Episode 2 IT in the Workplace


Episode 2

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Transcript


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It's December, and the March issue of Sugar, the teen girls' magazine, is under way.

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The team has just four weeks to work on the issue before it hits the shelves.

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As editor, I oversee the editorial department.

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They all come to me with their ideas for any given issue.

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I work entirely on my computer. It makes things much easier.

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I feel much more in communication with everyone.

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Everything's documented, and you don't have to go back through old files of paper.

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This morning, Annabel is having a picture meeting.

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The next one we need to talk about is in your element...

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I'm a picture editor. My role is to work closely with the art director

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to determine all the photographic content for the magazine.

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It's going to be based on the periodic table. So it's science-y.

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Maybe we can do something with test tubes.

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So take one of the elements, the angry element, let's say, and put her in,

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say, a red liquid, shrink her down and she could be within a test tube.

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'My role is art editor.'

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I have to know constantly what is going on with the pictures,

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that the content is working well with the imagery,

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when shoots are, locations, what models we're going to use.

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Finding the models in the first place is Pru's task.

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What I would do is contact a number of model agencies

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and tell them what it is we're doing and the kind of model that we need.

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Then they would usually send me a light box which links directly

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to their agency, and that will have the girls that they've suggested.

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There's this girl, Flo.

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I've seen her book before and I think she's quite versatile.

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She's got quite nice expressions, and I think she might work quite well for us.

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With the models cast and the plan in place, it's off to the shoot.

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How's that looking light-wise, Duncan?

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-OK. Look at that.

-That's better.

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As I take the pictures, they come straight into the computer.

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You can see the pictures and make sure that everything's OK.

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This programme, called Capture One, it will affect it in whatever way

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we've decided it to be affected, like the colours.

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If we wanted it colder, I would go into the levels.

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The temperature's 5500, which is quite cold, it makes it quite clinical.

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Now I've made that adjustment, the next shot will be adjusting exactly the same. So everything's very even.

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In the past, the process was lengthy.

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You could get one look at what was going on, which was a Polaroid.

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And then it was all guesswork.

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And this is expensive and time-consuming, and you often didn't get what you want.

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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

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right, the colour balance is right, the lighting's right, the model's expression is right.

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You can do it all at the time, and it allows you more creative control over the final outcome.

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Yeah, that's great.

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The photographer will put all of the content that we shoot today

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onto an external hard drive, and I can just take it away with me

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at the end of the day and start working on those images tomorrow.

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Now Pru's back in the office, sorting through all the images

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taken on the shoot and picking the best ones.

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The different softwares that I would use, some of them are design-based

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software, so I would use InDesign, I would use Photoshop.

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But I also use some editing software.

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Photo Station is one of them.

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Photo Station enables me to sort and assimilate photographs, store them

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and to print them out with all of the image reference still on them.

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Which means that when we come to look for that image again later, it makes it quicker for us to find it.

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Another one is a programme called Bridge, which links quite closely with InDesign and Photoshop.

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The purpose of that is that I can do an edit and mark off those images and export them

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straight into Photoshop or straight into InDesign, where they're ready for a designer to pick up.

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My process after the shoot is to take the imagery to make sure that it's working within the layout.

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Here's the holding shot.

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You can see that you have the test tube without anything in it. I'll pick a colour.

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In this case, let's pick red, and I'll add that to the image.

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I'd probably make that half opaque, so then behind that, you'll see the angry girl.

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Once the team has given its feedback, Mark inputs their comments

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into a programme called VIP, which is shared by an external agency which perfects the final page.

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VIP stands for Virtual In-House Production.

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What it allows us to do is see a virtual flat plan.

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So we can go close to the image here, the girl on the left.

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We can ask them to change the colours, to cut the hair out, resize.

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What happens is, once we click this page off, it will send an automated

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message to VIP, and from that, they can do the additional changes.

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The current design programmes allow us to do things visually

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that are absolutely incredible and much more easily.

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So before, I think it was very, very specialist.

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Now we can all produce magazines that look fantastic.

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A lot of that is to do with digital abilities and IT programmes.

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I don't think we could put the magazine together in the way that we do now without IT.

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As more and more journalism moves online, the team at Sugar,

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the teen girls' magazine, has created Sugar Scape, an online version of the magazine.

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The wonder of the internet

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is that it's immediate and instant and constantly updated.

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We wanted to be able to produce that content for our users now as well.

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The website is updated daily, so we have around 15 stories going up

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throughout the morning, 15 during the afternoon and we have content going up when the writers aren't in

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the office, so we can update content by scheduling stories.

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We don't duplicate content.

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For instance, if we're doing a cover shoot with a celebrity, for instance, Taylor Swift, we do a beautiful shoot

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and an interview which appears in the magazine, which is unique content, but we might film her

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and then you'll get a behind the scenes video of the photo shoot that appears on Sugar Scape.

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So it's not duplicated content, but it's complimentary content.

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Now I'm going to go through an article. I need to go into the CMS.

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This is the main body copy.

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So this is all the pictures, and all the text has been written by the writer.

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I have to look at it for grammatical errors, check spellings

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and make sure that the tone of the article is correct for our website.

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Then all I do is hit "submit" when it needs to go live.

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A really handy programme that you need to know when you become a web journalist is Photoshop,

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so you can manipulate images to put in articles.

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Another piece of software that you need to know is a CMS, a content management system.

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Each website has its own CMS, so if you're used to one, you're probably used to all of them.

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You don't really need to know HTML when you become a web journalist,

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but if you have an all-round knowledge of computers and how they work,

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social networking sites like Facebook, Twitter, that's all helpful for the web journalist.

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Making cars is big business, and IT is central in helping companies

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like Nissan stay at the cutting edge of design and manufacturing.

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Well, technology is right up there in our infrastructure.

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We cannot make a car without having the latest and the greatest.

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IT is critical to how we do business on an everyday basis.

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We have a large investment in IT.

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Creating a new car is a collaborative process,

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involving people from different departments across the company.

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It all starts with the design team where Patrick and Martin work.

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Most of the designers like to work with Photoshop.

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The idea of the programme is basically that you sketch

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like as if you would on normal paper.

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So you have different layers which you can sketch on and overlay, take them off, put them back on.

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For example, if I set up an interior, I just did a couple of lines here.

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It always keeps the opportunity open to change things around and try things. It's very arty too.

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Finally, the whole picture could look like this.

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It gives a more clear picture of how the surfaces work, where the volumes are.

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Once the initial sketch is agreed, more exact computer programmes come into play.

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This is an example of a drawing done on Photoshop,

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so it's a lot more sketchier.

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Now I have it open on Illustrator, so you can jump back and forth.

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Once you start getting into, I guess, more minute detail, I find Illustrator very precise.

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If I'm trying to develop this curve, I can play with the tangency.

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You can really create very, very fine illustration.

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We try to communicate with the digital modellers, and they tried to visualise, in 3D, our sketching.

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So the more precise our sketch can be, obviously the easier they can interpret the idea.

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Matt is a designer.

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He's working with Steve, a digital modeller, to transform his 2D image into 3D.

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Obviously as a designer, you create the image that you want.

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We simply import the files into this programme that Steve's using, Alias.

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Obviously this is a 2D drawing now.

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Now I can start putting in virtual surfaces that we can push and pull

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and make into a 3D environment, and it will become real.

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Then it's time to hand over to the technical team.

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The styling department will make the physical shape and maybe the colour and the grain and this type of thing,

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but from there we have to work out how we're physically going to make the vehicle.

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This is the front end of the vehicle.

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When we first get the data in, this comes in as a surface skin. So there's no fixings,

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no method of putting parts against each other like that,

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so what we have to do through the development

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is find out ways how we can attach the parts together and make sure they function properly.

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This is a styling A surface of a bumper. It's just a skin.

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There's no thickness to it.

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So my job is to design this and put thickness on it.

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Put the different fixings around the edge.

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This is what the bumper will end up looking like.

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Ashley needs to make sure that parts don't overlap or clash with each other.

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We use a software called SpaceVision.

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That is an interference and checking tool to see if we've designed it incorrectly.

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This shows that there is a clash between the hood

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and the top of the grille.

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It's highlighted in yellow in this software.

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So what we need to do is feed that back to the appropriate engineers, the grille engineer

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and the hood engineer, and redesign it so it fits properly.

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Because of digital technology, there's now no need to create a physical prototype to test the car.

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In the old process, we would have assembled a prototype vehicle,

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that would allow us to do the crash analysis,

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and that was the first time we'd see if the product worked.

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Now we can do all of this simultaneously because when we release our cab data,

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the cab data's used by a simulation team who do crash performance,

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and our manufacturing team who do manufacturing simulation, and also by our trial build team.

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Simon works in the team which uses Jack software to test cars' functionality.

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It's important that anyone using the car, whatever their size,

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can not only see the controls, but can reach them too.

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We can tailor Jack and Jill to whatever size we need to,

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depending on what checks we want to do on the model itself.

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Whilst we have an average male in here now, I put, say, a small female in.

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She might not be able to reach the same controls, and this reach zone

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would change to represent that, but we need to make sure that all the intended users that are going to

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buy the car, hopefully, can use all the features that we want them to.

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Glossy preview shots of a new car can also be created before the car has actually been built.

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In the past, we would have to have prototype cars made.

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We'd then have to ship them around the world

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and have traditional photo shoots around that car.

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Now we can mimic this,

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so we can create a new environment by bringing in

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the spherical style image into this software.

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Using a spherical 3D image means that the background is reflected in the paintwork of the car.

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OK. So the environment has now been imported.

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The final thing to do is to adjust the scale and the perspective and the position.

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And finally, we can create a photo-realistic image.

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In the past, you had limited avenues of how you show your work.

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In the internet, Flickr and all of these other image libraries,

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you're able to download, just give them the stuff and wait, and the public is reacting right away.

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The more we can do digitally, the less prototypes we need

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and the shorter development periods we can manage.

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So it's had a very big impact in the last five to ten years to reduce the development cycle.

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That means we can develop more cars more quickly with less problems when we start making physical vehicles.

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The process of designing and building a car can take years.

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Here at the Nissan plant in Sunderland is where the finished cars come off the production line.

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Lucy works in the press and communications team.

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The Sunderland plant is the company's centre for

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passenger car production in Europe.

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We produce around 350,000 cars a year.

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80% of our production is exported to 45 world markets.

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The first thing I do in on a morning is go through the regional papers.

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I also go online and check our media monitoring e-mails.

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So here we have a PDF of a cutting from an old newspaper about the 400 jobs.

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What we tend to do is save the cuttings, and at the end of the month

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we'll do a media valuation, which tells us how much press we got that month.

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Over 4,000 people work at the Sunderland plant,

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and thousands more work at other branches around the world.

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Good communication tools are vital.

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Today, Lucy is having a conference call with her colleague in another area of the plant.

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We have several video conferencing rooms, which are used for people to

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have meetings with colleagues from across Europe and the world.

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All of the communications team have webcams and Microsoft Messenger, so we can keep in touch.

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Lucy is using a resource called iMeeting.

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You can share PowerPoint presentations, Word documents, short videos.

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As the presenter who sets the meeting up, I can control the meeting and scroll through the presentation

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so that the people see what I want them to see.

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Certainly, I couldn't do my job without IT.

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It's revolutionised communications.

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IT also helps the 3,500 workers on the factory floor.

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Behind, we have two screens.

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One screen monitors the performance of the trim line.

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The right-hand screen measures the performance of the chassis line.

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So the shop is split into two.

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The information is generated from the computers that control the facilities online.

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When we have stoppages or breakdowns, that creates an event.

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We then change that event data into usable information.

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We're actually running the line at one minute, so every minute, a car comes offline.

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In order to maintain this level of productivity, all the necessary car parts must be in stock.

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That's where Paul in the scheduling team comes in.

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Once the order's placed and confirmed,

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we take on information and say, "OK, we need to build this spec,

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"as this has been ordered on this date".

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Then our systems look through and say, "What parts do I need to build that car?"

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Then that goes into the control systems, and is actually then transmitted out to the suppliers

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to say, "I've got this requirement on this date, and this is what I need".

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So it constantly changes when everyone's working with the latest information.

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The computer system also works out the sequence in which the cars will be assembled.

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The sequence scheduling system will actually take all of the orders that we've got to build on for that day,

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based on all of the information that the users fed into the system.

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It'll find the best solution, so it spreads out the work content,

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as some cars are harder to build than others.

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The amount of volume that we're building, 1,500 cars a day,

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it would be literally impossible

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to manually try and find the best sequence for those 1,500 cars.

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It would probably take about 20 people 20 hours a day, or something like that,

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to try to come up with something, and it still probably wouldn't be perfect.

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A chocolate lover's dream - the production line in a chocolate factory.

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Whizzing along the conveyor belts are thousands of chocolate bars, including the new Bar of Plenty.

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These are the hazelnut and cashew bars.

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James is a process engineer on one of the production lines.

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A typical run on this plant will make 12,000 to 15,000 outers.

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In each outer, there's around 30 bars. You can do the maths.

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It's a lot of chocolate bars coming down the line in 12 hours.

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This system has a recipe that you can select for any of the bars,

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which has all the parameters stored that we need,

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so we can control and check the various different types of ingredients that we put inside of it.

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This is giving, for the different types of bar,

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different fillings, so Turkish and caramel, and it also has

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different running speeds.

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As well as people on the production line,

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there are also teams in control rooms dotted about the plant,

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monitoring the overall production process.

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Tony is a distribution controller.

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My job, basically, is to make sure

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that all areas of the factory

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have sufficient chocolate to make whatever product they're on.

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It's very important to keep the chocolate at a constant temperature.

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If it goes cold, obviously it's very hard to move the chocolate.

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If it's too hot, then it could cause us problems further down the line.

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All the temperature inside the containers is between 50 and 45.

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If it should flow in or out of that area, then we're on it.

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The computers also help to measure the amount of chocolate that needs to be provided.

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We have flow meters, which measure the amount of chocolate going to each department.

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Grey indicates a tank which is free to fill.

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Before, what would happen is, they would bring us up and say, "We've got no chocolate".

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Now we can see that they need chocolate.

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We can redirect whatever plant is making that particular recipe to them.

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So the system here gives us a heads-up on what we need to do.

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Lastly on the production line, wrapping the bars.

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Ideas for the wrapper began here in the design studio.

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My job is a graphic designer.

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It varies from putting together a design for a new bar,

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amending old bars,

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redoing things like producing catalogues, posters, advertising.

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With jobs coming in constantly, someone needs to organise and schedule the designers' time.

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This role belongs to Kelly, the resource manager.

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I keep an update of our resource plan, which is all of our designers,

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and the workload that they have day by day.

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We have a list of jobs which have come through. If I click "design"

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it brings up everybody I have within the studio to work with.

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It will blue out for me where they're not available.

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The booking that's come through, I just drag into that task list.

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Once Lisa receives the job alert on her screen, she can get to work.

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This is the Photoshop file that I have here.

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In this file, though it looks quite flat there, it's made up of individual layers.

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If I wanted to, say, enlarge the font there, I can isolate that part

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and then make it either bigger or smaller,

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and also change the colour if I want to as well.

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Lisa then transfers the image file of the amended design into a digital layout package.

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All of the text and the information goes on, along with

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what's called the cutter guide, which is what they use to trim out the bar.

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It also includes things like the barcode as well.

0:21:420:21:45

Any wrapper design needs to be signed off by a number of different departments across Cadbury.

0:21:470:21:52

This is where Jonathan, the artwork administrator, comes in.

0:21:520:21:56

We always check for the copy text -

0:21:560:21:58

ingredients, allergen statements, things like that.

0:21:580:22:02

The stakeholders can make their comments and pinpoint

0:22:020:22:05

exactly what the issue is.

0:22:050:22:07

In this case, one of the objections was that the vegetarian logo needed to be changed from gold to white.

0:22:070:22:13

So the person that rejected it was able to point right at the logo that needed to be amended.

0:22:130:22:18

Everyone can comment live on this system.

0:22:180:22:22

So rather than taking it to legal and then rejecting it

0:22:220:22:24

and then you have to go back round everyone again,

0:22:240:22:27

physically walking it around, obviously with this,

0:22:270:22:30

one person can make a comment.

0:22:300:22:32

If it's irrelevant or not required, then someone else who knows that,

0:22:320:22:36

they can see that comment and dispute it and say, "No, we don't need to do that".

0:22:360:22:40

Once wrapped, the chocolate bars are transported to Minworth

0:22:400:22:45

Distribution Centre to be stored, before being dispatched to shops and supermarkets.

0:22:450:22:50

Behind me are all the pallets of chocolate

0:22:530:22:56

that we're currently holding.

0:22:560:22:58

These will be going out in the next few weeks.

0:22:580:23:01

Specialised software is used to allocate storage space to

0:23:010:23:04

inbound deliveries and to organise outbound orders.

0:23:040:23:08

A pallet will come in to us with 280 boxes on it.

0:23:080:23:13

It will arrive on a trailer, where our operative will start taking

0:23:130:23:17

the pallets off and scanning the pallet.

0:23:170:23:20

That pallet is then assigned a location by Autostore.

0:23:200:23:24

So if we look on the system for where the Bar Of Plenty are stored at the moment,

0:23:240:23:31

we currently have 38 pallets on site.

0:23:310:23:35

I can see instantly where they are.

0:23:350:23:38

Workers on the warehouse floor and specially programmed robots

0:23:380:23:43

receive instructions from Autostore about where the pallets of chocolates should be moved to.

0:23:430:23:49

This information is received and recorded on radio data transmitters - RDTs.

0:23:490:23:55

Basically, this is like a mini computer.

0:23:550:23:57

What it allows the operative to do is walk around and

0:23:570:24:00

use this instead of having to walk backwards and forwards to a computer.

0:24:000:24:03

We benefit from using IT on site by the speed of the information

0:24:030:24:08

that you can get and how quickly you can process that.

0:24:080:24:12

It just really assists you in making sure that everything comes in and goes out correctly.

0:24:120:24:18

More than 1 million people a year visit the Royal Botanic Gardens

0:24:220:24:26

at Kew to enjoy the huge array of plants from all over the world.

0:24:260:24:30

For anyone planning a visit, or for anyone interested in the scientific

0:24:300:24:34

work going on behind the scenes, the website is usually their first port of call.

0:24:340:24:41

Claire works in the digital media team.

0:24:410:24:44

What that involves is working with experts to produce content for the website.

0:24:440:24:50

It also involves developing new tools and services and things

0:24:500:24:53

for the website and keeping it up to date.

0:24:530:24:55

Today, Claire is uploading an article written by a scientist about plant DNA.

0:24:550:25:01

So I'll open up the story in a new window,

0:25:010:25:05

so you can actually see it in the website.

0:25:050:25:07

I want to add a link.

0:25:070:25:08

Once we've made the link, we need to edit it in order to apply

0:25:080:25:12

some additional information which enables people to know where the link's going to take them.

0:25:120:25:17

When we're in the normal view looking at the website,

0:25:170:25:21

and I roll over that link, it'll give me more information about that story.

0:25:210:25:25

Once we're happy with it, we can publish the story.

0:25:250:25:27

As soon as you've published it, you can't take it back.

0:25:270:25:31

It's up there, and it's live. Now that I've finished the story,

0:25:310:25:34

I'm going to go on to Twitter and Facebook,

0:25:340:25:36

add a little teaser and a link back to the site to promote that story.

0:25:360:25:41

This is really useful for us,

0:25:410:25:43

because it's basically a way of promoting Kew's work beyond our

0:25:430:25:47

own network, so we're as strong and as large as all the people interested in what we're doing.

0:25:470:25:53

We're in touch with about 4,000 people via Facebook and Twitter.

0:25:530:25:57

36,000 people have viewed our videos on YouTube in the last six months,

0:25:570:26:02

and 2,500 photos have been shared with us,

0:26:020:26:04

so we're really pleased with the interest and the engagement with Kew.

0:26:040:26:08

Most of Claire's time is spent keeping the website populated with new information,

0:26:080:26:14

but today, she's taking a walk in the gardens in the interests of a completely new project.

0:26:140:26:20

We're on the broadwalk at the moment, and I'm going to demonstrate a mobile

0:26:200:26:24

application prototype that the digital media team have developed.

0:26:240:26:29

So what we're seeing at the moment is a number of dots, which represent trees in the gardens in front of us.

0:26:290:26:35

We're currently in the augmented reality view, which is basically

0:26:350:26:39

using your phone's camera to show you what's in front of you, and the dots

0:26:390:26:44

each represent a different tree.

0:26:440:26:46

If you click on the dots, you'll find a bit of information about different trees.

0:26:460:26:50

It's currently sourced from our living collections database.

0:26:500:26:53

So you get the common name, the Latin name,

0:26:530:26:56

a bit of information about the tree, so how high it is,

0:26:560:26:59

and also how far it is from you, where you're standing.

0:26:590:27:03

What it's enabling us to see in a real way, this prototype,

0:27:030:27:07

is what the possibilities are for us

0:27:070:27:09

in terms of providing location-based information to visitors in the gardens.

0:27:090:27:15

Kew's such a massive site.

0:27:150:27:17

It enables us to provide information to different types of visitors that

0:27:170:27:21

suit their needs in a more personalised way.

0:27:210:27:24

We're using third-party software.

0:27:240:27:26

So the software itself was already developed.

0:27:260:27:29

The work that we had to do was plug in Kew's data.

0:27:290:27:32

Increasingly, smart phones are becoming more used by the general population.

0:27:320:27:37

It's just the way the world is going.

0:27:370:27:40

So we're trying to get in there in the first instance and develop some

0:27:400:27:43

really exciting applications that people can use.

0:27:430:27:46

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0:28:130:28:16

E-mail subtitling@bbc.co.uk

0:28:160:28:19

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