0:00:14 > 0:00:20It's December, and the March issue of Sugar, the teen girls' magazine, is under way.
0:00:21 > 0:00:25The team has just four weeks to work on the issue before it hits the shelves.
0:00:25 > 0:00:29As editor, I oversee the editorial department.
0:00:29 > 0:00:32They all come to me with their ideas for any given issue.
0:00:32 > 0:00:37I work entirely on my computer. It makes things much easier.
0:00:37 > 0:00:40I feel much more in communication with everyone.
0:00:40 > 0:00:44Everything's documented, and you don't have to go back through old files of paper.
0:00:44 > 0:00:48This morning, Annabel is having a picture meeting.
0:00:48 > 0:00:51The next one we need to talk about is in your element...
0:00:51 > 0:00:56I'm a picture editor. My role is to work closely with the art director
0:00:56 > 0:00:59to determine all the photographic content for the magazine.
0:00:59 > 0:01:03It's going to be based on the periodic table. So it's science-y.
0:01:03 > 0:01:06Maybe we can do something with test tubes.
0:01:06 > 0:01:10So take one of the elements, the angry element, let's say, and put her in,
0:01:10 > 0:01:14say, a red liquid, shrink her down and she could be within a test tube.
0:01:14 > 0:01:16'My role is art editor.'
0:01:16 > 0:01:19I have to know constantly what is going on with the pictures,
0:01:19 > 0:01:22that the content is working well with the imagery,
0:01:22 > 0:01:26when shoots are, locations, what models we're going to use.
0:01:26 > 0:01:29Finding the models in the first place is Pru's task.
0:01:29 > 0:01:33What I would do is contact a number of model agencies
0:01:33 > 0:01:37and tell them what it is we're doing and the kind of model that we need.
0:01:37 > 0:01:41Then they would usually send me a light box which links directly
0:01:41 > 0:01:45to their agency, and that will have the girls that they've suggested.
0:01:45 > 0:01:47There's this girl, Flo.
0:01:47 > 0:01:52I've seen her book before and I think she's quite versatile.
0:01:52 > 0:01:56She's got quite nice expressions, and I think she might work quite well for us.
0:01:56 > 0:01:59With the models cast and the plan in place, it's off to the shoot.
0:02:05 > 0:02:07How's that looking light-wise, Duncan?
0:02:07 > 0:02:11- OK. Look at that.- That's better.
0:02:13 > 0:02:16As I take the pictures, they come straight into the computer.
0:02:16 > 0:02:19You can see the pictures and make sure that everything's OK.
0:02:19 > 0:02:24This programme, called Capture One, it will affect it in whatever way
0:02:24 > 0:02:27we've decided it to be affected, like the colours.
0:02:27 > 0:02:31If we wanted it colder, I would go into the levels.
0:02:31 > 0:02:36The temperature's 5500, which is quite cold, it makes it quite clinical.
0:02:36 > 0:02:42Now I've made that adjustment, the next shot will be adjusting exactly the same. So everything's very even.
0:02:45 > 0:02:49In the past, the process was lengthy.
0:02:49 > 0:02:52You could get one look at what was going on, which was a Polaroid.
0:02:52 > 0:02:54And then it was all guesswork.
0:02:54 > 0:02:58And this is expensive and time-consuming, and you often didn't get what you want.
0:02:58 > 0:03:03Whereas the great thing now is that I can look at it, I can see if it's going to work, if the positioning's
0:03:03 > 0:03:08right, the colour balance is right, the lighting's right, the model's expression is right.
0:03:08 > 0:03:13You can do it all at the time, and it allows you more creative control over the final outcome.
0:03:13 > 0:03:15Yeah, that's great.
0:03:15 > 0:03:18The photographer will put all of the content that we shoot today
0:03:18 > 0:03:21onto an external hard drive, and I can just take it away with me
0:03:21 > 0:03:24at the end of the day and start working on those images tomorrow.
0:03:24 > 0:03:28Now Pru's back in the office, sorting through all the images
0:03:28 > 0:03:31taken on the shoot and picking the best ones.
0:03:31 > 0:03:35The different softwares that I would use, some of them are design-based
0:03:35 > 0:03:39software, so I would use InDesign, I would use Photoshop.
0:03:39 > 0:03:42But I also use some editing software.
0:03:42 > 0:03:45Photo Station is one of them.
0:03:45 > 0:03:49Photo Station enables me to sort and assimilate photographs, store them
0:03:49 > 0:03:53and to print them out with all of the image reference still on them.
0:03:53 > 0:03:58Which means that when we come to look for that image again later, it makes it quicker for us to find it.
0:03:58 > 0:04:03Another one is a programme called Bridge, which links quite closely with InDesign and Photoshop.
0:04:03 > 0:04:09The purpose of that is that I can do an edit and mark off those images and export them
0:04:09 > 0:04:14straight into Photoshop or straight into InDesign, where they're ready for a designer to pick up.
0:04:14 > 0:04:19My process after the shoot is to take the imagery to make sure that it's working within the layout.
0:04:19 > 0:04:21Here's the holding shot.
0:04:21 > 0:04:25You can see that you have the test tube without anything in it. I'll pick a colour.
0:04:25 > 0:04:30In this case, let's pick red, and I'll add that to the image.
0:04:30 > 0:04:36I'd probably make that half opaque, so then behind that, you'll see the angry girl.
0:04:36 > 0:04:40Once the team has given its feedback, Mark inputs their comments
0:04:40 > 0:04:46into a programme called VIP, which is shared by an external agency which perfects the final page.
0:04:46 > 0:04:49VIP stands for Virtual In-House Production.
0:04:49 > 0:04:53What it allows us to do is see a virtual flat plan.
0:04:53 > 0:04:57So we can go close to the image here, the girl on the left.
0:04:57 > 0:05:02We can ask them to change the colours, to cut the hair out, resize.
0:05:02 > 0:05:07What happens is, once we click this page off, it will send an automated
0:05:07 > 0:05:11message to VIP, and from that, they can do the additional changes.
0:05:11 > 0:05:15The current design programmes allow us to do things visually
0:05:15 > 0:05:18that are absolutely incredible and much more easily.
0:05:18 > 0:05:21So before, I think it was very, very specialist.
0:05:21 > 0:05:25Now we can all produce magazines that look fantastic.
0:05:25 > 0:05:29A lot of that is to do with digital abilities and IT programmes.
0:05:29 > 0:05:33I don't think we could put the magazine together in the way that we do now without IT.
0:05:39 > 0:05:43As more and more journalism moves online, the team at Sugar,
0:05:43 > 0:05:50the teen girls' magazine, has created Sugar Scape, an online version of the magazine.
0:05:50 > 0:05:51The wonder of the internet
0:05:51 > 0:05:54is that it's immediate and instant and constantly updated.
0:05:54 > 0:05:59We wanted to be able to produce that content for our users now as well.
0:05:59 > 0:06:04The website is updated daily, so we have around 15 stories going up
0:06:04 > 0:06:09throughout the morning, 15 during the afternoon and we have content going up when the writers aren't in
0:06:09 > 0:06:14the office, so we can update content by scheduling stories.
0:06:14 > 0:06:15We don't duplicate content.
0:06:15 > 0:06:22For instance, if we're doing a cover shoot with a celebrity, for instance, Taylor Swift, we do a beautiful shoot
0:06:22 > 0:06:28and an interview which appears in the magazine, which is unique content, but we might film her
0:06:28 > 0:06:33and then you'll get a behind the scenes video of the photo shoot that appears on Sugar Scape.
0:06:33 > 0:06:36So it's not duplicated content, but it's complimentary content.
0:06:36 > 0:06:39Now I'm going to go through an article. I need to go into the CMS.
0:06:39 > 0:06:41This is the main body copy.
0:06:41 > 0:06:45So this is all the pictures, and all the text has been written by the writer.
0:06:45 > 0:06:48I have to look at it for grammatical errors, check spellings
0:06:48 > 0:06:52and make sure that the tone of the article is correct for our website.
0:06:52 > 0:06:56Then all I do is hit "submit" when it needs to go live.
0:06:56 > 0:07:02A really handy programme that you need to know when you become a web journalist is Photoshop,
0:07:02 > 0:07:05so you can manipulate images to put in articles.
0:07:05 > 0:07:10Another piece of software that you need to know is a CMS, a content management system.
0:07:10 > 0:07:17Each website has its own CMS, so if you're used to one, you're probably used to all of them.
0:07:17 > 0:07:20You don't really need to know HTML when you become a web journalist,
0:07:20 > 0:07:24but if you have an all-round knowledge of computers and how they work,
0:07:24 > 0:07:29social networking sites like Facebook, Twitter, that's all helpful for the web journalist.
0:07:35 > 0:07:40Making cars is big business, and IT is central in helping companies
0:07:40 > 0:07:45like Nissan stay at the cutting edge of design and manufacturing.
0:07:45 > 0:07:49Well, technology is right up there in our infrastructure.
0:07:49 > 0:07:53We cannot make a car without having the latest and the greatest.
0:07:53 > 0:07:57IT is critical to how we do business on an everyday basis.
0:07:57 > 0:08:00We have a large investment in IT.
0:08:00 > 0:08:03Creating a new car is a collaborative process,
0:08:03 > 0:08:06involving people from different departments across the company.
0:08:06 > 0:08:11It all starts with the design team where Patrick and Martin work.
0:08:11 > 0:08:14Most of the designers like to work with Photoshop.
0:08:14 > 0:08:17The idea of the programme is basically that you sketch
0:08:17 > 0:08:20like as if you would on normal paper.
0:08:20 > 0:08:26So you have different layers which you can sketch on and overlay, take them off, put them back on.
0:08:26 > 0:08:30For example, if I set up an interior, I just did a couple of lines here.
0:08:39 > 0:08:46It always keeps the opportunity open to change things around and try things. It's very arty too.
0:08:46 > 0:08:49Finally, the whole picture could look like this.
0:08:49 > 0:08:54It gives a more clear picture of how the surfaces work, where the volumes are.
0:08:54 > 0:09:00Once the initial sketch is agreed, more exact computer programmes come into play.
0:09:00 > 0:09:03This is an example of a drawing done on Photoshop,
0:09:03 > 0:09:05so it's a lot more sketchier.
0:09:05 > 0:09:08Now I have it open on Illustrator, so you can jump back and forth.
0:09:08 > 0:09:14Once you start getting into, I guess, more minute detail, I find Illustrator very precise.
0:09:14 > 0:09:19If I'm trying to develop this curve, I can play with the tangency.
0:09:19 > 0:09:22You can really create very, very fine illustration.
0:09:22 > 0:09:29We try to communicate with the digital modellers, and they tried to visualise, in 3D, our sketching.
0:09:29 > 0:09:35So the more precise our sketch can be, obviously the easier they can interpret the idea.
0:09:35 > 0:09:37Matt is a designer.
0:09:37 > 0:09:43He's working with Steve, a digital modeller, to transform his 2D image into 3D.
0:09:43 > 0:09:46Obviously as a designer, you create the image that you want.
0:09:46 > 0:09:51We simply import the files into this programme that Steve's using, Alias.
0:09:51 > 0:09:53Obviously this is a 2D drawing now.
0:09:53 > 0:09:58Now I can start putting in virtual surfaces that we can push and pull
0:09:58 > 0:10:03and make into a 3D environment, and it will become real.
0:10:03 > 0:10:07Then it's time to hand over to the technical team.
0:10:14 > 0:10:20The styling department will make the physical shape and maybe the colour and the grain and this type of thing,
0:10:20 > 0:10:24but from there we have to work out how we're physically going to make the vehicle.
0:10:24 > 0:10:27This is the front end of the vehicle.
0:10:27 > 0:10:33When we first get the data in, this comes in as a surface skin. So there's no fixings,
0:10:33 > 0:10:36no method of putting parts against each other like that,
0:10:36 > 0:10:38so what we have to do through the development
0:10:38 > 0:10:43is find out ways how we can attach the parts together and make sure they function properly.
0:10:43 > 0:10:46This is a styling A surface of a bumper. It's just a skin.
0:10:46 > 0:10:48There's no thickness to it.
0:10:48 > 0:10:52So my job is to design this and put thickness on it.
0:10:52 > 0:10:54Put the different fixings around the edge.
0:10:54 > 0:10:57This is what the bumper will end up looking like.
0:10:57 > 0:11:01Ashley needs to make sure that parts don't overlap or clash with each other.
0:11:01 > 0:11:04We use a software called SpaceVision.
0:11:04 > 0:11:08That is an interference and checking tool to see if we've designed it incorrectly.
0:11:08 > 0:11:13This shows that there is a clash between the hood
0:11:13 > 0:11:15and the top of the grille.
0:11:15 > 0:11:18It's highlighted in yellow in this software.
0:11:18 > 0:11:23So what we need to do is feed that back to the appropriate engineers, the grille engineer
0:11:23 > 0:11:26and the hood engineer, and redesign it so it fits properly.
0:11:26 > 0:11:33Because of digital technology, there's now no need to create a physical prototype to test the car.
0:11:33 > 0:11:36In the old process, we would have assembled a prototype vehicle,
0:11:36 > 0:11:39that would allow us to do the crash analysis,
0:11:39 > 0:11:42and that was the first time we'd see if the product worked.
0:11:42 > 0:11:47Now we can do all of this simultaneously because when we release our cab data,
0:11:47 > 0:11:51the cab data's used by a simulation team who do crash performance,
0:11:51 > 0:11:57and our manufacturing team who do manufacturing simulation, and also by our trial build team.
0:11:57 > 0:12:03Simon works in the team which uses Jack software to test cars' functionality.
0:12:03 > 0:12:07It's important that anyone using the car, whatever their size,
0:12:07 > 0:12:10can not only see the controls, but can reach them too.
0:12:10 > 0:12:16We can tailor Jack and Jill to whatever size we need to,
0:12:16 > 0:12:19depending on what checks we want to do on the model itself.
0:12:19 > 0:12:24Whilst we have an average male in here now, I put, say, a small female in.
0:12:24 > 0:12:28She might not be able to reach the same controls, and this reach zone
0:12:28 > 0:12:33would change to represent that, but we need to make sure that all the intended users that are going to
0:12:33 > 0:12:37buy the car, hopefully, can use all the features that we want them to.
0:12:37 > 0:12:45Glossy preview shots of a new car can also be created before the car has actually been built.
0:12:45 > 0:12:48In the past, we would have to have prototype cars made.
0:12:48 > 0:12:51We'd then have to ship them around the world
0:12:51 > 0:12:54and have traditional photo shoots around that car.
0:12:54 > 0:12:57Now we can mimic this,
0:12:57 > 0:13:01so we can create a new environment by bringing in
0:13:01 > 0:13:06the spherical style image into this software.
0:13:06 > 0:13:13Using a spherical 3D image means that the background is reflected in the paintwork of the car.
0:13:13 > 0:13:18OK. So the environment has now been imported.
0:13:18 > 0:13:23The final thing to do is to adjust the scale and the perspective and the position.
0:13:23 > 0:13:28And finally, we can create a photo-realistic image.
0:13:28 > 0:13:32In the past, you had limited avenues of how you show your work.
0:13:32 > 0:13:36In the internet, Flickr and all of these other image libraries,
0:13:36 > 0:13:43you're able to download, just give them the stuff and wait, and the public is reacting right away.
0:13:43 > 0:13:46The more we can do digitally, the less prototypes we need
0:13:46 > 0:13:49and the shorter development periods we can manage.
0:13:49 > 0:13:55So it's had a very big impact in the last five to ten years to reduce the development cycle.
0:13:55 > 0:14:01That means we can develop more cars more quickly with less problems when we start making physical vehicles.
0:14:09 > 0:14:14The process of designing and building a car can take years.
0:14:14 > 0:14:20Here at the Nissan plant in Sunderland is where the finished cars come off the production line.
0:14:20 > 0:14:26Lucy works in the press and communications team.
0:14:26 > 0:14:28The Sunderland plant is the company's centre for
0:14:28 > 0:14:29passenger car production in Europe.
0:14:29 > 0:14:31We produce around 350,000 cars a year.
0:14:31 > 0:14:3680% of our production is exported to 45 world markets.
0:14:36 > 0:14:41The first thing I do in on a morning is go through the regional papers.
0:14:41 > 0:14:44I also go online and check our media monitoring e-mails.
0:14:44 > 0:14:50So here we have a PDF of a cutting from an old newspaper about the 400 jobs.
0:14:50 > 0:14:54What we tend to do is save the cuttings, and at the end of the month
0:14:54 > 0:14:58we'll do a media valuation, which tells us how much press we got that month.
0:14:58 > 0:15:02Over 4,000 people work at the Sunderland plant,
0:15:02 > 0:15:06and thousands more work at other branches around the world.
0:15:06 > 0:15:10Good communication tools are vital.
0:15:10 > 0:15:14Today, Lucy is having a conference call with her colleague in another area of the plant.
0:15:14 > 0:15:18We have several video conferencing rooms, which are used for people to
0:15:18 > 0:15:22have meetings with colleagues from across Europe and the world.
0:15:22 > 0:15:28All of the communications team have webcams and Microsoft Messenger, so we can keep in touch.
0:15:28 > 0:15:31Lucy is using a resource called iMeeting.
0:15:31 > 0:15:36You can share PowerPoint presentations, Word documents, short videos.
0:15:36 > 0:15:41As the presenter who sets the meeting up, I can control the meeting and scroll through the presentation
0:15:41 > 0:15:44so that the people see what I want them to see.
0:15:44 > 0:15:46Certainly, I couldn't do my job without IT.
0:15:46 > 0:15:48It's revolutionised communications.
0:15:48 > 0:15:54IT also helps the 3,500 workers on the factory floor.
0:15:54 > 0:15:56Behind, we have two screens.
0:15:56 > 0:16:00One screen monitors the performance of the trim line.
0:16:00 > 0:16:03The right-hand screen measures the performance of the chassis line.
0:16:03 > 0:16:05So the shop is split into two.
0:16:05 > 0:16:11The information is generated from the computers that control the facilities online.
0:16:11 > 0:16:16When we have stoppages or breakdowns, that creates an event.
0:16:16 > 0:16:20We then change that event data into usable information.
0:16:20 > 0:16:25We're actually running the line at one minute, so every minute, a car comes offline.
0:16:25 > 0:16:31In order to maintain this level of productivity, all the necessary car parts must be in stock.
0:16:31 > 0:16:36That's where Paul in the scheduling team comes in.
0:16:36 > 0:16:38Once the order's placed and confirmed,
0:16:38 > 0:16:41we take on information and say, "OK, we need to build this spec,
0:16:41 > 0:16:43"as this has been ordered on this date".
0:16:43 > 0:16:48Then our systems look through and say, "What parts do I need to build that car?"
0:16:48 > 0:16:53Then that goes into the control systems, and is actually then transmitted out to the suppliers
0:16:53 > 0:16:58to say, "I've got this requirement on this date, and this is what I need".
0:16:58 > 0:17:01So it constantly changes when everyone's working with the latest information.
0:17:01 > 0:17:06The computer system also works out the sequence in which the cars will be assembled.
0:17:06 > 0:17:13The sequence scheduling system will actually take all of the orders that we've got to build on for that day,
0:17:13 > 0:17:16based on all of the information that the users fed into the system.
0:17:16 > 0:17:20It'll find the best solution, so it spreads out the work content,
0:17:20 > 0:17:23as some cars are harder to build than others.
0:17:23 > 0:17:26The amount of volume that we're building, 1,500 cars a day,
0:17:26 > 0:17:28it would be literally impossible
0:17:28 > 0:17:33to manually try and find the best sequence for those 1,500 cars.
0:17:33 > 0:17:37It would probably take about 20 people 20 hours a day, or something like that,
0:17:37 > 0:17:41to try to come up with something, and it still probably wouldn't be perfect.
0:17:47 > 0:17:52A chocolate lover's dream - the production line in a chocolate factory.
0:17:52 > 0:17:59Whizzing along the conveyor belts are thousands of chocolate bars, including the new Bar of Plenty.
0:17:59 > 0:18:03These are the hazelnut and cashew bars.
0:18:03 > 0:18:06James is a process engineer on one of the production lines.
0:18:06 > 0:18:12A typical run on this plant will make 12,000 to 15,000 outers.
0:18:12 > 0:18:16In each outer, there's around 30 bars. You can do the maths.
0:18:16 > 0:18:20It's a lot of chocolate bars coming down the line in 12 hours.
0:18:20 > 0:18:24This system has a recipe that you can select for any of the bars,
0:18:24 > 0:18:27which has all the parameters stored that we need,
0:18:27 > 0:18:32so we can control and check the various different types of ingredients that we put inside of it.
0:18:32 > 0:18:35This is giving, for the different types of bar,
0:18:35 > 0:18:39different fillings, so Turkish and caramel, and it also has
0:18:39 > 0:18:40different running speeds.
0:18:41 > 0:18:44As well as people on the production line,
0:18:44 > 0:18:48there are also teams in control rooms dotted about the plant,
0:18:48 > 0:18:50monitoring the overall production process.
0:18:50 > 0:18:53Tony is a distribution controller.
0:18:53 > 0:18:56My job, basically, is to make sure
0:18:56 > 0:18:59that all areas of the factory
0:18:59 > 0:19:04have sufficient chocolate to make whatever product they're on.
0:19:04 > 0:19:08It's very important to keep the chocolate at a constant temperature.
0:19:08 > 0:19:12If it goes cold, obviously it's very hard to move the chocolate.
0:19:12 > 0:19:17If it's too hot, then it could cause us problems further down the line.
0:19:17 > 0:19:22All the temperature inside the containers is between 50 and 45.
0:19:22 > 0:19:27If it should flow in or out of that area, then we're on it.
0:19:27 > 0:19:33The computers also help to measure the amount of chocolate that needs to be provided.
0:19:33 > 0:19:38We have flow meters, which measure the amount of chocolate going to each department.
0:19:38 > 0:19:43Grey indicates a tank which is free to fill.
0:19:43 > 0:19:48Before, what would happen is, they would bring us up and say, "We've got no chocolate".
0:19:48 > 0:19:52Now we can see that they need chocolate.
0:19:52 > 0:19:58We can redirect whatever plant is making that particular recipe to them.
0:19:58 > 0:20:03So the system here gives us a heads-up on what we need to do.
0:20:03 > 0:20:07Lastly on the production line, wrapping the bars.
0:20:07 > 0:20:12Ideas for the wrapper began here in the design studio.
0:20:12 > 0:20:15My job is a graphic designer.
0:20:15 > 0:20:21It varies from putting together a design for a new bar,
0:20:21 > 0:20:22amending old bars,
0:20:22 > 0:20:26redoing things like producing catalogues, posters, advertising.
0:20:26 > 0:20:33With jobs coming in constantly, someone needs to organise and schedule the designers' time.
0:20:33 > 0:20:35This role belongs to Kelly, the resource manager.
0:20:35 > 0:20:40I keep an update of our resource plan, which is all of our designers,
0:20:40 > 0:20:43and the workload that they have day by day.
0:20:43 > 0:20:47We have a list of jobs which have come through. If I click "design"
0:20:47 > 0:20:51it brings up everybody I have within the studio to work with.
0:20:51 > 0:20:54It will blue out for me where they're not available.
0:20:54 > 0:20:57The booking that's come through, I just drag into that task list.
0:20:57 > 0:21:02Once Lisa receives the job alert on her screen, she can get to work.
0:21:02 > 0:21:05This is the Photoshop file that I have here.
0:21:05 > 0:21:11In this file, though it looks quite flat there, it's made up of individual layers.
0:21:11 > 0:21:18If I wanted to, say, enlarge the font there, I can isolate that part
0:21:18 > 0:21:22and then make it either bigger or smaller,
0:21:22 > 0:21:26and also change the colour if I want to as well.
0:21:26 > 0:21:32Lisa then transfers the image file of the amended design into a digital layout package.
0:21:32 > 0:21:36All of the text and the information goes on, along with
0:21:36 > 0:21:42what's called the cutter guide, which is what they use to trim out the bar.
0:21:42 > 0:21:45It also includes things like the barcode as well.
0:21:47 > 0:21:52Any wrapper design needs to be signed off by a number of different departments across Cadbury.
0:21:52 > 0:21:56This is where Jonathan, the artwork administrator, comes in.
0:21:56 > 0:21:58We always check for the copy text -
0:21:58 > 0:22:02ingredients, allergen statements, things like that.
0:22:02 > 0:22:05The stakeholders can make their comments and pinpoint
0:22:05 > 0:22:07exactly what the issue is.
0:22:07 > 0:22:13In this case, one of the objections was that the vegetarian logo needed to be changed from gold to white.
0:22:13 > 0:22:18So the person that rejected it was able to point right at the logo that needed to be amended.
0:22:18 > 0:22:22Everyone can comment live on this system.
0:22:22 > 0:22:24So rather than taking it to legal and then rejecting it
0:22:24 > 0:22:27and then you have to go back round everyone again,
0:22:27 > 0:22:30physically walking it around, obviously with this,
0:22:30 > 0:22:32one person can make a comment.
0:22:32 > 0:22:36If it's irrelevant or not required, then someone else who knows that,
0:22:36 > 0:22:40they can see that comment and dispute it and say, "No, we don't need to do that".
0:22:40 > 0:22:45Once wrapped, the chocolate bars are transported to Minworth
0:22:45 > 0:22:50Distribution Centre to be stored, before being dispatched to shops and supermarkets.
0:22:53 > 0:22:56Behind me are all the pallets of chocolate
0:22:56 > 0:22:58that we're currently holding.
0:22:58 > 0:23:01These will be going out in the next few weeks.
0:23:01 > 0:23:04Specialised software is used to allocate storage space to
0:23:04 > 0:23:08inbound deliveries and to organise outbound orders.
0:23:08 > 0:23:13A pallet will come in to us with 280 boxes on it.
0:23:13 > 0:23:17It will arrive on a trailer, where our operative will start taking
0:23:17 > 0:23:20the pallets off and scanning the pallet.
0:23:20 > 0:23:24That pallet is then assigned a location by Autostore.
0:23:24 > 0:23:31So if we look on the system for where the Bar Of Plenty are stored at the moment,
0:23:31 > 0:23:35we currently have 38 pallets on site.
0:23:35 > 0:23:38I can see instantly where they are.
0:23:38 > 0:23:43Workers on the warehouse floor and specially programmed robots
0:23:43 > 0:23:49receive instructions from Autostore about where the pallets of chocolates should be moved to.
0:23:49 > 0:23:55This information is received and recorded on radio data transmitters - RDTs.
0:23:55 > 0:23:57Basically, this is like a mini computer.
0:23:57 > 0:24:00What it allows the operative to do is walk around and
0:24:00 > 0:24:03use this instead of having to walk backwards and forwards to a computer.
0:24:03 > 0:24:08We benefit from using IT on site by the speed of the information
0:24:08 > 0:24:12that you can get and how quickly you can process that.
0:24:12 > 0:24:18It just really assists you in making sure that everything comes in and goes out correctly.
0:24:22 > 0:24:26More than 1 million people a year visit the Royal Botanic Gardens
0:24:26 > 0:24:30at Kew to enjoy the huge array of plants from all over the world.
0:24:30 > 0:24:34For anyone planning a visit, or for anyone interested in the scientific
0:24:34 > 0:24:41work going on behind the scenes, the website is usually their first port of call.
0:24:41 > 0:24:44Claire works in the digital media team.
0:24:44 > 0:24:50What that involves is working with experts to produce content for the website.
0:24:50 > 0:24:53It also involves developing new tools and services and things
0:24:53 > 0:24:55for the website and keeping it up to date.
0:24:55 > 0:25:01Today, Claire is uploading an article written by a scientist about plant DNA.
0:25:01 > 0:25:05So I'll open up the story in a new window,
0:25:05 > 0:25:07so you can actually see it in the website.
0:25:07 > 0:25:08I want to add a link.
0:25:08 > 0:25:12Once we've made the link, we need to edit it in order to apply
0:25:12 > 0:25:17some additional information which enables people to know where the link's going to take them.
0:25:17 > 0:25:21When we're in the normal view looking at the website,
0:25:21 > 0:25:25and I roll over that link, it'll give me more information about that story.
0:25:25 > 0:25:27Once we're happy with it, we can publish the story.
0:25:27 > 0:25:31As soon as you've published it, you can't take it back.
0:25:31 > 0:25:34It's up there, and it's live. Now that I've finished the story,
0:25:34 > 0:25:36I'm going to go on to Twitter and Facebook,
0:25:36 > 0:25:41add a little teaser and a link back to the site to promote that story.
0:25:41 > 0:25:43This is really useful for us,
0:25:43 > 0:25:47because it's basically a way of promoting Kew's work beyond our
0:25:47 > 0:25:53own network, so we're as strong and as large as all the people interested in what we're doing.
0:25:53 > 0:25:57We're in touch with about 4,000 people via Facebook and Twitter.
0:25:57 > 0:26:0236,000 people have viewed our videos on YouTube in the last six months,
0:26:02 > 0:26:04and 2,500 photos have been shared with us,
0:26:04 > 0:26:08so we're really pleased with the interest and the engagement with Kew.
0:26:08 > 0:26:14Most of Claire's time is spent keeping the website populated with new information,
0:26:14 > 0:26:20but today, she's taking a walk in the gardens in the interests of a completely new project.
0:26:20 > 0:26:24We're on the broadwalk at the moment, and I'm going to demonstrate a mobile
0:26:24 > 0:26:29application prototype that the digital media team have developed.
0:26:29 > 0:26:35So what we're seeing at the moment is a number of dots, which represent trees in the gardens in front of us.
0:26:35 > 0:26:39We're currently in the augmented reality view, which is basically
0:26:39 > 0:26:44using your phone's camera to show you what's in front of you, and the dots
0:26:44 > 0:26:46each represent a different tree.
0:26:46 > 0:26:50If you click on the dots, you'll find a bit of information about different trees.
0:26:50 > 0:26:53It's currently sourced from our living collections database.
0:26:53 > 0:26:56So you get the common name, the Latin name,
0:26:56 > 0:26:59a bit of information about the tree, so how high it is,
0:26:59 > 0:27:03and also how far it is from you, where you're standing.
0:27:03 > 0:27:07What it's enabling us to see in a real way, this prototype,
0:27:07 > 0:27:09is what the possibilities are for us
0:27:09 > 0:27:15in terms of providing location-based information to visitors in the gardens.
0:27:15 > 0:27:17Kew's such a massive site.
0:27:17 > 0:27:21It enables us to provide information to different types of visitors that
0:27:21 > 0:27:24suit their needs in a more personalised way.
0:27:24 > 0:27:26We're using third-party software.
0:27:26 > 0:27:29So the software itself was already developed.
0:27:29 > 0:27:32The work that we had to do was plug in Kew's data.
0:27:32 > 0:27:37Increasingly, smart phones are becoming more used by the general population.
0:27:37 > 0:27:40It's just the way the world is going.
0:27:40 > 0:27:43So we're trying to get in there in the first instance and develop some
0:27:43 > 0:27:46really exciting applications that people can use.
0:28:13 > 0:28:16Subtitles by Red Bee Media Ltd
0:28:16 > 0:28:19E-mail subtitling@bbc.co.uk