gary Caponigro: Yeah,
James Inciong: That's
Gary Caponigro: bu
James Inciong: why, 'cause
Gary Caponigro: but
James Inciong: it's nasty.
Carl Mize: But it would be expensive, no? If you use colour L_C_D_.
James Inciong: No.
Carl Mize: Uh instead of that maybe we can change the colour of
Gary Caponigro: Mm-hmm.
Carl Mize: the assembler. Maybe we can just if users want more colours they can pay more money to get this uh the shapes and they can have different assembly.
James Inciong: Um, I am here.
Carl Mize: So
Charles Bridgewater: Okay.
Carl Mize: users have different I mean they have their own interests, colour interests and so
Charles Bridgewater: So?
James Inciong: Mm-hmm.
Carl Mize: So we can just if they want they can just pay another two
Charles Bridgewater: Uh-huh,
James Inciong: 'Kay.
Charles Bridgewater: okay,
Carl Mize: Euro.
Charles Bridgewater: so you you propose something with option
Carl Mize: Yeah.
Charles Bridgewater: i that increase the price if we
Carl Mize: Yeah yeah yes.
Charles Bridgewater: if
Carl Mize: If
Charles Bridgewater: you want
Carl Mize: they want like
Charles Bridgewater: o
Carl Mize: uh so
Charles Bridgewater: more
Carl Mize: that we
Charles Bridgewater: colours
Carl Mize: can
Charles Bridgewater: on
Gary Caponigro: Kind
Carl Mize: yeah.
Gary Caponigro: of
Charles Bridgewater: L_C_D_,
Gary Caponigro: upgradable uh
Charles Bridgewater: yeah.
Carl Mize: Yeah.
Gary Caponigro: remote control. Wow,
Charles Bridgewater: Okay.
Gary Caponigro: wow.
Carl Mize: Just they'll get few more things and
James Inciong: Okay,
Carl Mize: few more colours.
James Inciong: what uh there's one more decisi uh one more solution in fact, um 'cause there are some some paints that can change colour according to where they are, like they can reflect different colours
Carl Mize: Lights, yeah.
Gary Caponigro: Mm.
Charles Bridgewater: And
James Inciong: depending
Charles Bridgewater: thermodynamic
James Inciong: on what is around,
Charles Bridgewater: also.
James Inciong: like
Carl Mize: Yeah.
James Inciong: what
Charles Bridgewater: Mm-hmm.
James Inciong: colour
Gary Caponigro: Like
James Inciong: is
Gary Caponigro: a
James Inciong: around,
Gary Caponigro: chameleon.
James Inciong: and depending on the temperature, yeah.
Charles Bridgewater: Mm-hmm.
Carl Mize: Yeah yeah.
James Inciong: We can make it in fact.
Charles Bridgewater: Yeah
Carl Mize: Mm.
Charles Bridgewater: but that's
James Inciong: If
Charles Bridgewater: maybe
James Inciong: if if
Charles Bridgewater: mo
James Inciong: the
Charles Bridgewater: too much expensive,
James Inciong: okay.
Gary Caponigro: Mm-hmm.
Charles Bridgewater: yeah. But uh it can be in uh maybe in an a gradable
James Inciong: Mm-hmm,
Charles Bridgewater: version,
Carl Mize: Yeah.
James Inciong: mm-hmm,
Charles Bridgewater: but
Gary Caponigro: Because
James Inciong: so
Gary Caponigro: uh I think there are two kinds of people. Those for which the remote control is uh is to be uh something useful uh I'm going to talk about this later but and those for which is something that that that uh is uh specific to them so it it's like a signature. My remote control is pink. Nobody else than Gary Caponigro has a pink remote control.
Charles Bridgewater: Mm-hmm.
James Inciong: Uh-huh.
Gary Caponigro: And that makes Gary Caponigro special.
Charles Bridgewater: Okay and you think that we don't have to make to make them pay more because of uh o
Gary Caponigro: I
Charles Bridgewater: or
Gary Caponigro: think I think
Charles Bridgewater: this
Gary Caponigro: they
Charles Bridgewater: is
Gary Caponigro: would be ready p ready to pay more for that.
Charles Bridgewater: Okay, so
Gary Caponigro: Those who wanted to have
Charles Bridgewater: so
Gary Caponigro: it pink.
Charles Bridgewater: i
Carl Mize: Uh
Charles Bridgewater: it's not uh a s base
Gary Caponigro: No
Charles Bridgewater: service
Carl Mize: Mm.
Gary Caponigro: mm
Charles Bridgewater: it's
Gary Caponigro: no.
James Inciong: So,
Charles Bridgewater: a
James Inciong: be an option, yeah.
Charles Bridgewater: Mm.
Gary Caponigro: It might be optional,
Charles Bridgewater: Okay.
Gary Caponigro: yeah.
Carl Mize: will be really few, no? So like we
Gary Caponigro: The
Carl Mize: can
Gary Caponigro: the young
Carl Mize: those
Gary Caponigro: people the young people want to be different from their friends.
Carl Mize: Ah.
Gary Caponigro: Although similar but have
Charles Bridgewater: Mm-hmm.
Gary Caponigro: something
Carl Mize: Yeah.
Gary Caponigro: just slightly better. Pink
Charles Bridgewater: So
Carl Mize: Mm.
Charles Bridgewater: m so maybe that's if that it's a selling point
Gary Caponigro: Mm.
Charles Bridgewater: maybe
James Inciong: Yeah,
Charles Bridgewater: it has
Gary Caponigro: Yeah.
James Inciong: yeah,
Charles Bridgewater: to be the base.
James Inciong: yeah. But you know if you want to be different you just take your remote control with you all the time. And
Gary Caponigro: Yeah,
James Inciong: it
Charles Bridgewater: And
James Inciong: makes
Charles Bridgewater: you'll
James Inciong: you different,
Charles Bridgewater: be
Gary Caponigro: yeah.
James Inciong: you
Gary Caponigro: You always
James Inciong: know?
Charles Bridgewater: different.
Gary Caponigro: have your
Charles Bridgewater: Uh
Gary Caponigro: remote. Oh,
James Inciong: Anyone
Gary Caponigro: you don't?
James Inciong: has their remote controls
Gary Caponigro: Yeah.
James Inciong: here?
Gary Caponigro: You
Charles Bridgewater: in
James Inciong: No?
Charles Bridgewater: the
Gary Caponigro: don't
Charles Bridgewater: train
Gary Caponigro: have your remo
Charles Bridgewater: uh, hello uh no. Want to change
Gary Caponigro: Wh you
Charles Bridgewater: my
Gary Caponigro: you
Charles Bridgewater: neighbour.
Gary Caponigro: know like for instance take the iPod. It's a kind of remote control. Uh it's white
James Inciong: Mm-hmm.
Gary Caponigro: and it's so white that you see it from any anywhere. It
Charles Bridgewater: Mm.
Gary Caponigro: has this distinctive look and feel and look which people seems to like
James Inciong: Okay.
Gary Caponigro: just because it's a colour that we don't usually see in a remote control. White.
James Inciong: Uh-huh,
Charles Bridgewater: Mm-hmm.
James Inciong: uh-huh. Could
Gary Caponigro: Seems
James Inciong: we integrate
Gary Caponigro: important.
James Inciong: something into our remote control, something like light?
Carl Mize: Hmm.
James Inciong: That they can use it in darkness, like.
Gary Caponigro: Mm
James Inciong: Hand
Gary Caponigro: glow
James Inciong: light,
Gary Caponigro: in the dark,
James Inciong: yeah.
Gary Caponigro: so
Carl Mize: Yeah maybe like the infrared like we can put some
James Inciong: Mm-hmm.
Carl Mize: radium chips or something so that like at least um yeah.
Charles Bridgewater: Iradium?
James Inciong: Okay.
Carl Mize: Yeah,
Charles Bridgewater: Ah
James Inciong: Okay.
Charles Bridgewater: sorry.
Carl Mize: that
Charles Bridgewater: Mm. Okay.
Gary Caponigro: Okay.
James Inciong: Okay. S
Charles Bridgewater: So mm
James Inciong: well, let's go on maybe
Gary Caponigro: Yeah.
James Inciong: with the presentation.
Gary Caponigro: Uh-huh,
Charles Bridgewater: Mm-hmm.
Gary Caponigro: yeah sure.
James Inciong: And um
Carl Mize: Oh.
James Inciong: the remote control's going to be smart but how smart should it be to not to complicate things too much? And uh I dunno that's a question to you and to mm
Gary Caponigro: Well so I
James Inciong: to
Gary Caponigro: heard that uh it seems that speech recognition is something that can be done uh so that's the smartness of the thing. Currently
James Inciong: Mm-hmm.
Gary Caponigro: we don't have guns with speech recognition or uh beer cans with speech recognition but we may have remote controls with speech recognition.
James Inciong: Okay,
Gary Caponigro: I
James Inciong: okay.
Gary Caponigro: dunno.
Charles Bridgewater: Mm,
James Inciong: So
Charles Bridgewater: that's
James Inciong: just
Charles Bridgewater: a nice
James Inciong: just
Charles Bridgewater: world.
James Inciong: just just think about it um.
Gary Caponigro: Don't touch the remote.
James Inciong: Thank you.
Charles Bridgewater: Okay.
Gary Caponigro: But yeah. Are are you saying here that uh the remote controls should be aware of who is using it? So for instance the young guy would not be able to use it because his father doesn't want.
James Inciong: Uh yeah
Gary Caponigro: Like with
James Inciong: I just
Gary Caponigro: some
James Inciong: want to say it should be real
Gary Caponigro: Maybe
James Inciong: smart.
Gary Caponigro: fingerprint recognition or
James Inciong: Voice recognition is quite tough. I say don't use it, and the control just looks.
Gary Caponigro: Mm.
Carl Mize: Yeah.
James Inciong: 'Cause I
Gary Caponigro: Um
James Inciong: ordered jus
Gary Caponigro: Mm.
Carl Mize: Uh
James Inciong: To l
Carl Mize: that
James Inciong: to l lock it.
Carl Mize: mm that could be feasible I guess, like
Gary Caponigro: Okay.
Carl Mize: So since we have we want to do some speaker dependent speech recognition uh so
Gary Caponigro: So it could
Carl Mize: we
Gary Caponigro: be
Carl Mize: can use yeah.
Gary Caponigro: smart in that
Carl Mize: Yeah,
Gary Caponigro: way.
Carl Mize: yeah.
Charles Bridgewater: Mm. Okay.
Gary Caponigro: But for instance th I I'm thinking about the other uh uh particularity that the the remote control could have. S since it it knows who is using it, it might also record the kind of uh channels you are u more often using and
Carl Mize: Yeah.
Gary Caponigro: uh levels of volumes that you're more often uh
James Inciong: Yeah, sure.
Charles Bridgewater: Mm.
Gary Caponigro: things like that
Carl Mize: Yeah.
Gary Caponigro: and provide you ways of using them, I dunno, somehow, I dunno,
Carl Mize: Yeah.
Gary Caponigro: that might be expensive but
Charles Bridgewater: Mm-hmm.
Carl Mize: Uh it's
Gary Caponigro: that might also be a good sales pitch again.
Carl Mize: Hmm.
Gary Caponigro: The remote that knows you.
James Inciong: Mm-hmm.
Charles Bridgewater: Okay.
James Inciong: Okay, thanks.
Charles Bridgewater: So
Gary Caponigro: My turn?
Charles Bridgewater: it's yeah, Marketing Expert.
Gary Caponigro: Okay, it's alright.
Charles Bridgewater: Participant
Carl Mize: Four.
Charles Bridgewater: two? Four,
Gary Caponigro: Four, I think.
Charles Bridgewater: sorry.
Gary Caponigro: Trend, yeah. No uh yes. Okay, so I'm going to talk about trends and um I hope this can help us to to understand l how we should design our remote control. So, next slide please. So first maybe just a small recap on how how do we watch trends so it's not so uh simple you might think that it's easy but uh it's not so simple. Anyway these days uh the best uh source of information is the web as you know, so have to to go often on the web and look at uh what the others are doing, and ask real people who are using real remote controls every day uh or any other tool that is similar to a remote control which basically is a small device that people have with them, always, like a phone. We can we can use the phone as a as a good uh uh example of where to in be inspired. Of course those tha d who are watching the trends are also have also to be inspired because in fact they're not only watching the trends, they're inventing it, they're creating the trend. I hope I'm going to try to help you on that. This is more risky because you're not following the trend, you try to invent it, which means either you succeed and you make a lot of money or you don't and you're out of business. So anyway uh next slide please. Uh to be to be quick there's a lot of words here but uh basically there are uh in in the market of of remote controls there are three aspects that we should very pay much attention to. The first one, which seems to be the most important one, is that it has to be fancy, it has to have a fancy look and feel. And uh interestingly this is the very most important thing. It has to be fancy. Strangely enough it's more important to be fancy than to be wi and now that's the second thing it has to be, it has to be technologically i innovative, it has to be new with some of uh new uh technology inside and uh and this is also uh more important than the last thing which we w may think that would have been the most important, which is that it should be easy to use and it should be easy to use as a remote control. So as you see uh it first have to be very nice, s something that people are proud of uh uh that i uh they can be Carl Mize identified with uh and and then uh something that um contains very novel stuff that they can talk about with their friends, huh, mine has this and not yours. And finally of course it has to be useful as a remote control but it seems that it's not so important that it's useful as a remote control. Next slide please.
Charles Bridgewater: Mm.
Gary Caponigro: Uh and now in a more uh general uh uh broad way of seeing th uh the thing. If we look back and not uh look at only remote controls I think it's important to see that the trends are quite the same in many areas so currently the the trends that we see in l in l big cities like Paris and Milan, well, it seems that this year things should have uh a fruit and vegetable uh way of of look or feel or so. And I think of course uh i it applies to everything. That's the thing with trends. It it can travel f from clothe to furniture same idea. Fruit and vegetable. Think fruit and vegetable. And uh if we co we compare to last year, now it has to be spongy,
Carl Mize: Mm.
James Inciong: What is
Gary Caponigro: yeah.
James Inciong: spongy?
Gary Caponigro: Well this
Carl Mize: Yeah kind of
Gary Caponigro: so
Carl Mize: um maybe
Gary Caponigro: so I think uh uh i When we were talking about rubber, I think
Carl Mize: Yeah
Gary Caponigro: uh
Carl Mize: it
Gary Caponigro: the rubber aspect might be important because it's what is
Charles Bridgewater: Mm-hmm.
Gary Caponigro: probably
Carl Mize: Yeah.
Gary Caponigro: more feasible
Charles Bridgewater: S
Gary Caponigro: in terms of sponginess.
Carl Mize: Yeah.
Charles Bridgewater: So maybe titanium it's not a good idea.
Gary Caponigro: Seems not, seems not.
Carl Mize: We need to think about mm
Charles Bridgewater: Mm-hmm.
Carl Mize: mm.
Gary Caponigro: Yeah. So
Charles Bridgewater: Um sorry Mark. It seems
Gary Caponigro: Think
Charles Bridgewater: to
Gary Caponigro: more
Charles Bridgewater: be
Gary Caponigro: of uh something in the colours of uh like fruit
Carl Mize: Fruit.
Gary Caponigro: and vegetables and spongy,
Carl Mize: Even
Gary Caponigro: as a
Carl Mize: shape?
Gary Caponigro: even in the shape it has to be more round and uh
Carl Mize: More
Gary Caponigro: more uh
Charles Bridgewater: Mm-mm.
Carl Mize: yeah.
Gary Caponigro: uh look natural
Carl Mize: Yeah.
Gary Caponigro: somehow. I mean And not those futuristic uh remote control with angles and uh
Charles Bridgewater: Mm-hmm.
Gary Caponigro: and titanium like.
Carl Mize: Mm.
Gary Caponigro: So that's
Charles Bridgewater: Hmm.
Gary Caponigro: what people seem to yeah i I know
Charles Bridgewater: You're
Gary Caponigro: it's
Charles Bridgewater: old-fashioned.
Gary Caponigro: quite
Charles Bridgewater: Sorry.
Gary Caponigro: far from what you thought but that's that's fashion and
James Inciong: Okay.
Charles Bridgewater: Okay.
Gary Caponigro: Okay that's all I have to say.
Charles Bridgewater: Mm you have questions?
Carl Mize: So these abilities are mainly ad addressed by young people? Or it's
Gary Caponigro: These I'm sorry.
Carl Mize: This you you so did
Gary Caponigro: Yeah,
Carl Mize: you
Gary Caponigro: yeah we have people uh uh listening
Carl Mize: Where?
Gary Caponigro: to the trends everywhere in
Carl Mize: Oh.
Gary Caponigro: the world, of course,
Carl Mize: Oh, okay,
Gary Caponigro: as you know our company is quite big
Carl Mize: mm-hmm.
Gary Caponigro: and uh so I'm
Carl Mize: It's
Gary Caponigro: just
Carl Mize: not from
Gary Caponigro: asking them
Carl Mize: mm.
Gary Caponigro: what are the current trends
Carl Mize: Mm-hmm.
Gary Caponigro: according to them when they go in the stores and
Carl Mize: Yeah.
Gary Caponigro: when they ask uh their uh friends that are
Carl Mize: Yeah.
Gary Caponigro: also
Carl Mize: It's more general
Gary Caponigro: well.
Carl Mize: trend it's not particular to the remote
Gary Caponigro: No,
Carl Mize: control.
Gary Caponigro: it's not it's not this this is very general, yeah. But it seems that trends travel
Carl Mize: Mm.
Gary Caponigro: across things.
Carl Mize: Yeah.
Gary Caponigro: The what we
Carl Mize: Yeah but some materials n they're to be uh they're to be something like solid like they can't be really
Gary Caponigro: Sure.
Carl Mize: spongy or
Gary Caponigro: Yeah. We
Carl Mize: yeah
Gary Caponigro: have to I
Carl Mize: yeah.
Gary Caponigro: think we have to have the look of
Carl Mize: yeah,
Gary Caponigro: fruit
Carl Mize: yeah
Gary Caponigro: and vegetables
Carl Mize: sponge, yeah yeah at least
Gary Caponigro: but
Carl Mize: that's
Gary Caponigro: we still have to put our chips inside, so
Carl Mize: Yeah yeah
Gary Caponigro: of course. This is your problem.
Carl Mize: that yeah
Gary Caponigro: This is not mine.
Carl Mize: yeah. Yeah. Yeah, looking yeah fruit. These things can be easily incorporated. We can
Gary Caponigro: Yeah,
Carl Mize: have
Gary Caponigro: I think in
Carl Mize: t
Gary Caponigro: the
Carl Mize: colours
Gary Caponigro: colours and
Carl Mize: or
Gary Caponigro: in the uh the kind of
Carl Mize: this
Gary Caponigro: material.
Carl Mize: shape or at least
Gary Caponigro: If
Carl Mize: yeah.
Gary Caponigro: if it's something like rubber made or
Carl Mize: Yeah.
Gary Caponigro: I think it it's
Charles Bridgewater: Mm.
Gary Caponigro: also going to be good.
Carl Mize: Mm.
Charles Bridgewater: Mm-hmm.
Gary Caponigro: Okay?
Carl Mize: Yeah.
Charles Bridgewater: Okay. No more question? Okay.
Gary Caponigro: Yep. Thanks.
Charles Bridgewater: So Mm-hmm. Okay, so we will have uh next meeting in thirty minutes again. Um now you have to go straight on this individual action which i which are for Rama uh
Carl Mize: Look
Charles Bridgewater: wil
Carl Mize: and feel de
Charles Bridgewater: design, um Mark the user interface design, and uh Sammy uh the product evaluation.
Gary Caponigro: Mm-hmm.
Charles Bridgewater: Uh you will work together uh
Carl Mize: Hmm.
Charles Bridgewater: on a new on on a prototype using modelling clay.
Carl Mize: Hmm. Mm sounds interesting.
Charles Bridgewater: Mm-hmm um and I as always your personal coach will send you specific instruction.
Gary Caponigro: Okay.
James Inciong: Okay.
Gary Caponigro: Thanks.
Carl Mize: So, can we highlight the specific features of our
Charles Bridgewater: Yeah you're right, you have
Carl Mize: yeah,
Charles Bridgewater: to
Carl Mize: so so we want the speech recogniser and we want some kind of buttons and we want some themes like fruits or vegetables, that's
Charles Bridgewater: So
Carl Mize: we
Charles Bridgewater: you
Carl Mize: want
Charles Bridgewater: say
Carl Mize: to follow
Charles Bridgewater: s
Carl Mize: general trend.
Gary Caponigro: Spongy.
Charles Bridgewater: S
Carl Mize: Yeah.
Charles Bridgewater: do we agree on that? Yeah. We have to.
Carl Mize: So, do you think
James Inciong: So we have to uh for
Gary Caponigro: No, we don't have to,
Charles Bridgewater: No.
Gary Caponigro: but seems it's
Carl Mize: Hmm.
Gary Caponigro: the trend. Again,
Carl Mize: Yeah.
Gary Caponigro: as I said we can also try to make it,
James Inciong: yeah
Gary Caponigro: to
James Inciong: so
Gary Caponigro: create the trend. So there's
Carl Mize: Yeah.
Gary Caponigro: no
James Inciong: are we confident enough on creating trends?
Gary Caponigro: Well, that's you t can try to convince us.
James Inciong: Well, we can make it smell like fruit.
Gary Caponigro: Okay.
Charles Bridgewater: Okay, that's a good idea.
Carl Mize: That's
Gary Caponigro: that's
Charles Bridgewater: So
Gary Caponigro: a
Charles Bridgewater: titanium
Gary Caponigro: good idea,
Charles Bridgewater: smell like fruit.
Gary Caponigro: I
James Inciong: Yeah.
Charles Bridgewater: Mm-hmm.
Carl Mize: So what about location and these things, people are really interesting on those features? Or they really like
Gary Caponigro: Uh
Carl Mize: They more want these fancy
Gary Caponigro: I think i
Carl Mize: features
Gary Caponigro: yeah
Carl Mize: like
Gary Caponigro: i it's again in this uh what I said first it has to be fancy so I think if nobody else pro
Charles Bridgewater: Mm-hmm.
Gary Caponigro: provides currently a remote control with that kind of stuff
Carl Mize: Feature
Gary Caponigro: and if we can provide it I think it's a good sell for
Carl Mize: Yeah.
Gary Caponigro: us because we have
Carl Mize: Yeah.
Gary Caponigro: it and others don't.
Charles Bridgewater: Okay.
Gary Caponigro: It's fancy. Whether it's useful or not doesn't seem to be very important.
Carl Mize: Yeah.
Charles Bridgewater: I I agree
Carl Mize: Yeah.
Charles Bridgewater: with uh this uh Now we have to decide on what kind of fanciness. Do we take titanium smelling like fruit, or do we make spongy uh
Carl Mize: Yeah.
Charles Bridgewater: fruity-like
Carl Mize: Uh we will try to explore these two options
Gary Caponigro: Maybe you
Carl Mize: and
Gary Caponigro: could
Charles Bridgewater: Mm.
Gary Caponigro: explore the
Carl Mize: yeah
Gary Caponigro: two option.
Charles Bridgewater: Yeah,
Carl Mize: yeah.
Charles Bridgewater: yeah.
James Inciong: Mm-hmm, mm-hmm. Could we make a titanium shape?
Carl Mize: Uh
James Inciong: I mean
Carl Mize: yeah at least like we can make
James Inciong: fruit-shaped.
Carl Mize: banana or
Charles Bridgewater: Don't
James Inciong: But
Charles Bridgewater: you say that you cannot do double shape uh
Carl Mize: yeah
James Inciong: Doub
Gary Caponigro: Mm.
Carl Mize: it's
James Inciong: double-curved.
Charles Bridgewater: curved
Carl Mize: it's
Charles Bridgewater: shape
Gary Caponigro: Seems to
Carl Mize: yeah
Charles Bridgewater: yeah.
Carl Mize: that's
Gary Caponigro: be.
Carl Mize: a we're to look for
Charles Bridgewater: Mm-hmm. Okay.
Carl Mize: and and
James Inciong: Okay, okay.
Carl Mize: s we're to see the whether rubber is expensive and
James Inciong: In
Carl Mize: d
James Inciong: fact I just agreed to make uh to make the like titanium panels on a whole rubber body.
Carl Mize: Hmm.
James Inciong: Well, okay
Charles Bridgewater: Mm-mm.
James Inciong: w we'll
Charles Bridgewater: Okay,
James Inciong: see.
Charles Bridgewater: so you explore now that you're going to work together
James Inciong: Yeah
Carl Mize: Mm.
Charles Bridgewater: these these two. Or or spongy an
Carl Mize: Yeah.
Charles Bridgewater: yeah.
Carl Mize: Maybe we can have two different assembly also like one spongy and one kind of titanium.
Charles Bridgewater: Mm.
Carl Mize: we have only the plastic or the
James Inciong: We'll see.
Gary Caponigro: If
Carl Mize: the
Gary Caponigro: you have
Carl Mize: chippy
Gary Caponigro: time.
James Inciong: We'll see.
Carl Mize: yeah
Charles Bridgewater: Mm.
Carl Mize: fibre chips or
Charles Bridgewater: Yeah I don't think w I think we have to choose. If we choose
Carl Mize: Uh.
Charles Bridgewater: uh titanium or if we choose spongy but uh it
James Inciong: We'll see.
Charles Bridgewater: cannot be
James Inciong: I
Charles Bridgewater: both.
James Inciong: I really don't like this modelling clay
Carl Mize: Yeah.
James Inciong: 'cause you know it makes some for for I dunno
Gary Caponigro: For creation.
James Inciong: uh yeah
Carl Mize: Yeah.
James Inciong: um we'll look.
Carl Mize: Yeah.
Charles Bridgewater: Ah you can pretend
Carl Mize: Even
Charles Bridgewater: that
Carl Mize: design.
Charles Bridgewater: it's uh titanium.
Gary Caponigro: You can paint it afterward.
James Inciong: Okay,
Gary Caponigro: No problem. We have a very large department
James Inciong: okay.
Gary Caponigro: of paint.
Charles Bridgewater: Yeah, do don't worry, you you
Gary Caponigro: You will do it.
Charles Bridgewater: you speak with
James Inciong: Alright, alright.
Charles Bridgewater: mm mm. Okay. So explore a shape.
Carl Mize: So still we want to keep L_C_D_? Or
Charles Bridgewater: Mm I think it's what
Gary Caponigro: Yeah.
Charles Bridgewater: we say, that we have an uh an L_C_D_ with uh information.
Carl Mize: Okay.
Charles Bridgewater: Not
Gary Caponigro: The thing is
Charles Bridgewater: uh
Gary Caponigro: that uh if we want to have as he says if we want to have uh a small number of buttons
Carl Mize: Yeah, then we
Gary Caponigro: we
Carl Mize: can
Gary Caponigro: need to have a kind of output that
Charles Bridgewater: Mm-hmm.
Gary Caponigro: says currently what their
Carl Mize: yeah,
Gary Caponigro: actions are.
Carl Mize: yeah, that user friendly or
Gary Caponigro: Yeah.
Charles Bridgewater: Mm.
Gary Caponigro: That's
Carl Mize: Mm.
Gary Caponigro: the converse to having zillions
Carl Mize: Yeah.
Gary Caponigro: of button where each button does only
Charles Bridgewater: Mm.
Gary Caponigro: one thing.
Carl Mize: Yeah.
Charles Bridgewater: Okay.
Carl Mize: and we just stick with two batteries so it's not any solar
Gary Caponigro: Yeah.
Carl Mize: or
Gary Caponigro: Classical,
Carl Mize: yeah
Gary Caponigro: we stay
Charles Bridgewater: Yeah,
Gary Caponigro: classical
Carl Mize: yeah
Charles Bridgewater: yeah,
Carl Mize: j
Gary Caponigro: in that
Charles Bridgewater: yeah.
Carl Mize: yeah, because
Gary Caponigro: we don't reinvent uh
Charles Bridgewater: Mm.
Carl Mize: Yeah.
Gary Caponigro: the wheel. Anyway it's very in general I think people uh change T_V_ more often than batteries of their remote control. So.
Charles Bridgewater: Yeah.
Gary Caponigro: Because the trend goes faster than the life of the
Charles Bridgewater: Mm-hmm.
James Inciong: Mm-hmm.
Gary Caponigro: So it's very
Charles Bridgewater: Okay.
Gary Caponigro: Okay.
Charles Bridgewater: So
Carl Mize: Yeah.
Charles Bridgewater: are we
James Inciong: Yeah.
Gary Caponigro: We're done.
Carl Mize: Yeah,
Charles Bridgewater: mm.
Carl Mize: we're done.
Charles Bridgewater: Okay. So see you in thirty minutes.
Carl Mize: Yep. | Charles Bridgewater stated the agenda and set the goals for the current meeting. Carl Mize discussed different options for batteries, case materials and shapes, chips, and interface components and also discussed the components necessary for a speech recognition capable remote control. James Inciong presented his concept for the interface design which he called the "millennium remote control". James Inciong also discussed with the team color options and how to make a "smart" remote which is in tune with the user's preferences. Gary Caponigro discussed current findings from trend watching reports which indicated that there is a desire for products to have a fancy look and feel, be technologically innovative, be easy to use, incorporate a fruit and vegetable theme, and be spongy. Charles Bridgewater gave the team members their assignments and then the team went over the decisions they had made and discussed whether to use titanium or rubber in their design. | 5 | amisum | train |
James Koopmans: Mm.
Sung Bacon: So,
James Koopmans: So, uh
Sung Bacon: Hi
James Koopmans: now
Sung Bacon: Christa.
James Koopmans: it's the Hi Sammy. It's the detail design meeting, so we're going last meeting. So um, first uh Mark and Rama are going to present uh the prototype. Uh then uh Sammy will propose some uh crite cr criteria to evaluate this prototype. Then, w we
Sung Bacon: Yes.
Doug Mont: Yes.
James Koopmans: And then we going to do some finance
Doug Mont: And chocolate?
James Koopmans: to see if uh it is uh feasible and uh at the end we will we will um evaluate ourself as a team And. that's all.
Sung Bacon: Mm.
James Koopmans: Okay. So first, let's uh see the prototype.
Jack Woodward: Yeah. Uh, here we our prototype model.
James Koopmans: Okay.
Doug Mont: Mm-hmm.
James Koopmans: And you
Jack Woodward: Yeah.
James Koopmans: have some slides then?
Jack Woodward: Yeah,
Doug Mont: Yes,
Jack Woodward: we
James Koopmans: Yeah.
Jack Woodward: have also some
James Koopmans: Mm.
Jack Woodward: slides.
Doug Mont: and place some
James Koopmans: Okay.
Doug Mont: slides.
James Koopmans: Uh so in which uh
Jack Woodward: In
Doug Mont: Uh, participant three. Prototype.
Jack Woodward: Yeah.
James Koopmans: Mm okay. Mm.
Jack Woodward: Five.
Doug Mont: Uh, so
Jack Woodward: Him.
Doug Mont: this is our remote control. It's a r working prototype. You can use it now by switching all these buttons. So first, I present as we came to this perfect model, and
Sung Bacon: Yeah.
Doug Mont: then we'll give some technical specifications.
James Koopmans: Mm-hmm.
Doug Mont: That's well, so that's that. Please, next slide. We analysed all the fruits and NASA, and uh made some
James Koopmans: MASA?
Doug Mont: real good Yeah. If you can see this, and the stars are showing that. And um,
Sung Bacon: Mm-hmm.
Doug Mont: s society will accept that. For sure. And making some analysis of different fruits, we choose the ultimate form, ultimate colours, and uh ultimate smell of it. S please, next slide. But we still didn't want to go far from our titanium idea, 'cause it's the most of the moder the m the modern material we can p select. And it's practical. And it's still say it's for our needs, so please press something. And as I said,
James Koopmans: Okay.
Doug Mont: it's perfect. Please
Jack Woodward: Experience.
Doug Mont: press it.
Jack Woodward: Explanat
Doug Mont: Everyone is f really uh really glad to obtain an
Sung Bacon: Such a nice
Jack Woodward: See
Doug Mont: s
Jack Woodward: this.
Sung Bacon: thing.
Doug Mont: such a r such a device. So you can touch it with your hands.
Sung Bacon: Can I? Ho-ho.
Doug Mont: Sure.
Jack Woodward: You can
Doug Mont: Yes.
James Koopmans: What do you say?
Doug Mont: N
Sung Bacon: It says
Doug Mont: You
Sung Bacon: I
Doug Mont: must
Sung Bacon: will
Doug Mont: say it.
Sung Bacon: uh
Jack Woodward: Spongy.
Sung Bacon: I'll buy it.
Doug Mont: Yeah.
James Koopmans: One day.
Sung Bacon: If I if I need
James Koopmans: He
Sung Bacon: so. Hopefully my daughter will like it.
Doug Mont: Okay. Y and we got the answer. Uh, it
Sung Bacon: Yes,
Doug Mont: is,
Sung Bacon: of
Doug Mont: yes,
Sung Bacon: course. Of
Doug Mont: of course.
Sung Bacon: c course.
Doug Mont: please next slide. Um, this is a prototype. You can have a look at it, and
Sung Bacon: Ah.
Doug Mont: That's all I wanted to say. Now
Jack Woodward: Hmm.
Doug Mont: it's technical specification by our colleague.
James Koopmans: Hmm.
Jack Woodward: So
Sung Bacon: Oh, there is a button missing. Okay
Jack Woodward: Yeah. This this is really flexible. You can add your
Sung Bacon: It's.
Jack Woodward: buttons.
Sung Bacon: in option.
Jack Woodward: Yeah. So function, mm
James Koopmans: Mm-hmm.
Jack Woodward: So, as we discussed, we to switch on switch off whenever we want And so, we have buttons and using L_C_D_, or like you can use this jog wheel and select which ever option on the L_C_D_, and then do on and off. Then you ha you'll have volume control. So, you you can press these buttons to increase or decrease the volume. And we have some L_C_D_ controls. Like, m switching the L_C_D_ display if you want to use L_C_D_, or you don't want you can just use
James Koopmans: Mm-hmm.
Jack Woodward: normal button. And we have speech recognition. Here you have microphone, and then
Sung Bacon: Hmm.
Jack Woodward: it date records your voice, and then it try to recognise. And it can also do the action. And location finder. And we want to do the location basically using speech recogniser.
Sung Bacon: Mm-hmm.
Jack Woodward: You can just say, where is my remote control. Or uh, you can just give some nickname to your remote control,
Sung Bacon: Hey,
Jack Woodward: like Bobby.
Sung Bacon: babe.
James Koopmans: Bobby.
Jack Woodward: And then,
Sung Bacon: Bob.
Jack Woodward: it will say hi.
Sung Bacon: Hey Bob.
Jack Woodward: Yeah,
Sung Bacon: Okay,
Jack Woodward: hi, and then
James Koopmans: Mm-hmm.
Jack Woodward: you can
Sung Bacon: that's good.
Jack Woodward: use
James Koopmans: Hmm.
Jack Woodward: it.
James Koopmans: 'Kay.
Jack Woodward: So, um our team is now fruits. Mainly strawberry. So, you can have
Sung Bacon: Oh, these are strawberries.
Jack Woodward: And then you can see the look L_C_D_ and all the switches.
James Koopmans: Are colourful. Yeah.
Jack Woodward: Material, we want to stick to titanium. We will send, we want
Sung Bacon: Fruit
Jack Woodward: to
Sung Bacon: smelling spongy titanium. I didn't know it exist, but that's great.
Jack Woodward: Yeah, or s So, we want to have simple and perfect shapes, like I shown in these phones. You can have your own designs and and you can feel simple designs. And you can choose colours
Sung Bacon: Ha.
Jack Woodward: on your day for each
James Koopmans: Ho-ho.
Jack Woodward: day, or even many colours.
Sung Bacon: You mean we
James Koopmans: That's
Sung Bacon: can
James Koopmans: for
Sung Bacon: change
James Koopmans: the
Sung Bacon: the colour
James Koopmans: L_C_D_
Sung Bacon: uh
James Koopmans: or
Sung Bacon: of
James Koopmans: for
Sung Bacon: th
James Koopmans: the titanium?
Jack Woodward: For
Sung Bacon: Yeah.
Jack Woodward: the L_C_D_.
Sung Bacon: Yeah okay, for the L_C_D_.
Jack Woodward: With titanium it's
Sung Bacon: Tit titanium
Jack Woodward: it is
Sung Bacon: is
Jack Woodward: silver.
Doug Mont: We are still working
James Koopmans: Mm-mm.
Doug Mont: on titanium.
Jack Woodward: Yeah.
Sung Bacon: Uh, okay.
Doug Mont: So,
Jack Woodward: Mm, yeah.
Doug Mont: r we'll start with L_C_D_. You can ask Bob. It's
Jack Woodward: Yeah.
Doug Mont: Tuesday.
Sung Bacon: Yeah, Bob, please.
James Koopmans: Hey, you know you're theme today.
Sung Bacon: Tuesday colour.
Jack Woodward: Yeah. Even you
Sung Bacon: Okay.
Jack Woodward: can configure your colours for its the
James Koopmans: Hmm.
Jack Woodward: depending on
Sung Bacon: Mm-hmm.
Jack Woodward: your mood, or s
Sung Bacon: Black for Sunday.
Jack Woodward: And you can have many colours on weekends. Or
James Koopmans: And w wait, wh what are the strawberries for?
Sung Bacon: On the L_C_D_?
Jack Woodward: Huh?
James Koopmans: Wh
Sung Bacon: Oh.
James Koopmans: wh
Jack Woodward: Ah, these are like sensors.
James Koopmans: Mm-hmm.
Sung Bacon: Of course. What do you think?
Doug Mont: That's location
Sung Bacon: Strawberry
Doug Mont: sensors.
Sung Bacon: sensors. Very useful.
James Koopmans: Okay. Strawberries.
Jack Woodward: So, after this meeting we'll propose a party for our success
James Koopmans: Ah.
Jack Woodward: for
Sung Bacon: Lounge meeting.
Jack Woodward: So, if you are vegetarian or you have any options, please let us know.
Doug Mont: Yeah, and we can just some strawberry
Jack Woodward: Yeah.
Doug Mont: first. Um
Sung Bacon: Alright. Good.
James Koopmans: Okay.
Doug Mont: Oops.
Jack Woodward: S
James Koopmans: Mm-hmm.
Sung Bacon: So, huh. Interesting.
Jack Woodward: So, any specific
Sung Bacon: In
Jack Woodward: questions
Sung Bacon: interesting.
Jack Woodward: for
Sung Bacon: Mm mm.
James Koopmans: Uh we'll see in the financial part if uh
Sung Bacon: It
James Koopmans: all
Jack Woodward: Yeah.
Sung Bacon: makes sense.
James Koopmans: gets into
Doug Mont: Let's make a party first maybe.
Jack Woodward: Yeah. Then we can discuss We
James Koopmans: W
Jack Woodward: can
James Koopmans: Who is the five uh fifty millions we first make a party in?
Sung Bacon: So
Jack Woodward: Yeah, then
Sung Bacon: uh,
Jack Woodward: we can
Sung Bacon: this
Jack Woodward: have
Sung Bacon: is
Jack Woodward: how much for how money is left.
James Koopmans: Mm-hmm.
Sung Bacon: What a design.
James Koopmans: Okay. Uh, so
Sung Bacon: It's
James Koopmans: Let's
Sung Bacon: my turn.
James Koopmans: uh, yeah, let's see if
Sung Bacon: Mm-hmm.
James Koopmans: uh th it's
Sung Bacon: Let's
James Koopmans: meet
Sung Bacon: see if
James Koopmans: the
Sung Bacon: this
James Koopmans: evaluation criterium.
Jack Woodward: Yeah.
Sung Bacon: Yeah, if you meet the evaluation criterion.
James Koopmans: Oops.
Jack Woodward: Fudge.
Sung Bacon: Yeah. So, evaluation please. So. You made a very nice prototype, and um, I think, we now need altogether to try to evaluate it to see if it makes sense to do it, if it fulfils our what we want to do, and things like that. So mm Uh, next slide, please. As you know, before going and uh creating and producing these strawberry uh
Jack Woodward: Yeah.
Sung Bacon: remote control, it's very important to first verify if it makes sense, if we have a chance to sell it. Uh, so we need to evaluate it um, try to do it in a constative way, and as much as we can. To so what I propose is that we are going to to have this scale from one to seven. One meaning that, ye yes uh it fulfils uh the the criterion, whatever it is. And seven meaning, no it doesn't fulfil at all. And we're all l going to list all the criterion. I'm going to go to that next slide,
James Koopmans: Okay.
Sung Bacon: and together try to evaluate this according to this criterion and from one to seven. And then we are just going to have an average, which will give us the value of our uh remote control. So, maybe we can have a look at the criteria?
Jack Woodward: Fancy.
Sung Bacon: So these are the criterion uh I'm I thought were important. Of course, this can be discussed, but let's let's see, so let's vote. So we have fancy here and we have the scale
James Koopmans: Mm-hmm.
Sung Bacon: from one to seven with four in the middle. So,
Jack Woodward: Huh. Yeah, what's is
Sung Bacon: what
Jack Woodward: really
Sung Bacon: do you think, is it fancy?
Jack Woodward: Uh, it's really
James Koopmans: Uh, I think that fancy, we can say it is fancy.
Sung Bacon: It is very very fancy. Or have you ever seen something like that?
James Koopmans: Oh. I am not the d the only one
Sung Bacon: Yeah,
James Koopmans: choosing,
Sung Bacon: of course.
James Koopmans: yeah.
Sung Bacon: What
James Koopmans: Uh
Sung Bacon: do you
James Koopmans: what
Sung Bacon: think?
James Koopmans: do you think?
Doug Mont: Feel
Sung Bacon: Is it
Doug Mont: the weight.
Sung Bacon: The weight is later.
Jack Woodward: Yeah. Oh.
Doug Mont: Really.
James Koopmans: Uh-huh.
Sung Bacon: Now we're
Doug Mont: Okay.
Sung Bacon: We're on the fanciness now. I think it's quite fancy.
Jack Woodward: Yeah, yeah.
Sung Bacon: It's
Jack Woodward: We
Sung Bacon: uh
Jack Woodward: can
James Koopmans: Yeah.
Jack Woodward: give at least
James Koopmans: Yeah.
Jack Woodward: five or
Sung Bacon: Yeah,
Jack Woodward: six,
Sung Bacon: so
Jack Woodward: seven.
Sung Bacon: No it's it's
James Koopmans: It's
Sung Bacon: one.
James Koopmans: in the other. Yeah.
Sung Bacon: Yeah,
Jack Woodward: Oh,
Sung Bacon: o
Jack Woodward: Oh. So
Sung Bacon: one means it's,
Jack Woodward: Oh,
Sung Bacon: yes,
Jack Woodward: okay.
Sung Bacon: a very
James Koopmans: Mm.
Sung Bacon: fancy
Jack Woodward: Yeah,
Sung Bacon: and
Jack Woodward: okay.
Sung Bacon: seven mean no at
Jack Woodward: Oh, okay.
Sung Bacon: all.
Jack Woodward: So
Sung Bacon: So it's one or two. What
James Koopmans: Two.
Sung Bacon: do
Jack Woodward: M
Sung Bacon: you think?
Jack Woodward: maybe
James Koopmans: Let's
Sung Bacon: Two?
James Koopmans: say
Jack Woodward: two.
James Koopmans: two, yeah.
Sung Bacon: Okay.
Doug Mont: Two. Two.
Sung Bacon: So here, two. Up. Then we have
Jack Woodward: Technology.
Sung Bacon: uh technology.
Jack Woodward: Yeah. Um
Sung Bacon: So, what about technology? We have uh we have speech recognition, we have location based,
Jack Woodward: And
Sung Bacon: we
Jack Woodward: we have L_C_D_.
Sung Bacon: have L_C_D_.
Jack Woodward: So
James Koopmans: Change
Jack Woodward: you
James Koopmans: colour of
Sung Bacon: Change
James Koopmans: t
Jack Woodward: change
Sung Bacon: colour,
Jack Woodward: colours.
Sung Bacon: I mean that's very
Jack Woodward: Useful.
James Koopmans: Yeah,
Sung Bacon: Quite
James Koopmans: I think it's
Sung Bacon: d
Doug Mont: Yeah,
Sung Bacon: I
James Koopmans: a
Sung Bacon: think
Doug Mont: yeah,
Sung Bacon: it's
Doug Mont: yeah.
Sung Bacon: a one for that,
James Koopmans: Yeah.
Sung Bacon: at
Jack Woodward: Yeah,
Doug Mont: Yeah.
James Koopmans: Yeah.
Sung Bacon: least.
Jack Woodward: yeah.
Doug Mont: Uh
Jack Woodward: It's
Sung Bacon: At
Jack Woodward: silly.
Sung Bacon: least a one, yeah.
James Koopmans: Mm-mm.
Sung Bacon: Robustness,
Jack Woodward: Uh,
Sung Bacon: uh-huh.
Jack Woodward: still we need to cha
Sung Bacon: So let's suppose my daughter take it and um
James Koopmans: Um
Sung Bacon: and through it away. Do you think it makes sense that it's going to live again? Uh,
James Koopmans: The
Sung Bacon: maybe
James Koopmans: strawberries
Jack Woodward: Yeah,
Sung Bacon: not the prototype.
Jack Woodward: it
James Koopmans: Oh.
Sung Bacon: Let's try. Oh my god.
Jack Woodward: Maybe strawberry.
Sung Bacon: Okay, we just lost one strawberry.
Doug Mont: No.
Sung Bacon: So
Jack Woodward: Oh.
Doug Mont: No.
Sung Bacon: Not at all?
Doug Mont: How can I say this.
Jack Woodward: Yeah, we can easily
Doug Mont: It's still
Jack Woodward: plug it.
Doug Mont: it's still working, and
Sung Bacon: It
Doug Mont: your
Sung Bacon: is
Doug Mont: daughter got a bonus.
Sung Bacon: Yeah.
Doug Mont: A strawberry.
Sung Bacon: Yeah. So it's not so bad.
James Koopmans: Mm-mm.
Sung Bacon: I
Jack Woodward: Yeah,
Sung Bacon: um
Jack Woodward: yeah.
Sung Bacon: uh I would say three.
James Koopmans: Yeah. But it's
Jack Woodward: Yeah.
Sung Bacon: Yeah,
James Koopmans: too.
Sung Bacon: that does
James Koopmans: It's
Sung Bacon: make
James Koopmans: um
Sung Bacon: sense, yeah?
James Koopmans: robust, yeah.
Jack Woodward: Useful?
Sung Bacon: Useful. Well, so the question is does it have uh the minimum requirement of re remote control?
Jack Woodward: Yeah,
Sung Bacon: So I don't know. These buttons are uh
James Koopmans: Oh,
Sung Bacon: It
James Koopmans: yeah,
Sung Bacon: not
James Koopmans: lets
Sung Bacon: clear.
James Koopmans: Sung Bacon try.
Sung Bacon: But you have at least uh
James Koopmans: Yeah.
Jack Woodward: Yeah.
Sung Bacon: next
James Koopmans: What
Sung Bacon: produce.
James Koopmans: is uh next,
Jack Woodward: Yeah, channel.
James Koopmans: please?
Jack Woodward: I this is volume control and channel changes.
Sung Bacon: Uh, it depends
Jack Woodward: These
Sung Bacon: on
Jack Woodward: are
Sung Bacon: the
Jack Woodward: the main
Sung Bacon: Okay.
James Koopmans: And you can uh do di
Jack Woodward: You
James Koopmans: two sites?
Jack Woodward: Yeah.
James Koopmans: Yeah.
Jack Woodward: Yeah, and you can do on L_C_D_ using these
James Koopmans: Okay,
Jack Woodward: going
James Koopmans: also.
Jack Woodward: to scrolling all the option.
Sung Bacon: So
Jack Woodward: So
Sung Bacon: but,
Jack Woodward: if
Sung Bacon: for
Jack Woodward: you
Sung Bacon: instance,
Jack Woodward: don't want
Sung Bacon: because the L_C_D_ is not uh touch control, touch screen,
Jack Woodward: Yeah, um
Sung Bacon: you
Jack Woodward: yeah.
Sung Bacon: cannot go to channel twenty five directly.
James Koopmans: You can,
Jack Woodward: Yeah.
Doug Mont: You
James Koopmans: by
Doug Mont: can.
James Koopmans: using the
Sung Bacon: Directly.
Doug Mont: You go you So,
James Koopmans: You
Doug Mont: the
James Koopmans: c
Doug Mont: basic
James Koopmans: push
Doug Mont: mode
James Koopmans: here the the
Doug Mont: Yeah.
James Koopmans: yeah.
Doug Mont: So that's simple. The basic mode is uh you got just two buttons
Sung Bacon: Yeah.
Doug Mont: and a jog dial. With
Sung Bacon: Oh,
Doug Mont: two buttons,
Sung Bacon: it's a jog
Doug Mont: you
Sung Bacon: dial,
Doug Mont: do this
Sung Bacon: okay.
Doug Mont: like uh volume up, volume down.
Sung Bacon: Uh-huh.
Jack Woodward: And
Doug Mont: Or
Jack Woodward: channel.
Doug Mont: if you go to the site, it's channel up channel down.
Sung Bacon: Okay.
Doug Mont: And if you want to make to s twenty-five, you push on this.
Sung Bacon: Yeah.
Jack Woodward: You can select.
Doug Mont: You select twenty, you select five.
Sung Bacon: Okay.
Doug Mont: That's it.
Jack Woodward: Yeah mm.
Sung Bacon: It's much longer than
Doug Mont: No.
Sung Bacon: that that being two two five, no? Don't you think so? we can go. That's uh You're right.
Jack Woodward: Yeah, yeah, yeah. Y you need
Sung Bacon: That's
Jack Woodward: to like
Sung Bacon: it's
Jack Woodward: press
Sung Bacon: less
Jack Woodward: two and
Sung Bacon: uh
Jack Woodward: five and
Sung Bacon: Yeah.
Jack Woodward: Yeah.
Sung Bacon: But it's it's nice, because people anyway don't go there. But
Jack Woodward: Yeah, yeah. Yeah mm.
Sung Bacon: So what do you think for it, usefulness?
Jack Woodward: So,
Sung Bacon: Seems
Jack Woodward: d
Sung Bacon: to be useful.
Jack Woodward: Yeah, we need to address we want we only address two main functions here and the other functions will be on L_C_D_. So
James Koopmans: Let Sung Bacon understand
Jack Woodward: so
James Koopmans: well, because I'm not sure that's for that
Sung Bacon: Both.
James Koopmans: this one are b d uh two dir directional
Sung Bacon: Yeah.
James Koopmans: button. Yeah,
Doug Mont: Yeah.
James Koopmans: two
Sung Bacon: Yeah.
Jack Woodward: Yeah.
Doug Mont: Yeah.
Sung Bacon: Up
James Koopmans: Yeah.
Sung Bacon: down
Jack Woodward: Yeah.
Sung Bacon: or left
Jack Woodward: Up.
Sung Bacon: right.
James Koopmans: Yeah.
Sung Bacon: Yeah.
James Koopmans: And which what is that?
Sung Bacon: That
Doug Mont: It's a jog
Jack Woodward: This
Doug Mont: dial
Jack Woodward: is
Doug Mont: for controlling
Jack Woodward: jog wheel.
Doug Mont: the cursor on
James Koopmans: Okay,
Doug Mont: the L_C_D_
James Koopmans: okay.
Doug Mont: screen.
Jack Woodward: Yeah.
James Koopmans: It's
Doug Mont: Like,
James Koopmans: a kind
Doug Mont: selecting
James Koopmans: Oh, okay
Doug Mont: the
Jack Woodward: Um,
Doug Mont: menus.
James Koopmans: okay.
Jack Woodward: see in
Sung Bacon: Cool.
Jack Woodward: L_C_D_, like you will have blocks and you
James Koopmans: Oh
Jack Woodward: select
James Koopmans: oh
Jack Woodward: which
James Koopmans: okay,
Jack Woodward: one.
James Koopmans: great.
Sung Bacon: I would say then uh
James Koopmans: Now it's looks us useful.
Sung Bacon: Two or three?
Jack Woodward: Yeah.
James Koopmans: Yeah.
Sung Bacon: Two or
Jack Woodward: Yeah.
Sung Bacon: three?
Jack Woodward: Two,
Sung Bacon: Two. Okay,
James Koopmans: Yeah.
Sung Bacon: two.
Jack Woodward: maybe.
Sung Bacon: So size and weight.
Jack Woodward: Yeah, yeah.
Sung Bacon: Is it the the the effective size and weight that the Is it uh real size, real weight? Or
Jack Woodward: Yeah,
Sung Bacon: Because
Jack Woodward: it's
Sung Bacon: it
Jack Woodward: size al almost
Sung Bacon: Size is going to be that,
Jack Woodward: Yeah,
Sung Bacon: yeah?
Jack Woodward: because it is
Sung Bacon: Uh, and and
Jack Woodward: The weight will be bit lighter. We will s
Doug Mont: Sure, without
Jack Woodward: We use
James Koopmans: Mm-mm.
Jack Woodward: titanium.
Doug Mont: titanium
Jack Woodward: Yeah.
Doug Mont: alloy, it's going to be light.
Jack Woodward: Yeah.
Sung Bacon: It's going to be lighter, because
Jack Woodward: Yeah.
Doug Mont: Of
Sung Bacon: this
Doug Mont: course.
Sung Bacon: seems to be very heavy
Jack Woodward: Heavy.
Sung Bacon: f I mean,
Jack Woodward: Yeah.
Sung Bacon: for my daughter, for instance.
James Koopmans: Mm-hmm.
Jack Woodward: Yeah.
Sung Bacon: Not sure if uh she can use it.
Jack Woodward: But sides uh, the
Sung Bacon: So,
Jack Woodward: sides should be okay. Yeah
Sung Bacon: should be okay.
Jack Woodward: mm.
Sung Bacon: Up to three for that,
James Koopmans: Mm-mm.
Sung Bacon: because I'm haven't seen the weight so
Doug Mont: Okay.
Sung Bacon: I
Jack Woodward: Oh.
Sung Bacon: must
Doug Mont: Okay.
Sung Bacon: not uh Colour and shape.
James Koopmans: Uh-oh.
Sung Bacon: Well, so colour, it seems that we have the several colours for the L_C_D_.
Jack Woodward: Yeah.
James Koopmans: Yeah.
Sung Bacon: But um, it's not very clear what is the colour of the sh the sh the case.
James Koopmans: Yeah.
Jack Woodward: The case is silver
Sung Bacon: It's a
Jack Woodward: titanium,
James Koopmans: Yeah, it's.
Jack Woodward: no?
Sung Bacon: it's going to be titanium.
Jack Woodward: Yeah.
Sung Bacon: Okay, okay. That's nice.
James Koopmans: Let's imagine.
Sung Bacon: I think it's good. Okay.
James Koopmans: And what about the strawberries on the top? I'm not convince.
Sung Bacon: Yahoo.
James Koopmans: But maybe I'm not trendy. But, uh
Sung Bacon: Well
Jack Woodward: Oh.
Sung Bacon: y you know, it's this uh fruit and vegetable year.
Jack Woodward: Yeah,
James Koopmans: Yeah,
Jack Woodward: yeah.
Sung Bacon: So
Jack Woodward: Yeah.
James Koopmans: but uh uh they're not useful. I
Jack Woodward: So
James Koopmans: I
Jack Woodward: maybe, I
James Koopmans: mean
Jack Woodward: think
James Koopmans: it that's
Sung Bacon: Uh, I think
James Koopmans: uh
Sung Bacon: usefulness is m as as I rem um just have to remind you
James Koopmans: Mm-hmm.
Sung Bacon: that
Jack Woodward: Yeah.
Sung Bacon: usefulness is much less important than fanciness.
James Koopmans: Yep.
Jack Woodward: Yeah,
Sung Bacon: Whether
Jack Woodward: well
Sung Bacon: it's fancy or not now, it
Jack Woodward: Yeah. Um
James Koopmans: Hmm.
Sung Bacon: we have to decide. But this
James Koopmans: I
Sung Bacon: If it's
James Koopmans: would have m uh i found more fancy that the fruits are useful.
Sung Bacon: Uh-huh. So, that they will that maybe the fruit may be here instead.
James Koopmans: Yeah.
Jack Woodward: Yeah, well then it's bit difficult to use. Not like this d We're just giving the fruit for more fanciness and
James Koopmans: Mm-hmm.
Jack Woodward: more
James Koopmans: But
Jack Woodward: attraction,
James Koopmans: the n
Jack Woodward: too.
James Koopmans: Yeah.
Jack Woodward: So, maybe think we can have rubber or some sponges, stuff for strawberries and different colours.
James Koopmans: Mm.
Jack Woodward: So
Sung Bacon: So, it seems
Jack Woodward: it's
Sung Bacon: we are not so clear on the shape
James Koopmans: No,
Sung Bacon: uh
Jack Woodward: These
James Koopmans: I'm
Jack Woodward: buttons
James Koopmans: not sure uh why uh if it was like this
Jack Woodward: But
James Koopmans: I
Jack Woodward: it looks really
James Koopmans: It's
Jack Woodward: not
James Koopmans: n
Jack Woodward: really good. I mean,
James Koopmans: no, it's not
Jack Woodward: the f
James Koopmans: fancy any
Jack Woodward: Yeah.
James Koopmans: more.
Jack Woodward: So these are kind of rubber things. Even if you lose one
James Koopmans: Okay.
Jack Woodward: you can just put whatever.
Doug Mont: And
Jack Woodward: Even we can provide many different colours
James Koopmans: Uh-huh.
Jack Woodward: or different
James Koopmans: And
Jack Woodward: fruits,
Doug Mont: Moreover,
James Koopmans: different
Jack Woodward: and
James Koopmans: routes.
Doug Mont: moreover it
James Koopmans: Okay,
Doug Mont: covers
James Koopmans: I see
Doug Mont: it covers
James Koopmans: what
Doug Mont: all the end goals.
Jack Woodward: Yeah.
Doug Mont: Even if it is, you know, it's very rounded, but still you got some rubber fruit here, and
Jack Woodward: Yeah.
Doug Mont: it's completely uh completely secure to leave it uh with children
James Koopmans: Okay,
Doug Mont: and
James Koopmans: so
Doug Mont: that.
James Koopmans: you
Jack Woodward: Yeah.
James Koopmans: you you feel like it's something uh a
Jack Woodward: Yeah.
James Koopmans: protection for the
Jack Woodward: Yeah.
James Koopmans: remote control.
Jack Woodward: Yeah, we've yeah we have sensors here and so here and here, so
James Koopmans: Also.
Jack Woodward: we just Yeah, so even if you don't put, it works. But this is really
James Koopmans: Okay.
Jack Woodward: fancy.
Sung Bacon: I suggested three.
James Koopmans: Okay.
Sung Bacon: Because uh, everybody s doesn't seem to be convince, although
Doug Mont: Okay.
Sung Bacon: it's quite You
Doug Mont: Okay.
Sung Bacon: have
Jack Woodward: Yeah.
Sung Bacon: good arguments.
Jack Woodward: Yeah.
Sung Bacon: But
James Koopmans: Okay.
Sung Bacon: And uh the last one is adaptive. This is not r maybe not as important as the other one,
Jack Woodward: Yeah.
Sung Bacon: but uh can we adapt it to each each personal use?
Doug Mont: Sure, sure, just look at it.
Sung Bacon: Great.
Doug Mont: It's full adaptable.
Sung Bacon: Fully
James Koopmans: Wow,
Sung Bacon: adaptable.
Doug Mont: Yeah,
Sung Bacon: That's
James Koopmans: that's
Doug Mont: you
Sung Bacon: Yeah.
Doug Mont: can
James Koopmans: a
Doug Mont: fit it into
Sung Bacon: So you can
Doug Mont: your
Sung Bacon: fit
Doug Mont: palm,
Sung Bacon: into
Doug Mont: you
Sung Bacon: your
Doug Mont: know.
Sung Bacon: palm, okay.
James Koopmans: Yea
Sung Bacon: That
Jack Woodward: Yeah.
Sung Bacon: What
Jack Woodward: You
Sung Bacon: else
Jack Woodward: can
Sung Bacon: can we need? You
Jack Woodward: Yeah.
Sung Bacon: Do you think you are gonna be able to do that with ti titanium as
James Koopmans: Yeah,
Sung Bacon: well?
James Koopmans: it's fudge titanium.
Sung Bacon: It's
James Koopmans: You
Sung Bacon: fudge,
James Koopmans: know.
Sung Bacon: yeah, yeah.
James Koopmans: Right,
Doug Mont: Mm,
James Koopmans: yeah.
Sung Bacon: Yeah, fruit
James Koopmans: And
Sung Bacon: titanium,
James Koopmans: uh
Sung Bacon: yeah. Well, I if if this is if you are ready to do that, then I think it deserves
Jack Woodward: Yeah.
Sung Bacon: a one.
James Koopmans: Okay. Let's go for one.
Sung Bacon: Okay.
Jack Woodward: Yeah.
Sung Bacon: Now we have to do the average.
Jack Woodward: Three, three, six, eight,
Sung Bacon: Who is good in
Jack Woodward: eleven.
Sung Bacon: math?
Doug Mont: It's two point one seven.
Sung Bacon: Okay. Two point one seven. That's nice. Two point one seven out of seven.
Jack Woodward: Hmm.
Sung Bacon: I think we have a good
James Koopmans: Yeah.
Sung Bacon: good thing. Well, that's all I had to say about the evaluation. So
James Koopmans: So it's a good evaluation.
Sung Bacon: It seems to be good, yeah.
James Koopmans: Yeah.
Jack Woodward: Yeah mm.
James Koopmans: Mm.
Sung Bacon: We have uh
Jack Woodward: Yeah, two one one seven,
Sung Bacon: Yeah.
Jack Woodward: we have. So
James Koopmans: Mm-mm.
Sung Bacon: Yeah. Okay. Thanks.
James Koopmans: Okay. So now, it has to fulfil the financial
Jack Woodward: Financi
James Koopmans: criterium?
Sung Bacon: Ah-ha.
James Koopmans: So, I have an Here. Um.
Jack Woodward: Energy.
Sung Bacon: So
Jack Woodward: Uh,
Sung Bacon: so
Jack Woodward: we use
Sung Bacon: how many batteries
Jack Woodward: bat
Sung Bacon: do we need?
Jack Woodward: One battery.
Sung Bacon: One battery?
Jack Woodward: Yep.
James Koopmans: Okay, so
Sung Bacon: Good.
James Koopmans: two.
Sung Bacon: Why two?
Jack Woodward: Oh, we just need one, I guess.
Sung Bacon: Say no. No, ne never install.
James Koopmans: Uh-huh.
Sung Bacon: Two batteries or one?
James Koopmans: Oh.
Jack Woodward: No, number is one. We need only one
Sung Bacon: Only
Jack Woodward: battery.
Sung Bacon: one.
James Koopmans: Yeah yeah, but the price is two.
Sung Bacon: No, no.
James Koopmans: Oh, number.
Sung Bacon: But
Doug Mont: No, uh
Sung Bacon: no, no.
James Koopmans: Sorry
Doug Mont: you
Jack Woodward: Number,
Sung Bacon: No, no
James Koopmans: sorry
Doug Mont: just
Jack Woodward: number.
Sung Bacon: way.
James Koopmans: sorry. I'm
Doug Mont: Number.
James Koopmans: sorry.
Sung Bacon: Yeah.
James Koopmans: Yeah.
Doug Mont: Yeah.
James Koopmans: Yeah.
Sung Bacon: You never use uh Excel?
James Koopmans: Oh. No, never.
Sung Bacon: Good.
Doug Mont: How What what's the limit?
James Koopmans: H
Doug Mont: Uh,
Sung Bacon: It's twelve
Doug Mont: it's
Sung Bacon: bucks.
Doug Mont: it's okay that I don't know, 'cause uh it's not my field. Twelve bucks.
Sung Bacon: Twelve bucks.
Doug Mont: Okay,
Sung Bacon: Twelve
Doug Mont: now
Sung Bacon: and a half,
Doug Mont: Mm-hmm.
Sung Bacon: I think.
Jack Woodward: So
Doug Mont: Check
Jack Woodward: we
Doug Mont: that
Sung Bacon: Okay.
Doug Mont: number also.
Sung Bacon: Okay, electronics.
Jack Woodward: We have
Sung Bacon: So
Jack Woodward: sample chip. Uh, like
Sung Bacon: It's a simple
Jack Woodward: simple
Sung Bacon: chip?
Jack Woodward: chip, yeah.
Sung Bacon: Simple
Jack Woodward: So,
Sung Bacon: chip, okay.
Jack Woodward: yeah.
Sung Bacon: One.
Jack Woodward: Yeah. Four buttons at
Sung Bacon: Okay.
Jack Woodward: least.
James Koopmans: Okay.
Jack Woodward: And then we have
James Koopmans: And
Jack Woodward: the
James Koopmans: for
Jack Woodward: t
James Koopmans: the
Jack Woodward: sample speaker sensor for speech recognition.
James Koopmans: One also.
Sung Bacon: One
Jack Woodward: Yeah,
Sung Bacon: or
Jack Woodward: one
Sung Bacon: two?
Jack Woodward: to
Sung Bacon: One?
Jack Woodward: one. Yeah, one.
Sung Bacon: Okay. So the case, which one uh is it in the end?
Jack Woodward: Yeah, I think we will go for a single curve, no?
Sung Bacon: Let's do a single curve.
Jack Woodward: Oh, is
Doug Mont: It's it's flat.
Sung Bacon: It's flat,
Jack Woodward: Oh.
Sung Bacon: and curved.
Jack Woodward: Oh,
James Koopmans: I
Doug Mont: It's
James Koopmans: thought
Doug Mont: flat.
Jack Woodward: okay.
James Koopmans: you can curve somebody.
Doug Mont: But it
Sung Bacon: It's
Doug Mont: is flat, you
Sung Bacon: curvable.
Doug Mont: Look. It's curvable, but it's not curved.
Sung Bacon: Maybe there is a supplement for that, no?
James Koopmans: Mm-hmm.
Sung Bacon: It's only curve? Okay,
James Koopmans: Oh
Sung Bacon: let's
James Koopmans: see, I
Sung Bacon: go.
James Koopmans: I think that
Jack Woodward: Yeah.
James Koopmans: the the price is this one.
Sung Bacon: This Okay, you
James Koopmans: Yeah, yeah. Don't chip on
Sung Bacon: d We tried,
James Koopmans: Sung Bacon.
Sung Bacon: we tried.
Jack Woodward: Oh.
Doug Mont: Oh, okay.
Sung Bacon: So, what
Jack Woodward: Titanium.
Sung Bacon: is it? T titanium?
James Koopmans: Mm-hmm.
Doug Mont: Mm.
Sung Bacon: Mm, that's expensive. Mm-hmm.
James Koopmans: Mm-mm.
Doug Mont: Mm.
James Koopmans: Yeah. But
Sung Bacon: Okay.
James Koopmans: she wanted u the
Jack Woodward: Yeah,
James Koopmans: fudge
Jack Woodward: well
James Koopmans: titanium. I think it's five, but you don't say.
Sung Bacon: Let's stick to s titan. Special colour? No
Doug Mont: Well,
Sung Bacon: because
Doug Mont: n
Jack Woodward: No, only
Doug Mont: Why
Sung Bacon: uh
Jack Woodward: one,
Doug Mont: three?
Jack Woodward: no?
James Koopmans: Mm.
Doug Mont: Why three?
James Koopmans: Oh, sorry. Again,
Sung Bacon: Yeah.
Jack Woodward: Um
James Koopmans: I'm See it. Special
Jack Woodward: Interface.
James Koopmans: colour,
Sung Bacon: Oh.
James Koopmans: or it's only on the.
Jack Woodward: Yes, in L_C_D_ display. Ok Yeah, an
James Koopmans: So
Jack Woodward: Yeah.
James Koopmans: I put it here.
Jack Woodward: Push-button.
Sung Bacon: So the L_C_D_
James Koopmans: How
Jack Woodward: Scro
James Koopmans: many push-button? Three or
Jack Woodward: Uh,
James Koopmans: two?
Jack Woodward: two.
Sung Bacon: Two.
James Koopmans: Is there The scroll-wheel, okay.
Jack Woodward: Yeah.
Sung Bacon: Yeah. It's going to
Jack Woodward: One
Sung Bacon: be expensive.
Jack Woodward: scroll wheel. One L_C_D_ displayed.
James Koopmans: Okay. Um That's
Sung Bacon: That's all? No.
James Koopmans: that's
Jack Woodward: Yeah.
James Koopmans: not We choose this one, and not this one.
Sung Bacon: Oh, I think, no it's Uh, is it
Jack Woodward: Yeah, it's
Sung Bacon: a
Jack Woodward: cheaper.
Sung Bacon: scroll wheel and pe push button, th this
James Koopmans: Or
Sung Bacon: centre
Jack Woodward: Yeah.
James Koopmans: only
Sung Bacon: one?
James Koopmans: a scroll-wheel.
Sung Bacon: Or only
Jack Woodward: Only scroll wheel.
Sung Bacon: only scroll wheel,
Jack Woodward: Yeah mm.
Sung Bacon: okay.
Jack Woodward: So
Sung Bacon: You are trying
James Koopmans: You try
Sung Bacon: to
James Koopmans: to
Sung Bacon: make
James Koopmans: s No,
Sung Bacon: make
James Koopmans: no,
Sung Bacon: up
James Koopmans: no.
Jack Woodward: It's already
James Koopmans: Because
Sung Bacon: make us up.
James Koopmans: how do you do to y select?
Sung Bacon: No, but you select
Jack Woodward: Ah.
Sung Bacon: with the two d the other two buttons,
Jack Woodward: Y
James Koopmans: Yeah,
Sung Bacon: no?
James Koopmans: I mean
Jack Woodward: ye
James Koopmans: you you
Sung Bacon: That's true.
James Koopmans: go on the location with your scroll
Sung Bacon: Yeah.
Jack Woodward: Yeah.
James Koopmans: wheel and then
Jack Woodward: Then
James Koopmans: you
Jack Woodward: it automatically
Sung Bacon: Yeah.
Jack Woodward: we can just do like you feel, it goes.
James Koopmans: Stay
Jack Woodward: And it
Sung Bacon: It
Jack Woodward: will
James Koopmans: longer.
Sung Bacon: should
Jack Woodward: activate
Sung Bacon: stay.
James Koopmans: Okay.
Sung Bacon: Yeah.
Jack Woodward: Um,
James Koopmans: Oops.
Jack Woodward: plus, yeah, it's price is really
James Koopmans: Okay, okay. Um
Jack Woodward: Special colours, yeah.
James Koopmans: Mm-hmm.
Doug Mont: For
Jack Woodward: Okay.
Doug Mont: buttons.
Jack Woodward: Yeah,
Doug Mont: No,
Jack Woodward: buttons and
Doug Mont: buttons
Jack Woodward: strawberries.
Doug Mont: just normal.
Jack Woodward: Yeah. Special form.
James Koopmans: You you have all of these, no?
Sung Bacon: She's very hard on this. Special
James Koopmans: Mm maybe
Sung Bacon: colour?
James Koopmans: n not this one but
Sung Bacon: Yeah. No. Special material?
Jack Woodward: Uh, we have
Doug Mont: That's for
Jack Woodward: titan
Doug Mont: buttons. But buttons are
Sung Bacon: Yeah,
Doug Mont: standard.
Sung Bacon: buttons are the standard buttons. Yeah. It's only buttons, these.
James Koopmans: Yeah, so
Sung Bacon: Nothing special.
Jack Woodward: Yeah.
Sung Bacon: Okay. So we are at seventeen dot eight.
James Koopmans: Not special colours an interest in?
Sung Bacon: No, the colour is in the L_C_D_.
James Koopmans: And buttons are not colourised? They
Sung Bacon: I
James Koopmans: are
Jack Woodward: Mm,
Sung Bacon: no.
Jack Woodward: hmm,
James Koopmans: m
Jack Woodward: I think uh because you can just go for
Sung Bacon: We can
Jack Woodward: a
Sung Bacon: just
Jack Woodward: good
Sung Bacon: use
Jack Woodward: colours.
Sung Bacon: this red.
Jack Woodward: Yeah,
Sung Bacon: It's
Jack Woodward: and uh
James Koopmans: Boo-hoo. It's already too expensive.
Jack Woodward: Yeah.
James Koopmans: Apparently.
Sung Bacon: So what is Are we supposed to cut things
James Koopmans: Yeah.
Sung Bacon: out now?
James Koopmans: Mm.
Sung Bacon: Uh, until we get twelve
James Koopmans: Mm-hmm.
Sung Bacon: fifty.
James Koopmans: Mm.
Jack Woodward: Oh.
James Koopmans: So think of what we can cut uh here.
Sung Bacon: Well, if I look at what is the most expensive things, uh it's the L_C_D_
Jack Woodward: Sample
Sung Bacon: and the speaker.
Jack Woodward: speaker. Yeah.
James Koopmans: Apparently, we have to choose one or the other.
Sung Bacon: Yeah.
Jack Woodward: Yeah.
Sung Bacon: Yeah.
Doug Mont: Well, as you may know there's some research done in the field of producing energy from mechanical eng, I mean, producing electricity from mechanical energy. So, the point is that when you take device and push the button, you produce enough energy
James Koopmans: But you don't
Doug Mont: to
James Koopmans: need
Doug Mont: make
James Koopmans: a battery?
Doug Mont: electricity. Yeah, that
James Koopmans: Mm.
Doug Mont: you don't need a battery.
Sung Bacon: Mm-hmm.
Doug Mont: So, it's something like hand dynamo robot. A real high-tech version of it.
Sung Bacon: So
James Koopmans: But
Sung Bacon: that would
James Koopmans: um it's like the hand dynamo, no?
Jack Woodward: Maybe the jog wheel can be like kind
Sung Bacon: So,
Jack Woodward: of
Sung Bacon: but if
Jack Woodward: hand
Sung Bacon: we select the hand dynamo it's okay, we only We
Jack Woodward: is
Sung Bacon: we win one.
Doug Mont: Okay,
Jack Woodward: Yeah.
Sung Bacon: That's already
Doug Mont: but l
Sung Bacon: that.
James Koopmans: Uh it's a
Sung Bacon: Okay,
James Koopmans: it's a beginning.
Sung Bacon: let's
Jack Woodward: Yeah.
Sung Bacon: do
Doug Mont: Why
Sung Bacon: that.
Doug Mont: not.
James Koopmans: Okay.
Doug Mont: Let's do that.
James Koopmans: So One
Jack Woodward: Yeah,
James Koopmans: here
Jack Woodward: just
James Koopmans: and
Jack Woodward: remo
James Koopmans: here. 'Kay.
Doug Mont: And
Jack Woodward: S
Doug Mont: I propose to So uh, about chips. Advanced chip on print, right?
James Koopmans: Mm-hmm.
Doug Mont: So, put minus one there, please.
Jack Woodward: Yeah.
Sung Bacon: I'm
James Koopmans: Mm.
Sung Bacon: not sure if this is legal.
Doug Mont: Why not?
James Koopmans: That's right.
Jack Woodward: Uh, no.
Doug Mont: And?
Sung Bacon: And?
James Koopmans: M maybe minus uh three,
Sung Bacon: No.
Jack Woodward: Yeah.
James Koopmans: no?
Sung Bacon: Okay,
Doug Mont: So,
Jack Woodward: No, no. It's
Doug Mont: was
Sung Bacon: let's
Jack Woodward: not
Sung Bacon: see.
Doug Mont: there result? Let's have a look.
Jack Woodward: It's not changing,
James Koopmans: Mm-hmm.
Jack Woodward: no? It
Sung Bacon: Yeah, yeah,
Doug Mont: Why?
Jack Woodward: you don't
Sung Bacon: yeah, if
James Koopmans: Mm.
Sung Bacon: Click somewhere, you'll see features.
Doug Mont: Oops.
Sung Bacon: Yes, it does. Maybe put minus two, so it looks uh
James Koopmans: So
Sung Bacon: more reasonable.
Doug Mont: Yeah. Why not.
Sung Bacon: Yeah, anyway No,
James Koopmans: Oh,
Sung Bacon: minus
Doug Mont: Minus.
James Koopmans: sorry.
Sung Bacon: two.
James Koopmans: Mm-hmm.
Sung Bacon: Nobody will know.
James Koopmans: Mm.
Sung Bacon: It's not recorded, is it?
Doug Mont: Good.
Sung Bacon: Okay, we're on time. Good.
James Koopmans: Okay.
Jack Woodward: So now on, we can increase our Still you have two more.
James Koopmans: Oh,
Jack Woodward: Maybe
James Koopmans: we can
Jack Woodward: we can
James Koopmans: put
Jack Woodward: use
James Koopmans: uh
Jack Woodward: it for
James Koopmans: a
Jack Woodward: our
James Koopmans: hand
Jack Woodward: party.
James Koopmans: dynamo and a battery if
Doug Mont: And
James Koopmans: you want.
Doug Mont: a battery
James Koopmans: Oh.
Jack Woodward: Yeah.
Doug Mont: and a battery, yeah.
Jack Woodward: Yeah, yeah.
James Koopmans: Both its it's cool.
Sung Bacon: No, now we are exp exceeding
Doug Mont: Now
Sung Bacon: I
Doug Mont: it's
Sung Bacon: think.
Doug Mont: fancy, let's
Jack Woodward: Yeah,
Sung Bacon: It
James Koopmans: Mm.
Doug Mont: add
Jack Woodward: that
Doug Mont: one instead of
Sung Bacon: Is
Doug Mont: two.
Sung Bacon: it?
James Koopmans: Yeah,
Sung Bacon: I think we're exceeding now. We have
Jack Woodward: No, but
James Koopmans: yeah
Sung Bacon: to remove
James Koopmans: y
Jack Woodward: point
Sung Bacon: the
Jack Woodward: five point three.
Sung Bacon: Uh,
Jack Woodward: Okay.
Sung Bacon: it's better. I think they are counting uh
James Koopmans: Yeah.
Jack Woodward: Is
James Koopmans: Mm. It's
Sung Bacon: We
Jack Woodward: really
Sung Bacon: would
James Koopmans: maximum
Jack Woodward: strict?
Sung Bacon: prefer,
James Koopmans: and
Sung Bacon: yeah.
James Koopmans: don't
Sung Bacon: Maximum
Jack Woodward: Oh.
James Koopmans: have to
Sung Bacon: is
James Koopmans: Yeah,
Sung Bacon: maximum.
James Koopmans: yeah.
Sung Bacon: So,
James Koopmans: Uh
Sung Bacon: remove
Jack Woodward: Oh yeah.
Sung Bacon: one of them. Yeah. Okay. Okay, we're uh
James Koopmans: Uh,
Sung Bacon: on
James Koopmans: mm-mm.
Sung Bacon: target.
James Koopmans: Yeah. Mm. Okay. Mm. So target reached.
Sung Bacon: I'm just curious to see this uh
Jack Woodward: Ho
Sung Bacon: my address chip on print.
James Koopmans: It's um English uh
Sung Bacon: Trick.
James Koopmans: Yeah.
Sung Bacon: Uh, I would say it's the Russian trick, but Anyway
James Koopmans: Yeah, but uh is uh English. So
Sung Bacon: No, they may
James Koopmans: Mm.
Jack Woodward: Oh.
Doug Mont: Well,
Sung Bacon: have some
Jack Woodward: Uh
Doug Mont: I
Sung Bacon: their
Doug Mont: don't know.
Sung Bacon: origins,
Doug Mont: I don't know.
Sung Bacon: strange origins
Doug Mont: I am not sure who was programming this calculator, you know. B_ somewhere instead of a number.
James Koopmans: Mm, let's try.
Sung Bacon: No, no, no. Let's finish this meeting
James Koopmans: Okay.
Sung Bacon: instead.
Jack Woodward: And we can discuss
James Koopmans: I save
Jack Woodward: all these things
James Koopmans: it
Jack Woodward: in our
James Koopmans: uh
Jack Woodward: party.
Sung Bacon: What else?
James Koopmans: Okay, so next mm
Sung Bacon: No. This
James Koopmans: No, that's
Sung Bacon: is
James Koopmans: yours.
Sung Bacon: right.
James Koopmans: Sorry.
Sung Bacon: Okay, so
James Koopmans: 'Kay.
Sung Bacon: finance, that's done. Are the cost under twelve?
Jack Woodward: Mm
Sung Bacon: Yes.
Jack Woodward: yeah, very much.
Sung Bacon: Project evaluation, good.
James Koopmans: Okay. So
Doug Mont: Next
James Koopmans: now
Doug Mont: slide.
Sung Bacon: Project process.
James Koopmans: We have to make um
Sung Bacon: Safe uh asse uh
James Koopmans: Yeah.
Sung Bacon: safe assessment.
James Koopmans: Yeah. Mm. See mm how Are we a good team? Mm.
Sung Bacon: Yeah,
Doug Mont: Okay.
Sung Bacon: I think we've listened to everybody.
James Koopmans: Mm-hmm.
Sung Bacon: Everybody could say what they thought.
James Koopmans: Mm.
Sung Bacon: And uh
James Koopmans: Is there enough room for creativity?
Doug Mont: Yeah, yeah.
Jack Woodward: Yeah,
James Koopmans: Mm. And you.
Sung Bacon: Yeah.
Jack Woodward: yeah.
Doug Mont: Yeah.
Sung Bacon: When we see the results,
Jack Woodward: Yeah,
Sung Bacon: there is
Jack Woodward: it's
Sung Bacon: no
Jack Woodward: really
Sung Bacon: doubt
James Koopmans: Mm.
Sung Bacon: there
James Koopmans: Oh. Okay. Well, project evaluation.
Sung Bacon: Maybe a lack of leadership?
Doug Mont: M maybe not,
Sung Bacon: Team-work,
Doug Mont: huh?
Sung Bacon: very
Jack Woodward: Yeah.
Sung Bacon: strong, I
Jack Woodward: Yeah,
Sung Bacon: would say.
Jack Woodward: our team-work
Sung Bacon: Team-work,
Jack Woodward: is really
Sung Bacon: no
Jack Woodward: strong.
Sung Bacon: problem. Means. Whiteboard, digital pens.
Jack Woodward: Oh, we still, I guess.
Doug Mont: What was the Oh yeah, what was good? Everything.
Sung Bacon: Yeah,
Doug Mont: What
Sung Bacon: I
Doug Mont: was
Sung Bacon: think
Doug Mont: bad?
Sung Bacon: white-board is useful. Digital pens, useful.
Jack Woodward: Hmm.
Sung Bacon: New ideas found?
James Koopmans: So,
Sung Bacon: Yeah.
James Koopmans: you say, is there sheep? Luck. Okay. So luck, but good. Which
Sung Bacon: But uh
James Koopmans: imply good uh team performance.
Sung Bacon: Yeah,
Doug Mont: Yeah.
Sung Bacon: but
Doug Mont: A
Sung Bacon: uh then I
Doug Mont: good
Sung Bacon: I mus
Doug Mont: leader, you know, a good leader is somewhere in the shade and
Sung Bacon: That's true. And there's uh one
Jack Woodward: Don't
Sung Bacon: very
Jack Woodward: really.
Sung Bacon: important point. We're on time.
Jack Woodward: Yeah.
James Koopmans: Mm-hmm.
Sung Bacon: Meetings
Jack Woodward: And we also
Sung Bacon: finish when they have to or even before.
Jack Woodward: Mm. We made
Sung Bacon: The for
Jack Woodward: Mm.
Sung Bacon: meeting it's uh one of the most important thing.
Doug Mont: Of course. Uh
James Koopmans: Okay. Mm.
Doug Mont: Not to waste time, that's important.
Sung Bacon: Yeah. Yeah, we have other uh
Jack Woodward: Hmm.
Doug Mont: We need time
Sung Bacon: remote
Doug Mont: f
Sung Bacon: controls to create.
James Koopmans: Okay.
Jack Woodward: Ah, we got new idea, speech recognition, location finding.
James Koopmans: A lot
Doug Mont: New
James Koopmans: of
Doug Mont: materials.
James Koopmans: uh
Sung Bacon: Mm.
Jack Woodward: New materials, new s uh this fancy strawberry design.
James Koopmans: Yeah,
Sung Bacon: Mm, yeah.
James Koopmans: uh new ways of doing financial
Sung Bacon: Hey, just wondering if my uh
Jack Woodward: And new tricks.
Sung Bacon: what about the the pink the pinkness of that uh.
James Koopmans: Mm. Mm. They're working
Sung Bacon: They
James Koopmans: on um
Sung Bacon: are working
James Koopmans: pink
Sung Bacon: on
James Koopmans: titanium.
Sung Bacon: a Okay, good.
Jack Woodward: Ah, very.
Sung Bacon: I think
Doug Mont: Budget.
Sung Bacon: we are great. There's
Jack Woodward: Yeah.
Sung Bacon: no no other words for that. We
Doug Mont: Alright.
Sung Bacon: are probably the best.
James Koopmans: Mm
Sung Bacon: Real
James Koopmans: yeah.
Sung Bacon: Reaction
James Koopmans: Yeah, we're really
Sung Bacon: is uh Yeah.
James Koopmans: nice.
Sung Bacon: Yeah.
James Koopmans: Yeah. Mm. Okay.
Sung Bacon: Finished?
James Koopmans: I think it's
Sung Bacon: Ah, celebration. Are the costs within the budget? Of
James Koopmans: Yeah.
Sung Bacon: course they
Jack Woodward: Yeah.
Sung Bacon: are. Yeah.
James Koopmans: Uh How
Doug Mont: Okay.
Sung Bacon: Is the project evaluated? Yes,
Jack Woodward: Yeah,
Doug Mont: Yeah,
James Koopmans: Yeah.
Jack Woodward: yeah,
Doug Mont: it
Sung Bacon: it is.
Doug Mont: is.
Jack Woodward: it's We got two
James Koopmans: Mm.
Jack Woodward: Good
Doug Mont: So,
Jack Woodward: score.
Doug Mont: we see, we can even forecast. they propose us like celebration, everything, we could forecast it, right?
Sung Bacon: To whom? To the whole our company?
James Koopmans: I'm the one, proposing the celebration. Of
Doug Mont: You?
James Koopmans: course, you
Doug Mont: It
James Koopmans: know
Doug Mont: was
James Koopmans: I'm
Doug Mont: you.
James Koopmans: the program manager.
Doug Mont: Okay.
Jack Woodward: Oh, okay.
Sung Bacon: So, let's celebrate. Uh
James Koopmans: Mm-hmm.
Jack Woodward: So where we will go now?
James Koopmans: Ah
Jack Woodward: Uh,
James Koopmans: um, I
Sung Bacon: I
James Koopmans: think
Sung Bacon: think
Jack Woodward: ye Will
Sung Bacon: the
James Koopmans: it's
Sung Bacon: meeting
Jack Woodward: go
James Koopmans: finish.
Jack Woodward: to Italian restaurant,
Sung Bacon: The
Jack Woodward: or
Sung Bacon: meeting is over
James Koopmans: Yeah.
Sung Bacon: at least.
James Koopmans: Mm.
Sung Bacon: So,
Jack Woodward: Ah,
Sung Bacon: we have
Jack Woodward: okay.
Sung Bacon: to
Jack Woodward: We can decide.
Sung Bacon: go out.
James Koopmans: Mm-mm.
Jack Woodward: Yeah.
Doug Mont: Okay.
James Koopmans: And we go to the party.
Jack Woodward: Yeah.
Sung Bacon: Yeah, yeah,
Jack Woodward: Thank you.
Sung Bacon: yeah.
James Koopmans: thank you to you. Mm. | This last meeting started with the presentation of a remote control prototype. It has on-off and volume buttons, an LCD screen (it can be active or switched off) in various colours, which largely replaces the use of push buttons, and a jog-wheel for navigation and option selection in the menus presented on the LCD. It also includes speech recognition as an alternative interface, which also serves as mechanism for locating the device. It was designed to be powered by a single battery. The casing will be made of titanium with rubber strawberries following the fruit and veg fashion. The prototype was evaluated on a scale of 1(excellent)-7(very bad) in terms of fancifulness, technology, robustness, usefulness, size, colour and shape and customizability: the average mark was 2.17; the team were satisfied with their prototype, although after costs were calculated it proved very expensive. Finally, the team evaluated the whole process: they deemed themselves a good team, they found there was plenty of room for creativity and they liked James Koopmans's leadership. | 5 | amisum | train |
David White: Hmm.
Steven Schall: Good morning everybody.
David Mccafferty: Good morning.
Juan Hinds: Good morning.
David White: Good morning.
Steven Schall: So we are asked to to make uh uh a new remote control for television. And the characteristics of this new remote control should be original and trendy and of course user user friendly. So people can can use it without any any problem.
Steven Schall: I don't know.
David Mccafferty: Well I, think we should set the the points to to drive the project and uh
David White: B did you send us an email about this?
Steven Schall: Uh, not yet, but
David White: Yeah,
Steven Schall: if you
David White: we
Steven Schall: want
David White: we received an email about this uh d designs.
Steven Schall: Do you want do you want Juan Hinds to send you a mail?
David White: Ah it's
Steven Schall: Or
David White: Okay.
Juan Hinds: Or you can put it in the shared folder.
David White: Yeah, you see the email? You email. The v very no, no the
Juan Hinds: No, I didn't get it.
David White: first one. It's inside.
Steven Schall: Uh
Juan Hinds: This one.
David White: No,
Juan Hinds: No.
David White: no. The third one. Oh, you didn't get anything.
Juan Hinds: No,
David White: It's strange. Mm. got an email about the dis about the discussion Yeah.
Steven Schall: You get email,
David White: I dunno from who.
David Mccafferty: Yeah, from the account manager.
David White: From the account manager. You have received the same email, right?
David Mccafferty: Yeah.
David White: Yeah.
Juan Hinds: I think it's for your guys to how to design it all the aspects so you need
David White: Yeah.
Juan Hinds: that information.
David Mccafferty: Yeah, I think so.
David White: Yeah, so each of us has a role to do.
Juan Hinds: Yeah
Steven Schall: S
Juan Hinds: I think
David White: In each
Juan Hinds: assign your uh roles.
David White: We already have
Steven Schall: each
David White: our role.
Steven Schall: for each
Juan Hinds: For
Steven Schall: one.
Juan Hinds: each person, yeah.
David White: 'Kay, we can
Steven Schall: So there are so we
David White: So
Steven Schall: have
David White: there
Steven Schall: three
David White: are three kinds of designs,
Steven Schall: f yeah.
David White: that's
Steven Schall: We have
David White: all.
Steven Schall: functional design, conceptual design, and
David White: Okay,
Steven Schall: detail design.
David White: alright.
Steven Schall: So, who will be the the responsible for the functional design? Any any volunteer?
David Mccafferty: I think our uh responsibilities will be assigned when we in our mail we received
David White: Yeah,
David Mccafferty: from the account manager.
David White: yeah.
David Mccafferty: Uh
David White: I'm doing the interface.
Steven Schall: You are doing th.
David Mccafferty: No, I'm doing the interface.
David White: Are you using the you are doing
David Mccafferty: Yeah
David White: the in
David Mccafferty: I I'm I'm Well, maybe we have okay so I industrial design.
David White: Ah
David Mccafferty: but it's alright.
David White: Okay.
Steven Schall: Okay, I'll for industrial design.
David Mccafferty: Yeah.
Steven Schall: Okay. And and you Norman?
David White: Mm? Um working on i.
David Mccafferty: User.
David White: User interface.
Steven Schall: And
Steven Schall: And
Juan Hinds: Uh, I'm into marketing.
Steven Schall: doing the marketing.
Juan Hinds: yeah nothing much in the project.
Steven Schall: Nothing related here to the
Juan Hinds: Marketing in this design. A design
David White: Yes.
Juan Hinds: is basically for industrial design and the user interface.
David White: You see the second mail? Yeah, it's inside. Go down. Appendix.
Juan Hinds: this is.
David White: See there's a role for everybody.
Juan Hinds: Yeah, that's right, first.
David White: Even for the marketing.
Juan Hinds: us user define.
Steven Schall: Next.
David White: But look at your role, your marketing role.
Juan Hinds: There's a trend watching.
Steven Schall: I don't
David White: Yeah,
Steven Schall: know.
David White: that's your role.
Steven Schall: I.
David Mccafferty: Well, I think we can have a little discussion about what has to be done and what are your ideas
Steven Schall: About the
David Mccafferty: about
Steven Schall: design
David Mccafferty: the
Steven Schall: or Maybe we'll discuss this later, no?
David Mccafferty: Well, w we want to have a new re remote control for for T_V_ distribution I guess.
Steven Schall: Mm-hmm.
David Mccafferty: So we have to plan how how it would
Juan Hinds: Yeah.
David Mccafferty: be
David White: Mm.
David Mccafferty: developed and uh how we can make it work.
David White: Yes.
Juan Hinds: I mean working remotes we already have. This will be something different from the other remotes remote controls.
David Mccafferty: Yeah,
Steven Schall: What
David Mccafferty: I
Steven Schall: we
David Mccafferty: dunno I
Steven Schall: we have to keep in mind the these characteristics. And of course it should not be very costly.
Juan Hinds: Yeah, that's right.
Steven Schall: So
David Mccafferty: Yeah.
David White: Mm-hmm.
David Mccafferty: Well I I think that Norman and I would think about um the technical points and um we should discuss it in the next meeting, or
David White: Need to collect information.
David Mccafferty: Yeah.
Steven Schall: About the about what?
David White: Um. I I'm part of design, perhaps. Uh, what is most important in a in a remote control? What is the most important function aspect? Uh.
Steven Schall: You mean the external or
David Mccafferty: Well, you have to make it work. That's
Steven Schall: Yeah of g of
David White: That's
Steven Schall: course.
David White: alright.
David Mccafferty: the that's the big
David White: Yeah,
David Mccafferty: thing.
David White: it should be easy to work with.
David Mccafferty: Yeah.
Steven Schall: Yeah.
David White: Yeah.
David Mccafferty: We can think about an interface with uh well
David White: Uh. We maybe you can have a speech uh recognition interface. You just tell the television I want which channel. Or
Steven Schall: You won't
David White: or you can say for example, um I want uh to list all the programme tonight. Y you know, instead of uh remote control it's doing the some searching for you, so you don't have to look for the channel you want. Just say maybe I just want to press I wanna have a button for all the movies tonight. Or a button for all the magazines, all the information documentary tonight. And then you list a few, and I will choose from the list. So instead of pressing the channel number, I am choosing the programmes directly.
David Mccafferty: Yeah,
David White: Yeah,
David Mccafferty: yeah.
David White: that's one way of uh making it useful.
Steven Schall: I I think if we include a lot of technology on the remote
David White: No,
Steven Schall: control
David White: because
Steven Schall: it will be very costly.
David White: no, it's not very
Steven Schall: S
David White: a lot. Th this information exists. For example you can get um
Steven Schall: Like s uh you you you say we can use speech.
David White: You can use uh well for example anything. The the idea of using speech to reduce the button, but uh and it's
David Mccafferty: I
David White: more natural.
David Mccafferty: I think if you want
David White: Yeah.
David Mccafferty: t to choose uh from a list
Juan Hinds: I'm a
David Mccafferty: of programme
Juan Hinds: okay.
David Mccafferty: or or
David White: Yeah.
David Mccafferty: something like that
David White: Yeah.
David Mccafferty: you you may have to to use uh w uh I dunno
Juan Hinds: I mean the main uh function of remote control is to have something in the hand and
Steven Schall: In the
Juan Hinds: we
Steven Schall: hand.
Juan Hinds: should be very careful about the size of the remote control.
Steven Schall: Yeah.
David White: Yeah.
David Mccafferty: Yeah.
Juan Hinds: If we are going to add a speech interface,
David White: Yeah.
Juan Hinds: I'm not sure with trendy slim size of the remote control
David White: Yes,
Juan Hinds: it would be
David White: possible.
Juan Hinds: able to put a speech recog if you want to put a speech recognition system f interface for that I think the T_V_ itself could have it.
David White: Yeah.
David Mccafferty: Yeah.
David White: But
Juan Hinds: And I could talk to the T_V_ television itself.
Steven Schall: Except
Juan Hinds: I need
Steven Schall: if
Juan Hinds: not have
Steven Schall: if
Juan Hinds: an
Steven Schall: you are far from the T_V_.
David White: Yeah.
Juan Hinds: I mean we have
Steven Schall: This
Juan Hinds: some or something,
Steven Schall: is
David White: Yeah,
Juan Hinds: different technology
David White: yeah.
Juan Hinds: but
David White: But
Steven Schall: it's
David White: th the main idea I wanted to s I wanted to say is that um there should be a function, instead of choosing the ch T_V_ channel, there's a option you can choose, either T_V_ channels or or
David Mccafferty: On the content.
David White: pr or the or the contain
Juan Hinds: Mm-hmm,
David White: or the
Juan Hinds: yeah.
David White: contents of the programme.
David Mccafferty: Yeah, yeah
David White: So it's
David Mccafferty: it's
Steven Schall: Mm-hmm.
David White: more
David Mccafferty: it's
David White: powerful.
David Mccafferty: a good idea it's a good idea but
David White: Yeah.
David Mccafferty: I I think that technically it would be um a little bit uh
David White: No.
David Mccafferty: uh more tricky to to achieve this than
David White: No, because
David Mccafferty: just
David White: you see
David Mccafferty: to
David White: now all the T_V_ programmes are available on the webs. They they are they are they are available in X_M_L_ format or whatever the format. We don't care. We just say that this are some content. We just want to retrieve the content and then classi sort them by the types of programmes. Some
David Mccafferty: Yeah
David White: of
David Mccafferty: yeah.
David White: the websites they already provide this service, so we can just use the service available. Download it uh to the to this remote control. And then there's
Steven Schall: Mm.
David White: there are only six buttons for six categories, or sev seven. The most there are only seven buttons. So I just choose the category one and you reuse the same button, for example to to choose among the the sorted list the programme you want, so you don't have to choose among hundred channels, if you have hundred channels, you just have six buttons, seven buttons.
Steven Schall: Yeah we should also optimise the the number of
David Mccafferty: Well
David White: Yeah,
David Mccafferty: I
Steven Schall: buttons.
David Mccafferty: I I I
David White: yeah.
David Mccafferty: think that j
Steven Schall: This is
David Mccafferty: just
Steven Schall: good
David Mccafferty: by
Steven Schall: idea.
David Mccafferty: using navigation buttons and the user interface on the screen
David White: Yeah.
David Mccafferty: we are able to uh navigate uh through the
David White: Ah, yes. So.
David Mccafferty: Well channel programme or contents or
David White: Yeah.
David Mccafferty: in an easy way,
David White: Yeah, so you don't
David Mccafferty: so
David White: have to display here, just display on the T_V_ screen,
David Mccafferty: Yeah
David White: right?
David Mccafferty: in
David White: Good
David Mccafferty: the dis
David White: idea.
David Mccafferty: display on the T_V_ screen and just
David White: Okay.
David Mccafferty: uh with the with your remote control would just navigate through the f
David White: I think I think that will be revol revolutionary. Because all the T_V_ uh the the remote control have all numbers, lots of buttons and then you dunno what to choose in the end.
David Mccafferty: Yeah, yeah.
David White: Yeah.
David Mccafferty: So
David White: Alright.
David Mccafferty: I think for for the technical points we have to to to check how to gather the data from programme or contents and all this
David White: Okay.
David Mccafferty: stuff
Steven Schall: So we have five minutes to
David White: Ah w w we have sometimes to use the white-board.
Steven Schall: Ah you can y you can you
David White: Five
Steven Schall: can
David White: minutes.
Steven Schall: use it if you
Juan Hinds: And
Steven Schall: so,
Juan Hinds: another interesting
Steven Schall: can we
Juan Hinds: idea for this would be to have an light adaptation system depending
David White: Okay.
Juan Hinds: upon the picture of
David White: Okay.
Juan Hinds: So, I mean, if you're watching a movie and suddenly there is a dark uh
David White: Yeah.
Juan Hinds: some dark scene, the
David White: Yeah.
Juan Hinds: lights
Steven Schall: S
Juan Hinds: adapt themself. The lighting in the room changes.
David White: Yeah, but we are designing
Steven Schall: You it.
David White: just remote control.
Juan Hinds: I mean, we have a option in the remote control. If we want to have that option, you
David White: Okay.
Juan Hinds: press that button
David Mccafferty: Oh
Juan Hinds: in the remote.
David Mccafferty: right
David White: Okay,
David Mccafferty: so
David White: do you want to have a conceptual remote control there, or you just want to put the function
Steven Schall: Yeah.
David White: in?
Steven Schall: If if you you you can if you want you can
David Mccafferty: Please,
Steven Schall: use
David Mccafferty: Norman, draw
Steven Schall: th
David Mccafferty: uh
Steven Schall: the.
David White: Go on, draw something.
Juan Hinds: Oh,
David White: Mm.
Juan Hinds: I'm afraid you forgot to put your lapel.
David White: Where is it?
Juan Hinds: The lapel.
Steven Schall: Or before
David White: Ah, okay.
Steven Schall: the before the the design that says.
David White: Where where is it? Here.
Juan Hinds: Yeah, that one. Just plug
Steven Schall: Norman.
Juan Hinds: it. Yeah, that's
David White: Mm.
Juan Hinds: right.
Steven Schall: Be before before writing you can uh
David White: Mm.
Steven Schall: sit and that says what we what we said then after that you can
David White: Okay, alright.
Steven Schall: you can use the.
David White: So
Steven Schall: Yeah.
David White: so the most functional des mm the most important function is to ch choo buttons to choose the content. Right?
David Mccafferty: Okay.
David White: Uh,
Steven Schall: Okay.
David White: uh first one is to uh buttons i or it could be anything with
Steven Schall: Yeah.
David White: buttons. Uh to choose uh content s or channels. So we have both. The user can choose w which one they want,
David Mccafferty: Yeah,
David White: right?
David Mccafferty: by content or by channel, it's
David White: By
David Mccafferty: a good
David White: content
David Mccafferty: idea.
David White: or by channel. Choose by contents or by channels. So And then what did we say just now? Other than this.
David Mccafferty: And
Steven Schall: Mm.
David Mccafferty: uh we we have to find a way how to gather information about the contents.
David White: Okay, so technically how the problems that how to do it is to how to get the content.
David Mccafferty: Yeah.
David White: Challenge.
David Mccafferty: I think i it's not very difficult to to browse by channel but it's a little bit tricky to browse by contents so
David White: Okay. Content. Okay, so these we have to work it out. So this one of the problem. And uh
David Mccafferty: I think that's the the
David White: The main
David Mccafferty: things
David White: thing.
David Mccafferty: to do and uh to
David White: Okay.
David Mccafferty: uh
David White: Alright.
David Mccafferty: reflect about it and uh
David White: Alright, okay. So
David Mccafferty: discuss
David White: we are
David Mccafferty: it
David White: we'll
David Mccafferty: in the next meeting.
David White: discuss it we will get some information in the next meeting, so for now we get uh the funct this is the functional designer? That's the first aspect. Right. We will get information and then we'll come back in.
David Mccafferty: Okay. Thank you everybody.
Steven Schall: Okay.
David White: Yeah, we'll come.
Steven Schall: So maybe we'll meet in maybe five minutes? And
David White: Alright.
Steven Schall: we'll discuss the other
David White: Alright, okay.
Steven Schall: other aspects.
David Mccafferty: Okay.
David White: Thank you,
Steven Schall: Okay.
David White: mis
Steven Schall: Well thank you all. | Steven Schall introduced the project to the group. The group set an agenda for the meeting and discussed the materials sent to them by the Account Manager. They discussed and explained their roles in the project. The group began a discussion about their initial ideas for the product. They discussed several usability features: adding speech recognition and an option to choose what to watch by channel or by content, reducing the number of buttons by using the television screen to display options, and adding a light adaptation system. All participants were instructed to gather more information for the next meeting, the functional design meeting. | 5 | amisum | train |
James Starkweather: So we come again for the the second meeting.
Oscar Irwin: Mm-hmm.
James Starkweather: Uh for the aim of this meeting now is to to make presentation about uh the work for each one. And take the the decision
Oscar Irwin: Okay.
James Starkweather: about the the design and the functionality of the the remote control.
John Lenning: Okay.
James Starkweather: And we have think I got a new project requirement. So I think uh teletext becomes outdated. So
John Lenning: Okay.
James Starkweather: the popularity of the since the popularity of the internet, and I think we don't need lighting adaptive, for the the television. And of course we should have our image in the in the design. So, let's start with the John Lenning.
John Lenning: Yeah, alright. So
James Starkweather: Or
John Lenning: uh
James Starkweather: y you can use the whiteboard
John Lenning: Well I have
James Starkweather: if you
John Lenning: a
James Starkweather: want.
John Lenning: PowerPoint pr presentation stored
James Starkweather: Here.
John Lenning: in my in my personal folder so I I I think you can reach it from here.
David Barton: Just go to explorer. Or open.
James Starkweather: Oh okay.
David Barton: Participant.
John Lenning: Participant two.
James Starkweather: This one.
John Lenning: Yeah.
David Barton: Open uh.
John Lenning: Uh open.
James Starkweather: Do you want to open
Oscar Irwin: Because it's you mean.
John Lenning: Right, so um I will talk about the the w
Oscar Irwin: F_ five.
John Lenning: working design and
David Barton: Slide show, view slide show,
James Starkweather: Ah.
John Lenning: And um well I I will present my my first idea on how to build the our new remote control for television. So uh can you go one page down, please. So I things do is to define the hardware components neededs to achieve uh what we want to do. So uh mm I'm thin uh I think uh I I'll do a survey about what is uh what is available on the market and what what is the the cheapest possible things we hav we can use. Then uh I will try with the technical team to to build a prototype and to see uh with uh h how this little box would uh look look like. And how an and we can uh start troubleshooting first uh com communication problems or things like that. And when we are ready with this first prototype I I think we can add some software functionalities on a programmable chip like browsing by content or um things like that. Okay so can you go down uh So, wha what I think for now is we don't want to have a remote control w which is wired so uh I think we u we can use a battery for the. Then two programmable chips for both software functionalities and communication. And the communication with the T_V_ set is uh made through uh infrared communication So uh this is the the schema of
Oscar Irwin: Did you draw it?
John Lenning: the
James Starkweather: Wow.
John Lenning: o of the future uh remote controls so uh you can you can see the components, uh battery and uh the two chips goes to the infrared uh connection to
Oscar Irwin: This.
John Lenning: the T_V_ set.
James Starkweather: This
Oscar Irwin: What is the other chip for? The one on top.
John Lenning: The one on top is for the um well
David Barton: One is
John Lenning: the
David Barton: a communication.
John Lenning: functionali the functionalities and the the th red um sorry the green one is is to well, putting things together, um f transform the data into uh
Oscar Irwin: For
John Lenning: qu
Oscar Irwin: men.
John Lenning: into the format to
Oscar Irwin: To the
John Lenning: to
Oscar Irwin: in
John Lenning: uh to communicate with the T_V_ set.
Oscar Irwin: Okay.
John Lenning: And, that's it. I think we should use a F_P_G_A_ for
Oscar Irwin: Mm.
John Lenning: for the functionalities which is easy to
Oscar Irwin: What
John Lenning: to
Oscar Irwin: is F_P_G_A_?
John Lenning: t It's field programmable uh something
David Barton: Gateway
John Lenning: array.
David Barton: arrays.
John Lenning: Yeah.
David Barton: It's a field programmable gateway arrays.
Oscar Irwin: So why's it how is it different from the Bluetooth?
John Lenning: Well, uh a F_P_G_A_ is just a chip you
Oscar Irwin: Yeah.
John Lenning: can uh you can
Oscar Irwin: Programme it.
John Lenning: pr
David Barton: Yeah.
John Lenning: programme it uh wi with wh whatever you want.
Oscar Irwin: Okay.
John Lenning: And uh well the Bluetooth chip is just responsible to uh make
Oscar Irwin: Yeah.
John Lenning: the communication uh between
Oscar Irwin: Uh
John Lenning: uh the two devices.
Oscar Irwin: So this are the they have to work together? Or? they have to work
John Lenning: No.
Oscar Irwin: or two
John Lenning: Well, th the F_P_G_A_ will produce the the data to send.
Oscar Irwin: Okay.
David Barton: Or it's something like isn't hardware the first one? And the second one is
Oscar Irwin: Is the
David Barton: for the software.
Oscar Irwin: is the software par
David Barton: Yeah to
Oscar Irwin: alri
David Barton: run
John Lenning: Yeah.
David Barton: th
Oscar Irwin: okay.
David Barton: to make it run. That's
Oscar Irwin: Okay,
David Barton: it.
Oscar Irwin: okay. So you can control if you want, right?
John Lenning: Yeah.
David Barton: No.
John Lenning: Alright and that's it for the working design. So if you have any questions?
Oscar Irwin: Mm.
David Barton: Okay, and how about the battery power? power to the battery comes through infrared?
John Lenning: Uh no no no no, I think uh we have uh to to uh have uh embedded uh b batteries in in the
David Barton: Into the
John Lenning: yeah into the t.
David Barton: more compact and
John Lenning: Yeah,
David Barton: uh
John Lenning: yeah.
David Barton: okay,
John Lenning: And uh I I don't think it will need um very uh
Oscar Irwin: Mm.
John Lenning: much power to
Oscar Irwin: Mm.
John Lenning: make it run, so
David Barton: Yeah, yeah.
Oscar Irwin: Mm.
David Barton: Okay.
Oscar Irwin: You can put it on the charger when uh you when you don't
John Lenning: Yeah.
Oscar Irwin: need to use it.
John Lenning: It's a good idea.
David Barton: Yeah, that's right.
Oscar Irwin: Yeah.
David Barton: Having a charger rather than putting the battery cells
Oscar Irwin: Yeah,
David Barton: always.
John Lenning: Yeah.
Oscar Irwin: yeah.
David Barton: People don't like it to have to
Oscar Irwin: Yeah.
David Barton: buy the batteries when they run out.
Oscar Irwin: Mm.
David Barton: We
Oscar Irwin: Uh
David Barton: just make a small
Oscar Irwin: mm. Y
David Barton: charger
Oscar Irwin: yeah,
David Barton: and put
Oscar Irwin: yeah.
David Barton: it
Oscar Irwin: Because
John Lenning: That's
Oscar Irwin: you
John Lenning: a
Oscar Irwin: are
John Lenning: good
Oscar Irwin: using
James Starkweather: You
John Lenning: idea.
James Starkweather: can i yeah.
Oscar Irwin: because you are using
James Starkweather: Ma
Oscar Irwin: Bluetooth, if some people have P_D_A_ they can use their P_D_A_ to control the T_V_ if they want to, right?
John Lenning: Also, but
David Barton: Bu
John Lenning: but I
Oscar Irwin: I dunno.
James Starkweather: Yeah we can
John Lenning: I
James Starkweather: change
John Lenning: I think
James Starkweather: the
John Lenning: uh the the
James Starkweather: b.
John Lenning: goal is to sell our
David Barton: Our
John Lenning: remote
David Barton: remote,
James Starkweather: Yeah.
David Barton: we do not
John Lenning: control.
David Barton: want to make it P_D_A_.
John Lenning: S okay, so charger for is the.
James Starkweather: Um.
Oscar Irwin: So is mine.
James Starkweather: It's mine.
Oscar Irwin: Oh.
James Starkweather: Participant one, no?
Oscar Irwin: Yeah, this your
James Starkweather: Mm. Oh we have so let's move to to user interface design.
Oscar Irwin: Yeah. So you can open uh
James Starkweather: Participant
Oscar Irwin: three. Yeah. So So I'm working on the technical functions design. can you show the next slide. So the the purpose is to to find uh the important questions to ask is what effect should the apparatus have. So so I found on a webs on the internet
James Starkweather: During the weekend.
Oscar Irwin: yeah. I spent a lot of time searching
James Starkweather: That's
Oscar Irwin: and
James Starkweather: good.
Oscar Irwin: uh and I found that uh the function of remote control is to send messages to television set.
James Starkweather: Mm-hmm.
David Barton: G
Oscar Irwin: For example switch on, switch off, switch the next channel and so on and so on. So I found two very good prototypes for for this interface from our competitors so can you
James Starkweather: This are usual functionality.
Oscar Irwin: Yeah, yeah, yeah. Ours is a bit uh different. So these are two example. One is from the other one is from,
James Starkweather: Tasks.
Oscar Irwin: yeah, uh engineering centr yeah. This is the most competing prototypes I've found. But then uh loo but then I found if you look at you see on the left one there are too many buttons
James Starkweather: And they are small.
Oscar Irwin: Yeah. O on the right I tried to play with the problem is that uh if I have hundred channels I have uh I have to choo press the other button to choose the
John Lenning: Yeah.
Oscar Irwin: hundred channels and I have to compose the number so it's very lousy.
John Lenning: Of
James Starkweather: Mm-hmm.
Oscar Irwin: So you
John Lenning: course.
Oscar Irwin: so you move to the next the next one. Yeah, so I talk about the problem. And then I I look at the user manual they are a hundred pages thick, so we don't want that.
James Starkweather: Yeah.
Oscar Irwin: So I propose the easy to use uh prototype. You can navigate on T_V_ screen and we can the user's preference and we need to have the T_V_ connected to internet so we end in order to access the T_V_ programmes by X_M_L_ and we need some to do some preprocessing. From the technical aspect, the processing should be done on the T_V_ set than on the on the remote controller, right? And then we the speech recognition as uh Harry says we may just put in we may K_I_V_.
James Starkweather: What do you mean by the pa pa processing will be done on the T_V_
Oscar Irwin: Yeah, all the processing
James Starkweather: than the
Oscar Irwin: is done the T_V_ is a compu has some processing power the
John Lenning: So we
James Starkweather: So
John Lenning: have
James Starkweather: we
John Lenning: to
James Starkweather: should
John Lenning: t
James Starkweather: have specific T_V_?
Oscar Irwin: Yeah.
James Starkweather: Or?
John Lenning: We have to
James Starkweather: We
John Lenning: sell
James Starkweather: can
John Lenning: a
James Starkweather: use this.
John Lenning: T_V_ with the remote
James Starkweather: Yeah,
John Lenning: control too.
James Starkweather: we don't
Oscar Irwin: Yeah because are you just wondering what controller
James Starkweather: Yeah, I think
Oscar Irwin: okay.
David Barton: Yeah,
James Starkweather: so.
David Barton: not
James Starkweather: J
John Lenning: I think
James Starkweather: j
David Barton: the T_V_s.
James Starkweather: just the
John Lenning: there
James Starkweather: remote
John Lenning: there is
James Starkweather: control.
John Lenning: there is al there there is a a technology like show view
Oscar Irwin: Yeah.
John Lenning: who is already available on most of the T_V_ set on recorders or thing like that and we can try t to get this information
Oscar Irwin: Okay.
John Lenning: on to the remote control to
David Barton: Yeah.
John Lenning: to do
Oscar Irwin: Yeah.
John Lenning: the processing on the remote control
David Barton: Yeah,
John Lenning: because
David Barton: that's right.
Oscar Irwin: Okay. So i the
James Starkweather: Mm.
Oscar Irwin: processing on on the remote controller
James Starkweather: Yeah,
Oscar Irwin: so it can
James Starkweather: we.
Oscar Irwin: u be used in any T_V_, any conventional T_V_ sets?
James Starkweather: Yeah.
Oscar Irwin: Mm. Okay.
James Starkweather: Speech recognition.
Oscar Irwin: N yeah, that's all. The next one? So I come up with a simple design, just keep the v navigation buttons.
John Lenning: Yes, that's a good idea, I think.
James Starkweather: Keep the
John Lenning: We
James Starkweather: navigation
John Lenning: d we don't we we
James Starkweather: but
John Lenning: don't need really much buttons to i if we have a screen to navigate on
Oscar Irwin: Yeah.
John Lenning: on the T_V_ so uh
Oscar Irwin: Yeah.
John Lenning: Well, f four five buttons, it's
Oscar Irwin: Yeah.
John Lenning: sufficient.
Oscar Irwin: Mm.
John Lenning: It's easy to build,
David Barton: Yeah,
John Lenning: it
David Barton: that's
John Lenning: does
David Barton: right.
John Lenning: not consume much power.
Oscar Irwin: Okay, that's
David Barton: Oh,
Oscar Irwin: all.
David Barton: but you have a catch there, um assume that um if you want to go to if you are watching channel two and if you want to go to channel ninety nine, then.
John Lenning: Well, then y you you go to the main menu and uh you have uh go to channel and
Oscar Irwin: Mm.
John Lenning: then
Oscar Irwin: Mm.
John Lenning: uh you
Oscar Irwin: No,
John Lenning: can
Oscar Irwin: because you choose by channel, so
John Lenning: Yeah.
David Barton: Uh-huh huh
Oscar Irwin: you choose
John Lenning: Maybe
David Barton: huh huh.
Oscar Irwin: by T_V_
John Lenning: you.
Oscar Irwin: program so you don't have hundred channels to choose from.
David Barton: Mm-hmm hmm
Oscar Irwin: If you
David Barton: hmm.
Oscar Irwin: go by channel, you don't have to do that.
John Lenning: but uh
David Barton: But
John Lenning: I I think i
James Starkweather: So you are
John Lenning: i if you if you want to to make uh
Oscar Irwin: Ah.
John Lenning: well a a big jump
Oscar Irwin: Ah,
David Barton: Yeah
Oscar Irwin: a big
David Barton: then
Oscar Irwin: jump.
John Lenning: but
David Barton: yeah that's right.
John Lenning: uh well you you have to to have a a a device when you could you could
Oscar Irwin: A mouse or
John Lenning: Well, not a mouse but uh something that that says more clearly that uh right, left, up, down,
Oscar Irwin: Yeah.
David Barton: Mm hmm
John Lenning: well,
David Barton: hmm. Okay.
James Starkweather: Mm.
John Lenning: the to have the ability to to to write something to the navigator, maybe directly, or
David Barton: Okay.
John Lenning: So,
Oscar Irwin: Mm.
John Lenning: we can think of buttons like in the telephone to send messages or things like that.
Oscar Irwin: Mm-hmm.
John Lenning: But
James Starkweather: How
John Lenning: we'll
James Starkweather: the
John Lenning: see.
James Starkweather: this remote?
Oscar Irwin: Uh it's gonna be small.
James Starkweather: Yeah, of course
Oscar Irwin: Yeah. So it'll beep
James Starkweather: small.
David Barton: too small that it goes
Oscar Irwin: if
David Barton: under
Oscar Irwin: you
David Barton: the sofa
Oscar Irwin: wanna
David Barton: and we can't find
Oscar Irwin: find it you just
David Barton: it.
Oscar Irwin: uh shout y h just it just has to re respond to you when you look for the device.
David Barton: Yeah, that's.
Oscar Irwin: I dunno how
David Barton: just give it a name
Oscar Irwin: bu
David Barton: and we call him.
Oscar Irwin: And responds to you,
David Barton: Yeah,
Oscar Irwin: and
David Barton: that's right. Yeah, that's right.
John Lenning: Okay, so uh next presentation
James Starkweather: Participant four.
James Starkweather: So Harry.
David Barton: Okay, after having the inputs from industrial design and user
John Lenning: Mm.
David Barton: interface, I think most of the points which I want to are already covered here. And to find the most interesting features what the users would be interested, then what we have done is we have put a feedback forms in all the magazines, and the users send the feedbacks, and based on that These are the findings which we got and yeah adding of a speech interface is always good for a T_V_ remote but the technology We already know that as
John Lenning: Well
David Barton: discussed
John Lenning: I I
David Barton: earlier
John Lenning: think it will be a, yes, a bit complicated to um make a speech recognisers runs on the small uh ts
David Barton: An it
Oscar Irwin: I-
David Barton: does how
Oscar Irwin: mm.
David Barton: feasible it is.
Oscar Irwin: But I think if you to recognise numbers it's a well-studied problem. I if you just recognise uh numbers is a limited you have limited
David Barton: Oh
Oscar Irwin: vocabulary
David Barton: we can put an limited vocabulary as in the mobile phones.
John Lenning: Yeah.
David Barton: We just have the
Oscar Irwin: Mm. Yeah.
John Lenning: so it's a good idea.
David Barton: it's not going to take much space also. It's going to be very slim.
Oscar Irwin: Mm.
David Barton: And
Oscar Irwin: Mm.
David Barton: next one was the size of the remote control. It has to be of course a very slim and small one. And of course most of the people are interested in if it's less expensive,
Oscar Irwin: Mm.
James Starkweather: Mm-hmm.
David Barton: so this is an important criteria here
Oscar Irwin: But
David Barton: is
James Starkweather: But do you think what they sug suggested s possibility.
David Barton: I mean
Oscar Irwin: Mm.
David Barton: we have to look for a trade-off. The
Oscar Irwin: Yeah.
David Barton: features and the cost.
Oscar Irwin: I
James Starkweather: Yeah.
Oscar Irwin: no I I think that uh i if we go for quality people may tolerate for high quality and of course comes with uh reasonable cost. Maybe not less, but they may be willing to pay
David Barton: Little bit more
Oscar Irwin: little
John Lenning: Yeah.
David Barton: if
James Starkweather: It
Oscar Irwin: bit
David Barton: it's
Oscar Irwin: more for
David Barton: with extra
Oscar Irwin: comfort,
David Barton: features.
James Starkweather: Yeah.
Oscar Irwin: yeah, extra features.
John Lenning: Yeah, s
David Barton: Okay.
John Lenning: s speech is a important extra feature I
David Barton: Yeah,
John Lenning: think
Oscar Irwin: Mm.
David Barton: yeah. That's right.
James Starkweather: But is
Oscar Irwin: Yeah.
James Starkweather: it useful or not u
John Lenning: Well,
James Starkweather: I don't
John Lenning: uh
James Starkweather: know. There is in
David Barton: I mean, for
James Starkweather: the
David Barton: a lazy guys they could say nine and the nine channel comes. Or they say movie name or I don't go for movie names but only for the numbers on the channel, or volume up, volume
Oscar Irwin: Mm.
David Barton: down, brightness, contrast.
Oscar Irwin: Mm.
James Starkweather: Mm.
David Barton: So, I think this should be a good idea, to put this features. And the fourth one was the teletext in various languages.
John Lenning: we we just have to find a mean how to
David Barton: Mm,
John Lenning: to
David Barton: I
John Lenning: add
David Barton: think
John Lenning: a m a a a microphone or uh well yes a microphone into the the remote control, so I well
James Starkweather: I think
John Lenning: it
James Starkweather: i
John Lenning: will be alright.
Oscar Irwin: What is the teletext?
James Starkweather: If it's necessary can you can
Oscar Irwin: Mm.
James Starkweather: do that. We can integrate small microphone in the
John Lenning: Yeah.
James Starkweather: remote so it's not really a problem.
John Lenning: Okay.
James Starkweather: What about lighting adaptive options?
David Barton: Yeah as discussed
James Starkweather: According
David Barton: in the earlier
James Starkweather: to the
David Barton: meeting,
James Starkweather: re to the new
David Barton: but
James Starkweather: requirements I think we
David Barton: I
James Starkweather: don't
David Barton: think
James Starkweather: need
David Barton: uh
James Starkweather: that.
David Barton: not much people are really
James Starkweather: Yeah.
David Barton: interested in this point if it's not really
Oscar Irwin: It
David Barton: required.
Oscar Irwin: is interesting but we are only concerned with the remote controller.
James Starkweather: Mm.
Oscar Irwin: So you need s special T_V_ sets to do that? Or it's it's done via this remote controller? It's
David Barton: I
Oscar Irwin: very
David Barton: mean
Oscar Irwin: complex.
John Lenning: Yeah, I think it's a bit complex too
David Barton: I mean yeah, it's for the um industrial design and users interface designers to decide
Oscar Irwin: Mm.
David Barton: if it's going to be working or not.
John Lenning: For our next product, our
David Barton: I
John Lenning: new
David Barton: think
John Lenning: T_V_ set with
Oscar Irwin: Yeah,
John Lenning: uh
Oscar Irwin: then we can conclude
John Lenning: automatical
Oscar Irwin: that.
John Lenning: uh sound
Oscar Irwin: Yeah.
John Lenning: adjustment
Oscar Irwin: Yeah,
John Lenning: light
Oscar Irwin: but it's quite possible but maybe not in this project.
James Starkweather: So we have I think we have s still we have couple of minutes. Mm-mm.
James Starkweather: So any things to to discuss?
David Barton: I
James Starkweather: Or
David Barton: think
James Starkweather: any
David Barton: as I
James Starkweather: suggestions?
David Barton: discussed th that four points would be good for um marketing. The speech interface and uh less uh
James Starkweather: Expensive.
David Barton: reasonable
James Starkweather: Price.
David Barton: uh cost.
Oscar Irwin: Mm.
David Barton: And the lighting adaptation and the teletext.
Oscar Irwin: Mm.
David Barton: And regarding the teletext uh these are the subtitl these are the text information which you got on the televisions.
Oscar Irwin: Okay.
David Barton: If you are watching an foreign movie,
Oscar Irwin: Yeah.
David Barton: you get subtitles sometimes.
Oscar Irwin: Okay.
David Barton: And uh if
Oscar Irwin: Mm.
David Barton: you are a French guy watching an English movie you would like to have it in French. And if I am a German then I would like to have the my options in German. So, the remote it should have some
John Lenning: Function.
David Barton: it should give David Barton some flexibility of choosing the ch languages. That should be a good uh point.
John Lenning: Yeah, but well what about the the new project's requirement? I I I think we should
James Starkweather: I think we
John Lenning: give
James Starkweather: we
John Lenning: up
James Starkweather: can
John Lenning: with teletext,
James Starkweather: we
John Lenning: no?
James Starkweather: is
John Lenning: Yes.
James Starkweather: the.
John Lenning: Well, so maybe we we can j we can already think uh about a way to to access the internet via the television.
Oscar Irwin: Mm.
John Lenning: Because if
Oscar Irwin: Using the T_V_ to access the internet? Or what? I didn't quite understand
John Lenning: Yeah, but
James Starkweather: Yeah.
John Lenning: uh we can think that in a few years there will be T_V_ set that can access the internet.
Oscar Irwin: Yeah, okay.
John Lenning: So
David Barton: We already
John Lenning: it's
David Barton: have
John Lenning: a good
David Barton: some.
John Lenning: idea if i i if we i if if we uh think about how to to to build up our remote uh control w with this functionality in a w which will c which will come in a few years. So if we already have it in our
James Starkweather: So you have to
John Lenning: remote
James Starkweather: anticipate
John Lenning: control
James Starkweather: the the future?
John Lenning: Yeah.
Oscar Irwin: Yeah. The future
John Lenning: Yeah.
Oscar Irwin: demand, market demand.
David Barton: Yeah,
John Lenning: Yeah, to desi
David Barton: that's right.
John Lenning: well, not not to implement it, but to well, to find a way to to add
Oscar Irwin: The
John Lenning: to
Oscar Irwin: functionality
John Lenning: add this functionality in a
Oscar Irwin: in the future.
James Starkweather: In future.
John Lenning: yeah,
Oscar Irwin: Alright.
John Lenning: in an in an easy manner, if is possible.
Oscar Irwin: Yeah. Because all the T_V_ sets will be digital, right. All the programmes, everything will be in digital than analog. Th the system will change and
John Lenning: Yeah, yeah.
Oscar Irwin: we have to anticipate for those change.
David Barton: Yeah,
John Lenning: Okay.
James Starkweather: Okay.
John Lenning: So
James Starkweather: So let's go for the the lunch break, and
John Lenning: Okay,
James Starkweather: we will
John Lenning: thank
James Starkweather: meet
John Lenning: you.
David Barton: Okay,
Oscar Irwin: Okay.
David Barton: thank you.
James Starkweather: after.
Oscar Irwin: Thank you. | James Starkweather presented the goals of the meeting and new product requirements. John Lenning presented the internal components of a remote control and showed a diagram of how they operate together. He suggested that field programmable gateway arrays be used for the chip controlling software functionalities, and it was suggested that the remote be used with a recharging stand. Oscar Irwin gave a presentation on the technical functions of the remote, and displayed the interfaces of two existing products for comparison. He showed that the competitors' remotes were too complicated. He suggested that the televisions that the remotes are used with connect to the internet to access downloadable programs. He suggested a simple design with few buttons, small size, and a locator function. David Barton presented several characteristics important to users. He discussed using speech recognition and ways to make it feasible for the project, small size, low price point, and incorporating teletext in different languages. The group discussed the new requirement that required them to omit teletext from their design, and discussed the possibility of using the remote to access the internet through the television. | 5 | amisum | train |
Carlton Phung: I'm
James Hernandez: Welcome
Carlton Phung: sorry
James Hernandez: back.
Carlton Phung: to be late.
James Hernandez: Welcome back everybody.
John Kline: Yeah. Thanks.
James Hernandez: So this meeting agenda will be the detailed design meeting. And uh opening and uh P_M_s of the meet minutes, uh prototype presentation from uh Christine and uh Agnes.
Carlton Phung: Agnes, yes.
James Hernandez: Yes and uh evaluation criteria. The finance, it's uh from my side, from the management, and uh production evaluation. Then uh closing. So we have forty minutes to discuss and uh finalise and close the product and project and to move further, okay, so Okay, let's talk about maybe first uh for the prototype.
John Kline: Mm, okay.
James Hernandez: So I handle to
John Kline: I've done presentation, but it pretty much covers work that we've both done, so if I'm missing anything, Christine
James Hernandez: So
John Kline: can
James Hernandez: shall
John Kline: just
James Hernandez: I go to
Carlton Phung: Uh thank
John Kline: correct
James Hernandez: sorry.
Carlton Phung: you,
John Kline: Robert Dortch.
Carlton Phung: so you did a
James Hernandez: Yep.
Carlton Phung: PowerPoint
James Hernandez: S
Carlton Phung: presentation, good for you.
James Hernandez: Okay, let's go to A_M_I_.
John Kline: It's not the biggest PowerPoint presentation in the world, but
James Hernandez: So in two or three or
John Kline: Three. Um. No
Robert Dortch: Probably.
John Kline: it's think it's the last
Robert Dortch: Technical
John Kline: one.
Robert Dortch: pa I would think.
John Kline: No, then this is the la yeah, that
Robert Dortch: Ha.
John Kline: one, final design.
James Hernandez: Yeah.
John Kline: It is named appropriately, you just couldn't see the name. Um okay I have
James Hernandez: Yes.
John Kline: Thanks. Alright, so from when we were discussing specifying the case in the last meeting, we decided that we wanted an ergonomic shape, the material that we chose was wood, and uh the colour would be customisable, 'cause you can stain the wood whatever colour. Um, so in terms of function, you have to be able to turn the T_V_ on and off, volume and channel control, menu control, voice recognition control, and we've incorporated the L_C_D_ screen on the flip panel as part of the design, if we figure out it's too expensive, well then you just take it off. Um, so to unveil our lovely product. This is our remote control, with the flip panel as you can see. So if you lift up the panel, you can see the lovely yellow L_C_D_ display. Um, this is actually hard to do. The yellow button you have is the on off button, so it's really big, hard to miss. You have the the red um triangles are the toggles for changing the volume. So up volume up, down volume down. The green are the channel changing. S And it's one of those very light, very touchable displays. And then you have the numeric pad in the dark blue at the bottom, and on the right-hand side you have the access to the menu on the T_V_, and on the left-hand side you have the the the ability to turn off the voice recognition. So this is pretty much what we had on the white board the last time.
James Hernandez: Mm-hmm.
John Kline: So.
Carlton Phung: Um and uh
John Kline: Oh
Carlton Phung: I
John Kline: yes.
Carlton Phung: could Yeah the
John Kline: Additional
Carlton Phung: d
John Kline: feature on the back is that you can have your own customised backing and I suppose you could do the same thing on the flip case on the front. So that you can really make this a highly highly customisable remote control.
Carlton Phung: We haven't um uh specified where the speaker or the microphone will be placed. That depends on the uh s design of the circuit board inside and uh what room is left um
John Kline: Yeah.
James Hernandez: I think the microphone is on on the top, uh
Carlton Phung: Yes,
James Hernandez: on the middle,
Carlton Phung: okay.
James Hernandez: the under the flip.
Carlton Phung: Uh-huh.
James Hernandez: So that will be the safe, so p any the chip it's not on the chip because you need to have microphone to
Carlton Phung: No, I mean it depends on the design of the circuit board.
James Hernandez: Yes.
John Kline: But it shouldn't be under the flip either, because you can have the remote control closed, but you still might want to
James Hernandez: Uh it's
John Kline: activate
James Hernandez: it's
John Kline: it by voice.
James Hernandez: Yeah, but uh uh my opinion I think it's better under the flip because whenever you want to uh the talk, okay, so then you can speak then you can close it. But if you put it on the on the flip, okay, then uh technical I don't think it's uh feasible, 'cause most of the time you speak then it will be recognised.
John Kline: But if you've already got the remote control in your hand you need to open the flip to use the voice, why use the voice, why not just use your hand? I mean the whole point of the voice is that if the remote control is sitting there and I'm too lazy to reach over and pick it up, I can just use my voice.
Carlton Phung: Maybe I've got my hand in the popcorn bowl and I'm holding my cup of Coca-Cola in the other hand.
John Kline: Yeah. And you
Robert Dortch: I
John Kline: don't
Robert Dortch: don't
John Kline: wanna let
Robert Dortch: wanna
John Kline: go
Robert Dortch: say.
John Kline: of either one.
Robert Dortch: Louder. Yeah.
John Kline: I mean it doesn't have to be on the flip, it can be on the side
Robert Dortch: Can
John Kline: somewhere.
Robert Dortch: also be on the side.
James Hernandez: Yeah, the sides maybe
John Kline: Yeah.
James Hernandez: is good. So That's good idea.
Carlton Phung: Mm-hmm.
John Kline: So, I mean I can pass this around if
James Hernandez: Yes.
John Kline: anyone
James Hernandez: So it's
John Kline: wants
James Hernandez: maybe good
John Kline: to
James Hernandez: idea.
Carlton Phung: Yeah, y better you pass it around with a napkin.
Robert Dortch: No, because y you can easily put a microphone on the side that would have
John Kline: Yeah.
Robert Dortch: no problem
James Hernandez: Yes.
Robert Dortch: would haven't been not be damaged or anything, and it'd
James Hernandez: Yeah.
Robert Dortch: be accessible all the time to voice.
John Kline: Yeah, exactly.
Robert Dortch: Yeah.
James Hernandez: So it's maybe good idea. S s
Carlton Phung: It's um
Robert Dortch: Compliments to the artist.
Carlton Phung: It's um You need to work on the weight a little bit.
John Kline: Yes.
Robert Dortch: Uh.
James Hernandez: Okay. S I'm
John Kline: And maybe
James Hernandez: fine,
John Kline: the shape
James Hernandez: I'm satisfi
John Kline: of the buttons, the little
James Hernandez: I'm satisfied.
John Kline: egg shapes aren't the most economical,
Carlton Phung: We're glad
James Hernandez: Of course
Carlton Phung: you're
James Hernandez: it's
Carlton Phung: satisfied.
John Kline: but
James Hernandez: it's it's looks more heo heavy, but I think when it's completely maybe it's a less weight.
John Kline: Yeah. I mean this is plasticene. There's
James Hernandez: Yes.
John Kline: only so much you can do. We could have possibly made it a lot thinner as well. But And part of the thing is m a lot of people say that they don't like something that's too light, because they don't feel like they have enough control over it.
Carlton Phung: Mm-hmm.
John Kline: So I mean maybe this is excessively heavy, but I think it needs to have some weight, it needs
James Hernandez: Yep.
John Kline: to feel like you're still holding something. So that's pretty much it for our presentation actually.
James Hernandez: That's your uh prototype model?
John Kline: Yeah.
James Hernandez: Okay, that's good, thank you very much. So any comments or uh
Robert Dortch: Well, the prototype is very within the design and ideas that we've we've about on previous meetings.
James Hernandez: Okay.
Robert Dortch: Now it goes into this next phase as the financial
James Hernandez: Yes, that
Robert Dortch: uh marketing
James Hernandez: uh
Robert Dortch: uh
James Hernandez: So I'll come back to the
James Hernandez: So evaluation criteria, I think uh that will be good, so then let's come to the finance uh, I have some uh calculations which I made uh as for uh the budget. So here you can uh look like uh the energy and uh dynamo and uh kinetic and solar cells. Uh it's optional, somewhat optional and Ed wants the chip on print, that's what uh we were talking about that. So then we have sample sensor and sample speaker, then uh we have the wood material, then special colour and push button. So it's uh actually, our budget was uh twelve point five Euro, but uh it's coming to nine point nine five Euro, so we are under uh below the budget, okay, so still we are saving some money. I think it's a good figure.
Carlton Phung: Yes, great I I'm surprised. Congratulations.
James Hernandez: Than thank you.
Robert Dortch: Well we haven't come to mine yet, so
Carlton Phung: Oh, okay.
Robert Dortch: we're
Carlton Phung: It's
Robert Dortch: gonna have a
Carlton Phung: gonna
Robert Dortch: bit
Carlton Phung: cost
Robert Dortch: of
Carlton Phung: a
Robert Dortch: difference
Carlton Phung: long
Robert Dortch: of opinion,
Carlton Phung: way
Robert Dortch: yes.
Carlton Phung: to c you know, cost a lot of money to market it, is it?
James Hernandez: So maybe it's for some money we can utilise for our uh marketing, for the sales, okay, and uh
Robert Dortch: Well, it just depends on if we're gonna add a o on this pr provisionary cost analysis, we do not have a L_C_ display. L_C_ display is gonna be very expensive,
John Kline: No
Robert Dortch: it's gonna
John Kline: we do,
Robert Dortch: be
John Kline: but it's not filled in. It's
Robert Dortch: It's
James Hernandez: It's
Robert Dortch: not
John Kline: number
Robert Dortch: it doesn't
John Kline: thirty.
Carlton Phung: Thirty.
Robert Dortch: say.
James Hernandez: not.
Robert Dortch: We don't
James Hernandez: Yeah.
Robert Dortch: have the price
John Kline: Oh,
Robert Dortch: up
John Kline: yeah,
Robert Dortch: there,
James Hernandez: Yeah.
John Kline: yeah, you're
James Hernandez: Yeah.
Robert Dortch: okay,
John Kline: right, sorry,
Carlton Phung: Yeah.
James Hernandez: Yeah.
John Kline: yes.
Robert Dortch: so if we add approximately two to three Euro per remote, now we're up around about twelve, twelve and a half as to what uh the company had initially uh requested.
Carlton Phung: So that
Robert Dortch: Um
Carlton Phung: means we can put the uh
Robert Dortch: Display
Carlton Phung: the L_C_D_
Robert Dortch: in.
Carlton Phung: in, yeah.
Robert Dortch: But as far as production um I'm putting up a question because we're talking about profit also, and in mine you'll see uh the problem with uh our survey, the p the possibility that how many units can be sold, what percentage of the market, etcetera etcetera because that has to be taken in into consideration. Uh this is just production cost, it is not uh advertising cost, it's not transportation cost uh
James Hernandez: Yes, so still uh we have twelve point five
Robert Dortch: And
James Hernandez: Euro.
Robert Dortch: that will inflate
James Hernandez: Yes.
Robert Dortch: quite a bit the cost of the uh
James Hernandez: Yeah,
Robert Dortch: the
James Hernandez: but
Robert Dortch: cost of the unit
James Hernandez: Yes.
Robert Dortch: for the company.
James Hernandez: Yep.
John Kline: Um-hmm.
Robert Dortch: So to come up with what the company wants is a fifty million Pound profit, we're gonna have to go a long ways.
James Hernandez: Yes. This we are talking about one unit, okay, so
Robert Dortch: Yes.
James Hernandez: when it go into the quantity, okay, and the cost will come down.
Robert Dortch: Slightly.
Carlton Phung: Although customisation, because this is being done, you know, the on on-order basis,
James Hernandez: Yeah.
Robert Dortch: It's
Carlton Phung: it
Robert Dortch: gonna
Carlton Phung: might
Robert Dortch: be very
Carlton Phung: be
Robert Dortch: hard
Carlton Phung: uh
Robert Dortch: to
Carlton Phung: the the quantity
John Kline: Yes.
Robert Dortch: reduce.
Carlton Phung: won't m won't uh the circuit board will b you're right, would be in producing quantity, but the cost of the case would uh be fixed at the Uh you got some pretty cheap labour that can do this case for one Euro.
Robert Dortch: That's
Carlton Phung: That's
Robert Dortch: not bad.
Carlton Phung: really that's the cost of the material
James Hernandez: Yep.
Carlton Phung: and lab wow, that's
James Hernandez: Yeah.
Carlton Phung: really outstanding.
James Hernandez: But anyhow, still we are under control, okay, so what uh I will do is I will try to negotiate with the vendors, okay, to get uh the production cost less, okay, so then we can save some money, okay, to put into th our marketing or uh you know the promotions, whatever, okay, so that uh I will look after. I will speak to the management and how to get uh you know some more uh cost down.
Robert Dortch: If we can go to to my display. And we'll come back to yours
James Hernandez: Yes.
Robert Dortch: just to give everybody an idea of the market. So now I'm gonna scare everybody out of this project. If I'm still here.
James Hernandez: You're in four?
Robert Dortch: Yep. The four gives Robert Dortch it's gotta be uh
James Hernandez: TrendWatch.
Robert Dortch: TrendWatch.
Carlton Phung: Is this the same one you did before?
Robert Dortch: No.
Carlton Phung: Okay.
Robert Dortch: It shouldn't be if
John Kline: That's
Robert Dortch: it's not it's not the right one.
John Kline: no,
Robert Dortch: No,
John Kline: I think
Robert Dortch: no
John Kline: it's the
Robert Dortch: we
John Kline: same
Robert Dortch: g
John Kline: one.
Robert Dortch: no, that's the same one. You have to go back and find another one. Whatever name it popped up under. Uh
John Kline: Functional.
Robert Dortch: functional, try functional, it might not be it either, but we'll see.
John Kline: It looks like it, there's
Robert Dortch: Yep, that's
John Kline: S
Robert Dortch: it.
John Kline: Yeah.
Robert Dortch: So we'll go screen by screen.
James Hernandez: Okay.
Robert Dortch: Although since uh we need to have some type of idea on a market uh we had independent study that says it this this market has an availability to absorb eight mi eight million units per year. Okay? Our internal company evaluation puts it between eight to nine million which is approximately the same as the independent study.
James Hernandez: Yep.
Robert Dortch: So if we continue, we'll look at the findings. Next screen. Which means that uh if we have a target of two million would the company has to take twenty five percent of the market in the first year,
James Hernandez: Mm-hmm.
Robert Dortch: which is actually a tremendous amount.
Carlton Phung: Yeah, no kidding.
Robert Dortch: No kidding, yeah.
Carlton Phung: Mayb maybe they already expected
Robert Dortch: So,
Carlton Phung: something.
Robert Dortch: if we put an inflated price of fifty Euro at a production cost that cannot exceed twenty-five Euro, okay, we're already in that that price,
James Hernandez: Yes.
Robert Dortch: okay, with transport, promotion, labour, because we hav gi included the promotion in the cost,
John Kline: Um-hmm.
Robert Dortch: transport for the material to the stores or whatever how however we're gonna break this down between our our retailers. Twenty-five percent of the market to get to two million units. At two million units, we have to have a profit of twenty-five Euro per unit to get to the fifty million unit Eu
James Hernandez: Mm-hmm.
Robert Dortch: Euro profit.
James Hernandez: Yep.
Robert Dortch: Okay? So, obviously we w w I just did a run down the evaluation of the form, the fan uh the fancy stylishness of the of the unit, the ease of use, speech recognition, cost, we've gone through these. Now, the company must evaluate the feasibility of being able to take enough of the market to justify in production. Or we project this over two years, but being that the market changes very very quickly, maybe
James Hernandez: Yes.
Robert Dortch: there's no more interest in buying this thing in eighteen months from now.
James Hernandez: Yep.
Robert Dortch: So,
James Hernandez: Of
John Kline: Mm.
James Hernandez: course.
Robert Dortch: now we have to come up with a decision. Can the company sell two million units?
James Hernandez: Yep.
Robert Dortch: Can it sell it for
Carlton Phung: Could
Robert Dortch: fifty Euros?
James Hernandez: Yep.
Carlton Phung: could I go to findings? Uh uh um I would uh like to explore the possibility of using um alternative um delivery and sales channel which would be um to use the internet
James Hernandez: Yes.
John Kline: I was thinking the same
Carlton Phung: for
John Kline: thing,
Carlton Phung: promotion
John Kline: yeah.
Carlton Phung: and ordering and then to drop-ship the p product to the customer's
John Kline: Directly.
Carlton Phung: residence. That way you have no storage, you have no um you do have transportation,
John Kline: Um-hmm.
Carlton Phung: still have the labour cost, but you don't have the transport to the uh point of sale.
James Hernandez: Yes.
John Kline: Yeah.
Carlton Phung: The point of sale is
James Hernandez: To the
Carlton Phung: online.
James Hernandez: agents.
John Kline: Yeah. You can do a shipping centre somewhere, or strategically place shipping centres
Carlton Phung: Right,
John Kline: to minimise
Carlton Phung: like Amazon.
John Kline: distance
Carlton Phung: In fact,
John Kline: costs.
Carlton Phung: we
James Hernandez: Yes.
Carlton Phung: should sell through Amazon, don't you
James Hernandez: Or
Carlton Phung: think?
James Hernandez: eBay, or
Carlton Phung: Or eBay, yeah.
James Hernandez: Yes.
John Kline: Yeah.
Carlton Phung: There's an idea. Going
James Hernandez: Yeah, that's a good
Carlton Phung: with
James Hernandez: idea.
Carlton Phung: um
James Hernandez: To impro more profit
Robert Dortch: S
James Hernandez: and
Robert Dortch: Upscale
James Hernandez: uh
Robert Dortch: technology.
James Hernandez: Yeah, yes.
Carlton Phung: Ah, we we're do you know, selling a
Robert Dortch: Well.
Carlton Phung: unique product uh.
John Kline: That actually makes more sense if we're gonna make it so highly customisable, 'cause on the web people can look at the different options they have, see maybe what other people have done, what
Carlton Phung: Mm.
John Kline: the range of possibility
Robert Dortch: There are several
John Kline: as,
Robert Dortch: companies
John Kline: whereas
Robert Dortch: that
John Kline: if
Robert Dortch: have gone
John Kline: you're
Robert Dortch: that
John Kline: in a store,
Robert Dortch: way.
Carlton Phung: Mm.
John Kline: you can't unless you're a highly imaginative person, you may not really know what it is you want, whereas on the web, if you have a bunch
Carlton Phung: Mm-hmm.
John Kline: of pictures, it can sort of trigger ideas and
Carlton Phung: And you can even have an a movie that you can rotate the object and look at the
John Kline: Yeah.
Carlton Phung: di the only thing that you're missing really is the
John Kline: The
Carlton Phung: weight.
John Kline: weight
Robert Dortch: Weight,
John Kline: and feel.
Robert Dortch: the feel of the
Carlton Phung: Mm.
Robert Dortch: product,
John Kline: Yeah.
Robert Dortch: but
Carlton Phung: We're getting used to that. It's not quite like trying on a shoe, but people
John Kline: Yeah.
Carlton Phung: are getting used to buying things online that they can't touch
John Kline: Yeah.
Carlton Phung: before
Robert Dortch: There are several
Carlton Phung: buying.
Robert Dortch: that have gone through with the watches, too. You can customise a watch, you can see how it is at the f
John Kline: Mm-hmm.
Robert Dortch: at the end of the production,
Carlton Phung: Uh-huh.
Robert Dortch: you can change it uh There's a lot of online that's that is doing
John Kline: Yes.
Robert Dortch: this now. And when you're rotating, you'll look behind and look this way uh it's possible to do with this,
James Hernandez: Yeah.
Robert Dortch: know, feasibili feasibility uh lower the price of the unit.
John Kline: Mm-hmm.
James Hernandez: We can.
Carlton Phung: Great.
James Hernandez: I don't think that's uh not possible, it's uh okay then, l uh let's wait for the production, okay, then uh you can evaluate the product, so how it looks like technically and uh how it look like uh the real.
John Kline: What turnaround time do we have?
James Hernandez: T
John Kline: 'Cause I mean production evaluation can
James Hernandez: Oh
John Kline: be
James Hernandez: but
John Kline: very very quick or very very
James Hernandez: Yes
John Kline: long.
James Hernandez: it's it's very quick, of course. It will uh come back in two weeks, okay, it will be ready in two weeks.
Carlton Phung: Works for Robert Dortch.
James Hernandez: For evaluation, okay.
Carlton Phung: Prototypes, you mean.
James Hernandez: Yes, the
Carlton Phung: In
James Hernandez: prototype
Carlton Phung: um
James Hernandez: uh prototype product evaluation.
Carlton Phung: We probably should do some market tests
James Hernandez: Yes.
Carlton Phung: uh once we have the prototypes
Robert Dortch: Well, obviously.
James Hernandez: Yes.
Carlton Phung: and do some orders
John Kline: Yeah.
Carlton Phung: and things like
James Hernandez: Yes.
Carlton Phung: that and test-market it.
Robert Dortch: Mm that'd
James Hernandez: Yeah.
Robert Dortch: have to be thrown out on the market for people to get an idea, to
James Hernandez: So
Robert Dortch: see
James Hernandez: you can take
Robert Dortch: get
James Hernandez: a
John Kline: Mm-hmm.
James Hernandez: minimum two
Robert Dortch: get
James Hernandez: weeks
Robert Dortch: their
James Hernandez: to a maximum four weeks. Yeah.
John Kline: it's not a trivial task.
James Hernandez: Yeah, because we we are not going to do it in uh our factory, okay, so we can
John Kline: No
James Hernandez: give it
John Kline: no.
James Hernandez: a product
John Kline: We
James Hernandez: evalua
John Kline: definitely shouldn't do it
James Hernandez: Yes,
John Kline: in our factory.
James Hernandez: yes. So we'll do it in the other place, and I don't think it's take more than four weeks time. Or uh Okay, so then the real production we will start once we product evaluation, okay then, uh it's approve from uh the technical team and uh your team, okay, uh from the management, then we can launch in the market. Hm?
Carlton Phung: Any outstanding?
James Hernandez: S Any any other uh questions or uh comments to be discuss?
Carlton Phung: No,
John Kline: What ab
Carlton Phung: I'm
Robert Dortch: I think we
Carlton Phung: go
Robert Dortch: pretty
Carlton Phung: ahead.
Robert Dortch: much covered everything.
James Hernandez: Okay, so then
Carlton Phung: Did you
James Hernandez: uh
Carlton Phung: have something?
John Kline: Well I was just wondering about if we're gonna do a product evaluation then what about time for redesign if the users come back and tell us no this is bad, this is bad, we want this done differently.
James Hernandez: Okay uh, let's take like this. Let's proceed with this model, okay, for the for the marketing direction, okay. So no more changes will be made, okay, in this the basic design. Okay? So we will introduce m this model and uh let's introduce in the market and let's take the feedback from the customers, then we can uh go for the
Carlton Phung: Second generation.
James Hernandez: second generation. Okay. There's no end, there's not limit.
John Kline: The problem is there
James Hernandez: Every
John Kline: might not
James Hernandez: every
John Kline: be a second
James Hernandez: custom
John Kline: generation if the first generation
Robert Dortch: Well, then it
John Kline: flops
Robert Dortch: may not be.
John Kline: for some silly reason
James Hernandez: Okay. Well, every
John Kline: that
James Hernandez: customer,
John Kline: we haven't thought
James Hernandez: okay,
Robert Dortch: Like
John Kline: of.
Robert Dortch: people
James Hernandez: they have
Robert Dortch: don't
James Hernandez: their
Robert Dortch: like
James Hernandez: own
Robert Dortch: wood.
James Hernandez: ideas, they have their own test, okay, so there's no end, there's no limit.
John Kline: No, but there's a difference between releasing a product that has been minimally tested and fine-tuned to suit a general range of requirements versus releasing a product that we think will work but we don't really have anything to back
Robert Dortch: very
John Kline: it
Robert Dortch: specific.
John Kline: up.
James Hernandez: Yeah, so that's the reason you are here for uh the design, okay, I hope you made a
John Kline: Yes,
James Hernandez: good design.
John Kline: but I'm not everybody. I mean the whole point of user evaluation is to see what real people need. We have our own motivations in mind, we have our own ideas in mind, but that doesn't mean that that's what's gonna sell.
James Hernandez: Yeah, but uh see, we ought to take a few considerations, okay, one is the price consideration, one is future consideration, okay, like uh you can eat uh you can all eat more chi I can eat more chilli, okay, so i it's a depends on the individual taste, you know, so we have we have to balance somewhere.
John Kline: Yeah, of course. I'm just trying to point out that I think that your evaluation and redesign turnaround time is too short well you have no redesign not you personally, but
James Hernandez: Yes.
John Kline: in the project
Carlton Phung: Our
John Kline: we
Carlton Phung: project
John Kline: have no
James Hernandez: Yeah.
Carlton Phung: doesn't
John Kline: redesign time
Carlton Phung: um
John Kline: and
Carlton Phung: Ed, d do you know what season of the year or time of the year is the most important for T_V_ remote control sales?
Robert Dortch: Hmm.
Carlton Phung: Would it be the Christmas season by any chance?
James Hernandez: The sports time.
Carlton Phung: Sports season.
Robert Dortch: Right before
Carlton Phung: Which
Robert Dortch: the Eur
Carlton Phung: sport
Robert Dortch: the
Carlton Phung: season?
Robert Dortch: World Cup.
James Hernandez: Football.
Robert Dortch: World
Carlton Phung: So
John Kline: Yeah.
Robert Dortch: soccer.
Carlton Phung: so
Robert Dortch: World Cup soccer, they need those things
James Hernandez: Football.
Robert Dortch: that they have
Carlton Phung: maybe
Robert Dortch: their hands
Carlton Phung: what
Robert Dortch: g occupied and they need to be able to talk to the con remote control.
Carlton Phung: So I think what we need to do is perhaps to synchronise the final the the launch of a user-tested
James Hernandez: Yes.
Carlton Phung: device with some special event.
James Hernandez: Yes.
John Kline: Yeah, that's
Carlton Phung: And
John Kline: a good idea.
Carlton Phung: and then um so that gives us a little more time perhaps then we anticipated, because I don't know when the World Cup is, but I'm sure there's gonna be one.
Robert Dortch: Or any major sports.
Carlton Phung: Or another m major sports event. Probably not the um the football games coming up the end of January. I think that might be a little too aggressive
James Hernandez: Yes.
John Kline: Yeah.
Carlton Phung: um, but, so, I'm just ig uh pointing out a uh a strategy to uh do some additional user testing
James Hernandez: Research.
John Kline: Mm-hmm.
Carlton Phung: pri and then to launch um at a a major sports event or
James Hernandez: Yep.
Carlton Phung: uh perhaps to uh
John Kline: That's
Carlton Phung: also
John Kline: actually good place to advertise it too.
Carlton Phung: And to work with
John Kline: Yeah.
Carlton Phung: motion pictures. There might be some motion pictures that are coming out um that are coming out on D_V_D_ that uh they need to have a m special remote control to work with it, so we could maybe work out a campaign with uh with Sony Pictures
James Hernandez: Yes.
Carlton Phung: for example. Maybe
John Kline: Mm-hmm.
Carlton Phung: some management has got uh relationships there we can leverage.
James Hernandez: Yes, the that of course uh I will convince the management to do that, okay.
Carlton Phung: That's great.
John Kline: It's just something to to keep in mind, 'cause it's really really important.
James Hernandez: Sure, sure,
John Kline: A lot of products have
James Hernandez: yes.
John Kline: gone out there without being properly user-tested and completely flopped, when in fact it gets re-released a few years down the line with proper testing and it takes off like crazy.
Carlton Phung: Disposable diapers is an example of that in fact.
John Kline: Really?
Carlton Phung: Yes,
John Kline: That I didn't
Carlton Phung: it is one of
John Kline: know.
Carlton Phung: the first consumer products that was launched about thirty years that was a disposable consumer product, and uh people the market hadn't really gotten on to the concept that you could use something and then throw it away,
John Kline: Mm-hmm.
Carlton Phung: 'cause it wasn't uh but then when they re-launched them thirty years later, they were virtually the same design, but people had gotten the throw-away, you know, paper cups and napki y all kinds of things that they hadn't um so,
John Kline: Yeah.
Carlton Phung: you're right, timing is very important,
James Hernandez: Yeah.
Carlton Phung: a good product.
John Kline: Yeah.
James Hernandez: That's the reason Ed is here. I
Carlton Phung: That's
James Hernandez: think he
Carlton Phung: right.
James Hernandez: can promote the the brand value and the product value.
Carlton Phung: It's gonna be very important to the
James Hernandez: Yes.
Carlton Phung: company.
James Hernandez: We are behind the scene and he is the front screen, so.
John Kline: Yep.
Robert Dortch: Yeah, I'm the one
James Hernandez: He's
Robert Dortch: who takes
James Hernandez: on
Robert Dortch: the
James Hernandez: the
Robert Dortch: heat.
James Hernandez: big screen.
John Kline: Exactly.
Carlton Phung: Good luck, Ed.
Robert Dortch: If it's a flop, it's the marketer.
Carlton Phung: You look very relaxed,
Robert Dortch: Yes.
Carlton Phung: considering h you know, the
Robert Dortch: Yes.
Carlton Phung: uh
Robert Dortch: Stress.
Carlton Phung: the weight on your shoulders, yeah.
James Hernandez: Okay, so then uh let's come to the closing and
Robert Dortch: Celebration.
James Hernandez: uh are the costs within the budget and uh is the product evaluated, okay, so that will uh come soon. Okay for uh but our time being, so thanks for all your efforts and great work and uh great design and uh let's leave it to the Ed for later for once production is over and the meantime let's celebrate. So let's meet up uh this evening to hang up for some party.
Carlton Phung: Sounds good.
James Hernandez: 'S good.
John Kline: Okay.
Carlton Phung: Thank you.
Robert Dortch: Very good.
Carlton Phung: Nice working with you.
Robert Dortch: Thank you very much.
James Hernandez: Thank you.
John Kline: Thanks.
James Hernandez: Thank you again for all. And
Robert Dortch: Bye-bye.
James Hernandez: see you in the evening for drinks.
Robert Dortch: Yep, okay, see
John Kline: Bye.
Robert Dortch: you later on. | John Kline presented the prototype of the product to the group. The product featured an LCD display, a flip panel, and a customizable case back. James Hernandez displayed the cost of all of the components, and the group decided that the current budget would not allow the addition of the LCD display. James Hernandez decided to negotiate the cost of production to allow the addition of the display. Robert Dortch gave a presentation on sales projection and showed that the current projected sales point would probably not allow the project to reach its profit aim. The group also discussed the distribution and promotion of the product on the internet. John Kline expressed concern that there would not be time under the current plan to make changes to the product resulting from consumer testing; James Hernandez decided that no additional changes would be made. The group then discussed other means of promoting the product: launching the remote at the same time as a large sporting event or DVD release. | 5 | amisum | train |
Ruben Johnson: Okay.
Benjamin Callender: Okay.
Ruben Johnson: Everybody ready?
John Aubin: Yeah.
Benjamin Callender: I think so.
Ruben Johnson: Uh I think the first do is introduce ourselves
Benjamin Callender: Yeah that's a
Ruben Johnson: and
Benjamin Callender: plan
Ruben Johnson: everybody's name and what your function is? So maybe we start
Vance Medovich: Okay.
Ruben Johnson: with you?
Vance Medovich: Yeah, my name is Francina. And an user interface my role is uh the main responsibility is user interface.
Ruben Johnson: Mm-hmm.
Vance Medovich: And my role is to design uh a television remote control.
Ruben Johnson: Mm-hmm. Okay.
Benjamin Callender: And I'm a marketing person. I wanna figure out how to sell them.
Ruben Johnson: Mm-hmm. And your name is?
Benjamin Callender: My name is Eileen.
Ruben Johnson: Okay.
John Aubin: Yeah. Uh I'm Jeanne-Oui. Um role industrial designer and my responsibilities are uh uh um deal with the technical-functional designs and specifications of user interface and dealing with user interface design.
Ruben Johnson: Very good. And as you already know I am Betty. I am Ruben Johnson for today. So why don't we look at the presentation to see what we really are supposed to do.
Benjamin Callender: Okay.
Ruben Johnson: Um. Yes y opening, acquaintance, tool training well, I think, already I guess the tool is really our the computer,
Benjamin Callender: Mm-hmm.
Ruben Johnson: as far as I can see. Uh we get ins each of us will get instructions and we'll take it from there. Project plan, that falls under the same heading pretty much. Um, I don't think we have any great discussion at this point.
Benjamin Callender: No.
Ruben Johnson: Um. Here is what this thing should be. This thing we are gonna um uh design is a new remote control. Uh should be original,
Benjamin Callender: Mm-hmm.
Ruben Johnson: trendy, and, of course, user friendly. So maybe you wanna make some notes of that.
Benjamin Callender: Okay.
Ruben Johnson: Okay?
Benjamin Callender: Mm-hmm.
Ruben Johnson: All right. Here is what the functional design is supposed to achieve. Um. That is it's gonna be individual work and then at the meeting we'll discuss what uh we have come up with. The same goes for the conceptual design, there will be individual work whic and then discussion afterwards. Detailed design,
Benjamin Callender: Mm 'kay so
Ruben Johnson: same thing basically.
Benjamin Callender: Three different types of design that we're gonna be concerned with
Ruben Johnson: Mm-hmm.
Benjamin Callender: okay.
Ruben Johnson: Mm-hmm.
Benjamin Callender: Functional, conception and detailed.
Ruben Johnson: I can't write with this thing.
Benjamin Callender: Maybe we should redesign it.
Ruben Johnson: Yes.
Benjamin Callender: After we've finished the remote control we'll get to that.
Ruben Johnson: Yeah, okay. All right? Then, tool training try out the white board, participant can draw their favourite animal. Does anybody want to go and see how the white board works? So that in case we have to, in the next meeting, present something on the white board. You wanna go Eileen and
Benjamin Callender: Okay, I'll see what I can do.
Ruben Johnson: Whether you without hanging yourself.
Benjamin Callender: See if I remember how to draw a kitty cat or a rabbit or something.
Ruben Johnson: And remember you have to press so it works.
Benjamin Callender: So that it will record
Ruben Johnson: Mm-hmm.
Benjamin Callender: okay. Um uh um traditional kitty cat.
Ruben Johnson: Fat, a fat cat.
Benjamin Callender: I've a very fat cat. And it likes to sit like that.
Ruben Johnson: Okay.
Benjamin Callender: Okay.
Ruben Johnson: And you're Francine,
Vance Medovich: Yes,
Ruben Johnson: right?
Vance Medovich: I'm
Ruben Johnson: Would you
Vance Medovich: Francina.
Ruben Johnson: like s like just to see
Vance Medovich: Yes,
Ruben Johnson: um
Vance Medovich: sure.
Ruben Johnson: how it feels, so that you have a little idea?
Benjamin Callender: Am I supposed
Ruben Johnson: In
Benjamin Callender: to wipe off that or
Ruben Johnson: No, no. No, that's okay.
Vance Medovich: No, Okay.
Benjamin Callender: okay.
Ruben Johnson: I don't know, we'll get to that later.
Benjamin Callender: Okay.
Vance Medovich: What should I draw?
John Aubin: Snake.
Vance Medovich: I'm going to draw a snake. How does it look like?
Benjamin Callender: Uh, okay.
Ruben Johnson: Okay. Okay.
Benjamin Callender: I hope the kitty cat is hungry 'cause I don't like snakes.
Ruben Johnson: Here's the project finance uh which, of course, we all have to think about when we design this thing. Um selling price is supposed to be twenty five Euro. Uh
Benjamin Callender: Mm-hmm.
Ruben Johnson: profit aim for the company is fifty million Euro, the market range unlimited meaning international
Benjamin Callender: Okay.
Ruben Johnson: and the production cost should not exceed hopefully should be less than twelve fifty Euro.
Benjamin Callender: Mm 'kay that should keep everybody on their toes and challenged.
Ruben Johnson: Mm-hmm.
Benjamin Callender: Profit. Um
Ruben Johnson: So
Benjamin Callender: is
Ruben Johnson: these
Benjamin Callender: fifty
Ruben Johnson: are all things, of course,
Benjamin Callender: mm.
Ruben Johnson: to remember with the budget and when you design to materials, cost, etcetera. Now, uh the
Benjamin Callender: Oops.
Ruben Johnson: discussion I guess is um does anyone of you have experience with remote control?
John Aubin: Yeah,
Ruben Johnson: I
John Aubin: of
Ruben Johnson: exp
John Aubin: course,
Ruben Johnson: I
John Aubin: using
Ruben Johnson: s
Vance Medovich: Yes.
Ruben Johnson: 'cause
John Aubin: remote
Ruben Johnson: we we
John Aubin: control.
Ruben Johnson: use 'em we use
John Aubin: Yeah.
Ruben Johnson: 'em, right, everyday. And um now having used a remote control for years does anybody already have like an idea like things you didn't like with it, things you would like to change, things you would like to improve with this thing ye any first ideas? Would you like it to be smaller,
John Aubin: Uh.
Ruben Johnson: bigger,
Vance Medovich: Yeah,
Ruben Johnson: have
Vance Medovich: I
Ruben Johnson: more have more buttons on it or maybe clearly better marked buttons, you know, things
John Aubin: Yeah.
Ruben Johnson: like that?
John Aubin: Yeah.
Vance Medovich: Yes, I I feel that all the remote should be very compact.
Ruben Johnson: Small, right.
Vance Medovich: Yeah those,
Ruben Johnson: Mm-hmm.
Vance Medovich: which we get here nowadays it's very long.
Ruben Johnson: Mm-hmm.
Vance Medovich: And um and it should have multi-purpose. Like uh the remote control which we use for T_V_, it shou uh it should be used f uh for some other purpose also, like controlling the
Ruben Johnson: Mm-hmm.
Vance Medovich: uh
John Aubin: Audio
Vance Medovich: temperature
John Aubin: player.
Vance Medovich: inside
John Aubin: Oh.
Vance Medovich: the house or
John Aubin: Okay.
Vance Medovich: for air-conditioners, or for heating system.
Ruben Johnson: So it should be a multi-functional
Vance Medovich: Yes,
Ruben Johnson: uh
Vance Medovich: exactly
Ruben Johnson: gadget that
Vance Medovich: Yes.
Ruben Johnson: would
John Aubin: Hmm.
Ruben Johnson: um control all your household uh
Vance Medovich: Yes.
Ruben Johnson: uh
John Aubin: Divides
Ruben Johnson: machines
John Aubin: us
Ruben Johnson: basically.
John Aubin: Yeah.
Vance Medovich: Yeah. Exactly.
John Aubin: Yeah.
Benjamin Callender: At um twelve fifty Euros per
Ruben Johnson: Well.
Benjamin Callender: Well who knows if we get a really good designer maybe we
John Aubin: Yeah.
Benjamin Callender: can do that. We certainly can try to I agree with her that to market something successfully it should do some more things.
Ruben Johnson: It should be something new it should be s it it should do something different than than just what
Benjamin Callender: That's
Ruben Johnson: we have.
Benjamin Callender: right.
John Aubin: Yeah,
Ruben Johnson: Now,
Vance Medovich: Yeah.
Ruben Johnson: of
John Aubin: of
Ruben Johnson: course,
John Aubin: course.
Ruben Johnson: the other thing to think there is maybe the design.
Vance Medovich: Yeah, design should be, yeah it should be different. All the almost all
Ruben Johnson: Like
Vance Medovich: the
Ruben Johnson: trendy no like
Vance Medovich: remotes
Ruben Johnson: f for earlier we saw maybe it should be something trendy you know.
John Aubin: Yeah
Vance Medovich: Yes,
John Aubin: maybe,
Vance Medovich: exactly.
Ruben Johnson: Maybe
John Aubin: ten
Ruben Johnson: it should
John Aubin: I
Ruben Johnson: different colours
John Aubin: do yeah, colours
Ruben Johnson: or materials
Vance Medovich: Are
John Aubin: and
Vance Medovich: different
John Aubin: al shapes
Vance Medovich: shapes.
John Aubin: also.
Ruben Johnson: or
Vance Medovich: Yes.
Ruben Johnson: you
John Aubin: Yeah.
Ruben Johnson: know. Um so yeah shapes right, you know, like kidney shape feels
Vance Medovich: Yes.
Ruben Johnson: better in your hand or something,
John Aubin: Yeah of
Ruben Johnson: you
Benjamin Callender: Yeah
Ruben Johnson: know.
John Aubin: course
Benjamin Callender: okay,
John Aubin: yeah.
Benjamin Callender: friendly shape,
Ruben Johnson: Yeah.
Benjamin Callender: that would help. I think another thing that would help is
Ruben Johnson: Yes.
Benjamin Callender: um if it beeps when you clap, because I think one of the big things that happens is people lose them. They can't find it.
Ruben Johnson: That is true, because they put a newspaper or they put it behind
John Aubin: Yeah.
Ruben Johnson: a plant or, we you know, whatever.
Benjamin Callender: Mm-hmm.
Ruben Johnson: And and they suddenly the phone rings and they want to turn the T_V_ off and they say, where the hell is my my remote control yeah?
Benjamin Callender: So
Ruben Johnson: Well
Benjamin Callender: some
Ruben Johnson: or yeah or if it's really, if it's really in a dark spot that it gives out a a sound
John Aubin: Yeah, some
Ruben Johnson: or a signal.
John Aubin: beep
Benjamin Callender: Uh so,
John Aubin: or something
Vance Medovich: Or a
Ruben Johnson: Yeah.
Vance Medovich: b
John Aubin: like that,
Benjamin Callender: so
Ruben Johnson: Mm-hmm.
John Aubin: so
Benjamin Callender: it's
John Aubin: that
Benjamin Callender: really
John Aubin: we can
Benjamin Callender: the
John Aubin: go
Ruben Johnson: So
Benjamin Callender: beep
Ruben Johnson: if
Benjamin Callender: or,
Ruben Johnson: lost
Benjamin Callender: or a light should blink.
Ruben Johnson: If lost
Vance Medovich: Should
John Aubin: Yeah.
Vance Medovich: ha
Ruben Johnson: uh
Vance Medovich: A
Ruben Johnson: signal
Vance Medovich: fluorescent
Ruben Johnson: with
Vance Medovich: signal,
Ruben Johnson: b
Vance Medovich: yeah.
Ruben Johnson: throw
Benjamin Callender: Mm
Ruben Johnson: signal,
Benjamin Callender: 'kay.
Ruben Johnson: you know.
John Aubin: Yeah, maybe it should have a light so that we can, we can just recognise where it is.
Ruben Johnson: Exactly,
John Aubin: Yeah, yeah.
Ruben Johnson: I mean just
John Aubin: May not
Ruben Johnson: that's
John Aubin: be
Ruben Johnson: what
John Aubin: beep.
Ruben Johnson: I'm saying. I'm just saying throw signal meaning just whether it's a beep
John Aubin: Beep
Ruben Johnson: or whether
John Aubin: or uh it's
Ruben Johnson: a
John Aubin: a
Ruben Johnson: light
John Aubin: light,
Ruben Johnson: or
John Aubin: maybe
Benjamin Callender: And do
John Aubin: it's
Benjamin Callender: you think
John Aubin: a light.
Benjamin Callender: a good c c um clue for that is that it would respond to a clap or it would respond to your voice or it would respond what what should you have to do to make it beep or blink?
Ruben Johnson: Okay, my my idea is maybe that the minute it's really hidden, in in other words if it's like in a dark spot,
Benjamin Callender: Mm-hmm.
Ruben Johnson: uh meaning you know like a newspaper is on top, a sweater is on top or
Benjamin Callender: Mm-hmm.
Ruben Johnson: it it's behind a plant, at that moment it's it's like, it's like um, what you call it a light s sensors, you know?
Benjamin Callender: Okay so
Vance Medovich: Yes.
Benjamin Callender: Okay.
John Aubin: Yeah, probably
Ruben Johnson: I mean, that we can
John Aubin: yeah,
Ruben Johnson: discuss
John Aubin: probably
Ruben Johnson: that
John Aubin: it's
Ruben Johnson: later,
John Aubin: a yeah,
Ruben Johnson: you know.
John Aubin: yeah.
Vance Medovich: Yeah. And uh
Benjamin Callender: So the light sensor would activate the signal.
Ruben Johnson: That's right.
John Aubin: Mm-hmm.
Ruben Johnson: You know there would be right you have to have some kind of sensor and I I think uh voice or clapping it's not specific enough. Uh I know there are the lamps and stuff, you know, you
Benjamin Callender: Mm-hmm.
Ruben Johnson: can clap on and
Vance Medovich: Yes.
Ruben Johnson: off, but I think they only work to certain degree and
Benjamin Callender: But it could be someplace really obvious and you still wouldn't be able to find it.
John Aubin: Yeah,
Ruben Johnson: What
John Aubin: of course,
Ruben Johnson: with
John Aubin: that didn't
Benjamin Callender: Well,
Vance Medovich: Then,
Benjamin Callender: because
Vance Medovich: in that
Benjamin Callender: you're s
Vance Medovich: case
Benjamin Callender: because
John Aubin: I i
Benjamin Callender: you're
John Aubin: we
Benjamin Callender: silly.
John Aubin: can't do
Benjamin Callender: Because
John Aubin: it.
Benjamin Callender: people are silly.
Ruben Johnson: Oh yeah well, but then
Benjamin Callender: I mean
Ruben Johnson: those
Benjamin Callender: it could
Ruben Johnson: people
Benjamin Callender: be on
Ruben Johnson: we can't help everybody.
Benjamin Callender: well, i if it were like on top of your bookcase and you usually kept it on the coffee table um, you know,
Ruben Johnson: Okay
Benjamin Callender: well
Ruben Johnson: we have
Benjamin Callender: maybe we
Ruben Johnson: uh
Benjamin Callender: have to move along,
Ruben Johnson: yeah,
Benjamin Callender: okay.
Ruben Johnson: we have to move along, but I think we have some good
John Aubin: Yeah,
Ruben Johnson: good points
John Aubin: good point.
Ruben Johnson: to start with here. Okay, the next meeting will be in thirty minutes. I think you all did you get uh notices on your computer
John Aubin: Benjamin Callender
Ruben Johnson: for
John Aubin: yeah.
Ruben Johnson: this? Okay so well, you got the notice
Vance Medovich: Yes.
Ruben Johnson: um uh. The working design, I guess that's the function I_D_ uh who is this? John Aubin
John Aubin: Yeah.
Ruben Johnson: That's you.
John Aubin: Yeah, it's functional de yeah, exactly,
Ruben Johnson: Okay.
John Aubin: technical.
Ruben Johnson: So, we looking for a working design when
John Aubin: Yeah.
Ruben Johnson: we come back.
John Aubin: Uh working design, yeah, it's it's uh mainly
Ruben Johnson: Then
John Aubin: technical-functional design.
Ruben Johnson: And then the technical funct you are the technical
John Aubin: Yeah, functional
Ruben Johnson: function, so
John Aubin: design, and you
Ruben Johnson: so you are the working design. So you
Vance Medovich: Okay.
Ruben Johnson: have a working design and then a functional design. And the marketing manager is coming up with some user requirement specification, like friendliness, and what we just discussed in general. That would be your idea. And, of course, price. That it, that it, that the price is a good price.
Benjamin Callender: Mm-hmm.
Ruben Johnson: I mean, the price is given, but, that was
Benjamin Callender: We have to justify that
Ruben Johnson: That's
Benjamin Callender: price
Ruben Johnson: right.
Benjamin Callender: by having sufficient features to make it sell at that price.
Ruben Johnson: That's right. And, you know, specifi you you will get specific um instructions for that. I think that's the end of the show. Yeah. So um we have well, we have a twen two two two three minutes. Um any questions at this point? Or uh suggestions?
Benjamin Callender: Mm.
Ruben Johnson: I think basically basically you will get instructions to work with and
Vance Medovich: Okay.
Ruben Johnson: if you have any questions
John Aubin: Yeah.
Ruben Johnson: uh, uh I guess, you can uh
Benjamin Callender: Okay, I think I have enough to think about 'til our next meeting.
Ruben Johnson: Mm-hmm.
John Aubin: Yeah, even
Benjamin Callender: How about
John Aubin: I have.
Benjamin Callender: you people?
John Aubin: Yeah,
Vance Medovich: Yes.
Benjamin Callender: Really?
John Aubin: even I have,
Ruben Johnson: Mm-hmm.
John Aubin: I
Benjamin Callender: Okay.
John Aubin: think, yeah.
Benjamin Callender: 'Kay.
Ruben Johnson: Okay.
Benjamin Callender: Alright,
John Aubin: Yeah,
Benjamin Callender: well
John Aubin: so let's
Benjamin Callender: uh
John Aubin: see.
Ruben Johnson: Then uh we see you in about thirty minutes.
Vance Medovich: Yes.
Ruben Johnson: And see what we can come up with.
John Aubin: Hmm.
Benjamin Callender: Okay,
Vance Medovich: Okay.
Benjamin Callender: very good.
Ruben Johnson: Okay?
Vance Medovich: Yes.
John Aubin: Yeah. | The meeting opens with the group doing introductions by giving their name and role. Betty is Ruben Johnson, Francina is the user interface specialist, Eileen is Benjamin Callender, and Jeanne is John Aubin. Ruben Johnson tells them they will be designing a new remote control that should be original, trendy, and user-friendly. They will be concerned with functional, conceptional, and detailed design. To try out the whiteboard, each group member draws her favorite animal on the board. They discuss the project budget and then talk about their experiences with remote controls. They seemed to agree that the remote should be compact and have a multi-purpose functions. They also agree that it should do something different that current controls cannot do and that it should be made of different colors, materials, and shapes. They also discuss a way of helping people find the remote when it is lost- a signal, whether it is a beep or light. Then they close the meeting with Ruben Johnson going over the tasks they are to complete and telling them they will meet again in about thirty minutes. | 5 | amisum | train |
Brian Munoz: Okay, is everybody ready?
Mark Lawrence: Yeah?
Philip Jolly: Yeah I'd to just put on my microphone here and I'll be right with you.
Brian Munoz: Mm-hmm.
Philip Jolly: Okay?
Brian Munoz: Um I take it you all have received instructions as to what you were supposed to do
Mark Lawrence: Mm?
Bernard Harris: Yes.
Brian Munoz: and um I think the Marketing Manager probably should go first, addressing the needs and desires.
Philip Jolly: Okay you want Philip Jolly to start right now?
Brian Munoz: Yeah, mm-hmm.
Philip Jolly: Okay. Well, could you um put my slides up 'cause I think it might be helpful if uh we looked at the slides at the same time.
Brian Munoz: Okay.
Brian Munoz: You're participant four.
Philip Jolly: I'm participant four I believe. Yes uh-huh. 'Kay.
Brian Munoz: Okay, and now I can uh full screen.
Mark Lawrence: Open.
Brian Munoz: Uh, okay, okay.
Philip Jolly: There we go. Okay well I think
Mark Lawrence: And then full
Philip Jolly: we
Mark Lawrence: screen
Philip Jolly: have introduced ourselves, so the functional requirements are is is part of my goal but why don't we pass right to the second slide. Cause that's where m my discussion starts. Right well um since I'm in charge of trying to figure out what we should put on this thing since I have to try to sell it.
Mark Lawrence: Mm-hmm.
Philip Jolly: Um I thought that the method I should follow would be gather suggestions from everybody, and th the reason I just put that there like that is that uh in the init in the initial stage I think I should just be open to lots of suggestions. You know you can say anything you want no matter how silly it sounds you know it should run your car, it should heat up your motor if should um turn on your C_D_ whatever you want it
Mark Lawrence: 'Kay.
Philip Jolly: to do um and then as we go on what we'll have to do is accept and eliminate these suggestions according to um design and budget feasibility. So I'll be coming to you um frequently as the Industrial Expert
Mark Lawrence: Mm-hmm.
Philip Jolly: to tell Philip Jolly how hard it's gonna be
Mark Lawrence: Yeah.
Philip Jolly: to add a feature or how expensive
Mark Lawrence: Yeah.
Philip Jolly: it's gonna be
Mark Lawrence: Yeah.
Philip Jolly: or if your time, if it takes five years
Mark Lawrence: Hmm
Philip Jolly: to develop this
Mark Lawrence: hmm.
Philip Jolly: it's just something we can't
Mark Lawrence: Mm.
Philip Jolly: do. So in the beginning just have a big puddle
Mark Lawrence: Yeah.
Philip Jolly: of things that we anybody can th throw anything in and then just weed things out that can't be done for one reason or another, and then the things that seem the most attractive that to uh to a customer
Mark Lawrence: Mm-hmm.
Philip Jolly: we'll try to then prioritise those.
Mark Lawrence: Yeah.
Philip Jolly: So that was um what I meant there, and as I said on the slide there consulting the Industrial Engineer about that and the other thing is timing is really gonna be as important as money, because if we're gonna sell this thing, I think the best time to sell it is as a Christmas present. Twenty five Euros makes a nice little present, and we want it to be an impulse purchase, we
Mark Lawrence: Mm.
Philip Jolly: want somebody to see it and think it's, gee I just gotta have that. And take out their wallet and buy it. So it's gotta be really attractive and it but it's gotta go to market by September, 'cause anything that you don't already have out there in September showing it around, isn't
Mark Lawrence: Yeah.
Philip Jolly: gonna sell for Christmas. Um and then I'll be coming to you as the User Interface person to try to tell Philip Jolly from your point of view what are the most friendly features that we could put on it and try to prior help Philip Jolly with that prioritising
Bernard Harris: Okay.
Philip Jolly: of uh of the features and of the the look and the colour and I'll be coming back to you to help weed out those suggestions from that point of view.
Bernard Harris: Okay.
Philip Jolly: So I'll be coming to you for how much is it gonna cost us and how long is it gonna take
Mark Lawrence: Mm
Philip Jolly: you,
Mark Lawrence: mm-hmm.
Philip Jolly: and I'll be coming to you to tell Philip Jolly what's gonna make
Bernard Harris: What
Philip Jolly: somebody
Bernard Harris: features.
Philip Jolly: take out their wallet you know, what what's what's gonna really be what they call a sizzle, 'cause we gotta
Bernard Harris: S.
Philip Jolly: sell this sizzle.
Bernard Harris: Yes.
Philip Jolly: A lot of times the thing that works the best from an engineering point of view isn't the thing that somebody's really just gonna take out their wallet and buy for Christmas for for their child or for
Bernard Harris: Yes.
Philip Jolly: their husband or whatever. Okay can we go to the next slide please? Alright I I already did a little bit of research after our first meeting where we threw out some ideas and it looks to Philip Jolly that within the budget that we're looking at the uh the whole house idea really isn't gonna be possible. So I'd like your suggestions to come back to the other slide where I was saying we we could suggest anything. I'd like the suggestions to be really specific, so that we'll have a list of things we can cross off, not something like you know whole house control what'll be And then I found on the internet from from my research that some extended electronic entertainment control should be possible. At the budget that we're looking at and at the price point we're looking at, we should be able to make it work the T_V_, the V_C_R_, the stereo set um maybe something else cute like a coffee pot or one other appliance
Brian Munoz: Uh okay,
Philip Jolly: or maybe
Brian Munoz: can
Philip Jolly: a lamp.
Brian Munoz: can I
Philip Jolly: I
Brian Munoz: at
Philip Jolly: have
Brian Munoz: this
Philip Jolly: to wind
Brian Munoz: point
Philip Jolly: up?
Brian Munoz: interject um
Philip Jolly: Yeah, sure.
Brian Munoz: something? Um we have received instruction from higher up that certain things should uh considered.
Philip Jolly: Okay.
Brian Munoz: Um the one thing for example something to eliminate maybe that's the teletext, because that's sort of outdated
Philip Jolly: Okay.
Brian Munoz: with the internet,
Mark Lawrence: Mm-hmm.
Brian Munoz: and according to to higher management the it should only control the T_V_, mostly because they feel that it's too comp complex a task
Mark Lawrence: Complicated,
Brian Munoz: to
Mark Lawrence: yeah, of course.
Brian Munoz: um to to include other things, and they are concerned with the time to market.
Mark Lawrence: Yeah.
Philip Jolly: Of course, yeah.
Bernard Harris: Okay.
Brian Munoz: Okay. Um
Philip Jolly: Okay, so that's
Brian Munoz: and
Philip Jolly: something
Brian Munoz: the and the third thing that they wanna make sure um that their that the corporate image is being maintained, and that the corporate colour and design are being used on the product, so that it's easy that that that they can be easily identified as a product of of of the company, and that there's no mistake that it
Mark Lawrence: Mm-hmm.
Brian Munoz: could be somebody else who is bringing this out. So I just wanted to interject this here so we're not getting too much off track here with uh with the things we wanna look at. These were instructions from higher up so we have to eliminate uh these things, so it's
Philip Jolly: Okay
Brian Munoz: only
Philip Jolly: so
Brian Munoz: gonna be T_V_, but the one thing maybe that could be um eliminated is the teletext uh idea.
Philip Jolly: Okay.
Brian Munoz: Mm 'kay.
Bernard Harris: Okay.
Philip Jolly: Alright, thanks for that. Um alright now other things that I found out on in my research is that the complaints that people have about the remote controls that are out there now. 'Cause a lot of them take too much time to learn how to use, and that was thirty four percent but even more important the thing that we did address in our last meeting that frequently it's lost somewhere in the room. definitely do wanna address, uh we wanna s make it as simple as possible, we wanna make it um obvious and intuitive to use, and then the things about finding it we talked about the a light emitting thing as well as uh maybe a beep, and I think that those are things after my research that we definitely wanna try to incorporate. 'Kay can we go to the next slide please? Okay, so, my personal preferences in this um project are really have to concentrate on the sizzle. That is the selling point, the thing that's gonna make it an impulse purchase. Uh because once there's no be-back, well in sales they always say you know, be-backs don't come back. If somebody says, oh I'll come back and get it next week you're dead. They're never gonna come back and buy it. You've gotta make it attractive enough so they buy it now now now w now is a big word in in my book for selling this thing. And, in order to make it really sellable we've gotta shorten the learning curve, make sure it's really intuitive and easy to use. We have to have as few buttons as possible, because more buttons is more confusion, so that's why I'm saying, simplicity is good. Finding it's important, obviously you can't use it if you can't find it. So we've gotta concentrate on the features that help you find it, and I've already said this several times but I put it down in writing here, it should be an attractive impulse purchase at twenty five Euros. So it has to have enough value that when somebody looks at it they say, uh twenty five Euros I'm not gonna take that. Has to be so great that they're gonna say, uh twenty five Euros isn't much. Um and then maybe a motto, like we put fashion in electronics might be something we can use in our marketing campaign.
Mark Lawrence: Yeah.
Philip Jolly: Okay that's uh about it for Philip Jolly right now.
Brian Munoz: Okay. And uh who would be next, uh, I guess that would be you.
Mark Lawrence: Yeah
Brian Munoz: Mm-hmm.
Mark Lawrence: 'kay.
Brian Munoz: You want Philip Jolly to get your
Mark Lawrence: Yeah
Brian Munoz: slide show
Mark Lawrence: yeah
Brian Munoz: up?
Mark Lawrence: sure.
Brian Munoz: Mm-hmm.
Mark Lawrence: Thank you.
Brian Munoz: And you are number three?
Mark Lawrence: Number two,
Brian Munoz: Number
Mark Lawrence: yeah.
Brian Munoz: two.
Mark Lawrence: Yeah exactly.
Brian Munoz: Okay.
Mark Lawrence: Uh can you
Brian Munoz: Okay.
Mark Lawrence: make it uh full screen please?
Brian Munoz: Mm-hmm. Yep.
Mark Lawrence: No, it's like a well you you have to press here. cup shape here?
Brian Munoz: Yeah yeah, uh-huh.
Mark Lawrence: The thir third. Yeah
Brian Munoz: There, mm-hmm.
Mark Lawrence: exactly. Uh so today I'm going to talk about the working design of the remote controller.
Philip Jolly: Okay.
Mark Lawrence: Um can you go to the next sli slide please?
Brian Munoz: Mm-hmm.
Mark Lawrence: The metal is like uh in a remote controller you have a chip integrated circuit which is like a brain of the remote controller. It takes the power from a battery say a battery it it can be a elec an electric supply like you have to uh like uh switch connec connect connect your remote controller to uh power supply from the you know electricity or something like that. It should be a battery because uh uh remote controller should be like you you you should take it t to wherever you want
Philip Jolly: Mm-hmm.
Mark Lawrence: and then um uh th this integrated circuitry takes energy from the power source and whatever like if you press a button it's like a input for the remote controller and it takes the input and it it transforms into a infro infrared bits and it sends it into the device, like a T_V_ or a air conditioner, something like that so. Uh a remote controller is specifically designed to a single device. If you want to design it for multiple devices then you should make all the devices compatible with the frequency like uh th the remote controller it sends some bits some uh waves like with a particular frequency the device should know what the frequency is. It should re re recognise the uh waves which are coming from the remote controller and it should take the action like if you press a button channel or something like that then uh the remote uh remote controller will send a send a se send
Philip Jolly: Signal.
Mark Lawrence: a signal, and the T_V_ it should translate
Bernard Harris: Receive.
Mark Lawrence: that into like change the channel or something
Philip Jolly: Mm-hmm.
Mark Lawrence: like that, change the volume control
Brian Munoz: Mm-hmm.
Mark Lawrence: and uh so uh I think it's hard to design a remote controller for multiple uh devices.
Bernard Harris: Multi-purpose.
Philip Jolly: Yeah well
Brian Munoz: Yo
Philip Jolly: that's
Brian Munoz: and
Philip Jolly: already
Brian Munoz: it's
Philip Jolly: been eliminated
Brian Munoz: yeah
Philip Jolly: by management,
Mark Lawrence: Uh yeah.
Brian Munoz: but
Philip Jolly: so
Brian Munoz: it's so.
Philip Jolly: we're off the hook.
Mark Lawrence: Um.
Brian Munoz: Yep.
Mark Lawrence: So uh user interface controls the chip and accordingly the messages like there should be a user user in interface like you know switch pad or something like that buttons should be there. So uh you can control whatever you want, you want to change the channel you want to control the volume you you want to uh mute uh mute the uh T_V_ or you want to have a child lock or you want to do some operations there's a there should be some device to tell what to do to the uh in uh integrated circuit so that
Philip Jolly: Mm
Mark Lawrence: the
Philip Jolly: okay.
Mark Lawrence: integrated circuit can s send the signals and T_V_ can perform the actions. So can you go to the next
Philip Jolly: Okay.
Mark Lawrence: slide please? So I I just would like to uh add some extra features to the remote controller
Philip Jolly: Mm-hmm.
Mark Lawrence: um I think these are the very simple features and uh they don't take much uh uh much of the um um investment also, it's like el the text or buttons which uh which are there on the uh remote controller they those we can make uh um like fluorescent
Philip Jolly: Mm-hmm.
Mark Lawrence: uh they'll be like light emitting if it is dark so that you can find your remote controller if it is dark. And ther there should be a beep if many buttons are pressed if suppose a child is playing with the remote controller and a and she she or he is pressing the buttons all at the time then there should be a beep saying that it's this this is not a a you know a a action, there can be no action taking to that so. And there should be a child lock, like uh uh you should be able to lock your remote controller so that uh um whatever buttons are pressed by a child they can't be like y you i you if you have ki kids and all then they'll be pl playing with the remote controllers so can lock the remote controller. If make it useable for more than one device it's a it's hard but I
Brian Munoz: Yeah
Mark Lawrence: think
Brian Munoz: well
Mark Lawrence: it's possible
Brian Munoz: yeah
Philip Jolly: Well
Brian Munoz: well
Mark Lawrence: but
Brian Munoz: that
Philip Jolly: we already
Brian Munoz: has
Mark Lawrence: it
Brian Munoz: been e
Mark Lawrence: uh yeah
Brian Munoz: that
Philip Jolly: eliminated
Brian Munoz: has
Mark Lawrence: yeah
Brian Munoz: been eliminated,
Bernard Harris: Eliminated.
Philip Jolly: that.
Mark Lawrence: yeah
Brian Munoz: so that's
Mark Lawrence: so
Brian Munoz: that's
Mark Lawrence: it's it's
Brian Munoz: unfortunately
Mark Lawrence: okay, yeah,
Brian Munoz: a moot point
Mark Lawrence: yeah.
Brian Munoz: now. Mm-hmm.
Mark Lawrence: And uh different shapes that we can do like uh we can have you know a all animals shapes or you know comfortable uh whi which can fit into your hands and um
Philip Jolly: Now
Mark Lawrence: so
Philip Jolly: that's
Mark Lawrence: that
Philip Jolly: good
Mark Lawrence: uh
Philip Jolly: from a marketing point of view, the
Mark Lawrence: Yeah,
Philip Jolly: fun
Mark Lawrence: yeah,
Philip Jolly: the fun
Mark Lawrence: yeah
Philip Jolly: shape.
Mark Lawrence: and colours also, different
Brian Munoz: Yeah
Philip Jolly: And that
Brian Munoz: I
Bernard Harris: Mm-hmm
Mark Lawrence: colours,
Philip Jolly: you
Bernard Harris: colours.
Philip Jolly: you
Mark Lawrence: and
Philip Jolly: say that won't add too much to the budget? To
Mark Lawrence: No no
Philip Jolly: d
Mark Lawrence: no, it
Philip Jolly: the shape
Mark Lawrence: won't uh
Philip Jolly: is
Mark Lawrence: I
Philip Jolly: uh
Mark Lawrence: don't think it will be like, you can have you know for uh if you want
Brian Munoz: It just
Mark Lawrence: ther
Brian Munoz: build
Mark Lawrence: there
Brian Munoz: a mould
Mark Lawrence: to be more
Brian Munoz: basically and
Mark Lawrence: Yeah
Brian Munoz: uh
Mark Lawrence: yeah. It's
Brian Munoz: you
Bernard Harris: Yes
Mark Lawrence: it's
Brian Munoz: know.
Mark Lawrence: just
Bernard Harris: exactly.
Mark Lawrence: a s shape so it doesn't matter.
Brian Munoz: As the budget we're looking at if you build one mould I don't think
Mark Lawrence: Yeah.
Brian Munoz: that's going to make a big difference whether it's gonna be square or
Philip Jolly: Do you think there's any chance of um having ser in having basically the same machine with the same buttons but maybe several different shapes?
Mark Lawrence: Yeah that is also
Brian Munoz: Oh yes.
Mark Lawrence: possible I
Philip Jolly: Is that
Mark Lawrence: uh
Philip Jolly: gonna
Mark Lawrence: yeah
Philip Jolly: be
Bernard Harris: Yes.
Philip Jolly: a
Mark Lawrence: I
Philip Jolly: possible?
Mark Lawrence: I
Philip Jolly: 'Cause
Mark Lawrence: yeah.
Philip Jolly: that
Brian Munoz: I
Philip Jolly: might
Brian Munoz: think
Philip Jolly: help with the marketing.
Brian Munoz: I think we will have to look
Mark Lawrence: Yeah that
Brian Munoz: at the
Mark Lawrence: will
Brian Munoz: budget
Mark Lawrence: be
Brian Munoz: on that but I think in principle that that would be that would be kind of fun,
Mark Lawrence: Yeah
Philip Jolly: Because
Brian Munoz: you know.
Mark Lawrence: yeah.
Philip Jolly: we had something sort of sexy
Mark Lawrence: Mm-hmm.
Philip Jolly: for adults and
Brian Munoz: Yeah.
Philip Jolly: we could have something sort of
Brian Munoz: Silly for
Philip Jolly: silly
Brian Munoz: children.
Mark Lawrence: Yeah,
Philip Jolly: for
Mark Lawrence: for
Philip Jolly: children
Mark Lawrence: children,
Brian Munoz: Like
Philip Jolly: or a
Brian Munoz: an
Philip Jolly: little
Mark Lawrence: yeah
Brian Munoz: animal
Mark Lawrence: exactly.
Philip Jolly: animal
Bernard Harris: Like
Brian Munoz: or
Philip Jolly: shape
Bernard Harris: a doll,
Philip Jolly: or
Mark Lawrence: Yeah,
Philip Jolly: in
Mark Lawrence: that's
Philip Jolly: a
Bernard Harris: or
Mark Lawrence: what,
Brian Munoz: Yeah.
Philip Jolly: or a
Mark Lawrence: yeah.
Philip Jolly: little elephant so they can remember where it is.
Mark Lawrence: Yeah, exactly.
Bernard Harris: Yes.
Mark Lawrence: Yeah. And and If there are more buttons then it will be more complicated. If you have less features then your remote controller won't be attractive, so I think uh we need to make some buttons which are which are like um uh f in uh in intended for two or three operations, like if you press one button in one mode then it will change the channel, if you press the other button in another mode it will change the colour. So if you want to have less
Philip Jolly: Mm.
Mark Lawrence: buttons we can have that option but I think it will complicate the matter more I think
Philip Jolly: Well,
Mark Lawrence: so.
Philip Jolly: I think I think that that's something that we'll have to discuss um
Mark Lawrence: Yep,
Bernard Harris: Yes.
Philip Jolly: with the User
Mark Lawrence: yeah.
Philip Jolly: Interface person because I think there's a lot of argument to be made for one button for one feature. Because I think one of the things were complaining about in my what I found out in my research is when they complained about how hard it is to learn a new one.
Mark Lawrence: Mm-hmm.
Philip Jolly: The changing modes was something
Mark Lawrence: Yeah, it's like you
Philip Jolly: I
Mark Lawrence: know
Philip Jolly: mean you
Mark Lawrence: yeah.
Philip Jolly: and I, all f all four of us we work
Mark Lawrence: Yeah.
Philip Jolly: with computers all
Mark Lawrence: Yeah,
Philip Jolly: the time,
Mark Lawrence: yeah.
Philip Jolly: changing
Bernard Harris: Okay.
Philip Jolly: modes is nothing for us, but people who
Brian Munoz: Yeah, a little elderly, a little arthritic hand
Philip Jolly: N
Brian Munoz: you
Mark Lawrence: Mm-hmm.
Brian Munoz: know,
Philip Jolly: and
Brian Munoz: and and it's a small button and and
Mark Lawrence: Yeah.
Brian Munoz: it they don't press it exactly you know something else happens n not their favourite channel comes up but something
Mark Lawrence: Yeah,
Brian Munoz: else
Bernard Harris: Something
Mark Lawrence: yes.
Brian Munoz: and they're
Bernard Harris: else.
Brian Munoz: very
Philip Jolly: And
Brian Munoz: frustrated
Philip Jolly: that's and that's
Brian Munoz: you
Philip Jolly: the kind
Brian Munoz: know.
Philip Jolly: of thing people learn by feel, and um
Mark Lawrence: Yeah, yeah you don't
Philip Jolly: you don't
Mark Lawrence: us
Philip Jolly: feel
Mark Lawrence: yeah
Philip Jolly: the
Mark Lawrence: yeah,
Philip Jolly: mode
Mark Lawrence: usually.
Philip Jolly: change.
Mark Lawrence: Yeah.
Philip Jolly: So um maybe having buttons be various shapes might be a help
Mark Lawrence: Yeah
Philip Jolly: too.
Mark Lawrence: shapes also, different
Philip Jolly: You
Mark Lawrence: shapes.
Philip Jolly: know, like the
Mark Lawrence: Yeah
Philip Jolly: a
Mark Lawrence: that
Philip Jolly: triangle
Mark Lawrence: will
Philip Jolly: is for the
Mark Lawrence: Mm-hmm.
Philip Jolly: volume and a square is for changing channels,
Bernard Harris: Channels.
Mark Lawrence: Yeah.
Philip Jolly: so that people can
Mark Lawrence: Yeah.
Philip Jolly: uh develop a tactile sense of it. But
Mark Lawrence: Yeah,
Philip Jolly: we'll get
Brian Munoz: Mm,
Philip Jolly: to that with you.
Brian Munoz: mm-hmm.
Mark Lawrence: yeah, and
Bernard Harris: Yes.
Mark Lawrence: also text should be very clear so that there there won't be any ambiguities
Philip Jolly: That's
Mark Lawrence: and
Philip Jolly: right,
Mark Lawrence: uh
Philip Jolly: yeah. Now that's
Mark Lawrence: So
Philip Jolly: a good point.
Bernard Harris: Yes.
Philip Jolly: Yeah.
Mark Lawrence: yeah. And uh display clock i if you want more features then we can display a clock it I I don't think it will take any money extra money because anyway we have an integrated circuit I think we can just definitely fit that feature into the circuit so
Philip Jolly: Yeah,
Mark Lawrence: it's
Philip Jolly: that's that's a good that's a good
Brian Munoz: Mm-hmm,
Philip Jolly: one,
Mark Lawrence: Yeah,
Bernard Harris: Mm
Philip Jolly: because
Mark Lawrence: and
Bernard Harris: yeah.
Mark Lawrence: we display
Brian Munoz: mm-hmm.
Philip Jolly: the clock
Mark Lawrence: a clock.
Philip Jolly: would be really friendly,
Brian Munoz: Yes.
Philip Jolly: and and
Mark Lawrence: Yeah.
Philip Jolly: when is your favourite show
Brian Munoz: Yes.
Philip Jolly: coming
Mark Lawrence: Yeah,
Philip Jolly: on
Mark Lawrence: and
Bernard Harris: Yes.
Brian Munoz: Yeah
Mark Lawrence: then you
Brian Munoz: you're
Mark Lawrence: can
Brian Munoz: sitting
Mark Lawrence: just
Philip Jolly: and
Brian Munoz: there
Mark Lawrence: see your
Brian Munoz: already
Mark Lawrence: remote
Brian Munoz: or maybe
Mark Lawrence: controller
Brian Munoz: you have
Mark Lawrence: yeah
Brian Munoz: no
Mark Lawrence: yeah
Brian Munoz: other
Mark Lawrence: yeah so
Philip Jolly: Yeah, and a lot
Brian Munoz: uh
Philip Jolly: of time there's not a clock on the screen, and you have
Mark Lawrence: Yeah.
Philip Jolly: to go somewhere but you just wanna look at the news for a minute. Yeah that's that's good, the clock is good.
Mark Lawrence: Yeah.
Philip Jolly: Okay.
Mark Lawrence: Uh can you go to the next
Brian Munoz: Mm-hmm.
Mark Lawrence: slide please? Uh components uh the main components we need for uh it ha like buttons and uh underneath that there should be switch. And uh bulbs. Like uh we can have a bulb like whenever we are operating a remote controller or uh whenever the T_V_ is on suppose,
Bernard Harris: Hmm.
Mark Lawrence: then the remote controller should automatically have a b s light.
Philip Jolly: Mm-hmm.
Mark Lawrence: Then it will be like if you switch on your T_V_ through anoth another source, not from through a remote remote controller and you you lost your remote controller maybe you can find with the light.
Philip Jolly: Mm-hmm.
Mark Lawrence: Maybe we can have that. Whenever the T_V_ is on, remote controller will have a light.
Philip Jolly: Mm-hmm.
Mark Lawrence: And then uh infrared bulbs.
Philip Jolly: Mm-hmm.
Mark Lawrence: Um this is like uh when it is dark.
Brian Munoz: Yeah, mm-hmm.
Philip Jolly: Mm-hmm.
Mark Lawrence: And battery, there should be a battery for power supply, and
Philip Jolly: Mm-hmm.
Mark Lawrence: a chip, chip which is like a brain to the remote
Brian Munoz: Mm-hmm.
Mark Lawrence: controller which does all the operations, and wires connecting all chips, which is uh lights, everything,
Brian Munoz: Yeah.
Mark Lawrence: so there should
Bernard Harris: Okay.
Mark Lawrence: be wires. And uh uh of course there should be a case where we can keep all the things and, you know different shapes or whatever it is there should be a case to put to give
Bernard Harris: To
Mark Lawrence: a
Bernard Harris: keep
Mark Lawrence: shape.
Bernard Harris: the remote?
Mark Lawrence: Yeah.
Bernard Harris: Yeah.
Philip Jolly: Case.
Bernard Harris: A case holder.
Mark Lawrence: Yeah,
Bernard Harris: A holder
Mark Lawrence: holder.
Bernard Harris: remote
Brian Munoz: Holder,
Bernard Harris: holder.
Brian Munoz: yeah, mm-hmm.
Mark Lawrence: Um uh can you move onto the next slide. Um next sli slide please. Um I have referred the site uh the homepage of the um our website, uh from where I have uh uh I got s few points.
Brian Munoz: Mm-hmm.
Mark Lawrence: That's it, that's it from Philip Jolly now.
Brian Munoz: Okay.
Philip Jolly: So it um we should visit this site and have a look at uh what's
Mark Lawrence: Um.
Philip Jolly: up there? Or
Brian Munoz: Well, you don't have to.
Mark Lawrence: Uh it's not like that, I have referred the page to get new ideas or like
Philip Jolly: Okay.
Mark Lawrence: what can be the working design to how it works and all and
Philip Jolly: Okay.
Mark Lawrence: so and so.
Philip Jolly: So it might be helpful if we had a look at that.
Mark Lawrence: Yeah if you want.
Philip Jolly: Okay,
Mark Lawrence: Yeah,
Philip Jolly: thank
Mark Lawrence: it's
Philip Jolly: you.
Mark Lawrence: okay.
Philip Jolly: Could you go back to that slide where she had that uh s slide up Betsy?
Mark Lawrence: Uh, it's actually there now, there on the screen.
Brian Munoz: This one?
Philip Jolly: Yeah, okay, thank you.
Brian Munoz: And Francine?
Bernard Harris: Participant two.
Brian Munoz: You are
Bernard Harris: Yes.
Brian Munoz: number two?
Bernard Harris: No no, I'm three.
Brian Munoz: You're three.
Bernard Harris: I can?
Brian Munoz: Would you want it
Bernard Harris: Yes
Brian Munoz: full full
Bernard Harris: yes
Brian Munoz: screen? Mm-hmm?
Bernard Harris: yes.
Brian Munoz: Okay.
Bernard Harris: Okay. As uh User Interface Designer I did a little research to find out what are the features which a user would like to have on their remote.
Brian Munoz: Mm-hmm.
Bernard Harris: Yeah can you please go onto the next
Brian Munoz: Mm-hmm.
Bernard Harris: slide? So I found out that uh but uh the main purpose of a remote is to uh f control the function of a television at a far off distance at remote distance. Now for that, uh a remote controller should have a switch on off button by which a user can sit anywhere in the room in front
Brian Munoz: Mm-hmm.
Bernard Harris: of the T_V_ and he can control the functionalities different functionalities of the T_V_. There should be a signal uh something like a radio wave or a infrared light or a LED which can be used to change the different functionalities in the television if the user wants to uh change the channels or increase the volume he can change it.
Philip Jolly: Mm-hmm.
Bernard Harris: Now there should be some timer to set for viewing a particular a particular programme or switching on and off a uh a particular programme according to the user
Brian Munoz: On
Bernard Harris: choice.
Brian Munoz: the on on the remote.
Bernard Harris: Yes.
Brian Munoz: Yeah, mm-hmm.
Bernard Harris: Yes. So if if he want to view a particular programme
Brian Munoz: Mm-hmm.
Bernard Harris: at say nine o'clock
Brian Munoz: Mm-hmm.
Bernard Harris: he can set the time,
Brian Munoz: Right.
Bernard Harris: and the T_V_ will automatically it will switch on at that particular time.
Brian Munoz: Mm-hmm.
Bernard Harris: So he can use that kind of uh uh properties of features and then there should be a child lock system if a particular channel is not to be
Brian Munoz: Yes.
Bernard Harris: viewed by a particular uh for
Brian Munoz: By
Bernard Harris: a
Brian Munoz: your child,
Bernard Harris: certain
Brian Munoz: mm-hmm.
Bernard Harris: age, then the parents can lock that particular channel so that the ch children cannot view that
Philip Jolly: Mm-hmm.
Bernard Harris: channel.
Brian Munoz: Mm-hmm.
Bernard Harris: And uh the uh the uh and the one of the feature a user would like to have is the compactness of the co remote.
Brian Munoz: Mm-hmm.
Philip Jolly: Mm-hmm.
Bernard Harris: Uh t the remote should be compact and it should ha it should have as many buttons as possible for controlling different functionalities of the T_V_ television. And um uh as uh uh this is my personal preference that it should be in the shape of a T_ in alphabet for more compactability.
Brian Munoz: Mm-hmm.
Bernard Harris: And uh and uh and it is one more point which I noted it down, like uh the material which which which is used for remotes should be human friendly it should not cause any skin disease or something some al allergy
Brian Munoz: Mm-hmm.
Bernard Harris: to either children or to um
Brian Munoz: Mm-hmm.
Bernard Harris: ad
Philip Jolly: Mm,
Bernard Harris: adult
Philip Jolly: 'kay.
Brian Munoz: Mm-hmm.
Bernard Harris: person. And it should have an uh it can have an alarm clock a a person if some if somebody wants to get up at around
Mark Lawrence: Mm.
Bernard Harris: eight eight P_M_ then he can set the time and it can be used as an alarm clock,
Brian Munoz: Mm-hmm.
Bernard Harris: and I don't think it will cost much to set an alarm clock inside a
Mark Lawrence: Yeah,
Bernard Harris: remote.
Mark Lawrence: sure.
Brian Munoz: Mm-hmm.
Mark Lawrence: If there is a clock then there can be a
Philip Jolly: And an
Mark Lawrence: alarm
Philip Jolly: alarm
Bernard Harris: Yes,
Philip Jolly: clock,
Mark Lawrence: clock.
Philip Jolly: yeah
Bernard Harris: and
Philip Jolly: that should
Bernard Harris: as
Philip Jolly: that should
Bernard Harris: John Reece
Philip Jolly: be okay.
Bernard Harris: said the buttons can be, uh can Philip Jolly we can use the fluorescence to light up the buttons so different uh buttons will glow differently. So in even in the dark the user can know what buttons to use to switch on a particular channel. And uh uh the design of the uh um remote should be in such a way that there should not be any sharp projections so that if a child plays with a remote, he
Mark Lawrence: Hmm.
Bernard Harris: uh he should not be harmed in any way. And findings, uh I found out uh y um on different sites that uh there are different remotes which can be used, there are remotes which use the infrared for controlling the different functionalities, there are remotes which use the radio waves to control the functions and there are uh So uh there you have different uh types of remotes for different light source which are used which can be used for controlling the different functionalities of a television.
Bernard Harris: Next slide. And these are my few personal preferences like it can be used for a multipurpose use. Not, uh no uh like it can it can be used as a T_V_ control as plus an alarm clock to set an alarm a timing and it should have a child lock, and then to save electricity uh there should not be uh much s move uh lots of circuits and all that. And if a person if if if parents wants the television to be switched off by ten o'clock then it should be switched off ten o at ten o'clock automatically, so that nobody else comes later
Mark Lawrence: It's like
Bernard Harris: and
Mark Lawrence: a
Bernard Harris: use it.
Mark Lawrence: t okay, it's like a timer
Brian Munoz: Timer, yeah,
Bernard Harris: Timer.
Brian Munoz: mm-hmm,
Mark Lawrence: it's
Brian Munoz: mm-hmm.
Mark Lawrence: like a lock
Bernard Harris: Yeah
Mark Lawrence: to
Bernard Harris: and
Mark Lawrence: the television.
Bernard Harris: then you can use a timer as well. Yes. Yeah that's it.
Brian Munoz: Uh okay, now I have
Brian Munoz: On my slide show basically we already we have already done the agenda, and uh on the closing uh basically there will be lunch break and all that. However uh the decision we have to take in this meeting is who is our target group.
Bernard Harris: Okay.
Brian Munoz: And uh what function, working design, how how does it work. So these are the two things we should come up wit with. So uh the first thing is pro maybe a little easier on uh who is our target group. Um. I guess in many ways everybody. Everybody
Mark Lawrence: Mm,
Brian Munoz: who has a T_V_.
Mark Lawrence: T_V_,
Bernard Harris: T_V_
Mark Lawrence: yeah.
Bernard Harris: television we was.
Brian Munoz: Yeah, and I think today there are probably not many people who don't
Mark Lawrence: Don't
Brian Munoz: have a T_V_.
Mark Lawrence: T_V_,
Brian Munoz: There
Mark Lawrence: yeah.
Brian Munoz: are a few but in general not. Now, talking about the target group which is in a sense everybody, but I think within the target group we have subgroups. We have we have earlier it was mentioned about um for example elderly people
Bernard Harris: Mm-hmm.
Brian Munoz: who have limited function with their fingers and hands,
Mark Lawrence: Hmm.
Brian Munoz: so I think that's uh one group that's certainly important. Um then we have just the nervous people who can never press a little button on anything um unless it's really very clear.
Mark Lawrence: Yeah.
Brian Munoz: And uh I don't know how much we want to cater to children's use. I mean that's a question um whether that's important that children can really use it or not.
Mark Lawrence: Mm.
Brian Munoz: So this these are just some thoughts I have on it,
Philip Jolly: Mm-hmm.
Brian Munoz: group we're gonna design this one thing
Mark Lawrence: Yeah.
Brian Munoz: or whether we're looking at what we like we we talking about different shapes,
Philip Jolly: Mm-hmm.
Brian Munoz: whether that different shape also includes maybe different uh buttons
Mark Lawrence: Mm-hmm.
Philip Jolly: Mm-hmm.
Brian Munoz: uh for different groups.
Philip Jolly: Well you know there's the old motto, children under six never shop alone.
Brian Munoz: Mm-hmm.
Philip Jolly: So if you've designed something that's very attractive to children um the mummy please mummy please um you know we want it now we wanna go to the store and see it um that has uh a lot of
Brian Munoz: That has
Philip Jolly: marketing
Brian Munoz: a lot of
Philip Jolly: pull.
Brian Munoz: that has a lot of
Mark Lawrence: Mm.
Brian Munoz: appeal but I think uh I'm I'm talking about the functionality now on it whether we're looking at different groups. I think the children issue can be addressed with the shape
Philip Jolly: Mm-hmm.
Brian Munoz: and with colours.
Philip Jolly: That's
Mark Lawrence: Yeah.
Bernard Harris: Different
Philip Jolly: right.
Brian Munoz: You
Bernard Harris: colours.
Brian Munoz: know, like you make it nice and pink, fluorescent, banana colour
Bernard Harris: Yes.
Brian Munoz: or whatever
Philip Jolly: You can make a banana
Brian Munoz: you
Philip Jolly: shaped
Brian Munoz: know
Philip Jolly: one.
Mark Lawrence: Yeah.
Brian Munoz: yeah, for example you know.
Mark Lawrence: Mm.
Brian Munoz: But the question is really, who is our target group.
Philip Jolly: Mm-hmm.
Brian Munoz: Do we look at one target group? And with the twenty five Euros you know can we can we afford to have uh I'm asking the technical people here whether um to look at sort of subgroups with maybe different buttons for each group how much would that throw us out of the cost we are supposed to
Philip Jolly: Respect.
Brian Munoz: respect?
Philip Jolly: Mm.
Bernard Harris: Okay. No uh generally we can we can design a remote which is mainly for people with uh f age from ten to um forty
Brian Munoz: Right.
Bernard Harris: and and then we can add on uh specific functional buttons for children as well as the elderly people or the people wit
Brian Munoz: With
Bernard Harris: with
Brian Munoz: with
Bernard Harris: who have nervous problems,
Brian Munoz: Mm-hmm.
Bernard Harris: yes.
Mark Lawrence: We can design different remotes for different people, like for aged people there will be big buttons and you
Brian Munoz: Well
Bernard Harris: But
Mark Lawrence: know.
Bernard Harris: in
Brian Munoz: that's
Bernard Harris: a
Brian Munoz: that's
Bernard Harris: family
Mark Lawrence: yeah. Children and everybody, yeah.
Bernard Harris: They would like to buy just one and um just one which can be used all the three
Mark Lawrence: Yeah
Bernard Harris: uh
Mark Lawrence: of course that we can do, but specifically if y if like elderly people want big buttons then you can't really make a bi big remote controller so maybe specifically you can design a big con remote controller for elderly and for children,
Philip Jolly: What
Mark Lawrence: like
Philip Jolly: about
Mark Lawrence: in a
Philip Jolly: the
Mark Lawrence: different
Philip Jolly: electronics?
Mark Lawrence: you know.
Philip Jolly: That's
Brian Munoz: Yeah.
Philip Jolly: not really gonna change
Bernard Harris: Cost effective.
Philip Jolly: much, is
Mark Lawrence: No,
Philip Jolly: it?
Mark Lawrence: it it doesn't cost,
Philip Jolly: That
Brian Munoz: No
Mark Lawrence: yeah.
Philip Jolly: that w that won't change much, will it
Mark Lawrence: Yeah.
Philip Jolly: uh?
Mark Lawrence: Doesn't doesn't
Brian Munoz: The
Philip Jolly: I d I
Mark Lawrence: doesn't
Brian Munoz: the
Philip Jolly: wouldn't
Brian Munoz: quest
Mark Lawrence: matter.
Philip Jolly: think
Brian Munoz: the
Philip Jolly: so.
Brian Munoz: question to be addressed here is only who is the target group and how will it function,
Philip Jolly: Mm-hmm.
Brian Munoz: and I think the how will it function is probably the question of the buttons you know,
Philip Jolly: Yeah.
Brian Munoz: within the target group or subgroups. The question is only whether our budget will allow to have more than one design in a sense.
Philip Jolly: Yeah.
Brian Munoz: I mean the basic design I understand will be the same, but the question is how much will that set us back if let's say uh forty percent we make large buttons and the rest
Bernard Harris: Okay.
Brian Munoz: we make regular buttons
Mark Lawrence: Yeah.
Brian Munoz: for example.
Philip Jolly: Yeah.
Brian Munoz: So that remains to s to be seen but uh the target group as a whole is is basically everybody with a T_V_.
Philip Jolly: That's right,
Bernard Harris: Yes.
Philip Jolly: and can we can we is it even feasible to make one one remote control with something for everyone, or would we have to use the same electronics and make three different shapes?
Brian Munoz: Yeah, well that's that's
Philip Jolly: Um
Brian Munoz: the question.
Philip Jolly: the same electronics and basically all that's gonna be different
Mark Lawrence: Hmm
Philip Jolly: is the plastic case.
Mark Lawrence: hmm.
Philip Jolly: And in that case we could probabl moulded plastic isn't all that expensive is it? Um you
Mark Lawrence: Uh no.
Philip Jolly: as an
Mark Lawrence: Mm,
Philip Jolly: industrial
Mark Lawrence: I I
Philip Jolly: person?
Mark Lawrence: I don't think no.
Brian Munoz: Well maybe there's
Mark Lawrence: It's
Brian Munoz: there's an idea
Mark Lawrence: not.
Brian Munoz: you know t the new for example new portable phones?
Philip Jolly: Mm-hmm.
Brian Munoz: They have like removable plastic cases,
Philip Jolly: Yeah.
Brian Munoz: so you can have a striped one or you can have a fluorescent blue one, or whatever,
Philip Jolly: Mm-hmm.
Bernard Harris: Okay.
Brian Munoz: and maybe something like that, that in each package you know you have
Philip Jolly: Well there's a real
Brian Munoz: you
Philip Jolly: idea
Brian Munoz: you
Philip Jolly: yeah.
Brian Munoz: have you have for example uh you have let's say a fluorescent blue on it
Philip Jolly: Mm-hmm.
Brian Munoz: but then you have uh another colour or stripe whatever that already comes in a package.
Mark Lawrence: Hmm.
Brian Munoz: And
Philip Jolly: Yeah.
Brian Munoz: then if people really want more colours they can buy it separately.
Philip Jolly: Right.
Mark Lawrence: Yeah, like
Brian Munoz: You
Mark Lawrence: for
Brian Munoz: know,
Bernard Harris: Um
Mark Lawrence: mobile phones we
Brian Munoz: yes.
Mark Lawrence: have uh different you know covers,
Philip Jolly: Mm-hmm.
Mark Lawrence: like
Bernard Harris: Yes.
Mark Lawrence: designs
Brian Munoz: That's right,
Mark Lawrence: and
Brian Munoz: and
Mark Lawrence: all
Brian Munoz: but
Mark Lawrence: so that
Brian Munoz: like
Mark Lawrence: w
Brian Munoz: if
Mark Lawrence: we can
Philip Jolly: Uh
Brian Munoz: if
Mark Lawrence: have
Philip Jolly: yeah.
Brian Munoz: then
Mark Lawrence: that.
Brian Munoz: everybody is is is tired of the fluorescent blue and of the striped or whatever they have as another one in the package, then they can go to the store and for a few uh
Mark Lawrence: Yeah.
Brian Munoz: Francs or Euros whatever they can buy
Philip Jolly: An alternate package.
Brian Munoz: an alternate package with another two colours in it you know for example
Philip Jolly: Yeah.
Brian Munoz: you
Philip Jolly: Okay.
Brian Munoz: know.
Bernard Harris: But uh yeah I I have a doubt like will it be cost wise effective if we if we design a remote having all the uh different features for different people or designing three different um remotes for three different categories of people.
Brian Munoz: Well I think
Mark Lawrence: Yeah, but
Brian Munoz: I
Philip Jolly: Well
Mark Lawrence: uh
Brian Munoz: think
Philip Jolly: I think
Brian Munoz: the
Philip Jolly: we
Brian Munoz: idea
Philip Jolly: can only
Brian Munoz: here is
Philip Jolly: aff,
Brian Munoz: to uh to to
Philip Jolly: yeah.
Brian Munoz: d design one remote
Bernard Harris: Okay.
Mark Lawrence: Yeah.
Brian Munoz: and what the only change is gonna be um the funct
Philip Jolly: Cosmetic.
Brian Munoz: d t yeah
Bernard Harris: Of th
Brian Munoz: uh
Bernard Harris: okay.
Brian Munoz: the functional functional cosmetics if you
Bernard Harris: Okay.
Brian Munoz: want to put it that way,
Bernard Harris: Mm-hmm.
Brian Munoz: um having maybe larger buttons or buttons that light up or buttons that are slightly differently shaped for people uh either for children um Five minutes that was I guess tha that's the old message.
Philip Jolly: Warning, finish
Brian Munoz: Finish
Philip Jolly: meeting
Brian Munoz: meeting
Philip Jolly: now.
Brian Munoz: now. Um um.
Philip Jolly: Well we may have to come back to one or
Mark Lawrence: Yeah,
Philip Jolly: two of these
Mark Lawrence: maybe,
Philip Jolly: points
Mark Lawrence: yeah,
Philip Jolly: at our next meeting but
Mark Lawrence: yeah.
Philip Jolly: um
Brian Munoz: But I think
Mark Lawrence: If we do some more research,
Brian Munoz: I
Mark Lawrence: maybe
Brian Munoz: I think
Mark Lawrence: we.
Brian Munoz: to sum it up the target group is basically everybody. If money permits we can address some features for some subgroups
Philip Jolly: Mm-hmm.
Bernard Harris: Okay,
Brian Munoz: within that.
Mark Lawrence: Hmm
Bernard Harris: mm-hmm.
Mark Lawrence: yeah,
Philip Jolly: Okay
Mark Lawrence: I
Philip Jolly: but
Brian Munoz: Do
Mark Lawrence: think
Brian Munoz: we
Philip Jolly: we have
Brian Munoz: agree,
Philip Jolly: to
Mark Lawrence: maybe
Philip Jolly: l
Mark Lawrence: seventy
Brian Munoz: do we?
Mark Lawrence: percent is a unique uh uh remote
Brian Munoz: Do we
Mark Lawrence: controller
Brian Munoz: agree
Mark Lawrence: and
Brian Munoz: on
Mark Lawrence: thirty percent
Brian Munoz: on that
Mark Lawrence: is
Brian Munoz: in
Mark Lawrence: yeah
Brian Munoz: principle,
Mark Lawrence: it's sort of
Brian Munoz: like
Mark Lawrence: like yeah.
Brian Munoz: money will tell whether
Mark Lawrence: Yeah,
Brian Munoz: we will
Mark Lawrence: yeah,
Brian Munoz: be able
Mark Lawrence: of
Brian Munoz: to
Mark Lawrence: course,
Brian Munoz: do that
Mark Lawrence: yeah.
Brian Munoz: or not.
Philip Jolly: Okay,
Bernard Harris: Yes.
Philip Jolly: fair
Brian Munoz: Okay?
Philip Jolly: enough.
Mark Lawrence: Mm-hmm.
Brian Munoz: So now I understand it's lunch break. And um. So that's what we will do.
Philip Jolly: Okay.
Bernard Harris: Okay.
Brian Munoz: So hank you very much.
Mark Lawrence: Thank you.
Brian Munoz: And we'll see you after lunch. | The meeting begins and Philip Jolly starts her presentation promptly, telling them that her research shows they need a focus- it is not possible to make a device that works on the whole house. Brian Munoz steps in and informs them that they have instructions to eliminate the teletext idea because it is too complicated, and also said they must maintain the corporate image by using corporate designs and colors. Philip Jolly resumes, talking about how remotes often get lost and that a light emitter might be useful. Mark Lawrence gives her presentation, talking about components, materials, and energy sources. They discuss giving the control different shapes to suit both adults and children, making the buttons various shapes, and putting a display clock on the control. The interface designer presents, talking about the features users like on a remote and suggesting that they make the remote a T-shape and add an alarm clock function. They discuss their target group and the possibility of removable plastic cases. They close the meeting deciding to do more research on the plastic cases. | 5 | amisum | train |
Jeremy Adams: Well hi everyone again.
David Messer: Hello.
Timothy Gama: Hello.
Donald Ingram: Hello
Jeremy Adams: Um like before uh I have to redo the meetings from n th the minutes from the last meeting
Donald Ingram: Mm-hmm.
Jeremy Adams: and so here we go. Uh it was discussed in the last meeting uh which was opened by the presentation from the interface um
David Messer: Designer.
Jeremy Adams: designer that uh looks would be very important on this new remote and um it is to send messages of course to the T_V_. It should have nine channel buttons, a button volume buttons buttons, switch to control features, colour contrast, sharpness etcetera. It should have a memory switch, a mute button in case the telephone rings or something. Uh speech recognition is one of her very f favourite personal uh features she would like see d d to be integrated in this um in this new remote. Um. Should be child friendly design with few buttons, colourful maybe with s star shaped or other shaped buttons. Um she uh presented also an oversized remote which she guarantees nobody will ever be able to lose. Um
Donald Ingram: And she was challenged on that point
Jeremy Adams: that's right.
David Messer: Yes.
Jeremy Adams: But uh her very f personal favourite really she, she would very much like to see a speech recogniser integrated in this remote. Timothy Gama um presented her uh thoughts on the issue. She would like a special case made out of plastic that is very strong, not using any harmful materials, should be recyclable and should be colourful. Should have an integrated circuit board that's highly sophisticated and temperature resistant. She would like to see a timer and or alarm facility integrated. Uh technically this thing would also have a resistor and a capacitor, diode transistor, resonator, and if possible a rechargeable battery. Uh and of course a circuit board. And how it would works, you press the button, the chip is morse morse code related relays the uh to the generat to the generator amplification and uh the circuit board is very inexpensive to build
Donald Ingram: Okay.
Jeremy Adams: and so she thinks this is a great feature uh to to to consider. She would like uh this whole thing should be push buttons with a simple chip uh scrolling method is more expensive and not that practical anymore. Should be battery operated and of course she would have the special cases. Donald Ingram uh who has to finally come up with to to to market this product has been watching the competition, has done some research on the internet and also has used h her personal observations to come up with the fact that such a remote sh should be small, easy to use and it should be eye catching. From her point of view of course one of the most important facts is that we should get to market before our competition does. To do that uh maybe one or two features should be developed on which we could dwell on or in other words on which our campaign could be built on. Too many new features or too many points would only confuse matter. So we prefer to have one or two features that can be really uh driven home. Um it should have a fruit and vegetable design and should have a soft feel. She feels that's really what people want today. And the decision that we took last time was that uh the special feature we would like to see is a speech recogniser, the energy should be battery uh should be on a chip, should be trendy design, compact and strong, and should have buttons. And that concludes the presentation from the last minutes from the last meeting. Now uh we are ready for the presentation of the prototype.
Timothy Gama: Yeah.
David Messer: Yeah. Just the look like, the button part I'll explain.
Timothy Gama: Yeah. so this what uh we have made This is a model of the remote control which we are going to build.
Jeremy Adams: Mm-hmm.
Timothy Gama: Uh this is us in a snail shape
Donald Ingram: Mm-hmm.
Timothy Gama: so uh it it is attractive um and it's it's blue in colour
Donald Ingram: Mm-hmm.
Timothy Gama: uh bright and uh it has yellow buttons and all the different colour buttons
Donald Ingram: Mm-hmm.
Timothy Gama: so it is a uh uh a looks-wise it is beautiful.
Donald Ingram: Mm-hmm.
Timothy Gama: Uh and also compact in shape.
Donald Ingram: Mm-hmm. Mm-hmm. Mm-hmm. Good.
Timothy Gama: Yeah, oops, sorry.
Donald Ingram: You used to have all the buttons
Timothy Gama: Um yeah and um uh the material which we are going to use for the case is uh plastic and uh w which which is s strong um uh and also uh for the Um the material is plastic and uh for the buttons it is uh s soft rubber um and
Donald Ingram: Oh
Timothy Gama: als
Donald Ingram: that's good,
Timothy Gama: yeah.
Donald Ingram: no, that's nice and friendly.
Timothy Gama: Yeah because uh uh you'll be touching the buttons
Donald Ingram: Mm-hmm.
Timothy Gama: more so
Donald Ingram: Mm.
Timothy Gama: it is soft when you
Jeremy Adams: Mm-hmm,
Timothy Gama: touch
Donald Ingram: Mm-hmm.
Timothy Gama: it.
Jeremy Adams: mm-hmm.
Timothy Gama: And then um uh for the for the led, for the light emitting diode it
Donald Ingram: Mm-hmm.
Timothy Gama: is a fluorescent green and
Donald Ingram: Mm-hmm.
Timothy Gama: it's a a it is a bulb like an ordinary infrared. And and the button button's part uh will be explained by F Francina.
David Messer: Okay.
Donald Ingram: Okay.
David Messer: Now the um we decided upon including certain features on our remote. Now these features includes the s um signal emitting uh signal it's the led
Donald Ingram: Yeah,
David Messer: or
Donald Ingram: okay,
David Messer: L_E_D_
Jeremy Adams: Mm-hmm,
Donald Ingram: mm-hmm.
Jeremy Adams: mm-hmm.
David Messer: the infrared. Now uh we have included the switch on and off button.
Donald Ingram: Mm-hmm.
David Messer: Now we have included another feature that is the mute button
Donald Ingram: Mm-hmm.
David Messer: on the side of the model.
Donald Ingram: Mm-hmm.
David Messer: Then we have included one to nine buttons the programmes the different channels.
Donald Ingram: Mm-hmm.
David Messer: We have also included two buttons for increasing or decreasing the volume.
Donald Ingram: Mm-hmm.
David Messer: And we have also included two buttons for scrolling up and scrolling down the programme channels.
Donald Ingram: Mm.
David Messer: Now our our model also contains a button which is called as the menu button.
Jeremy Adams: What kind of button?
David Messer: Menu button.
Jeremy Adams: Menu? Uh menu
David Messer: Yes,
Donald Ingram: Menu
Jeremy Adams: th menu,
David Messer: menu
Donald Ingram: button.
Jeremy Adams: uh one one.
David Messer: At the centre
Donald Ingram: Mm-hmm.
David Messer: we have included a button which is fluorescent green colour and this is the menu button which will control the colour, sharpness, brightness
Donald Ingram: Mm-hmm. Of the screen.
David Messer: of
Donald Ingram: Mm,
David Messer: this
Donald Ingram: mm-hmm.
David Messer: uh picture. We have also included a button which is called as the swapping button. Now this is uh a special, special feature which we have included. Now this button is an elongated shaped button and this is slightly flexible so if it is turned towards the right it will take to the previous channel, if it is turned towards the right it will take to the next channel. It will take the user to the previous and the next channel so this is a swapping button.
Donald Ingram: The next channel in the numeric pattern, or
David Messer: No, swapping is if if example you're you're watching the second channel
Donald Ingram: Yeah, mm-hmm.
David Messer: and then you go to the tenth channel and if
Donald Ingram: Mm.
David Messer: you want to go back to the second channel you can swap, this button.
Donald Ingram: Okay,
David Messer: Yes.
Donald Ingram: okay.
David Messer: And at the end, it this remote has inbuilt voice recogniser which
Jeremy Adams: Okay.
David Messer: c which will recognise the user's voice
Jeremy Adams: Mm-hmm.
David Messer: and then it'll act accordingly.
Jeremy Adams: Mm-hmm.
David Messer: So
Donald Ingram: Okay.
David Messer: this is our proposed model.
Donald Ingram: Mm-hmm.
David Messer: Now Donald Ingram has to
Timothy Gama: Tell, yeah.
David Messer: give her suggestion whether it'll be sellable or it'll be cost effective.
Donald Ingram: Okay, well um what what I really like a lot about it is that you can reach the whole thing with one thumb,
David Messer: Yes,
Donald Ingram: that
David Messer: yes.
Donald Ingram: you can really hold it in
Timothy Gama: Mm-hmm.
Donald Ingram: one h you don't need two hands and it's easily reachable even for somebody with a small hand, yeah?
Jeremy Adams: Yes the buttons are all raised, right?
Donald Ingram: The buttons
David Messer: Yes.
Donald Ingram: are all raised
Jeremy Adams: Are raised,
Donald Ingram: and
Jeremy Adams: mm-hmm.
Donald Ingram: if you hold it in the centre of your hand you can even reach it over here
Jeremy Adams: Right.
Donald Ingram: so you don't have to turn it around, turn it upside down,
Jeremy Adams: Or have two hands
Donald Ingram: move
Jeremy Adams: to operate
Donald Ingram: it up,
Jeremy Adams: it,
Donald Ingram: up
Jeremy Adams: yeah.
Donald Ingram: and down, I really like that. You really
David Messer: Mm.
Timothy Gama: Mm-hmm.
Donald Ingram: did a good job on that, my little designers. Um and um I like the idea that the on-off button is in a really prominent place. That's that's a really good good
Jeremy Adams: Yes,
Donald Ingram: thing.
Jeremy Adams: and it sort of sticks up so
Donald Ingram: Yeah,
Jeremy Adams: that
Donald Ingram: that's great.
Jeremy Adams: you really you don't have to g
Timothy Gama: Hmm.
Jeremy Adams: first go like oh yeah
Donald Ingram: Mm-hmm.
Jeremy Adams: here
Timothy Gama: Mm-hmm.
Jeremy Adams: it's on
David Messer: Abs
Jeremy Adams: and
David Messer: okay.
Jeremy Adams: yeah, mm-hmm.
Donald Ingram: The colour's very attractive. Um the um these buttons uh around here are the mute
David Messer: No,
Donald Ingram: and
David Messer: these the front buttons
Donald Ingram: these
David Messer: which are here,
Donald Ingram: mm-hmm
David Messer: are the mute buttons.
Donald Ingram: On both sides they're
David Messer: Yes,
Donald Ingram: mute?
David Messer: yes.
Donald Ingram: So you can push either one?
David Messer: Yes.
Donald Ingram: Okay.
Jeremy Adams: So if you're left-handed or right-handed
Donald Ingram: And
Jeremy Adams: it
Donald Ingram: this
Jeremy Adams: doesn't
Donald Ingram: brings
Jeremy Adams: matter.
Donald Ingram: the menu up on the screen?
David Messer: Pardon Donald Ingram?
Donald Ingram: This brings
David Messer: This
Donald Ingram: the menu
David Messer: is the
Donald Ingram: up
David Messer: menu
Donald Ingram: on the
David Messer: yes,
Donald Ingram: screen
David Messer: yes.
Donald Ingram: and the orange ones are
David Messer: A the the these these two are th to increase or decrease the volumes,
Donald Ingram: Okay.
David Messer: and these two are to uh scroll the programme channels.
Donald Ingram: F f okay. Right,
David Messer: Scroll
Donald Ingram: very good.
David Messer: up or scroll down the channels.
Donald Ingram: Uh it looks mm looks like something I can sell. Okay and now I'm supposed
Jeremy Adams: Well,
Donald Ingram: to
Jeremy Adams: I have one question
Donald Ingram: yeah.
Jeremy Adams: uh will there be anything written on the buttons, like that people know, or they have to learn that from a piece of paper which button does what?
David Messer: Yes,
Timothy Gama: Ah.
David Messer: it will have uh these
Timothy Gama: Yeah,
David Messer: buttons
Timothy Gama: definitely.
David Messer: will have the numbers and all the rest of the buttons will have symbols.
Jeremy Adams: Will have symbols
David Messer: Yes,
Jeremy Adams: so that
Donald Ingram: Yeah.
David Messer: which
Timothy Gama: Yeah.
Jeremy Adams: that
David Messer: can be easily
Jeremy Adams: that
David Messer: recognised.
Timothy Gama: Yeah.
Jeremy Adams: the user really knows
Timothy Gama: Yeah.
Jeremy Adams: you know
David Messer: Yes.
Jeremy Adams: and doesn't have
Timothy Gama: Yeah.
Jeremy Adams: to first
Donald Ingram: Good point
Jeremy Adams: learn
Donald Ingram: because
Jeremy Adams: it
Donald Ingram: we need
David Messer: Yes.
Donald Ingram: the symbols 'cause we're going
Timothy Gama: Yeah
Donald Ingram: into
Timothy Gama: of
Donald Ingram: an
Timothy Gama: course,
Donald Ingram: international
Timothy Gama: and
Donald Ingram: market
Timothy Gama: also
Donald Ingram: we can't
David Messer: Yes.
Donald Ingram: have anything
Timothy Gama: Hmm.
Donald Ingram: that's language
Jeremy Adams: Yeah.
Donald Ingram: dependent.
Timothy Gama: Yeah.
Jeremy Adams: But
David Messer: Yes.
Jeremy Adams: anyway it would ha i i i it
Timothy Gama: Yeah
Jeremy Adams: has
Timothy Gama: we
Jeremy Adams: to have some
Timothy Gama: can
Jeremy Adams: kind of of
Donald Ingram: Symbols
Timothy Gama: Text.
Donald Ingram: on
Jeremy Adams: symbols,
Donald Ingram: it. Mm-hmm,
Jeremy Adams: text
David Messer: Yes.
Jeremy Adams: or something
Donald Ingram: mm-hmm.
Timothy Gama: Text
Jeremy Adams: so that
Timothy Gama: that
Jeremy Adams: people
Timothy Gama: we can
Jeremy Adams: kn
Timothy Gama: have on the case itself, we can
David Messer: Yes.
Jeremy Adams: That's
Timothy Gama: it
Jeremy Adams: right.
Timothy Gama: will
Donald Ingram: Mm-hmm.
Timothy Gama: be printed on the case and
Jeremy Adams: Okay,
Timothy Gama: symbols
Jeremy Adams: yeah
Timothy Gama: as
Jeremy Adams: just
Timothy Gama: well
David Messer: And
Jeremy Adams: wanted
Timothy Gama: as
Jeremy Adams: make
Timothy Gama: the
Jeremy Adams: sure
Timothy Gama: buttons.
Jeremy Adams: of
Timothy Gama: Yeah.
Jeremy Adams: that mm-hmm.
David Messer: and one
Donald Ingram: Mm,
David Messer: more
Donald Ingram: 'kay, mm.
David Messer: feature is we we have a holder for this remote
Donald Ingram: Mm-hmm.
David Messer: which is an oyster shape. A shell shape.
Donald Ingram: For the snail,
Jeremy Adams: Right,
Donald Ingram: yeah,
David Messer: Yes,
Timothy Gama: Yeah.
Donald Ingram: mm-hmm,
Jeremy Adams: mm-hmm.
David Messer: yes.
Donald Ingram: we have
Timothy Gama: So
Donald Ingram: the snail
Timothy Gama: it is
Donald Ingram: shell.
David Messer: Yes,
Jeremy Adams: Mm-hmm.
Timothy Gama: yeah,
David Messer: snail
Donald Ingram: He
David Messer: shell.
Donald Ingram: goes right back
Timothy Gama: yeah
Donald Ingram: into his
Timothy Gama: shell.
Donald Ingram: shell.
David Messer: Yes.
Jeremy Adams: Right.
Donald Ingram: Well you know I think we could do something really funny with this too because the snail is known to be slow
Timothy Gama: Mm-hmm.
Donald Ingram: and we could have some sort of little comic effect on our marketing
David Messer: Mm-hmm.
Timothy Gama: Mm.
Donald Ingram: about how this is a rapid snail
David Messer: Y Yes
Donald Ingram: or something
Timothy Gama: Yeah,
Donald Ingram: like that
Timothy Gama: of
Donald Ingram: you know that
Timothy Gama: course,
Donald Ingram: would, that would
Timothy Gama: yeah.
Donald Ingram: really work.
Jeremy Adams: Now what,
Donald Ingram: So
Jeremy Adams: what are our special features for the marketing? That's really the voice recognition that's really unusual
Donald Ingram: I think voice recognition is our big selling point
Timothy Gama: Mm.
Donald Ingram: 'cause
Timothy Gama: Mm-hmm.
Donald Ingram: nobody else seems to have that
Timothy Gama: Mm.
Donald Ingram: in in this price range.
Jeremy Adams: And then, and then the other thing would basically be sh shape or practicality of use.
Donald Ingram: Yep uh
Jeremy Adams: You
Donald Ingram: well
Jeremy Adams: know.
Donald Ingram: I think that everybody's gonna say their remote control is practical. I think we have
Jeremy Adams: Colours.
Donald Ingram: to, we have to dwell on on on the appearance.
Jeremy Adams: Mm-hmm.
Donald Ingram: We're really gonna have the be the
Jeremy Adams: Cutest.
Donald Ingram: cutest remote control on the block.
Timothy Gama: Mm.
Jeremy Adams: Yeah.
Donald Ingram: So I think we have to play with the image, play with the snail image um play with the visual and then the voice recognition. I
Timothy Gama: Mm-hmm.
Donald Ingram: think those are the two things to push. The look and the voice recognition. They're gonna be our two selling points.
Jeremy Adams: Okay, now uh having said that
Donald Ingram: I'm supposed to make a little presentation, aren't I?
Jeremy Adams: No, now this was our evaluation criteria which
Donald Ingram: Okay.
Jeremy Adams: we uh just have done. Now we're gonna talk about financing.
Donald Ingram: Ah, but in my instructions I think it said I was supposed to go to the board and do something. No?
Jeremy Adams: Well, there is a production evaluation. Is that you?
Donald Ingram: Yeah, that's Donald Ingram.
Jeremy Adams: But that's after the financing.
Donald Ingram: Oh, okay.
Jeremy Adams: See?
Donald Ingram: Sorry,
Jeremy Adams: Fi see?
Donald Ingram: sorry. Mm-mm.
Jeremy Adams: Um. had looks and voice recognition. Okay now on the financing we bring up the mm there it is. Okay uh energy source we say that's battery, right?
Timothy Gama: Mm.
Donald Ingram: That's right.
Jeremy Adams: Okay, now. So we I guess we use one.
Timothy Gama: Yeah.
David Messer: Yes.
Jeremy Adams: What? T cell or chart you are trying to change is protected. Well, that's nice. She told Donald Ingram I could just ch change it here and then it would It doesn't work. Hmm.
Donald Ingram: Can you just fill it in in the yellow boxes? Or
Jeremy Adams: Oh, okay
Timothy Gama: Yeah.
Jeremy Adams: yeah, okay, let's see. Okay,
David Messer: Yes.
Jeremy Adams: one, okay. Oh go away. Um kinetic source so that's in the energy source that's all we need.
Timothy Gama: Mm-hmm.
Jeremy Adams: Uh electronics, simple chip on print? Is
Timothy Gama: Yeah,
Jeremy Adams: that's
David Messer: Yes.
Jeremy Adams: what we're using?
Timothy Gama: yeah.
Jeremy Adams: One of those? Come on. Okay, one. Uh regular chip on print. No.
Timothy Gama: No.
Jeremy Adams: That's all we need, the
Timothy Gama: Yeah.
Jeremy Adams: one case, uncurved flat, single curved, double curved.
Donald Ingram: Well.
Timothy Gama: This is a
David Messer: Single curve? Mm.
Donald Ingram: I guess it's double curved.
Jeremy Adams: Double curved? One of those?
Donald Ingram: Mm-hmm.
Jeremy Adams: Case materi s supplements. Plastic we said,
Timothy Gama: Yeah.
Jeremy Adams: right?
David Messer: Plastic.
Jeremy Adams: Uh wood, rubber?
Donald Ingram: Rubber,
Timothy Gama: Yeah.
Donald Ingram: because we're gonna have the soft buttons.
Jeremy Adams: Uh but, yes but
Timothy Gama: I think uh that is uh f for rubbers
Jeremy Adams: That's
Timothy Gama: that is
Jeremy Adams: just
Timothy Gama: uh yeah
Jeremy Adams: for the case
Timothy Gama: case
Jeremy Adams: material,
Timothy Gama: material.
David Messer: Is this for the
Jeremy Adams: so
Donald Ingram: Oh
David Messer: case?
Donald Ingram: okay,
David Messer: Yes.
Donald Ingram: the mm-hmm,
Jeremy Adams: special
Donald Ingram: mm' kay.
Jeremy Adams: colours though, we having that, right?
Timothy Gama: Mm-hmm.
David Messer: Yes.
Donald Ingram: Mm-hmm.
Jeremy Adams: And then we have to interface push buttons.
David Messer: Yes.
Donald Ingram: Mm-hmm.
Jeremy Adams: Scroll wheel, no. Integrated scroll wheel, L_C_ display?
Donald Ingram: No,
David Messer: No.
Donald Ingram: 'cause
Jeremy Adams: Button.
Donald Ingram: we didn't put the clock in it after all, right?
Jeremy Adams: No.
Timothy Gama: Yeah.
Donald Ingram: Mm-hmm.
Jeremy Adams: Uh,
David Messer: Speci
Jeremy Adams: button supplement special colour?
David Messer: Yes
Jeremy Adams: Special form?
David Messer: Yes
Donald Ingram: Yes.
David Messer: d we do have special form.
Jeremy Adams: And special material, rubber, wood, yes.
Timothy Gama: Yeah.
Jeremy Adams: Okay. Total seven point six whatever that means.
Timothy Gama: Uh, I think that's the
Jeremy Adams: That's
David Messer: One two
Jeremy Adams: the
David Messer: three
Jeremy Adams: price.
Timothy Gama: price.
David Messer: four five six seven eight nine
Timothy Gama: Maybe
Jeremy Adams: Mm?
Timothy Gama: it is it just n
Jeremy Adams: Eight, eight point two.
David Messer: Nine
Jeremy Adams: That's
David Messer: points,
Jeremy Adams: hmm?
David Messer: okay, yes.
Jeremy Adams: Eight point two, right? So, we looks like we are well within budget.
Timothy Gama: Yeah.
Donald Ingram: Mm-hmm.
David Messer: Okay.
Jeremy Adams: Okay. I guess I should save this I suppose, huh?
Donald Ingram: Yeah.
Jeremy Adams: Oops.
Jeremy Adams: Uh-huh huh huh.
David Messer: On the desktop.
Jeremy Adams: I just tried that. My
Timothy Gama: AMI.
Jeremy Adams: documents, computer. My
Timothy Gama: AMI
Jeremy Adams: compu
Timothy Gama: should for
Jeremy Adams: Ah oh here it is, yes. Okay, fine. Save. Okay good, so that's the good news. We gonna be popular.
Donald Ingram: Mm-hmm.
Timothy Gama: Yeah.
Jeremy Adams: Um. So that uh I think financing was pretty simple.
Donald Ingram: Mm-hmm.
Jeremy Adams: Now we would like to have a presentation by Donald Ingram on production evaluation.
Donald Ingram: Okay, I'll take my file down so you can bring it up.
Donald Ingram: 'Kay should be able to get it now. 'Kay, why don't you move just to the next slide right away.
Jeremy Adams: You wanna go to the next slide?
Donald Ingram: Yeah right away.
Jeremy Adams: Okay.
Donald Ingram: Okay, well uh obviously my method for uh s m the marketing of this thing is first to ask the big question, will it sell? And I think we should show this prototype to people from various age and socio-economic groups and see about any fine tuning
David Messer: Okay.
Donald Ingram: that maybe little things we
Timothy Gama: Mm-hmm.
Donald Ingram: haven't thought of. We can't accept every suggestion of course, but maybe we just
Timothy Gama: Yeah.
Donald Ingram: need to get a few. And show the the prototype to consumer research groups, we don't s want somebody to suddenly come to us and tell us that this button is toxic and
Timothy Gama: Mm-hmm.
Donald Ingram: you know some child will swallow it and then we won't sell any.
Timothy Gama: Mm.
Donald Ingram: So we have to get some input from those people.
Timothy Gama: Mm-hmm.
Donald Ingram: And then after that we just have to go with our best intuition and you know we like it, we think it's good, we're gonna get behind it and sell it. Um, next slide please. Okay, now the things that I was thinking and th my wish list has really been realised in this prototype. I wanted the shape to be biomorphic, I didn't want anything with angles and all square, I wanted it to be comfy and roundy. The size is small, the colour's bright and warm which is what we wanted. We wanted the feel to be as soft as possible, we'll have the soft buttons
Timothy Gama: Mm-hmm.
Donald Ingram: and the way this is shaped, even though it's gonna be hard plastic, it feels good in your hand so that's nice. And functionality I put last on my list because people aren't going to use it before they buy it. So paradoxically the other features, in other words, the look, the feel um and the shape,
David Messer: Fee
Donald Ingram: that's what people are
David Messer: selling.
Donald Ingram: gonna get in the store.
Timothy Gama: Yeah.
Donald Ingram: They don't have a television in the store, they can't play with it.
Timothy Gama: Yeah.
David Messer: Yes.
Donald Ingram: Um so they'll be our main selling points. So um th those have been fulfilled by your prototype and go ahead to the next slide please. Okay, so um the shape um I think is a a one. That's really, really excellent shape. The size is small um and th these points are in the importance for the, for the marketing, these aren't i in how I feel. I think that it's I think that it's plenty small enough to sell but I think we're sort of right the scale is one to seven. I think we're sort of right in the middle as far
David Messer: Okay.
Donald Ingram: as c other competitors. And our colour I think is great. The colours are bright and warm and we really do great job there. And given um the constraints that we had I think we got it as soft as possible. And then functionality um I think you did a really good job on functionality, obviously we could have ad added different functions but then we'd disturb something else so I would say that we got to a five out of seven on on functionality. So
David Messer: Okay.
Donald Ingram: I think
Timothy Gama: Mm-hmm.
Donald Ingram: that basically we've got a great product and we can get off and running with it.
Timothy Gama: Yeah.
Jeremy Adams: Um I just realised one thing.
Donald Ingram: Yes.
Jeremy Adams: In the financing there was no room for our voice recogniser.
David Messer: Yes.
Donald Ingram: Ah.
Timothy Gama: Yeah.
Jeremy Adams: And uh I don't know how we can evaluate that or how we can include that, too.
Donald Ingram: Well, um we had what, eight eight euros twenty as our cost?
Jeremy Adams: Eight, eight twenty, yes.
Timothy Gama: Eight twenty
Donald Ingram: And
Timothy Gama: so
Donald Ingram: so we've got
Timothy Gama: We
Donald Ingram: we've
Timothy Gama: have
Donald Ingram: still
Timothy Gama: um
Donald Ingram: got four euros
Timothy Gama: four
Donald Ingram: to go
Timothy Gama: euros, yeah
Donald Ingram: to spend.
Jeremy Adams: I mean maximum we have another four point three euros
Donald Ingram: Mm-hmm.
Jeremy Adams: I mean four thirty.
Donald Ingram: Well um that's
Jeremy Adams: But I mean we have no way of presenting that to management as you know as a f finished, as a finished product and saying okay with the voice recogniser that costs so much.
Donald Ingram: Mm-hmm.
Jeremy Adams: So um we just have to beware of that. I mean
Timothy Gama: Yeah.
Jeremy Adams: and know whether the four thirty will really cover that.
Donald Ingram: Well
Timothy Gama: Yeah.
Donald Ingram: as we know in today's technic technological world you can do just about anything at any price, the the the problem is quality.
Timothy Gama: Yeah.
Donald Ingram: So we're just gonna have to settle for whatever quality
Timothy Gama: Yeah,
Donald Ingram: that will buy
David Messer: Yes,
Donald Ingram: us.
Timothy Gama: yeah.
David Messer: yes.
Donald Ingram: And um it may not be the greatest quality but it may sell anyway.
Timothy Gama: Yeah,
Jeremy Adams: Yeah.
Timothy Gama: still.
Donald Ingram: As we've seen with so
Timothy Gama: Yeah.
Donald Ingram: many of these kinds of products.
Jeremy Adams: I'm sorry to interrupt then but I just uh recog I just remembered that there was no that that was not um included
Timothy Gama: Included, yeah.
Jeremy Adams: uh that there was no room for any
Timothy Gama: Hmm,
Jeremy Adams: special features,
Timothy Gama: hmm
David Messer: Yeah mm.
Jeremy Adams: okay? So to beware of that. You wanna go to this next slide, marketing
Donald Ingram: Uh,
Jeremy Adams: expert?
Donald Ingram: well I isn't this my last slide? Maybe.
Jeremy Adams: I dunno.
Donald Ingram: Go ahead.
Jeremy Adams: Yes
Donald Ingram: I think
Jeremy Adams: it
Donald Ingram: that
Jeremy Adams: is.
Donald Ingram: was my last slide, yeah.
Jeremy Adams: Mm-hmm.
Donald Ingram: Um. Mm okay. And I'm supposed to present this scale on the whiteboard. Um and we're supposed to talk about those things as a team now, so if you put my last slide back up there.
Jeremy Adams: Oh.
Donald Ingram: I'm sorry I've um forgot to do that, um.
Jeremy Adams: Why? Wh why you need that up?
Donald Ingram: Hmm? Well because I can't remember what I put on there. Okay. Now I'm supposed to see how long my leash is here.
Jeremy Adams: I think you can make it there.
Donald Ingram: Mm 'kay. You ready. So now we're all supposed to say what we think. Um okay so on shape I gave it a one. Wait what would you ra uh one being good and seven being the worst.
David Messer: Worse, okay.
Donald Ingram: Um what do you think the shape is?
David Messer: One.
Donald Ingram: One, okay, and Be Betsy?
Jeremy Adams: Yes I think uh shape is one.
Timothy Gama: Yeah,
Donald Ingram: Okay, uh-huh
Timothy Gama: even my yeah, shape
Donald Ingram: one,
Timothy Gama: is one.
Donald Ingram: okay. And how about on size? On size
Jeremy Adams: You you gave it a four.
Donald Ingram: I gave it a four, yeah, I feel it's just average.
Jeremy Adams: Um, I dunno. I think I would give it at least a two.
Donald Ingram: Okay.
David Messer: One.
Donald Ingram: Mm-hmm.
Timothy Gama: Yeah, even I think it is one.
Donald Ingram: Okay.
Timothy Gama: It's quite small.
Donald Ingram: Okay you're the designer, of course you wanna give it a one. Um and then how about how we doing on colour?
Jeremy Adams: Colour uh I
Donald Ingram: Colour, I gave it a one.
Jeremy Adams: One.
Donald Ingram: I really like all those nice bright, warm
Jeremy Adams: I
Donald Ingram: colours.
Jeremy Adams: I like the colours.
David Messer: One.
Jeremy Adams: One.
Donald Ingram: One.
David Messer: Yes.
Timothy Gama: Yeah, one.
Donald Ingram: One, one, one, okay. And how about the feel? Taking into um consideration texture and comfort in the hand.
Jeremy Adams: Uh, I think I would give it a two.
Donald Ingram: Okay, I gave it a three, two,
David Messer: I'll
Donald Ingram: yeah?
David Messer: give three.
Donald Ingram: Three.
Timothy Gama: Uh maybe two,
Donald Ingram: Two, okay.
Timothy Gama: yeah.
Donald Ingram: And the next is functionality where I I admit I was a little hard on our team here, but
Jeremy Adams: Well it's also you can't really try it out uh
Donald Ingram: Yeah.
Jeremy Adams: the other things you have have more is are more tangible so
Donald Ingram: Mm-hmm.
Jeremy Adams: from that point of view but um I'll give it a three.
Donald Ingram: Okay.
David Messer: Two.
Donald Ingram: Two, okay.
Timothy Gama: Uh three,
Donald Ingram: Three?
Timothy Gama: mm-hmm.
Donald Ingram: Okay. Well, um. It looks like we've got got ourselves a pretty good product. Um the functionality's the only place where maybe we have to think about m m maybe, heaven forbid, having another meeting.
Timothy Gama: Yeah.
Donald Ingram: But um otherwise I think we're we're ready to go to go with this product. Anybody else have any other comments or any other things that we feel we should evaluate?
Jeremy Adams: Uh. Here is what we looking at uh satisfaction on for example room for creativity. Um. Is there more room for creativity or are we absolutely happy?
Timothy Gama: Maybe
David Messer: We can
Timothy Gama: we can
David Messer: always improve, yes.
Timothy Gama: yeah, include some more buttons and
David Messer: Yes,
Timothy Gama: uh
David Messer: features.
Timothy Gama: um yeah features. We can make the buttons few buttons smaller. Uh I think they are quite big, so I think I I mean we can just have small buttons and more buttons in that case. If we want to have more features than that.
Donald Ingram: Mm-hmm. Well then again if we're gonna um do the speech recognition thing
Timothy Gama: Yeah.
Donald Ingram: we're gon there gonna be some buttons that are gonna have to be added
Timothy Gama: Yeah,
Donald Ingram: for that
Timothy Gama: definitely.
David Messer: Yes.
Donald Ingram: for the recording of the the speech.
David Messer: Voices.
Timothy Gama: Mm-hmm.
Donald Ingram: So that that's where we're gonna have to do maybe we can eliminate one of the mute buttons,
Timothy Gama: Yeah, definitely,
Donald Ingram: instead
David Messer: Yes.
Donald Ingram: of having two mute
Timothy Gama: yeah,
Donald Ingram: buttons.
Timothy Gama: two mu mute
David Messer: Yes.
Donald Ingram: And
Timothy Gama: buttons.
Donald Ingram: um then maybe we can do something with the um the volume control. Maybe we can put that all on one button.
Timothy Gama: Hmm.
Donald Ingram: Um and a couple of other th maybe comp uh consolidate some of the usage an and see what we can do with that.
Timothy Gama: Mm-hmm.
Jeremy Adams: Y um al
David Messer: And
Jeremy Adams: always
David Messer: maybe
Jeremy Adams: bearing in mind that right now we are of course well within the budget
Donald Ingram: Mm-hmm.
Jeremy Adams: and that we still you know we probably can't, with this particular item, we probably can't just uh add a whole lot of more things.
Donald Ingram: No.
Jeremy Adams: Uh
Timothy Gama: Yeah.
Jeremy Adams: um we need uh you know we need to leave space money-wise
Donald Ingram: Mm-hmm.
Jeremy Adams: for the voice recogniser.
Donald Ingram: Mm-hmm.
David Messer: Yes.
Jeremy Adams: Um.
Timothy Gama: Mm-hmm.
Jeremy Adams: So th the question really is how do we feel with the project process? Uh, um are we happy with the creativity that has passed here or we're not happy with the new product we created or that was created? Uh I think personally I think uh I'm pretty happy.
Donald Ingram: I'm pretty happy with
Timothy Gama: Even
Donald Ingram: it
Jeremy Adams: Um
Donald Ingram: too,
Timothy Gama: I'm
Donald Ingram: yeah
Timothy Gama: happy.
Donald Ingram: um, it's
Jeremy Adams: an
Donald Ingram: something I think I can market.
Timothy Gama: Yeah.
Donald Ingram: Yeah.
Jeremy Adams: and then the next question is are we happy with the leadership of this project? Uh
Donald Ingram: I think you've done a good job, Miss
David Messer: Yes,
Donald Ingram: leader.
Timothy Gama: Yeah,
David Messer: yes you've
Timothy Gama: yeah,
David Messer: done
Timothy Gama: definitely.
Jeremy Adams: And
David Messer: a good job.
Jeremy Adams: I think team work I think was very very good,
Donald Ingram: Yeah
Jeremy Adams: I
Donald Ingram: I
Jeremy Adams: think
Donald Ingram: d
Timothy Gama: Mm-hmm.
Donald Ingram: I
Jeremy Adams: we
Donald Ingram: do
Jeremy Adams: really
Donald Ingram: too I think we
Timothy Gama: Yeah.
Jeremy Adams: yeah.
Donald Ingram: worked well together as a team, yeah.
Timothy Gama: Yeah.
Jeremy Adams: Mm-hmm.
Donald Ingram: Mm-hmm.
Jeremy Adams: And uh I think we are we happy with the means we used? We used whiteboard, we didn't use digital p well digital pens I guess are these things.
Donald Ingram: Yeah maybe we could've used the whiteboard
David Messer: Whiteboard
Donald Ingram: a little
David Messer: more,
Donald Ingram: bit more,
David Messer: yes,
Donald Ingram: yeah,
Timothy Gama: Yeah,
Donald Ingram: we
Timothy Gama: probably.
Donald Ingram: didn't use
Jeremy Adams: Yes,
Donald Ingram: that
David Messer: yes.
Donald Ingram: enough.
Jeremy Adams: we could. Uh, it's maybe not in the best position in the room um you know like sometimes it's positioned so that it's much better visible for everybody
Donald Ingram: Mm-hmm.
Jeremy Adams: and I think from that point of view we sort of ignored it a little bit.
Donald Ingram: And we
David Messer: Yes.
Donald Ingram: used the slide because it was better positioned.
Jeremy Adams: Yes,
Timothy Gama: Yeah.
Jeremy Adams: I think so,
David Messer: No.
Jeremy Adams: I think
Donald Ingram: Mm
Jeremy Adams: absolutely,
Donald Ingram: I think that's true
Jeremy Adams: and
Donald Ingram: mm-hmm.
Jeremy Adams: fortunately we all had slides presentation which made it a little easier.
Timothy Gama: Hmm.
David Messer: Yes.
Donald Ingram: Mm-hmm.
Jeremy Adams: Um did we new did we find new ideas? I think we did.
Timothy Gama: Yeah,
Donald Ingram: I think we were
Timothy Gama: many.
Donald Ingram: we were very good,
Jeremy Adams: I
Donald Ingram: yeah,
Jeremy Adams: think
Donald Ingram: mm.
Jeremy Adams: we we did, uh in more than one respect
Donald Ingram: Mm-hmm.
Jeremy Adams: and uh so I think we did very well here.
Donald Ingram: Okay.
Jeremy Adams: Are the costs within budget? Yes, yes. Uh is the project evaluated?
Donald Ingram: Yes, yes.
Jeremy Adams: Yes.
Timothy Gama: Yeah.
Jeremy Adams: Um
Donald Ingram: Celebration.
Jeremy Adams: then celebration.
David Messer: Cel celebration yes,
Timothy Gama: Ah.
David Messer: yes.
Donald Ingram: Today we have apple juice and after we sell m million of 'em we have champagne.
Jeremy Adams: So I I thank you all very much. Um, I think this was very good
Donald Ingram: Mm-hmm.
Jeremy Adams: and
Timothy Gama: Yeah.
Jeremy Adams: um I think we did come up with a new product that's uh feasible.
Donald Ingram: Mm-hmm.
Jeremy Adams: Feasible from the production point of view and feasible from a marketing point of view.
Donald Ingram: Mm-hmm.
Jeremy Adams: So,
Donald Ingram: Okay.
Timothy Gama: Yeah.
Jeremy Adams: thank you.
David Messer: Thank
Timothy Gama: Thank you
David Messer: you.
Timothy Gama: very
Donald Ingram: Okay.
Timothy Gama: much.
Donald Ingram: Watch I I have my cord behind you
David Messer: Okay.
Donald Ingram: here. Okay.
Jeremy Adams: I always get it on here, but getting it off is
Timothy Gama: Do we do we have some time left? Uh you have
David Messer: They say it's forty minutes.
Jeremy Adams: Ah yes
Donald Ingram: But
Jeremy Adams: we have time later but we don't
Donald Ingram: we we were told we could end the final meeting at any time,
David Messer: Okay.
Timothy Gama: Oh, alright.
Donald Ingram: whenever we felt we were finished. It'll take Donald Ingram the rest of the time to get my microphone out from my necklace. Oh, there we go. | Jeremy Adams opens the meeting by going over the minutes of the last meeting, detailing the main points of each person's presentation. They do the prototype presentation which includes a model of the remote control. The group discusses this proposed model, approving of the small size and look of it. They goes over finances and are pleased to find that they are well within budget. However, while Donald Ingram is doing the product evaulation the group realizes that they neglected to calculate voice recognition into the financing. Their cost had been 8.20 Euros and they have 4.30 left to cover it, so they decide to settle for whatever quality it will buy. They rate their product on its shape, size, color, feel, and functionality. They discuss the project process, talk briefly about adding more features, and one member suggests eliminating a mute buttons and include a diffferent feature. They are happy with the creativity, leadership, and teamwork within the group, and close the meeting by thanking one another. | 5 | amisum | train |
Michael Mathers: Okay. Everybody found his place again? Yeah
Cory Mees: Yes.
Michael Mathers: That's? nice. Okay so this is our second meeting. And uh still failing?
Cory Mees: Yeah.
Michael Mathers: Uh now we're going um into the functional design. Um important thing of this phase is that we're going to uh try to get an agreement about the user requirements, technical function design, and the working design. So that we can move onto the second uh phase. But first this phase. Um first an announcement. There's a little adaptation in the air conditioning system. There's our ghost mouse again. That that means that you can have a little trouble with, little trouble with the air conditioning, that's because of this uh
Terry Federgreen: Okay.
Cory Mees: Okay.
Michael Mathers: It's in wing C_ and E_. So it should be over in a in a while, couple of days. But it's going to be cold anyway, so I don't think you're gonna need it.
Cory Mees: No.
Michael Mathers: Then our agenda. Now first the opening. Uh this time I will take the minutes. Uh you're going to have a presentation. All of you. Um and we've got forty minutes for the whole uh prese for the whole uh presentations. So uh I suggest we take about seven minutes per presentation, and then we can have a little discussion about the new project requirements uh which have been sent to Cory Mees. And then the decision on the control functions uh which we wanna include and those which we don't wanna include. So we've got forty minutes for all of it. So I suggest um let's start with the first presentation.
Cory Mees: Yes
Michael Mathers: Um who wants to be first?
Cory Mees: Think I'll go first.
Michael Mathers: Okay. So Just maybe it's easier if you um Yeah I think you will tell your presentation as well. Just which function you have and what you're gonna talk about.
Cory Mees: 'Kay. My name is Freek Van Ponnen. I'm the Market Expert. But you already knew that. Um I've done some research. We have we uh have been doing research in a usability lab where we observed um users operating remote controls. Uh we let them fill out a questionnaire. We had one hundred of these uh test subjects. Uh in we did research. Uh see what market consists of ages are involved. Well these are three quite astonishing results, I thought. Um remotes are being considered ugly. F uh seventy five percent of the um people questioned uh indicated that they thought their remote were was ugly. Um and an additional eighty percent indicated that they would spend more money on a fancy-looking remote control. So Um in addition remotes were not very functional. Fifty percent of the people indicated they only loo used about ten percent of the buttons on a remote control. And fifty percent of the people indicated that their remote tended to get lost in their room. So
Terry Federgreen: Mm.
Cory Mees: some things. Then we did some research to the most relevant functions. Channel selection and volume selection um both got a ten on a scale of one to ten for relevancy. The power button got a nine. And teletext got a six and a half. So these are the most most uh important functions on a remote control. Then there are some one-time use function. That's what I like to call them. That uh audio settings, video settings, and channel settings buttons. Which are not really used very frequently, but are still considered to be of some importance. Um channel selection was also indicated to be used very frequently. One hundred and sixty eight times per hour. Then these are the This is the market. Um sixty percent of the market consists of users between the ages sixteen and forty f six. Um Main characteristic of this group is that they're very critical on the remote control. Um they like to use new f new functions. But they also are very critical. They won't spend their money very easily. So Um the users of forty six to sixty five years cons The make up forty percent of the market. They are not really very interested in features. But they do tend to spend their money a lot easier. Um What I think this indicates for our um design. I think we should make a remote for the future. And this means we would um have to focus on the age ages sixteen to forty five. Uh this also makes up most the biggest part of the market, so that will also be where our main profit would be gettable. Um this would mean we would have to make a fancy design. Um The results also indicated that um about one quarter of the people questioned thought that the remote control caused R_S_ R_S_I_. Um this is certainly something to take into account. And thirty four percent thought that it was hard to learn a n how to operate a new control, remote control. So these are two factors that I think should be included in the design. Besides of course that the remote must look very nice. And the functionality As a lot of people indicated, they only use about ten percent of the buttons, I think we should make very few buttons. Uh this will also be uh beneficial to the design of the remote. Uh I think the most frequently used buttons should be emphasised. Especially the channel selection and audio uh selection buttons. 'Cause they're used most and so they should be robust. They shouldn't break down easily. Um Then as mo as a lot of people indicated that their um remote got lost in the room, it might be and I say might be because it would um certainly boost the uh production costs a lot. But it might be a good idea to make a docking station. And this would, could get a button in it which would send a signal to the remote which would then beep. So you'd know where it is in the room. And in addition to this it could um recharge the batteries in the remote if you put it in. Then um a surprisingly great deal of people w indicated that um an L_C_D_ screen in the remote control would be preferred. This was um mostly people in the age of sixteen to twenty five. But up till forty five it remains feasible. This would also greatly increase the production costs but I think these are just some small factors we could consider.
Michael Mathers: Okay.
Cory Mees: That would be all.
Michael Mathers: Thank you. So anybody have um any questions
Cory Mees: Any questions?
Michael Mathers: until now?
Terry Federgreen: Mm-hmm.
Michael Mathers: About functional requirements?
Donald Glover: No.
Michael Mathers: Okay that's clear.
Cory Mees: 'Kay.
Michael Mathers: Now to the second.
Terry Federgreen: Uh okay. I've been looking at uh the user interface of it.
Michael Mathers: Yeah.
Terry Federgreen: Um f for the techno f functions uh of of it. Um
Michael Mathers: Yeah you can
Terry Federgreen: Okay.
Michael Mathers: take your time. We've got uh
Terry Federgreen: Mm?
Michael Mathers: plenty
Cory Mees: Yeah
Michael Mathers: of
Cory Mees: you should
Michael Mathers: time,
Cory Mees: go to
Michael Mathers: so
Cory Mees: the
Terry Federgreen: Oh.
Cory Mees: top thingy.
Terry Federgreen: Uh.
Cory Mees: Slide show. Oh
Michael Mathers: Yeah.
Cory Mees: yeah.
Terry Federgreen: Okay.
Michael Mathers: There it is. Yeah.
Terry Federgreen: Um yeah. I think uh we uh must use the general functions uh of the uh remote control. Uh uh I've do I've uh done a little uh research on the internet and not much information about it, Um about uh interface but uh Uh Yeah I I've been thinking about a simple manner uh to put a lot of functions uh uh in one um in one uh remote control. Uh so uh you've got a lot of devi uh devices like uh D_V_D_ uh uh television, uh stereo. So um But uh it must be uh user-friendly. So um uh you c you can't put a a lot of uh functions uh in one uh Yeah. Uh uh uh Yeah. In one um remote
Michael Mathers: One
Terry Federgreen: control.
Michael Mathers: remote.
Terry Federgreen: But um Yeah. Um yeah. Got uh many functions in one uh remote control, um but um yeah you can see, this is uh quite simple uh remote control. Um few uh buttons but uh This uh re uh remote control got a a lot of uh buttons. Um uh people uh don't like it, uh so um Well what uh I was uh thinking about was um uh keep the general functions uh like they are. So uh like uh the on-off uh button. Uh keep it uh yeah l like a red button. Uh everybody everybody knows it so uh uh you don't have to change that. Um My personal uh preferences um. Use a display for uh specific uh functions of the different uh device. So um Wh what I was th uh thinking about was um you've got um
Terry Federgreen: Uh this the remote control uh and uh you got here the general functions, uh like uh the on-off button uh sound uh I dunno um And um here you've got a s kind of a display. It's a touchscreen. So um yeah you got a general f uh f the functions of the device uh for a D_V_D_ player or uh so um the pl yeah um f for uh playing uh reverse uh. And um you got here uh real buttons for uh selecting uh a device. So um this button is for a D_V_D_ or So um for every um device you've got a uh a f a b a part uh display of a part buttons. So uh you you never got uh all the buttons uh on w one device. So
Michael Mathers: Hmm.
Terry Federgreen: uh that's uh my uh idea about it.
Michael Mathers: 'Kay.
Terry Federgreen: Um yeah and Uh let's see. Uh yeah. So a touchscreen. Uh and um th the buttons uh the real buttons uh we have to use um. We better c um uh use uh quite uh large buttons uh for um yeah. Everybody uh have to use it so Uh ol even even old people um young people. So uh we must keep uh buttons uh quite s uh simple and quite large. So uh
Michael Mathers: Yeah.
Terry Federgreen: Um Yeah. Uh yeah. That was uh my uh
Michael Mathers: Okay.
Terry Federgreen: part of it. So
Michael Mathers: Anybody has questions about the technical functions?
Donald Glover: Well I think if we are gonna a uh we're gonna above the twelve and a half Euros.
Terry Federgreen: N
Michael Mathers: Yeah.
Terry Federgreen: I I don't think so. Uh you got uh quite a cheap uh touchscreen.
Michael Mathers: Touchscreen.
Terry Federgreen: S um it's uh not uh in colour or something. Uh it's just uh um one colo Uh yeah. Uh I seen uh w uh something on the internet uh not today but uh a few uh weeks ago. Uh you got uh yeah quite an uh a kind of uh touchscreen um and it's uh for uh twenty uh Euros or uh less uh.
Michael Mathers: Huh.
Terry Federgreen: So
Cory Mees: Hmm.
Terry Federgreen: it's possible.
Michael Mathers: 'Kay. That's nice.
Cory Mees: Well it would
Michael Mathers: Uh
Cory Mees: certainly make a fancy design.
Terry Federgreen: Yeah.
Michael Mathers: Yeah.
Donald Glover: But
Cory Mees: So
Donald Glover: the It wouldn't be very robust. It's very fragile and you can get scratches on it.
Cory Mees: That is true.
Michael Mathers: That's
Terry Federgreen: Yeah that's true.
Cory Mees: We
Michael Mathers: right.
Cory Mees: would have
Michael Mathers: Uh
Cory Mees: to look into that.
Michael Mathers: maybe we can first um listen to your presentation? Uh
Terry Federgreen: Uh.
Cory Mees: Yeah.
Donald Glover: That's.
Michael Mathers: And then we have a little discussion about the requirements and uh
Donald Glover: Okay.
Michael Mathers: design.
Michael Mathers: I think it's going to Uh it's not too much. Okay.
Donald Glover: Okay I've got a presentation about the working design. Um first about how it works. It's really simple of course. Everybody knows how a remote works. The user presses a button. The remote determines what button it is, The T_V_ switches to the frequency, or what function it is. So we've got um the the plate. It gots conductive disks for every button. When the user presses a button, a signal got sent, goes to the LED and transmits tranmi transmits its to the T_V_. It's a very simple device, technically speaking. So this is a schematic overview. You've got the buttons. The power source. And uh when a button gets pressed, its goes to the chip. The chip uh controls the infrared bulb and perf perhaps a normal bulb. When you press a button you can actually see your pressed button. Well um I think we should use default materials, simple plastics. Keep the inner workings simple, so it's robust. Uh I think we should focus on aesthetics, the design and the user interface, because if you're going to use high-tech materials the price is going to go sky-high. And uh you only have to design a remote once, and if you use high-tech materials it come back in every product. So it's, in my idea, it's uh it's gonna be smart to invest in di in design and not in uh in the product itself. That's it.
Michael Mathers: Okay. Thank you.
Michael Mathers: Okay. Uh Okay now I hope everybody has a little bit more insight in the functions we all have and what we are doing right now. Um I'm Michael Mathers so I'm here to mess things up and uh tell you some new uh requirements. Um that's, we've uh got to design a um remote which is only suitable for T_V_. Um that's because
Terry Federgreen: Okay.
Michael Mathers: uh it will be too complex and the time to market will be too big, if we wanna have it uh for more functions.
Terry Federgreen: Mm.
Michael Mathers: So it has to be simple. Uh another point is we have to skip the teletext, because in the world of uh upcoming internet uh we think teletext is going to be uh a thing of the past. And uh it's a function we don't need in our remote control. Um internet is also mentioned in a function we can use. Uh maybe also on televisions it will be available as well. Another one is uh the customer is uh forty plus. Uh that's the the market we have to to to target, because we are going to develop a new product which is specially designed for the younger customers. Um this is uh a bit pity for the Marketing uh Expert. Because he was uh aiming on the the younger persons. So we have to find a market which is above forty plus uh but which will suit our uh remote control, and the other way round. And we have to be very uh attent in uh putting the corporate image uh in our product. So it has to be visible in our design, in the way our device works. And uh we have to be uh very clear on this point as well. So I suggest let's have a discussion on the control functions. Yeah.
Cory Mees: So is there any discussion possible about the new product requirement?
Michael Mathers: Uh we can see if we can find a way uh between the functions we wanna use and the market we wanna reach with our product.
Terry Federgreen: Mm.
Michael Mathers: Um
Cory Mees: Yeah 'cause you're you're saying that teletext is gonna be an old feature and it's not gonna be used anymore anyway pretty soon. And new T_V_s will have internet access on them.
Cory Mees: within the next like twenty years is very slim. In
Terry Federgreen: Yeah.
Cory Mees: addition people indicated that teletext simply was an important feature for the remote control. So I think it's pretty dumb to put no teletext feature on it. I'm pretty much against it.
Michael Mathers: Against the no
Terry Federgreen: Mm.
Michael Mathers: teletext?
Cory Mees: Yes.
Michael Mathers: Um
Cory Mees: Besides that, I think the market for forty plus is like pretty small. But
Michael Mathers: Yeah
Cory Mees: I mean if
Michael Mathers: it's
Cory Mees: I
Michael Mathers: it
Cory Mees: s if
Michael Mathers: is
Cory Mees: I see
Terry Federgreen: forty
Cory Mees: this, it's I think we're just gonna go for another
Michael Mathers: Standard remote.
Cory Mees: pretty
Michael Mathers: No I think
Cory Mees: and
Michael Mathers: we can
Cory Mees: not innovative
Michael Mathers: I think
Cory Mees: remote
Michael Mathers: we
Cory Mees: control.
Michael Mathers: can do a lot with the design and the simple buttons which were also mentioned. Uh if we put a lot of effort in those, we can make a remote control with uh just two or three buttons. Or just a remote which is suitable for the market we wanna reach because
Terry Federgreen: Yeah.
Michael Mathers: it is forty percent of the market. And um if you look in Holland at the whole generation of forty plus, fifty plus, it it's the the biggest share of the of the whole population now.
Cory Mees: Yes but it's not the biggest part of the market.
Michael Mathers: No.
Cory Mees: And besides that, they're not very critical so I mean they don't really care what the remote control is like. They'll just pretty much take the first thing they see and which looks acceptable.
Michael Mathers: But don't you think that
Michael Mathers: people think that's the the device I've looked for although I didn't realise it. So let's try it.
Cory Mees: No. I think that would be the case in the sixteen to forty five age category. because they are critical and they they want to have a fancy remote control.
Terry Federgreen: Yeah.
Cory Mees: People of forty plus, I mean they want it to work, but as soo as soon as it works it's okay with them.
Terry Federgreen: Mm.
Michael Mathers: Yeah.
Donald Glover: I think that if
Cory Mees: So
Donald Glover: we're If we put our marketing right um we can sell this just like um I don't know if you've heard about it in the news, the the elderly mobile phone?
Michael Mathers: Yeah. It's a big success.
Donald Glover: Yeah if we
Cory Mees: I haven't
Donald Glover: if we
Cory Mees: heard
Donald Glover: make
Michael Mathers: Very
Cory Mees: of
Donald Glover: a
Michael Mathers: big
Donald Glover: remote
Cory Mees: it.
Michael Mathers: success.
Donald Glover: control just
Michael Mathers: Yeah.
Donald Glover: l with that idea in mind, we could make tons of money, I think.
Cory Mees: Hmm.
Michael Mathers: Uh.
Terry Federgreen: Mm.
Donald Glover: We
Michael Mathers: I
Donald Glover: don't have
Michael Mathers: think
Donald Glover: to focus
Michael Mathers: so as well.
Donald Glover: on on on the on the design then but on functionality. We just change our focus on the project, and I think we can uh we can sell this.
Michael Mathers: Uh I simply think um uh that the new products we are gonna make, uh spef specifically design, are designed for uh younger people, uh so maybe we can focus ourself on the elderly people. And I think we have to um see what requirements we need for those um remote controls. 'Cause what you told is the channel selection is important.
Cory Mees: Yes.
Michael Mathers: Volume selection,
Terry Federgreen: Mm.
Michael Mathers: power and teletext.
Cory Mees: Yes.
Michael Mathers: Okay.
Terry Federgreen: Yeah.
Michael Mathers: Um
Cory Mees: But obviously the board tends to disagree.
Michael Mathers: No we we haven't voted yet, so Uh I think teletext can be uh um can be a function as well. But only if uh if it won't higher the the cost, because I don't know if it will be a lot more money to implement teletext as well, but I don't think it will be a problem. Or is teletext
Terry Federgreen: But
Michael Mathers: a
Terry Federgreen: um deaf people need uh teletext for uh for
Michael Mathers: Yeah.
Terry Federgreen: subtitles.
Cory Mees: Yeah, also.
Terry Federgreen: So it's Yeah.
Michael Mathers: Yeah. So I suggest
Cory Mees: I think
Michael Mathers: uh
Cory Mees: it'd definitely
Terry Federgreen: It's
Cory Mees: be a bad idea not to include
Terry Federgreen: Mm.
Michael Mathers: Yeah.
Cory Mees: teletext.
Michael Mathers: Is anybody um really against teletext?
Donald Glover: No.
Michael Mathers: No? Just that, that we just keep the teletext. I think that's a good idea as well, especially for the subtitles. Maybe we can make that um another point of advantage in our remote control, if we uh make a k a button ex for example for big subtitles, which is instantly on the remote control.
Terry Federgreen: Yeah
Michael Mathers: For elderly
Terry Federgreen: yeah.
Michael Mathers: people they can think, oh I wanna have subtitles, and they push the button and they get the big subtitles.
Donald Glover: Uh that's
Terry Federgreen: Yeah.
Donald Glover: a good idea.
Terry Federgreen: Yeah.
Michael Mathers: Um so I think teletext can v can be very useful in our advantage. Um Functionality should be few buttons, you said.
Cory Mees: Yes.
Michael Mathers: I think
Terry Federgreen: Yeah.
Michael Mathers: uh that's very important we have a few buttons.
Cory Mees: Mm-hmm.
Michael Mathers: So to keep it
Cory Mees: But
Michael Mathers: simple.
Cory Mees: I don't think that's really an issue any more 'cause Well might be.
Terry Federgreen: If it's
Cory Mees: But I mean
Terry Federgreen: only
Cory Mees: it,
Terry Federgreen: for
Cory Mees: if
Terry Federgreen: televi
Cory Mees: it's only for T_V_
Terry Federgreen: Yeah.
Cory Mees: you're not gonna need a lot of buttons
Terry Federgreen: Yeah.
Cory Mees: anyway. You
Michael Mathers: No.
Cory Mees: need a one to zero button,
Terry Federgreen: Yeah.
Cory Mees: next channel, previous channel, volume up, volume down, and some teletext buttons but
Michael Mathers: Yeah. But
Cory Mees: I
Michael Mathers: do
Cory Mees: think
Michael Mathers: you
Cory Mees: if
Michael Mathers: need
Terry Federgreen: So
Cory Mees: you
Terry Federgreen: we
Cory Mees: if you only
Terry Federgreen: can s
Cory Mees: l
Terry Federgreen: we can skip the display, so uh we
Michael Mathers: But
Terry Federgreen: don't need it.
Cory Mees: Nah.
Michael Mathers: do you need the buttons for one to zero. Maybe
Terry Federgreen: Uh
Michael Mathers: c
Cory Mees: Think
Michael Mathers: we can
Cory Mees: if you're gonna include teletext you do. I think many people like to use that.
Michael Mathers: Maybe we
Cory Mees: 'Cause
Michael Mathers: can
Terry Federgreen: Yeah.
Cory Mees: if
Michael Mathers: use
Cory Mees: you should,
Michael Mathers: uh
Cory Mees: if you want to switch from channel one to like thirty five, you don't wanna push the next channel button thirty
Terry Federgreen: Yeah.
Cory Mees: five times.
Michael Mathers: No, maybe we can implement the scroll button? Or a joystick
Terry Federgreen: Mm.
Michael Mathers: like? There are other ways too. Just look if you look at telephones.
Terry Federgreen: Yeah.
Michael Mathers: The Sony telephone has a scroll
Terry Federgreen: Mm-hmm.
Michael Mathers: button which is very useful in
Terry Federgreen: Yeah.
Michael Mathers: searching names or
Cory Mees: That's true but um I don't think there are many T_V_s that can switch channels that fast. And so you would need like the T_V_ would need an a function where you can actually view all channels and scroll through it. And I dunno if many channels would do have that. If many T_V_s have that.
Donald Glover: Yeah.
Terry Federgreen: Mm.
Donald Glover: And besides that it's um If we're gonna focus on elderly people they'll have to adapt. They're not used to using scroll buttons.
Michael Mathers: That's
Donald Glover: So
Michael Mathers: right.
Cory Mees: Mm-hmm.
Terry Federgreen: Mm.
Donald Glover: perhaps we should s stick to the basic layout.
Michael Mathers: the numbers yeah. Yeah they can see how much buttons there are going to be on on the display, and if it's too much we can uh reconsider it. But I think
Terry Federgreen: Yeah.
Michael Mathers: there won't be very much buttons. Or there don't
Cory Mees: But
Michael Mathers: have to be
Cory Mees: I don't
Michael Mathers: a lot.
Cory Mees: think I think if you're gonna make a remote control only to operate a T_V_, you there's not much you can gain on um having as few buttons as possible. 'Cause I think there are pretty many remote controls that can only operate a T_V_, which already only have the minimum number of buttons. I don't think there's much to be gained in that area.
Michael Mathers: The
Terry Federgreen: Hmm.
Michael Mathers: number of buttons?
Cory Mees: Yeah.
Michael Mathers: I think it's very important in the in the design. You can make a very fancy design uh with putting the buttons on the right places. And if you have less buttons you can do a lot more with
Cory Mees: That is true but I think there's simply not much to gain on the competition when you when you're making a remote control only for to operate only the T_V_.
Michael Mathers: To operate only
Cory Mees: 'Cause
Michael Mathers: the T_V_
Cory Mees: if you have
Michael Mathers: yeah.
Cory Mees: a a remote control only to operate a T_V_ there's simply not a lot of buttons required. There's not a lot of functions required so most existing remote controls simply don't have a lot of buttons either.
Michael Mathers: No.
Terry Federgreen: No.
Michael Mathers: So.
Cory Mees: So I think it would be very hard to actually gain on the competition here.
Michael Mathers: 'Kay. So we
Cory Mees: That would
Michael Mathers: can
Cory Mees: that would cost a a big marketing expedition
Michael Mathers: Yeah. That's right.
Cory Mees: which was one of the arguments to make it only for the T_V_ because we didn't have the time to market a lot.
Michael Mathers: Yeah. So you suggest we could better um focus on for example the docking station. Uh uh like other functions. Instead
Cory Mees: Maybe.
Michael Mathers: of f of less buttons.
Cory Mees: Well yeah I think, mean we obviously need a good way to position all the buttons and But I don't think we should spend very much time in that.
Michael Mathers: Mm. No. Do you think the docking station will uh is allowed in the budget we have?
Donald Glover: It should be possible yes.
Michael Mathers: 'Cause it
Donald Glover: If it's
Terry Federgreen: No.
Michael Mathers: can
Donald Glover: not
Michael Mathers: be
Donald Glover: too fancy. And
Michael Mathers: No.
Donald Glover: if the remote stays rather small, it should be possible yeah.
Michael Mathers: Yeah.
Terry Federgreen: No.
Michael Mathers: Because I think that's uh That's a good advantage point as well. If we have a fancy-looking
Donald Glover: Yes.
Michael Mathers: docking station or very
Terry Federgreen: Hmm.
Michael Mathers: That's a nice requirement. Docking station.
Donald Glover: So we're just gonna focus on the extras?
Michael Mathers: I think so.
Donald Glover: Yeah.
Terry Federgreen: Mm.
Cory Mees: Yeah I think maybe we should do some research into what elderly people like to have in a
Michael Mathers: Yeah.
Cory Mees: like to have extra in a new remote control.
Michael Mathers: That's a good point. Um You said they easily get lost as well.
Cory Mees: Yes well fifty percent of the people indicated that remote
Michael Mathers: Yeah.
Cory Mees: control tended to get lost.
Michael Mathers: So maybe we should implement the audio sign, or something.
Cory Mees: Yeah that was what I suggested.
Michael Mathers: Yeah.
Donald Glover: Like with
Cory Mees: You
Donald Glover: your
Cory Mees: have it
Donald Glover: key-chain,
Cory Mees: on
Donald Glover: if you
Michael Mathers: Yeah.
Donald Glover: whistle it goes
Cory Mees: Yeah
Donald Glover: uh it makes
Terry Federgreen: Hm.
Donald Glover: a sound.
Cory Mees: you have it's on some phones too, which have a docking station.
Donald Glover: Yeah.
Cory Mees: And you just press a button and the phone goes ringing.
Michael Mathers: Yeah. So
Cory Mees: So you know where it is.
Michael Mathers: audio signal should be possible as well. I think it's not too expensive.
Terry Federgreen: No.
Michael Mathers: Uh another point is the L_C_D_ screen. Um I don't know if that will rise the cost too much,
Donald Glover: Y
Michael Mathers: because
Donald Glover: i um I think we'll have to choose between the docking station or the screen, 'cause
Michael Mathers: Yeah.
Donald Glover: it's uh
Terry Federgreen: Mm.
Michael Mathers: It will be too much as well.
Cory Mees: I think since a lot of people indicated that a new remote control is hard to learn, and we're focusing on elderly people here which tend to have a hard time understanding new devices, it might be a good idea to have just a little screen on it, which would explain a button if you press it. Which would tell you what it does.
Michael Mathers: Yeah.
Cory Mees: And it wouldn't have to be touchscreen or
Michael Mathers: Based.
Cory Mees: a very expensive
Terry Federgreen: Okay.
Cory Mees: screen, but
Terry Federgreen: Yeah.
Michael Mathers: Just the L_C_D_. Oh just the normal screen.
Cory Mees: Just a small
Michael Mathers: That's a good
Cory Mees: screen
Michael Mathers: idea.
Cory Mees: with two
Michael Mathers: So Some extra info. Feedback.
Cory Mees: Yeah.
Michael Mathers: Yeah.
Terry Federgreen: Yeah.
Michael Mathers: I think that's a good idea as well.
Cory Mees: But I dunno if that would
Michael Mathers: As the small
Cory Mees: that would
Michael Mathers: screen.
Cory Mees: fit into the costs.
Michael Mathers: Extra button info. I think that should be possible as well. Um let's see what did we say. Mm. More. Should be fancy to, fancy design, easy to learn. Few buttons, we talked about that. Docking station, L_C_D_. Um general functions Yeah. 'Kay. And default materials. I think that's a good idea as well, because um elderly people don't mind if it's a titanium cover or just a plastic one. So
Cory Mees: No.
Michael Mathers: that
Terry Federgreen: Mm.
Michael Mathers: doesn't really matter. So I think
Cory Mees: I think
Michael Mathers: we
Cory Mees: probably
Michael Mathers: nee
Cory Mees: elderly people would be a little bit more careful with their remote controls than youngsters.
Michael Mathers: Uh let's um specify the target group. Because are we talking about elderly elderly people or people from forty to eighty. Because I think what we're going to design now is for people above sixty, maybe.
Terry Federgreen: Mm.
Cory Mees: Yeah.
Terry Federgreen: Yeah.
Michael Mathers: Uh what do we want?
Cory Mees: I think
Michael Mathers: If we want um a with uh for example the the telephone for elderly people, we can target the real elderly people.
Cory Mees: I think that would be a If we should do something like that it would be a, I think it would be really good for uh for the image of the company.
Michael Mathers: Yeah.
Cory Mees: And I think, I think there would be a good market for it.
Michael Mathers: So that's
Cory Mees: If
Michael Mathers: the
Cory Mees: we're able to really bring an innovative product.
Michael Mathers: Now you're talking about sixty to eighty for example.
Cory Mees: Yeah the really
Michael Mathers: Yeah.
Terry Federgreen: Mm.
Cory Mees: But
Michael Mathers: Sixty.
Cory Mees: I'd have to look into that a little more.
Michael Mathers: Okay. And different cultures. Are we
Donald Glover: Well I don't think they have different television sets uh
Terry Federgreen: Mm.
Michael Mathers: Okay.
Donald Glover: in uh every country.
Michael Mathers: No.
Terry Federgreen: No.
Donald Glover: 'Cause
Michael Mathers: We've got five minutes
Terry Federgreen: So
Michael Mathers: left just
Terry Federgreen: 'Kay.
Michael Mathers: now.
Cory Mees: 'Kay.
Michael Mathers: Small warning.
Cory Mees: And with uh the little screen in it, which explains the buttons.
Michael Mathers: Should
Cory Mees: You could I think we n it would be a lot easier to adapt it to different cultures.
Michael Mathers: Yeah. In different languages, you
Cory Mees: Yeah.
Michael Mathers: know.
Donald Glover: Yeah.
Michael Mathers: Yeah.
Terry Federgreen: Yeah.
Michael Mathers: or you have to put a
Terry Federgreen: Right.
Michael Mathers: language button in it, but that will be
Terry Federgreen: No.
Michael Mathers: a bit unnecessary
Terry Federgreen: Yeah.
Michael Mathers: I think.
Cory Mees: Yeah.
Michael Mathers: It's better to put it on different markets with it all.
Terry Federgreen: Yeah.
Donald Glover: Yeah.
Michael Mathers: Okay. So that's the the target. Uh then a few small things. Uh okay. I will put the minutes in the project uh project document folder. Um what we're going to do for the next meeting is Donald Glover will do the components concept, User Interface Designer the user interface concept, and the trend-watching. So just keep in mind the things we've said about the target group, uh requirements, and the trends which are uh going on. And uh specific instructions will be sent to you by uh the personal coach.
Cory Mees: 'Kay.
Michael Mathers: So um I thank you for this meeting. And I think we have a lunch-break now.
Cory Mees: That's good.
Terry Federgreen: Yeah.
Michael Mathers: So that's a good thing. | Michael Mathers stated the agenda and Cory Mees discussed what functions are most relevant on a remote, what the target demographic is, and what his vision for the appearance of the remote is. Cory Mees also brought up the idea to include a docking station to prevent the remote from getting lost and the idea to include an LCD screen. Terry Federgreen pushed for a user-friendly interface with large buttons, a display function, a touchscreen, and the capability of controlling different devices. Donald Glover discussed the interior workings of a remote and Michael Mathers briefed the team on some new requirements they are to abide by. The team then discussed teletext, the target demographic, the buttons the remote should have, the idea of marketing a remote designed for the elderly, an audio signal which can sound if the remote is lost, LCD screens, and language options. | 5 | amisum | train |
Robert Shepherd: Okay. Uh good afternoon.
Larry Bennett: Good afternoon.
Robert Shepherd: This is our third meeting already. I hope you enjoyed your lunch. I did anyway. Um let's see. Presentation three. Okay this is um the second phase uh we're going to discuss today. It's the conceptual design meeting. And a few points of interest in this meeting um are the conceptual specification of components. Uh conceptual specification of design. And also trend-watching. Um these are hopefully the points you addressed in uh your pre uh presentations going show Larry Bennett in a few minutes. Um but first I'll show you the agenda. Uh first the opening. Then we have three presentations. Uh after that we have to come to a decision on remote control concepts. How we're going to make it. And then we're closing. We have about forty minutes. Uh so I suggest let's get started. Uh did someone encounter any problems during the preparation? No?
Lewis Alaniz: No.
Robert Shepherd: Everything fine? That's nice. Then a little uh thing about the last meeting. Uh these are the points um we agreed on. The requirements and the target market. Uh requirements are uh teletext, docking station, audio signal, small screen, with some extras that uh button information. And we are going to use default materials. Um does somebody have any comments on these requirements? Maybe? No? These are just the the things we thought of, so maybe if you figured something else or thought of something else, just let Larry Bennett know. And maybe we can uh work it out. And we're going to target uh sixty to to eighty year old customers. So now everybody knows what we're do we're doing, um I suggest let's get started with the presentations. So shall we keep the same uh line-up as uh last time?
Larry Bennett: Sure.
Robert Shepherd: Okay.
Larry Bennett: I'll start off then.
Robert Shepherd: Good luck.
Larry Bennett: Doh.
Larry Bennett: 'Kay I'm uh gonna inform you about the trend-watching I've done over the past few days. Um we've done some market research. We distributed some more enquetes, questionnaires. And um besides that um I deployed some trend-watchers to Milan and Paris to well get all of the newest trends. And I've consulted some additional trend-watch trend-watchers, after the original trend-watchers return, about what the the best design would be. Um okay these are some overall findings. Um most important thing is the fancy design. Um the research indicated that that was by far the most important factor. Um innovativeness was about half as important as the fancy design. By innovativeness this means um functions which are not featured in other remote controls. Um about half of, half as important as the innovativeness was the was easy to use. Um for our um group, we're focusing on the people of sixty to eighty y years old, this is um, these factors are slightly more equal. 'Kay these are some more group specific findings. Uh the older people prefer dark colours. Uh they like recognisable shapes, and familiar material. And our surveys have indicated that especially wood is pretty much the material for older people. Um this is, this image will give you a little bit of an impression about um the look-and-feel that um the remote should have. Um this leads us to some personal preferences. Uh the remote control and the docking station should uh blend in in the in the room. Um so this would mean no uh eye-catching designs. Just keep it simple and Well the docking station and small screen would be our main points of interest, because this would be the These would uh be the innovativeness in the remote control. So this would be very important that we at least include these features. Um well the trend-watchers I consulted advised that it b should be, the remote control and the docking station should be telephone-shaped. So you could imagine that uh the remote control will be standing up straight in the docking station. This is not really This is pretty much a new shape to uh older people. So they would prefer uh a design where the remote control just lies flat in the docking station. So it would be kinda more telephone-shaped. Um besides that we would advise um to bring two editions, one with a wood-like colour and maybe feel, and one with a grey-black colour. The wood-like for the more uh exclusive people. People with more money. Uh the grey-black colour for well people with less means. That would be all.
Robert Shepherd: Okay. Thank you. Any questions about the
Larry Bennett: Any
Robert Shepherd: the trends?
Larry Bennett: questions?
Robert Shepherd: Mayb
Lewis Alaniz: Mm no.
Robert Shepherd: No? Okay, we go on to the next one.
Lewis Alaniz: Um 'kay um. uh some uh research uh a about um designing of an interface. Um the uh last meeting uh we had a about um uh using a f few buttons. So uh um uh that's w what I what I want to uh uh to do in uh our design. So um finding an attractive uh way to control uh the remote control. Um the uh I found some uh something about uh speech uh recognition. So maybe uh we uh uh that. Uh and uh using a little uh display. So um findings. Um yeah just um we have just to focus on the primary um functions. So uh only uh buttons uh for uh sound, um for uh on-off, um uh shifting u up uh sa uh ca channel or uh down shifting down. Um uh let's see. Um yeah and Uh we uh need some uh new a attractive functions uh uh which attract uh uh people for using it. So uh it's uh like a speak uh speech uh recognition and um a special button for selecting uh subtitles. Just uh what we uh mentioned uh last uh meeting. Um and yeah overall um user-friendly. So uh using uh large large buttons. Um It's uh possible to uh uh to make um quite cheap uh system for uh speech uh recognition. Um you can think about um uh when you lost your um remote control, you can uh call it and um it gives an um sig signal. So uh uh yeah. And and uh for uh shifting up a sen uh c ch channel or uh for um uh putting out uh sound or something, you can uh just give a sign uh say um sound off or A and uh yeah. Television uh put the sound off uh put the sound off uh. Um Let's see. Uh yeah. I was thinking about the special uh button for uh subtitles, um just one button to keep it uh simple. Uh one push on the button uh you get uh uh small uh subtitles. Um double push push um, if double click, um so uh you get uh big uh subtitles, for uh people uh um uh which c f uh who can't uh read small uh subtitles. So uh Um Yeah and w we have to keep uh in general buttons uh so um we've got um the buttons we have to use. The on-off, sound on-off, sound higher or lower, um the numbers, uh zero to uh uh nine. Um the general buttons m more general b one button for shifting up and shifting down uh channel. Um also we want to uh use a little d display uh for um for displaying the uh the functions of the buttons. And um we can uh build in a function f which uh shows the channel or some uh which the t television is on. So um made a little uh picture of uh it. Um See. Um yeah. Just um we can put uh the on-off button uh over in this uh corner, um almost uh e all uh remote controls uh are using a on-off button on that place. Um so uh people uh will uh recognise uh um the button. So um D display uh of it, it's uh just a small display. Uh um you can put it uh on top. Um it's uh most uh uh place where people uh, most of looks at. So uh um and a special uh button for shifting up uh and uh shifting down uh channel, um it's uh on place where um the thumb of of the So you you can uh easily uh shift up or shift down. Um it's uh quite uh handy place. So um and uh all the f functions for subtitle uh one button, uh for sound uh Uh and uh for our design, um uh we have to discuss about it uh I think uh so uh the form of it so
Robert Shepherd: Okay.
Lewis Alaniz: And that's it.
Robert Shepherd: Uh thank you.
David Jones: Okay. About the components design. Um for the energy source we can use a basic battery or, a as an optional thing, a kinetic energy, like in a watch, which you just shake and it produces energy. But if we choose for that option, the docking station would c become obsolete. So I don't think it's really an option. Uh for the casing, uh the uh manufacturing department can deliver uh a flat casing, single or double curved casing. we're gonna use. It's uh doesn't uh imply any technical restrictions. Uh as a case supplement, we could um, I thought of that l later, uh a rubber uh belt, like a anti-slip. Uh for the b buttons, we can use plastic or rubber. And the chip-set, um it says simple here, but it should be advanced, because we're using an L_C_D_ uh screen. And as uh the trend-watcher presentation showed, um people like wood, but it raises the price and it doesn't really fit the image, unless we would start two product lines. Form should follow function overall. Um well the kinetic energy source is rather fancy. But depends on what we want. I think we should disc discuss that. Um for the case, uh the supplement and the buttons, it really depends on the designer. And the chip-set uh really should be advanced because otherwise uh it would really be a simple uh remote control. And that's it.
Robert Shepherd: Okay. Thank you. So that brings us to the discussion about our concepts. Mm. 'Kay.
Robert Shepherd: So these are the points we have to discuss. Um first I think we can talk about the energy source, since that's um has a pretty big influence on production price, uh and image. Uh so uh f I think first of all we have to see uh it is possible to introduce kinetic energy
David Jones: Yes
Robert Shepherd: in our
David Jones: w
Robert Shepherd: budget,
David Jones: there
Robert Shepherd: I think.
David Jones: there are four options. We could use the basic normal battery.
Robert Shepherd: Yeah.
David Jones: Uh a hand dynamo. But I don't think that's really an option.
Robert Shepherd: Okay.
David Jones: You don't wanna swing before you can watch television.
Robert Shepherd: Yeah.
David Jones: Uh solar cells. But not every room is very
Lewis Alaniz: Mm.
David Jones: light so it's
Robert Shepherd: No.
David Jones: not a very good option. Or the kinetic energy.
Robert Shepherd: Yeah. Okay.
Larry Bennett: And how exactly does the kinetic energy work?
David Jones: Well
Larry Bennett: You
David Jones: y
Larry Bennett: just
David Jones: you basically shake your
Larry Bennett: You
David Jones: remote,
Larry Bennett: use it and
David Jones: and
Larry Bennett: it
David Jones: then it
Larry Bennett: works.
David Jones: powers up. Yeah.
Robert Shepherd: Yeah.
Larry Bennett: Okay.
Lewis Alaniz: Nah.
Larry Bennett: Well personally I don't think that older people like to shake their remote control before they use it.
David Jones: Yeah. That's true.
Larry Bennett: And besides that you mentioned it would make the docking station obsolete.
David Jones: Oh.
Larry Bennett: And I think our docking station could be one of the marketing issues with which we can um get great popularity for our product.
Robert Shepherd: Yeah.
Lewis Alaniz: But
Larry Bennett: Um
Lewis Alaniz: what's
Larry Bennett: wel
Lewis Alaniz: the function? Yeah f for loading up uh the batteries.
Larry Bennett: Yeah you could load
Lewis Alaniz: B
Larry Bennett: up the
Lewis Alaniz: b
Larry Bennett: batteries, you could um insert the find the lost remote control function in there.
Lewis Alaniz: Okay but uh it won't use uh much e energy uh I I believe. Uh it's uh just a small display so I believe uh it will run on one battery for um six months or f or or more. So
Robert Shepherd: Uh
Lewis Alaniz: I believe one battery uh is just enough. Uh so
Robert Shepherd: Uh well I think
Larry Bennett: That's true.
Robert Shepherd: uh elderly people just like to have everything in place. And I don't think they they like uh remotes just laying everywhere in their rooms.
Lewis Alaniz: Okay.
Robert Shepherd: So maybe a docking station will help them give the remote
Lewis Alaniz: Yeah.
Robert Shepherd: a
Lewis Alaniz: That's
Robert Shepherd: place.
Lewis Alaniz: true. Yeah.
Robert Shepherd: And also what you said. Um you can introduce voice recognition by uh finding back
Lewis Alaniz: Mm-hmm.
Robert Shepherd: your remote.
Lewis Alaniz: Yeah.
Robert Shepherd: But I think it's um more efficient and cheaper to put it in the docking station. So you have a but button on your docking station which you can push, and then it starts beeping.
Lewis Alaniz: Okay.
Robert Shepherd: And then we can we can still use
Lewis Alaniz: Yeah.
Robert Shepherd: the voice recognition, but maybe then for only the the channels.
Lewis Alaniz: Uh.
Robert Shepherd: That's
Larry Bennett: I'm wondering
Robert Shepherd: safe.
Larry Bennett: um what will the voice recognition mean for the production price?
Robert Shepherd: Yeah. That's a good
David Jones: Mm
Robert Shepherd: point.
David Jones: I don't have any information on pricing. So I'll have to ask the manufacturing department.
Lewis Alaniz: Mm.
Larry Bennett: 'Cause in our earlier um market research, if you'd allow Larry Bennett to
Robert Shepherd: Yeah,
Larry Bennett: go
Robert Shepherd: sure.
Larry Bennett: to the flat board,
Robert Shepherd: Go
Larry Bennett: SMARTboard.
Robert Shepherd: ahead.
Larry Bennett: Um so it was open here. Um we also um asked if w they would, if people would pay more for speech recognition in a remote control. Well you can see here, our target group would not do that.
Robert Shepherd: No.
Larry Bennett: So if that would increase the price for which we're selling our remote control
Lewis Alaniz: Mm.
Larry Bennett: I would greatly advise not to do it.
Robert Shepherd: Yeah.
Larry Bennett: I think that would be better to uh insert in our other product, that is meant for the
Robert Shepherd: Yeah.
Larry Bennett: younger people.
David Jones: But that
Lewis Alaniz: 'Kay.
David Jones: would also go for the L_C_D_ screen then I guess. It's a bit higher percentage, but
Larry Bennett: Um well this is Yeah but this is here the question was, would you prefer it. So that doesn't really mean they wouldn't pay extra for it. And on top of that the L_C_D_ screen would um help in making the remote control easier to use.
Lewis Alaniz: Yeah.
Robert Shepherd: Yeah.
Larry Bennett: And
David Jones: Okay.
Larry Bennett: I think a voice recognition function would not make the remote control much
Robert Shepherd: Easier
Larry Bennett: easier
Robert Shepherd: to
Larry Bennett: to use.
Robert Shepherd: use? No, I think that's a good point.
Lewis Alaniz: But uh is uh our uh research um about um bi large uh L_C_D_ sh uh display, or uh just a small one uh we want to uh use?
Larry Bennett: Um well this was for like an L_C_D_ screen like you would have on a on the the most advanced mobile phones.
Lewis Alaniz: Okay.
Larry Bennett: So pretty large.
Lewis Alaniz: Yeah.
Robert Shepherd: Yeah. I personally think the L_C_D_ screen we wanna use, with the extra information, I think nobody has anything against it. Because
Lewis Alaniz: No.
Robert Shepherd: it's just uh some extra information, and it's easy to ignore as well.
Lewis Alaniz: Yeah.
Robert Shepherd: So if you don't wanna use it you just don't use it. And um yeah I think the um Maybe we have to uh discard the voice recognition. Because it will increase cost uh signifi uh significantly. And I don't think the I don't think it will be a lot easier to use, as well.
Lewis Alaniz: Yeah.
Robert Shepherd: So that brings us back to the energy. If we don't have the voice recognition, it will it won't use a lot of energy to use.
Lewis Alaniz: Mm-hmm.
Robert Shepherd: Um So in that case we could use kinetic uh energy, but I think just a simple battery which you can reload on a docking station is just as good. And much cheaper as well.
Lewis Alaniz: Yeah.
Robert Shepherd: So
David Jones: And that's the best choice.
Robert Shepherd: Okay let Larry Bennett just choose for the battery. That brings us to the chip.
David Jones: Well there isn't any choice there because
Robert Shepherd: Just
David Jones: we're using
Robert Shepherd: the advanced.
David Jones: the the the the display. So it's gotta be advanced.
Robert Shepherd: Okay,
Larry Bennett: 'Kay.
Robert Shepherd: advanced chip. And then we get to the point of the case. Um which brings us a little bit back to marketing as well. Uh if we wanna choose for wood or the black and grey. Or both? Um as we saw there is not Yeah wood is a lot more expensive to produce.
Larry Bennett: Mm-hmm.
Robert Shepherd: Um but I think it will attract elderly people who wanna have something exclusive, which they can show off to their
Larry Bennett: Mm-hmm.
Robert Shepherd: grandkids. Look I've got a new remote
Larry Bennett: Well
Robert Shepherd: control,
Lewis Alaniz: Uh
Robert Shepherd: and uh
Lewis Alaniz: I
Larry Bennett: And
Lewis Alaniz: dunno.
Larry Bennett: I think most important factor there is the wooden colour. So it wouldn't actually have to be wood,
Robert Shepherd: Yeah.
Larry Bennett: if it's just
Robert Shepherd: That's right.
Larry Bennett: wood-coloured.
Lewis Alaniz: Mm.
Robert Shepherd: But with colour was a lot more expensive? Or?
David Jones: Mm I dunno.
Robert Shepherd: You don't know?
David Jones: I'll have to uh
Robert Shepherd: I think
David Jones: research.
Robert Shepherd: so because Yeah.
Larry Bennett: Probably.
Lewis Alaniz: Mm.
Robert Shepherd: It's a lot more difficult to to handle and to to get in the right shape.
Lewis Alaniz: Uh is it possible uh to make um changeable uh case. So um uh you 'cause uh Yeah with uh mobile phones uh uh so uh like the Nokia
Robert Shepherd: Yeah.
Lewis Alaniz: mobile phones, uh when you can change the case of it.
Robert Shepherd: Change
Lewis Alaniz: So
Robert Shepherd: the cases. Yeah.
Lewis Alaniz: maybe it's possible uh possibility. So um um you have just to make one um standard um remote control,
Robert Shepherd: You can sell the cases.
Lewis Alaniz: Yeah.
Robert Shepherd: Yeah I. think that's a very good option. Because um then you can advertise as well with the Give your grandfather a new case
Lewis Alaniz: Yeah.
Robert Shepherd: for his remote control, or whatever. Because that's a it's something extra, it's something other remotes don't have,
Lewis Alaniz: Yeah.
Robert Shepherd: which we can
Larry Bennett: Yeah
Robert Shepherd: get a great
Larry Bennett: that
Robert Shepherd: advantage
Larry Bennett: is true.
Robert Shepherd: point. So and then you can make them with colour. Black and grey, other colours
Lewis Alaniz: Yeah.
Robert Shepherd: as well.
Larry Bennett: Yeah. We would have to look carefully into the design
Robert Shepherd: Costs.
Larry Bennett: though. 'Cause we would have to make one w uh control which would fit in with a wooden cover and a plastic cover.
Robert Shepherd: Yeah.
Larry Bennett: The more original one, or the more standard one.
Robert Shepherd: Yeah.
Larry Bennett: So that would
Robert Shepherd: So you suggest we should design two different telephones on
Larry Bennett: Well
Robert Shepherd: which
Larry Bennett: I wouldn't
Robert Shepherd: you can
Larry Bennett: design
Robert Shepherd: apply,
Larry Bennett: a telephone but
Robert Shepherd: yeah remote controls, on which you can apply different case covers,
Larry Bennett: Well no I
Robert Shepherd: for
Larry Bennett: think
Robert Shepherd: example.
Larry Bennett: w we should just, we should then just design one um
Robert Shepherd: Remote.
Larry Bennett: one remote, but it would have to be fancy with either the wood cover or the
Robert Shepherd: Yeah.
Larry Bennett: plastic one.
Robert Shepherd: Okay.
Larry Bennett: So, but that shouldn't be too much of a problem.
Robert Shepherd: So everybody's okay with the changing covers?
David Jones: Yes.
Robert Shepherd: I
Lewis Alaniz: Yeah.
Robert Shepherd: think that's a good uh good option. Changing case covers.
Larry Bennett: Um I heard our Industrial Designer talk about uh flat, single and double curved.
David Jones: Yes.
Robert Shepherd: Yeah.
Larry Bennett: explain that a little more?
David Jones: Well the the general like most older remotes are flat, just straight.
Larry Bennett: Mm-hmm.
David Jones: And uh our d manufacturing department can also deliver single curved or double curved ca curved cases.
Larry Bennett: And what would single curved and double curved mean?
David Jones: Um it would just only affect the form, for as far as I know. So it's j really just up to the design department what we're gonna use.
Larry Bennett: Okay.
David Jones: It doesn't really matter for the price or the functionality.
Larry Bennett: So we can pretty much just
David Jones: Pick one
Larry Bennett: do whatever
David Jones: you like,
Larry Bennett: we want.
David Jones: yes.
Robert Shepherd: Mm.
Larry Bennett: 'Kay.
Robert Shepherd: Okay.
Larry Bennett: That's good.
Robert Shepherd: Uh but the form has to be um It has to It's has to be possible to stand up? Or just only to
Larry Bennett: No
Robert Shepherd: lie down?
Larry Bennett: just to lie down.
Lewis Alaniz: okay.
Robert Shepherd: And the the
Larry Bennett: We'll
Robert Shepherd: cover
Larry Bennett: go for that.
Robert Shepherd: of the the docking station is also on top of the television then? Or not?
Larry Bennett: Well or besides it.
Robert Shepherd: And you can just yeah then click it in. That's okay. Um so the interface. What type of interface do we want to use? Um maybe you can make a little drawing of it on the
Larry Bennett: Mm-hmm.
Robert Shepherd: on the the board.
Lewis Alaniz: Mm.
Robert Shepherd: Does somebody have ideas for a form or
Lewis Alaniz: Uh we can just use the regular form of it, but it's um not quite uh fancy. So um Yeah.
Larry Bennett: Um you uh said you wanted to put the um changing channels button on the right side, so you could,
Lewis Alaniz: Yeah.
Larry Bennett: so your thumb would be easily
Lewis Alaniz: Yeah.
Larry Bennett: Well uh I think that was a very good point 'cause I pointed out earlier that a lot of remotes cause R_S_I_. So that would be great for that. Um I thought maybe we could just make one of those buttons on both the left and the right side.
Lewis Alaniz: For
Larry Bennett: For
Lewis Alaniz: uh
Larry Bennett: left-handed users
Lewis Alaniz: Uh for Yeah yeah.
Larry Bennett: also.
Robert Shepherd: Yep.
Lewis Alaniz: Mm. Yeah we um Is it possible to um program it s so uh you got on the left side uh or on the right side uh buttons for for shifting u up and shifting up? And on the uh other uh uh o other side uh buttons for uh shifting, uh for for the sound?
Larry Bennett: For the
Lewis Alaniz: Or
Larry Bennett: volume.
Lewis Alaniz: Or isn't
Larry Bennett: Um
Lewis Alaniz: it?
Robert Shepherd: Mm.
Larry Bennett: well that could Yeah we could do that but I'm not sure if that would be very good for the easy, ease of
Robert Shepherd: Usabili
Larry Bennett: use.
Robert Shepherd: Yeah
Lewis Alaniz: Yeah
Robert Shepherd: ease
Lewis Alaniz: okay.
Robert Shepherd: of use will be a lot more difficult, and then it's
Lewis Alaniz: Uh.
Larry Bennett: But if we would make um a changing channels and changing volume button on both sides, that would certainly yield great options for the design of the remote.
Lewis Alaniz: Mm.
Larry Bennett: 'Cause it could be made all symmetrical and stuff.
Lewis Alaniz: Yeah but
Robert Shepherd: But you have extra buttons.
Lewis Alaniz: Yeah.
Robert Shepherd: So people can get confused.
Lewis Alaniz: Yeah.
Larry Bennett: That is true.
Lewis Alaniz: Yeah.
Robert Shepherd: Especially if they have the same writings on it.
Lewis Alaniz: See um yeah. Or we have to make a left uh
Robert Shepherd: Can't
Lewis Alaniz: For
Robert Shepherd: we make
Lewis Alaniz: lefties
Robert Shepherd: uh
Lewis Alaniz: and
Robert Shepherd: Can't we make a remote which you can flip over and use on the same
Lewis Alaniz: Um
Robert Shepherd: functions as the normal one?
Lewis Alaniz: You mean um
Robert Shepherd: Then you have
Lewis Alaniz: Yeah
Robert Shepherd: to
Lewis Alaniz: if
Robert Shepherd: Let's see if I ca A blank one. And then you get
Robert Shepherd: Here's a little L_C_D_ screen. Uh now I have to think.
Robert Shepherd: It's a plus and a min. No it's not very handy I think.
Lewis Alaniz: Mm
Robert Shepherd: Because
Lewis Alaniz: no.
Robert Shepherd: the plus and the min will be opposite and
Lewis Alaniz: Yeah.
Larry Bennett: Yeah.
Robert Shepherd: all kinds of No that's not gonna work. I guess. Maybe
Lewis Alaniz: Um
Robert Shepherd: we should Yeah. But is it a problem that left-handed persons use a different hand? I think the functions are that basic that nobody should have any problems with uh
Larry Bennett: Yeah.
Robert Shepherd: choosing a channel
Larry Bennett: That is
Robert Shepherd: or
Larry Bennett: true.
Lewis Alaniz: Yeah. It's just uh u using uh your thumb.
Robert Shepherd: Y
Lewis Alaniz: So
Robert Shepherd: yeah.
Lewis Alaniz: um
Robert Shepherd: Yeah.
Lewis Alaniz: it's
Robert Shepherd: I think we could just uh leave it a normal shape.
Lewis Alaniz: Yeah.
David Jones: Yeah.
Robert Shepherd: Uh but maybe we have to make it a l a bit more fancy. In one or ano another way.
Lewis Alaniz: Yeah. Um
David Jones: I think we should start by by choosing a case. Because that's the basis
Lewis Alaniz: Yeah
David Jones: you're building on.
Lewis Alaniz: yeah.
Robert Shepherd: Yeah.
Larry Bennett: Yeah.
Robert Shepherd: Um
David Jones: So I could
Robert Shepherd: yeah
David Jones: draw
Robert Shepherd: just
David Jones: them out. Let's look at the flat case. Oh. It's from the side so it's
Lewis Alaniz: Mm-hmm.
Larry Bennett: Mm-hmm.
David Jones: rather normal.
Robert Shepherd: Yeah.
David Jones: The the single curved so I'm not really sure what they're gonna look like, but I think it's something like this.
David Jones: So this type should be better for you or better Should prevent
Robert Shepherd: Easier?
David Jones: repetitive strain injury a bit. And the double curved s looks something like this I guess.
Lewis Alaniz: Mm.
David Jones: So th those are the three options we have.
Robert Shepherd: 'Kay.
Larry Bennett: Mm.
Robert Shepherd: I suggest um the single curved, because maybe the curve is pretty good to put the the screen in. Uh so that elderly people can uh use the remote control and at the same time look easily at the screen, because it's a bit,
Lewis Alaniz: So um
Robert Shepherd: it has a bit of a angle.
Lewis Alaniz: Do you say this um S uh Uh you got like uh sort of a I believe There?
Larry Bennett: Mm-hmm.
Lewis Alaniz: So um you want to put a display over here? Or not?
Robert Shepherd: Yeah.
Lewis Alaniz: Yeah.
Robert Shepherd: I think so. Yeah.
Lewis Alaniz: Um Yeah.
Robert Shepherd: But
Lewis Alaniz: Uh
Robert Shepherd: now it's
Lewis Alaniz: we can make it
Robert Shepherd: Do
Lewis Alaniz: um
Robert Shepherd: you have it upside down or
Lewis Alaniz: Mm?
Robert Shepherd: Do you
Lewis Alaniz: That's
Robert Shepherd: have it
Lewis Alaniz: the top. So
Robert Shepherd: this
Lewis Alaniz: uh
Robert Shepherd: that's
Lewis Alaniz: this
Robert Shepherd: top?
Lewis Alaniz: top. This down.
Robert Shepherd: Okay.
Lewis Alaniz: Um maybe it's possible to uh make this side like um Let's see. Um Colour uh okay. Uh to make this side um like mm the right colour. Um bit like so uh um in the form of your hand. So um Uh it's an
Robert Shepherd: Yeah.
Lewis Alaniz: So so the remote control have to um lay in your hand. So uh it's possib um yeah for
Robert Shepherd: So
Lewis Alaniz: s
Robert Shepherd: get
Lewis Alaniz: so
Robert Shepherd: your
Lewis Alaniz: and
Robert Shepherd: mouse. Yeah.
Lewis Alaniz: And to put uh the the buttons for um changing uh the channel uh over here uh
Robert Shepherd: Yeah. That's a good one.
Lewis Alaniz: Yeah.
David Jones: Yeah.
Robert Shepherd: But I think it's better to put the screen uh on top.
Lewis Alaniz: Uh
Robert Shepherd: So just
Lewis Alaniz: rem
Robert Shepherd: flip it a hundred and eighty degrees around then you
Lewis Alaniz: Yeah
Robert Shepherd: get
Lewis Alaniz: but this place um
Robert Shepherd: here. If you can have this one, you turn it like this. And then flip it upside down.
Lewis Alaniz: Uh it's Yeah I dunno um
Robert Shepherd: Because uh maybe your hand is in the way, if you have the display
Lewis Alaniz: Yeah.
Larry Bennett: Mm-hmm.
Robert Shepherd: here.
David Jones: It's more logical to have it on top as well because,
Robert Shepherd: I think i
Lewis Alaniz: Yeah
David Jones: like on your mobile phone,
Lewis Alaniz: so
David Jones: it's always above.
Larry Bennett: Yeah.
Robert Shepherd: On top.
Lewis Alaniz: So
Robert Shepherd: Yeah.
David Jones: Oh maybe you should just s start on a blank page.
Larry Bennett: Yeah.
Robert Shepherd: So then we get
Robert Shepherd: Here's That's the curve.
Lewis Alaniz: Five minutes.
Robert Shepherd: Here the display, and then buttons. Yeah and then we can have a little bit off here and here maybe. Just that's for left hand and right hand users.
Lewis Alaniz: Yeah.
Larry Bennett: Mm-hmm.
Robert Shepherd: And then h the rest of the buttons over
Lewis Alaniz: Yeah.
Robert Shepherd: here.
Lewis Alaniz: But um the on-off button, um still on the top
Robert Shepherd: Yeah
Lewis Alaniz: uh
Robert Shepherd: still
Lewis Alaniz: Yeah.
Robert Shepherd: here jus
Lewis Alaniz: Yeah.
Robert Shepherd: That's
Larry Bennett: And I'd prefer the corners to be round.
Robert Shepherd: Yeah.
Lewis Alaniz: Yeah. 'Kay.
Larry Bennett: Think
Robert Shepherd: Should
Larry Bennett: that would
Robert Shepherd: be
Larry Bennett: be
Robert Shepherd: more
Larry Bennett: better.
Robert Shepherd: bit more friendly, yeah.
Larry Bennett: Friendly on the eye.
Robert Shepherd: 'Kay. Supplements. That's okay. Where's my mouse? Then We've got a general idea of the concepts and the materials we're going to use. So now for the next meeting uh we'll have to look at the look-and-feel design. It's important that the corporate design image uh is going to be in the remote. So check out the corporate website maybe. The user interface design, it's the same story. And product evaluation. So David Jones and User Interface Designer are going to work together on this one. But you're going to get your instructions I think sended by the coach. So just um I will put these um minutes on the in the folder.
David Jones: Okay.
Robert Shepherd: And then we're going to uh try to finish our project, and uh make a good design for all the grandfathers and grandmothers, I think. Which are Uh let's see. I'm not sure if you're going to start right away to work together or I think you're going to fill in the questionnaires first.
Lewis Alaniz: Yeah.
Larry Bennett: Yeah.
Robert Shepherd: And then you'll get a message.
Lewis Alaniz: Yeah.
Robert Shepherd: So that's uh basically it. Maybe this one? Then we can save this one in the folders group. Uh yes, it's here.
Larry Bennett: Yeah.
Robert Shepherd: SMARTboard, there it it. So if you wanna have a look at it, it's over there in the projects folder.
Lewis Alaniz: Yeah.
Robert Shepherd: And then I guess we'll start in thirty minutes again. Thank
Larry Bennett: Very
Robert Shepherd: you.
Larry Bennett: good.
David Jones: Okay.
Lewis Alaniz: Okay. | Robert Shepherd opened the meeting and recapped the decisions made in the previous meeting. Larry Bennett discussed his personal preferences for the design of the remote and presented the results of trend-watching reports, which indicated that there is a need for products which are fancy, innovative, easy to use, in dark colors, in recognizable shapes, and in a familiar material like wood. Lewis Alaniz discussed the option to include speech recognition and which functions to include on the remote. David Jones discussed which options he preferred for the remote in terms of energy sources, casing, case supplements, buttons, and chips. The team then discussed and made decisions regarding energy sources, speech recognition, LCD screens, chips, case materials and colors, case shape and orientation, and button orientation. | 5 | amisum | train |
Michael Kamm: Two.
Larry Wilson: Hello.
Keith Gordon: Good
Larry Wilson: Hello.
Keith Gordon: morning.
Anthony Ahart: Hello. Ah.
Larry Wilson: You have to put it exactly on the
Anthony Ahart: Plate?
Larry Wilson: on the yeah.
Keith Gordon: Okay.
Michael Kamm: Good morning.
Keith Gordon: Good morning.
Larry Wilson: I took
Keith Gordon: Should
Larry Wilson: your mouse.
Keith Gordon: I bring my uh
Larry Wilson: Yeah
Keith Gordon: pen too?
Larry Wilson: just yeah,
Keith Gordon: Or
Larry Wilson: no, that's for Anthony Ahart, I just have to make some notes.
Keith Gordon: Okay.
Larry Wilson: I got my uh mouse.
Anthony Ahart: Uh I also
Michael Kamm: Mouse.
Anthony Ahart: my but I don't need my mouse, I think.
Keith Gordon: I do.
Larry Wilson: yeah.
Michael Kamm: Come on There. we are.
Keith Gordon: My laptop is crashing.
Anthony Ahart: Damn computers.
Keith Gordon: Cr
Keith Gordon: Help help help.
Michael Kamm: Let's just check one more time. Mm.
Anthony Ahart: Can you hear Anthony Ahart? Hello? Test.
Larry Wilson: Uh actually my laptop doesn't work,
Anthony Ahart: I dunno.
Larry Wilson: switch it on again.
Anthony Ahart: Check.
Larry Wilson: Oh no.
Anthony Ahart: Okay. I think it works.
Keith Gordon: Test test. Yes, it's working.
Larry Wilson: So you all read what we are going to do or not?
Anthony Ahart: Mm-hmm.
Larry Wilson: Okay.
Michael Kamm: Yeah.
Anthony Ahart: We're gonna make a remote control.
Larry Wilson: Yeah, that's
Keith Gordon: I
Larry Wilson: right.
Keith Gordon: think my laptop is a bit etchy.
Larry Wilson: I just made a a simple uh presentation. So you put some things in it. Okay.
Larry Wilson: How does this work? I dunno.
Michael Kamm: One uh
Keith Gordon: Uh
Michael Kamm: most
Keith Gordon: p
Michael Kamm: to the right. Yes that one.
Larry Wilson: This one?
Michael Kamm: Yes.
Anthony Ahart: Press F_ eleven.
Larry Wilson: Ah cool. Okay. So that's my name, Uh we're going to make uh a remote control, you already know that. Just have a look, are we going to uh this agenda of our meeting. You know, this is about twenty five minutes, this meeting. So um the thing we have to know is you already know what we're going to do, you also read what this the things or,
Michael Kamm: Yes.
Larry Wilson: not yet, okay. So um, yeah, it has to be original, trendy, user-friendly that's what we're going to design. Uh first we have uh uh three steps of uh making the the remote control. Fir the first thing is th the functional design, that's very important. We have to look what the needs are, the effects of the functional design, and and how the mm the the remote control works, so that's where we're going to look in the functional design, it's for the f next meeting. The the second thing is the conceptual design, that's what it that's uh the spe the specifications of the components and the properties and the specifications of the user interface. And we have to look what uh the market is doing for what kind of uh remote controls are in the market. And the third thing is uh the detailed design um and that's exa yeah, you know what it is, it's exactly how it looks and whatever. Okay so uh no, this is a these are two smartboards, with the uh f uh s an introduction of that one. And you already saw you know all that that you here can put uh things in the the red project uh map.
Anthony Ahart: Folder, yes.
Larry Wilson: Folder, okay. So no okay have a look at that one. Okay. So uh what we're going to do first is um so you can read. You have to uh draw uh a favourite animal on the whiteboard and um and say why it's your favourite animal. So and you have this is just to try it out and we have to uh use a different pen colours and different thickness of the pen. So okay, so first have to show you, maybe you can come here to have a look how it works. Yes?
Anthony Ahart: Ah I
Michael Kamm: Yeah.
Anthony Ahart: can see
Larry Wilson: Okay.
Anthony Ahart: it now.
Larry Wilson: This a new page, it's okay. Use pen format. and a different colour can use here no I just take the pink. You take oh there's no pink, okay, oh
Michael Kamm: Purple.
Larry Wilson: just purple, okay. No blue. And uh line width ten. Okay uh just take what I'm going to draw is an elephant. Just draw slowly, because otherwise it won't work. It's a very nice elephant, you can see. I dunno what it looks but it doesn't matter.
Michael Kamm: Looks very nice.
Larry Wilson: I just h Something like this? Oh no Yeah,
Anthony Ahart: It look
Larry Wilson: okay.
Anthony Ahart: like a dinosaurs.
Larry Wilson: Because I like uh okay.
Michael Kamm: A pink elephant.
Larry Wilson: Just takes so long, okay. Whatever, just. You erased this one. It's a bit slow you can see, this is a bit annoying.
Anthony Ahart: Okay.
Larry Wilson: Okay, so just for you guys just one of you can draw a painting if you want.
Anthony Ahart: Let
Larry Wilson: Just
Anthony Ahart: Anthony Ahart try one.
Larry Wilson: don't um yeah, just u use it like that, yeah. That's okay.
Anthony Ahart: Okay.
Anthony Ahart: and then uh what's the colour? How do I do
Larry Wilson: It's in format. Yeah.
Anthony Ahart: Ah. I'll take this one.
Anthony Ahart: Uh
Larry Wilson: Just
Anthony Ahart: there has to be water, but
Larry Wilson: No it has to be an animal, so if that's
Anthony Ahart: Yeah
Larry Wilson: it's
Anthony Ahart: yeah,
Larry Wilson: it should
Anthony Ahart: but
Larry Wilson: be a shna
Anthony Ahart: it's an
Larry Wilson: snake
Anthony Ahart: animal
Larry Wilson: or something.
Anthony Ahart: it's an
Larry Wilson: Okay.
Anthony Ahart: animal
Larry Wilson: Okay
Anthony Ahart: that lives
Larry Wilson: okay.
Anthony Ahart: in the water.
Michael Kamm: The
Larry Wilson: Okay.
Anthony Ahart: So I
Keith Gordon: Okay.
Anthony Ahart: first uh draw the water.
Michael Kamm: water is important.
Anthony Ahart: Uh. Okay, and now I make the animal.
Anthony Ahart: It's a fish.
Larry Wilson: Okay,
Keith Gordon: Wow.
Larry Wilson: cool.
Anthony Ahart: Mm-hmm.
Anthony Ahart: So. Um This is a worm.
Larry Wilson: Hmm yeah, that's nice.
Keith Gordon: Wow.
Anthony Ahart: Okay, who next?
Larry Wilson: Uh
Anthony Ahart: Uh
Larry Wilson: do you have to write down why uh that doesn't matter, just it's to get used to the whiteboard, but it's okay.
Anthony Ahart: Okay.
Larry Wilson: Just make a new blank new blank page.
Michael Kamm: Yeah.
Anthony Ahart: Well Paul?
Michael Kamm: Yeah. Like this?
Larry Wilson: Yeah, not too far to the to the t pen top.
Michael Kamm: Okay. Um let's make it um a dog.
Michael Kamm: Ooh.
Larry Wilson: Maybe you should hold your pen a bit more to the back, so that no, to the yeah.
Anthony Ahart: I
Michael Kamm: Ah
Anthony Ahart: think
Michael Kamm: okay.
Anthony Ahart: it's a pig.
Michael Kamm: A pig? I
Larry Wilson: No,
Michael Kamm: can
Anthony Ahart: Or
Larry Wilson: it's
Michael Kamm: make.
Anthony Ahart: a
Larry Wilson: a
Anthony Ahart: dog.
Larry Wilson: dog.
Anthony Ahart: A sheep?
Michael Kamm: Um
Larry Wilson: Uh we d only have twenty five minutes, so.
Keith Gordon: Take it easy.
Michael Kamm: 'Kay, I make a cat of it.
Keith Gordon: I I was gonna make a cat too.
Larry Wilson: Use your fantasy.
Michael Kamm: Oh, not too quick.
Larry Wilson: Just hold it more more to the back then you don't have
Michael Kamm: No I have it.
Larry Wilson: okay.
Michael Kamm: I just draw too quick I think. Okay, that's it. More.
Larry Wilson: No, that's okay, thank you.
Michael Kamm: It's just to get used to it.
Keith Gordon: Okay.
Larry Wilson: I thought these pens would be just um uh you write it down and you download it to Word, you already did it or no?
Anthony Ahart: No.
Larry Wilson: No, not yet,
Michael Kamm: Yeah,
Larry Wilson: okay.
Michael Kamm: that's right, it but
Larry Wilson: But
Michael Kamm: you
Larry Wilson: it's
Michael Kamm: actually
Larry Wilson: just
Michael Kamm: got to write on the paper.
Larry Wilson: Sorry?
Michael Kamm: You really got to write on that
Larry Wilson: Yeah, I
Michael Kamm: paper.
Larry Wilson: know, but
Anthony Ahart: Yeah yeah,
Larry Wilson: I
Anthony Ahart: it's
Larry Wilson: d I
Anthony Ahart: a real pen.
Larry Wilson: I thought it would be just in in in uh typed words in
Michael Kamm: Yeah,
Larry Wilson: Word, so
Michael Kamm: but it's
Larry Wilson: that's
Michael Kamm: just
Larry Wilson: not
Michael Kamm: a picture.
Larry Wilson: just it's just a picture.
Anthony Ahart: Oh.
Larry Wilson: So
Michael Kamm: You
Anthony Ahart: Y
Michael Kamm: really
Anthony Ahart: you can
Larry Wilson: th thought it would be.
Anthony Ahart: you can't edit in the edit it in Word.
Michael Kamm: No.
Larry Wilson: No.
Anthony Ahart: Oh, okay.
Michael Kamm: It's a donkey.
Larry Wilson: I don't know, what time did we start this meeting, I'm not sure.
Michael Kamm: Uh I think it was uh
Larry Wilson: Half past.
Anthony Ahart: Half past ten.
Michael Kamm: Yeah.
Larry Wilson: Okay.
Anthony Ahart: Brilliant.
Larry Wilson: Okay,
Keith Gordon: Nice,
Larry Wilson: perfect.
Keith Gordon: eh?
Anthony Ahart: Yep.
Larry Wilson: Yeah, thank you. Now we just have to save everything, so.
Larry Wilson: Oh this is definitely the best one.
Keith Gordon: Uh.
Larry Wilson: Okay, so uh what we know is that we have to sell this uh remote control for about twenty five Euros.
Keith Gordon: Excuse
Larry Wilson: Okay,
Keith Gordon: Anthony Ahart.
Larry Wilson: that's. And uh we have to make a profit of fifty million Euros, so we have to uh use a big market in Europe.
Michael Kamm: Piece of cake.
Larry Wilson: The production cost are about half the price of selling price, sorry.
Michael Kamm: Uh easy.
Larry Wilson: So can someone make a a calculation about how many we have to sell of these to make fifty million, I dunno. Uh so we're gonna have a little discussion about um what experience are with a remote control the and everything, so just have a look how it we think about remote controls.
Anthony Ahart: Yeah, my first question was does it have to be a a universal remote control?
Larry Wilson: Oh yeah, that's a good question.
Anthony Ahart: Because we sell it uh uh uh lonely from the t and not with the television, we sell it uh apart.
Larry Wilson: I think it's I'm not
Anthony Ahart: So
Larry Wilson: I'm
Anthony Ahart: I
Larry Wilson: not sure, it's not mm
Keith Gordon: Yeah, it probably
Larry Wilson: I think
Keith Gordon: would be universal.
Michael Kamm: Universal.
Anthony Ahart: Because
Michael Kamm: And only television? Or more devices?
Larry Wilson: I don't think you can buy a a a universal uh remote control for twenty five Euros, so not sure, but
Keith Gordon: Hmm, maybe,
Anthony Ahart: Yeah, I know
Keith Gordon: I don't
Anthony Ahart: uh
Keith Gordon: know.
Anthony Ahart: you can buy a re a universal uh control
Larry Wilson: Okay,
Anthony Ahart: for
Larry Wilson: so
Anthony Ahart: uh
Larry Wilson: we we just
Anthony Ahart: only twenty
Larry Wilson: say we
Anthony Ahart: uh
Larry Wilson: just
Anthony Ahart: Euros
Larry Wilson: say that's universal remote
Anthony Ahart: Yeah,
Larry Wilson: control.
Michael Kamm: Ah
Anthony Ahart: I
Michael Kamm: okay.
Anthony Ahart: think.
Larry Wilson: Okay, perfect.
Keith Gordon: And uh also for the V_C_R_ and uh D_V_D_ player and
Larry Wilson: Yeah, everything just
Keith Gordon: okay.
Larry Wilson: so a lot of buttons on the remote control.
Keith Gordon: Yeah, probably.
Michael Kamm: Not just a T_V_.
Larry Wilson: No, just everything.
Michael Kamm: Okay.
Anthony Ahart: Okay.
Larry Wilson: so yeah, what what what's a remote control, it's just a black thing with some buttons on it, it's not nothing very special, but um
Michael Kamm: Well we can try to make it special.
Larry Wilson: yeah, that's right. So do you have any ideas how it has to look for for usability
Michael Kamm: Well
Anthony Ahart: Well I
Larry Wilson: or
Anthony Ahart: th
Larry Wilson: user
Anthony Ahart: I thought about um making it the same uh style as the television, we don't have uh the same television uh all the time, so uh that's no matter. Um if we uh control the V_C_R_ and the D_V_D_ player player with it uh it has to be clear, because uh kids and uh elderly are gonna use it, so uh it's not only for the uh technical persons. Um I think it must be a very good control, so you can uh uh uh act uh use it from uh everywhere in your room, the the infrared
Larry Wilson: Hmm yeah.
Anthony Ahart: uh thing must be from very good quality.
Larry Wilson: That's right. Should be a good point.
Michael Kamm: Yeah.
Keith Gordon: Okay.
Michael Kamm: Nothing
Keith Gordon: And how
Michael Kamm: N
Keith Gordon: big should
Anthony Ahart: No.
Keith Gordon: it be?
Anthony Ahart: Yeah. I dunno um
Michael Kamm: It shouldn't be too big, but I don't think we can make it too small, 'cause it has to have a lot of functions, so.
Keith Gordon: Yeah.
Michael Kamm: We can't make it smaller than the things we see now I think.
Larry Wilson: Just big enough for the buttons we have, that's
Michael Kamm: Yeah.
Larry Wilson: that's it.
Michael Kamm: Or we have to make something uh like uh mobile phones that you can uh fold
Keith Gordon: Yeah.
Michael Kamm: it opem.
Keith Gordon: Yeah.
Michael Kamm: Maybe then you can make it s smaller and uniquer,
Anthony Ahart: Yes
Michael Kamm: maybe more trendy.
Larry Wilson: But you you you you think about uh uh one you can
Michael Kamm: Fold
Larry Wilson: fold
Michael Kamm: open,
Larry Wilson: open.
Michael Kamm: where
Larry Wilson: Okay,
Michael Kamm: you can see
Larry Wilson: yeah, that's
Michael Kamm: uh
Larry Wilson: cool.
Michael Kamm: more options.
Anthony Ahart: Ah that's
Michael Kamm: I
Keith Gordon: Yeah
Larry Wilson: Maybe
Michael Kamm: think
Anthony Ahart: that's
Larry Wilson: for
Keith Gordon: n
Larry Wilson: the D_V_D_ pla player or something,
Michael Kamm: Yeah,
Larry Wilson: if
Michael Kamm: something
Larry Wilson: you just
Michael Kamm: uh
Larry Wilson: okay.
Anthony Ahart: Ah
Keith Gordon: Yeah,
Anthony Ahart: right
Michael Kamm: on
Keith Gordon: or
Michael Kamm: top,
Keith Gordon: you c
Michael Kamm: just dren
Anthony Ahart: right.
Michael Kamm: general things like volume and T_V_ channels and inside things you don't use that often.
Larry Wilson: Yeah.
Anthony Ahart: Oh
Keith Gordon: O or
Anthony Ahart: that's good,
Keith Gordon: you could
Anthony Ahart: yeah.
Keith Gordon: th think of an uh uh a small touch screen on the remote control.
Michael Kamm: Yeah b
Anthony Ahart: Yeah.
Michael Kamm: I wanted
Larry Wilson: Why should you use a touchscreen on a remote control?
Keith Gordon: Uh
Larry Wilson: There are buttons
Keith Gordon: maybe
Larry Wilson: on
Keith Gordon: be
Larry Wilson: it.
Keith Gordon: uh
Michael Kamm: No
Keith Gordon: it's
Michael Kamm: you can
Keith Gordon: it's
Michael Kamm: make an uh manual in it.
Keith Gordon: Yeah, or um maybe to keep it uh easy and uh small.
Larry Wilson: Okay.
Anthony Ahart: Yeah,
Larry Wilson: But it's
Anthony Ahart: but
Larry Wilson: not
Michael Kamm: But
Keith Gordon: Uh
Larry Wilson: t t
Keith Gordon: like
Larry Wilson: t
Michael Kamm: that's
Larry Wilson: too expensive
Keith Gordon: a a to
Larry Wilson: to
Keith Gordon: have
Larry Wilson: put a
Michael Kamm: Yeah,
Larry Wilson: touchscreen
Michael Kamm: I
Anthony Ahart: Yeah
Michael Kamm: think
Larry Wilson: on
Keith Gordon: Yeah,
Michael Kamm: it's
Larry Wilson: it.
Michael Kamm: much
Anthony Ahart: but
Keith Gordon: maybe it
Michael Kamm: uh
Keith Gordon: would.
Michael Kamm: too
Anthony Ahart: it's
Michael Kamm: expensive.
Anthony Ahart: not reachable I think, touch screen. And we have to care for uh the strength of the remote control,
Larry Wilson: Yeah.
Anthony Ahart: because uh uh remote controls are most uh things in the house that falls down on the ground and
Larry Wilson: Yeah.
Anthony Ahart: it get
Larry Wilson: So.
Anthony Ahart: often uh broken.
Larry Wilson: And if you have a touch screen in it, it's definitely too
Michael Kamm: Yeah,
Larry Wilson: too
Anthony Ahart: Yeah
Michael Kamm: too
Larry Wilson: fragile
Michael Kamm: fragile.
Anthony Ahart: and a
Larry Wilson: uh
Anthony Ahart: lots
Larry Wilson: fragile.
Anthony Ahart: uh uh lots of kids use it and touchscreen is not uh
Larry Wilson: No.
Anthony Ahart: kids uh
Larry Wilson: You can put games
Keith Gordon: Kid-proof.
Larry Wilson: on your remote control. Whatever.
Michael Kamm: Yeah.
Anthony Ahart: Um
Keith Gordon: And uh how about the batteries? Uh should you put it in a recharger or a
Larry Wilson: Oh maybe
Anthony Ahart: Ma
Larry Wilson: that's
Keith Gordon: just
Larry Wilson: a good idea,
Anthony Ahart: maybe
Larry Wilson: just to
Anthony Ahart: a
Larry Wilson: put
Anthony Ahart: home
Larry Wilson: it on
Anthony Ahart: station.
Larry Wilson: your
Michael Kamm: Yeah.
Larry Wilson: television and just s recharge, you
Keith Gordon: Mm
Larry Wilson: never
Keith Gordon: yeah.
Larry Wilson: have to use any
Michael Kamm: Maybe
Larry Wilson: batteries.
Michael Kamm: that's a good idea, but yeah, we have to look at the price now I think.
Larry Wilson: Yeah, how
Anthony Ahart: Yeah.
Larry Wilson: m how mu how how expensive
Keith Gordon: Yeah, I dunno.
Larry Wilson: uh is a normal recharger?
Michael Kamm: Well uh how much is your uh standards uh mobile phone recharger?
Larry Wilson: I dunno.
Keith Gordon: Yeah, if you buy it uh separately from your phone
Anthony Ahart: Ah
Keith Gordon: it's
Anthony Ahart: yeah.
Keith Gordon: probably expensive, but I don't know what the project uh projection
Michael Kamm: Maybe
Keith Gordon: costs
Michael Kamm: have
Keith Gordon: are
Michael Kamm: uh
Keith Gordon: for such
Larry Wilson: Uh
Keith Gordon: a
Larry Wilson: if
Keith Gordon: thing.
Larry Wilson: you th look at the market, it's probably it's still the best way just to put batteries in it, because maybe
Michael Kamm: Yeah,
Larry Wilson: it's too expensive.
Michael Kamm: 'cause
Keith Gordon: Yeah.
Michael Kamm: well
Anthony Ahart: Yeah, but a home station is uh a really good idea, because uh lots of people are uh lose their remote control and don't know where it is, and now
Larry Wilson: Yeah,
Anthony Ahart: you can put
Larry Wilson: that's
Anthony Ahart: it always
Larry Wilson: right,
Anthony Ahart: at the same
Larry Wilson: yeah.
Michael Kamm: Yeah.
Anthony Ahart: place.
Keith Gordon: Yeah.
Anthony Ahart: Maybe it's Therefore it's a good idea, but maybe it's expensive.
Michael Kamm: Maybe uh use it as a separate option.
Anthony Ahart: Yeah.
Michael Kamm: Sell it uh separately.
Anthony Ahart: You can yeah, you can buy it with
Keith Gordon: Yeah,
Anthony Ahart: it.
Keith Gordon: but I have a mouse that's uh uh also uh
Michael Kamm: Rechargeable.
Keith Gordon: Yeah, and and you just have normal batteries that you can recharge and
Michael Kamm: Yeah.
Keith Gordon: just put it in the station, or you can change your batteries,
Anthony Ahart: Oh yeah.
Keith Gordon: so.
Larry Wilson: The option, just the option, that's
Keith Gordon: Yeah.
Larry Wilson: cool.
Anthony Ahart: Uh I I set something on paper already, size, looks, uh usable, uh the buttons on usable places, uh the the on off button must be on top,
Larry Wilson: Yeah.
Anthony Ahart: uh it
Michael Kamm: Yeah.
Anthony Ahart: has to lay good in the hand, you you have to uh
Larry Wilson: Has it be has does it has to b have to be um uh like a different
Anthony Ahart: Yeah,
Larry Wilson: form
Anthony Ahart: I don't
Larry Wilson: than
Anthony Ahart: I
Larry Wilson: a normal
Anthony Ahart: don't know
Larry Wilson: remote control
Anthony Ahart: I don't
Larry Wilson: or
Michael Kamm: Well
Anthony Ahart: know if
Michael Kamm: I think
Anthony Ahart: we
Michael Kamm: we have to look at that, 'cause well you can do the standard way, but then
Anthony Ahart: You can
Michael Kamm: you
Anthony Ahart: make
Michael Kamm: won't
Anthony Ahart: it very special, to create our own
Larry Wilson: Yeah
Anthony Ahart: um looks, but it's very hard to
Keith Gordon: N uh if if we want to make it special, we probably have to do a lot of testing, if it really works.
Anthony Ahart: Nah.
Michael Kamm: Well you can um have uh the basic things on the same place, like on off button on top and the T_V_ channels one two three four as a block,
Keith Gordon: Yeah.
Michael Kamm: and then the volume uh obviously on t on top, so you can see. But the rest is uh you don't use that often, so if you have a clear button with an good icon on it, it should be clear as well.
Keith Gordon: Yeah.
Michael Kamm: So it
Larry Wilson: Yeah.
Michael Kamm: doesn't matter what place it is on the remote control I think, so you can do something unique with that.
Keith Gordon: And what we have to think about too is uh uh buttons that you use often are um maybe uh like when you fold it open, when you have it closed, you can still uh do the
Anthony Ahart: Yeah yeah, what
Keith Gordon: th the
Anthony Ahart: Paul
Keith Gordon: functions.
Anthony Ahart: already said. Uh
Keith Gordon: Yeah.
Larry Wilson: Yeah, just
Anthony Ahart: on
Larry Wilson: for the
Anthony Ahart: on
Keith Gordon: But
Anthony Ahart: top
Larry Wilson: T_V_
Anthony Ahart: are the
Keith Gordon: n
Larry Wilson: and just
Keith Gordon: yeah,
Michael Kamm: Yeah,
Larry Wilson: the normal
Keith Gordon: but
Anthony Ahart: the
Larry Wilson: function,
Michael Kamm: yeah.
Anthony Ahart: basic
Keith Gordon: uh
Larry Wilson: that's
Anthony Ahart: options
Larry Wilson: fine.
Keith Gordon: i
Anthony Ahart: on top, and
Keith Gordon: basically
Anthony Ahart: if you fold it
Keith Gordon: when
Anthony Ahart: open
Keith Gordon: I'm
Larry Wilson: But
Keith Gordon: watching
Larry Wilson: maybe
Keith Gordon: T_V_
Larry Wilson: it's
Keith Gordon: I'm just using like five buttons or so,
Michael Kamm: Yeah. That's
Keith Gordon: so.
Larry Wilson: maybe it's
Michael Kamm: what
Larry Wilson: very
Michael Kamm: I meant.
Larry Wilson: hard to to make it fold open and to l look like it's very uh uh what's it's called?
Anthony Ahart: Mm. If you if
Michael Kamm: Uh
Anthony Ahart: if you make
Larry Wilson: Maybe
Anthony Ahart: to fold
Larry Wilson: it's hard
Anthony Ahart: open
Larry Wilson: t
Anthony Ahart: it's or also an uh the strength uh is not s as good as a
Larry Wilson: No,
Anthony Ahart: normal
Larry Wilson: that's right. So
Anthony Ahart: uh
Larry Wilson: maybe
Anthony Ahart: remote
Larry Wilson: we have
Anthony Ahart: control.
Larry Wilson: to to uh keep it like mm a square, just normal remote control.
Michael Kamm: Okay, but yeah.
Larry Wilson: Just think
Keith Gordon: Yeah.
Larry Wilson: about it. We have to close this uh to finish this uh meeting, so.
Keith Gordon: Okay.
Larry Wilson: There's some more things. We have uh another thirty minutes, so then we're going to meet again. So you know what you have to what you have to do?
Anthony Ahart: Okay.
Larry Wilson: Yeah.
Anthony Ahart: Um for m for Anthony Ahart uh Anthony Ahart, the user requirements uh specification, do I need to think as a user, a as a a a only the looks and the
Michael Kamm: No, what you want to do with it.
Larry Wilson: Yeah, I think this if you you have to n know if it's for s a T_V_, a D_V_D_ player, all that things.
Anthony Ahart: Okay.
Larry Wilson: Also from a user, but
Anthony Ahart: Yeah,
Larry Wilson: all
Anthony Ahart: it's also
Larry Wilson: these things together.
Anthony Ahart: about strength
Larry Wilson: Yeah,
Michael Kamm: Yeah,
Larry Wilson: everything.
Anthony Ahart: and
Michael Kamm: I
Anthony Ahart: uh
Michael Kamm: also wrote down some
Anthony Ahart: for
Michael Kamm: stuff
Anthony Ahart: everything
Michael Kamm: that you want
Anthony Ahart: uh.
Larry Wilson: Yeah,
Michael Kamm: on a
Larry Wilson: no maybe not not uh, that's not a f that's something for for
Michael Kamm: Technical
Larry Wilson: for yeah.
Michael Kamm: fun fu
Larry Wilson: That's not for you.
Anthony Ahart: Okay.
Larry Wilson: Just if what's in the market, what's normal, uh what kind of
Michael Kamm: What
Larry Wilson: uh buttons
Michael Kamm: do you want
Larry Wilson: do
Michael Kamm: to
Larry Wilson: you
Michael Kamm: do
Larry Wilson: have.
Michael Kamm: with your remote control, what do you need on your remote control. I
Larry Wilson: Yeah,
Michael Kamm: already
Larry Wilson: it's alright.
Michael Kamm: wrote some down, some ideas.
Anthony Ahart: Yep.
Larry Wilson: Yeah, just is that okay?
Anthony Ahart: Okay.
Michael Kamm: Yep.
Keith Gordon: Okay.
Larry Wilson: Okay.
Michael Kamm: There's already a document in the folder
Anthony Ahart: Yeah,
Michael Kamm: about
Anthony Ahart: Anthony Ahart too.
Michael Kamm: it.
Larry Wilson: So see you in thirty minutes.
Anthony Ahart: Okay, well
Michael Kamm: Okay.
Anthony Ahart: done.
Keith Gordon: Okay.
Larry Wilson: For the next time you have to uh put it exactly on the square, so your laptop.
Michael Kamm: I will.
Anthony Ahart: Oh Paul.
Michael Kamm: It didn't say that.
Larry Wilson: No, sorry.
Michael Kamm: Your fault.
Anthony Ahart: Ciao.
Michael Kamm: Bye bye.
Anthony Ahart: Bye bye. | Larry Wilson introduced himself and the project to the group. He presented an agenda for the rest of the project. The group acquainted themselves with the meeting-room materials by drawing on the board. Larry Wilson discussed the projected price point, profit aim, and production cost for the project. The group discussed their initial ideas about the product design. They decided to make the remote a universal remote. They discussed the form of the device; it was suggested that the device could have a folding-open design or a touch-screen interface. They discussed energy source options and could not decide between using standard batteries or a recharging stand. They also discussed how to make the remote look more unique; it was suggested that the remote could feature the folding-open design to hide complicated functions on the inside of the device. Larry Wilson instructed Anthony Ahart to prepare the user requirement specification and to research which devices the remote will control. | 5 | amisum | train |
Kenneth Luciano: I just forgot their name, so uh you're i sorry, I just forgot them all. So I have to write it down.
Frank Floyd: Okay.
Kenneth Luciano: So
Frank Floyd: Fine.
Kenneth Luciano: Do you know them or
Frank Floyd: The names?
Kenneth Luciano: Yeah.
Frank Floyd: For for for my sur um
Kenneth Luciano: Yeah.
Frank Floyd: Jens.
Kenneth Luciano: Yeah, no, but your b your surname.
Frank Floyd: Uh Damman. D_ A_ W_.
Kenneth Luciano: W_O_
Frank Floyd: Uh uh
Kenneth Luciano: da.
Frank Floyd: M_
Kenneth Luciano: Okay.
Frank Floyd: M_. I mean M_. Double M_.
Kenneth Luciano: Okay. And what's your name?
David Walker: Paul Wiezer. Paul Wiezer.
Kenneth Luciano: W_I_E_S_
David Walker: A_
Kenneth Luciano: z Z_
David Walker: E_
Kenneth Luciano: or
David Walker: Z_
Kenneth Luciano: S_? Uh
David Walker: zee zee
Kenneth Luciano: uh zee.
David Walker: E_ R_.
Kenneth Luciano: Okay. What's your name?
Jeffrey Williams: Uh Martijn.
Kenneth Luciano: Yeah, but your surname.
Jeffrey Williams: What?
Kenneth Luciano: Your surname.
Jeffrey Williams: Uh Abbing. A_ B_ B_ I_ N_ G_.
Kenneth Luciano: Okay, thanks.
Jeffrey Williams: I
David Walker: Uh.
Jeffrey Williams: was a little short on time,
Kenneth Luciano: Yeah,
Jeffrey Williams: but
Kenneth Luciano: Frank Floyd too, so that's
David Walker: Yeah,
Kenneth Luciano: not
David Walker: same here.
Kenneth Luciano: No no no, I just fi first my
Frank Floyd: Oh. Sorry.
David Walker: Uh let's see. Which one was
Kenneth Luciano: So
David Walker: mine?
Kenneth Luciano: let's have a look, we have forty minutes, so it's it's more than enough. Okay, perfect. So we have Oh no, what's that? So so we have uh forty minutes for this uh for this second meeting, and we have to
David Walker: Good.
Kenneth Luciano: make uh sure that we going t that we are sure, that we are, that we know what we're going to make uh th what the product is going to like look like. Uh first I have the notes of the last meeting, so I showed uh show them to you. Oh, sorry about that, I just escape this one. How do I escape this?
Jeffrey Williams: What?
Kenneth Luciano: How do I I escape this s uh presentation?
David Walker: Uh
Jeffrey Williams: Uh
David Walker: left.
Kenneth Luciano: Ah okay.
Jeffrey Williams: Just
David Walker: So
Jeffrey Williams: Yeah.
Kenneth Luciano: And show, sorry. Okay, so let's have a look s at this one. Okay, so the f the f the points we had last meeting was the um Should be a univ uh universal remote control No, that's I uh s I just got a email from the from the personal coach and it should be a T_V_ remote control only. So have you changed that part?
David Walker: Okay.
Frank Floyd: Okay.
Kenneth Luciano: Um so yeah, it still has to be uh f a r a remote control for kids and elderly. It's it's still the same. Um All these points uh we have to look at. You all know them. But uh there's another point. The um uh the main uh people of interest of this company are forty plus people. So they're old and not younger people. So we have to look at that as well. 'Specially old people, maybe bi bigger buttons or something, I dunno.
David Walker: Yeah, okay.
Kenneth Luciano: Uh so So yeah, that's it, so just you can do your presentation for uh
David Walker: Which one first?
Frank Floyd: Okay.
Kenneth Luciano: Oh it doesn't matter, just start with the
David Walker: Okay.
Frank Floyd: Mm.
Frank Floyd: Uh
David Walker: Functional requirements, yeah.
Frank Floyd: Okay. Well my name is Jens Damman, but we're in a group, and I I will start it. Wait. Um I've used a marketing report on uh the site. Uh I think you've uh read it too. and uh f and furthermore I uh surfed the o the other site.
Kenneth Luciano: I I didn't read i read it, so it's not
Frank Floyd: You didn't
Kenneth Luciano: for Frank Floyd,
Frank Floyd: read it?
Kenneth Luciano: I didn't get
David Walker: No,
Kenneth Luciano: it uh anyway.
David Walker: I didn
Frank Floyd: Oh okay,
Kenneth Luciano: It's
David Walker: don't
Kenneth Luciano: only
David Walker: thing
Kenneth Luciano: for you.
Frank Floyd: I
David Walker: we
Frank Floyd: I
David Walker: got
Frank Floyd: was
David Walker: it.
Frank Floyd: the only one who get it.
Kenneth Luciano: Yeah.
David Walker: Yes.
Frank Floyd: Okay it was uh uh uh um um a report about uh an experiment with uh a lot of users. And uh they had a lot of findings in their report uh with statistical uh uh uh thing uh with statistical uh proof. So I um I had three pages with findings and sev a lot of uh a lot of findings. So we can use this uh to uh create our own remote control. Uh seventy five percent of the users find uh most remote controls ugly. Yeah, I think uh uh that's a lot, so we have to make a beautiful remote control. Uh eighty percent of users would spend when uh a remote control will l uh look fancy. I think this fits uh at the uh what what uh Michael said about uh older people. Older people will uh spend more money uh for uh something uh uh what's good. Because younger people are more critical uh about uh uh where they spend their money money at. Uh seventy five percent uh seventy five percent of the users say they zap a lot. Well okay, that's uh normal. I think uh we we have to make uh good zap buttons. But that's one of our requirements.
Kenneth Luciano: The last point is quite an interesting
Frank Floyd: Yes, fifty percent of users say they only use ten percent of the buttons. Um Martijn
Kenneth Luciano: So if
Frank Floyd: alr
Kenneth Luciano: we
Frank Floyd: already said it.
Kenneth Luciano: Yeah.
Frank Floyd: And uh maybe our uh fold open system is is a good one, but I don't think it's uh
Kenneth Luciano: Yeah, we should have the ten percent
Frank Floyd: reachable.
Kenneth Luciano: on the on the top, then you're you're
Frank Floyd: Yeah, the ten percent on the
Jeffrey Williams: Yeah.
Frank Floyd: top, yeah. That that's a good one. Um uh page two. Remote controls are often lost somewhere in the room. That's exactly what we said about um maybe a home station for uh for it uh to uh recharge the batteries or something. Uh I thought mo maybe we could make a clap system, so when you clap your hands it will beep or something. Uh you must find it
David Walker: Uh.
Frank Floyd: uh quickly.
David Walker: Maybe just a button on the home station. So remote control beeps when you click that button on the home station.
Frank Floyd: Okay, yeah. Yeah, we can uh combine that. Uh it takes too much time to learn how to use a r new remote control. Uh I think we must t uh take a look at this. It's only uh th thirty four of the thirty four percent. But it's uh a tough one. Because if we make a ha whole new product, our own style, we we c uh this is so difficult, uh a difficulty I think. Uh next, remote controls are bad for R_S_I_. Yeah, but only if they zap a lot, and they watch over five hours T_V_ or something. I don't We we haven't Uh we mustn't look too much at uh the last point. Okay, last page. Uh the last uh experiment uh was about gadgets, like uh speech recognition. We didn't uh think about that already. And uh an L_C_D_ on the remote control. We already thought about that. Um uh they finally had a conclusion that younger people um uh under an age of f forty five are uh more interested in new features. And but they're more critical. And older people uh want to spend uh more money. But uh they uh they don't want to uh have a lot of uh new features, because they're in their old uh thinking way. And they want to keep the old uh things the old things.
Kenneth Luciano: So we have uh a new uh age
Frank Floyd: But
Kenneth Luciano: of forty
Frank Floyd: y But you
Kenneth Luciano: plus.
Frank Floyd: but you already said that the uh company was about uh forty plus uh
Kenneth Luciano: People. So
Frank Floyd: clients?
Kenneth Luciano: yeah, so we just can skip the L_C_D_
Frank Floyd: I
Kenneth Luciano: r on the remote
Frank Floyd: I
David Walker: Yeah.
Frank Floyd: think
Kenneth Luciano: control,
Frank Floyd: we
Kenneth Luciano: because
Frank Floyd: can speak, uh we can skip speech recognition uh directly, because
Kenneth Luciano: Yeah.
Frank Floyd: it's not
Kenneth Luciano: It's
Frank Floyd: reachable
Kenneth Luciano: too
Frank Floyd: for
Kenneth Luciano: Okay.
Frank Floyd: twenty five Euros.
Jeffrey Williams: Yeah.
Frank Floyd: Um then I have my personal uh preference. Okay, that's not very good, because I thought about television, D_V_D_ player, stereo and V_C_R_. I had a question about. But it's already out of the question, this. Um my point is, well, I If we ma uh make a a remote uh control for only television, I think it's hard to uh sell it for twenty five Euros. But it's the exercise.
Kenneth Luciano: Because it's too expensive.
Frank Floyd: Yeah,
Kenneth Luciano: Yeah,
Frank Floyd: only
Kenneth Luciano: probably.
Frank Floyd: only for television uh On the market you can now buy for twenty Euros a remote control for everything. And we only make it for television, so we mi mm we m must made it make it uh very special.
David Walker: Yeah, but good usability, you can use it.
Frank Floyd: Okay, I told about the home station. Uh it must be simple, because uh our the the elderly people uh needs to use it. And I I found a motto. And we put the fashion in electronics. And that's uh the motto we are uh referenced to uh for our uh our style We. we have to make a a new product. We have to be um Yeah. One of a kind, I think.
Kenneth Luciano: So it has to look uh uh
David Walker: Unique.
Kenneth Luciano: uh unique,
Frank Floyd: The company is
Kenneth Luciano: but
Frank Floyd: about our uh th th their own fashion, their own style.
David Walker: Yeah,
Kenneth Luciano: Yeah.
David Walker: I reckon
Kenneth Luciano: But old people are not looking for that.
David Walker: Uh I think
Kenneth Luciano: Not
David Walker: mm
Kenneth Luciano: really.
Jeffrey Williams: Yeah.
David Walker: Uh
Jeffrey Williams: I think the main thing is the usability, that's where we can uh
David Walker: Yeah.
Jeffrey Williams: make it
Frank Floyd: Yeah,
Jeffrey Williams: a special product.
Frank Floyd: to
Kenneth Luciano: Okay.
Frank Floyd: k to keep it simple
Kenneth Luciano: Yeah.
Frank Floyd: when
David Walker: But
Jeffrey Williams: Yeah.
Frank Floyd: you Sorry
David Walker: uh
Frank Floyd: I thought
David Walker: we
Frank Floyd: about
David Walker: also
Frank Floyd: it, yes.
David Walker: have to stand out, 'cause there are already, like you said, so many controls out that support lot of stuff. But we have to make sure that we're better usability, and stand out by just looks of it. So make it just a different colour or different shape,
Kenneth Luciano: Yeah.
David Walker: so
Kenneth Luciano: Okay.
Frank Floyd: Okay, this was uh my presentation.
Kenneth Luciano: Thanks.
Jeffrey Williams: Okay.
Frank Floyd: I don't Yeah.
Kenneth Luciano: So Paul,
Frank Floyd: You can
Kenneth Luciano: you
Frank Floyd: ask
Kenneth Luciano: can
Frank Floyd: some
Kenneth Luciano: do
Frank Floyd: questions
Kenneth Luciano: the next one if you want.
David Walker: Okay.
Frank Floyd: or something.
David Walker: Yeah well Uh.
Kenneth Luciano: It's on the on the uh net net
David Walker: There
Kenneth Luciano: uh
David Walker: it is.
Kenneth Luciano: thing, isn't it?
David Walker: Okay. Technical functions design. Okay, well, so we have s mm uh broad audience. Isn't that isn't true anymore. But um we have elderly people, so we need to keep it simple. Uh the way I want to keep it simple is to use the sen uh standard. So standardised uh methods like uh on all uh remote controls. Not too full, like uh Jens already said, only ten percent is being used.
Kenneth Luciano: So what do you think of only the numbers and the on-off button or
David Walker: Yeah, I have it on the next page. But
Kenneth Luciano: Okay.
David Walker: yes uh basic functions like numbers and that sort of stuff. Um so the options that we put on there should be easy to use, and 'cause you have more room then, and for elderly people big buttons. Uh an icon on it or text on it, so it's very clear what that buttons does. So it doesn't take much time to figure out uh how to use it. Um a way to find out uh what people use is maybe just to use uh questionnaires on the internet or just ask some random people, elderly people what they use, what they want on a remote control
Kenneth Luciano: Yeah.
David Walker: to find out. But there is already in a one done. Of functions I could think of. Uh volume, channels, the the basic according to. Just one two three etcetera. Uh text service options. Um basic on-off. And I found an uh Could I think of favourites? I always look up the same um pages on text and always have to click the number.
Kenneth Luciano: Okay.
David Walker: But if you could make a new option, that you just have to press one button and you get on your
Jeffrey Williams: Yeah, but then you have to remember what favourite is what channel. So you might as well remember the number. Or not?
David Walker: No
Kenneth Luciano: Maybe
David Walker: y
Kenneth Luciano: i maybe it's too complicated, but not sure.
David Walker: Well
Kenneth Luciano: It's a good
David Walker: it's
Kenneth Luciano: idea,
David Walker: It
Kenneth Luciano: but
David Walker: was just a thought. So I'm, I u I would find it handy, I think, when you just press one button and you get on six six six.
Jeffrey Williams: Yeah, okay. But um can you remember what uh channel uh connects to what
David Walker: Well
Jeffrey Williams: favourite
David Walker: uh
Jeffrey Williams: button?
Kenneth Luciano: Uh
David Walker: what I was reading on the page. Uh a remote control just sends commands, basics commands to uh the television. So switch to channel six.
Jeffrey Williams: Yeah?
David Walker: So uh button six says says six. And if you make favourites, it can say six six six in a row. Just numbers. That
Jeffrey Williams: Yeah
David Walker: can
Jeffrey Williams: okay.
David Walker: be
Jeffrey Williams: But
David Walker: in
Jeffrey Williams: uh
David Walker: the
Jeffrey Williams: uh
David Walker: in the
Jeffrey Williams: for a user to to remember, if I press that button it goes to that channel.
David Walker: Well if you said a favourite
Jeffrey Williams: Yeah, but isn't it hard to remember? Like favourite one and
Kenneth Luciano: Uh
David Walker: Well
Kenneth Luciano: mayb
David Walker: i
Jeffrey Williams: Mm
Kenneth Luciano: for Frank Floyd it's
Jeffrey Williams: as
Kenneth Luciano: If
Jeffrey Williams: as
Kenneth Luciano: I
Jeffrey Williams: hard
Kenneth Luciano: use my telephone,
Jeffrey Williams: as
Kenneth Luciano: I never use those buttons to to to call
David Walker: Never?
Kenneth Luciano: sh Never.
Jeffrey Williams: No, neither
David Walker: Oh.
Jeffrey Williams: do I.
David Walker: Oh
Kenneth Luciano: So
David Walker: are you?
Kenneth Luciano: And
David Walker: Okay now, m maybe not.
Kenneth Luciano: If I don't do it, maybe old people
David Walker: No, maybe elderly people uh.
Jeffrey Williams: Yeah, I
David Walker: Right.
Jeffrey Williams: dunno.
David Walker: They don't like new features. So maybe not.
Frank Floyd: Mm-hmm.
David Walker: Um well play, pause. I dunno if that's usable
Kenneth Luciano: It's not, it's
David Walker: when
Kenneth Luciano: still not It's not anymore n
David Walker: Not
Kenneth Luciano: uh
David Walker: anymore for T_V_. Right, on off. I dunno, miss Did I miss any other buttons, basic buttons?
Frank Floyd: Um
David Walker: I couldn't think of any other, 'specially not for T_V_.
Kenneth Luciano: Just on the front as well. No, that's the only th the only thing you need.
David Walker: Is
Jeffrey Williams: Uh uh the p uh next and previous. Previous I know, but next channel?
David Walker: Just the
Jeffrey Williams: I
David Walker: channel
Jeffrey Williams: don't thi
David Walker: um uh What I mean is
Frank Floyd: Forward.
David Walker: uh
Jeffrey Williams: Li like a web
David Walker: Six
Jeffrey Williams: browser,
David Walker: seven
Jeffrey Williams: so
David Walker: eight
Jeffrey Williams: Oh, okay.
David Walker: or
Kenneth Luciano: Just
David Walker: five.
Jeffrey Williams: But
Kenneth Luciano: very
Jeffrey Williams: uh
Kenneth Luciano: simple.
Jeffrey Williams: um there's also a button to uh go to the channel you've been before. Like a web browser back
David Walker: Um
Jeffrey Williams: button.
David Walker: I dunno.
Kenneth Luciano: Uh
David Walker: I don't have Uh
Kenneth Luciano: Yeah,
David Walker: I
Kenneth Luciano: I
David Walker: did
Kenneth Luciano: know what it is, but I think it's all
Frank Floyd: No.
Kenneth Luciano: too difficult
David Walker: Yeah, I don't
Kenneth Luciano: for old
David Walker: think you
Kenneth Luciano: people.
David Walker: use
Frank Floyd: Uh
Jeffrey Williams: Yeah,
David Walker: that. Y only
Jeffrey Williams: okay.
David Walker: when you want to go to Yeah, just use uh when you wanna switch between channels all the time.
Kenneth Luciano: And
Jeffrey Williams: Yeah.
Kenneth Luciano: how do you want to uh do it, like if you have a channel above ten? Normally you can press one,
David Walker: Yeah,
Kenneth Luciano: zero
David Walker: I think
Kenneth Luciano: or
David Walker: um f Especially for older peo elderly people use standard buttons. So you have that uh
Kenneth Luciano: A ten plus or
David Walker: Yeah, the ten plus button. Just uh one one pressing, or quickly after each other.
Kenneth Luciano: Okay.
David Walker: To just keep it simple and standard uh features.
Jeffrey Williams: Yeah, w wouldn't it be a problem to uh Because you h have to be fast enough. Maybe the elderly people
David Walker: Uh yeah mayb
Frank Floyd: It gets some seconds.
David Walker: But I think that's in the T_V_ as well. That's how the uh the T_V_ T_V_ handles it. But you can have a button that says um two
Frank Floyd: Yeah,
Jeffrey Williams: Oh
Frank Floyd: it's
Jeffrey Williams: okay.
Frank Floyd: it's no
David Walker: two st
Jeffrey Williams: Yeah.
Frank Floyd: it's
David Walker: two
Frank Floyd: not
David Walker: stripes.
Frank Floyd: a
David Walker: So you have uh like a
Jeffrey Williams: Yeah, but
David Walker: five
Jeffrey Williams: that's
David Walker: seconds
Jeffrey Williams: th mm
David Walker: period to press those two buttons.
Frank Floyd: It's what Paul says. It's not a remote control uh uh that um uh makes the T_V_ um do one two. It's the T_V_ who depends that it must
Jeffrey Williams: Okay.
Frank Floyd: be two seconds or three seconds or one second that you must uh type one
David Walker: So if
Frank Floyd: or
David Walker: you
Frank Floyd: two.
David Walker: have a
Jeffrey Williams: Yeah.
David Walker: universal T_V_ controller, you needed one button that has two uh stripes.
Jeffrey Williams: Yeah.
David Walker: So we have a a period of, I dunno, five seconds to press those buttons, and that
Jeffrey Williams: Yeah.
David Walker: And not for elderly people to look, one two uh press and aim and
Kenneth Luciano: But do we still need a two level remote control? Because if we only have
Frank Floyd: It's
Kenneth Luciano: that
Frank Floyd: only
Kenneth Luciano: l
Frank Floyd: for television now.
David Walker: So
Kenneth Luciano: only
David Walker: I I
Kenneth Luciano: f
David Walker: don't think so.
Kenneth Luciano: No.
Frank Floyd: No.
David Walker: Uh I just thought of another one. Most things in modern T_V_s are also on the menu.
Kenneth Luciano: Yeah.
David Walker: So you also need a menu button. And then uh navigation uh But we can
Jeffrey Williams: Yeah.
David Walker: integrate that with volume and previous and next, so you have
Jeffrey Williams: I I think you ha
David Walker: four
Jeffrey Williams: really
David Walker: arrows.
Jeffrey Williams: have to divide between functions you often use, like um uh m maybe uh switch channels and uh volume and k that kind of things, and uh the menu button. Because you n almost never use menu button.
David Walker: Yeah,
Jeffrey Williams: So
David Walker: okay, but um
Kenneth Luciano: Maybe it's still still a good idea, I'm not sure. You'll also have to use a mute button to to
David Walker: mute button. Yes.
Kenneth Luciano: Maybe,
David Walker: Don't think
Kenneth Luciano: not
David Walker: so.
Kenneth Luciano: I don't know where where you have to put it.
David Walker: Yeah well, that's that's I think that's the layers that produce. Now I have to figure out what's uh what to put on.
Kenneth Luciano: Okay.
David Walker: What we're
Kenneth Luciano: Yeah.
David Walker: gonna use.
Kenneth Luciano: Yeah.
Jeffrey Williams: Okay.
Kenneth Luciano: That's right.
David Walker: And later we can d uh do the design. Okay, uh now my personal preferences. Uh using the standards, basic Um I think that we should stand out uh unique, being unique with the design. So we have to, I dunno, uh make a different shape than usual. So when you are in the shop and you see our T_V_ controller hanging, that it stands out. Not just in in the row when you see all the same uh remote controls.
Kenneth Luciano: Yeah. Does
David Walker: Um
Kenneth Luciano: it have to be Uh it has to be uh with different colours or
David Walker: I dunno. Different colours um
Frank Floyd: Maybe we can give it out in different colours. You can choose blue
Kenneth Luciano: It's like
Frank Floyd: or
Kenneth Luciano: a
Frank Floyd: yellow
Kenneth Luciano: iMac
Frank Floyd: or
Kenneth Luciano: or something. Just to
Jeffrey Williams: Mm-hmm.
Kenneth Luciano: make it
David Walker: Yeah. Well why not? Or
Frank Floyd: That's
David Walker: Yeah.
Frank Floyd: fa That's fancy. That's uh fashion.
Kenneth Luciano: But it looks cheap as well, because it's a small thing. It's only twenty five Euros. It looks very cheap if you make it
David Walker: Well, maybe you can look at uh mobile phones.
Kenneth Luciano: Oh, you just I dunno
David Walker: Oh.
Kenneth Luciano: what happened.
David Walker: Who?
Kenneth Luciano: Yeah, we have to look at mobile phones, that's right.
David Walker: They
Kenneth Luciano: Just
David Walker: they're uh designed very well. And
Kenneth Luciano: Yeah.
David Walker: well basically are the same, just a bit smaller. You think you can't make a T_V_ controller too small, 'cause then you will always lo always lose it.
Kenneth Luciano: Yeah.
David Walker: But uh well, I think that's a good example.
Frank Floyd: Okay.
Kenneth Luciano: Okay, we hurry up a bit, because otherwise
David Walker: Okay,
Kenneth Luciano: we won't make
David Walker: sorry.
Kenneth Luciano: it. Is
David Walker: Well
Kenneth Luciano: it fin Are you finished?
David Walker: uh
Kenneth Luciano: Okay.
David Walker: Yeah, I I'm finished. I think we discussed everything.
Jeffrey Williams: Okay. Well, the working design. The method I used is uh search the web. Just the web page provided. Um Basically I'm I'm not very technical uh uh educated, but uh I could figure it out. Um basically what happens is you press a button, uh then a circuit gets closed by pressing the button, uh like a switch. And by closing that certain circuit, the chip knows uh what bu button is pressed. So like you press a one, that circuit is closed and uh Then the chip produces a pattern. Like a Morse code to uh And and sends that to the uh L_E_D_. That's the uh light emitting diode, I think. Um and the light emitting diode is uh producing infrared light. That's un uh invisible to the human eye. And uh transmit that uh to the T_V_. However it has also an uh a visible uh diode that's uh blinking red if you look in it.
Frank Floyd: Mm-hmm.
Jeffrey Williams: And that's uh another diode, I believe. Because infrared is not visible. So that's er uh do two different
Kenneth Luciano: So
Jeffrey Williams: things but
Kenneth Luciano: also have to have a LED li
Jeffrey Williams: Yeah.
Kenneth Luciano: LED
Jeffrey Williams: I I think
Kenneth Luciano: light
Jeffrey Williams: so.
Kenneth Luciano: on it?
David Walker: Uh j
Jeffrey Williams: I I'm not sure if
David Walker: Is
Jeffrey Williams: it's the
Kenneth Luciano: Yeah,
Jeffrey Williams: same
Kenneth Luciano: it's
Jeffrey Williams: thing.
Kenneth Luciano: I think
David Walker: Ain't
Kenneth Luciano: it's
David Walker: it
Kenneth Luciano: usable.
David Walker: just to to indicate that it's
Frank Floyd: Yeah,
David Walker: transmitting?
Frank Floyd: that's active.
Kenneth Luciano: Yeah.
Jeffrey Williams: Yeah.
David Walker: So
Kenneth Luciano: Or just a green one, because it's If you use it, it's green or the red, it's r green.
David Walker: Yeah. Maybe uh
Frank Floyd: I I think it's in the case that it's active. It's not uh
Jeffrey Williams: Yeah, when
Kenneth Luciano: Yeah,
Jeffrey Williams: you
Kenneth Luciano: that's
Jeffrey Williams: press
Kenneth Luciano: right. But
Jeffrey Williams: it.
Kenneth Luciano: if you
Jeffrey Williams: So
Frank Floyd: I it's it's just uh the the
Jeffrey Williams: Two?
Kenneth Luciano: Red's l shows up like something's wrong, and green is like it's okay, you press
Frank Floyd: Mm.
Kenneth Luciano: the button.
Jeffrey Williams: Yeah, I dunno.
David Walker: Maybe
Jeffrey Williams: Ma on
David Walker: depends
Jeffrey Williams: on most
David Walker: on uh
Jeffrey Williams: on most uh uh remote controls it's red.
Kenneth Luciano: Yeah,
Jeffrey Williams: So
Kenneth Luciano: I
David Walker: Yes.
Frank Floyd: Yeah.
Kenneth Luciano: know. Okay, we make it red.
Jeffrey Williams: So
David Walker: But maybe
Jeffrey Williams: I know.
David Walker: Well we don't have to make it red. Maybe integrate it in the design as well.
Kenneth Luciano: You have to The whole the whole uh remote control becomes uh green if you press the buttons. Uh that's cool.
David Walker: Uh Oh, maybe it's it is would an
Jeffrey Williams: I
David Walker: e
Jeffrey Williams: I
David Walker: No.
Jeffrey Williams: think uh the batteries will
David Walker: Just
Jeffrey Williams: be
David Walker: uh
Jeffrey Williams: uh a
Kenneth Luciano: No, we have
Jeffrey Williams: little
Kenneth Luciano: a recharger
Frank Floyd: Empty.
Kenneth Luciano: in it,
David Walker: Oh.
Kenneth Luciano: so
Jeffrey Williams: Yeah, okay. Uh
Kenneth Luciano: If
Jeffrey Williams: maybe.
Kenneth Luciano: we can still make that then
David Walker: Yeah, but it doesn't have to be red. It's just to indicate something's
Frank Floyd: Yeah.
David Walker: on.
Jeffrey Williams: Yeah. That it's working. That it's not
David Walker: Yeah.
Jeffrey Williams: not the
Kenneth Luciano: But
Jeffrey Williams: batteries
Kenneth Luciano: it's cool
David Walker: It's
Jeffrey Williams: are
Kenneth Luciano: if
Jeffrey Williams: low.
Kenneth Luciano: it was
David Walker: it's
Kenneth Luciano: green.
David Walker: not very important,
Kenneth Luciano: Green or
David Walker: so
Kenneth Luciano: red or whatever, it
Jeffrey Williams: Yeah,
Kenneth Luciano: is cool.
David Walker: yeah.
Jeffrey Williams: I know. Just to indicate it's working.
David Walker: So mm
Jeffrey Williams: And uh the receptor in the T_V_ senses the pattern. So we have to understand what patterns are used to, you know, to make it universal. So that it can be used with all the T_V_s. We have to really understand what patterns are used, so we can uh o On the Otherwise it won't work.
David Walker: So we have to uh make buttons for that as well, to make
Jeffrey Williams: No.
David Walker: it
Jeffrey Williams: I
David Walker: uh
Jeffrey Williams: I uh The chip um uh is producing the pattern. So we have to make a chip that produces patterns to,
David Walker: Okay.
Jeffrey Williams: y you know, to
Frank Floyd: An automatically
Jeffrey Williams: Yeah. That are
Frank Floyd: search
Jeffrey Williams: working.
Frank Floyd: function for each television, or
Jeffrey Williams: Yeah,
Frank Floyd: something.
Jeffrey Williams: or I dunno how it's uh exactly how it works. It wasn't explained there.
David Walker: Well,
Frank Floyd: Uh I
David Walker: I
Frank Floyd: kno
David Walker: I use a universal uh remote control, and list of all the T_V_s you have, etcetera. And you have to put in a number,
Jeffrey Williams: Yeah?
David Walker: so it works on your T_V_.
Jeffrey Williams: Okay.
Frank Floyd: Oh, I have a modern one. And the modern one you you uh you type uh search, and the LED began to blink blink blink. And uh uh uh after uh a short time the television turns off. And then you know, oh it it's the right one. And you can stop it, and then it's okay.
Jeffrey Williams: Ah okay.
Frank Floyd: So you don't have to search for your television or your code.
Jeffrey Williams: Okay.
Frank Floyd: It uh search uh the pattern for itself.
Jeffrey Williams: Okay,
David Walker: Okay,
Jeffrey Williams: yeah.
David Walker: so we use that.
Jeffrey Williams: So it uh We have to make a a s a bit more intelligent chip than the standard one.
Frank Floyd: Yes.
Jeffrey Williams: Because
David Walker: Yep.
Jeffrey Williams: you have to Yeah.
Kenneth Luciano: I just say Can you s just say it again, because I was just looking
Jeffrey Williams: Uh
Kenneth Luciano: There's
Jeffrey Williams: okay.
Kenneth Luciano: just a short
Jeffrey Williams: Well uh y you have this chip.
Kenneth Luciano: Yeah.
Jeffrey Williams: That's uh when the circuit is closed,
Kenneth Luciano: Mm-hmm.
Jeffrey Williams: it produces the pattern. But uh ma basically for uh brands of T_V_ these patterns are different. So like when you press a one on one T_V_ it go go to one. And on the other T_V_ it won't work, basically. So uh basically what you have to do is uh get these patterns right.
Kenneth Luciano: Yeah.
Jeffrey Williams: And uh by d uh that can be done by uh just uh
Frank Floyd: Changing the
Jeffrey Williams: cha
Frank Floyd: signal.
Jeffrey Williams: yeah, changing this pattern all the time. And um What he's doing when he's configuring this pattern, this chip, uh is trying to switch off the television. And when it's uh switched off, you can push a button as uh it's working now, so And then he saves that setting
Kenneth Luciano: Okay.
Jeffrey Williams: and
Kenneth Luciano: Yeah.
Jeffrey Williams: then um it's working.
Frank Floyd: Yeah, that's the right uh
Jeffrey Williams: Okay.
Frank Floyd: option.
Jeffrey Williams: Well uh the components. Yeah, that's a bit technical, and I hadn't I w I was a little short on time. Um but I think I understand it Um. the energy source is uh the battery, basically.
Kenneth Luciano: Yeah.
Jeffrey Williams: Um that's connecting to all the components. Because it has to be fed with energy. Okay. Uh the subcomponent is uh w I I think it is uh the button pressed. So basically when you press a button, a switch get closed. Um that's connecting to a chip. So the chip knows what button you pressed. And the chip sends out uh the pattern to the infrared bulb. I didn didn't put the description by this one. Th this is a normal bulb. So the normal flashing light.
Kenneth Luciano: Okay. So that's the LED,
Jeffrey Williams: Yeah.
Kenneth Luciano: L_E_D_.
Jeffrey Williams: Yeah, and this is a LED too. But this one is producing infrared light
Kenneth Luciano: Yeah, okay.
Jeffrey Williams: that's invisible. And this one is producing normal light.
Kenneth Luciano: So we can make the normal one also a normal light. Not a LED light, but as a normal one.
Jeffrey Williams: Yeah
Kenneth Luciano: To flash up your
Frank Floyd: Uh if you if you use the buttons, uh both of them works. But one you can't see and one indicates that you use a button.
Kenneth Luciano: Yeah.
Jeffrey Williams: Yeah, presu Yeah yeah yeah. Because uh when you button press a button and it doesn't work, it can Basically if the battery is low, it
Frank Floyd: Yeah.
Jeffrey Williams: won't work.
Frank Floyd: Yeah,
Jeffrey Williams: So
Frank Floyd: and
Jeffrey Williams: you have to indicate that it's
Kenneth Luciano: Maybe you have to uh put uh a small light around the button you push. So you see green if you push that button.
Jeffrey Williams: Huh,
Frank Floyd: Mm I
Jeffrey Williams: that's
Frank Floyd: think
Jeffrey Williams: a good
Frank Floyd: it's
Jeffrey Williams: idea.
Frank Floyd: unnecessary power uh you use then.
Kenneth Luciano: Yeah, but if you
David Walker: No,
Kenneth Luciano: u if
David Walker: y
Kenneth Luciano: you do that, you
David Walker: Yeah.
Kenneth Luciano: know that you're uh sending a signal.
Frank Floyd: Okay.
Kenneth Luciano: And it's you
Frank Floyd: But
Kenneth Luciano: also
Frank Floyd: then have
Kenneth Luciano: know
Frank Floyd: to be
Kenneth Luciano: which
Frank Floyd: on
Kenneth Luciano: button
Frank Floyd: the
Kenneth Luciano: you
Frank Floyd: in
Kenneth Luciano: p
Frank Floyd: the all uh remote control have to be LEDs.
Kenneth Luciano: Yeah, that's right. But
Frank Floyd: Everywhere
Kenneth Luciano: it
Frank Floyd: in the r
Kenneth Luciano: But does it make any difference for the energy you use? You got
David Walker: No
Kenneth Luciano: still
David Walker: I don't
Kenneth Luciano: one
David Walker: think
Kenneth Luciano: LED.
David Walker: so, but Yeah, i it it will look different, and I think we need to find something else.
Kenneth Luciano: That looks different, yeah.
David Walker: Yeah.
Jeffrey Williams: Hmm.
David Walker: 'Cause otherwise we will just make another standard, and our uh motto also is
Frank Floyd: Is LEDs uh beneath the the buttons?
David Walker: Yeah, w around the buttons, or in the buttons even.
Frank Floyd: Yeah, okay.
Jeffrey Williams: Yeah, but mm like when you push it
David Walker: Yeah, then then
Jeffrey Williams: n
David Walker: won't
Jeffrey Williams: n
David Walker: Then you
Jeffrey Williams: Yeah.
David Walker: won't see it.
Jeffrey Williams: You have your finger over the button. So you can see
Frank Floyd: It must be around it then.
Jeffrey Williams: Yeah. Or or m maybe on top of the A green
Frank Floyd: Yeah,
Jeffrey Williams: light
Frank Floyd: then
Jeffrey Williams: is flashing
Frank Floyd: Yeah. Not
Jeffrey Williams: or
Frank Floyd: not not not here, but
Jeffrey Williams: Yeah.
Frank Floyd: here.
Jeffrey Williams: There. Yeah.
Frank Floyd: Maybe uh
Kenneth Luciano: The same as a telephone, or a mobile phone, or
David Walker: Yeah,
Kenneth Luciano: what
David Walker: we're
Kenneth Luciano: do
David Walker: thinking
Kenneth Luciano: you mean?
David Walker: about it. Uh on
Kenneth Luciano: If you
David Walker: a mobile
Kenneth Luciano: push
David Walker: phone, in the dark uh
Kenneth Luciano: It lights up. Everything lights up.
David Walker: everything
Kenneth Luciano: That's a good
David Walker: lights
Kenneth Luciano: idea.
David Walker: up.
Jeffrey Williams: Yeah.
David Walker: Why ain't that on a remote
Kenneth Luciano: It
David Walker: control?
Kenneth Luciano: it only takes a l a little energy
David Walker: Yeah,
Kenneth Luciano: and it's not
David Walker: if
Kenneth Luciano: that
David Walker: uh
Kenneth Luciano: much.
David Walker: a mobile
Frank Floyd: Okay.
David Walker: phone a phone can do it, it's
Jeffrey Williams: Yeah.
Kenneth Luciano: It's f Yeah. Maybe that's a good idea for old people as well.
David Walker: Yeah, i
Jeffrey Williams: Mm-hmm.
David Walker: if you're in the dark, you can't see the remote.
Kenneth Luciano: It's only
Jeffrey Williams: Yeah.
Kenneth Luciano: few LEDs. Only four or something. Four LED.
David Walker: No, I dunno. But if we use a battery station, which I think we will use
Frank Floyd: Yeah, I uh
Kenneth Luciano: Yeah, that's a good idea,
Jeffrey Williams: Yeah.
Kenneth Luciano: okay.
Jeffrey Williams: We'll have enough power to
Kenneth Luciano: Everything agre Everyone agrees with that, or
Frank Floyd: Yeah.
Jeffrey Williams: Yeah.
Kenneth Luciano: Okay.
David Walker: Yep.
Frank Floyd: Maybe what Paul said, uh under the on
Kenneth Luciano: Yeah,
Frank Floyd: the
Kenneth Luciano: and then
Frank Floyd: on
Kenneth Luciano: you
Frank Floyd: the home station, uh a button to uh to call your uh remote control, that
Kenneth Luciano: Okay,
Frank Floyd: it beeps.
Kenneth Luciano: yeah.
David Walker: And also
Kenneth Luciano: But you
David Walker: it's
Kenneth Luciano: have to make a sound device in it then.
Frank Floyd: Yeah, there must be sound in it.
Jeffrey Williams: Hmm.
Kenneth Luciano: But Yeah.
David Walker: Okay,
Frank Floyd: I dunno.
David Walker: it shouldn't take
Jeffrey Williams: Yeah.
David Walker: much
Jeffrey Williams: B maybe it's that that's a little too hard to make. Especially for that kind of money. Because
Frank Floyd: Mm
Jeffrey Williams: it's
Frank Floyd: uh,
Jeffrey Williams: i
Frank Floyd: twenty
Jeffrey Williams: it
Frank Floyd: five
Jeffrey Williams: has
Frank Floyd: Euros,
Jeffrey Williams: to be
Frank Floyd: I think we can
David Walker: Uh
Frank Floyd: make
Jeffrey Williams: Yeah.
David Walker: I
Jeffrey Williams: Production
David Walker: th
Frank Floyd: it.
Jeffrey Williams: cost
Frank Floyd: Bec
Jeffrey Williams: is uh t uh twelve and a half.
Frank Floyd: Twelve and a half, okay. But but we only have to make it for television, and
Jeffrey Williams: Yeah, okay.
Frank Floyd: um
David Walker: I think
Frank Floyd: we must have something
David Walker: uh
Frank Floyd: special.
David Walker: you also
Frank Floyd: So
David Walker: have uh remote controls with a lot of options. But we lose about ninety percent of those options. So
Frank Floyd: Uh.
David Walker: I think you can uh
Frank Floyd: We have to give our customers some extras.
David Walker: Yeah.
Jeffrey Williams: Yeah,
David Walker: I
Jeffrey Williams: okay.
David Walker: think we will save money with that.
Kenneth Luciano: Okay. Are you almost finished or just
Jeffrey Williams: Yeah, the the personal preference, I didn't fill it out. Because
Kenneth Luciano: Okay.
Jeffrey Williams: I was short on time.
Kenneth Luciano: Okay. No worry.
Jeffrey Williams: But um Basically what we could do too is uh have a Bluetooth uh integration.
Kenneth Luciano: Yeah, I just want to talk some about some more. So maybe you
Jeffrey Williams: Yeah?
Kenneth Luciano: have to Yeah?
Jeffrey Williams: Okay.
Kenneth Luciano: Okay.
Kenneth Luciano: So this Oh, sorry. Wh what's that? So uh Oh, sorry. We have some new uh project requirements. We have to have a look what they are. They're still in um Uh teletext has become outdated since the popularity of internet. So a teletext option, maybe we have to skip that one. I'm not sure. I don't
Jeffrey Williams: No,
Kenneth Luciano: think
Frank Floyd: No.
Kenneth Luciano: so,
Jeffrey Williams: and I
Kenneth Luciano: but
Jeffrey Williams: I think a lot of people use
Kenneth Luciano: Yeah,
Jeffrey Williams: uh teletext,
Kenneth Luciano: and it's it's on your
Jeffrey Williams: still
Kenneth Luciano: comp it's on
Jeffrey Williams: use.
Kenneth Luciano: your television. It's only one button. So I
Frank Floyd: Uh.
Kenneth Luciano: don't think
David Walker: Yeah.
Kenneth Luciano: it is
Jeffrey Williams: Hmm.
Kenneth Luciano: We definitely should use it. Um Yeah, that's uh what I told you. The remote control should only be used for a television. So that's maybe easier. And um the the forty plus people, I already told you. Oh no, sorry. Oh, this is a problem. Oh sorry about that. The new product should reach a new market with customers are the younger than forty. So it should be flashy or just
Frank Floyd: Okay.
Jeffrey Williams: Oh.
Kenneth Luciano: more interesting.
David Walker: Okay,
Jeffrey Williams: Mm.
David Walker: that's It changes
Kenneth Luciano: I'm sorry about
David Walker: things.
Kenneth Luciano: that. I just I just didn't read it well. So does it make some
Frank Floyd: Changes.
Kenneth Luciano: decision about that?
David Walker: Um
Jeffrey Williams: Yeah. That kinda changes
Frank Floyd: Uh
Jeffrey Williams: the whole situation.
David Walker: Well yeah, then we have to make some nice features. I think uh the thing in the dark is a good way, to make it more
Kenneth Luciano: That still
David Walker: like
Kenneth Luciano: stays.
David Walker: a mobile phone.
Kenneth Luciano: Yeah.
David Walker: More modern.
Jeffrey Williams: Yeah.
David Walker: That's important I think and
Frank Floyd: L_C_D_ doesn't work for uh twelve and a half Euros I think.
David Walker: And I d I don't don't think it's very usable in a remote control, especially when you only have T_V_ functions on
Frank Floyd: Oh.
David Walker: it.
Kenneth Luciano: Yeah.
Jeffrey Williams: Mm
David Walker: So
Jeffrey Williams: ah I I don't y you'll use it often, because you can see on the television
Frank Floyd: Oh,
Jeffrey Williams: wh what
Frank Floyd: I'm
Jeffrey Williams: channel
Frank Floyd: watching
Jeffrey Williams: you
Frank Floyd: uh the channel one. Okay. No,
David Walker: Yeah,
Frank Floyd: it's
David Walker: I
Frank Floyd: not
David Walker: tho I think that's not usable.
Jeffrey Williams: No.
David Walker: So, but uh Yeah. What other features can we put in?
Jeffrey Williams: Yeah. I think you you have to make it a bit flashy and and popular. And uh then the usability is not that required, because the Like in the mobile phones, usability is not that
Frank Floyd: But
Jeffrey Williams: good I
Frank Floyd: uh
Jeffrey Williams: think.
Frank Floyd: some of you had uh something to read about um uh speech uh recognition. About you said one and the television turns on one. Is that reachable maybe? That's very
Jeffrey Williams: I didn't
Frank Floyd: That's
Jeffrey Williams: read
Frank Floyd: fancy. That's cool.
David Walker: It's
Jeffrey Williams: I
David Walker: very
Frank Floyd: Twelve
Jeffrey Williams: didn't
David Walker: fashion.
Jeffrey Williams: read
Frank Floyd: and
Jeffrey Williams: any b
Frank Floyd: you've
Jeffrey Williams: Yeah.
Frank Floyd: got twelve.
Jeffrey Williams: Yeah okay.
David Walker: Mm.
Frank Floyd: Only
Jeffrey Williams: I
Frank Floyd: the
Jeffrey Williams: I
Frank Floyd: numbers,
Jeffrey Williams: know.
Frank Floyd: only numbers. Uh furthermore nothing. But only the numbers, one to twenty or something.
Jeffrey Williams: Mm.
Frank Floyd: That should be cool.
Kenneth Luciano: Yeah, maybe we have to integrate that as well. If it's possible.
Frank Floyd: If it's
Kenneth Luciano: But
Frank Floyd: possible, I dunno.
Jeffrey Williams: Yeah, I
Frank Floyd: I
Jeffrey Williams: don't
Frank Floyd: didn't
Jeffrey Williams: know.
Kenneth Luciano: I don't
Frank Floyd: read
Kenneth Luciano: think
Frank Floyd: it.
Kenneth Luciano: it's
David Walker: Mm.
Kenneth Luciano: very expensive actually. Why should it?
Frank Floyd: Uh if
David Walker: Yeah,
Frank Floyd: i
David Walker: I think
Kenneth Luciano: You
Frank Floyd: if
Kenneth Luciano: only
Frank Floyd: i
Kenneth Luciano: have a
David Walker: it's
Kenneth Luciano: microphone in it.
Jeffrey Williams: Yeah.
Frank Floyd: I didn't have
Jeffrey Williams: But
Frank Floyd: information
Jeffrey Williams: it has
Frank Floyd: about
Jeffrey Williams: to
Frank Floyd: that.
Jeffrey Williams: work. And and and does it have to work only in English, or in Dutch too
Kenneth Luciano: Nah,
Jeffrey Williams: or
Kenneth Luciano: maybe
Frank Floyd: Ah that's a problem, but
Jeffrey Williams: And and
Frank Floyd: Uh only
Jeffrey Williams: uh
Frank Floyd: in
Jeffrey Williams: w
Frank Floyd: English.
David Walker: What
Frank Floyd: Only
David Walker: But
Frank Floyd: in English
Jeffrey Williams: Yeah?
David Walker: uh
Frank Floyd: I think.
David Walker: I dunno how that works then. Uh does your
Jeffrey Williams: Yeah,
David Walker: uh
Jeffrey Williams: it's
David Walker: Does
Jeffrey Williams: probably
David Walker: it lie
Jeffrey Williams: my
David Walker: in the
Jeffrey Williams: job
David Walker: centre
Jeffrey Williams: to
David Walker: of
Jeffrey Williams: figure
David Walker: the room
Jeffrey Williams: that out,
David Walker: and
Jeffrey Williams: but
David Walker: can you scream from wherever
Frank Floyd: No,
David Walker: uh one
Frank Floyd: that
David Walker: to have in channel
Frank Floyd: Yeah,
David Walker: one?
Frank Floyd: then th we have to think about that. But do do we do it? It's
David Walker: Yeah,
Frank Floyd: more
David Walker: I dunno.
Frank Floyd: if we
David Walker: So,
Frank Floyd: if we do it.
David Walker: is it very usable? That's what I'm looking at.
Jeffrey Williams: And and do you have to speak in in like in
Frank Floyd: Yeah.
Jeffrey Williams: a thing or
David Walker: Is
Kenneth Luciano: Maybe maybe it's too hard to uh to realise that. It We have short
Jeffrey Williams: Yeah,
Kenneth Luciano: time
Jeffrey Williams: I dunno.
Kenneth Luciano: to to put it on the market, so that
Frank Floyd: Okay.
Kenneth Luciano: We
David Walker: Mm
Kenneth Luciano: have to
David Walker: Yeah
Kenneth Luciano: do a
David Walker: well
Kenneth Luciano: lot of testing before we can do that.
Jeffrey Williams: Yeah, I think so.
Kenneth Luciano: We
Frank Floyd: Yeah, and
Kenneth Luciano: make
Frank Floyd: uh and
Kenneth Luciano: uh make
Frank Floyd: uh
Kenneth Luciano: uh, we can make
David Walker: It's
Kenneth Luciano: th th the new remote control very flashy.
Frank Floyd: In uh indeed uh the languages are a difficult thing. Uh because
David Walker: I
Kenneth Luciano: Yeah.
David Walker: d
Frank Floyd: we we
David Walker: Yeah.
Frank Floyd: have
David Walker: I don't
Frank Floyd: a lot
David Walker: think
Frank Floyd: of
Jeffrey Williams: And
Frank Floyd: languages.
David Walker: it's
Jeffrey Williams: and
David Walker: uh useful enough to take the effort to design something with uh speech recognition.
Jeffrey Williams: Yeah,
Kenneth Luciano: Yeah.
Jeffrey Williams: and also
Kenneth Luciano: I think
Jeffrey Williams: if
Kenneth Luciano: so.
Jeffrey Williams: if you have a good speech uh speech recognition, you can just throw
Frank Floyd: Yeah.
Jeffrey Williams: the uh
Frank Floyd: A uh someone says that
Jeffrey Williams: the remote
Frank Floyd: uh
Jeffrey Williams: away.
Frank Floyd: give Frank Floyd one Coke, and the
Jeffrey Williams: Mm.
Frank Floyd: T_V_ turns
Jeffrey Williams: Hmm.
Frank Floyd: uh to one.
Jeffrey Williams: Mm.
Frank Floyd: Yeah, it's not
David Walker: Yeah.
Frank Floyd: uh
Jeffrey Williams: Yeah,
David Walker: Well
Jeffrey Williams: okay.
David Walker: yeah, that's the right command. And
Jeffrey Williams: But
David Walker: then you have to say uh T_V_ channel one, or something.
Jeffrey Williams: Hmm
David Walker: Not
Jeffrey Williams: yeah,
David Walker: just one, but
Jeffrey Williams: T_V_
Frank Floyd: Okay, but
Jeffrey Williams: one.
Frank Floyd: th that becomes your f Uh uh because that's very hard for uh speech recognition.
David Walker: Well
Jeffrey Williams: Yeah.
David Walker: I dunno. But I don't think, it just ain't useful enough.
Frank Floyd: Mm-hmm.
Kenneth Luciano: So we have to make some decisions. So you
Frank Floyd: Okay,
Kenneth Luciano: can see
Frank Floyd: no speech
Kenneth Luciano: on the
Frank Floyd: recognition.
Kenneth Luciano: uh So we have to know what we're going to put on. Do we, do we make uh a light under the under the n under the numbers and everything? Do
David Walker: Yeah, I think
Kenneth Luciano: If
David Walker: so.
Kenneth Luciano: you press something, it lights up for a few seconds, so you can see what other but buttons there are, okay?
Jeffrey Williams: Yeah, that's good.
David Walker: Yep.
Kenneth Luciano: Okay, we just take that one. And what else, we have
David Walker: Also the one in the dark. So uh It lights up when it's dark?
Kenneth Luciano: Yeah,
David Walker: I
Kenneth Luciano: but
David Walker: didn't
Kenneth Luciano: it's Oh th I thought would, that that would be the same. If you
David Walker: Okay.
Kenneth Luciano: push something,
Frank Floyd: Yeah. Yeah
Kenneth Luciano: it
David Walker: Yeah,
Kenneth Luciano: it
Frank Floyd: yeah,
David Walker: but
Kenneth Luciano: all
Frank Floyd: it
Kenneth Luciano: lights
David Walker: um
Kenneth Luciano: up.
Frank Floyd: it mustn't work all the time.
David Walker: Yes,
Frank Floyd: It uh
David Walker: that's
Frank Floyd: uh it
David Walker: what
Frank Floyd: have
David Walker: I mean.
Frank Floyd: to work only when you use it. So
Kenneth Luciano: Or
Frank Floyd: if
Kenneth Luciano: you can
Frank Floyd: you
Kenneth Luciano: switch it on or something.
Frank Floyd: No,
David Walker: Or
Frank Floyd: if
David Walker: maybe
Frank Floyd: you use
David Walker: when you
Frank Floyd: one button,
David Walker: yeah.
Frank Floyd: it must turn uh
David Walker: It
Frank Floyd: on
David Walker: lights
Frank Floyd: for
David Walker: up all.
Frank Floyd: twenty seconds,
Kenneth Luciano: Yeah, that's
Frank Floyd: and
Kenneth Luciano: right.
Frank Floyd: then
Kenneth Luciano: You
Frank Floyd: it
Kenneth Luciano: have
Frank Floyd: must
Kenneth Luciano: to
Frank Floyd: turn off.
Kenneth Luciano: Yeah, that's right. That's what
David Walker: Okay
Kenneth Luciano: I said. It's
David Walker: yeah.
Kenneth Luciano: the
David Walker: D
Kenneth Luciano: same as the telephone.
David Walker: Yeah, alright.
Kenneth Luciano: Yeah.
David Walker: Yeah.
Kenneth Luciano: And do we use a a Uh what's it called? Like a iMac, if you can look through it. Or just a normal
David Walker: Maybe
Jeffrey Williams: Mm,
Kenneth Luciano: remote control.
Jeffrey Williams: maybe
David Walker: just as an
Jeffrey Williams: it's
David Walker: option,
Jeffrey Williams: a good idea.
David Walker: w like we discussed, like iPod. Different colours, uh maybe use even different fonts.
Kenneth Luciano: Yeah.
Frank Floyd: Oh yeah.
David Walker: Like uh phones.
Kenneth Luciano: Different colours. Okay, so
Jeffrey Williams: Hmm.
Kenneth Luciano: y
Frank Floyd: A see-through.
Kenneth Luciano: you just make it th through
Frank Floyd: Mm,
Kenneth Luciano: You look
David Walker: Yeah.
Frank Floyd: that's
Kenneth Luciano: through
Frank Floyd: cool.
Kenneth Luciano: it?
David Walker: Uh
Kenneth Luciano: Okay.
David Walker: as an option maybe.
Kenneth Luciano: And so the buttons we have, this is, yeah, this is normal. We put in
David Walker: It's the
Kenneth Luciano: the
David Walker: standard
Kenneth Luciano: the simple buttons on the top, and probably
David Walker: Yeah,
Kenneth Luciano: the the
David Walker: uh
Kenneth Luciano: the more complicated buttons
Frank Floyd: But you have
David Walker: Yeah,
Frank Floyd: You
Kenneth Luciano: down
David Walker: we
Frank Floyd: had
David Walker: but
Frank Floyd: a lot
David Walker: we
Frank Floyd: of
David Walker: don't
Kenneth Luciano: there.
Frank Floyd: different buttons.
David Walker: We don't really
Jeffrey Williams: Hmm.
David Walker: have any
Kenneth Luciano: Yeah,
David Walker: complicated
Kenneth Luciano: maybe you
David Walker: buttons.
Kenneth Luciano: have you have to Uh when you use teletec teletext, you can press a green or a red button
David Walker: Yeah
Kenneth Luciano: to
David Walker: okay,
Kenneth Luciano: go to
David Walker: but
Kenneth Luciano: the next one, or to go
David Walker: Yeah,
Kenneth Luciano: to the previous
David Walker: well
Kenneth Luciano: one.
David Walker: w I think the buttons are very easy. With just uh standard buttons we just have so
Kenneth Luciano: O but maybe you
David Walker: little
Kenneth Luciano: can put um the g the options of teletext on the second level of the remote control.
David Walker: No, I don't
Kenneth Luciano: Because
David Walker: need
Kenneth Luciano: you ne
David Walker: don't
Kenneth Luciano: almost
David Walker: need
Kenneth Luciano: never use it.
David Walker: Uh teletext options are only four buttons or something.
Jeffrey Williams: Yeah, but younger people I think um more often use the internet and elderly people often use teletext.
Kenneth Luciano: Yeah,
Jeffrey Williams: So
Kenneth Luciano: that's
David Walker: I use
Frank Floyd: No,
Kenneth Luciano: right.
Jeffrey Williams: uh
David Walker: teletext
Frank Floyd: I use
David Walker: as well.
Frank Floyd: te teletext every day, I think.
Jeffrey Williams: Hmm. Okay.
Kenneth Luciano: Yeah. For Frank Floyd too, it is. So we just keep it one level then?
David Walker: Yeah yeah, one
Kenneth Luciano: Okay.
David Walker: level.
Frank Floyd: Mm.
David Walker: And I think, uh 'cause um we don't have that many buttons, I think the design is most important.
Jeffrey Williams: Yeah.
David Walker: You can d uh integrate the buttons in the design very much.
Kenneth Luciano: Yeah.
David Walker: 'Cause simple buttons. If you
Kenneth Luciano: Okay.
David Walker: put one above it, it's clear.
Kenneth Luciano: Okay. So that's it for toda for We're going to have a lunch lunch break. Um
David Walker: How long is lunch break?
Kenneth Luciano: So yeah, you know what you have to do. This is uh this is it. You get your meal and everything, so
Frank Floyd: Trendwatching. Okay.
Kenneth Luciano: Yeah.
Frank Floyd: That's fine.
Frank Floyd: Yo.
Kenneth Luciano: So, we're finished for t for this time. We're going to have some lunch.
David Walker: Okay.
David Walker: Bye.
Kenneth Luciano: Yeah.
Jeffrey Williams: Yeah.
Frank Floyd: Mm. Uh. | Kenneth Luciano announced that the remote should only control television, and that the marketing should be targeted towards ages 40 and above. Frank Floyd presented the results of a lab study on users of remote controls, and showed that users want a fancier, less complicated remote that does not get lost easily. The group decided not to use speech recognition or an LCD screen to target the older demographic. David Walker discussed the button functions and how to make channel-changing easier. The group decided not to include programmable "favorites" buttons. Jeffrey Williams presented the internal components of the device. The group discussed having the remote light up when used. He also stressed that the remote must be compatible with all television brands. Kenneth Luciano corrected his target group announcement and announced that the target age group was actually ages 40 and below. The group again discussed the possibility of adding speech recognition and LCD screens to the design but decided that it was not feasible. The group decided to have the remote light up when used and is including teletext. Frank Floyd was instructed to report on trendwatching. | 5 | amisum | train |
Erwin Prescott: Oh.
John Trinh: It's not saved yet.
William Jones: Okay.
John Trinh: So
Erwin Prescott: Okay.
John Trinh: Our beautiful.
Erwin Prescott: So just f um
Erwin Prescott: So is our agenda. You're F You're going to show your pr prototype presentation after Harry Morris.
Harry Morris: Oops.
William Jones: Okay.
Erwin Prescott: Uh I didn't Oh yeah. So these are the
William Jones: Oh, okay. Yeah.
Erwin Prescott: So these are the um last notes we I made. If anything doesn't look right, just say it to Harry Morris then. I don't have to put it in the report.
John Trinh: Are we doing the the speech recognition? Because we didn't have enough time to uh de um design the inside as well.
Erwin Prescott: Okay, but it's still possible uh uh financially. So if you want to, it's okay.
John Trinh: Okay yeah. Well then then we're gonna put it in.
Erwin Prescott: Okay, just
John Trinh: Yeah, just uh we have to design the inside then, but it should
William Jones: Yeah,
John Trinh: be
William Jones: and
John Trinh: uh
William Jones: Or are we making a slide open, like underneath? Or fold open? I don't know.
Erwin Prescott: Slide open is
William Jones: It's
Erwin Prescott: uh
William Jones: probably
Erwin Prescott: quite
William Jones: better.
Erwin Prescott: usable for remote controls.
William Jones: Yeah, s Like underneath uh you can slide it open and
John Trinh: It's
William Jones: you
John Trinh: may
William Jones: other
John Trinh: maybe
William Jones: functions.
Erwin Prescott: Maybe
John Trinh: uh a
Erwin Prescott: that's
John Trinh: bit stronger
Erwin Prescott: better.
John Trinh: as well.
William Jones: Yeah.
Erwin Prescott: Yeah, that's that's a very good point.
John Trinh: Okay,
William Jones: Think
John Trinh: so
William Jones: that's better.
John Trinh: when you have a lot of room inside. So you make it very easy to use. 'Cause
Erwin Prescott: Yeah.
John Trinh: can write a lot of comments besides it.
Erwin Prescott: Okay. So this is okay?
John Trinh: No. Yeah, we're gonna use the advanced chip then.
Erwin Prescott: Okay, so that's Uh I'll just
William Jones: The
Erwin Prescott: have a look how much that is. But um
John Trinh: Advanced chip
Erwin Prescott: Okay,
John Trinh: was for
Erwin Prescott: for the
John Trinh: uh spee Yeah.
William Jones: Yeah, I
Erwin Prescott: Okay.
William Jones: I think so. I don't know.
Erwin Prescott: No, you have a different chip for speech recognition. So
John Trinh: Okay.
William Jones: Ah okay.
Erwin Prescott: So I already calculated that and it's still in the budget. So it's okay.
John Trinh: Good.
Erwin Prescott: So you can show your prototype if you want to.
William Jones: Yeah.
John Trinh: Together?
William Jones: Yeah, it's Let's do it together.
John Trinh: I'll give comments.
William Jones: Okay. Yeah we just made a Word file the basic elements. Uh the look-and-feel model. Uh well the form, the case um as drawn there. Simply a square with uh round corners. So that's basically it. Uh the material should be hard plastic.
Harry Morris: Mm-hmm.
William Jones: Uh colour changeable, and also transparent. And colour and transparent, or just transparent, I don't know. Um then the elements. Uh we have The functions are just basic. Like uh I've pointed them here. Mute function, on-off function, text functions. This uh switch channel.
Erwin Prescott: Okay, cool.
William Jones: And this is the the num-pad. And the logo is over here, and the mic.
Erwin Prescott: Okay.
William Jones: And the scrollwheel, no? You
Harry Morris: Means
William Jones: operate that with your pointing finger. So you hold it like this in your right hand and
Erwin Prescott: Mm. So how many functions do you need for for uh the microphone?
John Trinh: Speech recognition.
Erwin Prescott: Yeah, speech recognition. Just
John Trinh: Um
Erwin Prescott: Only one button to say
John Trinh: I
Erwin Prescott: it's
John Trinh: didn't
Erwin Prescott: on
John Trinh: have
Erwin Prescott: or off.
John Trinh: a specification of that. But um
William Jones: Uh
John Trinh: I
William Jones: I dunno.
John Trinh: can imagine that you have to input your voice or something. Um
William Jones: Yeah, maybe maybe
John Trinh: so I've
William Jones: uh you have to configure it.
John Trinh: Yes, you need options to configure it, and after that you don't need 'em anymore.
Erwin Prescott: So you can put it on the back as well if you
John Trinh: Yeah,
Erwin Prescott: want to.
John Trinh: you can
William Jones: Yeah,
John Trinh: put
William Jones: or
John Trinh: 'em all on
William Jones: or
John Trinh: the back.
William Jones: on the slide
John Trinh: That's for sure.
William Jones: function, I don't know.
Erwin Prescott: Okay.
John Trinh: That's
Harry Morris: Okay.
John Trinh: uh
William Jones: Well we haven't had time to design that, the slide
John Trinh: We also
William Jones: pad.
John Trinh: don't know how many buttons are required, or what kind of buttons. But You have a lot of room if you can slide it open.
Erwin Prescott: Yeah, you can
John Trinh: You
Erwin Prescott: put
John Trinh: Yeah
Erwin Prescott: it
John Trinh: I know.
Erwin Prescott: separate.
John Trinh: I can imagine you need at least four buttons or something. So But
William Jones: Yeah.
John Trinh: it's enough room.
William Jones: Um the position? Yeah, you write uh
John Trinh: Uh
William Jones: You wrote
John Trinh: well
William Jones: this, so.
John Trinh: Well the main, the main zap buttons are most central. That was the the most important thing. So uh the best place, the best reach place Um on-off buttons, text buttons, mute buttons are together and at a place they easily are, easy to find. Um the on-off button is a bit bigger, uh so it stands out. That way you don't have to make it red, 'cause it's will uh will show up. Uh scrollwheel is on the left side. It's basically the be standard place for scrollwheel, as
William Jones: Yeah.
John Trinh: far as I know.
William Jones: But it's not uh impossible to use it, if you're left handed. So y
John Trinh: Yeah.
William Jones: Because you can use your thumb then.
Harry Morris: Just just one thing now. Um y you need to have more uh one two th You've got one two three four five six seven eight
John Trinh: Okay
Harry Morris: nine.
John Trinh: yeah, they
Harry Morris: But you missed the no uh the zero
William Jones: Mm
Harry Morris: and
William Jones: yeah.
Harry Morris: uh
John Trinh: Yeah
Harry Morris: the two
John Trinh: okay.
Harry Morris: stripes.
John Trinh: That's that's
William Jones: Yeah,
John Trinh: below
William Jones: okay.
John Trinh: that then. It's uh twelve
William Jones: just
John Trinh: buttons.
William Jones: so you get that.
Harry Morris: Okay, but It's rather important.
John Trinh: Yeah okay,
William Jones: Yeah.
John Trinh: just we just missed that. But um I'll just uh I'll get back to later. F the form well, we've taken that from the iPod, other popular technical device. So um should be popular. Um The f uh the buttons creating? Uh if you That or all round shapes, not uh rounded corners.
Erwin Prescott: Okay.
John Trinh: So that, you know, you get a bit round feeling. Um we'll use hard plastic. Since that allows us to use uh two D_ buttons, uh non-rubber buttons. Colour changeable. Well and um the backlight thing, the thing that lights up. We have decided uh in the the channel buttons, there's a little uh colour around it.
Harry Morris: Okay.
John Trinh: And also in the num-pads, there's also colour light behind it.
Erwin Prescott: And
John Trinh: So
Erwin Prescott: do
John Trinh: when
Erwin Prescott: you
John Trinh: you
Erwin Prescott: still
John Trinh: pre
Erwin Prescott: can, do you still can choose what colour, kind of colour you want?
John Trinh: Yeah.
Erwin Prescott: How do you want to implement that? Just
John Trinh: We're
Erwin Prescott: on the
John Trinh: going
Erwin Prescott: Maybe
John Trinh: to
Erwin Prescott: on
John Trinh: implement.
Erwin Prescott: the second level as well?
John Trinh: Yeah. Mm just a little
Harry Morris: Ah.
William Jones: Yeah, these are just basic functions, so All the non-basic
Erwin Prescott: Okay, just
William Jones: are
Erwin Prescott: draw
William Jones: in
Erwin Prescott: draw the second level, because we need that as well.
William Jones: Okay.
John Trinh: Yeah.
William Jones: Um
Harry Morris: Okay, there is one uh function I use uh daily, and it's not on the basic functions. It's uh to switch to uh uh your Scart. Play Station or uh D_V_D_ player. That
William Jones: Okay,
Harry Morris: function
William Jones: maybe
Harry Morris: must be
William Jones: we use this button for
Harry Morris: Yeah,
William Jones: the
Harry Morris: maybe Or you can uh i uh lay it uh beneath in the uh other
John Trinh: Yeah,
Harry Morris: uh
John Trinh: I um
Erwin Prescott: Yeah, as well.
Harry Morris: functions.
Erwin Prescott: Just make
John Trinh: To
Erwin Prescott: make
John Trinh: your video
Erwin Prescott: a
John Trinh: device.
William Jones: Yeah.
Erwin Prescott: Just just draw a second level one and say all options that are still left or something.
William Jones: A second
John Trinh: Yeah.
William Jones: level?
Erwin Prescott: Yeah.
William Jones: Like a a new blank
Erwin Prescott: No no,
William Jones: one
Erwin Prescott: just
William Jones: or
Erwin Prescott: on
William Jones: Or just
Erwin Prescott: Down
William Jones: here?
Erwin Prescott: there.
John Trinh: Is i Ah okay.
William Jones: Okay.
Erwin Prescott: So uh
William Jones: Yeah.
Harry Morris: And h how does
Erwin Prescott: Just
Harry Morris: the
Erwin Prescott: uh
Harry Morris: second
Erwin Prescott: if you
Harry Morris: level
Erwin Prescott: s
Harry Morris: come out? Uh it slides uh
John Trinh: Um slides
Harry Morris: along?
John Trinh: I think.
Erwin Prescott: Yeah, y
John Trinh: It's
Erwin Prescott: Maybe, yeah.
Harry Morris: From from the uh
Erwin Prescott: For the
John Trinh: You can
Erwin Prescott: bottom.
John Trinh: do
Harry Morris: beneath?
John Trinh: it that it claps open, but I think that's not solid enough.
Erwin Prescott: No,
John Trinh: If that
Erwin Prescott: you
John Trinh: breaks
Erwin Prescott: gotta
John Trinh: then
Erwin Prescott: slide
John Trinh: you're screwed.
Erwin Prescott: it. Yeah, it's right.
John Trinh: So it do doesn't even have to slide all the way open. Um
William Jones: So what do we need?
John Trinh: Uh i the the speech functions buttons.
William Jones: Yeah, just
Harry Morris: Menu?
John Trinh: Menu button. With uh maybe uh arrows. So you can uh scroll in the, navigate the menu. Um
William Jones: God
Harry Morris: Scart?
William Jones: damn it.
John Trinh: I think we can even put a We have one for the zero and one for the
Harry Morris: Uh yeah.
John Trinh: for the more digit uh
Harry Morris: And so y you
John Trinh: channels.
Harry Morris: keep
John Trinh: So
Harry Morris: you keep
John Trinh: you have
Harry Morris: one,
John Trinh: one
Harry Morris: you have
John Trinh: left for
Harry Morris: one
John Trinh: the
Harry Morris: left. Yes.
William Jones: So this is
John Trinh: Right,
William Jones: the
John Trinh: the video channel, Play Station, etcetera. That's used pretty often.
Harry Morris: Yeah.
John Trinh: If you have a Play
Harry Morris: It's
John Trinh: Station,
Harry Morris: a f
John Trinh: mm
Erwin Prescott: Yeah.
John Trinh: you use it every day.
Harry Morris: basic uh
William Jones: Extern or something.
Erwin Prescott: You want to save that file as well? The drawing?
John Trinh: That was
William Jones: So
John Trinh: it.
William Jones: here are multiple speech buttons, I don't know how many.
John Trinh: Uh
Erwin Prescott: Doesn't really matter.
William Jones: I don't
Erwin Prescott: Just
William Jones: know the
John Trinh: It
William Jones: functions.
John Trinh: doesn't
Erwin Prescott: just uh
John Trinh: really matter. That's
William Jones: Okay.
John Trinh: Yeah well we don't
William Jones: What
John Trinh: have
William Jones: else?
John Trinh: any uh Hmm?
William Jones: What else?
John Trinh: What else? Uh menu buttons with
William Jones: Uh menu.
John Trinh: arrows.
Harry Morris: Yeah, to navigate.
William Jones: Uh
John Trinh: S Just uh
William Jones: With arrows.
John Trinh: like Um I think it's best if we do. Mm where do we have Or there.
William Jones: Like a normal um
John Trinh: Like on the normal uh Like this.
William Jones: Yeah, with in the middle um a menu
John Trinh: The menu
William Jones: button.
John Trinh: button, yes.
William Jones: Okay.
John Trinh: Well we don't have any, anything on how many buttons speech requires. So you can't redesign it.
Harry Morris: Mm okay.
Erwin Prescott: Yeah.
Harry Morris: Maybe one button to switch the colour of your uh LEDs?
Erwin Prescott: Yeah.
John Trinh: Yep.
Harry Morris: Uh and and you can hold it, you can hold it, and then the colours switch or
Erwin Prescott: Yeah.
Harry Morris: mm multiple
John Trinh: Just press it once,
Harry Morris: multiple
John Trinh: the
Harry Morris: buttons.
John Trinh: colour should uh switch. Press again, the colour switch again maybe?
Harry Morris: okay.
Erwin Prescott: Or we just make it three buttons, all the colours on it. Just red, yel
Harry Morris: Okay,
Erwin Prescott: uh red,
Harry Morris: yeah.
Erwin Prescott: green
Harry Morris: Th
Erwin Prescott: and
Harry Morris: Yeah. If
William Jones: Yeah,
Harry Morris: we have
William Jones: okay.
Harry Morris: enough place, uh
Erwin Prescott: That's
Harry Morris: then we
Erwin Prescott: that's
Harry Morris: can do
Erwin Prescott: very
Harry Morris: that.
Erwin Prescott: easy, yeah.
William Jones: We can put those here.
Harry Morris: Colour buttons. And then we choose green, uh blue and red or
Erwin Prescott: Yeah.
Harry Morris: Okay.
John Trinh: Yep.
Erwin Prescott: Okay.
Harry Morris: Okay. That's uh Um
William Jones: So did we miss anything?
John Trinh: Yeah,
Harry Morris: It
John Trinh: maybe some uh some text
Harry Morris: Some text
John Trinh: next to
Harry Morris: uh
John Trinh: the
Harry Morris: buttons.
John Trinh: scroll wheel, that it is volume.
William Jones: Okay.
Erwin Prescott: Yeah.
Harry Morris: Yeah, but
John Trinh: I
Erwin Prescott: No,
John Trinh: just
Erwin Prescott: ma
John Trinh: uh The
Erwin Prescott: on
John Trinh: volume
Erwin Prescott: on
John Trinh: logo.
Harry Morris: there's
Erwin Prescott: o
Harry Morris: one
Erwin Prescott: on the
Harry Morris: there's
Erwin Prescott: on
Harry Morris: one
Erwin Prescott: the
Harry Morris: text
William Jones: Oh
Harry Morris: button
William Jones: wh
Harry Morris: I
William Jones: Here?
Erwin Prescott: Yeah.
John Trinh: Yeah.
William Jones: Okay.
Erwin Prescott: Just make it
Harry Morris: There's
William Jones: Yeah,
Harry Morris: one
William Jones: or
Harry Morris: text
William Jones: th or
Harry Morris: button
William Jones: the
Harry Morris: I prefer. That's the one uh that you use if you search for a page, uh like seven hundred, uh and it's counting from one hundred to two hundred, you will switch to your television and back to
John Trinh: Yeah,
Harry Morris: text.
John Trinh: we
William Jones: Yeah.
John Trinh: have that on the
Harry Morris: Do you do you
John Trinh: the
Harry Morris: Did
John Trinh: text
William Jones: Yep.
Harry Morris: you
John Trinh: button.
Harry Morris: think of that?
William Jones: Yeah, but then you can switch back to normal telete teletext. You just
John Trinh: Uh
William Jones: switch it off and then
John Trinh: why
Erwin Prescott: Yeah,
John Trinh: not?
Erwin Prescott: just put it on those extra f extra function
Harry Morris: Ex
Erwin Prescott: as
Harry Morris: Yeah.
Erwin Prescott: well.
Harry Morris: Yeah.
John Trinh: No
William Jones: Well w
John Trinh: Whoa
William Jones: we thought of a text button. And if you press it again, you get the the the
John Trinh: I
Harry Morris: The
John Trinh: think
Harry Morris: sta the state
Erwin Prescott: Oh
John Trinh: um
Erwin Prescott: just
Harry Morris: you
Erwin Prescott: three stages,
William Jones: through view.
Erwin Prescott: you
Harry Morris: Yeah.
John Trinh: Yeah,
Erwin Prescott: Yeah,
William Jones: Yeah,
Erwin Prescott: that's
William Jones: b
John Trinh: the three
William Jones: but
Erwin Prescott: okay.
John Trinh: stages.
William Jones: but
John Trinh: Yes.
William Jones: if you're in the second stage, the third stage is switch teletext off. So you can switch back
John Trinh: No,
William Jones: from
John Trinh: it doesn't
William Jones: second
John Trinh: have
William Jones: to
John Trinh: to
William Jones: w
John Trinh: turn
William Jones: first.
John Trinh: it off.
Harry Morris: No.
John Trinh: Just don't
Harry Morris: Just remember where it was. It
John Trinh: Yeah.
Harry Morris: it doesn't uh uh clear the the page. If you if you turn teletext
Erwin Prescott: Yes,
Harry Morris: on,
Erwin Prescott: that's to remember.
Harry Morris: you you set the seven hundred, and you turn it off, then the next time you turn it on, it still stays on
William Jones: Okay,
Harry Morris: seven hundred?
William Jones: okay.
Erwin Prescott: Yeah, but that's
Harry Morris: But
Erwin Prescott: that's
Harry Morris: maybe
Erwin Prescott: uh
Harry Morris: it's not the way
John Trinh: I dunno if
Erwin Prescott: That's a functionality for the television.
John Trinh: Yeah, I think as well, but Uh yeah.
Harry Morris: Mm. That's maybe one
William Jones: Yeah mm nee
Harry Morris: thing we can
William Jones: uh
Harry Morris: discuss about.
William Jones: No, if i uh the remote can send like the the code for seven hundred, page seven hundred to the television.
John Trinh: Yeah,
William Jones: Th th
John Trinh: in thi the
William Jones: th if
John Trinh: the
Erwin Prescott: Okay.
William Jones: you switch it
John Trinh: remote
William Jones: on.
John Trinh: control in the
Erwin Prescott: Yeah, but
William Jones: Th
Erwin Prescott: you have
William Jones: i
Erwin Prescott: to
John Trinh: the
Erwin Prescott: search
John Trinh: chip.
Erwin Prescott: every time again. That's what what happening if you do it like that.
John Trinh: Yeah,
Erwin Prescott: But
John Trinh: that's true.
Erwin Prescott: it's still
William Jones: Yeah,
Erwin Prescott: the
William Jones: I dunno.
Erwin Prescott: television that has
William Jones: Okay.
Erwin Prescott: to do that.
John Trinh: So yeah. Um do we need to fix that or
Harry Morris: Mm
Erwin Prescott: No, that's what the television
Harry Morris: most new
Erwin Prescott: does.
Harry Morris: T_V_s do uh collect all the pages.
William Jones: Yeah, those memory
Harry Morris: But
William Jones: functions.
Harry Morris: uh not not every every television, so
William Jones: Yeah.
Erwin Prescott: Okay,
William Jones: Was
Erwin Prescott: it's
William Jones: uh
Erwin Prescott: cool.
William Jones: this logo for uh volume?
Erwin Prescott: Yeah, that's fine.
William Jones: Okay. So that's it?
Erwin Prescott: Is this prich pretty much it, yeah?
Harry Morris: Yeah, I I thought about one thing. Uh the buttons? Uh from which material are they now?
William Jones: Mm.
John Trinh: Just
William Jones: No no
John Trinh: like your telephone, hard plastic.
William Jones: Yeah. Just hard plastic.
Harry Morris: Okay.
William Jones: So
Harry Morris: Because
Erwin Prescott: It's too expensive
Harry Morris: um
Erwin Prescott: to make it from a different material
Harry Morris: if you
Erwin Prescott: anyway.
Harry Morris: use it a couple of years, some uh sometimes the numbers on the on the buttons are slide away, are uh And maybe we can write the numbers below or above? Or shall we just turn it on on the buttons?
John Trinh: I think
William Jones: Uh
John Trinh: just
William Jones: I
John Trinh: on
William Jones: think
John Trinh: the buttons.
William Jones: just um
Harry Morris: Well yeah. That's too much place.
William Jones: Yeah,
Harry Morris: Okay,
John Trinh: I
William Jones: but
John Trinh: don't
Harry Morris: just leave
John Trinh: think
Harry Morris: it. Just
John Trinh: the space
Harry Morris: leave it.
John Trinh: is worth it.
Harry Morris: Yeah,
William Jones: I think
Harry Morris: and
William Jones: uh
Harry Morris: i
William Jones: you have
Harry Morris: The most
William Jones: that problem
Harry Morris: time
William Jones: more often with rubber buttons.
Harry Morris: Yeah, with rubber buttons. Yeah, okay. Okay. Fine.
Erwin Prescott: Yeah? Okay, cool.
Erwin Prescott: Mm mm mm mm mm. Yeah, I don't know what this means. But I think we just evela evaluated this one.
Harry Morris: Yeah, I made some criteria uh,
Erwin Prescott: Oh okay, you
Harry Morris: so
Erwin Prescott: made some
Harry Morris: we
Erwin Prescott: criteria.
Harry Morris: can uh
Erwin Prescott: Okay,
Harry Morris: ev
Erwin Prescott: cool.
Harry Morris: evaluate our model.
Erwin Prescott: Okay.
Harry Morris: I d d d I don't think if it's right. That shall show it.
Erwin Prescott: You have some usability criteria or
Harry Morris: Mm-hmm.
Erwin Prescott: Okay.
Harry Morris: Uh no, uh all criterias we just argue about. Uh Oh.
William Jones: In the bottom.
Harry Morris: Yeah.
Erwin Prescott: Look-and-feel?
Harry Morris: Evaluation
William Jones: No,
Harry Morris: crit
William Jones: evaluation is
Harry Morris: Yeah, evaluation presentation. It's not in. Uh d it doesn't matter um It only had two pages or something. Um well I looked in the reports um from the marketing strategy, or uh of uh the the the the the the new needs and uh the market. The Italians uh, how they think about it. And The research uh about uh the the comp uh the the the users and that kind of stuff. I made some criteria, and we have to test the criteria from one to zero. We sh we we we can give it uh a number, and then we can give ourself an average for our
Erwin Prescott: Okay.
Harry Morris: um model. And
Erwin Prescott: Okay.
Harry Morris: this These are all I I I found, or I wrote down. And um we have to discuss about, if we give it a one or a seven. Uh
Erwin Prescott: Uh I think uh if you have a kind of iPod idea. It quite beautiful. It's
Harry Morris: Yes.
John Trinh: Mm.
Erwin Prescott: We are
Harry Morris: Yeah,
Erwin Prescott: actu
Harry Morris: the the
Erwin Prescott: We
Harry Morris: the difference
Erwin Prescott: are the
Harry Morris: be between uh beautiful and fancy uh look-and-feel is uh the the the outside uh beautiful uh like the iPod or something. And fancy's more like the
Erwin Prescott: Flashy.
Harry Morris: mm uh f the flashing lights and the colours and and that kind of stuff.
John Trinh: Okay. Well
Harry Morris: The LEDs.
John Trinh: I think we do If it's really uh, if you can if you can get the iPod look, then it's beautiful, I think.
Harry Morris: Yes. And
Erwin Prescott: But
William Jones: Yeah
Erwin Prescott: uh
Harry Morris: and what
William Jones: beautiful's
Harry Morris: ki what kind of
William Jones: is
Harry Morris: what
William Jones: also
Harry Morris: kind of basic
William Jones: a matter of
Harry Morris: colours
William Jones: taste.
Harry Morris: uh were you thought uh of?
John Trinh: Hmm?
Harry Morris: The basic colours are black or green or yellow? Or you
John Trinh: Um
Harry Morris: haven't
John Trinh: basic
Harry Morris: thought about
John Trinh: colours, um yeah. Well you didn't
Harry Morris: Ho
John Trinh: say.
Harry Morris: how do we make uh
John Trinh: Maybe um company colours?
Erwin Prescott: It's black.
Harry Morris: Black
John Trinh: Black.
Harry Morris: and yellow.
Erwin Prescott: Yeah,
John Trinh: A bit
Harry Morris: Can
Erwin Prescott: yellow
John Trinh: a bit
Erwin Prescott: light.
John Trinh: of yellow.
Erwin Prescott: Do we have yellow light? No, not really, but
John Trinh: Not
Erwin Prescott: it's possible.
John Trinh: not not yellow,
Erwin Prescott: It's
John Trinh: but just a bit of light yellow.
Harry Morris: Black white, maybe?
John Trinh: Like white, also ni or uh always
William Jones: And
John Trinh: nice.
William Jones: what colours
Harry Morris: Uh
William Jones: should the buttons be?
Harry Morris: Because um
Erwin Prescott: Yeah, different colours. This is
John Trinh: Just um
Erwin Prescott: Oh, the same as th th the cover. But also th the
William Jones: But
Erwin Prescott: light behind
William Jones: can
John Trinh: Yes.
William Jones: you change
Erwin Prescott: it.
William Jones: those too, with uh
Erwin Prescott: No,
William Jones: the switch?
Erwin Prescott: no. Make them No, just make them black or grey or something.
John Trinh: Yeah, grey. Just dark grey I think.
William Jones: Okay.
Erwin Prescott: Yeah.
Harry Morris: Okay, so what uh number do we give uh a beautiful? Beautiful is uh really subjective, uh because it has to do lots with the colours.
John Trinh: Well we have changeable fronts, so
Harry Morris: Changeable fronts, so ev for everyone for
John Trinh: So
Harry Morris: everyone it's something beautiful.
Erwin Prescott: Yeah, just
John Trinh: Yeah.
Erwin Prescott: give it a one. It's okay. It's perfect. I think it's just what you want. Or not?
John Trinh: It's hard to decide for us, but
William Jones: Yeah.
John Trinh: yeah.
William Jones: It's ju
John Trinh: It
William Jones: so
John Trinh: it's
William Jones: subjective.
John Trinh: At least it's a lot better than uh current remote controls.
Harry Morris: Yeah.
Erwin Prescott: Okay, just give it a two.
Harry Morris: A two. Okay. The fancy look-and-feel. That's about our uh flashing lights and the background uh lights uh from from from the buttons.
John Trinh: Yeah.
Harry Morris: Okay. uh really fancy I think.
Erwin Prescott: Yeah.
William Jones: One
Harry Morris: So
William Jones: more thing. Are w are we changing uh Or are they there uh backlights on the slide panel too? Or n no back light?
Harry Morris: Slide panel?
William Jones: Yeah?
John Trinh: Mm.
Erwin Prescott: No.
John Trinh: Not
Erwin Prescott: No,
John Trinh: needed.
Erwin Prescott: it's only on the number, behind the numbers
John Trinh: Yeah, not
Erwin Prescott: and
John Trinh: needed
Erwin Prescott: uh
John Trinh: I
William Jones: And
John Trinh: think.
William Jones: and the switch channel is uh
Harry Morris: Oh,
William Jones: There is
Erwin Prescott: That
William Jones: a back
Erwin Prescott: as
William Jones: light
Erwin Prescott: well,
William Jones: too?
Harry Morris: you mean th
Erwin Prescott: yeah.
John Trinh: Yeah.
Harry Morris: this here?
William Jones: Yeah.
Erwin Prescott: Yeah, but that's unnecessary.
John Trinh: What do I think is necessary necessary
Harry Morris: It's
John Trinh: item?
Harry Morris: pretty cool. If you slide it open, it lights up. That's that's really
Erwin Prescott: Yeah.
Harry Morris: fancy, but I don't know if it's reachable.
John Trinh: Of course it's reachable.
Erwin Prescott: It doesn't
Harry Morris: Then
Erwin Prescott: make
Harry Morris: we do it.
William Jones: Hmm.
John Trinh: Okay, maybe just some light uh to to light it all up. So you can see what's really there. Not just not re on the buttons
Erwin Prescott: No.
John Trinh: or something.
Erwin Prescott: Yeah.
John Trinh: Just a green light or some blue light. To
Harry Morris: Yeah,
John Trinh: light it all up.
Erwin Prescott: But
Harry Morris: but
Erwin Prescott: Yeah. Mayb
William Jones: Yeah,
Erwin Prescott: Okay.
William Jones: just backlight. Not not the buttons. And
John Trinh: Yeah.
William Jones: th and the the normal backlights also not the buttons, but behind the buttons. So the buttons are just grey.
Harry Morris: Okay.
John Trinh: Well yeah. Uh semi-transparent.
Erwin Prescott: Yeah, just
William Jones: Okay.
Erwin Prescott: only Yeah, that's right.
Harry Morris: Okay, fine.
Erwin Prescott: So
Harry Morris: So I I think it's very fancy.
Erwin Prescott: Yeah, that's
Harry Morris: So I'll
Erwin Prescott: how
John Trinh: Yeah,
Erwin Prescott: I
Harry Morris: give
Erwin Prescott: think.
Harry Morris: it a
John Trinh: w we've done a a lot of detail in light, so
Harry Morris: Yeah, and you can
Erwin Prescott: Ye
Harry Morris: uh also choose your light, so
Erwin Prescott: Yeah, this
John Trinh: Yeah.
Erwin Prescott: It is a one. It's okay.
Harry Morris: I think
Erwin Prescott: It's cool.
Harry Morris: it's one. Okay, next.
Erwin Prescott: This is a difficult one, because
Harry Morris: Learnable?
Erwin Prescott: we we
Harry Morris: Easy
Erwin Prescott: don't
Harry Morris: to use?
Erwin Prescott: Yeah, we don't know it about the
Harry Morris: Yeah, we shall test it But uh
Erwin Prescott: Uh it's it's very easy to use, but
John Trinh: Yeah.
Erwin Prescott: uh the second layer is not easy to use. It's That's
William Jones: No, but you
Harry Morris: Yeah.
William Jones: don't have to use that. And you on don't have to pay attention to that second layer. That's
Erwin Prescott: No.
William Jones: th that's the main thing that's so good
John Trinh: So
William Jones: about
John Trinh: I think
William Jones: it.
John Trinh: it's easy to use, but And learnable
Harry Morris: Learnable?
John Trinh: is a bit
Harry Morris: It's not not as fast as a usual uh uh remote control.
William Jones: Well,
Harry Morris: Because
William Jones: I think it
John Trinh: Well
William Jones: is.
Harry Morris: because I
John Trinh: y
Harry Morris: think
John Trinh: just
Harry Morris: I think
John Trinh: uh
Harry Morris: the scroll
John Trinh: f
Harry Morris: wheel, uh it's very handy, but the first time you get this thing in your hands, it's not to use the scroll wheel. I think uh you must uh seek for it, and up or down or Uh
Erwin Prescott: But
Harry Morris: then
Erwin Prescott: the rest of it is very
Harry Morris: the
Erwin Prescott: easy,
Harry Morris: re
Erwin Prescott: because there are so so
John Trinh: Yeah,
Erwin Prescott: n
John Trinh: I think it's very clear
William Jones: So
John Trinh: what it
William Jones: so
John Trinh: all does.
William Jones: few information that you can
John Trinh: Yes.
William Jones: easily decide
Harry Morris: Yeah.
William Jones: what buttons w for what function.
Harry Morris: Okay.
John Trinh: But the second parts, uh like speech, etcetera, that will be harder to learn.
Erwin Prescott: So
Harry Morris: Okay.
Erwin Prescott: it is learnable um f i
Harry Morris: But
Erwin Prescott: i In the first place
John Trinh: It's
Erwin Prescott: it's very easy to use. And
John Trinh: Yeah
Erwin Prescott: I think
John Trinh: it's
Erwin Prescott: its scrollwheel is u easy to use as well, if you have ever used uh a different kind of uh
Harry Morris: Yeah.
Erwin Prescott: of
Harry Morris: But
John Trinh: Device.
Erwin Prescott: uh
Harry Morris: we we've got the
Erwin Prescott: device.
Harry Morris: two so two uh two or three uh new things, huh? And maybe we uh maybe learnable is in uh compare of old fashion uh remote controls. So we h we have speech, uh the scroll wheel, and um the the the slide. You must slide it. And that's not normal at the uh normal remote controls. 'Cause
Erwin Prescott: But
Harry Morris: I
Erwin Prescott: yeah.
Harry Morris: think learnable is a l a less than um easy to use. Because
John Trinh: Okay.
Harry Morris: easy to use comes after
Erwin Prescott: Okay,
Harry Morris: learnable.
Erwin Prescott: just Easy
Harry Morris: I I
Erwin Prescott: to use
Harry Morris: think
Erwin Prescott: is
Harry Morris: it
Erwin Prescott: very
Harry Morris: a three
Erwin Prescott: cool
Harry Morris: or
Erwin Prescott: so,
Harry Morris: something.
Erwin Prescott: just give it a two.
John Trinh: Maybe three then. Learnable's
Erwin Prescott: No,
William Jones: Mm
Erwin Prescott: but definitely
William Jones: uh.
Erwin Prescott: better, much better than uh than uh
William Jones: The normal.
Erwin Prescott: than avera
John Trinh: Yeah okay.
Erwin Prescott: average, yeah.
John Trinh: Yeah.
William Jones: And the one you showed is just all buttons and you don't know
John Trinh: Yep, true. Then a two.
Harry Morris: Oh.
William Jones: Yeah.
Harry Morris: Okay.
Erwin Prescott: Okay.
Harry Morris: New features. Techno technological innovative?
William Jones: The speech function and
Harry Morris: The
William Jones: the colour.
Harry Morris: speech function
John Trinh: And
Harry Morris: is
John Trinh: the
William Jones: Colour.
John Trinh: scrollwheel,
Harry Morris: new. The scrollwheel
John Trinh: backlights,
Harry Morris: and the slide. Uh
John Trinh: slide.
Harry Morris: I think the slide
Erwin Prescott: Slide
Harry Morris: is
Erwin Prescott: is
Harry Morris: pretty
Erwin Prescott: not n
Harry Morris: new.
Erwin Prescott: is is not new. No. I
Harry Morris: Uh
Erwin Prescott: already
Harry Morris: I only
Erwin Prescott: have
Harry Morris: saw
Erwin Prescott: a
Harry Morris: it in a telephone, not in an
Erwin Prescott: Uh I
Harry Morris: remote
Erwin Prescott: already
Harry Morris: control.
Erwin Prescott: have a V_C_R_ and it's about from
Harry Morris: Okay.
Erwin Prescott: nineteen eighty eight. And they all have a slide in it. So
John Trinh: But also slide
Erwin Prescott: that's not
John Trinh: that
Erwin Prescott: new.
John Trinh: buttons come out, as
Erwin Prescott: Yeah.
John Trinh: well? Okay.
Harry Morris: Okay, and the the the lightning?
Erwin Prescott: That's cool.
Harry Morris: Is that new?
Erwin Prescott: Yeah for a
Harry Morris: The lighting's
Erwin Prescott: Uh for
Harry Morris: new.
Erwin Prescott: a
William Jones: Mm
Erwin Prescott: f
John Trinh: Yes.
William Jones: it's
Harry Morris: Scrollwheel.
William Jones: pretty new, I think.
Harry Morris: Speech?
William Jones: Speech is new.
John Trinh: Different colours, so
Harry Morris: Yeah, different fronts for a remote control, I think that's new too.
William Jones: Yeah.
John Trinh: Yeah.
Harry Morris: So we have a pretty new uh
Erwin Prescott: There are no
John Trinh: That
Erwin Prescott: games
John Trinh: would And
Erwin Prescott: on
John Trinh: we
Erwin Prescott: it,
John Trinh: didn't
Erwin Prescott: that's that's
John Trinh: uh
Erwin Prescott: It's not a one, it's a two
Harry Morris: It's
Erwin Prescott: again.
Harry Morris: it's
Erwin Prescott: But
Harry Morris: it's not not L_C_D_
John Trinh: But
Harry Morris: or
John Trinh: then
Harry Morris: something.
John Trinh: we also have
Erwin Prescott: If
John Trinh: the
Erwin Prescott: you have
John Trinh: the home station. We are forgetting about that now, but
Erwin Prescott: Yeah.
Harry Morris: Uh-oh.
Erwin Prescott: Oh yeah, that's right.
Harry Morris: Home-station.
Erwin Prescott: Rechargeable.
John Trinh: We don't
William Jones: Yeah,
John Trinh: recharge.
William Jones: we didn't draw that too, but
John Trinh: But that's more like uh now.
Erwin Prescott: Yeah, just draw it afterwards.
William Jones: Yeah, that's just a normal th s simple
John Trinh: I don't
William Jones: thing.
John Trinh: know.
Erwin Prescott: If you Can you save it on the same, in the same map as the other ones? In the the
John Trinh: Uh
Erwin Prescott: project uh map?
John Trinh: Just save, save
Erwin Prescott: Yeah.
John Trinh: as?
Erwin Prescott: Mm-hmm. Uh save as? No, that's not in the project.
William Jones: Well it's a already in the folder. L like number seven.
Erwin Prescott: Oh yeah, okay.
Harry Morris: Yeah.
Erwin Prescott: Smart
John Trinh: Okay.
Erwin Prescott: board. Yeah, but this one. This one is not yet in the Oh oh.
William Jones: I think it is.
John Trinh: Yeah, it
William Jones: No,
John Trinh: is.
William Jones: I think it is.
John Trinh: Uh untitled? Yeah, it doesn't matter. Save.
William Jones: Okay.
Harry Morris: Uh
Erwin Prescott: But
Harry Morris: all
Erwin Prescott: you still have to draw the resi
Harry Morris: the
Erwin Prescott: the
Harry Morris: the seven,
Erwin Prescott: recharger.
Harry Morris: uh all the
Erwin Prescott: Okay.
Harry Morris: seven.
Erwin Prescott: And new features, so we give it a two or also again a one? No, I think i if you have games on it, then then you give you have a one.
Harry Morris: No, we
Erwin Prescott: But
Harry Morris: are
Erwin Prescott: not
Harry Morris: not extraordinary new or something.
Erwin Prescott: No,
Harry Morris: Tha
Erwin Prescott: just
Harry Morris: tha
William Jones: Mm
Erwin Prescott: so
John Trinh: N
Erwin Prescott: it's still
Harry Morris: that
Erwin Prescott: a two.
William Jones: two, I think.
Erwin Prescott: Targeted audience. Uh we are the targeted audience? Do we like
Harry Morris: No,
Erwin Prescott: it?
Harry Morris: we we we searched for uh um a young group, audience,
Erwin Prescott: Yeah, but
Harry Morris: beneath
Erwin Prescott: l younger
Harry Morris: f forty.
Erwin Prescott: than forty.
Harry Morris: Yes.
Erwin Prescott: So we we are exactly the targeted group.
Harry Morris: Yeah, but did we reach, um with our uh style, the targeted audience? Th that's
Erwin Prescott: I
Harry Morris: my
Erwin Prescott: think
Harry Morris: question.
Erwin Prescott: so, yeah. You get the fancy things for younger people. And
William Jones: Yeah.
Erwin Prescott: you get the the aesthetic things for older people. So you want
William Jones: and that's what attracts the
Harry Morris: Yeah.
William Jones: young audience. So
Harry Morris: Yeah. Um
William Jones: think that's
Harry Morris: the
William Jones: a
Harry Morris: only
William Jones: two
Harry Morris: point
William Jones: or
Harry Morris: is
William Jones: a
Harry Morris: that
William Jones: one.
Harry Morris: we don't uh have uh uh That's that's That's this question.
William Jones: Yeah, but s it That's basically not not handy. And I don't thi I don't see
Harry Morris: Yeah, this. So
William Jones: Yeah.
Harry Morris: we targeted it? But we
William Jones: Yeah.
Harry Morris: didn't follow the latest trends.
William Jones: No. Yeah, you could
John Trinh: Mm.
William Jones: make a
John Trinh: I
William Jones: a
John Trinh: think
William Jones: front
John Trinh: we followed the latest trends.
William Jones: a front
Harry Morris: Tha these
William Jones: that's
Harry Morris: are
William Jones: that's
Harry Morris: the only
William Jones: like
Harry Morris: latest
William Jones: uh
Harry Morris: uh
William Jones: like
Harry Morris: trends
William Jones: a banana,
Harry Morris: I uh
William Jones: or something.
John Trinh: Oh right.
Harry Morris: get on my computer.
John Trinh: Well uh fruit and vegetables, yeah.
Erwin Prescott: Yeah, you get different
John Trinh: You
Erwin Prescott: colours.
John Trinh: can different front uh
Harry Morris: Uh yeah, th So we had
Erwin Prescott: So
Harry Morris: we uh have
William Jones: Like
Harry Morris: uh
William Jones: a a
Harry Morris: a fruit
William Jones: f
Harry Morris: uh
William Jones: banana kind of
Harry Morris: Oh yeah.
William Jones: front.
Harry Morris: But spongy will never be.
William Jones: No.
Harry Morris: So we give ourself a three or something.
William Jones: Yeah.
Erwin Prescott: Oh.
Harry Morris: Okay.
Erwin Prescott: So that's eleven.
Harry Morris: That's uh What's the average?
William Jones: Eleven divided
Erwin Prescott: It's
William Jones: by six.
Erwin Prescott: Yeah, it is one point eight three.
Harry Morris: A perfect score. No, I don't know.
William Jones: We're not too hard on ourselves.
John Trinh: This is a a power indicator.
William Jones: Okay.
John Trinh: So you can see how far it's charged up.
Harry Morris: And and
William Jones: Okay.
Harry Morris: you need n uh a button to call it, to let it beep.
John Trinh: To call. Um
Erwin Prescott: Oh
Harry Morris: Call
Erwin Prescott: yeah, that's still
William Jones: Yeah, but uh we have to make a speaker then too. If you want to make it beep.
Erwin Prescott: Yeah, maybe
John Trinh: Okay.
Erwin Prescott: we have to skip that one.
Harry Morris: That's
John Trinh: No
Harry Morris: Yeah,
John Trinh: no,
Harry Morris: but
John Trinh: I
Harry Morris: it
John Trinh: want that in.
William Jones: But we can we can do it uh underneath
Harry Morris: No, we
William Jones: the logo.
Harry Morris: need that. That's usable.
William Jones: If you do uh
Harry Morris: That's really
Erwin Prescott: Okay.
Harry Morris: usable.
John Trinh: Yeah, th the speaker is very small as well, right?
William Jones: Yeah, okay.
Harry Morris: It's uh
Erwin Prescott: So
John Trinh: Yes uh.
Erwin Prescott: I just got a financial um You s saved it
Harry Morris: Yeah.
Erwin Prescott: or
Harry Morris: I did save it.
Erwin Prescott: No. Okay, let's have a look at this one here, the production cost of it. If I forgot anything, just say it to Harry Morris. It just is a battery. Yeah, there are some that they didn't mention, because recharge is not on the list. But okay. So I think we are pretty much in the right direction, because it's twelve point three Euros.
William Jones: Mm okay. But uh
Harry Morris: That's
William Jones: is uh
Harry Morris: fine.
William Jones: uh
Erwin Prescott: So this is a regular chip incl and and a sample speaker.
William Jones: Okay.
Erwin Prescott: So that's both.
Harry Morris: Come on, it's perfect. Uh twelve point three point
Erwin Prescott: Yeah,
Harry Morris: three.
Erwin Prescott: and single curved
William Jones: But
Erwin Prescott: curved.
William Jones: but is it inc Does it include a a homestation or
Erwin Prescott: No, that's not on the list. But that shouldn't
William Jones: Can we
Erwin Prescott: be.
William Jones: make that for uh h twenty cents?
John Trinh: Yeah, we can uh
Erwin Prescott: Probably. I just The b the button supplements, I didn't I d I was wondering if this special colour maybe was
John Trinh: Um
Erwin Prescott: I'm not sure.
John Trinh: different fronts, but standard front won't be, yeah.
Erwin Prescott: See it's I think
Harry Morris: Special
Erwin Prescott: it's okay
Harry Morris: form,
Erwin Prescott: like this.
Harry Morris: yeah.
Erwin Prescott: It's hard to say. But maybe we have to um Yeah, okay. Special colour, you can skip this one, because it's all quite normal.
John Trinh: Yeah.
Erwin Prescott: We get different ones, that's all. So you can put a recharger in it as well. But this is expensive, the sample speaker.
William Jones: Yeah.
John Trinh: This?
Erwin Prescott: Yeah.
William Jones: Yeah, it's four.
Harry Morris: Four. It's four Euros.
John Trinh: Oh, them. Is that uh included?
Harry Morris: Yeah.
John Trinh: In the twelve Euro
Harry Morris: So
John Trinh: or
Harry Morris: we
Erwin Prescott: Yeah,
Harry Morris: are
Erwin Prescott: that's included.
William Jones: It's kind of
John Trinh: Okay,
William Jones: weird
John Trinh: then
William Jones: that we
John Trinh: we then we need to use
William Jones: we
John Trinh: it.
William Jones: get this information now, afterwards. Because
Erwin Prescott: Yeah, no.
John Trinh: Yeah.
Erwin Prescott: Okay, so this is uh pretty much it this.
John Trinh: Damn, solar cells are uh expensive.
Erwin Prescott: So I just want you Yeah, we just made it. So we can do the project evalu evaluation now for uh for everything together.
Harry Morris: Okay.
Erwin Prescott: Okay. We can do some discussion about this. Was there room for creativity?
William Jones: Sure.
Harry Morris: Yes.
John Trinh: Okay.
Erwin Prescott: Paul,
William Jones: Beautiful.
Erwin Prescott: was there room for crea creativity?
John Trinh: Mm uh i Yeah, I think so. I think uh everyone uh already. So
William Jones: Yeah m If we got a high mark for um uh innovativeness or innovativity
Erwin Prescott: Yeah.
Harry Morris: Or a different
William Jones: then
Harry Morris: style.
William Jones: there
John Trinh: I think
William Jones: we
John Trinh: we
William Jones: probably
John Trinh: uh discussed
William Jones: have been
John Trinh: a lot
William Jones: creative.
John Trinh: of things about it. So
William Jones: Yeah.
Harry Morris: Yeah. We could make a lot of different uh remote controls.
Erwin Prescott: Yeah.
Harry Morris: So it's creativity.
William Jones: Huh.
Erwin Prescott: Okay, so the leadership Was there a leadership and
John Trinh: Of course there was.
Erwin Prescott: Okay. What do you have to say about that?
William Jones: No,
Harry Morris: Who was the leader?
William Jones: I think Yeah.
Erwin Prescott: I dunno.
William Jones: Just normal discussion, I think. Not
John Trinh: Yeah.
William Jones: one leader or something.
John Trinh: One leader to check the time, etcetera.
William Jones: Yeah. And make notes.
Erwin Prescott: Yeah, I know.
John Trinh: So more like a secretary.
William Jones: Yeah.
Erwin Prescott: Okay, next one. Uh team work um The the third meeting I think that one was pretty hard. We were not all We were not um
Harry Morris: Yeah
Erwin Prescott: agree with every
Harry Morris: yeah.
Erwin Prescott: not
Harry Morris: We
Erwin Prescott: agree
Harry Morris: were not
Erwin Prescott: with.
William Jones: Yeah,
Harry Morris: finished.
William Jones: w we
Erwin Prescott: We're
William Jones: had
Erwin Prescott: not finished.
William Jones: so much information,
Harry Morris: Uh.
William Jones: that we get through email and just
John Trinh: Uh I think we we got wrong information at the wrong time. I think that was the m biggest problem.
William Jones: Yeah.
Erwin Prescott: Yeah.
John Trinh: Like uh the prices. If we knew that before, we could have uh
William Jones: Yeah, th
John Trinh: had
William Jones: that's
John Trinh: discussion
William Jones: weird.
John Trinh: really uh s really quicker.
Harry Morris: Yeah, because the prices uh could be twenty Euros or something
John Trinh: Yeah,
Harry Morris: now.
John Trinh: and if
Harry Morris: And
John Trinh: you
Harry Morris: then
John Trinh: had uh fifteen Euros, then we would it. We had
William Jones: Hmm
John Trinh: to
William Jones: hmm yeah.
Harry Morris: Yeah.
Erwin Prescott: Yeah, finance.
William Jones: So we're bacal basically just lucky to uh
John Trinh: Yeah.
William Jones: get the price right.
Erwin Prescott: But the teamwork was okay.
Harry Morris: Yeah, uh everybody could speak their uh opinion. And uh
John Trinh: I think uh everyone listen to each other.
William Jones: Yeah.
John Trinh: Like marketing said things and then we had to i include them in the design.
Erwin Prescott: Yeah. 'Kay. Yeah, what I have to say about uh means. The smart board is okay. Digital pen is horrible. I dunno if you use it. But if you want to download it to your computer, it's
Harry Morris: Yeah.
John Trinh: It
Erwin Prescott: doesn't
John Trinh: was
Erwin Prescott: work.
John Trinh: Just doesn't work.
Erwin Prescott: No.
John Trinh: Well uh
Harry Morris: Digital pen or
John Trinh: smart board would be very uh
William Jones: Yeah.
John Trinh: nice to work with, if it worked really well.
William Jones: Yeah, i
John Trinh: Just
William Jones: if
John Trinh: not
William Jones: if
Harry Morris: Yeah,
John Trinh: work
William Jones: it would
John Trinh: too slow.
William Jones: be faster,
Harry Morris: the drawings
John Trinh: Yeah,
William Jones: it would be
Harry Morris: are
John Trinh: more accurate.
William Jones: great.
Harry Morris: are hard to make, I think.
John Trinh: Yeah, it's i It should be more accurate.
Harry Morris: Precise.
William Jones: Yeah.
John Trinh: And uh I think it would be great if you could edit it from, just with a mouse, from where you're sitting.
Erwin Prescott: Yeah.
John Trinh: Not just pointing
Erwin Prescott: It's
John Trinh: out
Erwin Prescott: the same
John Trinh: on it.
Erwin Prescott: for the presenta for the presentations. You can do it from here. That's much easier than standing there.
John Trinh: Yeah.
Erwin Prescott: And so you've
William Jones: Yeah, and p just point with a mouse.
John Trinh: No use to draw on the board itself. It's just slows down.
Erwin Prescott: Yeah.
William Jones: Yeah. Just old fashioned kinda
John Trinh: Yeah.
William Jones: blackboard style. But
Erwin Prescott: Yeah,
William Jones: you
Erwin Prescott: like.
William Jones: might as well do it in normal computer style.
John Trinh: Yeah, even harder to draw like
William Jones: Yeah.
John Trinh: this than
William Jones: Yeah.
John Trinh: black board style.
William Jones: And it's far too slow this way.
John Trinh: Yeah.
Erwin Prescott: Okay.
John Trinh: You cou You could draw on it, but not as main function.
William Jones: No.
Erwin Prescott: I think Yeah, okay.
Harry Morris: Digital pen.
Erwin Prescott: So we made it in time. And we made a remote control.
John Trinh: We did it.
Erwin Prescott: In the budget, yeah.
John Trinh: New ideas found.
Harry Morris: New ideas.
William Jones: What's that?
John Trinh: Oh
Harry Morris: For for for
Erwin Prescott: I don't know what it mean. Just
John Trinh: I just think if we uh
Harry Morris: To gather, or to uh work together, uh or new ideas for
John Trinh: I dunno.
Erwin Prescott: For remote control probably. No, for the project.
John Trinh: For remote control, a favourite for your text.
William Jones: Hmm.
Harry Morris: No, for the prototype. New ideas.
William Jones: Yeah, but still, you couldn't make a fancy a f you couldn't make a a prototype out of this. Because we don't have any sizes and
Erwin Prescott: Yeah. But it's for the next team.
William Jones: Yeah,
Erwin Prescott: We don't
John Trinh: That's
William Jones: but
Erwin Prescott: have to
William Jones: it
John Trinh: for.
Erwin Prescott: do
William Jones: You
Erwin Prescott: that.
William Jones: can't possibly do that in such a short time, I think.
John Trinh: Yeah, this this is just the idea phase, the
William Jones: Yeah, just brainstorming basically.
John Trinh: Yeah. Details uh
William Jones: So are we finished?
Harry Morris: Hmm.
Erwin Prescott: Yes, I think just I just write a final report.
William Jones: Okay.
John Trinh: Quite early.
William Jones: Yeah.
Erwin Prescott: No, we have only four minutes left. Uh it's okay.
William Jones: Oh okay.
John Trinh: Oh, what do we have to do now. Do we uh I thought we were done at four o'clock?
William Jones: It's now quarter past three. So
John Trinh: Yep.
Harry Morris: I should take some pictures uh.
Erwin Prescott: Okay.
John Trinh: Mm we can do it afterwards,
Harry Morris: Yes.
John Trinh: so
Harry Morris: Let's play minesweeper.
John Trinh: Yeah. I found it as well.
Harry Morris: Ti-din ti-din.
John Trinh: One two three four five six seven cameras. Mm not bad.
John Trinh: So that was it.
William Jones: Yeah. Now we can look at this.
John Trinh: This is
William Jones: We're probably not supposed to look at this, but
John Trinh: The old versions.
William Jones: Yeah, from the previous group.
John Trinh: They went for uh for a universal
William Jones: The touchscreen,
John Trinh: device.
William Jones: yeah.
John Trinh: Yeah, but also a different device.
William Jones: Yeah.
John Trinh: Then an L_C_D_ uh would be handy.
William Jones: Hmm. Here are the basic functions in here, the selecting dev devices.
John Trinh: Yeah, and touch screens for all our stuff, yeah.
William Jones: Hmm.
John Trinh: I do agree with that.
John Trinh: Yeah, tu-dum. English is not so hard by the way.
William Jones: No.
Harry Morris: I'm breaking a world record here.
John Trinh: Well, leader?
Harry Morris: Oh
John Trinh: Project
Harry Morris: shit.
John Trinh: Manager?
Harry Morris: We've got a problem, Paul.
John Trinh: You do? Yeah,
Harry Morris: Yes.
John Trinh: you have to make a choice.
Harry Morris: No it's your choice.
John Trinh: Wow, that's pretty quick.
Harry Morris: Tu-dum.
John Trinh: Uh uh um
Harry Morris: Just pick one.
John Trinh: You have to decide. It's the lower one.
Harry Morris: What's this? A bomb or
John Trinh: No no,
Harry Morris: not
John Trinh: the upper one
Harry Morris: a
John Trinh: is the bomb.
Harry Morris: bo This the bomb?
John Trinh: Yes.
Harry Morris: Wrong. Shit.
John Trinh: I knew it.
Harry Morris: I knew it.
Harry Morris: Four in a row.
John Trinh: No.
Harry Morris: Uh.
John Trinh: That's too much work. Come on.
Harry Morris: Is that previous work?
William Jones: Yeah, this one.
John Trinh: I challenge you.
Harry Morris: Oh, that's so stupid. No, that doesn't work.
John Trinh: No, you gotta use the magic pen. Hmm. What if I put one there?
Harry Morris: That's stupid.
John Trinh: We'll see.
Harry Morris: Okay.
John Trinh: I don't agree.
Harry Morris: Mm.
Harry Morris: Sorry.
John Trinh: Yeah, you had two choices. That's gonna be draw. Or not.
William Jones: Hmm.
Harry Morris: Too bad.
John Trinh: I'll put it here.
Harry Morris: Yeah, then
John Trinh: You
Harry Morris: I
John Trinh: are
Harry Morris: put
John Trinh: going
Harry Morris: it
John Trinh: to
Harry Morris: there.
John Trinh: put it there. Then
Harry Morris: No one wins.
John Trinh: It's a difficult choice, either here or there.
William Jones: This is a very interesting design.
John Trinh: Ugly.
Harry Morris: It's just the same as normal.
John Trinh: Oh a pen.
William Jones: Well it has a L_C_D_,
John Trinh: Yeah,
William Jones: I
Harry Morris: Okay.
William Jones: think.
John Trinh: but Then do it correctly.
Harry Morris: Stupid
William Jones: And
Harry Morris: design.
William Jones: what
Harry Morris: Stupid.
William Jones: else do
John Trinh: Stupid,
William Jones: we have?
John Trinh: the L_C_D_ screen.
Harry Morris: 'Kay wait, I'm going to draw something and you must y
John Trinh: What? Okay, I'm going to guess what you're drawing.
Harry Morris: Okay, blank.
John Trinh: No no, the new one.
Harry Morris: Oh.
John Trinh: Uh they just don't save it.
Harry Morris: Um I know uh.
John Trinh: A house? Yeah, you have to use the pen s stupid.
Erwin Prescott: You have to save everything, you know that, huh?
John Trinh: No, not everything.
Harry Morris: Oh.
William Jones: Yeah, everything.
John Trinh: Pen, select
Harry Morris: Pen.
John Trinh: select pen.
William Jones: It wants to know what we do in our spare time.
John Trinh: Okay. It's a house. A plant?
Harry Morris: No, it's Only you can know it.
John Trinh: Oh yeah, I can know it. It's a
Harry Morris: It's uh very hard to draw.
John Trinh: Okay, that makes it easier. I think I know. No, wrong.
Harry Morris: Mm.
John Trinh: I think I know what you're trying to draw, but it's wrong already.
Harry Morris: It's very
John Trinh: Yeah, you missed the right side.
Harry Morris: Fuck. F
John Trinh: No, you're wrong, you're wrong
Harry Morris: A little bit maybe, but
John Trinh: See where you're wrong now? The entrance.
Harry Morris: Yeah.
William Jones: Warning. Finish meeting now.
John Trinh: Alright.
Harry Morris: Okay, the entrance is uh more to the left.
William Jones: Warning. Warning.
John Trinh: You're correct.
Harry Morris: Okay. But but but I think this part
John Trinh: Yeah, but I think Oh no you made another mistake.
Harry Morris: Oh. Yeah, there are a lot of mistakes, because the walls are thick like this.
John Trinh: No I w Okay, I'm not that whiny. But uh there was a big hole here as well, and
Harry Morris: Oh,
John Trinh: there
Harry Morris: that's
John Trinh: as well.
Harry Morris: true. Uh here.
John Trinh: That's a kinda big mistake.
Harry Morris: Yeah, they're walking behind the walls.
John Trinh: Warning, finish meeting now. Guys, I think we have to finish the meeting.
William Jones: Okay.
Harry Morris: 'Kay this is a hard one.
John Trinh: Uh?
William Jones: Boom-boa-ring-bing.
John Trinh: What does it say?
William Jones: Fill in the questionnaire. What now?
John Trinh: Come on.
Erwin Prescott: Okay,
William Jones: Okay.
Erwin Prescott: yeah.
John Trinh: Yep.
Harry Morris: Okay.
William Jones: No more chit-chat.
John Trinh: Oh you gotta finish
Harry Morris: Che-che-che-che.
John Trinh: over there?
William Jones: Yeah.
John Trinh: In your own room?
Harry Morris: Tu-dumm.
John Trinh: I'm gonna be so lonely.
Harry Morris: Uh.
John Trinh: Mm I'll clean that up later.
Harry Morris: This is That's my new interface.
John Trinh: What's that?
Harry Morris: That's a uh edited smiley.
Harry Morris: Tom-ti-dom. Uh.
William Jones: Okay. | Erwin Prescott presented the agenda and the minutes from the previous meeting. The group discussed speech recognition , whether the remote should slide open or fold open, and what type of chip they should use. The designers presented the prototype, which resembles an ipod in appearance, and is made of transparent coloured plastic. The colours will be changeable. The remote has both buttons and a scroll wheel. The number buttons have a back-light. The group discussed adding extra buttons/functions. The prototype was evaluated and received an average overall score of 1.8. Erwin Prescott went through the finances, and the total cost came to 12.3 euros, although this did not include the cost of the recharger, which was not on the price list. The group evaluated the project process, and were generally pleased with their creativity and teamwork, but were unsatisfied with the equipment. | 5 | amisum | train |
Carl Rech: Okay, welcome everyone to our next meeting. I'm writing and busy leading the meeting, but um I've prepared a little presentation once again um or at least an agenda I think uh the biggest part of the presentation will be uh on your side. Um we are here at the conceptual design meeting, which is hereby opened. Um once again I will try to uh write some minutes which I just from the previous meeting uh placed inside our project folder, which was quite some typing. Um we uh three presentations, if I'm right, and after that we will take a decision on the remote control concepts. And just as the last time we have forty minutes to accomplish that. Okay, well I'd say let's start with the
Victor Martin: 'Kay.
Carl Rech: first presentation. Um in the same order as last
Frank Hill: W sure.
Carl Rech: time?
Rocco Krupka: Mm.
Carl Rech: Okay.
Rocco Krupka: Alright.
Carl Rech: Well, take it away.
Frank Hill: Okay uh welcome you. Components design, um uh first of all uh I would like to uh uh accommodate some of those uh things I uh uh elaborate some of the things I did. I I elaborated on the concept. What should be um uh said about uh the components, uh its properties and what kind of materials should we use to uh to make uh one of those r remote controls. Uh well of all I've uh d subtracted some of the components is that are used uh are w w from what remote control's formed. Uh first of all, the case, the case, the surrounding of the of the the remote control. I would like to uh give you an idea of uh how I thought about.
Victor Martin: Don't destroy my giraffe.
Frank Hill: Giraffe's gone now. Okay um the case was is made from rubber, I suppose. There's one of the because when you use a remote control a lot of people uh will uh will uh drop their remote control and they
Rocco Krupka: Hmm.
Frank Hill: break uh becau the uh titanium was also an option. But uh it's a very expensive material. Uh rubber is, I think, uh the best suitable uh material uh to use uh for our uh for our remote control. Um it's poss it's also possible to uh create fancy colours with rubber. Uh rubber l makes it easy to uh to to it lets lets itself colour. Uh titanium uh you have to paint it and with that uh it's possible to scratch it or uh yeah make it ugly. Uh rubber uh the total uh piece of rubber that's sor uh that's that's used uh to make the case is uh the same colour, so if you scratch it it's still the same colour, perhaps uh it's a little bit damaged. But it's a very strong material. Um I h I had an idea single covered uh curved, sorry, single curved. Uh so it's t two dimensional. I think it's uh it's best to draw oh green.
Rocco Krupka: It's a colour.
Victor Martin: Bright colour.
Frank Hill: Uh
Victor Martin: Fancy colour.
Frank Hill: New.
Victor Martin: Forward.
Frank Hill: Blank. Okay.
Victor Martin: You have to go t
Frank Hill: Let's make it uh black. Okay. I thought of an idea like this. Oh that. Um delete. Blank. Okay. So it also looks nice when it's on your table. So you get uh it doesn't lay flat down on the table, but it's c it's stands.
Victor Martin: Oh it's a side view.
Frank Hill: Side view yes it's side view so uh I I'm not technically good at th three D_ modelling, but. Um uh it's just an idea I had so it's uh it's very uh so its also looks nice when it's on the table. Um the graphical user interface and the buttons, uh we also thought about that already. Uh I thought about uh the L_C_D_ touch screen, which is uh is easy to clean too. One of the great uh advantages of the L_C_D_ screen you just use some or uh another uh cleaning uh uh cl some cleaning stuff. And um it should be made of strong plastic and it should be bright. Well I already uh s uh explained some properties of that material and I think uh well we also we almost concluded about that uh this should uh be uh our uh
Victor Martin: True.
Frank Hill: button component. So uh uh that's all about uh the buttons. Uh the batteries, uh we also thought about that already, uh will be chargeable with uh uh an option for a mount station so you can uh put the uh the remote control in a mount station so its charges itself up instead of uh plugging it in or something like that. Questions,
Victor Martin: No no no
Rocco Krupka: No.
Victor Martin: no
Frank Hill: Okay.
Victor Martin: no. Just looking.
Frank Hill: And they should be long lasting, not uh not be empty uh in about uh two minutes or uh thirty minutes or forty minutes of use. And next step is the chip uh th the component that's uh makes or transmits the signal to the television. Uh there was an option to use s a rather simple chip but I think uh because uh of our uh highly uh requiring uh requirements, there should be an advanced chip in it with uh also the ability to uh facilitate speaker speech recognition uh which unfortunately is still in a test phase, so uh there should be some more uh investigation on that side. Uh my personal preferences uh I also overheard in the last meeting that there shou we should use uh our own business colours. That was correct, wasn't it?
Carl Rech: Mm-hmm.
Frank Hill: Okay. I think they are rather boring for um for use with rubber.
Carl Rech: Well, business colours I thought it was the the slogan and uh the corporate image, so yeah, it
Frank Hill: Okay
Carl Rech: needs colour,
Frank Hill: they should be m sh they should be in mind, wasn't
Carl Rech: but I
Frank Hill: it?
Carl Rech: don't think you have to make the entire thing in the corporate
Frank Hill: Okay
Carl Rech: colour.
Frank Hill: so it d it doesn't says uh to uh have the
Carl Rech: It
Frank Hill: slogan?
Carl Rech: must be recognisable.
Frank Hill: Okay okay. Well that's possible of course. We could make
Rocco Krupka: You can put
Frank Hill: a little
Rocco Krupka: the
Frank Hill: R_
Rocco Krupka: R_ and R_.
Frank Hill: and R_ on the top of the machine. Uh so they are pretty boring, I suggest, because just the availability with rubber to make fantastic colours uh and also in a lot of possible colours, so it's possible to make very uh fancy uh remote controls which peopl uh who people in which people will find they're uh interesting. And uh will buy uh them faster when they look at the same old grey or black uh colours. Uh s as I said uh before rubber is uh is impossible to damage severely of course you can break it when you you when you break it in s for example with a pair of scissors or something like that, but i if you drop it it's not uh broken uh right away s instead of using uh plastic, hard plastic or uh titanium. And I personally liked uh the single curved uh remote control, because it yeah it makes sense. Okay. Well that's all about my uh my findings.
Rocco Krupka: Alright.
Carl Rech: Okay, thank you.
Victor Martin: Mm mm
Rocco Krupka: I will
Victor Martin: mm.
Rocco Krupka: go next.
Victor Martin: Next.
Rocco Krupka: Alright so I thought a little bit about the interface. Uh how it should look. And uh uh we uh determined that will not be no buttons, but only an L_C_D_ screen, so I had to uh look on that. And the design is therefore we just uh uh thought of. Uh first there are some new findings and new technology for speech recognition. And this is that uh um uh uh you you ask you give a question through through the device and it answers you. And they already uh put this in an in a coffee maker. And so that it you say uh good morning, uh coffee maker, and it says t says to you back good morning
Frank Hill: Mm.
Rocco Krupka: Joe or what's your name. This uh and there's an easy way to uh program that uh you say record into the device into the speaker and then you say the question and three seconds later you say the answer and then when you say the question it gives you the answer.
Frank Hill: Mm.
Rocco Krupka: Um
Carl Rech: Mm.
Rocco Krupka: perhaps it's useful, perhaps for because
Frank Hill: Mm.
Rocco Krupka: people um lose the remote, they can yell uh remote where are you and calls or something.
Victor Martin: It's true.
Rocco Krupka: And perhaps we could uh implement that. And then I have to go out of the presentation because
Frank Hill: Oh
Rocco Krupka: I
Frank Hill: my God.
Rocco Krupka: tried to make some kind of a a idea of how it should look like but I can't draw, so uh don't make too much of it. I tried to uh the L_C_D_ screen I tried to sort of to draw. I thought uh at least uh the icon for the volume. I don't know if there is an icon for the program, but
Frank Hill: Not just a P_.
Rocco Krupka: yeah.
Victor Martin: P_ yeah, just a P_.
Rocco Krupka: So
Frank Hill: ...
Rocco Krupka: uh and then the buttons above and uh below the and the and the mute button also recognisable as an icon. Um.
Victor Martin: Where's where's the button for two?
Rocco Krupka: I forgot that one.
Victor Martin: Okay.
Rocco Krupka: I thought I forgot something, but uh. And uh and uh the numbers, that should be a bit larger I think it's not really on scale and and
Frank Hill: Ah.
Rocco Krupka: so forth.
Victor Martin: Doesn't matter.
Rocco Krupka: Um an options button. And I thought the the button for teletext apar uh apart because it's not really options, I think.
Frank Hill: Mm-hmm.
Rocco Krupka: It's uh options
Victor Martin: No.
Rocco Krupka: is the settings of the remote and of the T_V_ and that kind of uh thing.
Frank Hill: Yep.
Rocco Krupka: So could call it settings or something. But this is a bit uh how I thought it. And uh the L_C_D_ uh somewhere on the remote. Perhaps we could be more curvy the remote perhaps should, so that it's better in your hand or something uh.
Frank Hill: Oh okay, yeah.
Rocco Krupka: But uh and and uh a microph microphone for the speech uh recognition if we want to implement that. Uh and then uh if you press the op options button, now we have an example of and then you should get the other options with what what you could do and that you could do with something like this this.
Frank Hill: Oh yeah,
Rocco Krupka: And uh it's also uh I thought think we discussed uh earlier that uh older people don't really want to use uh these extra settings. And older people a also don't really want to use this uh th this kind of option menus. So they want to u use one button and then something happens, and not choose with uh this kind of uh And you could put in a an a really s little scrolling device on the
Carl Rech: Mm-hmm.
Rocco Krupka: side of your uh remote, so you
Frank Hill: Mm.
Rocco Krupka: could scroll scroll uh across these uh things.
Frank Hill: Okay.
Rocco Krupka: That's an option. And that was my uh finding dinge.
Carl Rech: Thanks.
Rocco Krupka: Yeah.
Victor Martin: Okay.
Carl Rech: Now our third
Frank Hill: Go Danny, go Danny.
Carl Rech: team member with his presentation.
Victor Martin: Okay, going to you about trend watching. The trends from the past years what the people like, what the youngsters, what the elderly people liked about shapes, material and stuff. 'Kay. The method I used was Like I told I watched the trends from the past years about colours, shapes, material they wanted uh from elderly and young people. So we can keep that in mind for designing f uh the device itself. Findings I made. The most important thing people liked last year was that the remote control should be look look fancy. The second important thing that w should be if inv in innov innovative, okay, like the L_C_D_ screen that's quite innovative so that should be great meeting for this. And the third thing is it should be easy to use. I think with only one menu, four button, channel, volume, it should also be enough for easy to use. The personal preferences for the young people, they liked fruity colours like uh
Frank Hill: Fruity?
Victor Martin: banana yellow, uh
Frank Hill: Fruity.
Victor Martin: strawberry red and stuff.
Rocco Krupka: Grass green.
Victor Martin: Yeah. Like that. The round shapes, and soft material m materials like the rubber.
Frank Hill: Mm.
Victor Martin: It should be
Frank Hill: Okay.
Victor Martin: soft uh i it should feeling spongy or s Sponge Bob like things.
Rocco Krupka: Let's
Victor Martin: Th
Rocco Krupka: build it into a sponge.
Victor Martin: Elderly people like au colours which y are being seen in autumn like um woods um dark brown, red, deep reds and stuff. They liked square shapes with round edges. And hard materials like wood, um titanium. They those kind of materials they liked. This is a bit like the young peoples like the fruity colours, innovative, all the colours you see, the blue, the red, the white, the yellow, that stuff. And then I th I I personally thought the front side of the shape should be something for the youngsters
Carl Rech: Oh y
Victor Martin: like like this or something. It's it's a bit like a banana. And the colour should be yellow, or something. And for the elderly people just plain old. Because we decided to have two kind of remotes, two designs, or was it two
Rocco Krupka: It
Victor Martin: colours?
Rocco Krupka: was one
Victor Martin: Different
Rocco Krupka: remote,
Victor Martin: colours, yeah.
Rocco Krupka: I think, different
Victor Martin: We should
Rocco Krupka: colours.
Victor Martin: decide whether it's going to be with round shapes. I think like my colleague, you said, is that's e better, or for the elderly people something like like the iPod or something, with round squares. Simple but easy to use.
Frank Hill: Mm.
Victor Martin: So that's it.
Frank Hill: Okay.
Carl Rech: So
Victor Martin: That
Carl Rech: for
Victor Martin: is
Carl Rech: the older
Victor Martin: my
Carl Rech: people, a more traditional
Victor Martin: Yeah,
Carl Rech: uh
Victor Martin: like the
Carl Rech: form.
Victor Martin: older o older colours I can maybe
Rocco Krupka: You could you could uh change the colours, that was also the idea. I
Victor Martin: Yeah.
Rocco Krupka: don't know which shape you should should take, but.
Victor Martin: Colours th the elderly
Carl Rech: Yeah,
Victor Martin: people
Carl Rech: I guess changing colours will be easier than changing
Rocco Krupka: Yeah.
Frank Hill: Changing
Carl Rech: uh
Frank Hill: just the shape of the
Carl Rech: the shape
Frank Hill: uh
Carl Rech: of it.
Frank Hill: remote control?
Rocco Krupka: Perhaps you could find something in the middle.
Frank Hill: Yeah,
Rocco Krupka: Round
Frank Hill: s
Rocco Krupka: but square.
Frank Hill: round corners, but s but square, yeah.
Rocco Krupka: Yeah.
Carl Rech: But maybe then both groups won't buy it.
Frank Hill: Yeah.
Rocco Krupka: Uh i i if you do it uh uh square, with round corners but a little uh in the middle of it uh i Do
Frank Hill: Yeah
Rocco Krupka: you
Frank Hill: I know what
Rocco Krupka: know
Frank Hill: you
Rocco Krupka: what
Frank Hill: mean,
Rocco Krupka: I mean?
Frank Hill: kind of like a.
Rocco Krupka: wait, like like this uh a bit.
Frank Hill: Yeah.
Rocco Krupka: So it's a bit square, but it's also a bit uh round.
Frank Hill: Kinda like a beer glass.
Rocco Krupka: So
Frank Hill: Yeah.
Rocco Krupka: but then
Frank Hill: I know what you mean.
Rocco Krupka: Same sides.
Frank Hill: It's also easy
Rocco Krupka: But that's
Frank Hill: to
Rocco Krupka: uh
Frank Hill: to have to to put in your hand.
Rocco Krupka: Yeah but that's also how other remotes are shaped, so that's uh
Frank Hill: Yeah.
Rocco Krupka: But perhaps that's a good thing, so that's easy to use. People know the
Frank Hill: Will recognise that's as a remote
Rocco Krupka: Yeah.
Frank Hill: control.
Victor Martin: Uh
Frank Hill: Uh when I saw your d Oh.
Victor Martin: Look something like that. Autumn colours like red, brown. They liked the wood
Frank Hill: Huh.
Victor Martin: a lot.
Carl Rech: Mm-hmm.
Victor Martin: So
Rocco Krupka: Yeah.
Victor Martin: maybe we could give it like wooden loo look look or something
Rocco Krupka: Yeah.
Frank Hill: Yeah, kinda
Victor Martin: in
Frank Hill: like old
Victor Martin: that
Frank Hill: cars,
Victor Martin: colour. And
Frank Hill: uh
Victor Martin: a bit bit
Rocco Krupka: Yeah.
Victor Martin: old school style renaissance, medieval kind of things.
Rocco Krupka: Swords.
Frank Hill: Let's
Victor Martin: Those
Frank Hill: put
Victor Martin: kind
Frank Hill: it all
Victor Martin: of Yeah,
Frank Hill: together.
Victor Martin: those kind of things. So you see the big difference between the young people? Fresh,
Rocco Krupka: Yeah.
Victor Martin: exciting. And the old people,
Rocco Krupka: But that's easily
Victor Martin: old
Rocco Krupka: to do
Victor Martin: and
Rocco Krupka: with
Victor Martin: boring.
Rocco Krupka: the colour, I think.
Victor Martin: So Sorry?
Rocco Krupka: That's easy to do with the colours,
Victor Martin: Yeah
Rocco Krupka: I
Victor Martin: I think
Rocco Krupka: think.
Victor Martin: it's it's easier to do in colour than in shape.
Rocco Krupka: Yeah.
Frank Hill: Uh.
Victor Martin: Because otherwise
Carl Rech: Yeah we
Victor Martin: we have
Carl Rech: think so
Victor Martin: to
Carl Rech: too.
Victor Martin: get different shapes, and colour way easier than yeah the shapes. In material yeah rubber, rubber is, like I said, young people like more soft materials and spongy ones and the old people like plain wood.
Rocco Krupka: Yeah.
Frank Hill: Yeah.
Victor Martin: So we have to decide if we're going to use real hard rubber, or soft rubber.
Rocco Krupka: Yeah
Victor Martin: Or something something
Rocco Krupka: think
Victor Martin: between
Rocco Krupka: uh
Victor Martin: that.
Frank Hill: Soft
Rocco Krupka: Also
Frank Hill: rubber.
Rocco Krupka: in between.
Victor Martin: Yeah soft rubber which you can you can feel
Frank Hill: Yeah
Victor Martin: in it.
Frank Hill: I know what you Um.
Rocco Krupka: I don't think you should
Victor Martin: Or
Rocco Krupka: be able to mould it, but
Victor Martin: No. Or
Frank Hill: It should
Victor Martin: or wh what's
Frank Hill: shouldn't
Victor Martin: something
Frank Hill: be.
Victor Martin: harder. No no no but but you have to like like like a a eraser or something. That's the bit you
Rocco Krupka: Yeah.
Victor Martin: can press it in, or something harder.
Frank Hill: Uh.
Rocco Krupka: Bit like this kind of rubber. This uh
Victor Martin: Yeah, something like this, yeah.
Rocco Krupka: But it's quite hard, this.
Victor Martin: Yeah it's quite hard but you can press it in.
Rocco Krupka: Yeah.
Victor Martin: It's feels kind s spongy.
Frank Hill: Spongy.
Carl Rech: Hmm.
Victor Martin: Something.
Rocco Krupka: I
Victor Martin: No.
Rocco Krupka: don't think it's rubber.
Victor Martin: N n n
Carl Rech: So we need a spongy feeling.
Rocco Krupka: Uh did you have something about uh
Victor Martin: Are you going to invite
Frank Hill: Yeah.
Victor Martin: Sponge Bob, maybe he can
Rocco Krupka: So
Frank Hill: Ding
Rocco Krupka: we
Frank Hill: ding.
Rocco Krupka: should first decide about shape, I think.
Victor Martin: Yeah I
Rocco Krupka: Which
Victor Martin: think
Rocco Krupka: uh
Victor Martin: that's the better thing to do.
Rocco Krupka: Then you can fit the L_C_D_ screen in it, and can decide uh.
Frank Hill: Um I also s uh can't help but notice that you uh used an you had a remote control and the L_C_D_ screen was uh rather small.
Victor Martin: Yeah w
Frank Hill: Um.
Rocco Krupka: Yeah
Victor Martin: I think
Frank Hill: ...
Victor Martin: that
Rocco Krupka: it's
Victor Martin: L_C_D_
Rocco Krupka: supposed
Victor Martin: screen
Rocco Krupka: to be
Victor Martin: should
Rocco Krupka: bit
Victor Martin: be
Rocco Krupka: s bit s bit
Frank Hill: This
Victor Martin: like
Frank Hill: was your size,
Rocco Krupka: Yeah.
Frank Hill: but I think it should be larger.
Victor Martin: Yeah three quarter of the
Frank Hill: Yeah, three
Victor Martin: of
Frank Hill: quarters.
Victor Martin: the
Frank Hill: So uh so you don't have to put your
Victor Martin: Yeah
Frank Hill: oh.
Victor Martin: the buttons won't get that small
Frank Hill: Uh new,
Victor Martin: when the L_C_D_ screen
Frank Hill: blank.
Victor Martin: is
Frank Hill: So uh when you get this uh
Rocco Krupka: Ooh
Frank Hill: Uh kinda like this.
Victor Martin: Mm-hmm.
Frank Hill: Or
Rocco Krupka: Yeah.
Frank Hill: should it be larger?
Victor Martin: Larger I think.
Frank Hill: Larger? Because you want to put your hands
Rocco Krupka: But if
Victor Martin: Yeah
Rocco Krupka: you pu
Victor Martin: becau because
Rocco Krupka: Now
Frank Hill: You want
Victor Martin: you have
Rocco Krupka: you can put your hand there and then you won't touch the screen.
Frank Hill: Yeah.
Rocco Krupka: Perhaps
Victor Martin: Yeah okay,
Rocco Krupka: that's
Victor Martin: true,
Rocco Krupka: best.
Victor Martin: true, true true.
Frank Hill: Your thumb here.
Rocco Krupka: But not on the screen because
Frank Hill: Yeah.
Rocco Krupka: Yeah that's uh
Victor Martin: Yeah.
Rocco Krupka: that's an idea. Looks a
Frank Hill: Because
Rocco Krupka: bit like
Frank Hill: when you
Rocco Krupka: a Game
Frank Hill: put your
Rocco Krupka: Boy
Frank Hill: f
Rocco Krupka: now.
Frank Hill: Yeah but if yo if you make the the L_C_D_ screen as large as the remote control itself, uh you'll you'll always get some You
Rocco Krupka: You always touch it,
Victor Martin: Yeah
Frank Hill: Yeah.
Rocco Krupka: yeah.
Victor Martin: yeah
Frank Hill: Going
Victor Martin: yeah
Frank Hill: to be
Victor Martin: yeah.
Frank Hill: very greasy and stuff.
Victor Martin: But it won't get that small because you have how much? Nine ten eleven twelve thirteen fourteen fifteen buttons on the screen.
Rocco Krupka: Yeah.
Victor Martin: One to zero,
Frank Hill: Yeah you don't want
Victor Martin: the
Frank Hill: it
Victor Martin: two
Frank Hill: too
Victor Martin: digit,
Frank Hill: small. How yeah how large
Victor Martin: You have to you have to Because some fat people with d thick fingers
Frank Hill: Yeah they have thick
Victor Martin: will
Frank Hill: fingers.
Victor Martin: press three buttons at same time.
Frank Hill: But if you wanna make it in international, Japanese uh people got uh rather small hands
Victor Martin: Yeah true, but
Frank Hill: and
Victor Martin: Yeah,
Frank Hill: we got
Victor Martin: we
Frank Hill: these
Victor Martin: have
Frank Hill: large
Victor Martin: we have the zoom option, right?
Frank Hill: Zoom opt Ah yeah of course, yeah. You can make it larger to to uh to uh with accompanying
Victor Martin: Yeah.
Frank Hill: uh greater fields to push the button.
Carl Rech: Yeah.
Victor Martin: Yeah.
Carl Rech: And we won't include a a pen, or something to point,
Victor Martin: No.
Carl Rech: hey, we we want to do it with our fingers,
Victor Martin: Yeah.
Carl Rech: right?
Frank Hill: Your fingers, yeah.
Victor Martin: Yeah.
Frank Hill: You don't
Carl Rech: Yeah.
Frank Hill: want
Rocco Krupka: Y
Frank Hill: uh
Rocco Krupka: you
Frank Hill: Because
Rocco Krupka: could
Frank Hill: if
Victor Martin: Use
Frank Hill: you
Rocco Krupka: include
Frank Hill: lose
Victor Martin: a pen
Frank Hill: the
Victor Martin: You
Frank Hill: pen
Rocco Krupka: a
Victor Martin: you
Rocco Krupka: pen.
Victor Martin: c you
Frank Hill: uh
Victor Martin: can lose the pen.
Carl Rech: Yeah but I
Frank Hill: if
Carl Rech: think
Frank Hill: you lose the pen
Carl Rech: people want
Frank Hill: uh
Carl Rech: to
Frank Hill: you
Carl Rech: use
Frank Hill: can't
Carl Rech: a remote
Frank Hill: use
Carl Rech: with with their
Victor Martin: Yeah
Carl Rech: fingers
Victor Martin: the fingers,
Carl Rech: because
Rocco Krupka: Yeah
Carl Rech: th
Rocco Krupka: o
Carl Rech: they're used
Victor Martin: yeah.
Rocco Krupka: yeah,
Carl Rech: to that and
Rocco Krupka: if they think it's handy to use a pen. Yeah I think this uh this is a good size for the screen. I don't know how how large the actual remote should be but a little bit
Carl Rech: And
Rocco Krupka: like
Carl Rech: maybe we
Rocco Krupka: this,
Carl Rech: have
Rocco Krupka: or
Carl Rech: to
Rocco Krupka: something.
Carl Rech: add a tissue to remove the grease from all the fingers,
Rocco Krupka: Yeah.
Frank Hill: Yeah
Carl Rech: huh.
Victor Martin: Yeah but that
Frank Hill: You
Victor Martin: that can
Frank Hill: can
Victor Martin: be
Frank Hill: do
Victor Martin: with
Frank Hill: whatever
Victor Martin: plain
Frank Hill: uh any uh
Victor Martin: soft tissue.
Frank Hill: cloth.
Victor Martin: Yeah, you
Carl Rech: Okay
Victor Martin: can buy
Carl Rech: well
Victor Martin: those
Carl Rech: maybe,
Victor Martin: at
Carl Rech: if I can interrupt you, maybe I should uh should show some points on which we uh should take a decision.
Frank Hill: Sure.
Carl Rech: So we can discuss these points. those points um energy question mark. How how should we uh supply the thing with energy and how are we going to do it with separate docking station and then put in it. Uh chip on print and case. Those are points my uh coach advised Victor Martin to discuss here, but I hope you have ideas about them.
Rocco Krupka: I think energy were batteries and then uh and uh
Frank Hill: The docking station.
Rocco Krupka: Yeah.
Carl Rech: Yeah. So that's the
Victor Martin: Maybe
Carl Rech: the
Victor Martin: it's
Carl Rech: the
Victor Martin: better
Carl Rech: first
Victor Martin: to
Carl Rech: point. We
Victor Martin: to
Carl Rech: already
Victor Martin: include
Carl Rech: decided that on
Frank Hill: W
Carl Rech: the
Victor Martin: rechargeable
Carl Rech: previous
Victor Martin: batteries
Carl Rech: meeting.
Rocco Krupka: Yeah.
Victor Martin: which you can recharge
Rocco Krupka: Yeah.
Victor Martin: through the docking station.
Rocco Krupka: Yeah.
Victor Martin: So
Carl Rech: Mm-hmm.
Frank Hill: Yeah.
Victor Martin: if
Rocco Krupka: Just
Victor Martin: the badg
Rocco Krupka: like
Victor Martin: the
Rocco Krupka: with
Victor Martin: batteries
Rocco Krupka: the
Victor Martin: are
Rocco Krupka: telephone.
Victor Martin: dead
Frank Hill: I kinda
Victor Martin: then you can
Frank Hill: like
Victor Martin: re
Frank Hill: your
Victor Martin: you can uh change them.
Frank Hill: Yeah you got some uh some of those uh uh wireless uh mice?
Victor Martin: Yeah
Frank Hill: Mouse.
Victor Martin: yeah
Frank Hill: Computer
Victor Martin: yeah
Frank Hill: mouse.
Victor Martin: like those.
Frank Hill: Kinda like those kind of batteries.
Victor Martin: Yep.
Rocco Krupka: but it should be th I think normal batteries, not
Victor Martin: Yeah,
Rocco Krupka: not
Victor Martin: normal
Rocco Krupka: like two or
Victor Martin: plain you
Rocco Krupka: two uh
Victor Martin: No normal plain batteries
Rocco Krupka: Yeah.
Victor Martin: you can buy at the supermarket
Frank Hill: Yeah.
Victor Martin: or retail
Carl Rech: Simple
Victor Martin: shop.
Carl Rech: rechargeable
Victor Martin: Yeah.
Carl Rech: uh
Rocco Krupka: Yeah.
Carl Rech: batteries.
Rocco Krupka: Um what was with the chip on print?
Frank Hill: The chip on print? Um Uh you gotta f Yeah. I think so. Chip on print with a with a
Victor Martin: Print
Frank Hill: simple
Victor Martin: plate.
Frank Hill: uh a sim not a simple but a We also discussed that. Didn't we?
Carl Rech: Yeah but how did this how does that with a L_C_D_ screen? You still have a print plate.
Frank Hill: Uh
Victor Martin: Yeah yeah yeah. You always have a print plate.
Frank Hill: Beg your pardon?
Victor Martin: You always have a print plate, right?
Frank Hill: Yeah sure,
Carl Rech: Mm-hmm.
Frank Hill: of course, yeah.
Victor Martin: Always, so I dunno what w what we have to decide about that.
Carl Rech: Yeah well it's a good question. It just was in there and I didn't
Frank Hill: Well
Carl Rech: have
Frank Hill: uh
Carl Rech: any
Frank Hill: chip
Carl Rech: information
Frank Hill: on print,
Carl Rech: about it,
Frank Hill: I
Carl Rech: but
Frank Hill: think what they mean uh with the regular rubber buttons that you got, uh it's always clear for the remote control when you press uh a certain button.
Carl Rech: Mm-hmm.
Frank Hill: But when you got a L_C_D_ screen,
Victor Martin: Yeah, okay.
Frank Hill: with no uh with not the buttons
Victor Martin: But
Frank Hill: are not always on the same place, for example if you enlarge a button, or if you got several
Rocco Krupka: Yeah.
Frank Hill: options uh appearing on your screen, uh the co-ordinations aren't always the same. When you got a regular button, th the button of stand-by is always on the same
Victor Martin: Yeah
Frank Hill: place
Victor Martin: okay, but
Frank Hill: and you got on the
Victor Martin: the
Frank Hill: and on the
Victor Martin: p print plate of L_ L_C_D_ screen is more advanced than a normal
Frank Hill: Yeah.
Victor Martin: print plate, so that that's not of any discussion, I think.
Carl Rech: Well you need some kind of C_P_U_, I guess.
Frank Hill: I suppose
Victor Martin: Mm,
Frank Hill: so.
Victor Martin: I don't I dunno I don't think that's
Frank Hill: It is a simple C_P_U_ but it doesn't
Victor Martin: Yeah yeah okay but I d I I don't know if nor o s it's
Frank Hill: Yeah
Victor Martin: quite
Frank Hill: because
Victor Martin: a simple
Frank Hill: it has
Victor Martin: L_C_D_.
Frank Hill: to uh b
Victor Martin: Yeah, it's quite a simple L_C_D_ screen. I think they don't need that big
Frank Hill: Yeah but
Victor Martin: of C_P_U_.
Frank Hill: it the the remote control has to know whether you're in a settings menu or just uh you just want to turn up the volume.
Victor Martin: Yeah, okay, true true. True.
Frank Hill: So it has to have some kind of a calculation unit or C_P_U_ to know uh in which state you are and uh which button you are pressing in at the right moment.
Carl Rech: Mm-hmm. Because we're projecting projecting the buttons on the L_C_D_
Frank Hill: Yeah.
Carl Rech: screen.
Frank Hill: And a touch screen makes it uh possible to uh to get the co-ordination of your finger
Carl Rech: Yeah.
Frank Hill: on the screen. And the case, yeah we already discussed
Rocco Krupka: It's
Frank Hill: the case,
Rocco Krupka: rubber.
Frank Hill: we wanted to make it from rubber
Rocco Krupka: Yeah
Frank Hill: and
Rocco Krupka: but
Frank Hill: uh
Rocco Krupka: but a hard rubber like this? Or softer rubber or
Frank Hill: Uh hard rubber I think.
Rocco Krupka: Yeah.
Frank Hill: That's the easy to ha uh to to
Victor Martin: Yeah.
Frank Hill: uh
Rocco Krupka: It bounces back from
Frank Hill: Yeah.
Rocco Krupka: the floor where you
Frank Hill: Yeah
Victor Martin: We
Rocco Krupka: throw
Frank Hill: sure,
Victor Martin: have different
Rocco Krupka: it.
Frank Hill: look.
Victor Martin: colours.
Rocco Krupka: Yeah yeah this
Victor Martin: So
Rocco Krupka: in different
Victor Martin: the shapes
Frank Hill: D
Rocco Krupka: colours?
Victor Martin: is something between the square shapes with round colo corners and a round shapes? No I don't think, I think it's more round than square.
Rocco Krupka: Yeah it's a bit. But I think
Victor Martin: So it
Rocco Krupka: it
Victor Martin: meets
Rocco Krupka: should be a bit longer,
Victor Martin: I think
Rocco Krupka: perhaps.
Victor Martin: it meets more the young people than the older people.
Rocco Krupka: Yeah.
Carl Rech: Yeah. But
Rocco Krupka: I
Carl Rech: that's
Rocco Krupka: think
Carl Rech: what
Rocco Krupka: so
Carl Rech: we want,
Rocco Krupka: too.
Victor Martin: Yeah, that's our target.
Frank Hill: It's our main target.
Victor Martin: Yeah.
Rocco Krupka: Yeah.
Carl Rech: Mm-hmm.
Victor Martin: Lower than forty years, I think it
Frank Hill: Well
Victor Martin: was.
Frank Hill: and how about my idea uh of making it um with one single curve?
Victor Martin: Oh yeah that that
Frank Hill: So i
Victor Martin: I think I thought that
Rocco Krupka: Yeah.
Victor Martin: was a quite good
Frank Hill: Because it's a gadget and you want
Victor Martin: Yeah.
Frank Hill: to show it off, of course.
Carl Rech: Yeah yeah you have
Rocco Krupka: Yeah.
Carl Rech: a fancy design,
Frank Hill: Uh.
Carl Rech: then, right away.
Victor Martin: You can
Carl Rech: So
Victor Martin: put
Frank Hill: Because
Victor Martin: it
Frank Hill: it
Victor Martin: on your table with
Frank Hill: Yeah.
Victor Martin: the L_C_D_ screen, you don't have to put it get it in your hand, you can put it next to you and then
Frank Hill: Yeah.
Victor Martin: dive it in
Rocco Krupka: Yeah, that's
Victor Martin: and.
Rocco Krupka: a good idea.
Frank Hill: It's a lot easier.
Victor Martin: Yeah.
Rocco Krupka: Yeah, alright.
Victor Martin: So
Frank Hill: So, so
Carl Rech: Okay
Frank Hill: you got uh
Carl Rech: so
Frank Hill: Did
Rocco Krupka: And then
Frank Hill: you write that down? Uh got a single curved uh rubber f uh fancy coloured
Victor Martin: You can't
Frank Hill: remote
Victor Martin: you
Frank Hill: control.
Victor Martin: You can't oh, you c you can draw it on your paper and then load
Frank Hill: Yeah.
Victor Martin: it on the
Rocco Krupka: Yeah, you can uh
Carl Rech: Yeah
Rocco Krupka: It's
Carl Rech: but
Rocco Krupka: pretty
Carl Rech: I wrote it
Rocco Krupka: easy
Carl Rech: down.
Rocco Krupka: but
Victor Martin: And load
Rocco Krupka: And
Victor Martin: it on the the user the server.
Carl Rech: What about the user interface, there are also some some questions uh about the concepts I think you have some ideas
Rocco Krupka: Yeah,
Carl Rech: on that.
Rocco Krupka: I had what
Carl Rech: You
Rocco Krupka: I
Carl Rech: you showed your
Rocco Krupka: just
Carl Rech: drawing.
Rocco Krupka: uh I should again. I miss a few buttons, but. Well. At least uh what we should also have on, I just remembered, um a menu to go back through the first uh
Victor Martin: Mm-hmm.
Rocco Krupka: if if you touch options,
Victor Martin: Yeah,
Rocco Krupka: you
Victor Martin: you
Rocco Krupka: can't
Victor Martin: have to go
Rocco Krupka: go
Victor Martin: back.
Rocco Krupka: back to this
Victor Martin: Yeah
Rocco Krupka: uh
Victor Martin: uh uh.
Rocco Krupka: right away now. This
Victor Martin: Isn't it better to have the sound and the general buttons horizontal?
Rocco Krupka: I don't know.
Victor Martin: With the minus and the plus.
Rocco Krupka: I think
Victor Martin: I
Rocco Krupka: it's
Victor Martin: think it's easier
Rocco Krupka: I don't
Victor Martin: than
Rocco Krupka: know. I I thought it was uh easier to handle
Victor Martin: Yeah.
Rocco Krupka: this way, but I don't know what they think.
Frank Hill: Sorry?
Rocco Krupka: Would
Carl Rech: Mm.
Rocco Krupka: you like the the buttons horizontal or v vertical?
Victor Martin: For sound and
Frank Hill: Depends
Rocco Krupka: Th
Victor Martin: channel.
Frank Hill: on the screen. If you make the screen vertical it doesn't matter. If you make it uh in a rectangle
Rocco Krupka: Right
Victor Martin: Yeah.
Rocco Krupka: well if we make it like this,
Frank Hill: I so
Rocco Krupka: I
Frank Hill: it's
Rocco Krupka: think
Frank Hill: it's
Rocco Krupka: if you
Frank Hill: it's it's
Rocco Krupka: put it like
Frank Hill: Square.
Rocco Krupka: this
Victor Martin: I think it's it's easier to have it something like Oh a button uh minus here, plus over here. A minus here, plus over here.
Frank Hill: Oh, okay.
Victor Martin: And on here.
Rocco Krupka: Yeah.
Victor Martin: The other buttons and on here the top. The options
Rocco Krupka: Yeah. But I think
Victor Martin: and
Rocco Krupka: I
Victor Martin: then
Rocco Krupka: wou
Victor Martin: you have something like uh the P_ over here, and the sound.
Rocco Krupka: I think
Victor Martin: Something
Rocco Krupka: that's a
Victor Martin: uh
Rocco Krupka: matter of what you're used to. I think I would put a plus and a min uh here. And then the P_ in the mid in the middle and the sound uh in the middle.
Frank Hill: Uh.
Victor Martin: Something like Sh
Frank Hill: Take your time.
Victor Martin: Plus minus plus uh
Rocco Krupka: Almost.
Victor Martin: minus.
Rocco Krupka: Yeah but I think when you are holding it, you could press the minus and the plus and with the other finger the minus and the plus.
Victor Martin: Yeah I think you're going to s you're going to use it with one thumb.
Rocco Krupka: Yeah but I think Yeah I don't know. Perhaps
Frank Hill: W
Rocco Krupka: I have some examples.
Frank Hill: We'll leave
Rocco Krupka: I don't
Frank Hill: that
Rocco Krupka: know
Frank Hill: to the usability engineering then.
Victor Martin: Who's the usability engineering?
Rocco Krupka: That's Victor Martin.
Victor Martin: She is.
Rocco Krupka: But I'm going to look if I've got some examples 'cause perhaps you should choose what's most
Victor Martin: Oh.
Rocco Krupka: often used. The
Frank Hill: Yeah.
Victor Martin: Um
Rocco Krupka: 'Cause they can use that better.
Frank Hill: Consistency.
Rocco Krupka: Yeah.
Victor Martin: Oh I have that
Rocco Krupka: I
Victor Martin: those s numbers.
Rocco Krupka: Here is our here are uh
Victor Martin: Or a good watch.
Rocco Krupka: I don't really know.
Victor Martin: B
Carl Rech: Everybody's searching in his data.
Victor Martin: Channel
Rocco Krupka: Yeah.
Victor Martin: selection. Per hour one hundred and sixty eight. Volume selection four times
Rocco Krupka: Yeah
Victor Martin: an
Rocco Krupka: but
Victor Martin: hour
Rocco Krupka: But I mean if it's usually plus or min above each other or next to each other
Frank Hill: Yeah.
Rocco Krupka: on a normal remote.
Victor Martin: Uh
Frank Hill: So not how much n not how often it's used, but
Rocco Krupka: W what's
Victor Martin: Yeah,
Rocco Krupka: what's
Victor Martin: that
Rocco Krupka: usual
Victor Martin: depends
Rocco Krupka: or normal.
Victor Martin: on on on
Rocco Krupka: Yes
Victor Martin: the
Rocco Krupka: I'm
Victor Martin: remote.
Rocco Krupka: looking here. But here's it's
Frank Hill: Uh.
Rocco Krupka: below, here also, and now here's here's next to each other. I think it's it's a
Victor Martin: I think because I have two televisions at home. One is horizontal, one is vertical, so it
Frank Hill: Yeah it does
Rocco Krupka: Yeah.
Frank Hill: it
Victor Martin: depends.
Frank Hill: doesn't really matter, but
Victor Martin: Yeah. Depends.
Frank Hill: Uh.
Rocco Krupka: I think the the the volume was usually uh above each other, because you go higher and
Victor Martin: Yeah,
Rocco Krupka: down.
Victor Martin: lower.
Rocco Krupka: And the the pay the the the program is next to each other, because you would go further and back.
Victor Martin: True.
Rocco Krupka: That's how it's is usually when I look here
Frank Hill: Okay,
Rocco Krupka: that's
Frank Hill: um.
Rocco Krupka: what I see.
Frank Hill: Let's cut to the chase.
Victor Martin: It's got to change.
Carl Rech: Yeah well I think we have we don't have to decide about that now how where we will put the buttons
Rocco Krupka: I don't know.
Victor Martin: Yeah is it
Carl Rech: just
Victor Martin: is
Carl Rech: the
Victor Martin: user interface.
Rocco Krupka: Yeah.
Carl Rech: concepts.
Victor Martin: Component.
Rocco Krupka: This concept is in the actual design, but you should know where you would place
Frank Hill: Okay,
Rocco Krupka: a
Frank Hill: well le Yeah. Interface,
Rocco Krupka: And the speech
Frank Hill: yeah.
Rocco Krupka: uh shall we implement that? Or uh
Carl Rech: Yeah well we just heard about the new uh
Victor Martin: Yeah
Carl Rech: technology,
Victor Martin: I
Frank Hill: Technologies,
Victor Martin: think it's it's
Frank Hill: uh.
Carl Rech: huh?
Victor Martin: easy for that, where are you, but then it says I'm
Frank Hill: Yeah.
Victor Martin: here.
Rocco Krupka: Yeah.
Frank Hill: Makes it
Rocco Krupka: But
Frank Hill: possible
Rocco Krupka: then you
Frank Hill: to
Rocco Krupka: should
Victor Martin: Yeah.
Rocco Krupka: also find a place You could if you do it like this you could put it in a corner or something.
Frank Hill: Mm.
Rocco Krupka: You can talk into the corner.
Victor Martin: Yeah, a microphone, yeah.
Rocco Krupka: Yeah.
Frank Hill: Not even
Carl Rech: Mm-hmm.
Frank Hill: necessary, because a lotta you can make a very sensitive microphone, so it makes it possible to uh just put it arou uh underneath it or on the on the bottom of the uh
Rocco Krupka: Yeah.
Carl Rech: Yeah
Frank Hill: remote.
Carl Rech: maybe at the
Rocco Krupka: But
Carl Rech: bottom where you can can hel hold it
Rocco Krupka: Yeah,
Carl Rech: with
Rocco Krupka: that's
Carl Rech: you hand
Frank Hill: Yeah.
Rocco Krupka: also.
Carl Rech: that there's also a microphone uh
Frank Hill: Right.
Carl Rech: over there.
Rocco Krupka: So,
Frank Hill: But
Rocco Krupka: in
Frank Hill: that's
Rocco Krupka: the
Frank Hill: not
Rocco Krupka: middle
Frank Hill: import
Rocco Krupka: or something.
Frank Hill: I
Carl Rech: Yeah,
Frank Hill: think
Carl Rech: yeah.
Frank Hill: that's not im very important because yeah, it doesn't matter where the microphone is.
Rocco Krupka: but you should uh decide where you want
Frank Hill: Ah
Rocco Krupka: to
Frank Hill: okay,
Rocco Krupka: put it.
Frank Hill: sure, okay,
Rocco Krupka: Right?
Frank Hill: well tha
Victor Martin: Um I
Frank Hill: Underneath?
Victor Martin: think where it isn't seen the most.
Frank Hill: Indeed. It shouldn't be uh
Victor Martin: Inside.
Rocco Krupka: You
Frank Hill: very
Rocco Krupka: could p you
Frank Hill: uh
Rocco Krupka: could
Frank Hill: visible.
Rocco Krupka: put it in a logo of the company.
Carl Rech: Yeah.
Frank Hill: Yeah sure,
Victor Martin: Yeah.
Carl Rech: Well
Frank Hill: why
Carl Rech: maybe
Frank Hill: no
Carl Rech: just
Victor Martin: I i
Carl Rech: in the
Victor Martin: between
Carl Rech: the spot
Victor Martin: the
Carl Rech: you just
Victor Martin: round of the R_.
Carl Rech: pointed out
Rocco Krupka: Yeah.
Victor Martin: Yeah.
Carl Rech: because I think it should be in a in an important position where people can see it, because it is the the unique uh idea of our remote, huh, the the speech
Rocco Krupka: Yeah.
Carl Rech: control.
Victor Martin: Yeah,
Rocco Krupka: So where
Victor Martin: okay.
Rocco Krupka: do you want to put it?
Carl Rech: Well maybe
Frank Hill: Yeah but it doesn't makes
Carl Rech: where
Frank Hill: it uh
Carl Rech: the one hand
Frank Hill: any more fancy because you get to see uh
Rocco Krupka: Yeah actually it does
Victor Martin: Yeah.
Rocco Krupka: because it you can you can find it better if you use it.
Victor Martin: Yeah bu but
Rocco Krupka: It's a way for you to uh
Frank Hill: Uh.
Rocco Krupka: So it makes more sense just 'cause other remotes don't have that.
Frank Hill: Yeah, okay.
Carl Rech: But are we talking about the button, or about the microphone?
Rocco Krupka: About a microphone,
Carl Rech: Yeah
Rocco Krupka: there
Carl Rech: because
Rocco Krupka: is no button.
Carl Rech: a microphone is very small thing, but you can make it look like it's big
Rocco Krupka: Yeah.
Carl Rech: so as its its really an important function of the remote.
Victor Martin: I think the left s under corner should be the best. Where isn't i it isn't most in sight.
Rocco Krupka: Yeah.
Frank Hill: Okay.
Victor Martin: I think.
Frank Hill: Well put it there. I don't mind. That doesn't doesn't really matter.
Victor Martin: No. Actually doesn't.
Frank Hill: Okay.
Rocco Krupka: Alright.
Frank Hill: So?
Rocco Krupka: Any more uh
Carl Rech: So well uh type, supplements,
Frank Hill: Interface type.
Carl Rech: anything. Yeah, well we already s discussed
Frank Hill: The L_C_D_
Carl Rech: that, huh, the the
Frank Hill: yeah,
Carl Rech: L_C_D_
Frank Hill: uh
Carl Rech: and
Frank Hill: supplements
Rocco Krupka: Yeah.
Frank Hill: well
Victor Martin: I
Frank Hill: the
Victor Martin: think
Frank Hill: supplement
Victor Martin: I
Frank Hill: is
Victor Martin: thought
Frank Hill: to yeah.
Victor Martin: the, like you said, like scroll next to the remote
Rocco Krupka: Yeah.
Victor Martin: isn't that handy. I think it's better to just up what you'd like to do on the screen. If you want to go back you have to back button go back,
Rocco Krupka: Yeah.
Victor Martin: if you want to choose audio settings you press audio settings and it goes to that s sub-menu.
Frank Hill: Hey,
Rocco Krupka: Um yeah. Yeah the the young people do like
Frank Hill: Use
Rocco Krupka: uh scroll
Frank Hill: the scroll.
Victor Martin: Yeah?
Rocco Krupka: uh
Frank Hill: Yeah
Victor Martin: You do
Rocco Krupka: yeah.
Victor Martin: like
Frank Hill: I think
Victor Martin: it?
Frank Hill: so too. So why not, on on side.
Rocco Krupka: Or at least Yeah I don't know if it's really the scroll, but the menu they like most, and I think you can never get through a menu
Frank Hill: Fast,
Rocco Krupka: great with a
Frank Hill: yeah.
Rocco Krupka: scroll uh
Victor Martin: Yeah
Frank Hill: So
Victor Martin: I think
Frank Hill: if you've
Victor Martin: it
Frank Hill: got a
Victor Martin: is
Frank Hill: settings,
Victor Martin: is faster.
Frank Hill: if you
Victor Martin: Becau I think the scroll's easier if you have a lot of options,
Frank Hill: Yes.
Victor Martin: but if you don't have a lot
Rocco Krupka: But you
Victor Martin: of
Rocco Krupka: have
Victor Martin: option
Rocco Krupka: it's
Victor Martin: then
Frank Hill: You
Rocco Krupka: f uh
Frank Hill: have a lot of options,
Rocco Krupka: we have
Frank Hill: because when
Rocco Krupka: five
Frank Hill: you use
Rocco Krupka: or
Frank Hill: Yeah
Rocco Krupka: four
Frank Hill: you get
Rocco Krupka: or
Frank Hill: w
Rocco Krupka: something.
Frank Hill: when you
Victor Martin: Y
Frank Hill: use uh the settings menu for example to look up some uh uh some channels on your uh on your television,
Carl Rech: Mm-hmm.
Frank Hill: you should scroll scroll down uh on a menu
Victor Martin: Uh-huh.
Frank Hill: which probably does not fit on your screen.
Victor Martin: Yeah, okay,
Rocco Krupka: Yeah.
Victor Martin: true.
Frank Hill: So then it's uh very handy to to scroll down,
Victor Martin: Okay.
Frank Hill: you make just a rubber just like uh on your mouse or. Just put it on the side and it's very easy to use.
Victor Martin: Okay, no problem.
Carl Rech: And I think I would it would make even more fancy because you have another interesting thing
Frank Hill: Yeah,
Carl Rech: on the side which
Frank Hill: yeah.
Carl Rech: you
Rocco Krupka: Yeah.
Carl Rech: can touch and
Rocco Krupka: It's also different.
Carl Rech: Yeah.
Frank Hill: Yeah.
Victor Martin: Okay.
Carl Rech: Okay. Well there's our five minutes uh warning. Um any more uh questions about about the design or the user
Victor Martin: Um.
Carl Rech: interface or different components, everyone?
Victor Martin: No, colours are clear, shape is
Carl Rech: Everybody
Victor Martin: clear,
Carl Rech: think they can
Victor Martin: material
Carl Rech: can
Victor Martin: is clear.
Frank Hill: Okay, what's the standard colour?
Carl Rech: work for that?
Victor Martin: And a standard, yeah
Carl Rech: Is
Victor Martin: we
Carl Rech: there
Victor Martin: don't
Carl Rech: a standard colour?
Victor Martin: no we
Frank Hill: I
Victor Martin: have
Frank Hill: I
Victor Martin: different colour. How many colours
Frank Hill: You got
Victor Martin: are
Frank Hill: you
Victor Martin: we
Frank Hill: got
Victor Martin: going
Rocco Krupka: You
Frank Hill: different
Rocco Krupka: should
Victor Martin: to
Frank Hill: colours,
Rocco Krupka: you should have
Frank Hill: but
Rocco Krupka: a
Frank Hill: you
Rocco Krupka: black
Frank Hill: should
Rocco Krupka: one
Frank Hill: have a standard
Rocco Krupka: because uh
Frank Hill: colour.
Rocco Krupka: I think black
Victor Martin: Black.
Rocco Krupka: is standard.
Victor Martin: Yeah, black I
Frank Hill: Black?
Victor Martin: think is is the standard.
Frank Hill: With the with the yellow
Rocco Krupka: But if you
Frank Hill: uh
Rocco Krupka: want to be different,
Victor Martin: Dark grey, something
Rocco Krupka: then uh
Victor Martin: like this this colour or something.
Frank Hill: Just a regular uh
Victor Martin: Yeah
Frank Hill: remote
Victor Martin: like like
Frank Hill: colour.
Victor Martin: yeah.
Frank Hill: And then have
Victor Martin: Or
Frank Hill: uh
Victor Martin: or silver.
Frank Hill: different covers uh to
Victor Martin: I
Frank Hill: use.
Victor Martin: think it's better to have silver nowadays.
Frank Hill: Silver,
Rocco Krupka: Silver.
Frank Hill: yeah.
Victor Martin: I think
Carl Rech: Yeah.
Victor Martin: you see more silver
Frank Hill: You see a lot
Victor Martin: than
Frank Hill: of
Victor Martin: black.
Frank Hill: t uh
Carl Rech: But
Frank Hill: silver
Carl Rech: still silver
Frank Hill: televisions.
Carl Rech: and black
Rocco Krupka: Silver
Carl Rech: are
Victor Martin: Yeah
Rocco Krupka: rubber.
Carl Rech: well
Victor Martin: the the
Carl Rech: silver
Victor Martin: silver black
Carl Rech: is
Victor Martin: are
Carl Rech: new
Victor Martin: our main
Carl Rech: but also
Victor Martin: colours.
Carl Rech: traditional, so
Victor Martin: Yeah.
Carl Rech: uh
Victor Martin: I think we have silver, black and between those is like I dunno s five colours between them or something.
Carl Rech: Yeah w what about a yellow thing, I mean it
Frank Hill: Yeah y I
Victor Martin: Yeah
Frank Hill: think
Victor Martin: yeah yeah
Frank Hill: it's
Victor Martin: it'll be
Frank Hill: better
Victor Martin: a banana
Frank Hill: to
Victor Martin: yellow, we have.
Carl Rech: could be ugly, but it's definitely fancy.
Victor Martin: R red.
Frank Hill: Yeah th yeah.
Rocco Krupka: But
Frank Hill: That's right.
Rocco Krupka: yeah.
Victor Martin: Green,
Frank Hill: But if you use
Victor Martin: wood,
Frank Hill: uh
Victor Martin: brown.
Frank Hill: silver,
Victor Martin: Yeah.
Frank Hill: uh rubber s silver rubber isn't fancy.
Victor Martin: True.
Frank Hill: When you use titanium, silver is fancy, but when
Rocco Krupka: Yeah.
Frank Hill: you use silver rubber, it isn't fancy. Silver has to shine, and rubber doesn't shine.
Carl Rech: Mm-hmm.
Frank Hill: Especially when it's made of soft rubber like this.
Rocco Krupka: Yeah.
Frank Hill: You understand?
Victor Martin: Yeah, I understand.
Carl Rech: Yeah I would think about colours like uh red, yellow,
Victor Martin: Yeah
Carl Rech: green,
Frank Hill: Yeah.
Victor Martin: o
Carl Rech: blue,
Victor Martin: of course.
Carl Rech: just
Victor Martin: The fruity colours
Frank Hill: Fruity.
Carl Rech: Yeah.
Rocco Krupka: Just all kind
Victor Martin: and
Rocco Krupka: of colour.
Victor Martin: the
Frank Hill: Fruity
Victor Martin: autumn colours,
Frank Hill: loops.
Victor Martin: like red and brown, dark red
Carl Rech: Mm-hmm.
Victor Martin: and brown.
Carl Rech: Maroon.
Rocco Krupka: Yeah.
Carl Rech: Yeah.
Frank Hill: Okay.
Carl Rech: Okay, so
Rocco Krupka: And and do we have to have a normal black one, or uh
Carl Rech: Who's
Rocco Krupka: Is it
Carl Rech: pinging?
Victor Martin: No.
Carl Rech: You are pingin Okay.
Frank Hill: You ping.
Carl Rech: Okay, so uh that wraps it up? Everybody
Rocco Krupka: Yeah.
Carl Rech: knows uh what to do? Well
Frank Hill: Well
Carl Rech: I
Frank Hill: not
Carl Rech: wrote
Rocco Krupka: Well
Frank Hill: what
Rocco Krupka: I
Carl Rech: it
Rocco Krupka: don't
Frank Hill: to
Carl Rech: down
Frank Hill: do.
Rocco Krupka: know
Carl Rech: here.
Rocco Krupka: what to do,
Carl Rech: I
Rocco Krupka: but.
Carl Rech: wrote
Frank Hill: Not what
Carl Rech: it down here
Frank Hill: to
Carl Rech: what to do um.
Frank Hill: do. Look.
Carl Rech: The next meeting is once again in thirty minutes.
Frank Hill: Okay.
Carl Rech: Um here are the individual actions, and especially notice that uh the Industrial
Rocco Krupka: Ooh.
Carl Rech: Designer and Rocco Krupka are going to work together
Rocco Krupka: Right.
Carl Rech: on a prototype drawing on
Victor Martin: S
Carl Rech: a smart board,
Rocco Krupka: Yeah.
Carl Rech: and of course
Victor Martin: tough.
Carl Rech: to all four of us uh specific instructions
Victor Martin: We'll be
Carl Rech: will
Victor Martin: available.
Carl Rech: be emailed by
Rocco Krupka: But
Carl Rech: our
Rocco Krupka: do
Carl Rech: personal
Rocco Krupka: we have
Carl Rech: coach.
Rocco Krupka: to We'll work together, but do we have to stay here, or do we
Carl Rech: Well I I'd say just wait uh for
Rocco Krupka: Right.
Carl Rech: email and uh find out.
Rocco Krupka: Yes.
Carl Rech: I don't know.
Rocco Krupka: Okay.
Frank Hill: Thin I think we should work.
Carl Rech: Okay well that was what I had to say,
Rocco Krupka: Yeah I
Carl Rech: uh,
Rocco Krupka: think.
Carl Rech: final thoughts from anyone, or?
Rocco Krupka: No.
Victor Martin: No.
Carl Rech: We're finished. Okay, well thank you very much.
Rocco Krupka: Yeah.
Victor Martin: Finished.
Frank Hill: Thank you very much.
Rocco Krupka: So we have to keep talking English now? | After Carl Rech opened the meeting, Frank Hill discussed his preference for making a remote which is single-curved, made of rubber, contains an LCD, has a docking station to recharge the batteries, and uses a simple chip. Rocco Krupka discussed how speech recognition could be useful to users who often lose their remotes, the layout of the interface, and the option to include a scroll device on the side of the remote to access a menu containing extra features. Victor Martin discussed the results of trend-watching reports and his preference for a banana-like remote for younger people and a traditional remote for older people. The trend-watching reports indicated that products should be fancy, innovative, easy to use, in fruity colors, in soft and spongy materials, and in hard materials in autumn colors with square shapes with round edges if appealing to elderly people. The team discussed case shapes, color options, types of rubber, and dimensions. The team then made decisions regarding energy sources, components, and the remote interface. | 5 | amisum | train |
Richard Nolting: Hi.
Hilario Morris: Hi.
Miguel Keely: Hello.
Richard Nolting: Oh.
Miguel Keely: Good morning.
Richard Nolting: Good morning.
Hilario Morris: Morning.
Dave Bennett: Good morning.
Miguel Keely: Uh before I start with the meeting I have a few things to tell you about the the setting we're in, uh because we're uh being watched by uh Big Brother. So um
Dave Bennett: By Big Brother?
Miguel Keely: Yeah. Yeah.
Dave Bennett: Okay.
Miguel Keely: This uh These are cameras, so are these.
Dave Bennett: Mm-hmm.
Miguel Keely: This thing uh that looks like a pie, are
Dave Bennett: Yeah.
Miguel Keely: actually all microphones.
Dave Bennett: Okay.
Miguel Keely: So you must be careful with uh with uh all this. uh as I can you uh you have placed your laptops uh place where must be. And that has to do with the camera settings, so we don't have our uh laptops in front of the cameras.
Dave Bennett: Of our faces.
Miguel Keely: And Indeed. So they can see our faces. Okay.
Miguel Keely: Welcome at the kick-off meeting. My name is uh Danny Wolfs. Uh this is the agenda for today. Uh first a little opening. Uh I will introduce myself, uh and uh I think it's very uh good to introduce uh yourself. Uh then uh a little bit of acquaintance, acquaintance to uh to to ourselves. So uh we get to know each other. Uh that will be done uh with a tool training from the he these two uh smart boards. Then the project plan. What we're going to do, and how we're going to do it. Uh and discussion about that and a little closing at the end. Okay uh, my name is uh Danny Wolfs. I'm Miguel Keely. What's your name?
Richard Nolting: I'm Juergen Toffs I'm Richard Nolting.
Miguel Keely: User interface, okay.
Hilario Morris: Hi, my uh I'm Hilario Morris.
Miguel Keely: Industrial, yes.
Dave Bennett: I'm uh Tim. Um my function is Dave Bennett.
Miguel Keely: Okay, thank you. First a little about the project aim. Uh the the the aim is to make a new remote control. Uh maybe you have read uh read the website. It's a very uh, yeah, very uh ambitious uh company. They uh they wanna do something else. I w Uh there must be a new remote control. Uh first of all uh it must be original, uh and trendy. That's two things really uh close to each other. But at the same time uh user-friendly. And they have uh Yeah, that's uh very important uh for them. Uh there are three stages. There is a functional design. So uh what are we going uh to uh to do? What are we going to uh uh make f uh kind of functions in the remote? And why are we going to do it? Then the conceptual design. How are going to do it? And that's uh really global. Uh because at the detailed design, how, part two, uh we go uh to dig in uh really about how the the te the technical of If it's uh it's possible technical-wise. Uh each stage is uh uh is broken up in two uh two stages, individual work and a meeting. So it's uh it's very straightforward. Okay, the tool training. We have two smart boards. This one is for the presentations, the PowerPoint presentations or the Word presentation of whatever you uh you had. Uh and this is uh only for uh drawing. So uh we uh must let it uh stand on this uh this programme. This is called a smart board thing
Dave Bennett: Speaks for
Miguel Keely: uh
Dave Bennett: itself.
Miguel Keely: Yeah, it speaks for itself. Um and as you uh may have heard, the documents in the shared folder uh can be uh showed on this screen. Not in y the the My Documents. So if you wanna show something, put it in the shared folder. Uh This uh is very straightforward, with the save, the print, the undo, the blank, the select, the pen. Well, I don't uh gonna explain it all, because I think you know uh how it works. Um we must not forget uh everything we draw on here, uh all must be saved. We we may not delete anything. So uh if you have uh drawn something, save it. Never delete it. That's a very important uh thing. Okay. Uh little uh little kinda exercise to uh know each other. At uh the white board on the left. Every uh every one of us uh must draw our favourite animal, and uh tell uh tell us why we uh had uh chosen that animal. Uh important is that we use different colours, and uh different pen widths. Widths. Widths.
Dave Bennett: I have a question.
Miguel Keely: Yes?
Dave Bennett: Um this exercise,
Miguel Keely: Yeah.
Dave Bennett: um did the company board tell you to do it, or uh did you just make it up yourself?
Miguel Keely: No no no. It's uh it's uh I I
Dave Bennett: It's
Miguel Keely: I
Dave Bennett: part
Miguel Keely: must
Dave Bennett: of the
Miguel Keely: do
Dave Bennett: introduction,
Miguel Keely: it. Yeah, yeah, yeah.
Dave Bennett: okay.
Miguel Keely: 'Cause we uh really don't know each other, and uh it's kinda new. So getting used to each other, we can uh have a little fun then, before we
Dave Bennett: Okay.
Miguel Keely: uh dig in really to the hard stuff. That kind of thing. Would you start with drawing your uh favourite
Dave Bennett: Um,
Miguel Keely: animal?
Dave Bennett: yeah. I don't know really how it works. But maybe
Miguel Keely: Okay,
Dave Bennett: you can
Miguel Keely: okay.
Dave Bennett: show us first?
Miguel Keely: Yeah, okay. Drawing goes with uh this thing. Do not touch your hand on uh this little uh thingy here. That's uh important. So hold it uh like
Dave Bennett: You
Miguel Keely: this.
Dave Bennett: g you get electrocuted or
Miguel Keely: Yeah, kinda. So, um You must p p uh push a little uh Good. Because And uh wait uh wait a few seconds. so uh
Richard Nolting: Ach.
Miguel Keely: watch it. Oh yeah. Well I'm gonna paint in the red.
Richard Nolting: Ooph.
Miguel Keely: Oh. That's the background colour. Well, undo. Um The pen? No. One minute please.
Miguel Keely: Yeah, that's the one. Well, five. Okay. My favourite animal huh?
Dave Bennett: It's like Pictionary?
Miguel Keely: Yeah, you can guess what
Dave Bennett: The
Miguel Keely: it is.
Dave Bennett: the one who says it first gets a raise.
Miguel Keely: May uh paint uh next.
Dave Bennett: It's a pork?
Miguel Keely: No, it's not an orc. You don't see it uh at the ears?
Dave Bennett: Mm yeah, I have it at home.
Miguel Keely: You have an orc at home?
Richard Nolting: Very artistic.
Miguel Keely: Thank you. So it's a cat.
Dave Bennett: What's it called?
Miguel Keely: Simba.
Dave Bennett: Ah.
Miguel Keely: 'Cause uh we have a cat at home and he's called Simba. 'Cause
Richard Nolting: Okay.
Miguel Keely: he looks like the uh the the lion from The Lion King.
Dave Bennett: Miniature
Miguel Keely: So we
Dave Bennett: size?
Miguel Keely: uh found it kinda cool to uh name it after a lion.
Dave Bennett: Okay.
Miguel Keely: He's happy with us, so uh he's smiling.
Richard Nolting: Wow. He does have body uh
Miguel Keely: No, only the face. Because
Richard Nolting: Huh.
Miguel Keely: we have we have twen twenty five minutes.
Dave Bennett: Okay.
Miguel Keely: So we uh
Dave Bennett: We have to speed up.
Miguel Keely: Yeah.
Dave Bennett: Remember you use uh different colours, and different pen widths.
Miguel Keely: Yeah. Okay, who wants to go next?
Dave Bennett: I Okay.
Miguel Keely: Yeah? So choose a colour, choose a pen width and draw a
Richard Nolting: You don't have to change the colour and the pen width during
Dave Bennett: Save it.
Richard Nolting: uh the drawing. Or
Miguel Keely: Yeah.
Dave Bennett: You have to save it.
Miguel Keely: Save it, okay.
Dave Bennett: I've done it. New? 'Kay.
Richard Nolting: You have to draw uh push hard on the pen or uh
Dave Bennett: Mm uh Not really. Um
Miguel Keely: Kind of firm touch.
Dave Bennett: That one.
Richard Nolting: Oh. Uh hmm.
Dave Bennett: Yeah? Okay. Open. Which one is it? Smart board? Okay.
Richard Nolting: Okay.
Miguel Keely: Yeah.
Dave Bennett: And now?
Dave Bennett: Okay. Okay, thanks. 'Kay, I've speed up. 'Kay, that's fine. Line width.
Hilario Morris: By the way, why was your cat uh red?
Miguel Keely: Because uh my cat is red uh
Hilario Morris: Oh,
Miguel Keely: at
Richard Nolting: Oh.
Miguel Keely: home.
Hilario Morris: okay.
Miguel Keely: And I have red hair, so uh
Richard Nolting: It's
Hilario Morris: Oh,
Richard Nolting: a very
Hilario Morris: yeah,
Richard Nolting: bloody
Hilario Morris: sure.
Richard Nolting: cat.
Miguel Keely: must be red.
Richard Nolting: It's a frog.
Hilario Morris: No, it's a turtle.
Dave Bennett: It's not an apple.
Hilario Morris: Must be a dog.
Richard Nolting: A dog?
Hilario Morris: Yeah.
Dave Bennett: Hmm. Colour. Something like this. Smaller.
Richard Nolting: Huh? Oh, it is a turtle.
Miguel Keely: It is a turtle. Why a turtle? Why? Tim?
Dave Bennett: Um 'Cause I liked Teenage Mutant Hero Turtles.
Miguel Keely: You watched it a lot?
Dave Bennett: Uh?
Miguel Keely: You watched it a lot?
Richard Nolting: It's uh inside its shell. You'll be uh finished
Dave Bennett: No,
Richard Nolting: sooner.
Dave Bennett: it's uh
Miguel Keely: It's a scared turtle.
Dave Bennett: No no. It's coming up. Mm. Uh.
Richard Nolting: Wow.
Miguel Keely: Okay,
Dave Bennett: Something
Miguel Keely: Tim.
Dave Bennett: like this.
Miguel Keely: Thank you.
Dave Bennett: Okay, you know Very artistic.
Miguel Keely: Jurgen, you want to go next?
Richard Nolting: Yes. Okay.
Dave Bennett: Yeah?
Richard Nolting: Wha Thank you.
Dave Bennett: Here you go.
Richard Nolting: Yeah. Um How did it work?
Miguel Keely: Format?
Richard Nolting: Performance?
Miguel Keely: And then you have the the current colour, you can change. So no red or green.
Richard Nolting: And a pen?
Miguel Keely: And uh line uh width. I had five. Tim had Uh
Richard Nolting: Um
Miguel Keely: Tim, what kinda line width
Dave Bennett: Uh
Miguel Keely: did you
Dave Bennett: the
Miguel Keely: have?
Dave Bennett: big lines were like nine.
Miguel Keely: Okay. It's a dog.
Richard Nolting: Well, very good. I just
Hilario Morris: Uh.
Richard Nolting: uh thought I'd pick
Miguel Keely: Okay.
Richard Nolting: the easiest one.
Miguel Keely: Why a dog? You have a dog at home?
Richard Nolting: Well, we had a dog,
Dave Bennett: Uh,
Miguel Keely: Had
Dave Bennett: it's
Richard Nolting: a
Miguel Keely: a
Richard Nolting: few
Dave Bennett: p
Miguel Keely: dog?
Richard Nolting: years ago.
Miguel Keely: Yeah?
Richard Nolting: And and it, yeah, when it died we didn't get a new one or something.
Miguel Keely: Ah.
Dave Bennett: It's
Richard Nolting: But
Dave Bennett: pretty good
Richard Nolting: uh
Dave Bennett: uh
Miguel Keely: You have an artistic uh inner middle.
Dave Bennett: An artist.
Richard Nolting: Uh a Graphical User Designer, so
Hilario Morris: Hmm.
Richard Nolting: Hey.
Dave Bennett: Think you uh picked the wrong uh function. Wrong job.
Richard Nolting: Oh. No. Can work together. Ah colour.
Miguel Keely: So I think you can see it's real uh really a easy programme to use. Not difficult at all.
Dave Bennett: Wha
Richard Nolting: Well, it's
Miguel Keely: Okay,
Richard Nolting: okay.
Miguel Keely: thank you.
Dave Bennett: That's enough, thanks.
Miguel Keely: Janus?
Hilario Morris: Yeah, sure.
Miguel Keely: The last one?
Richard Nolting: Yeah.
Hilario Morris: Uh thanks.
Dave Bennett: I wonder.
Miguel Keely: Yeah. After a cat, a turtle and a dog. I think he's gonna draw an elephant.
Hilario Morris: but I'm gonna do something much more difficult.
Miguel Keely: Uh-oh.
Richard Nolting: Uh-oh. Oh, he is the artistic design.
Dave Bennett: I'm gonna design a remote uh remote control
Richard Nolting: Remote
Dave Bennett: animal.
Richard Nolting: control animal.
Hilario Morris: Exactly.
Dave Bennett: Oh.
Hilario Morris: Uh
Dave Bennett: Sorry.
Richard Nolting: Well with the interface, it might be easier to ha to draw here and
Dave Bennett: Yeah.
Richard Nolting: display there uh.
Dave Bennett: That that might be easier. But at the other hand, uh a pen like that is easy to hold in your hand, and
Miguel Keely: No.
Dave Bennett: I think it's easier to
Miguel Keely: Better
Dave Bennett: draw.
Miguel Keely: to draw with a
Dave Bennett: Yeah. With
Miguel Keely: with
Dave Bennett: a pen
Richard Nolting: Than
Dave Bennett: than with
Richard Nolting: on
Dave Bennett: a
Richard Nolting: the,
Dave Bennett: mouse
Richard Nolting: with
Dave Bennett: mouse.
Richard Nolting: Yeah, I m I mean like uh like
Dave Bennett: Mouth.
Richard Nolting: on here, drawing drawing
Dave Bennett: Oh,
Richard Nolting: uh.
Dave Bennett: okay.
Richard Nolting: And then
Dave Bennett: Yeah.
Richard Nolting: displaying
Dave Bennett: W
Richard Nolting: on screen,
Dave Bennett: with
Richard Nolting: but
Dave Bennett: this paper
Miguel Keely: But what
Dave Bennett: it's too
Miguel Keely: is he
Dave Bennett: mu
Miguel Keely: uh?
Dave Bennett: too expensive.
Richard Nolting: Too expensive,
Miguel Keely: Is it a rabbit?
Richard Nolting: yeah.
Hilario Morris: Yes.
Miguel Keely: Do you have a rabbit at home?
Hilario Morris: No.
Dave Bennett: It's a rabbit
Richard Nolting: A
Dave Bennett: with
Richard Nolting: green
Dave Bennett: uh
Richard Nolting: rabbit.
Dave Bennett: broken legs?
Miguel Keely: Is
Hilario Morris: No.
Miguel Keely: it a white rabbit f It's the white rabbit from The Matrix.
Hilario Morris: Yeah, exactly.
Miguel Keely: Okay, then
Richard Nolting: There,
Miguel Keely: yeah.
Richard Nolting: the g white green rabbit.
Hilario Morris: So.
Richard Nolting: He's a little bit stoned there.
Hilario Morris: Uh I figured this is a pretty b good impression of a rabbit.
Dave Bennett: Yeah. It
Hilario Morris: Uh
Dave Bennett: will
Hilario Morris: uh
Dave Bennett: do.
Hilario Morris: Uh well.
Miguel Keely: Okay. Finishing touch and then we're going further.
Dave Bennett: Project Manager? Uh
Miguel Keely: Yeah?
Hilario Morris: Where does the pen go? Just
Dave Bennett: Have
Hilario Morris: uh
Dave Bennett: you been uh counting the time?
Miguel Keely: Yeah, a little.
Dave Bennett: Okay. Let's go on then.
Miguel Keely: Well, I think the dog is the the most uh
Hilario Morris: Uh I figured
Miguel Keely: artistic.
Hilario Morris: the rabbit was actually the most uh impressive.
Miguel Keely: Don't choose for youself.
Hilario Morris: Oh,
Miguel Keely: That's
Hilario Morris: sorry.
Miguel Keely: selfish. Okay,
Dave Bennett: It's pretty
Miguel Keely: now we're
Dave Bennett: abstract.
Miguel Keely: gonna dig into the to the serious stuff. Uh the selling price for the remote will be uh twenty five Euro, and the production cost uh may not be more than uh twenty and a half Euro. So uh from my point of view, I don't think it's uh gonna be very uh very high tech, high definition, uh ultra modern uh kinda remote, for twelve uh fift uh twelve and a half Euro. Uh the profit we must make with uh the new remote is uh fifty million Euro. So that's a lot. We have to sell uh a lot of uh
Richard Nolting: Yeah, how much is it?
Dave Bennett: Like how much?
Richard Nolting: Hundred million uh remotes
Miguel Keely: Uh
Richard Nolting: or something?
Miguel Keely: I think uh w when the selling price is twenty five,
Richard Nolting: Oh
Miguel Keely: uh
Richard Nolting: yeah.
Hilario Morris: Twenty million.
Miguel Keely: uh you got two million,
Hilario Morris: Two million, oh yeah, two
Miguel Keely: two
Hilario Morris: million.
Miguel Keely: million remotes.
Hilario Morris: Yeah.
Miguel Keely: But our marketing range is uh, market range is international. So we have uh virtually the whole world we can sell uh we can sell our r remotes to. At least that uh countries which have uh
Dave Bennett: Yeah.
Miguel Keely: a television. Um So now it's time uh for us to uh going uh to discuss a little uh things. You can think about uh experience with a remote control uh yourself, at home. What you think might be uh a useful uh new feature. What uh what can distinguish our new trendy remote control from all the others. Um so uh let's uh let's uh discuss a little. I'm gonna join you at the table. Well what what's the most uh important thing at a remote control?
Richard Nolting: Um well I think the most important thing of a remote control is that you can switch channels. And my opinion is you should keep it as basic as possible.
Miguel Keely: Okay.
Richard Nolting: Uh
Miguel Keely: So not a not a remote control who uh uh which can uh can be used for television and a D_V_D_ and radio and Or
Dave Bennett: Yeah.
Miguel Keely: just only
Dave Bennett: I think so. Uh but I have some points. Can I show them on the on the big screen?
Miguel Keely: If you
Dave Bennett: Maybe?
Miguel Keely: have them on uh I
Dave Bennett: Yeah.
Miguel Keely: can uh
Dave Bennett: Yeah, I can find Uh.
Miguel Keely: Okay.
Miguel Keely: Oh, in case you want it This is a dead kind of fly. Between the the the, yeah, the the uh
Dave Bennett: Screen?
Miguel Keely: Yeah, be
Dave Bennett: Okay.
Miguel Keely: The screens.
Richard Nolting: Is it possible to open pen drawings in this uh on
Miguel Keely: No
Richard Nolting: this
Miguel Keely: no
Richard Nolting: screen?
Miguel Keely: no. Only All the drawings go there, at the left uh
Richard Nolting: Uh but um which The ones we made on the
Miguel Keely: Oh, that pen drawings. Uh no, I think uh when it is uh in Word and you have saved it in the Shared Documents folder, you can show it there.
Richard Nolting: Oh, only in Word, okay.
Miguel Keely: Yeah.
Dave Bennett: Okay, I have some uh points from marketing point of view.
Miguel Keely: Yeah.
Dave Bennett: Um just the standard thing li things like uh intuitive, uh small, fairly cheap. Uh it's pretty cheap, twenty five Euros. Uh brand independent. Um I think, it doesn't have to matter uh which brand your T_V_ or
Miguel Keely: Yeah.
Dave Bennett: other thing is. Um
Miguel Keely: Okay. Five minutes.
Dave Bennett: Five minutes? Okay,
Miguel Keely: Yeah.
Dave Bennett: I'll wrap it up quickly. Um I personally think it has to be multi-purpose. Uh most
Miguel Keely: Yeah.
Dave Bennett: of the remote c uh remote controls are uh just for one purpose.
Miguel Keely: Yeah.
Dave Bennett: And uh by making it multi-purpose, it uh has a new feature, adds a new feature to the market, and distinguish from uh from current products.
Miguel Keely: Mm-hmm.
Dave Bennett: Um maybe some other technology than infrared. Uh I rather find it very annoying um, like when someone is standing in front of the T_V_ then you can't switch it. Um think about um sending it over radio waves or bluetooth.
Miguel Keely: Okay. Okay.
Dave Bennett: That might be a little bit uh expensive. Um And something like an L_C_D_ screen.
Richard Nolting: For what purpose?
Dave Bennett: Um uh like I said here um Maybe it's easy. It's nice as an added feature feature, that um, when you're on a certain channel, you can see on the L_C_D_ screen uh what programmes are
Miguel Keely: Okay.
Dave Bennett: coming up or
Miguel Keely: So it be uh a multi-purpose uh very technically uh high uh
Dave Bennett: From my point
Miguel Keely: remote?
Dave Bennett: of view, yeah.
Miguel Keely: Yeah, it must be really uh innovative, technical-wise?
Dave Bennett: Yeah, it has to be uh Yeah, our company is very uh good in making new
Miguel Keely: Yeah.
Dave Bennett: innovative uh things.
Miguel Keely: So yeah,
Dave Bennett: So
Miguel Keely: I
Richard Nolting: We
Dave Bennett: i
Miguel Keely: I agree
Dave Bennett: i
Miguel Keely: with you.
Dave Bennett: i
Miguel Keely: So
Dave Bennett: i
Miguel Keely: we must focus on things who are really uh really add something to uh to
Dave Bennett: To the current market.
Miguel Keely: Yeah.
Dave Bennett: Look, you got some cheap uh remote controls there. They just uh Yeah, you got a dozen of 'em.
Miguel Keely: No.
Dave Bennett: But when you enter a new market with a remote control
Miguel Keely: Mm-hmm.
Dave Bennett: and uh wanna gain market share
Miguel Keely: Yeah.
Dave Bennett: you have to do something special,
Miguel Keely: Yeah.
Dave Bennett: I think.
Miguel Keely: But we have to keep an eye that it's Uh at the beginning of such a project, it's it's it's very uh cool to talk about, well, this would be cool, that would be cool.
Dave Bennett: Yeah.
Miguel Keely: Uh but we must not uh lose uh sight of the the user uh uh friendly uh
Dave Bennett: Yeah, of course.
Richard Nolting: And and
Dave Bennett: But
Richard Nolting: the
Dave Bennett: it's
Richard Nolting: price.
Dave Bennett: But but this is just from marketing uh
Miguel Keely: Yeah okay.
Dave Bennett: aspect.
Miguel Keely: Yeah.
Dave Bennett: I don't
Miguel Keely: Okay.
Dave Bennett: know anything about user interface or
Richard Nolting: Okay.
Dave Bennett: design.
Miguel Keely: And that's because we have him.
Hilario Morris: And and him.
Richard Nolting: And him.
Miguel Keely: Okay, uh next meeting will start in thirty minutes. So uh you uh will have uh individual actions where I presume uh will be some feedback, uh via the m the mail. Um the the the Industrial uh Designer has to uh look at the working design. Uh Richard Nolting has to look at the technical functions. So
Richard Nolting: Yeah.
Miguel Keely: that's the
Richard Nolting: Um
Miguel Keely: thing we uh discussed.
Richard Nolting: one
Miguel Keely: Yeah?
Richard Nolting: thing uh, we must first agree on uh what we're going to m going to make. Do we Are we going to use um it it for multiple systems? Or uh We should have some agreement on that
Miguel Keely: Okay.
Richard Nolting: before we
Miguel Keely: Um
Dave Bennett: Mm
Miguel Keely: wha
Dave Bennett: uh I I don't think we have to be, we have to agree on that. Uh
Hilario Morris: I figure
Dave Bennett: I think
Hilario Morris: we could get
Dave Bennett: th that's
Hilario Morris: back to
Dave Bennett: a
Hilario Morris: it
Dave Bennett: pha
Hilario Morris: on the next meeting actually.
Dave Bennett: Yeah. That's a phase
Richard Nolting: Okay.
Dave Bennett: further.
Hilario Morris: Yeah.
Dave Bennett: Ju just uh make some mock-ups, some some general ideas.
Richard Nolting: Ah okay.
Dave Bennett: And and then we can plan Yeah.
Miguel Keely: Yeah.
Dave Bennett: We can plan further,
Miguel Keely: Yeah.
Dave Bennett: I think.
Miguel Keely: But maybe, because uh you are working on the user requirements, you are working on the technical functions, we uh must uh have a little or kinda uh uh uh How do you call it?
Richard Nolting: Consensus
Miguel Keely: Uh
Richard Nolting: on the, what
Miguel Keely: Uh
Richard Nolting: we're gonna
Miguel Keely: a little
Richard Nolting: do.
Miguel Keely: plan on on what we're going to do. So you don't uh uh come up with the user requirements who don't fit the the the the technical functions at all. Some basic things we co we want to going to do. Uh I think that's well uh Yeah. Will come in handy.
Dave Bennett: Mm yeah. I don't
Richard Nolting: Yeah.
Dave Bennett: know. You decide.
Miguel Keely: Okay.
Dave Bennett: You're Miguel Keely.
Miguel Keely: W He says
Richard Nolting: Well yeah, if the technical functions have to be designed, I I've gotta know for what kind of machines
Miguel Keely: Yeah.
Richard Nolting: they will be. Or do we use it a text screen? Or uh will it be with uh with bluetooth
Miguel Keely: Well,
Richard Nolting: or
Miguel Keely: th that's that's really a step further. But
Richard Nolting: Okay.
Miguel Keely: if you say uh is it uh uh one way or multi-purpose,
Richard Nolting: Mm-hmm.
Miguel Keely: that's
Dave Bennett: Uh tha
Miguel Keely: a
Dave Bennett: that's a same step further.
Hilario Morris: Yeah,
Miguel Keely: Why?
Hilario Morris: actually it is.
Dave Bennett: Yeah.
Miguel Keely: Why?
Hilario Morris: Then looking at
Dave Bennett: Uh.
Hilario Morris: individual components, so
Dave Bennett: Yeah.
Hilario Morris: that's actually a f step
Miguel Keely: Yeah.
Hilario Morris: further.
Dave Bennett: Like we all have a list of uh things that has to b that have to be in it, or how it has to be like. And then in the next meeting
Miguel Keely: Yeah.
Dave Bennett: we decide
Hilario Morris: Yeah, we
Dave Bennett: w
Hilario Morris: can
Dave Bennett: what
Hilario Morris: take it from
Dave Bennett: it's
Hilario Morris: there.
Dave Bennett: gonna be.
Hilario Morris: Yeah,
Miguel Keely: Okay.
Hilario Morris: I agree
Dave Bennett: A
Hilario Morris: uh, we can take it from there.
Dave Bennett: And then you s then you can delete uh
Hilario Morris: Or edit.
Dave Bennett: the o the obsolete uh
Miguel Keely: Okay.
Dave Bennett: details.
Miguel Keely: So
Dave Bennett: I think.
Miguel Keely: uh each individually i individually uh must think on what's uh at uh his point of view is the most important.
Dave Bennett: Yeah.
Miguel Keely: And uh then we're going to fit uh all the pieces together the next meeting.
Dave Bennett: Yeah.
Miguel Keely: I must finish off now, so it's over. You uh will receive specific specific instructions uh by your personal coach. And I see you in uh thirty minutes.
Hilario Morris: Okay,
Richard Nolting: Okay.
Miguel Keely: Thank you.
Hilario Morris: cheers.
Richard Nolting: Sorry.
Dave Bennett: Damn.
Miguel Keely: Be careful.
Richard Nolting: Yes.
Dave Bennett: Success?
Richard Nolting: Yeah.
Richard Nolting: No. Come up. | The participants introduced themselves and their roles to each other. Miguel Keely introduced the aim of the project and gave a brief agenda for the entire project. He then introduced and explained how to use the meeting-room materials. The group acquainted themselves with the materials by drawing on the smartboard. Miguel Keely presented the project budget and explained that the device would not be made very high-tech due to the small budget. He explained that the device would be sold internationally. The group discussed their initial ideas of features to include in the design; Dave Bennett discussed usability features, such as the ability to control multiple devices and an LCD screen, to make the product unique. Miguel Keely instructed Hilario Morris to work on the working design and Richard Nolting to research the technical functions. The group discussed the timing of when they would make decisions on the features discussed. | 5 | amisum | train |
Tony Johansen: Hello.
Marc Metelus: Hey guys.
Mike Laughman: Hi.
Bradford Glasby: Hi.
Tony Johansen: Hi.
Mike Laughman: I see my bunny is still standing
Tony Johansen: Yeah.
Mike Laughman: No. one drawing
Tony Johansen: It's
Mike Laughman: it.
Tony Johansen: too beautiful.
Bradford Glasby: Yeah,
Mike Laughman: Uh
Bradford Glasby: true.
Mike Laughman: I figured uh that much.
Marc Metelus: Too wicked.
Bradford Glasby: Mm.
Tony Johansen: A minute please, my uh laptop is uh oh, there it is, thank you.
Tony Johansen: So welcome back. At the functional design meeting um the plan is uh that uh each one of you, so not Marc Metelus but only you uh will uh present uh the the things you worked on uh the last uh half hour. I will uh take minutes and will put uh the minutes that I have at the end of the session in the shared. Also the minutes of the previous session are also in the shared folder now, so you can read that uh now or afterwards. Um uh I had an email from the from the management board uh, I don't know if you a al also uh received it, but there were four points uh which uh I think are very important. First one is uh they think that uh teletext teletext becomes outdated uh and internet will be the the main uh focus. Uh second one is also important uh, because it's one of the discussion points of the previous session. Uh the remote control shou should onl only be used for the television, so it uh not gonna it's not gonna be a multi-purpose remote control, so uh that's one thing to keep in mind. Uh second, and I think that's important for the Marketing uh Expert, uh the current uh customers uh are in the age group group of uh forty years and older, but with this uh new remote uh they uh will uh would like to reach uh a group uh younger than uh forty. Uh and uh I think to keep in mind, but not really uh for now is that they uh want the the the slogan and the and the logo uh to uh to be recognised more in the remote. So, we have uh forty minutes, so I think uh not more than ten minutes uh uh per presentation uh each, and please uh use uh all the the the facilities so that you have either SMARTboards, the the Word files, what you uh whatever you want. So uh Tim, can you start?
Marc Metelus: Okay.
Tony Johansen: Yeah?
Marc Metelus: 'Kay, welcome. I have some uh new findings on uh Marketing Expert
Bradford Glasby: Mm-hmm
Marc Metelus: level, which I will show you. The method I used was um giving orders to our usability lab uh to do a questionnaire. Um one hundred respondents were involved and my marketing uh department generated a report with a lot of results. Um, these were a couple of findings, first page of three. Um, we have three audiences of two audiences, I'm sorry. Uh the first one, this scale, from sixteen to forty five age. Uh the second one is from sixty four uh forty six to sixty five. Um, as you can see here, the market share for the first audience is about sixty percent um sixty five. Uh second audience audience is uh thirty five percent. Mm and some interests from the from the age groups, uh it seems like the young users of remote controls really like the fancy uh new technology stuff, like uh an L_C_D_ screen on the remote control, um speech recognition. I don't think that's uh really appropriate. Um, and when you see uh the audience, the age is going up uh Yeah, they don't really want it anymore, at least the new technologies. Second findings out of the questionnaire um are the opinion the opinions uh of the audience about current remote controls. First point is, seventy five percent of the users find the most repo remote controls very ugly, uh and eighty percent of the users would spend more money when a remote control would look fancy. So that's maybe something for the User Interface uh Designer. Okay, third findings. According to the frequency of use versus importance investigation, um following buttons are most important. Um, I will tell something about the way this uh this test was, yeah, done. Um, persons were asked uh what the buttons were uh they use most,
Tony Johansen: Mm-hmm.
Marc Metelus: how much an hour, and uh in the second table the importance of those buttons. Um, when you multiply them, you get the these three points. Switching channels, um yeah, that's pretty uh pretty normal, that's what you do with a remote control. Um the second, teletext, uh and the third, uh volume controls. Um, I think it's good uh that we know what the user want wants, uh at least the these three points have to be uh very
Tony Johansen: But
Marc Metelus: clear.
Tony Johansen: it's strange that the the manage board the management board said that the teletext will be uh outdated by the internet.
Marc Metelus: Yeah,
Tony Johansen: So
Marc Metelus: okay.
Tony Johansen: that that's strange.
Marc Metelus: Yeah, okay, but uh at the moment uh teletext is Yeah, th the best thing you can get uh on T_V_,
Tony Johansen: Yeah, okay.
Marc Metelus: like getting information. So
Tony Johansen: Yeah.
Marc Metelus: uh, when you ask people, what do they use, they use teletext and not
Tony Johansen: Okay.
Marc Metelus: the internet on a remote control.
Tony Johansen: Yeah, okay.
Marc Metelus: That's ridiculous.
Tony Johansen: Yeah.
Marc Metelus: That's a ne i it It's a new technology, but
Tony Johansen: Yeah.
Marc Metelus: it's not incorporated right now. Okay, my personal preferences. Um, I think we should aim at the uh audience from sixteen to forty five. Mm, first of all um it's the biggest share, the biggest audience, sixty five percent. Uh second, I think you will get the most revenue from i from it. Um, yeah, people from sixteen to forty five watch a lot of T_V_, more than uh people who are el uh elder. Um second point, we have to impro improve the most used functions, as I said here, switching channels, teletext and volume controls. Third point um that came out of the uh of the questionnaire, uh people used to uh get lost off the remote controller, so maybe it's an idea for us uh to design ex kind of placeholder
Tony Johansen: Yeah, that's
Marc Metelus: uh
Tony Johansen: a cool idea.
Marc Metelus: on side of the, yeah, of the T_V_ where you can put the the remote control in. Um, that's about it, I think. Yeah.
Mike Laughman: When you mentioned uh improving functions, what uh what do you mean by that
Marc Metelus: Uh
Mike Laughman: what
Marc Metelus: not not
Mike Laughman: what are
Marc Metelus: the
Mike Laughman: you think
Marc Metelus: r
Mike Laughman: about?
Marc Metelus: not the functions, but
Mike Laughman: Uh, the
Marc Metelus: uh
Mike Laughman: funtionability.
Marc Metelus: it came out that a lot of buttons weren't even used uh on a remote control. So you can have a remote control full of buttons, a hundreds hundreds of buttons, but if you don't use them,
Tony Johansen: Yeah.
Marc Metelus: yeah it's
Mike Laughman: Ah okay, so focusing more on the used
Marc Metelus: Yeah,
Mike Laughman: buttons.
Marc Metelus: they have to be on it
Mike Laughman: Yeah.
Marc Metelus: j just to t to get it done if necessary, but um the most used buttons uh have to be bigger or
Mike Laughman: Could you use perhaps uh one button for multiple functions, like example pressing it in longer makes it switch to an different function for
Marc Metelus: Yeah,
Mike Laughman: example.
Marc Metelus: perhaps. Just
Mike Laughman: Thank you.
Marc Metelus: for the minor functions perhaps.
Mike Laughman: Yeah, ma perhaps just, just an idea.
Marc Metelus: Just to get less buttons on the remote control, to make it easier and quicker to learn.
Mike Laughman: Yeah.
Marc Metelus: Yeah? 'Kay, that's it.
Tony Johansen: Thank you, Tim.
Mike Laughman: Uh
Tony Johansen: Janus, can
Mike Laughman: yeah
Tony Johansen: you
Mike Laughman: yeah,
Tony Johansen: uh
Mike Laughman: I'll go, sure.
Mike Laughman: Right uh, I'll be uh explaining a bit about uh working design about uh the project. Well uh what I did was I dissected uh uh current remote controls and um I viewed how how they w looked, how they worked, uh what kind of components are involved, and how they are connected together. And uh after that I put up a scheme about how uh these things are organised and I'll show it to you in in a in a few seconds. And I'll explain a bit about uh how it works and how we could uh build one and why I think several possibilities uh that we discussed in the earlier meeting falls off. Um right. Uh well what I did was uh I I checked uh remote controls and the uh remote controls of today are all infrared, not like all probably know. And the thing about that is um the remote controls uh have to act as a T_V_ or uh a stereo or something, and those uh have a transmitter that's also focused on infrared, so if we want to uh build uh mm a remote control uh with Bluetooth for instance then uh the T_V_ should have Bluetooth too in order to communicate, so that would mean extra cost for the user and thus uh that's that wouldn't mean a a cheap uh remote control for us. So that's probably why most controls are still infrared. Furthermore they all have uh a a very simple structure, so that would probably uh mean lower costs and uh i that could mean for us a good thing uh 'cause uh well we we should be able to build a relatively cheap uh a cheap uh remote. Well uh as I mentioned ready, we have some Bluetooth Well it may be possible, but uh I figured it wouldn't be possible in within our budget, but that's not for Marc Metelus to decide, but that's maybe something for marketing to look into. F because uh well my personal opinion is uh is not to do uh Bluetooth or or radio waves, although
Marc Metelus: What do you think about uh incorporating Bluetooth or a radio uh receiver uh in the place-holder next to the T_V_, connected to the T_V_?
Mike Laughman: Yeah, actually
Marc Metelus: So
Mike Laughman: I have
Marc Metelus: it's
Mike Laughman: t
Marc Metelus: in the wrong product.
Mike Laughman: Yeah. Yeah, I actually I figured that would be that would be rather nice, but then you'd still have the uh the infrared function. So
Marc Metelus: Yeah.
Mike Laughman: in in theory you'd actually just move the problem,
Marc Metelus: Yeah.
Mike Laughman: but uh what I did uh think about was when you mentioned about the uh the cup-holder, is why not uh introduce a speech function like where is the remote. If somebody says, where is the remote, then it goes uh beep uh beep beep beep or something, I dunno, maybe uh
Marc Metelus: Yeah.
Mike Laughman: maybe something to look into, I dunno uh what the cost that something like that would be. But it may be uh may be something to explore. Uh I'll I'll just explain a bit of the components. Uh first you have the energy source. The energy source would be a battery, simple uh battery uh that you can find anywhere. I figured that would be best, 'cause when the battery uh stops functioning uh we could just uh use you could just go out and buy a new one. So we didn't and we don't have to do all uh to be too complicated about that. Uh the energy source is connected to the infrared button, but uh the infrared button uh works only via the chip and the subcomponent to uh the switch there is a switch uh between these. When the switch is pressed in a w on this this case it switches a button, when a button is prush pushed in, uh a electric current goes through here, and in uh immediately, a l a bulb lights up uh displaying to the user that something has happened. That's uh that's so the h user won't be um thinking, well uh did the button be pressed, w what happened uh. Or I press button but nothing's happening on the T_V_, so is is something wrong or something. So that's just to uh to to explain the of to to uh make it clearer to the user. Uh w well the signal goes via chip that's translated into uh electric sig uh electronic signals and then it's processed and then it's sent to the infrared bulb where it will be uh uh received on the receiving end. And those uh interpreted by the device, well in this case the television. Uh well my personal preferences here, well we have to keep it simple. Not too many uh gadgets and functions, just like you said uh well the most users n uh you have a lot of buttons and you u u use you don't use them, w spend more time on those. Uh I I think we should stick by with infrared transmitting and uh no receiving. So uh no input from the television. So I think we shouldn't be uh spending time on um teletext and st things like that, because when you uh want teletext on uh infrared you'd have to build in a receiver too, and so in order to receive the signals from uh what's on T_V_ and such. So I figure that would be uh spending too much money and time and
Marc Metelus: Um, yeah, maybe another problem uh, I think current T_V_s can even send
Mike Laughman: Yes,
Marc Metelus: infrared.
Mike Laughman: but what should we uh s I I I f I agree with you, but should
Marc Metelus: Huh.
Mike Laughman: we spend money or and time on building a receiver into the uh remote control?
Marc Metelus: Mm-hmm.
Mike Laughman: 'Cause that would be I mean extra components, extra
Marc Metelus: Yeah.
Mike Laughman: designs, um larger g uh remote control.
Marc Metelus: Yeah.
Mike Laughman: These all uh all stuff that we have to take in account. So I I my personal opinion is no no no receiver at all. Um,
Marc Metelus: Yeah.
Mike Laughman: well we should uh look into the design and the functionability. Like I said, uh use one button for instance for m multiple functions, or well uh just hide the few buttons o of switching it open or something, the usual uh stuff. And uh don't overbuild, we shouldn't make a big uh remote control for simple functions, but we we should stick to the basics. So that was my uh my personal opinion. And that was my uh my presentation uh
Bradford Glasby: Okay.
Tony Johansen: Okay, thank you Janus.
Bradford Glasby: Yes, I can go
Tony Johansen: You do?
Bradford Glasby: ahead.
Tony Johansen: The last presentation.
Bradford Glasby: Last presentation.
Tony Johansen: You have plenty of time,
Bradford Glasby: Okay.
Tony Johansen: Tim and uh Janus don't uh talk to ten minutes, so uh take your time. If you take your time too long I will uh eventually uh warn you.
Bradford Glasby: Well, I'm going to give a presentation abut some of the technical functions of these design and uh usability functions. Um what's my opinion about what's most important to combine the design, technical possibilities and the user friendliness in one, so if you um going to design a remote that looks good, that shouldn't weigh over the if it's possible to make, but also the user friendliness, so tha that's that's some of the main points. And another one is um the use um of many functions will will make it more difficult, so use as as little functions as possible or at least don't display them all at once on the same remote. If you have fifty functions
Marc Metelus: Hmm.
Bradford Glasby: you don't want fifty buttons uh t uh to be shown at the same time, 'cause when you visit an internet uh site you don't want fifty links uh to see, but maybe use a hierarch hierarchy uh structure. And uh well one of the ideas was maybe uh use touch screen, but s I don't know in how far
Marc Metelus: Hmm.
Bradford Glasby: that is possible, since we are sticking to uh um infrared and and the remote cannot receive anything, but uh we might uh consider that. Um well, of course I I hope this is all clear to you. If you you can use remote like this with all the functions, many functions, but Well, your thumb is a little bigger than th it than this. You have to be very careful what you push, and um if you're looking for teletext you'll be uh searching for half an hour from uh um yeah well, where is it? Where the hell he here I guess and, yeah, when you have to uh use something else. So just keep it simple, make clear buttons, easy to use. For example if you want to use a play and back and stop, that's very important. Um well this was because of our last discussion, if multiple machines are used, create easy switch between the machines, but um it's no longer uh applying. Well yeah, I prefer to use it only for T_V_ and um n uh not to give too many options and and if possible, uh the buttons should give a dr direct action, not first select
Tony Johansen: Uh you you just said um uh you wanted to to combine more functions in one,
Bradford Glasby: Yeah,
Tony Johansen: so
Bradford Glasby: and
Tony Johansen: uh
Bradford Glasby: so
Mike Laughman: Yeah,
Tony Johansen: you
Bradford Glasby: that's
Mike Laughman: but
Bradford Glasby: where
Tony Johansen: you
Bradford Glasby: the difficulties
Tony Johansen: want to keep it simple,
Bradford Glasby: lie.
Tony Johansen: but I think that if you want to do that, then you can't escape the the fact that there will be buttons uh which give s uh more options than one.
Bradford Glasby: Yeah,
Mike Laughman: Yeah.
Bradford Glasby: this so
Mike Laughman: Yeah,
Bradford Glasby: that's
Mike Laughman: but
Bradford Glasby: the thing you have to weigh against each other. Do we want to use a few options and might not be so or original,
Tony Johansen: Mm-hmm.
Bradford Glasby: or uh multi-purpose as we thought,
Tony Johansen: Okay.
Bradford Glasby: or do we want to use um many buttons.
Tony Johansen: Yeah.
Bradford Glasby: So um weighing those factors.
Marc Metelus: Hmm it's maybe an option uh if you use an L_C_D_ or a touch screen um, that in the middle are the the main keys, like displayed on the Uh yeah.
Bradford Glasby: The doesn't.
Marc Metelus: this? No? Yeah. Something like that. Okay, just uh in the middle the general functions, like play, uh channel switching,
Bradford Glasby: Yeah.
Marc Metelus: and then uh at the top or at the bottom, some menus like uh settings or that you can drop down.
Bradford Glasby: Yeah, but when all the questions I had Do we want to use uh a menu display on the T_V_? Or um does have to f everything uh be in remotes? 'Cause if you use
Marc Metelus: Mm.
Bradford Glasby: a memory display on the T_V_, you can simply push uh a more menu and then select the options you want to have and press okay. Uh so that's my recommendation,
Marc Metelus: Nah.
Bradford Glasby: if you use many options in one buttle button,
Marc Metelus: Mm-hmm.
Bradford Glasby: um display the menu on the T_V_ and
Marc Metelus: Yeah.
Bradford Glasby: don't um use combination of t of two buttons at the same time or pressing buttons three times for five seconds, is
Marc Metelus: Yeah.
Bradford Glasby: too complicated for most users.
Marc Metelus: I
Mike Laughman: Yeah,
Marc Metelus: think
Mike Laughman: but
Marc Metelus: so too, but and that's partly because um uh a lot of T_V_s have different menus, and when you have a particular menu uh at your device, uh it could be that don't correspond to the menu what's actually on T_V_.
Bradford Glasby: Yeah, that will be a problem.
Marc Metelus: Yeah.
Mike Laughman: Well you d you have to keep in mind that uh several T_V_s uh don't even have a menu structure, or they have a very simple menu structure, so you have to keep in mind that not all uh d not our remote won't be able to work on all televisions.
Bradford Glasby: Yes.
Mike Laughman: And that would be uh a
Bradford Glasby: So
Mike Laughman: considerable
Bradford Glasby: if
Mike Laughman: problem.
Bradford Glasby: we have to stick with current technologies and uh um well yeah, the restrictions of what's uh is on the market today,
Mike Laughman: Yeah.
Bradford Glasby: um you should keep it s at this. Use big clear buttons. Not too many. So maybe we'll loose a few option uh options, but I think i this is more important. Um especially the important buttons, um if you want to switch channel, change your volume, uh use teletext, it uh it has to work at once and more advanced options may be
Mike Laughman: Not embed
Bradford Glasby: put it s somewhere away on the remote, behind uh
Mike Laughman: Yeah,
Bradford Glasby: a
Mike Laughman: but
Bradford Glasby: little
Mike Laughman: then with something
Bradford Glasby: uh
Mike Laughman: like a touch
Bradford Glasby: little
Mike Laughman: screen
Bradford Glasby: thing
Mike Laughman: could
Bradford Glasby: or a touch
Mike Laughman: could make
Bradford Glasby: screen.
Mike Laughman: more menu up pop up or
Bradford Glasby: And
Mike Laughman: something.
Bradford Glasby: yeah, if you want to uh uh s put on stand-by or change the channel, that should always be possible to do. Not first change menu options or
Mike Laughman: Yeah.
Bradford Glasby: switch something. Um, well yeah, as you already told, give some feedback.
Mike Laughman: Yeah.
Bradford Glasby: If the user is pushing a button he should know if the television or n at least remote is reacting and not just that the batteries may be low. And um, well, my conclusion is uh is uh less is more, keep it simple. So uh maybe we should just ease down on the functionality to uh to keep it accessible on t because you all know, if there are a lot of function on the the television, some you you'll never know uh and never use, and
Marc Metelus: Yeah.
Bradford Glasby: therefore it's uh important if you want to change the volume or channel that is always accessible and easy and other functions um that are not so important um well you we should consider just not using them
Marc Metelus: Yeah. Uh, I think the idea uh about uh touch screen um is very good. Um, because recently uh I saw news item on T_V_ um about uh new telephones uh for elder people. Um, they have like a touch screen with uh really big pictures on it like uh uh call uh hang-up, um and that's a big ad advantage I think, because one the one hand uh you make the remote control compatible for elder users just by uh scaling up the pictures or something.
Tony Johansen: Mm-hmm.
Marc Metelus: It's uh very visual intended. What was I to say more?
Bradford Glasby: Maybe that's an option. Um keep the primary buttons visible.
Marc Metelus: Yeah.
Bradford Glasby: Uh make a remote that fits easily in the hands and for some design issues uh well, put a logo on it and maybe use it uh in some aesthetic uh aesthetic form. But uh th the important buttons m make them always accessible and pushable and clear and maybe use a touch screen, or if that's uh will become too difficult just uh like televi some o older telephones use a l uh maybe it's possible to to flip them open and uh just expand the number of options that are normally visible.
Marc Metelus: Yeah okay,
Bradford Glasby: Um
Marc Metelus: but but if you pick the the idea, the left idea
Bradford Glasby: Yeah.
Marc Metelus: then what's gonna be displayed on the touch screen?
Mike Laughman: The extra functions.
Bradford Glasby: The extra functions,
Marc Metelus: Yeah,
Bradford Glasby: you uh
Marc Metelus: but
Bradford Glasby: you
Marc Metelus: l
Bradford Glasby: just
Marc Metelus: like
Bradford Glasby: see
Marc Metelus: menu
Bradford Glasby: a menu
Marc Metelus: functions
Bradford Glasby: from
Marc Metelus: or
Bradford Glasby: system
Mike Laughman: Yeah.
Bradford Glasby: functions or teletext functions, and you just choose one, and then
Marc Metelus: Ah
Bradford Glasby: all
Marc Metelus: okay.
Bradford Glasby: all the options will become available and you just c s yeah t scroll through them.
Mike Laughman: Wouldn't it be better to make just one big touch screen,
Marc Metelus: Yeah, I
Mike Laughman: uh one
Marc Metelus: think
Mike Laughman: one
Marc Metelus: so.
Mike Laughman: small uh touch screen uh applet and uh I'll just make um uh let's say fifteen buttons on it, and uh we have three of those, uh actually just uh menus with sub-menus, with or sub-items,
Marc Metelus: Yeah.
Mike Laughman: sub-functions.
Bradford Glasby: Well um then I'd like to make a proposal. If you make one big touch screen,
Mike Laughman: Yes.
Bradford Glasby: use the same concept as here, keep the buttons
Mike Laughman: Yeah.
Bradford Glasby: always available
Marc Metelus: Yeah.
Bradford Glasby: and use the lower part of the touch screen for the rest.
Mike Laughman: Yeah,
Marc Metelus: Yeah.
Mike Laughman: yeah, like like the iPod idea that
Bradford Glasby: Yeah.
Mike Laughman: that we just saw. You just have a f a few selected buttons and uh a few menus, and with this idea you could actually make uh several you can also improve uh later on.
Bradford Glasby: Yes.
Mike Laughman: Uh uh I think that will be great.
Bradford Glasby: Okay.
Tony Johansen: So you think it's will be better to have a t kinda total touch screen.
Marc Metelus: Yeah, I think so.
Mike Laughman: Yeah, I wou I would actually go for
Tony Johansen: Jirun?
Mike Laughman: the
Bradford Glasby: Okay, I agree, but I think it's very important that they always um make the same buttons accessible, so use just for special options a part of the touch screen.
Marc Metelus: Yeah, of
Tony Johansen: Yeah.
Marc Metelus: course.
Mike Laughman: Yeah.
Bradford Glasby: And so um an elder designer picks up th the of an elder parents or
Tony Johansen: Yeah
Bradford Glasby: grandparent
Tony Johansen: yeah yeah.
Bradford Glasby: picks up the remote from the little child and who's all in the systems functions, you'll have to have the possibility to turn off the T_V_ or to switch the channel without um well using all the menu structures to get back to the primary functions.
Tony Johansen: Yeah.
Marc Metelus: Yeah, I had another uh idea about maybe parental control.
Bradford Glasby: Mm-hmm.
Marc Metelus: Um, like building in uh some kind of PIN code uh which allows uh parents to switch to all channels,
Bradford Glasby: Yeah.
Marc Metelus: uh but children uh if children don't don't know the PIN code,
Bradford Glasby: Yeah
Marc Metelus: they
Bradford Glasby: wh
Marc Metelus: can't switch to uh violent uh
Bradford Glasby: Is that possible
Marc Metelus: channels or
Bradford Glasby: to use
Mike Laughman: That
Bradford Glasby: or no?
Mike Laughman: is possible, that well
Marc Metelus: Th
Mike Laughman: that actually
Marc Metelus: there's
Mike Laughman: depends
Marc Metelus: just
Mike Laughman: on the television, but I
Bradford Glasby: Well,
Mike Laughman: think I
Bradford Glasby: yeah
Mike Laughman: figure
Bradford Glasby: well,
Mike Laughman: that would
Bradford Glasby: does
Mike Laughman: be
Bradford Glasby: it have
Marc Metelus: Ju
Bradford Glasby: to depend
Marc Metelus: just a simple
Bradford Glasby: on the television?
Marc Metelus: log-in, something
Mike Laughman: Well,
Marc Metelus: like that.
Tony Johansen: Yeah.
Mike Laughman: y you s you see the fi uh thing is when you buy a remote, you you set the uh channels,
Marc Metelus: Yeah.
Mike Laughman: the the channels are different on each te television, they
Marc Metelus: Yeah.
Mike Laughman: aren't set in a preset order, so uh if you uh lock on a remote, uh let's say channel fifteen,
Marc Metelus: Mm-hmm.
Mike Laughman: well channel fifteen on this television is different than channel fifteen on the other
Marc Metelus: Yeah,
Mike Laughman: television,
Marc Metelus: okay.
Mike Laughman: so that would be uh that would be
Tony Johansen: Yeah.
Mike Laughman: actually the main concern.
Bradford Glasby: Well, I
Tony Johansen: Yeah.
Bradford Glasby: think that he means that um maybe by some option uh make sure that um remote control and the T_V_ match, and then after that you can um use some s insert some passwords as being apparent that the children cannot use this uh
Marc Metelus: Yeah.
Bradford Glasby: change the settings of the T_V_, like colour and then volume and uh
Marc Metelus: Yeah, th that kind of stuff, but maybe um if you log in first as
Bradford Glasby: Mm-hmm.
Marc Metelus: a parent um, you address the the channels
Mike Laughman: Yes.
Marc Metelus: and like uh oh, that's channel fifteen, that's uh vi violent channel,
Bradford Glasby: Oh,
Mike Laughman: Yes.
Marc Metelus: uh
Bradford Glasby: something
Marc Metelus: m my
Bradford Glasby: like
Marc Metelus: ki
Bradford Glasby: that.
Marc Metelus: my kids uh I don't want my kids to watch that,
Mike Laughman: Yeah.
Marc Metelus: then you set the priority to only parents,
Mike Laughman: Yeah.
Tony Johansen: Okay, yeah.
Bradford Glasby: Well
Mike Laughman: Yeah,
Bradford Glasby: b
Marc Metelus: for
Mike Laughman: that
Marc Metelus: example.
Mike Laughman: would b
Bradford Glasby: but make
Marc Metelus: But
Bradford Glasby: it a separate option in the menu,
Mike Laughman: Yeah,
Bradford Glasby: so
Mike Laughman: that.
Bradford Glasby: that it's
Marc Metelus: Yeah
Bradford Glasby: it's
Marc Metelus: okay,
Bradford Glasby: dif
Marc Metelus: but
Bradford Glasby: dis displayed
Marc Metelus: but
Bradford Glasby: from uh
Marc Metelus: yeah, that's
Bradford Glasby: displayed
Marc Metelus: just
Bradford Glasby: here, so uh
Marc Metelus: that's
Bradford Glasby: parents
Marc Metelus: an a
Bradford Glasby: uh
Marc Metelus: an added
Tony Johansen: Yeah.
Marc Metelus: feature.
Tony Johansen: Okay. But let's not uh go too wide about the those things, that's
Marc Metelus: Yeah,
Tony Johansen: that
Marc Metelus: th
Tony Johansen: why we're
Marc Metelus: th
Tony Johansen: here.
Marc Metelus: those
Tony Johansen: It's
Marc Metelus: things
Tony Johansen: it's
Marc Metelus: are
Tony Johansen: a nice
Marc Metelus: nice.
Tony Johansen: idea, but I think that's we wel later in the stage. I've one little question about um a total touch screen or uh um
Marc Metelus: Partial.
Tony Johansen: a p yeah, a partial, uh because I think uh elderly people may be uh not used to uh a touch screen, so they want the the the normal functions like teletext, volume changing, um
Marc Metelus: Yeah.
Tony Johansen: uh to be uh, yeah, kinda traditionals uh and uh the the the the other functions, the more
Marc Metelus: Mm-hmm.
Tony Johansen: difficult functions uh to be uh maybe on the touch screen, but to keep this as uh normal as possible, to keep it
Marc Metelus: Yeah,
Tony Johansen: accessible.
Marc Metelus: but but if you display it on L_C_D_ screen with r r really big numbers
Bradford Glasby: Yeah, you can de display it on
Marc Metelus: that's
Bradford Glasby: the
Marc Metelus: just
Bradford Glasby: on the
Marc Metelus: as
Bradford Glasby: old
Marc Metelus: e
Bradford Glasby: style.
Mike Laughman: Uh. I
Bradford Glasby: You
Marc Metelus: just
Bradford Glasby: can
Mike Laughman: I do
Bradford Glasby: display
Marc Metelus: as easy.
Tony Johansen: Yeah.
Bradford Glasby: actual buttons on the
Tony Johansen: Yeah,
Bradford Glasby: touch screens.
Tony Johansen: that's
Mike Laughman: Uh
Marc Metelus: Yeah.
Tony Johansen: true,
Mike Laughman: I
Tony Johansen: that's
Mike Laughman: do agree,
Tony Johansen: true.
Mike Laughman: because well, it's just not the same when you touch a touch screen or when
Bradford Glasby: Yeah,
Mike Laughman: you touch
Bradford Glasby: okay.
Mike Laughman: a button, but
Marc Metelus: Yeah, it's different.
Mike Laughman: well we have to look at what's our target uh audience. W
Tony Johansen: Yeah.
Mike Laughman: we are aiming for younger people
Tony Johansen: Yeah,
Mike Laughman: and
Marc Metelus: Yeah,
Tony Johansen: that's
Mike Laughman: they they
Tony Johansen: true,
Mike Laughman: chose
Tony Johansen: yeah.
Marc Metelus: age b below forty.
Tony Johansen: Yeah, yeah yeah,
Mike Laughman: So
Tony Johansen: yeah,
Mike Laughman: that's
Tony Johansen: that's
Mike Laughman: that's
Tony Johansen: a good
Mike Laughman: probably
Tony Johansen: point.
Mike Laughman: uh a
Tony Johansen: Yep.
Marc Metelus: And th those young people, yeah. Y you
Tony Johansen: Mm-hmm.
Marc Metelus: saw it in my marketing report, they like the new fancy
Tony Johansen: They
Marc Metelus: stuff,
Tony Johansen: like the
Marc Metelus: so
Tony Johansen: fancy stuff, yeah. That's
Marc Metelus: A touch
Tony Johansen: true.
Marc Metelus: screen, like Microsoft al already developed something like that for
Tony Johansen: Mm-hmm.
Marc Metelus: uh uh multi-media applications.
Tony Johansen: Mm
Marc Metelus: I th I think we can do that too.
Tony Johansen: Yeah. Okay, as you can see uh the minutes from the second meeting, this one, are uh are
Marc Metelus: Done.
Tony Johansen: done. Uh I've uh added the this uh four things from the management board just to keep in mind.
Bradford Glasby: Mm-hmm.
Tony Johansen: Um each time I uh I had a sort of uh summary on what you told and uh what you personal think. Uh so that can be uh can be read out. Uh a f a few things I uh I noticed uh were um Moment. Ooh.
Tony Johansen: Uh th the the main points in uh this uh uh in this uh meeting is I think uh how uh it's going to look uh with uh we must keep it simple, but have the opportunity to uh have more options and have them uh hidden or something, so they don't uh you don't have a big uh thing full of uh buttons the point that uh you uh wanna use one uh controller uh for uh uh hypothetically each television, so you must uh the the the the functions, know, like the menus or the the parental control must be all uh by the done by the remote control and not by the television. I think that's the point what uh
Bradford Glasby: Mm-hmm. Yes.
Tony Johansen: we discussed.
Marc Metelus: Yeah, yeah, some of them. The menus uh are not identical for all th for all T_V_s, so you have to display it on
Bradford Glasby: Well
Marc Metelus: one uh T_V_.
Bradford Glasby: you can use um when you uh how do you call it, s um synchronized, the um remote and the T_V_,
Marc Metelus: Yeah, but that's not
Bradford Glasby: then
Marc Metelus: possible.
Bradford Glasby: there's always, there are always uh possibilities to change the colour and the brightness and the volume
Marc Metelus: Mm-hmm, mm yeah.
Bradford Glasby: and um well maybe we can look out if there's options that the remote um in its memory can see what kinda T_V_ it is, from ah, it's a Philips, this and this and that, and then give the options that are capable the capable
Tony Johansen: Yeah,
Bradford Glasby: from
Tony Johansen: but you
Bradford Glasby: the
Tony Johansen: have
Bradford Glasby: t
Marc Metelus: Add
Tony Johansen: uh
Marc Metelus: th that
Tony Johansen: uh
Marc Metelus: that's
Tony Johansen: an
Marc Metelus: an opportunity.
Tony Johansen: yeah, but you have an international market range, so you have I think
Bradford Glasby: Well
Tony Johansen: a
Bradford Glasby: there
Tony Johansen: big
Bradford Glasby: are
Tony Johansen: range
Bradford Glasby: universal
Tony Johansen: of
Bradford Glasby: d um um remotes
Tony Johansen: Yeah.
Bradford Glasby: and they all have a functionality for all the T_V_s, uh so this
Marc Metelus: Yeah.
Bradford Glasby: wouldn't
Tony Johansen: Okay.
Bradford Glasby: be a
Mike Laughman: But
Bradford Glasby: extra
Mike Laughman: they
Bradford Glasby: feature to
Marc Metelus: But
Bradford Glasby: incorporate the men menus
Tony Johansen: And it's
Bradford Glasby: of these.
Tony Johansen: not too complex to do it.
Mike Laughman: Well
Marc Metelus: No.
Mike Laughman: they uh they all have to be programmed to fit your T_V_
Tony Johansen: Yeah.
Mike Laughman: and that that is bit of a tricky job.
Bradford Glasby: Yeah.
Mike Laughman: I actually use one of those when They are they are kinda kinda troublesome, but but the thing is whe when you uh start uh building something like this you have to build a receiver into the uh t into the remotes, because uh in order for the remote to process something from the T_V_,
Bradford Glasby: Yeah.
Mike Laughman: like uh
Bradford Glasby: Well
Mike Laughman: to synchronise
Bradford Glasby: Yeah.
Mike Laughman: and you have to send and receive,
Bradford Glasby: Mm-hmm.
Mike Laughman: and
Bradford Glasby: Oh
Mike Laughman: that's well
Bradford Glasby: um
Marc Metelus: No no no.
Bradford Glasby: mo no, you can just
Tony Johansen: Just
Marc Metelus: He
Bradford Glasby: say
Marc Metelus: he
Tony Johansen: build
Bradford Glasby: uh
Tony Johansen: it
Marc Metelus: he
Tony Johansen: in.
Marc Metelus: he Marc Metelus he
Bradford Glasby: the
Marc Metelus: means
Bradford Glasby: c
Marc Metelus: just just one other thing.
Bradford Glasby: Yeah.
Marc Metelus: Uh, with the current remote controls,
Mike Laughman: Yeah.
Marc Metelus: the universal ones,
Mike Laughman: Yes.
Marc Metelus: um you have to press
Bradford Glasby: In codes, y
Marc Metelus: yeah,
Bradford Glasby: you you
Marc Metelus: you have
Bradford Glasby: get
Marc Metelus: to press
Bradford Glasby: a
Marc Metelus: a code
Bradford Glasby: b a book
Marc Metelus: for
Bradford Glasby: with
Marc Metelus: T_V_.
Bradford Glasby: codes. You look up, I have a Philips H_ fifty
Mike Laughman: Yeah.
Bradford Glasby: five
Marc Metelus: Yeah.
Bradford Glasby: and it says press code
Mike Laughman: Oh, okay,
Bradford Glasby: four five
Mike Laughman: yeah, sure,
Bradford Glasby: five and you press
Mike Laughman: uh
Bradford Glasby: code four five five on the
Mike Laughman: Yeah yeah
Bradford Glasby: uh
Mike Laughman: yeah.
Bradford Glasby: in the remote and it displays all your uh menu options.
Mike Laughman: Oh, yeah yeah, sure, that would be possible,
Marc Metelus: Yeah.
Mike Laughman: yeah.
Marc Metelus: Now we uh just connect uh the T_V_ type uh to a set of
Bradford Glasby: Memory
Marc Metelus: options,
Bradford Glasby: in
Marc Metelus: in
Bradford Glasby: the
Tony Johansen: Yep.
Bradford Glasby: in
Marc Metelus: just
Bradford Glasby: the remote.
Marc Metelus: just in the memory,
Mike Laughman: Profiles.
Marc Metelus: so that if you yeah, like profile, so that if you uh touch in like uh one four one zero
Mike Laughman: Yeah.
Marc Metelus: kind of T_V_ uh the memory uh pops up the options.
Mike Laughman: Yeah. Yeah,
Tony Johansen: Okay.
Mike Laughman: that would be possible. Yeah, sure.
Marc Metelus: I th don't think that's uh that takes a lot of storage space or
Mike Laughman: No,
Marc Metelus: some
Mike Laughman: that wouldn't
Marc Metelus: just
Mike Laughman: be
Marc Metelus: varia
Mike Laughman: uh
Marc Metelus: variables.
Mike Laughman: Yeah,
Bradford Glasby: Yeah, well
Mike Laughman: a few
Bradford Glasby: um
Mike Laughman: variables.
Bradford Glasby: if you look at the um manuals from universal uh remotes, there are
Marc Metelus: Mm-hmm.
Bradford Glasby: maybe um three four hundreds T_V_s
Marc Metelus: Yeah.
Mike Laughman: Yeah.
Bradford Glasby: at maximum. If you have all of them, all the old and new T_V_s summed up, so uh I think uh it is possible.
Mike Laughman: Ah it is. It
Marc Metelus: But,
Mike Laughman: is definitely
Marc Metelus: on the other
Mike Laughman: po
Marc Metelus: hand
Tony Johansen: We have five minutes to go.
Marc Metelus: on the other hand, uh if you have a remote
Bradford Glasby: Yeah.
Marc Metelus: and buy a new T_V_ that isn't incorporated in the remote
Bradford Glasby: Well then you have to buy a new one, it's very good for marketing
Marc Metelus: New remote?
Bradford Glasby: Maybe, or an update, software update.
Marc Metelus: A firmware upgrade or
Bradford Glasby: Firmware
Marc Metelus: something,
Mike Laughman: Yeah,
Bradford Glasby: update,
Mike Laughman: firmware
Bradford Glasby: you say.
Mike Laughman: upgrade.
Marc Metelus: but from where? Ah. Maybe
Mike Laughman: That's maybe the
Marc Metelus: w
Mike Laughman: cup holder.
Marc Metelus: No m
Bradford Glasby: Yeah.
Marc Metelus: may
Mike Laughman: Yeah.
Marc Metelus: no, maybe we can incorporate some kind of uh U_S_B_ or a firewire connection, so that you can uh connect it to the P_C_ and download the newest firmware from uh from the internet.
Mike Laughman: Well, not everybody has uh has uh a P_C_ at home. Well the most most people have,
Bradford Glasby: Well,
Mike Laughman: but not not
Bradford Glasby: at
Mike Laughman: everybody
Bradford Glasby: uh you can
Mike Laughman: and
Bradford Glasby: go back to the shop and
Marc Metelus: Yeah,
Bradford Glasby: uh
Marc Metelus: like
Bradford Glasby: they
Mike Laughman: Yeah.
Marc Metelus: a s kind of service centre.
Bradford Glasby: Yeah, ser o
Mike Laughman: Yeah, maybe something like service
Bradford Glasby: and
Marc Metelus: Yeah.
Bradford Glasby: they can
Mike Laughman: cen
Bradford Glasby: download it for you.
Mike Laughman: Or you could well you could s actually look at the place-holder you talked about earlier, and
Bradford Glasby: Mm-hmm.
Mike Laughman: you could probably uh make a connection to uh an telephone line or
Bradford Glasby: Yeah.
Mike Laughman: a
Bradford Glasby: Well already
Mike Laughman: internet connection.
Bradford Glasby: digital information is sent t to the the standards, T_V_ uh
Mike Laughman: Yeah.
Bradford Glasby: connections, you can see what's uh programme is on on the new uh channels, so maybe j they we can send that information along with standard T_V_ uh
Mike Laughman: Well then then it's be uh back to the
Bradford Glasby: Receiving.
Mike Laughman: building a receiving uh
Bradford Glasby: Oh yeah.
Marc Metelus: Yeah.
Mike Laughman: well uh if it's actually worth it to build it in, we could actually look
Bradford Glasby: Yeah.
Mike Laughman: at into it, but I dunno, it it would be uh
Bradford Glasby: Difficult.
Mike Laughman: bringing more costs uh with with it and
Bradford Glasby: Yeah.
Marc Metelus: I I think it's uh most cheap or cheapest to just do the updates uh at the service centre
Mike Laughman: Yeah,
Bradford Glasby: Yeah
Marc Metelus: or
Mike Laughman: that would be
Bradford Glasby: yeah,
Marc Metelus: at
Mike Laughman: probably
Marc Metelus: the shop.
Bradford Glasby: uh
Mike Laughman: best,
Bradford Glasby: s
Mike Laughman: yeah.
Tony Johansen: Yeah.
Bradford Glasby: I think some I think
Mike Laughman: Like
Bradford Glasby: it's
Mike Laughman: when
Bradford Glasby: good
Mike Laughman: you when
Bradford Glasby: idea,
Mike Laughman: you buy
Bradford Glasby: yeah.
Mike Laughman: a T_V_ you just ask
Marc Metelus: It's
Mike Laughman: well
Marc Metelus: it's
Mike Laughman: I'll
Marc Metelus: it's not a lot of work, just one uh docking station where you put it in,
Mike Laughman: Yeah.
Marc Metelus: press start, bling bling, updated.
Mike Laughman: Yeah, that would be best,
Bradford Glasby: Yeah.
Mike Laughman: yeah.
Marc Metelus: Yeah.
Bradford Glasby: Yeah.
Marc Metelus: You don't buy a T_V_ every week,
Bradford Glasby: Okay,
Mike Laughman: No
Marc Metelus: new
Bradford Glasby: let's
Mike Laughman: no.
Marc Metelus: teev
Bradford Glasby: uh save
Mike Laughman: Exactly,
Bradford Glasby: this
Marc Metelus: so.
Bradford Glasby: in the meanwhile
Mike Laughman: so
Bradford Glasby: uh
Bradford Glasby: Um m for which one are we going? My mistake.
Marc Metelus: Let's vote.
Bradford Glasby: That one or uh
Mike Laughman: Yeah, my vote goes out to the right.
Bradford Glasby: Your vote and
Marc Metelus: My vote too.
Bradford Glasby: your
Tony Johansen: Yeah.
Bradford Glasby: Okay.
Marc Metelus: And your vote?
Bradford Glasby: Well, I was uh doubting about which one to take, but uh you've convinced Marc Metelus that uh if you di display buttons
Marc Metelus: Yeah.
Bradford Glasby: about the same as they would look on a normal um
Tony Johansen: Yeah.
Bradford Glasby: remote all elderly people will know what to do.
Marc Metelus: And also like a clapping uh li like device that uh
Bradford Glasby: Opens
Marc Metelus: pops
Bradford Glasby: up
Mike Laughman: Flips
Bradford Glasby: is
Marc Metelus: open.
Mike Laughman: open.
Bradford Glasby: too difficult or uh
Marc Metelus: Uh too difficult, um maybe uh it's easier to break it.
Tony Johansen: N yeah.
Bradford Glasby: Break it, I don't
Marc Metelus: Yeah,
Bradford Glasby: get
Marc Metelus: th th th that i uh
Tony Johansen: It's very sensitive.
Bradford Glasby: Oh
Marc Metelus: Yeah.
Bradford Glasby: so Yeah.
Marc Metelus: Like my telephone, it's uh it's sensitive too.
Tony Johansen: Yeah.
Bradford Glasby: Yeah.
Tony Johansen: Okay well uh it's almost at the end. So we have now a lunch break, finally,
Marc Metelus: Ah.
Tony Johansen: yeah. Uh after the lunch break uh it's back to uh individual work, once again uh thirty minutes. Uh I will put my minutes uh I have updated them so uh s they're updated in the shared folder too.
Marc Metelus: Thirty minutes?
Tony Johansen: Thirty minutes, the
Marc Metelus: How minutes?
Tony Johansen: Failure. Uh uh the specifi uh specific instructions for the next uh meeting you will all will receive uh at the uh the the email. I don't think I can uh say much about it, so uh uh wait for your email and uh hopefully you get it done uh in the in the thirty minutes, and I w will see you after the lunch break and the thirty minutes.
Marc Metelus: One question,
Tony Johansen: Yeah?
Marc Metelus: uh how late do we have to get back be back here?
Tony Johansen: Uh well uh thirty minutes.
Bradford Glasby: A quarter to one
Tony Johansen: Uh,
Bradford Glasby: maybe?
Tony Johansen: yeah.
Marc Metelus: Thirty minutes lunch break?
Tony Johansen: Thirty minutes lunch break, yeah.
Bradford Glasby: Okay.
Marc Metelus: I thought
Tony Johansen: Oh.
Marc Metelus: forty five.
Tony Johansen: Forty five?
Marc Metelus: Yeah.
Tony Johansen: Uh then would it be uh one o'clock.
Marc Metelus: Yeah.
Tony Johansen: Or we
Marc Metelus: Okay.
Tony Johansen: we ask our personal coach.
Marc Metelus: Yeah.
Tony Johansen: Okay. Thank you. Thank you, uh that was a very uh good session I think,
Bradford Glasby: Yeah,
Tony Johansen: we
Bradford Glasby: is
Tony Johansen: uh
Bradford Glasby: it possible
Tony Johansen: we
Bradford Glasby: to store this on
Marc Metelus: Yeah,
Bradford Glasby: the share
Marc Metelus: Marc Metelus too.
Bradford Glasby: documents or
Tony Johansen: Uh
Bradford Glasby: what
Tony Johansen: ye well
Marc Metelus: Save as.
Tony Johansen: Yeah, because uh all uh things are uh stored in smart board dot uh
Marc Metelus: Yeah, v
Tony Johansen: X_D_K_ and
Marc Metelus: But
Tony Johansen: that's in
Marc Metelus: but you can open a from your pr from
Bradford Glasby: 'Kay,
Marc Metelus: your
Bradford Glasby: save
Marc Metelus: laptop.
Bradford Glasby: it as an image on
Marc Metelus: Yeah,
Bradford Glasby: the
Marc Metelus: maybe.
Bradford Glasby: res
Marc Metelus: Save as.
Mike Laughman: Export.
Marc Metelus: No.
Tony Johansen: No.
Mike Laughman: Maybe not export function.
Marc Metelus: Export.
Tony Johansen: Well I
Marc Metelus: Export
Tony Johansen: can I can uh
Marc Metelus: H_T_M_L_.
Bradford Glasby: No, and use an image if possible.
Marc Metelus: Huh, image?
Bradford Glasby: J_ PEG.
Mike Laughman: G_ yeah, J_ PEG.
Bradford Glasby: J_ PEG. Yeah, it's better
Marc Metelus: Paper size A_ four. Uh screen size. In this
Bradford Glasby: Yeah.
Marc Metelus: directory.
Mike Laughman: N oh.
Bradford Glasby: Oh yeah, it's not connected to the
Tony Johansen: You all uh have
Bradford Glasby: to
Tony Johansen: the
Bradford Glasby: our P_C_s.
Tony Johansen: the questionnaire
Marc Metelus: No?
Tony Johansen: again about uh the after work.
Marc Metelus: Yeah, it is connected.
Bradford Glasby: It's connected?
Marc Metelus: Yeah, I think so.
Mike Laughman: To
Tony Johansen: Deskt
Mike Laughman: room.
Tony Johansen: Huh. No.
Mike Laughman: I'll just uh saved in my documents.
Marc Metelus: Oh.
Mike Laughman: Yeah in my own uh in my own messenger.
Bradford Glasby: Yeah.
Tony Johansen: Project documents,
Mike Laughman: Yeah.
Tony Johansen: yeah.
Bradford Glasby: It gives the na Oh. Yes.
Mike Laughman: Okay,
Tony Johansen: Okay,
Mike Laughman: nice.
Tony Johansen: thank you.
Bradford Glasby: The questionnaire, fill in uh we fill out d after lunch or uh
Tony Johansen: Uh well, it's it's simply filling oh no, it's uh it's also filling out no, I'd do it after lunch I think.
Bradford Glasby: Okay.
Tony Johansen: I'm hungry, so do it after
Mike Laughman: Aye,
Tony Johansen: lunch.
Bradford Glasby: Yes.
Tony Johansen: Thank you all.
Mike Laughman: cheers.
Marc Metelus: Thank you.
Tony Johansen: You're welcome.
Bradford Glasby: We can leave the P_C_ on I think, yeah and
Marc Metelus: Yeah,
Bradford Glasby: return
Marc Metelus: of
Bradford Glasby: to
Tony Johansen: Yeah.
Bradford Glasby: the
Marc Metelus: course.
Tony Johansen: Well I bring it to my uh personal room.
Bradford Glasby: Yeah, bring
Marc Metelus: To my
Bradford Glasby: to
Marc Metelus: exave
Bradford Glasby: I gotta
Marc Metelus: executive
Bradford Glasby: bring it home.
Tony Johansen: My executive uh big room with the
Bradford Glasby: A big office.
Tony Johansen: with the panting.
Bradford Glasby: Yes.
Marc Metelus: Aye.
Marc Metelus: Yeah. Okay. | When this functional design meeting opens Tony Johansen tells the group about the project restrictions he received from management by email. Marc Metelus is first to present, summarizing user requirements data from a questionaire given to 100 respondents. Marc Metelus explains various user preferences and complaints about remotes as well as different interests among age groups. He prefers that they aim users from ages 16-45, improve the most-used functions, and make a placeholder for the remote. Mike Laughman begins explaining the working design. He talks about existing products, most of which use infared since it is simple and cost-effective. He suggests adding a speech function, when someone asks where the remote is and it beeps. He also explains the various components, materials, and energy sources of a remote, giving preference to a remote with multifunctional buttons and without a receiver. The interface specialist presents, talking about the possible components of the remote and concluding that the remote should be simple and accessible without too much functionality. The group continues the meeting by having discussion about the possibility of a touch screen, LCD, and other functions. The group closes the meeting and goes to lunch. | 5 | amisum | train |
John Denman: Hello.
John Denman: Dang it.
Willis Gillis: And then you have to place your laptop on the marked spot.
John Denman: Alright.
Willis Gillis: It's important to place your laptop exactly on the marked spot over here.
Doug Delong: Okay.
Doug Delong: No, that's okay.
Doug Delong: your mouse.
John Denman: What?
Doug Delong: No mouse needed?
John Denman: I've got a touch-pad. Do you know
Doug Delong: Mm.
John Denman: how how I can wake it up?
Doug Delong: A touch-pad?
John Denman: No, my laptop.
Doug Delong: Slap it.
John Denman: You with your brilliant ideas. I don't know if I can touch the power button. Do you know how how I can wake
Doug Delong: Is
John Denman: it up?
Willis Gillis: No. Yeah. Try the power button.
John Denman: Oh. Come on, move it.
Doug Delong: Um
John Denman: Now, wake up, bitch.
Willis Gillis: Huh.
Doug Delong: F_ five. F_ five.
Cecil Greene: I've lost my screen. Uh
John Denman: Yeah, so did I. I closed
Doug Delong: I don't.
John Denman: it. That wasn that wasn't very smart, I guess. Get back to John Denman. Yes.
Cecil Greene: I closed the
John Denman: I closed it.
Doug Delong: You've got your name.
Willis Gillis: Yeah, my name is name.
John Denman: No, I didn't restart it, I just closed it. Yes.
Doug Delong: Hope it working.
John Denman: Alright.
Cecil Greene: No.
Doug Delong: Never close your laptop.
Willis Gillis: Yeah? Everybody's ready?
John Denman: Great.
Doug Delong: Yeah.
Willis Gillis: Great.
John Denman: Thanks.
Willis Gillis: Well, welcome to the kick-off meeting. I uh forgot to put my name over here, it's uh it's Martin. Uh, so you all know. Well, this is the agenda for today. Well, the opening I'm doing right now. Uh, we gonna do some acquaintance acquaintance things. Uh give some um examples of the tool training, project plan discussion and the closing. We have twenty five minutes. Okay, the project aim is to design a new remote control.
John Denman: Mm-hmm.
Willis Gillis: Uh, some of the oje objectives are that is has to be original, trendy, and user-friendly. So
Doug Delong: Okay.
Willis Gillis: now we all know what our goal is. Um, I oh forget I forget the whole acquaintance part, but we we all know each other. We all know each other's names. Joost,
John Denman: Yes.
Doug Delong: What
Willis Gillis: Guido,
Doug Delong: is your
Cecil Greene: Yes.
Doug Delong: name?
Willis Gillis: Antek.
Cecil Greene: Antek.
Doug Delong: Antek Ahmet.
Willis Gillis: Okay.
Doug Delong: And
Willis Gillis: I
Doug Delong: Joost.
Willis Gillis: think we uh al already uh
Doug Delong: Okay.
Willis Gillis: been through that part.
Doug Delong: Yeah.
Willis Gillis: Okay, it consists of uh three levels of design. Uh we begin with the functional design, then we go to the conceptual design and the detailed design. Every uh level of design consists of some individual work, and we uh close it with a meeting. You all received an email with a example of our explanation of what uh the particular level of design uh means to the different uh functions, and uh you p you probably read that already,
John Denman: Yes.
Doug Delong: Yes.
Willis Gillis: so I don't have to tell you about that. Okay, first we're gonna um uh gonna try some different things with the tools we have over here, so you get acquainted with these uh um uh meeting tools. We have the smart-boards, uh the thes those two boards. This is the presentation boards, wh which one I'm using right now. You can uh um there's a document folder called um the sh shared document folder. You can upload your uh documents to that folder and then you can open them over here, so you can do your PowerPoint presentations on this screen. We also have the white-board. Uh, we're gonna
Doug Delong: Can
Willis Gillis: skip
Doug Delong: we see the
Willis Gillis: through
Doug Delong: white-board
Willis Gillis: th
Doug Delong: on our laptops?
Willis Gillis: No, no. Just on the on the screen over there.
Doug Delong: that
Willis Gillis: Oh, no.
Doug Delong: X_B_K_
Willis Gillis: Probably is, but I don't
Doug Delong: but
Willis Gillis: know if the software is on the laptop. Is is if it's mainly a thing for in the meeting, so I don't
Doug Delong: Okay.
Willis Gillis: think it's I don't know if it's important. This an explanation of the smart-boards. There is a tool-bar over here. It's quite simple. You have the the pen function, eraser function. It's like a very simple uh paint application. Uh, we well, we use the same file during uh the whole day, and uh you can make new sheets by uh by pu puttin pressing on the blank button. It works like this. Oh. If pen is selected, yes. Oh, no no.
Doug Delong: With that pen?
Willis Gillis: It's not But it is pen. It's not working like a pen yet.
Doug Delong: Mm.
Willis Gillis: Huh.
Willis Gillis: Huh.
Doug Delong: Mm.
Willis Gillis: It's doing some stuff now.
Doug Delong: Little bit
Willis Gillis: So
Doug Delong: slower.
Willis Gillis: you can use a pen. You can use an eraser. And you can make new uh fi uh new blanks, and you can change uh the line width and the colour of the pen by pressing on forward, which y you have to select pen format. And then select current colour or line width. So, it's quite easy. Uh well, now you're all uh acquainted with the different tools. Right, we're gonna try out the electronic white-boards. Uh, every participant should draw his favourite animal and some of its favourite characteristics, on blank sheets with different colours, with different pen widths. Uh, I'll start off then. I'll use this uh same sheet. Alright. Oh, let John Denman think. Different colours. Oh.
Willis Gillis: Well, I'm gonna draw um a p piranha. Uh, a fish.
Doug Delong: piranha. Okay.
Willis Gillis: Uh.
Willis Gillis: Mm-hmm.
Doug Delong: Oh.
Willis Gillis: I'm gonna use some different colour now. Some a little white. Looks like a fish. Think it is. Oh.
Willis Gillis: Oh. Uh, colour. This is black? I think so.
Doug Delong: Yellow
Willis Gillis: Oh. Oh, this is just uh useless uh drawings but Oh teeth. I need teeth. Well, they're not supposed to be green, or whatever colour this is.
Doug Delong: Hmm.
Willis Gillis: Okay. What was uh I have su to sum up
Doug Delong: Different.
Willis Gillis: its favourite characteris Well, I like its uh sharp razor sharp teeth. Plus, uh the the big uh forehead and uh a small uh, well a small actual face. And I like its overall uh aggressive look and Well, that's what I like about uh piranha.
Doug Delong: Okay.
Willis Gillis: I think that's kind of what uh the intention should be. Well, who wants to be next?
John Denman: Nobody, I guess.
Doug Delong: I will
Willis Gillis: You
Doug Delong: try.
Willis Gillis: go, Guido?
Doug Delong: Yeah.
Willis Gillis: Okay.
Doug Delong: I will try. Uh
Willis Gillis: Uh, make a new sheet. Uh, it's by pressing on blank.
Doug Delong: Blank?
Willis Gillis: Yep.
Doug Delong: Okay. Then pen again?
Willis Gillis: Yep.
Doug Delong: Okay. Okay, um
John Denman: Format.
Doug Delong: control.
Doug Delong: Uh Ah, purple. Um, I don't know what my uh favourite uh animal is, but the easiest animal I can think is is a bird. Uh I will
John Denman: You know,
Doug Delong: That's my bird.
John Denman: I thought of that actually.
Doug Delong: Yeah?
John Denman: Yeah.
Doug Delong: Isn't it quite it's a little bit light. Uh, another colour maybe. A red one. A small one. Uh, line width. Two? Three. Oh that's okay. That's another one.
Willis Gillis: Well, tell us something about
Doug Delong: Ano
Willis Gillis: uh your favourite characteristics of these uh particular
Doug Delong: Uh
Willis Gillis: birds.
John Denman: Its simplicity.
Doug Delong: uh it's a Yeah, it's uh the most simple uh animal I know, I think. Um, I don't know. Maybe because uh there's there's some s uh free uh maybe in the sky
Willis Gillis: Oh, okay.
Doug Delong: or something like that.
Willis Gillis: Okay.
Doug Delong: Maybe a little bit. Yeah. I don't know.
Willis Gillis: Okay. No, uh
Doug Delong: So
Willis Gillis: it's clear.
Doug Delong: more uh birds?
Willis Gillis: N no no. We get your point.
Doug Delong: Okay,
Willis Gillis: Okay.
Doug Delong: okay,
Willis Gillis: Who wants to be next?
Doug Delong: okay.
John Denman: Yeah, whatever. I'll go next. Thanks. I haven't
Doug Delong: M
John Denman: got a favourite animal too, so
Doug Delong: Pictionary.
John Denman: Oh. What should I draw?
Doug Delong: A cow.
Willis Gillis: Oh.
John Denman: Thank you, I'll draw a penguin.
Doug Delong: Okay.
John Denman: Yeah. I'll draw a penguin. Whatever. I can't draw, so you can start to laugh already.
Willis Gillis: I'll do
John Denman: Whatever.
Willis Gillis: so.
John Denman: Something like that.
John Denman: Come on.
Doug Delong: Yeah, it's little bit hard.
John Denman: Mm hmm hmm, orange.
Doug Delong: Orange, of course.
John Denman: Whatever.
John Denman: Oh, it's better than your bird.
Doug Delong: Uh yeah.
John Denman: Everything's better than your bird.
Doug Delong: Yeah. True.
John Denman: Whatever. Hey, it's blue. No. Whatever. Um, I like its ugliness and uh Yeah, whatever. The way it walks or whatever.
Willis Gillis: Okay.
John Denman: Your turn.
Cecil Greene: 'Kay.
John Denman: Drawing.
Cecil Greene: I'm going to draw a cat. I don't know why, but a cat is a very uh smart animal. And you can have them at home. Which is not as the case with uh with bingwings and
Willis Gillis: Well, you can have a piranha at home.
Cecil Greene: Ye yes,
Willis Gillis: Huh.
Cecil Greene: yeah.
John Denman: Or a line.
Doug Delong: A little
John Denman: I
Doug Delong: bit.
John Denman: mean a bird.
Doug Delong: Yeah. Don't mess with my birds, yeah.
John Denman: Hmm. It's a handicapped
Cecil Greene: from
John Denman: cat.
Cecil Greene: it.
Doug Delong: cat.
Willis Gillis: I don't think uh I don't think uh Darwin would agree with that.
Cecil Greene: It's Ah, it's not scared. He's crying but
Willis Gillis: Okay.
John Denman: He's crying because it's ugl because of his ugliness.
Willis Gillis: What do you like about it then?
Cecil Greene: Uh it's i most cats are small.
Willis Gillis: Oh, okay.
Cecil Greene: You can handle them.
Willis Gillis: Okay. Okay. Okay,
Doug Delong: Okay.
Willis Gillis: and then we are uh through the tool training, I guess.
John Denman: I wouldn't call it training, but
Willis Gillis: Okay, this is uh something about the project finance. The selling price of our remote control is gonna be twenty five Euros. And our profit aim is fifteen million Euros. We're very ambitious on this one. The market range is international, so it's gonna be sold world-wide, and the production cost should be a maximum of twelve Euro fifty per remote control. So that's clear. Yeah?
Doug Delong: Okay.
John Denman: Alright.
Willis Gillis: Okay, we're now gonna discuss some stuff when well, we're gonna brainstorm about uh what kind of kemoro romo remote control it's gonna be. Uh, well tell John Denman about your experiences with the remote controls. Do you have uh know what good experiences with remote controls? Or do they
Cecil Greene: Yes.
Willis Gillis: annoy you sometimes? Are they difficult to understand, or maybe they don't interact with different kind of uh
Doug Delong: Hmm.
Willis Gillis: equipment
John Denman: I don't
Willis Gillis: very
John Denman: th
Willis Gillis: well?
John Denman: I don't think the four of us got problems with remote controls, but
Willis Gillis: Yeah,
John Denman: if
Willis Gillis: okay.
John Denman: you see elderly people, all these buttons, and then they buy new
Doug Delong: Different.
John Denman: T_V_ because their previous one was stolen or whatever.
Willis Gillis: Okay.
John Denman: And then a totally different remote control with with different functions on different places, and half of the functions a are removed, or whatever. Uh, so I think what we need is is a clear uh remote control with uh grouped buttons, you know. All th all the buttons which apply to the text functions in in one uh
Willis Gillis: Different functions
John Denman: Well,
Willis Gillis: of
John Denman: one
Willis Gillis: of
John Denman: area or
Willis Gillis: uh
John Denman: whatever, not like the button to enter text on top of the remote control and the button to um, yeah, to minimise it to this this or whatever o o
Willis Gillis: Okay.
John Denman: other functions totally somewhere else. I
Willis Gillis: Yeah.
John Denman: think we should group them. And same
Willis Gillis: Okay.
John Denman: for the for the volume buttons and the
Willis Gillis: And uh,
John Denman: the
Willis Gillis: is
John Denman: t
Willis Gillis: it gonna be a remote control that's um what it can be used for different kind of equipment, like your T_V_ and your
John Denman: Well
Willis Gillis: home
John Denman: I was
Willis Gillis: stereo?
John Denman: I was
Doug Delong: Yeah.
John Denman: thinking
Willis Gillis: Uh
John Denman: uh since a T_V_ is uh mostly used together with a V_C_R_ or D_V_D_ player or
Willis Gillis: Mm-hmm.
John Denman: recorder, and not with a stereo,
Willis Gillis: Mm-hmm.
John Denman: I think it should be good to include functions for V_C_R_s and D_V_D_ players,
Willis Gillis: But uh,
John Denman: recorders.
Willis Gillis: the D_V_D_ players and home cinema sets often
John Denman: Yeah.
Willis Gillis: double as stereo hi-fi sets probably. It's what, from
Doug Delong: But
Willis Gillis: my
Doug Delong: isn't
Willis Gillis: experience.
John Denman: I
Doug Delong: it
John Denman: don't know. Hi-fi set is uh
Willis Gillis: Okay.
John Denman: not often used uh as I know of in combination with television.
Willis Gillis: But we gonna
Doug Delong: It's only for television, I thought.
John Denman: Yes.
Doug Delong: Not
Willis Gillis: Oh, it is only for televis
Doug Delong: I thought it was only for television. So
John Denman: Yes, it is only for television,
Doug Delong: so we
John Denman: but
Doug Delong: probably
John Denman: uh
Doug Delong: don't
Willis Gillis: So wha
Doug Delong: have
Willis Gillis: what
Doug Delong: to have to uh
John Denman: Well
Doug Delong: have
Willis Gillis: What
Doug Delong: the functions
Willis Gillis: wha
Doug Delong: for D_V_D_ player
Willis Gillis: what
John Denman: well
Doug Delong: or
Willis Gillis: uh
John Denman: we we're
Willis Gillis: what
John Denman: gonna
Doug Delong: V_C_R_.
John Denman: brainstorm
Willis Gillis: document
John Denman: about that. If we think it's useful, we do it.
Willis Gillis: But, where where did it uh Where did you find that?
Doug Delong: Uh, in the email.
Willis Gillis: Oh, okay.
John Denman: That's
Doug Delong: I thought
John Denman: right. It's a television
Doug Delong: it said
John Denman: remote
Doug Delong: uh
John Denman: control. But
Doug Delong: Yeah,
Cecil Greene: Yes,
Doug Delong: television
John Denman: I
Doug Delong: remote
John Denman: was thinking
Doug Delong: control.
John Denman: since it
Willis Gillis: Yeah,
John Denman: is
Willis Gillis: but
John Denman: useful
Willis Gillis: most
John Denman: with
Willis Gillis: television
John Denman: D_V_D_
Willis Gillis: remote controls support other functions as well.
Cecil Greene: Yes, that's
Willis Gillis: So we can
Cecil Greene: uh
Willis Gillis: No,
Doug Delong: True.
Cecil Greene: something
Willis Gillis: we
Doug Delong: Yeah.
Willis Gillis: have to
Cecil Greene: extras.
Willis Gillis: think about that.
Doug Delong: True.
Willis Gillis: Okay, uh
John Denman: Yep.
Willis Gillis: but uh we've gonna put some a uh is is it so user-friendliness, is a is a pri priority in this
John Denman: Yeah,
Cecil Greene: Yeah.
Willis Gillis: case,
John Denman: also
Doug Delong: Yeah,
John Denman: no
Willis Gillis: or
John Denman: one's gonna
Doug Delong: yeah.
John Denman: buy it.
Willis Gillis: Okay.
Doug Delong: Yeah.
John Denman: I guess.
Cecil Greene: Only the
Doug Delong: True.
Cecil Greene: experts.
Willis Gillis: Well,
John Denman: Yeah.
Willis Gillis: this the maybe is uh some aspect of the uh, or or some point at at which we can excel by making it very useful. That w Well, then you're you're the usability uh man, so this uh gonna be a
Doug Delong: Oh
Willis Gillis: very
Doug Delong: my
Willis Gillis: important
Doug Delong: God.
Willis Gillis: task for you then.
John Denman: Yeah.
Doug Delong: Okay.
Willis Gillis: Okay. Well, other ideas? How can we make it trendy or something? Do uh by
Cecil Greene: Uh,
Willis Gillis: just sh shape
Cecil Greene: to go
Willis Gillis: and the look
Cecil Greene: with
Willis Gillis: of it?
Cecil Greene: to go with fashion
Willis Gillis: Maybe
Cecil Greene: and
Willis Gillis: a can opener underneath it? I don't
Doug Delong: For the
Willis Gillis: know.
Doug Delong: bear.
Willis Gillis: Or someth something
Doug Delong: Uh
Willis Gillis: special, like uh M_P_ three player inside
Doug Delong: I
Willis Gillis: of it,
Doug Delong: I uh, no
Willis Gillis: or uh
Doug Delong: I
Willis Gillis: Oh,
Doug Delong: think
Willis Gillis: well
Doug Delong: it
Willis Gillis: then the production costs are gonna be too high probably.
John Denman: Yeah,
Doug Delong: Uh,
John Denman: way
Doug Delong: I
John Denman: too
Doug Delong: th
John Denman: high.
Doug Delong: I think yo we have to keep it simple, to
John Denman: Yep.
Doug Delong: get a whole market. It's international,
Willis Gillis: Okay.
Doug Delong: so
Willis Gillis: Maybe with different
Doug Delong: we have
Willis Gillis: type
Doug Delong: to use
Willis Gillis: of fronts
Doug Delong: a standard.
Willis Gillis: or uh Well, m has to be something
John Denman: Well that's an idea of course, yeah.
Willis Gillis: spectacular or uh one which makes it We gonna skip back to the goals probably. Uh,
John Denman: Mm-hmm.
Willis Gillis: original, trendly, and user-friendly Well, we al also already talked about user-friendliness.
Doug Delong: Hmm.
Willis Gillis: No, well something trendy and original, well that that goes hand in hand I guess.
John Denman: Yeah.
Willis Gillis: When something is original, it tends to be trendy, probably, or we should make it combination of that. 'Kay, so you the um technical part of the process is something you're gonna look after for, so you have to think about what kind of uh equipment you want to uh, you know, you want to manage with it. Well, and that's an important part for you then,
Doug Delong: Use
Willis Gillis: with
Doug Delong: friendly.
Willis Gillis: gogors regards to the user-friendly
Doug Delong: Yep.
Willis Gillis: part of it. Well, and you uh should look out for what makes it trendy. Well, you know, y like some special feature. Or some Does it does it gets
John Denman: Yeah.
Willis Gillis: some gadgetness or something.
John Denman: Yes, what the market wishes.
Willis Gillis: Okay. Well, the closing. Next meeting starts in thirty minutes. Individual, I think so. The Cecil Greene will w or the working design, of course, we will uh Already s said that. Doug Delong is it a User Inter
Doug Delong: Yeah.
Willis Gillis: User
Doug Delong: Yeah,
John Denman: Yeah.
Doug Delong: yeah.
Willis Gillis: Interface
Doug Delong: Interface
Willis Gillis: the technical
Doug Delong: d
Willis Gillis: functions design. And the Management Expert of uh John Denman. User requirements specifi Well, this one was already clear to us. Specific instructions will be sent to you by your personal coach. I don't know how much time we have left. Oh, not many I guess. We started at twelve.
John Denman: You just got a message.
Willis Gillis: Oh, and what does it said?
John Denman: And it said
Doug Delong: Oh, I don't
John Denman: uh five minutes, so we
Willis Gillis: W
John Denman: got four and a half.
Willis Gillis: Okay, well um
Doug Delong: I didn't get a message.
John Denman: No. He's the
Doug Delong: Oh,
John Denman: whatever.
Doug Delong: the Project
Cecil Greene: Team
Doug Delong: Manager.
Cecil Greene: Leader.
Willis Gillis: No,
John Denman: Team
Willis Gillis: we're
John Denman: Leader.
Willis Gillis: uh ahead of schedule then.
John Denman: He is the whatever.
Willis Gillis: Yeah, close it. I'm
Doug Delong: Okay.
Willis Gillis: gonna make some minutes or take some minutes. And
John Denman: Yes.
Willis Gillis: uh it's it's clear you can put the stuff in the project documents presentations.
Doug Delong: Okay.
Willis Gillis: You can all
John Denman: Project
Willis Gillis: Or we're
John Denman: joc
Willis Gillis: all uh
John Denman: project documents is for showing uh on the white-board.
Willis Gillis: Yeah. Yeah,
John Denman: Yeah.
Willis Gillis: but we're all familiar with uh uh Microsoft PowerPoint, are
John Denman: Yes.
Willis Gillis: we?
Doug Delong: Yeah.
Willis Gillis: Yeah, okay. I'm
John Denman: Alright.
Willis Gillis: gonna wri uh write some stuff down and then we're ready.
John Denman: Okay.
Willis Gillis: Or we can leave already I guess. or
John Denman: Yeah.
Willis Gillis: uh or sh or should we uh or is important that we leave at exact uh
Cecil Greene: No.
John Denman: No.
Willis Gillis: Okay.
John Denman: I don't think so.
Doug Delong: I don't think
John Denman: Yes?
Doug Delong: Oh
Willis Gillis: Yes.
John Denman: Great.
Cecil Greene: Oh.
Willis Gillis: We'll see each other in uh thirty minutes.
John Denman: Yeah. Good luck.
Willis Gillis: Yeah, good luck.
Doug Delong: I will need it.
John Denman: I will need it. | John Denman and industrial designer had problems with their laptops. Willis Gillis opened the meeting and introduced the project, to design a remote control. The remote should be trendy, original and user friendly. Willis Gillis explained how to use the SMARTboard, and the group did a tool training exercise, using the SMARTboard to draw their favourite animals. Willis Gillis talked about the budget and projected profit. The group discussed initial ideas for the remote, including that it should be a simple design with grouped buttons. They discussed whether the remote should include functions for controlling video and DVD players. Willis Gillis went over the roles of the participants and closed the meeting. | 5 | amisum | train |
Michael Hollins: Okay, welcome to the detailed design meeting. Again, I'm gonna take minutes. Oh, we're gonna have a prototype presentation first. Uh, who's gonna give the prototype presentation? You two guys?
William Sites: Yes.
Michael Hollins: Okay. Go ahead.
Norbert Mason: coffee.
William Sites: 'Kay, we've made a prototype Um, we've got uh uh our aspects from the last meeting. Uh, especially we looked at the form, material and the colour. Um, we've uh drawn here the p prototype. The logo is uh is uh is pretty uh obvious to see on the on the remote control, but it is necessary when you want to build your uh company f to a level higher. Um, our interface elements, there are shown in the drawing. Maybe you can uh point them uh The functions.
Norbert Mason: Uh well, the uh all the functions are discussed uh I think the most of the functions are uh uh obvious. Uh, it's a little bit. Uh, power button. Uh then the the the nine uh channels. Uh the volume uh uh at the side, and the other side is the programmes. And then we had uh just uh two buttons, we place them in the middle, uh the menu, and for the teletext
Michael Hollins: Oh no,
Norbert Mason: that
Michael Hollins: the
Gary Vela: Alright,
Norbert Mason: was th
Michael Hollins: the
Gary Vela: I
Michael Hollins: the mute button misses now.
Norbert Mason: Oh,
Michael Hollins: Do y do
Gary Vela: Yeah.
Michael Hollins: you
Norbert Mason: the mute
Michael Hollins: did
Norbert Mason: button.
William Sites: But
Michael Hollins: we want
William Sites: uh
Michael Hollins: to
William Sites: that
Michael Hollins: have a m
William Sites: It's
Michael Hollins: mute button?
William Sites: uh here
Norbert Mason: Yeah.
William Sites: then, in the middle.
Gary Vela: Alright,
Michael Hollins: Huh.
Gary Vela: and uh you gotta point out which is the volume um uh button
William Sites: Yes,
Gary Vela: and
William Sites: um
Gary Vela: which is the programme button.
William Sites: we've
Norbert Mason: Well,
William Sites: disc
Norbert Mason: yeah mo uh mo Yeah, well most of them are right-handed.
Gary Vela: Yeah,
William Sites: Most
Gary Vela: but
William Sites: of
Gary Vela: you
William Sites: the users
Gary Vela: you gotta make it clear on the on
William Sites: Yes, y
Norbert Mason: Yeah
William Sites: there
Norbert Mason: well,
William Sites: there will be
Norbert Mason: I
William Sites: a p a
Norbert Mason: don't
William Sites: little
Norbert Mason: have time in
William Sites: a
Norbert Mason: uh
William Sites: little
Norbert Mason: anymore
William Sites: P_ on
Norbert Mason: on the
William Sites: that and
Gary Vela: Yeah,
William Sites: a little
Gary Vela: and a and
William Sites: uh
Gary Vela: a triangle
Norbert Mason: Oh yeah, just
Gary Vela: on that.
Norbert Mason: progr
William Sites: yeah.
Norbert Mason: programme
Gary Vela: Yes.
Norbert Mason: above,
Gary Vela: Next
Norbert Mason: I think.
Gary Vela: to that I kinda miss a zero actually.
Michael Hollins: Wait, there's was one thing I wanted to ask. Uh, there are different ways for remote to uh do like uh d I call it teens and twenties. Uh, y
William Sites: Yes.
Michael Hollins: th th th the two numbers.
Gary Vela: All n no, that's um
Norbert Mason: Yeah,
William Sites: It's a television.
Norbert Mason: true,
Gary Vela: kinda dependent
Norbert Mason: yeah.
Gary Vela: on the television.
William Sites: Yes.
Michael Hollins: Yeah,
Norbert Mason: Uh
Michael Hollins: but do we have do we need extra buttons, for example
Gary Vela: I
Norbert Mason: Uh
Gary Vela: think
Michael Hollins: some uh some
Norbert Mason: I
William Sites: Yes,
Norbert Mason: think
Michael Hollins: have to
Norbert Mason: so.
William Sites: yes, you have you have a lot of standard buttons that has to be uh on it, uh
Gary Vela: Yeah, I think
William Sites: th
Gary Vela: you
William Sites: with
Gary Vela: should
William Sites: the
Gary Vela: add
William Sites: one and a double
Norbert Mason: Zero?
William Sites: uh uh
Gary Vela: A cross, or whatever.
Norbert Mason: May
Michael Hollins: Yeah, but you
Gary Vela: Yeah,
Norbert Mason: maybe
William Sites: yes.
Michael Hollins: don't
Gary Vela: line.
Norbert Mason: here?
Michael Hollins: you don't actually need them, becau b l a lot of remote controls work that y when y that you when you fir you push the
Norbert Mason: Yeah.
Michael Hollins: one first, then
Norbert Mason: And
Michael Hollins: you
Norbert Mason: then
Michael Hollins: have
Norbert Mason: a second.
Gary Vela: No,
Michael Hollins: a
Gary Vela: that's
Michael Hollins: couple
Gary Vela: dependent
Michael Hollins: of seconds
Gary Vela: on the television.
Michael Hollins: No, I don't think so.
William Sites: Yes, you have
Gary Vela: I
William Sites: televisions,
Gary Vela: do know so.
William Sites: then you have to,
Norbert Mason: Is
William Sites: you
Norbert Mason: it
William Sites: know, you
Norbert Mason: depending
William Sites: have to
Norbert Mason: on television?
William Sites: uh press
Michael Hollins: Nah, I
Gary Vela: Yeah.
Michael Hollins: don't think so really, because you have a I know some remote controls that don't have these buttons, but you still can, know, obviously you can still
William Sites: Yes,
Michael Hollins: select the twenty uh
William Sites: but
Michael Hollins: a number in the
William Sites: but
Michael Hollins: twenty
William Sites: a lot
Michael Hollins: or
Gary Vela: Yes,
Michael Hollins: in the
William Sites: uh
Michael Hollins: ten.
Gary Vela: but uh uh no uh remote control nowadays are um they come with the television. Or actually, the other way around. But
Michael Hollins: No, I think uh I really think it's n because you can when when you put a button on it with like one and uh then a dash,
Gary Vela: Yeah.
Michael Hollins: it's the same thing as when you just push the one, because it i it first
William Sites: Yes, but
Michael Hollins: gives you the functionality of that that uh separate button you also had to
Gary Vela: Yeah,
Michael Hollins: uh
Gary Vela: well
Michael Hollins: apply.
Gary Vela: but su
William Sites: some
Gary Vela: If
William Sites: televisions don't accept uh
Michael Hollins: Yeah,
William Sites: that
Michael Hollins: because
William Sites: that
Michael Hollins: that's i it's for television. It's exact the same thing.
William Sites: No, no, but
Gary Vela: No no no. So some
William Sites: s
Gary Vela: television respond differently. Look, if uh i
Michael Hollins: No,
Gary Vela: i
Michael Hollins: listen listen. When you push the button, the remote control gives a signal. I in th in the first place
Gary Vela: Yes.
Michael Hollins: it gives a signal which it would also send when you put a separate button on it.
Gary Vela: Yes, that's
Michael Hollins: The one
Gary Vela: true.
Michael Hollins: with dash, that signal gi and when y whe when you don't push another button on the remote control within five seconds, then the remote control
Norbert Mason: Yeah.
Michael Hollins: gives a signal for channel one.
Norbert Mason: True.
Gary Vela: No
Michael Hollins: I think it works that way,
Gary Vela: No, it
Michael Hollins: really.
Gary Vela: it it works uh if you haven't got uh a special button for it, uh if you push a one, then on your television there will appear a one and a a line,
Michael Hollins: Yeah, but it's exact
Gary Vela: which is
Michael Hollins: the same
Gary Vela: an empty space.
Michael Hollins: that w would
William Sites: Yes,
Michael Hollins: appear
William Sites: but
Michael Hollins: when
William Sites: some
Michael Hollins: you put a separate button
William Sites: some
Michael Hollins: push
William Sites: old
Michael Hollins: a separate
William Sites: televisions
Michael Hollins: button.
William Sites: uh you have to uh click on uh a special button, uh then you go to a a next level, you can push two buttons.
Michael Hollins: Yeah, but you don't
Gary Vela: Yep.
Michael Hollins: underst uh you don't
Gary Vela: True.
Michael Hollins: understand my point. I think
William Sites: You want
Michael Hollins: it's exact the same thing
William Sites: Yes,
Michael Hollins: when
William Sites: but
Michael Hollins: y
William Sites: some television don't support it.
Michael Hollins: No, but
Norbert Mason: But
Michael Hollins: then
Norbert Mason: the ex
Michael Hollins: they would a would also support that button, because it's the same thing. Listen, with that that's that special but button you're talking about, eh? That's just a signal to recei ju they send a t signal to the v tv T_V_ that they have to put a one in on your screen and a dash, which you can pu so you can uh still put another number on it. When you don't have that separate button, and you push y one, it's exactly the same thing. Do y you the remote control gives that same signal
Gary Vela: No, s
Michael Hollins: as
Gary Vela: some
William Sites: No,
Michael Hollins: it would
William Sites: a remote
Michael Hollins: give
William Sites: can
Michael Hollins: when
Gary Vela: some
Michael Hollins: you only
Gary Vela: televisions
Michael Hollins: had
Gary Vela: need the input first
Michael Hollins: Yeah.
Gary Vela: uh
William Sites: Yes, so
Gary Vela: and
William Sites: they
Michael Hollins: But
William Sites: need
Michael Hollins: you
Gary Vela: and
Michael Hollins: give
Gary Vela: you c
Michael Hollins: the input.
William Sites: no, they
Michael Hollins: You
William Sites: need
Michael Hollins: push the one. That's the same thing as the button
Gary Vela: No, that's
Michael Hollins: with
Gary Vela: not
Michael Hollins: the one
Gary Vela: true.
Michael Hollins: and it
Gary Vela: It's
Michael Hollins: yes it
Gary Vela: simply
Michael Hollins: it is.
Gary Vela: not
Michael Hollins: Think
Gary Vela: true.
Michael Hollins: about it.
Gary Vela: It's simply
Norbert Mason: Yeah.
William Sites: No,
Gary Vela: not
William Sites: but
Gary Vela: true.
Norbert Mason: You
Gary Vela: Uh
Norbert Mason: uh you can
William Sites: uh
Norbert Mason: wai when you push the one you can show on the telly a one and just a dash,
Michael Hollins: And it's the same
Norbert Mason: and then
Michael Hollins: thing
Norbert Mason: wait
Michael Hollins: what happens
Norbert Mason: uh
Michael Hollins: and
Norbert Mason: two
Michael Hollins: a g remote
Norbert Mason: uh seconds
Michael Hollins: control
Norbert Mason: or something
Michael Hollins: gives another signal after five seconds that is just one.
Gary Vela: No, remote control doesn't give signal after five seconds. Remote control is a stupid thing. If you push a button, it sends
Michael Hollins: Yeah,
Gary Vela: it
Michael Hollins: that's
Gary Vela: immediately
Michael Hollins: true.
Gary Vela: to to the television.
Michael Hollins: Yeah, but I m uh but it's I I know for sure that some televisions that w th th the
William Sites: Yeah,
Michael Hollins: remote
William Sites: it
Michael Hollins: control supplied, only ha has the c these buttons with a one and a dash and a two and a dash, but when you use a bu a n remote control that doesn't sport these buttons, it still works. But okay,
Gary Vela: No,
Michael Hollins: we
Gary Vela: definitely
Michael Hollins: we'll impl
Gary Vela: not.
Norbert Mason: We'll discuss
Gary Vela: Definitely
Norbert Mason: them
Gary Vela: not.
Norbert Mason: in the usability lab.
Michael Hollins: No, we'll apply
Norbert Mason: Uh eva
Michael Hollins: them then
Norbert Mason: evaluation.
Michael Hollins: for now.
Norbert Mason: I don't know uh I don't know if if it's
Michael Hollins: Yeah, app
Norbert Mason: it's
Michael Hollins: just apply
Norbert Mason: necessary.
Michael Hollins: them next to the zero, the one and the
Norbert Mason: Yeah?
Michael Hollins: two. Yeah, I think so. Yeah, for now, if we don't know for sure whether
Norbert Mason: Okay.
William Sites: And
Gary Vela: Yes.
William Sites: the button for the SCART uh
Norbert Mason: Ach.
William Sites: audio video uh external
Michael Hollins: Yeah but
William Sites: input.
Gary Vela: Uh, you can access
Michael Hollins: okay.
Gary Vela: that uh via zero, and
Michael Hollins: What
Gary Vela: then
Michael Hollins: I said
Gary Vela: minus,
Michael Hollins: about
Gary Vela: I
Michael Hollins: uh
Gary Vela: guess.
Michael Hollins: the remote control sending
Gary Vela: Yeah.
Michael Hollins: another signal, that that might
Norbert Mason: Yeah.
Michael Hollins: not be true, but I still think i it it all T_V_s in some ways support it, I don't know.
William Sites: No, no.
Michael Hollins: I think it's more c is m maybe we don't uh we both don't really understand how it i how it really works, but I think there's more to in than wha
William Sites: Uh,
Michael Hollins: than
William Sites: remote
Michael Hollins: what you
William Sites: control
Michael Hollins: just said.
William Sites: sends one signal at one button uh press.
Michael Hollins: I do think that uh m
William Sites: Uh,
Michael Hollins: T_V_s
William Sites: some
Michael Hollins: support mur multiple kind of remote
William Sites: N
Michael Hollins: controls.
William Sites: some televisions
Michael Hollins: M
William Sites: when when you want to go further than uh ten
Michael Hollins: Th won't work wi
William Sites: No,
Michael Hollins: with
William Sites: you
Michael Hollins: uh
William Sites: have to you have to
Michael Hollins: to
William Sites: uh
Michael Hollins: have that
William Sites: give
Michael Hollins: special
William Sites: the television
Michael Hollins: button.
William Sites: uh two or more signals. When you uh press one button, you give one signal. And the older televisions need more signals to go a level higher. But
Gary Vela: Yep.
Michael Hollins: Okay, well we'll see.
William Sites: When you make the technology that that it will uh give more signals, it could work, but Just a basic idea of of of the most uh most y most common uh and simple uh operations on the
Gary Vela: Okay.
William Sites: remote.
Gary Vela: I kinda miss the docking station.
Norbert Mason: Yeah.
William Sites: Yes. It's here on the
Norbert Mason: Well it yeah, uh there's nothing
William Sites: We came
Norbert Mason: I
William Sites: uh
Norbert Mason: think it's pretty basic, the the there's
William Sites: Yes.
Norbert Mason: no fu there's
Gary Vela: No
Norbert Mason: one
Gary Vela: nothing
Norbert Mason: there's one
Gary Vela: really
Norbert Mason: button,
Gary Vela: trendy about it.
Norbert Mason: that's wha there's there's there's one function and that's n the one
William Sites: But
Norbert Mason: button
William Sites: maybe we can
Gary Vela: The
Norbert Mason: when
Gary Vela: button.
Norbert Mason: you want to find
William Sites: maybe
Norbert Mason: it.
William Sites: we can make the docking station uh uh a bit standard for for uh the other products we sell, because Real Real Reaction sells more products than only remote controls.
Gary Vela: Yep.
William Sites: So maybe we can uh use the docking station, for example, uh M_P_ three players or or uh uh hearing devices.
Gary Vela: I think that's very difficult, because of different shapes of uh
William Sites: Yes, but
Gary Vela: uh
William Sites: when
Gary Vela: devices.
William Sites: you put that same volt voltages on it, you can put uh when
Gary Vela: Yeah,
William Sites: the
Gary Vela: of course.
William Sites: when the when uh o the the the lowest part of it, when
Gary Vela: Mm-hmm.
William Sites: it's o the same as the other products, you can put it all on the same uh
Gary Vela: Well it it got it it has got to fit into the shape, of course.
William Sites: Yes, but we can make
Gary Vela: The technology and the voltage can be the same. That's uh that's true. But uh i if you all make the m having a bottom like this,
William Sites: No, we
Gary Vela: then
William Sites: can
Gary Vela: they
William Sites: make
Gary Vela: all
William Sites: uh make
Gary Vela: fit.
William Sites: the most lowest part all the same.
Gary Vela: Yeah, that's true, but uh
William Sites: When when the the recharger has a has a bit what points out, we can place all on top of it.
Gary Vela: Yes, but
William Sites: Just
Gary Vela: uh
William Sites: have
Gary Vela: I
William Sites: to
Gary Vela: I
William Sites: be
Gary Vela: g
William Sites: big enough for the
Gary Vela: Shouldn't
William Sites: biggest
Gary Vela: it fall then? It isn't going to fall down? That's a bit uh yeah, I
William Sites: No,
Gary Vela: think
William Sites: when you make it large enough no it it will not. But then it's
Gary Vela: No, but
William Sites: a little
Gary Vela: if
William Sites: bit
Gary Vela: if like this, I'll I'll point it out, if you got uh
William Sites: But
Gary Vela: a
William Sites: it's just
Gary Vela: a a
William Sites: an
Gary Vela: base
William Sites: idea.
Gary Vela: a base like this, I won't draw it really. If you got a base which is uh
William Sites: But
Gary Vela: as
William Sites: it's flat
Gary Vela: big as this
William Sites: it's flat as as this, so we can p make all the products
Norbert Mason: You can.
William Sites: as flat as this.
Gary Vela: Yeah
Norbert Mason: But
Gary Vela: sure,
Norbert Mason: i
Gary Vela: but
Norbert Mason: i
Gary Vela: if
Norbert Mason: i
Gary Vela: you
Norbert Mason: it's
Gary Vela: got if
Norbert Mason: backwards.
Gary Vela: you got a tiny player, it can
William Sites: Yes, but when you make uh uh
Norbert Mason: But
William Sites: a bit
Norbert Mason: it's it's
William Sites: of
Norbert Mason: backwards.
William Sites: big
Norbert Mason: It's leaning. It's leaning backwards, I think, in
Gary Vela: Yeah.
Norbert Mason: the in the
Gary Vela: Uh, wha
Norbert Mason: docking
Gary Vela: what
Norbert Mason: station.
Gary Vela: you could do if you uh from the bottom oh, right,
Norbert Mason: That's text.
Gary Vela: help.
Michael Hollins: But
Gary Vela: Uh, you could make like a hole in it, you know,
William Sites: Yes,
Gary Vela: of uh in in
William Sites: little
Gary Vela: the
William Sites: holer littler Uh, little
Gary Vela: Yeah.
William Sites: products go deeper
Gary Vela: That
William Sites: in
Gary Vela: i
William Sites: it.
Gary Vela: that is possible,
Michael Hollins: Well let's
Gary Vela: yep.
Michael Hollins: ha let's talk about the docking station later, because uh maybe
Gary Vela: Yeah,
Michael Hollins: we have
Gary Vela: sure,
Michael Hollins: we
Gary Vela: you're right.
Michael Hollins: have to uh consider the docking station anyway, because we have some uh
William Sites: Yes.
Michael Hollins: cost
William Sites: And
Michael Hollins: issues
William Sites: uh uh
Michael Hollins: still
Gary Vela: Oh.
Michael Hollins: to come. But we
William Sites: the
Michael Hollins: have
William Sites: f
Michael Hollins: to look
William Sites: the
Michael Hollins: n I
William Sites: look
Michael Hollins: don't
William Sites: and
Michael Hollins: know.
William Sites: feel would be great on this uh remote control,
Gary Vela: I don't
William Sites: because
Gary Vela: like the colours.
William Sites: uh you always uh will uh pick up the remote control in
Gary Vela: Mm-hmm.
William Sites: the in the smallest uh area.
Michael Hollins: Yeah.
William Sites: Then your uh left thumb of uh your right thumb is uh near the programme uh button, which is the most common used uh function, and all the other buttons are available for your uh thumb. So it's
Michael Hollins: Okay.
William Sites: it's it's really good design.
Gary Vela: Yeah.
Michael Hollins: Yes.
Gary Vela: Alright.
Michael Hollins: That's it?
William Sites: Yes, uh on the side uh there will be a strip of rubber, and in the middle uh there is uh a hard
Gary Vela: The light.
William Sites: uh a hard material, a bit hard plastic with a light uh behind it.
Gary Vela: Okay. And other lights?
Michael Hollins: I think added lights
William Sites: Yes,
Michael Hollins: are gonna
William Sites: we can
Michael Hollins: be a problem
William Sites: make also
Michael Hollins: too.
William Sites: n neon lights on it, or or the buttons
Gary Vela: No, o on
William Sites: that
Gary Vela: the on
William Sites: can
Gary Vela: the
William Sites: make
Gary Vela: front.
William Sites: uh light
Gary Vela: Yeah, okay.
William Sites: on it.
Gary Vela: Maybe the uh the logo.
William Sites: Yes.
Norbert Mason: lights?
William Sites: But, it will also
Gary Vela: Yeah, why not?
William Sites: uh uh use batteries, and do we
Gary Vela: Of
William Sites: want
Gary Vela: course.
William Sites: to
Michael Hollins: Okay.
Norbert Mason: Mm.
Michael Hollins: For now, uh this is uh is good enough.
Gary Vela: Okay.
Michael Hollins: Yeah, what was uh on the
William Sites: The all the aspects of the interface buttons were uh
Michael Hollins: Okay, but in the oh yeah, the colour, one colour for the rubber, isn't
William Sites: Yes.
Michael Hollins: it? Then we're gonna do the buttons in the i are we're gonna have rubber buttons. And
William Sites: Yes.
Michael Hollins: they're be
Norbert Mason: Yeah.
Michael Hollins: a
Gary Vela: Uh,
Michael Hollins: they'll
Gary Vela: in
Michael Hollins: be
Gary Vela: the same
Michael Hollins: in the same
Gary Vela: colour
Michael Hollins: colour
Gary Vela: as the
Michael Hollins: as
Gary Vela: side.
Michael Hollins: the rubber on the side.
Norbert Mason: Yeah.
Gary Vela: Yeah, I think
Michael Hollins: Okay.
Norbert Mason: Yeah.
Gary Vela: I think
Michael Hollins: And
Gary Vela: that'll be
Michael Hollins: I
Gary Vela: good.
Michael Hollins: think we
Norbert Mason: Yeah.
Michael Hollins: should use a a darker colour for the um plastic, and maybe some more m brighter and flashy
William Sites: Yes,
Michael Hollins: stuff
William Sites: maybe we can use
Gary Vela: Yes.
William Sites: on the on the lights on the side we can use uh uh multiple uh lights, so it will uh
Michael Hollins: Yeah, we'll talk about the lights later.
William Sites: Yes.
Michael Hollins: 'Cause
Gary Vela: Yep.
Michael Hollins: I also don yeah, it's depends on the costs and such.
Gary Vela: Yeah.
Michael Hollins: But uh, and we have to agree uh upon the exact colours, but may I dunno if that's important, but we'll talk about that later. Okay, for now this
Gary Vela: We
Michael Hollins: is
Gary Vela: will.
Michael Hollins: this is okay. Um, the next p y you gonna give a presentation too? Uh, I have to see the agenda.
Gary Vela: Well,
William Sites: No.
Gary Vela: uh yeah, I I'm gonna do something right there, yeah.
Michael Hollins: Detail design.
Gary Vela: We gotta do that on the right the most right-most screen, because
Michael Hollins: Evaluation
Gary Vela: the leftmost
Michael Hollins: criteria.
Gary Vela: Yep, that's Gary Vela.
Michael Hollins: Okay.
Norbert Mason: Okay.
Gary Vela: Alright. I will be needing that image, so leave it please. Um Go away. Right, we're gonna evaluate that design according to a few points. Um, we g the four of us are going to do that um together. I wanna have a colour over here, come on. Right, the remote is not ugly, a bit weird sentence, but the positive things has to be on the left, so I said not ugly instead of ugly. Uh, what would you say, we we gotta give points to uh to all of these to evaluate uh that design, and please forget the drawing skills of these guys.
Michael Hollins: Okay.
Gary Vela: The remote control is not ugly. How do you feel?
Michael Hollins: Yeah, I think four maybe would be appropriate, because it's Yeah, maybe it really depends on taste. Uh, I mean it's kind of, our design. It's
Gary Vela: Yes.
Michael Hollins: so
William Sites: Yeah.
Michael Hollins: if maybe a lot of people find it really ugly, you know, o other people find it really cool.
Gary Vela: Background colour.
Michael Hollins: I don't know or uh I don't know how you
Gary Vela: How
William Sites: I
Michael Hollins: Casting.
Gary Vela: do
William Sites: think
Gary Vela: you guys feel?
Michael Hollins: Yeah.
William Sites: I think the the fronts will give it a more uh uh uh less uglier uh side, because you can uh make
Gary Vela: The different
William Sites: it in your
Gary Vela: designs.
William Sites: own yes, you can
Gary Vela: Yes.
William Sites: make it in your own uh
Norbert Mason: Yeah.
Gary Vela: Okay.
William Sites: more to your own personality or or house
Michael Hollins: Yeah,
William Sites: style.
Michael Hollins: but we d we didn't we're we're not planning to use fronts, I believe.
Gary Vela: No, not not fronts, but
Michael Hollins: With
Norbert Mason: No,
Michael Hollins: a
Gary Vela: different
Norbert Mason: not
Michael Hollins: colour
Norbert Mason: fronts.
Gary Vela: designs.
Michael Hollins: a co a
Norbert Mason: Different
Michael Hollins: colours.
William Sites: Yes.
Norbert Mason: designs.
Michael Hollins: Oh, okay.
Gary Vela: And
Norbert Mason: Different
Gary Vela: that's still
Norbert Mason: colours
Gary Vela: uh
Norbert Mason: maybe, yeah.
Gary Vela: uh, yeah, is is uh is a little
Michael Hollins: Okay, but
Gary Vela: personal touch, I guess.
Michael Hollins: Oh, maybe
Gary Vela: What?
Michael Hollins: we should do three or something that w you know, our
Gary Vela: Yeah, wha wha what would you uh
William Sites: Or
Gary Vela: guys
William Sites: forty.
Michael Hollins: Yeah.
Gary Vela: uh think? Personally. Personally.
Norbert Mason: We can make it a one.
Gary Vela: Yes, but what is it?
William Sites: I think two or three.
Norbert Mason: Mm yeah.
Gary Vela: Guido?
Norbert Mason: I agree.
Gary Vela: Two or three.
Norbert Mason: Um,
Gary Vela: I
Norbert Mason: I
Gary Vela: was
Norbert Mason: uh I go for the positive. So I go for two.
Gary Vela: I was thinking about three, so I guess
Michael Hollins: Uh, I was thinking about four, so I think three is uh
Gary Vela: three
Norbert Mason: Okay,
Gary Vela: is
Norbert Mason: three.
Gary Vela: uh a bit uh oh, what am I doing? I'll mark it. The remote control's uh uh that n makes uh zapping easy.
Norbert Mason: Yeah.
Michael Hollins: Yeah well, let that
William Sites: Yes.
Michael Hollins: let's make that
Norbert Mason: Two.
Michael Hollins: a one.
Gary Vela: Yeah?
Norbert Mason: One. One.
Gary Vela: Antek,
William Sites: Yes.
Gary Vela: you agree?
Norbert Mason: Okay yeah, I'll I'll
William Sites: Yes.
Norbert Mason: agree.
Gary Vela: Yeah.
Michael Hollins: That's one thing for
Gary Vela: You're
Norbert Mason: I'm
Michael Hollins: sure.
Gary Vela: not
Norbert Mason: the I'm
Gary Vela: Antek.
Norbert Mason: the usability, so
Gary Vela: totally agree. The remote control the remote control's relevant buttons are prominently visible.
William Sites: Yes.
Norbert Mason: Yeah.
Michael Hollins: Yeah, two or
Norbert Mason: The
Michael Hollins: a one, I guess. It's something we really put work into.
Gary Vela: Yeah, I yeah. I
William Sites: It's
Gary Vela: would
William Sites: all
Gary Vela: say
William Sites: about
Gary Vela: a one
William Sites: the buttons.
Gary Vela: because uh every button is uh uh relevant. And our oh yeah, it's a b yeah. Yeah? Alright. That's a one? You agree?
Michael Hollins: Yeah.
Gary Vela: The remote control hasn't got too much redundant or unneeded buttons. I think we
Michael Hollins: But
Gary Vela: totally
Norbert Mason: Well
Gary Vela: succeeded there.
Michael Hollins: Well
Gary Vela: Oh
Michael Hollins: maybe a two, because of the menu button
Norbert Mason: Yeah, well
Michael Hollins: or
Norbert Mason: menu
Michael Hollins: something.
Gary Vela: Yeah, that's
Norbert Mason: Yeah,
Gary Vela: true.
Norbert Mason: maybe.
Michael Hollins: And
Gary Vela: That's
William Sites: Also,
Michael Hollins: telete
Gary Vela: true.
William Sites: the the the buttons of the one, the two, the
Michael Hollins: Yeah,
William Sites: the digits,
Michael Hollins: we don't know if the uh they're necessary.
William Sites: o
Gary Vela: the the yeah, m
William Sites: they're
Gary Vela: well,
William Sites: used
Gary Vela: you
William Sites: uh
Gary Vela: d
William Sites: uh
Gary Vela: you've got a point.
Michael Hollins: I think a two.
Norbert Mason: Yeah, true.
William Sites: Can yes,
Norbert Mason: Yeah,
William Sites: three,
Norbert Mason: I
William Sites: two.
Michael Hollins: Came
Norbert Mason: agree.
Michael Hollins: a long way,
Gary Vela: Two
Michael Hollins: but
Gary Vela: or three?
Michael Hollins: not we didn't not uh
Norbert Mason: Mm two.
Gary Vela: Two?
William Sites: But
Gary Vela: Antek.
William Sites: you can't make a remote control without them,
Norbert Mason: Because
William Sites: because
Norbert Mason: we got
Gary Vela: Nay that that that's true, that's true. They're definitely needed.
Michael Hollins: No, w
Gary Vela: So
Michael Hollins: w it can also always be more simplistic,
Gary Vela: we put
Michael Hollins: but
Gary Vela: it on a
Michael Hollins: two
Gary Vela: two?
Michael Hollins: is yeah.
William Sites: Yes.
Gary Vela: The remote control has got a really trendy look.
William Sites: Yes. A one.
Gary Vela: Maarten.
Michael Hollins: Yeah, uh
Norbert Mason: Well.
Michael Hollins: a t I think a two. Yeah yeah, y i it's hard to say from this picture.
Gary Vela: Yeah.
William Sites: We we've tried to make it uh the the best trendy
Norbert Mason: Yeah.
William Sites: look uh ever.
Gary Vela: Ever, yeah. Guido.
Michael Hollins: But
Norbert Mason: Uh,
Michael Hollins: I do
Norbert Mason: I will
Michael Hollins: think
Norbert Mason: I
Michael Hollins: it's
Norbert Mason: will
Michael Hollins: more
Norbert Mason: make it a three, because uh yeah. I
Michael Hollins: But I
Norbert Mason: I
Michael Hollins: do
Norbert Mason: th
Michael Hollins: think that it's more trendy than beautiful.
Gary Vela: Yeah, uh
William Sites: Yes.
Gary Vela: I agree. I agree.
Michael Hollins: So so I think
Norbert Mason: Yeah.
Michael Hollins: maybe it has
Norbert Mason: True,
Michael Hollins: to score
Norbert Mason: yeah.
Michael Hollins: higher uh on this
Gary Vela: I was
Michael Hollins: than
Gary Vela: planning
Michael Hollins: on the
Gary Vela: to give it a two, uh where I give the not ugly uh
Michael Hollins: A th a three.
Gary Vela: oh, yeah, that's true. You agree on the two?
Norbert Mason: Yeah.
William Sites: Yes.
Michael Hollins: I i uh when you compare to the
Gary Vela: Great. Remote control hasn't got too much redundant or unneeded
Michael Hollins: Uh uh
Gary Vela: buttons.
Michael Hollins: what's the difference
Gary Vela: Uh, I
Michael Hollins: with
Gary Vela: copied that one. Well, uh forget that.
Michael Hollins: Okay.
Gary Vela: Um Go away. Remote control has got innovative technology implanted.
Norbert Mason: No.
William Sites: No.
Michael Hollins: No.
Norbert Mason: We're not
William Sites: No,
Norbert Mason: well, maybe the
William Sites: not
Norbert Mason: the
William Sites: L_C_D_,
Norbert Mason: the on the side.
William Sites: so.
Michael Hollins: Yeah, but we uh you mean the rubber stuff?
Gary Vela: Yeah, and the light.
Michael Hollins: Yeah,
Norbert Mason: And the
Michael Hollins: but
Norbert Mason: light
Michael Hollins: we have
Norbert Mason: maybe.
Michael Hollins: t
William Sites: But
Michael Hollins: we
William Sites: that
Michael Hollins: have
William Sites: that's
Michael Hollins: to talk
William Sites: not
Michael Hollins: about
William Sites: innovative.
Michael Hollins: the lights
Norbert Mason: But
Michael Hollins: uh. And
Gary Vela: Well,
Michael Hollins: I don't
William Sites: Lights
Gary Vela: I
Michael Hollins: u
Gary Vela: g
Michael Hollins: also it's also really not innovative,
William Sites: lights are
Michael Hollins: it's more
Gary Vela: It's not seven?
Michael Hollins: No, six.
Norbert Mason: Well, six.
Michael Hollins: Or seven maybe, yeah.
Norbert Mason: No, six.
William Sites: Six.
Michael Hollins: Or
Gary Vela: Why
Michael Hollins: six.
Gary Vela: uh why not
Norbert Mason: Six.
Gary Vela: a seven?
Michael Hollins: Yeah, mine is seven.
William Sites: Because we've tried to make it a little bit innovative,
Norbert Mason: Yeah.
William Sites: but it but
Gary Vela: How?
William Sites: it
Michael Hollins: Uh it's uh depends on the on the
William Sites: With
Michael Hollins: maybe
William Sites: the lights it it's it's kind of future
Michael Hollins: No,
Gary Vela: Yeah,
Michael Hollins: I
Gary Vela: you
Michael Hollins: think
Gary Vela: think
Michael Hollins: I
Gary Vela: the lights
Michael Hollins: think
Gary Vela: are
Michael Hollins: actually
Gary Vela: innovative?
Michael Hollins: it's a seven maybe, but there's nothing innovative about it.
Gary Vela: Well, it's n true. Uh, I agree, m but
William Sites: But still you can retrieve it when it's when it's gone, with the
Norbert Mason: Innovative in
William Sites: with
Norbert Mason: generally
Gary Vela: I'll
Norbert Mason: or just
Gary Vela: Yeah, you
Norbert Mason: f
Gary Vela: you didn't draw the
Norbert Mason: original
Gary Vela: docking station.
Norbert Mason: for
William Sites: Yes.
Michael Hollins: N no
Gary Vela: Yeah,
William Sites: The docking
Michael Hollins: no,
Gary Vela: it
Michael Hollins: t.
Gary Vela: it's
William Sites: station
Norbert Mason: A docking
William Sites: is a
Norbert Mason: station
William Sites: is a little
Gary Vela: I
Michael Hollins: Yeah,
Gary Vela: think
William Sites: bit
Michael Hollins: I
Norbert Mason: is
Michael Hollins: mean
Gary Vela: I
Michael Hollins: the
Norbert Mason: innova
William Sites: innovative.
Gary Vela: think
Michael Hollins: dock station,
Gary Vela: with its
Michael Hollins: but but uh, I think
William Sites: It's
Michael Hollins: the
William Sites: a part of the remote.
Gary Vela: I think
Michael Hollins: the docking
Gary Vela: more
Michael Hollins: station,
Gary Vela: m
Michael Hollins: it's gonna be a kind of a problem.
Norbert Mason: Okay.
William Sites: And with the speaker
Michael Hollins: But
Gary Vela: Uh that
William Sites: on the
Gary Vela: that's
William Sites: there's
Gary Vela: n
William Sites: also a
Michael Hollins: Well,
William Sites: speaker.
Michael Hollins: let's leave it open for uh for us later to see what, because we have to reevaluate anyway. Well I i
William Sites: Okay.
Michael Hollins: yeah. No?
Gary Vela: No uh, well, the agenda says evaluate now, so I think we
Michael Hollins: Okay, for now it's a six
Gary Vela: It's
Michael Hollins: or a seven
Gary Vela: it's a six.
Michael Hollins: uh, sev six
Norbert Mason: Six.
Michael Hollins: maybe, because
William Sites: But the retrieval
Gary Vela: That m
William Sites: or
Gary Vela: f
William Sites: the
Gary Vela: Yeah,
Michael Hollins: Yeah,
Gary Vela: for the retrieval
Michael Hollins: but I don't
Gary Vela: function.
Michael Hollins: I don't know if it's very inno yeah.
Gary Vela: Yeah. I think that's very innovative for a
William Sites: Yes,
Gary Vela: remote
Michael Hollins: Yeah,
Gary Vela: control.
Michael Hollins: v
William Sites: how would you innovate a remote control more?
Michael Hollins: Yeah, more through uh like function T_V_ functionalities
William Sites: To put it on your
Michael Hollins: and
William Sites: head.
Michael Hollins: no no, you know what I mean. You have must be innovative technology for remote controls, but more
Gary Vela: Yeah
Michael Hollins: in
Gary Vela: sure,
Michael Hollins: how
Gary Vela: but
Michael Hollins: you control stuff, not in how you find your yeah. Yeah,
Gary Vela: But I
Michael Hollins: it's
Gary Vela: d I definitely don't think
Michael Hollins: that's
Gary Vela: it's
Michael Hollins: that's
Gary Vela: a five,
Michael Hollins: think
Gary Vela: but
Michael Hollins: about it la later on and uh
Gary Vela: Remote control is easy to use.
Michael Hollins: Yeah, as a a
William Sites: Yes.
Michael Hollins: one or a two ma
Norbert Mason: Yeah,
Michael Hollins: uh
Norbert Mason: a
Michael Hollins: at least.
Norbert Mason: two.
William Sites: Yes.
Gary Vela: I think a two. Yeah?
Michael Hollins: Yeah, it's good.
Norbert Mason: More
Gary Vela: Come
Norbert Mason: two.
Gary Vela: on. The remote control hasn't got uh.
Michael Hollins: No, I would have seen that one before. Oh, you skipped one uh
Gary Vela: I've just filled uh
Michael Hollins: Uh, here.
Gary Vela: Go away.
William Sites: You like the buttons.
Gary Vela: I found twelve questions so much, but it still is
Michael Hollins: Remote
Gary Vela: ten.
Michael Hollins: control will be bought by
Gary Vela: It will be bought by people under the age of forty.
William Sites: Yes.
Michael Hollins: Yeah.
Norbert Mason: Yes.
Michael Hollins: Definitely.
William Sites: In
Michael Hollins: Well
William Sites: in and comparing with uh people of th of
Gary Vela: No
William Sites: the age
Gary Vela: no no.
William Sites: above?
Michael Hollins: Uh,
Gary Vela: No,
Michael Hollins: just
Gary Vela: just
Michael Hollins: in general.
Gary Vela: if they if they buy it.
Michael Hollins: Yeah, a two.
William Sites: We don't know.
Michael Hollins: Yeah,
William Sites: But
Michael Hollins: but
Gary Vela: Yeah, what
Michael Hollins: I think
Gary Vela: do you think?
Michael Hollins: I
Norbert Mason: Yeah,
Michael Hollins: think two.
Norbert Mason: I think two, yeah. I agree.
Gary Vela: Antek?
Norbert Mason: Two.
William Sites: Yes, two, but only in c when you compare it with with elderly.
Michael Hollins: Uh, that
Gary Vela: No,
Michael Hollins: is
Gary Vela: that's
Michael Hollins: not the
Gary Vela: no
Michael Hollins: question.
Gary Vela: comparison.
Michael Hollins: It's just w it will be bought by people under forty. Yeah, you can yeah, you can be very
Gary Vela: And I don't
Michael Hollins: picky about
Gary Vela: mean
William Sites: This
Michael Hollins: it.
William Sites: is
Gary Vela: two
William Sites: just
Gary Vela: people.
William Sites: guessing.
Michael Hollins: Ah yeah, just make it we'll make
William Sites: Make
Gary Vela: W
Michael Hollins: it
William Sites: it
Michael Hollins: a
Gary Vela: w
William Sites: a
Michael Hollins: two.
William Sites: two. When it succeeds, uh it can get a two, mu
Gary Vela: Right, the rem The remote control has
Michael Hollins: Oh
Gary Vela: recognisable
Michael Hollins: no.
Gary Vela: corporate image, colour,
Michael Hollins: Yeah.
Gary Vela: logo or slogan.
Michael Hollins: Yeah, you have
Norbert Mason: We don't
Michael Hollins: make
Norbert Mason: have
Michael Hollins: an
Norbert Mason: the slogan though.
Michael Hollins: slogan is quite obvious.
Gary Vela: Oh, the slogan.
Michael Hollins: Oh the oh
Gary Vela: Can
Michael Hollins: sorry,
Gary Vela: we see the slogan?
Michael Hollins: no, not not the slogan.
Norbert Mason: The logo.
Michael Hollins: Yeah,
William Sites: A logo.
Michael Hollins: you can put that on the side if if we would like
Norbert Mason: Underneath
Michael Hollins: to.
William Sites: Yes,
Norbert Mason: it
William Sites: uh
Norbert Mason: or something.
William Sites: encrypted uh with
Michael Hollins: Yeah, and I will
Gary Vela: Are
Michael Hollins: I
Gary Vela: we
Michael Hollins: th
Gary Vela: gonna do that?
Michael Hollins: still think it's gonna be a two
Norbert Mason: A
Michael Hollins: or
Norbert Mason: three.
Michael Hollins: a three. Maybe
Norbert Mason: Three.
Michael Hollins: a three this time.
Norbert Mason: Yeah,
William Sites: Yes.
Norbert Mason: a three.
Gary Vela: Three? I agree. Because of the slogan
Michael Hollins: And
Gary Vela: Remote
Michael Hollins: uh
Gary Vela: control's got a basic design intended uh for
Michael Hollins: Uh,
Gary Vela: novice
Michael Hollins: it's a one
Gary Vela: users.
Michael Hollins: or a two.
Norbert Mason: Yeah, two.
William Sites: Yes.
Gary Vela: Two?
Michael Hollins: Yeah,
Norbert Mason: Two.
Michael Hollins: make it a two.
Gary Vela: Two. Alright. We gotta add up the scores now to see our total average. Four, five, seven, nine. Forget that. Fifteen, seventeen, twenty one, twenty four, twenty six. Twenty six. It's a two point six.
Michael Hollins: It's not that bad.
Gary Vela: Alright, we yeah.
Michael Hollins: Yeah, and that's mostly the inno when we uh score higher on innovative technology, we would score two,
Gary Vela: Yeah.
Michael Hollins: which is
Gary Vela: True.
Michael Hollins: uh quite a great score. Okay. Uh, this is was uh the evaluation?
Gary Vela: This was my evaluation.
Michael Hollins: Because I
Gary Vela: So
Michael Hollins: I still think that the most important part
Gary Vela: We did
Michael Hollins: of this
Gary Vela: a pretty
Michael Hollins: meeting
Gary Vela: nice
Michael Hollins: still has
Gary Vela: job until now.
Michael Hollins: Yeah.
Gary Vela: Um, is this your
William Sites: Is there something
Gary Vela: Whatever.
William Sites: after this uh meeting?
Gary Vela: Well, I think
William Sites: Or
Gary Vela: we gotta fill out
Norbert Mason: No.
Gary Vela: another questionnaire.
William Sites: Okay.
Norbert Mason: Okay, yeah.
Michael Hollins: Still opened or uh Yeah.
Gary Vela: Yeah.
Michael Hollins: Okay, finance. Because um
Norbert Mason: Shoot.
Michael Hollins: I received
Gary Vela: A five.
Michael Hollins: uh a spreadsheet.
Gary Vela: A five.
Michael Hollins: Yeah, but I uh actually don't need this presentation, I guess. Oh.
Gary Vela: Doesn't matter.
Michael Hollins: I'm gonna open the spreadsheet and we're gonna work this out together, because I didn't really fin uh I have a. Didn't really finish it. Well, we uh We'll see. We'll stumble upon some problems.
Gary Vela: We probably will.
Michael Hollins: I probably have already opened it here. try it again. First of all, the mm all the docking station and costs and such are not included in this list. But let's let's st start with beginning. We include one battery. I i uh I'll explain its Uh, the the components are listed over here. Uh, price is given. We um
Gary Vela: The amount, yeah.
Michael Hollins: yeah, we we uh indicate the amount of components of the specif specific component, how much we need of them. And then uh, we'll uh calcula Don't watch the number yet. I don't know if it's filled in properly. Okay, we need one battery. One battery. I think
William Sites: Yes.
Michael Hollins: one battery is enough. We don't need kinetic, solar cells, hand dynamo. A s okay, this this is a p first problem. Uh, I think we should know how many simple chips, regular
William Sites: Uh it's
Michael Hollins: chips
William Sites: it's one one chip, but but you have to choose one from it.
Michael Hollins: Okay. But
William Sites: The simple chip is e enough I I think, but with
Gary Vela: I
William Sites: the
Gary Vela: don't
William Sites: lights
Gary Vela: know
William Sites: with the lights and the retrieval,
Michael Hollins: Where
William Sites: it
Michael Hollins: did
William Sites: can
Michael Hollins: we
William Sites: be
Michael Hollins: find
William Sites: uh
Michael Hollins: this information?
Gary Vela: I
Michael Hollins: Was
Gary Vela: haven't
Michael Hollins: it
Gary Vela: got an idea on on which we need to use, really.
William Sites: No, uh
Michael Hollins: I think
Norbert Mason: No.
William Sites: I
Michael Hollins: it was uh your job in the first uh meet Uh, f your first presentation to make this clear, but
William Sites: Yes,
Gary Vela: Yeah.
Michael Hollins: then you
William Sites: my
Michael Hollins: had some
William Sites: my
Michael Hollins: t
William Sites: my
Michael Hollins: time problems.
William Sites: uh
Michael Hollins: But do you th you do you know what chip we need?
William Sites: The the email I got said uh simple chip, but when we put in the speaker and the retriever uh device,
Gary Vela: Yeah.
William Sites: it will uh cost a a bit more, like I think the advanced chip maybe.
Gary Vela: And how do you know? I mean, you got that email.
William Sites: Bec
Gary Vela: Did it point out
Michael Hollins: Maybe you can
Gary Vela: what
William Sites: No,
Michael Hollins: uh look
Gary Vela: to
William Sites: the
Gary Vela: use
Michael Hollins: it up
Gary Vela: them
Michael Hollins: right
Gary Vela: for?
Michael Hollins: now.
William Sites: they didn't know about a retriever or a
Michael Hollins: Okay, but
William Sites: speaker
Michael Hollins: okay.
William Sites: uh
Michael Hollins: When we
William Sites: in
Michael Hollins: don't
William Sites: it.
Michael Hollins: when we leave the uh retriever and such aside, what
William Sites: Then it's a simple chip.
Michael Hollins: then it would be a simple chip. And with the retriever, it would be an advanced chip.
William Sites: Yes,
Gary Vela: Alright,
William Sites: I
Gary Vela: well,
William Sites: I I s I
Gary Vela: point out the advanced chip for now, I guess.
Michael Hollins: Okay.
William Sites: That will be enough
Michael Hollins: Yeah,
William Sites: for
Michael Hollins: but
William Sites: future
Michael Hollins: it will
William Sites: uh
Michael Hollins: it
William Sites: recommendations.
Michael Hollins: will it will be cause a lot of problems. The sample sensor sample speaker. What is it m is that the speaker we were t I don't know what it is.
William Sites: I don't know it uh either.
Gary Vela: I don't know.
Michael Hollins: Okay, we went for the double-curved case
William Sites: Yes.
Michael Hollins: made out of plastic and rubber. And with a special colour. I guess that's what we were
Norbert Mason: Well, special colour.
Michael Hollins: Yeah, I don't know about the special colour,
William Sites: Otherwise,
Michael Hollins: but
Gary Vela: I
William Sites: you
Gary Vela: don't
Norbert Mason: I
William Sites: get
Norbert Mason: don't
Gary Vela: know
Michael Hollins: I
Gary Vela: if
Michael Hollins: think
Gary Vela: it's
William Sites: uh
Gary Vela: very special.
Michael Hollins: w
William Sites: a
Michael Hollins: uh
William Sites: standard uh plastic colour.
Michael Hollins: Yeah, I think we uh
Norbert Mason: Mm
Michael Hollins: we have
Norbert Mason: okay.
Michael Hollins: special
William Sites: Standard
Michael Hollins: colours.
William Sites: rubber.
Gary Vela: Alright, that's okay.
Michael Hollins: Okay,
William Sites: St
Michael Hollins: then the push-button, I was just counting them. Uh, I think you have to indicate the amount of push-buttons we want to use, isn't it?
Norbert Mason: Whoa, it's
William Sites: Yes.
Norbert Mason: a little
Michael Hollins: Well that's bit of a problem, because
Norbert Mason: That's huge.
Michael Hollins: I re but I really don't understand that, because I can imagine a remote control with far more push-buttons, and it wouldn't be possible according to this
Norbert Mason: No.
Michael Hollins: uh
Norbert Mason: We have
Michael Hollins: sheet.
Norbert Mason: the simplest
Gary Vela: No.
Norbert Mason: buttons.
William Sites: No, it's only
Michael Hollins: Yeah.
William Sites: uh when you use push-buttons, it will cost that much.
Gary Vela: I don't think so,
William Sites: If you
Gary Vela: because
William Sites: use a
Gary Vela: it
William Sites: scroll-wheel
Michael Hollins: Ah.
Gary Vela: says amount.
Michael Hollins: Yeah, it
Gary Vela: The
Michael Hollins: wouldn't
Gary Vela: the the yellow row is the amount
Michael Hollins: Fill
Gary Vela: of
Michael Hollins: in the number of components you plan to use in the and the total cost I don't know.
William Sites: Maybe
Michael Hollins: I
William Sites: it's the kind of push-buttons. You can have f four kind of push-buttons. Rubber.
Norbert Mason: Uh, one til
William Sites: You
Norbert Mason: nine.
William Sites: can have
Norbert Mason: Is that
William Sites: uh
Norbert Mason: one or is that nine
Michael Hollins: And I count them
Norbert Mason: buttons?
Michael Hollins: like this. One two three uh four five six seven eight nine ten
Norbert Mason: Yeah.
Michael Hollins: eleven twelve and thirteen. Because Oh, this is oh, this is one, okay. Twelve, okay, then it would be eighteen, because uh, I uh rated them as uh um
Gary Vela: To
Michael Hollins: as
Gary Vela: n
Michael Hollins: uh
Gary Vela: that's
William Sites: Different,
Gary Vela: total
Michael Hollins: uh uh separate
Gary Vela: of four
Michael Hollins: buttons.
Gary Vela: buttons.
William Sites: yes.
Michael Hollins: Yes. And
Gary Vela: I
Michael Hollins: plus
Gary Vela: think
Michael Hollins: these
Gary Vela: that
Michael Hollins: two, f uh plus the mute button, and it's will be uh eighteen.
Gary Vela: Eighteen. One two three four five, si
William Sites: Why is that so uh expensive.
Michael Hollins: Yeah, I don't understand. Y I do I don't get the point, because it's would be s relatively so expensive, just these m small buttons.
Norbert Mason: Is it cents, the the the fifty cents
Gary Vela: Fifty cents
Norbert Mason: a button?
Gary Vela: for one single stupid button.
William Sites: So, whe
Norbert Mason: No
William Sites: when
Norbert Mason: way.
William Sites: you so
Michael Hollins: Well,
William Sites: then
Michael Hollins: okay, well
William Sites: it
Michael Hollins: well let's make it just one.
William Sites: It's eighty percent of the price of the of
Michael Hollins: Here,
William Sites: the
Michael Hollins: now
William Sites: amount
Michael Hollins: it's
William Sites: of
Michael Hollins: now it's already
Gary Vela: Yeah, exactly. Yeah.
Michael Hollins: s shall we just give our own interpretation to, because else we would really have a problem. It would be impossible to make
Gary Vela: I can't
Michael Hollins: it
Gary Vela: I
Norbert Mason: It's
Gary Vela: I
Norbert Mason: way
Gary Vela: I couldn't understand it if it was fifty cents per uh uh per button.
William Sites: When you have the
Gary Vela: Really.
William Sites: same amount of button, you have to put in wi in your carton. Board.
Michael Hollins: And and less
Gary Vela: Yeah,
William Sites: And then throw
Michael Hollins: buttons
Gary Vela: yeah,
William Sites: it
Michael Hollins: than this isn't possible. This is
Norbert Mason: No,
Michael Hollins: the most
Norbert Mason: no
Michael Hollins: simple
Norbert Mason: no.
Michael Hollins: yeah, it is possible, but
William Sites: But
Michael Hollins: I've
William Sites: whe
Michael Hollins: never seen one before.
William Sites: I've seen
Gary Vela: No,
William Sites: one
Gary Vela: really.
William Sites: uh one remote control
Michael Hollins: Yeah,
William Sites: with
Michael Hollins: without
William Sites: only the
Michael Hollins: the numbers.
William Sites: pu yeah, only
Michael Hollins: That's
William Sites: with
Michael Hollins: possible.
William Sites: uh page up, page down
Norbert Mason: Yeah,
William Sites: and
Michael Hollins: Yeah,
William Sites: volume,
Michael Hollins: we could
Norbert Mason: uh
Michael Hollins: skip
William Sites: but
Michael Hollins: the numbers.
Gary Vela: Yeah, but
William Sites: but
Gary Vela: I d I wouldn't want to own that. Really.
Norbert Mason: That's still
William Sites: Uh, it's it's
Norbert Mason: four.
William Sites: still for little children. They can handle that remote
Gary Vela: Yeah.
William Sites: control, but
Michael Hollins: Then uh,
William Sites: but
Michael Hollins: teletext
William Sites: it isn't fo
Michael Hollins: would also be im impossible.
William Sites: Yes, it's for it's li uh it's
Norbert Mason: Yeah,
William Sites: just for
Norbert Mason: that's
William Sites: a
Norbert Mason: no
William Sites: little
Michael Hollins: Okay,
Norbert Mason: option,
Michael Hollins: we'll
Norbert Mason: that's
Michael Hollins: we'll
Norbert Mason: no
Michael Hollins: just
Norbert Mason: option.
Michael Hollins: okay. But then still, when we there's no room for a docking station or something. Tha w Le let's see th we have uh oh yeah, button supplements. We'll give the buttons special colour. We'll give them a special form. Uh, I think we should mark the special form thing, because it this will be some special forms incorporated in these big buttons, I guess.
Norbert Mason: A special colour, why a special colour?
Michael Hollins: Because the buttons will be uh d will be matching colour
Norbert Mason: But
Michael Hollins: between
Norbert Mason: wha what
Michael Hollins: the buttons
Norbert Mason: s what
Michael Hollins: and the
Norbert Mason: special?
Michael Hollins: rubber surroundings.
William Sites: Otherwise,
Michael Hollins: I think that's
Norbert Mason: Okay,
William Sites: it
Michael Hollins: the what
Norbert Mason: yeah.
Michael Hollins: they mean by a special colour.
William Sites: Otherwise
Gary Vela: I
Norbert Mason: Uh,
Gary Vela: don't think
Norbert Mason: yeah.
William Sites: it
Gary Vela: the special
Michael Hollins: I
William Sites: would
Michael Hollins: think
William Sites: be
Gary Vela: form
Michael Hollins: all
William Sites: the
Michael Hollins: the
Gary Vela: is
Michael Hollins: special
Gary Vela: really true.
Michael Hollins: colour things have to be marked over here, because that's what we were planning to do, making it
William Sites: Special form also, it says.
Michael Hollins: Yeah, special
Gary Vela: Is it?
Michael Hollins: material r also, because i has rubber. And the buttons have to be rubber.
William Sites: What is the normal material?
Gary Vela: Yeah,
Norbert Mason: Plastic.
Gary Vela: I dunno.
William Sites: Sh
Norbert Mason: Plastic,
William Sites: yeah.
Norbert Mason: I think.
William Sites: Classic?
Norbert Mason: Plastic.
Gary Vela: Plastic.
William Sites: Oh, plastic.
Michael Hollins: 'Kay, but the problem now is that the There's no such thing as a docking station in this list, but we can all imagine that it would be impossible to
Norbert Mason: Yeah.
Michael Hollins: make a docking station for thirty cents.
William Sites: But we can uh sell the remote control and uh sell the docking station
Michael Hollins: Separately.
Norbert Mason: Se
William Sites: yes.
Norbert Mason: no no
William Sites: And
Norbert Mason: no.
William Sites: and but we don't have to tell it, but what we can say of can um almost make it impossible to buy a remote control without the docking station.
Michael Hollins: Yeah, yeah. Yeah, but I do like the idea, but we yeah. It uh but it then the docking station isn't relevant for this project anymore, but we can
Gary Vela: No.
William Sites: No, but you
Michael Hollins: but then
William Sites: otherwise you can't
Michael Hollins: you
William Sites: retrieve
Michael Hollins: still have to use
William Sites: it.
Michael Hollins: we have to find out what chip we u need.
Gary Vela: Yeah, I really don't get it. I mean if it's a simple chip, then
Michael Hollins: I think
Gary Vela: we
Michael Hollins: we
Gary Vela: suddenly
Michael Hollins: can agree
Gary Vela: got
Michael Hollins: on this.
Gary Vela: two
Michael Hollins: I
Gary Vela: Euros and
Michael Hollins: I
Gary Vela: thirty
Michael Hollins: think
Gary Vela: cents.
Michael Hollins: the special colour thing has to be uh marked. 'Cause I think we
Gary Vela: Yeah,
Michael Hollins: uh
Gary Vela: yep.
Michael Hollins: Yeah, I think that's what what what they uh
William Sites: But for
Michael Hollins: mean
William Sites: two Euros
Gary Vela: I think so,
William Sites: and
Gary Vela: too.
William Sites: thirty cents, we uh we don't get a docking station.
Gary Vela: Oh, I don't know.
Michael Hollins: But can we find out uh about uh this chips? Because when we don't need a d a docking station, then probably we also have only we also need a simple chip.
Norbert Mason: And then we can get a docking
Michael Hollins: And maybe
Norbert Mason: station.
Michael Hollins: then we can do something extra.
William Sites: For
Michael Hollins: Oh, n uh oh, still oh, it's gonna get more expensive with. Two. Then we have some money left. We can put then
William Sites: For two Euros.
Michael Hollins: We can put a scroll-wheel on it or something. Yeah, well who knows.
Gary Vela: Uh why? I
Michael Hollins: Or
Gary Vela: mean
Michael Hollins: a little
Gary Vela: i
Michael Hollins: bit
Gary Vela: i if
Michael Hollins: of tin
Gary Vela: you
Michael Hollins: titanium.
Gary Vela: if it would cost two Euros, that had a total a total thing, it would be nice too, I mean uh we're not gonna add uh
Norbert Mason: But what
Gary Vela: a trip
Norbert Mason: what
Gary Vela: to
Norbert Mason: can
Gary Vela: Hawaii
Norbert Mason: we do
Gary Vela: to
Michael Hollins: Yeah,
Gary Vela: it.
Michael Hollins: or we can ki do the kinetic cells. That's also maybe an idea.
Norbert Mason: But uh what can we do with the simple chip and what's difference
Michael Hollins: Yeah that's
Norbert Mason: with
Michael Hollins: what
Norbert Mason: a
Michael Hollins: then
Norbert Mason: regular
Michael Hollins: what he has
Norbert Mason: chip
Michael Hollins: to find
Norbert Mason: and a advanced
Michael Hollins: out. Maybe you can
Norbert Mason: chip?
Michael Hollins: uh find it in your email right now, then we know
Norbert Mason: If if
Michael Hollins: then we
Norbert Mason: i
Michael Hollins: exactly know what it will cost us. Maybe is that that's nice to know.
Norbert Mason: Regular chip and because we don't have uh special functions to use uh
Michael Hollins: Yeah, bu bu but
Norbert Mason: in advanced
Michael Hollins: when we
Norbert Mason: chip, for example.
Gary Vela: I
Michael Hollins: yeah,
Gary Vela: like the hand dynamo part.
Michael Hollins: but when we skip when we um when we don't use the do we're not gonna make the docking station, then we still yeah, we need something else maybe to make it kind of special, because that was our our special feature.
Gary Vela: We can make a plain
Norbert Mason: Yeah.
Gary Vela: docking station for two Euros.
Norbert Mason: We'll
Gary Vela: I
Norbert Mason: go
Gary Vela: mean
Norbert Mason: back uh
Michael Hollins: Yeah, okay,
Norbert Mason: tomorrow.
Michael Hollins: you can also do that, but maybe
Gary Vela: Wi wi without recharge
Michael Hollins: It still is a special remote control cons uh you know, wi its form is special
Gary Vela: Yeah, but but
Michael Hollins: and
Gary Vela: we can make a docking
Michael Hollins: material.
Gary Vela: station for two Euros uh if you don't put the recharge function in it. I mean, it has a shape.
Michael Hollins: Yeah, but
Gary Vela: Of
Michael Hollins: for
Gary Vela: course
Michael Hollins: two
Gary Vela: it has
Michael Hollins: Euros,
Gary Vela: a shape, but
Michael Hollins: then
Gary Vela: i
Michael Hollins: we have
Gary Vela: i
Michael Hollins: still maybe we have to use the advanced chip, then two Euros isn't even possible.
Gary Vela: Why should that not be possible?
Michael Hollins: Yeah, then because then we'd thirty cents left.
Gary Vela: No, for for the uh for the docking station if you do if you choose the simple chip.
Michael Hollins: Yeah, but yeah, I don't know, because maybe d uh yeah, we have to find
Norbert Mason: That's
Michael Hollins: out with
Norbert Mason: the
Michael Hollins: the
Norbert Mason: question.
Michael Hollins: simple chip.
Norbert Mason: If we do i do we need an advanced chip, or
Gary Vela: Yes.
Michael Hollins: Yeah,
Norbert Mason: is
Michael Hollins: and
Norbert Mason: it
Michael Hollins: w
Norbert Mason: okay
Michael Hollins: and and
Norbert Mason: f
Michael Hollins: we
William Sites: It
Michael Hollins: uh need
William Sites: isn't
Michael Hollins: f
William Sites: in my
Michael Hollins: and
William Sites: information,
Michael Hollins: what is this? Sample
William Sites: so
Michael Hollins: sensor
William Sites: I don't know
Michael Hollins: sample
William Sites: it uh
Michael Hollins: speaker.
William Sites: either. It isn't in my information, I uh I I've got a schematic view of the remote control, but nothing about uh advanced chips or
Michael Hollins: You can look at it for s presentation. S technical functions?
Norbert Mason: No.
William Sites: Uh I've got here
Norbert Mason: No
William Sites: in
Norbert Mason: no,
William Sites: uh
Norbert Mason: they were uh mine,
William Sites: I will
Norbert Mason: yeah.
William Sites: put
Michael Hollins: Oh.
William Sites: a I will put a page on it. When my mouse works again.
Michael Hollins: Oh, oh oh. Hey. Oh.
William Sites: My mouse is uh
Gary Vela: Dead.
William Sites: Yes.
Gary Vela: Reanimate it.
William Sites: Oh.
Norbert Mason: Died.
William Sites: Ah, I've got it. I will put uh my email on the the network.
Gary Vela: What the hell are these?
William Sites: It's on it.
Gary Vela: Oh, whatever.
Norbert Mason: Yeah, it's open.
Michael Hollins: Mm. I don't think here
Norbert Mason: It's circuit
Michael Hollins: it's in
Norbert Mason: board.
Michael Hollins: here already.
Norbert Mason: It's only just
Michael Hollins: It's nothing about
Norbert Mason: basics
Michael Hollins: s yeah.
Norbert Mason: for for
William Sites: Yes.
Norbert Mason: At the end circuit
Gary Vela: This isn't helpful.
Norbert Mason: there is an infrared
Michael Hollins: No.
Norbert Mason: LED.
Michael Hollins: But i in the presentation of yours, there was also something about different components. Which one was it?
Norbert Mason: Components design.
Michael Hollins: Functional requirements?
William Sites: Um
Gary Vela: No, that was my presentation.
Norbert Mason: Components design maybe.
William Sites: Yes,
Norbert Mason: N on
William Sites: that
Norbert Mason: top.
William Sites: was mine.
Michael Hollins: Ah. Ah yes, it was the second one.
William Sites: But that was my second
Michael Hollins: Yeah,
Gary Vela: It's
Michael Hollins: it was
Gary Vela: already
Michael Hollins: your second
Gary Vela: open.
Michael Hollins: your first presentation.
Gary Vela: It's at the bottom.
Norbert Mason: Working
Michael Hollins: Sorry?
Norbert Mason: design.
Gary Vela: It's uh at your task bar.
Norbert Mason: Yeah, but it's the the other one.
Gary Vela: Oh.
William Sites: Mm
Michael Hollins: Uh,
Norbert Mason: Was it
Michael Hollins: this
Norbert Mason: working
Michael Hollins: is n this
Gary Vela: Sorry.
Norbert Mason: design
Michael Hollins: is not this
Norbert Mason: or components design?
Michael Hollins: n that's not the right one. I don't oh.
Gary Vela: Okay, sorry.
Michael Hollins: No, this is the other one. Or maybe something is uh maybe there's something abo in in these
Norbert Mason: Chip set.
William Sites: But this is the same uh This is o only the possibilities.
Michael Hollins: Here.
William Sites: Yeah. We can use a simple, a regular, or advanced chip.
Gary Vela: Yeah, nice.
Norbert Mason: The
Gary Vela: I it
Norbert Mason: display
Gary Vela: doesn't say
Norbert Mason: requires
Gary Vela: anything.
Michael Hollins: You know
Norbert Mason: an
Michael Hollins: that
Norbert Mason: advanced
Michael Hollins: a push-button
Norbert Mason: chip.
Michael Hollins: requires a simple chip, but a scroll-wheel, it it Gary Vela requires
William Sites: Ah, okay.
Michael Hollins: Okay, so we only
Norbert Mason: Requires.
Michael Hollins: need a simple chip.
William Sites: With the light.
Norbert Mason: Little lights. Yeah, but that that's just the same as the
Michael Hollins: No no, that's
Norbert Mason: the LED.
Michael Hollins: just a simple chip.
Gary Vela: That's not needed.
Michael Hollins: A scroll-wheel it s uh only states that a scroll-wheel requires a regular chip, and that a display requires an advanced chip. So, we don't
Gary Vela: A display
Michael Hollins: need any of them.
Gary Vela: uh is, of course, uh for showing
William Sites: L_C_D_.
Gary Vela: letters. For showing text.
Norbert Mason: Yeah.
Gary Vela: I don't think that uh
Norbert Mason: No.
Gary Vela: just a l a little light
Norbert Mason: I think uh the uh normal uh simple chip will
Gary Vela: Yeah,
Norbert Mason: be okay.
Gary Vela: I agree.
Michael Hollins: And what's the sample sensor slash sample speaker?
William Sites: Maybe you can say against the remote uh page uh
Norbert Mason: Yeah.
William Sites: f uh page up, page
Gary Vela: Yeah,
William Sites: down.
Gary Vela: I guess so too.
Norbert Mason: Yeah, true.
Gary Vela: Next
Norbert Mason: Well, that's not
Gary Vela: channel.
Norbert Mason: too what we want.
Gary Vela: No. Well, we might want it, but
Michael Hollins: Okay.
William Sites: All in twelve
Michael Hollins: Back
William Sites: Euros.
Michael Hollins: to the costs.
Gary Vela: Yeah.
William Sites: Twelve Euros and fifty cents.
Michael Hollins: So we're
Norbert Mason: So,
Michael Hollins: gonna
Norbert Mason: simple
Michael Hollins: use the simple
Norbert Mason: chip is okay.
Michael Hollins: chip.
Gary Vela: Great. Delete. Yeah.
William Sites: And the lights. Where uh are the lights?
Norbert Mason: lights, yeah, there's no
Gary Vela: Well, there're three, I guess.
Norbert Mason: category.
Michael Hollins: Nah, there is some money left to be spent.
Norbert Mason: Can we do it wi within
Gary Vela: I think
Norbert Mason: two
Gary Vela: we can make a docking
Norbert Mason: two Euro?
Gary Vela: station.
Michael Hollins: Okay, but what we have to think
Gary Vela: Yeah.
Michael Hollins: about now is that is is it still a special remote control? But I mean it isn't it hasn't got any innovative technology, we aren't gonna apply any uh innovated innovative te technology anyway, I think.
Norbert Mason: Mm-hmm.
Michael Hollins: I don't I don't see any possibility to do so, because it would wouldn't fit our
Norbert Mason: But it's
Michael Hollins: defi
Norbert Mason: original.
Michael Hollins: design philosophy. But
Gary Vela: No,
Michael Hollins: what
Gary Vela: that's
Michael Hollins: w is there
Gary Vela: true.
Michael Hollins: some extra maybe I think maybe the kinetic thing is something. Instead of the rechargeable the rechargeable thing was something to um know, so y so people wouldn't
Gary Vela: M
Michael Hollins: have
Gary Vela: bu
Michael Hollins: to worry about their batteries anymore. Maybe we if we put the kinetic
William Sites: But
Michael Hollins: thing
William Sites: but
Michael Hollins: in
William Sites: sometimes
Michael Hollins: it
William Sites: you put
Michael Hollins: Yeah,
William Sites: a
Michael Hollins: you leave the p yeah, I know, but still I they will think about that. I mean if
William Sites: Kinetics
Michael Hollins: you u
William Sites: aren't uh nowadays only used in watches and
Michael Hollins: The
William Sites: that's
Michael Hollins: uh
William Sites: because
Michael Hollins: it's made
William Sites: you're always
Michael Hollins: for
William Sites: walking.
Michael Hollins: s people well, the they don't if it was uh uh r useless technology, they wouldn't put it uh as a possibility.
William Sites: Uh solar cells
Michael Hollins: And i
William Sites: are
Michael Hollins: it
William Sites: useless.
Michael Hollins: it
Gary Vela: Or the hand
Michael Hollins: th th
Gary Vela: dynamo
Michael Hollins: the the target
Gary Vela: dynamo
Michael Hollins: the target uh group are people who zap regularly and throw with their remote control as a matter of speaking.
Gary Vela: Yeah.
Michael Hollins: Because I think it when when there w was a remote control where it was useful to have a kinetic uh uh power source, then it would be this one. Because it's one it gets thrown around thrown around a lot and it gets used a lot Hey that maybe that's
Gary Vela: Yeah,
Michael Hollins: cool
Gary Vela: but but
Michael Hollins: that's a cool thing
Gary Vela: if
Michael Hollins: about
Gary Vela: we ca
Michael Hollins: it, you know. You don't use batteries. I've never seen it before in a remote control.
Gary Vela: I don't
Norbert Mason: But
Gary Vela: know
Norbert Mason: then
Gary Vela: if
Norbert Mason: we could make a docking station.
Gary Vela: Five minutes.
Michael Hollins: No, we we we can't make a docking station anyway.
Gary Vela: That's not true.
Michael Hollins: Yeah, we can als or uh also m we we can make
Gary Vela: We can
Michael Hollins: one
Gary Vela: make
Norbert Mason: Wow,
Gary Vela: a docking
Norbert Mason: w
Gary Vela: station
Norbert Mason: why
Michael Hollins: we
Gary Vela: for
Michael Hollins: can
Norbert Mason: no
Gary Vela: two
Michael Hollins: still
Norbert Mason: li
Gary Vela: thirty.
Michael Hollins: make
Norbert Mason: Look at now, we got two
Gary Vela: Two
William Sites: Fo
Gary Vela: thirty.
Norbert Mason: two thirty left.
Gary Vela: We
William Sites: for
Gary Vela: can
Norbert Mason: Ca
Gary Vela: make
Norbert Mason: can't
William Sites: a docking
Gary Vela: a docking
Norbert Mason: we
William Sites: station.
Norbert Mason: make
Gary Vela: station.
Norbert Mason: a docking station
Gary Vela: Sure.
Norbert Mason: of that?
William Sites: With a cable, with uh buttons on it,
Gary Vela: Sure.
William Sites: with retrieval uh device
Norbert Mason: I don't
William Sites: in
Norbert Mason: know.
William Sites: it.
Gary Vela: The power device is is i i is very cheap. That's just a regular uh power cable and
Michael Hollins: Yeah,
Gary Vela: whatever.
Michael Hollins: but be serious, then uh the
William Sites: Wi
Michael Hollins: docking station will be
Norbert Mason: Well, we
Michael Hollins: a
William Sites: with
Michael Hollins: fifth
Norbert Mason: we
William Sites: a
Norbert Mason: uh
William Sites: button
Michael Hollins: of the price
William Sites: to
Michael Hollins: of the remote control.
Gary Vela: So.
William Sites: wi with a button to retrieve it, so it will beep. Uh,
Gary Vela: Yeah.
William Sites: so it's uh wireless
Michael Hollins: Yeah, but we uh
William Sites: technology.
Michael Hollins: we don't inc we haven't looked at the these costs of the speaker and other stuff. I don't think it's realistic for you to do so.
Gary Vela: Well then it's a useless project.
William Sites: Look at the case,
Michael Hollins: Oh, because
William Sites: the case
Michael Hollins: we
William Sites: the case of of uh of
Norbert Mason: Yeah,
William Sites: uh
Norbert Mason: then we don't have
Michael Hollins: We well
Norbert Mason: any
Michael Hollins: look
Norbert Mason: innovation
Michael Hollins: at all the special
Norbert Mason: things.
Michael Hollins: stuff we have. Colour a the colours are special, the form is special. It th this is whole concept. Uh
Gary Vela: Can't
Michael Hollins: maybe
Gary Vela: we
Michael Hollins: it
Gary Vela: uh
Michael Hollins: with the kinetic thing, I think we could do uh do a compromise uh with the kim
Gary Vela: Can't
Michael Hollins: kinetic
Gary Vela: we say fifteen
Michael Hollins: thing.
Gary Vela: Euros? No, sta yeah
Michael Hollins: Uh, no.
Gary Vela: I mean
William Sites: No, then we have to sell it for thirty Euros.
Gary Vela: No.
Norbert Mason: No, we
William Sites: It's
Norbert Mason: only
William Sites: the
Norbert Mason: make less profit of it.
Gary Vela: You can sell for twenty seven and a half. Then you make as much profit as
Norbert Mason: No.
Gary Vela: you would with twelve and a half production costs.
Michael Hollins: Yeah, I don my suggestion is to just forget about the whole docking station thing and make it uh like a Uh uh I I I I still fee I also feel this concept of making it kinetic, because of the you know, it g
Gary Vela: I
Michael Hollins: it
Gary Vela: don't
Michael Hollins: gives
Gary Vela: think
Michael Hollins: something
William Sites: Maybe we
Michael Hollins: dynamic
William Sites: can uh can
Michael Hollins: to the
William Sites: do
Michael Hollins: remote
William Sites: it both.
Michael Hollins: control.
William Sites: Maybe we can do it both uh in the in the in the remote. Battery and kinetic.
Gary Vela: No.
Michael Hollins: No, that wouldn't n no.
Gary Vela: Thirteen twenty.
Michael Hollins: Yeah, and it is also not a good it's not you
Gary Vela: And
Michael Hollins: have
Gary Vela: I think
Michael Hollins: to really
Gary Vela: only
Michael Hollins: do it only kinetic, you don't want it to think about batteries anymore.
William Sites: Yes, but
Gary Vela: Yeah,
William Sites: when
Gary Vela: but only
William Sites: it's then
Gary Vela: kinetic,
William Sites: when it
Gary Vela: then you
Michael Hollins: No
William Sites: then you
Gary Vela: gotta
Michael Hollins: no.
William Sites: have to shake it uh and all when it's when it's empty.
Michael Hollins: Yeah,
Gary Vela: You you gotta
Michael Hollins: it's
Gary Vela: throw
Michael Hollins: great.
Gary Vela: uh throw it through the room like twenty times an hour,
Michael Hollins: No
Gary Vela: really.
Michael Hollins: no no. No no, this is very sophisticated technology technology. When you
William Sites: You
Michael Hollins: use
William Sites: asked
Michael Hollins: it
William Sites: for
Michael Hollins: your
William Sites: three
Michael Hollins: remote
William Sites: d
Michael Hollins: like once a day, or maybe even less i i
William Sites: No,
Michael Hollins: it
William Sites: that's n that's not true. Uh,
Gary Vela: No.
William Sites: a watch is uh kinetic
Michael Hollins: It
William Sites: because you walk
Michael Hollins: We
William Sites: all
Michael Hollins: can
William Sites: the time.
Michael Hollins: make it yeah no. Becau be but a remote control gets why do they state that this technology
William Sites: Yes,
Michael Hollins: can be
William Sites: solar
Michael Hollins: used if
William Sites: cells
Michael Hollins: it
William Sites: are also stated.
Michael Hollins: Yeah, m but a w uh uh n uh a calculator also works on r on
William Sites: Why
Michael Hollins: solar
William Sites: don't
Michael Hollins: cells.
William Sites: we use solar cells then?
Michael Hollins: Because I think the d whole dynamic part, do you know, appeals to Gary Vela qui uh thinking of our design philosophy, you know, with the rubber parts and uh sturdiness of the thing, and y when you move it around a lot, then people find the idea funny that when I move my
William Sites: That's
Michael Hollins: remote
William Sites: true.
Michael Hollins: control around
Gary Vela: Yeah,
Michael Hollins: and
Gary Vela: it's funny for a week. I guess something like that, where you have to move it around very frequently, is demotivating.
Michael Hollins: Yeah, but you don't have to. Trust Gary Vela. The idea of this technology is that you don't think about it, it just happens.
Gary Vela: No, I I don't move my uh my
Michael Hollins: Okay,
William Sites: Oui.
Gary Vela: remote
Michael Hollins: then we
Gary Vela: control
Michael Hollins: d Okay,
Gary Vela: very
Michael Hollins: well
Gary Vela: much,
Michael Hollins: y we don't
Gary Vela: seriously.
Michael Hollins: have to do it, but what that would just have a lack of key features, you know. You m have to put something on your box. You have to make people buy it and uh We can really can do the docking thing, uh it's not yeah, uh we can do it, but it's would be a
William Sites: You
Michael Hollins: easy
William Sites: can
Michael Hollins: way
William Sites: do
Michael Hollins: out.
William Sites: it for fifty cents.
Gary Vela: Well, we've got more than fifty Cents.
William Sites: The c
Michael Hollins: Okay, but
William Sites: The
Michael Hollins: we
William Sites: case
Michael Hollins: have to grou
William Sites: the
Michael Hollins: to
William Sites: case
Michael Hollins: agree upon
William Sites: alone
Michael Hollins: something,
William Sites: is is
Michael Hollins: because
William Sites: is
Michael Hollins: uh
William Sites: uh
Michael Hollins: we only have a minute left or so.
William Sites: the case alone for uh remote control is at least one Euro. Then we have one Euro thirty for the whole
Michael Hollins: No
William Sites: docking
Michael Hollins: no,
William Sites: station.
Michael Hollins: it's not possible. Okay, w b we can s we can leave it on be well then then th it's this is then then our concept is ready.
Norbert Mason: Cheap remote control.
Michael Hollins: Yeah, we make some extra profit of
Gary Vela: Yeah.
Michael Hollins: it.
Gary Vela: No, we won't, but that's
William Sites: But now
Gary Vela: um something else. No, this
Norbert Mason: It
Gary Vela: not
Norbert Mason: w it
Gary Vela: gonna
Norbert Mason: won't
Gary Vela: sell.
Norbert Mason: tell, but
Michael Hollins: Huh,
Gary Vela: No.
Michael Hollins: any ideas?
Gary Vela: Of course not.
Norbert Mason: No, uh, n no
William Sites: Great. It's great.
Norbert Mason: Yeah, we
William Sites: Our
Norbert Mason: just
William Sites: remote
Norbert Mason: have
William Sites: control.
Norbert Mason: to go all what we did today again. You have to do it over.
Gary Vela: We come back tomorrow, okay?
Norbert Mason: Yeah.
Michael Hollins: No
William Sites: Yes.
Michael Hollins: no uh there's
Norbert Mason: the
Michael Hollins: still there's still
William Sites: Seventy
Michael Hollins: someth concept
William Sites: Euros.
Michael Hollins: and something special left. I mean we're gonna it's gonna excel in
Norbert Mason: No,
Michael Hollins: in
Norbert Mason: but
Michael Hollins: on in
Norbert Mason: no.
Michael Hollins: the the range in the field of design and and uh looks and feel. That's what it's makes it special. Yeah, and I would li I would have liked a kinetic part as well, to give it some just to give it some extra special feature, and uh I know it will work, but uh it's it's an They're they're not putting technologies on this, but if it if it was impossible to to make it happen.
William Sites: Why not a hand dynamo then?
Michael Hollins: Okay, well we leave it like this. Then it's c
Norbert Mason: Yeah,
Michael Hollins: then we're yeah.
Norbert Mason: yeah.
Gary Vela: We can't do anything else. Warning, finish meeting now.
William Sites: We're done.
Michael Hollins: Okay,
William Sites: Is this it?
Michael Hollins: project e uh well,
Gary Vela: Yeah,
Michael Hollins: we were gonna
Gary Vela: sure.
Michael Hollins: what look take
William Sites: Okay.
Michael Hollins: a look at the last sheet.
Gary Vela: No, we can't.
Michael Hollins: Yeah, we have to Yeah, it's
Norbert Mason: No.
Gary Vela: Yes, yes.
William Sites: Yes.
Gary Vela: Celebration. I don't see why, but
William Sites: Where's the champagne?
Gary Vela: I think we gotta fill out another questionnaire, to be honest.
Norbert Mason: Yeah?
William Sites: I don't uh hear a bell.
Gary Vela: No, not yet. Alright,
Norbert Mason: We
Gary Vela: I'll
Norbert Mason: can
Gary Vela: see
Norbert Mason: do
Gary Vela: you
Norbert Mason: it
Gary Vela: guys
Norbert Mason: here
Gary Vela: in
Norbert Mason: then.
Gary Vela: a minute.
William Sites: Bye.
Gary Vela: I
Norbert Mason: Can
Gary Vela: don't
Norbert Mason: we
Gary Vela: think
Norbert Mason: can't
Gary Vela: so.
Norbert Mason: we do it here?
Gary Vela: I don't know. I don't I don't think so.
William Sites: Uh-huh. Just fill that one in.
Norbert Mason: Yeah, we're doing now. But it's. Oh, okay.
Michael Hollins: Uh, I
Norbert Mason: Nice.
Michael Hollins: don't know. | Michael Hollins opened the meeting. Norbert Mason and industrial designer presented the prototype design. The remote has buttons for power, mute, teletext, volume and channel up/down, and nine numbered channel buttons. The group discussed what buttons would be needed to enter channels 10 and above. They discussed adapting the docking station so it could be used with other products but did not make a decision. The remote is plastic with different coloured rubber strips on the sides and rubber buttons. Gary Vela led the product evaluation. The group were generally satisfied with the design but did not think the remote was technologically innovative. The overall score was 2.6. The group worked out the manufacturing costs. The group had problems figuring out the cost of the docking station and buttons, and did not know which kind of chip to use. They discussed using kinetic energy to make the remote more technologically innovative but decided against it. They eventually decided that they could not afford a docking station. They did not have time to evaluate the project process before the end of the meeting. | 5 | amisum | train |
Michael Zebell: I dunno. Throwing away my toothpick.
Jimmy Rhoads: Hi there.
Jerome Fudge: Yo. Ow.
Michael Zebell: 'Kay.
Jerome Fudge: Uh
Michael Zebell: Nice user interface.
Jerome Fudge: Yeah. What the Uh Yeah well, ja well let's just start.
Michael Zebell: 'Kay.
Jerome Fudge: I've uh made a presentation
Michael Zebell: Right let's
Jerome Fudge: uh
Michael Zebell: see it.
Jerome Fudge: but uh I'll open it on the Smartboard, so we can all see it. So it's in the project documents because that's what we can find here. Well. Very nice. Well this is called the the the kick-off meeting. So uh I'm Jerome Fudge, so I had to fill it in,
Michael Zebell: 'Kay.
Jerome Fudge: and uh hmm. Oh sorry. And an uh a nice agenda. Uh we'll do the opening and then uh we'll meet each other, what uh we already do, so, that's not uh very much trouble. I'll I'll show you the the tools we have here, so that we can all use them. Then uh we'll look at the project plan from uh Real Reaction. We'll discuss about our first ideas about the project, and then uh we'll close the meeting, and then we can uh individually uh do our things and then uh we'll get back here. So this the opening we'll uh We have to uh design a new television remote control. You have heard that uh already I think, so.
Michael Zebell: Mm-hmm.
Jerome Fudge: Um we want it to be original, so a nice uh a nice new design. Uh trendy, it's also for young people, and we have to just uh make it uh modern. And uh friendly, so size does matter. And uh Well it has to be a have the the right uh the right buttons on the right place, that kin
John Potter: Mm-hmm.
Jerome Fudge: those kind of things. Other uh There happen to be uh three stages. functional, conceptual, and d detailed design. Um so every time we we'll do some individual work, get meeting, talk about it, uh and then go into the next phase. That's just it. Um We have uh these two Smartboards. Um well as I just showed, there's a project management folder, a project document folder on the desktop. It just works exactly the same as a computer. You just uh click on the on the folder and you open the everything you you put in it with your laptop. So you can uh make uh Words Excel, everything. Um and the w the r uh the rest uh also works the same so uh when you open a notepad you uh you just get your uh things, you can uh draw. This is a uh well a drawing board. you have a these different uh functions on the board. You can see them there. So you have a a nice pen, and it's works just like a bal ball pen. This is just a. I want to uh Oh yeah. Of course w doesn't work any more.
John Potter: Maybe you should try write on the on the big uh Does it? Yeah.
Jerome Fudge: Yes I
John Potter: It
Jerome Fudge: will
John Potter: works.
Jerome Fudge: eraser so. It's
John Potter: Wonderful.
Jerome Fudge: fantas fantastic. We can uh uh well you can save a file. So if uh we draw we have to save everything. Don't throw anything away.
John Potter: Mm-hmm.
Jerome Fudge: Uh just we can start a new one, and we just go on, and don't throw anything away. Just uh let them all uh stand here. We can delete, but we don't do that. Um you can here select a pen, you can draw anything you want. It's a bit uh childish you have to write. It's not as fast as you w you know it, but it does work sometimes. Well it's just like a normal uh paint. So it's gone.
John Potter: Alright, yep.
Jerome Fudge: Well we are designers, so we have to have a a more uh a Smartboard. So that's fantastic. Um well this uh speaks for itself. We going to try it. So um we all uh are going to uh draw a nice animal on this board, not my idea.
Michael Zebell: Alright, your favourite animal?
Jerome Fudge: Yes our your favourite. So um I'm to going to have to draw a kangaroo, but I'm going d I'm not going to. I'm just uh going to uh well draw a nice uh beast w I dunno
Michael Zebell: Grizzly
Jerome Fudge: what I'm going
Michael Zebell: bear.
Jerome Fudge: to design. Oh um doesn't
John Potter: I hope
Jerome Fudge: oh.
John Potter: this was part of the
Jerome Fudge: Yeah,
John Potter: assignment
Jerome Fudge: 'kay.
John Potter: and not uh your uh
Jerome Fudge: Hmm?
John Potter: I hope this was part of the assignment and not uh your personal uh enjoyment.
Jerome Fudge: I just said it's
Michael Zebell: Yeah.
Jerome Fudge: not my idea but I am Jerome Fudge, and officially this is my idea.
John Potter: I I
Jerome Fudge: So
John Potter: I I understand.
Michael Zebell: We're kinda
John Potter: Alright.
Michael Zebell: losing time, though.
Jerome Fudge: what?
Michael Zebell: We're losing time,
Jerome Fudge: Ah
Michael Zebell: but
John Potter: so start
Jerome Fudge: the first the first meeting is just a bit uh loose,
Michael Zebell: Alright.
Jerome Fudge: loosen up, a bit uh meeting each other well uh uh
John Potter: Yep
Jerome Fudge: nice yeah.
John Potter: yes.
Jerome Fudge: Sh I hope our Industrial Designer does this better because uh this is
John Potter: Don't
Jerome Fudge: uh
John Potter: count it
Jerome Fudge: No so a a few
Michael Zebell: Do
Jerome Fudge: legs.
Michael Zebell: we have to guess? A
Jerome Fudge: Yes yes guess.
Michael Zebell: hippo?
Jerome Fudge: Well
John Potter: I
Jerome Fudge: I should make it an hippo now.
Michael Zebell: Yeah.
John Potter: think it's a mouse or a rat.
Jerome Fudge: No I don't think so.
John Potter: Oh. Oh I know it.
Jerome Fudge: Well what is it, huh?
John Potter: It's
Michael Zebell: I
John Potter: a
Michael Zebell: don't
John Potter: hedgehog.
Michael Zebell: know how to call it.
Jerome Fudge: Yeah
Michael Zebell: A hedgehog?
Jerome Fudge: difficult English word. I didn't knew it myself.
John Potter: Well I'm amazed uh about your uh drawing skills.
Jerome Fudge: Our characteristics sum it up. Well it's uh very uh painful those kind of thing. So we can uh just uh
John Potter: Yeah.
Jerome Fudge: We're going back and now uh our Industrial Designer can
Michael Zebell: Alright.
Jerome Fudge: uh draw its
John Potter: I
Jerome Fudge: uh
John Potter: am the Industrial
Jerome Fudge: most
John Potter: Designer.
Jerome Fudge: favourite animal. Huh.
John Potter: Chief, I am John Potter.
Jerome Fudge: Oh uh but this uh marketing designer.
John Potter: Yeah. I think It's pr it resembles the animal drawn by.
Michael Zebell: It's.
Jerome Fudge: what kind of animal is that then?
John Potter: I think can I say it?
Michael Zebell: Yeah sure. It's a rabbit. Well Looks very nice, right?
Jerome Fudge: Yeah.
John Potter: It looks amazing.
Jerome Fudge: No no no. What are you going to do?
Jimmy Rhoads: We want to erase it.
Jerome Fudge: No no. No no save it and start a new uh save it
Michael Zebell: Yes.
John Potter: These are very
Jerome Fudge: and start
John Potter: impor
Jerome Fudge: a new black uh doc a
John Potter: These
Jerome Fudge: blank
John Potter: are very
Jerome Fudge: document.
John Potter: important documents, of course, uh these drawings,
Jerome Fudge: Yeah well we have
John Potter: uh
Michael Zebell: Yes
Jerome Fudge: to save
Michael Zebell: uh
Jerome Fudge: everything so now
Michael Zebell: right.
Jerome Fudge: um the next one uh
Michael Zebell: You go man.
Jerome Fudge: and then save
Jimmy Rhoads: Thanks.
Jerome Fudge: it and start an blank document. Yeah. There's also different colours and different uh well pen widths uh the line the the thickness thickness. So
Michael Zebell: Alright.
Jerome Fudge: um well you should uh try it but uh
Michael Zebell: I should have made mine a white rabbit.
Jerome Fudge: Well y y y you could have but uh.
John Potter: And he deliberately
Jerome Fudge: It
John Potter: draws
Jerome Fudge: speaks for
John Potter: a
Jerome Fudge: itself.
John Potter: animal we don't know the English word for.
Jerome Fudge: What the
John Potter: It looks like an uh
Jerome Fudge: uh just a duck.
John Potter: It looks like that beast from Sesame Street.
Jerome Fudge: Nice.
John Potter: Yeah.
Jimmy Rhoads: Big bird.
Jerome Fudge: Is
Michael Zebell: You're
Jerome Fudge: it
Michael Zebell: standing
Jerome Fudge: a duck?
Michael Zebell: in front
John Potter: It's
Michael Zebell: of it, I
John Potter: it's
Michael Zebell: can't see
John Potter: uh
Jerome Fudge: Is it a plane?
Michael Zebell: it. Alright, thank you. Yeah it's a bird, but what kind of bird?
Jerome Fudge: It doesn't draw uh
John Potter: Do we have
Jerome Fudge: circles
John Potter: to uh
Jerome Fudge: uh that easy uh.
Michael Zebell: You have to push harder.
Jerome Fudge: Yeah
Jimmy Rhoads: Mm.
Jerome Fudge: just a bit a bit childish, a bit.
John Potter: But we have uh
Michael Zebell: Release
John Potter: do
Michael Zebell: your anger.
John Potter: we have to name the specific species of the bird?
Jimmy Rhoads: Uh
John Potter: No?
Jimmy Rhoads: no I don't. It's just a bird.
John Potter: Well
Jerome Fudge: Well
John Potter: wonderful.
Jerome Fudge: uh save the document and then uh And then a a new blank document for. uh will uh
Jimmy Rhoads: Here
Jerome Fudge: choose
Jimmy Rhoads: you go.
Jerome Fudge: a new colour and a new pen width so w
John Potter: Why
Jerome Fudge: we can
John Potter: do
Jerome Fudge: all
John Potter: I
Jerome Fudge: see
John Potter: have to
Jerome Fudge: it.
John Potter: do the difficult tasks? Uh
Jerome Fudge: No well first
John Potter: pen
Jerome Fudge: yeah.
John Potter: yeah that's.
Jerome Fudge: And then you go to format I think,
John Potter: Uh current
Jerome Fudge: and
John Potter: colour.
Jerome Fudge: current colour you choose a new colour. And
John Potter: I
Jerome Fudge: a
John Potter: like
Jerome Fudge: new
John Potter: uh
Jimmy Rhoads: Mm.
John Potter: oh they don't have pink. Oh b oh think this
Jerome Fudge: pen
John Potter: is uh
Jerome Fudge: width uh also format. It's not like in paint.
John Potter: Uh? Uh
Jerome Fudge: Line width. And you can choose
John Potter: Line
Jerome Fudge: a nice
John Potter: width.
Jerome Fudge: one.
Jimmy Rhoads: Width.
Jerome Fudge: Width width.
John Potter: Uh
Jerome Fudge: With each other.
John Potter: fifteen. And
Jimmy Rhoads: Hmm.
John Potter: I can draw?
Jerome Fudge: Yeah. So. Just
John Potter: Uh
Jerome Fudge: a wa that's the way we do it's quite easy.
Michael Zebell: Hmm.
Jerome Fudge: Mm-hmm.
Jimmy Rhoads: It's a pussy cat.
Michael Zebell: It's a cat.
Jerome Fudge: Oh Pussy.
John Potter: Oh the line width is too thick, but oh
Jerome Fudge: Well
John Potter: well.
Jerome Fudge: then you change it. And erase things.
John Potter: Uh.
Jerome Fudge: What?
Michael Zebell: It's a pig.
John Potter: It smiles nicely.
Jerome Fudge: Super pig.
John Potter: Now I have to change the line width. Uh one.
Jerome Fudge: So
John Potter: These are whiskers, you know.
Jerome Fudge: Yeah yeah yeah
Michael Zebell: Right.
Jerome Fudge: we know.
John Potter: Uh well I think it's obvious right now.
Jerome Fudge: Yes alright. It's a cat.
Michael Zebell: No it looks great.
John Potter: Miaow. Well if this isn't obvious
Jerome Fudge: Well well um
Michael Zebell: Just save it.
Jerome Fudge: Yeah
John Potter: I'll
Jerome Fudge: save
John Potter: save
Jerome Fudge: it
John Potter: it alright uh save.
Jerome Fudge: and start a new blank document.
John Potter: Uh yeah uh blank.
Jerome Fudge: Yep. So that's uh what we're going to use when we uh need it.
John Potter: Well
Michael Zebell: Oh great.
John Potter: I feel comfortable
Jerome Fudge: Well
John Potter: now. Thanks for
Jerome Fudge: it's
John Potter: this
Jerome Fudge: terrific,
John Potter: exercise.
Jerome Fudge: eh?
Michael Zebell: It's good
John Potter: I feel
Michael Zebell: for group spirit.
John Potter: totally at ease.
Jerome Fudge: Yeah
Jimmy Rhoads: It
Jerome Fudge: that's it.
Jimmy Rhoads: certainly is.
Jerome Fudge: We're one big happy family now.
John Potter: Yeah something like that.
Jerome Fudge: Well then uh the serious uh stuff. We're we want to sell it at twenty five Euros internationally um so um but we dunno what exactly th i it is in dollars, but uh twenty five Euros. Our profit aim is, worldwide, fifty million Euros.
John Potter: So
Jerome Fudge: So I didn't uh exactly uh calculate how much we have to sell. we want to keep it our costs at twelve and a half Euros so, keep uh that in mind when we uh talk about our uh materials an f and stuff,
Michael Zebell: Right.
John Potter: Alright.
Jerome Fudge: and uh marketing uh research. Now then we all uh we can uh sit down and discuss uh what do we think about our current remote controls, first about design uh about uh aim in the market etcetera?
Michael Zebell: Right.
Jerome Fudge: Well uh we c we can sit down uh because uh presentation can wait. We can uh take notes and uh Well who has uh some uh remarks about the current uh remote controls?
John Potter: Well
Jerome Fudge: Please?
John Potter: I I didn't have to prepare anything about uh
Jerome Fudge: No uh
John Potter: it's
Jerome Fudge: I
John Potter: not,
Jerome Fudge: did.
John Potter: it's it's not my task to uh talk about uh experience with current remote controls, but uh
Jerome Fudge: Well uh just w we're uh four uh if
Michael Zebell: I think
Jerome Fudge: we if
Michael Zebell: it's
Jerome Fudge: we would
Michael Zebell: im
Jerome Fudge: just have one then
Michael Zebell: it's important to uh look at uh the remote controls of our competitors.
Jerome Fudge: Yeah.
Michael Zebell: Get the good points uh try to merge them into one universal remote control.
Jerome Fudge: Yeah yeah.
Michael Zebell: On our corporate site I saw uh a new D_V_D_ player uh we're gonna produce.
Jerome Fudge: Yep.
Michael Zebell: Maybe it's important
Jerome Fudge: That's alright.
Michael Zebell: to make it compatible with the D_V_D_ player
Jerome Fudge: That would be a nice idea, yes.
Michael Zebell: so you can uh use your television and your D_V_D_ player with the same uh remote
Jerome Fudge: Yep
Michael Zebell: control.
Jerome Fudge: yep yep.
Michael Zebell: Furthermore it's important to make it uh acceptable for the whole world, for different cultures, maybe, because we want to we want to well fifty million?
Jerome Fudge: Yes fifty
John Potter: Mm-hmm.
Jerome Fudge: million is our aim to
Michael Zebell: Yeah
Jerome Fudge: a profit,
Michael Zebell: yeah
Jerome Fudge: so.
Michael Zebell: so a lot of people have to be able to use it.
John Potter: No but
Michael Zebell: So
John Potter: uh the
Jimmy Rhoads: Easy
John Potter: b
Jimmy Rhoads: to
John Potter: the
Jimmy Rhoads: learn.
John Potter: buttons have to
Michael Zebell: Yeah.
John Potter: uh have to have uh international recognisable buttons and uh
Michael Zebell: Yeah that's right.
Jimmy Rhoads: Yeah.
Jerome Fudge: Yes.
John Potter: and numbers and uh that every culture in uh, yeah, people in every
Jimmy Rhoads: Yeah.
John Potter: country can recognise.
Jerome Fudge: I'll make uh notes and then uh maybe uh well I'll put it in the project uh folder when I'm done uh
Michael Zebell: Mm-hmm.
Jerome Fudge: just now.
John Potter: Alright.
Jimmy Rhoads: I also
Jerome Fudge: Well
Jimmy Rhoads: think
Michael Zebell: Right.
Jimmy Rhoads: we should
Jerome Fudge: yeah?
Jimmy Rhoads: not add too many buttons. Modern
Jerome Fudge: No
Jimmy Rhoads: day uh remotes have
Jerome Fudge: that's right. Y
Jimmy Rhoads: too
Jerome Fudge: y
Jimmy Rhoads: much
Jerome Fudge: you
Jimmy Rhoads: buttons
Jerome Fudge: don't use
Jimmy Rhoads: I think.
Jerome Fudge: uh the half of them that's that's
Jimmy Rhoads: Precisely.
Jerome Fudge: culture uh international.
Michael Zebell: Maybe we could make one button to switch between D_V_D_ player and T_V_
Jimmy Rhoads: Yeah.
Michael Zebell: and make the other buttons uh multi-functional or something.
Jimmy Rhoads: Yeah
Jerome Fudge: Yes.
John Potter: Yeah so
Jimmy Rhoads: indeed.
John Potter: it doesn't uh become too complicated with too much buttons
Michael Zebell: Yeah
John Potter: and
Michael Zebell: right.
John Potter: uh
Jerome Fudge: Yep, and maybe we do uh we even have uh more than just a D_V_D_ player. Don't we have uh other uh
Jimmy Rhoads: Yeah
Jerome Fudge: ou
Jimmy Rhoads: we should make it compatible
John Potter: And stereo
Jerome Fudge: Uh.
Jimmy Rhoads: perhaps with everything
John Potter: uh s
Jimmy Rhoads: we use,
John Potter: uh
Jerome Fudge: We also
John Potter: audio
Jimmy Rhoads: we
Jerome Fudge: uh
Jimmy Rhoads: uh
Jerome Fudge: just
John Potter: installations.
Jimmy Rhoads: we make?
Jerome Fudge: uh released a T_F_T_ uh
Michael Zebell: Yeah so
Jerome Fudge: thing
Michael Zebell: but
Jerome Fudge: I saw.
Michael Zebell: th that's kind kind of standard T_ television
Jerome Fudge: Yeah.
Michael Zebell: so
Jimmy Rhoads: Yeah.
Michael Zebell: it also works on that.
Jerome Fudge: Yep.
Jimmy Rhoads: And I think the people who who will buy our uh remote already have some experience with remotes. So we can keep
John Potter: Most
Jimmy Rhoads: that in
John Potter: people
Jimmy Rhoads: mind.
John Potter: do, yeah.
Jerome Fudge: Well yeah.
John Potter: It doesn't it
Jerome Fudge: It doesn't
John Potter: doesn't
Jerome Fudge: have
John Potter: have to
Jerome Fudge: to
John Potter: be
Jerome Fudge: be, but
Jimmy Rhoads: W
Jerome Fudge: we can.
Jimmy Rhoads: well it's a n it's a new remote and you don't buy a remote if you don't have anything to uh
Jerome Fudge: Well
Jimmy Rhoads: to control with it.
Jerome Fudge: except
Michael Zebell: Yeah but
Jerome Fudge: if we deliver it together with
John Potter: Yeah.
Jerome Fudge: our D_V_D_.
Jimmy Rhoads: Yeah alright,
Michael Zebell: We need to
Jimmy Rhoads: but
Michael Zebell: to keep it consistent with other d uh
Jerome Fudge: Yeah
John Potter: Well.
Jerome Fudge: because we look at competitors and w if we pick up the good things about that and give it a nice design
John Potter: Hmm.
Michael Zebell: Yeah but it's
John Potter: It
Michael Zebell: it
John Potter: has to be
Michael Zebell: has
John Potter: different
Michael Zebell: to be
John Potter: and
Michael Zebell: useable.
John Potter: familiar at the same time.
Jerome Fudge: Yes.
Michael Zebell: Yeah.
Jimmy Rhoads: Yeah. Yeah we could use
Jerome Fudge: Yep.
Jimmy Rhoads: another form or shape or colour,
John Potter: yeah
Jimmy Rhoads: that
John Potter: the shape
Jimmy Rhoads: kind of
John Potter: will
Jimmy Rhoads: things.
John Potter: will have to be recognised. I thought about uh like most uh remote controls uh are uh a long box shaped thing
Jerome Fudge: Yeah.
John Potter: you can make it uh triangle shaped, but that's
Jimmy Rhoads: Well
John Potter: not
Jimmy Rhoads: we
John Potter: uh
Jimmy Rhoads: we
John Potter: very
Jimmy Rhoads: could
Jerome Fudge: Oo
Jimmy Rhoads: make
John Potter: recognisable.
Jimmy Rhoads: more
Michael Zebell: No.
Jimmy Rhoads: more oval or something, and
John Potter: Oval?
Jimmy Rhoads: and
Jerome Fudge: N we can
John Potter: I
Jerome Fudge: use
Jimmy Rhoads: Yeah
Jerome Fudge: uh
Jimmy Rhoads: or
Jerome Fudge: it
Jimmy Rhoads: so
Jerome Fudge: as a as a game pad. So
John Potter: Mm.
Jimmy Rhoads: Well yeah it's new.
Michael Zebell: Not with two hands.
Jerome Fudge: one hand has the beer, so
Michael Zebell: Yeah
Jerome Fudge: the other
Michael Zebell: yeah
Jerome Fudge: hand
Michael Zebell: yeah, right.
Jerome Fudge: uh
Michael Zebell: No
Jimmy Rhoads: but young people want something different and it is
Jerome Fudge: Well i
Michael Zebell: Yeah but
Jerome Fudge: we already
Michael Zebell: it's
Jerome Fudge: uh
Michael Zebell: quite important
Jerome Fudge: one of
Michael Zebell: that
Jerome Fudge: our
Michael Zebell: it
Jerome Fudge: aims
Michael Zebell: fits.
Jerome Fudge: is that it has to be original
Jimmy Rhoads: Yeah.
Jerome Fudge: and
Michael Zebell: Yeah.
John Potter: Oh
Jerome Fudge: trendy
John Potter: but it ha it has to be
Jerome Fudge: so
John Potter: m yeah. But you still have to know it's a remote and not another
Jimmy Rhoads: Yeah
Jerome Fudge: Well
Jimmy Rhoads: alright.
Jerome Fudge: there has been done a lot of researches about remotes uh we have to we can imagine uh because it's a long time uh on the market. So
John Potter: Yeah.
Jerome Fudge: the the form will have been uh tested out so
John Potter: Yeah so the long box uh shaped thing must be uh, yeah, useful
Jerome Fudge: Yes.
John Potter: or
Jerome Fudge: Well
John Potter: else uh they would have been ano another
Jerome Fudge: for Michael Zebell personally
John Potter: shape.
Jerome Fudge: I have a a lot of remotes uh at home but those ones that have a a round ending and uh well uh just an uh square uh middle I don't like to use them. I have uh have to it has to fit my hands.
Michael Zebell: Yeah.
Jimmy Rhoads: Yeah.
Jerome Fudge: When it falls over it and I just have and then the button
Michael Zebell: It shouldn't
John Potter: Yeah.
Michael Zebell: be
Jerome Fudge: that
Michael Zebell: boxy.
Jerome Fudge: I use most
John Potter: Yeah a lo
Jerome Fudge: has to be
John Potter: the
Jerome Fudge: here.
John Potter: long box shape yeah. You have to
Jerome Fudge: It f it fits
John Potter: use
Michael Zebell: Nah
Jerome Fudge: your hands
John Potter: one hand.
Jerome Fudge: and then you just push the button that you use most
Michael Zebell: I don't
Jerome Fudge: with
Michael Zebell: agree with the long box
Jerome Fudge: thumb.
Michael Zebell: uh shape it
John Potter: Why not?
Michael Zebell: it has to be custom made for the hand.
Jimmy Rhoads: Yeah it doesn't fit.
Jerome Fudge: Tho
Michael Zebell: Yeah.
Jerome Fudge: tho those new D_V_D_
John Potter: But
Jerome Fudge: players
John Potter: it
Jerome Fudge: on
John Potter: does
Jerome Fudge: the
John Potter: fit
Jerome Fudge: market
John Potter: in the hand if
Jerome Fudge: do
John Potter: you hold
Jerome Fudge: have
John Potter: it like
Jerome Fudge: those.
John Potter: this, and you
Michael Zebell: Yeah
John Potter: can
Michael Zebell: but
John Potter: make
Michael Zebell: if
John Potter: it another
Michael Zebell: you shape
John Potter: shape, but
Michael Zebell: it
John Potter: then you have
Jimmy Rhoads: No if y
Michael Zebell: If
Jimmy Rhoads: if you look at new Phillips uh D_V_D_ with their uh remotes
Jerome Fudge: D_V_D_ players. Yes.
Jimmy Rhoads: pl players they they are the new remotes aren't box shaped.
John Potter: W
Jimmy Rhoads: They're
John Potter: no
Jimmy Rhoads: all
John Potter: w
Michael Zebell: No
Jimmy Rhoads: um
John Potter: what else? I di
Michael Zebell: that's
Jimmy Rhoads: Well
Michael Zebell: ol old fashioned.
Jimmy Rhoads: Yeah.
John Potter: Yeah well
Michael Zebell: I
John Potter: but
Michael Zebell: can
John Potter: uh
Michael Zebell: imagine
John Potter: what
Jimmy Rhoads: Yes uh
John Potter: what
Michael Zebell: that us
John Potter: what do you suggest then?
Jimmy Rhoads: Well
Michael Zebell: Well
Jimmy Rhoads: most of of them are are somewhat thicker at the end, and
Michael Zebell: Yeah right.
Jimmy Rhoads: get um yeah thinner
Michael Zebell: It
Jimmy Rhoads: towards
Michael Zebell: fits
Jimmy Rhoads: the
Michael Zebell: in your
Jimmy Rhoads: uh
Michael Zebell: palms.
Jimmy Rhoads: the other end.
John Potter: Hmm.
Jimmy Rhoads: Mm.
John Potter: Well but it's still then uh the the long box, uh but then with some
Jimmy Rhoads: Yeah it
John Potter: uh round uh
Michael Zebell: Hmm?
Jerome Fudge: Well
John Potter: round
Jerome Fudge: A
John Potter: forms
Michael Zebell: Um.
John Potter: in it to fit
Jerome Fudge: it
John Potter: your
Jerome Fudge: h
John Potter: hand,
Jerome Fudge: it has
John Potter: but it's
Jerome Fudge: it it
John Potter: it's
Jerome Fudge: has
John Potter: still
Jerome Fudge: a that's tha th th shape that it fits your hand.
John Potter: Yeah yeah al alright but
Jerome Fudge: That's
John Potter: but it's still it's still sort of box, yeah. It it has
Jimmy Rhoads: Yeah
John Potter: round forms
Jimmy Rhoads: yea
John Potter: but it in the end it's
Michael Zebell: Well
John Potter: still the box, so that's what I mean.
Michael Zebell: Yeah but it has it has to fit your hand.
John Potter: Yeah yeah I
Michael Zebell: It
John Potter: understand,
Michael Zebell: shouldn't
John Potter: but
Michael Zebell: be too boxy, you know.
John Potter: no no
Michael Zebell: It's
Jimmy Rhoads: Hmm.
John Potter: I don't mean an entire box like completely
Michael Zebell: No no no.
John Potter: square but a also with round edges of course, but
Michael Zebell: Yeah.
John Potter: in in in at the end it's still this long
Michael Zebell: Yeah it should be
John Potter: box shape with convenient uh round uh shapes uh
Michael Zebell: Right maybe
John Potter: to
Michael Zebell: something
John Potter: fit.
Michael Zebell: like this or
John Potter: Yeah
Michael Zebell: and then
John Potter: yes
Michael Zebell: a
John Potter: I
Michael Zebell: button
John Potter: thought
Michael Zebell: here
John Potter: about
Michael Zebell: to
John Potter: something
Michael Zebell: switch
John Potter: like
Michael Zebell: between
John Potter: that.
Michael Zebell: different systems like D_V_D_
John Potter: Yeah.
Michael Zebell: player and so you can
John Potter: A big
Michael Zebell: I've
John Potter: recognisable button on top or something.
Michael Zebell: Yeah right, and I do think we have to keep this kind of idea
Jimmy Rhoads: Yeah.
Michael Zebell: with the with the numbers and
Jerome Fudge: We have five minutes left. So
John Potter: The
Michael Zebell: Right.
John Potter: buttons should uh also be not too small, not too big, of course, and
Jerome Fudge: Yes
John Potter: uh
Jerome Fudge: uh that's
John Potter: n uh uh not too
Jerome Fudge: yep.
John Potter: close
Michael Zebell: But it
John Potter: uh
Michael Zebell: should be
John Potter: together.
Michael Zebell: possible to to um make it ap apparent that there are two functions for every button.
Jerome Fudge: Yep.
Michael Zebell: So
John Potter: Uh-huh.
Michael Zebell: there has to be some space between the buttons.
John Potter: Yeah of course
Michael Zebell: Yeah.
John Potter: uh to uh to uh to have icons to explain the different
Michael Zebell: Yeah right
John Potter: functions.
Michael Zebell: right,
John Potter: Yeah.
Michael Zebell: and maybe we should use colours.
John Potter: Colours,
Jimmy Rhoads: Yeah
John Potter: yeah.
Jimmy Rhoads: maybe we can um just like on cell phones those um well
Michael Zebell: Yeah.
Jimmy Rhoads: you can you can put on on them,
Jerome Fudge: Ha.
Jimmy Rhoads: and
Michael Zebell: That's
Jimmy Rhoads: so
Michael Zebell: kinda
Jimmy Rhoads: you can
Michael Zebell: trendy.
Jimmy Rhoads: customise your uh your own remote with different colours or or special
Michael Zebell: Yeah right.
Jimmy Rhoads: paint jobs I dunno
Jerome Fudge: Sound
Jimmy Rhoads: but
Jerome Fudge: nice. Yes.
John Potter: I think we have to talk also about uh the the materials for um.
Jimmy Rhoads: Well
Jerome Fudge: Well it's just uh about our first ideas now so I think individually we'll have to uh come up with ideas for the next meeting about
Michael Zebell: Right.
Jerome Fudge: these materials
Michael Zebell: But
Jerome Fudge: and markets etcetera.
John Potter: Already
Jerome Fudge: Yes?
Michael Zebell: I think
John Potter: thought
Michael Zebell: it's
John Potter: about
Michael Zebell: uh
John Potter: something tha
Michael Zebell: it's important to uh notate all the the decisions that
Jerome Fudge: Yes.
Michael Zebell: we make, so we
Jerome Fudge: Well thirty minutes we have.
John Potter: Mm-hmm.
Jerome Fudge: So um This is about uh what we are going to uh do uh. You'll get specific instructions when you're back in your
Michael Zebell: Yeah.
Jerome Fudge: room so uh it's uh logical uh. I think.
Michael Zebell: No problem.
Jerome Fudge: Oh and uh that's uh that's all. So we'll just get a notice that the the meeting is uh over.
John Potter: Yeah now we
Jerome Fudge: Yeah
John Potter: can still talk about the material,
Jerome Fudge: yes
John Potter: we
Jerome Fudge: say.
Jimmy Rhoads: Mm.
John Potter: have some some minutes left uh I w wrote down uh that the case should be plastic of course, hard plastic,
Michael Zebell: Yeah. Yeah it shouldn't be too heavy.
John Potter: No n
Jerome Fudge: Well
John Potter: n
Jerome Fudge: I have had remotes that um they had uh the function of the buttons was about uh uh a layer over the buttons and when I've had use it much it was gone.
Jimmy Rhoads: Yeah
Michael Zebell: Yeah
Jimmy Rhoads: that's
Michael Zebell: yeah
Jerome Fudge: So
Jimmy Rhoads: bad,
Jerome Fudge: it
Michael Zebell: yeah.
Jerome Fudge: has
Jimmy Rhoads: yeah.
Jerome Fudge: to be made in the buttons I think. It has to uh not
Jimmy Rhoads: Yeah
Jerome Fudge: be
Jimmy Rhoads: that's
Jerome Fudge: loose.
Jimmy Rhoads: important.
John Potter: Mm. Alright. And of course there are several electrical cables in it to uh
Jerome Fudge: Yeah.
John Potter: to connect things uh
Jerome Fudge: Is there an a
John Potter: to
Jerome Fudge: universal
John Potter: each other.
Jerome Fudge: uh universal way of um transmitting from the remote to the television so it's all about uh
Michael Zebell: Yeah
John Potter: I
Michael Zebell: it's
John Potter: think
Michael Zebell: univ
John Potter: so.
Michael Zebell: yeah
John Potter: It's
Michael Zebell: yeah
John Potter: a
Michael Zebell: yeah.
Jerome Fudge: It's not that
John Potter: a
Jerome Fudge: in
John Potter: common
Jerome Fudge: China
John Potter: stan
Jerome Fudge: it's
John Potter: standard
Jerome Fudge: different?
John Potter: way
Michael Zebell: Yep.
John Potter: infrared beams an infrared beam
Jerome Fudge: Yeah.
John Potter: I think.
Jerome Fudge: But y you can have uh of
Michael Zebell: And you can
Jerome Fudge: course
Michael Zebell: use
Jerome Fudge: different between D_V_D_s and televisions
John Potter: It it's
Jerome Fudge: and between
John Potter: a we we make an a universal remote
Michael Zebell: Yeah.
John Potter: so it ha has to work with uh all
Jerome Fudge: Yeah.
John Potter: kinds of brands
Jimmy Rhoads: Yeah.
John Potter: and
Jimmy Rhoads: But
John Potter: things.
Jimmy Rhoads: our T_V_s are mostly made in China and that sort of country, so
Jerome Fudge: Probably yes. China rules.
John Potter: And have well yeah I've wrote something down about how it works. The user presses a button and with an infrared beam
Michael Zebell: But
John Potter: it signals the television
Michael Zebell: are
John Potter: set accordingly, but that's pretty obvious, I think.
Michael Zebell: Are we going w uh with the front uh fronts uh idea?
Jerome Fudge: Well I think uh w we can
Michael Zebell: I
Jerome Fudge: look
Michael Zebell: think
Jerome Fudge: into that in the
Michael Zebell: we
Jerome Fudge: in
Michael Zebell: should
Jerome Fudge: the next
Michael Zebell: make
Jerome Fudge: uh
Michael Zebell: it universal
Jerome Fudge: thirty minutes. Yeah.
Michael Zebell: and you can always use a front front on it, you know? You can use it just plain
Jerome Fudge: Yes.
Michael Zebell: but you can
Jerome Fudge: Well j
Michael Zebell: To make it
Jerome Fudge: just
Michael Zebell: more trendy.
Jerome Fudge: y you get a n a normal front with it, but you
Jimmy Rhoads: Yeah.
Jerome Fudge: can change them
Michael Zebell: Right.
Jerome Fudge: uh when
Jimmy Rhoads: Yes.
Jerome Fudge: you buy the
Michael Zebell: Right.
Jimmy Rhoads: Yes.
Jerome Fudge: And we should uh dispatch those kind of fronts fronts
Jimmy Rhoads: Mm.
Jerome Fudge: a a around the world so
Jimmy Rhoads: Well you
Jerome Fudge: uh
Jimmy Rhoads: can make
Michael Zebell: Yeah.
Jimmy Rhoads: profit with them, and it's a way to make them trendy.
Jerome Fudge: Well th those fifty million don't uh don't se sells itself so we have to uh make uh some extra effort like fronts
John Potter: Well
Jerome Fudge: uh.
Michael Zebell: Yeah
Jimmy Rhoads: Yeah
Michael Zebell: right.
John Potter: but
Jimmy Rhoads: alright.
John Potter: th but the standard front will be uh just grey or something
Jimmy Rhoads: Yeah
John Potter: uh b a simple
Jerome Fudge: Yes.
Jimmy Rhoads: normal.
John Potter: colour not
Jerome Fudge: Yeah
John Potter: not very flashy.
Jimmy Rhoads: No
Jerome Fudge: well it has
Jimmy Rhoads: a colour
Jerome Fudge: to
Jimmy Rhoads: everyone
Jerome Fudge: it h it
Jimmy Rhoads: accepts.
Jerome Fudge: has to fit the the te television and D_V_D_ set we are going to sell, so if they are
Jimmy Rhoads: Mm.
Jerome Fudge: uh black
John Potter: Pink television
Jerome Fudge: and black
John Potter: sets
Jerome Fudge: black
Jimmy Rhoads: Mm.
Jerome Fudge: and silver
John Potter: pink
Jerome Fudge: we'll
John Potter: remote,
Michael Zebell: Yeah
Jerome Fudge: make them
Michael Zebell: yeah
Jerome Fudge: black
Michael Zebell: yeah.
Jerome Fudge: and silver
Jimmy Rhoads: Yeah.
Jerome Fudge: so.
Jimmy Rhoads: standard.
Michael Zebell: But people of often don't like bright colours or something. We have to make it grey or s or black.
Jimmy Rhoads: Well young people
Michael Zebell: Yeah but
Jimmy Rhoads: s
Michael Zebell: then
Jimmy Rhoads: li
Michael Zebell: you can use a a front.
Jimmy Rhoads: Yeah yeah, yeah.
John Potter: Alright.
Jerome Fudge: Yeah.
John Potter: I must not forget my pen the next
Jerome Fudge: Well if
John Potter: time.
Jerome Fudge: if you yeah. If you have a a a television room for little children and you make a if if you buy a a pink front they'll they'll love it.
Jimmy Rhoads: Yeah.
Michael Zebell: Yeah
Jerome Fudge: I
Michael Zebell: that's
Jerome Fudge: think.
Michael Zebell: right. Yeah
Jerome Fudge: But that's uh marketing
Michael Zebell: or a t
Jerome Fudge: uh research
Michael Zebell: Teletubby
Jerome Fudge: you
Michael Zebell: front.
Jerome Fudge: can uh you can ask
Michael Zebell: Yeah
Jerome Fudge: uh.
Michael Zebell: yeah yeah. I will investigate.
Jerome Fudge: Yes. Well our user interface you can uh maybe uh I don't know what your specific instructions will be, but uh probably about uh the precision of the buttons and and those kind of things and what buttons will have to be on the uh remote. And you will look into the technical design and um form, I think.
John Potter: Mm yeah
Jerome Fudge: Or something
John Potter: also the
Jerome Fudge: like
John Potter: the
Jerome Fudge: that.
John Potter: look and feel uh of the
Jerome Fudge: Yeah.
John Potter: the remote's also my task, yeah.
Jerome Fudge: Yeah.
Michael Zebell: Right.
Jimmy Rhoads: What's the uh url or the website
John Potter: Yeah
Jimmy Rhoads: 'cause
John Potter: I uh
Jimmy Rhoads: I didn't
John Potter: w was wondering that too. Y
Jerome Fudge: Euro?
Jimmy Rhoads: get
John Potter: you
Michael Zebell: It's
John Potter: went to the company website.
Jerome Fudge: Well
Michael Zebell: Yeah yeah
Jerome Fudge: it
Michael Zebell: yeah
Jerome Fudge: it
Jimmy Rhoads: Yeah.
Jerome Fudge: it's
Michael Zebell: just if
Jerome Fudge: if
Michael Zebell: you start
Jerome Fudge: you uh
Michael Zebell: up your Internet
John Potter: It's
Michael Zebell: Explorer
John Potter: the the
Jimmy Rhoads: Oh
John Potter: the start
Jimmy Rhoads: oh right
John Potter: uh starting
Jimmy Rhoads: oh
John Potter: page
Michael Zebell: Yeah.
John Potter: uh
Jimmy Rhoads: well I didn't uh use it.
Jerome Fudge: Finish meeting now. Oh alright. Well uh we're going to back uh
Jimmy Rhoads: Yes.
Jerome Fudge: back into our rooms so
Michael Zebell: Well that's great.
Jimmy Rhoads: Next meeting is in
Jerome Fudge: In thirty
Michael Zebell: Thirty
Jerome Fudge: minutes,
Michael Zebell: minutes.
Jimmy Rhoads: Thirty
Jerome Fudge: but uh
Jimmy Rhoads: minutes.
Jerome Fudge: I think it will be you will be warned uh through
Jimmy Rhoads: Yeah
Jerome Fudge: your laptop
Jimmy Rhoads: alright it's
Jerome Fudge: uh
Jimmy Rhoads: it's handy to
Jerome Fudge: to get
Jimmy Rhoads: know
Jerome Fudge: over here. I'll have to restore
John Potter: Very handy
Jerome Fudge: my uh
John Potter: to know.
Jerome Fudge: my desktop uh because
Michael Zebell: It's
Jerome Fudge: uh
Michael Zebell: totally broken.
Jerome Fudge: it's it's the half of the normal size.
John Potter: Right see you in half
Jerome Fudge: Oh
Jimmy Rhoads: Oh.
John Potter: an hour
Jerome Fudge: right,
John Potter: then.
Jerome Fudge: oh.
Jimmy Rhoads: Goodbye.
John Potter: W
Jerome Fudge: Ma
Michael Zebell: Oh
Jimmy Rhoads: S.
Jerome Fudge: W that was a nice meeting.
John Potter: Right uh see you in thirty
Jerome Fudge: Yeah,
John Potter: minutes then.
Jerome Fudge: see you. | After introducing the remote control objective, Jerome Fudge demonstrated the SmartBoard technology they would be using. They tested it by drawing animals. Jerome Fudge informed the group of the budget, before beginning the discussion of current remotes and initial ideas. They considered taking the best of their competitors designs and making a multifunction remote. It needs to be useable internationally, with few buttons. The considered options for the shape of the remote control, imagining how it would fit in the hand. The group ended the discussion by touching very briefly on some materials issues, and discussed remote covers. | 5 | amisum | train |
Wallace Williams: Okay. Uh door is closed. Well, begin. Because
Ronald Cope: I'm listening.
Wallace Williams: if we have as much time as the last uh meeting,
Ronald Cope: Right.
Wallace Williams: we'll have to hurry up. Um well I'll start with the presentation again,
Ronald Cope: Great.
Wallace Williams: the agenda. Yo. So. Uh This one I think. Uh yeah. Well alright. Um well, I'll show you the notes. It's not as uh interesting as it should be because we just uh had the meeting, but I'll show them. We'll get your presentations on the conceptual design. Um Then we'll have to dec decide about the control, the remote control concepts.
Robert Thornton: Mm-hmm.
Wallace Williams: I've put a f uh a file in the project management folder, which says exactly uh what kind of decisions we should take. So this time we exactly know what to decide about.
Ronald Cope: Alright, great.
Wallace Williams: And then we'll close again.
Robert Thornton: Alright.
Wallace Williams: Uh Well these are some examples, but we'll talk about them later. We'll first look at your uh presentations.
Robert Thornton: Mm-hmm.
Wallace Williams: Alright? Walter will uh start again
Ronald Cope: Yeah, great.
Wallace Williams: this time? Yo.
Ronald Cope: Alright, Trendwatch.
Wallace Williams: 'Kay.
Ronald Cope: Right. I will speak about uh latest trends trends, latest fashion updates, and uh things we must not do.
Wallace Williams: 'Kay.
Ronald Cope: Uh the trends. It's very important that uh the control is fancy looking and good uh feeling. Uh this because of our last model was very functional, but it uh people didn't like that, so our new mo model must be very good-looking. That's uh uh have to
Robert Thornton: Mm-hmm
Ronald Cope: take a look at.
Robert Thornton: Alright.
Ronald Cope: And uh the feeling has to be very great. Also the menus and things like that they have to they have to feel great.
Robert Thornton: Alright.
Ronald Cope: Um there's a minus uh two times here, because this is the most important point. This is uh two times as less
Wallace Williams: Less.
Ronald Cope: important, and uh same for this one. Um, technological technological innovations, that's uh regarded very highly too. Uh such as an uh L_C_D_ screen, uh speech uh acknowledgement, as we uh
Wallace Williams: Well, yeah.
Ronald Cope: talked about earlier. So we have to have uh something like that, like we uh
Wallace Williams: L_C_D_ and our uh our fronts.
Ronald Cope: Right. Uh the last point is easy to use. Well I think that uh speaks for s for itself. I don't know who's uh who's going to look at that.
Robert Thornton: Easy to use?
Wallace Williams: Well,
Ronald Cope: Yeah?
Wallace Williams: easy
Robert Thornton: I think
Wallace Williams: to use
Robert Thornton: that's your
Wallace Williams: uh
Robert Thornton: ta
Wallace Williams: s is a bit uh contradictionary with the first uh Functional is not an issue,
Ronald Cope: Yeah,
Wallace Williams: and
Ronald Cope: I know.
Wallace Williams: then easy to use. Well we have to choose one of them.
Ronald Cope: I think we have to go for the first
Wallace Williams: Yeah.
Ronald Cope: one. It's the most
Robert Thornton: Mm.
Ronald Cope: important one. So we have to uh take that one.
Wallace Williams: Okay.
Ronald Cope: So it it it isn't very important that that it works easy.
Troy Simmons: Well
Ronald Cope: But
Troy Simmons: something
Ronald Cope: it
Troy Simmons: fancy
Ronald Cope: has
Troy Simmons: looking
Ronald Cope: to look
Troy Simmons: can
Ronald Cope: great.
Troy Simmons: be can be easy to use.
Wallace Williams: Yeah. We'll we'll look at uh.
Ronald Cope: We'll see.
Robert Thornton: You Yeah. Yeah, yeah, you can make a very complicated uh uh remote anyway, so ease
Ronald Cope: Yeah,
Robert Thornton: of use
Ronald Cope: right.
Robert Thornton: It's not
Ronald Cope: But
Robert Thornton: a very
Ronald Cope: the most
Robert Thornton: comp
Ronald Cope: important
Robert Thornton: complicated
Ronald Cope: thing
Robert Thornton: device.
Ronald Cope: is that it looks great and people say wow, that's real great uh great concept.
Robert Thornton: Alright.
Wallace Williams: 'Kay.
Ronald Cope: Alright. Uh these are the new colours of this year. So it must be very bright, very colourful. People like this. So we we have to think uh in this direction. So
Wallace Williams: So
Ronald Cope: i set your mind to it.
Wallace Williams: Well
Ronald Cope: Findings? Fashion update? Fruit and vegetables are cool. I am told.
Robert Thornton: Uh you
Ronald Cope: The group
Robert Thornton: think?
Ronald Cope: we are targeting is uh very pleased with fruit and vegetables. So we we we might cons consider in front of uh in in that sort of uh
Wallace Williams: Yeah,
Ronald Cope: way.
Wallace Williams: well
Troy Simmons: Bananas.
Ronald Cope: Uh furthermore uh material, that's your part, should be very strong. I was thinking of something like uh well uh iron plate over it, maybe in a
Robert Thornton: Mm.
Ronald Cope: colour or something, that
Wallace Williams: Yeah.
Ronald Cope: looks so f really flashy but it it is also strong. And
Wallace Williams: B
Ronald Cope: that's uh also for the younger public.
Wallace Williams: Well the the handy thing about our fronts is that we can follow these trends e ev every year. Th this year it's fruits but next year it's it's
Ronald Cope: Yeah,
Wallace Williams: something
Ronald Cope: that's
Wallace Williams: totally
Ronald Cope: great.
Wallace Williams: different.
Troy Simmons: Yeah.
Ronald Cope: But I think we can all make the the fronts of titanium or something uh
Wallace Williams: Yes.
Ronald Cope: really thin. So it looks very heavy but you can still uh use it very easily.
Robert Thornton: Mm.
Wallace Williams: Yep, alright.
Ronald Cope: Well, the don'ts. Older people like dark colours and simple shapes. Well we don't want uh older people, we want young people. So uh we're gonna turn that around. We're
Robert Thornton: Alright.
Ronald Cope: gonna have real uh cool shapes and lots of colours. Right?
Wallace Williams: Wood
Ronald Cope: Okay.
Wallace Williams: is popular. Aha.
Ronald Cope: We don't want wood.
Robert Thornton: Yeah,
Wallace Williams: Yeah
Robert Thornton: among the old
Wallace Williams: yeah
Robert Thornton: people,
Wallace Williams: yeah.
Robert Thornton: yeah.
Ronald Cope: Old people. So, that's it for Ronald Cope.
Wallace Williams: Alright. Nice, uh well show us.
Robert Thornton: Right, I am going to you the design Uh again I have uh put up the specification properties. This uh so um uh the different uh components of the of of the device. And the materials? Um I have heard several things, so I uh I'll have to change that on the way. But uh the case? Uh I suggested uh in the previous meeting hard plastic. But uh as you
Ronald Cope: Yeah,
Robert Thornton: indicated
Ronald Cope: we should change
Robert Thornton: uh
Ronald Cope: that.
Robert Thornton: it should be strong. It should feel strong. So maybe plastic is not uh sufficient. We should
Wallace Williams: Well
Robert Thornton: move
Wallace Williams: maybe
Robert Thornton: to uh
Wallace Williams: it
Robert Thornton: something
Wallace Williams: it it is, but it doesn't look strong. So maybe
Robert Thornton: Well yeah. Y Hard plastic i is of course uh pretty pretty tough, but it doesn't have a really really tough
Ronald Cope: No no no.
Robert Thornton: look.
Wallace Williams: But we still
Robert Thornton: So
Wallace Williams: have to look at our price of course. Because
Robert Thornton: Yeah.
Wallace Williams: uh
Robert Thornton: Also
Wallace Williams: if we
Robert Thornton: Yeah.
Wallace Williams: want an L_C_D_ uh window etcetera uh
Robert Thornton: Mm-hmm. But we'll return to that.
Wallace Williams: Yeah?
Robert Thornton: Uh the buttons of course rubber, I think everyone agrees. And electrical cables, copper is all pretty basic stuff. The chips made of silicon, I guess. I think that's the best uh way to do it. And infra infrared l LED is uh just a simple bulb. Then I've uh had a few findings, made a few findings. Uh the target audience product style. Um it's uh um generally the case that uh senior and wealthy people above uh forty five years old uh like, as you said, uh particularly the traditional materials as such as wood and materials such as that. They also like straightforward shapes and luxurious style. But of course that's not our uh things this. So this is things we must not do.
Wallace Williams: Yes.
Robert Thornton: And then we have uh young uh and dynamic uh people, which is of course our uh group, the people we aim at. Um under forty five years old. Uh they like soft materials uh with primary colours. Soft materials is of course uh agai again a bit a contradiction with uh our uh material choice of what you said, that uh it should be hard an and and and and strong looking.
Ronald Cope: Mm. Yeah.
Robert Thornton: But they like soft
Troy Simmons: Yeah.
Robert Thornton: materials, uh so we might uh we have to consider that. And also they like curved round shapes. So not uh too formal like like uh the older people want. And if uh also a finding but not very ap applicable here, that sports and gaming devices such as uh discmans for jogging and that those kind of devices, gaming devices, should define the characteristics of the device. But uh since we don't have a really a sports or gaming device, so we don't really have to consider that.
Wallace Williams: Sports uh, they're uh that uh are
Troy Simmons: Soccer
Wallace Williams: accessible
Troy Simmons: fronts.
Wallace Williams: on on your L_C_D_ uh window uh
Troy Simmons: Mm.
Wallace Williams: Huh?
Robert Thornton: Mm.
Wallace Williams: That's nice.
Troy Simmons: Hmm.
Robert Thornton: Well
Wallace Williams: All
Robert Thornton: I also
Wallace Williams: the
Robert Thornton: have
Wallace Williams: results?
Robert Thornton: um
Ronald Cope: We keep coming back to the fronts.
Troy Simmons: Yeah.
Robert Thornton: several examples of uh styles, so you can get a clear picture of uh
Wallace Williams: Yeah.
Robert Thornton: what I mean. Uh these are the basic uh older older peoples' stuff.
Wallace Williams: Yeah.
Ronald Cope: Yeah.
Robert Thornton: It was not very uh interesting uh, very classical looking, but that's
Wallace Williams: Mm-hmm.
Robert Thornton: n that's not what we want. We have
Troy Simmons: Hmm.
Robert Thornton: these kind of things. I don't know what exactly they are. It
Wallace Williams: Nai.
Robert Thornton: looks
Wallace Williams: Uh
Robert Thornton: like Well
Wallace Williams: no.
Robert Thornton: you know uh you recognise the shapes, it's very primary colours, uh bright colours and uh round shapes. You also uh see uh this device, it's not very round and
Ronald Cope: Fruity.
Robert Thornton: Fruity of course.
Ronald Cope: Fruity.
Robert Thornton: Yeah, it uh
Wallace Williams: It's t terrible.
Robert Thornton: That's true.
Wallace Williams: Alright.
Robert Thornton: And uh well round shapes, primary colours. You can see it all here. And of course
Wallace Williams: Hmm?
Robert Thornton: uh this famous device. I think as you know something uh some
Wallace Williams: Yeah,
Robert Thornton: devices
Wallace Williams: alright.
Robert Thornton: like this. So
Ronald Cope: Well
Robert Thornton: to give
Ronald Cope: it's
Robert Thornton: you an idea
Ronald Cope: got
Robert Thornton: of uh
Ronald Cope: a strong look, this.
Robert Thornton: This has a strong look. Although
Ronald Cope: Yeah.
Robert Thornton: it's plastic, it's
Ronald Cope: Yeah,
Robert Thornton: it's
Ronald Cope: it still
Robert Thornton: grey
Ronald Cope: has a strong
Robert Thornton: to
Ronald Cope: look.
Robert Thornton: to
Wallace Williams: Yeah.
Robert Thornton: to give it iron look.
Wallace Williams: And it's round.
Robert Thornton: That's uh
Ronald Cope: But then you are losing your fruity colours.
Robert Thornton: Yeah. Well we have to make
Wallace Williams: Well
Robert Thornton: a
Wallace Williams: you can make th th th that middle ring can you you can make another colour.
Ronald Cope: That's true.
Wallace Williams: So uh those
Robert Thornton: Well we
Wallace Williams: kind
Robert Thornton: can't
Wallace Williams: of
Robert Thornton: really
Wallace Williams: things
Robert Thornton: make
Wallace Williams: you can
Robert Thornton: a round
Wallace Williams: you can combine.
Robert Thornton: uh a round remote control. I don't think that's very practical, but
Wallace Williams: No, it isn't.
Robert Thornton: But uh it's important to to uh to think about
Wallace Williams: Okay.
Robert Thornton: the colour. Because if we make it grey or or silvery looking, it it does make it a lot more uh does make it looking a lot more stronger.
Ronald Cope: Yeah
Wallace Williams: Yes.
Robert Thornton: 'Cause
Ronald Cope: but
Robert Thornton: if you look at
Ronald Cope: the
Robert Thornton: this, it it doesn't look very very strong, becau But this is plastic,
Ronald Cope: But
Robert Thornton: and
Ronald Cope: it
Robert Thornton: and
Ronald Cope: doesn't
Robert Thornton: this too,
Ronald Cope: have to
Robert Thornton: but
Ronald Cope: look strong. The the results are, the feel of the material is expected to be strongy.
Robert Thornton: The feel?
Ronald Cope: The
Robert Thornton: Uh
Ronald Cope: feel.
Robert Thornton: alright. Well
Wallace Williams: So, if
Troy Simmons: And
Wallace Williams: you
Troy Simmons: it
Wallace Williams: ti
Troy Simmons: it doesn't have to be strong, also.
Wallace Williams: Well
Ronald Cope: Nah yeah the feel
Wallace Williams: You you
Troy Simmons: Only the feel.
Wallace Williams: Maybe you should have uh some some coloured titanium or something. So it it looks pretty but it feels strong.
Ronald Cope: Right.
Robert Thornton: Mm-hmm.
Troy Simmons: Oh.
Ronald Cope: I
Robert Thornton: And
Ronald Cope: agree.
Robert Thornton: I Then I have some more findings. Um uh about the energy energy source of the of the device, uh I uh suggest uh the basic battery. I uh got some other um uh uh energy sources of course. But solar energy is not very practical inside a house, because you don't have a have a lot of uh sun. And uh kinetic and and and dynamos are are not very practical, I think, for uh for a simple remote, that's a bit, oh, that's a bit uh
Wallace Williams: No titanium.
Robert Thornton: That's a bit uh much. Uh the disadvantage of that that you can use no titanium. That that's the information I received. If you use the curved case, uh a curved case, double curved then you
Wallace Williams: What do you exactly
Robert Thornton: can't use titanium.
Wallace Williams: mean with double curved?
Robert Thornton: Now uh this uh to give it a more modern look. And uh now the the shape, yeah, a curved case. Um yeah I think uh sort of triangle-shaped bottom or something. Uh a more modern look not plain, long box style, but
Wallace Williams: Double curved?
Ronald Cope: I dunno.
Troy Simmons: Yeah.
Wallace Williams: It
Robert Thornton: I'll draw
Wallace Williams: it mean
Robert Thornton: it, but
Wallace Williams: Yeah, well
Robert Thornton: maybe
Wallace Williams: okay.
Troy Simmons: Yeah.
Robert Thornton: later. And it makes uh it gives it a more u user friendly shape, than if you have uh. Um anyway Um f as uh for the buttons, simple push buttons. No uh otherwi uh no um difficult scroll things or some uh things like that, because it makes more complex and expensive. And, uh as we agreed, we don't use a speaker or a sensor or um uh speak uh speech uh
Ronald Cope: Yeah right.
Robert Thornton: controlled device. Because it makes it also more complex and expensive. But we do use an L_C_D_ screen, so we uh we do have to consider uh of we have to use a more advanced chip, which is more complex and expensive. But
Wallace Williams: Well
Robert Thornton: It's worth the trouble I think,
Troy Simmons: The buttons
Robert Thornton: because
Troy Simmons: can be made of an uh a soft material. Because people like that.
Wallace Williams: This soft material thing
Robert Thornton: Uh rubber
Wallace Williams: from
Robert Thornton: is a
Wallace Williams: uh
Robert Thornton: soft material, I guess.
Wallace Williams: Yeah.
Ronald Cope: Yeah.
Robert Thornton: Uh
Troy Simmons: Yeah.
Ronald Cope: Right.
Troy Simmons: Right.
Robert Thornton: soft
Troy Simmons: Yeah.
Robert Thornton: enough. So that's uh basically what I
Wallace Williams: Alright.
Robert Thornton: want to talk about.
Wallace Williams: Okay. We will take that. And then uh Mike?
Wallace Williams: Okay.
Troy Simmons: Yeah. Well um nah the method um we will um include the buttons as we discussed uh earlier. Um an L_C_D_ s screen will be implemented. Um we must decide where, this meeting. Um there are new developments in speech recognition um systems, um and they are already being uh used on uh coffee machines. And um well they're cheap, so we could use them
Wallace Williams: Oh
Troy Simmons: now. Um
Wallace Williams: That's interesting.
Troy Simmons: it's not really speech recognition, it's more um like you can um talk to the chip, uh record the message and record an answer, and then once you uh talk to the remote, then um he will a answer with the the prerecorded message that you left. So if
Robert Thornton: Oh,
Ronald Cope: Oh
Troy Simmons: I say
Ronald Cope: okay.
Robert Thornton: yeah, I understand. Yeah.
Troy Simmons: hi Mike, and you have recorded uh hi Mike back, then you
Wallace Williams: Okay.
Troy Simmons: will get that.
Ronald Cope: Right.
Wallace Williams: But you can also say that, when you say something, it does some function.
Troy Simmons: No it doesn't
Ronald Cope: No.
Troy Simmons: does not
Wallace Williams: Oh.
Troy Simmons: do anything. But
Wallace Williams: That's
Ronald Cope: But that
Wallace Williams: a bit
Troy Simmons: i
Ronald Cope: that
Troy Simmons: it's
Wallace Williams: uh
Ronald Cope: makes
Troy Simmons: just
Ronald Cope: it cheap.
Troy Simmons: a
Ronald Cope: It's
Robert Thornton: Yeah.
Ronald Cope: it's
Troy Simmons: Yeah
Ronald Cope: just
Wallace Williams: Yes.
Troy Simmons: it's
Ronald Cope: a an
Troy Simmons: it's cheap.
Ronald Cope: extra
Wallace Williams: I
Ronald Cope: function,
Wallace Williams: understand.
Ronald Cope: and it's cheap.
Wallace Williams: But it has no functionality
Ronald Cope: No
Wallace Williams: for our remote
Ronald Cope: but
Troy Simmons: No but
Wallace Williams: at
Troy Simmons: that's
Wallace Williams: all.
Troy Simmons: the gadget they want,
Ronald Cope: Yeah,
Troy Simmons: or the
Ronald Cope: right.
Troy Simmons: gimmicks.
Robert Thornton: But it
Ronald Cope: Young
Robert Thornton: it's
Ronald Cope: people
Robert Thornton: n
Ronald Cope: love
Robert Thornton: nice
Ronald Cope: them.
Robert Thornton: for young
Troy Simmons: Yes,
Robert Thornton: people. They
Troy Simmons: we
Robert Thornton: like
Ronald Cope: Yeah,
Robert Thornton: gadgets. Yeah.
Ronald Cope: ple
Troy Simmons: we should really uh include that one, I think.
Ronald Cope: Right.
Robert Thornton: If
Wallace Williams: Hmm.
Robert Thornton: it's
Troy Simmons: Um
Robert Thornton: cheap. Yeah.
Troy Simmons: Well, as I said uh earlier I think the uh L_C_D_ screen should be uh positioned at the lower end of the remote. Um the buttons for screen width and general settings and uh and that kind of stuff um we can also do let that kind of functions um be shown in the L_C_D_ screen,
Wallace Williams: So you
Troy Simmons: uh
Wallace Williams: put a menu
Troy Simmons: instead
Wallace Williams: in the
Troy Simmons: of
Wallace Williams: L_C_D_?
Troy Simmons: uh extra buttons. I think young people and yeah w well every user would like that. Um the buttons um should be positioned uh positioned the same way as they are on a, well, conventional remote, I think. For the learnability and uh well to keep it recognisable. A voice recognition can be uh implemented. And uh I drew an example, but it did not work quite the well uh the
Ronald Cope: Alright.
Troy Simmons: way I
Robert Thornton: Can you
Troy Simmons: wanted
Robert Thornton: draw
Ronald Cope: How
Robert Thornton: it
Troy Simmons: it
Robert Thornton: now
Troy Simmons: to do.
Robert Thornton: of uh
Troy Simmons: Hmm?
Robert Thornton: Can
Wallace Williams: Ah.
Ronald Cope: How
Robert Thornton: you
Troy Simmons: Well
Robert Thornton: draw it now?
Troy Simmons: I have the I can draw it again, and I know what I did wrong. I didn't tick the note bo box in
Robert Thornton: Mm.
Troy Simmons: the.
Robert Thornton: Alright.
Troy Simmons: Um
Ronald Cope: How do you uh uh give input to the menu on the L_C_D_ screen?
Troy Simmons: Um with the uh the up and down and and well
Ronald Cope: Alright.
Troy Simmons: buttons
Ronald Cope: So you have
Troy Simmons: and
Ronald Cope: a
Troy Simmons: the
Ronald Cope: menu button, and then you can go up
Troy Simmons: Well
Wallace Williams: But
Ronald Cope: and down.
Troy Simmons: I will draw what
Wallace Williams: then
Troy Simmons: I
Wallace Williams: we should
Troy Simmons: had drawn
Wallace Williams: also have
Troy Simmons: on
Wallace Williams: an
Troy Simmons: the screen.
Wallace Williams: uh an Okay button.
Ronald Cope: Yeah right.
Troy Simmons: Yes. Um I shall draw this.
Robert Thornton: button, yeah.
Troy Simmons: If it uh works.
Wallace Williams: Just uh There is already a blank. Yes? So
Ronald Cope: Yeah.
Wallace Williams: Yeah.
Troy Simmons: Mm so have I. Nah.
Ronald Cope: You have to push hard.
Robert Thornton: I suggest a banana shape. Because
Ronald Cope: Yeah.
Robert Thornton: of the fruity uh
Ronald Cope: Yeah.
Robert Thornton: fashion.
Wallace Williams: No m
Robert Thornton: Yellow
Wallace Williams: Next
Robert Thornton: and
Wallace Williams: year that's out.
Robert Thornton: Yeah alright, yeah. Just a hunch.
Troy Simmons: Well these little buttons are a bit difficult to uh
Wallace Williams: Yeah.
Troy Simmons: draw uh
Robert Thornton: Those are the
Troy Simmons: correct.
Robert Thornton: the cha the channel buttons of course?
Troy Simmons: Yeah just uh the numbers.
Robert Thornton: And then below is the L_C_D_ screen?
Troy Simmons: These these will be bigger in the the real
Robert Thornton: Alright,
Troy Simmons: design.
Robert Thornton: yeah.
Troy Simmons: This must be the Okay button used to uh interact with the L_C_D_
Robert Thornton: Mm-hmm.
Troy Simmons: screen. And with this you can uh,
Wallace Williams: Yeah.
Troy Simmons: yes, go to through the menus and that can Um
Ronald Cope: You've
Troy Simmons: the video button should be uh an
Wallace Williams: Yes.
Troy Simmons: apart button, because you want it to uh t, yeah,
Ronald Cope: Right.
Troy Simmons: to use it fast within one uh click.
Wallace Williams: And
Ronald Cope: And you
Wallace Williams: what's
Troy Simmons: Um
Wallace Williams: the
Ronald Cope: you
Wallace Williams: menu
Ronald Cope: need
Wallace Williams: button?
Ronald Cope: a you
Troy Simmons: it's
Ronald Cope: need a speaker. For
Troy Simmons: Hmm?
Ronald Cope: the
Troy Simmons: This button can also be the Menu button, we use in the
Wallace Williams: But
Troy Simmons: menus
Wallace Williams: how
Troy Simmons: Well
Wallace Williams: did
Troy Simmons: we we can
Wallace Williams: How do
Troy Simmons: add
Wallace Williams: you get
Troy Simmons: another
Wallace Williams: out
Troy Simmons: button
Wallace Williams: of the menu
Troy Simmons: here,
Wallace Williams: then?
Troy Simmons: but
Wallace Williams: Yeah. Maybe I you could
Robert Thornton: Uh
Wallace Williams: j
Robert Thornton: by
Wallace Williams: just
Robert Thornton: pe
Wallace Williams: do
Robert Thornton: pressing
Wallace Williams: an an
Robert Thornton: the
Wallace Williams: exit
Robert Thornton: menu button
Wallace Williams: with Okay.
Robert Thornton: again. By pressing
Wallace Williams: Uh
Robert Thornton: the menu button again, you
Ronald Cope: Yeah.
Robert Thornton: go uh
Troy Simmons: Yeah.
Ronald Cope: Yeah.
Robert Thornton: out. It's usual the the the d kind
Wallace Williams: Yes,
Robert Thornton: of
Wallace Williams: well but
Robert Thornton: the way
Wallace Williams: bec because
Robert Thornton: it
Wallace Williams: when you
Robert Thornton: works.
Wallace Williams: push Menu
Robert Thornton: Yeah?
Wallace Williams: you get in, and
Robert Thornton: Yeah?
Wallace Williams: then you have to push Okay when you get to
Troy Simmons: Ah
Wallace Williams: a choice.
Troy Simmons: right.
Robert Thornton: Yeah.
Troy Simmons: Well
Wallace Williams: And
Robert Thornton: But
Troy Simmons: you
Robert Thornton: you can
Troy Simmons: you
Robert Thornton: men you can press menu again to get out.
Wallace Williams: Well that's also the Okay button. That's
Troy Simmons: No no,
Robert Thornton: No.
Wallace Williams: you
Troy Simmons: we
Wallace Williams: you
Troy Simmons: we
Wallace Williams: should have
Troy Simmons: we should
Wallace Williams: uh
Troy Simmons: uh add uh a extra Menu button and this
Wallace Williams: Or you
Troy Simmons: the
Wallace Williams: can
Troy Simmons: Okay button.
Wallace Williams: put in the L_C_D_'s uh window an option Get Out.
Ronald Cope: Exit.
Wallace Williams: Exit.
Troy Simmons: Ah once you have an extra Menu button, you don't need that that extra option.
Wallace Williams: Well,
Troy Simmons: You
Ronald Cope: But
Troy Simmons: have
Wallace Williams: it's
Ronald Cope: we
Wallace Williams: just
Troy Simmons: uh
Ronald Cope: need
Wallace Williams: a
Ronald Cope: a
Troy Simmons: redundancy.
Wallace Williams: choice.
Ronald Cope: we need a a recording recording button for the speech uh part. Or don't
Troy Simmons: Yeah, if we decide to uh to implement that,
Robert Thornton: Why
Troy Simmons: maybe
Robert Thornton: would
Troy Simmons: we
Robert Thornton: you
Troy Simmons: should.
Robert Thornton: put it uh then, and where is the recording uh the microphone? Where would
Troy Simmons: Well
Robert Thornton: you put
Troy Simmons: they
Robert Thornton: it?
Troy Simmons: that could be anywhere. That's very small. It could be uh down here.
Robert Thornton: Uh-huh.
Troy Simmons: Um. Well, not here. I yeah I suggest here. But that's just a little
Ronald Cope: Right, and
Robert Thornton: Microphone,
Ronald Cope: spea
Troy Simmons: gap.
Ronald Cope: speaker
Robert Thornton: yeah.
Troy Simmons: Yeah.
Ronald Cope: at the back, or something.
Troy Simmons: Well the speaker and the microphone, I think, are the same uh little hole thingy.
Robert Thornton: Yeah I understand.
Troy Simmons: Yeah.
Robert Thornton: Uh
Ronald Cope: Alright.
Robert Thornton: but uh we could uh d do, but it's perhaps more expensive, uh the
Troy Simmons: Well i
Robert Thornton: speaker on the back or something.
Troy Simmons: Um there are a all already being implemented in in coffee machines, so they won't be uh very expensive. But
Wallace Williams: Huh?
Robert Thornton: Alright.
Ronald Cope: Alright.
Wallace Williams: Yeah? Okay.
Troy Simmons: This is my suggested
Wallace Williams: Well,
Troy Simmons: design.
Wallace Williams: okay, alright.
Troy Simmons: Um
Wallace Williams: Um then let's
Troy Simmons: Yes.
Wallace Williams: have a look at the decisions we are going to have to make.
Troy Simmons: And oh I think as you can see so, the L_C_D_ screen does look better uh at the lower end, or
Wallace Williams: I'd
Troy Simmons: at the bottom.
Wallace Williams: I agree.
Ronald Cope: Yeah,
Troy Simmons: But
Ronald Cope: fine.
Wallace Williams: Fine.
Ronald Cope: Move on.
Robert Thornton: Well yeah yeah yeah.
Wallace Williams: Yeah.
Troy Simmons: Oh, um I had some uh examples.
Robert Thornton: I can live with
Troy Simmons: You
Robert Thornton: it.
Troy Simmons: can
Wallace Williams: Yes?
Troy Simmons: uh But I did not like it very much, but Well these are
Wallace Williams: Too big.
Troy Simmons: quite obvious, very ugly remote.
Ronald Cope: Yeah.
Robert Thornton: They do
Troy Simmons: Um
Robert Thornton: they don't look fruity enough.
Ronald Cope: Nei
Troy Simmons: No,
Ronald Cope: They're n they're not
Wallace Williams: They're
Troy Simmons: well
Ronald Cope: trendy.
Wallace Williams: all
Troy Simmons: th
Wallace Williams: black.
Troy Simmons: Yeah. Well not all.
Wallace Williams: Hey, that one I like.
Troy Simmons: Uh
Robert Thornton: Tho
Troy Simmons: this is
Robert Thornton: Yeah
Troy Simmons: for children
Robert Thornton: those
Troy Simmons: but
Ronald Cope: It doesn't
Troy Simmons: th
Ronald Cope: look strong.
Wallace Williams: No.
Troy Simmons: No.
Robert Thornton: But it doesn't uh the
Troy Simmons: W but with the colours i it's a
Wallace Williams: The
Troy Simmons: bit the way
Wallace Williams: remote.
Troy Simmons: we're going to.
Ronald Cope: Yeah right.
Robert Thornton: Yeah, ok Yeah.
Troy Simmons: Well this is a
Wallace Williams: Terrible.
Ronald Cope: This
Troy Simmons: terrible
Ronald Cope: is just crazy.
Wallace Williams: It's it's
Troy Simmons: Um
Wallace Williams: all
Troy Simmons: this
Wallace Williams: too
Troy Simmons: looks
Wallace Williams: much
Robert Thornton: But it
Wallace Williams: buttons.
Robert Thornton: it must
Wallace Williams: Too many
Robert Thornton: not look
Wallace Williams: buttons.
Troy Simmons: Yeah.
Robert Thornton: too childish
Wallace Williams: That's
Robert Thornton: of course huh?
Troy Simmons: This uh these are the L_C_D_ screens. I think we should, if it's um possible, uh one with colours, but
Ronald Cope: Nah th
Troy Simmons: I don't know
Ronald Cope: It's
Wallace Williams: Well,
Troy Simmons: uh
Ronald Cope: too expensive.
Wallace Williams: that's too expensive
Troy Simmons: Too expensive?
Wallace Williams: I think.
Ronald Cope: Yeah.
Troy Simmons: Alright. Well
Robert Thornton: But
Wallace Williams: Alright.
Robert Thornton: it Yeah.
Troy Simmons: Nah.
Wallace Williams: Yeah. Okay.
Troy Simmons: Ha,
Wallace Williams: Huh.
Troy Simmons: even more. N
Wallace Williams: Mm no.
Ronald Cope: But
Wallace Williams: 'Kay.
Ronald Cope: are we going for a strange uh form?
Wallace Williams: No,
Ronald Cope: 'Cause
Wallace Williams: not
Ronald Cope: people
Wallace Williams: very
Ronald Cope: like that.
Wallace Williams: strange.
Robert Thornton: Not not too strange.
Ronald Cope: Not too strange.
Robert Thornton: No.
Ronald Cope: You
Wallace Williams: It still
Ronald Cope: can make
Wallace Williams: has
Ronald Cope: the
Wallace Williams: t
Ronald Cope: the underside, you can make it more round,
Wallace Williams: Yes.
Ronald Cope: where
Wallace Williams: Th
Ronald Cope: the L_C_D_ is.
Wallace Williams: a a kind of bridge. So it
Troy Simmons: Well
Wallace Williams: f falls over the hand. Yeah? Yeah? Yeah.
Ronald Cope: You know?
Wallace Williams: Well I have at home a remote with a bridge. It's just a half round half half circle at And then it falls exactly over the hand, and that's very nice. That's It feels comfortable.
Ronald Cope: Yeah, but people like something uh new
Robert Thornton: Exotic
Ronald Cope: you know.
Robert Thornton: yeah.
Ronald Cope: Yeah,
Robert Thornton: We
Ronald Cope: different.
Robert Thornton: have t Yeah, yeah.
Wallace Williams: Yeah.
Robert Thornton: I will
Ronald Cope: Y
Robert Thornton: design
Ronald Cope: yis
Robert Thornton: it, we design it later. So we'll get
Ronald Cope: Alright.
Robert Thornton: to that later I guess.
Ronald Cope: Great.
Wallace Williams: Yeah, alright. Um where did I put it?
Robert Thornton: The specific shape. The
Wallace Williams: I got this from our friends. So
Robert Thornton: Our sources.
Wallace Williams: Uh yeah the conceptual design. These are a few examples which we have to decide about. All the the materials from the case, uh the electric cable that's all your uh your side of the story. Um
Ronald Cope: Your bag.
Wallace Williams: Yeah. Um now from the user interface, your uh package? Um where No well, that's more like the buttons where they have to come. And um B a bit of, yeah well, a bit of uh design.
Troy Simmons: Yeah, this is what we've just done.
Robert Thornton: But
Wallace Williams: Yes,
Robert Thornton: uh we
Troy Simmons: Right?
Wallace Williams: but
Robert Thornton: should
Wallace Williams: we have
Robert Thornton: decide
Wallace Williams: to decide
Robert Thornton: now.
Wallace Williams: about these now.
Troy Simmons: Ah right.
Ronald Cope: Yeah. Materials
Wallace Williams: And uh
Ronald Cope: are the most,
Wallace Williams: the trend-watching.
Ronald Cope: most impor
Wallace Williams: So as you said, fruity is in, well sells good. Wow.
Ronald Cope: Yeah.
Wallace Williams: Uh these things.
Robert Thornton: So we have to uh put it in one uh document.
Wallace Williams: Uh yes. Um so if we uh go through
Robert Thornton: Copy
Wallace Williams: them
Robert Thornton: paste uh this story into a into a Word document, and then uh put the answers after the subjects. Yeah. Well we have to decide all these things?
Troy Simmons: Yeah but all these examples are uh of a coffee machine.
Wallace Williams: Yeah well uh
Robert Thornton: W
Wallace Williams: Why
Robert Thornton: we can
Wallace Williams: should
Robert Thornton: uh
Wallace Williams: I uh
Robert Thornton: override them?
Wallace Williams: Yeah. So
Robert Thornton: Well a case? Uh that's Ronald Cope. Uh I suggest Well what do I
Wallace Williams: What
Robert Thornton: suggest actually?
Wallace Williams: what kind of properties should it have? Well we just listened.
Troy Simmons: I
Robert Thornton: Uh
Troy Simmons: think
Robert Thornton: s solid,
Troy Simmons: we
Robert Thornton: yeah. Yeah.
Troy Simmons: Why don't we um use uh titanium or or a hard, yeah, some kind of metal for the uh the
Ronald Cope: Do you know the
Troy Simmons: the
Ronald Cope: new
Troy Simmons: whole
Ronald Cope: uh
Troy Simmons: remote except the front. That Just like um
Robert Thornton: Yeah,
Troy Simmons: most
Ronald Cope: No
Robert Thornton: I understand.
Troy Simmons: cell
Ronald Cope: no
Troy Simmons: phones are.
Robert Thornton: Yeah. So we have titanium.
Ronald Cope: The front is the most important.
Robert Thornton: Yeah but the non-removable elements of the of the remote, so not the front, could be titanium, to give
Troy Simmons: Yeah.
Robert Thornton: that uh strong look.
Wallace Williams: You know what?
Robert Thornton: And then the front is made of plastic. And you can put that on and off, and switch it.
Troy Simmons: Yeah.
Ronald Cope: But the feel of plastic isn't strong.
Robert Thornton: No but you
Troy Simmons: No but
Robert Thornton: have
Troy Simmons: you you
Robert Thornton: titanium
Troy Simmons: have this
Robert Thornton: of course.
Troy Simmons: Yeah.
Robert Thornton: Uh you have
Ronald Cope: Yeah alright,
Robert Thornton: the best
Ronald Cope: alright.
Robert Thornton: of both worlds.
Ronald Cope: 'Kay.
Troy Simmons: Yeah, you have the re remote in your hand like this. So you feel titanium.
Robert Thornton: And of course, yeah, you have the the the plastic front end. But
Ronald Cope: Yeah.
Robert Thornton: you also have the
Ronald Cope: Fronts
Robert Thornton: titanium.
Ronald Cope: are are cheaper than
Troy Simmons: Yeah.
Ronald Cope: when
Robert Thornton: Yeah
Ronald Cope: they're
Robert Thornton: of
Ronald Cope: from
Robert Thornton: course,
Ronald Cope: plas
Robert Thornton: but yeah you have to make a
Troy Simmons: And I don't
Robert Thornton: decision.
Troy Simmons: know if you can make steel just any way you want it to.
Ronald Cope: Yeah, but it it's expensive.
Robert Thornton: I guess so. Uh
Troy Simmons: Yeah.
Robert Thornton: titanium I sh I think
Ronald Cope: Bendable.
Robert Thornton: uh Huh?
Ronald Cope: Bendable.
Robert Thornton: Well, well the
Troy Simmons: Well any colour
Robert Thornton: According to my sources, uh it's it's totally possible to make an entire uh uh uh Titanium is available, and uh we can uh make uh an entire remote out of it, if we
Troy Simmons: Yeah,
Robert Thornton: want.
Troy Simmons: then you you paint it in the colour you want
Ronald Cope: Yeah.
Troy Simmons: it.
Robert Thornton: Mm.
Troy Simmons: The plastic is
Ronald Cope: Paint spray.
Troy Simmons: is the colour you want
Robert Thornton: Mm.
Troy Simmons: it.
Ronald Cope: Yeah alright.
Troy Simmons: So Yeah.
Ronald Cope: So,
Wallace Williams: Alright.
Ronald Cope: we're going for a titanium back and a
Wallace Williams: I've
Ronald Cope: plastic
Wallace Williams: uh
Ronald Cope: front?
Robert Thornton: Yeah,
Troy Simmons: Mm.
Robert Thornton: I think
Wallace Williams: Titanium
Robert Thornton: that's a nice
Wallace Williams: back, plastic
Robert Thornton: trade-off.
Wallace Williams: front. Okay. Um well I am going to put it in here, uh because we can
Ronald Cope: Yeah,
Wallace Williams: uh
Ronald Cope: great.
Wallace Williams: look.
Troy Simmons: Yeah.
Wallace Williams: I
Robert Thornton: Alright.
Wallace Williams: Um solid feel and trendy look. So material, um hard plastic
Robert Thornton: Yeah,
Wallace Williams: for
Robert Thornton: for
Wallace Williams: the front?
Robert Thornton: the front and
Ronald Cope: Yeah.
Robert Thornton: then titanium for the back. For the non-removable uh part.
Ronald Cope: But then you have the problem, when you have a titanium back, you can't switch it. When you want an other colour on the front, it doesn't match.
Robert Thornton: Well
Ronald Cope: You know?
Robert Thornton: but
Troy Simmons: Well titanium is neutral.
Robert Thornton: The titan titanium isn't isn't v very Yeah, i it doesn't uh curves. No uh I nei.
Ronald Cope: I
Robert Thornton: Titanium is very
Ronald Cope: understand.
Robert Thornton: No no no, but you
Ronald Cope: Yeah,
Robert Thornton: know
Ronald Cope: yeah,
Robert Thornton: b Titanium
Ronald Cope: yeah.
Robert Thornton: is very basic colour, and it doesn't
Troy Simmons: Hmm.
Ronald Cope: Yeah.
Robert Thornton: really matter if we have a purple front on it or
Troy Simmons: Yeah.
Robert Thornton: a orange
Ronald Cope: Alright.
Robert Thornton: front. I dunno if if you disagree,
Troy Simmons: Well
Robert Thornton: but I think
Ronald Cope: Yeah.
Robert Thornton: it's
Ronald Cope: Alright.
Troy Simmons: Our customers will
Robert Thornton: doesn't
Troy Simmons: use
Robert Thornton: matter
Troy Simmons: those
Robert Thornton: very
Troy Simmons: uh
Robert Thornton: much.
Troy Simmons: funky uh trendy colours, and they don't
Robert Thornton: And even
Troy Simmons: use
Robert Thornton: if it
Troy Simmons: uh
Robert Thornton: does uh doesn't
Troy Simmons: wood.
Robert Thornton: match, it will uh People
Ronald Cope: Funky
Robert Thornton: like
Ronald Cope: customers.
Troy Simmons: Mm.
Robert Thornton: mm
Troy Simmons: Yeah.
Ronald Cope: Alright.
Wallace Williams: Okay. And
Robert Thornton: colours
Wallace Williams: well
Robert Thornton: that
Wallace Williams: the
Robert Thornton: don't match.
Wallace Williams: the electrical cable is just normal
Robert Thornton: Cop copper
Wallace Williams: uh.
Robert Thornton: uh material.
Troy Simmons: Yeah.
Robert Thornton: Excuse Ronald Cope?
Troy Simmons: The electrical cable
Wallace Williams: It's
Troy Simmons: uh
Wallace Williams: uh
Robert Thornton: Yeah copper
Wallace Williams: from
Robert Thornton: i
Wallace Williams: uh
Robert Thornton: just
Troy Simmons: does
Wallace Williams: our
Robert Thornton: a
Wallace Williams: coffee
Robert Thornton: ba basic
Wallace Williams: uh
Robert Thornton: uh
Troy Simmons: No we don't use an electrical cable. Yeah inside, but this is for
Robert Thornton: Yeah
Troy Simmons: the
Robert Thornton: in
Troy Simmons: coffee uh machine.
Robert Thornton: Yeah well inside the remote control we use a
Wallace Williams: Of course.
Troy Simmons: Yeah,
Robert Thornton: couple
Troy Simmons: but
Robert Thornton: of uh
Troy Simmons: that's not what's meant here, I think.
Ronald Cope: Nei. So external.
Robert Thornton: Oh external?
Ronald Cope: Yeah.
Troy Simmons: Yeah.
Robert Thornton: Well A coffee grind doesn't have Na ja. Never mind the coffee grind.
Wallace Williams: Well uh all the all the inside work of our remote is uh standard work. So
Robert Thornton: Right?
Wallace Williams: The chip is normal silicon. Uh the buttons are normal, etcetera. Okay?
Robert Thornton: Alright.
Wallace Williams: So that's just easy.
Robert Thornton: Mm-hmm.
Wallace Williams: Uh we decide about that just by looking at our competitors and our earlier uh remotes. The conceptual specification of the user interface? Um well we have our beautiful drawing.
Troy Simmons: Well I got a better one here and I will um
Ronald Cope: Alright.
Wallace Williams: Well you can put that in uh
Troy Simmons: The shared
Wallace Williams: into
Troy Simmons: folder.
Wallace Williams: the shared folder, and then I'll put it in our end report.
Troy Simmons: I will work this out uh
Wallace Williams: Yes,
Troy Simmons: for
Wallace Williams: you can
Troy Simmons: the uh next meeting.
Wallace Williams: Mm yeah. You can uh put some uh which button is what.
Troy Simmons: Yeah yeah yeah.
Wallace Williams: Okay. Um the trend-watching included these days. And what do we? We thing that fruit and bright colours are
Robert Thornton: Yeah the the the front
Ronald Cope: I think
Robert Thornton: w
Ronald Cope: we can launch a couple of packages. You can buy
Troy Simmons: Yeah.
Ronald Cope: a different kind of of of machine, but it's the same thing, but with another front.
Wallace Williams: Yes.
Robert Thornton: Mm-hmm.
Ronald Cope: So
Wallace Williams: We can also uh
Troy Simmons: Yeah
Wallace Williams: implement
Troy Simmons: that's the
Ronald Cope: And
Troy Simmons: whole
Ronald Cope: you
Wallace Williams: um
Troy Simmons: idea
Ronald Cope: can
Troy Simmons: of the
Ronald Cope: you
Robert Thornton: Yeah.
Troy Simmons: front.
Ronald Cope: can
Wallace Williams: we can also implement
Robert Thornton: Yeah.
Wallace Williams: fronts from um movies that are very hot. Uh
Troy Simmons: Yes.
Ronald Cope: Yeah right.
Troy Simmons: But
Wallace Williams: those
Troy Simmons: that's
Wallace Williams: kind
Troy Simmons: for later
Wallace Williams: of things.
Troy Simmons: on. The fronts y you can do anything with them.
Wallace Williams: Yeah.
Ronald Cope: Yeah but if you if you launch uh five different packages like
Troy Simmons: Yeah,
Ronald Cope: iPod
Troy Simmons: right
Ronald Cope: mini
Troy Simmons: For the uh initiative uh
Ronald Cope: Yeah.
Troy Simmons: launch.
Robert Thornton: For the for the launch, yeah.
Ronald Cope: It's
Troy Simmons: Mm.
Ronald Cope: good marketing.
Wallace Williams: Launch
Robert Thornton: So e
Wallace Williams: different
Robert Thornton: th then
Wallace Williams: lines
Robert Thornton: a c
Wallace Williams: at once.
Robert Thornton: couple of basic colours. Not not very uh
Ronald Cope: Yeah, n not too
Robert Thornton: sim
Ronald Cope: heavy.
Robert Thornton: Not
Ronald Cope: You can always take another pick.
Robert Thornton: Yeah.
Wallace Williams: We should not give them the m the most lovely front
Ronald Cope: They have
Wallace Williams: when
Ronald Cope: to
Wallace Williams: they
Ronald Cope: buy
Wallace Williams: buy
Ronald Cope: it
Wallace Williams: it
Ronald Cope: later
Wallace Williams: for the first
Ronald Cope: on.
Troy Simmons: Oh
Wallace Williams: time. Yeah.
Ronald Cope: Yeah
Troy Simmons: yeah.
Ronald Cope: right.
Troy Simmons: Yeah.
Robert Thornton: Yeah.
Wallace Williams: Come on.
Ronald Cope: More basic.
Wallace Williams: We still have to make those fifty
Troy Simmons: Yeah.
Wallace Williams: million,
Ronald Cope: Yeah.
Robert Thornton: Very
Wallace Williams: yeah?
Robert Thornton: boring, yeah.
Troy Simmons: Well
Robert Thornton: The most
Troy Simmons: you can you
Robert Thornton: boring
Troy Simmons: can give
Robert Thornton: fronts
Troy Simmons: them uh s
Robert Thornton: possible.
Troy Simmons: s three
Wallace Williams: The most
Troy Simmons: or so, so that they
Wallace Williams: ugly.
Troy Simmons: can uh experiment with it and
Ronald Cope: Yeah,
Troy Simmons: that
Ronald Cope: right.
Troy Simmons: they want more.
Wallace Williams: Two.
Robert Thornton: Yeah but you you can have some basic colours, and
Troy Simmons: Yeah.
Robert Thornton: then we come with the special patterns on them,
Troy Simmons: Red
Robert Thornton: and
Wallace Williams: Yeah.
Troy Simmons: red,
Robert Thornton: and
Troy Simmons: blue
Robert Thornton: uh
Troy Simmons: and
Ronald Cope: Yeah.
Troy Simmons: green you give them
Robert Thornton: And
Troy Simmons: or something,
Robert Thornton: uh
Troy Simmons: and then you can give them
Wallace Williams: Yeah.
Troy Simmons: uh
Wallace Williams: Alright.
Troy Simmons: other ones.
Wallace Williams: Um well the buttons etcetera, we get from Mike. Uh this fruit and bright colours, yeah well I think we'll have to in the next uh half an hour, we'll have to uh s s specify the different uh types we want to launch, when we uh well
Robert Thornton: Uh we
Wallace Williams: introduce
Robert Thornton: still have
Wallace Williams: our
Robert Thornton: to make
Wallace Williams: remote.
Robert Thornton: We have still have to make the es the the real basic design. Because
Ronald Cope: Yeah.
Robert Thornton: yeah we have the
Ronald Cope: But we
Robert Thornton: sketch but
Ronald Cope: we must remember that fancy look-and-feel is the most important thing.
Wallace Williams: Yes.
Ronald Cope: Else it w won't sell. So
Wallace Williams: Yes.
Robert Thornton: Alright, yeah.
Wallace Williams: Well I'll have to, before I get another warning for five minutes, I'm going to get Where is my mouse? Uh where is my mouse?
Ronald Cope: Lost my mouse.
Wallace Williams: Oh yeah. Um this is it.
Ronald Cope: Unbelievable.
Wallace Williams: Well, um this we have.
Ronald Cope: Yeah.
Wallace Williams: Uh basic stuff. Interface we have. Supplements, L_C_D_. Maybe a a cheap voice recording. Well
Troy Simmons: Yeah we should
Robert Thornton: The price?
Troy Simmons: do that.
Wallace Williams: Yes. Alright. Individual actions.
Robert Thornton: We all agree on that. Yeah.
Troy Simmons: Mm.
Wallace Williams: Industry designer, User Interface, Mike. You're going to work together on a prototype drawing on the SMARTboard.
Troy Simmons: Yeah, we can do that.
Robert Thornton: Together or uh Yeah
Ronald Cope: Yeah
Robert Thornton: together.
Ronald Cope: togeth
Robert Thornton: How Yeah yeah, but
Wallace Williams: That's
Robert Thornton: how
Troy Simmons: But
Wallace Williams: what
Robert Thornton: do I
Troy Simmons: bu
Wallace Williams: I got
Troy Simmons: we
Wallace Williams: uh
Troy Simmons: stay
Wallace Williams: to
Troy Simmons: we
Wallace Williams: hear.
Troy Simmons: stay here or something?
Wallace Williams: Yes well we'll get it to hear that I think. But I think so. Th they're saying SMARTboard
Ronald Cope: You can
Wallace Williams: and
Ronald Cope: take
Wallace Williams: that's
Ronald Cope: the
Wallace Williams: it
Ronald Cope: SMARTboard.
Troy Simmons: Ah
Wallace Williams: This
Troy Simmons: right.
Wallace Williams: is the SMARTboard, so
Troy Simmons: And take it to our rooms and uh
Wallace Williams: Um so you can uh you you are going to make a prototype, and y Well that's includes uh specifying the buttons
Troy Simmons: Ah, specific
Wallace Williams: etcetera.
Troy Simmons: instructions will be sent to you by your
Wallace Williams: Yeah.
Troy Simmons: personal coach.
Wallace Williams: So you'll get it on your em on your laptop. Um well you will go and do something else uh on the project
Ronald Cope: Have fun.
Robert Thornton: Some
Wallace Williams: yeah project
Robert Thornton: Some
Wallace Williams: evaluation.
Robert Thornton: non functional tasks.
Wallace Williams: So um,
Ronald Cope: 'Kay.
Wallace Williams: what are you going to do? Uh I don't know what product evaluation exactly means, but uh you'll get uh the specifications.
Ronald Cope: We don't have produ product yet, so
Wallace Williams: Yeah. That's why I uh
Ronald Cope: kind of difficult.
Wallace Williams: But uh
Robert Thornton: You're fired. No but
Wallace Williams: How long do we still have?
Robert Thornton: Well, can we talk about something else? Uh
Wallace Williams: Yeah.
Robert Thornton: Uh no I don't know anything, but maybe uh
Troy Simmons: Yeah.
Robert Thornton: anyone
Ronald Cope: Ajax.
Troy Simmons: Um
Robert Thornton: else uh Yeah?
Ronald Cope: Nah.
Troy Simmons: Will we use uh round buttons or square ones for the
Ronald Cope: Um
Robert Thornton: Round I think.
Troy Simmons: for
Ronald Cope: round.
Troy Simmons: the numbers?
Ronald Cope: Yeah.
Troy Simmons: Yeah
Ronald Cope: Round.
Troy Simmons: I I I also
Robert Thornton: To make it
Troy Simmons: uh
Robert Thornton: as
Troy Simmons: thought
Robert Thornton: uh
Troy Simmons: Yeah.
Robert Thornton: as round as possible.
Troy Simmons: And these uh these s these buttons
Wallace Williams: Why
Troy Simmons: uh
Wallace Williams: does
Troy Simmons: are more uh triangle-ish
Ronald Cope: Curvy.
Troy Simmons: shaped
Ronald Cope: Yeah. So you can
Troy Simmons: with
Ronald Cope: see
Troy Simmons: a square
Ronald Cope: you have
Troy Simmons: one in
Ronald Cope: to
Troy Simmons: the
Wallace Williams: Ah
Troy Simmons: middle.
Wallace Williams: f fuck
Troy Simmons: Yeah.
Ronald Cope: up or down.
Wallace Williams: you.
Troy Simmons: Yeah.
Robert Thornton: But now I see
Ronald Cope: And
Robert Thornton: the
Ronald Cope: this must be uh volume I think,
Wallace Williams: Heh?
Ronald Cope: and this programme.
Troy Simmons: Mm. Well
Wallace Williams: We
Troy Simmons: most
Wallace Williams: can't
Troy Simmons: of the time
Wallace Williams: get
Troy Simmons: uh up and down is programme and left and right are volume, I think.
Robert Thornton: Well th th th th
Ronald Cope: Yeah.
Robert Thornton: th that
Troy Simmons: Yeah, it depends, but
Robert Thornton: depends uh. Well we
Troy Simmons: If
Robert Thornton: uh
Troy Simmons: you turn up the volume, you always see this thingy
Robert Thornton: We
Troy Simmons: go
Robert Thornton: we j
Troy Simmons: up.
Robert Thornton: we'll just give
Ronald Cope: Yeah,
Robert Thornton: them
Ronald Cope: that's
Robert Thornton: an
Ronald Cope: right.
Robert Thornton: uh We'll design it, and then they
Troy Simmons: Yeah.
Robert Thornton: can give comments on it.
Troy Simmons: Yeah
Ronald Cope: Yeah.
Troy Simmons: alright.
Wallace Williams: Ts
Ronald Cope: Okay.
Wallace Williams: It doesn't work any more. We can't save them. So we'll just have them uh
Ronald Cope: Yeah,
Wallace Williams: standing
Ronald Cope: I noticed.
Wallace Williams: there.
Ronald Cope: You can't uh click the corners.
Wallace Williams: No. It's a bit uh
Ronald Cope: It's a
Wallace Williams: bit
Ronald Cope: real
Wallace Williams: a pity.
Ronald Cope: real
Wallace Williams: Well
Ronald Cope: great
Wallace Williams: we still
Ronald Cope: thing.
Wallace Williams: have uh more than five minutes. Um So what are we going to do? I as Project Manager ha don't have a clue.
Ronald Cope: Let's start the design.
Wallace Williams: Oh we can uh decide how we implement the feeling from our company into the remote.
Robert Thornton: Well
Troy Simmons: Mm.
Robert Thornton: yeah. Um I think um a logo, our company logo, and the slogan should
Wallace Williams: Also
Robert Thornton: be or
Wallace Williams: the slogan?
Robert Thornton: could be
Wallace Williams: On the
Robert Thornton: Yeah, why not? If there's enough space, you can put
Troy Simmons: Uh
Robert Thornton: uh
Troy Simmons: I
Robert Thornton: We'll
Ronald Cope: O
Troy Simmons: I'd
Robert Thornton: we'll
Troy Simmons: say only the logo.
Ronald Cope: Yeah. Ronald Cope too.
Troy Simmons: Too much text and it gets
Robert Thornton: Well,
Troy Simmons: too
Robert Thornton: our
Troy Simmons: too
Robert Thornton: slogan
Troy Simmons: busy.
Robert Thornton: is not very long. It's just a simple What
Troy Simmons: Well
Wallace Williams: We
Robert Thornton: is it?
Wallace Williams: put the
Troy Simmons: it's
Wallace Williams: fashion
Troy Simmons: quite
Wallace Williams: in electronics.
Troy Simmons: a long phrase.
Wallace Williams: We put the
Ronald Cope: But
Wallace Williams: fashion in electronics.
Ronald Cope: we kree we
Robert Thornton: You
Ronald Cope: keep
Robert Thornton: c
Ronald Cope: adjusting to the fashion with our fronts. So
Robert Thornton: But you can put it on the back, on the titanium part. The logo and the
Ronald Cope: Yeah,
Troy Simmons: Ah
Ronald Cope: right.
Troy Simmons: the
Robert Thornton: and
Troy Simmons: logo
Robert Thornton: the
Troy Simmons: should be on
Ronald Cope: The
Troy Simmons: the
Ronald Cope: logo
Troy Simmons: top I think.
Wallace Williams: On the top. Yeah. Well
Robert Thornton: Yeah they do.
Wallace Williams: in
Robert Thornton: Well
Wallace Williams: in
Ronald Cope: Yeah.
Wallace Williams: in
Robert Thornton: yeah.
Wallace Williams: the right top corner?
Troy Simmons: Right corner, yes.
Wallace Williams: And well you
Robert Thornton: Right
Wallace Williams: c
Robert Thornton: corner,
Wallace Williams: On the back,
Robert Thornton: or
Wallace Williams: you can put
Robert Thornton: maybe
Wallace Williams: uh
Robert Thornton: here
Wallace Williams: h
Robert Thornton: in the middle?
Wallace Williams: At the bottom, you can put the logo with the
Troy Simmons: uh the text?
Wallace Williams: Yeah.
Troy Simmons: Yeah.
Ronald Cope: But
Wallace Williams: Just
Ronald Cope: the
Troy Simmons: Uh yeah,
Ronald Cope: logo
Wallace Williams: just
Troy Simmons: at
Wallace Williams: small.
Troy Simmons: the back?
Ronald Cope: the logo shouldn't be exchangeable, when you get
Robert Thornton: Yeah
Ronald Cope: off the
Robert Thornton: it
Ronald Cope: front.
Troy Simmons: Well
Robert Thornton: it
Troy Simmons: you
Robert Thornton: should
Troy Simmons: c
Robert Thornton: be
Troy Simmons: Well
Wallace Williams: Yeah
Robert Thornton: hard
Wallace Williams: well
Robert Thornton: on
Troy Simmons: uh
Robert Thornton: the
Troy Simmons: Yes.
Robert Thornton: on the on
Ronald Cope: Yeah.
Robert Thornton: the board, and
Troy Simmons: You
Ronald Cope: Yeah.
Troy Simmons: can
Robert Thornton: you can
Troy Simmons: The logo
Robert Thornton: remove
Troy Simmons: can
Robert Thornton: the front.
Troy Simmons: be on on every uh
Ronald Cope: Yeah,
Troy Simmons: front.
Ronald Cope: but you can scratch it off or something. It's better if you have it uh
Troy Simmons: Yeah, but then you must uh really
Wallace Williams: Carved
Troy Simmons: uh
Wallace Williams: into the material.
Troy Simmons: yeah push it in or something.
Wallace Williams: No, you you can carve it into the titanium at the back.
Robert Thornton: I l I like the idea of the of the slogan on the on the on the thing. But
Troy Simmons: Yeah,
Robert Thornton: am
Troy Simmons: on
Robert Thornton: I the
Troy Simmons: the
Robert Thornton: only
Troy Simmons: backside.
Robert Thornton: one, or uh
Wallace Williams: Well, management
Troy Simmons: Well
Wallace Williams: would
Troy Simmons: n
Wallace Williams: like
Troy Simmons: n not
Wallace Williams: it.
Troy Simmons: not on the front side, I think.
Wallace Williams: The front side,
Robert Thornton: No
Wallace Williams: no
Robert Thornton: not
Wallace Williams: no
Robert Thornton: on
Wallace Williams: l
Robert Thornton: the front,
Wallace Williams: no
Robert Thornton: but
Wallace Williams: slogan.
Robert Thornton: on the backside.
Troy Simmons: On the back
Robert Thornton: Uh
Troy Simmons: Yes, you you can, yeah, push that in,
Wallace Williams: Sorry.
Troy Simmons: so that it is
Robert Thornton: I think
Troy Simmons: always
Robert Thornton: it's a nice
Troy Simmons: be
Robert Thornton: idea,
Troy Simmons: there.
Robert Thornton: to make it more recognisable,
Ronald Cope: Yeah.
Robert Thornton: that the
Troy Simmons: Yeah.
Robert Thornton: next to the logo you have the slogan.
Ronald Cope: I agree.
Robert Thornton: To make more uh
Ronald Cope: But
Robert Thornton: of
Ronald Cope: not
Robert Thornton: an impression.
Ronald Cope: too big. Just
Robert Thornton: Not
Ronald Cope: uh
Robert Thornton: too big. No, very small. Not
Ronald Cope: Yeah.
Robert Thornton: on the entire back, but uh just very small. But readable enough of course.
Ronald Cope: Okay.
Wallace Williams: Yes,
Robert Thornton: But
Wallace Williams: slogan
Robert Thornton: we'll uh we'll
Wallace Williams: from
Robert Thornton: take that uh with us
Wallace Williams: company
Troy Simmons: Yeah
Robert Thornton: into
Troy Simmons: I
Robert Thornton: the
Troy Simmons: think
Robert Thornton: design.
Troy Simmons: over here the logo.
Robert Thornton: Lo Uh yeah.
Wallace Williams: on the
Robert Thornton: Or
Wallace Williams: back
Robert Thornton: maybe here in the middle, but we'll decide
Wallace Williams: with
Robert Thornton: later.
Wallace Williams: logo and logo also on the front but not exchange uh Uh? Hmm? Uh when changing fronts. Alright,
Robert Thornton: Do you do you see
Wallace Williams: that's
Robert Thornton: a
Wallace Williams: decided.
Robert Thornton: bit of the of the um
Wallace Williams: Five minutes left.
Robert Thornton: of the uh titanium? O on the front? Uh maybe if we
Troy Simmons: Yes we
Robert Thornton: make this
Troy Simmons: could
Robert Thornton: this this lower part titanium, the front is the the upper part, and the the bit with the with the L_C_D_ screen. So
Wallace Williams: So a bit of titanium between?
Robert Thornton: Yeah.
Ronald Cope: Yeah.
Robert Thornton: No no betwe of
Wallace Williams: That's
Robert Thornton: between
Wallace Williams: a bit
Robert Thornton: we
Wallace Williams: Oh
Robert Thornton: can
Wallace Williams: that
Robert Thornton: do
Wallace Williams: that's
Robert Thornton: but
Wallace Williams: that's pretty cool.
Robert Thornton: But then you have two parts
Troy Simmons: No, they
Robert Thornton: of
Troy Simmons: have
Robert Thornton: front,
Ronald Cope: No
Troy Simmons: two
Ronald Cope: no
Troy Simmons: fronts,
Ronald Cope: no no.
Troy Simmons: that.
Robert Thornton: two
Ronald Cope: You
Robert Thornton: fronts
Ronald Cope: have to
Robert Thornton: that
Ronald Cope: make
Troy Simmons: You
Ronald Cope: this
Wallace Williams: No?
Troy Simmons: you
Ronald Cope: titanium
Troy Simmons: can
Ronald Cope: too.
Troy Simmons: Yeah. Yeah.
Robert Thornton: This enti
Ronald Cope: Else
Robert Thornton: entire
Ronald Cope: you you
Robert Thornton: bottom?
Ronald Cope: get problems
Troy Simmons: Yeah.
Ronald Cope: with the L_C_D_.
Troy Simmons: Yeah.
Wallace Williams: Yes.
Ronald Cope: Like dust in it and so things like
Troy Simmons: Yeah.
Ronald Cope: that. When you exchange all the fronts and it's open.
Wallace Williams: I already
Troy Simmons: No, you
Wallace Williams: have
Troy Simmons: can
Wallace Williams: uh
Troy Simmons: you can
Wallace Williams: all
Troy Simmons: just
Wallace Williams: kinds of uh
Troy Simmons: And then not a
Wallace Williams: filth
Troy Simmons: straight
Wallace Williams: between
Troy Simmons: line
Wallace Williams: the
Troy Simmons: but uh
Wallace Williams: mobile.
Troy Simmons: some sort of wave
Robert Thornton: And then the lower part
Troy Simmons: or
Robert Thornton: is titanium?
Troy Simmons: something. This is titanium.
Robert Thornton: I think
Ronald Cope: Yeah.
Troy Simmons: And
Robert Thornton: that's
Troy Simmons: this
Robert Thornton: nice,
Troy Simmons: is uh
Ronald Cope: Some
Robert Thornton: yeah.
Ronald Cope: some kind of wei weight
Wallace Williams: Yeah.
Ronald Cope: in it. Yeah.
Wallace Williams: Round forms.
Troy Simmons: F front.
Robert Thornton: Yeah. I like that bit of uh titanium also
Troy Simmons: Yeah.
Robert Thornton: on
Ronald Cope: Yeah.
Robert Thornton: the
Troy Simmons: With the
Robert Thornton: uh
Wallace Williams: Yep.
Troy Simmons: with the
Robert Thornton: A bit
Troy Simmons: curved
Robert Thornton: like uh
Troy Simmons: edge.
Robert Thornton: a bit like your mobile phone. Maybe you can show
Troy Simmons: Yeah.
Robert Thornton: it. It also has the
Troy Simmons: Yeah.
Robert Thornton: those two distinct uh
Troy Simmons: Tada.
Robert Thornton: Mm bit like this.
Troy Simmons: Yeah.
Wallace Williams: Yeah.
Ronald Cope: Yeah,
Robert Thornton: Uh it's uh
Ronald Cope: you can make it go round this corner too where the logo is. Because it has to
Wallace Williams: What?
Ronald Cope: be uh there all the time
Robert Thornton: Yeah
Ronald Cope: you know.
Robert Thornton: yeah.
Troy Simmons: Ah.
Robert Thornton: That uh Yeah.
Wallace Williams: So
Ronald Cope: So
Wallace Williams: round
Ronald Cope: uh
Robert Thornton: Maybe
Ronald Cope: a
Wallace Williams: where?
Robert Thornton: a nice touch, yeah.
Ronald Cope: little corner
Troy Simmons: Yeah,
Ronald Cope: of
Troy Simmons: that's
Ronald Cope: titanium.
Wallace Williams: Oh,
Troy Simmons: nice finishing
Wallace Williams: yeah.
Troy Simmons: touch you need.
Wallace Williams: Yes, that also sounds uh pretty uh
Ronald Cope: So
Wallace Williams: neat.
Ronald Cope: this
Robert Thornton: I think I'm
Ronald Cope: this
Robert Thornton: going
Ronald Cope: is
Robert Thornton: to buy
Ronald Cope: the
Robert Thornton: it.
Ronald Cope: exchangeable part.
Wallace Williams: We want
Troy Simmons: Yeah, this
Wallace Williams: it.
Troy Simmons: is the front.
Wallace Williams: And it's only f twenty five Euros. Come
Troy Simmons: This
Robert Thornton: That's
Wallace Williams: on.
Robert Thornton: a bit too much, but No,
Wallace Williams: No that's nothing.
Robert Thornton: no no no, but
Wallace Williams: The Phillips
Troy Simmons: is
Robert Thornton: I think
Wallace Williams: remote
Robert Thornton: uh
Wallace Williams: uh costs
Robert Thornton: this
Troy Simmons: the
Robert Thornton: looks
Wallace Williams: more.
Robert Thornton: uh pretty nice actually. Of course,
Ronald Cope: Right.
Robert Thornton: because it's my design but No
Troy Simmons: My design.
Robert Thornton: our d our design, alright.
Ronald Cope: Taking
Wallace Williams: Well
Ronald Cope: all the
Wallace Williams: uh
Ronald Cope: credit.
Wallace Williams: you two are going to work together. You'll get your uh specifications on your uh laptop, and then
Troy Simmons: Yeah.
Wallace Williams: uh
Troy Simmons: We'll stay here I guess?
Ronald Cope: But
Wallace Williams: you
Ronald Cope: there's
Wallace Williams: uh
Ronald Cope: a problem. We can't uh take a blank one. Or can we?
Wallace Williams: Well I think we can, I just
Troy Simmons: Well we
Wallace Williams: It's
Troy Simmons: can uh erase an animal I guess.
Ronald Cope: Yeah.
Troy Simmons: Uh the
Ronald Cope: Nah
Troy Simmons: fourth
Ronald Cope: that's
Troy Simmons: one.
Ronald Cope: alright,
Robert Thornton: But don't
Ronald Cope: that's
Robert Thornton: erase
Ronald Cope: alright.
Robert Thornton: my cat.
Wallace Williams: Yeah,
Troy Simmons: Uh the
Wallace Williams: o
Troy Simmons: fourth one is empty, isn't it? Yeah.
Wallace Williams: Oh
Robert Thornton: I want to preserve it.
Ronald Cope: This one is empty.
Troy Simmons: Yeah.
Ronald Cope: You have to empty one huh?
Wallace Williams: Oh, we have a one.
Robert Thornton: What are you doing chief?
Wallace Williams: So, you
Ronald Cope: Alright.
Wallace Williams: can uh draw a
Troy Simmons: Yeah
Wallace Williams: Yeah.
Troy Simmons: I think we have to wait?
Wallace Williams: Well
Robert Thornton: Yeah
Ronald Cope: No
Wallace Williams: I'll
Robert Thornton: until
Wallace Williams: get a
Robert Thornton: the
Wallace Williams: I'll get the
Robert Thornton: until the beep
Wallace Williams: message.
Robert Thornton: goes. But I don't uh Do we have to stay here, or I think
Wallace Williams: No,
Robert Thornton: we have to return
Wallace Williams: I
Ronald Cope: Yeah.
Wallace Williams: think
Robert Thornton: first.
Wallace Williams: uh Well you'll Maybe you can uh keep your uh laptop here.
Troy Simmons: Maybe.
Wallace Williams: Or get your mouse. Because it's little
Robert Thornton: The
Wallace Williams: bit
Robert Thornton: high powers
Wallace Williams: uh
Robert Thornton: from above
Wallace Williams: hard to work with these uh plates.
Robert Thornton: will have
Ronald Cope: Yeah.
Robert Thornton: to tell us, yeah.
Ronald Cope: It's not relaxing.
Wallace Williams: I always have a mouse next to my laptop. I hate
Ronald Cope: I
Wallace Williams: these
Ronald Cope: I don't
Robert Thornton: Yeah,
Ronald Cope: have
Robert Thornton: touch-pads,
Ronald Cope: a laptop.
Robert Thornton: yeah.
Wallace Williams: Ugh.
Robert Thornton: We can uh do a touch-pad on our remote.
Ronald Cope: Yeah right.
Robert Thornton: No
Troy Simmons: Yeah.
Robert Thornton: just kidding.
Ronald Cope: Dream on.
Robert Thornton: Well we have uh b you have to have a bit of humour in the in the discussions too, because it becomes too
Wallace Williams: And in your remote control.
Robert Thornton: too too
Wallace Williams: So we put
Robert Thornton: too
Wallace Williams: a
Robert Thornton: stressy.
Wallace Williams: touch pad on it, and say ha ha.
Troy Simmons: Aha. This has no function.
Ronald Cope: Half
Wallace Williams: Yeah. We know you'll you'll you'll hate it but
Robert Thornton: But uh th youth doesn't care about functio functionality,
Ronald Cope: No.
Robert Thornton: so
Wallace Williams: But they do want some gadgets.
Ronald Cope: It's
Wallace Williams: So
Ronald Cope: all about cool things.
Wallace Williams: that's wha what we're doing.
Robert Thornton: Yeah.
Ronald Cope: And it will sell. We will be rich.
Robert Thornton: Bless you.
Wallace Williams: Well we won't. Our bosses will be rich.
Robert Thornton: Mm.
Troy Simmons: We've done too much in the previous meetings.
Robert Thornton: Too much?
Troy Simmons: Yes, we've got nothing to do now.
Robert Thornton: Well they
Wallace Williams: Well,
Robert Thornton: uh
Wallace Williams: that's not bad, is it?
Ronald Cope: No.
Robert Thornton: I think that's good. We all had uh our talk and we agree I guess on uh several thing, on most uh on things.
Wallace Williams: Mm.
Troy Simmons: Its the best remote ever.
Wallace Williams: So
Troy Simmons: Pinball.
Wallace Williams: Oh. Oh he's totally off again. Well
Ronald Cope: No man. You just have to push harder.
Robert Thornton: Yeah you have to push harder.
Wallace Williams: But when I start here,
Robert Thornton: Mm.
Wallace Williams: it's here. So
Ronald Cope: Yeah.
Troy Simmons: Yes,
Wallace Williams: is
Troy Simmons: but
Wallace Williams: it
Troy Simmons: you you get really close to the screen with your hand, and I don't think that's
Ronald Cope: Mm.
Troy Simmons: Hmm.
Ronald Cope: Recalibrate
Wallace Williams: Nope.
Ronald Cope: it.
Robert Thornton: Where's the good old chalk board with the
Ronald Cope: Yeah.
Robert Thornton: the green board with the, how do you call it, chalk, yeah.
Troy Simmons: We can better uh draw a design on this.
Robert Thornton: Yeah, maybe.
Troy Simmons: Yeah, but we can't.
Robert Thornton: Maybe if i if that thing is recalibrated, we can draw a thing quick, and then before it uh
Wallace Williams: Yeah.
Robert Thornton: goes
Wallace Williams: Let's
Robert Thornton: off
Wallace Williams: go.
Robert Thornton: again.
Troy Simmons: Well
Ronald Cope: Finish meeting now.
Wallace Williams: Finish the meeting now. Alright now we know what to do, so
Troy Simmons: We'll stay here?
Wallace Williams: Um
Ronald Cope: Yeah. Oh.
Troy Simmons: Or we'll get the
Robert Thornton: Maybe
Troy Simmons: email.
Wallace Williams: Message?
Robert Thornton: w maybe
Wallace Williams: No,
Robert Thornton: we
Wallace Williams: get
Robert Thornton: maybe
Wallace Williams: away.
Robert Thornton: w m Can we get email here? Huh? Yeah.
Troy Simmons: Yeah.
Robert Thornton: Guess so.
Wallace Williams: Um I I'm not sure. Maybe you Yeah. Well you'll have
Troy Simmons: Well
Wallace Williams: to
Troy Simmons: we'll
Wallace Williams: work on
Troy Simmons: wait
Wallace Williams: this one.
Troy Simmons: a few seconds
Wallace Williams: Yeah.
Troy Simmons: and then we'll get an email.
Wallace Williams: That's a good idea.
Ronald Cope: Alright. Have fun lads.
Wallace Williams: Well
Troy Simmons: Yeah.
Robert Thornton: A happy
Wallace Williams: Good
Robert Thornton: hol
Wallace Williams: luck.
Robert Thornton: happy holidays. | For the conceptual design, Ronald Cope talked about the public's preference for looks and texture over technological innovation; however, they both seem to be more important than ease of use. The current fashion among younger people favours bright colours and fruit and vegetable themes: pertinent exchangeable fronts can express such trends on the remote. Materials also need to be strong: Ronald Cope suggested an iron-plate or titanium front. Robert Thornton suggested they use rubber push buttons (and no scroll wheel), simple battery (instead of solar cells or kinetic dynamo), and advanced chip. Speech recognition can be implemented, but it does not link speech commands to remote control actions. He also advised that the users within the target group prefer primary colours, soft textures and curved shapes. The team drew a provisional prototype. They placed the LCD below the buttons. If it is implemented, a recording button, microphone and speaker need to be included in the design. Finally, they decided to have a titanium case with plastic front and the company logo and slogan engraved. Packages with a variety of changeable fronts will be launched. | 5 | amisum | train |
John Graham: Uh fourth meeting.
Matthew Thompson: We have to do what?
John Graham: Some extra deciding.
Jeffrey Painter: W what? Alri
Matthew Thompson: Oh.
Jeffrey Painter: alright.
John Graham: Well
Jeffrey Painter: We'll see.
John Graham: I'll show you the notes again. Very interesting. Well you'll you two will uh present us your prototype.
Jeffrey Painter: Yeah.
John Graham: Then um I guess that's your bit?
Teddy Porter: Yeah.
John Graham: I I didn't s see anything about it, so I already uh thought you uh you were to do that. So the you're uh. I'll show you how we're going to do with financing this
Matthew Thompson: Mm.
John Graham: uh design.
Jeffrey Painter: Yeah, that's important too. Yeah.
John Graham: And then we'll
Matthew Thompson: Bit late.
John Graham: evaluate, after after we have redesigned it. Because uh well we'll see about the costs. Um we'll uh evaluate our p our uh production and then uh we can close.
Jeffrey Painter: Alright.
John Graham: Well the finance uh we'll do later, so um firstly uh I'll show you the notes. I don't think it's very interesting.
Matthew Thompson: I think it is.
John Graham: Oh nei. Uh no. Alright. This is copy paste. So
Jeffrey Painter: From Teddy Porter of course, yeah.
John Graham: Of course. You had
Jeffrey Painter: Well
John Graham: some
Jeffrey Painter: from us
John Graham: very
Jeffrey Painter: all, yeah,
John Graham: strange
Jeffrey Painter: from
John Graham: layout.
Jeffrey Painter: all of us. Yeah. It's a nice chorus, yeah.
John Graham: Well um We ge we went through the agenda, and well we had some uh some presentations from you three. And uh I summarised what you said to us. So uh I don't think it's very interesting and go through it again.
Jeffrey Painter: Repeat it yeah.
John Graham: So uh
Jeffrey Painter: Alright.
John Graham: This is what we decided. It's also copy paste from what we made together. So
Teddy Porter: Okay.
John Graham: we still know that. And then uh we can we can uh use the time better. Well uh next you two will uh present uh the pot prototype for us.
Jeffrey Painter: Alright, we both uh will?
John Graham: Yeah.
Jeffrey Painter: Or one of us will?
Matthew Thompson: Alright.
Jeffrey Painter: Uh
Matthew Thompson: No you go and I'll uh
Jeffrey Painter: Alright. If I
Matthew Thompson: supplement
Jeffrey Painter: make mistakes
Matthew Thompson: you.
Jeffrey Painter: uh you'll uh
Matthew Thompson: Yeah.
John Graham: Correct.
Jeffrey Painter: Right. Uh well this is our design. Uh it's pretty uh much uh like uh Mike draw uh drew uh the in the during the last meeting. With uh the different uh perspectives of it. Uh we'll begin uh with the front. We have of course uh the the round shape uh the round uh basic shape. Um with uh the upper part being the front. Th So there's this part um which is made of hard plastic, the front. And uh we're we're using different colours. Of course for the launch we use the basic ugly colours, and
John Graham: Yeah.
Jeffrey Painter: later we'll put out uh more interesting covers with different patterns
John Graham: Mm-hmm.
Jeffrey Painter: and pictures and everything. But basically, different colours, bright colours not black, too dark. Fancy colours. Um then we have uh the lower part of the of the device. Uh which is of course um part of the back actually, because it's also titanium. You can see it also on the on the on the side view, that only this part is the front, and the rest of it, the under uh the under side uh of it, yeah, the back side and the lower part of the front is of course titanium made of titanium, and has the titanium colour of course, the look. Um
John Graham: Mm.
Jeffrey Painter: then we have uh on back on the front uh the logo in the upper corner, uh which is uh made uh which is also part of the back, part of the titanium uh
Matthew Thompson: Yeah, it's a double R_,
Jeffrey Painter: titanium
Matthew Thompson: but
Jeffrey Painter: part. Yeah?
Matthew Thompson: It's a double R_.
Jeffrey Painter: It's a double R_. Yeah the
Matthew Thompson: But
Jeffrey Painter: logo Uh uh
Matthew Thompson: it's
John Graham: Yeah,
Matthew Thompson: very difficult
John Graham: alright.
Jeffrey Painter: it's
Matthew Thompson: to to
Jeffrey Painter: difficult
Matthew Thompson: draw
Jeffrey Painter: to draw
Matthew Thompson: that in
Jeffrey Painter: so small, but
Matthew Thompson: Yeah.
Jeffrey Painter: it's our double R_ uh
John Graham: Okay.
Jeffrey Painter: logo is in there.
John Graham: Yeah.
Jeffrey Painter: Um so that's the logo in the upper lef uh right corner. Then we have the buttons. Uh it's difficult to draw again the little oval or round I think oval will be better for
Matthew Thompson: Oval
Jeffrey Painter: the
Matthew Thompson: yeah.
Jeffrey Painter: for the d for the different
John Graham: Alright.
Jeffrey Painter: uh channel buttons. So uh oval, n those are here. And then we have the m The m
Matthew Thompson: Channel up and volume?
Jeffrey Painter: Yeah the the con the the the, yeah, the t volume and the channel controls uh in the middle here. Um um with kind of arrow shapes, which makes it also a bit more exciting than basic round or um uh uh square buttons. And also here are the two uh buttons we agreed on. We have the Okay button. Oh nei we uh the Okay button's here in the middle
Matthew Thompson: Yeah.
Jeffrey Painter: of
John Graham: Mm-hmm.
Jeffrey Painter: the of the operators, of the channel and uh volume um changers. And then we've here the Menu button and the
John Graham: Alright.
Matthew Thompson: Menu for
Jeffrey Painter: And
Matthew Thompson: the
Jeffrey Painter: the video
Matthew Thompson: L_C_D_
Jeffrey Painter: button.
Matthew Thompson: screen.
Jeffrey Painter: The
Teddy Porter: Mm right.
John Graham: So
Jeffrey Painter: Yeah. And of course this low part, this is the L_C_D_ screen.
John Graham: 'Kay.
Jeffrey Painter: Uh this is what we made of it. You can make uh suggestions uh
John Graham: Well
Jeffrey Painter: if you want.
Matthew Thompson: Well, at
John Graham: if
Matthew Thompson: the back
John Graham: I look at it, the side the side view
Jeffrey Painter: Maybe we maybe we should finish first uh our
Matthew Thompson: Yeah.
Jeffrey Painter: talk and then you can add
John Graham: Oh
Jeffrey Painter: suggestions.
John Graham: yeah alright.
Jeffrey Painter: Maybe I I don't want to
John Graham: Yeah.
Jeffrey Painter: I don't want to suppress you but n I'll uh finish this uh quick. Um okay I've had everything I guess on
Matthew Thompson: No
Jeffrey Painter: the
Matthew Thompson: the
Jeffrey Painter: front?
Matthew Thompson: back. the
Jeffrey Painter: Yeah
Matthew Thompson: logo
Jeffrey Painter: the back. Yeah.
Matthew Thompson: and our uh l uh
Jeffrey Painter: We thought about Yeah, uh the back is of course totally titanium. And we thought about the logo big in the middle.
John Graham: Mm-hmm.
Jeffrey Painter: Just so again the double R_. We have
Teddy Porter: Mm-hmm.
Jeffrey Painter: then the logo on front and on the back. Maybe that's
John Graham: Okay.
Jeffrey Painter: too much but
Matthew Thompson: No
Jeffrey Painter: you
Matthew Thompson: I don't
Jeffrey Painter: have to
Matthew Thompson: think
Jeffrey Painter: say uh say that if you think that way. And
Matthew Thompson: And the
Jeffrey Painter: the company slogan, we thought in a kind of arc
John Graham: Yeah.
Jeffrey Painter: shape
Teddy Porter: Yeah.
Jeffrey Painter: uh above the logo. That's basically what we were thinking about, and
John Graham: Okay.
Matthew Thompson: And about
John Graham: W
Matthew Thompson: the side view um This the front won't be as thick, but
John Graham: Well I
Matthew Thompson: again
John Graham: see, but
Matthew Thompson: th the the drawing technique makes it very difficult to
Jeffrey Painter: Oh and uh
Matthew Thompson: to
Jeffrey Painter: before
Matthew Thompson: really
Jeffrey Painter: I forget.
Matthew Thompson: uh
John Graham: Well.
Jeffrey Painter: Yeah the the voice,
John Graham: Yeah
Jeffrey Painter: of course,
John Graham: I see
Jeffrey Painter: the voice
John Graham: it.
Jeffrey Painter: recorder is uh at the bottom.
John Graham: Yes.
Jeffrey Painter: And you can record it uh using, yeah, the the
John Graham: When I
Jeffrey Painter: the
John Graham: look
Jeffrey Painter: back
John Graham: at
Jeffrey Painter: of
Matthew Thompson: Well,
Jeffrey Painter: the
John Graham: uh
Matthew Thompson: it
Jeffrey Painter: f
Matthew Thompson: won't
John Graham: when
Matthew Thompson: be visible.
John Graham: I look at
Jeffrey Painter: w
John Graham: this
Jeffrey Painter: device.
John Graham: side view,
Matthew Thompson: Mm?
John Graham: I think w when I have that in my hand, it's terrible. If
Jeffrey Painter: Why?
John Graham: if you look if if this this is thick, and this is thin, th th then
Jeffrey Painter: Well
John Graham: it that
Jeffrey Painter: it fits
John Graham: it lies over your hands.
Jeffrey Painter: uh it
John Graham: But
Jeffrey Painter: it it it fits the hand, mean
Matthew Thompson: Yeah.
Jeffrey Painter: uh the the
Teddy Porter: Yeah,
John Graham: Well
Jeffrey Painter: the
Teddy Porter: I
Jeffrey Painter: the
Teddy Porter: agree.
John Graham: what what what I what I agree is that when uh when um you have such of uh an arc in the middle, so that the the a the ends and the fronts is a bit thicker, so
Matthew Thompson: If
John Graham: th then
Matthew Thompson: y
John Graham: it falls over your hands.
Matthew Thompson: If you handle a remote, you you usually don't have your hand straight
Jeffrey Painter: In
Matthew Thompson: like
Jeffrey Painter: the middle
Matthew Thompson: this. You
Jeffrey Painter: in the
Matthew Thompson: you have it a bit
Teddy Porter: It depends
Matthew Thompson: uh
Teddy Porter: on the size.
Matthew Thompson: Yeah.
Teddy Porter: If it's kinda small, this is is great. But if it's it's larger, then you want to grab it.
John Graham: And how
Matthew Thompson: Yeah.
John Graham: large is it?
Teddy Porter: Yeah, that's the question.
Jeffrey Painter: That's the question. Uh well Yeah. H What do you suggest I mean we do? This
John Graham: Well
Jeffrey Painter: was
John Graham: uh
Jeffrey Painter: Mike's prototype, and y you seemed to agreed on it. But now
John Graham: Well
Jeffrey Painter: you
John Graham: the
Jeffrey Painter: have
John Graham: sides
Jeffrey Painter: a totally
John Graham: I
Jeffrey Painter: different.
John Graham: haven't seen yet, uh?
Matthew Thompson: Well,
Jeffrey Painter: The size? Yeah
Matthew Thompson: they
Jeffrey Painter: well
Matthew Thompson: lay there
Jeffrey Painter: the size
John Graham: They the
Matthew Thompson: all
Jeffrey Painter: doesn't
John Graham: the
Matthew Thompson: the time.
John Graham: the
Jeffrey Painter: really
John Graham: the
Jeffrey Painter: matter
John Graham: the side
Jeffrey Painter: w I mean
John Graham: view,
Jeffrey Painter: Side? Uh
John Graham: we
Jeffrey Painter: oh
John Graham: didn't
Jeffrey Painter: the side?
John Graham: uh
Jeffrey Painter: W we we he drew the s the
Matthew Thompson: Yeah
Jeffrey Painter: side,
Matthew Thompson: yeah.
Jeffrey Painter: but you d you weren't paying attention as usual. Well any case, we'll discuss it now. Uh I think uh this is a pretty good uh good idea.
Teddy Porter: Yeah, I agree with the L_C_D_ screen. You have it in your palm like this, and you can watch uh watch the screen. And if you have it li in the middle,
John Graham: Yeah.
Teddy Porter: your hand might be over it.
Jeffrey Painter: But you you hold it like this.
Matthew Thompson: Yeah you
Jeffrey Painter: You're not holding it like this
Matthew Thompson: you don't
Jeffrey Painter: or something.
Matthew Thompson: you don't grab it, you you
Jeffrey Painter: You, yeah, y How do you call it? Yeah. Well y y y you don't have it like this. You
John Graham: No
Jeffrey Painter: have
John Graham: no
Jeffrey Painter: it
John Graham: no.
Jeffrey Painter: more like this. using buttons this way, or
Teddy Porter: Like
Jeffrey Painter: if you're
Teddy Porter: you're
Jeffrey Painter: right-handed,
Teddy Porter: holding your telephone.
Jeffrey Painter: this
John Graham: Yep.
Jeffrey Painter: way.
Matthew Thompson: Yeah.
Jeffrey Painter: So you Yeah.
Teddy Porter: Because
Jeffrey Painter: So
Teddy Porter: if you have a screen on it, you wanna look at your screen.
Matthew Thompson: Hmm.
Jeffrey Painter: Yeah
Matthew Thompson: That
Jeffrey Painter: well
Matthew Thompson: way, it it falls into your hand. I think.
John Graham: Okay.
Teddy Porter: Yeah, I
Jeffrey Painter: And
Teddy Porter: agree
Jeffrey Painter: maybe
Teddy Porter: on
Jeffrey Painter: you
Teddy Porter: this.
Jeffrey Painter: can you can grab it a bit higher, so Well
Teddy Porter: No, I don't think so. That's not uh
Matthew Thompson: No but but
Jeffrey Painter: Well
Teddy Porter: the
Jeffrey Painter: the
Teddy Porter: point
Jeffrey Painter: the Well that's a reason to to to put the L_C_D_ screen uh of course on the upper side, but
Matthew Thompson: Well f for as far as I can see, three of us agree and
John Graham: Yeah
Matthew Thompson: only
John Graham: well
Matthew Thompson: Nils
John Graham: uh I think uh if you t if you three uh agree then then that's it.
Matthew Thompson: But you're John Graham, you can make the hard decisions.
John Graham: Yes. So
Jeffrey Painter: If
John Graham: uh
Jeffrey Painter: necessary.
John Graham: I c
Jeffrey Painter: But
John Graham: I c
Jeffrey Painter: uh
John Graham: Well,
Jeffrey Painter: are d
John Graham: we'll
Jeffrey Painter: Can you
John Graham: we
Jeffrey Painter: live
John Graham: we'll
Jeffrey Painter: with
John Graham: do
Jeffrey Painter: it?
John Graham: it
Jeffrey Painter: Uh
John Graham: like this.
Matthew Thompson: Yeah?
John Graham: Alright,
Jeffrey Painter: Y
John Graham: if you think that that's the
Jeffrey Painter: Yeah,
John Graham: way
Jeffrey Painter: y y
John Graham: it
Jeffrey Painter: y
John Graham: should
Jeffrey Painter: y you said it was totally uh unusable.
John Graham: No
Jeffrey Painter: But do you
John Graham: No, when I I my personal taste is that I want it to fall over my hands with a thick But
Jeffrey Painter: But d you don't think this
John Graham: In
Jeffrey Painter: is
John Graham: the market
Jeffrey Painter: completely unusable
John Graham: uh
Jeffrey Painter: I guess. I think.
John Graham: No not totally.
Jeffrey Painter: Not totally, well
John Graham: For Teddy Porter, I I wouldn't buy it. Let's
Jeffrey Painter: Yeah
John Graham: say it
Jeffrey Painter: but
John Graham: like
Jeffrey Painter: of course
John Graham: that.
Jeffrey Painter: y you are also human. We have to
John Graham: No
Jeffrey Painter: take uh every everyone into
Teddy Porter: And you might
Jeffrey Painter: account.
Teddy Porter: be
Jeffrey Painter: So
Teddy Porter: uh You might be target customer.
Jeffrey Painter: Yeah. Well
John Graham: Yes
Jeffrey Painter: uh who who
Matthew Thompson: Mm.
John Graham: but
Jeffrey Painter: else thinks like you? We don't know. Maybe
John Graham: Yeah, we
Jeffrey Painter: a
John Graham: don't
Jeffrey Painter: thousand
John Graham: know, but
Jeffrey Painter: people,
John Graham: that's
Jeffrey Painter: or
John Graham: uh
Jeffrey Painter: a million people.
John Graham: that's that's that's more market research. So let it be like this at uh
Jeffrey Painter: Let
John Graham: at this
Jeffrey Painter: it
John Graham: moment.
Jeffrey Painter: be. Alright.
John Graham: Okay?
Jeffrey Painter: So that's that. Uh any other suggestions?
John Graham: No, I think it's great.
Teddy Porter: Yeah.
Matthew Thompson: But what about the redesigning?
John Graham: Comes to that later.
Matthew Thompson: Okay.
John Graham: Um you. Uh c You can uh Walter.
Jeffrey Painter: You're very personal
John Graham: You can do the
Jeffrey Painter: again.
John Graham: evaluation uh criteria on this?
Teddy Porter: Alright. Great.
John Graham: That's more useful than just speaking.
Teddy Porter: Well, this is just a short intro. I'm
John Graham: Yes.
Teddy Porter: going to do uh the ev evaluation. That's gonna be done at the end of seven point skill criteria. So I made a I made a few questions on the hand of uh uh the impor most important requirements and
John Graham: Mm-hmm.
Teddy Porter: trends. And we have to look if our uh if our device uh is working correctly. Well, I put some questions in a Word file. See if I can find them. Uh uh uh uh mm.
John Graham: 'Kay.
Teddy Porter: Well
Matthew Thompson: Hmm.
Teddy Porter: I uh think you have all seen uh this kind of evaluation, so uh I don't have to explain it. Uh the first question is, uh is the device good-looking? Because normal p uh most people thought that um earlier devices were ugly ugly. Seventy five percent of them. So what do we think?
Jeffrey Painter: Well d we designed it, so of course we are very
Matthew Thompson: Mm.
John Graham: Yeah,
Teddy Porter: Yeah
John Graham: we're we're not quite uh objective about
Jeffrey Painter: Yeah.
Teddy Porter: No,
John Graham: this.
Matthew Thompson: Well
Teddy Porter: I know, but
Matthew Thompson: we designed it to be good-looking.
Teddy Porter: I have to uh evaluate it. So I have to take this questionnaire.
Jeffrey Painter: So and
John Graham: To
Jeffrey Painter: we
John Graham: the customers?
Jeffrey Painter: ha we have answer now?
John Graham: To
Teddy Porter: Yeah
John Graham: potential
Jeffrey Painter: Yeah.
John Graham: customers who have to take this
Teddy Porter: Yeah,
John Graham: questionnaire?
Teddy Porter: but I can't
John Graham: Nei.
Teddy Porter: can
John Graham: Oh no.
Teddy Porter: s
Matthew Thompson: Hmm.
John Graham: I know, I know, I know. But um Well we can go, uh because of the time, uh pretty quick through this. Uh do we find it good-looking? Well we think so.
Jeffrey Painter: I
John Graham: Uh
Matthew Thompson: Yeah.
Teddy Porter: Yeah,
Jeffrey Painter: Yeah, I
Matthew Thompson: We
Jeffrey Painter: think
Matthew Thompson: designed
Teddy Porter: but
Jeffrey Painter: it
Matthew Thompson: it
Teddy Porter: uh,
Matthew Thompson: to
Teddy Porter: you
Matthew Thompson: be
Teddy Porter: know
Matthew Thompson: good-looking,
John Graham: Yeah.
Matthew Thompson: so
Teddy Porter: We dis we di we designed it to be perfect. So But we have to be critic critical about it. And I have to uh take all these points and get a average at the end. So we we
John Graham: Well,
Teddy Porter: know where we stand.
John Graham: one.
Teddy Porter: 'Cause th there are some things we might have uh bi might have forgotten.
John Graham: Well so it's point four.
Teddy Porter: Right, so
John Graham: Easy
Jeffrey Painter: Well
John Graham: to find
Jeffrey Painter: l well
John Graham: t
Jeffrey Painter: let's start with the beginning, just one
Teddy Porter: Right.
Jeffrey Painter: by one.
Teddy Porter: Uh is it good-looking?
Jeffrey Painter: Well, I guess uh I think uh
John Graham: Two.
Jeffrey Painter: it's uh it's it's um pointed towards the youth of course, uh if you look at the design and and the colours and everything. That was our target audience of course. But it's also not completely um uh u unacceptable for older people I guess. Uh it's it's not f a device
Teddy Porter: The titanium
Jeffrey Painter: that
Teddy Porter: might be uh f
Jeffrey Painter: Yeah,
Teddy Porter: for
Jeffrey Painter: that's
Teddy Porter: older people.
Jeffrey Painter: that's uh for older people, it's it's more that classical
Teddy Porter: It you put
Jeffrey Painter: look.
Teddy Porter: uh
Jeffrey Painter: So
Teddy Porter: put a black front on it or something.
Matthew Thompson: Hmm.
Jeffrey Painter: Uh no. I think Yeah they like black of course, but I think they'll uh they they think uh the the titanium look of it is also Uh I think it's also good for them, so I think we both uh have uh consider considered uh the youth and also a bit older people. So I
Teddy Porter: Right.
Jeffrey Painter: think it's very good-looking and not only for youth uh young people.
Matthew Thompson: I think we shouldn't discuss any points points that long, because
Teddy Porter: Right.
Matthew Thompson: I don't know
John Graham: No.
Matthew Thompson: how how many points there
John Graham: I
Matthew Thompson: are
John Graham: totally
Matthew Thompson: but
Jeffrey Painter: Yeah,
Matthew Thompson: uh
John Graham: agree.
Jeffrey Painter: the fourteen
John Graham: We
Matthew Thompson: Yeah.
Teddy Porter: Right,
Jeffrey Painter: yeah.
Teddy Porter: a number
John Graham: we have
Teddy Porter: please.
John Graham: to get get on,
Matthew Thompson: Yeah.
John Graham: go
Jeffrey Painter: Is
John Graham: through
Jeffrey Painter: it
John Graham: this.
Jeffrey Painter: easy to t change channels? Yeah well I think so.
Teddy Porter: So the last one is seven. Easy
Matthew Thompson: Um,
Teddy Porter: to change channels?
John Graham: No,
Matthew Thompson: no
John Graham: not
Matthew Thompson: it's
John Graham: false.
Matthew Thompson: uh
John Graham: It's one.
Teddy Porter: Oh, sorry. Yeah, right.
John Graham: Well uh two?
Teddy Porter: Change channels?
John Graham: Y Well we have to go through it.
Jeffrey Painter: I think it's uh as easy as uh can be made. Uh
Teddy Porter: Right.
Jeffrey Painter: So I Yeah. You How can you make it any easier?
Teddy Porter: The power, channel and volume
Matthew Thompson: With
Teddy Porter: buttons
Matthew Thompson: two
Teddy Porter: are easy
Matthew Thompson: huge
Teddy Porter: accessible?
Matthew Thompson: buttons.
Jeffrey Painter: Yeah,
John Graham: Yep.
Jeffrey Painter: huge is a Yeah.
John Graham: Two.
Teddy Porter: Two? Alright. The uh device is easy to find if you lose it?
John Graham: Well, no.
Jeffrey Painter: D
John Graham: We didn't
Jeffrey Painter: we
John Graham: implement
Jeffrey Painter: d we don't
John Graham: anything about that.
Jeffrey Painter: we don't have
Matthew Thompson: Well
Jeffrey Painter: uh
Matthew Thompson: it's
Jeffrey Painter: that
Matthew Thompson: easier
Jeffrey Painter: s
Matthew Thompson: to find than a a normal black one or something, because of the colour. But
John Graham: Well six
Teddy Porter: Yeah.
Jeffrey Painter: Yeah.
John Graham: then.
Teddy Porter: Six? Right.
Jeffrey Painter: Well we don't have the device that beeps uh when you lost
John Graham: Are
Jeffrey Painter: it
John Graham: the
Jeffrey Painter: or so,
John Graham: functions
Jeffrey Painter: but um um
John Graham: easy to learn? Well w I we do want we have a l f
Matthew Thompson: We have so few
John Graham: f
Matthew Thompson: functions,
John Graham: less
Matthew Thompson: so
John Graham: of
Matthew Thompson: Yeah.
John Graham: an
Teddy Porter: Yeah, I agree.
John Graham: And the device R_S_I_ sensitive?
Matthew Thompson: Well, I should I
John Graham: Yeah.
Matthew Thompson: think two, because the voice recorder
John Graham: Ah.
Matthew Thompson: is n not
Teddy Porter: Yeah.
Matthew Thompson: self learning.
Jeffrey Painter: Yeah. Yeah.
Teddy Porter: Alright.
Jeffrey Painter: Mm?
Teddy Porter: Two?
John Graham: Yeah, but just do some We
Teddy Porter: Yeah
John Graham: we
Jeffrey Painter: Are we take
John Graham: I th
Jeffrey Painter: too much
John Graham: I th
Jeffrey Painter: time?
John Graham: I think this is too time consuming. Uh not
Teddy Porter: Yeah,
John Graham: not towards
Teddy Porter: I agree.
John Graham: you,
Teddy Porter: No.
John Graham: but towards this all. Th
Teddy Porter: Yeah.
John Graham: this is
Teddy Porter: Right,
John Graham: We you have
Teddy Porter: R_
John Graham: to
Teddy Porter: R_S_I_
John Graham: put
Teddy Porter: sensitive?
John Graham: it to the customers.
Teddy Porter: R_S_I_ sensitive?
John Graham: Uh well well a bit, so four.
Teddy Porter: Four. Um
John Graham: Yes.
Jeffrey Painter: Yeah, very much. One.
John Graham: One. And features included also one. And One.
Teddy Porter: Yeah.
John Graham: Uh those uh nine uh is the fancy-looking. Uh we still think so.
Jeffrey Painter: Yeah.
John Graham: Device fancy
Jeffrey Painter: And I
John Graham: feeling.
Jeffrey Painter: think fancy-feeling
John Graham: Yeah,
Jeffrey Painter: too, because of the
John Graham: cool
Matthew Thompson: Yeah.
Jeffrey Painter: titanium
John Graham: man.
Jeffrey Painter: back. Yeah.
Teddy Porter: Right.
John Graham: Are there enough technology? Yeah
Matthew Thompson: Yeah.
John Graham: well also we have two.
Teddy Porter: Yeah, that's great.
Matthew Thompson: The
John Graham: to use? Yes we have not many buttons.
Jeffrey Painter: So well maybe two
Teddy Porter: Well,
Jeffrey Painter: because
Matthew Thompson: Two
John Graham: Two,
Jeffrey Painter: of the voice
Teddy Porter: with
John Graham: three.
Jeffrey Painter: recorder.
Matthew Thompson: two.
Teddy Porter: the uh Three.
Matthew Thompson: T
John Graham: Are
Jeffrey Painter: F
John Graham: the trends about fruit and vegetables implemented? Well in our covers,
Matthew Thompson: Yeah.
John Graham: in our fronts. So
Jeffrey Painter: Yeah.
John Graham: yes, one.
Jeffrey Painter: One or two.
John Graham: Is
Matthew Thompson: One
Jeffrey Painter: Yeah.
John Graham: the material
Matthew Thompson: or two, another
Teddy Porter: Nah
John Graham: attractive?
Matthew Thompson: two.
Teddy Porter: f four I think.
Jeffrey Painter: Four?
Teddy Porter: If you look at this
Jeffrey Painter: Well, it doesn't really resemble any fruit, uh that's true.
Teddy Porter: No.
Jeffrey Painter: But but we have the the the the the
John Graham: Oh okay.
Jeffrey Painter: sparkly fruity
Matthew Thompson: Well
Jeffrey Painter: colours
Matthew Thompson: three.
Jeffrey Painter: of course.
Teddy Porter: Three,
John Graham: Okay.
Teddy Porter: alright.
Jeffrey Painter: And you can also have front with uh with
Teddy Porter: Yeah, that's true.
John Graham: Is
Jeffrey Painter: fruit
John Graham: the material
Teddy Porter: But
Jeffrey Painter: on
Matthew Thompson: Mm.
John Graham: attractive? Well
Matthew Thompson: Yeah.
John Graham: the titanium
Jeffrey Painter: it.
John Graham: is strong, and uh the rest f uh the buttons feel soft. So I would say at least two.
Teddy Porter: Right.
John Graham: Okay. Well Yeah.
Matthew Thompson: This is the last meeting?
John Graham: Yes, but we
Teddy Porter: The
Matthew Thompson: Yeah.
Teddy Porter: average
John Graham: we have to design
Teddy Porter: will uh
John Graham: much
Teddy Porter: come later.
John Graham: more, because there was some irritating account manager coming to Teddy Porter.
Jeffrey Painter: I
John Graham: Um
Jeffrey Painter: knew things uh were going uh
John Graham: Oh.
Jeffrey Painter: too smoothly. There had
John Graham: Uh
Jeffrey Painter: to be some kind of trouble
Matthew Thompson: Yeah.
Jeffrey Painter: along
John Graham: Yes.
Jeffrey Painter: the way.
John Graham: Well, look at the costs at this point.
Jeffrey Painter: My god.
John Graham: I had to fit it in.
Teddy Porter: It has to go to twelve, right?
John Graham: I twelve and a half.
Teddy Porter: Twelve and a half.
John Graham: So Well what costs a lot? The sample spea costs four.
Jeffrey Painter: The what? The
John Graham: The sample speaker,
Teddy Porter: Out.
John Graham: the s sensor.
Teddy Porter: That's easy. Kick it out.
John Graham: Kick it out.
Matthew Thompson: The what?
Teddy Porter: Yeah.
John Graham: We have to go to twelve and a
Teddy Porter: The
John Graham: half.
Teddy Porter: speaker.
John Graham: The speaker costs
Matthew Thompson: Oh.
John Graham: far, by far the most.
Jeffrey Painter: Yeah w
Teddy Porter: That's some wrong
Jeffrey Painter: tha that's
Teddy Porter: info,
Jeffrey Painter: uh
Teddy Porter: man.
Jeffrey Painter: that's a bit an optional
John Graham: It
Jeffrey Painter: option.
John Graham: it isn't worth it.
Jeffrey Painter: No.
Teddy Porter: No.
Jeffrey Painter: No, d
John Graham: We
Jeffrey Painter: th
John Graham: could make
Jeffrey Painter: No.
John Graham: two
Teddy Porter: It's
John Graham: different
Teddy Porter: uh
John Graham: versions, one with and one without. But for
Teddy Porter: It's
John Graham: this
Teddy Porter: just extra. Kick it out.
John Graham: So, zero.
Jeffrey Painter: Yeah.
John Graham: Then we go to fourteen point six.
Teddy Porter: What more?
John Graham: Well the titanium I don't want to lose actually.
Jeffrey Painter: No.
Teddy Porter: Batteries are uh
John Graham: L_C_
Teddy Porter: quite
John Graham: three? Yeah hand dynamo? Y t come on,
Matthew Thompson: Um
Teddy Porter: Uh no,
John Graham: w
Teddy Porter: no
John Graham: a remote
Teddy Porter: no
John Graham: control
Jeffrey Painter: N
Teddy Porter: no.
John Graham: has a battery.
Jeffrey Painter: Uh well we have a bit of a problem I think. Because
Matthew Thompson: Well well
Jeffrey Painter: uh
Matthew Thompson: why why why should we use a advanced chip?
John Graham: Well be for the
Jeffrey Painter: the
John Graham: L_C_D_
Jeffrey Painter: L_C_D_
John Graham: uh you
Jeffrey Painter: screen.
John Graham: had said.
Jeffrey Painter: Yeah.
Matthew Thompson: Yeah?
Teddy Porter: Hmm.
Matthew Thompson: Can't we do that with a regular chip?
Jeffrey Painter: No.
Matthew Thompson: Why not?
Jeffrey Painter: Because uh that uh y
John Graham: Well
Jeffrey Painter: because
John Graham: what what's the difference between
Jeffrey Painter: my information
John Graham: simple
Jeffrey Painter: says
John Graham: and regular?
Jeffrey Painter: it. Huh?
John Graham: What's the difference between a simple
Matthew Thompson: Yeah.
John Graham: and
Matthew Thompson: Regular
John Graham: a regular chip?
Matthew Thompson: is normal.
Teddy Porter: Yeah.
John Graham: And simple?
Jeffrey Painter: Uh
Matthew Thompson: Simple.
Jeffrey Painter: well
John Graham: Nothing.
Jeffrey Painter: yeah I I read something about it, but
Matthew Thompson: Elementary.
John Graham: Well?
Jeffrey Painter: Yeah, I
John Graham: Your part.
Jeffrey Painter: I read something about it, but it wasn't very clear. I d I didn't in include it in my report.
John Graham: What happens if we do
Jeffrey Painter: Single Well you have to use a chip. So Well you have
John Graham: How
Jeffrey Painter: to
John Graham: much
Jeffrey Painter: use
John Graham: do we
Jeffrey Painter: the
John Graham: win?
Jeffrey Painter: advanced
Matthew Thompson: We we
Jeffrey Painter: chip,
Matthew Thompson: we
John Graham: One.
Jeffrey Painter: if you have
Matthew Thompson: Why?
Jeffrey Painter: the L_C_D_ screen.
Matthew Thompson: We have very little options furthermore, for the
Jeffrey Painter: But
John Graham: Yeah.
Jeffrey Painter: if you have a regular chip, you can't have the L_C_D_ screen.
Matthew Thompson: Uh well we have to put
Teddy Porter: Yeah,
Matthew Thompson: that in.
Teddy Porter: we need to have the the L_C_D_
Jeffrey Painter: That that's
Teddy Porter: screen.
Jeffrey Painter: a fact.
John Graham: Well,
Jeffrey Painter: Uh
John Graham: we could say, well this special colour, that
Teddy Porter: No
John Graham: isn't that that isn't there, because the the fronts they will buy it. The special colour.
Teddy Porter: Yeah,
Jeffrey Painter: Yeah, but it's
Teddy Porter: but
Jeffrey Painter: only
Matthew Thompson: Nah.
Jeffrey Painter: one half.
Teddy Porter: No,
Jeffrey Painter: Uh
Teddy Porter: that's
Jeffrey Painter: it d
Teddy Porter: n
Jeffrey Painter: it doesn't
Teddy Porter: It's not relevant.
John Graham: Yeah,
Matthew Thompson: Yeah, you must change
John Graham: then
Matthew Thompson: the
John Graham: you
Matthew Thompson: chip
John Graham: s then
Matthew Thompson: uh
John Graham: you only
Matthew Thompson: back.
John Graham: have one half left.
Matthew Thompson: You
Teddy Porter: Yeah.
Matthew Thompson: must change the chip back, Nils.
John Graham: Uh yeah.
Jeffrey Painter: But we d Then we have to lose the L_C_D_ screen.
Teddy Porter: No, Then the whole concept is uh
Jeffrey Painter: Yeah, I know but that's what my information says. I di I didn't uh
Matthew Thompson: Hmm.
Jeffrey Painter: put
Teddy Porter: You
Jeffrey Painter: uh the advanced chip
Matthew Thompson: No
Jeffrey Painter: in there for fun.
Teddy Porter: You
Matthew Thompson: we
Teddy Porter: can make
Matthew Thompson: oh
Teddy Porter: you
Jeffrey Painter: You
Teddy Porter: can
Jeffrey Painter: have
Teddy Porter: make
Jeffrey Painter: to use
Teddy Porter: it cheaper.
Jeffrey Painter: it.
Teddy Porter: But if you don't sell
Matthew Thompson: You
John Graham: Yeah.
Matthew Thompson: you we have an advanced chip-on-print, and we have an L_C_ display. I think that's
John Graham: Yeah?
Matthew Thompson: a bit double. Y
John Graham: No,
Matthew Thompson: we don't need both.
John Graham: the advanced chip is needed to
Jeffrey Painter: For
John Graham: have
Jeffrey Painter: the L_C_D_
John Graham: an L_C_D_
Jeffrey Painter: screen.
John Graham: display.
Jeffrey Painter: Yeah. Yeah.
Matthew Thompson: Says.
John Graham: Says, his Uh that was in the second meeting, I think.
Jeffrey Painter: Well uh and what do they mean with curves uh again? Because we you
John Graham: Well
Jeffrey Painter: have
John Graham: I
Jeffrey Painter: uncurved
John Graham: I did single curve to Well you said s double
Matthew Thompson: I?
John Graham: curved, uh he,
Jeffrey Painter: Yeah.
John Graham: because uh I thought it's a b a bit cheaper already. We can
Teddy Porter: No
John Graham: also
Jeffrey Painter: Well
John Graham: make it flat.
Teddy Porter: no
Jeffrey Painter: But
Teddy Porter: no
Jeffrey Painter: what
Teddy Porter: no.
Jeffrey Painter: what
John Graham: But
Jeffrey Painter: did what do n Sorry, but What do they mean with the curves? Is th
John Graham: Curved? Yes,
Jeffrey Painter: Is this
John Graham: that's
Jeffrey Painter: a
John Graham: curved.
Jeffrey Painter: curve? One curve? Yeah, this
John Graham: Yes.
Jeffrey Painter: is actually two curves, yeah. It's
John Graham: No,
Jeffrey Painter: how
John Graham: it's
Jeffrey Painter: you
John Graham: one
Jeffrey Painter: It's
John Graham: curve.
Jeffrey Painter: how you look at
Matthew Thompson: One
Jeffrey Painter: it.
Matthew Thompson: curve.
John Graham: One curve, simple.
Jeffrey Painter: Well then we have a huge problem I think. W t we can never get uh below the
John Graham: We
Jeffrey Painter: twelve
John Graham: have a big
Jeffrey Painter: and a
John Graham: financial
Jeffrey Painter: half.
John Graham: problem.
Matthew Thompson: Well we make it more expensive to buy.
John Graham: Well, then we have two dollars less profit. Come on, if we if we if we make this fifty million, they won't hesitate to uh congratulate us, so uh
Teddy Porter: If if you make people brand-aware, they are willing to pay more. But
Jeffrey Painter: But uh I
Teddy Porter: Because we we use a brand at the front and uh I dun at the back. If you have uh lots of uh marketing people might buy.
Matthew Thompson: Yeah or we could
Teddy Porter: If you if
Matthew Thompson: replace
Teddy Porter: you make it cool
Matthew Thompson: it
Teddy Porter: to have
John Graham: By the way, we also have this one.
Teddy Porter: Oh, that's just great.
John Graham: Oh, costs nothing.
Teddy Porter: Oh,
John Graham: That's nice.
Teddy Porter: alright.
John Graham: Plastic
Jeffrey Painter: Hey but uh
John Graham: is
Jeffrey Painter: I think you'll agree that uh that we that now we have this uh screen, it's it's very uh not practical to ha to consider this after we have designed the entire thing.
John Graham: Yes, but I just got it.
Jeffrey Painter: Well
Matthew Thompson: Why
Jeffrey Painter: that's pretty
Matthew Thompson: why
Jeffrey Painter: uh
Matthew Thompson: don't we
Jeffrey Painter: l
Matthew Thompson: replace
Teddy Porter: That is
Matthew Thompson: the titanium
Teddy Porter: pretty stupid.
Jeffrey Painter: N
Matthew Thompson: with
Jeffrey Painter: not
Matthew Thompson: uh
Jeffrey Painter: very practical.
Matthew Thompson: plastic
Jeffrey Painter: Well
Matthew Thompson: coloured titanium, uh
John Graham: Who?
Matthew Thompson: titanium-coloured plastic?
John Graham: You want to dump the titanium?
Matthew Thompson: Yeah well if we uh we we have to get cheaper.
John Graham: And make all plastic, then we ha then we're there.
Jeffrey Painter: But I'm n I don't agree.
Matthew Thompson: But
Jeffrey Painter: I think
Matthew Thompson: then we we've got to uh
John Graham: Th then
Matthew Thompson: run
John Graham: you
Matthew Thompson: through
John Graham: have
Matthew Thompson: the
John Graham: a
Matthew Thompson: eval
John Graham: ugly,
Matthew Thompson: evaluation
John Graham: stupid,
Matthew Thompson: process again.
John Graham: l ugly looking, dumb remote
Matthew Thompson: Ah no
John Graham: that
Matthew Thompson: no.
John Graham: that no-one would buy.
Matthew Thompson: It's not ugly looking. The looks remain the same.
John Graham: No, I don't think so.
Teddy Porter: Y
Matthew Thompson: Well, I
Jeffrey Painter: I
Matthew Thompson: do
Jeffrey Painter: think
Matthew Thompson: think so.
Jeffrey Painter: the titanium just uh provided the the tough look and
John Graham: Yes.
Jeffrey Painter: the and the
John Graham: And the feel,
Matthew Thompson: feel.
John Graham: and th that it is strong, and
Jeffrey Painter: And also the the older people will like it because of that. And
Teddy Porter: Yeah,
Jeffrey Painter: because i
Teddy Porter: I
Jeffrey Painter: Alright
Teddy Porter: agree.
Jeffrey Painter: it's not our target audience, but it's it's useful
John Graham: We still
Jeffrey Painter: if it's uh
John Graham: we had to focus
Jeffrey Painter: important for old
John Graham: to
Jeffrey Painter: people.
John Graham: get more people
Jeffrey Painter: Yeah.
John Graham: from the younger group, but not lose the one
Jeffrey Painter: I think the titanium is very important.
Matthew Thompson: Yeah alright but then we we
Jeffrey Painter: Yeah
Matthew Thompson: won't
Jeffrey Painter: we have a
Matthew Thompson: get
Jeffrey Painter: problem,
Matthew Thompson: there.
Jeffrey Painter: yeah. W But you can better, yeah, dump the L_C_D_ screen
Matthew Thompson: We
Jeffrey Painter: then.
Matthew Thompson: can dump the special colour. We l we use plastic. And plastic is already in colour I think.
Teddy Porter: I don't think you should dump the L_C_D_ screen.
Jeffrey Painter: Well what else? W I
Matthew Thompson: No,
Jeffrey Painter: mean
Matthew Thompson: nothing.
Jeffrey Painter: uh
Teddy Porter: Or you shou
Matthew Thompson: Amen.
Teddy Porter: It's Or change the titanium or dump the L_C_D_ screen. But I think you could better change
Jeffrey Painter: Yeah.
Teddy Porter: uh titanium to hard a hard kind of plastic looking like titanium
Matthew Thompson: Yeah.
Teddy Porter: than lose the L_C_D_ screen. Because you have lots of functions in it too.
Jeffrey Painter: Yeah,
Matthew Thompson: Yeah.
Jeffrey Painter: well yeah. Alright.
John Graham: Why can't
Jeffrey Painter: I
John Graham: I
Jeffrey Painter: agree
Matthew Thompson: But
Jeffrey Painter: with that. So we u we use uh Unfortunately. Um.
John Graham: I'll put in the report
Jeffrey Painter: Titanium-coloured
John Graham: we that we think that fourteen
Jeffrey Painter: plastic.
John Graham: point one is the l m lowest price you can make a remote for that's trendy d these
Teddy Porter: Yeah, I
John Graham: days.
Teddy Porter: agree.
Jeffrey Painter: So titanium-coloured plastic for the back.
John Graham: I I'll talk to the managers.
Matthew Thompson: No no no no. W Titanium stays there.
John Graham: Titanium, I thi I think this this is this is e really good re
Jeffrey Painter: Yeah
Teddy Porter: Osl
Jeffrey Painter: this is
John Graham: remote.
Jeffrey Painter: good, but it it's not
John Graham: But
Jeffrey Painter: good enough. So we have to use the ditch the titanium, I'm afraid.
John Graham: Ah those
Matthew Thompson: Well
John Graham: those account managers, what do th d what do they know? Come on.
Jeffrey Painter: What
John Graham: Riot.
Jeffrey Painter: do we Well what do we know? All we want is a is a fancy design but we don't really
John Graham: Yes,
Jeffrey Painter: consider the costs.
John Graham: yes.
Jeffrey Painter: So
Matthew Thompson: No because we did not know anything about
Teddy Porter: If
Matthew Thompson: it.
Jeffrey Painter: Yeah
Teddy Porter: you
John Graham: One
Teddy Porter: don't
Jeffrey Painter: al
John Graham: and
Teddy Porter: have
Jeffrey Painter: alright,
John Graham: a
Teddy Porter: the
John Graham: half
Teddy Porter: money,
John Graham: Euros.
Jeffrey Painter: yeah.
Teddy Porter: you can't
Jeffrey Painter: But
Teddy Porter: make it.
John Graham: Hmm?
Jeffrey Painter: we
Teddy Porter: So
Jeffrey Painter: have
Teddy Porter: s
Jeffrey Painter: to deal with it now. So
Teddy Porter: If you don't have the money, you can't make it. So this is too expensive.
John Graham: So?
Jeffrey Painter: So
Teddy Porter: So we have to make it cheaper.
Jeffrey Painter: Titanium gone and add plastic.
Teddy Porter: Right.
Matthew Thompson: Yeah, but then we've got money left.
Jeffrey Painter: And on plastic times two and then we uh are there?
John Graham: Well, no it's just uh all plastic.
Jeffrey Painter: No
John Graham: Well alright.
Jeffrey Painter: No
John Graham: Huh.
Jeffrey Painter: yeah well Oh six. A lot of plastic,
Teddy Porter: It's
Jeffrey Painter: yeah.
Teddy Porter: just free, man.
John Graham: Four. So
Jeffrey Painter: No two for the to make it clear.
John Graham: But then we can add the special colour?
Matthew Thompson: Yeah.
John Graham: As we have money over uh left.
Matthew Thompson: Yeah.
John Graham: And we still
Matthew Thompson: W
John Graham: have money left. What do we want, guys?
Jeffrey Painter: I want gold plating. No no
Teddy Porter: Yeah right.
Jeffrey Painter: um
Teddy Porter: I want chrome.
Matthew Thompson: Well I think uh the case is double curved then.
John Graham: Yes.
Matthew Thompson: Because
Jeffrey Painter: We have
Matthew Thompson: you y have that
Jeffrey Painter: we
Matthew Thompson: curve
Jeffrey Painter: have to
Matthew Thompson: and
Jeffrey Painter: uh
Matthew Thompson: you have
Jeffrey Painter: fill
John Graham: Y Oh
Matthew Thompson: that
John Graham: no.
Matthew Thompson: curve.
Jeffrey Painter: W
Matthew Thompson: Yeah
Jeffrey Painter: we ha
Teddy Porter: Well,
Matthew Thompson: well
Teddy Porter: th that
Matthew Thompson: uh
Teddy Porter: that
John Graham: Alright.
Teddy Porter: is the problem.
Jeffrey Painter: No no no, but th that's
John Graham: Safe.
Jeffrey Painter: not f um
Matthew Thompson: Well y we have curves
Jeffrey Painter: Well
Matthew Thompson: in all
Jeffrey Painter: you
Matthew Thompson: directions.
Jeffrey Painter: can you can double curve, if you don't have titanium. And that we dropped, so it
John Graham: So
Jeffrey Painter: it can be done.
John Graham: alright.
Jeffrey Painter: But it's pretty funny. We we do want to reach twelve point five. But it
John Graham: Finance?
Matthew Thompson: I mean,
Jeffrey Painter: isn't bad to to to stay
Matthew Thompson: this
Jeffrey Painter: at eleven.
Matthew Thompson: this ain't titanium, but it looks like it.
Jeffrey Painter: We
John Graham: Well,
Jeffrey Painter: get more salary,
John Graham: guys?
Jeffrey Painter: if we make
Teddy Porter: Yeah.
Jeffrey Painter: if cheaper
John Graham: Guys?
Jeffrey Painter: than twelve uh
John Graham: We
Jeffrey Painter: twelve
John Graham: have
Jeffrey Painter: and
John Graham: to
Jeffrey Painter: a
Teddy Porter: Shoot.
Jeffrey Painter: half.
John Graham: dump our titanium, and we'll hate the managers for that, but now we're going to
Jeffrey Painter: Objection.
John Graham: evaluate our project, of uh project,
Matthew Thompson: Pro project.
John Graham: project. Well, satisfaction on for example, are we satisfactory about our creativity?
Jeffrey Painter: Well I can't get no satisfaction, but uh I think it's uh Well in in if we consider the costs then this is the best, yeah.
Teddy Porter: Yeah.
John Graham: I think it's terrible
Matthew Thompson: Yeah.
John Graham: that we got uh those costs at the last moment.
Matthew Thompson: Yeah.
Teddy Porter: Yeah, Teddy Porter too.
John Graham: That's really bad.
Jeffrey Painter: Its it's
John Graham: But
Jeffrey Painter: uh ridiculous actually,
Matthew Thompson: And
John Graham: that
Matthew Thompson: uh
Jeffrey Painter: but
John Graham: that
Matthew Thompson: unrealistic.
John Graham: that's that, yeah that's a reason, but also for our creativity. We had um nice design, and then you get the cost, and you had to dump all your creativity.
Matthew Thompson: Well
Teddy Porter: Right.
Matthew Thompson: we we we used our creativity, but we just had to adapt it to the costs.
Jeffrey Painter: Which isn't very practical, but
John Graham: Yeah.
Matthew Thompson: Nei.
Jeffrey Painter: that's the way.
Matthew Thompson: Uh no.
John Graham: Well,
Jeffrey Painter: Uh-huh.
John Graham: alright. Uh leadership next.
Matthew Thompson: Terrible.
John Graham: Uh teamwork?
Teddy Porter: Leadership.
Matthew Thompson: Leadership?
Teddy Porter: Well
Matthew Thompson: Well
Teddy Porter: it's It was very democratic.
John Graham: Uh yeah
Matthew Thompson: Yeah.
John Graham: well I think
Matthew Thompson: Yeah.
John Graham: so also. I al I I've uh filled that in in a the questionnaires uh each time, so
Teddy Porter: Yeah yeah.
John Graham: Well the managers were terrible. So, with their all their useless requirements. But o alright,
Jeffrey Painter: Well
John Graham: the teamwork?
Jeffrey Painter: uh they they didn't think of the requirements. It's the requirements of the user, uh I guess.
John Graham: No they said, oh we won't d uh we won't uh use
Jeffrey Painter: Yeah.
John Graham: teletext, uh we won't use the D_V_D_.
Jeffrey Painter: Yeah but they base that on on the user specifications.
John Graham: Alright, teamwork?
Teddy Porter: Well
John Graham: Well great I think.
Matthew Thompson: Right
Teddy Porter: Yeah,
Matthew Thompson: yeah.
Teddy Porter: think so too.
John Graham: Uh well what do you, what did you think about the SMARTboard?
Jeffrey Painter: It was a complete disaster. No
Teddy Porter: Yeah, I
Jeffrey Painter: Uh
John Graham: Well
Teddy Porter: don't
Jeffrey Painter: it it it
Teddy Porter: like
Matthew Thompson: No,
Jeffrey Painter: uh
Teddy Porter: it.
Matthew Thompson: that's
Jeffrey Painter: it is
Matthew Thompson: a SMARTboard,
Jeffrey Painter: uh
Teddy Porter: Yeah?
Matthew Thompson: and that's a digital pen.
John Graham: It's
Matthew Thompson: Or
John Graham: also
Matthew Thompson: not?
John Graham: a It's both
Jeffrey Painter: No
John Graham: the
Jeffrey Painter: it's
John Graham: SMARTboards.
Jeffrey Painter: other way around. That's the SMARTboard. That's
John Graham: I liked
Jeffrey Painter: the digital
John Graham: this
Jeffrey Painter: panel.
John Graham: SMARTboard,
Teddy Porter: This
John Graham: but I hated
Teddy Porter: this
John Graham: that one.
Teddy Porter: this isn't a SMARTboard,
John Graham: Well it's
Teddy Porter: right?
John Graham: both a SMARTboard.
Jeffrey Painter: That's that's the smart
Teddy Porter: Yeah right. B but you This is
Matthew Thompson: Oh
Teddy Porter: just
Matthew Thompson: they're both
Teddy Porter: a large
Matthew Thompson: SMARTboards.
Teddy Porter: t large television.
John Graham: No.
Teddy Porter: You u you use the
Jeffrey Painter: A televi
John Graham: It's both
Jeffrey Painter: Yeah.
John Graham: a SMARTboard, but this one is used for a desktop, and that one is used to to
Teddy Porter: Yeah,
John Graham: draw.
Teddy Porter: but you ca This is just a beamer function. And here, on this one, you can uh draw the pictures and things
John Graham: Well,
Teddy Porter: like that.
John Graham: wi w which
Teddy Porter: But
John Graham: one did you like?
Jeffrey Painter: Yeah.
Teddy Porter: That one.
Jeffrey Painter: Left or right?
Matthew Thompson: Yeah.
John Graham: That one.
Teddy Porter: That one isn't accurate. It just
John Graham: Yeah.
Teddy Porter: doesn't work. You can
Matthew Thompson: But I I think this is meant by the digital pen.
John Graham: Yes. Th that is so.
Teddy Porter: Yeah,
Jeffrey Painter: Well
Teddy Porter: but
Jeffrey Painter: I didn't
Teddy Porter: I
Jeffrey Painter: use
Teddy Porter: think
Matthew Thompson: Yeah.
John Graham: We're now
Teddy Porter: there's
Jeffrey Painter: uh
John Graham: talking
Teddy Porter: a big
John Graham: about
Teddy Porter: distinction
John Graham: the SMARTboards.
Teddy Porter: between the these th I don't need a SMARTboard.
Jeffrey Painter: Nei It
Matthew Thompson: Well
Jeffrey Painter: it's much m
Matthew Thompson: we we used that one,
Teddy Porter: Yeah,
Matthew Thompson: and
Teddy Porter: but
Matthew Thompson: we needed
Teddy Porter: give
Matthew Thompson: it. I
Teddy Porter: Teddy Porter
Matthew Thompson: think.
Teddy Porter: a beamer. That's uh that's much
Matthew Thompson: Yeah
Teddy Porter: uh
Matthew Thompson: alright,
Teddy Porter: much
Matthew Thompson: but
Teddy Porter: cheaper.
John Graham: Or install a laptop to a beamer, or have this one standing here in an I I like it.
Teddy Porter: Right.
Matthew Thompson: Yeah I like
John Graham: Okay,
Matthew Thompson: that
John Graham: alright.
Matthew Thompson: one, but that one is terrible.
Jeffrey Painter: But uh you can uh I I sent it about three times now. Uh a green uh board with uh chalk is much
John Graham: Yeah.
Jeffrey Painter: more useful than that
Teddy Porter: Yeah.
Jeffrey Painter: thing.
John Graham: Yeah, it is.
Jeffrey Painter: The simple uh
John Graham: So
Jeffrey Painter: sch
Teddy Porter: I agree.
Jeffrey Painter: school board.
John Graham: And uh the digi the digital pen? Did uh did you like that one?
Teddy Porter: No.
Jeffrey Painter: I I didn't use it. I wrote things down but I didn't
John Graham: I used
Jeffrey Painter: import
John Graham: it
Jeffrey Painter: it
John Graham: uh
Jeffrey Painter: into my
John Graham: just
Jeffrey Painter: laptop.
John Graham: to check it out, but uh
Teddy Porter: Yeah.
John Graham: You you
Jeffrey Painter: That's
John Graham: can't
Jeffrey Painter: the
John Graham: send that to anyone,
Teddy Porter: Yeah.
John Graham: because you
Teddy Porter: It
John Graham: you've
Teddy Porter: isn't
John Graham: scrabbled
Teddy Porter: practical.
John Graham: something on a page for yourself,
Teddy Porter: Right.
John Graham: and then you're going to send it, yeah. Well, no.
Jeffrey Painter: W But also y you write things down. And i you can also bring your your
Teddy Porter: Your
Jeffrey Painter: your
Teddy Porter: notepad.
Jeffrey Painter: note block. So
Teddy Porter: Yeah.
Jeffrey Painter: what's the what's
John Graham: It's,
Jeffrey Painter: the
John Graham: no,
Jeffrey Painter: th
John Graham: it
Jeffrey Painter: what's
John Graham: it's useless.
Jeffrey Painter: the point of importing it
Matthew Thompson: Well
Jeffrey Painter: into
Matthew Thompson: I I drew this. Mm. And I made a mistake. But it it would have been uh useful, if
John Graham: Yes.
Matthew Thompson: I I could show this on the screen.
Jeffrey Painter: Yeah alright.
John Graham: For
Jeffrey Painter: For
John Graham: drawings,
Jeffrey Painter: drawings, but
John Graham: yes.
Matthew Thompson: Yeah
Jeffrey Painter: not
Matthew Thompson: for drawings.
Jeffrey Painter: for personal notes. I think that's not very
Matthew Thompson: N notes mm.
Jeffrey Painter: Uh I mean you can bring your paperwork along and p Well of course
John Graham: But
Teddy Porter: Yeah,
Jeffrey Painter: if
Teddy Porter: it
Jeffrey Painter: you
Teddy Porter: might
Jeffrey Painter: have
Teddy Porter: be
Jeffrey Painter: a lot
Teddy Porter: useful
Jeffrey Painter: of paper
Teddy Porter: for drawings.
Jeffrey Painter: If
Teddy Porter: I
Jeffrey Painter: you've
Teddy Porter: I agree
Matthew Thompson: Mm.
Teddy Porter: on that.
Jeffrey Painter: If
John Graham: But
Jeffrey Painter: you've
John Graham: for notes, it i you you have to put that in a strict Uh you have to put a name, standard date, and all those things. And notes uh for a meeting are very strict. So if you uh were to write them down for yourself, and then put that in your computer, you still have to type it over to Word.
Teddy Porter: Yeah,
John Graham: So it
Teddy Porter: right.
John Graham: doesn't d doesn't have any
Teddy Porter: That Stefan
Jeffrey Painter: Yeah
Teddy Porter: use.
Jeffrey Painter: I understand. But I think uh d this option is only useful if you've got a lot of paperwork. You can't It's not very uh ni
Teddy Porter: No,
Jeffrey Painter: Yeah
Teddy Porter: I
Jeffrey Painter: well
Teddy Porter: don't think so.
Jeffrey Painter: a lot of documents
Teddy Porter: It's
Jeffrey Painter: are Yeah.
Teddy Porter: it's only useful if you have to
Matthew Thompson: Yeah.
Teddy Porter: draw something.
Matthew Thompson: it's really useful, I think.
Teddy Porter: Yeah.
John Graham: Yep. Alright.
Jeffrey Painter: Mu
John Graham: Um
Jeffrey Painter: Yeah right.
John Graham: etcetera? Well uh the laptops?
Teddy Porter: Yeah, great.
John Graham: Of course
Matthew Thompson: Yeah.
John Graham: great.
Teddy Porter: Yeah.
Matthew Thompson: Hmm.
Jeffrey Painter: Can we keep them?
John Graham: Yeah.
Jeffrey Painter: Uh.
John Graham: You can. B by my
Teddy Porter: Wireless uh wireless
Matthew Thompson: Thanks Project
Teddy Porter: things.
Matthew Thompson: Manager.
John Graham: Yeah. Other uh things we used here? I hated the cameras, I hated the microphones.
Teddy Porter: Well
John Graham: But
Teddy Porter: these
John Graham: No
Teddy Porter: chairs,
Jeffrey Painter: Well
Teddy Porter: man.
Jeffrey Painter: did you really uh
Teddy Porter: Really great.
Jeffrey Painter: Did you really take uh take those in account? I
John Graham: No.
Jeffrey Painter: half of time I didn't
John Graham: No.
Jeffrey Painter: notice they were there.
John Graham: I
Jeffrey Painter: So
John Graham: haven't looked w one time directly at the camera. I don't care about it.
Matthew Thompson: Well
Jeffrey Painter: But
Matthew Thompson: I
Jeffrey Painter: we
Matthew Thompson: did.
Jeffrey Painter: shouldn't talk about that. Because this
John Graham: Well
Jeffrey Painter: is
John Graham: w
Jeffrey Painter: a
John Graham: why
Jeffrey Painter: realistic
John Graham: not?
Jeffrey Painter: environment.
John Graham: Uh etcetera We
Jeffrey Painter: Right.
John Graham: N new
Jeffrey Painter: Okay.
John Graham: ideas found? What kind of ideas for n a future schedule What? For future um
Matthew Thompson: Well
John Graham: meetings you have
Matthew Thompson: I missed
John Graham: got?
Matthew Thompson: uh the option to uh
Teddy Porter: Communicate
Matthew Thompson: to email,
Teddy Porter: in between.
Matthew Thompson: yeah. Email
Teddy Porter: Yeah, right.
John Graham: Chatting
Matthew Thompson: or chat
Jeffrey Painter: But
John Graham: and
Jeffrey Painter: yeah.
Matthew Thompson: or
John Graham: emailing.
Matthew Thompson: something.
Jeffrey Painter: W
Teddy Porter: Yeah.
Jeffrey Painter: well th that's just the the environment they set us up f with. So
Matthew Thompson: Yeah alright, but that's one n new idea.
Teddy Porter: Yeah, I agree.
John Graham: Well, new ideas found by this. Not. Nothing.
Teddy Porter: Well,
John Graham: We
Teddy Porter: more
John Graham: don't
Teddy Porter: more
John Graham: want this.
Teddy Porter: information in the beginning.
John Graham: We hate this.
Matthew Thompson: Yeah.
Teddy Porter: That's
John Graham: Digital pen is useless.
Matthew Thompson: No
John Graham: So
Matthew Thompson: it isn't.
John Graham: Yeah,
Jeffrey Painter: Well,
John Graham: for drawings.
Jeffrey Painter: for drawing for drawings.
Matthew Thompson: Yeah.
Jeffrey Painter: Yeah.
Matthew Thompson: So it isn't useless.
John Graham: But uh two t But uh th then you have to have a lot of drawings, because
Jeffrey Painter: Well
John Graham: if I had a company and I'm going to uh buy those expensive huge expensive uh things, I and I have to w pay those uh papers uh that are expensive, I'm not going to uh
Teddy Porter: For
Jeffrey Painter: No
Teddy Porter: people who uh sketch th the whole day, I can
Matthew Thompson: Yeah.
Teddy Porter: imagine that it's useful.
John Graham: Well th
Jeffrey Painter: But it's
John Graham: then
Jeffrey Painter: still
John Graham: still
Jeffrey Painter: an expensive
John Graham: they they they
Jeffrey Painter: uh expensive
John Graham: should have a a nice graphics programme on the laptop. Because this is huge
Teddy Porter: Well
John Graham: uh
Matthew Thompson: Well
John Graham: this
Matthew Thompson: you
John Graham: v
Matthew Thompson: you
John Graham: very
Matthew Thompson: can't you
John Graham: very
Matthew Thompson: can't
John Graham: uh
Matthew Thompson: draw
John Graham: expensive
Matthew Thompson: on a laptop
John Graham: paper.
Matthew Thompson: like you like you paint of or draw with your hand.
Teddy Porter: Yeah, I agree.
Matthew Thompson: With
Jeffrey Painter: But
Matthew Thompson: the mouse
Jeffrey Painter: if w
Matthew Thompson: it is
Jeffrey Painter: Yeah.
Matthew Thompson: No.
John Graham: Yeah.
Jeffrey Painter: Well and
Teddy Porter: Mouse
Jeffrey Painter: if
Teddy Porter: is ju just isn't working if you're sketching.
Matthew Thompson: Uh indeed.
Jeffrey Painter: And but what if uh maybe this this board uh SMARTboard is malfunctioning or someone. But suppose it was working correctly, what uh would it be useful then, if it wasn't off all the time?
John Graham: Well no. I
Jeffrey Painter: A
John Graham: hated to draw like that. You you can't
Jeffrey Painter: Really?
John Graham: draw anything uh neat.
Teddy Porter: Yeah, but he's saying if it is correct, and you can draw very,
Jeffrey Painter: Anything you want. Any b b
Teddy Porter: yeah,
Jeffrey Painter: Yeah.
John Graham: I
Teddy Porter: very
Jeffrey Painter: L li
John Graham: if
Teddy Porter: precise
John Graham: it
Jeffrey Painter: li
John Graham: if it would be perfect following.
Jeffrey Painter: Yeah.
John Graham: Well
Jeffrey Painter: Well
John Graham: th
Jeffrey Painter: it
John Graham: th
Jeffrey Painter: isn't, but
John Graham: then
Jeffrey Painter: maybe
John Graham: still
Teddy Porter: Yeah,
Jeffrey Painter: that thing
Teddy Porter: mu
John Graham: it's
Jeffrey Painter: is uh is
John Graham: it's it's very expensive uh towards a a just a green
Jeffrey Painter: Yeah,
John Graham: uh
Jeffrey Painter: board,
Matthew Thompson: Yeah,
Jeffrey Painter: a school
Matthew Thompson: but
Jeffrey Painter: board,
Matthew Thompson: but
Jeffrey Painter: yeah.
Matthew Thompson: then you can
John Graham: school board.
Matthew Thompson: uh save it in instantly, and
Jeffrey Painter: Yeah.
Matthew Thompson: and and
John Graham: Yep.
Jeffrey Painter: I it
Matthew Thompson: re-use
Teddy Porter: It
Jeffrey Painter: has
Teddy Porter: saves
Jeffrey Painter: It
Matthew Thompson: it,
Teddy Porter: time.
Jeffrey Painter: is
Matthew Thompson: and
Jeffrey Painter: useful.
Matthew Thompson: uh
Jeffrey Painter: Yeah.
John Graham: Yeah yeah.
Jeffrey Painter: This uh if it works correct, maybe this thing this thing is just malfunctioning. So uh if we get in uh if we get another one and you make sure it does work,
John Graham: Yep.
Jeffrey Painter: I think then it's pretty useful.
John Graham: Yeah.
Jeffrey Painter: Because uh yeah you can draw t things quickly and uh clearly for anyone uh in the discussion room. And then you can save it immediately.
John Graham: Well, they are now.
Matthew Thompson: Hmm.
Teddy Porter: Celebration.
John Graham: It is. So,
Jeffrey Painter: Did you type
John Graham: congratulations
Jeffrey Painter: that?
Matthew Thompson: Hmm.
John Graham: crew.
Matthew Thompson: Celebration.
John Graham: Se
Teddy Porter: Well
Matthew Thompson: Yeah, we can go to the bar and uh with our
John Graham: Finally my beer.
Matthew Thompson: newly earned money.
John Graham: Well, that's it I think.
Matthew Thompson: Yeah.
John Graham: Um I don't know how long we still have. I dunno how long uh we had for this last meeting. But uh
Jeffrey Painter: Maybe till four o'clock or something? Well dunno. Yeah.
John Graham: Well yeah, it is a bit uh Well we still have to make the end report and uh all those things. I have to do that.
Teddy Porter: Yeah. You better
John Graham: I
Teddy Porter: get started.
John Graham: Di did you um save
Matthew Thompson: Oh.
John Graham: this one in the folder?
Matthew Thompson: No.
John Graham: Can you
Matthew Thompson: No
John Graham: do that?
Matthew Thompson: no no no.
Jeffrey Painter: No we must save this thing, yeah. In the shared map map.
Matthew Thompson: But Nils you've got some work left.
John Graham: I don't know what you have
Jeffrey Painter: Map,
John Graham: to do.
Jeffrey Painter: is it a good word? The
Teddy Porter: Huh.
Jeffrey Painter: folder, yeah.
Matthew Thompson: I have to go to a
John Graham: Yeah.
Matthew Thompson: physiotherapy.
John Graham: Oh it worked. Two
Matthew Thompson: Wow.
John Graham: times quick.
Teddy Porter: Oh, alright.
John Graham: Cool.
Jeffrey Painter: So it is useful,
Matthew Thompson: Yeah.
Jeffrey Painter: yeah.
Matthew Thompson: It
Teddy Porter: Oh
Matthew Thompson: is
Jeffrey Painter: No
Matthew Thompson: handy.
Teddy Porter: great,
Jeffrey Painter: but uh
Teddy Porter: man. I'm gonna
John Graham: This
Teddy Porter: buy
John Graham: is nice.
Teddy Porter: one buy
Jeffrey Painter: Radical.
Teddy Porter: one for my bedroom.
John Graham: Uh
Jeffrey Painter: Yeah.
John Graham: D design.
Jeffrey Painter: Do you believe it yourself?
John Graham: S Oh. He saved them all ten. Well alright. Um
Matthew Thompson: Well they they wanted everything we produced, so
Jeffrey Painter: They
John Graham: Yeah.
Jeffrey Painter: also want to see my cat and his rabbit, and uh
John Graham: Well
Matthew Thompson: My big bird.
Jeffrey Painter: Your big beautiful bird.
John Graham: Where is this?
Jeffrey Painter: Maybe the pen is just uh uh broken and the board isn't. Of or the other way around uh
Teddy Porter: Maybe you are broken.
Jeffrey Painter: Yeah I think so too.
Teddy Porter: You
Matthew Thompson: I think
Teddy Porter: know.
Matthew Thompson: you have we have to make clear to her that we are ready.
Teddy Porter: I think she's listening.
John Graham: I also think so. She
Jeffrey Painter: Who
John Graham: already
Jeffrey Painter: is
John Graham: knows.
Jeffrey Painter: she you're talking about? Oh
John Graham: She?
Jeffrey Painter: you mean our uh
John Graham: Big brother.
Jeffrey Painter: coach, our f personal coach.
John Graham: Our manager.
Jeffrey Painter: Is she also our accountant? Is she responsible for
John Graham: Yeah.
Jeffrey Painter: sending that information so late?
John Graham: I don't think so.
Jeffrey Painter: Oh.
Matthew Thompson: Close
Jeffrey Painter: Because
Matthew Thompson: your laptop.
Jeffrey Painter: then we have to confront her with our
Matthew Thompson: So she can see we're ready.
Teddy Porter: I feel watched.
John Graham: Alright.
Matthew Thompson: Yeah.
John Graham: We put the fashion in
Matthew Thompson: Let's
John Graham: electronics,
Matthew Thompson: take this remote into
John Graham: but
Matthew Thompson: uh
John Graham: we couldn't
Matthew Thompson: production.
John Graham: because of the costs. That that's
Jeffrey Painter: Yeah. That
John Graham: the
Jeffrey Painter: that's
John Graham: title
Jeffrey Painter: our new
John Graham: of
Jeffrey Painter: slogan.
John Graham: our uh
Teddy Porter: Yeah.
John Graham: end document.
Jeffrey Painter: Yeah, I
John Graham: We
Jeffrey Painter: like
John Graham: couldn't
Jeffrey Painter: that.
John Graham: put the fashion into the electronics.
Jeffrey Painter: Blame our accountants.
Teddy Porter: Do that.
John Graham: Yeah, that's a nice title.
Teddy Porter: Yeah.
Jeffrey Painter: But we couldn't, yeah.
Teddy Porter: Very catching.
John Graham: Oh.
Jeffrey Painter: Well I th
Teddy Porter: I'm
Jeffrey Painter: Yeah.
Teddy Porter: sure management would like that.
John Graham: Well
Matthew Thompson: She's on the move.
John Graham: I'm going to resign after this project anyway, so
Teddy Porter: Oh, that's just great. | Jeffrey Painter and Matthew Thompson presented the drawing of a prototype. It is rounded, with the front made of hard plastic in different colours. The back, as well as the lower part of the front are made of titanium. The back has the logo and slogan of the company engraved in its middle. The buttons include oval digit buttons, arrow-shaped channel and volume controls in the middle; below those, is the menu (for the LCD) and the video button. The LCD can be found at the lower section of the device. After the presentation, the product was evaluated. This was done on a scale of 1(excellent)-7(very bad) on fancifulness, ease of use, finding the device when it is lost, hi-tech features, incorporation of fashion trends, and ergonomic design. Because it was over budget, titanium was replaced by plastic and the speech recognition was discarded. They thought it would have been more sensible to have the component costs before the prototype design. Finally, the team evaluated the project process in terms of creativity (generally satisfied), leadership (the process was democratic, not happy with management), teamwork (happy with it), and means (SMARTboard was 'a disaster' and the digital pens only good for drawings). | 5 | amisum | train |
Don Soto: Okay. So welcome back. What do we have to? So first. I want to say I'm the secretary, so I make the minutes. You find them in your in the map in the From the group. There's the minutes from the first meeting. You'll find the next minutes also there. Then I wanna hear from you, what you've done. And after that I have some new product requirements. So And after that we have make decisions, what we do. And then we're ready. We have forty minutes for this meeting. After that we'll have lunch. So first I wanna ask John Sutton to tell what he did.
John Sutton: That's my task.
Don Soto: So
John Sutton: Okay. Uh I've Where have I put it? My Documents or not?
John Sutton: Hmm. I've save it on my computer, my presentation.
Don Soto: Yeah on your computer, or the
John Sutton: But where?
Don Soto: What's the name?
John Sutton: Uh uh uh
Don Soto: What's the name of it?
John Sutton: It was about the working of the remote control.
Don Soto: It's the technical function or the functional requirements.
John Sutton: Nope. Not a of Wait. The working design. But I've
Don Soto: Working
John Sutton: saved
Don Soto: design.
John Sutton: it. But now I don't know where it is.
John Sutton: Hmm.
Don Soto: Working design. What is this? Product documents.
John Sutton: Yeah. And I import this until
Don Soto: On the desktop. Up. up.
John Sutton: One
Don Soto: Up.
John Sutton: more.
Don Soto: Up. Up. Yes. My Documents. Nope.
John Sutton: What the fuck
Don Soto: Gone.
John Sutton: is this?
Don Soto: Well you Um Nah. Nah, nah, nah. PowerPoint. Working design.
John Sutton: Yeah that's the empty one.
Don Soto: And
John Sutton: I had one.
Don Soto: Presentation of
John Sutton: Uh-huh.
Don Soto: working design.
John Sutton: Open it. Okay here it is.
Don Soto: Save as. Uh
Juan Sullivan: Desktop.
Don Soto: it's Project.
John Sutton: Project.
Juan Sullivan: Yeah.
Don Soto: Save.
John Sutton: Okay.
Juan Sullivan: Okay
Don Soto: Very good.
Juan Sullivan: Well.
John Sutton: A little later but here it is.
Don Soto: Okay. So
John Sutton: So okay. It's a little difficult what I'm gonna tell you. It's about the working of the remote control. I just had an half an hour j to study it and I don't
Juan Sullivan: Make
John Sutton: get
Juan Sullivan: it.
John Sutton: it.
Don Soto: Now have ten minutes to tell it.
John Sutton: Ten minutes to tell it. Okay. I think it will be a few minutes and
Don Soto: Okay.
John Sutton: First uh I will tell you something about the findings, what I discovered about the remote control. The working bout it uh of it. Uh then I'll have uh some kind of map, and it's the top of the remote control. With a little bit of science, uh you I will show that uh in in a few minutes. And then uh what I'll think about it. First, the findings. The remote control is a very difficult uh thing to uh to explain to just all of you wh who haven't seen a remote control uh inside. Uh there's a lot of uh plastic on it, um because its uh not so expensive. And there are uh a lot of uh wires, uh which um connect the components in it, the battery, and there are um switches and things like that. There's a lot of small uh electronics. So it won't be um uh too expensive to build it. Only twelve Euro fifty I think uh we will make it. Now And here I have the top of the remote control. Uh here's some kind of chip. Uh on top of this, there are uh the numbers. Uh you have all on your remote control. And uh the teletext uh button. And uh here's the battery. And when you push the button, it will uh will be sent to the chip. And the chip will um send it to all kind of sub-components. That's what I said, it's very difficult. And after that it will be sent to the infrared. And that will send it to your television. That's a short h uh how it works. Uh I think I can uh make it uh difficult, but we all we all don't get it. My preferences? It's uh it won't be uh We shouldn't make it too big. Uh also for the cost, uh we should only put one battery on it. A long-lasting battery. Uh also for the cost, uh use only plastic. Not other materials. Also because of the cost, uh not too much buttons on it. We can also make uh a button uh with a menu uh button. And then um that that you will see it on the T_V_. And on the T_V_ you can uh switch into the menu. That's I
Dennis Mitchell: Mm-hmm.
John Sutton: think it's easier. And the bleep signal, y uh you told us. Uh but we can also use it uh a bleep like something, when the battery's empty, then there is a bleep. Then you'll have to change it in a in a week or something. And also the bleep, when what I told you about uh when you lost it, and you push a button, and then you hear bleep bleep, and we will find it. This is uh
Don Soto: Oh oh.
John Sutton: just uh Yeah.
Don Soto: Two questions.
John Sutton: Yeah.
Don Soto: The battery. You say one battery is cheaper. Why?
John Sutton: If we w if we use only just one uh small pen-light, then it will be cheaper than when we use
Don Soto: Yeah but
John Sutton: two.
Don Soto: when you use two, you can use it two times longer.
John Sutton: Yeah but then we'll have to make the um remote control uh long lasting.
Don Soto: Okay
John Sutton: Just
Don Soto: so it's the size of the remote control.
John Sutton: Yeah.
Don Soto: Okay and the buttons. When you use it on the television, you've you need the television, wh which can use it.
John Sutton: Yeah. But
Don Soto: S
John Sutton: uh I think this our remote control is for the televisions we uh we sell in our company?
Don Soto: Okay.
John Sutton: Or is it also for other company uh for other televisions?
Don Soto: I think we have to use it also on other televisions though.
John Sutton: Then this is an option.
Don Soto: So
John Sutton: Maybe just a menu button to use it on our televisions. And then we make it easier uh for our televisions. And on the other tele televisions, you can also use it, but then
Don Soto: Yeah but
John Sutton: we
Don Soto: I
John Sutton: won't
Don Soto: don't
John Sutton: use
Don Soto: I think
John Sutton: the
Don Soto: it They are two different things though. We have to choose one. It has to work on o uh all televisions.
Dennis Mitchell: Mm.
John Sutton: Yeah? Okay. Then I think uh the menu button uh will only work on the newer televisions. And we will uh look forward and don't make a
Juan Sullivan: Hmm.
John Sutton: remote control which for the older televisions.
Don Soto: Okay.
John Sutton: And I just uh have one more idea. Uh maybe it's one of your tasks. But Uh, to have a trendy remote control, we can also um make something like the Nokia um mobile phones. To change covers. So if you have uh a trendy half with all red, uh yellow and something. And then you can put a
Juan Sullivan: Hmm.
John Sutton: red cover on it. And also different things.
Don Soto: Yeah. Good idea.
Juan Sullivan: Will
John Sutton: Yes.
Juan Sullivan: this will this add to the cost?
John Sutton: Uh then it won't be uh will have just one cover on the uh original one. then you can buy the covers.
Juan Sullivan: Yes but you have to m uh be able to change it. D does it make it more difficult to design?
John Sutton: I think it will be a little more difficult, but not
Don Soto: Mm-hmm.
John Sutton: too much.
Juan Sullivan: Not much. 'Kay.
John Sutton: Just like with the Nokia uh mobile phones.
Don Soto: Yeah but there are much
John Sutton: Just one.
Don Soto: more Nokia telephones than um these ones.
John Sutton: Yeah but then we'll have to to just um put five covers on it, and see if it works. If it won't works then we'll get something else. Then we uh won't g uh go further with it.
Don Soto: Yeah but are their profits bigger than their cost?
John Sutton: Uh a p a a cover made in uh in China, it it won't be I guess so expensive I think.
Don Soto: Yeah but there are also design cost. I don't think When you have a remote control, do you change the cover?
John Sutton: Maybe.
Don Soto: Would you change
John Sutton: I
Don Soto: the
John Sutton: wi
Don Soto: cover?
John Sutton: I won't. But maybe
Don Soto: No.
John Sutton: I think trendy people or like children where you can paint on it, and uh the the children
Don Soto: N
John Sutton: think,
Don Soto: yeah
John Sutton: oh
Don Soto: but
John Sutton: this is my remote control, uh I made a picture on it.
Don Soto: I think that
John Sutton: Uh
Don Soto: too less people would change it for good profit.
John Sutton: Yeah.
Don Soto: So
John Sutton: Okay. And the other people?
Juan Sullivan: Um
John Sutton: What do you think about it?
Dennis Mitchell: Yeah a. But If if it Yeah, I don't I'm not sure if it will make profit enough
John Sutton: Okay.
Dennis Mitchell: to uh But it's uh yeah it's uh original idea.
Don Soto: Yes it is but I don't think we have to do it.
Dennis Mitchell: No.
John Sutton: Okay.
Juan Sullivan: Mm.
John Sutton: You're Don Soto.
Don Soto: Okay.
John Sutton: Yes. That's it.
Don Soto: That's clear. Okay thank you. So now Dennis Mitchell.
Dennis Mitchell: Oh. That's Juan Sullivan. Uh Come on. Ah.
Juan Sullivan: Yeah.
Dennis Mitchell: Yes well uh uh I shall give a short talk about the the technical function design. some influence on the T_V_ set. Uh both audio and vide video uh in a cordless way. No cords attached. And uh well, it all by pushing a button on the remote. That was from my own experience and uh and uh the previous meeting. Uh I find some uh some interesting quotes on the web. Uh well the same idea here. Uh message to the television. And uh and and and well basic uh operations like on and off, and uh switching channels, and uh and maybe uh teletext or something like that. Uh well these are two uh remotes, and that's our uh our dilemma I think. Uh We just heard from John Sutton how uh difficult it is. But uh shall we make a basic remote control, uh just uh swapping channels and volume and uh power button and well nothing much more. Or uh uh more functions on the remote. Uh maybe more devices you can influence. Uh a radio or a v a video recorder, uh V_C_R_. Yeah well that's our dilemma. Um any ideas about that? Basic or multifunctional?
Don Soto: We'll got back on that later.
Dennis Mitchell: Okay yeah. Yeah well
Juan Sullivan: Yes.
Dennis Mitchell: the that was just on my mind. So uh I didn't know what uh what way we would go. Mm yeah well that was my uh functional uh talk.
John Sutton: 'Kay.
Don Soto: 'Kay, thank you. Then it's your turn, Juan Sullivan.
Juan Sullivan: Okay. Uh um m
Juan Sullivan: Yeah. Um yeah okay. This bit too far. So So I'm uh gonna have a presentation about um, about um yeah what people think. Uh we did a usability lab-test with a hundred persons. And we looked at uh several um things. Uh among them design, uh d d how d did they like the use of it, uh what frustrations they had while using remote controls. Uh well what what will be our market. And uh we asked them if we had some new featu features. If um that would be a good idea or not. Well our findings. Uh our users, they disliked the look and feel of current remote controls. Um uh they especially found found them very ugly. And um th they also found them hard to to learn how to use it. Uh well they also zap a lot. So uh zapping uh should be very easy. And uh fifty percent of the users only use ten percent of the buttons. So a lot of unused buttons. There is more findings. Uh on the buttons. Which uh buttons find users uh very important and which which not? And how much would they use them? Well uh the most used button is the channel selection. And uh we asked them how uh relevant they think uh the buttons are. The power, volume and channel selections are very relevant. Uh teletext is uh less relevant but also important. Uh not important they found the audio, uh that's not the volume but uh specific the the pitch, or the left or right. Uh the screen and the brightness. And uh channel settings. Uh th and they also are not used very often. Then we have a few um graphs about the market. Uh here we can see what the market share is of uh several groups. Um as you can see, most users are uh between thirty six and forty five. Um the the the younger group between sixteen and twenty five is not very big. And to come back on the the swapping uh things, uh I don't think uh, I I think the younger will be most interest in it. But uh they are not a very big group. Um in the we asked them, uh how would you like a s a new feature. If you have an L_C_D_ on the remote control, what would you think of it. Now you can clearly see young users say. I will that would very nice. And older user think uh they will be scared of change I think. And they won't like it. And another thing, how would you like to have a speech recognition on it. Well here we see the same. Young users uh think that's an interesting idea. And old users not. Uh well we uh found out that there are two several markets at which we can aim. Uh the first are the younger, the age between sixteen and forty five. Uh they are highly interested in the features, as you can see uh here. And um they are more critical on their money spending. Uh the second group is the older group. Aged between forty six and sixty five. They are less interested in uh new features. But uh they spend their money more easily. Now if we look back at this graph, we can see that among the first group is about um sixty percent. And the second group about forty percent. So the the first group is bigger. Well then I come to my uh personal preferences. Uh yeah the first question is uh also we have to ask is at the which market do we aim at. Uh of course n uh saying we aim at the young group doesn't say that old people won't buy it. But less of them will buy it. Um well I uh Okay. What I thought, um even young people say it's hard to use, remote control. So if you make a remote control that is uh very easy to use, that's especially aimed at this group, even uh the young group will also be more interested. And um we can make special features. But uh I think it looks nice in the first time. But when use it, uh I don't know what's uh good thing of speech recognition.
Dennis Mitchell: Mm-hmm.
Juan Sullivan: Um well th uh that's my second point. Uh less important functions should be discarded from the remote control. It's about discussion we had earlier. Um You can find most functions on a T_V_ set. So uh you don't have to have a lot of audio options, or screen options to change the brightness. And such things. Um well the design is very important.
Juan Sullivan: looking uh remote control if there will be one. But they found most remote controls very ugly. So the design of our remote control is very important. And uh yeah it should be very zap friendly, as most users use it for that. That were my findings.
Don Soto: Okay
John Sutton: Yeah.
Don Soto: thank
John Sutton: I have
Don Soto: you.
John Sutton: uh one question. If
Don Soto: Yes.
John Sutton: we aim for the younger people, um and there will be uh a lot of features like L_C_D_ or the the the speech uh f recognising, uh the cost will be a lot of h uh a lot higher.
Juan Sullivan: Yes.
Dennis Mitchell: Mm-hmm.
John Sutton: Uh I think we don't have that in our budget.
Dennis Mitchell: No.
John Sutton: Do you think?
Juan Sullivan: No.
Dennis Mitchell: And I don't
John Sutton: Like
Dennis Mitchell: uh I don't think twenty five Euros for a remote is really cheap or something.
John Sutton: No. No.
Dennis Mitchell: So it's Yeah, it's hard to uh get the younger
John Sutton: Uh-huh.
Dennis Mitchell: group.
Don Soto: I think uh the L_C_D_ is cheaper than speech recognition. So
Dennis Mitchell: Mm-hmm.
Don Soto: I think that can be an d good option. L_C_D_.
Dennis Mitchell: Just the L_C_D_?
Don Soto: Yes. Only
Dennis Mitchell: Mm-hmm.
Don Soto: the L_C_D_. So But we'll come back on that.
Juan Sullivan: Okay.
Don Soto: Now Oh, go on. What d d d um Um Uh we go back on the decisions later. Now we have a few new product requirements. First, teletext. We have internet now so we don't need the teletext anymore. So not necessary. Next. Only for the television. So we don't look at the other things like the radio or something. Only the television. We look at the age group of forty plus. Uh no, younger than forty. Is a g big group, and like you showed, n not very much people buy our stuff. Fourth point. Our corporate colour and slogan must be used. Very important for the design. So you can see it on our site. Next. Um no.
Don Soto: We have to make our decisions, what we want to do. So like you said, we need the. Maybe it's good to put it in a document. Now we have to decide what controls do we need. So maybe you can tell us.
Juan Sullivan: Yeah maybe we can first have a discussion uh on the the product requirements you just uh said.
Don Soto: Sorry?
Juan Sullivan: The the requirements you just said,
Don Soto: Yes.
Juan Sullivan: maybe we should first have a discussion about that.
Don Soto: Yes, it's
Juan Sullivan: I uh
Don Soto: okay.
Juan Sullivan: personally think uh teletext is a good option. Uh not everyone um who is looking T_V_ can go to internet when they want to see the latest news.
Don Soto: Yeah but we don't use it. It's a new requirement. So, it's not my requirement.
John Sutton: 'Kay, we'll just have to do that.
Don Soto: We have to do this.
John Sutton: Okay.
Juan Sullivan: Okay.
John Sutton: No discussion
Juan Sullivan: Okay sorry.
John Sutton: about it.
Juan Sullivan: Then uh
Don Soto: No.
John Sutton: Okay. Unfortunately.
Don Soto: So what controls do we need? Who first?
Dennis Mitchell: Well a power button?
Don Soto: Okay. Uh power.
Dennis Mitchell: Uh the well um I think separate channels. So
Don Soto: Uh mm channel.
Dennis Mitchell: But then both the the separate channels. So so uh
Don Soto: Channel
Dennis Mitchell: zero to nine or something.
Don Soto: Zero to nine.
Dennis Mitchell: Uh volume.
Don Soto: Volume. Maybe it's easy to pick. What was w your one? Techno
Juan Sullivan: Mine? It's the functional requirements.
Don Soto: Okay.
Don Soto: We had w uh no no no no. Where was that example of the
Dennis Mitchell: Oh mine.
Don Soto: Johan. That was the the the the the
Dennis Mitchell: Technical.
Don Soto: technical Hallo. Okay. What do we need? On-off. Zero to nine.
John Sutton: To change to the next channel, just one button. To move up, move down.
Don Soto: Yeah that's the
Juan Sullivan: D
Don Soto: channel.
Juan Sullivan: Yeah. Do we make a menu?
Don Soto: Menu? Uh yes the n newer televisions ha do have menus. Uh
Juan Sullivan: Uh
Don Soto: M Menu. I think um the only one or two numbers.
Dennis Mitchell: Mm yes.
Don Soto: And Hello? That's ch
Juan Sullivan: I think it will be um q quite easy to use, to have uh uh four arrows. Up-down for channel selection, and
Don Soto: Yes.
Juan Sullivan: left-right uh for volume. And uh a menu uh button. And if you press the menu button you get into the menu, and you can use the same buttons. But the then to scroll through the menu and to change the options.
Don Soto: On the L_C_D_ screen, you mean?
Juan Sullivan: Uh well yeah that depends on if you have uh the menu on the T_V_. Or you get the menu on the L_C_D_ screen on the remote control.
Don Soto: Think it's better to have it on the remote control, 'cause it it has to work on all televisions. So
Juan Sullivan: Yes.
John Sutton: But
Don Soto: we
John Sutton: then
Don Soto: need
John Sutton: we come to the costs.
Don Soto: N Yes. But if we have this
Juan Sullivan: 'Kay. But well if you aim at the younger market, um a as they as uh s uh as we seen in the usability uh lab, uh they will buy a nice looking um remote control. And also to find the easy to use uh part very important. So if we have a L_C_D_ sh uh screen, and uh not too many buttons, I think that will incre uh uh even when it's a bit more cost, it will still sell.
Don Soto: So now we don't have a lot of buttons. Is this enough?
Dennis Mitchell: Mute.
Don Soto: Maybe in the menu?
Dennis Mitchell: Um
Juan Sullivan: Mm.
Dennis Mitchell: Yeah but then it's always uh more than one uh
Don Soto: Mute.
Dennis Mitchell: thing to do.
Don Soto: Mm-hmm.
Juan Sullivan: Yeah.
Don Soto: Okay. Maybe more? No. Well. Then that's all. This will be the buttons. And I think that's enough for the next phase. So we can go on to
John Sutton: But now we have only the buttons. And
Don Soto: Yes.
John Sutton: uh we don't yet have to decide what the remote control would look like? Or
Don Soto: No that's for the next phase.
John Sutton: Okay.
Don Soto: Um Phase two is the conceptual design. So
John Sutton: Okay.
Don Soto: then we'll have the concepts.
John Sutton: Okay.
Don Soto: That's for the So uh next point. Now we have lunch-break. After that we have t thirty minutes for work. And you can find the minutes in the Project Documents folder inclusive the uh buttons. No. Your individual action, you can find them in the email. So now it's time for lunch.
John Sutton: Okay.
Juan Sullivan: Okay. Good idea.
Don Soto: Thanks for coming. | Don Soto opened the meeting by explaining how to locate his minutes from the previous meeting. John Sutton briefly explained the internal workings of the remote, and mentioned his preferences for power source and case material. He also suggested mobile phone-like changeable covers, and the group discussed the profit in this. Dennis Mitchell very briefly mentioned some features a remote should have and suggested it should be multifunctional. Juan Sullivan present the findings of the usability study. The group then discussed their target group ,and what features they might include to attract them. The manager introduced new requirements to the project, insisting they were to be followed. The group then discussed what buttons they might need, which included menu, numbers, channel and volume changing arrows and mute. | 5 | amisum | train |
James Oberlin: Okay. Well, let's start. What are doing? Oops.
Rodney Marshall: Hmm.
Michael Vanwoert: Ah, pinball.
James Oberlin: Okay. Okay. Not doing.
William Hansen: Mm.
James Oberlin: Uh
William Hansen: Ah.
Rodney Marshall: Oh.
William Hansen: Hey. Ah. Now I have my screen back too.
James Oberlin: Very good. Okay.
William Hansen: Yeah.
James Oberlin: we have presentations. So first, it's your turn.
Rodney Marshall: Mine. Oh
James Oberlin: Yeah.
Rodney Marshall: great
Michael Vanwoert: Huh.
James Oberlin: Isn't it amazing.
William Hansen: Yeah. Very interesting.
Rodney Marshall: Uh
James Oberlin: Industrial Designer. Interface concept.
Rodney Marshall: Yes, well uh let's uh talk about the interface uh concept. Uh, first I'll uh I'll uh discuss the buttons we just chose, uh show you some samples, uh uh discuss some colours and design maybe, already. And uh my personal preferences. Well we chose the power button to switch the television on and off. The bu uh the mute button to switch the volume on and o on and off. and uh off uh uh zero to nine, and the uh button to choose uh higher channels than nine. Uh the volume and channel quadrants, uh left and right, up and down arrows, to uh do the volume and channel. And the menu menu button to man manipulate the L_C_D_ uh display. Um, I found some uh interesting uh uh samples. Examples. Um, well uh what's pretty standard is uh that it's that they're all pretty uh uh high uh
William Hansen: Large.
Rodney Marshall: Yeah.
William Hansen: A
Rodney Marshall: Yeah.
William Hansen: lot
Rodney Marshall: Large
William Hansen: a lot of buttons
Rodney Marshall: and and and
William Hansen: buttons.
Rodney Marshall: pretty thin and uh and long. Um, power buttons are mostly at the top uh left or right. Um, well we see the the the same uh arrows. Like there. And uh Yeah, well arrow b buttons can be blue. And what's interesting is the the the icons on the buttons. Some buttons have icons like the play and stop, but we don't use that. But uh, these we we have to choose the right icons, or or letters. Uh this is the V_ for volume, but they're both uh a V_. So it's it's not really very uh clear what's the function of that.
William Hansen: Yeah.
Rodney Marshall: Um Yeah. So, that's
James Oberlin: Can you go back one page? For the uh menu, what do we use for that?
Rodney Marshall: Uh,
James Oberlin: We don't
Rodney Marshall: well
James Oberlin: have buttons for the menu. Or we may use channel of volume and
Rodney Marshall: Yeah. I thought that was our uh idea.
James Oberlin: Okay.
Rodney Marshall: So,
James Oberlin: But
Rodney Marshall: uh
James Oberlin: uh
Rodney Marshall: how
James Oberlin: You have to put it on the
Rodney Marshall: Like this.
James Oberlin: Yeah.
Rodney Marshall: Or or this. And that the menu button is okay.
James Oberlin: Yeah but, has to be clear that you can use the arrows.
Rodney Marshall: Yeah, okay.
William Hansen: Yes.
Rodney Marshall: Uh, so the The icons on the arrows, as well, you
James Oberlin: Mm-hmm.
Rodney Marshall: mean.
James Oberlin: Yes. The second one.
Rodney Marshall: Yeah. Uh, well that's something to uh think about.
James Oberlin: Okay.
Michael Vanwoert: Uh, maybe I'll have something in my uh presentation. And
Rodney Marshall: Okay.
Michael Vanwoert: you
William Hansen: Okay.
Michael Vanwoert: will see it.
Rodney Marshall: Um, well I don't I don't know if we have to discuss this already, or in the next uh meeting. But uh, as we have to uh to to design the the case and the whole uh remote control in our uh our our corporate uh company uh uh colours and the logo, I would uh recommend a yellow case. Uh, round edges. The logo at the bottom. And uh, well maybe each each uh set of buttons uh has uh has his own colour. So, it's good. Uh, recognisable. K so, I think.
James Oberlin: Not too much colours.
Rodney Marshall: Uh, no. Not too much. But uh
James Oberlin: No, it's not flower power.
Rodney Marshall: No, no, no. But this has to be has to be trendy and uh
James Oberlin: S okay.
Rodney Marshall: and Uh, yeah so good uh good icons on the buttons, and uh and big buttons is my uh personal uh opinion.
James Oberlin: Okay.
Rodney Marshall: That was that.
James Oberlin: Thank you. So, you're next.
Michael Vanwoert: I'm next, okay.
Michael Vanwoert: Yes. No. Here we go. Uh, at
William Hansen: Okay.
Michael Vanwoert: first we will uh I will f
William Hansen: Mm-hmm.
Michael Vanwoert: uh say something about what younger people want, our uh group w uh w uh we want to uh sell our remote controls to. And I'll discuss what my opinion is about the costs, about uh what battery is in it, what kind of buttons also. First uh, the younger people, they want like soft mat uh materials and primary colours. Like, totally yellow, totally red. Uh, so it's visible. Uh, the shapes are curved and round, like uh you also said. Maybe it's nice to uh get a remote control not like all the other ones, straight and uh flat and long. But to give him the shape of your hand, so you it's easier to use or something like that. But that's just an idea. And then, I'll have to discuss about the costs uh of all the things for the remote control. The battery, there are few options. Uh, I think the best option is to use uh the basic battery. So, everybody can buy it uh at the at the supermarket. Or use uh a k uh kinetic battery like uh within a watch. When you uh shake it a few times, it it's loaded. Uh, the the form of the remote control, I think it's also nice have it curved. And maybe like it's hand-shaped. Uh, so uh you take it here in your hand and here are the buttons. Uh material, you use plastic. Hard plastic uh because uh it won't have to burst uh like in the in one time. And also rubber because the younger people like that, what we see in the research. Uh the push-buttons. We have one new thing uh discovered. It's a scroll push uh thing like a mouse. Maybe it's uh easy to use uh for the channels. When you want to go m move up, you just scroll up and click on the button, if you wanna see the next, uh if you wanna see that channel. And also for the mouse, uh for the volume, it's also uh easy to use. Just scroll a bit up, scroll a bit down. And that's also easy just w when you have a thing like this, and you get it here. You can do it with your thumb. And with your
William Hansen: Hmm.
Michael Vanwoert: l left hand you can uh push the buttons uh if you push uh channel one, you can see channel one. The electrics um with a scroll push uh button, we must use regular uh chips. There are also uh simple chips. They are uh cheaper. Um, but then we have just a basic uh uh remote control, and I think there are a lot of those uh things, and people won't buy it any more. They have seen enough of it. And you have also advanced um chips. But that's with the L_C_D_ uh screen. And the costs will increase a lot more. And I think our budget is too low to use and an L_C_D_, and the chip who is more expensive. And maybe it's also then uh thoughtful if we u uh use uh as um different kind of uh shapes for the for remote control, that we then use the primary colours. Like, you get a yellow uh remote control, red one, blue one, et cetera. You have any more questions about this? I think the main
William Hansen: Yep.
Michael Vanwoert: thing is we look at the costs.
James Oberlin: Hmm.
Michael Vanwoert: And not too basic, not a
William Hansen: Yeah.
Michael Vanwoert: basic remote control, who
William Hansen: But,
Michael Vanwoert: everybody
William Hansen: thi
Michael Vanwoert: already
William Hansen: i uh
Michael Vanwoert: has.
William Hansen: This is with an L_C_D_? No,
Michael Vanwoert: Not
William Hansen: not.
Michael Vanwoert: with an L_C_D_.
James Oberlin: No, isn't.
Michael Vanwoert: No.
James Oberlin: But the L_C_D_ is easy when you use the scroll uh buttons. Then you can scroll, you see what number,
Michael Vanwoert: Yeah.
James Oberlin: and then you push.
Michael Vanwoert: But then, what I say, the costs will uh get a lot higher.
James Oberlin: But then it's not easy to use scroll uh wheel.
Michael Vanwoert: Th then
James Oberlin: If
Michael Vanwoert: you'll
James Oberlin: you
Michael Vanwoert: see
James Oberlin: don't
Michael Vanwoert: it on the television.
James Oberlin: Hmm, yes. But then. Yeah, then you go one down one up. When
Michael Vanwoert: Yeah
James Oberlin: you scroll.
Michael Vanwoert: but l when you see a menu uh on the television, it's like you see uh one to twenty, you go uh uh s scroll
James Oberlin: Yeah but
Michael Vanwoert: up,
James Oberlin: like
Michael Vanwoert: and
James Oberlin: we said
Michael Vanwoert: push
James Oberlin: before,
Michael Vanwoert: number tw
James Oberlin: it
Michael Vanwoert: twenty.
James Oberlin: has to be used on every television. So you may not be uh No. The television must do that.
Michael Vanwoert: Mm-hmm.
James Oberlin: So
Michael Vanwoert: Yeah, I think the younger people will have newer televisions, which can provide our uh
James Oberlin: Yeah
Michael Vanwoert: remote
James Oberlin: but
Michael Vanwoert: control.
James Oberlin: young people have to have all their uh room. And mostly they are smaller.
Michael Vanwoert: Yes.
James Oberlin: So
Michael Vanwoert: But that won't be a problem. I think.
James Oberlin: Most the times that are not advanced televisions.
Michael Vanwoert: No, but then we'll get to the regular uh remote controls. And I think, what I said, everybody has them uh has them already. And they go to a uh supermarket and buy them uh for two Euros. Uh, and ge and get the most cheapest uh thing. And I think we must look further to uh to devel d develop something news.
James Oberlin: Okay.
William Hansen: Uh, can you give an indication in b uh in the cost difference between uh the chip with L_C_D_ or without?
Michael Vanwoert: I got it on my screen and it was uh higher. But I don't know uh how much higher.
William Hansen: 'Cause it I think
James Oberlin: That's
William Hansen: if
James Oberlin: important.
William Hansen: we have an L_C_D_, it will also sell a lot better.
Michael Vanwoert: That's true.
William Hansen: And that might uh bring back the costs uh
Michael Vanwoert: But then we'll I think we must discuss who uh what will be better. If we have a better shape of the um remote control, or better options on it. With a scroll menu, a w scroll thing, and a L_C_D_. And then a flat um remote control. remote control, with scroll, without L_C_D_.
James Oberlin: Yeah. Maybe you can look how how much it is
Michael Vanwoert: I can
James Oberlin: for
Michael Vanwoert: uh
James Oberlin: the
Michael Vanwoert: look on my
James Oberlin: L_C_D_. It's
Michael Vanwoert: uh
James Oberlin: very important.
Michael Vanwoert: Uh Note that the push-button requires a simple chip chip. A scroll wheel requires minimally a regular chip, which is a higher price range. The display requires a advanced chip, which is which in turn is more expensive than the regular chip.
James Oberlin: Yeah, more expensive. But how much?
Michael Vanwoert: Doesn't say.
James Oberlin: Oh.
William Hansen: Huh.
Rodney Marshall: Hmm.
James Oberlin: Okay.
Michael Vanwoert: That's from my manufacturing division.
James Oberlin: Okay.
William Hansen: 'Kay.
James Oberlin: Well, thank
William Hansen: My
James Oberlin: you.
William Hansen: turn?
Michael Vanwoert: Yes?
James Oberlin: Next.
William Hansen: Mm. So So Yeah. So, my uh presentation is about trend-watching. Uh, I did some trend-watching. It's very important to uh keep up with latest trends. 'Cause if you don't, you won't sell. So, well how we did do that? Uh, well we made an investigation of the market, by Trendwatchers. They uh watch in uh cities like uh Paris and Milan. Of course, well known for their uh trend uh trends. And well, uh what did you find? Uh, we have two groups, young and trendy, and the old and rich. Well th and the young and trendy, they uh they starting to like uh fruit and vegetables uh as a theme for n uh clothes, shoes, and also uh products. And um, material? That should feel have uh a spongy feeling. And to get a feeling for what it is, uh here is an image of it. Then the old and rich. They like uh dark colours, and simple, recognisable shapes. And um, they also like uh familiar material, uh especially wood. Now, another picture. To get a feeling for this. Well, uh then already come to my personal preferences. We uh aim at the younger market. So, we should also be uh look at their uh trends. However, with trends it's always if there's it's now. It it it might last one year, and next year it be uh can be totally different. And I think we want to sell our product for longer than one year. So, we m must not just only look at what the trend is now, as it might be totally different next year. So, that's uh one thing to keep in mind.
Michael Vanwoert: Changing covers.
William Hansen: Yeah. Any questions?
Michael Vanwoert: Nope.
Rodney Marshall: No.
James Oberlin: No. It's clear. So now, it's uh Ah, let's see.
James Oberlin: Now, w we have to decide
James Oberlin: Well, we have to decide on the concept. So, we have to look at 'S next. Components and user interface concept. So Now, we have to make some concept. Maybe one of you can paint it on the board. First, uh user interface.
Michael Vanwoert: Uh, uh-uh. How w how we how we make it? Uh
James Oberlin: Yes, a concept on uh
Michael Vanwoert: Shouldn't
James Oberlin: Just
Michael Vanwoert: we first
William Hansen: Yeah.
Michael Vanwoert: discuss about like what w
James Oberlin: Yeah, but
Michael Vanwoert: we
James Oberlin: maybe
Michael Vanwoert: all
James Oberlin: we can paint it. Uh, what do we want?
Michael Vanwoert: Yeah, but if I paint with
James Oberlin: I'll paint. Okay. Well
William Hansen: Mm.
James Oberlin: Something like this? Or
Rodney Marshall: Mm,
James Oberlin: Shapes
Rodney Marshall: yes.
James Oberlin: or What do we need?
William Hansen: Can make
Rodney Marshall: What?
William Hansen: several uh concepts.
James Oberlin: Yes, okay.
William Hansen: We have this, and we had the idea of an um a more uh uh uh like sh in the shape of your hand.
James Oberlin: Okay.
Michael Vanwoert: More like something
William Hansen: Yeah I I I uh yes.
Michael Vanwoert: M like Yeah I can't dr I can't draw it. Uh
James Oberlin: And you have to.
Michael Vanwoert: I have to.
James Oberlin: Yeah.
Michael Vanwoert: I'm not a designer. It's more three D_. Like, um when you have a part here. This is the remote control. And then you have something like th this under it. So, it's easier
Rodney Marshall: Mm.
Michael Vanwoert: to get it like this.
Rodney Marshall: Yeah.
William Hansen: Yeah.
Michael Vanwoert: It's like a gun.
William Hansen: A
James Oberlin: So, it has to be
William Hansen: g
James Oberlin: soft?
William Hansen: Mm.
Michael Vanwoert: And it has to be soft, yeah.
James Oberlin: Okay.
Michael Vanwoert: So, you can
James Oberlin: And uh,
Michael Vanwoert: squeeze
James Oberlin: the
Michael Vanwoert: in
James Oberlin: buttons?
Michael Vanwoert: it and Sorry?
James Oberlin: Buttons.
Michael Vanwoert: Buttons on top of it. And here. The scrolling. You can do it with your thumb.
Rodney Marshall: But but i that's the only scroll uh button on it then?
Michael Vanwoert: But
James Oberlin: No,
Michael Vanwoert: now
James Oberlin: it
Michael Vanwoert: we
James Oberlin: won't.
Michael Vanwoert: use one scroll button and the other one is here. One till uh uh zero till nine.
James Oberlin: But,
Rodney Marshall: Yeah, okay. But
William Hansen: Yeah.
James Oberlin: well
Michael Vanwoert: And
Rodney Marshall: but
James Oberlin: there
Michael Vanwoert: the
James Oberlin: one
Michael Vanwoert: b
Rodney Marshall: how
James Oberlin: for the sound and one for the channels.
Rodney Marshall: Yeah.
Michael Vanwoert: Yeah?
Rodney Marshall: How
Michael Vanwoert: Or two buttons.
Rodney Marshall: Okay.
William Hansen: And
James Oberlin: Uh,
William Hansen: i if
James Oberlin: two
William Hansen: we go
James Oberlin: scroll
William Hansen: to uh
James Oberlin: uh
Michael Vanwoert: If
James Oberlin: wheels.
Michael Vanwoert: uh 'Kay c If we do If we use one, then we'll have just a switch on it, and you'll just switch it, and now it's
Rodney Marshall: Mm.
Michael Vanwoert: the sound to switch
James Oberlin: That's th
Michael Vanwoert: back
James Oberlin: that's more difficult.
William Hansen: But if we have
James Oberlin: It's
William Hansen: uh
James Oberlin: better
William Hansen: a William Hansen
James Oberlin: in
William Hansen: Yeah. If we have a menu, uh how do we uh choose other options?
Michael Vanwoert: with the menu uh button. And then you also can scroll uh scroll in it. Just not like all
William Hansen: Yeah.
Michael Vanwoert: the other ones, with uh this thing, and uh here an arrow, here an arrow, here an arrow, here an arrow. Because uh, from h hundred uh remote controls, ninety nine have it.
James Oberlin: But
Rodney Marshall: Yeah.
James Oberlin: if we don't have a L_C_D_ we don't have a menu.
Michael Vanwoert: Uh,
William Hansen: Uh-uh.
Michael Vanwoert: then we have it on the T_V_, the menu.
James Oberlin: Yeah, but again maybe th How do we know the T_V_ can handle it? You don't know. So,
Michael Vanwoert: I
James Oberlin: there's
Michael Vanwoert: don't
James Oberlin: no
Michael Vanwoert: know.
James Oberlin: menu.
Michael Vanwoert: It's like some sort of uh teletext option, but we don't have teletext.
James Oberlin: No. So you can't use it.
Michael Vanwoert: And if we put an L_C_D_ thing on it, then the costs will uh be much higher.
James Oberlin: Okay, we make two concepts. One with L_C_D_. One without L_C_D_.
Michael Vanwoert: 'Kay. But you all like this kind of thing. Uh
James Oberlin: Good concept. But
Michael Vanwoert: With the scroll button.
James Oberlin: That's one.
Michael Vanwoert: And and this one
William Hansen: Uh-uh.
Michael Vanwoert: has to be soft. And this has to be harder, because when it falls, it mu mu must not burst. Or some kind of rubber around it.
Rodney Marshall: Mm-hmm.
James Oberlin: It's one. Two. Number two.
Rodney Marshall: And you can and you can uh make the the power button as a trigger. Like
Michael Vanwoert: Yeah.
Rodney Marshall: uh
Michael Vanwoert: Yeah. Ah that's nice. Here. Trigger.
James Oberlin: No.
Rodney Marshall: Just
James Oberlin: But
Rodney Marshall: to
James Oberlin: when you handle it,
Rodney Marshall: uh
James Oberlin: you put it on and off. It's not good to use.
Rodney Marshall: Oh, like
James Oberlin: Yeah, but
Rodney Marshall: a
James Oberlin: I'll zap. Fuck. Out.
Rodney Marshall: Yeah.
James Oberlin: No, it's not good.
William Hansen: Yeah.
James Oberlin: Now, second concept. One with L_C_D_, one without L_C_D_. Then uh Paint it.
Michael Vanwoert: Paint it? With the scroll thing on,
James Oberlin: One
Michael Vanwoert: like this?
James Oberlin: with two scroll buttons and one with without. Yeah. Uh, one
Michael Vanwoert: So?
James Oberlin: with a with a menu, and one without a menu. And the one with with a menu has an L_C_D_.
Michael Vanwoert: Draw it.
James Oberlin: Unbelievable. Do I have to do everything. Blank. You have
James Oberlin: Not so difficult.
Rodney Marshall: But
William Hansen: Yeah.
Rodney Marshall: if you put push the the menu button
James Oberlin: Uh, that's the menu.
Rodney Marshall: Yeah, wh
James Oberlin: There
Rodney Marshall: what
James Oberlin: for the L_C_D_ screen.
Rodney Marshall: Yes, but you don't know which of the scroll buttons you have to choose.
James Oberlin: You have to For the menu.
Rodney Marshall: Yeah.
James Oberlin: Mm-hmm. One that way. And one that way. So Then it depends on the cost. S On and off.
Michael Vanwoert: But is it easy to use? When you have it on your left side, and
James Oberlin: When it's not too big. Just like a a phone.
Rodney Marshall: Mm-hmm.
William Hansen: M uh yeah, maybe it's better if the uh scroll-wheels are um
Michael Vanwoert: Separate, more separate,
William Hansen: more separate,
Michael Vanwoert: h yeah.
William Hansen: yeah.
James Oberlin: Yes,
William Hansen: Like, you have
James Oberlin: okay.
William Hansen: the menu button in between uh
Michael Vanwoert: Yeah. On the left a scroll button, and on the right a scroll button.
Michael Vanwoert: But would it be easy to use then? If it's like you have a big uh
James Oberlin: Very good. Is it better? When you uh the menu, you have to go there there there there.
Michael Vanwoert: I also think
William Hansen: Yeah.
Michael Vanwoert: this concept is not what the young people were looking for. They were like round curves, uh different uh
James Oberlin: Yeah, okay. That's that's the outside.
Michael Vanwoert: Okay, okay,
James Oberlin: But now
Michael Vanwoert: okay.
James Oberlin: the First the buttons.
Michael Vanwoert: Mm-hmm.
William Hansen: Think we have we have now two buttons missing. The uh um The mute button.
James Oberlin: Sorry?
William Hansen: We have two buttons missing. The mute button. And um, the to to uh have to uh numbers
James Oberlin: Mute. And the other. Yeah.
William Hansen: Okay.
James Oberlin: Not so difficult.
William Hansen: But, uh
Michael Vanwoert: Personally, I think two scroll buttons uh aren't easy to handle.
James Oberlin: But how do you wanna solve it?
Michael Vanwoert: With the switch button.
James Oberlin: Yeah but on the menu that's not uh easy. Then
Michael Vanwoert: No
James Oberlin: you
Michael Vanwoert: like
James Oberlin: go down,
Michael Vanwoert: uh
James Oberlin: you switch, you go into the right, you switch, you go down.
Michael Vanwoert: Oh, you mean like that.
James Oberlin: Yeah.
Michael Vanwoert: Uh, then you can also have like uh th um
James Oberlin: A joystick.
Michael Vanwoert: Yeah, and joystick, I think.
James Oberlin: Yeah. But is it uh Does that break, a joystick? Or a small one just like in a laptop.
Michael Vanwoert: Yeah like in a laptop, s uh s some sort of thing. A little bit bigger, with
James Oberlin: Mean, it's
Michael Vanwoert: easier
James Oberlin: better.
Michael Vanwoert: thi
James Oberlin: But how expensive it is?
Michael Vanwoert: I don't know.
James Oberlin: Oh. Why do I pay you for? Um, well um Better ideas.
William Hansen: Okay.
Michael Vanwoert: Or no scroll uh things. Just a shape. And No, no.
James Oberlin: For the
Michael Vanwoert: It won't
James Oberlin: young
Michael Vanwoert: work.
James Oberlin: peoples I think scroll
Michael Vanwoert: Yeah.
James Oberlin: button's good.
Michael Vanwoert: Uh-huh.
James Oberlin: So Think we have to keep them.
Michael Vanwoert: Or a remote control more like joystick.
James Oberlin: Yeah, but is it A small one.
Michael Vanwoert: A small one like this, like a Nintendo uh k
James Oberlin: No just like in a
Michael Vanwoert: Playstation thing.
James Oberlin: a laptop. Small, round. Then it's not so big.
Michael Vanwoert: No, no, no. I mean the the shape of the
James Oberlin: Oh the
Michael Vanwoert: remote
James Oberlin: sh
Michael Vanwoert: control. Just
James Oberlin: Yeah,
Michael Vanwoert: like a
James Oberlin: but
Michael Vanwoert: Playstation
James Oberlin: then
Michael Vanwoert: thing.
James Oberlin: you can to use t with one hand.
Michael Vanwoert: Yeah.
James Oberlin: So Maybe, if it's possible, it's not too expensive, I think a joystick is better. A small one. So, please look at it.
Michael Vanwoert: No, that's okay, I got
William Hansen: And on the L_C_D_, how much it costs? Uh, it costs extra?
Michael Vanwoert: Uh they're not uh in details. It's more expensive or
James Oberlin: Yeah
Michael Vanwoert: less
James Oberlin: we
Michael Vanwoert: expensive,
James Oberlin: I think
Michael Vanwoert: huh?
James Oberlin: you get it. So, after this meeting you have half an hour to uh fix it.
Michael Vanwoert: Then I have to come with it.
James Oberlin: Yes.
Michael Vanwoert: I got my personal costs. I I don't I don't know the costs.
James Oberlin: Your problem. Not mine.
Michael Vanwoert: Then I'll uh make something up.
James Oberlin: Okay. So, do we have other concepts? Then for the components, we use a normal battery.
Rodney Marshall: Mm,
James Oberlin: Then it's
Rodney Marshall: yeah.
James Oberlin: Ch cheapest
Michael Vanwoert: Yeah, or
James Oberlin: way,
Michael Vanwoert: the
James Oberlin: I think.
Michael Vanwoert: or the kinetic uh with normal
James Oberlin: No,
Michael Vanwoert: battery.
James Oberlin: no kinetic.
Michael Vanwoert: Yeah, I think it's
James Oberlin: Kinetic
Michael Vanwoert: uh, yeah,
James Oberlin: is uh ch makes it more expensive.
Michael Vanwoert: more expensive. Yeah.
James Oberlin: So
William Hansen: Yeah.
James Oberlin: we use a normal battery.
Rodney Marshall: Yeah.
Michael Vanwoert: Okay.
William Hansen: Yes.
James Oberlin: Chip. Depends on the L_C_D_.
Michael Vanwoert: Depends on the scroll.
James Oberlin: Scroll.
Michael Vanwoert: If we use a scroll, then we have the uh regular chip. If we don't use a scroll, then we can use the simple chip. And
James Oberlin: Yeah.
Michael Vanwoert: that's
James Oberlin: And uh, we If you use the L_C_D_, we have to
Michael Vanwoert: Uh the most expensive.
James Oberlin: Yes,
Michael Vanwoert: Yeah.
James Oberlin: okay. So, depends on the L_C_D_
Michael Vanwoert: If we
James Oberlin: and the scroll.
Michael Vanwoert: Yeah.
James Oberlin: Okay.
Michael Vanwoert: If we No okay scroll-wheel. So, I have this. So, it will be uh the advanced chip, or the uh regu uh or the regular chip.
James Oberlin: Okay. So, uh the shapes of the design depends on the L_C_D_ and But, it has to be small. I think.
Michael Vanwoert: Or shall we just put it on the pistol thing? And then just put also on L_C_D_ on it?
James Oberlin: If you have pistol, it L_C_D_'s not easy. Y y
Michael Vanwoert: Just use your thumb.
James Oberlin: Yeah but If you use a phone.
Michael Vanwoert: If you Yeah. I use my thumb.
James Oberlin: k Yeah, but but then you have it. Like, th if you have pistol, you have it so.
Michael Vanwoert: Yeah.
James Oberlin: And the screen is Well,
Michael Vanwoert: If
James Oberlin: then
Michael Vanwoert: you have
James Oberlin: you
Michael Vanwoert: a joystick
James Oberlin: have
Michael Vanwoert: on
James Oberlin: to keep it this way to look at the screen.
Michael Vanwoert: No, if you have like uh an uh uh a ni a uh Playstation uh game controller.
James Oberlin: Yeah.
Michael Vanwoert: And you move up, f forward, down, left. Then you have uh just, yeah, a little bit curved. It's not just uh
James Oberlin: No.
Michael Vanwoert: straight.
James Oberlin: No, no.
Michael Vanwoert: That's how we use it.
William Hansen: Uh
Michael Vanwoert: That's why they make joysticks like that, I think.
James Oberlin: Yeah, but then
William Hansen: Uh,
James Oberlin: you look
William Hansen: yeah, but
James Oberlin: forward. And then you can
William Hansen: Yeah.
James Oberlin: y
Michael Vanwoert: Yeah?
James Oberlin: N well,
William Hansen: If you
James Oberlin: if you have to look at it.
Michael Vanwoert: 'Kay. Here's our designer.
William Hansen: If we have uh then something standing here, with the L_C_D_.
Michael Vanwoert: Yeah.
James Oberlin: Then it goes like this.
Michael Vanwoert: Yeah, why not.
James Oberlin: If th n well
Michael Vanwoert: It's for the younger people.
James Oberlin: Yes, of course.
Michael Vanwoert: It's something new.
Rodney Marshall: It's
James Oberlin: That's
Rodney Marshall: uh
James Oberlin: good good. But the um, it may not break.
Michael Vanwoert: Now we put uh rubber around it.
James Oberlin: Okay. If that's possible.
William Hansen: Um,
Michael Vanwoert: Hard
William Hansen: Yeah.
Michael Vanwoert: plastic, uh the shape, and around it hard uh around it rubber. And the uh the hand shape is also rubber.
James Oberlin: Okay.
Rodney Marshall: Or you
William Hansen: I
Rodney Marshall: can
William Hansen: can't
Rodney Marshall: uh
William Hansen: see the.
Rodney Marshall: turn it inside.
William Hansen: But, uh the
Rodney Marshall: But
William Hansen: easy
Rodney Marshall: that's
William Hansen: of uh, th the ease of use wasn't uh the most important uh aspect of it.
Michael Vanwoert: Huh.
Rodney Marshall: No, that's true.
William Hansen: Uh, for us it's about to sell it. Uh
James Oberlin: Yeah of
Michael Vanwoert: This
James Oberlin: course.
Michael Vanwoert: is something new.
James Oberlin: Okay. Then this is the design. And the buttons are on the next page. So, depends on the cost. So,
Michael Vanwoert: Costs are okay.
James Oberlin: um we have one minute.
William Hansen: One.
James Oberlin: I think.
William Hansen: No.
James Oberlin: No.
William Hansen: You have more.
James Oberlin: More. Seven.
William Hansen: You have still ten.
James Oberlin: Next meeting. Thirty minutes. So hurry up.
Michael Vanwoert: Oh, that's us together.
James Oberlin: You two stay here. Paint it.
Rodney Marshall: Okay.
James Oberlin: Now you have to. So I think it's clear. Check your mail. So
William Hansen: Yeah.
Michael Vanwoert: Yes.
James Oberlin: It has to be ready in the next meeting. So
William Hansen: What?
Rodney Marshall: Cookie.
William Hansen: Okay.
James Oberlin: Next meeting is called the detailed design. So Everyth everything has to be ready.
William Hansen: Okay.
James Oberlin: Thanks for your attention.
Michael Vanwoert: 'Kay.
William Hansen: See you at the next meeting.
Michael Vanwoert: Bye bye. | Michael Vanwoert gave a presentation on the interface concept, discussing which buttons will be needed and then looking at some examples of existing remote controls. He suggested using a yellow case with rounded edges and the logo at the bottom, and large, clearly marked buttons. The interface expert informed the group that young people like curved shapes, soft materials and primary colours, and suggested making a hand-shaped remote in plastic and rubber. He talked about the possibility of using a scroll button, and the different chips which could be used. The group discussed using an LCD screen, but did not have enough information about costs to make a decision. William Hansen talked about new trends, including the trends for spongy materials and fruit and vegetable themed products. The group had a discussion and decided to create two designs, one with an LCD screen and one without, and the interface designer drew them on the board. They put off making a final decision about using an LCD screen, scroll buttons and a menu button until they could find out about costs. | 5 | amisum | train |
Lewis Shupe: Okay. So, now, last time Can you uh push the button? One time please. So I'm still the secretary. Now uh, I ask you to presentate the prototype. One of your you two.
Francis Cannon: I don't care.
Thomas Gunter: Oh this, you mean?
Francis Cannon: Huh?
Lewis Shupe: Yes. The prototype.
Thomas Gunter: Yes, uh this is it.
Stanley Jaquet: This
Lewis Shupe: Well,
Stanley Jaquet: is it.
Lewis Shupe: thank you. Uh,
Thomas Gunter: It's
Lewis Shupe: now
Thomas Gunter: uh it's uh it's yellow. And uh, this is rubber. And and and this too. The the sides.
Lewis Shupe: Yes.
Thomas Gunter: And the rest is hard plastic. And uh We uh we had some uh We had a new idea that that this can uh can be uh uh turned inside. And then it covers the these buttons
Lewis Shupe: Okay.
Thomas Gunter: until
Stanley Jaquet: Yes.
Thomas Gunter: here or something. the mute and the the joystick.
Lewis Shupe: Mm-hmm.
Thomas Gunter: So, you can still operate uh all the things. Because you don't always use the menu. And then it can break.
Lewis Shupe: Okay. And the buttons?
Thomas Gunter: Uh, well uh Big buttons. And everything is blue, except the power button. And the mute. Of uh yeah, and the mute and the the other button. Yeah. Channel higher channel button.
Stanley Jaquet: Yeah.
Lewis Shupe: And the joystick is for the volume and the channels.
Thomas Gunter: Uh, yes.
Francis Cannon: Yes.
Thomas Gunter: Yes, that's uh Very obvious.
Francis Cannon: Up is channel up. Down is channel down. To the right is volume up. To the left is volume down.
Thomas Gunter: Yeah.
Lewis Shupe: Okay, so if joystick and L_C_D_. What's the R_R_ d
Francis Cannon: The R_R_?
Thomas Gunter: R_R_'s the l the the the the company uh
Lewis Shupe: Okay.
Thomas Gunter: logo.
Lewis Shupe: Very good. So,
Stanley Jaquet: That's
Lewis Shupe: we
Stanley Jaquet: on the
Lewis Shupe: have
Stanley Jaquet: rub rubber part.
Thomas Gunter: Uh, yes. Yes. That's about here.
Lewis Shupe: So, what they say on the side is put fashion there. Yes. It's good.
Thomas Gunter: Oh.
Lewis Shupe: So,
Stanley Jaquet: Yeah?
Lewis Shupe: that's it. That's prototype. Now, the finance. We don't know if it's th
Stanley Jaquet: Alright.
Lewis Shupe: it if it's okay. So, I'm
Stanley Jaquet: Do we
Lewis Shupe: gonna look.
Stanley Jaquet: Do
Lewis Shupe: We
Stanley Jaquet: we change
Lewis Shupe: have
Stanley Jaquet: the
Lewis Shupe: Sorry?
Stanley Jaquet: Do we change the the order? Or are we going to uh
Lewis Shupe: Finance is um
Stanley Jaquet: ev evaluate
Lewis Shupe: Yeah it's
Stanley Jaquet: it first?
Lewis Shupe: No, first uh Yes. We have to evaluate the product
Stanley Jaquet: Okay.
Lewis Shupe: yet. Sorry.
Stanley Jaquet: That's uh um That can be none.
Stanley Jaquet: Um, we gonna do the evaluation now, together. But I have uh a introduction how it works. So, it will come up. Uh-oh. Okay. Um, yeah. Well, we uh uh, I have um thinked a few evaluation uh criterias, uh based on um our marketing strategy, on uh the latest trends, on user preferences. Uh, we have a seven point scale from uh true, as well. To false, seven? And on base of each c uh criteria, we need to um give a rating. We can uh Well, it look like this. But we gonna uh do it here, they said. So, you hope found out how to do it with a Word document.
Stanley Jaquet: Yeah.
Stanley Jaquet: Okay, yeah. Yeah. Um, well uh we have the Word document
Lewis Shupe: Criteria.
Stanley Jaquet: You So we open up that blank here. Um Think I can Uh, what this just an example. So, this not very important. But um, if I can get a number in here. Hmm.
Lewis Shupe: No, it's
Stanley Jaquet: Well,
Lewis Shupe: okay.
Stanley Jaquet: uh we can't
Francis Cannon: I'll
Stanley Jaquet: do that.
Francis Cannon: get it.
Lewis Shupe: Oh, it's okay.
Stanley Jaquet: Um, so uh you have to think of it as uh the remote control is techno technologically innovative. Uh, and then we have to uh agree on the rating together. And in the end, we will c uh count an average of all rating. The first uh on each item.
Lewis Shupe: What do you think?
Stanley Jaquet: Yeah, I think it's uh Uh, well technologically using, it's not uh it doesn't contain many new features. Only the L_C_D_. So, it Um, I think I will give it a yeah, yeah, yeah, a four. Hmm.
Francis Cannon: I think the scroll-button is something also uh new. What uh not anoth uh, not a lot of uh a lot of uh remote controls have. I think technologically I'll give it an seven. Si six six. Sorry,
Stanley Jaquet: So now
Francis Cannon: six.
Stanley Jaquet: i
Lewis Shupe: Yeah.
Stanley Jaquet: I think you uh see it um its statement. And you true
Francis Cannon: true
Stanley Jaquet: or
Francis Cannon: or
Stanley Jaquet: false.
Francis Cannon: false. Oh, uh
Stanley Jaquet: And true
Francis Cannon: I'll
Stanley Jaquet: is one.
Francis Cannon: I'll give it
Stanley Jaquet: So,
Francis Cannon: uh a t
Stanley Jaquet: yeah.
Francis Cannon: a two.
Stanley Jaquet: Yeah.
Lewis Shupe: Two.
Francis Cannon: Sorry.
Lewis Shupe: You?
Thomas Gunter: Three.
Lewis Shupe: Stanley Jaquet too. So it's a three.
Stanley Jaquet: 'Kay. Um, well It's a one. The first item. So, okay the second item. Um, this product is for all sorts of customers.
Thomas Gunter: Mm
Stanley Jaquet: Well, it's a statement which uh I disagree with, because we uh really aim uh at at young market and I think the way it looked uh c uh totally in yellow, it's not uh really aimed for all customers. It doesn't look like that.
Lewis Shupe: So it's a
Stanley Jaquet: That's uh a six.
Francis Cannon: Five.
Thomas Gunter: Mm, four.
Lewis Shupe: Yes, it's for the younger g group.
Thomas Gunter: Yeah,
Lewis Shupe: So it's
Thomas Gunter: but
Lewis Shupe: uh
Thomas Gunter: it's
Lewis Shupe: half
Thomas Gunter: it's
Lewis Shupe: half of the people. So I think it's four.
Thomas Gunter: Yeah. I mean it still has l large buttons and not m many buttons. So
Francis Cannon: Mm-hmm.
Lewis Shupe: No.
Thomas Gunter: I mean, the colours are for young people, but
Lewis Shupe: Yes. So, I
Thomas Gunter: older
Lewis Shupe: think it's four.
Thomas Gunter: Yeah.
Francis Cannon: Maybe version uh three point O_ uh has other colours.
Thomas Gunter: Yeah. Maybe.
Lewis Shupe: Okay. Give it a four.
Francis Cannon: Four.
Stanley Jaquet: Four.
Lewis Shupe: Yep.
Stanley Jaquet: Uh, okay. Mm.
Lewis Shupe: We put the fashion in electronics.
Stanley Jaquet: That's uh the motto of our company. Yeah, well do we do this with uh this product? I um Yeah. I think if we do this, as it's uh uh c uh it's really orientates on the design. Um, so I would give it a two.
Francis Cannon: Stanley Jaquet too a two, because only the battery is not uh techin uh technologically high standard. But the rest of it is. So, I think a two.
Thomas Gunter: Yes. Two.
Stanley Jaquet: Two.
Lewis Shupe: Uh, I say uh a five. It's not fashion, it's new. It must be a fashion. But
Francis Cannon: It
Lewis Shupe: it isn't.
Francis Cannon: it will be fashion.
Lewis Shupe: Yes. It w If it's not a fashion we can put it in it. So, it must be a fashion. I think it's a five.
Stanley Jaquet: Uh Okay.
Thomas Gunter: Then make it th
Stanley Jaquet: Okay.
Thomas Gunter: three.
Stanley Jaquet: Yes, I'll think of
Lewis Shupe: No.
Stanley Jaquet: that too.
Francis Cannon: 'Kay.
Lewis Shupe: Oh.
Francis Cannon: Three
Stanley Jaquet: Yeah,
Francis Cannon: is
Stanley Jaquet: agree?
Francis Cannon: okay.
Lewis Shupe: I use my feet though.
Francis Cannon: Oh, we'll wait outside.
Stanley Jaquet: A three.
Lewis Shupe: Okay.
Stanley Jaquet: Yeah okay. The next element um is the product looks good. Well personally, I do not prefer a um remote control that's fully in yellow. So, I would give this a five.
Francis Cannon: I give it a one.
Thomas Gunter: Yes, a one. I like it.
Lewis Shupe: Well, I say three. So, counting then is two and a half.
Stanley Jaquet: We have to do our uh
Francis Cannon: Say two.
Stanley Jaquet: Two or three?
Lewis Shupe: Okay, two.
Francis Cannon: Two.
Stanley Jaquet: Two. Okay. So, well we gonna do the next part. Uh, yep. Uh uh, the next statement. It has not too much buttons. Um, yeah, I I have uh said is not because uh a low number is better. And in the end we calculate an average. So, um that's why it's a negative in it. Um, well this one of our aims not have too much buttons. So, um uh did we uh do that? Well, uh if we go to uh this fashion, I We still have caused uh a lot of uh buttons for the numbers. But you can you can go for that. And um that way, you don't have a lot of buttons over. So, I would give this a two.
Francis Cannon: One.
Lewis Shupe: You?
Thomas Gunter: One.
Lewis Shupe: Stanley Jaquet too. One.
Stanley Jaquet: One. Um, but where where is the?
Lewis Shupe: Next, six. It
Stanley Jaquet: So
Lewis Shupe: does not get lost easily.
Stanley Jaquet: Yeah, did we implement uh the sound?
Francis Cannon: Uh
Thomas Gunter: Yes.
Francis Cannon: Just a small thing.
Lewis Shupe: No, we did not.
Thomas Gunter: Yeah, but
Lewis Shupe: So,
Thomas Gunter: uh
Lewis Shupe: but can it get lost if it's such
Thomas Gunter: Yeah.
Lewis Shupe: a thing?
Francis Cannon: Ah.
Lewis Shupe: I don't think so.
Francis Cannon: Yellow. Looks like
Lewis Shupe: Yes.
Francis Cannon: a pistol.
Lewis Shupe: Not
Francis Cannon: Uh
Lewis Shupe: a not a normal shapes. So
Francis Cannon: It won't get between uh the
Lewis Shupe: No.
Francis Cannon: pillows uh on the couch.
Lewis Shupe: It
Stanley Jaquet: Yeah.
Lewis Shupe: won't get lost. So
Francis Cannon: Uh
Stanley Jaquet: It won't.
Lewis Shupe: A one?
Francis Cannon: Yeah,
Thomas Gunter: Yeah.
Francis Cannon: o one.
Lewis Shupe: Okay, a one.
Stanley Jaquet: One.
Lewis Shupe: Next.
Stanley Jaquet: Okay, um well we aimed for the younger market. Uh yeah, did we achieve that. I think with the way it looks and um it is designed, I will give it a two.
Lewis Shupe: Yeah Stanley Jaquet
Francis Cannon: Yeah. Stanley Jaquet too.
Lewis Shupe: That was our target. Two.
Francis Cannon: Two.
Stanley Jaquet: Yeah.
Francis Cannon: Yeah?
Lewis Shupe: Yep.
Francis Cannon: Yeah.
Lewis Shupe: Right. There's a fancy look-and-feel.
Stanley Jaquet: Uh, yes. That that was uh, yeah, one of the most important things that uh Trendwatch said. I didn't uh say it in my presentation. But um, well does it have that? I would say yes. So um Well, let's also give this a two. T
Francis Cannon: I gave this a one because of the rubber. It feels soft. Uh, it looks like a l uh uh b uh, a bit like a joystick. It's Yeah. Yeah, f very fancy trendy.
Lewis Shupe: Okay.
Thomas Gunter: Yes, a one.
Lewis Shupe: I say a two. It's a a bit personal.
Stanley Jaquet: Yeah.
Lewis Shupe: If it's fancy. So I think s two is better.
Thomas Gunter: Yeah, okay.
Stanley Jaquet: Okay.
Francis Cannon: Two is
Stanley Jaquet: Two.
Francis Cannon: okay.
Stanley Jaquet: And um, then the last one I could think of, uh it goes with the latest trends.
Lewis Shupe: No, it's new. Innovation.
Stanley Jaquet: If we looked at the latest trends for the uh younger people, and they ate uh fruit and vegetables, well it has a um a nice colour, uh well compared to food but we didn't uh We did not paint any uh fruit and vegetable on it for something like that.
Francis Cannon: Oh.
Stanley Jaquet: So, I would did not give this uh a one or two. I We'll go for a three.
Francis Cannon: I go for two because uh the the shapes are still round. Uh, the latest trends are soft things, you know, like uh I said in my presentation.
Stanley Jaquet: Yes.
Francis Cannon: Uh But the the colours are um basic, like yellow, red, um blue. Something what also younger people want. It's also a trend, so I'll give it a two.
Lewis Shupe: Okay.
Thomas Gunter: Mm, three.
Lewis Shupe: Stanley Jaquet too. Three.
Stanley Jaquet: A three.
Lewis Shupe: Yeah.
Stanley Jaquet: Okay. So um, come back to the presentation now. So, we find yourself there, and now we have to calculate an average rating. So, we
Lewis Shupe: Effort
Stanley Jaquet: will do
Lewis Shupe: is
Stanley Jaquet: that.
Lewis Shupe: three, ten
Stanley Jaquet: Yes.
Lewis Shupe: and twelve. Thirty, forty, fifty, Twenty one. So, it's
Stanley Jaquet: By nine.
Lewis Shupe: uh two and three nine two and one third.
Francis Cannon: Two.
Stanley Jaquet: Yeah. Um, uh okay. Two.
Lewis Shupe: Yep.
Stanley Jaquet: Come on.
Lewis Shupe: Uh, nah. Okay.
Stanley Jaquet: So uh, that's a pretty low rating, I think.
Thomas Gunter: Yes.
Lewis Shupe: So, it's good.
Stanley Jaquet: So, according to our uh own evaluation uh we did a good job.
Lewis Shupe: Okay. Thank you.
Francis Cannon: Yeah, I think.
Stanley Jaquet: Oh. Nah. How am I doing? Yes. And
Lewis Shupe: Okay.
Stanley Jaquet: I closed
Lewis Shupe: Back
Stanley Jaquet: your
Lewis Shupe: to
Stanley Jaquet: slide-show.
Lewis Shupe: my uh
Stanley Jaquet: Which one was the last for you? Uh, dreaming.
Lewis Shupe: Yep.
Lewis Shupe: Next please.
Stanley Jaquet: Next.
Lewis Shupe: So, now
Stanley Jaquet: Finance.
Lewis Shupe: uh we have a product. Very happy. But uh, is it cheap enough? Um, so if uh I'll have a look. We have a battery. One battery.
Thomas Gunter: Mm-hmm.
Francis Cannon: Cheapest there is.
Lewis Shupe: Okay, one battery. Electronics. Advanced chip.
Francis Cannon: Expensive.
Lewis Shupe: Yeah it's the most advanced. Chip-on-print. We have that one.
Francis Cannon: Well, it's the most
Lewis Shupe: We have
Francis Cannon: advanced.
Lewis Shupe: the simple, regular and advanced.
Francis Cannon: Advanced.
Lewis Shupe: We have the adva advanced. 'Kay, so uncurved or flat. Nope. Single curved or double curved? We have double curved.
Lewis Shupe: So Then we have plastic, wood, rubber. we have half rubber, half plastic.
Thomas Gunter: Mm, yes.
Lewis Shupe: No titanium. Special colour. Yes,
Stanley Jaquet: Yeah.
Francis Cannon: Uh,
Lewis Shupe: yellow.
Francis Cannon: yellow.
Thomas Gunter: Mm, yeah.
Lewis Shupe: Interface, push-button. Scroll-wheel, integrated scroll-wheel push push-button, or L_C_D_ display. So, we have the L_C_D_ We have two scroll-wheels? Or one?
Francis Cannon: One.
Stanley Jaquet: One.
Lewis Shupe: And it's not really
Francis Cannon: Joystick
Lewis Shupe: a s
Francis Cannon: uh thing.
Lewis Shupe: Yeah, it's this one. Now, uh button supplement. Special colour. We already Uh, that's the from the for the buttons. The buttons are regular colour.
Thomas Gunter: Mm, yeah.
Lewis Shupe: So, then uh then then then then then then Then
Francis Cannon: We're not gonna make it.
Lewis Shupe: Uh, no. It's too expensive.
Francis Cannon: Yeah. Wh
Lewis Shupe: So, we
Francis Cannon: What
Lewis Shupe: have to change
Francis Cannon: what
Lewis Shupe: something.
Francis Cannon: are the costs?
Lewis Shupe: Fifteen Euros.
Francis Cannon: Fifteen.
Lewis Shupe: Yeah, well uh when we lose one scroll-wheel, it's okay. 'Cause we can't lose the battery. We can't lose the advanced chip. We can't lose the double curve. We have rubber,
Stanley Jaquet: We would have
Lewis Shupe: special
Stanley Jaquet: uh
Lewis Shupe: colour.
Stanley Jaquet: n
Francis Cannon: A special colour. Uh,
Lewis Shupe: Oh,
Francis Cannon: I don't
Lewis Shupe: no,
Francis Cannon: think
Lewis Shupe: we
Francis Cannon: it's a very
Lewis Shupe: No, it's
Francis Cannon: special
Lewis Shupe: uh
Francis Cannon: colour.
Lewis Shupe: Sorry?
Francis Cannon: Yellow? Uh, is it a special colour?
Stanley Jaquet: For a remote control. I've
Francis Cannon: What?
Stanley Jaquet: For a remote control, I think it is.
Francis Cannon: Yeah.
Stanley Jaquet: If we would have uh uh normal buttons instead of uh the joystick. For up
Lewis Shupe: Um,
Stanley Jaquet: down left right.
Lewis Shupe: then we uh lose two Euros. Then we have thirteen Euros. Half a Euro too much. Exactly the special colours.
Francis Cannon: And
Lewis Shupe: So
Francis Cannon: what if we use only one sort of um Um just only plastic or only rubber?
Lewis Shupe: That's one Euro.
Francis Cannon: One Euro discount.
Lewis Shupe: So, I don't think that's good. Mm
Lewis Shupe: I think we have to keep the L_C_D_. If
Francis Cannon: If we change the joyst uh the joystick thing into a button up, button down, button right, button left.
Lewis Shupe: Yes. Then it's only thirteen Euros.
Francis Cannon: And then we'll lose fifty cent in what?
Lewis Shupe: So uh yeah. Yeah. Then you have Or
Francis Cannon: Uh
Lewis Shupe: you have to cut this
Francis Cannon: uh-uh.
Lewis Shupe: off. Then it's not good anymore.
Francis Cannon: No.
Lewis Shupe: So, wait. Okay. I'll have a look. We
Francis Cannon: And if you say it's just a r uh normal colour it's a normal colour, wh No one
Lewis Shupe: Yellow
Francis Cannon: will see it.
Lewis Shupe: rubber. Yeah, normal.
Francis Cannon: Normal colour, and the the joystick away, and put the button up, button down, right, left.
Lewis Shupe: Uh
Francis Cannon: And it's twelve Euros, I think.
Lewis Shupe: One minute, please. Uh Is it maximum. Um
Lewis Shupe: Yeah, it's normal colour.
Lewis Shupe: still uh an advanced chip?
Francis Cannon: No. Uh,
Lewis Shupe: Or
Francis Cannon: no,
Lewis Shupe: it's then
Francis Cannon: no,
Lewis Shupe: a
Francis Cannon: no.
Lewis Shupe: regular?
Francis Cannon: Uh Oh, wait wait wait.
Stanley Jaquet: The advanced chip was for the L_C_D_ wasn't it?
Thomas Gunter: Yeah.
Francis Cannon: Oh yeah.
Lewis Shupe: So, the advanced
Francis Cannon: Oh
Lewis Shupe: is for
Francis Cannon: yeah.
Lewis Shupe: the L_C_D_ and the regular for the
Francis Cannon: Yeah.
Lewis Shupe: joystick.
Francis Cannon: Yeah, yeah.
Lewis Shupe: And what if we lose the L_C_D_?
Francis Cannon: If we lose the L_C_D_, then we have an uh
Lewis Shupe: Yeah, regular chip.
Francis Cannon: regular chip and
Lewis Shupe: But
Francis Cannon: no L_C_D_.
Lewis Shupe: Is it a good design?
Francis Cannon: Uh, yeah. Then you'll have to m uh see the menu on the television. And you don't have the L_C_D_.
Stanley Jaquet: If uh
Francis Cannon: So, the T_V_s has to uh have to be up-to-date.
Stanley Jaquet: If we have the n no buttons If we have we have uh not a joystick but buttons, we would have uh, we have thirteen Euros?
Francis Cannon: Yeah.
Lewis Shupe: Mm, yes.
Stanley Jaquet: And then uh we move the the colour. What
Francis Cannon: Yeah.
Stanley Jaquet: will that be?
Lewis Shupe: Then it's okay.
Francis Cannon: Huh. No knew that.
Stanley Jaquet: Yeah.
Lewis Shupe: Okay, so no joystick. Oh no, but we then we get push-buttons from half a Euro.
Francis Cannon: Yeah, then it's twelve Euro fifty, then it's okay.
Lewis Shupe: Uh, yes, yes, yes, yes. No joystick. Push-buttons. No special colour. Twelve and a half Euros. Then it's okay. So, we have to change that a little bit. And you cannot use the red and green button. Because if you
Thomas Gunter: Okay. All the same
Lewis Shupe: give them
Thomas Gunter: uh
Lewis Shupe: a s uh colour, you have to pay point two Euros.
Francis Cannon: So, all the buttons has to have to be the same colour.
Lewis Shupe: Yes.
Francis Cannon: But then the print on it will g um change it. Make it uh for everybody to see what button it is. Uh l How
Thomas Gunter: Mm, yeah.
Francis Cannon: you call it?
Thomas Gunter: Recognisable.
Francis Cannon: Recognisable,
Thomas Gunter: Like
Francis Cannon: yeah.
Thomas Gunter: what
Lewis Shupe: Yes.
Thomas Gunter: Yeah. Mm, yeah.
Lewis Shupe: So
Francis Cannon: Yeah?
Thomas Gunter: Okay.
Francis Cannon: Okay.
Lewis Shupe: So Well Now we have to change that, but that's okay. Rubber. What's the normal colour?
Francis Cannon: Oh, well that's clear.
Lewis Shupe: So And
Lewis Shupe: Where's? Yeah.
Lewis Shupe: So, now
Francis Cannon: And
Lewis Shupe: it's
Francis Cannon: the joystick away. And its buttons.
Lewis Shupe: Yeah. It is. But then it will be just that ones.
Francis Cannon: Yeah.
Lewis Shupe: Now it's
Stanley Jaquet: still, he waited at the
Lewis Shupe: Very good.
Stanley Jaquet: No.
Lewis Shupe: Now, uh project eva evaluation. Well What do you think of it? Uh
Francis Cannon: About the
Stanley Jaquet: Project.
Lewis Shupe: About the project.
Francis Cannon: process. Went good. Uh I think uh the creativity uh was good enough. We have a gun instead of a remote control. Um Uh leadership. Yeah, you were the project project manager, and uh had the final vote. So yeah that was clear. Team-work okay. Everybody uh has something uh to say about it. And uh no, uh o only the the drawing uh was very difficult. But, nah. New ideas found. Nope.
Lewis Shupe: Okay. And you.
Thomas Gunter: Yeah, well the same. I I espe I especially uh liked the the means, the the SMARTboard and uh Yeah, it uh It brings up new ideas when you work with uh with it.
Lewis Shupe: Okay.
Thomas Gunter: Yeah.
Stanley Jaquet: Yeah, I think you have to compare it to if you would have a normal um normal project without laptops uh and without these devices. I think um Well, the laptops if you have them out front of you, you sometimes looking at that instead of the presentation. Um, well uh the draw-board, well you can draw things. But it not really going very convenient.
Thomas Gunter: Mm-hmm.
Stanley Jaquet: Uh, maybe it will be easier if you have a smaller monitor and uh you would also see there. And with a normal mouse. Um, and uh the project. Yeah, I agree on what was said uh mainly. Uh, yeah but you always have that some people are talking more than others. And maybe is then um the task of the Lewis Shupe to also uh ask more to the people uh less talking. To tell their opinion.
Lewis Shupe: Okay. Well, what do I have to say. I think it was good. Not too many discussions.
Francis Cannon: No.
Lewis Shupe: So,
Thomas Gunter: No.
Lewis Shupe: it's good for the speed.
Francis Cannon: Yep.
Lewis Shupe: So,
Stanley Jaquet: Yeah.
Lewis Shupe: I think we're ready. Good price. Evaluation ready. Ready.
Francis Cannon: Beer.
Lewis Shupe: That's it.
Francis Cannon: Yeah?
Stanley Jaquet: Okay.
Francis Cannon: Okay then. | Francis Cannon and user interface designer presented their prototype design, made of yellow rubber and hard plastic, with large, mostly blue buttons, a joystick and LCD screen. Led by Stanley Jaquet, the group evaluated the prototype on a scale of one to seven, based on a set of evaluation criteria. The overall rating was two. Lewis Shupe calculated the production costs, which were too high at fifteen Euros. The group discussed how to make the design cheaper, and decided to keep the LCD screen, but to remove the special colour and replace the joystick with regular push-buttons. Finally Lewis Shupe led an evaluation of the project process before closing the meeting. Overall, the group were satisfied with the creativity, teamwork and available equipment, although Stanley Jaquet thought the SMARTboard and laptops were sometimes distracting and not that helpful. | 5 | amisum | train |
Robert Martinez: Good
Oscar Edgar: G
Robert Martinez: morning, Flores.
Oscar Edgar: good morning.
Robert Martinez: Marketing Expert.
Oscar Edgar: Oh yeah.
Robert Martinez: Right.
Oscar Edgar: Are you ready? You should put the laptop uh right into the square.
Robert Martinez: For the cameras
Oscar Edgar: For i for the cameras, yes.
Robert Martinez: Alright.
Oscar Edgar: Good morning, Sebastian.
Richard Longo: Good morning, Mister P_M_. How are you today?
Oscar Edgar: I'm fine.
Richard Longo: How was your business trip to Boston?
Oscar Edgar: Um well, actually I didn't go,
Robert Martinez: Geez.
Oscar Edgar: didn't feel like it. So Do you want to open it as read-only. Um I guess I should close it here.
Robert Martinez: You have the same message of uh Windows cannot um sen oh stand-by. Close the the
Jeffrey Ridgeway: Okay.
Robert Martinez: window.
Oscar Edgar: Okay, the waiting
Robert Martinez: So
Oscar Edgar: is for our Marketing Expert,
Robert Martinez: That's
Oscar Edgar: Ruud.
Robert Martinez: right. Ruud.
Oscar Edgar: Um project kick-off.
Richard Longo: Is there a schedule for this meeting?
Oscar Edgar: Yes, there is actually. Um I will li list the agenda for today. For this meeting. Good morning, Ruud.
Jeffrey Ridgeway: Good morning.
Oscar Edgar: Uh it's important um
Richard Longo: I shall close the door.
Oscar Edgar: yeah, great. It's important that the laptops are um exactly on the square, um for the cameras. Okay.
Oscar Edgar: Okay. Um we're here to develop uh a new product. Um I'm sure you've had a mail from our account manager
Robert Martinez: Mm-hmm.
Oscar Edgar: about it. Um and um this is the first meeting to to generate some uh uh some ideas about it. Um you are here in a specific role. Uh Ruud is here as Jeffrey Ridgeway, Roo is here as Robert Martinez and Sebastian is here uh in the role of Industrial Designer. Is that correct?
Richard Longo: That's correct.
Robert Martinez: Mm-hmm.
Oscar Edgar: Okay. Um we're going to do um uh uh a little tool training uh for the tools we are going to use uh during uh the meetings we are going to have here. Um then I will tell you a little bit about my idea of the project plan, uh and we will have a discussion. Uh this meeting should take no more than twenty five minutes, so
Robert Martinez: Alright.
Oscar Edgar: we
Richard Longo: Okay.
Oscar Edgar: should keep that in mind.
Richard Longo: Um is there any room for a little presentation? Uh maybe during the discussion uh
Oscar Edgar: There is?
Richard Longo: section?
Oscar Edgar: Yeah, there is.
Richard Longo: Okay.
Oscar Edgar: No problem. Um okay, this new product we are are g are going to develop, um it's a remote control, a television remote control. Um and first of all it should be original, it should be trendy and user-friendly. Those are kind of easy um uh uh goals, um and I'm sure we can find more goals for the for the product we are going to develop. Um we will discuss uh later on more ideas about uh how the remote should look and how it sh it should function and
Robert Martinez: Okay.
Oscar Edgar: all those kind of things. The market, we should have a look at the market. Um we are going to use a a pred a project method uh during uh this development, um which consists of three different design stages. Uh the functional design, the conceptual design and the detailed design, um all of these stages um um mean that we do some individual work, prepare, and then uh meet to discuss our uh uh the the
Robert Martinez: Progressions.
Oscar Edgar: the progressions, yes. Um the first stage, the functional design um we are going to search for the user requirements, and we will um make a specific uh specification of that. Um the second is the technical functional design, um what effect should the remote have? Well in this case control t the the television
Robert Martinez: It's for the
Oscar Edgar: I
Robert Martinez: vision.
Oscar Edgar: think.
Robert Martinez: Yeah.
Oscar Edgar: Um and the last one is the working design. How exactly does it work in the technical sense. Um the other design stages, uh we will discuss that later. So we'll kop it keep it with the functional design. Okay, um before we think about remote control we will um work with some of the tools we have uh here. Um as you see now I can give a presentation. Um it's also possible to use this one as well. You can uh uh display pr uh two presentations if you want to. Um to um presentate, to show us uh a file you'll need to uh place it in your project documents folder, which is on your desktop, at least it should be. Um then we have this electronic white-board system. Um yeah, I will show that now. Um you can draw on the board using this pen. There are little um uh
Robert Martinez: Sensors.
Oscar Edgar: sensors, so do not grab it here, but a lit more a little bit more to the uh to the end. Um well, it it's on the um eraser now, so we click the pen button.
Oscar Edgar: Okay, so not too fast writing. Um you can insert a new um slide or or white-board uh uh file um by either using the insert function or by clicking the next button or the blank button. It's quite the same. Um all our um whi um uh SMARTboard um notes should be kept in the same file. So do not m make a new file. Just use this one uh during the day. Um you can use the eraser to make something go away.
Robert Martinez: But we all use the same white-board file
Oscar Edgar: Yes.
Robert Martinez: So we can work together on it while we're or
Oscar Edgar: Yeah.
Robert Martinez: should we only use it in?
Oscar Edgar: Yeah, in the meetings, only in the
Robert Martinez: Yeah,
Oscar Edgar: meetings.
Robert Martinez: okay.
Oscar Edgar: It's really like like a regu
Robert Martinez: Yeah, alright.
Oscar Edgar: regular whiteboard.
Robert Martinez: Yep.
Oscar Edgar: Um you can choose the format, um sorry. Uh Let Jeffrey Ridgeway see. Um Well I guess it's maybe because I'm not s uh pen selected. Yep. Current colour, you can choose another colour. And um for example black, and you c I can choose the line width. Um so now I d have a different line width and uh colour. Okay. Quite easy, do have any questions, just c ask Jeffrey Ridgeway. Um to um oh well, I'm I wrote down the documents uh should be in the project documents folder if you want to uh discuss it with us. Um as a little training um I will ask Ruud first to draw uh uh your own animal on a new slide uh with uh a different colour and a different line width than the one uh now selected.
Jeffrey Ridgeway: Okay.
Jeffrey Ridgeway: Um green.
Jeffrey Ridgeway: An animal. Okay. Um
Jeffrey Ridgeway: Uh
Robert Martinez: It's a bunny.
Jeffrey Ridgeway: a wee rabbit.
Oscar Edgar: A rabbit.
Richard Longo: Alright.
Oscar Edgar: Okay, well great. Um Roo, could you do the same please?
Robert Martinez: But of course,
Oscar Edgar: But
Robert Martinez: Flores.
Oscar Edgar: a different animal with a different colour and a different line width.
Robert Martinez: Blank.
Oscar Edgar: Sebastian is thinking about the animal.
Richard Longo: I'm just uh guessing what should be my favourite animal.
Oscar Edgar: Okay.
Robert Martinez: Yeah, I'm think about it too. Format.
Robert Martinez: Well, it looked more than a bunny than a cat, but it works, right?
Oscar Edgar: It it should be a cat.
Jeffrey Ridgeway: Yeah.
Oscar Edgar: Okay?
Richard Longo: Well, I'll give it a try.
Richard Longo: Mm.
Oscar Edgar: I'm guessing a horse.
Richard Longo: Very good.
Robert Martinez: With a very small legs.
Richard Longo: I very good in drawing.
Robert Martinez: You should feed that uh that animal.
Richard Longo: Well, I guess you uh get the idea.
Oscar Edgar: Yes, okay.
Richard Longo: Beautiful.
Oscar Edgar: Beautiful. Okay, so um you can use this at any time during the presentation if you want to. Um any questions well, just just let Jeffrey Ridgeway know. Um okay, back to our project. Um the remote control we are going to develop um will have a selling price of about twenty five Euros. Uh the profit we are looking for for this product is fifty million Euros, which is quite a number. Um we uh we will focus this internationally, so the product will be sold um, if there is market uh interest, uh in in more than one country. And um the production costs should not be more than uh twelve Euro fifty, so we should keep that in mind by uh w w during the development, um because uh, well, those are important numbers. Um then the discussion, maybe the time for Sebastian to show his presentation.
Richard Longo: Yes, um I have some technical uh issues which I would like to present to you uh before we start the discussion, because uh there might be some uh
Oscar Edgar: Limitations.
Richard Longo: influations influences.
Oscar Edgar: Okay.
Robert Martinez: Okay.
Richard Longo: Okay?
Oscar Edgar: Okay, great.
Richard Longo: Okay. Um first about my role, role of Richard Longo. I would like to think about uh the implementation of uh of things, and the technical possibilities and impossibilities. So if someone of you comes up with uh ideas, uh I'll try to translate them in technical functions, but uh there might be some impossibilities. So that's one. Uh I also will propose some uh um uh some implementations for that, but well, these are quite the same. Sorry about that. Um and I also will remind people of some new technical possibilities which are available and which might be interesting to implement in our product.
Robert Martinez: Okay.
Richard Longo: I have some uh initial ideas about some things um which are maybe nice to take with you in the upcoming uh discussion. One thing about uh interopera operability. Um I think a modern uh remote control should uh control a device diverse subset of equipment. Uh for instance, uh D_V_D_ players, cell phones, video and audio equipment. So one re uh one remote control for all your equipment.
Robert Martinez: And for a cell phone?
Richard Longo: Well, there should be some interoperabi
Robert Martinez: Yeah,
Richard Longo: interoperability
Robert Martinez: okay.
Richard Longo: between them.
Robert Martinez: Yeah.
Richard Longo: I think it could come in handy. We should discuss that. Um and we should think about the way how these things uh should communicate with each other. We're not uh living in the uh nineteen eighties anymore, so infrared is not uh is not really uh hot uh technical stuff anymore. But you should uh think about the things
Robert Martinez: But
Richard Longo: like uh Bluetooth.
Robert Martinez: Yeah, but the infrared, it's uh, well, a little bit old-fashioned, if you would
Richard Longo: Mm-hmm.
Robert Martinez: call it like that.
Richard Longo: But it's
Robert Martinez: But
Richard Longo: cost-effective.
Robert Martinez: all the T_V_s are
Richard Longo: Yes.
Robert Martinez: uh equipped with infrared, so
Richard Longo: Mm-hmm.
Robert Martinez: y
Richard Longo: Well,
Robert Martinez: you you can
Richard Longo: not all, not all. So that's the point.
Robert Martinez: Most of them.
Richard Longo: So
Robert Martinez: Or you shou sh use a you should equip infrared and Bluetooth together
Richard Longo: Maybe,
Robert Martinez: in one
Richard Longo: but
Robert Martinez: remote.
Richard Longo: that's uh something we should discuss
Robert Martinez: Yeah.
Richard Longo: and uh about every everybody should think about it. So that's just my role, I'll just uh give you uh everybody some technical input, and I think now the time is to have a little discussion about what uh the product should be and how it should look,
Oscar Edgar: Yeah.
Richard Longo: but take these things into account when you start the discussion.
Oscar Edgar: Okay, so the the main por uh the main points you are uh telling us are focus on the inter uh operability,
Richard Longo: Yes, so
Oscar Edgar: and
Richard Longo: one thing uh one remote control should uh control one or more uh pieces of equipment,
Oscar Edgar: Okay, and
Richard Longo: and
Oscar Edgar: and
Richard Longo: the
Oscar Edgar: uh
Richard Longo: way of communicating with these equipments.
Oscar Edgar: Okay. Okay, good.
Richard Longo: Okay.
Oscar Edgar: Um that was your presentation?
Richard Longo: That's it.
Oscar Edgar: Okay, okay. Um okay. Great. Um I'll go back to my own presentation. Um Mm. Okay. Um I I do think it's time now to to discuss uh mm some things. Um Sebastian told us a few things about the technical implemen uh implications. Um there are other things like um how to make it trendy, which is I think uh um most uh Ru uh Ruud's uh role. Um the way how it should be controlled by the user, which is uh Roo uh r uh during this part.
Robert Martinez: Mm-hmm.
Oscar Edgar: Um so let's start with you. H how do you think the remote should um function for the user?
Robert Martinez: Well, I had a few uh things in mind. Um well, the interoperability, just like uh Sebastian said, um the remote should work on different T_V_s or even different uh um Yeah uh, what is it, devices?
Oscar Edgar: Yep.
Robert Martinez: Um so i i I think it's a universal remote control for customers to buy just new in uh a store.
Richard Longo: Yes, I think it should
Robert Martinez: It's not
Richard Longo: be
Robert Martinez: for
Richard Longo: something
Robert Martinez: uh
Richard Longo: like
Robert Martinez: for
Richard Longo: that.
Robert Martinez: uh for uh Philips or whatever to buy our remote for their own product, right?
Oscar Edgar: Okay, so we're we're going business to consumer, not we're we're it's
Robert Martinez: Yeah,
Oscar Edgar: not a
Robert Martinez: I do I don't know that. It's no I have uh
Richard Longo: We're
Robert Martinez: don't
Richard Longo: not
Robert Martinez: have
Richard Longo: developing
Robert Martinez: the information
Richard Longo: this
Robert Martinez: for
Richard Longo: product
Robert Martinez: it.
Richard Longo: for a specific vendor, are
Oscar Edgar: No.
Richard Longo: we? No,
Oscar Edgar: No.
Richard Longo: we're
Robert Martinez: No,
Richard Longo: just
Robert Martinez: okay.
Richard Longo: developing this product, and we want to sell it to a very broad uh public, so
Robert Martinez: Yeah.
Oscar Edgar: Yeah.
Richard Longo: it should fit to every device.
Oscar Edgar: Uh Ruud, y
Jeffrey Ridgeway: Yeah,
Oscar Edgar: do
Jeffrey Ridgeway: I
Oscar Edgar: you
Jeffrey Ridgeway: think
Oscar Edgar: agree?
Jeffrey Ridgeway: I think they're right, yeah.
Oscar Edgar: Okay. Okay.
Robert Martinez: Um Well, the techni fu technical function uh what you said is just by pressing the button you should change the state of the T_V_. That's just the basic f technical function.
Oscar Edgar: Yeah.
Robert Martinez: So that was my really my part for uh this session. Um
Oscar Edgar: So is that
Richard Longo: Yeah.
Oscar Edgar: ease of use or uh is that more like um
Robert Martinez: Well, that's just the fu the technical function is pure what should the remote control do, wh what is his task uh
Richard Longo: Mm-hmm.
Robert Martinez: as an uh as an uh device. It just should change the T_V_'s
Oscar Edgar: Okay.
Robert Martinez: state. So that's it. Um but
Richard Longo: And
Robert Martinez: furthermore
Richard Longo: you you see uh the buttons as a as a means of doing this?
Robert Martinez: Yeah.
Richard Longo: Or are there any o other
Robert Martinez: Yeah,
Richard Longo: controls?
Robert Martinez: with buttons.
Richard Longo: Are there
Robert Martinez: Yeah,
Richard Longo: only
Robert Martinez: or
Richard Longo: any other
Robert Martinez: maybe
Richard Longo: cont
Robert Martinez: you want a touch-screen or
Richard Longo: Well,
Robert Martinez: But
Richard Longo: I I've seen these remote controls with uh this little stick uh which you can move forward,
Robert Martinez: Yeah.
Richard Longo: sidewords.
Oscar Edgar: Uh-huh.
Richard Longo: You know these things. And um it's
Robert Martinez: They're
Richard Longo: very
Robert Martinez: very vu
Richard Longo: easy
Robert Martinez: vulnerable.
Richard Longo: for a user to to switch w yes,
Robert Martinez: Yeah.
Richard Longo: to to switch b uh between uh channels or uh change uh between tracks on a on a C_D_, on on a chapters, you know, on a D_V_D_ player. So maybe that's an idea, I don't know.
Robert Martinez: Yeah. And for other user interface I had um, well, it's more industrial thing. Uh point at a T_V_, I think it's it's quite disturbing when you always have to
Richard Longo: Mm-hmm.
Robert Martinez: point directly to the T_V_, so you must point everywhere, so
Richard Longo: Okay.
Robert Martinez: maybe infrared
Oscar Edgar: Maybe
Robert Martinez: is
Oscar Edgar: not even pointed.
Robert Martinez: Yeah,
Oscar Edgar: Yeah.
Robert Martinez: just don't even point it, so in that case infrared should uh maybe uh be restriction to
Richard Longo: Mm-hmm.
Robert Martinez: that.
Oscar Edgar: Okay
Richard Longo: Uh
Oscar Edgar: Uh
Richard Longo: is that uh are there restriction for the range, the operating range too? So when you're not able to point at the device um
Robert Martinez: Yeah, if you
Richard Longo: the
Robert Martinez: g
Richard Longo: range
Robert Martinez: if you
Richard Longo: is
Robert Martinez: go to
Richard Longo: very
Robert Martinez: radio
Richard Longo: limited.
Robert Martinez: or or yeah. For T_V_, you're always in in the neighbourhood of a T_V_, so I don't think think the range should
Richard Longo: Mm-hmm.
Robert Martinez: be a problem to
Richard Longo: Mm-hmm.
Robert Martinez: that, but if you want to uh get it working with a radio, and you're in outside your garden with just one uh speaker,
Richard Longo: Mm-hmm.
Robert Martinez: then maybe the range should be uh
Richard Longo: Okay.
Oscar Edgar: Okay,
Robert Martinez: But
Oscar Edgar: gentlemen, um uh just a reminder, we d we have five minutes left for
Richard Longo: Okay.
Oscar Edgar: this meeting
Robert Martinez: Yeah.
Oscar Edgar: um
Robert Martinez: Two more things.
Oscar Edgar: okay.
Robert Martinez: Um You should able to feel the buttons without uh it mis um you have to know what you do without looking at the buttons, so it should be as user interface um for feeling should be uh good to understand. You
Oscar Edgar: Okay,
Robert Martinez: must feel
Oscar Edgar: s
Robert Martinez: the buttons for
Oscar Edgar: yeah.
Robert Martinez: volume or whatever, I think.
Oscar Edgar: Yeah.
Robert Martinez: And of course you don't always know where all buttons are, so it should be visible al um in dark too. So
Oscar Edgar: Okay.
Robert Martinez: when it's dark Those are two really uh user interface
Oscar Edgar: Uh I'll write down glow in the dark.
Robert Martinez: Yeah. That's
Oscar Edgar: Is tha
Robert Martinez: perfect.
Richard Longo: Okay.
Oscar Edgar: Okay. Okay,
Richard Longo: Do
Oscar Edgar: um
Richard Longo: do you
Oscar Edgar: uh I just want to hear uh Ruud's um input for this meeting. Um do you have anything already w um ab idea about how the market uh will respond to the such a product? Or what we should take um in account when developing such a product?
Jeffrey Ridgeway: Uh I think most most things have already been said, like uh control multiple devices.
Oscar Edgar: Mm-hmm.
Jeffrey Ridgeway: And uh, yeah, infrared might be an issue.
Oscar Edgar: Because?
Jeffrey Ridgeway: Uh well, he said about n abo what he said about pointing.
Oscar Edgar: Mm-hmm.
Jeffrey Ridgeway: But uh lots of devices already use infrared. So implement that.
Oscar Edgar: Okay. Okay.
Oscar Edgar: Okay, Sebastian, did you have any other
Richard Longo: Um
Oscar Edgar: ideas?
Richard Longo: well yes, I had, uh about three minutes ago, but I've seem to forget them forgot them. Um oh yes, I remember. Um you said something about visibility in the dark. Um
Robert Martinez: Yeah.
Richard Longo: uh would it be nice for a user to have display on this uh remote control, on which you can see functions? Which makes it easier to operate
Robert Martinez: Yeah.
Richard Longo: it.
Robert Martinez: Well, maybe I um but
Richard Longo: I
Robert Martinez: it
Richard Longo: I don't
Robert Martinez: it
Richard Longo: know.
Robert Martinez: can be quite simple, you can just have white buttons
Richard Longo: Mm-hmm.
Robert Martinez: with a black mark
Richard Longo: Okay.
Robert Martinez: on it. The uh the the digits in
Richard Longo: Mm-hmm.
Robert Martinez: black. Uh then it's already visible in dark.
Richard Longo: Okay.
Robert Martinez: So it it don't have to be a lightning or or a fancy well,
Richard Longo: Okay.
Robert Martinez: it can
Oscar Edgar: Okay.
Robert Martinez: be for
Oscar Edgar: Yeah,
Robert Martinez: design,
Oscar Edgar: yeah,
Robert Martinez: of course.
Oscar Edgar: okay, because because we wa we want to develop a trendy product.
Richard Longo: Yes, but
Oscar Edgar: So
Richard Longo: there's a cost limitation too. Well, that's
Oscar Edgar: Yeah,
Jeffrey Ridgeway: Yeah.
Richard Longo: more
Oscar Edgar: twelve Euro fifty,
Richard Longo: So
Oscar Edgar: yeah.
Richard Longo: that's a big problem, I think. I think the the financial part of this project uh implicates that it's not going to be a high high-end product. The
Oscar Edgar: Okay.
Richard Longo: cost price is very low. Um
Robert Martinez: Just remind something. The digits of uh the the painting on the buttons should not fade.
Oscar Edgar: Okay,
Richard Longo: Okay.
Robert Martinez: You have a m
Richard Longo: Very
Oscar Edgar: okay.
Robert Martinez: uh
Richard Longo: good point. Yeah.
Robert Martinez: Always have s the soft buttons, always uh clear the the the paint on it. The marks.
Richard Longo: Okay.
Oscar Edgar: Okay, um I ha I have one point f um which which comes in mind now. Um uh d I think the device should either be rechargeable very
Richard Longo: Mm-hmm.
Oscar Edgar: easily
Richard Longo: Okay.
Oscar Edgar: um or it should not consume too much um power. Because it's very annoying if you need to change the batteries every s uh uh every other week.
Robert Martinez: Yeah.
Richard Longo: Okay.
Oscar Edgar: So um maybe we could um for example uh only
Robert Martinez: But um
Oscar Edgar: light the buttons that are um
Robert Martinez: Necessary,
Oscar Edgar: uh applicable at that
Robert Martinez: yeah.
Oscar Edgar: moment or yeah. I dunno, it's uh that's more Sebastian's
Robert Martinez: Yeah.
Oscar Edgar: uh um
Richard Longo: Hmm.
Robert Martinez: But then Bluetooth uh might be problem. 'Cause I think Bluetooth uh
Richard Longo: It's use uh a lot of uh
Robert Martinez: Yeah,
Oscar Edgar: Well
Richard Longo: well
Oscar Edgar: does
Robert Martinez: I know
Oscar Edgar: it?
Robert Martinez: it from the cell
Oscar Edgar: I'm
Robert Martinez: phone.
Oscar Edgar: not sure.
Richard Longo: Well,
Oscar Edgar: Uh
Richard Longo: cell phones have uh integrated Bluetooth also and, well, it's it seems to work uh quite okay.
Oscar Edgar: Yeah.
Robert Martinez: But
Richard Longo: technically
Robert Martinez: you can't
Richard Longo: it will
Robert Martinez: you
Richard Longo: be
Robert Martinez: can't
Richard Longo: possible.
Robert Martinez: use Bluetooth all the time, twenty four hours a day.
Richard Longo: No,
Oscar Edgar: Okay.
Richard Longo: you cannot.
Robert Martinez: Does it
Oscar Edgar: Gentlemen,
Robert Martinez: It's over?
Oscar Edgar: I'm
Richard Longo: Okay.
Oscar Edgar: afraid we do not have any more time. Um
Richard Longo: Okay.
Oscar Edgar: so we will go back to our own uh work. Um next meeting starts in thirty minutes and um, well, you know your o your individual actions or your personal coach will probably email you about th it. Um so this was it.
Robert Martinez: Okay.
Oscar Edgar: See you in thirty minutes.
Robert Martinez: Great. | Oscar Edgar opened the meeting and introduced the project, describing what the project would involve, the role of each participant and the agenda for the first meeting. He the demonstrated the equipment the group would be using, and the group practiced using the SMARTboard by drawing their favourite animals. Oscar Edgar then went over the project budget. Richard Longo gave a brief presentation about his role and his initial ideas for the project, suggesting that the remote should be used for multiple devices and that the group should consider using bluetooth rather than infrared. Oscar Edgar then asked the others about their initial ideas. Robert Martinez agreed that the remote should control multiple devices. They also discussed having glow in the dark buttons, using bluetooth instead of infrared and using a display and/or a joystick instead of conventional buttons. However, they were unsure about what the budget would allow. Oscar Edgar suggested that the remote should be rechargeable or not use much power, but this might be difficult if using bluetooth. Oscar Edgar closed the meeting. | 5 | amisum | train |
Jose Hughes: That's the same as uh on the top of it uh with the the round uh
David Decastro: Like
Jose Hughes: button.
David Decastro: this one.
Jose Hughes: But uh we don't uh we don't uh we do think it's um well
David Decastro: It's
Jose Hughes: what
David Decastro: important.
Jose Hughes: if with ease of use, w which prefers the which the the customer of
David Decastro: Uh
Jose Hughes: the
David Decastro: I
Jose Hughes: user
David Decastro: think
Jose Hughes: prefers.
David Decastro: th this is device which which has a learning curve. Um novice users u use this device as uh normal users use uh a c a remote control. And after a while they start to develop uh some skills in the the voice recognition functions, and then they will not use this dial as often. But other
Michael Howell: Okay.
David Decastro: users who are new to this device need something like that. They n they need understand what uh channels and uh change the volume, so it's easier for them
Michael Howell: Could could I see the scroll bar as as as a sort of shortcut?
David Decastro: Yeah, maybe
Michael Howell: A
David Decastro: so.
Michael Howell: a and
David Decastro: Yes,
Michael Howell: the voice
David Decastro: it's
Michael Howell: recognition as well, th maybe you could uh
David Decastro: Well,
Michael Howell: could
David Decastro: it's
Michael Howell: uh
David Decastro: it's it's another approach, it's more that our um. There are there are many ways of doing uh things uh on such a device.
Michael Howell: Yeah.
David Decastro: It's
Michael Howell: Okay.
David Decastro: it's quite easy.
Michael Howell: Okay, good. And and the case is is rubber?
David Decastro: Yes, rubber?
Michael Howell: And the buttons?
Jose Hughes: Plastic
David Decastro: There are
Jose Hughes: or rubber.
David Decastro: plastic
Jose Hughes: Well,
David Decastro: or rubber.
Jose Hughes: yeah.
Michael Howell: Okay, and uh the colouring?
David Decastro: Uh yellow with uh
Michael Howell: with with grey or black.
David Decastro: grey or black or something like that. Whatever cost uh cost uh the least.
Michael Howell: Okay, we'll we'll come to that later. Um okay. Anything else to add or
David Decastro: No. Uh maybe we should uh think about these buttons.
Michael Howell: Yeah.
Robert Roberts: Well, you
David Decastro: But
Robert Roberts: could use two of them to um channels on the channel button, 'cause
David Decastro: Yes,
Robert Roberts: you have
David Decastro: but
Robert Roberts: to
David Decastro: it but these
Robert Roberts: assign
David Decastro: are tasks
Robert Roberts: two channel
David Decastro: that are only
Robert Roberts: new channels.
David Decastro: executed once, I think.
Michael Howell: M uh
David Decastro: Or
Michael Howell: yeah.
David Decastro: not?
Michael Howell: M m but maybe you
Robert Roberts: You
Michael Howell: want a button to uh for example the voice recognition, or
David Decastro: Well
Michael Howell: train
David Decastro: okay.
Michael Howell: the voice.
David Decastro: Okay, yeah, that's right. Or something
Jose Hughes: And
David Decastro: li
Jose Hughes: a button
David Decastro: like that.
Jose Hughes: for disabling the voice recognition.
Michael Howell: Yeah al although by pressing the button for I n don't know two, three seconds, you could also say it you'd disable it
David Decastro: Yes.
Michael Howell: with a little beep and
Jose Hughes: Yeah.
Michael Howell: and but o okay, that that's not really really important.
Jose Hughes: That's the basic idea, yeah.
Michael Howell: The basic okay.
Jose Hughes: Of our prototype.
Michael Howell: Okay. Um you thought of some evaluation crit criteria?
Robert Roberts: Yes.
Michael Howell: Okay.
Robert Roberts: Uh my name is not name but
Michael Howell: You are nameless.
Robert Roberts: Uh well, I used the the uh documents. And these uh were the most important criteria. It should be. yeah,
David Decastro: Is it spongy?
Robert Roberts: that's uh how the fashion guys uh state it. Fancy look and feel. So
Jose Hughes: So just walk through it step by step. mean, is it fancy, everything I believe uh
Robert Roberts: Uh well
Jose Hughes: I
Robert Roberts: appar
Jose Hughes: believe it's fancy.
David Decastro: I believe it's fancy too.
Robert Roberts: Yeah,
Michael Howell: No.
Jose Hughes: Oh,
Robert Roberts: So
Jose Hughes: sorry.
David Decastro: Okay.
Michael Howell: Okay, so this these are the cr uh the criteria.
Robert Roberts: Yeah, I think these are the most important
Michael Howell: Okay,
Robert Roberts: criteria.
Michael Howell: well
Robert Roberts: So uh that's about
Michael Howell: the
Robert Roberts: it.
Michael Howell: then we'll switch to my presentation. Um
Michael Howell: The production costs. The costs are not under Can I
Michael Howell: Um this is the
Jose Hughes: Twenty two.
Michael Howell: Yeah, it's it's
Jose Hughes: Yikes.
Michael Howell: w way above um uh above the the the twelve Euro fifty. And what makes it very expensive is uh for example the solar cell.
David Decastro: Well it's
Michael Howell: So
David Decastro: very expensive.
Michael Howell: I guess we should skip that, because it's not that important.
David Decastro: Okay.
Jose Hughes: Why does the price and and the s oh, one uh exa
Michael Howell: Yeah, the
Jose Hughes: yeah.
Michael Howell: the price, the the number
Jose Hughes: The number
Michael Howell: of items
Jose Hughes: of uh
Michael Howell: and
Jose Hughes: yeah.
Michael Howell: the the sum.
David Decastro: Okay.
Michael Howell: Um well, this is what I would call our luxury model. Um
Jose Hughes: And and
Michael Howell: if you
Jose Hughes: does
Michael Howell: would
Jose Hughes: it
Michael Howell: if you look at the uh w w w what we could do to make it more um to make it just between the twelve Euro fifty, um then I did the following changes. Twelve Euro forty cents I came up with by leaving out the solar cells,
David Decastro: Mm-hmm.
Michael Howell: um by not using the voice recognition feature,
David Decastro: Mm-hmm.
Michael Howell: because it's uh it's a four Euro uh addition to the price. Um Yeah, I believe Uh, push-button, well It makes it the thirteen yeah. Push-buttons are buttons are are not the most expensive, but do add extra cost.
David Decastro: Hmm.
Michael Howell: So um yeah, th this design is not um within our price model.
David Decastro: Okay.
Michael Howell: Um
David Decastro: But I'm afraid it's not complete. Because we use spec uh specic uh special materials, the last item. And you have not added one item there.
Michael Howell: Yeah.
David Decastro: So it's c way too expensive.
Michael Howell: It's still too expensive, yeah.
Jose Hughes: But
Michael Howell: Um
Jose Hughes: that's that's only for the buttons. So
Michael Howell: I I guess
Jose Hughes: the button
Michael Howell: if we
Jose Hughes: we
Michael Howell: leave
Jose Hughes: can use
Michael Howell: the
Jose Hughes: plastic.
Michael Howell: if we leave this one out, um oh. And uh maybe not
Jose Hughes: And
Michael Howell: use
Jose Hughes: the pla
Michael Howell: the
Jose Hughes: uh
Michael Howell: special form.
Jose Hughes: And a plastic b just plastic buttons,
David Decastro: But
Jose Hughes: a plas
David Decastro: it
Jose Hughes: uh instead of rubber.
Michael Howell: It becomes a very dull remote
David Decastro: Yes.
Michael Howell: control, I know. But it's the board decision. Um And um yeah.
David Decastro: Well, b basically it when when this is our only option, we should even consider changing the casing, because I think there's very little added value in
Michael Howell: Yeah.
David Decastro: uh an enhanced case with these dull functions.
Michael Howell: Yeah, I
David Decastro: So
Michael Howell: know. Maybe we should look at an uh focus on another uh
David Decastro: Type of m maybe
Michael Howell: Yeah,
David Decastro: another
Michael Howell: m
David Decastro: market
Michael Howell: uh maybe
David Decastro: segment.
Michael Howell: not not all that fancy, but just way way more easy uh uh
David Decastro: Yeah.
Michael Howell: um basic
David Decastro: Yes.
Michael Howell: and uh m maximise the profits and um
David Decastro: That's maybe that's better.
Michael Howell: Yeah.
David Decastro: Maybe we could uh we should go for straight and simple,
Michael Howell: Yeah.
David Decastro: but that's not what uh has been asked.
Michael Howell: I know, I know.
David Decastro: So we should kick the board's uh Well
Michael Howell: Yeah. Although I think we yeah, but we could still make uh a remote control that ap uh um applies um more to young people uh by giving it another colour already.
David Decastro: Hmm.
Michael Howell: Um so it is possible to make uh uh a device that attracts a little bit more to young people.
David Decastro: Yes.
Michael Howell: Um but uh I agree it's it's not a fancy high-tech uh device. Definitely not, no. It's not that innovative. Or however you s pronounce that. Um
Jose Hughes: Yeah, too bad.
Michael Howell: so, okay. Um Oh, this is the wrong one. So uh that means redesign. We do not have the time o uh now to to redesign the product.
Jose Hughes: Mm-hmm.
Michael Howell: Um but we can evaluate the process and um uh uh the satisfaction on how things went. Um I'm not sure if we need to evaluate uh the device first. I guess
Robert Roberts: Um well, since we're not gonna manufacture it anyway
Michael Howell: Yeah. Yeah, that's true.
David Decastro: Well, maybe it's good to do it anyway, because if we
Michael Howell: We
David Decastro: evaluate
Michael Howell: l we can learn.
David Decastro: it, we we can also determine if our
Michael Howell: Yeah.
David Decastro: objectives are good.
Michael Howell: Yeah.
David Decastro: So
Michael Howell: I agree. Well
David Decastro: Is it fancy?
Michael Howell: I d it
Robert Roberts: Uh
Michael Howell: is it is
Robert Roberts: Yay. Is it? Is it fancy?
Michael Howell: Yeah,
Jose Hughes: Um
Michael Howell: I think
Jose Hughes: the yellow
Michael Howell: so.
Jose Hughes: rubber,
David Decastro: I think so.
Jose Hughes: I think so.
Michael Howell: You like the rubber, uh Roo.
Jose Hughes: I'm into it.
Robert Roberts: So uh one?
David Decastro: But
Michael Howell: Yeah.
David Decastro: it's not that fancy.
Michael Howell: No,
David Decastro: I
Michael Howell: I'll
David Decastro: mean
Michael Howell: I'll I'll give it a two.
David Decastro: I think uh I think it would have been more fancy if we used the titanium housing the casing. It would be
Michael Howell: You
David Decastro: even
Michael Howell: like
David Decastro: more
Michael Howell: tita
David Decastro: oh, you really like titanium. I'm I'm into it.
Michael Howell: That's a flavour as well.
David Decastro: It has flavour. Yes, that's right. You should taste it.
Michael Howell: Right. Um
Robert Roberts: Is it uh
Michael Howell: Yeah, I know, but but it but that's fancy in the way um I mean fancy has has a lot of
David Decastro: It has to do with fashion, I guess.
Michael Howell: Yeah.
David Decastro: So do
Jose Hughes: It's trendy
Robert Roberts: And
Jose Hughes: trendy,
Robert Roberts: w
Jose Hughes: fun
Robert Roberts: yeah,
Jose Hughes: yeah.
Robert Roberts: w what they want wanted was uh colours and soft materials. So
Michael Howell: Yeah.
Robert Roberts: in that way
Michael Howell: It applies. It
Robert Roberts: It
Michael Howell: yeah.
Robert Roberts: it's fancy.
Jose Hughes: Well, just
David Decastro: Okay.
Jose Hughes: give it a two.
Michael Howell: Yeah.
David Decastro: Yes. I
Jose Hughes: It's
David Decastro: think
Jose Hughes: not the
David Decastro: I
Jose Hughes: ultimate
David Decastro: th I think
Jose Hughes: uh fancy
David Decastro: it would have
Jose Hughes: two,
David Decastro: been
Jose Hughes: but
David Decastro: I would have think uh it could have been more fancy by using the double-curved case. It would have been even more fancy, but we decided not to, because if we use a double-curved
Jose Hughes: Yeah, but that's sti that's
David Decastro: case,
Jose Hughes: uh
David Decastro: we could not use solar. So
Jose Hughes: Looking at the user uh needs, we only uh don't we don't have the double-curved case. We w we do have uh the rubber, we do have the colours. That's two out of three.
David Decastro: Yes.
Jose Hughes: So I believe uh we are close uh to
Michael Howell: Yeah,
Jose Hughes: two.
Michael Howell: I I agree.
David Decastro: Yes, I agree too. It's okay. We did yes, we did good.
Robert Roberts: Okay, and uh was it innovative?
Michael Howell: Well, with the voice recognition feature and uh
Jose Hughes: But that's not in it.
Robert Roberts: Yep.
Jose Hughes: Ov or can we
Michael Howell: No,
David Decastro: Well,
Michael Howell: we
David Decastro: let's
Michael Howell: are
David Decastro: let's
Michael Howell: evaluating
David Decastro: this
Michael Howell: this
David Decastro: product.
Michael Howell: this uh design
Jose Hughes: Okay.
Michael Howell: now.
David Decastro: So
Michael Howell: This
David Decastro: I
Michael Howell: prototype.
David Decastro: I I think it is. I think it's innovative.
Michael Howell: Yeah.
Jose Hughes: And the scroll uh wheel. The solar not many remotes have the solar, I think.
David Decastro: No. It could have been a little bit more innovative u by using the kinetic uh energy source,
Robert Roberts: Yeah,
David Decastro: but
Robert Roberts: and
David Decastro: it's
Robert Roberts: uh
David Decastro: it's
Michael Howell: That
David Decastro: way
Michael Howell: would
David Decastro: too
Michael Howell: have been a thrill.
David Decastro: yes, but
Robert Roberts: So uh also a
David Decastro: I
Robert Roberts: uh
David Decastro: think
Robert Roberts: two?
David Decastro: uh
Michael Howell: Yep.
David Decastro: it's a two.
Robert Roberts: Is it easy to use?
Michael Howell: I'm
Jose Hughes: Yeah.
Michael Howell: not sure. I'm not sure.
Jose Hughes: Well yeah, the voice recognition of course is hard to learn, I think. Well, hard it's not for the for the e for the elderly.
David Decastro: Well,
Jose Hughes: They won't use it.
David Decastro: but there are two parts in this remote control. What you see here is is the basic part. Everybody can use it, so that's easy to use.
Michael Howell: Yeah.
David Decastro: That's for a novice user. When you have a more advanced, elaborate user, well, such a user really would like to explore all these additional functions. So in that in that way it is advanced,
Michael Howell: Yeah.
David Decastro: and I think it's easy to use for for both uh types of users. So
Jose Hughes: I think
David Decastro: uh It's maybe it's not very uh
Jose Hughes: I
David Decastro: easy
Jose Hughes: think a three.
David Decastro: for
Jose Hughes: Wouldn't give it more.
Michael Howell: Uh I'm doubting doubting as well. Um
Robert Roberts: Well the p the most important function is easy to use.
Michael Howell: Yeah.
Robert Roberts: The the zapping, channel switching, volume. But the more advanced functions are probably a bit harder.
Michael Howell: Okay. Uh two or three? Three? Wha wh what would be your guess? I mean
David Decastro: Okay.
Michael Howell: ease of use um does not only apply to the most basic functions. It's the uh it's it's overall. Is the device easy to use?
David Decastro: Yeah, that's right. You're right in that, but I I guess uh an advanced user will will find the voice recognition function easy to use,
Michael Howell: Yeah.
David Decastro: because he is already he or she is already an advanced user.
Michael Howell: Yeah.
David Decastro: So After
Michael Howell: Um
David Decastro: all, I think personally I would give a two. But
Michael Howell: Okay. Uh Roo, a three?
Jose Hughes: Yep.
Michael Howell: Ruud?
Robert Roberts: Good question. Uh I'll go uh for the two.
Michael Howell: Okay.
David Decastro: So, it's two, two and three. Two threes. So that's
Michael Howell: So I could
David Decastro: ten.
Michael Howell: make it
Jose Hughes: If
Michael Howell: e easy?
Jose Hughes: you make it a four
David Decastro: So that's
Jose Hughes: it will be three
David Decastro: w
Jose Hughes: in general.
David Decastro: No, two and a half.
Jose Hughes: If he makes it a four.
David Decastro: Six
Jose Hughes: Not a three.
David Decastro: and four. Six and four is ten. Divided by four is two and a half. So
Jose Hughes: Darn. Nee.
Robert Roberts: Hmm?
David Decastro: Yes.
Michael Howell: Roo.
Robert Roberts: Huh?
Jose Hughes: A seven, a three No.
Robert Roberts: Yeah.
Jose Hughes: A four
Robert Roberts: I
Jose Hughes: and
Robert Roberts: yeah.
Jose Hughes: a three together.
David Decastro: Four?
Jose Hughes: Yeah, you
Robert Roberts: Yeah,
Jose Hughes: have a two,
Robert Roberts: two,
Jose Hughes: he
Robert Roberts: two,
Jose Hughes: has
David Decastro: Two?
Jose Hughes: a two.
Robert Roberts: three
Jose Hughes: Three? And
Michael Howell: No,
Jose Hughes: a three?
Robert Roberts: No.
Jose Hughes: Nee. I know.
Michael Howell: Okay, but if I would say a three, then it's six, and four is ten.
David Decastro: Divided by four.
Michael Howell: Divided by four is two point
Jose Hughes: Yes.
Michael Howell: five.
Jose Hughes: So if you want to have the conclusion as a three three. Then you would make a four. If you fill out a four
David Decastro: That's
Michael Howell: But
David Decastro: not
Michael Howell: I'm
David Decastro: even
Michael Howell: filling in a three. Does it will so it will be a two point five.
David Decastro: But that's not possible to fill in,
Michael Howell: Yes,
David Decastro: so
Michael Howell: it
David Decastro: we have
Michael Howell: is.
David Decastro: to round it.
Michael Howell: I have a veto. Exactly. It's not about the content, it's about okay, um
Robert Roberts: Is
Michael Howell: is
Robert Roberts: it
Michael Howell: it
Robert Roberts: easy
Michael Howell: easy
Robert Roberts: to
Michael Howell: to
Robert Roberts: find?
Michael Howell: f Yeah, definitely.
David Decastro: Yes.
Jose Hughes: Yeah, we haven't re uh re uh really worked it out, but you
David Decastro: It
Jose Hughes: c you
David Decastro: it most
Jose Hughes: can
David Decastro: definitely
Jose Hughes: you
David Decastro: is
Jose Hughes: can
David Decastro: it's
Jose Hughes: just
David Decastro: very
Jose Hughes: say find
David Decastro: easy.
Jose Hughes: and he repeats find.
Michael Howell: Yeah, or beeps or yeah.
Jose Hughes: Yeah, but
David Decastro: Yes.
Jose Hughes: that's the that's the the
David Decastro: Maybe
Jose Hughes: basic idea
David Decastro: Uh
Jose Hughes: of the the
David Decastro: I
Jose Hughes: speaker
David Decastro: I think
Jose Hughes: uh
David Decastro: I
Michael Howell: I'm
David Decastro: think
Michael Howell: here, I'm here.
David Decastro: something like that. Maybe you have to uh programme it once,
Michael Howell: Yeah.
David Decastro: so to that l respond to uh a certain word or a
Michael Howell: Yeah.
David Decastro: certain sentence, something
Jose Hughes: But even
David Decastro: like
Jose Hughes: without
David Decastro: where
Jose Hughes: it
David Decastro: are you, and then it will sing I'm here.
Michael Howell: Yeah.
David Decastro: So something like that. So
Michael Howell: Well, I
David Decastro: I, th
Michael Howell: uh we should not uh stay too long on this subject uh because of the time, but
Jose Hughes: Yeah.
Michael Howell: I personally give it a one. Um Sebastian?
David Decastro: Yeah, Robert Roberts too.
Jose Hughes: Robert Roberts too.
Robert Roberts: Yeah, I agree.
Michael Howell: Right, well. The feel of the remote control is spongy. Well, uh it can't be more spongy. So
David Decastro: Well, it can be. There are cases um in which the outside casing is um can be uh how d how do you prono is
Jose Hughes: Was
David Decastro: is
Jose Hughes: it one of our options?
David Decastro: moldable. No, it's not
Robert Roberts: No.
David Decastro: one of our option,
Robert Roberts: Uh
Michael Howell: No
Robert Roberts: this
Michael Howell: okay,
David Decastro: but
Jose Hughes: So,
Michael Howell: but
Jose Hughes: in
Robert Roberts: this
Jose Hughes: the
Michael Howell: but
David Decastro: when
Robert Roberts: was
Jose Hughes: in
David Decastro: you look
Robert Roberts: a most
David Decastro: in the market,
Robert Roberts: spongy option.
David Decastro: when
Michael Howell: for the
David Decastro: you
Michael Howell: options
David Decastro: look
Michael Howell: given, it's the most
David Decastro: Uh
Michael Howell: spongy
David Decastro: yes,
Michael Howell: one.
David Decastro: but
Jose Hughes: Yeah.
David Decastro: that's not that's not uh what they are talking about, I think. Because we compare all these uh characteristics characteristics with uh market uh with
Michael Howell: Yeah.
David Decastro: with the real market. So
Michael Howell: Yeah.
David Decastro: there are uh remote controls out there which are a lot more spongy. They're
Michael Howell: They're
David Decastro: out
Michael Howell: out
David Decastro: there.
Jose Hughes: But
Michael Howell: there.
Jose Hughes: I think in this case in this case we've done the best we could.
David Decastro: Yes,
Michael Howell: Yeah.
David Decastro: but it's not good enough, so it's a two.
Michael Howell: I'll give it a one.
Jose Hughes: I wan I'll take one.
David Decastro: You take one? What do you give it?
Robert Roberts: Well yeah, it depends, 'cause it's the most spongy we could
Michael Howell: Yeah, I know, but you have
Robert Roberts: but
Michael Howell: to name a fig uh a
Robert Roberts: yeah.
Michael Howell: number. Because we need to go on in for the time.
Robert Roberts: Well, if I give it a one
Jose Hughes: It will be a
Robert Roberts: there'll
Jose Hughes: one.
Robert Roberts: be one hell of a calculation. So I'll just give it a two and make this a one point five.
David Decastro: No no no. Uh I'll I'll change it, I'll make it m my my mark will be a four.
Michael Howell: You are okay. The remote control offers enough features. Well, Ruud, what what do you think about it?
Robert Roberts: Well, the basic layout doesn't offem offer much, but the voice recognition could add a lot. So
David Decastro: Basically
Robert Roberts: Yeah, depends.
David Decastro: it's it's completely programmable.
Michael Howell: Yeah.
David Decastro: You can add very m much functionality by uh using the voice recognition mode.
Michael Howell: Yeah, I
David Decastro: So
Michael Howell: know.
David Decastro: it's quite advanced.
Michael Howell: What what we didn't talk
Jose Hughes: Yeah,
Michael Howell: about
Jose Hughes: but
Michael Howell: is
Jose Hughes: it
Michael Howell: um
Jose Hughes: ha
Michael Howell: uh
Jose Hughes: doesn't has the digits. I believe it's If you uh ask yourself it offers enough features, I don't I don't think it is it has all the features um a normal remote has.
Michael Howell: I think it has.
Robert Roberts: Uh depends on what you
Michael Howell: Yeah.
Robert Roberts: uh implement
Michael Howell: Bec
Robert Roberts: in the speech
Michael Howell: because
Robert Roberts: feat
Michael Howell: you can um we didn't talk about it, but you do have uh remote controls that are able to adapt another signal.
David Decastro: Yes.
Michael Howell: So, you place a a regular uh remote control in front of the other one, hit the one or the two or the three, whatever, and it r records the uh the um the
David Decastro: Has
Michael Howell: the
David Decastro: uh the signals
Robert Roberts: Signal.
David Decastro: sent
Jose Hughes: Yeah.
David Decastro: to
Michael Howell: signals.
David Decastro: it.
Michael Howell: So you could uh uh uh enter any comment you like, as long it's able to as long as our device is able to reproduce the infrared signal. So I think th this uh this is uh a a remote control with a very high level of features.
David Decastro: Absolutely.
Michael Howell: Although there are i a few buttons, but
David Decastro: Yes.
Michael Howell: the inside is is quite
David Decastro: But
Michael Howell: uh
David Decastro: that that's its
Michael Howell: advanced.
David Decastro: power, I guess, because uh a regular programmable uh remote control contains, well, uh really a lot of buttons.
Michael Howell: Yeah.
David Decastro: At at least uh forty buttons.
Michael Howell: Yeah.
David Decastro: So it's it's quite s complicated to get uh to get used to. And this is quite s simple. You can
Michael Howell: Yep.
David Decastro: use your voice to to programme it. It's
Michael Howell: Yeah. Okay, um let's give it a number. I'll give it uh a one. For for the for this t uh type of market, I think it's a one.
Jose Hughes: I'll give a two.
David Decastro: Yeah, I'll give it a one.
Robert Roberts: Um I think think a one, 'cause v with a voice recognition you could add anything you want, so that's like um
David Decastro: Yes. I I've I think we've uh succe succeed in in developing a product that's actually quite good, but not for this kind of market, and not for this kind of price. So
Michael Howell: Yeah. So high quality, low
David Decastro: Hmm.
Michael Howell: acceptance. The product is is is uh b high qua uh has a high quality and and is uh advanced.
David Decastro: Yes.
Michael Howell: But whether or not our clients are are um willing to pay twenty five Euros
David Decastro: Mm-hmm.
Michael Howell: for this kind of device is doub is well, is not sure.
David Decastro: Mm-hmm.
Michael Howell: D do you agree?
David Decastro: Yes, I agree.
Robert Roberts: Maybe
David Decastro: I
Robert Roberts: even because it doesn't look advanced.
Michael Howell: Yeah.
David Decastro: Yeah, okay.
Michael Howell: Maybe
David Decastro: But
Michael Howell: we should have a radar uh function.
David Decastro: Yes.
Jose Hughes: But we could couldn't uh what what's the selling price? Fifty?
Michael Howell: Twenty
Jose Hughes: Uh
Michael Howell: five Euros.
Jose Hughes: twenty five. And costs were twelve fifty.
Michael Howell: Yeah.
Jose Hughes: But even now, if only our production costs w uh were exceeded the double, Think. Production cost was were t uh was twenty two?
Michael Howell: Mm-hmm.
Jose Hughes: So uh selling price uh would be uh
David Decastro: M about fifty Euros.
Jose Hughes: yeah.
David Decastro: That's quite ex
Jose Hughes: That's
David Decastro: well,
Jose Hughes: price,
David Decastro: it's
Jose Hughes: but
David Decastro: not
Jose Hughes: w w
David Decastro: it's not very expensive for a remote control that
Jose Hughes: No.
David Decastro: that has this functionality.
Jose Hughes: An original remote control of any T_V_ kind, uh a Phillips remote control,
David Decastro: Yes,
Jose Hughes: y you
David Decastro: it's
Jose Hughes: pay uh
David Decastro: more than fifty Euros. It's quite expensive,
Jose Hughes: Yeah, I kn
David Decastro: yes.
Jose Hughes: I know uh from a few years ago, it it
Michael Howell: Bu
Jose Hughes: it
Michael Howell: but
Jose Hughes: costed hundred
Michael Howell: well
Jose Hughes: Gilders.
Michael Howell: yeah, I know, but you're paying for th for the brand, because there are uh remote controls which control your stereo, television, D_V_D_, C_D_
David Decastro: Yes.
Michael Howell: player,
David Decastro: Yes,
Michael Howell: for
David Decastro: but you can
Michael Howell: under
David Decastro: you
Michael Howell: twenty
David Decastro: c
Michael Howell: five Euros.
David Decastro: Yes, but you can learn this thing, all these functions. And it's
Michael Howell: Yeah.
David Decastro: easier to use because those uh remote controls don't offer voice recognition and this one does.
Michael Howell: Yeah.
David Decastro: So I think it's worth its price.
Michael Howell: Okay. Um you had an overall rating. Um
Robert Roberts: Yeah, but uh
Michael Howell: That's counting.
Robert Roberts: with these ratings uh
David Decastro: Well, it's it's about
Robert Roberts: should be about
David Decastro: one
Jose Hughes: Four
David Decastro: point
Robert Roberts: one point
Jose Hughes: six
David Decastro: five.
Jose Hughes: seven
Robert Roberts: s seven,
Jose Hughes: eight.
David Decastro: Something like
Robert Roberts: yeah.
David Decastro: that.
Michael Howell: Okay.
Jose Hughes: Nine divided by six.
Michael Howell: Okay. Um we'll go further on with the the rest of the evaluation.
Michael Howell: About the project itself, not about the product. Um What did you think about uh the process, the project process? Ruud?
Michael Howell: Try
David Decastro: Well
Michael Howell: to translate that.
Jose Hughes: Hmm.
Michael Howell: Any any other Uh,
David Decastro: Well,
Jose Hughes: Yeah,
Michael Howell: Roo?
Jose Hughes: I think
David Decastro: I think
Robert Roberts: Ye
Jose Hughes: uh
Michael Howell: Roo.
Jose Hughes: The process was good. But w um we weren't aware of the prices of the costs.
Michael Howell: Yeah.
Jose Hughes: And and that was the the big deal.
David Decastro: Mm.
Jose Hughes: I if we knew that before,
David Decastro: Actually,
Jose Hughes: we c we
David Decastro: we had
Jose Hughes: could have made the the choice
Michael Howell: Better
Jose Hughes: between
Michael Howell: decision.
David Decastro: Yes.
Jose Hughes: what yeah.
David Decastro: We had we had too little information actually.
Michael Howell: Yeah.
David Decastro: So And uh um the the the well, looking at room for creativity, there was w way too the the choice
Michael Howell: Less.
David Decastro: of components was way too narrow. So
Michael Howell: Yeah.
David Decastro: there was not really a process of uh
Michael Howell: So we could we we could be we could've been creative. But um
David Decastro: Well
Michael Howell: it was tempered by the choice of components and the
David Decastro: Yes.
Robert Roberts: The prices.
Michael Howell: the price.
David Decastro: Well, in the first meeting we we already were very creative. We we
Michael Howell: Yeah.
David Decastro: thought of possibilities who are not possible uh with the the current uh offer of uh manufacturing components. So
Michael Howell: Yeah.
David Decastro: We're tempered by that, yes.
Michael Howell: Okay, Roo? Any other thoughts on that?
Jose Hughes: No, no.
Michael Howell: Ruud?
Robert Roberts: I agree.
Michael Howell: You agree, okay. Uh leadership.
Jose Hughes: Fantastic.
Michael Howell: Okay, Roo's on for his promotion.
David Decastro: Yeah, okay.
Michael Howell: Okay.
David Decastro: I think we're a good team.
Michael Howell: I think so too, it's it's it's uh of course a laboratory environment. I missed it um to be able to contact you in between
David Decastro: Yes.
Jose Hughes: Yeah.
Michael Howell: and uh say uh, hey Roo uh. Um
David Decastro: Well, I tried once, but that was not allowed.
Michael Howell: Yeah. So um Yeah, but but si uh w w w when taken in account the the situation, uh I think we performed pretty well.
David Decastro: I think so too.
Jose Hughes: Yeah.
Michael Howell: Yeah. Um the means, the SMARTboard, the digital pen. Did you like
David Decastro: Uh.
Michael Howell: 'em?
David Decastro: The digital pen was okay, but SMARTboard was really bad.
Jose Hughes: Yeah.
David Decastro: It
Michael Howell: Because
David Decastro: it's
Michael Howell: of the response or
David Decastro: The response
Jose Hughes: Response
David Decastro: is
Jose Hughes: and
David Decastro: very slow and the possibilities are very limited. It's not accurate.
Michael Howell: Okay.
Jose Hughes: Uh it it
Michael Howell: Uh
Jose Hughes: has yeah. Yeah, it's not accurate. The p the pointing of the pen is not um the place where it it writes its um uh where it uh
Robert Roberts: Draws.
Jose Hughes: Yeah, where it draws. It's uh the drawing on on the b on the board is r right from the pen.
Michael Howell: Okay, so it
Jose Hughes: So
Michael Howell: it
Jose Hughes: uh
Michael Howell: had to be um
Jose Hughes: You to take
Michael Howell: better
Jose Hughes: in account
Michael Howell: aligned,
Jose Hughes: that
Michael Howell: or
Jose Hughes: your
Michael Howell: what's
Jose Hughes: you
Michael Howell: the
Jose Hughes: m
Michael Howell: word? Uh
Jose Hughes: yeah uh
Michael Howell: yeah.
David Decastro: Maybe it's it needs to be calibrateds.
Jose Hughes: It's too slow
Michael Howell: It it was calibrated just before this meeting. Uh
David Decastro: It
Michael Howell: the
David Decastro: is?
Michael Howell: one before, the third meeting.
David Decastro: Okay.
Michael Howell: So uh it's not the calibration, it's the thing itself,
Jose Hughes: Hmm.
David Decastro: Okay.
Michael Howell: I think. Uh Ruud, w uh did you use the pen a lot? Or
Robert Roberts: No.
Michael Howell: not at all? Not
Robert Roberts: Not
Michael Howell: at all.
Robert Roberts: really.
Michael Howell: Okay. I thought it was quite a handy
David Decastro: I
Michael Howell: uh
David Decastro: I think
Michael Howell: thing,
David Decastro: so too.
Michael Howell: although I would like to see um O_C_R_.
David Decastro: Yes.
Jose Hughes: Yep.
David Decastro: Yes.
Jose Hughes: If it has O_C_R_, uh I think uh I would use, but uh I I just uh took notes
Michael Howell: Yeah.
Jose Hughes: for myself and and and that's it. It w it w yeah. It was necessary for Robert Roberts to uh
Michael Howell: To digitise them.
Jose Hughes: Yeah, type it.
Michael Howell: Yeah.
David Decastro: Mm-hmm.
Jose Hughes: I type faster than I write. So
Michael Howell: Yeah.
David Decastro: But I think it's a great solution for uh for uh a known problem, uh writing down some notes, some some inf uh information, and then um forgetting your notebook somewhere
Michael Howell: Yeah.
David Decastro: and losing all that information. Because you have everything in one place and it's quite easy quite easy it's it's possible to make this information digital and share it with others in
Michael Howell: Yeah.
David Decastro: a quite easy way. I think it's a good product. I only think it's th the the shape of the pen is too big.
Michael Howell: Yeah.
David Decastro: It's not quite uh ergonomic.
Jose Hughes: Economic.
David Decastro: Eco ergonomic.
Michael Howell: I know. Yeah. Okay. Um What w Uh Ruud, what did you think about the SMARTboards?
Robert Roberts: Oh, I only use it to draw a rabbit,
Michael Howell: Yeah.
Robert Roberts: so
Michael Howell: Okay, you can't really
Robert Roberts: can't say
Michael Howell: decide.
Robert Roberts: much about it.
Michael Howell: No. I missed a feature to easily select uh a slide and uh distribute it to the laptops. I think that would be very easy if you could say okay, I want to use this for my own work or my own presentation further on or
David Decastro: Yes.
Robert Roberts: No, or the other
Jose Hughes: Yeah.
Robert Roberts: way around.
Michael Howell: Or the other way around, that you
David Decastro: Yes,
Michael Howell: could
David Decastro: yes.
Michael Howell: show but m
David Decastro: That's
Jose Hughes: But
David Decastro: quite what
Robert Roberts: Yeah.
David Decastro: PowerPoint
Jose Hughes: y you
David Decastro: does.
Jose Hughes: can if
Michael Howell: I
Jose Hughes: you
Michael Howell: know.
Jose Hughes: save this image, you can open it in your shared work folder.
Michael Howell: I know, but
Jose Hughes: So it's almost yeah.
Michael Howell: I know, but we couldn't use that feature, so I missed it.
Jose Hughes: Yep.
Michael Howell: We weren't able to do that. At least the um I wasn't explained how to
Jose Hughes: Mm-hmm.
Michael Howell: do such
Jose Hughes: A
Michael Howell: a th
Jose Hughes: and the function of of filling an an uh
David Decastro: An object,
Jose Hughes: an oval or
David Decastro: yes.
Jose Hughes: an an object.
David Decastro: Yes. The drawing
Jose Hughes: I
David Decastro: cap
Jose Hughes: it's not
David Decastro: capabilities
Jose Hughes: possible
David Decastro: are very limited.
Jose Hughes: yeah.
Michael Howell: Okay.
David Decastro: And and uh w you were when you're using uh Windows, you're used to a certain interface and certain buttons, uh which you can use for drawing.
Michael Howell: Yeah.
David Decastro: And a lot of these buttons don't appear here. So
Jose Hughes: Oh
David Decastro: it's
Jose Hughes: it looks
Michael Howell: Okay,
Jose Hughes: like
Michael Howell: so
Jose Hughes: paint
Michael Howell: y it it's
Jose Hughes: actually.
Michael Howell: not even as advanced as paint.
David Decastro: Not not uh n not way.
Michael Howell: Yeah.
David Decastro: It's quite uh limited.
Michael Howell: Okay. Uh no. Yeah, the project is evaluated. Um but, well, we need to redesign uh
David Decastro: Okay.
Michael Howell: the product.
David Decastro: Oh, very good, celebration.
Michael Howell: Celebrate.
David Decastro: Pop
Jose Hughes: Great.
David Decastro: uh pop up the champagne.
Jose Hughes: It
Michael Howell: Okay.
Jose Hughes: was a privilege working with you.
Michael Howell: Um you're dismissed. No, I think we are uh ready.
David Decastro: Okay.
Jose Hughes: To private rooms?
David Decastro: I see some action over there.
Michael Howell: Private room, Roo. That sounds quite scary.
David Decastro: Okay.
Michael Howell: No, let's find uh the way to.
David Decastro: uh we're done, we're finished, I believe. So, are there any more cycles in this process? I think not.
Michael Howell: I don't believe so. Well, maybe we'd get an email. Thank you for your
David Decastro: But um how much time did we get for this meeting?
Michael Howell: Forty minutes.
David Decastro: And how much time is left?
Michael Howell: A minute or or ten maybe. M
David Decastro: Ten minutes.
Michael Howell: Yeah, ten or five.
David Decastro: Okay. Okay.
Michael Howell: So, we can uh redesign our uh Uh I would like to
David Decastro: Well, I think we we we all know what the redesign should be. A simple, dull, uh one-coloured box.
Robert Roberts: And no added value.
David Decastro: No, it's
Robert Roberts: At
David Decastro: it's
Robert Roberts: all.
David Decastro: just the
Robert Roberts: So
David Decastro: same product that is already on the market.
Michael Howell: Oh.
Jose Hughes: But you see the problem, y
Michael Howell: Yeah.
Jose Hughes: you can't continue your uh your line. Well, it's fluffy alright. Spongy.
David Decastro: What is that?
Jose Hughes: A giraffe?
Michael Howell: Yeah.
David Decastro: It's a giraffe eating a eating leaves from a tree.
Michael Howell: It's blue
Robert Roberts: In
Michael Howell: tongue.
Robert Roberts: interesting design.
Michael Howell: Yeah. This is a new model. But
David Decastro: So you're actually promoting Bluetooth. Or blue tongue.
Michael Howell: Blue tongue.
Robert Roberts: Oh uh it it does uh have a natural uh feeling. So
Michael Howell: It's spongy.
Robert Roberts: Yeah.
Michael Howell: That
David Decastro: Blue
Michael Howell: is
David Decastro: tongue.
Michael Howell: uh it's a new feature next to Bluetooth to um disable all Bluetooth devices.
David Decastro: Okay.
Michael Howell: Um
Jose Hughes: Right.
David Decastro: Let's wrap it up.
Michael Howell: Yeah, we're done here. Gentlemen, thank you for your cooperation.
David Decastro: Thank you Mister manager. Now, let's have uh a bottle of champagne.
Jose Hughes: Leave it here.
Michael Howell: Yes.
Jose Hughes: That's alright. | Jose Hughes and David Decastro presented a prototype drawing of the remote control design. It can be used as a normal remote, but the speech recognition also provides a more advanced alternative interface. The speech recognition works as a finding mechanism as well. The rubber case is yellow with grey or black, with buttons either made of plastic or rubber. An extra button could activate/deactivate the voice recognition. The prototype proved extremely over budget. The main contributing factors were the solar cell and speech recognition. One way to compensate for the loss of features, but still attract their target group, would be to add more colour to the design. After the costing, the original prototype was evaluated on a scale of 1(excellent)-7(very bad). The criteria used were fancifulness (2), technological innovation (2), ease of use (2.5), whether it is easy to find (1), sponginess (1.5), number of features (1). Finally, the team evaluated the project process in terms of creativity (choices too narrow), leadership and teamwork (happy with it, but they missed communicating in between meetings), and means (SMARTboard was not satisfactory, but the digital pens were alright, but not too useful). The delay in providing costs of components was criticised. | 5 | amisum | train |
Jesus Green: Okay, good morning. This is our first
Warren Getty: Good
Jesus Green: team.
Warren Getty: day.
Benjamin Mccoin: Morning.
William Kinsey: Morning.
Jesus Green: I'll be your Project Manager for today, for this project. My name is Mark will be giving this presentation for you to kick the project off. That's my uh that's the agenda for today. Well, of course we're new to each other, so I'd like to get acquainted first. So let's do that first, I mean Let's start with you, can you introduce yourself? You're our Marketing Expert.
Benjamin Mccoin: Yes. Um my name is Dirk Meinfeld. Um I will be uh Pr Project Benjamin Mccoin. And I will see what the user wants and uh what we can do uh with the new produ project product.
Jesus Green: Okay, excellent. And
Warren Getty: Nick
Jesus Green: User
Warren Getty: Broer,
Jesus Green: Interface
Warren Getty: User
Jesus Green: Yeah.
Warren Getty: Interface Designer I'm. going to uh look at the technical design from the uh user point of view.
Jesus Green: Excellent. Okay.
William Kinsey: My name is Xavier Juergens, I'm the Designer, and there are three main questions that I have to find an answer to today. First one is uh what happens inside the apparatus, second
Benjamin Mccoin: Hmm.
William Kinsey: is what is uh the apparatus made of, and the third is what should it look like.
Jesus Green: What should it look like? Okay.
Benjamin Mccoin: Hmm.
Jesus Green: Oh, let's kick it off. Oh, there we go. So, our new project is about we need design a remote control for television set, so, which has to be original, trendy and user-friendly. I took this off our corporate website. It's I think well it sums up what we need to do. We're inspired by latest fashion, not only electronics, but also the latest trends in clothes and interior design. That's why our product will always fit in your home. So apparently we need to um be very at um very open to what's currently hot in the market. So that's what you need
Benjamin Mccoin: Yeah.
Jesus Green: to do to bring us the latest info and
Benjamin Mccoin: Yeah.
Jesus Green: what people want. So So we put the fashion in electronics. So that's what we need to go for. Anyway, we'll take this project in three steps, three pha uh three phase of design. First step will be the functional design.
Benjamin Mccoin: Yeah.
Jesus Green: And that's basically what we're gonna do. Everybody has uh a piece of individual work and a meeting afterwards, so we can share information about So I'm gonna keep this short, since we had a technical problem. So skip through this. Uh. Okay. Every meeting we everybody can present their uh their views and everything, so to help with these, you have we have the SMARTboards here. We can use a regular PowerPoint presentation. I'm supposed to give you an introduction on this doodling board, so it's actually it's very easy. Like it says, very simple, you just take out the pen. Like you see here, I'll just take the take here. That's it, you just put it on the board. You see a pen here. You go here, just like using a pen. You can just draw whatever you want. It's like the eraser, can erase whatever you want. And so it will be easy just to illustrate your views, if you wanna change the format, you just either take out jus just like the pen, and whatever you want, your current colour, your line width, just to make the line bigger. So it should be really easy.
Benjamin Mccoin: Okay.
Jesus Green: This is to take the just take a new slide and back again. We're just gonna keep using this board all the time, so I think it will be it's very clear for everyone, I suppose. So I'll take this out. Okay. We'll use that later. Anyway. Yeah, just just just stuff that you wanna share, just put it in the in the project folder, like I put my presentation now. I'll put the the minutes of every meeting, I'll put them there too, so everybody can read up if they have to leave early or whatever. So next, been here. Well, gonna give the electronic white-board uh a shot. So basic idea is we have a blank sheet. Just try whatever you want, and like it says, draw your favourite animal. I think the creative genius should go first.
Warren Getty: The creative genius? Thank you very much.
Jesus Green: So, draw us your favourite animal.
Warren Getty: Well, I'm more into the technical aspects of drawing, so I'm not really good
Jesus Green: Draw
Warren Getty: at
Jesus Green: us
Warren Getty: drawing
Jesus Green: a technical
Warren Getty: animals,
Jesus Green: animal.
Warren Getty: but uh the animal which I Oh.
Jesus Green: Yeah, it's still erasing.
Warren Getty: Pen. Uh format. Else my animal will be like king-size. I pretty much like a dolphin, because of its uh its freedom basically. A head. actually worked with this. It's like uh it's a very Uh high-tech. Bit low-responsive though. Prefer pen and paper.
Jesus Green: So that's what we don't want. We want a high-responsive product. So It looks more
Benjamin Mccoin: Very
Jesus Green: like nuclear
Benjamin Mccoin: nice
Jesus Green: bomb.
Benjamin Mccoin: dolphin.
Warren Getty: It doesn't look like a nuclear bomb. This thing isn't doing what I'm What I want. So
Jesus Green: Let's go easy on it.
Warren Getty: Yeah, well it does look like a nuclear bomb. I'll just finish up real soon, because I'm
Warren Getty: So it doesn't really look like a dolphin, but then
Jesus Green: Anyway,
Warren Getty: again,
Jesus Green: it should
Warren Getty: this
Jesus Green: It
Warren Getty: is all new
Jesus Green: It's
Warren Getty: for
Jesus Green: supposed
Warren Getty: Benjamin Mccoin.
Jesus Green: to be a dolphin, you like the freedom that
William Kinsey: Uh-huh.
Jesus Green: it that it represents.
Warren Getty: Like the ocean, like swimming. Do that in my spare time, so that's basically an
Jesus Green: What do you like? Okay. Well,
Warren Getty: Now we can forget
Jesus Green: our
Warren Getty: this
Jesus Green: Marketing
Warren Getty: ever
Jesus Green: Expert.
Warren Getty: happened.
Jesus Green: Show us an animal.
Benjamin Mccoin: Um an animal. I like
Jesus Green: Pick
Benjamin Mccoin: the elephant.
Jesus Green: a pick a pick a clean sheet. Oh.
Benjamin Mccoin: What?
Jesus Green: Take a clean sheet
Benjamin Mccoin: Yeah.
Jesus Green: first.
Benjamin Mccoin: Um
Jesus Green: Just press next. That's
Benjamin Mccoin: Oh
Jesus Green: it.
Benjamin Mccoin: yeah. Oh, a blank. Okay next, Free, I like the elephant. It's big, it's strong, so uh uh Oh, it's a little bit
Warren Getty: It's not
Benjamin Mccoin: You
Warren Getty: really
Benjamin Mccoin: have to
Warren Getty: that
Benjamin Mccoin: hold
Warren Getty: responsive,
Benjamin Mccoin: it, right?
Warren Getty: no.
William Kinsey: Mm.
Benjamin Mccoin: Hmm. It's a beautiful animal.
Benjamin Mccoin: Oh, you have to p press it pretty hard. With a smile on it, it's very important.
Jesus Green: It's a cute elephant.
Benjamin Mccoin: Yeah.
Benjamin Mccoin: And uh not to forget its tail. Oh.
Jesus Green: It's a nice beard.
Benjamin Mccoin: Yeah, it's okay.
Warren Getty: And you
Benjamin Mccoin: Yes.
Warren Getty: was making comments on my dolphin.
Benjamin Mccoin: I will beat the dolphin. No.
Jesus Green: Okay, so it's just a bee.
Benjamin Mccoin: Yeah.
Jesus Green: So I suggest you make us the elephant in the market. The big and strong player in the market.
Benjamin Mccoin: Yeah.
Jesus Green: This would be good.
Benjamin Mccoin: Yeah.
Jesus Green: Okay, excellent. On to the next one.
William Kinsey: Okay.
Benjamin Mccoin: Uh yeah.
William Kinsey: Okay, you should press
Benjamin Mccoin: Yeah.
William Kinsey: next.
Jesus Green: Press next. Yeah, it's up there.
William Kinsey: Okay.
Jesus Green: That's it.
William Kinsey: Okay, well the animal I'd like to draw is a tiger.
Warren Getty: You picked a hard one, didn't you?
Benjamin Mccoin: Experience with the tiger. What? They are
William Kinsey: They are really bad, my drawing
Benjamin Mccoin: Okay
William Kinsey: skills.
Benjamin Mccoin: uh-huh.
Jesus Green: Sure looks smooth.
Benjamin Mccoin: Oh.
William Kinsey: I'm not sure how the legs should go, but
William Kinsey: Uh these are stripes.
Warren Getty: Got it.
William Kinsey: I've picked this animal because it's very fast. It is uh it knows exactly what it wants. Uh it hardly ever wastes any resources.
Jesus Green: What does it want?
William Kinsey: Uh well, basically uh it hunts for prey, but it does it always in a very well-thought way. Uh it knows exactly what it wants. It never kills an animal uh just for the killing, so it's very efficient. And it tries to do everything as fast as possible.
Jesus Green: Okay.
William Kinsey: And it always goes for uh security, in seeking uh uh
Benjamin Mccoin: Mm.
William Kinsey: a hide spot and uh and doing everything, security, speed and efficiency is important. And I think uh those
Jesus Green: I agree.
William Kinsey: things we can use.
Benjamin Mccoin: Okay.
Jesus Green: Yay, I'm supposed to draw the animal next. I introduce to the world the amazing
Jesus Green: ant.
Benjamin Mccoin: Uh hard worker.
Jesus Green: Great team-workers.
Benjamin Mccoin: Yeah.
William Kinsey: Yeah.
Jesus Green: Do everything to Uh really small, but together they're really strong. So I'm
Benjamin Mccoin: Yeah, yeah.
William Kinsey: Oh.
Jesus Green: gonna give it a smiley face. Not sure where the p. Just put 'em here. Whatever. Think it need shoes. So
Jesus Green: That's the coolest ant ever.
Warren Getty: You've done this before, haven't you?
Jesus Green: I love to draw ants. It's my hobby. Anyway Nah. Just I think it's very representative what we drew, I guess. Like you take
Benjamin Mccoin: Yeah.
Jesus Green: just take your freedom and use a a trendy interface that you design for us. Just Yeah. You're supposed to make i make it different from uh from what other people have, and just make it a little distinct. Anyway. another beep to stop the meeting. See. Warning. Finish meeting now. Uh put this down. Examples. Well I guess we have a little little time extra, but Just a little quick discussion to to open open our work. So what do you guys think about The first idea is just very short. I'll start with you. What are y What are your first ideas for the new product?
Warren Getty: Well, I basically
Jesus Green: What
Warren Getty: had a question. Do uh Are we going to introduce a multi remote control? Is it just the T_V_ or do we want to
Benjamin Mccoin: Uh
Jesus Green: The project
Warren Getty: in
Jesus Green: I got was just for a T_V_ remote control.
Warren Getty: Just for T_V_
Benjamin Mccoin: Yeah.
Warren Getty: remote
Jesus Green: Yeah,
Warren Getty: control.
Jesus Green: I guess so.
Warren Getty: Okay. Well, I was
Benjamin Mccoin: But
Warren Getty: thinking about design remote control, with our uh motto and all. Uh thing to keep in mind is that we need to stick to what people are familiar with.
Benjamin Mccoin: Yeah.
Warren Getty: No rational changes or whatever, 'cause
Jesus Green: Okay,
Warren Getty: it
Jesus Green: so very
Warren Getty: revolutionary
Jesus Green: intuitive design,
Warren Getty: changes,
Jesus Green: I guess.
Warren Getty: yes. Uh we might have to consider other design aspects of our product. So that was something I wanted to add, and perhaps some usability aspect. T_V_ is becoming central in most homes. Do we want people who are disabled in any way to uh, yeah,
Jesus Green: Yeah,
Warren Getty: to be able
Jesus Green: we
Warren Getty: to
Jesus Green: want
Warren Getty: use it as well?
Jesus Green: I suppose we want almost everyone to be using it. So I think I mean, really disabled people, yeah, might be a problem, but I think it's a little take it into consideration. Um yeah. I think we really need to cut the meeting short. You have
William Kinsey: Hmm.
Jesus Green: anything you
Benjamin Mccoin: Uh.
Jesus Green: wanna share quickly?
William Kinsey: Only one thing uh that has to be added according to Benjamin Mccoin is uh the the material it is made of, it should be something light. That's
Warren Getty: Yeah.
William Kinsey: it speaks for itself, but
Jesus Green: It
William Kinsey: some
Jesus Green: should be
William Kinsey: uh
Jesus Green: light, okay.
William Kinsey: Yeah.
Benjamin Mccoin: Yeah.
Jesus Green: Um, let's see, where did I Let's skip that. Oh, this is it. Sorry, I skipped
Benjamin Mccoin: Selling
Jesus Green: this sheet.
Benjamin Mccoin: price.
Jesus Green: What do we This Quick What we're going to Selling price, twenty five Euros. That's for you. The production price, twelve and a
William Kinsey: Okay.
Jesus Green: half Euros, approximately. Just go go for that. We'll
William Kinsey: Okay.
Jesus Green: reach the uh reach that profit.
Warren Getty: Okay, well that's not that much
Benjamin Mccoin: international.
Warren Getty: to work with.
Jesus Green: No, it's not much to work on. I'm sorry, I skipped it. Anyways, that's Yeah, this is it. Do you have anything you you came up with yet? About uh marketing transfer, whatever?
Benjamin Mccoin: Um about what? Marketing?
Jesus Green: Marketing I'm not sure what you what you came up with yet. You have anything to share? Or else we'll cut the meeting just cut the
Benjamin Mccoin: Um
Jesus Green: meeting short since we're supposed
Benjamin Mccoin: no,
Jesus Green: to stop.
Benjamin Mccoin: not really yet, but
Jesus Green: Okay.
Benjamin Mccoin: I've some ideas and I will uh
Jesus Green: Anyways,
Benjamin Mccoin: say
Jesus Green: the
Benjamin Mccoin: it
Jesus Green: the
Benjamin Mccoin: uh
Jesus Green: personal coach will give you the your p your personal assignments and everything. So we'll just meet back in here thirty minutes.
William Kinsey: Okay.
Benjamin Mccoin: Okay.
Jesus Green: I'm sure we have that.
William Kinsey: Good luck everyone.
Jesus Green: Yeah, thanks for attending.
Warren Getty: Mm, good luck.
Jesus Green: I'll see you back here in thirty minutes.
Benjamin Mccoin: Okay.
Benjamin Mccoin: Yes. | The goal of the project is to design an original, trendy and user-friendly remote control for TV. The team comprises Jesus Green, Benjamin Mccoin, who is looking at user needs, Warren Getty, looking at usability, and William Kinsey, working on the engineering and materials. The project will be completed with three further meetings: the following meeting concerns the functional design. Jesus Green gave a quick overview of the equipment available. The remote needs to be produced for 12.50 euros in order to be sold for double that amount. The whole team tried out the SMARTboard, by drawing their favourite animals. Afterwards, they discussed briefly their first ideas, including the use of light materials and usability concerns. | 5 | amisum | train |
Jon Roy: Did you manage?
Walter Worley: Yeah, sh not quite.
Jon Roy: Okay.
Walter Worley: You will uh
Jon Roy: Ah. Hello.
John Neilson: Hello. So, are you d what were j you guys discussing?
Jon Roy: No, just uh ask if if he
Walter Worley: Woah.
Jon Roy: could manage.
Walter Worley: Yeah.
John Neilson: Okay. Did you find anything new?
Walter Worley: Mm uh nothing special. Uh
John Neilson: Mm-hmm.
Jon Roy: I have a lot
Walter Worley: Yeah,
Jon Roy: of
Walter Worley: the
Jon Roy: new information.
Walter Worley: for uh
John Neilson: Great,
Walter Worley: the trendy
John Neilson: great.
Walter Worley: uh stuff. A little
John Neilson: Come
Walter Worley: bit.
John Neilson: on.
Walter Worley: I uh now will show it.
Jon Roy: Hey, everything alright.
Patrick Wilcox: Well, I had
Jon Roy: Did you
Patrick Wilcox: just
Jon Roy: manage?
Patrick Wilcox: a little bit of time so
Jon Roy: Okay.
Walter Worley: Okay.
Patrick Wilcox: I hope it's something
John Neilson: What's uh here.
Patrick Wilcox: uh we can work with. But
Walter Worley: Yeah, I had the same. It just uh
Jon Roy: Do you have a lot of
Walter Worley: shuts
Jon Roy: new information?
Walter Worley: itself down and
Patrick Wilcox: Hmm?
Jon Roy: Do you have a lot of new information?
Patrick Wilcox: Well, I heard that there was a new uh component speech recognition component,
Walter Worley: Oh.
Patrick Wilcox: which was
Jon Roy: That's true.
John Neilson: And there
Patrick Wilcox: pretty
John Neilson: we are.
Patrick Wilcox: much up to standard, so
Jon Roy: Huh.
Patrick Wilcox: we might use that I put that in my drawing, but again I didn't not have that much time. So
Jon Roy: Alright. I have a lot
John Neilson: What
Jon Roy: of
John Neilson: the
Jon Roy: new
John Neilson: f oh, yeah
Jon Roy: information. I have
John Neilson: uh.
Jon Roy: a complete list of
John Neilson: It doesn't
Jon Roy: uh
John Neilson: do what I want
Jon Roy: everything that
John Neilson: it
Jon Roy: we can use, all the components that all av available.
Patrick Wilcox: Okay, that's just super. Let Walter Worley just
Jon Roy: I still don't have any finance information, but at least we have a lot more to go on now
Patrick Wilcox: uh
John Neilson: Okay fine, that's too bad.
Patrick Wilcox: You need to
John Neilson: Yeah, I have
Patrick Wilcox: start
John Neilson: to start
Patrick Wilcox: it up first?
John Neilson: our
Patrick Wilcox: Okay
John Neilson: 'Kay. Okay, go again. Well second phase, conceptual design. It's fine, everybody knows what we're talking about So.
Walter Worley: Yep.
John Neilson: take you past the minutes of last meeting again. Again you get your three presentate to see what you came up with. So too bad we don't have any finance information apparently. So that's too bad. So then we'll just have to d uh have to go on, you know, the information that we have to make the make final decisions on uh on a conceptual design. So Here we go. Anyway, last w last w what discussed last time, you all remember that, that we have to keep the electronics size in mind. Same goes for you. We have to have an easy design with big buttons which are durable and there are people actually spen willing to spend money to do to get more features and uh among those features L_C_D_ screen and voice recognition are very popular. So we have to make a move on that area, I guess. S especially s when when the new uh component is applicable in our uh product, we'll be fine. Anyways, well teletext wasn't important and that's what I took. And the consumer, yeah, we aim for young consumers, so that's fine. And well actually we yeah, we did need some more data on finances, but w yeah we still don't have that apparently.
Walter Worley: Mm uh-huh.
John Neilson: That's too bad. Yeah, we need to im de we are going to implement the beep and the flash thing to recover your remote. So one of these interchangeable covers apparently which will make it a more fashionable product. So anyway. Guess we'll have to do this after the after the you give your presentations. So I'll just close this one now, and let's uh let's see,
Patrick Wilcox: Okay,
Walter Worley: I
Patrick Wilcox: what
Walter Worley: bet
Patrick Wilcox: t
John Neilson: We have a lot to tell. You had a lot to go on. So uh how
Jon Roy: Yep,
John Neilson: about
Jon Roy: that's
John Neilson: you
Jon Roy: right.
John Neilson: go first.
Patrick Wilcox: Okay, yeah.
Walter Worley: Oh okay.
Jon Roy: Let's see where my presentation is. Okay, um this I mentioned before. Every feature for our remote control needs to have their own operating electronic devices. We need to take care of that. Then warning, uh there has to be a chip in our remote control. And the chip requirements uh needed for a normal button uh is just a simple chip, uh scroll-wheel, and L_C_D_ is an advanced. Of course this is more expensive than this. So we have to decide on that in a minute.
John Neilson: Okay.
Jon Roy: The available uh components for energy are, we have a basic battery, a hand an uh dynamo, like in uh old torches. We have a kin uh kinetic provision, then you have to shake the remote control to get the energy. And we have solar cells. I suggest that we uh decide on that one uh immediately. Then I have all lists. So My personal
Walter Worley: Um
Jon Roy: uh fav favourite is the kinetic provision because uh
John Neilson: Does it provide
Jon Roy: I ha
John Neilson: enough energy?
Jon Roy: I think so, yes.
John Neilson: Also if if we were choose the the L_C_D_ option,
Jon Roy: Yes.
John Neilson: would it give enough energy Okay,
Jon Roy: Yes.
John Neilson: that's the
Jon Roy: Because
John Neilson: just assume
Jon Roy: I had
John Neilson: it
Jon Roy: the
John Neilson: takes.
Jon Roy: information uh you take uh the remote control, you pick it up at least two times a day. So then it's already shaken and gives
John Neilson: Well,
Jon Roy: energy.
John Neilson: I'm not sure if it's
Patrick Wilcox: Is
John Neilson: shaken
Patrick Wilcox: that enough?
John Neilson: enough, because
Patrick Wilcox: Because I don't really see people
Jon Roy: Or
Patrick Wilcox: shaking their remote
John Neilson: No,
Patrick Wilcox: control
John Neilson: I don't
Patrick Wilcox: before
John Neilson: think so,
Patrick Wilcox: using
John Neilson: because
Patrick Wilcox: it.
John Neilson: uh watches can go on kinetic
Jon Roy: Think
John Neilson: energy because they move all the time. But I'm sure t I mean remotes lie
Jon Roy: Hmm.
John Neilson: still I think like
Jon Roy: Hmm.
John Neilson: ninety nine percent of the time. So I don't think that's a really good the other alternative were solar cells. I don't think that's applicable
Jon Roy: Other
John Neilson: because
Jon Roy: options are solar
Patrick Wilcox: No.
Jon Roy: cells, hand dynamo and basic battery.
John Neilson: I thin
Patrick Wilcox: And
John Neilson: why
Patrick Wilcox: what
John Neilson: why
Patrick Wilcox: does
John Neilson: shouldn't
Patrick Wilcox: the
John Neilson: we
Patrick Wilcox: hand
John Neilson: take a basic
Patrick Wilcox: dynamo
John Neilson: battery?
Walter Worley: Yeah.
Patrick Wilcox: oh,
Walter Worley: A
Patrick Wilcox: sorry.
Walter Worley: rechargeable maybe.
Jon Roy: Only basic battery? Okay,
John Neilson: Why
Jon Roy: but
John Neilson: not?
Jon Roy: I think
Walter Worley: Re
John Neilson: I mean
Jon Roy: this
John Neilson: everybody
Jon Roy: is
Walter Worley: rechargeable
Jon Roy: not a r.
John Neilson: everybody
Walter Worley: basi
John Neilson: knows how to use that. It's it's common. So and it's available
Jon Roy: Yeah.
John Neilson: everywhere. So why sh
Jon Roy: Yeah,
John Neilson: mm
Jon Roy: but
John Neilson: I
Jon Roy: I think
John Neilson: think
Walter Worley: Yeah.
Jon Roy: this rules
John Neilson: better.
Jon Roy: out our unit our rechargeable unit. This is really a
John Neilson: Yeah,
Jon Roy: really
John Neilson: but
Jon Roy: basic
John Neilson: it's
Jon Roy: battery, a normal battery.
John Neilson: Yeah, uh
Patrick Wilcox: Oh.
John Neilson: it wasn't it wasn't in the options,
Jon Roy: Huh?
John Neilson: a rechargeable m module actually.
Jon Roy: Okay, that's uh. Okay?
John Neilson: Okay yeah,
Walter Worley: Yep.
John Neilson: b you c of course you
Walter Worley: Basic.
John Neilson: could place re re-chargeable batteries. But that's up to the consumer himself. So
Jon Roy: Okay, but then we don't offer a re-chargement function. That's what it says.
John Neilson: Well, mm it's not in the list. So we cannot choose from it. So
Jon Roy: Exactly.
John Neilson: Okay,
Jon Roy: Alright.
John Neilson: will just
Jon Roy: Right.
John Neilson: take regular batteries.
Jon Roy: Yep.
Walter Worley: Okay.
Jon Roy: Next one is curving. Uh we can make a model that has one curve, two or three. And uh
Patrick Wilcox: Curves being?
Jon Roy: uh th uh the shape. Of course uh the more
Walter Worley: Okay.
Patrick Wilcox: Of
Jon Roy: curves
Patrick Wilcox: the
Jon Roy: the more expensive.
Patrick Wilcox: remote control
Jon Roy: Exactly.
Walter Worley: But
Patrick Wilcox: itself,
Jon Roy: Yes.
Patrick Wilcox: okay.
Walter Worley: But It
Patrick Wilcox: I
Walter Worley: dep
Patrick Wilcox: was thinking along the line of one curve. I'll show that in my design.
Walter Worley: But
Jon Roy: Hmm.
John Neilson: Okay, we'll get back
Patrick Wilcox: So
John Neilson: on that
Patrick Wilcox: we'll
John Neilson: later.
Patrick Wilcox: get
Walter Worley: Yeah.
Patrick Wilcox: back to that.
John Neilson: Just
Jon Roy: Hmm. I think one
Walter Worley: Yeah.
Jon Roy: curve is uh
John Neilson: But
Jon Roy: fine.
John Neilson: what were the implications
Walter Worley: Depends
John Neilson: if you if
Walter Worley: on the
John Neilson: put
Walter Worley: user.
John Neilson: more curves it it's gets more expensive.
Jon Roy: More expensive.
John Neilson: Okay,
Jon Roy: More difficult
John Neilson: so I
Jon Roy: to
John Neilson: think
Jon Roy: make.
John Neilson: with with the extras that we had there it's two curves I suppose.
Jon Roy: Exactly.
John Neilson: Okay.
Jon Roy: And I believe even that the r the number of options we have on putting things in it uh goes down
John Neilson: Also decreases,
Jon Roy: with
John Neilson: okay.
Jon Roy: exactly. Material. I have to offer a plastic, rubber, wood or titanium. Uh if we choose plastic, we cannot choose solar cells for energy. If
John Neilson: Okay.
Jon Roy: we choose titanium, uh we cannot use more than one curve. But we don't
John Neilson: More
Jon Roy: have that
John Neilson: than
Jon Roy: so
John Neilson: one
Jon Roy: fast.
John Neilson: curve, uh yeah
Patrick Wilcox: Okay,
John Neilson: okay.
Patrick Wilcox: I t
John Neilson: We'll just go
Patrick Wilcox: I'd
John Neilson: uh
Patrick Wilcox: go for plastic because
John Neilson: 'Cause
Patrick Wilcox: I
John Neilson: it
Patrick Wilcox: have
John Neilson: yeah,
Patrick Wilcox: a
John Neilson: I'm
Patrick Wilcox: couple
John Neilson: not sure.
Patrick Wilcox: of curves in my
Jon Roy: Mm.
Patrick Wilcox: design.
Walter Worley: Yeah.
Jon Roy: Mm.
Patrick Wilcox: Well, g let's
John Neilson: We'll discuss
Patrick Wilcox: just
John Neilson: that
Patrick Wilcox: get
John Neilson: later.
Patrick Wilcox: back
John Neilson: Okay,
Patrick Wilcox: to
John Neilson: we have
Patrick Wilcox: that.
Walter Worley: Yeah.
John Neilson: so I think
Jon Roy: Okay.
John Neilson: we can rule out um I'm not sure we can rule anything out. We'll do that
Jon Roy: No.
John Neilson: when y when you get your design.
Jon Roy: But I think wood is not an option either.
Patrick Wilcox: No, wood's
John Neilson: No, wood
Patrick Wilcox: not
John Neilson: i wood's
Patrick Wilcox: an
John Neilson: not
Patrick Wilcox: option.
John Neilson: an option.
Patrick Wilcox: No.
John Neilson: Well
Jon Roy: Okay.
John Neilson: it it's stylish, but we can yeah,
Jon Roy: Hmm.
John Neilson: but you can
Walter Worley: No.
John Neilson: change your covers anyway.
Jon Roy: Okay. My personal thought was uh rubber because I had an email, I believe it was from you,
John Neilson: Yeah, is
Jon Roy: uh
John Neilson: it
Jon Roy: f
John Neilson: keep in
Jon Roy: against
John Neilson: mind that
Jon Roy: falling.
John Neilson: it it's it's uh it fal uh remote controls fall a lot on the ground. So you don't want it to break. So either have rubber edges
Jon Roy: Hmm.
John Neilson: or a rubber remote control is
Jon Roy: Okay.
John Neilson: very durable. But
Patrick Wilcox: Yeah,
Jon Roy: Uh
John Neilson: Continue.
Patrick Wilcox: but it doesn't
Walter Worley: No.
Patrick Wilcox: have to be unbreakable, because we
John Neilson: Don't have to be un-breakable,
Patrick Wilcox: do need
John Neilson: it's
Patrick Wilcox: to keep
John Neilson: p it's
Patrick Wilcox: selling
John Neilson: a
Patrick Wilcox: these thing
John Neilson: it's not supposed to
Jon Roy: Mm.
John Neilson: ju yeah, break after one use.
Patrick Wilcox: Okay,
Jon Roy: Yeah.
John Neilson: I mean
Patrick Wilcox: well
John Neilson: it
Patrick Wilcox: that
John Neilson: they they
Patrick Wilcox: that's
John Neilson: fall a lot.
Patrick Wilcox: definitely
John Neilson: So
Patrick Wilcox: true.
Jon Roy: Mm. I think we have to decide on this anyway. Uh because if we make removeable covers, it has to be one of those mat materials. We have no more than this. So
Patrick Wilcox: Because it well, ru will rubber actually protect the remote control itself? Because
John Neilson: Well,
Patrick Wilcox: it
John Neilson: you have for if you if for example if you take hard plastic. If it falls it might crack. And rubber uh kind of
Patrick Wilcox: Yeah, but
John Neilson: softens
Patrick Wilcox: then you buy
John Neilson: the fall.
Patrick Wilcox: a new cover. But
John Neilson: I'm
Patrick Wilcox: rubber
John Neilson: not sure if it's the it's the entire cover you change. Uh, it's
Jon Roy: Mm-hmm.
Walter Worley: Are
John Neilson: could
Walter Worley: are
John Neilson: be.
Walter Worley: we focussi focussing
John Neilson: You know
Walter Worley: on on the
John Neilson: what, th we're focusing very much on the covers now.
Walter Worley: But
John Neilson: we're going for the basic design. If we wanna expand our options, f be fashionable, then we can get changeable covers. But I think the basic
Walter Worley: But
John Neilson: thing
Jon Roy: Mm-hmm.
John Neilson: let's just rule out wood for now and
Jon Roy: Okay.
John Neilson: continue.
Walter Worley: Not that but are we focussing on the uh younger people or the elder people?
John Neilson: We're definitely focussing on the younger
Walter Worley: Younger,
John Neilson: people, 'cause
Walter Worley: okay.
John Neilson: that was
Walter Worley: Yeah,
John Neilson: our
Walter Worley: that's okay.
John Neilson: main goal.
Walter Worley: Nah, that's
Jon Roy: Alright. Then I proceed, but I need to know after this meeting. So
John Neilson: Okay okay,
Patrick Wilcox: Okay.
John Neilson: we will.
Jon Roy: Interface, uh I have four things to offer, pu uh normal push-buttons of course. Um uh we have a lot of expertise on that one. We have a large history, our company, on
John Neilson: Mm-hmm.
Jon Roy: push-buttons. Scroll-wheels, uh those can be pushed as well, although that is more expensive. Um liquid crystal colour display and um What is this? Okay, and if we use rubber, I already mentioned that, we can only use rubber buttons. So rubber can only match with rubber.
John Neilson: Mm-hmm.
Jon Roy: Which one of those are we gonna use? Push-buttons, that's b uh I think
John Neilson: Evident.
Jon Roy: basic.
John Neilson: Yeah, o of course we're gonna use. But I didn't
Patrick Wilcox: Yeah,
Jon Roy: Huh.
Patrick Wilcox: of
John Neilson: I didn't
Patrick Wilcox: cour
Walter Worley: But
John Neilson: go on the thought of a scroll-wheel actually. I'm still deciding
Jon Roy: No.
John Neilson: on what what what could you use it for. Maybe
Jon Roy: I
John Neilson: for
Jon Roy: think
John Neilson: volume
Jon Roy: the channels.
John Neilson: control. Channel, I think that would be annoying
Jon Roy: Oh.
John Neilson: because it might accidentally scroll onto another channel.
Jon Roy: Yeah.
John Neilson: I think a push-button for channel would be better. I mean it for volume control it's
Jon Roy: Huh?
John Neilson: it's a smoother
Jon Roy: Huh.
John Neilson: motion, you can just increase or decrease. But
Jon Roy: Hmm.
Patrick Wilcox: Yeah,
John Neilson: not
Patrick Wilcox: but
John Neilson: sure.
Patrick Wilcox: there
John Neilson: For
Patrick Wilcox: is
John Neilson: channels
Patrick Wilcox: a
Jon Roy: But
Patrick Wilcox: is
John Neilson: will
Patrick Wilcox: it
John Neilson: be good.
Patrick Wilcox: really necessary 'cause a normal
John Neilson: I don't think so. I haven't I haven't
Patrick Wilcox: push-button
John Neilson: taken it
Patrick Wilcox: can
John Neilson: into
Patrick Wilcox: do
John Neilson: consideration.
Patrick Wilcox: that
Jon Roy: Huh?
Patrick Wilcox: job.
Jon Roy: Oh.
Walter Worley: But
Jon Roy: Ah
Walter Worley: th
Jon Roy: so but
Walter Worley: the
John Neilson: I
Jon Roy: it
John Neilson: don't
Jon Roy: looks
Walter Worley: younger
John Neilson: think
Jon Roy: cool.
John Neilson: we really
Walter Worley: people
John Neilson: need one.
Jon Roy: Mm
Walter Worley: my
Jon Roy: no.
Walter Worley: investigation turns out that the younger people want a little bit uh material
Jon Roy: Oh.
Walter Worley: that that
Jon Roy: Ah.
Walter Worley: is uh
Jon Roy: flashy
Walter Worley: spongy
Jon Roy: and yeah.
Walter Worley: and uh
Jon Roy: I think
Walter Worley: So
Jon Roy: would be cool, scroll-wheel. It's not that much uh if we take
Walter Worley: A
Jon Roy: a normal
Walter Worley: sc
Jon Roy: scroll-wheel without the pushing, then it's not expensive. We can do that.
John Neilson: But why
Patrick Wilcox: Yeah,
John Neilson: do
Patrick Wilcox: but
Jon Roy: Think.
John Neilson: we need
Patrick Wilcox: why
John Neilson: it?
Patrick Wilcox: would we use it?
Jon Roy: Ah we don't need it,
Walter Worley: Yeah.
Jon Roy: but it's uh it's
John Neilson: If we don't
Jon Roy: design
John Neilson: need it, why
Jon Roy: a design
John Neilson: put it in your
Jon Roy: thing.
John Neilson: why
Walter Worley: Yeah,
John Neilson: put it
Walter Worley: you
John Neilson: in your
Walter Worley: get
John Neilson: in your if it's if it's not something people are looking for or is useful.
Walter Worley: No.
Jon Roy: I think they are looking for that. Of course we
John Neilson: Are
Jon Roy: have
John Neilson: they?
Jon Roy: uh a young target group. So they might find that
Walter Worley: Scroll-wheel?
John Neilson: Yeah, but
Jon Roy: attractive
John Neilson: if it's
Walter Worley: Uh
Jon Roy: in
John Neilson: if
Walter Worley: I don't
Jon Roy: a remote
John Neilson: it's
Walter Worley: know.
John Neilson: not
Jon Roy: con
John Neilson: useful, I don't think it I don't think it gives an extra
Walter Worley: Yeah,
John Neilson: function
Walter Worley: that's it.
John Neilson: to the remote. Anyway
Jon Roy: Okay. So push-buttons we will use. Uh L_C_D_ screen?
Patrick Wilcox: Perhaps. I
Jon Roy: Is that
Patrick Wilcox: have
John Neilson: What
Jon Roy: s
John Neilson: you
Patrick Wilcox: t
John Neilson: what
Patrick Wilcox: I have
John Neilson: what'd you
Patrick Wilcox: two
John Neilson: get on
Patrick Wilcox: different
Walter Worley: Yeah.
John Neilson: the L_C_D_ screen? Is it expensive? Does it
Jon Roy: chip in it. And that is more
John Neilson: And
Jon Roy: expensive.
John Neilson: how much more expensive is that?
Jon Roy: I
John Neilson: Or
Jon Roy: have no idea. I have no absolute numbers.
John Neilson: No
Patrick Wilcox: Okay.
Jon Roy: I
John Neilson: absolute
Jon Roy: only have
John Neilson: numbers, but it's just more expensive and takes more room I suppose in your in your
Jon Roy: Yeah, but
John Neilson: design.
Jon Roy: I don't think room is really an issue.
John Neilson: Don't think it's an issue, okay. Oh let's go for let's say because it is uh very hot in n our target group I think, we should take it take it t to consideration to build an L_C_D_ screen in it.
Patrick Wilcox: I have two designs, one including uh
Walter Worley: For the
Patrick Wilcox: an
Walter Worley: future.
Patrick Wilcox: L_C_D_ screen,
John Neilson: Okay.
Patrick Wilcox: wh which is basically
Walter Worley: Yeah.
Patrick Wilcox: the deluxe edition. And then I also have a standard edition, which wi we can also choose
John Neilson: Which basically
Patrick Wilcox: to
John Neilson: has
Patrick Wilcox: develop
John Neilson: the same functionality,
Patrick Wilcox: too.
John Neilson: but
Walter Worley: Yep
John Neilson: lacks the L_C_D_ screen.
Patrick Wilcox: Exactly.
John Neilson: Okay.
Patrick Wilcox: But
John Neilson: We'll
Patrick Wilcox: we'll
John Neilson: pick a we'll pick from uh we'll just combine everything later.
Jon Roy: Mm-hmm. Okay. Electronics, uh the first one is the chip. Uh that's no longer an option, it has to be an advanced one now. 'Cause we have the L_C_D_
Patrick Wilcox: Yep.
Jon Roy: screen. Then we have an infrared sender, I think that's basic, we cannot do
Patrick Wilcox: Basically,
Jon Roy: without.
Walter Worley: Yep.
Patrick Wilcox: it
Jon Roy: Otherwise it's not s a remote
John Neilson: Mm-hmm.
Jon Roy: control. And we have the sample sensor and speaker, the voice recognition thing. Are we gonna do that or not?
John Neilson: Once
Patrick Wilcox: Oh,
John Neilson: again I was
Patrick Wilcox: I
John Neilson: would
Patrick Wilcox: got
John Neilson: ask you if it's expensive, but apparently you don't have any data.
Jon Roy: I
John Neilson: So
Jon Roy: only have uh uh relative
John Neilson: Well what d what
Jon Roy: information.
John Neilson: was exact what you got on the on the
Patrick Wilcox: I
John Neilson: new
Patrick Wilcox: got
John Neilson: component?
Patrick Wilcox: an email that it's relatively small.
John Neilson: That's small. So we can implement it.
Patrick Wilcox: Yes, let
John Neilson: So
Patrick Wilcox: Walter Worley just
John Neilson: why why if it's small and we can imp why shouldn't we?
Patrick Wilcox: Get back.
Jon Roy: Oh how did
John Neilson: And
Jon Roy: you
John Neilson: there's um
Jon Roy: That
John Neilson: get
Jon Roy: goes also
John Neilson: your mar
Jon Roy: for the scroll-wheel,
John Neilson: marketing
Jon Roy: by
John Neilson: report?
Jon Roy: the way.
John Neilson: What was uh the last number of how many people were interested in voice recognition?
Walter Worley: Um uh
John Neilson: Although it's hard for different countries of course.
Walter Worley: The most of them um
John Neilson: But you have to programme it yourself, I suppose, with your own voice.
Walter Worley: Um uh more than uh sixty percent.
John Neilson: More than sixty percent of the people would like
Walter Worley: Yeah.
John Neilson: voice recognition.
Walter Worley: Mean of uh seventy percent I think.
Jon Roy: Hmm.
Walter Worley: Uh I'm I have to look it up.
John Neilson: If it's small, if it's fits,
Jon Roy: Yeah.
John Neilson: if if people like it, why not?
Jon Roy: Hmm. But don't
John Neilson: So
Jon Roy: we have any w uh information about scroll-wheel? Scroll-wheel. If people
Walter Worley: No.
Jon Roy: would like that.
Walter Worley: No,
Jon Roy: That's strange, because that's the same
Walter Worley: only
Jon Roy: story. It's it's not necessary
Walter Worley: Ah. I don't
Jon Roy: like
Walter Worley: know.
Jon Roy: an L_C_D_, but it's just it adds something to the
John Neilson: Yeah, but we got some data
Jon Roy: design.
John Neilson: on people that actually are int are interested in that, and I
Jon Roy: Hmm.
John Neilson: don't think a scroll-wheel offers new functionality,
Walter Worley: On the most
John Neilson: whereas
Walter Worley: spee
Jon Roy: No.
John Neilson: speech recognition and L_C_D_ screen
Walter Worley: But
John Neilson: do offer new functionality in
Jon Roy: Oh
John Neilson: your
Jon Roy: that's
John Neilson: product.
Jon Roy: r But I think uh we now already have to uh implement uh an advanced chip.
John Neilson: Uh I think
Jon Roy: So
John Neilson: so, because
Jon Roy: it's
John Neilson: if
Jon Roy: m
John Neilson: I
Walter Worley: Yeah,
John Neilson: think we're
Walter Worley: for
John Neilson: specially
Walter Worley: the future.
John Neilson: w if you're going maybe uh if you have the two editions you wanna wanna give out, probably you have one with uh with speech recognition and
Patrick Wilcox: Well, they b they basically can have speech recognition. I mainly focused
John Neilson: Um
Patrick Wilcox: on the L_C_D_ uh aspect.
John Neilson: Yeah, hold on a minute. Were were you we're finished? Or
Jon Roy: No, but that's that's okay.
John Neilson: Oh. Because if there's something that
Patrick Wilcox: 'Cause you wanted to see them,
Jon Roy: There
John Neilson: 'Cause
Patrick Wilcox: right?
Jon Roy: is
John Neilson: have
Jon Roy: still
John Neilson: did
Jon Roy: time.
John Neilson: you have all the materials? Or everything
Jon Roy: Yes,
John Neilson: that you
Jon Roy: this
John Neilson: desc
Jon Roy: was uh the last M_S_. I have
John Neilson: Okay,
Jon Roy: a clear
John Neilson: so
Jon Roy: picture.
John Neilson: uh just just go for design for now. Just m have a seat for a second. Uh We'll combine everything
Patrick Wilcox: So this
John Neilson: after
Patrick Wilcox: is basically
John Neilson: this.
Patrick Wilcox: the deluxe edition.
John Neilson: Why is
Patrick Wilcox: I
John Neilson: it
Patrick Wilcox: j
John Neilson: s why is it squared?
Patrick Wilcox: Why is it square?
John Neilson: Why did you pick square? Or
Patrick Wilcox: It
John Neilson: uh not
Patrick Wilcox: 'cause it's
John Neilson: square,
Patrick Wilcox: designy.
John Neilson: but why is it yeah, sharp
Patrick Wilcox: It's basically
John Neilson: corners.
Patrick Wilcox: it has some futuristic Potentially,
Walter Worley: Yeah.
Patrick Wilcox: yeah. I don't really know. But I just
Walter Worley: People
Patrick Wilcox: thought that
John Neilson: Looks
Patrick Wilcox: uh
John Neilson: like
Patrick Wilcox: in
John Neilson: a Star Trek
Patrick Wilcox: normal
John Neilson: phaser.
Patrick Wilcox: remote controls you have like smooth curves and this and that, and this is something new, this is something different, something fresh.
John Neilson: It's true.
Patrick Wilcox: And basically what you
Walter Worley: Ri
Patrick Wilcox: can see here is that it has a little, yeah, let's say gap which you can put
John Neilson: Yeah.
Patrick Wilcox: your finger
John Neilson: Or
Patrick Wilcox: in.
John Neilson: Okay, so just yeah,
Walter Worley: So
John Neilson: you
Walter Worley: only
John Neilson: can rest
Walter Worley: r
Patrick Wilcox: So
John Neilson: it on
Walter Worley: right-handed.
Patrick Wilcox: you
John Neilson: your
Patrick Wilcox: can
John Neilson: finger.
Patrick Wilcox: you can
John Neilson: Okay.
Patrick Wilcox: hold it really comfortable, that's
John Neilson: Mm-hmm.
Walter Worley: But
Patrick Wilcox: basically
Walter Worley: it
Patrick Wilcox: the
Walter Worley: but
Patrick Wilcox: idea.
Walter Worley: it's only right-handed then. Not
Patrick Wilcox: Or
John Neilson: No,
Walter Worley: for
Patrick Wilcox: left
Walter Worley: the left.
Patrick Wilcox: hand.
John Neilson: it
Walter Worley: Or
John Neilson: just
Patrick Wilcox: I doesn't
John Neilson: uh it's
Patrick Wilcox: really matter.
John Neilson: a curve inside a thing.
Jon Roy: Hmm.
John Neilson: So
Patrick Wilcox: As you can
Walter Worley: Where?
Patrick Wilcox: see, this is the
Walter Worley: Wher
John Neilson: It's on the back.
Patrick Wilcox: remote control
Walter Worley: Oh in the back, okay.
Patrick Wilcox: Uh you can't really see
Walter Worley: Oh
Patrick Wilcox: it
Walter Worley: yeah
Patrick Wilcox: that
Walter Worley: yeah.
Patrick Wilcox: well, but this is the L_C_D_ screen.
Walter Worley: Okay.
Patrick Wilcox: So just imagine it goes that way.
John Neilson: Yeah,
Walter Worley: Oh
John Neilson: I think it's
Walter Worley: yeah
John Neilson: okay.
Patrick Wilcox: Then
Walter Worley: yeah.
Patrick Wilcox: you can
Walter Worley: Okay.
Patrick Wilcox: see you can hold
Walter Worley: Yeah.
Patrick Wilcox: it
Walter Worley: Yeah yeah.
Patrick Wilcox: in your left or in your right hand. And
Walter Worley: Yeah.
Patrick Wilcox: I also made
Walter Worley: I
Patrick Wilcox: a
Walter Worley: thought it
Patrick Wilcox: quick image, 'cause I did not have that much time, of the standard edition which has basically the keys are pretty much the same.
John Neilson: Keys are probably the n the number keys, I suppose.
Patrick Wilcox: Yeah. I had to do this really fast. So excuse Walter Worley for the uh inconvenience
John Neilson: Okay.
Patrick Wilcox: here, but as you can see, the keys moved.
John Neilson: Well, you can work on the actual concept or actual
Patrick Wilcox: Yeah.
John Neilson: design later with him.
Patrick Wilcox: So these
John Neilson: But
Patrick Wilcox: are basically the two types we have. So if we were to select the L_C_D_ screen, the transmitter here, you can see the light i
John Neilson: Well, I think what you have to keep in mind is that um you're moving the the the number keys from the top. Uh in the the simple design you have them at a top, and the uh complex design you have them at the bottom. So it would that would give us a totally different design. So which actually making a whole different product instead of two different models. I think it would be very expensive to produce two whole different products.
Patrick Wilcox: Well we can
John Neilson: So
Patrick Wilcox: shift that. But normally, as you can see there, we put the uh number buttons right on top. Whereas because we had the L_C_D_ screen here, we had to move them downward, so
John Neilson: Yeah, uh
Patrick Wilcox: what
John Neilson: or
Patrick Wilcox: you could say
John Neilson: for
Patrick Wilcox: is
John Neilson: example,
Patrick Wilcox: that
John Neilson: why did you pick the mm the numbers uh all the way below, and the and the channels and volume
Patrick Wilcox: Because
John Neilson: control
Walter Worley: Well
Patrick Wilcox: these are basically
Walter Worley: it it's
Patrick Wilcox: the functions
Walter Worley: yeah.
Patrick Wilcox: you use the most. So if you hold it in your hand like this, you put your finger in the gap, this is the m most easy part.
John Neilson: Okay.
Patrick Wilcox: Bit.
Jon Roy: Hmm,
Patrick Wilcox: For zapping,
John Neilson: That's
Jon Roy: I agree.
John Neilson: fine.
Walter Worley: Yeah.
Patrick Wilcox: cau
John Neilson: That's
Patrick Wilcox: because
John Neilson: fine.
Patrick Wilcox: people are zapping
John Neilson: Just as long
Patrick Wilcox: most
John Neilson: as you
Patrick Wilcox: of the time.
John Neilson: tak took it into consideration what people would prefer. Uh, okay if
Jon Roy: Hmm.
John Neilson: you all agree, I'm fine with it. But
Walter Worley: Yeah.
Patrick Wilcox: Okay. So that's pretty much ha which I had in mind. As you can see here, this can be spaced for extra keys, which is the design
John Neilson: Okay.
Patrick Wilcox: thingys.
Walter Worley: No it maybe it's better to look uh what the people want.
John Neilson: Yeah,
Walter Worley: So I
John Neilson: I
Walter Worley: can
John Neilson: think
Walter Worley: uh
John Neilson: we'll
Walter Worley: show my uh investigation.
John Neilson: I think we're going towards the deluxe edition anyway, because that seems
Walter Worley: Yeah,
John Neilson: to be
Walter Worley: maybe
John Neilson: what the
Walter Worley: it's
John Neilson: people
Walter Worley: better.
John Neilson: want. But let's see what's
Patrick Wilcox: Yeah.
John Neilson: what they want
Walter Worley: Especially
John Neilson: now.
Walter Worley: for young people.
John Neilson: Mm-hmm.
Walter Worley: Um where is that? Where is th
John Neilson: That's mine.
Walter Worley: Oh. Uh
John Neilson: No, you should send it to the f to the folder first.
Walter Worley: Yeah. Mm
John Neilson: Okay
Walter Worley: I forgot
John Neilson: um,
Walter Worley: that.
John Neilson: let's just assume we go to forty one.
Walter Worley: Okay, now it must be there. Yeah, here it is. Oh yeah.
Walter Worley: Okay, uh the investigation turns out that the most appear uh people want um um uh look and feel likes is uh uh the s the same as before, but it must be w a little bit fancier than uh the the look of it. Um the second important thing is um the it must be uh technol technological uh innova vative. So that's the L_C_D_ screen is perfect, I think, and not uh
Patrick Wilcox: Speech recognition.
Walter Worley: Yeah, tha that's uh very important. And a third thing is um yeah, it's uh should be easy to use, so not not too much bu buttons and uh channel selection. I think that's uh what you showed is uh perfect. And what the pe young people want is uh in Paris and and in Milan uh it showed out that the fruit and vegetables are uh are trendy.
John Neilson: Mm-hmm.
Walter Worley: Th they you s you see it in the clothes and everything. And um the contrast uh of it, it must uh the the buttons must a little bit spongy material. So uh
Jon Roy: Hmm.
Walter Worley: rubber, I think uh th that's
Jon Roy: No.
Walter Worley: the best.
John Neilson: Mm-hmm.
Patrick Wilcox: Then
Jon Roy: Yeah,
Patrick Wilcox: rubber
Jon Roy: uh
Patrick Wilcox: would
Jon Roy: I agree.
Patrick Wilcox: be the best as a material
Walter Worley: No.
Patrick Wilcox: indeed.
John Neilson: I think so.
Walter Worley: So
Patrick Wilcox: If
Walter Worley: we
Patrick Wilcox: that
Walter Worley: are
Patrick Wilcox: is
Walter Worley: uh
Patrick Wilcox: the uh
Walter Worley: we were focussing uh
Jon Roy: Okay,
Walter Worley: on the
Jon Roy: agreement.
Walter Worley: younger people.
John Neilson: Okay.
Walter Worley: So the elder, yeah, they wanted a little bit of wood in it and uh that's uh th that's not uh important
John Neilson: Okay,
Walter Worley: now.
John Neilson: so we're definitely
Patrick Wilcox: It could
John Neilson: going
Patrick Wilcox: be
John Neilson: for
Patrick Wilcox: a c
John Neilson: rubber.
Patrick Wilcox: it could be a
Walter Worley: Yeah.
Patrick Wilcox: cover. But it's not.
Walter Worley: Yeah,
Patrick Wilcox: Our focus
John Neilson: Let's just
Patrick Wilcox: is
Walter Worley: but
John Neilson: go
Patrick Wilcox: the young audience. So let's
Walter Worley: Yeah.
Patrick Wilcox: stick to that.
John Neilson: Uh-huh.
Walter Worley: 'Cause uh n I I I I thought uh it makes a young uh classic remote with uh
John Neilson: Nah, I think we're in this case you're losing the the focus on the
Walter Worley: Yeah,
John Neilson: young group, because
Walter Worley: that's
John Neilson: we're
Walter Worley: why I I d
John Neilson: that's what
Walter Worley: uh
John Neilson: we're focussing on. So I think
Walter Worley: decided
John Neilson: the spongy feel gives us rubber.
Jon Roy: Mm-hmm.
Walter Worley: With a fruit uh
John Neilson: Yeah, w th apparently
Walter Worley: cover ov or something
John Neilson: Yeah,
Walter Worley: like that. Uh
John Neilson: apparently yeah, maybe also yeah, I tend to disagree with with uh with a sharp form. I suppose it basi if you're uh saying fruits and vegetables, maybe it's supposed to be a little little
Walter Worley: Yeah,
John Neilson: more round.
Walter Worley: in in form of an uh vegetable or an uh fruit,
John Neilson: Yeah, for exa
Walter Worley: maybe.
John Neilson: maybe like
Patrick Wilcox: Yeah,
John Neilson: uh
Patrick Wilcox: but
John Neilson: like
Patrick Wilcox: that's
John Neilson: a
Patrick Wilcox: just
John Neilson: pear
Walter Worley: And
John Neilson: or
Patrick Wilcox: more
John Neilson: something.
Patrick Wilcox: a se a seasonal,
Walter Worley: Oh, where is your
Patrick Wilcox: a trend thing.
Jon Roy: That's true.
John Neilson: That's what
Patrick Wilcox: The
John Neilson: we're doing.
Patrick Wilcox: idea now is is
Walter Worley: A
Patrick Wilcox: is
Walter Worley: trendy
Patrick Wilcox: that you can uh put a cover on it, for example, with fruit, like a shape
John Neilson: Mm.
Patrick Wilcox: or whatever.
Jon Roy: Hmm.
John Neilson: I think shape
Patrick Wilcox: But
John Neilson: is
Patrick Wilcox: not
John Neilson: is important,
Walter Worley: Here he
Patrick Wilcox: 'cause
John Neilson: because
Patrick Wilcox: a
Walter Worley: here
Patrick Wilcox: n next
Walter Worley: you can
John Neilson: they s
Patrick Wilcox: year
Walter Worley: put
John Neilson: they
Patrick Wilcox: it
Walter Worley: a
John Neilson: really
Patrick Wilcox: will it'll
John Neilson: extend.
Patrick Wilcox: be something
Jon Roy: Hmm.
Patrick Wilcox: completely different.
Jon Roy: Oh,
Patrick Wilcox: And
Jon Roy: that's
Patrick Wilcox: then
Jon Roy: true.
Patrick Wilcox: you have your apple-shaped remote control, which is not trendy anymore. So
John Neilson: Yeah,
Patrick Wilcox: I think
John Neilson: but now
Patrick Wilcox: that's
John Neilson: you have
Patrick Wilcox: more
John Neilson: your
Patrick Wilcox: something
John Neilson: your
Patrick Wilcox: you can
John Neilson: like
Patrick Wilcox: focus
John Neilson: your Star Trek phaser thing shaped control. So I I th
Patrick Wilcox: Well, you
John Neilson: the
Patrick Wilcox: can
John Neilson: edges
Patrick Wilcox: s
Walter Worley: Uh maybe
John Neilson: are really
Walter Worley: it
John Neilson: really sharp. I'm
Patrick Wilcox: What
John Neilson: uh
Patrick Wilcox: you
John Neilson: not
Patrick Wilcox: can
John Neilson: su
Patrick Wilcox: do is smooth the edges indeed. But that will bring extra c expenses.
Jon Roy: Mm-hmm.
John Neilson: Or maybe just make it make
Walter Worley: But
John Neilson: it up into into a low a smooth curve instead of just less
Walter Worley: Yeah.
John Neilson: sharp twist
Walter Worley: All
John Neilson: on the outside.
Walter Worley: uh veg uh fruit and vegetables are round. So it's
Jon Roy: Mm-hmm.
Walter Worley: better
John Neilson: I think I think there needs to be a little I think it's too too sharp. The edges are too sharp. The
Walter Worley: Yeah.
John Neilson: bottom is fine of course if it's square. But maybe just th make uh the top a little round it off on the sides. So
Jon Roy: But I think,
John Neilson: I mean
Jon Roy: according
John Neilson: y
Jon Roy: to my information, this would be two curves.
John Neilson: That
Walter Worley: Two?
John Neilson: would
Jon Roy: We
John Neilson: be
Jon Roy: have
John Neilson: two
Jon Roy: one
John Neilson: curves.
Jon Roy: left and one right, and that disables what was it again?
Walter Worley: But
Jon Roy: It's
Walter Worley: it
Jon Roy: some it's something that we cannot do then.
John Neilson: One cur you could also make the curve go through of course. But that would make
Patrick Wilcox: Well
John Neilson: make the top round.
Jon Roy: Okay, that's not a problem.
Patrick Wilcox: For the
Jon Roy: That's
Patrick Wilcox: gap.
Jon Roy: only for the titanium. We don't have.
Walter Worley: But it's that that's for
Patrick Wilcox: And we
Walter Worley: the
Patrick Wilcox: could
Walter Worley: comfort.
Patrick Wilcox: have one here.
Walter Worley: It's it's not for the trendy thing of it.
Patrick Wilcox: No, no no no no. What I'm just 'cause you mentioned that more curves the more expensive, so I'm just
Walter Worley: Yeah?
Patrick Wilcox: taking that
Walter Worley: Okay,
Patrick Wilcox: into account.
Jon Roy: Yes.
Walter Worley: yeah.
John Neilson: But let's see, titanium would give us only one
Jon Roy: Then
John Neilson: curve.
Jon Roy: w yeah, but we don't
John Neilson: So but
Jon Roy: have
John Neilson: we're
Jon Roy: that.
John Neilson: not
Jon Roy: So
John Neilson: d we're
Jon Roy: we have
John Neilson: not
Walter Worley: So
John Neilson: using
Walter Worley: the
John Neilson: titanium.
Walter Worley: no.
Jon Roy: We have
Patrick Wilcox: Well
Jon Roy: no.
Patrick Wilcox: we picked rubber, right?
John Neilson: Right, we did. So
Jon Roy: But they
Walter Worley: We
Jon Roy: uh
Patrick Wilcox: So basically
Walter Worley: m
Patrick Wilcox: what we can do is m
John Neilson: Just doodle
Patrick Wilcox: make
John Neilson: something
Patrick Wilcox: these
Walter Worley: form.
John Neilson: on the board on
Patrick Wilcox: edges
John Neilson: the left.
Patrick Wilcox: a little bit less sharp. But the problem then is that it will start to resemble m the remote controls as we have them today. We were looking at something fresh, something trendy
John Neilson: Well actually, we're setting ourselves apart from by technology alone actually. So that let's see what you're doing.
Jon Roy: They th these wha are what they call the curves. This side,
John Neilson: Oh,
Jon Roy: this
John Neilson: okay.
Jon Roy: side, this is
Patrick Wilcox: Okay.
Jon Roy: how
John Neilson: I don't
Jon Roy: they count.
John Neilson: think like that. Not not really the curves on the on the side of the
Jon Roy: No
John Neilson: remote.
Jon Roy: no. This is what they uh what they mean.
Patrick Wilcox: Okay,
Jon Roy: Okay, that's not
Patrick Wilcox: so
Jon Roy: really
Patrick Wilcox: that's basically
John Neilson: Okay,
Jon Roy: a
John Neilson: now
Jon Roy: good.
Patrick Wilcox: silly.
John Neilson: I uh of course now I understand why they have more uh like um Why the curves um decrease the the um the size the electronics that can be inside. So Okay. I don't think the outside would be called as a curve really.
Walter Worley: Yeah.
Jon Roy: It's like this.
John Neilson: I think it's for all the basic well, looking from the side anyway. Well, if you see what I have to come up with some designs fast anyway. So
Walter Worley: But you can
Jon Roy: Hmm.
Walter Worley: make uh if you want to use a fruit in uh in uh
John Neilson: Okay.
Patrick Wilcox: But isn't
Walter Worley: Uh
Patrick Wilcox: the f the fruit like a cover thing, because we
John Neilson: Well, you shouldn't focus on the mostly
Walter Worley: Hey,
John Neilson: on the covers,
Walter Worley: you
John Neilson: because lot of things we came up with, shouldn't be too really too much shouldn't
Walter Worley: You
John Neilson: be
Walter Worley: can
John Neilson: too
Walter Worley: make
John Neilson: focussed
Walter Worley: it like
John Neilson: on the covers because
Jon Roy: Hmm.
Patrick Wilcox: No,
John Neilson: it's kind
Walter Worley: Like
Patrick Wilcox: but
John Neilson: of an
Walter Worley: this.
John Neilson: idea of our own, but we're not sure if
Patrick Wilcox: But
John Neilson: we can
Patrick Wilcox: if
John Neilson: actually
Patrick Wilcox: we put that
John Neilson: make
Patrick Wilcox: directly
John Neilson: that.
Patrick Wilcox: into the design, we limit ourselves extremely. Because it that's just for one
John Neilson: That's
Patrick Wilcox: seasonal
John Neilson: the one
Walter Worley: Well
John Neilson: thing I'm also
Patrick Wilcox: trend.
John Neilson: afraid of with this one because it
Walter Worley: Oh.
John Neilson: the edges are really um they might
Walter Worley: As
John Neilson: stick
Walter Worley: a
Jon Roy: Hmm.
Walter Worley: example.
John Neilson: out on the on the side
Walter Worley: But
John Neilson: for example. If you have
Walter Worley: I
John Neilson: a
Walter Worley: d
John Neilson: basic design, a little m a little smaller on the on the s on the edges, you could put more covers on it, y one one with square or um sharp corners
Patrick Wilcox: Okay,
John Neilson: if you want to.
Patrick Wilcox: so that's
John Neilson: So
Patrick Wilcox: well, that's
John Neilson: M
Patrick Wilcox: probabl,
John Neilson: just round it off a little, I guess, because
Jon Roy: Hmm.
John Neilson: so we have more options
Patrick Wilcox: you'd just
John Neilson: I suppose.
Patrick Wilcox: like it to go a little bit more like this.
John Neilson: I think so because it looks leaner and
Patrick Wilcox: Okay.
John Neilson: we should just go with that. Anyway,
Walter Worley: Hmm.
John Neilson: you have all the time in the world to make to make the final design in a minute with him. So So we decided on what what did you guys wanna know again because this is um anyway, I'll fire up my thing. So so
Patrick Wilcox: Did
John Neilson: we come
Patrick Wilcox: you
John Neilson: to a decision.
Patrick Wilcox: present e everything you wanted to?
Jon Roy: Yep.
Patrick Wilcox: Okay.
Jon Roy: So I can uh qui
John Neilson: Uh
Jon Roy: oh. I can quickly
John Neilson: what
Jon Roy: make a conclusion
John Neilson: the
Jon Roy: of what we have decided so far.
Patrick Wilcox: Uh we still need to decide on a couple of things you
John Neilson: Ah.
Patrick Wilcox: you needed to know.
John Neilson: Yeah. Okay, anyway. Uh energy, we choose regular regular batteries.
Walter Worley: Yeah.
John Neilson: The chip is advanced because we have the advanced features. The case, it will be the material will be rubber, suppose. Wouldn't the b the design we talked about. Uh user interface, type. Well I think we took all the components separately what we want. Um let's see um supplements. I'm not sure what they mean by that. Anyway, um apparently you guys, you should work together on the final design, both on internal and external design. So Yeah, you should you should probably find out how the product will fall into the market, how uh
Walter Worley: Yeah.
John Neilson: what's gonna happen with the final design as we have it now. So
Walter Worley: Yeah
John Neilson: Yeah, of course you've got your specific instruction as usual. So
Jon Roy: Hmm.
John Neilson: Wanna spend some more um I think we're in a pretty much in agreement actually, which
Jon Roy: Hmm.
John Neilson: is good. So
Patrick Wilcox: Are we all in agreement about the, well, the primary structure of the of my design?
John Neilson: Lef let's
Patrick Wilcox: Except for
John Neilson: see,
Patrick Wilcox: the
John Neilson: where
Patrick Wilcox: edges.
John Neilson: the pen go? Here.
Patrick Wilcox: Like the keys there.
John Neilson: Yeah uh open your thing again. Let's see what if you can come up with anything new. Um I'll just do a next one. So what would give us your ne your design would be the lights would be on top, right? Uh one
Patrick Wilcox: Yeah.
John Neilson: on each one on each side.
Patrick Wilcox: To create a kind of disco effect when you That was basically
John Neilson: Is
Patrick Wilcox: what
John Neilson: it
Patrick Wilcox: w
John Neilson: is it the lights for for finding the finding remote or lights that it
Patrick Wilcox: Light for
John Neilson: that
Patrick Wilcox: the finding of the remote. We can also use one light for showing that the signal is being sent. But
John Neilson: Yeah, I think that should just be a simple LED or something. Like that that's not that important of course. It just like a matter of a a beep if you pre that you just know that that there's context. So I don't think that's super important. But Hmm.
Patrick Wilcox: So we have the teletext we have here, we have the mute.
John Neilson: Uh sh
Patrick Wilcox: L_C_D_ screen. This
John Neilson: Oh.
Patrick Wilcox: is the on off button.
Walter Worley: And speech w recognition. Are we
Patrick Wilcox: Speech recognition, I
Walter Worley: We
Patrick Wilcox: where did I imagine. I did that pretty
Walter Worley: Little
Patrick Wilcox: much over
Walter Worley: uh
Patrick Wilcox: here,
Walter Worley: voice
Patrick Wilcox: so that you could
Walter Worley: uh
Patrick Wilcox: use it like this
Walter Worley: Record and a uh
Patrick Wilcox: and
Walter Worley: no.
Patrick Wilcox: speak to it. Then you have the uh extra keys for teletext, mute, two buttons which can be pretty much anything or nothing. We can also just not use them.
John Neilson: Let's see, I'll just make
Patrick Wilcox: Main controls and a key-pad.
Walter Worley: Yeah.
John Neilson: One light here. And just make it red now. But it could be any colour. So
Patrick Wilcox: Will be fine.
John Neilson: Okay, whatever. Fine, anyway. What do we have here? M I'll make it um are we gonna use square buttons or round ones actually? Personally I would prefer round ones.
Jon Roy: Walter Worley too.
Patrick Wilcox: Yeah, but that
Walter Worley: Form
Patrick Wilcox: would this
Walter Worley: of fruit.
Patrick Wilcox: was just in
Walter Worley: It's
Patrick Wilcox: the design.
Walter Worley: better.
Patrick Wilcox: Because if you
Jon Roy: Hmm.
John Neilson: Yeah,
Patrick Wilcox: I had
John Neilson: for
Patrick Wilcox: a square design. So I had
John Neilson: Okay.
Patrick Wilcox: square buttons. But in that case the round buttons would be
John Neilson: Okay,
Patrick Wilcox: more appropriate.
John Neilson: I assume it for so we take a r take a round power button right here. Whatever. Uh back to black. Uh not too big though. See this would be good. Um let's see. Are these for any extra controls?
Patrick Wilcox: Yeah. The
John Neilson: Okay.
Patrick Wilcox: left one is teletext and the right one is mute. And these two buttons are or not
John Neilson: Okay.
Patrick Wilcox: necessary or
John Neilson: If we go for for round buttons in general, do we want to the menu key in the middle to be round? For example, if you let's see, put it this here. I think we'll go with the triangles that Come on.
Patrick Wilcox: Yeah, the triangles would be best indeed.
John Neilson: Triangles are good. Yeah, they're a little too big now. But Anyway, okay. So do you want for example a round button in the middle or square one?
Patrick Wilcox: I personally think that a round b
Jon Roy: Hmm.
Patrick Wilcox: button looks bit silly, but
John Neilson: I'm
Walter Worley: Yeah.
John Neilson: not sure uh, I just just came up with it. This aligns nicely. So Okay. We'll just take the take the round button, suppose. Uh oh the square button, sorry.
Patrick Wilcox: Does everybody agree on that?
Walter Worley: Yep.
John Neilson: I suppose
Jon Roy: I would prefer
John Neilson: so.
Jon Roy: round. But doesn't
Patrick Wilcox: You
Jon Roy: matter,
Patrick Wilcox: prefer a round?
Jon Roy: doesn't matter.
Patrick Wilcox: Okay.
John Neilson: Okay.
Jon Roy: That's not a big deal, think.
John Neilson: So there's our numbers. Think we need an extra button here of course for yeah, like you had for the higher numbers. And you could include a button here for the mute, I suppose. For something else, just to
Patrick Wilcox: Yeah,
John Neilson: mirror
Patrick Wilcox: you can.
John Neilson: mirror
Patrick Wilcox: But it
John Neilson: the effect
Patrick Wilcox: but it's not
John Neilson: with this.
Patrick Wilcox: necessary, becau
John Neilson: That's not necessary because it you can take this away, but there it looks like there's a hole there, just to mirror the effect. Okay, so we have
Patrick Wilcox: We could
John Neilson: a
Patrick Wilcox: put
John Neilson: few
Patrick Wilcox: our logo there.
John Neilson: Nah, I think it it would be nice to put the logo here, for example, if you have some buttons here. We could put a logo here because it's very
Walter Worley: And what
John Neilson: always
Walter Worley: about
John Neilson: in your field of vision. If you're watching
Walter Worley: Oh.
John Neilson: it, the L_C_D_ screen, blah blah.
Walter Worley: What about a button for your uh favourite channel?
Patrick Wilcox: Oh that
John Neilson: Well
Patrick Wilcox: could
John Neilson: we could
Patrick Wilcox: be
John Neilson: we
Patrick Wilcox: that
John Neilson: could include
Patrick Wilcox: b
John Neilson: either
Walter Worley: Uh
John Neilson: here
Walter Worley: yeah. With the extra controls.
John Neilson: or here,
Walter Worley: Uh
John Neilson: for example. But you think
Patrick Wilcox: Well
John Neilson: here
Walter Worley: Uh
Patrick Wilcox: now
John Neilson: or here?
Walter Worley: one
Patrick Wilcox: it's getting
Walter Worley: one set
Patrick Wilcox: a little bit too crowded up
John Neilson: I know.
Patrick Wilcox: there. So
Walter Worley: Yeah,
Patrick Wilcox: Is your
Walter Worley: up uh
Patrick Wilcox: So it can basically be the button down below or one of the four buttons
John Neilson: No, we could
Patrick Wilcox: up there.
John Neilson: put
Patrick Wilcox: Because
John Neilson: this one as favourite
Walter Worley: One of
John Neilson: channel
Walter Worley: the four.
John Neilson: for exam
Walter Worley: Uh, it's better than, I think.
John Neilson: What
Patrick Wilcox: One
John Neilson: are these
Patrick Wilcox: of
John Neilson: for?
Patrick Wilcox: the four
John Neilson: Okay.
Patrick Wilcox: is
Walter Worley: It's a favourite
Patrick Wilcox: better, I
Walter Worley: channel.
Patrick Wilcox: suppose.
John Neilson: What?
Walter Worley: What? Nee, uh one of the four uh
Patrick Wilcox: Because it's
Walter Worley: It's
Patrick Wilcox: a little
Walter Worley: better
Patrick Wilcox: bit
Walter Worley: th
Patrick Wilcox: confusing to have twelve buttons down there, because you're only accustomed to eleven, I'd say.
John Neilson: You're accustomed to eleven? My uh okay, have it your way. I mean, think this looks rather
Patrick Wilcox: Oh, we still need
John Neilson: like
Patrick Wilcox: an okay
John Neilson: like there's something
Patrick Wilcox: button.
John Neilson: missing for example. I mean why wouldn't you include a 'cause there is a um a piece of electronics under there anyway. So why not
Jon Roy: Hmm.
John Neilson: give it a function.
Jon Roy: Hmm.
John Neilson: Let's say I mean could be anything.
Patrick Wilcox: Well, you could
John Neilson: But
Patrick Wilcox: also
John Neilson: th
Patrick Wilcox: shift the two buttons to be nicely aligned.
John Neilson: No, I don't think because this is a zero. But you want
Walter Worley: Yeah.
John Neilson: zero to be mis-aligned with the rest. Anyway, so this is the basic design, we wanna have um on and off what are we missing?
Patrick Wilcox: Oh,
John Neilson: If
Patrick Wilcox: we're
John Neilson: it
Patrick Wilcox: pretty
John Neilson: looks
Patrick Wilcox: much missing
John Neilson: um
Patrick Wilcox: an okay button, but we have a button up there
John Neilson: Okay,
Patrick Wilcox: which is still
John Neilson: so
Patrick Wilcox: free.
John Neilson: we want the
Patrick Wilcox: So
John Neilson: remote to be the s the side view actually, what I'm gonna draw. So Um probably think you want the curve to be here. So have your finger under here like this,
Patrick Wilcox: Yeah,
John Neilson: I suppose?
Patrick Wilcox: pretty much.
John Neilson: Okay. Just gonna be sh
Walter Worley: Hmm.
John Neilson: Yeah. Want this straight or what? Let's keep it at this. So it would be like this. Do we want something interesting with it or see. Would give us a light here. Maybe it's boring. You want it curved or what? Maybe you want
Patrick Wilcox: Well, I think
John Neilson: Should
Patrick Wilcox: it
John Neilson: like
Patrick Wilcox: looks
John Neilson: this?
Patrick Wilcox: better curved. But that's probably uh
John Neilson: Will give us
Walter Worley: Mm.
John Neilson: design
Jon Roy: Huh.
John Neilson: problem because we have
Jon Roy: It can be
Walter Worley: Why?
Jon Roy: curved.
Patrick Wilcox: It can be curved, because
Jon Roy: Yes.
Patrick Wilcox: that yeah, it's a little bit more
John Neilson: It can be
Patrick Wilcox: trendy
John Neilson: curved.
Patrick Wilcox: to
John Neilson: Okay?
Patrick Wilcox: be curved.
John Neilson: I think so. That's why I asked you. Okay. So
Jon Roy: I would curve the whole actually.
Patrick Wilcox: Hmm?
Jon Roy: I would curve the whole. Like um like it hangs over your hand a little bit.
John Neilson: Oh crap.
Walter Worley: Yeah.
Jon Roy: Then it will bounce and you don't drop it so easily.
John Neilson: Yeah. Oh. Anyway, so you want to a little more like this?
Jon Roy: Yeah, something like that,
Walter Worley: Uh-huh.
Jon Roy: yes.
John Neilson: And just s s
Jon Roy: Yes, exactly.
John Neilson: Stop the curve here or continue it
Jon Roy: I think continue like that.
Walter Worley: Yep.
Jon Roy: Then there's also
John Neilson: So we
Jon Roy: enough
John Neilson: have our L_C_D_
Jon Roy: room for the
John Neilson: screen.
Jon Roy: electronics.
John Neilson: Let's see.
Patrick Wilcox: But
John Neilson: In
Patrick Wilcox: it pretty much looks like a banana already.
Jon Roy: Yeah.
Patrick Wilcox: Uh
Walter Worley: Yeah.
Jon Roy: Let's make
Walter Worley: Perfect.
Jon Roy: it yellow
John Neilson: Bana
Jon Roy: then.
John Neilson: it's
Jon Roy: Uh
John Neilson: banana vision.
Patrick Wilcox: It's fruit.
Walter Worley: Yeah,
Patrick Wilcox: Yeah.
Walter Worley: it's perfect.
John Neilson: So you have your L_C_D_ screen right here, suppose. Um that would make We use the colours now. But Um
Jon Roy: Maybe once we can make a special edition in according with Chiquita. Have ourselves sponsored.
John Neilson: You got sponsor, now you get a free one with every pack of Chiquita.
Jon Roy: Uh but it's a good trade-off for them if they can have their logo on it.
John Neilson: So it would give the buttons
Patrick Wilcox: Or
John Neilson: here.
Patrick Wilcox: they can design their own cover.
Jon Roy: Mm-hmm. They might
Patrick Wilcox: We
Jon Roy: wanna
Patrick Wilcox: could
John Neilson: I
Jon Roy: be
Patrick Wilcox: set
Jon Roy: the
John Neilson: suppose
Jon Roy: first
Patrick Wilcox: up a
Jon Roy: ones
John Neilson: I suppose
Jon Roy: to
Patrick Wilcox: a
Jon Roy: uh
Patrick Wilcox: marketing
John Neilson: we can
Patrick Wilcox: uh
John Neilson: put
Walter Worley: Yeah.
John Neilson: um
Patrick Wilcox: agreement.
John Neilson: let's see. Um
Jon Roy: Oh, perhaps they can use it. Or give a special edition uh
John Neilson: Uh I suppose
Jon Roy: with with
John Neilson: we can put the batteries in here because it has the most space, for example.
Patrick Wilcox: Won't that be a problem with the L_C_D_ screen?
John Neilson: I don't think so because it's the biggest part of the
Jon Roy: Mm.
John Neilson: uh of the uh
Patrick Wilcox: Yeah, but the L_C_D_ screen probably needs quite
John Neilson: Let's
Patrick Wilcox: the chip.
Jon Roy: I think this is possible.
John Neilson: I think it's possible.
Patrick Wilcox: Okay.
John Neilson: I think it's the best place yeah, you could also
Jon Roy: Huh.
John Neilson: put 'em here. But
Jon Roy: It doesn't matter. You can actually uh place a chip for the L_C_D_ screen and at the bottom, and and wire it. Doesn't
John Neilson: Okay,
Jon Roy: matter.
Patrick Wilcox: Okay, that's not a
Walter Worley: Okay.
Patrick Wilcox: problem.
John Neilson: so
Patrick Wilcox: Okay.
John Neilson: we put the batteries here. That's fine. Yep. Blah.
Patrick Wilcox: I think we get the idea.
John Neilson: Um, any other com what what are we missing here? Something a speech recognition. Um where do we want the microphone, for example, to be? On the side
Walter Worley: Top?
John Neilson: or on the or,
Patrick Wilcox: Oh,
John Neilson: for
Walter Worley: W
John Neilson: example, on top?
Walter Worley: On
Patrick Wilcox: basically
Walter Worley: there.
John Neilson: Like here.
Patrick Wilcox: the idea that I had
Jon Roy: I think
Patrick Wilcox: was it
Jon Roy: on
Patrick Wilcox: to
Jon Roy: top.
Patrick Wilcox: be pretty
John Neilson: To be
Patrick Wilcox: much in combination with the transmitter. 'Cause you can talk to it like this.
John Neilson: Okay, I w thought
Walter Worley: No.
John Neilson: maybe it's either be here or because it's mi it might interfere with the transmitter, I'm not sure. But 'Cause transmitter would be
Patrick Wilcox: Well,
John Neilson: here.
Patrick Wilcox: the email said it was a quite a small component. So I don't
John Neilson: Why uh
Patrick Wilcox: see
John Neilson: once again,
Patrick Wilcox: that.
John Neilson: like you said, the component can be somewhere at the bottom while we wire the microphone up there. Anyway. Um yeah, it could be either be here or make a double microphone.
Jon Roy: Mm-hmm.
John Neilson: I wouldn't mind.
Jon Roy: It is, I believe, also able to talk.
John Neilson: It's able to talk to you.
Patrick Wilcox: It's
Jon Roy: I have a
Patrick Wilcox: a
Jon Roy: sample uh sample sensor and the speaker sensor.
John Neilson: A speaker sensor.
Jon Roy: Uh the speaker sensor we already have, but s I don't know what they exactly mean by a sample sensor. Could it talk back? Like uh g uh give confirmation or something. I think it can. I think if you have a a speech
Patrick Wilcox: Well,
Jon Roy: recognition
Patrick Wilcox: the
Jon Roy: component, then
John Neilson: I
Jon Roy: a
John Neilson: think
Jon Roy: s
John Neilson: so, it
Jon Roy: speaking
John Neilson: I think it could.
Jon Roy: component is not that hard to to put in either.
John Neilson: Yeah.
Walter Worley: Mm-hmm.
John Neilson: I mean it could be a all this stuff could be integrated into the L_C_D_ screen, which
Jon Roy: Hmm.
John Neilson: you could navigate with this, I suppose. Navigate
Jon Roy: Hmm.
John Neilson: through everything.
Jon Roy: Hmm.
John Neilson: If
Patrick Wilcox: Yeah,
John Neilson: you have
Patrick Wilcox: but do
John Neilson: I
Patrick Wilcox: you
John Neilson: think
Jon Roy: But
John Neilson: you sh I
Patrick Wilcox: actually
John Neilson: think the
Patrick Wilcox: need
John Neilson: advanced
Patrick Wilcox: the remote
John Neilson: options
Patrick Wilcox: talking
John Neilson: should be
Patrick Wilcox: back?
Jon Roy: Mm-hmm.
John Neilson: I think it sh
Jon Roy: Yeah.
John Neilson: the advanced option could also be integrated in the L_C_D_ screen, of course, because you don't have to have a button for everything. You can just navigate
Jon Roy: Hmm.
John Neilson: through th m your menu that you have here for advanced
Jon Roy: Hmm.
John Neilson: options with this. Think that would be fine.
Jon Roy: Mm.
John Neilson: So that's w m would be making use of the L_C_D_ screen.
Jon Roy: Hmm.
John Neilson: Mm.
Jon Roy: We already have a sound component, by the way, for the beep. So
John Neilson: Beep.
Jon Roy: beep.
Patrick Wilcox: Beep.
Walter Worley: Beep.
John Neilson: Um, so the flashing of the beep, we have well anything. We could Yeah, but you could put a speaker or something on on
Patrick Wilcox: At
John Neilson: the side
Patrick Wilcox: the back, yeah.
John Neilson: for example.
Jon Roy: Hmm.
Patrick Wilcox: Like that. Or at the side.
John Neilson: For
Patrick Wilcox: Which is.
John Neilson: how do you draw that again? Uh whatever, looks stupid.
Patrick Wilcox: So what's basically edi the editi idea, sorry, now?
John Neilson: I
Patrick Wilcox: We
John Neilson: think
Patrick Wilcox: need
John Neilson: this
Patrick Wilcox: to stay
John Neilson: is
Patrick Wilcox: here
John Neilson: pretty
Patrick Wilcox: and work out that.
Jon Roy: I'm not sure.
Walter Worley: Oh.
Jon Roy: I
John Neilson: I
Jon Roy: should be
John Neilson: think
Jon Roy: getting
John Neilson: you have to stay
Jon Roy: new information,
John Neilson: here
Jon Roy: I
John Neilson: because
Jon Roy: guess.
John Neilson: we are supposed to five minutes to finish the meeting. Oh, like my the info that I got was that you're uh we're gonna work on our own because you're gonna do the market market
Walter Worley: Yep.
John Neilson: uh analysing I'm supposed to do the little work on the year-end report. So the project report.
Walter Worley: Okay.
John Neilson: Hmm. Okay, I
Patrick Wilcox: Well,
John Neilson: think we're
Patrick Wilcox: I suppose we'll
John Neilson: everybody satisfied with the with the current design we have?
Jon Roy: Yes.
John Neilson: So we're s
Walter Worley: Ah, that's fine.
John Neilson: supposed to be rubber.
Patrick Wilcox: Pretty much.
John Neilson: I think well, I think the
Walter Worley: Round.
John Neilson: the remote control is gonna be black because we we forgot to
Walter Worley: Wh
John Neilson: talk about I
Walter Worley: Why?
John Neilson: mean the the company colours are important apparently. So we have
Jon Roy: But
John Neilson: the
Jon Roy: we
John Neilson: logo
Jon Roy: have
John Neilson: up there.
Jon Roy: any
John Neilson: So
Jon Roy: company
John Neilson: are we gonna
Jon Roy: logo.
John Neilson: base
Jon Roy: We have
John Neilson: colour is black?
Jon Roy: yes, but and yellow.
John Neilson: And yeah, of course we could use yellow buttons or yellow navigation or whatever.
Jon Roy: I would change. I would take a yellow
John Neilson: Yellow
Jon Roy: remote
John Neilson: but
Jon Roy: control.
John Neilson: yellow control. It's
Jon Roy: To have it flashy, to have it it's for young people.
Patrick Wilcox: Yeah, but when
John Neilson: Okay.
Patrick Wilcox: you use covers,
Jon Roy: Need do be different.
Patrick Wilcox: it
Walter Worley: It's the colour of
Patrick Wilcox: basically
John Neilson: Well,
Walter Worley: a
John Neilson: don't don't stick
Patrick Wilcox: easier
John Neilson: yourself on the
Patrick Wilcox: to
John Neilson: covers
Patrick Wilcox: have a
John Neilson: right
Patrick Wilcox: n
John Neilson: now.
Patrick Wilcox: have a neutral colour on the base.
John Neilson: But don't stick yourself on the cover because
Jon Roy: Hmm.
Patrick Wilcox: No, we're designing the remote control now, but taking
Jon Roy: But we need to
Patrick Wilcox: that
Jon Roy: be different.
Patrick Wilcox: into consideration, it's better
John Neilson: Nah.
Patrick Wilcox: to have a neutral base colour than to have a flashy
John Neilson: Yeah, but the info. I think
Walter Worley: But,
John Neilson: we should
Walter Worley: the
John Neilson: go
Walter Worley: you
John Neilson: with uh with the company colour because what specific
Jon Roy: Mm-hmm.
John Neilson: info that I got from the project board. So I
Walter Worley: The young
John Neilson: think
Walter Worley: people
John Neilson: we should go
Walter Worley: want
John Neilson: with that.
Walter Worley: uh a trendy uh
John Neilson: They want
Walter Worley: remote
John Neilson: something
Walter Worley: control.
John Neilson: trendy.
Walter Worley: So
Jon Roy: Huh. It's
Walter Worley: colourful
Jon Roy: either
Walter Worley: uh is
Jon Roy: black cover with yellow buttons or vice versa. And I would say take a yellow cover and black buttons.
Patrick Wilcox: It is more trendy. That's
John Neilson: I
Jon Roy: To
John Neilson: think
Jon Roy: be
Patrick Wilcox: definitely
John Neilson: we
Jon Roy: different.
John Neilson: should th
Patrick Wilcox: true.
John Neilson: then
Walter Worley: Yeah.
John Neilson: take it take yellow. Take what you c yellow remote control. So let's see if if we can do the LED onto it.
Walter Worley: You have the basic colours, blue,
John Neilson: Uh
Walter Worley: green,
John Neilson: oh.
Walter Worley: red.
Jon Roy: Yeah, we have so many colours already. So
John Neilson: You know what?
Walter Worley: Oh, it's
John Neilson: I'm
Walter Worley: okay.
John Neilson: not gonna do this.
Jon Roy: Oh no, that
John Neilson: That's up
Jon Roy: I
John Neilson: to
Jon Roy: think
John Neilson: you guys.
Jon Roy: it's good thing to be different than
Walter Worley: Yeah.
John Neilson: You doodle
Walter Worley: Colourful,
John Neilson: a doodle
Walter Worley: you
John Neilson: us a nice
Walter Worley: you
Jon Roy: Well
John Neilson: nice design for for the next
Jon Roy: Mm-hmm.
John Neilson: meeting, we'll be done. I think
Walter Worley: Yep.
John Neilson: we're all happy now.
Jon Roy: I still
John Neilson: Yeah.
Jon Roy: don't have
Walter Worley: Yeah.
Jon Roy: my scroll-wheel though.
John Neilson: Stupid
Jon Roy: Uh
Patrick Wilcox: Oh,
Jon Roy: that's
John Neilson: scroll-wheel.
Patrick Wilcox: where would you
Walter Worley: Yeah.
Patrick Wilcox: like to put it?
Jon Roy: Nah, that's true.
John Neilson: 'Kay I'm not sure uh I really, I'm no I have no clue what we could use the scroll-wheel for.
Patrick Wilcox: Uh you could use it for
Jon Roy: No,
Patrick Wilcox: the channels
Jon Roy: forget it.
Patrick Wilcox: and
Walter Worley: Oh yeah.
Patrick Wilcox: for the volume. But
Jon Roy: No
Patrick Wilcox: it's
Jon Roy: look,
Walter Worley: You
Jon Roy: it
Patrick Wilcox: has
Walter Worley: can
Patrick Wilcox: no
John Neilson: It takes space, a
Patrick Wilcox: real
John Neilson: lot of space.
Patrick Wilcox: added value.
Jon Roy: No,
John Neilson: And
Jon Roy: that's
John Neilson: it
Jon Roy: not
John Neilson: could
Jon Roy: my point. It's not because it's functional, but it's just to add to the design, to have it flashy.
Walter Worley: Ah
Jon Roy: It
Walter Worley: may
Jon Roy: it
Patrick Wilcox: Yeah,
Jon Roy: has
Patrick Wilcox: but if
Jon Roy: no
Patrick Wilcox: it
Jon Roy: function,
Patrick Wilcox: has
Jon Roy: I
Patrick Wilcox: no function,
Jon Roy: agree.
John Neilson: I'm not
Jon Roy: I
John Neilson: sure
Jon Roy: agree.
Patrick Wilcox: then
John Neilson: if it if it has no function, why even put it there?
Jon Roy: Oh, so
John Neilson: And
Jon Roy: many things
Walter Worley: But
Jon Roy: have
John Neilson: th
Jon Roy: no
John Neilson: that's
Jon Roy: function,
John Neilson: just so
Walter Worley: uh
John Neilson: much
Walter Worley: uh
John Neilson: things
Walter Worley: scroll
Jon Roy: just
John Neilson: that
Jon Roy: design.
John Neilson: make
Walter Worley: for
John Neilson: it look flash
Walter Worley: a channel s selection or volume
Jon Roy: Mm-hmm. Hmm.
John Neilson: I think channel selection would be annoying
Walter Worley: Ma
John Neilson: because it just c you could scroll past the channel
Jon Roy: Mm-hmm.
John Neilson: or
Jon Roy: Let's vote
Walter Worley: Oh
Jon Roy: on
Walter Worley: okay.
Jon Roy: it. Then we
John Neilson: Hmm.
Jon Roy: don't have to talk about it any longer.
Walter Worley: Oh okay.
Jon Roy: What do you want? In or out?
Patrick Wilcox: Basically out. I
Jon Roy: Okay.
Patrick Wilcox: don't see the
Jon Roy: You are out of course. You
Walter Worley: Out.
Jon Roy: are okay, clear.
John Neilson: No r no scroll-wheel. Okay. Um I don't see anything missing really. Yeah, we should
Patrick Wilcox: Do you
John Neilson: too
Patrick Wilcox: have
John Neilson: bad we
Patrick Wilcox: all
John Neilson: don't
Patrick Wilcox: your
John Neilson: have the
Patrick Wilcox: answers?
John Neilson: finance. We could've
Jon Roy: I have all my answers, yes.
Patrick Wilcox: Okay.
John Neilson: Yeah, it's I'm not sure if we're if we're gonna get finance anyway because I thought we cou I thought
Walter Worley: I
John Neilson: it was
Walter Worley: have
John Neilson: gonna be
Walter Worley: to
John Neilson: an
Walter Worley: call
John Neilson: issue
Walter Worley: this in a form.
John Neilson: at
Jon Roy: Hmm.
John Neilson: the first time we started. I thought it was
Jon Roy: Hmm.
John Neilson: gonna be a cost issue which
Jon Roy: Hmm.
John Neilson: material we were gonna take
Jon Roy: There is I
John Neilson: relative
Jon Roy: have one
John Neilson: to
Jon Roy: question.
John Neilson: the advanced chips or anything. So you just do whatever
Jon Roy: Hmm.
John Neilson: you like and
Jon Roy: Hmm.
John Neilson: uh
Jon Roy: I only
John Neilson: doesn't
Jon Roy: have one
John Neilson: care
Jon Roy: question
John Neilson: what it costs.
Jon Roy: with the material, but I don't have information that. We've
John Neilson: I think
Jon Roy: chosen
John Neilson: we're
Jon Roy: rubber.
John Neilson: rubber is not expensive.
Jon Roy: No,
John Neilson: Definitely.
Jon Roy: but can we make yellow rubber? I think so
John Neilson: You can make
Patrick Wilcox: Yes,
John Neilson: rubber in any
Walter Worley: Ah.
Patrick Wilcox: you
John Neilson: colour.
Patrick Wilcox: can colour
John Neilson: In
Jon Roy: Okay.
John Neilson: any
Patrick Wilcox: rubber,
John Neilson: colour. So
Patrick Wilcox: yeah.
John Neilson: I mean you can't make yellow titanium, but
Walter Worley: But
John Neilson: you
Walter Worley: we ha
John Neilson: can make
Walter Worley: w
Jon Roy: Mm.
John Neilson: yellow rubber.
Walter Worley: we
Jon Roy: Okay.
Walter Worley: don't uh use our reco uh we uh removable cover?
John Neilson: Uh yeah
Walter Worley: No,
John Neilson: we can
Walter Worley: huh?
John Neilson: make uh for example it's just something you can click on it like uh that's but it's not som not apparently that's not something we're working with in the
Walter Worley: Maybe
John Neilson: basic design.
Walter Worley: maybe
John Neilson: So.
Walter Worley: later, maybe
Jon Roy: Hmm.
Walter Worley: we can
John Neilson: Yeah, it
Walter Worley: uh
John Neilson: could be. It can be done, for e | For the conceptual design, Jon Roy suggested to use kinetic dynamo as energy source. The decision veered towards the basic battery option with no recharging station. They also decided to go for a single-curved design. The available materials for the casing are plastic, wood, rubber and titanium. Possible interfaces are push buttons, scroll wheels, and LCDs. The inclusion of advanced features, like LCD screen and speech recognition, can only be speculative, because the team have no pricing information. Patrick Wilcox presented two provisional designs, standard and luxury. The latter has an LCD screen at the top. They are both rectangular with a curve grooved in where the finger rests. There are two lights to help find the remote, all the standard buttons and speech recognition. Walter Worley talked about the public's preference for looks over technological innovation; however, they both seem to be more important than ease of use. The current fashion among younger people favours bright colours and fruit and vegetable themes and spongy materials: pertinent exchangeable fronts can express such trends on the remote. Based on Patrick Wilcox's drawing, they designed another version shaped slightly like a banana, and discussed the positions of buttons and all other components. | 5 | amisum | train |
Glenn Duran: Can
Francis Hoss: Uh
Glenn Duran: I close this?
Francis Hoss: we don't have any changes, do we So?
Glenn Duran: Oh,
Francis Hoss: no.
Glenn Duran: okay.
Glenn Duran: There we go. Okay, here we are again. Detailed design oh, come on. Well Ah s Forgot to insert the minutes, but it's about the same thing we discussed before. Uh Could open that anyway, think.
Glenn Duran: Other design anyway, we took as we took w we took rubber as as the material last time. We also that you're just busy with it. Took the advanced chip to t implement the advanced features. Well, we discussed the design, no sharp corners, we rounded it off, like you see on the other screen, which is fine. Um we agreed that the colour should be b uh yellow and black. Yellow in the back because it's m trendy, more trendy than black anyway. So then we ca yeah. We agreed that we would implement both the L_C_D_ and speech recognition, but I'll get to that in a moment. 'Cause some changes in the finances have left us implications anyway. So so,
Bradley Gardiner: Hmm.
Glenn Duran: like I said, we had no insight in finances, no prices, but we have 'em now, and it's bad. Anyway. We are Oh. Prototype presentation, well first you guys built the prototype. So you could could present that. But um let's see what be handy to do. Nee no, you just go ahead and present the w we'll scrap it later because
Benjamin Gardner: I think it's more or less the as we had.
Glenn Duran: What?
Francis Hoss: It's basically
Bradley Gardiner: Hmm?
Francis Hoss: what we agreed upon,
Glenn Duran: Oh
Francis Hoss: but just
Glenn Duran: that's
Francis Hoss: a little bit
Benjamin Gardner: No much
Francis Hoss: more specified.
Benjamin Gardner: s
Glenn Duran: hasn't changed that much, huh?
Benjamin Gardner: No no no, not at
Glenn Duran: I
Benjamin Gardner: all.
Glenn Duran: didn't expect anyway. You just coloured it.
Francis Hoss: Uh s Final design.
Francis Hoss: Basically in what we discussed, cover and buttons will be made of rubber, yellow colour, black components, as you can see right over here.
Glenn Duran: Mm-hmm.
Francis Hoss: We
Glenn Duran: I like the menu.
Francis Hoss: chose a different type of colour for the menu. A bit darker yellow so that it com really shows in this keypad.
Glenn Duran: Mm-hmm.
Francis Hoss: If you black, it's really that good a contrast. So
Glenn Duran: And I suppose the the the yellow is not printed on the on the rubber. It's it's part of the rubber, I suppose.
Francis Hoss: Probab Yeah.
Glenn Duran: I think that's more
Francis Hoss: That's
Glenn Duran: I think
Francis Hoss: the be
Glenn Duran: that's more durable anyway than
Benjamin Gardner: Hmm.
Glenn Duran: printed on to
Francis Hoss: And it I guess it's more easier to just paint
Benjamin Gardner: Yeah, of course.
Francis Hoss: it on the rubber than to uh
Bradley Gardiner: Mm
Benjamin Gardner: That's
Bradley Gardiner: yeah.
Benjamin Gardner: uh the integration story again.
Bradley Gardiner: Okay.
Francis Hoss: So we
Glenn Duran: Oh
Francis Hoss: have
Glenn Duran: yeah.
Francis Hoss: it's a bit round shaped, that's what we had uh We chose the buttons to be uh teletext, okay button, favourite channel and the mute.
Glenn Duran: Mm-hmm.
Francis Hoss: So that's basically what we chose there.
Glenn Duran: Okay.
Francis Hoss: If you have anything to add, please interrupt
Benjamin Gardner: No,
Francis Hoss: Bradley Gardiner.
Benjamin Gardner: uh this is just a description of what we see there. So
Glenn Duran: Yeah.
Bradley Gardiner: Yeah
Francis Hoss: Oh.
Benjamin Gardner: Speaks for itself.
Francis Hoss: That's pretty much it.
Glenn Duran: Okay. Now it's my time to ruin everything. Well, not ruin everything, but
Francis Hoss: Oh
Glenn Duran: no,
Francis Hoss: sorry.
Glenn Duran: nah. Finances, that's what we have here, what you drew. We have battery power, we have advanced chips and the sam the sensor. The sample sensor and uh for speak recognition anyway. So which you see the which is de o one of the most expensive parts. So well, we have sin one curve, a design. Rubber design. And we had a special colour. Suppose yellow is a special colour. So just half a Euro for You have pushbuttons and an L_C_D_ display. You have the total of seventeen Euros in
Benjamin Gardner: Hmm.
Glenn Duran: production cost, which is higher than the twelve and a half that we are permitted to use. So,
Bradley Gardiner: Hmm.
Glenn Duran: easy. What do we scrap. Well
Benjamin Gardner: I
Glenn Duran: think
Benjamin Gardner: d
Glenn Duran: I had the best solution that I came up with is just to s take out the speech recognition.
Benjamin Gardner: Yeah.
Francis Hoss: I'd say that
Glenn Duran: Because
Francis Hoss: too.
Glenn Duran: the L_C_D_ has more support on customer
Benjamin Gardner: Hmm.
Glenn Duran: side. There are ninety one percent of uh the people, or something like that. But ninety percent who favour an L_C_D_ display, and only sixty percent that favour speech recognition. I think it's
Francis Hoss: Uh we don't
Glenn Duran: also
Francis Hoss: really
Glenn Duran: harder
Francis Hoss: have
Bradley Gardiner: Yeah.
Glenn Duran: to.
Francis Hoss: a extra function with the speech sample, which you can't do with a normal
Benjamin Gardner: Hmm.
Francis Hoss: remote control, which people already do. So
Glenn Duran: So I ju I took that out. So and so it's still stuck with thirteen, so I had to take out the special colour I suppose. And, yeah, I didn't see anything else I could take out. Yeah,
Bradley Gardiner: Pushbut
Glenn Duran: I could take out the push-buttons, but we need those.
Benjamin Gardner: Huh.
Glenn Duran: So,
Bradley Gardiner: Special colour,
Glenn Duran: generally
Bradley Gardiner: yeah.
Glenn Duran: what I came up with, in order to be cou to to have production cost of twelve and a half Euros, spe scrap speech recognition and the separate covers can account for the if people want it, we'll just then we'll do it in black. We'll just deliver it in black, have the it has all the function that it's supposed to have, and if you want it if you want the custom design, then you can buy the separate covers. You
Francis Hoss: Well,
Glenn Duran: make it
Francis Hoss: I'd
Glenn Duran: d orange
Francis Hoss: I tend
Glenn Duran: or whatever
Francis Hoss: to
Glenn Duran: you want.
Francis Hoss: disagree with you on that, because the trend issue was a big issue when
Glenn Duran: It
Francis Hoss: we
Glenn Duran: was
Francis Hoss: started
Glenn Duran: a big
Francis Hoss: designing
Glenn Duran: issue, but
Francis Hoss: this. So can't we just
Glenn Duran: I'll
Francis Hoss: basically
Glenn Duran: just go back. Uh let's
Francis Hoss: extend
Glenn Duran: just let's
Francis Hoss: it
Glenn Duran: see
Francis Hoss: to
Glenn Duran: what
Francis Hoss: thirteen?
Glenn Duran: okay, let's just see what we no, we we have to be
Bradley Gardiner: Yeah,
Glenn Duran: under
Bradley Gardiner: it
Glenn Duran: twelve and a half. It
Bradley Gardiner: The
Glenn Duran: it's
Bradley Gardiner: p
Glenn Duran: not uh
Benjamin Gardner: Okay,
Glenn Duran: the project
Benjamin Gardner: but there's
Glenn Duran: is a
Benjamin Gardner: another
Glenn Duran: no-go
Bradley Gardiner: And
Benjamin Gardner: problem.
Glenn Duran: if
Bradley Gardiner: the
Glenn Duran: we
Bradley Gardiner: p
Glenn Duran: go over twelve and a half,
Francis Hoss: Okay.
Glenn Duran: so.
Benjamin Gardner: But there's another
Bradley Gardiner: What
Benjamin Gardner: problem. we take cover, for instance black, then we need button, 'cause black and black doesn't work obviously.
Glenn Duran: I think you that's what you were ass assigned to do really, to
Benjamin Gardner: Huh.
Glenn Duran: to see how b th both those work together.
Benjamin Gardner: Huh. Yeah.
Glenn Duran: So I think yeah, it's I think it's y one of the it's a good way to um to help people
Benjamin Gardner: Hmm.
Glenn Duran: uh to make to keep the product trendy too.
Benjamin Gardner: Hmm.
Glenn Duran: Just keep you just make new covers for the for
Benjamin Gardner: Right.
Glenn Duran: it, like we agreed before.
Benjamin Gardner: I agree.
Glenn Duran: And everything that's left is is the basic function that uh that we want our product to have. Because the expensive parts are in either the advanced chip. But we need that for the L_C_D_
Francis Hoss: Yeah.
Glenn Duran: display.
Benjamin Gardner: Mm-hmm.
Francis Hoss: We do.
Glenn Duran: Then again, we have the L_C_D_ display, which is also expensive. B yeah, but those go together. And yeah, we could take out the curve.
Benjamin Gardner: Or say let's
Francis Hoss: We
Benjamin Gardner: lose
Francis Hoss: could take
Benjamin Gardner: rubber,
Francis Hoss: out
Benjamin Gardner: take
Francis Hoss: a
Benjamin Gardner: plastic.
Francis Hoss: curve indeed.
Glenn Duran: Could we could take out the curve. Is that an option?
Benjamin Gardner: Yes.
Glenn Duran: you?
Benjamin Gardner: Although
Bradley Gardiner: But uh
Benjamin Gardner: we are
Francis Hoss: I
Benjamin Gardner: demolishing
Francis Hoss: think the colour
Benjamin Gardner: a
Bradley Gardiner: the
Benjamin Gardner: little
Francis Hoss: is
Benjamin Gardner: bit
Francis Hoss: more
Benjamin Gardner: the style.
Francis Hoss: important than
Benjamin Gardner: But
Francis Hoss: the
Bradley Gardiner: and
Glenn Duran: Yeah.
Francis Hoss: really the curve, because if you just end up with an entirely black remote
Bradley Gardiner: Yeah.
Glenn Duran: I think
Francis Hoss: control
Glenn Duran: it's it it
Bradley Gardiner: The
Glenn Duran: does
Bradley Gardiner: people
Glenn Duran: ruin it, but
Benjamin Gardner: Yeah.
Glenn Duran: the fact that I t took that decision or t Took this example actually, not really decision, but the example is because we do offer the um the possibility of adding your own custom covers. So you can change any colour you want. So it's just you deliver a basic remote control with a possibility to change you into whatever you want.
Benjamin Gardner: Can we then not also uh change the material? We take plastic for the basic cover
Glenn Duran: You can take
Benjamin Gardner: and
Glenn Duran: plastic, but I d it's something that's stuck into my mind is that something that really came forward from the marketing research is that people like the the the the squishy
Bradley Gardiner: Spongy,
Glenn Duran: feeling of
Bradley Gardiner: yeah.
Glenn Duran: the spongy feeling of the
Benjamin Gardner: We can put
Bradley Gardiner: Yeah.
Glenn Duran: and
Benjamin Gardner: those
Glenn Duran: it really
Benjamin Gardner: to the
Glenn Duran: makes it
Benjamin Gardner: to the other covers.
Glenn Duran: also makes it different from the existing remote controls,
Bradley Gardiner: And
Glenn Duran: because they're all plastic.
Benjamin Gardner: That's
Glenn Duran: So
Benjamin Gardner: true.
Glenn Duran: which in in turn Rubber would increase
Benjamin Gardner: But
Glenn Duran: durability
Benjamin Gardner: okay.
Glenn Duran: because it doesn't break.
Benjamin Gardner: But what do you then suggest we'd lose? Because we have to lose two things and I
Glenn Duran: I
Benjamin Gardner: guess.
Glenn Duran: al like I said,
Bradley Gardiner: But
Glenn Duran: I lost the speech recognition
Benjamin Gardner: Yes.
Glenn Duran: and I lost the special colour, which would make this
Benjamin Gardner: Okay, and that's enough?
Glenn Duran: black a black and grey. Yeah, that's that that that's enough,
Francis Hoss: So
Glenn Duran: because
Francis Hoss: black and grey is okay.
Glenn Duran: I guess those are the
Bradley Gardiner: But
Glenn Duran: basic colours. So
Benjamin Gardner: Hmm.
Francis Hoss: Which we can
Glenn Duran: Oh.
Francis Hoss: fabricate, okay.
Bradley Gardiner: The
Glenn Duran: I think those
Bradley Gardiner: people
Glenn Duran: are basic col
Bradley Gardiner: want to pay for for it, so
Glenn Duran: They want
Bradley Gardiner: why
Glenn Duran: to
Bradley Gardiner: why uh do we have to keep us uh uh um
Glenn Duran: To
Bradley Gardiner: on
Glenn Duran: ensure
Bradley Gardiner: the twelve
Glenn Duran: the profit.
Bradley Gardiner: and a half?
Glenn Duran: That that's th that's the order. We're just uh we're the project team and we got our our orders from the pro from
Bradley Gardiner: Yeah.
Glenn Duran: the boss of our company which say we don't
Bradley Gardiner: But
Glenn Duran: wanna
Bradley Gardiner: we
Glenn Duran: spend
Bradley Gardiner: can
Glenn Duran: more
Bradley Gardiner: take
Glenn Duran: than
Bradley Gardiner: a risk.
Glenn Duran: twelve fifty for this. But that's not for our that's not our decision to take.
Francis Hoss: No, we
Glenn Duran: We have
Francis Hoss: basically
Glenn Duran: a budget
Bradley Gardiner: yeah
Glenn Duran: of twelve fifty
Benjamin Gardner: Hmm.
Glenn Duran: per product.
Francis Hoss: We
Glenn Duran: So
Francis Hoss: need to stick to that.
Glenn Duran: Stick that. I don't think it's really bad either. I mean if we we have the the backup of or the backup design thing
Bradley Gardiner: I hope the people will like it, but
Glenn Duran: to have I think they would do. Th I think they do like because yo we you we agree upon that the that the the the cover thing was a nice idea, because p you could have all sort of designs while at the same time just manufacturing one product,
Bradley Gardiner: Yeah.
Glenn Duran: one basic product which you could turn into any any taste you want. So I think it's the best solution
Benjamin Gardner: Perhaps
Glenn Duran: to
Benjamin Gardner: we should
Glenn Duran: make
Benjamin Gardner: make
Glenn Duran: those
Bradley Gardiner: Yeah.
Glenn Duran: cu custom
Benjamin Gardner: m
Glenn Duran: covers for the design aspect
Benjamin Gardner: Huh.
Glenn Duran: and keep the functionality between of within the th the boundaries of the your f uh your
Bradley Gardiner: The first sheet.
Glenn Duran: budget. So
Benjamin Gardner: Perhaps we should make clear to our customer that we had to do this to stay under the cost. And that's uh they know that this is an option and that we had to drop the option to stay under the cost, that they know that.
Glenn Duran: Well I don't think Yeah.
Benjamin Gardner: Perhaps they
Glenn Duran: Is it
Benjamin Gardner: decide
Glenn Duran: worth
Francis Hoss: But they
Glenn Duran: is
Benjamin Gardner: tha
Francis Hoss: don't
Glenn Duran: it is it does it mean anything to the customer? Like, it like,
Benjamin Gardner: Of course.
Glenn Duran: we don't
Benjamin Gardner: Perhaps
Glenn Duran: care
Benjamin Gardner: they
Glenn Duran: we don't
Benjamin Gardner: uh
Glenn Duran: care that you had to
Benjamin Gardner: no, but perhaps they think uh okay, the cover is such a nice idea, uh let's that that then they uh that allow us to make some more costs. We ca we uh we
Glenn Duran: True,
Benjamin Gardner: can at least
Glenn Duran: but
Benjamin Gardner: tell
Glenn Duran: we did
Benjamin Gardner: them
Glenn Duran: we
Benjamin Gardner: that
Glenn Duran: didn't get that. So
Benjamin Gardner: You don't know
Glenn Duran: I
Benjamin Gardner: that.
Glenn Duran: think it's it should either be a pack,
Francis Hoss: Well
Benjamin Gardner: Huh.
Glenn Duran: maybe we sh that should be sold in in the s in stores with with a standard cover or something.
Benjamin Gardner: No, I'm not
Glenn Duran: But
Benjamin Gardner: uh talking about that cost but the one that g has given us the order to design this. We could at least m uh make it like
Glenn Duran: They could,
Benjamin Gardner: this,
Glenn Duran: but
Benjamin Gardner: like
Glenn Duran: uh
Benjamin Gardner: you said, and then tell them okay, we had to drop this and that, just that you know. It is an still an option, but
Glenn Duran: It's
Benjamin Gardner: not
Glenn Duran: an option,
Benjamin Gardner: for this
Glenn Duran: but
Benjamin Gardner: price.
Glenn Duran: yeah, it's true. So actually uh it's not that much of an increase, but yeah.
Francis Hoss: And
Glenn Duran: We
Francis Hoss: if
Glenn Duran: cannot
Francis Hoss: we
Glenn Duran: contact them. It's just
Benjamin Gardner: Exactly,
Bradley Gardiner: Yeah.
Glenn Duran: the order that
Benjamin Gardner: but
Glenn Duran: we got. So that's what we gotta go with. So it's either one fi just just to get it f just to get it through final, it's either turned into plastic, drop the squishy feel, make it make it more
Bradley Gardiner: Yeah.
Glenn Duran: breakable,
Benjamin Gardner: Hmm.
Glenn Duran: um or turn it yellow. So It's uh something we have to decide on.
Benjamin Gardner: I'd say lose the curve
Glenn Duran: I say
Benjamin Gardner: and
Glenn Duran: lose
Benjamin Gardner: the colour
Glenn Duran: the curve.
Benjamin Gardner: and
Glenn Duran: Oh that's true, we could lose the c yeah, I forgot that, sorry. Uh the curve. So
Francis Hoss: So which curve is that ba that's basically
Glenn Duran: That's just
Francis Hoss: that
Glenn Duran: this
Francis Hoss: curve.
Glenn Duran: one just d this is the banana curve.
Benjamin Gardner: Hmm.
Bradley Gardiner: Yeah,
Glenn Duran: So
Bradley Gardiner: that's
Francis Hoss: So
Glenn Duran: this
Bradley Gardiner: better.
Francis Hoss: we could
Glenn Duran: would
Francis Hoss: u
Glenn Duran: this
Francis Hoss: still
Glenn Duran: would
Francis Hoss: have
Glenn Duran: be straight.
Francis Hoss: the comfort.
Glenn Duran: No, uh no, that would be a curve inside the thing, I guess. No, would ju then it would just be a straight remote. Just like like that.
Benjamin Gardner: Hmm.
Glenn Duran: Which would, yeah, turn it into something far more ordinary. we could make
Francis Hoss: I
Glenn Duran: it yellow then, but
Francis Hoss: second that.
Glenn Duran: You second that, you second that we lose the curve.
Francis Hoss: No, that it would turn out to be a pretty straight-forward remote control.
Glenn Duran: Okay,
Francis Hoss: So that's
Bradley Gardiner: Yeah.
Glenn Duran: yeah.
Francis Hoss: not really
Bradley Gardiner: Yeah.
Glenn Duran: So I think it
Francis Hoss: that
Glenn Duran: would be a good idea to keep the curve to separate it from the rest of the remote control
Benjamin Gardner: Hmm.
Glenn Duran: world, so to speak. So we keep the curve. So
Francis Hoss: I would
Glenn Duran: the only only solution is either to use the l y lose the yellow or lose the rubber. And I'm in favour of keeping the rubber, because it has more
Benjamin Gardner: Oh.
Glenn Duran: more advantages
Benjamin Gardner: I agree.
Glenn Duran: than the colour yellow
Francis Hoss: Yeah.
Glenn Duran: has.
Francis Hoss: I would
Benjamin Gardner: No.
Francis Hoss: say
Bradley Gardiner: Yep.
Francis Hoss: I would agree with you on the colour, because that's an extra option, an extra service we can deliver for
Glenn Duran: Mm-hmm.
Francis Hoss: a little bit of more money. So
Glenn Duran: Yeah, um I guess
Francis Hoss: we
Glenn Duran: people
Francis Hoss: can always
Glenn Duran: are
Francis Hoss: do
Glenn Duran: willing
Francis Hoss: that.
Glenn Duran: to pay for that. So I think we can
Bradley Gardiner: Yeah.
Glenn Duran: take that
Benjamin Gardner: Hmm?
Glenn Duran: option and just with uh with the idea in the back of our head that you can customise your remote control. So
Benjamin Gardner: Yes.
Glenn Duran: I think that would still make it a nice product. Okay, we're final on that. So it's too bad we can't make the whole super thing. But anyways we're here. Um
Francis Hoss: Which
Glenn Duran: yeah.
Francis Hoss: is basically what we discussed.
Glenn Duran: This we discussed just now. That's just now just we could just discuss how the project went. I mean, was kind of
Bradley Gardiner: And I want to
Glenn Duran: I
Bradley Gardiner: do
Glenn Duran: sort
Bradley Gardiner: that.
Glenn Duran: of expected that everything would turn out this way, but because you yeah, everything cannot be for free. We didn't I think it was too bad we didn't have the financial info the last time. Because
Francis Hoss: Yes,
Glenn Duran: that
Benjamin Gardner: Huh.
Glenn Duran: was I th
Francis Hoss: we
Glenn Duran: it was
Francis Hoss: could
Glenn Duran: really
Francis Hoss: have
Glenn Duran: essential really to ma because we spent uh uh entire stage designing a product of which we had no idea what
Benjamin Gardner: Hmm.
Glenn Duran: it would cost. So we just
Bradley Gardiner: Yeah.
Glenn Duran: put something I think it's really nor not in stroke with reality actually. So
Benjamin Gardner: Bradley Gardiner too, I felt a bit blind throughout the project, because
Glenn Duran: Yeah.
Benjamin Gardner: in the beginning I had no list of
Glenn Duran: Yeah, I
Benjamin Gardner: available
Glenn Duran: think
Bradley Gardiner: Yeah.
Glenn Duran: would
Benjamin Gardner: materials,
Glenn Duran: have been.
Benjamin Gardner: and then I d
Bradley Gardiner: But
Glenn Duran: Materials
Benjamin Gardner: had not list
Glenn Duran: would
Benjamin Gardner: of
Glenn Duran: be
Benjamin Gardner: available
Glenn Duran: ok
Benjamin Gardner: c finances.
Glenn Duran: at least
Benjamin Gardner: So
Glenn Duran: the last meeting I would have expected had to have that. So I suppose
Bradley Gardiner: Let's um see um
Glenn Duran: Yeah, let's see if it sells. I mean I suppose this sells,
Bradley Gardiner: Um
Glenn Duran: because it's very very extended. But
Francis Hoss: Well I hope it
Bradley Gardiner: Let's
Francis Hoss: sells.
Bradley Gardiner: Uh
Benjamin Gardner: Hmm.
Glenn Duran: I suppose it sells, because it's good.
Bradley Gardiner: Oh.
Glenn Duran: I mean it's got everything for the for the reasonable price, because we didn't
Benjamin Gardner: Hmm.
Glenn Duran: know what it's gonna cost anyway.
Bradley Gardiner: Hmm. Okay, let's eval evaluate uh the product of us, our design. Um I have some uh a method, a requirements and scale of. I uh will pre present uh some statements and we will decided together wha what if it's true or false and
Glenn Duran: Okay.
Bradley Gardiner: uh then we see uh if the requirements of the user
Glenn Duran: Have
Bradley Gardiner: are
Glenn Duran: been
Bradley Gardiner: fulfilled
Glenn Duran: met,
Bradley Gardiner: or not.
Glenn Duran: okay.
Bradley Gardiner: And I will uh make a new blank sheet.
Glenn Duran: Yeah.
Bradley Gardiner: So so the buttons, the look and feel. I thought it was okay, but the advanced uh settings, um screen, audio and channel
Francis Hoss: Which are basically
Glenn Duran: They're stuck under menu.
Francis Hoss: accessible
Bradley Gardiner: We are not
Francis Hoss: through the menu
Glenn Duran: For
Francis Hoss: button.
Glenn Duran: the menu.
Benjamin Gardner: Hmm.
Glenn Duran: I think those are totally met, because
Bradley Gardiner: Oh
Glenn Duran: we
Bradley Gardiner: the menu button
Glenn Duran: we really
Bradley Gardiner: is
Glenn Duran: took
Francis Hoss: Yeah.
Bradley Gardiner: it.
Glenn Duran: them for the
Bradley Gardiner: Hi
Glenn Duran: they
Bradley Gardiner: Oh, okay.
Glenn Duran: have the feel they want, they have the simplicity they want.
Bradley Gardiner: Then it's all uh
Glenn Duran: I think it's very uh very well met. Either two
Bradley Gardiner: S
Glenn Duran: or
Benjamin Gardner: One.
Glenn Duran: one
Bradley Gardiner: it's
Glenn Duran: maybe.
Bradley Gardiner: true.
Glenn Duran: I think we took that everything they wanted into consideration.
Bradley Gardiner: Yeah.
Glenn Duran: So it could either be a two or a one.
Bradley Gardiner: So d Oh wait.
Glenn Duran: One and a half.
Bradley Gardiner: Uh pen.
Francis Hoss: Which
Bradley Gardiner: The
Francis Hoss: is not
Bradley Gardiner: p
Francis Hoss: an option.
Bradley Gardiner: Oh yeah, it's red,
Glenn Duran: Just
Bradley Gardiner: okay,
Glenn Duran: create our
Bradley Gardiner: but
Glenn Duran: own option.
Bradley Gardiner: Look and feel is everybo it's true.
Glenn Duran: Yeah.
Bradley Gardiner: So Anyone? And the next one uh yeah, when it's
Glenn Duran: It's
Bradley Gardiner: lost
Glenn Duran: perfect.
Bradley Gardiner: uh you can find
Glenn Duran: Even
Bradley Gardiner: it.
Glenn Duran: for deaf people,
Bradley Gardiner: It's
Glenn Duran: yeah.
Benjamin Gardner: Hmm.
Glenn Duran: It's I don't think it's perfect, but we did everything possible to to
Francis Hoss: To
Glenn Duran: get
Francis Hoss: make
Glenn Duran: it back.
Francis Hoss: it that
Glenn Duran: Because
Francis Hoss: way,
Glenn Duran: if
Francis Hoss: yeah.
Glenn Duran: it's stuck in you couch, you can see the light. Maybe you can hear it. But
Bradley Gardiner: Yeah.
Glenn Duran: I mean we tried, so
Bradley Gardiner: And it's
Glenn Duran: I think it that's that deserves a one.
Bradley Gardiner: and it's yeah.
Glenn Duran: Definitely.
Bradley Gardiner: To. That's okay then. And the next one. How is that? Uh w we had we don't have an uh
Benjamin Gardner: Manual.
Bradley Gardiner: manual, yeah. But
Benjamin Gardner: I
Bradley Gardiner: I think
Benjamin Gardner: think
Bradley Gardiner: that's
Benjamin Gardner: the
Bradley Gardiner: a
Benjamin Gardner: L_C_D_ display
Bradley Gardiner: part of it. But
Benjamin Gardner: could be a little
Glenn Duran: I'd
Benjamin Gardner: bit more
Glenn Duran: use an
Benjamin Gardner: difficult
Glenn Duran: remote control.
Benjamin Gardner: then a normal remote control,
Francis Hoss: Mm yeah.
Benjamin Gardner: but then again, it's for young people. So
Bradley Gardiner: Yeah, an L_C_D_, it tells a lot about uh
Benjamin Gardner: Yeah, I
Francis Hoss: And
Benjamin Gardner: th
Francis Hoss: it's pretty straight-forward, you have
Benjamin Gardner: Exactly.
Glenn Duran: It's
Francis Hoss: a
Glenn Duran: pretty straight-forward,
Francis Hoss: navigation
Glenn Duran: uh-huh.
Benjamin Gardner: No,
Francis Hoss: no
Benjamin Gardner: that's
Francis Hoss: keys
Benjamin Gardner: true.
Francis Hoss: to navigate through the L_C_D_
Benjamin Gardner: I think it won't
Francis Hoss: menus.
Benjamin Gardner: be
Bradley Gardiner: Yeah.
Benjamin Gardner: a big problem.
Francis Hoss: So
Bradley Gardiner: So it's a one or
Francis Hoss: One
Bradley Gardiner: a
Francis Hoss: I
Bradley Gardiner: I
Francis Hoss: d no,
Bradley Gardiner: don't know.
Francis Hoss: actu
Glenn Duran: I think but we didn't
Bradley Gardiner: For
Glenn Duran: even
Bradley Gardiner: the advanced
Glenn Duran: there was
Bradley Gardiner: uh
Glenn Duran: no
Bradley Gardiner: settings.
Glenn Duran: issue on making a manual actually. We didn't
Bradley Gardiner: No okay,
Glenn Duran: really
Bradley Gardiner: that
Glenn Duran: discuss
Bradley Gardiner: uh that's
Glenn Duran: it,
Bradley Gardiner: true.
Glenn Duran: but I don't think it takes no, it really does doesn't take time to learn, I think. We took
Francis Hoss: No,
Glenn Duran: it
Bradley Gardiner: Oh,
Glenn Duran: s
Francis Hoss: it
Glenn Duran: it's
Bradley Gardiner: so
Francis Hoss: it
Glenn Duran: so
Bradley Gardiner: it
Francis Hoss: is
Glenn Duran: easy, we
Francis Hoss: pretty
Glenn Duran: have so
Francis Hoss: straight-forward.
Glenn Duran: little button, everything speaks for itself really. So
Benjamin Gardner: Ah.
Glenn Duran: I think
Benjamin Gardner: Um
Glenn Duran: that's yeah, we didn't it's
Bradley Gardiner: Takes
Glenn Duran: either
Bradley Gardiner: no
Glenn Duran: two
Bradley Gardiner: ti
Glenn Duran: or one, I guess. Maybe it's a two, because d uh the L_C_D_ is a little is a little new and
Benjamin Gardner: With
Glenn Duran: there
Benjamin Gardner: the
Glenn Duran: is
Benjamin Gardner: more
Glenn Duran: there are some
Benjamin Gardner: important
Glenn Duran: option
Benjamin Gardner: functions
Glenn Duran: hidden under
Bradley Gardiner: Yeah.
Benjamin Gardner: on.
Glenn Duran: the menu button. So I might
Francis Hoss: Yeah.
Glenn Duran: make this a two instead of a one, I
Francis Hoss: Yeah.
Glenn Duran: guess.
Bradley Gardiner: And the L_C_D_, you have to see it.
Glenn Duran: So just make that a two.
Bradley Gardiner: Um mm Oh, it's a little bit learning. Okay. Uh yeah it's uh a little bit same. But
Benjamin Gardner: Mm-hmm.
Bradley Gardiner: it tells you
Glenn Duran: You
Bradley Gardiner: or
Glenn Duran: can use the
Bradley Gardiner: not?
Glenn Duran: L_C_D_ in a good way. I think so. I think it's perfect, the w where it is, what it can do, if it useful. I think
Bradley Gardiner: But wha
Glenn Duran: so.
Bradley Gardiner: w
Benjamin Gardner: Mm-hmm.
Bradley Gardiner: oh, yeah. What are we uh displaying on the L_C_D_ screen? Just uh only the channels and or
Benjamin Gardner: the menus uh
Bradley Gardiner: What
Benjamin Gardner: Things
Bradley Gardiner: uh?
Benjamin Gardner: like brightness and uh those kind of things we've put in the menu, because we have no buttons for
Francis Hoss: Well,
Benjamin Gardner: those.
Francis Hoss: basically the menu options indeed. But
Bradley Gardiner: Oh, in the L_C_D_
Glenn Duran: No, y
Bradley Gardiner: screen.
Glenn Duran: I mean
Benjamin Gardner: Yes.
Glenn Duran: in the L_C_D_ screen, the small screen. What
Bradley Gardiner: And
Glenn Duran: does it
Bradley Gardiner: for
Glenn Duran: display?
Bradley Gardiner: a channel selection, uh or
Glenn Duran: Well I
Bradley Gardiner: that's
Glenn Duran: thought it was
Bradley Gardiner: not
Glenn Duran: I thought it was I thought that people wanted previews on their I'm
Bradley Gardiner: Yeah,
Glenn Duran: not sure
Bradley Gardiner: I
Glenn Duran: if
Bradley Gardiner: thought
Glenn Duran: that even possible,
Bradley Gardiner: I thought
Glenn Duran: but
Bradley Gardiner: too but yeah.
Glenn Duran: 'cause it's this requires a quite quite a bit of band-width. I don't think it's possible really. But the
Bradley Gardiner: But
Glenn Duran: they didn't really define in what should be used for.
Bradley Gardiner: Maybe
Francis Hoss: No.
Bradley Gardiner: a T_V_ guide or something
Glenn Duran: But I think in
Bradley Gardiner: in
Glenn Duran: for
Bradley Gardiner: your
Glenn Duran: example
Bradley Gardiner: L_C_D_
Glenn Duran: like
Benjamin Gardner: Mm.
Bradley Gardiner: uh
Glenn Duran: T_V_ guides, I think that's
Bradley Gardiner: Yeah.
Glenn Duran: that th that you can transmit through it and everything. Just for extra information on your programmes.
Bradley Gardiner: Yeah, it must be clear
Glenn Duran: But
Bradley Gardiner: then
Glenn Duran: also
Bradley Gardiner: what
Glenn Duran: things like
Bradley Gardiner: what
Glenn Duran: like
Bradley Gardiner: what for
Glenn Duran: like
Bradley Gardiner: we
Glenn Duran: menus
Bradley Gardiner: use it.
Glenn Duran: or p how about preferences of your uh with configuring your remote control for
Francis Hoss: Yeah.
Glenn Duran: favourite your favourite channel for example,
Bradley Gardiner: Yeah.
Glenn Duran: how do you configure that. So that could be done by L_C_D_ display. I think it's good. No, maybe it's not a one because it's we're not using it perfectly. We didn't give it I don't thing over-discussing. Now we gave it enough thought though.
Bradley Gardiner: Yeah.
Glenn Duran: I think we d should just lower this. Maybe maybe it's a three though. We could've used it more effectively probably.
Bradley Gardiner: Yeah, indeed. So everybody's agree with an uh three on it, it's
Benjamin Gardner: Yes.
Francis Hoss: Yeah.
Glenn Duran: Yeah, we
Francis Hoss: Two
Glenn Duran: are using
Francis Hoss: or
Bradley Gardiner: W
Glenn Duran: it, but
Francis Hoss: three.
Glenn Duran: it's not
Bradley Gardiner: Yeah.
Francis Hoss: So
Glenn Duran: it's not poorly used, but it's not efficiently used, I think. We could have ev even lost the selection button and uh done everything via L_C_D_ selection.
Bradley Gardiner: Yeah.
Glenn Duran: It's now it's just extra to illustrate im
Bradley Gardiner: Yeah,
Glenn Duran: uh
Bradley Gardiner: I
Glenn Duran: extra features, but okay.
Bradley Gardiner: A three.
Benjamin Gardner: Nah, it's not really only an extra.
Francis Hoss: You
Bradley Gardiner: Ah,
Benjamin Gardner: No
Francis Hoss: can
Benjamin Gardner: menus.
Bradley Gardiner: nothing,
Benjamin Gardner: Think about
Bradley Gardiner: that's
Francis Hoss: seven.
Bradley Gardiner: A seven. Uh that's uh
Glenn Duran: Can you talk
Francis Hoss: Or
Glenn Duran: to
Francis Hoss: we
Glenn Duran: remote
Francis Hoss: could
Glenn Duran: control?
Francis Hoss: say
Glenn Duran: Well,
Francis Hoss: it
Glenn Duran: it can't talk anymore.
Bradley Gardiner: Yeah.
Glenn Duran: So we scrap that.
Francis Hoss: Or we could say neutral, we
Glenn Duran: Oh yeah
Francis Hoss: 'cause we scratched the
Glenn Duran: Just
Francis Hoss: C
Glenn Duran: to be a prick, but of course you can talk
Bradley Gardiner: Yeah
Glenn Duran: to your remote control, it doesn't do
Bradley Gardiner: yeah
Glenn Duran: anything. But
Bradley Gardiner: yeah
Glenn Duran: you
Bradley Gardiner: yeah.
Glenn Duran: c you can talk to
Bradley Gardiner: Not
Glenn Duran: it.
Bradley Gardiner: with the speech recognition. Uh yeah, all the trends and no colours uh anymore. So
Glenn Duran: Well, we did take everything into consideration of course. Uh the
Bradley Gardiner: Yeah,
Glenn Duran: shape i shape
Bradley Gardiner: uh
Glenn Duran: is i
Bradley Gardiner: um
Glenn Duran: I think
Bradley Gardiner: only
Glenn Duran: we
Bradley Gardiner: in the
Glenn Duran: yeah,
Bradley Gardiner: curves.
Glenn Duran: I think that's okay.
Bradley Gardiner: But the colours, we don't have special
Francis Hoss: No,
Bradley Gardiner: colours
Francis Hoss: we
Bradley Gardiner: on
Francis Hoss: don't
Bradley Gardiner: it.
Francis Hoss: have the colour.
Glenn Duran: Yeah,
Francis Hoss: So
Glenn Duran: special
Francis Hoss: I
Glenn Duran: co but we took into consideration the fact that it's customisable
Bradley Gardiner: Yeah, but
Glenn Duran: to the
Bradley Gardiner: we
Glenn Duran: fashi
Francis Hoss: Yes, but
Bradley Gardiner: yeah,
Francis Hoss: the
Benjamin Gardner: Hmm.
Bradley Gardiner: we don't have
Francis Hoss: end
Bradley Gardiner: it,
Francis Hoss: product
Bradley Gardiner: so d
Francis Hoss: So
Glenn Duran: We don't have it we
Bradley Gardiner: In
Glenn Duran: do have
Bradley Gardiner: the end
Glenn Duran: it,
Bradley Gardiner: product.
Glenn Duran: it's
Benjamin Gardner: But
Glenn Duran: just sold as a package. It does it's not
Benjamin Gardner: M
Glenn Duran: part of the basic product.
Benjamin Gardner: Changing covers is also trend that
Glenn Duran: It
Benjamin Gardner: we followed.
Glenn Duran: that that's what I call trendy. I mean the shape is trendy. The the sh the the functions are trendy. It's just the colours that are not supporting the basic model.
Bradley Gardiner: Now
Glenn Duran: Because you ha it's just not affordable
Bradley Gardiner: But it's
Francis Hoss: Maybe
Bradley Gardiner: not a
Francis Hoss: we
Glenn Duran: at
Bradley Gardiner: one.
Francis Hoss: should
Glenn Duran: the moment.
Francis Hoss: go with a two then, because it's not perfect,
Bradley Gardiner: Yeah.
Francis Hoss: because we can't do it initially, but
Bradley Gardiner: Oh.
Benjamin Gardner: Mm-hmm.
Glenn Duran: It's possible,
Francis Hoss: we
Glenn Duran: but you have to pay extra for the for the possibility of having it in a f a different colour.
Bradley Gardiner: Oh well Oops.
Bradley Gardiner: Oh it's a two, right?
Francis Hoss: Yeah.
Benjamin Gardner: Mm-hmm.
Bradley Gardiner: On the last one. Uh that n that's
Francis Hoss: Overall
Glenn Duran: Overall
Bradley Gardiner: all.
Glenn Duran: score.
Francis Hoss: score.
Bradley Gardiner: Overall. It's um
Glenn Duran: One two
Bradley Gardiner: ten,
Glenn Duran: three. sixteen.
Bradley Gardiner: sixteen three uh
Glenn Duran: Two two point
Bradley Gardiner: two
Glenn Duran: some
Bradley Gardiner: two
Glenn Duran: two
Bradley Gardiner: point
Glenn Duran: point something.
Bradley Gardiner: seven
Benjamin Gardner: Hmm.
Bradley Gardiner: or something like that. I don't know why.
Francis Hoss: Ten, sixteen, divided by
Benjamin Gardner: Six.
Bradley Gardiner: Six.
Francis Hoss: Is two two third.
Glenn Duran: Two and two thirds.
Bradley Gardiner: Um So we can say it's it's the product is it's okay.
Glenn Duran: It's okay,
Bradley Gardiner: Y
Glenn Duran: but
Bradley Gardiner: not
Benjamin Gardner: Mm-hmm.
Glenn Duran: that's yo m mostly
Francis Hoss: There's
Glenn Duran: it's it's influenced by the fact that we didn't have enough resources to implement speech recognition.
Benjamin Gardner: Mm-hmm.
Glenn Duran: 'Cause yeah, that gives you a seven, which ruins your your average.
Bradley Gardiner: Yeah.
Glenn Duran: Without that it would be like under it wouldn't yeah, it would be under two. So I think we have
Bradley Gardiner: Woah.
Glenn Duran: even with this it's reasonable.
Francis Hoss: Yeah, if we make it into a four, as in neutral, because we didn't implement it, so we can't say that we
Bradley Gardiner: Yeah.
Francis Hoss: that it's really not well implemented. We come out on a average of two one eighth.
Glenn Duran: Well I think it's two is okay.
Francis Hoss: So which is pretty w
Benjamin Gardner: Mm-hmm.
Francis Hoss: good.
Glenn Duran: Yeah, two is
Francis Hoss: It's
Glenn Duran: pretty
Francis Hoss: at
Glenn Duran: good.
Francis Hoss: least on the positive side. So
Benjamin Gardner: Hmm,
Glenn Duran: Definitely.
Francis Hoss: We
Bradley Gardiner: Yeah.
Benjamin Gardner: of
Francis Hoss: could
Benjamin Gardner: course.
Francis Hoss: definitely have done better if we've had more resources, but
Glenn Duran: Yeah, I think it's
Benjamin Gardner: Mm-hmm.
Glenn Duran: probably
Bradley Gardiner: Yeah.
Glenn Duran: I I do admit that we d did miss a little or didn't sp didn't talk talk enough about the possibility of the L_C_D_ display. We could
Bradley Gardiner: Yeah.
Glenn Duran: have used it more efficiently, we just didn't think of it that
Francis Hoss: Yeah.
Glenn Duran: way.
Bradley Gardiner: Yeah, with.
Francis Hoss: True.
Glenn Duran: So like I said, changing
Bradley Gardiner: The scale.
Glenn Duran: channels, everything hidden in your L_C_D_ display, so you just need the navigation buttons to do everything.
Benjamin Gardner: But I think for this price, this is it's really a reasonable product.
Glenn Duran: I
Benjamin Gardner: It's
Glenn Duran: think
Benjamin Gardner: a good
Glenn Duran: we
Benjamin Gardner: product.
Glenn Duran: div I think we did very well, uh ev even
Bradley Gardiner: Yeah.
Glenn Duran: if you look at this score, we did quite well.
Bradley Gardiner: With
Benjamin Gardner: Oh.
Bradley Gardiner: an L_C_D_ screen.
Glenn Duran: It just looking for improvements what what
Benjamin Gardner: Oh.
Glenn Duran: you could have improved.
Benjamin Gardner: Yeah.
Glenn Duran: So.
Benjamin Gardner: But if pep people really want speech recognition, then they must be prepared to pu to pay more, because it's
Bradley Gardiner: Yeah,
Benjamin Gardner: cannot
Glenn Duran: They sh
Benjamin Gardner: be
Bradley Gardiner: you
Benjamin Gardner: done
Bradley Gardiner: can
Benjamin Gardner: for
Bradley Gardiner: make
Glenn Duran: they should
Benjamin Gardner: this.
Bradley Gardiner: 'em another
Glenn Duran: get kids,
Bradley Gardiner: one.
Glenn Duran: and just stick 'em in T_V_ and say change
Benjamin Gardner: Hmm
Glenn Duran: the channel.
Benjamin Gardner: yeah. Ah but for this price uh you cannot ask that.
Glenn Duran: I don' think
Benjamin Gardner: You
Glenn Duran: so.
Benjamin Gardner: cannot
Glenn Duran: Uh
Benjamin Gardner: th
Glenn Duran: it's just
Benjamin Gardner: think
Glenn Duran: not
Benjamin Gardner: of
Glenn Duran: it
Benjamin Gardner: that
Glenn Duran: it's not affordable.
Benjamin Gardner: No,
Glenn Duran: Or your
Benjamin Gardner: it's
Glenn Duran: sh
Benjamin Gardner: not.
Glenn Duran: you should lose the L_C_D_ screen probably, but I think
Benjamin Gardner: Mm-hmm.
Glenn Duran: that's I think the L_C_D_ screen is more worth than speech
Benjamin Gardner: Oh
Glenn Duran: recognition.
Benjamin Gardner: It's also more attractive.
Glenn Duran: Definitely. Okay, that was that.
Bradley Gardiner: Yeah. Yeah.
Glenn Duran: So that's the final
Francis Hoss: So
Glenn Duran: product
Francis Hoss: did you
Glenn Duran: without the speakers, I guess. Let's see, what was left in the the Another one.
Glenn Duran: Hmm. Yeah, we evaluate the product. General project, what's i in For example, I thou I thought we were pretty creative in what we created. We took the whole new approach of making exchangeable cover for example, which I thought was pretty creative, because it was never never ever listed somewhere.
Benjamin Gardner: Hmm.
Bradley Gardiner: Favourite channel.
Glenn Duran: Well Anyways. Yeah, leadership is up to you. I mean perhaps I screwed up because I d put a put a speech recognition into it. But that's not for
Bradley Gardiner: Yeah,
Glenn Duran: Bradley Gardiner to decide.
Bradley Gardiner: I know.
Glenn Duran: I think
Bradley Gardiner: Yeah.
Glenn Duran: we did pretty well as team-work though. Because, yeah
Benjamin Gardner: Yes.
Glenn Duran: was very hard to work with one another if you cannot
Benjamin Gardner: Hmm.
Glenn Duran: communicate in the meantime, because
Benjamin Gardner: Hmm.
Glenn Duran: when
Bradley Gardiner: Yeah,
Glenn Duran: I got
Bradley Gardiner: you're
Glenn Duran: the when
Bradley Gardiner: working
Glenn Duran: I got the
Bradley Gardiner: separate.
Glenn Duran: input for the financial results,
Benjamin Gardner: Yeah.
Glenn Duran: initially of course I wanted to contact you. Say, look,
Bradley Gardiner: Yeah.
Glenn Duran: this is
Benjamin Gardner: Huh.
Glenn Duran: you're doing the wrong thing, you're s you're wasting your time now, because we're implementing
Francis Hoss: Yeah.
Glenn Duran: stuff that
Bradley Gardiner: Yeah,
Glenn Duran: we cannot
Benjamin Gardner: Hmm.
Bradley Gardiner: yeah
Glenn Duran: afford.
Bradley Gardiner: yeah.
Glenn Duran: So
Benjamin Gardner: Hmm.
Glenn Duran: it would be better if y if there was more communication between
Bradley Gardiner: Yeah yeah
Glenn Duran: uh
Bradley Gardiner: yeah. Direct
Francis Hoss: And we
Glenn Duran: because
Francis Hoss: could
Glenn Duran: that's
Francis Hoss: share
Bradley Gardiner: uh communication
Glenn Duran: that's
Francis Hoss: information
Glenn Duran: what would w you what
Bradley Gardiner: with
Francis Hoss: which
Glenn Duran: you would
Francis Hoss: we
Glenn Duran: normally
Francis Hoss: received.
Glenn Duran: do,
Bradley Gardiner: yeah.
Glenn Duran: either call or email someone. So
Benjamin Gardner: Hmm.
Glenn Duran: that was too bad con was impossible here anyways.
Benjamin Gardner: That's the same thing that I had in the beginning. Everybody was using materials that s I didn't have. So
Glenn Duran: It didn't
Bradley Gardiner: Yeah.
Glenn Duran: have or didn't knew what they costs
Benjamin Gardner: Oh.
Glenn Duran: or whatever. There was just
Francis Hoss: Yeah.
Glenn Duran: too little information about what things actually cost and
Benjamin Gardner: Hmm.
Glenn Duran: if you could use them. So that was a little unclear I suppose. I think a SMARTboard SMARTboard is pretty cool. I think uh s especially for design issues,
Bradley Gardiner: My handwriting
Glenn Duran: it's very
Bradley Gardiner: is
Glenn Duran: easy
Bradley Gardiner: little
Glenn Duran: just
Bradley Gardiner: bit
Glenn Duran: to
Bradley Gardiner: yeah.
Glenn Duran: give your give your thoughts a little
Bradley Gardiner: Yeah.
Glenn Duran: it's easier to share them.
Benjamin Gardner: Hmm.
Francis Hoss: Although for actual design I'd say
Glenn Duran: It's
Francis Hoss: the
Glenn Duran: a little
Francis Hoss: response
Glenn Duran: less
Francis Hoss: time
Glenn Duran: it the
Francis Hoss: should
Glenn Duran: response time
Francis Hoss: be
Glenn Duran: is
Francis Hoss: a
Glenn Duran: le
Francis Hoss: little bit
Glenn Duran: it's
Francis Hoss: higher,
Glenn Duran: very bad.
Benjamin Gardner: Hmm.
Francis Hoss: because
Glenn Duran: It's good to visualise everything, but I think the response time should could be a lot better.
Francis Hoss: The digital
Bradley Gardiner: But
Francis Hoss: pen
Bradley Gardiner: th
Francis Hoss: was
Bradley Gardiner: that's
Francis Hoss: definitely better to draw my
Glenn Duran: Definitely.
Francis Hoss: ideas
Benjamin Gardner: Mm-hmm.
Francis Hoss: and to
Glenn Duran: Yeah,
Bradley Gardiner: Yeah, okay.
Francis Hoss: further
Glenn Duran: it's
Francis Hoss: elaborate
Glenn Duran: true.
Francis Hoss: on that. So
Benjamin Gardner: But there's uh also one problem with this I noticed. Uh you have to finish a page before
Glenn Duran: No, you don't
Benjamin Gardner: going
Glenn Duran: have
Benjamin Gardner: to a
Glenn Duran: to.
Benjamin Gardner: n
Bradley Gardiner: No.
Glenn Duran: No, you don't. I jin
Bradley Gardiner: You
Benjamin Gardner: Oh.
Glenn Duran: I
Bradley Gardiner: can
Glenn Duran: didn't check the finish button. I just you just ditch
Bradley Gardiner: Done
Glenn Duran: it and
Bradley Gardiner: and
Glenn Duran: you
Bradley Gardiner: then
Glenn Duran: can
Bradley Gardiner: it's
Glenn Duran: copy
Bradley Gardiner: okay.
Glenn Duran: it or whatever.
Benjamin Gardner: Okay, I saw that uh
Glenn Duran: Uh only if you uh check the notes or press done. Then it um then you can then it exports to Word
Benjamin Gardner: Hmm.
Glenn Duran: automatically. But it's not necessary to check either one of those two. You
Benjamin Gardner: Yeah,
Glenn Duran: can
Benjamin Gardner: but
Glenn Duran: just
Benjamin Gardner: I made
Glenn Duran: preview
Bradley Gardiner: Oh,
Glenn Duran: your p you
Bradley Gardiner: okay.
Glenn Duran: can just preview your page in the in the programme.
Benjamin Gardner: Okay,
Bradley Gardiner: Okay,
Benjamin Gardner: but I made three pages
Bradley Gardiner: yeah.
Benjamin Gardner: and they were not finished. And when the third one was finished, I wanted to download it and then it was not possible anymore, because you have to close all the pinnits uh the pages before going further.
Glenn Duran: Okay, before starting
Bradley Gardiner: Okay.
Glenn Duran: a ne a new page. Okay,
Benjamin Gardner: Exactly.
Glenn Duran: that could
Benjamin Gardner: So
Glenn Duran: be
Benjamin Gardner: we cannot
Glenn Duran: b.
Benjamin Gardner: work on more
Bradley Gardiner: Oh.
Benjamin Gardner: than one page at same time. That's not possible.
Bradley Gardiner: Hmm.
Benjamin Gardner: You
Glenn Duran: Okay.
Benjamin Gardner: have to finish
Francis Hoss: Oh can
Benjamin Gardner: it completely,
Francis Hoss: you?
Benjamin Gardner: then
Francis Hoss: Okay.
Benjamin Gardner: download it, it's then start a new one.
Glenn Duran: Yeah, okay.
Benjamin Gardner: That's not very uh handy, but
Glenn Duran: That's
Benjamin Gardner: if you know that, then
Glenn Duran: Yeah,
Benjamin Gardner: it's not a
Glenn Duran: it's
Benjamin Gardner: problem.
Glenn Duran: understandable, okay. Any new ideas? Yeah, more communication between between uh that's the thing I noticed, that communication is very um
Bradley Gardiner: Important
Glenn Duran: very
Bradley Gardiner: to mm
Glenn Duran: important, because if you get new information, it's essential f for the other team-mates to know that as soon as possible, because you would avoid making doing extra work, because you were doing extra work now uh m working on the on the speech recognition,
Bradley Gardiner: Yeah.
Glenn Duran: you have limitation both on the technical on the d on the design side. So I think that could have been better. But that's I think it's more of a a setting here that you cannot communicate
Benjamin Gardner: Hmm.
Glenn Duran: than uh than somewhere else. So
Francis Hoss: Yeah, well it could also possibly be well, is it a more real-time information base, so we can all see
Glenn Duran: Yeah, I think so. And l less
Francis Hoss: which
Glenn Duran: p
Francis Hoss: information
Glenn Duran: less spam
Francis Hoss: is available
Glenn Duran: probably. I'm
Francis Hoss: to
Glenn Duran: not
Benjamin Gardner: Mm-hmm.
Francis Hoss: one
Glenn Duran: sure
Francis Hoss: another.
Glenn Duran: i I'm not sure you got spammed as well, but I get spammed like every t every two minutes there
Benjamin Gardner: Ah.
Glenn Duran: was a there
Benjamin Gardner: Well
Glenn Duran: was another email about master classes or something. So
Benjamin Gardner: Hmm.
Glenn Duran: which were totally useless actually. I thought I should probably look into them, but they were all useless. So I just
Francis Hoss: Well, I personally
Bradley Gardiner: Mm
Francis Hoss: did not have that, but
Glenn Duran: Oh okay.
Francis Hoss: That's probably your l description. But I also didn't not really. But still, you had that as well.
Benjamin Gardner: Huh.
Francis Hoss: Is that we finished up the design and then we checked the website, and
Benjamin Gardner: Yeah.
Francis Hoss: then there
Bradley Gardiner: Yeah,
Francis Hoss: was
Bradley Gardiner: after
Francis Hoss: just extra information.
Bradley Gardiner: After five minutes, uh
Benjamin Gardner: Yeah,
Francis Hoss: There was a little delay in the
Bradley Gardiner: Yeah.
Francis Hoss: bit
Glenn Duran: I didn't have
Francis Hoss: of a
Glenn Duran: any
Francis Hoss: c
Glenn Duran: uh more information, it's just
Francis Hoss: crucial
Glenn Duran: always
Francis Hoss: delay.
Glenn Duran: the same here.
Benjamin Gardner: Mm.
Glenn Duran: So that's that's kind of a
Bradley Gardiner: Email uh
Glenn Duran: It would change, but not for Bradley Gardiner. So I'd I had no extra information to go
Benjamin Gardner: Hmm.
Glenn Duran: on that one than what you give Bradley Gardiner
Benjamin Gardner: Hmm.
Glenn Duran: actually. I couldn't do any research myself or
Benjamin Gardner: Hmm.
Glenn Duran: I see, that's yeah, w I could have done a little extra work probably, then
Bradley Gardiner: it's
Glenn Duran: But I was busy enough anyway. So
Benjamin Gardner: Hmm.
Bradley Gardiner: Yeah.
Glenn Duran: Any new ideas found? Or is that a 'cause
Benjamin Gardner: No.
Glenn Duran: uh yeah, it's well, probably
Francis Hoss: How much
Glenn Duran: is.
Francis Hoss: time do we have for this anyway?
Glenn Duran: I have no clue. That's like oh,but it Should i if the project is evaluated and it was it was in b within budget, we should celebrate. So
Benjamin Gardner: Okay, bring out the beer.
Francis Hoss: Yeah. Champagne.
Glenn Duran: Uh okay,
Bradley Gardiner: I want one
Glenn Duran: think that's
Bradley Gardiner: for
Glenn Duran: about
Bradley Gardiner: my own.
Glenn Duran: it. Uh I'm not sure what we should still do though uh t let's see what all your tasks were finished, right?
Bradley Gardiner: Yeah.
Glenn Duran: What you ha
Benjamin Gardner: I have
Glenn Duran: from
Benjamin Gardner: no
Glenn Duran: your
Benjamin Gardner: more email.
Glenn Duran: assistant. So
Benjamin Gardner: My
Glenn Duran: let's
Benjamin Gardner: coach is uh being very silent now.
Bradley Gardiner: Yeah,
Glenn Duran: Okay,
Bradley Gardiner: my
Glenn Duran: I
Bradley Gardiner: personal
Glenn Duran: should
Bradley Gardiner: coach
Glenn Duran: I think
Bradley Gardiner: i
Glenn Duran: I sh I still have the the total report to finish up. I think we took very little time now, because Yeah, we're in agreement, everything the design is okay. The one thing we missed though, we don't
Bradley Gardiner: What
Glenn Duran: have a product name. How about you
Benjamin Gardner: we
Francis Hoss: Product
Glenn Duran: cook a how
Benjamin Gardner: haven't
Francis Hoss: name.
Benjamin Gardner: think
Glenn Duran: about
Benjamin Gardner: above
Bradley Gardiner: Yeah,
Glenn Duran: you
Benjamin Gardner: about
Glenn Duran: cook
Benjamin Gardner: that.
Glenn Duran: up a product
Bradley Gardiner: name.
Glenn Duran: name?
Benjamin Gardner: Huh. It's better than thi I think than a serial number. Sony uh T_R_ something uh
Bradley Gardiner: Or
Benjamin Gardner: f
Glenn Duran: Just
Bradley Gardiner: fruit
Benjamin Gardner: means nothing
Bradley Gardiner: name.
Benjamin Gardner: to Bradley Gardiner.
Glenn Duran: oh, think of a catchy name.
Benjamin Gardner: Uh
Glenn Duran: I'll be working on this until the beep until it beeps. So
Benjamin Gardner: Like fruit names.
Bradley Gardiner: Fruit name or something like that. The
Glenn Duran: What?
Bradley Gardiner: banana
Glenn Duran: Fruit?
Bradley Gardiner: remote or something.
Glenn Duran: You don't want
Bradley Gardiner: I
Glenn Duran: it to
Bradley Gardiner: don't
Glenn Duran: resemble
Bradley Gardiner: know.
Glenn Duran: a banana.
Bradley Gardiner: Yeah, it's the form
Francis Hoss: The
Bradley Gardiner: of
Glenn Duran: It's
Francis Hoss: bana
Bradley Gardiner: it.
Glenn Duran: not yellow anyway.
Francis Hoss: 'cause it's not yellow
Bradley Gardiner: Yeah
Francis Hoss: anymore.
Glenn Duran: It's not
Bradley Gardiner: oh,
Glenn Duran: yellow anymore.
Bradley Gardiner: yeah.
Glenn Duran: It is curved, but
Bradley Gardiner: Uh yeah.
Francis Hoss: Well,
Bradley Gardiner: Uh
Francis Hoss: uh I was going for the R_C_ deluxe, but it's not really a catchy name or anything, it's more
Glenn Duran: No, it's
Benjamin Gardner: Uh
Glenn Duran: Hmm.
Benjamin Gardner: at least it's not something with numbers. Numbers are so meaningless to the
Bradley Gardiner: Yeah.
Benjamin Gardner: people. I mean.
Francis Hoss: Something
Bradley Gardiner: That's true.
Francis Hoss: with our company name, can we do anything with that?
Bradley Gardiner: Reaction,
Francis Hoss: Maybe there's something
Bradley Gardiner: Real
Francis Hoss: on
Bradley Gardiner: Reaction.
Francis Hoss: the website which will help us out.
Benjamin Gardner: Real Reaction.
Francis Hoss: The reaction
Glenn Duran: Real Reaction
Francis Hoss: deluxe.
Glenn Duran: future R_C_. Step into the future of of remote controlling your T_V_.
Francis Hoss: Is that a name or a c
Glenn Duran: No
Francis Hoss: campaign?
Glenn Duran: that's a that's a catchy slogan.
Francis Hoss: Yeah. Or
Glenn Duran: Control
Francis Hoss: the
Glenn Duran: your remote control.
Francis Hoss: The real reactor.
Benjamin Gardner: Real react.
Glenn Duran: I go for future R_C_ probably. Something like It's
Benjamin Gardner: The
Glenn Duran: short
Benjamin Gardner: Real Reactor,
Glenn Duran: f
Benjamin Gardner: I don't find that uh that bad at all.
Glenn Duran: Real reactor?
Benjamin Gardner: Yeah. Because
Glenn Duran: Uh
Benjamin Gardner: our
Glenn Duran: that
Benjamin Gardner: name
Glenn Duran: that's
Benjamin Gardner: is Real Reaction.
Francis Hoss: a an option.
Glenn Duran: That makes Bradley Gardiner think of different products than a remote control really. I'm not sure. Real reaction in a real
Bradley Gardiner: Zapping. The
Francis Hoss: So that's one option.
Glenn Duran: Real reactor.
Glenn Duran: Didn't notice.
Benjamin Gardner: I'm looking for things in the name.
Glenn Duran: Mm.
Benjamin Gardner: So that the first three letters are s
Francis Hoss: Should I
Benjamin Gardner: the
Francis Hoss: write
Benjamin Gardner: same.
Francis Hoss: the banana
Benjamin Gardner: R_E_A_
Francis Hoss: down
Benjamin Gardner: R_E_A_.
Francis Hoss: or
Bradley Gardiner: Yeah, sure.
Glenn Duran: I take f yeah,
Francis Hoss: Sure?
Glenn Duran: take a banana.
Bradley Gardiner: The banana.
Glenn Duran: Hmm.
Bradley Gardiner: Remote. Banana recei
Benjamin Gardner: The triple
Bradley Gardiner: R_C_.
Benjamin Gardner: R_. Real Reaction remotes
Bradley Gardiner: Remote.
Benjamin Gardner: control.
Francis Hoss: Well I
Benjamin Gardner: Triple R_.
Bradley Gardiner: R_ three C_.
Francis Hoss: Uh do you mean it like
Bradley Gardiner: R_ three C_.
Benjamin Gardner: yeah.
Francis Hoss: You mean it like this?
Benjamin Gardner: Yeah, that.
Bradley Gardiner: Real Reaction Remote Control. R_ three C_. Oh yeah.
Glenn Duran: No, not like that. It should be it should be longer, because it's not a product name that you f
Benjamin Gardner: I
Glenn Duran: print
Benjamin Gardner: think
Glenn Duran: on a box.
Benjamin Gardner: triple R_. Doesn't
Glenn Duran: Just
Benjamin Gardner: sound?
Glenn Duran: write out triple,
Bradley Gardiner: Yeah, triple
Glenn Duran: like a word
Bradley Gardiner: R_.
Glenn Duran: triple R_C_, triple
Benjamin Gardner: Yeah.
Glenn Duran: stripe Oh. Triple
Bradley Gardiner: Triple
Benjamin Gardner: Ah.
Glenn Duran: dash
Bradley Gardiner: R_C_.
Glenn Duran: R_ dash s s C_.
Bradley Gardiner: The triple R_C_, yeah.
Glenn Duran: Yeah.
Bradley Gardiner: R_ s R_ three C_.
Glenn Duran: R_ dash C_.
Francis Hoss: Dash
Benjamin Gardner: I
Francis Hoss: C_?
Benjamin Gardner: think I like it
Glenn Duran: Dash.
Benjamin Gardner: like this more.
Glenn Duran: Triple R_ or triple R_C_?
Francis Hoss: Like a
Bradley Gardiner: Triple
Francis Hoss: C_ right
Bradley Gardiner: R_ dash.
Francis Hoss: now or a dash in a C_?
Glenn Duran: How about do both? Sure if it looks stupid. Uh I think that the the R_C_ together takes away the the the image of it's a triple
Benjamin Gardner: Hmm.
Glenn Duran: Uh the first the
Benjamin Gardner: Mm.
Glenn Duran: first one looks like it's a triple
Bradley Gardiner: That
Glenn Duran: remote control, but it's only a single remote control. And it's especially on the triple R_ that's important.
Bradley Gardiner: Yeah,
Benjamin Gardner: I
Glenn Duran: The Real
Benjamin Gardner: would
Glenn Duran: Reaction
Bradley Gardiner: this
Glenn Duran: Remote.
Benjamin Gardner: huh.
Bradley Gardiner: yeah.
Benjamin Gardner: I would lose the C_ and just name it triple
Francis Hoss: Is it triple
Benjamin Gardner: R_.
Francis Hoss: R_C_s? No.
Benjamin Gardner: It sounds like uh thinking about two
Bradley Gardiner: Triple
Benjamin Gardner: different
Bradley Gardiner: remote.
Benjamin Gardner: things and combining it. I would just say triple R_s triple R_
Bradley Gardiner: Yeah.
Glenn Duran: Yeah,
Francis Hoss: Well,
Glenn Duran: triple
Francis Hoss: that's another
Glenn Duran: R_
Francis Hoss: option.
Glenn Duran: yeah, you can
Benjamin Gardner: That's also short,
Bradley Gardiner: It's okay.
Benjamin Gardner: catchy.
Francis Hoss: Okay,
Glenn Duran: Yeah, triple
Francis Hoss: so which
Glenn Duran: R_.
Francis Hoss: ones are we going to scratch definitely?
Bradley Gardiner: The banana.
Benjamin Gardner: Banana.
Glenn Duran: Banana
Bradley Gardiner: Banana.
Glenn Duran: remote.
Francis Hoss: I say this one as well.
Bradley Gardiner: Yeah, the deluxe.
Glenn Duran: I think we're all in agreement about the triple R_. I think
Benjamin Gardner: Yes.
Bradley Gardiner: The
Glenn Duran: triple R_
Bradley Gardiner: r
Francis Hoss: Triple
Glenn Duran: is cool.
Francis Hoss: R_?
Bradley Gardiner: triple R_.
Francis Hoss: Triple
Glenn Duran: And it
Bradley Gardiner: Yeah.
Glenn Duran: looks
Francis Hoss: R_
Glenn Duran: cool
Francis Hoss: it is.
Glenn Duran: when you print it in font, looks pretty cool.
Benjamin Gardner: did you do now?
Glenn Duran: Just like this just and you just print triple R_,
Benjamin Gardner: Yeah.
Glenn Duran: it looks doesn't look bad, it's short, it's okay.
Benjamin Gardner: Yeah.
Glenn Duran: So have to write my report now, I guess. Um Um Yeah, so we have everything. We have the product, we have the costs,
Benjamin Gardner: Yep.
Glenn Duran: we have
Bradley Gardiner: It can't
Glenn Duran: the
Bradley Gardiner: work.
Glenn Duran: possibility
Bradley Gardiner: That will not
Glenn Duran: of everything. Okay. I think it's adjourned. Retire to my lair and finish the report. That was a short meeting.
Benjamin Gardner: Mm-hmm.
Glenn Duran: But efficient though.
Benjamin Gardner: The boss is always the last one to go home. So
Glenn Duran: Probably. See. Okay,
Bradley Gardiner: Okay.
Glenn Duran: goodbye.
Benjamin Gardner: See you in a minute.
Bradley Gardiner: Damn. I will write that one in a Word uh document.
Benjamin Gardner: Okay.
Glenn Duran: Could you guys draw Bradley Gardiner a picture of the final design to put on the cover of the
Francis Hoss: Yeah,
Glenn Duran: report?
Francis Hoss: sure.
Benjamin Gardner: Can't we take this one?
Bradley Gardiner: Oh sh
Benjamin Gardner: Otherwise we have to
Bradley Gardiner: Um
Benjamin Gardner: do it all over again.
Francis Hoss: I don't really know whether we can save it as a picture or no.
Benjamin Gardner: Is it okay if I try? Is that okay with
Francis Hoss: Sure.
Bradley Gardiner: Yeah,
Benjamin Gardner: you?
Bradley Gardiner: okay, I will ask you when uh
Benjamin Gardner: I'll put it
Bradley Gardiner: I
Benjamin Gardner: back
Bradley Gardiner: need
Benjamin Gardner: in
Bradley Gardiner: the
Benjamin Gardner: a minute.
Bradley Gardiner: information. So it's oh.
Benjamin Gardner: Okay, it has been saving something, but
Bradley Gardiner: Uh
Benjamin Gardner: where to I don't know.
Bradley Gardiner: Oh. Merge.
Benjamin Gardner: Oh, can I say exp yes, I can.
Bradley Gardiner: Sucks.
Benjamin Gardner: Export as J_ PEG.
Benjamin Gardner: Okay, can I not put this wherever I wants. My document is the wrong one, huh.
Bradley Gardiner: Yeah, but
Benjamin Gardner: I cannot.
Francis Hoss: Network
Bradley Gardiner: I don't know.
Francis Hoss: places.
Bradley Gardiner: Smart no. Ma it's maybe it's not on the network of uh the rest.
Benjamin Gardner: I don't think so.
Bradley Gardiner: That one is.
Benjamin Gardner: Document and settings.
Francis Hoss: I wouldn't pick that one, no.
Benjamin Gardner: That's a pity. That means that we have to gonna draw it again. Are you gonna do that?
Francis Hoss: Sure.
Benjamin Gardner: Okay.
Francis Hoss: Oh.
Benjamin Gardner: That Yes. Okay. Okay. Okay. Yes, that's correct.
Bradley Gardiner: Yeah. Okay.
Benjamin Gardner: Okay. No. Oh, it's export.
Bradley Gardiner: Oh yeah,
Benjamin Gardner: Okay.
Bradley Gardiner: Can I see scores? Uh,
Benjamin Gardner: Oh, of course. Sorry.
Bradley Gardiner: one one, two threes, two Okay, then we'll overall, two points. Yes.
Francis Hoss: I see you later.
Bradley Gardiner: Yeah.
Bradley Gardiner: Mm. | Francis Hoss and Benjamin Gardner presented a prototype drawing of the remote control design. The rubber case is yellow with black buttons and dark yellow for the menus. There are buttons for teletext, favourite channel, mute and OK. It incorporates both LCD screen and speech recognition. The prototype proved over budget (17 euros). The main contributing factors were the LCD and speech recognition. The latter was taken out, along with the special colour. Everyone agreed that the financial information should not have been given to them at the last moment. After the costing, the original prototype was evaluated on a scale of 1(excellent)-7(very bad). The criteria used were look and feel (1), whether it is easy to find (1), whether it is easy to learn (2), use of LCD (3), speech recognition (7), trendiness (2). Finally, the team evaluated the project process in terms of creativity (satisfactory), leadership and teamwork (happy with it, but they missed communicating in between meetings), and means (SMARTboard could be improved in terms of response time, the digital pens could not be used on more than one page at the same time). Finally, the decided to call their design Triple-R. | 5 | amisum | train |
Kathlene Hart: Is that alright now? Okay. Sorry? Okay, everybody all set to start the meeting? Okay, we've got half an hour for this one
Maria Poyer: Could you plug
Kathlene Hart: um
Maria Poyer: Maria Poyer in?
Kathlene Hart: to uh discuss the um functional design.
Maria Poyer: Okay. Thanks.
Kathlene Hart: All ready to go? Okay.
Maria Poyer: Okay.
Kathlene Hart: Um so hopefully you've all been working away, and I've put the minutes of the last meeting in the project folder. Um so I guess just to to recap on uh what we did last time. Um kind of uh got to each other a little bit and uh got familiar with all the equipment and started to discuss um a bit about the project, you know, cost-wise how much how much money we had to s
Kathlene Hart: Um just want to tell you that you have three new requirements, um which is the The first one is that um uh the company's decided that teletext is outdated uh because of how popular the internet is. Nobody uses teletext very much anymore,
Maria Poyer: 'Kay.
Kathlene Hart: so we don't really need to consider that in the functionality of the of the remote control. Um they've also suggested that we um we only use the remote control to control the television, not the V_C_R_, D_V_D_ or anything else. I think the worry is that if the project becomes too complex then it'll affect um how long it takes us to get it into into production, the time to market.
Maria Poyer: Okay.
Kathlene Hart: So um, we're just gonna keep it simple and it'll just control the T_V_. And the other thing was that the company want the corporate colour and slogan to be implemented in the new design. Um I'm not entirely sure what the corporate colour is. It might be yellow, because there seems to be a lot of yellow everywhere.
Maria Poyer: And the slogan, like the actual written slogan, or just to embody the idea of the slogan?
Kathlene Hart: Well that's the thing, I'm I'm not sure um uh th because on the the company website, uh what does it say
Maria Poyer: 'Bout
Kathlene Hart: Uh something
Maria Poyer: putting the fashion in electronics.
Kathlene Hart: Yeah,
Susan Reed: Mm yeah.
Kathlene Hart: I mean do they Is that something they want actually written on it, 'cause it's quite long. Um or yeah, just the idea, but I'm not sure. So that's something we can discuss as well. So those are the three things, just not to worry about teletext, uh only control the T_V_, and um and uh incorporate the uh colour and slogan of the company. Um so is everybody okay with any of that, or do you want Maria Poyer to recap at all?
Susan Reed: Nope, we're all set.
Kathlene Hart: Right um, time for presentations then. Who would like to go first?
Kelly Stansel: I'll go first.
Maria Poyer: Sure.
Kathlene Hart: Okay, cool.
Kelly Stansel: Alright um, I st steal this from the back of your laptop?
Kathlene Hart: Oh
Kelly Stansel: Uh
Kathlene Hart: yeah, of course, yeah. G go on ahead.
Kelly Stansel: so this is the technical functions design. Um Right to do the um the design I have I've had a look online, I've had a look at the homepage, which has given us um some insp inspiration from previous products.
Kathlene Hart: Mm-hmm.
Kelly Stansel: Um I've had a look at the previous products to see what they offer about the design at the end of the meeting. Um unfortunately we're not allowed to talk outside the meeting room, so
Maria Poyer: Right.
Kathlene Hart: Okay.
Kelly Stansel: Um, having a look at the existing products, I found out that um it tends to come in sort of two extremes, there's either um a very complicated one that's got lots of buttons, lots of colours, very confusing, you don't know what you're doing. Um in that case the the labelling tends to be very bad. Um there's an example I'll show you at the end, um sh show you now. Uh
Kathlene Hart: Alright.
Kelly Stansel: here um the button there and there. This one's prog. Sorry. That one's perg and that one's prog, and it doesn't really tell you what it does.
Kelly Stansel: Um, not sure if you had a a look at the other um control in that example. Um it's a very simple one. It's got only the basic functions mm but um it's the same size as the the
Kathlene Hart: Oop.
Kelly Stansel: hard to use one. Uh it looked a bit clunky. They're very big and not very much use for buttons. Um, and it's just very hard to access the advanced functions. There's there's nothing for instance for a slow motion button. Um, my own preferences, I prefer the the clunky one. Um it's very easy to use. Um but unfortunately it does lack the advanced functions which I I quite like having on the controls. Um so I believe the the advanced functions should maybe be hidden in a drawer, or something like tha from the bottom of it. So, now I'd like to ask for your preferences. Um not sure of how long we've got, uh
Kathlene Hart: Um. Well we can chat away for uh for five minutes or so I think at
Maria Poyer: Mm-hmm.
Kathlene Hart: at most. Just a couple of minutes anyway.
Maria Poyer: M yeah, like a lot of a lot of what I've um read and prepared for this meeting fits in really closely with what with what Craig's just gone over. So in part I could I could give you some of my personal preferences but I could also th add some to this which is just about sort of um sort of market research.
Kathlene Hart: Mm-hmm.
Maria Poyer: But anyway, um
Kathlene Hart: Shall we sh well
Maria Poyer: we might
Kathlene Hart: we'll
Maria Poyer: come
Kathlene Hart: stick
Maria Poyer: to that later.
Susan Reed: Which
Kathlene Hart: to kind
Susan Reed: which
Kathlene Hart: of
Susan Reed: is
Kathlene Hart: your
Susan Reed: the clunky
Kathlene Hart: area
Susan Reed: one,
Kathlene Hart: for now.
Susan Reed: the one on left
Kelly Stansel: Um,
Susan Reed: or
Kelly Stansel: the
Susan Reed: on
Kelly Stansel: clunky
Susan Reed: the
Kelly Stansel: one
Susan Reed: right?..
Kelly Stansel: is the one on the right.
Susan Reed: Okay.
Kathlene Hart: Yeah.
Maria Poyer: Um clunky in what sense, like um h heavier? Larger?
Kelly Stansel: Um I think it's supposed to be the same size, but um it's got much fewer buttons. It's, you know,
Maria Poyer: I see, so
Kelly Stansel: it's
Maria Poyer: it's more
Kelly Stansel: very
Maria Poyer: just
Kelly Stansel: spread out
Kathlene Hart: Looks
Kelly Stansel: and
Maria Poyer: basic.
Kathlene Hart: kind
Kelly Stansel: kind
Kathlene Hart: of
Kelly Stansel: of
Kathlene Hart: Yeah.
Maria Poyer: Right, okay.
Kelly Stansel: you know, I get the idea it'd be sort of about this size.
Maria Poyer: Yeah.
Kelly Stansel: got very few buttons on
Maria Poyer: Yeah.
Kelly Stansel: it and
Maria Poyer: Sure.
Kathlene Hart: Well I think it's a valid point. I mean like the one on the left looks quite um quite complicated, and that P_R_T_ p P_R_O_T_ thing is incredibly confusing. Um so I see I see why yo you know you might prefer the simpler design, but yeah you don't want to lose out on, you know, what it does,
Maria Poyer: Mm-hmm.
Kathlene Hart: so maybe you know you know you get a lot of remote controls where you kind of flip the thing open, I think that's a
Maria Poyer: Mm-hmm.
Kathlene Hart: good idea. I
Maria Poyer: Mm-hmm.
Kathlene Hart: think it's a good idea.
Maria Poyer: Mm-hmm.
Kelly Stansel: Um, do we have any functions that um we'd want on it? I mean so far I've got um on and off,
Kathlene Hart: Mm-hmm.
Kelly Stansel: um switch the channel up and down, and put the volume up and down.
Kathlene Hart: Uh-huh.
Kelly Stansel: Um they're just the the very basics you could use for a T_V_.
Kathlene Hart: Uh-huh, and then actual numbers for channels as well, yeah.
Kelly Stansel: Okay. Um, you say that's a h a required one or a requested one?
Maria Poyer: Which
Kelly Stansel: Would you
Maria Poyer: was that?
Kelly Stansel: like um the channels like the the numbers
Maria Poyer: Up
Kelly Stansel: on
Maria Poyer: the numbers,
Kelly Stansel: thing,
Maria Poyer: or the up down?
Kathlene Hart: God,
Kelly Stansel: um
Kathlene Hart: I wou I would say that's required, I mean there's no way anybody's gonna buy a remote control these days when if you can't actually individually
Maria Poyer: Yeah.
Kathlene Hart: select channels, I mean would anybody disagree
Maria Poyer: Yeah.
Kathlene Hart: with that? Um, what else, uh So don't need to worry about teletext, don't need to worry about V_C_R_, uh any kind of
Maria Poyer: We
Kathlene Hart: like
Maria Poyer: don't?
Kathlene Hart: display
Maria Poyer: No?
Kathlene Hart: controls at all do you think we need to worry about, you know like
Maria Poyer: Yeah.
Kathlene Hart: brightness and contrast?
Maria Poyer: Well I think I think es essentially what we're doing right now is we're categorising. We're saying well we want this to be a product that offers all the
Kathlene Hart: Mm.
Maria Poyer: sort of more tricky features but we want them to be in another area? Is that right? Is that what we're
Kathlene Hart: Yeah.
Kelly Stansel: Um,
Maria Poyer: we're doing? We're kind
Kelly Stansel: yeah.
Maria Poyer: of like sorting them an Or
Kelly Stansel: Um
Maria Poyer: are we actually eliminating things we just don't want the product to have?
Kathlene Hart: I think are you are you maybe kind of thinking what we absolutely have to have and what would
Kelly Stansel: Uh,
Kathlene Hart: be nice?
Kelly Stansel: to start with um sort of a bit both, um we need to find out exactly what we have to have
Kathlene Hart: Mm-hmm.
Kelly Stansel: um and after that we can add things if they're possible.
Kathlene Hart: Okay, right. Well, do you wanna maybe just, at this point decide on what we absolutely must have as
Maria Poyer: Yeah.
Kathlene Hart: a p as a function of this.
Maria Poyer: Yep.
Kathlene Hart: Um, so so far, just to recap you've got
Kelly Stansel: There's um
Kathlene Hart: volume
Kelly Stansel: on and off,
Kathlene Hart: and channel
Kelly Stansel: um
Kathlene Hart: control and
Kelly Stansel: volume and channel, and skip to certain channels with the numbers.
Kathlene Hart: Right okay. Um
Maria Poyer: Well, one one way I would look at this um would be that we a approach the different controls in terms of um like control types, so that for the user it's very clear what they want to do where they
Kathlene Hart: Mm-hmm
Maria Poyer: go.
Kathlene Hart: yeah.
Maria Poyer: Uh and also think maybe a little bit about sorta w w what would just wanna be acc easily accessible. For example
Kathlene Hart: Oka
Maria Poyer: if we had audio controls, those could be something people set up very rarely. Maybe they're un they're they're they're in a little area
Kathlene Hart: Mm-hmm.
Maria Poyer: but covered up um, things like channel and volume um are used all the time, so we just have them right out on top, um very just very sort of self-explanatory. Um so maybe we need to think about having three or more groupings of controls, you know like one which are just the the habitual ones that should be right within your natural grip. And others that are uh also available and then others that are concealed. Something
Kathlene Hart: Okay.
Maria Poyer: like that.
Kathlene Hart: Uh well, just to to wrap up quickly on this this little section Have I just lost Oh no. Um, uh do you think maybe that's the only kind of uh essential requirements, and then maybe just things that would be nice if it could do would be things like audio set up and display set up and things like that, maybe like a mute button, that sort of thing.
Maria Poyer: Yeah.
Kathlene Hart: Any of you anything to add to that at all?
Susan Reed: No.
Kathlene Hart: No.
Susan Reed: I'll add it later, I guess the
Kathlene Hart: Okay,
Maria Poyer: Mm-hmm.
Susan Reed: presentation.
Kathlene Hart: right.
Maria Poyer: Yeah.
Kathlene Hart: Um okay, if we can move on to next presentation then please.
Maria Poyer: Sure.
Kathlene Hart: Um
Kelly Stansel: Do
Kathlene Hart: Do
Kelly Stansel: you
Kathlene Hart: you wanna
Kelly Stansel: want to
Maria Poyer: Can
Kelly Stansel: switch places?
Maria Poyer: this can this pl reach? Can this plug
Susan Reed: No.
Maria Poyer: come across?
Kathlene Hart: Probably
Susan Reed: No.
Kathlene Hart: not, actually.
Maria Poyer: No. So why don't I just pick up and move
Kathlene Hart: Yeah.
Maria Poyer: then. Here, I'll just Why don't I just
Maria Poyer: Mm
Kelly Stansel: Just just switch them.
Maria Poyer: er, can you go up behind Maria Poyer? Kinda This is so This
Kathlene Hart: bit complicated. It'd
Maria Poyer: I'm all in
Kathlene Hart: be
Maria Poyer: a
Kathlene Hart: nice
Maria Poyer: knot
Kathlene Hart: if everything
Maria Poyer: now.
Kathlene Hart: was wireless, wouldn't it?
Maria Poyer: Okay.
Kathlene Hart: Right.
Maria Poyer: Um. So I can I can say already, I dunno whether this is for good or for bad but there'll be a lot of kind of uh redundancy in the in the the issues and the the uh
Kathlene Hart: Oh, like
Maria Poyer: the things.
Kathlene Hart: overlap between
Maria Poyer: Yeah,
Kathlene Hart: what you said?
Maria Poyer: yeah. Which
Kathlene Hart: that
Maria Poyer: is ma not
Kathlene Hart: that'll happen.
Maria Poyer: necessarily a bad thing, but may what I've already started doing is cr I created a slide in in my presentation here so um so that we kind of think well what's the cumulative effect of what we've taken from your ideas and and mine, because certainly I I have a hard time separating separating things completely. Obviously
Kathlene Hart: Mm hard to know what
Maria Poyer: obviously
Kathlene Hart: where your
Maria Poyer: what
Kathlene Hart: role
Maria Poyer: you've just
Kathlene Hart: ends,
Maria Poyer: told
Kathlene Hart: yeah.
Maria Poyer: Maria Poyer what you've just told Maria Poyer impacts a lot on what um like market research mm that that I've been So
Kathlene Hart: Okay.
Maria Poyer: how do I how do I get
Susan Reed: Um
Maria Poyer: this
Susan Reed: function
Maria Poyer: up?
Susan Reed: F_ eight.
Kathlene Hart: Uh pr yeah, press
Maria Poyer: Okay.
Kathlene Hart: function and F_ eight, yeah.
Maria Poyer: Okay. Alright. So F_ eight?
Susan Reed: Function, the blue button. Next to the control on the left.
Maria Poyer: Oh, and F_
Susan Reed: Yeah.
Kathlene Hart: Mm.
Maria Poyer: eight.
Susan Reed: You
Maria Poyer: Okay.
Susan Reed: have to push it together.
Maria Poyer: Mm-hmm.
Susan Reed: Yep.
Maria Poyer: Okay, I think that that's doing it now.
Susan Reed: Nope. Try that again.
Maria Poyer: Uh, again?
Kelly Stansel: Think maybe the
Susan Reed: Wait.
Kelly Stansel: the wire in the back might be loose.
Maria Poyer: Okay.
Kathlene Hart: Yeah, you wanna
Maria Poyer: Um,
Kathlene Hart: Oh oh here
Susan Reed: Yep,
Kathlene Hart: we
Maria Poyer: okay
Susan Reed: there
Kathlene Hart: go.
Susan Reed: we
Maria Poyer: great.
Susan Reed: go.
Kathlene Hart: There you go.
Maria Poyer: Okay. Just um Before I bring this up what I'll just say is um what I've what I've done is tried to collect some information so that I can then relay this to to you guys so that it's now becomes a collective thing. And then kind of lead us in the direction of deciding, 'kay what what are our options, what should we decide and do you know what I mean, so.
Susan Reed: Increase
Kathlene Hart: Um
Susan Reed: that 'cause see the
Maria Poyer: Okay.
Kathlene Hart: Okay.
Susan Reed: That's much better.
Kathlene Hart: Right. Can you um
Susan Reed: There
Kathlene Hart: Right,
Susan Reed: you go.
Kathlene Hart: okay.
Maria Poyer: Okay. Alright. That would be Okay. So um does that make sense? So what I basically got is I just looked into some information and sort of th tried to think about how how we could review it and how we could and what kind of decisions we could take away from it and then maybe by the end of just looking at some of these things we can think about what are our priorities. 'Cause certainly there's lots of different information to go through. So um I'm thinking here about uh primarily about customer needs, that we start with the customer, and w you know, what they want and what are issues with with um existing products. Uh to think about trends and also about try and connect that as you see with the company vision which is about fashion in electronics. Um and then, as I say uh w we'd like to prioritise our design features from this and um
Susan Reed: Bouncing on top.
Maria Poyer: Dunno. Okay.
Kathlene Hart: Yeah.
Maria Poyer: Um. found here, um a lot of this is new to Maria Poyer, so we'll just read through together. Um, users dislike the look and feel of current remote controls. So they find them ugly. Most people find them ugly. Um the vast majority would spend more money for it to look fancy as well, we'll see later, the vast majority would spend more money for um slightly more intuitive control, such as
Kathlene Hart: Mm-hmm.
Maria Poyer: voice recognition. Okay I'm gonna we'll look at that in a second. Um most people use only a f a very slim portion of all the controls. So I guess what we're looking at here is people want this h technology, they tend to use the most simple controls and overall they find remote controls to be something they don't doesn't really appeal to them.
Kathlene Hart: Mm-hmm.
Maria Poyer: So I think what we're doing is we're trying to take like if for Maria Poyer this is sorta like three different different um inspirations, you know, one is that we want uh something that's high-tech but we want it to seem easy. And in spite of the primitive side of it and the very high-tech side, we want it to just be an appealing piece of equipment in people's hands. Um, frustrations. They get lost a lot, s as it came up in our last meeting. Um, takes time to learn how to use them. This is uh why I mention when Craig was uh showing us some ideas that we actually try and group controls, so d it doesn't just look like a big panel, kinda like when you you look at, you know, a new computer keyboard, or something that is quite explanatory. If you want audio, if you want visual, then you have those. Um and I will admit I don't know what R_S_I_ stands for.
Kathlene Hart: Repetitive strain injury.
Susan Reed: Is installing a new remote control something that people
Maria Poyer: Uh, no, that did not come up at all. Um so here here is another um sort of a a review here of the main things. I also found that most people would uh adults at least would pay more for voice recognition. Now apparently we do have access to all the tech cutting edge technology in remote control. So I dunno if that's possible we might consider getting into it. Um. And and again here as we sort of move m sort of thin start thinking about how we wanna sell and market this, I think a recurring theme here is the company wants it to be wants us to make something that's fashionable and sleek
Kathlene Hart: Mm-hmm.
Maria Poyer: and trendy. Um people uh additionally aren't aren't liking the appearance of their products, so we wanna think about as we take all the sort of the techie features how we can um put that into a unit which is which people like. You know,
Kathlene Hart: Okay.
Maria Poyer: they like the aesthetics and the ergonomics.
Kathlene Hart: So want something that looks good and is easy to use,
Maria Poyer: Yeah.
Kathlene Hart: big priorities.
Maria Poyer: Yeah,
Kathlene Hart: Okay.
Maria Poyer: so you know just c looking at what what Craig um Craig's i uh ideas are s sorta tell Maria Poyer that maybe what we wanna do is try and um separate the different things that we wanna include in this. So if we do say well we want there to be all the technology will we try and make that almost be like optional technology. You know, it's like like I find a lot of T_V_s these days, something really like about 'em is if you wanna just turn 'em on and off you can, but they have little panels where you click
Kathlene Hart: Mm.
Maria Poyer: and there's just like tons of features
Kathlene Hart: So
Maria Poyer: you
Kathlene Hart: it
Maria Poyer: go
Kathlene Hart: you
Maria Poyer: through.
Kathlene Hart: wanna group all the different kind of
Maria Poyer: Yeah.
Kathlene Hart: types of functions together, you know. That's I think
Maria Poyer: Yeah.
Kathlene Hart: it's a good idea.
Maria Poyer: That's s that's sort of the um But I I'm my hope here is that I'm putting out this information so that we can then say okay, well how do we collectively move
Kathlene Hart: Mm-hmm.
Maria Poyer: on with it. Um
Kathlene Hart: Okay.
Maria Poyer: I I haven't brought out one specific marketing idea, although my sense is that what we should try and think about is what are the current trends in materials and shapes and styles,
Kathlene Hart: Mm-hmm.
Maria Poyer: and then use that. But not let that confine us technologically.
Kathlene Hart: Okay.
Maria Poyer: So
Kathlene Hart: Right.
Maria Poyer: Alright? Any um comments on all of that?
Kathlene Hart: Well, um
Maria Poyer: That's
Kathlene Hart: one
Maria Poyer: uh
Kathlene Hart: of the things that we have to decide on by the end of the meeting is who we're gonna be um who's our our target audience, our target market.
Maria Poyer: Yeah.
Kathlene Hart: Um, so if we want something that that looks good and is easy to use, but has y is fairly powerful product, whatever, who do we really want to aim that at?
Maria Poyer: Okay.
Kathlene Hart: I mean
Maria Poyer: Where's the money, maybe.
Kathlene Hart: Yeah, who wou who would have the money to spend.
Maria Poyer: Yeah.
Kathlene Hart: Well i if
Maria Poyer: And who watches
Kathlene Hart: if like
Maria Poyer: T_V_.
Kathlene Hart: twenty five Euro is our is our selling price
Maria Poyer: Mm-hmm.
Kathlene Hart: then you can imagine, well I don't I'm not really sure how much that will
Maria Poyer: Mm.
Kathlene Hart: retail at. But you want it's somebody who's not gonna just use the remote that comes with their telly, I suppose,
Maria Poyer: Mm-hmm.
Kathlene Hart: they're gonna actually go out and buy one.
Maria Poyer: Yeah.
Kathlene Hart: So, who do you think we're aiming this at?
Susan Reed: Um, I think it'll be the mid range to the high end market, in terms of people. 'Cause twenty five Euros for a remote, how much is that lo locally in pounds?
Kathlene Hart: It's about sixteen, seventeen pounds, I think.
Susan Reed: Is that too is that a lot of money to buy an extra remote or a replacement
Kathlene Hart: Yeah,
Susan Reed: remote?
Maria Poyer: Mm-hmm.
Kathlene Hart: okay.
Susan Reed: Right. Um so maybe not the high end range, but maybe middle, middle up-ish.
Kathlene Hart: Okay.
Susan Reed: Kind of. You know how much? I dunno I guess you pay,
Kathlene Hart: Okay.
Susan Reed: what, ten ten quid for a remote? Like a simple replacement,
Kathlene Hart: Yeah.
Susan Reed: right. I mean if you lost your remote and the first thing
Kathlene Hart: Yeah,
Susan Reed: you just wanna go
Maria Poyer: Yeah.
Susan Reed: out and get,
Kathlene Hart: yeah.
Maria Poyer: This
Susan Reed: would you
Maria Poyer: this
Susan Reed: how much
Maria Poyer: kinda
Susan Reed: would you
Maria Poyer: touches
Susan Reed: pay?
Maria Poyer: on your comments there, David. These are the age groups which we
Susan Reed: Yeah.
Maria Poyer: have information on and these are this is a table of h what people would pay more for a certain feature. Just
Kathlene Hart: Okay
Maria Poyer: gives us a rough idea of where the w the will to spend money on T_V_ equipment is.
Kathlene Hart: Okay.
Maria Poyer: Mostly focused around the twenty five age group.
Kathlene Hart: Yeah, so do you think we're we're aiming at a fairly young market then?
Susan Reed: Yep.
Maria Poyer: Sort of young professional, kind
Kathlene Hart: Yeah,
Maria Poyer: of. Mm-hmm
Kathlene Hart: okay.
Kelly Stansel: Um
Kathlene Hart: Um do you think then uh voice recognition is something we should really seriously consider? What what do you think, Craig?
Kelly Stansel: Well, did you not say it was the the adults that were going for the the voice recognition? Sort of the
Maria Poyer: Uh,
Kelly Stansel: the older
Maria Poyer: yeah,
Kelly Stansel: group.
Maria Poyer: it's the Yep.
Kelly Stansel: Uh
Maria Poyer: It
Kelly Stansel: f
Maria Poyer: does it does fit with the market that we're sort of identifying,
Kathlene Hart: N yeah.
Maria Poyer: in terms of
Kathlene Hart: I think we are gonna have to narrow it down, to say let's target these
Maria Poyer: Okay.
Kathlene Hart: people and give them what they want and
Maria Poyer: Yeah.
Kathlene Hart: 'cause you know,
Maria Poyer: Sure.
Kathlene Hart: there needs to be some kind of
Maria Poyer: Sure.
Kathlene Hart: selling point to
Maria Poyer: Yeah.
Kathlene Hart: it. So um anybody anything there to add Just kind of young professionals, uh th like if we are going to include speech recognition, it's kind of between fifteen and thirty five seems to be like a really high response to that.
Maria Poyer: Mm-hmm.
Kathlene Hart: So we could say
Susan Reed: I
Kathlene Hart: that
Susan Reed: I
Kathlene Hart: was
Susan Reed: think
Kathlene Hart: our target.
Susan Reed: twenty five to thirty five is is is fair to add that in as
Kathlene Hart: Yeah.
Susan Reed: a group
Maria Poyer: Mm-hmm.
Susan Reed: as well because
Maria Poyer: Yeah.
Susan Reed: that's more than half your group of people who are willing to at least try
Maria Poyer: Yeah,
Susan Reed: and use your technology.
Kathlene Hart: Mm-hmm.
Maria Poyer: yeah.
Kathlene Hart: Okay, so fifteen to thirty five, look fairly young.
Maria Poyer: Yeah.
Susan Reed: Yeah.
Kathlene Hart: You know, they have bit of expendable income to spend on this sort of thing.
Maria Poyer: Mm-hmm.
Susan Reed: I think perhaps that age group is significant as well because those are people who use the computer,
Maria Poyer: Mm-hmm.
Susan Reed: who are familiar with their with computers in in their everyday work.
Kathlene Hart: Yeah.
Maria Poyer: Mm-hmm.
Susan Reed: I think people who are maybe about
Maria Poyer: Mm-hmm.
Susan Reed: I wouldn't say thirty five, but people who are about
Maria Poyer: Mm-hmm.
Susan Reed: forty-ish and above now
Maria Poyer: Mm-hmm.
Susan Reed: would
Maria Poyer: But
Susan Reed: not
Maria Poyer: yeah.
Susan Reed: be so dependent and reliant on a computer
Kathlene Hart: Yeah.
Susan Reed: or
Maria Poyer: Yeah,
Susan Reed: a mobile
Maria Poyer: sure.
Susan Reed: phone or something like that.
Kathlene Hart: So
Maria Poyer: Mm-hmm.
Susan Reed: So these are people who are gadgety, right? People
Kathlene Hart: Yeah.
Susan Reed: who are u growing up used to, you know in schools and in universities, when you go on to their working lives,
Kathlene Hart: Yeah.
Susan Reed: people who would
Kathlene Hart: So
Susan Reed: you
Kathlene Hart: they'll
Susan Reed: know regular
Kathlene Hart: not sh not shy
Susan Reed: Yeah.
Kathlene Hart: away from something
Susan Reed: Yeah.
Kathlene Hart: quite high-tech.
Maria Poyer: Yeah.
Kathlene Hart: That that's
Susan Reed: Mm.
Kathlene Hart: that's a good point. Um okay, so um so shall we make the decision uh to include speech recognition
Maria Poyer: If we can.
Kathlene Hart: if we can.
Susan Reed: I I think
Kelly Stansel: Yeah.
Susan Reed: one thing we should try not to avoid is not to say we have to use speech recognition right now,
Maria Poyer: Yeah.
Kathlene Hart: Okay.
Susan Reed: because
Kathlene Hart: Why is that?
Susan Reed: um, based on what you've go y everybody's saying, right, you want something simple. You want basic stuff and you want something that's easy to use. Speech recognition might not be the simplest thing
Maria Poyer: Right.
Susan Reed: for somebody
Kathlene Hart: Okay.
Susan Reed: to use.
Maria Poyer: Could it be an on off thing?
Susan Reed: Um,
Maria Poyer: Like if you want it
Kathlene Hart: Where you can
Susan Reed: but
Kathlene Hart: activate
Susan Reed: what
Maria Poyer: on
Susan Reed: I'm saying
Kathlene Hart: it and
Susan Reed: is
Kathlene Hart: deactivate
Susan Reed: that we're
Kathlene Hart: it?
Maria Poyer: Yeah.
Susan Reed: we're trying to lock ourselves into a s particular kind of technology,
Kathlene Hart: Yeah.
Maria Poyer: Yeah.
Susan Reed: rather than focusing on on exactly what are the features that we're
Maria Poyer: Yeah.
Susan Reed: gonna say,
Kathlene Hart: Okay.
Susan Reed: and then, you know,
Maria Poyer: Sure.
Susan Reed: say speech recognition is good for this, speech recognition is not good for this.
Maria Poyer: Sure.
Susan Reed: So
Kathlene Hart: Okay.
Susan Reed: maybe we should I suggest
Maria Poyer: Yeah.
Susan Reed: that we think about speech recognition,
Maria Poyer: Sure.
Susan Reed: anyway it's a it's something that can be used to fulfil a function, but
Kathlene Hart: Uh-huh.
Susan Reed: at end of the day we don't look at the technology, but
Maria Poyer: Yeah.
Susan Reed: we look at the function first.
Kathlene Hart: Okay.
Maria Poyer: Sure. Yep.
Kathlene Hart: Uh okay, well do you wanna um give us your presentation
Susan Reed: Okay, sure.
Kathlene Hart: and then then we can I
Maria Poyer: Yep.
Kathlene Hart: don't know um might have been a good idea to all deliver our presentations and then discuss,
Maria Poyer: Yeah,
Kathlene Hart: but
Maria Poyer: it's
Kathlene Hart: this is
Maria Poyer: good
Kathlene Hart: this
Maria Poyer: well
Kathlene Hart: is
Maria Poyer: it's
Kathlene Hart: how we're
Maria Poyer: good to get ideas out while
Kathlene Hart: Yeah,
Maria Poyer: they're fresh in mind.
Kathlene Hart: exactly, yeah.
Maria Poyer: Um
Kathlene Hart: Oh it's something that's just occurred to Maria Poyer as well is if we make it um speech reco if we incorporate speech recognition, that's appealing to people um maybe with
Maria Poyer: Not
Kathlene Hart: a physical disability as well.
Maria Poyer: Yeah.
Kathlene Hart: Um.
Maria Poyer: And not losing. And also it helps in terms of people not losing this, you know they
Kathlene Hart: Yeah.
Maria Poyer: they're saying oh it's I lose it in the couch.
Kathlene Hart: Yeah.
Maria Poyer: like we're kind of what we're b sort of getting in into here is mating different uh design features
Kathlene Hart: Mm-hmm.
Maria Poyer: together that they
Kelly Stansel: I reckon one problem with speech recognition is um I've actually seen one of them used and uh the technology that was in that one wasn't particularly amazing, so you end up yelling at the control for hours.
Kathlene Hart: Really?
Maria Poyer: Right.
Kelly Stansel: Channel up.
Maria Poyer: Oh really, you've seen one before.
Kathlene Hart: Do you think maybe we need like
Kelly Stansel: Um
Kathlene Hart: further advances in that kind of area until it's worthwhile incorporating
Kelly Stansel: I think it'd
Kathlene Hart: it
Kelly Stansel: probably
Kathlene Hart: though?
Kelly Stansel: quite expensive
Susan Reed: Sorry, do
Kelly Stansel: to
Susan Reed: you mind passing
Kathlene Hart: Mm.
Kelly Stansel: put in.
Susan Reed: Maria Poyer my
Kathlene Hart: Course
Susan Reed: notepad.
Kathlene Hart: not.
Susan Reed: Thanks. Cool,
Kathlene Hart: There you go.
Susan Reed: um. Okay. Um.
Kathlene Hart: Right.
Susan Reed: Well this is just the working design
Kathlene Hart: Mm-hmm.
Susan Reed: um. Well this is just what how I would go about it. Um I guess I try to define like what we're doing now, try to define what we're trying to get done. Um
Maria Poyer: Right.
Susan Reed: I think in a practical way, we kind of know what it is. We've used it, we're familiar with it, but we're we can't n we haven't narrowed down um exactly what the things we're trying to fulfil, like Besides the basics, I think back in the back of our minds we know what the basics are. Has to change channels, has to change volume, but in like specifics, right, which one of the basics are you trying to target.
Maria Poyer: Mm-hmm.
Susan Reed: Um are there certain parts of the basics that are more important or less important than the basics? Um and I just the idea is just to get everybody to um I usually have a have have a design that's there as a basic, so, you know, things that to start everything going. But I guess everybody does have some idea, so I don't think um there's a need for that. Um okay this finding things is a little bit confusing, so I'll go into the diagram first. It just explains how the process goes through,
Kathlene Hart: Mm-hmm.
Susan Reed: from a from the basic technology point of view, the basic steps that you need um in the diagram and in this slide probably works better. Um okay, you need some power source. 'Kay, a battery or something,
Kathlene Hart: Mm-hmm.
Susan Reed: to keep it going. Um and that power source is important because it ties you down to um how long the device will last.
Kathlene Hart: Uh-huh.
Susan Reed: Um it ties you down perhaps a bit later on in terms of the technologies um how far you can transmit the signal or the complexity of the functions
Maria Poyer: Mm-hmm.
Susan Reed: that you want. Like for example, voice recognition, right. might be constrained because that you might need to power a microphone, you might need to power other things, so that's one perhaps constraint there. Um Th Okay, the basic thing is there's a user interface where people punch a button or talk into it or smile to it or blink their eyes, whatever.
Kathlene Hart: Hmm.
Susan Reed: You know, and that um picks up an input from a user, um uh a logic a series of logic has to decide what the user is telling the device, and the device has to r you know, based on you push button A_, so I will do something with button A_. So maybe button
Maria Poyer: Mm-hmm.
Susan Reed: A_ is the power button,
Kathlene Hart: Mm-hmm.
Susan Reed: okay. Um and then it needs to be able to send the signal out to the device itself which is the receiver here. Um and I think that's about it in terms of my design um. It's fairly general, um and I guess the purpose of this is also not to restrict you
Kathlene Hart: Mm-hmm.
Susan Reed: in in the way you're thinking, like um voice recognition, right, um, if it's something which is important then we just add more power rather than having a thing that we don't have enough power. So it's not
Kathlene Hart: Okay.
Susan Reed: really a constraint in that sense,
Maria Poyer: Mm-hmm.
Susan Reed: but I mean these are functionally, you know, the base,
Maria Poyer: Mm-hmm.
Susan Reed: what
Maria Poyer: Okay.
Susan Reed: the technology has to do.
Kathlene Hart: Okay.
Maria Poyer: Mm-hmm.
Susan Reed: Um so I guess the rest of it I think we should maybe you you wanna go back to what the functions are? I think that's
Maria Poyer: 'Kay.
Kathlene Hart: Uh.
Susan Reed: more relevant to a discussion?
Kathlene Hart: Well, do
Maria Poyer: Sure.
Kathlene Hart: you wan do you wanna finish up
Maria Poyer: Sure.
Kathlene Hart: your your whole presentation
Susan Reed: Yeah, w I'm done.
Kathlene Hart: then? Are you are you all done?
Susan Reed: More or less. Yeah. Ps Oh, it's just putting the rest of it into words, but it's essentially
Maria Poyer: Yep.
Susan Reed: the same thing.
Kathlene Hart: Mm.
Susan Reed: Um you have a transmitter, an input
Kathlene Hart: Okay.
Susan Reed: device, logic chip, you know, stuff
Kathlene Hart: Okay.
Maria Poyer: Right.
Susan Reed: like that. Um
Kathlene Hart: Right.
Maria Poyer: And like on the means
Susan Reed: I guess this would
Maria Poyer: b
Susan Reed: be
Maria Poyer: Since we're on the topic of the technology,
Susan Reed: Yep.
Maria Poyer: uh are there any like what are our options? Alright, what's what i in Is this the only way that we go about it, or are there
Susan Reed: Um,
Maria Poyer: other
Susan Reed: these these
Maria Poyer: thin
Susan Reed: aren't technology options in that sense.
Maria Poyer: Right.
Susan Reed: This is just um
Maria Poyer: The basic
Susan Reed: a
Maria Poyer: principle
Susan Reed: basic
Maria Poyer: of
Susan Reed: principles
Kathlene Hart: Okay.
Susan Reed: and
Maria Poyer: 'Kay.
Susan Reed: basic components that are needed.
Maria Poyer: Right.
Kathlene Hart: Mm-hmm.
Susan Reed: For example, if you needed um if you needed to add uh a voice recognition, right, then your user interface would be split, broken down into more components,
Maria Poyer: Okay.
Kathlene Hart: Mm-hmm.
Susan Reed: right, which you have a microphone,
Kathlene Hart: Oh.
Susan Reed: the V_R_
Maria Poyer: Okay.
Susan Reed: and stuff like that.
Kathlene Hart: So this just show how
Susan Reed: Uh
Kathlene Hart: we're kind of modularising the whole
Susan Reed: Yep.
Kathlene Hart: thing. Okay.
Susan Reed: Yep. So each component represents one function,
Kathlene Hart: Mm-hmm.
Susan Reed: but I think the basic functions are the logic, the transmitter, um and the receiver,
Maria Poyer: Mm-hmm.
Susan Reed: okay, and the power are things that you won't have to care about.
Maria Poyer: Mm-hmm.
Kathlene Hart: Yeah.
Susan Reed: Um and those are things that based on what your user interface requires then
Kathlene Hart: Mm-hmm.
Susan Reed: we'll add more functionality to it.
Kathlene Hart: Okay.
Susan Reed: Um there might be one other consideration which would be that the the transmission between the remote control and the T_V_ for example.
Kathlene Hart: Okay.
Susan Reed: Okay,
Maria Poyer: Okay.
Susan Reed: um are we gonna restrict ourselves to using the traditional technologies of infra-red
Kathlene Hart: Okay.
Susan Reed: thing? Because that's something you need to actually be physically be pointing to.
Kathlene Hart: Okay.
Maria Poyer: Right.
Susan Reed: Right.
Kathlene Hart: Well well a worry that was was expressed in the new requirements was that if we made this too complex it would e it would effect um how long how long it took us to get this to market, so I th suspect it might be a good idea just to restrict our kind of our creative influence on this on the user interface and not worry so much about uh how we transmit it
Susan Reed: Yep.
Kathlene Hart: um because I mean it it's tried and tested intra-red, so
Susan Reed: There might
Kathlene Hart: we
Susan Reed: be
Kathlene Hart: could
Susan Reed: one
Kathlene Hart: stay with tha
Susan Reed: other problem with the transmission, um in particular right now, since we're talking about voice recognition. Um if somebody's gonna h talk to the device, you ideally
Kathlene Hart: Mm-hmm
Susan Reed: want them to hold it to them.
Kathlene Hart: Oh,
Susan Reed: I it
Maria Poyer: Right.
Kathlene Hart: yeah.
Susan Reed: you may not require that, but
Maria Poyer: Right.
Susan Reed: you know, um it's it's it's something very natural, I guess,
Kathlene Hart: Yeah,
Susan Reed: you know, to
Kathlene Hart: mm-hmm.
Susan Reed: hold it, to signal to the user, and push a button maybe to start s talking
Kathlene Hart: Okay.
Susan Reed: about it. Then you need to send the signal out, so
Kathlene Hart: Mm.
Susan Reed: because if you're using infra-red, the line of sight
Kathlene Hart: Mm.
Susan Reed: um say the T_V_'s at that chair, and I'm standing in front of here and the transmitter is here,
Kathlene Hart: Yeah.
Susan Reed: it blocks it.
Kathlene Hart: Okay.
Susan Reed: So in that sense, there's not really a restriction but it's something which
Maria Poyer: Right.
Susan Reed: you may have to think about later on in the process.
Maria Poyer: Okay.
Susan Reed: Not so much
Kathlene Hart: Okay.
Susan Reed: further
Maria Poyer: And
Susan Reed: down.
Maria Poyer: um just a clarification before we finish this. Uh does c is our controller is it have the option of being um on a standard uh frequency as all of the other equipment, so that the one controller can control
Susan Reed: There's there's not much specific
Maria Poyer: several pieces of
Susan Reed: specific
Maria Poyer: equipment?
Susan Reed: information,
Kathlene Hart: W
Susan Reed: but I think that um one indication of infra-red mean that you're just targeting traditional devices.
Kathlene Hart: Yeah.
Maria Poyer: Okay.
Susan Reed: Because
Kathlene Hart: W
Susan Reed: infra-red is something which everybody has.
Kathlene Hart: Well well we've um In the new requirement spec they said just to focus
Maria Poyer: Just
Kathlene Hart: on
Maria Poyer: to
Kathlene Hart: the T_V_,
Maria Poyer: T_V_, okay.
Kathlene Hart: so that's what we should do for now I think.
Maria Poyer: Okay.
Kathlene Hart: Something I was wondering about was the power. Um, is it worth considering like having like a charging unit as opposed to just regular batteries? I mean is that something we really want to go into, do you think, or should we
Susan Reed: There's
Kathlene Hart: just consider
Susan Reed: a there's
Kathlene Hart: running
Susan Reed: Okay,
Kathlene Hart: on
Susan Reed: from
Kathlene Hart: regular
Susan Reed: from
Kathlene Hart: batteries?
Susan Reed: a from a component point of view there's added complexity,
Kathlene Hart: Uh-huh.
Susan Reed: and you add cost to it,
Kathlene Hart: Uh-huh.
Susan Reed: um and then there's probably the fact that you need another physical component. You need a docking cradle, for
Maria Poyer: Mm-hmm.
Susan Reed: example,
Kathlene Hart: Yeah.
Susan Reed: for you to
Maria Poyer: Mm-hmm.
Susan Reed: put it in to charge.
Kathlene Hart: Okay.
Susan Reed: Or you need to get the user to plug it in. Um
Kathlene Hart: Okay, so
Susan Reed: and most users are very f use already used to the idea of buying batteries and putting it into
Kathlene Hart: Yeah.
Susan Reed: the controller. But unless the controller's gonna consume a lot of batteries, like he's gonna run through like
Kathlene Hart: Yeah.
Susan Reed: twenty batteries a month, then I don't think rechargeable is something we should you know, we
Maria Poyer: Yeah.
Kathlene Hart: Okay,
Susan Reed: really
Kathlene Hart: so
Susan Reed: need
Kathlene Hart: just
Susan Reed: to
Kathlene Hart: stick to to regular
Susan Reed: care about. Um.
Kathlene Hart: Okay. Um, right. So basically the um I'm just gonna just recap uh what I said at the start, was that um the the whole point of this meeting was to f absolutely finalise who we're gonna aim this at, and
Maria Poyer: Okay.
Kathlene Hart: what exactly the product's gonna do.
Maria Poyer: Okay.
Kathlene Hart: So um just to recap on Are we all happy about the idea of um aiming the product at um the fifteen to thirty five bracket?
Maria Poyer: Yeah,
Kathlene Hart: Um
Maria Poyer: that's
Kathlene Hart: and
Maria Poyer: good.
Kathlene Hart: also the funct the the actual functions of what it's gonna do. Do you wanna recap on that, Craig?
Kelly Stansel: Um. I think we just say that it was gonna be the the most basic stuff possible. Um on off, up and down channels, up and down volume and uh skip to a channel.
Kathlene Hart: Okay,
Kelly Stansel: Ta.
Maria Poyer: And
Kathlene Hart: right.
Maria Poyer: is it going to include any of the uh the more advanced features, or are we gonna eliminate those?
Kelly Stansel: Um I think we include mute, but apart from that um I think we just we'll go for the simpleness.
Maria Poyer: Okay.
Kathlene Hart: Okay.
Susan Reed: Okay,
Maria Poyer: R
Susan Reed: I
Maria Poyer: is
Susan Reed: think
Maria Poyer: it is it is it s is it not an option still that we include some things just as a sort of under like sort of under a door
Kathlene Hart: Yeah,
Kelly Stansel: Yeah.
Kathlene Hart: it's
Maria Poyer: or
Kathlene Hart: as
Maria Poyer: some
Kathlene Hart: optional functions.
Maria Poyer: 'Cause what what I'm I'd be a bit worried about is if someone was h had previously developed habits of expecting to control surround sound or this and that with their controller and then and then they, you know, w they get ours and w it's doesn't have that. I dunno
Kathlene Hart: Okay.
Maria Poyer: if that'd be a problem.
Susan Reed: Another thing that you were saying about categorising the controls?
Kathlene Hart: Mm-hmm.
Susan Reed: Um maybe I could suggest we we break them down into three simple categories.
Maria Poyer: Yeah. Okay.
Susan Reed: One would be audio controls,
Kathlene Hart: Mm-hmm.
Susan Reed: one would be video controls,
Maria Poyer: Okay.
Susan Reed: and the other one would be a device. Um this may not map very well to advanced functionality especially, but I think that um from a manufacturer's point of view,
Maria Poyer: Yeah.
Susan Reed: from a person designing the device, but I think from a point of view of a person using the device, you know a T_V_ is something they see and something they hear,
Kathlene Hart: Mm-hmm.
Susan Reed: um it's something they do other things to like turn it on and turn it off.
Kathlene Hart: Yeah.
Susan Reed: I mean like
Maria Poyer: Right.
Susan Reed: so what we could have is like three buckets, right, where we could throw things into, like if we want this feature, let's throw it into there,
Maria Poyer: Yeah.
Susan Reed: and then from there decide whether it's basic, or it's non-basic.
Maria Poyer: 'Kay, okay.
Susan Reed: I mean
Maria Poyer: Like
Susan Reed: it
Maria Poyer: that.
Susan Reed: might help with the visualisation.
Maria Poyer: Okay.
Susan Reed: And it would actually help with the component build
Maria Poyer: Mm-hmm.
Susan Reed: as well.
Kathlene Hart: Okay,
Maria Poyer: Mm okay, great.
Kathlene Hart: right. Um, okay well I gotta kind of got five minutes to wrap up now. Um next thing we're doing is having lunch. Whoohoo. Um and then we're gonna have thirty minutes of working on the next stage. Um so I'll be putting the minutes of this uh this meeting into the project documents folder.
Maria Poyer: Mm-hmm.
Kathlene Hart: Um so uh I guess just to just to confirm that we know what we're doing in the next well
Maria Poyer: Mm-hmm.
Kathlene Hart: in the thirty minutes after lunch anyway, um for uh our Industrial Designer, you're gonna be thinking about the components concept. Um User Interface Designer gonna be thinking about our user interface, and marketing you're gonna be thinking about trend watching. Um and you'll all get specific instructions as well. So um I dunno, just just to to ask now if you've got anything else you've thought about while we've been talking. Um, do you wanna start with David. Anything else to say at all?
Susan Reed: Mm no, not
Kathlene Hart: No,
Susan Reed: really.
Kathlene Hart: okay.
Maria Poyer: Um
Kathlene Hart: Andrew?
Maria Poyer: yeah, just I just wanted to ask then before we wrap up, shall we agree for sake of um sort of clarity and when we when we r resume that we'll u use this idea David's proposed, where we think of these three sort of buckets and
Kathlene Hart: Yeah,
Maria Poyer: anything
Kathlene Hart: yeah I think
Maria Poyer: anything
Kathlene Hart: that's definitely
Maria Poyer: we discuss
Kathlene Hart: a good
Maria Poyer: about
Kathlene Hart: idea.
Maria Poyer: them is sort of, okay, we're talking about this.
Kathlene Hart: Uh-huh.
Maria Poyer: Shall we
Susan Reed: Mm.
Maria Poyer: do that, then?
Kathlene Hart: Yeah.
Maria Poyer: Okay, great.
Kelly Stansel: Um just about the three buckets, um what would go in the the device functions one?
Susan Reed: Um things like on off. Because they don't have anything to do with what you see.
Kathlene Hart: Yeah.
Susan Reed: I Maria Poyer mean in terms of picture and the entertainment value, you know, um
Kathlene Hart: Okay.
Susan Reed: so um
Maria Poyer: And
Kelly Stansel: Um
Maria Poyer: and channel.
Susan Reed: And channel.
Maria Poyer: Right.
Susan Reed: Because the on off also goes, you know, like on off like power, not on off sound. Not
Kathlene Hart: Yeah.
Susan Reed: on off video. Although you don't turn off the video on your T_V_, but um you
Kathlene Hart: Okay.
Susan Reed: might wanna you know turn off the sound, say you wanna pick up the phone, there's a mute button, right, so
Kathlene Hart: Okay.
Susan Reed: you you have you have a choice of putting it on to um others or a device. Device is basically anything which we can't categorise, right.
Kathlene Hart: Okay,
Susan Reed: We
Kathlene Hart: so
Susan Reed: put it
Kathlene Hart: you're
Susan Reed: out.
Kathlene Hart: gonna have um audio which is gonna be like you know your bass settings and
Maria Poyer: Mm-hmm.
Kathlene Hart: actual volume
Susan Reed: Yeah, anything to do with
Kathlene Hart: hi
Susan Reed: what you hear, right.
Kathlene Hart: Okay.
Maria Poyer: Mm-hmm.
Susan Reed: You you put that into audio.
Kathlene Hart: Okay,
Maria Poyer: Mm-hmm.
Susan Reed: And
Kathlene Hart: and then
Susan Reed: then
Kathlene Hart: visual
Susan Reed: video is anything that you can see.
Maria Poyer: Mm-hmm.
Kathlene Hart: Okay,
Susan Reed: Um.
Kathlene Hart: so brightness, contrast,
Susan Reed: Yep.
Kathlene Hart: things like that,
Maria Poyer: Colour, yeah.
Kathlene Hart: and then just actual device things,
Susan Reed: Yep.
Kathlene Hart: like
Maria Poyer: Sure.
Kathlene Hart: what channel you're watching,
Maria Poyer: Sure.
Kathlene Hart: turning on an off,
Susan Reed: Yep.
Maria Poyer: Okay.
Kathlene Hart: stuff like that. Okay,
Maria Poyer: And
Kathlene Hart: um
Maria Poyer: then k I suppose quite likely what would happen is in the d device category there might be some which are just like the habitual standard and then others which are maybe a bit more
Susan Reed: Like
Kathlene Hart: Mm-hmm.
Susan Reed: random which we
Maria Poyer: Yeah.
Susan Reed: have no other place to put,
Kathlene Hart: Yeah.
Maria Poyer: Sure,
Susan Reed: but we
Maria Poyer: okay.
Susan Reed: need it somewhere there.
Kathlene Hart: Okay.
Maria Poyer: Okay.
Susan Reed: Um even even if it doesn't map very clearly what happens is that people at least have some in their mind. It's easy to use, I think that's one thing that um and I guess from the component point of
Kathlene Hart: Okay.
Susan Reed: view it's easy to build as well 'cause things are like fixed.
Maria Poyer: Okay.
Kathlene Hart: Okay. Um so yeah, I guess just things to think about are you know like the fact it's gotta look good, because of who we're we're, you know, targeting this at. Um something maybe kind of quirky in design maybe.
Maria Poyer: Mm-hmm.
Kathlene Hart: Make it kind of ergonomic kind of to
Maria Poyer: Mm-hmm.
Kathlene Hart: hold, you know, things like that. Um, so I guess I guess that's it.
Maria Poyer: Great.
Kathlene Hart: That's the meeting over. Whoohoo.
Maria Poyer: Then we get to go find out what was picked up for lunch for us. | Kathlene Hart briefed the team on some new requirements to consider when designing the remote. Kelly Stansel presented two existing products and discussed what was wrong with each product. The team discussed how to create a remote which did not include the problems present in the existing products presented by the interface specialist. Maria Poyer presented consumer preferences and requirements and the team discussed who their target demographic should be and whether to include speech recognition in their product. Susan Reed discussed the interior workings of a remote and the team discussed various options for components and energy sources. The team then discussed features to include in the remote and what they could do to figure out how to categorize them. | 0 | amisum | test |
Teresa Chancellor: Okay, well I think we're ready to begin Right. my name's Adam Duguid, we're here because of real reaction, um, we have in the group
Alice Aguero: Oh, Ebenezer Ademesoye. Would you Alice Aguero to that S
Teresa Chancellor: Um, yeah, go for it mate.
Alice Aguero: Um, N_E_Z_
Teresa Chancellor: N_ E_ Z_.
Alice Aguero: E_R_.
Teresa Chancellor: Ebenezer. And your role is?
Alice Aguero: I'm Alice Aguero.
Teresa Chancellor: You're Alice Aguero, okay. Next we have?
Sandra Bowen: Tarik Rahman. T_A_R_I_K_.
Teresa Chancellor: T_ R_ I_ K_. And your role in this is?
Sandra Bowen: Industrial Designer.
Teresa Chancellor: Industrial Designer. And, lastly we have?
Janet Mccray: Uh, Dave Cochrane.
Teresa Chancellor: And you're going to be the User Interface,
Janet Mccray: User
Teresa Chancellor: is
Janet Mccray: Interface
Teresa Chancellor: it?
Janet Mccray: Defin
Teresa Chancellor: Designer. Okay.
Janet Mccray: yes.
Teresa Chancellor: Right. This is the agenda for today's meeting. As you can see, w opening, acquaintance, tool training, project plan discussion, and closing. Um, we already got n through opening, and partially through acquaintance. So, the reason we're here, we're gonna design a new remote control, as you probably all know. The very broad overview is original, trendy, and user-friendly. Course, we'll have to go into a bit more um detail than that, but uh personally I think that the original is gonna be a very key aspect to this design. Um, there's a lot of remote controls out there anyway, so we're gonna need something that's really gonna set it apart. This is how today seems to be going to work. We're gonna have the three kay phases, as you've probably already been told, the functional, architectural, and the detailed design. Um First one's gonna be covering the user requirement spec, technical functions, working design. Second seems to be conceptual components, properties, materials, and the last one is a detailed analysis of our design so far. Of course, you've all got the similar emails, I believe, right. What can I say? Ebenezer, you wanna have a you wanna draw your favourite animal?
Alice Aguero: Sure. Whiteboard. 'Kay. S okay. I will make this quick, since we don't have much time. Um.
Alice Aguero: 'Kay, so it's not the best picture in the world. Here we have an elephant. First point, begins with an E_, same like Ebenezer. Also, elephants have a very good memory, much like myself, and I can't remember but I think I used to have a pet elephant. So elephants are big, strong and gentle, and they have great memories, and they begin with the letter E_, just like Ebenezer.
Teresa Chancellor: Brilliantly done.
Alice Aguero: Thank
Teresa Chancellor: Thank
Alice Aguero: you.
Teresa Chancellor: you. Tarik, would you like to have a shot at a bit of artistry?
Alice Aguero: Oh.
Teresa Chancellor: Oh, um,
Alice Aguero: Oh
Teresa Chancellor: you
Sandra Bowen: Do
Teresa Chancellor: can
Sandra Bowen: we take
Teresa Chancellor: clip
Sandra Bowen: them
Teresa Chancellor: them
Sandra Bowen: off?
Teresa Chancellor: to your belt.
Alice Aguero: oh I think you
Sandra Bowen: Oh right,
Alice Aguero: ga
Sandra Bowen: okay.
Teresa Chancellor: You should also l um
Alice Aguero: The
Teresa Chancellor: have your the
Alice Aguero: little
Teresa Chancellor: lapel mic on as well.
Sandra Bowen: Ah-ha.
Alice Aguero: The the Oh that's good, we can clip them on. Okay. Yeah, there
Sandra Bowen: Now where do I put the
Alice Aguero: Just um somewhere
Teresa Chancellor: Yep, the, it's just across there, that's it. Yep.
Sandra Bowen: Is this supposed to be clipped as well?
Alice Aguero: I think so.
Teresa Chancellor: Yeah. It'll follow you if you
Alice Aguero: Yeah. There you go.
Teresa Chancellor: You can probably just stick it in your pocket for now, I wouldn't worry too much. Should have good range.
Sandra Bowen: Uh, destroying your elephant here.
Sandra Bowen: Uh, here we have a tiger. Uh I've always loved tigers. They're just they're big, they're biggest cats, uh I did a project on cats in the wild when I was a kid, just 'cause it was looks the best, the stripes, orange. My dad used to talk about he's from Bangladesh so he used to tell Alice Aguero all about them when he was when I was a kid. And uh they're just the most feared of of uh animals in the wild. So uh that's why I like them. Didn't say an anything about Alice Aguero really but
Teresa Chancellor: Excellent, thank you very much. Dave, if you'd like to uh have a dash.
Janet Mccray: Um
Janet Mccray: Um, the monkey, um. The one f uh in fact this is a somewhat oblique reference in fact to uh well my I have a three uh three y year old daughter who h who who who is affectionately known as Miss Monkey. Um, monkeys have attitude. Which I think is a good thing. evolution they and other primates are terribly interesting. Um, so I like monkeys. And and th th th th thi thi this one seems to have perhaps more attitude than most.
Teresa Chancellor: Cheers.
Teresa Chancellor: Hardly what I'd call the best drawing in the world but it'll do for now. Also not quite as feared as your average tiger, but uh cats are one of my favourite animals, they're very independent, they're snotty as hell at the best of times, and uh, what can you say, you got to love those qualities in an animal. Right. I think we've all managed to master the whiteboard there by looks of it, so, on to it. Project finance. As you can see, twelve point five Euros per unit. That's not a terrible lot as far as I'm aware, and we're hoping to sell them for twenty five. If we're aiming for fifty million Euros we're gonna have to be selling an awful lot of them.
Alice Aguero: Oh, that was profiting, that was an amount, so that's the amount made,
Teresa Chancellor: Yep.
Alice Aguero: okay.
Teresa Chancellor: Well, fifty million, and if you're making twelve point five Euros on each one, then,
Alice Aguero: Yeah.
Teresa Chancellor: awful lot need to be sold. Okay. Now we better actually just get on with the uh the meat of the project. So I'm gonna guess that we've all used remote controls. Any ideas of where you think a new remote control could go into this market?
Janet Mccray: Well, one thing I'm aware of is, th there uh um at the sort of v very high price end of the market there's there's a em emerging market for sort of touch screen L_C_D_ remotes that can be uh programmed in m much more sophisticated ways than sort of conventional models, so you get the sort of you get um you you can redesign the interface to your own needs, you can programme in macros, and you get a much greater degree um um I mean you get in these sort of three in one, five in one, whatevers, but you can get integration between the different uh the the the diff the different things that it's designed to control, to a much greater extent, and you can have one uh you know one macro to turn the uh you know turn the T_V_ to the right channel, get the uh re uh rewind the tape in the V_C_R_ and get it to play once it's rewound, for instance.
Teresa Chancellor: Okay.
Janet Mccray: Um b it occurs to Alice Aguero there might be a niche for uh for a remote that aimed towards some of that sort of functionality but using a just conventional push button design. And therefore putting it into a um well much lower price bracket.
Teresa Chancellor: Okay, yeah, tha that's true, with the price range we're looking at, going for a touch screen would probably be possibly
Janet Mccray: Absolutely
Teresa Chancellor: out of
Janet Mccray: prohibitive,
Teresa Chancellor: our yeah.
Janet Mccray: yeah.
Alice Aguero: Oh.
Teresa Chancellor: But you think uh again something to control multiple units in uh a simple fashion.
Janet Mccray: Yeah, I mean I wouldn't like to say you g I mean you get ones that you can switch between multiple units, but something that could um operate between multiple units in a more integrated fashion. Some and ideally something into which it would have some at least limited facility for um running macros.
Teresa Chancellor: Would the the idea something along the lines of, one on button would turn on say the video recorder, the T_V_, maybe the sound system as well, all in one go, is that
Janet Mccray: For
Teresa Chancellor: kind
Janet Mccray: instance,
Teresa Chancellor: of
Janet Mccray: um let's say oh oh um, or um you know you pr uh you press uh say the play button for the D_V_D_ player and it turns the T_V_ on and onto the right channel as well, um
Teresa Chancellor: Okay, that
Alice Aguero: 'Kay
Teresa Chancellor: sounds like a a good strong idea. Um Any takes on this?
Alice Aguero: Well um I've noticed that uh gaming c is becoming quite popular with television, um when I was younger we used to e play games using our cable, using the cable subscribed the cable providers,
Janet Mccray: Mm-hmm.
Alice Aguero: but our remote controls would get worn out really easily, and the remote control was not a great kind of keyboar, um keypad, for playing games. So
Teresa Chancellor: Okay.
Alice Aguero: perhaps one that was more um specialised for game playing or interactive television. They they've recently brought out this new remote control, for people to set their favourite channels, or um to record things. Instead of people entering in what time things start, you simply stri slide a bar to say what time it begins, and slide
Teresa Chancellor: Okay.
Alice Aguero: another bar to say what time it ends, you know that's
Teresa Chancellor: Yeah I've heard I've seen the
Sandra Bowen: Mm.
Teresa Chancellor: bar-code design before, yeah.
Janet Mccray: Mm-hmm.
Alice Aguero: Yeah, it's it's taken out the Y you don't have to be uh really clever to use a remote control. I think for gaming, you know you want you want some big buttons for up, down, left and right, shoot. Uh, you wanna be able to change angles in interactive television, so you need buttons to change the television angle, the camera angles and stuff like that.
Teresa Chancellor: Okay,
Sandra Bowen: 'Kay.
Teresa Chancellor: well we're beginning to run out of time now, so,
Alice Aguero: Yeah.
Teresa Chancellor: we've got a couple of ideas, we can we'll have to work fast, um, alright as you can see we've got thirty minutes until the next meeting, so we'll have to try and decide on some of the basic functionality, um, how the user interface might work, that'll be a key aspect especially if the idea of um some kind of macros facility because you have to program it, you have to have a lot of response back, or at least some kind.
Janet Mccray: Mm-hmm.
Teresa Chancellor: Um And we're gonna maybe n try and have to figure out
Alice Aguero: What the user wants
Teresa Chancellor: what
Alice Aguero: uh.
Teresa Chancellor: the user wants, yes.
Alice Aguero: Okay.
Teresa Chancellor: Um, right. Has anybody got anything they'd like to add at this stage, anything they think that might have been missed so far?
Sandra Bowen: Well when you're talking about gaming and stuff, do you think they should have some sort of stick on it, rather than
Alice Aguero: Oh.
Sandra Bowen: buttons?
Alice Aguero: Okay,
Sandra Bowen: Like uh control pads, you know of games, but
Alice Aguero: Mm-hmm.
Sandra Bowen: or is that a bit ridiculous?
Teresa Chancellor: I I don't see why not, almost everybody is probably used to a console by now, and all of them incorporate small keypads on them, even the mobile phones these days are beginning to use them as well, so
Sandra Bowen: Yeah.
Teresa Chancellor: it's probably an interface that most people are used to. Um and that could allow n easy navigation, used as a joystick as well.
Janet Mccray: Mm-hmm. The other key feature that uh that would be a good idea built into it is t is is to make something you know fairly sort of ergonomic, something that just fits fits as comfortably as possible into the hand. But of course, uh al al also allows for the possibility of a more sort of slightly unconventional or attractive uh sha
Teresa Chancellor: Okay.
Janet Mccray: shape for it overall,
Teresa Chancellor: So, small,
Janet Mccray: A
Teresa Chancellor: stylish,
Janet Mccray: curve, mm-hmm.
Teresa Chancellor: and something that's
Janet Mccray: Something
Teresa Chancellor: just
Janet Mccray: sort
Teresa Chancellor: a little
Janet Mccray: of
Teresa Chancellor: different.
Janet Mccray: sort of sl slightly sort of biomorphic in form, uh which it would need to be to sort of conform to the shape of the hand more efficiently anyway.
Teresa Chancellor: Okay. That's definitely something that we should be able to do quite easily. I would I would have hoped so anyway. Um, right. I'd say we finish this one up, we get started, I'll get in, I'll write up what we've um kind of quickly done, and I'll get that out to everybody.
Alice Aguero: 'Kay.
Teresa Chancellor: Yeah?
Alice Aguero: So.
Teresa Chancellor: Okay. Um, as far as I'm aware we leave the microphones here, um unless we get told otherwise, and just take the laptops with us. | The team members introduced themselves to each other by name and by their roles in the project. Teresa Chancellor introduced the upcoming project to the team and then the team members participated in an exercise in which they drew their favorite animal and discussed why they liked the animal. Teresa Chancellor discussed the project finances and selling prices. The team then discussed various features to consider in producing the remote such as gaming options, an LCD screen, and combining functionality so as to control multiple devices. | 0 | amisum | test |
Anne Hearn: Um minutes from the last meeting which were essentially that we uh had decided on roles for each of you, however, um there are some changes that I've got from on high that
Edna Repp: Okay.
Anne Hearn: um are a bit uh well w what I didn't actually realise it was that the uh this is for a specific television.
Edna Repp: Okay.
Anne Hearn: So the all in one idea goes out the window. And
Edna Repp: Mm-hmm.
Anne Hearn: they require that the uh actually I'll get to that at the end point number four, um we'll what you've and then we can see what we can adapt from it. So um, presentations, were you anybody got,
Theresa Trojillo: Yeah.
Anne Hearn: raring to go?
Theresa Trojillo: Yeah.
Anne Hearn: Raring to go? Okay. Good stuff. Mm.
Theresa Trojillo: Um.
Anne Hearn: Oh
Theresa Trojillo: So
Anne Hearn: I need to
Theresa Trojillo: how
Anne Hearn: plug you in.
Theresa Trojillo: S
Edna Repp: Wow.
Anne Hearn: Just about.
Dawn Ferguson: It's a inspired design.
Theresa Trojillo: Sh do you want Theresa Trojillo to hold it?
Anne Hearn: Uh there we go, just screw 'em on in. Gonna have to swap them round so now,
Theresa Trojillo: So, after that?
Anne Hearn: it was function F_ eight.
Theresa Trojillo: F_ eight.
Anne Hearn: That's the
Theresa Trojillo: f
Anne Hearn: wee blue one.
Theresa Trojillo: oh sorry F_ eight.
Anne Hearn: Blue one F_ eight. Should
Theresa Trojillo: Okay.
Anne Hearn: do it, good one.
Theresa Trojillo: Yeah.
Theresa Trojillo: Yeah. Uh, Theresa Trojillo again, Rajan Theresa Trojillo. Uh, as we have decided in the last meeting that I have to find out, sorry,
Anne Hearn: Hold on, sorry.
Theresa Trojillo: yeah sure.
Anne Hearn: and if you just click that it'll go ahead, one
Theresa Trojillo: Yeah,
Anne Hearn: at a time.
Theresa Trojillo: yeah. Uh actually, sorry I have to see the other, sorry.
Anne Hearn: Sorry, uh.
Theresa Trojillo: Yeah, thank you. Uh I have look at the market potential for uh, like consumer likings and everything, what is the potential for this product and are we able to achieve our a net profit or our aims or not? Then
Anne Hearn: P press F_ five to start it first.
Theresa Trojillo: Sorry. Okay. Yeah, I can,
Dawn Ferguson: Hmm.
Theresa Trojillo: okay.
Anne Hearn: Jesus.
Theresa Trojillo: Uh then uh the methodology I adopted to find out all this was market survey. A a detailed market survey on consumers was done to find out their likings and dislikings, what they prefer what they not prefer, w what problems they do encounter in all this type of things. And what we got was, we found that if you uh, what they th what problems they are having with different uh remote controls available in the market. Seventy five percent of users they do find it that the remote controls available in the market are ugly. They are not so good looking. So, we have to put stress on this, uh we have to take care of this fact also like our design, uh should be appropriate, should be good looking for the consumers. And yes that's wi uh this will definitely, this can definitely put uh uh enhance our sales. Uh and even uh the good thing about this is that eighty percent of users they are willing to pay high uh pay more for this uh good looking remote controls also. So even if the available market goes for the available uh even if the market goes for the available remote control is less even then we can sell it at twenty five Euros, which maybe which may seem quite high but if our looks are are if the re remote control we design have a good better uh better look uh designs, then we can hope that consumers will prefer these g remote controls.
Anne Hearn: Excellent.
Theresa Trojillo: Then And the second thing, some some companies they think that they should have more and more functions of the users uh or in their remote controls, but rather than those having more functions in the remote controls we should emphasise what actually consumer want, what they operate, rather than making it too complicated. Because mostly it has been found that fifty percent of the users they use only ten percent of the buttons, so there is no point of having ninety percent buttons making the remote controls too bulky, too complicated too expensive a because I think I believe that technology is useful only if uh the consumers they want to use it. Otherwise there is no point of having all this type of things. So this will not only reduce the cost of our remote controls but it will increase our profit also. So we have to take care of this fact also. Then. Uh it was function I want to go to.
Anne Hearn: Oh you wanna go back? Just escape.
Theresa Trojillo: Uh, escape, okay thank you. Then if we look at this slide,
Anne Hearn: Okay.
Theresa Trojillo: uh these are in your shared documents, you can see,
Anne Hearn: Okay.
Theresa Trojillo: like Uh,
Edna Repp: So,
Theresa Trojillo: sorry.
Edna Repp: sorry I was just gonna say, what was the question for this? Or is are you coming on to that?
Theresa Trojillo: Ah t look all the market potential, what
Edna Repp: Okay.
Theresa Trojillo: uh how we should design consu our remote controls, what they should be there so as to en enhance our profit, enhance
Edna Repp: So these percentages
Theresa Trojillo: our sales.
Edna Repp: are
Theresa Trojillo: Yeah,
Edna Repp: are what?
Theresa Trojillo: these are different age group persons like uh sorry, I can open it in another way.
Anne Hearn: Okay.
Theresa Trojillo: Uh,
Anne Hearn: Speech recognition.
Theresa Trojillo: yes. If we look at the costs whether the consumers they are willing to uh pay more for speech recognition in a remote control or not, we can find that they up to a thirty five years age group we have a very good disliking for this uh this uh point, like for speech recognition in a remote control. So we can emphasise on this point also like, because it will definitely enhance our sales in this
Edna Repp: Hmm.
Theresa Trojillo: ag in this particular age group from uh fifteen to thirty five, and I uh and I think that most of the users of the rem uh T_V_ are belong to this age group.
Anne Hearn: Hmm.
Theresa Trojillo: So we
Anne Hearn: We're als
Theresa Trojillo: should look
Anne Hearn: we we're looking at who buys it as well.
Theresa Trojillo: Yeah. We can look at that that factor also, so yes.
Anne Hearn: Uh, which I think the twenty five to thirty five is uh usual, sort of.
Edna Repp: Mm,
Theresa Trojillo: Yeah.
Edna Repp: mm.
Theresa Trojillo: So, and And then
Anne Hearn: Fifteen to twe
Theresa Trojillo: Yes. I think so. Uh if we look at this data how how uh h how what are the problems the consumers are facing with the existing remote controls in the market. They find that thirt uh thirty five percent uh thirty four percent of the consumers they find too difficult to operate a remote control. So it should be in such a way that it should be easy to learn how to operate these remote controls and we should provide pl uh spe uh proper manuals for its use also so as that people consumers could easily learn. They need not to have any, much technical knowledge
Edna Repp: Mm-hmm.
Theresa Trojillo: to see uh to know how to operate these remote controls.
Theresa Trojillo: So
Anne Hearn: Okay.
Theresa Trojillo: um this is all about uh market potential by Theresa Trojillo.
Edna Repp: Mm-hmm.
Theresa Trojillo: Uh, yes, th
Anne Hearn: Okay, thank you.
Theresa Trojillo: thank you.
Anne Hearn: Um, follow on with Helen? Yeah
Edna Repp: Yep, sure,
Anne Hearn: please.
Edna Repp: that's cool, um
Theresa Trojillo: Yeah we have to
Anne Hearn: Oh,
Theresa Trojillo: take
Anne Hearn: so
Theresa Trojillo: that
Edna Repp: Yeah.
Anne Hearn: we do yeah.
Theresa Trojillo: out. Sorry.
Anne Hearn: Fun and games.
Theresa Trojillo: Sorry.
Anne Hearn: Don't know if the cable's gonna be long enough.
Theresa Trojillo: Uh sorry,
Anne Hearn: I think
Theresa Trojillo: I
Anne Hearn: I
Theresa Trojillo: have.
Anne Hearn: just kicked over whatever it runs on underneath as well.
Theresa Trojillo: Brian, this one also I. Yeah.
Anne Hearn: Okay.
Edna Repp: I
Theresa Trojillo: Thank
Edna Repp: can
Theresa Trojillo: you
Edna Repp: turn
Theresa Trojillo: very much
Edna Repp: my
Theresa Trojillo: Brian.
Edna Repp: computer quickly if that's okay.
Theresa Trojillo: If you want Theresa Trojillo to help,
Edna Repp: Um,
Theresa Trojillo: yeah.
Edna Repp: yep.
Theresa Trojillo: Yeah.
Edna Repp: Okay, and then what do I press, F_ eight?
Theresa Trojillo: Uh F_ eight.
Anne Hearn: Function
Theresa Trojillo: Function
Anne Hearn: F_ eight.
Theresa Trojillo: F_ eight.
Edna Repp: Oh right.
Theresa Trojillo: Mm s.
Edna Repp: Okay cool.
Theresa Trojillo: It's not coming.
Edna Repp: Oh.
Theresa Trojillo: Function F_ eight, okay. Yeah.
Edna Repp: Yeah. No signal.
Anne Hearn: Hmm.
Theresa Trojillo: Computer.
Anne Hearn: There you go.
Theresa Trojillo: Computer adjusting,
Edna Repp: Okay.
Theresa Trojillo: yeah.
Edna Repp: Cool. Okay
Theresa Trojillo: Yeah.
Edna Repp: and then how do I press the the big one, to get it on
Anne Hearn: Uh
Edna Repp: to the big
Anne Hearn: F_ five.
Edna Repp: F_ five and I press that again to get it off as well
Anne Hearn: Um,
Edna Repp: do
Theresa Trojillo: Escape.
Edna Repp: I?
Anne Hearn: F_ five and escape'll bring it back and just uh the left button for advancing.
Edna Repp: Okay, so um I'm the interface design designer, User Interface Designer sorry, uh I'm concerned with um w what effect the apparatus should have on the user and um I'm I'm also I want to point out that our motto, put the fashion in electronics, so obviously we as a company we want to make our products trendy and fashionable, it's a big concern of ours. Okay, and how do I press n just the next button?
Anne Hearn: Uh just
Edna Repp: The arrow?
Anne Hearn: a left uh
Edna Repp: Okay.
Anne Hearn: left
Edna Repp: So
Anne Hearn: mouse button.
Edna Repp: um I looked at existing designs and also um the information that Raj gave us was very useful about what people like, what people dislike. Um and what people fashionable, because we said people between twenty five and thirty five
Anne Hearn: Mm-hmm.
Edna Repp: were the main um buyers of of our T_V_ I think.
Anne Hearn: Okay.
Edna Repp: So um what they like and what they find fashionable.
Anne Hearn: 'Kay.
Edna Repp: And ergonomics, we said um, I don't know I haven't actually been able to do any of this myself, but um maybe that comes up, I don't know.
Anne Hearn: That can come under
Edna Repp: And
Anne Hearn: Arlo as
Edna Repp: the
Anne Hearn: well.
Edna Repp: findings, well the basic that was the basic function to send messages to the television set. That's
Anne Hearn: Uh.
Edna Repp: what people want to do. Um, so they need to be included, um, but I've got some pictures here of some leading ones. I don't know how to get to them, do I press
Anne Hearn: Uh
Edna Repp: F_
Anne Hearn: if
Edna Repp: five
Anne Hearn: you
Edna Repp: is it?
Anne Hearn: if you escape
Edna Repp: escape?
Anne Hearn: then you can see your bar.
Edna Repp: Oh okay, cool. I haven't got my glasses on so I hope it's this one. These
Anne Hearn: Uh
Edna Repp: are two
Anne Hearn: okay.
Edna Repp: leading um remote controls at the moment. You know
Anne Hearn: 'Kay.
Edna Repp: they're grey, they've I mean this one's got loads of buttons, it's hard to tell from here what they actually do, and they don't look very exciting at all. Um, personally I prefer this one just because it's looks easier use, it's a bit more sleek with more of this silver stuff,
Anne Hearn: Mm-hmm.
Edna Repp: um, but there you go, that's what we're up against, and I think we can do much better than that.
Dawn Ferguson: Of course.
Edna Repp: Um
Anne Hearn: We hope so.
Edna Repp: hang on. F_ five, okay, sorry. Personal preferences. Um, well I think we need to l I think the ergonomics is quite um important, um
Anne Hearn: Yeah, particularly if we've uh there was a bit in Raj's about R_S_I_ and things as well.
Edna Repp: Uh-huh.
Theresa Trojillo: Yeah.
Edna Repp: And um I thought not too edgy and like a box, more kind of hand-held more um not as uh computery and
Anne Hearn: Organic.
Edna Repp: or organic, yeah, more organic shape I think. Um simple designs, like the last one we just saw, not too many buttons and as Raj pointed out, only ten percent fifty percent of people only use ten percent of the buttons,
Anne Hearn: Mm-hmm.
Edna Repp: so I think what we can miss out on the buttons we can make up for in
Anne Hearn: Sales,
Edna Repp: design and and how nice it looks.
Anne Hearn: Okay.
Edna Repp: Um, hand-held and portable I think is portamint is important because T_F_T_ have just um released um I think is it a a remote control for presentations or uh and
Anne Hearn: Yeah
Edna Repp: a big
Anne Hearn: it's
Edna Repp: seven
Anne Hearn: like a,
Edna Repp: inch
Anne Hearn: yeah.
Edna Repp: big screen, anyway, so um
Anne Hearn: It's.
Edna Repp: Yeah, no seven inches isn't that big but um anyway um so hand-held and portable and uh m
Anne Hearn: Right.
Edna Repp: I thought about other functions for T_V_ but as you pointed out people don't actually want that, so
Anne Hearn: And
Edna Repp: maybe
Theresa Trojillo: Yeah.
Edna Repp: we
Anne Hearn: also
Edna Repp: forget about that.
Anne Hearn: the company want to keep it stuck to the T_V_ for uh to keep down the
Edna Repp: It's
Anne Hearn: production
Edna Repp: for one
Anne Hearn: time.
Edna Repp: T_V_ oh right okay, sure. And so the last thing I thought w which I quickly mentioned in the other one was maybe a bit of a gimmick to
Anne Hearn: Mm-hmm.
Edna Repp: set us apart from other people, like glow-in-the-dark
Theresa Trojillo: Exactly.
Edna Repp: um
Theresa Trojillo: Yeah.
Edna Repp: which does already e exist but it's not very
Anne Hearn: Yeah.
Edna Repp: widely used I don't think. Easy finder with the a whistle function
Anne Hearn: Okay.
Edna Repp: or something, or rechargeable station because it's a pain when you run out of batteries.
Anne Hearn: Yeah.
Edna Repp: And I think that, yep, that's it.
Anne Hearn: That's cool.
Dawn Ferguson: So
Edna Repp: Okay?
Dawn Ferguson: uh, I noticed your talk about speech recognition and whistling,
Edna Repp: Mm-hmm.
Dawn Ferguson: and uh I was just curious to know, have we done any research into how many people can whistle? Um, or if is that a function we want in the remote?
Edna Repp: Um,
Anne Hearn: Um,
Edna Repp: I haven't
Anne Hearn: do you have
Edna Repp: been
Anne Hearn: trouble
Edna Repp: able to
Anne Hearn: whistling?
Dawn Ferguson: I don't, but I I know a lot of people do right.
Anne Hearn: Really? Ooh.
Dawn Ferguson: Yeah it just I mean it has to be a certain kind of whistle too, right?
Edna Repp: Mm-hmm,
Anne Hearn: Yeah, I suppose
Edna Repp: yeah
Anne Hearn: that's true.
Edna Repp: or
Anne Hearn: Well
Edna Repp: some
Anne Hearn: I suppo
Edna Repp: sort
Anne Hearn: uh you could
Edna Repp: of
Anne Hearn: y you could
Edna Repp: voice
Anne Hearn: have the you could have the basically um instead of a whistle if it's got the voice recognition you could have it just, you know, where are you?
Edna Repp: Yeah.
Theresa Trojillo: Yeah.
Dawn Ferguson: That's costly though. Um a much easier thing is just any loud noise like clapping
Edna Repp: Mm-hmm.
Dawn Ferguson: um,
Anne Hearn: Hmm.
Dawn Ferguson: shouting,
Theresa Trojillo: Yeah.
Dawn Ferguson: you know,
Anne Hearn: Sounds
Dawn Ferguson: uh
Anne Hearn: good.
Dawn Ferguson: and then, what would the response be? It beeps back at you or something?
Edna Repp: Yeah, something.
Dawn Ferguson: Okay. Well, uh let Theresa Trojillo set this up. So I plug it in, press F_ five? Function F_ five?
Anne Hearn: Function F_ eight for the um
Dawn Ferguson: Or function F_ eight?
Anne Hearn: the uh
Dawn Ferguson: Okay.
Edna Repp: Oh you need to twiddle the thingamibobsy thing.
Dawn Ferguson: Okay. I think it's uh just to lock it in.
Anne Hearn: Yeah.
Dawn Ferguson: It's got it.
Edna Repp: Okay.
Dawn Ferguson: Okay. Um. So as Dawn Ferguson my job is to take an input from you guys,
Anne Hearn: Alright.
Dawn Ferguson: um so it's good you went first, and
Anne Hearn: Let's
Dawn Ferguson: I jotted
Anne Hearn: remember
Dawn Ferguson: down some
Anne Hearn: that.
Dawn Ferguson: notes as to what are the b needs and uh what kind of novel features we can add to differentiate our product from the others. Um so Raj told us that uh consumers are willing to spend more for fancy products, and um he also mentioned that uh the current products don't always match users' operating behaviour. Um, a lot of the buttons aren't used, and uh he mentioned that they're not fun to use. And uh a novel feature which uh we just brought up was this this automatic speech recognition feature or noise detection feature for when you lose the remote, there could be a little microphone on it, and any noise over a certain threshold um it'll pick up as a a distress signal um
Anne Hearn: Mm-hmm.
Dawn Ferguson: from you and it'll beep back and say you know oh here I am or
Anne Hearn: But
Dawn Ferguson: something
Anne Hearn: sure
Dawn Ferguson: of this
Anne Hearn: surely
Dawn Ferguson: sort.
Anne Hearn: that would have to be um sort of specific rather than above a threshold 'cause if you had a loud movie on you're likely
Edna Repp: Mm-hmm.
Anne Hearn: to get it
Dawn Ferguson: Oh
Anne Hearn: beeping
Dawn Ferguson: yeah,
Anne Hearn: back at you.
Dawn Ferguson: yeah,
Edna Repp: Mm-hmm.
Dawn Ferguson: that's true. Well maybe you could have a um hmm tha that would be a consideration to take into account yes. Um.
Anne Hearn: Sorry I didn't mean to derail you there.
Dawn Ferguson: Yeah well tha that's uh for later down the road um, and then as for the user interface it should be trendy, um and not computery, right, so more low tech and not too many buttons.
Edna Repp: Mm-hmm.
Dawn Ferguson: So I took these all into consideration and also I have some limitations from the boss. Right um, and practical limitations which I kinda threw out the window. And so I did a little research and unfortunately all I had to work on was our uh our corporate archives of the great products we've made before, which include, you know, um space craft, coffee makers, and bullet trains
Anne Hearn: Ah is
Dawn Ferguson: Or
Anne Hearn: that what
Dawn Ferguson: uh
Anne Hearn: that is?
Dawn Ferguson: or a high speed train. Right and having personally worked with all these products uh I have a great deal of experience with uh
Anne Hearn: Well
Dawn Ferguson: with industrial
Anne Hearn: that's cool.
Dawn Ferguson: design of
Anne Hearn: If
Dawn Ferguson: these.
Anne Hearn: you if you can build space craft you'll have no problem with a
Dawn Ferguson: Right.
Anne Hearn: remote control,
Edna Repp: Yeah sure.
Anne Hearn: yeah.
Dawn Ferguson: So, I figured, just put 'em all together. You got a a caffeine powered space shuttle train transport to your T_V_, and um
Theresa Trojillo: Hmm.
Dawn Ferguson: as for the user interface problem, you know, too many buttons. Give it one button and and it's a you know, for the the cowboy in all of us I I'm not quite sure what the the function is there
Anne Hearn: Right
Edna Repp: Well
Dawn Ferguson: but
Edna Repp: I like
Anne Hearn: okay.
Edna Repp: that design.
Dawn Ferguson: Yeah it's a g I mean you could have a you know a
Anne Hearn: Is that just switches on the speech recognition and it's entirely speech operated, is it?
Dawn Ferguson: Right.
Anne Hearn: Yeah.
Dawn Ferguson: So I think I I missed the budget thing, it was fifty million Euros?
Anne Hearn: Yeah.
Dawn Ferguson: And we gotta sell twenty five of them?
Edna Repp: Yeah,
Dawn Ferguson: Right.
Edna Repp: not a problem.
Theresa Trojillo: Fifty
Dawn Ferguson: Okay.
Theresa Trojillo: million
Anne Hearn: Ah now
Theresa Trojillo: was
Anne Hearn: it's fif
Theresa Trojillo: uh
Anne Hearn: fifty
Theresa Trojillo: prof
Anne Hearn: million Euros we've gotta uh
Theresa Trojillo: As a profit.
Anne Hearn: we've
Dawn Ferguson: Oh okay,
Anne Hearn: g
Dawn Ferguson: so I I
Anne Hearn: gotta
Dawn Ferguson: mixed
Anne Hearn: make
Dawn Ferguson: those
Anne Hearn: profit,
Dawn Ferguson: numbers.
Anne Hearn: so we're making that at twelve and a half
Dawn Ferguson: Okay.
Anne Hearn: Euros a time.
Dawn Ferguson: Well I guess more realistically then, we need a product that's got some kinda nifty outer casing, cheap plastic uh, you know, um
Edna Repp: Mm-hmm.
Dawn Ferguson: that should be just like uh a tenth of the price maybe or less. An energy source which'd probably just be uh your regular batteries
Anne Hearn: Okay.
Dawn Ferguson: um, we don't
Anne Hearn: Would
Dawn Ferguson: wanna
Anne Hearn: it
Dawn Ferguson: have
Anne Hearn: be
Dawn Ferguson: it
Anne Hearn: possible to have the rechargeable idea? Is that is
Dawn Ferguson: Uh.
Anne Hearn: that gonna
Edna Repp: Or
Anne Hearn: mark
Edna Repp: a little
Anne Hearn: up
Edna Repp: base
Anne Hearn: a lot?
Edna Repp: station or
Anne Hearn: Yeah.
Edna Repp: something,
Dawn Ferguson: Yeah, yeah, we could do that too. Um, I hadn't thought of that. Yeah.
Edna Repp: That might cost more though, 'cause obviously with batteries we don't need to provide, well we provide the first batteries, but
Anne Hearn: Yeah, yeah.
Edna Repp: it's more, it's that's cheaper
Dawn Ferguson: Right.
Anne Hearn: I mean
Edna Repp: to
Anne Hearn: if
Edna Repp: just
Anne Hearn: you think
Edna Repp: provide
Anne Hearn: about
Edna Repp: batteries.
Anne Hearn: these base stations now it's essentially just a a lead with a sort of
Edna Repp: A
Anne Hearn: self
Edna Repp: battery in it,
Anne Hearn: connecting
Edna Repp: kinda.
Anne Hearn: brake in it, so
Dawn Ferguson: Right,
Anne Hearn: I don't
Edna Repp: Okay.
Dawn Ferguson: so
Anne Hearn: think it'd up up
Dawn Ferguson: so the
Anne Hearn: the price that much.
Dawn Ferguson: unirs
Edna Repp: Okay.
Dawn Ferguson: the user interface uh the canonical user interface for these would be just a bunch of buttons, but since we're a cutting edge company, we uh of course will have alternatives like uh speech recognition, whistling recognition and rocket power
Anne Hearn: Okay.
Dawn Ferguson: behind our product. Um and lastly the transmission interface is uh, just some engineering thing you don't have to worry about.
Anne Hearn: Okay.
Dawn Ferguson: Um so here's you know, a great schematic that my uh apprentice designer gave Theresa Trojillo. Um as you can see the the remote control have parts and those parts look like that and um you know it's got a little operating procedure that looks something like that. And I suppose you all know how it works because we've all used it and we wouldn't be in a company designing remote controls if we didn't know what they were so uh personal preferences, I think uh programmable options which um just require a small amount of memory, uh non volatile memory, just um
Edna Repp: Mm.
Dawn Ferguson: so the user can put in their favourite channels and maybe their preferred volume settings so that when they turn it on it's not blasting.
Edna Repp: Mm that's a good idea actually I like the programmable
Theresa Trojillo: Yeah,
Edna Repp: options.
Theresa Trojillo: Theresa Trojillo too.
Dawn Ferguson: Oh okay. And the uh, the bells and whistles that we mentioned you know, they take more budgeting, um more technical uh expenditure of effort and it's also much more likely to not work if
Anne Hearn: Right.
Edna Repp: Mm 'kay.
Dawn Ferguson: if we add these bells and whistles.
Anne Hearn: Yeah.
Dawn Ferguson: That's all I got.
Anne Hearn: 'Kay, thank you very much, um I'll take that back.
Dawn Ferguson: Ooh that's tight.
Anne Hearn: Right, also so um a notice I got not very long before the meeting, so didn't manage to forward it on to you, it is let's see, I'll find it myself, um Ta
Dawn Ferguson: Okay, I don't think we need to screw it in.
Anne Hearn: nah.
Dawn Ferguson: Just push it.
Theresa Trojillo: Yeah.
Anne Hearn: We had that um to dis-include teletext um because it's become outdated, and everybody uses the internet anyway.
Edna Repp: Mm-hmm.
Anne Hearn: Um, dunno what Oracle would have to say with that but never mind. Um it's only for the television, which I'm presuming means it's for a specific television,
Edna Repp: Okay.
Anne Hearn: and um instead of colours and sorta colour options, they want corporate colour and slogan somehow implemented in the new design.
Edna Repp: Corporate colour.
Anne Hearn: Yellow.
Edna Repp: Okay.
Dawn Ferguson: Yellow.
Anne Hearn: I presume. Um, everything, all their sort of uh you know the uh corporate website and everything's yellow.
Edna Repp: Mm-hmm.
Anne Hearn: electronics uh I don't know exactly how sort of incorpor I mean, I guess if you're going for a sort of globular shape you could kind of have it working its way round it or
Edna Repp: Yeah.
Anne Hearn: something. Uh,
Edna Repp: Okay.
Anne Hearn: where am I? Okay, so, we have to decide on which functions we're going to actually have.
Edna Repp: 'Kay.
Anne Hearn: Uh, now, we had as listed options we had speech recognition potentially, flat screen interface, L_C_D_ interface um we also want to limit the number of buttons
Edna Repp: Mm-hmm.
Anne Hearn: so we'll pretty much take that one as read. We'll
Edna Repp: Mm-hmm.
Anne Hearn: use the the basic functions for a television. No teletext. Um okay
Edna Repp: Although
Anne Hearn: hold
Edna Repp: the
Anne Hearn: on.
Edna Repp: the danger with that is, it could look a bit cheap.
Anne Hearn: Not enough buttons you mean?
Edna Repp: Yeah. Well
Anne Hearn: So sorta strike a balance between a a few and a
Edna Repp: Mm.
Anne Hearn: or it looks like we're just cutting on the um
Edna Repp: On the number of buttons, kind of
Anne Hearn: I
Edna Repp: functions
Anne Hearn: do however
Edna Repp: and stuff.
Anne Hearn: have this from over my head,
Edna Repp: Mm-hmm, okay.
Anne Hearn: that they don't want teletext on it.
Edna Repp: Okay, cool.
Anne Hearn: Uh maybe Raj you could find out what people would think about that, or maybe they'll send
Theresa Trojillo: About
Anne Hearn: some information
Theresa Trojillo: cost.
Anne Hearn: about that, about um what people, whether people would require um teletext in a remote teletext option in a remote control.
Theresa Trojillo: Okay.
Anne Hearn: Okay um. So uh I take it your position Arlo is that the bells and whistles we've gotta come up with the a gimmick but not too complicated a gimmick.
Dawn Ferguson: Yeah yeah.
Anne Hearn: Um so I mean a a the sort of inkling I'm getting from little bits of um web chatter that I'm getting sent is that they're quite interested in a T_F_T_ display, interactive display. However that does sound a bit like the more complicated design that rav uh sorry Raj um said people didn't like.
Edna Repp: Mm-hmm,
Anne Hearn: Although
Edna Repp: mm-hmm.
Anne Hearn: I guess if there's a sort of If you think about standard interfaces that people use already, sort of Windows-style
Edna Repp: Mm-hmm.
Anne Hearn: drop down menus or whatever, I think maybe that's a
Edna Repp: Yeah.
Anne Hearn: bit, going a bit far but you know like in a basic sense that you could have your basic selection of buttons, and if you hit a sort of menu at the top you have um it goes to a different selection of buttons,
Edna Repp: Yeah.
Anne Hearn: so it sorta keeps it simple.
Edna Repp: Okay.
Anne Hearn: Um glow in the dark, is that sort of with a light inside it or is it sort of
Edna Repp: Um
Anne Hearn: glow in the dark material?
Theresa Trojillo: Uh.
Edna Repp: Glow in the dark material
Anne Hearn: Okay.
Edna Repp: I was thinking.
Anne Hearn: So
Edna Repp: Um,
Theresa Trojillo: I
Edna Repp: so I I guess that would be cheaper than a light
Theresa Trojillo: Uh may
Edna Repp: I
Anne Hearn: Yeah.
Edna Repp: think.
Theresa Trojillo: I say something about?
Anne Hearn: Yeah.
Theresa Trojillo: Uh actually I think it's really really very important point uh as if we look at the market because people mor fifty percent people they find that the remote controls are often lost somewhere in the remote, in the room. But
Edna Repp: Often lost s was
Anne Hearn: Lost,
Edna Repp: that,
Theresa Trojillo: yeah
Edna Repp: yeah.
Theresa Trojillo: are
Anne Hearn: yeah.
Theresa Trojillo: lost and means they forget where they have kept the remote control last time.
Edna Repp: Mm-hmm.
Theresa Trojillo: But if we add speech recognition as well as glow in the dark then both these factors will help their locating the
Edna Repp: Mm-hmm.
Theresa Trojillo: remote control, like if they come and speak something at the remote control uh replies to something something and it glows in the dark. Both these factors uh both these points will help them to locate the
Anne Hearn: That's
Theresa Trojillo: where
Anne Hearn: cool.
Theresa Trojillo: they have
Edna Repp: Mm-hmm,
Theresa Trojillo: kept this remote control,
Edna Repp: mm-hmm.
Anne Hearn: That's
Theresa Trojillo: and
Anne Hearn: cool.
Theresa Trojillo: this will definitely enhance our uh market sales, so we should take it into consideration also.
Anne Hearn: Okay, cool. Um
Dawn Ferguson: Well hmm.
Anne Hearn: speech recognition I take it
Dawn Ferguson: Oh
Anne Hearn: I don't,
Dawn Ferguson: it's
Anne Hearn: I've I know of no products um
Dawn Ferguson: They're act
Anne Hearn: that
Dawn Ferguson: there
Anne Hearn: use
Dawn Ferguson: there
Anne Hearn: speech
Dawn Ferguson: was
Anne Hearn: recognition
Dawn Ferguson: a remote control
Anne Hearn: well.
Dawn Ferguson: that came out two years ago that had a some basic speech recognition on it. You could programme it with your channels and then you say you know like uh B_B_C_ one and it goes to that channel.
Anne Hearn: Really?
Dawn Ferguson: Yeah, it didn't work very well though because of this noise interference problem.
Edna Repp: Mm.
Anne Hearn: Mm-hmm.
Dawn Ferguson: They mentioned you know if the television says you are listening to B_B_C_ one.
Anne Hearn: Yeah, or a yeah an advert an advert for B_B_C_ two on B_B_C_ one'll switch the channel for you kinda thing.
Dawn Ferguson: Right, right, and so there was a lot of this, you'd be watching the T_V_ and then all of a sudden it'd it'd pick up a noise and turn it off or you know
Edna Repp: Mm-hmm.
Dawn Ferguson: or
Anne Hearn: Mm.
Dawn Ferguson: turn the volume off or something,
Edna Repp: 'Kay.
Dawn Ferguson: but if you can work around that that noise problem
Anne Hearn: Uh-huh.
Edna Repp: Well what about this might get a bit too expensive actually, but what about um something that's built into the T_V_ um that you can press and it'll send out a little signal you know like the ones that we can't hear or something
Anne Hearn: Ah, that's a good idea.
Edna Repp: um that that will activate the remote control starts
Dawn Ferguson: Right.
Edna Repp: to beep.
Anne Hearn: So like a kind
Edna Repp: If
Anne Hearn: of
Edna Repp: you find
Anne Hearn: backwards
Edna Repp: if y
Anne Hearn: remote from the telly.
Dawn Ferguson: Right
Edna Repp: Yeah.
Dawn Ferguson: and then it would do just you know, uh subtractive kind of cancellation of the noise. What you could do then would be you have uh a remote controlled by the T_V_ speaker, or not a remo I'm sorry, a microphone by the T_V_ speaker and a transmitter there that sends back to your remote, 'cause you can't um expect uh the the television manufacturers to
Edna Repp: Mm.
Dawn Ferguson: to put that feature into their
Edna Repp: Yeah,
Dawn Ferguson: T_V_s.
Edna Repp: that's the only thing, yeah.
Dawn Ferguson: But
Anne Hearn: Right.
Dawn Ferguson: yeah, then you have like the little se separate module by
Anne Hearn: That
Dawn Ferguson: the
Anne Hearn: we
Dawn Ferguson: T_V_
Anne Hearn: should just stick
Dawn Ferguson: speaker
Anne Hearn: on, yeah.
Edna Repp: That
Dawn Ferguson: which
Edna Repp: comes with our remote control.
Dawn Ferguson: Right,
Anne Hearn: Yeah.
Dawn Ferguson: and then
Edna Repp: Yeah.
Dawn Ferguson: the remote control would know um
Anne Hearn: And that's
Dawn Ferguson: what's
Anne Hearn: a
Dawn Ferguson: being produced by
Anne Hearn: sort
Dawn Ferguson: the television.
Anne Hearn: of basic R_F_ kind
Dawn Ferguson: Right,
Anne Hearn: of
Dawn Ferguson: right.
Edna Repp: Mm-hmm.
Anne Hearn: frequency so it'll be cheap.
Dawn Ferguson: Right, right. Um. Yeah that's certainly possible then an another thing was about this losing the remote and trying to find it again. If you do have this sorta speech interface to it, you don't even need to find it. You just say you know, um whatever you whatever you want the remote for, you know to change the channel or to uh turn the T_V_ on and off, you just shout your command to it and it would do it for you if it's within you know, within hearing range.
Anne Hearn: Uh-huh.
Dawn Ferguson: And uh you know it could be somewhere in the room y that you've no idea where it is and it would still do its job.
Edna Repp: That could also be built into the T_V_ though, which might make our remote control a bit obsolete.
Anne Hearn: Yeah.
Dawn Ferguson: Well, hopefully
Anne Hearn: It might
Dawn Ferguson: we're
Anne Hearn: do
Dawn Ferguson: uh
Anne Hearn: us out of a job.
Dawn Ferguson: we're ahead
Edna Repp: Yeah,
Dawn Ferguson: of the curve.
Edna Repp: okay.
Anne Hearn: Um Okay. I like the whole sort of remote feedback thing. Um so I think rather than and that also kind of takes out the speech recognition
Edna Repp: Mm.
Anne Hearn: in terms of the interference of it not working very well and things like that,
Dawn Ferguson: Hmm.
Edna Repp: And the expense.
Anne Hearn: so I th yeah and expense
Edna Repp: Mm-hmm.
Anne Hearn: and the time. So I think if we're going to go well I mean like the thing about the there's the problem with the T_F_T_ or the L_C_D_ kind of thing is if you're also wanting the the kind of uh organic globby sort of feeling to it then you might have trouble incorporating the screen.
Edna Repp: Mm.
Anne Hearn: Um, but I guess not I thin we'll just we'll just pretend that's not a problem. Um uh and how are you about the glow in the dark material? Is that
Dawn Ferguson: Um.
Edna Repp: Maybe not even all of it 'cause we said um colours and fashion w were important so maybe um just like a little l line that's kind of around the outside
Dawn Ferguson: Mm.
Edna Repp: and then you can make the rest a different
Anne Hearn: Contrast
Edna Repp: colour.
Anne Hearn: contra
Dawn Ferguson: Yeah,
Anne Hearn: well.
Dawn Ferguson: no th the material's cheap but it's just uh the the glow in the dark material needs some light to charge it you know,
Edna Repp: Mm-hmm.
Dawn Ferguson: and
Anne Hearn: Yeah,
Dawn Ferguson: then uh
Anne Hearn: okay.
Dawn Ferguson: if you're,
Anne Hearn: So if
Dawn Ferguson: if
Anne Hearn: it's
Dawn Ferguson: you're
Anne Hearn: dow
Dawn Ferguson: sitting
Anne Hearn: it's
Dawn Ferguson: in the dark
Anne Hearn: d uh
Dawn Ferguson: for
Anne Hearn: yeah.
Dawn Ferguson: too long it uh it won't glow
Anne Hearn: Or
Dawn Ferguson: any
Anne Hearn: if
Dawn Ferguson: more.
Anne Hearn: it's down under the couch cushions
Dawn Ferguson: Right.
Anne Hearn: um which is where I usually find mine.
Edna Repp: Mm-hmm.
Dawn Ferguson: Right.
Anne Hearn: Um Okay, well we can use we can still use the glow in the dark as a gimmick essentially,
Edna Repp: Yeah, 'cause
Anne Hearn: um
Edna Repp: what I thought, main
Anne Hearn: if we're gonna have to if we're gonna have the logo on as well, bright yellow logo in our our um slogan.
Edna Repp: Slogan, yeah.
Anne Hearn: Uh then you know they're gonna be fairly brightly coloured anyway, and
Edna Repp: Right.
Anne Hearn: we can have sort of a a a trimming as well, of
Edna Repp: Mm-hmm.
Anne Hearn: the glow in the dark material, just as gimmickyness.
Edna Repp: 'Cause yeah, that w more than finding it, that was more like you know if you're watching a film in the dark,
Anne Hearn: Mm-hmm.
Edna Repp: you can um
Dawn Ferguson: Mm-hmm.
Edna Repp: still see the remote control.
Anne Hearn: Alright, so n sorta
Edna Repp: That was more
Anne Hearn: if
Edna Repp: of a
Anne Hearn: if
Edna Repp: a gimmick.
Anne Hearn: if we're gon if we're gonna go with the idea of um uh of feedback, sort of remote finder, then that kinda stuffs that one out then. Do you think?
Edna Repp: Mm.
Anne Hearn: Uh it makes it fairly unnecessary then.
Edna Repp: Yeah, unnecessary.
Anne Hearn: Okay.
Edna Repp: Yeah.
Anne Hearn: Um, okay so scratch that. Uh so we've got do we want to go with the T_F_T_ idea or the
Dawn Ferguson: Um
Anne Hearn: is that
Dawn Ferguson: yeah we're getting
Anne Hearn: far
Dawn Ferguson: a lot
Anne Hearn: too
Dawn Ferguson: of features
Anne Hearn: expensive?
Dawn Ferguson: now, I I think
Anne Hearn: Well I mean I think I think the sort of find the finder things I mean it's uh I could probably write the circuit diagram for that myself.
Dawn Ferguson: Yeah.
Anne Hearn: Um
Dawn Ferguson: Well, I think a consideration too is that these uh remotes get abused a lot, you know they get thrown
Edna Repp: Mm.
Dawn Ferguson: around, there's a good chance the the T_F_T_ screen would break
Anne Hearn: Mm-hmm.
Dawn Ferguson: or uh get damaged. They're pretty fragile.
Edna Repp: So is
Anne Hearn: Okay.
Edna Repp: that one of our definite requirements that they wa that it needs a T_F_T_
Anne Hearn: Um
Edna Repp: screen?
Anne Hearn: no, I mean that was going on ravs uh Raj's sort of um marketing research I guess. Um Uh So we'll stick with sort of programmability um for the buttons that we do have. Um. So that's sort of included in your sub-module kind of stuff, um
Dawn Ferguson: Yeah mm.
Anne Hearn: Uh you were finding out about teletext. If you
Theresa Trojillo: Yeah.
Anne Hearn: could find out that uh
Theresa Trojillo: Totally, it takes cheap speech recognition, she
Anne Hearn: Um I think
Theresa Trojillo: they
Anne Hearn: we're gonna
Theresa Trojillo: wi
Anne Hearn: scratch the speech recognition as a bit of a
Dawn Ferguson: Oh.
Anne Hearn: um
Edna Repp: Yeah you think so?
Anne Hearn: expensive, no?
Dawn Ferguson: Oh no it's it's much cheaper than the T_F_T_, it's just a microphone
Anne Hearn: Oh right, okay.
Dawn Ferguson: and some some integrated circuits.
Anne Hearn: Is it
Dawn Ferguson: And
Anne Hearn: not
Dawn Ferguson: it'd
Anne Hearn: the circuits
Dawn Ferguson: it'd be a small
Anne Hearn: that
Dawn Ferguson: vocabulary
Anne Hearn: cost
Dawn Ferguson: speech recognition system, like a
Anne Hearn: Oh right, okay. Uh
Edna Repp: Okay.
Anne Hearn: well that kind of takes back the R_F_ the R_F_ remote sort of idea as well. Um. Five minutes. Okay. Decisions. Uh, votes, let's vote. Who wants T_F_T_? No-one does. Excellent, so we'll go with speech recognition, yeah?
Theresa Trojillo: Yeah.
Edna Repp: Mm-hmm,
Dawn Ferguson: Okay.
Edna Repp: that's
Anne Hearn: Um,
Edna Repp: cool.
Anne Hearn: speech recognition, limited buttons, organic design.
Edna Repp: Um
Anne Hearn: And what else was I thinking of that I haven't written down and therefore fallen out my head, programmability.
Theresa Trojillo: Glow in dark.
Anne Hearn: Uh
Edna Repp: if it's not too expensive s I think it's a good
Anne Hearn: Uh
Edna Repp: gimmick.
Anne Hearn: o
Dawn Ferguson: Yeah.
Anne Hearn: okay. And also, integrating the, remember to integrate the logo and the s slogan.
Edna Repp: Mm-hmm.
Anne Hearn: Okay, so. Um can you put all these reports in the project documents folder if they're not already in there as well. So, it just helps Theresa Trojillo
Dawn Ferguson: Yeah
Theresa Trojillo: Here?
Anne Hearn: summarize
Dawn Ferguson: yeah.
Anne Hearn: them.
Theresa Trojillo: Sure.
Anne Hearn: And um I'll put any I'm I'm putting anything I do in there anyway, so uh
Edna Repp: And where is it sorry?
Anne Hearn: Uh pro uh project documents. On
Dawn Ferguson: So it should be when you save
Anne Hearn: A_M_I_ scenario controller.
Dawn Ferguson: on your desktop, so it goes save as,
Edna Repp: Oh.
Dawn Ferguson: or
Theresa Trojillo: Uh it is in shared documents?
Dawn Ferguson: And then uh hit that little folder up thing
Anne Hearn: Where
Dawn Ferguson: again.
Anne Hearn: am I?
Theresa Trojillo: Projoct
Anne Hearn: Project
Theresa Trojillo: uh projector.
Dawn Ferguson: Again.
Anne Hearn: documents, yeah, it's on your desktop
Dawn Ferguson: All the
Anne Hearn: as
Dawn Ferguson: way
Anne Hearn: well.
Dawn Ferguson: to the top, yeah that's up to desktop. Right and then project documents.
Edna Repp: Okay, cool.
Theresa Trojillo: Hmm. It is not giving anything. Shared documents.
Anne Hearn: And I will tr getting strings of um information, I'll try and forward any specific to anybody in particular, as soon as I get them now, rather than I was about to sort of tell you about the changes before the meeting, and then the meeting turned up, so
Edna Repp: Okay.
Dawn Ferguson: Mm. Did you get my email?
Anne Hearn: I did.
Dawn Ferguson: Okay. Just making sure.
Edna Repp: Okay.
Anne Hearn: So
Edna Repp: What I thought as well about the material is um maybe not this kind of material, but maybe more like um this kind of rubbery material, it's a bit more bouncy, like you said they get chucked around a lot. Um, a bit more durable and
Anne Hearn: Okay.
Edna Repp: that can also be ergonomic and it kind of feels a bit different
Anne Hearn: Yeah.
Edna Repp: from all the other remote controls. The rubber
Dawn Ferguson: Yeah.
Edna Repp: rather than
Anne Hearn: More sort of um flesh-like than plasticky sort of.
Edna Repp: Mm-hmm, mm-hmm.
Dawn Ferguson: Wow.
Theresa Trojillo: Um but we have to take care like But we have to take care of our children also if they means if children catch hold of your or if they chew it it shouldn't be too harmful. So, whatever material we use
Anne Hearn: Oh no, ethics,
Theresa Trojillo: it should be
Anne Hearn: that's
Theresa Trojillo: yeah.
Anne Hearn: gonna cost us money.
Theresa Trojillo: So we have to safety point of view also,
Anne Hearn: Okay,
Theresa Trojillo: we have to
Anne Hearn: safety.
Theresa Trojillo: take care.
Edna Repp: Oh I think wi with the more organic shape of it it won't be as it won't as have many sharp corners as that, so that's something
Anne Hearn: Yeah.
Edna Repp: good, um I dunno,
Anne Hearn: It
Dawn Ferguson: We
Anne Hearn: sme
Dawn Ferguson: could
Edna Repp: I mean
Dawn Ferguson: go
Anne Hearn: smells
Dawn Ferguson: comp
Anne Hearn: good for children.
Dawn Ferguson: yeah.
Theresa Trojillo: Yeah.
Dawn Ferguson: We could go completely out of the box and make the thing a big red ball foam ball. And it's got the thing on the inside. And there's no buttons at all, it's always on, and just yell at it,
Edna Repp: That's
Dawn Ferguson: and it works.
Edna Repp: a good
Anne Hearn: That
Edna Repp: idea.
Anne Hearn: sounds,
Dawn Ferguson: And then
Anne Hearn: yeah
Dawn Ferguson: ch children
Edna Repp: Interesting.
Anne Hearn: it's gonna
Dawn Ferguson: will
Anne Hearn: have
Dawn Ferguson: love
Anne Hearn: to be
Dawn Ferguson: it.
Anne Hearn: it's gonna be have a big yellow
Dawn Ferguson: Oh
Anne Hearn: foam
Dawn Ferguson: yellow,
Anne Hearn: ball,
Dawn Ferguson: yellow
Edna Repp: Yeah,
Anne Hearn: yeah,
Dawn Ferguson: ball.
Edna Repp: d
Anne Hearn: sorry.
Dawn Ferguson: Right.
Edna Repp: with the colour, um does it have to be all yellow, do you know?
Anne Hearn: Please God no. Um.
Edna Repp: No.
Anne Hearn: Well, I wouldn't th I mean, my reaction to an all-yellow remote control wouldn't be anything other than horror, so
Edna Repp: Yeah.
Anne Hearn: I think just having it
Theresa Trojillo: Small
Edna Repp: Having
Anne Hearn: surrounding
Theresa Trojillo: logo
Edna Repp: a little bit.
Anne Hearn: the logo.
Theresa Trojillo: with
Edna Repp: Okay
Theresa Trojillo: the
Edna Repp: cool.
Theresa Trojillo: like a small yellow strip or y yellow with the
Edna Repp: Mm
Theresa Trojillo: logo
Edna Repp: mm.
Theresa Trojillo: in it.
Anne Hearn: Yeah.
Edna Repp: Mm-hmm, okay. Cool.
Anne Hearn: And I'll see if I can argue with boss about putting the what was it? We put we put fashion into Whoops, it's not working. Can't believe I've forgotten it. We put the fashion in electronics.
Edna Repp: Oh yeah, that's
Anne Hearn: I
Edna Repp: a good one that. Yeah
Anne Hearn: bet
Edna Repp: so.
Anne Hearn: that'll catch on well. Okay, any last
Theresa Trojillo: Yeah.
Anne Hearn: worries, queries?
Dawn Ferguson: Twelve thirty.
Anne Hearn: Okay. S
Theresa Trojillo: Hmm.
Anne Hearn: s I know what you're thinking. Okay then, lunchtime, yay.
Theresa Trojillo: That's good.
Anne Hearn: Okay, that felt a bit more like a something with order and and reason to it than the last one. This is quite fun actually.
Edna Repp: Wow.
Dawn Ferguson: Mm.
Edna Repp: Has anybo oh.
Anne Hearn: I really
Edna Repp: Has anybody
Anne Hearn: don't
Edna Repp: pressed okay, it vibrates. It's
Anne Hearn: Yeah,
Edna Repp: pretty
Anne Hearn: yeah.
Edna Repp: cool.
Dawn Ferguson: Yep.
Theresa Trojillo: Check here.
Anne Hearn: Wow you've your first page. I
Edna Repp: Yeah,
Anne Hearn: was just writing really
Edna Repp: got small
Anne Hearn: big.
Edna Repp: writing.
Dawn Ferguson: Yeah I've been using up the pages.
Edna Repp: I don't wanna waste it.
Anne Hearn: I've finished the meeting now. Oh, everybody
Dawn Ferguson: Another
Anne Hearn: needs
Dawn Ferguson: questionnaire.
Anne Hearn: k questionnaire. | Theresa Trojillo presented requirements of users as found in a company market study. The study showed that users want a fancier-looking but uncomplicated remote control, and are interested in speech recognition. He presented the age groups polled and said that the target marketing group should be users aged fifteen to thirty-five. Edna Repp presented several competitors' remotes and discussed the features that would make their own device more user-friendly. Dawn Ferguson gave a presentation on important internal components that would keep the project within its budget, and discussed possible materials and programmable features. Anne Hearn gave several new requirements for the project to the group. The group discussed the features they would like to incorporate into the design in light of the new requirements and budget constraints. They decided to keep speech recognition as one of their components, and decided to include some programmable features, limit the number of button functions, and make the remote yellow and glow-in-the-dark, in an organic shape. The Program Manager said that he would ask to what extent the company motto had to be incorporated into the design. | 0 | amisum | test |
Stephanie Danley: Um we are So the meeting will have about the same format as the last time. So switching over I've just left uh
Kelly Tsuji: Mm-hmm.
Stephanie Danley: my first two screens. Um I have mailed you the minutes of the last meeting uh just to save time.
Kelly Tsuji: Okay. Cool.
Stephanie Danley: Um and is there any questions you have that arised from last meeting that are particularly bothering you?
Kelly Tsuji: Mm um.
Stephanie Danley: N
Kelly Tsuji: No I don't think so.
Stephanie Danley: No? Okay, cool.
Dorothy Pearson: No.
Stephanie Danley: Then we shall start with a presentation from Raj.
Jayne Shaw: Yeah. Hi, Jayne Shaw Raj, again Uh. in this meeting I I'm going to discuss about the trend watching, uh how these trends is going to affect our market potential and how important is this. So we have to look on this. First of all methodology. The met methodology to find out the trend was incl uh was done in a way We have done a rec not only a recent remote control market survey, but we also considered the latest fre fashion trends of the market, we think that this is also a factor which will affect our sales and profit. So what are our findings? In our uh in our findings we have seen that when we did our remote control market survey we found that uh people l uh people do have preference for tho fancy mobi uh f remote controls which look and feel very good, rather than having a functional look and feel uh good. So this sh this clearly indicates their preference for the design their outlook of the remote controls. So we should take into uh we should consider this factor as the most important factor, because this factor is twice as important, the second factor which is further ti twice the as important as the sec as uh the third factor. So this factor becomes the most important factor in our surv uh uh in our mark uh means in take in designing our rem uh remote controls.
Kelly Tsuji: The last one is the most important one, is
Jayne Shaw: No
Kelly Tsuji: it?
Jayne Shaw: the first
Kelly Tsuji: Oh, sorry.
Jayne Shaw: one is the uh the outlook of the mobile, the it should have a fancy outlook,
Kelly Tsuji: Okay.
Jayne Shaw: the fancy design
Kelly Tsuji: Okay.
Jayne Shaw: uh rather than just having a functional look and feel good, it should have a fancy look and foo feel good. The second most important aspect is that remote control should be a technologically uh innovative. We must have some technological advancement in the remote control tha rather than just putting it as it is as the other remo uh remote controls are. So it uh should be technologically innovative like glow-in-the-dark or speech recognition, something like that. So that indicates our technological advancement.
Kelly Tsuji: Mm-hmm.
Jayne Shaw: And the third most important aspect in the ta to take into consideration is that it should be easy to use,
Kelly Tsuji: Mm-hmm.
Jayne Shaw: like it shouldn't be too much co complicated, there shouldn't be too many buttons on this mobi uh remote control, it shouldn't be too complicated uh like this way. And it should be uh and customers should be provided with manuals that is easy to understand in their local language, something. So that they could know how to use these remote controls. When we did uh f fashions uh, recent fashion uh our recent fashion update shows that
Kelly Tsuji: Sorry.
Jayne Shaw: Ah yeah?
Kelly Tsuji: I was just reading fruit and vegetables. Hard to know how we are going to incorporate that.
Jayne Shaw: Y yeah uh yeah, we have to, because uh d you can see how people have related their clothes, shoes, and everything with fruits and vegetables, because the g world is now changing it's trend towards organic,
Kelly Tsuji: Okay.
Jayne Shaw: becoming more and
Kelly Tsuji: Yeah.
Jayne Shaw: more organic, becoming
Dorothy Pearson: We should make a big sponge lemon and
Kelly Tsuji: Yeah.
Jayne Shaw: Yeah.
Dorothy Pearson: then it'd be it would be yellow.
Jayne Shaw: So
Kelly Tsuji: Th
Dorothy Pearson: It's Yeah.
Kelly Tsuji: that's
Jayne Shaw: Yeah.
Kelly Tsuji: very good.
Jayne Shaw: So something
Kelly Tsuji: Glow-in-the-dark.
Jayne Shaw: like that we we should do.
Kelly Tsuji: Okay.
Jayne Shaw: And people uh the f feel of the material is expected to be spongy rather than just having a plastic look, hard look.
Kelly Tsuji: Well, that's
Dorothy Pearson: Mm.
Kelly Tsuji: good. That's
Jayne Shaw: Yeah.
Kelly Tsuji: what we kind of
Jayne Shaw: Yeah.
Kelly Tsuji: predicted
Jayne Shaw: So
Kelly Tsuji: anyway.
Jayne Shaw: so that they could play with it while handi uh while handling it.
Kelly Tsuji: Okay.
Jayne Shaw: So that should also be taken
Kelly Tsuji: Okay.
Jayne Shaw: into consideration. So
Kelly Tsuji: Okay.
Jayne Shaw: these are my views. So
Kelly Tsuji: spongy, not real spongy, you can
Jayne Shaw: No it
Kelly Tsuji: Do
Jayne Shaw: ca
Kelly Tsuji: you think like rubber would be good or does it
Jayne Shaw: y
Kelly Tsuji: really want to be
Jayne Shaw: a The
Kelly Tsuji: like gel kind of
Jayne Shaw: rubber
Kelly Tsuji: stuff?
Jayne Shaw: which is good for health and which is quite disposable
Kelly Tsuji: Okay.
Jayne Shaw: that we
Kelly Tsuji: Quite
Jayne Shaw: can take
Kelly Tsuji: disposable.
Jayne Shaw: into co Yeah.
Kelly Tsuji: Okay.
Jayne Shaw: 'Cause we It shouldn't be have any harm to the environment also,
Kelly Tsuji: Oh
Jayne Shaw: because
Kelly Tsuji: okay.
Stephanie Danley: Alright,
Jayne Shaw: our company
Stephanie Danley: okay.
Jayne Shaw: is very well for taking all these concerns into consideration,
Kelly Tsuji: Uh-huh.
Jayne Shaw: so we don't want to have any harm to the society,
Kelly Tsuji: Okay.
Jayne Shaw: so
Stephanie Danley: Fashion.
Kelly Tsuji: Cool.
Stephanie Danley: Mm
Jayne Shaw: So
Stephanie Danley: 'kay.
Jayne Shaw: that's all.
Stephanie Danley: Fruit and veg, well there you go. Just what I think of
Kelly Tsuji: Mm.
Stephanie Danley: when I think of a
Kelly Tsuji: A remote control?
Stephanie Danley: remote control.
Kelly Tsuji: Yeah. And were there any factors that weren't important in the survey, that they said we don't want?
Jayne Shaw: S uh we
Kelly Tsuji: Or
Jayne Shaw: didn't
Kelly Tsuji: was it just
Jayne Shaw: find out any such
Kelly Tsuji: Okay.
Jayne Shaw: point. Uh
Stephanie Danley: Mm-mm-mm-mm.
Jayne Shaw: yes, there could be, but we couldn't find out any,
Kelly Tsuji: Cool.
Jayne Shaw: so
Stephanie Danley: Mm-mm-mm-mm-mm.
Kelly Tsuji: F_, what is it? Um.
Stephanie Danley: Function F_ eight.
Kelly Tsuji: yeah.
Stephanie Danley: Hmm.
Kelly Tsuji: Okay.
Jayne Shaw: Yeah.
Kelly Tsuji: No signal.
Jayne Shaw: Oh no,
Kelly Tsuji: Is that?
Dorothy Pearson: No,
Jayne Shaw: Yeah,
Dorothy Pearson: it's got
Jayne Shaw: uh yeah,
Dorothy Pearson: it's got
Jayne Shaw: uh yeah.
Dorothy Pearson: it.
Jayne Shaw: Yeah.
Kelly Tsuji: Okay,
Stephanie Danley: Excuse
Kelly Tsuji: and then
Stephanie Danley: Jayne Shaw.
Kelly Tsuji: F_ five, right?
Stephanie Danley: Uh, yeah.
Kelly Tsuji: Okay. Um okay, so the interface concept um. Yeah. The interface specification, what people um how they interact with it basically, I think. Um so the method, we looked at existing designs, what are the what's good about them, what's bad about them, um I looked at their flaws, so we're going to look at their flaws, everything. Um and what the survey told us and what we think would be good, so a bit of imagination.
Stephanie Danley: Mm 'kay.
Kelly Tsuji: Uh the findings, I've got some pictures to show you as well.
Stephanie Danley: either.
Kelly Tsuji: Yeah.
Jayne Shaw: Hmm.
Kelly Tsuji: Okay, so most remote controls use graphical interface, where you um have got s buttons and you point it rather than having the output as a a stream of text or something.
Stephanie Danley: Uh okay.
Kelly Tsuji: Um and we also found that there's inconsistent layout, which makes it confusing. So I think for our remote control There is some inconsistency already in ec existing in between remote controls, but I think standard kind of um shape and uh play and those kind of but buttons like the the top right for on and off or something, I think,
Stephanie Danley: Right,
Kelly Tsuji: people
Stephanie Danley: okay.
Kelly Tsuji: find that
Stephanie Danley: Yeah.
Kelly Tsuji: important,'cause then it's easy to use. And we've got some pictures of some uh new remote controls to show you. Do
Stephanie Danley: Excellent.
Kelly Tsuji: I press Escape F_ five?
Stephanie Danley: Uh
Kelly Tsuji: Or
Stephanie Danley: no
Kelly Tsuji: just
Stephanie Danley: just escape
Kelly Tsuji: Escape,
Stephanie Danley: should
Kelly Tsuji: okay.
Stephanie Danley: uh
Kelly Tsuji: Um, oh I still haven't got my glasses on. Yeah, okay. So these are the some of the pictures of existing ones.
Dorothy Pearson: Wow.
Kelly Tsuji: I'll just walk you through them. This one is a voice recognition. And
Stephanie Danley: 'Kay.
Kelly Tsuji: that's the kind
Stephanie Danley: Looks
Kelly Tsuji: of idea
Stephanie Danley: pretty
Kelly Tsuji: we're going
Stephanie Danley: complicated.
Kelly Tsuji: for. There's um an L_C_D_ thing, which we thought could I thought could get a bit confusing and a bit
Stephanie Danley: Right,
Kelly Tsuji: expensive
Stephanie Danley: okay.
Kelly Tsuji: as well for us. This one is got a kind of scroll like a mouse,
Stephanie Danley: Mm-hmm,
Kelly Tsuji: which
Stephanie Danley: like the middle button.
Kelly Tsuji: Yeah.
Stephanie Danley: Okay.
Kelly Tsuji: Um and But I'm not exactly sure how you'd use that, like
Stephanie Danley: Ah it's
Kelly Tsuji: would
Stephanie Danley: kinda
Kelly Tsuji: the
Stephanie Danley: like scrolling
Kelly Tsuji: computer
Stephanie Danley: uh
Kelly Tsuji: come
Stephanie Danley: right, well, if I s if I'm thinking of the right one, I've got the same thing in front of my monitor, you scroll it and the when you reach the sort of um menu item that you require, you press the
Kelly Tsuji: Uh-huh,
Stephanie Danley: middle
Kelly Tsuji: that's like
Stephanie Danley: of the scroll.
Kelly Tsuji: the L_C_D_ one, is
Stephanie Danley: Right,
Kelly Tsuji: it?
Stephanie Danley: okay.
Kelly Tsuji: But the one below that has got like a little scroll function on the side. But I presume that the functions must come up on the T_V_ screen.
Stephanie Danley: Yeah,
Kelly Tsuji: I
Stephanie Danley: presumably.
Kelly Tsuji: think
Jayne Shaw: Yeah.
Kelly Tsuji: that's what that is. So these are just a few ideas. Again that's just quite boring shape, grey, looks quite space-agey, but too many buttons, I think
Stephanie Danley: Yeah,
Kelly Tsuji: on
Dorothy Pearson: Uh
Kelly Tsuji: that
Dorothy Pearson: it looks
Stephanie Danley: looks
Kelly Tsuji: one.
Dorothy Pearson: threatening.
Stephanie Danley: like uh looks like something out
Kelly Tsuji: Yeah,
Stephanie Danley: of a jet.
Kelly Tsuji: it does look kind of dangerous.
Dorothy Pearson: It looks like
Jayne Shaw: Hmm.
Kelly Tsuji: Um
Dorothy Pearson: yeah.
Kelly Tsuji: this one I thought was really cool. It's w it's got the programmability function that we talked about. You can put it in there, it's for your kids, and it's quite an organic shape and the little circle around there is pretty cool.
Stephanie Danley: Okay.
Kelly Tsuji: And that's really easy to use, bright, so I like this one lot for our design. I think something like that would be good.
Dorothy Pearson: Wow.
Stephanie Danley: Yeah,
Kelly Tsuji: Of course
Stephanie Danley: I m
Kelly Tsuji: yellow.
Stephanie Danley: I mean the one thing I think about about these ones is um these kl uh secured areas um, I've seen a lot of them with the the cover missing.
Kelly Tsuji: Right,
Stephanie Danley: So
Kelly Tsuji: yeah.
Stephanie Danley: like have it hinge rather than sort
Kelly Tsuji: Yeah,
Stephanie Danley: of clip on
Kelly Tsuji: that's
Stephanie Danley: or whatever.
Kelly Tsuji: true. Yeah. Um so maybe that could be built into one of the things and it comes up on the T_V_ or something. And this one, the over-sized one, I don't know about you, but I think it's a bit too gimmicky. I don't think
Stephanie Danley: Yeah.
Kelly Tsuji: that will
Stephanie Danley: I mean is
Kelly Tsuji: sell
Stephanie Danley: that not
Kelly Tsuji: very
Stephanie Danley: sort
Kelly Tsuji: well.
Stephanie Danley: of to assist the blind or something, is it?
Kelly Tsuji: I guess so. I don't know. I think
Stephanie Danley: Strange.
Dorothy Pearson: Then
Kelly Tsuji: that's a bit
Dorothy Pearson: d blind don't watch T_V_.
Kelly Tsuji: Yeah
Stephanie Danley: No they do,
Kelly Tsuji: exactly.
Stephanie Danley: they do. They
Dorothy Pearson: They
Stephanie Danley: listen
Dorothy Pearson: do?
Stephanie Danley: to it. Yeah.
Kelly Tsuji: Yeah. And um this one is just pointing out. I like some of these things um the the raised symbols and everything, but pointing out um that this one the volume it is kind of pressing down, but it would actually go up, because
Stephanie Danley: Right,
Kelly Tsuji: of the
Stephanie Danley: okay.
Kelly Tsuji: shape. So that could that's a bit confusing. Um but the buttons on this I think are it's just showing you how you can have different different um buttons. They don't have to be all the same. So that's quite cool. Um.
Stephanie Danley: 'Kay but people tend to recognise certain shapes to do certain things anyway,
Kelly Tsuji: Yeah,
Stephanie Danley: don't they?
Kelly Tsuji: exactly. Um F_ five. Yes. So there are some of the findings. So we need to combine those ones um
Stephanie Danley: Brilliant. That's handy.
Kelly Tsuji: Um yeah it is, just in time, very handy. Um so I think maybe incorporating that in our design would be good. It's you
Stephanie Danley: Okay.
Kelly Tsuji: program it like you say, record, um and then, play, and then, record, play machine, and stuff like that, so that's And it's much Yeah. So that's quite cool. Uh personal preferences just some imagination, the raised symbols I thought were good, the L_C_D_, it does look smart, but I think maybe for our budget, do you think that would be a bit too expensive to have the
Dorothy Pearson: The L_C_D_
Kelly Tsuji: Yeah.
Dorothy Pearson: and the other stuff uh, I think.
Kelly Tsuji: And the speech recognition, 'cause I think we're definitely going for the speech recognition, are we?
Jayne Shaw: But in our market survey we have seen that people are willing to pay more, but
Kelly Tsuji: Uh-huh.
Jayne Shaw: they want the quality, they want f fancy look, they want some new design, something new.
Stephanie Danley: Okay.
Kelly Tsuji: Uh-huh.
Jayne Shaw: Uh
Kelly Tsuji: But our budget,
Stephanie Danley: It's still
Jayne Shaw: yeah.
Stephanie Danley: it's still got
Kelly Tsuji: we've
Stephanie Danley: to get within
Jayne Shaw: Yeah.
Kelly Tsuji: Yeah.
Stephanie Danley: our twelve fifty,
Jayne Shaw: So even
Stephanie Danley: you know.
Jayne Shaw: if we increase our cost little bit, within uh some limits, and we give something new technological advancement as well as new design with fancy outlook,
Kelly Tsuji: Uh-huh.
Jayne Shaw: I think we will meet the requirements and we will be able to have a good sales
Kelly Tsuji: Okay.
Jayne Shaw: in the market.
Kelly Tsuji: I'm not
Stephanie Danley: Okay.
Kelly Tsuji: sure if
Dorothy Pearson: Ben
Kelly Tsuji: the if
Dorothy Pearson: bana
Kelly Tsuji: for twenty five Euros uh per uh twelve Euros fifty m
Stephanie Danley: Yeah.
Kelly Tsuji: manufacturing cost,
Stephanie Danley: I can't see tha Although, th I mean
Kelly Tsuji: The
Stephanie Danley: to
Kelly Tsuji: L_C_D_.
Stephanie Danley: be to be sure they have got I mean they are going crazy with the L_C_D_ technology now, so that you've got your L_C_D_ T_V_s and everything so maybe the small
Kelly Tsuji: Yeah.
Stephanie Danley: But I mean like I I the black and white, I guess, it just doesn't look funky enough.
Kelly Tsuji: No.
Stephanie Danley: Um but, I mean, like even mobile phones or whatever have now have colour L_C_D_ screens, w
Kelly Tsuji: Yeah.
Stephanie Danley: I ju
Dorothy Pearson: Hmm.
Kelly Tsuji: S
Stephanie Danley: I mean I wouldn't know about the costs of them.
Kelly Tsuji: Uh-huh.
Dorothy Pearson: But uh
Stephanie Danley: Twelve
Dorothy Pearson: price
Jayne Shaw: And
Stephanie Danley: fifty.
Jayne Shaw: the
Dorothy Pearson: not withstanding, is it, is be just overload?
Jayne Shaw: Uh
Kelly Tsuji: Yeah, that's
Jayne Shaw: i
Kelly Tsuji: the thing, because
Stephanie Danley: Possibly.
Jayne Shaw: it will be easy because there will be, on L_C_D_ s screen, there will be different frent icons, they can just click
Dorothy Pearson: But but
Jayne Shaw: ok okay, whatever
Dorothy Pearson: the
Jayne Shaw: they
Dorothy Pearson: thing
Jayne Shaw: wa
Dorothy Pearson: is when you use a remote control, you never look at it, right?
Stephanie Danley: Yeah.
Dorothy Pearson: You're looking at the
Kelly Tsuji: Yeah.
Dorothy Pearson: T_V_
Stephanie Danley: Yeah.
Dorothy Pearson: and
Kelly Tsuji: That's true, yeah.
Dorothy Pearson: and it's uh It just seems kind of like a
Kelly Tsuji: And one of the
Dorothy Pearson: a needless
Kelly Tsuji: survey
Dorothy Pearson: th
Kelly Tsuji: findings was that they want it easy to use, so I
Stephanie Danley: Right.
Kelly Tsuji: think I'm not sure about the L_C_D_. It's a it's great, it's a good idea, but for our budget and for the thing we're trying to go for eas easy to use, it's not the thing we should go for, I think. Child-friendly, I thought this was good, as you pointed out the um the bit, it often goes missing especially with children, but it's a good shape and the organic is kind of we could make a vegetabley kind of round shape, I think.
Dorothy Pearson: So which
Stephanie Danley: Yeah.
Dorothy Pearson: vegetable?
Stephanie Danley: Well I mean we
Kelly Tsuji: Yeah,
Stephanie Danley: could make a
Kelly Tsuji: I know, carrot.
Stephanie Danley: Yeah. Well, si
Dorothy Pearson: Okay.
Stephanie Danley: since we're going for the uh the k the sort of company colours, I think your lemon wasn't that far
Dorothy Pearson: The the lemon.
Stephanie Danley: s
Kelly Tsuji: Yeah.
Dorothy Pearson: Well what are the options?
Stephanie Danley: And if it doesn't work you know,
Kelly Tsuji: But
Stephanie Danley: we've
Kelly Tsuji: we don't
Stephanie Danley: just
Kelly Tsuji: want
Stephanie Danley: made
Kelly Tsuji: it to
Stephanie Danley: a lemon.
Kelly Tsuji: be Yeah. Um the child-friendly, yeah. Easy to use, it seems quite easy to use. I like the d the different shapes of the buttons and
Stephanie Danley: Mm-hmm.
Kelly Tsuji: stuff. I think
Stephanie Danley: I
Kelly Tsuji: that's
Stephanie Danley: like
Kelly Tsuji: a good idea
Stephanie Danley: I like
Kelly Tsuji: to go
Stephanie Danley: the colourful
Kelly Tsuji: for.
Stephanie Danley: buttons as well.
Kelly Tsuji: Yeah. And the mouse one, I thought it was a good idea, because people use mo mice mouses now with the scrolling
Stephanie Danley: Yeah.
Kelly Tsuji: thing. Um.
Stephanie Danley: I mean we are marketing to sort of twenty five to thirty
Kelly Tsuji: Yeah.
Stephanie Danley: five, so most people will have come in contact with that
Kelly Tsuji: S yeah.
Stephanie Danley: kind of use.
Kelly Tsuji: So they'd be able to use that um, as I said I think i I'd presume it would come up on the screen.
Stephanie Danley: Yeah.
Kelly Tsuji: Um so there
Stephanie Danley: And
Kelly Tsuji: you
Stephanie Danley: that
Kelly Tsuji: go.
Stephanie Danley: means tha that means you get to bump that bit to the T_V_ maker, so
Kelly Tsuji: Yeah.
Dorothy Pearson: Oh.
Kelly Tsuji: So that's um the user interface
Stephanie Danley: 'Kay.
Kelly Tsuji: design. So
Dorothy Pearson: Okay.
Kelly Tsuji: okay, I'll take this out now then.
Dorothy Pearson: Um
Kelly Tsuji: There you go.
Dorothy Pearson: so I guess there are a lot of options that we're gonna have to choose from among,
Stephanie Danley: Yeah,
Dorothy Pearson: and
Stephanie Danley: looks
Dorothy Pearson: I'll
Stephanie Danley: like it.
Dorothy Pearson: I'll give you the uh,
Kelly Tsuji: Mm.
Dorothy Pearson: I guess, technical considerations for those.
Stephanie Danley: Uh
Dorothy Pearson: And I'm gonna use the whiteboard, just 'cause we haven't used it.
Stephanie Danley: Yeah, I was just thinking the self same
Dorothy Pearson: Right.
Stephanie Danley: thing.
Dorothy Pearson: So, the way I'm gonna do this is uh we're gonna take a look at some old remote controls, see how they work, uh reuse the the vital kind of um essential pieces of it, and then we'll throw in our new innovations um and keep it all within budget. So uh
Stephanie Danley: Magic man.
Dorothy Pearson: yeah, looking inside a a very simple remote control. Um this is what they sent Jayne Shaw. 'Kay. Here's uh the competition, I suppose. Um you open it up, there's a circuit board inside,
Stephanie Danley: Mm-hmm.
Dorothy Pearson: um and there's a a chip, a processor, the T_A_ one one eight three five, which um receives input from the buttons,
Stephanie Danley: So
Dorothy Pearson: and
Stephanie Danley: this
Dorothy Pearson: ch
Stephanie Danley: is a standard off the shelf kind of a chip, is it?
Dorothy Pearson: Right, it's very they're very cheap remote. This remote costs nothing, you know. Um so that takes a signals from the buttons and translates it into a sequence of pulses that it then sends to the to the amplifier, which is made of some transistors and amplifiers, op-amps, and then that gets sent to the uh to the L_E_D_ light, which I can kinda see is that little red light bulb
Kelly Tsuji: Mm-hmm.
Dorothy Pearson: at the end,
Stephanie Danley: Right.
Dorothy Pearson: and that sends out the infrared uh light signal to the television. Oh here it is. Um so this is kind of the the bear essentials that we need to have in our remote control, because
Stephanie Danley: Okay.
Dorothy Pearson: it it defines
Stephanie Danley: So
Dorothy Pearson: the uh
Stephanie Danley: can we make them to pretty much any size we like or is there a minimum
Dorothy Pearson: R
Stephanie Danley: or?
Dorothy Pearson: Um no, I mean this is a very old one, so now with the new technology this is a
Stephanie Danley: They gotta be
Dorothy Pearson: a minimally small and cheap thing
Stephanie Danley: Almost
Dorothy Pearson: to
Stephanie Danley: a
Dorothy Pearson: make.
Stephanie Danley: key-ring.
Dorothy Pearson: Right. So this is what we need to have for certain. Um.
Stephanie Danley: Okay.
Dorothy Pearson: So you know, as we said, we got the outer casing, which we have to decide, you know, what's it gonna be, um the board we have to use basically uh the same set-up, processor, um we'll probably use the more advanced processor than they had, amplifier and transmitter are all standard. Um so for the casing, uh this an e-mail I got from our manufacturing team uh, you know, we have a bunch of options from wood, titanium, rubber, plastic, whatnot, um latex, double-curved, curved. So
Stephanie Danley: 'Kay.
Dorothy Pearson: lots of choices, what do we think? Uh or
Stephanie Danley: Well.
Dorothy Pearson: sponge, I guess, isn't on there, right.
Kelly Tsuji: Mm.
Dorothy Pearson: Organic
Stephanie Danley: Well, I mean like
Dorothy Pearson: sponge.
Kelly Tsuji: I'm
Stephanie Danley: la
Kelly Tsuji: not
Stephanie Danley: latex
Kelly Tsuji: sure about the sponge.
Stephanie Danley: has a kinda spongy feeling to it, doesn't it. Um
Dorothy Pearson: Uh yeah, it's very elasticy for sure.
Stephanie Danley: Yeah.
Kelly Tsuji: Yeah.
Stephanie Danley: And that would k also give it kinda durability and
Kelly Tsuji: Yeah.
Dorothy Pearson: Um.
Stephanie Danley: and ther that's also f sorta relatively cheap to cast.
Dorothy Pearson: Yeah so
Stephanie Danley: Um so maybe s uh a sort of uh plastic initial plastic with a a latex kinda sheath?
Dorothy Pearson: Okay so, here are a a plastic, uh latex
Kelly Tsuji: I like the rubber, the stress balls, I think, you know,
Stephanie Danley: Oh right,
Kelly Tsuji: that
Stephanie Danley: okay.
Kelly Tsuji: could be a bit of a gimmick like it's
Dorothy Pearson: Oh
Stephanie Danley: I don't
Dorothy Pearson: right.
Stephanie Danley: know what that
Kelly Tsuji: good
Stephanie Danley: stuff
Kelly Tsuji: to hold
Stephanie Danley: is.
Kelly Tsuji: and
Dorothy Pearson: So something with give to it.
Stephanie Danley: Yeah.
Kelly Tsuji: Yeah.
Dorothy Pearson: Okay.
Kelly Tsuji: And
Dorothy Pearson: And
Kelly Tsuji: that might be quite durable and easy to chuck around.
Dorothy Pearson: and the colour is yellow, right?
Kelly Tsuji: Yeah,
Stephanie Danley: Or at least
Kelly Tsuji: y
Stephanie Danley: incorporating,
Kelly Tsuji: yellow
Stephanie Danley: yeah.
Kelly Tsuji: incorporated,
Dorothy Pearson: Yellow,
Kelly Tsuji: yeah.
Dorothy Pearson: okay. Um.
Stephanie Danley: I mean I forgot i we're sort of uh I don't know what other
Kelly Tsuji: I think
Stephanie Danley: standard silver kind of
Kelly Tsuji: Mm.
Stephanie Danley: Other parts or uh
Kelly Tsuji: Yeah, the buttons w like, 'cause there's gonna be the the cover the the rubber or the plastic casing and then the buttons in probably
Stephanie Danley: Mm-hmm.
Kelly Tsuji: two different colours or i if
Dorothy Pearson: Mm' kay.
Kelly Tsuji: we're having buttons actually,
Dorothy Pearson: So
Kelly Tsuji: I
Dorothy Pearson: yellow
Kelly Tsuji: don
Stephanie Danley: Um.
Dorothy Pearson: for the body, and then what colour for the buttons?
Stephanie Danley: Um I quite like the multi-coloured buttons myself.
Kelly Tsuji: Yeah.
Dorothy Pearson: So multi-coloured buttons.
Kelly Tsuji: You do have ones like um play could be green or on and off is red, and stuff like that, yeah.
Stephanie Danley: Yeah or yeah a limit uh maybe
Kelly Tsuji: Makes
Stephanie Danley: even
Kelly Tsuji: it
Stephanie Danley: just
Kelly Tsuji: easy
Stephanie Danley: a limited
Kelly Tsuji: to use.
Stephanie Danley: multi-colour so it it doesn't look too childish,
Kelly Tsuji: Yeah,
Stephanie Danley: perhaps.
Kelly Tsuji: that's true, because that blue one did look
Stephanie Danley: Yeah.
Kelly Tsuji: quite hardish.
Dorothy Pearson: Okay.
Stephanie Danley: Although I mean this uh uh also comes to shape as well. I mean if we are gonna make it a novel I mean double-curved sounds good to Jayne Shaw if
Dorothy Pearson: Okay.
Stephanie Danley: we're talking
Kelly Tsuji: Mm-hmm.
Stephanie Danley: about sorta ergonomic and easy use,
Kelly Tsuji: Mm-hmm. Yeah.
Stephanie Danley: a bit comfier, you know.
Kelly Tsuji: Yeah.
Dorothy Pearson: Mm 'kay so the shape we wanna go Um how exactly? Maybe double
Kelly Tsuji: Like uh an hour glass kind of figure, is that what you're thinking of, or
Stephanie Danley: Yeah
Kelly Tsuji: just
Stephanie Danley: it's uh,
Kelly Tsuji: like
Stephanie Danley: yeah,
Kelly Tsuji: a
Stephanie Danley: that that'd be that's sort of comfortable to hold, easy to hold so you don't
Kelly Tsuji: It's
Stephanie Danley: drop
Kelly Tsuji: not
Stephanie Danley: it.
Dorothy Pearson: What about
Kelly Tsuji: Yeah.
Dorothy Pearson: a banana? Yeah?
Kelly Tsuji: We could make novelty remote controls.
Dorothy Pearson: Okay,
Stephanie Danley: Well, yeah, I mean like
Dorothy Pearson: like we could have a big banana shaped remote control, 'cause it's yellow fruit,
Stephanie Danley: Yeah,
Dorothy Pearson: right?
Stephanie Danley: yeah. Mm
Kelly Tsuji: Yeah.
Stephanie Danley: and a lemon might be a
Kelly Tsuji: But
Stephanie Danley: little
Kelly Tsuji: then how
Stephanie Danley: hard
Kelly Tsuji: would
Stephanie Danley: to
Kelly Tsuji: you point
Stephanie Danley: grip.
Kelly Tsuji: it?
Jayne Shaw: Ah
Stephanie Danley: Yeah.
Jayne Shaw: yeah. Mm-hmm.
Kelly Tsuji: How would you point it?
Dorothy Pearson: Oh
Kelly Tsuji: What
Dorothy Pearson: i it doesn't matter which end you point, I guess. We could have a little L_E_D_s on each end.
Stephanie Danley: They only cost pennies.
Jayne Shaw: Yeah, I appreciate this idea, because then this this will help us in our advertisement also and we can relate with fruits and vegetables, the people's choices. That what our data shows that,
Kelly Tsuji: Yeah.
Jayne Shaw: so this w this
Stephanie Danley: Huh?
Jayne Shaw: w
Kelly Tsuji: y I'm I'm not sure about the banana idea.
Dorothy Pearson: So a
Stephanie Danley: Um.
Dorothy Pearson: spongy
Kelly Tsuji: Rubber
Dorothy Pearson: banana
Kelly Tsuji: banana.
Stephanie Danley: I mean
Dorothy Pearson: re Yeah.
Stephanie Danley: that that th
Kelly Tsuji: Okay.
Stephanie Danley: does it does seem a bit uh again childish maybe.
Kelly Tsuji: Yeah.
Dorothy Pearson: Okay, okay.
Kelly Tsuji: I think maybe just draw on the kind of fruit and vegetable shape. And what else did you say about fashions? What was trendy?
Jayne Shaw: Uh the fashion trend shows
Stephanie Danley: S
Jayne Shaw: that fruits and vegetables,
Dorothy Pearson: See
Jayne Shaw: like people uh
Stephanie Danley: And sponginess.
Jayne Shaw: now
Kelly Tsuji: And
Dorothy Pearson: So
Kelly Tsuji: spongy,
Dorothy Pearson: maybe an an
Jayne Shaw: Spongy.
Kelly Tsuji: yeah.
Dorothy Pearson: unidentifiable fruit or
Kelly Tsuji: Yeah.
Dorothy Pearson: fiable fruit or vegetable
Kelly Tsuji: Yeah.
Dorothy Pearson: like so it would have a stem perhaps and
Kelly Tsuji: Maybe,
Dorothy Pearson: a
Kelly Tsuji: yeah.
Dorothy Pearson: maybe a it'd be s
Stephanie Danley: Huh.
Kelly Tsuji: Like
Dorothy Pearson: axially
Kelly Tsuji: what's
Dorothy Pearson: symmetric.
Kelly Tsuji: what's that, I don't even know the name of it, some kind of, you know where it's like looks like a little snowman kind of thing. I don't know the name of that.
Dorothy Pearson: So it'd look like this kinda.
Kelly Tsuji: Yeah, that's what I was thinking.
Dorothy Pearson: Like a gourd
Stephanie Danley: Uh.
Kelly Tsuji: Yeah,
Dorothy Pearson: almost,
Kelly Tsuji: maybe that's what they are.
Dorothy Pearson: or a squash of some sort?
Kelly Tsuji: 'Cause that you can hold it in like the bottom bit and
Dorothy Pearson: Yeah, and it has a a clear top and bottom so
Kelly Tsuji: Yeah.
Dorothy Pearson: y so you could say, you know, it transmits from this end.
Stephanie Danley: Yeah, why the hell not. Let's
Kelly Tsuji: I don't know.
Stephanie Danley: that'll make us fifty
Kelly Tsuji: What do you
Stephanie Danley: million
Kelly Tsuji: guy
Stephanie Danley: Euros.
Kelly Tsuji: What do you think?
Stephanie Danley: Um. Well, I guess it's kind of dra uh you don't necessarily have to have it sort of clearly identified as a fruit just
Kelly Tsuji: No.
Stephanie Danley: to have that kind of fruitish shape,
Dorothy Pearson: Yeah.
Kelly Tsuji: Yeah.
Stephanie Danley: yeah?
Jayne Shaw: Yeah, then only we can relate it
Stephanie Danley: Yeah,
Jayne Shaw: with
Stephanie Danley: we
Jayne Shaw: something.
Stephanie Danley: can relate it by advertising
Jayne Shaw: Yeah.
Stephanie Danley: or
Jayne Shaw: Exactly.
Dorothy Pearson: Okay, so double-curved, single-curved, what do we feel?
Stephanie Danley: Yeah.
Jayne Shaw: Or the public choose
Kelly Tsuji: Uh-huh.
Jayne Shaw: what they want.
Stephanie Danley: There's
Dorothy Pearson: Okay.
Stephanie Danley: a good man. There's a good idea.
Kelly Tsuji: Okay.
Dorothy Pearson: Okay um, I guess, since you're the marketing guy.
Jayne Shaw: Yeah, sure.
Dorothy Pearson: We'll
Jayne Shaw: I will
Dorothy Pearson: uh
Jayne Shaw: be happy to do that.
Dorothy Pearson: Okay, we could do that. Um.
Kelly Tsuji: Okay. And buttons would, did we say? Uh different shapes of buttons?
Stephanie Danley: Um I l I su I mean for the specific functions, you know, up and down, uh
Kelly Tsuji: Mm.
Stephanie Danley: play, stop.
Dorothy Pearson: Okay,
Stephanie Danley: They've
Dorothy Pearson: so
Stephanie Danley: got, I mean, they've got standard sort of intuitive um
Dorothy Pearson: so buttons.
Stephanie Danley: things that are always used.
Dorothy Pearson: Okay, just like that.
Kelly Tsuji: Yeah.
Stephanie Danley: That's cool. I like it.
Dorothy Pearson: Okay.
Stephanie Danley: Um.
Dorothy Pearson: With the scroll-wheel or no?
Kelly Tsuji: Yeah, what about the scroll wheel and speech recognition?
Stephanie Danley: Uh speech recognition, I think, so we need a microphone presumably.
Dorothy Pearson: Okay uh I could put the microphone here.
Kelly Tsuji: Mm-hmm.
Dorothy Pearson: Okay there's the microphone.
Stephanie Danley: Yeah.
Dorothy Pearson: Where should I put
Stephanie Danley: I mean
Dorothy Pearson: the
Stephanie Danley: ho
Dorothy Pearson: microphone?
Stephanie Danley: h h wel are we sure that scroll wheel does give ease of use?
Kelly Tsuji: Yeah, I'm not sure. Um I mean those ideas I saw were just for inspiration, I think.
Stephanie Danley: Glad, we're not doing
Kelly Tsuji: Um
Stephanie Danley: this for real.
Kelly Tsuji: yeah, I can no I'm not sure. I couldn Yeah.
Stephanie Danley: Yeah.
Dorothy Pearson: Okay.
Stephanie Danley: And uh I think if this this new software for the sound recognition is the
Kelly Tsuji: Yeah.
Dorothy Pearson: Okay.
Stephanie Danley: microphone
Dorothy Pearson: So should the microphone be just anywhere on it or
Stephanie Danley: I would put it sort of sub-centrally, so it's Yeah.
Kelly Tsuji: Yeah.
Dorothy Pearson: 'Kay there's the mic.
Stephanie Danley: So it can be sort of
Kelly Tsuji: That's
Stephanie Danley: held
Kelly Tsuji: cool.
Stephanie Danley: and w We really need really gonna need to hold it, if it's gonna be voice recognition.
Dorothy Pearson: Um n well we can Whoops.
Stephanie Danley: Oops.
Dorothy Pearson: Um.
Stephanie Danley: Um.
Kelly Tsuji: So let's not use the whiteboard any more.
Dorothy Pearson: Yeah. Um.
Stephanie Danley: Upsidaisy.
Dorothy Pearson: Oops, sorry. Okay.
Kelly Tsuji: And uh so what else was there? Um the What about the glow-in-the-dark thing, the strip around it? Are we just gonna
Stephanie Danley: I
Kelly Tsuji: leave
Stephanie Danley: s
Kelly Tsuji: that?
Stephanie Danley: I still like it. Um
Kelly Tsuji: You still like it.
Stephanie Danley: but that's Jayne Shaw.
Kelly Tsuji: 'Cause we've got the uh technological innovation with the speech
Dorothy Pearson: Right.
Kelly Tsuji: recognition
Stephanie Danley: Yes,
Kelly Tsuji: system.
Stephanie Danley: or maybe it's just going a bit uh too far. I mean we are pushing it probably with
Kelly Tsuji: 'Cause
Stephanie Danley: funny
Kelly Tsuji: um it
Stephanie Danley: fruit
Kelly Tsuji: could
Stephanie Danley: shapes.
Kelly Tsuji: Yeah.
Stephanie Danley: Um don't wanna sort of overkill.
Kelly Tsuji: Especially with yellow. Mm. I dunno.
Dorothy Pearson: Hmm.
Stephanie Danley: 'Cause I mean like uh if we I mean how good is the speech recognition thing? Do we want to go for buttons at all, do we want to just have a device that maybe sits and pretends it's a fruit?
Kelly Tsuji: Then you put it in the fruit bowl?
Stephanie Danley: Yeah, you know, and then
Dorothy Pearson: They
Stephanie Danley: you
Dorothy Pearson: can
Stephanie Danley: just
Dorothy Pearson: work
Stephanie Danley: tal
Dorothy Pearson: from
Stephanie Danley: I
Dorothy Pearson: a
Stephanie Danley: mean
Dorothy Pearson: You don't
Stephanie Danley: like
Dorothy Pearson: have
Stephanie Danley: everybody's
Dorothy Pearson: to hold it.
Stephanie Danley: got fruit bowl in front of the telly.
Dorothy Pearson: Yeah.
Kelly Tsuji: Mm-hmm.
Stephanie Danley: Um.
Dorothy Pearson: I it could even encourage healthier habits for television watchers,
Kelly Tsuji: Yeah.
Dorothy Pearson: you know they have
Stephanie Danley: Yeah.
Dorothy Pearson: uh fruits
Stephanie Danley: Make them
Dorothy Pearson: all round
Stephanie Danley: make
Dorothy Pearson: them.
Stephanie Danley: them think
Dorothy Pearson: Now
Stephanie Danley: of fruit, yeah.
Jayne Shaw: Yeah.
Dorothy Pearson: just make sure they don't eat the remote.
Stephanie Danley: I mean uh
Kelly Tsuji: Yeah, do we
Stephanie Danley: some
Kelly Tsuji: need buttons?
Stephanie Danley: uh I l like think of a fruit that could sit sort of independently on its own like uh, I dunno, an apple.
Kelly Tsuji: Mm.
Stephanie Danley: Then it's just apple so sort of Uh,
Dorothy Pearson: Yeah.
Stephanie Danley: yellow apples though Hmm.
Kelly Tsuji: I quite like the shape. I quite like the design of that, uh 'cause that could sit on its own and
Stephanie Danley: Yeah.
Kelly Tsuji: it's quite
Stephanie Danley: Okay,
Kelly Tsuji: got
Stephanie Danley: yeah,
Kelly Tsuji: a quite
Stephanie Danley: that's
Kelly Tsuji: steady
Stephanie Danley: good.
Kelly Tsuji: base.
Stephanie Danley: Groovy.
Dorothy Pearson: Okay.
Kelly Tsuji: Um
Dorothy Pearson: But
Kelly Tsuji: and
Dorothy Pearson: yeah
Kelly Tsuji: as we say we n we don't wanna be too ridiculous with the fruit things
Stephanie Danley: Yeah,
Kelly Tsuji: you know.
Dorothy Pearson: But yeah, about the speech thing, it doesn't have to be hand held or close. It can sit at a distance and
Stephanie Danley: Yeah.
Dorothy Pearson: pick
Kelly Tsuji: Okay.
Dorothy Pearson: it up
Stephanie Danley: So
Dorothy Pearson: still.
Stephanie Danley: I mean like you could actually Yeah,
Jayne Shaw: Or
Stephanie Danley: gives you
Jayne Shaw: we
Stephanie Danley: the
Jayne Shaw: can
Stephanie Danley: options.
Jayne Shaw: we can do one thing, we can just have a remote control and casings of different different shapes, different fruit shapes
Kelly Tsuji: Mm-hmm.
Jayne Shaw: in such a way that a any casing can be could be fit into this mobile general piece.
Kelly Tsuji: Mm-hmm.
Jayne Shaw: So whatever people want, like if somebody want it in banana shape, we will put that casing onto that mobile phone,
Kelly Tsuji: Mm-hmm.
Jayne Shaw: okay,
Stephanie Danley: So a selection
Jayne Shaw: it will look
Stephanie Danley: of casings.
Jayne Shaw: l Uh yeah.
Kelly Tsuji: Yeah,
Jayne Shaw: In
Stephanie Danley: It
Jayne Shaw: that
Stephanie Danley: kind
Kelly Tsuji: 'cause
Stephanie Danley: of
Kelly Tsuji: you
Stephanie Danley: fi
Jayne Shaw: w
Kelly Tsuji: said
Stephanie Danley: it fits
Kelly Tsuji: about disposable,
Stephanie Danley: with f fits with
Kelly Tsuji: didn't
Stephanie Danley: marketing
Kelly Tsuji: you?
Jayne Shaw: S s
Stephanie Danley: um
Jayne Shaw: sorry?
Kelly Tsuji: You said about disposable earli people want disposable things so
Jayne Shaw: Uh
Kelly Tsuji: we could
Jayne Shaw: like
Kelly Tsuji: do that,
Jayne Shaw: if
Kelly Tsuji: like
Jayne Shaw: this
Kelly Tsuji: have a
Jayne Shaw: is
Kelly Tsuji: choice.
Jayne Shaw: a like if this is a mobile phone uh we will design casing in such a way like half of, we need not to have a full cover,
Kelly Tsuji: Yeah.
Jayne Shaw: we will just have a half of cover, okay?
Stephanie Danley: Like
Jayne Shaw: If somebody
Stephanie Danley: like mobiles,
Jayne Shaw: wants it
Kelly Tsuji: Yeah.
Stephanie Danley: yeah.
Jayne Shaw: i in banana shape, we will fit banana shape casing onto that, so it will give a banana shape look. If somebody wanted in apple shape we will design that, we will put we will put apple shape casing on that. It will give apple shape look.
Kelly Tsuji: Okay.
Jayne Shaw: So in that way you can have any, that means whatever you want,
Kelly Tsuji: Okay.
Jayne Shaw: without
Kelly Tsuji: We still
Jayne Shaw: uh yeah.
Kelly Tsuji: need the buttons in the same places
Jayne Shaw: Yeah,
Kelly Tsuji: thought, don't
Jayne Shaw: button will
Kelly Tsuji: we?
Jayne Shaw: be
Stephanie Danley: You
Jayne Shaw: on
Stephanie Danley: can
Jayne Shaw: the upper
Stephanie Danley: standardise
Jayne Shaw: side,
Stephanie Danley: those, I mean.
Jayne Shaw: buttons will be the on the upper side.
Kelly Tsuji: Oh, that's the
Jayne Shaw: Yeah,
Kelly Tsuji: other side. Oh,
Jayne Shaw: buttons
Kelly Tsuji: okay.
Jayne Shaw: will be on the upper side, lower side we will just put the casing, so half of that will be look
Kelly Tsuji: Oh, half
Jayne Shaw: the
Kelly Tsuji: a fruit.
Jayne Shaw: Yeah,
Kelly Tsuji: Oh,
Jayne Shaw: not
Kelly Tsuji: okay,
Jayne Shaw: not the
Kelly Tsuji: okay.
Jayne Shaw: upper side. So from lower you can, it means while you are holding of from this side you c you can have banana look or apple
Kelly Tsuji: Okay,
Jayne Shaw: look, whatever.
Kelly Tsuji: okay.
Jayne Shaw: So in that way we need not to d have different different shape mobiles everything, we will just design casings fruit shape.
Kelly Tsuji: Okay.
Dorothy Pearson: Yeah
Stephanie Danley: I think
Jayne Shaw: And
Dorothy Pearson: yeah.
Stephanie Danley: tho I think if you're gonna have a facia then you'd want to have it so that it does go over the buttons, 'cause when if you think about it if they're wanting it, 'cause they want to look at it, if they're using it, and what they want to look at is facing away from them.
Kelly Tsuji: Mm
Stephanie Danley: It doesn't really
Kelly Tsuji: mm.
Stephanie Danley: You know 'cause that'd be in the palm of their hand and they wouldn't be able to see
Kelly Tsuji: Yeah.
Stephanie Danley: it, unless you have sort of you got the buttons options on one side, and you get the facia on the other side with a microphone so that you can place it face down. And you've got the facia, and you can just talk at the
Kelly Tsuji: Mm-hmm.
Stephanie Danley: Maybe.
Dorothy Pearson: Okay, um so
Stephanie Danley: So you've narrowed it down to half a dozen options.
Dorothy Pearson: Yeah, s I guess we decided on material, right? So that that spongy latex rubber
Kelly Tsuji: Yeah.
Dorothy Pearson: everything feel,
Stephanie Danley: Yeah.
Dorothy Pearson: and the colours we got down,
Kelly Tsuji: Yeah.
Dorothy Pearson: and
Stephanie Danley: Yeah.
Dorothy Pearson: the shape, maybe we'll just make it kinda mix and match type of shape or
Kelly Tsuji: Well, um because Well, I I'm not sure if we should go so far in the whole fruit thing, because I think we should maybe just take the inspiration from the fruit and uh
Stephanie Danley: Okay,
Kelly Tsuji: because
Stephanie Danley: so we stick with what we've got there.
Kelly Tsuji: what Yeah, w I think wh wha would we're trying to get to twenty five, thirty five year olds who want it quite trendy as well they said. They wanted something that looks fancy and I think maybe fruit could be a bit of a too much of a gimmick, but something ergonomically shaped and organic, like good to hold, based on fruits and natural things like that,
Stephanie Danley: Mm 'kay.
Kelly Tsuji: because al already we're going a bit gaudy with the yellow, you know.
Stephanie Danley: Mm-hmm.
Kelly Tsuji: I
Dorothy Pearson: Yeah.
Kelly Tsuji: mean we could make it nice pale yellow.
Stephanie Danley: Well, it's kind of gotta be our company's yellow.
Kelly Tsuji: Okay.
Dorothy Pearson: Okay.
Kelly Tsuji: Okay.
Stephanie Danley: So again I mean like we could have, uh I mean, we could quite easily have the the main body be a different
Kelly Tsuji: Yeah. Maybe we
Stephanie Danley: colour,
Kelly Tsuji: could have
Stephanie Danley: but
Kelly Tsuji: that
Stephanie Danley: have
Kelly Tsuji: pale yellow and then an outside bit bright yellow with, you said, the logan the slogan.
Stephanie Danley: kinda going round, yeah.
Dorothy Pearson: Mm.
Kelly Tsuji: Because
Stephanie Danley: Um I mean e even if I mean not necessarily that the um the whole body has to be of the company colour, so
Kelly Tsuji: Yeah.
Stephanie Danley: you know um blue and yellow tend to go to we well together. So you have the main body blue with the yellow logo and slogan running
Kelly Tsuji: Yeah.
Stephanie Danley: up one side of it kind
Kelly Tsuji: Yeah.
Stephanie Danley: of thing.
Kelly Tsuji: Uh-huh.
Dorothy Pearson: Mm-hmm.
Stephanie Danley: W sort of
Dorothy Pearson: Great. Um as for the energy source um, you know, almost every remote control uses just batteries, but we don't have to be limited by that. We can use a hand-dynamo. Um I don't
Stephanie Danley: Uh
Dorothy Pearson: know what that means, we crank
Stephanie Danley: It's
Dorothy Pearson: it?
Stephanie Danley: I think it's basically the more you move i it, it's got a wee thing inside that just kinda
Dorothy Pearson: Right, it's
Stephanie Danley: powers
Dorothy Pearson: like those
Stephanie Danley: it.
Dorothy Pearson: watches
Stephanie Danley: Uh
Dorothy Pearson: that you
Stephanie Danley: yeah.
Dorothy Pearson: c So, this
Kelly Tsuji: Oh,
Dorothy Pearson: might
Kelly Tsuji: a
Dorothy Pearson: be
Kelly Tsuji: d
Dorothy Pearson: an idea for
Kelly Tsuji: a
Dorothy Pearson: something
Kelly Tsuji: dynamo?
Dorothy Pearson: that people really wanna grab,
Jayne Shaw: Yeah,
Dorothy Pearson: you can shake it if it's
Kelly Tsuji: Yeah.
Dorothy Pearson: out of power.
Kelly Tsuji: Yeah,
Stephanie Danley: Yeah, I
Kelly Tsuji: like
Stephanie Danley: like
Kelly Tsuji: with
Stephanie Danley: that,
Kelly Tsuji: those
Stephanie Danley: yeah.
Kelly Tsuji: watches that you kind
Stephanie Danley: Yeah.
Kelly Tsuji: of twist. Yeah
Dorothy Pearson: Okay. So
Stephanie Danley: Okay.
Jayne Shaw: But
Kelly Tsuji: that's
Dorothy Pearson: if
Kelly Tsuji: quite
Dorothy Pearson: it if
Kelly Tsuji: cool.
Dorothy Pearson: it's not working,
Stephanie Danley: You shake
Dorothy Pearson: I guess people's
Stephanie Danley: it and
Dorothy Pearson: natural
Stephanie Danley: scream at
Dorothy Pearson: reaction
Stephanie Danley: it.
Dorothy Pearson: anyway is to
Stephanie Danley: Yeah.
Dorothy Pearson: just
Jayne Shaw: But
Dorothy Pearson: shake the thing.
Kelly Tsuji: Yeah, it
Jayne Shaw: but
Kelly Tsuji: is,
Jayne Shaw: do
Kelly Tsuji: yeah.
Jayne Shaw: you think that it will be a good idea to use dynamo, tha these type of cells? Because then people have to, well like if the cell is out
Stephanie Danley: It does leave
Jayne Shaw: of
Stephanie Danley: them with
Jayne Shaw: bat
Stephanie Danley: an obligation to
Jayne Shaw: Yeah, to
Stephanie Danley: Especially
Jayne Shaw: mo
Stephanie Danley: if they want to use it uh uh
Jayne Shaw: Yeah.
Stephanie Danley: sp uh specifically as um voice activated.
Jayne Shaw: Yeah,
Stephanie Danley: Then
Jayne Shaw: because
Dorothy Pearson: Right.
Kelly Tsuji: Yeah,
Jayne Shaw: most
Stephanie Danley: if it's just
Jayne Shaw: of the
Stephanie Danley: sitting
Jayne Shaw: people
Kelly Tsuji: then
Stephanie Danley: on the
Kelly Tsuji: they have to pick it up and then activate
Jayne Shaw: Yeah.
Kelly Tsuji: it and then Yeah.
Stephanie Danley: Okay, okay.
Kelly Tsuji: That's true.
Dorothy Pearson: Okay.
Stephanie Danley: Right um what are the other options?
Dorothy Pearson: Uh there's solar power.
Jayne Shaw: Uh,
Dorothy Pearson: Um.
Jayne Shaw: solar power will w also not be a good idea, because then they have to keep m their mobiles outside
Stephanie Danley: Yeah.
Jayne Shaw: in
Dorothy Pearson: Yeah.
Jayne Shaw: solar energy, and the days when there is no sola
Stephanie Danley: I'm
Jayne Shaw: sunlight
Stephanie Danley: I'm with uh Raj
Jayne Shaw: Yeah.
Stephanie Danley: on that, I
Dorothy Pearson: Okay,
Stephanie Danley: think,
Jayne Shaw: Yeah.
Dorothy Pearson: so
Stephanie Danley: you
Dorothy Pearson: probably
Stephanie Danley: know,
Dorothy Pearson: just
Stephanie Danley: I've got I've
Jayne Shaw: What
Stephanie Danley: got no
Jayne Shaw: we
Stephanie Danley: I've got a north facing
Jayne Shaw: w
Stephanie Danley: house, there's not really
Jayne Shaw: yeah.
Stephanie Danley: ever sun
Kelly Tsuji: But
Stephanie Danley: coming
Jayne Shaw: I
Kelly Tsuji: w
Stephanie Danley: in
Jayne Shaw: think
Stephanie Danley: my
Kelly Tsuji: like
Stephanie Danley: window.
Jayne Shaw: we should
Kelly Tsuji: just
Jayne Shaw: a rechargeable
Kelly Tsuji: normal light?
Stephanie Danley: Oh
Jayne Shaw: battery
Stephanie Danley: that's true.
Jayne Shaw: will be a good idea. They can
Stephanie Danley: I mean
Jayne Shaw: they
Stephanie Danley: I
Jayne Shaw: can
Stephanie Danley: w I
Jayne Shaw: recharge
Stephanie Danley: w uh that
Jayne Shaw: it.
Stephanie Danley: idea that I thought um just on the basis of like ridding them of batteries and that
Dorothy Pearson: Mm.
Stephanie Danley: kind of bother
Kelly Tsuji: And we're
Stephanie Danley: is
Kelly Tsuji: a very
Stephanie Danley: having
Kelly Tsuji: environmentally
Stephanie Danley: a,
Kelly Tsuji: friendly company,
Stephanie Danley: yeah, having
Kelly Tsuji: aren't
Jayne Shaw: Yeah.
Kelly Tsuji: we as
Stephanie Danley: a
Kelly Tsuji: well?
Stephanie Danley: rechargeable stand, so
Kelly Tsuji: Yeah.
Stephanie Danley: that not only it doubles
Jayne Shaw: Yeah.
Stephanie Danley: as a stand, but um for using it as uh recharging it, but also for using it
Kelly Tsuji: Yeah.
Stephanie Danley: as sound recognition.
Dorothy Pearson: 'Kay.
Kelly Tsuji: Like like a hand like one of those portable phones
Stephanie Danley: Yeah
Kelly Tsuji: kind
Jayne Shaw: Yeah,
Kelly Tsuji: of thing.
Stephanie Danley: that
Jayne Shaw: that's
Stephanie Danley: kind of thing.
Dorothy Pearson: Okay.
Jayne Shaw: Yeah, exactly.
Dorothy Pearson: So uh a rechargeable battery.
Stephanie Danley: Yeah.
Jayne Shaw: Yeah.
Dorothy Pearson: Okay.
Stephanie Danley: Rechargeable.
Dorothy Pearson: Um the user interface, the buttons, I guess we talked about this already.
Kelly Tsuji: Mm.
Stephanie Danley: What's
Dorothy Pearson: Um.
Stephanie Danley: chip on print? What's
Dorothy Pearson: Hmm?
Stephanie Danley: Sorry, never mind.
Dorothy Pearson: Uh th the uh the electronics um, basically the more features we add um Oops, this one. So the more features we add the fancier chips we need to buy
Kelly Tsuji: Mm-hmm.
Dorothy Pearson: and put in, which adds to the cost
Kelly Tsuji: Mm-hmm.
Dorothy Pearson: as you can expect. Um. But uh I think we can keep it all under budget. So uh yes, so the speech thing you said our our techno our research and development department came up with some break-through.
Kelly Tsuji: Mm-hmm.
Dorothy Pearson: So
Stephanie Danley: Yeah,
Kelly Tsuji: Just
Stephanie Danley: and if
Kelly Tsuji: in time.
Stephanie Danley: we if we're
Dorothy Pearson: just
Stephanie Danley: just
Dorothy Pearson: in time.
Stephanie Danley: having buttons and the speech then we're getting our cheapest option of chipping.
Dorothy Pearson: Right, right.
Stephanie Danley: That's good. Uh woah.
Dorothy Pearson: Yeah,
Stephanie Danley: Okay,
Dorothy Pearson: and
Stephanie Danley: we're
Dorothy Pearson: keeping
Stephanie Danley: we're kind
Dorothy Pearson: the L_C_D_
Stephanie Danley: of uh
Dorothy Pearson: screen out.
Stephanie Danley: we're kind of um Excuse m I've just deleted that whole thing. Um we're kind of running out of time, so if you could Uh. Was that you? Um
Dorothy Pearson: Huh?
Stephanie Danley: that was your bit's covered, I just
Dorothy Pearson: Oh
Stephanie Danley: dele
Dorothy Pearson: yeah that
Stephanie Danley: I
Dorothy Pearson: was that
Stephanie Danley: just
Dorothy Pearson: was
Stephanie Danley: accidentally
Dorothy Pearson: it.
Stephanie Danley: deleted what I was supposed to say next.
Jayne Shaw: Uh excuse Jayne Shaw,
Stephanie Danley: Um,
Jayne Shaw: Bri
Stephanie Danley: yeah.
Dorothy Pearson: So
Stephanie Danley: Oh, yeah.
Dorothy Pearson: control F_ eight, right?
Kelly Tsuji: Yeah, mine seems to have turned off. I can't
Stephanie Danley: And I just
Kelly Tsuji: do
Stephanie Danley: touch
Kelly Tsuji: anything.
Stephanie Danley: the pad.
Jayne Shaw: You just touch the pad, yeah.
Kelly Tsuji: No.
Jayne Shaw: No?
Stephanie Danley: It's actually shut down.
Kelly Tsuji: It's on, but there's nothing
Stephanie Danley: Okay,
Kelly Tsuji: on the screen.
Stephanie Danley: um now
Dorothy Pearson: Try uh
Stephanie Danley: what
Dorothy Pearson: flipping the screen
Stephanie Danley: we
Dorothy Pearson: down.
Stephanie Danley: have uh our next meeting's in half an hour
Dorothy Pearson: 'Kay.
Stephanie Danley: and what I would like you guys to do is work on giving Jayne Shaw a model in clay.
Dorothy Pearson: Oh, I get to do it, too.
Stephanie Danley: Yeah.
Kelly Tsuji: Cool.
Stephanie Danley: It's
Dorothy Pearson: Oh
Stephanie Danley: you guys.
Dorothy Pearson: neat.
Stephanie Danley: Yeah. So um, you know I mean, luckily we chose a nice simple shape.
Kelly Tsuji: Yeah.
Dorothy Pearson: Yeah,
Kelly Tsuji: Mm.
Dorothy Pearson: yeah.
Stephanie Danley: Um and further instructions will be sent by your personal coaches.
Kelly Tsuji: Okay.
Dorothy Pearson: Okay.
Jayne Shaw: That's great.
Dorothy Pearson: Save everything to the shared documents, is that right?
Stephanie Danley: Uh yeah, I hope
Kelly Tsuji: Yeah.
Stephanie Danley: I can recover this, 'cause I've accidentally deleted it.
Jayne Shaw: Mm-hmm.
Stephanie Danley: Which doesn't really help Jayne Shaw much.
Kelly Tsuji: I think, I've saved mine already.
Stephanie Danley: Yeah, can you save that uh send that last one again, please, Raj, as I still
Jayne Shaw: Yeah.
Stephanie Danley: can't find it on the
Jayne Shaw: Uh it was under a different name. I will show you, in shared documents.
Stephanie Danley: Okay.
Jayne Shaw: Uh working components. Oh, you didn't get that.
Stephanie Danley: No.
Jayne Shaw: I will send new.
Stephanie Danley: Okay, thank you.
Jayne Shaw: Uh I'll put it in shared documents, again.
Stephanie Danley: Um yeah, Project, Project Documents.
Jayne Shaw: Project documents, sorry, I put it in the shared documents.
Stephanie Danley: Uh right, that's
Jayne Shaw: Uh yeah.
Stephanie Danley: that's the that it goes there automatically if you put it in Project Documents. Project Documents is on the um desktop.
Jayne Shaw: Right, that's great. But I cou can't open that, because it w asks uh for some username or password.
Dorothy Pearson: Oh.
Stephanie Danley: Really?
Jayne Shaw: I'll show you.
Dorothy Pearson: Uh these lapel mics are trouble.
Jayne Shaw: Ts
Stephanie Danley: Oh right, I think um Hold on.
Jayne Shaw: Sorry. Uh.
Stephanie Danley: Yeah, I don't know if y it it just ca it just came up on my um on my agenda. S Um presumably there's clay somewhere. Um. Four.
Jayne Shaw: Yeah, that's great.
Stephanie Danley: Whoops. Light, light, please. Light. Right, there you go.
Jayne Shaw: Yeah, th thank you.
Stephanie Danley: Yeah, quite. And we're using this our basic chip set, so it's all
Jayne Shaw: Oh sorry.
Stephanie Danley: good.
Dorothy Pearson: Are we done with our meeting?
Jayne Shaw: Uh
Stephanie Danley: Um I think
Jayne Shaw: excuse
Stephanie Danley: we're almost
Jayne Shaw: Jayne Shaw, Brian.
Stephanie Danley: done, yeah.
Jayne Shaw: You have
Dorothy Pearson: Yeah.
Jayne Shaw: to keep your pen separate, because I used your pen.
Stephanie Danley: Oh oops. Sorry
Jayne Shaw: S
Stephanie Danley: man. Uh okay, still didn't manage to get down all the last bits so we had rechargeable and Uh. Apples. Mm-mm-mm-mm-mm. 'Kay, so we came up with that, that's okay. What's supplements? Supplements. Uh uh. See.
Kelly Tsuji: Cool. Fun.
Stephanie Danley: I shoulda something like that. If I kn see I I knew that. I shoulda sort of engineered it so we k ended up making a diffi difficult shape.
Jayne Shaw: Hmm.
Stephanie Danley: Just for cruelty.
Kelly Tsuji: Yeah.
Jayne Shaw: Hmm.
Kelly Tsuji: Star fruit.
Stephanie Danley: I wonder
Jayne Shaw: So
Stephanie Danley: if they mean
Jayne Shaw: sh
Stephanie Danley: like literally make it, sort of buttons
Jayne Shaw: should
Stephanie Danley: and everything.
Kelly Tsuji: No.
Jayne Shaw: Should we leave
Kelly Tsuji: Oh yeah,
Jayne Shaw: now,
Kelly Tsuji: we can do buttons.
Jayne Shaw: Brian? Or
Stephanie Danley: Um.
Jayne Shaw: we are going to discuss something?
Stephanie Danley: Uh no, I think that's us our discussion over unless anybody's got questions or confusions,
Kelly Tsuji: No I'm good.
Stephanie Danley: 'cause I'm confused.
Jayne Shaw: Yeah.
Stephanie Danley: Huh?
Kelly Tsuji: Okay.
Jayne Shaw: Excuse Jayne Shaw.
Stephanie Danley: Um uh we'll probably get questionnaire in a minute, it's a
Kelly Tsuji: Mm.
Jayne Shaw: Sorry. Thank you. Yeah.
Stephanie Danley: There we go. Warning, finish meeting now.
Jayne Shaw: So.
Stephanie Danley: I rounded it up far too fast. Um. Where are we going? My Documents, that's not what I want. My Project Documents. There we go. | Jayne Shaw presented the results of a market survey that indicated users' most important preferences in remote control features. He discussed trends in fashion that should be incorporated into the prototype design. Kelly Tsuji compared the designs of several competitors' remotes to decide which features should be used in their own design. She discussed using voice recognition, an LCD screen, and color to make the device easier to use and to improve its look. Dorothy Pearson went over all of the internal components and materials that will be incorporated in the design. He gave a layout of the placement of the components in the device. The group decided to use a rubber or latex material to give the device a spongy feel. He discussed the color and shape of the remote with the group and the placement of the components on the device. The group discussed colors and shapes further, and decided that the remote will be yellow, and perhaps having a fruit-inspired shape. The group decided to use a rechargeable battery and recharging stand. Stephanie Danley instructed Kelly Tsuji and Dorothy Pearson to construct the prototype. | 0 | amisum | test |
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