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It's December, and the March issue of Sugar, the teen girls' magazine, is under way. | 0:00:14 | 0:00:20 | |
The team has just four weeks to work on the issue before it hits the shelves. | 0:00:21 | 0:00:25 | |
As editor, I oversee the editorial department. | 0:00:25 | 0:00:29 | |
They all come to me with their ideas for any given issue. | 0:00:29 | 0:00:32 | |
I work entirely on my computer. It makes things much easier. | 0:00:32 | 0:00:37 | |
I feel much more in communication with everyone. | 0:00:37 | 0:00:40 | |
Everything's documented, and you don't have to go back through old files of paper. | 0:00:40 | 0:00:44 | |
This morning, Annabel is having a picture meeting. | 0:00:44 | 0:00:48 | |
The next one we need to talk about is in your element... | 0:00:48 | 0:00:51 | |
I'm a picture editor. My role is to work closely with the art director | 0:00:51 | 0:00:56 | |
to determine all the photographic content for the magazine. | 0:00:56 | 0:00:59 | |
It's going to be based on the periodic table. So it's science-y. | 0:00:59 | 0:01:03 | |
Maybe we can do something with test tubes. | 0:01:03 | 0:01:06 | |
So take one of the elements, the angry element, let's say, and put her in, | 0:01:06 | 0:01:10 | |
say, a red liquid, shrink her down and she could be within a test tube. | 0:01:10 | 0:01:14 | |
'My role is art editor.' | 0:01:14 | 0:01:16 | |
I have to know constantly what is going on with the pictures, | 0:01:16 | 0:01:19 | |
that the content is working well with the imagery, | 0:01:19 | 0:01:22 | |
when shoots are, locations, what models we're going to use. | 0:01:22 | 0:01:26 | |
Finding the models in the first place is Pru's task. | 0:01:26 | 0:01:29 | |
What I would do is contact a number of model agencies | 0:01:29 | 0:01:33 | |
and tell them what it is we're doing and the kind of model that we need. | 0:01:33 | 0:01:37 | |
Then they would usually send me a light box which links directly | 0:01:37 | 0:01:41 | |
to their agency, and that will have the girls that they've suggested. | 0:01:41 | 0:01:45 | |
There's this girl, Flo. | 0:01:45 | 0:01:47 | |
I've seen her book before and I think she's quite versatile. | 0:01:47 | 0:01:52 | |
She's got quite nice expressions, and I think she might work quite well for us. | 0:01:52 | 0:01:56 | |
With the models cast and the plan in place, it's off to the shoot. | 0:01:56 | 0:01:59 | |
How's that looking light-wise, Duncan? | 0:02:05 | 0:02:07 | |
-OK. Look at that. -That's better. | 0:02:07 | 0:02:11 | |
As I take the pictures, they come straight into the computer. | 0:02:13 | 0:02:16 | |
You can see the pictures and make sure that everything's OK. | 0:02:16 | 0:02:19 | |
This programme, called Capture One, it will affect it in whatever way | 0:02:19 | 0:02:24 | |
we've decided it to be affected, like the colours. | 0:02:24 | 0:02:27 | |
If we wanted it colder, I would go into the levels. | 0:02:27 | 0:02:31 | |
The temperature's 5500, which is quite cold, it makes it quite clinical. | 0:02:31 | 0:02:36 | |
Now I've made that adjustment, the next shot will be adjusting exactly the same. So everything's very even. | 0:02:36 | 0:02:42 | |
In the past, the process was lengthy. | 0:02:45 | 0:02:49 | |
You could get one look at what was going on, which was a Polaroid. | 0:02:49 | 0:02:52 | |
And then it was all guesswork. | 0:02:52 | 0:02:54 | |
And this is expensive and time-consuming, and you often didn't get what you want. | 0:02:54 | 0:02:58 | |
Whereas the great thing now is that I can look at it, I can see if it's going to work, if the positioning's | 0:02:58 | 0:03:03 | |
right, the colour balance is right, the lighting's right, the model's expression is right. | 0:03:03 | 0:03:08 | |
You can do it all at the time, and it allows you more creative control over the final outcome. | 0:03:08 | 0:03:13 | |
Yeah, that's great. | 0:03:13 | 0:03:15 | |
The photographer will put all of the content that we shoot today | 0:03:15 | 0:03:18 | |
onto an external hard drive, and I can just take it away with me | 0:03:18 | 0:03:21 | |
at the end of the day and start working on those images tomorrow. | 0:03:21 | 0:03:24 | |
Now Pru's back in the office, sorting through all the images | 0:03:24 | 0:03:28 | |
taken on the shoot and picking the best ones. | 0:03:28 | 0:03:31 | |
The different softwares that I would use, some of them are design-based | 0:03:31 | 0:03:35 | |
software, so I would use InDesign, I would use Photoshop. | 0:03:35 | 0:03:39 | |
But I also use some editing software. | 0:03:39 | 0:03:42 | |
Photo Station is one of them. | 0:03:42 | 0:03:45 | |
Photo Station enables me to sort and assimilate photographs, store them | 0:03:45 | 0:03:49 | |
and to print them out with all of the image reference still on them. | 0:03:49 | 0:03:53 | |
Which means that when we come to look for that image again later, it makes it quicker for us to find it. | 0:03:53 | 0:03:58 | |
Another one is a programme called Bridge, which links quite closely with InDesign and Photoshop. | 0:03:58 | 0:04:03 | |
The purpose of that is that I can do an edit and mark off those images and export them | 0:04:03 | 0:04:09 | |
straight into Photoshop or straight into InDesign, where they're ready for a designer to pick up. | 0:04:09 | 0:04:14 | |
My process after the shoot is to take the imagery to make sure that it's working within the layout. | 0:04:14 | 0:04:19 | |
Here's the holding shot. | 0:04:19 | 0:04:21 | |
You can see that you have the test tube without anything in it. I'll pick a colour. | 0:04:21 | 0:04:25 | |
In this case, let's pick red, and I'll add that to the image. | 0:04:25 | 0:04:30 | |
I'd probably make that half opaque, so then behind that, you'll see the angry girl. | 0:04:30 | 0:04:36 | |
Once the team has given its feedback, Mark inputs their comments | 0:04:36 | 0:04:40 | |
into a programme called VIP, which is shared by an external agency which perfects the final page. | 0:04:40 | 0:04:46 | |
VIP stands for Virtual In-House Production. | 0:04:46 | 0:04:49 | |
What it allows us to do is see a virtual flat plan. | 0:04:49 | 0:04:53 | |
So we can go close to the image here, the girl on the left. | 0:04:53 | 0:04:57 | |
We can ask them to change the colours, to cut the hair out, resize. | 0:04:57 | 0:05:02 | |
What happens is, once we click this page off, it will send an automated | 0:05:02 | 0:05:07 | |
message to VIP, and from that, they can do the additional changes. | 0:05:07 | 0:05:11 | |
The current design programmes allow us to do things visually | 0:05:11 | 0:05:15 | |
that are absolutely incredible and much more easily. | 0:05:15 | 0:05:18 | |
So before, I think it was very, very specialist. | 0:05:18 | 0:05:21 | |
Now we can all produce magazines that look fantastic. | 0:05:21 | 0:05:25 | |
A lot of that is to do with digital abilities and IT programmes. | 0:05:25 | 0:05:29 | |
I don't think we could put the magazine together in the way that we do now without IT. | 0:05:29 | 0:05:33 | |
As more and more journalism moves online, the team at Sugar, | 0:05:39 | 0:05:43 | |
the teen girls' magazine, has created Sugar Scape, an online version of the magazine. | 0:05:43 | 0:05:50 | |
The wonder of the internet | 0:05:50 | 0:05:51 | |
is that it's immediate and instant and constantly updated. | 0:05:51 | 0:05:54 | |
We wanted to be able to produce that content for our users now as well. | 0:05:54 | 0:05:59 | |
The website is updated daily, so we have around 15 stories going up | 0:05:59 | 0:06:04 | |
throughout the morning, 15 during the afternoon and we have content going up when the writers aren't in | 0:06:04 | 0:06:09 | |
the office, so we can update content by scheduling stories. | 0:06:09 | 0:06:14 | |
We don't duplicate content. | 0:06:14 | 0:06:15 | |
For instance, if we're doing a cover shoot with a celebrity, for instance, Taylor Swift, we do a beautiful shoot | 0:06:15 | 0:06:22 | |
and an interview which appears in the magazine, which is unique content, but we might film her | 0:06:22 | 0:06:28 | |
and then you'll get a behind the scenes video of the photo shoot that appears on Sugar Scape. | 0:06:28 | 0:06:33 | |
So it's not duplicated content, but it's complimentary content. | 0:06:33 | 0:06:36 | |
Now I'm going to go through an article. I need to go into the CMS. | 0:06:36 | 0:06:39 | |
This is the main body copy. | 0:06:39 | 0:06:41 | |
So this is all the pictures, and all the text has been written by the writer. | 0:06:41 | 0:06:45 | |
I have to look at it for grammatical errors, check spellings | 0:06:45 | 0:06:48 | |
and make sure that the tone of the article is correct for our website. | 0:06:48 | 0:06:52 | |
Then all I do is hit "submit" when it needs to go live. | 0:06:52 | 0:06:56 | |
A really handy programme that you need to know when you become a web journalist is Photoshop, | 0:06:56 | 0:07:02 | |
so you can manipulate images to put in articles. | 0:07:02 | 0:07:05 | |
Another piece of software that you need to know is a CMS, a content management system. | 0:07:05 | 0:07:10 | |
Each website has its own CMS, so if you're used to one, you're probably used to all of them. | 0:07:10 | 0:07:17 | |
You don't really need to know HTML when you become a web journalist, | 0:07:17 | 0:07:20 | |
but if you have an all-round knowledge of computers and how they work, | 0:07:20 | 0:07:24 | |
social networking sites like Facebook, Twitter, that's all helpful for the web journalist. | 0:07:24 | 0:07:29 | |
Making cars is big business, and IT is central in helping companies | 0:07:35 | 0:07:40 | |
like Nissan stay at the cutting edge of design and manufacturing. | 0:07:40 | 0:07:45 | |
Well, technology is right up there in our infrastructure. | 0:07:45 | 0:07:49 | |
We cannot make a car without having the latest and the greatest. | 0:07:49 | 0:07:53 | |
IT is critical to how we do business on an everyday basis. | 0:07:53 | 0:07:57 | |
We have a large investment in IT. | 0:07:57 | 0:08:00 | |
Creating a new car is a collaborative process, | 0:08:00 | 0:08:03 | |
involving people from different departments across the company. | 0:08:03 | 0:08:06 | |
It all starts with the design team where Patrick and Martin work. | 0:08:06 | 0:08:11 | |
Most of the designers like to work with Photoshop. | 0:08:11 | 0:08:14 | |
The idea of the programme is basically that you sketch | 0:08:14 | 0:08:17 | |
like as if you would on normal paper. | 0:08:17 | 0:08:20 | |
So you have different layers which you can sketch on and overlay, take them off, put them back on. | 0:08:20 | 0:08:26 | |
For example, if I set up an interior, I just did a couple of lines here. | 0:08:26 | 0:08:30 | |
It always keeps the opportunity open to change things around and try things. It's very arty too. | 0:08:39 | 0:08:46 | |
Finally, the whole picture could look like this. | 0:08:46 | 0:08:49 | |
It gives a more clear picture of how the surfaces work, where the volumes are. | 0:08:49 | 0:08:54 | |
Once the initial sketch is agreed, more exact computer programmes come into play. | 0:08:54 | 0:09:00 | |
This is an example of a drawing done on Photoshop, | 0:09:00 | 0:09:03 | |
so it's a lot more sketchier. | 0:09:03 | 0:09:05 | |
Now I have it open on Illustrator, so you can jump back and forth. | 0:09:05 | 0:09:08 | |
Once you start getting into, I guess, more minute detail, I find Illustrator very precise. | 0:09:08 | 0:09:14 | |
If I'm trying to develop this curve, I can play with the tangency. | 0:09:14 | 0:09:19 | |
You can really create very, very fine illustration. | 0:09:19 | 0:09:22 | |
We try to communicate with the digital modellers, and they tried to visualise, in 3D, our sketching. | 0:09:22 | 0:09:29 | |
So the more precise our sketch can be, obviously the easier they can interpret the idea. | 0:09:29 | 0:09:35 | |
Matt is a designer. | 0:09:35 | 0:09:37 | |
He's working with Steve, a digital modeller, to transform his 2D image into 3D. | 0:09:37 | 0:09:43 | |
Obviously as a designer, you create the image that you want. | 0:09:43 | 0:09:46 | |
We simply import the files into this programme that Steve's using, Alias. | 0:09:46 | 0:09:51 | |
Obviously this is a 2D drawing now. | 0:09:51 | 0:09:53 | |
Now I can start putting in virtual surfaces that we can push and pull | 0:09:53 | 0:09:58 | |
and make into a 3D environment, and it will become real. | 0:09:58 | 0:10:03 | |
Then it's time to hand over to the technical team. | 0:10:03 | 0:10:07 | |
The styling department will make the physical shape and maybe the colour and the grain and this type of thing, | 0:10:14 | 0:10:20 | |
but from there we have to work out how we're physically going to make the vehicle. | 0:10:20 | 0:10:24 | |
This is the front end of the vehicle. | 0:10:24 | 0:10:27 | |
When we first get the data in, this comes in as a surface skin. So there's no fixings, | 0:10:27 | 0:10:33 | |
no method of putting parts against each other like that, | 0:10:33 | 0:10:36 | |
so what we have to do through the development | 0:10:36 | 0:10:38 | |
is find out ways how we can attach the parts together and make sure they function properly. | 0:10:38 | 0:10:43 | |
This is a styling A surface of a bumper. It's just a skin. | 0:10:43 | 0:10:46 | |
There's no thickness to it. | 0:10:46 | 0:10:48 | |
So my job is to design this and put thickness on it. | 0:10:48 | 0:10:52 | |
Put the different fixings around the edge. | 0:10:52 | 0:10:54 | |
This is what the bumper will end up looking like. | 0:10:54 | 0:10:57 | |
Ashley needs to make sure that parts don't overlap or clash with each other. | 0:10:57 | 0:11:01 | |
We use a software called SpaceVision. | 0:11:01 | 0:11:04 | |
That is an interference and checking tool to see if we've designed it incorrectly. | 0:11:04 | 0:11:08 | |
This shows that there is a clash between the hood | 0:11:08 | 0:11:13 | |
and the top of the grille. | 0:11:13 | 0:11:15 | |
It's highlighted in yellow in this software. | 0:11:15 | 0:11:18 | |
So what we need to do is feed that back to the appropriate engineers, the grille engineer | 0:11:18 | 0:11:23 | |
and the hood engineer, and redesign it so it fits properly. | 0:11:23 | 0:11:26 | |
Because of digital technology, there's now no need to create a physical prototype to test the car. | 0:11:26 | 0:11:33 | |
In the old process, we would have assembled a prototype vehicle, | 0:11:33 | 0:11:36 | |
that would allow us to do the crash analysis, | 0:11:36 | 0:11:39 | |
and that was the first time we'd see if the product worked. | 0:11:39 | 0:11:42 | |
Now we can do all of this simultaneously because when we release our cab data, | 0:11:42 | 0:11:47 | |
the cab data's used by a simulation team who do crash performance, | 0:11:47 | 0:11:51 | |
and our manufacturing team who do manufacturing simulation, and also by our trial build team. | 0:11:51 | 0:11:57 | |
Simon works in the team which uses Jack software to test cars' functionality. | 0:11:57 | 0:12:03 | |
It's important that anyone using the car, whatever their size, | 0:12:03 | 0:12:07 | |
can not only see the controls, but can reach them too. | 0:12:07 | 0:12:10 | |
We can tailor Jack and Jill to whatever size we need to, | 0:12:10 | 0:12:16 | |
depending on what checks we want to do on the model itself. | 0:12:16 | 0:12:19 | |
Whilst we have an average male in here now, I put, say, a small female in. | 0:12:19 | 0:12:24 | |
She might not be able to reach the same controls, and this reach zone | 0:12:24 | 0:12:28 | |
would change to represent that, but we need to make sure that all the intended users that are going to | 0:12:28 | 0:12:33 | |
buy the car, hopefully, can use all the features that we want them to. | 0:12:33 | 0:12:37 | |
Glossy preview shots of a new car can also be created before the car has actually been built. | 0:12:37 | 0:12:45 | |
In the past, we would have to have prototype cars made. | 0:12:45 | 0:12:48 | |
We'd then have to ship them around the world | 0:12:48 | 0:12:51 | |
and have traditional photo shoots around that car. | 0:12:51 | 0:12:54 | |
Now we can mimic this, | 0:12:54 | 0:12:57 | |
so we can create a new environment by bringing in | 0:12:57 | 0:13:01 | |
the spherical style image into this software. | 0:13:01 | 0:13:06 | |
Using a spherical 3D image means that the background is reflected in the paintwork of the car. | 0:13:06 | 0:13:13 | |
OK. So the environment has now been imported. | 0:13:13 | 0:13:18 | |
The final thing to do is to adjust the scale and the perspective and the position. | 0:13:18 | 0:13:23 | |
And finally, we can create a photo-realistic image. | 0:13:23 | 0:13:28 | |
In the past, you had limited avenues of how you show your work. | 0:13:28 | 0:13:32 | |
In the internet, Flickr and all of these other image libraries, | 0:13:32 | 0:13:36 | |
you're able to download, just give them the stuff and wait, and the public is reacting right away. | 0:13:36 | 0:13:43 | |
The more we can do digitally, the less prototypes we need | 0:13:43 | 0:13:46 | |
and the shorter development periods we can manage. | 0:13:46 | 0:13:49 | |
So it's had a very big impact in the last five to ten years to reduce the development cycle. | 0:13:49 | 0:13:55 | |
That means we can develop more cars more quickly with less problems when we start making physical vehicles. | 0:13:55 | 0:14:01 | |
The process of designing and building a car can take years. | 0:14:09 | 0:14:14 | |
Here at the Nissan plant in Sunderland is where the finished cars come off the production line. | 0:14:14 | 0:14:20 | |
Lucy works in the press and communications team. | 0:14:20 | 0:14:26 | |
The Sunderland plant is the company's centre for | 0:14:26 | 0:14:28 | |
passenger car production in Europe. | 0:14:28 | 0:14:29 | |
We produce around 350,000 cars a year. | 0:14:29 | 0:14:31 | |
80% of our production is exported to 45 world markets. | 0:14:31 | 0:14:36 | |
The first thing I do in on a morning is go through the regional papers. | 0:14:36 | 0:14:41 | |
I also go online and check our media monitoring e-mails. | 0:14:41 | 0:14:44 | |
So here we have a PDF of a cutting from an old newspaper about the 400 jobs. | 0:14:44 | 0:14:50 | |
What we tend to do is save the cuttings, and at the end of the month | 0:14:50 | 0:14:54 | |
we'll do a media valuation, which tells us how much press we got that month. | 0:14:54 | 0:14:58 | |
Over 4,000 people work at the Sunderland plant, | 0:14:58 | 0:15:02 | |
and thousands more work at other branches around the world. | 0:15:02 | 0:15:06 | |
Good communication tools are vital. | 0:15:06 | 0:15:10 | |
Today, Lucy is having a conference call with her colleague in another area of the plant. | 0:15:10 | 0:15:14 | |
We have several video conferencing rooms, which are used for people to | 0:15:14 | 0:15:18 | |
have meetings with colleagues from across Europe and the world. | 0:15:18 | 0:15:22 | |
All of the communications team have webcams and Microsoft Messenger, so we can keep in touch. | 0:15:22 | 0:15:28 | |
Lucy is using a resource called iMeeting. | 0:15:28 | 0:15:31 | |
You can share PowerPoint presentations, Word documents, short videos. | 0:15:31 | 0:15:36 | |
As the presenter who sets the meeting up, I can control the meeting and scroll through the presentation | 0:15:36 | 0:15:41 | |
so that the people see what I want them to see. | 0:15:41 | 0:15:44 | |
Certainly, I couldn't do my job without IT. | 0:15:44 | 0:15:46 | |
It's revolutionised communications. | 0:15:46 | 0:15:48 | |
IT also helps the 3,500 workers on the factory floor. | 0:15:48 | 0:15:54 | |
Behind, we have two screens. | 0:15:54 | 0:15:56 | |
One screen monitors the performance of the trim line. | 0:15:56 | 0:16:00 | |
The right-hand screen measures the performance of the chassis line. | 0:16:00 | 0:16:03 | |
So the shop is split into two. | 0:16:03 | 0:16:05 | |
The information is generated from the computers that control the facilities online. | 0:16:05 | 0:16:11 | |
When we have stoppages or breakdowns, that creates an event. | 0:16:11 | 0:16:16 | |
We then change that event data into usable information. | 0:16:16 | 0:16:20 | |
We're actually running the line at one minute, so every minute, a car comes offline. | 0:16:20 | 0:16:25 | |
In order to maintain this level of productivity, all the necessary car parts must be in stock. | 0:16:25 | 0:16:31 | |
That's where Paul in the scheduling team comes in. | 0:16:31 | 0:16:36 | |
Once the order's placed and confirmed, | 0:16:36 | 0:16:38 | |
we take on information and say, "OK, we need to build this spec, | 0:16:38 | 0:16:41 | |
"as this has been ordered on this date". | 0:16:41 | 0:16:43 | |
Then our systems look through and say, "What parts do I need to build that car?" | 0:16:43 | 0:16:48 | |
Then that goes into the control systems, and is actually then transmitted out to the suppliers | 0:16:48 | 0:16:53 | |
to say, "I've got this requirement on this date, and this is what I need". | 0:16:53 | 0:16:58 | |
So it constantly changes when everyone's working with the latest information. | 0:16:58 | 0:17:01 | |
The computer system also works out the sequence in which the cars will be assembled. | 0:17:01 | 0:17:06 | |
The sequence scheduling system will actually take all of the orders that we've got to build on for that day, | 0:17:06 | 0:17:13 | |
based on all of the information that the users fed into the system. | 0:17:13 | 0:17:16 | |
It'll find the best solution, so it spreads out the work content, | 0:17:16 | 0:17:20 | |
as some cars are harder to build than others. | 0:17:20 | 0:17:23 | |
The amount of volume that we're building, 1,500 cars a day, | 0:17:23 | 0:17:26 | |
it would be literally impossible | 0:17:26 | 0:17:28 | |
to manually try and find the best sequence for those 1,500 cars. | 0:17:28 | 0:17:33 | |
It would probably take about 20 people 20 hours a day, or something like that, | 0:17:33 | 0:17:37 | |
to try to come up with something, and it still probably wouldn't be perfect. | 0:17:37 | 0:17:41 | |
A chocolate lover's dream - the production line in a chocolate factory. | 0:17:47 | 0:17:52 | |
Whizzing along the conveyor belts are thousands of chocolate bars, including the new Bar of Plenty. | 0:17:52 | 0:17:59 | |
These are the hazelnut and cashew bars. | 0:17:59 | 0:18:03 | |
James is a process engineer on one of the production lines. | 0:18:03 | 0:18:06 | |
A typical run on this plant will make 12,000 to 15,000 outers. | 0:18:06 | 0:18:12 | |
In each outer, there's around 30 bars. You can do the maths. | 0:18:12 | 0:18:16 | |
It's a lot of chocolate bars coming down the line in 12 hours. | 0:18:16 | 0:18:20 | |
This system has a recipe that you can select for any of the bars, | 0:18:20 | 0:18:24 | |
which has all the parameters stored that we need, | 0:18:24 | 0:18:27 | |
so we can control and check the various different types of ingredients that we put inside of it. | 0:18:27 | 0:18:32 | |
This is giving, for the different types of bar, | 0:18:32 | 0:18:35 | |
different fillings, so Turkish and caramel, and it also has | 0:18:35 | 0:18:39 | |
different running speeds. | 0:18:39 | 0:18:40 | |
As well as people on the production line, | 0:18:41 | 0:18:44 | |
there are also teams in control rooms dotted about the plant, | 0:18:44 | 0:18:48 | |
monitoring the overall production process. | 0:18:48 | 0:18:50 | |
Tony is a distribution controller. | 0:18:50 | 0:18:53 | |
My job, basically, is to make sure | 0:18:53 | 0:18:56 | |
that all areas of the factory | 0:18:56 | 0:18:59 | |
have sufficient chocolate to make whatever product they're on. | 0:18:59 | 0:19:04 | |
It's very important to keep the chocolate at a constant temperature. | 0:19:04 | 0:19:08 | |
If it goes cold, obviously it's very hard to move the chocolate. | 0:19:08 | 0:19:12 | |
If it's too hot, then it could cause us problems further down the line. | 0:19:12 | 0:19:17 | |
All the temperature inside the containers is between 50 and 45. | 0:19:17 | 0:19:22 | |
If it should flow in or out of that area, then we're on it. | 0:19:22 | 0:19:27 | |
The computers also help to measure the amount of chocolate that needs to be provided. | 0:19:27 | 0:19:33 | |
We have flow meters, which measure the amount of chocolate going to each department. | 0:19:33 | 0:19:38 | |
Grey indicates a tank which is free to fill. | 0:19:38 | 0:19:43 | |
Before, what would happen is, they would bring us up and say, "We've got no chocolate". | 0:19:43 | 0:19:48 | |
Now we can see that they need chocolate. | 0:19:48 | 0:19:52 | |
We can redirect whatever plant is making that particular recipe to them. | 0:19:52 | 0:19:58 | |
So the system here gives us a heads-up on what we need to do. | 0:19:58 | 0:20:03 | |
Lastly on the production line, wrapping the bars. | 0:20:03 | 0:20:07 | |
Ideas for the wrapper began here in the design studio. | 0:20:07 | 0:20:12 | |
My job is a graphic designer. | 0:20:12 | 0:20:15 | |
It varies from putting together a design for a new bar, | 0:20:15 | 0:20:21 | |
amending old bars, | 0:20:21 | 0:20:22 | |
redoing things like producing catalogues, posters, advertising. | 0:20:22 | 0:20:26 | |
With jobs coming in constantly, someone needs to organise and schedule the designers' time. | 0:20:26 | 0:20:33 | |
This role belongs to Kelly, the resource manager. | 0:20:33 | 0:20:35 | |
I keep an update of our resource plan, which is all of our designers, | 0:20:35 | 0:20:40 | |
and the workload that they have day by day. | 0:20:40 | 0:20:43 | |
We have a list of jobs which have come through. If I click "design" | 0:20:43 | 0:20:47 | |
it brings up everybody I have within the studio to work with. | 0:20:47 | 0:20:51 | |
It will blue out for me where they're not available. | 0:20:51 | 0:20:54 | |
The booking that's come through, I just drag into that task list. | 0:20:54 | 0:20:57 | |
Once Lisa receives the job alert on her screen, she can get to work. | 0:20:57 | 0:21:02 | |
This is the Photoshop file that I have here. | 0:21:02 | 0:21:05 | |
In this file, though it looks quite flat there, it's made up of individual layers. | 0:21:05 | 0:21:11 | |
If I wanted to, say, enlarge the font there, I can isolate that part | 0:21:11 | 0:21:18 | |
and then make it either bigger or smaller, | 0:21:18 | 0:21:22 | |
and also change the colour if I want to as well. | 0:21:22 | 0:21:26 | |
Lisa then transfers the image file of the amended design into a digital layout package. | 0:21:26 | 0:21:32 | |
All of the text and the information goes on, along with | 0:21:32 | 0:21:36 | |
what's called the cutter guide, which is what they use to trim out the bar. | 0:21:36 | 0:21:42 | |
It also includes things like the barcode as well. | 0:21:42 | 0:21:45 | |
Any wrapper design needs to be signed off by a number of different departments across Cadbury. | 0:21:47 | 0:21:52 | |
This is where Jonathan, the artwork administrator, comes in. | 0:21:52 | 0:21:56 | |
We always check for the copy text - | 0:21:56 | 0:21:58 | |
ingredients, allergen statements, things like that. | 0:21:58 | 0:22:02 | |
The stakeholders can make their comments and pinpoint | 0:22:02 | 0:22:05 | |
exactly what the issue is. | 0:22:05 | 0:22:07 | |
In this case, one of the objections was that the vegetarian logo needed to be changed from gold to white. | 0:22:07 | 0:22:13 | |
So the person that rejected it was able to point right at the logo that needed to be amended. | 0:22:13 | 0:22:18 | |
Everyone can comment live on this system. | 0:22:18 | 0:22:22 | |
So rather than taking it to legal and then rejecting it | 0:22:22 | 0:22:24 | |
and then you have to go back round everyone again, | 0:22:24 | 0:22:27 | |
physically walking it around, obviously with this, | 0:22:27 | 0:22:30 | |
one person can make a comment. | 0:22:30 | 0:22:32 | |
If it's irrelevant or not required, then someone else who knows that, | 0:22:32 | 0:22:36 | |
they can see that comment and dispute it and say, "No, we don't need to do that". | 0:22:36 | 0:22:40 | |
Once wrapped, the chocolate bars are transported to Minworth | 0:22:40 | 0:22:45 | |
Distribution Centre to be stored, before being dispatched to shops and supermarkets. | 0:22:45 | 0:22:50 | |
Behind me are all the pallets of chocolate | 0:22:53 | 0:22:56 | |
that we're currently holding. | 0:22:56 | 0:22:58 | |
These will be going out in the next few weeks. | 0:22:58 | 0:23:01 | |
Specialised software is used to allocate storage space to | 0:23:01 | 0:23:04 | |
inbound deliveries and to organise outbound orders. | 0:23:04 | 0:23:08 | |
A pallet will come in to us with 280 boxes on it. | 0:23:08 | 0:23:13 | |
It will arrive on a trailer, where our operative will start taking | 0:23:13 | 0:23:17 | |
the pallets off and scanning the pallet. | 0:23:17 | 0:23:20 | |
That pallet is then assigned a location by Autostore. | 0:23:20 | 0:23:24 | |
So if we look on the system for where the Bar Of Plenty are stored at the moment, | 0:23:24 | 0:23:31 | |
we currently have 38 pallets on site. | 0:23:31 | 0:23:35 | |
I can see instantly where they are. | 0:23:35 | 0:23:38 | |
Workers on the warehouse floor and specially programmed robots | 0:23:38 | 0:23:43 | |
receive instructions from Autostore about where the pallets of chocolates should be moved to. | 0:23:43 | 0:23:49 | |
This information is received and recorded on radio data transmitters - RDTs. | 0:23:49 | 0:23:55 | |
Basically, this is like a mini computer. | 0:23:55 | 0:23:57 | |
What it allows the operative to do is walk around and | 0:23:57 | 0:24:00 | |
use this instead of having to walk backwards and forwards to a computer. | 0:24:00 | 0:24:03 | |
We benefit from using IT on site by the speed of the information | 0:24:03 | 0:24:08 | |
that you can get and how quickly you can process that. | 0:24:08 | 0:24:12 | |
It just really assists you in making sure that everything comes in and goes out correctly. | 0:24:12 | 0:24:18 | |
More than 1 million people a year visit the Royal Botanic Gardens | 0:24:22 | 0:24:26 | |
at Kew to enjoy the huge array of plants from all over the world. | 0:24:26 | 0:24:30 | |
For anyone planning a visit, or for anyone interested in the scientific | 0:24:30 | 0:24:34 | |
work going on behind the scenes, the website is usually their first port of call. | 0:24:34 | 0:24:41 | |
Claire works in the digital media team. | 0:24:41 | 0:24:44 | |
What that involves is working with experts to produce content for the website. | 0:24:44 | 0:24:50 | |
It also involves developing new tools and services and things | 0:24:50 | 0:24:53 | |
for the website and keeping it up to date. | 0:24:53 | 0:24:55 | |
Today, Claire is uploading an article written by a scientist about plant DNA. | 0:24:55 | 0:25:01 | |
So I'll open up the story in a new window, | 0:25:01 | 0:25:05 | |
so you can actually see it in the website. | 0:25:05 | 0:25:07 | |
I want to add a link. | 0:25:07 | 0:25:08 | |
Once we've made the link, we need to edit it in order to apply | 0:25:08 | 0:25:12 | |
some additional information which enables people to know where the link's going to take them. | 0:25:12 | 0:25:17 | |
When we're in the normal view looking at the website, | 0:25:17 | 0:25:21 | |
and I roll over that link, it'll give me more information about that story. | 0:25:21 | 0:25:25 | |
Once we're happy with it, we can publish the story. | 0:25:25 | 0:25:27 | |
As soon as you've published it, you can't take it back. | 0:25:27 | 0:25:31 | |
It's up there, and it's live. Now that I've finished the story, | 0:25:31 | 0:25:34 | |
I'm going to go on to Twitter and Facebook, | 0:25:34 | 0:25:36 | |
add a little teaser and a link back to the site to promote that story. | 0:25:36 | 0:25:41 | |
This is really useful for us, | 0:25:41 | 0:25:43 | |
because it's basically a way of promoting Kew's work beyond our | 0:25:43 | 0:25:47 | |
own network, so we're as strong and as large as all the people interested in what we're doing. | 0:25:47 | 0:25:53 | |
We're in touch with about 4,000 people via Facebook and Twitter. | 0:25:53 | 0:25:57 | |
36,000 people have viewed our videos on YouTube in the last six months, | 0:25:57 | 0:26:02 | |
and 2,500 photos have been shared with us, | 0:26:02 | 0:26:04 | |
so we're really pleased with the interest and the engagement with Kew. | 0:26:04 | 0:26:08 | |
Most of Claire's time is spent keeping the website populated with new information, | 0:26:08 | 0:26:14 | |
but today, she's taking a walk in the gardens in the interests of a completely new project. | 0:26:14 | 0:26:20 | |
We're on the broadwalk at the moment, and I'm going to demonstrate a mobile | 0:26:20 | 0:26:24 | |
application prototype that the digital media team have developed. | 0:26:24 | 0:26:29 | |
So what we're seeing at the moment is a number of dots, which represent trees in the gardens in front of us. | 0:26:29 | 0:26:35 | |
We're currently in the augmented reality view, which is basically | 0:26:35 | 0:26:39 | |
using your phone's camera to show you what's in front of you, and the dots | 0:26:39 | 0:26:44 | |
each represent a different tree. | 0:26:44 | 0:26:46 | |
If you click on the dots, you'll find a bit of information about different trees. | 0:26:46 | 0:26:50 | |
It's currently sourced from our living collections database. | 0:26:50 | 0:26:53 | |
So you get the common name, the Latin name, | 0:26:53 | 0:26:56 | |
a bit of information about the tree, so how high it is, | 0:26:56 | 0:26:59 | |
and also how far it is from you, where you're standing. | 0:26:59 | 0:27:03 | |
What it's enabling us to see in a real way, this prototype, | 0:27:03 | 0:27:07 | |
is what the possibilities are for us | 0:27:07 | 0:27:09 | |
in terms of providing location-based information to visitors in the gardens. | 0:27:09 | 0:27:15 | |
Kew's such a massive site. | 0:27:15 | 0:27:17 | |
It enables us to provide information to different types of visitors that | 0:27:17 | 0:27:21 | |
suit their needs in a more personalised way. | 0:27:21 | 0:27:24 | |
We're using third-party software. | 0:27:24 | 0:27:26 | |
So the software itself was already developed. | 0:27:26 | 0:27:29 | |
The work that we had to do was plug in Kew's data. | 0:27:29 | 0:27:32 | |
Increasingly, smart phones are becoming more used by the general population. | 0:27:32 | 0:27:37 | |
It's just the way the world is going. | 0:27:37 | 0:27:40 | |
So we're trying to get in there in the first instance and develop some | 0:27:40 | 0:27:43 | |
really exciting applications that people can use. | 0:27:43 | 0:27:46 | |
Subtitles by Red Bee Media Ltd | 0:28:13 | 0:28:16 | |
E-mail subtitling@bbc.co.uk | 0:28:16 | 0:28:19 |