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Kaizan 7

Maria Maston: Okay Right. Um well this is the meeting for our our project. Um and um this is just what we're gonna be doing over the next twenty five minutes. Frances Lipscomb: Mm-hmm. Maria Maston: Um so first of all, just to kind of make sure that we all know each other, I'm Laura and I'm Maria Maston. Do Frances Lipscomb: Great. Maria Maston: you want to introduce yourself again? Sheila Eller: Hi, I'm David and be an industrial designer. Maria Maston: Okay. Frances Lipscomb: And Andrew and I'm uh marketing Sherry Wesson: Um Frances Lipscomb: expert. Sherry Wesson: I'm Craig and I'm User Interface. Maria Maston: Great. Okay. Um so we're designing a new remote control and um Oh I have to record who's here actually. So David, Andrew and Craig, it? And you all arrived on time. Um yeah so des uh design a new remote control. Um, as you can see it's supposed to be original, trendy and user friendly. Um so that's kind of our our brief, as it were. Um and so there are three different stages to the design. Um I'm not really sure what what you guys have already received um in your emails. What did you get? Sheila Eller: Um, I just got the project announcement about Maria Maston: Mm-hmm. Sheila Eller: what the project is. Designing Frances Lipscomb: Mm-hmm. Sheila Eller: a remote control. That's about it, Frances Lipscomb: Mm-hmm. Sheila Eller: didn't Frances Lipscomb: Yeah, Sheila Eller: get Frances Lipscomb: that's Sheila Eller: anything Frances Lipscomb: that's Sheila Eller: else. Maria Maston: Is that what Frances Lipscomb: it. Maria Maston: everybody Sherry Wesson: Yeah. Sheila Eller: Did Maria Maston: got? Sheila Eller: you get the same thing? Maria Maston: Okay. Frances Lipscomb: Yeah. Maria Maston: Um. So we're gonna have like individual work and then a meeting about it. And repeat that process three times. Um and at this point we get try out the whiteboard over there. Um. So uh you get to draw your favourite animal and sum up your favourite characteristics of it. So who would like to go Frances Lipscomb: I Maria Maston: first? Frances Lipscomb: will go. That's fine. Maria Maston: Very good. Frances Lipscomb: Alright. So This one here, right? Maria Maston: Mm-hmm. Frances Lipscomb: Okay. Very nice. Alright. My favourite animal is like Frances Lipscomb: A beagle. Frances Lipscomb: Um charac favourite characteristics of it? Is that right? Maria Maston: Yeah. Frances Lipscomb: Uh, Maria Maston: Yeah. Frances Lipscomb: right, well basically um high priority for any animal for is that they be willing take a lot of physical their family. And, yeah that they have lots of personality and uh be fit and in robust good health. So this is blue. Blue beagle. My family's beagle. Maria Maston: Right. Lovely. Sherry Wesson: Well, my favourite animal would be a monkey. Sherry Wesson: Then they're small cute and furry, and uh when planet of the apes becomes real, I'm gonna be up there with them. Maria Maston: Right. Sheila Eller: Cool. There's too much gear. Maria Maston: You can take as long over this as you like, because we haven't got an awful lot to discuss. Ok oh we do we do. Don't feel like you're in a rush, anyway. Sheila Eller: Okay. Frances Lipscomb: I coulda told you a whole lot more about beagles. Maria Maston: Ach Frances Lipscomb: Boy, let Frances Lipscomb tell Maria Maston: why not Frances Lipscomb: you. Maria Maston: We might have to get you up again then. I don't know what mine is. I'm gonna have to think on the spot now. Frances Lipscomb: Impressionist. Sheila Eller: Can't draw. Maria Maston: Is Sheila Eller: Um. Maria Maston: that a whale? Sheila Eller: Yeah. Um, well anyway, I don't know, it's just the first animal I can think off the top of my head. is 'cause I'm allergic to most animals. Allergic Maria Maston: Ah. Sheila Eller: to animal fur, so um fish was a natural choice. Um, yeah, and I kind of like whales. They come in and go eat everything in sight. And they're quite Frances Lipscomb: Alright. Sheila Eller: harmless and mild and interesting. Frances Lipscomb: Mm. Maria Maston: Okay. God, I still don't know what I'm gonna write about. Um. Frances Lipscomb: Superb sketch, by the way. Sheila Eller: Tail's a bit big, I think. Maria Maston: I was gonna choose a dog as well. But I'll just draw a different kind of dog. Frances Lipscomb: Yep. Maria Maston: M my favourite animal is my own dog at home. Um That doesn't really look like him, actually. He looks more like a pig, actually. Ah well. Frances Lipscomb: I see a dog in there. Maria Maston: Do you? Frances Lipscomb: Yep. Maria Maston: Oh that's very good of you. Frances Lipscomb: Now I see a rooster. Maria Maston: Uh. Frances Lipscomb: What kind is it? Maria Maston: Um he's a mixture of uh various things. Um and what do I like about him, um That's just to suggest that his tail wags. Um he's very friendly and cheery and always pleased to see you, and very kind of affectionate and um uh and he's quite quite wee as well so you know he can doesn't take up too much space. Um and uh And he does a funny thing where he chases his tail as well, which is quite amusing, Frances Lipscomb: Is Maria Maston: so Frances Lipscomb: he aware that th it's his own cha tail he's chasing? Maria Maston: It is. I think it is. He only does it after he's had his dinner and um he'll just all of a sudden just get up and start chasing his tail Frances Lipscomb: Hmm. Maria Maston: 'round the living room. Sheila Eller: It's an after dinner dog then. Maria Maston: Yeah, so Frances Lipscomb: Probably when Maria Maston: uh Frances Lipscomb: he was little he got lots of attention for doing it and Maria Maston: Yeah, Frances Lipscomb: has Maria Maston: maybe. Frances Lipscomb: forever been conditioned. Maria Maston: Maybe. Right, um where did you find this? Just down here? Yeah. Okay. Um what are we doing next? Uh um. Okay, uh we now need to discuss the project finance. Um so according to the brief um we're gonna be selling this remote control for twenty five Euro, um and we're aiming to make fifty million Euro. Um so we're gonna be selling this on an international scale. And uh we don't Frances Lipscomb: 'Kay. Maria Maston: want it to cost any more than uh twelve fifty Euros, so fifty percent of the selling price. Frances Lipscomb: Um, can we just go over that again? Maria Maston: Sure. Frances Lipscomb: Uh, so bas at twel Alright, yeah. Okay. So cost like production cost is Maria Maston: All together. Frances Lipscomb: twelve fifty, but selling price is is that wholesale or retail? Like on the shelf. Maria Maston: Um I dunno. I imagine That's a good Frances Lipscomb: Our Maria Maston: question. Frances Lipscomb: sale our sale anyway. Maria Maston: I imagine it probably is our Frances Lipscomb: Yeah, Maria Maston: sale Frances Lipscomb: okay Maria Maston: actually because it's probably Frances Lipscomb: okay. Maria Maston: up to the the um the retailer to uh Frances Lipscomb: Okay. Maria Maston: sell it for whatever price they want. Frances Lipscomb: Mm-hmm. Maria Maston: Um. Frances Lipscomb: Alright. Maria Maston: But I I don't know, I mean do you think the fact that it's going to be sold internationally will have a bearing on how we design it at all? Frances Lipscomb: Yes. Maria Maston: Think it will? Frances Lipscomb: Mm-hmm. Maria Maston: Um. Frances Lipscomb: Mm-hmm. Maria Maston: Hmm. Frances Lipscomb: Well right away I'm wondering if there's um th th uh, like with D_V_D_ players, if there are zones. Maria Maston: Oh yeah, Frances Lipscomb: Um Maria Maston: regions and Frances Lipscomb: f Maria Maston: stuff, yeah. Frances Lipscomb: frequencies or something Maria Maston: Yeah. Frances Lipscomb: um Maria Maston: Okay. Frances Lipscomb: as well as uh characters, um different uh keypad styles and s symbols. Sheila Eller: Hmm. Maria Maston: Yeah. Well for Frances Lipscomb: Um. Maria Maston: a remote control, do you think that will be I suppose Frances Lipscomb: I don't Maria Maston: it's Frances Lipscomb: know. Maria Maston: depends on how complicated our remote control is. Frances Lipscomb: Yeah. Sheila Eller: It does make sense from maybe the design point of view 'cause you have more complicated characters like European languages, then you need more buttons. Maria Maston: Yeah, Frances Lipscomb: Yeah. Sheila Eller: So, Maria Maston: yeah. Sheila Eller: possibly. Frances Lipscomb: Yeah. Maria Maston: Okay. Frances Lipscomb: And then a and then al the other thing international is on top of the price. I'm thinking the price might might appeal to a certain market in one region, whereas in another it'll be different, so Maria Maston: What, just like Frances Lipscomb: Just Maria Maston: in Frances Lipscomb: a Maria Maston: terms Frances Lipscomb: chara just Maria Maston: of like Frances Lipscomb: a characteristic Maria Maston: the wealth of the Frances Lipscomb: of Maria Maston: country? Frances Lipscomb: the Maria Maston: Like how Frances Lipscomb: Just Maria Maston: much money people have to spend on things Frances Lipscomb: Or just Maria Maston: like? Frances Lipscomb: like, basic product podi positioning, the twenty five Euro remote control might be a big hit in London, might not be such a big hit in Greece, who knows, Maria Maston: Aye, I Frances Lipscomb: something Maria Maston: see what Frances Lipscomb: like Maria Maston: you Frances Lipscomb: that, Maria Maston: mean, Frances Lipscomb: yeah. Maria Maston: yeah. Marketing. Good marketing Frances Lipscomb: Yep. Maria Maston: thoughts. Oh gosh, I should be writing all this down. Um. Frances Lipscomb: Right away I'm making some kind of assumptions about what what information we're given here, Maria Maston: Mm. Frances Lipscomb: thinking, 'kay trendy probably means something other than just basic, Maria Maston: Yeah. Frances Lipscomb: something other than just standard. Um so I'm wondering right away, is selling twenty five Euros, is that sort of the thi is this gonna to be like the premium product kinda Maria Maston: Yeah, Frances Lipscomb: thing Maria Maston: yeah. Frances Lipscomb: or Maria Maston: Like how much does, you know, a remote control cost. Frances Lipscomb: Uh-huh. Maria Maston: Well twenty five Euro, I mean that's um that's about like eighteen pounds or something, isn't it? Frances Lipscomb: Mm-hmm. Maria Maston: Or no, is it as much as that? Sixteen Frances Lipscomb: Yep. Maria Maston: seventeen eighteen pounds. Frances Lipscomb: Yeah, I'd say so, yeah. Maria Maston: Um, I dunno, I've never bought a remote control, so I don't Frances Lipscomb: No. Maria Maston: know how how good a remote Frances Lipscomb: Yeah, Maria Maston: control that would get you. Frances Lipscomb: yeah. Maria Maston: Um. But yeah, I suppose it has to look kind of cool Frances Lipscomb: Mm-hmm. Maria Maston: and gimmicky. Um right, okay. Okay. Um well d Does anybody have anything to add to uh to the finance issue at all? Frances Lipscomb: Do Maria Maston: Thin Frances Lipscomb: we have any other background information on like how that compares to other Maria Maston: No, actually. That Frances Lipscomb: other Maria Maston: would be useful, though, wouldn't it, if you knew like Frances Lipscomb: Yeah. Maria Maston: what your money would get you Sheila Eller: Hmm. Maria Maston: now. Frances Lipscomb: Mm-hmm. Maria Maston: Mm-hmm. Frances Lipscomb: Yeah, interesting thing about discussing um production of a remote control for Frances Lipscomb is that l as you point out, I just don't think of remote controls as somethin something people consciously assess in their purchasing habits. Maria Maston: Yeah, Frances Lipscomb: It's just Maria Maston: yeah. Frances Lipscomb: like getting shoelaces with shoes or something. Maria Maston: Oh. Frances Lipscomb: It just Maria Maston: Five Frances Lipscomb: comes Maria Maston: minutes Frances Lipscomb: along. Maria Maston: to end of meeting. Oh, okay. We're a bit behind. Frances Lipscomb: Do you know what I mean? Sherry Wesson: Yeah. Frances Lipscomb: Like Sheila Eller: Yeah. Frances Lipscomb: so sort of like how do you I I mean one one way of looking at it would be, well the people producing television sets, maybe they have to buy remote controls. Or another way is maybe people who have T_V_ sets are really fed up with their remote control and they really want Sherry Wesson: I Frances Lipscomb: a Sherry Wesson: know Frances Lipscomb: better Sherry Wesson: um Frances Lipscomb: one or something. Sherry Wesson: My Frances Lipscomb: But Sherry Wesson: parents went out and bought um remote controls because um they got fed up of having four or five different remote controls for each things Frances Lipscomb: Right. Sherry Wesson: the house. Frances Lipscomb: Right. Okay so Sherry Wesson: how many devices control. Frances Lipscomb: Right, so in function one of the priorities might be Maria Maston: Yeah. Frances Lipscomb: to combine as many uses Maria Maston: Right, so do you think that should be like a main design aim of our remote control d you know, Frances Lipscomb: I think so. Maria Maston: do your Frances Lipscomb: Yeah, Maria Maston: your satellite and Frances Lipscomb: yeah. Maria Maston: your regular telly and Frances Lipscomb: Yeah. Maria Maston: your V_C_R_ and everything? Frances Lipscomb: Well like um, maybe what we could use is a sort of like a example of a successful other piece technology is palm palm pilots. They're gone from being just like little sort of scribble boards to cameras, M_P_ three players, Maria Maston: Mm-hmm. Frances Lipscomb: telephones, everything, agenda. So, like, I wonder if we might add something new to the to the remote control Maria Maston: Yeah. Frances Lipscomb: market, such as the lighting in your house, or um Maria Maston: Or even like, you know, notes about um what you wanna watch. Like you might put in there oh I want Frances Lipscomb: Yeah, Maria Maston: to watch such and such Frances Lipscomb: yeah. Maria Maston: and look a Oh that's a good idea. Frances Lipscomb: An Maria Maston: So extra functionalities. Frances Lipscomb: Yeah. Like, p personally for Frances Lipscomb, at home I've I've combined the um the audio video of my television set and my D_V_D_ player and my C_D_ player. So they w all work actually function together but I have different remote controls for each of them. Maria Maston: Mm-hmm. Frances Lipscomb: So it's sort of ironic that that then they're in there um you know, the sound and everything it's just one system. But each one's Maria Maston: Hmm. Frances Lipscomb: got its own little part. Maria Maston: Um okay, uh I'd wel we're gonna have to wrap up pretty quickly in the next couple of minutes. Um I'll just check we've nothing else. Okay. Um so anything else anybody wants to add about what they don't like about remote controls they've used, what they would really like to be part of this new one at all? Sheila Eller: And you keep losing them. Maria Maston: You keep Frances Lipscomb: Mm. Maria Maston: losing them. Okay. Sheila Eller: Finding them is really Frances Lipscomb: Mm. Sheila Eller: a pain, you know. I Frances Lipscomb: Mm. Sheila Eller: mean it's usually quite small, or when you want Frances Lipscomb: Mm-hmm. Sheila Eller: it right, it slipped Frances Lipscomb: Mm-hmm. Sheila Eller: behind the couch or it's Maria Maston: Yeah. Frances Lipscomb: Yeah. Sheila Eller: kicked under the table. Maria Maston: W Frances Lipscomb: Yeah. Maria Maston: You get Sheila Eller: You Maria Maston: those Sheila Eller: know. Maria Maston: ones where you can, Frances Lipscomb: That's just really Maria Maston: if Frances Lipscomb: good Maria Maston: you Frances Lipscomb: Sheila Eller Maria Maston: like, whistle or make a really high pitched noise they beep. Frances Lipscomb: Yep. Maria Maston: There I mean is that something we'd want to include, do you think? Frances Lipscomb: Uh, Maria Maston: Dunno. Frances Lipscomb: sure. Maria Maston: Okay maybe. Frances Lipscomb: I remember when the first remote control my my family had was on a cable. Actually had a cable between it and the T_V_ and big like buttons that sort of like, like on a blender or something. Maria Maston: My goodness. Frances Lipscomb: And um, you know, when I think about what they are now, it's better, Maria Maston: Still Frances Lipscomb: Maybe Maria Maston: feels Frances Lipscomb: we could Maria Maston: quite Frances Lipscomb: think Maria Maston: primitive. Frances Lipscomb: about how, could be more, you know, streamlined. Maria Maston: Maybe Frances Lipscomb: S Maria Maston: like a touch screen or something? Frances Lipscomb: Something like that, yeah. Maria Maston: Okay. Frances Lipscomb: Or whatever would be technologically reasonable. Maria Maston: Uh-huh, okay. Well Frances Lipscomb: 'Cause Maria Maston: I guess Frances Lipscomb: it could Maria Maston: that's Frances Lipscomb: b Maria Maston: up Frances Lipscomb: it Maria Maston: to Frances Lipscomb: could Maria Maston: our industrial Frances Lipscomb: it could be Maria Maston: designer. Frances Lipscomb: that f it could be that functionally that doesn't make it any better, but that just the appeal Maria Maston: It looks Frances Lipscomb: of Maria Maston: better. Frances Lipscomb: of not having You know, these days there's a r pe things in people's homes are becoming more and more like chic, you know. Maria Maston: Yeah. Frances Lipscomb: Um, nicer materials and Maria Maston: Okay. Frances Lipscomb: might be Maria Maston: Okay. Frances Lipscomb: be worth exploring anyway. Sherry Wesson: Uh. Maria Maston: Right, well um so just to wrap up, the next meeting's gonna be in thirty minutes. So that's about um about ten to twelve by my watch. Um so inbetween now and then, um as Sheila Eller, you're gonna be working on you know the actual working Sheila Eller: Yep. Maria Maston: design of it so y you know what you're doing there. Um for user interface, technical functions, I guess that's you know like what we've been talking about, what it'll actually do. Um and uh marketing executive, you'll be just thinking about what it actually what, you know, what requirements it has to has to fulfil and you'll all get instructions emailed to you, I guess. Frances Lipscomb: Okay. Maria Maston: Um. Yeah, so it's th the functional design stage is next, I guess. And uh and that's the end of the meeting. So I got Frances Lipscomb: Um. Maria Maston: that little message a lot sooner than I thought I would, so Frances Lipscomb: Before we wrap up, just to make sure we're all on the same page here, Maria Maston: Mm-hmm. Frances Lipscomb: um, do we We were given sort of an example of a coffee machine or something, Maria Maston: Uh-huh, Frances Lipscomb: right? Maria Maston: yeah. Sheila Eller: Mm-hmm. Frances Lipscomb: Well, um are we at ma right now on the assumption that our television remote control may have features which go beyond the television? Or are we keeping Maria Maston: Th Frances Lipscomb: sort of like a a design commitment to television features? Maria Maston: Okay, Frances Lipscomb: I Maria Maston: well Frances Lipscomb: I don't know. Maria Maston: just very quickly 'cause this we're supposed to finish now. Frances Lipscomb: Yep. Maria Maston: Um I guess Frances Lipscomb: Yeah, sure. Maria Maston: that's up to us, I mean you probably want some kind of unique selling point of it, Frances Lipscomb: Okay. Maria Maston: so um, Sheila Eller: I Maria Maston: you Sheila Eller: think Maria Maston: know Sheila Eller: one factor would be production cost. Frances Lipscomb: Okay, yeah. Sheila Eller: Because Maria Maston: Yeah. Sheila Eller: there's a cap there, so um Frances Lipscomb: Okay. Sheila Eller: depends on how much you can cram into that price. Maria Maston: Mm-hmm. Frances Lipscomb: Okay. Sheila Eller: Um. Maria Maston: Yeah. Sheila Eller: I think that that's the main factor. Maria Maston: Okay. Frances Lipscomb: Okay. Maria Maston: Right, okay, we'll that's that's the end of the meeting, then. Frances Lipscomb: Alright. Maria Maston: Um. So, uh thank you all for coming. Sheila Eller: Cool.

Maria Maston introduced the upcoming project to the team members and then the team members participated in an exercise in which they drew their favorite animal and discussed what they liked about the animal. Maria Maston talked about the project finances and selling prices. The team then discussed various features to consider in making the remote.

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Geraldine Montgomery: 'S to do now is Cheryl Robertson: Yeah. Geraldine Montgomery: to decide how to fulfil what your stuff is, so Lori Snyder: Okay. Geraldine Montgomery: in that sense Cheryl Robertson: Yeah, Geraldine Montgomery: so Cheryl Robertson: sure. Geraldine Montgomery: it does kind of Lori Snyder: Okay, Geraldine Montgomery: make Cheryl Robertson: It Geraldine Montgomery: sense, Lori Snyder: well Cheryl Robertson: kinda Geraldine Montgomery: yeah. Cheryl Robertson: does make, doesn't it, because when we get into the end of meeting we're kind of talking about action and design as opposed Geraldine Montgomery: Yep. Cheryl Robertson: to background. Lori Snyder: Okay. Cheryl Robertson: Everything I have is kinda background. Lori Snyder: Okay we to go? Geraldine Montgomery: Yep. Lori Snyder: Well how um on the in this meeting then if we um I'll just just recap on the minutes from the last meeting. And we uh decided on Geraldine Montgomery: Yep. Lori Snyder: decided on our our target group being fifteen to thirty five, Cheryl Robertson: Mm-hmm. Lori Snyder: and we decided that it was gonna be non-rechargeable battery-powered, that we're gonna group our audio-visual and other functions into into those categories, um. And I told you guys about the three requirements about ignoring, except the T_V_, and trying to incorporate the corporate colour slogan. Um so that was the last meeting. Is there Geraldine Montgomery: Mm-hmm. Lori Snyder: anything have I forgotten anything? Geraldine Montgomery: No. Cheryl Robertson: Uh Lori Snyder: Is that Cheryl Robertson: that Lori Snyder: everything? Cheryl Robertson: sounds. Lori Snyder: Okay. Um so if we have the three presentations, and then if you have anything to kind of that you know you're gonna want to discuss, maybe just make a note of it, and we'll have all the discussion at the end. That might Cheryl Robertson: Sure. Lori Snyder: be a better idea this time. And so Cheryl Robertson: Okay. Lori Snyder: if we start off uh with Andrew and then Craig and then David, if that's Cheryl Robertson: Sure. Lori Snyder: alright. Um Geraldine Montgomery: Yep. Lori Snyder: and then after that we'll have to make some decisions about stuff, Cheryl Robertson: Yeah, Lori Snyder: right. Cheryl Robertson: cool. Lori Snyder: So if Cheryl Robertson: Why don't Lori Snyder: you wanna Cheryl Robertson: I get that? Lori Snyder: take this. Cheryl Robertson: Hmm. Lori Snyder: Screwed in quite tightly. Uh what did uh how did we leave it with speech recognition now? We did we say we were gonna try maybe incorporate it but we hadn't made a definite Geraldine Montgomery: Mm-hmm. Lori Snyder: decision on that? Right. Oh I should also point out that um the you know the kind of final objective of this meeting is to reach a decision on the concepts of the product. Cheryl Robertson: Okay. Lori Snyder: So um that's kind of the end result hopefully. Cheryl Robertson: Okay. Um alright so c is it function F_ eight? Lori Snyder: Uh-huh. Hopefully Cheryl Robertson: Hmm. Lori Snyder: appear in a wee second. Cheryl Robertson: Come on. I think it's working. Lori Snyder: Up there we go. Cheryl Robertson: great let Cheryl Robertson just start this. Okay great. So um uh s move on. Uh-huh oh where'd it all go? It's not good. Lori Snyder: Oh no. Cheryl Robertson: Okay lemme just see where I can find it. Cheryl Robertson: This looks more like it. I think I just opened up the template. Sorry Lori Snyder: Oh Cheryl Robertson: about that. Lori Snyder: right. Cheryl Robertson: Okay alright so let's have a look here. Okay so Lori Snyder: Here Cheryl Robertson: this Lori Snyder: we go. Cheryl Robertson: was the method that um I've taken. Uh basically what I wanna do here, before we get into it uh too far, is I want to show you all the background information I have that I think we need to acknowledge if we want this to be successful. Lori Snyder: Okay. Cheryl Robertson: And uh and then sorta g go through some of the way that I've dealt with that information, and then sort of bring us all together into it to see sorta see how this fits in with the overall vision. Um so I've tried to take a whole lot of market research and summarise it for us, and then ide identify uh trends that are are sort of in sync and are important to our our uh p project plan that we have so far, and then uh initiate a kind of discussion on design options so that it sorta helps us to to narrow in on on aspects that will inform other uh other elements of the of the project. Does that make sense, Lori Snyder: Mm-hmm. Cheryl Robertson: tha Geraldine Montgomery: Yep. Cheryl Robertson: that sort of strategy? I thought that that will impact on the rest of what we do, so that's why I suggested Lori Snyder: Aye a Cheryl Robertson: we Lori Snyder: fair Cheryl Robertson: get Lori Snyder: point Cheryl Robertson: in this. Lori Snyder: definitely. Cheryl Robertson: Okay so out of um different uh figures and ratings ob uh of people in general, um consumers in general, the number one thing that was found was that uh the br t television remote control, a fancy look and feel, okay, and not, it specified, not a functional look or or feel, Lori Snyder: Okay. Cheryl Robertson: uh b f f fancy. Um however, this is where we kinda have to be very, I think, creative about it. Number two was that it be innovative. Okay so that tells Cheryl Robertson that we have to find a way to be innovative without a adding just unnecessary um sort of functional bits to it. Uh and third priority uh for ease of use, so again that kind of gives us a general picture of how it has to be, um quite user friendly while still having technology. So it I'll just say right away as a bit of a foreshadowing into how we proceed with this in terms of m marketing, is that I think um what we should think about is how the um about how the innovation uh contributes to the look and feel, and not so much to the functionality of it. For example Lori Snyder: Aye right. Cheryl Robertson: like when you pick it up and push it like it all lights up or something, you know what I mean, like, or it's got something else to it Lori Snyder: Uh-huh. Cheryl Robertson: that just seems innovative because obviously the thing that the message here is ease of use. So how do you make innovation make something more more easy to use? Well that's I guess where we're gonna go with this. Lori Snyder: Okay. Cheryl Robertson: Okay then there's the other aspect of the back the the market um research I have here is on fashion style, okay, which as we've agreed is a priority. Uh top European fashion trend um that I read about says there's this emerging theme of fruit and vegetables, okay, especially in clothes and furniture. And when I first saw that I thought hmm, well do we want to actually try and think about this trend and how we add something to it, or we get right into it, or we completely steer away from it, do you know what I Lori Snyder: Okay Cheryl Robertson: mean? Lori Snyder: okay. Cheryl Robertson: So my my feeling is that we w do want to observe this trend, but we want to think also about the fact that it sort of has to fit in with something which is not specifically electronics. Um 'cause I think what we're in what we're in is partly sort of home decor, partly something like a computer, um so I think we might wanna be careful about how you know how quickly we create like a remote control in the shape of an apple or something, I think that would be pushing it. And then in terms of m material trends are for things to be soft and spongy and sort of, you might say ergonomic or or friendly to handle, which is which also in indicated that last year this was this was not the case. So um probably a lot of the competition on the market will be still in last year's mode, so if we try and really capitalise on that, I think that'll be in our favour. Um So these this is the summary of everything. market of who we're selling to. Uh innovative design technology's also a must in that it's seen it'd be seen to be uh cutting edge, uh but ease of use t has to be insured throughout. That was like the number three thing. And then at the end there are vibrant natural colours um that's the way I interpreted it anyway, softness in materials, shape, and function, and so I've written at written at the bottom to give us sort of a context of discussion, Mac iPods, Lori Snyder: Mm-hmm. Cheryl Robertson: something which is, I'd have to say very high-tech, ten gigabytes, whatever, but when you hold it in your hand there's like no buttons. You know Lori Snyder: Mm Cheryl Robertson: what a Mac Lori Snyder: that's Cheryl Robertson: iPod Lori Snyder: true, Cheryl Robertson: is? Lori Snyder: yeah. Cheryl Robertson: I'm thinking however Mac iPod is sort of last year's because it's very hard and sort of glassy and glossy, so I'm thinking if we imagine that we're taking some of the features of a Mac iPod and we're then making it s more of like a more of like a comfortable type of or more of like a maybe more vibrant to friendly thing to have. Um and then so this is w with all that information what I'm what I'm suggesting in this slide here is that we we take these ideas, and as we get into more the more um techni like sort of production side of things, that we think about shape, materials, and themes or series that go throughout. Sort of like a I dunno like um we think of some kind of a thin theme that unifies it all, that we agree on, uh sorta like a marketing identity. Um Does that make sense? Yeah. So so like I threw out a few ideas there just to kinda get us thinking along those lines like lemon, lime, I dunno, green colours, pe whatever, it's just an idea, 'cause I'm thinking that some of these ideas will seem quite coherent if we use them in terms of their what people associate this them with in terms of texture, shape, colours, things like that. Lori Snyder: Mm 'kay. Great. Cheryl Robertson: Like um the ones the ones which I'm most fond of in terms of giving like a theme to it would be like um like lemon or something like that, you know something which is, like you see a lot in in other areas. Like I see lots of websites and things that seem to associate with like lemon and lime and Lori Snyder: Okay. Cheryl Robertson: So anyway it's just just an idea. Lori Snyder: Yeah. Cheryl Robertson: I'm thinking maybe we could incorporate some of these features into a fairly um into something which is which seems to have something to it which is almost gimmicky because like um like something to do with like lighting within it. Like you know just within Lori Snyder: Ah. Cheryl Robertson: the simple sense, when you pick up a phone and touch a button it uh lights up, q usually the buttons light up. How can we build on that? Maybe like it could light up in different colours or something or or people could buy the buy the control and then it comes with different like covers or something so. Lori Snyder: Okay. Cheryl Robertson: Anyway those are that's all I have, but Lori Snyder: That's Cheryl Robertson: uh Lori Snyder: great. Cheryl Robertson: hopefully we can we can revisit those ideas Lori Snyder: Uh-huh. Cheryl Robertson: when we get into Lori Snyder: Okay great. Um thank you for that. Uh Cheryl Robertson: Yep. Lori Snyder: Craig do you wanna uh plug yours in then? Jessica Macias: Is it working? Lori Snyder: Mm. Not quite. Cheryl Robertson: Did you press F_ eight? Geraldine Montgomery: It's probably not sending. Yeah. Lori Snyder: Oh something coming Geraldine Montgomery: Yep, Lori Snyder: now, Geraldine Montgomery: there Lori Snyder: yeah. Geraldine Montgomery: it is. Lori Snyder: There we go. Jessica Macias: And so think of this concept. Um to research it I've um had a look on the the homepage again. It's provided Cheryl Robertson with more examples of um previously existing c remote controls. Um there's a wee bit of discussion about the other existing ones there, um so I've taken the um suggestions from them and tried to incorporate them into this um So then this we're looking for um suggestions on size th um size of control and the buttons, um the shape of the control, whereabout the buttons should be located on the control. Lori Snyder: Mm. Jessica Macias: Um what I found from the research is that most the current controls are just basically big bricks with loads of buttons all over them. Um they're not very attractive to look at, and they're not very comfortable to hold, they're I just hold 'em like big bricks, and they're very easily lost. Um they tend to be very dark colours, so if there are shadowy places down the side of couches you can't really see them. Lori Snyder: Mm-hmm. Jessica Macias: Um the the controls themselves tend to use a very inconsistent colour scheme. Um for instance, the stand-by button isn't always red, uh it really should be. It's uh something the user then uh identify with. This is a red switch off, that's how it should be. Um I'm not sure if there's any other examples of that, but something to look out for. Um there's a problem that I've I've got couple of preferences for the the end control um I get 'em with the the red colour button for stand-by and s the other examples of that um The buttons should be large. They shouldn't be tiny little things like you get on some mobile phones. They should be easy to press, very comfortable. Um one of the examples given on the homepage was um there's an up and down volume button but both of them have a V_ on them, Lori Snyder: Mm-hmm. Jessica Macias: so the up volume button looks like it should be a down volume button, that's kinda confusing. Um should avoid s things like that. Um if the the corporate colour scheme allows it we should have a very bright colour so that it can be easily identified anywhere. Lori Snyder: Okay. Jessica Macias: Um obviously trying trying to avoid being tacky there, but it could um tie-in very easily with your Cheryl Robertson: Yeah. Jessica Macias: your lime Cheryl Robertson: Okay, Jessica Macias: and lemon idea. Cheryl Robertson: do we have a corporate colour scheme? I didn't Lori Snyder: I Cheryl Robertson: know. Lori Snyder: think it's yellow because like the website is yellow and Cheryl Robertson: Okay. Lori Snyder: there's a band at the bottom is yellow, so Geraldine Montgomery: And the Play-Doh Cheryl Robertson: Okay. Geraldine Montgomery: 's yellow. Lori Snyder: yellow, lemon, Jessica Macias: Fantastic. Lori Snyder: you know definitely food for thought there, Cheryl Robertson: Okay. Lori Snyder: but keep going and we'll discuss it Jessica Macias: Um Lori Snyder: after. Cheryl Robertson: Yeah. Jessica Macias: any extra features we add beyond the basic ones should be m hidden, they shouldn't be on the um shouldn't be visible without something be opened or Lori Snyder: Mm-hmm. Jessica Macias: some sort of special extra effort. Um if we did decide to go for voice activation there sh should always be a button as alternative, possibly hidden in the the opened up section um making that something is wrong with it or with somebody's voice, maybe they got a cold or Um we should definitely avoid the big square block look. That's just wrong. Cheryl Robertson: Mm-hmm. Lori Snyder: Mm 'kay. Jessica Macias: And um we got an email uh from I think it's the the research department, and they've said th the voice control um can now talk back if you ask it a question. Lori Snyder: Mm. Jessica Macias: So it sh it could be good to have them um confirm any action you take Lori Snyder: Aye Jessica Macias: and Lori Snyder: that's a good idea, Jessica Macias: possibility. Lori Snyder: yeah. Jessica Macias: Right and these are problems I've had with it. Um I don't know where the slogan should go, or really what the slogan is. I think it's um, fashion into electronics. Lori Snyder: Yeah. Jessica Macias: And we don't know how flexible the colour scheme is. I mean you say you wanted the the corporate colours, but they don't say you know if we can use Cheryl Robertson: Mm. Jessica Macias: any other colours at all or Cheryl Robertson: Mm. Lori Snyder: Okay. Jessica Macias: That's Geraldine Montgomery: Cool. Jessica Macias: it. Lori Snyder: Okay. Cheryl Robertson: Great. Lots of good information there. Lori Snyder: Yeah that Geraldine Montgomery: Mm-hmm. Lori Snyder: that was very good, and Geraldine Montgomery: Mm Lori Snyder: uh Geraldine Montgomery: 'kay Lori Snyder: now with Geraldine Montgomery: um. Lori Snyder: David. Jessica Macias: I think I'm cool. Cheryl Robertson: It's a shame the cable wasn't just in the middle Lori Snyder: I know Cheryl Robertson: of the table, Lori Snyder: it'd be handy, Cheryl Robertson: huh? Lori Snyder: wouldn't it. Cheryl Robertson: Just um Geraldine Montgomery: Oops. Lori Snyder: Do y do you wanna sit in the the line of sight of this Geraldine Montgomery: Yeah Lori Snyder: um Geraldine Montgomery: okay. Let Cheryl Robertson just get this Lori Snyder: Yeah. Geraldine Montgomery: going first. Ah there it is. Cheryl Robertson: It takes a second, doesn't it? Geraldine Montgomery: 'Kay, that should it. Okay um I guess the same thing again, I started with something very basic. So just so you guys have some idea of what's involved in my process, Cheryl Robertson: Mm-hmm. Geraldine Montgomery: um and then you can just work through it and we 'll either modify it or start from scratch um depending on what your needs are. Um the components are exactly the same. Lori Snyder: Mm-hmm. Geraldine Montgomery: Um I think, like what you guys said, um the most input that's needed is basically in the user interface. The rest of the components um they do have an impact in terms of cost and complexity. Um like you said time to market was a problem, um and how many components are physically in there in cost. And the power is basically a factor of that. Um and the lower components, the power, the logic, the transmitter, and the infrared, um they affect you in terms of the size of your device, um and that would have some inte impact on how y I think more how you hold rather than um the actual use using the the remote control because um like we've said we've defined, like we only want the basic things that to be visible, and the rest of them we try to hide. Cheryl Robertson: Mm-hmm. Geraldine Montgomery: So um you know it's just a matter of working out space. So I guess three things, um cost, um complexity, and the size. These are the three things that um will have an impact on you. So just go through it in the components. Um these are the options that are available to you, um I'm not very sure about the voice thing 'cause I got another email and it was in fact quite sketchy on what n the voice options are. Jessica Macias: Right. Geraldine Montgomery: Um it said it could talk to you, but it never said anything about being able to listen. I it said something about a sensor but never clarified that. Cheryl Robertson: Mm. Lori Snyder: Hmm. Geraldine Montgomery: So maybe if you well I could see the other email that they sent you, um 'cause they got back to Cheryl Robertson with like different requirements, or different offerings of what components availa Okay so Jessica Macias: Right. Geraldine Montgomery: your basic components are buttons, Lori Snyder: Mm. Geraldine Montgomery: okay and you have a wheel available, like a mouse scroll wheel, Cheryl Robertson: Mm-hmm. Geraldine Montgomery: okay there's an L_C_D_ display, um I think these are quite standard things. Cheryl Robertson: They're standard, aren't they? Geraldine Montgomery: No um they're well in the sense that these are all the options available for you. I'll explain to you the complexity and the cost thing again a bit Cheryl Robertson: Yeah. Geraldine Montgomery: later. Okay um then there's um how the case actually looks. It can actually be flat or it can be curved, um and then the different types of materials that you can use, um I don't think you can use them in a combination, Lori Snyder: Mm-hmm. Geraldine Montgomery: um but um I could check back for you, but I don't think you can actually use them in a combination. Lori Snyder: We you couldn't have like plastic and rubber? Geraldine Montgomery: Um I think plastic and rubber would be fine, but plastic, rubber, and wood, I wasn't I'm not very sure about the titanium. Lori Snyder: Yeah. Geraldine Montgomery: They had some restrictions Cheryl Robertson: Hmm. Geraldine Montgomery: on using the rubber and the titanium. Lori Snyder: Mm Geraldine Montgomery: Um Lori Snyder: 'kay. Geraldine Montgomery: the rubber was a restriction on the kind of power source you could use, but the titanium had a different kind of things on the shape of the Lori Snyder: Okay. Geraldine Montgomery: thing, so I think that there is some restriction on um I think you could probably group plastic and rubber together, Lori Snyder: Mm-hmm. Geraldine Montgomery: wood and titanium, but you know it might be easier from a cost perspective and a Cheryl Robertson: Mm-hmm. Geraldine Montgomery: complexity just to use one. Cheryl Robertson: Mm-hmm. Geraldine Montgomery: You know as opposed to two. Cheryl Robertson: Mm-hmm. Geraldine Montgomery: Um and the other components are logic chips, um again I'll I'll go back to the component chips. The com how complex or how easy the logic is, it depends on how many functions you have on the on the unit um and that impacts cost. Um Cheryl Robertson: Mm-hmm. Geraldine Montgomery: I don't think the logic chip has a issue about size 'cause they Cheryl Robertson: Mm-hmm. Geraldine Montgomery: should be about the same size. Power consumption should be about the same. Um Cheryl Robertson: Hmm. Geraldine Montgomery: I think the main impact is complexity, um and the other thing is um the power options. Um the first one is a standard battery. Okay the second one I think is more of a gimmick then actually a useable thing, it's a wind-up Lori Snyder: I'll clear Geraldine Montgomery: you know, Lori Snyder: one of these Geraldine Montgomery: a Lori Snyder: things Geraldine Montgomery: crank. Lori Snyder: for you. Just Cheryl Robertson: Hmm. Lori Snyder: by moving Geraldine Montgomery: Yeah Lori Snyder: it yeah. Geraldine Montgomery: but that that might be something I think that's more of a look and feel decision because I don't think you can have one power source if you're using the alternative power sources. I think whatever it is you still need a battery 'cause Lori Snyder: Mm. Geraldine Montgomery: I don't think anybody wants to keep doing one thing. Cheryl Robertson: No. Geraldine Montgomery: Okay the other ones Cheryl Robertson: Yeah. Geraldine Montgomery: are a solar powered cell, which may not be a great idea in Europe or any country that has seasons 'cause half the year you'd be dead. a battery Cheryl Robertson: Mm-hmm. Geraldine Montgomery: and something else. Lori Snyder: Mm-hmm. Geraldine Montgomery: Um and the kinetic one I guess for Cheryl Robertson is the most interesting one because it's movement and people like to fiddle with their Lori Snyder: Mm. Geraldine Montgomery: and it's a nice sales gimmick I think. From a marketing Cheryl Robertson: Mm-hmm. Geraldine Montgomery: gimmick it it's a technology thing, it's a shake it it doesn't work, shake it, knock it or something. You know Lori Snyder: W Cheryl Robertson: Hmm. Lori Snyder: yeah. Geraldine Montgomery: you know you Lori Snyder: Uh Geraldine Montgomery: have you had Lori Snyder: yeah Geraldine Montgomery: those Lori Snyder: yeah, Geraldine Montgomery: balls, Lori Snyder: I see. Geraldine Montgomery: you know those Cheryl Robertson: Yeah. Geraldine Montgomery: stress balls where you bounce the ball and it and it lights up and it goes, you know that might be a gimmick combined with rubber. Cheryl Robertson: Hmm. Geraldine Montgomery: You know just to Lori Snyder: Yeah. Geraldine Montgomery: if you get frustrated wi remote control you can throw it, kind of you know just uh Cheryl Robertson: Hmm. Lori Snyder: I know what you mean yeah. Geraldine Montgomery: you know um so. Um okay my from my role, I don't think that personal preferences but role preferences, I think um something comfortable to hold, Cheryl Robertson: Mm-hmm. Geraldine Montgomery: um small and slim I guess that's more in the sense of small and slim in terms of comfortable not so small you can't, you know like a phone Lori Snyder: Mm-hmm. Geraldine Montgomery: or something, too small phone. Um and the other thing is from a production point of view um the less components we use and the simpler the components means you reduce your cost and you increase your profit. Lori Snyder: Mm-hmm. Geraldine Montgomery: Um and also the time to market and the complexity of developing Cheryl Robertson: Mm-hmm Geraldine Montgomery: designing Cheryl Robertson: mm-hmm Geraldine Montgomery: and debugging Cheryl Robertson: mm-hmm. Geraldine Montgomery: it um so. Cheryl Robertson: Mm-hmm. Geraldine Montgomery: Um okay let Cheryl Robertson just go back and talk about some of the restrictions. Um The user interface restrictions basically means that if you use more complicated features, like the buttons are standard okay, the L_C_D_ panel and the scroll wheel you need more complicated logic. Lori Snyder: Mm. Geraldine Montgomery: Um the case okay with a rubber case you can't have the solar panels. Okay with the titanium case, let Cheryl Robertson just check that um, titanium case can't be curved, it has to be square. Lori Snyder: Okay. Geraldine Montgomery: Okay um there's no restriction on the plastic, Cheryl Robertson: It can't Geraldine Montgomery: and Cheryl Robertson: be curved. Geraldine Montgomery: it can't be curved Cheryl Robertson: Okay. Geraldine Montgomery: on the wood. So that's again, I don't think you can use them in a combination, Lori Snyder: Okay. Geraldine Montgomery: um especially the titanium I I suspect they're Lori Snyder: Right. Geraldine Montgomery: very fixed to a particular need. So um mixing them may not be a good idea Lori Snyder: Okay. Geraldine Montgomery: um yep. Lori Snyder: Right Geraldine Montgomery: That's Cheryl Robertson: Uh Geraldine Montgomery: it. Cheryl Robertson: question Lori Snyder: can Cheryl Robertson: on Lori Snyder: I Cheryl Robertson: can I ask a question? Lori Snyder: Yeah well yeah it's just I'm quite keen to get the discussion going with the time we've left so Cheryl Robertson: Okay. Lori Snyder: but yeah you c ask Cheryl Robertson: Can Lori Snyder: away. Cheryl Robertson: we uh power a light in this? Can we get a strong enough battery to power a light? Geraldine Montgomery: Um I think we could because the L_C_D_ panel requires power, and the L_C_D_ is a form of a light Lori Snyder: Mm. Cheryl Robertson: Okay. Geraldine Montgomery: so that Cheryl Robertson: So maybe one of the things we can just try and include is a really good battery. Lori Snyder: Why what kind of light do you want are you thinking Cheryl Robertson: Well Lori Snyder: of? Cheryl Robertson: I mean I'm thinking it might be That for uh this to be a high-tech thing it's Lori Snyder: Uh-huh. Cheryl Robertson: gonna have to have something high-tech about it Lori Snyder: Yeah. Cheryl Robertson: and that's gonna take battery power, and to make that to make that a realistic goal I think one of the issues that will come up later is, Geraldine Montgomery: Are Cheryl Robertson: can Geraldine Montgomery: you Cheryl Robertson: the Geraldine Montgomery: thinking Cheryl Robertson: battery power Geraldine Montgomery: are you Cheryl Robertson: it? Geraldine Montgomery: thinking of of a light in the sense of um a light light, or a light in the sense of Cheryl Robertson: Illuminate Geraldine Montgomery: it glows Cheryl Robertson: the buttons. Geraldine Montgomery: kind of Cheryl Robertson: Yeah Geraldine Montgomery: you Cheryl Robertson: it Geraldine Montgomery: know Cheryl Robertson: glows. Geraldine Montgomery: Frankenstein, it's alive. Cheryl Robertson: Well m I'm thinking along the lines of you're you're in the dark watching a D_V_D_ Geraldine Montgomery: Okay. Cheryl Robertson: and you um you find the thing in the dark and you go like this, and that's what everybody does. Oh where's the volume button in the dark, Lori Snyder: Yeah yeah yeah. Geraldine Montgomery: Okay. Cheryl Robertson: and uh y you just touch it, or you just pick it up, and it lights up or something. Lori Snyder: Like a phone Geraldine Montgomery: Okay. Cheryl Robertson: Like Lori Snyder: yeah, Cheryl Robertson: a phone, Lori Snyder: like Cheryl Robertson: yeah Lori Snyder: the backlight Cheryl Robertson: yeah. Lori Snyder: in a phone. Okay cool. Cheryl Robertson: Whereas with phones, people charge them once a week. Lori Snyder: Yeah. Cheryl Robertson: We're gonna need to put in a really good battery so people don't have to charge their r remote control every few days. Geraldine Montgomery: Um that's why I think the option of the the kinetic thing which basically means as long as you shake it like a watch, like an automatic Cheryl Robertson: But are people gonna Geraldine Montgomery: watch Lori Snyder: Mm. Cheryl Robertson: wanna shake their movie controller? Geraldine Montgomery: um it's probably sensitive enough when you fiddle it. Cheryl Robertson: Right. Geraldine Montgomery: So Cheryl Robertson: Sure. Lori Snyder: Mm. Geraldine Montgomery: you could trigger that to a light, like I said the bouncing ball thing, or you Lori Snyder: Okay. Geraldine Montgomery: could trigger that to use that to power Cheryl Robertson: Okay. Geraldine Montgomery: the light as opposed to Cheryl Robertson: Right. Geraldine Montgomery: so when they pick it up, right, and then Lori Snyder: Okay. Geraldine Montgomery: that that sorta triggers Cheryl Robertson: Mm-hmm. Geraldine Montgomery: the Lori Snyder: Right Geraldine Montgomery: glowingness. Lori Snyder: okay Cheryl Robertson: Okay, Lori Snyder: um Cheryl Robertson: great. Lori Snyder: well let's just go right back to the marketing ideas for a start, and just giving an Geraldine Montgomery idea on the time, we've got about fifteen minutes to play with at most. Cheryl Robertson: Okay. Lori Snyder: So um yeah so just t to bear in mind that the ultimate goal of this meeting is to reach an decision on the the the concepts of the product. So Cheryl Robertson: Okay. Lori Snyder: back to your idea about um incorporating the idea of like fruit and veg, and Cheryl Robertson: Yeah. Lori Snyder: the corporate colour, and things like that. Cheryl Robertson: Yeah. Lori Snyder: Um I mean what does everybody think about Does anybody have any ideas of about how we can fit all that in together? I mean that's kind of the user interface type of thing, what are your thoughts on that? Jessica Macias: Um I think we could go for like um maybe not a p a fruit shape but a very sort of curvy type shape. Um you could have the same sort of texture and colour as a fruit. Lori Snyder: So maybe do y are we thinking something that like s could sit in your hand comfortably, or do you th you'd hold onto comfortably or Jessica Macias: Um probably something that s sits in your hand comfortably, sort of Lori Snyder: So Jessica Macias: feels Lori Snyder: something Jessica Macias: right in Lori Snyder: quite Jessica Macias: your hand. Lori Snyder: curvy? Okay um right okay. Colour-wise I mean you made a re uh was it you or uh I can't remember who made the point about how if you've a nice bright colour you'll not lose it, was that Whose Geraldine Montgomery: I think Cheryl Robertson: What's Geraldine Montgomery: he Cheryl Robertson: that? Geraldine Montgomery: made that. Lori Snyder: about how if you have a bright colour you'll not lose it so much. Cheryl Robertson: Yeah. Lori Snyder: Um and when the corporate colour is yellow, I mean maybe we could think about about the colour of the whole product being Cheryl Robertson: Okay. Lori Snyder: yellow I don't know. Um And then obviously the uh the materials when it Cheryl Robertson: Well Lori Snyder: That's all. Cheryl Robertson: I mean I'm thinking that what we need to do is have something that kind of unifies a lot of the different concepts, and Lori Snyder: Mm-hmm. Cheryl Robertson: if we think that what we are w our number one marketing motive is um the look and feel. Lori Snyder: Mm-hmm. Cheryl Robertson: So for the look and feel to seem coherent and not just sorta bits and bits and pieces of of concept and technology or or whatever or fashion, then we should have it kind of come back to one thing that we kind of all sorta can visualize. Um maybe what we could do is t th think about a concept which touches b back to the on the um the colour, you said Lori Snyder: Mm-hmm. Cheryl Robertson: company colour yellow. I mean if we think of something, like I was saying also lime Lori Snyder: Mm-hmm. Cheryl Robertson: and lemon you know, what can we come up with something where we we try and associate it with with like the series. We just come up with something like that we kind of use it as a theme to inspire the Lori Snyder: Okay. Cheryl Robertson: shapes and things. Lori Snyder: Right. Geraldine Montgomery: Is there a particular shape that you're interested in? Like does marketing have any research on does it need to be long? Does it need with Lori Snyder: Oh Geraldine Montgomery: a square Lori Snyder: you know like Geraldine Montgomery: thing Lori Snyder: in circular Geraldine Montgomery: wha Lori Snyder: in shape or Geraldine Montgomery: Yeah 'cause that will n help narrow down the choice of Cheryl Robertson: Yeah. Lori Snyder: Choice of material Geraldine Montgomery: Like fruit. Lori Snyder: yeah. 'Cause Geraldine Montgomery: I'm Jessica Macias: See Geraldine Montgomery: thinking Lori Snyder: I I Jessica Macias: I'm Geraldine Montgomery: fruits Lori Snyder: I Geraldine Montgomery: in Lori Snyder: was Geraldine Montgomery: my head, Lori Snyder: kinda Geraldine Montgomery: but that's Lori Snyder: thinking Geraldine Montgomery: tacky. Lori Snyder: about as well you know how you get these shock resistant mobile phones, and they're plastic but then also have like rubber on the outside, and it kinda feels it feels kind of warmer to the touch. It feels Cheryl Robertson: Yeah. Lori Snyder: a bit more comfortable, and maybe we could incorporate plastic and rubber into it. And then then we could have curved shapes, 'cause wood or titanium, yeah, it's gonna have to be boxy and rectangular and I think we might be moving away from that you know so um Well I'm do we really want it in like the shape of a lemon or Cheryl Robertson: No no no Lori Snyder: no I don't think we do either. Cheryl Robertson: not at all. It's more more just that we we think about like what it is we're trying to achieve, so and then we have one one sorta theme that we stick with. Do you Lori Snyder: Okay Cheryl Robertson: know what I mean? Lori Snyder: right well um so thoughts about the actual shape of the thing. Jessica Macias: I'd quite like a sort of uh snowman type shape. Lori Snyder: A snowman shape? Jessica Macias: Um so a p sort of larger bit sits in your hand, Lori Snyder: Uh-huh. Jessica Macias: and then you got maybe another bubble at the top for just any other function you need. Lori Snyder: That's quite Cheryl Robertson: Right, Lori Snyder: a distinctive shape, that Cheryl Robertson: sure. Lori Snyder: would be good wouldn't it. Cheryl Robertson: Yeah. Lori Snyder: Yeah so yeah should we go with that? Cheryl Robertson: Um can we yeah like to and wha like do you have a Lori Snyder: Do you wanna draw Cheryl Robertson: Can you Lori Snyder: it on Cheryl Robertson: like Lori Snyder: the board? Cheryl Robertson: yeah just t we can visualize it. Jessica Macias: Um something like that um you got two groups there um maybe it could fold up and you get a third group inside Cheryl Robertson: Okay. Lori Snyder: Ooh Jessica Macias: or Lori Snyder: that'd be good. Jessica Macias: uh you have volume controls about there. Cheryl Robertson: Okay. Lori Snyder: Mm-hmm. Cheryl Robertson: Yep. Lori Snyder: So call it the snowman-shape trademark. Yeah that's cool. Um and I mean colour-wise what does everybody think? I think it is quite important to get yellow in there somewhere. I mean do you want the whole thing yellow, maybe like yellow and white do you want Cheryl Robertson: Mm. Lori Snyder: something Jessica Macias: So I reckon it'd look quite nice if we just had um this here, had a sorta background yellow, Lori Snyder: Uh-huh. Jessica Macias: and then have sort of a nice bold colour for the buttons. Lori Snyder: Okay cool. Um and also I mean how are we going to incorporate the slogan in? The fact that it talks to you, I mean it might be quite cool if when you first start using it it says, what is it, putting fashion into electronics or something, I dunno. Or when you like or if you turn it off or something if Jessica Macias: I think Lori Snyder: it Jessica Macias: that Lori Snyder: can Jessica Macias: might Lori Snyder: speak Jessica Macias: scare Cheryl Robertson. Lori Snyder: if it could actually say the slogan it might be a bit more powerful than just having it written on it somewhere. I d I d any thoughts on that at all? Jessica Macias: I think that'd probably scare Cheryl Robertson. You turn it on your control possessed s. Lori Snyder: I know. Um unless an a I mean if you also would that work if we wanted to incorporate um an L_C_D_ display, where would we put that? Would we put that on the inside or Jessica Macias: Um Geraldine Montgomery: Do we need an L_C_D_ display? What what's the functionality Lori Snyder: It's Geraldine Montgomery: of Lori Snyder: bound Geraldine Montgomery: that? Lori Snyder: to increase the cost of it a lot, I Geraldine Montgomery: Yeah but the Lori Snyder: would've Geraldine Montgomery: question Lori Snyder: thought. Geraldine Montgomery: is what Cheryl Robertson: What would Geraldine Montgomery: are Cheryl Robertson: it Geraldine Montgomery: we Cheryl Robertson: achieve? Geraldine Montgomery: using it what would we what would we achieve from it? Putting Cheryl Robertson: Well Geraldine Montgomery: in lights is cheap but putting in an L_C_D_ panel Cheryl Robertson: L_C_ Geraldine Montgomery: just Cheryl Robertson: well Geraldine Montgomery: to make it glow is Cheryl Robertson: I'd Geraldine Montgomery: a bit Cheryl Robertson: when Geraldine Montgomery: of Cheryl Robertson: you used Geraldine Montgomery: a Cheryl Robertson: to mention the L_C_D_ I'd think I wonder what that would be about. And the th the thing I could see it helping with would be if it was somehow connected with um listings. So as Lori Snyder: Yeah. Cheryl Robertson: you scroll through, 'cause we said we might have a jog dial, so Geraldine Montgomery: Mm-hmm. Cheryl Robertson: as you scroll through your stations you can y it actually tells you what it is. Geraldine Montgomery: I think that will be a problem because we don't have an input device to get the listings into Cheryl Robertson: Right, Geraldine Montgomery: it, Cheryl Robertson: okay. Geraldine Montgomery: so Lori Snyder: Mm Geraldine Montgomery: um Lori Snyder: oh Geraldine Montgomery: it's Lori Snyder: yeah Geraldine Montgomery: a bit Lori Snyder: that's Geraldine Montgomery: nuts Lori Snyder: true. Geraldine Montgomery: to get the Lori Snyder: Yeah. Geraldine Montgomery: Monday Tuesday Lori Snyder: So Cheryl Robertson: Mm-hmm. Geraldine Montgomery: Wednesday Cheryl Robertson: Mm-hmm. Lori Snyder: so Geraldine Montgomery: you Lori Snyder: no Geraldine Montgomery: know. Lori Snyder: need for an L_C_D_ display? Geraldine Montgomery: Um I I'm not saying there's no need for an L_C_D_ display, but um Lori Snyder: I think that would Geraldine Montgomery: it's Lori Snyder: make it very Geraldine Montgomery: what's Lori Snyder: complex. Geraldine Montgomery: what what would it tell the user, 'cause the L_C_D_ tends to be an output as Lori Snyder: Yeah. Geraldine Montgomery: uh as opposed to an input so Lori Snyder: Yeah. Geraldine Montgomery: um does the remote control need to talk back to the Cheryl Robertson: Mm Geraldine Montgomery: user? Cheryl Robertson: not real Geraldine Montgomery: We have the option of the speaker as well the sa the same thing goes for the speaker, is there a need for the remote control to Lori Snyder: I Cheryl Robertson: Mm-hmm. Lori Snyder: don't know if there is Geraldine Montgomery: to Lori Snyder: really, Geraldine Montgomery: talk back? Jessica Macias: Nah. Lori Snyder: no um Geraldine Montgomery: Um Lori Snyder: I would say no need for a talk-back. Uh does anybody disagree with that? Cheryl Robertson: No. Geraldine Montgomery: You could Lori Snyder: No? Geraldine Montgomery: put a game on it. Lori Snyder: Easy. Geraldine Montgomery: When the T_V_ dies you can play with the remote control. Cheryl Robertson: Mm Lori Snyder: Okay Cheryl Robertson: mm. Lori Snyder: um right so you're gonna have the three different sets of of functionalities, um I mean do you wanna group them into s head of the snowman, body of the snowman, inside of the snowman, is that what you're thinking? Jessica Macias: Um well I think the advanced ones the the ones you don't usually use could be hid inside. Lori Snyder: Okay. Jessica Macias: B um I think the we had were fairly basic ones, they'd have to go on the the front somewhere. Lori Snyder: Okay right um what else do you need to talk about? Cheryl Robertson: Well i Geraldine Montgomery: Where Cheryl Robertson: I was Geraldine Montgomery: would Cheryl Robertson: just Geraldine Montgomery: you physically position the buttons? Um I think that that has some impact on Cheryl Robertson: Yeah. Geraldine Montgomery: on on many things. Cheryl Robertson: Yeah. Jessica Macias: Um Geraldine Montgomery: Um maybe you wanna draw onto the Lori Snyder: So I'm just gonna um pop this in here 'cause I have a slide about decision making Geraldine Montgomery: Yep. Lori Snyder: which I'd forgotten about. Lori Snyder: Oh sh God we've got five minutes um okay uh back we go. Um energy what do you think that's suggesting we're how we're powering the thing? I really like the idea of this kinetic thing where you'd have the back-up of the battery, Cheryl Robertson: Yeah, Lori Snyder: but have Cheryl Robertson: sure. Lori Snyder: have kinetic power, Cheryl Robertson: Um Lori Snyder: I mean what does Cheryl Robertson: I've Lori Snyder: anybody Cheryl Robertson: had Lori Snyder: think Cheryl Robertson: kinetic Lori Snyder: about that? Cheryl Robertson: things before, and the the the one issue we need to keep in mind with them is that you're committing the user to moving it, and Geraldine Montgomery: No, like I said we Cheryl Robertson: watches Geraldine Montgomery: have a h Cheryl Robertson: yeah Geraldine Montgomery: hybrid kind of thing, Cheryl Robertson: Sure, Geraldine Montgomery: so it's not gonna Cheryl Robertson: okay, Geraldine Montgomery: charge the battery, Cheryl Robertson: right, okay. Geraldine Montgomery: it's just Lori Snyder: Okay. Cheryl Robertson: Support for it. I mean Geraldine Montgomery: Yeah. Cheryl Robertson: just it's just worth pointing out because like I've I've known I've known people to have kinetic watches that they wear all the time, Lori Snyder: Mm-hmm. Cheryl Robertson: and it's just like magic because it's always powered and there's no battery. I've also known people to have things like like a jewellery watch they wear from time to time, and they eventually just say it's just too much of a nuisance because Lori Snyder: Yeah. Cheryl Robertson: I don't wear Geraldine Montgomery: Yep. Cheryl Robertson: it all the time. Like remote control is similar, you're away on vacation, I dunno whatever, you something, Lori Snyder: Yeah. Cheryl Robertson: and it just starts to get worn down. So Lori Snyder: Well Cheryl Robertson: we should Lori Snyder: I suppose that if Cheryl Robertson: think Lori Snyder: you're Cheryl Robertson: about Lori Snyder: if you're away and you're not using it, then you're not using any power either. So you'd have the battery as the kind of to keep it ticking over Cheryl Robertson: Yeah. Lori Snyder: idea I'm really sorry we're gonna have to wrap up quite quickly, we don't have as much time as I thought. Cheryl Robertson: Yep. Lori Snyder: Um so I think that's what energy is referring to here. Chip on print, is that that's an industrial design thing, is it David? Geraldine Montgomery: Yes yes. Lori Snyder: Okay um as for the case, kind of discussed that Cheryl Robertson: And this size here, I'd suggest this be small, Lori Snyder: Yeah I Cheryl Robertson: like Lori Snyder: know we're gonna Cheryl Robertson: quite Lori Snyder: have like Cheryl Robertson: small. Lori Snyder: rubber buttons that feel kind of Jessica Macias: Yeah Lori Snyder: Okay. Jessica Macias: I think so yeah. Cheryl Robertson: Um just a a lot of the um I mean one of the things running through my mind right now, I realise we're being efficient to wrap up the meeting Lori Snyder: Mm-hmm. Cheryl Robertson: and have lots of decisions made, um but we are leaning quite a bit to the side of being low-tech, rubber buttons plastic frame, it's almost like we're reproducing the same old remote control Lori Snyder: Mm 'kay. Cheryl Robertson: that's out there. Should we think about how we are actually getting this high-tech user friendly uh um theme like what is it that we're u we're using to to achieve those goals? Like Lori Snyder: Could have things like backlighting the buttons and Cheryl Robertson: Okay Lori Snyder: stuff like Cheryl Robertson: so Lori Snyder: that. Cheryl Robertson: so backlighting, Geraldine Montgomery: Or even Cheryl Robertson: that Geraldine Montgomery: a Cheryl Robertson: would Geraldine Montgomery: clear Cheryl Robertson: be good. Geraldine Montgomery: case. Um Cheryl Robertson: Yeah clear, that'd be Geraldine Montgomery: you Lori Snyder: Aye Geraldine Montgomery: know a Lori Snyder: that Geraldine Montgomery: a Lori Snyder: would be Geraldine Montgomery: glowing Lori Snyder: a Cheryl Robertson: Okay. Lori Snyder: good idea. Geraldine Montgomery: a a glowing yellow type case where the yellow is showable, but in the dark it sort of, it's alive. Cheryl Robertson: Yeah sure. Geraldine Montgomery: Um in Lori Snyder: S Geraldine Montgomery: in a Lori Snyder: so Geraldine Montgomery: slight Lori Snyder: like Geraldine Montgomery: subtle Cheryl Robertson: Yeah that'd Geraldine Montgomery: way. Cheryl Robertson: be really Lori Snyder: cur Cheryl Robertson: good. Lori Snyder: slightly transparent Geraldine Montgomery: Yeah Lori Snyder: case, so Geraldine Montgomery: yeah. Lori Snyder: it's yellow, Cheryl Robertson: Yeah. Lori Snyder: like tinted yellow, but Geraldine Montgomery: Yeah. Lori Snyder: you can maybe see through it. Is that what Geraldine Montgomery: Or Lori Snyder: you mean? Geraldine Montgomery: or there might be a light running through it like a mouse. Cheryl Robertson: Sure. Geraldine Montgomery: You know you have cordless mice and they don't eat that much power Cheryl Robertson: Yeah, Geraldine Montgomery: right. So the power the Cheryl Robertson: yeah. Geraldine Montgomery: battery in that sense, maybe Cheryl Robertson: Yeah. Geraldine Montgomery: you have one or two stratig strategically placed lights Cheryl Robertson: Sure. Geraldine Montgomery: that sort of Cheryl Robertson: Yeah they they emanate a light through it. Geraldine Montgomery: Yeah Lori Snyder: Okay. Geraldine Montgomery: but because the case is transparent Lori Snyder: Lights. Geraldine Montgomery: so it Cheryl Robertson: 'Kay. Geraldine Montgomery: gives it a little bit of a glow, Cheryl Robertson: Yeah, mm-hmm. Geraldine Montgomery: doesn't Lori Snyder: Okay. Geraldine Montgomery: make it freaky. Cheryl Robertson: Um and then the other thing that we we're s we've committed ourselves to achieving is simplicity, and so I'm thinking maybe should we try and think about having something like um some kind of an innovative concept about how the um the volume and the channels are controlled, 'cause that's the main thing people will f wanna Lori Snyder: Mm. Cheryl Robertson: do. Could we use like a jog dial, like a nice just sort of round, somewhere on it where you just Geraldine Montgomery: The question Cheryl Robertson: roll Geraldine Montgomery: is Cheryl Robertson: it? Geraldine Montgomery: when you're rolling Cheryl Robertson: Or Geraldine Montgomery: it, how do you wanna roll it? Do you want 'em to roll it like that? Do you want 'em to roll it like that? 'Cause in a mouse your hand's in a position Jessica Macias: Mm. Cheryl Robertson: Yeah. Lori Snyder: Yeah. Geraldine Montgomery: to roll it, whereas the other thing about having it jog dial this way, it tends to get moved accidentally. Cheryl Robertson: Mm-hmm. Lori Snyder: Yeah Cheryl Robertson: Well Lori Snyder: if Cheryl Robertson: why Lori Snyder: you Cheryl Robertson: don't we Lori Snyder: are Cheryl Robertson: do Lori Snyder: holding Cheryl Robertson: it like Lori Snyder: it Cheryl Robertson: a Lori Snyder: in your Cheryl Robertson: mouse Lori Snyder: hand Cheryl Robertson: then? Lori Snyder: you could you could do that, couldn't you? If you're holding it in your hand Geraldine Montgomery: That's Lori Snyder: you could Geraldine Montgomery: a very unnatural motion Lori Snyder: Do you think? Geraldine Montgomery: to yeah. Lori Snyder: Okay. Geraldine Montgomery: Can you imagine you have to scroll a lot. Um it might work for volume, Cheryl Robertson: Yeah. Geraldine Montgomery: and maybe some of the brightness controls and stuff like that, Lori Snyder: Mm. Geraldine Montgomery: but not for channels right. If you have a Telewest box you've got like, you Cheryl Robertson: Mm-hmm. Geraldine Montgomery: don't have to buy all the channels, you've about fifty channels, can you imagine Lori Snyder: Yeah Geraldine Montgomery: trying Cheryl Robertson: Yeah. Geraldine Montgomery: to. Lori Snyder: okay okay Cheryl Robertson: Yeah, Geraldine Montgomery: Um Cheryl Robertson: sure. Lori Snyder: um Geraldine Montgomery: and I don't think having that you know too quick too Cheryl Robertson: Mm. Geraldine Montgomery: slow kin Jessica Macias: Well, Geraldine Montgomery: it's confusing Jessica Macias: but Geraldine Montgomery: to the Jessica Macias: then Geraldine Montgomery: I dunno. Jessica Macias: for um for skipping a large amount of channels you do have to uh to skip the channel button, the Lori Snyder: Yeah. Geraldine Montgomery: But Jessica Macias: number Geraldine Montgomery: users Jessica Macias: part. Cheryl Robertson: Yeah. Geraldine Montgomery: tend to tend to want to use that and once they lose out on the user experience they're like Lori Snyder: Okay. Jessica Macias: Uh but Geraldine Montgomery: Because that's becomes the most accessible Lori Snyder: Okay. Geraldine Montgomery: thing Cheryl Robertson: But that's Geraldine Montgomery: in front Cheryl Robertson: not a bad Geraldine Montgomery: of Cheryl Robertson: thing is it? Lori Snyder: Just Cheryl Robertson: Because when you think about it, the alternative is to go push Jessica Macias: Yeah. Cheryl Robertson: the button. Geraldine Montgomery: Yeah. Cheryl Robertson: Jog dials are much easier than that. Lori Snyder: Okay Cheryl Robertson: You Lori Snyder: um Cheryl Robertson: just roll. Lori Snyder: right well wouldn't it we do need to make a decision on whether we want to incorporate a jog dial in nice and quickly. Um I'm all for them actually, I think they're quite you Cheryl Robertson: Yeah. Lori Snyder: know th very quick to m to use. Cheryl Robertson: Yeah. Lori Snyder: So does anybody oppose the idea of of incorporating one into the design at all? No. And the other thing was um can we think of any way of getting the slogan into this thing? Cheryl Robertson: Yeah like I mean if we if if we keep coming back to this board here, Lori Snyder: Uh-huh. Cheryl Robertson: I wouldn't be surprised if we could take this idea, imagine that, I dunno, that it's within the shape of the hand, it's quite small Lori Snyder: Uh-huh ooh okay, Cheryl Robertson: I dunno. Lori Snyder: we really gotta wrap up so Cheryl Robertson: Yeah. Lori Snyder: yeah. Cheryl Robertson: It's small, and that we've got like the the l slogan somewhere like on the casing Lori Snyder: Okay Cheryl Robertson: at the side, Lori Snyder: well if we can do Cheryl Robertson: and that Lori Snyder: that, great. Cheryl Robertson: yeah Lori Snyder: Yeah okay. Cheryl Robertson: well I mean isn't that what we just h said said we s just have to decide now? Lori Snyder: Yeah let's let's try and get the slogan on there Cheryl Robertson: Yeah. Lori Snyder: um, and Cheryl Robertson: And then Geraldine Montgomery: So Cheryl Robertson: like Geraldine Montgomery: you Cheryl Robertson: a Geraldine Montgomery: wanna Cheryl Robertson: jo Geraldine Montgomery: expand the shape of the Cheryl Robertson: And then like a jog dial somewhere that fits in with the shape of it like I dunno like here, in with Geraldine Montgomery: That Cheryl Robertson: the Geraldine Montgomery: that might have one problem in terms of um Cheryl Robertson: It would get bumped, it's doesn't Geraldine Montgomery: in terms Cheryl Robertson: really fit Geraldine Montgomery: of Cheryl Robertson: with your Geraldine Montgomery: whether Cheryl Robertson: hand. Geraldine Montgomery: you're left handed or you're right handed Cheryl Robertson: Yeah. Geraldine Montgomery: you Lori Snyder: Mm. Geraldine Montgomery: might be locking yourself in. Cheryl Robertson: Or maybe Jessica Macias: Mm. Cheryl Robertson: just fit Geraldine Montgomery: Could Cheryl Robertson: it Geraldine Montgomery: I just Cheryl Robertson: in like down the middle Lori Snyder: Okay. Cheryl Robertson: here. Geraldine Montgomery: could I just jump in and suggest something Lori Snyder: Right Cheryl Robertson: A Geraldine Montgomery: quickly? Lori Snyder: I'm Cheryl Robertson: jog Lori Snyder: gonna have Cheryl Robertson: di Lori Snyder: to I'm really gonna have to hurry you on here 'cause we're we're Cheryl Robertson: Yeah. Lori Snyder: actually over time. Cheryl Robertson: It's kind Lori Snyder: Um Cheryl Robertson: of Lori Snyder: is there anything Cheryl Robertson: yeah Lori Snyder: anybody's unsure about? Just for in closing just the next meeting's gonna be in thirty minutes, and so you can see in the screen here what each of you are gonna hopefully be doing, Cheryl Robertson: Yeah. Lori Snyder: uh I know that the designers are gonna be working with Play-doh on that. So um that'll Cheryl Robertson: Huh. Lori Snyder: be that'll be good. Um and I'll get the the minutes up as soon as possible. Anything at all you think we haven't discussed that we need to? Is everybody Cheryl Robertson: Um Lori Snyder: kind of happy about Geraldine Montgomery: Um Lori Snyder: what they're gonna be doing? Geraldine Montgomery: I think one thing would be the jog dial 'cause that's gonna have quite a big impact on Cheryl Robertson: Yeah I think Geraldine Montgomery: the thing Cheryl Robertson: the jog Geraldine Montgomery: um Cheryl Robertson: dial, you know it just after you drew that, what if it was flat and you just Geraldine Montgomery: Yeah Cheryl Robertson: spun Geraldine Montgomery: that's what Cheryl Robertson: it, Geraldine Montgomery: I was thinking Cheryl Robertson: that'd be great. Geraldine Montgomery: the a slide, because Cheryl Robertson: Yeah. Geraldine Montgomery: then you you don't have to put the hand. Cheryl Robertson: Yep. Geraldine Montgomery: I think incorporating a logo is quite straight forward. There's Lori Snyder: Okay. Geraldine Montgomery: lots of space for it um Lori Snyder: That's kind of a design thing that you guys can Geraldine Montgomery: Yeah Lori Snyder: can discuss, Geraldine Montgomery: but it's Lori Snyder: yeah. Cheryl Robertson: Sure, Geraldine Montgomery: also a a marketing Cheryl Robertson: yeah, Geraldine Montgomery: and a function Cheryl Robertson: yeah Lori Snyder: Okay. Cheryl Robertson: and materials we sorta said we'd do plastic and rubber, didn't Geraldine Montgomery: Yeah. Cheryl Robertson: we, Lori Snyder: Yeah. Cheryl Robertson: and I think maybe we should try and stay away from just the big protruding rubber buttons, 'cause that'd just be so standard. Lori Snyder: To make something flush with the case? Cheryl Robertson: Something a bit more flush, yeah, Lori Snyder: Okay right. Cheryl Robertson: or maybe have rubber incorporated into the case as well, so Lori Snyder: Okay. Cheryl Robertson: that it has and also t plastic Lori Snyder: Sp kinda Cheryl Robertson: I've Lori Snyder: grippy? Cheryl Robertson: seen can get really textured, so you can get plastics that actually feel soft in your hand. Geraldine Montgomery: Feel like fruit. Lori Snyder: Okay. Geraldine Montgomery: Fruits kids. Cheryl Robertson: They feel kind of like um, you get pens Geraldine Montgomery: No like Cheryl Robertson: now and then that you'd think that Geraldine Montgomery: Yeah Cheryl Robertson: they were Geraldine Montgomery: yeah. Cheryl Robertson: rubber but they're not, they're actually just plastic that's textured, kind Geraldine Montgomery: Yeah Cheryl Robertson: of a Geraldine Montgomery: yeah Cheryl Robertson: little Geraldine Montgomery: kinda Cheryl Robertson: bit Lori Snyder: Okay Cheryl Robertson: like Geraldine Montgomery: like that yeah. Lori Snyder: I'm gonna have to I'm gonna have to call this to a close 'cause we're way over time. So um that's really good, like we've s had much to talk about that um pretty much run Cheryl Robertson: Okay. Lori Snyder: out of time to do so. So off Cheryl Robertson: Okay. Lori Snyder: you go and design stuff wooh. Geraldine Montgomery: Play-doh time. Lori Snyder: Yeah quite jealous actually. Geraldine Montgomery: You got to choose first. No, we're kidding. Okay, can I just swipe your power cable, I don't think it matters. Okay lemme okay, I'm gonna pull everybody out first and then put in whoever needs to be left. It's you. Geraldine Montgomery: Argh. This is a real hassle and a oops. I'm gonna take the microphones, 'cause it's too lazy t take them off again. Cool.

Lori Snyder recapped the decisions made in the previous meeting. Cheryl Robertson discussed his findings from trend watching reports, stressing the need for a product that has a fancy look and feel, is technologically innovative, is easy to use, and incorporates some aspect of fruit and vegetables in its design. The interface specialist presented research on the appearance of current remotes, concluding that current remotes are generally unappealing in terms of look and usability. The interface specialist presented ideas on how to remedy the unappealing aspects of current remotes in the team's design and also how to incorporate the corporate color scheme into the design. Geraldine Montgomery presented options for materials, components, and batteries and discussed the restrictions involved in using certain materials. The team then discussed options for the shape and color scheme of the remote, as well as what components, batteries, and materials to use.

amisum

train

Barbara Allen: Okay we all all set? Right. Well this is the uh final detailed design meeting. Um we're gonna discuss the look and feel design, the user interface design, and we're gonna evaluate the product. And the end result of this meeting has to be a decision on the details of this remote control, like absolute final decision, um and then I'm gonna have to specify the final design in the final report. So um just from from last time to recap, we said we were gonna have a snowman shaped remote control with no L_C_D_ display, no need for talk-back, it was hopefully gonna be kinetic power and battery uh with rubber buttons, maybe backlighting the buttons with some internal L_E_D_s to shine through the casing, um hopefully a jog-dial, and incorporating the slogan somewhere as well. Anything I've missed? Debra Risner: No. Barbara Allen: Okay um so uh if you want to present your prototype go ahead. Jennifer Leja: Uh-oh. This is it? Debra Risner: Ninja Homer, made in Japan. Jennifer Leja: Um, a few changes we've made. Um, Barbara Allen: Okay. Jennifer Leja: well look at the expense sheet, and uh Barbara Allen: Mm. Jennifer Leja: it turned to be quite a lot expensive to have open up and have lots of buttons and stuff inside, Barbara Allen: Mm-hmm. Jennifer Leja: so instead we've um this is gonna be an L_C_D_ screen, um just a a very very basic one, very small um with access to the menu through the the scroll wheel and uh confirm um button. Ruth Weisgerber: Mm 'kay. Debra Risner: And there isn't uh d it doesn't open up to the advanced functions? So the advanced functions are still hidden from you, but they're hidden in the sense that um they're not in use. Ruth Weisgerber: Where are they? Debra Risner: Um they're in the L_C_D_ panel and the jog-dial? Ruth Weisgerber: Ah, right. Debra Risner: Okay Ruth Weisgerber: Great. Debra Risner: 'cause Barbara Allen: So w what kind of thing uh is gonna be Debra Risner: The L_C_D_ panel just displays um functionally what you're doing. If you're using Ruth Weisgerber: Right. Debra Risner: an advanced function right, like um c brightness, contrast, whatever, Ruth Weisgerber: Okay. Debra Risner: it will just say You know it's like only has four columns, it's a very simple L_C_D_ like, Ruth Weisgerber: Right. Debra Risner: whereas many the minimum amount we need that the user will automatically know like this is brightness or this is contrast. Barbara Allen: Mm-hmm. Ruth Weisgerber: Right, Barbara Allen: Okay cool. Debra Risner: It might even Ruth Weisgerber: 'kay. Debra Risner: be one, a bit more complex L_C_D_ panel with Ruth Weisgerber: Okay. Debra Risner: pictures like maybe the sun or the, you know, the the symbols of the various Ruth Weisgerber: Mm-hmm, Barbara Allen: Oh Debra Risner: functions. Barbara Allen: right okay. Ruth Weisgerber: and what is Barbara Allen: Cool. Ruth Weisgerber: this here? Debra Risner: That's a number pad. Ruth Weisgerber: Okay so the number pad is Barbara Allen: Where Ruth Weisgerber: 'Kay, Barbara Allen: are we gonna Ruth Weisgerber: great. Barbara Allen: have the slogan? Debra Risner: Um Jennifer Leja: You know, just like Debra Risner: they're al along Jennifer Leja: right Debra Risner: this Jennifer Leja: inside Debra Risner: Yeah. Jennifer Leja: there. Barbara Allen: Okay cool. Debra Risner: You have this space here, and then you have this thing on the side as well, or at the bottom. Barbara Allen: Okay. Debra Risner: 'Cause slogans are usually quite small, right, they're not like Ruth Weisgerber: Mm. Debra Risner: huge so they're s Ruth Weisgerber: Yep. Debra Risner: Say a button's Barbara Allen: Okay. Ruth Weisgerber: Looks Debra Risner: about Ruth Weisgerber: good. Debra Risner: say a button's about this size, right, Ruth Weisgerber: Yep. Debra Risner: so you would still have plenty Ruth Weisgerber: Mm-hmm. Debra Risner: of space for a slogan, say even Barbara Allen: So Debra Risner: for that. Barbara Allen: if this isn't to scale, what kind of dimensions are you thinking about here? Jennifer Leja: Well we want the other buttons to be big enough to push easily Barbara Allen: Mm-hmm. Jennifer Leja: with a finger so we reckon maybe that'll be about the same size as the palm Ruth Weisgerber: Okay. Jennifer Leja: of your hand. Debra Risner: Yep so that would be about a centimetre for a button, so one two three four centimetres. Plus maybe half Ruth Weisgerber: Mm-hmm. Debra Risner: o five Ruth Weisgerber: About nine Debra Risner: six Ruth Weisgerber: in total. Barbara Allen: Six, Debra Risner: seven Barbara Allen: seven, Debra Risner: eight, Barbara Allen: eight, nine, ten. Debra Risner: about Barbara Allen: So Debra Risner: yeah nine total. Barbara Allen: we're Ruth Weisgerber: That Barbara Allen: talking Ruth Weisgerber: sounds Barbara Allen: about Ruth Weisgerber: good. Barbara Allen: ten Ruth Weisgerber: Yeah. Barbara Allen: centimetres. That would be Ruth Weisgerber: Yep. Barbara Allen: good. So Debra Risner: Nine, Barbara Allen: ten Debra Risner: ten. Barbara Allen: centimetres in height. Debra Risner: Yep. Barbara Allen: Okay um. Ruth Weisgerber: That'd be good, in fact a pen is about ten centimetres usually, so that would be that sounds a really good size Barbara Allen: Yeah. Ruth Weisgerber: if, you see it there. Barbara Allen: That's great and it's very bright as well. Ruth Weisgerber: Mm. Barbara Allen: So um okay. Ruth Weisgerber: Is it possible uh I'm just gonna bring up the idea of colours. Is these are these the colours that of production, Jennifer Leja: Well I'm Ruth Weisgerber: or is this just what we had available? Jennifer Leja: We're gonna have again the the sort of the foggy um yellow from last time that lit up when you pushed the button. Ruth Weisgerber: Right. Jennifer Leja: Um Barbara Allen: Okay so just could you just list all the things that it does s so I can write them in the report. Jennifer Leja: But um this button um, because it's red it's sort of very prominent, we're gonna use it as uh it can be the power button if you hold it for maybe two seconds it'll Barbara Allen: Mm-hmm. Jennifer Leja: send a stand-by signal. Um apart from Debra Risner: Excuse Jennifer Leja: that Debra Risner: Ruth Weisgerber. Jennifer Leja: it's gonna Debra Risner: Sure. Jennifer Leja: be used as a confirm button for the L_C_D_ screen Barbara Allen: Okay. Jennifer Leja: and you use this as a jog-dial. Barbara Allen: Okay so that's like an okay button, right. Ruth Weisgerber: Mm-hmm. Debra Risner: Oh we've discussed Jennifer Leja: I don't Debra Risner: how Jennifer Leja: know. Debra Risner: h high it is, but how wide is it? Barbara Allen: Okay. Ruth Weisgerber: How high is it? Debra Risner: No as in the height, Ruth Weisgerber: Yeah. Debra Risner: but what about the width? Jennifer Leja: Didn't Barbara Allen: Oh Jennifer Leja: put five Barbara Allen: oh Jennifer Leja: centimetres. Barbara Allen: like depth of the actual Debra Risner: Do we need five? Barbara Allen: thing. Debra Risner: I don't think Jennifer Leja: Um. Debra Risner: five is be about th three and a half. Ruth Weisgerber: Okay. Jennifer Leja: Something Barbara Allen: Oh is this Jennifer Leja: by Barbara Allen: k Jennifer Leja: there. Barbara Allen: to get an idea of scale Debra Risner: Yeah, Barbara Allen: from your Ruth Weisgerber: Sure. Barbara Allen: from your Debra Risner: yeah. Barbara Allen: thing there okay. So you can power on and off, Ruth Weisgerber: Three and Barbara Allen: what else Ruth Weisgerber: a half. Barbara Allen: can you do? Jennifer Leja: Um you can skip straight to a channel using these buttons. Barbara Allen: Okay. Jennifer Leja: Um, were gonna have the volume control here, but um because we've got the the L_C_D_ and the jog-dial we just thought we'd um use that as the volume. Barbara Allen: Okay jog-dial for volume. And what Ruth Weisgerber: Mm-hmm. Barbara Allen: else do you do with the jog-dial? Jennifer Leja: Um you can use it for um more advanced functions like contrast, colour and Barbara Allen: Contrast, brightness, Jennifer Leja: Um yeah. Barbara Allen: yeah, and anything else? Jennifer Leja: Um just whatever else we wanted to include as the advanced functions, um we didn't actually go through and specify the Barbara Allen: Well of the designers what are they? Jennifer Leja: Uh what can a T_V_ do? Debra Risner: Okay things like um brightness, contrast, Barbara Allen: Uh-huh. Debra Risner: um maybe tuning the channels. Barbara Allen: Okay channel tuning. Debra Risner: Um. Barbara Allen: That's a good one. Debra Risner: What else? Um the various inputs. Are you having a V_C_R_, are you Ruth Weisgerber: Mm-hmm, Debra Risner: having Ruth Weisgerber: mm-hmm. Debra Risner: you know which input do you have? Barbara Allen: Okay auxiliary Ruth Weisgerber: Mm-hmm, probably Barbara Allen: inputs. Debra Risner: Um. Ruth Weisgerber: colour or sharpness. Debra Risner: Yep, colour, sharpness. Barbara Allen: Sharpness. Debra Risner: Um a lot of these things will have to be um free and open for users to define them. Ruth Weisgerber: Mm-hmm. Barbara Allen: Okay what about uh sound settings? Uh d can you change any of those at all? Ruth Weisgerber: Audio. Debra Risner: Audio, we have like Jennifer Leja: Um. Debra Risner: your basic y your base, your mid-range, your high range. Um. Jennifer Leja: the the balance hmm. Debra Risner: Yep, left-right balance, um maybe even pre-programmed sound modes, like Barbara Allen: Okay. Debra Risner: um the user could determine like a series of sound modes, and then Ruth Weisgerber: Mm-hmm. Debra Risner: what could happen would be um when you click on that then it would go to that setting. Barbara Allen: Okay, Ruth Weisgerber: Mm 'kay. Debra Risner: Yeah. Barbara Allen: is there anything else at all it can do? That 'cause that's that's fine. Just need to know so I can write it down. Okay um right I g I guess that's it, so we can now um We can now have a little look at the the Excel sheet and price listing, and see if we need to Jennifer Leja: Mm-hmm. Barbara Allen: um if we need to rethink anything at all. So um for this first part here power-wise, have we Debra Risner: The Barbara Allen: got Debra Risner: battery. Barbara Allen: battery? Do we have kinetic as well? Debra Risner: No. Barbara Allen: No. Okay, Debra Risner: Um. Barbara Allen: just battery. Debra Risner: We need an Barbara Allen: And that's because of cost restraints Debra Risner: Yep. Barbara Allen: is it? Jennifer Leja: Yeah. Barbara Allen: Okay um Debra Risner: Yeah advanced Barbara Allen: what about the Debra Risner: chip. Barbara Allen: electronics here? Debra Risner: We Barbara Allen: Advanced Debra Risner: need an advanced Barbara Allen: chip. Debra Risner: chip I think, yep. Let Ruth Weisgerber just confirm that. Yes I think so. Yep. Barbara Allen: Okay um the case, what does it mean by single and double, do you know? Jennifer Leja: Um I think single would just be sort of one sort of oval whereas double is this sort of thing. Debra Risner: Yeah. Barbara Allen: So we want double-curved? Debra Risner: Yep. Barbara Allen: Okay. Um. Debra Risner: Plastic. Barbara Allen: Is there any rubber at all in the buttons Debra Risner: I think we're Barbara Allen: or any Debra Risner: gonna have to skip the rubber. Barbara Allen: Okay, Debra Risner: Um. Barbara Allen: um and we wanted special colours didn't Debra Risner: Yep. Barbara Allen: we? So I'll have to put that Oh no wait we ho how many colours have we got there? Debra Risner: For the case itself, one colour. It's one special colour. Barbara Allen: Just one colour, okay. Debra Risner: 'Cause the case unit itself, the rest of our components Barbara Allen: Okay Debra Risner: go on top Ruth Weisgerber: Mm. Debra Risner: of it. Barbara Allen: so interface-wise, is it this third option we Debra Risner: Yes. Barbara Allen: have, the two of them there? Debra Risner: One and the L_C_ display. Barbara Allen: Okay and then buttons, Debra Risner: How many Barbara Allen: we have what, Jennifer Leja: Um we have Barbara Allen: two Jennifer Leja: um Barbara Allen: colours? Jennifer Leja: got some Ruth Weisgerber: Or even Jennifer Leja: push buttons Ruth Weisgerber: clear. Jennifer Leja: as well. Debra Risner: We've got push buttons as well. Barbara Allen: Like uh Jennifer Leja: 'Kay. Barbara Allen: oh wait so push button and integrated scroll wheel push okay. Jennifer Leja: So I reckon we've got one button for this thing 'cause it's just one big sheet of rubber. Barbara Allen: Uh-huh. Jennifer Leja: I'm not sure if that counts but Barbara Allen: Okay. Debra Risner: Okay let's just be safe and put like say four buttons for that one. Barbara Allen: Okay. Debra Risner: Okay um and maybe a special colour for the buttons, so maybe four again. Barbara Allen: Four. Jennifer Leja: You can see we're we're all very Barbara Allen: So Jennifer Leja: far Barbara Allen: w Jennifer Leja: beyond Barbara Allen: why Jennifer Leja: the Barbara Allen: are we arriving at the number four? Where does the number four come from? Debra Risner: 'Cause that's one button by its the complexity of twelve buttons. Barbara Allen: Okay right, so Debra Risner: So Barbara Allen: we're writing Debra Risner: we're Barbara Allen: down Debra Risner: just Barbara Allen: four. Debra Risner: estimating that yeah it would be less. Barbara Allen: Okay. How about these? Are we wanting them in Debra Risner: No. Barbara Allen: no they're just is Debra Risner: Yep. Barbara Allen: everything gonna be plastic? Debra Risner: Yep. Barbara Allen: Okay. So we're w w quite far over. Now we're gonna something's gonna have to go. Um we're at sixteen point eight and Ruth Weisgerber: Uh how mm-hmm how are we going to achieve this high-end product if Barbara Allen: Well we h something has to Ruth Weisgerber: We Barbara Allen: go Ruth Weisgerber: only have Barbara Allen: to the tune Ruth Weisgerber: very Barbara Allen: of Ruth Weisgerber: sparse Barbara Allen: two point t three Euro, so let Ruth Weisgerber see, what are we Ruth Weisgerber: Two Barbara Allen: I mean Ruth Weisgerber: point three? Four point three no? Barbara Allen: oh yes sorry, four point three. My maths is all out. Jennifer Leja: Well we could take out ones by making it single curved, just fill in those bits. Barbara Allen: Yeah. Ruth Weisgerber: And then where Debra Risner: How Ruth Weisgerber: is Debra Risner: much Ruth Weisgerber: the Debra Risner: would that save us? Barbara Allen: How much would that save Debra Risner: That Barbara Allen: us? Debra Risner: will only save Jennifer Leja: That Debra Risner: you one. Jennifer Leja: is one. Barbara Allen: One. Debra Risner: The other thing could be that um you could take away the L_C_D_ panel and the advanced chip together, um because when you do something on the T_V_, Ruth Weisgerber: Mm-hmm. Debra Risner: the T_V_ responds and reacts as well, so the user could be looking at the T_V_ and pushing his thing Jennifer Leja: That's Debra Risner: so Jennifer Leja: fair Debra Risner: we Jennifer Leja: enough, Debra Risner: may Jennifer Leja: yeah. Debra Risner: not need to Ruth Weisgerber: Mm-hmm. Debra Risner: so when we scroll we need just some way to Ruth Weisgerber: Mm-hmm. Debra Risner: get the T_V_ to respond, Barbara Allen: Okay Ruth Weisgerber: Mm-hmm. Barbara Allen: so Debra Risner: which I think is a technically doable thing so Ruth Weisgerber: Mm-hmm. Barbara Allen: So w what's our reviewed suggestion? Um take away the L_C_ display? Debra Risner: Yep. And Ruth Weisgerber: Mm-hmm. Debra Risner: the advanced chip goes away as well. Barbara Allen: To be replaced with a Debra Risner: Regular chip. Barbara Allen: regular chip. Debra Risner: Yep. Ruth Weisgerber: Mm-hmm. Barbara Allen: Okay. Debra Risner: So what that means is that Barbara Allen: And Debra Risner: um Barbara Allen: so we've got point three to get rid of. Um and we ha where are the four the four push buttons are where exactly now? Debra Risner: The twelve buttons that you see there. Barbara Allen: Twelve buttons. Jennifer Leja: That's um one piece of rubber but it's gonna have twelve button Barbara Allen: Yeah. Jennifer Leja: things underneath Debra Risner: Functionally Jennifer Leja: so Debra Risner: you're gonna have to intercept So four is a good estimate for Barbara Allen: Do you think? Debra Risner: Yeah, so you can't actually cut It's like three times the number of Barbara Allen: Like Debra Risner: buttons, Barbara Allen: is Debra Risner: four, eight, twelve. Barbara Allen: is that one big button or is it twelve buttons, how Debra Risner: It Barbara Allen: can it be something in between? Debra Risner: It needs to be more than one big button because if you open up your phone, underneath Ruth Weisgerber: Mm-hmm. Debra Risner: there's actually Barbara Allen: Mm. Debra Risner: one button underneath, it's just that the panel itself is a single panel. Ruth Weisgerber: Mm-hmm. Barbara Allen: Okay well we have point three to get rid of somewhere. Debra Risner: We just Barbara Allen: Mm. Debra Risner: report that it has to be over budget, or the colours, you Barbara Allen: No Debra Risner: could Barbara Allen: can Debra Risner: take away Barbara Allen: do. Debra Risner: s colours for th for the buttons. Ruth Weisgerber: Yeah we could just go with Jennifer Leja: Yeah w Ruth Weisgerber: um Debra Risner: Normal coloured buttons. Barbara Allen: Well do you want colour differentiation here? Debra Risner: No Jennifer Leja: Um Debra Risner: that's not the button we're talking Barbara Allen: Oh yeah Debra Risner: about. Barbara Allen: sorry Debra Risner: That's Barbara Allen: yeah then. Debra Risner: the buttons only refer to the pad so Barbara Allen: Right so Debra Risner: Should we take that off uh? Barbara Allen: Ah. Debra Risner: Hey Barbara Allen: That's Debra Risner: it's back Barbara Allen: it. Debra Risner: to the original. Ruth Weisgerber: Hmm. Debra Risner: Um so then these just become normal coloured buttons, Ruth Weisgerber: Mm-hmm. Debra Risner: so that might be some some way of cutting the cost. Ruth Weisgerber: Mm. Barbara Allen: Okay, ach that's a shame. Um right, so take away that completely? Ah. And now we're under budget. So we do have point five Euro to play with if we wanted. Um Jennifer Leja: So I reckon Ruth Weisgerber: How about with embossing the logo, isn't that going to cost us some money? Barbara Allen: Doesn't say so. Ruth Weisgerber: Yeah. That's Jennifer Leja: Reckon that Ruth Weisgerber: a freebie. Jennifer Leja: probably counts as a special form for the buttons. Debra Risner: Yeah. Barbara Allen: a good idea. Just one? Does that mean that one button has a special form or Jennifer Leja: I think there's just one button so Barbara Allen: Yeah Jennifer Leja: handy. Barbara Allen: okay. Well well there we go. So I'm just gonna have to redraw this now. So we're not gonna have the L_C_D_ anymore, and we'll just gonna have an on t on the T_V_ it'll show you what you're doing, which I think is fair enough, and so this is gonna be one big thing here. Um. Ruth Weisgerber: Was the goal in your in your prototype design that it be as low profile as possible? Debra Risner: What do you mean by Jennifer Leja: Yeah. Debra Risner: profile? Ruth Weisgerber: Sort of flat as possible. Debra Risner: No. Jennifer Leja: You see I envision it as being um quite deep sort of Ruth Weisgerber: Yeah. Jennifer Leja: deep enough to be comfy to hold in your hands Ruth Weisgerber: Yeah that's Jennifer Leja: rather Ruth Weisgerber: what I Jennifer Leja: than Ruth Weisgerber: was Jennifer Leja: being Ruth Weisgerber: thinking, Jennifer Leja: wide Ruth Weisgerber: to Jennifer Leja: and flat. Ruth Weisgerber: Sure, Debra Risner: We Ruth Weisgerber: okay. Debra Risner: didn't have enough Play-Doh to make it three Ruth Weisgerber: Yeah Debra Risner: D_. Ruth Weisgerber: alright yeah fair enough. Okay, just thought I'd ask. Debra Risner: So there's one more dimension to the thing Ruth Weisgerber: Mm-hmm. Debra Risner: which we need to to add, and you might want to add in the report, height. Barbara Allen: Right okay. Debra Risner: Yeah. Barbara Allen: So just to well to be thorough then, width-wise we're looking at about what three centimetres or something? Debra Risner: Yeah. Barbara Allen: Okay and then so Ruth Weisgerber: Hmm. Barbara Allen: height-wise How how tall do you envisage it being? About Jennifer Leja: Yeah Barbara Allen: that Jennifer Leja: it works, Barbara Allen: big? Debra Risner: Two. Jennifer Leja: yeah. Barbara Allen: About two centimetres, okay. Ruth Weisgerber: Two's not very high at all though. Maybe Debra Risner: This Ruth Weisgerber: a bit Debra Risner: is Ruth Weisgerber: higher? Debra Risner: about this is about two. Slightly more than Jennifer Leja: See, Debra Risner: two, Ruth Weisgerber: Yeah. Debra Risner: so Jennifer Leja: about that thick. Barbara Allen: Okay. Ruth Weisgerber: Maybe closer Barbara Allen: Ach, that Ruth Weisgerber: to Barbara Allen: is Ruth Weisgerber: three even Barbara Allen: Yeah. Debra Risner: Okay. Ruth Weisgerber: or two and a half. Barbara Allen: Okay we'll s we'll say two point five. Okay um so we have it within cost anyway. Um so yeah project evaluation is this point. Um. Ruth Weisgerber: Mm-hmm. Barbara Allen: Right uh. Okay so can we close that? This is what it's the final spec that it's gonna be. Ruth Weisgerber: Mm-hmm. Barbara Allen: Someone is gonna have to yeah that's fine that's fine. Ruth Weisgerber: Um it's probably just I dunno if it's worth getting into, but um just in in that we want this to be stylish, should we think a little bit more out of the box in terms of a button grid, because I've seen there's lots of devices out there that that instead of taking your standard nine nine square grid, and they have it sort of stylized or in different concept that that Debra Risner: I think that's something that's very hard to catch, Ruth Weisgerber: Yeah. Debra Risner: so you you restrict the number of people who wanna try something. Ruth Weisgerber: Sure, okay. Debra Risner: The the look and the colour is something which is cool, Ruth Weisgerber: Yeah, alright. Debra Risner: but I think that there's also that factor of if it's too unfamiliar Ruth Weisgerber: Okay, Debra Risner: then Ruth Weisgerber: sure. Debra Risner: um because when you put Ruth Weisgerber: What about Debra Risner: it on the Ruth Weisgerber: button Debra Risner: shelf Ruth Weisgerber: shape? Square buttons? Debra Risner: Yeah button shape might be a good idea to change, Ruth Weisgerber: Okay. Debra Risner: rather than rather than positioning, Ruth Weisgerber: Yeah. Debra Risner: 'cause I think positioning is Ruth Weisgerber: Sure. Debra Risner: we're kinda engrained into the Jennifer Leja: Yeah. Debra Risner: the telephone kind Ruth Weisgerber: Yeah. Debra Risner: of Barbara Allen: Okay. Debra Risner: pad. Barbara Allen: Right um. So at this point we uh, let Ruth Weisgerber see, discuss uh how satisfied we all are with um with these four points, with the room for creativity in the project, and leadership and teamwork, and the stuff we had around Ruth Weisgerber: Mm 'kay. Barbara Allen: us I guess. Um, let Ruth Weisgerber see uh Ruth Weisgerber: Do you want Ruth Weisgerber to d um Do you want Ruth Weisgerber to do my um design evaluation last? Debra Risner: Maybe Barbara Allen: Yeah I wasn't Debra Risner: we should Ruth Weisgerber: Or Barbara Allen: really Debra Risner: do the Barbara Allen: sure Debra Risner: design evaluation Barbara Allen: what that was Debra Risner: first. Barbara Allen: Yeah, Ruth Weisgerber: Evaluation. Barbara Allen: yeah go for that first. I wasn't entirely sure what uh Ruth Weisgerber: Okay. Barbara Allen: who was supposed to be doing that, but Ruth Weisgerber: Sure. Barbara Allen: y you go for it. Ruth Weisgerber: Um, alright so the way this works, I'm gonna need to plug into PowerPoint, Barbara Allen: Okay. Ruth Weisgerber: I'll try and do it as quick as possible. Barbara Allen: Okay. Ruth Weisgerber: Um, this is um I'll just go over your head if that's okay. Barbara Allen: Yeah. Debra Risner: I don't think you need the power, so Ruth Weisgerber: What's that? Debra Risner: No, that's okay that's okay. Ruth Weisgerber: I don't need the PowerPoint? Debra Risner: No, the power cord itself. Ruth Weisgerber: Oh course, Debra Risner: Yeah, Ruth Weisgerber: yeah that's Debra Risner: so Ruth Weisgerber: true. Debra Risner: then you have Ruth Weisgerber: Let Debra Risner: a Ruth Weisgerber: Ruth Weisgerber Debra Risner: bit Ruth Weisgerber: get Debra Risner: more Ruth Weisgerber: that. Debra Risner: freedom to Ruth Weisgerber: A bit more. Okay, Debra Risner: You you still have your blue Ruth Weisgerber: so Debra Risner: fingers. Ruth Weisgerber: what this is is a set-up for us to Jennifer Leja: Is it? Ruth Weisgerber: um Debra Risner: You Ruth Weisgerber: uh use Debra Risner: killed Ruth Weisgerber: a kind Debra Risner: a monster. Ruth Weisgerber: of a like a The idea is that I've set up I've reviewed all of the um the points of discussion from the beginning, and used that as a criteria of evaluation for the um uh for the current design uh th or the plan, and uh so we can review that. Uh I think it's gonna end up being sort of elementary because we're sort we're in n we're not gonna probably use it to change anything but Doesn't seem like it's going, does it? Barbara Allen: Oh there it is. Ruth Weisgerber: Yeah, okay great. Uh and I'm gonna write up our results on the board, so this'll be a way for us to go through and decide if we're um sort of review where we stand with it. Okay, so um So to sort of b bring together two things, sort of design goals and also the market research that we had, uh when we rate this, one is v high in in succeeding or fitting to our original aim and seven is low, okay. Barbara Allen: Mm 'kay. Ruth Weisgerber: So these i these i th are the and um we've been asked to uh to collectively rate this, so what we can do is try and just y work on a consensus system so we just come to an agreement. Barbara Allen: Okay. Ruth Weisgerber: Okay? So the first one uh, stylish look and feel. Debra Risner: I rate that pretty highly. Barbara Allen: Well yeah, Jennifer Leja: Yeah. Barbara Allen: I mean compared to most Ruth Weisgerber: Yeah. Barbara Allen: remote controls you see that's pretty good. I dunno Ruth Weisgerber: Yeah. Barbara Allen: like a six or something. Ruth Weisgerber: Yeah Barbara Allen: What Ruth Weisgerber: um Barbara Allen: does anybody else think? Ruth Weisgerber: Ruth Weisgerber uh my only reservation with it was that we basically went with yellow because it's the company's colour, Barbara Allen: Mm. Ruth Weisgerber: and I don't know if yellow's gonna really be a hit. Barbara Allen: Mm. Ruth Weisgerber: But Barbara Allen: Okay. Jennifer Leja: I'm seeing five then. Ruth Weisgerber: What do you guys think? Barbara Allen: I would say five or six. Ruth Weisgerber: Okay. Barbara Allen: David? Debra Risner: Yep I'm fine with that. Ruth Weisgerber: Okay let's go with five then. Barbara Allen: Okay. Ruth Weisgerber: Fi oh uh just Debra Risner: It's Ruth Weisgerber: actually Debra Risner: one Ruth Weisgerber: the opposite. Debra Risner: to seven, right? Ruth Weisgerber: The Barbara Allen: Oh yes sorry Ruth Weisgerber: So it meant Barbara Allen: then, then I would say two Ruth Weisgerber: three, Barbara Allen: or three. Ruth Weisgerber: okay. Debra Risner: Wait, what's the scale, one to seven, Jennifer Leja: One's Debra Risner: right? Barbara Allen: Yeah. Jennifer Leja: high-ish Ruth Weisgerber: Yeah, Jennifer Leja: isn't it? Ruth Weisgerber: one is high. Jennifer Leja: Ah, okay so yeah, two or three. Ruth Weisgerber: 'Kay Debra Risner: Okay, it's Ruth Weisgerber: Let's Debra Risner: upside-down. Ruth Weisgerber: go with two point five then. Okay, um control high tech innovation. Barbara Allen: Well it Ruth Weisgerber: We Barbara Allen: has Ruth Weisgerber: had to Barbara Allen: the Ruth Weisgerber: remove Barbara Allen: wee jog-dial but Ruth Weisgerber: Yeah, so we've had to remove a few of our features we Barbara Allen: Mm. Ruth Weisgerber: wanted, but jog-dial 's Barbara Allen: I'd Ruth Weisgerber: good. Debra Risner: Say Barbara Allen: go with Debra Risner: it's more Barbara Allen: three Jennifer Leja: Eight Barbara Allen: or Jennifer Leja: three. Barbara Allen: four, Debra Risner: medium, Barbara Allen: maybe three. Debra Risner: but going towards a little bit higher than medium Ruth Weisgerber: Okay, Debra Risner: kind of Barbara Allen: Yeah Debra Risner: thing. Barbara Allen: about Ruth Weisgerber: three? Barbara Allen: three, okay. Debra Risner: Yep. Ruth Weisgerber: Okay, um Style reflects a fruit inspired colour, design. I Debra Risner: Lemon. Ruth Weisgerber: shouldn't have said colour, but just Barbara Allen: Well that's Debra Risner: Okay, Barbara Allen: kind Debra Risner: the Barbara Allen: of Debra Risner: blue Jennifer Leja: Yeah. Debra Risner: the blue Ruth Weisgerber: Sorta. Debra Risner: colours and don't re don't actually represent the colour, except Ruth Weisgerber: Yeah. Debra Risner: for the b the the red button, they because for want of a Barbara Allen: But Ruth Weisgerber: Right. Barbara Allen: the yellow, I mean it could be Ruth Weisgerber: Yeah, Barbara Allen: a lemon Ruth Weisgerber: could Barbara Allen: yellow Ruth Weisgerber: be. Yeah. Barbara Allen: colour, Debra Risner: Yeah, the Barbara Allen: couldn't Debra Risner: the yellow Barbara Allen: it? Debra Risner: is more representative of the colour, but Ruth Weisgerber: Okay. Debra Risner: the Barbara Allen: Yeah. Debra Risner: button itself, the blue can be anything else. Ruth Weisgerber: Okay so we'll go two. Barbara Allen: Mm-hmm. Ruth Weisgerber: Yeah? Okay, and um design is simple to use, simple in features. Barbara Allen: Well yeah, I mean it's really basic Ruth Weisgerber: F Barbara Allen: looking Ruth Weisgerber: f Barbara Allen: isn't it? I Ruth Weisgerber: yeah Barbara Allen: mean I'd give that nearly a one. Ruth Weisgerber: f fairly basic, you guys think? Jennifer Leja: Yeah one. Debra Risner: Yep, Ruth Weisgerber: Yeah, one? Debra Risner: that's Ruth Weisgerber: Okay. Debra Risner: fine. Ruth Weisgerber: Um, soft and spongy, have we achieved that? We've used mostly plastic in the end so it's going to be quite Jennifer Leja: Yeah I think Ruth Weisgerber: a bit Jennifer Leja: it's Ruth Weisgerber: of Jennifer Leja: about Ruth Weisgerber: a compromise Jennifer Leja: five. Ruth Weisgerber: for price. Five? Barbara Allen: Five? That's Jennifer Leja: Yeah Barbara Allen: really low. Well Jennifer Leja: well we have to use uh plastic so it's Barbara Allen: Yeah Jennifer Leja: probably Barbara Allen: I Ruth Weisgerber: That's Jennifer Leja: gonna Barbara Allen: suppose Jennifer Leja: be Barbara Allen: mm 'kay. Ruth Weisgerber: Um Debra Risner: Yeah, Ruth Weisgerber: could Debra Risner: company Ruth Weisgerber: we have Debra Risner: logo. Ruth Weisgerber: used an entirely rubber frame to it? Was that an option? Jennifer Leja: I think I'd probably Debra Risner: I think Jennifer Leja: increase Debra Risner: it'll Jennifer Leja: the cost. Debra Risner: be cost Jennifer Leja: We've only Ruth Weisgerber: It Debra Risner: prohibitive, Ruth Weisgerber: would Jennifer Leja: got Ruth Weisgerber: cost more than plastic. Jennifer Leja: like what, Debra Risner: yeah. Jennifer Leja: ten Ruth Weisgerber: Okay, Jennifer Leja: cents left Ruth Weisgerber: logo, Jennifer Leja: so Ruth Weisgerber: we've got it in there, haven't we? Debra Risner: Yep. Barbara Allen: Yep. Gonna have that on the side, aren't we, like there or something? Ruth Weisgerber: Huh. And um it's within budget, yep. It is, isn't it? Jennifer Leja: Yeah. Ruth Weisgerber: Okay, so we can say then that uh out of a possible or what would be our goal here? Barbara Allen: Out of forty nine, I guess. Ruth Weisgerber: Yeah, out of forty nine with with zero being the highest. We are at uh two, seven, eight, ten, fifteen point five. Barbara Allen: 'S pretty Ruth Weisgerber: So Barbara Allen: good. Ruth Weisgerber: it's pretty good. Translates to something like about approximately seventy two percent efficacy of our original goal. Right? Barbara Allen: Uh Ruth Weisgerber: I think Barbara Allen: yeah. Ruth Weisgerber: 'cause if you turn that into a hundred it would be about Barbara Allen: Twice that, Ruth Weisgerber: about thirty Barbara Allen: about thirty Ruth Weisgerber: one, Barbara Allen: one. Ruth Weisgerber: and then invert that, it's Barbara Allen: So yeah ab well yeah about sixty nine, seventy percent Ruth Weisgerber: Oh right, Barbara Allen: yeah. Ruth Weisgerber: about seventy, yeah seventy percent. Barbara Allen: It's pretty good. Ruth Weisgerber: Okay, good. That was just a little formality for us to go through. Barbara Allen: Okay. Ruth Weisgerber: Yep, oh hundred pound pen. Sorry alright. Barbara Allen: Nobody saw it, honestly. Ruth Weisgerber: No. Debra Risner: The cameras did. Ruth Weisgerber: Hmm. Barbara Allen: Is that you all have all finished, or Ruth Weisgerber: Yeah that's that's Ruth Weisgerber. I did have one other um one other frame I thought, I mean I I d not knowing how we would deal with this information, I thought okay in theory this kind of a process would be about refining our design, revisiting Barbara Allen: Uh-huh. Ruth Weisgerber: our original goals. It's not something I need to p push through, but I thought should we thinking more about the dimensions, um sort of like more of a three dimensional shapes as well as opposed to just that flat um Barbara Allen: Mm-hmm. Ruth Weisgerber: Could our design involve a series of colours so that it's more of like a line where we have like sort of the, Debra Risner: Yep. Ruth Weisgerber: I don't know like the harvest line or the vibrant, I dunno the Whatever just some theme and then we have different tones, lime green, lemon. Barbara Allen: Okay. Ruth Weisgerber: It's just discussion. I mean obviously we can just abandon this, it's fine. I'm just thinking about what we originally set out to do. Um, Barbara Allen: Right. Ruth Weisgerber: yep so there. That's all. Barbara Allen: Okay, great um are you submitting the the um evaluation criteria or am I? I don't know what your instructions have been. Ruth Weisgerber: Um, I think to record it and uh I haven't been asked to submit it yet. Yeah. Barbara Allen: Okay, uh just wondering if I need to include it in the minutes, because if you're submitting it anyway Ruth Weisgerber: I Barbara Allen: then Ruth Weisgerber: will, yeah. Barbara Allen: Okay great. Debra Risner: It keeps getting too big. Barbara Allen: Cool. Um right, uh well next up then, because we've done finance, is the project evaluation. Debra Risner: 'Kay I'm I'm listening I'm just trying to incorporate the logo into the Barbara Allen: Oh right, Debra Risner: the Barbara Allen: okay. Debra Risner: thing, so I'm playing with the Play-Doh as well. Just in case you're wondering, Ruth Weisgerber: Huh. Debra Risner: why is he still playing with the Play-Doh? Debra Risner: Just about right L_E_G_O_ Lego. Jennifer Leja: My leg. Barbara Allen: Right, okay. Um well do you wanna um just individually say what you think about about these four points and or not those four points, my four points, sorry, forgotten that. You got a different uh Ruth Weisgerber: Yep. I like those printer cables that just have the two little butterfly clips Barbara Allen: Oh yeah, Ruth Weisgerber: like that. Barbara Allen: they're good Ruth Weisgerber: It's Barbara Allen: aren't Ruth Weisgerber: really Barbara Allen: they, yeah. Ruth Weisgerber: quick. Barbara Allen: Right Ruth Weisgerber: To use. Barbara Allen: okay, um yeah here we are. Uh as a note we'll do this alphabetically. Um do you wanna start Ruth Weisgerber: Sure, Barbara Allen: Andrew? Ruth Weisgerber: um so what is it you're asking of Ruth Weisgerber now? Barbara Allen: I don't know, just um your opinion on those four those four points really and how we Ruth Weisgerber: Or sort of our work Barbara Allen: used Ruth Weisgerber: on Barbara Allen: them. Ruth Weisgerber: setting this up. Barbara Allen: Yeah. Ruth Weisgerber: Yeah. Well, is it uh okay I'll just go through your system then. The the room uh is fairly institutional, but um the main thing is, I think um our use of this space is more just to report on things as opposed to be creative and constructive and it would probably help to um have l sort of a cumulative effect of we have ideas and we come back and then the ideas are still in discussion, you know, as Barbara Allen: Uh-huh. Ruth Weisgerber: in other words this this room is sort of a centre point of creativity, whereas in reality as we've gone through this, it's not really the centre point of creativity, it's more just a Barbara Allen: Well d do Ruth Weisgerber: d Barbara Allen: you feel Ruth Weisgerber: debating Barbara Allen: though that that you were able to have quite a lot of creative input into the Ruth Weisgerber: Yeah, Barbara Allen: thing? Ruth Weisgerber: yeah but that's just the thing is the quest in terms of the the first point there, the room, it feels as though the creativity goes on when we leave, and then we come here and then we kind of put out our ideas and then, you Barbara Allen: But Ruth Weisgerber: know. Barbara Allen: I don't I don't think it means the room as in this room. I think Ruth Weisgerber: Oh, Barbara Allen: it means like you Ruth Weisgerber: oh right right, oh Barbara Allen: know Ruth Weisgerber: right okay Barbara Allen: Yeah. Ruth Weisgerber: room for creativ Oh right I just looked up and saw okay whiteboard, Barbara Allen: Room. Ruth Weisgerber: digital pens, the room. Barbara Allen: Oh yeah. Ruth Weisgerber: No, of course, yeah. Barbara Allen: Well I dunno do you th Ruth Weisgerber: Sorry. Barbara Allen: I think it means um Ruth Weisgerber: Huh. Barbara Allen: I think it means did you feel Ruth Weisgerber: Yeah. Barbara Allen: you were able to give creative input so Ruth Weisgerber: Yeah I th okay on th um yeah dif answering the question uh in those terms I'd say that actually there's sort of a tease of creativity because we're asked to work through this, but actually the guidelines are fairly contrived in terms of Barbara Allen: Mm-hmm. Ruth Weisgerber: um okay fashion trends, say fruit and vegetable colour scheme, but then i then we're told okay use the co company Barbara Allen: Mm. Ruth Weisgerber: company colours. So what do we do. We're told okay um think in terms of style and look and feel and technology, but build something for twelve and a half pounds, Barbara Allen: Okay. Ruth Weisgerber: so actually the creativity was more more of like a um a f sort of a f formality then an actual Debra Risner: You Barbara Allen: Okay. Debra Risner: feel like you're caged within Ruth Weisgerber: Yeah Debra Risner: whatever Ruth Weisgerber: within the constraints Debra Risner: y It's Ruth Weisgerber: the Debra Risner: like a balloon in a cage, it can Ruth Weisgerber: Yeah. Debra Risner: only go so big and not hit the side. The Ruth Weisgerber: Yeah, Debra Risner: constraints Barbara Allen: Okay Ruth Weisgerber: yeah. Barbara Allen: uh Debra Risner: do come Barbara Allen: do Ruth Weisgerber: So Barbara Allen: you know Debra Risner: in Barbara Allen: what, Debra Risner: very fast. Barbara Allen: actually let's take each point and everybody discuss it, I think. Ruth Weisgerber: Yeah. Barbara Allen: Yeah. So still on the topic of room for creativity uh next up is Craig. Jennifer Leja: Um I agree with his point it's um it is quite a lot of fun t to go and then you have sort of hit the end then go right, gotta cut everything out 'cause we don't have enough money. Barbara Allen: Yeah. Debra Risner: Yeah. Ruth Weisgerber: Yep. Debra Risner: I think another point is that the meetings um are more brainstorming sessions than Ruth Weisgerber: Yeah. Debra Risner: meetings, so time is also a very s um strong factor, and structure. Barbara Allen: Yeah. Ruth Weisgerber: Yeah. Debra Risner: Because for a brainstorming meeting you want a structure that allows you to allows ideas to get tossed, Ruth Weisgerber: Mm-hmm, Barbara Allen: Mm. Debra Risner: um Ruth Weisgerber: mm-hmm. Debra Risner: to be evaluated, and to be reviewed, and to get feedback and Ruth Weisgerber: Yeah, Debra Risner: come back. And Ruth Weisgerber: yeah. Debra Risner: I guess that point about the room not being r very friendly to that, I think Ruth Weisgerber: Yeah. Debra Risner: that's a very big thing, and I think the fact that we're wearing these things Ruth Weisgerber: Yeah, Debra Risner: restricts Ruth Weisgerber: sure. Debra Risner: I feel it 'cause I wear Barbara Allen: Yeah. Debra Risner: m my glasses, right, and that but that irritates Ruth Weisgerber right Ruth Weisgerber: Yeah. Debra Risner: it it it does actually you know affect Ruth Weisgerber: New creativity. Debra Risner: how, w whether you feel comfortable to communicate. I feel like I'm hiding behind the equipment, Ruth Weisgerber: Yep. Debra Risner: rather than the equipment is helping Ruth Weisgerber, and Ruth Weisgerber: Right. Barbara Allen: So you Debra Risner: you Barbara Allen: think Debra Risner: know. Barbara Allen: a more relaxed atmosphere would be more kind of conducive Debra Risner: Not not so much Barbara Allen: to Debra Risner: an Barbara Allen: creative Debra Risner: atmosphere, Barbara Allen: thought Debra Risner: the atmosphere Barbara Allen: or Debra Risner: is very relaxed, but Barbara Allen: Yeah, Debra Risner: the Barbara Allen: but actual Debra Risner: the Barbara Allen: environment? Debra Risner: gear yeah you know that creates Ruth Weisgerber: Mm. Debra Risner: boundaries to that um Ruth Weisgerber: Mm-hmm. Debra Risner: and Barbara Allen: Okay. Debra Risner: and the time the time given also Ruth Weisgerber: Mm-hmm. Barbara Allen: Okay. Debra Risner: restricts Barbara Allen: Very good. Um what about leadership? I don't know if that means like, if I did a good job or something. I don't really know. Ruth Weisgerber: Yeah, well well I mean my sense on that is sort of what kind of guidance and direction, encouragement Barbara Allen: From like your personal coach person and stuff like that, do you think maybe? Ruth Weisgerber: Yeah from and you as well I think, just sort of acting as team leader. Barbara Allen: Okay. Ruth Weisgerber: Um yeah I think I think it's Debra Risner: Excuse Ruth Weisgerber: I think Debra Risner: Ruth Weisgerber. Ruth Weisgerber: it's good. I mean my personal views on on leadership is that effective effective leadership sort of um gives people a certain room for freedom and delegation, but then to come back with something that they take great ownership and Barbara Allen: Mm-hmm. Ruth Weisgerber: you know, innovative thought with. In in reality I think here the the different elements of leadership such as the the original b briefing and then the personal coach and the and then you know having having you with your the meeting agenda is actually quite a quite a quite a con confining framework to work within. And so it is leadership almost to the point of sort of disempowering the the the team member, Barbara Allen: Uh-huh, Ruth Weisgerber: so Barbara Allen: okay. Ruth Weisgerber: But it's not bad leadership, it's just sort of s fairly strong, you know. It turns it turns the individual into more of like a um sort of a predetermined mechanism, as opposed to a Barbara Allen: So you think maybe Ruth Weisgerber: sort of a free Barbara Allen: a little too controlling or Ruth Weisgerber: Yeah, oh yeah, without Debra Risner: I think Ruth Weisgerber: without Debra Risner: controlling Ruth Weisgerber: a doubt. Debra Risner: is not the right word, I think Ruth Weisgerber: Yeah maybe not Debra Risner: the Ruth Weisgerber: co Debra Risner: interactions Ruth Weisgerber: confining. Debra Risner: are very structured. I Ruth Weisgerber: Yeah. Debra Risner: think structure is probably Ruth Weisgerber: Yeah, Debra Risner: what you're saying that, Ruth Weisgerber: yeah. Debra Risner: each individual is structured to one particular Ruth Weisgerber: Mm-hmm, Debra Risner: task, Ruth Weisgerber: mm-hmm. Debra Risner: and Barbara Allen: Okay. Debra Risner: one parti rather than controlling. I don't think there's Ruth Weisgerber: Mm-hmm. Debra Risner: a sense of control 'cause Ruth Weisgerber: Mm-hmm. Debra Risner: all the decisions have been made in terms of a, like a consensus Ruth Weisgerber: Mm-hmm, Debra Risner: right, Ruth Weisgerber: mm-hmm. Debra Risner: we go around and we think about it, but Barbara Allen: Uh-huh. Debra Risner: that Ruth Weisgerber: Mm-hmm, Debra Risner: you know process actually Ruth Weisgerber: mm-hmm. Debra Risner: says you have to do it in a certain way. Ruth Weisgerber: Mm-hmm. Barbara Allen: Okay. Debra Risner: It doesn't tell you, you know, some ways that you might wanna be a bit more Ruth Weisgerber: Mm. Debra Risner: creative in terms Ruth Weisgerber: Mm-hmm, Debra Risner: of the Ruth Weisgerber: mm-hmm. Debra Risner: process you Ruth Weisgerber: Yeah. Debra Risner: know, not the Barbara Allen: Okay, uh what about teamwork? Ruth Weisgerber: Um did, you Jennifer Leja: Uh, Ruth Weisgerber: wanna comment Jennifer Leja: reckon Ruth Weisgerber: Craig? Jennifer Leja: that was a bit hard because we could only discuss things in the meeting. Ruth Weisgerber: Yeah. Barbara Allen: Yeah. Jennifer Leja: If we could just go up to somebody outside the meeting and have a quick talk with them, that would've been a lot easier. Ruth Weisgerber: Yeah. Barbara Allen: Okay. Ruth Weisgerber: Fully Debra Risner: I think you Ruth Weisgerber: agree. Debra Risner: tried to use the common share folder to to to to communicate, but um it just comes back to us so slow in the email Barbara Allen: Mm. Ruth Weisgerber: Yeah. Debra Risner: um it it doesn't have a, you know, a messenger will go. Barbara Allen: Did Ruth Weisgerber: Yeah. Barbara Allen: uh did you guys get the email I sent you? Jennifer Leja: Not just yet. Debra Risner: Yeah. Barbara Allen: Oh that's Ruth Weisgerber: Yeah, Barbara Allen: alright. I was Ruth Weisgerber: got Barbara Allen: wondering Ruth Weisgerber: the email. Barbara Allen: if that got Debra Risner: Okay. Barbara Allen: there okay. Okay, um so um to s to to summarize the teamwork issue, saying that if we could communicate outside the meeting, you know just like quick questions, quick thoughts, whatever, Ruth Weisgerber: Yeah. Barbara Allen: it probably would be Ruth Weisgerber: Yeah, Barbara Allen: bit Debra Risner: I think Barbara Allen: easier. Debra Risner: the Ruth Weisgerber: in Debra Risner: tools Ruth Weisgerber: it Debra Risner: that they were given, the tool set that were given to us are fancy but they don't support collaboration, Ruth Weisgerber: Mm-hmm, Debra Risner: I think that's the Ruth Weisgerber: mm-hmm, Debra Risner: word. They don't Ruth Weisgerber: mm-hmm, Debra Risner: support the Barbara Allen: Oh Debra Risner: team Ruth Weisgerber: exactly. Barbara Allen: right, Debra Risner: working Barbara Allen: okay. Debra Risner: together, Ruth Weisgerber: Yeah, Debra Risner: you Ruth Weisgerber: I mean Debra Risner: know, Ruth Weisgerber: if you Debra Risner: they're still very individual tools. Ruth Weisgerber: Yeah, I mean sort of taking upon that idea, w the way I see this i is that it's uh the the s the structure in which we've we've approached this whole task is quite contrary to the p principle of teamwork because the the tasks were d d sort of um divided, and then the work went on in isolation Barbara Allen: Mm. Ruth Weisgerber: I I don't know what you guys did while you were together, maybe that was a bit different, but Debra Risner: We had Ruth Weisgerber: um Debra Risner: Play-Doh fun. Ruth Weisgerber: yeah, but um but actually if you if you imagine not entire the completely same task given to us but us said okay, first thing we have to do is come up with um let's say um a design concept, and we sit here together and do it, Barbara Allen: Yeah. Ruth Weisgerber: well that's what teamwork is. To s to say okay go off and don't talk to each other, Barbara Allen: Yeah. Ruth Weisgerber: it's actually p sort of predisposes you to quite the contrary of teamwork. Barbara Allen: Okay. Ruth Weisgerber: Um not that we haven't done I think the best we could have done. Barbara Allen: Okay. Ruth Weisgerber: I'm not dissatisfied with it. Barbara Allen: Right, uh anything else to say on teamwork at all? Debra Risner: No, not really. Barbara Allen: Okay, um what about the you know how we used the whiteboard, the digital pens, the projector, stuff like that? Um did Ruth Weisgerber: Mm-hmm. Barbara Allen: anybody think anything was like really useful, anything was pretty un f unsupportive? Ruth Weisgerber: I think the whiteboard, for Ruth Weisgerber, is the kind of thing I would use all the time, but it's um not quite as useful as to us as it could have been, maybe just in the way that we we use it, in the sense that once we have an idea out there or while work was going on in between meetings, that could have been up on a board Barbara Allen: Mm. Ruth Weisgerber: uh you know as opposed to in like in text. Um, and then we could then keep our ideas sort of building on that. I know that people who design cars and you know in aviation they quite often just have a simple like fibreglass prototype and it's completely you know um abs abstract from Barbara Allen: Mm-hmm. Ruth Weisgerber: the final product, but they use it as a kind of a context to sort Barbara Allen: Yeah. Ruth Weisgerber: of walk around and puzzle and Barbara Allen: And point Ruth Weisgerber: and Barbara Allen: at? Ruth Weisgerber: point and discuss Barbara Allen: Yeah. Ruth Weisgerber: and and and in a way everybody's as we discuss things in the in theoretically and out of our notebooks, we're just we're actually just each of us discussing something that's in each of our own minds. It wasn't until we had Barbara Allen: Yeah. Ruth Weisgerber: this here, you know, like at one point I peeked across and looked at Craig's paper and I'm like, now I know what he's thinking 'cause I Barbara Allen: Ah. Ruth Weisgerber: saw his book. But the b the b whiteboard could've actually been this kind of continuing um Barbara Allen: So do you think producing a prototype earlier in the process woulda been a good idea? Ruth Weisgerber: Think could be, yeah. Debra Risner: I think um the the focus of it a lot was the PowerPoint as opposed Barbara Allen: Yeah. Debra Risner: to the to the Ruth Weisgerber: Yeah, Debra Risner: whiteboard, and Ruth Weisgerber: yeah. Debra Risner: I think that m um Ruth Weisgerber: Yeah. Debra Risner: is also does Ruth Weisgerber: Yeah, yeah. Debra Risner: you know hinder us and things I think. Ruth Weisgerber: Mm-hmm. Debra Risner: It will be cooler to have the whiteboard rather Ruth Weisgerber: Mm-hmm. Debra Risner: than the the PowerPoint, or Ruth Weisgerber: Yeah. Debra Risner: maybe the whiteboard and the PowerPoint in the same place, Ruth Weisgerber: Yeah, Barbara Allen: Okay. Ruth Weisgerber: yeah. Debra Risner: you know in the centre of Ruth Weisgerber: Yeah, Debra Risner: the Ruth Weisgerber: because the PowerPoint was provided to us while we had time to prepare, whereas I can imagine if I'd been encouraged to use Paintbrush, for example, Barbara Allen: Alright. Ruth Weisgerber: or whatever, I would've actually used it, um 'ca you know, just 'cause that's sorta how we what we were set up to to use while we had our time. Barbara Allen: Okay Debra Risner: I Barbara Allen: uh Debra Risner: think that there were too many PowerPoints in the meetings. Ruth Weisgerber: Mm-hmm. Jennifer Leja: Yeah. Debra Risner: 'Cause the plug-in Barbara Allen: Yeah. Debra Risner: and the plugging spent we spent Ruth Weisgerber: Yeah. Debra Risner: a lot of time doing that. And a Barbara Allen: Yeah. Debra Risner: lot of the information on the PowerPoints, I don't think, you know, we needed to Ruth Weisgerber: No, Debra Risner: actually it could have, Ruth Weisgerber: not Debra Risner: we Ruth Weisgerber: quite. Debra Risner: could have gone through it verbally, especially Ruth Weisgerber: Yeah. Debra Risner: my slides, I felt that Ruth Weisgerber: Yeah. Debra Risner: they just Barbara Allen: Okay. Debra Risner: you know as opposed to having Ruth Weisgerber: Yeah. Debra Risner: to present them. Barbara Allen: What about the digital pens, did you find them easy enough to use? Jennifer Leja: Oh they're a Ruth Weisgerber: Sure, Jennifer Leja: bit clunky. Ruth Weisgerber: yeah. Debra Risner: Yep clunky. Agreed. Barbara Allen: Yeah. Ruth Weisgerber: Yeah. Yep. Barbara Allen: Clunky, okay. Ruth Weisgerber: Mm. Barbara Allen: Um Debra Risner: Having to tick it before you go off was a bit hindering as well, Ruth Weisgerber: Mm. Debra Risner: 'cause you're Barbara Allen: Yeah. Debra Risner: half way through a thought, and then you run out of paper and then you have to jump. Barbara Allen: I know, I think Ruth Weisgerber: Yeah. Barbara Allen: at the very start of today I like wrote a whole load of stuff, didn't click note on one, then went back and wrote one tiny wee thing on the another page, but then did click note, Ruth Weisgerber: Hmm. Barbara Allen: and so I'm quite worried that I've just written over the top Ruth Weisgerber: Hmm. Barbara Allen: of it Ruth Weisgerber: Mm-hmm, Barbara Allen: or something, Ruth Weisgerber: mm-hmm. Barbara Allen: but they'll have my paper anyway um Ruth Weisgerber: Hmm. Barbara Allen: and haven't done that Debra Risner: But I Barbara Allen: since. Debra Risner: think the pen is v is very intuitive, everybody knows how to use it, we don't Ruth Weisgerber: Mm-hmm, Debra Risner: have Barbara Allen: Yeah, Debra Risner: to worry. Ruth Weisgerber: mm-hmm, Debra Risner: So Barbara Allen: yeah. Debra Risner: I think the pen's good. Ruth Weisgerber: mm-hmm. Debra Risner: It's about the best thing. Ruth Weisgerber: And o on the topic of the technology, it just occurred to Ruth Weisgerber that we actually didn't need to move our computers because each computer has all of the files. Barbara Allen: Yeah. Ruth Weisgerber: It just occurred to Ruth Weisgerber that they Debra Risner: Yeah Ruth Weisgerber: all Debra Risner: we only needed one computer Ruth Weisgerber: We only actually Debra Risner: and Ruth Weisgerber: needed one computer. Barbara Allen: Yeah, Ruth Weisgerber: If there Barbara Allen: that's Ruth Weisgerber: had been Barbara Allen: true. Ruth Weisgerber: a fifth, that coulda Jennifer Leja: Good Ruth Weisgerber: just Jennifer Leja: point. Ruth Weisgerber: been sitting there ready to go the whole Debra Risner: And Ruth Weisgerber: time. Debra Risner: the computer may not um be conducive to a meeting because Ruth Weisgerber: Yeah. Debra Risner: um you tend to look at your computer and wanna have Ruth Weisgerber: Yeah. Debra Risner: the urge to check something, Ruth Weisgerber: Yeah. Barbara Allen: Yeah. Debra Risner: you know, it's useful but Barbara Allen: Do you think the computers just provide distraction in a meeting? Debra Risner: I think too many computers are just Jennifer Leja: Yeah. Debra Risner: distracting. Barbara Allen: Okay. Debra Risner: Um Barbara Allen: I know I I like to have things written down in front of Ruth Weisgerber actually, Ruth Weisgerber: Mm-hmm. Barbara Allen: like a lot of the stuff that was emailed Ruth Weisgerber: Yep. Barbara Allen: to Ruth Weisgerber I ended up you know like Ruth Weisgerber: Mm-hmm. Barbara Allen: writing down there Debra Risner: Yep. Barbara Allen: or something so I could look at it Ruth Weisgerber: Mm-hmm. Barbara Allen: really quickly and not have the distraction of all of that, um I don't know about anybody Ruth Weisgerber: Mm-hmm. Barbara Allen: else. Um what else uh any wh I do I'm not really sure what they're looking for when they say new ideas found. Um Jennifer Leja: Is this Barbara Allen: I don't Jennifer Leja: for Barbara Allen: know Jennifer Leja: the project Barbara Allen: is could you think of like Jennifer Leja: or Barbara Allen: anything else that would have been helpful today at all? Ruth Weisgerber: Well, the w main one for Ruth Weisgerber is that uh the process na in a natural f context would not have been interrupted by this necessity to discommunicate ourselves Barbara Allen: Mm. Ruth Weisgerber: from each other. So, Barbara Allen: Yeah if we just Ruth Weisgerber: that's Barbara Allen: had Ruth Weisgerber: kind Barbara Allen: uh Ruth Weisgerber: of a new idea for Ruth Weisgerber is like just sort of that idea, well you know it's kind of s hard to keep f working forward on a team a team based project Barbara Allen: Mm-hmm. Ruth Weisgerber: when when you're told you must now work away from your team. Barbara Allen: Yeah I I dunno I think it was quite good that we had time limits on the meetings because they really could have run on and like my experience Ruth Weisgerber: Oh Barbara Allen: with meetings Ruth Weisgerber: yeah. Barbara Allen: is that they really do, and Ruth Weisgerber: Yeah, Barbara Allen: you can spend a lot Ruth Weisgerber: yeah. Barbara Allen: of time talking about The only thing is though like when we had our meeting about the conceptual design, I thought there maybe another fifteen minutes would have been useful there but Ruth Weisgerber: Mm-hmm, Barbara Allen: um Ruth Weisgerber: mm-hmm, mm-hmm. Barbara Allen: yeah. I really thi i I think maybe if we'd like all been working in the one room, and they just said you know like every hour or something everybody make sure yo you know Ruth Weisgerber: Mm-hmm. Barbara Allen: just have a have a short meeting and then just Ruth Weisgerber: Mm-hmm. Barbara Allen: c just to have like something written down, Ruth Weisgerber: Mm-hmm. Barbara Allen: just like you know a a milestone if you like um rather than having meetings, but There you Ruth Weisgerber: Hmm. Barbara Allen: go. Um so in closing, I haven't got my five minutes to go. Thin Oh there it i Five minutes to go. Wonderful. Okay um are the costs within the budget, yes they are. And is the project evaluated, yes it is. So now celebrate. Ruth Weisgerber: Great. So Debra Risner: And we Ruth Weisgerber: it Debra Risner: have Ninja Homer. Ruth Weisgerber: So now Jennifer Leja: Oh Ruth Weisgerber: we Jennifer Leja: yeah. Barbara Allen: Well apparently now I write the final report. Jennifer Leja: Do we know what Barbara Allen: What Jennifer Leja: the Barbara Allen: are you Jennifer Leja: other Barbara Allen: guys Jennifer Leja: ones are? Barbara Allen: doing now? Ruth Weisgerber: I I don't know. Barbara Allen: You dunno? Jennifer Leja: Oh wow. Ruth Weisgerber: Hmm. Barbara Allen: That is lovely. Jennifer Leja: Hey yeah, I said Ninja Homer. Ruth Weisgerber: What did you call it? Debra Risner: Ninja Homer. See it looks like Homer Simpson Ruth Weisgerber: Huh, huh. Debra Risner: but it's Barbara Allen: So Debra Risner: electronic Barbara Allen: is that j Debra Risner: so it's made Barbara Allen: is that Debra Risner: in Ruth Weisgerber: Logo. Debra Risner: Japan. Barbara Allen: just is that just a logo or does it do anything? Debra Risner: Yeah it's just a logo. Barbara Allen: Just a logo and Ruth Weisgerber: Huh. Barbara Allen: then like Ninja Debra Risner: Ninja Barbara Allen: Homer, Debra Risner: Homer. Barbara Allen: right okay. Ruth Weisgerber: Mm. Debra Risner: The the red is supposed to represent the whatever else you wanna print on the side of it. Ruth Weisgerber: Mm-hmm. Barbara Allen: I think it's Ruth Weisgerber: Fashion Barbara Allen: quite nice. Ruth Weisgerber: technology or something. Debra Risner: You can wear Homer, you can throw Homer when you're frustrated, doh. Ruth Weisgerber: Hmm, hmm, hmm. Barbara Allen: Oh no, that's cool, it's got I'm kind Ruth Weisgerber: Hmm. Barbara Allen: of Debra Risner: It's Barbara Allen: I'm Debra Risner: clunky. Barbara Allen: slightly gutted that we couldn't get plastic and rubber, I think that would have been nice. Ruth Weisgerber: Yeah, yeah. Barbara Allen: Ah well, maybe from now on real reaction Ruth Weisgerber: Mm-hmm. Barbara Allen: should give us more money. Debra Risner: Oh, Ruth Weisgerber: Hmm. Debra Risner: I did learn something new, Play-Doh is useful. Barbara Allen: Play-Doh Debra Risner: No Barbara Allen: s Debra Risner: it is it is. It is useful and in Ruth Weisgerber: Huh. Debra Risner: in in in in in in um Ruth Weisgerber: Huh. Debra Risner: conceptualizing, in being creative. Barbara Allen: Really? Debra Risner: 'Cause like you say, it's something you can put your hands on and feel and touch Ruth Weisgerber: Yeah. Barbara Allen: Yeah. Debra Risner: and get a sense for. Like we were playing with the Play-Doh and the ideas came with the Play-Doh Barbara Allen: Did they? Debra Risner: rather than with everything else. You might wanna write that Ruth Weisgerber: Yeah. Debra Risner: down. It's just, Barbara Allen: Okay. Debra Risner: I'm just fiddling with the Play-Doh, and I'm going yeah Barbara Allen: Play-Doh. Debra Risner: yeah it's kinda Ruth Weisgerber: No, Debra Risner: cool. Ruth Weisgerber: it's true, yeah. Jennifer Leja: Guess I'd forgot how good s Play-Doh smells. Ruth Weisgerber: Hmm. Barbara Allen: Yeah, it smells funny doesn't it. Ruth Weisgerber: And Barbara Allen: Um Ruth Weisgerber: some Play-Dohs are actually I think edible aren't they? Debra Risner: No, Barbara Allen: Yeah Debra Risner: all Barbara Allen: like Debra Risner: Play-Doh Barbara Allen: the stuff Debra Risner: is Barbara Allen: for Jennifer Leja: I Debra Risner: edible. Jennifer Leja: think they're all non-toxic Barbara Allen: I think Jennifer Leja: 'cause Barbara Allen: it has Jennifer Leja: it's aimed Barbara Allen: to Jennifer Leja: for like Barbara Allen: be, yeah. Jennifer Leja: two-year-olds. Debra Risner: It's just wheat, it's the stuff that your mom could make with preservatives and uh Ruth Weisgerber: Wow, Barbara Allen: Yeah Ruth Weisgerber: hmm. Barbara Allen: um so to wha what are your summarising words about Play-Doh? Debra Risner: It's helpful to the creative Ruth Weisgerber: Huh. Debra Risner: process. Um Barbara Allen: Okay. Debra Risner: it engages all your senses not just your sight, but your sense Ruth Weisgerber: Yep. Debra Risner: of feel your sense of touch. And Ruth Weisgerber: Taste. Debra Risner: it helps you to understand dimension as well. I think that Barbara Allen: Yeah. Debra Risner: that's very helpful because Ruth Weisgerber: Yeah. Debra Risner: it it starts to pop up, whereas on a piece of paper, on a computer, on Barbara Allen: Yeah. Ruth Weisgerber: Mm-hmm, Debra Risner: a board, Ruth Weisgerber: yep. Debra Risner: um Ruth Weisgerber: Yeah. Debra Risner: even with a three D_ graphic thing it still, it requires Jennifer Leja: Yeah Debra Risner: a Jennifer Leja: it's not Debra Risner: lot Jennifer Leja: very Debra Risner: of Ruth Weisgerber: Yeah. Jennifer Leja: tangible. Debra Risner: yeah Barbara Allen: Mm-hmm. Debra Risner: tangible, Ruth Weisgerber: Mm-hmm, Debra Risner: that's a nice Ruth Weisgerber: mm-hmm, Debra Risner: word. Ruth Weisgerber: mm-hmm. Debra Risner: It becomes tangible. Ruth Weisgerber: Mm-hmm. Barbara Allen: Tangible. Okay uh Mm. I don't know if there's anything else Debra Risner: Nope. Barbara Allen: we needed to discuss. That that's about it really. Just sit still I guess for a little while. Ruth Weisgerber: Do we retreat to our, to continue our Debra Risner: I think we Barbara Allen: Um Debra Risner: could probably do Ruth Weisgerber: r Debra Risner: it here Ruth Weisgerber: reporting Debra Risner: as long as we Ruth Weisgerber: or Debra Risner: don't Ruth Weisgerber: what i Barbara Allen: Well Debra Risner: collaborate. Barbara Allen: I dunno. Um I'm sure the little uh the little thing'll pop up any minute now. Debra Risner: Can we turn off the microphones? Barbara Allen: Yeah, yeah if the meeting's over then yeah I guess so.

Barbara Allen recapped the decisions made in the previous meeting and two team members presented their prototype and discussed the features the prototype contained. The team then looked at the production costs of the remote and had to decide which features to retain or lose in order to maintain the target cost. In maintaining the target cost, the team had to lose a number of features which they originally wanted, such as a kinetic battery, an LCD display, and various color options. The team then evaluated the prototype on the basis of its appearance, technological innovation, and spongy quality. The prototype did fairly well in the evaluation. The team then conducted an evaluation of the project process. The team felt that their creativity was hindered by the project budget and their inability to discuss the project outside of their meetings and that the structure of the task did not foster teamwork.

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Dorothy Douglass: Just put it on the deskt desktop. Debra Pearce: No on the desktop you'll find you should that there's a project documents link. A well actually just there. Dorothy Douglass: Project documents, yeah. Debra Pearce: Yeah. That's it. If you dump it in there. Dorothy Douglass: What's your username? Debra Pearce: Your username. Dorothy Douglass: What's your username and password? Mm-hmm. Sorry. Okay. Debra Pearce: Okay. Dorothy Douglass: There we go. Debra Pearce: Excellent. Right. Hopefully that's us ready to uh to go. So. Functional design meeting. We'll have to flesh out some of the uh stuff. Um we'll start with the minutes of the last meeting. Not a lot thankfully to say. We introduced ourselves, the of a macro facility, interacting the T_V_ a bit more, um mentioning of bar-code, joystick for user manipulation, um and ergonomics of the remote control as well. Um it's come to my attention the following. Teletext has become outdated due to the populat popularity of the internet. Remote control should only be used for the T_V_. Um due for uh time to market and possibly also cost issues. Um also key is the corporate image should stay recognisable, um f uh your colour and slogan of course is down at the bottom there. Um. Now. Just to say quickly uh I would have thought that only being used for a television the macro facility may now not be required. Teresa Finley: Mm. Debra Pearce: Um or at l its functionality would have been of limited use. So to the point in my opinion anyway that it might not be worth pursuing. Um if anybody disagrees we can uh definitely say so. Um and hopefully we'll just crack on and we'll get everything going. Um I'd like to if possible hear from our Marketing Expert first, Dorothy Douglass: 'Kay. Debra Pearce: to help us gain an idea of where we're going to go. So um I'll just load up your presentation from here if you want. Dorothy Douglass: Sure. Um, sh would you like to I'll just do it from here. Debra Pearce: Yep. Sorry. Uh. Is yours the Dorothy Douglass: Um, try second one maybe. Try it, yeah maybe. Debra Pearce: Oh sorry. Dorothy Douglass: Yeah. Okay. Debra Pearce: Okay, right. Dorothy Douglass: Oh, I thought I put in my last name, I guess not, but. Debra Pearce: Uh if you that's all right. Dorothy Douglass: Okay. Debra Pearce: If you do you want Dorothy Douglass to just cycle through it for you or? Dorothy Douglass: Oh yeah, that'd be, that'd Debra Pearce: Yeah? Dorothy Douglass: great. Okay. Functional requirement by Dorothy Douglass Ebenezer. Debra Pearce: Okay. Dorothy Douglass: Okay, so um we did some research, we asked one hundred people their opinions on remote controls. We asked some uh open ended questions, just, what are your opinions on the remote control, got a lot of re responses, and we asked some very specific questions, and we got a lot of good feedback. Please bear in mind this is only a hundred people, so even when the groups are divided into fifteen to twenty five, twenty five to thirty five, there's only maybe ten people fifteen people in each group. Okay. Debra Pearce: Okay. Dorothy Douglass: So we got some the bad stuff we got, remotes are often lost. I often lose my remote control, the back of the couch, some place, and even if it's not lost permanently, it takes Dorothy Douglass a few minutes to find it. Most buttons are not used any more, like you said, teletext is outdated now. I remember trying to load a D_V_D_ player recently, and there were so many buttons, it took Dorothy Douglass I don't know maybe ten minutes to to go through each button, 'cause you have to press the shift button to access the yellow buttons, you know there's just a lot of stuff that no one really uses. And if they do, not very often. Takes too long to master the remote control. I've seen some remote controls that are big, they have a lot of buttons, you have to hold down more than one key at one time to do something, they're just not great to use. We just got a lot of bad complaints about remote controls, people do not like remote controls. Some of the good stuff we got. Between the age of uh fifteen and twenty five, most people would be willing to pay extra for voice recognition software. Now don't get excited yet, I've got more to say on that. Most people'd be willing to pay for that um most people want remote controls to be pretty, they want it to be fancy, th they they want it to be different, everybody has a white remote control with black buttons, and a red button and a green button, not everybody wants that. Finally, my opinion. Debra Pearce: Yep. Dorothy Douglass: The voice recognition thing is cool. And uh voice recognition, the software, open source software exist already. It's a bit sketchy at some times, uh, you're not gonna get good always accurate results, but for a very fixed number of words, you know you have, how many different words can you have for a remote control, up, down, left, right, channel five, channel seven, you know, how many, you can't have that many words. For a fixed vocabulary it works quite well. I'm pretty sure people would buy it. But after a while people may wanna return it, because if you have to to say som I mean most people use a remote control for switching to channels, and they say they do that about ninety eight percent of the time. Using the remote control, ninety eight percent of the time for changing channels, and that's for flickering through channels. So if you have to say up, up, up, up, if you have to do that all the time, then people might get a bit fed up with that and they may return it. However, oh, because the voice recognition software exists already, there's no need to spend money on research and development, but this does mean the need for microphones in the in the remote control, which is an unusual feature in my opinion. But if we do have the voice recognition thing, there's a lot of stuff that you can uh get rid of. See, you could there're two options. Either you have voice recognition by itself, which I think is a bit impractical for like night time if you wanna be watching television and you wanna be quiet, or I don't know you have a visitor coming round and the remote's only trained for you, it's a bit impractical to have just voice recognition by itself. So you can have voice recognition and a regular remote. But imagine you got rid of the regular remote part, then you can design the remote to look any way you want it to look, because there are no restrictions on physical size, or shape, it it could be as fancy as you want it to be, you know, it could be like a lollipop or something like that, something weird like that. As long as the voice recognition stuff works, that's that's fine. Debra Pearce: Okay, yep. Dorothy Douglass: So we have the three birds, that we have the the fancy bit, right, the voice recognition's fancy, it's cool, it's different, it's radical, so, and then we have an extra bit I don't remember so I'm pretty sure people will buy the remote, but is it practical to have a voice recognition system in a remote control, I think is a big question. Um, will people will people be willing to wait for the the period that it'll take to train the remote, 'cause I think it will the remote will uh get better over time with the same user user, but for the first week or for the first two weeks are you willing to wait, are you willing to have a bad remote control. And uh what if you have visitors come round, they stay the night, they wanna use the T_V_, they can't use the remote because they speak differently to you. Um, how do you account for regional accents and stuff like that. Uh, will people return the remote control, I think a lot of young people will buy the remote control, if they have the money, you know, so, Debra Pearce: Mm-hmm. Dorothy Douglass: do our audience have the money, but would they return it after a while because it's not as fast as pressing a button, it's not a practical. So. Debra Pearce: If Dorothy Douglass: These Debra Pearce: you could Dorothy Douglass: are things Debra Pearce: uh Dorothy Douglass: I think we should consider. I Debra Pearce: sor Dorothy Douglass: think it's cool, Debra Pearce: if you could speed it up a bit, yeah. Dorothy Douglass: I'm sorry? Debra Pearce: If you could uh speed it up a bit please, Dorothy Douglass: Sure. Debra Pearce: yeah. Dorothy Douglass: I'm about Debra Pearce: Sorry. Dorothy Douglass: to end, yeah. Debra Pearce: Cool. Dorothy Douglass: I think it's cool but there are definitely some considerations. Debra Pearce: Okay. Dorothy Douglass: So, yeah. Debra Pearce: Excellent. Right. Um. Hear from Teresa Finley now I think might be an idea. Teresa Finley: Okay. Debra Pearce: Um, Anna Hasty: How did where Debra Pearce: you've Anna Hasty: did Debra Pearce: got your presentation now, Teresa Finley: Yeah, Debra Pearce: is it Teresa Finley: it's Debra Pearce: on Teresa Finley: in Debra Pearce: the Teresa Finley: the it's the folder Anna Hasty: did you Teresa Finley: yeah. Anna Hasty: get Debra Pearce: is Anna Hasty: all your Debra Pearce: it? Anna Hasty: in Debra Pearce: Okay. Anna Hasty: information? Dorothy Douglass: There was uh a website, Anna Hasty: Oh. Dorothy Douglass: uh, right here. Anna Hasty: Ah, okay. Debra Pearce: Technical functions? Teresa Finley: Mm. Debra Pearce: No. Yeah. Dorothy Douglass: G I started making stuff up, then I got an email saying Debra Pearce: Okay. Teresa Finley: Okay, this is a brief run through of the um of the technical functions of the remote. As um is uh the the the presentation is uh already slightly obsolete because I had in mind something that would uh be i be aimed at controlling multiple devices but uh there's still stuff of relevance, so Debra Pearce: Okay. Teresa Finley: press on. I've looked at looked at a num uh couple other uh remote control models just an basic design principles. Um and wasn't really satisfied by what I saw I have to say so this is more sort of springboard for uh how these could be improved on. Um um basically the job of the device is to send commands to an appliance, in this case the television set. Um to save you getting off your backside. Um and there's two main trends in th in the sort of design practice. On the one hand and this uh this particularly relates to its sort of earliest models where with you know i so so many buttons on it so about the size of the television set. Um giving you every possible function that the that the device has, the remote control controls. And most of these functions are not going to be used, it creates a rather user unfriendly interface. And on the other hand there's a user focused approach that pares things down to just what what is most likely to get used. Um With uh a and a and of course there is a certain amount of sort of loss of function here obviously, but mostly that's relatively peripheral functions. And so you go for something that's fairly intuitive to use, and um well f the for the most part for T_V_ remote it's uh tha that would be channel control and volume. Um and if you if you if you are wanting to incorporate uh control of a D_V_ D_V_D_ or uh V_C_R_ presumably into that then there's a play, pause, stop, rewind, fast-forward, record, so forth. Um. My own view is that we should definitely be going for a user focused design. Um but uh the pro I think the problem with a lot of the sort of user focused designs that are about is that they sort of make assumptions in advance about what uh what a given user's going to uh want mo want to do from want it to do most. So, something that's uh something that is more programmable, that uh perh perhaps has the full range of functions available to it but you can then specify yourself what you're most likely to want. Um so that those are then immediately accessible through fairly minimal number of controls, um I liked Ebenezer's idea of including a joystick in that and uh possibly a sort of fairly minimal number of sort of function buttons, and have a disp you then have some sort of basic display on it so that if you're um sort of cha changing from different modes for the device it'll tell you just exactly what uh you know each direction of the uh of the um joystick's going to do or wha or what each function button's going to do. Um, this is actually a again slightly taking inspiration off of uh games controllers, Dorothy Douglass: Mm. Teresa Finley: you know the Playstation control where you have four basic function buttons that are just marked with um distinctive uh geometrical shapes but the and then dependent on what you're doing with it what game and so on um those uh those functions are then sort of further specified. And so it's taking taking the lead from that. Um. Debra Pearce: Okay. Yeah. Right. Teresa Finley: That's it. Debra Pearce: Um, if we could hear from our Industrial engineer, or Anna Hasty: Yeah. Debra Pearce: Designer. Anna Hasty: Uh, I was still working on stuff, I hadn't got it finished. Um, alright. Click to save in where do I have to save it? Debra Pearce: If you look on the desktop you'll find that there's a link to the project folder, or project documents. If you save it in there we can open it up from here. Anna Hasty: Um, what I've done with it, I'm sorry. Anna Hasty: Shit. Um Debra Pearce: Are you finding it okay or? Anna Hasty: I'm just closing it now. where I've saved it. Dorothy Douglass: Well like if you go to one, uh whichever one you were Anna Hasty: that's Dorothy Douglass: working Anna Hasty: it there, yeah. Dorothy Douglass: yeah, and you just click file save as. Anna Hasty: Oh right. Debra Pearce: Okay. Anna Hasty: right I'm responsible for working design, uh, this is basically the inside going on of the the uh remote control. So we have the energy source, we have the user interface, this this is what I've seen. Uh the sender will push the button, the chip will respond, uh and then the dig digital signal is sent to the T_V_. So uh uh, if you go to next slide, you'll see you'll see uh what do we need on the user interface. Do we need uh many buttons, or do we need l many light bulbs that could be easier to uh to realise which appliances are on or not. Um, or would that take too much power, would we need more um components in there to supply the power? Um, the joystick is another thing, if we were gonna add that, um, there'd be more components to deal with that. Debra Pearce: Mm-hmm. Anna Hasty: Um, so uh we need to I dunno exactly what That's the design of the the the layout of the uh electronic design, but um obviously there'll be more details once we've decided what we're putting on the user interface. Debra Pearce: Okay. Anna Hasty: So, that'll be decided, I guess. Uh, and the next slide. Oh, yeah Um, if you go to the next slide then. Debra Pearce: Oh. Yeah. Anna Hasty: I just used the it was a mess, uh I was just putting adding it together at the end there. Debra Pearce: Ah, don't Anna Hasty: Uh Debra Pearce: worry about it at all mate. Anna Hasty: Uh so you have the energy source obviously connected to the chip, and the user interface obviously contains everything. You have the switch turn it on, infrared bulb, uh will contact the T_V_ and will have whatever device or D_V_D_ player, the bulb will turn on to say it's on. Uh, so do we need on the control uh different buttons to decide, or different light bulbs, would it be easier? Um, I dunno what we should decide on that. Debra Pearce: Okay. Well. Oh sorry, I'm I'm interrupting you. Are Anna Hasty: No, Debra Pearce: you Anna Hasty: it's finished, Debra Pearce: is it Anna Hasty: yeah. Debra Pearce: yeah? Okay. Right. Um, right we can probably skip that for now. So, we've had some stuff put forward, um along with the new user requirements, um we've had a lot of kind of input I'd say so far. Um I hear what Dorothy Douglass's saying about um voice activated control. However I've got a couple of worries about that. The power required, um and the ability Anna Hasty: Cost. Debra Pearce: to Anna Hasty: Mm. Debra Pearce: the cost, it seems like for uh an embedded system, this could cause us issues. Um for example you see that there's fairly robust services on uh computers via uh via voice, I_B_M_ do um drag and dictate, Dorothy Douglass: Mm-hmm. Debra Pearce: but these require a lot of memory and usually um state quite advanced processor requirements. Um voice activation could be an interesting idea but I think that our Ind Industrial Designer would probably upon some research say that it's maybe not feasible. Dorothy Douglass: 'Kay. Debra Pearce: Um that's just my view Teresa Finley: Mm. Debra Pearce: right now, however the idea of a joystick and then maybe an L_C_D_ which has been kind of put forward so far, it's almost like having a small T_ not T_V_ to say, but if you can control almost all of the functionality from the display, I don't know how much power an L_C_D_ would take, Dorothy Douglass: Mm. Debra Pearce: but it might be quite low? Anna Hasty: L_C_D_ Dorothy Douglass: I uh Anna Hasty: on the remote just telling you what's on, or uh, Debra Pearce: Well literally Anna Hasty: interactive Debra Pearce: um Anna Hasty: L_C_D_ or Debra Pearce: if you can imagine the display maybe slightly larger than um those on a a mobile phone, something Teresa Finley: Mm. Debra Pearce: where you can read an an um fair amount of information, traverse maybe quite a few menus, if we maybe used mobile phones as a good example, they usually incorporate they have the keypad, and then evr all the other functionality is usually associated inside by traversing around. Dorothy Douglass: Mm-hmm. Debra Pearce: That could be one possibility. Um and then we could have like say the common buttons as you say, Teresa Finley: Mm. Debra Pearce: volume control, changing channels Teresa Finley: I I was thinking that the remote the um sort of default functions for the joystick would be up and down for uh volume, left and right for channels. Debra Pearce: We Anna Hasty: Do you think that people will get mixed up, like, they'll be looking at this screen and that screen and then, you know, trying to get everything working, would it be a bit confusing? Teresa Finley: Um I think probably for the first couple of hours of using it Anna Hasty: Yeah. Teresa Finley: um but you know muscle memory's a wonderful thing, um. Dorothy Douglass: Mm. Teresa Finley: And I think and I think that size of uh display was about what I had in mind. Um though I mean I w I would say that uh we could probably probably be required to um mo most of the mobile phone displays you see these days are colour but we should probably try to stick to black and white. Debra Pearce: I Teresa Finley: Si Debra Pearce: would agree with Teresa Finley: si Debra Pearce: you. Teresa Finley: simply to keep m keep the unit cost down. Um I mean colour could be a sort of subsequent development but uh you know cost a bit of extra money f w w w w w once everyone's got the first, you know, oh colour's out, we'll have to replace Debra Pearce: Mm-hmm. Teresa Finley: it won't we. It does nothing extra. Debra Pearce: That would be my feeling as well, I think we could possibly create quite a useful user interface. Um Dorothy Douglass: Sure Debra Pearce: now I mean Dorothy Douglass: but Debra Pearce: I don't sorry, go for it. Dorothy Douglass: the idea of a remote with a menu or and a joystick I think like I h if I was in the habit of buying remote controls then I would want one, but I think we don't have a specific audience, you know, like what is our target audience, what niche are niche are we trying to market and corner. You know, you know what I'm saying, like, for whom is this intended? Everybody? Debra Pearce: I think it could probably be aimed at most people who've used a mobile. And that might be just another way of saying try to target most people. Dorothy Douglass: Most people, yeah. Teresa Finley: Mm. Debra Pearce: might be s you know um we're kind of almost relying on their experience with a mobile phone I suppose. Dorothy Douglass: Mm-hmm. Debra Pearce: But that does cover a very large section of the people out there. Dorothy Douglass: Sure. I think that's fair Debra Pearce: Um, Teresa Finley: Mm. Dorothy Douglass: yeah. Debra Pearce: I mean I imagine as well that the actual L_C_D_ and maybe to a certain extent the joystick as well would be for the additional functionality. Which maybe doesn't get used as often, maybe it makes it easy for them to figure out how to um change the channels as in the frequencies and such for reprogramming it. Dorothy Douglass: Mm-hmm. Debra Pearce: Um and you can still have the main buttons that allow the people to turn the machine on and off, d up and down, it depends, I mean maybe we have the fol um the joystick as a separate one for the other functions then, that there's just a a small number of as you were saying uh buttons that have already been defined. Dorothy Douglass: Mm-hmm. Debra Pearce: So like we go for the nice standard um up and down for and volume control. So that literally anybody can come along, pick up the remote and still know what do do. And Dorothy Douglass: Mm-hmm. Debra Pearce: they can completely ignore most of the functionality which would be for say the o actual owner of the the T_V_ and who would normally use the unit. Dorothy Douglass: Mm-hmm. Teresa Finley: Mm. Debra Pearce: I dunno. Teresa Finley: I th the thing I like about the uh the uh joystick is that uh you you you then basically you can then basically put it I mean for for T_ T_ for T_V_ remote alone, you could put um I mean there are like I say the the the main things people do with a T_V_ remote control is the volume and the channel. You can pack all that onto was onto a single control. Debra Pearce: Mm-hmm. Teresa Finley: Um. But uh but the but then o uh obviously if uh you know I mean with things like ch with things like tuning and channels um you know adjusting brightn uh brightness and fiddly things that no one really bothers with, most T_V_s these days actually have menus anyway so Debra Pearce: Mm-hmm. Teresa Finley: this would be a fairly rational way of integra integrating the uh the remote with the device it's controlling. Um concern about our market. Um, if we are I mean most of the uh of the replacement remote market is sort of remote control rationalisation. Um, you've got twenty different devices Dorothy Douglass: Yeah. Teresa Finley: in your living room, Dorothy Douglass: Mm-hmm. Teresa Finley: you want one wo y you want one that'll do the job of all of them. Debra Pearce: Mm-hmm. Teresa Finley: Um, if all you're replacing is one of the you know however many remotes you have in your living room, um you know you still need separate remotes for everything else. I just think that uh Debra Pearce: Well this Teresa Finley: possibly Debra Pearce: is a requirement that we have Teresa Finley: mm. Debra Pearce: to stick to I'm afraid, this isn't one that I've just arbitrarily decided on. Teresa Finley: Mm. Debra Pearce: So um this is this is one of the solid ones that has to be obeyed, for now. Teresa Finley: Mm. Debra Pearce: So I can understand your point, and I would agree with you, but this is our design spec for now. 'Fraid to say. Um Teresa Finley: Does that um would that include um access to say interactive functions on digital or cable? Dorothy Douglass: Yeah. Debra Pearce: I would say so, yes, because then we have to be able to control the remote boxes, and that is a separate unit. Um I think that it I would say that the design spec we've been with is for the television only for now. Teresa Finley: Mm-hmm. Debra Pearce: And until we Dorothy Douglass: Hmm. Debra Pearce: hear otherwise we should go with just that. Dorothy Douglass: Okay, specifically Teresa Finley: Okay. Dorothy Douglass: television. Debra Pearce: Okay. Maybe we'll hear differently, but Dorothy Douglass: So Debra Pearce: for Dorothy Douglass: the Debra Pearce: now Dorothy Douglass: joystick is just for differentness. Teresa Finley: Mm. Debra Pearce: It would be ease of manipulation of certain functions, Dorothy Douglass: Okay. Debra Pearce: yes. Teresa Finley: Just Debra Pearce: Um Teresa Finley: a thought. Um maybe then our market should be T_V_ manufacturers, rather than the public. Try and sell it t sell it to them to supply with um Debra Pearce: There is that possibility, yes. B However I don't know exactly where we'll be going with that, but Dorothy Douglass: Mm. Debra Pearce: it might not even be the avenue of Dorothy Douglass, that might be sales, Dorothy Douglass: Mm-hmm. Debra Pearce: who are not in this meeting. Dorothy Douglass: It's just, the way I figure it, twelve point five Euros per unit, Debra Pearce: Mm-hmm. Dorothy Douglass: we have to sell at least like three million or something like that, not to account for all the the money we waste on remotes that no one buys, you know, like if we made a perf if we made a ks Debra Pearce: Mm-hmm. Dorothy Douglass: for every remote we made someone bought it, then we have to sell a lot of remote controls. We just Is this gonna be enough to to sell? Debra Pearce: Well, something else that you brought up was uh the ability to lose a remote, which as you said you've done, in fact we've probably all done. Dorothy Douglass: Yeah. Debra Pearce: Um, I don't know if it's a gimmick or not, but have any of you ever seen those odd little key rings where if you whistle, it will beep and you tell you where it is. Dorothy Douglass: I had Teresa Finley: Mm, Dorothy Douglass: one of those, Teresa Finley: yeah, Dorothy Douglass: and my Teresa Finley: I've Dorothy Douglass: brother, Teresa Finley: seen them. Dorothy Douglass: and my Debra Pearce: Um. Dorothy Douglass: dad, could have beat Dorothy Douglass up because it it went off all the time accidentally. Debra Pearce: Well the other option of course is that um Dorothy Douglass: The clapping one. Debra Pearce: the well I was going to say clapping, um Um digital telephones, uh for example, one unit has of course you have to have that base unit, somewhere where there's a button, but maybe it's a button that you attach to the T_V_. Dorothy Douglass: To a television. Teresa Finley: Mm. Debra Pearce: Something which you when you press that, it would beep to give its location away, on the remote unit. Dorothy Douglass: Yeah. Debra Pearce: And Teresa Finley: Yeah, I think that's Debra Pearce: that Teresa Finley: a good Debra Pearce: could Teresa Finley: idea. Debra Pearce: be something could um Dorothy Douglass: Yeah, Debra Pearce: separate Dorothy Douglass: that's a good idea. Debra Pearce: us a bit. And that way, because we're attaching what would be a small button to the T_V_, again say what, it would be a small transmitter, um watch battery type scenario I would say, or something that if it was problems enough you could actually even just um I don't power that might be something that we could look into. Anna Hasty: Yeah Debra Pearce: Yep. Yeah, it's uh putting a lot on your shoulders there, so I mean that could be something that separates us a bit from the market Dorothy Douglass: I Debra Pearce: as Dorothy Douglass: think Debra Pearce: well. Dorothy Douglass: so, yeah. Debra Pearce: So. To go on from here. Um we have to decide exactly what we're going to do with the remote. Before we leave this meeting, it would be best to say this is what we're going this is the design we're gonna try and get, this is how we're gonna make ourselves look unique. Do we go for Teresa Finley: Mm. Debra Pearce: maybe a remote contro uh sorry, we're gonna go for a remote control obviously, do we go for a small joystick that would operate say changing channels, up and down, and then, what, another button that would say that it's now being used to manoeuvre round the L_C_D_. Teresa Finley: Mm yeah. Anna Hasty: We're Teresa Finley: Yeah, Anna Hasty: just saying volume. Teresa Finley: I think that's Anna Hasty: Should volume be important in the joystick, do you think? Debra Pearce: We could use Teresa Finley: Yeah. Debra Pearce: say the left and right for changing channels and the up and down Teresa Finley: For Debra Pearce: for Teresa Finley: volume. Debra Pearce: volume, Anna Hasty: Yep. Dorothy Douglass: But Debra Pearce: and Dorothy Douglass: we have a frequency of how what people use a remote control for most. Debra Pearce: Okay. Dorothy Douglass: Um, power Anna Hasty: I Dorothy Douglass: is used like once per hour, channel selection is used a hundred and sixty eight Debra Pearce: Mm-hmm. Dorothy Douglass: per hour, that's by far the biggest one, and then teletext, is still here, that's like fourteen, Debra Pearce: Vol Dorothy Douglass: and volume selection. Debra Pearce: Volume selection okay, yep, the teletext we're gambling with, and we're gonna say Dorothy Douglass: No, Debra Pearce: it's Dorothy Douglass: yeah, Debra Pearce: dead, Dorothy Douglass: okay okay. Debra Pearce: the way of the dodo Dorothy Douglass: Yeah, um Debra Pearce: So we well, sorry, we could maybe even go as far as saying power button, small joystick, L_C_D_, and then what maybe is it one more button to say that you're using the menu system, and with the possibility of pushing down on the joystick to say okay? So we're having very very few buttons involved, Teresa Finley: Actually Debra Pearce: but Teresa Finley: how Debra Pearce: navigation around a menu for most things. Teresa Finley: Actually I would say maybe two two function buttons, the y we're now using the menus button and um and an og and an okay button. I Debra Pearce: Okay. Teresa Finley: mean certainly something I've found with the joystick on mo the joysticks on mobile phones is that a lot of the time th the device mistakes you trying to move it in one direction or the other for pushing down for okay. Debra Pearce: Okay. Teresa Finley: Or vice versa. And that's really irritating. Dorothy Douglass: Mm-hmm. Debra Pearce: Um Teresa Finley: The o the o the other dis design constraint I think we should bear in mind is that people are you know very much used to using a remote control one handedly, um, so we need to make sure that e even with the joystick, you know something that can just sit comfortably in the palm of the hand and have the joystick just controlled by the thumb. Debra Pearce: Okay. So um we're actually that sounds like a rough idea. Do we incorporate the idea of trying to f locate the remote control again via a beeping noise? Anna Hasty: Yeah, think so. Debra Pearce: Do Dorothy Douglass: Um, I think Debra Pearce: you Dorothy Douglass: because Debra Pearce: mind looking? Dorothy Douglass: it's so small it might be an uh I mean if we only have like two three buttons it might be essential to have to have Debra Pearce: The ability Dorothy Douglass: that Debra Pearce: to locate it again. Dorothy Douglass: Yeah. Debra Pearce: So that would require a um transmitter maybe attached to the T_V_, just so that it says find Dorothy Douglass, and what, a basically a small microphone um on the actual unit, can maybe hide it in Anna Hasty: Light Debra Pearce: the base. Anna Hasty: bulb as Teresa Finley: Oh. Anna Hasty: well, no? Debra Pearce: Sorry? Teresa Finley: So so a small speaker you mean. Dorothy Douglass: Speaker Debra Pearce: Some speaker, sorry, yeah. Dorothy Douglass: yeah. Anna Hasty: And a light bulb? No. To flash. No. Debra Pearce: Um Anna Hasty: Nah, you'd see it anyway, if you hear Debra Pearce: E Anna Hasty: it. Debra Pearce: us we might be better with the sound possibly Dorothy Douglass: W Anna Hasty: Yeah. Debra Pearce: we could maybe Dorothy Douglass: those Debra Pearce: incorporate Dorothy Douglass: little key-rings have both, so Debra Pearce: th e the true fact, considering the cost of an L_E_D_, Dorothy Douglass: Yeah. Debra Pearce: we could just incorporate it anyway. Dorothy Douglass: Yeah. Debra Pearce: The L_E_D_s can be surprisingly bright now. Dorothy Douglass: Yeah. Anna Hasty: Mm-hmm. Teresa Finley: Mm-hmm. Debra Pearce: Um. Teresa Finley: Blue ones particularly. Plus that's a nice wee design touch. Dorothy Douglass: Yeah. Debra Pearce: So by the sounds of it, with what we're suggesting so far, your design um the user interface is still quite open, you could go for quite an interesting design. Because Teresa Finley: Mm-hmm. Debra Pearce: we're only going to have a very few key and you've got you know a small L_C_D_, joystick, e I think it leaves you open to a a potential wide range of shapes, something that can make it stand out slightly. Teresa Finley: Mm-hmm. Debra Pearce: Um if you could look into what we've suggested so far, the feasibility of um small transmitter, um and such, maybe if an L_C_D_ screen requires too much power, or such. Ebenezer, um, Marketing Expert Dorothy Douglass: Well I can give you the frequency, what people what options people use most often, I guess that's gonna be important in the ts defining the the software side of the interface, right. You Debra Pearce: If, Dorothy Douglass: want the stuff. Debra Pearce: yeah if you could maybe as well see what people think about the idea of this minimalist approach that we've taken, where of a joystick to control the very basic functions, Dorothy Douglass: Okay. Debra Pearce: and then the idea of manipulating it like you would a mobile. Dorothy Douglass: Okay. Debra Pearce: I don't know how easy that will be within the time frame, but could Dorothy Douglass: Mm-hmm. Debra Pearce: be something we could maybe look into. Dorothy Douglass: Sure. Sure. Debra Pearce: Okay. Um any last comments that anybody would like to put forward? Anything that they think has been missed out. Bit of a wide open question there of course. Dorothy Douglass: Mm. Debra Pearce: Feel free to email Dorothy Douglass if you think that uh we've screwed something up and wanna get it rectified as soon as possible. Dorothy Douglass: Sure. 'Kay. Debra Pearce: Right. Dorothy Douglass: Yeah. Anna Hasty: So I should just look at um the speaker, the speaker and an L_E_D_. And Debra Pearce: Speaker and L_E_D_ for locating, um, Anna Hasty: Yeah, Dorothy Douglass: Transmitter. Anna Hasty: and a transmitter. Debra Pearce: transmitter Teresa Finley: Actually one one wee thought about that. Um, if we do end up trying to market this to television manufacturers then the um then the transmitter could actually be built into the television. Debra Pearce: getting the external power source, yep, that's quite true. Um, and something that we can can easily be adopted at the last minute as well I'd say. Teresa Finley: Yeah. Debra Pearce: The electronics could be s either placed externally or internally, makes no difference Teresa Finley: Mm-hmm. Debra Pearce: to the final product of the actual remote control, so that's good. Uses maybe gives us a new potential market. Teresa Finley: Mm-hmm. Debra Pearce: 'Kay. Teresa Finley: You know Anna Hasty: P Teresa Finley: I think I mean if it w if we get a major television manufacturer to say y oh yeah we'll have that, save us the bother, then that's you know vast amounts of sales. Quite quickly. Debra Pearce: Oh, one thing that we've almost not talked about at all, my apologies for that, um, user interface, we also need to maybe get the slogan in here, um it's, Anna Hasty: Fashion. Debra Pearce: I'm pointing at my laptop, what in God Real reaction, and such. So um Anna Hasty: The slogan is yeah, Debra Pearce: Oh, sorry. Anna Hasty: the slogan's we put the fashion in electronics, isn't it? Debra Pearce: My apologies. No it could well be, I've probably missed that. Um, Anna Hasty: 'S also Debra Pearce: I Anna Hasty: look Debra Pearce: think Anna Hasty: cool. Debra Pearce: that's l almost the last minute thing we can just incorporate into the actual plastic on top. So Teresa Finley: Mm. Debra Pearce: I'm not too concerned a that we haven't gone into depth about that. But it might be something you could consider when you're thinking about shapes? In fact we might Teresa Finley: Mm-hmm. Debra Pearce: like to put a slogan on, and um Teresa Finley: Mm-hmm. Debra Pearce: possibly the two R_s to signify the company. Rather than real reaction. Teresa Finley: Mm. Yeah. I thought the uh the d the double arc could perhaps uh be the uh the enter button. Debra Pearce: Sounds good. And I'd say that that's us for now. Okay.

Debra Pearce recapped the events of the previous meeting and briefed the team on some new requirements the team must follow when designing the remote. Dorothy Douglass presented research on consumer preferences and user requirements for remotes. Dorothy Douglass also presented information regarding voice recognition and what demographic finds the feature appealing. Teresa Finley described the technical functions of a remote and stressed the need for a user focused design. Anna Hasty discussed the interior workings of a remote. The team then discussed the option to include voice recognition, LCD, and a feature to locate a misplaced remote. The team briefly discussed who they were aiming their product to along with the idea of marketing their product to television manufacturers. The team also decided on some features to include in their product.

amisum

train

Dana Harper: Alright, yeah. crack on Okay. so we'll start off with a quick overview of the minutes. I think to sum up the last meeting, would be to say um the requirements that we've um set out. Those are we were going to go for what seemed to be a fairly minimal design based on uh a small joystick, L_C_D_ and a couple of other buttons for navigation um with power being I suppose one of the main single purpose buttons. Um we were also going to use novelty of being able to locate the remote control again via a small transmitter with any luck, the idea to try and separate us and also because of the minimal design um looks like we'll be able to be fairly adventurous in the actual physical shape of our remote control with any luck. Um that pretty much sums up the last one. So we'll just crack on, um like to maybe start with Georgia Murrell if it's possible. Georgia Murrell: Uh Dana Harper: Um Georgia Murrell: uh okay. Dana Harper: uh Georgia Murrell: I'll just Dana Harper: the con today is the concep today. This uh meeting is the conceptual design phase and is um Sorry about this. And is to cover things like um what the parts might be made of, um, can we uh outsource these from elsewhere, um will we have to construct any items ourselves? Georgia Murrell: Uh I have a presentation I just saved it in the uh Dana Harper: Yeah, okay Georgia Murrell: the Dana Harper: well I'll just uh Georgia Murrell: folder. Dana Harper: I'll load it up then. Um. Which one Georgia Murrell: Uh. Dana Harper: do y Oh, interface concept? Geri Fields: Yeah, that's Trina Peele. Dana Harper: That's you. We've got trend watching, that's Georgia Murrell: It's Dana Harper: you. Georgia Murrell: uh Components design. Dana Harper: Components design. Dana Harper: Okay. Georgia Murrell: Alright. So Uh. The case uh le that's what I wrote first of all, could be plastic our plastic. Uh but later on we found out that um it can be rubber as well, or titanium or even wood. So uh we decide what it's gonna be. Probably plastic. Uh we need infra-red transmitter. Get that off the shelf. Uh joystick we'll probably if we're gonna use it, um could be plastic w or rubber even as well. Um if you go on to the next slide. Uh If you go on to f uh findings, it's like two or three slides down. Right. Dana Harper: Okay. Georgia Murrell: So, this is what I found we can use. Uh three different types of batteries. Um can either use a hand dynamo, or the kinetic type ones, you know that they use in watches, or Dana Harper: Okay. Georgia Murrell: else uh a solar powered one. Um. Dana Harper: Now, the kinetic one, Trina Peele: Cost Dana Harper: we've Trina Peele: is Dana Harper: 'cause that's the ones where like you the movement causes Trina Peele: Yeah. Georgia Murrell: Yeah. Dana Harper: it. Um the bat uh the battery for a a watch wouldn't require a lot of power, would be my one query. Is Geri Fields: Mm. Dana Harper: a kinetic one going to be able to supply enough power? Geri Fields: There's Dana Harper: Do Geri Fields: also Dana Harper: you Georgia Murrell: Uh. Dana Harper: think? Geri Fields: a watch moves around a great deal more. Dana Harper: W Georgia Murrell: Yeah, Trina Peele: Yeah. Georgia Murrell: I don't think it would. Um. And solar cells, I dunno about that. Trina Peele: yeah. Georgia Murrell: Uh. We should probably just use conventional batteries. Um, just like in usual remote controls. Dana Harper: Which I suppose Georgia Murrell: Um. Dana Harper: as well would allow us to go off the shelf again, you'd say? Georgia Murrell: Yeah. Um. And these are three different types of or two different types three different types of shapes you can have. Uh one is a flat one, and then more original ones are single curved one or one with a double curved. Um the materials are tha there as you can see, but uh you can't have a titanium one for a double curved, uh which would Trina Peele: Titanium, Georgia Murrell: be Trina Peele: the really strong metal, titanium? Georgia Murrell: Yeah, Trina Peele: Is it not Georgia Murrell: and Trina Peele: also Georgia Murrell: light. Trina Peele: it's expensive? Georgia Murrell: Uh, i think so as well, yeah. They make Dana Harper: Um. Georgia Murrell: mountain bikes out of that, don't they. Dana Harper: Um. Georgia Murrell: So it's really light as well. Dana Harper: Curious. Um, I don't know if you'd be able to off the top of your head or not, the single curved and double curved, would you be able to give an example? Georgia Murrell: Um. Dana Harper: Um could you maybe Georgia Murrell: T Dana Harper: draw Georgia Murrell: yeah. Dana Harper: something? I you don't doesn't have to be perfect, it's just 'cause I'm not quite sure if I understand the difference between the two. Georgia Murrell: Uh. Well for a curved, well I was thinking to f for to sit in your the palm of your hand. Uh maybe like this, with the uh joy pad here. Joystick here. And maybe um an okay button around here, so that the thumb can uh use it quite easily. Um I don't exactly Double curved. It probably means this is probably double curved. Uh whereas a single curved would be like that. I guess. Or not necessarily. Dana Harper: So it might literally just be Trina Peele: Two curves. Dana Harper: okay. Georgia Murrell: Yeah like that. Whereas this is two curves. Um so I guess that's what they mean Dana Harper: Alright. Georgia Murrell: by uh double curve. Um which obviously it looks better than the single curve, but uh you can't have it in titanium, which is uh a nice material. Dana Harper: Mm. Georgia Murrell: Uh and for the buttons, um it can have the scroll wheel which they use in mouses for com P_C_s. Uh but um it requires a more expensive chip to use, and if you wanna use L_C_D_ it's even more expensive. So you have to decide, there's trade-offs there. Um if you want the buttons to be oh yeah, if you have a double curve uh control and it's rubber, then you have these rubber buttons as well. But you're gonna ha I reckon you're gonna have to have uh key a number keypad anyway for the amount of channels these days. You wouldn't want to just have to scroll through all the channels to get to the one you want. You wanna enter just the number of it, if you know it. So um I reckon we're gonna have to have a number keypad anyway. Do you think? Dana Harper: Okay, that was definitely something we can talk about. Um so you've got a little bit about the the chip that we might require as well? Georgia Murrell: Yeah. So, depends where gonna spend the money if you want the f fancy L_C_D_ display. Dana Harper: Um, do you have any idea so far, like when we're saying that we'd need an advanced chip for an L_C_D_, does that in shoot the cost up by a drastic amount? Or? Trina Peele: Need an advanced chip for the L_C_D_. Is that did I Dana Harper: Well I think compared Georgia Murrell: Yep. Dana Harper: to say just pressing buttons. Trina Peele: Advanced, like Dana Harper: if you press Trina Peele: three eight Dana Harper: a Trina Peele: six Dana Harper: button Trina Peele: advance. Dana Harper: that sends a certain transmission through the infra-red, whereas I think if we're controlling the L_C_D_ we definitely require a much more powerful chip. Trina Peele: Okay. Dana Harper: Just compared to the chip you would use for pushing buttons I think is the Trina Peele: Okay, Dana Harper: the Trina Peele: sure. Dana Harper: point being made. Geri Fields: Mm. Dana Harper: If I've not over-stepped. Yeah? Georgia Murrell: Yeah i Dana Harper: Okay, um should I go on, or go back? Georgia Murrell: Um Trina Peele: Mm, if we only have twelve Pounds fifty, twelve Euros, not even twelve Pounds. Twelve Euros, what's that, like eight pounds or something like that, nine Pounds? Dana Harper: Well we'd also be relying on the um the bulk buying in producement and such. Trina Peele: Okay, that's Dana Harper: I Trina Peele: good Dana Harper: assume. Trina Peele: point. Dana Harper: We have to look into the costs of those. So, sorry. Georgia Murrell: Uh the previous slides just explain what's in the internal components of the uh remote control. If you go to the one before that uh so it just says what it does, translate the key press into an infra-red signal and this is received by the T_V_. Uh the chip just needs to detect the signal or detect the key press and then uh it'll send it to the tr the amplifier. Dana Harper: Okay. Georgia Murrell: And uh then the next slide just shows how the uh copper wires uh interact with the buttons, the rubber buttons, uh to uh get sent to the chip. So that's just how the control works inside. Um we have to decide on what buttons we're gonna use. Dana Harper: Okay. Um. So in the information that you've been supplied, how feasible would you say that the idea of using an L_C_D_ looks? Georgia Murrell: Um I think we can do it if uh we use conventional batteries and not have solar cells or kinetic. Um and then maybe use single curved uh case. Because we might need it to be curved for the uh thumb to use the joyst joystick easily. Um and then you'll need the advanced chip obviously for the L_C_D_. Dana Harper: Um I mean that sounds like quite a good requirement to Trina Peele. Um conventional battery would seem to make sense. Um Geri Fields: Mm-hmm. Dana Harper: I'm not sure if there's any cost differences between single and double curved and I'm I don't know about anybody else, but plastic or rubber as a traditional form of casing would seem to be Geri Fields: Mm. Dana Harper: a good way forward? Geri Fields: Um I'm actually gonna be bold and go oo go straight for rubber um for reasons I'll go into Dana Harper: Okay. Geri Fields: uh Trina Peele: I also Geri Fields: in more Trina Peele: have Geri Fields: detail. Trina Peele: a preference for rubber. Dana Harper: Okay, well um Trina Peele: Based on my research. Dana Harper: Yeah, well will we move on to user interface, and yeah? Um Geri Fields: Mm. Dana Harper: sorry, as long as were you? Georgia Murrell: Yep I'm finished. Dana Harper: Yeah. Okay. Um and d d d interface concept. Geri Fields: Yep. Now I'm gonna have to work between the uh the slides and the uh Dana Harper: Yeah. Geri Fields: and the white board 'cause I actually I have some fairly concrete things this time. Uh um I was given a H_T_M_L_ file giving um various ideas from uh from other previous remote control designs, and pretty much decided to just dump them all. I wasn't very impressed by them and they didn't seem to re uh nothing I saw seemed to meet the sorts of design specifications that we're going for today. Um so what I ra rather than looking at other remotes, uh ra oomp be better to simply look at the human hand. Um and try and f um and try and figure out a way of laying out the elements we've already decided on, um so that if r a if so that the finger is e each finger or thumb is wherever it needs to be already. Um so uh next slide, if you please. Um and what we've basically decided on was the the um the joy uh the joystick, two function buttons and the L_C_D_, just keep it paired down to the absolute minimum. I don't actually think we need the um the numeric keypad because if you m because one of the menus that we could have available um v via via the L_C_D_ is one where you scroll through channels, so if there's something f and be bear in mind since this isn't meant to work for um Trina Peele: digital. Georgia Murrell: Ah, okay. Geri Fields: f f f for di for digital or um or for or for cable, whatever, you're basically looking at four or five terrestrial channels, and then um your V_C_ uh and then the channel through your V_C_R_ and or D_V_D_ player. And or um box. So it's not I'm not really excessively concerned about that. You must have two two modes, basic mode, where um the joystick's uh left right left right for channels, up down for volume, um and the uh uh and the menu mode for uh further functions. Um now the reason I was particularly interested in using rubber for this is that if we're going to have a highly ergonomic design, um it needs to be ergonomic for left or right handed people. Um, Dana Harper: Can I Geri Fields: so you Dana Harper: just jump in slightly there? Geri Fields: Mm-hmm. Dana Harper: That would suggest the double curved design's probably going to be most appropriate, then. Geri Fields: Yes, absolutely. Dana Harper: okay. Geri Fields: Um, basi basically what I basically what the what be having um, I would say, the the whole thing articulated at two points, so that if you if you're handing it from a lef uh left or right handed user you can adjust it so that the um the L_C_ the L_C_D_ and the uh The joystick would be in the right place. And Dana Harper: Mm. Geri Fields: also this is a rather nicer de uh design gimmick that the the um you know the whole thing you know it should have sort of organic feel to it that it should be, you know, soft to touch and can be moved around all nice. Um Dana Harper: Okay. Geri Fields: okay Dana Harper: Um, Geri Fields: on to Dana Harper: yeah. Geri Fields: on to the next uh to the next slide. Dana Harper: Just to let you know we'll probably be quite tight for time as well, Geri Fields: Okay. Dana Harper: because I think you've probably got a lot you'd like to say, I guess. Geri Fields: Yeah, 'kay basically um I can add pretty pictures to this. The um Assuming the hand the hand to be in about sort of this position, um hol uh holding the remote, the um the joystick unit should rest over the uh the joint of the f of the uh four finger so that it's directly accessible for the thumb. Um and it would need t there would need to be a it would need to be articulated just below that so that it could be switched around for uh left or right handed users. So. You then have a grip section that can be more or less the same irrespective of handedness. You just have big two big buttons that cover most of the area so it can in the upper part, one for the four finger, one for the middle finger. Um, Trina Peele: Is this the Geri Fields: and Trina Peele: joystick? Geri Fields: that Th this part here is the joystick. This would be the actual grip. Probably where you'd want to have the battery as well. Trina Peele: Okay. Geri Fields: That would be probably the bulkiest part. And you then have, at the uh at the bottom, the L_C_D_, and this would need to be articulated as well. And basically I'd want this to rest here, right at the base of the wrist. So it would fit just nicely in the hand. And again, this part could be rotated, so it can So so so that it can be adjusted to either left or right handed user. Um So the t uh the top function button in basic mode would be the on off switch and menu mode would be the enter button. And then the bottom function buttons switches between between modes. Um now programming it actually thi this is one thing I've found with um the replacement remote control. Programming them can be a right pain. So I thought th the simplest way around that would be to have um a cable to connect it to the computer some fair iv fairly fairly simple software on the computer just so that you on your computer just so that you could um pr program it at a rather in a rather more comfortable interface. And you could download programs for it from uh for uh T_V_s from all sort of main manufacturers. Um though you i it would be necessary to have uh have a m uh have a ha have a mode for programming it without the computer, uh just in case there are there are still people left out there who don't have them yet. Trina Peele: Mm. Geri Fields: Um. But uh. Yeah. Dana Harper: Okay. Geri Fields: That's that's my idea. Dana Harper: Excellent, right. Trina Peele: Mm. Dana Harper: Um uh. Trina Peele: 'Kay. Dana Harper: File open. Trina Peele: We go. Dana Harper: Trend watching. Trina Peele: Okay. So uh to gather my research, two basic methods. We compared uh whether people want the remote control to do a lot of stuff or they want it to look cool. And then we we research uh fashion trends in Europe, what's what's the new black, you know, as it goes. Next slide please. Dana Harper: Okay. Trina Peele: Uh we found, in order of importance, people want the remote control to look cool more than they want it to to be cool. As in they want it to do a lot of good s they want it to look like it does a lot, and if it does do a lot that's a bonus, but they don't care so much, you know. They want it to be that's sounds a bit like a contradiction. Technology technical technologically innovative. People want it to be that, but s still they care more about the way it looks than what it does. So like the interface is really important. And easy to use, it it just so happens that uh from the second point to the third point is twice as important I mean the second point is twice as important as the third point. People want it I is it has to be cooler than easy to use, you know, if it has the newest features, even if it's difficult to use, prefer it to have the newest features. And if it's easy to use that's a bonus. The fashion, now this is seems a bit odd to Trina Peele, but fruit and veg is the new is the new black for furniture, for clothes, for shoes. How that relates to a remote control I don't know. But I I see I come on to that in the next in the next slide. Spongy. I've als I've been saying everything's the new black. Well spongy's the new black as well. So we have the choice between rubber and plastic. If it's the type of rubber that you can squeeze, you know, it's spongy, then Georgia Murrell: Oh Trina Peele: can Georgia Murrell: yeah, Trina Peele: I Georgia Murrell: I Trina Peele: skip Georgia Murrell: forgot to Trina Peele: the Georgia Murrell: mention Trina Peele: rest? Georgia Murrell: that. The uh rubber material is the type of stress ball material, Trina Peele: Okay. Georgia Murrell: not just normal rubber. Trina Peele: Okay, Georgia Murrell: Forgot Trina Peele: so Georgia Murrell: to say that. Trina Peele: kinda spongy material. So Dana Harper: Okay. Trina Peele: um so my personal opinion? Um we want something fancy and techni technologically innovative, obviously. But what we what we need is something that looks like it's from the future that looks cool, that's that's different, you know, that's everyone has a white remote control, black remote control, you need something cool. Like, titanium is cool but it's expensive. And maybe it's a bit of overkill for a remote control. Um now the fruit and veg options, either we we go in that direction or we stay totally away from it. Um I mean the research did come up with fruit and veg, so maybe it is important for it's the up to the interface guy. So if we stay away from it, s you know stay away from it, but if we're gonna go along with it then it doesn't necessarily have to be like an apple or something like that, or a kiwi fruit. It could be something like, I say potato peeler but I'm sure you guys have a have a much cooler idea than I do. So I think cool is the key. Few questions about a spongy remote control. I've never seen one before. I've seen plastic remote controls. I think maybe they were I don't know, back in the day when they first came up with remote controls, they had a reason for it being Dana Harper: Mm-hmm. Trina Peele: sturdy, you know. For being strong and sturdy. So um if we want something strong and sturdy, I say stay with plastic or titanium, but if we go with spongy, we can stress that you can drop this as many times as you want, it doesn't matter, it's spongy material, it's not gonna break, you know. I just don't know how the L_E_D_ and the lights are gonna fit into a spongy material because it's not gonna be completely squeezable. So how do things fit it? And if we are gonna use spongy, we can say it's long lasting, you know it's damage resistant and stuff like that, so. So just to summarise, people want stuff that's cool, that's that looks like it's cool, and if it is cool then that's a bonus doesn't have to be um people like fruit and veg. We can either go down that alley or stay totally away from it. People like spongy material. we have to think of how practical it is, and how we can further promote that idea. And also, this was this year. So, things change all the time, every year you know they they always talk about this year, this is the new black. Well next year something else is gonna be the Dana Harper: Mm-hmm. Trina Peele: new black and we're stuck with last year's fruit and veg type stuff. 'Kay. Dana Harper: Okay. Trina Peele: That's Trina Peele. Dana Harper: Well, um I would say that the most you could probably hope for is gaining a year's lead on most people anyway. You always have to bring out new designs, so if we can get next year then that's possibly a good place to start anyway. Geri Fields: Mm-hmm. Dana Harper: Um. Seems like a a lot of the components could be off the shelf, so I don't exactly what cost would be incurred. Um I can see your point about the number keypad, but I've I would say that we can probably incorporate it into the menu system Georgia Murrell: Yeah. Geri Fields: Mm-hmm. Dana Harper: if you need to do traversal of a large number of channels. would be that even if at a later date this was to be taking control of um boxes as well um having the use of the L_C_D_ and the joystick would probably allow you to manipulate enough channel numbers for you to be Geri Fields: Yeah, actually if you've got a lot of channels, the number keypad can be quite annoying as well, becau it's you know if you're trying to remember what uh, you know, what number's the discovery channel or whatever. It's just Trina Peele: That's Geri Fields: irritating. Trina Peele: a good point. You can Dana Harper: Mm-hmm. Trina Peele: incorporate Geri Fields: But if you Trina Peele: names Geri Fields: h but but Trina Peele: into Geri Fields: but Trina Peele: the Geri Fields: if Trina Peele: menu. Geri Fields: you have a Trina Peele but if you have a menu structure, then you can sub-group them. Trina Peele: Okay. Geri Fields: So Trina Peele: Even Dana Harper: Okay. Geri Fields: you Trina Peele: news, music. Like they do on uh sky digital kinda. Geri Fields: Yeah. Trina Peele: Yeah. Dana Harper: So what it looks like to Trina Peele is we'll use a large number of standard components, um, say something like um lithium ion battery, the kind that you find in most um small hand held devices now. Um Looks like we going for a double curved design. Um I don't know what cost implications there are in that. Um, looks like we're pretty much decided on some kind of flexible rubber. Though I'd have to say depending on how flexible it is, we might need to have some kind of inner frame. Geri Fields: Yeah, I I would say definitely, I mean I mean I mean the the idea of having it sort of articulated i th there would be basically two points of articulation. W um one below and one above the m the uh the main sort of grip. Dana Harper: Do you Geri Fields: So Dana Harper: think there's any way we could maybe remove the articulation? I can see why it looks appealing, but it could be a weak point in um the structure, do you think? That would Geri Fields: Mm. Dana Harper: be a worry of mine. Georgia Murrell: If you're going with the fruit and veg thing, looks like a banana. F if you wanna design it that way. Geri Fields: I d I don't thi I don't think that it would be a a structural weakness, I mean if you have a firm s sub-structure, you can then incorporate articulation into that. If you then have a sort of outer skin of mm flexible, spongy rubber then you have something that is you know very much you know organic, and I think would look rather co I mean mi rather cool. I mean my drawing there doesn't doesn't do it justice, it makes it makes it look more a little bit more like a vibrator than a than a uh than a remote control, but uh. Dana Harper: Yeah, we won't add that functionality. Trina Peele: Okay. Course not. Dana Harper: However, one interesting point is, I don't know how serious you were there, but we if we take some of the ideas why don't we make the damn thing yellow to incorporate Georgia Murrell: Yeah. Dana Harper: the des the colour of the logo? Trina Peele: Sure, Georgia Murrell: Okay. Trina Peele: yeah. Dana Harper: I dunno. It's an Geri Fields: Mm-hmm. Dana Harper: certainly a different colour from your average um Geri Fields: Make it harder to lose, as well. Georgia Murrell: Yeah. Dana Harper: That's Trina Peele: Sure. Dana Harper: true. Was there anything in your research Trina Peele: The noise for when you lose the banana, um f yeah, for when you lose the remote control, it could be like a a monkey noise or something like that, rather than a standard beep beep. Y you know, you lose the monkey the banana, y Georgia Murrell: monkey. Trina Peele: you lose the banana, you press a button, and you hear like monkey screams or something like that to direct you towards the banana. Geri Fields: I th uh I mean if it I think that's something that could perhaps be programmable, though maybe have monkey as default. Trina Peele: S Geri Fields: Um. Trina Peele: oh, I was gonna talk about the programmable remote control. Now I think it'd be cool if you had one remote control that could work with all T_V_s, you know you s you click a button and it finds the frequency that works with your particular television. Geri Fields: Mm-hmm. Trina Peele: But why you'd need to program it like as as a standard feature, I I don't know. Geri Fields: Well basi basically the um for f for uh I mean e each manufacturer will have a partic will have a particular command set that uh Dana Harper: Mm-hmm. Geri Fields: the T_V_ responds to. It's Trina Peele: Yeah. Geri Fields: not simply a matter of frequency. So um usually what's done is you have this big booklet full of different possi you'll have all of them sort of programmed in to the uh remote, and you'll have this little booklet of codes Trina Peele: Mm-hmm. Geri Fields: you then find your um ma uh find your manufacturer and try the different codes that Trina Peele: Mm-hmm. Geri Fields: come under that manufacturer's name 'til you find the right one. Trina Peele: That's Geri Fields: It's Trina Peele: because televisions, they don't give the remote control any type of feedback when you send it. Geri Fields: Yeah, that's right. Trina Peele: Okay. Geri Fields: So that's that's quite annoying and we probably would still have to do that. But if we had um some sort of hook-up to your computer as an option, then if you've got a computer you can avoid that rather irritating thing. Dana Harper: An interesting point is that if the person doesn't have the computer, we can still make the process easier because instead of having to look up codes, maybe we can have it that one of the options they have is that they look up the name of the company on the L_C_D_ and then Geri Fields: Yeah. Dana Harper: they maybe look up different names Geri Fields: Yeah. Dana Harper: of um different actual units that have been produced. Or we have the remote control just go through them until it's like does this do the correct function, and such. Trina Peele: Is it is it actually a book of names to digits, or is it like a few pages? Geri Fields: Um booklet. Some pages. Trina Peele: I was just thinking, if we were to store this information, some type of mapping. This person probably need to use this feature like once, you know, when you first buy the remote control, or whenever they buy a new television, so once Geri Fields: Yeah. Trina Peele: every Dana Harper: Doesn't have Trina Peele: s Dana Harper: to be used very often that's right, yeah. Trina Peele: Yeah, Geri Fields: Yeah. Trina Peele: and it's Geri Fields: But it's a but it's a nuisance. And it's a nuisance very close to the to um to actually purchasing it, Trina Peele: Mm. Geri Fields: so it's something that you're likely to be thinking about. If you if there's w i if there's one in the shop that's that says it can avoid much of that nuisance, you might be Trina Peele: Mm. Geri Fields: favourably inclined towards it. Um mm. Dana Harper: Okay, this just to give us a Trina Peele: Mm. Dana Harper: rough idea of what we're meant to be doing for the next stage. I'm pretty sure that you got that anyway. This is the conceptual one. Um. I think we've come up I think we've covered everything we need to here. Um I think we've decided on what, you know, decided on standard items for most of um rubber and such, so we're now looking at the detailed design and what we need to be doing for the next meeting. Um So for example, um I'll just start at the top, you've got yourself and Georgia Murrell gonna be working quite closely at this stage 'cause it'll be hard not to, obviously. Um looking from prototyping of some des description using clay. Um I suppose you'll be told a lot more about that as uh progress. Um The user interface design, They're kind of it looks they're the idea I've pushed forward so far is maybe more of a physical one there, whereas possibly be more interested in maybe how the L_C_D_'s going to incorporate, do you think? Or Geri Fields: Mm. Dana Harper: do you s perceive that most the design design decisions still need to be based on the physical layout? Geri Fields: Um well I I think other than ge getting a sort of more aesthetically pleasing form for it, um mo most of the sort of layout design decisions are are made, I would say. Um but then again, the um the menu structure to to a considerable extent that's gonna vary according to the model of television, and also any customisations that the user might wish to incorporate. So um and one of the nice things about having an L_C_D_ and a menu structure is that there is that flexibility to it. Dana Harper: Mm-hmm, that's very true. Um. Okay. Um got product evaluation as well. Trina Peele: Yeah, Dana Harper: Um. Trina Peele: you see I don't some of these things kinda logically follow the others. How can t product evaluation, doesn't that come after actually seen a product Dana Harper: I Trina Peele: prototype. Dana Harper: I think we'd be yeah, no, it'd be more a case of how do we envisage us performing the product evaluation once we have a model to test with. Trina Peele: Oh, that's the okay, sure sure sure. Dana Harper: Um so it'd be a case of do you think that just bringing users in to have them test it out, uh maybe putting a certain number of products into the field in certain places Trina Peele: Mm-hmm. Dana Harper: which I suppose is quite similar. Or just kind of hitting the streets and you know saying this is a new remote control, what do you think of the look of it? Trina Peele: Okay, sure. Dana Harper: Um Trina Peele: At this stage we still have no no target audience or Dana Harper: I think the target audience is pretty much anybody under the age of say maybe sixty or something ludicrous. Trina Peele: 'Kay. Dana Harper: Um the reason I'm saying that is we're just looking at a a replacement remote control, something that's stylish, so maybe you're even just maybe you're narrowing down your target audience simply by saying Trina Peele: And it's stylish. Dana Harper: if they're buying it that often or they're maybe looking to replace something then, they've got a bit of free cash, so that puts them potentially in the younger age bracket. Trina Peele: Mm-hmm. Dana Harper: Maybe even single, just for the reasons of um uh excess cash flow. Trina Peele: Mm. Dana Harper: Although of course I mean at twenty five Euros, I don't think we're looking at charging the earth for the uh device. Trina Peele: Yep. Geri Fields: Yeah. Dana Harper: Think that's Trina Peele: Okay. Dana Harper: well within the normal bracket. Um your idea of the U_S_B_ would I think would largely depend on the cost. U_S_B_'s definitely one of the cheapest interfaces out there, but it might push the cost of the overall unit up 'cause it would require not just the connection but the chip for communicating with the rest of the system. That one Trina Peele: Programmable Dana Harper: might have to be based Trina Peele: memory Dana Harper: on Trina Peele: as well. Georgia Murrell: The U_S_B_ for which? Trina Peele: For the remote control. Dana Harper: The the idea was that maybe it could connect up for um allowing a software interface on the P_C_ Georgia Murrell: Oh Dana Harper: for Georgia Murrell: right, Dana Harper: a Georgia Murrell: okay. Dana Harper: larger programming due to the fact that we've gone for such a nice, easy minimal design, normally. Trina Peele: We've w Dana Harper: Um. Trina Peele: definitely talking some type of Georgia Murrell: But didn't they just say it's just for T_V_, or are we gonna Dana Harper: It's just for T_V_, but for Trina Peele: Different. Dana Harper: programming it to use your T_V_, you Georgia Murrell: Okay, Dana Harper: might hook Georgia Murrell: yeah. Dana Harper: it up to the P_C_. I I'm not sure, but I'm thinking maybe that the additional cost of the U_S_B_ might be prohibitive. Geri Fields: Mm. Dana Harper: We don't know unless it would make sense to. Trina Peele: But Geri Fields: Yeah, Trina Peele: you're Geri Fields: I mean Trina Peele: gonna Geri Fields: it's Trina Peele: need some type of flash memory or something. Well something that doesn't you Geri Fields: Yeah. Trina Peele: wouldn't have to redo the whole thing once the batteries are changed, you know, once Geri Fields: Yeah. Trina Peele: you turn off the power. Geri Fields: The other thing I mean it I mean it would need to ha it would need to have um some sort of on board memory Trina Peele: Yeah. Geri Fields: anyway. Um f for one for one thing because I do think that the menu system should be um uh I mean although you know, it's not going to be terribly complicated if it's just controlling one device, the menu system ought to be um o ought to be customisable and Trina Peele: Different Geri Fields: uh Trina Peele: languages, uh different skins Dana Harper: Mm-hmm. Trina Peele: and stuff like Geri Fields: Mm-hmm. Trina Peele: that. Dana Harper: W Geri Fields: How uh how uh how you want say the um the the menu structure for flicking through channels if you've got lots of channels. Trina Peele: Sure. I Geri Fields: That sort Trina Peele: if Geri Fields: of Trina Peele: it Geri Fields: thing. Trina Peele: was customisable as in different languages and stuff, that does open it is supposed to be international, right? So. Dana Harper: It would make sense to. Trina Peele: It would make sense Dana Harper: I would Trina Peele: if Dana Harper: say Trina Peele: you could Dana Harper: to. Um and we'd better be careful about the time as well. Trina Peele: Okay. Dana Harper: We've already had the five minute warning, so. Um. I would say yeah. International would make sense. Um you're gonna look at product evaluation. I'm I'd better start writing up a hell of a lot of crap. Um you're gonna look a bit more at the kind of the physical make up you say. Um looks Geri Fields: Yeah. Dana Harper: like we're gonna need a maybe a kind of prototype in clay. Uh we'll see how that goes. Um. Geri Fields: Are we going to be supplied with the clay is what I want to know. Where is the clay? Dana Harper: So um do I think we've got an idea of where we need to go for the next meeting, would you say? Trina Peele: Yeah. Geri Fields: Mm-hmm. Georgia Murrell: they're going with the fashion thing, like Trina Peele: The fruit and Georgia Murrell: the Trina Peele: veg. Georgia Murrell: design, spongy Trina Peele: This one. Georgia Murrell: rubber. Yeah. Geri Fields: Mm. Dana Harper: Yeah, I would s that would be my Geri Fields: I Dana Harper: my Geri Fields: th Dana Harper: feeling. Geri Fields: I think I would largely want to actually steer clear of the whole sort of fruit and veg thing. Bu but um but the spongy idea I like. I like it a lot. Dana Harper: We Trina Peele: Yeah. Dana Harper: seem to have quite a general consensus that the idea of the the r rubber could be quite Trina Peele: Yeah. Geri Fields: I having it i having it sort of br bright yellow I think that's quite a good idea, though maybe we could have options for colours as well. Trina Peele: Yeah. Geri Fields: and again this has the advantage of being harder to lose. Trina Peele: Sure. I mean we are trying to promote a remote control, but we wanna keep the company brand as well, so. Geri Fields: Mm-hmm. Dana Harper: Yeah. So we always need to remember that somewhere we're meant to be getting the slogan on. Possibly I'm think I'm not sure but I'm seeing a little bit of space around maybe the joystick area which could Geri Fields: Mm. Dana Harper: be used. Geri Fields: Yeah. Dana Harper: Um. Geri Fields: I was like like I said before I I think we should have the R_R_ on the uh on the top function button. Dana Harper: Okay. And I think that says it all really. Trina Peele: I think so too. Dana Harper: Right. See Trina Peele: Sa Dana Harper: everybody in a half hour.

Dana Harper recapped the decisions made in the previous meeting. Georgia Murrell presented options for batteries, materials and shapes to use for the case, buttons, and chips. Geri Fields discussed how to create an interface for an ergonomic remote which conforms to the shape and movements of the human hand, as well as an option in which users could connect their remotes to computers in order to download program settings. Trina Peele discussed findings from trendwatching reports, which indicated a need for products which look fancy, are technologically innovative, are easy to use, have a fruit and vegetable theme, and are spongy. The team then discussed what materials and components to use, the color of the remote, and programming options for the remote.

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train

Donna Owens: That should hopefully do the trick, um. Donna Owens: 'Kay. Sorry about the small delay. Falling a little bit behind schedule. And that's uh fifteen twenty five. Okay. So just to try and roughly go over what we agreed in the last one, um we're gonna go for something uh uh how was it? Uh The new black, I believe. Um something that looks good 'cause that seems to be in preference to actual functionality in the end, though we should never avoid functionality, of course. Uh of our components are gonna be standard, off the shelf, but it seemed like we were gonna require at least an advanced chip and we were still very much for the idea of using an L_C_D_ display. Um other things were we were hoping to use rubber, most likely gonna be double curved, etcetera. Okay. So um due to your hard work, we might as well let the uh two designers go first, and uh show us the prototype. Marcella Escobedo: Okay, it's a Donna Owens: Quite how the best way to do this is, I'm not sure, Marcella Escobedo: I Donna Owens: but Marcella Escobedo: think if we step up and uh outline our ideas. Okay. Now do uh doing the prototype gave us a bit more insight into the ergonomics of the design. Um for one thing, it turned out that the only point at which it needs to be articulated for handedness is um is h i is down here for the uh L_E_D_. As it turned out, the whole thing transfers from the right to left hand fairly well the point of view operating the function buttons and joystick, though it might be an idea to be able to a adjust the positions for the base of the joystick just a little bit for Donna Owens: Okay. Marcella Escobedo: uh ju just a thought. You could simply have a slightly ovoid shaped joystick that could then just be turn uh twisted round, so that the uh sticky uh so that the bit that sticks out a bit more is on one side or the other. But as you as you see with the uh with holding it in the left hand, the L_ uh the L_C_D_ is nowhere useful, so that would need to be articulated uh if we're going to retain ergonomic design. Um now I I got your note about uh keeping the cost down. Donna Owens: I'm afraid yeah. Marcella Escobedo: Yeah. Donna Owens: We'll go into that a bit more, but please go on. Marcella Escobedo: this design could be done with um with uh plastic casing. Though I would recommend around the grip part here in the middle, having maybe just a rubber grip over that which would allow for a slightly more sort of bio-morphic form, and a bit more ergonomic as well. As for the um as for the single curve, um well this edge and this edge, like I say it would be nice to have some curvature to it, but it's not absolutely necessary. Really the curve that's most needed is the underside so that the jo so that the joystick rests over the the edge of the hand like this. Um and you have the uh transmitter here and a wee speaker for the uh for the uh for the uh fi uh for the remote control finder. So. Any further comments? Violet Nicholson: Um obviously it's gonna be bulkier looks, because it's gonna be flat on one side, so the L_C_D_ will be s sticking down like this, won't it? Marcella Escobedo: Mm-hmm. Yeah. Violet Nicholson: 'Cause it you can't get it curved. Uh Marcella Escobedo: Yeah, I mean the Violet Nicholson: because of costs. Marcella Escobedo: uh Violet Nicholson: And it's Marcella Escobedo: Yeah. Violet Nicholson: plastic as well, so it won't be as comfortable on the hand. Donna Owens: Mm. Marcella Escobedo: Yeah. I mean with the with the rubber design it could i you know it could pretty much mould very much to the to the user's hand. One nice wee feature if we could if we could still do the rubber, I though of was to have the uh rubber extend beyond the end of the uh of the rigid substructure. So it has a wee sort of tail that you just drape over your wrist so it stays in position nicely. Mm. Lovely. Um. Violet Nicholson: Yeah, Donna Owens: Okay, yeah. Great. Sylvia Duncan: Right. Donna Owens: Um. Sylvia Duncan: Yeah I've got a if load up my evaluation Donna Owens: Yeah, okay. Sylvia Duncan: document. Marcella Escobedo: Okay. Donna Owens: Excellent work. Sylvia Duncan: Mm. Donna Owens: Um. Sylvia Duncan: Uh evaluation. Sylvia Duncan: Basic point uh have a list of criteria that we need to rate the prototype by. Um then we will it's a seven s um seven seven step kinda evaluation process. So um not seven steps, seven scale. So after we've finished doing all the ratings for each criteria, we average that and that will give us some type of uh confidence in our prototype. And uh the on Real Reactions' kinda and policies, marketing strategies also those I put together from the user requirements. 'Kay. Um if you flip the So, those are the criteria. And uh perhaps I could have put 'em a bit better, but you notice a few things that we've totally abandoned, which means that uh the product will score very badly on some of those points. Put it mildly. So we have um true? One, t Seven, eight, oh. Fourth. Okay, so we have to go through each point. If we imagine it's actually straight, and just give it a a score. So um how well would you say the prototype is uh how well have we realised the dream of being able to stop remotes from from being lost, or to be able to find them once they are lost. I mean, uh is the homing thing still the locator, is that still Marcella Escobedo: Yeah, that's still part of the design. Sylvia Duncan: Sure. And Adam, we can keep that in? Donna Owens: Yeah, I believe so. So Sylvia Duncan: Okay. Donna Owens: I mean I don't think anybody could actually stop a remote being lost, 'cause that would mean doing something about the human Sylvia Duncan: Sure. Donna Owens: element, but I'd like Sylvia Duncan: T Donna Owens: to think that we've done something about finding Marcella Escobedo: Mm. Donna Owens: the damn thing once we have. Sylvia Duncan: Sure. Marcella Escobedo: Mm. And making it a bright colour helps with the personally I would have gone for purple. Sylvia Duncan: Mm. Bright colour. So we still have that noise thing, yeah? Marcella Escobedo: Mm-hmm. Sylvia Duncan: Os on a scale of one to seven, how would you guys rate it for finding finding it once it's lost? Marcella Escobedo: I'd say number one. Sylvia Duncan: Number Violet Nicholson: One. Sylvia Duncan: one? Violet Nicholson: Yeah. Sylvia Duncan: Okay. Number number one for the first criteria. Marcella Escobedo: I think w if it was just the sounder then th I mean something I've found with uh w w with say tr trying to find uh a cordless phone or a m mobile, you can hear it, but you can't quite pin it dow pin down where it is. Sylvia Duncan: Yeah you can tell what room the mobile is Marcella Escobedo: Bu Violet Nicholson: find remote. Suppose you have to go to the T_V_ and Sylvia Duncan: Yeah. Violet Nicholson: do it manually. Marcella Escobedo: Yeah. Violet Nicholson: Mm. Donna Owens: Mm. Sylvia Duncan: Yeah. Violet Nicholson: Like Donna Owens: Um Violet Nicholson: y you wouldn't hear the speaker. Sylvia Duncan: Mm-hmm. Donna Owens: just before we go through all of the steps Sylvia Duncan: You wanna say something? Donna Owens: here, um well what we'll do is um if we can look at the criteria you're gonna evaluate, and then we'll come back to the product evaluation if that's alright. Sylvia Duncan: That's fine. Donna Owens: Yeah, is that Sylvia Duncan: Oh that's that's fine. Donna Owens: Um so is there anything here that you that you wanted to cover as in the criteria that you've covered? And then we'll come back pretty much promptly to this. Sylvia Duncan: What do you mean cr is there anything I Donna Owens: I Sylvia Duncan: wanna Donna Owens: is there any of these criteria that need any explaining? Or is there anything that yous thought tha really would stand out compared to the others? Sylvia Duncan: Um, a few. Something I neglected from my initial research is that Real Reactions has a a goal strategy that all of the products be inspired by material fashion, and clothing fashion. That is why fruit and veg being popular in the home and in clothing was important and they want all their products to be somehow inspired by current trends in fashion. So they say we put the fashion in electronics, well they really mean it they they're very big on fashion, so. Donna Owens: Okay. Sylvia Duncan: That's this bit right here. And uh this bit is this one easy to use for visitors or for anybody? I guess it's just the same as saying easy to use interface, so it's kinda condensed into one. And we can come back to it, you said. So. Donna Owens: Okay. No and which we will do very very shortly. Um. Okay. Slight problem we had was that we have an amazing four Euros over budget for what we were hoping to do. Um most of it stems from the use of the L_C_D_ which I think in the end accounted for about half of our expenditure because of course we required a chip as well. Um the only way to get this down was either to ditch the a L_C_D_, at which point we've removed a large part of how we were gonna interface, require more buttons, etcetera. Or what we did was that we um we as in I as I was quickly going over it was altering the actual structure. Um changing it to plastic and a solid unit with a single curve design would allow us to come back into the um proposed costs and we're just scraping it in, we've got point two of a Euro left over there. So we're just managing it really. Even then as well, um there was no criteria technically defined for a joystick so I've used what I think's appropriate. With any luck that won't mean that we've incurred more cost than we can actually afford to. It blows a lot of our really good ideas kind of slightly to one side, for example the possibility of having a U_S_B_ connection is definitely not viable now. Um. Sylvia Duncan: Different languages? Donna Owens: That should still be viable. We've got an advanced chip, we've got the use of the L_C_D_. So being able Sylvia Duncan: Yeah. Donna Owens: to communicate in multiple languages is still very much a possibility. Um but what's something we need to decide on is how we're gonna go from here. We do need to try and come up with an idea which could be continued with other people if need be. Um. We can I can bring the excel up sheet up and uh show you if you wish um. I really think as m much as it pains Sylvia Duncan is that we might have to go with plastic and some kind of solid design, possibly meaning that the L_C_D_ wouldn't be in this perfect place. It might be s stuck like slightly between what would be good for left handed and what would be good for a right handed person. Marcella Escobedo: Mm-hmm I suppose o one thing that could be done is h is have it um circular and have it s so that the uh the pink actually goes a bit over the pinkie finger. Donna Owens: Okay. Marcella Escobedo: Mm. Sylvia Duncan: Mm. Marcella Escobedo: So that uh th Donna Owens: It very much is about making concessions, unfortunately. Um. Marcella Escobedo: Mm. Sylvia Duncan: Do you have any data on how much um different prints cost? I mean can you get the entire thing printed with a design um? Donna Owens: Um b b b da is you mean on the plastic, or? Let's have a look. You now have as much information as I do. Sylvia Duncan: Yeah, yeah. Donna Owens: Um. So as you can see here, for example, the battery really not very little choice in that one. We've gone for one of the cheaper options as well. Unfortunately we require the advanced chip if we're gonna do what we're needing to. I've said single curved. We really do need it to be that way for the ergonomics of it. Um plastic for some reason incurs no cost, which I've had to very much make advantage of, despite the fact that rubber's only got a value of two Euros per unit. Problem comes here as you can see in the interface. Um save point five of a Euro here in that it's not per push button. That might make sense, because then a numeric keypad would come in at um what, four point five Euros, which is an awful lot, so that could well be wrong. Even if we save point five there, it would just mean that we're most likely placing it in actually just gaining a colour for the unit, which has had to be put to one side. As you can see, the use of an L_C_ display um advanced chip and what would determine the scroll wheel here as well because it's an integrated scroll scroll wheel push button that wasn't quite what I think they had in mind with a joystick. Sylvia Duncan: Why would why would that be more expensive than an individual push button and scroll wheel together? That's quite significantly expensive. Donna Owens: I that's something you'll have to take up with the bean counters. Um Marcella Escobedo: Mm. yeah. Donna Owens: as you can see I mean that's taken up well over half of the price. Sylvia Duncan: Yeah. Donna Owens: So um I'm very much open to suggestions of where we go, but because we need to shed what was four Euros off of the um the price of for what we really desired, this one comes in under price as you can see, but this was the one that sacrificed the material for the case and for the actual case design. Sylvia Duncan: We don't even have uh speakers here. The like uh we uh what about speakers and transmitters and stuff like that? Have we factored that in? Violet Nicholson: Mm. Donna Owens: Uh no, we haven't, Sylvia Duncan: Transmitter, Donna Owens: not Sylvia Duncan: receiver, speakers. Plus the extra device itself that's gonna be on a T_V_. Is that gonna be a button, or Donna Owens: That'll it literally would just be a button. Sylvia Duncan: Yeah. Violet Nicholson: That's Donna Owens: We might have to Violet Nicholson: too expensive isn't it? Donna Owens: It looks like almost nothing Mm. Oh good call, I missed that. Sylvia Duncan: I I mean it's not on here, but um. Donna Owens: that's a very valid point. Sylvia Duncan: Did they s do we have to use an advanced chip for the L_C_D_? Violet Nicholson: Yeah. Sylvia Duncan: Okay. Well that's Donna Owens: So Sylvia Duncan: yeah. Donna Owens: if we're gonna go with the L_C_ display, then that's Sylvia Duncan: What's a hand dyna dynamo? You have to wind it up? Donna Owens: I believe so, yeah. That would probably not be in keeping with the um Sylvia Duncan: Technology. Donna Owens: the fashion Violet Nicholson: Fashion. Donna Owens: statement Sylvia Duncan: Yeah. Donna Owens: and such, yeah. Sylvia Duncan: Okay. Violet Nicholson: So basically the only new thing is the L_C_D_ on the Donna Owens: Being Violet Nicholson: remote Donna Owens: manipulated Violet Nicholson: now. Donna Owens: by the joystick, yeah. Violet Nicholson: Oh, and joystick, yeah. Donna Owens: Which I'm defining as scroll wheel. Um. Sylvia Duncan: And we couldn't replace the joystick, right? Because we would need four extra buttons to replace it, up down left and right, and that would be more expensive than a but is a scroll wheel Marcella Escobedo: Mm. Sylvia Duncan: not just back and forward? Donna Owens: Yeah it's just because there was no actual definition for what a joystick might be, that that's what I've labelled it for Violet Nicholson: So Donna Owens: the purposes of this evaluation. Violet Nicholson: The L_C_D_ basically is the big selling point of Donna Owens: If we remove the L_C_ display, Violet Nicholson: the remote. Donna Owens: we could save ourselves a fair amount. Which you could Violet Nicholson: But that's what makes it uh original though, isn't Marcella Escobedo: Mm. Violet Nicholson: it? Sylvia Duncan: Yeah. Marcella Escobedo: I think if we remove the the L_C_ display then there was absolutely no point to any of these meetings and we just we could just put our branding on any other remote control. Sylvia Duncan: Yeah. Yeah. Um. Uh k Donna Owens: It's a shame. We should possibly have If we could've increased the price we could've manufactured that and we could've got something far closer to what we were Sylvia Duncan: Does this Donna Owens: hoping to. Sylvia Duncan: does this bear in mind that I mean it's a bit ridiculous that they're gonna charge us what is it, like this much money for three million if we're gonna buy three million components, you know. Donna Owens: Again, you'll have to argue with the accountants on that Sylvia Duncan: Mm. Donna Owens: one. Um but for the purposes of this meeting, I'm we're gonna have to stick with these figures. Sylvia Duncan: 'Kay. Donna Owens: So, I would say that it would seem like the general opinion is we're gonna keep the L_C_ display 'cause it's about what really separates us, Sylvia Duncan: I Donna Owens: despite Sylvia Duncan: think so. Donna Owens: the cost it's gonna incur. Um are people maybe not happy with, but are willing to go ahead with this in going for a plastic solid case, to keep the L_C_D_? Marcella Escobedo: Mm-hmm. Um yeah I mean one thing, I mean ho uh how much extra would it be to to keep I mean keep the um the articulation? Donna Owens: It's hard to tell. Um I would say Marcella Escobedo: This is Donna Owens: that Marcella Escobedo: what I'm wondering. Donna Owens: you're at least gonna take double curved, and even then I'm not quite sure if that's incorporating the idea of articulation. Sylvia Duncan: Yeah. Marcella Escobedo: Oh no, I think I I it d that it needn't require it to be double Violet Nicholson: It can Marcella Escobedo: curved. Violet Nicholson: be s yeah, it can still be single curved, but Marcella Escobedo: It's uh it's Violet Nicholson: You just. Donna Owens: Single Marcella Escobedo: just it's Donna Owens: curved with Marcella Escobedo: just Donna Owens: articulation? Marcella Escobedo: it's just that the case would come in t would be made in two parts and then joined together with an articulation. Sylvia Duncan: Could we could we not get rid of the curvy the curvous the curvaceousness and focus on the menu being the best interface? 'Cause like we do we have re restrictions on software? Violet Nicholson: That's what we need for the joystick I think though. Sylvia Duncan: Oh but Marcella Escobedo: Mm. Sylvia Duncan: there has to Marcella Escobedo: Yeah, Sylvia Duncan: be Marcella Escobedo: I mean and I mean the uh I mean if you look uh if you look closer at the uh at the prototype here, the lines here along the grip are actually quite straight. Um I mean yeah, Donna Owens: But Marcella Escobedo: on the Donna Owens: the curves all o over Marcella Escobedo: on Donna Owens: hand, is it? Marcella Escobedo: the L_C_D_ I mean although we've done it with a curve it could just as easily be done um without curves. The curve that's really needed is up here, Sylvia Duncan: joystick. Marcella Escobedo: to put uh to keep the joystick in a good ergonomic position for it to have it rest on the top of the hand. Sylvia Duncan: Okay. Sure. Okay, my bad. Donna Owens: We wouldn't actually save a lot by reducing it anyway, so I mean for the purposes of this meeting maybe we can state that single curve still allows articulation. Marcella Escobedo: Mm. Donna Owens: Um unless we hear otherwise we could go ahead with that proposal. Sylvia Duncan: So I think the product is not gonna perform so well for my criteria. Donna Owens: Which is what we can get onto now. As long as so are we gonna say w we have to keep an eye on the time as well, but we're gonna say um Sylvia Duncan: Oh, wait Donna Owens: single Sylvia Duncan: a minute. Donna Owens: curved design Sylvia Duncan: Sample speaker? What is a sample speaker? Is that somewhat similar to what we want? Donna Owens: It could well be, Marcella Escobedo: Mm Donna Owens: but Marcella Escobedo: no Donna Owens: at a cost Marcella Escobedo: that's Donna Owens: of Marcella Escobedo: that voice response Violet Nicholson: Costs Marcella Escobedo: thing Violet Nicholson: four. Marcella Escobedo: that we got the email about. Sylvia Duncan: Yeah. Marcella Escobedo: But I thought it was just completely pointless. Sylvia Duncan: You got a email about voice response? Marcella Escobedo: Yeah. Sylvia Duncan: I did not, so. Marcella Escobedo: Alright. B i basically it was saying that our labs had come up with a chip that you could, you know, say hello to, and it would say hello back in a friendly female voice. Donna Owens: Okay, yeah we'll definitely won't go with that one. Sylvia Duncan: We won't go with that one, did you say? I mean Donna Owens: Yeah, Sylvia Duncan: I Donna Owens: that's Sylvia Duncan: we Donna Owens: voice recognition, so. Sylvia Duncan: Okay, okay. Donna Owens: Um. So, okay yeah, battery definitely, Sylvia Duncan: So it looks like we're gonna get rid of the whole loca locator thing. Donna Owens: It Violet Nicholson: Yeah. Donna Owens: looks like it unless we can manage to put it in under point two Euros, Sylvia Duncan: Okay. Donna Owens: um. Sylvia Duncan: Okay. Donna Owens: Maybe even Marcella Escobedo: Mm-hmm. Donna Owens: slight well oh yeah, pretty much point two Euros, I'd say. So we'll leave that one for now. we'll Violet Nicholson: Are we Donna Owens: just Violet Nicholson: going Donna Owens: have Violet Nicholson: for a special colour at all? Donna Owens: It's uh a case of um I'm uh slightly unsure. One point five of a Euro for one push button doesn't sound quite right. So maybe it's a case of a push button is maybe one or more. Um. Marcella Escobedo: Mm. Violet Nicholson: Well I was Donna Owens: At which point Violet Nicholson: for Donna Owens: if Violet Nicholson: a case. Or had you already incorporated that? Sylvia Duncan: Oh, special colour for the case. Donna Owens: Well you got point five there. It's literally a case of whether or not this is correct. I'm not quite sure if they're I don't think they mean point five Euros per button. Sylvia Duncan: Mm-hmm. Marcella Escobedo: Okay, well l let's Donna Owens: So Marcella Escobedo: say that and then we can have our special coloured case and then we at least have make it a little harder to lose. Donna Owens: There we go. Marcella Escobedo: that gets camouflaged under any pile of crap in a Sylvia Duncan: W Marcella Escobedo: living Sylvia Duncan: what's Marcella Escobedo: room. Sylvia Duncan: the default colour? White or black? Donna Owens: Black's probably the normal colour you'd say, Marcella Escobedo: Or Donna Owens: yeah. Marcella Escobedo: grey. Sylvia Duncan: Right. Donna Owens: I quite like that Marcella Escobedo: Yellow. Donna Owens: colour that you're fetching there, it's uh definitely for make it glow in the dark even better. Sylvia Duncan: Yeah. Donna Owens: So will we go with that then? Marcella Escobedo: Okay. Sylvia Duncan: Yeah. Donna Owens: It's not and we can see we'll come back to Sylvia Duncan: Sure. Donna Owens: uh your evaluation which you're probably now going to pan us but Sylvia Duncan: Okay. Donna Owens: there we go. Sylvia Duncan: Okay. So uh Donna Owens: Just to give you an idea, um you want to go maybe a bit quickly as well, I'm not sure how much time. We've not hit the five minute mark Sylvia Duncan: Right Donna Owens: warning Sylvia Duncan: okay. Donna Owens: yet, but. Sylvia Duncan: Okay. Violet Nicholson: Think it's ten minutes left. Donna Owens: Ten. Sylvia Duncan: 'Kay. Ability to stop remotes from being lost or to find them once they are lost. Um. Okay. Violet Nicholson: Special colour. Sylvia Duncan: Special colour. Donna Owens: Mm Sylvia Duncan: Uh Donna Owens: mm four? Sylvia Duncan: uh four. Donna Owens: Three? Mm. Sylvia Duncan: Three if Marcella Escobedo: Three. Sylvia Duncan: we're being generous, Marcella Escobedo: I Sylvia Duncan: I Marcella Escobedo: think Sylvia Duncan: feel. Marcella Escobedo: we can do three. Violet Nicholson: Three. Sylvia Duncan: Think we're being generous Marcella Escobedo: Th Sylvia Duncan: here with three. Marcella Escobedo: the special colour doesn't would I think make a difference. It makes it stand out from you know it's Sylvia Duncan: Mm. Marcella Escobedo: lost in a big pile of crap, it stands out from the rest of the crap. Sylvia Duncan: Yeah. Donna Owens: Okay. Sylvia Duncan: Okay. Reduce the number of unused buttons. We're down to t two buttons, is it? Donna Owens: Two Marcella Escobedo: Two Donna Owens: buttons. Marcella Escobedo: buttons and a joystick. Sylvia Duncan: Okay, so that's a one. You know, where Marcella Escobedo: Totally. Sylvia Duncan: that's Donna Owens: Yeah. I'd say we're doing well there. Sylvia Duncan: Okay, that was good. Easy to use interface, buttons menu, menus that's yeah that's good. 'Kay that's we're not doing so badly. Um easy to use oh okay, let's forget that one. Donna Owens: Mm-hmm. Sylvia Duncan: Fancy looking. Donna Owens: As he Marcella Escobedo: It Donna Owens: models Marcella Escobedo: doesn't Donna Owens: the Marcella Escobedo: get much fancier. Sylvia Duncan: Sure. And we could do whatever we like with the L_ L_C_D_. Yeah let's just assume it's a good L_C_D_ display. Maybe I was panicking for no Violet Nicholson: Are Sylvia Duncan: reason. Violet Nicholson: we going one on? I'd say we go two, 'cause like f the fanciest would be the double curved. Sylvia Duncan: Yeah, Violet Nicholson: Wouldn't Donna Owens: I'd Violet Nicholson: it? Marcella Escobedo: Mm. Sylvia Duncan: w maybe you'd be a bit Donna Owens: Yeah. Sylvia Duncan: too yeah. Violet Nicholson: With the articulators. Sylvia Duncan: There we go. Yeah, Violet Nicholson: With Sylvia Duncan: that's Violet Nicholson: bells Sylvia Duncan: m Violet Nicholson: on it. Sylvia Duncan: that's that's better too. More accurate numbers. Technologically innovative. Well, we're getting rid of the locator thing which Donna Owens: Which is a shame. Sylvia Duncan: which yeah. Marcella Escobedo: Mm. I'd give Violet Nicholson: No need Marcella Escobedo: it a three Violet Nicholson: for teletext. Marcella Escobedo: for this for that. Yeah. I mean Sylvia Duncan: 'Kay. Marcella Escobedo: the menus thing is something you don't normally see on um on a remote, but you see it in a lot of other places. Sylvia Duncan: Yeah, mobile phones. Donna Owens: Mm. Sylvia Duncan: And y what you're doing is moving the menu from the television to the remote control, so it's Marcella Escobedo: Mm-hmm. Sylvia Duncan: You say three? I might go as far as two on that. Three. Marcella Escobedo: I'd give Donna Owens: I'd Marcella Escobedo: it Donna Owens: be Marcella Escobedo: a three. Donna Owens: tempted with three, Sylvia Duncan: Three. Donna Owens: yeah. Sylvia Duncan: Okay. Okay. Donna Owens: We'll get panned on the next one, anyway. Sylvia Duncan: Materials that people find pleasing. Sponginess Donna Owens: Yeah, w Sylvia Duncan: is what they really would have wanted, apparently. Donna Owens: It is, yeah. Don't blame them. Um because of the way that we've minimalised the number of buttons and such. Sylvia Duncan: Yeah. Donna Owens: Plastic, it sucks. But it's no worse than any of the other pl remote controls we have. Sylvia Duncan: That's true. It's not a step backwards. Marcella Escobedo: Mm-hmm. Violet Nicholson: five? Six? Marcella Escobedo: I'd s I I'd give it a six, Violet Nicholson: Six, Marcella Escobedo: to be honest. Sylvia Duncan: Yeah, okay let's give it a six. Okay, that's totally thrown everything off balance. Inspired by the latest interior and clothing fashion. W we could. What colour were we gonna Violet Nicholson: Put Sylvia Duncan: make Violet Nicholson: a leopard Sylvia Duncan: it? Violet Nicholson: print on Marcella Escobedo: Well I Violet Nicholson: it. Marcella Escobedo: I I would sa I would say give a s give a selection of colours. Um we Sylvia Duncan: I Marcella Escobedo: went Sylvia Duncan: know, Marcella Escobedo: with Sylvia Duncan: but Marcella Escobedo: yellow we went with yellow for the prototype 'cause we had yellow. If I were buying one, I'd go for purple. Leopard print would be cool. Sylvia Duncan: But um by this I think it's more a case of Violet Nicholson: Yeah Sylvia Duncan: fruit Violet Nicholson: we gotta. Sylvia Duncan: and veg, Violet Nicholson: I'd Sylvia Duncan: Yeah. Violet Nicholson: say the colour of the border there world you'd find that, that's that'd stand out. Donna Owens: Like yellow, yeah. It would also help keep the the product placement Violet Nicholson: Logo, Donna Owens: s yeah. Sylvia Duncan: Mm. Violet Nicholson: brand. Mm Sylvia Duncan: But Donna Owens: Is it inspired Violet Nicholson: 'kay. Donna Owens: by clothing fashion? Sylvia Duncan: Th th they're referring to the fruit and veg thing. Is this like a banana type colour? Could we stretch no Donna Owens: Yes. Sylvia Duncan: still, it's not shaped like a banana is Donna Owens: It's Marcella Escobedo: That's Donna Owens: kind Marcella Escobedo: kinda Donna Owens: o it probably Marcella Escobedo: i it won't be when it's been Sylvia Duncan: Oh is that 'cause it's flat? Marcella Escobedo: budgeted. Sylvia Duncan: What is what fruit or veg is flat? Marcella Escobedo: I I think s I I think this isn't not particularly fruit and veggie. Sylvia Duncan: Yeah. Marcella Escobedo: Um. Sylvia Duncan: Or we might have to suffer badly Violet Nicholson: Yellow Sylvia Duncan: for this one as Violet Nicholson: courgette. Sylvia Duncan: well. Donna Owens: Well I mean it's probably more fruit and veg than most other things out there bar fruit and veg, so, what, four? Sylvia Duncan: Four? Oh that's Donna Owens: Is that being Sylvia Duncan: it's Donna Owens: too generous? Sylvia Duncan: very ambitious, Marcella Escobedo: Mm. Sylvia Duncan: yeah, um. Marcella Escobedo: I'd I'd I don't think fruit and veg is the sole criterion. Donna Owens: Oh dear, Sylvia Duncan: Sure. Marcella Escobedo: Is the sole criterion for being um Sylvia Duncan: Inspired Marcella Escobedo: fashion Sylvia Duncan: by. Marcella Escobedo: fashionable or inspired by current fashions. Um I'd g I'd rate I'd rate this fairly highly from that point of view actually. Violet Nicholson: Well this this what we're gonna t this is their motto, like. Sylvia Duncan: Yeah. Violet Nicholson: And we're we're not doing well on it. Sylvia Duncan: This is their strategy. I m imagine we actually had some money invested in this and the amount that we invest is gonna be proportional to the marks. Might we might wanna be a bit more skepible sceptical about this one. Donna Owens: What would you think yourself? Sylvia Duncan: I would say I mean it's it's not at all, right? In any way or shape or form. We Donna Owens: Well, Sylvia Duncan: didn't Donna Owens: it's Sylvia Duncan: m Donna Owens: kind of curved and we can make it yellow, and that's pretty much banana like. Sylvia Duncan: Okay, the the yellow banana like thing is I think is okay. Donna Owens: Si it's got a curve to it. Sylvia Duncan: Right five. Is that sound reasonable? Donna Owens: Am I Violet Nicholson: Yeah, Donna Owens: do you think Violet Nicholson: I'll go Donna Owens: I'm Violet Nicholson: with Donna Owens: stretching Violet Nicholson: five. Donna Owens: the Sylvia Duncan: Five. Donna Owens: uh the use of the banana? Sylvia Duncan: Yeah. 'Kay, so we have one, two, three, four, five, six, seven. So five, seven, ten, sixteen, twenty one. Which gives us an average of three. It's well this would be in the middle. So we it's it's not bad. It's in the good section. Donna Owens: It's not bad and considering the don't pick the pen. Sylvia Duncan: Oops. Sorry. Donna Owens: Um. Sylvia Duncan: I'm I'm sorry. Donna Owens: Y oh and you've knocked batteries out. Um right Violet Nicholson: 'S Donna Owens: okay Violet Nicholson: bad Donna Owens: it's Violet Nicholson: design, that thing. Donna Owens: considering the price we had to get this in, Sylvia Duncan: Mm-hmm. Donna Owens: to have a positive you know, even based on the four of us being heavily biased, um Sylvia Duncan: Yeah. Donna Owens: it was gonna be quite hard to get anything standing out I'd say possibly, based on um the the cost features. Violet Nicholson: Mm, Marcella Escobedo: Mm. Sylvia Duncan: Even Violet Nicholson: yeah. Sylvia Duncan: if we were to increase this entire thing by by seven, we were to go down a grade to to four, we would have to do I mean we didn't we weren't that kinda optimistic too optim overly optimistic. You know like we didn't we didn't add we didn't subtract a whole seven points from these things, so I think we're definitely on the good bit. Even if we gave this one seven and this one seven, that's still only three extra points over seven. You know, it's Marcella Escobedo: Mm. Sylvia Duncan: yeah, we did it w it was okay. It was good. Marcella Escobedo: Personally, I think given that the product um only replaces a single remote control that you've already got, are people really gonna shell out twenty five Euros for something that's only marginally good? Violet Nicholson: Well, it depends who your who's what the target people are, like you'd say maybe the fashion conscious Donna Owens: Maybe it's Violet Nicholson: women Donna Owens: been targeted Violet Nicholson: would be going, oh look at that, 's cool, it looks like a Sylvia Duncan: Mm-hmm. Violet Nicholson: it's yellow, looks like a banana, it's cool it's gotta look good in the sitting room. Donna Owens: Hide it in the Violet Nicholson: Rather Donna Owens: fruit Violet Nicholson: than Donna Owens: basket. Violet Nicholson: the L_C_D_ whereas uh more technical like like more uh people in with the latest technology it's good, it's got an L_C_D_ screen 's only got two buttons and a joystick. So, which which kind of people would be more likely to buy it? Donna Owens: Probably the people technologically. They're usually the ones that buy pointless stuff. Sylvia Duncan: I think so. I mean my mum still has not learnt how to use text messaging on her phone, and she's had it for a long time, you know. She uses it to make phone calls and that's it. Yeah. So I think if sh if my mum saw a remote control like this with only two buttons and a joystick, I mean that'll probably be the first one she decides not to buy, you know. Donna Owens: Mm-hmm. Sylvia Duncan: She'd be like is this a remote control, I don't how do you use it, and stuff like that. So even if it is really user friendly to us, but we're used to using menus all the time. Marcella Escobedo: Mm-hmm. I s I suppose one thing is that b because it's technically innovative, um for someone who's sort of technophobic, the fact that it simply looks unfamiliar Sylvia Duncan: Yeah. Marcella Escobedo: would be daunting. Sylvia Duncan: Yeah. I Marcella Escobedo: Um. Sylvia Duncan: think it's totally uh radical to have a remote control with no no Violet Nicholson: Yeah. Sylvia Duncan: numbered buttons, yeah. Violet Nicholson: Yeah. Sylvia Duncan: But like radical good, maybe. Donna Owens: Okay. Um don't know how lo much longer we've got. At least five minutes I think. Um quickly we'll pop onto project evaluation. Um. So, we've got these uh four criteria here for uh satisfaction. Does anybody want to um um do you have any opinions on any of them? For example um we'll work backwards I suppose. The ability to work on this project using the technology we've been presented with. Um people made good use of the uh pen and paper? I would Marcella Escobedo: Yeah, Donna Owens: say Marcella Escobedo: got notes Violet Nicholson: Yeah. Marcella Escobedo: and doodles. Sylvia Duncan: Wrote nearly a page, but not. Donna Owens: I'm not quite sure what the advantage for us using a digital pen might be. Sylvia Duncan: I think Marcella Escobedo: Well I think this Sylvia Duncan: tracking. Marcella Escobedo: is a I think the digital pen's mostly for the benefit Donna Owens: Mm. Marcella Escobedo: of the uh of the researchers studying this. It's all p goes into their corpus. Though Donna Owens: It Marcella Escobedo: it Donna Owens: must Marcella Escobedo: would have been nice to be able to transfer the um transfer our n our paper notes onto the uh computer ourselves. Sylvia Duncan: Yeah, that woulda been pretty good. Donna Owens: It does seem like the paper's still a heavy consideration for taking notes. So maybe this is literally just a way around it. Um I dunno. How are people satisfied with the teamwork we've managed to display today? Violet Nicholson: Good. Sylvia Duncan: I'd yeah I liked it, yeah. Donna Owens: Leadership. As much as can be leadered in this uh Violet Nicholson: Very good. Donna Owens: thing. Sylvia Duncan: I li yeah, top marks. Donna Owens: Um last one we've got is room for creativity. Sylvia Duncan: Well Donna Owens: Now, Marcella Escobedo: Unti uh uh Donna Owens: I Marcella Escobedo: until Donna Owens: think we Marcella Escobedo: uh Donna Owens: got Marcella Escobedo: until accounts came along, squish. Violet Nicholson: We're burs Sylvia Duncan: yeah. Violet Nicholson: bursting with creativity. Sylvia Duncan: We we're not lacking in ideas, you know it's that was not the problem. Donna Owens: Yeah I think of in the end, ideas that can be used sadly. Not so much that we weren't full of ideas, but of ones that are gonna allow us to actually build the thing. Sylvia Duncan: Mm-hmm. Donna Owens: It's a bit of a pity. Um I would have to agree on that. I think we needed a larger budget. Sylvia Duncan: Yeah. Donna Owens: If you're going to aim your a um product maybe at the technological kind of sector, then you can afford to maybe jack the price up slightly from what it is. Because Marcella Escobedo: Yeah. Donna Owens: they will pay outrageous cash to Marcella Escobedo: Mm. I Donna Owens: first Marcella Escobedo: mean I Donna Owens: on Marcella Escobedo: th Donna Owens: the Marcella Escobedo: I Donna Owens: market. Marcella Escobedo: mean I think to r retaining the s the more sort of bio-morphic form in the articulation would gain more in s uh would gain more profit in sales than it would lose in uh in added expense. Donna Owens: Mm. Violet Nicholson: And the price was like it was twice the w assembly cost. And would it have to be twice that? It could be like coulda had the assembly like maybe fifteen Euro. Donna Owens: It Violet Nicholson: We'll Donna Owens: could Violet Nicholson: still Donna Owens: even Violet Nicholson: settle for twenty five. Donna Owens: That's Violet Nicholson: Maybe. Donna Owens: true, yeah. Um I suppose these are all that will have to be taken up with a at a different group at I guess. As to a the costs involved. But I mean we've got a a prototype. Marcella Escobedo: Such as it is. Donna Owens: So I dunno, I I think it's gone okay today, considering the information that we've had at our disposal, and um Sylvia Duncan: Maybe Donna Owens: such. Sylvia Duncan: the counts wou woulda been better if we had a list or more Yeah, to begin with. Violet Nicholson: In the beginning, yeah. Sylvia Duncan: Yeah. Donna Owens: Probably would have mean we could have come up with a lot more solid Sylvia Duncan: Yeah. Donna Owens: design in the end, I would have to agree. It is very much a pity to um get so far into the stage and then find out that maybe some of your ideas are just a bit too expensive. Always hard to tell until you know the costs. Um. Okay. Are the costs within budget? Well, they are now that we have our slightly less than capable product. Sylvia Duncan: Okay. Donna Owens: We've evaluated it, and we can say that we came out with a value of three. Sylvia Duncan: Yeah. Marcella Escobedo: Actually I want th one thing I would say I mean something that could perhaps be part of the product mm the um m product testing market research process would be to uh produce mock-ups of both versions and see just how much of a difference the over going over-budget um m would make to sales. Donna Owens: It's yeah? Sylvia Duncan: And like response from consumers. Marcella Escobedo: And we could even you know, market two versions. Wee cheapie version with the nice bio-morphic rubber. Donna Owens: And then the final one where you get to call it Hal. But we'll Marcella Escobedo: Yes. Donna Owens: go into that later. Sylvia Duncan: Sure. Donna Owens: Right um is there anything else that anybody would like to to add, um anything they think that's not been covered, before I quickly write up a final report. Um I dunno, I mean we've got a product. We maybe aren't as happy with it as we'd like to be, but we've got something we think we can maybe stick onto the the market and sell. And of course something we have been avoiding talking about 'cause of we've no information is selling them directly to the manufacturers. Sylvia Duncan: Yeah. Donna Owens: There is a huge market. I mean we've briefly touched on it but we've no more knowledge then there's little we can say on that. Sylvia Duncan: Yeah. Marcella Escobedo: Mm. Donna Owens: Yeah. So um unless anybody's got anything they'd like to add, we can maybe round this up slightly earlier than we'd need to and then we can Marcella Escobedo: And Donna Owens: finish Marcella Escobedo: I can get Donna Owens: up the Marcella Escobedo: my bus. Donna Owens: writing and such. Yeah? Marcella Escobedo: Okay. Sylvia Duncan: Yeah. Okay, let's Donna Owens: Uh thank you for your participation. Sylvia Duncan: Thank you. Marcella Escobedo: Thank you. Sylvia Duncan: I was actually kind of upset you know at the budget, and that we had to cut a lot of stuff. It's like man, we we can't have the locator thing. And s yeah that's just bad. Do you think maybe the prices were were made? Donna Owens: That a question we can ask.

Donna Owens recapped the decisions made in the previous meeting and two team members presented a prototype for the remote the team is designing and discussed its ergonomic appearance and its features. Sylvia Duncan began to lead the team in conducting an evaluation of the prototype but was interrupted when Donna Owens shifted the discussion to examining the production costs of the team's product. The original specifications of the team's product proved to be too expensive and so the team had to discuss which features to lose and which to maintain in order to meet the target cost. After discussing costs, the team returned to conducting their product evaluation. The prototype was evaluated on the basis of its ability to be located when misplaced, ease of use, appearance, technological innovativeness, and sponginess. Overall, the prototype received average marks. The team then evaluated the project process, finding that they were happy overall but quite displeased with the small budget.

amisum

train

Violet Kelly: Help. It's up there? That screen's black. Violet Kelly: Alright, okay. Okay, that's fine. Gertrude Fuller: Oh God. Violet Kelly: Are we done? Violet Kelly: Right, okay um, this is our second meeting and I might be a bit all over the place. Um, right our agenda for today, do you want us to give you a second? Gertrude Fuller: Uh, no that's okay, sorry. Violet Kelly: Okay, um I'll go over what we decided last meeting, Donna Butcher: Mm-hmm. Violet Kelly: um, we decided upon a universal control, one handset for all, T_V_, video equipment. Donna Butcher: Sorry. Violet Kelly: Um that important that the product was accessible to a wide range of consumers, wide age range, not limiting anyone. We decided it was important to reflect the company's image in our product, we put fashion in electronics, you know that kind of s thing. Um, our budget would have to affect um try not to reflect our budget, um that we might have a bit of oh oh you can see it, okay. Um dissonance between what our budget was and what we want it to look like. Um want it to look uncluttered, undaunting to the customer. We discussed a flip-open design, um reducing the size of the control and an electronic panel um for further features like programming, things like that. Okay. Um, three presentations, I've got written here so shall we hear from Marketing first? Gertrude Fuller: Um is it okay if I postpone that til later, I just want to get access to a little bit more information, Violet Kelly: No Gertrude Fuller: is that Violet Kelly: that's Gertrude Fuller: okay? Violet Kelly: fine, that's fine. Julia Reitz: Okay, yeah I'll go first Can. I grab the Violet Kelly: Unplug Gertrude Fuller. Julia Reitz: Thanks. Julia Reitz: What do I have to press? Oh, F_ eight? Violet Kelly: Um, F_N_ function F_ Julia Reitz: Oh Violet Kelly: eight. Julia Reitz: right, yeah. Okay. Maybe Donna Butcher: Yep. Julia Reitz: Yep there we go. Okay this is uh the working design, presented by Gertrude Fuller, the uh Industrial Designer extraordinaire. 'Kay, this is where I went a bit mad with PowerPoint so. What the first thing question I asked was what are we trying to design? Well, a device which basically sends the signal to the T_V_ to change its state, whether that be the power, or the channel um or the volume, everything is just um some sort of signal to change the state of the T_V_ or other appliance that it's sending the signal to. Um, so I decided I'd have a look at what th other people have designed and try and take some inspiration from that. But uh although we will want to be taking ideas from other people, we wanna make sure that our design stands out and I thought that was something that well it wasn't really my area because I'm dealing with the inside really. So um, yeah I ran out of time so I couldn't do this one as fun as the last one. Um and uh I found out that most uh controls use some form of infrared to send signals to the T_V_ presumably because of the cost issue of uh something like uh the same thing that computers use, wireless and, you don't need to send very much information. Um, most of them are powered by some form of battery. Now our one, I'm I'm not sure whether we want to look at the size issue because most of them are powered by triple A_ batteries but those can be quite bulky so I d I didn't know if you wanted to look at something else um so we could shrink down the size Gertrude Fuller: Mm-hmm. Could Julia Reitz: of the Gertrude Fuller: I Julia Reitz: control. Gertrude Fuller: can I interject to ask a question Violet Kelly: Mm-hmm. Julia Reitz: Yeah Gertrude Fuller: there, is Julia Reitz: sure. Gertrude Fuller: that appropriate? You're saying the triple A_ batteries are small or Julia Reitz: Um Gertrude Fuller: the Julia Reitz: no no, Gertrude Fuller: surrounding Julia Reitz: if you Gertrude Fuller: it? Julia Reitz: if you look at if you look at most remote controls they're quite they're quite chunky and Gertrude Fuller: Mm-hmm. Julia Reitz: that's because of the size of the batteries, they have to be obviously this certain size to fit those Gertrude Fuller: Right, Julia Reitz: batteries Gertrude Fuller: the triple Julia Reitz: in. Gertrude Fuller: A_s are the smallest you can Julia Reitz: Yeah Gertrude Fuller: get Julia Reitz: the Gertrude Fuller: are they not, Julia Reitz: the Violet Kelly: They Julia Reitz: well Gertrude Fuller: right? Violet Kelly: are. Donna Butcher: Okay. Julia Reitz: you can you can get the sort of circular round ones Gertrude Fuller: Oh Julia Reitz: but I'm just Gertrude Fuller: I see. Julia Reitz: wondering about power consumption and how much you need to send Gertrude Fuller: Okay. Julia Reitz: the data across. Um, and d which leads sort of onto the next point about 'em being small and easy to carry round. Um, now the ones at the moment are small but I was just wondering if we could look at something a bit smaller. Now the main components I came up with um were obviously the power source for the batteries 'cause otherwise it's not gonna work, uh as I said about the w which batteries we were gonna choose, we can uh discuss that later and then you obviously need something to decode the information that you're putting in from from the controller and to turn it into an i uh infrared signal which we're going to use to send the information. Now these have a wireless range of up to about five metres which is sort of suitable for anyone who's watching the T_V_ unless they're in a cinema, which not most people do so as we're applying to the most audience that should be fine. And then I was uh just had a quick look at the external design but I d I left that mostly to the uh interface designer. And so this is what I had as the basic idea of what we wanna do. It's not a proper circuit, I'm not sure if it'd work or not, I'm not even confident that those are the real um the real way you'd wire it up but anyway, we've just got the the power going to the infrared bulb with the chip and the uh U_I_ interface um which would basically, when you when you pressed anything it would the chip would convert it into some form of I_R_ data which could be decoded by the T_V_ receiver, which obviously means that we're gonna have to conform to whatever um whatever form of communication that the T_V_s are already using and since that that's another use and reason to use that infrared because that's what all T_V_s use at the moment. And then finally, um we want uh the it to be available to a wide audience at a low cost so all the components that I've put forward are uh low in cost so that that should be good. Um it should should be different enough um from the alternative products to get a good consumer base, we were talking about it before and also just something that I was thinking about, uh because they're small Gertrude Fuller: Mm. Julia Reitz: they're also easy to lose so if we could look into some way of d dunno some anti-going down the side of the sofa Gertrude Fuller: Mm. Julia Reitz: thing that you could have, I th that was just sort of a general point there. Gertrude Fuller: Mm. Julia Reitz: And Gertrude Fuller: That's Julia Reitz: that's Gertrude Fuller: a very important Julia Reitz: uh Gertrude Fuller: part, it came up Julia Reitz: yeah. Gertrude Fuller: in our market research findings too so I can refer to that, Julia Reitz: Alright okay, Gertrude Fuller: whenever you like Gertrude Fuller to present. Julia Reitz: and yeah, that's that's what I came up with there, so Violet Kelly: Okay, Julia Reitz: if Violet Kelly: thank Julia Reitz: you wanna Violet Kelly: you very much. Um, would you like to continue Donna Butcher: Yep Violet Kelly: on from that? Julia Reitz: Ooh. Donna Butcher: 'Kay. Violet Kelly: Or, Donna Butcher: It can be Violet Kelly: maybe move the laptop Donna Butcher: okay, that's Violet Kelly: over. Donna Butcher: okay with Gertrude Fuller. further. Donna Butcher: Oops. Donna Butcher: Why's it not working? F_ eight, right? Violet Kelly: F_ function. Julia Reitz: Function F_ eight yeah. Donna Butcher: Okay. Mm Gertrude Fuller: No. Donna Butcher: why's it in the right? Gertrude Fuller: The plug hasn't come out at the Donna Butcher: Yeah, Gertrude Fuller: bottom, Donna Butcher: it's Gertrude Fuller: has Donna Butcher: connecting. Gertrude Fuller: it? No. Julia Reitz: No, no yeah it's just. Gertrude Fuller: Meter adjusting. Violet Kelly: Oh, there. Donna Butcher: okay. Yeah. Actually mm some of my points might overlap with what William's Julia Reitz: Yeah. Donna Butcher: just mention, but basically my method was like uh whatever brainstorming we did in the last meeting just a couple valuable points and started developing on and there might be some missing loops in this thing which I think we'll uh take a feedback from the marketing because um, I haven't had some marketing data and basically every product is marketable. So purpose, as William already said, I would put it to simplify the interaction with T_V_ to make make it as simple as possible. And to summarise I I would say it's it should be user-friendly by being easy to use, rather than having a lot of complex button because you can have an engineering maybe having hundred buttons and maybe having uh a remote control which has the main features like volume control or channel ch changing the channel or whatever. But we are to to make it unique so that people want to buy it, will this two features together. So what the concept is to have a flip-top model. The main functions such as which are like often used will be on the top and the complex functions which say you you can say like the y young generation or trendy generation want to pr say programme their favourite channels or whatever, can be put in the middle part of the f flip-top. So it's like it could be accessed by a wide ra range of uh audience and we can punch in new f features such as uh added features such as shock proof body and maybe a design to appeal to a lot of people. Findings most people prefer us user-friendly rather than complex remote controls because there are times like uh people have used a remote control for say a year or something and they they are not used maybe thirty to forty percent of the buttons so it's not of no use of punching in the uh trying to put in those things in on the top of the remote control and try to confuse the user. As we saw we we have to make a profit also so we we can maybe go for an economies of a higher production mm by fifty million we said? Julia Reitz: Yeah. Donna Butcher: Yeah, with that I think we'll be able to achieve economies of scale also, so we can give in add in more features and make it less costly. Um, that's so this is if you ask Gertrude Fuller personally, I would make uh flip-top with a trendy uh uh design and s maybe we we should look at also like the buttons whe whether they are like soft or little hard because they are Julia Reitz: Yeah. Donna Butcher: times when the buttons tend to be a bit hard after uh continuous use usage and all that. So in overall a simple and uh user-friendly design. Gertrude Fuller: Mm. Donna Butcher: Uh any Violet Kelly: 'Kay. Donna Butcher: comments like, if you want? Violet Kelly: Um, I think we'll chat about it at the end, Donna Butcher: Okay. Violet Kelly: okay so if anyone wants to write something down that they want to bring up at the end, Gertrude Fuller: 'Kay. Julia Reitz: Yeah sure. Violet Kelly: um Ooh, it's vibrating, that's strange. Oh, God. Violet Kelly: Right, okay. Gertrude Fuller: Have I got Donna Butcher: I Gertrude Fuller: to keep Donna Butcher: think Gertrude Fuller: this Donna Butcher: you'll Gertrude Fuller: here? Donna Butcher: have to You can't Gertrude Fuller: Does it matter? Donna Butcher: It'll have to this can't Gertrude Fuller: I'll Donna Butcher: be Gertrude Fuller: have Donna Butcher: pulled. Gertrude Fuller: t I'll have to move Violet Kelly: We just Gertrude Fuller: it Violet Kelly: do Gertrude Fuller: won't Violet Kelly: the best we Gertrude Fuller: I? Violet Kelly: can. Gertrude Fuller: Uh, whoops. Donna Butcher: You'll have to push it a bit more. Gertrude Fuller: Will it manage? Bit more, oh Donna Butcher: Yep. Gertrude Fuller: dear. Donna Butcher: Yeah this is more than enough. Julia Reitz: There we go, Donna Butcher: Okay. Julia Reitz: I've got a bit more of the Gertrude Fuller: Oh. Julia Reitz: cable. we go. Gertrude Fuller: Is that okay? Donna Butcher: Yeah I think you can pull it out now. Gertrude Fuller: Thank you, just pull it closer a little bit. Julia Reitz: Uh you should be able to Violet Kelly: Yeah, Julia Reitz: and Violet Kelly: you Gertrude Fuller: Get Violet Kelly: might. Gertrude Fuller: it right Julia Reitz: yeah, Gertrude Fuller: over, Julia Reitz: there Gertrude Fuller: okay, Julia Reitz: you Gertrude Fuller: thank you. Violet Kelly: Ah. Julia Reitz: go. Violet Kelly: Look at that. Gertrude Fuller: Okay, um, I'm going to look at the functional requirements from the marketing point of view and uh obviously our starting point with marketing is always market research. Um, so that's where we started, we used our our usability lab, the company's usability lab, we did our usual selection methods to get a cross-section of the general public, male and female, all age groups from fifteen upwards and um we observed them in the lab, just their general use of the remote control, you can see we had a hundred subjects there. Our findings, lots of findings, I've just summarised some of them here. The overall thing which I've I've got at the top there in italics is that users dislike the look and feel of current remote controls, so it has obvious design implications there. Um, we found that seventy five percent of users find most remote controls ugly. Eighty percent would spend more money when a remote control would look fancy, we were quite surprised by that finding, but um that's quite a high proportion of our our, you know, international target group are prepared to spend more money for something that's a bit nicer looking. Um, current remote controls do not match well with the operating behaviour of the user overall. For example, you can see below there, seventy five percent of users zap a lot, so you've got your Donna Butcher: Yeah. Gertrude Fuller: person sunk back in the sofa channel-hopping. So again there's power implications there. Um, fifty percent of users only use ten percent of the buttons, so again a big design issue there. Um and possibly we can also cut back on cost if we don't have so many functions actually on the remote control. Um the biggest frustrations that people found with regard to personal preferences were um something that you you mentioned earlier, uh remote controls are often lost in the room, it's a slipping down the back of the sofa type of thing, uh fifty percent were were particularly frustrated by that. Uh thirty four percent of people take said they take too much time to learn to use and I think that ties in with the um the previous finding of people only using ten percent of the buttons, they just can't be bothered to learn about the other functions. Um, um slightly more than a quarter of people said it was bad for uh repetitive strain injury. You know those small movements of the remote control can lead to kind of shoulder and elbow problems. Um the vast majority of the thirty five and under age group would like um a liquid crystal display and speech recognition, again that was to aid I think in uh when they've lost the actual remote control, some kind of speech recognition. Something we didn't put to them, but which I'm thinking of now is um even if perhaps the lost control can give off a bleep every now and again til you find it or a flashing light, possibly. Um, that trend reverses in the older age groups. So thirty fives and unders who would like those two features, that kind of evens out thirty five to forty five and in the older age group it kind of reverses, they're not so bothered with this. I Donna Butcher: 'Kay. Gertrude Fuller: had marvellous tables and things that I could show you, but I think I'll just keep it simple, if there's any more information I can email you extra details, Violet Kelly: Okay. Gertrude Fuller: is that Julia Reitz: Okay. Gertrude Fuller: okay? Violet Kelly: Yeah. Donna Butcher: That's fine. Violet Kelly: Right, Julia Reitz: Huh. Violet Kelly: um we have new project requirements, um we're not going to be using teletext, Donna Butcher: Okay. Violet Kelly: um apparently the consumers consider it outdated with the internet now. Um our control is only going to be for T_V_, it's not going to be a combined control, which limits you know all of the different things that it limits the cost for us, but it Donna Butcher: Mm-hmm. Violet Kelly: also makes it easier to understand Gertrude Fuller: Mm-hmm, Violet Kelly: for Gertrude Fuller: so Violet Kelly: the Gertrude Fuller: can we not Violet Kelly: consumer. Gertrude Fuller: programme a video with this remote control? Violet Kelly: It says for T_V_ only, so looks like it's Gertrude Fuller: Just Violet Kelly: just Gertrude Fuller: channel-hopping. Violet Kelly: yeah, I think maybe Sky things like that might be incorporated into it, but I don't know, what do you think? It just said, for T_V_ only. Gertrude Fuller: Would Violet Kelly: But Gertrude Fuller: that Violet Kelly: I mean, Gertrude Fuller: imply Violet Kelly: general Gertrude Fuller: video Violet Kelly: T_V_ Gertrude Fuller: use? Violet Kelly: controls Julia Reitz: T yeah yeah. Violet Kelly: do do video as well. Julia Reitz: I d well I dunno Violet Kelly: I mean you Julia Reitz: 'cause Violet Kelly: bu Julia Reitz: uh Violet Kelly: well Julia Reitz: the Violet Kelly: som Julia Reitz: w if Violet Kelly: you Julia Reitz: you've Violet Kelly: get Julia Reitz: g Violet Kelly: com you get combined T_V_ and videos don't Julia Reitz: Yeah. Violet Kelly: you? Gertrude Fuller: Mm-hmm, Julia Reitz: If yeah and if Gertrude Fuller: yes. Julia Reitz: you got if you got a Sky box, they have one of those plus boxes, you can record straight off the T_V_ anyway Violet Kelly: Mm. Julia Reitz: so on to on to like the T_V_ hard drive or so. Violet Kelly: I think we assume that it's still got play and stop functions and Gertrude Fuller: Yes. Violet Kelly: programming. Julia Reitz: Yeah. Donna Butcher: Anything about that on the market research or something like regarding whether people want a combined something like that? Gertrude Fuller: Um we didn't really look into that but remember we found that finding that most people only use about uh Violet Kelly: Mm. Donna Butcher: Ten Gertrude Fuller: ten Donna Butcher: perc Gertrude Fuller: percent of the buttons, Donna Butcher: Mm-hmm. Gertrude Fuller: I think th th those do tend to be the basic channel-hopping things and Julia Reitz: Yeah. Gertrude Fuller: on and off for the video, fast-forwarding, so on and I think it's sort of general knowledge that people do find programming their videos a nightmare. Donna Butcher: Okay. Violet Kelly: Hmm. Gertrude Fuller: So I. Julia Reitz: Ju um just as an idea on the uh speech recognition thing Gertrude Fuller: Mm-hmm. Julia Reitz: that pr it'd probably be quite expensive Donna Butcher: Pens Julia Reitz: to incorporate an entire speech recognition thing and they're not that great Gertrude Fuller: In fact Julia Reitz: anyway. Gertrude Fuller: I've just called up that table there, Julia Reitz: Alright, okay. Gertrude Fuller: we asked those two questions, table relates to both questions, so we didn't differentiate. Would you prefer an L_C_D_ screen, that's multi-function remote and would you pay Julia Reitz: Alright, Gertrude Fuller: more for Julia Reitz: okay. Gertrude Fuller: speech recognition in a remote control? So you can see how the the yes no sort Violet Kelly: Mm-hmm. Gertrude Fuller: of varies Julia Reitz: Yeah. Gertrude Fuller: across the age group there, and a substantial number of don't knows in the older age group, I think that's just general fear of new technology. Violet Kelly: Yeah, Julia Reitz: Yeah Donna Butcher: Mm-hmm. Julia Reitz: but um Violet Kelly: bu Julia Reitz: on on that again I just thought 'cause you can get those key chains now and you whistle and then it'll Gertrude Fuller: Oh Julia Reitz: let Gertrude Fuller: yeah. Julia Reitz: off a loud noise to let you know where it is Gertrude Fuller: Right. Julia Reitz: so I thought that could be quite a Violet Kelly: We do have a budget limitation that we can't control ourselves, so I think when we can take a cheaper option which still does the Gertrude Fuller: Mm. Violet Kelly: same kinda thing um because it is something I it needs to be the thing that you use to find it needs to be something that you don't lose, you were Julia Reitz: Yeah. Violet Kelly: saying whistling, Julia Reitz: Yeah. Violet Kelly: maybe on the T_V_ you could put like a pack on the T_V_ or something so you can't see the remote, you go and press the button on top of the T_V_ and it beeps and Gertrude Fuller: Yes. Violet Kelly: you're Julia Reitz: Yeah. Violet Kelly: like oh Donna Butcher: Okay. Violet Kelly: okay it's over there, Gertrude Fuller: That's Violet Kelly: something Gertrude Fuller: a super idea. Violet Kelly: like that, but Julia Reitz: Hmm. Violet Kelly: that's that sounds a lot cheaper to Gertrude Fuller. Julia Reitz: Yeah. Gertrude Fuller: Yeah. Violet Kelly: Um the third thing was that we have to make sure the corporate image is very much incorporated into the handset. Um so we want logo, we want um fashionable, trendy, I mean what you were talking about with the marketing. Um, people paying more for it to look good. Um, we need to focus on that as well. Gertrude Fuller: Yes, further market research will be needed to kind of focus on what that is, it's gonna be different for a fifteen year old th for somebody who's sixty Violet Kelly: Yeah. Gertrude Fuller: and also across the world if we're aiming at the international market. What is um attractive to a trendy New Yorker and what is attractive to a retired South African, Violet Kelly: Mm. Gertrude Fuller: I dunno, you get the idea. It's it's gonna vary around the world. At the end of the day, th the engineering design is one thing, it's the user interface design that may and th the sort of Julia Reitz: Yeah. Gertrude Fuller: you know fashionable aspect of it we might have to change for different markets round the world. Violet Kelly: Yeah. Donna Butcher: So are we talking of a single model or maybe five, six designs? Sure. Julia Reitz: Well y yeah you could you could have a number of different designs Donna Butcher: Alright. Julia Reitz: I mean inside they'd be essentially exactly the same. Donna Butcher: Right. Violet Kelly: Mm-hmm. Julia Reitz: Just Donna Butcher: The features Gertrude Fuller: Yeah. Donna Butcher: could be same and the body could look Julia Reitz: yeah, Donna Butcher: slightly different. Gertrude Fuller: Mm. Julia Reitz: yeah. Donna Butcher: So Violet Kelly: What about you were talking about the buttons, Donna Butcher: Yeah. Violet Kelly: um the controls that are coming out now have kind of big, rubber buttons, not tiny little one, big, rubber buttons, but what about, I mean, 'cause we got to make it original, Julia Reitz: 'Kay. Violet Kelly: what about um you know with the touch screen Julia Reitz: Yeah, Violet Kelly: computers Julia Reitz: yeah that's what I was just Violet Kelly: yeah? Julia Reitz: yeah. Violet Kelly: Um so you it's like a little panel that you touch rather than a button which shouldn't wear out as much either, not Julia Reitz: No, Violet Kelly: sure about Julia Reitz: well no Violet Kelly: the Julia Reitz: 'cause you wouldn't have to you don't actually Violet Kelly: You Julia Reitz: have Violet Kelly: don't Julia Reitz: to press Violet Kelly: have to press Julia Reitz: them you Violet Kelly: it, Julia Reitz: just Violet Kelly: you just have to put your thumb onto it. Julia Reitz: Yeah. Violet Kelly: Um, think that might appeal I'm thinking kind of Japan, I'm thinking uh young, um Gertrude Fuller: Mm. Violet Kelly: office people, Gertrude Fuller: Mm-hmm. Violet Kelly: trendy Julia Reitz: Yeah. Violet Kelly: kind Gertrude Fuller: Yes Violet Kelly: of a thing. Gertrude Fuller: it will appeal to sections of the market Violet Kelly: Um, Gertrude Fuller: def Violet Kelly: but quite, um, easily labelled so that anyone can oh yeah that's obvious what that's for Gertrude Fuller: Mm-hmm. Violet Kelly: and it's not daunting to maybe the older Gertrude Fuller: Mm-hmm, Violet Kelly: generations, Julia Reitz: Mm. Gertrude Fuller: mm. Julia Reitz: But Violet Kelly: um Julia Reitz: also er ergonomics as we're saying with the different designs, ergonomics uh there's sort of physically different things 'cause um if you've ever seen the X_ Box they had to make two different sized controllers because people in Japan wouldn't buy it because the controller Violet Kelly: Were too Julia Reitz: was Violet Kelly: big. Julia Reitz: physically to big because um they're c uh just generally Japanese people have smaller hands Violet Kelly: Mm. Julia Reitz: so they couldn't get round the controller which is uh so if you I don't know what 'cause you obviously you can have bigger buttons for some countries or something and smaller ones for others. Donna Butcher: Yeah, uh maybe to as uh it it was indicated that uh uh risk uh of uh repeated use, the injuries, maybe a touch screen could be a better option for that. Julia Reitz: Yeah. Yeah. Donna Butcher: So, a bigger b okay so y you're dividing designs based on not only segment age groups, you're desi uh dividing it according to the countries also, the market. Gertrude Fuller: Mm-hmm. Donna Butcher: Maybe for U_S_ and all you can have a slightly bigger remote Julia Reitz: Yeah. Donna Butcher: control and maybe in Japan and all you need to have a small, Julia Reitz: Hmm. Donna Butcher: yeah. Violet Kelly: I think we have to design Julia Reitz: Huh. Violet Kelly: one product Julia Reitz: Yeah. Violet Kelly: and then the company can take it wherever they want to uh Julia Reitz: Yeah. Violet Kelly: the features slightly, Gertrude Fuller: Mm-hmm. Donna Butcher: Mm-hmm. Violet Kelly: um. Gertrude Fuller: Th the internal d engineering design has got to remain the same, Violet Kelly: It's Gertrude Fuller: yes, Violet Kelly: gonna be the same, Gertrude Fuller: absolutely. Violet Kelly: so we need to focus on just one thing, Julia Reitz: Yeah. Gertrude Fuller: Mm-hmm. Violet Kelly: not get bogged down in lots of different um possibilities, Gertrude Fuller: Mm-hmm. Violet Kelly: um. Gertrude Fuller: I'm concerned, when you read the the R_S_I_ issue again, repetitive strain injury, I don't think just moving your finger around on a small screen is going to deal with that enough, I think that is still a kind of a question mark issue how we deal with that. Um, Julia Reitz: Yeah. Gertrude Fuller: R_S_I_ tends to be caused by repetitive small movements. I'm j I really can't get my head round this one, this may Julia Reitz: Yeah. Gertrude Fuller: have to be postponed to a future meeting but it's something we should think about. Julia Reitz: I yeah I was just thinking about how you could combat that 'cause Gertrude Fuller: Mm. Julia Reitz: without without doing something where you have to move your arm Gertrude Fuller: I Julia Reitz: around Gertrude Fuller: know, and it Julia Reitz: to Gertrude Fuller: becomes Julia Reitz: change the Gertrude Fuller: ridiculous, Julia Reitz: channel and it Gertrude Fuller: yes Julia Reitz: becomes yeah. Violet Kelly: Or Gertrude Fuller: I know. Violet Kelly: a speech recognition, Julia Reitz: Yeah, Gertrude Fuller: Yeah. Julia Reitz: speech recognition, Violet Kelly: which Julia Reitz: but Violet Kelly: is extremely expensive, Julia Reitz: yeah. Violet Kelly: I Gertrude Fuller: Yes. Violet Kelly: think that's the only way that you kind of avoid Gertrude Fuller: Mm-hmm. Violet Kelly: that kind of issue. Gertrude Fuller: Do we have to initially um, you know looking at the findings here, focus on a younger age group initially and then broaden out the market later. Do we really have to go for everyone right away? Julia Reitz: Mm. Donna Butcher: We Gertrude Fuller: Um. Donna Butcher: could focus on the biggest market. Gertrude Fuller: Mm. Julia Reitz: Ge Donna Butcher: If say Julia Reitz: uh Donna Butcher: people between age group of twenty to thirty five are Gertrude Fuller: And when Donna Butcher: the biggest Gertrude Fuller: we've been throwing Donna Butcher: market? Gertrude Fuller: up our ideas we're automatically talking about business people, young people, trendy people. Violet Kelly: We are we're talking about um the type of company that we're working for as well. That they want um it to be fashionable, they want it to be trendy and you wouldn't automatically assume associate that with the older generations. Gertrude Fuller: Mm. Violet Kelly: Now with the baby boomers, the older generations are actually larger, they have a greater population Julia Reitz: Yeah. Violet Kelly: than us young Donna Butcher: Mm-hmm. Violet Kelly: people, Gertrude Fuller: Mm-hmm. Violet Kelly: but I don't think we're focusing on that, I think we are focusing on a sort of mid-range Gertrude Fuller: Mm. Violet Kelly: um, business kind of class type Gertrude Fuller: Mm. Violet Kelly: people. Gertrude Fuller: I'm just thinking of budgetary issues too, for when it does get to the sort of broad scale marketing stage, we want to, you know, not waste money, not be profligate Violet Kelly: Mm-hmm. Gertrude Fuller: and uh you know focus on where the idea will be taken up, first it's most likely to be taken up first of all where the main purchasing power is coming from for a product like this. Violet Kelly: Okay, so the remote control functions. Um we've got the T_V_, Donna Butcher: Mm-hmm. Violet Kelly: we've got the video, now there's um I can't remember what it's called, the little code at the end of programme details, Julia Reitz: Video plus. Violet Kelly: yes. We could use that as an alternative to programming in times, things like that, Julia Reitz: Yeah Violet Kelly: is Julia Reitz: yeah. Violet Kelly: that I always found that really easy when I discovered Gertrude Fuller: Mm. Violet Kelly: it, Donna Butcher: Mm-hmm. Violet Kelly: um because you've got your general record anyway so if you there's a programme on you want to put record on, that's fine, but if you do want to tape something Julia Reitz: Just Violet Kelly: in Julia Reitz: whack Violet Kelly: two days Julia Reitz: in the Violet Kelly: time Julia Reitz: number. Violet Kelly: and you're not sure if you're going to, you put the number in and it's just a number, it's not a date, it's not a time, it's not a channel, it's not when it finishes, it's not Julia Reitz: And Violet Kelly: anything Julia Reitz: you w Violet Kelly: like that, Julia Reitz: yeah. Violet Kelly: it's just a number. Julia Reitz: And you wouldn't you wouldn't need uh a whole host of extra buttons for that, you Violet Kelly: No. Julia Reitz: just need one 'cause you've already got all the numbers Violet Kelly: You've already Julia Reitz: there Violet Kelly: got Julia Reitz: anyway, Violet Kelly: the numbers Julia Reitz: yeah. Violet Kelly: for typing Gertrude Fuller: Right, Violet Kelly: in anyway. Gertrude Fuller: I've not come across that function but it sounds wonderful. Violet Kelly: It is after um if you look in the newspaper, Julia Reitz: It's not Violet Kelly: T_V_ guide or any T_V_ guide there's a five, six Julia Reitz: Yeah. Violet Kelly: digit number afterwards and that's the number you put in Gertrude Fuller: Ah, Violet Kelly: and it's Gertrude Fuller: hmm. Violet Kelly: recorded that it's going to be on on Tuesdays at ten o'clock on the seventeenth so you don't have to worry about dates and you don't have to worry about times, Gertrude Fuller: Right. Violet Kelly: um and it has been around for quite Julia Reitz: It's Violet Kelly: a Julia Reitz: been Violet Kelly: long time. Julia Reitz: been around for a long time it's just it's not very well advertised Violet Kelly: No Julia Reitz: as Violet Kelly: it's not Julia Reitz: to how Gertrude Fuller: Superb. Violet Kelly: um Julia Reitz: to use it and Violet Kelly: but Julia Reitz: things. Violet Kelly: I think if awareness was kind of Gertrude Fuller: Mm. Violet Kelly: brought to the forefront about that Julia Reitz: Mm. Gertrude Fuller: Yes. Julia Reitz: Though if y if you've got something like Sky anyway you can just click on it you can just press the button on the programme once and it'll record that programme Violet Kelly: Mm. Gertrude Fuller: Right. Julia Reitz: when it's on and you press it on it twice and it'll record the whole series. Gertrude Fuller: Excellent, mm-hmm. Julia Reitz: So that yeah. Gertrude Fuller: Mm. Julia Reitz: But just to have that function would Gertrude Fuller: Right. Julia Reitz: be would be really good. Violet Kelly: Okay so Gertrude Fuller: Can I just run this past you while it occurs to Gertrude Fuller, I don't mean to quickly jump from one subject to another, but just discussing the different age groups and targeting the different age groups it occurs to Gertrude Fuller, to produce our own mobile phones, that that's kind of what led us on to comparing T_V_ remote controls with with their design features, um, chain companies like Carphone Warehouse, you can pop in anytime with a phone that you bought for them w if you've got any problems with it and they'll fix it, they'll Julia Reitz: Yeah. Gertrude Fuller: phone the company, you can use Violet Kelly: Mm-hmm. Gertrude Fuller: their telephones. Is it worthwhile with with our retail outlets having a a similar um kind of service so that if older users were deterred from buying this, if they know they can just pop into one of our high street outlets, th you know, which button is it I press for this? Th as free as a free aspect of our service, would that not make it more attractive to them? Julia Reitz: Mm. But the only problem is that with a mobile phone you signed for a contract so they um the companies who uh who you deal with have actually they've they've got an obligation to Gertrude Fuller: Mm. Julia Reitz: to help you out and Gertrude Fuller: Mm-hmm. Julia Reitz: also I mean it's it's fair enough to have some sort of help service but I I'm not sure how much the cost would be of Gertrude Fuller: Right. Julia Reitz: having Violet Kelly: The functionality of it in the sense that you're sitting there, you're pressing this button and your T_V_'s not doing it. Gertrude Fuller: Alright. Violet Kelly: Taking your T_V_ and your Gertrude Fuller: Yes Violet Kelly: control and saying look this is what I'm doing, it's not working, what should I do? Gertrude Fuller: If it was something as simple as you couldn't change the channel, but I mean for if there were any more or are we absolutely definite it's only gonna be for T_V_ and video, we're Julia Reitz: Yeah, Gertrude Fuller: not Violet Kelly: I Julia Reitz: I Gertrude Fuller: gonna Violet Kelly: think Julia Reitz: mean Gertrude Fuller: put any Violet Kelly: so. Gertrude Fuller: okay, Violet Kelly: Um Gertrude Fuller: just a thought. Julia Reitz: I mean instru instruction books I Violet Kelly: Instruction Julia Reitz: feel c I Violet Kelly: manuals. Julia Reitz: reckon Gertrude Fuller: Okay. Julia Reitz: can Violet Kelly: But Julia Reitz: cover Violet Kelly: I mean Julia Reitz: that. Violet Kelly: they're there's customer service, there Julia Reitz: Yeah. Violet Kelly: will be a customer service number Julia Reitz: Department, Gertrude Fuller: Mm-hmm. Julia Reitz: yeah. Violet Kelly: thing that you can phone up and speak to Gertrude Fuller: Sure. Violet Kelly: and that way there's no call out charge, there's no extra, t the person Gertrude Fuller: Mm. Violet Kelly: has to walk to a shop Donna Butcher: Right. Violet Kelly: on the high street, Gertrude Fuller: Yeah. Donna Butcher: I think Violet Kelly: um. Donna Butcher: it will be too much of an effort for a person to for a phone maybe he might walk down the street, Julia Reitz: Yeah. Donna Butcher: but for a remote he will just refer Gertrude Fuller: Not Donna Butcher: to the Gertrude Fuller: for Donna Butcher: manual Gertrude Fuller: such Julia Reitz: And they're Gertrude Fuller: simple Donna Butcher: and all that. Gertrude Fuller: functions Julia Reitz: yeah, Gertrude Fuller: because Julia Reitz: they Gertrude Fuller: we're Julia Reitz: should Gertrude Fuller: focusing Julia Reitz: be Violet Kelly: Mm. Julia Reitz: f Gertrude Fuller: on that, yes Violet Kelly: But Julia Reitz: yeah. Violet Kelly: we Gertrude Fuller: okay. Violet Kelly: should focus on making the manual as Donna Butcher: Simple. Violet Kelly: user-friendly Gertrude Fuller: Mm. Violet Kelly: as possible Julia Reitz: Yeah. Violet Kelly: because a lot of them are just tiny Julia Reitz: Yeah. Violet Kelly: little writing and lots and lots of pages. Gertrude Fuller: Puts people off reading Julia Reitz: It's the Gertrude Fuller: them Violet Kelly: It Julia Reitz: uh Gertrude Fuller: so Julia Reitz: yeah. Violet Kelly: does, Gertrude Fuller: they just do the Violet Kelly: you just Gertrude Fuller: obvious, Violet Kelly: put it in the Gertrude Fuller: yes. Violet Kelly: drawer until something goes wrong and then you try and search through it, so Gertrude Fuller: Sure, Violet Kelly: that should be something we think Gertrude Fuller: okay. Violet Kelly: about. Donna Butcher: Mm-hmm. Violet Kelly: Um, what other functions? We need I'm not sure if we need a design um decision now, but we should think about c 'cause you've got the dilemma between oh batteries, that's what I was thinking about. Mobile phone batteries, what kinda battery is that? Julia Reitz: Um they're they're specially made for the for the mobile phones, but they come with a charger, I mean you could you could bundle a charger Violet Kelly: Well they la Julia Reitz: in with it Violet Kelly: they Julia Reitz: but Violet Kelly: they last quite a long time, Julia Reitz: Mm-hmm. Violet Kelly: and if you had uh when you th the thing that you get with mobile house phones, Julia Reitz: Yeah. Violet Kelly: you sit it in its charger when you're not using it or Julia Reitz: Yeah. Violet Kelly: t at Donna Butcher: Mm-hmm. Violet Kelly: night or something, but it doesn't really matter 'cause it never really runs out 'cause it lasts a long time once Julia Reitz: Yeah. Violet Kelly: it is charged. Um, something like that should reduce Julia Reitz: Yeah Violet Kelly: the Julia Reitz: and Violet Kelly: size Julia Reitz: if Violet Kelly: of it. Julia Reitz: yeah if you if you had if you had one of those uh just coming back to your other point about pressing the button and setting off the bleeper in the room that could uh Violet Kelly: Yeah it could be on that Julia Reitz: Yeah on Violet Kelly: yeah, Julia Reitz: that as well so. Violet Kelly: okay. S Donna Butcher: So are we talking of a concept of a rechargeable something Julia Reitz: Yeah Donna Butcher: on Julia Reitz: some Donna Butcher: the remote? Julia Reitz: sort Violet Kelly: Yes. Julia Reitz: of docking station or Violet Kelly: Rechargeable Donna Butcher: Mm-hmm. Violet Kelly: with a docking station. Julia Reitz: yeah. Violet Kelly: So the rechargeable which would be your Julia Reitz: Yeah yeah Violet Kelly: field. Julia Reitz: th yeah that that'd be fine, Violet Kelly: Okay. Julia Reitz: and also that would mean they wouldn't have to go out buying batteries all the time. Violet Kelly: Yes, Gertrude Fuller: Mm-hmm. Donna Butcher: Right. Violet Kelly: which it is cheaper in the long Julia Reitz: Yeah. Violet Kelly: run as well. Um, th the shape you got trendy. I don't wanna big box with lots of things, you don't want a tiny sort of Gertrude Fuller: Mm-hmm. Violet Kelly: little thing either, Donna Butcher: Mm-hmm. Violet Kelly: because then you have got the repetitive strain injury no matter how many Gertrude Fuller: Mm. Violet Kelly: how much you try and make it simple, um Gertrude Fuller: And we don't w I mean so many remote controls look absolutely identical, these Violet Kelly: They Gertrude Fuller: long, Violet Kelly: do. Julia Reitz: Yeah. Gertrude Fuller: brown things with the same coloured buttons all crammed in on the s the surface. We definitely an ob an obvious thing, a very simple thing is to get away from these brown rectangles, we don't want that. Violet Kelly: Okay so we've got Donna Butcher: Okay. Violet Kelly: a flip-screen. Um Donna Butcher: What I was thinking of a design which Nokia h uh came up with almost six or seven years back. Basically we have a flat one it it looks like a box, Julia Reitz: Yeah. Donna Butcher: like a chocolate. That's very strenuous because your thumb is slightly up, Gertrude Fuller: Mm-hmm. Donna Butcher: so they came up with something like this, curled up, so here, so it's like uh you can say a Gertrude Fuller: Slightly Donna Butcher: banana Gertrude Fuller: curved, Donna Butcher: shape kind of thing, curled Gertrude Fuller: curved. Donna Butcher: up Julia Reitz: Yeah. Donna Butcher: like a boat. Violet Kelly: Okay. Donna Butcher: G uh so what happens is you don't have to press your thumb too down like. So it's already Gertrude Fuller: Mm. Donna Butcher: curled up so Violet Kelly: 'Cause it's Donna Butcher: your Violet Kelly: kind Donna Butcher: thumb Violet Kelly: of moulded Donna Butcher: doesn't y Violet Kelly: to your hand Donna Butcher: yeah Violet Kelly: anyway. Gertrude Fuller: Mm. Donna Butcher: so we can have a s like you know moulded according to your Julia Reitz: Yeah. Donna Butcher: the way you h hold of it's kind of semi-circular in the bottom, something like that. Violet Kelly: Okay. Donna Butcher: I wouldn't say exactly semi-circular but Violet Kelly: Can Donna Butcher: yeah smooth. Violet Kelly: you look into the company logo? Um, things that are associated with the company in view to trying to incorporate that into the design of the product. Donna Butcher: Current. Violet Kelly: I mean for example, if it was a C_ or something like that, you could have it in a vague C_ shape that opens up kind Donna Butcher: Mm-hmm. Violet Kelly: of like a shell, Donna Butcher: Mm-hmm. Violet Kelly: or something, um something along those lines to be able to incorporate it quite um obviously into the design, while also making it quite different from anything else that's there. Donna Butcher: We could look in at Gertrude Fuller: I mean Donna Butcher: that Gertrude Fuller: look Donna Butcher: but Gertrude Fuller: at the mobile. Julia Reitz: Mm. Donna Butcher: Mm. What we were talking is to make it more rather than like sea-shells, logo could become as you could put a logo in the corner of uh the model, rather than you know, trying to make it like a sea shell or whatever you were ta telling like. Violet Kelly: Well we need to think about how it's gonna look different. Gertrude Fuller: I think that's that sounds a really attractive idea, I've Donna Butcher: A Gertrude Fuller: not Donna Butcher: sea Gertrude Fuller: come Donna Butcher: shell? Gertrude Fuller: across anything like that before, if it kind of yeah and that opens out into your flip-top. Julia Reitz: Yeah. Gertrude Fuller: Then it's nice t to h you can make it lightweight plastic, nice to hold in the palm of the hand and just because you're having to actually insert in between the two covers, that's gonna take care of some of the repetitive strain injury trying p prevent a lot of that I would think. I think it's a really nice idea Donna Butcher: Yeah Gertrude Fuller: and Donna Butcher: we could look in at Gertrude Fuller: plus Donna Butcher: that. Gertrude Fuller: you can get you know even though we're using plastic, you can still I mean think of the designs you can get in plastic, we can do a nice conch shell or scallop shell exterior. Violet Kelly: Or you could do um different, like you get with mobile phones, different fascias. Julia Reitz: Mm. Violet Kelly: You Gertrude Fuller: Mm-hmm. Violet Kelly: could have different kind of casings. Gertrude Fuller: Yeah. Violet Kelly: So you could have like psychedelic ones Gertrude Fuller: Mm-hmm. Violet Kelly: for younger people and sleek ones and Gertrude Fuller: Less chance of it being lost too, it's not like a chocolate brown lozenge that's gonna go down the sofa Violet Kelly: Yeah. Gertrude Fuller: and people might want to put it on their mantelpiece or whatever as a ki if it looks attractive enough as a kind of ornament they don't not gonna lose it so much either. It's easier to bit nice to handle. Violet Kelly: Mm. Donna Butcher: Yeah maybe we could come at some say five, six des designs and then choose which are whichever Violet Kelly: Okay. Donna Butcher: appeals the Julia Reitz: Yeah. Gertrude Fuller: Mm-hmm. Donna Butcher: most like, that Violet Kelly: Okay. Donna Butcher: could be the most common design. Gertrude Fuller: Okay. Violet Kelly: Okay. Donna Butcher: But we can like think of five, six designs. Violet Kelly: Right, I think we have to round it up, um Gertrude Fuller: Can I just quickly Violet Kelly: Sure. Gertrude Fuller: um go over the new project requirements so that I haven't missed anything. So it's no teletext, it's only for T_V_ and by implication video, Donna Butcher: Mm-hmm. Gertrude Fuller: our corporate image should be incorporated in the remote control, um something about Videoplus. Violet Kelly: That was um in cutting down the number that was kinda separate that was cutting down the number Gertrude Fuller: Right. Violet Kelly: of functions, Gertrude Fuller: Right. Violet Kelly: making it simpler so instead of having lots of Gertrude Fuller: Right, Violet Kelly: things Gertrude Fuller: so Violet Kelly: you Gertrude Fuller: when Violet Kelly: put Gertrude Fuller: they Violet Kelly: in Gertrude Fuller: press Violet Kelly: for date Gertrude Fuller: for programming you it comes up on the L_C_D_, a reminder about using Videoplus? So that they have a look at the guide and Or was is this nothing to do with the project requirements, is this just that was an add-on feature? Violet Kelly: It's kinda takes the place of Gertrude Fuller: Uh-huh. Violet Kelly: having a button to press for the date and having the Gertrude Fuller: Right. Violet Kelly: button to press for the channel, things like Gertrude Fuller: Right, Violet Kelly: that. Gertrude Fuller: so it's Violet Kelly: Um Gertrude Fuller: kind of doing away Violet Kelly: it could Gertrude Fuller: with Violet Kelly: be Gertrude Fuller: the programming Violet Kelly: it c Gertrude Fuller: feature? Violet Kelly: It Julia Reitz: Yeah. Violet Kelly: yes, Gertrude Fuller: Right. Violet Kelly: it could be uh adv advertisement feature, um rather than design feature, you know, drawing attention to that. And it also paid um lip service in the instruction manual, 'cause it's very simple so putting it down in words should be helpful. Gertrude Fuller: Mm, and the rechargeable batteries. Violet Kelly: Yeah. Gertrude Fuller: Was there anything else there that we in the new Violet Kelly: Um Gertrude Fuller: new project requirements? Donna Butcher: Yeah. Violet Kelly: We've got the buttons but I think we'll Donna Butcher: Yeah. Violet Kelly: work through that with the design of it, Gertrude Fuller: Mm-hmm. Violet Kelly: um. Gertrude Fuller: That's not at the moment a requirement, it's something we're looking at, Violet Kelly: Yes. Gertrude Fuller: what preference Violet Kelly: Yes. Gertrude Fuller: so it may come round to market research at some point Violet Kelly: And Gertrude Fuller: to see Violet Kelly: we've Gertrude Fuller: what Violet Kelly: talked Gertrude Fuller: people Violet Kelly: about Gertrude Fuller: would like. Violet Kelly: um there being an alarm or something, a beeping Donna Butcher: For Julia Reitz: Yeah. Donna Butcher: detection, Violet Kelly: for being lost, Donna Butcher: right. Violet Kelly: um. Learning how to use it should be as simple as possible. But there aren't gonna be that func that many functions incorporated into it so it should be fine and the I the instruction manual, I don't know if we deal with that, um. I think Yep, Donna Butcher: Yep, Violet Kelly: and different Donna Butcher: I think Violet Kelly: from what's out there. Gertrude Fuller: Okay. Violet Kelly: Yep, I think that's us. Gertrude Fuller: What would you Donna Butcher: True. Gertrude Fuller: specifically Julia Reitz: Okay. Gertrude Fuller: like marketing to look at before the next meeting? Or shall I just sort of generally look at all the issues involved? Violet Kelly: I think you might get guidance, but um I th Instruction manuals, 'cause Gertrude Fuller: Okay. Violet Kelly: there tends to be a demonised thing, u um, they're everyone's got like a big pile of them, but no one really uses them. Gertrude Fuller: Okay. Violet Kelly: Um. Gertrude Fuller: Whoops, Donna Butcher: Oops. Gertrude Fuller: questionnaire Donna Butcher: We should f Gertrude Fuller: four. Violet Kelly: Yes, right. Gertrude Fuller: 'Cause we're Violet Kelly: Okay. Gertrude Fuller: at Donna Butcher: I Gertrude Fuller: lunchtime Donna Butcher: think it's time Gertrude Fuller: now Donna Butcher: for Gertrude Fuller: I think. Donna Butcher: us to get back to Violet Kelly: Right, okay. I think you can email Gertrude Fuller, if there's any more questions. Um and I'll be able to not answer them.

Julia Reitz gave his presentation on the basic functions of the remote. He presented the basic components that remotes share and suggested that smaller batteries be considered in the product design. Donna Butcher presented his ideas for making the remote easy-to-use; he discussed using a simple design and hiding complicated features from the main interface. Gertrude Fuller presented the findings from a lab study on user requirements for a remote control device, and discussed users' demand for a simple interface and advanced technology. Violet Kelly presented the new requirements that the remote not include a teletext function, that it be used only to control television, and that it include the company image in its design. The group narrowed down their target marketing group to the youth market. They discussed the functions the remote will have, including Video Plus capability and rechargeable batteries. A customer service plan was suggested to make the remote seem more user-friendly, but it was decided that helpful manuals were more within the budget. The group then discussed the shell-like shape of the remote and including several different casing options to buyers.

amisum

train

Lillie Monge: I'll wait until you're all um hooked up. Marian Zeigler: Oh good grief. 'Kay. Lillie Monge: Okay. Marian Zeigler: Oh. Lillie Monge: Put it on in that Kathleen Rios: Oops. Lillie Monge: way. Thanks. Lillie Monge: Okay. Kathleen Rios: Mm. Lillie Monge: Welcome back everybody, Kathleen Rios: After lunch. Lillie Monge: hope you've had fun. Kathleen Rios: Yeah. Lillie Monge: Right um this is our conceptual design meeting, Kathleen Rios: Mm-hmm. Lillie Monge: um I think we're slightly ahead of ourselves from the last meeting, Rita Mikkelsen: Yeah, Kathleen Rios: Mm-hmm. Lillie Monge: I Rita Mikkelsen: yeah Lillie Monge: th Rita Mikkelsen: I was getting that Lillie Monge: I Rita Mikkelsen: impression as Lillie Monge: I Rita Mikkelsen: well. Lillie Monge: think Marian Zeigler: Mm. Lillie Monge: yeah um. This is where we talk about um properties, materials, user-interface and Rita Mikkelsen: Etcetera. Lillie Monge: trend-watching. Marian Zeigler: Mm-hmm. Lillie Monge: So I think we've touched on a few things to do with that already, but we'll just go. Um the minutes from the last time. Um we had a couple of um changes in our plans in that we couldn't use teletext, it wasn't gonna be a control for everything um and that we had to incorporate the image of the company into it somehow. Um we have decided on a leaving out the voice recognition, we've decided on there being a flip design and um a different shape from what's normal. We were thinking a shell, but something along those lines, just a different shape from what's normal, um. You were going to look into the rechargeable batteries Rita Mikkelsen: Yeah. Lillie Monge: and we were gonna think about the port and an alarm for getting it lost, Rita Mikkelsen: Yeah. Lillie Monge: things like that, um and our market was going to be young, business, kind of range. Kathleen Rios: 'Kay. Lillie Monge: Okay, so shall we start with the first presentation? Marian Zeigler: Shall I? Kathleen Rios: Yep. Lillie Monge: Yes Marian Zeigler: Okay. Lillie Monge: if you feel Marian Zeigler: We just connect up. Thank you. Marian Zeigler: There we go. Okay um so we decided on our market and so this feedback from the marketing department is really about trend watching. Um the methods we used to decide on uh current trends and so on, market trends, were that we did our traditional uh our usual market research study uh with a hundred subjects and the the general feedback from them is that the most im uh w I'm sorry I'm slightly tongue-tied after lunch, sorry Lillie Monge: It's Marian Zeigler: Project Lillie Monge: okay. Marian Zeigler: Manager. Um we decided on the most important aspect i uh required in a remote control device and we'll come to that later. So that was one of the first things we did. Also with our company um being forerunners in uh putting fashion into technology, we also looked at a fashion update um using our consultants on fashion and design in Paris and Milan. Uh so the general findings from that was uh in the market trends the most important aspect for remote controls were people want a fancy look and feel, rather than the the current functional look and feel of remote controls. They also also want a remote control to be technologically innovative, and of course, as we predicted, that it should be easy to use. Now I should point out that the first of those findings, fancy look and feel, is the most important, is twice as important as the second, technologically innovative, which is in turn twice as important as being easy to use. So possibly that the feature that we put first is actually third is still important, but it's third in order of preference for the the subject group we looked at. Lillie Monge: Yeah. Marian Zeigler: Okay, um, now the fashion update which relates to very personal preferences among our subject group, um we found from our um consultants in Paris and Milan who des attended all the design and fashion fairs there, that fruit and vegetables are going to be the theme for clothes, shoes and furniture. So should we be thinking of using something like that in our remote control design too? There also seems to be um a trend towards a spongy feel to materials, uh again in contrast to last year. So a lot of interesting feedback there, both from our market research departments and from our people in Paris and Milan. Be interesting to see what our design people make of that. Kathleen Rios: 'Kay. Lillie Monge: Okay thank you very much. Um Kathleen Rios: Yep. Lillie Monge: let's start from the inside and work our way out. Kathleen Rios: Fine. Rita Mikkelsen: Yeah, Kathleen Rios: It's okay Rita Mikkelsen: okay. Kathleen Rios: with Marian Zeigler. Marian Zeigler: Unless anyone has any questions about that? Not Lillie Monge: I Marian Zeigler: yet? Lillie Monge: don't think so, not Marian Zeigler: 'Kay. Lillie Monge: yet. Um, yes, thank you. Rita Mikkelsen: That screwed Marian Zeigler: Okay. Rita Mikkelsen: in? Lillie Monge: I hate those little things Rita Mikkelsen: Yeah. Lillie Monge: especially if you do them on too tight and you can't get the leverage on them to undo Marian Zeigler: I know. Lillie Monge: them. Rita Mikkelsen: 'Kay, Lillie Monge: Okay. Rita Mikkelsen: Okay. Um this is uh all about the design of the actual components and the availability of the components we have in stock at the moment. Okay, first uh the Into the method. The the main idea of the whole thing is just so you sh you just press buttons and it should activate things on the T_V_ and we discussed last meeting that it should be easy to find. Um also in this study I've looked into the availability of some of the materials, 'cause some of the things that we looked at last time aren't un unfortunately aren't available. Lillie Monge: 'Kay. Rita Mikkelsen: Um, findings, I've got my nice little picture there. This is uh the chip called the T_A_ double one eight three five which is what's used in pretty much every remote control 'cause it sends out standard signals, based on your input and um it's pretty much used for all all T_V_ Lillie Monge: 'Kay. Rita Mikkelsen: remotes at the moment. Um and then we we're loo looking into battery options. There's um actually no rechargeable option available, so we I saw the um the standard double A_ and triple A_ which we thought were a bit bit too bulky at the moment, dynamo charging, I thought that that might be a bit silly to be Lillie Monge: Wa Rita Mikkelsen: to be honest, Lillie Monge: can you explain Rita Mikkelsen: people won't Lillie Monge: that? Rita Mikkelsen: it's it's basically Lillie Monge: Like a Rita Mikkelsen: like wind-up radio. Lillie Monge: right, okay. Rita Mikkelsen: So you wind up your remote control before you use it. Lillie Monge: How what Rita Mikkelsen: It Lillie Monge: kind Rita Mikkelsen: might Lillie Monge: of how l long can you get out of that, I mean can you Rita Mikkelsen: You Lillie Monge: pick it up and then wind it for two minutes and then that's it for the night? Rita Mikkelsen: Yeah, Lillie Monge: Or Rita Mikkelsen: yeah, oh yeah I presu you wouldn't have to wind it for very long, but I don't I don't think it's really sort of necessary when you th you think of the next two options, like the the solar charging, 'cause most people have the light on in the room anyway so they could get Lillie Monge: That Rita Mikkelsen: when Lillie Monge: doesn't count though Rita Mikkelsen: when Marian Zeigler: Does Lillie Monge: does Rita Mikkelsen: you Marian Zeigler: does Rita Mikkelsen: got Lillie Monge: it? Marian Zeigler: light Rita Mikkelsen: T_V_. Marian Zeigler: charge as as sunlight Lillie Monge: I thought Marian Zeigler: does? Lillie Monge: it was Marian Zeigler: Artificial Lillie Monge: U_V_ Rita Mikkelsen: No. Marian Zeigler: light? Rita Mikkelsen: Is Lillie Monge: like Rita Mikkelsen: it? Alright i Marian Zeigler: Has to be solar. Lillie Monge: Any, any Kathleen Rios: Yep. Regarding those sizes, which one you think will be light because we we have to take into consideration size also, so maybe a standard triple A_ might take lesser space or and dynamo might take more Rita Mikkelsen: Yeah Kathleen Rios: space. Rita Mikkelsen: it would the d yeah the dynamo would take more space 'cause you actually need a physical sort of handle to wind up. Lillie Monge: I'm pretty sure that solar is from the sun. Rita Mikkelsen: Yeah, Marian Zeigler: Mm. Rita Mikkelsen: okay. Lillie Monge: Uh, I don't think it counts Marian Zeigler: Artificial Lillie Monge: electric Marian Zeigler: light, Lillie Monge: lights Marian Zeigler: no. Lillie Monge: no, but I mean Marian Zeigler: That's Lillie Monge: not Marian Zeigler: going to Lillie Monge: many you don't want to limit your market. I mean people who live in basement flats there's not that many people, Marian Zeigler: I know, different Lillie Monge: but Kathleen Rios: Uh Lillie Monge: there Rita Mikkelsen: But Marian Zeigler: parts Lillie Monge: are Marian Zeigler: of the world Lillie Monge: people. Marian Zeigler: too, if we're if we're marketing internationally. Rita Mikkelsen: Yeah and most Kathleen Rios: Right. Rita Mikkelsen: people most people also watch T_V_ in the in the Kathleen Rios: Night. Rita Mikkelsen: night anyway. Lillie Monge: Mm, but then it would be charging through the day, I think the point is that it charges through the day and then you've got it charged Rita Mikkelsen: But Lillie Monge: for Rita Mikkelsen: I Lillie Monge: the Rita Mikkelsen: I think Lillie Monge: evening. Rita Mikkelsen: I think the the next one's the best Lillie Monge: Okay. Rita Mikkelsen: anyway. The the kinetic charging which is like you get it in r you get it in wrist watches Lillie Monge: Yeah I've Rita Mikkelsen: and Lillie Monge: seen Rita Mikkelsen: you d you don't even notice it. I mean the amount the amount of probably moving around you'd be doing all the time would would charge it up, I don't think you'd ever need to actually physically start shaking it up to make it work. Kathleen Rios: And are these like uh what are the life of the kinetic battery, it like it runs for long time? Rita Mikkelsen: Um yeah it's it charges into um some form of it's a smaller cell Kathleen Rios: Mm-hmm. Rita Mikkelsen: which it charges into and uh the si the size sort of a watch a watch battery, 'cause they use them quite frequently Kathleen Rios: Okay. Rita Mikkelsen: in watches. And that'll that would l would last for um well I do I d I'm not entirely sure how long it would last but I've never seen one run out. Lillie Monge: But then Kathleen Rios: We c Lillie Monge: if you think about a watch, it's on your wrist so it's on your whole bod it's on your body the whole time Rita Mikkelsen: Yeah. Lillie Monge: so you're walking around, you're doing things, it is moving a lot of the time. Rita Mikkelsen: Yeah Lillie Monge: If Rita Mikkelsen: and Lillie Monge: you'd I mean you switch the T_V_ on, then you put it on the side, then Marian Zeigler: Mm-hmm. Lillie Monge: you pick it up to change it and then you put it on the side. Rita Mikkelsen: Yeah but then Lillie Monge: Is Rita Mikkelsen: again Lillie Monge: it really gonna be enough? Rita Mikkelsen: I I think it is because if you think about it, the watch, although it's only a tiny amount it's it's um it's always moving for the whole day and they don't run out over night when you leave them on the side. Lillie Monge: Okay. Rita Mikkelsen: And th for the same the same reason, you're only using it for a v incredibly short amount of time just to send the signal and then you're finished with it Marian Zeigler: Hmm. Lillie Monge: So it's Rita Mikkelsen: and Lillie Monge: not Rita Mikkelsen: you Lillie Monge: the Rita Mikkelsen: put Lillie Monge: draw Rita Mikkelsen: it Lillie Monge: on it isn't Marian Zeigler: Mm-hmm. Rita Mikkelsen: no no I do I don't Marian Zeigler: Mm. Rita Mikkelsen: think the Lillie Monge: Okay. Marian Zeigler: Could Rita Mikkelsen: the Marian Zeigler: I Rita Mikkelsen: draw Marian Zeigler: just Rita Mikkelsen: on it Marian Zeigler: ask Rita Mikkelsen: would be Marian Zeigler: referring back to solar charging, is that Rita Mikkelsen: Mm. Marian Zeigler: compatible with um standard batteries? I mean, could people put standard batteries in but with a s you know they could leave it in the sunlight for solar charging Rita Mikkelsen: Ye Marian Zeigler: or the two things not compatible? Rita Mikkelsen: yeah I think Lillie Monge: Like a Rita Mikkelsen: I Lillie Monge: dual Rita Mikkelsen: th uh g y Lillie Monge: kind Rita Mikkelsen: you Lillie Monge: of. Rita Mikkelsen: could have a dual um power thing but the the thing with the solar cells is you would need to put them on the case and they because, if you lie on a calculator they Marian Zeigler: Mm. Rita Mikkelsen: they're qui they're quite big and they all they all look i identical. Marian Zeigler: So that affects Kathleen Rios: Solar Marian Zeigler: the exterior Kathleen Rios: would be Marian Zeigler: design. Lillie Monge: Expensive Kathleen Rios: slightly Lillie Monge: as Kathleen Rios: expensives. Lillie Monge: well. Rita Mikkelsen: They're they're Lillie Monge: What Rita Mikkelsen: expensive, Lillie Monge: kind of price Rita Mikkelsen: they don't Lillie Monge: are we looking at for I presume Kathleen Rios: It's Lillie Monge: the Kathleen Rios: twelve Lillie Monge: normal Kathleen Rios: point f Lillie Monge: batteries are the cheapest? Rita Mikkelsen: Yeah the normal batteries would be the cheapest I'd presume then it would actually be the the solar charging ones, um but the It's i I think they're not very resistant to dropping, 'cause if you Lillie Monge: Solar. Rita Mikkelsen: drop stuff yeah if you if you have Lillie Monge: Well they're Rita Mikkelsen: y Lillie Monge: not designed Rita Mikkelsen: the size you'd need to charge a remote wouldn't be that big but I mean if remotes always get thrown around and stuff, so. Y Lillie Monge: Practical-wise Rita Mikkelsen: I think yeah, Lillie Monge: okay. Rita Mikkelsen: practically. I mean calculators you don't really throw around a lot whereas remotes you do, they Lillie Monge: You Rita Mikkelsen: can Lillie Monge: do get Rita Mikkelsen: t Lillie Monge: a bit of wear but don't calculators have a battery in them Rita Mikkelsen: Yeah Lillie Monge: as Rita Mikkelsen: they Lillie Monge: well? Rita Mikkelsen: do, they yeah they've got dual things, Marian Zeigler: Mm. Rita Mikkelsen: but they're Lillie Monge: Mm. Rita Mikkelsen: the batteries are smaller I think. Kathleen Rios: Another Marian Zeigler: Again Kathleen Rios: question Marian Zeigler: it de Kathleen Rios: is like sorry. W w which one would last the longest, because we don't want customers to be like you know charging like a mobile phone every day. Rita Mikkelsen: Mm. Kathleen Rios: A remote Rita Mikkelsen: W Kathleen Rios: control, like, so Marian Zeigler: Mm. Rita Mikkelsen: m yeah so Kathleen Rios: we Rita Mikkelsen: the Kathleen Rios: have to s look at the life also. Rita Mikkelsen: Yeah the the s if you if you had something du uh using the standard batteries and the solar charging, um, I don't think you'd I think the it would d well you know how long the standard double A_s would last in or Marian Zeigler: It would Rita Mikkelsen: triple Marian Zeigler: just detract Rita Mikkelsen: A_s would last. Marian Zeigler: from the attractiveness of the of the whole feature, Rita Mikkelsen: Yeah Marian Zeigler: i it's Rita Mikkelsen: I think Marian Zeigler: not gonna Rita Mikkelsen: i I Marian Zeigler: add Rita Mikkelsen: think Marian Zeigler: anything, Rita Mikkelsen: it would, Marian Zeigler: okay. Rita Mikkelsen: yeah. Lillie Monge: Okay, can we add in uh an attachment to closing feature? Kathleen Rios: Okay. Lillie Monge: Can we think about that? 'Cause if we're doing the kinetic thing Rita Mikkelsen: Yeah. Lillie Monge: and Marian Zeigler: Shouldn't we do some Lillie Monge: it's Marian Zeigler: market research on that first before we add it in because I I personally Lillie Monge: Well add it in to think about Marian Zeigler: right, okay. Lillie Monge: um because, where am I? If it is the kinetic thing and it is small and it is portable and it is a different shape Rita Mikkelsen: Yeah. Lillie Monge: and the kinetic is something people don't do kind of we're doing something original and different um but if you wore it if it's something you could just clip on your pocket then you would have that less, you you wouldn't lose it Rita Mikkelsen: Yeah. Lillie Monge: so much. But then maybe Rita Mikkelsen: Yeah. Lillie Monge: that's looking at someone who's just sitting on their own rather than the eternal battle for control of the controls. Marian Zeigler: It's not something that's come up in any of our uh focus groups and market research, Lillie Monge: No. Marian Zeigler: it's not a thing that people are looking for Lillie Monge: Okay. Marian Zeigler: when we threw it open Kathleen Rios: So Marian Zeigler: to the field yeah. Rita Mikkelsen: Okay. Marian Zeigler: But it's something to put on the side to think about maybe. Lillie Monge: Okay, right. Rita Mikkelsen: Okay, well I'll move on. Lillie Monge: Mm-hmm. Rita Mikkelsen: Um, my second part of my findings uh the mo most current remotes use this silicone uh P_C_B_ board which pr printed circuit board, has these contacts that are really close together and then when you press down on the rubber button, it'll connect the circuit and each each switch is connected to two uh different legs on the chip and so sends a different message and that then uh gets translated by the chip into a code and then it's fired out of this L_E_D_ in the sequence of l on and off bursts. Lillie Monge: What kind of things do we have to consider there? Can we what kind of size, does it come in varying sizes or is it just one size Rita Mikkelsen: Well Lillie Monge: and we would have to fit the Rita Mikkelsen: well Lillie Monge: design Rita Mikkelsen: this Lillie Monge: of Rita Mikkelsen: the thi the thing about is um they they can be as big or as small as you want them to be because you can you can print circuit board like that that it's it's simply spaced like that so you can have fit the n the size of the nine buttons in. If you if you see how thin the tracks are, Lillie Monge: Mm-hmm. Rita Mikkelsen: you could you could s you could put them virtually right next to each other and have a much smaller switch on each one, if Lillie Monge: Okay. Rita Mikkelsen: you if you wanted to but um the there is an option to do to do it like that, or you could have some sort of array of switches which I'll speak about in the next bit Lillie Monge: Okay. Rita Mikkelsen: so that And then to uh yeah, so to conserve battery life the remote should be in a standby mode no while not being used. Now what I was thinking about that was 'cause sometimes when y when you have these things, they've got little lights on behind the buttons, so you can see what all the buttons are, like on a mobile phone, they Lillie Monge: Mm-hmm. Rita Mikkelsen: do it more Kathleen Rios: Mm-hmm. Rita Mikkelsen: often than on a than on a T_V_ remote, but you could you could have lights behind the buttons and um after like five or ten seconds of not being used I'd have that turned off, if we decided to go for buttons that could light up. Kathleen Rios: Okay. Rita Mikkelsen: Um, the case material, I've a been sent what the factory can actually give us, the there's the plastic which I think we were gonna go for anyway as the main case Lillie Monge: Mm-hmm. Rita Mikkelsen: case housing and the the main problems with the well you could go for wood but I think it would be a bit impractical. Titanium um very expensive just to process, which Lillie Monge: Mm. Rita Mikkelsen: to make it is expensive, and rubber, well you're saying that people like this uh spongy feel this Marian Zeigler: Mm. Rita Mikkelsen: year, so perhaps uh some something made of rubber, but I was thinking more of the buttons, because the buttons which they've they've said that they've they've put across are what is used in some stress ball manufacture Marian Zeigler: Okay. Rita Mikkelsen: and it's meant to be anti R_S_I_. Lillie Monge: Mm-hmm. Rita Mikkelsen: I'm no I'm not sure how that would work because surely your fingers would still be moving over the short distances but that's what they said. Um the problem with the casing is that uh there's quite um there's quite a few design restrictions that they've got on the shape of the case. If you go for titanium they can only do a standard box shape, whereas if you come to plastic they can they can be a little more they can they can do sort of curved shapes. But whether whether or not because we'd have it in two separate units Kathleen Rios: Second Rita Mikkelsen: for Lillie Monge: Hinged, Kathleen Rios: thing Rita Mikkelsen: the flip Kathleen Rios: is Rita Mikkelsen: phone. Lillie Monge: yeah. Kathleen Rios: yeah and second question is like, a mobile you can change the cover, Rita Mikkelsen: Yeah. Kathleen Rios: you call it a skin or whatever. So in this case if you're looking at like a customer can change the colour like from green, parrot Marian Zeigler: Mm. Kathleen Rios: green to chilli red or something like that. Rita Mikkelsen: Yeah I th Kathleen Rios: So is that feature available in like uh titanium, or it's Rita Mikkelsen: Uh. Kathleen Rios: like only specific to plastic Rita Mikkelsen: Yeah Kathleen Rios: or Rita Mikkelsen: in in titanium I don't I don't think it would be available at all really, Marian Zeigler: Mm-hmm. Rita Mikkelsen: the ju just it w well you could make it available in the titanium, it was just it would be so expensive to buy a new case for it, Kathleen Rios: Mm-hmm. Rita Mikkelsen: because of the expense of how much titanium is is it's light and strong but I think it should be left for aircraft design rather than for Marian Zeigler: It does Rita Mikkelsen: for Marian Zeigler: mark Rita Mikkelsen: a remote. Marian Zeigler: quite easily too if you let it fall. I've got a mobile phone myself which is titanium and it does Rita Mikkelsen: Yeah, Marian Zeigler: mark very easily Rita Mikkelsen: yeah. Marian Zeigler: if you drop it. I was just wondering if we make the basic mould out of plastic but have like a rubber cover that goes Rita Mikkelsen: Rubber, Marian Zeigler: over, Rita Mikkelsen: yeah. Marian Zeigler: that would give the spongy feel, that also allows us to kind of have different fasciae Rita Mikkelsen: And you can Marian Zeigler: for Rita Mikkelsen: peel Marian Zeigler: the phone. Rita Mikkelsen: them off yeah. Lillie Monge: So Kathleen Rios: Yeah. Lillie Monge: instead of the fascia that comes off being plastic, the fascia that comes Marian Zeigler: Like Lillie Monge: off Marian Zeigler: a rubber Lillie Monge: would Marian Zeigler: sleeve Lillie Monge: be the rubber, Marian Zeigler: almost, yeah. Rita Mikkelsen: Yeah. Kathleen Rios: Something Lillie Monge: like those Kathleen Rios: like Lillie Monge: pens that you get with the grip, Rita Mikkelsen: Yeah. Marian Zeigler: Mm. Kathleen Rios: Alright. Lillie Monge: that you can Kathleen Rios: That Lillie Monge: you can Kathleen Rios: could Lillie Monge: pull Kathleen Rios: be a good Lillie Monge: that Kathleen Rios: idea. Lillie Monge: off. Marian Zeigler: Mm. Rita Mikkelsen: Hmm. Kathleen Rios: It Lillie Monge: Okay. Kathleen Rios: could it would be comfortable to hold on also. Lillie Monge: Mm. Marian Zeigler: Very Rita Mikkelsen: T Marian Zeigler: cheap way of changing the look of it and people can just buy a new one Rita Mikkelsen: Yeah. Marian Zeigler: if they want to. Lillie Monge: Well that's been really popular with mobile phones so I don't Marian Zeigler: Mm. Lillie Monge: see why not. Marian Zeigler: Yeah. Rita Mikkelsen: Also the Lillie Monge: 'Kay. Rita Mikkelsen: just just going back to the interface designs with the buttons, the I kno we were planning to do some sort of touch Lillie Monge: Mm-hmm. Rita Mikkelsen: screen. Now what I was saying before about instead of having you could have just a bare P_C_B_ circuit board and I'm sure you could probably get it in different colours and so just by touching it with your finger it'd make the connection over if you had them close enough, that would be one option. Um the second option th they offer rubber buttons, but I thought that an L_C_D_ type of screen 'cause one they're incredibly thin um and don't take up much space, two they you can have them in a sort of array and you can arrange the buttons on the screen in a sort of set thing and you could have them like a touch Kathleen Rios: Sorry I didn't Rita Mikkelsen: display. Kathleen Rios: get the last part, you're talking of Rita Mikkelsen: Uh what what Kathleen Rios: Just what you said I I didn't get the uh meaning of it completely, you're saying Rita Mikkelsen: Oh Kathleen Rios: like Rita Mikkelsen: on the on the L_C_D_ screen Kathleen Rios: Uh-huh. Rita Mikkelsen: you could becau you could fit it the problem with it basically is that it's flat and so you can't do lots of curve Kathleen Rios: Okay. Lillie Monge: Mm-hmm. Rita Mikkelsen: curved things with it, but um you can you wouldn't have with the L_C_D_ you'd have the wires coming off, you wouldn't have that with the with the L_C_D_, you'd only have that with the printed Marian Zeigler: Mm. Rita Mikkelsen: circuit board. With W Marian Zeigler: I Rita Mikkelsen: also Marian Zeigler: don't s Rita Mikkelsen: with Marian Zeigler: sorry Rita Mikkelsen: the Marian Zeigler: to interrupt, I don't see why the curved thing is a problem, if we for example had a shell, Rita Mikkelsen: Yeah. Lillie Monge: Oh Marian Zeigler: once Lillie Monge: it would be Marian Zeigler: we Lillie Monge: flat Marian Zeigler: open that Lillie Monge: inside. Marian Zeigler: yeah, so Rita Mikkelsen: You Marian Zeigler: it'd Rita Mikkelsen: could Marian Zeigler: be Rita Mikkelsen: have Marian Zeigler: f Rita Mikkelsen: a Marian Zeigler: yeah, Rita Mikkelsen: flat screen inside, Marian Zeigler: yeah. Lillie Monge: Mm. Rita Mikkelsen: yeah, Marian Zeigler: Have Rita Mikkelsen: but I'm Marian Zeigler: I Rita Mikkelsen: just Marian Zeigler: misunderstood Rita Mikkelsen: wondering whether Marian Zeigler: you? Rita Mikkelsen: we want an L_C_D_ screen inside. It wouldn't be like full colour, it would just be black and white, Marian Zeigler: Mm-hmm. Rita Mikkelsen: but there'd be touch touch buttons, so you Kathleen Rios: 'Kay. Rita Mikkelsen: wouldn't be pressing down on 'em, w or we could have rubber buttons which are made of this material which is anti-R_S_I_. Marian Zeigler: Mm-hmm. Lillie Monge: I think it would be good to have a contrast between, if the whole thing is gonna Rita Mikkelsen: Is Lillie Monge: be Rita Mikkelsen: rubber. Lillie Monge: this rubber thing it would be good to open it up and see something quite fancy looking Marian Zeigler: Yeah. Lillie Monge: inside. Rita Mikkelsen: Mm. Lillie Monge: I mean Rita Mikkelsen: Yeah I hadn't I Lillie Monge: Uh Rita Mikkelsen: hadn't really thought of Marian Zeigler: I just Rita Mikkelsen: that Marian Zeigler: had another idea, Rita Mikkelsen: to be Marian Zeigler: I don't Rita Mikkelsen: honest. Marian Zeigler: know if it helps with that, but just to do with the R_S_I_. Is it possible, just as an option, when we open it up, people can use their fingers to press the button, or we have inside like a small pointer thing Rita Mikkelsen: Yeah Marian Zeigler: when Rita Mikkelsen: you Marian Zeigler: people Rita Mikkelsen: could, Marian Zeigler: want Rita Mikkelsen: you Marian Zeigler: to. Rita Mikkelsen: could have some sort of stylus Lillie Monge: Like one Rita Mikkelsen: that you Lillie Monge: of Rita Mikkelsen: could Lillie Monge: the palm Rita Mikkelsen: pull Lillie Monge: pop Rita Mikkelsen: out Lillie Monge: thing. Rita Mikkelsen: but Marian Zeigler: Mm. Rita Mikkelsen: I I think they could get a bit easily lost, Marian Zeigler: Yeah. Kathleen Rios: Absolutely, Rita Mikkelsen: 'cause I had Kathleen Rios: f Marian Zeigler: They're Lillie Monge: It Marian Zeigler: easy Lillie Monge: would have Marian Zeigler: to Lillie Monge: to Marian Zeigler: replace Lillie Monge: be attached. Marian Zeigler: as Kathleen Rios: for Marian Zeigler: well, Kathleen Rios: somebody who Marian Zeigler: cheap. Kathleen Rios: very often, Rita Mikkelsen: Hmm. Kathleen Rios: if he would a person who switches channels very often or does use a particular function very often Rita Mikkelsen: Yeah. Kathleen Rios: will find it very irritating to use a Rita Mikkelsen: Yeah. Marian Zeigler: Mm-hmm. Kathleen Rios: and he might spoil the touch-pad very fast compared to a button like, Rita Mikkelsen: Yeah. Kathleen Rios: if Marian Zeigler: Mm. Kathleen Rios: you keep punching with an pointer or whatever. Rita Mikkelsen: Yeah Marian Zeigler: Yeah Rita Mikkelsen: okay. Marian Zeigler: just a thought they wouldn't actually need one and they could use anything they've got, couldn't they? A pencil or a pen, so they wouldn't really need a Lillie Monge: Okay, we'll talk about that so if you finish your and Rita Mikkelsen: Yeah Lillie Monge: we'll come Rita Mikkelsen: that's Lillie Monge: back to that. Rita Mikkelsen: yeah that Lillie Monge: That's Rita Mikkelsen: that's Lillie Monge: you, Rita Mikkelsen: the end of m my Kathleen Rios: And Lillie Monge: right Kathleen Rios: just one Lillie Monge: okay. Kathleen Rios: small question before like you are, regarding the circuit, since we are hav having a flip-top, we Rita Mikkelsen: Yeah. Kathleen Rios: can customise the two circuits for different type of buttons like we are keeping the standard buttons on the top and Rita Mikkelsen: Uh Kathleen Rios: the more Rita Mikkelsen: yeah. Kathleen Rios: complex buttons under this thing, so we can divide the circuit like you know. Rita Mikkelsen: Yeah yeah that that would be fairly simple, I mean you'd Kathleen Rios: Mm-hmm. Rita Mikkelsen: you'd actually have two separate you'd Kathleen Rios: Okay. Rita Mikkelsen: have two separate circuit boards but they'd be joined by wires or Kathleen Rios: Okay. Rita Mikkelsen: like some cabling between them, Marian Zeigler: Mm-hmm. Rita Mikkelsen: 'cause in the in the actual flip bit you'd have some linking. Marian Zeigler: another point while it occurs to Marian Zeigler, it kind of applies to both our designers here, so I'm not sure how it Rita Mikkelsen: Mm. Marian Zeigler: would fit in. If we flip open, now you know how you've got some mirrors in nightclubs that are mirrors when you turn to them and you turn away and it gives like an advertising display, you seen those? Lillie Monge: No. Marian Zeigler: And they kind of respond to the turn of your body. Is it possible that when we open our flip-top shell it's a little compact mirror and when you press a button it then goes onto the phone display th uh the remote control display thing. Lillie Monge: We're Rita Mikkelsen: Um. Lillie Monge: marketing to guys as much as we are to women. Marian Zeigler: They don't look at themselves? Just a thought. Lillie Monge: Well it's a remote control, you were sitting watching T_V_ Marian Zeigler: Yeah. Lillie Monge: are you gonna want to sort of open it and say Marian Zeigler: I Lillie Monge: oh Marian Zeigler: know what Lillie Monge: shit Marian Zeigler: you mean, Lillie Monge: I should Marian Zeigler: it's Lillie Monge: go Marian Zeigler: with Lillie Monge: and Marian Zeigler: us Lillie Monge: have Marian Zeigler: using Lillie Monge: a Marian Zeigler: the ideas Lillie Monge: shower Marian Zeigler: for a mobile Lillie Monge: and Marian Zeigler: ph Lillie Monge: do my hair before I put the T_ Marian Zeigler: it's with us using the ideas for mobile phones I kinda got Lillie Monge: Yeah, Marian Zeigler: sidetracked Lillie Monge: no, Marian Zeigler: onto that I think, okay. Lillie Monge: no. Marian Zeigler: trying to think of other features we can build in that wouldn't cost too much Lillie Monge: Mm. Marian Zeigler: but maybe we'll leave that one on the side. Rita Mikkelsen: Yeah. Marian Zeigler: 'Kay. Lillie Monge: Okay. Rita Mikkelsen: I mean you can you could do it, you could have a 'cause if you if you just put the full charge through an L_C_D_ display it'll completely blank it out, Marian Zeigler: Mm. Rita Mikkelsen: but I don't know if you could get any mirror effect on it, Marian Zeigler: Oh I think Rita Mikkelsen: I'm not sure Marian Zeigler: forget Rita Mikkelsen: about Marian Zeigler: about the mirror that was just a very quick passing thought yeah. Lillie Monge: Okay, okay. Kathleen Rios: Okay, uh would like to share something which I did here. First thing is uh basically on design we just took the input from the previous meeting, especially from the marketing and industrial design, to check on the customer needs and feasibility. Second is we checked into competitors, the picture here shows one of the standard models offered by competitors here. So y you generally see there's not much of variety Lillie Monge: Mm. Kathleen Rios: and like marketing team said uh, people need trendy, they are bored of black and white. So Rita Mikkelsen: Yeah. Kathleen Rios: you generally see rectangular shape, very monotonous kind of designs here. And uh second thing is there's too much of confusion here. Lillie Monge: Mm. Kathleen Rios: No particular remote is standard. Like, some some people have a Here you see this? This is on a I I I found th that uh only common feature is the ch uh channel control and uh volume control, rest other buttons, they are in a very disorganized and they are not consistent th with other models and all. Lillie Monge: Okay. Kathleen Rios: Okay, and second as already discussed with William, we are going to have m maybe a G_ G_U_I_ interface in the Rita Mikkelsen: Yeah. Kathleen Rios: f in the middle of the flip-top Marian Zeigler: Sorry what Kathleen Rios: and Marian Zeigler: does that Lillie Monge: Which Marian Zeigler: stand Lillie Monge: means Kathleen Rios: g Marian Zeigler: for? Kathleen Rios: graphic user interface basically Marian Zeigler: Okay. Kathleen Rios: which is what we d do in computer, have Rita Mikkelsen: Yeah. Kathleen Rios: icons or touch pad or whatever, which Rita Mikkelsen: If Kathleen Rios: is Rita Mikkelsen: you if yeah if you have like buttons that appear on the screen in this L_C_D_ screen. Kathleen Rios: Like you have on a l uh icons or something y you have is a good example of G_U_I_ graphic user interface. Rita Mikkelsen: Yeah. Lillie Monge: Okay. Kathleen Rios: So basically not point or click Press any particular device, he just has to click on that particular icon Lillie Monge: Okay. Kathleen Rios: to simplify. And on the top m repetitive buttons which are like volume or channel changing and all could be on the pointing device, that means the use of button. So he need not use a pointer to keep changing the channel if a person is frequent surfer. Lillie Monge: Mm-hmm. Kathleen Rios: So we are having a combination of boards, so f on the s simpler board, on the top we have this button, rubber buttons, to keep frequently changing the channels. Lillie Monge: Can we swap that round so th that the ones that we use all the time are on the bottom part? 'Cause if you're thinking about holding it you would be using your thumbs to press, just like a mobile phone. Rita Mikkelsen: Yeah. Marian Zeigler: No you'd hold it you don't if you flip it open then you'd be Wouldn't you? Isn't that the idea? You us if we just use the shell as an example Lillie Monge: Yeah. Marian Zeigler: again, you open that, you've got your L_C_D_ display there and you've got the buttons there so you're holding Rita Mikkelsen: Yeah, Marian Zeigler: it in Lillie Monge: That's Marian Zeigler: the palm Lillie Monge: what Marian Zeigler: of your Lillie Monge: I was Marian Zeigler: hand, Rita Mikkelsen: yeah Lillie Monge: just saying, Marian Zeigler: yeah. Rita Mikkelsen: but you Lillie Monge: and Kathleen Rios: But Rita Mikkelsen: can Lillie Monge: then Rita Mikkelsen: do Lillie Monge: have Rita Mikkelsen: it with your Lillie Monge: the Rita Mikkelsen: thumb li Lillie Monge: and then have the L_C_D_ at the top Marian Zeigler: Mm-hmm. Kathleen Rios: Mm-hmm. Lillie Monge: and then be able to touch that for the Marian Zeigler: Mm-hmm. Lillie Monge: other Kathleen Rios: Okay Lillie Monge: controls, Kathleen Rios: and you mean to Lillie Monge: so Kathleen Rios: the Lillie Monge: have the um the volume and the programme, things like that, Kathleen Rios: And the lower distance. Lillie Monge: on the lower Kathleen Rios: Oh f Lillie Monge: side. Kathleen Rios: perfect. Marian Zeigler: Hmm. Lillie Monge: Okay. Kathleen Rios: So the findings are too many cluttered buttons. Repetition of certain but buttons which I already explained, example the volume and channel control buttons. All are confusing and in inconsistent. Okay we had a latest finding of voice recognition, there was a mail which mentions that our division has developed a new speech recognition s feature. We have to check into the for financial f feasibility whether we can incorporate it this at a low cost, but for like we had g um s response from the customers that they would like to have the feature of finding Rita Mikkelsen: Yeah. Kathleen Rios: it. So it could be like, where is the remote, and the remote answers I am here. Rita Mikkelsen: Yeah. Kathleen Rios: Some kind of thing or it gives a b bleep sound or some kind of sound Marian Zeigler: Mm. Kathleen Rios: this can be incorporated this would be more uh you can say trendy also? And technologically innovative also. Rita Mikkelsen: Yeah. Kathleen Rios: So we we can check into the financial feasibility of incorporating this. My personal preferences would be like, as already uh marketing department, they want something to do with fruit so I wouldn't say the design should be like a fruit, but yeah we can take inspiration from fruit colours, like the vibrant colours, Marian Zeigler: Mm. Kathleen Rios: uh red chilli Rita Mikkelsen: Yeah. Kathleen Rios: uh tomato red or whatever and second thing is cer certain standard buttons we should have, like for example, i if you see the previous slide uh Rita Mikkelsen: Well, yeah we Kathleen Rios: I think most of the users would now be well acquainted with this cer central pattern, here, Rita Mikkelsen: Yeah. Kathleen Rios: so we we we would not change h that particular pattern because i this is the most consistent thing in all remote controls. Lillie Monge: I can't see that, is that play and stop and things? Kathleen Rios: This is central one, the one you Lillie Monge: Or is that volume and Kathleen Rios: yeah volume and Lillie Monge: channel? Kathleen Rios: channel. So keep that m that standardised because that's the most common feature across all models, if you look at all the models, it's here. This and voice recognition. Lillie Monge: Okay. Right. Okay. Um I'm not sure how long we've got left, but we need to make a decision about um the things we've discussed. So, we agree on Do we agree on the battery? Marian Zeigler: Kinetic? Kathleen Rios: The kinetic. Lillie Monge: Yeah. Rita Mikkelsen: Yeah. Lillie Monge: Um, that means that there's no function for li the port, you know that it sits in, then pressing Rita Mikkelsen: Mm. Lillie Monge: the button then having so we could incorporate voice recognition Rita Mikkelsen: Yeah Lillie Monge: for the Rita Mikkelsen: I Lillie Monge: finding Rita Mikkelsen: think Lillie Monge: it. Rita Mikkelsen: I mean Lillie Monge: It's Rita Mikkelsen: if Lillie Monge: a bi i it's like a g it's a gadget, it's a Rita Mikkelsen: Yeah it is it is Lillie Monge: selling Rita Mikkelsen: qui Lillie Monge: point. Rita Mikkelsen: it's quite a cool feature to have and also if they've got it if they've got these parts already in stock, Kathleen Rios: Mm-hmm. Rita Mikkelsen: then it won't be cheap to re-manufacture them, uh or it will be cheap sorry to re-manufacture them. So do you reckon that's a good idea that, where's the remote, I'm here thing? I think that would be quite Marian Zeigler: Mm. Rita Mikkelsen: fun. Lillie Monge: I think the only I think the only pitfall that we would have would be how much it's going to cost Rita Mikkelsen: Yeah. Lillie Monge: if that means we have to cut down somewhere else, but I think pretty much we've used cheap Rita Mikkelsen: Yeah. Lillie Monge: relatively cheap and Marian Zeigler: Mm. Lillie Monge: simple things. Rita Mikkelsen: Yeah Lillie Monge: The Rita Mikkelsen: to Lillie Monge: L_C_D_'s Rita Mikkelsen: s Lillie Monge: not cheap. Rita Mikkelsen: th well Marian Zeigler: Hmm. Rita Mikkelsen: it's it's not as expensive as it would be if it was full colour 'cause if we've just got a black and white one, I mean they use them in calculators so. Lillie Monge: Yeah, okay. Kathleen Rios: Maybe we could start with the black and white. Rita Mikkelsen: Yeah. Kathleen Rios: That Lillie Monge: And you Kathleen Rios: that Lillie Monge: could Kathleen Rios: way we could Lillie Monge: yeah. Kathleen Rios: upgrade later. Marian Zeigler: Yeah, Lillie Monge: Okay. Marian Zeigler: we talked about Kathleen Rios: Mm. Marian Zeigler: kinetic charging, we've deci seem to have decided on that, did we decide on double A_ or triple A_ batteries? Kathleen Rios: Mm. Rita Mikkelsen: Well you cou um. Lillie Monge: Do you want like a back-up? Marian Zeigler: No, one of the decisions we had to make was whether we had double A_ or triple A_ batteries 'cause they've still got to be charged this way haven't Rita Mikkelsen: K no the Marian Zeigler: they? Rita Mikkelsen: kinetic Marian Zeigler: I Rita Mikkelsen: ones Marian Zeigler: oh I Rita Mikkelsen: come Marian Zeigler: see. Rita Mikkelsen: come with um a sort of w watch a battery that goes in a watch. Marian Zeigler: Right, okay, got you. Rita Mikkelsen: So it's a lot smaller, so it would Marian Zeigler: Got you on that okay, didn't realise. Lillie Monge: Um, okay so we've got battery. The inside components is pretty standardised across the board isn't it? Rita Mikkelsen: Yeah. Kathleen Rios: Yeah. Lillie Monge: So there's not a really a decision to be made there, um. The buttons what did you give us as our The bare-board L_C_D_ Rita Mikkelsen: Yeah Lillie Monge: or Rita Mikkelsen: the well I think were we're going for the L_C_D_ on that one, on the buttons, on the on the on on the top one Lillie Monge: On Rita Mikkelsen: we're Lillie Monge: the top Rita Mikkelsen: gonna Lillie Monge: one okay you've got the touch Rita Mikkelsen: yeah. Lillie Monge: okay and then Rita Mikkelsen: On the bottom we were gonna have the rubber, the rubber ones, the anti-R_S_I_ ones. Lillie Monge: Okay, okay. Marian Zeigler: Sorry could you repeat that last part? Rita Mikkelsen: Um, okay on Marian Zeigler: L_C_D_ Rita Mikkelsen: we've got the flip Marian Zeigler: screen. Rita Mikkelsen: the flip-screen, Marian Zeigler: Mm-hmm. Rita Mikkelsen: the top one is gonna be the L_C_D_ and the bottom one is gonna be the rubberised buttons. Marian Zeigler: Okay. Kathleen Rios: And for the sorry. Lillie Monge: No, it's fine. Kathleen Rios: For the body design I think plastic, Rita Mikkelsen: Plastic, Kathleen Rios: uh w yeah Rita Mikkelsen: okay. Kathleen Rios: we could Lillie Monge: For Kathleen Rios: use Lillie Monge: the Kathleen Rios: the Lillie Monge: inside. Kathleen Rios: body, for the inside and Rita Mikkelsen: Yeah. Kathleen Rios: uh rubber as a padding or for the grip, something like to add to the design. Lillie Monge: Mm-hmm. Marian Zeigler: Mm-hmm, so we decided on a rubber casing for the plastic shell, Kathleen Rios: Plast right. Marian Zeigler: a variety Lillie Monge: Oh I think Marian Zeigler: of designs, Lillie Monge: so, I Marian Zeigler: okay. Lillie Monge: think so. Marian Zeigler: and it is just uh although it's rubberised and spongy, apart from that we're just going to go for sort of vegetable and fruit colours, we're not gonna try and make it actually a vegetable or fruit design or anything else, Rita Mikkelsen: Mm Marian Zeigler: like Rita Mikkelsen: no. Marian Zeigler: a shell that we discussed, Lillie Monge: No Marian Zeigler: just Lillie Monge: I think Marian Zeigler: go for the colours. Lillie Monge: I Kathleen Rios: It's Lillie Monge: we don't wanna be tacky if we've got Marian Zeigler: Okay. Lillie Monge: a kind of different shape anyway um the fact the m the material that we would be using would be cheap, so we could make it red, we could make it um psychedelic, you know, we could make Marian Zeigler: Mm-hmm. Lillie Monge: it black and white zebra stripes, but that's not really what we're focusing on, what we're focusing on is the m you know Marian Zeigler: The feel. Lillie Monge: yes. So we could Marian Zeigler: 'Kay. Lillie Monge: just pick anything. Marian Zeigler: Mm-hmm. Is that going to be this image I've got in my head of something kind of shaped like that, maybe about that size, made of plastic, fits into the palm of the hand, rubberised cover that's spongy. Is that really going to fit fancy look and feel which was the major thing that people wanted, market research, is that Lillie Monge: It's Marian Zeigler: fancy? Kathleen Rios: Uh Lillie Monge: just Kathleen Rios: I Lillie Monge: different Kathleen Rios: it's different. Lillie Monge: it's just different from everything else and I mean, I'm trying to imagine um clean looking Marian Zeigler: Mm. Lillie Monge: houses, sort of beige and black Marian Zeigler: Mm-hmm. Lillie Monge: um so you either want something that goes with that, which is what's Marian Zeigler: Mm-hmm. Lillie Monge: on the market anyway, Marian Zeigler: Mm-hmm. Lillie Monge: or you want something that contrasts as Rita Mikkelsen: Mm. Lillie Monge: you know like you get clocks now that Marian Zeigler: Mm-hmm. Lillie Monge: are more of a talking point than an actual clock Marian Zeigler: Yeah. Lillie Monge: because they're so interesting Marian Zeigler: I'm just kind of pushing Lillie Monge: and Marian Zeigler: at that to see if you came out with anything else, but I mean I totally agree. We looked at those remotes, I mean they are kind of anonymous, very similar looking things. Lillie Monge: Mm. Marian Zeigler: This would definitely be different enough, I just wondered if anybody could come up with something even more Lillie Monge: And you would just have an across the b you would have so many different options that you could do, you could have um a plain black one, you could have sparkly pink glittery Marian Zeigler: Well the thing Lillie Monge: ones Marian Zeigler: is the rubberised Lillie Monge: for your little Marian Zeigler: covers are going to be s relatively cheap to produce, that if in a year's time we we get feedback from the design fairs that show something else is coming I mean it's so easy for us Lillie Monge: Mm. Marian Zeigler: to just produce that and it can be slipped on, Lillie Monge: And Kathleen Rios: Right. Lillie Monge: ones Marian Zeigler: which is another Lillie Monge: tha Marian Zeigler: beauty of it. Lillie Monge: ones that have rubbery spikes y you know, Rita Mikkelsen: You Lillie Monge: you Rita Mikkelsen: can Lillie Monge: could just Rita Mikkelsen: you can Lillie Monge: go Rita Mikkelsen: just Lillie Monge: so Kathleen Rios: Acupressure, Lillie Monge: far Kathleen Rios: you Lillie Monge: with Rita Mikkelsen: Yeah. Kathleen Rios: could Lillie Monge: it, Kathleen Rios: talk of acupressures. Lillie Monge: like a puffer fish, you could just, you could take it wherever, so I think that's quite a Rita Mikkelsen: Yeah. Lillie Monge: flexible Kathleen Rios: And finally Lillie Monge: thing. Kathleen Rios: the body should be retouchable, may maybe ch you can change the body or the case casing the case outside, Lillie Monge: Yes. Kathleen Rios: it should be moulded it with the design in such a way you can change it every time. Rita Mikkelsen: Yeah, yeah j with these rubber these rubberised ca not Lillie Monge: Mm. Rita Mikkelsen: the actual uh plastic outside Kathleen Rios: Okay. Rita Mikkelsen: case, just the rubber Kathleen Rios: The rubber. Lillie Monge: Yeah. Rita Mikkelsen: thing that goes round the outside. Lillie Monge: Okay we've got five minutes, um, or that might've been up Marian Zeigler: Mm, Lillie Monge: for Kathleen Rios: Fine. Lillie Monge: a while. Marian Zeigler: so can I just recap uh Sarah, Kathleen Rios: Yeah. Marian Zeigler: for the decisions that we've made, kinetic charging, the watch-type batteries, um L_C_D_ display on th the top side of the flip top, rubberised buttons on the bottom side, we're gonna use fruit and vegetable colours for the rubber cover, the case itself is plastic. That's how far we've got, what else do we have to add to our decisions here? Kathleen Rios: Fine, uh we were talking of voice recognition also Marian Zeigler: Mm. Lillie Monge: Mm-hmm. Kathleen Rios: because that we are not for how to look it uh remote control if it's lost. So, Marian Zeigler: Yes, Kathleen Rios: are Marian Zeigler: it was Kathleen Rios: we Marian Zeigler: just, Kathleen Rios: looking Marian Zeigler: there was Kathleen Rios: at Marian Zeigler: just Kathleen Rios: voice? Marian Zeigler: a cost issue with that, but it's a good idea we just need to check on the cost, Kathleen Rios: Or Marian Zeigler: is Kathleen Rios: maybe Marian Zeigler: that right? Kathleen Rios: like uh William was suggesting in the last thing some devices you put on key chains. For Rita Mikkelsen: Oh Kathleen Rios: l Rita Mikkelsen: yeah, yeah Kathleen Rios: yeah, Rita Mikkelsen: the whistle ones, yeah. Kathleen Rios: the whistle. So we can if financially voice recognition is not feasible we could go for a whistle. Marian Zeigler: And incorporating the company logo? Kathleen Rios: Yep. Lillie Monge: Have you Kathleen Rios: Uh sorry I didn't mention this, but we'll be incorporating in the design. Marian Zeigler: Mm. 'Cause Lillie Monge: Okay. Marian Zeigler: I took it from the feedback you gave in the last meeting from y from y your report, it's not just a case of having a little R_R_ hidden somewhere, they do want it to be obvious that it's our product don't Lillie Monge: Well they Marian Zeigler: they? Lillie Monge: do, but I think we can Marian Zeigler: Since it's Lillie Monge: you Marian Zeigler: the only Lillie Monge: could Marian Zeigler: one of its kind on the market Lillie Monge: well Marian Zeigler: it's obviously Lillie Monge: it is, Marian Zeigler: gonna Lillie Monge: it Marian Zeigler: be ours. Lillie Monge: is, I think you just address that with um advertising. Marian Zeigler: Yeah. Lillie Monge: Um, you associate the name with the individual product Rita Mikkelsen: Yeah. Lillie Monge: that it is Marian Zeigler: Okay. Lillie Monge: and that does the work for you. Obviously it'll have a logo on it just like everything, but everything else has a logo on it. The point is that it's got to stand out somehow differently Marian Zeigler: Okay. Lillie Monge: but I think it does, without that so I'm not worried about that. Marian Zeigler: Okay. Did we I know at the last meeting we spoke about a beeper, I think that was you talked about a beeper for a location, have we just rejected that in favour of voice recognition then? Lillie Monge: Depending on how i Rita Mikkelsen: Yeah, depending on the expense of it. Lillie Monge: I mean we've got this memo saying that it's something that the company's looking into, so Rita Mikkelsen: And they've got in stock, so yeah. Lillie Monge: um that seems to make sense, but if it turns out that it's hugely expensive we'd have to cut down somewhere else, then it's worth thinking about. But I think we'll find out more about cost Rita Mikkelsen: Yeah. Lillie Monge: afterwards. Right Rita Mikkelsen: Okay. Lillie Monge: I'm going to wrap it up there. Kathleen Rios: Fine. Lillie Monge: I got a end meeting now message on my Kathleen Rios: Mm-hmm. Lillie Monge: mo Rita Mikkelsen: Did it? Lillie Monge: yeah Kathleen Rios: Yeah. Lillie Monge: so. Kathleen Rios: Again Lillie Monge: Um Kathleen Rios: a questionnaire huh? Lillie Monge: so I think we've probably got it Marian Zeigler: You Lillie Monge: says, Marian Zeigler: got to go through. Lillie Monge: closing we have forty minutes so I um think we've probably got about that time before we come back. It's either that or we only had forty minutes to discuss what we just discussed and don't know how long that took. Kathleen Rios: I think we are pretty going in a clear direction now. Lillie Monge: Is everyone happy? Okay.

Lillie Monge reviewed the decisions from the previous meeting. Marian Zeigler made a presentation on trend watching, including trends in user requirements and trends in fashion. Rita Mikkelsen presented all the components of the device and announced that several of the features already discussed would not be available. He suggested substituting a kinetic battery for the rechargeable batteries and using a combination of rubber and plastic for the materials. Kathleen Rios presented his main interface design, which included buttons for the most frequently used features and a graphic user interface on the LCD screen for other functions, to keep frequently used features easy to use. He announced that speech recognition was still an option to consider, depending on price. Lillie Monge then began a discussion to decide what was going into the final design. It was decided that a kinetic battery would be used in place of a rechargeable battery, that the remote will feature an LCD screen and rubber casing and rubber buttons, and that interchangeable rubber covers in fruit colors will be available. Speech recognition may be included if it is not too costly.

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Jennifer Mcdaniel: If you leave them on the whole time you get to look like a noodle the whole time. Maria Thomas: Hmm. Nidia Harris: Is that someone's? Jennifer Mcdaniel: Is that. Maria Thomas: Thank you. Jennifer Mcdaniel: three, apparently. Maria Thomas: Hmm. Hmm. Jennifer Mcdaniel: Okay, you all Nidia Harris: Okay. Jennifer Mcdaniel: switched on. Maria Thomas: Yep Nidia Harris too. Jennifer Mcdaniel: I presume we're good to go. Okay, um minutes um we decided to use a kinetic charger, Maria Thomas: Mm-hmm. Jennifer Mcdaniel: standard chip, um 'cause it can come in various different sizes, it wasn't uh uh gonna be a problem factor. We wanted a stand-by function. The case material is gonna be soft, rubbery, changeable. Um buttons with a combination of L_C_D_ and rubber according to the design. Um bright funky designs inspired by fruit, keeping with the hip kind of feel. Um and to try and incorporate voice recognition software into our design until we can find out more about the cost of things like that. Um and the rubber buttons that we'll use will be anti-R_S_I_. Okay? Prototype presentation. Lessie Pinkney: Is that for us? Jennifer Mcdaniel: I think Maria Thomas: Yep. Jennifer Mcdaniel: that would be you. Lessie Pinkney: Okay. Maria Thomas: Nidia Harris and William worked on a prototype, and I think William is going to make a p presentation on that. Lessie Pinkney: Yeah shall, I show? Maria Thomas: Yeah. Lessie Pinkney: I'll show. Though do you do you wanna Jennifer Mcdaniel: Make Lessie Pinkney: do you Jennifer Mcdaniel: sure Lessie Pinkney: wanna Jennifer Mcdaniel: the Maria Thomas: I Lessie Pinkney: sh Jennifer Mcdaniel: camera's Maria Thomas: can hold it like Lessie Pinkney: do you wanna hold it and I'll Maria Thomas: Yeah, Lessie Pinkney: I'll Maria Thomas: so Lessie Pinkney: show you the presentation. Can I just nick Jennifer Mcdaniel: Yes, Lessie Pinkney: your Jennifer Mcdaniel: yes you can. Wait a second, I'll get it out. Lessie Pinkney: Whoa. Maria Thomas: It Jennifer Mcdaniel: Um Maria Thomas: looks Lessie Pinkney: Going a bit crazy over here. Maria Thomas: crazy. Jennifer Mcdaniel: Okay. Lessie Pinkney: Thank you. Jennifer Mcdaniel: You Maria Thomas: Um not now. Jennifer Mcdaniel: should have one of Maria Thomas: Oh. Jennifer Mcdaniel: those things and you can just take it off. Maria Thomas: Yeah. Jennifer Mcdaniel: Ta-da. Maria Thomas: Oh, where are the hinges? Lessie Pinkney: Okay, so this is Jennifer Mcdaniel: Right. Lessie Pinkney: our look and feel presentation, Jennifer Mcdaniel: Mm Lessie Pinkney: the Jennifer Mcdaniel: 'kay. Lessie Pinkney: final our final presentation. And we'll first look at the exterior of what we've uh come up with over there. Um Maria Thomas: 'Kay. Lessie Pinkney: It's Maria Thomas: You able Lessie Pinkney: have Maria Thomas: to look? Lessie Pinkney: a a plastic body Maria Thomas: Yep. Lessie Pinkney: um with a sort of standard colour, either we're thinking some something fairly neutral like a a white or a light blue or something. This is underneath the rubberised Jennifer Mcdaniel: Mm-hmm. Lessie Pinkney: the rubberised uh outer casing um which there'd be sort of a wide choice they would be attached, but we can we can come up with that. Jennifer Mcdaniel: Okay. Lessie Pinkney: Um the um wide choice of colours and sort of patterns, so you've got you've got a lot of customisation with it. Um it's obviously an a sort of clam-shell design and uh the um the top L_C_D_ screen that you can see that would b would be sort of um how do you say, Maria Thomas: The Lessie Pinkney: it's Maria Thomas: black and white touch screen Lessie Pinkney: yeah Maria Thomas: wherein Lessie Pinkney: yeah, it would Maria Thomas: people Lessie Pinkney: be sort Maria Thomas: can Lessie Pinkney: of inset into the into Jennifer Mcdaniel: Mm. Lessie Pinkney: the top Jennifer Mcdaniel: So Lessie Pinkney: and Jennifer Mcdaniel: it's Lessie Pinkney: the Jennifer Mcdaniel: flush. Lessie Pinkney: buttons at the bottom Maria Thomas: Right. Lessie Pinkney: would d so so it'll fully close flat. Jennifer Mcdaniel: Oh right, okay, Lessie Pinkney: Yeah, Jennifer Mcdaniel: yeah. Lessie Pinkney: yeah. And working on the inside we've um already said d decided on the kinetic batteries, which actually, thinking about it now, could y could also probably attach to the flipping open and shut as well, so that you could probably get Jennifer Mcdaniel: So Lessie Pinkney: a Jennifer Mcdaniel: put Lessie Pinkney: bit Jennifer Mcdaniel: it Lessie Pinkney: of Jennifer Mcdaniel: in the top section rather than the bottom sections, Lessie Pinkney: Yeah. Jennifer Mcdaniel: 'cause Maria Thomas: Mm-hmm. Jennifer Mcdaniel: it's the top Lessie Pinkney: Yeah. Jennifer Mcdaniel: part that's okay. Lessie Pinkney: Um we decided that um the voice recognition system, it did actually say on the email that they were sort of coming in and they were fairly easy to get a-hold of, so we presumed that they'd also be quite cheap. So you'd have something like where you'd shout out, where where is the remote and it'll shout back, I'm here, or something. And Nidia Harris: Or something. Lessie Pinkney: then yeah. It wo it won't shout out I'm here or something. It'll just shout out I'm here, Jennifer Mcdaniel: Okay. Maria Thomas: 'Kay. Lessie Pinkney: or something Jennifer Mcdaniel: I'm under Lessie Pinkney: to Jennifer Mcdaniel: the sofa. Lessie Pinkney: similar effect. Maria Thomas: Ah Jennifer Mcdaniel: Or, that would be too complicated. Maria Thomas: oka Lessie Pinkney: Uh yeah, if it was going like I d well tha that could be something for next time, maybe. You can have a remote that tells you exactly where it is. Um the standard, there's be a standard transmission with the T_V_ using using all the standard chips that we've talked about. Jennifer Mcdaniel: Infrared. Lessie Pinkney: Um it would it would have obviously 'cause it's split over two two different layers, it would need two separate P_C_B_s, so it would be joined at the hinge through some sort of cabling. And uh because, obviously, all T_V_s use this, the same infrared medium, we'd just be using using the same thing to transmit the data. And the infrared um sender would be on the on one of the bot the bottom layer, just at the front of the we haven't I don't think we actually Jennifer Mcdaniel: Like Lessie Pinkney: put it on. Jennifer Mcdaniel: here. Lessie Pinkney: Yeah, yeah, something like that. Jennifer Mcdaniel: Okay. Maria Thomas: Infrared could be Jennifer Mcdaniel: Actually, Maria Thomas: here Jennifer Mcdaniel: no, Maria Thomas: also. Jennifer Mcdaniel: it would be it would have to Lessie Pinkney: Yeah, Jennifer Mcdaniel: be on Lessie Pinkney: on Jennifer Mcdaniel: the Maria Thomas: Yeah, Lessie Pinkney: the front Maria Thomas: here. Lessie Pinkney: on the Jennifer Mcdaniel: on Lessie Pinkney: front Jennifer Mcdaniel: the front. Lessie Pinkney: side of that, yeah. Jennifer Mcdaniel: Oh right, yeah, okay, Maria Thomas: So when Jennifer Mcdaniel: yeah, Maria Thomas: it's Jennifer Mcdaniel: I've got Maria Thomas: even Jennifer Mcdaniel: you. Maria Thomas: if it's open here, the Jennifer Mcdaniel: It's Maria Thomas: signals Lessie Pinkney: So Jennifer Mcdaniel: still Lessie Pinkney: when Maria Thomas: would Jennifer Mcdaniel: pointing, Maria Thomas: go. Lessie Pinkney: you've actually got Jennifer Mcdaniel: yes. Lessie Pinkney: it open, it would be Maria Thomas: Yeah. Lessie Pinkney: facing the T_V_. Jennifer Mcdaniel: Yeah, that would make sense. Lessie Pinkney: And then finally um on to the interface. The top screen, as we said, is would be an inset um black and white L_C_D_ s touch screen which Maria Thomas: This one right here. Lessie Pinkney: yeah would uh have all of all of the the available functions for for the remote on it, uh whereas the bot the bottom screen would just contain the standard buttons, like the vo volume up and down, channel up and down, power on and off, Jennifer Mcdaniel: Okay. Lessie Pinkney: and uh things to that effect. And now we've we also decided on the inside, we could possibly either have um some some kind of sort of bezzled uh logo on it, or something inset, or maybe an engraving of the logo on the top. Maria Thomas: Which Jennifer Mcdaniel: But Maria Thomas: is Jennifer Mcdaniel: not interfering with Lessie Pinkney: No Jennifer Mcdaniel: the Lessie Pinkney: d Jennifer Mcdaniel: outside Lessie Pinkney: not Jennifer Mcdaniel: kind Maria Thomas: No. Lessie Pinkney: not Jennifer Mcdaniel: of Lessie Pinkney: actually. Jennifer Mcdaniel: look of the product Lessie Pinkney: No, Jennifer Mcdaniel: once Lessie Pinkney: not Jennifer Mcdaniel: it's Lessie Pinkney: uh interfering with l the whole look of Maria Thomas: Look up Lessie Pinkney: the Maria Thomas: to it. Lessie Pinkney: the Jennifer Mcdaniel: Okay. Lessie Pinkney: product when it's uh on the thing. And finally that's how we put the fashion back into electronics, as Jennifer Mcdaniel: Thank Lessie Pinkney: that Jennifer Mcdaniel: you Lessie Pinkney: is Jennifer Mcdaniel: very much. Lessie Pinkney: that's Maria Thomas: Yay. Lessie Pinkney: the company logo. Jennifer Mcdaniel: Wrapping it all up, Nidia Harris: Well done. Jennifer Mcdaniel: okay. Um I've now got evaluation criteria. Nidia Harris: Certainly. Maria Thomas: So this is the one. Sorry. Jennifer Mcdaniel: It's to be presented. Lessie Pinkney: There Nidia Harris: Logged in? Thank you. Lessie Pinkney: you go. Nidia Harris: Oops. Jennifer Mcdaniel: Okay. Maria Thomas: Evaluation. Maria Thomas: Mm um I I think this is chip. Jennifer Mcdaniel: It's quite similar to what it was before, though. Nidia Harris: Okay. Jennifer Mcdaniel: Sorry. Nidia Harris: This stage of the evaluation is really for us as a team to evaluate if we have now got a product specification and prototype design that meets the the criteria that we got from our market research. So this is the first stage of the evaluation. Now, the collection of the criteria, as we saw in our meeting, was based on the user requirements and trends found in the marketing reports and marketing strategy of our company. So it's what we've discussed in the last meeting, are we actually meeting those trends and requirements? Now the findings that we came up with, just a recap, are here. The criteria that we want in this remote control are a fancy look and feel, technological innovation, it should be easy to use, it should incorporate current fashion trends, and those the two main ones, they were the spongy texture Maria Thomas: Mm-hmm. Nidia Harris: and the fruit and vegetable strong design colours. The design should minimise R_S_I_ and be easy to locate and we were still um uh slightly ambivalent as to whether to use voice recognition there, though that did seem to be the favoured strategy, but there was also, on the sideline, the though of maybe having a beeper function. Okay, so we can come back to that slide, if you don't have a note of those. I'll just show you how we're going to evaluate our own feedback to this, to what we have so far. We're going to use a seven point scale, where one is true and seven is false. We look at each of those criteria that I've just mentioned, I'll call that slide back up, and I will just Lessie Pinkney: Yeah. Nidia Harris: do a preliminary rating of all those criteria on the whiteboard here. Maria Thomas: Mm-hmm. Nidia Harris: Does that seem clear? Any questions there? Maria Thomas: Ah, it's perfect. Nidia Harris: So we're going to look at these Maria Thomas: Is it Nidia Harris: crite Maria Thomas: everybody is going to evaluate, or just the Nidia Harris: Yes, Maria Thomas: Market okay. Nidia Harris: we're going to come to w we'll discuss each one Jennifer Mcdaniel: Mm-hmm. Nidia Harris: and we'll come to a consensus rating between one and seven. Jennifer Mcdaniel: Okay. Nidia Harris: Is that okay? Maria Thomas: 'Kay. Nidia Harris: One is true, seven is false. Right. So I won't write all of that out again. It will just be criteria one, two, three, four, five, six, or A_, B_, C_, D_, E_, F_ to confuse it with the number rating. B_, C_, D_, E_, F_. This is where I realise how tiny I actually am. Jennifer Mcdaniel: Just write small. Nidia Harris: Criteria and rating. Actually, it might be an idea, if we each did give our own individual rating, and we could take an average at the end. How about that? Jennifer Mcdaniel: Yeah. Maria Thomas: Yeah, Lessie Pinkney: Yeah, Maria Thomas: so Lessie Pinkney: okay. Maria Thomas: you Jennifer Mcdaniel: That Maria Thomas: can Nidia Harris: Okay. Jennifer Mcdaniel: works. Nidia Harris: So I'll just separate the ratings by obliques, and if we go one, two, three, four, we know who's who. Lessie Pinkney: Yeah. Jennifer Mcdaniel: Mm-hmm. Nidia Harris: Okay. Criteria A_, the fancy look and feel. How do we feel about this prototype model relating to fancy it is a fancy look and feel. One is true, seven is false. My own rating for that would be a two. One is true and seven is false. Jennifer Mcdaniel: I would agree. Lessie Pinkney: Yeah, Nidia Harris: I'll just Lessie Pinkney: I'd Nidia Harris: go Lessie Pinkney: uh Nidia Harris: this way. Jennifer Mcdaniel: Okay. Lessie Pinkney: yeah I'd Maria Thomas: 'Kay. Lessie Pinkney: probably put it uh two yeah, two Nidia Harris: Two. Lessie Pinkney: or three. No, three. Three. Nidia Harris: Okay. Jennifer Mcdaniel: I would say two. Nidia Harris: Two. Maria Thomas: I would say four. Nidia Harris: A four, okay. Maria Thomas: Mm-hmm. Nidia Harris: Adding those up, we've got a six and a five, eleven divided by four is what? Uh two and three quarters, Lessie Pinkney: Mm Nidia Harris: it that Lessie Pinkney: yeah. Maria Thomas: Almost Nidia Harris: right. Maria Thomas: three. Nidia Harris: Two and three quarters? Maria Thomas: I think yeah. Lessie Pinkney: Yeah, yeah. Nidia Harris: Okay. Two point seven five, there we go. Okay, criteria B_, criterion B_, technologically innovative. I would give that a three. Lessie Pinkney: I'd give it a one. Nidia Harris: Okay. Not that you're biased Lessie Pinkney: No, no, Nidia Harris: in Lessie Pinkney: not Nidia Harris: that Lessie Pinkney: at Nidia Harris: it Lessie Pinkney: all. Nidia Harris: the designer. Jennifer Mcdaniel: A two. Maria Thomas: Oh sorry, I I got it wrong. The first one rating, I'm sorry. Can you just make it two? Nidia Harris: The average Maria Thomas: The first. Nidia Harris: oh, Maria Thomas: Yeah, Nidia Harris: for you? Maria Thomas: I I just it Nidia Harris: You Maria Thomas: the Nidia Harris: want Maria Thomas: other Nidia Harris: your Maria Thomas: way. Nidia Harris: rating to be a two? Maria Thomas: Uh in Nidia Harris: Is that what you're saying? Maria Thomas: Yep, I just Nidia Harris: Okay. Maria Thomas: got Nidia Harris: So, I'll work out the average for that again at the end. It's a very slightly altered Okay, and we're just Maria Thomas: two Nidia Harris: waiting Maria Thomas: point f Nidia Harris: for your Jennifer Mcdaniel: It's Nidia Harris: rating Jennifer Mcdaniel: just two Nidia Harris: f Jennifer Mcdaniel: point five for that one. Nidia Harris: Two Lessie Pinkney: Yeah. Nidia Harris: point five, okay. Losing one decimal place, Maria Thomas: One is Nidia Harris: that's Maria Thomas: a, Nidia Harris: okay. Maria Thomas: seven is false, okay. Nidia Harris: So what are you rating for this one, Paw? Maria Thomas: Two. Nidia Harris: Two, okay. So that is eight. That brings it down to two, nice Lessie Pinkney: Two. Nidia Harris: and simple, yeah. Okay, ease of use. Easy to use? Based on what you've said there, I would say a one, true. Lessie Pinkney: Two. Nidia Harris: Two. Jennifer Mcdaniel: I would say a two. Nidia Harris: A two, okay. Jennifer Mcdaniel: I would say a two. Maria Thomas: Two. Nidia Harris: Two. I should've said a two to make the arithmetic easy, shouldn't I? We'll just put almost two, because Jennifer Mcdaniel: One Nidia Harris: I'm not Jennifer Mcdaniel: point Nidia Harris: gonna get Jennifer Mcdaniel: seven Nidia Harris: into silly decimal Jennifer Mcdaniel: f five. Nidia Harris: places. Lessie Pinkney: Yeah. Jennifer Mcdaniel: Okay, Nidia Harris: Okay. Jennifer Mcdaniel: mm-hmm. Nidia Harris: Or we or if we want to really bring it down, we can do later. Um Lessie Pinkney: D_. Nidia Harris: mm now we're looking at it incorporates current fashion trends, now that's particularly Lessie Pinkney: One. Nidia Harris: in relation to our market research findings about the spongy texture to the exterior and the fruit and vegetable design colours. Lessie Pinkney: Yeah. Nidia Harris: Right. So I'm just thinking, before I give it my rating, you were limited in the use of materials for your prototype here. Lessie Pinkney: Yeah, Nidia Harris: Is this Lessie Pinkney: that's Nidia Harris: actually going to be the colours that you Lessie Pinkney: No, Nidia Harris: would use? Lessie Pinkney: no, the the base colour was um Maria Thomas: White. With Lessie Pinkney: white Maria Thomas: for the plastic? Lessie Pinkney: or or Maria Thomas: Uh Lessie Pinkney: like Maria Thomas: blue. Lessie Pinkney: or l sort of a light blue, but Nidia Harris: Right. Lessie Pinkney: the changeable fa faces would uh allow you to get any basically Maria Thomas: Any Lessie Pinkney: any one of a number of colours that uh Nidia Harris: So Lessie Pinkney: th it's Nidia Harris: we could Lessie Pinkney: full Nidia Harris: use Lessie Pinkney: sort Nidia Harris: any Lessie Pinkney: of customised. Nidia Harris: strong fruit and veg colours and that's what Maria Thomas: Right. Nidia Harris: we're Lessie Pinkney: Yeah, Nidia Harris: intending to do. Jennifer Mcdaniel: Mm-hmm. Lessie Pinkney: yeah, Maria Thomas: Mm-hmm. Lessie Pinkney: yeah Nidia Harris: Okay. And the Lessie Pinkney: and Nidia Harris: spongy feel is no problem with that. Lessie Pinkney: No, Maria Thomas: Yeah, Lessie Pinkney: no, Maria Thomas: because Lessie Pinkney: 'cause Maria Thomas: you'll Lessie Pinkney: th Maria Thomas: be Lessie Pinkney: that's Maria Thomas: having a Lessie Pinkney: that's the the spongy feel would be Maria Thomas: Because Lessie Pinkney: in Maria Thomas: of the Lessie Pinkney: the Maria Thomas: rubber Lessie Pinkney: rubber Maria Thomas: case. Lessie Pinkney: that you put round it, that Nidia Harris: Okay. Lessie Pinkney: otherwise it's just sort of hard plastic. Nidia Harris: to be a one for Nidia Harris. Lessie Pinkney: Yeah, I'll give it a one as well. Nidia Harris: Yep. Everybody? Jennifer Mcdaniel: One. Nidia Harris: Okay. Maria Thomas: One. Nidia Harris: That part was nice and easy. Lessie Pinkney: Yeah. Maria Thomas: Mm. Nidia Harris: Okay. Uh moving on to does the design minimise repetitive strain injury. I Lessie Pinkney: Mm. Nidia Harris: don't think we've really touched on that Lessie Pinkney: No. Nidia Harris: a lot. We've we've discussed it, we haven't really come up with anything that we felt could feasibly reduce that. We've talked about pointers, but the very use of a remote control, if you're someone who's zapping, who's sitting Lessie Pinkney: Yeah. Nidia Harris: like that, and we found so many people did, how do you minimise that on such a small device? Jennifer Mcdaniel: Well the type of button that we're gonna use in the bottom half, the material, minimises Nidia Harris: Mm-hmm. Lessie Pinkney: to be. Jennifer Mcdaniel: R_S_I_ it's meant to. Nidia Harris: Mm-hmm. Jennifer Mcdaniel: Um maybe because it's slightl with the size that we've got it's quite small, but with the amount of stuff we're putting on it isn't that much. Nidia Harris: Mm. Jennifer Mcdaniel: So maybe because there's more space, it's not kind of moving around trying to Nidia Harris: Mm-hmm. Jennifer Mcdaniel: hit accurately the buttons in between. Nidia Harris: Right. Jennifer Mcdaniel: It's quite obvious just big buttons. Nidia Harris: Right. Jennifer Mcdaniel: Um Nidia Harris: I think I'm gonna have to be neutral on that and give it a four. Lessie Pinkney: Yeah. Yeah, I'd uh I'd f I'd go for a five, Nidia Harris: A Lessie Pinkney: actually, Nidia Harris: five, okay. Lessie Pinkney: 'cause Jennifer Mcdaniel: Four. Nidia Harris: Four and Maria Thomas: Four. Nidia Harris: a four okay. Twenty one is that twenty one? So that's four point two five. Lessie Pinkney: Yep. Nidia Harris: And finally, last but not least, easy to locate. Now we talked about voice recognition, we talked about a beeper, have we really have the Lessie Pinkney: Yeah. Nidia Harris: designers come to any Lessie Pinkney: Yeah, Nidia Harris: dec Lessie Pinkney: it was Nidia Harris: real decision Lessie Pinkney: it was Nidia Harris: on that? Lessie Pinkney: uh a Maria Thomas: Voice Lessie Pinkney: voice Maria Thomas: r recognition. Nidia Harris: It was the Lessie Pinkney: voice Nidia Harris: I'm here Lessie Pinkney: recognition, Nidia Harris: thing, yep. Lessie Pinkney: yeah. Nidia Harris: And are we happy with the costs on that? That is going to Lessie Pinkney: Yeah, Nidia Harris: be feasible, Lessie Pinkney: yeah, that Nidia Harris: cost-wise. Lessie Pinkney: yeah, that's feasible. Nidia Harris: That sounds good then. I'd go for a I ca we can adjust the volume on that, just as we could volume on T_V_. Lessie Pinkney: Um I think Nidia Harris: So if sombody's Lessie Pinkney: it would Nidia Harris: in the Lessie Pinkney: r Nidia Harris: other room or if T_V_s in different rooms, or. Lessie Pinkney: I think it would probably be a Jennifer Mcdaniel: A standard. Lessie Pinkney: a stand it would be a stand it would be quite loud. Jennifer Mcdaniel: It would Nidia Harris: Right. Jennifer Mcdaniel: be. Nidia Harris: Okay. Lessie Pinkney: So it would be Nidia Harris: You Lessie Pinkney: s Nidia Harris: built into Lessie Pinkney: p Jennifer Mcdaniel: And Nidia Harris: the Jennifer Mcdaniel: if Nidia Harris: feature. Jennifer Mcdaniel: you didn't Lessie Pinkney: yeah. Jennifer Mcdaniel: hear it in the room that you were standing in, then you'd realise that it wasn't in that room, Nidia Harris: Okay. Jennifer Mcdaniel: you'd go into another Lessie Pinkney: Yeah. Jennifer Mcdaniel: room. Nidia Harris: Logical. That's a one for Nidia Harris. Lessie Pinkney: Yeah, one. Nidia Harris: One Jennifer Mcdaniel: One. Nidia Harris: and one, good. Lessie Pinkney: I do realise that we might be being fairly biased, 'cause it is our product, but Nidia Harris: So, how do we feel about this? We've got our our we've got the highest rating of meeting the specifications that is definitely true for two of the uh six criteria there. That is for um incorporates current fashion trends and is easy to locate. The lowest rating we've got, which is really n it's not terribly low, i it's close around neutral is for uh the minimisation of repetitive strain injury. Do we feel on the basis of tha of these evaluation findings that we can go ahead and now produce this as a prototype and market it, or do we have to make further modifications? Jennifer Mcdaniel: I don't think so. Lessie Pinkney: W I thin yeah, Nidia Harris: We happy Lessie Pinkney: I Nidia Harris: to Lessie Pinkney: think Nidia Harris: go ahead? Jennifer Mcdaniel: I think we yeah. Lessie Pinkney: yeah. Jennifer Mcdaniel: I Nidia Harris: Yeah. Jennifer Mcdaniel: think we're set. Nidia Harris: I think for most of those ratings that it's high enough at the upper end of the scale for us to go ahead with that, and I really doubt if on the basis of current technology and our current capabilities, we could actually do much Jennifer Mcdaniel: Do Nidia Harris: more Jennifer Mcdaniel: much Nidia Harris: to minimise Jennifer Mcdaniel: apart from having Nidia Harris: that. Jennifer Mcdaniel: a Lessie Pinkney: Mm. Jennifer Mcdaniel: huge big Nidia Harris: I know. Okay. Well, I hope that's uh clear to the team. Is there anything you would like to to ask Nidia Harris about the findings before I sum up? Jennifer Mcdaniel: Don't think Lessie Pinkney: No. Jennifer Mcdaniel: so. Nidia Harris: Good. Fine then. I'll just leave it there. Oops. Jennifer Mcdaniel: Okay, thank you. Maria Thomas: Hmm. Jennifer Mcdaniel: Okay, I've got finance here now. I'm gonna plug this in so you can all see it, if that's okay. Um. Nidia Harris: Oh yes. Maria Thomas: You want Nidia Harris to b unplug that? Maria Thomas: That's all. Yes. Jennifer Mcdaniel: Thanks. Jennifer Mcdaniel: Right. Maria Thomas: Okay. Jennifer Mcdaniel: Now I presume that the screen will go blank, that um Okay. We just type numbers into this and we come out with the final value. So are we still on for kinetic? Lessie Pinkney: Yeah. Nidia Harris: Yes. Jennifer Mcdaniel: Okay. See, it woulda been handy to have this at the beginning. Um it might have influenced our choice. Right, what's happening with the electronics? Lessie Pinkney: It was a regular chip Maria Thomas: Chip Lessie Pinkney: on Maria Thomas: on print. Lessie Pinkney: print and Jennifer Mcdaniel: Double-curved. Lessie Pinkney: Oh, no, no, no, the um Yeah, it's you you've put in three for the number of kinetic cells, there should just be one. In the top, it's the number of c Jennifer Mcdaniel: Oh, Lessie Pinkney: yeah. Jennifer Mcdaniel: right, okay. Thanks. Lessie Pinkney: Yeah, and Jennifer Mcdaniel: So, would there be two? Lessie Pinkney: yeah, just a no, one reg v uh Jennifer Mcdaniel: One chip. Lessie Pinkney: Yeah, one of them and one sample sensor and sample speaker. Maria Thomas: Okay. Jennifer Mcdaniel: Okay. Maria Thomas: Yep. Lessie Pinkney: And they're double curved. No. Y Maria Thomas: Single-curved. Jennifer Mcdaniel: One double curve. Lessie Pinkney: Two, 'cause it's Maria Thomas: Two Lessie Pinkney: two. Maria Thomas: curves, yeah. Nidia Harris: But it has a slightly flattened bottom so it can sit. So it Jennifer Mcdaniel: So Nidia Harris: can Jennifer Mcdaniel: what's Nidia Harris: rest. Jennifer Mcdaniel: a single curve then? Lessie Pinkney: Yeah, I'd say I'd say Nidia Harris: It Lessie Pinkney: it Nidia Harris: would Lessie Pinkney: was Nidia Harris: just Lessie Pinkney: w Nidia Harris: be a flat bottom Lessie Pinkney: yeah, Nidia Harris: with Lessie Pinkney: I Nidia Harris: one Lessie Pinkney: think Nidia Harris: curve. like Lessie Pinkney: I Nidia Harris: a domed Lessie Pinkney: think Nidia Harris: thing. Lessie Pinkney: it's Jennifer Mcdaniel: So Maria Thomas: Single-cu. Jennifer Mcdaniel: just one double Nidia Harris: Mm. Lessie Pinkney: One double-curved. Jennifer Mcdaniel: Yeah. Lessie Pinkney: And Jennifer Mcdaniel: Um Lessie Pinkney: one no, Maria Thomas: Plastic Lessie Pinkney: 'cause one Maria Thomas: and rubber. Lessie Pinkney: yeah, one's double-curved, and then Nidia Harris: The other Lessie Pinkney: the Nidia Harris: curves Lessie Pinkney: other one's Nidia Harris: at the sides, but it's slightly flattened at the bottom so it doesn't roll over. Jennifer Mcdaniel: Mm. Nidia Harris: Yeah. Jennifer Mcdaniel: Um Lessie Pinkney: a plastic. Jennifer Mcdaniel: we've got plastic and rubber, haven't we? Lessie Pinkney: Yeah. Maria Thomas: Yeah. Plastic one and Lessie Pinkney: And Maria Thomas: maybe Lessie Pinkney: special Maria Thomas: rubber point Lessie Pinkney: colour. Maria Thomas: five. No I think Jennifer Mcdaniel: Um Maria Thomas: rubber, since it's being used just as a casing, we can put point five. Lessie Pinkney: Yeah. Jennifer Mcdaniel: Do you think? Maria Thomas: Yeah, I think it allows the point five, yeah. We can use that. Lessie Pinkney: Yeah. Jennifer Mcdaniel: Okay. Nidia Harris: What does it mean if you put point five for that? Maria Thomas: It means we are not using a lot of rubber actually. We're using Jennifer Mcdaniel: It would Maria Thomas: just Jennifer Mcdaniel: be like saying we're using Maria Thomas: a very low quantity of rubber compared to plastic. Jennifer Mcdaniel: See, it says case material. Nidia Harris: Mm-hmm. Jennifer Mcdaniel: So we're not actually using plastic in the case, Lessie Pinkney: No, Jennifer Mcdaniel: are we? Lessie Pinkney: no, that's it's as Jennifer Mcdaniel: It's Lessie Pinkney: an Jennifer Mcdaniel: including, Lessie Pinkney: extra. Jennifer Mcdaniel: it's including. Nidia Harris: Right, okay. Lessie Pinkney: So that shouldn't that shouldn't be actually on there, because that's not incorporated in the cost of the remote you get. Nidia Harris: But it is gonna be part of the total cost, and there's nowhere else we can we can put that in, is there? There's nowhere else we can code for the the rubber used in the casing. So do we not have to account for it in the cost somewhere there? Jennifer Mcdaniel: Okay, we'll just put it in as we'll put in as half. Nidia Harris: Okay. Jennifer Mcdaniel: Or sh we should just put it in as one, because the plastic is zero anyway. Lessie Pinkney: Yeah, Nidia Harris: Mm. Lessie Pinkney: okay. Jennifer Mcdaniel: No, we don't step on anyone's toes. Okay, special colour, do we need that? Nidia Harris: Might do, if we go for some of the more exotic Jennifer Mcdaniel: N yeah, Nidia Harris: aubergines Jennifer Mcdaniel: okay. Nidia Harris: and such like colours. Jennifer Mcdaniel: Interface. Maria Thomas: Push-button. Lessie Pinkney: Yeah, the push-button's Maria Thomas: One. Lessie Pinkney: one and L_C_ Maria Thomas: An Lessie Pinkney: display one. Maria Thomas: One. Lessie Pinkney: And buttons Jennifer Mcdaniel: Buttons Nidia Harris: S Maria Thomas: I think we could change the battery also. Instead of going for kinetic how about going for a standard battery. Nidia Harris: Has that not made any d if you click off that square now, has that not made any difference? Lessie Pinkney: Well Nidia Harris: Is it Jennifer Mcdaniel: Has Nidia Harris: oh, Lessie Pinkney: yes. Nidia Harris: it's Jennifer Mcdaniel: that Nidia Harris: brought Jennifer Mcdaniel: not Nidia Harris: it Jennifer Mcdaniel: gone Nidia Harris: slightly Jennifer Mcdaniel: up? Oh no, Nidia Harris: down. Jennifer Mcdaniel: it was seven five it's changed not Nidia Harris: So Jennifer Mcdaniel: a Nidia Harris: is Jennifer Mcdaniel: lot. Nidia Harris: is uncurved completely and just actually making the rubber case the curved thing, is Lessie Pinkney: Yeah. Nidia Harris: that going to make a difference? Maria Thomas: Uncurved, flat. Nidia Harris: Oh, it's not made any difference, has it?. Lessie Pinkney: No, Nidia Harris: It's Maria Thomas: No, Lessie Pinkney: we'll Nidia Harris: gone up Lessie Pinkney: have Nidia Harris: again. Maria Thomas: it just Jennifer Mcdaniel: Oh, it's Maria Thomas: surprises Jennifer Mcdaniel: not calculated Maria Thomas: one. Lessie Pinkney: No, no, Jennifer Mcdaniel: it. Lessie Pinkney: you've got Nidia Harris: Oh. Lessie Pinkney: to click off to calculate it again. Jennifer Mcdaniel: Okay, there we go. Nidia Harris: It's brought it down slightly. Lessie Pinkney: C Jennifer Mcdaniel: It's Lessie Pinkney: it Jennifer Mcdaniel: not Lessie Pinkney: might Jennifer Mcdaniel: a lot though. Lessie Pinkney: uh you might you might be assuming that that is in Euros. It could be in Dollars. And then it would be fine, because the exchange range would make it about twelve. Nidia Harris: Is Jennifer Mcdaniel: We Nidia Harris: there Jennifer Mcdaniel: haven't Nidia Harris: anything on Maria Thomas: I Jennifer Mcdaniel: been Maria Thomas: don't Nidia Harris: the menu Jennifer Mcdaniel: dealin Maria Thomas: think so. Jennifer Mcdaniel: we haven't been dealing with dollars Nidia Harris: No. Jennifer Mcdaniel: though, I think Lessie Pinkney: No. Maria Thomas: Ri I think it's in Euro. Jennifer Mcdaniel: Okay, so the highest we've got is the electronics here. Um Nidia Harris: If we Jennifer Mcdaniel: and Nidia Harris: tr Jennifer Mcdaniel: the Nidia Harris: um. Jennifer Mcdaniel: interface. Nidia Harris: If we moved away from our much loved idea of a kinetic battery and just Maria Thomas: And Nidia Harris: went Maria Thomas: going Nidia Harris: with the Maria Thomas: to Nidia Harris: standard Maria Thomas: a regular bat Nidia Harris: batteries, would that make a huge difference? Lessie Pinkney: Yeah, the Maria Thomas: Yeah. Lessie Pinkney: standard, it um it would make one difference. The biggest one would be taking away if you took away Maria Thomas: What I feel is, customers never said Lessie Pinkney: If you Maria Thomas: anything Lessie Pinkney: to Maria Thomas: about the battery. It's internal, nobody looks into the battery. Lessie Pinkney: Yeah. Maria Thomas: But shape and colours, Nidia Harris: And people are Maria Thomas: that's Nidia Harris: used Maria Thomas: something Lessie Pinkney: If Nidia Harris: to buying Maria Thomas: we Lessie Pinkney: if Maria Thomas: shouldn't Nidia Harris: batteries, Lessie Pinkney: you take Maria Thomas: comprimi Nidia Harris: they're not Lessie Pinkney: away Nidia Harris: gonna Lessie Pinkney: the Nidia Harris: say Lessie Pinkney: voice, Nidia Harris: I'm not getting Lessie Pinkney: I Nidia Harris: this, 'cause Lessie Pinkney: I Nidia Harris: I've got Lessie Pinkney: do Nidia Harris: to Lessie Pinkney: I Nidia Harris: buy Lessie Pinkney: don't Nidia Harris: a Lessie Pinkney: like Nidia Harris: battery Lessie Pinkney: to say Nidia Harris: for a Lessie Pinkney: it, Nidia Harris: remote Lessie Pinkney: but if you Nidia Harris: control. Lessie Pinkney: take away the voice recognition, then you've got it. Maria Thomas: Where's that special form? Mm mm Nidia Harris: Should Maria Thomas: mm. Nidia Harris: we see what difference it makes? Jennifer Mcdaniel: Where's the Lessie Pinkney: Yeah i yeah. No Jennifer Mcdaniel: where's Lessie Pinkney: 'cause Nidia Harris: Um Jennifer Mcdaniel: the voice recognition? Lessie Pinkney: it's samples sens sample speaker. Jennifer Mcdaniel: Right, Lessie Pinkney: If you Jennifer Mcdaniel: okay. Lessie Pinkney: took away that, that'll make it twelve point three five. Jennifer Mcdaniel: Well the kinetic is three. If we change it to the battery it's that's Lessie Pinkney: They Jennifer Mcdaniel: minus three. Lessie Pinkney: n n yeah, but you p minus three plus two. Jennifer Mcdaniel: Oh, right. I keep seeing zero. Jennifer Mcdaniel: it some other way, we can do it doesn't have to be voice recognition. We could do the voice recognition for, you know, business class or something, you Nidia Harris: Yeah. Jennifer Mcdaniel: know, like an upgraded version. Lessie Pinkney: Yeah. Nidia Harris: Sure. Maria Thomas: Mm-hmm. Jennifer Mcdaniel: You could choose to have that Lessie Pinkney: But they Jennifer Mcdaniel: or not. Lessie Pinkney: but I mean in I don't see why we have to sell it for twenty five Euros now, because they w they were saying they were quite willing to pay more for better product. Nidia Harris: But we're still working to Jennifer Mcdaniel: So Nidia Harris: um Jennifer Mcdaniel: should we just change the Nidia Harris: head Jennifer Mcdaniel: design Nidia Harris: o Jennifer Mcdaniel: specification then? Nidia Harris: We can put in our recommendations. Maria Thomas: Make it Nidia Harris: If Maria Thomas: costly. Nidia Harris: we if we're Jennifer Mcdaniel: Yes. Nidia Harris: working to head office specifications as this is what this project team's working for, we can Lessie Pinkney: Yeah. Nidia Harris: put in our recommendations for what we've we've found and what we the consensus that we've come to as a result Jennifer Mcdaniel: Mm-hmm. Nidia Harris: of Lessie Pinkney: We Nidia Harris: the meetings. Lessie Pinkney: c we could Nidia Harris: But we Lessie Pinkney: s Nidia Harris: need to work to that specification to start with. Lessie Pinkney: Yeah, Jennifer Mcdaniel: Mm-hmm. Nidia Harris: And Lessie Pinkney: we Nidia Harris: I Lessie Pinkney: could say Nidia Harris: think the voice recognition sounds wonderful, but our object is so distinctive that that in itself is gonna make it easier to locate as a f you know in a first instance. Um as you say, we can offer the voice recognition initially to business class customers and so Jennifer Mcdaniel: Okay, we can Lessie Pinkney: Yeah, I Jennifer Mcdaniel: make Lessie Pinkney: s Jennifer Mcdaniel: the price fit, and then say if Lessie Pinkney: And Jennifer Mcdaniel: we'd Lessie Pinkney: then say Jennifer Mcdaniel: had Lessie Pinkney: we Jennifer Mcdaniel: our Lessie Pinkney: recommend Jennifer Mcdaniel: budget, we Nidia Harris: Mm. Jennifer Mcdaniel: would've had this, Lessie Pinkney: Yeah. Nidia Harris: Yeah. Jennifer Mcdaniel: because it also sets it apart from Nidia Harris: 'Cause Jennifer Mcdaniel: the crowd. Nidia Harris: we've done all the background work Jennifer Mcdaniel: They like Nidia Harris: to go Jennifer Mcdaniel: their Nidia Harris: for Jennifer Mcdaniel: gadgets, Nidia Harris: that if they want Jennifer Mcdaniel: they like Nidia Harris: it. Jennifer Mcdaniel: something that's completely different. Lessie Pinkney: Yeah. Jennifer Mcdaniel: It's Nidia Harris: Yeah. Jennifer Mcdaniel: s something completely different associated with your company. Right, okay, so Nidia Harris: So if we take voice recognition out Lessie Pinkney: That'll do it. Twelve point three Maria Thomas: Yeah Lessie Pinkney: five. Maria Thomas: we are close Nidia Harris: we are. Maria Thomas: to the budget. Lessie Pinkney: Is it twelve point fif Maria Thomas: Two Jennifer Mcdaniel: It's Maria Thomas: five. Lessie Pinkney: was it twelve Jennifer Mcdaniel: two Lessie Pinkney: point Jennifer Mcdaniel: point Lessie Pinkney: fifty? Jennifer Mcdaniel: five. No, it's twelve point two five. Nidia Harris: Are you sure? Sorry, not meaning to doubt your words Jennifer Mcdaniel: Yeah well two, Nidia Harris: there. Jennifer Mcdaniel: twelve point two five times two is Nidia Harris: Right. Jennifer Mcdaniel: twenty five, Nidia Harris: Are they Jennifer Mcdaniel: isn't Nidia Harris: really Maria Thomas: It's Jennifer Mcdaniel: it? Nidia Harris: going Maria Thomas: twelve Nidia Harris: to quibble Maria Thomas: point five Nidia Harris: about Maria Thomas: maybe, Nidia Harris: ten Maria Thomas: then. Nidia Harris: P_? Or point zero one of a Euro? Which is less than ten P_. Maria Thomas: I don't know what it said fifty percent of the cost. So Jennifer Mcdaniel: I think Maria Thomas: half of Jennifer Mcdaniel: the agenda Maria Thomas: the price would Jennifer Mcdaniel: one Maria Thomas: be Jennifer Mcdaniel: was where the um price was, wasn't it? No. Maria Thomas: I think it is the first one. Nidia Harris: That's today's kick off meeting, Jennifer Mcdaniel: Twelve point five. Nidia Harris: Mm. Lessie Pinkney: Ah. Maria Thomas: So we Nidia Harris: I Maria Thomas: are under Nidia Harris: thought Maria Thomas: the Nidia Harris: that's Maria Thomas: budget. Nidia Harris: what it was. Jennifer Mcdaniel: Well done, people. Nidia Harris: So we're okay. Lessie Pinkney: Okay. Jennifer Mcdaniel: So is that uh got us covered for the electronics then? We don't need Lessie Pinkney: Yeah. Jennifer Mcdaniel: something else to take that place? Lessie Pinkney: No. Jennifer Mcdaniel: Okay. Lessie Pinkney: 'Cause that that was just a bought-on extra, you could just take that out and that would be fine, Jennifer Mcdaniel: Okay. Lessie Pinkney: yeah. Maria Thomas: Seems fine. Lessie Pinkney: Yeah, I think that's brilliant. Maria Thomas: Except voice recognition, everything is Jennifer Mcdaniel: Right, so we've done that. Okay. Product evaluation. We've done room for creativity, haven't we? Lessie Pinkney: Yeah. Jennifer Mcdaniel: Because Maria Thomas: Yeah. Jennifer Mcdaniel: we've got decisions that we would have made that we weren't didn't feel able to make. Um I presume we discussed leadership and teamwork. Maria Thomas: Mm-hmm. Lessie Pinkney: Yes. Maria Thomas: Yeah. Jennifer Mcdaniel: um in the sense that um did you feel like a team? Or did you feel like uh Lessie Pinkney: Yeah, I'd say, as a team. Nidia Harris: Although we had our separate Maria Thomas: I think Jennifer Mcdaniel: autonomy? Maria Thomas: we Nidia Harris: tasks, Maria Thomas: had a nice time. Nidia Harris: there was Lessie Pinkney: Yeah. Nidia Harris: so much interaction, so much that we needed to um Lessie Pinkney: Find out Nidia Harris: bounce Lessie Pinkney: from Nidia Harris: off Lessie Pinkney: each other, Nidia Harris: each Lessie Pinkney: yeah. Nidia Harris: other. And I've certainly felt heard, listened to in that in relevant areas we've been able to, you know, give and take and adjust our remit Lessie Pinkney: Yeah. Jennifer Mcdaniel: Mm-hmm. Nidia Harris: where necessary. Maria Thomas: Yeah, I think there was uh very constructive feedback by everybody. It's not like people trying to cut each other. There is more of uh true cohesive teamwork. We came to a very predic creative design, yeah. Yeah, and uh Yeah, I think. And Sarah, you coordinated the work very well. Jennifer Mcdaniel: Thank you. How did you find it? Lessie Pinkney: Yeah, no, I thought it it went really well and I yeah, I I feel that everyone was listened to and all the points that were raised seem to have been sorted out, although we didn't quite make the voice recognition in there, but that's that's good. Jennifer Mcdaniel: Yeah. Lessie Pinkney: I think it would have made it into the final product if it was actually if if if we'd seen the marketing before the initial specification was put out, I think maybe it would've come out a d little different, but Jennifer Mcdaniel: Yeah. Lessie Pinkney: yeah. Jennifer Mcdaniel: I liked the fact that we could say an idea and it'd be suggested that that wasn't the best idea, but no one felt like shot down, Lessie Pinkney: Yeah. Maria Thomas: Yeah. Jennifer Mcdaniel: you know, y it didn't matter it saying what you thought, because if it wasn't something that was that relevant, then it didn't matter, 'cause it was just another idea in the field. Lessie Pinkney: Mm. Jennifer Mcdaniel: I like that. Nidia Harris: Yeah. Jennifer Mcdaniel: Um teamwork. Well you two created that wonderful specimen of a Play-Doh model. Lessie Pinkney: Yeah, well. Maria Thomas: I Jennifer Mcdaniel: Um Maria Thomas: think that was the best part of the Jennifer Mcdaniel: uh I'm still not caught up. But that's nothing to do with the teamwork at all. Um Nidia Harris: Maybe we should think of branching out into children's toys and Jennifer Mcdaniel: Maybe. Nidia Harris: fake mobile phones as a side line. And fake Maria Thomas: 'Kay. Nidia Harris: R_C_s. Jennifer Mcdaniel: No, that was quite fun. Um means, whiteboard, digital pens, etcetera, what does that mean? Any Nidia Harris: How do Jennifer Mcdaniel: ideas? Nidia Harris: we evaluate Lessie Pinkney: Discuss Nidia Harris: the materials Lessie Pinkney: which ones Nidia Harris: we had for communicating Lessie Pinkney: yeah. Nidia Harris: and sharing information? Lessie Pinkney: Yeah. Nidia Harris: Could it've been better, was it adequate? Lessie Pinkney: Yeah, I think I think we probably woulda used the outer email system more, had we actually Jennifer Mcdaniel: Had time to kind of Nidia Harris: Mm. Lessie Pinkney: had had more time and if we'd been separated more. Jennifer Mcdaniel: Yeah, 'cause we could just sort of say, Lessie Pinkney: Yeah. Jennifer Mcdaniel: sorry what did you say about that or what do you think about that, Lessie Pinkney: Yeah. Jennifer Mcdaniel: rather than having to email it, yeah. Lessie Pinkney: Yeah. Nidia Harris: Yeah. Jennifer Mcdaniel: But it was nice having it there. Um like the whole picture of the thing. Maria Thomas: Yeah, moving around the room. Nidia Harris: Yeah. Maria Thomas: But I think it's good, like uh we spent times individually. Maria Thomas: I never thought of a remote control with a flip top. Jennifer Mcdaniel: Yeah, I think it's new Nidia Harris: It's Jennifer Mcdaniel: ideas Nidia Harris: really borrowing Jennifer Mcdaniel: in general, Nidia Harris: from Jennifer Mcdaniel: rather Nidia Harris: other areas, Lessie Pinkney: Yeah. Jennifer Mcdaniel: than Nidia Harris: it's, you know, bringing things from other areas in, it so it's I mean nothing is new, Jennifer Mcdaniel: Mm. Nidia Harris: but it's applying it to a d in a different area. Lessie Pinkney: Vegetables. Maria Thomas: That's mine. Lessie Pinkney: Yeah. Jennifer Mcdaniel: Yeah, no. Maria Thomas: Yeah, it's Jennifer Mcdaniel: Well they have to come from somewhere, don't Nidia Harris: Absolutely, Jennifer Mcdaniel: they? Nidia Harris: yeah. Maria Thomas: The thing Jennifer Mcdaniel: And Maria Thomas: is Jennifer Mcdaniel: as sh as w sorry, you Maria Thomas: Yep, sorry, go on Sarah. Jennifer Mcdaniel: go. Um as was shown by your presentation with all of the other controls, remote controls, no one's thought about it Lessie Pinkney: No. Jennifer Mcdaniel: particularly. Nidia Harris: Mm-hmm. Jennifer Mcdaniel: I mean they're slightly different, so if someone's been shut in the room and said make ours a bit different from everyone else's, 'cause it's Nidia Harris: Mm-hmm. Jennifer Mcdaniel: w something we should think about, but obviously no one's put any Lessie Pinkney: Yeah, Jennifer Mcdaniel: great Lessie Pinkney: I Jennifer Mcdaniel: deal Lessie Pinkney: do Jennifer Mcdaniel: of thought into it. Lessie Pinkney: I don't think the the companies are really concerned. They're just like we've got a D_V_D_ player, does anyone remember the remote control? Can't you get the one that we used for the last one? Yeah, Nidia Harris: Yeah. Lessie Pinkney: just jazz it up a bit. Jennifer Mcdaniel: Mm. Lessie Pinkney: Uh Nidia Harris: Yeah. Lessie Pinkney: d they don't really think about it, because normally, the remote control isn't the product which they're trying to ship. They're trying to ship Nidia Harris: Yeah, Lessie Pinkney: the D_V_D_ Nidia Harris: the focus Lessie Pinkney: player, Nidia Harris: isn't on Lessie Pinkney: the video Nidia Harris: to that, Lessie Pinkney: player, Nidia Harris: yeah. Jennifer Mcdaniel: But then when Lessie Pinkney: the T_V_. Jennifer Mcdaniel: it everything is really smart, Lessie Pinkney: Yeah. Jennifer Mcdaniel: and you've just got this big chunk of black Lessie Pinkney: Yeah. Jennifer Mcdaniel: thing sitting on your coffee table, it doesn't go, I Lessie Pinkney: No. Jennifer Mcdaniel: mean if you could have something that's a proper funky Lessie Pinkney: Yeah. Jennifer Mcdaniel: thing, a funky item that's individual, individual to you, I mean they could even go into um you go in with an idea and they design it on Photoshop and then they just get it printed on the plastic, Lessie Pinkney: Yeah. Jennifer Mcdaniel: you would pray you would pay a lot extra, because it's individually being a plastic was being made for you. Lessie Pinkney: Yeah. Jennifer Mcdaniel: But people could have anything that they wanted. Lessie Pinkney: Mm. Maria Thomas: Surprising Jennifer Mcdaniel: Because of the Maria Thomas: to Jennifer Mcdaniel: produ Maria Thomas: Nidia Harris is like uh people give a lot of attention to modifying mobile phones, Jennifer Mcdaniel: Mm. Maria Thomas: like a real want to see a new launch or something like that. Lessie Pinkney: Yeah. Maria Thomas: And new f television products coming up, but nobody giving uh much idea to this. Nidia Harris: I think Maria Thomas: Like Sarah Nidia Harris: it's Maria Thomas: was telling, Nidia Harris: really Maria Thomas: everything's Nidia Harris: good that this has been very market research based, Maria Thomas: Right. Nidia Harris: because just going back to mobile phones, I mean this is the first change in remote control devices that I can really, you know, say is is obvious and visible. We see it in mobile phones a lot, and tha that's where we've borrowed a lot of our ide our ideas from. There are innovations in that that people don't really want. Jennifer Mcdaniel: Yes. Lessie Pinkney: Yeah. Nidia Harris: I see people wanting a model of the phone they were really happy with, and they can't get it anymore Jennifer Mcdaniel: Yeah. Nidia Harris: and it's innovation for innovation's sake, and I think it's wonderful our company's so R_ and D_ based. Jennifer Mcdaniel: Well, it's Maria Thomas: Mm-hmm. Jennifer Mcdaniel: innovation for money's sake. The Nidia Harris: Yeah. Jennifer Mcdaniel: the people have to keep Nidia Harris: But Jennifer Mcdaniel: buying. Nidia Harris: forcing it onto people, Jennifer Mcdaniel: Yeah. Nidia Harris: yeah. It's things that, you know, they might want to buy the thing they Jennifer Mcdaniel: And Nidia Harris: really Jennifer Mcdaniel: you Nidia Harris: want. Jennifer Mcdaniel: can't get you've got your handset that works fine, but you can't get the battery anymore Nidia Harris: Mm. Jennifer Mcdaniel: for that type of phone, Nidia Harris: Mm. Jennifer Mcdaniel: because the phones have moved on, things like Nidia Harris: Or Jennifer Mcdaniel: that. Nidia Harris: there isn't a cover to fit it or Jennifer Mcdaniel: Yes. Nidia Harris: whatever, yeah. Jennifer Mcdaniel: It's madness. Um Nidia Harris: See I think Jennifer Mcdaniel: In closing There we go. Um our costs are below budget with recommendations that they the budget be increased, but I think I don't know, d what do you think? Do you think that's takes into account um overheads like us being well paid kind of a thing? And the heating Lessie Pinkney: Well. Jennifer Mcdaniel: for the building, do you think our budget includes everything, all the costs that are going out? Nidia Harris: I think it was just the produc uh just Lessie Pinkney: I Nidia Harris: the Lessie Pinkney: think Nidia Harris: production Lessie Pinkney: that was just Nidia Harris: cost Lessie Pinkney: the Nidia Harris: of the phone. Lessie Pinkney: the physical. Jennifer Mcdaniel: So it looks well it looks like it's gonna be fifty percent profit, you've Lessie Pinkney: Yeah. Jennifer Mcdaniel: still got Nidia Harris: Mm-hmm. Jennifer Mcdaniel: all of the overheads to come out of that. So Lessie Pinkney: Yeah. Jennifer Mcdaniel: maybe increasing it, you would also have to increase the price that it's sold at. Maria Thomas: Maybe Lessie Pinkney: Yeah, Maria Thomas: fifty Lessie Pinkney: I Maria Thomas: percent Jennifer Mcdaniel: But Lessie Pinkney: think Jennifer Mcdaniel: I Maria Thomas: more. Jennifer Mcdaniel: think but you were saying that that's quite Lessie Pinkney: yeah Nidia Harris: But Lessie Pinkney: I Nidia Harris: I Lessie Pinkney: don't Nidia Harris: think in the remit Lessie Pinkney: from Nidia Harris: that Lessie Pinkney: the market Nidia Harris: we were given, Lessie Pinkney: research. Nidia Harris: it was very specific. I think we've done what we were required to do, Jennifer Mcdaniel: Hmm. Nidia Harris: and I think there'll have to be another project team or a new project for us to look at at those kind of things. I don't think that's something we have to look at Jennifer Mcdaniel: Yeah. Nidia Harris: and Lessie Pinkney: No. Nidia Harris: find a way of raising the cash for. Lessie Pinkney: Yeah, it Nidia Harris: I Lessie Pinkney: was Nidia Harris: think we've done very well to get within budget and Jennifer Mcdaniel: Mm. Nidia Harris: it still makes such an innovative item Jennifer Mcdaniel: Yeah. Nidia Harris: that I think people are really gonna want. Maria Thomas: Yeah. Jennifer Mcdaniel: It's a shame it won't ever get made. Nidia Harris: I know. Jennifer Mcdaniel: Maybe Nidia Harris: Maybe Maria Thomas: Who Jennifer Mcdaniel: it Nidia Harris: it Maria Thomas: knows? Nidia Harris: will. Jennifer Mcdaniel: will. Nidia Harris: Maybe they are gonna steal Jennifer Mcdaniel: Maybe Nidia Harris: our ideas Jennifer Mcdaniel: someone'll Lessie Pinkney: I Nidia Harris: and Lessie Pinkney: it's Nidia Harris: sell Jennifer Mcdaniel: r Nidia Harris: it. Jennifer Mcdaniel: run Lessie Pinkney: top secret. Jennifer Mcdaniel: down and patent it. Lessie Pinkney: Um it's it is it's a conspiracy going on here. Jennifer Mcdaniel: Um Lessie Pinkney: That's what it is. Jennifer Mcdaniel: the project has been evaluated well and truly. Maria Thomas: Yeah. Nidia Harris: Mm-hmm. Jennifer Mcdaniel: Um and we've got the meeting survey and questionnaire. Maria Thomas: There's a final questionnaire. Jennifer Mcdaniel: Oh, so we've got about fifty minutes to catch up with everything that I fell behind with, so I'll be delegating in my um Lessie Pinkney: In Jennifer Mcdaniel: role Lessie Pinkney: your Jennifer Mcdaniel: as Lessie Pinkney: yeah. Jennifer Mcdaniel: Project Supervisor, so good luck. Maria Thomas: Celebration, you didn't talk about that. Jennifer Mcdaniel: I think the celebration is the twenty five pounds. Either that or we'll be dancing on the desks. Oh. Nidia Harris: Questionnaire. Lessie Pinkney: Okay. Is that it then? Jennifer Mcdaniel: Um yeah, just the last, I think. Lessie Pinkney: Awesome. Jennifer Mcdaniel: I think I've got minutes for two of the meeting and the last thingy. Nidia Harris: Questionnaire done. Oh, I didn't have to rate you on how much you influenced the meeting this time. Lessie Pinkney: Was that not the questionnaire for the how you felt you'd done in your thing? Nidia Harris: Oh, right. But Lessie Pinkney: I Nidia Harris: do we not Lessie Pinkney: don't Nidia Harris: sometimes Lessie Pinkney: think. Nidia Harris: evaluate in these meetings Lessie Pinkney: Yeah, the Nidia Harris: too? Yeah. Lessie Pinkney: the s yeah. I think yeah, questionnaire seven was the one I did just before the meeting. Maria Thomas: Yeah. Lessie Pinkney: Mm. Jennifer Mcdaniel: I just got con

Jennifer Mcdaniel went over decisions from the previous meeting. Lessie Pinkney presented the prototype and discussed its look, its internal components, and its interface. Nidia Harris evaluated the product according to the initial product goals. The group then decided that enough of this criteria had been satisfied for the project to continue. Jennifer Mcdaniel presented the final cost of the device which exceeded the initial projected price point. The group decided to remove speech recognition but to propose to the management that it remain in the design. The group then discussed their effectiveness as a team. All members felt that they interacted well and that they felt they could be creative. Nidia Harris felt that the market-research based approach would help the project's success with consumers. The group did express, however, that the budget was overly constraining. Jennifer Mcdaniel instructed the group to fill out a final evaluation questionnaire.

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Eunice Albert: Uh, making Mandy Phillips: Alright so Eunice Albert: a Mandy Phillips: twenty Eunice Albert: profit Mandy Phillips: five. Eunice Albert: of fifty million Eleanor Hull: Mm 'kay. Eunice Albert: So, it's Mandy Phillips: So yeah, Eunice Albert: go Mandy Phillips: I've Eunice Albert: gonna have to be be pretty damn Mandy Phillips: The only Eunice Albert: trendy. Mandy Phillips: the only remote controls I've used usually come with the television, and Eunice Albert: Yeah. Mandy Phillips: they're Eleanor Hull: Mm-hmm. Mandy Phillips: fairly Eunice Albert: Yeah. Mandy Phillips: basic. So uh Eunice Albert: Yeah, I was thinking that as well, I think the the only ones that I've seen that you buy are the sort of one for all type things Eleanor Hull: Yeah Eunice Albert: where Eleanor Hull: the universal Eunice Albert: they're, Eleanor Hull: ones Eunice Albert: yeah. Mandy Phillips: Mm. Eleanor Hull: Yeah. Eunice Albert: So presumably that might be an idea to Mandy Phillips: But but Eunice Albert: put Mandy Phillips: to Eunice Albert: into. Mandy Phillips: sell it Robin Smith: Slim. Mandy Phillips: for twenty five you need a lot of neat features. For Eleanor Hull: Yeah. Eunice Albert: Yeah, Mandy Phillips: sure. Eunice Albert: yeah. Eleanor Hull: Mm-hmm, Eunice Albert: And that's Eleanor Hull: it's Eunice Albert: quite Eleanor Hull: about Eunice Albert: a Eleanor Hull: that. Eunice Albert: lot for a remote control. Mandy Phillips: Yeah, Eleanor Hull: Mm. Mandy Phillips: yeah. Eleanor Hull: Um well my first thoughts would be most remote controls are grey or black. As you said they come with the T_V_ so it's normally just your basic grey Eunice Albert: Uh-huh. Eleanor Hull: black remote control functions, so maybe we could think about colour? Eunice Albert: Mm-hmm. Eleanor Hull: Make that might make it a bit different from the rest at least. Um, and as you say, we need to have some kind of gimmick, Eunice Albert: Okay. Eleanor Hull: thought maybe something like if you lose it and you can whistle, you know those things? Eunice Albert: The the keyrings, Eleanor Hull: Because we always Eunice Albert: yeah Eleanor Hull: lose our remote Eunice Albert: yeah. Eleanor Hull: control. Mandy Phillips: Right. Eunice Albert: Okay, that's cool. Robin Smith: Uh yeah uh, being as Exper Expert I will like to say other things we must see the market potential for this product like what is the competition in the market? What are the available prices of the other remote controls in the prices? What speciality other remote controls are having Eunice Albert: Okay. Robin Smith: and how complicated it is to use these remote controls as compared to other remote controls available in the market. Eleanor Hull: Okay. Robin Smith: like and apart from this, it should be having a good look also, because people really li uh like to play with it Eleanor Hull: Mm. Robin Smith: when they are watching movies or playing with or playing with their C_D_ player, M_P_ three player like Eleanor Hull: Mm-hmm. Robin Smith: any electronic devices. Eleanor Hull: Mm-hmm. Robin Smith: They really want to have something good, having a good design Eleanor Hull: Yeah. Robin Smith: in their hands, Eunice Albert: Okay. Robin Smith: so, Eunice Albert: 'Kay. Robin Smith: yes, all this. Mandy Phillips: Uh, Eunice Albert: So, we're Mandy Phillips: what do Eunice Albert: looking Mandy Phillips: we think a Eunice Albert: for 'Kay. Mandy Phillips: What do we Eunice Albert: We're Mandy Phillips: think a good size would be for this? Eunice Albert: Sorry, Mandy Phillips: 'Cause Eunice Albert: carry on. Mandy Phillips: I I know as you add more buttons to the remote it sometimes gets so big and clunky Eleanor Hull: Yeah. Mandy Phillips: and there's Eunice Albert: Mm-hmm. Mandy Phillips: just like a hundred buttons on it, Eunice Albert: Mm-hmm. Eleanor Hull: Yeah. Mandy Phillips: or you could have a really small slim one but then you could lose it easily. Eleanor Hull: Then you lose Eunice Albert: Okay. Eleanor Hull: it, yeah. Kind of um, maybe more like a P_D_A_ kind of, just hand held, like, Eunice Albert: For Eleanor Hull: 'cause Eunice Albert: for uh remember we're trying to make it for twelve Euros fifty. Eleanor Hull: Yeah. No, I wasn't, no sorry I wasn't thinking of the screen of like Eunice Albert: Okay Eleanor Hull: a P_D_A_ Eunice Albert: well Eleanor Hull: but Eunice Albert: right we'll have to um I'll we're k having another meeting in half an hour so Eleanor Hull: Okay. Eunice Albert: um we should all look into a bit uh, oh actually, no, we'll allocate. So you do the looking around at other remote controls. Robin Smith: Yeah. Eunice Albert: Um, if you could maybe come up with sort of shapes and suggested shades or whatever, and you could look into um basically how how it's made I_E_ like how you make it all in one, how what sort of materials are available to you whatever. And obviously, other instructions will come from the personal coach. Mandy Phillips: Right. Eunice Albert: Which will probably just usurp what I said so Eleanor Hull: So you want Robin Smith to look at shapes and everything you said? Eunice Albert: Shapes and Eleanor Hull: Yep. Eunice Albert: colours and Eleanor Hull: Okay. Eunice Albert: um basically how to make it attractive. Uh. Eleanor Hull: Mm-hmm. Eunice Albert: And you look at competition Robin Smith: Yep. Eunice Albert: and design. Cool. Eleanor Hull: Okay. Mandy Phillips: Okay. Eunice Albert: So we have Mandy Phillips: Wait Eunice Albert: uh Mandy Phillips: for emails? Robin Smith: Uh. Eunice Albert: Um. Mandy Phillips: Hmm. Eunice Albert: Okay, groovy. And no doubt we'll get um Eleanor Hull: Oh no, Sorry Eunice Albert: Sorry. Eleanor Hull: it's okay. Eunice Albert: We'll get um warnings for next meetings as well. Eleanor Hull: Okay, cool. Eunice Albert: Okay. I shall I can't imagine these are worth much. Okay. Robin Smith: Hmm. Eunice Albert: Fashion into electronic. Okay.

The group discussed their initial ideas about the features that they wanted to integrate into the design. They discussed making a universal remote with a locator function. They also discussed the shape and the number of functions in the main interface. Eunice Albert instructed Robin Smith to examine competitors' remotes, Eleanor Hull to research possible shapes and colors, and Mandy Phillips to research possible materials and the necessary internal components of the device.

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Nina Bagnoli: Okay. Patricia Dick: Okay, almost there. Barbara Todd: Okay. We'll sta I'll use the PowerPoint I. How was that, was that fun? Nina Bagnoli: Mm. Patricia Dick: Yeah, yeah. Nina Bagnoli: Very fun. Barbara Todd: Okay. Uh oh I've forgotten to mail you the minutes, but I will do. Patricia Dick: Okay. Barbara Todd: Upsidaisy. Patricia Dubie: Hmm. Barbara Todd: Um Um Patricia Dubie: E Barbara Todd: we Patricia Dubie: excuse Patricia Dubie I forgot Barbara Todd: Yeah. Patricia Dubie: my Barbara Todd: Alright, Patricia Dubie: copy. Barbara Todd: okay, yeah. He's gonna get his pen. Nina Bagnoli: Oh right. Barbara Todd: Um Will you guys first with your prototype um before we get to the good news? Patricia Dick: Yeah, there's good news? Barbara Todd: Uh Patricia Dick: Oh. Nina Bagnoli: Mm. Barbara Todd: we have budget problems. Patricia Dick: Oh. Cutbacks. Barbara Todd: I'm afraid you're all sacked. Oops. I don't even have on. Patricia Dick: Hmm. Barbara Todd: Okay, have you Patricia Dick: Okay. Barbara Todd: got a presentation to make? Patricia Dubie: No, not Barbara Todd: No. Patricia Dubie: mine Barbara Todd: Okay Patricia Dubie: yet. Barbara Todd: so it's Patricia Dick: Oh. Barbara Todd: just your your show. Patricia Dick: Um maybe we should bring so that the camera can see. Yeah. Nina Bagnoli: Okay. Sure. Patricia Dick: Okay. Nina Bagnoli: We made three Barbara Todd: Three? Nina Bagnoli: for you. Barbara Todd: Oh. Nina Bagnoli: Um one's based on the banana, one's based on the tomato and Barbara Todd: Tomato? Nina Bagnoli: the other one Barbara Todd: What tomato? Nina Bagnoli: is st Barbara Todd: I don't recall a tomato. Nina Bagnoli: Look. Oh yeah, well yeah, we had v some red left over. So. Barbara Todd: Ah I see, okay. Nina Bagnoli: Okay, so this is the um non to non uh no buttons one, or as mm few buttons as possible, Barbara Todd: Mm-hmm. Nina Bagnoli: mainly speak recognition. The yellow there is the um Barbara Todd: Logo. Nina Bagnoli: the slogan, yeah, Barbara Todd: Okay, Nina Bagnoli: incorporate, Barbara Todd: brilliant. Nina Bagnoli: it's very simple. If you do need buttons, you can flip it over, and there's some there, Barbara Todd: Okay. Nina Bagnoli: um but mainly it's speech recognition. Barbara Todd: Okay, so the buttons would be like, you know individual users, or Nina Bagnoli: Yeah. Barbara Todd: Yeah. Nina Bagnoli: Yeah and yeah they might project things onto the screen which you can do on there. Barbara Todd: Alright, okay. Nina Bagnoli: Mm I'm not sure about that. Um and this one is the one w more like the one w that we looked at earlier. Barbara Todd: Right. Nina Bagnoli: Yeah, you guys can Barbara Todd: That's Nina Bagnoli: have Barbara Todd: groovy. Nina Bagnoli: a look at that Patricia Dubie: Yeah. Nina Bagnoli: if you want. Patricia Dubie: Uh can Barbara Todd: Well I like the Patricia Dubie: I Barbara Todd: feel of it, Patricia Dubie: have Nina Bagnoli: Yeah, Barbara Todd: I like the feel Nina Bagnoli: sure. Barbara Todd: of it. Nina Bagnoli: Um that one is Patricia Dubie: Oh sorry Nina Bagnoli: Oh Patricia Dubie: s Barbara Todd: At Oh Nina Bagnoli: no, it's delicate. Barbara Todd: dear. Nina Bagnoli: That's that's already got its stand that one. That's it stand. Barbara Todd: Alright, Nina Bagnoli: It does Barbara Todd: okay. Nina Bagnoli: also lie flat, but that's the that yellow stand there represents the the charging stand. Barbara Todd: Okay, Nina Bagnoli: Um Barbara Todd: brilliant mm. Nina Bagnoli: the black on the back is the slogan. Barbara Todd: Okay, nice and obvious Nina Bagnoli: Uh Barbara Todd: there, Nina Bagnoli: yeah, that Well, we Barbara Todd: if it's Nina Bagnoli: did think Barbara Todd: standing Nina Bagnoli: of Barbara Todd: up, Nina Bagnoli: that. Barbara Todd: I guess, yeah. Nina Bagnoli: Yeah, if it's standing up it's it's on there, but also we're gonna have the company name on the front, which is the little black kind of line in Barbara Todd: Oh Nina Bagnoli: the Barbara Todd: right, Nina Bagnoli: middle. Barbara Todd: okay, brilliant. Like Nina Bagnoli: So Barbara Todd: that Nina Bagnoli: um Barbara Todd: from its centre. Nina Bagnoli: and that's the um transmit the L_E_D_ thing. These are the s two scroll ones which we thought could be channel up and down and volume up and down. We n were weren't sure about putting them there, because um i it's it kind of could get bashed. Barbara Todd: Where you're, yeah, uh were you're holding it kind of Nina Bagnoli: Yeah. Well, if you hold it, you can you all can hold it, is it does actually feel quite ergonomic, Barbara Todd: Mm-hmm. Nina Bagnoli: if you've got small hands. Barbara Todd: Yeah. Patricia Dick: Mm. Nina Bagnoli: Um, Barbara Todd: Okay. Nina Bagnoli: obviously I don't think that's real sized. It would Barbara Todd: Yeah, Nina Bagnoli: have Barbara Todd: okay. Nina Bagnoli: to be a bit Barbara Todd: Yeah, Nina Bagnoli: bigger. Barbara Todd: scale model, yeah. Nina Bagnoli: Okay. Um that's a speaker at the top, so you can speak into it like a little walkie-talkie as well for speak recognition. Barbara Todd: Mm-hmm. Nina Bagnoli: Um and um then the buttons. Yeah kind of self-explanatory, just buttons whenever you need them. Tried to keep it simple. Oh that's the charging base prongs at the bottom. We used those. And um then the Barbara Todd: Alright, excellent. Nina Bagnoli: big red button in the middle is the on and off one. It's Barbara Todd: Okay. Nina Bagnoli: not in the traditional place, Barbara Todd: No. Nina Bagnoli: but um Barbara Todd: It's out of Nina Bagnoli: it's Barbara Todd: the way Nina Bagnoli: quite an Barbara Todd: as Nina Bagnoli: obvious Barbara Todd: well, I Nina Bagnoli: place. Barbara Todd: suppose, so. Excellent. Nina Bagnoli: So there we go and and um we have the banana-based Patricia Dick: Oh yeah, yeah. Nina Bagnoli: one too. Barbara Todd: Yep. Patricia Dick: This one is uh, I suppose for the younger audiences. Barbara Todd: Okay, Patricia Dick: A a more friendly Barbara Todd: so Patricia Dick: type Barbara Todd: so Patricia Dick: of Barbara Todd: Barney the banana. Patricia Dick: Right, right. It's to uh induce more television watching I suppose Barbara Todd: Ah Patricia Dick: or Barbara Todd: excellent, just what we need. Nina Bagnoli: Yeah. Patricia Dick: Yeah. Patricia Dubie: Mm-hmm. Barbara Todd: Lo Sort of Loch Ness banana. Nina Bagnoli: Mm-hmm. Patricia Dick: Right, right. Barbara Todd: Cool yeah. Well, nice to have uh options at least. Nina Bagnoli: Yeah. Patricia Dick: Yep. Barbara Todd: 'Kay Nina Bagnoli: So Barbara Todd: and Nina Bagnoli: are there any um improvements or issues Patricia Dick: It won't Nina Bagnoli: or Patricia Dick: stand. Barbara Todd: Oh there are issues, oh there are issues. Patricia Dick: Just let it lie down, it wont stand. Barbara Todd: Um main problem that we have unfortunately being finance. Nina Bagnoli: Oh. Barbara Todd: Uh, let's just enter in the um evaluation criteria. Um unfortunately the unit we are currently going to produce minus the extra scroll buttons, uh it's gonna cost Patricia Dubie: Mm. Barbara Todd: us fourteen point six Euros. Nina Bagnoli: Oh. Barbara Todd: So Patricia Dick: What's Barbara Todd: we have Patricia Dick: on the Barbara Todd: to Patricia Dick: uh Barbara Todd: rea Patricia Dick: on the left? Barbara Todd: Sorry, I've accidentally highlighted somehow Um. There we go. Patricia Dick: Okay. Barbara Todd: Oh god, Nina Bagnoli: Ooh. Barbara Todd: why is it doing that? There we go. So basically, um in order to save our two Euros um I was thinking that we could have essentially the same shape, but just have it flattened. Nina Bagnoli: Mm-hmm. More like Barbara Todd: Um. Nina Bagnoli: a traditional remote control. Barbara Todd: Yeah, I mean it's already got a kind of cool shape, Nina Bagnoli: Mm-hmm. Barbara Todd: so but it wouldn't have to be curved sort Nina Bagnoli: Mm-hmm. Barbara Todd: of in and out. And by doing so Oh no, hold on. Doesn't save us quite as much. I don't know what's going on with this again. Patricia Dick: W why is the uh double curved two of them? Barbara Todd: Oh, good point. Patricia Dubie: And Barbara Todd: Um. Patricia Dubie: double curve on both sides? Curve. Yeah, this Barbara Todd: That's Patricia Dubie: is double-curve, Barbara Todd: sort Patricia Dubie: no? Barbara Todd: of curve Patricia Dubie: This Patricia Dick: Is Patricia Dubie: is Patricia Dick: i Patricia Dubie: double-curve. Barbara Todd: in and Patricia Dubie: It Barbara Todd: out. Patricia Dubie: This one is single curve. Patricia Dick: Mm. Patricia Dubie: 'Cause this is single curve, this is curved on both sides. So double-curve. Barbara Todd: No, I think it means double curved as in um Nina Bagnoli: Like an S_ shape. Barbara Todd: like uh a single curve on that bottom half, and the double curved would be if it was that similar curve Nina Bagnoli: Okay. Barbara Todd: upward. Okay, I might be wrong though. Patricia Dubie: Like this, one curve on this side, one curve on that side. Barbara Todd: I don't think that counts as a curve, I think Patricia Dubie: Hmm. Barbara Todd: that's just a shape. Nina Bagnoli: Okay. Barbara Todd: A curvature is like the this Patricia Dubie: Maybe. Barbara Todd: case. Nina Bagnoli: Okay. Patricia Dick: 'Cause that's the uh the biggest expense there, right. Barbara Todd: Yeah, Patricia Dick: got Barbara Todd: and why Patricia Dick: two Barbara Todd: why Patricia Dick: of them Barbara Todd: I've got it two, I don't know, I can't seem to select any more however. Patricia Dick: Okay. Well we can work around that um Nina Bagnoli: Mm-hmm. Barbara Todd: Right. No. Patricia Dick: Cut things out. But you think it should be one. Barbara Todd: It's meant to be one, yeah, I don't know why I put two in there, Patricia Dick: Okay. Barbara Todd: but um Hold on till I find it, I think this shift button might be stuck again. No maybe the shift button's stuck in. Patricia Dick: Yeah. Barbara Todd: Um Patricia Dubie: Mm. Barbara Todd: okay, so Patricia Dubie: Should Barbara Todd: that would take away three, which would give us Oh that's fine. Patricia Dick: Yeah, so Barbara Todd: Eleven Patricia Dick: we're Nina Bagnoli: Cool. Barbara Todd: uh eleven Euros sixty. Nina Bagnoli: Cool. Barbara Todd: Um Nina Bagnoli: So we could even add something. Barbara Todd: We cou Oh not quite, Patricia Dick: We should fire Barbara Todd: have the scroll-wheel, Patricia Dick: the accountants. Barbara Todd: unfortunately. What? Patricia Dick: Fire the accountants. Ah yeah, we could add things. Maybe if you click back in that bottom right cell, where you're starting from, Barbara Todd: Yeah. Patricia Dick: and then use the arrow keys. Does that work? Barbara Todd: Yeah, I know, that Patricia Dick: No Barbara Todd: just extends Patricia Dick: mm. Barbara Todd: it as well. Patricia Dubie: Uh you Barbara Todd: I Patricia Dubie: can Barbara Todd: don't Patricia Dubie: do Barbara Todd: know. Patricia Dubie: one thing. You just select one box outsi yeah, this box. Then move it with the help of this Okay. Barbara Todd: It One of the buttons Patricia Dubie: Just Barbara Todd: is sticking, Patricia Dubie: uh just Barbara Todd: I don't know. Patricia Dubie: uh Okay, just a minute. Okay. No input, like this. Shift. No Barbara Todd: No, it's Patricia Dubie: it's Barbara Todd: 'cause Patricia Dubie: not. Barbara Todd: the uh the shift button's stuck, Patricia Dubie: Yeah, Barbara Todd: or something. Patricia Dubie: it's not working. Patricia Dick: Is Patricia Dubie: Should Patricia Dick: it the Patricia Dubie: we Patricia Dick: other Patricia Dubie: ask Patricia Dick: shift Patricia Dubie: Meli Patricia Dick: button maybe? Patricia Dubie: Should we ask our technical expert Melissa? Barbara Todd: No that's fine. Um we've worked out what it would be anyway. Patricia Dick: Did you try both shift buttons? It could be Barbara Todd: Yeah. Patricia Dick: the other side. Barbara Todd: Cancel. Piss off. Patricia Dick: That's too bad. Barbara Todd: Oh well, never mind. Um. Right, so that's finances and I dunno what we what could we reckon we could add? Um Nina Bagnoli: Well maybe we could add something, but maybe if What Barbara Todd: Well I suppose Nina Bagnoli: do you Barbara Todd: that's Nina Bagnoli: th Barbara Todd: our that's Nina Bagnoli: We're Barbara Todd: that's Nina Bagnoli: trying Barbara Todd: our Nina Bagnoli: to Barbara Todd: design Nina Bagnoli: save Barbara Todd: that Nina Bagnoli: money, Barbara Todd: we've got. Nina Bagnoli: so. Yeah, Barbara Todd: So Nina Bagnoli: if we're happy with the design there's no point in spending money, if we don't have to. Barbara Todd: Yeah. Nina Bagnoli: But if there is anything you think we've missed out there, then, you know, feel free to add it. Maybe I mean obviously it would be bigger so there might be more space for the the slogan on the front, because it's Barbara Todd: Yeah Nina Bagnoli: not in an Barbara Todd: yeah. Nina Bagnoli: ideal place right now. Barbara Todd: Well that's that's uh Okay, so project evaluation. We have under twelve Euros fifty. Project process, how do we think that went? Are we happy? Patricia Dick: Oh. Nina Bagnoli: Mm. Patricia Dick: Yeah I think we have a a winning product. Barbara Todd: Okay. Evaluation. Oh we've been writing this up for m Nina Bagnoli: I think Barbara Todd: months. Nina Bagnoli: it went quite smoothly. Barbara Todd: Uh room for creativity, were we happy with that? Nina Bagnoli: W I think we were very creative. Barbara Todd: No, I mea I think it means sort of individually. Nina Bagnoli: Oh right, okay. Barbara Todd: Yes, no, maybe? Nina Bagnoli: Mm-hmm. Barbara Todd: Okay. Groovy. So uh we're just gonna. Uh yeah, okay. Teamwork? Leadership, sorry. Patricia Dick: Great Nina Bagnoli: Excellent Patricia Dick: leadership. Nina Bagnoli: leadership. Barbara Todd: Thank you very much. You're all get you're all getting a raise. Uh teamwork. I thought went well. Patricia Dick: Yeah, Patricia Dubie: Yeah. Patricia Dick: yeah. Nina Bagnoli: Yeah, Barbara Todd: Yeah. Nina Bagnoli: everyone got enough input, I think. Barbara Todd: Uh and well means, yeah. Patricia Dubie: Yeah, Barbara Todd: The Patricia Dubie: we Barbara Todd: technical stuff was brilliant. Let's Nina Bagnoli: Yeah. Barbara Todd: buy more. Patricia Dubie: Yeah. Patricia Dick: These Barbara Todd: I don't Patricia Dick: pens Barbara Todd: know what, new Patricia Dick: are Barbara Todd: ideas Patricia Dick: are neat Barbara Todd: found, Patricia Dick: though. Barbara Todd: means, to be honest. Patricia Dubie: Yeah, these are new ideas, like glow-in-the-dark or something like that. We discussed all the new ideas, but of course we couldn't reach any proper goals, we couldn't use these, but we h we are using these scroll buttons like this. Nina Bagnoli: Mm-hmm. Barbara Todd: Mm-hmm. Patricia Dubie: These are new ideas we And new shapes, everything. Nina Bagnoli: Yeah. Barbara Todd: Mm 'kay. Patricia Dubie: At le Barbara Todd: Groovy. Patricia Dubie: Yeah. Barbara Todd: So just general thumbs up for all of us then. Patricia Dubie: Hmm. Barbara Todd: That kind of unfortunately is too quick. Nina Bagnoli: Okay. Patricia Dubie: Hmm. Patricia Dick: Okay. Nina Bagnoli: Well um. Barbara Todd: Uh. I suppose yeah. Patricia Dick: Uh Barbara Todd: Um. Patricia Dick: so let's talk about our bonuses and the raises we're getting Barbara Todd: That's Patricia Dick: for this, Barbara Todd: it, Patricia Dick: right. Barbara Todd: um I think another couple of days holiday pay might be Nina Bagnoli: Mm. Barbara Todd: well in order for all of you. Patricia Dick: Right, right. Barbara Todd: Uh Let's see if I can get this bloody thing to work. Patricia Dick: Uh Barbara Todd: Whoops. Patricia Dick: maybe we should start cleaning up the clay. Nina Bagnoli: Yeah, maybe. Patricia Dubie: So Barbara Todd: Does it go back in, does it? Reusable. Patricia Dick: Something we Barbara Todd: I Patricia Dick: should Barbara Todd: don't know Patricia Dick: get. Barbara Todd: what this is Patricia Dubie: So Barbara Todd: but it's really really annoying. Patricia Dubie: Uh Brian, have Barbara Todd: Uh-huh. Patricia Dubie: you have you finished? Barbara Todd: Um Patricia Dubie: Uh Barbara Todd: I have, yes. Patricia Dubie: mine needs also this. Barbara Todd: Huh? Patricia Dubie: At last mine is also the presentation. Barbara Todd: Oh right, okay, you've got more, Nina Bagnoli: Oh, Barbara Todd: okay. Nina Bagnoli: you got Patricia Dubie: Yeah, Nina Bagnoli: a presentation, Barbara Todd: Sorry Nina Bagnoli: sorry. Barbara Todd: uh. Patricia Dubie: yeah. Patricia Dick: Oh ok Barbara Todd: It didn't bother to tell Patricia Dubie: S Barbara Todd: Patricia Dubie that on this thing. Is it? Okay. Patricia Dubie: Uh Barbara Todd: Doesn't tell Patricia Dubie. Patricia Dubie: is the project evaluated, that is mine. Barbara Todd: Oh you're doing that. Patricia Dubie: Yeah. Barbara Todd: We evaluated ourselves, we thought we were great. Nina Bagnoli: Yeah. Patricia Dick: Uh. Nina Bagnoli: Mm, love to eat that Patricia Dick: Anybody Nina Bagnoli: now. Kind of a green Barbara Todd: Mm. Nina Bagnoli: banana now. Patricia Dick: Clay covered banana. Nina Bagnoli: It's this as well, sorry, we forgot to mention it'll be made out of kind of a rubbery latex, new material that we've got. Barbara Todd: O okay, Nina Bagnoli: I've got. Barbara Todd: hold on. Patricia Dick: blue. Barbara Todd: I wonder w which cell do I want. Patricia Dick: It's fun to touch. Nina Bagnoli: Yeah. Patricia Dubie: So. Barbara Todd: Okay, Patricia Dubie: Yeah. Barbara Todd: I didn't realise you had that bit. Nina Bagnoli: Oh could you pass the tomato Patricia Dubie: So. Nina Bagnoli: please. Sorry. Thank you. Patricia Dubie: So now is the final evaluation, final evaluation of the uh uh of our product. Nina Bagnoli: Mm-hmm. Patricia Dubie: How we are going to means uh at what standard what standard whether it meets our standards or not. How mu What rating we will give to these products. So of course this is will be a team work, w we together have to decide wha what rating we will give to this product and everything. Barbara Todd: Okay. Patricia Dubie: So what methodology I will tell you on what basis we are going to discuss all this. We will give the rating to this product based on the user requirements, whether it meets the user requirements or not, this product. Then trends, whether it is as fashion trends or not? Means because we have already stated that people do prefer fashionable things nowadays. Nina Bagnoli: Mm-hmm. Patricia Dubie: So this is also an important factor for our evaluation also. Then marketing strategy of the company. As we have already discussed that our company is quite in the market, not only in terms of providing quality products, not only in pro providing latest technologies, but also in terms of providing environmental s Nina Bagnoli: Sorry. Sorry, carry on. Patricia Dubie: Yeah. So but also in terms of providing environmental safe products, uh yeah like uh keeping uh keeping in mind all the safety issues. So Now comes the criteria rating with seven point scale. Barbara Todd: Okay. Patricia Dubie: I'm having this scale this scale, Nina Bagnoli: Mm-hmm. Patricia Dubie: so we have to do it on a board. Nina Bagnoli: Okay. Barbara Todd: Alright, okay. The board working again, is Patricia Dubie: the Barbara Todd: it? Patricia Dubie: user requirem I think. Patricia Dick: Do we have the uh the marker for the board? Nina Bagnoli: Um. Barbara Todd: Uh. Patricia Dick: There it is. Patricia Dubie: Thank you. So. Patricia Dubie: So these are the three crite criterias for our evaluation of our product. Nina Bagnoli: Mm-hmm. Patricia Dubie: First of all uh comes user requirement. So we will see whether this product meets all user requirements or not. I I will first I would like to have your views, what do you think whether it meets all user requirements or not? Nina Bagnoli: Um I think Yeah, it did. It Patricia Dubie: S Nina Bagnoli: had all the basic buttons that they needed as well as the uh new technology that people said they wanted. Barbara Todd: Yeah. Nina Bagnoli: Um Barbara Todd: When Nina Bagnoli: so. Barbara Todd: the user requirement is essentially just to operate Nina Bagnoli: Does it Barbara Todd: the Nina Bagnoli: work? Barbara Todd: T_V_, so Nina Bagnoli: Yeah. Barbara Todd: yeah, of Nina Bagnoli: So. Barbara Todd: course we haven't Patricia Dubie: So Barbara Todd: actually got a working Patricia Dubie: what do Barbara Todd: model Patricia Dubie: you think Barbara Todd: yet. Patricia Dubie: you will personally give. Nina Bagnoli: I would say seven. Patricia Dubie: Seven. Uh. Nina Bagnoli: Seven is good, yeah, isn't it? I can't True or false? No sorry tr one Barbara Todd: One, yeah. Nina Bagnoli: is true. Patricia Dubie: Uh one is means highest ranking, Nina Bagnoli: Yeah. Patricia Dubie: okay. But I think highest ranking is seven, Barbara Todd: No Patricia Dubie: or one? Barbara Todd: it's Patricia Dick: No Barbara Todd: it's Patricia Dick: that's Barbara Todd: like Patricia Dick: false. Barbara Todd: true is one end, Patricia Dubie: Okay, Barbara Todd: and false Patricia Dubie: right Barbara Todd: is the oth Patricia Dubie: right. Nina Bagnoli: Okay, so Patricia Dubie: So Nina Bagnoli: one. Patricia Dubie: it's one for from your point of view. Nina Bagnoli: Yep. Patricia Dubie: And what do you say our Industrial Patricia Dick: Uh. Patricia Dubie: Expert? Patricia Dick: It's hard to know. I I give it a two. Patricia Dubie: Uh d you can you can tell on on the like I think she has given her views on the basis of design, because she was our i Interface Expert. Patricia Dick: Okay. Patricia Dubie: But you can give your views based on technology, whether the technology meets the requirements of the customers or not? Patricia Dick: Um yeah, I think i it might even exceed it um. But I guess there is a kind of a shortage of buttons. Um I'm gonna give it a two. Patricia Dubie: Two. Patricia Dick: Two. Patricia Dubie: And what about uh you, Brian? Barbara Todd: Oh, I'll go for a one. Patricia Dubie: You will go for one. Barbara Todd: Basic requirements Patricia Dubie: Okay. Barbara Todd: but of the pro of the project. Patricia Dubie: Uh for Patricia Dubie personally it is everything fine, it may be having good design, it may be uh meeting all the requirements of the customers like technology-wise, price-wise, but there is one thing which limits the customers, like we are having only two, three designs, like we are having one banana design and the other one is orange, Nina Bagnoli: Mm Patricia Dubie: and Nina Bagnoli: yellow. Patricia Dubie: Uh yeah, lower Barbara Todd: Yeah Patricia Dubie: end. And the third Barbara Todd: th Patricia Dubie: one is what you ge uh that is not a f fruit look. Nina Bagnoli: Uh-huh. Patricia Dubie: But if Barbara Todd: Come Patricia Dubie: a Barbara Todd: on Patricia Dubie: person Barbara Todd: that was the tha Patricia Dubie: doesn't like banana, or orange, you are limiting him. Nina Bagnoli: Uh-huh. Patricia Dubie: No, don't Barbara Todd: 'Kay. Patricia Dubie: buy our product, because we are l we like this only. Nina Bagnoli: Okay. Patricia Dubie: So we are showing our preference for particular fruits, two or three kinds rather, and Barbara Todd: Being fruitist. Patricia Dubie: Yeah. Nina Bagnoli: Is that Patricia Dubie: So. Nina Bagnoli: no is that not trends? Patricia Dubie: Uh no, uh personally as a Marketing Expert I don't believe that, because whatever companies they launch their products in the shape of fruits, they give a range of products, a range of shapes, Nina Bagnoli: Mm-hmm. Patricia Dubie: Some children like to buy banana shape, some apple shape, some even pineapple shape, some orange shape. Nina Bagnoli: Mm-hmm. Patricia Dubie: So you can what shape a person will like. So in this case giving only one or two choices we are lim limiting our customers. And by Nina Bagnoli: Uh-huh. Patricia Dubie: limiting them, we are limiting our sales, limiting our profit also. Nina Bagnoli: But in electronics, I think, it's not q always quite so um you don't always have so many choices as with chocolates. Nina Bagnoli: We were coming up with one product. Patricia Dubie: Uh maybe. Okay but Nina Bagnoli: No, Patricia Dubie: I Nina Bagnoli: I mean Patricia Dubie: will Nina Bagnoli: uh obviously Patricia Dubie: I will Nina Bagnoli: your Patricia Dubie: personally Nina Bagnoli: opinion, I'm just trying to Patricia Dubie: won't give it beyond three. Nina Bagnoli: Okay. Patricia Dubie: So we can Barbara Todd: He's a tough cookie. Patricia Dubie: Yeah, on an average we can think three, four sevenths, maybe. Three or four? Uh, no sorry, it should Barbara Todd: Six. Patricia Dubie: be Barbara Todd: Five or six. Nina Bagnoli: What are we doing? Patricia Dubie: No Patricia Dick: What are Patricia Dubie: sorry, Patricia Dick: we doing? Patricia Dubie: sorry, sorry, Nina Bagnoli: Adding Patricia Dubie: sorry, Nina Bagnoli: them Patricia Dubie: we Nina Bagnoli: up? Patricia Dubie: are doing a very Patricia Dick: We're gonna Patricia Dubie: wrong Patricia Dick: average Patricia Dubie: thing. Patricia Dick: them? Patricia Dubie: Yeah, yeah, we are taking everything, Patricia Dick: Okay. Patricia Dubie: and that's Nina Bagnoli: Oh. Patricia Dubie: I have taken Patricia Dick: So Patricia Dubie: it very Patricia Dick: seven Patricia Dubie: wrongly. Patricia Dick: fourths. Patricia Dubie: Yeah uh Patricia Dick: About one Patricia Dubie: three Patricia Dick: point Patricia Dubie: four four Patricia Dick: f Patricia Dubie: two six Patricia Dick: one point Patricia Dubie: seven Patricia Dick: eight. Patricia Dubie: seven sev Yeah one pe exactly. So we can say one or two. Patricia Dick: Okay. Nina Bagnoli: Okay. Patricia Dubie: because it is one point eight Barbara Todd: Oh I see. Patricia Dubie: uh two, so we will do Patricia Dick: Yeah Patricia Dubie: two. Patricia Dick: round it up to two. Patricia Dubie: Yeah. Nina Bagnoli: Okay, yeah. Patricia Dubie: So Patricia Dick: So trends. Patricia Dubie: where were the trends. Patricia Dick: Can you explain what you want us to write there? Patricia Dubie: Sorry? Patricia Dick: How it how conforms to the current trends? Patricia Dubie: Yeah, again the the fashion trends, this also like whether it it will be fashionable to have these products in the Nina Bagnoli: Mm-hmm. Patricia Dubie: uh as a fruit shape or something. Nina Bagnoli: Okay. Patricia Dubie: Uh. Nina Bagnoli: Well um going on uh the specifications that we had, that fruit and vegetables are quite popular, and that people like something that is good to look at and not many buttons, I would give it um, well, because it's hard to make a fruit good to look at, that that looks cool, you know, so I would actually give it a three. Tha three or four, I'm not sure. Three. Patricia Dubie: Okay. Nina Bagnoli: Go Patricia Dubie: Yeah. Nina Bagnoli: for three. That's fine. Patricia Dubie: Uh Patricia Dick: 'Kay. As far as the uh technology it its' got the latest trends in speech technology, but it's missing the screen, as we said, um but it does have the push-buttons, or the scroll-buttons, um but it doesn't have that fancy solar power or the the vibrating energy mechanism. So I give it a a four. I'd give it a kinda middle of the road for Nina Bagnoli: Mm. Patricia Dick: for technology. Barbara Todd: Yeah, I am sort of pret uh Just the fruit does Patricia Dubie in, I mean uh it might it might be trendy to some, but I'm just not swallowing the fruit, so Nina Bagnoli: Yeah. Barbara Todd: um Uh also uh I would have liked to have seen the L_C_D_ screen in it. Um so yeah I'd say about four as well. Patricia Dubie: Okay. Uh personally I wi uh I think that in terms of trends, these products are quite good, like, these products are in fruit shape, because that wha people now our fashion trend shows that people like everything all f everything that is being advertised, like clothes, shoes, and everything is being Nina Bagnoli: Mm-hmm. Patricia Dubie: advertised in the form of fruits and vegetables, or getting them or showing some association with them. So and in this way our product is good. And the second thing, now people don't want any complicated or bulky products and ours is quite simple and quite handy. Nina Bagnoli: Mm-hmm. Patricia Dubie: So that is also ef that also Our product meets the f the fashion uh trends of the market. And yes. It is cus spongy also. So they can play with it, it's quite good. So then I think, maybe I can give it two. So four five ten thirteen thirteen. So we can Is it fine? So what Patricia Dick: Yeah. Patricia Dubie: about company strategy? Patricia Dick: Well Nina Bagnoli: Um. Patricia Dick: it was yellow. Nina Bagnoli: Yeah, the company strategy, okay. Um there was lot of discussing, that was good. Um I feel I got my say. Um so I'd give the company strategy a two. Patricia Dubie: Okay. Patricia Dick: Well, I think it's the the remote control conforms to the the company strategy. Nina Bagnoli: Okay. Barbara Todd: Yeah, Patricia Dick: Is that the question? Barbara Todd: yeah. Nina Bagnoli: Is it? Okay. Patricia Dick: Um. Nina Bagnoli: Okay, so one or two. Patricia Dick: Yeah. Nina Bagnoli: One. Okay, just leave it, it's fine. Patricia Dick: I'll go with two. Patricia Dubie: So what about you, Brian? Barbara Todd: Um yeah, a three. Pretty much kept to the company strategy, so I would go for a a one, as we not only kept it, but we were limited by Nina Bagnoli: Mm. Patricia Dubie: Yeah, and Patricia Dubie also, like, this product Patricia Dubie uh Patricia Dubie uh Patricia Dubie uh this meets all company strategy like our product should be as per customers' requirement, as per latest technology, and it should be environmental safe. So since our product meets all these requirements, so I would also prefer to give it rank one. So four six Patricia Dick: So one Patricia Dubie: six Patricia Dick: and a half. Nina Bagnoli: Yeah, Patricia Dubie: half. Nina Bagnoli: one. Patricia Dubie: So we can say two or one Patricia Dick: A two. Patricia Dubie: Okay. So th seven seven. Uh overall we are getting two something, but we can round it as two. Patricia Dick: Yep. Nina Bagnoli: Okay. Barbara Todd: Cool, Patricia Dubie: Yeah. Barbara Todd: groovy. Patricia Dubie: So I Patricia Dick: S Patricia Dubie: think overall uh evaluation of our product is quite good. Barbara Todd: Cool. Patricia Dubie: So we can launch it. Yeah. Barbara Todd: Brilliant. Nina Bagnoli: Woo-hoo. Barbara Todd: In which case we are done. 'Cause we've evaluated and we are within budget. Nina Bagnoli: Cool. Patricia Dick: Okay. Patricia Dubie: So Barbara Todd: Champagne lunch Patricia Dubie: yeah. Nina Bagnoli: Yeah. Barbara Todd: anyone? Patricia Dick: Uh. Patricia Dubie: Great.

Nina Bagnoli and Patricia Dick presented their prototypes to the group. Two prototypes featured different fruit shapes, with one including speech recognition instead of a large number of buttons. It also featured scroll wheels for channel control. The other prototype was designed like a banana with children users in mind. Barbara Todd announced to the group that with all of their desired features, the project would go over the alotted budget; after a reanalysis of the features of the prototype, the project came in under the budget instead. It was decided that another feature could possibly be added. The group evaluated their effectiveness as a team and felt that all members worked well together and could be creative, and that the project had very good leadership. Patricia Dubie led an evaluation of the prototype according to the initial project goals; the evaluation showed that most of the goals had been sufficiently satisfied in order to launch the product.

amisum

train

Suzanne Bateman: Excellent. So um I sent you the agenda it, was on the in the project documents. I don't know if you got a chance to just have a look at it. Anyway, it's the meeting's gonna follow more or less the same structure as last time, so we'll go round each of you in turn and you can give your presentations on what you've been up to. Um and at the end of that we need to discuss what you've come with, so that we can make on the key remote control concepts, so that's we need to know about the components' properties, materials, the user interface and any trends that Arlene Charles has been watching. Donna Mcelroy: Right. Suzanne Bateman: Okay. Um, do you wanna start again? Donna Mcelroy: Okay. Suzanne Bateman: Let Arlene Charles we've Donna Mcelroy: Right Suzanne Bateman: got forty Donna Mcelroy: s Suzanne Bateman: minutes. Donna Mcelroy: so I haven't made a PowerPoint Suzanne Bateman: You haven't Donna Mcelroy: presentation, Suzanne Bateman: made a PowerPoint, okay. Donna Mcelroy: yeah, I I thought I'll use the whiteboard instead. Suzanne Bateman: Mm-hmm. Donna Mcelroy: Um mm, Suzanne Bateman: Let's hope the pen holds out. Donna Mcelroy: okay, so basically I'll start off by uh I thought I'll use the whiteboard because we have so many different options and what we can do is that we can start um uh rubbing off the options that we do not require Suzanne Bateman: Mm-hmm. Donna Mcelroy: and putting in the options that uh are m or highlighting or underlining them or something like that. Okay, I'll start again with a brief introduction to connect that anyway Suzanne Bateman: Yeah. Donna Mcelroy: brief introduction to the insides of a remote control and uh then we can probably uh discuss the various components. Yeah. Okay, so w what you see here is so this is the outside of the remote, right? Suzanne Bateman: Mm-hmm. Donna Mcelroy: If you open it, you have a circuit board here, right, and this is the chip that I was talking about last time. This basically sends information to a tr uh transistor here, which then uh sends the information to an L_E_D_ device here. Suzanne Bateman: Mm-hmm. Donna Mcelroy: If you flip the printed circuit board, and this is th the most important point here, uh everything else is kind of Okay, so if you flip the circuit board, this is what it looks like. So you see for example a particular button attaches to a particular place on the P_C_B_ Suzanne Bateman: Yeah. Donna Mcelroy: and uh on pressing this button I a circuit completes, the information goes to the chip, which is somewhere here and the chip that tra then translates the code into an infra infrared radiation, which goes goes out through there. So uh the important point that I read over the website was uh that the configurations of these printed circuit circuit boards uh are quite cheap to make, you can Suzanne Bateman: Mm-hmm. Donna Mcelroy: ge get them printed as you want to, so w we can have a configuration um irrespective of the cost, the way we want to have. Suzanne Bateman: Mm-hmm. Donna Mcelroy: Right? So that's the important point here, so these are the different options that we have. Okay. So the batteries, I'll start with the battery, Suzanne Bateman: Mm-hmm. Donna Mcelroy: right? So they can be simple which is like uh the normal batteries in uh our uh the cells, yeah? Suzanne Bateman: Yeah. Donna Mcelroy: Uh thes these are the kind different kind of batteries that the company makes, right? So. And dynamos. Um Arlene Charles: Does that mean like a wind-up one? Donna Mcelroy: yeah, yeah. So uh Arlene Charles: A wind-up remote. Donna Mcelroy: I don't know if even if you want to consider this, but these are the different things that the company makes, so Suzanne Bateman: Okay. Donna Mcelroy: th they'll they'll since uh they'll come internally from the company, they'll be eas uh cheaper, uh all these options. Suzanne Bateman: Mm-hmm. Donna Mcelroy: So the third one is uh the kinetic energy ones. Arlene Charles: You could make the hand dynamo into an exercise bike, and then people could exercise whilst watching T_V_. Donna Mcelroy: Yeah. Suzanne Bateman: And charging their remote, Arlene Charles: Yeah, Suzanne Bateman: yeah. Arlene Charles: and stop worrying about the whole R_S_I_ from the remote thing, 'cause Donna Mcelroy: Yeah, Arlene Charles: that's just Donna Mcelroy: it's a good option. Shelby Shelton: So what was what was Donna Mcelroy: The Shelby Shelton: this k Donna Mcelroy: the kinetic energy one is uh that e uh uh they are usually modern watches, Shelby Shelton: Okay. Donna Mcelroy: since our Suzanne Bateman: Uh Donna Mcelroy: hand Suzanne Bateman: yeah. Donna Mcelroy: keeps moving, it keeps the watch ticking. But Suzanne Bateman: Mm-hmm. Donna Mcelroy: I dunno i if it is a good idea for a remote control, Suzanne Bateman: For a remote, Donna Mcelroy: because Suzanne Bateman: 'cause you Donna Mcelroy: it'll just lie there for a Suzanne Bateman: Yeah. Donna Mcelroy: long while sometimes. But Shelby Shelton: Mm-hmm. Donna Mcelroy: as soon as you pick it up it moves and then again it uh re recharges or something. Suzanne Bateman: Yeah. Donna Mcelroy: And the fourth option is the solar cells, Arlene Charles: Yay. Donna Mcelroy: which are also made by the company. Environment friendly. Okay um so I'll list things and then we can come back and discuss Suzanne Bateman: Yeah. Donna Mcelroy: what what we think from uh everybody's perspective. There are different cases that can be provided. They can be basically the shape of the cases, they can be flat, Suzanne Bateman: Mm-hmm. Donna Mcelroy: they can be curved with uh one-sided curved and one side flat, and they can be curved with on both the sides. Suzanne Bateman: Mm-hmm. Donna Mcelroy: These are the three options, right? Um Shelby Shelton: Um you mean this would be like the the overall shape of the remote control, yeah, Donna Mcelroy: Yeah, Shelby Shelton: mm-hmm. Donna Mcelroy: would it be flat on both the Shelby Shelton: Yeah, Donna Mcelroy: sides, Shelby Shelton: mm-hmm, Donna Mcelroy: would be curved Shelby Shelton: mm-hmm. Donna Mcelroy: from one side, or Shelby Shelton: Mm-hmm Suzanne Bateman: Mm-hmm. Donna Mcelroy: whatever Shelby Shelton: mm-hmm. Donna Mcelroy: uh there were different kind of supplements available, um like it can be in plastic, rubber, wood, or Suzanne Bateman: Mm-hmm. Donna Mcelroy: titanium, Suzanne Bateman: Okay. Donna Mcelroy: right? Arlene Charles: Did you say Donna Mcelroy: Wo Arlene Charles: wool? Suzanne Bateman: Wood, Donna Mcelroy: wo wood. Suzanne Bateman: wood. Arlene Charles: Wood. Donna Mcelroy: Yeah. Arlene Charles: Oh right. Suzanne Bateman: A fluffy Donna Mcelroy: Not wool. Suzanne Bateman: remote. Arlene Charles: Yeah, you'll understand why when we get to my presenta. Donna Mcelroy: Oh really? Okay. Suzanne Bateman: Huh. Donna Mcelroy: Um the so uh we can use even um a certain titanium is also used uh in the company to make uh uh some space design equipment, so it's kind of um uh it'll be probably nicer to use, because it relates to the overall image of the company, but uh it cannot be used on a double curved surface. If we choose this, we cannot use titanium. Suzanne Bateman: Mm. Donna Mcelroy: For for these two we can use titanium, wood, rubber, or plastic. Suzanne Bateman: Mm-hmm. Donna Mcelroy: Yeah? Uh okay, the interface options now. So we can have push-buttons, like most remotes do and our company is an expert in making push-buttons. Ooh. Uh we can have scroll wheels like the ones on um Arlene Charles: Sony. Donna Mcelroy: uh mouse pointers Suzanne Bateman: Mm-hmm. Donna Mcelroy: uh uh Arlene Charles: Sony Ericsson mobile phones has it. Donna Mcelroy: Yeah, yeah, something like that. Arlene Charles: Mm. Donna Mcelroy: So, and they have they can even have an an integrated uh push-button inside the scrolling Suzanne Bateman: Okay. Donna Mcelroy: thing. The scroll plus push. So this is something that has been recently developed by the company, um in the last decade, so not too recent. And L_C_D_s, we can have L_C_D_s. Suzanne Bateman: Mm-hmm. Donna Mcelroy: The various electronic options are um uh so th this concerns firs first of all the the chips I I showed you at uh so there's there's a chip behind this one, right? The P_C_B_ is uh inexpensive, so we can put put in uh whatever we want, but Suzanne Bateman: Mm-hmm. Donna Mcelroy: the various integrated circuit options are, we have either a simple one or a regular or advanced. And uh the price goes up Suzanne Bateman: Mm-hmm. Donna Mcelroy: as we go down, obviously. Um okay, so the good thing about uh wh wh why why we would want to use advanced u why we might want to use advanced is that L_C_D_s can only come with the advanced chip. Suzanne Bateman: Mm-hmm. Donna Mcelroy: Um the we need regular or advanced for uh scroll wheels. Right? Um and the chip basically includes the infra infrared sender. Suzanne Bateman: Mm-hmm. Donna Mcelroy: Yeah. Uh besides this in electr under electronics uh also the company has started making a sample sender, which is did not explained what i what it was, but I'm guessing that uh so they have a sample sender and a sample speaker. So I'm guessing that uh the sample speaker is probably something like um uh you know, as soon as you press a button, it it mm uh give gives you feedback, one five or whatever. Yeah, Suzanne Bateman: Mm-hmm. Donna Mcelroy: on. Um and uh I dunno whether sample sender sender has to do something with voice recognition or not, but anyway. Suzanne Bateman: Mm-hmm. Donna Mcelroy: So, these are the different options that we have. Okay, so th that's that's basically now now uh I think that uh we can integrate um uh you know, uh the user interface uh and uh the marketing things in that, Suzanne Bateman: Yeah. Donna Mcelroy: keep uh taking out things from this and uh Suzanne Bateman: Mm-hmm. Donna Mcelroy: underlining things that are important, Suzanne Bateman: Excellent. Donna Mcelroy: yeah. Suzanne Bateman: Do you wanna Shelby Shelton: Okay. Suzanne Bateman: stay somewhere near the board, so that if we need to Donna Mcelroy: Yeah, yeah, sure. Suzanne Bateman: you can sit down, but Donna Mcelroy: Sure. Suzanne Bateman: just Donna Mcelroy: Yeah. Suzanne Bateman: we might need you to leap up. What Shelby Shelton: Okay. Suzanne Bateman: are you, PowerPoint, or Shelby Shelton: Um I have some PowerPoint, yeah. Donna Mcelroy: Right. Suzanne Bateman: Okay. Shelby Shelton: Oh. Suzanne Bateman: Do you Shelby Shelton: 'Kay. Suzanne Bateman: think these pens can give you cancer of the hand? Some sort of radiation? Arlene Charles: No it's got its little camera in there Suzanne Bateman: Yeah. Arlene Charles: plug, it in. Shelby Shelton: Okay. Arlene Charles: 'S a Donna Mcelroy: Yeah, it should should do it. Yeah. Suzanne Bateman: Right, interface concept. Shelby Shelton: Okay. Um to be honest, I mentioned some some of the things which which could fit on the on the this talk um this time, I I mentioned them already in the previous talk. Suzanne Bateman: That's fine. Shelby Shelton: So um yeah, this time um I might not have them on the slides but I I can just Suzanne Bateman: Mm-hmm. Shelby Shelton: mention them aw again. Okay. So um I thought um I would also include the definition of user interface um so it's the aspects of a of of a computer system or programme which can be seen uh by the user um and and which uh the mechanisms that the user uses to control its operation and input data. So this would p includes things like shape and size and buttons and um voice recognition as well, and colour, Suzanne Bateman: Mm-hmm. Shelby Shelton: and so on. Um um the method I employed this time was a again having a look to related products and mainly on the internet and then um analyse them uh from the point of view of user fen friendliness and also um whether their appearance was was pleasant. Um and then um this uh this um this can help us to decide which features we want to incorporate Suzanne Bateman: Mm-hmm. Shelby Shelton: in our product. So some findings um um. So in in the case of many user interfaces, they're just so full of buttons that it's actually uh hard to find the ones you you really um want to use and um and it's just confusing, it takes y know time to learn. Um okay, and I thought I would just quickly show some of them that I found. Okay, some of them are here. Um well the picture is not very clear, but as you can see, there are actu oi, oh oh oh, sorry for that. 'S go back. Donna Mcelroy: That's Shelby Shelton: Ah, Donna Mcelroy: nice one. Shelby Shelton: no, please. Okay, so yeah, they're quite big and have many many buttons. Actually of the of all these I personally p prefer this one, because it's it's the smallest and and with with least uh with the smallest number of buttons as well. And I would say even the appearance of some of them is kind of Arlene Charles: Ugly. Shelby Shelton: not so nice. Suzanne Bateman: Mm. Shelby Shelton: Um okay. So let's carry on with this. Um So uh um o other findings um some new things um used, uh some of them were mentioned already by our Technical um Designer uh. Our own company has developed a new in user interface uh wait, no this is not the one. Okay, there is a we can uh include voice recognition and um it allows i it's possible to record eighty different voice samples Suzanne Bateman: Mm-hmm. Shelby Shelton: on it. Donna Mcelroy: Mm. Shelby Shelton: Uh so uh this uh this one was already mentioned uh the L_C_ Suzanne Bateman: It's Shelby Shelton: display. Suzanne Bateman: yeah. Shelby Shelton: Um s another new development is a scroll button, which was also th also already mentioned. And uh our own manufacturing division ha has uh designed a new um uh programmable speech uh mm sorry uh speaker unit I guess it's it should be. Suzanne Bateman: Yeah. Shelby Shelton: Um and this means that um once uh uh it it it comes together with a voice recognition, but it's once once the mm um gadget uh recognises uh the voice of the speaker, there can be a um pre-programmed answer, for example, you can pick up the remote control and say something to it like hello and it says Suzanne Bateman: Uh-huh, Shelby Shelton: some hello and Suzanne Bateman: hi Shelby Shelton: your name or whatever. Suzanne Bateman: yeah. Shelby Shelton: So Donna Mcelroy: Mm. Shelby Shelton: I mean this is also one of the n dev new developments which we might consider if we wanted to Donna Mcelroy: Uh Shelby Shelton: include. Donna Mcelroy: sorry, uh can you go back for a second? Um uh are you sure wha what this means, a spinning wheel with the L_C_ display? Uh oh Suzanne Bateman: It's like the like you said, no? The scroll scroll Arlene Charles: Yeah, Donna Mcelroy: yeah Arlene Charles: you Shelby Shelton: No Arlene Charles: can't Suzanne Bateman: wheel. Donna Mcelroy: are Shelby Shelton: no, Donna Mcelroy: th Shelby Shelton: the scroll button is a different thing. I I have a picture if you just a moment, I'll I'll show you. I wasn't completely sure myself, but I think it's just like um it's it's a wheel, it's like not separate buttons. Look, Donna Mcelroy: Oh okay, Shelby Shelton: this one here. Arlene Charles: Oh, Donna Mcelroy: the iPod Arlene Charles: it's like Shelby Shelton: But Arlene Charles: the Donna Mcelroy: thing, Shelby Shelton: I'm Arlene Charles: iPod. Donna Mcelroy: yeah. Shelby Shelton: I'm not really sure whether whether you can really turn it round, Arlene Charles: G yeah, Shelby Shelton: it's Arlene Charles: no, Shelby Shelton: like you Arlene Charles: you Shelby Shelton: press Arlene Charles: can. Shelby Shelton: this Donna Mcelroy: Uh Shelby Shelton: or Donna Mcelroy: it's Shelby Shelton: this Donna Mcelroy: the Arlene Charles: It's Donna Mcelroy: iPod Shelby Shelton: or Arlene Charles: like Donna Mcelroy: uh kind of uh Arlene Charles: it's like where you you know how you have your your mouse, and Suzanne Bateman: Uh-huh. Arlene Charles: y you go round and i it's kind Donna Mcelroy: Alright, Arlene Charles: of like that and you Donna Mcelroy: right. Arlene Charles: spin round and it Donna Mcelroy: Okay, okay. Arlene Charles: yeah. Donna Mcelroy: So Arlene Charles: It Donna Mcelroy: instead Arlene Charles: is Donna Mcelroy: of going down you just spin Arlene Charles: You Donna Mcelroy: yeah, Arlene Charles: just Suzanne Bateman: Mm-hmm. Arlene Charles: go round and it is a bit Donna Mcelroy: yeah. Arlene Charles: weird at first, but it's actually very like fast. Donna Mcelroy: Uh-huh. Suzanne Bateman: Mm-hmm. Arlene Charles: I like the the wheels that click on the side you you get 'em much slower, so it's quite good if you like searching quite a lot of stuff. Suzanne Bateman: Mm-hmm. Donna Mcelroy: Right. Shelby Shelton: Uh-huh. Arlene Charles: Do you know, if you're lookin if you're th scrolling through the A_ to Z_ of your music and you're looking for something at T_, Donna Mcelroy: Mm-hmm. Arlene Charles: then it's a lot faster than the wheel, but you've got a lot less control over it. Suzanne Bateman: Mm-hmm. Donna Mcelroy: Right. So Shelby Shelton: Mm. Donna Mcelroy: maybe I should include that here as well, L_C_D_s Suzanne Bateman: Yeah. Donna Mcelroy: um Shelby Shelton: Uh Donna Mcelroy: plus spinning. Suzanne Bateman: Yeah. Shelby Shelton: Okay, and the personal preferences are pretty much the same as as as last time. Suzanne Bateman: Mm-hmm. Shelby Shelton: It it has to be small, simple. Okay, we decided to include voice recognition, so to have the standard uh major buttons like on, off, um ch the channels and and then um volume and then the rest would be a menu on the screen. Um and I I also thought uh if we want to keep it small and nice um and actually I I quite like the idea of a scroll a scrolling button, I thought it could be for for voice like, I dunno, it mm like on a um i like it used to be on Walkmans or something. There is uh I think there is no reason why we couldn't use something like this for for the remote control. Donna Mcelroy: Mm-hmm. Suzanne Bateman: Mm-hmm. Excellent. Okay, straight to trends, and then we can discuss it Donna Mcelroy: Right. Suzanne Bateman: all at once. Arlene Charles: Okay, I've put the copy of the presentation in um the Suzanne Bateman: The project documents. Arlene Charles: yeah. Suzanne Bateman: Excellent. If you two could both do that Donna Mcelroy: Mm-hmm. Suzanne Bateman: as well, in case we need to refer to it. Arlene Charles: Cool. Suzanne Bateman: Here it comes. Suzanne Bateman: Okay. Arlene Charles: Fabulous. Okay, cool. Um so what I did was to search the internet to come up with market trends and you know what users are gonna be wanting in the the near future. Suzanne Bateman: Mm-hmm. Arlene Charles: Okay. Right. Now, the first aspect is apparently twice as important as the second aspect, which is twice as important as the third a aspect. Suzanne Bateman: Okay. Arlene Charles: So, I mean the the easy to use thing is fairly low down on Donna Mcelroy: Mm-hmm. Arlene Charles: the which I think given the target group is what you would expect, really. Suzanne Bateman: Mm-hmm. Arlene Charles: Um, you know, people want something new, something technologically innovative and different, so the whole idea with the L_C_D_s and the spinning and the colours and the voice recognition is quite like, quite the thing to go for. Suzanne Bateman: Mm-hmm. Donna Mcelroy: Okay. Arlene Charles: And um, yeah it wants to look fancy, fancy look and feel. Donna Mcelroy: So Arlene Charles: So Donna Mcelroy: um uh maybe uh as you're discussing things, is it okay if we Suzanne Bateman: Yeah, Donna Mcelroy: just Suzanne Bateman: yeah, Donna Mcelroy: uh Suzanne Bateman: sure. Donna Mcelroy: keep Arlene Charles: Yeah, Donna Mcelroy: highlighting things Arlene Charles: yeah. Donna Mcelroy: here? Suzanne Bateman: Yeah. Donna Mcelroy: Right. So mm Suzanne Bateman: That's Donna Mcelroy: uh Suzanne Bateman: over on the interface, Donna Mcelroy: so it Suzanne Bateman: if if Donna Mcelroy: yeah, Suzanne Bateman: you could put Donna Mcelroy: so probably voice recognition is is kind of Suzanne Bateman: Yeah. Donna Mcelroy: important, right? Um Suzanne Bateman: And maybe the L_C_D_ Donna Mcelroy: and Suzanne Bateman: and spinning Donna Mcelroy: an yeah. Suzanne Bateman: so Donna Mcelroy: Okay, Suzanne Bateman: that Donna Mcelroy: I Suzanne Bateman: means Donna Mcelroy: I Suzanne Bateman: we Donna Mcelroy: have Suzanne Bateman: need Donna Mcelroy: a Suzanne Bateman: an Donna Mcelroy: point Suzanne Bateman: advanced Donna Mcelroy: about L_C_D_, Suzanne Bateman: thing. Donna Mcelroy: I dunno if it is the right point to take it up. W uh L_C_D_s are basically for feedback, right, to Suzanne Bateman: Mm-hmm. Donna Mcelroy: the user who's pressing Arlene Charles: Mm. Donna Mcelroy: buttons, and the feedback can come through television itself, so do we need an L_C_D_ on the remote? Arlene Charles: Depends how fast your television runs, really, don't don't you think? I mean we've got one of those um Telewest boxes and Donna Mcelroy: Mm. Arlene Charles: you put the number in the remote and then you wait and then it goes to the T_V_ and then you wait, and then it comes, so i it actually takes quite a long time. Suzanne Bateman: Mm. Arlene Charles: And Donna Mcelroy: Right. Arlene Charles: if you get the number in wrong, then it's a bit of a pain, so I think, you know, a screen on the remote would probably cut down your time on that. But like remotes do tend to get f thrown about a bit. Donna Mcelroy: Right. Suzanne Bateman: It it is also Arlene Charles: You know? Suzanne Bateman: quite nice though to to have something here so you don't interrupt the picture on the screen, so if you're Arlene Charles: Yeah. Suzanne Bateman: watching something Donna Mcelroy: That's true, Arlene Charles: And Donna Mcelroy: yeah, Arlene Charles: i Donna Mcelroy: that's Arlene Charles: it would Donna Mcelroy: also Arlene Charles: be like I mean if you could make it integrate with the T_V_ then it could come up with new information about what's on, and you could just see that on the remote rather Suzanne Bateman: Yeah. Arlene Charles: than Suzanne Bateman: Rather than having to interrupt your Arlene Charles: Yeah. Suzanne Bateman: viewing pleasure. Arlene Charles: But Donna Mcelroy: Right. Arlene Charles: um I think maybe a way to do it would be a similar way to how you have your mobile phone, you know, like you have the slidey ones and you have the flippy ones and then the screen's protected so it doesn't Suzanne Bateman: Mm. Arlene Charles: actually get scratched. Donna Mcelroy: Mm-hmm. Arlene Charles: So you can have like what looks like a normal remote control, you know or Suzanne Bateman: Yeah. Arlene Charles: like a minimalist remote control. So you got your buttons one to nine, your on and off Donna Mcelroy: Mm right. Arlene Charles: and your volume on that and then Suzanne Bateman: And Arlene Charles: if Suzanne Bateman: then Arlene Charles: you Suzanne Bateman: you Arlene Charles: want Suzanne Bateman: can Arlene Charles: to Suzanne Bateman: flip Arlene Charles: mess about Suzanne Bateman: it open. Arlene Charles: with it, you flip it open and, yeah. Donna Mcelroy: Okay. So now we seem to have a consensus that L_C_D_s are definitely the way to go Suzanne Bateman: Yeah, Donna Mcelroy: because Suzanne Bateman: I think Donna Mcelroy: of Suzanne Bateman: so. Donna Mcelroy: style and Arlene Charles: Yeah, so that kind of decides your whole chip thing. Donna Mcelroy: Right. Suzanne Bateman: Yeah. Donna Mcelroy: You you agree? Maarika, Shelby Shelton: Yep, yeah. Donna Mcelroy: yeah? Yeah. Suzanne Bateman: Right. Donna Mcelroy: So Arlene Charles: Okay? Donna Mcelroy: L_C_D_s, yeah, definitely. Go on. Arlene Charles: Cool. Okay, apparently, fruit and vegetables will be providing inspiration. Sorry, I discovered clip art. Um so these will be an important feature for clothes, shoes and furniture. So I mean, I'm taking this to mean, you know, curviness. Do you know? 'Cause you don't tend to get flat vegetables. Suzanne Bateman: Yeah, and Donna Mcelroy: Mm-hmm. Suzanne Bateman: possibly Arlene Charles: You know? Suzanne Bateman: even uneven, like Arlene Charles: Yeah, Suzanne Bateman: not Arlene Charles: bit of asymmetry Suzanne Bateman: not symmet yeah. Arlene Charles: and stuff. But that would be a good way to to get in the whole um R_S_I_ issue in there, Suzanne Bateman: Mm-hmm. Arlene Charles: because Donna Mcelroy: Right. Arlene Charles: I mean if you think most people use the remote control with their right hand ha right hands so you wanna you curve it so that it's suitable for use Shelby Shelton: Mm-hmm. Arlene Charles: with the right hand. Donna Mcelroy: Mm. Suzanne Bateman: Mm-hmm. Arlene Charles: Um yeah, I'm not quite sure about the relevance of material will be spongy. Um Suzanne Bateman: Something a bit squishy and Arlene Charles: Yeah, but I mean Donna Mcelroy: Yeah, we Shelby Shelton: So Arlene Charles: y Donna Mcelroy: we Shelby Shelton: it Arlene Charles: you Donna Mcelroy: have Shelby Shelton: could Arlene Charles: have Shelby Shelton: be Arlene Charles: to Shelby Shelton: like a rubbery Donna Mcelroy: we have rubber, Shelby Shelton: yeah, uh-huh. Donna Mcelroy: but there is a problem that I forgot to discuss with the um with using Arlene Charles: Well I suppose you wouldn't get a remote uh an electric shock off your remote control if it was made of rubber. Suzanne Bateman: Yeah, and it'd help if you drop it, it protects it as well. Arlene Charles: Yeah, yeah. Suzanne Bateman: To some degree. Donna Mcelroy: So if if we use uh latex cases, they won't allow us to use solar cells, as an energy source that is the constraint, Suzanne Bateman: Uh-huh. Donna Mcelroy: so um we could use titanium, wood or plastic uh Suzanne Bateman: Or if Donna Mcelroy: or Suzanne Bateman: we want to use the Donna Mcelroy: uh Suzanne Bateman: the latex, then we have to go with one of the other um Arlene Charles: If Donna Mcelroy: Yeah, Arlene Charles: it's Donna Mcelroy: w Arlene Charles: made Suzanne Bateman: power Arlene Charles: of Donna Mcelroy: energy Arlene Charles: rubber Suzanne Bateman: things. Arlene Charles: you Donna Mcelroy: source. Arlene Charles: could get the kinetic energy fairly easily there, you Suzanne Bateman: From Arlene Charles: could just Donna Mcelroy: Yeah, Suzanne Bateman: from Arlene Charles: bounce Donna Mcelroy: tap it Arlene Charles: it Suzanne Bateman: bouncing Donna Mcelroy: on Arlene Charles: up Donna Mcelroy: the desk, Arlene Charles: and down. Suzanne Bateman: it. Donna Mcelroy: yeah. Suzanne Bateman: You can have it as like a little ball to bounce, that Arlene Charles: Yeah. Suzanne Bateman: flips open. Arlene Charles: Um Donna Mcelroy: Mm. Arlene Charles: so yeah, um Donna Mcelroy: So probably Arlene Charles: okay. Donna Mcelroy: double curved surface is the way to go, yeah, Arlene Charles: Yeah, Suzanne Bateman: Mm yeah. Arlene Charles: yeah. Donna Mcelroy: Or or curved at one end and flat on the top, because I I'm not sure if it is flat on both both the sides, then ho how much easy would it be to reach for buttons, etcetera. Um Arlene Charles: You have to have a certain element of flatness, I think. Donna Mcelroy: Yeah. Arlene Charles: It it depends on the whole ergonomics of it, you know, put your hands so y it's the least Donna Mcelroy: Yeah. Arlene Charles: movement Donna Mcelroy: Yeah, Arlene Charles: basically. Donna Mcelroy: singe Suzanne Bateman: Uh-huh. Donna Mcelroy: single side curved or double side curved does not say too much, does it? It Arlene Charles: No, I Donna Mcelroy: uh Arlene Charles: d I don't think it makes a lot of difference. I I have one of those s slidey phones and I mean the back is essentially straight, Suzanne Bateman: Mm. Arlene Charles: but it's curvy, Donna Mcelroy: Mm. Arlene Charles: so. Besides, Suzanne Bateman: Yeah, Donna Mcelroy: Uh Suzanne Bateman: 'cause Arlene Charles: you have Suzanne Bateman: the Arlene Charles: four sides Donna Mcelroy: I think Arlene Charles: to a Donna Mcelroy: uh Arlene Charles: thing, so I mean Suzanne Bateman: Yeah. Arlene Charles: does curved one side mean one side is straight Donna Mcelroy: Right. Arlene Charles: and, you know curved two sides means the whole thing is just a big curvy p thing? Donna Mcelroy: Right. Suzanne Bateman: Dunno. Donna Mcelroy: Di now did it say anywhere in your research material about this sliding stuff uh because um according to the information that I have, I think uh the onl only options that we have with the case is are these three. Arlene Charles: Yeah. Donna Mcelroy: Uh eith either we have uh a flat surfaced uh case or a curved surfaced case. It does Suzanne Bateman: Nothing Donna Mcelroy: not say anything Suzanne Bateman: to Donna Mcelroy: about uh Suzanne Bateman: open Donna Mcelroy: whether Suzanne Bateman: them. Donna Mcelroy: technically, you know, this this stuff is available at all. Arlene Charles: Yeah. Uh it's it's more about the protecting the L_C_D_, which I Donna Mcelroy: Right, Arlene Charles: think is where it came Donna Mcelroy: yeah, Arlene Charles: from. Donna Mcelroy: yeah. Arlene Charles: But no, my research didn't tell Arlene Charles anything, which is why we have all the pictures, 'cause I had nothing better to Donna Mcelroy: Right. Arlene Charles: do with my time. Donna Mcelroy: Okay. Arlene Charles: Okay, cool. Suzanne Bateman: Anything else? What've we got? Arlene Charles: Uh combine style with a level of functionality, um beauty and practicality and a thing of beauty and p function. Suzanne Bateman: Okay, Donna Mcelroy: Cool, thanks. Arlene Charles: Okay? Suzanne Bateman: so. Shelby Shelton: Thanks Suzanne Bateman: Looking at what we've got, we we want an L_C_D_ display with a spinning Donna Mcelroy: Yeah. Suzanne Bateman: wheel. Donna Mcelroy: Let's let's try to r rub off Suzanne Bateman: Yeah, Donna Mcelroy: things Suzanne Bateman: rub off Donna Mcelroy: and Suzanne Bateman: some Donna Mcelroy: yeah, Suzanne Bateman: of those. Donna Mcelroy: so um hand dynamos are definitely out, right? You Shelby Shelton: Yeah Donna Mcelroy: you Suzanne Bateman: Yeah, Donna Mcelroy: got a wind Shelby Shelton: uh-hum Donna Mcelroy: dynamo, Suzanne Bateman: it's Shelby Shelton: yeah. Suzanne Bateman: not Donna Mcelroy: yeah. Suzanne Bateman: that's not streamlined and sexy, having Donna Mcelroy: Okay. Suzanne Bateman: a having a wind Donna Mcelroy: Um Suzanne Bateman: up. Donna Mcelroy: kinetic energy does seem to have some kind of uh Suzanne Bateman: I think Donna Mcelroy: uh Suzanne Bateman: tha Donna Mcelroy: appeal, but uh Arlene Charles: It's Donna Mcelroy: it's Arlene Charles: about the practicality of it really, isn't Donna Mcelroy: Yeah. Arlene Charles: it? You know? Donna Mcelroy: As Arlene Charles: I mean Donna Mcelroy: against Arlene Charles: if Donna Mcelroy: a watch, which constantly keeps moving, this this thing will have to be tapped every time, which which might be very frustrating for the user. Suzanne Bateman: Depends how much how much movement Donna Mcelroy: Kinetic energy Suzanne Bateman: it really Donna Mcelroy: it Suzanne Bateman: needs. Donna Mcelroy: needs Suzanne Bateman: Pr Donna Mcelroy: I don't have too Suzanne Bateman: presumably Donna Mcelroy: much technical information Suzanne Bateman: if they're suggesting Donna Mcelroy: on that, yeah, Suzanne Bateman: it, then we Donna Mcelroy: right. Suzanne Bateman: could use it. Donna Mcelroy: Okay, let's keep it Suzanne Bateman: I'd Donna Mcelroy: option Suzanne Bateman: I'd keep Donna Mcelroy: uh keep Suzanne Bateman: it Donna Mcelroy: an Suzanne Bateman: on. Donna Mcelroy: option, yeah. Um the flat co completely flat case is definitely out, Suzanne Bateman: We Donna Mcelroy: right? Suzanne Bateman: don't want Donna Mcelroy: It Shelby Shelton: Yeah Suzanne Bateman: that Donna Mcelroy: has Suzanne Bateman: it's Donna Mcelroy: to Shelby Shelton: it's Suzanne Bateman: no Donna Mcelroy: be at Suzanne Bateman: it's Donna Mcelroy: least Shelby Shelton: yeah. Suzanne Bateman: not Donna Mcelroy: curved from Suzanne Bateman: not Donna Mcelroy: one Suzanne Bateman: vegetable. Donna Mcelroy: side, yeah. Um okay, we still have all all the options. Wood, do you think wood Shelby Shelton: N Donna Mcelroy: will Shelby Shelton: wood Donna Mcelroy: be a good Shelby Shelton: is Donna Mcelroy: idea? Shelby Shelton: I can't n how do you uh I mean you can't keep it really small Donna Mcelroy: Mm. Shelby Shelton: uh you can't make it like thin and Donna Mcelroy: Right. Shelby Shelton: The Suzanne Bateman: Mm. Shelby Shelton: wood Arlene Charles: I Shelby Shelton: thing. Arlene Charles: can't Shelby Shelton: Because Arlene Charles: imagine Shelby Shelton: you need to Arlene Charles: a m Shelby Shelton: you Arlene Charles: wooden Shelby Shelton: n you need Arlene Charles: remote Shelby Shelton: to put all Arlene Charles: control. Shelby Shelton: the technology in, so I mean if the case you add the case and Donna Mcelroy: Yeah if Shelby Shelton: it Donna Mcelroy: if Shelby Shelton: it Donna Mcelroy: it is Shelby Shelton: becomes Donna Mcelroy: really Shelby Shelton: a bit Donna Mcelroy: thin Shelby Shelton: bulky wi mm-mm yeah. Donna Mcelroy: if it Suzanne Bateman: Mm. Donna Mcelroy: is really thin it it's likely to break, it's Shelby Shelton: Yeah, Donna Mcelroy: it's much Shelby Shelton: yeah. Donna Mcelroy: more Suzanne Bateman: Yeah, Shelby Shelton: Yeah. Donna Mcelroy: uh Suzanne Bateman: and given that we're we're looking at more spongy material preferences, I ha would think maybe Shelby Shelton: U yeah Suzanne Bateman: rubber Shelby Shelton: wood is Suzanne Bateman: or Shelby Shelton: not Suzanne Bateman: plastic Shelby Shelton: really Suzanne Bateman: is more Donna Mcelroy: Right. Shelby Shelton: yeah. Arlene Charles: Well it's not very cleanable either, Suzanne Bateman: Yeah. Donna Mcelroy: That's Arlene Charles: do you Shelby Shelton: Yeah. Arlene Charles: know. Donna Mcelroy: true. Arlene Charles: It's it's not a practical I mean it's it's alright for a table, but for a remote control, you know. Donna Mcelroy: Yeah. Arlene Charles: And splinters and stuff Donna Mcelroy: Yeah, Arlene Charles: and Suzanne Bateman: Yeah. Donna Mcelroy: okay wood Arlene Charles: It Donna Mcelroy: is Arlene Charles: just Donna Mcelroy: out. Arlene Charles: m doesn't make any sense, I think is Donna Mcelroy: Right. Shelby Shelton: Yeah, Arlene Charles: the thing Shelby Shelton: yeah, Arlene Charles: with wood. Shelby Shelton: in the case of remote control not really. Suzanne Bateman: Yeah. Donna Mcelroy: Okay, now for the really interesting stuff, the interface. Suzanne Bateman: Yeah. Donna Mcelroy: Right, so uh the the push-buttons is is our expertise uh in the industry, but uh it seems to be out of trend, you know, nobody seems Arlene Charles: You have Donna Mcelroy: to Shelby Shelton: Yeah, Arlene Charles: to Shelby Shelton: but Donna Mcelroy: be Arlene Charles: have some push-buttons, Shelby Shelton: you Arlene Charles: don't Shelby Shelton: um I think Arlene Charles: you? Shelby Shelton: for for the channel numb uh channel numbers you still need them, Suzanne Bateman: Mm-hmm. Shelby Shelton: wouldn't you? Arlene Charles: G yeah, Donna Mcelroy: Mm Arlene Charles: yeah. Shelby Shelton: Yeah, Donna Mcelroy: right. Shelby Shelton: so for Donna Mcelroy: Oh, Shelby Shelton: channel Donna Mcelroy: if Shelby Shelton: numbers Donna Mcelroy: if Shelby Shelton: but Donna Mcelroy: we have L_C_D_ displays, that opens up a whole world, you know, if you have an L_C_D_ display, then mm you can select Shelby Shelton: But I Donna Mcelroy: almost Shelby Shelton: th Donna Mcelroy: everything on Shelby Shelton: yeah Donna Mcelroy: the L_C_D_ Shelby Shelton: but Donna Mcelroy: display. Shelby Shelton: I think the L_C_D_ Suzanne Bateman: Just for Shelby Shelton: display Suzanne Bateman: fast Shelby Shelton: is kind of yeah, it's faster with a m yeah and w if we dis and when we s um discussed that we might like this flipping open thing, then Donna Mcelroy: Right. Shelby Shelton: I mean Suzanne Bateman: Yeah. Shelby Shelton: y you can use it as a normal remote control, Donna Mcelroy: Okay. Suzanne Bateman: Yeah. Shelby Shelton: but if you do want to use L_C_D_, then you flip it open, but it's it it's Arlene Charles: Yeah. Shelby Shelton: more time-consuming. Suzanne Bateman: Yeah. Arlene Charles: I think this is going back to the the graph at the beginning that I made, where, you know, the buttons that people use all the time, you want buttons for them Donna Mcelroy: Mm right. Shelby Shelton: Yeah. Arlene Charles: and everything Suzanne Bateman: And it Arlene Charles: else Suzanne Bateman: yeah Arlene Charles: menu-driven. Suzanne Bateman: L_ L_C_D_. Donna Mcelroy: So uh in in the buttons we have for the channels also we have options. Do you do we enumerate everything from zero to nine? Or do we have just uh channel plus, channel minus, just Shelby Shelton: No, Donna Mcelroy: to Shelby Shelton: no, Donna Mcelroy: just to scroll? Shelby Shelton: I mean mm we we definitely need the the numbers, because Donna Mcelroy: The numbers. Shelby Shelton: it's uh Arlene Charles: Yeah. Shelby Shelton: otherwise people don't want to flip through all the channels. Arlene Charles: Yeah. Suzanne Bateman: Do we Donna Mcelroy: Right. Suzanne Bateman: need Shelby Shelton: Um Suzanne Bateman: them on as buttons or Donna Mcelroy: Or Suzanne Bateman: do we need them as L_C_D_? Donna Mcelroy: on the L_C_D_ we can, you Arlene Charles: G yeah, Donna Mcelroy: know Shelby Shelton: Yeah, I would say Arlene Charles: I would think Shelby Shelton: buttons, Arlene Charles: buttons, yeah. Shelby Shelton: because Suzanne Bateman: Buttons. Shelby Shelton: it's yeah. Arlene Charles: It's Donna Mcelroy: Okay. Arlene Charles: it's the Shelby Shelton: I Arlene Charles: I think Donna Mcelroy: So Arlene Charles: the thing is, so if Donna Mcelroy: mm Arlene Charles: someone just wants to turn on their T_V_ Suzanne Bateman: Mm. Arlene Charles: and put on a channel, then Suzanne Bateman: Yeah. Arlene Charles: it should be easier to Shelby Shelton: Yeah. Arlene Charles: use than any other remote, and then if someone wants to, you know, change the contrast on their T_V_ and Donna Mcelroy: Alright. Arlene Charles: they should be able to do that and it should be accessible, but, Shelby Shelton: Mm-hmm. Arlene Charles: you know, I mean most of the time I mean there's a limit to how much the biggest techno geek can spend fiddling with the T_V_, Suzanne Bateman: Yeah. Donna Mcelroy: Right. Arlene Charles: I think is the the the issue there. Donna Mcelroy: Okay, so buttons definitely in but oh shall we uh try to draw a prec um Suzanne Bateman: I think that's what you guys are gonna do next, Donna Mcelroy: Uh okay. Suzanne Bateman: so if we put down the key Donna Mcelroy: Okay, Suzanne Bateman: um Donna Mcelroy: okay, Shelby Shelton: Yeah. Donna Mcelroy: so the Suzanne Bateman: things Donna Mcelroy: components. Right, Suzanne Bateman: that Donna Mcelroy: so Suzanne Bateman: we want. Donna Mcelroy: uh what about the the scrolling uh? Shelby Shelton: Yeah but n I I'm not completely um completely clear uh I yeah, about the spinning wheel. So I think it it doesn't make sense to have both like a scrolling Arlene Charles: E Shelby Shelton: and spinning Arlene Charles: either Shelby Shelton: thing, it's Arlene Charles: or Shelby Shelton: uh you can al include everything in the spinning if you Suzanne Bateman: Just spinning Arlene Charles: G Shelby Shelton: yeah, Arlene Charles: yeah. Suzanne Bateman: and not scrolling, Shelby Shelton: yeah, Suzanne Bateman: I would say. Shelby Shelton: in Arlene Charles: I Shelby Shelton: that Arlene Charles: would Shelby Shelton: case. Arlene Charles: say the s the s the spinning goes at a high speed to th to Suzanne Bateman: Yeah. Arlene Charles: the scrolling wheel, so you have to decide whether you you know, you want to be going so fast or not. But I mean the the thing with this whole if y you're planning on making it out of rubber, on the basis that it's spongy, Suzanne Bateman: Hmm. Arlene Charles: then I'm not sure how well a scrolling wheel would work. Donna Mcelroy: Mm um Suzanne Bateman: But if you've got a if Shelby Shelton: Ah, but I mean you can Suzanne Bateman: if you've got a flipped thing, effectively it's something that's curved on one side and flat on the other side, but you folded Arlene Charles: Yeah, Suzanne Bateman: it in Arlene Charles: but Suzanne Bateman: half. Arlene Charles: y your spinning wheel tends Suzanne Bateman: Th Arlene Charles: to go to one side. Suzanne Bateman: that would be on one side, uh-huh. Donna Mcelroy: I'm not sure it'll be a good idea to construct the whole thing out of rubber. Shelby Shelton: Yeah, I Donna Mcelroy: Uh Shelby Shelton: um Suzanne Bateman: No, Shelby Shelton: I think Donna Mcelroy: i it Shelby Shelton: so too, Suzanne Bateman: I Shelby Shelton: I Suzanne Bateman: think Shelby Shelton: mean Suzanne Bateman: it's Shelby Shelton: the Suzanne Bateman: just Shelby Shelton: case Suzanne Bateman: the casing Shelby Shelton: would be yeah Arlene Charles: You want Suzanne Bateman: rubber Shelby Shelton: the case Arlene Charles: an Suzanne Bateman: on Arlene Charles: outside Shelby Shelton: would Suzanne Bateman: the Shelby Shelton: be Suzanne Bateman: outside. Shelby Shelton: rubber Arlene Charles: of rubber Shelby Shelton: and the Arlene Charles: and then Shelby Shelton: the buttons, Arlene Charles: open it up Donna Mcelroy: Or Arlene Charles: and Donna Mcelroy: or at Suzanne Bateman: Yeah. Donna Mcelroy: the corners, Shelby Shelton: rubber buttons, Donna Mcelroy: edges, Shelby Shelton: but then Donna Mcelroy: just the edges covered by rubber or something Suzanne Bateman: Yeah. Donna Mcelroy: like that. Everything else in plastic Shelby Shelton: Yeah. Donna Mcelroy: or even titanium if we want to use it. Arlene Charles: Or maybe like interchangeable cases. Donna Mcelroy: Mm-hmm. Arlene Charles: 'Cause I know like we're going back to iPods again n the whole spinning wheel, but I have like a you know, obviously my iPod's not made of rubber, but then I have a little rubber case that goes over the top of it and Donna Mcelroy: Right, Arlene Charles: I can Suzanne Bateman: Mm. Arlene Charles: change the colour, Donna Mcelroy: right. Arlene Charles: theoretically, to match my outfit. Donna Mcelroy: Right, okay, so so that gives us a more trendy look as well. Um Arlene Charles: Yeah, I think the spinning wheel is definitely very now. Donna Mcelroy: Right. Suzanne Bateman: Mm-hmm. Donna Mcelroy: Yeah, Shelby Shelton: Mm-hmm. Donna Mcelroy: and uh we're going more for the trends than for the usability anyway, Suzanne Bateman: That's right, Arlene Charles: Yeah. Suzanne Bateman: that's what Donna Mcelroy: right? Suzanne Bateman: they're after. Donna Mcelroy: So I'll rub that out. And uh colours can be provided with the case rather than Um Suzanne Bateman: Mm-hmm. Donna Mcelroy: but we still need to te think about the colour of our remote as such, you know, just keep Shelby Shelton: Yeah Donna Mcelroy: it black, Shelby Shelton: I think Donna Mcelroy: or Shelby Shelton: we um it was a a requirement that we use our um th the colours of our company, so would it be like yellow, grey and black or something, or Suzanne Bateman: I guess. Arlene Charles: That doesn't fit in Shelby Shelton: Yeah, does Arlene Charles: with the whole vegetable theme though. Suzanne Bateman: Bananas. Shelby Shelton: Yeah. Banana's yellow, yeah, Arlene Charles: Yeah, Shelby Shelton: definitely. Arlene Charles: but I mean do you think we could incorporate the colours of the company into the buttons and then make the colour of the main remote the colour like vegetable colours, do you know? So Suzanne Bateman: Mm-hmm. Arlene Charles: you could have like I mean I suppose vegetable colours would be orange and green Suzanne Bateman: Green. Arlene Charles: and some reds and um maybe Suzanne Bateman: Yeah. Arlene Charles: purple and that and then you'd pick the buttons in company colours to to match Donna Mcelroy: Mm. Arlene Charles: with it. Donna Mcelroy: Okay. Um okay, if you g go over to uh the integrated circuits. Uh since we're having L_C_D_s there there's no way that we're Suzanne Bateman: yeah. Donna Mcelroy: will be able to um what we do need to consider, however, is that the price is going up for the ever every such thing that we are considering, Suzanne Bateman: Yeah. Donna Mcelroy: but since L_C_D_s seems to be uh a definite yes, so Suzanne Bateman: Yeah. Donna Mcelroy: it seems to be one area where we would want to spend. So I'll rub off the other Suzanne Bateman: Mm-hmm. Donna Mcelroy: two. Arlene Charles: So are we discounting solar energy because rubber's gonna be used in there somewhere or Suzanne Bateman: That was the Donna Mcelroy: Oh is oh the constraint was uh Suzanne Bateman: We Arlene Charles: If Suzanne Bateman: can't have Donna Mcelroy: yeah. Arlene Charles: solar panels Suzanne Bateman: solar Arlene Charles: with Suzanne Bateman: panels Arlene Charles: the rubber. Donna Mcelroy: Yeah. Suzanne Bateman: with rubber, Donna Mcelroy: So Suzanne Bateman: so. Arlene Charles: Yeah, okay, so we lose that I think. Suzanne Bateman: Shall we go for if we're going for rubber, we think uh on as our case, Shelby Shelton: Mm-hmm. Suzanne Bateman: and then Shelby Shelton: And the buttons as well, I think. Suzanne Bateman: Yeah. Shelby Shelton: Yeah. Donna Mcelroy: I think Suzanne Bateman: We've Donna Mcelroy: uh Suzanne Bateman: got five more minutes. Donna Mcelroy: we'll have uh uh using the simple battery will be a safer option as compared to the kinetic energy one, I Suzanne Bateman: Mm-hmm. Donna Mcelroy: mean, a although it does seem uh interesting. Arlene Charles: Yeah. Suzanne Bateman: Yeah. Donna Mcelroy: But it does not hold any advantages as Suzanne Bateman: Yeah, Donna Mcelroy: such Arlene Charles: It's Donna Mcelroy: for Arlene Charles: just a Donna Mcelroy: a Arlene Charles: gimmick. Suzanne Bateman: mm-hmm. Donna Mcelroy: yeah. Okay. Uh okay, so r we understand this better now that uh the the speaker is for the feedback, right? Suzanne Bateman: Mm-hmm. Donna Mcelroy: It it says uh the things that you type in or something like that, Suzanne Bateman: Yeah. Donna Mcelroy: so Suzanne Bateman: I think if we can if we can include them at not too much extra Donna Mcelroy: Ye Suzanne Bateman: cost, Donna Mcelroy: yeah, Suzanne Bateman: then I'd put them in, Donna Mcelroy: we Suzanne Bateman: but if Donna Mcelroy: we Suzanne Bateman: it's Donna Mcelroy: don't have too much information about it, Suzanne Bateman: Yeah. Donna Mcelroy: um Shelby Shelton: Yeah, but it it I think it should be quite cheap because it's from our own Suzanne Bateman: It's Shelby Shelton: company, Suzanne Bateman: from the company, Shelby Shelton: yeah. Donna Mcelroy: Yeah, okay, Suzanne Bateman: so Donna Mcelroy: so so th this is in as well then, the Suzanne Bateman: Yeah. Donna Mcelroy: sample speaker. Suzanne Bateman: Okay. Donna Mcelroy: Right. Suzanne Bateman: And the case is curved on one side, but then Donna Mcelroy: Flat Suzanne Bateman: flat Donna Mcelroy: on the top. Suzanne Bateman: flat, so it's flipped into Shelby Shelton: Mm-hmm. Donna Mcelroy: Yeah. Suzanne Bateman: each other. Donna Mcelroy: Okay. Suzanne Bateman: Can I pull the Arlene Charles: Yeah, Suzanne Bateman: thing Arlene Charles: sure Suzanne Bateman: out the back of your Arlene Charles: j Suzanne Bateman: computer? Just so we can Arlene Charles: Sorry, do you want Arlene Charles to Suzanne Bateman: Nothing, it's right, I'm just There we go. Arlene Charles: What does um I_C_S_ mean? Donna Mcelroy: I_C_s? Uh integrated circuits. Arlene Charles: Okay, cool. So it's advanced integrated circuits? Donna Mcelroy: Yeah. Suzanne Bateman: Uh oh now I've gone too far. Donna Mcelroy: Uh um we we're definitely going in for voice recognition as well as Shelby Shelton: Yeah. Donna Mcelroy: L_C_D_s, Suzanne Bateman: Yeah. Donna Mcelroy: mm. Suzanne Bateman: We're on our way. Suzanne Bateman: Okay. So we've basically worked out that we're going with a simple battery, the advanced chip Donna Mcelroy: Right. Suzanne Bateman: and a curved on one side case which is folded in on itself, Donna Mcelroy: Yep. Suzanne Bateman: um made out of rubber and the buttons are also rubber. We're having push-buttons on the outside and then on the inside an L_C_D_ with spinning wheel, and we're incorporating voice recognition. That's our overall concept, Shelby Shelton: Um Suzanne Bateman: and it's gonna look sort of vegetable, and be in bright vegetable colours. Shelby Shelton: Uh-huh. So w w would with have the spinning wheel inside with the L_C_D_, or would it be on the outer Suzanne Bateman: I think Arlene Charles: Imagine Suzanne Bateman: it's on Arlene Charles: it would Suzanne Bateman: the Arlene Charles: be inside. Shelby Shelton: Okay. Arlene Charles: So um actually that could Donna Mcelroy: Mm. Arlene Charles: like really cut down your thing, so you've got your outside, which is like minimalist, Shelby Shelton: Mm-hmm. Arlene Charles: and then you open it up and Shelby Shelton: Yeah, Arlene Charles: you've got Shelby Shelton: okay. Arlene Charles: a screen and a spinning wheel, which you can incorporate buttons into. Shelby Shelton: Mm-hmm. Suzanne Bateman: Mm-mm. Arlene Charles: Um so you've Suzanne Bateman: Yeah. Arlene Charles: still not got like a lot of stuff in the Suzanne Bateman: On the Arlene Charles: You've maybe got, you know like if you're modelling on iPod you've got five buttons and Suzanne Bateman: Mm-hmm. Arlene Charles: a wheel, and four of the buttons are in the wheel, and the other one's the little bit inside the Suzanne Bateman: In Arlene Charles: wheel, Suzanne Bateman: the centre, yeah, Arlene Charles: yeah. Shelby Shelton: Mm yeah. Suzanne Bateman: sure. Okay, so now we've got thirty minutes before our next meeting. In the meantime, Donna Mcelroy over here is gonna work on the look and feel design, Donna Mcelroy: Mm-hmm. Suzanne Bateman: which I'll presume he'll work out what that means. Um Shelby Shelton will work on the user interface design and Arlene Charles is going to work on product evaluation. And as well as that, the two designers are going to work together on our prototype following those instructions that we've just come up with using modelling clay and you will get extra Shelby Shelton: Mm-hmm. Suzanne Bateman: instructions from your Donna Mcelroy: Cool. Suzanne Bateman: personal coach. Is that all okay? And anyone Shelby Shelton: Yeah. Suzanne Bateman: who hasn't put their their presentation in the project documents Donna Mcelroy: Yeah, Suzanne Bateman: folder, Donna Mcelroy: okay. Suzanne Bateman: it would be good just so in case Shelby Shelton: Mm-hmm. Suzanne Bateman: we have to refer to it. Arlene Charles: Cool, I'm gonna go and sit on my own. Suzanne Bateman: Y ah nobody wants to talk to you. Arlene Charles: I know, Suzanne Bateman: Unplug yourself. Arlene Charles: I'm hated. Shelby Shelton: Hmm. Arlene Charles: I've got a bit tangled up in all this. Shelby Shelton: So but shall I move away first or shall I stay here with Suzanne Bateman: I dunno, maybe Shelby Shelton: we need to Suzanne Bateman: I would car

Suzanne Bateman opens the meeting by stating the agenda. Donna Mcelroy begins presenting, first describing the insides of a remote control. He lists the options for types of batteries, shapes for the remote case, materials to use, and functions to include such as push buttons, scroll wheels, and LCD screens. He then talks about the type of chip certain features would require. The interface specialist begins presenting, first defining user interface and then showing some examples of remotes. She mentions that many existing remotes do not have a nice appearance, and states her preference for a remote that is small and simple and contains a scrolling wheel. Arlene Charles gives her presentation about user requirements and current trends. She shares that fruits and vegetables are popular, meaning curviness and assymetry are in. The group decides to use LCD screens to give the remote style. They discuss what material should be used, talk about how the surface of the case should look, and plan out the general user interface. After they make some decisions about the remote, Suzanne Bateman closes the meeting by telling them what their tasks will be until the next meeting.

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train

Jennifer Dunham: I'm proud of it. Pearl Ramsey: Okay. This is our final meeting, the detailed meeting. And again I'll take minutes. The what we have to get through in this meeting is firstly the prototype presentation from you two, so you can show us what you've been working Cassandra Sanchez: Yeah. Pearl Ramsey: on so diligently. Um Dorothy Christopherso: It Pearl Ramsey: then Dorothy Christopherso: does look very cool. Pearl Ramsey: then Cat's going to present the evaluation criteria that we're going to be evaluating this against. Then I need to say some st a few things about finance, 'cause we have to check that it's within the finance criteria. Um and then be making sure that product fits both the evaluation criteria from Cat the financial. Um and then we uh will have a brief evaluation of the whole process of production and design that we've been through. So we've got forty minutes. Dorothy Christopherso: And Pearl Ramsey: S Dorothy Christopherso: then do get to make a remote control? Pearl Ramsey: 'Cause we missed out. Dorothy Christopherso: Yeah. Pearl Ramsey: So it's now I guess that we're supposed to start at fifteen thirty five, so we've got until four fifteen. Jennifer Dunham: Uh-huh. Pearl Ramsey: Is that Jennifer Dunham: How Pearl Ramsey: right? Jennifer Dunham: how much do we have, forty minutes? Cassandra Sanchez: Yeah, about Pearl Ramsey: Yeah, Cassandra Sanchez: four Dorothy Christopherso: Yeah. Cassandra Sanchez: fifteen, Pearl Ramsey: until Jennifer Dunham: Yeah. Cassandra Sanchez: yeah. Pearl Ramsey: about four fifteen. So yeah. Jennifer Dunham: Okay, so. Pearl Ramsey: Go for it. Do you want Cassandra Sanchez: So, you said um are are we starting with the Pearl Ramsey: Yes. Cassandra Sanchez: the Jennifer Dunham: Presentation. Cassandra Sanchez: so will you maybe start with like the mm the shape and things and and then I will explain the the user interface th uh things, Jennifer Dunham: Okay. Cassandra Sanchez: like the buttons and the scrolling things and Jennifer Dunham: Okay. So um basically going with our trend of vegetables and we selected the colour and approximate shape of banana. Um Dorothy Christopherso: You think bananas are a safe thing to use? It's a bit um phallic. Jennifer Dunham: Yeah. Um Cassandra Sanchez: Well, but it's it's just an a Pearl Ramsey: Dual Cassandra Sanchez: approximation. Pearl Ramsey: use, perfect. Jennifer Dunham: Yeah. Pearl Ramsey: Dual use, perfect. Dorothy Christopherso: Oh, your remote control? Oh that's just bad. Pearl Ramsey: Does it vibrate when you press the buttons? Sorry, sorry. Jennifer Dunham: Um so basically it's the it's the flip open thing again. Pearl Ramsey: Mm-hmm. Jennifer Dunham: So now we we have the okay, so Ma Maarika explain you the user interface there. And it flips open on the side, so it opens like that. Pearl Ramsey: Mm-hmm. Jennifer Dunham: And we have the user interface Pearl Ramsey: Wow. Jennifer Dunham: o in here and uh the the L_C_D_ and and the scroll are inside. Um well, everything else is probably user interface, so. Yeah, Cassandra Sanchez: Uh Pearl Ramsey: And it's Jennifer Dunham: yeah. Cassandra Sanchez: yeah. Pearl Ramsey: the whole thing's made of rubber, Cassandra Sanchez: Rubber. Jennifer Dunham: Oh Pearl Ramsey: is that Jennifer Dunham: yeah. Yeah, it has, yeah. Cassandra Sanchez: Yeah, Dorothy Christopherso: Is it to scale, or do you think you can make it a bit smaller? Cassandra Sanchez: Um it could be made a bit smaller, and and of it would be and yeah, Dorothy Christopherso: Yeah. Cassandra Sanchez: but um one thing we actually kind of um forgot while designing, that one side was supposed to be rounder, so we Jennifer Dunham: Yeah, Cassandra Sanchez: said the back side Jennifer Dunham: well, Cassandra Sanchez: round, Jennifer Dunham: but Cassandra Sanchez: yeah. Jennifer Dunham: i since it's made of rubber anyway. I Pearl Ramsey: Mm-hmm. Jennifer Dunham: I think Cassandra Sanchez: Yeah. Jennifer Dunham: it's Dorothy Christopherso: It Jennifer Dunham: it's Dorothy Christopherso: l does Jennifer Dunham: uh Dorothy Christopherso: look like the curvy and then the whole shape's curvy, so I Jennifer Dunham: Yeah. Dorothy Christopherso: that this Pearl Ramsey: Yeah. Dorothy Christopherso: curvy does look quite like a vegetable. Cassandra Sanchez: Yeah. Jennifer Dunham: Mm. Hmm. Cassandra Sanchez: And it's spongy as well. Dorothy Christopherso: I wasn't Cassandra Sanchez: So Dorothy Christopherso: very keen on that, but yeah. Pearl Ramsey: Huh. Cassandra Sanchez: so uh the user interface as as we discussed last time uh mm on on the on the cover we just have the very basic things. Pearl Ramsey: Mm-hmm. Cassandra Sanchez: So we have that n uh channels here starting from um uh one two three there would be numbers in in Pearl Ramsey: Yeah. Cassandra Sanchez: the on the actual one. So it's four, up to four, up to seven, Pearl Ramsey: Six Cassandra Sanchez: up Pearl Ramsey: seven Cassandra Sanchez: to nine Pearl Ramsey: eight nine. Cassandra Sanchez: and zero, z Pearl Ramsey: I Cassandra Sanchez: zero Pearl Ramsey: like Cassandra Sanchez: here. Pearl Ramsey: that. Cassandra Sanchez: Yeah. And then, well this is on off button. It's it's quite standard mm place for it and and also the colour is quite often red, so it's it's kind of user friendly. Pearl Ramsey: Yeah. Cassandra Sanchez: And then these ones would be for flipping the channels back and like the previous one and the next one. Pearl Ramsey: Uh-huh. Cassandra Sanchez: And and we would also have a l little um thing saying here, previous and ne prevon prevon next. Dorothy Christopherso: So Pearl Ramsey: Yeah. Dorothy Christopherso: where's the volume? Cassandra Sanchez: The volume is is scrolling. On Jennifer Dunham: It's Cassandra Sanchez: the side, Jennifer Dunham: on the side. Cassandra Sanchez: this Dorothy Christopherso: Ah, Cassandra Sanchez: one. Dorothy Christopherso: you Cassandra Sanchez: Yeah Dorothy Christopherso: did Cassandra Sanchez: you Dorothy Christopherso: get Cassandra Sanchez: just Dorothy Christopherso: that Cassandra Sanchez: do Dorothy Christopherso: in Cassandra Sanchez: it Dorothy Christopherso: then, Cassandra Sanchez: like this. Dorothy Christopherso: mm-hmm. Cassandra Sanchez: And and and it's it's on the back is mm cover or back lid, because if you flip it open, you can still do the scrolling here. Dorothy Christopherso: Oh Pearl Ramsey: Mm-hmm. Dorothy Christopherso: okay, Cassandra Sanchez: See? So the volume is you just scroll, but then once you flip it open, okay, there there you have the screen Pearl Ramsey: Yeah. Cassandra Sanchez: and and you have the mm spinning wheel with Pearl Ramsey: Mm-hmm. Cassandra Sanchez: options to choose. You can move back and forth and then if you need to m choose something on the screen, you just push the cen mm the middle button. Pearl Ramsey: Mm-hmm. Dorothy Christopherso: Cool. Oh, the thing we forgot was like a mute button. Cassandra Sanchez: A mute Jennifer Dunham: Uh Cassandra Sanchez: button. Jennifer Dunham: no, Dorothy Christopherso: Yeah. Jennifer Dunham: we we'd not put Cassandra Sanchez: Well, Jennifer Dunham: so on Cassandra Sanchez: we'll have this on the screen, on the display. Jennifer Dunham: on the cover Pearl Ramsey: Y or Jennifer Dunham: we Pearl Ramsey: you could Jennifer Dunham: have Pearl Ramsey: have Jennifer Dunham: the Pearl Ramsey: it Jennifer Dunham: the Pearl Ramsey: so Dorothy Christopherso: On Jennifer Dunham: bare Dorothy Christopherso: the Pearl Ramsey: you Jennifer Dunham: essentials. Dorothy Christopherso: wheel, like Pearl Ramsey: on the Dorothy Christopherso: if Pearl Ramsey: wheel Dorothy Christopherso: you hold Pearl Ramsey: if Dorothy Christopherso: the Pearl Ramsey: you. Dorothy Christopherso: wheel down then it will Jennifer Dunham: Uh on Dorothy Christopherso: mute. Jennifer Dunham: the L_C_D_ we r you know, the main Cassandra Sanchez: Well, Jennifer Dunham: menu will Cassandra Sanchez: but Jennifer Dunham: have Cassandra Sanchez: the Jennifer Dunham: various Cassandra Sanchez: but the mute Jennifer Dunham: options. Cassandra Sanchez: yeah, the scrolling is kind of you have to scroll all the way to make it mute, right? Pearl Ramsey: But if you Dorothy Christopherso: Yeah, Pearl Ramsey: hold Dorothy Christopherso: but it's a Pearl Ramsey: it Dorothy Christopherso: scroll Jennifer Dunham: Mm. Pearl Ramsey: in, Dorothy Christopherso: and click, isn't it? Pearl Ramsey: if it's a scroll and click so you Cassandra Sanchez: Okay, Pearl Ramsey: hold it in? Dorothy Christopherso: Okay, cool. Cassandra Sanchez: yeah, Dorothy Christopherso: So that Cassandra Sanchez: okay. Dorothy Christopherso: that solves the whole mute issue. Jennifer Dunham: Mm. Cassandra Sanchez: Yeah. And okay, so i so the the voice recognition is also just part of it. You can't really see it in Pearl Ramsey: no. Cassandra Sanchez: the interface. Jennifer Dunham: Yeah, it's Cassandra Sanchez: Yeah. Jennifer Dunham: hidden in there Cassandra Sanchez: And Jennifer Dunham: somewhere. Cassandra Sanchez: we do have the logo on it as Pearl Ramsey: Mm-hmm, Cassandra Sanchez: well. Pearl Ramsey: very good. Cassandra Sanchez: So I think Pearl Ramsey: And it's Cassandra Sanchez: it Pearl Ramsey: with the the black and yellow you're even in the right colours. Cassandra Sanchez: Yeah. Yeah, I Jennifer Dunham: Cool. Cassandra Sanchez: think um we could do l the logo in grey, Pearl Ramsey: Mm-hmm. Cassandra Sanchez: as it is on the website. Dorothy Christopherso: Yeah. Jennifer Dunham: We Cassandra Sanchez: In the actual Jennifer Dunham: ran out Cassandra Sanchez: one. Jennifer Dunham: of resources here, so. Cassandra Sanchez: Yeah. So if Jennifer Dunham: You Cassandra Sanchez: you Jennifer Dunham: can Cassandra Sanchez: have Jennifer Dunham: have Cassandra Sanchez: questions. Jennifer Dunham: a look. Pearl Ramsey: Very good, let's have a look. Test it out. Uh it's a sort of intermediate colour, I guess. Dorothy Christopherso: Yeah, oh, we hold the remote. Oh, but it it does feel all cold and slimy. I hate Play-Do, it's just minging. But yeah, uh that's cool, cool. Pearl Ramsey: Very good. Dorothy Christopherso: Mm-hmm. Pearl Ramsey: Okay, so maybe if we go on to evaluation cri criteria Dorothy Christopherso: Okay. Pearl Ramsey: and then we'll Jennifer Dunham: Yeah, Pearl Ramsey: there Jennifer Dunham: see Pearl Ramsey: I Jennifer Dunham: the Pearl Ramsey: suspect Jennifer Dunham: budget. Pearl Ramsey: we're gonna have a couple of minor finance issues, but um we'll se I'm sure we can get around them somehow. Pearl Ramsey: We'll just send all of our manufacturing to some nice poor country and cut some of the prices that way. Dorothy Christopherso: Wales. Pearl Ramsey: Wales, for example. Dorothy Christopherso: Mm. Cool, okay. Right, okay. Dorothy Christopherso: Fabulous, Pearl Ramsey: Marketing Expert. Dorothy Christopherso: yeah. Okay, cool. So what we're gonna do is prefer prepare the evaluation of the new design. Pearl Ramsey: Mm-hmm. Dorothy Christopherso: Um so we're gonna be using a seven point scale, so one is, you know, yes, it totally meets with that requirement and seven is, no, it really doesn't, we need to go back and start again. Um, you know. Basically, what I did was I went through all the like user requirements and things that we've done and we've worked on and like made a list of them. Um you know, so that we can evaluate each one and like so it was about going back to the start and saying oh yeah, we did manage to do that, or oh no, we really forgot about Cassandra Sanchez: Yeah. Dorothy Christopherso: that. Pearl Ramsey: Mm-hmm. Dorothy Christopherso: Okay? Cool, so these are what they are. Oh Pearl Ramsey: So for each of these we need to give it a one to seven. Is that right? Dorothy Christopherso: Yes, I did have A_, B_, C_, and D_ down here, but it seems to have turned into like Pearl Ramsey: Mm Dorothy Christopherso: just bullet Pearl Ramsey: dots, Dorothy Christopherso: points. Pearl Ramsey: never mind. Dorothy Christopherso: Okay. But if you can imagine that they say A_, B_, C_, and D_, then that would be really good. Jennifer Dunham: I guess we'll give it maximum points in everything. Cassandra Sanchez: Yeah, the yeah, it's definitely attractive. Pearl Ramsey: Yeah, I agree. Cassandra Sanchez: Oh, the locatable thing we actually forgot. Dorothy Christopherso: Well, I thought we'd um kinda said that you'd have a little thing to stick on the T_V_? Cassandra Sanchez: Yeah. Pearl Ramsey: Yeah, Cassandra Sanchez: Shall I just prepare it Pearl Ramsey: just Cassandra Sanchez: now? Pearl Ramsey: prepare one now. Dorothy Christopherso: Yeah. Cassandra Sanchez: It will be red, too. Dorothy Christopherso: Cool. Okay. So, be attractive to look at. That's this one. What do you all say? Jennifer Dunham: So? Pearl Ramsey: I reckon Cassandra Sanchez: S seven Pearl Ramsey: it Cassandra Sanchez: was th the maximum, yeah? Pearl Ramsey: Yeah. Dorothy Christopherso: Yeah. Cassandra Sanchez: I I go for seven. Pearl Ramsey: Seven, Dorothy Christopherso: Oh Pearl Ramsey: yeah, Jennifer Dunham: Yes. Pearl Ramsey: it's terribly Dorothy Christopherso: we're all so Pearl Ramsey: sexy. Dorothy Christopherso: proud of the. Pearl Ramsey: Yeah. Dorothy Christopherso: Okay, so that'll be a seven for A_. Could oh no, you can't whilst that's up there. Okay um uh what I've done on the next page is I've set it up so we just put the marks in. Pearl Ramsey: Ah, okay. Jennifer Dunham: Okay. Pearl Ramsey: Excellent. Except we can't Dorothy Christopherso: Yeah. Pearl Ramsey: uh we Dorothy Christopherso: But Pearl Ramsey: can Jennifer Dunham: But Dorothy Christopherso: that's Jennifer Dunham: we can Pearl Ramsey: if Dorothy Christopherso: alright. Jennifer Dunham: we can Pearl Ramsey: we Dorothy Christopherso: If you Jennifer Dunham: I can Dorothy Christopherso: take Jennifer Dunham: I can take Dorothy Christopherso: a note Jennifer Dunham: note Dorothy Christopherso: of them, Pearl Ramsey: then Dorothy Christopherso: and Jennifer Dunham: uh Dorothy Christopherso: then Pearl Ramsey: yeah, Dorothy Christopherso: I'll Pearl Ramsey: I'll Jennifer Dunham: uh Dorothy Christopherso: put Pearl Ramsey: take Dorothy Christopherso: them Pearl Ramsey: a Dorothy Christopherso: in Pearl Ramsey: note, Dorothy Christopherso: in a minute. Pearl Ramsey: it's fine. Dorothy Christopherso: Okay, so we're all agreeing on seven for A_? Pearl Ramsey: Yeah. Dorothy Christopherso: Cool, okay. Does it match the operating behaviour of the user? Cassandra Sanchez: I Jennifer Dunham: Um Cassandra Sanchez: would Pearl Ramsey: I think Cassandra Sanchez: think Pearl Ramsey: it does. Cassandra Sanchez: yes, Dorothy Christopherso: Yeah. Cassandra Sanchez: yeah. Jennifer Dunham: the the Dorothy Christopherso: I Jennifer Dunham: only Dorothy Christopherso: mean Jennifer Dunham: thing that we were considering was that uh this thing is kind of more for right-handed people than for left-handed people, so if you're left-handed you're kind of Cassandra Sanchez: Yeah, Jennifer Dunham: left uh Cassandra Sanchez: so Pearl Ramsey: Alright. Jennifer Dunham: scrolling Cassandra Sanchez: y so we Jennifer Dunham: with your Cassandra Sanchez: we Jennifer Dunham: finger. Cassandra Sanchez: might do we might want to do like a uh another m model another another version, which is like exactly the mirror image of this one. Dorothy Christopherso: Yeah. Pearl Ramsey: But that's gonna be a Jennifer Dunham: But Pearl Ramsey: problem, Jennifer Dunham: then Pearl Ramsey: 'cause Jennifer Dunham: yeah. Pearl Ramsey: you don't always have all left-handers or all right-handers in a family. Jennifer Dunham: Yeah. Cassandra Sanchez: Yeah. Jennifer Dunham: So Dorothy Christopherso: I th I think Jennifer Dunham: bu Dorothy Christopherso: it's Jennifer Dunham: it's Dorothy Christopherso: not Jennifer Dunham: it's not a huge problem, Dorothy Christopherso: it's Jennifer Dunham: because Dorothy Christopherso: not like Jennifer Dunham: i Cassandra Sanchez: But Jennifer Dunham: i it Dorothy Christopherso: it's Cassandra Sanchez: then Dorothy Christopherso: a pen. Cassandra Sanchez: then Jennifer Dunham: is operatable. Cassandra Sanchez: I think left-handed people are already used to discrimination Pearl Ramsey: Yeah. Cassandra Sanchez: anyway, so they just Dorothy Christopherso: Yeah, but I mean because it's not like it's a pen, you know, left-handed Cassandra Sanchez: Yeah. Dorothy Christopherso: people can't normally write right-handed, but they can normally do most things right-handed, Pearl Ramsey: Yeah. Dorothy Christopherso: so I Jennifer Dunham: Right. Dorothy Christopherso: would say it's not such a big issue. Cassandra Sanchez: Yeah, because Pearl Ramsey: Mm-hmm. Cassandra Sanchez: I mean anyway, right-handed people would be able to Dorothy Christopherso: Yeah. Cassandra Sanchez: scroll with it, so i Jennifer Dunham: Yeah. Pearl Ramsey: Yeah. Cassandra Sanchez: if the Dorothy Christopherso: I Cassandra Sanchez: majority Dorothy Christopherso: mean you can Cassandra Sanchez: are right-handed, Dorothy Christopherso: you can use Cassandra Sanchez: it's Dorothy Christopherso: your finger Cassandra Sanchez: uh Dorothy Christopherso: to to Pearl Ramsey: Mm-hmm. Dorothy Christopherso: scroll rather than your thumb. Pearl Ramsey: Yeah. Jennifer Dunham: Yep. Dorothy Christopherso: So I mean that does kind of negate the whole R_S_I_ issue. Jennifer Dunham: Mm. Dorothy Christopherso: So maybe we need to put that needs a little bit of investigation, maybe Pearl Ramsey: Um Dorothy Christopherso: give it a five, I would say? What do you what do you all think? Pearl Ramsey: Six. Cassandra Sanchez: Or maybe Jennifer Dunham: Mm. Cassandra Sanchez: six, because it's just one one i one Pearl Ramsey: Yeah, Cassandra Sanchez: among Pearl Ramsey: I Cassandra Sanchez: the issues, Pearl Ramsey: think Cassandra Sanchez: I Pearl Ramsey: I Cassandra Sanchez: mean. Pearl Ramsey: think Cassandra Sanchez: Yeah. Pearl Ramsey: for um I mean most people are right-handed, so in in terms of our greatest target group, I think it's pretty good, Cassandra Sanchez: Yeah. Pearl Ramsey: but Jennifer Dunham: One Pearl Ramsey: we might Jennifer Dunham: more Pearl Ramsey: want Jennifer Dunham: thing Pearl Ramsey: to Jennifer Dunham: is Pearl Ramsey: flag Jennifer Dunham: that i Pearl Ramsey: it for management, they want might want to um Dorothy Christopherso: Okay. Jennifer Dunham: It Pearl Ramsey: They Jennifer Dunham: might be a little clumsy when when it opens up, right, so it opens on the side. Pearl Ramsey: Mm-hmm. Cassandra Sanchez: No, yeah, Jennifer Dunham: So Cassandra Sanchez: but mm but we have it nicely with the hinges Jennifer Dunham: Yeah Cassandra Sanchez: here yeah. Jennifer Dunham: yeah Cassandra Sanchez: So Jennifer Dunham: yeah, Pearl Ramsey: Yeah. Jennifer Dunham: I mean Cassandra Sanchez: it Jennifer Dunham: yeah. Dorothy Christopherso: Yeah. Jennifer Dunham: So you Dorothy Christopherso: Yeah. Jennifer Dunham: guys Cassandra Sanchez: won't Jennifer Dunham: can decide Cassandra Sanchez: be a problem, Jennifer Dunham: wh Cassandra Sanchez: it will be Jennifer Dunham: whether Cassandra Sanchez: and it will be it won't be heavy. Jennifer Dunham: Oops. Dorothy Christopherso: I th I think the alternative is flipping from the top. Cassandra Sanchez: Yeah Jennifer Dunham: Yeah, Cassandra Sanchez: well Jennifer Dunham: but Cassandra Sanchez: yeah, Jennifer Dunham: we Cassandra Sanchez: but it's it's Jennifer Dunham: which Pearl Ramsey: The Cassandra Sanchez: a Jennifer Dunham: makes Cassandra Sanchez: bit Pearl Ramsey: length Cassandra Sanchez: long. Jennifer Dunham: it kind Pearl Ramsey: is gonna Jennifer Dunham: of really Pearl Ramsey: be difficu Cassandra Sanchez: It's a little bit long. Jennifer Dunham: big, yeah. Dorothy Christopherso: Yeah Cassandra Sanchez: Well, I mean it can Dorothy Christopherso: um Cassandra Sanchez: be opened like this of course Dorothy Christopherso: But Cassandra Sanchez: and Dorothy Christopherso: you were thinking Cassandra Sanchez: yeah. Dorothy Christopherso: about making it smaller, yeah? Pearl Ramsey: Mm. Jennifer Dunham: Uh Dorothy Christopherso: Because Jennifer Dunham: this Cassandra Sanchez: S Jennifer Dunham: this Cassandra Sanchez: uh Jennifer Dunham: kind Cassandra Sanchez: slightly Jennifer Dunham: of uh Cassandra Sanchez: smaller. Jennifer Dunham: makes it more and Dorothy Christopherso: So you have Jennifer Dunham: two, Dorothy Christopherso: to Jennifer Dunham: it Dorothy Christopherso: keep Jennifer Dunham: might interfere with the Dorothy Christopherso: that side Jennifer Dunham: I_R_ Dorothy Christopherso: flat. Jennifer Dunham: channel. Cassandra Sanchez: Yeah, but if we flip it open only as much as that. Jennifer Dunham: Okay. Dorothy Christopherso: So it works like a mobile phone flipping, but y you know, as long as that side's flat, than that will work. Jennifer Dunham: Right. Dorothy Christopherso: Okay. Jennifer Dunham: Okay. Dorothy Christopherso: Um okay, so C_. Are are we admitting defeat on C_ or are we saying we're gonna stick a locator on the T_V_? Pearl Ramsey: No, Jennifer Dunham: No, Pearl Ramsey: we're gonna Jennifer Dunham: we Pearl Ramsey: put Jennifer Dunham: have Pearl Ramsey: it like Jennifer Dunham: a locator. Pearl Ramsey: we've got th there's the locator Dorothy Christopherso: There's a locator. Pearl Ramsey: dot. Dorothy Christopherso: Cool, Cassandra Sanchez: Mm Dorothy Christopherso: so that Cassandra Sanchez: that Dorothy Christopherso: means Cassandra Sanchez: you stick Dorothy Christopherso: you need Cassandra Sanchez: on Dorothy Christopherso: a Cassandra Sanchez: T_V_. Dorothy Christopherso: that Pearl Ramsey: Mm. Dorothy Christopherso: does mean you need a little speaker on it though, doesn't it? To make it beep. Cassandra Sanchez: Yeah Jennifer Dunham: Yeah. Dorothy Christopherso: Or Cassandra Sanchez: well Pearl Ramsey: Yeah. Dorothy Christopherso: a buzzer. Cassandra Sanchez: w but l but the speak sample speaker is included, so it it has some Dorothy Christopherso: Okay. Cassandra Sanchez: capacity to mm to do Jennifer Dunham: Yeah. Cassandra Sanchez: some to Dorothy Christopherso: So Cassandra Sanchez: make some sounds, so Dorothy Christopherso: that's Cassandra Sanchez: yeah. Dorothy Christopherso: two, so that's seven, yeah. It's locatable? Cassandra Sanchez: Yep. Dorothy Christopherso: Fabulous. D_. Jennifer Dunham: Intuitive, completely intuitive. Cassandra Sanchez: Yeah. If uh uh if this means intuitive, if it means the way people kind of are used to finding things and it's Pearl Ramsey: Yeah. Cassandra Sanchez: I th I think Pearl Ramsey: I'd Cassandra Sanchez: it's Pearl Ramsey: say six, 'cause the I mean the the standard layout for numbers is three three three and one, rather than the way you've got it. I really like the way you have it, Dorothy Christopherso: Yeah. Pearl Ramsey: but it's not the immediate thing that Jennifer Dunham: Intuitive. Pearl Ramsey: you're used to. Dorothy Christopherso: Yeah, and I mean Pearl Ramsey: So Dorothy Christopherso: d Jennifer Dunham: And uh even the scroll, it's a it's a new technology so m m Pearl Ramsey: Might Jennifer Dunham: might Pearl Ramsey: be Jennifer Dunham: be a little more difficult for people to get used to in the beginni so it is kind of not very intuitive but uh it's a good technology, Pearl Ramsey: But it Jennifer Dunham: I mean Pearl Ramsey: and Jennifer Dunham: once Pearl Ramsey: it's Jennifer Dunham: they Pearl Ramsey: something Jennifer Dunham: get used Pearl Ramsey: that Jennifer Dunham: to it. Pearl Ramsey: they will be experiencing in a lot of different places Cassandra Sanchez: Yeah. Jennifer Dunham: Yeah. Pearl Ramsey: soon. Dorothy Christopherso: So, Jennifer Dunham: So Dorothy Christopherso: should Jennifer Dunham: l Dorothy Christopherso: we maybe say f a five Pearl Ramsey: Five? Dorothy Christopherso: and say it is intuitive, but it's different, so, Pearl Ramsey: Yeah. Dorothy Christopherso: do you know, I mean it's obvious how to use it, but you might have to think about it first. So we give that one a five, you Jennifer Dunham: Yeah, Dorothy Christopherso: think? Jennifer Dunham: okay. Pearl Ramsey: I'm Dorothy Christopherso: Yep. Pearl Ramsey: happy Jennifer Dunham: I'm Pearl Ramsey: with five? Jennifer Dunham: gonna Cassandra Sanchez: Yeah. Jennifer Dunham: give a seven in everything, so. Pearl Ramsey: Yeah. Dorothy Christopherso: I'm glad you're accepting this. It has taken a little while, hasn't it? Um intuitive but Dorothy Christopherso: it's really hard to write on those. I just Jennifer Dunham: Mm. Dorothy Christopherso: went a bit mad, didn't I? Um okay, cool, E_, okay. Um I would guess this comes back from this whole B_ thing links in here, so possibly for left-handed. Investigate. Pearl Ramsey: Yep. But otherwise it's superb. Dorothy Christopherso: So, should we give it a six? Pearl Ramsey: Six. Dorothy Christopherso: Six? Cassandra Sanchez: Um uh the ergonom ergonomic design well Pearl Ramsey: Yeah. Cassandra Sanchez: mm I mean I d uh I dunno, I mean the the repetitive stress things, but then who would be really pushing the buttons so much on the on the remote control anyway, Jennifer Dunham: Yeah. Cassandra Sanchez: yeah? Jennifer Dunham: Yeah, unless Cassandra Sanchez: See. Jennifer Dunham: you are a all the time sitting. Cassandra Sanchez: Yeah, Jennifer Dunham: Yeah. Cassandra Sanchez: so it's kinda Pearl Ramsey: Well we've Jennifer Dunham: Yeah, Pearl Ramsey: banned Dorothy Christopherso: I Jennifer Dunham: I Dorothy Christopherso: used Pearl Ramsey: them Jennifer Dunham: I think Pearl Ramsey: from Dorothy Christopherso: to send Jennifer Dunham: it is Dorothy Christopherso: fifty Jennifer Dunham: ergonomic. Dorothy Christopherso: texts a day, you know, and I never got repetitive strain injury from Jennifer Dunham: Mm Dorothy Christopherso: that, so Jennifer Dunham: yeah. Dorothy Christopherso: I find it quite hard to believe to be honest. Pearl Ramsey: Yeah. Jennifer Dunham: And moreover it it has um L_C_D_ and everything, so that Cassandra Sanchez: Yeah. Jennifer Dunham: uh you know Pearl Ramsey: Yeah, Jennifer Dunham: uh we minimise Pearl Ramsey: it's varied. Jennifer Dunham: the pressing of the buttons anyway. Pearl Ramsey: Yeah. Dorothy Christopherso: Okay, so Pearl Ramsey: Six? Dorothy Christopherso: we give that a six, yeah. Okay, F_. Cassandra Sanchez: Yeah, Pearl Ramsey: Voice Cassandra Sanchez: it Pearl Ramsey: control Cassandra Sanchez: does have Pearl Ramsey: have seven. Cassandra Sanchez: yeah. Jennifer Dunham: Absolutely. Dorothy Christopherso: Hang on, how come it's showing up with the things there but it only had bullet points there? That's Pearl Ramsey: Ah, Dorothy Christopherso: just Pearl Ramsey: that's the second one. So you must have changed it on this one where it's got score, but not on the previous slide. Dorothy Christopherso: Oh okay, cool. Um right, so. Jennifer Dunham: So it has voice control. Dorothy Christopherso: Yes, so that's a seven then. Jennifer Dunham: Yep. Dorothy Christopherso: Um, Pearl Ramsey: G_ Dorothy Christopherso: cool. Jennifer Dunham: Anyway Cassandra Sanchez: Technologi Pearl Ramsey: technologically Jennifer Dunham: it ha Pearl Ramsey: innovative. Jennifer Dunham: yeah, Cassandra Sanchez: well Jennifer Dunham: it's the most sophisticated remote that I ever seen. Cassandra Sanchez: Yeah. Pearl Ramsey: But in terms of the actual technology, none of it is actually new. Cassandra Sanchez: well, which Pearl Ramsey: Yeah. Cassandra Sanchez: is yeah, Dorothy Christopherso: Yeah, Cassandra Sanchez: it's kind Dorothy Christopherso: but Cassandra Sanchez: of Dorothy Christopherso: I Cassandra Sanchez: new. Dorothy Christopherso: mean you Pearl Ramsey: All Dorothy Christopherso: don't Pearl Ramsey: of the components have been used in other things before. Cassandra Sanchez: But Jennifer Dunham: Yeah, Cassandra Sanchez: at Jennifer Dunham: but Cassandra Sanchez: the same Jennifer Dunham: they've been Cassandra Sanchez: time Jennifer Dunham: brought Dorothy Christopherso: They're Jennifer Dunham: together Dorothy Christopherso: never Cassandra Sanchez: they are all Pearl Ramsey: But Dorothy Christopherso: been Jennifer Dunham: in Pearl Ramsey: do Dorothy Christopherso: used Jennifer Dunham: a remote. Cassandra Sanchez: they are all Pearl Ramsey: yeah, Dorothy Christopherso: i Cassandra Sanchez: relatively new. Dorothy Christopherso: they've Pearl Ramsey: yeah. Dorothy Christopherso: never been using remote remote control before I don't think. Pearl Ramsey: Yeah. What do you reckon, five, six? Dorothy Christopherso: Yeah, what do you all think? Cassandra Sanchez: Six. Dorothy Christopherso: Six? Jennifer Dunham: Yeah. Cassandra Sanchez: I mean how how far can you go with a remote control, really? Dorothy Christopherso: Well, that's Cassandra Sanchez: It Dorothy Christopherso: it, Cassandra Sanchez: still Dorothy Christopherso: I mean Cassandra Sanchez: has to do what i what it has to do. Pearl Ramsey: Yeah. Dorothy Christopherso: Yeah, but I mean everything has been used in space before it gets to anyone else really, hasn't it? So, I don't think many Pearl Ramsey: Space Dorothy Christopherso: peop Pearl Ramsey: remote. Dorothy Christopherso: That's it, they can take it with them. Pearl Ramsey: Put fashion in electronics. Jennifer Dunham: Absolutely. Cassandra Sanchez: Yeah, isn't it fashionable? Yeah, sure. Jennifer Dunham: The carrot banana Cassandra Sanchez: It's the maximum Jennifer Dunham: remote. Cassandra Sanchez: fashion. Dorothy Christopherso: So, we give it seven, Cassandra Sanchez: Fruit Dorothy Christopherso: and Cassandra Sanchez: fruit Dorothy Christopherso: we write Cassandra Sanchez: and vegetables are fashionable these days, so. Dorothy Christopherso: There we go. Cassandra Sanchez: So Jennifer Dunham: I Cassandra Sanchez: I think Jennifer Dunham: think that's Cassandra Sanchez: we've Jennifer Dunham: a. Cassandra Sanchez: done very well, but Dorothy Christopherso: Cool. Pearl Ramsey: Very good. Jennifer Dunham: Yeah. Cassandra Sanchez: What's the assessment? Dorothy Christopherso: So, we need the average here, so we got Cassandra Sanchez: The average is about six and something. Pearl Ramsey: Yeah, Cassandra Sanchez: A little bit over Pearl Ramsey: one. Cassandra Sanchez: six. Dorothy Christopherso: Seven Pearl Ramsey: Or a seven. Jennifer Dunham: There are how many sixes? Cassandra Sanchez: No, Dorothy Christopherso: So we've Cassandra Sanchez: wait, Dorothy Christopherso: got Jennifer Dunham: One, Dorothy Christopherso: four Cassandra Sanchez: a Dorothy Christopherso: sevens, Jennifer Dunham: two, Cassandra Sanchez: little bit under Jennifer Dunham: three. Cassandra Sanchez: six. Dorothy Christopherso: so that's twenty Cassandra Sanchez: No, wait. Dorothy Christopherso: eight, Jennifer Dunham: Three. Dorothy Christopherso: three sixes, Jennifer Dunham: And one five. Dorothy Christopherso: eighteen. Cassandra Sanchez: Oh, three sixes, okay, Pearl Ramsey: Fifty Jennifer Dunham: Okay, Cassandra Sanchez: yeah. Jennifer Dunham: twenty Pearl Ramsey: one, Jennifer Dunham: eight, thirty Pearl Ramsey: one, Jennifer Dunham: eight, Pearl Ramsey: two, Jennifer Dunham: fo Pearl Ramsey: three, four, Jennifer Dunham: forty Cassandra Sanchez: Four Pearl Ramsey: five, Cassandra Sanchez: sevens. Pearl Ramsey: six, Jennifer Dunham: six. Pearl Ramsey: seven, eight. Jennifer Dunham: Forty six and five, Pearl Ramsey: Six Jennifer Dunham: fifty one. Pearl Ramsey: point Jennifer Dunham: Fifty one divided Cassandra Sanchez: Six Jennifer Dunham: by Cassandra Sanchez: point something, Pearl Ramsey: point Cassandra Sanchez: yeah. Dorothy Christopherso: Two Pearl Ramsey: about Dorothy Christopherso: three Pearl Ramsey: six point five. Cassandra Sanchez: Six Dorothy Christopherso: four Cassandra Sanchez: point five, Dorothy Christopherso: Seven Pearl Ramsey: Close Dorothy Christopherso: eight. Pearl Ramsey: enough. Cassandra Sanchez: yeah. Dorothy Christopherso: Okay, that's pretty good, I think. Pearl Ramsey: Now wait until we get to finance and then we'll see if we can afford it. That's all you've got at the moment, or did you have anything more? Dorothy Christopherso: Um no, that's Pearl Ramsey: That's Dorothy Christopherso: it, Pearl Ramsey: it? Dorothy Christopherso: yeah. Pearl Ramsey: Alright. So, finance. And we'll see if we can unscrew this first. Dorothy Christopherso: Cool, Pearl Ramsey: Sorry, this Dorothy Christopherso: there Pearl Ramsey: is Dorothy Christopherso: we go. Pearl Ramsey: I'm just um Dorothy Christopherso: There we go and there are the marks. Pearl Ramsey: Beautiful. Cassandra Sanchez: Yeah. Pearl Ramsey: Not anymore. Jennifer Dunham: Mm I guess it'll have to wait for a bit. Pearl Ramsey: Adjusting. There we go. Okay, so we've looked at the prototype presentation and the evaluation criteria. And now we have to calculate the production costs. So I've got an Excel spreadsheet to help us do that. Can you read that? Almost. More or less. Um I started filling it in, but of course these are provisional, so we have to go down. No hand dynamo, right? Dorothy Christopherso: Yeah. Cassandra Sanchez: Yeah. Pearl Ramsey: One simple Jennifer Dunham: Mm. Pearl Ramsey: battery. No kinetic energy, no solar. The chip, we're going for an advanced Jennifer Dunham: Advanced, Pearl Ramsey: chip Jennifer Dunham: yeah. Pearl Ramsey: on print. We also said the sample sensor and sample speaker. Cassandra Sanchez: Yep. Pearl Ramsey: Um single-curved surface, so that Cassandra Sanchez: Yeah, Pearl Ramsey: we can fold Cassandra Sanchez: yes. Pearl Ramsey: it. Case material we said rubber. Cassandra Sanchez: Rubber. Jennifer Dunham: Yep. Pearl Ramsey: I don't know what special colour means. Jennifer Dunham: Mm anything uh I think which Cassandra Sanchez: I Jennifer Dunham: is Cassandra Sanchez: think Jennifer Dunham: not Cassandra Sanchez: something Jennifer Dunham: more. Cassandra Sanchez: coloured, yeah, probably. So I think this is probably special co Pearl Ramsey: It Jennifer Dunham: Yeah. Cassandra Sanchez: no? Pearl Ramsey: could be Dorothy Christopherso: Yeah, but rubber comes coloured, Pearl Ramsey: Rub Dorothy Christopherso: doesn't Pearl Ramsey: rubber Dorothy Christopherso: it? You Pearl Ramsey: comes Cassandra Sanchez: Yeah. Dorothy Christopherso: know. Pearl Ramsey: coloured, it's I would maybe it's like if you want titanium coloured or wood Cassandra Sanchez: Or Pearl Ramsey: coloured, Cassandra Sanchez: maybe Pearl Ramsey: it's Cassandra Sanchez: maybe Pearl Ramsey: different. Cassandra Sanchez: if you want some kind of pattern thing on it, Pearl Ramsey: Yeah, Cassandra Sanchez: yeah Pearl Ramsey: let's leave Cassandra Sanchez: yeah, Pearl Ramsey: it as zero, Cassandra Sanchez: okay. Pearl Ramsey: 'cause it's easy. Cassandra Sanchez: Yeah. Dorothy Christopherso: Yeah, you might end up having to take off Pearl Ramsey: We Dorothy Christopherso: the Pearl Ramsey: we're definitely going to Cassandra Sanchez: We Pearl Ramsey: have Cassandra Sanchez: have Pearl Ramsey: to Cassandra Sanchez: pushbuttons, Pearl Ramsey: so Jennifer Dunham: Mm. Pearl Ramsey: we've Dorothy Christopherso: sample Pearl Ramsey: got pushbutton, Dorothy Christopherso: sensor. Pearl Ramsey: and then Cassandra Sanchez: scro Pearl Ramsey: we've Cassandra Sanchez: we have scroll wheel as well. Pearl Ramsey: Scroll wheel with pushbutton we had, no? S for Cassandra Sanchez: S Jennifer Dunham: No Pearl Ramsey: the muting. Cassandra Sanchez: yeah, Jennifer Dunham: uh we Cassandra Sanchez: yeah, Jennifer Dunham: we Cassandra Sanchez: we had, Jennifer Dunham: have uh Cassandra Sanchez: for muting, Jennifer Dunham: yeah. Cassandra Sanchez: yeah. Pearl Ramsey: Yeah. Cassandra Sanchez: And we have L_C_ display and yeah. Pearl Ramsey: And button supplements. Cassandra Sanchez: Um Jennifer Dunham: Mm no. Dorothy Christopherso: No. Jennifer Dunham: We Pearl Ramsey: No. Jennifer Dunham: don't have we're not using any Pearl Ramsey: No? Jennifer Dunham: of Cassandra Sanchez: Yeah, Jennifer Dunham: that. Cassandra Sanchez: but what do we ha we have L_C_ display, but but the wh Pearl Ramsey: But Cassandra Sanchez: but Pearl Ramsey: the Cassandra Sanchez: the Pearl Ramsey: the Cassandra Sanchez: s Pearl Ramsey: spinning wheel's Cassandra Sanchez: spinning Pearl Ramsey: not Cassandra Sanchez: wheel Pearl Ramsey: there. I have think Cassandra Sanchez: Yeah. Pearl Ramsey: maybe it's integrated with the L_C_ display? Cassandra Sanchez: Okay, Dorothy Christopherso: We've got Cassandra Sanchez: let's Dorothy Christopherso: more than one pushbutton though, Cassandra Sanchez: yeah. Dorothy Christopherso: haven't we? Pearl Ramsey: I think the pushbutton oh. Dorothy Christopherso: 'Cause then you have Pearl Ramsey: I don't know if that's one Dorothy Christopherso: That means you can only have twenty five push buttons in total doesn't it? Not counting anything, we'd Pearl Ramsey: Yeah. Dorothy Christopherso: still be in budget. Pearl Ramsey: That seems unlikely. Push Jennifer Dunham: Huh? Wh wh what Pearl Ramsey: what Jennifer Dunham: is the limit? Pearl Ramsey: uh Jennifer Dunham: Uh. Dorothy Christopherso: Twelve Pearl Ramsey: whether Dorothy Christopherso: point five. Pearl Ramsey: whether pushbutton means that Cassandra Sanchez: We have to count Pearl Ramsey: p Cassandra Sanchez: all Pearl Ramsey: count Cassandra Sanchez: of them, or Pearl Ramsey: by Cassandra Sanchez: yeah. Pearl Ramsey: button or do Jennifer Dunham: Mm Pearl Ramsey: we Jennifer Dunham: I Pearl Ramsey: I Jennifer Dunham: don't Pearl Ramsey: don't think Jennifer Dunham: think Pearl Ramsey: that Jennifer Dunham: so, Pearl Ramsey: makes sense. Jennifer Dunham: no. Dorothy Christopherso: No. Well Jennifer Dunham: No Dorothy Christopherso: it doesn't, Jennifer Dunham: it says Dorothy Christopherso: but it Jennifer Dunham: what what is the kind Dorothy Christopherso: uh Pearl Ramsey: No. Jennifer Dunham: of interface, if it is pushbutton then you got a zero point five, it's a scroll wheel so we we've put it's pushbutton and Pearl Ramsey: Yeah. Jennifer Dunham: scroll wheel Dorothy Christopherso: And Pearl Ramsey: Yeah. Jennifer Dunham: and L_C_D_ Dorothy Christopherso: L_C_ Jennifer Dunham: display, Dorothy Christopherso: display. Pearl Ramsey: Yeah. Jennifer Dunham: so that's that's the three kind of interfaces Pearl Ramsey: Yeah. Jennifer Dunham: that we have. Pearl Ramsey: So, as we can see, that's way too expensive down here. Jennifer Dunham: Wh wh what's Dorothy Christopherso: This Jennifer Dunham: our Dorothy Christopherso: sample Jennifer Dunham: criteria? Pearl Ramsey: Our budget's Dorothy Christopherso: sensor. Pearl Ramsey: twelve point five. Jennifer Dunham: Uh okay. Dorothy Christopherso: Yeah, the sample sensor will have to go, 'cause that's the most expensive thing Pearl Ramsey: Yeah, Dorothy Christopherso: on there. Pearl Ramsey: so that has implications though for the. Jennifer Dunham: Uh it does not have for voice recognition, but it does have for the feedback speaker. when you Dorothy Christopherso: Yeah. Jennifer Dunham: say when you press one it says Pearl Ramsey: For the Jennifer Dunham: one Pearl Ramsey: locator. Jennifer Dunham: or it says hello. Dorothy Christopherso: But that's a bit of a gimmick anyway really, Pearl Ramsey: Yeah. Dorothy Christopherso: isn't Jennifer Dunham: Mm Dorothy Christopherso: it? We can afford Jennifer Dunham: and Dorothy Christopherso: to get Jennifer Dunham: the Dorothy Christopherso: rid Jennifer Dunham: locator Dorothy Christopherso: of it. Jennifer Dunham: also goes away. Cassandra Sanchez: But it was very no innovative Pearl Ramsey: Yeah. Dorothy Christopherso: So that Cassandra Sanchez: innovativeness. Dorothy Christopherso: means no locator, Cassandra Sanchez: Well um Dorothy Christopherso: does it? Cassandra Sanchez: yeah. Dorothy Christopherso: I mean does Pearl Ramsey: What else Cassandra Sanchez: Well Pearl Ramsey: does Cassandra Sanchez: the speaker Pearl Ramsey: it need? Cassandra Sanchez: uh the sample speaker is is expensive, but we could just have some some very very easy device that just beeps. Pearl Ramsey: Yeah, 'cause the sample Cassandra Sanchez: This would Pearl Ramsey: speaker Cassandra Sanchez: be Pearl Ramsey: was, I think, more complicated then Cassandra Sanchez: Yeah, Pearl Ramsey: just a beeping Cassandra Sanchez: yeah Dorothy Christopherso: Yeah. Cassandra Sanchez: yeah Pearl Ramsey: thing. Cassandra Sanchez: there you record your samples Dorothy Christopherso: Yeah. Pearl Ramsey: Yeah, Cassandra Sanchez: your speech samples Pearl Ramsey: okay, Jennifer Dunham: A also Cassandra Sanchez: and Pearl Ramsey: so Jennifer Dunham: i Pearl Ramsey: we Jennifer Dunham: in the case I'm not sure that you will evaluate this as a curved surface, because it's just rubber, so it's probably a flat surface rubber. Uh I mean Pearl Ramsey: Uh-huh. Jennifer Dunham: uh um Dorothy Christopherso: Okay, yeah. Jennifer Dunham: yeah. Pearl Ramsey: Right, Jennifer Dunham: Um Pearl Ramsey: so we need one fifty off. Dorothy Christopherso: See, I was gonna say the scroll wheel pushbutton thing, 'cause Pearl Ramsey: Take it down to just a scroll wheel. We could Jennifer Dunham: So Pearl Ramsey: do Jennifer Dunham: tha that mean that we cannot press Cassandra Sanchez: Yeah, Jennifer Dunham: how Cassandra Sanchez: then Jennifer Dunham: do we how Cassandra Sanchez: then Jennifer Dunham: do Cassandra Sanchez: we Jennifer Dunham: we Cassandra Sanchez: would Jennifer Dunham: make Cassandra Sanchez: be Jennifer Dunham: a selection Cassandra Sanchez: in the b budget. Jennifer Dunham: in uh in the L_C_D_? If in the L_C_D_ we can scroll, right? But how do we make a selection if we d Cassandra Sanchez: Yeah Jennifer Dunham: cannot Cassandra Sanchez: b Jennifer Dunham: push Cassandra Sanchez: no Jennifer Dunham: the button. Cassandra Sanchez: no, you can push this one, but we don't have a pushbutton uh we ca we don't have this muting mechanism for this scrolling Dorothy Christopherso: But Pearl Ramsey: Yeah. Dorothy Christopherso: that's Cassandra Sanchez: thing. Dorothy Christopherso: well you would just have to to spin Pearl Ramsey: You can Dorothy Christopherso: it down. Pearl Ramsey: have to scroll it straight r roll it straight down for Cassandra Sanchez: Mm-hmm. Pearl Ramsey: for mute. Dorothy Christopherso: So Jennifer Dunham: No w Dorothy Christopherso: that's Jennifer Dunham: w Dorothy Christopherso: point Jennifer Dunham: w Dorothy Christopherso: three. Jennifer Dunham: but ha it's it's the scroll wheel and I thought we were referring to this as a scroll spinning wheel and pushbutton thing. Cassandra Sanchez: But I mean we can put an additional mute button on the top as well. If you Dorothy Christopherso: Yeah, I mean that wouldn't actually cost any more. That's the spin wheel though, isn't it? Didn't that come with the L_C_ Pearl Ramsey: That's with the L_C_ Jennifer Dunham: That comes with the L_C_D_? Dorothy Christopherso: Yeah. Pearl Ramsey: We decided, 'cause it's not on our list. Dorothy Christopherso: Yeah. Jennifer Dunham: Oh so Cassandra Sanchez: Mm. Jennifer Dunham: so the the this is. Pearl Ramsey: The scroll wheel is on the side. Jennifer Dunham: So we're adding costs for right, okay uh I mean I think this is good. Cassandra Sanchez: So Dorothy Christopherso: S so we're point three Pearl Ramsey: We're Dorothy Christopherso: over. Pearl Ramsey: point three over at the moment. It's nothing Dorothy Christopherso: Unless Pearl Ramsey: n Dorothy Christopherso: we just take off the scroll wheel altogether and just have pushbuttons for the volume. Could b still put them on the side. But Pearl Ramsey: Yeah, Dorothy Christopherso: yeah. I mean Pearl Ramsey: I Dorothy Christopherso: the Pearl Ramsey: have Dorothy Christopherso: scroll wheel's pretty cool, but Jennifer Dunham: Instead of scrolling here we have two buttons here, Dorothy Christopherso: Yeah. Jennifer Dunham: up for up and down. Cassandra Sanchez: Mm-hmm. Dorothy Christopherso: Yeah. Jennifer Dunham: On the side. Pearl Ramsey: Yeah. Jennifer Dunham: Mm uh it Cassandra Sanchez: Okay, Jennifer Dunham: sounds good actually, yeah. Cassandra Sanchez: yeah. Pearl Ramsey: Rather than having three different things that people have to do. Cassandra Sanchez: Okay. Pearl Ramsey: There we go. Oh look, we're way under budget and we'll make huge profits and we'll all get bonuses. Dorothy Christopherso: Yeah, well we could admit to the single curve, couldn't we? Pearl Ramsey: Or or that we have to have some sort of special colour. Dorothy Christopherso: Yeah, Pearl Ramsey: So Dorothy Christopherso: but Pearl Ramsey: that's alright. We we'll leave it at that Dorothy Christopherso: Yeah. Pearl Ramsey: and then I'll take I can send it back to management and say we weren't quite sure about the colour, if that costs extra then we've still got some space for Jennifer Dunham: We Pearl Ramsey: it, Jennifer Dunham: have, yeah. Cassandra Sanchez: Yeah. Pearl Ramsey: yeah. Dorothy Christopherso: Yeah. Pearl Ramsey: Excellent. Alright. So did we lose um on our evaluation criteria, as a result Dorothy Christopherso: No. Pearl Ramsey: of doing that? Dorothy Christopherso: No, I don't Jennifer Dunham: Not Dorothy Christopherso: think so. Jennifer Dunham: really, no. Because we keep all the features, we keep voice recognition, we keep L_C_D_ Pearl Ramsey: Mm. Jennifer Dunham: display. Dorothy Christopherso: Yeah. Jennifer Dunham: We Pearl Ramsey: Yeah. Jennifer Dunham: instead of having scrolling we we just Dorothy Christopherso: We just Jennifer Dunham: push Dorothy Christopherso: got Jennifer Dunham: the buttons. Dorothy Christopherso: rid of a gimmick that Pearl Ramsey: Yeah. Jennifer Dunham: Um Dorothy Christopherso: was never anyway, and Jennifer Dunham: yeah. Dorothy Christopherso: the scroll wheel is I mean essentially the two buttons that was it's not a great difference I don't Pearl Ramsey: Yeah. Dorothy Christopherso: think. Jennifer Dunham: Yeah. Pearl Ramsey: Alright then. Jennifer Dunham: But we lose the locator. Dorothy Christopherso: Really? Pearl Ramsey: We're Cassandra Sanchez: Well Pearl Ramsey: gonna have a beep. Cassandra Sanchez: we're going to have a beeping thing. Jennifer Dunham: So instead of speaker, Cassandra Sanchez: But yeah, Pearl Ramsey: Yeah. Cassandra Sanchez: it's it's not like sample speaker, but it will just beep, so we still have the locate. Pearl Ramsey: Yeah. Jennifer Dunham: 'Kay. Dorothy Christopherso: Cool. That's not a very exciting colour. I think you should make it more vegetable-like. Cassandra Sanchez: Which colour, Pearl Ramsey: Tha. Cassandra Sanchez: the the colour of the phone or the colour of the Dorothy Christopherso: Oh the the beeper thing. Cassandra Sanchez: But Dorothy Christopherso: It Cassandra Sanchez: it can be yellow as well. It can come in the same colour as the Pearl Ramsey: 'Cause Cassandra Sanchez: the Pearl Ramsey: we Cassandra Sanchez: case. Pearl Ramsey: we won't have run out of our pot of Play-Doh. Dorothy Christopherso: Yeah, I think Jen wants it to vibrate. You know, your pen Pearl Ramsey: Yeah, Dorothy Christopherso: vibrates? Pearl Ramsey: I know I Dorothy Christopherso: Yeah. Pearl Ramsey: know, my pen vibrates. But only for a very short time. Um okay. So looks like we've designed a banana. Well done, team. Um we need we've just got about ten minutes or so left of the meeting, so it would be good if we could just have a little talk about the project itself and how it went, um so that we can feed back to the management for next time they're designing a product. Dorothy Christopherso: Cool. Pearl Ramsey: Feedback? Jennifer Dunham: I think it mm Pearl Ramsey: Ideas? Cassandra Sanchez: Yeah mm, as far as creativity is concerned, yeah I think there was there was room for creativity. The only the only problem being that at the end we had to cut some things down because Pearl Ramsey: Mm-hmm. Cassandra Sanchez: of the the budget we had. Jennifer Dunham: I think uh n one thing that was lacking uh was that we did not know what the various things cost to begin with. Pearl Ramsey: Mm-hmm. Dorothy Christopherso: Yeah. Jennifer Dunham: Um we kap kept a adding things randomly. Pearl Ramsey: Yeah. Jennifer Dunham: So, Dorothy Christopherso: If Jennifer Dunham: had Dorothy Christopherso: we'd Jennifer Dunham: we Dorothy Christopherso: had Jennifer Dunham: known Dorothy Christopherso: that sheet at the beginning should've been like, okay, so Jennifer Dunham: Yeah, Dorothy Christopherso: we can have that lot, Jennifer Dunham: that Pearl Ramsey: Mm-hmm. Jennifer Dunham: or not, Dorothy Christopherso: let's Cassandra Sanchez: Yeah, Dorothy Christopherso: just Jennifer Dunham: yeah. Dorothy Christopherso: throw it together Cassandra Sanchez: yeah, Dorothy Christopherso: and Cassandra Sanchez: yeah. Dorothy Christopherso: do what Jennifer Dunham: Yeah. Dorothy Christopherso: we can. Jennifer Dunham: So d all the random decisions at the end could have been Dorothy Christopherso: Yeah. Jennifer Dunham: prevented. Mm. Pearl Ramsey: But in terms of the process of um going and working individually and then coming back to a meeting, that Jennifer Dunham: Yeah, Pearl Ramsey: that worked Jennifer Dunham: mm. Dorothy Christopherso: I think 'cause Pearl Ramsey: in terms Dorothy Christopherso: the meetings Pearl Ramsey: of. Dorothy Christopherso: were so regular, you know. Pearl Ramsey: Mm-hmm. Dorothy Christopherso: It wasn't like we were alone for very long, so you didn't st go off and think, wouldn't it be great to have a vibrating Pearl Ramsey: Mm-hmm. Banana. Dorothy Christopherso: remote control shaped like a banana, and then, you know, come back three days later and Jen's Cassandra Sanchez: Yeah. Dorothy Christopherso: going look, look, it vibrates and it looks like a banana. Um yeah, so yeah. Cassandra Sanchez: Yeah, the m the means were very very good, the means we used. Pearl Ramsey: Mm-hmm, the whiteboard digital Cassandra Sanchez: And Pearl Ramsey: pens. Cassandra Sanchez: the pens. Dorothy Christopherso: Uh Pearl Ramsey: We like Dorothy Christopherso: I like the Pearl Ramsey: the Dorothy Christopherso: pens. Pearl Ramsey: pens. Dorothy Christopherso: I want one. That would just be so cool, to d do all your notes and s Pearl Ramsey: Yeah, you could take it to lectures and just write stuff down Jennifer Dunham: Yeah Pearl Ramsey: and have it printed out Jennifer Dunham: yeah Pearl Ramsey: when you Cassandra Sanchez: Yeah, Pearl Ramsey: got back Jennifer Dunham: yeah, Pearl Ramsey: to the Cassandra Sanchez: yeah. Pearl Ramsey: office. Jennifer Dunham: that's it's it's Pearl Ramsey: They great? Jennifer Dunham: I wonder what one of these costs. Pearl Ramsey: Do you think they'd notice if one went? Dorothy Christopherso: I don't think you should say that was the recording. Pearl Ramsey: Oh okay. Dorothy Christopherso: Okay, cover up the microphone. Alright, Pearl Ramsey: Yep. Dorothy Christopherso: let's Pearl Ramsey: Shh. Dorothy Christopherso: take it. Pearl Ramsey: Yep. Dorothy Christopherso: Okay. Pearl Ramsey: But that worked well having having a whiteboard that we could draw on as well as having the PowerPoint, 'cause the I find that the problem with PowerPoint often is that it's so static and you can't change Dorothy Christopherso: It Pearl Ramsey: it Dorothy Christopherso: is Pearl Ramsey: once Dorothy Christopherso: a bit Pearl Ramsey: you're Dorothy Christopherso: limiting, Cassandra Sanchez: Yeah. Pearl Ramsey: in Jennifer Dunham: Yeah. Pearl Ramsey: there, Dorothy Christopherso: isn't it? Yeah. Pearl Ramsey: yep. Cassandra Sanchez: Yeah, and and and this time also the time limits but actually Dorothy Christopherso: Yeah. Cassandra Sanchez: preparing the Dorothy Christopherso: The Pearl Ramsey: Mm-hmm. Dorothy Christopherso: thing flew in, you didn't have the whole whooshing thing, Cassandra Sanchez: Yeah. Dorothy Christopherso: 'cause there wasn't time for that, so Pearl Ramsey: Yeah. Dorothy Christopherso: yeah. Pearl Ramsey: That's alright, that always irritates Dorothy Christopherso: Not Pearl Ramsey: Dorothy Christopherso Dorothy Christopherso: that you Pearl Ramsey: anyway, Dorothy Christopherso: can do that on the board, either. Pearl Ramsey: yeah. Dorothy Christopherso: We could make some little Cassandra Sanchez: But yeah, but I mean already just just preparing the slides before Dorothy Christopherso: Yeah, Cassandra Sanchez: before Dorothy Christopherso: totally, Cassandra Sanchez: the meeting, Dorothy Christopherso: I mean that was Cassandra Sanchez: yeah. Dorothy Christopherso: fairly tight anyway, Pearl Ramsey: Mm. Dorothy Christopherso: I mean especially with that last-minute alteration. Cassandra Sanchez: Yeah. Pearl Ramsey: Yeah. Jennifer Dunham: Mm yeah. Dorothy Christopherso: back it, this is just had to be changed. And yeah, so cool. Pearl Ramsey: Yeah. Dorothy Christopherso: Are we supposed to say nice things about Jen now? Pearl Ramsey: And presumably you don't you can say nasty things as well. Cassandra Sanchez: Yeah. I was Pearl Ramsey: I have Cassandra Sanchez: I was Pearl Ramsey: no Cassandra Sanchez: satisfied Pearl Ramsey: stake in it. Cassandra Sanchez: with with Dorothy Christopherso: Yeah, Cassandra Sanchez: the leadership, Dorothy Christopherso: definitely. Jennifer Dunham: Yeah. Dorothy Christopherso: You weren't Cassandra Sanchez: yeah. Dorothy Christopherso: like a a dictating leader, so that was always good. Pearl Ramsey: You have to say that, 'cause I'm taking the notes. Cassandra Sanchez: Mm-hmm. Pearl Ramsey: I'll leave the room and you can Dorothy Christopherso: I Pearl Ramsey: have Dorothy Christopherso: know Pearl Ramsey: another Dorothy Christopherso: you've got Pearl Ramsey: go. Dorothy Christopherso: the pen, you might attack Dorothy Christopherso with Pearl Ramsey: Better Cassandra Sanchez: And then Pearl Ramsey: than Cassandra Sanchez: the Pearl Ramsey: that Cassandra Sanchez: teamwork Dorothy Christopherso: it. Pearl Ramsey: than the banana. Cassandra Sanchez: I think I think it worked quite Pearl Ramsey: I think it Cassandra Sanchez: quite Pearl Ramsey: worked Cassandra Sanchez: nicely, Pearl Ramsey: quite well. Dorothy Christopherso: Yeah. Cassandra Sanchez: yeah. Jennifer Dunham: Yeah. Pearl Ramsey: Did anyone feel that they were getting sort of covered up and not being able to say Cassandra Sanchez: To express Pearl Ramsey: their bit? Cassandra Sanchez: them mm Jennifer Dunham: Mm. Cassandra Sanchez: mm Jennifer Dunham: I guess Cassandra Sanchez: no. Jennifer Dunham: it was a fairly small group, so all of us got Pearl Ramsey: Yeah. Jennifer Dunham: to express our opinions, yeah. Dorothy Christopherso: Yeah. Pearl Ramsey: New ideas found. Not Cassandra Sanchez: Well Pearl Ramsey: quite Cassandra Sanchez: it's Pearl Ramsey: sure Cassandra Sanchez: it's Pearl Ramsey: what Cassandra Sanchez: it's Pearl Ramsey: about. Cassandra Sanchez: pretty new, Pearl Ramsey: Yeah. Cassandra Sanchez: pretty Jennifer Dunham: Mm. Cassandra Sanchez: novel solution for a for a remote control really, all this flipping Pearl Ramsey: Yeah. Cassandra Sanchez: open thing and Dorothy Christopherso: I don't know, I don't go shopping for remote controls that Cassandra Sanchez: Yeah, Dorothy Christopherso: often, maybe somebody's Cassandra Sanchez: neither neither do Dorothy Christopherso: already Cassandra Sanchez: I, but I've Dorothy Christopherso: though Cassandra Sanchez: never Dorothy Christopherso: of Cassandra Sanchez: seen Dorothy Christopherso: it. Cassandra Sanchez: anything and and none of my examples were was was like this, actually, Pearl Ramsey: Mm-hmm. Cassandra Sanchez: so. Dorothy Christopherso: Yeah. Jennifer Dunham: Hmm. Dorothy Christopherso: Yeah. I'll be looking out next time I need Pearl Ramsey: Yeah, Dorothy Christopherso: to write Pearl Ramsey: that's Dorothy Christopherso: an essay. Pearl Ramsey: right. Dorothy Christopherso: That looks boring, I'll see if anyone's Cassandra Sanchez: Yeah maybe Dorothy Christopherso: made Cassandra Sanchez: w Dorothy Christopherso: a Cassandra Sanchez: maybe we Dorothy Christopherso: remote Cassandra Sanchez: could have Dorothy Christopherso: control. Cassandra Sanchez: a patent on this one. Dorothy Christopherso: Yeah, Jennifer Dunham: Yeah. Dorothy Christopherso: yeah. Cassandra Sanchez: Patent patent patent. Pearl Ramsey: Banana Dorothy Christopherso: I think we'd Pearl Ramsey: remote. Dorothy Christopherso: like to Cassandra Sanchez: Mm. Dorothy Christopherso: think the ideas were new, but we've got no way of finding out. Pearl Ramsey: Yeah. Cassandra Sanchez: Mm-hmm. Pearl Ramsey: Or you can always go to Google and type in banana remote control. Dorothy Christopherso: That Pearl Ramsey: Flip. Dorothy Christopherso: vibrates Pearl Ramsey: Vibrate. And uh yeah. Dorothy Christopherso: Yeah, but that would just come up with like other things really Pearl Ramsey: Nothing Dorothy Christopherso: wouldn't it. Pearl Ramsey: that you really want. True. Yeah. Okay. So, costs are within budget, Cassandra Sanchez: Yes. Dorothy Christopherso: Yes. Pearl Ramsey: well within budget, including a little what have we got? One Euro left over for bits that we didn't foresee. Um we've evaluated Cassandra Sanchez: Yes. Pearl Ramsey: the project. You've Dorothy Christopherso: And it's fabulous. Pearl Ramsey: got the scores. Can you put that in the project documents file? Dorothy Christopherso: It's in the project Pearl Ramsey: It's in Dorothy Christopherso: documents. Pearl Ramsey: there already. And the process wheel didn't really have any major problems with. Were there any was there anything that you found difficult, or anything that didn't go as smoothly as you'd Cassandra Sanchez: And Pearl Ramsey: hope? Cassandra Sanchez: my main difficulty was the the time pressure. Pearl Ramsey: Yeah. Cassandra Sanchez: Otherwise Dorothy Christopherso: Yeah, Cassandra Sanchez: it's Jennifer Dunham: Mm-hmm. Dorothy Christopherso: yeah, sometimes Cassandra Sanchez: it's all fine. Dorothy Christopherso: it's like a little bit rushed. Jennifer Dunham: I thought that was good though, because if you're given too much time Cassandra Sanchez: Yeah, Jennifer Dunham: then you got nothing Cassandra Sanchez: yeah, Jennifer Dunham: to do with your time and Cassandra Sanchez: yeah. Jennifer Dunham: um yeah. Although we could have made the R_s better had we had Cassandra Sanchez: Yeah. Jennifer Dunham: five more minute. Pearl Ramsey: Okay then. Um I think we're still well within our Dorothy Christopherso: Yeah, we've got like Pearl Ramsey: time. Dorothy Christopherso: five minutes left. Pearl Ramsey: We've got about five minutes left, but if we've finished, then we've finished. Cassandra Sanchez: Yeah. Pearl Ramsey: We're just too too efficient and Jennifer Dunham: We certainly Dorothy Christopherso: Yeah. Pearl Ramsey: you should Jennifer Dunham: are, Pearl Ramsey: never Jennifer Dunham: mm. Pearl Ramsey: drag a meeting on just because you have extra time. Jennifer Dunham: Yeah. Cassandra Sanchez: Yes. Pearl Ramsey: So I would say that's the end of that meeting. Cassandra Sanchez: Yeah, Pearl Ramsey: Thank Dorothy Christopherso: 'Kay. Cassandra Sanchez: it Pearl Ramsey: you, Cassandra Sanchez: was a Pearl Ramsey: team. Cassandra Sanchez: pleasure working with you. Pearl Ramsey: It was Jennifer Dunham: Yeah, same here. Pearl Ramsey: very productive day Dorothy Christopherso: We Pearl Ramsey: and Dorothy Christopherso: could draw animals on the board again. Jennifer Dunham: Mm uh no. Pearl Ramsey: Mm uh Jennifer Dunham: I don't Pearl Ramsey: no. Jennifer Dunham: think so. Cassandra Sanchez: You can make some animals. Dorothy Christopherso: I Cassandra Sanchez: Oh, Dorothy Christopherso: don't Cassandra Sanchez: you Dorothy Christopherso: like Cassandra Sanchez: don't Dorothy Christopherso: Play-Doh, Cassandra Sanchez: like Dorothy Christopherso: no. Cassandra Sanchez: anim Dorothy Christopherso: It's just minging. It smells so bad. Cassandra Sanchez: It doesn't? Dorothy Christopherso: It Cassandra Sanchez: Smells Dorothy Christopherso: does. Cassandra Sanchez: quite nice. Smells very sweet. Dorothy Christopherso: Mm. Pearl Ramsey: Right, so we have to complete the final questionnaire and meeting summary when they Jennifer Dunham: Was there a Pearl Ramsey: send Jennifer Dunham: questionnaire Pearl Ramsey: it. Jennifer Dunham: already sent? Pearl Ramsey: I don't know if it's already sent or Dorothy Christopherso: No, Pearl Ramsey: not. Dorothy Christopherso: it hasn't been. Pearl Ramsey: Um presumably I Dorothy Christopherso: Do Pearl Ramsey: have Dorothy Christopherso: we have Pearl Ramsey: to Dorothy Christopherso: to go back into the other room or can we stay in here now? Pearl Ramsey: I don't see why you can't stay here, really. Dorothy Christopherso: Okay, so the other way. Pearl Ramsey: Did I save this one? Production costs. Cassandra Sanchez: I made your animal for you. Pearl Ramsey: It was supposed to be pink. Cassandra Sanchez: Yeah, Pearl Ramsey: But Cassandra Sanchez: that's Pearl Ramsey: it was blue Cassandra Sanchez: the Pearl Ramsey: on Cassandra Sanchez: one Pearl Ramsey: the board.

Pearl Ramsey opens this detailed design meeting by going over the agenda. The designers present the prototype, which they decided to make the color and shape of a banana. They demonstrate the remote components, showing how it flips open on the side and features a LCD and scroll inside. Dorothy Christopherso gives the product evaluation, which is based on the criteria of attractiveness, whether it matches operation behavior of the user, locatability, intuitiveness, ergonomic design, and how technologically innovative it is. They rate the product using a 7 point scale and come up with an average score of 6.5. The group goes on to calculate the production cost and finds they are over the budget. They have discussion and decide to eliminate the sample speaker locator and the scroll wheel inside. The team discusses the project process- saying that they had to cut out some creativity in order to meet the budget because they had not known the cost of features beforehand. They were satisfied with the leadership but felt rushed for time. They finish the meeting 5 minutes early and Pearl Ramsey tells them what is left to complete.

amisum

train

Carole Blankenship: Oh right okay. I cover myself up. Amy Offield: I feel like Madonna with one of these on I. said I feel like Madonna with one of these on. Carole Blankenship: I've always wanted one of these, I really have. Where do you buy 'em from? They're. Amy Offield: Right. Hello everybody. Kimberly Long: Hello. Amy Offield: Back again for another wonderful meeting. Is uh everyone ready? Kimberly Long: Yeah. Carole Blankenship: Yeah. Nadine Schaefer: Almost. Amy Offield: Okay, we c we can hold on for a minute. Carole Blankenship: Oh my gosh. Amy Offield: I figured with the spam thing, if you can't beat it, join in. Kimberly Long: That's the kind of spam that everybody likes to receive. Nadine Schaefer: Mm 'kay. Amy Offield: Are you ready? Amy Offield: Okay, right, well, I take it that you are all ready now. Um alright first off we'll just uh recap our last meeting. Um which was we got together just to basically decide on well to talk about what it is that we were actually uh supposed to be doing, and who we all are and stuff like that, mm get bit more of an idea together of what's going on. Um what we are gonna talk about in this meeting is um now that we know what it is that we are doing, now we know that it's a T_V_ remote and stuff and you guys have just been off doing some some uh R_ and D_ for that, that's research and development for Carole Blankenship: Mm-hmm. Amy Offield: those that haven't heard that before, see I'm learning all sorts of new technologi terms in technology today. Um yeah, we're gonna hear your uh th three little presentations, whether Kimberly Long: Hmm. Amy Offield: they be on computer or on the whiteboard or whatever you want. Kimberly Long: Do you have any preference uh of order? Amy Offield: Um I'd like to um hear o I'd like to hear who's g who's on the um from from uh Catherine actually first. I want what I'd like to hear about is uh if we've finally decided on um what Carole Blankenship: Batteries. Amy Offield: sort of energy we're gonna be using and Kimberly Long: I think she is still finishing her. Nadine Schaefer: No no no no, it's fine I'm just preparing. Amy Offield: It's just that yeah, let's let's hear from you first. Kimberly Long: Hmm. Nadine Schaefer: Okay. Where is that Kimberly Long: Okay, Nadine Schaefer: thing? Kimberly Long: it's uh Carole Blankenship: It's here. Nadine Schaefer: Oh sorry, couldn't see. Would that work? Amy Offield: Get yourself in position. Carole Blankenship: Ah. Nadine Schaefer: Okay, so that's Carole Blankenship again. Um so um for the energy sources we can have a basic battery, a hand dynamo which is which was used uh in the fifties for torches, if you remember that kind of which wouldn't Amy Offield: I don't Nadine Schaefer: be v Amy Offield: think any of us remember Nadine Schaefer: wouldn't Amy Offield: the fifties. Nadine Schaefer: be v Kimberly Long: Is it like Nadine Schaefer: v Kimberly Long: a crank Nadine Schaefer: yeah, Kimberly Long: thing Nadine Schaefer: yeah. Kimberly Long: or something. Nadine Schaefer: It wouldn't be very fancy. You can have a kinetic provision of energy, which is used on some watches these days. So if you have just a bit of gentle movement that it will give Carole Blankenship: Mm. Nadine Schaefer: it the energy to work. Or you can use solar cells, but I'm not sure about that indoors, really, but Kimberly Long: Well, there's sometimes combinations, I mean, like calculators Nadine Schaefer: Yeah. Kimberly Long: do combinations of battery with but also using some solar power. Amy Offield: Do Carole Blankenship: Mm. Amy Offield: sol solar panel things, do they have to work from the sun or can they work from a light bulb? Nadine Schaefer: I dunno Amy Offield: Does anybody Nadine Schaefer: actually. Amy Offield: know? Kimberly Long: Uh I think, it has to be on the on the solar energy, but I know. Nadine Schaefer: I dunno. Um. Think the the uh Amy Offield: Okay. Nadine Schaefer: what would cost the less would be the basic battery, really. Carole Blankenship: Mm. Nadine Schaefer: And uh if we want something fancier, I think the kinetic provision of energy could be nice, but I don't know if it's worth the cost. So we've got to discuss that. Amy Offield: Mm. Okay, jolly good. Nadine Schaefer: For the case of the remotes itself, um they can be a general case, which is just a flat one. You can have uh a curved one or a double curved one, if you know what I mean, so Amy Offield: What's a double curved one? Nadine Schaefer: You know, kind of more ergonomic, that kind of suits the palm of your hand, that kind of thing. So Amy Offield: Okay. Nadine Schaefer: Um then the case material itself, so it can be uh uh either plastic or latex, uh rubber, wood, or titanium. And th for each of them you have uh cases where for example titanium, you can't use it for if you if we're choosing a double curved case, we can't choose titanium. And if we are choosing um solar cells then we can't choose latex for the case material, so we just have to take that into account. But if we're choosing just the flat case then we can go for anything. And I think we discussed earlier on the R_ S_ I_ problem thing, so we could uh Amy Offield: So that might be an idea of using Nadine Schaefer: Yeah. Amy Offield: the rubber, but then it should, you know Kimberly Long: Let's have a squeezable remote. Amy Offield: yeah. Nadine Schaefer: Yeah. And also it doesn't break as easily maybe, I dunno Amy Offield: when a T_V_ programme's got one watching the match and your team's just lost, you can fuzz it across the room and it'll bounce off the wall back Carole Blankenship: Yeah. Amy Offield: at you. Yeah, I like that idea. Carole Blankenship: Mm. Nadine Schaefer: So rubber would be Okay. Carole Blankenship: I think rubber's Amy Offield: Rubber, we're all we're all going we're all liking that idea? You think you can market Carole Blankenship: But after Amy Offield: that? Carole Blankenship: my after my fashion thing, I think you'll realise that rubber is more Nadine Schaefer: Uh Amy Offield: Ooh, we Nadine Schaefer: s Amy Offield: like rubber, ooh. Carole Blankenship: People. Nadine Schaefer: so if d okay. And then there are the push-buttons, so you can have basic push-buttons or a scroll-wheels, like you have on a mouse, um or you could have um L_C_D_, which gives you a display. Um scroll buttons, as well. Amy Offield: Uh-huh. Nadine Schaefer: So if you use a rubber double curved case, you must use rubber push-buttons. So if we're going for rubber then we have to decide for the case. Um and if we choose double curved then we have to go for rubber push-buttons. So it's Amy Offield: Well, Nadine Schaefer: a constraint. Amy Offield: we're gonna go with I think we've decided that it's gonna be a rubber case Nadine Schaefer: Yeah, but Amy Offield: so Nadine Schaefer: is it a double curved one or not? If it's not a double curved, then we've got the choice for the push-buttons, if it's a double curve, we've gotta go for rubber push-buttons. If that makes sense. Amy Offield: push buttons instead of the wheel? Nadine Schaefer: Yeah. Kimberly Long: If it's rubber, isn't it malleable anyway, it doesn't matter if it's double I mean isn't a rubber case, mean it's completely flexed, I mean, it it flexes to whatever they want it to? Mean so what's the difference between a normal rubber case and a rubble doub double rubber double curved Nadine Schaefer: No, but Amy Offield: rubble Kimberly Long: case? Amy Offield: double double. Nadine Schaefer: na le you see, you've got, okay, the energy that's Amy Offield: I'll have Nadine Schaefer: one Amy Offield: a Big Nadine Schaefer: thing, Amy Offield: Mac, please. Nadine Schaefer: then you have the case is uh, whether it's flat or curved. And that's we don't care if it's rub rubber or not, but then we've decided that we going for rubber for the case material. So if we've chosen rub rubber and if now we have the choice for the case whether it's flat, single curved or double curved. And I'm just saying if it if we choose it to be double curved then we need to go I dunno why, but we need to go for uh rubber push-buttons. Kimberly Long: Okay. Nadine Schaefer: So, either I dunno we just need to decide on the Amy Offield: Let's have Nadine Schaefer: on Amy Offield: rubber Nadine Schaefer: the case. Amy Offield: push buttons, hey. Kimberly Long: Okay. Go rubber. Go Nadine Schaefer: Let's Kimberly Long: rubber Nadine Schaefer: go crazy. Kimberly Long: the whole way. Nadine Schaefer: And then, do I have a last slide? Yes, I do. Um so the push-buttons themselves they can be just simple or they can be so that's just the electronics between the but behind the push-buttons. Amy Offield: Yeah. Nadine Schaefer: Um and the price that go with it with it, so the simple push-buttons are gonna be the cheapest. Uh if we get a scroll-wheel, that's a higher price range. If we get an advanced chip which is um used for the L_C_D_, the display thing, then that's even more expensive. Amy Offield: Simple, yeah. Chip on print. It's a bit. Amy Offield: Okay, uh what I'm not understanding here Nadine Schaefer: Mm. Amy Offield: is uh, okay, advanced chip on print, which I presume is like one P_C_B_ and that's got all the electronics on one board Nadine Schaefer: Yeah. Amy Offield: including the um Nadine Schaefer: The infra-red. Amy Offield: infra-red sender? Nadine Schaefer: Yeah. Amy Offield: Right. Um what a what alternatives do we have to that? Y um what alternatives do we have to the chip Nadine Schaefer: Well, Amy Offield: on Nadine Schaefer: if Amy Offield: print? Nadine Schaefer: if it's not chip on print then, I guess, you get different chip components, and you build them separately and doesn't include the infra-red. It's less expensive mm Amy Offield: so it sounds Nadine Schaefer: Technically speaking, it's not as advanced, but it does the job, too. Amy Offield: So, why would we not go for that? If it's something Nadine Schaefer: Fo Amy Offield: that's inside the the unit. Nadine Schaefer: It doesn't, Amy Offield: I it Nadine Schaefer: yeah, yeah, yeah. Amy Offield: doesn't affects whether the customer's Nadine Schaefer: Totally. Amy Offield: gonna buy it or not. Nadine Schaefer: Yeah. Amy Offield: Um Nadine Schaefer: So let's not Amy Offield: we Nadine Schaefer: go Amy Offield: wanna Nadine Schaefer: for Amy Offield: go Nadine Schaefer: the Amy Offield: for an i i all so long as it works, Nadine Schaefer: Yeah, yeah. Amy Offield: you Nadine Schaefer: I Amy Offield: know. Nadine Schaefer: agree. Amy Offield: So let's not let's uh not bother with the chip on print. Nadine Schaefer: So it's either um the scroll-wheel or the push-buttons. Amy Offield: Yeah. S yeah, push buttons. Carole Blankenship: What about the just Kimberly Long: I Carole Blankenship: developed Kimberly Long: think push-buttons Carole Blankenship: uh sample Kimberly Long: is Carole Blankenship: sensor? Amy Offield: What about what? Carole Blankenship: G there, the sample sensor, sample Nadine Schaefer: Well Carole Blankenship: speaker thing. Amy Offield: Well, what do we need a speaker for in a remote control unit? Carole Blankenship: Mm, I dunno. Be cool. Nadine Schaefer: It'd Carole Blankenship: Channel Nadine Schaefer: be it'd Kimberly Long: Yeah. Nadine Schaefer: be cool, Carole Blankenship: two. Nadine Schaefer: but they are saying they've just developed it, I'm just guessing. But it's gonna Amy Offield: S Nadine Schaefer: be the most expensive option, probably and Kimberly Long: Th the the speech recognition um option is it doesn't seem really very promising for us Amy Offield: Yeah. Kimberly Long: uh, 'cause Amy Offield: It's not Kimberly Long: uh Amy Offield: something that we wanna t go into with this Kimberly Long: The Amy Offield: product. Kimberly Long: yeah the example that they're already using it for is with the coffee machine, where, basically, you can program a sample wi um That when you say something it will give a response, and you program the response as well. Just uh clips of tha that you record yourself. So you can program your coffee-maker that when you say, good morning, to it it says, hello Rick, or whatever. Amy Offield: Yeah. Kimberly Long: But, I mean, it's not it would Nadine Schaefer: Hm. Kimberly Long: be one thing if it was speech recognition where you say something and it turns the T_V_ on like, turn the T_V_ on, and i turns comes on, but it's not that. It just gives Carole Blankenship: Oh, Kimberly Long: you Carole Blankenship: it Kimberly Long: a Carole Blankenship: just gives an answer. Kimberly Long: it just gives you a verbal response. So, yeah, I mean, Carole Blankenship: Oh, then then Kimberly Long: like what's the point of saying, Amy Offield: Yeah. Kimberly Long: Hello remote, I mean, hello, Amy Offield: Yeah. Kimberly Long: how how are Carole Blankenship: I Kimberly Long: you? Carole Blankenship: thought I thought it was when Nadine Schaefer: Just Carole Blankenship: they Nadine Schaefer: if Carole Blankenship: said Nadine Schaefer: you are really lonely, Kimberly Long: Yeah, Nadine Schaefer: maybe. Kimberly Long: if you're really lonely, it Carole Blankenship: I thought Kimberly Long: is it's Carole Blankenship: when they said, voice recognition, they meant um like, channel five, and it Kimberly Long: No, Carole Blankenship: will change. Kimberly Long: tha that Carole Blankenship: Like Kimberly Long: w Carole Blankenship: you Kimberly Long: that Carole Blankenship: talk Kimberly Long: w Carole Blankenship: to it. Kimberly Long: that would be Carole Blankenship: Can Kimberly Long: more Carole Blankenship: I Kimberly Long: promising. Carole Blankenship: have channel five? Amy Offield: Yeah. Kimberly Long: It it's just a remote that talks to you. Uh. Carole Blankenship: Oh, Amy Offield: Yeah. Carole Blankenship: then forget Amy Offield: Yeah. Carole Blankenship: about it. Oh right okay. Kimberly Long: I mean to certain cues. Amy Offield: Yeah. Nadine Schaefer: Okay, so I'll go back, maybe, to the previous slide and we can decide for each problem, what we should choose. So Kimberly Long: 'Kay. Nadine Schaefer: for the energy source, do we go for the battery or the Kimberly Long: Yeah, I'm fine with the basic battery. Amy Offield: Basic Carole Blankenship: Mm. Amy Offield: battery. It's cheap, it's cheerful, it's worked, does work. Kimberly Long: Hmm. Nadine Schaefer: Cheaper option. Are Carole Blankenship: Mm. Nadine Schaefer: you happy with that? Carole Blankenship: Yeah. Nadine Schaefer: Okay. So we'll go for the battery. Then the case, do you want it flat or curved or sing or Amy Offield: We Nadine Schaefer: double Amy Offield: were go Nadine Schaefer: curved? Amy Offield: we were going with the late with the the R_S_I_ rubber, weren't Kimberly Long: Yeah, Amy Offield: we? Kimberly Long: so we want it rub rubber double curved. Amy Offield: The the Carole Blankenship: So it will look like Nadine Schaefer: Double? Carole Blankenship: something like Amy Offield: The double Carole Blankenship: this. Amy Offield: whopper, please. Nadine Schaefer: Okay, so then if we use double Amy Offield: Yep, Nadine Schaefer: curved Amy Offield: but Nadine Schaefer: case, then we have Amy Offield: we're going Nadine Schaefer: to Amy Offield: for Nadine Schaefer: u Amy Offield: the simple Nadine Schaefer: choose Amy Offield: buttons. Kimberly Long: So rubber Nadine Schaefer: rubber push-buttons, Kimberly Long: rubber keys, Amy Offield: Yeah. Nadine Schaefer: and that's Kimberly Long: yeah. Nadine Schaefer: fine? Amy Offield: And it's cheapest all round, it sounds kinda funky, and Nadine Schaefer: P Amy Offield: we can also Kimberly Long: Yeah. Amy Offield: market it as i 'cause we were s saying earl you were saying earlier in your research that um the the people have the R_ people were getting the complaining about R_S_I_, and this is anti-R_S_I_. Carole Blankenship: Yeah. Nadine Schaefer: Yeah. Amy Offield: So that's another marketing point that we can use. Carole Blankenship: Well the rubber push-buttons. Don't you have to move Amy Offield: But Carole Blankenship: your Amy Offield: anything is gonna have buttons. Carole Blankenship: Mm. Amy Offield: Even if it's a jog wheel, it's still repetitive. Nadine Schaefer: I thought they Amy Offield: You Nadine Schaefer: would give an option of flat buttons or a Amy Offield: You see, you can Nadine Schaefer: That Amy Offield: still Nadine Schaefer: they don't. Amy Offield: get it does you still get repetitive strain injury, whether you are pressing a button or pressing a flat bit of screen. It's the v it's the Nadine Schaefer: Mm. Amy Offield: fact that you are pressing the same doing the same movement. It's not actually what you are doing. But the fact that this this rubber i is actually used in these anti-R_S_I_ ps specific Carole Blankenship: Mm. Yeah, the Kimberly Long: Yeah. Carole Blankenship: rubber's good. Kimberly Long: We're giving them a way to burn off steam, basically, yeah. Amy Offield: Yeah. Carole Blankenship: Yeah, so they can sit there and go like Kimberly Long: Not that watching T_V_ should be that stressful. Amy Offield: And you know, yeah, you can fuzz it across the room and throw Kimberly Long: Oh Amy Offield: it Kimberly Long: yeah, Amy Offield: at throw Kimberly Long: I guess Amy Offield: it Kimberly Long: T_V_ Amy Offield: at your Kimberly Long: can Amy Offield: children Kimberly Long: be stressful, yeah, if you're watching sports. Amy Offield: yeah. Nadine Schaefer: Alright, that's Carole Blankenship done. Kimberly Long: Alright. Alright. Amy Offield: about the um it's the interface. Kimberly Long: Yeah, some of what I have to say ties into what Catherine was just talking about. Amy Offield: Great. Nadine Schaefer: Sorry. Kimberly Long: Okay, so I'm continuing with the user interface uh topic. And so basically I consulted with our manufacturing division. It sounded like Catherine was also speaking with them. Uh I also took uh Reissa's marketing findings from the last meeting into consideration um, 'cause I think that's that's crucial as far as uh what keys we're going to inc inclu what buttons we are going to include and and how they're laid out. Amy Offield: Mm. Kimberly Long: Uh and so the manufacturing division uh sent some some samples of of uh interface components that we might be interested in using that have been used in other products, uh like the coffee machine. So I already mentioned the speech recognition interface. I guess, we we basically vetoed that idea. It's it's pointless. Amy Offield: Mm. Kimberly Long: Uh it's just a sample sensor sample output. It would just be probably the most expensive part of our remote without any actual interesting functionality as far as operating the T_V_. Uh so yeah, they they also give the uh they they suggested the idea of using a spinning wheel like you use on the Carole Blankenship: Mm. Kimberly Long: side of Amy Offield: Mm. Kimberly Long: an M_P_ three player like iPod. Um so we've already addressed that and I think that would actually be worse for something like R_S_I_ I mean you got that thumb movement Amy Offield: Yeah. Kimberly Long: that you're constantly Carole Blankenship: Mm. Kimberly Long: doing. Carole Blankenship: That does get Kimberly Long: Um Carole Blankenship: annoying. Kimberly Long: the other suggestion, and I I have a feeling that we're interested in in something more general, but they suggested uh, you know, going i a little bit into a a niche, like either gearing our remote towards kids, where you could have lot of colours um, the keys might be you know, funny or or, or uh something Amy Offield: Mm-hmm. Kimberly Long: for the elderly, where the remote's very large and the buttons are very large and there's only a few buttons. But you know we can we can discuss this, but it sounded like from our last meeting we really wanted something that was general, but done well. Uh Amy Offield: Yeah. Kimberly Long: um So, the key layout and design are really crucial. You don't want uh you want people to be able to quickly access the buttons that they use a lot without uh always pressing the wrong one um. And I didn't mention that we need a power button in our last I can give you an example here of uh, good layout and bad layout uh from our manufacturing department. So this would be an example of bad layout, Amy Offield: Yeah. Kimberly Long: of them, so Amy Offield: Yeah. Kimberly Long: uh it's sort of confusing for the user. Uh Amy Offield: Do we have an uh example Kimberly Long: this is Amy Offield: of Kimberly Long: the Amy Offield: a Kimberly Long: example Amy Offield: good one? Kimberly Long: of the giant remote that's impossible to lose. Carole Blankenship: Uh-huh. Amy Offield: Brilliant. Carole Blankenship: Well Kimberly Long: And for something for kids. Yeah. Um. Amy Offield: Yeah. Kimberly Long: And so, yeah, I th I think my personal preferences of we've all kind of talked about and seemed to be on the same page um. Uh so I was against the speech recognition and against going uh towards anything in in a niche sense. I think it should be more general. Amy Offield: Mm-hmm. Kimberly Long: I didn't I didn't think the spinning-wheel or the uh L_C_ display were were crucial for us. And, yeah, that's it for Carole Blankenship. Amy Offield: Okay. Well let's um so w what are our definite decisions on this then as a team? The um The the um the interface type we're going for Kimberly Long: So we're we're not gonna have any sort of display I think uh. Amy Offield: Just the simple Kimberly Long: So, yeah, Amy Offield: s Kimberly Long: it's just gonna be Amy Offield: simple straight set Kimberly Long: just Amy Offield: of Kimberly Long: gonna Amy Offield: buttons. Kimberly Long: be push-buttons. Um. I think we shall have a limited number of buttons, ideally, I mean Amy Offield: Yeah. Kimberly Long: a a power, channel up, channel down, volume up, volume Amy Offield: Yeah. Kimberly Long: down, and a numerical keypad. Uh. And some sort of it will either have a a lock button like we mentioned or or a cover or something like that. Amy Offield: Yeah. Kimberly Long: I guess it's to the point where we need to decide about that. Amy Offield: Okay, and we're not yeah. Kimberly Long: Well now that we've decided Amy Offield: Are Kimberly Long: on Amy Offield: we Kimberly Long: our Amy Offield: gonna hav hav an are we d have we decided on whether w we're gonna s supplement it with anything, you know, colours or particular gimmicky bits to it, we're not we're just gonna go for something Kimberly Long: Um Amy Offield: We're Kimberly Long: it seems Carole Blankenship: Maybe Kimberly Long: like we wouldn't wanna Carole Blankenship: we can Kimberly Long: make it too busy and too sort of gaudy, but um Yeah, I would say mayb maybe a couple of colours like uh like a black with with yellow and somewhere, like maybe the R_R_ Amy Offield: Yeah. Kimberly Long: can be yellow, or something like that. Amy Offield: Yeah. Okay. Okey-dokey. Yeah, I don't have any other questions on this. Let's move over Kimberly Long: I Amy Offield: to Kimberly Long: I guess the fact uh also that we are having a rubber case uh would prevent us from having the cover function that we thought of before. I mean, 'cause Amy Offield: Yeah, Kimberly Long: uh s Amy Offield: sure. Kimberly Long: so if we wanna have a lock of some sort it would have to be a button. But I think that should be I mean um, I can speak with the button department, but uh I think that it should be easy to have a button that just Amy Offield: Yeah, the Kimberly Long: prevents Amy Offield: button that Kimberly Long: prevents Amy Offield: just does Kimberly Long: the Amy Offield: that, Kimberly Long: other Amy Offield: yeah. Kimberly Long: uh the other buttons from operating. So that should be simple. Amy Offield: Cool. Carole Blankenship: Right. Well, I'm just basically letting you know what's happening in the markets Amy Offield: Mm yeah. Carole Blankenship: and what the fashions are for next year. Um. So yes, so from looking at this year's trends and fashions Amy Offield: Mm-hmm. Carole Blankenship: and also recent investigation that we've done in the remote control market, we have found that for the remote control market these are like most important aspects like that we really need to which we've already probably discussed. Um the most important aspect is look and feel. So the remote control has to look and feel fancier than the ones that already that we already have. So it has to be Amy Offield: Yeah, why should people Carole Blankenship: Yep. Amy Offield: buy this when they're already got Carole Blankenship: Exactly. Amy Offield: a remote Kimberly Long: Mm. Amy Offield: that came with the T_V_? Kimberly Long: Yeah. Carole Blankenship: Um second, uh it should be technologically innovative innovative. So Amy Offield: What's that mean? Carole Blankenship: Technologically it should be like um work, basically, I guess. It should work. Kimberly Long: Well it should be it should be Carole Blankenship: Should Kimberly Long: maybe cutting edge in some sense, I mean have something that's little more Carole Blankenship: That's Kimberly Long: technologically Carole Blankenship: new. Kimberly Long: advanced Amy Offield: Okay, Kimberly Long: than what's on the market. Carole Blankenship: Yeah. Amy Offield: now the trouble is is we've Kimberly Long: Yeah. Amy Offield: already decided that we're going with the stuff that works already, that's Kimberly Long: Yeah. Amy Offield: cheap. Kimberly Long: Actually, Carole Blankenship: Yeah. Kimberly Long: I mean, these first two points we've already sort of gone away from, 'cause Carole Blankenship: Mm. Amy Offield: Yeah. Kimberly Long: our rubber one is not fancy I mean it's different, but I wouldn't say like a rubber remote is fancy. If that's what people want then we maybe we're going in the wrong direction. And it's it's not technologically innovative either. Carole Blankenship: So, Amy Offield: Maybe Kimberly Long: Mm. Amy Offield: we Carole Blankenship: no loose Amy Offield: could um Carole Blankenship: That's why I was thinking, Bluetooth, 'cause if you like put up Bluetooth, and it's like a Bluetooth remote control, everybody's gonna like, oh, 'cause Bluetooth is the in thing nowadays, like it really is, like people and um when it comes to marketing like that's what people go for, they don't really care whether, you know, at the end of the day whether it works properly or not. Amy Offield: Of course, they do. Carole Blankenship: Well, they do, but it's Amy Offield: One Carole Blankenship: like Amy Offield: hundred Carole Blankenship: it's not Amy Offield: per cent, that's your first thing, you go, oh I'm not gonna buy that, 'cause I dunno if it works or not. Carole Blankenship: Yeah, but it looks good. If it looks good and it's it can just be there for decoration. Amy Offield: Okay, well, what do you two think about this? Kimberly Long: So is is the advantage Carole Blankenship: But Kimberly Long: of Carole Blankenship: like Kimberly Long: Bluetooth that you can just like synchronise it with other electronics? Amy Offield: Yeah, what I don't understand what Carole Blankenship: You could always insert, Amy Offield: m Carole Blankenship: yeah. Kimberly Long: Yeah, that's basically what it allows you to do, right? Amy Offield: Yeah, and it this is just gonna all this is being used for is your television. Carole Blankenship: Yeah, but, I mean, people Amy Offield: It Carole Blankenship: like Amy Offield: would that would mean you'd need a television that has Bluetooth in it, which Carole Blankenship: Well, Amy Offield: no no Carole Blankenship: if you're Amy Offield: television Nadine Schaefer: Well Carole Blankenship: looking at Amy Offield: does, does it? Carole Blankenship: if you looking at something that's going to be bought by people, you have to make it new, you have to make it Amy Offield: That would mean Carole Blankenship: state Amy Offield: we'd have to Carole Blankenship: of Amy Offield: make Carole Blankenship: the art. Amy Offield: a television as well. Nadine Schaefer: Bluetooth would, for example, enable you, I think, to um um connect for example you if you get a w call on your mobile phone, but your mobile phone is downstairs or something, you would get on your television you're being called by this person right now. Things like that. Amy Offield: No, that would be your telephone in with your television. Kimberly Long: Yeah, Nadine Schaefer: No Kimberly Long: the that wouldn't Nadine Schaefer: i Kimberly Long: be the remote so much, Amy Offield: Yeah, Kimberly Long: I mean Nadine Schaefer: No, Amy Offield: and Nadine Schaefer: but Amy Offield: i Nadine Schaefer: if you get Bluetooth on the remote, you'd be able to Amy Offield: Nah, the televi Nadine Schaefer: I with the television, yeah. Amy Offield: the television would have to be Nadine Schaefer: I Amy Offield: a Nadine Schaefer: was Amy Offield: Bluetooth Nadine Schaefer: just trying to find Amy Offield: compatible, Nadine Schaefer: an advantage. Kimberly Long: Mm. Amy Offield: basically. Nadine Schaefer: Wha what w Carole Blankenship: Well, Nadine Schaefer: what Carole Blankenship: it doesn't Nadine Schaefer: advantage Amy Offield: An Nadine Schaefer: would Amy Offield: and Nadine Schaefer: you Amy Offield: there Nadine Schaefer: get Amy Offield: is no Nadine Schaefer: for Amy Offield: there Nadine Schaefer: the Amy Offield: is no such thing. Carole Blankenship: Like it doesn't have to be, you know, Bluetooth, that was just an idea, but like it needs do something that, you know, is new. Whether it's a battery it could be something really really minor, you know, like but I think we are really keeping to what is already out there, and people've already seen it, people've already got it. Amy Offield: Okay. Carole Blankenship: If we want something new, we need to move away from what we already have and um Nadine Schaefer: Maybe the kinetic Carole Blankenship: just go creative. Nadine Schaefer: mo provision of energy then. It's been done for watches, but I haven't seen that for remotes, Amy Offield: Okay. Nadine Schaefer: yet. Amy Offield: Yeah, this that's that's Carole Blankenship: And then Amy Offield: very Carole Blankenship: you can market Amy Offield: good. Carole Blankenship: it. Never have to change Nadine Schaefer: Change Carole Blankenship: a Nadine Schaefer: the Carole Blankenship: battery Nadine Schaefer: batteries Carole Blankenship: again. Nadine Schaefer: ever again. Amy Offield: And and this is all tying in very nicely. The fact that it's made out of this rubber, we can throw it about. Th we should encourage people to throw their remote controls about, because it charges itself Nadine Schaefer: Yeah, well, Amy Offield: up by Kimberly Long: Yes, Amy Offield: doing Nadine Schaefer: and Kimberly Long: so Amy Offield: it. Kimberly Long: can Nadine Schaefer: in little characters you say, yeah, but not too much. Carole Blankenship: I think, safety Amy Offield: But yeah, by the squeezing it Carole Blankenship: s Kimberly Long: Yeah, Amy Offield: the Kimberly Long: we can make the squeezing of the rubber be the be the generating Amy Offield: Yeah, Kimberly Long: like the energy Carole Blankenship: Yeah. Kimberly Long: generator. Amy Offield: that's a great idea. Well done. Carole Blankenship: Third most important aspect uh is it's easy to use. And I think we've all Kimberly Long: we're Carole Blankenship: um Kimberly Long: all about that. Carole Blankenship: worked that out. Um okay, in the fashion, how it's supposed to look. Next year's fashion i very much in fruit and vegetables are thm are like the theme for cloths, shoes and furniture. So next year people will be buying, I found this really funny, you know, strawberry shaped chairs, Kimberly Long: Okay, so we Carole Blankenship: and Kimberly Long: could have Carole Blankenship: things. Kimberly Long: keys that are like a b like a broccoli key and a Amy Offield: Yeah. Kimberly Long: uh Carole Blankenship: Yeah. Kimberly Long: and an avocado Carole Blankenship: Rubber Amy Offield: I wanna Kimberly Long: key Amy Offield: watch Kimberly Long: on Amy Offield: the Kimberly Long: them. Carole Blankenship: things. Amy Offield: pineapple channel. Carole Blankenship: Um and as it's rubber the feel which is in this year is spongy, so it's it's not quite spongy, Amy Offield: Well Carole Blankenship: but Amy Offield: spongy, Carole Blankenship: spongy, Amy Offield: that's Carole Blankenship: I would Amy Offield: where. Carole Blankenship: say Amy Offield: Yeah, Carole Blankenship: is Kimberly Long: Yeah, Amy Offield: we're Kimberly Long: that's Carole Blankenship: yeah, Kimberly Long: great Amy Offield: we're Kimberly Long: for us. Carole Blankenship: so Amy Offield: ahead Carole Blankenship: we're Amy Offield: of Carole Blankenship: in. Amy Offield: the game there. Carole Blankenship: Yeah. And so personal what I was just saying like move away from the current remote controls uh like the look and the feel of the current ones and change the look and feel, while still keeping to the company's image, basically. So yeah. Amy Offield: Okay. Carole Blankenship: I had to say So Kimberly Long: Right. Carole Blankenship: we're moving in the right direction Amy Offield: Alright, Carole Blankenship: like Amy Offield: yeah, no, Kimberly Long: Yeah. Amy Offield: this i this is good, so through all that we've we go we're right, we're gonna go go back to um going with the kinetic Kimberly Long: Yeah, Nadine Schaefer: Yep. Kimberly Long: that's great. Amy Offield: thing, that's great, using the spongy rubber that we were talking about that anti-R_S_I_ you can as you squeeze it you are not only therapeuticising yourself, you are charging the batteries, Carole Blankenship: Mm. Amy Offield: and um I'm not sure about the buttons being in the shape of fruit though. Kimberly Long: Yeah, I don't know how we Nadine Schaefer: No Kimberly Long: incorporate Nadine Schaefer: vegetables. Kimberly Long: We don't have Carole Blankenship: Maybe Kimberly Long: to follow Carole Blankenship: make Kimberly Long: every Carole Blankenship: it Kimberly Long: trend, Carole Blankenship: like Kimberly Long: I guess. Carole Blankenship: fruity colours or something. Some Kimberly Long: Uh-huh. Carole Blankenship: sort. Or Kimberly Long: The power Carole Blankenship: Mm. Kimberly Long: button could be like a big apple or something. Nadine Schaefer: Well yeah, but Apple would sue you for that. Amy Offield: Yeah, this is true. Kimberly Long: They don they don't own all images of apples. Nadine Schaefer: sued the Beatles so Kimberly Long: Okay, we'll make it a uh pomegranate, a big pomegranate. Amy Offield: Well, okay, it seems like the only thing that we haven't really finally um agreed on is its image. Like, yeah, we're we're saying no we don't want it to be fruit and vegetables, but we dunno what it should be, or like are we going yeah it looks slick, but Carole Blankenship: Well Amy Offield: what do what do we mean by slick sort of thing? Carole Blankenship: I think, if it's rubber it needs to be Amy Offield: I mean you said earlier on i it should be funky. Carole Blankenship: different. I think, it's it should be you associate with rubber? You know like really different Amy Offield: L Carole Blankenship: colours Amy Offield: keep it Carole Blankenship: basically. Amy Offield: clean, keep Carole Blankenship: Okay, Amy Offield: it clean. Carole Blankenship: sor I sorry, I used the wrong word, what do you associate with the mate the material that material? Um Um like I'm just thinking bright colours. Kimberly Long: Yeah. Carole Blankenship: Bright natural colours, nothing too Amy Offield: Bright, but not too Carole Blankenship: Bright, Amy Offield: bright. Carole Blankenship: but too not yeah. Kimberly Long: Yeah. Carole Blankenship: Like no lime green or bright yellow or bright pink. Wanna make it different colours so anybody can choo like Amy Offield: Like the volume Carole Blankenship: like Amy Offield: buttons should be the all the same colour and the d and the the channel buttons Kimberly Long: Mm. Amy Offield: should be one colour and stuff like that, do you mean? Carole Blankenship: Yeah. And on the back of it have the logo. Amy Offield: Okay, what? Nadine Schaefer: Yeah. Kimberly Long: Sure. Nadine Schaefer: Why not? Amy Offield: Okay. Kimberly Long: The one Amy Offield: Tha Kimberly Long: thing I'm wondering about, I hope that we're not going like too much down a gimmicky road of of Amy Offield: Yeah, Kimberly Long: having Amy Offield: I mean Kimberly Long: I Amy Offield: we Kimberly Long: mean Amy Offield: that's Kimberly Long: if somebody Amy Offield: we Kimberly Long: go goes Amy Offield: we Kimberly Long: into the store they're gonna see like three or four normal remotes, and then a big spongy pink t tomato Amy Offield: Yeah. Kimberly Long: uh remote. Amy Offield: This Kimberly Long: I mean what are ninety Amy Offield: is Kimberly Long: per Amy Offield: the Kimberly Long: cent Amy Offield: remote Kimberly Long: of people Amy Offield: control Kimberly Long: gonna take? Amy Offield: tomato. Carole Blankenship: Well I can say in this country, you'll get, you know, lots of people wanting something really funky and cool. Like and kids will be walking in with their parents saying, Mummy I wanna buy that one. And uh parents will see the will see the pro as well, because it's um like kids won't break it, it's not breakable if you throw it around. Amy Offield: Yeah. Carole Blankenship: Especially with younger kids, you know they can pick it up and and Yeah. The only thing is is that really small kids might chew on it, but Amy Offield: Well, it's it's gotta be chew proof. Carole Blankenship: Yeah. So Nadine Schaefer: I'm gonna write that Carole Blankenship: so it's Nadine Schaefer: down. Carole Blankenship: rea it's quite it's quite like um user friendly and also for different families, like like family use as well, so for little kids and for old ki like teenagers will like it, I think. Especially maybe younger girls if it's in pink they'll be like pink remote control for their room something. Amy Offield: So, what are you saying, maybe we should market it in different colours Carole Blankenship: Yeah. Amy Offield: for different so we could do Nadine Schaefer: That's Amy Offield: like Kimberly Long: Mm. Amy Offield: the pink Nadine Schaefer: yeah. Amy Offield: range, the blue range, the green range, the Carole Blankenship: So like you walk in, you're like, oh I like that remote control, because it's so bright, and then, and then the shop assistant comes up and says, oh what colour would you like? and then they go like, oh I can choose the colour wow. So it puts, I think, even the customer into more control over what they're buying instead of, you've got all colour it's either that or nothing. So they also get to pick. Well, personally I like walking into a shop and choosing a colour. Kimberly Long: Yeah I mean, that that seems Carole Blankenship: It's Kimberly Long: to work Carole Blankenship: um Kimberly Long: well with for products like iPod, where, you know, you have Carole Blankenship: Yeah. Kimberly Long: a Amy Offield: Mm. Kimberly Long: variety of colours, that people feel like they're customising it Carole Blankenship: Mm. Kimberly Long: when they buy it, even, you Carole Blankenship: D Kimberly Long: know, Carole Blankenship: you've Nadine Schaefer: Although Kimberly Long: just Carole Blankenship: got Kimberly Long: just Nadine Schaefer: I'd Kimberly Long: by Carole Blankenship: the Nadine Schaefer: be Kimberly Long: the Nadine Schaefer: curious Kimberly Long: fact of choosing. Nadine Schaefer: to see how many uh You know, there are some colours that I wouldn I would never choose, and I would be curious how many people choose that colour. Kimberly Long: Right. Amy Offield: Well that's that can be down to bit of market researching Nadine Schaefer: Mm. Amy Offield: you know, if that's Kimberly Long: Yeah. Amy Offield: easy enough to find out what colours are more popular. Nadine Schaefer: And produce less of the silly colours, maybe. Amy Offield: Mm. Okay. Alright. Well um, we'll alright let's what we're gonna aim to get together by the next meeting then um is from you Catherine wi your y y you know you're gonna be working on the the look and feel design. Nadine Schaefer: Yep. Amy Offield: Um Gabriel, you're gonna be working on, you know come up with the the user interface design. Then basically, you two are gonna be working together on this. You won't be going off Nadine Schaefer: Alright. Amy Offield: to your separate offices. Kimberly Long: Okay. Amy Offield: Um and I think you are gonna get a chance to play with some clay. Kimberly Long: Oh right. Amy Offield: I think, yeah, it's gonna Nadine Schaefer: Mm. Amy Offield: you know, come up ki you know, be ab for the next meeting be able to come in and show us some some i some physical ideas. 'Cause at Nadine Schaefer: Cool. Amy Offield: the moment, uh you know, it's it's hard. Kimberly Long: Yeah. Amy Offield: We Nadine Schaefer: It Amy Offield: were Nadine Schaefer: is. Amy Offield: kinda going, yeah, it's gotta feel nice, it's gotta look cool and that it's you know now we can actually start, you know, s some sort of physical something or other. Kimberly Long: That sounds good. Amy Offield: Um and you're gonna be working on the product evaluation. Carole Blankenship: Evaluation. Amy Offield: Um. And I will be uh talking to the bosses, basically, and uh f fielding off some more spam and uh Nadine Schaefer: Great. Amy Offield: that's it really. Keeping things t well, uh you know, ho hopefully uh keeping things together. Um. Yeah, that's This is this is uh good. So we know for definite we know we've we've now got some definite things going on. We definitely Kimberly Long: Mm. Amy Offield: know how it's powered, we definitely know that um it's gonna be a simple buttons, we're not gonna be going for the new technological chip on print expensive things, so we've we're keeping the costs down. It's this rubber casing that we can sell as um fun and funky. Don't know of any other remote controls that are made out of this stuff. Carole Blankenship: Mm. Amy Offield: People, you know, people are saying, oh, standard stuff gives you repetitive strain injury, well this remote control is designed to do the complete opposite, Carole Blankenship: Yeah. Amy Offield: It's supposed to fix it rather than cause it. Um. you know, we're gonna we we're gonna as a sort of extra something on it, you know what what extra things are there extra things this product have? We'll look into this lock key Kimberly Long: Right. Amy Offield: facility, although whether or not it happens, or is possible, I don't know, but something to look into. Okay. I think that's um well done everybody. Kimberly Long: Alright. Amy Offield: Anyone have any uh any questions, everyone know what they're doing? Kimberly Long: Yeah. Amy Offield: 'Cause if you don't, you'll I'm sure you'll soon get an e-mail about it. Kimberly Long: Yeah. Mm, I think we all know what Carole Blankenship: S Kimberly Long: we need to do now. Carole Blankenship: This gives you all the details? Amy Offield: Okay. Kimberly Long: Okay. Amy Offield: right well. It's um we're we've still couple of minutes until our meeting's due to finish. But um I got a note saying that you two who are gonna be working together so Kimberly Long: Okay, I'll stay Amy Offield: bef Kimberly Long: in here. Amy Offield: before you all disappear off just Carole Blankenship: um. Amy Offield: hold hold fire. Um. Kimberly Long: Does the pay-raise immediately come into effect on our next pay-check, or is that Amy Offield: Um I think, it's uh, yeah, I think, it's gonna be par part more of a profit sharing on the product. Kimberly Long: So we're buying fut I mean, we're getting futures in the company. Amy Offield: Yeah, I think i I think that's I think that's the way it's gonna happen at the moment. Kimberly Long: So we really have a incentive to make this remote work. Amy Offield: Yeah. Yeah. Kimberly Long: I'd like to share in the coffee machine profits, because that's really doing well. Amy Offield: I want a share in the space rocket. Did you see that this k Kimberly Long: Yeah. Amy Offield: that this company we've made Carole Blankenship: Yeah. Amy Offield: a spaceship. Kimberly Long: This company has its its fingers in a lot of different pots. Amy Offield: Yeah. Carole Blankenship: Mm. Amy Offield: Yeah. Kimberly Long: Yeah, we're definitely not in the money making department. Kimberly Long: Well I I did notice looking at I mean, they told you that they wanted whatev our product to represent the the R_R_ brand and and to be immediately Amy Offield: Yeah. Kimberly Long: noticeable. I mean, if you look like at the coffee maker at the at the corporate web page, it's Carole Blankenship: Mm. Kimberly Long: not obvious. R_R_. Well it is to us, because we we worked worked here for years and we use that coffee machine, but it's doesn't have the colour scheme of of the of the company anywhere on it obviously it's just Amy Offield: Mm. Kimberly Long: sil silver and black. Nadine Schaefer: That's true. Amy Offield: And the spaceship doesn't have the R_ Kimberly Long: No. Amy Offield: have a massive R_ and R_ down the side of it but Kimberly Long: Mm. Nadine Schaefer: Doesn't Amy Offield: I still want one. Okay. Um I've just had a sign flashing up saying, finish the meeting. Nadine Schaefer: Yeah. Amy Offield: Uh. Kimberly Long: Okay. Amy Offield: Yeah. Kimberly Long: Right, well, I guess that's us. Amy Offield: Yeah. It's not telling it's not saying do anything in particular just yet. So maybe you should go back to your own offices. Kimberly Long: Okay. Right. Nadine Schaefer: Are we taking these off? Amy Offield: Yeah. Yeah, it says you two.

Amy Offield recapped the decisions made in the previous meeting. Nadine Schaefer discussed different options for batteries, materials, and components, as well as restrictions involved in combining particular materials, components, and batteries. The team then discussed and decided what materials, components, and what type of battery to use in their product. The interface specialist presented examples of existing remotes on the market with good and bad layouts and stated what features the remote required. Carole Blankenship discussed research from trendwatching reports, finding that products now require technological innovativeness, a fancy look and feel, a spongy feel, and a fruit and vegetable theme. This lead to a discussion on whether to use Bluetooth or infra-red technology in remote. The team then discussed how to incorporate a fruit and vegetable theme into the remote.

amisum

train

Elane Dark: It's Play-Doh. Erin Batty: Play-Doh's edible. Did you know that? It's definitely Elane Dark: Because kids Amy Helmick: I Susan Lindquist: I've, Amy Helmick: used to eat Elane Dark: yeah. Amy Helmick: it. Susan Lindquist: I've definitely eaten it before. I didn't know was Erin Batty: Yeah. Susan Lindquist: edible. Elane Dark: But um, Erin Batty: It's Elane Dark: it's it's Erin Batty: it's Elane Dark: made Erin Batty: chew Elane Dark: edible Erin Batty: proof. Elane Dark: 'cause, yeah. It's made edible 'cause kids eat it, and Erin Batty: Yeah. Elane Dark: if it's wasn't edible then Well, normal Susan Lindquist: Actually Elane Dark: babies. Susan Lindquist: that makes sense, because I remember like, peopl I dunno if my Mom ever did it but I remember other people's Moms making like home-made Play-Doh where you just like make the colouring and make some sort of sort of Erin Batty: Yeah. Susan Lindquist: dough. Elane Dark: Oh yeah it is, yeah. Oh yeah. Susan Lindquist: Mm-hmm. Erin Batty: Right. Everybody everybody ready? Susan Lindquist: Yeah. Amy Helmick: Yep. Erin Batty: Okay, let's have your um Susan Lindquist: We've got Erin Batty: let's Susan Lindquist: some. Erin Batty: get have the uh presentation? Amy Helmick: We've Susan Lindquist: Yeah, Amy Helmick: got a cool prototype. Susan Lindquist: it's pretty exciting. So, everything uh that we wanted we wanted it to be ergonomic and to be made out of rubber, simple and easy to use, Amy Helmick: Double curved. Susan Lindquist: yeah, Erin Batty: Nice. Susan Lindquist: double curved, um but also something that was gonna jump out at people, something that would be different uh, separate it from the other remotes out on the market. So uh I think if you put this in the palm of your hand, you'll see what a nice thing we have going here. Elane Dark: That is cool. Susan Lindquist: So, basically, if you hold it like that, the one on your thumb, yeah, Erin Batty: Mm-hmm. Susan Lindquist: the thumb button is the power button. Erin Batty: Mm-hmm. Susan Lindquist: Your index finger is channel up, middle finger is channel down, ring finger is volume up, your pinkie is volume down. Elane Dark: What's the big blue thing? Susan Lindquist: That's the lock button, has a L_ Elane Dark: Oh Susan Lindquist: L_ on Elane Dark: cool. Susan Lindquist: it and then the M_ is a mute button. And then it also has digit Erin Batty: what button? Um. Elane Dark: And Susan Lindquist: For muting Elane Dark: mute. Susan Lindquist: the Erin Batty: Oh Susan Lindquist: uh Erin Batty: mute. Susan Lindquist: Um and then then you can also there's a numeric keypad on the top so you can key directly to the Erin Batty: Okay. Susan Lindquist: to the channel if you want. So it's really basic functionalities as far as what keys are available, but we think it's very comfortable and very innovative and it looks different. Erin Batty: That certainly does. Susan Lindquist: So all the, I mean the important keys are right at your f f you know right at uh at a convenient place for you to to access them. Erin Batty: Mm. Susan Lindquist: So Amy Helmick: Which Susan Lindquist: you Amy Helmick: is Susan Lindquist: don't Amy Helmick: ant Susan Lindquist: you Amy Helmick: anti-R_S_I_. Susan Lindquist: Yeah. Erin Batty: Mm. Susan Lindquist: It should be. And it's also conformable to the size of your hand. I mean if that's too big, it's a rubber remote, Erin Batty: Yeah. Susan Lindquist: so you can, you know Erin Batty: 'S great. Susan Lindquist: change that. Elane Dark: Oh it's Susan Lindquist: So Elane Dark: so Susan Lindquist: d Elane Dark: cute. Susan Lindquist: does that uh what mesh with what you guys were hoping and for and expecting or Erin Batty: I Susan Lindquist: does it Erin Batty: have one thing about it, but it's a small thing, but it'd mean we'd have to make a right-handed one and a left-handed one. Susan Lindquist: Ah, Amy Helmick: Oh right, yeah. Susan Lindquist: that's good thinking, yeah. Erin Batty: But, that's I don't see why that's not Susan Lindquist: Yeah, Erin Batty: possible. Susan Lindquist: if we build rocket ships why can't we build left-handed and right-handed Erin Batty: Yeah. Susan Lindquist: uh remotes. Erin Batty: They make left-handed scissors, you know. Elane Dark: Yeah, Susan Lindquist: Yeah, Elane Dark: but Susan Lindquist: I Elane Dark: then Susan Lindquist: didn't I didn't think about that, but I'd yeah, Elane Dark: but then you can learn to use your right h like I was if there's left-handers and right-handers family, what, they have two remotes? Erin Batty: Yes Amy Helmick: Yeah, I know I know people Erin Batty: s Amy Helmick: who have left-handed and right-handed people in the family and they all use the computer for the whole the same computer the fes family Erin Batty: Mm. Amy Helmick: and they have Erin Batty: Sure. Amy Helmick: a mouse, Erin Batty: Sure. Amy Helmick: and everybody is using right-handed mouse. Elane Dark: Yeah, I'm sure they'll be able to Susan Lindquist: Uh-huh. Elane Dark: I mean it's only pressing buttons, you don't have to do anything, you know, extraordinary. I think everybody can Susan Lindquist: Yeah. Elane Dark: press a button with their left and right hand so Amy Helmick: Imagine d are you right handed? Erin Batty: Yeah. Amy Helmick: Imagine you're doing it with your left hand, I don't think it's too Elane Dark: Yeah, it's not Amy Helmick: have both uh Elane Dark: Yeah. Have them in stock. Amy Helmick: Yeah. Erin Batty: Yeah. Elane Dark: Make 'em more appealing as well. Erin Batty: But um other than that, I mean uh and that's um, you know, that's just something, I think I think it's great, yeah, great idea. Susan Lindquist: Do you think it says R_R_? Amy Helmick: I think it does. Erin Batty: I think it's, well, if the R_R_ motto is, we bring Susan Lindquist: Fashion Erin Batty: fashion Susan Lindquist: to electronics. Erin Batty: to to electronics, I'd Susan Lindquist: Yeah. Erin Batty: say Amy Helmick: Yeah. Erin Batty: that could be quite fashionable. Susan Lindquist: Yeah. And it's got the b the black and yellow and blue. Plus red, which Erin Batty: Yeah. Susan Lindquist: is sort of a a fruit and vegetable uh uh. Amy Helmick: There you go. Erin Batty: Yeah. Susan Lindquist: So that's that's our end of things wha uh That's Erin Batty: Yeah, very good, yeah. It's come up with what we've you know, the things that's what we've what we were looking at doing, hasn't Susan Lindquist: Yeah. Erin Batty: it, all seems to be there. Well done. Elane Dark: And all the playing around is uh Erin Batty: Um before we move on Elane Dark: Yeah, I'm just do you wanna plug in? Erin Batty: I need that cable. Elane Dark: Okay. Erin Batty: Thank you. Yeah. Um. One thing I do need to do we need to look at, is the costs. Susan Lindquist: The costs, was that what you said? Amy Helmick: Play-Doh is very cheap. Erin Batty: Well, yeah. Elane Dark: Mm. Play-Doh Erin Batty: um Elane Dark: won't last very long everybody'll go like, oops, it's gone. Susan Lindquist: But it's edible. Elane Dark: Mm-hmm. Mm-hmm. Amy Helmick: Chew proof. Elane Dark: Well, they'll buy more of them if you eat them, Susan Lindquist: That was the main criteria from the last meeting, it had to be chew proof. Erin Batty: Yeah. Uh right. Okay, now I think we'll do this Elane Dark: Yeah. Erin Batty: I could do you know, I can do this Amy Helmick: Oh Erin Batty: o Amy Helmick: ho-ho. Erin Batty: on my own or I could do it with you, but it's just easy enough to go through it with you, so we're going for the kinetic power. Amy Helmick: Yep. Erin Batty: And the electronics, we decided on it being just a simple, the easiest thing that's inside it. Ooh. So the case, we've gone for the double curved. Um and it's made out of rubber. The interface is push-buttons. And button supplements well they're in diff special colours, aren't they? Elane Dark: Yeah. Erin Batty: So Susan Lindquist: Yeah. Erin Batty: special colours. Elane Dark: It's better for Erin Batty: Special form, yeah, they're a special form there in shapes and stuff. Susan Lindquist: Yeah, Elane Dark: And Susan Lindquist: I mean, Elane Dark: special Susan Lindquist: these Elane Dark: material. Susan Lindquist: these ones on the side are Erin Batty: Yep. Susan Lindquist: curved kind Erin Batty: Yeah. Susan Lindquist: of, so Erin Batty: Um. Are they made Amy Helmick: Rubber. Erin Batty: out of any special material? No they're not. They're not made out of wood or titanium or rubber or anything, they're just simple Elane Dark: Well they're rubber, Susan Lindquist: The buttons Elane Dark: aren't Susan Lindquist: are Elane Dark: they? Susan Lindquist: rubber. Erin Batty: Okay. Amy Helmick: Yeah. Erin Batty: Right. So let's see if that comes within budget. And it does. That is gonna Elane Dark: We're under Erin Batty: cost Elane Dark: budget. Erin Batty: uh Yeah. That's gonna cost ten ten Euro seventy cents a unit to make. And Susan Lindquist: That's Erin Batty: our target Susan Lindquist: cool. Erin Batty: was it had to come in at under twelve Susan Lindquist: Yeah. Erin Batty: fifty. Susan Lindquist: Yeah. Erin Batty: So, Susan Lindquist: And we're actua actually making a better profit than we expected. Erin Batty: this is all very very good. The bosses will be very pleased. Okay, let's just save this so I can e-mail it to you. Uh. Save Elane Dark: It's already Erin Batty: it Elane Dark: saved, Erin Batty: in Elane Dark: I think. Erin Batty: save it in the uh my documents. Erin Batty: Splendid. Okay. So uh, that's done with this with this um doodah, so you're. Gonna do Elane Dark: Thank Erin Batty: what you Elane Dark: you. Erin Batty: were gonna do, Elane Dark: Mm. Erin Batty: your evaluation. Elane Dark: Oh, yeah. This is where we all get to I get to write on the, oops, on the board. Right. Oh. 'S function Erin Batty: F_ eight. Elane Dark: Okay. Erin Batty: I love the smell of that Play-Doh. Elane Dark: Mm. Susan Lindquist: Yeah, have some Erin Batty: I Susan Lindquist: have some. Erin Batty: cou. Elane Dark: Okay. So, evaluation. We're gonna do it all together so we evaluate each criteria. I've got the criterias. And we have to do it on a scale of one to seven, one being true, so it's it's more like it's fits the criteria, and seven being as in it doesn't fit the criteria. And the criterias are, and I'll draw this up on the board so we have a box Elane Dark: And this is false, this is just like to keep you informed. So seven's here and one's here and then you've got in the middle. So the first criteria. Do you all get what we're doing? Susan Lindquist: Mm-hmm. Amy Helmick: Mm-hmm. Elane Dark: Okay, cool. Okay, first criteria, look and feel. So the does remote look and feel fashionable to what we talked about? As it is it colour-wise and is it spongy? So what Susan Lindquist: Mm. Elane Dark: mark should we Erin Batty: I Elane Dark: give Erin Batty: would give it Elane Dark: for Erin Batty: a seven. Elane Dark: that? Susan Lindquist: Yeah. Elane Dark: As in it's not. Susan Lindquist: Oh, sorry, one. Erin Batty: Oh sorry, Amy Helmick: A Erin Batty: one, Amy Helmick: one. Elane Dark: A one a Erin Batty: d Elane Dark: one. Erin Batty: yeah. Elane Dark: So I'll just write criteria criteria one we get one. Second criteria, new technology. Have we implemented new technology? As in the new Amy Helmick: Well, Elane Dark: high-tech Amy Helmick: the kinetic thing, yeah. Susan Lindquist: Yeah. Erin Batty: Yeah. Susan Lindquist: That was our main technological innovation w every everything Elane Dark: So Susan Lindquist: else Elane Dark: it's. Susan Lindquist: was fairly simple, but the fact Elane Dark: So we'll give Susan Lindquist: that we Elane Dark: it Susan Lindquist: used Elane Dark: a Susan Lindquist: the kinetic energy was Amy Helmick: Well Susan Lindquist: new. Amy Helmick: so the um Susan Lindquist: It's ergonomic, but that's Amy Helmick: Yeah. Susan Lindquist: not Erin Batty: Yeah, Susan Lindquist: that's Erin Batty: but that's not a technological Susan Lindquist: that's a design Amy Helmick: Yeah. Erin Batty: thing, Susan Lindquist: that's Erin Batty: that's Susan Lindquist: a des Erin Batty: another Susan Lindquist: that's Erin Batty: thing, Susan Lindquist: a design Erin Batty: i that's Amy Helmick: Yeah. Susan Lindquist: thing, Erin Batty: another Susan Lindquist: yeah. Erin Batty: marketing Amy Helmick: True. Erin Batty: thing. Elane Dark: Yeah. Erin Batty: So on the technical side of it Elane Dark: I'd Erin Batty: it Elane Dark: say it's about a a Susan Lindquist: It's Elane Dark: twoish? Susan Lindquist: about Amy Helmick: Two. Susan Lindquist: in the mid in Elane Dark: Two. Susan Lindquist: the middle somewhere, maybe, yeah, I dunno. Elane Dark: Three. Amy Helmick: Yeah. Susan Lindquist: Maybe three, yeah. Elane Dark: three. So criteria three is is Erin Batty: Easy Elane Dark: it easy Erin Batty: to Elane Dark: to Erin Batty: use. Elane Dark: use? I think it's a one, Erin Batty: I'd Susan Lindquist: Yeah. Erin Batty: say Elane Dark: I think. Erin Batty: it's I wouldn't not if you're left-handed it's not. I would Susan Lindquist: Mm. Erin Batty: give it a I would give it a two, Elane Dark: Two, so it's Erin Batty: 'cause i i it Susan Lindquist: Okay. Erin Batty: i it i it is more geared for right-handed people than left-handed people, but Elane Dark: But if Amy Helmick: Mm. Elane Dark: we make a right-handed and a left-handed then? Susan Lindquist: If we're gonna have one left-handed and one right-handed then I would give it a one, but otherwise Elane Dark: Yeah. Erin Batty: Yeah. Susan Lindquist: otherwise a two. Amy Helmick: Yeah. Erin Batty: Give it a t give it a two. Elane Dark: Yeah, okay. 'Kay, criteria four is Erin Batty: Cost. Elane Dark: costs. Erin Batty: It's come Elane Dark: 's Erin Batty: in under budget. Susan Lindquist: Yeah. Erin Batty: So Elane Dark: great. Erin Batty: that's a definite one. Susan Lindquist: That was great. Elane Dark: Yeah. Erin Batty: Amount of buttons. Elane Dark: Like the amount of buttons, 'cause people Erin Batty: Contains Elane Dark: like a lot le Erin Batty: only the Elane Dark: like Erin Batty: necessary buttons. Elane Dark: So it's a one? Erin Batty: Yeah. Amy Helmick: Yeah. Susan Lindquist: Yeah. Elane Dark: Um criteria six. R_S_I_ is it good against? Yes. Amy Helmick: Yes Erin Batty: So Elane Dark: Very Erin Batty: it's Elane Dark: good. Erin Batty: anti-R_S_I_. Amy Helmick: s Elane Dark: It's Amy Helmick: yeah. Elane Dark: one. And criteria seven, which is the last one, does it get lost? Is it easy Amy Helmick: It's Elane Dark: to get Amy Helmick: yellow. Elane Dark: lost? Erin Batty: I don't think it's gonna get Susan Lindquist: It is Erin Batty: lost Susan Lindquist: very Erin Batty: easily. Susan Lindquist: bright, yeah. Elane Dark: No? But it is smallish. Susan Lindquist: It's not the kinda Amy Helmick: Two. Susan Lindquist: thing that's gonna slip like between a couch cushion or something, you know. Maybe it will. Uh. Amy Helmick: T Elane Dark: Mm. I think i it would, could be, could get Susan Lindquist: You think Elane Dark: lost. Susan Lindquist: it could lost Elane Dark: Mm. Erin Batty: two. Elane Dark: Yeah. Susan Lindquist: Mm. Elane Dark: I mean it's Erin Batty: I Elane Dark: not Erin Batty: mean it Elane Dark: fully it's not fully like Erin Batty: No, Elane Dark: you can't Erin Batty: I mean Elane Dark: say I mean, it's not a one, definitely. Erin Batty: I mean, you could Susan Lindquist: Okay. Erin Batty: still flush it down the toilet theoretically, Susan Lindquist: Yeah, Erin Batty: but Susan Lindquist: anything, I mean. Okay. It's bigger than the average mobile, I guess. Elane Dark: Yeah. Susan Lindquist: But, yeah, it can get lost. Elane Dark: The mobiles get lost all the time. Susan Lindquist: Yeah. Okay, yeah, two is Elane Dark: But then Susan Lindquist: fine. Elane Dark: you ring 'em and you Amy Helmick: Mm. Susan Lindquist: Yeah, Elane Dark: find them. Amy Helmick: Mm. Susan Lindquist: yeah. Elane Dark: So Erin Batty: Okay. Elane Dark: Yeah. So, that's that. So that's the evaluation, so I'd say Yay. Erin Batty: Alright it's Elane Dark: It's Erin Batty: all Elane Dark: like Erin Batty: all Amy Helmick: We've, Erin Batty: systems go. Amy Helmick: we've done well. Elane Dark: like Susan Lindquist: Yeah. Elane Dark: a number one. Um. Number one product. Susan Lindquist: Mm. Elane Dark: All done, thanks. Erin Batty: We can't Elane Dark: We Erin Batty: fail. Elane Dark: fitted all the criterias. Yeah. Yeah, so Erin Batty: Well done, Reissa. Elane Dark: So that's that one. Erin Batty: Okay, I I think um I just wanna put in as Project Manager the you know, little bit of praise for everybody here for how they've worked on it, you know, both individually and as a team. You know you've w everyone's come up with their own individual ideas in their own different departments, um and then come together and worked in, you know, integrally, you know, at the right times, psp, you know, especially you two. That's all, you know, Susan Lindquist: Yeah. Erin Batty: gone very very well and and and be you know, has been good communication going on. Susan Lindquist: Yeah, during our design I mean there was some s some heated heated discussion, but we we kept we tried to keep it cool and and just Erin Batty: Did you Susan Lindquist: just Erin Batty: have to go down to the the corporate squash court and bash a few Amy Helmick: Well. Erin Batty: balls about? Susan Lindquist: We just Amy Helmick: You Susan Lindquist: had Amy Helmick: know Susan Lindquist: to we just had to squeeze our product a little bit and Erin Batty: Fantastic. Susan Lindquist: Now Amy Helmick: It Susan Lindquist: you guys Amy Helmick: is. Susan Lindquist: have been a a great team. Think we're the we're the envy of all Elane Dark: been Susan Lindquist: the Elane Dark: cool. Susan Lindquist: of all the other R_R_ teams, Erin Batty: I think So I I, you know, and I think we've co we have come we've come up with something new, something that hasn't been done before, we haven't we're not just rehashing an old design. Elane Dark: In four diff in in four meetings. Erin Batty: Yeah. Elane Dark: Funny, all designer meetings could be this quick. Erin Batty: this isn't a simulation, maybe this is actually so it's like Susan Lindquist: Yeah I think they're actually Erin Batty: Sony Susan Lindquist: trying to find Erin Batty: or Susan Lindquist: ideas Erin Batty: someone Susan Lindquist: for Erin Batty: like that Susan Lindquist: a ideal Erin Batty: they're Susan Lindquist: remote. Erin Batty: they're just, yeah, they Elane Dark: They're using Erin Batty: get Elane Dark: our ideas. Erin Batty: Yeah. Yeah, two years' time this will be on the market. Ex exactly that product um thum we'll go, yeah, we designed that and no-one will believe us. But um Susan Lindquist: So at this stage, I mean, is this the last meeting of the project? We don't uh have Elane Dark: Yeah. Susan Lindquist: another one after it's gone gone Erin Batty: No, Susan Lindquist: to marke market Erin Batty: I think Susan Lindquist: or something? Erin Batty: when this meeting's finished like Amy Helmick: Y Erin Batty: officially, there b we'll get a uh questionnaire Amy Helmick: Oh really? Erin Batty: to fill in. Or six, Elane Dark: Just Erin Batty: uh Elane Dark: start summarising now. You can reply to the same message. Erin Batty: I haven't got message. Elane Dark: See summary, there. If you just reply to that one. Susan Lindquist: So there's no way to like predict what our 'Cause we had a we originally had a As far as our financial uh um goals, we had a specific number for profits that we wanted. It was fifty mil fifty million Elane Dark: Was it was it fifty or five? Susan Lindquist: I don't remember. But there's not a way to compute that, mean, since we saved on the on the production cost, do we know how much we're making on profit? Erin Batty: It Elane Dark: Depends Erin Batty: gets Elane Dark: how Erin Batty: handed Elane Dark: much we sell. Erin Batty: over to another department. Susan Lindquist: Uh. Erin Batty: What our what our project was was to come up with the product, Susan Lindquist: Hmm. Erin Batty: basically. the for the and just basically is it it come can is it within budget. When it c when it comes to all the other things of how to sell it and, you know, the b the profits and all that that's other departments it's another team that actually work out the mai the Susan Lindquist: But we have a vested interest Erin Batty: oh Susan Lindquist: prof Erin Batty: yeah, Susan Lindquist: profit Erin Batty: the all Susan Lindquist: sharing. Erin Batty: the guys in the profit sharing, yeah. Um. Yeah, that's it. You know, we've we've Elane Dark: We finished an hour earlier. Erin Batty: we've made i we've made we've designed the product, we've ma we've got the prototype, it's within budget, it's does everything that we wanted it to do. It's new, it's it's um something that uh that isn't out there already. Susan Lindquist: I think actually and one advantage of of this is that after the uh, you know, after this fad of fruit and vegetables passes this will still be c a cool Elane Dark: Mm. Susan Lindquist: remote, you know. We're not we're not you know, tying tying our cart to that one horse. Elane Dark: Mm. Erin Batty: Yeah. Well, this Elane Dark: Definitely. Erin Batty: is very marketable in that it is it's it's something that's kind of new and looks a bit quirky for people who want that, it's that it's um, hang on, I wrote it down here somewhere Oh no I thi I put it in one of my e-mails that I sent off. Um that, you know, it's marketable in the sense that it's whilst all these other remotes uh actually do give you repetitive strain injury, our one Susan Lindquist: Mm. Erin Batty: does the complete opposite, Susan Lindquist: Mm. Erin Batty: you know, so that's something that's new, which is one of the criteria they asked us to come up with something Susan Lindquist: Mm. Erin Batty: with something new. Susan Lindquist: It make watching T_V_ healthy. Erin Batty: Yeah, and Elane Dark: Yeah. Erin Batty: if you're not having a good time with the T_V_, you can f throw it about, you know. It's fine, it's kid proof. Elane Dark: Just don't sh don't Susan Lindquist: Uh. Elane Dark: throw it at any of the ornaments and break them. Erin Batty: Well, you can break the ornaments, but you won't break that. Elane Dark: No. Erin Batty: Yeah. So all in all, I think we've done very well. Amy Helmick: Mm yep. Erin Batty: Well done everybody. Elane Dark: Yay. Susan Lindquist: Right, you too. Erin Batty: Um. Drinks are on the company. Amy Helmick: Cool. Erin Batty: In the corporate bar that's next to the corporate swimming pool on the top floor that we're that've all just gained access to. Susan Lindquist: Mm. Amy Helmick: Glad to hear that. Erin Batty: Yeah. That's it. Susan Lindquist: That's it. Erin Batty: Well, as far as I t as far as I know. Um. Elane Dark: Yep. We haven't got the five minute left thing yet. Erin Batty: No. Anyone wanna Elane Dark: Mm Erin Batty: play I spy? Elane Dark: mm. Susan Lindquist: I guess it's probably better that we wrap it up than have five minutes of silence. Should we call the day then? Erin Batty: Yeah, I guess. I mean we're gonna get asked to fill out another questionnaire. Susan Lindquist: Uh, right. Erin Batty: Um. It's probably gonna be the same as one we've done before. Susan Lindquist: Mm-hmm. Elane Dark: In Erin Batty: But Elane Dark: project. Erin Batty: I'm not the authority to say that it is. Um how does everyone feel about the technology that's been used in this? The sort of using of the the pens and writing on these special pads and all that? Elane Dark: I love it. I love it. I think it's cool. Being all wired up and a vibrating pen and it's cool. Being watched. Um Susan Lindquist: Your moment to shine. Elane Dark: Wow. Erin Batty: Yeah. I thi you know, I'd I'd n yeah, as we said earlier, I've not never seen that before. something that t the whiteboard Amy Helmick: Yeah. Erin Batty: thingy, that's great. Um, but a p a pen with a camera on it, I don't think it's such a new thing. I mean it's i or in such a new idea. It would be different if it was sort of hand writing recognition stuff, Amy Helmick: Yeah. Erin Batty: but as it's not it's literally that'll come up on a computer screen as a picture file rather than actual text. Elane Dark: Mm. Susan Lindquist: Right, I think they do want to do hand writing recognition Erin Batty: Yeah. Susan Lindquist: on that, it's just Erin Batty: Yeah. Susan Lindquist: the first step. Erin Batty: Mm. Elane Dark: Logitech. Susan Lindquist: I guess we should end this, since we're off off topic. Elane Dark: Yeah. Susan Lindquist: So. Shall we Elane Dark: Meeting adjourned. Susan Lindquist: Right. Erin Batty: Yeah.

The interface specialist and industrial designer presented their prototype to the team and discussed the features the prototype contained. In presenting the prototype, the issue arose that the prototype could only be used with the right hand. The team then looked at the production costs of the remote and found that their remote was actually under budget and that they could retain all the features they had originally decided upon without exceeding the target cost. The team evaluated the prototype on the basis of its look and feel, technological innovation, ease of use, costs, and its ability to be misplaced. Overall, the prototype performed very well in meeting all the criteria of the evaluation. The team then evaluated the project process, finding that they we re happy with their product and their performance in the project.

amisum

train

Angela Smith: Hmm. Elizabeth Warren: Okay. Good morning everybody. Um I'm glad you could all come. I'm really excited to start this team. Um I'm just gonna have a little PowerPoint presentation for us, for our kick-off meeting. My name is Rose Lindgren. I I'll be Elizabeth Warren. Um our agenda today is we are gonna do a little opening and then I'm gonna talk a little bit about the project, then we'll move into acquaintance such as getting to know each other a little bit, including a tool training exercise. And then we'll move into the project plan, do a little discussion and close, since we only have twenty five minutes. First of all our project aim. Um we are creating a new remote control which we have three goals about, it needs to be original, trendy and user-friendly. I'm hoping that we can all work together to achieve all three of those. Um so we're gonna divide us up into three compa three parts. First the functional design which will be uh first we'll do individual work, come into a meeting, the conceptional design, individual work and a meeting, and then the detailed design, individual work and a meeting. So that we'll each be doing our own ideas and then coming together and um collaborating. Okay, we're gonna get to know each other a little bit. So um, what we're gonna do is start off with um let's start off with Amina. Um Susan Abernathy: Alima. Elizabeth Warren: Alima, sorry, Alima. Um we're gonna do a little tool training, so we are gonna work with that whiteboard behind you. Um introduce yourself, um say one thing about yourself and then draw your favourite animal and tell us about it. Susan Abernathy: Okay. Um I don't know which one of these I have to bring with Angela Smith. Elizabeth Warren: Probably both. Susan Abernathy: Right, so, I'm supposed to draw my favourite animal. I have no drawing skills whatsoever. But uh let's see, introduce myself. My name is Alima Bucciantini. Um I'm from the state of Maine in the US. I'm doing nationalism studies, blah, blah, blah, and I have no artistic talents. Elizabeth Warren: How do you spell your name? Susan Abernathy: A_ L_ I_ M_ A_. Elizabeth Warren: Thanks. Susan Abernathy: Oh, on this project. So let's see if I can get um here. I will draw a little turtle for you all. Not necessarily 'cause it's my absolute favourite animal, but just that I think they're drawable. And you have the pretty little shell going on. Some little eyes. Happy. There you go. That's a turtle. Angela Smith: Yes. Elizabeth Warren: So what are your favourite characteristics? Susan Abernathy: Um. I I like the whole having a shell thing. Elizabeth Warren: Mm. Susan Abernathy: It's quite cool carry your home around where you go, um quite decorative little animals, they can swim, they can, they're very adaptable, they carry everything they need with them, um and they're easy to draw. Elizabeth Warren: Excellent. Shall we just go around the table? Candice Arthur: Uh Okay. Well, my Elizabeth Warren: Mm. Candice Arthur: uh and I'm Candice Arthur for the project. Um. And I'll try and draw my favourite animal. I'll I should leave that one on there Susan Abernathy: No, Candice Arthur: shouldn't Susan Abernathy: you Candice Arthur: I Susan Abernathy: can erase Candice Arthur: before Susan Abernathy: the Candice Arthur: I Susan Abernathy: turtle, it's alright. Candice Arthur: callously rub it off. Elizabeth Warren: Might be nice to have them all up there at same time. Candice Arthur: Um I'm not gonna draw it quite to scale um. Candice Arthur: Is that at least identifiable? Susan Abernathy: Snake. Angela Smith: Well. Candice Arthur: It's Elizabeth Warren: Em Candice Arthur: a whale, Susan Abernathy: Well, snake? It's Candice Arthur: yes. Thanks. Angela Smith: Oh my god, it's better than what I'm gonna Susan Abernathy: w Angela Smith: be able to do. Candice Arthur: Um and, yeah, all they're quite intelligent um and also they're they're kind of mysterious, like we don't really know much about them or or understand how they work, how they form groups. And I just find them interesting animals. Angela Smith: Take my contraptions with Angela Smith. Alright, I'm Jessy. I'm from around D_C_ ish sort of in the U_S_. And we're gonna keep the deep sea sort of theme going on, animal. Don't really know how to draw this. Just where can I Mm. Mm. Maybe if I do the water, but how? Sort of give an idea. idea how one would explain this. Mm maybe with some whiskers. Briefly, it's supposed to be a seal. You can imagine it in the water. I like them, because they are like playful and silly sort of have a good time. Not gonna try and pretend like I can get any better than that. Elizabeth Warren: Mm 'kay. Mm 'kay? I'm Rose and I'm Project Manager, from California. Um. Hmm. Elizabeth Warren: S Angela Smith: It's definitely significantly Susan Abernathy: Oh, a cat. Angela Smith: harder once you are doing it. Susan Abernathy: Yeah. Elizabeth Warren: Um it's actually a coyote. Let's see. Susan Abernathy: Right. Elizabeth Warren: Let's see, Angela Smith: That's impressive. Elizabeth Warren: let's give it a little bit of a snout, I don't know, Susan Abernathy: That's Elizabeth Warren: some teeth. Yeah. Susan Abernathy: That's pretty Candice Arthur: Cool. Susan Abernathy: impressive. Elizabeth Warren: Oh dear. Yes. I live um I live right across the street from an open space in California. We have coyotes howl all the time. So I really enjoy their their singing, you they're really beautiful animals. Mm. Okay um, moving on to slightly more serious stuff. We're gonna talk about project finances. Um we have a couple we'd like to sell it for about twenty five Euro with the profit aim of um fifteen million Euro um from our sales and because this is such this is for television it's a we have a market range of Internet, like it's an international market range, we don't have to worry about specifics. Um in order to make a profit of this magnitude, we need to um be able to produce each one at a maximum of twelve fifty Euro. So we're selling it for twice what we'd like to produce it for. Okay um, just to generate a little bit of discussion about the project um, I could I'd like to hear about your experiences using ro remote controls, um your first ideas about um creating a new r remote control, what would be the best um like you what are the features that you really like what are the features that you don't like, etcetera, so Angela Smith: Um I hate when there's like four different buttons and you have to press to actually turn on the T_V_ like you have to do one for the power of the T_V_ and then like another one to get the actual screen on and something else to get it all going, I don't know. Now they keep combining all different remotes together, and I don't know if I necessarily like that 'cause I feel like you end up with multimedia overload. I just wanna watch the T_V_ Elizabeth Warren: Hmm. Angela Smith: um. Always gets lost. Some sort of like device to help you find it. Candice Arthur: I've used, I've used remote controls, for things like T_V_ and the C_D_ player and video recorder and I I guess they're they're pretty neat neat little tools uh. You don't have to get up and walk across the room to change Elizabeth Warren: Mm. Candice Arthur: a channel. So especially if you're someone really lazy like Angela Smith they they're pretty nice. Um. I find them they can be a bit annoying, especially, like you know if I'm watching T_V_ I have have to have three separate remote controls of in front of Angela Smith, you know, one for the T_V_, one for the digital box, one for m the video recorder as well. Um. And also they tend to they tend to be a bit confusing, they've got too many buttons on them uh too too sort of too sort of complicated when all I really wanna do is switch on and off, change the channel, change the volume. Susan Abernathy: Yeah um. I agree with having too many remotes around. My dad has a whole drawer at home of remotes for various things, and I don't know how to work half of them um. What's important for Angela Smith, I guess, is that it's easy to use and that there's not too many buttons, they are not too small, you know you know you need to n to know what you're doing. And one thing I particularly like is if you are not um sort of moving it around to get it to work with the infra-red. Angela Smith: Yeah. Candice Arthur: Yeah. Susan Abernathy: Um, I think there is a way around that, but I know in my residence right now the the television you sort of have to walk all around the room to Elizabeth Warren: Mm-hmm. Susan Abernathy: get it to turn on, so i it's just simpler just to just turn around the T_V_ itself, and I think that's if we're gonna make a remote control, it should actually work for what it's doing. So Angela Smith: What about like batteries and things like that, like are there some remotes that don don't require like batteries or do all remotes require batteries? Elizabeth Warren: Um I would imagine Susan Abernathy: I know. Elizabeth Warren: all of them, but we could but it's possible we could use like a lithium battery um Susan Abernathy: Yeah, something Elizabeth Warren: that Susan Abernathy: that Elizabeth Warren: would Susan Abernathy: doesn't Elizabeth Warren: last a lot longer than like Angela Smith: Mm-hmm. Elizabeth Warren: double A_s. Um like tho those are the batteries that are used in a lot of um M_P_ three players now and that kind of thing. Angela Smith: Mm-hmm. Elizabeth Warren: Um. Susan Abernathy: Mm. Elizabeth Warren: Um. Okay, it seems we have a little bit of a conflict over um to uh combining all the remotes cont together versus having f five different remotes. So um like you said you don't like having all the buttons on one on one remote, and yet you don't wanna have five remotes. So how Candice Arthur: Mm. Elizabeth Warren: do we work Susan Abernathy: Yeah. Elizabeth Warren: with that? Susan Abernathy: Could we get something that just has No doesn't have all the buttons that you need to program the video recorder or program s other things that I'm not very coherent about, but that just has your major buttons for that work for everything, you know volume control, Elizabeth Warren: Mm-hmm. Susan Abernathy: on, off, channel changing. Angela Smith: And maybe that spatially divides it, so it's like if you're looki if you're trying to get the T_V_ on that's, you know, like the top thing on the remote, I dunno if d be vertical or horizontal in terms Susan Abernathy: Yeah. Angela Smith: of how we're gonna make it, but if it's like all the T_V_ stuff was here, then all the V_C_R_ stuff was here, all the whatever else we Elizabeth Warren: Mm. Angela Smith: have programmed Susan Abernathy: N that way Angela Smith: into it it's all just in its Susan Abernathy: Yeah. Angela Smith: separate place and not like all the on buttons together, 'cause then you like, I don't even know what I'm turning on. Elizabeth Warren: Mm. Susan Abernathy: Yeah, and if um if you'd save the more complicated functions maybe for separate remotes that you wouldn't need to use every day. Angela Smith: Mm-hmm. Elizabeth Warren: Okay, so Susan Abernathy: Um. Elizabeth Warren: maybe have like one remote that has the main functions on, off, channel changing, volume, and another rote remote with all the special things. Because Susan Abernathy: Yeah. Elizabeth Warren: that is one thing that um remotes tend to have buttons that the T_V_s no longer have as well. Susan Abernathy: Mm. Elizabeth Warren: So Candice Arthur: Yeah. Elizabeth Warren: like you have to have them somewhere, 'cause you're gonna m need those special functions occasionally. Susan Abernathy: Right. Elizabeth Warren: Um but not necessarily on the m the normal remote. Candice Arthur: Can I ask, are we designing a remote control for a television only um, Elizabeth Warren: Good question. Candice Arthur: and if if this device is just to be used for the television would we even technically be possible to include video recorder functions on it? Elizabeth Warren: I don't know Candice Arthur: Um Elizabeth Warren: that yet. Candice Arthur: or should we just stick to just stick to having television television related buttons on Susan Abernathy: Mm. Candice Arthur: it? Elizabeth Warren: It's a good question. Um. Angela Smith: Mm-hmm Elizabeth Warren: I'll look into Angela Smith: hmm. Elizabeth Warren: that. If I can. Angela Smith: I think it's just T_V_, I mean, if it if we're taking it just new product a new television remote control that's not like doesn't say. Susan Abernathy: Mm yeah. Angela Smith: You know, things might be more advanced than that. Elizabeth Warren: Mm. Candice Arthur: So we should maybe we should assume that i t it's just a television that we're wanting to control. Well, I mean I suppose it would be nice to have playing and record and stop buttons on it for the video recorder as well I I don't know if that works technologically or not. Susan Abernathy: Yes. I guess we have to define what what we're aiming for. If it's just a television then that it's a bit simpler, 'cause there's less buttons that would even need to be on it. Candice Arthur: Yeah. Angela Smith: It's an idea with the buttons being really. Susan Abernathy: Large. Angela Smith: Yeah. Susan Abernathy: If you have older people or people like Angela Smith that aren't very co-ordinated hand-eye, it's really quite important that you are Elizabeth Warren: Mm. Susan Abernathy: not pressing a small like teeny mobiles phone size buttons, Candice Arthur: Yeah. Susan Abernathy: if we can help it. Elizabeth Warren: Okay. 'Kay sounds like we've had a good little discussion for our first ideas. Mind if we move on? Ps Candice Arthur: 'Kay. Angela Smith: Mm-hmm. Elizabeth Warren: mm okay. Um now our next meeting starts in thirty minutes. I believe we've actually been only working on this this one for about twenty, so we can Susan Abernathy: Hmm. Elizabeth Warren: continue discussing more new ideas if you'd like um, breakdown of what we'll be doing individually. Um the industrial design, Alima will Susan Abernathy: Yeah. Elizabeth Warren: be doing um the working design. Um Candice Arthur, that's for. Technical functions, I guess like keeping in mind the buttons thing, the size of the buttons. Um user requirements um, so you'll be hearing about different trends, uh about different things that people need, um I guess kind of the same uh discussion that we've been having, we'll Angela Smith: Mm-hmm. Elizabeth Warren: get from the actual consum s consumers. Mm 'kay um. And you will get specific instructions sent by your personal coach. I realised in this past one we we didn't have much, we just wanted to get a little brain-storming done. Um so very exited to see all your animals and how what wonderful um artists we all are um. Any questions? Candice Arthur: What we're gonna be discussing at the next meeting? Do we know that? Elizabeth Warren: I haven't gotten an agenda yet, um I'll put that together. I'm sure Candice Arthur: Right. Elizabeth Warren: as we'll each get our own instruction and then um because what we gonna do is first our individual actions and then we'll come back together. Candice Arthur: Yep. Elizabeth Warren: So I'm Susan Abernathy: 'Kay. Elizabeth Warren: sure we'll all have more concrete things to contribute next time Candice Arthur: Yep. Susan Abernathy: I'm sure we'll be busy. Elizabeth Warren: Mm 'kay um I'll type up mi minutes and probably email those out to all of you. Candice Arthur: Okay. Elizabeth Warren: Um just including all the things that we talked about. Candice Arthur: Can Elizabeth Warren: Um. Candice Arthur: you e-mail your slides as well? Is that possible? Elizabeth Warren: Yes, I yes, I think I can. Mm-hmm. Candice Arthur: Cool. Elizabeth Warren: I'll just attach it to an email. And you're you're number two, Susan Abernathy: I'm two. Elizabeth Warren: three, four? Angela Smith: I'm four. Elizabeth Warren: Is that correct? Okay. Susan Abernathy: Alright. Elizabeth Warren: Excellent. It was lovely meeting you all. Candice Arthur: 'Kay Elizabeth Warren: Just make sure you keep checking the company web site and the emails. Susan Abernathy: 'Kay. Elizabeth Warren: Let Angela Smith see if I can do that right now.

Elizabeth Warren opened the meeting and introduced herself to the team. Elizabeth Warren introduced the upcoming project in which the team is to create a remote control. The team members participated in a tool training exercise in which they each drew their favorite animal on the white-board and discussed why they liked the animal. Elizabeth Warren then talked about the project finances and discussed selling prices, profit aim, market range, and production costs. Elizabeth Warren then led the team in a discussion on their experiences with remotes and what features they would like to include in the remote they are producing. The team members discussed the option of combining remotes and how to produce a remote which is capable of controlling multiple devices.

amisum

train

Mary Gonzales: Good to see you all again. Let's see if that comes up. This is our functional design meeting. Um. Just a sec while my PowerPoint comes up. Et voila. Okay. Mm um we put the fashion in electronics. Let's start. Okay, our agenda today um just check the time, it's twelve thirteen. Um. I'm gonna do an opening, talk about um did you all get the minutes? I e-mailed them to you. I'm also Deborah Peters: Yep. Mary Gonzales: putting 'em them in the shared folder. So Stacey White: Right. Mary Gonzales: um then I we'll talk about our general objectives and have your three presentations. Um I'll talk about the new project requirements I've just received, and then we have to make a decision on our remote control functions. Finally we'll just close. We're starting this meeting at approximately twelve thirteen and we have forty minutes. So First of all the functional design objectives. Uh we need to keep in mind the user requirement specification, what needs and desires are to be fulfilled, the functions design, what effects the apparatus should have, and the working design, how the apparatus actually works to fulfil its function. Okay, three presentations, um you can go in any order you choose um. Paula Kamaka: Mm shall we go in the that you just did it? Mary Gonzales: Sure, please do. Paula Kamaka: I dunno. How do I hook my screen up? Stacey White: I think you might have to disconnect. Mary Gonzales: Yes I do. Mary Gonzales: Yeah. Deborah Peters: Well there's a wee Paula Kamaka: Where Deborah Peters: a Paula Kamaka: does Deborah Peters: wee Paula Kamaka: it go? Deborah Peters: plug just Paula Kamaka: Mm-hmm. Deborah Peters: that one there Paula Kamaka: Hmm, I'm not supposed to move this, but Deborah Peters: Ah that's it, yep. Deborah Peters: And then you have to press function F_ eight I Mary Gonzales: Function, Deborah Peters: think it Mary Gonzales: F_ Deborah Peters: is Mary Gonzales: eight, Deborah Peters: on Mary Gonzales: yeah. Deborah Peters: your laptop. Paula Kamaka: Where's Mary Gonzales: The Paula Kamaka: function? Mary Gonzales: blue one, F_N_. Paula Kamaka: No signal. Mary Gonzales: Is it plugged in all the way and you screwed it in and Paula Kamaka: Ah, Stacey White: Yeah. Paula Kamaka: wait, 's screw in. Stacey White: I I Paula Kamaka: Push Stacey White: think Paula Kamaka: the screw. Stacey White: you just have to push it in really hard. Deborah Peters: That's it. Stacey White: Oh, got it. Mary Gonzales: Mm 'kay. Paula Kamaka: Mm alright Mary Gonzales: It's taking it a little bit Paula Kamaka: I've never attached to anything. Stacey White: Mm, neither have I. Mary Gonzales: 'Kay there you go. Paula Kamaka: Alright, Stacey White: Alright. Paula Kamaka: so, I don't know if you guys are able to get access to um the report that was online or if I'm the only who is. But, I don't even know how to play this. No. Mary Gonzales: Press the little presentation. It's the um it looks like a Y_ kind of over there above Draw. There, that one, there you Paula Kamaka: Alright. Mary Gonzales: go. Paula Kamaka: So we're just gonna talk a little bit about the functional requirements that people specified when they were asked. Um I guess Real Reaction did some market research. They had a hundred subjects and their usability lab and they watched them watch T_V_ and recorded the frequency that they used particular buttons and the relevance that those buttons had. What they found was they analysed people's desires and needs. Focusing on their desires, um people specifically said that they thought remotes were ugly, seventy five per cent of the a hundred subjects noted that and that they more importantly though, eighty per cent said that they would be willing to pay more for a fancier looking remote. I don't know anything Stacey White: Hmm. Paula Kamaka: beyond what fancy means, but that's particularly of use to us, I think. Um also they did some questions on voice recognition and found that the desire for voice recognition was inversely related to age, so younger people were more inclined to want something with voice recognition, whereas the older people in the like sixty and above segment or so did not really think that they would pay more money for voice recognitions. Um Stacey White: 'Kay. Paula Kamaka: people also had certain frustrations, that I think that we could try to take into consideration with our design. That being people k um frustrated with losing their remotes. I think, over fifty percent of the people mentioned that that was their biggest frustration. People are also frustrated with the difficulty it is to learn how to use a remote and I think that ties back to what you were saying before Stacey White: Hmm. Paula Kamaka: just that there's too many buttons, it just needs to be easy to use. It also mentioned something called R_S_I_ and I was hoping someone might be able to inform Paula Kamaka as to what R_S_I_ is, because Deborah Peters: Repetitive Paula Kamaka: I don't know. Deborah Peters: strain injury. Paula Kamaka: What? Deborah Peters: Repetitive strain injury. Paula Kamaka: Ah. There we go. Wow. Deborah Peters: So Paula Kamaka: People Deborah Peters: if Paula Kamaka: do Deborah Peters: you Paula Kamaka: not like that. So I guess sort of the carpal tunnel type thing, people do not like that, um the repetitive use, I guess, caused a strain. Um looking at the needs people specified, the problem right now is that people's remotes are not matching their operating behaviour. People are only using ten per cent of the buttons that they have offered to them on their remote. And what people do most often is changing the channel and changing the volume. People also zap like to change the channel, about um sixty five per cent during an hour of use. So we really just need to focus in on those volumes and channel changers rather than things like the audio settings, the screen settings and the channel settings, because they're used much more infrequently and probably just complicate what's going on. So I think that some things that we might wanna think about, the idea of an L_C_D_ screen was brought up although they didn't have any details on what people's preferences on that were, so I dunno know if that's coming to Paula Kamaka later, or something like that. But something for us to consider also just the phenomenon that less is more when it comes to the buttons on the remote or what we wanna make easiest to use, make sure that, you know, something like an audio setting isn't given as much importance and visibility on the remote as something like channel changing that's used a lot more often. And basically in order for us to win over to the consumer we just need to focus on what it looks like, that it has a fancy appeal and that it's not ugly and that it feels like the way they're gonna use it, so it doesn't give them any hand injuries or things like that. Stacey White: Hmm. Mary Gonzales: Thank you very much. That was that was great. Stacey White: Mm 'kay. Mary Gonzales: Um 's move on to the next presentation um on effects. Was that Paula Kamaka: Hmm. Mary Gonzales: you? Great. Paula Kamaka: Yeah, have I unscrewed it? Mary Gonzales: Push. User interface, right. Interface. Paula Kamaka: Here we go. Deborah Peters: Cheers. Paula Kamaka: Mm-hmm. And I think that's in the shared, if I did it right, if anyone wants to look at Mary Gonzales: Mm Paula Kamaka: it. Stacey White: Okay, Mary Gonzales: 'kay, thank you. Stacey White: great. Mary Gonzales: Okay. Deborah Peters: Here we go. Right so I'm gonna talk about the technical technical functions design of the remote control um. We need to start by considering what a remote control actually is. It's a device that allows us produce certain effects on, so i it's basically a communication device. We we tell the remote control what we want to do, it sends a message to the television saying change the channel, change the volume, uh yeah, adjust these settings, adjust the brightness. Um how do we actually go about designing a new television remote control? First thing to do is to come up with the design specifications. We need to know what our final product is gonna be like, so we need a a clear idea of exactly what this product does, uh how it works, and what the end-user is gonna want from this product. Um. Oh, a way I'd suggest that we could go about this is by designing uh several different prototypes of user interfaces for this product, um and then uh trying to get some feedback uh about h how well these particular prototypes work, uh sorta find out what people think of 'em. Um using a remote control is is quite a subjective experience. Um, Mary Gonzales: Hmm. Deborah Peters: and different different people sort of prefer different things. Um we should remember that remote controls are a a fairly standard piece of equipment. When a users using a remote control, he or she expects the buttons to be in certain places. So in some sense we're gonna we're gonna have to aim for a device which is fairly conventional in design uh so that we're not completely shocking people. But I think within that there is also room for us to introduce novel ideas uh and to make something that's that's perhaps a little bit different, something that stands out. Um also in in designing the user interface we need to consider practicalities. Uh the first of these is is technological ye uh what can we do with the current state of technology as it is. The second is is economic, uh we need to find a balance between features and price. So as you mentioned things like voice recognition would would add to the price uh but it would also im Mary Gonzales: Hmm. Deborah Peters: improve the design of the product. So I had a look on the on the web uh to see if I could find a few examples of existing television remote controls. In analysing these we can consider what what things what's good about them, uh what things do they get right, what's bad about them, what's wrong with 'em, um how we can improve on the designs that that that I found and what can we do to make our product stand out from from the large majority of remote controls. Here's two examples uh probably at the extreme ends of the spectrum. Um on the left here we've got uh an engineering-based design for a remote control, so it's one that's got lots of buttons, it's it's fully featured, everything you might possibly want to do is there, you know, it's got forward, backwards, up, down, channel numbers, volume, uh freeze frame. Yeah, it's it's fully featured and it might take a while to get to learn to use it, but once you've learned it you can you can do whatever you want with your T_V_. The one on the right is a lot more basic. It's just got the essential functions of the T_V_ changing the channel, play, stop, volume. It would be a lot quicker to learn to use it, but again th it's it's swings and roundabouts. There are disadvantages, you can't use it say to to freeze the television picture. Uh there's a lot of features that are missing from that remote control. So we've got to to find our find a way of striking a balance between the two. Um as I said before, remote controls are subjective, different people want want different things. Um personally wa what I want from a remote control is a device that's simple, it it's easy to use, uh it's got big buttons for doing the things I do most often, changing the volume, changing the channel. It it does everything that I need it to uh, as I said before, I'm quite lazy, I don't wanna walk across the room just to adjust my television. I also want something that that looks cool, um and that that feels good, that's ergonomically designed. Mary Gonzales: Mm 'kay. Thank you very much. That was very useful. It's funny to see the drastic difference between those two remotes. Stacey White: Hmm. Mary Gonzales: Um. And neither of them were very pretty, you know? Paula Kamaka: No. Stacey White: Yeah. I think that could be our selling point. Mary Gonzales: Mm. Paula Kamaka: A fashion fashion remote. Deborah Peters: I Stacey White: Right. Deborah Peters: think there's there's certainly a market for technology that looks cool. Mary Gonzales: Mm. Paula Kamaka: Mm-hmm. Deborah Peters: And I think that's that's why companies like Apple've 've 've Stacey White: Hmm. Deborah Peters: made Paula Kamaka: Yeah. Deborah Peters: a lot of progress. Stacey White: Right, I really can't see what I'm doing, so does anyone have a Mary Gonzales: You there it is. Stacey White: Ah-ha, look at that, showing up already. Mary Gonzales: Lovely. Paula Kamaka: So wait, did it let you go on the Internet or was that just what it let you see? Deborah Peters: Uh that was just on the d on Paula Kamaka: Okay. Deborah Peters: the company web site, yeah. Paula Kamaka: 'Cause I was like Mary Gonzales: Hmm. Stacey White: Yeah Paula Kamaka: googling and then I'm like wait it won't let Paula Kamaka google. Stacey White: Alright um No, how do I play again? Mary Gonzales: Um the it's right above Draw. There are three thingy if it's way at the bottom. Stacey White: Ah. Mary Gonzales: Under three icons and it's the one that looks like a desk. Yeah, that one. There are Stacey White: Okay. Mary Gonzales: Y_s. Stacey White: So this is our working design presentation. Um I had a bit of some issues with this, because I wasn't able to find everything I needed, but I guess that's we're still in early stages. Um so, yeah, this is this. Though th the thing about working design is the what we're trying to do as a working design is figure out how the aparata apparatus can fulfil its function. Um one of the examples that kept coming up for Paula Kamaka is that a coffee grinder. It works because it converts electrical energy to grinding the beans and then you put the bean through a filter and that filters out, and then you get coffee at the end that's nice and hot because of the combination of electrical energy and then the other things that are brought in to make it work. Don't know if I'm explaining that very well, but how do I get to the next s ah. So h the method as um working designers figure out what you need to make it fulfil this practical function, what what needs to be done and how do we convert all the elements to make that done. So wha the easiest thing to do is to break down all the points at which you need something to happen. So you make a schematic of the way that the the energy is converted tsh towards this practical function. And then I think the easiest thing to do is gonna be work on each task separately. So um Uh. Mary Gonzales: You just press yeah, just Stacey White: Uh. Mary Gonzales: click. That'll be fine. Stacey White: So the findings that I got uh very just very briefly is that you have a choice of the way that the information is projected to the receiver and in my opinion infra-red is the best way to do that 'cause you don't need a sight line. So that's one thing we're gonna work on. Um the user interface is critical here, because a lot of the things that happen in a remote control happen through the chip that controls that converts the electrical energy into data, which then goes through the infra-red, so the the chip that uh I think Ian is designing, is gonna be crucial. And really it all comes down to the to the user, because they're the one that's controlling most of the working design. So the components that we find here are the energy source, you know the battery or whatever that's gonna m make it work, then the chip, which converts the data, the user that's controlling the chip, and the infra-red bulb that's gonna let us move the data to the receiver. So you have four main components and they are designed sort of like this. You have your energy source right there which then um brings uh energy or information to the chip, which is also controlled by the users. You have energy going to the user who's controlling the chip ooh 's not what I wanted to do uh uh. Mary Gonzales: Um yeah use that thing you can go back, previous. Stacey White: Previous. Sorry about that, guys. Mary Gonzales: Pardon. Stacey White: Oh. Mary Gonzales: Oh, Stacey White: No, no, Mary Gonzales: well. Stacey White: no, no, no. Mary Gonzales: Okay. Stacey White: Okay, let's just get back to my schematic here. Mary Gonzales: Ye Double click on it. With the right with the left Stacey White: W Mary Gonzales: hand one. Stacey White: yeah, yeah. I think it's frozen. Here. Don't show Paula Kamaka that tip again. Mary Gonzales: There we Stacey White: There we are. Mary Gonzales: are. Stacey White: Sorry about this, guys. I'm kind of pathetic with things like this. Um alright. So you have your energy source, your user interface who's controlling the chip, the chip also uses the energy, and the chip through the use of the user interface is gonna control the switch which will work your infra-red bulb, which will then bring the data to the receiver. So hopefully that makes sense for everyone in my kind of garbled way. This Mary Gonzales: Mm-hmm. Stacey White: is the the parts of the working design that need to be figured out. And personal preferences, besides the fact that I can't spell, we need a long-lasting energy source, people don't wanna be changing it a lot. We need a chip that works well with the user interface, that isn't too complicated. We need a straightforward interface, like Ian was saying, simple, not overwhelming it with information and we need a reliable and clear infra-red signal, so that you're not waving your remote around and Mary Gonzales: Mm-hmm. Stacey White: having to get frustrated and go do it by hands. So that's pretty much it for the working design. Mary Gonzales: Excellent. Mary Gonzales: So, um. Stacey White: Rose, do you think you can give Paula Kamaka a hand with this? Mary Gonzales: Yes, absolutely. Mary Gonzales: Ah I can never tell which way to turn these things. Stacey White: Yeah. Mary Gonzales: Lefty loosey, righty tighty, right? Stacey White: Yeah. Deborah Peters: What's up? Lefty Mary Gonzales: Lefty loosey, Deborah Peters: loosey. Mary Gonzales: righty tighty. Deborah Peters: Uh. Never heard that before, that's good. Mary Gonzales: Oh yes. Deborah Peters: I'll think of that every time now. Stacey White: It's Paula Kamaka: Yeah, Stacey White: gonna Paula Kamaka: that's Stacey White: stick Paula Kamaka: a good Stacey White: in your Paula Kamaka: one it'll Stacey White: head. Paula Kamaka: stick with you. Mary Gonzales: Mm 'kay. Mary Gonzales: Um I have nothing on my screen. Just a sec. Stacey White: Mm. Mary Gonzales: Here we are. Stacey White: Ooh, no signal. Mary Gonzales: Okay, yeah, it's fine. Okay, requirements. We have a couple new requirements that I was just e-mailed right before the meeting and Stacey White: Okay. Mary Gonzales: that we have to keep in in um in mind as we're creating this. We didn't bring it up yet, or at all in the meetings so far, but we're not gonna work with teletext because um well it that's been taken over by the internet, so we're not gonna worry about um we're not gonna worry about that. Paula Kamaka: What's teletext? Mary Gonzales: Um. Stacey White: Uh, it's a British thing. Paula Kamaka: Oh. Deborah Peters: You don't Paula Kamaka: Oh, Deborah Peters: have Paula Kamaka: so Deborah Peters: it in the States? Stacey White: No. Mary Gonzales: It no. W d Deborah Peters: Oh, Mary Gonzales: could Deborah Peters: I didn't Mary Gonzales: would Deborah Peters: realise. Mary Gonzales: you care to explain it? Deborah Peters: Um yeah, it's like a Um you have like you have uh numbers on your remote control, Paula Kamaka: Mm-hmm. Deborah Peters: uh y and you type in the page number you want, so like you type a hundred on your remote control and this this kind of index appears on the television screen with just some some text and some very blocky looking graphics on it. And you just type numbers to go to different pages and it gives you information, mostly rather boring Stacey White: S Deborah Peters: stuff like what's on T_V_ next and share prices and that kind of thing. Stacey White: Lottery numbers and sport scores. Deborah Peters: Yep, news headlines. Stacey White: But if you ever see the T_V_ saying like go to page one sixty on Ceefax now, that's what they're talking about. Mary Gonzales: How? Paula Kamaka: Oh. Deborah Peters: It's earl it's pretty old technology. It's like Mary Gonzales: Okay. Deborah Peters: nineteen eighties. Paula Kamaka: That explains a lot. Stacey White: I have no idea why we don't have it, but Paula Kamaka: That's good. Mary Gonzales: Interesting. Okay um, well, we're not gonna the management has decided we're not gonna work with that. Um Okay um and we're also gonna w like your question earlier um whether this is going to be t for television, video, or etcetera. Just for television. That's Deborah Peters: Right. Mary Gonzales: what we're focused on. Um otherwise becomes to complex, we wanna get this out um very quickly. We only have a a short amount of time. Stacey White: 'Kay. Mary Gonzales: Um and finally there's more marketing, I think, um, our corporate image has to be recognisable. So while we're gonna make it Stacey White: Mm. Mary Gonzales: look pretty we need to use our colour and our slogan i in the new design. Deborah Peters: So what's our corporate image like? It's It's kind of yellow colour with uh Mary Gonzales: Looks Deborah Peters: we Mary Gonzales: like, Deborah Peters: put Mary Gonzales: yeah, Deborah Peters: fashion Mary Gonzales: kind of Deborah Peters: in Mary Gonzales: a yellow Deborah Peters: electronics. Mary Gonzales: and black and we have that the emphasis on the R_s in Deborah Peters: It's like Mary Gonzales: um Deborah Peters: double R_. Mary Gonzales: mm-hmm. Deborah Peters: Yeah. Mary Gonzales: But it's, yeah, we put the um fashion in electronics. So we gotta keep that in that in mind. Stacey White: Okay, so we want something that looks good Mary Gonzales: Yep. Yep. Stacey White: and is yellow. Mary Gonzales: Yeah, or ha maybe some buttons could be yellow. Stacey White: Okay. Mary Gonzales: Like, we can we can play around with it a little bit. Um. Okay, we need to talk about our functions and our target group. We need to decide who our target group is. You um in your analysis of different market um of the marketing, Paula Kamaka: Mm-hmm. Mary Gonzales: you identified that different groups wanted different things or had certain preferences, for example that um that older people didn't really care for um voice recognition, Paula Kamaka: Mm-hmm. Mary Gonzales: but younger people did. Um and so? Stacey White: Well if we're gonna say that function um fashion we put the fashion in in electronics then you automatically, I think, a sort of younger group that that's who's gonna be attracted to this. Paula Kamaka: Yes, I do think, who's gonna have the money to buy that also, Mary Gonzales: Mm-hmm. Paula Kamaka: that one? Mary Gonzales: It's gonna be twenty five Euro remember, so um it has to be avai marketable to um whomever it is. Stacey White: Mm-hmm. Deborah Peters: Is it is it something that's gonna be sold separately from the television or is it something that comes w with a television? 'Cause that would affect the way that we market it. Mary Gonzales: Well at least right now what we're doing is um deciding on just the remote itself, so it Deborah Peters: Right. Mary Gonzales: will probably be sold separately, Deborah Peters: Right, okay. Mary Gonzales: twenty five Euro by itself. Paula Kamaka: The only break-down that I was given in terms of age was the voice activation and basically there's a big jump, after thirty five people don't really care if it has voice, so it's like basically fifteen to thirty five that Stacey White: Mm-hmm. Paula Kamaka: think that that's a good idea. I'm gonna be given any other numbers broken down in terms of age later, but if that's sort of the only quality that we have that is divided into age then we would wanna stick between the fifteen and thirty five range. Stacey White: Yeah, that's probably uh a population w quite a little bit of disposable income for use on technology anyway, so Deborah Peters: Yeah. Stacey White: that might be a fairly good target group for us. Mary Gonzales: Now, those are that's all specific for speech recognition. Are we gonna use that as one of our functions? Deborah Peters: Um. Stacey White: Mm. Deborah Peters: I I would say no, because it's gonna add too much to the price. Especially if we are marketing it as a separate Mary Gonzales: Mm-hmm. Deborah Peters: product, people are gonna be paying uh, well, uh we've got a price limit Mary Gonzales: Mm. Deborah Peters: of was it twelve twelve and a half Euros for Stacey White: To produce it, Mary Gonzales: To Stacey White: yeah. Mary Gonzales: produce Deborah Peters: to produce Mary Gonzales: it, yes. Deborah Peters: it? And I wonder if we can get voice recognition into that Mary Gonzales: Mm. Deborah Peters: twelve and a half Euros without having to make too many other compromises. Paula Kamaka: But what else are we gonna put, I mean not that I'm really gung-ho about it, I don't know what else you can put in a remote to make it technologically advanced though. So like other than just making Deborah Peters: Yeah. Paula Kamaka: it look good, Stacey White: Hmm. Paula Kamaka: how is it I mean it can look really great and still have the same up-n-down Stacey White: But Paula Kamaka: buttons and why's anyone Stacey White: right. Paula Kamaka: gonna buy a new remote? Stacey White: Well but why are we why are we aiming for a technological advancement? Everything we're talking about is ease of use and simple and that doesn't necessarily mean Paula Kamaka: Mm-hmm. Stacey White: more technology, in Mary Gonzales: That's Stacey White: fact Mary Gonzales: a good Stacey White: it Mary Gonzales: thing Stacey White: could Mary Gonzales: to Stacey White: use Mary Gonzales: keep in mind. Stacey White: it could mean, not. If they might be overwhelmed with with remotes that have too many buttons and too much technology. Paula Kamaka: If someone's looking to buy a new remote, don't they want like an upgrade? I dunno. Mary Gonzales: Upgrade? Well, we can look for we can look at upgrade or we can look at um user-friendly. Stacey White: Yeah, simplification. Deborah Peters: Yeah. Mary Gonzales: Simplification, Paula Kamaka: Mm-hmm. Stacey White: They could have a crap Mary Gonzales: so Stacey White: remote that came with their T_V_ that's just impossible to use, or maybe it broke, or maybe Paula Kamaka: Mm-hmm. Stacey White: they're just missing it. Mary Gonzales: Uh-huh, mm. And we also need to talk about if we're only gonna have the very simple ones or also have the other ones just separate somehow or Stacey White: Hmm. Paula Kamaka: Can you like Deborah Peters: Yeah. Paula Kamaka: I mean this may be too complicated, but, I wish I had something to explain it, like if it was just a simple, either this way or this way, that had like the main buttons and then you could like pull something out, kind of and like you got the rest Stacey White: Ooh. Paula Kamaka: the buttons, but the rest of them like went in. Deborah Peters: The Paula Kamaka: Do you know what I'm saying? Deborah Peters: remote There Mary Gonzales: Kind Deborah Peters: are Mary Gonzales: of Deborah Peters: remote Mary Gonzales: pull out Deborah Peters: controls Mary Gonzales: of the side. Deborah Peters: like that, yeah. Like some T_V_s they have a sort of uh a sliding screen on the remote control of it Mary Gonzales: Mm. Deborah Peters: that hides all the complicated buttons. Stacey White: Ooh. Deborah Peters: So if you wanna do something complicated like programme your television or re-tune it, then you you open up this little hatch or or slide the Paula Kamaka: Mm-hmm. Deborah Peters: screen down and there's Mary Gonzales: Mm-hmm. Deborah Peters: all the all the special buttons. Paula Kamaka: 'Cause then 's like people who don't wanna ever look at them, never even have to see them Stacey White: Mm-hmm. Paula Kamaka: and Mary Gonzales: Mm-hmm. Paula Kamaka: if you like Deborah Peters: Yeah. Paula Kamaka: get the instruction manual that comes with it and you just don't even read it then you'll never even know that those things can pull out. Mary Gonzales: Mm-hmm. Paula Kamaka: And you're a happy person and everyone else doesn't have to have like two remotes, one that has the easy ones and one that has Stacey White: Yeah, Paula Kamaka: more complicated Deborah Peters: Yeah. Mary Gonzales: Mm-hmm. Paula Kamaka: ones, Stacey White: that's a good Paula Kamaka: but Stacey White: idea. Paula Kamaka: 's all still Deborah Peters: I think Paula Kamaka: in Deborah Peters: that's Paula Kamaka: one. Deborah Peters: a good idea, yeah. Stacey White: Mm. Mary Gonzales: Um we have to be careful that that that doesn't impede um the chip transmitting information, Paula Kamaka: Yeah. Mary Gonzales: but Stacey White: Good Deborah Peters: Yeah. Mary Gonzales: um Stacey White: point. Mary Gonzales: that's gonna be mostly technological thing. Stacey White: Yeah. Mary Gonzales: Um. Okay um, so what are we emphasising? I what in this Deborah Peters: Si Mary Gonzales: project? Deborah Peters: simplicity and fashion. Paula Kamaka: I think simplicity, Mary Gonzales: Simplicity Stacey White: Yeah Mary Gonzales: and fashion. Paula Kamaka: fashion. Stacey White: mm. Mary Gonzales: Okay, those are very good goals, I think, um that we have to keep in mind in with everything we do. Simplicity and fashion and, yeah, or usability speci however you wanna say that, which includes um an emphasis on making the infra-red very functional, Paula Kamaka: Mm-hmm. Mary Gonzales: so that you don't Deborah Peters: Yeah. Mary Gonzales: have to travel around a lot. Deborah Peters: Yeah. Paula Kamaka: What can Mary Gonzales: Um. Paula Kamaka: you do to like make the infra-red more functional, like why would it not be? I'm just wondering. Mary Gonzales: I think it's a lot to do with battery, Paula Kamaka: Okay. Mary Gonzales: but that's just my Stacey White: The battery and that I think that the chip takes the data and presents it well, without sort of scattering. Mary Gonzales: Mm-hmm. Paula Kamaka: So 's just the quality of the chip. Stacey White: Yeah. I think so. Paula Kamaka: Okay. Stacey White: The quality uh quality of all the components really, I mean, we can't really do anything shoddy work, 'cause it's Deborah Peters: Yeah. Stacey White: gonna be visible down the line. Mary Gonzales: So our target group, we're saying, fifteen to thirty five? Paula Kamaka: Well, I dunno how useful that number is if we're not doing Mary Gonzales: S voice recognition, Paula Kamaka: Yeah. Mary Gonzales: which I kind of I kind of feel like voice recognition is not necessary in a remote control, Paula Kamaka: Yeah. I don't. Mary Gonzales: like it might be necessary for a T_V_ but not for the remote Deborah Peters: It's, Mary Gonzales: c, you Deborah Peters: yeah, Mary Gonzales: know. Deborah Peters: it's Stacey White: Mm-mm. Deborah Peters: pretty Mary Gonzales: Seems Deborah Peters: it's pretty Mary Gonzales: a little bit Deborah Peters: high-tech. Stacey White: Yeah. Mary Gonzales: Mm-hmm. Yeah, and it might be too expensive. Paula Kamaka: And if the whole idea is you're using a remote then why would you have voice, like you know what Mary Gonzales: Mm-hmm. Paula Kamaka: I mean and then it's like you wouldn't need a remote you'd just talk to your T_V_. Mary Gonzales: Yeah. Deborah Peters: It's for, Stacey White: Ooh. Deborah Peters: like, the ultimately lazy people, who can't even be bothered to pick up the remote. Stacey White: Yeah. Paula Kamaka: Mm yeah. Maybe Stacey White: I Paula Kamaka: I mean if I get m more numbers, I'll e-mail you before the next meeting in terms of ages. But this doesn't divide up anything and there was only a hundred subjects also, Mary Gonzales: Mm-hmm. Stacey White: Mm-hmm. Paula Kamaka: which isn't, I mean, really isn't that representative, especially if it's a hundred subjects that th they then can subdivide into age groups that means there's very few in each age group, so Stacey White: Yeah, but I th I think regardless we're we're aiming for the under sixty five or something. Mary Gonzales: Under sixty five, Deborah Peters: Yep. Mary Gonzales: okay, that's a good start. Um. I'd say we're uh can we narrow it down to maybe um teenagers and families? 'Cause that would go Stacey White: Or Mary Gonzales: up Stacey White: like Mary Gonzales: to like fifty? Stacey White: single professionals or something. Paula Kamaka: Twenty Mary Gonzales: Okay, single Paula Kamaka: to like fifty five. Stacey White: Yeah. Paula Kamaka: I dunno. Mary Gonzales: It's it's hard to Stacey White: It's Mary Gonzales: narrow Stacey White: really hard Mary Gonzales: it down. Stacey White: to figure out right now. Deborah Peters: I think the product appeals across a quite a broad range of ages. Mary Gonzales: Mm-hmm. Deborah Peters: I mean, we we said simplicity is is one of the features, so it's going to appeal to people, maybe people who have problems with technology, you know, people who get Mary Gonzales: Okay. Deborah Peters: scared by having lots of buttons, and that might be older people, Mary Gonzales: Mm-hmm. Deborah Peters: but then we've also got fashion, which is something that definitely appeals Stacey White: Yeah. Deborah Peters: to younger people. Paula Kamaka: Well maybe we don't have to defi define the target group by the demographic of age, maybe we Mary Gonzales: Right. Paula Kamaka: can define it by like the demographic of like h t how much money they have to spend Deborah Peters: Yeah. Paula Kamaka: or something like that, Deborah Peters: Yeah Paula Kamaka: like, Stacey White: That's Deborah Peters: aim Stacey White: a Deborah Peters: for Stacey White: good Paula Kamaka: well Stacey White: point. Deborah Peters: a Paula Kamaka: obviously Mary Gonzales: Mm-hmm. Paula Kamaka: it has to Deborah Peters: an Paula Kamaka: be Deborah Peters: income Paula Kamaka: someone who Deborah Peters: group. Paula Kamaka: owns a television, Mary Gonzales: Mm-hmm. Paula Kamaka: and like Stacey White: Yeah. Paula Kamaka: how recently have they bought their television like that sort of thing. Stacey White: Mm. Mary Gonzales: So maybe it's more useful to d d to define objectives like fashion and Stacey White: Yeah, Mary Gonzales: simplicity than Stacey White: t probably. Mary Gonzales: to find specific target group as far Deborah Peters: Yeah. Mary Gonzales: as age is because, yeah, things so different will appeal to different people, but Okay. Um oh, there're a couple functions do we want something so that do we want some kind of thing to find it if it's lost? Stacey White: Mm. Paula Kamaka: Yeah. Mary Gonzales: Like a button on a T_V_ you can press and it'll ring or something, I don't know like or Paula Kamaka: H Mary Gonzales: beep? Paula Kamaka: I mean, like I said before, fifty per cent of of the fru f like frustration someone can have that was the biggest one and half the people said that happened and we all mentioned it before we Mary Gonzales: Mm-hmm. Paula Kamaka: knew about it. Deborah Peters: Yeah. Paula Kamaka: And if we're talking about making something easy that sort of goes along with it so it wouldn't be like a random thing to sort of add in. Stacey White: Mm. Paula Kamaka: It would be relevant to like the overall goal Mary Gonzales: Mm. Paula Kamaka: I think, Stacey White: Yeah, Paula Kamaka: so Stacey White: that'll probably be good. Mary Gonzales: Okay, we have to we have about four minutes left to define our functions. So let's do that quickly. Um so we want something to keep it from getting lost. Deborah Peters: Yep. Stacey White: Yeah. Mary Gonzales: And we want um we want large buttons for the essential things. Deborah Peters: Yeah. Stacey White: Yeah. Mary Gonzales: Large, accessible buttons for the essentials. We want a possibility to um to get um a possibility to get the extra functions. Stacey White: Mm-hmm. Deborah Peters: Yeah. Which are kind of hidden away in some way or well not hidden but they're uh they're not as prominent as the main features. Mary Gonzales: Mm-hmm. Paula Kamaka: Hmm. Mary Gonzales: Um, yeah, hidden way. And we also want it to be fashionable, which I'm not sure if that's a function so much as a um yeah Paula Kamaka: on your coffee table, it's not like an eye sore, that kind Mary Gonzales: Mm-hmm. Paula Kamaka: of thing. Stacey White: Yeah. Alright. Mary Gonzales: Okay, do it. Any other essential functions that we need? Battery? Do we need a Stacey White: Battery Mary Gonzales: long-life battery? Stacey White: battery use. Yeah, but Paula Kamaka: Yeah. Stacey White: I think that goes in with simplicity and ease of use really. Mary Gonzales: But Paula Kamaka: So Mary Gonzales: we might Paula Kamaka: you Mary Gonzales: as well. Paula Kamaka: never have to change the battery. Stacey White: Yeah. Deborah Peters: We should maybe investigate whether it needs a battery at all. I suspect the remote control does need a battery, but Mary Gonzales: Yeah, Stacey White: Yeah. Mary Gonzales: I would imagine. Deborah Peters: I dunno if you can Mary Gonzales: Just 'cause it is an electronic device, the Deborah Peters: Yeah. Stacey White: Mm. It I think it does. I don't I don't think of a way you can operate a chip and convert that much data without without Deborah Peters: Yeah, Stacey White: one. Deborah Peters: without the energy, Stacey White: But you Deborah Peters: yeah. Stacey White: could maybe have it in a little charging station like a mobile phone, or like a little cradle for your iPod. Deborah Peters: Yeah, that's Stacey White: You Deborah Peters: that's Stacey White: could Deborah Peters: possible. Stacey White: we could maybe Deborah Peters: Yeah. Stacey White: do that instead. So you don't Mary Gonzales: Charging. Stacey White: ha you got like a rechargeable battery. Deborah Peters: Yeah. Stacey White: I dunno, that might contribute to less people losing it too if Mary Gonzales: Mm-hmm. Stacey White: it it stays in one place. Paula Kamaka: Mm. Mary Gonzales: We have to think about um space in living-rooms, too, like Stacey White: Mm. Mary Gonzales: 'cause they're I mean, would you put it on top of the T_V_? I don't know, just think okay, that's that's a good idea, we'll keep it. Stacey White: Yeah. Mary Gonzales: Think it's Stacey White: That's just off the top of my head. Mary Gonzales: And maybe fun. Okay. Um 'kay we're gonna conclude now, has everyone said their functions and Deborah Peters: Yep. Mary Gonzales: 'kay. Um after the meeting we're gonna each complete a sks um a questionnaire and a summaries summary. I don't know what summarisation. Um and then we'll have our lunch break. After that we have thirty minutes of individual work. Um I'll make sure to put up um the minutes and the project documentation and including these PowerPoint slides. If everyone could do that as well, that'd be great. Um you each have individual actions, I_ um I_D_ Industrial Design you've your components concept, User Interface, the user interface concept, market trend wa watching. And as as per last time you'll get specific incrat instructions from your personal coach e-mailed to you. And hopefully, I hope, next time you'll be able to access more of the web site that they they seem to tell you that you could. Stacey White: Yeah, Mary Gonzales: It's kinda Stacey White: who knows. Mary Gonzales: frustrating, but um Be sure to note any frustrations or any um issues that come up in your um in your um summary. Stacey White: Okay Mary Gonzales: Mm 'kay? Stacey White: Sounds good. Mary Gonzales: Great seeing y'all. Paula Kamaka: It's good. Did you um were you able to like put yours in the group folder? Stacey White: Yes, I Paula Kamaka: Okay. Stacey White: just did that. Hopefully it is there for people. Paula Kamaka: Yep. Stacey White: Yeah? Mary Gonzales: Looks like there are um looks like there's a second one kind of of mine Stacey White: Yeah. Mary Gonzales: that's that I didn't do, it's from like an earlier project, I think so Stacey White: Okay. Mary Gonzales: um Paula Kamaka: Where is that? Yours is Mary Gonzales: Under the shared folder, I don't know it might not Stacey White: Technical. Mary Gonzales: even be under yours Stacey White: So Mary Gonzales: as well. Stacey White: in there we Mary Gonzales: Projects. Stacey White: have technical functions presentation, working design presentation and the functional requirements. At least that's Paula Kamaka: I Stacey White: what I Paula Kamaka: only Stacey White: have Paula Kamaka: have Stacey White: in. Paula Kamaka: three, I just have like our three. Stacey White: Yeah, Paula Kamaka: Yeah. Stacey White: that's what I have as well, R Mary Gonzales: Okay. Stacey White: Rose So. Mary Gonzales: You don't have mine? Paula Kamaka: No, but that's 'cause I think yours is in the e-mail separate, like it's not on the server. Mary Gonzales: S Stacey White: Yeah. Mary Gonzales: Mm. Paula Kamaka: But if I open it and then save it, probably will be there. Oh wait, never mind you can't save it to the Mary Gonzales: Okay. Well I'll figure that out in the meantime. Stacey White: Okay. Paula Kamaka: Okay. Mary Gonzales: Okay.

Mary Gonzales opened the meeting and stated the agenda. Paula Kamaka discussed user preferences in terms of the appearance and use of remotes, finding that users wanted fancier looking remotes, disliked losing their remotes, wanted remotes with fewer buttons, frequently use the channel changing and volume buttons, and that younger users wanted speech recognition. Deborah Peters described how a remote works and how to go about designing one. He presented two remotes currently on the market and the advantages and disadvantages to each design. Stacey White described the interior workings of a remote. Mary Gonzales briefed the team on some new requirements and led them in a discussion about their target group, the option to include speech recognition, how to find a remote when lost, and batteries.

amisum

train

Patricia Boren: Are you sure I got it all head's kinda small. Belinda Musick: How're Patricia Boren: Okay. Belinda Musick: we placed in terms of the alright. Patricia Boren: We're okay? Sarah Cote: I should probably try sit straight. Terri Reed: Like that? Okay, cool. Patricia Boren: We're good? Sarah Cote: Oh, I think mine's fallen off. Belinda Musick: It fell That's why. Patricia Boren: I guess it's gonna be hard to drink coffee. Mm. Uh okay. Belinda Musick: Ah. Terri Reed: Okay? Right, so I'm just gonna start this PowerPoint real quick. Sarah Cote: Wow. Terri Reed: Yeah, PowerPoint. Patricia Boren: Very official. Terri Reed: Yeah, well, you know, Terri Reed: Yeah I kinda like this I'm kinda getting into it. Right. Um. So just to kick off the meeting basically um so we're working now for a real reaction, this is uh so it right. Just got an agenda to set out what we're gonna try to accomplish in this particular first meeting. Um We're gonna just do a quick opening and we can hopefully all get acquainted with one another um then we're gonna start talk a little bit about tool training. Essentially that means getting used to the only thing that we haven't tried out yet, the whiteboard. Um we've got a general plan for the project how we're gonna go about accomplishing this and then just a bit of discussion close up. Um I guess you know game or something um in real life um so yeah basically I want to I'm just gonna you got of course you can discuss that, I'm thinking about um uh proposing that since we've got this weird blend of ourselves and our roles that we just don't ask, don't tell. Um so um if you say something about marketing, right, sorted, um Patricia Boren: You're just Terri Reed: y Patricia Boren: gonna Terri Reed: is Patricia Boren: believe Patricia Boren, we'll go from there. Terri Reed: Exactly. Patricia Boren: Fair enough. Terri Reed: Um I mean obvi if if you guys if if at the same time if you like logically if something doesn't like if I'm like we're gonna sell a remote control that's the size of this paper book you know um you say like well that doesn't seem like such a good idea because of X_ obviously go with it. I mean we'll discuss it but I'm not gonna ask do you know that or uh yeah it seems like Patricia Boren: Prove it yeah, Terri Reed: yeah yeah exactly Patricia Boren: okay. Terri Reed: so, 'cause we're what we're sort of role playing is y g yeah you're gonna tap into your own knowledge as well um. And that's the same for your when we do introductions I mean um and you talk about your background you know have fun, you know maybe you went to um uh you know maybe i you're like in Maine you went to U_C_S_B_ but you wanna say you went to Harvard or something like that, why not, you know you can this is you know I guess we can have a little bit of fun with it. So are you guys okay with that does that seem logical? Sarah Cote: Oh yeah, that's fine. Belinda Musick: Sure. Patricia Boren: Works for Patricia Boren. Terri Reed: Sweet. Cool. So I guess that that we're totally we're making a remote control which is Sarah Cote: Right. Terri Reed: thrilling um uh but the idea is that we can make something based on the whole corporate model I dunno if you guys had time to check the in real life I dunno if you guys uh checked the um uh the corporate website. Um we've got to make something as fashionable as possible, that's kind of the corporate strategy is we're gonna try to take ordinary stuff that nobody really thinks about and try to make it nice you know like John Lewis nice or you know if you go to Debenham's or something. So um basically we are reinventing the wheel but we wanna try to do it in a user friendly um slick sleek kind of way. Um way we're gonna go about doing that is basically at first we're gonna start on the basics. And that's where I'm gonna need you guys the User Interface Designers and the um um the other designer that I can't remember, the the I_D_ and the U_I_D_ right um Sarah Cote hey Belinda Musick: Mm. Terri Reed: right on Patricia Boren: There Terri Reed: alright, Patricia Boren: you go. Terri Reed: getting into it um to guide Patricia Boren and guide us on this project 'cause you're gonna be you're g you guys are the bottom you know you're like no you can't do that you can't have you know X_ and Y_ um at the same time. And then um we'll work up from what is necessary to more like what would be good, you know like um I I think you guys probably got the same emails I did but the idea of um, yes a coffee pot needs to be able to hold coffee but it's also better if it's not like really cheap glass so that it if you touch it you hurt your hand, or something like that. Um and so we'll work up from there and um then we'll meet on and talk about it and then finally we'll incorporate as kind of the last stage you know where you guys build or tell Patricia Boren tell us what's possible and then you tell us what we can um hope for and what way to go take the the the take the basics and make it nicer and then ov obviously uh the U_I_D_ and the I_D_ you know you you can keep on the you know sort of at the cutting edge of how to get about maximising what is possible um to try t of sync it all up. So that's the detailed design. So it's a three stage kind of thing. Um right so for now just for th the white board um basically uh just to get used to it, I haven't tried it yet either um I'm just gonna start and um mm carry like five remotes around um and just write down I'm just gonna write down one of the names of my um desert discs you know if you if you were trapped on a desert island and you could only bring five C_D_s along with you name one of them that you could, not all five, if you wanna write all five go for it but name one of them that you could um. Oh, we skipped introductions. Nice. I'm a excellent Project Manager. Um. I'm Marty, um I went to uni at uh U_C_ Santa Barbara and I'm here working on a P_H_D_ in psychology. Um yeah. So Patricia Boren: I'm Sarah, I went to Michigan, and I'm here doing cultural studies and I'm the Marketing Manager or something. Marketing, Terri Reed: Expert Patricia Boren: Expert. Terri Reed: Don't Patricia Boren: Expert. Terri Reed: play yourself down. Patricia Boren: Fine. Terri Reed: Expert Patricia Boren: That's Patricia Boren. Belinda Musick: I'm Ron. I uh once upon a time studied in Victoria and I am Belinda Musick. Sarah Cote: I'm Nathan, I'm from California, and I'm here doing a Masters degree in social anthropology. Terri Reed: Where did you go to uni Nathan? Sarah Cote: U_C_L_A_. Terri Reed: Oh brilliant. Sarah Cote: Yeah. Terri Reed: Cool. My little brother goes there. Sarah Cote: Okay. Terri Reed: Right so desert island Patricia Boren: So. Terri Reed: discs. Yeah. Patricia Boren: So do we have to wait for you to write it down or are you gonna tell us? Terri Reed: Well Patricia Boren: I'm Terri Reed: I'll t Patricia Boren: waiting Terri Reed: i Patricia Boren: to Terri Reed: no Patricia Boren: know. Terri Reed: no yeah I'm just gonna write a couple of 'em down. See I'm a big music fan I don't know if you Patricia Boren: Uh Terri Reed: guys are, I'm assuming everybody likes music to some lesser or greater extent but Patricia Boren: Fair Terri Reed: there's Patricia Boren: enough. Terri Reed: some other options, if you're a T_V_ slut like I am like Smallville terrible television Patricia Boren: Oh, Terri Reed: show but I Patricia Boren: Smallville. Terri Reed: happen to love it, it's rubbish but I love Patricia Boren: I Terri Reed: it. Patricia Boren: went to high school with Tom Willing actually. Terri Reed: T the the main c the Patricia Boren: The Terri Reed: main Patricia Boren: guy. Terri Reed: character? Wow. Patricia Boren: Yeah. Terri Reed: Is he a wanker? Patricia Boren: Yeah. Very much so. Hell of a soccer player but a total bastard nonetheless. Terri Reed: He looks really tall, like he's gotta Patricia Boren: Yeah. Terri Reed: be like six six. Patricia Boren: He is a big guy. Terri Reed: Yeah. Patricia Boren: Yeah. Terri Reed: Um okay so I really like Jeff Buckley. You guys heard of Jeff Buckley? Patricia Boren: Mm-hmm. Sarah Cote: Mm-hmm. Terri Reed: Um that's cool 'cause like not very many people have. Um and um oh well I might as well throw a British person in there um you can't go wrong with Radiohead. It's a r Patricia Boren: Good call. Terri Reed: Okay so it really works just like a pen only makes noises I think. It's kinda weird. Anyway Patricia Boren: Interesting. Terri Reed: yeah. Yeah, you're like press and it's. Kinda cool. You'll see. Alright so um whoever wants to get up next, you can write down some telly that you watch or whatever you want. Patricia Boren: I guess I'll go next then. Belinda Musick: Go Terri Reed: Right Belinda Musick: for Terri Reed: on. Belinda Musick: it. Patricia Boren: Okay. Don't wanna lose all my mikes, plugged in here. Okay. This is basically just pen practice huh? Terri Reed: W Patricia Boren: Okay. Oh you're much taller than Patricia Boren so I'm gonna write down here. Um. Right now I'm listening to a lot of somebody nobody's ever heard of, Chris Bathgate, Terri Reed: Mm. Patricia Boren: local Michigan folk singer, Terri Reed: Nice. Sarah Cote: Wow. Patricia Boren: really lame and uh uh what else did I bring with Patricia Boren? Probably classical, to totally geek Terri Reed: Okay Patricia Boren: it out, Terri Reed: yeah yeah. Patricia Boren: yeah I think. And my family guy D_V_D_s Terri Reed: Well Patricia Boren: but Terri Reed: yeah. Patricia Boren: we don't need to write that one down. Terri Reed: Oh, family Patricia Boren: So Terri Reed: guy. Isn't h has Patricia Boren: yeah. Terri Reed: h do you watch the new season? Patricia Boren: No. Are you getting it online, or is it Terri Reed: I Patricia Boren: on Terri Reed: think I'm gonna Patricia Boren: sky? Terri Reed: start downloading it yeah. Patricia Boren: Yeah, that'd be nice. Belinda Musick: Alright. Think I'm just gonna put down one uh one C_D_. Belinda Musick: Anybody? Terri Reed: Mm-mm. Sarah Cote: No. Belinda Musick: No? Patricia Boren: 'Fraid Belinda Musick: no? Patricia Boren: not. Belinda Musick: Afro beat orchestra, very cool. Terri Reed: Afro beat orchestra? Belinda Musick: Yeah. Terri Reed: Very Patricia Boren: Mm. Terri Reed: cool. Belinda Musick: Fift Sarah Cote: Sounds Terri Reed: Mm. Belinda Musick: S Sarah Cote: nice. Belinda Musick: they like fifteen members from Brooklyn. I'm hoping to go to the concert in Belgium, in Brussels in Terri Reed: Wow. Patricia Boren: Exciting. Belinda Musick: April first. Yeah. It's supposed to be Patricia Boren: That'd Belinda Musick: in Brussels Patricia Boren: be. Belinda Musick: anyways. Um thing I love about Edinburgh Patricia Boren: Oh. I didn't even read those. Oops. I shouldn't admit Terri Reed: That's Patricia Boren: that. Terri Reed: what a PowerPoint presentation Sarah Cote: Oh, Terri Reed: is for. It's Sarah Cote: wow. Terri Reed: they're designed specifically to ignore. I Patricia Boren: Yeah. Terri Reed: it's th brilliant. Patricia Boren: It's the five by five, I can't read that much. Terri Reed: Ah yes yes yes okay I see that. Vomit. Yes. Patricia Boren: Yeah oh Terri Reed: Street pizza. It's so brilliant. Belinda Musick: Love Patricia Boren: it's so horrible. Belinda Musick: um Terri Reed: I've seen more urine in this city Patricia Boren: Oh Terri Reed: than Patricia Boren: my Terri Reed: ever Patricia Boren: God. Terri Reed: before, I Patricia Boren: Seriously? Terri Reed: mean Belinda Musick: I just came from Glasgow and I'm um happy to say that Sarah Cote: There's Belinda Musick: there's Sarah Cote: more Belinda Musick: the Sarah Cote: vomit Belinda Musick: there's Sarah Cote: there. Belinda Musick: the same quantity approximately. Um. Terri Reed: It's Belinda Musick: I w Terri Reed: so minging. Patricia Boren: It really Terri Reed: Uh. Patricia Boren: is Belinda Musick: Does uh yeah. Ready? Sarah Cote: Alright. Yep. Belinda Musick: Minging? Nice. Patricia Boren: Yeah. Terri Reed: I'm going Patricia Boren: Slide Terri Reed: local. Patricia Boren: it in there. Terri Reed: Going Patricia Boren: Yeah. Terri Reed: local. I have to be here for three years so I might Patricia Boren: Yeah Terri Reed: as Patricia Boren: fair Terri Reed: well get Patricia Boren: enough. Terri Reed: the terminology right. Patricia Boren: I've already got more than I can keep track of. And I'm gonna go home next week and everyone's gonna be like oh my God you're turning Terri Reed: Oh, Patricia Boren: into one of those people, Terri Reed: have you been home yet? Patricia Boren: no. Terri Reed: They'll be like, say something British, and you're like Patricia Boren: I Terri Reed: oh shut Patricia Boren: know. Terri Reed: up family. Patricia Boren: I Belinda Musick: Uh-huh. Patricia Boren: know. Sarah Cote: Um Patricia Boren: Oh it should be interesting. Wait until I Sarah Cote: Let's Patricia Boren: tell them I'm Sarah Cote: see. Patricia Boren: not coming back. They're gonna love that one. Terri Reed: Right you s you're gonna stay here? Patricia Boren: Probably. Or at Terri Reed: Wow. Patricia Boren: least get a work visa for a while and then decide. 'Cause Terri Reed: Bad Belinda Musick: Nice. Terri Reed: religion? Sarah Cote: Yeah, Patricia Boren: nice. Sarah Cote: up listening to. Patricia Boren: Of Terri Reed: Yeah Patricia Boren: course. Terri Reed: yeah, yeah. Patricia Boren: Oh, Sarah Cote: And Patricia Boren: now I can think of so Sarah Cote: so Patricia Boren: many other Sarah Cote: there Patricia Boren: ones. Terri Reed: Well yeah that's why Patricia Boren: That's how it works. Terri Reed: yeah. Sarah Cote: Something I miss about my hometown. Terri Reed: I miss coffee. Sarah Cote: Burritos Patricia Boren: Mm. Belinda Musick: Nice. Terri Reed: Burritos. Patricia Boren: Oh Sarah Cote: that cost less than Terri Reed: Oh yeah two two Patricia Boren: Any Sarah Cote: eight Terri Reed: bucks. Sarah Cote: Pounds. Patricia Boren: thing that are like free. Terri Reed: Where are you from in California by the way? Sarah Cote: I grew up in San Diego, but Terri Reed: Did you really? What Sarah Cote: yeah Terri Reed: part? Sarah Cote: um La Jolla, P_B_. Terri Reed: Yeah I'm from San Diego as well. Patricia Boren: Nice. Terri Reed: Yeah oh Sarah Cote: But Terri Reed: man. Sarah Cote: really uh I last lived in San Francisco, I haven't lived in Cali well I haven't lived in southern California since I was eighteen. Terri Reed: Going to s like North Carol I'm sorry you you just can't get a better burrito than what's available in the s in San Diego. Sarah Cote: It's different. 'Cause in San Diego th the tortillas are cooked on the grill and in northern California they steam them. Patricia Boren: It must make all the difference. Sarah Cote: Yeah, it really does. Terri Reed: Well it's it's i there's other things too there's you just can't Patricia Boren: Ah. Terri Reed: place it like I when I went to school in the U_ in Santa Barbara which is central California the Mexican food is okay, it's just not good like Sarah Cote: Mm. Terri Reed: and yeah it's like two bucks, like literally two bucks for this massive Patricia Boren: Right. Terri Reed: I miss yeah good call on that. Sarah Cote: Yeah. Where you from in Patricia Boren: Mm. Sarah Cote: San Diego? Terri Reed: Um just literally just metropolitan San Diego, I live like five minutes from the zoo. Sarah Cote: Okay. Terri Reed: So North Park actually if you want to get real Sarah Cote: Yeah, Terri Reed: specific. Sarah Cote: my grandparents lived on um thirty second. Terri Reed: Yep. Sarah Cote: Close t uh do you know where Clare de Lune coffee shop Terri Reed: Yes. Sarah Cote: is, and Terri Reed: On university, yeah. Sarah Cote: Cafe Forte Terri Reed: Yeah it's actually like literally half a mile from my house. Sarah Cote: Cool. Terri Reed: Yeah, pretty cool. Small world Sarah Cote: Yeah. Terri Reed: as we were discussing before. Especially when we're all from the same general region. Right so okay, success on the whiteboard. Patricia Boren: There you Terri Reed: You can harness Patricia Boren: go. Terri Reed: the awesome power Sarah Cote: Wow. Terri Reed: a little bit introductions we talked about some of our C_D_s and things we like about the city you know, I think we'll Um right so moving on to not fun stuff uh project finance. Um basically what we're trying to do is sell this remote for twenty five Euros. Um. This is what the finance department has told Patricia Boren, the C_F_O_ but I don't know, I'm not sold on this, it's pretty dear, I mean twenty f that's like you know forty bucks for a remote. It would have to pretty much like do my laundry for Patricia Boren. Patricia Boren: Mm. Terri Reed: Um so what we can maybe work on that a later but we're gonna make a lot on it, the profit aims to make fifty million Euros on it. Eur internationally. So um one of the things I I was gonna mention to you um you guys the designers is that um it m we probably need a rever it needs to be a universal remote control probably. Sarah Cote: Okay. Terri Reed: Um so something that could do Patricia Boren: Makes Terri Reed: N_T_S_C_ Patricia Boren: sense. Terri Reed: as well as PAL as well as various other formats like if it's gonna control D_V_D_s Patricia Boren: Uh. Terri Reed: but um you know I'll leave that to you guys but that's something that i i it is gonna be an international sold thing. Um but we wanna try to make it for twelve fifty. So we wanna try to make a hundred percent profit on it if we can. Um s right so um just to close up, I'm not sure how much time I've used mm next time right Project Manager, sorted. Um. Is uh we'll meet in another half an hour or so um and I'd like the um Industrial Designer to get ge think about what needs to be done, like what the basic function of it. Um U_I_D_ well yeah you right g your assignments are up there and you'll also get s assignments from in your email as well more spec specifics on what do do. Um mm basic and um so I need you to tell us what um we what the user's gonna Patricia Boren: What Terri Reed: want. Patricia Boren: they're looking for. Terri Reed: So actually in a way you guys c maybe in our next meeting chat a bit about what the user's gonna want and what the user can have, you know like uh Patricia Boren: And negotiate Terri Reed: so Patricia Boren: that. Terri Reed: yeah well it is Patricia Boren: Uh. Terri Reed: and we'll discuss the trade-offs in between um so yeah specific instructions will be sent in your email. But I think that that is more or less a good place to start for now um and as more things come up we'll have meetings and you'll get emails and so forth. Um any questions, before we get started? Belinda Musick: I assume that we're building a stand alone uh remote control, we can't kind of build it into other uh products. Terri Reed: You mean to like Belinda Musick: For instance like a mobile phone or something Sarah Cote: Mm. Belinda Musick: like that. Terri Reed: Hmm. Sarah Cote: Sounds interesting. Terri Reed: Yeah. Patricia Boren: I don't think there's any rules about it yet. So Sarah Cote: Maybe our personal coach will Patricia Boren: Yeah. Belinda Musick: Or or Sarah Cote: have something Belinda Musick: you know Sarah Cote: to say about Belinda Musick: can Sarah Cote: that. Belinda Musick: we produ can we sell a remote control phone for twenty five pounds or less? Terri Reed: Well, Patricia Boren: Mm. Terri Reed: have a think about it. I mean Belinda Musick: Yep. Okay. Terri Reed: I'm I'm certainly op it seems like yeah it Patricia Boren: W Terri Reed: it seems like Patricia Boren: yeah. Terri Reed: it's certainly do-able isn't it. I mean um or if we can't have a full mobile phone maybe a remote that has some other kind of useful Belinda Musick: Mm-hmm. Sarah Cote: Yeah. Terri Reed: function. The clapper. No I mean no, good idea, good idea. We'll see what Sarah Cote: Maybe Terri Reed: see what Sarah Cote: a remote with changeable faces, like the faces that you can buy for phones. Patricia Boren: I like Belinda Musick: Nice. Patricia Boren: the Terri Reed: Uh-huh Patricia Boren: little cover Sarah Cote: Yeah. Patricia Boren: thingies. Terri Reed: y I like that Belinda Musick: Hot. Terri Reed: Yeah. That's true, I guess we we probably have some time, maybe we should brainstorm a bit like what we wanna do, go back to um I don't really have any. Let Patricia Boren bring up something about our basic goals here, what we want to accomplish. Uh project announcement. Ts ts ts Terri Reed: Yeah. Not so much. Patricia Boren: Hmm. Terri Reed: All right we'll find them, we're on our own. Belinda Musick: Now are we also discussing kind of our initial ideas at all Terri Reed: Yeah Belinda Musick: here? Terri Reed: yeah let's do it, let's do. Belinda Musick: S does anybody have any initial ideas? Terri Reed: I'm gonna go ahead and take notes on this too 'cause Patricia Boren: Good idea. Start your minutes. Terri Reed: Yeah I mean Patricia Boren: Um Terri Reed: oh yeah right. So initial ideas. Patricia Boren: Well it's pretty much given it's gonna be universal right, Terri Reed: Yeah. Patricia Boren: we decided that already and it may be functioning for other things, as soon as you said that I was thinking like all the other things you could get a remote to do, like your microwave or your front Sarah Cote: Yeah. Patricia Boren: door or like to have everything on one thing, but then, I've never been a fan of those huge remotes that have like a million buttons, you Sarah Cote: S Patricia Boren: can't tell Terri Reed: Mm-hmm. Patricia Boren: what they do. Sarah Cote: smaller's better. Simple. Patricia Boren: Yeah. Belinda Musick: But I'm thinking Patricia Boren: Specific. Belinda Musick: I'm thinking kind of P_D_A_ uh design so touch screen design rather Patricia Boren: Okay. Belinda Musick: than button Sarah Cote: Oh Belinda Musick: so Sarah Cote: right. Belinda Musick: that you Sarah Cote: That'd Belinda Musick: can Sarah Cote: be different. Belinda Musick: kind Patricia Boren: Interesting. Belinda Musick: of flip around all sorts of different things. Terri Reed: Yeah that's slick isn't it. I mean like stylist yeah like a just Patricia Boren: True. Terri Reed: a yeah. Right so we got five minutes more to chat about this, perfect. Um so we've got this kind of an idea of a trade-off between um Patricia Boren: Mm. Terri Reed: uh size and functionality. Patricia Boren: Mm. Terri Reed: Um Patricia Boren: Right. Terri Reed: and Patricia Boren: We Terri Reed: we Patricia Boren: want Terri Reed: also Patricia Boren: it to be munt multifunctional but at the same time if you get it to do too much you're not gonna be Sarah Cote: Yeah. Patricia Boren: able to Belinda Musick: Too Patricia Boren: tell Belinda Musick: confusing. Patricia Boren: them apart, Sarah Cote: It's Patricia Boren: that Sarah Cote: gonna be Patricia Boren: whole Sarah Cote: too complicated, Patricia Boren: yeah. Sarah Cote: too crowded with buttons and things. Terri Reed: I'm also gonna note Patricia Boren: Hmm. Terri Reed: for future reference this idea of um so you like maybe like an L_ like a touch screen type of remote? Belinda Musick: Mm-hmm. Patricia Boren: Mm. Belinda Musick: Possibly. Terri Reed: I don't think one exists. Patricia Boren: An interesting option. Terri Reed: Be a Sarah Cote: Needs Terri Reed: good idea. Sarah Cote: it needs one outstanding Patricia Boren: Yeah. Sarah Cote: feature to set it apart from all the Patricia Boren: Definitely. Sarah Cote: other remotes. Terri Reed: Yeah all the other universal remotes. Um I don't know if there's such a thing out there, I guess we could do some uh do some research on or one of us could do some research on it about whether or not there are um multi-format like um you know PAL, N_T_S_C_, region one Patricia Boren: Right. Belinda Musick: I'm pretty sure there is. I mean I Terri Reed: Okay. Belinda Musick: I have a friend who has a P_D_A_ Terri Reed: Okay. Belinda Musick: that he just Patricia Boren: That Belinda Musick: points at his telev any television he wants and Patricia Boren: Yeah. Belinda Musick: it'll figure out the the specifications of it and will control it Terri Reed: Interesting. Patricia Boren: Awesome. Belinda Musick: um Terri Reed: Okay. Belinda Musick: so I th I assume that that can be done with uh kind Patricia Boren: Yeah. Terri Reed: Okay. Belinda Musick: of around the world. Terri Reed: Okay. Um all right. So. I li I'm liking that idea, this idea of a touch screen remote with multi-format features. Patricia Boren: Mm-hmm. Terri Reed: Um. Sarah Cote: Right. Terri Reed: Um. Let's see. Sarah Cote: I think, making it out of a nice material would be very important, because so many of those remotes that you see, these universal Patricia Boren: Yeah. Sarah Cote: remotes look so cheap and Terri Reed: Mm. Sarah Cote: low quality. Patricia Boren: Yeah. Keeping it nice and slick, would be important. And I don't know, like, there's such a problem with losing them, that adding this whole like P_D_A_ pen Sarah Cote: Mm. Patricia Boren: business is only one more thing to lose, so we're gonna have to be careful with Belinda Musick: Oh. Patricia Boren: what like Just something like keep in mind when we start actually dealing with this stuff but that would be really cool. Terri Reed: Uh let's see. Um. Belinda Musick: I like the idea of the uh multi plate. Terri Reed: Yeah Patricia Boren: Yeah. Terri Reed: yeah okay. Patricia Boren: Fi Belinda Musick: In Patricia Boren: b like what Belinda Musick: in Patricia Boren: are they called, those face plate things? Isn't Terri Reed: Think Patricia Boren: there Terri Reed: they're Patricia Boren: a Terri Reed: just Patricia Boren: name Terri Reed: called Patricia Boren: for them? Terri Reed: face plates? Patricia Boren: Are they? Terri Reed: I don't know. Sarah Cote: something, Patricia Boren: I dunno. Sarah Cote: uh Belinda Musick: I like. Sarah Cote: we'll have to come up with a name, Belinda Musick: We Sarah Cote: patent Belinda Musick: should Patricia Boren: Yeah. Belinda Musick: c Sarah Cote: it. Belinda Musick: we should come Patricia Boren: Something Belinda Musick: up with Patricia Boren: really Belinda Musick: a fuzzy Patricia Boren: cool. Belinda Musick: one as well. For Patricia Boren: Leopard Belinda Musick: those cold Patricia Boren: print Sarah Cote: Leopard Belinda Musick: winter Patricia Boren: or something. Sarah Cote: print. Belinda Musick: days. Terri Reed: Um. Patricia Boren: Hmm. Sarah Cote: I think, it wouldn't be such a bad idea to have a like a locator device, maybe a simple button that you have on your television to help you find your remote. Patricia Boren: True. Terri Reed: Mm. But if we're bundling it unless we're selling their telly with the remote. Patricia Boren: Right. Sarah Cote: Mm. Terri Reed: Um Belinda Musick: Well if we bundle it as a phone then you can always call it. Sarah Cote: True. Belinda Musick: If you're Patricia Boren: True. Belinda Musick: not doing that then we can have something that just kind of rings from either well there used to be those whistling devices but that's a Patricia Boren: Right. Belinda Musick: little bit annoying. Terri Reed: Cou could we not do something where like just a little lit like literally just a very small kind of thing that comes with the remote that you could place something else that you press and it makes the remote page. Kinda Belinda Musick: Th Terri Reed: like Patricia Boren: Right. Terri Reed: how on a lot of um uh cordless regular Belinda Musick: Yeah. Terri Reed: phones, Sarah Cote: Yeah. Terri Reed: you have a page button and it goes, Patricia Boren: Right. Terri Reed: could we do something like that? Belinda Musick: That's cool. Sarah Cote: I think Patricia Boren: Probably. Sarah Cote: so. Belinda Musick: I think we could design into Sarah Cote: Yeah. Belinda Musick: that. Patricia Boren: Good. Terri Reed: Um yeah I think this material quality as well like I guess what we can think about what kind of um uh you know Apple 's been really successful with Patricia Boren: Mm. Terri Reed: this surgical white kind of business or this Patricia Boren: Yeah. Terri Reed: sleek kind of Patricia Boren: And Sarah Cote: Mm. Terri Reed: you Patricia Boren: that Terri Reed: know Patricia Boren: titanium the new silver sleek ones that's last couple of years, Terri Reed: Yeah. Patricia Boren: very much so. Belinda Musick: Curves. Patricia Boren: Mm. Terri Reed: Yeah. We do have the minimum am amount I mean we were talking finances I dunno, selling a a forty Pound remote would h or a forty Dollar remote, twenty five Euro remote would be pretty you know Patricia Boren: Right. Terri Reed: it's pretty expensive so maybe we might wanna trade off some of the features for a lower price. Without without getting into that whole like you know go down to bargain store remote you know bargain store universal Patricia Boren: Right. Terri Reed: remote that's black Sarah Cote: Yeah. Terri Reed: and you know m massive, some kind of Patricia Boren: Mm. Terri Reed: I dunno a balance there in somewhere. Patricia Boren: Definitely. Terri Reed: But um have a think about what we can do, have a think about what we want to do, Patricia Boren: Yeah. Terri Reed: how we're gonna sell it and Patricia Boren: Or if Terri Reed: um Patricia Boren: you our users in mind, like these grandmas are not gonna be into this whole new let's design, no it's they're used to the buttons so we'll have to be careful of exactly who we're marketing this to, Sarah Cote: Yeah. Patricia Boren: and Terri Reed: Mm. Patricia Boren: who we're gonna be able to get it out of. Sarah Cote: 'S true. Patricia Boren: But Belinda Musick: We're talking twenty five Pounds or twenty five Euros? Terri Reed: Twenty five Patricia Boren: Euros. Terri Reed: Euros. Belinda Musick: Slight difference I guess. Terri Reed: Yeah. They're all weaker than they're all stronger than the Dollar. Patricia Boren: Mm. Terri Reed: Although, computer parts, all if you're gonna upgrade your computer, buy it in the States. Like um do you guys know Fry's? Huge Belinda Musick: No. Terri Reed: computer Patricia Boren: Mm-mm. Terri Reed: uh electronics store? They serve um right they sa tha s they will sell things overseas so Patricia Boren: Mm. Terri Reed: you can buy stuff in America and have it shipped over for like twenty thirty Pounds about. Right so um let's go ahead and wrap that up here for now, I'm gonna put these initial ideas that we've got in the um project documents, so if you guys wa need a reminder about what we've talked about Patricia Boren: Okay. Terri Reed: um the Sarah Cote: Okay. Terri Reed: different you know kind of trade-offs that we've got and the other ideas, you can consult them at your leisure. And uh right so thanks for that. Let's just uh head back to work on what we were talking about bef uh goi h h getting into. Patricia Boren: half an hour? Terri Reed: Um. Yes. Patricia Boren: 'Kay. Perfect. Terri Reed: Thanks guys. Patricia Boren: Cool. Belinda Musick: Thank you. Sarah Cote: Alright.

Terri Reed presented the project to the other participants by discussing the aim of creating a new, fashionable remote control device and defined the roles and tasks of each participant. The group introduced themselves to each other and trained themselves how to use the whiteboard tools. Terri Reed discussed the financial goals of the project, including the projected profit aim and price point for the device. Terri Reed gave each participant their assignments. The group then began a discussion of their initial ideas about the remote control and possible features. Terri Reed announced that he would make a report containing the discussion of the group's initial ideas about the device.

amisum

train

Sharon Lehman: All set? Okay. Cool. Right. So um basically I'm just gonna go over real quickly um some news I've just got from the board on how we're supposed to do with this um remote control. And then I'm gonna turn over to you guys to make brief presentations um on what you've found and then we'll have a bit of discussion. So basically uh what I've just found out from the board I dunno if you guys got this email as well but it needs to be television only. So no we're not doing D_V_D_, Jean Hansen: Okay. Sharon Lehman: we're not doing anything else, it's just gonna be a television remote. Um it also needs to have the company colours included in it. Um so that's red and black. And it has to have the slogan, case you guys forget the slogan it's, we put fashion in electronics. Um and no teletext. I'm not sure what teletext is but I'm assuming you guys do, so we don't wanna include that um in this particular design. For reasons that I don't really know. There's but it's the board so there you go. So basically um given those guidelines which will have some effect on how we design we'll discuss it later I mean 'cause it's television only we'll be able to change our uh um well we can s sacrifice more function for a better television remote. Anyway. So I'm gonna turn over to Tommie Dunkerson uh to go ahead and make a presentation on Tommie Dunkerson: Okay. So do I unplug Jean Hansen: Gotta Sharon Lehman: Oh, Jean Hansen: plug Sharon Lehman: right yeah. Jean Hansen: you in. Tommie Dunkerson: this bit here? Sharon Lehman: Yep. Sharon Lehman: Might have to hit function F_ eight but it looks like it's gonna come up. Yep. Cool. Tommie Dunkerson: Okay. Right. That's page one of my presentation. Sharon Lehman: Brilliant. Jean Hansen: Very nice For. your first PowerPoint it's lovely. Tommie Dunkerson: So the uh method. We're gonna have to understand how remote controls work and res uh successfully complete this project. Um remote control works as follows. This is all pretty basic stuff you guys. Um sends message to another system, so there's an energy source involved in that like a battery or solar power, something along those lines, there's an integrated circuit, which is the microchip, actually compose the messages and usually the way a a remote control works is it sends infrared bits to another system. A user interface controls the chip, basically that's the casing and the buttons and um accordingly the messages as well. So my findings, um I just did a preliminary study here and uh I found that too much metal in remote design could potentially cause interference with the ability of the remote to send commands. And too much metal can cause remotes to behave unexpectedly by receiving false signals. Um too much metal is used sometimes and people pick up radio signals and the like, and there's also the possibility of the remote catching on fire and injuring the customer, just think of those lawsuits, that'd be really bad. Therefore I suggest primarily plastic construction. Sharon Lehman: 'Kay. Tommie Dunkerson: Um, components. Just some ideas that I had, um, energy source, it's kinda hip to be eco friendly so I thought maybe we could do something with solar power with an alkaline battery backup. Um the user interface, I was since we can't use metal I was thinking maybe a high grade recycled plastic. Sharon Lehman: Mm. Tommie Dunkerson: The chip, um, silicon based chip I don't really see any way around that, we can't really be different in that respect. Um, the sender well I'm thinking infrared 'cause it is the industry standard, multi channel, that's a word I made up, I don't really know what it means. Sharon Lehman: 'Kay. Tommie Dunkerson: Uh PAL Sharon Lehman: Fair enough. Tommie Dunkerson: and N_T_S_C_ compatible and uh probably a two hundred foot range. Sharon Lehman: 'Kay. Tommie Dunkerson: Uh and the receiver of course is any number of electronic devices. Um but in this case it'll only be T_V_s. Um personal preferences, I really think that we should use plastic as opposed to metal, um, the company simply Jean Hansen: Fine. Tommie Dunkerson: can't afford this kinds of lawsuits which adm admittedly is gonna come at the cost of a certain aesthetic value, 'cause we were thinking Sharon Lehman: Is is there a way that we can use um modern types of polymers, or mo modern types of plastics that maybe do have some kind of aesthetic value um like if a white like if we talk about like well like on the lapt on these laptops and other Tommie Dunkerson: Right. Sharon Lehman: ones Jean Hansen: It Sharon Lehman: they Jean Hansen: needs, Sharon Lehman: use a Jean Hansen: yeah. Sharon Lehman: a pretty nice, you can do i is there some kind of nice colo der quality plastic that we can work with? Tommie Dunkerson: Yeah that shouldn't be a problem. Um for example the plastic they have on your laptop there is something that's perfectly possible for Sharon Lehman: Okay, Tommie Dunkerson: us to do. Sharon Lehman: okay. Jean Hansen: Cool. Tommie Dunkerson: That's Sharon Lehman: Great. Tommie Dunkerson: the end of my presentation. Sharon Lehman: Thank you very much Nathan. Um if next we can have the um User Interface Developer go ahead and make a brief presentation that'd be great as well. S plug yourself in here. Sharon Lehman: Mm. Um hit function F_ eight real quickly, hold down Mm. Jean Hansen: Looks like you're in okay. Tommie Dunkerson: Is it plugged in well? There it goes. Computer Carla Wells: Th Tommie Dunkerson: adjusting. Jean Hansen: There you go. Sharon Lehman: There you go. Sweet. Carla Wells: Well so. Here we have a functions design presentation. Um so a few of the requirements we need here. Uh we n basically need to operate an electronic device, it needs to be universal um and possibly uh operate several different types of devices although we now uh find that Sharon Lehman: Yeah Carla Wells: uh Sharon Lehman: sorry I Carla Wells: that Sharon Lehman: couldn't get that g to use before. Carla Wells: that's no problem. Um so some of my findings. Um basically wanna send messages uh to a television set. Carla Wells: I think we're all quite uh quite uh intelligent and know know what a normal remote control does. Um now some of the other things I found is a a complicated remote control sorry that we can't quite Sharon Lehman: Oh yeah Carla Wells: see Sharon Lehman: look Carla Wells: my Sharon Lehman: at Carla Wells: red Sharon Lehman: that. Tommie Dunkerson: Mm. Carla Wells: there very well but uh this remote control has many functions um so it can do a lot of things but it uh it is quite complicated and most Sharon Lehman: Mm-hmm. Carla Wells: users will find it uh find that they won't use most of the functions because they don't know how to use them and don't wanna take the time to learn how to do it. As you also notice it's quite a boring design. Um. Another remote control, slightly different, it's a simpler remote control uh many less buttons but uh has many fewer functions, um m much easier for the user to manipulate and use. Um it also has a bit of a cheap look and it's also quite boring. So my personal preferences. Revolutionise Sharon Lehman: Nice. Carla Wells: the idea of uh a remote control. Um so attain the functionality of a complicated device but use a simple formatted display uh for the user to to work with. And I was gonna add another uh slide here but I didn't quite have time there. Um. Sharon Lehman: Okay. Carla Wells: Just incorporating some of the ideas that we had previously like uh having multiple face but it's uh. Sharon Lehman: Great. Thanks for that Ron. Jean Hansen: Right. Does that mean I'm Sharon Lehman: 'Kay Jean Hansen: up? Sharon Lehman: yep that's you. Jean Hansen: I think so. Okay. Carla Wells: I can plug you in. Jean Hansen: Oh that would be perfect. Thank you. Slide show up and running. Or not. Sharon Lehman: Give it a little Jean Hansen: Uh. Sharon Lehman: bit. Jean Hansen: Oh there we go. Perfect. Okay. So this is Jean Hansen. Um basically I was looking through some marketing reports that we've got we had a usability test where we were actually sort like watching a hundred people use T_V_ remotes and see what it is that they're using and then they filled out a questionnaire about what they like and what they don't about their general T_V_ remote control practices. Um pretty much through testing we were finding out that most of the time, everybody's used to using changing the channel, turning it on, using the volume, m the majority of the time that's all that's going on, the other functions happen, for some people they're important, but the primary uses are really really basic. Um and so big complicated remotes like one we saw in the last presentation are really not the general public's use, they're not using a lot of it, they don't need it, they even find it frustrating when there are all those buttons that they don't know what to do with. And um we also found out that uh fifty percent of our people, their the worst thing about a remote is how often they lose it. And then they can't find it in the room. So I think what we were talking about with a pager or something, will really come into play with a lot of these people. Um there's also a survey about what they liked about remotes, and pretty much they all think they're hideous and not very useful, and the younger demographics are all really interested in voice recognition options. I don't know if that's something we're ready to look into technically, that's up to the design people, but it is s something worth thinking about, especially since the younger demographic's obviously the one that's gonna keep growing, so if that's the direction we're headed in it's something to think about. Um but basically it really is the primary functions and getting it to look nice, which are the standards. So it's a good start for us. Sharon Lehman: That's great. Thank you Sarah. Right. Jean Hansen: Need to unplug Sharon Lehman: So Jean Hansen: this? Sharon Lehman: um yep I'll just uh switch that Jean Hansen: Need it Sharon Lehman: back Jean Hansen: back. Sharon Lehman: here. I'll finish up with just a bit of discussion Jean Hansen: There you go. Sharon Lehman: plan on for the next phase. Sharon Lehman: Right so I think we've covered most of these important questions through this um through you guys's presentations um we've got uh y Tommie Dunkerson suggests uh or pretty much emphatically suggested that we need to go with plastic. Um Sarah, she's recommended that we go for simpler functions, so fewer functions um but we need to decide who are we selling this to, you s your stats suggested that seventy five percent of people under thirty five wanted, Jean Hansen: Oh right. Sharon Lehman: thought about voice control, um so do we wanna go for that, or do we want to go for an older demographic, and my thought is um we've got w if we're gonna go for a sleek look I mean we are putting the fashion in electronics um. Jean Hansen: We're not catering to the pensioners of the world Sharon Lehman: Yes. Jean Hansen: I don't think so. Sharon Lehman: So maybe this we should look into this younger demographic. Um. Jean Hansen: Right. Sharon Lehman: So uh we need to wonder ah h about how we make it better and smaller and faster um think we're constrained to plastics very well, we've got this idea, Ron was saying we need to think about uh revolutionising the way it's looking Jean Hansen: Right. Sharon Lehman: um, which might be easier given that we're going for simpler function and that we're Jean Hansen: Uh. Sharon Lehman: only going for a telly. Um so um. How th this voice operation thing is I think is a good idea um assuming that it's doable, um at least for the basic controls, maybe we can balance Jean Hansen: Right. Sharon Lehman: it that way, you Tommie Dunkerson: Mm. Sharon Lehman: know we can see. Okay you can't say record alias tonight at seven P_M_ but we might be able to say um volume up. Jean Hansen: Yeah. Tommie Dunkerson: Right. I think it would be possible to uh combine the locator device and the voice recognition technology. Sharon Lehman: Mm. Jean Hansen: Oh. That could work. I like that. Tommie Dunkerson: With a simple command like locate. Jean Hansen: Yeah. Tommie Dunkerson: And then Jean Hansen: Something very basic. Tommie Dunkerson: it could start to beep Jean Hansen: Right. Tommie Dunkerson: and Sharon Lehman: Right. Tommie Dunkerson: therefore be found. Carla Wells: Sounds Jean Hansen: Is that only Carla Wells: good. Jean Hansen: gonna be within our two hundred foot range then? Tommie Dunkerson: Oh yeah I think that's Jean Hansen: Okay. Tommie Dunkerson: very doable. Sharon Lehman: The difficulty wh would be in um I think like i you couldn't speak into the remote that you're trying to find. 'Kay you have something that picks up Tommie Dunkerson: Mm. Sharon Lehman: a voice Jean Hansen: Yeah. Sharon Lehman: from far away Tommie Dunkerson: It's a good point. Sharon Lehman: If it's hidden under the couch but then again you have this wee this wee thing you know that's just a little chip or whatever that has the page button, maybe that could be voice activated too. Carla Wells: A little Jean Hansen: Mm. Carla Wells: sticky pad to stick on top of your uh television. And Jean Hansen: Yeah. Carla Wells: you just say something to into that and it Sharon Lehman: Yeah. Tommie Dunkerson: Yeah. Carla Wells: finds Jean Hansen: K Carla Wells: your Sharon Lehman: Or an isolated magnet or something like, or you know something that wouldn't interfere I don't know that'd Jean Hansen: Yeah. Sharon Lehman: be the technical thing but yeah I like that, I like that, the voice recognition for the paging system. Carla Wells: The other thing is we might be able to handle the simplicity of a remote control and kind of put the more complicated things into a voice control. So it could be sold to both the younger market Jean Hansen: True. Carla Wells: and the older market. And the younger market could use kind of the voi voice control method and the older market Jean Hansen: Making Carla Wells: might Jean Hansen: it just Carla Wells: might Jean Hansen: an option? Carla Wells: k Tommie Dunkerson: Mm. Carla Wells: exactly Jean Hansen: Yeah. Carla Wells: and might consider the older market could use the simpler design with Jean Hansen: Right. Carla Wells: the traditional buttons and what not. Tommie Dunkerson: I Sharon Lehman: Yeah. Tommie Dunkerson: was thinking Jean Hansen: Are we still Tommie Dunkerson: uh Jean Hansen: thinking about this screen sorry. Tommie Dunkerson: Oh Jean Hansen: Go Tommie Dunkerson: go Jean Hansen: ahead. Tommie Dunkerson: ahead. Jean Hansen: The uh if we're gonna do this touch pad screen thing, it would be Sharon Lehman: Mm-hmm. Jean Hansen: still, do we know if that's an option technically right Carla Wells: 'S Jean Hansen: now Carla Wells: definitely Jean Hansen: to that? Carla Wells: an option technically. Jean Hansen: Okay. Carla Wells: I've looked into uh costs of uh touch screen methods Jean Hansen: Okay. Carla Wells: and what not, they seem to be uh you know almost Jean Hansen: We're doing okay. Carla Wells: as cheap as a button method at this point. Jean Hansen: 'Cause Sharon Lehman: Okay. Jean Hansen: it seems like an interesting option especially because then you could have like your primary screen just be these you know four or five basic functions, you can have Sharon Lehman: Mm. Jean Hansen: menu Tommie Dunkerson: Yeah. Jean Hansen: options or something to have all these other complicated voice recognition, settings, things that you're not gonna use every day and that a lot of people aren't gonna use but it is an option there for this hi-tech market that sort of re is the sleek thing we're going for. Tommie Dunkerson: Gotta wonder though, if we're adding so much technology to this one remote, are we still gonna be able to meet out twelve pou our twelve Sharon Lehman: Mm-hmm. Tommie Dunkerson: fifty Jean Hansen: True. Tommie Dunkerson: Euro you Jean Hansen: Worth Tommie Dunkerson: know Jean Hansen: looking Tommie Dunkerson: goal Jean Hansen: into. Tommie Dunkerson: for selling these things. Sharon Lehman: Mm-hmm. Tommie Dunkerson: It Jean Hansen: Yeah. Tommie Dunkerson: seems Sharon Lehman: Mm-hmm. Tommie Dunkerson: like, we're not gonna be able to handle all these functions with just one microchip. The microchip is probably the most expensive part of Jean Hansen: True. Sharon Lehman: Okay. Tommie Dunkerson: the the whole mechanism. Jean Hansen: Yeah. Tommie Dunkerson: So Sharon Lehman: Okay. Tommie Dunkerson: it's just something to consider. Sharon Lehman: Absolutely. um well yeah I guess we'll cross that bridge um in a la slightly later stages of development um but yeah I know, that's perfectly viable question. Mm 'kay um so I'm seeing that we're gonna just basically focus on this young demographic group, aim it at them, but then in a sense that its bells and whistles are available for anybody who wants them but basically we'll make a sleek simple Jean Hansen: Mm-hmm. Sharon Lehman: functioned um uh remote control. Um I think this voice recognition thing is a we've got a market for it uh I don't think there's too Jean Hansen: Mm. Sharon Lehman: many, we'd more or less be cornering the market on it as well, we don't have many um. Jean Hansen: Yeah. Sharon Lehman: I appear to have lost my microphone. Mm. Right um we don't have many people or there's not very many competitors out there that do that so cool. Um right. I guess we've c we've touched on most of this. The idea of a paging function, a touch screen, and face plates. Um. The thing with I see would there not be a we'd have to maybe sacrifice the face plates for a touch screen? Carla Wells: Um I'm not sure that's sincerely correct, I think Sharon Lehman: Okay. Carla Wells: if you kind of take the example of a mobile phone that uh trying to pass a portion of the device is not interchangeable whereas the surrounding portions Jean Hansen: Mm. Carla Wells: are interchangeable. Sharon Lehman: Okay. Jean Hansen: Just the casing. Carla Wells: We could have the casing, the the face plates. Sharon Lehman: Okay. Tommie Dunkerson: Back to the uh the cost the material. We have to ask whether we're going to include a certain number of face plates with the package? That's something I w for say we're including Jean Hansen: Mm. Tommie Dunkerson: three or four face plates, it's gonna drive the cost up. Sharon Lehman: Mm. Tommie Dunkerson: And Jean Hansen: Yeah. Tommie Dunkerson: the other question is, if we do include them are we really in a position to evaluate that market? We haven't done any tests on face plates and whether Jean Hansen: Right. Tommie Dunkerson: See Sharon Lehman: Okay. Tommie Dunkerson: if there if there's even interest out there. Sharon Lehman: Okay. Right. Tommie Dunkerson: Off the top of my head it sounds kind of like a gimmick that wouldn't really go anywhere. Sharon Lehman: Yeah 'cause then ha you Jean Hansen: Mm. Sharon Lehman: would have to who all it's not like with cell phones like where you have a you know Nokia model X_ and then ten people make face plates for it, we'd Jean Hansen: Right. Tommie Dunkerson: Yeah. Sharon Lehman: be just our model of pho of t remote control. Jean Hansen: Well in the publicity of a face plate on a phone is you have it out and around, it is sort of emblematic whereas Sharon Lehman: Mm-hmm. Jean Hansen: you're just sit at home, so unless somebody comes Sharon Lehman: Mm. Jean Hansen: over Sharon Lehman: Mm-hmm. Jean Hansen: to watch T_V_ Sharon Lehman: Yeah. Carla Wells: Well hopefully some people have people coming t over to w Jean Hansen: True. Carla Wells: to hang out at Jean Hansen: True. Carla Wells: your house and most people Jean Hansen: True. Carla Wells: have their televisions in the living room. Uh. Sharon Lehman: Alright well we can Jean Hansen: Yeah. Sharon Lehman: we can discuss that one further when we think about Jean Hansen: Oh yeah. Sharon Lehman: um whether th when we do costs Carla Wells: Sure. Sharon Lehman: and so forth, um. True, if plastic is dead cheap and if we're making the whole thing out of plastic anyway um yeah we'll cross that bridge later um but yeah we will have to evaluate what's most important. Um I think we've had a bit of discussion already on this thing, n s there any other questions comments that came up in these presentations? Carla Wells: Well have we confirmed that we're gonna go ahead with a uh touch screen um Sharon Lehman: Yeah yeah Carla Wells: Interface? Sharon Lehman: okay. Um Yeah I think that would be best. Let's based on what sh on what you guys have all said to Jean Hansen let's go for a plastic built or uh b plastic cased 'cause tha tha that's easy on the cost, try to look for some kind of high quality recycled plastic as you recommended and I think that's a great idea. With a touch screen for the basic functions. Um And we'll yeah tha let's provisionally let's go for a touch screen one with several submenus um for possible extra stuff that one basically put the channel and the on and off switch on the touch screen. Um do we have Mm wait a minute it occurs to Jean Hansen that if we have a touch screen people are going to have to recharge their remote controls. Yet Jean Hansen: True. Sharon Lehman: at the same time that might help for this whole complaint of it being lost. Jean Hansen: 'Cause it would have a docking base? Sharon Lehman: Mm-hmm. But then again that costs as well. Jean Hansen: Yeah. Sharon Lehman: Hmm. Carla Wells: So these new lithium batteries they last twenty years even with the touch screen? Sharon Lehman: Do they? Carla Wells: Those Sharon Lehman: Okay. Carla Wells: new ones. Jean Hansen: Can we afford Tommie Dunkerson: Can we Jean Hansen: that? Tommie Dunkerson: afford to include one of those? Jean Hansen: And will somebody buy it if we don't? Sharon Lehman: Well I I don't think yeah I can't see anybody buying a lap a remote control that they have to plug in so we'd have to see some kind of new Jean Hansen: Right. Sharon Lehman: battery technology. Okay so let's go with a um touch screen with um some kind of you know with with some kind of cutting edge battery technology Jean Hansen: For twelve Euros? Sharon Lehman: Yeah well hey you know well it's it's worth looking into, if not we can always Jean Hansen: It is. Sharon Lehman: default to just doing a a well Jean Hansen: Fair enough. Sharon Lehman: presented plastic simple you know so Jean Hansen: The Sharon Lehman: you Jean Hansen: basics. Sharon Lehman: know. Well yeah I mean you can put the we could I I dunno I mean I suppose we could put the the basics on the centre easiest you know, you know people know the channel and volume function make them large and easy to get at and then the the other the other bits and bobs Jean Hansen: Mm. Sharon Lehman: you know go through menu um w we'll do the aesthetics. Okay so we'll touch screen and the battery, Jean Hansen: 'Kay. Sharon Lehman: focus on um uh presentation. Um it's th uh with this voice recognition option as well um just as for the simple functions the um the on off, channels, volume, Tommie Dunkerson: Right. Sharon Lehman: um and um a small paging function. Even if you can't do voice recognition for the paging you know just some kind of simple button that's just a I guess another infrared signal to the remote control and while to emit some kind of paging. Just Tommie Dunkerson: Okay. Sharon Lehman: a beep. Um right so any comments? Thoughts before we break into go into the next round of individual work on this. Tommie Dunkerson: Since we're doing uh touch screen, do we wanna look into the possibility of people being able to input different types of skins for the you know the actual interface part of it and things like that? Or is it just gonna be one touch screen for everybody. Carla Wells: Be interesting. Jean Hansen: Mm. Tommie Dunkerson: What what would be on that touch screen? 'Cause you said earlier that we have to think about company colours and um logo or Jean Hansen: And Tommie Dunkerson: something or motto, Jean Hansen: oh. Tommie Dunkerson: I can't remember exactly Jean Hansen: Yeah the Tommie Dunkerson: what you said. Carla Wells: We put fashion Jean Hansen: the fashion Carla Wells: into Jean Hansen: do. Carla Wells: electronics. Jean Hansen: Yeah. Sharon Lehman: W it's my understanding that if you were going to do a skin you'd need to have some way for people to download or import skins Jean Hansen: Right, and then you're Sharon Lehman: into Jean Hansen: dealing Sharon Lehman: the remote Jean Hansen: with ports Sharon Lehman: control. Jean Hansen: and cords and Sharon Lehman: Yeah I think perhaps Tommie Dunkerson: 'S too much. Sharon Lehman: good idea Jean Hansen: Yeah. Sharon Lehman: but yeah I think that that one m might just be um and they just yeah I think that one might just be out of the range for this particular Jean Hansen: For now. Sharon Lehman: a P_D_A_ would they would makes a lot of sense for a P_D_A_ 'cause you're gonna be using it to connect up to things anyway but I dunno, what do you guys think? Tommie Dunkerson: Think we just need to come up with a nice black and red Jean Hansen: Yeah. Nice. Tommie Dunkerson: interface on the touch screen. That'd Carla Wells: Yeah. Tommie Dunkerson: be okay. Carla Wells: Uh I I'm I'm in agreement with that, I'm wondering Jean Hansen: Um. Carla Wells: how we're gonna get uh we put fashion into electronics Jean Hansen: Well but Carla Wells: onto Jean Hansen: if we're Carla Wells: this Jean Hansen: gonna Carla Wells: device. Jean Hansen: use a touch screen where it's gonna come on like on your cell phone it'll have your Sharon Lehman: Hmm. Jean Hansen: your carrier provider name come up first like while it's loading and then it goes away, perhaps it could be like a temporary Sharon Lehman: Mm. Jean Hansen: Comes on every time you turn it on and then that's it 'cause it is a bit much to have it like engraved Tommie Dunkerson: Mm. Jean Hansen: on the back or Sharon Lehman: Yeah. Jean Hansen: something Tommie Dunkerson: True. Jean Hansen: I think. Sharon Lehman: Yeah. Carla Wells: I'm hoping for a subliminal maybe half a millisecond Jean Hansen: Yeah. Carla Wells: as it turns on. Jean Hansen: Y Sharon Lehman: Yeah. Yeah I know I d it seems like it would suffice to have just the R_R_ on there. Carla Wells: Mm-hmm. Jean Hansen: Yeah Sharon Lehman: Jus Jean Hansen: you would think. But. Sharon Lehman: But apparently not. Jean Hansen: If it Tommie Dunkerson: People Jean Hansen: comes Sharon Lehman: So. Jean Hansen: from Tommie Dunkerson: aren't gonna Jean Hansen: above. Tommie Dunkerson: want their remote to boot up and to see flashing things come on. They just want it to be on and ready to go. Jean Hansen: Yeah. Sharon Lehman: Yeah. Well fair enough. Um and yeah that would help the battery life too and if it the remote they do have to press a button for the remote to turn on. But then again who wants to turn on a remote control. Carla Wells: Well Sharon Lehman: Kind Carla Wells: all Sharon Lehman: of Carla Wells: you Sharon Lehman: if Carla Wells: have to Sharon Lehman: i Carla Wells: do is touch the screen and it automatically Jean Hansen: Mm. Sharon Lehman: Oh Carla Wells: goes Sharon Lehman: to wake Carla Wells: on. Sharon Lehman: up okay Carla Wells: Yep. Sharon Lehman: or go into like Carla Wells: Goes Sharon Lehman: a dormant Carla Wells: into a Sharon Lehman: mode. Carla Wells: sleep mode. Sharon Lehman: Okay. Oh yeah I like that I like the idea of um putting the logo in the boot up screen, nice. Um. Um cool so any last things before we break? Alright. Fair enough. Jean Hansen: We're Sharon Lehman: Sounds Jean Hansen: good? Sharon Lehman: good. I'm gonna save th a copy of this in case you guys need any reminders. I'm gonna save a copy of this and the minutes that I'll do it in a second and put them in the shared folder for later reference. Carla Wells: I've put my files in the shared folder as well. Sharon Lehman: Brilliant. Jean Hansen: Yeah. Sharon Lehman: That's fab guys. Cool.

Sharon Lehman went over new requirements for the project: that the device was solely to control television, and that there would not be a teletext component. Tommie Dunkerson gave his presentation on the basic components of a remote control device, and advised the group to use plastic for the casing material instead of metal. Carla Wells presented the technical functions of remote controls and compared the interfaces of two existing remote control products. Jean Hansen made a presentation of the needs and the desires of the consumer and emphasized simplicity as one of the most desired features. The group discussed in more detail the features that will be added to the device: the possible applications of voice recognition, the touch screen menu interface, faceplates, and the look of the company logo.

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Lucy Camara: That went well, thank you. Lori Foster: That's great. Lucy Camara: Perfect. Teresa Mayo: 'Kay. Lori Foster: Alright, let Lucy Camara just PowerPoint this up. Lori Foster: Right so um this meeting will be about the conceptual design, don't ask Lucy Camara s precisely what conceptual design is, it's just something important that we need to do. Um, think of it 's kind of uh turning the abstract into slightly more concrete. In this meeting ideally we'll come to some final decisions on what we're gonna do for the prototype. Um. Right so um, apologies for the last meeting, it was brought my attention that I did not make the roles clear enough, um, so I will attempt to do so more accurately in this particular meeting. Um, fair enough, thanks for the input, 's always good. Um. So, basically all we're gonna do is have some presentations again much like last time, um, and gonna go through you, uh whoever wants to go first is f fine by Lucy Camara um and we'll collate what we know about um what we discussed in the last meeting, possible directions. And then we'll make some more decisions on um basic uh firm up our idea on how we want this remote control to look and work. So, perfect. So, without th further ado, whoever wants to go first is free to. Teresa Mayo: I'll go first. Lucy Camara: Go ahead. Lori Foster: Alright Nathan, take it away. Lori Foster: It is Nathan right? I'm not calling you the wrong name over Teresa Mayo: No Lori Foster: and over Teresa Mayo: Nathan's Lori Foster: again? Teresa Mayo: fine. Lori Foster: Good. Teresa Mayo: It's either Nathan or participant two. Gwendolyn Duncan: Mister Teresa Mayo: Uh. Gwendolyn Duncan: participant two that is. Lucy Camara: Nice. Teresa Mayo: Okay. Lori Foster: Nice. Teresa Mayo: Um, basically what I'm gonna have to talk to you about today is um component design and it's been brought to my attention that we may be somewhat limited as to what we can do because of what our manufacturer offers, so Lori Foster: Mm. Teresa Mayo: Basically what I'm gonna be doing is talking to you about that. Um, components of a remote control, okay. We've already kind of gone over this but we're gonna have to get into more detail and probably have to reach some conclusions some time soon. Energy source, um, our manufacturer offers a variety of energy sources, your standard battery, solar cells. Our manufacturer didn't say anything about lithium so we might have to look if we do go that route, we might have to look elsewhere. Um, and also there's a kinetic energy possibility. Basically, it's like a um the idea of moving the remote would create enough energy to keep it running. So that's one possibility but I don't know whether that would be powerful enough to illuminate a touch screen. Lori Foster: Hmm. Lucy Camara: Mm. Teresa Mayo: So we'll have to look into that. Um, the case, we have a few options, plastic, rubber or wood. Um and then as far as the way it's shaped, we can do standard boring flat, which we probably don't wanna do, curved or very sexy double curved. Lori Foster: What kind of th thickness are we looking at? Teresa Mayo: Um, I imagine that we could specify. Um, I don't see any reason to go outside of the convention of three or four millimetres. Lori Foster: Okay, Teresa Mayo: Yeah. Lori Foster: brilliant. Teresa Mayo: Um, the buttons, there are multiple scroll buttons available from our manufacturer, but to use those we'd have to use more chips, um and that would cost us more. And if we do go with the rubber doubled curved case um we'll have to use rubber push buttons because the other buttons aren't compatible Lori Foster: Hmm. Teresa Mayo: with that. Lucy Camara: Right. Teresa Mayo: Um and just a little note there, touch screen equals many chips which equals many Euro. Lucy Camara: Right. Nice. Teresa Mayo: Um, one thing that I noticed was that most remotes operate on a infrare on the infrared part of the spectrum. So you notice when you push a button on a remote you can't see anything coming out of it but in fact there is light coming out of the remote and you know the television can detect that. And if you were to record if you were to make a video recording you could actually see the light. Uh one thing that I thought might be interesting was to use part use visible light coming out of the remote, just kind of as a fun gimmick. Lori Foster: Hmm. Teresa Mayo: So you Lucy Camara: Interesting. Teresa Mayo: could actually see something coming out of the remote when you pushed it. Course it'd have to be a part of the spectrum that wouldn't damage the human eye or anything Lucy Camara: Mm. Teresa Mayo: like that. Lucy Camara: Good call. Lori Foster: M Maybe is there an option that we can have that off or on so a person can select like Lucy Camara: Choose Teresa Mayo: Yeah. Lucy Camara: it. Teresa Mayo: I am sure that we could do that. Um, of Lori Foster: Yeah Teresa Mayo: course Lori Foster: I like the idea, it's a good idea. Teresa Mayo: Yeah, just as a fun gimmick. Lori Foster: Yeah. Teresa Mayo: Just to set us apart a little bit. Um, and then on to the circuit board that we're gonna use, also known as the chip. Uh, we really don't have any way around the T_A_ one one eight three five. Um findings, okay, we're very limited by what our current manufacturers can offer, um and my question to all of you is, should we look to other manufacturies or should we just make do with what we have available? Gwendolyn Duncan: Interesting question. Teresa Mayo: 'S a bit of a challenge question. Lori Foster: Mm. Lucy Camara: Well Gwendolyn Duncan: Yes. Lucy Camara: I'd say shop around but with our time constraints, is that really a feasible option? Lori Foster: Mm. Teresa Mayo: Right, that's my concern too. Um, if we do go the lithium battery route then we'll have to go outside our current manufacturer. My personal preference is I'll just throw my cards on the table, uh I think we should probably go the solar battery route, just to kinda keep with the environmentally friendly theme that we have going on. Uh, I like the idea of the visible light signalling, that's something to set us apart and uh I was thinking about I was thinking of ways that we could produce the remote in a variety of different case materials to suit different tastes. So we're not so confined by one style and say some Lucy Camara: Right. Teresa Mayo: you know, say our the one if we just go with one and it doesn't go over well then we're in a bad situation. Lori Foster: Mm. Lucy Camara: Right. Lori Foster: Can we do marketing piloting too? Try to see what kind before we launch can we see Lucy Camara: Um Lori Foster: how they're received? Lucy Camara: It's an option, uh but actually there's I've got some research already on like what we're looking at and trends Lori Foster: Okay. Lucy Camara: in casing right now Lori Foster: Okay. Lucy Camara: which actually might even come into play beforehand, Lori Foster: Okay, Lucy Camara: it Lori Foster: perfect. Lucy Camara: may help us decide for now. Lori Foster: Great, thank Lucy Camara: Temporarily Lori Foster: you very much Lucy Camara: anyway. Teresa Mayo: Oh yeah, Lori Foster: Nathan. That's Teresa Mayo: you're Lori Foster: perfect, Teresa Mayo: welcome. Lori Foster: so I guess that makes sense for you to take it from here. Lucy Camara: I guess so, 'cause I found some interesting things. You Lori Foster: Fascinating, Lucy Camara: waiting Gwendolyn Duncan: Did Lori Foster: compelling Gwendolyn Duncan: you? Lucy Camara: for Lucy Camara? Lori Foster: even. Lucy Camara: I know, what a teaser ain't it. Um. Right. So current market trends. Screen. Um, basically I was looking at what's going on in the remote control market right now and what's going on in other design fields, to see sort of what's what's trendy, what's new, what's happening. Um, remote control right now basically everybody says they want newer, fancier, more exciting they're sick of this boring, normal, functional, um that we need innovative design options and there needs to be an easy user interface. Um the challenge is that current trends right now, across the board in fashion, in furniture, in technology, is a very organic fruit and vegetable kind of thing. Now I'm not saying we should have, you know, tomato shaped remote controls or anything, but I think it is possible maybe to use um natural colours, like if wood is an option, Teresa Mayo: Mm. Lucy Camara: that whole organic, sleek, clean, v line thing may be something we can look into. Different skin options, or if we can't afford this touch plate thing, or touch face screen interface um, maybe having the b images be specific, like you could choose your menu bullets to be Lori Foster: Tomatoes. Lucy Camara: a different shape or okay, not the example I would choose, but you know what I mean to t sort of and th apparently the feel of the next couple of years is spongy, Teresa Mayo: Mm. Lucy Camara: uh not Gwendolyn Duncan: I Lucy Camara: something Gwendolyn Duncan: like Lucy Camara: I Gwendolyn Duncan: it, Lucy Camara: I've Gwendolyn Duncan: I like Lucy Camara: come Gwendolyn Duncan: it. Lucy Camara: up with a though if we can get around to getting piloting, I thought maybe a casing option like uh not like a skin, but like a holder almost Teresa Mayo: Hmm. Lucy Camara: if you could do like um, leather options or wood options or something Teresa Mayo: I should have mentioned this um. As far as the rubber that we can use Lucy Camara: Mm-hmm. Teresa Mayo: we can use a rubber as part of the case, it has a consistency of those stress balls. Gwendolyn Duncan: Yes. Lucy Camara: Mm. Might be an Gwendolyn Duncan: Fabulous. Lucy Camara: interesting Lori Foster: Slick, Lucy Camara: way to go. Lori Foster: slick. Lucy Camara: Um, yeah so something to sit on for now. So overall I think we should stick with what we're finding, everyone's looking for easy to use, technologically innovative and this fancy new I think perhaps the double curve thing and maybe this rubber Teresa Mayo: Mm. Lucy Camara: option is our best way to go for right now. Um. Lori Foster: Interface, oh the interface graphics for Lucy Camara: Yeah. Lori Foster: the um Lucy Camara: Um. Well I d but then if the touch screen thing isn't Lori Foster: Yeah. Lucy Camara: gonna work out for us that's really a non-issue. Teresa Mayo: I like the idea of of rubber too because it's tends to be associated with being durable, something that you can drop and it doesn't Lori Foster: Mm. Teresa Mayo: matter. Lucy Camara: True. Teresa Mayo: 'Cause so many you go to so many houses these days and you see broken remote controls. Lucy Camara: Very true. Lori Foster: Yeah, Lucy Camara: Very Teresa Mayo: Taped Lori Foster: it's Lucy Camara: true. Lori Foster: like, Teresa Mayo: with duck tape Lori Foster: yep Teresa Mayo: and Lucy Camara: Very Teresa Mayo: what have Lucy Camara: much Teresa Mayo: you, Lucy Camara: so. Teresa Mayo: you wouldn't have that problem Lucy Camara: Um Lori Foster: it's Teresa Mayo: if Lori Foster: ubiquitous Teresa Mayo: you used rubber. Gwendolyn Duncan: We can Lori Foster: isn't Gwendolyn Duncan: have a Lori Foster: it? Gwendolyn Duncan: duck tape casing. Lucy Camara: We could. I think that goes against the whole fancy something, a new line, but worth a shot. Gwendolyn Duncan: It could go with the granola crowd. Lucy Camara: Ah, it could be, it could be, um. Yeah that's what I know. Lori Foster: Great, thanks for that Sarah. Lucy Camara: No problem. Lori Foster: Ron? Gwendolyn Duncan: Phew. Gwendolyn Duncan: Computer's adjusting. One moment please. So interme interface concept by your faithful user interface designer. So yur user interface, guys, is basically aspects of a computer system that can see or hear otherwise uh perceive. Uh, commands and mechanisms, that basically user uses to control the operator operating system. Here's a d series of different remote controls that are out on the market today. I think we're definitely trying to get away from this kind of a look. Lori Foster: Yeah Gwendolyn Duncan: Um, so the following are a bunch of different uh interface uh concepts. Uh voice recognition, we we um actually have some new uh information from our research design team but uh I'll get to that in a moment. Um, so current voice recognition starts up to about eighty speech samples, um and basically you record your own verbal labels c and connect them to the remote control. Now our design team, research team, has been able to uh set up a system in which uh you can teach the remote control voice c recognition system to respond to um with standard responses. Like you could say good morning uh remote control and it'll say in a sexy female voice, Good morning Joe. Um. In fact we already have Lucy Camara: Mm. Gwendolyn Duncan: this for a coffee maker line Lori Foster: Lot of single people on the um on the re on the remote control Gwendolyn Duncan: On the remote Lori Foster: research Gwendolyn Duncan: control Lucy Camara: Yeah. Lori Foster: team at the Gwendolyn Duncan: right. Lucy Camara: Very true, very true. Gwendolyn Duncan: Um, another concept is what uh Apple has come up with, the spinning Lori Foster: Mm. Gwendolyn Duncan: wheel with uh L_C_ display like on the uh iPod which I am sure most of you know about. Lucy Camara: Mm. Gwendolyn Duncan: Um and then we have the scroll button with integrated push-button, kind Lori Foster: Mm. Gwendolyn Duncan: of like a modern a bit Teresa Mayo: Mm. Gwendolyn Duncan: bulky, a bit crazy, I don't think that's we're necessarily going for. Teresa Mayo: No. Gwendolyn Duncan: And uh some special components, uh ideas like uh blocking, having the ability to block channels from your for your children um and uh dedicated buttons for for commonly used uh channels and even uh ideas like secured or hidden programming but uh I again if we go with touch screen I don't think that's a big issue. Um and uh this is kind of the uh the big daddy Lucy Camara: Hmm. Gwendolyn Duncan: of remote controls here. Uh the jumbo universal remote control is almost impossible to misplace or Lori Foster: Yeah, Gwendolyn Duncan: lose. Lori Foster: I can see. Gwendolyn Duncan: Um, again probably not what we're going for so I I mean my ideas here and kind of where I think we're heading is something slightly larger than a regular iPod uh with a hard cla Lucy Camara: Okay. Gwendolyn Duncan: c uh plastic casing although I think some of the suggestions we've come up with are definitely uh very good ideas. Uh changeable casings uh our design team was possibly talking about including one extra face plate with the package to kind of set the idea that you can Lucy Camara: Mm, Gwendolyn Duncan: change Lucy Camara: right. Gwendolyn Duncan: it and you can try changing it and kind of get used to thinking about maybe buying another one which can add value to our uh bottom line. Uh touch screen interface, um possibly having go-to buttons being uh stuck into the system so those don't move away from the screen, uh, the important ones like power, volume and jump between channels. Um, and of course our voice command system which I've talked a little bit about already Lori Foster: Mm. Gwendolyn Duncan: and uh the use of recognisable colours and shapes to aid recognition of the features um that are around so red for power, um Lucy Camara: Mm. Gwendolyn Duncan: arrows for different volume ups and downs and channels ups and downs and what not. And uh perhaps even adding in some stupid little jokes with the voice recognition idea like perh mm for instance my toastie maker that I got from my bank has jokes when it's ready. Lucy Camara: Nice. Lori Foster: Great. Gwendolyn Duncan: And uh that is about it. Lori Foster: Great, wonderful Ron, cool. Lot of good ideas, good facts to have. Lucy Camara: Mm. Lori Foster: That's what they need, it's like a little dongle it just sticks up this further so you don't have to stand up every time, just Teresa Mayo: Yeah. Lori Foster: connect Lucy Camara: Mm. Lori Foster: it, my kingdom. Right so, good to know all that stuff, thanks guys, um. Now we kind of have to come to some decisions, um, I figure we can just go down the line and all three of us can have a chat about it. Um. Based on what Nathan presented as far as the um various costs and benefits um I think, I dunno, what do you guys think about the touch screen at this point? Lucy Camara: I think it's our most marketable feature just because it's so new and it's something that is showing up in other places. Lori Foster: 'Kay. 'Kay. Lucy Camara: But can we really afford it 'cause it looks like they would be, that would be a really main cost source then Lori Foster: Mm-hmm. Lucy Camara: right? Teresa Mayo: My estimate is that in order to incorporate touch screen technology it's gonna cost us upwards of seventeen fifty Euro Lori Foster: To produce Lucy Camara: Per? Teresa Mayo: per remote, Lori Foster: each one. Teresa Mayo: yeah that's just an estimate Lucy Camara: Piece. Teresa Mayo: though. Gwendolyn Duncan: Oh you guys are always the dampers on these projects. Lucy Camara: I know Lori Foster: Mm. Gwendolyn Duncan: You industrial designers. Teresa Mayo: I know. It's Lori Foster: Hmm. Teresa Mayo: fun. Lucy Camara: And our goal was to be under twelve fifty or we have to be under twelve fifty? Lori Foster: Well. Lucy Camara: Do we remember? Teresa Mayo: I thought there was some flexibility with that. Lucy Camara: Okay. Lori Foster: There is, it's just, it is a question Lucy Camara: Can Lori Foster: of Lucy Camara: we justify it? Lori Foster: and how much ca o does that mean we're gonna have to increase the price to make money. Um, from twelve fifty if we d wanna get our fift uh hundred per cent profit margin um that would mean selling it from twenty five. If you multiply seventeen fifty by two that's thirty five. Lucy Camara: Right. Lori Foster: So Gwendolyn Duncan: Where do you guys come up with these numbers? Teresa Mayo: That's just off the top of my head, it is pending further emails. Lori Foster: From the board, Teresa Mayo: Right. Lori Foster: um, well Lucy Camara: Though I think that's what people would pay for, I mean if you're gonna pay for an expensive high class remote, you're gonna expect it to do something Lori Foster: That's true, I mean Teresa Mayo: It is the new it would be in a class of its own. Lucy Camara: Yeah. Lori Foster: And that's to be fair the um the per cent of the market we're not going for mass any you know, mass sales anyway, we're gonna make I mean we we're not talking about selling eight zillion of these things, we just couldn't, Lucy Camara: Right. Lori Foster: not for twenty-five Euros, so we could probably maybe shrink the profit margins rather than selling for twenty five, sell 'em for thirty, but that's something that we can have finance deal with. Lucy Camara: Yeah. Lori Foster: Um, I say that we provisionally go with the touch screen or wh y wh what was your thought on the matter Ron? Gwendolyn Duncan: I'm thinking that's uh definitely a good idea and I also think that we could probably come up with some sort of a cheaper uh means to to go about this kind of production, Lucy Camara: See if we can cut Gwendolyn Duncan: my Lucy Camara: some corners. Gwendolyn Duncan: my team in the uh on the third floor suggested that uh Lucy Camara: Right. Well and we can look into this other manufacturing option, and maybe we can get 'em somewhere else cheaper. Lori Foster: Mm. Gwendolyn Duncan: Yeah. Teresa Mayo: It's true. We could initially go with what we have and Lucy Camara: Right. Teresa Mayo: if we can find them Lucy Camara: It's Teresa Mayo: cheaper Lucy Camara: a starting Teresa Mayo: later Lucy Camara: point Teresa Mayo: on Lucy Camara: anyway, so. Lori Foster: No we could have a s very simple touch screen, you know, there's always the opportunity, if it's gonna be about the size of the iPod or whatever, you know, w we yeah, I guess we can play around with it a bit. Alright, let's Lucy Camara: Mm. Lori Foster: let's say that okay so the touch screen will be our um our main selling point here. Gwendolyn Duncan: I Lori Foster: So Gwendolyn Duncan: mean I think that we really have two main selling points, Lucy Camara: Yeah 'cause Gwendolyn Duncan: I think Lucy Camara: with voice Gwendolyn Duncan: that our casing Lucy Camara: recognition Gwendolyn Duncan: and the voice recognition Lucy Camara: I mean really this is pretty bells and whistles kinda remote. Teresa Mayo: Yeah. Lori Foster: The voice rec thing, I mean, if if we're looking at bottom line, now we're looking at upping the cost to seventeen to get the touch screen on, I think we might have to drop the voice rec. Lucy Camara: I think we'd have to decide between 'em definitely. Lori Foster: Yeah. Gwendolyn Duncan: To be honest, we Lucy Camara: Price-wise. Gwendolyn Duncan: have the capa we have the design in-house, I mean we've we've come up with this, with Lucy Camara: True. Gwendolyn Duncan: this new voice we're Lucy Camara: We've Gwendolyn Duncan: using Lucy Camara: already got Gwendolyn Duncan: it for Lucy Camara: it. Gwendolyn Duncan: our coffee machines already. I can pass you on that email from my uh guy in uh guy down the hall. Sounds good. Lori Foster: Hmm. voice rec? Teresa Mayo: I think if we we do both the obviously production costs are going to go way up um but it does put it into it'd become the Rolls Royce of remote controls basically. Lucy Camara: Pretty much. Teresa Mayo: It would be very nice. Gwendolyn Duncan: I mean we we have to r reflect back on what our market research did say. Lucy Camara: Right and they said they wanted voice recognition. Course, maybe they hadn't thought of this whole touch screen option, but definitely we know the market is there for voice recognition so to say we have the technology and we're not gonna use it even though we know it'll sell is a call I don't think I can give the highs ups. Lori Foster: Mm. Lucy Camara: Like really I can't go in and say no we're gonna just ignore everything we know. Lori Foster: Yeah. Gwendolyn Duncan: Does having both really up our costs? Lori Foster: I can't see how it wouldn't, I mean, there's you know the old aphorism, you can have it fast, you can have it cheap or you can have it quality, pick two of three. You know, you can't Lucy Camara: Yeah. Lori Foster: you can't have all three. Teresa Mayo: Yeah, 'cause you Lori Foster: It's Teresa Mayo: you Lori Foster: just Teresa Mayo: just Lori Foster: impossible. Teresa Mayo: upping the number of chips that you need to deal with each different Lucy Camara: Yeah. Teresa Mayo: function. Lori Foster: Well if we're gonna pick betwe e alright so we have to pick between one of the two. Um. Otherwise, yeah, we just it just becomes cost prohibitive. What which, which do we suspect we should hold o we should hold on to? Lucy Camara: Well, we already have research backing voice recognition as you know fiscally solvent. But uh I I I personally would tend to another direction but if that's what's gonna sell I think that's what we need to go with and maybe we can table this touch screen for our next model. Teresa Mayo: I would have to side with that, I think Lori Foster: 'Kay. Teresa Mayo: the voice recognition is simpler, we already have the all the technology in-house, it's ready to go, it's packaged, it's Lori Foster: What does the cost look like Ron? Is it cheaper to do the V_R_ or to do the uh touch screen? Nathan? Gwendolyn Duncan: Well my p Lucy Camara: Mm. Gwendolyn Duncan: is Teresa Mayo: Um, this is just off the top of my head keep in mind, but I think the voice recognition would they're both mm they're both gonna push the costs up, but um, since we already have the technology Lori Foster: Mm. Teresa Mayo: in-house for the voice recognition we're not gonna have to do as much Lucy Camara: Right. Teresa Mayo: design work and sometimes the design work is what push the costs up, Lori Foster: Right. Teresa Mayo: if you know what I mean. Lucy Camara: Right. Gwendolyn Duncan: Um, I definitely have to agree with that last Lucy Camara: And Gwendolyn Duncan: comment. Lucy Camara: we're still not then we don't have to deal with this battery issue nearly as much either, Lori Foster: Mm. Lucy Camara: we can stick with what we've already got. In a lot other ways too. Lori Foster: Okay. So I'm getting alright so more or less you guys think that o o of the two of 'em, the voice recognition will be better. Okay. Lucy Camara: I think it's our lower risk option which Lori Foster: Yeah. Lucy Camara: for right now we can have it on the market sooner which is all in all our best option. Lori Foster: Okay. Sorted. We will omit the touch screen in favour of voice recognition. Gwendolyn Duncan: It's you and Lucy Camara outside a little here. Lucy Camara: So and when are we gonna have basic prototypes coming up next that's you guys's next step right? Lori Foster: Yeah, well we'll we'll sic we'll sort out what it what f what else we're gonna talk about Teresa Mayo: Yeah. Lori Foster: for Lucy Camara: Right. Lori Foster: the prototype but yeah that's our next step, it'll Lucy Camara: Okay. Lori Foster: be a developing Teresa Mayo: Are Lori Foster: of Teresa Mayo: we Lori Foster: prototype. Teresa Mayo: going to talk now about um the materials that we're gonna use for Lori Foster: Yes. Teresa Mayo: the case and Lucy Camara: Mm-hmm. Lori Foster: We'll Teresa Mayo: all Lori Foster: just Teresa Mayo: those Lori Foster: run Teresa Mayo: things? Lori Foster: through it yeah, Teresa Mayo: Okay. Lori Foster: yeah, um. You discussed either a lithium or a solar power. Would the solar power be enough to fuel a voice recognition? Or this kinesthetic one, would that be enough to fuel a voice recognition remote Teresa Mayo: Um, Lori Foster: control? Teresa Mayo: the solar power definitely would be but I think just to keep people from getting annoyed, 'cause sometimes solar power fails and there's no way round that, we should install a small backup battery. Lori Foster: Mm. Lucy Camara: Yeah. Teresa Mayo: Just to cover those moments when for whatever reason, the remote hasn't Lucy Camara: Well what Teresa Mayo: been Lucy Camara: of Teresa Mayo: exposed Lucy Camara: people with like Teresa Mayo: to Lucy Camara: the T_V_ in their basement, Lori Foster: Mm. Lucy Camara: like what if Lori Foster: Yep. Lucy Camara: wha we can't guarantee sunlight everywhere so having a Teresa Mayo: It's Lucy Camara: secondary Teresa Mayo: true. Lucy Camara: source is probably Teresa Mayo: Yeah, it works about the same as a solar powered calculator, Gwendolyn Duncan: Calculator. Teresa Mayo: and you know Lucy Camara: Yeah. Teresa Mayo: how those those don't really Lucy Camara: True. Teresa Mayo: require that much light, Lucy Camara: True. Teresa Mayo: um, but obviously a little more light than a calculator, but we're not talking about a lot of light. Doesn't have to be out taking a sunbath for Lucy Camara: Right. Teresa Mayo: a few Lori Foster: Right. Teresa Mayo: hours a day or anything. Lucy Camara: Okay. Lori Foster: Okay. What do you think Ron? Gwendolyn Duncan: I'm willing to agree with everything that's been said. Lori Foster: Okay. Gwendolyn Duncan: Uh I have to say though that um another idea's come up in my head. idea of having a hand-held remote control and maybe kind of have a round remote control that kind of looks like a paperweight or something like that, kind of Lucy Camara: Uh Gwendolyn Duncan: a sleek little uh Lori Foster: Hmm. Gwendolyn Duncan: neat Teresa Mayo: Hmm. Gwendolyn Duncan: thing that sits on your table or something. Lucy Camara: Interesting. Teresa Mayo: Why, Gwendolyn Duncan: Just a thought. Teresa Mayo: why Lori Foster: Yeah. Teresa Mayo: moving away from hand-held, why? What's the uh Gwendolyn Duncan: Well Teresa Mayo: idea? Gwendolyn Duncan: if you don't need to pick it up it could kind Lucy Camara: I Gwendolyn Duncan: of Lucy Camara: if Gwendolyn Duncan: be Lucy Camara: it's Gwendolyn Duncan: a selling Lucy Camara: got voice Gwendolyn Duncan: point. Lucy Camara: recognition it can be technically anywhere in your room and Teresa Mayo: Hmm. Lucy Camara: still do its job. Teresa Mayo: Do you think people that are people that buy a remote, are they always gonna wanna use the voice recognition or is it just something that they do sometimes. Lucy Camara: True, and i probabl I think we're banking on selling it to more than just voice recognition people, like we want it to work fundamentally Lori Foster: Well Lucy Camara: as Lori Foster: we have Lucy Camara: a basic Lori Foster: to have buttons Lucy Camara: manual Lori Foster: on it too Lucy Camara: too, Lori Foster: as well. Lucy Camara: right. Lori Foster: But that's done, that's no bother I mean if you look at the catalogue from places like with sharper image or whatever you know they might have or like um who is it, Apple makes these really pretentious speakers with the th sub-woofers you know like clear and glass Lucy Camara: Mm-hmm. Lori Foster: and you know and Teresa Mayo: Right. Lori Foster: then they got these little Lucy Camara: Yep. Lori Foster: pyramidal type of um speakers. Lucy Camara: Yeah. Lori Foster: I mean, why not have a little rounded kind of thing, it could still have the basic buttons on it. Um, 'cause we're going for basic functionality primarily as well. Lucy Camara: With the bu yeah. Lori Foster: And maybe a menu button and so forth, you know um use a channel button to scroll through the menu d if they want to record programmes or whatever you know I mean we Teresa Mayo: I Lori Foster: can Teresa Mayo: think, Lori Foster: sort Lucy Camara: Mm-hmm. Lori Foster: that Teresa Mayo: I think Lori Foster: out. Teresa Mayo: you're on to something because Lori Foster: Yeah. Teresa Mayo: we need to escape the traditional shape of a remote. Maybe something Lucy Camara: True. Teresa Mayo: that looks nice on a table is would be good, Lucy Camara: Way Teresa Mayo: even Lucy Camara: to go. Teresa Mayo: though and hand-held the same time. Gwendolyn Duncan: I think it's all about following Apple's lead on a lot of these Lucy Camara: Yeah Gwendolyn Duncan: things. Lucy Camara: I'm thinking of the airport Gwendolyn Duncan: Mm-hmm. Lucy Camara: portal, you know Lori Foster: Mm. Lucy Camara: like that little pod looking thing? Teresa Mayo: Yeah, Gwendolyn Duncan: Exactly. Teresa Mayo: those are nice. Lori Foster: Yeah, I mean a nice although we do um wh uh is I'm recalling that she mentioned that we n need to get away from the surgical white kind of brushed Lucy Camara: Right. Lori Foster: aluminium thing Teresa Mayo: Mm. Lori Foster: and get back to it but you could have a very tasteful um wood coloured or earth Lucy Camara: That would Lori Foster: tone Lucy Camara: be kinda Lori Foster: kind Lucy Camara: neat. Lori Foster: of um Lucy Camara: Terracotta bowl or something. Lori Foster: Still, I mean, yeah, along those lines. Lucy Camara: Mm. Lori Foster: Yeah I like that, I like that idea a lot. Um, let's see what we can do as far as that goes. Teresa Mayo: Okay. Lori Foster: And the uh the material like the plastics and so forth, we were discussing that being uh using like a rubber kind of softer feel, Lucy Camara: Mm. Lori Foster: um you know li lik if you feel the the tip on this pen it's a bit gives just a bit. Lucy Camara: Yeah. Lori Foster: You know something where it's uh a a more advanced f form of plastic that has some kind of a tactile response to it. Teresa Mayo: Right. Just kind of the squishy feel. Lucy Camara: Yeah, which is the next big thing, so that's not gonna hurt us either. Lori Foster: Mm 'kay. Yeah let's see if we can do a squishy non-remote control-looking remote control. But to be fair, yeah, I mean, you just c you could just put it literally put it on the the ni the coffee table next to the telly and say Lucy Camara: Right. Lori Foster: volume up. Yeah Lucy Camara: Handy. Lori Foster: I like it, I like the idea, that's good. Um and we've sorted of discussed costs, um. I guess we'll a that's gonna be uh a thing, if we run a bit over-budget, that might be okay, um. Teresa Mayo: Sorry about the uh lack of information on cost, I just haven't been provided that information by our manufacturers Lucy Camara: Okay. Teresa Mayo: and Lori Foster: We'll have more Teresa Mayo: I'm just Lori Foster: of an Teresa Mayo: having Lori Foster: idea when Teresa Mayo: to Lori Foster: the Teresa Mayo: guess. Lori Foster: prototype have more of a we'll have more of an idea later on. Um. And we just yeah go from there. Um, so we've revisited the touch screen and more or less ruled that out, um, I think so we're more or less con we wh wh we're more or less in agreement that we want to have a um a simple kind of function, you Lucy Camara: Mm. Lori Foster: know, not too complex. Lucy Camara: Right. Well when the majority of people are only using the most primary functions on a daily basis, although I'm not saying we should completely rule out major functions, they should be secondary, at least if not functionally then visually, like those shouldn't be Teresa Mayo: Right. Lori Foster: Like maybe have menu Lucy Camara: Take precedence, Lori Foster: things. Teresa Mayo: If, Lucy Camara: yeah. Teresa Mayo: if we're not going the touch-screen route then we can um just incorporate maybe something that folds out like what Lucy Camara: Right. Teresa Mayo: you often see Lori Foster: Mm. Teresa Mayo: on these kinds of remotes is the most basic functions up here and Lucy Camara: And Teresa Mayo: something Lucy Camara: they slide. Teresa Mayo: that slides down to reveal the you know more complicated things. Lori Foster: Yes. Lucy Camara: Well and do we wanna consider like an iPod screen which isn't a touch screen but you're still scrolling through menu options, in p Gwendolyn Duncan: Think then we're hitting our cost issue again. Lucy Camara: True, we're Lori Foster: Yeah Lucy Camara: still Lori Foster: we've Teresa Mayo: Yeah. Lori Foster: also Lucy Camara: not making Lori Foster: got the Lucy Camara: it easier Lori Foster: Lucy Camara Lucy Camara: then. Lori Foster: the thing of, if we're gonna have a non-remote-looking remote, Lucy Camara: True. Lori Foster: how do we yeah. Lucy Camara: Fair enough. Lori Foster: B But no I mean we could do a slide or a compartment, you know, like if it say it's Lucy Camara: Yeah. Lori Foster: a lit little vaguely ovoidal type of thing, it'd be easy to have a compartment in there. Or you know, a b a b a a series of you know three or four buttons with a menu button and then a side an s up and down type of thing, like on um like on a D_V_D_ player. You Lucy Camara: Mm-hmm. Lori Foster: know you see the modern D_V_D_ players'll just have um a menu button on the side and then Lucy Camara: Yeah it's Lori Foster: four Lucy Camara: just a Lori Foster: buttons Lucy Camara: scroll. Lori Foster: around them and you Teresa Mayo: Right. Lori Foster: can just kind of manoeuvre Lucy Camara: Yeah. Lori Foster: through the menu like that. Teresa Mayo: So are we gonna are we talking we need to figure out what kind of buttons we're going to use, are we going to use scroll buttons? Rubber buttons? Um Lori Foster: Well it seems like I dunno it seems to Lucy Camara that we could just do the um stick with the rubber 'cause since we're probably gonna be using Lucy Camara: Yeah. Lori Foster: some kind of um rubber for the outside case we Lucy Camara: Probably. Lori Foster: might as well stick with that um. Teresa Mayo: Right. Gwendolyn Duncan: I think to a certain extent we have to stick with uh kind of uh a little bit traditional in terms of the buttons and then Lucy Camara: Right. Gwendolyn Duncan: and then make our unique feature our casing and what not Lucy Camara: Mm. Gwendolyn Duncan: and our voice command. Lucy Camara: Well no it's basic just like four directions that are that can use as menu or channel and volume or however you wanna do it, are really versatile and everybody's already got them to some extent on the remotes they already own so it's not like we're dealing with everybody relearning things 'cause that's not something anybody's gonna wanna buy a new for. Teresa Mayo: Right. Lori Foster: Mm 'kay, um. We've already kind of covered this as well. That seems to be selling um and we we've more or less agreed that we want to kar target this youth market, Lucy Camara: Mm. Lori Foster: um. Especially now with eighteen to thirty five year olds being such a large quantity of the population. Lucy Camara: Right, particularly in technological fields, so Lori Foster: Mm-hmm, mm-hmm. Lucy Camara: that's exactly where we're headed. Lori Foster: Okay. Um. Yeah alright, well, more or less covered what we need to cover I think fi an an any final thoughts before we think about doing the protot moving on to the prototype. Gwendolyn Duncan: Well what are we actually doing? What Lori Foster: Right. Gwendolyn Duncan: were Lori Foster: I was just gonna step on to um Lucy Camara: Uh. Oh it wasn't in the way but Lori Foster: I wasn't? Lucy Camara: yeah, Lori Foster: Oh, my Lucy Camara: whatever. Lori Foster: bad um sorry. Lucy Camara: No, don't worry about it. Lori Foster: The um, yeah okay I was just gonna assign tasks in the next Gwendolyn Duncan: Sure. Lori Foster: b anyth any oth any other Lucy Camara: Okay. Lori Foster: final thoughts before we go ahead and cool? Teresa Mayo: So Lucy Camara: Yeah. Teresa Mayo: have we decided that we are gonna go with different style cases for different people? Or are we just Lori Foster: Um. Teresa Mayo: going to go with one? ..It's very, it's very hard thing to predict because Lucy Camara: Yeah. Teresa Mayo: you have different cases and that might open up your market a little bit obviously, but if you have just one case and it doesn't go very well mm. Lori Foster: Yeah. Lucy Camara: Right. Teresa Mayo: It's a tough situation, but obviously having more cases also costs more so Lori Foster: Well then again colours wouldn't be so hard to do, you could have uh Teresa Mayo: There's an idea. Lori Foster: a, you know, a um uh kind of a natural wood colour, like a stained wood and Lucy Camara: Mm. Lori Foster: um, I don't know, olive green or something. Lucy Camara: Yeah. Lori Foster: That wouldn't be so much of a problem to incorporate into the colour of the thing. Gwendolyn Duncan: And again copying iMac's kind of for iPod Mac Lucy Camara: Yeah, Gwendolyn Duncan: Apple's Lucy Camara: get Gwendolyn Duncan: uh Lucy Camara: in there. Gwendolyn Duncan: colour scheme. Lucy Camara: Yeah, totally. Lori Foster: Yeah, I think that's probably a good Teresa Mayo okay so let's work on uh multiple case colours. But yeah, stick with the same kind of kinda yeah, the same basic non-remote kind of remote design. Cool. Alright, so we'll have the next meeting about half an hour, um. I want the uh I'd like Nathan, I'd like you to work on just the basic look and feel, what can we accomplish, um, given these parameters that we're just gonna sort of have this kind of uh non-remote remote. Um, Teresa Mayo: Right. Lori Foster: what are our broad constraints before we deve design a prototype. And um Ron if you can figure out how probably best to lay out this idea of this simple design with the voice recognition built in and also this kind of drop down or s on the side kind of menu options simple. Somehow work out how we can get this all s in the same place. Um, and if you can check product evaluation with m some pilots and stuff. Um I need you guys to work together on making a prototype, um using um prototype building materials um. And also um specific instructions will be sent to you by your coaches as Teresa Mayo: Oh Lori Foster: well. Teresa Mayo: excellent yeah. Lori Foster: So that's what to start with for now, is that alright, Lucy Camara: Cool. Lori Foster: you guys feel Teresa Mayo: That Lori Foster: clear Teresa Mayo: sounds Lori Foster: about this? Teresa Mayo: good. Gwendolyn Duncan: Fabulous. Lori Foster: Alright. I guess we'll just hit the bricks. Thanks guys. Lucy Camara: Cool.

Teresa Mayo presented an analysis of cost and the manufacturing options that were available to the group. Lucy Camara presented market trends and the organic trend that this project would adopt. She discussed materials that could be used to follow this trend. Gwendolyn Duncan presented several interface concepts including voice recognition, a spinning wheel design, and a touch screen interface. The group then discussed the features of the device. They discussed the costs and benefits of using either voice recognition or the touch screen interface, and decided on voice recognition based on their marketing data that favored it. They decided to use solar power to power the device. The group discussed the non-traditional look the device could have since the voice recognition would allow it to be stationary. They discussed using rubber for the case. The group talked about hiding the complicated functions from the main interface, using rubber for the buttons, and having different cases to suit different tastes. Lori Foster reiterated that the product was being marketed towards the youth market, and then gave out assignments and instructed the group to work together to build the prototype.

amisum

train

Grace Reed: Okay. Oh I totally Yeah 'cause I moved it. 'S put it over here. Then we don't have to worry about it. Theresa King: Ready for this? Letitia Gatewood: All set? Cool. Alright, it is PowerPoint time. I've done more PowerPoints in this particular experiment than I've ever done in my life before this experiment Susan Sturgis: Yeah. Letitia Gatewood: which is kind of fun. Theresa King: Oh man. Letitia Gatewood: So uh here we have our detailed design meeting where we will um look at the prototype and um right so um, I finally figured out what this whole second bullet point is about in my that my coach was sending to Grace Reed. It means I'm supposed to read the minutes from the previous meeting. Susan Sturgis: Oh really? Okay. Letitia Gatewood: I think. Grace Reed: Huh. Letitia Gatewood: I don't know. Otherwise it's just saying I'm the secretary and I'm therefore I'm taking the minutes, s so just to go um just real briefly to go over minutes from last meeting, uh, I will open them slowly, no? Wait for it, wait for it. Grace Reed: Yeah that's not you. Letitia Gatewood: No. That's how the Wait. This is, this is very high-powered stuff here, double-clicking, there we go. So um basically the moral of the story from our last minute uh last meeting was that um we that we had meetings from uh we had presentations done by Susan Sturgis, uh or from Nathan, and Ron and from Sarah about what we can do here um and what sort of limitations we're operating with um uh excuse Grace Reed what limitations we're operating under, what kind of risk we'd be looking at with some of the various approaches we were discussing and we essentially came to the conclusion that we should develop a remote with uh voice recognition, I_E_ that had a vaguely non-remote like shape um because you didn't really need to use it as a remote since you could just use your voice. That would include some mostly just the simple design features for a television operation but with a slide or a fold-out bay for more advanced functions for users. Um, and uh the uh uh the U_I_D_ and the I_D_ were asked to go ahead and start developing a prototype for us to look at. So. That's sorted, back to the main meet here, um, go ahead and take it away guys. Susan Sturgis: Well. Uh, we have assembled our prototype, um. What's to be said about it? Um, we took into account a lot of the things that we went over in the last meeting, um. Some of the most important things to consider are that we decided not to go for the touch screen which you can see Letitia Gatewood: Mm-hmm. Susan Sturgis: and opted for some very large buttons for the primary functions, um. This is going to be the on off button and have these buttons to go through the channels um and then two volume buttons down here, d uh we decided those were the most important uh buttons. And then, for the more advanced uh functions there is a slide out panel here um and you can see that there are lots of other things going on. But this actually can slide back in and provides a very nice aesthetic when it's all put away, um. As far as the uh whole visible light thing, we decided to go with the Grace Reed: Ah. Susan Sturgis: multiple colours coming out, Letitia Gatewood: Nice. Susan Sturgis: why not? Grace Reed: Fair enough. Susan Sturgis: Of course, if that's annoying for some people that function can be turned off. Letitia Gatewood: Perfect. Susan Sturgis: Um. Theresa King: No Susan Sturgis: Go ahead. Theresa King: it's important to we talked a quite a bit about uh you know the the interchangeable uh faces Grace Reed: Mm. Theresa King: and what we've done here is come up with a bit of a natural look here um f Grace Reed: Right. Theresa King: we call it fruity if you will. Grace Reed: Appropriate, Theresa King: Um. Grace Reed: okay. Theresa King: Right, um, of course that's uh interchangeable and uh I think it would be desirable for the uh for the regular product in the in the in the Grace Reed: Mm 'kay. Theresa King: in first to be something a little bit more subdued but this is kind of something that can be done Grace Reed: It is an option. Theresa King: um and as you can see on the television there uh we have the uh voice detector device Letitia Gatewood: Oh, right. Theresa King: um on Susan Sturgis: That's Theresa King: the Susan Sturgis: this Theresa King: top Susan Sturgis: here. Theresa King: there. Grace Reed: Ah. Theresa King: Um. Grace Reed: I see. Theresa King: So that that will work quite well with with regard to finding this uh contraption. Um, what other things do we see here, well, um if you give it a touch it does have actually a bit of a spongy feel, um, so I think that will work well with regards to our market. Um and uh let's see, well clearly there's gonna be some more colours and what not available. Um uh do you have anything else to add to that? Susan Sturgis: Um I worried about the materials, it is uh the entire thing is covered in a rubber coating so it's very durable uh, it's not gonna break like some types of plastic that's dropped. Um, and of course as you can see and if you touch it it does have that nice squishy feel. Theresa King: It's actually important to note that the television, uh you know if there's an earthquake or anything like that, that i it actually is edible inside. Susan Sturgis: Fact, I dunno if you noticed, but I wrote the uh the company's name Letitia Gatewood: Oh Susan Sturgis: on the telephone Letitia Gatewood: well Susan Sturgis: screen, Letitia Gatewood: done Grace Reed: Nice. Susan Sturgis: I thought Letitia Gatewood: yeah, Susan Sturgis: that was kinda Letitia Gatewood: yeah Susan Sturgis: nice. Letitia Gatewood: oh Susan Sturgis: This Letitia Gatewood: ok Susan Sturgis: was actually an apple on the inside. Grace Reed: Do we need Susan Sturgis: This Grace Reed: to worry about um rot factors? Theresa King: Um it's encased in a new uh type of uh Grace Reed: Oh okay, there's preservatives Theresa King: polymer Grace Reed: involved, Susan Sturgis: Yeah. Grace Reed: we don't Theresa King: yeah. Grace Reed: need to worry, Theresa King: It's Susan Sturgis: We Theresa King: fine. Grace Reed: okay. Susan Sturgis: got a bit ahead of ourselves, I know we're not Theresa King: Hmm. Grace Reed: Fair Susan Sturgis: talking Grace Reed: enough. Susan Sturgis: about making televisions at this point Letitia Gatewood: Edible Susan Sturgis: or anything Letitia Gatewood: televisions, Susan Sturgis: like Grace Reed: No Susan Sturgis: that, but Letitia Gatewood: it's a Grace Reed: but Letitia Gatewood: wave of the future. Grace Reed: It's a Theresa King: It's Grace Reed: couple Theresa King: pos Grace Reed: years off at least. Theresa King: a possible new Grace Reed: Okay. Theresa King: product. Um, but I think that's I think that sums up the main features of our of the remote, um Letitia Gatewood: Brilliant. Susan Sturgis: Right. Theresa King: I dunno if you guys have any questions or f whether that uh whether we need to worry about any uh other marketing areas or anything of that nature. Um, did we come in under budget? Susan Sturgis: Uh we did, yeah. This cost well to put this into um production, we're looking at about what was our goal? It was twelve fifty Euro um and this actually came in at about eleven ninety nine. Um, so I was quite pleased with that. Theresa King: Mm-hmm. Susan Sturgis: One thing that we didn't do um obviously we had a choice with the buttons whether to use scroll buttons or standard rubber buttons, but we just went for a classic rubber button Grace Reed: Mm. Susan Sturgis: and um since we did that we didn't have to use as many microchips which was quite nice and that's what helped keep the cost down. Letitia Gatewood: Brilliant. Susan Sturgis: So even though it has Grace Reed: Mm. Susan Sturgis: a lot of modern technology, um for example the voice recognition, in a lot of ways it's just a simple remote Grace Reed: Okay. Susan Sturgis: and um Theresa King: Mm. Susan Sturgis: I think if we shopped around for other manufacturers um we might be able to get even cheaper. Theresa King: Did Susan Sturgis: And Theresa King: we talk about the voice recognition uh option? Susan Sturgis: Oh no, we haven't talked Theresa King: So Susan Sturgis: about that yet Theresa King: uh Susan Sturgis: have we? Theresa King: so uh yeah on the back here you all noticed this area here which is actually the voice recognition uh Grace Reed: Okay. Theresa King: uh console and uh I think it's nicely designed into the into the overall Grace Reed: Yeah. Theresa King: look. Um, but basically the voice recognition uh incorporates um the latest designs that our research team has been able to cufw uh come up with. Basically uh quite similar to the coffee maker Grace Reed: Mm Theresa King: um Grace Reed: 'kay. Theresa King: design that we were talking about earlier and um, I think that uh has given a proven um ease of use and Susan Sturgis: Hmm. Theresa King: what not. Susan Sturgis: Yeah. Theresa King: And uh allows features like the remote actually talking back to the user Grace Reed: Right. Theresa King: um, so. Letitia Gatewood: Cool. Susan Sturgis: Any questions? Letitia Gatewood: No, no I think that's Grace Reed: Do we have um other, for lack of a better word, skins? Covers? In play now or are those ones gonna be developed later once we see how the couple we have g go or? Susan Sturgis: Um, do you Grace Reed: Do Susan Sturgis: wanna Grace Reed: we Susan Sturgis: answer Grace Reed: know Susan Sturgis: this Grace Reed: where we Susan Sturgis: one Grace Reed: stand Susan Sturgis: or do you want Grace Reed: on Susan Sturgis: Grace Reed to Grace Reed: that Susan Sturgis: answer Grace Reed: yet? Susan Sturgis: it? Theresa King: Well we didn't quite have enough material uh. Grace Reed: Oh I wasn't expecting a prototype Susan Sturgis: Yeah, Grace Reed: I just Theresa King: Oh Grace Reed: didn't Theresa King: I see, Grace Reed: know if you Susan Sturgis: yeah. Grace Reed: guys had any in mind Theresa King: right, Grace Reed: yet. Susan Sturgis: Um, Theresa King: um. Susan Sturgis: well as you can see this is just a most superficial layer and um it'd be very easy to Grace Reed: Okay. Susan Sturgis: put another layer Grace Reed: Just Susan Sturgis: of Grace Reed: veneer Susan Sturgis: something else Grace Reed: really, yeah. Susan Sturgis: like Theresa King: Right. Grace Reed: Okay. Theresa King: Actually this bottom red ring here just unclips Grace Reed: Mm-hmm. Theresa King: and then you put Grace Reed: And the Theresa King: a Grace Reed: whole Theresa King: a new Grace Reed: thing Theresa King: a new uh Grace Reed: Okay. Theresa King: a new plate on top of that. Grace Reed: Right. Theresa King: So I mean there are I we definitely Grace Reed: Yeah. Theresa King: priced out Grace Reed: There's Theresa King: a spongy even spongier non-natural look Grace Reed: Okay. Theresa King: um materials which I think worked out fine. We also continued Grace Reed: Mm 'kay. Theresa King: on with the ideas that f following uh Apple's colour schemes Grace Reed: Okay, Theresa King: with the kind of the Grace Reed: very Theresa King: uh Grace Reed: cool. Theresa King: light orange and Susan Sturgis: It's Theresa King: the Susan Sturgis: not Theresa King: green. Susan Sturgis: it's not quite a a face plate, it's more like a pseudo-face plate Grace Reed: Okay. Susan Sturgis: because it's simple enough that in the factory it could we could very easily put a different one on it, it locks into place such that, you know, it's pretty permanent but at the same time, if we wanna go the other way it's just a matter of a couple of adjustments and we could go Grace Reed: Okay. Susan Sturgis: the face plate way if you know what I mean. Grace Reed: Yep. It's still an option if we Susan Sturgis: Yeah. Grace Reed: need it. Very cool, nice job. Letitia Gatewood: Right, yeah thanks guys that's very, very good work. I like it, brilliant. Um, what we need to discuss now is the finance of it, um I got Grace Reed you've got you provided a number that actually sounds quite nice. Um the trouble is I was just given this by finance. Susan Sturgis: Oh. Letitia Gatewood: Um, it's a spreadsheet of the parts and I've just tentatively put in what it's going to Susan Sturgis: Ooh. Letitia Gatewood: look like um. I'm just gonna clear this out real quickly, but it looks like So we'll just if we can just itemize what's in here, we've got this it's a solar cell thing right? Susan Sturgis: Right uh Letitia Gatewood: With Susan Sturgis: we Letitia Gatewood: a Susan Sturgis: didn't Letitia Gatewood: back-up Susan Sturgis: really touch Letitia Gatewood: battery? Susan Sturgis: on that but it it's in there, yep. Letitia Gatewood: With the ba okay. Um and Theresa King: The voice recognition area actually doubles as uh as the solar cell area. Letitia Gatewood: Clever, Theresa King: Yeah. Letitia Gatewood: clever, well done. Um so I guess that would mean we've got a bit of a um It's a s a speaker and a sensor at the same time isn't it? Susan Sturgis: Yeah, yeah. It's just making use of the same space and Grace Reed: Mm-hmm. Susan Sturgis: the same materials, Letitia Gatewood: Okay. Susan Sturgis: but Letitia Gatewood: Um and the case, it's more of a single-curved case, I guess would be that be the general Susan Sturgis: Yeah, one big Grace Reed: Mm-hmm. Susan Sturgis: curve I guess you could say. Letitia Gatewood: Um and we've got a rubber skin material basically throughout. Um. Push button interface um with this other drop-down so maybe we've got two push button interfaces don't Susan Sturgis: Yeah, Letitia Gatewood: we? Susan Sturgis: mm-hmm. Letitia Gatewood: Um. And um a special I guess it's uh we've got a sort of a wood materi a rubbery type material Susan Sturgis: Yeah, special. Letitia Gatewood: that throughout, yeah. Susan Sturgis: And s I guess you have to mark special colour and special form as well, don't you? 'Cause it i it is very unconventional, Letitia Gatewood: Yeah, it's it's Susan Sturgis: I like Letitia Gatewood: quite Susan Sturgis: to think Letitia Gatewood: unique. Susan Sturgis: of it as Letitia Gatewood: I Susan Sturgis: unconventional. Letitia Gatewood: like it, yeah it's So it looks like Grace Reed: M come in at sixteen? Letitia Gatewood: a bit over Susan Sturgis: Oh. Letitia Gatewood: budget, Susan Sturgis: Huh, Letitia Gatewood: um. Susan Sturgis: doesn't match up does it? Letitia Gatewood: So what we could do perhaps, a simple fix would maybe to switch away from the solar cells um or take out the back-up battery. Susan Sturgis: How do Letitia Gatewood: Uh Susan Sturgis: you feel about that? Theresa King: I mean I think that uh if we're talking about it being one of our main selling features, being environmental and without the batteries and what not, although it does still have a battery so I'm not sure that Grace Reed: Yeah. Theresa King: you know what the sell is on that. Susan Sturgis: I mean we could take we could take the battery out of it you see and it'd probably work ninety nine per cent of the time but you're gonna have to set up a call centre for that one per cent of the time when people are calling and saying oh look my remote isn't working what Letitia Gatewood: Mm-hmm. Susan Sturgis: am I Grace Reed: Mm Susan Sturgis: gonna do? Grace Reed: k. Letitia Gatewood: Mm-hmm. Susan Sturgis: People'd be real upset. I Grace Reed: True. Susan Sturgis: think in the long-run it's better to keep the battery, it's hard to scrap the whole cell battery idea 'cause that's so integral to the theme that we have. Letitia Gatewood: Hmm. Letitia Gatewood: What's difficult, we have all these things integral to the um to the design Grace Reed: Nah. Letitia Gatewood: of it that we just can't back out of now, it would have to be seems like we'd have to go back to square one in a way. Um if we were gonna try to undo one bit we'd probably have to undo most of it, Susan Sturgis: Yeah. Letitia Gatewood: um Grace Reed: Although we don't wanna get rid of the whole environmental I mean obviously the solar cell is a big piece of the way we're marketing this as like a natural, new thing, but honestly if we cut that one piece out we're actually coming in under budget if I've done my math correctly. Susan Sturgis: Hmm. Theresa King: I mean you might Grace Reed: I mean Theresa King: be able to sway Grace Reed on the idea that we our main selling point could be already this voice recognition thing I mean that's Grace Reed: Which, Theresa King: what sets Grace Reed: it's Theresa King: us apart right? Grace Reed: yeah that's what setting us into this young market, I mean that's where we started from, so I don't know, and I mean you know perhaps when the cell technology comes down in price we can bring that back into the game but it looks like at this point that may be out of our league. Theresa King: And the reality Susan Sturgis: Right. Theresa King: is you know, for Grace Reed from an ideological stand point, I'd like to stick with the uh the solar cell, but I h kind of have to throw myself Grace Reed: Right. Theresa King: in the in the business structure model Grace Reed: Yeah. Theresa King: here and Susan Sturgis: Right. Theresa King: uh you know I think Letitia Gatewood: It's either or. Theresa King: I think that Grace Reed: Yeah. Theresa King: I think that we need to come to a compromise here and maybe move ahead with the project, without the solar cell. Susan Sturgis: Yeah. Grace Reed: I think Susan Sturgis: I guess Grace Reed: unfortunately Susan Sturgis: we might have to Grace Reed: that's Susan Sturgis: do Grace Reed: our best Susan Sturgis: that. Grace Reed: option. Susan Sturgis: It's the only way we're gonna get below our uh goal isn't it? Grace Reed: Mm. Susan Sturgis: Of twelve fifty. Letitia Gatewood: 'Cause we can't remove the push buttons 'cause they're Susan Sturgis: Yeah, Grace Reed: It kind Letitia Gatewood: um Grace Reed: of yeah. Letitia Gatewood: and we can't get rid of the uh I mean removing the changing the case wouldn't be so much of a Theresa King: Savings. Letitia Gatewood: mm-mm, um, Grace Reed: Mm-mm. Letitia Gatewood: nor would changing the case materials. Um. So yeah that looks like to be the only thing. Grace Reed: Yeah. Letitia Gatewood: So that would be the it's a major change but Yeah. Susan Sturgis: Gotta Letitia Gatewood: Alright, Susan Sturgis: do what you gotta do. Letitia Gatewood: so we're in agreement on that. Grace Reed: Unfortunately I think we are. Theresa King: No, I think that was a good compromise you brought forward Sarah. Letitia Gatewood: Right. Moving along swiftly. Um, so I guess now we just go to the project evaluation which I will allow Sarah to take Grace Reed: That Letitia Gatewood: over. Grace Reed: would be Grace Reed. Um cord? Letitia Gatewood: Ah of course, sorry. Grace Reed: No problem. Letitia Gatewood: Whoosh. Grace Reed: Can you reach, that Theresa King: Yep. Grace Reed: would be great, thank you. Letitia Gatewood: That'd be great Grace Reed: I didn't even do that one on purpose either, damn. Okay, um, basically I was just evaluating um from what we know of how our product's working right now with the criteria that we set at the beginning of these are the things we needed to do, these are the things that look like we feel they're important. Um so I was looking at basic design things, does it fulfil its functions as a remote? Is the design what we wanted it to do? I are technologies up to where we hoped they would be and does it fulfil the aesthetic qualities that our original market research was looking for? Um. Basic questions like, you know, does it turn on? Does it respond to voice recognition? And overall, in general, it looks like it's coming up to par. Susan Sturgis: Mm. Grace Reed: Um, the only thing is with with the pull-out panel, that is, can it take some adjusting because it's a new sort of interface, um that looked like it was coming up rough, but then, once you get used to it, it does make a lot of sense. So I think overall we're headed in the right direction. Susan Sturgis: Really good. Grace Reed: So. Theresa King: They like that spongy feel. Grace Reed: Yeah. It looks like it's going over well, Theresa King: And Grace Reed: so Theresa King: the paging Susan Sturgis: Six? Theresa King: function works well, that's Grace Reed: we're Theresa King: good to hear, Grace Reed: we're good Theresa King: we Grace Reed: yeah. Theresa King: worked hard on that one. Susan Sturgis: We Grace Reed: Yeah. Susan Sturgis: did. Grace Reed: It's I think eventually if we do um branch out with this product maybe we do have a higher budget options and if it goes over with this model we can look into um wider range voice recognition like from other rooms of the house and stuff, but for now, what we've got is working in the range we need it for, so it's all good. Letitia Gatewood: Brilliant. Susan Sturgis: I am bit Grace Reed: That's Susan Sturgis: disappointed Grace Reed: everything from Susan Sturgis: about Grace Reed: Grace Reed. Susan Sturgis: losing the solar panel Letitia Gatewood: Hmm. Susan Sturgis: but Grace Reed: Yeah. Susan Sturgis: it's okay. Mm. Grace Reed: Yeah, it is a set-back, but Okay, do you need the cord back? Theresa King: W we might Letitia Gatewood: Um Theresa King: have Letitia Gatewood: yeah, Theresa King: uh Letitia Gatewood: I was just Theresa King: we Letitia Gatewood: go on. Theresa King: might have lost that granola market again that Susan Sturgis: I Theresa King: we're Susan Sturgis: know. Letitia Gatewood: Well they don't own tellys anyway do they? Theresa King: I guess Susan Sturgis: True. Theresa King: that's true. Letitia Gatewood: Right. So, um, this one's a bit unclear to Grace Reed to be perfectly fair, um. I got this slide from the coach and I'm not sure what it's connected to. Um so I guess we are going to discuss um our project process um and that is gonna go into my report. So I guess this is the point where we go um uh out of role it looks like and talk about our satisfaction for room for creativity and so forth and Susan Sturgis: Okay. Letitia Gatewood: how that all worked, I guess, um. Grace Reed: As in within the team Letitia Gatewood: I think Grace Reed: or? Letitia Gatewood: so yeah. Susan Sturgis: Right so it's Grace Reed: Okay. Susan Sturgis: just kind of a Letitia Gatewood: I think Susan Sturgis: open Letitia Gatewood: it's Susan Sturgis: mic kind of thing or Letitia Gatewood: I mm-hmm, I think so. Susan Sturgis: 'Kay. Letitia Gatewood: I think Grace Reed: It is now, you're in charge Letitia Gatewood: hope Grace Reed: so there you go. Letitia Gatewood: I'm not screwing up an experiment. But I trust that she would jump in if I was so okay fair enough. Susan Sturgis: Yeah. Grace Reed: Whatever. Letitia Gatewood: Um right, um so any thoughts? Susan Sturgis: Are we considering Grace Reed: Um. Susan Sturgis: these points here? Letitia Gatewood: Yeah. Susan Sturgis: Okay. Grace Reed: I think they're starting blocks yeah. Letitia Gatewood: What do you guys feel about the process? Grace Reed: Um, you know I think in general, for a day's worth of work we actually were relatively productive, considering the little amount of input we had going in. Letitia Gatewood: Mm-hmm. Grace Reed: Um, and the technology has definitely been a help, it's really been interesting to try out all this new stuff. Theresa King: We didn't use the whiteboard at all. Susan Sturgis: No. Letitia Gatewood: No, Grace Reed: No, Letitia Gatewood: no Grace Reed: we Letitia Gatewood: whiteboard. Grace Reed: didn't. We could now if that'd make up for it but really Theresa King: And Grace Reed: and I feel like if you guys had been designing in here perhaps that would have changed but because of room constraints, doesn't really matter. Theresa King: Um, also had I not been intrigued about the pen, I don't think I woulda used it at all, I didn't write barely anything. Grace Reed: Yeah I think I was taking notes more often than usual just 'cause Susan Sturgis: Yeah, Grace Reed: I liked the pen, Susan Sturgis: it's true. Grace Reed: yeah. Theresa King: Uh. Susan Sturgis: Mm. Letitia Gatewood: Was pretty cool tack though. Theresa King: Yeah. Grace Reed: Mm. Susan Sturgis: Definitely. Grace Reed: I am disappointed I didn't get a note back from my personal coach. Susan Sturgis: As you write your personal coach. Grace Reed: Yeah, but I didn't get a response so we'll see. Susan Sturgis: What if you get a response two or three months from now? Grace Reed: Okay Susan Sturgis: That'd Grace Reed: that Susan Sturgis: be Grace Reed: would Susan Sturgis: weird. Grace Reed: be kinda creepy. Letitia Gatewood: Attempts to contact coach ineffective. Grace Reed: Well what kind of coaching is that really? What if I really needed something. Theresa King: I so I don't n I think there was a lot of room for creativity, we could do whatever basically Grace Reed: I think so. Theresa King: what we wanted until the budget came down on us, um. Grace Reed: And even then we did get a decent product turned out although it's not everything we wanted it to be. Susan Sturgis: Yeah. Theresa King: With the natural look. Susan Sturgis: That's very natural. Letitia Gatewood: Very natural look. Grace Reed: Organic, really. Letitia Gatewood: That's the brilliance of they had a p they had a peeler in here. Grace Reed: And highly resourceful team mates might I add Susan Sturgis: Yeah. Grace Reed: which is always a plus. Letitia Gatewood: Yeah, I think, yeah re I thought it was like really creative actually, I mean. Grace Reed: Mm yeah, Theresa King: I Grace Reed: I'm impressed. Theresa King: think the teamwork was good Susan Sturgis: And to Theresa King: as Susan Sturgis: prove Theresa King: well. Susan Sturgis: that we weren't wasteful we didn't waste a single bit of Play-Doh, we used every bit. Grace Reed: Nice. All four of those little containers. Susan Sturgis: Yeah, Letitia Gatewood: Including Susan Sturgis: I guess Letitia Gatewood: the s the multi-coloured wave pattern. Susan Sturgis: My one my one criticism is that we didn't have enough colours to work with, we only had four, Grace Reed: Yeah. Susan Sturgis: wasn't enough. Grace Reed: You could have developed multiple skins really had Susan Sturgis: I know Grace Reed: you had Susan Sturgis: it Grace Reed: more colours. Susan Sturgis: could have been amazing. Grace Reed: Oh well. Letitia Gatewood: What did you guys think about the the the roles? Susan Sturgis: Hmm. Grace Reed: They were good. Susan Sturgis: Yeah it's f kind of fun, Grace Reed: Yeah. Susan Sturgis: it was I think it was pretty clever 'cause we were never able to get too far off track because the information came in at the right time and Grace Reed: True. Susan Sturgis: kind of filled in the gaps enough. At the same time you had enough room to kind of just make things up, Grace Reed: Do your own. Susan Sturgis: which was kind of fun. Grace Reed: Though I did feel like th the level of information dropped off severely over the course of the day. Susan Sturgis: Yeah. Grace Reed: I mean maybe it's just Grace Reed but I didn't actually get any information for the last presentation at all. Letitia Gatewood: That's true, Grace Reed: Nothing, Letitia Gatewood: I I got this spreadsheet. Grace Reed: I didn't even get an email, like that was it. So, yeah, I feel like that was slightly lacking but then you know, fill in the blanks on your own, level of creativity upped. Theresa King: Well Grace Reed: Whatever. Theresa King: I think that was I think that was an issue I kept finding with regard to Letitia Gatewood: Of what to do. Theresa King: well no but also yeah when I was reporting about what each of us was doing I was often Susan Sturgis: Mm. Grace Reed: Mm-hmm. Theresa King: confused as to what you were doing Grace Reed: Uh-huh, that wasn't very much. Susan Sturgis: You know Theresa King: felt Grace Reed: Mm. Theresa King: like you know a lot of our discussion would centre around n specifically what my task was because that was kind of the interface Susan Sturgis: Yeah. Theresa King: portion which was what Grace Reed: Yes. Theresa King: the whole project was about Letitia Gatewood: Mm, mm. Theresa King: uh Grace Reed: Hmm, very much so. Theresa King: but and then in the end I think our jobs kind of melded together a Susan Sturgis: Yeah. Theresa King: little bit more, Susan Sturgis: That was fun. Theresa King: which Susan Sturgis: I think Theresa King: was fine. Susan Sturgis: the most helpful thing out of everything was getting the the PowerPoint slides already put together Theresa King: Mm-hmm. Susan Sturgis: for you Grace Reed: Yeah, Susan Sturgis: 'cause if Grace Reed: already Susan Sturgis: we didn't Grace Reed: having Susan Sturgis: have Grace Reed: the Susan Sturgis: that Grace Reed: formatted stuff Susan Sturgis: there's Grace Reed: helped Susan Sturgis: no way Grace Reed: a Susan Sturgis: we Grace Reed: lot. Susan Sturgis: could have got all that done in time. Grace Reed: Very much so. Letitia Gatewood: Cool. Theresa King: And I think your leadership was quite good. Susan Sturgis: It was Grace Reed: Hmm. Susan Sturgis: really good yeah. Letitia Gatewood: She said I I I she actually made a comment off boy you're getting into this and I really I think it's true I did get I I Grace Reed: Yeah. Letitia Gatewood: felt like I got way too into it. Grace Reed: That's kind of a good thing though, Letitia Gatewood: I felt like I Susan Sturgis: It's Letitia Gatewood: slipped Susan Sturgis: kinda fun. Grace Reed: you Letitia Gatewood: into Grace Reed: know, Letitia Gatewood: it a lot. Grace Reed: give the rest of us some structure to work with so hey. Letitia Gatewood: I dunno. Theresa King: An so is that the first time you've taken on that kind of role? Letitia Gatewood: The first time I've ever done anything like yeah project project management. I usually Grace Reed: Hmm. Letitia Gatewood: organise crap, it's one thing to do, you know set up a party with your friends, Susan Sturgis: Yeah. Letitia Gatewood: you know? Grace Reed: Yeah. Susan Sturgis: Little different. Letitia Gatewood: But you guys felt that you could keep the, yeah, suspension of disbelief kind of like like the role Grace Reed: Yeah. Letitia Gatewood: and the okay? Susan Sturgis: Yeah. Grace Reed: I except for a couple moments where it just got out of hand and I knew we were Susan Sturgis: Yeah. Grace Reed: all lying through our teeth, other than that Theresa King: I had to admit, as soon as w we started I mean as soon as we got the Play-Doh, Grace Reed: I could only imagine. Theresa King: th you know the whole concept of really trying to stick with reality went out the window. Letitia Gatewood: Yeah, yeah. Maybe in in Legos you know? Theresa King: Possibly. Letitia Gatewood: Be fun with Legos too, like make a remote control or spaceship, we used to have spaceship Legos did you guys ever used to build spaceships Theresa King: Oh yeah, Letitia Gatewood: with Legos Grace Reed: Yeah. Theresa King: still Letitia Gatewood: everybody Theresa King: have 'em. Letitia Gatewood: knows Grace Reed: Totally. Letitia Gatewood: best spaceships ever. Um you guys felt like there was enough teamwork in all? Susan Sturgis: Yeah? Grace Reed: I think so. Theresa King: Yep. Letitia Gatewood: Hmm. Susan Sturgis: You Letitia Gatewood: No Susan Sturgis: don't. Letitia Gatewood: I, no I dunno, I d I I dunno, I don't I I was just Grace Reed: Though Letitia Gatewood: I Grace Reed: we didn't actually I mean other than minor discussion at meetings there wasn't except for the actual building, Susan Sturgis: Yeah. Grace Reed: but Letitia Gatewood: It's true Grace Reed: I feel Letitia Gatewood: huh? Grace Reed: like if this was a team project there actually would have been much more of the collaborative like brainstorming, use the board well and this would have been six months' worth of work, not like Letitia Gatewood: Yeah. Grace Reed: three hours' worth of meetings. Theresa King: I mean I think had the issue been more serious we probably woulda brainstormed more during our meetings as Susan Sturgis: Yeah. Grace Reed: That's Theresa King: a Grace Reed: true. Theresa King: team. Letitia Gatewood: Yeah. Course I'm I'm conscious of the idea of Letitia Gatewood asking if you guys feel like there's a team you know it's like, kind of like, like hmm. It Grace Reed: Yeah Letitia Gatewood: d Grace Reed: that is kind of Letitia Gatewood: But yeah. Interesting. It's kind of fascinating wasn't it? I mean the whole process of Susan Sturgis: Wonder why is there anything about the way that we got so much inform what was it that kept us from going to the the board? Letitia Gatewood: I don't know. I I don't know if there was a ri I th Grace Reed: Mine was the mics. I didn't feel like getting up and down and dealing with all these wires, Susan Sturgis: Yeah, Grace Reed: I was afraid Susan Sturgis: that's Grace Reed: I was gonna Susan Sturgis: it Grace Reed: break Susan Sturgis: 'cause Grace Reed: something Susan Sturgis: the Grace Reed: actually. Susan Sturgis: mics are loose and each Grace Reed: Yeah. Susan Sturgis: time you get up it's s a possibility Letitia Gatewood: Mm. Grace Reed: Yeah. Susan Sturgis: of tripping over something or getting tangled or. Grace Reed: Yeah. Theresa King: Well I dunno what I woulda shown on that board. Grace Reed: True, but it didn't even occur to Grace Reed as an option, I mean I don't Letitia Gatewood: Nor Grace Reed: know that Letitia Gatewood: I. Grace Reed: I would have but I know that I consciously didn't. Theresa King: I mean it's just like the paper I don't know what I really needed the paper for. Grace Reed: True. Theresa King: Um, because I've got this laptop. Grace Reed: Yeah. Theresa King: Standard, I just used it 'cause it's literally right in front of Grace Reed. Grace Reed: Yeah. Letitia Gatewood: I wanna see the output files Grace Reed: Well Letitia Gatewood: from Grace Reed: it looks Letitia Gatewood: these Grace Reed: really professional. Letitia Gatewood: um, from the digital paper. I wanna see wh Grace Reed: I know. Letitia Gatewood: wh what my my handwriting looks like digitized because my handwriting is crap. Susan Sturgis: Yeah, Letitia Gatewood: I mean, Susan Sturgis: that's Letitia Gatewood: just Susan Sturgis: it. Letitia Gatewood: to see what it looks like in P_D_F_ format or something. Susan Sturgis: Usually I would do a lot more doodling too but I didn't because Grace Reed: I know, I felt like I needed to be professional so I didn't like draw all over my paper and stuff. Okay, well not entirely, but still, I doodled less than I usually do. Letitia Gatewood: T I I'm curious about what the de-briefing is gonna be like. You know, like what is the uh what exactly we're looking for here. Theresa King: So is this all we need to get through? Letitia Gatewood: I dunno, I'm not sure Grace Reed: I Letitia Gatewood: what the Grace Reed: guess. Letitia Gatewood: new ideas found i is about. Grace Reed: Um. Susan Sturgis: New ideas. Grace Reed: It Theresa King: Is it Grace Reed: did it just say in an email that we need to discuss that? Letitia Gatewood: Well, that's the thing I got i in the email I got this PowerPoint file but this slide was just Grace Reed: That slide Letitia Gatewood: there, Grace Reed: was like that? Letitia Gatewood: mm-hmm. I didn't change this one at all. Susan Sturgis: Hmm. Grace Reed: Well. Letitia Gatewood: Um Susan Sturgis: I guess Letitia Gatewood: ch Susan Sturgis: we're on the right track. Letitia Gatewood: Yeah well. Theresa King: Any new ideas with regard to Letitia Gatewood: W Theresa King: remote control concepts? Susan Sturgis: No, Letitia Gatewood: I kinda Susan Sturgis: none. Letitia Gatewood: like Grace Reed: Uh Letitia Gatewood: th Grace Reed: I think they still do their job. Susan Sturgis: I Letitia Gatewood: Yeah Susan Sturgis: think Letitia Gatewood: you Susan Sturgis: they're Letitia Gatewood: can't Susan Sturgis: fine actually. Grace Reed: I am thinking outside the little square box though, with literally Letitia Gatewood: Yeah. Grace Reed: in like form I don't Susan Sturgis: Yeah, maybe a s a circle would be alright, Grace Reed: Yeah. Susan Sturgis: different. Letitia Gatewood: Does kinda make you wonder, I mean, how much can you do with a remote control? It's like inventing a new car. Yeah Grace Reed: It's still Letitia Gatewood: yeah, you Grace Reed: gotta Letitia Gatewood: can Grace Reed: be technically car shaped or it won't fit on the road, you know? Letitia Gatewood: Yeah. Grace Reed: Don't know. Letitia Gatewood: Hmm. Um. Theresa King: What is Letitia Gatewood: 'Kay. Theresa King: that? Our limited Grace Reed: Kind Theresa King: ability Letitia Gatewood: So Grace Reed: of. Letitia Gatewood: this Theresa King: to Letitia Gatewood: was Theresa King: think outside Letitia Gatewood: other Susan Sturgis: Are we back Letitia Gatewood: costs. Theresa King: the box? Susan Sturgis: into Letitia Gatewood: I dunno. Susan Sturgis: project Letitia Gatewood: I think this Susan Sturgis: mood? Letitia Gatewood: is Grace Reed: Oh, how long was our meeting supposed to be? How much time Letitia Gatewood: forty Grace Reed: do we have left? Letitia Gatewood: ish I I I mm we should go on a bit yeah about the project eval, um. I dunno about you guys but I felt like a bit under-stimulated on the whole thing. Like, Grace Reed: Mm. Letitia Gatewood: what like you know what am I really doing, you know what is Grace Reed: Yeah, at the beginning it started out and I felt actually like under pressure like the first couple Letitia Gatewood: Yep. Grace Reed: were taking a lot of work and I was like had like all Susan Sturgis: Yeah. Grace Reed: this brainstorming I was doing and then suddenly I was like well it's just another two minute presentation that you guys don't really care about Theresa King: Why? Grace Reed: anyway so Letitia Gatewood: Hey. Grace Reed: type away. Theresa King: Huh Grace Reed: You Theresa King: I think it was the real. Grace Reed: know, you know what I mean like we all sort Susan Sturgis: Yeah. Grace Reed: of knew where we were headed with it so it didn't feel Theresa King: Yeah. Susan Sturgis: Definitely when Grace Reed: like it mattered anymore. Susan Sturgis: when I first filled out the questionnaire I was marking it probably higher in terms of how much I had to Grace Reed: Mm-hmm. Susan Sturgis: how much I stressed over it and then by the time I got to the last one I was like, you know, not Grace Reed: Whatever. Susan Sturgis: very much. Letitia Gatewood: Mm. Grace Reed: Yeah. Theresa King: Think it was also realisation of you basically just copy and paste what's given to Susan Sturgis: Yeah. Theresa King: you into Grace Reed: Very Theresa King: your presentation Grace Reed: much, yeah. Theresa King: which uh wasn't so clear to Grace Reed at the beginning. Letitia Gatewood: I actually Susan Sturgis: Mm-hmm. Letitia Gatewood: didn't do that at all though, every single one I a all the presentations I either added slides or edited 'em. I Theresa King: Oh Letitia Gatewood: di Theresa King: I added like five slides Letitia Gatewood: Oh. Theresa King: too, Grace Reed: See I only got Susan Sturgis: Did Theresa King: but Susan Sturgis: you Grace Reed: blank Theresa King: I Susan Sturgis: really? Grace Reed: ones. Susan Sturgis: I just got blank ones and Letitia Gatewood: What? Really? Grace Reed: My slides were all blank, they'd have a title maybe Theresa King: Yeah, mine Grace Reed: and Theresa King: too. Grace Reed: they were just empty. Susan Sturgis: Grace Reed too. Letitia Gatewood: Did they not have they didn't like uh mine yeah they didn't come like this? Like with this was what it looks like. Grace Reed: Like Letitia Gatewood: This is Grace Reed: with Letitia Gatewood: what Grace Reed: those Letitia Gatewood: that Grace Reed: words Letitia Gatewood: looked Grace Reed: already Letitia Gatewood: like, Grace Reed: on it? Letitia Gatewood: literally, just Grace Reed: No. Letitia Gatewood: like Theresa King: No. Letitia Gatewood: that. Interesting. Grace Reed: I wondered why yours always looked so more complicated. Letitia Gatewood: Uh-huh huh huh. Susan Sturgis: I deleted slides. Grace Reed: I think I added a slide one time. Theresa King: I added many slides every time Grace Reed: Hey with the whole new background Theresa King: Yeah. Grace Reed: being innovative, Susan Sturgis: That Grace Reed: yeah Susan Sturgis: was pretty cool, Grace Reed: that was Susan Sturgis: it Grace Reed: class. Susan Sturgis: was a high moment of Grace Reed: Mm. Susan Sturgis: the whole experiment. Theresa King: Um. Letitia Gatewood: Interesting. Any other thoughts come to mind? Grace Reed: I wanna know how our product would fare. I Susan Sturgis: I Grace Reed: can't Susan Sturgis: think Grace Reed: just Susan Sturgis: it Grace Reed: leave Susan Sturgis: would fail, Grace Reed: it there. Susan Sturgis: I think it'd be a Grace Reed: I Susan Sturgis: huge Grace Reed: think Susan Sturgis: disaster, Grace Reed: it would take extensive Susan Sturgis: especially Grace Reed: marketing, Susan Sturgis: if it looks like that. Grace Reed: okay, an apple with a red button on top, even I am sceptical. But you know the whole Theresa King: Even you. Grace Reed: Yeah. Susan Sturgis: I don't we kind of designed it to look little bit like a face. Grace Reed: I know it Letitia Gatewood: Yeah but Grace Reed: is. Susan Sturgis: It's a happy face. Theresa King: Actually that looked a lot Grace Reed: Mm. Theresa King: more like a tongue from previous to uh fr Letitia Gatewood: Builds. Theresa King: some other design uh modifications. Letitia Gatewood: Mm. Theresa King: I hope you appreciate the uh incorporation of some tin foil from a uh Grace Reed: I Theresa King: random Kit-Kat Grace Reed: I noticed Theresa King: bar that Grace Reed: that. Theresa King: happened to be consumed. Grace Reed: By accident. Letitia Gatewood: Interesting. Grace Reed: Well huh. An interesting day all in all Letitia Gatewood: Uh, Susan Sturgis: Yeah, Grace Reed: I Letitia Gatewood: yeah, Grace Reed: would Susan Sturgis: it's Grace Reed: say. Letitia Gatewood: I'd Susan Sturgis: uh Letitia Gatewood: say so. Theresa King: So again I reiterate my question of how different we are comp compared to the other groups, especially between culture groups and Grace Reed: I Theresa King: what not. Letitia Gatewood: Mm, Grace Reed: know. Letitia Gatewood: I know. Theresa King: Mm. Letitia Gatewood: It Susan Sturgis: I Letitia Gatewood: seemed Susan Sturgis: wanna Letitia Gatewood: like Susan Sturgis: see Letitia Gatewood: everything Susan Sturgis: a Grace Reed: I Letitia Gatewood: flowed pretty logically. You know from the the the basics Grace Reed: Yeah. Letitia Gatewood: to the conce although the whole concepts thing, the whole concepts phase, I don't think I really understood like the concept. Well Susan Sturgis okay Grace Reed: 'Cause Letitia Gatewood: the notion Grace Reed: it's such a Letitia Gatewood: of Grace Reed: functional item. Letitia Gatewood: yeah I mean i it's not like I have a concept of a mug's material, it's just it is what it is. Susan Sturgis: Yeah. Letitia Gatewood: You know, maybe i rather than concepts i it should be th thought of we sh I I thought of I thought of rather than in terms of concepts I thought of it in terms of um like proposed idea. And Grace Reed: Mm. Letitia Gatewood: then the final would be like th the actual specified prototype or whatever, I dunno. But. Susan Sturgis: Hmm. Letitia Gatewood: All in all it's kinda interesting. Grace Reed: Mm. Susan Sturgis: So we have more slides or? Letitia Gatewood: No just this closing one. No we've established that the costs weren't really within budget, but we could s you know Grace Reed: We Letitia Gatewood: do Grace Reed: got Letitia Gatewood: it Grace Reed: it to be. Letitia Gatewood: We Grace Reed: Like Letitia Gatewood: did Grace Reed: cutting corners. Letitia Gatewood: the project evaluation based on um Sarah's evaluation of on Grace Reed: Kind Letitia Gatewood: off switches Grace Reed: of, though it was Letitia Gatewood: and Grace Reed: really technically an evaluation of the product, not the project in general. Letitia Gatewood: Mm. Susan Sturgis: Mm. Grace Reed: Which Letitia Gatewood: True. Grace Reed: I'm not sure is the same thing, at the time that just i made more sense, but I could see if they were really asking about us. Letitia Gatewood: Yeah. 'Cause we di we had a thu think about it. Um. Yeah. And it's all recorded, woo-hoo. Yeah Grace Reed: Yay. Letitia Gatewood: what Susan Sturgis: Hmm. Letitia Gatewood: I'm gonna I'm gonna put um I'm supposed to do this final report thing at the end so I'll put all that into the final report as well, or as much as seems like maybe not like the articles and stuff, like Susan Sturgis: I Letitia Gatewood: because and if and so forth, but I'll put most of it in the reports. Susan Sturgis: It'd be so cool Grace Reed: Make Susan Sturgis: if Grace Reed: it Susan Sturgis: we Grace Reed: sound Susan Sturgis: get Grace Reed: eloquent. Susan Sturgis: a copy of the recording. Grace Reed: Oh, I have to done I've I've done Letitia Gatewood: Nice. Grace Reed: transcription before and it's really ridiculous how many words people say like Letitia Gatewood: Oh Grace Reed: just Letitia Gatewood: yeah. Grace Reed: in the middle of their sentences like that that mean nothing. Letitia Gatewood: There's a whole branch of psychology that looks into that, psycholinguistics. Theresa King: What Susan Sturgis: Really. Theresa King: the uhs Grace Reed: There's a guy Theresa King: and Grace Reed: studying Theresa King: the Grace Reed: it here, yeah, he's studying ums Susan Sturgis: Filler Grace Reed: and Susan Sturgis: words Grace Reed: ahs Susan Sturgis: or? Grace Reed: or something. Letitia Gatewood: Yep, they're called Grace Reed: Yeah. Letitia Gatewood: um disfluencies. Susan Sturgis: Disfluencies. Grace Reed: That's a good word for it. Letitia Gatewood: Yeah we like our fancy phrases and terminologies for things. Grace Reed: Just add some prefixes, sounds classier. Letitia Gatewood: Exactly uh I will save this into the project Susan Sturgis: I find Letitia Gatewood: documents. Susan Sturgis: myself hitting the send and receive button on the email a lot, Grace Reed: I, Theresa King: Mm. Susan Sturgis: just Letitia Gatewood: Yeah. Grace Reed: yeah, Susan Sturgis: out Letitia Gatewood: Oh Susan Sturgis: of boredom, Letitia Gatewood: yeah. Grace Reed: pretty compulsively Susan Sturgis: like c come on Grace Reed: during Letitia Gatewood: Yeah Grace Reed: meetings, Letitia Gatewood: I know. Grace Reed: like, Susan Sturgis: gimme something. Grace Reed: yeah. Letitia Gatewood: Come on give Grace Reed some information. Well to be fair we're we're hooked we're all hooked on the internet, Grace Reed: Yeah, Letitia Gatewood: so I mean I Grace Reed: we Letitia Gatewood: do the Grace Reed: are addicts. Theresa King: That's scary yeah? Susan Sturgis: It is scary. Grace Reed: Mm. Theresa King: Well just around that eight or or Letitia Gatewood: I Theresa King: nine Letitia Gatewood: know, imagine Theresa King: people Letitia Gatewood: we went Theresa King: that Letitia Gatewood: the Theresa King: are Letitia Gatewood: first ten y fifteen years of our lives without the internet. It's only in the last ten that we're like where's Grace Reed: Yeah. Letitia Gatewood: the internet? I mean, you know, it just in the past five we've gone Grace Reed: I yeah. Letitia Gatewood: from twenty eight eight modems to broadband all the time. Theresa King: Dude, Grace Reed: True. Theresa King: I think we've had internet for like eighteen years. Letitia Gatewood: No we have Grace Reed: I Letitia Gatewood: but I not in the sense Grace Reed: yeah. Letitia Gatewood: that it's so un you know Susan Sturgis: Yeah. Letitia Gatewood: uh ubiquitous Grace Reed: But it's not regular I mean my grandparents had it in the eighties and I got it in ninety four, but still. Susan Sturgis: It's crazy. Grace Reed: Uh-huh. Susan Sturgis: So Theresa King: In the eighties? Grace Reed: My um grammy does computer science back in the States and so they had um an E_D_U_ and gov network. Letitia Gatewood: Mm. Grace Reed: There's basically the fundamental structures, but it wasn't uh household to household yet Theresa King: Right. Grace Reed: because it hadn't been Theresa King: Yeah, it was to the like seven Grace Reed: partitioned Theresa King: universities Grace Reed: off and stuff, Theresa King: or something. Grace Reed: yeah that was him. Theresa King: You guys ready to celebrate? Letitia Gatewood: Yeah that's Grace Reed: Apparently, Letitia Gatewood: our last step. Grace Reed: does that include Letitia Gatewood: Celebration. Grace Reed: like champagne or something exciting? Susan Sturgis: Should. Grace Reed: I Letitia Gatewood: 'Kay Grace Reed: think Letitia Gatewood: I guess Grace Reed: so. Letitia Gatewood: we can probably call that meeting to an end Grace Reed: I Letitia Gatewood: for Grace Reed: think Letitia Gatewood: the most Grace Reed: that's Letitia Gatewood: part. Grace Reed: a closer. Letitia Gatewood: Cool. Susan Sturgis: Has it been forty minutes or whatever? this has been long enough. Theresa King: Celebrate. Letitia Gatewood: Where do you find that? Grace Reed: I have no idea. Susan Sturgis: Is that the only song you have? Theresa King: There is another one. Letitia Gatewood: Is this one of those media player? Theresa King: Huh? Yep. Letitia Gatewood: W oh. Susan Sturgis: That's awesome. Letitia Gatewood: The default track. Susan Sturgis: Maybe I have Letitia Gatewood: I Susan Sturgis: a Letitia Gatewood: thought Susan Sturgis: different Letitia Gatewood: it was Susan Sturgis: one. Letitia Gatewood: David Burns, look into the eyeball. That's one that seems to be shipping with it uh shipped with for a while, maybe this is the new version. Grace Reed: So is that a close? Letitia Gatewood: Yeah, I guess we'll call that Grace Reed: Okay, Letitia Gatewood: a a Grace Reed: that's Letitia Gatewood: doner. Grace Reed: the end of the meeting. Letitia Gatewood: Fab. Grace Reed: Thank you gentlemen. I feel like I'm signing off.

Letitia Gatewood opened the meeting by reviewing the decisions from the previous meeting (to use voice recognition instead of the touch screen, to hide the complicated features, and to start building the prototype). Theresa King and Susan Sturgis then presented the prototype that featured voice recognition, interchangeable cases, visible light, and a soft casing material. Letitia Gatewood presented what each component cost, which showed that the project was going over the alotted budget; the group decided to remove the solar panel. Grace Reed presented an evaluation of the prototype and showed that the prototype had met many of the initial goals. The group then evaluated the project process and discussed their effectiveness as a group. Letitia Gatewood summarized the proceedings of the meeting which will go into a final report, along with comments made during the project evaluation.

amisum

train

Sheri Wiggins: Okay. Um welcome to our second meeting. This the functional design. And I hope you all had a good individual working time. Okay, let's get started. Okay, here's the agenda for the meeting. After the opening um I am going to fulfil the role of secretary, take the meeting minutes. And we're gonna have three presentations, one from each of you. Then we're gonna discuss some new project requirements. Um gonna come to a decision on the functions of the remote control. And then close up the meeting. And we're gonna do this all in about forty minutes. Okay. First I want to discuss the goals of this meeting. First we need to determine the user requirements and the question that we can ask ourselves is what needs and desires are to be fulfilled by this remote control. And then we're going to determine the technical functions, what is the effect of the apparatus, what actually is it supposed to do, what do people pick up the remote and use it for. And then lastly we're going to determine its working design, how exactly will it perform its functions, that's the whole technical side of 'Kay I'll just give you a minute, 'cause it looks like you're making some notes. 'Kay. Oh, well let's go ahead and, back, previous. So what I wanna do right now is hear from all three of you, on your research that you just did. Who would like to start us off? Carolyn Farnsworth: I don't Sheri Wiggins: 'Kay. Carolyn Farnsworth: mind going first. Sheri Wiggins: Okay. Um do you have a PowerPoint or no? Carolyn Farnsworth: Yeah, it's in the should be in the m Sheri Wiggins: Okay. Carolyn Farnsworth: Project. Chelsea White: Do you want us to do our PowerPoints now Carolyn Farnsworth: You Chelsea White: or Carolyn Farnsworth: know you could you could do it yourself actually. Sheri Wiggins: Oh. Joanne Ferrel: Did you send it? Sheri Wiggins: Save Carolyn Farnsworth: Put it Sheri Wiggins: it Carolyn Farnsworth: in Sheri Wiggins: in the Carolyn Farnsworth: Project Sheri Wiggins: project documents. Carolyn Farnsworth: Documents, yeah. Sheri Wiggins: Okay. Sheri Wiggins: Mm-mm-mm. This one? Carolyn Farnsworth: Sure. Sheri Wiggins: Okay. Carolyn Farnsworth: Yeah. Joanne Ferrel: Okay. Carolyn Farnsworth: Okay. Joanne Ferrel: Great. Carolyn Farnsworth: Um well, the function of a remote control, as what uh we've been informed, is basically to send messages to the television set, for example, switch it on, switch it off, go to this channel, go to channel nine, turn volume up, etcetera. Um some of the considerations is just um for example the what it needs to include it's the numbers, you know, zero to nine, so you can move to a channel, the power button on slash off, the channel going up and down, volume going up and down, and then mute, a mute function. And then functions for V_H_S_, D_V_D_, for example, play, rewind, fast-forward, stop, pause, enter. And enter would be for like, you know, the menus. And then other menus for D_V_ as well as T_V_, whether that means like um we can go and decide the brightness of the screen, things like that, all the more complicated functions of menus. And we can decide if that's what we want, um if we Sheri Wiggins: Okay. Carolyn Farnsworth: want to include that on the remote, if that's something that would stay on the T_V_ itself, for example. Sheri Wiggins: Okay. Carolyn Farnsworth: These are two examples. Um and you can see on the left, it's got a lot more buttons, and I don't know if you can read it, but it says, step, go to, freeze, um slow, repeat, program, mute, and so those are some of the buttons and so it gives you an idea of s one example. And then on the right, it's a lot more simpler, it's got volume, it's got the play the like circle set, which is play, rewind, but it's also what is fast-forward is also like next on a menu. So you have functions that are d uh duplicating. Sheri Wiggins: Right. Carolyn Farnsworth: And you have a mute button and then the numbers and the eject, and the power button. So that gives you two different kinds, a more complex and more simple version. Okay. Sheri Wiggins: Ready. Carolyn Farnsworth: And then lastly, it's just the questions that we want to consider like what functions do we want it to include, and how simple, complex it should be? And what functions it needs to complete. Uh, what are needed to complete insulation process, 'cause, you know, that's something that also has to be considered and it's gonna be hopefully a one-time thing, when you set it up it should be set to go, but we have to include the functions that can allow it to set up i in the first place. So that's it. Sheri Wiggins: Alright. Very good presentation. Thank you. You speak with such authority on the matter. Carolyn Farnsworth: Mm. Sheri Wiggins: Okay. Carolyn Farnsworth: Left. Sheri Wiggins: Who would like to um follow that one up? Now, that we've Chelsea White: I Sheri Wiggins: discussed Chelsea White: can go. Sheri Wiggins: Okay. Do you want Chelsea White to run it or you Chelsea White: Yeah, Sheri Wiggins: wanna Chelsea White: you should run it. Sheri Wiggins: Okay. Functional requirements. Chelsea White: Mm yes. Sheri Wiggins: 'Kay. Sheri Wiggins: Alright. Now we have Courtney with the functional requirements. Chelsea White: Yes, okay so we tested a hundred subjects in our lab, and we just we watched them and we also made them fill out a questionnaire, and we found that the users are not typically happy with current remote controls. Seventy five percent think they're ugly. want are willing to more, which is good news for us um if we make look fancier, and basically w we just need something that really I mean there's some other points up there, but they it needs to be snazzy and it but yet simple. So that's really what we need to do. Carolyn Farnsworth: Wait. Chelsea White: And we need we need it to be simple, yet it needs to be high-tech looking. So Carolyn Farnsworth: And that meaning what? Chelsea White: Like They like I guess use the buttons a lot. Carolyn Farnsworth: Okay. Chelsea White: Yeah. I don't know. It's from my uh research. Carolyn Farnsworth: Right. Sheri Wiggins: Okay, what Chelsea White: My Sheri Wiggins: do you Chelsea White: team Sheri Wiggins: m Chelsea White: wasn't very Carolyn Farnsworth: Only Chelsea White: clear. Carolyn Farnsworth: use Sheri Wiggins: Oh, Carolyn Farnsworth: ten Sheri Wiggins: I'm Carolyn Farnsworth: percent Sheri Wiggins: sorry. Carolyn Farnsworth: of the Chelsea White: That's Carolyn Farnsworth: buttons. Chelsea White: okay. Sheri Wiggins: What do you mean by um the current remote controls do not match well with the operating behaviour of the user, like they Chelsea White: I Sheri Wiggins: have to press Chelsea White: I Sheri Wiggins: the buttons. Chelsea White: think it's like the engineering versus user, Sheri Wiggins: Okay. Chelsea White: whereas like the engineering she showed that the engineering ones are more complex Sheri Wiggins: Oh, right. Chelsea White: and users don't really need all of the Sheri Wiggins: The Chelsea White: buttons Sheri Wiggins: buttons. Chelsea White: that are contained on there, Sheri Wiggins: Okay. Chelsea White: because they only use ten percent of the buttons really. Sheri Wiggins: Yeah. Okay. Joanne Ferrel: We only use ten per cent of our brains. Chelsea White: Good point. Sheri Wiggins: It works. Chelsea White: It's a necessary evil. Joanne Ferrel: yeah. Sheri Wiggins: Ready for the next slide? Chelsea White: Mm-hmm. And so people say that they typically lose it, as you yourself know, because you probably lose your remote control all the time, Sheri Wiggins: Hmm. Chelsea White: much like any small appliance Carolyn Farnsworth: Lost. Chelsea White: like a cellphone, and they we need something simple, because most people, well thirty four percent say that it's just too much time to learn how to use a new one, and we don't want to go we don't want to vary too far from the normal standard Carolyn Farnsworth: S Chelsea White: remote, but I mean they do need to be able to identify it, and R_S_I_, I'm not very sure what that is. Sheri Wiggins: It's okay. It's Chelsea White: Yes, Sheri Wiggins: very important. Chelsea White: it is important for the remote control world. Carolyn Farnsworth: Wait, is that like your ergonomics Chelsea White: Sh Carolyn Farnsworth: like your hand movements or something? Sheri Wiggins: Could be, Chelsea White: Uh Sheri Wiggins: yeah. Chelsea White: possibly. Joanne Ferrel: Do we really need t to provide more information on Carolyn Farnsworth: Like Joanne Ferrel: what R_S_I_ is? Sheri Wiggins: Oh. Chelsea White: Uh yeah, that's what my web site said, I Carolyn Farnsworth: Channel, volume, power. Chelsea White: don't Sheri Wiggins: I think that's Chelsea White: know. Sheri Wiggins: a pretty good guess though. Chelsea White: Yeah, I would assume so. I Carolyn Farnsworth: It's Chelsea White: think Carolyn Farnsworth: like Chelsea White: we're Carolyn Farnsworth: if you're Chelsea White: supposed Carolyn Farnsworth: holding Chelsea White: to know it Carolyn Farnsworth: it Chelsea White: as remote control experts. Sheri Wiggins: Yeah. Chelsea White: But Sheri Wiggins: It's Chelsea White: also Sheri Wiggins: okay. Chelsea White: s so the channel, the volume and the power buttons are the most important on our company website you can find like the specific statistics concerning to how much each button is used, but those are the definitely the top ones. Sheri Wiggins: Okay. Next slide? Chelsea White: Yes. And so personally I think that we need a modern eye-catching design, but it it really needs to be simple. So saying from y your slide, your presentation, the engineering versus the user-specified remotes, I think that we should go with something that's more user-friendly. Sheri Wiggins: User-friendly. Chelsea White: Where the engineering ones, the boxes, tend to make it look more complicated than it really is. Um the functionality of the product really needs to be considered as to like what type of buttons do we really need on it. And it needs to be open to a wide range of consumers, so even though we need a small number of buttons, we also need to take in like are most people going to be using it for a D_V_D_ player, a TiVo, what what exactly are we using it for, as well as the age range. So we need a hip, but not a corny marketing scheme for promoting our product. And also we found our team found that speech recognition is it's like an up-and-coming thing they really consumers are really interested in it, and since our findings found that people are willing to pay more money for a remote for it to be more high-class Sheri Wiggins: And so just Chelsea White: we could Sheri Wiggins: to Chelsea White: consider it. Sheri Wiggins: just to clarify by speech recognition you mean they would say, channel five, and the thing would Chelsea White: I Sheri Wiggins: go Chelsea White: guess Sheri Wiggins: to channel Chelsea White: so, Sheri Wiggins: five? Chelsea White: yeah. Sheri Wiggins: Okay. Carolyn Farnsworth: to just say, where are you, and thing beeps, you know. Chelsea White: Yeah, I guess Sheri Wiggins: Oh, Chelsea White: we can interpret Sheri Wiggins: that'd Chelsea White: it Sheri Wiggins: be Chelsea White: like, Sheri Wiggins: lovely. Chelsea White: we can just try out different types of speech Carolyn Farnsworth: Yeah. Chelsea White: recognition within our Sheri Wiggins: Didn't Chelsea White: remote Sheri Wiggins: they Chelsea White: programme. Sheri Wiggins: um didn't our rival companies manufacture a remote that you would press the button on the T_V_ and it would the remote would beep so if you Carolyn Farnsworth: It's Sheri Wiggins: have Carolyn Farnsworth: kinda Sheri Wiggins: lost Carolyn Farnsworth: like what Sheri Wiggins: it Carolyn Farnsworth: the remote phone used to do. Sheri Wiggins: Mm. Oh, yeah, that's Carolyn Farnsworth: You Sheri Wiggins: true. Carolyn Farnsworth: know like Sheri Wiggins: We could Carolyn Farnsworth: go Sheri Wiggins: definitely Carolyn Farnsworth: to the Sheri Wiggins: include Carolyn Farnsworth: base. Sheri Wiggins: that if we wanted to. Carolyn Farnsworth: Yeah. Sheri Wiggins: If it's within our price. Okay. Are we ready for our last presentation, Amber? Joanne Ferrel: Yeah, I'm just trying to move it. Sheri Wiggins: Okay. Joanne Ferrel: 'Kay. I think it should be there, Carolyn Farnsworth: Working Joanne Ferrel: working Carolyn Farnsworth: design. Joanne Ferrel: design. Sheri Wiggins: There we go. 'Kay. Joanne Ferrel: 'Kay. Uh I didn't get a chance Sheri Wiggins: Oh Joanne Ferrel: to complete Sheri Wiggins: my Joanne Ferrel: this Sheri Wiggins: bad. Joanne Ferrel: one, 'cause some of the tools that I was given were frustrating. Chelsea White: Oh that's fine. Carolyn Farnsworth: Help Joanne Ferrel: okay Carolyn Farnsworth: Chelsea White. Joanne Ferrel: th some of the things that we actually need to put into this. We need a power source, we're gonna need a smart chip if we're gonna make it multi-functional. Um extra functions will probably need an additional chip. Either that or the smart chip will have to be extremely smart. Chelsea White: What exactly is a smart chip? Joanne Ferrel: Usually a smart chip is just a chip that's been programmed and designed so that it can complete a fair range of functions. Carolyn Farnsworth: Well, how much extra would the additional chip be? Is that gonna push us over our production costs? Joanne Ferrel: I wouldn't think so, 'cause we could probably get it from like, in bulk, from a a newer company. Carolyn Farnsworth: Mm-hmm. Joanne Ferrel: And they tend to sell their chips pretty cheap. Sheri Wiggins: Okay. Ready? Joanne Ferrel: Um yep, nothing here. Sheri Wiggins: That's okay. Joanne Ferrel: Um power source, I figured, batteries, 'cause they're easily available. Typically a remote has either two double A_s or four triple A_s, sometimes three. Uh it really kinda depends on the size of the actual remote itself. Um a large on-off button, demographically we're moving towards an older generation of people, so a large on-off button would probably be good. Sheri Wiggins: Hmm. Joanne Ferrel: Selection button for various entertainment devices, so you want something that will permit you to select the D_V_D_ player or the T_V_ or the stereo system. Um smart chip that perverts uh that permits, sorry, universal application again, something that'll allow us to skip over between devices, and that's kinda it. Uh this is my fifty second design. Power source over here. We're gonna have a switch obviously between the power source and the rest of it, and you're gonna need the switch. Um extra bulb could just be for flashiness, um subcomponent which would be like a way of diverting the power to different parts of the the device. Um the chip and of course the infra-red bulb, so it can communicate with the various devices that it needs to talk to. Chelsea White: So what exactly we are looking at, is this like the front of the Joanne Ferrel: This is just like Chelsea White: remote? Joanne Ferrel: a rough schematic. Sheri Wiggins: So Joanne Ferrel: So this Sheri Wiggins: this Joanne Ferrel: is Sheri Wiggins: would Joanne Ferrel: the Sheri Wiggins: be Joanne Ferrel: internal Sheri Wiggins: the front? Joanne Ferrel: workings. Sheri Wiggins: So Chelsea White: Oh Sheri Wiggins: the Chelsea White: okay. Sheri Wiggins: red would be the front of the remote though, Joanne Ferrel: Yeah. Sheri Wiggins: right? Carolyn Farnsworth: Yeah, Sheri Wiggins: Okay. Carolyn Farnsworth: that's gonna be what's communicating with the T_V_, but the other bulb, I think, is good to just to indicate, I'm doing something, it's sort of like a Sheri Wiggins: The l Chelsea White: Like Carolyn Farnsworth: reassurance. Chelsea White: that we Sheri Wiggins: the Chelsea White: know Joanne Ferrel: Yeah, Chelsea White: the battery's Joanne Ferrel: so Sheri Wiggins: light Joanne Ferrel: you don't Sheri Wiggins: up Chelsea White: working. Joanne Ferrel: have to stare Sheri Wiggins: kind of Joanne Ferrel: at that infra-red, 'cause Sheri Wiggins: Yeah. Joanne Ferrel: you know when the battery starts dying in your remote currently, you have to actually stare at that bulb and go, okay, Sheri Wiggins: Hmm. Joanne Ferrel: when I push this button, is it working? Chelsea White: Okay. Sheri Wiggins: It'd probably be Joanne Ferrel: We Sheri Wiggins: lighting Joanne Ferrel: can skip Sheri Wiggins: up the key Joanne Ferrel: that whole thing. Sheri Wiggins: too, right? Joanne Ferrel: Yep. Chelsea White: Yeah. Carolyn Farnsworth: Yeah. Sheri Wiggins: 'Kay. Joanne Ferrel: So you can Sheri Wiggins: The buttons. Joanne Ferrel: put it in the dark. Chelsea White: Yeah, and that's good. We Sheri Wiggins: Okay. Chelsea White: should make it glow in the dark. Sheri Wiggins: Yeah, definitely. 'Kay nex R Ready? Joanne Ferrel: Yeah, that's it. Sheri Wiggins: 'Kay, any p Chelsea White: Mm 'kay. Sheri Wiggins: 'Kay? Anything you wanna add for personal preferences though, you f you said already that we needed a large on-off button, you think. Joanne Ferrel: I Sheri Wiggins: Anything Joanne Ferrel: think Sheri Wiggins: else? Joanne Ferrel: that that's a good idea, because you know that's one of the most Carolyn Farnsworth: Just Joanne Ferrel: important buttons. Sheri Wiggins: Okay. Carolyn Farnsworth: Well, should it be larger buttons in general, you know like uh the examples that I had, they were swi quite small. So should we try and go for something that has l larger buttons? Chelsea White: I think we should. Like I think that would be in a as in like in for the design, sorry, um. I think we should definitely go with buttons that don't look like a normal remote, 'cause most remotes have small square buttons, Sheri Wiggins: Mm. Chelsea White: I think we should do something like Carolyn Farnsworth: Ovals. Chelsea White: maybe bigger and round like Carolyn Farnsworth: Yeah, Chelsea White: bubbles. Carolyn Farnsworth: yeah. Sheri Wiggins: Okay. Okay, let's talk about all of our We'll come to decision later about all the components that we need to include, let's um wrap up this one, and I'm gonna go back to my PowerPoint, 'cause we need to discuss the new project requirements which you might've already seen flashed up on the screen a bit earlier. Wait, come back. Alright. Sorry, let's go through this. Alright. Here we go. New product requirements. First it's only going to be a T_V_ remote. We're trying not to over-complicate things. So no D_V_D_, no TiVo, no stereo. Joanne Ferrel: Okay. Sheri Wiggins: It's not gonna be multi-functional. Hey. And we th need to promote our company more, so we need to somehow include our colour and our company slogan on the remote. We're trying to get our name out there in the world. Okay. And you know what teletext is? Carolyn Farnsworth: Yeah. Sheri Wiggins: in States we don't have it, but Carolyn Farnsworth: I Chelsea White: What Sheri Wiggins: um Carolyn Farnsworth: know. Chelsea White: is it? Sheri Wiggins: it's like they just have this channel where just has news and weather, kind of sports, it's very um bland looking, it's just text on the screen, Carolyn Farnsworth: Yeah, it's like Sheri Wiggins: not Carolyn Farnsworth: black, Sheri Wiggins: even Yeah, Carolyn Farnsworth: black and Sheri Wiggins: just Carolyn Farnsworth: white kind Sheri Wiggins: black Carolyn Farnsworth: of Sheri Wiggins: with just Chelsea White: Like running Sheri Wiggins: text. Chelsea White: along the bottom? Sheri Wiggins: Yeah. Joanne Ferrel: You can Carolyn Farnsworth: It'll Joanne Ferrel: also Carolyn Farnsworth: give Joanne Ferrel: get Carolyn Farnsworth: you Joanne Ferrel: the kind of the Carolyn Farnsworth: the Joanne Ferrel: T_V_ guide Carolyn Farnsworth: sports. Joanne Ferrel: so Chelsea White: Wait, is it like the Weather Channel where it's got like the ticker running on the bottom Sheri Wiggins: Kind Carolyn Farnsworth: Except Chelsea White: or Sheri Wiggins: of. Chelsea White: something? Carolyn Farnsworth: the entire screen. Joanne Ferrel: It's the entire Sheri Wiggins: Yeah it's Joanne Ferrel: screen Sheri Wiggins: the whole screen. Joanne Ferrel: is just running information at random. Carolyn Farnsworth: You can Sheri Wiggins: So Carolyn Farnsworth: pick Sheri Wiggins: anyway Carolyn Farnsworth: sports, Joanne Ferrel: Seemingly. Carolyn Farnsworth: you can pick the news, you entertainment, you know it's like Chelsea White: So it's like Sheri Wiggins: Right. Chelsea White: a separate channel from like what Sheri Wiggins: Right. Chelsea White: you're watching? Carolyn Farnsworth: Yeah. Sheri Wiggins: But it's becoming out-dated now, because of the Internet. and we have twenty four hour news channels now too, so Those are our new product requirements. Chelsea White: Okay. Joanne Ferrel: Okay. So, Sheri Wiggins: Alright. Joanne Ferrel: do we have to Sheri Wiggins: Mm-hmm. Joanne Ferrel: include the company colour within that? Sheri Wiggins: Yes. It's part of the logo. Okay. Carolyn Farnsworth: Company colour being yellow. Sheri Wiggins: What we're going to do right now is come to some decisions, definitive that we can all agree on, about um the target group and the functions and just definite things that we need to do and then we'll close up the meeting. So. Alright. Whatever. Okay. Sheri Wiggins: So our target group is You mentioned um older people? Carolyn Farnsworth: Mm-hmm. Sheri Wiggins: Would it just be universal for everyone, you think? Because I think even if something has large buttons, Carolyn Farnsworth: It's gonna Sheri Wiggins: as Carolyn Farnsworth: make Sheri Wiggins: long Carolyn Farnsworth: it Sheri Wiggins: as they are not Carolyn Farnsworth: nicer. Sheri Wiggins: childishly large, like even Carolyn Farnsworth: Yeah. Sheri Wiggins: technically non-technically challenged people are gonna use it. I mean they want something user-friendly, so Joanne Ferrel: Mm well, even if we kept the regular standard size of remote, if we reduced the buttons down to the ones that people are saying that they use the most often and a couple extra, 'cause Sheri Wiggins: Yeah. Joanne Ferrel: they're saying they only use ten per cent of them, Sheri Wiggins: Yeah. Joanne Ferrel: then we should be able to accommodate fairly decent sized buttons. Sheri Wiggins: Okay, so we want um for our target group would we say, I mean, young and old, all age ranges, all um, not kids obviously, right? Or kids? Chelsea White: No, kids need to know how to use a remote, Joanne Ferrel: Most Chelsea White: I would Joanne Ferrel: of them Chelsea White: think. Joanne Ferrel: will intuitively Chelsea White: They gotta Joanne Ferrel: pick Chelsea White: change Joanne Ferrel: it up Chelsea White: between Joanne Ferrel: though. Chelsea White: Disney Channel, Cartoon Network. Sheri Wiggins: Okay, so we're going to go anywhere from Chelsea White: Yeah, Sheri Wiggins: kids Chelsea White: I think we need it Sheri Wiggins: to Chelsea White: all. Sheri Wiggins: adult in the age range Um what about technic technical um specifications, like how how technically literate are these people who are going to be using our remote? Chelsea White: Um I would say we should say dumber than the average person. Carolyn Farnsworth: We Sheri Wiggins: Okay. Carolyn Farnsworth: should go for the lowest denominator. Chelsea White: Yeah. Sheri Wiggins: Right, okay. Carolyn Farnsworth: High Sheri Wiggins: So Carolyn Farnsworth: school educated. Sheri Wiggins: so they need no technical experience to operate Joanne Ferrel: how 'bout little to no, because there is no way that you are gonna be able to make it no. Sheri Wiggins: Okay. And we also need to determine the specific functions of this, just to get it all out on paper. So we said it needs to send messages to the T_V_, needs to change the channel, turn on and off, just basic simple stuff like this. So if you have something just say it and we'll add it to my meeting minutes. Carolyn Farnsworth: Well it's channel, on-off button, Sheri Wiggins: Mm-hmm, Carolyn Farnsworth: volume, Sheri Wiggins: volume. Carolyn Farnsworth: mute. Chelsea White: And channel. Yeah. Those are the most important ones. Sheri Wiggins: Right. And we wanna keep um I'll make a note here that we wanna keep the number of buttons down. Correct, because people only use ten percent. Chelsea White: Yeah. Sheri Wiggins: 'Kay. Hey, what Carolyn Farnsworth: Um. Sheri Wiggins: else? Sheri Wiggins: Um. Joanne Ferrel: Do we want this thing to be able to be found easily? Sheri Wiggins: I think so. What do you Chelsea White: Sure, yeah. Sheri Wiggins: A finding Joanne Ferrel: And Chelsea White: I need Sheri Wiggins: kind Chelsea White: we Sheri Wiggins: of Chelsea White: we need a Sheri Wiggins: device Joanne Ferrel: like Chelsea White: like Sheri Wiggins: or Joanne Ferrel: if Chelsea White: homing Sheri Wiggins: Yeah, Joanne Ferrel: this is Carolyn Farnsworth: Oh Chelsea White: device. Joanne Ferrel: gonna Sheri Wiggins: ho Carolyn Farnsworth: right Joanne Ferrel: get Carolyn Farnsworth: yeah Joanne Ferrel: lost Sheri Wiggins: homing Carolyn Farnsworth: okay. Joanne Ferrel: underneath Sheri Wiggins: device. Joanne Ferrel: the coach, how are we going to accommodate the quick Sheri Wiggins: Mm Joanne Ferrel: ability Sheri Wiggins: 'kay. Joanne Ferrel: to find Carolyn Farnsworth: Tracking. Joanne Ferrel: it? Chelsea White: Because Sheri Wiggins: Okay. Chelsea White: people really are looking for a remote that's more high-tech. Sheri Wiggins: Right. Joanne Ferrel: What if we gave it a charger? And on the charger, just like a phone, like you get a portable phone and it's got a charger, Carolyn Farnsworth: But Joanne Ferrel: and Carolyn Farnsworth: you Joanne Ferrel: if Carolyn Farnsworth: got Joanne Ferrel: you d Carolyn Farnsworth: a base. Joanne Ferrel: leave your phone somewhere, you push the button to find it, and it finds th the phone beeps for you. Chelsea White: Because Joanne Ferrel: It's useful for the remote phone. Sheri Wiggins: Hmm. Chelsea White: Yeah. Sheri Wiggins: Would that add to our costs at all, I wonder? Chelsea White: I would think so, because you'd have to develop a base. Sheri Wiggins: Right. Carolyn Farnsworth: Well, if you have the base, you could start putting in a charger and then you have a different kind of battery. Joanne Ferrel: Yeah. Chelsea White: Hmm. Joanne Ferrel: Rechargeable batteries are cheaper usually. Carolyn Farnsworth: Yeah. Sheri Wiggins: Okay. I I think we can make a decision about that later. Uh we'll still put that as a point that we need to discuss. So that would include battery source Power source rather. Is it going to have a charger, or is it going to be run strictly off batteries? And we also need to deal with the issue you mentioned of speech recognition, if we want Chelsea White: Right. Sheri Wiggins: that. Chelsea White: Do w Carolyn Farnsworth: Well, then we could If we have the speech recognition then we can start aiming at a like another kind of more handicapped disabled uh Sheri Wiggins: Mm. Carolyn Farnsworth: demo demographic. Chelsea White: Well, th there's the people who desire speech recognition, there's the different demog demographics have different desires, I don't know if you guys ge Sheri Wiggins: You could um Chelsea White: It Sheri Wiggins: we Chelsea White: wouldn't Sheri Wiggins: could Chelsea White: copy Sheri Wiggins: hook it up. Chelsea White: onto the Sheri Wiggins: Oh. Chelsea White: the thing 'cause it's black, but all the different age groups have different desires for speech recognition. So basically older people don't really care. It's really the people twenty five to thirty five. I feel those are the people that really watch a lot of T_V_ though. Sheri Wiggins: Mm-hmm. Chelsea White: They're the ones that get addicted to soap operas and Carolyn Farnsworth: Well Sheri Wiggins: And Chelsea White: just Sheri Wiggins: if Chelsea White: sitcoms and stuff. Sheri Wiggins: and if we introduced it when they're this age, they're going to probably always buy a remote Chelsea White: Right. Sheri Wiggins: that has Chelsea White: So Carolyn Farnsworth: Well, then then do you put the voice recognition do you put the r like receiver on the actual television, in the base, or in the actual remote, Sheri Wiggins: Right. Carolyn Farnsworth: whereas if you just speak in general and you don't have to have the remote in your hand and like talk at it. Sheri Wiggins: Yeah. and the speech recognition could be part of the lost and found device, too. If we said, Chelsea White: Right. Sheri Wiggins: find remote, locate remote, or something. A certain phrase then it could beep. I dunno. Just throwing it out there. Chelsea White: Yeah. Sheri Wiggins: Well Carolyn Farnsworth: Still fifteen minutes. Um. Sheri Wiggins: Okay, anything else we wanna discuss? Carolyn Farnsworth: Well, do we wanna include the numbers like zero through nine? Can we conceive of leaving them out? Sheri Wiggins: Um. Chelsea White: Wait, on the remote itself? Carolyn Farnsworth: Yeah, like you have one, two, three, four, five, six, seven, eight, nine, zero. Chelsea White: Well, Sheri Wiggins: How Chelsea White: we definitely need those. Sheri Wiggins: how, yeah, how Joanne Ferrel: Yeah. Sheri Wiggins: would you leave those out? Carolyn Farnsworth: Well, I don't know, I mean, if you can like well I don't Sheri Wiggins: Unless Carolyn Farnsworth: know, Sheri Wiggins: you Carolyn Farnsworth: if Sheri Wiggins: could Carolyn Farnsworth: there's Sheri Wiggins: say Carolyn Farnsworth: just a Sheri Wiggins: the Carolyn Farnsworth: way Sheri Wiggins: channel. Carolyn Farnsworth: of leaving them out? Joanne Ferrel: I think people would find that too foreign. Chelsea White: Yeah. Sheri Wiggins: Yeah, that's true. Chelsea White: You Sheri Wiggins: And Chelsea White: definitely need Sheri Wiggins: also remember that in this day in age we need, you know, like a hundred button, too. I used to have a remote that did not even go up past like fifty. So I couldn't whenever I got cable, I had to get a new T_V_. Joanne Ferrel: It's when we get satellite. Sheri Wiggins: Mm. get your own remote, or digital cable. Joanne Ferrel: Yeah. Sheri Wiggins: 'Kay. Um. I guess, we're gonna discuss the project financing later, making sure that we can fit all of the stuff that we want to on our budget. Um. Joanne Ferrel: Yeah, 'cause I don't have any material pricing information available to Chelsea White at the moment, so Sheri Wiggins: 'Kay. And don't forget we need to include the colour of our company and the logo. Carolyn Farnsworth: The colour Chelsea White: Wait. Carolyn Farnsworth: being yellow? Sheri Wiggins: I'm guessing. Carolyn Farnsworth: And how Chelsea White: I feel Carolyn Farnsworth: do Sheri Wiggins: And Carolyn Farnsworth: we Chelsea White: like Sheri Wiggins: the R_R_. Chelsea White: a ye I feel Joanne Ferrel: R_ Chelsea White: like a Joanne Ferrel: the Chelsea White: yellow Joanne Ferrel: double Chelsea White: one Joanne Ferrel: R_. Chelsea White: would be too garish. Sheri Wiggins: We could just Carolyn Farnsworth: Can't Sheri Wiggins: have the Carolyn Farnsworth: make Sheri Wiggins: logo Carolyn Farnsworth: it entirely Sheri Wiggins: in yellow, or maybe a Joanne Ferrel: Or Sheri Wiggins: yellow Joanne Ferrel: is the Sheri Wiggins: light Joanne Ferrel: l Sheri Wiggins: for the keys. Chelsea White: Or put like stripes, oh yeah, yellow Joanne Ferrel: Yeah, Chelsea White: lights. Joanne Ferrel: yellow could be and it could doesn't have to be huge. Chelsea White: Yeah. Carolyn Farnsworth: Well if you have like a Hang on. If you have this sort of strip kind of down at the bottom the base of it, just like yellow with the R_R_. Sheri Wiggins: Right. So we've simplified, we don't need all those um play, fast-forward, rewind, Carolyn Farnsworth: Right, yeah. Chelsea White: Yeah. Sheri Wiggins: or no menu buttons. So we've pretty much pared it down to on-off, volume, mute, channel up and down, um the numbers Yeah. Chelsea White: Yeah. Sheri Wiggins: Um can we go back to I'm gonna look really quickly back at those Carolyn Farnsworth: Two examples. Sheri Wiggins: examples Carolyn Farnsworth: Yeah. Sheri Wiggins: and see if there is anything. Which one is yours, technical functions Carolyn Farnsworth: Oh, it's Sheri Wiggins: or Carolyn Farnsworth: a Sheri Wiggins: functional Carolyn Farnsworth: Yeah. Sheri Wiggins: requirement? Okay. Chelsea White: Yeah, audi audio settings and screen settings, we need those like audio settings mono, stereo, pitch, screen settings like brightness, colour, or do we just want that accessed accessed from the television Sheri Wiggins: The T_V_. Chelsea White: itself? Sheri Wiggins: I think that that's fine just for the T_V_. I mean how often does the average user need to do that kind of stuff? Carolyn Farnsworth: Well, the other option is sort of like down at the bottom, like farther away, you just have this sort of box inset where it's like the buttons that you don't use as much, but Sheri Wiggins: Hmm. Carolyn Farnsworth: occasionally you will use. Chelsea White: Yeah, 'cause Carolyn Farnsworth: and Chelsea White: we need Carolyn Farnsworth: so Chelsea White: to Carolyn Farnsworth: it's like Chelsea White: we definitely need to have buttons for like sub-titles and things like that. It's 'cause the foreign film market is expanding and stuff, and like on television like I know f k living in Los Angeles it's tons of Spanish network television if it has English sub-titles it's definitely helpful. Sheri Wiggins: Couldn't we do that all through one button, something, Carolyn Farnsworth: I don't well, Sheri Wiggins: a menu Carolyn Farnsworth: I don't know. Sheri Wiggins: button, that pops up with a menu on the T_V_ that says, you know, audio, video, whatever, language, you know? Carolyn Farnsworth: Right. Chelsea White: So we need up, down, and side-to-side buttons. Carolyn Farnsworth: Well, that Sheri Wiggins: For Carolyn Farnsworth: could be Sheri Wiggins: the menus. Carolyn Farnsworth: No you could just double up with like the channel or the volume buttons. Joanne Ferrel: Mm-hmm. Sheri Wiggins: That's true. Chelsea White: Yeah, Carolyn Farnsworth: Channel Chelsea White: okay. Carolyn Farnsworth: is just up and down. Chelsea White: Okay, yeah. Carolyn Farnsworth: And then add a Sheri Wiggins: Something that Chelsea White: Such as, yeah, the Sheri Wiggins: looks Chelsea White: one Sheri Wiggins: mayb you know. Chelsea White: the one over there on the left the engineering Sheri Wiggins: Y Chelsea White: centred Sheri Wiggins: right, Chelsea White: one. Sheri Wiggins: right Carolyn Farnsworth: Yeah. Sheri Wiggins: right right. That one? Carolyn Farnsworth: So we just have it like add a menu button then for the various things needed, Sheri Wiggins: Right. Carolyn Farnsworth: including v Sheri Wiggins: In Carolyn Farnsworth: voice Sheri Wiggins: the middle Carolyn Farnsworth: recognition if we have Sheri Wiggins: perhaps. Carolyn Farnsworth: any like settings for voice recognition now included in the menu. Sheri Wiggins: Yep. Chelsea White: Ooh, I just got an idea for a design. Sheri Wiggins: good. Sheri Wiggins: Anybody have anything else they'd like to bring up in this meeting? Joanne Ferrel: I had something, but I forgot. Sheri Wiggins: Okay. get out of here. Let's go back to the meeting closure then and see what we need to do next. Mm. Alright. After this meeting we're gonna be sent a questionnaire and summary again which we need to reply to that e-mail. And then we're gonna have lunch break. And after lunch thirty minutes of individual work time. Um I'm gonna put the minutes I put the minutes for the first meeting already in the project documents folder, if you'd like to review them. And I'm gonna type up the minutes for this one as well. Um here's what we're each going to do. The I_D_ is going to work on the components concept, um U_I_D_ the user interface concept, and you're going to do some trend watching. 'Kay. Specific instructions will be sent to you by your personal coach. And if anybody has anything they would like to add? No? Okay, well, this meeting is officially over. Thank you all.

Carolyn Farnsworth presented the basic functions of the device and discussed the designs of two existing products, showing an example of the simple design that the group wants to implement. Chelsea White presented feedback from users, showing that users want a simple but fancy-looking remote control and that young users want speech recognition. She discussed including only the most basic functions in the interface. Joanne Ferrel presented her internal design of the device and discussed the processor chip and the energy sources that will be integrated. She suggested integrating an extra lightbulb that lit up when the remote was communicating with the television. Sheri Wiggins gave the group new requirements for the product design. The group discussed marketing the product to a wide range of customers. They had a discussion about possibly including a locator function and speech recognition. They discussed integrating the company's yellow color and logo into the design, and decreasing the number of buttons in the main interface. Sheri Wiggins instructed Joanne Ferrel to prepare the components concept, Carolyn Farnsworth to prepare the interface concept, and Chelsea White to prepare a trendwatching report.

amisum

train

Becky Babbitt: Hi everyone, hope you had a nice lunch Um. Alright we're moving on to conceptual design. Glenda Cherry: 'Scuse Margaret Flanders. Margaret Flanders: Bless you. Becky Babbitt: Um, I'll just review what we did in our last meeting. Um, under marketing we targeted our audience, and Um, yeah. That was generally how helpful that was. Um, then we considered some design options with how it should look, um, we discussed an iPod-like button system which, uh, we haven't concluded but we're Right, um So if, you all have presentations to do, we can see what where you've come from our last time. Does everyone have Karen Coletti: Hmm. Becky Babbitt: presentations? Margaret Flanders: Yeah. Glenda Cherry: Yes. Becky Babbitt: Okay. Karen Coletti: Yes. Becky Babbitt: Would anybody like to go first? Karen Coletti: Sure. Becky Babbitt: Okay. Karen Coletti: So I've been looking at the components design. Um. Mostly by consulting remote control diagrams from the internet and also by incorporating design ideas from the last project meeting. Um, so we need some custom design parts, and other parts we'll just use standard. Um, I assume we'll be custom designing our case, probably a hard plastic or some other material case, to protect the remote and the locator. And we'll need to custom desi design a circuit board, because the board has to take the button input and send it to the output so you have to design that each time. But once we come up with a design we'll send it to the circuit people and they'll just print it out. Um, standard parts include the buttons and the wheels, um the iPod-style wheel. The infrared L_E_D_ is actually gonna be included in the circuit board that comes with it. Um, we need a radio sender and receiver, those are standard. And al we also need a beeper or buzzer or other sort of noise thing for locating the remote. So we have some material options. Um, we can use rubber, plastic, wood or titanium. Um, I'd recommend against titanium because it can only be used in the flat cases and it's really heavy. Um, and the rubber case requires rubber buttons, so if we definitely want plastic buttons, we shouldn't have a rubber case. Becky Babbitt: And Karen Coletti: And, Becky Babbitt: why not wood? Karen Coletti: hmm? Becky Babbitt: And why not wood? Karen Coletti: Uh, well we can use wood. I don't know why we'd want to. Um and also we should note that if we want an iPod-style wheel button, it's gonna require a m qu slightly more expensive chip. We can't use the minimal chip, we need the next higher grade, which is called regular. I don't think it's much more expensive, but it is more expensive. So that's what I've got on design. Becky Babbitt: 'S good. Margaret Flanders: Um, can I do next? 'Cause I have to say something about the Becky Babbitt: Hmm. Margaret Flanders: material Glenda Cherry: Yeah. Margaret Flanders: which is quite shocking. Margaret Flanders: Ha. Mm. Margaret Flanders: Right, um, I have been searching the current trends, um, both on the web and via fashion-watchers, and the findings are that the first thing to aim for is a fashion uh, fancy look and feel. Um. Next comes technologic technology and the innovations to do with that. And th last thing is the easy to use um factor Um. fancy look and feel goes far beyond the functionality of the thing, but I suppose that is included in in the ease of use. Um, our fashion-watchers in Milan and Paris have decided, well noticed, that f the fruit and vegetable theme is the is the current trend and and therefore um we need to go for that if we want, you know, wh whatever our motto is. Um. For fashion, Becky Babbitt: Mm. Margaret Flanders: we go for fashion. The fashion in electronics. So we want to put the fashion electronics, we need to go fruit and vegetables. And also go for a spongy feel, so the the question of our technology whate is Industrial Designer. As to the material should be limited to I don't know how spongy it can be, should discuss this together, I don't know how spongy can be achieved but apparently that's the way to go. Um. I I have been thinking about this fruit and vegetable thing and I prefer fruits to vegetables, but that's just a personal opinion. I think I think people like to have a fruit instead of a vegetables in their sitting room. Uh those are just suggestions and also we need to decide whether this should be printed, so that still has to do with the material discuss should we print the fruit stuff, or should the actual remote look like a fruit? Um, and finally again with the spongy. It has to be technologically innovative so maybe again our Industrial Designer should look into that or find come up with a solution that's better than mine. Um, yeah, to summarise these are the points that need to be um, touched in order to get a good decision, and hopefully our User Interface has more to say about the matter. Glenda Cherry: Mm-hmm. Margaret Flanders: Thank you for your attention. Glenda Cherry: So. Becky Babbitt: I think it's the next Glenda Cherry: Oh, Becky Babbitt: it's Glenda Cherry: uh, Becky Babbitt: the blue one, Glenda Cherry: there Becky Babbitt: yeah. Glenda Cherry: we go. Uh. Okay. Um. Well so that fruit and vegetables thing huh. I actually wasn't aware of the new trends in electronics and Margaret Flanders: Neither was I. Well Glenda Cherry: and Margaret Flanders: it's Glenda Cherry: uh Margaret Flanders: a trend in fashion, in clothing and um Becky Babbitt: Yeah but Margaret Flanders: fabrics. Becky Babbitt: you're not gonna wear your remote control. Glenda Cherry: So so okay, let Margaret Flanders get this right. Okay, uh Okay, alright anyway. Um here we go. Conceptual User Interface. Trying we're gonna to about, um what kind of uh how people are actually going to be using this iPod-ish remote control, based on fruit vegetable design. And, um, basically, so, this is a touched ba a touch-based graphical interface system. Uh, so people are going to be looking at this little screen. Um, kind of I mean I assume, are we still on the screen idea? Becky Babbitt: Oh we s hadn't discussed it last Glenda Cherry: 'Cause if Becky Babbitt: time. Glenda Cherry: we're gonna have to ha if we have this it just seems like in order to have someone going around and using the um the wheel Becky Babbitt: You need a screen Glenda Cherry: you Becky Babbitt: for Glenda Cherry: it seems Becky Babbitt: it? Glenda Cherry: like you would need a screen. Karen Coletti: You need a screen with music because you're looking for a specific song, like you know that band or whatever. Glenda Cherry: But like if you Karen Coletti: With Glenda Cherry: think Karen Coletti: T_V_ Glenda Cherry: about Karen Coletti: channels Glenda Cherry: it Karen Coletti: it's, you know, one two three. Glenda Cherry: yeah Karen Coletti: So Glenda Cherry: but if so is it just okay. So, b you you're gonna have to switch to like D_V_D_ and like other things like that, aren't Becky Babbitt: We're, Glenda Cherry: you? Becky Babbitt: um, we're Glenda Cherry: Are Becky Babbitt: actually Glenda Cherry: we Becky Babbitt: not having D_V_D_, that was Karen Coletti: Yeah. Becky Babbitt: one of th I Glenda Cherry: Okay. Becky Babbitt: I was sorry, I I Glenda Cherry: Alright. Becky Babbitt: meant to update you on that. Glenda Cherry: Okay. Becky Babbitt: Um. Margaret Flanders: But the screen can come up on the telly, the Glenda Cherry: Okay. Margaret Flanders: she said. That Glenda Cherry: Okay. Karen Coletti: Yeah. Margaret Flanders: correct? Glenda Cherry: So anyway if well we just we need to Okay so if we're not gonna have a screen I think I was thinking okay. So basically it's just gonna be a wheel then? And you're just gonna I mean I think you're gonna have to have some kind of a Margaret Flanders: Graphical Glenda Cherry: right. Margaret Flanders: interface? Glenda Cherry: Yeah Margaret Flanders: Uh Glenda Cherry: like you're Margaret Flanders: on Glenda Cherry: g Margaret Flanders: the you can have it on the telly though. Glenda Cherry: yeah Becky Babbitt: Yeah. Glenda Cherry: like you're gonna have to be able to switch to like a mode where you can okay we're not choosing that, I guess. But like choose channel control, like if you wa Because people aren't gonna be able to have like, um, you know, channels one two three four five six seven eight nine. Becky Babbitt: Yeah. Glenda Cherry: So that people seems to be Becky Babbitt: You've Yeah, Glenda Cherry: well Becky Babbitt: I know what you're saying, Glenda Cherry: You know. Becky Babbitt: you have Glenda Cherry: But Becky Babbitt: to Glenda Cherry: you're gonna have to scroll to get channels. So um I guess that's wh why I was thinking you may need to have some kind of a screen because So that people can go arou go back and forth and choose if or or then again if you just I guess I c I can see like some kind of a thing where like you sort of have like the number come up on the T_V_ Margaret Flanders: Yeah, Glenda Cherry: like what channel you're on. Margaret Flanders: yeah, Glenda Cherry: You can Karen Coletti: Yeah. Glenda Cherry: just Margaret Flanders: yeah. Glenda Cherry: scroll and Margaret Flanders: Yeah, Glenda Cherry: you can just get Margaret Flanders: yeah. Glenda Cherry: to like five or like twelve or Becky Babbitt: But Karen Coletti: My flatmates Becky Babbitt: but imagine Karen Coletti: actually Becky Babbitt: someone Karen Coletti: had Becky Babbitt: with Karen Coletti: one with Becky Babbitt: s Karen Coletti: a wheel, and it it did show up Glenda Cherry: I Karen Coletti: on the T_V_. Glenda Cherry: oh yeah? Becky Babbitt: But i what if you have satellite and you have like two hundred channels. Then to Glenda Cherry: 'Cause Becky Babbitt: get to channel Glenda Cherry: you'll Becky Babbitt: one Glenda Cherry: have Becky Babbitt: eighty Margaret Flanders: Yeah. Glenda Cherry: to Becky Babbitt: nine Glenda Cherry: like Becky Babbitt: you have to Karen Coletti: They have to Glenda Cherry: but Karen Coletti: r Glenda Cherry: you can Karen Coletti: wheel Glenda Cherry: quickly Karen Coletti: really fast. Becky Babbitt: Yeah. Glenda Cherry: s you can Karen Coletti: But I think the wheel goes through like a hundred Glenda Cherry: Yeah. Margaret Flanders: Yeah, Karen Coletti: channels, Margaret Flanders: yeah, yeah. Karen Coletti: at least on theirs. Glenda Cherry: Yeah if you do, it w so it would have to be you I mean so you basically just kinda need to figure out like what kind of, you know, range we need to have on the wheel, and um So you're either you're you know, th you're either doing this motion to like control the channels or like once once you stop that, you know, you can like tap for, um, Becky Babbitt: Yeah. Glenda Cherry: different uh, whatchamacallits, different um, you know, functions like volume or, like you can tap just to get to different channels. Like if you just wanted to go to like from five to six you could tap or someth Becky Babbitt: Right. Glenda Cherry: And then there's also the concern about you know um how do you get to the menu if you wanna change the brightness of your television, or if you want to um you know switch around, I don't know, like, these different modes like turn on the timer or like Becky Babbitt: Yeah Glenda Cherry: something something like that, like Becky Babbitt: I mean with that many options, you'd uh I'd think that the screen would be better, because Glenda Cherry: I would think Becky Babbitt: you Glenda Cherry: so Becky Babbitt: could have Glenda Cherry: too, Becky Babbitt: that Glenda Cherry: like Becky Babbitt: menu option, sort of Glenda Cherry: So I mean and it seems it w it does seem a little silly to have this screen if you hardly are ever using it, you know, because Becky Babbitt: Yeah. Glenda Cherry: but then again it would it does make kind of if the screen's sort of just like an option that, like, is just there and you're not really using it, that's kind of Becky Babbitt: Yeah. Karen Coletti: It's Glenda Cherry: m Karen Coletti: more expensive Glenda Cherry: yeah. Karen Coletti: according to the design Becky Babbitt: Uh. Karen Coletti: people. Glenda Cherry: Yeah, that's the only Karen Coletti: You have Glenda Cherry: thing Karen Coletti: to Glenda Cherry: though. Karen Coletti: get a an advanced chip if you wanna have a screen in, which is more expensive than the regular chip, which is more expensive than the Glenda Cherry: Yeah. Karen Coletti: minimal. Glenda Cherry: So then basically Becky Babbitt: Mm. Glenda Cherry: it has to have some way to get to get to a mode on the television where you're doing, um You can get to you know, you can Like maybe it'll be that central button Margaret Flanders: Yeah, Glenda Cherry: that, Margaret Flanders: yeah, Glenda Cherry: like, Margaret Flanders: yeah. Karen Coletti: Mm-hmm. Glenda Cherry: then Becky Babbitt: Mm. Glenda Cherry: you hit that and then you can it brings up like the menu on the T_V_ Margaret Flanders: Yeah. Glenda Cherry: and you can just Becky Babbitt: Yeah. Glenda Cherry: scroll around, Becky Babbitt: So Glenda Cherry: like, Becky Babbitt: the T_V_ Glenda Cherry: to do Becky Babbitt: is Glenda Cherry: the timer, Becky Babbitt: the screen, Glenda Cherry: to do the Becky Babbitt: that Glenda Cherry: yeah, Becky Babbitt: yeah Glenda Cherry: yeah. Becky Babbitt: So it would have all these different options Glenda Cherry: Yeah. Becky Babbitt: of changing Glenda Cherry: But the remote Becky Babbitt: to Glenda Cherry: itself isn't really Margaret Flanders: Look Glenda Cherry: cluttered Margaret Flanders: it even Glenda Cherry: up. Margaret Flanders: has settings. Becky Babbitt: Okay. Glenda Cherry: Hmm? Margaret Flanders: On the Becky Babbitt: Yeah. Margaret Flanders: you can just Glenda Cherry: Yeah, Margaret Flanders: take theirs Becky Babbitt: Yeah. Glenda Cherry: well we Margaret Flanders: and Glenda Cherry: don't want the Margaret Flanders: just Glenda Cherry: screen I guess, but um 'cause that just it does seem like, it that would be, like, incredibly expensive, but I dunno, and then so, it just im really all you need is, like, this little wheel then, and you can control everything. So Becky Babbitt: Um, right. What if I mean, if you're thinking of the design of it now, like the a you know, physical attributes, Glenda Cherry: Yeah. Becky Babbitt: um, and you just have this, it's like just a long silver thing, or whatever we're thinking. I mean are you you gonna have any buttons on that besides power and this thing? Or Glenda Cherry: It doesn't seem that you would need anything besides pow I mean and the power button could even be like hold down the menu button for like Becky Babbitt: Yeah. Glenda Cherry: longer than one second and it turns on the T_V_. Becky Babbitt: So can we imagine that this would be smaller than the remote controls that you showed us before. I Glenda Cherry: Yeah. Becky Babbitt: mean Glenda Cherry: Yeah definitely. Like, Becky Babbitt: okay. Glenda Cherry: I think we're looking at something that could be, like like even maybe like a cir I'm f I'm seeing almost like a circular sort of like handheld like thing. Margaret Flanders: Yeah Glenda Cherry: I mean Margaret Flanders: but Glenda Cherry: it Margaret Flanders: should Becky Babbitt: Yeah. Margaret Flanders: be Glenda Cherry: it Karen Coletti: Yeah. Margaret Flanders: comfortable. Glenda Cherry: needs to be easy Becky Babbitt: Yeah. Glenda Cherry: to somehow it needs to be easy to like manipulate and use your Becky Babbitt: Yeah. Glenda Cherry: I mean how do how do I'm not really Like when I use an iPod, I end up just kind of using my index finger to like control it. Becky Babbitt: Yeah, I've Glenda Cherry: So Becky Babbitt: seen some people just going like that Glenda Cherry: Yeah. Becky Babbitt: with their Margaret Flanders: Yeah Becky Babbitt: thumb, Glenda Cherry: Or your thumb Margaret Flanders: I use Becky Babbitt: yeah. Glenda Cherry: or something. Margaret Flanders: it like that. Karen Coletti: W Glenda Cherry: So Karen Coletti: when we had the wheely remote control, we it was on the top I think, if you held it like that. Becky Babbitt: Yeah. Glenda Cherry: Yeah. Margaret Flanders: Yeah. Glenda Cherry: Yeah, Becky Babbitt: But, Glenda Cherry: so Becky Babbitt: were there buttons on there as well? Karen Coletti: Yeah well it had the wheely thing and then it had those eighteen different buttons Becky Babbitt: Mm. Karen Coletti: that I don't know what they do. Becky Babbitt: Yeah. Glenda Cherry: Mm Karen Coletti: So Glenda Cherry: yeah. Karen Coletti: we just used the top part. Becky Babbitt: Yeah. Glenda Cherry: Yeah, Margaret Flanders: Uh. Glenda Cherry: so but I mean I think it could be pretty small. Like, I d I mean, you you want it to be large enough that you can Becky Babbitt: What if, um, you had like a b a cover that went over buttons that you don't use very much? Like you so you could slide it up if you needed to like change the contrast or something like that? So the options are there but they're not in interfering with the design and the practicality of it. Glenda Cherry: But can't you just Becky Babbitt: Do do Glenda Cherry: get Becky Babbitt: you know what I'm talking Karen Coletti: Yeah. Becky Babbitt: about though? Like, uh, yeah just Karen Coletti: Yeah Becky Babbitt: something Karen Coletti: like Glenda Cherry: K Karen Coletti: maybe something on the side Margaret Flanders: Well you Karen Coletti: where Margaret Flanders: can Karen Coletti: you Margaret Flanders: have it on Becky Babbitt: Yeah, Margaret Flanders: the settings, Karen Coletti: slip a Becky Babbitt: that Karen Coletti: panel Becky Babbitt: you can flip Karen Coletti: down Margaret Flanders: no? Karen Coletti: and it's Becky Babbitt: over, Karen Coletti: got a Becky Babbitt: yeah, Karen Coletti: whole Glenda Cherry: Yeah, Karen Coletti: bunch of Becky Babbitt: yeah. Glenda Cherry: But, I mean, do you need that? If if you can get to, you know if so long as you're able to bring up the menu on the T_V_ screen. Becky Babbitt: Yeah I mean I guess Karen Coletti: Yeah. Becky Babbitt: that's the Glenda Cherry: That Becky Babbitt: thing Glenda Cherry: keeps Becky Babbitt: is Glenda Cherry: it Becky Babbitt: is if w I Glenda Cherry: really Becky Babbitt: if we can do this, that'd probably Glenda Cherry: Yeah. Becky Babbitt: be Glenda Cherry: Uh you wouldn't I don't I just don't think you would even need it. Becky Babbitt: Yeah, yeah. Glenda Cherry: So Becky Babbitt: So I Glenda Cherry: Mean Becky Babbitt: guess we have to look into the, um, like, the programming, how this how they actually programme these things, Karen Coletti: Oh Becky Babbitt: and if Karen Coletti: how they Becky Babbitt: that's Karen Coletti: make the menu show up on Becky Babbitt: yeah. Karen Coletti: the T_V_? Glenda Cherry: I mean Karen Coletti: I Glenda Cherry: you can Karen Coletti: don't Glenda Cherry: do Becky Babbitt: I Karen Coletti: know. Glenda Cherry: it, Becky Babbitt: mean Margaret Flanders: They already Becky Babbitt: it would Margaret Flanders: do Becky Babbitt: y Margaret Flanders: it. Becky Babbitt: would Glenda Cherry: you it's Karen Coletti: I Glenda Cherry: it Karen Coletti: believe Glenda Cherry: doesn't Becky Babbitt: that Karen Coletti: it's Glenda Cherry: seem Becky Babbitt: would Karen Coletti: ins Glenda Cherry: that Becky Babbitt: be Glenda Cherry: hard. Karen Coletti: it's gotta be inside the T_V_, not inside the remote. Glenda Cherry: I mean I've never bought Karen Coletti: I'm Glenda Cherry: a Karen Coletti: not Glenda Cherry: remote. Karen Coletti: sure. Glenda Cherry: It sounds like this remote's going to be purchased separately from the television, which Karen Coletti: Well Glenda Cherry: is a little Karen Coletti: they usually are. Well Glenda Cherry: My I've never bought just a remote, like, so Margaret Flanders: No. Glenda Cherry: I don't I don't really Becky Babbitt: Huh. Glenda Cherry: know. But um Karen Coletti: I guess that's right. It always comes with the T_V_. Glenda Cherry: So, um but I mean it's I've never had a hard time with like my remotes, like bringing up the menu screen if you need to like change the date or whatever, you know. And I don't think that should uh that should be too hard. Karen Coletti: Yeah, it most of the ones we've had have had the menu button, 'cause it's not like you need to have a button access to like change the contrast or something. Glenda Cherry: Yeah. Karen Coletti: 'Cause it just doesn't come up every day or something. Glenda Cherry: Yeah. Well so So, do we need I dunno. Well I guess we have to you know think about But I mean you just basically need the output signal Karen Coletti: Mm-hmm. Glenda Cherry: you know to Becky Babbitt: Yeah. Glenda Cherry: be able to bring it up. Becky Babbitt: Okay. Glenda Cherry: That's what it does anyway. Margaret Flanders: But also if you have it on the screen you can actually write everything out, because the problem with buttons is you like, they have these sort of abbreviations and Glenda Cherry: Yeah. Karen Coletti: Yeah. Margaret Flanders: codes Becky Babbitt: Yeah, Margaret Flanders: that you're supposed Becky Babbitt: you Margaret Flanders: to understand, Becky Babbitt: don't know they mean, Margaret Flanders: and Becky Babbitt: yeah, Margaret Flanders: I never Becky Babbitt: it's Margaret Flanders: get Becky Babbitt: like Margaret Flanders: it. Glenda Cherry: Yeah. Margaret Flanders: Never Becky Babbitt: yeah. Margaret Flanders: ever. So Glenda Cherry: So, but oh, you mean if we have this screen like the iPod screen? Margaret Flanders: Well on the telly. Karen Coletti: Or on the T_V_ Glenda Cherry: On the Karen Coletti: too. Glenda Cherry: telly, okay, yeah. So yeah I think, I mean, I think I think the touch-based graphical interface is a really uh cool idea because you know it is so obnoxious to like have to push those like okay now I hit this you know, you have your little guide out and you're like, hit this button twice, like Becky Babbitt: Mm. Glenda Cherry: to Margaret Flanders: Mm. Becky Babbitt: And it is technologically Glenda Cherry: activate the date. Becky Babbitt: innovative in a way, so Glenda Cherry: Yeah. Becky Babbitt: that Glenda Cherry: I guess. Becky Babbitt: fits with the Glenda Cherry: And it is trendy, Becky Babbitt: B Glenda Cherry: the iPods are Becky Babbitt: Yeah. Glenda Cherry: really hot right now, Margaret Flanders: Did you Glenda Cherry: so Margaret Flanders: did you get that pc picture on did they provide you with that picture Glenda Cherry: Um, Margaret Flanders: on the web? Glenda Cherry: yeah, by web research, yeah, so Margaret Flanders: That's quite interesting. What are we going to do about this vegetable thing that I'm dreading? Becky Babbitt: Oh Glenda Cherry: Oh. Becky Babbitt: god. Karen Coletti: Oh, I was gonna say. You said uh people want spongy. Um, Margaret Flanders: Yeah. Glenda Cherry: Yeah. Karen Coletti: one of your one of the material options is a sort of rubber that's in like those stress ball things. So, Glenda Cherry: Oh, okay, that Margaret Flanders: Yeah. Glenda Cherry: would Becky Babbitt: Ah. Glenda Cherry: be cool. Karen Coletti: that would be spongy. Becky Babbitt: Yeah. Margaret Flanders: Yeah. Glenda Cherry: Mm. Margaret Flanders: Just nice feel, but I hate spongy. Glenda Cherry: Yeah, c Becky Babbitt: Yeah. Glenda Cherry: that's e that would be kind of oh, you know, usually like the touch pad things are kind of a hard plastic typ mouse type, Becky Babbitt: Yeah. Glenda Cherry: you know, thing. But what if Becky Babbitt: I Glenda Cherry: we Becky Babbitt: mean Glenda Cherry: ha Becky Babbitt: definitely the area Glenda Cherry: what if Becky Babbitt: round Glenda Cherry: we had like Becky Babbitt: it. Glenda Cherry: a spongy sort of like stress balley kinda so you're like Karen Coletti: Yeah I think it could work. Glenda Cherry: Or what Becky Babbitt: Yeah. Glenda Cherry: if we integrated the the uh the f what if the whole thing about the fruit and vegetables we somehow made it tactilely fash you know, we c tapped into that, so like it feels like Margaret Flanders: Well Glenda Cherry: a vegetable. Margaret Flanders: it could be Becky Babbitt: An Margaret Flanders: like Becky Babbitt: orange. Karen Coletti: Don't think Margaret Flanders: mobiles Karen Coletti: I'd want it to feel Margaret Flanders: that just Karen Coletti: like a banana. Margaret Flanders: you just put a cover. Glenda Cherry: Yeah. Margaret Flanders: If it's a small thing, you c instead of creating an object for it that looks like a banana, which frankly I'm not particularly fond of, um you could just have covers and then your mobile f it's like a mobile phone thing. You know you Glenda Cherry: Yeah. Margaret Flanders: had Becky Babbitt: Yeah. Margaret Flanders: there was a time when they had all these different covers Glenda Cherry: Yeah. Karen Coletti: You Margaret Flanders: for Karen Coletti: could Margaret Flanders: mobiles. Karen Coletti: do like the computers where they have like the grapefruit, apple machine and they have like the blueberry, Margaret Flanders: Yeah, Karen Coletti: like all Margaret Flanders: yeah, Becky Babbitt: Yeah. Karen Coletti: the colours Margaret Flanders: yeah. Karen Coletti: are named after fruits. Glenda Cherry: Yeah. Becky Babbitt: Yeah. Margaret Flanders: Yeah. Glenda Cherry: You could name it after fruits and vegetables, Margaret Flanders: And Glenda Cherry: or Margaret Flanders: it could the colour can fit your sitting room, so if you have red sitting room you can have strawberry, and then if you have a green one you can have well I don't know. Glenda Cherry: Yeah. Margaret Flanders: Um. Becky Babbitt: So Glenda Cherry: So Becky Babbitt: what Glenda Cherry: I think Becky Babbitt: if what Glenda Cherry: yeah, colours. Becky Babbitt: this is I'm just forming this idea in my head of how this thing is looking. If you have like that stress ball material kind of as what you're actually holding in your hand, so like what you're feeling is comfortable, and then there's more of a hard plastic thing Margaret Flanders: Yeah. Becky Babbitt: where that thing is. Glenda Cherry: Yeah. Becky Babbitt: And on that hard plastic thing you can change either the colour or the fruit or vegetable that's on there. Glenda Cherry: Yeah. Becky Babbitt: Is that kind of I 'cause I I'm thinking of silver because those are our company colours. Glenda Cherry: Yeah. Becky Babbitt: Um Glenda Cherry: Unfortunately they don't have silver fruits and vegetables. I do I dunno. Um Becky Babbitt: I mean how are you how are you all envisioning by what we've just the feedback we've just got about the Margaret Flanders: Maybe a ball. Becky Babbitt: A ball? Margaret Flanders: Know, a squashy ball. A relaxing squashy ball. Glenda Cherry: That's in the shape of a fruit, like a Margaret Flanders: That you can p well I see you're thinking, it's weird, you're thinking the opposite of Margaret Flanders 'cause you're thinking you change the the hard bit Becky Babbitt: Yeah. Margaret Flanders: and I'm thinking how do you change the hard would you put a um sticker sort of? Because I was thinking if you have a cover for the squashy bit, like a Becky Babbitt: This is just Okay. Margaret Flanders: Oh, Becky Babbitt: Say Margaret Flanders: okay, Becky Babbitt: that's the s say that's Margaret Flanders: yeah. Becky Babbitt: the squashy bit. Squashy. Margaret Flanders: Yeah I was thinking of getting a cover for Becky Babbitt: That see I was thinking Margaret Flanders: Which is Becky Babbitt: this Margaret Flanders: cheaper. Becky Babbitt: s sorry Margaret Flanders: Well I don't know if it's cheaper Becky Babbitt: I was Karen Coletti: Oh. Becky Babbitt: thinking Margaret Flanders: actually. Karen Coletti: Mm. Becky Babbitt: this bit here would be the cover and like that's your actual Glenda Cherry: Yeah. Becky Babbitt: thing. And like this Glenda Cherry: Oh I like Becky Babbitt: you Glenda Cherry: that Becky Babbitt: could have Glenda Cherry: shape. Becky Babbitt: like you could have like cherries and Glenda Cherry: Yeah. Becky Babbitt: things around there. Um Karen Coletti: I was thinking Becky Babbitt: but Karen Coletti: sort of a single ball shape. Becky Babbitt: I Glenda Cherry: Yeah. Becky Babbitt: was thinking if Karen Coletti: So Becky Babbitt: it Karen Coletti: you're Becky Babbitt: was Karen Coletti: holding Becky Babbitt: like this Karen Coletti: a Becky Babbitt: 'cause Karen Coletti: squishy Becky Babbitt: the way Karen Coletti: ball Becky Babbitt: you were Karen Coletti: and Becky Babbitt: describing Karen Coletti: then it has a Becky Babbitt: the the iPod and the thi the roll thingy Glenda Cherry: It's like it Karen Coletti: Mm-hmm. Glenda Cherry: has to be s yeah. Becky Babbitt: It's almost like your thumb is farther up, Karen Coletti: Yeah I guess so. Becky Babbitt: it lower Glenda Cherry: Yeah. Becky Babbitt: then Margaret Flanders: Yeah. So it wouldn't be very big in either like how big? This big, and then you just do that, Glenda Cherry: What Becky Babbitt: Yeah, Glenda Cherry: if, yeah, Becky Babbitt: I Margaret Flanders: I Becky Babbitt: know Margaret Flanders: suppose. Becky Babbitt: what Glenda Cherry: what Becky Babbitt: you Glenda Cherry: if Becky Babbitt: meant, Glenda Cherry: the squishy, Becky Babbitt: yeah. Glenda Cherry: oh so so you're saying the squishy part's like detachable, and you can so so maybe one you know you can have like the broccoli squishy thing, and then you could have like the banana squishy thing and you could get you could have your choice, you know? Margaret Flanders: Well just a li I can't des like condom thingy, like a a cover. But well the question is, which one's easiest to change can just Becky Babbitt: Yeah. Margaret Flanders: contact our relevant department for that, and Glenda Cherry: Yeah. Margaret Flanders: just see what the cost is for covering that or covering Glenda Cherry: Yeah, Margaret Flanders: that, Glenda Cherry: yeah. Becky Babbitt: Mm. Margaret Flanders: and for now we can do two prototypes maybe and then Glenda Cherry: Yeah. Margaret Flanders: hi try and ask users Becky Babbitt: Okay. Margaret Flanders: what the best is, and Becky Babbitt: Yeah. Glenda Cherry: Yeah. Margaret Flanders: No. Becky Babbitt: Okay. Glenda Cherry: Oh. Margaret Flanders: Um. That's nicer. I think it's Glenda Cherry: Yeah. Margaret Flanders: nicer to have a drawing 'cause it's neater. Becky Babbitt: Hmm. Margaret Flanders: Um. Becky Babbitt: Well that's not very neat, but Glenda Cherry: Yeah. I mean I think uh and I think the handhe I think the handheld part is definitely So you could make that into the fruit and vegetable part. Margaret Flanders: If it's a bit like those juggling balls, you can change shape according to your to the way you hold Karen Coletti: Yeah Margaret Flanders: it. Becky Babbitt: Mm-hmm. Margaret Flanders: If Karen Coletti: you could Margaret Flanders: it's Karen Coletti: squish Margaret Flanders: got sand Karen Coletti: it. Margaret Flanders: in it maybe, or something, Becky Babbitt: Yeah. Margaret Flanders: you it it just moulds to your hand. Glenda Cherry: Yeah. So where are the fruit and vegetables now? Margaret Flanders: We Glenda Cherry: Fruits Margaret Flanders: we don't Glenda Cherry: and veg. Karen Coletti: I Margaret Flanders: know. Karen Coletti: guess they would be either in the colour of that plastic Glenda Cherry: Yeah. Karen Coletti: face on Becky Babbitt: Yeah. Karen Coletti: the front, or in the colour of the squishy thing underneath. Margaret Flanders: Yeah. Glenda Cherry: Yeah. Margaret Flanders: And the rest is the company the company colour's silver? Becky Babbitt: It was, yeah, silver and yellow. It l it looks like I don't Glenda Cherry: We could Margaret Flanders: Okay. Glenda Cherry: promote the banana one. Becky Babbitt: Yeah. Glenda Cherry: Like mm. Becky Babbitt: I mean that's another question, where are we gonna we we should have the logo somewhere on it. Glenda Cherry: Mm. Margaret Flanders: Mm-hmm. Should also fit the batteries, which we haven't Glenda Cherry: Oh Becky Babbitt: Yeah. Glenda Cherry: yeah. Karen Coletti: I think the batteries would have to go right under the plastic Becky Babbitt: Yeah, Karen Coletti: case. Glenda Cherry: Yeah. Becky Babbitt: th and that would Margaret Flanders: Okay. Karen Coletti: Especially if Becky Babbitt: that Karen Coletti: you're switching out the squishy part. Then you need to have the other part just be sort of a single unit that you can snap off. Margaret Flanders: Mm-hmm. Becky Babbitt: Mm-hmm. Glenda Cherry: Yeah, I think, um it'd be interesting to have the b the squishy bit. The part that you, yeah, can change into the different, you know, trendy vegetables and fruits. But uh Karen Coletti: Well I dunno. Glenda Cherry: it Karen Coletti: You'd spend so much time like squishing it to your own personal hand. Then you'd get a new one and you'd have to do it all over again. Glenda Cherry: Yeah. Margaret Flanders: No but it does it automatically. Does it automatically? Glenda Cherry: Yeah. Margaret Flanders: I don't know. Becky Babbitt: I don't know what the rest of my notes mean because they were made for Margaret Flanders. Margaret Flanders: Okay. Becky Babbitt: But if someone components concept. Question mark. Energy. Question Karen Coletti: That was Margaret Flanders. Becky Babbitt: mark. Was that you? Karen Coletti: Yes. Becky Babbitt: Okay. Oh right right. Yeah. Um, so what d but what do we know about energy? I mean we're gonna use batteries right? And Karen Coletti: which is something I don't know what it is. Something Margaret Flanders: Oh, Karen Coletti: to Margaret Flanders: a dynamo Karen Coletti: do with torches. Margaret Flanders: is ah, it's a bicycle. It's a bicycle mechanism. It's the en it's like if if something moves, Karen Coletti: Oh Margaret Flanders: when Karen Coletti: okay. Margaret Flanders: it moves, Karen Coletti: Yeah, Margaret Flanders: it Karen Coletti: the other Margaret Flanders: stores Karen Coletti: one was Margaret Flanders: energy. Karen Coletti: the other one was a kinetic thing where you'd basically have to wind it yourself. So Margaret Flanders: It's quite sweet. Karen Coletti: I sort of picked battery. We could have talked about doing a wind-up or a dynamo or a solar power. Um but I think solar power's not available with the rubber case anyways. Becky Babbitt: I think batteries Karen Coletti: It Becky Babbitt: sound good. What does Karen Coletti: it Margaret Flanders: No. Becky Babbitt: everyone Karen Coletti: seems Becky Babbitt: else Karen Coletti: a little Becky Babbitt: think? Karen Coletti: weird for Glenda Cherry: The dynamo Karen Coletti: a living room Glenda Cherry: would Karen Coletti: anyways. Glenda Cherry: be interesting. Margaret Flanders: But dynamo the the fact with dynamo is, the moment you move it, it c it creates energy on its own. Glenda Cherry: Oh. Becky Babbitt: What about Kryptonite? Margaret Flanders: Which is quite cool. So if you throw it, it's gonna store loads of energy, and you don't need to buy a battery 'cause they're quite f I find them annoying. But we need to find cost. Becky Babbitt: Yeah. Margaret Flanders: Don't know the cost. Karen Coletti: Didn't have Margaret Flanders: Does Karen Coletti: enough Margaret Flanders: anyone Karen Coletti: data Margaret Flanders: have Karen Coletti: to actually Margaret Flanders: costs on the on the Karen Coletti: All Margaret Flanders: web? Karen Coletti: it said was it gave sort of relative, some chips are more expensive than others, sort of things. It didn't give Margaret Flanders any actual Margaret Flanders: Okay. Karen Coletti: cost. Margaret Flanders: Right. Glenda Cherry: Hmm. Margaret Flanders: Mm. Karen Coletti: Most of the stuff is pretty cheap though bought in bulk. So I don't think it's that much of a problem. Like the chip is probably the most expensive part. Becky Babbitt: What does chip on print mean? Karen Coletti: Um, for things like remote controls, um, they stamp out a chip, Becky Babbitt: Uh-huh. Karen Coletti: calculators too I think. Um, so you can mass produce 'em pretty cheap. Becky Babbitt: Okay. Karen Coletti: But it's not like a computer, you can't like reprogramme your remo remote controls, it's like Becky Babbitt: Right. Karen Coletti: stamped onto the chip. Becky Babbitt: So, chip on print is just means like that they're mass-produced. Karen Coletti: Yeah. Becky Babbitt: Okay. And case? Uh I guess Karen Coletti: Case Becky Babbitt: that's Karen Coletti: is Becky Babbitt: what Karen Coletti: what Becky Babbitt: we've Karen Coletti: we Becky Babbitt: been Karen Coletti: were Becky Babbitt: talking Karen Coletti: discussing Becky Babbitt: about, yeah. Karen Coletti: yeah. Becky Babbitt: Casing. Yeah. thinking of like syntactic case and thi um let's see. Is there anything else we need to Glenda Cherry: Hmm. Becky Babbitt: talk about? Oh when we move on, you two are going to be playing with play-dough. Um, and working on the look and feel of the design and user interface design. And you're gonna be doing protu product evaluation. So you'll get mm m more instructions from your personal coach. Margaret Flanders: Oh, thank Becky Babbitt: Mm. Glenda Cherry: Cool. Margaret Flanders: you. Becky Babbitt: See you soon. Does it matter that I end early? Margaret Flanders: I it's strange because Becky Babbitt: How how early is it? I didn't get a pop-up thing that said

Becky Babbitt reviewed the minutes from the previous meeting. Karen Coletti gave her presentation on components and discussed which would have to be custom-made and which were standard. She also discussed the various materials and chips available. Margaret Flanders presented current trends in the market and in fashion. She discussed the current fruits and vegetables trend and the trend toward softer, spongier materials. Glenda Cherry discussed the look of the remote with the group. They discussed including a touch-based graphical user interface but noted that it was unnecessary and costly. They discussed using the menu function on the television instead. The group discussed how the menu function would be programmed. The group then talked about the casing of the device, and decided that there would be a changeable outer casing. They discussed including fruit colors in addition to the company colors. Some part of the casing will be made of a spongy material. The group also discussed energy source options and chips. Becky Babbitt instructed Glenda Cherry and Karen Coletti to construct the prototype and Margaret Flanders to work on the prototype evaluation.

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Vanessa Stinson: 'Kay. Hmm. Okay everybody. Welcome to the design meeting. Um Let's see. Our agenda. Last time we discussed the squishy fruitiness of our remote controls and how we might pursue that. Um and I think looks like we've come up with some ideas. Um and we also talked about materials we'd use and what kind of chip would be necessary. Um so for later in the meeting I've done a a spreadsheet of production costs so we'll take a look at that. and see it's changed all when we last discussed it. Um so actually I think Yeah um f you guys wanna give a prototype presentation of Diana Oliveira: Okay well um. So our design looks something like this. This being the wheel that you use to uh change channels or volume or whatever. This is a button, serves as the power button if you hold it down, and if you just tap on it I think it brings up the menu. And uh the base of the remote control, which has a squishy spongy rubbery feel, is interchangeable. So you can change the colour, according to your to suit your living room or whatever. And Carole Lanasa: You could Diana Oliveira: it comes Carole Lanasa: change the vegetable, Diana Oliveira: yeah, I can change Carole Lanasa: or fruit. Diana Oliveira: the vegetable. Vanessa Stinson: Oh is that broccoli? Diana Oliveira: This Carole Lanasa: Yeah. Diana Oliveira: one's broccoli. So this snaps off and you can put on whichever one you want. This is not to scale 'cause it would have the battery inside it. This is a mango. The it's trendy fruit, it's not just ordinary fruits. You don't have orange, you have mango. Um I guess strawberry's not as Vanessa Stinson: 'S Diana Oliveira: trendy, Vanessa Stinson: a very Diana Oliveira: but Vanessa Stinson: bright strawberry. Diana Oliveira: So we'll come up with a variety of trendy and exciting fruit designs for the remote control. Carole Lanasa: It's Diana Oliveira: And then Carole Lanasa: been Diana Oliveira: people Carole Lanasa: a Diana Oliveira: will Carole Lanasa: l Diana Oliveira: be encouraged to buy three or five of them, because they'll need to switch 'em out. Carole Lanasa: It's been a little bit difficult to um make sure that it's hand-holdable, and that the user can use it, you know, it's not too big. Uh but we think that this you know, this size will be okay and we will have to fit the battery case in there Diana Oliveira: Mm-hmm. Carole Lanasa: somehow. Vanessa Stinson: Oh Carole Lanasa: And Vanessa Stinson: yeah. Carole Lanasa: I guess the only other thing that we really didn't talk about was or design actually, would be the thing the locator. How how so Diana Oliveira: Well the locator is just chip that's inside there. Carole Lanasa: Okay so that's just Diana Oliveira: And the beeper's also inside there too somewhere. Carole Lanasa: So you have to have a button on your on your you have to attach the button to the Diana Oliveira: Yeah we didn't design that. Carole Lanasa: Yeah we have that that has yes yet Diana Oliveira: But Carole Lanasa: to Diana Oliveira: it Carole Lanasa: be Diana Oliveira: would Carole Lanasa: designed. Diana Oliveira: be coordinating with that of course. Carole Lanasa: Yeah that c Vanessa Stinson: Yeah. Carole Lanasa: hey that that could you know match the handset. Diana Oliveira: Mm-hmm. Carole Lanasa: You could have a broccoli, or you could have a mango. So. Tada. Vanessa Stinson: Oh. Um if you wanna look in your project documents folder, there's an Excel spreadsheet. Um the only one that's in there, production costs. And if you open it up. Um I've just stuck the numbers in, it was a real challenge there. But if I missed anything that we've gone over, or if you see something that has changed I mean, we decided on batteries, and the regular chip would be necessary for the more advanced iPod-like button. Um I said uncurved or flat. I think that's what you have there, is that right? For the for the plastic part would be Diana Oliveira: My impression was that flat meant like like one of those square remotes. But it's Vanessa Stinson: Oh. Diana Oliveira: really not very Vanessa Stinson: Okay. Diana Oliveira: clear, because you got single curve and double curve and Vanessa Stinson: Right. Diana Oliveira: d I dunno what that means. One side is curved and then the other side is curved. Vanessa Stinson: Well yeah. If we're talking about the area just oh I d I dunno. I guess we'd have to contact the company that makes them and see. Um so what else? There's plastic for that area around the button. Um and then rubber would be the squishy like thing right? Diana Oliveira: Mm-hmm. Vanessa Stinson: Um and lots of special colours actually. Uh scroll wheel. Do you see anything that I've missed? Diana Oliveira: No I think that's alright. Vanessa Stinson: Okay so that would make our total of eleven point nine, which is even less than twelve point five, which means we'd be making even more of a profit. And if we sold a lot of squishy things. Carole Lanasa: Mm. Vanessa Stinson: Boo yeah. Okay. S So Mm. Vanessa Stinson: Did y what did you work on? The Richard Cates: Um evaluation criteria. Vanessa Stinson: Okay. Do you wanna Richard Cates: I've got a presentation Vanessa Stinson: Okay. I think Richard Cates: So I need Vanessa Stinson: that's Richard Cates: where's the cable? Richard Cates: Right what happens is we have to um decide whether this this whole this whole project we've been working on actually um meets the standards we were set at the start. Um. Right. This doesn't okay. Um the method is we well I've analysed the user requirements and integrated them to the trends found in marketing reports and in our company strategy marketing. And um findings were that we need it a way, a way, and this is everything's listed down. Um, look in a certain way, feel in a certain way, it has to be technologically innovative and it has to be easy to use. These are all things we looked at at the start, um and criteria that have to be met. We have to use a table, I'll show you that later, together to decide whether it meets the standards. And we we have therefore in total um We have five we have eleven points according to which this should be evaluated. And um the cri well basically the findings are the same as the evaluation criteria. I would like to show you the table we have to use. Um. No. This is the table. Can you see this here? Diana Oliveira: Mm-hmm. Richard Cates: Um so the que the questions I've given you c could you write that down? True is one and and false is seven. And we'll just go through each point together, hopefully. Um. I think if each of us gives an opinion then they can be mixed somehow. I dunno how it works exactly, I haven't Carole Lanasa: Yeah. Richard Cates: been told. Carole Lanasa: Is it possible that we can bring this up on our own Richard Cates: Yeah it's in the um it's in the project documents. Carole Lanasa: Is it meeting three minutes? No it's not Richard Cates: It's Carole Lanasa: minutes. Richard Cates: called evaluation criteria. Carole Lanasa: Okay. Richard Cates: And it's under evaluation. Vanessa Stinson: Huh, the PowerPoint Diana Oliveira: Hmm? Vanessa Stinson: one? Richard Cates: Yeah. Carole Lanasa: Okay. Cool. Richard Cates: You've found it all? Vanessa Stinson: Yeah. Richard Cates: So it was um Yeah true's one. Carole Lanasa: True's one and false is seven. Richard Cates: Do you want us to discuss this together or do you want us to do it singly? Vanessa Stinson: Um we can do it separately and then discuss Richard Cates: Yeah okay. Vanessa Stinson: it if if that's what people wanna do. Carole Lanasa: So it's actually a scale. Vanessa Stinson: Wait, one is true and Richard Cates: Um, Vanessa Stinson: so these are the questions we're answering. Richard Cates: yes Vanessa Stinson: And Richard Cates: it's Vanessa Stinson: one is Richard Cates: if it's fancy you put one, Vanessa Stinson: One, right Richard Cates: if Vanessa Stinson: okay. Richard Cates: it's really unfancy it's seven. Vanessa Stinson: If it's somewhere in between you put four. Richard Cates: Yeah, something. Carole Lanasa: Okay. Vanessa Stinson: Okay. Carole Lanasa: Does it feel fancy? Diana Oliveira: Feels like play-dough. Carole Lanasa: No. Richard Cates: They shouldn't really be questions. Should be more like Richard Cates: Are the batteries easy to insert? Diana Oliveira: I'm gonna say yes. Richard Cates: Yes? Very very true. Okay. Diana Oliveira: I imagine they're somewhere on the front. We have a little case that you slip 'em in. Richard Cates: Okay. Vanessa Stinson: Are we just about ready? Richard Cates: Apparently I'm supposed to use the whiteboard. Do we um is it necessary? Vanessa Stinson: I don't think so. It's Richard Cates: We'll just do Vanessa Stinson: yeah Richard Cates: um Vanessa Stinson: the the marker thing kinda stopped working last time Carole Lanasa: Yeah. Vanessa Stinson: we Carole Lanasa: Okay. Richard Cates: Yeah. Vanessa Stinson: Our animals Richard Cates: Okay. Vanessa Stinson: will forever be there. Un unless you feel you need it t to Richard Cates: I don't feel any Vanessa Stinson: okay okay. We'll Richard Cates: right um Right so one point one? We'll just go in a circle. Carole Lanasa: One. Diana Oliveira: 'Kay Five. Richard Cates: Right. Ooh I don't know. Right. One? Diana Oliveira: Five. Vanessa Stinson: Five. Richard Cates: Five. Two. Okay so do we just add it up and divide it by four? Is that what the company does? Vanessa Stinson: I I think we should Diana Oliveira: It's four if you wanna do that. Vanessa Stinson: Yeah. Richard Cates: Yeah? Diana Oliveira: It adds Vanessa Stinson: Yeah. Diana Oliveira: to sixteen, so that's four. Richard Cates: Oh no. It adds to thirteen. One five five two. Diana Oliveira: Oh I thought she said five. Carole Lanasa: Hmm. Richard Cates: One five five two is thirteen, over four for now. I think that's um next? Carole Lanasa: Um three. Diana Oliveira: Six. Vanessa Stinson: Six. Richard Cates: Really? Carole Lanasa: Yeah. Richard Cates: Two. Vanessa Stinson: I wasn't Richard Cates: Uh-oh. Vanessa Stinson: cheating I swear. Richard Cates: Right. One point three is Carole Lanasa: So it's a one was true and seven was false? Diana Oliveira: Huh? Vanessa Stinson: Uh. Richard Cates: Yeah. Carole Lanasa: Okay, so you guys really didn't like it? Richard Cates: I Vanessa Stinson: Oh Richard Cates: really Diana Oliveira: Wait Vanessa Stinson: I thought Diana Oliveira: a minute. Vanessa Stinson: it was the other way round. Diana Oliveira: I thought it was the other way round too. Richard Cates: Well Vanessa Stinson: So we do have about Richard Cates: uh Vanessa Stinson: the Diana Oliveira: Sh Vanessa Stinson: same thing, we just have it the other Diana Oliveira: Yeah Vanessa Stinson: way Diana Oliveira: I Richard Cates: Yeah yeah. It was Diana Oliveira: I was Richard Cates: one Diana Oliveira: thinking Richard Cates: is Diana Oliveira: one Richard Cates: true Diana Oliveira: means no Richard Cates: and Diana Oliveira: points, you know, Richard Cates: false Diana Oliveira: all the way Richard Cates: is Diana Oliveira: up Richard Cates: seven. Diana Oliveira: to the top. Richard Cates: I should've kept the table up. Vanessa Stinson: Oh Diana Oliveira: I'll just Vanessa Stinson: gosh. Okay. Diana Oliveira: I'll just Vanessa Stinson: Well Diana Oliveira: reverse them all. It's no problem. Vanessa Stinson: Yeah. Richard Cates: Right, well I'm glad this came out. Carole Lanasa: I was like, why did you guys design it that Richard Cates: Yeah. Carole Lanasa: way if you hated Diana Oliveira: I thought Carole Lanasa: it? Diana Oliveira: you guys hated it. Richard Cates: No. Vanessa Stinson: Yeah. Carole Lanasa: Yeah. Richard Cates: Oh that's quite funny. Diana Oliveira: Okay. Richard Cates: Okay. Vanessa Stinson: Yeah. Richard Cates: Okay. So, starting again, one point one? Carole Lanasa: One. Diana Oliveira: Say two. Vanessa Stinson: Three. Richard Cates: Two. Okay, one point two? Carole Lanasa: Uh three. Diana Oliveira: Two. Vanessa Stinson: Two. Richard Cates: Two. Okay. Um, one point three? Carole Lanasa: One. Vanessa Stinson: One. Diana Oliveira: One. Richard Cates: Ha. Two point one? Carole Lanasa: Uh Vanessa Stinson: Two. Carole Lanasa: two. Diana Oliveira: Uh two. Vanessa Stinson: Two point I think I missed two. Wait, is that two point one? Diana Oliveira: Yeah I put it Richard Cates: Yeah. Diana Oliveira: down as one point four Vanessa Stinson: One Richard Cates: Oh Diana Oliveira: for Vanessa Stinson: point Diana Oliveira: some Richard Cates: dear, Vanessa Stinson: four, Diana Oliveira: reason. Vanessa Stinson: one point five. Richard Cates: okay. Vanessa Stinson: Okay right Richard Cates: Sorry. Vanessa Stinson: that's I have two of them. Diana Oliveira: Mine has all kinds of Richard Cates: Two Diana Oliveira: problems. Richard Cates: and one. Sorry about that. T two point two, which is one point five. Vanessa Stinson: One. Diana Oliveira: Uh three. Wait why did I put three? Carole Lanasa: Uh one. Diana Oliveira: I meant Richard Cates: Okay. Diana Oliveira: one on mine too. Richard Cates: Three point one. Is that correct on my Vanessa Stinson: Yeah. Richard Cates: slide? Vanessa Stinson: Yeah. Carole Lanasa: Yeah. Richard Cates: Yeah? Carole Lanasa: Uh one. Diana Oliveira: Three point one. I have four. Vanessa Stinson: Three. Richard Cates: One, four, three, three, three point two? Diana Oliveira: Three. Vanessa Stinson: Three. Carole Lanasa: Uh. One. Richard Cates: Three point three. Carole Lanasa: One. Diana Oliveira: One. Vanessa Stinson: Two. Richard Cates: Four point one? Carole Lanasa: One. Diana Oliveira: Two. Vanessa Stinson: Five. Richard Cates: Two. Four point two. Carole Lanasa: Two. Diana Oliveira: Three. Vanessa Stinson: Four. Richard Cates: Two and four point three. Diana Oliveira: Two. Richard Cates: One, two. Carole Lanasa: One. Vanessa Stinson: Two. Richard Cates: Right so I put one on that. Okay I'll um I'll just do the calculations now if you want to continue. Vanessa Stinson: Okay. Richard Cates: Or is Vanessa Stinson: Um Richard Cates: it tedious? I'm I'm sorry this was so tedious Vanessa Stinson: No Richard Cates: for Vanessa Stinson: no Richard Cates: everyone. Vanessa Stinson: that's um Richard Cates: I didn't Vanessa Stinson: I Richard Cates: know Vanessa Stinson: think Richard Cates: how Vanessa Stinson: we Richard Cates: else Vanessa Stinson: should Richard Cates: to do Vanessa Stinson: look at Richard Cates: it. Vanessa Stinson: the ones that like where s where people said four, where um it looks like we might wanna discuss changing an aspect of the remote. Richard Cates: Okay. Well the worst ones were three point one. Diana Oliveira: Mm-hmm. Richard Cates: Do does every ones have the slide? Three point Vanessa Stinson: The Richard Cates: one. Vanessa Stinson: that was material. Richard Cates: Slide show. Material technologically innovative, okay. Vanessa Stinson: Mm. Richard Cates: Um, do you want to change it? What are the suggestions? I don't know, anyone? Vanessa Stinson: Um Carole Lanasa: Which one is that again sorry? Three point one? Vanessa Stinson: Mm-hmm. Richard Cates: Yeah that it's three point one was not that good. Four point one. Vanessa Stinson: Does the shape Richard Cates: The shape. Carole Lanasa: I think Richard Cates: Four point two? Vanessa Stinson: See I'm having I'm having trouble imagining the is it uh gonna be the size, like the the controller? It Diana Oliveira: I think Vanessa Stinson: or Diana Oliveira: the Vanessa Stinson: bigger? Diana Oliveira: wheel would probably be mm. Vanessa Stinson: Because Carole Lanasa: What if we just smash all the vegetables down flat? And like then it you could hold it in your hand better. Diana Oliveira: I think the base would definitely be larger, 'cause some of these are not as easy to hold. They're Vanessa Stinson: Yeah. Diana Oliveira: kinda smallish. Vanessa Stinson: No but I imagine even if it was bigger, like if it's round and it's big then you you can't get Carole Lanasa: Yeah. Vanessa Stinson: that's why remote controls Carole Lanasa: The Diana Oliveira: Yeah. Carole Lanasa: flat Vanessa Stinson: are long Carole Lanasa: one. Vanessa Stinson: because Carole Lanasa: Yeah. Vanessa Stinson: you have that thumb kind of so c they could all be bananas and cucumbers. Carole Lanasa: Yeah. Vanessa Stinson: Um but I don't s I I personally don't think this is comfortable Carole Lanasa: I didn't Vanessa Stinson: to to Carole Lanasa: yeah. Vanessa Stinson: sit there, like it's Carole Lanasa: But Vanessa Stinson: an Carole Lanasa: like Vanessa Stinson: awkward Carole Lanasa: if if Vanessa Stinson: position. Carole Lanasa: you just squash them flat like and you made it flat Diana Oliveira: Well if they're that s uh stress ball stuff they would be pretty squishable. Carole Lanasa: But it's Diana Oliveira: Mm. Carole Lanasa: still too big I think, in your Vanessa Stinson: Yeah. Carole Lanasa: hand. Yeah. Vanessa Stinson: And would it even resemble fruit that way? I mean Carole Lanasa: Yeah like certain ones you'd have to limit the fruit selection, Vanessa Stinson: Yeah. Carole Lanasa: like you could probably do a strawberry still. Vanessa Stinson: Yeah. Carole Lanasa: I think the broccoli would be out. You could do, although the broccoli is quite comfortable, I have to say, like sorta Vanessa Stinson: Yeah Carole Lanasa: like Vanessa Stinson: that Carole Lanasa: a joystick. Vanessa Stinson: I I when you were holding Richard Cates: Yeah. Vanessa Stinson: that before, it Richard Cates: That Vanessa Stinson: actually Richard Cates: looked Vanessa Stinson: looked Richard Cates: really good. Vanessa Stinson: yeah. Carole Lanasa: I don't know. So Richard Cates: Are there any fruits that look like broccoli, no? Carole Lanasa: Uh. Diana Oliveira: Not that I can think of. Rhubarb. Carole Lanasa: Rhubarb. These obscure Richard Cates: I think Carole Lanasa: fruits. Richard Cates: that broccoli is my favourite actually. Vanessa Stinson: Yeah. Richard Cates: Uh despite the Carole Lanasa: I think we Vanessa Stinson: What Carole Lanasa: needn't Vanessa Stinson: if um the it was just patterns on like we we chose the shape or the sh shape could be whatever we wanted and then it would just be like a design on the rubber. Carole Lanasa: Huh? Vanessa Stinson: You Carole Lanasa: Oh Vanessa Stinson: know Carole Lanasa: okay. Vanessa Stinson: like like Diana Oliveira: So Vanessa Stinson: just Diana Oliveira: it's just Vanessa Stinson: a Diana Oliveira: colour, Vanessa Stinson: printed Diana Oliveira: and not Vanessa Stinson: yeah Diana Oliveira: necessarily Vanessa Stinson: or Diana Oliveira: the shape Vanessa Stinson: coloured Diana Oliveira: of a strawberry. Carole Lanasa: Yeah. Vanessa Stinson: yeah. Carole Lanasa: That could work. Richard Cates: Yeah. Vanessa Stinson: Or I mean we could even have fruit like around Carole Lanasa: Yeah. Vanessa Stinson: I mean Carole Lanasa: Yeah. I dunno. Vanessa Stinson: But Richard Cates: Yeah Vanessa Stinson: if Richard Cates: and Vanessa Stinson: we Richard Cates: just Vanessa Stinson: if Richard Cates: have the Vanessa Stinson: we Richard Cates: colour Vanessa Stinson: need Richard Cates: match or something. Vanessa Stinson: yeah. And if we wanna incorporate the fruit thing somehow, there might be I mean if it if it in if it uh conflicts with the comfort of actually holdi holding Carole Lanasa: Yeah. Vanessa Stinson: the Carole Lanasa: 'Cause yeah no-one wants to hold a remote that's uncomfortable obviously. Vanessa Stinson: Mm. Richard Cates: Mm. Carole Lanasa: Or like I dunno, some of 'em you can kind of think see as like like you could if it was only this you know, if it was shaped like that, and it just had that. But you see the problem Vanessa Stinson: Yeah. Carole Lanasa: is you have to attach that, and this has to be detachable. Vanessa Stinson: Yeah. Carole Lanasa: So like maybe that's just too Vanessa Stinson: Well Carole Lanasa: big Vanessa Stinson: see th Carole Lanasa: because Vanessa Stinson: the reason the broccoli works is you can kinda hold it like that, Carole Lanasa: Yeah Vanessa Stinson: which is Carole Lanasa: it's Richard Cates: Yeah. Vanessa Stinson: a Carole Lanasa: sorta Vanessa Stinson: nice Carole Lanasa: like Vanessa Stinson: kind Carole Lanasa: a joystick. Vanessa Stinson: of yeah. But Carole Lanasa: I dunno. I guess Vanessa Stinson: I mean is there some way we could make it this kind of shape? 'Cause like Diana Oliveira: We Vanessa Stinson: kind Diana Oliveira: could make Vanessa Stinson: of Diana Oliveira: it that shape but just have different colours, Vanessa Stinson: Yeah, Diana Oliveira: and call Carole Lanasa: Yeah. Richard Cates: Yeah. Diana Oliveira: 'em the Vanessa Stinson: yeah. Diana Oliveira: different fruits. Vanessa Stinson: Or Carole Lanasa: Dif Vanessa Stinson: like Diana Oliveira: We Vanessa Stinson: even Diana Oliveira: went with shape because we were having Vanessa Stinson: Or Diana Oliveira: fun Vanessa Stinson: even Diana Oliveira: with the play-dough. Vanessa Stinson: like Yeah like you said, like a joystick like that. Carole Lanasa: Yeah. Vanessa Stinson: You know? Carole Lanasa: Yeah. Like uh we could do I'm trying to think of other sha like fruits that are oddly shaped. Vanessa Stinson: 'Cause that, I think I mean that fits the whole round iPod idea. Carole Lanasa: Yeah. Diana Oliveira: Mm-hmm. Vanessa Stinson: And Richard Cates: Yeah. Vanessa Stinson: you still have the comfort of holding it like that. Carole Lanasa: Mm. Vanessa Stinson: And you could like if it's like this, you could put fruit designs and stuff on Carole Lanasa: Yeah. Vanessa Stinson: that Carole Lanasa: Yeah. Vanessa Stinson: part. Carole Lanasa: Alright. Vanessa Stinson: But I mean it do we have any other ideas about that? Richard Cates: Um Carole Lanasa: We could tr I don't know. Richard Cates: Think the critical ones came out to be yeah that one. Batteries easy to insert for some reason, which can be easily I think that's not a problem Vanessa Stinson: The Richard Cates: any Vanessa Stinson: batteries are Diana Oliveira: That Vanessa Stinson: going Richard Cates: more. Diana Oliveira: everyone gave that a one or a two. Vanessa Stinson: in the back? Diana Oliveira: Yeah Richard Cates: No. Diana Oliveira: they'd probably be either on the front or the side of Vanessa Stinson: The reason Diana Oliveira: the remote. Vanessa Stinson: I I ga I didn't give it a one I think I gave it a three because I thought you'd have to like unc Diana Oliveira: No Vanessa Stinson: clip no Diana Oliveira: I imagine Vanessa Stinson: you could Diana Oliveira: there'd be sort of a hatch Vanessa Stinson: Just Diana Oliveira: door, Vanessa Stinson: like any other one. Diana Oliveira: yeah um Vanessa Stinson: Okay. Diana Oliveira: like on a normal remote. Vanessa Stinson: Yeah. Right. Diana Oliveira: So it would probably either in the f no it can't be in the front 'cause the I_R_'s right there, but it'd be on one of the sides probably. Vanessa Stinson: Okay. Richard Cates: I think everyone's under three anyway. Vanessa Stinson: Mm. Richard Cates: So I think it's yeah those are the only two points. Carole Lanasa: Cool. Well Yeah the broccoli I guess wins. Richard Cates: Yeah. Diana Oliveira: Yeah I'd agree with changing the shape. Um, Vanessa Stinson: Okay. Diana Oliveira: I was just having fun making strawberries and stuff. Carole Lanasa: We were a bit off task. Um so uh I can't think of any So we'll have to like Mm. Yeah I dunno. You could make the touch pad in th in different shapes, but then that kind of re-designs the whole project like, but you could do Diana Oliveira: It might Carole Lanasa: like Diana Oliveira: also sort of annoy people if we get used to having the buttons Carole Lanasa: Yeah Diana Oliveira: in Carole Lanasa: that's Diana Oliveira: one shape. Carole Lanasa: true. Vanessa Stinson: Yeah. Carole Lanasa: Yeah. Vanessa Stinson: And it would probably cost more to produce, Carole Lanasa: Yeah that's Vanessa Stinson: 'cause Carole Lanasa: true. Vanessa Stinson: they're irregular. Carole Lanasa: Mm. Diana Oliveira: I bet having different colours is a lot cheaper than having different shapes too. Vanessa Stinson: Yeah. Which is why printing might be like just printing the fruit on fruit. Carole Lanasa: Hmm. Vanessa Stinson: Mm. Vanessa Stinson: Not really Well we've done finance evaluation criteria, production evaluation. Um so project evaluation. Richard Cates: Do you want this and we can all No. Vanessa Stinson: I guess we're supposed to discuss um the prod the process of the project and how satisfied oh, oh it's alright. Uh. Richard Cates: It's alright yeah? Vanessa Stinson: Yeah. Um Did you feel there was a lot of room for creativity in the sort of Diana Oliveira: Sure. Vanessa Stinson: Yeah. Carole Lanasa: I did. Richard Cates: Yeah. Vanessa Stinson: I mean fruit and squishiness. How c more creative Diana Oliveira: Sponginess. Vanessa Stinson: can you get? Carole Lanasa: The prototype making was very creatively stimulating and I think we've come up with a product that's fun and meets all the criteria. Vanessa Stinson: And how was our leadership and teamwork? Diana Oliveira: I think it was good. We knew what we were doing. It was a very democratic process and everyone got to contribute. Vanessa Stinson: Well I thought my leadership was crap personally. Excuse Richard Cates, Diana Oliveira: Well Vanessa Stinson: am Diana Oliveira: you Vanessa Stinson: I allowed Diana Oliveira: told Vanessa Stinson: to Diana Oliveira: us Vanessa Stinson: say Diana Oliveira: when Vanessa Stinson: that? Diana Oliveira: to start and when to end, and that's all Vanessa Stinson: Yeah. Diana Oliveira: that matters. Vanessa Stinson: Um. Carole Lanasa: I think you were fine. You did Vanessa Stinson: Yeah, Carole Lanasa: a good job leading. Vanessa Stinson: well I'm never gonna do a management position, I know that now. Um yeah, I thought we all worked very Richard Cates: Yeah Vanessa Stinson: well Richard Cates: we didn't Vanessa Stinson: together. Richard Cates: we uh it all c sort of blended Vanessa Stinson: Yeah. Richard Cates: quite Carole Lanasa: Yeah Richard Cates: well. Carole Lanasa: I think it more than anything we didn't really have our set roles so much, as we just would be like Vanessa Stinson: Yeah. Carole Lanasa: I don't know, all had ideas Vanessa Stinson: Very democratic. Carole Lanasa: about it but yeah. Vanessa Stinson: No spats, that was good. Carole Lanasa: No. Vanessa Stinson: Um and the means for like the materials we used, how convenient were they? Like the the pens, the whiteboard, I mean Diana Oliveira: Well I'm not Vanessa Stinson: we Diana Oliveira: a Vanessa Stinson: used Diana Oliveira: big fan of any Microsoft, PowerPoint or any Vanessa Stinson: Are you Diana Oliveira: of Vanessa Stinson: a Diana Oliveira: this Vanessa Stinson: Mac Diana Oliveira: stuff. Vanessa Stinson: person? Diana Oliveira: No no I never touch Macs either. I just use the Unix or the off market, sort of WordPerfect and all these other things. Vanessa Stinson: Huh. Carole Lanasa: Hmm. Richard Cates: Which isn't very user-friendly Diana Oliveira: Yeah. Richard Cates: though. Diana Oliveira: Well the problem is if you don't like my new computer never has WordPerfect so I have to go track someone down who has an old disk and then I have to reinstall it. So I have all these documents I can't use now. But yeah I mean I guess it's okay. Carole Lanasa: I felt like my I dunno if it was just my role, but l but uh I di I thought that my the information that was available to Richard Cates was kind of just like or maybe it was just the idea that we had. But there's kinda it was kinda like okay, I don't really think I dunno what I'm doing here. Vanessa Stinson: Mm. Carole Lanasa: So I didn't really think it was helpful. So I kind of just made up my own stuff and I Vanessa Stinson: Yeah. Carole Lanasa: didn't really like the PowerPoint presentations, so I kind of wrote a lot of notes instead. But Vanessa Stinson: Yeah. Carole Lanasa: yeah I d I don't really like PowerPoint personally, think it's kinda Diana Oliveira: Yeah. Carole Lanasa: stupid. Diana Oliveira: I never use it. Carole Lanasa: Yeah but uh Vanessa Stinson: I can't say I found everything particularly helpful. Carole Lanasa: Yeah. Vanessa Stinson: Like Carole Lanasa: It didn't Vanessa Stinson: I Carole Lanasa: really Diana Oliveira: Yeah. Carole Lanasa: yeah. Vanessa Stinson: It Richard Cates: I Diana Oliveira: My first Richard Cates: though it Diana Oliveira: bit Richard Cates: was Diana Oliveira: of information Richard Cates: brilliant Diana Oliveira: was Richard Cates: no? Diana Oliveira: like Vanessa Stinson: Really? Diana Oliveira: this child's drawn picture of how a remote works. Richard Cates: No mine was really helpful as in my stuff was quite helpful I think. Carole Lanasa: So Vanessa Stinson: I Carole Lanasa: like Richard Cates: I Vanessa Stinson: mean Carole Lanasa: a f Richard Cates: think it Vanessa Stinson: m my Richard Cates: depends Vanessa Stinson: problem Richard Cates: on the role no? Carole Lanasa: Yeah Vanessa Stinson: yeah, Carole Lanasa: I Diana Oliveira: Yeah Carole Lanasa: think so. Diana Oliveira: it probably does. Vanessa Stinson: yeah. 'Cause my problem was, you guys had access to like they'd put send you to sites and stuff right? Diana Oliveira: Yeah. Vanessa Stinson: See I couldn't do that, so I didn't really know what you guys were doing. And when you were talking about it I was just like you know that's wh that's why I seemed so ignorant when when you were j explaining things, 'cause I Diana Oliveira: Yeah well mine was mostly made up except when they told Richard Cates like you know titanium costs more than Vanessa Stinson: Yeah. Diana Oliveira: wood to make a remote control. Richard Cates: Yeah. Diana Oliveira: you'd Vanessa Stinson: Yeah. Diana Oliveira: wanted to. Richard Cates: But it must have been quite difficult for them to build a whole um Vanessa Stinson: System. Richard Cates: a whole system, Vanessa Stinson: Yeah. Richard Cates: 'cause of course they can't give you uh uh anything comparable to the internet for Carole Lanasa: Yeah Richard Cates: the Carole Lanasa: I mean, Vanessa Stinson: Yeah. Diana Oliveira: Well I think Carole Lanasa: it Diana Oliveira: it's interesting how it all went together, like I had the stuff about how Richard Cates how rubber's cheap, and you have how Richard Cates: Yeah, Diana Oliveira: people Richard Cates: yeah. Diana Oliveira: want it to be spongy, and Vanessa Stinson: Yeah, huh. Diana Oliveira: It seems planned you know. Vanessa Stinson: Yeah. Carole Lanasa: Yeah I kinda thought that um I felt like I would go and like try to use my information, stupid little presentation and then like I just would end up talking about something completely unrelated because I dunno Vanessa Stinson: Yeah. Carole Lanasa: I felt like I was off-task all the time. But um Vanessa Stinson: Well I mean we really got into talking about like personal practicalit like it wasn't necessarily what was like we would never have thought of fruit or sponginess Richard Cates: No. Vanessa Stinson: you know? Carole Lanasa: Yeah. Diana Oliveira: Yeah. Vanessa Stinson: So Diana Oliveira: If Vanessa Stinson: it's Diana Oliveira: I hadn't been told that fruit was Richard Cates: But I think that it it might be to see whether people actually all come up with the same Vanessa Stinson: Oh Richard Cates: thing. Vanessa Stinson: right. given certain information or Richard Cates: Yeah, Vanessa Stinson: Just Richard Cates: like Vanessa Stinson: yeah. Richard Cates: if everyone's given the same input I don't have a clue, Vanessa Stinson: Mm, Richard Cates: anyway. Um Vanessa Stinson: mm. Richard Cates: what's next? Looks like oh no that's not um It's Vanessa Stinson: What Richard Cates: quite Vanessa Stinson: do you guys think of the pens? It asks Diana Oliveira: They're Vanessa Stinson: about Diana Oliveira: pretty Vanessa Stinson: that. Diana Oliveira: cool. Vanessa Stinson: Mm. Diana Oliveira: They're Carole Lanasa: I Diana Oliveira: kinda Carole Lanasa: wanna s Diana Oliveira: hard to write with though. Vanessa Stinson: Yeah Richard Cates: Yeah. Vanessa Stinson: and I I've f forgotten once or twice to check the box. Carole Lanasa: I I'd like to see what what it looks like on the Diana Oliveira: They're nicer than the pen that I'm using, because like your stuff actually shows up here, rather than having to look at the screen and write. Vanessa Stinson: Mm. Diana Oliveira: But even so, I dunno. Vanessa Stinson: And new ideas found? Richard Cates: Yeah it's all very new, Vanessa Stinson: Yeah. Richard Cates: no? It's all very new. Carole Lanasa: Yeah I think I'd like to um I dunno. Like Richard Cates: Sorry. Carole Lanasa: it was the I think the microphones are okay when you're sitting down, but like they're kinda clumsy I guess Diana Oliveira: Oh Carole Lanasa: when Diana Oliveira: yeah. Carole Lanasa: you're like when you're s going up to the whiteboard like. Diana Oliveira: Well they drop off if you like move too much. Carole Lanasa: Yeah I dunno. But they're Diana Oliveira: But I don't Carole Lanasa: they're Diana Oliveira: think Carole Lanasa: okay. Diana Oliveira: we're supposed to be testing these microphones. Maybe we are. I don't Vanessa Stinson: Mm. Diana Oliveira: know. Carole Lanasa: Uh I think, and I think that uh all this technology like I guess some people must be interested in using it but I can't imagine finding it any more useful than like looking at someone's Vanessa Stinson: Yeah. Carole Lanasa: notes, Diana Oliveira: Well Carole Lanasa: or Diana Oliveira: the Carole Lanasa: like Diana Oliveira: thing is, Carole Lanasa: I Diana Oliveira: like Carole Lanasa: dunno. Diana Oliveira: I actually worked in a company, and I had a role and I had to go to meetings. And like the last thing I would have wanted would be to have to watch a video 'cause I missed a meeting. Like usually I missed meetings deliberately. There's just there's really not that much information that actually goes through a real meeting, Vanessa Stinson: Yeah. Diana Oliveira: like when you're actually at a real meeting in a real company. Carole Lanasa: Hm. Diana Oliveira: It's mostly like rehashing old stuff. And you're sort of going over general stuff that Vanessa Stinson: Yeah. Diana Oliveira: anybody who's sort of on task should already know. It's like the there's just really not a lot of information Vanessa Stinson: Seems Diana Oliveira: that goes Vanessa Stinson: kind Diana Oliveira: through. Vanessa Stinson: of like an excessive Diana Oliveira: It Vanessa Stinson: reiteration. Diana Oliveira: seems like way overkill. Vanessa Stinson: Yeah. Diana Oliveira: Like if I missed a meeting I could probably get it summed up in like one sentence. Vanessa Stinson: Yeah. Diana Oliveira: I wouldn't need to have to watch like a t two hour video with the sound and the transcript and Vanessa Stinson: Yeah. Carole Lanasa: I guess it would be it's gotta be worth it to I 'cause I'm just mostly curious about like what kind of person or like company would would really find it useful, 'cause can't really imagine, dunno. How about a p a? Um I dunno. Vanessa Stinson: Well does anyone wanna talk about fruit more while we still have time? Any other Richard Cates: What Vanessa Stinson: ideas Richard Cates: what's Vanessa Stinson: for Richard Cates: the end? Are we are we supposed to um you supposed to write a report? Or we ending? Vanessa Stinson: Um Richard Cates: Is that the end? Vanessa Stinson: we still have time if there's any other input. I mean the I think we did really well personally, which is why we've you know, gone through this so quickly. 'Cause I mean we've all we all kind of agreed our product is satisfactory, it fits the budget, and it's trendy. Carole Lanasa: Yeah. Vanessa Stinson: So. Um. Richard Cates: End of meeting. You have to tell her, she Vanessa Stinson: So I think that's all for today. Richard Cates: Okay we have to fill in all this stuff. Stuff stuff Carole Lanasa: M Richard Cates: stuff. Carole Lanasa: meeting adjourned. Vanessa Stinson: Meeting adjourned. Richard Cates: Yeah. Diana Oliveira: I think I've learned not to bring play-dough to meetings. Vanessa Stinson: Yeah. Carole Lanasa: I think it would be a good idea, I like it. Diana Oliveira: It's hard enough to get people actually paying attention. Especially if you have food. Vanessa Stinson: So I guess we're supposed to write final reports. 'Cause Diana Oliveira: All of us? Vanessa Stinson: I don't know. Richard Cates: Well there's al eight, Vanessa Stinson: Hmm. Richard Cates: nine. Ooh. Oh ooh. Vanessa Stinson: Hmm. Or is that just Richard Cates?

Vanessa Stinson reviewed the minutes from the last meeting. Carole Lanasa and Diana Oliveira presented the prototype and displayed the changeable fruit- and vegetable-shaped covers. They discussed the locator function that will be designed at a later time. Vanessa Stinson discussed the final production cost for the device, which totaled 11.9 Euros. Richard Cates led an evaluation of the prototype. Each participant rated the prototype according to the original criteria for the project. The group discussed the areas in which the prototype did not meet these goals. The group felt that the changeable fruit and vegetable shapes were uncomfortable to hold. The group decided to make changeable covers in fruit colors and designs and to use one uniform shape. The group discussed their experience on the project. They felt they worked well together and were creative. They complained that the meeting-room materials were difficult to use, and some complained that there was not enough information provided to them. Vanessa Stinson instructed all participants to write a final report at the end of the meeting.

amisum

train

Linda Walsh: Okay, welcome to the second meeting of this group. Um I'll briefly go through the uh notes of the of the last meeting uh just done in in note form and I haven't attributed anything to individuals, because we're working strictly as a team here and uh n nobody's working Janet Manning: Sorry. Linda Walsh: equally, so uh. Um we we s we saw that the the problems with existing remote controls were the uh b a boring shape and boring colour. Um and and we we saw that the what we needed to to to make sure the device um controls several items, that switching was easy, that you shouldn't need to point the thing at uh anything in particular, um that it need to be contoured to make it interesting, that the keys might be concave, simply because that hasn't been done before that we know of. Um should have interchangeable fascias so people can personalise it, um illuminated so that people can see it in dark rooms. Um and that people might want it as as in addition to their existing remote controls. Um and that it sh it should just always work, whenever you uh um mm uh use it. And that it shouldn't be too small, mm that it it gets lost. Um. Linda Walsh: Now uh uh I'll shortly ask for for three three presentations. Uh before I do that, however, I will go through some new project requirements that um the the management have placed on us and uh will be challenging in terms of what we discussed at the first meeting. Um the uh the ma the management has had it's own thoughts on this and uh the they don't necessarily agree with with what we uh we thought. Um and and then we'll as a result of that we will then talk through the the functions that we see the the device um actually b carrying out, and we have uh forty minutes to do this in and I uh Linda Walsh: Anyway. Okay. Now, the n the new requirements are um the the management team see that um teletext is no longer of any importance given the uh the rise of the internet. Um and and they want it only to cover televisions. Um now, what is not q quite clear from their directive is whether they mean th they don't want it to cover teletext or whether they don't want it to cover, you know, videos, D_V_D_s, um satellite boxes, which uh I mean we saw as being fundamental to the uh to the exercise. The um the actual wording of the directive is that it should cover television only. Um and on that basis um I I think we we need to bear that in mind, um but possibly uh keep at the backs of our minds that the reality that people even when they uh no longer they don't look at teletext anymore, they certainly do look at other things. Um the device has to incorporate the company logo and colours. Um the the logo uh being at b the bottom of the screen there, the the the two R_s in grey against uh a yellow background. Um now this doesn't necessarily mean that we have to give up some of our ideas about making it attractive to the t to the market. But uh do do introduce some some constraints as to how we might do that. Um it also has to be simple, which to some extent goes along w with the first one, and that we've already said that it must be simple 'cause that's what people want anyway. Um but they also want it to be simple to get it to the market quickly, which um mm uh is is is their choice, but uh um we we need to talk that through. Um okay, so uh after the meeting it'll be summarised and uh um notes sent out and uh etcetera. Okay, so we'll first of all mm have individual reports from everybody. Um again I there is no order of precedence here um so I I I'll leave it up to you to who who who thinks they would like to go go first? Gwendolyn Hansen: Uh I don't mind. Linda Walsh: P fine. Gwendolyn Hansen: Uh can I the cable? Linda Walsh: Oh sorry, you can indeed. Gwendolyn Hansen: Cheers. Gwendolyn Hansen: I got a how do I start there? Linda Walsh: Oh, if you click on the um uh the one that that looks like a projection screen, no the one to the right of that. Gwendolyn Hansen: That one. Linda Walsh: That one. Gwendolyn Hansen: Cool. Well these are functionality requirements from the our our guys down in the the research lab. Took hundred people and covered all the aspects of what um is needed by people and what they want to see. Um everything kinda and how individual functions are how how how often they're used how much their and stuff. And general opinions about current current remotes. See that, as we kinda noticed, seventy five percent of people find their remote controls ugly. So some kind of a new style should be incorporated that's less ugly. Uh along with um looking less ugly, if it looks better, eighty percent of people said they'd spend more money on it. Which is a a plus for us, if we can make it look better, it'd be uh more cost effective and we can put the price up. Current remote controls do not match the operating behaviour of the user. I can empl I kinda take that to mean as um they they don't uh they, yeah, they only use they only work for the television or yeah like as in in my flat I've got six remote controls for a stereo system, a digital box, a D_V_D_ player, a video player and T_V_. If it was uh I mean th my behaviour is to use multiple things at the same time and multiple remotes aren't really matched well to my behaviour. Uh again, seventy five percent is seventy five percent of users say they zap a lot. I took to mean that they just they use it a lot, they use it regularly rather than standing up and manually change channels or volume. And uh yeah, uh I think the big issue is fifty percent users only use ten percent of the buttons, 'cause uh wh if we got a remote that like well we'll have some buttons taken off by the lack of teletext, but uh oh and we're going to see uh on the uh that some of the functions like audio settings aren't h hardly ever used and used very aren't considered relevant by the user. So I think maybe fewer buttons, which also make the design look sleeker, I dunno. Uh um yeah and uh frustrations of like people losing remote control. I dunno Linda Walsh: Mm. Gwendolyn Hansen: maybe some kind of system of you press a button on the T_V_ or maybe that's b it would have to incorporate, but like some kind of system where you can f use something else to find the remote control. Maybe like it'll beep or something. And um, yep, the uh time taken to learn new remote controls is Uh don't want to make it too complicated, easy to use for uh new like first time users and stuff. And uh repetitive strain injury, I suppose we should make it more comfortable and make ma possibly even use have to make it, yeah, fewer buttons, like I was saying about the whole mice the mouse idea of it feels more comfortable. Maybe don't even Linda Walsh: Mm. Gwendolyn Hansen: have to hold it as such. Linda Walsh: Gosh, must be some telly addicts out there if they get R_S_I_ from their television remote, is all I can say. Gwendolyn Hansen: But uh yeah. It also asked um if we would if people would pay more for speech recognition and younger people say they would. And uh there was another section on our on the report for uh L_C_D_ displays, but the data wasn't there, so. I Linda Walsh: Mm. Right. Gwendolyn Hansen: don't actually know what the results for that were, Linda Walsh: Mm. Gwendolyn Hansen: so. May be incrementally emitting, but yeah. Linda Walsh: Yeah, I must say that um the uh I c can't remember what um f you know phone service I was using the other day, but that had sorta speech recognition which worked uh remarkably well, so that is indeed a uh um Gwendolyn Hansen: And Linda Walsh: a thought Gwendolyn Hansen: uh Linda Walsh: and it it cuts out uh Gwendolyn Hansen: it would cut out the R_S_I_ Linda Walsh: I was was Gwendolyn Hansen: as Linda Walsh: gonna Gwendolyn Hansen: well Linda Walsh: say, you Gwendolyn Hansen: if Linda Walsh: can't Gwendolyn Hansen: you Linda Walsh: get a lot of R_S_I_, j just get jaw ache. Okay, sorry. Gwendolyn Hansen: Yeah, um oh yeah, so possibly the speech recognition is possibly something could add into the design. Oh, I've got some other things I couldn't fit onto this presentation. Um. You see this okay? Almost no? It's sorry it's a bit. I'll read out to you. Uh functionality, uh like people's opinions on functionality, the relevance to the remote and how often they're used. So um like the power. Using the using the d swi the power switch to switch on T_V_ is a high relevance of nine, but it's not frequently used. You see what I mean? Whereas Linda Walsh: Yeah. Gwendolyn Hansen: channel selection, which is very high relevance Linda Walsh: Mm-hmm. Gwendolyn Hansen: is used the most. So m we can maybe even start to cut down on or I was possibly even thinking of a design that maybe some of the buttons are hidden from everyday use. Maybe like uh a folding ledge or something. So that we can maybe Beth Cameron: Mm. Gwendolyn Hansen: go into the channel settings and the audio settings, which are low relevance and rarely used. And keep the v volume selection and channel selection very easily Linda Walsh: Mm-hmm. Janet Manning: It could Linda Walsh: I mean Janet Manning: be oh uh was gonna say uh like the phones that they use? Have you seen Beth Cameron: Mm. Janet Manning: the new mo mobile phones that Linda Walsh: Yeah. Janet Manning: flip out and they have the Gwendolyn Hansen: Oh yeah. Janet Manning: like texting, and then the numbers on one side, so you could have Linda Walsh: Mm. Janet Manning: the most used buttons on top and Linda Walsh: Hmm, Beth Cameron: Mm. Linda Walsh: hmm. Janet Manning: flip Gwendolyn Hansen: Yeah, Janet Manning: it out Gwendolyn Hansen: like the one Janet Manning: or Gwendolyn Hansen: that Janet Manning: something. Gwendolyn Hansen: like slides back Linda Walsh: Uh. Gwendolyn Hansen: and the buttons are concealed Janet Manning: Yeah. Linda Walsh: Should Gwendolyn Hansen: underneath. Linda Walsh: we Beth Cameron: Mm. Linda Walsh: actually bite the bullet here? If people really don't use those buttons to any extent at all um Gwendolyn Hansen: Just remove them completely? Linda Walsh: remove them altogether. Janet Manning: That might be the Linda Walsh: I wonder whether we could get the remote control with no buttons at all if we went for voice recognition, given that um the Um now the the age structure we were looking at um I mean w we had usage by age structure, what we didn't have was what proportion of people using remotes were in those particular age groups. Now Gwendolyn Hansen: Uh yeah. Linda Walsh: do we know whether they Forty no sorry for forty five to fifty five age group, uh to put myself right in the middle of it, um u use remote controls to a great extent. Yes we Gwendolyn Hansen: Um no this is for Linda Walsh: That would 've Gwendolyn Hansen: pay Linda Walsh: speech Gwendolyn Hansen: more for Linda Walsh: recogn Gwendolyn Hansen: speech recognition. Linda Walsh: right. So, we're looking at um well again, we don't know the relative proportion the relative numbers in the age groups. Gwendolyn Hansen: Yeah, that's true. Linda Walsh: If we wanted something different, truly different, then the buttonless Beth Cameron: P Linda Walsh: remote control Beth Cameron: Well the only Linda Walsh: w would Beth Cameron: problem Linda Walsh: be it. Beth Cameron: I can think of with that is if you've got a lot of people that don't wanna be bothered learning how to use new rem remote controls. If you just kind of take away everything that they're used to knowing, that's gonna be quite a change. Linda Walsh: But if you just Beth Cameron: It Linda Walsh: lift Beth Cameron: might Linda Walsh: it up and say, channel one or Gwendolyn Hansen: Or even Linda Walsh: B_B_C_ Gwendolyn Hansen: I mean you could even just have it left on. You Janet Manning: Maybe Gwendolyn Hansen: could just Janet Manning: i Gwendolyn Hansen: put it down once on top your T_V_ and never have to Janet Manning: Yeah, have a big kind of like the satellite box or the cable box and then it doesn't matter where in the room you are, you won't Gwendolyn Hansen: Yeah. Janet Manning: lose Beth Cameron: Mm. Janet Manning: it. Linda Walsh: It c well it I can I can see technical problems Beth Cameron: Mm. Linda Walsh: with that in terms Janet Manning: No. Linda Walsh: of the, you know, the sound from the television, because if somebody actually on the television says Beth Cameron: Yeah. Linda Walsh: uh Gwendolyn Hansen: B_B_C_ Janet Manning: Oh. Gwendolyn Hansen: one. Linda Walsh: uh, you know, I_T_V_ and you're watching B_B_C_ then Beth Cameron: Yeah. Linda Walsh: then it might um change itself, so it probably needs to be um Janet Manning: Yeah, that's true. Linda Walsh: possibly actually need a button on it just Gwendolyn Hansen: yeah. Linda Walsh: to activate it. Or or something just to identify that you've lifted it up and it's use. And and then Janet Manning: Yeah. Linda Walsh: just say, oh I don't know, a thought and and then uh I mean that that would certainly be uh truly different. Um 'cause uh you know audio settings, nought point eight percent. I mean if they weren't there, Gwendolyn Hansen: Mm-mm. Linda Walsh: would people miss them? Beth Cameron: But look at the importance of them. The volume settings. Gwendolyn Hansen: Relevance of two out of ten, yeah. Linda Walsh: Vol volume, Beth Cameron: Yeah. Linda Walsh: yes um Beth Cameron: They're not used often Linda Walsh: th Beth Cameron: but they quite important when they're Linda Walsh: w Beth Cameron: used. Linda Walsh: we need to s identify Beth Cameron: Yeah. Linda Walsh: things that people actually need and and it's a function of frequency and relevance. And um I would say ignoring ig ignoring power for the moment, um the channel and volume Beth Cameron: Mm. Linda Walsh: and th w w given given that we've been told to ignore teletext. Gwendolyn Hansen: Yeah. Linda Walsh: Uh channel and volume are the only ones that Gwendolyn Hansen: Stand Linda Walsh: uh Gwendolyn Hansen: out. Linda Walsh: would appear to be essential. Um. So we if we can design something that that looks interesting, know, or looks different, um incorporates the the logo and and the colours and um we can still have our interchangeable fascias even if it's the yellow and grey, um and uh I dunno, buttons or or buttons as an option. Gwendolyn Hansen: Uh I just had a thought actually, sorry to interrupt. Linda Walsh: Do, Gwendolyn Hansen: Uh Linda Walsh: please. Gwendolyn Hansen: you were saying about um it could technical problems of like uh someone on the television saying a channel Linda Walsh: Mm-hmm. Gwendolyn Hansen: number and it changed we could maybe have like an activation word. 'Cause I've seen Linda Walsh: You Gwendolyn Hansen: I've Linda Walsh: cer Gwendolyn Hansen: seen this used Linda Walsh: certainly Gwendolyn Hansen: on computers Linda Walsh: could. Gwendolyn Hansen: before, where you just you address the Beth Cameron: Mm. Gwendolyn Hansen: remote, you address the computer, and then Linda Walsh: Depe Gwendolyn Hansen: give it Linda Walsh: uh Gwendolyn Hansen: a command. Linda Walsh: i depends whether um if we want to make this so simple that anybody can walk into the room and lift it up and say Gwendolyn Hansen: Oh I see. Oh yeah, I see. Linda Walsh: B_B_C_ one. Um okay, I mean you could print actually print it on the uh Gwendolyn Hansen: Mm-hmm, Linda Walsh: device Gwendolyn Hansen: yeah. Linda Walsh: itself. Um. Gwendolyn Hansen: I mean I'm just thinking of the point of view of peop you could still like lose this remote. Linda Walsh: S th this I th that's always gonna be a problem Gwendolyn Hansen: Mm. Linda Walsh: I think. Um and I I I s so I suppose one um could make it so desirable that if people lose it they immediately go out and buy another one. Anyway, sorry, carry on. Do you want to just carry on with Gwendolyn Hansen: Oh no I I interrupted Linda Walsh: or no Gwendolyn Hansen: you, sorry. Linda Walsh: no, no uh b I was in the middle of Gwendolyn Hansen: Oh okay. Linda Walsh: in the middle of your report there. Gwendolyn Hansen: Um well, I was just kinda wrapping up there. Yeah, I was thinking Linda Walsh: Mm okay. Gwendolyn Hansen: um, yeah, maybe such things are relevant. We could make things much more f I think the the eighty percent of people would spend more on uh a remote uh that looks better, combined with uh decrease the or take out the limited functio functions that we don't really use much. alright take out teletext, but as for channel settings and stuff it might it might um turn people somewhe peop some people that want the whole functionality away. But, since if we're marketing a more kind of fashionable approach Linda Walsh: Mm-hmm. Gwendolyn Hansen: then it'd it would be fashion and fashion over practicality. Linda Walsh: S s we could we could make it dual function voice recognition and still Gwendolyn Hansen: Oh, we Linda Walsh: have Gwendolyn Hansen: could, yeah. Linda Walsh: buttons on it Gwendolyn Hansen: We c Linda Walsh: um Gwendolyn Hansen: yeah, we could even Linda Walsh: 'cause we're Gwendolyn Hansen: have it as like a yeah the buttons control this and the voice functions control the f things that you would do all the time, so. Linda Walsh: Certainly could. Gwendolyn Hansen: So uh Beth Cameron: Mm. Linda Walsh: Yeah, Gwendolyn Hansen: yeah, if we could Linda Walsh: yeah. Gwendolyn Hansen: uh power on and channel selection and and volume selection, wouldn't have to really Linda Walsh: The I mean the the advantage of doing away the buttons altogether is it makes the thing cheaper. Gwendolyn Hansen: Yeah and probably it would look better as well. Linda Walsh: No, it cou certainly opens up the possibility for making it uh, you know, visually very distinctive. Gwendolyn Hansen: Yeah. Linda Walsh: Um Gwendolyn Hansen: yeah. Linda Walsh: 'cause you know, it does not have to be a oblong box. Beth Cameron: Mm. Gwendolyn Hansen: Lined with numbered buttons Linda Walsh: Mm, yeah. Gwendolyn Hansen: and Linda Walsh: Okay, who sorry, have you have you finished Gwendolyn Hansen: Uh yeah, Linda Walsh: there Andy? Gwendolyn Hansen: yeah, Linda Walsh: Yep, Gwendolyn Hansen: that's Linda Walsh: yep. Gwendolyn Hansen: everything. Linda Walsh: Um given that we've already had a extensive discussion uh. Janet Manning: Okay well, I can Beth Cameron: Hmm. Janet Manning: do mine. Gwendolyn Hansen: Do you want the cable? Janet Manning: Yeah, let's see if I can make this work. Um. Beth Cameron: Oh, you have to hit like function and F_ something. Janet Manning: Oh. Gwendolyn Hansen: F_ eight. Beth Cameron: F_ eight. Janet Manning: Is it doing Beth Cameron: Dunno. Gwendolyn Hansen: Uh, give it about twenty seconds, or so. Janet Manning: Okay. Linda Walsh: Ah, Beth Cameron: Oh yeah, Janet Manning: Oh Linda Walsh: there Janet Manning: okay. Linda Walsh: we Beth Cameron: it's going. Linda Walsh: go. Janet Manning: Okay, so this is just about the technical functions. Linda Walsh: Alright. Janet Manning: So the method, I looked online for examples of other similar products and then just kind of was trying to brainstorm some possible design ideas and um identify what the necessary things are, what people are what you really wanna have a remote control do. Um and then there are two different kinds that I found. There's a user centred one and an engineering centred one which I will have pictures of and Linda Walsh: Mm-hmm. Janet Manning: then we kinda have to decide which one this should be. So these are the two different ones. This one um this is the user centred, it has uh quite a few mm uh um fewer buttons and then this is the engineering centred, which has a lot more buttons, Linda Walsh: Mm-hmm. Janet Manning: and probably this is one that people complain about, about having too many buttons that you don't use. So basically, what a remote control is is you it's to send messages to the television set, you know, turn on, off, switch the channels and the volume and things such as that. And so for this product it's gonna be television only, and then it has to have the uh logos for the company and the colours. And so, for my personal preferences, I think this one is easier to use and has quite a you know, fewer buttons. Um we want something that sends messages easily to the television and I was kind of wondering about this example that they have. It looks kind of narrow at the top, and I was thinking maybe if it were wider Linda Walsh: Mm, Janet Manning: at the top, Linda Walsh: yeah. Janet Manning: then that would be easier. Um and so we have to decide what's gonna make our product different. E the unique style, maybe have it light up so it's visible in the dark, um the changeable face-plates, and the lighting up and visible I was when we were talking about havi losing it, maybe to have a button on the television that you press and it maybe if it makes a noise or lights up or something like that, so it's easier to find if someone has hidden under the couch or something like that. So that's my presentation. Yeah. Linda Walsh: Okay, can I um I'm actually gonna use the um it's gonna cause great technical problems over here. I'm actually gonna use the Janet Manning: F they probably clip Beth Cameron: Oh yeah, they might be Gwendolyn Hansen: Yeah. Beth Cameron: movable. Janet Manning: to Beth Cameron: Oh Janet Manning: you. Beth Cameron: yeah, they're all they're not connected to anything on the table, you just leave 'em on and walk around with 'em. Linda Walsh: Yes, rather than the uh the the traditional in fact, um I won't even go that far. Um something like this shape, you know, sort of something that you can that's sort of a more vertical shape, um that you you sort of hold in your hand, um, well I'm trying to think uh uh uh l uh l such as I mean um something you hold up like that, possibly with a couple of buttons like that, but with the Beth Cameron: Mm. Linda Walsh: the entire top with the, you know, the uh the infrared or whatever source. Uh so that you know, it's flying Beth Cameron: Mm. Linda Walsh: off in all directions, so that uh um uh again the n need to look at the the the technicalities of um actually achieving that in terms of whether the, you know, the power requirements of the uh such a source, um you know, compromise the our our need for uh you know, it it being um mm permanently uh you know, available. Uh whether whether different technology um I mean th all all these remotes are presumably infrared, and like they have been for a long time. Uh we we possibly need to be looking at at at something different, um you know, short range, not like the old uh radio remote controls where you'd change next door's telly when you change yours. Um but uh uh I think basically i if we're going for i if minimum number of buttons is our priority, then we should, as I say, r know, really bite the bullets and and reduce the buttons to absolute minimum, you know, possibly with backup channel and volume buttons and on off. Um and nothing else. Um so that it can al it could uh almost end up like that, but again, except that um you know the risk of losing it. Um anyway okay um so Kate, Beth Cameron: Yes, Linda Walsh: wh what Beth Cameron: mm. Linda Walsh: are your uh your Janet Manning: Oh. Linda Walsh: thoughts on this? Beth Cameron: Which one does this plug into? Janet Manning: Hmm I think it's all there. Beth Cameron: That one. Janet Manning: H Beth Cameron: I can't did you could you see it on you screen when it Janet Manning: Oh yeah. That's kind of strange. Beth Cameron: That's not cool. Oh well. Anyways. Um alright, yeah, so um I'll just do my presentation on the working design uh. Oh there we go. Okay um just at the m yeah the whole sort of method of how the remote control works. Uh the basic function of the remote control is to send messages to another sh system, the the T_V_ or the D_V_D_ player or whatever. Um and it does this uh by well, you need to start off you need an energy source and this energy source will feed into an integrated circuit chip and the circuit chip is the part that actually composes the different messages uh within the remote um which will then be sent to the uh the television, the D_V_D_ to tell that what to do. Um and you need a user interface, which controls the chip and thus the messages and uh the user interface is that's basically just you kn the s sorta design of the actual remote which you hold in your hands and what buttons will be on it. Um Oh shoot. Okay. Uh just general findings. Uh what we need uh technically speaking for the remote control is some sort of energy source, uh some sort of user interface, which I think we've mostly been talking about the user interface and the design of that. Um a circuit chip within that to uh control and send the messages and um a sender and receiver. And um oops. Uh-huh. This is just sort of a little schematic diagram of what we're looking for. Uh this Gwendolyn Hansen: Hmm. Beth Cameron: just kinda represents the energy source which feeds into the circuit chip uh which maybe then we could have that feed into a switch which would send signals f to um a subcomponent and on to a light bulb between so it'll light up once we start once you start pressing buttons. Um also send signals to the um infrared bulb, which will be the part that actually what? Sends signals to the the television. And then you've got your happy little T_V_ watcher there. And so my personal preferences I I just think we need sorta big uh energy source that won't die out, uh perhaps some sort of rechargeable battery or a battery dock you could place it in, so it'd constantly be charged, so you wouldn't have to uh be worrying about it running out of batteries and not changing channels for you. Uh a wide range uh sender-receiver, so that you can hit the buttons from basically anywhere in the room, and the channel'll still be changed. Uh also definitely a user-friendly interface um and I think we've all sort of mentioned adding a a locating device on it, so when it does get stuck under the couch cushions, as they inevitably do, you can find them easily. And that's pretty much it. Linda Walsh: Okay. Uh it seems seems to Gwendolyn Hansen there are a number of fundamental decisions to make Beth Cameron: Mm. Linda Walsh: before we um I think your point about the the big energy source is uh Beth Cameron: Mm. Linda Walsh: a very valid one. Um I don't suppose we've got any statistics on the the life expectancy of uh remote controls, particularly sort of independent ones. Um given you know, the number of things you buy these days, which you know, have a a a lithium whatever battery in, that's uh, you know never needs replacing. Um perhaps we should have the the disposable remote control, uh um you know, one some sort of typical usage. You know, the the the battery will last know, five, ten years. By which time I mean when all's said and done, the digital television will be taking over Beth Cameron: Mm. Linda Walsh: in that time scale. Gwendolyn Hansen: Mm-hmm. Linda Walsh: Um uh uh p perhaps we should, know, reduce the uh, you know, the sort of moving parts even more by not even having a battery compartment and uh Beth Cameron: Just having one that's guaranteed to last five to ten years? Linda Walsh: Yeah, and Beth Cameron: Oh, Linda Walsh: if if anybody Beth Cameron: cool. Linda Walsh: manages to run it down, we'll we'll give 'em a new one. Beth Cameron: Yeah, fair enough. Linda Walsh: Um it's, you know, it's what it saves in cost and you know there there's a well, it's actually a marketing gimmick. I mean it's hardly a gimmick, it's uh it's totally practical. Uh so I th think you know the idea of a rechargeable one is um uh unless you're really high tech and it sort of just recharges itself if it's n by, you know, magnetic waves or whatever, if Gwendolyn Hansen: It could Linda Walsh: if Gwendolyn Hansen: have Linda Walsh: it Gwendolyn Hansen: like uh know like a cordless phone in your house it s got like a base that Linda Walsh: Yeah. Gwendolyn Hansen: sits Beth Cameron: Mm, Gwendolyn Hansen: there all Beth Cameron: mm. Gwendolyn Hansen: the time. Linda Walsh: Are are people really gonna use it though? Gwendolyn Hansen: I Janet Manning: Yeah, people Linda Walsh: Um. Gwendolyn Hansen: suppose, Janet Manning: are pro Beth Cameron: Mm Gwendolyn Hansen: yeah. Janet Manning: I Beth Cameron: yeah. Janet Manning: would think that people might forget I mean Linda Walsh: I Janet Manning: people Linda Walsh: I th Janet Manning: forget Linda Walsh: I think Janet Manning: to put their cordless phones back on there, Beth Cameron: Mm-mm. Janet Manning: so. Linda Walsh: Yeah, it's Gwendolyn Hansen: Yeah. Linda Walsh: um I mean I know that somei times my my wife goes out in the morning and says oh I should have put the phone on Beth Cameron: Mm. Linda Walsh: to charge and then then she's had those for so long that if she hasn't worked that out by now. Um. Beth Cameron: 'Cause I only remember to charge my cell phone uh when battery dies. And that's pretty Janet Manning: Yeah. Beth Cameron: much Linda Walsh: When it yeah, wh Beth Cameron: yeah. Linda Walsh: when it's died is a problem. Beth Cameron: Yeah, when it turns itself Linda Walsh: Yeah, Beth Cameron: off, that's Linda Walsh: yeah, Beth Cameron: when I plug it in, Linda Walsh: yeah, Beth Cameron: yeah. Linda Walsh: so uh um what so wh what what do we think about the um the the permanent mm battery? Beth Cameron: Yeah, think that's Gwendolyn Hansen: Uh. That Beth Cameron: a good Janet Manning: No. Beth Cameron: idea. Gwendolyn Hansen: sounds pretty good, yeah. Linda Walsh: Is the uh you know, we we Janet Manning: Um. Linda Walsh: we are really going for the ultimate in ex uh external simplicity Beth Cameron: Mm. Linda Walsh: here. Um you know, cut cost within the manufacturing and uh you know, if we have a high tech interior, then then that that sh may well be cost effective. Janet Manning: Do they make batteries that last that long? Linda Walsh: I mean th th certainly. Um I can't think of anything off the s top of my head, but there are certainly things that you buy. I mean calculators for example. Beth Cameron: They usually have the little light uh source, I dunno Janet Manning: Yeah, they Beth Cameron: what Janet Manning: have Beth Cameron: the Janet Manning: that Beth Cameron: heck Janet Manning: little Beth Cameron: they're called, Janet Manning: solar Beth Cameron: the but yeah, the little cells that Linda Walsh: Som well some do, I mean th th but Beth Cameron: Yeah. Linda Walsh: there are battery ones that um Gwendolyn Hansen: Mm-hmm. Linda Walsh: are Beth Cameron: Mm. Linda Walsh: you know, sort of permanently sealed. Janet Manning: Yeah. Linda Walsh: In in fact I'd Beth Cameron: Most of them, don't they have sort of a combination of the two, like when there is light, they'll work off the light, and if Linda Walsh: Yeah, Beth Cameron: there isn't, they'll Linda Walsh: uh uh Beth Cameron: kick into this battery, so we can maybe do something like that whereas there is a battery, but if there's enough light, then it's using the light, so that it's not actually draining the battery all the time, Janet Manning: Mm. Beth Cameron: but you will have the battery there for Linda Walsh: Yeah, Beth Cameron: when Linda Walsh: I Beth Cameron: you need Linda Walsh: I mean Beth Cameron: it. Linda Walsh: th th this needs going t into the technology Beth Cameron: Mm. Linda Walsh: a bit. I mean the the actual time that a remote control is actually operating Beth Cameron: Mm. Linda Walsh: I would think is i is is probably, you know, no more than minutes in its entire life. Beth Cameron: Oh, Linda Walsh: Um. Janet Manning: Yeah, some people are Linda Walsh: If, but I say Beth Cameron: clicking, Linda Walsh: if if people are getting Beth Cameron: yeah. Linda Walsh: R_S_I_ from it then Beth Cameron: Yeah, Linda Walsh: uh then Janet Manning: Yeah. Beth Cameron: then they're Linda Walsh: uh Beth Cameron: clicking Linda Walsh: then Beth Cameron: a lot, Linda Walsh: then Beth Cameron: yeah. Janet Manning: Yeah. Linda Walsh: perhaps we're looking Gwendolyn Hansen: W Linda Walsh: at the wrong market Gwendolyn Hansen: like Linda Walsh: n Gwendolyn Hansen: like this um this uh market research thing says number of times per hour that it's used, channel selection a hundred and sixty eight times per Linda Walsh: Right. Gwendolyn Hansen: hour. Beth Cameron: Yeah. Janet Manning: Per hour? Wow. Gwendolyn Hansen: Yeah. Janet Manning: That's a lot. Beth Cameron: Yeah. Linda Walsh: Oh, I must admit I hadn't um I'd I'd missed that. That does sound excessive. Gwendolyn Hansen: But then again, if you think it of the amount of, you know amount of use it's like Linda Walsh: Yeah. Gwendolyn Hansen: That's it's less Beth Cameron: Yeah. Gwendolyn Hansen: than a second, Janet Manning: Yeah. Beth Cameron: Yeah. Gwendolyn Hansen: um. Linda Walsh: Well that's right, and and I I don't I don't even know whether the I don't even know whether the s the signal lasts as long as Beth Cameron: Mm. Linda Walsh: you actually keep the button pressed, or whether it's just a Gwendolyn Hansen: Yeah. Linda Walsh: sorta tenth of a second, no matter how long you press it for, I don't know I don't actually know. Janet Manning: Though Linda Walsh: Um. Janet Manning: I think with digital T_V_, like I know on my cable box, you're not supposed to do that because the channel can't keep up with it if Linda Walsh: Yeah. Janet Manning: you just Beth Cameron: Mm. Janet Manning: press it like that, so you're supposed to use the menu and go through the Linda Walsh: Mm-hmm. Gwendolyn Hansen: Mm-hmm. Janet Manning: different channels that way instead of Linda Walsh: Mm. Right, so I've got a message to say five minutes, I dunno how long ago that appeared. Um Janet Manning: Uh-oh. Linda Walsh: 'cause we're we're getting um right, so I'd I need to sum up very quickly here um. We're looking at extreme simplicity. We're looking at a radically different shape. Possibly no buttons at all um, but if you can incorporate um channel change and volume buttons um in into the design, then then that's fine. Um in the I mean the the role of the of the um the user interface des designer becomes b you know more important here, because, you know, shape is no longer an a uh um a serious constraint. But we clearly only need th the main buttons, although, uh if clearly only need the main functions. Um I don't see why we shouldn't go for voice recognition um and the the only buttons that I think we need are channel control, volume control and on off. Um it needs to incorporate the corporate logo, uh the the grey and yellow colour scheme and there's no reason why we can't introduce um interchangeable uh covers. Um uh d so does that accurately summarise what we've discussed? Gwendolyn Hansen: Yeah. Janet Manning: Yeah. Beth Cameron: Yep. Hmm. Linda Walsh: Right. Janet Manning: Um Linda Walsh: So uh Janet Manning: Oh I just have one question. Linda Walsh: Yeah. Janet Manning: So are we doing just the television or are we doing Linda Walsh: We are doing just the television. Janet Manning: so not D_V_D_ Linda Walsh: No. Janet Manning: players, we okay, okay. Linda Walsh: I think that's quite clear from the the information Beth Cameron: Mm. Linda Walsh: that we've been given, no? Janet Manning: Okay. Gwendolyn Hansen: Yeah, like in the email of television only. In fact they're in the constraints email that I got. Linda Walsh: Right. Gwendolyn Hansen: Didn't you mention the teletext, just television Linda Walsh: Oh yeah Gwendolyn Hansen: only? Linda Walsh: well Beth Cameron: Mm. Linda Walsh: th that's Janet Manning: Yeah. Linda Walsh: one I s that's one I sent you, which which was my interpretation Gwendolyn Hansen: Oh okay. Linda Walsh: of uh Beth Cameron: Yeah. Gwendolyn Hansen: Oh yeah. Linda Walsh: of the Janet Manning: Oh Linda Walsh: uh Janet Manning: okay. Linda Walsh: what came down Beth Cameron: Okay. Linda Walsh: from from head office. Um That's that that that that's their uh their view. Okay, so uh we can all give some thought to that uh for for the next meeting, thank you Janet Manning: Okay. Linda Walsh: very much indeed. Beth Cameron: Cool.

Linda Walsh opens the meeting by going through notes from the last meeting, recapping the topics covered. He tells them some new project requirements given by management. Gwendolyn Hansen presents, talking about user functionality requirements taken from research of 100 people. They discuss the possibility of making a remote that hides less frequently used buttons, one that uses voices recognition to eliminate buttons altogether, or one that combines the two functions. The interface specialist presents, showing examples of two different products- one that is user-centered and another that is engineering-centered and giving personal preference to the simpler one because it is easier to use and has fewer buttons. Next Beth Cameron presents, explaining how a remote control works and giving personal preference to a remote which has a large energy source such as a rechargable battery or battery dock. The group discusses using a battery that will last 5-10 years or a solar combined with a battery. They briefly review their discussions and close the meeting.

amisum

train

Ruby Saito: Alright? Alright. Thank you for coming to this meeting of the uh uh design group. Um I think we uh made some definite progress at the last one um and come up with some interesting uh uh w suggestions for our our new remote control. Um I'll again very quickly uh just present some notes of that meeting. Um the the the problem with existing remote controls, we felt, was that they're ugly um and that people are prepared to pay a premium for something better. Um they've got lots buttons on them that uh people don't use and find difficult to learn. Um and people lose them. And We we thought that f for our our new uh uh remote control that everybody will want to rush out and buy, um that we're we should look at speech recognition rather than r rather than buttons, and that if we have any buttons they should be very few of them and only for those functions that are actually identified that that people use. That um we want to go for uh a long lasting battery that we gua we guarantee for the life of the uh uh the product and a shape that will be instantly recognisable, A_ um as uh a trendy remote control, and and B_ as uh a Real Reaction product. So that w uh when people are uh happy with that, they will they will want to buy uh everything else from us. Uh Okay. So again um, I'll we'll have the three three presentations from the the the three of you and then uh we'll we'll make a a final a final uh decision. Um and the the decisions that we need to to make today, finally, are um what energy source we want to use, whether i it is practical to use uh um a a a long lasting one. And uh I I think our discussion was around the fact that uh if we're gonna go for uh a long lasting power supply, then basically it's uh sealed for life and uh if anybody does manage to run one down, we'll we'll give them another one. And uh it it'll be uh, you know, prominently displayed as part of the th the advertising literature that it's um um, you know, for life, guaranteed for life. Um now the the the internal chip um and uh this is where I need uh uh Kate's expert advice and given that th this has to to go to market as quickly as possible um d d do we go for a custom designed chip? Or or do we buy one off the shelf and and programme it ourselves? Uh I mean I'm I'm I'm n not an expert on these things, but presumably, there must be loads of 'em already on the market that we can modify. But uh that that's uh that's your area of expertise. And then the uh, you know, the the overall design of the case uh is is is Kendra's field and uh we we had some discussions last time as as to uh how we might go forward and we'll we'll finalise those uh da today. Um and thi this is all linked in with the the the user interface, whether we p um go for voice, buttons, or or a bit of both. Uh and then uh, you know, f for the next meeting Kate will be looking at the the the s the look, feel and design, Kendra the uh ho how the the user actually uses it and and Andrew of course the the product evaluation. And uh Kate and Kendra will be producing a a model for us to uh to look at. Uh so, if if we can have the the three presentations again please, and uh um p perhaps you'd like to start Lisa Scheunemann: Okay. Ruby Saito: uh k. Kate. Lisa Scheunemann: Um Ruby Saito: Oh I'm sorry, Lisa Scheunemann: Um Ruby Saito: oh sorry. Lisa Scheunemann: there we go. Lisa Scheunemann: 'Kay, I'll just be talking about the components design. And Okay, basically I just uh looked at what exactly do remotes do. Uh basically they wait for you to press a key or give a voice command and then this is translated uh into uh light signals which are then seen by the T_V_. Uh the materials we're gonna need to look at uh the two big ones are the integrated circuit chip and the battery and the in integrated circuit chip uh works in conjunction with a a diode transistor or resonator, uh two more resistors and a capacitor and the battery works in conjunction with a resistor and a capacitor. Um. Uh basically what happens is you'll press a number or give a voice command and this creates a a connection within the the remote that allows the chip the chip then senses this connection and produces a signal in a Morse code format. This signal's sent to the transistor which amplifies it and then sends it on to the light emitting diode and uh which is then trai changed into a infrared light which is sent to the T_V_ and sort of seen by the T_V_ and which uh changes the channels. Um. Oh. Uh cool. Lisa Scheunemann: Uh so as for how we should end up uh using this in our remote uh t couple of main questions are the buttons. Uh y the fewer buttons you have, I guess the fewer internal connections and internal codes you're gonna need. Um however uh to n not have buttons or to use a voice commands instead of buttons might make these connections more difficult and uh raise the production cost. That's something we should think about. Also we have to work within the company constraints, and the company has informed Edna Lora via email that uh they're experts at pushbuttons and that seems to be the most uh cost-effective way of producing it. Um also with battery connections the company has some limits on the batteries we can use, so I was thinking perhaps a combination of solar cells with a back-up basic battery and somehow between the combination of that two we might be able to come up with something that uh will last the the lifetime or the five to ten years and we could still keep that original idea. Um we also need to look at the chips, uh v custom-designed versus off the shelf, and the custom-designed will give us much more flexibility and enable us to incorporate the voice function that we all uh seem to have agreed upon. Um, however that's gonna cost more, but uh the off the shelf is gonna be uh cheaper and it's gonna be allow us to produce it quicker and get out there faster, but it's going to be less flexible with the features, especially things like uh voice activation, which haven't really been used much on remotes, so there's not really chips out there that would be easy to uh to convert, so if we were uh definitely gonna go with the the voice option we'd probably have to design um our own chip. And that pretty much sums it up. Ruby Saito: Okay, so how um sorry, Lisa Scheunemann: Mm. Ruby Saito: can you uh Lisa Scheunemann: Oh Ruby Saito: just Lisa Scheunemann: yep, Ruby Saito: put Lisa Scheunemann: sorry. Ruby Saito: that one back up again, please? Lisa Scheunemann: Yep. Ruby Saito: Um. Uh d d d okay, I mean uh inevitably a b a custom design chip is gonna be more expensive. Lisa Scheunemann: Mm. Ruby Saito: Do we do we know uh by how Lisa Scheunemann: Um Ruby Saito: much? Lisa Scheunemann: I don't actually have any price information, no. Ruby Saito: And and do we know how long it'll take to uh develop a a custom chip. Lisa Scheunemann: Um it a lot longer than an off the shelf chip. Oh w yeah, we did the the problem is the the the voice technology is not really highly Ruby Saito: Right, Lisa Scheunemann: developed, it's sort of still Ruby Saito: okay. Lisa Scheunemann: still in an ex experimental form, uh so it would uh it's hard to predict the time. Ruby Saito: Right, I think we need to make a a decision here. Uh given that the company wants this on the market quickly and cheaply, Lisa Scheunemann: Mm. Ruby Saito: that would appear to uh effectively constrain us to an existing chip and thus therefore conventional button technology. Um uh now before we go round everybody else, does anybody um Katie Regnier: I Ruby Saito: h have any have anyti ha anything to say about that? Katie Regnier: I just have a question about. Um does it make a difference if there are just a few commands, for example if you um can pre-programme in like numbers one through ten and pre-programme say, you know, nine channels and then just use the voice recognition to say channel one and then you've programmed in say B_B_C_ four as your channel one, as your favourite, it's like to have a certain number of favourites um Lisa Scheunemann: W Katie Regnier: and that Lisa Scheunemann: just Katie Regnier: w Lisa Scheunemann: to to incorporate the voice activation in it is is sorta the trick. Once Katie Regnier: Okay. Lisa Scheunemann: you've got the whole voice chip Katie Regnier: Then Lisa Scheunemann: in there, Katie Regnier: it doesn't Lisa Scheunemann: then Katie Regnier: matter. Lisa Scheunemann: it's pretty much Katie Regnier: Okay. Lisa Scheunemann: the the world the the sky is your limit, but to actually the the big step is to actually get the voice Katie Regnier: Okay. Lisa Scheunemann: activation chips in there and working. Ruby Saito: Cause uh I must say I find it slightly surprising given that, you know, mobile phones incorporate voice activated dialling. So uh Katie Regnier: Yeah. Ruby Saito: um I mean I d d for slightly different well no, I mean, it's if you you speak somebody's name and it'll dial the number for you, so uh bu I mean the this this information is from is this is the internal company Lisa Scheunemann: Uh Ruby Saito: information, Lisa Scheunemann: bits Ruby Saito: is it? Lisa Scheunemann: of it, yeah. Ruby Saito: So Katie Regnier: Of course Ruby Saito: uh Katie Regnier: mobile phones do tend to be more expensive, Lisa Scheunemann: Yes, as well. Katie Regnier: you know, hundred and fifty pounds or something. As opposed to Ruby Saito: Yeah, Katie Regnier: the Ruby Saito: mm true, Katie Regnier: twenty Ruby Saito: again but Katie Regnier: Euros, Ruby Saito: if it's without Katie Regnier: twenty Ruby Saito: any Katie Regnier: five Euros. Ruby Saito: without any uh p price informations that's uh difficult to uh uh decide. Katie Regnier: Yeah. Edna Lora: Also lots of mobile phones have got a lot of technology in them, not just Lisa Scheunemann: Mm. Edna Lora: that, Ruby Saito: Yeah, Edna Lora: so. Ruby Saito: that's that's right It's. like it's it's you can't 'cause mobile phones are expensive, you can't say it's the voice recognition Katie Regnier: Yeah. Ruby Saito: bit that is. But we don't know. Um. I mean uh I su i I mean if given that the um the technology is not well developed and and given that it's it's never been done before, um th th the double risk, uh perhaps we ought to uh stick to uh to buttons, since the last thing we want to do is present a product that doesn't work. Um. Thoughts? Katie Regnier: Well, another Edna Lora: Would Katie Regnier: thought I oh, sorry, go ahead. Edna Lora: Oh I was just gonna say mayb maybe it sh like um maybe we can like cut corners somewhere else to bring in over cost. Ruby Saito: I mean do w do we think that the voice technology is fundamental to the project? Lisa Scheunemann: Uh it's fundament well I mean I guess it it's something we've discussed uh since the the sort of the beginning, so I th I think in in our in our minds it's it's fundamental, but I don't know that the uh the upper echelons of the company would necessarily agree with that, so I think Ruby Saito: I mean I think Lisa Scheunemann: you have Ruby Saito: we Lisa Scheunemann: to Katie Regnier: Oh yeah. Ruby Saito: Mm. Lisa Scheunemann: Hm. Katie Regnier: Okay. Well, I kinda think if we're gonna have the voice recognition for part of it, then maybe we should have it for the whole thing. Ruby Saito: Yeah, I I Lisa Scheunemann: Mm. Ruby Saito: I I I think that's uh Katie Regnier: And we've been talking about it the whole Lisa Scheunemann: Mm, Ruby Saito: Yeah, Katie Regnier: time. Anyway, Lisa Scheunemann: mm. Katie Regnier: I'm Ruby Saito: yeah. Katie Regnier: I'm incli kinda inclined to say that we should just Ruby Saito: Mm, Katie Regnier: go for Ruby Saito: right, Katie Regnier: it. Ruby Saito: okay. Lisa Scheunemann: Mm. Edna Lora: Uh yeah, it's the second most important aspect to users that the device should be technologically innovative. Katie Regnier: Yeah. Edna Lora: From uh my presentation Ruby Saito: Yeah, Edna Lora: show, so. Ruby Saito: it should be Edna Lora: Uh technologically innovative. Ruby Saito: Right, okay, so. Lisa Scheunemann: No, that Ruby Saito: Fine. Lisa Scheunemann: sounds good. Ruby Saito: Okay. Lisa Scheunemann: Mm. Ruby Saito: I it will have voice recognition Lisa Scheunemann: Mm. Ruby Saito: um Katie Regnier: Okay. Lisa Scheunemann: Cool. Ruby Saito: uh if if that means uh if that means we can't afford buttons but I mean b b second question, do we need the five buttons for channel change, up down, volume up down and on off, just as a a backup or Lisa Scheunemann: Um Ruby Saito: just so that people can Katie Regnier: Yeah. Ruby Saito: uh j j just sit Lisa Scheunemann: Yeah, Ruby Saito: there pressing Lisa Scheunemann: I I Ruby Saito: buttons? Lisa Scheunemann: would say we do, yeah. Katie Regnier: I think so. Ruby Saito: Right. Okay. Sorry, d did you want to say anything? Lisa Scheunemann: Uh nope, Ruby Saito: No? Lisa Scheunemann: that was it, Ruby Saito: Okay. Lisa Scheunemann: that was it. Ruby Saito: Shall we move rapidly Lisa Scheunemann: Okay. Ruby Saito: on to uh Katie Regnier: Okay. Ruby Saito: Kendra? Uh um ra rapidly move the cable over. Katie Regnier: Let's see. Ruby Saito: Mm. Oh good. Katie Regnier: Oh. Yes. Is it gonna work? Lisa Scheunemann: Yeah, Ruby Saito: Mm Lisa Scheunemann: it's thinking Ruby Saito: yeah, Lisa Scheunemann: about Ruby Saito: it'll Lisa Scheunemann: it. Ruby Saito: get there. Yep. Katie Regnier: Okay. Lisa Scheunemann: Yeah. Katie Regnier: Okay, so I did some research on the internet and um what you know, the interf user interface are just aspects that are seen by users, um commands and mechanisms for the operation, and there're just kind of a variety of choices. Um findings, so a lot of times they tend to look cluttered and Ruby Saito: Mm-hmm. Katie Regnier: these were just a couple examples of um different kinds that are a little bit more unusual. There're some Ruby Saito: Mm, Katie Regnier: special Ruby Saito: yeah. Katie Regnier: ones available, like this one right here, which is Ruby Saito: Uh-huh. Katie Regnier: marketed towards children, um Ruby Saito: Alright. Katie Regnier: different designs, and one of the things that n we need to watch out for is a V_ in volume because people some Katie Regnier: Bring a little picture of what I thought ours could look like. So just kind of minimise the Ruby Saito: Mm-hmm. Katie Regnier: clutter, avoid too many buttons and also um one of the things that people have used is a slide button, like you have on a mouse, that possibly we could use that on the sides Edna Lora: Mm. Katie Regnier: for volume, for example, have the slide button on the side, and then you can pre-programme the channels, Ruby Saito: Mm Katie Regnier: the Ruby Saito: yeah. Katie Regnier: voice recognition and then the Ruby Saito: Sorry Katie Regnier: voice Ruby Saito: y Katie Regnier: response Ruby Saito: y Katie Regnier: sample Ruby Saito: yeah, Katie Regnier: locator. Ruby Saito: if I can interrupt you. Well d p 'kay, do you wanna say anything Lisa Scheunemann: Mm. Ruby Saito: about um slide controls? I mean I think the reason everybody uses pushbuttons is that they're Lisa Scheunemann: Uh Ruby Saito: they're si simple, cheap and Lisa Scheunemann: Uh I think they're Ruby Saito: reliable. Lisa Scheunemann: they're about the same cost really. I I mean, I think it's just sort of the the there's a lot of slide buttons out there. I think it's pretty much the same sort of connection. Ruby Saito: Okay, Lisa Scheunemann: Mm Ruby Saito: fair enough, Lisa Scheunemann: yeah. Ruby Saito: fine. Katie Regnier: Just because I n for example if I'm using a mouse I like to be able to slide it up and Lisa Scheunemann: Mm. Katie Regnier: down so I thought it might Ruby Saito: Yeah. Katie Regnier: be good for volume to just be able to Ruby Saito: Good, Katie Regnier: kind of roll it Ruby Saito: good. Katie Regnier: and then have the up and down and then the Ruby Saito: Yeah. Katie Regnier: this is my Ruby Saito: So Katie Regnier: great Ruby Saito: three Katie Regnier: little Ruby Saito: three Katie Regnier: drawing. Ruby Saito: there's three buttons on a slider. Three buttons, Katie Regnier: Y Ruby Saito: channel Katie Regnier: yes, Edna Lora: Well, Ruby Saito: up channel Katie Regnier: yes. Ruby Saito: up Edna Lora: if Ruby Saito: down Edna Lora: you g if Ruby Saito: and Edna Lora: you you got channel down, can have a slider in that as well. Because if it if you no if you notice on the thing it it kind of like has got kind of if you you know it s kind of like sticks, if you know what I mean, up like one unit, if you see what Katie Regnier: Yeah. Edna Lora: I mean. Lisa Scheunemann: Mm. Edna Lora: So it kinda goes up one, then y like you can keep rolling it up, but it's like like like like a cog or something. Ruby Saito: Uh-huh. Edna Lora: So you kinda take it up one at a time. Ruby Saito: Okay. Katie Regnier: The only advantage Edna Lora: D Ruby Saito: Um Katie Regnier: I was thinking of to having the buttons, like the buttons on one side for the channel, Ruby Saito: Mm-hmm. Katie Regnier: and then the slider is that if you're just holding in your hand, and you pick it up, it's easy to n s Edna Lora: Oh. Katie Regnier: know, okay, this is just the volume and this is Ruby Saito: This Katie Regnier: the channel. Ruby Saito: one Edna Lora: Uh Ruby Saito: on the one Edna Lora: you could Ruby Saito: side and one Edna Lora: you Ruby Saito: yeah. Edna Lora: could Lisa Scheunemann: Ye yeah, 'cause Edna Lora: as Lisa Scheunemann: I've Edna Lora: l Lisa Scheunemann: definitely Edna Lora: as Ruby Saito: Okay. Edna Lora: like Lisa Scheunemann: picked Edna Lora: a mouse Lisa Scheunemann: up remotes Edna Lora: you could Lisa Scheunemann: and like meant to Ruby Saito: Yeah. Lisa Scheunemann: change the channel and turn the volume, or Katie Regnier: Yeah. Lisa Scheunemann: vice versa, so it'd be Ruby Saito: Yeah. Lisa Scheunemann: kinda good to have them be feel completely different. You'd know what you were fiddling with. Yeah. Edna Lora: Yeah, like Ruby Saito: Yeah, Edna Lora: the shape Katie Regnier: That Ruby Saito: or Edna Lora: of Katie Regnier: was Edna Lora: it almost Ruby Saito: yeah Edna Lora: like a Ruby Saito: uh Edna Lora: mouse, Ruby Saito: th th Edna Lora: with Ruby Saito: the Edna Lora: a Ruby Saito: I mean thi this is what the we have to come up with is the the actual shape that people can ins instantly pick it up and and know Lisa Scheunemann: Mm. Ruby Saito: know uh know what it's going to do. Katie Regnier: Yeah. Ruby Saito: Okay, so we we're looking at sliders for both a uh volume and channel change Katie Regnier: Um well I was Ruby Saito: of Katie Regnier: thinking Ruby Saito: one sort. Katie Regnier: kind of just for the volume, Ruby Saito: Just Katie Regnier: but Ruby Saito: for the volume, Katie Regnier: what Lisa Scheunemann: Mm. Ruby Saito: uh. Katie Regnier: what Edna Lora: Dep Katie Regnier: do you guys think? Edna Lora: I dunno if it Katie Regnier: We Edna Lora: depending Katie Regnier: could Edna Lora: on the final shape of it, 'cause you could have like, I dunno, it looks like you can c control the volume with your thumb, and then you could control Katie Regnier: Yeah, Edna Lora: the buttons Lisa Scheunemann: Yeah, Edna Lora: with your fingers. Ruby Saito: Fingers, yeah. Katie Regnier: yeah. Ruby Saito: I Lisa Scheunemann: if Ruby Saito: mean it's Lisa Scheunemann: yeah, Ruby Saito: it's Lisa Scheunemann: in that kinda position the fingers would be better for pressing and Ruby Saito: It Lisa Scheunemann: the Ruby Saito: yeah, Lisa Scheunemann: that Ruby Saito: I mean Lisa Scheunemann: for Ruby Saito: it Katie Regnier: B Lisa Scheunemann: rolling, Ruby Saito: it Lisa Scheunemann: just Ruby Saito: it seems Lisa Scheunemann: the way it Ruby Saito: to Edna Lora Lisa Scheunemann: would Ruby Saito: that Katie Regnier: Yeah. Ruby Saito: uh it uh it al also has the advantage that it it the two are clearly different, Lisa Scheunemann: Mm Katie Regnier: Yeah. Lisa Scheunemann: yeah, yeah, Ruby Saito: um Edna Lora: Oh yeah, yeah. Ruby Saito: that Lisa Scheunemann: yeah. Ruby Saito: there's no no possibility of uh confusing the two. So Katie Regnier: I'm just Ruby Saito: okay. Katie Regnier: gonna pass this along. Ruby Saito: Right so uh that's sorry is that that all you Katie Regnier: Yes. Ruby Saito: want to say at the mo okay, fine. Katie Regnier: Yeah. Ruby Saito: Mm right. Edna Lora: Here we go. Ruby Saito: Right. Edna Lora: Uh yeah, this is my report on trend watching. Ruby Saito: Mm-hmm. Edna Lora: The data's come off internet uh from executive summary for us on the top three things wanted by the consumer. And we got reports from Paris, Milan on new fashions. And uh the most important aspect is the l the look it has to look fancy, look and feel Ruby Saito: Mm-hmm. Edna Lora: uh instead of the current functional look and feel. This is a st well I was gonna say yeah twice as important as the Ruby Saito: Mm. Edna Lora: second aspect, which is the technologically innov innovative um side of it. So uh and the third being easy to use is probably a given, we have to try and incorporate, so uh Ruby Saito: Well I I mean I th I think that what we're suggesting ought to address all three of those. Edna Lora: Uh Katie Regnier: Yeah. Edna Lora: exactly, yeah. Lisa Scheunemann: Mm. Ruby Saito: Okay. Edna Lora: I s that out of sequence? Uh yeah, sorry. Uh yeah, and uh from the fashion watchers from Milan and Paris have said fruit and vegetables are an important theme for clothes and furniture and shoes, et cetera. Katie Regnier: Oh. Edna Lora: Uh sorry, clothes, shoes and Ruby Saito: Uh-huh. Edna Lora: furniture and uh a spongy material to be used on the on the outside. Ruby Saito: Mm I hadn't thought of that, that's different, certainly. Lisa Scheunemann: Mm. Edna Lora: Yeah. But uh I was gonna say um yeah, fruit Ruby Saito: What? Edna Lora: and vegetables, uh important to this year um important to furniture, I'm just gonna say uh f like it's in if if fashion if we're going for the it looks fancy, then fashion is obviously the line we gotta be going through. Ruby Saito: Yeah. Lisa Scheunemann: Mm-hmm. Edna Lora: But fashions do don't last very long. Lisa Scheunemann: Well that can kinda tie into our changing uh face things, like we could have Edna Lora: Mm. Lisa Scheunemann: the fruit and vegetable theme this year Edna Lora: Yeah. Lisa Scheunemann: and uh Katie Regnier: Yeah. Lisa Scheunemann: whatever happens next year, we can have the Edna Lora: Yeah, we can Lisa Scheunemann: face Edna Lora: have a Lisa Scheunemann: plates, Edna Lora: sp Lisa Scheunemann: yeah. Edna Lora: like a spongy skin on it and then we Lisa Scheunemann: Yeah, Edna Lora: can just Ruby Saito: Uh. Edna Lora: whip that off and Lisa Scheunemann: yeah. Katie Regnier: Yeah like the kind you get on like hand weights. You know, that Lisa Scheunemann: Mm, Katie Regnier: kind of spongy Lisa Scheunemann: yeah, that weird I dunno what that is, Ruby Saito: Uh. Lisa Scheunemann: but Katie Regnier: yeah. Lisa Scheunemann: yeah. Edna Lora: A kind of yeah. Lisa Scheunemann: Mm. Ruby Saito: Also Edna Lora: Oh Ruby Saito: means you can drop it without damaging it. Edna Lora: Yeah. Lisa Scheunemann: Uh, Edna Lora: That's Lisa Scheunemann: yeah, Edna Lora: c Katie Regnier: Yeah, Lisa Scheunemann: it's good Edna Lora: cool. Lisa Scheunemann: as well. Katie Regnier: that's true. Lisa Scheunemann: Mm-hmm. Edna Lora: Um you have we could if we could save depending on the cost of the product itself, you know, could we have uh a cheaper b cheaper power source and then just have it annually renewed? Instead of having a ten year guarantee? With interchangeable covers, could just buy a new one every year, a new Katie Regnier: Yeah. Edna Lora: one when new fashions come out. Lisa Scheunemann: Mm. Ruby Saito: I I mean it its uh I that's an interesting idea, it's like the old Swatch watch where uh um on only batteries ever got changed in those, 'cause people just bought a new one when it went out of fashion, but Lisa Scheunemann: Mm. Ruby Saito: it's just never been seen as a a fashion item before. Edna Lora: Yeah. Ruby Saito: Um that's Katie Regnier: Wh Ruby Saito: yes Lisa Scheunemann: I Ruby Saito: if if if they're made in sufficient quantity Lisa Scheunemann: I think it's easier sometimes to have them buy changeable covers for it than to buy a whole new one, because you don't feel like you're investing in a whole new product. Ruby Saito: W I mean we we can uh uh b but I mean my feeling is that Lisa Scheunemann: Yeah. Ruby Saito: current power sources are such that Lisa Scheunemann: Mm. Ruby Saito: for relatively little cost you can make it last, you know, a long time. Lisa Scheunemann: Yeah. Ruby Saito: Um but if we also make it cheap enough that people either change the cover every year or Lisa Scheunemann: Mm. Ruby Saito: even buy a new one every year then it it's it's even better. Lisa Scheunemann: Mm. Katie Regnier: What if we Edna Lora: Mm-hmm. Katie Regnier: included the batteries in the cover? Lisa Scheunemann: Oh yeah. Katie Regnier: So Lisa Scheunemann: I like Katie Regnier: um Lisa Scheunemann: that. That Katie Regnier: like Lisa Scheunemann: all c also kind of encourages 'em to buy new covers and yeah. Katie Regnier: Yeah, so can I see that Lisa Scheunemann: Um. Katie Regnier: thing? Ruby Saito: S Katie Regnier: Just this Ruby Saito: Yeah, Katie Regnier: as examples. Ruby Saito: yeah, I n I know the only p Katie Regnier: So Ruby Saito: I mean Katie Regnier: f Ruby Saito: the the the the immediate thing that comes to mind with that is that it it it y you've then got the connection and you've immediately got a sort of unreliability, whereas Lisa Scheunemann: Uh yeah. Ruby Saito: the advantage of having it plumbed in is that that the whole thing is all, you know, completely soldered together Katie Regnier: Yeah, I Lisa Scheunemann: Mm. Katie Regnier: guess that's Ruby Saito: and it it it you know, total Katie Regnier: true. Ruby Saito: reliability, but I mean I d I I uh I know what you're saying and uh understand Edna Lora: Or Ruby Saito: where you're coming from. Edna Lora: well, but like uh like more than just the battery, like a complete different like you've only got like, you know like th uh this bit's the bit you keep, and this is the expensive bit, this is like the chip and this is Lisa Scheunemann: Mm-hmm. Edna Lora: the microphone. And then this is the power source and the bit everyone sees. And then Ruby Saito: I th I s I think if we're gonna go down that route, then we're talking about uh even if it costs slightly more than that, um just building the whole thing in one, then having Edna Lora: Yeah, Ruby Saito: getting Edna Lora: you probably Ruby Saito: cheaper Edna Lora: are right. Ruby Saito: production costs um and, you know giving people the option of buying a new uh a a complete new thing, the advantage of a replaceable cover is that even if they don't it doesn't have a cover on at all, it will still work Lisa Scheunemann: Mm. Katie Regnier: Yeah, Ruby Saito: um Katie Regnier: that's true. Ruby Saito: totally. Lisa Scheunemann: Mm. Ruby Saito: Um Katie Regnier: Yeah, Ruby Saito: then if, Katie Regnier: yeah. Ruby Saito: you know, if people lose the cover, I mean they they might be well inclined to go out and spend however many Euros on a on a new one Katie Regnier: Yeah. Ruby Saito: um rather than a a complete new Lisa Scheunemann: Well Ruby Saito: re Lisa Scheunemann: that that's Katie Regnier: Yeah. Ruby Saito: remote. Lisa Scheunemann: just it with the covers, you're sort of tricking 'em into continuing to spend their money on our products without making 'em feel like they're being ripped off having to buy a new product. Ruby Saito: Yeah, I Katie Regnier: Yeah, Ruby Saito: mean it Lisa Scheunemann: So, Ruby Saito: is Katie Regnier: just Ruby Saito: it's Katie Regnier: another Ruby Saito: up to it's Lisa Scheunemann: yeah. Katie Regnier: five Ruby Saito: up to Katie Regnier: Euro to get Lisa Scheunemann: Yeah. Ruby Saito: Yeah, it's it's up to our marketing people Lisa Scheunemann: Mm. Ruby Saito: to Katie Regnier: Right. Ruby Saito: to ma to ma turn it into a a fashion item. Lisa Scheunemann: Mm, yeah. Ruby Saito: Um and, you know, as as external fashions change, then we get new new covers Lisa Scheunemann: Mm. Katie Regnier: Yeah. Ruby Saito: on the market and, you know, readily available. And Lisa Scheunemann: And that's the Ruby Saito: um Lisa Scheunemann: sort of thing, once you get the mould set, you can just whip out different colours, different Katie Regnier: Yeah, Lisa Scheunemann: pictures Katie Regnier: like they have Lisa Scheunemann: very Katie Regnier: for Lisa Scheunemann: very Katie Regnier: mobile Lisa Scheunemann: quickly. Katie Regnier: phones Ruby Saito: that's Lisa Scheunemann: Yeah, Ruby Saito: that's Katie Regnier: that Lisa Scheunemann: yeah, Ruby Saito: right, Katie Regnier: are just Lisa Scheunemann: exactly, Ruby Saito: yeah, Lisa Scheunemann: exactly. Ruby Saito: yeah. Katie Regnier: fruits and animal prints Lisa Scheunemann: Yeah. Katie Regnier: and colours. Yeah, Ruby Saito: So Katie Regnier: okay. Ruby Saito: uh i so uh okay. Um right, sorry. Um we hadn't finished your Edna Lora: Um oh, don't worry it's all said, I was just gonna say uh yeah, are we gonna make this as part of like like uh a part of the f like it it the fashions apply to furniture, so are we gonna make this part of the furniture? Ruby Saito: It's the sort of thing that we want people to have prominent dis displayed Lisa Scheunemann: Mm. Ruby Saito: on their Lisa Scheunemann: Mm-hmm. Ruby Saito: um coffee table to say this says something about Edna Lora. Um Edna Lora: Yeah. This is fashionable Ruby Saito: this Edna Lora: with Ruby Saito: is fashionable. Lisa Scheunemann: Yeah. Ruby Saito: I, you know, I'm I'm I'm with it, I'm up to date. And you know, th the the design that I've got, and and it could be a a home-made design, um you know this says this is not just a a television remote control, this is, you know, a fashion accessory. Um, so I mean the the the basic shape i is is what we uh I mean given that we've got you know one one on off button presumably, Lisa Scheunemann: Mm. Ruby Saito: two buttons for uh channel change and one slider and basically nothing else, um w we need to decide on the just the basic shape of the thing. And, know whether we go down the fruit and veg route, and I don't suggest we make it look like a banana, but um know sort of the the organic, you know, curved look, Lisa Scheunemann: Mm. Ruby Saito: you Edna Lora: Oh Ruby Saito: know, Edna Lora: yeah. Ruby Saito: t to deliberately get away from the uh um uh you know, the the the the square look of most um current uh remotes and, you know, whether whether the you know, the the fixed part of it is the corporate yellow. Um mm or uh 'cause there's certainly you know, the the corporate logo needs to be prominently uh displayed so that people s th looked at it and say right, that's a Real Reaction remote control, I want one of those. Lisa Scheunemann: I dunno that we should make the whole thing yellow I kinda thought with a you'd have like a yellow circle with the R_R_ in it somewhere Ruby Saito: Yeah uh Lisa Scheunemann: on Katie Regnier: Yeah, Ruby Saito: the Lisa Scheunemann: it, Katie Regnier: like Ruby Saito: the Lisa Scheunemann: but I'd Katie Regnier: an. Ruby Saito: uh Lisa Scheunemann: yellow Ruby Saito: or or b Lisa Scheunemann: seems a bit of a strong colour Ruby Saito: Yeah, Lisa Scheunemann: to Ruby Saito: I'd Lisa Scheunemann: make Ruby Saito: I'd Lisa Scheunemann: the ent like Ruby Saito: um Lisa Scheunemann: the thing no, Ruby Saito: yeah. Lisa Scheunemann: but I mean just Katie Regnier: Yeah. Lisa Scheunemann: like Ruby Saito: Uh Lisa Scheunemann: white Ruby Saito: no I Lisa Scheunemann: or Ruby Saito: d Lisa Scheunemann: grey Ruby Saito: I I Lisa Scheunemann: or Ruby Saito: agree, Lisa Scheunemann: black Ruby Saito: I mean Lisa Scheunemann: or some sort Ruby Saito: we're Lisa Scheunemann: of Ruby Saito: we're we're Lisa Scheunemann: blah Ruby Saito: simply Lisa Scheunemann: colour. Ruby Saito: it's simply required Lisa Scheunemann: Yeah, Ruby Saito: to Lisa Scheunemann: yeah. Ruby Saito: incorporate the Katie Regnier: Yeah. Ruby Saito: the the the corporate Lisa Scheunemann: Yeah. Ruby Saito: logo prominently Lisa Scheunemann: Mm. Ruby Saito: um. Edna Lora: And make that a fashion Katie Regnier: Well Edna Lora: symbol Katie Regnier: n Edna Lora: as well. Ruby Saito: Well, th this is this is the whole point, yes, you know, I'm I've got a a Real Reaction uh remote control to go with my Real Reaction coffee maker or or whatever. And uh then people, you know, people demand more Real Reaction Lisa Scheunemann: Mm-hmm. Ruby Saito: stuff. Katie Regnier: Well I was sort of mm kinda picturing like maybe um a shape that's almost like a mouse. Lisa Scheunemann: Mm. Ruby Saito: Yeah. Katie Regnier: So Lisa Scheunemann: Yeah. Katie Regnier: that, you know, when they hold it it's because a mouse is pretty comfortable to hold in your hand um maybe we could make it a slightly different shape so they could hold on to it, but that way they can have the volume on the side and then the channel buttons and Ruby Saito: Yeah. Lisa Scheunemann: Mm. Ruby Saito: Yeah. Katie Regnier: have the power, wherever, somewhere. Lisa Scheunemann: Yeah. Katie Regnier: I mean Ruby Saito: I mean Katie Regnier: that was Ruby Saito: I've Katie Regnier: just Ruby Saito: uh Katie Regnier: an Ruby Saito: yeah. Katie Regnier: idea that I had. Ruby Saito: Oh no that well there's the sim my my idea was something a b probably you know a bit fatter than this but sort of Katie Regnier: Yeah. Ruby Saito: tha that sorta shape so Katie Regnier: Yeah, Ruby Saito: that you can Katie Regnier: maybe. Ruby Saito: just sort of Lisa Scheunemann: Yeah, Ruby Saito: ho Lisa Scheunemann: you'd want Ruby Saito: hold Lisa Scheunemann: it Ruby Saito: it. Lisa Scheunemann: narrower Katie Regnier: Kind Lisa Scheunemann: than Katie Regnier: of a Lisa Scheunemann: a Katie Regnier: c Lisa Scheunemann: mouse though 'cause it a mouse you're kinda just resting on it, you want something you can definitely grip. Ruby Saito: W it Lisa Scheunemann: So Katie Regnier: Yeah. Ruby Saito: I mean Lisa Scheunemann: maybe Ruby Saito: well Lisa Scheunemann: it'd Ruby Saito: it's Lisa Scheunemann: be Ruby Saito: sort of it's it's sort Katie Regnier: Sort Ruby Saito: of Katie Regnier: of a combination. Lisa Scheunemann: Yeah, Ruby Saito: uh a Lisa Scheunemann: yeah. Ruby Saito: a mouse, but held, Lisa Scheunemann: Yeah. Ruby Saito: you know, so it's you sorta hold Katie Regnier: Yeah. Ruby Saito: it in your hand like that, i Lisa Scheunemann: Yeah, Ruby Saito: with, Lisa Scheunemann: and Ruby Saito: you know, Lisa Scheunemann: fiddle Ruby Saito: and Lisa Scheunemann: around Ruby Saito: fiddling Lisa Scheunemann: with it and press Ruby Saito: with the buttons. Lisa Scheunemann: it. Katie Regnier: Yeah so yeah, kind of maybe maybe a little wider than this, 'cause this is pretty comfortable to hold, and then if you had Lisa Scheunemann: Maybe almost like a hairbrush, like you could get the about the width of that end of the Katie Regnier: Yeah, Lisa Scheunemann: pen and then it widens up top Katie Regnier: then wider Lisa Scheunemann: and you Katie Regnier: up Lisa Scheunemann: can Katie Regnier: here. Lisa Scheunemann: fiddle an Katie Regnier: And then Lisa Scheunemann: yeah. Katie Regnier: it would have a l uh wider thing Lisa Scheunemann: Yeah, Katie Regnier: to uh have Lisa Scheunemann: yeah. Katie Regnier: the light, the Lisa Scheunemann: Yeah. Katie Regnier: infrared light at the T_V_ and just kinda change channels and adjust Lisa Scheunemann: Mm. Katie Regnier: the volume and the power could be wherever, up up the top or something. Lisa Scheunemann: Yeah, cool. Katie Regnier: What do you guys think about that? Edna Lora: Yeah, that sounds Ruby Saito: Okay, yeah, yeah. Edna Lora: Um I'm just I'm suddenly realising that yeah we're discussing how much how good it's gonna be to change channels t we still can just tell it to. I mean are we are we starting to get away from the the voice functionality of it? Katie Regnier: Oh yeah. Lisa Scheunemann: Yeah. Ruby Saito: It's a very good point. Katie Regnier: It is Lisa Scheunemann: Yeah. Katie Regnier: a very good point. Ruby Saito: I think we d I think we decided that w we're actually going down both routes. Lisa Scheunemann: Yeah, Katie Regnier: Yeah. Ruby Saito: That Lisa Scheunemann: yeah. Ruby Saito: um the we n we need the the manual controls and that they should be of that form, Katie Regnier: Yeah. Ruby Saito: but that uh Lisa Scheunemann: But Ruby Saito: yeah. Lisa Scheunemann: do you know, this shape also kind of les lend itself to to voice 'cause if you're you're holding it and you're fiddling, but you can also Ruby Saito: Then you just Lisa Scheunemann: bring it up Ruby Saito: bring Lisa Scheunemann: like Ruby Saito: it up Lisa Scheunemann: that Ruby Saito: to your mouth Lisa Scheunemann: and it's Ruby Saito: and just Lisa Scheunemann: microphone-esque, Katie Regnier: Yeah, Ruby Saito: speak Katie Regnier: say Ruby Saito: to it, yeah, Lisa Scheunemann: yeah, Ruby Saito: yeah. Edna Lora: Yeah, Lisa Scheunemann: yeah. Edna Lora: maybe we cou like w like we're leaving out the buttons for the the f less frequently used stuff, but maybe we could Lisa Scheunemann: Mm. Edna Lora: incorporate that into the voice. Ruby Saito: I th I th honest uh my personal view is that if it's not there, people wouldn't use it anyway Edna Lora: Mm I suppose, but Ruby Saito: um. Edna Lora: t there is the off chance that, you know, th the brightness is wrong on your T_V_ or the contrast needs changing. Ruby Saito: It's cer it's certainly possible I mean, but they Lisa Scheunemann: Bu Ruby Saito: we we're going beyond Lisa Scheunemann: Mm. Ruby Saito: w w given the state of the technology we want something that we kno we know will will work Edna Lora: Hmm yeah. Ruby Saito: um. Lisa Scheunemann: Well you can still i incorporate the voice with with less buttons. I mean uh if the power button was also somehow like a menu button you could press that and or do voice commands, and either volume thing could Ruby Saito: Uh Lisa Scheunemann: also be to scroll through other options like y and you could scroll Edna Lora: Yeah, Lisa Scheunemann: through brightness Edna Lora: that's a good idea. Lisa Scheunemann: and Katie Regnier: Yeah, Lisa Scheunemann: and Katie Regnier: I suppose Lisa Scheunemann: sc and then you Katie Regnier: I sup Lisa Scheunemann: can you can minimise the buttons and still have Ruby Saito: Yeah. Lisa Scheunemann: those, you know, brightness Edna Lora: Yeah. Lisa Scheunemann: and tint and stuff. Ruby Saito: If we we're I mean I'm getting a clear message that we think that we should have those facilities available. Katie Regnier: So I guess we could have a Lisa Scheunemann: Yeah Katie Regnier: menu button as well. We could have the channels and the power and then a menu button Lisa Scheunemann: Yeah. Katie Regnier: and then the volume. So have four buttons and the volume instead of three buttons and the volume. Ruby Saito: Uh uh uh Okay, if we if we're going down that route, then we need some sort of display. Do we Lisa Scheunemann: But Ruby Saito: need Lisa Scheunemann: the Ruby Saito: some Lisa Scheunemann: television Ruby Saito: sort of display? Katie Regnier: Yeah, Lisa Scheunemann: would be Katie Regnier: that's Ruby Saito: We Lisa Scheunemann: the display Ruby Saito: actually Katie Regnier: on the Lisa Scheunemann: that Ruby Saito: use Katie Regnier: T_V_, Ruby Saito: the television, Lisa Scheunemann: things Katie Regnier: yeah. Lisa Scheunemann: like that usually c pop Ruby Saito: okay. Lisa Scheunemann: up on a televi Katie Regnier: Yeah, and Lisa Scheunemann: like Katie Regnier: then Lisa Scheunemann: you hit Katie Regnier: y Lisa Scheunemann: menu Ruby Saito: Okay, Lisa Scheunemann: and menu will come up on television Ruby Saito: okay, Lisa Scheunemann: and have like tint brightness, Ruby Saito: okay. Lisa Scheunemann: and you'd use the scroll, Edna Lora: Well Lisa Scheunemann: scroll through it Edna Lora: I Lisa Scheunemann: yeah. Edna Lora: mean on a Ruby Saito: Yep. Edna Lora: as well, you could press it, Lisa Scheunemann: Yeah, Edna Lora: you could press that Katie Regnier: Yeah, Lisa Scheunemann: yeah, Edna Lora: and have Lisa Scheunemann: that's Edna Lora: it as Lisa Scheunemann: true. Edna Lora: a menu Katie Regnier: press Edna Lora: button. Katie Regnier: that is t yeah, that Lisa Scheunemann: I Katie Regnier: might Lisa Scheunemann: never Katie Regnier: work. Lisa Scheunemann: understood how that worked though, but yeah. Katie Regnier: Yeah, it's like um yeah, it's like the mouse Lisa Scheunemann: Yeah, Katie Regnier: where you just kinda click it. Lisa Scheunemann: mm. Katie Regnier: You just press it. Yeah, and you could just click that to so if you had like the menu then you could scroll through and then Lisa Scheunemann: Mm, Katie Regnier: click it Lisa Scheunemann: oka Katie Regnier: to select. Lisa Scheunemann: yeah. Yeah. Edna Lora: Uh yeah. Katie Regnier: You know what I mean? Ruby Saito: Mm yeah. Okay, we got five minutes to go in this Katie Regnier: Okay. Ruby Saito: meeting, so um I d I think we've actually very conveniently just uh come to uh a good point to s to Lisa Scheunemann: Cool. Ruby Saito: sum up um. So um b b Kate and Kendra now go away and uh Lisa Scheunemann: Play with Ruby Saito: pa play Lisa Scheunemann: play-dough. Ruby Saito: play with a bit of Plasticine or play-dough, whatever it is on the other side of the Atlantic. Edna Lora: Hmm. Ruby Saito: Um and actually put what we've discussed into something uh I was gonna say concrete, but that's a slightly inappropriate word um to something that we can we can see and um Andrew n can go away and th th think about how we can uh actually market this as a concept and not j not just a uh um a a simple remote control. Edna Lora: Uh can I just get some things clear just for Ruby Saito: Yeah, Edna Lora: my Ruby Saito: certainly, Edna Lora: sake. Ruby Saito: of course. Edna Lora: Our energy source is gonna be Ruby Saito: I Edna Lora: long Ruby Saito: think Edna Lora: term. Ruby Saito: I think we decided that we're gonna for for simplicity of, you know, manufacturing and uh maintenance that we will go for a a long term Lisa Scheunemann: Mm. Ruby Saito: battery source Edna Lora: Cool. Ruby Saito: um, Edna Lora: Uh Ruby Saito: I you know, on the basis that um that, you know, if we're going for making it a fashion statement, then uh people are more likely to change it anyway uh before i it runs out and um make an assumption that we we can aim for a battery that will last most people for uh we'll say at least five five ten years Lisa Scheunemann: Yeah. Ruby Saito: and that we'll w we will guarantee it for for five years um. Edna Lora: And we're having a custom chip? Ruby Saito: We're having a a custom chip, but given the the we've cut the functions down, um that will hopefully not be too problematic, but given that um technol technological innovation is important, then we need to, I'll say it again, technologically innovate. Um and uh we we, know, we must resist any efforts to uh to try and water that down um. Edna Lora: And interchangeable case? Ruby Saito: I i interchangeable case seems to be um Lisa Scheunemann: Mm. Ruby Saito: um important to the concept. Um it it should be cheap, you know, if if Lisa Scheunemann: Mm. Ruby Saito: we avoid any, Katie Regnier: Yeah. Ruby Saito: you know, electrical connections. And uh i you know, i if we can come up with some way of of allowing people to actually personalise it Edna Lora: Mm, mm-hmm. Ruby Saito: uh to whatever they want, then uh I mean uh uh this is totally new. We d we don't know whether that to what extent people do it or not, but if they've at least got a a good selection of um covers that they can use anyway, and uh and if if we can keep them, you know, rolling, then uh you know, so they can get them in the supermarket when they go down to um a any of the famous supermarkets, I won't mention any mention any names, um it's uh it's good for the supermarket and it's good for us and it hopefully makes them feel better. Edna Lora: And uh are we gonna have it il being illuminated from inside onto the buttons or Ruby Saito: Um the that I mean that's no, because we've got so few buttons that it that actually makes that redundant. Katie Regnier: Yeah, Lisa Scheunemann: Mm, does actually, Edna Lora: Cool. Katie Regnier: I think Lisa Scheunemann: yeah, Katie Regnier: so too. Yeah, and Lisa Scheunemann: yeah. Katie Regnier: especially for making them so like Lisa Scheunemann: Mm Katie Regnier: different Lisa Scheunemann: different Ruby Saito: Yeah, Katie Regnier: and Lisa Scheunemann: to feel, Ruby Saito: yeah. Lisa Scheunemann: yeah, yeah. Katie Regnier: Yeah. Ruby Saito: And the you know, that that solves one of the problems of b of battery life, Lisa Scheunemann: Mm-hmm. Ruby Saito: 'cause that Katie Regnier: Yeah. Ruby Saito: would Lisa Scheunemann: Yep, Ruby Saito: well that would clobber Lisa Scheunemann: yeah. Ruby Saito: the battery life, so Lisa Scheunemann: Mm-hmm. Ruby Saito: no, I mean Katie Regnier: Yeah. Ruby Saito: given the nature of the buttons we're having, it's actually uh uh unnecessary I think. Katie Regnier: Yeah. Lisa Scheunemann: Mm-hmm. Edna Lora: Are we having it that it's any angle, or is it just Ruby Saito: As uh as wide Lisa Scheunemann: Yeah. Edna Lora: As wide Ruby Saito: cer Edna Lora: as possible. Ruby Saito: certainly wider angle than than current, so that if you're holding it, you know, anyway Katie Regnier: Like Lisa Scheunemann: Mm Ruby Saito: like Katie Regnier: this Ruby Saito: you're likely Katie Regnier: or like Ruby Saito: to Katie Regnier: this. Lisa Scheunemann: yeah. Ruby Saito: and uh it's uh you know, i i it will work most of the time um. Not like my my mum who points it at the ceiling and wonders why the th th the television doesn't work. Um yeah, I mean I d I th I sorta envisaged that if if this was the the thing, then sort of the the whole of the top would be Katie Regnier: Yeah, Ruby Saito: the Lisa Scheunemann: Mm-hmm. Katie Regnier: kinda Ruby Saito: uh Katie Regnier: like this Ruby Saito: the Katie Regnier: whole Ruby Saito: infrared uh. Lisa Scheunemann: Yeah, mm. Katie Regnier: So Ruby Saito: Um Katie Regnier: you could use Ruby Saito: so Katie Regnier: like this and it would go. Lisa Scheunemann: Mm. Ruby Saito: Yeah, 'cause I mean the r reality is people are they're gonna be looking at the television whilst they're using it, the chances are, so if if Katie Regnier: Yeah. Ruby Saito: they're holding it anyway, the they're reasonably likely to be holding it to use it, then uh Katie Regnier: Yeah. Ruby Saito: then that that's the sort of coverage that we want. Um okay, d we're all clear Lisa Scheunemann: Yep, Katie Regnier: Yep. Lisa Scheunemann: sounds good. Ruby Saito: where we go from here. Edna Lora: Mm-hmm. Ruby Saito: Okay, so thank you very much indeed Lisa Scheunemann: 'Kay. Ruby Saito: and I'll s see you all again in thirty minutes. Katie Regnier: Okay. Lisa Scheunemann: 'Kay.

Ruby Saito opens the meeting by recapping the discussions of the previous meeting, telling the group this meeting's agenda, and stating what each person will do for the next meeting. Then Lisa Scheunemann talks about the components design and explains exactly what remotes do and how they operate. He also talks about batteries and chips. The interface specialist present research from the internet about user interface. He talks about minimizing the clutter on the remote, and suggests using a slide button like on a mouse. Edna Lora presents, talking about trend-watching and how fruits and vegetables are currently an important theme. They talk about making changable colors available and possibly including batteries with them. They discuss what the remote should look like in terms of shape color, and then talk about components, materials, and energy sources. Then they close the meeting.

amisum

train

Mary Thomas: Right well. Welcome to the what should be the last of these meetings and uh it looks like we've uh done a good job here and uh we'll just go through the the final uh the final details. Um okay, oh the um th the the minutes of the last meeting uh I think we'll take those as read, um Okay the um th the the next uh thing we we we'll have a look at the uh th have a look at the prototypes and uh look at the uh evaluation and finance and then uh uh just tidy up with production and um and then we can close. Um So f if if you'd like to uh present your your proposals. Betty Magrath: Uh okay we basically have the same kinda here it's just um you hold it like this and it gets kinda moulded to the to the shape of your hand, basically. Um on the left we've got the scroll for the volume, on the right we have buttons for the channels up and down and that kinda so you can hold it and scroll, or you can hold it and and push. Uh this is the power key, um it's kinda like the biggest Mary Thomas: Uh-huh. Betty Magrath: Uh that's the little menu key. This is the infra-red section so you g it'll be sending rays and if you're you know pointing it like that it can send it, Mary Thomas: Yep, Betty Magrath: or if you hold it up Mary Thomas: yeah, Betty Magrath: like that it'll send Mary Thomas: good, Betty Magrath: it. Mary Thomas: good. Betty Magrath: Uh we got a microphone there which for all the voice commands so you can Mary Thomas: Uh-huh. Betty Magrath: you know talk to it like that and it'll still Mary Thomas: Yep, Betty Magrath: understand. Mary Thomas: right. Betty Magrath: Um the logo is down down there Mary Thomas: Uh-huh. Kristine May: Mm. Betty Magrath: um Kristine May: S Betty Magrath: and has the cover on it and you can see like it just kinda goes the red bit's the cover and it kinda goes over everything Mary Thomas: Yep, Betty Magrath: and then there's holes Mary Thomas: yep, Betty Magrath: for the buttons to Mary Thomas: mm-hmm. Betty Magrath: come through. Um. Kristine May: And so we figured it be of you know light, just Betty Magrath: Mm. Kristine May: kind Mary Thomas: Uh-huh. Kristine May: of a light Mary Thomas: Yep yep. Kristine May: non-descript grey so that people'll wanna buy the covers Mary Thomas: Yep. Kristine May: and then the covers will be that sort of rubbery material like they make iPod covers, so they kinda just stretch over. Betty Magrath: Mm. Mary Thomas: showing Nancy Moxley age, I don't know what i c iPod covers are like. Kristine May: Yeah, well I Mary Thomas: Yeah Kristine May: I didn't know that but Mary Thomas: yeah. Kristine May: yeah they're kind of it's just kind of a rubbery Mary Thomas: Uh-huh. Kristine May: and that way Betty Magrath: Yeah. Kristine May: you know spongy Mary Thomas: Okay, Kristine May: like is something that people Mary Thomas: yep, Kristine May: wanted Mary Thomas: right. Kristine May: and it just sort of stretches over and Betty Magrath: Mm-hmm. Kristine May: that way I think probably helps protect it a little bit too as well Betty Magrath: But Kristine May: and Betty Magrath: it's also Mary Thomas: Okay. Betty Magrath: e e easier to put on versus like mobile covers you actually have to screw them on and stuff and you kinda sometimes have to get someone to do that for you. This is very much you should be Mary Thomas: Yep. Betty Magrath: able Kristine May: just Betty Magrath: to stretch Kristine May: kinda Betty Magrath: it over Kristine May: stretch it Betty Magrath: yourself Kristine May: over Betty Magrath: and it'll be fine. Mary Thomas: Okay, Kristine May: and Betty Magrath: Yeah. Mary Thomas: good Kristine May: it'll just stay Mary Thomas: yeah. Kristine May: on and then the Betty Magrath: Yeah. Kristine May: buttons come through and so and then the each one of 'em on the very end will have the logo with the yellow Mary Thomas: Yep, Kristine May: circle Mary Thomas: right. Kristine May: and the R_R_. Betty Magrath: Li that'll be the covers as well, Kristine May: Yeah. Mary Thomas: Yeah, Betty Magrath: yeah Mary Thomas: yeah. Betty Magrath: yeah. Mary Thomas: I mean tha it's it's a detailed point, I just wondered I mean h how will people put these down I wonder? Kristine May: Like that. Mary Thomas: Right. Okay for some strange re reason I had it in my mind that they'd put them Betty Magrath: Yeah Mary Thomas: down Betty Magrath: it could Mary Thomas: vertically Betty Magrath: stand, Mary Thomas: but Betty Magrath: yeah. Mary Thomas: uh Kristine May: Oh. Mary Thomas: uh Betty Magrath: Well we could broaden the broaden it out a bit so it would stand Mary Thomas: Yeah, Betty Magrath: like Mary Thomas: uh no Betty Magrath: that. Mary Thomas: because particularly if they've dif if they're gonna have it as a you know as a fashion item Betty Magrath: Yeah, Mary Thomas: uh Betty Magrath: standing. Mary Thomas: I mean it it's uh it it's just I mean it's just a minor detailed point, but um as you say you can just make the base a little bit bigger Betty Magrath: Yeah, Mary Thomas: and Betty Magrath: we could Mary Thomas: uh Betty Magrath: just widen it out uh Mary Thomas: Yeah and uh it just needs another uh another logo somewhere is is is is all it gives gives people the option Betty Magrath: Mm. Mary Thomas: and if if say if they've got them Betty Magrath: Mm. Mary Thomas: um because actually have several upon the uh Nancy Moxley: Could have one for your Betty Magrath: Mm, Nancy Moxley: stereo, one Mary Thomas: Yeah, Betty Magrath: yeah, Kristine May: Yeah. Betty Magrath: yeah. Mary Thomas: well. Nancy Moxley: your D_V_ Betty Magrath: Have Nancy Moxley: player. Betty Magrath: to if we just lengthen Kristine May: Yeah, Betty Magrath: it I guess so it comes Mary Thomas: Yeah Kristine May: just Betty Magrath: down Kristine May: kind Betty Magrath: to the Mary Thomas: but Betty Magrath: base Mary Thomas: that Kristine May: of Betty Magrath: of Mary Thomas: that's Betty Magrath: the hand and then Mary Thomas: uh Betty Magrath: flatten Mary Thomas: but Betty Magrath: it out Mary Thomas: uh Betty Magrath: and Mary Thomas: no Betty Magrath: could Mary Thomas: the Betty Magrath: sit there. Mary Thomas: the the overall Kristine May: Or Mary Thomas: uh Kristine May: just make Betty Magrath: Yeah, Kristine May: it little. Mary Thomas: the Betty Magrath: mm. Mary Thomas: overall concept is uh Kristine May: Somewhere Betty Magrath: Yeah. Kristine May: like that Mary Thomas: yeah yeah, Betty Magrath: Yeah. Mary Thomas: no no, I mean that's Kristine May: so it just Mary Thomas: these Kristine May: sort Mary Thomas: uh Kristine May: of Betty Magrath: We might Nancy Moxley: Yeah I kinda Betty Magrath: have to Nancy Moxley: had Betty Magrath: lengthen Nancy Moxley: a Betty Magrath: it so it kinda your Nancy Moxley: a kinda Betty Magrath: hand still Nancy Moxley: a natural Betty Magrath: holds it and have Nancy Moxley: kind Kristine May: Yeah. Betty Magrath: it Nancy Moxley: of Betty Magrath: there, Nancy Moxley: a idea where Betty Magrath: yeah, Nancy Moxley: it's like Betty Magrath: yeah, yeah Nancy Moxley: more Betty Magrath: like Nancy Moxley: of Betty Magrath: that, Nancy Moxley: a kind Betty Magrath: like Nancy Moxley: of Betty Magrath: that. Nancy Moxley: like Betty Magrath: Yeah. Kristine May: Bu Nancy Moxley: a kinda maybe slightly like thinner, yeah, kinda Mary Thomas: Yeah. Nancy Moxley: like that kinda like a flower Mary Thomas: But uh Nancy Moxley: or a plant Mary Thomas: yeah Betty Magrath: Mm. Nancy Moxley: for Mary Thomas: but Nancy Moxley: the more Mary Thomas: no Nancy Moxley: natural Mary Thomas: th but Nancy Moxley: kinda Mary Thomas: the yeah the the the Yeah, yeah, yeah, I mean it it's uh Kristine May: fall Mary Thomas: wouldn't Betty Magrath: The final Kristine May: over. Betty Magrath: product Mary Thomas: wouldn't do Betty Magrath: would Mary Thomas: that, Betty Magrath: actually Mary Thomas: indeed Betty Magrath: stand Mary Thomas: yeah. Betty Magrath: up, yeah. Kristine May: Yeah. Mary Thomas: But th th but th yeah th b the these were all minor minor Betty Magrath: Yeah, Kristine May: Yeah. Mary Thomas: uh minor Betty Magrath: yeah. Mary Thomas: details, I think the uh the basic Betty Magrath: Yeah. Mary Thomas: concept Kristine May: 'S a little Mary Thomas: i i Kristine May: longer. Mary Thomas: is is absolutely bang on Betty Magrath: Wee Mary Thomas: and the i it certainly meets our criteria of being uh Betty Magrath: Mm. Mary Thomas: of you know looking different. Kristine May: Yeah. Mary Thomas: Um, so good that's that that's excellent. Um right let us um What's on the next one? Oh right yes, let's have a look at the um f finance. Um, now we're given a a clear design brief, uh if I get the uh spreadsheet up. Oh. Nancy Moxley: Uh yeah, just click there. Uh the the maximise button. Mary Thomas: Oh right. Ah. Good, this is why we need to make these things simple so that the uh the the the boss can understand. Now I've um this is the company's uh uh costing for for various uh uh aspects of design and I I I've treated some of these slightly uh liberally given the constraints placed on us, um I wouldn't know for in for instance if if they require us to have it in the corporate colours, then that is not a special colour, that's a that's a standard colour. Uh, so we're just simply on batteries, the the one th the one decision I've had to make is that um we're we will have to find a s a regular standard chip to to do this with and I I um I'm I'm I'm certain that they they are around so, um that I don't think is a a serious problem. The uh the the voice sensor is is expensive but we we made a a basic decision that that was absolutely fundamental to the to the design so that that has to stay. Um then again the the the the shape of the case means that it's it's expensive to uh um l to make 'cause of the the th the double curves but on the other hand because of our overall fashion concept um we we should exceed the the sales targets. Um it's simply made of plastic so th that's uh that's no problem and uh um just because the whole the colour of the the whole thing that's uh uh there's some cost there. Um and uh we haven't actually got a scroll wheel we we we got push buttons and and a simple uh um slider so um and the and the the buttons are uh uh well I do don't know that they're special colour. Anyway the the costings uh come in at exactly on target at twelve point five uh but I thi I think we have a a very strong case to argue that uh what what we've got is is so in innovative and uh and different that um any any slight compromise we have to make on on cost is is offset by the uh you know the uh you know the the Betty Magrath: Mm. Mary Thomas: the the concept of it being a a fashion accessory and and having the the interchangeable covers so uh um you know the if if Mary Thomas: they have to accept that we we can't operate absolutely Betty Magrath: Mm. Mary Thomas: within uh the constraints that they give, so uh we we we present this as the uh the company's uh the the company's way forward and uh uh I I think we can argue that we we have uh come in on on budget. Um. Okay, uh. So um. Does anybody want to uh uh Andrew do you want what do you want to say about um the uh Nancy Moxley: Evaluation. Mary Thomas: yeah the evaluation where where you know well where where we're where where we're at? Nancy Moxley: The the product or the project? Mary Thomas: The the the well the I meant the product. Nancy Moxley: Um, well well my presentation just now Mary Thomas: Yeah. Nancy Moxley: Sure? uh can I get the Mary Thomas: Oh sorry yeah um, mm. Nancy Moxley: Cheers. Mary Thomas: Mm. More loud clicks in the microphone. Nancy Moxley: There we go, oh. Method of evaluation testing the product was to just if it met all the criteria all the conditions that we set out to set out to solve, from the point of view of the the consumer and the management. So what I've been asked to do is, on the whiteboard um gauge our team response to these questions. So, on a scale of one to seven, one being true and seven being being false. Mary Thomas: Seven being a nice round number to work to. Nancy Moxley: Yeah. And then at the end just take an average Mary Thomas: Tr On for true and seven for flase. Nancy Moxley: Yes. Mary Thomas: Yes. Nancy Moxley: So uh. Nancy Moxley: So, look at these questions. Is the device f flashy and fashionable? Mary Thomas: Well I think most Betty Magrath: Yeah Kristine May: I Mary Thomas: definitely. Kristine May: think Betty Magrath: I'd Kristine May: it Betty Magrath: say Kristine May: is yeah. Betty Magrath: definitely a one yeah. Nancy Moxley: So uh and also uh technologically innovative? Mary Thomas: Yes Betty Magrath: Yeah, Mary Thomas: the Kristine May: Yeah. Mary Thomas: voice technology Betty Magrath: defi yeah, Mary Thomas: indeed. Betty Magrath: yeah Nancy Moxley: Easy to use? Mary Thomas: I don't see Kristine May: Yeah. Mary Thomas: we could've Betty Magrath: Yeah. Mary Thomas: made it any easier. Nancy Moxley: Uh suitable for the consumer? That was um Mary Thomas: Totally. Betty Magrath: Yeah definitely. Kristine May: Yeah I think it made we met all of the consumer Betty Magrath: Yeah. Nancy Moxley: Yeah. Kristine May: wants. Nancy Moxley: Uh is it complicated? Mary Thomas: No. Kristine May: No. Nancy Moxley: Doing pretty well so far aren't we? Uh functional? Mary Thomas: Yeah. Betty Magrath: Yeah Kristine May: Yeah. Betty Magrath: definitely. Nancy Moxley: Um. Where are we? Mary Thomas: found easily. Nancy Moxley: We've b Mary Thomas: yeah I mean Nancy Moxley: built in the Betty Magrath: Yeah. Nancy Moxley: the speech, Mary Thomas: that's Nancy Moxley: where Mary Thomas: that's Nancy Moxley: are Betty Magrath: Yeah. Nancy Moxley: you, Betty Magrath: Yeah, Nancy Moxley: function. Kristine May: Yeah. Mary Thomas: Yeah. Betty Magrath: mm-hmm. Nancy Moxley: Uh-huh. Mary Thomas: Does it take long to learn to use? Shouldn't. Betty Magrath: No, not at Nancy Moxley: Mm-hmm. Betty Magrath: all. Nancy Moxley: And uh, what else? The R_S_I_ compares to the current standards, well. Mary Thomas: Less buttons Betty Magrath: Uh Mary Thomas: so it must be. Nancy Moxley: We we uh yeah it Betty Magrath: Yeah Nancy Moxley: was our it was a we made Betty Magrath: it Nancy Moxley: an Betty Magrath: is Nancy Moxley: actual effort Betty Magrath: sorta Nancy Moxley: to Betty Magrath: the the handle more ergonomically correct as well. Kristine May: Yeah. Mary Thomas: So yeah, Betty Magrath: yeah. Mary Thomas: um um. Nancy Moxley: Um will device appeal to all age groups? Mary Thomas: I think it will Betty Magrath: Mm. Mary Thomas: because Kristine May: I think so. Mary Thomas: I mean uh old older people who can't manage the buttons anyway will actually probably Nancy Moxley: Yeah, Mary Thomas: like the like Nancy Moxley: uh Betty Magrath: Mm. Nancy Moxley: that's a good call, yeah. Mary Thomas: like the voice bit Nancy Moxley: Well Mary Thomas: so Nancy Moxley: we had the we had the data saying that old people will be less likely to pay extra money but the funct the increased functionality, the e ease of use of the device might make up for that. Betty Magrath: Mm. Mary Thomas: And it's it's it's well I don't think we're actually charging a particular premium anyway, in Betty Magrath: I Mary Thomas: the Nancy Moxley: Mm. Mary Thomas: end, Betty Magrath: I I think Mary Thomas: so Betty Magrath: it Kristine May: Yeah. Betty Magrath: will tend to appeal more to younger aged groups just 'cause we have gone with the fashion Mary Thomas: Yeah. Betty Magrath: focus and the younger Mary Thomas: Yeah. Betty Magrath: people tend to would be more conscious of that aspect of it, but um I think it should still appeal on a certain level Mary Thomas: It will appeal Betty Magrath: to everybody, Mary Thomas: f for dif for Betty Magrath: yeah. Mary Thomas: different reasons Kristine May: Yeah Betty Magrath: Yeah, Kristine May: I Mary Thomas: but Kristine May: think Mary Thomas: it's Betty Magrath: yeah. Kristine May: just Mary Thomas: it's Kristine May: the Mary Thomas: uh Kristine May: simplicity of Betty Magrath: Yeah, Kristine May: it Mary Thomas: yeah Betty Magrath: yeah. Kristine May: and Mary Thomas: yeah so I I yeah I Kristine May: not having to learn to programme and not having you Mary Thomas: Yeah, Kristine May: know a Mary Thomas: so Kristine May: million buttons. Betty Magrath: Yeah. Mary Thomas: I think we can reasonably say it's another Betty Magrath: Mm. Mary Thomas: another one, why not? Nancy Moxley: Uh can you just click the my mouse to move onto next page? Uh, yeah and what h did we make the management's Mary Thomas: in in in in my interpretation of management's instructions uh is that yes it it meets the requirement is t it's television Betty Magrath: Yep. Mary Thomas: only, it's Betty Magrath: Mm-hmm. Mary Thomas: it's simple to use, um it's Kristine May: Under Mary Thomas: it's Kristine May: the cost. Mary Thomas: it's within Betty Magrath: Mm-hmm. Mary Thomas: budget, Betty Magrath: Yep. Mary Thomas: um I it's uh yes an an any minor points we we we argue. Nancy Moxley: Um. Mary Thomas: So uh I I think we've Betty Magrath: Yep. Mary Thomas: done an amazing job in uh Nancy Moxley: Okay. Betty Magrath: Well done us. Mary Thomas: coming up with what Nancy Moxley: So uh one two three four five six seven eight nine ten eleven. Eleven divided by eleven's one so Kristine May: Yeah, Nancy Moxley: equals average of one. Mary Thomas: Need a need a calculator for that. Nancy Moxley: And that roughly concludes my evaluation of the Betty Magrath: Excellent. Mary Thomas: Okay, Nancy Moxley: of the product. Mary Thomas: nick Kristine May: I Mary Thomas: the Kristine May: mixed Mary Thomas: cable Kristine May: up the colours Mary Thomas: back Betty Magrath: Oh Mary Thomas: then. Betty Magrath: no Kristine May: a little bit. Betty Magrath: that's Kristine May: I think I all Mary Thomas: Ooh. Kristine May: wrong. Mary Thomas: Right do um either of you want to uh say anything? Betty Magrath: Uh. Mary Thomas: Mm. Kristine May: Mm. Mary Thomas: Before I uh Kristine May: Ps I don't think so, I mean Mary Thomas: No. Kristine May: I think we worked well together and Mary Thomas: Yeah. Kristine May: looked really at what the consumers wanted and what we Mary Thomas: Yeah. Kristine May: were trying to make and you know, seemed to discuss things pretty well and Betty Magrath: Mm-hmm. Kristine May: come to group consensus and Mary Thomas: Well that's right, I mean th this this slide here I mean the satisfaction with uh room for creativity, Betty Magrath: Mm. Mary Thomas: I mean I think Betty Magrath: Yeah, Mary Thomas: we've allowed Betty Magrath: definitely. Mary Thomas: ourselves uh as much creativity as the uh the the the product Kristine May: Yeah. Mary Thomas: uh allows. Um I won't comment on leadership, uh teamwork I think we've uh I think everybody's uh Betty Magrath: Mm-hmm. Mary Thomas: worked pretty well together. Um we've just about coped with the whiteboard and digital pens, uh I think the results speak Betty Magrath: Mm. Mary Thomas: for itself and new ideas found, um, again gi no given relatively everyday product, Kristine May: Yeah. Mary Thomas: I think Betty Magrath: Yep. Mary Thomas: we've v very uh very effectively come up with a a new uh uh a new approach. Um are the costs within budget? Yes. Is the project evaluated? We're Betty Magrath: Yep. Mary Thomas: we're all happy that it it meets all the criteria, um Thank you very much indeed, Betty Magrath: Cool, Mary Thomas: I think Betty Magrath: thank Kristine May: Alright. Betty Magrath: you, Mary Thomas: that I think that's uh Kristine May: Yeah. Mary Thomas: I think we can go f for an early bath. So I call the meeting closed. Kristine May: Okay. Mary Thomas: Not sure how far ahead of schedule we were there.

Mary Thomas opens the meeting by stating the agenda. Then Betty Magrath and interface specialist present the prototype, showing where they placed each button, function, and the company logo. Then they talk about the material they chose, which is light gray colored and light weight plastic so that people will want to buy covers. Next they take a brief look at the finance by examining the materials used, chip required, shape, and color. They are exactly on target at twelve point five. Next Nancy Moxley administers the product evaluation, and the group talks about whether the device is flashy and fashionable, technologically innovative, easy to use, suitable for the consumer, complicated, how long it would take to learn to use it, and its appeal to all age groups. They come up with an average of 1 for the evaluation. They briefly discuss the project process and agree that they worked well together, had excellent teamwork, and created an effective product that meets the budget cost. They close the meeting by thanking one another.

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Marion Bernstein: Is this okay? Emily Ortega: Uh yeah. Fine now. Emily Ortega: Oh, it's not liking us, it went that-a-way. Computer adjusting. Oh. Uh. Emily Ortega: Okay. So. Right. Emily Ortega: You ready back there? Uh okay. Welcome everyone. Um this is the kick-off meeting for the day. Um we're the new group uh to create a new remote control for Real Reaction. As you can see our agenda is to open up the meeting, um become acquainted with each other, um have a little training on tools, uh create a plan, discuss things and and we only have twenty minut twenty five minutes total. Okay. The new remote control is to be original, trendy and user-friendly. That, Steph, is your part, is the user-friendliness. The originality um is gonna take all of us. Um the trendiness we'll probably go look at for some marketing research information from you, Sarah. Um and we'll get on with it. Okay, so we'll have a functional design individual work um with meeting and then conceptual design t and then detailed design. Okay? Right. Everybody's supposed to try out the whiteboard. Kate, why don't you try it first, if you can either Tina Jones: Uh yeah, if Emily Ortega: bring Tina Jones: I Emily Ortega: your things with Tina Jones: pick with Emily Ortega: you, I Tina Jones: all Emily Ortega: guess Tina Jones: these bits and pieces, hang on. Emily Ortega: And while you're doing that we'll try and figure out how to hook these things on as well, 'cause we're all gonna have to be able to walk around. Tina Jones: Uh right, so you want an animal and the characteristics of that animal. Do you have to be able to recognise what animal it is? Emily Ortega: Uh I do not think so, I think it's just to try out the whiteboard. Tina Jones: Um Shelia Mcdowell: Are we all gonna draw a cat? Marion Bernstein: I know. Tina Jones: Only animal I could thin I could draw. Emily Ortega: Ah. Tina Jones: Its a sort of bunny rabbit cat. You can tell it's not a bunny rabbit by the ears. Emily Ortega: Uh-huh. Tina Jones: Um I suppose it should have a mouth as well, sort of Emily Ortega: Okay. Tina Jones: Right, yeah. Emily Ortega: Great. And the characteristics? Tina Jones: Um the favourite characteristics of the cat um the whiskers I think, um because they're the easiest to draw. Emily Ortega: Uh-huh. Tina Jones: In fact, I'll give it some more Oh, Emily Ortega: Okay. Tina Jones: and the tail Emily Ortega: Fantastic. Since you're handy as well, why don't you do yours next, Steph. Emily Ortega: I think it's to get us used to using the pen. Tina Jones: Yes. Um sure it's not to test our artistic Emily Ortega: Uh no. Tina Jones: It's a mouse. Emily Ortega: A mouse-y? Shelia Mcdowell: That's not a mouse-y, no. Tina Jones: No it's not a mouse. It's a wombat. Emily Ortega: Oh. Shelia Mcdowell: It's a ratty. Emily Ortega: Argh. Tina Jones: A what? Shelia Mcdowell: A Emily Ortega: Rat. Shelia Mcdowell: ratty. Emily Ortega: Not a mouse, Tina Jones: A Emily Ortega: a Tina Jones: webbed Emily Ortega: rat. Tina Jones: foot. Webbed f Shelia Mcdowell: It's clothes. That's Tina Jones: Oh Shelia Mcdowell: it's clothes. Tina Jones: right. Shelia Mcdowell: It's a ratty with a with a with a very long tail. Emily Ortega: And your Shelia Mcdowell: I love Emily Ortega: favourite Shelia Mcdowell: whiskers. Emily Ortega: characteristics of that animal. Shelia Mcdowell: Uh they're intelligent and they're cheeky and uh fantastic pets and very Emily Ortega: Oh. Shelia Mcdowell: friendly. Emily Ortega: Okay. Shelia Mcdowell: And Emily Ortega: Kate? Shelia Mcdowell: they sit on your shoulder and whisper the answers to your homework in your ear when you're doing your homework. Marion Bernstein: Thanks. Emily Ortega: Oh, a fish. Shelia Mcdowell: A shark? Tina Jones: Gosh, why didn't I think of fish? That's even easier to draw than cat. Marion Bernstein: Mm this is very representational fish. Emily Ortega: Oh, okay. Fine. Marion Bernstein: Um I like Emily Ortega: Favourite Marion Bernstein: them Emily Ortega: characteristics? Marion Bernstein: because they're sleek and they have a lot of freedom but they also do n uh swim in groups, so. Emily Ortega: 'Kay. So Marion Bernstein: Do Emily Ortega: they Marion Bernstein: you Emily Ortega: have Marion Bernstein: have a favourite Emily Ortega: team Marion Bernstein: one? Emily Ortega: elements. I'm afraid I'm with Steph. And I think your pen's running out of whatever. But I'm afraid I take the coward's way out, and the cat's looking the other way. He's hiding. Um cats are sometimes very independent. My parents had cats. Uh and they can mm decide for themselves what is best. Okay. Now um we have to get down to the nitty-gritty of how to make this and this remote control has to be sold um we're to sell it for twenty five Euros, with a profit aim ultimately of fifty million Euros. That tells you something about how many um we have to sell on an international scale. Um would be an awful lot of these, would be like what, a hundred million of them um to make twenty five Euros on each one and to make a total profit of fifty million. Um the production is to only cost twelve and a half Euros per item. Now if they cost twelve and a half, you're selling it for twenty five, you're making twelve and a half Euros each. Um and we're to make a profit of fifty million, that's t uh can you do the maths and how many are we selling? Marion Bernstein: Uh yeah. I was just wondering if that's the um If fifty percent is normal Emily Ortega: Mark-up? Marion Bernstein: B yeah. Um I would think would be more like sixty percent. But um Emily Ortega: Okay. Marion Bernstein: let Marion Bernstein I have two thoughts. fifty percent. And and your question is how many do we have to sell? Emily Ortega: Yes, 'cause our market um is international and your problem is has to do with marketing of you know, you gotta know how many we're going Marion Bernstein: At twenty Emily Ortega: to be selling Marion Bernstein: five. Emily Ortega: to know how big a market you have to target Marion Bernstein: Mm-hmm. Emily Ortega: and who is that. Marion Bernstein: Yeah, that's um Emily Ortega: To give you a pretty good idea of where you're looking. Marion Bernstein: So that's four million of them? Emily Ortega: Something like that? Okay. Marion Bernstein: Yeah. Emily Ortega: That's fifty million Euros. In order Marion Bernstein: And if Emily Ortega: to make Marion Bernstein: we make Emily Ortega: fifty million Euros, and you're only getting twelve and a half each Marion Bernstein: Mm-hmm. Emily Ortega: That's a lot of selling. Marion Bernstein: Yeah. Emily Ortega: Two four Marion Bernstein: Four million. Emily Ortega: To be fifty, be four million. You'd have to sell four million. Marion Bernstein: Hmm. Emily Ortega: Okay? Right. Experience with a remote control. Any of you use of remote control for a television or D_V_D_ or something? Tina Jones: That Emily Ortega: You're Marion Bernstein: Yeah. Emily Ortega: both Tina Jones: that that's Emily Ortega: nodding, Tina Jones: the sorta Emily Ortega: all Tina Jones: product Emily Ortega: three. Tina Jones: we're talking about, one that will work for a in a home environment, for a Emily Ortega: Well Tina Jones: T_V_s and Emily Ortega: I've seen some remote controls that are for more than one device at a time, but I also have heard about them not working well or not well co-ordinated and you wind up working with this one for thi this three and then this Shelia Mcdowell: It Emily Ortega: one Shelia Mcdowell: is Emily Ortega: over here Shelia Mcdowell: true Emily Ortega: for another. Shelia Mcdowell: you know, you're sitting on your sofa and you wanna change something, there's five different remotes, and one for the D_V_D_ and one for the video and one Marion Bernstein: Mm-hmm. Shelia Mcdowell: for cable and one for Marion Bernstein: Y yeah. Shelia Mcdowell: whatever Emily Ortega: And they don't Shelia Mcdowell: else. Emily Ortega: always Shelia Mcdowell: But I presume Emily Ortega: talk to Shelia Mcdowell: this Emily Ortega: each Shelia Mcdowell: is Emily Ortega: other. Shelia Mcdowell: t I presume this is just for television. Emily Ortega: Don't know. Okay. Are there any um ideas for the remote? What would it be for and what group would be be for? We have to think about that one. Marion Bernstein: We could make a Hello Kitty themed remote. Shelia Mcdowell: I think one in b bright colours would be good. Marion Bernstein: Yeah. We Tina Jones: I Marion Bernstein: could Tina Jones: think Marion Bernstein: totally Tina Jones: one that works Marion Bernstein: go for Tina Jones: would Marion Bernstein: the Tina Jones: be good. Marion Bernstein: Japan-a-mation. Well I mean there's also the cachet that um uh the Japanese make great products. Electrical their industrial design is very good. Shelia Mcdowell: I think one that doesn't have lots of superfluous functions. Like I've got one at home that has well, apart from the obvious, channels, channel up, channel down, volume, Marion Bernstein: Yeah. Shelia Mcdowell: you know, subtitles, mute, there's a lotta buttons that I've got no idea what they do, like. Marion Bernstein: Well, that's a really good point, because I think Emily Ortega: Okay. Marion Bernstein: one of the things that being somewhat computer literate, we tend to um go to menus and then make choices, you know, so if it's like an uh volume button, you know, you can go in and say mute or or volume. We don't need to have like the l the numbers if we also have uh Shelia Mcdowell: Mm. Marion Bernstein: uh channel up channel down. Emily Ortega: Mm. Marion Bernstein: Mm. Emily Ortega: Okay. Marion Bernstein: We can make it smart like an iPod, you know, make everything menus. Shelia Mcdowell: Ooh, closing the meeting. Emily Ortega: Yeah. Um Shelia Mcdowell: That was quick. Emily Ortega: I know this sounds like it was very quick, but the I think that's the industrial design Tina Jones: Mm. Emily Ortega: is the first one, that's Kate, Tina Jones: Mm-hmm. Emily Ortega: for the working design. And user, that's you S Steph, for the technical functions design, and for marketing the user requirements specification. I think there's going to be a lot of we have to help each other and work through this as a group, and I think we all, you know, we like our kitty-cat and our rat and our fish, but I think we all have to like each other um to get this done. says, we're gonna get individual instructions, but uh I don't think they allowed a lot of extra time, so I think a little bit of less of this and more at do will set us in good stead. Do you all agree? Shelia Mcdowell: Mm-hmm. Tina Jones: Mm-hmm. Emily Ortega: Alright. Um then I don't see any reason to prolong it and f we should finish this meeting at ni right now and go into other things. Alright, so this is the end of the first meeting. Marion Bernstein: Okay. Tina Jones: 'Kay. Emily Ortega: Thank you all.

Emily Ortega opened the meeting by stating the agenda and then introduced the upcoming project to the team members. The team members then participated in an exercise in which they each drew their favorite animal and discussed why they liked the particular animal. Emily Ortega briefed the team on the production and selling costs of the remote they are to create. Emily Ortega also briefed the team on the profit aim and discussed how many remotes must be sold in order to reach the profit aim of 50 million Euro. The team then discussed their experiences using remote controls and what features in terms of functionality and appearance to consider in making the remote.

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train

Alda Kenney: Hi Kate. Vivian Munroe: Just just Alda Kenney: Okay, Vivian Munroe: carry Alda Kenney: carry Vivian Munroe: on. Alda Kenney: on Alright. um this is the beginning of the third meeting, the conceptual design meeting. Um our agenda should be um that we're opening the meeting, I have the minutes from the previous meeting are on the shared f drive at this point. Um and we should each have a presentation to make. Um we have certain decisions to make and we have forty minutes total. It's twenty five after two at the moment, so forty minutes is five after three um, which I'll be keeping an eye on the clock for us. Okay. Um there are the decisions we have to turn to, but we'll come back to them in a minute after I take us to the minutes of the previous meeting. Right um as we remember, I opened the meeting, the four of us were present, the meeting the first meeting's minutes were reviewed and approved. Um Sarah, you presented a marketing research report um which pretty much rep represented that fifteen to thirty five year olds uh it has to be hand-held, power, channel, volume, number keys, possibly a speech recognition. And then Steph did a second presentation um that those functions plus streamlining them with big user-friendly keys that were easy to use. I think all of us agreed with those things. Kate presented a working design of going after going over the basics on the whiteboard um that it should be a simple mass-produced device, because of the twelve and a half Pence cost. Um but we did talk about possibly using rechargeable batteries and having a docking place as a selling point. Um and the new requirements that it for be for T_V_ only um and that it include the l so slogan and colour of the uh corporate design be included. Um the corporate image. So we agreed that the target market would be fifteen to thirty five with more money than sense, that were decision makers. Alternatively it would be a manufacturer to enclose it with the T_V_, but it still should meet those parameters. Um and that the function we agreed was volume, power, numbers, enter, channels, a way to move between channels, easy to use and hand-held. Um at that point we agreed that Sarah would look at the current cost of competition, what what do the current ones sell for. Um and Steph was gonna look at ec ergonomics. Kate was gonna look at cost and feasibility of the various possibilities that we discussed. And I was to type up these minutes and work on the final report. Is this a fair presentation of Louise Corley: Yeah. Alda Kenney: what our last meeting was? Louise Corley: Yes. Vivian Munroe: Mm-hmm. Alda Kenney: Okay. Right. So we're ready to close that and go back to our That one. Right. We're up to the point of the Go back. Um the three presentations. So we're going to pull the plug on Michelle Cox and turn to Sarah. Is that okay? Is that alright with everybody else? Louise Corley: Yep. Vivian Munroe: Mm-hmm. Alda Kenney: Especially since Kate asked to be last. Sarah, I'm sorry if I misspelled your name, I didn't know whether it was S_A_R_A_ or S_A_R_H_. Michelle Cox: I respond to either. No Alda Kenney: You respond Michelle Cox: worries. Alda Kenney: to whatever you get, huh? Okay. Alda Kenney: Um, did you do your Louise Corley: Yeah, Alda Kenney: Hit Ah, there it is. Ta-da. Michelle Cox: Okay, first thing I want to address is um one of the points that Florence brought up, which was uh current cost of the competition devices, similar to the ones that Stephanie uh showed us and and they're uh twenty to sixty Euros, depending on uh branding. Louise Corley: Right Michelle Cox: Some of them that have a higher brand recognition are on the more expensive end. But I think that with the current um price that we're searching for, we're well within, even on end, of the uh of the market. Alda Kenney: Mm 'kay. Michelle Cox: But I'm going to move on to more interesting um more vibrant things. So, I investigated the remote control market in greater detail, and my uh the theme of what I was to work on was uh trend watch. And Alda Kenney: 'Kay. Vivian Munroe: Sorry. I'm glad to see the marketing budget is being so well spent on. Michelle Cox: I know that you all are a distance from cutting edge marketing research, so you know, I'm just gonna try to cloak it in really professional terms here. What's hot, fruit and veg. Spongy. And this is all over the catwalks, Paris, Milan, and I'm talking about clothing, furniture, shoes. This is really interesting change from past years, because Alda Kenney: Mm. Michelle Cox: it is much more organic, um some would say approachable. And I think if we're to refashion our view of what we want in a remote control, we should perhaps think about incorporating technologically interesting fabrics and some of the bold colours into a simple handset. So. I also did a little research on um what again are the most important priorities in uh decision making about uh purchasing. Fancy. Functional is out. And f the fancy, and that's exactly the term, I'm I'm thinking polished, elegant, you know, kind of innovative, but a cut above. This is twice as important as the next finding, which is technologically innovative. This is interesting, 'cause I think in the last meeting we were talking about technology as being so important, but maybe what's innovative is having it simple with um with uh technologically superior fabrics or uh, you know, designed in interesting substances. Ease of use. Again, pretty low, I mean it's the top three, but each of the uh fancy and technologically innovative are far more important. So I think we should cloak the streamlined remote control device in a series of fruit fruit themed sleeves. Vivian Munroe: I think that's a good idea. Don't Michelle Cox: Y Vivian Munroe: you? Michelle Cox: yeah, Louise Corley: Yes. Alda Kenney: It Michelle Cox: you know Alda Kenney: sounds like the the uh covers that they use for the Michelle Cox: Exactly. Alda Kenney: remote, you know, your t your cell phone. Michelle Cox: Exactly. I was thinking though that instead of having something uh like patterned, you know, so, you know, something similar to a summer dress. you know, it would Alda Kenney: Mm. Michelle Cox: have like fruit and veg, is that we actually make these spongy. They could be ini initially I thought we could start with kind of um fruit that would suit kind of uh a long uh hand-held, so banana, pineapple and pear. Um it could actually the sleeve could take up a lot of the development and the remote control, we'd just need to get reductionist on it. They could be interchangeable, they're spongy, that goes back to ergonomic, and the youngsters love 'em, fun for the whole family, everyone can have their own. So what we're talking about is changing. this concept. Everyone has a T_V_ remote, but then we add in the fact that they could each have their own individual fruit. That's what's hot on the catwalks. So, this is my This is what I'm thinking. Alda Kenney: Hmm. Uh-huh mm. In most families, don't isn't the remote is a remote. Michelle Cox: Y yeah, but I think I think what this would allow is perhaps a person in the family who had the most opinion about it we all need a remote, but Alda Kenney: Mm. Michelle Cox: the person who is really perhaps active in personalising, I'm thinking the teenager, the someone fifteen to thirty five would go out and get this additional thing the same way as you mentioned that people would get the cell Louise Corley: So Michelle Cox: phone covers. Louise Corley: when your dad's sitting there, overriding your decision, going no we're gonna watch this, you can bring out your own remote and be like zap, no we're gonna watch this. Michelle Cox: Yeah. W and Alda Kenney: Mm. Michelle Cox: plus I think Alda Kenney: Well actually some households do have three and four Michelle Cox: Uh yeah. Alda Kenney: T_V_s Michelle Cox: Yeah. Alda Kenney: and they would have a remote for each one, so. Michelle Cox: Yeah. So this is an idea and I I you know, this is exactly what the research has uh has shown. So I really open this up to uh any other feedback. This spongy fruit and veg. Vivian Munroe: Yeah, Michelle Cox: Thanks. Vivian Munroe: I I think we're gonna have some trouble when we get down to the component design Michelle Cox: Alright. Vivian Munroe: on this. Louise Corley: Yep. Vivian Munroe: Spongy Alda Kenney: Hmm. Vivian Munroe: is gonna be difficult, I'm afraid. Alda Kenney: Hmm. Louise Corley: And as for as for um well budgeting as well, if we're gonna have lots of different interchangeable components. Michelle Cox: I I just have my ear to the market, Louise Corley: Is this Michelle Cox: guys. Louise Corley: to the market? Vivian Munroe: Yeah, I mean basically we can make these things out of wood, titanium, plastic or rubber. I rubber is the closest Michelle Cox: Is spongiest, Vivian Munroe: to spongy, yeah. Michelle Cox: yeah. That would add Vivian Munroe: I was thinking titanium Louise Corley: I was Vivian Munroe: myself. Louise Corley: titanium I was thinking it's just I have been influenced by pictures of iPods, Michelle Cox: Mm-hmm. Louise Corley: and they're also minimalist and shiny. Michelle Cox: They are and they they would fulfil the uh first um priority, which is fancy. I think many of us would associate those with fancy. Something else we could do is uh call it something that's fruit and veg oriented. We could call it uh Alda Kenney: Are we talking about the Michelle Cox: The name. Alda Kenney: device itself or the c or a cover for the device that would be an interchangeable cov cover as a separate product? Michelle Cox: Well it would be uh a a very simple product that would have a spongy sleeve that would be interchangeable. Alda Kenney: Perhaps Michelle Cox: So Louise Corley: Yeah, but it's kind Alda Kenney: perhaps Louise Corley: of pointless, Alda Kenney: that desi Louise Corley: isn't Alda Kenney: that Louise Corley: it? Alda Kenney: particular suggestion needs to go back to management and perhaps go to another group to actually design as a Louise Corley: Yeah. Alda Kenney: separate product. Michelle Cox: That, you know, that Louise Corley: Let's Michelle Cox: might be Louise Corley: delegate. Alda Kenney: Wo would Michelle Cox: And Alda Kenney: that Michelle Cox: then Alda Kenney: be Michelle Cox: we could Alda Kenney: agreeable? Michelle Cox: keep it Vivian Munroe: Yeah. Michelle Cox: titanium. Vivian Munroe: W w would it be helpful if um I described the components a bit, because I think it would give you um maybe bring this discussion back to Earth of what we can actually physically do. Louise Corley: Yeah, maybe. Or Alda Kenney: Do you wanna be next or you want Kate to go next? Louise Corley: I think possibly it might be more useful if Kate went next. Alda Kenney: Okay, we'll move the Louise Corley: Um Louise Corley: You can even have them in different flavours as well. So that if you just wanna sit there and chew on the remote, it could be like Michelle Cox: Yeah. Louise Corley: pear Michelle Cox: Or Louise Corley: flavour, Michelle Cox: s or smelly. Louise Corley: yeah. Michelle Cox: Scratchy Louise Corley: Scratch and sniff. Michelle Cox: Uh well I was really thinking a lot about the I_ uh the iMac kind of gel gem tone. It's hot on the streets, Vivian Munroe: Right, Michelle Cox: guys. Vivian Munroe: well I I I think some of this um you're gonna be a little disappointed with some of the things I have to tell you, but I'm afraid this is the real world. So um I've been looking at the the basics of how these devices actually have to work in order to operate, and I've had some discussions with the ma manufacturing division, who have told Michelle Cox what's actually available, you know, what the current state of the art in components is, and some of the exciting new things they've got, but I'm not sure that it's quite what you want um. Now this isn't a very good overhead, but this is just to show you, this is the innards of a remote control um. I really need a pen or something but uh does my mouse work? No. Um oh yeah, can you see my little mouse pointer? Alda Kenney: Mm. Vivian Munroe: Right. This is this is the a a a remote that's been opened up Alda Kenney: Mm. Vivian Munroe: and that's the the back of the interface. And this is a push-button one, so you see these little little buttons here, they're little rubber rubber buttons that go through onto the the board at the back and they push these buttons here. Um and we that's the basic construction that we've got to got to accommodate. We got to have something that pushes the little buttons that um talk to the chip that encodes the message that sends the the message to the receiver. So um I wan I wanna go through not not just addressing the um uh the the points that you made, Sarah, but um doing my presentation in the order I wrote it. So first of all um I wanna talk about what possibilities we've got for the energy source. Um we can have your bog standard double double A_ batteries in a replaceable um little compartment. We can have a hand sorry Louise Corley: A wind-up. Vivian Munroe: a wind-up, yeah, which I think is quite an interesting concept for a sorry for a remote control, but i it maybe is doesn't quite go with the um the fruit and veg. Um Alda Kenney: Alright. Vivian Munroe: one that one that I think is quite interesting is the Alda Kenney: Remember, Vivian Munroe: kinetic Alda Kenney: we only Vivian Munroe: energy Alda Kenney: have Vivian Munroe: source, Alda Kenney: forty minutes Vivian Munroe: where um Michelle Cox: Mm. Vivian Munroe: you you actually get the energy by moving the device, which is quite Alda Kenney: Hmm. Vivian Munroe: a ni a nice and neat one. You have to it means that if it's sitting there for a long time it probably won't work, but you have to sort of throw it between your hands every now and then, it'll work. Michelle Cox: Hmm. Vivian Munroe: Or we we had talked about solar power, but I thing that we agreed that that's not so good in the dark. Alda Kenney: Mm. Vivian Munroe: Now I'm afraid this is the options we've got on on the case. It can be made of plastic, rubber, wood o if you like, or titanium. Michelle Cox: Hmm. Vivian Munroe: Um and the nearest we've got to st to spongy there I guess is rubber, but um Michelle Cox: Hmm. Vivian Munroe: I'm gonna come back to the advantages of titanium, and basically it can have a flat surface, a curved surface or a double curved surface, but I think if we wanna use standard components, we're gonna have difficulty with anything much beyond that. Michelle Cox: Hmm. Vivian Munroe: Okay, what does the interface look like? Um well push button, that's that's the one we're all familiar with. Um we can have scroll buttons and the the scroll button Alda Kenney: Hmm. Vivian Munroe: can incorporate a push, so you can have it like on a mouse where you can use it to go up and down, change volume or channel or something like that and push to select something. Um you can have multiple scroll buttons, um this is maybe getting a little bit complicated, but um it's it the technology is there. And we can also incorporate an L_C_D_ display in the remote, but this will increase the cost. Um the electronics that actually makes the device work, we've basically got three, simple, regular, advanced, and the price goes up as we choose each of this. If we want the nice cheap one, the simple, then we can only have push buttons. All the other fancy interface designs go out the window, I'm afraid. Um pay a little bit more for a regular chip and you can have scroll buttons. If you want the advanced chip it obviously costs more, the L_C_D_ display. And the manufacturing devision tell Michelle Cox that they have recently developed um sample sensor sample speaker devices. Now I don't know what that is, but I think they think it's quite important and we might want to incorporate it somewhere. Um ou our real expertise is in push buttons, I have to say, but maybe you think that's old technology. Michelle Cox: Mm. Vivian Munroe: And well I I think we've got two options. We can either go for a really cheap model, keep all of the costs down, um which means a flat plastic case with an ordinary battery and simple push buttons. Or we can have something that looks a bit nicer, I think it, um won't necessarily l uh look like a pineapple, but um that may or may not be a good thing. Sorry. Um but it could have an L_C_D_ screen and it could have multiple scroll buttons, and it could have the the company's new development of the um sample sensor and speaker. So, thank you. Michelle Cox: That sounds good. Any idea you you mentioned that there would be a cost difference. Um do you have any idea if if this could if the fancy model could be done in twelve Euros fifty? Vivian Munroe: Yeah, I'm afraid I don't have that information available. Um manufacturing didn't actually give attach any prices to any of this, I'm afraid. Alda Kenney: Hmm. Michelle Cox: Hmm. Because, you know what, I'm being quite serious when I say that that um the things I mentioned are hot. But I think the important thing might be to choose one. You know, if Vivian Munroe: Yeah Michelle Cox: if what you're telling Vivian Munroe: mm-hmm. Michelle Cox: Michelle Cox is is um some of these things aren't just f aren't feasible, maybe we could something about naming, we could call it, you know, Blackberry. That's Louise Corley: Bear Michelle Cox: uh Louise Corley: bear in mind it has to be the colours and styles of the company, so what I had been thinking was something chunky and yellow and plastic with black buttons with Vivian Munroe: Banana? Louise Corley: a logo on it. Michelle Cox: Alright, well let's see then. Louise Corley: But um I I don't know how important that is Michelle Cox: Yeah. Louise Corley: to keep it exactly the colours of the Real Reaction company. It's just what I'd understood Michelle Cox: Yeah. Louise Corley: we'd be doing. That's before I heard about all this hot tips about the future, fruit-wise. Michelle Cox: But yeah, I'm trying Vivian Munroe: We Michelle Cox: to Vivian Munroe: we Michelle Cox: streamline Vivian Munroe: could we could Michelle Cox: mine Vivian Munroe: do Michelle Cox: a little Vivian Munroe: um Michelle Cox: bit. Vivian Munroe: a double curved rubber one, which would allow um say a banana, but um unfortunately I see from my notes that if we do that, we have to have a push button as Michelle Cox: Yeah. Vivian Munroe: the interface, we can't do anything fancier. Michelle Cox: Hmm. Louise Corley: Shall we wait 'til I've Michelle Cox: Yeah. Louise Corley: 'til I've showed you what well, my extensive presentation on what sort of interfaces are available. Michelle Cox: Mm. Vivian Munroe: Yep. Michelle Cox: Thank you, Kate. Alda Kenney: Thank you, Kate. Michelle Cox: Mm. Louise Corley: You did seem to include just in more detail what I've got though. So so mine's a bit pointless. Right. F_N_ and F_ eight, did you Alda Kenney: Yes. Louise Corley: say? Alda Kenney: There we go. Louise Corley: I don't have it on mine though. Michelle Cox: Oh I think um Florence resolved it by Vivian Munroe: I If you do F_ Michelle Cox: F_ eight Alda Kenney: Do Michelle Cox: again. Alda Kenney: it again. Vivian Munroe: uh F_N_ F_ eight again, it's it'll Alda Kenney: Keep doing it until you get it in both you get it Vivian Munroe: I think Alda Kenney: there, Vivian Munroe: it Alda Kenney: you get it Vivian Munroe: yeah, Alda Kenney: yours Vivian Munroe: you Alda Kenney: without Vivian Munroe: you will do Alda Kenney: that Vivian Munroe: an Alda Kenney: one, and then you get it with both. Louise Corley: Should I do it again? Michelle Cox: Maybe. Alda Kenney: Yeah. This time it should come up both. Louise Corley: Right then. I don't actually have a huge amount of different information then what Alda Kenney: Okay. Louise Corley: Kate says, just that my method was to look at the, well, my my inspirations, which was a big collection of lots of different models of Alda Kenney: Mm-hmm. Louise Corley: remote controls and other things that use a similar sort of thing, including M_P_ three players, uh like you know, hi-fi remotes, not Alda Kenney: Mm. Louise Corley: just television and these things. Uh having a think about the feature of ea the features of each ones, um what functions we actually need, and then how to group and arrange these on the actual the actual plastic or rubber hand-held piece. Uh I've been especially interested in the iPod style scroll wheel, which Well, I couldn't find a the picture of the iPod w only linked to a web browser, so I couldn't copy and paste it, but it had a similar thing to this thing on the right. It has uh scroll wheels without without a display, but they they scroll like a computer mouse. Alda Kenney: Hmm. Louise Corley: So I was thinking Vivian Munroe: Hmm. Louise Corley: that uh um a really simple a really simple interface with just a couple of scroll things on it um and then instead of a display the display could appear on the television screen. Like I guess an existing Sky or cable one does. Like, you know, you press enter and it comes up with what's showing on that channel at the moment, and you can do you can scroll along and it'll show you what's on in the next half hour, and you scroll up and you can see what's on the other channels while you're watching the same channel on the screen. Uh but I'm also equally taken with this chunky plastic kiddie remote, Michelle Cox: Mm. Louise Corley: um which is really nice and fun and good to hold and nice, big, easy buttons to press, but still quite simple and quite cost effective. So what seems kind of ideal for Michelle Cox would be to just have a fairly simple, uh not fancy but not totally minimalist, I mean just pretty simple plastic, probably, I was thinking, yellow and black, just because that's the company's colours, with very very few buttons, but that would correspond to a screen that would appear on the television screen, like, you know, just small along the bottom instead of instead of having the iPod style display screen on the actual remotes, which is far too expensive. Vivian Munroe: Hmm. Louise Corley: And when Alda Kenney: Mm. Louise Corley: you've got a screen sitting there in front of you, you might as well have it appearing uh on the screen in front of you, it doesn't obscure much of the actual picture you're watching. Vivian Munroe: Yeah. Louise Corley: And so on that you can, just much in the same way as an existing Sky remote, scroll along, scroll up and Vivian Munroe: Yeah, I'd I'd certainly Louise Corley: down. Vivian Munroe: support Louise Corley: And Vivian Munroe: that Louise Corley: uh Vivian Munroe: idea. Louise Corley: and I definitely support uh the use of plastic and or rubber. I mean titanium would be great, but I think it might be a bit too expensive and too kinda spacey. If we're k trying to keep it colourful and slightly organic, then I think titanium's too futuristic. Vivian Munroe: It's difficult to make fancy shapes in it as well, we can't for example Louise Corley: Yeah. Vivian Munroe: have a double curved case in titanium unfortunately. Louise Corley: Whereas a plastic's so cheap and easy and mouldable and everything else. Michelle Cox: Hmm. Louise Corley: Uh then Vivian Munroe: And the the having the the the screen on the television screen I think is a good idea, 'cause um otherwise we're we're putting up the price not only for putting building the L_C_D_ in, but for the electronics as well. Louise Corley: And it's a little bit pointless as well I think. Michelle Cox: It's Louise Corley: Like Vivian Munroe: There Michelle Cox: a Vivian Munroe: is Michelle Cox: duplication. Louise Corley: when Vivian Munroe: that. Louise Corley: when when you've got when you've got the screen there, it doesn't have to be anything fancy just, a little menu showing yeah, a menu, you go into one menu and then it can have your different options, whether you wanna change the settings or the Michelle Cox: Mm-hmm. Louise Corley: you know, your information about programme that's on at the moment. I don't think that's to taxing to uh s engineer. Um. But as for actually arranging them let Michelle Cox go back to the to the picture of the kiddie one. And I quite like it, 'cause it's just smooth and hand-held and it's got these easily reachable buttons that quite nicely uh spaced out, so something a bit like that with buttons arranged in a kind of circle. Michelle Cox: Mm-hmm. Louise Corley: Up, down, left, right. Vivian Munroe: Do you want scroll buttons in that as well? Louise Corley: I I was thinking not actually scroll, like a like mouse scroll, but you know, a I can't quite d uh describe it. you see on the one on the right, down at the bottom, is the mouse. Yeah, see where the mouse is, like Vivian Munroe: Mm-hmm. Louise Corley: this s style thing where you c have up, down, left and right. Vivian Munroe: Right. Louise Corley: And enter in the middle, so you pick your menu and then your different options and when when you click on each one, it you can go into a new menu for that. I'm getting a bit uh specific here. Really we'd have to Vivian Munroe: Yeah. Louise Corley: use Vivian Munroe: I think Louise Corley: something Vivian Munroe: I think Louise Corley: to Vivian Munroe: that's Louise Corley: show Vivian Munroe: a g Louise Corley: you, Vivian Munroe: nice clean Louise Corley: but Vivian Munroe: design, it's playing to our strengths which are in push button technology. Michelle Cox: To uh Louise Corley: If I don't think I Michelle Cox: m Louise Corley: can get it up on Michelle Cox: make Louise Corley: the screen. Michelle Cox: it. Louise Corley: Ah here we go. Right. Michelle Cox: Oh nice. Um Louise Corley: Well, the iPod Michelle Cox: Hmm. Louise Corley: spinning wheel is uh really complicated. Alda Kenney: Huh. Louise Corley: It does Vivian Munroe: Yeah. Louise Corley: scroll, but it is hugely complicated. Michelle Cox: Mm. Louise Corley: What else have we got? Michelle Cox: Wow. Louise Corley: Them, they're terrible. But they all have this this feature of this uh It's not quite a scroll wheel, but Alda Kenney: It's a selection wheel. Louise Corley: it's a kind of selection in this circle, which I think is a really good idea. Vivian Munroe: But we can implement it with simple push buttons, Louise Corley: Yeah, Vivian Munroe: which is much cheaper. Louise Corley: like up, down, left and right. Which is good. And then and then Yeah, so I mean either a channel up and down, volume up and down, next appearing programmes up and down, uh and then also when you get into the different menus on the screen, it's got your things like settings and contrast Alda Kenney: Okay. Louise Corley: up and down. So all you really need is these four buttons with the enter in the middle. Alda Kenney: Okay. Louise Corley: And that's it. Vivian Munroe: In fact Louise Corley: Look at look at this one. Vivian Munroe: Oh that's really nice. Louise Corley: Almost impossible to misplace or l or lose. Michelle Cox: Do you think with Louise Corley: Might Michelle Cox: um Louise Corley: take up your whole living room. Michelle Cox: It seems that that uh you guys are quite keen on the plastic, perhaps the something reminiscent of the child's remote. Do you think we could put it in a in a fruit colour? And have it abstract. You know, we could call Louise Corley: Possibly. Michelle Cox: like a fruit Louise Corley: Yeah. Vivian Munroe: Hmm. Michelle Cox: name, but it would be a little more abstract. Vivian Munroe: Mm. Louise Corley: That also Vivian Munroe: We we Louise Corley: is Vivian Munroe: could Louise Corley: possible. Vivian Munroe: actually do it in rubber instead of Michelle Cox: Mm-hmm. Vivian Munroe: plastic if you'd rather Michelle Cox: I'm Vivian Munroe: if Louise Corley: Just Michelle Cox: just Vivian Munroe: you feel Michelle Cox: just Vivian Munroe: if you Michelle Cox: throwing Alda Kenney: Or Vivian Munroe: like Alda Kenney: call Vivian Munroe: the Michelle Cox: out Vivian Munroe: spongy Michelle Cox: ideas. Alda Kenney: it a or call it a banana and have Vivian Munroe: Hmm. Alda Kenney: it in yellow. Michelle Cox: Yeah. I'm thinking maybe we need to be a little bit more abstract if the design Alda Kenney: Okay. Michelle Cox: constraints Vivian Munroe: Yeah. Michelle Cox: are so Louise Corley: Uh just something else I need to bring to your attention is have you have you seen these on a remote? This is actually the volume up and down, but Alda Kenney: Mm-hmm. Louise Corley: they both say V_ on them, Alda Kenney: Mm-hmm. Louise Corley: which, when you first look at it, you expect that to be the down, because Michelle Cox: Mm-hmm. Vivian Munroe: Yeah. Louise Corley: it looks like a downward pointing arrow, but it's Alda Kenney: Hmm. Louise Corley: actually the V_ to indicate that it's the volume, Michelle Cox: Mm-hmm. Louise Corley: so uh we do need to avoid little ambiguities like these. Vivian Munroe: Yeah. Alda Kenney: Hmm. Michelle Cox: Nice. Good point. Louise Corley: But we wouldn't have a specific volume up and down. If we're having the scroll wheel, then it's gonna double up as all the other up and down functions. Alda Kenney: Mm 'kay. Louise Corley: But then, that's complicated. Alda Kenney: I wanna thank you all for all your presentations. We have about ten minutes left, in which time we have to make some decisions on the remote control concepts. Um and I think you all have been self-stimulating of working together. Um we need to come up with some specifics of Alda Kenney: the interface type things. So let's Mm. Right. They want us to decide what form of energy are we going to use, which the choices that we've discussed were pretty much battery, kinetic or solar. Um this is where Kate's expertise comes in, and our decision making will be a little bit guided by Kate at this point. The You were saying that the kinetic would be useful, that is you just have to move it some and you'd be able to use it um as opposed to a battery that you have to either put it in a recharger or um keep replacing the batteries. Um or solar that you'd have difficulty with it if it's a dark day, that it'll die on you, and no way to do it. That's the day you wanna use the T_V_. Vivian Munroe: Mm. Alda Kenney: Um so what's our pleasure here, what would be the cost consequences of each of the three? Vivian Munroe: Oh unfortunately I don't have costing information. Alda Kenney: Okay. Vivian Munroe: I i in terms of workability, I I think the the two front-runners are the standard battery or the kinetic, but I'm Alda Kenney: Mm 'kay. Vivian Munroe: sorry I don't figures on the difference in cost. Alda Kenney: What's the uh feelings of the group on the kinetic? Michelle Cox: I've used kinetic in terms of watches and it's very very uh handy, you don't even notice um Louise Corley: It sounds Michelle Cox: that it's Louise Corley: great. Michelle Cox: there. Louise Corley: I've never come across it before, but it sounds fantastic. Sounds Michelle Cox: It's Louise Corley: like it could be g a really good economical Michelle Cox: Mm-hmm. Louise Corley: it would make the whole thing a lot lighter, more convenient. Alda Kenney: Hmm. Michelle Cox: It could tie in with the fanciful design as Alda Kenney: Hmm. Louise Corley: Yeah. Michelle Cox: uh, Louise Corley: 'Cause Michelle Cox: you Louise Corley: it's really a quite attractive Michelle Cox: know, throw Louise Corley: thought, Michelle Cox: the banana, Louise Corley: isn't it? Michelle Cox: you Louise Corley: It's Michelle Cox: know, Louise Corley: like Michelle Cox: just gotta keep it moving. Louise Corley: yeah, a good Alda Kenney: So Michelle Cox: Be Louise Corley: selling Alda Kenney: the consensus Louise Corley: point. Alda Kenney: seems to be use the kinetic if it's at all possible. Louise Corley: But it does depend how much Alda Kenney: It costs. Louise Corley: I mean how much it costs and how much more development and research it needs. Michelle Cox: Yeah. Alda Kenney: Mm. Vivian Munroe: And and how much you do have to keep it moving, Alda Kenney: Mm. Michelle Cox: Yeah. Vivian Munroe: 'cause I'm conscious that watching T_V_ can be quite a sed sedentary activity. Michelle Cox: Mm-hmm. But I could Alda Kenney: Mm. Michelle Cox: market that as a um as a Louise Corley: Do your exercises while you're watching Vivian Munroe: Yeah. Louise Corley: the Michelle Cox: a Louise Corley: T_V_. Michelle Cox: I was thinking actually a a cost saver down the road, in terms of battery, Alda Kenney: Hmm. Vivian Munroe: True, Michelle Cox: you know. Vivian Munroe: yeah, m more more environmentally friendly. Louise Corley: Yeah, Michelle Cox: Mm-hmm. Louise Corley: that's what I Alda Kenney: Yeah. Louise Corley: was thinking as Michelle Cox: You Louise Corley: well. Michelle Cox: know, kind of the Alda Kenney: Thanks for the reminder for five minutes to finish, thanks. Um the next thing that they wanted us to do was look at chip on print as a decision. Vivian Munroe: Oh right, okay, I'd that that's something I maybe should have covered. Um chip on print is just a manufacturing technique Alda Kenney: Oh. Vivian Munroe: um and I would certainly recommend it, I think, because I'm not sure I have an alternative. Alda Kenney: Okay. Vivian Munroe: I i it it's Alda Kenney: What Vivian Munroe: just Alda Kenney: about Vivian Munroe: the way Alda Kenney: the ca Vivian Munroe: that Alda Kenney: yeah. Vivian Munroe: the the the Alda Kenney: Oh, Vivian Munroe: uh Alda Kenney: the way we Vivian Munroe: th the way it's ac it's actually Alda Kenney: uh-huh. Vivian Munroe: built and you you print onto the circuit board like you might print onto paper. Alda Kenney: Oh, okay. Um what about the case? I think they're talking there about do we want wood, plastic, titanium or rubber, and I think we've discussed not having titanium. One, it's too expensive, um and second, it won't do this double um curves. Um we've sort of eliminated wood. We said plastic or rubber. What's the pleasure? Vivian Munroe: Well if if Sarah's keen on a spongy feel, the the rubber that we're talking about is the same as you have in those little stress balls, Michelle Cox: That's Vivian Munroe: so Michelle Cox: exactly Vivian Munroe: it's Michelle Cox: what I was thinking. Vivian Munroe: yeah. Michelle Cox: I'm sold. Alda Kenney: What about you? Louise Corley: Do you not think it might need like a kind of a hard plastic inner shell with the actual delicate workings inside, and then a Michelle Cox: Mm. Louise Corley: kind of spongy Michelle Cox: Kind of like an internal egg. Alda Kenney: Cover. Louise Corley: Yeah, s thick Alda Kenney: Uh-huh. Louise Corley: spongy cover, so it feels like the whole thing's spongy, but actually you're not damaging anything by Alda Kenney: Plastic inside. Louise Corley: squeezing it. Michelle Cox: Yeah. Louise Corley: Because Vivian Munroe: Yeah. Louise Corley: I mean you could just Vivian Munroe: I'd Louise Corley: get Vivian Munroe: I'd Louise Corley: carried Vivian Munroe: need Louise Corley: away Vivian Munroe: to talk Louise Corley: with Vivian Munroe: to manufacturing Louise Corley: the with the tac Vivian Munroe: again about whether that's actually possible, but I agree, it's uh sounds Louise Corley: Yeah. Vivian Munroe: like a nice Louise Corley: Well Vivian Munroe: idea if it Louise Corley: you Vivian Munroe: is. Louise Corley: do get a bit carried away with things that are tactile, you just wanna Alda Kenney: Hmm. Louise Corley: stroke them and squeeze Michelle Cox: And with sports Louise Corley: them, Alda Kenney: Okay. Louise Corley: and Michelle Cox: on television. You know. Alda Kenney: Um the Michelle Cox: I Alda Kenney: next Vivian Munroe: I Michelle Cox: su Vivian Munroe: should Alda Kenney: part Vivian Munroe: I should Alda Kenney: they want Vivian Munroe: r Alda Kenney: is the user interface concept. I'm sorry to push you, but we only have a couple minutes to finish with. Michelle Cox: Then I'll just say I support either from a marketing point of view I support either decision that the designers make on that. Alda Kenney: Okay, and it says interface. What type and what supplements? Louise Corley: Just copy the one on the left. No um a scroll Well, like four buttons, up, down, left and right with enter in the middle, that will correspond to a menu on the screen. Vivian Munroe: Which I think technically is just push button and uh I'd certainly support Louise Corley: Yeah, Vivian Munroe: that that Louise Corley: I'd Vivian Munroe: that Louise Corley: like Vivian Munroe: brings Louise Corley: push Vivian Munroe: the cost Louise Corley: buttons Vivian Munroe: down quite Louise Corley: with Vivian Munroe: a lot and it's something that we're an ex the company's an expert on. Louise Corley: So push buttons Alda Kenney: Okay, um that's that. Um this is gonna sound weird, but the next meeting starts in thirty minutes. Whew. And they actually want a look and feel design, user interface design, you can look and see this as well as I can. Marketing they want product Louise Corley: No, Alda Kenney: evaluation. Louise Corley: it's Michelle Cox: No Louise Corley: still Michelle Cox: we can't, actually. Louise Corley: it's still Alda Kenney: Oh. Louise Corley: plugged in on mine Alda Kenney: Oh Louise Corley: actually. Alda Kenney: my, I'm sorry. Michelle Cox: That's why I was looking over your shoulder Alda Kenney: Oh, okay. Sorry about that. missed that one. This ought to be fun trying to get this thing to work. Ah, ta-da. Louise Corley: Now it's gone again. Alda Kenney: Ah. Vivian Munroe: You know, I think the the company's s next project should to design a better overhead device that Alda Kenney: Yes, Vivian Munroe: switches immediately. Alda Kenney: because I can't even see mine. Next meeting starts in thirty minutes, Louise Corley: Oh yes. Alda Kenney: these are the individual actions. Yeah, right. Um Michelle Cox: Mm. Alda Kenney: the look and feel design is for Kate, uh Steph gets the user interface design, you get product evaluation. Um the two of you get to play with a Pla modelling clay Louise Corley: Great. Alda Kenney: um to do a prototype. Uh and everybody gets individual instructions in the usual way. Michelle Cox: Sounds good. Alda Kenney: Anything else we need to do? Louise Corley: I don't think so. Alda Kenney: Go to it. Louise Corley: Play-Doh. Alda Kenney: And that's the end of this meeting. That's for her benefit. Michelle Cox: That's really all I got, guys.

Alda Kenney opened the meeting and went over the minutes of the previous meeting. Michelle Cox presented findings from trend watching reports and discussed her personal preferences in how to incorporate the results of the trend watching reports into the appearance of the remote. The trend watching reports indicated that products need to reflect a fruit and vegetable theme, sponginess, fanciness, and technological innovation. The team then discussed their target group and whether to use titanium or a spongy material in their design. Vivian Munroe discussed options for energy sources, materials, case shapes, and interface components such as buttons and LCD screens. Louise Corley examined the interfaces of existing products and discussed using menus within an interface using push buttons which operate like a scroll wheel. The team then discussed and made decisions on what energy sources, chips, case materials, and buttons to use.

amisum

train

Mary Donaldson: Right uh. So um. So where's the PowerPoint presentation? Sorry? Microsoft PowerPoint, right. Right, okay. So. Right. Okay, so we've got uh so we've got new project requirements. Um. So basically we've got three things, and we've got forty minutes in which to uh for this meeting to uh to discuss the various options. Um. Three presentations. Betty Radford: We have a I guess we have a presentation each, 'cause I've got one. Um. Sheena Harding: Yeah. Jana Duchene: Yeah, I've got Mary Donaldson: I Jana Duchene: one Mary Donaldson: see, Jana Duchene: too. Mary Donaldson: right. That's nice to know, one from each of you. Um new project requirements. Um so do we want to do the presentation first, or do we want to um W I I got um or or three things basically, um relating to the remote being only for T_V_. We discussed that last time Betty Radford: Mm-hmm. Mary Donaldson: and in Jana Duchene: Mm-hmm. Mary Donaldson: actual fact that was pr pretty well what we came up with anyway. So in Jana Duchene: Mm-hmm Mary Donaldson: fact it actually f we won't be forestalled in a sense. Um we've got uh teletext outdated. Um did you get any information on that? Betty Radford: Uh we didn't, no. Sheena Harding: No. Mary Donaldson: Right Betty Radford: I d I didn't Mary Donaldson: and Betty Radford: personally. Mary Donaldson: the corporate Jana Duchene: Hmm. Mary Donaldson: image was the uh final thing. So I I got that in email form. Um. Right okay. So I guess if we go ahead with the uh with the three presentations. So we'll start with yourself Betty Radford: Okay Mary Donaldson: on Betty Radford: that's Mary Donaldson: the Betty Radford: fine. Mary Donaldson: basis that uh Betty Radford: I'll just um I'll grab the wire out the back of this one. Mary Donaldson: Sorry, yep. Mary Donaldson: Oh. Sheena Harding: What is it Betty Radford: I'm not quite Sheena Harding: I think Betty Radford: sure Sheena Harding: you've got Betty Radford: how Sheena Harding: to do Betty Radford: it Sheena Harding: um control F_ eight. Betty Radford: Control Doesn't seem to be quite working at the moment. Sheena Harding: Shift F_ eight. Betty Radford: Alt function F_ eight. Again not doing anything. Jana Duchene: There's usually a little thing in the top right for the Oh Betty Radford: Oh. Sheena Harding: Ah Jana Duchene: hang Sheena Harding: there, Jana Duchene: on, it's just Sheena Harding: it's doing Jana Duchene: coming Sheena Harding: something. Jana Duchene: on. Betty Radford: pressed about five times now. Betty Radford: Okay, that's Jana Duchene. Betty Radford: Okay, um I have to go again. Mary Donaldson: it going? Betty Radford: Hopefully that should be it this time. Betty Radford: Okay, I think we're there. That's good. Okay, um Okay I'm gonna be looking at the working design. Um of the of the remote control. Um I've just got three sections, first is the research I made on the on the remote control itself um. And then that involves the components required in it and the systems uh design of the actual the actual remote. Um so having researched the existing models within the market, um I found my research off the internet. Um I've established what the components required for the remote control to function, actually are. And then also the methods in which these components interact together for the remote to actually do what you want it to do and how it connects with the television. Um the basic components are an energy source which I guess um in most existing models would be a battery supply. Whether that'll be sort of two batteries, four batteries, um it may vary. We then have Mary Donaldson: Okay. Betty Radford: the user interface, which is basically the like the the buttons on the actual remote. Um the various functions used for changing channel, uh channel up and down, volume, things like that. Um there's also a chip inside the remote which does all the computer type things. And then the sender, which um is usually, I've found, an infra-red device which sends a signal to the actual television. Um and the last part is receiver which is important in the system but is not actually part of the remote itself, because that's obviously found in the television. Um I'm gonna have to actually draw on the board because uh it was a little tricky on PowerPoint to get this working, so. I'll just go through there. S um um do we have a cloth to wipe this down with, or? Oh Sheena Harding: I Betty Radford: I'll Sheena Harding: think Mary Donaldson: Uh Sheena Harding: it's Betty Radford: j Sheena Harding: that Mary Donaldson: there's Sheena Harding: little Mary Donaldson: the rubber on the right, Betty Radford: Oh I see. Mary Donaldson: I think. Betty Radford: Oh okay. I'll get rid Mary Donaldson: it's Betty Radford: of Mary Donaldson: magic. Betty Radford: the bear Okay that's great. Okay, so we start off with a um battery suppl Uh no, a power supply which we'd probably get it's probably gonna be the battery. Um we then have a particular button, which may be that's obviously there's lots and lots of different buttons. Um but this is how the basic system works. Um that sends after you press that that sends the message to the chip, which um then sends It sort of interprets which button you've pressed and then sends the appropriate message to the sender. Betty Radford: Um. So that's. That's the remote in itself, that's the components of the remote and how they work together. So this is the uh user interface. Um this is the chip itself, which then, and that's the that's the infra-red sender. And then on the separate thing we have on the on the television we have a a receiver. And the sender sends a message to the receiver. 'Kay. Mary Donaldson: So the the top bit's the power source, yes? Betty Radford: Ah yes, that's the power source. Um. going on to personal preferences, I've said that battery seems the best option for the actual remote, just because of the size. You don't want a a cable attached to the remote otherwise it's not it's not really a remote. Um and then the sender, and infra-red um has been used quite successfully. If the battery's on reasonable power, they always seem to work fairly well. You don't have to be point directly at the television itself. Mary Donaldson: So the Betty Radford: Um Mary Donaldson: battery is the in the sender. Betty Radford: Yes. 'Kay and that's it for the moment. Jana Duchene: Okay. Mary Donaldson: Okay. So, now more design. Sheena Harding: Right. Thank you. Mine's not quite as complicated as all that. Mary Donaldson: That's what we like to hear. Sheena Harding: Did I press function? Yeah. Mary Donaldson: Is it control function Sheena Harding: Oh. Mary Donaldson: ei Oh, th Sheena Harding: Um. Mary Donaldson: there you Sheena Harding: Okay Mary Donaldson: go. Sheena Harding: so I'm gonna talk a bit about the technical functions design. I'm Louisa, Sheena Harding, as you know. Um so the m is to send signal the to the television set, so that a desired function is performed. Um an example of the function could be to change the volume up or down, uh so obviously you need two different buttons for that. Um to change the channel, either by pressing the number that you want or by channel up or down. Um to switch the television on or off, maybe a standby button. Um here are two example remotes. Um by the look of it they both have um kind of play and fast forward, rewind functions, so I think they incorporate a kind of video function which we won't have to worry about. Uh but as you can see, the left remote is quite um quite busy looking, quite complicated. Um whereas the right remote is much simpler, it looks much more user friendly. Um so my personal preference would be the right remote. So, it's got nice big buttons, it's got a very limited number of buttons. Um they're nice, kinda clearly labelled. Um I like the use of the kind of um symbols like the triangles and the squares and the arrows as well as the words on the um kind of play functions and all that. So it's very very user friendly, and it's got a little splash of colour. Could maybe do with some more colour. Um. Mary Donaldson: Well there's a couple of things there. Um we have to remember that we have our own um logo and colour scheme. So basically we'd have to uh we'd have to be putting that on um the the product. Sheena Harding: Hmm. Do we get to see that? Will you be presenting Mary Donaldson: I haven't Sheena Harding: that in a bit? Mary Donaldson: as yet, no. But uh I got uh I got an email that basically said to uh make sure that uh whatever device we come up with at the end of the day had to incorporate um the corporate colour and slogan. So uh I'm guessing that uh uh I notice on the bottom there it's got uh what's that? A_P_O_G_E_E_ that might be the corporate colour scheme, although the only the only colour I can see in that is the red. Sheena Harding: Hmm. Betty Radford: Would you be able to get rid of the the extra buttons here, the the sort of circular section, because that seems to be for a video as well. So we could dispense with that little bit as well and just get it down to just the numbers and the volume. Sheena Harding: What Betty Radford: Possibly? Sheena Harding: do you mean by the circular section? Like Betty Radford: J Sheena Harding: all Betty Radford: yeah Sheena Harding: of Betty Radford: yeah Sheena Harding: that Betty Radford: yeah Sheena Harding: bottom Betty Radford: j Sheena Harding: bit? Betty Radford: yeah just this little bit is that I think that's still um a video Sheena Harding: Yeah. Betty Radford: remote part, so maybe we could get rid of that as well. Sheena Harding: Yeah. And I don't really Mary Donaldson: Well Sheena Harding: think that Mary Donaldson: b uh Sheena Harding: you need Mary Donaldson: w Sheena Harding: nine numbers. I mean how often do you use seven, eight and nine? I think just one to six and then channel up and down should be enough. Mary Donaldson: Well Sheena Harding: Like Mary Donaldson: th Sheena Harding: how Mary Donaldson: the Sheena Harding: often do Mary Donaldson: on Sheena Harding: you hit Mary Donaldson: the Sheena Harding: nine? Jana Duchene: Mm-hmm. Mary Donaldson: Well uh for for general television purposes obviously you have channels one to five at this point in time, and we'd have to have some room for uh future such channels. Betty Radford: It's Mary Donaldson: But Betty Radford: just people are used to seeing Mary Donaldson: but Betty Radford: that, so if we didn't have them then Mary Donaldson: But, Betty Radford: they might think it's Mary Donaldson: well possibly but the the other thing is that with um the current expansion of uh channels uh in the process of taking place, certainly the button up and down, but uh I mean how many channels do we have to um actual television channels do we have to uh prepare for? I would have thought that uh it's forever expanding and at the moment we've got although you've onl you've got the five standard, you've got the B_B_C_ have come up with a further six and uh there's uh Jana Duchene: Mm-hmm. Mary Donaldson: I don't know exactly how many channels there are on uh when you take into account uh Sky and various Betty Radford: Hmm. Mary Donaldson: other um various others. So Sheena Harding: Hmm. Mary Donaldson: I would've thought that we wouldn't, you know, rather Okay, if the time of flicking from one to other, but presumably it'll take a second 'cause you have to be able to stop it. Maybe you could have a fast forward on the on the channels that w and then you could dispense with more otherwise. Y you'd want you'd want to get fairly quickly to the channel that you wanted. Sheena Harding: Um some remotes have kind of favourite options where if you always flick from channel one to channel six, um if that's a favourite you just like by-pass Mary Donaldson: Mm-hmm. Sheena Harding: two to five. Mary Donaldson: Yeah, I s I suppose in a sense you could have um if you've got a hundred channels then if you had sort of an easy way of getting rather than having to go one to a hundred, you could go one to one to ten, ten Sheena Harding: Hmm. Mary Donaldson: to twenty and then have a second button to get Jana Duchene: Mm-hmm. Mary Donaldson: you to the actual channel you want and that would cut down your time. Sheena Harding: Mm. Um. Mary Donaldson: Anyway. Sheena Harding: But I think a lot of um like Cable and Sky and stuff, that would be tuned to one channel, and then you'd have another remote for all of those channels. Like Betty Radford: Okay, Sheena Harding: to get to Betty Radford: yeah. Sheena Harding: fifty five and the higher numbers Mary Donaldson: Whatever. Sheena Harding: Yeah. Mary Donaldson: Okay. Okay. Limit the number of buttons, user friendly. Sheena Harding: But I suppose nine's not really excessive. Betty Radford: I suppose Sheena Harding: I Betty Radford: with Sheena Harding: suppose Betty Radford: nine Sheena Harding: it does Betty Radford: you've Sheena Harding: make Betty Radford: got Sheena Harding: a Betty Radford: the Sheena Harding: good Betty Radford: the Sheena Harding: pattern. Betty Radford: like the last one which makes the tenth means you uh it's like uh multiples you can put them together so you can make any number. So with that we'd kind of by-pass Mary Donaldson: Yeah. Betty Radford: any problems with Mary Donaldson: Well that's true, yeah, you Betty Radford: Yeah. Mary Donaldson: could get fifty by five and a zero or whatever, Betty Radford: Yeah. Mary Donaldson: that that makes sense. Betty Radford: 'Cause that facilitates having all the numbers you could ever need. Mary Donaldson: Yeah. Betty Radford: Um. Jana Duchene: Mm-hmm. Mary Donaldson: Does. Sheena Harding: Okay. Mary Donaldson: So w so what was the circular thing that you were Sheena Harding: Um I think that's just for a video, so we wouldn't need any of that at all. Betty Radford: So we could get it Mary Donaldson: If Betty Radford: down Mary Donaldson: it's Betty Radford: to Mary Donaldson: just Betty Radford: what? Mary Donaldson: for T_V_, which is what it is at the moment. Sheena Harding: Mm-hmm. Betty Radford: So we get to How many buttons have we got? We've just got ten, eleven twelve th I guess. Jana Duchene: Mm-hmm. Betty Radford: Um which isn't really too many. That'll be quite easy to make a user guide for a fourteen Mary Donaldson: Mm-hmm. Betty Radford: button remote. Mary Donaldson: Well we've we've got um that it's remote for T_V_ only otherwise project would become too complex with uh which would endanger the time to market Betty Radford: 'Kay. Mary Donaldson: was one of the considerations. I'm I don't know Jana Duchene: Mm-hmm. Mary Donaldson: d did you have that information behind the marketing, or was Jana Duchene: Um Mary Donaldson: I meant to give you that information? Jana Duchene: I'm not sure. I had I've had some market information, but Mary Donaldson: Right. Jana Duchene: not from the company, no. Mary Donaldson: Right, okay, so basically time to market seems to be important, therefore Betty Radford: 'Kay. Mary Donaldson: speed of delivery. We've only got about another four hours left. Sheena Harding: Okay, so is everyone happy with that? Betty Radford: Ah yes yes, Jana Duchene: Okay. Betty Radford: that seems good. Sheena Harding: Right well that's the end of my presentation. Jana Duchene: 'Kay. I'm gonna pull this off. Betty Radford: I think if you just give it a second to Mary Donaldson: Yeah, Betty Radford: maybe Mary Donaldson: I think Betty Radford: catch Mary Donaldson: she said twenty Betty Radford: up. Mary Donaldson: seconds to um Jana Duchene: Uh-huh. Okay. Betty Radford: I'm sure we'll have by the end of today. Jana Duchene: I'll give it another go. Jana Duchene: there. Right, we've done some research into the functional requirements that people want out of their remote control. And first off we should state that th the remote control's for controlling the T_V_ and um how do people use it? We asked them sort of which buttons were useful for them. Um how d how does a remote control look and feel for them, and what improvements would would they like to remote control. And we did that by sort of giving them a questionnaire that we'd prepared and asking them to fill in the answers. And three quarters of them found that remote controls are ugly and that a sort of even higher proportion would spend more for a sort of s uh a fancier remote control And that of all the buttons on the remote control, the sort of setting buttons for sort of the picture picture and brightness and the audio settings, um they weren't used very often at all. People concentrated on the channel buttons and the volume buttons and the power buttons. Uh we also asked them about speech recognition uh for remote control. And young people were quite receptive to this, but as soon as we got sort of over about into a thirty five to forty age forty five age group and older, people people weren't quite so keen on speech recognition. There's a lot more th there's a lot lot more older people who didn't know whether they wanted it or not as well. Um we also asked what frustrated people about remote controls and the number one frustration was that the remote was lost somewhere else in the room and that they couldn't find it. And the second second biggest frustration what that if they got a new remote control, it was difficult to learn um all the buttons and all the functions, and to find your way around it. Okay, so My personal preferences from the marketing is that we need to come up with some sort of sleek sort of good looking high high-tech A design which looks high-tech, basically. Um and that we should come up with fewer buttons than most of the controls on the market, and we should sort of concentrate on the channels and sort of power, and also volume and that sort of thing, as as Louisa said. Um we could maybe come up with a menu, a sort of a an L_C_D_ menu for other functions on the remote control. That's worth thinking about. Um and maybe we could think about speech recognition as well, because um sort of young people are perhaps the ones that are gonna buy buy our new product if we aim it at sort of you know sort of a high-tech design. That that might be the market that we're we're looking for. And we could maybe think about using speech recogniti recognition as a way to find the remote control if it's lost in a room, rather than sort of um having it to speech recognition to change the channels. 'Cause there's a problem with that in that the television makes noise, so it could end up talking to itself and changing its channel. Betty Radford: Mm. Jana Duchene: Okay um, and that's the end of the slide show. That's it. Cool. Sheena Harding: Do Mary Donaldson: What was Sheena Harding: a Mary Donaldson: that Sheena Harding: lot Mary Donaldson: last Sheena Harding: of um Mary Donaldson: wee bit there? Jana Duchene: Um about Mary Donaldson: Speech Jana Duchene: speech Mary Donaldson: recognition, Jana Duchene: recognition? Yeah. Mary Donaldson: But that was only for young people that preferred it, older people didn't. Jana Duchene: Youn young people pref Yeah, they s they said that they'd be interested in a remote control which offered that possibility and as you go up through the age groups, people got less and less interested in sort of a a remote control that you could talk to, so. Betty Radford: No what I maybe think is um it seems the technology would be quite advanced for that and they might end up costing more than our twelve fifty budget for Jana Duchene: Yeah. Mary Donaldson: Well that's Betty Radford: for Mary Donaldson: right. Betty Radford: the speech Jana Duchene: Yeah. Betty Radford: recognition. Jana Duchene: Yeah. Betty Radford: Um. And possibly the thing about the about the remote being lost we could have You know with your mobile phone, you lose that and you can ring it. Maybe we can have some kind of sensor which is kept somewhere where you can some kind of buzzer system between the two. Jana Duchene: Yeah. Betty Radford: So you can press a button which is always kept in one place and then it Jana Duchene: Uh-huh. Betty Radford: maybe buzzes to Jana Duchene: Yeah. Betty Radford: somewhere else, wherever the remote actually is. Jana Duchene: Yeah, we'd have t that would mean we'd have to put two products together as well, which Betty Radford: That is true, yes. Jana Duchene: which again would probably be a bit expensive, Betty Radford: Hmm. Jana Duchene: but Sheena Harding: There's key rings um that you kind of whistle at or clap at, I can't remember, Jana Duchene: Yeah. Sheena Harding: and then they whistle back, or something like that. Mary Donaldson: Sounds Jana Duchene: Yeah. Sheena Harding: That'd Mary Donaldson: reasonable. Sheena Harding: probably be really simple, they're cheap. Jana Duchene: Mm-hmm. Mary Donaldson: Yeah. Betty Radford: So I guess it'd be something we could Mary Donaldson: So Betty Radford: like attach to the or like the same technology could be put inside the Mary Donaldson: Well Betty Radford: inside Mary Donaldson: if Betty Radford: the remote. Mary Donaldson: you're trying to avoid having a second product 'cause obviously you could have a second product that gave you the right pitch which would set the remote off to say here I am sort of thing, you know without sound recognition. But if you I know. Um I was gonna say a sharp noise, you know a clapping of hand or whatever. You'd want to try and av just have the one product that Betty Radford: Yeah. Mary Donaldson: if Betty Radford: Yeah if we if we Jana Duchene: Mm-hmm. Betty Radford: could have it in the actual remote like everything in one Jana Duchene: Yeah. Betty Radford: one device. Mary Donaldson: Yeah. Um I dunno um talking about vo I mean obviously if you've got voice recognition then you can do it in that way because it'll recognise the voice and you can give it a command, a set command whatever that happened to be. Jana Duchene: Yeah. Mary Donaldson: But you've then got the point if if you're not going with uh voice recognition then Jana Duchene: Mm-hmm. Betty Radford: you could have an option to turn it off. Or Perhaps, um. Jana Duchene: Yeah. Betty Radford: So that would solve the problems with the T_V_ kind of speaking to the remote and changing its own channels. Mary Donaldson: Mm. So uh Any sugges Well, any conclusions? Jana Duchene: Um would it take quite a while to sort of develop the speech recognition software in the remote control? Betty Radford: Mm. Jana Duchene: Considering Mary Donaldson: Well if it does then we can't. Jana Duchene: Yeah. Mary Donaldson: It's that simple, because we've got uh th th three um primary um uh requisites from uh from and email uh that was sent to Jana Duchene whereby we had The design logo was one, which we've already mentioned. We've got um the remote was only for the television and not for because that would make it too complex and we have to get it market quickly. Jana Duchene: Mm-hmm. Mary Donaldson: And the uh third thing was that um teletext uh as far as uh the management is concerned, um is becoming dated uh due to the popularity of the internet. Jana Duchene: Okay. Mary Donaldson: So Betty Radford: 'Kay. Mary Donaldson: that means that uh so these are the sort of three um extra parameters that have been put on this uh project. Jana Duchene: Mm-hmm. Mary Donaldson: So we're being focused effectively directly at a television and Betty Radford: Yes. Mary Donaldson: it seems to Jana Duchene that the management is uh wanting us to go down a narrow path and not opening out. So anything that uh is to be added, such as voice recognition et cetera Betty Radford: Has to be simple Mary Donaldson: has Betty Radford: enough to Mary Donaldson: to be very simple and has to be very quick because time to market is is critical. Jana Duchene: Mm-hmm. Mary Donaldson: S Betty Radford: I suppose if we could get something in which was quite quick and simple that would give us an advantage over the other remotes. Mary Donaldson: It would. Betty Radford: Um. Mary Donaldson: But probably quick and simple is primary rather than Betty Radford: 'Kay. Mary Donaldson: added extras. Added extras would be nice, but the primary consideration is to get the project finished within uh this short time window, Jana Duchene: Mm-hmm. Mary Donaldson: which effectively now is sort of four hours. So and if and we've gotta get to the end. Uh d d I think I think first and foremost we've gotta get to the end and then get to the end with um added extras if possible. Betty Radford: Mm-hmm. Jana Duchene: Mm-hmm. Mary Donaldson: Okay. Jana Duchene: So Mary Donaldson: Right okay, uh so I need to Right. So I don't know how long we have left of our uh time. But we have to Jana Duchene: About Mary Donaldson: make Jana Duchene: five Mary Donaldson: the decisions Jana Duchene: minutes. Mary Donaldson: on uh the remote control functions and how we were planning to proceed so that at the next uh meeting each person that's got a a a task to do is clear Betty Radford: Yes. Mary Donaldson: from this meeting what that task is. Jana Duchene: Mm-hmm. Betty Radford: Um. Mary Donaldson: We'll also know w when the next meeting is I um so we'll know how long we've got to complete that task. And then we can report back at the next meeting and say right okay yes, we've achieved this or we haven't achieved this, this is how far we've progressed. Does Jana Duchene: Mm-hmm. Mary Donaldson: that make reasonable sense? Betty Radford: Yes that Sheena Harding: Yeah. Betty Radford: seems Jana Duchene: Okay, Betty Radford: right. Jana Duchene: yeah. Mary Donaldson: So we have to come effectively to the decision on the remote functions so that you can decide what you're gonna be doing. And if dur between the time of this meeting finishing and the next meeting starting, if you get any additional information that uh only you have at Betty Radford: Mm-hmm. Mary Donaldson: that point in time you'd think would be relevant to other people in terms of their des decision making um process, then we should communicate that as quickly as possible Jana Duchene: Mm-hmm. Mary Donaldson: and not wait until the next meeting. Do it via Jana Duchene: Okay. Mary Donaldson: the email Jana Duchene: Yep. Mary Donaldson: so that rather than coming you know If you get the information just before the next meeting that's fine. Come along with it in the next meeting, we can discuss it then and Betty Radford: Okay. Mary Donaldson: take whatever action is appropriate. But if you get it well before the next meeting, let everybody else know 'cause that might have an impact on their uh Jana Duchene: Yeah. Mary Donaldson: on what they come up with effectively at the next meeting. Okay. Jana Duchene: Mm-hmm. Mary Donaldson: Right, is there Jana Duchene: So do we need to decide on the functions now? S Mary Donaldson: I would guess so. Sheena Harding: Well I think it'd be really easy and it'd be a big advantage if we did have some sort of um kind of whistle back Jana Duchene: Mm-hmm. Sheena Harding: kind of function. Jana Duchene: Yeah and Sheena Harding: 'Cause that'll solve kind of the frustration of losing it. Jana Duchene: Yeah and that was that was the number one sort of frustration Mary Donaldson: Yep. Jana Duchene: that people said, so. I don't think there's anything else on the market that does that, so. Sheena Harding: Yeah. I don't really know about the voice recognition thing. Mary Donaldson: I w well uh i Betty Radford: Maybe we should concentrate just on the whistle back function Mary Donaldson: Something Betty Radford: at the moment, Mary Donaldson: simple. Betty Radford: and if something Mary Donaldson: Uh if Betty Radford: comes Mary Donaldson: if Betty Radford: back Mary Donaldson: our primary consideration is to get it there in time, time's short, you want something to meet the major concerns of the consumer Sheena Harding: Mm-hmm. Mary Donaldson: so that we can have Jana Duchene: Mm-hmm. Mary Donaldson: that as a selling point for the product, something that's quick and simple. Sheena Harding: Yeah. Mary Donaldson: So, Sheena Harding: And that Mary Donaldson: sounds Sheena Harding: wouldn't put Mary Donaldson: good. Sheena Harding: off the kind of older generation either, 'cause everyone can whistle or clap, and they wouldn't have to be kind of scared of this new technology. Mary Donaldson: Well, so maybe Jana Duchene: Mm-hmm. Mary Donaldson: a clap rather than a whistle would be On the basis that if we've got if we're catering to the whole age range, you want something that's easy to do, now something that doesn't Jana Duchene: No Mary Donaldson: like Jana Duchene: not Mary Donaldson: whis Jana Duchene: everyone Mary Donaldson: uh Jana Duchene: can whistle, can Mary Donaldson: Well Jana Duchene: they, though? Mary Donaldson: I I I don't know. Well If you think that more people can whistle than clap then that's fine, then go for that option, but if I would Jana Duchene: No, Mary Donaldson: have Jana Duchene: clapping, Betty Radford: I'd Mary Donaldson: thought Betty Radford: go Mary Donaldson: that Betty Radford: more Mary Donaldson: more people Jana Duchene: I Betty Radford: Yeah, Jana Duchene: think clapping, Betty Radford: f more Mary Donaldson: could Betty Radford: for Jana Duchene: yeah. Betty Radford: clap. Mary Donaldson: clap rather than whistle, Jana Duchene: Yeah. Mary Donaldson: so uh so clap option. Jana Duchene: Yeah. Mary Donaldson: Okay. Sheena Harding: 'Kay we've already decided that we don't need a teletext button, haven't we? Mary Donaldson: Uh. Sheena Harding: Is that one Mary Donaldson: Ef Sheena Harding: of Mary Donaldson: effectively Sheena Harding: the Mary Donaldson: that's what the that's what they're saying, that uh Sheena Harding: Hmm. Mary Donaldson: if uh if people are now using the internet then you don't need teletext, so Jana Duchene: Taking out teletext, Mary Donaldson: so Jana Duchene: okay. Mary Donaldson: take out teletext. Betty Radford: Did we decide Sheena Harding: Right. Betty Radford: on having the ten um the ten numbers and then the Sheena Harding: Yeah, I think so, Betty Radford: the Sheena Harding: so Betty Radford: little Sheena Harding: zero Betty Radford: digit Sheena Harding: to Betty Radford: next Sheena Harding: nine. Betty Radford: to it which kind of Jana Duchene: Mm. Betty Radford: enabled you to put them together. Jana Duchene: I think nowadays you can just get ones where it gives you a sort of a second or two to press another number, Mary Donaldson: Yeah. Jana Duchene: so you can press any two and it'll sort of put them together. Betty Radford: Okay, ten numbers and then some kind of device to allow uh Jana Duchene: Yeah. Betty Radford: I'll put delay to allow um Jana Duchene: Yeah. Betty Radford: multiple numbers. Or multiple digits. Jana Duchene: Yeah. Betty Radford: Did we decide anything about um the other functions? As in setting the audio and tuning it and stuff like that? You had an had an idea about the menu? Jana Duchene: Uh we could possibly put an L_ a sort of a L_C_D_ menu in, but that again is probably an expense that Betty Radford: But just thinking um people probably I mean you don't have you only have to probably tune in the T_V_ once, but you have to be able to tune it that once. Jana Duchene: Yeah. Betty Radford: So and if finally the T_V_ breaks, you get a new one, you're gonna have to be able to tune it. You can't really avoid Jana Duchene: Mm-hmm. Betty Radford: that. Sheena Harding: Hmm. Mary Donaldson: No. Betty Radford: Except the new digital markets which do it by themselves. Jana Duchene: Yeah. Betty Radford: So that'll Mary Donaldson: But Betty Radford: be in Mary Donaldson: the but that's relying on the television market changing Betty Radford: Yes. Mary Donaldson: to an automatic and if it is at the moment, that's fine. But at the moment it's not, so it seems to Jana Duchene that you have to have a device that caters, 'cause Betty Radford: Yeah. Mary Donaldson: otherwise it would make it uh your device would become inoperable, Betty Radford: Yeah. Mary Donaldson: or only operable in certain circumstances Betty Radford: Yeah Mary Donaldson: and Betty Radford: yeah. Sheena Harding: Mm. Mary Donaldson: the idea is to have an international market which is Jana Duchene: Yeah. Mary Donaldson: And it's also m it's the the product we've got is something that's at the I would have said the lower end of the s of the cost scale, so Jana Duchene: Yeah. Mary Donaldson: we're not really going for something that's uh Jana Duchene: I s I suppose Mary Donaldson: terribly Jana Duchene: um Mary Donaldson: high-tech. Jana Duchene: if people are buying remotes, then they're probably buying it to replace another remote Mary Donaldson: Possibly. Jana Duchene: 'cause all most tellies come with remotes, so. I Mary Donaldson: That's right. Jana Duchene: mean we're maybe talking about replacing remotes for slightly older televisions, so we maybe need to keep the the tuning function in. Betty Radford: Yeah. Sheena Harding: Yeah. Betty Radford: So how would this menu function work? Would you maybe have like one menu button, then you'd use the other buttons, maybe the number buttons to actually do the separate functions. Jana Duchene: Yeah, Sheena Harding: Yeah, Jana Duchene: that would be Sheena Harding: like Jana Duchene: a good Sheena Harding: the volume Jana Duchene: idea, Sheena Harding: or something. Jana Duchene: yeah. Betty Radford: Okay. Sheena Harding: Yeah, 'cause you do need um kind of brightness and contrast and everything as well. My dad Jana Duchene: Mm-hmm. Sheena Harding: was watching a film the other week and it was too dark, so I had to go through it and turn the brightness up. Betty Radford: we're Jana Duchene: Hmm. Betty Radford: gonna have the the individual numbers and then a menu function and maybe sort of a slightly more advanced um instruction booklet to come with it, to guide Presu uh I think it'd be quite hard just for people to grasp um just off like the menu use different buttons you maybe have to have like some better instructions of how Jana Duchene: Uh Betty Radford: that would actually work. Jana Duchene: I'm not sure whether the sort of having people have a booklet 'cause one the second most annoying thing that people found was having to learn the new one. Betty Radford: Right, okay Jana Duchene: So Betty Radford: um. Jana Duchene: maybe next to each of the buttons, you know each of them could have a number and then also a function written next to it, so you're basically pressing Betty Radford: that also goes back to the original design when we saw those two, and there was the one on the left hand side which had all like the double functions and stuff which kind of looked too busy and had Jana Duchene: Right. Betty Radford: too much on it, so. Jana Duchene: Okay. Sheena Harding: Well, Mary Donaldson: Okay, Sheena Harding: if we're Mary Donaldson: well. Sheena Harding: trying to keep it slee sleek and sexy as well, have you seen those Mary Donaldson: Mm. Sheena Harding: remotes where kind of um the bottom bit slides down, so there's Jana Duchene: Yeah. Sheena Harding: kind of um everything Mary Donaldson: So y Sheena Harding: else revealed? So you don't Mary Donaldson: Ah Sheena Harding: use it that much, you don't have to see it all the time. Mary Donaldson: That's a very Sheena Harding: But Mary Donaldson: good Sheena Harding: it's Mary Donaldson: idea. Sheena Harding: all there Betty Radford: That Sheena Harding: if you Betty Radford: is Sheena Harding: need Jana Duchene: Yeah, Betty Radford: that is Sheena Harding: it. Betty Radford: a good idea actually. Jana Duchene: yeah. Betty Radford: Sor sort of a second. Mary Donaldson: So you keep um Sheena Harding: Like a hidden panel. Mary Donaldson: Right we've got five minutes before we wind up this meeting, so I've been told. Betty Radford: Okay. Mary Donaldson: I don't know if you've got the same. Betty Radford: Uh not quite, but Mary Donaldson: Okay. Betty Radford: I guess. Mary Donaldson: So so keep um Betty Radford: Keep the other buttons but hide them away. Mary Donaldson: keep detailed functions um hidden at the back. Sheena Harding: Hmm. And that'll be better for the older generation as well 'cause, well my dad doesn't like Mary Donaldson: Ah. Sheena Harding: anything that you've got to kinda flick through a menu, Jana Duchene: Mm-hmm. Sheena Harding: but he can pretty much read a button Mary Donaldson: Mm-hmm. Betty Radford: So Jana Duchene: Yeah. Sheena Harding: if it's displayed properly. Betty Radford: So um we're gonna have to have to work out what's gonna be on these other functions as as well. So we're Jana Duchene: Yeah. Betty Radford: gonna have like two separate Mary Donaldson: That's right. Betty Radford: two separate lists, I guess. Jana Duchene: Yeah. Mary Donaldson: data functions hidden at back. Jana Duchene: So th the Mary Donaldson: Can bring out when needed. Jana Duchene: The detailed ones would be sort of brightness, Sheena Harding: Yeah. Jana Duchene: uh sorta Mary Donaldson: That's right so we're dis So you've got which ones are gonna be on the front and which ones are gonna be on the back. Betty Radford: So Mary Donaldson: We Betty Radford: sh Mary Donaldson: have to decide. Betty Radford: Should we decide Jana Duchene: Mm-hmm. Betty Radford: in the next couple of minutes, and then Jana Duchene: Yeah. Mary Donaldson: I guess so. Betty Radford: So on the Mary Donaldson: So on front, Betty Radford: about the number. Mary Donaldson: numbers, Betty Radford: Um Sheena Harding: And the volume? Betty Radford: the volume up and down. Mary Donaldson: volume. Betty Radford: Shall Sheena Harding: Um. Betty Radford: we have a mute button as well? Mary Donaldson: Sorry? Betty Radford: A mute button as well. Sheena Harding: Yeah. Mary Donaldson: Mm. Betty Radford: Yeah. Sheena Harding: Yeah Betty Radford: Or Sheena Harding: I think they're handy. Jana Duchene: Mm-hmm. And probably a power one as well. Dunno. Sheena Harding: Have you seen the adverts? Like if you Jana Duchene: Mm-hmm. Sheena Harding: boil the kettle that's full that's a waste. Jana Duchene: Yeah. Mary Donaldson: Mm-hmm. Sheena Harding: If you leave your telly on standby it powers Blackpool for a certain amount of time. Like we should maybe try to discourage people from standby. Betty Radford: But then they might not buy it if they haven't got one. 'Cause Jana Duchene: Yeah. Betty Radford: people might Sheena Harding: Yeah, Betty Radford: just Sheena Harding: it's Betty Radford: be too Sheena Harding: maybe Betty Radford: fickle Sheena Harding: too much Betty Radford: and Sheena Harding: of Betty Radford: not Sheena Harding: a big Betty Radford: want to Sheena Harding: issue Betty Radford: change. Sheena Harding: for here. Jana Duchene: Yeah. Betty Radford: We can send out a flier with the device Mary Donaldson: So Betty Radford: saying that you shouldn't Mary Donaldson: so are Betty Radford: leave Sheena Harding: Uh-oh Mary Donaldson: you having Betty Radford: it on Sheena Harding: danger Betty Radford: stand-by. Mary Donaldson: the stand-by Sheena Harding: sign. Mary Donaldson: on the front, then? Betty Radford: I think you probably should. Sheena Harding: Yeah, but a little bit smaller. Compromise. Mary Donaldson: Well. Jana Duchene: Okay. Betty Radford: Um are we gonna have the channel up and down as well as the number buttons? Jana Duchene: Um 'cause yeah the market research said there is quite a lot of people do just zap around Betty Radford: Okay, Jana Duchene: and flick, Betty Radford: so we'll Jana Duchene: so. Betty Radford: have um Sheena Harding: Right. Betty Radford: So we've got ten eleven twelve thirteen fourteen fifteen sixteen there? Jana Duchene: Um. Mary Donaldson: Channel up and down. What else have we got? What was that, sixteen? Jana Duchene: Numbers is ten, volume is twelve, th Mary Donaldson: Volume button. Jana Duchene: Yeah Mary Donaldson: How many Jana Duchene: si Mary Donaldson: volumes? Jana Duchene: One up, one down. Mary Donaldson: Right okay. Sheena Harding: On mute. Jana Duchene: And a mute, yeah. That's sixteen isn't it, yeah. Betty Radford: Is there anything else? Um. Jana Duchene: I don't think so, no. Mary Donaldson: Power button, stand-by, channel, up and down. So is that it? Sheena Harding: so. Mary Donaldson: Okay. That's sixteen buttons, you reckon. And then at the back? Jana Duchene: You've got brightness and contrast. Betty Radford: Maybe Sheena Harding: And then Betty Radford: if we're gonna run out of time, one of us should come up with a list of these and then get back at the next meeting just at the start and say what they're gonna be. Mary Donaldson: Okay. Jana Duchene: Yeah. Mary Donaldson: So Sheena Harding: Mm-hmm. Mary Donaldson: on the back it'll have brightness, contrast, anything else? Sheena Harding: Uh Mary Donaldson: You're Sheena Harding: there's Mary Donaldson: also Sheena Harding: audio Mary Donaldson: gonna have Sheena Harding: functions. Mary Donaldson: the channel tuner, as it were. Jana Duchene: Yeah. Betty Radford: So tuner up and down, I guess. Sheena Harding: Yeah. Mary Donaldson: Tuner, would that have up and down? Betty Radford: Um up Sheena Harding: I think they normally Betty Radford: Tune one Sheena Harding: do. Betty Radford: way, tune Mary Donaldson: okay. Betty Radford: the o I I dunno I Jana Duchene: Yeah. Betty Radford: dunno possibly. Sheena Harding: Yeah. Mary Donaldson: Okay. Jana Duchene: And then maybe sort of an enter button for sort of s you know, saying that you want that particular thing tuned in. So you go up and down and then it pick Betty Radford: Oh yeah Jana Duchene: it Betty Radford: and Jana Duchene: finds Betty Radford: th and a Jana Duchene: something Betty Radford: enter Jana Duchene: and Betty Radford: button Jana Duchene: then you Betty Radford: just Jana Duchene: wanna Betty Radford: to Jana Duchene: press Betty Radford: select. Yeah, Jana Duchene: enter Betty Radford: okay. Jana Duchene: to select it, yeah. Betty Radford: Um I guess we're keeping s it simple. We don't really need any other audio funct uh functions because it's just volume up, volume Mary Donaldson: Um Betty Radford: down. Mary Donaldson: up volume, yeah, I would have thought so. Betty Radford: Um. Jana Duchene: Yeah. Sheena Harding: So I think um there's quite a lot of like Dolby surround studio, surround sort of things. Jana Duchene: Yeah. Mary Donaldson: Okay. Betty Radford: Do Sheena Harding: Um Betty Radford: they have their Sheena Harding: maybe Betty Radford: own Sheena Harding: for the younger market. Betty Radford: do they have their own controls on their actual products, then, or do you have to do it via the remote? Sheena Harding: Um I think they've got their own controls in this kind of like hidden panel. Betty Radford: Yeah I suppose if we've got their if they've got their own controls then we can avoid it for ours Mary Donaldson: Yeah. Betty Radford: just to keep it simple. Mary Donaldson: Yeah. Sheena Harding: Oh no, I mean um like there's kind of individual buttons for them, Betty Radford: Oh, okay. Sheena Harding: like on the T_V_ remote. Betty Radford: Right. Jana Duchene: Mm-hmm. Sheena Harding: But I don't really know what they're for, I've never used them. Betty Radford: Um. Sheena Harding: I just know they're something to do with Betty Radford: Maybe unless something Sheena Harding: Dolby. Betty Radford: comes up then we should I Mary Donaldson: Well Betty Radford: think Mary Donaldson: you might get some research. Betty Radford: Well shall we look into that and just get back together. Mary Donaldson: Okay. Jana Duchene: Okay. Sheena Harding: Right. Mary Donaldson: Right Jana Duchene: Right. Mary Donaldson: so I'll do the minutes of uh this meeting. And we'll meet back at I'm not sure. Um forty minutes, I believe is the time. Betty Radford: 'Kay. Jana Duchene: Okay. Mary Donaldson: Come on.

Mary Donaldson gave the group new requirements on product features. Betty Radford gave a presentation on the working design of the device. He presented all the necessary internal components and how they operate together. He gave his preferences on energy sources and senders. Sheena Harding presented the necessary functions of the remote, then compared the interfaces of two existing remotes. The group discussed making their remote more user-friendly; they proposed eliminating rarely-used buttons and making it easier to skip through channels. Jana Duchene discussed user requirements with the group and showed that users wanted a fancier, less complicated remote that would not be easily lost. He suggested incorporating a menu and an LCD screen to satisfy these requirements. The group discussed how to incorporate a locator function. Mary Donaldson reminded the group to limit the number of complicated features due to the project's time constraints. The group had a discussion to decide on product features. They decided to include a clapping locator function and a device that allows the user to enter two numbers separately to get a two-digit number. Complicated functions will be hidden in a back panel.

amisum

train

Audra Doe: Okay. Audra Doe: Right. Conceptual design meeting. Right. so Right well um from the last meeting I was trying to send you the minutes, but uh it didn't work out too well, so maybe in sort of um quick summary of the last uh meeting, I can quickly give you what we what we had. Uh right, so Wishing I hadn't closed the damn Right so we had the fact we're gonna have the the logo uh the company its uh colour incorporated the device the remote device We had uh made our decisions about uh made our decisions about uh the device itself, that it was gonna be simple to make it uh enable us to complete the project in time. We're gonna have uh effectively two pages, a front page which had the uh features that the uh the customers most wanted, and then the uh the backup features on the second page so that it could uh meet the technical requirements. And the customers wouldn't have to look at them too often, only as and when required. So. So basically what decisions uh have we uh made? Uh have there been any uh changes? Paola Ramirez: I think we all have a presentation again, so Audra Doe: Right. Paola Ramirez: if we go through Judy Maldonado: Yeah. Paola Ramirez: those and then um. Audra Doe: Three presentation, Paola Ramirez: Shall Audra Doe: yeah. Paola Ramirez: I Audra Doe: So Paola Ramirez: go first again? Audra Doe: Yeah, fine. Judy Maldonado: Okay. Paola Ramirez: I see this a little more smoothly than the last one. Paola Ramirez: Okay right, let's get started. Um basically the uh for the Um I'll back actually. For the components design, um next step is basically the the way the remote's gonna work is still the same idea as before. still have the user interface is all the buttons we're gonna incorporate. Then there is a chip and still the sender. So um yes including the power s supply as well. Um I'll go on to my findings in each of these areas. Uh first in the power supply, we have the option of just the standard battery, um. There's a dynamo. Any of you think of kind of like the the old torches which you wind up um. There's a kinetic option, which if any of you've seen those new watches which you kind of you power up by waving around, um it just requires a small amount of movement which would mean the batteries wouldn't have to be replaced. Um that's Judy Maldonado: Mm-hmm. Paola Ramirez: one option, but I think that was gonna cost a little more. And then there's solar cells. Um as a final option. For the buttons, we have um an integrated push button, which is Oh just to say all all these are um supplied by Real Reaction. So I guess for the ease of for quickness and ease we should take them from at least like one of these options. Um Audra Doe: Okay. Paola Ramirez: so for the buttons there's an integrated push button, which I guess is just the same as the standard ones. This says it's uh similar to uh the button on the mouse for a normal for like uh like modern computer. Um there's a scroll wheel which is you know the new mouse has just got like the centre section which you can scroll up and down, which may be for the volume. You could Audra Doe: Mm-hmm. Judy Maldonado: Mm-hmm. Paola Ramirez: do do that. Um one issue for the buttons is, depending on which material we use, if we use rubber buttons then it requires a rubber case, so we have to take that into consideration. Um moving on to the printed Audra Doe: What would Paola Ramirez: s Audra Doe: be the cost do do we know? Paola Ramirez: Um that's on the next I th I think the there wasn't too much difference in the cost, that that related to the actual buttons, but it does affect the printed circuit board. Um which is the next section. Basically for the circuit board which is the middle, it's just see it down there the chips like the Audra Doe: Mm-hmm. Paola Ramirez: like the workings of the actual um of the remote. The firm supplies a simple, a regular and an advanced um circuit board. And there's different prices according to each. So if we've got the scroll wheel for one of the buttons, that would require a slightly more advanced circuit board Audra Doe: Mm-hmm. Paola Ramirez: than if we just had a standard um push button. Um one final thing we came up with was some information on the speech recognition. There's a small unit available through the company um which obviously would be an extra cost, but it wouldn't affect the size of the remote too much. Um and I guess that would require a more advanced circuit board, so there is an extra price in that sense. There is th sorry an extra cost in that sense. Um going to my personal preferences, um I thought possibly for power we could use kinetic um which is the idea of the watches um that you move you move the remote around to power it up. And this would avoid batteries running out, having to replace batteries and such like. Um for the buttons, I thought we'd probably get away with just having the standard um push buttons rather than the scroll wheel. Um and for the circuit board, again depends on which features we want in the actual in the remote. So if we wanted the scroll wheel and wanted the voice recognition, um then we'd have to get a a more costly circuit board. And that's it. Judy Maldonado: 'Kay. Linda Houston: Thanks. Audra Doe: with the printed circuit boards you were going for the Paola Ramirez: Um i it kind of depends um if we're gonna have the speech recognition, we'd have to probably get an advanced one. I'm guessing. Audra Doe: Mm-hmm. Paola Ramirez: Uh but I don't know, so that is something I'll have Audra Doe: But Paola Ramirez: to look Audra Doe: are we Paola Ramirez: into. Audra Doe: going f R right. Paola Ramirez: Um that's a that's a decision for all of us. Um. Audra Doe: So are we able to make that decision Paola Ramirez: Yeah Audra Doe: now Paola Ramirez: yeah. Audra Doe: in a sense that this is the point at which Paola Ramirez: We Judy Maldonado: Mm-hmm. Paola Ramirez: decide. Audra Doe: we're discussing that issue, so Paola Ramirez: Yeah. Audra Doe: would it not be best to rather than I mean one way is to do each of the presentations and then make decisions going back to the various presentations as they were. The other way would be to do the presentation Judy Maldonado: Mm-hmm. Audra Doe: and then make the decision at that point in time. Paola Ramirez: Um. Linda Houston: Yeah, Paola Ramirez: Maybe Linda Houston: that's probably Paola Ramirez: w Linda Houston: a better one, to discuss it straight away. Audra Doe: 'Cause at that point then you've got the details up there, so if we wanted to know for instance that the scroll wheel required the regular and what required advance. Then if we were Paola Ramirez: Um. Audra Doe: able to see that down then we could make the decision at that point in time and then that would be the end of that issue. Does that Paola Ramirez: Yes. Audra Doe: make sense? Judy Maldonado: Mm-hmm. Linda Houston: Um I have a lot of the information there. It might not be very clear. Paola Ramirez: Is there Linda Houston: Unless you want to plug it back in to yours. Paola Ramirez: Um. We could do, yeah. Um yeah we should. Paola Ramirez: As I say it only specified that we need a more advanced circuit board for the scroll wheel, it didn't Audra Doe: Mm-hmm. Paola Ramirez: The voice recognition came as a separate piece of information. Um. Audra Doe: No the scroll wheel required the regular, so the Paola Ramirez: Yeah if if you down um. Audra Doe: Hmm. Paola Ramirez: It's just this bit at the bottom which I've highlighted, but the scroll wheel requires a mini m minimally a regular chip, which is in the higher price range. Audra Doe: Okay. Linda Houston: I think Audra Doe: The display Linda Houston: the scroll Audra Doe: requires Linda Houston: wheel Audra Doe: an Linda Houston: um Audra Doe: advanced chip the display requires an advanced chip which Paola Ramirez: Also the Audra Doe: in Paola Ramirez: display's Audra Doe: turn Paola Ramirez: for something Audra Doe: is more Paola Ramirez: else which Audra Doe: expense. Paola Ramirez: we decided against. Um but that bit Audra Doe: Okay. Paola Ramirez: And note that the push button just requires a simple chip, so that would keep the price Audra Doe: Down. Paola Ramirez: down. Linda Houston: Yeah, and if we're Judy Maldonado: Mm-hmm. Linda Houston: going for sleek and sexy, I think a scroll wheel is maybe a bit kinda bulky? I I've got um pictures well I've seen pictures with it kind of sticking off the side of it, and Audra Doe: Right. Linda Houston: they don't really look great. Paola Ramirez: 'Kay. Audra Doe: Okay. Paola Ramirez: So maybe just a simple push button, and that would Audra Doe: So. Paola Ramirez: cut costs on Audra Doe: So Paola Ramirez: the Audra Doe: we're going for p Okay. So is um Judy Maldonado: So are we going for the w are we going for the simple one, are we? Linda Houston: Yeah, a simple Judy Maldonado: Okay. Audra Doe: Simple Linda Houston: pushbuttons. Audra Doe: push button. Paola Ramirez: on the speech recognition? The um it was basically what we said before, the idea that you record in a set message, and then it picks up that message um Audra Doe: Mm-hmm. Judy Maldonado: Yeah. Paola Ramirez: and replies to you. So it is basically the concept we discussed before. Um but then we don't know for sure whether it would require a more complicated circuit board. I'm guessing it would, but got like the definite information. Maybe we should go on what we're certain of rather than Audra Doe: So if we go for the simple push button, so effectively we're going for the simple printed circuit board are we? Or are we going for the regular? Paola Ramirez: Um if it's just the push button then it just needs the simple circuit board. Audra Doe: Mm-mm. But is there any other I mean okay, that's true for the for for that element, but we have to take all el elements into consideration. And so if there is one element that requires the more expensive one, or say the regular one, or Judy Maldonado: Mm. Audra Doe: the more advanced, then that would have to be the same for all of them. Linda Houston: Hmm. Audra Doe: S Judy Maldonado: I suppose Linda Houston: But Judy Maldonado: we need we need to find out what circuit board that requires, maybe before we m make a decision. Linda Houston: But Audra Doe: Right. Linda Houston: the way that I interpret that um it doesn't seem to send out a signal to the telly, it just it's like a parrot just rep reply Judy Maldonado: Oh yeah, Audra Doe: Mm-hmm. Linda Houston: replying Judy Maldonado: I suppose Linda Houston: to your message. Judy Maldonado: so, yeah. Paola Ramirez: So maybe that would be something Linda Houston: So Paola Ramirez: separate, Linda Houston: I don't think it Paola Ramirez: yeah. Linda Houston: would effect our Judy Maldonado: Yeah. Linda Houston: circuit Audra Doe: No. Linda Houston: board. Paola Ramirez: Okay, so we'd have a simple circuit board and that would be an extra that would be in addition Linda Houston: Yeah. Paola Ramirez: to it. Judy Maldonado: Yeah. Linda Houston: And Paola Ramirez: Oh Linda Houston: I don't Paola Ramirez: that makes Linda Houston: think Paola Ramirez: sense. Linda Houston: you could really perform any of the remote functions with it. 'Cause the example that they've given there is good morning coffee machine, good morning Jo. Audra Doe: Mm-mm. Linda Houston: It might be useful to say like where are you remote. Paola Ramirez: Okay. Linda Houston: Here I am, Jo. Judy Maldonado: Yeah. Linda Houston: But I think that's maybe as far as that one could go? Audra Doe: Okay. Judy Maldonado: Yeah. Paola Ramirez: Yeah that makes sense, so we'd stick with the simple circuit board and then think of the speech recognition as an extra an extra Linda Houston: Yeah, just Paola Ramirez: possibility. Linda Houston: as a fun way to find it. Paola Ramirez: Okay. Um. Audra Doe: Simple circuit board. Simple push button. Okay. W Linda Houston: And it says that Audra Doe: w kinetic. Linda Houston: I think it said Audra Doe: You Linda Houston: the cost Audra Doe: were you Linda Houston: of that Audra Doe: were Linda Houston: isn't Audra Doe: wanting Linda Houston: too Audra Doe: to Linda Houston: much. Audra Doe: go for the kinetic power supply. Paola Ramirez: Um yeah I I thought so just for just for ease of not having to replace the batteries. Audra Doe: Mm-hmm. Judy Maldonado: Mm-hmm. Paola Ramirez: Um. Audra Doe: And how does it get uh charged up? Paola Ramirez: It's um I think it works on the basis they have some kind of ball bearings inside. It's um it's some on watches which you you kind of you shake to power it up. Somehow Judy Maldonado: Mm-hmm. Paola Ramirez: the mechanism inside powers up through movement. Audra Doe: Okay. Paola Ramirez: So you'd you'd move the remote around a little bit and then that powers it up to use it. Audra Doe: Okay. Judy Maldonado: Yeah. Audra Doe: So the speech recognition was Are we going for speech recognition? No? 'Cause that required the advanced Linda Houston: Um I think it would be helpful to find it, but Judy Maldonado: Just Linda Houston: I don't think it'd Paola Ramirez: Uh yeah I Linda Houston: um Paola Ramirez: think did we decide it didn't affect the circuit board, it just affected Linda Houston: Yeah, Judy Maldonado: Just Linda Houston: I think so. Judy Maldonado: just Paola Ramirez: It was just Judy Maldonado: for the call and Audra Doe: I had Judy Maldonado: find Audra Doe: speech Judy Maldonado: thing. Audra Doe: recognition requires advanced req Paola Ramirez: Oh Audra Doe: require Paola Ramirez: no th that's what that's what I thought, but maybe maybe it doesn't. Um Audra Doe: Oh. Paola Ramirez: I think I might have got that wrong. Judy Maldonado: 'Cause Audra Doe: So Judy Maldonado: it's s it's Audra Doe: okay. Judy Maldonado: separate isn't it, it's not part Audra Doe: Speech Judy Maldonado: of the Audra Doe: recognition you reckon then is Paola Ramirez: It's it's Audra Doe: s Paola Ramirez: just an addition thing it's Audra Doe: simple. Paola Ramirez: um yeah. Audra Doe: And so we would want it in as an extra because it doesn't appear to cost too much. Would Paola Ramirez: 'Kay. Linda Houston: Mm-hmm. Audra Doe: that be Judy Maldonado: Mm-hmm. Paola Ramirez: 'Kay shall I pass Linda Houston: I Paola Ramirez: on Linda Houston: think Paola Ramirez: to you now? Audra Doe: In fact, it wouldn't really cost anymore, would it? Linda Houston: I'll just just check what it said. Actually I don't think it really says anything about the cost, but it says that it's already in the coffee machines, so Judy Maldonado: Yeah. Linda Houston: like it's already kind Paola Ramirez: I assume Linda Houston: of Paola Ramirez: it would cost extra, but Maybe we maybe we'll find out how much that does cost and have to decide slightly Audra Doe: And Paola Ramirez: later. Audra Doe: then have to change all change everything at the last minute. Okay. Linda Houston: Um. Audra Doe: S Linda Houston: Oh, that was quick. Um okay, so very brief presentation, um. From looking at the remotes that are out there at the minute, none of them are particularly um sleek and sexy. Um I haven't actually got the examples of the scroll button there, um but there's some curved cases that you can see, uh a range of sizes uh. All of them have a lot of buttons there um they seem to just have the rubber buttons. Does that move it? Audra Doe: Sorry? Linda Houston: It just seems to be skipping on without Audra Doe: Yeah, Linda Houston: us doing Audra Doe: I've Linda Houston: anything. Audra Doe: found that try and get it back. Paola Ramirez: If you right click and then go onto a previous slide. Linda Houston: Ah it's alright. Um. Paola Ramirez: Okay, Linda Houston: There wasn't much more to say about that, Paola Ramirez: right. Linda Houston: just rambling. Um some of the uh remotes that I looked at, one of the models da did actually have voice recognition where you could um where it was connected to the remote control functions. And uh it was quite uh a swish model, where it can control uh four devices, T_V_, cable, satellite, video, D_V_D_, audio. Um so that's a bit of competition there. So I mean maybe it's better not to try and compete with that sort of thing and just to market it as a completely different um like different viewpoint as Paola Ramirez: Yeah, Linda Houston: a kind of Paola Ramirez: yeah. Linda Houston: finding your lost control rather than trying to compete with the functions. Um the scroll buttons, as you've already mentioned, um there's examples of those, but they don't look as sleek as other models. And there's no real advantage and because it impacts on other Paola Ramirez: On the price, Linda Houston: on the materials Paola Ramirez: yeah. Linda Houston: and the price it's not great. Audra Doe: So Linda Houston: Um Audra Doe: you were saying the scroll buttons Linda Houston: Yeah. Th there was a specialist type of remote that we could think about, um. There was children's remote, where um they just had a very limited range of buttons and they were b uh bright and colourful and um you you could program them so that they could only look at certain channels. Paola Ramirez: 'Kay. Audra Doe: Mm-hmm. Linda Houston: Um but I don't know if that's really in our field? But Paola Ramirez: I Linda Houston: that's Paola Ramirez: guess Linda Houston: something Paola Ramirez: I guess Linda Houston: that's Paola Ramirez: we're going Linda Houston: out there. Paola Ramirez: for the biggest market, maybe not, but Was it was it specified that we went for the biggest? Audra Doe: Well we're to go for the international market rather than a local market but that Linda Houston: Hmm. Audra Doe: that wouldn't necessarily preclude The one thing that you can often do with products is you can uh make small modifications. So you have your basic model which you would sell at whatever, and then you could have additional features in you know like a You'd have model one, model two and model three, and therefore you can sub-divide your market up. But that's really where your field is. Judy Maldonado: Mm-hmm. Paola Ramirez: So maybe the children's remote should be like a a next step, but maybe I dunno for ours, maybe Audra Doe: Anyway Paola Ramirez: we should Audra Doe: you could add on for an extra package, but on this basic one I'm reckoning that we're going for the basic model to be discussed here and that uh you would have for future reference the possibility of adding in extra features at extra cost Linda Houston: Hmm. Audra Doe: to take Judy Maldonado: Mm-hmm. Audra Doe: care of specialist market segments. Judy Maldonado: Mm-hmm. Linda Houston: Okay. Right Audra Doe: Is that Linda Houston: well that's something that we can Audra Doe: So so Linda Houston: be Audra Doe: what Linda Houston: aware Audra Doe: are we deciding Linda Houston: of. Audra Doe: to do Linda Houston: Um. Audra Doe: here? Linda Houston: I think because there's already um very good voice recognition technology out there, Audra Doe: Right. Linda Houston: and because ours might not cover the same functions that the leading brands do, it might Audra Doe: Mm-hmm. Linda Houston: be a good idea to market it as a um finder function. Audra Doe: Uh the fi Yeah, the finder function rather than as a speech function to find Paola Ramirez: Yeah. Audra Doe: your remote. Linda Houston: Yeah. Paola Ramirez: So Audra Doe: Okay. Paola Ramirez: you also said for going for the international market um that some some maybe older people might not like the speech recognition. Linda Houston: Oh Paola Ramirez: S Linda Houston: yeah. Paola Ramirez: s so um Linda Houston: Different languages Paola Ramirez: Yeah, Linda Houston: might not Paola Ramirez: yeah. Linda Houston: be compatible. Paola Ramirez: It w it would make it quite complicated, Audra Doe: Hmm. Paola Ramirez: where um ours at least keeps it fairly simple and then the Linda Houston: Hmm. Judy Maldonado: Mm-hmm. Linda Houston: Yeah, 'cause I think you program um this one yourself, like to say Paola Ramirez: Yeah, Linda Houston: like Paola Ramirez: yeah. Linda Houston: whatever you want to your question. Judy Maldonado: Yeah and ours is quite a cheap device, so I don't know how much we'll be able to put into it. Paola Ramirez: Yeah. Judy Maldonado: Yeah. Audra Doe: So you'd have a finder feature rather than a voice recognition feature. Linda Houston: Hmm. Maybe Audra Doe: And you Linda Houston: unless Audra Doe: were talking Linda Houston: something else comes up. Audra Doe: Mm. And you were talking about scroll buttons? Linda Houston: Um yeah I think um I think we've decided that it's gonna increase the cost and give Audra Doe: Okay. Linda Houston: no real kinda extra Paola Ramirez: Yeah. Linda Houston: benefit Audra Doe: b Linda Houston: and it's gonna decrease from the sleekness of it. Audra Doe: was that Paola Ramirez: Yes Audra Doe: right? Paola Ramirez: yes. Linda Houston: Hmm um and just to be aware that there are kind of specialist functions and specialist remotes but we probably don't want to focus on those like such as the children's Audra Doe: Okay. Linda Houston: remote. Audra Doe: So not to be focused on. Linda Houston: Yeah. Um there was a mention just as kind of a warning about button design. Um just to avoid ambiguity. So it gave the example of say your volume buttons for up and down, they might both have a V_ on for volume, Um let's think how they did this. Audra Doe: Good in in Linda Houston: I'm just Audra Doe: Flip Linda Houston: gonna check Audra Doe: it round Linda Houston: so I do Audra Doe: in ninety Linda Houston: this right. Audra Doe: degree a hundred and eighty degrees and have it up and down. An upside-down V_. Linda Houston: Um. Audra Doe: So that would show Linda Houston: What Audra Doe: that Linda Houston: did they Audra Doe: volume Linda Houston: say? Audra Doe: was going up, whereas the one underneath would see the volume going down. Linda Houston: Um I think the thing was that if you decide to do this, to have triangular buttons, um somebody might look at this one and say oh well this triangular button is pointing up, and that's the first thing that they see Audra Doe: Right. Linda Houston: right, can it? Oh well, no, they might see yeah, they might see this pointing down Audra Doe: Mm-hmm. Linda Houston: and think right that's gonna turn the volume down, whereas the actual button's pointing up, Audra Doe: Mm-hmm. Linda Houston: so the function is to turn the button up. So, Paola Ramirez: So maybe we could have Linda Houston: be Paola Ramirez: like Linda Houston: careful what you put on the buttons and be careful of the shape that you make them, Judy Maldonado: Mm-hmm. Paola Ramirez: Yeah. Linda Houston: because they might be kind of two um contradicting Paola Ramirez: Yeah Linda Houston: kind Paola Ramirez: I I Linda Houston: of Paola Ramirez: know Linda Houston: shapes. Paola Ramirez: what you mean. So maybe we could have volume written on the side and then up and down on the on the buttons themselves. Audra Doe: Yeah. Linda Houston: Yeah. Audra Doe: You could have volume Paola Ramirez: Possible. Audra Doe: up and volume Volume up, down and Paola Ramirez: Mm. Audra Doe: Like that. And 'cause the idea was to have limited um it was to have sizable amount of information on it. Paola Ramirez: Yeah Audra Doe: Limited Paola Ramirez: yeah. Audra Doe: number of buttons. Paola Ramirez: Yeah. Audra Doe: 'Cause it was sixteen buttons, wasn't it that Paola Ramirez: Yeah Audra Doe: were Paola Ramirez: we got it down Judy Maldonado: Mm-hmm. Paola Ramirez: to not too many. Linda Houston: Um and I think that's all I had to say for that. Judy Maldonado: Okay. Linda Houston: Um so what was the decision on the um design of the volume button? Paola Ramirez: Um Are we are we gonna go through the design of all the buttons at the moment, or are we gonna Judy Maldonado: I've I've got Paola Ramirez: t Judy Maldonado: some things to say about possible design things Paola Ramirez: Yeah, Judy Maldonado: from Paola Ramirez: maybe we Linda Houston: Oh Audra Doe: Okay. Paola Ramirez: should Linda Houston: okay. Paola Ramirez: see yours Judy Maldonado: trend Paola Ramirez: first. Judy Maldonado: watching. Cool. Judy Maldonado: Right, um I've been looking at some trends in in sort of basically fashion on top of doing the um research into the remote control market the the one that's the one I talked about last time, that we'd sort of asked people about remote controls and what what was good about them, what was bad, what they used. And we've also been looking at sort of fa sort of fashions and what people are wanting out of consumer goods at the moment. So we've had people in Paris and Milan watching the uh fashion trends. Audra Doe: You know Judy Maldonado: So Audra Doe: yourself. Judy Maldonado: So just to summarise the most important things which came out of the remote control market investigation. The most important thing was that the thing sort of look and felt fancy rather than just functional. Paola Ramirez: 'Kay. Judy Maldonado: And second, there should be some technological innovation. And then third and l less important than the other two, there should be an ease of use as well. And apparently, the fashion trends are that people want sort of clothes and shoes and things with a fruit and vegetables theme. Um but um the feel of the material should be spongy, which is contrary to last year, apparently. I presume it must have been not not spongy last year. So we need to emphasise the fancy design with on on our remote control above all else. And then also try and add in technological informat innovation which could be our sort of find the thing with a hand clap. And then we need to ma sort of make it easy to use that's as a third priority, so perhaps um fewer fewer buttons and functions as we've as we've discussed. And then maybe find a way to incorporate these trends so that we sort of capture people's imaginations. So maybe we could make the buttons shaped like fruit and veg, or the the buttons could be spongy, uh somehow. Maybe we could make them out of rubber rather than sort of hard plastic. And then sort of even wackier than that, we could maybe have a fruit or vegetable shaped remote, say in the shape of a banana or something like that. Right, so that'll be it. Maybe a banana or courgette or something. How how far we actually want to go along and sort of follow the trends, do we think the trends are particularly important for this type of gadget, or or you know, do they not matter that much? Linda Houston: I think if you start making the buttons fruit shaped, it might make it more complicated to use. Audra Doe: Well you were just talking about you've got to be careful how you shape your buttons, 'cause you're can mis-direct people. And I would've Judy Maldonado: Yeah. Audra Doe: thought Linda Houston: Yeah. Audra Doe: the functionality 'cause the people get cheesed off by things by having to read instructions et cetera, so. ... Linda Houston: Maybe just one button, say the standby button is quite kinda separate from all the other functions. Maybe that could be a little apple. And Audra Doe: Okay. Linda Houston: then that Judy Maldonado: Maybe Linda Houston: wouldn't Judy Maldonado: yeah. Linda Houston: get in the way of like kinda one Audra Doe: Now? Linda Houston: to nine, and it wouldn't confuse Audra Doe: Yeah. Linda Houston: the numbers. Audra Doe: Stand-by button. No th that that incorporates the trend whilst at the same time not confusing people, Judy Maldonado: Mm-hmm. Audra Doe: if you're looking for functionality. Paola Ramirez: Well I dunno I I guess maybe fruit and vegetables may be popular at the moment, but as we know Audra Doe: But Paola Ramirez: how Audra Doe: what Paola Ramirez: fickle Audra Doe: are they gonna be Paola Ramirez: the Audra Doe: next Paola Ramirez: fashion Audra Doe: Yeah. Paola Ramirez: markets Audra Doe: What are they Paola Ramirez: are, Audra Doe: gonna be Paola Ramirez: maybe Judy Maldonado: Yeah Audra Doe: next year. Judy Maldonado: yeah. Linda Houston: Hmm. Audra Doe: But Linda Houston: S Audra Doe: but th but okay but you you can incorporate the tr If y if you change all the buttons Judy Maldonado: Mm-hmm. Audra Doe: then you've got the problem that this year's fruit and veg, next year's uh I was gonna say animals or elephants Judy Maldonado: Yeah, Audra Doe: or w whatever. Judy Maldonado: I'm Audra Doe: That Judy Maldonado: not Audra Doe: means you're constantly changing your production schedule, and you've gotta make different Judy Maldonado: Yeah. Audra Doe: moulds and everything else, so that's not a good idea Judy Maldonado: I'm Audra Doe: I would Judy Maldonado: not I'm not Audra Doe: I would Judy Maldonado: sure Audra Doe: suggest. Judy Maldonado: what what what the sort of timescale we're thinking of selling the product over is. I don't know. Paola Ramirez: I mean it just seems realistic that the remote control market isn't the kind of thing which takes in those kinds of fashion Judy Maldonado: Yeah, Paola Ramirez: trends. Judy Maldonado: yeah. Paola Ramirez: to something which is maybe more universal. Judy Maldonado: Mm-hmm. Audra Doe: Well Linda Houston: But I suppose as long as it's quite a subtle design, Judy Maldonado: Mm-hmm. Linda Houston: um Paola Ramirez: We c Linda Houston: even Paola Ramirez: maybe Linda Houston: if Paola Ramirez: can Linda Houston: the design Paola Ramirez: imply Linda Houston: kind Paola Ramirez: a Linda Houston: of Paola Ramirez: fruit Linda Houston: changes, Paola Ramirez: shape possibly. Judy Maldonado: Mm-hmm. Audra Doe: Ah d d But Paola Ramirez: Maybe Audra Doe: if Paola Ramirez: the spongy feel is something we could think Audra Doe: Mm-hmm. Paola Ramirez: about, um. Audra Doe: Well. Yep. Paola Ramirez: Maybe still with a rubber design we could Audra Doe: Was that in the sort of fashion sense that this Or was the spongy feel was that uh sort of fashion? It was, wasn't it? Judy Maldonado: Yeah. Linda Houston: It Audra Doe: So Linda Houston: seems like you're Audra Doe: the Linda Houston: gonna have rubber cases, as well as buttons. Judy Maldonado: Yeah. Yeah. Paola Ramirez: Um. Linda Houston: And that you can make them curved or double-curved and that would be the kind of Paola Ramirez: Oh Linda Houston: sleek Paola Ramirez: yeah Linda Houston: and sexy Paola Ramirez: yeah one of Linda Houston: look. Paola Ramirez: the things were if you had rubber buttons then you had to have a rubber case. Audra Doe: Mm-hmm. Linda Houston: Oh Paola Ramirez: Um Linda Houston: right, that Paola Ramirez: oh Linda Houston: fits, Paola Ramirez: no no Linda Houston: doesn't Paola Ramirez: no sorry Linda Houston: it? Paola Ramirez: it's if you use the uh rubber double curved case then you must use rubber buttons. That's the way round. If you have the rubber case then you have to have the rubber buttons to go with it. Which makes sense. Linda Houston: Right. Paola Ramirez: Um. Audra Doe: Rubber buttons require rubber case. Linda Houston: And that would fit in with what we want, wouldn't it, for the Judy Maldonado: Mm-hmm. Linda Houston: spongy feel, to have everything rubber. Audra Doe: Uh so, yeah. The m the main problem is how f how frequently do the fashions change? 'Cause in essence in the production you want things to stay you want Judy Maldonado: Mm-hmm. Audra Doe: to basically mint them out 'cause if you've got fashion changes and that you're incorporating, then it means that your stock is um is Judy Maldonado: Mm-hmm. Audra Doe: last year's stock and therefore you're selling it or having to sell it at a discounted rate which you wouldn't want Judy Maldonado: Yeah. Audra Doe: to do. Whereas if you kept the product the same but you could have a difference from year to year, uh it seems to Judy Maldonado that you could Judy Maldonado: Okay. Audra Doe: incorporate a fashion statement if you like, rather than changing the whole kit and caboodle. Judy Maldonado: Yeah. Paola Ramirez: Yeah. Audra Doe: You're just changing one aspect like like the standby button or something like that, and especially 'cause then you could make it something that Paola Ramirez: I suppose we maybe Judy Maldonado: Mm-hmm. Paola Ramirez: are limited in the fact that we still have to put the logo on the actual Audra Doe: Well, Paola Ramirez: would Audra Doe: you might Paola Ramirez: or Audra Doe: be limited Paola Ramirez: not. Audra Doe: in space, that yes. Paola Ramirez: Yeah. Judy Maldonado: Mm-hmm. Audra Doe: Well Linda Houston: Hmm. Audra Doe: you two are obviously gonna find that out fairly quickly when you move over to your kit modelling stage as Paola Ramirez: Yes Audra Doe: to uh Paola Ramirez: yes. Audra Doe: how much pl how much how much how pliable is Plasticine. Paola Ramirez: Maybe we could think of the the cases like changing with the fashions like the Nokia phones where you could take the casing off the outside. But Judy Maldonado: Mm-hmm. Paola Ramirez: whether that would be too much to incorporate in production, whether that would just increase Audra Doe: Hmm. Paola Ramirez: the costs, make it more complicated. Judy Maldonado: That's Audra Doe: So Judy Maldonado: possibly Audra Doe: you're talking Judy Maldonado: it. Audra Doe: there about uh changing changing the casing. Paola Ramirez: Yeah the a the actual the sort of the look from the outside, so where the buttons would stay the same, and Judy Maldonado: Mm-hmm. Paola Ramirez: the general function of the remote would stay the same, but you could change the the way it looked. Linda Houston: Yeah and then you could have Oh but you still would have to have the logo on every new case, Paola Ramirez: Yeah, that's Linda Houston: but you could have Paola Ramirez: true. Linda Houston: like pink cases for girls and Audra Doe: Yeah Linda Houston: red Audra Doe: you Linda Houston: ones Audra Doe: you could Linda Houston: and Audra Doe: do a Linda Houston: things Audra Doe: colour Linda Houston: like Audra Doe: change, so therefore Linda Houston: that. Audra Doe: you would yeah yeah I mean that's effectively what they did with the with the mobile phones, was Paola Ramirez: Yeah. Audra Doe: to have some in blue, some in red, some in rather Judy Maldonado: Mm-hmm. Audra Doe: than all in black or, you know, which Linda Houston: Hmm. Audra Doe: four do you want, as long as it's black? But uh so Paola Ramirez: So it is a possibility, um. Linda Houston: But we are supposed to use the um company colour scheme, aren't we? We haven't Audra Doe: Yes Paola Ramirez: Oh Linda Houston: really Paola Ramirez: okay Linda Houston: seen Audra Doe: oh that's Linda Houston: that yet Audra Doe: true Judy Maldonado: Yeah. Paola Ramirez: yes Audra Doe: uh Paola Ramirez: that Audra Doe: that Paola Ramirez: is Linda Houston: It Audra Doe: might Linda Houston: might Audra Doe: no Linda Houston: and we might be able to do both but it might clash with certain things. Audra Doe: Well not necessarily, because you could have your company uh We're we're meant to be finishing up. You could have your company badge and logo. I mean a lot of um computers for instance like like on the one you've got Judy Maldonado: Mm-hmm. Audra Doe: there, it actually has a sort of um stick on badge so what you would al all you would really need, whether it, you know, whether the casing be w any colour, could be any colour, but that badge would then have to stick out on top of it so that uh in a Judy Maldonado: Mm-hmm. Audra Doe: sense, with a with a logo like that, because it's on a white background, the only colour that it might not stick out so well on would be a white casing. 'Cause you Paola Ramirez: Mm-hmm. Audra Doe: you know you're sort of you're badging it. And in fact a lot of companies get somebody else to make them and literally just badge them themselves with Judy Maldonado: Mm-hmm. Audra Doe: their own uh badge over the top. Judy Maldonado: Mm-hmm. Audra Doe: And in fact the way they've got that there even if you had that on a white, which is the predominant colour of the uh the Windows badge, you'd still be able to see it clearly from Paola Ramirez: Mm-hmm. Audra Doe: you know a white casing Paola Ramirez: Yeah. Audra Doe: uh product. So. Linda Houston: Hmm. Paola Ramirez: And whether we'd have a big enough market to have this kind of like secondary market of selling the cases might be something to consider. Judy Maldonado: Mm-hmm. Linda Houston: Well if it's for young people, um Judy Maldonado: Yeah. Linda Houston: like the phone generation, that sort of Paola Ramirez: Yeah. Linda Houston: thing'd probably go down well, and the market research has been on that side of things, hasn't it? Judy Maldonado: Yeah, I mean it's people say that it's the look, they want the fancy looking thing but I'm Yeah. I'm not convinced on whether having changeable covers would be something that people would buy into. I think with the mobiles, it's the, you know it's a communication device, people see you with it all about and Paola Ramirez: Yeah I suppose, Judy Maldonado: i if Paola Ramirez: where you Judy Maldonado: it Paola Ramirez: you keep the remote hidden Audra Doe: It's Paola Ramirez: under Audra Doe: uh in Paola Ramirez: the sofa Audra Doe: in the Paola Ramirez: most Audra Doe: house, Paola Ramirez: of the time. Audra Doe: isn't it, Judy Maldonado: Yeah. Audra Doe: I suppose. Judy Maldonado: I Linda Houston: Okay, Judy Maldonado: think Linda Houston: so if we just went for one colour of a rubber case Audra Doe: So Judy Maldonado: Mm-hmm. Audra Doe: don't change case. Change case colour. And we're sort of saying no to that. Linda Houston: Did we decide on the rubber case? The spongy feel, or did we think that that might go as a trend? Judy Maldonado: Well, it was different last year. The trend was different last year apparently. It was not not spongy feel. But I don't know whether the trend will change. I don't know whether it's one of those things that like sort of having all fruit shaped keys, that that probably would go out of fashion very quickly, whereas Audra Doe: Yeah. Judy Maldonado: just the fact that it was a rubber case is probably less less of Paola Ramirez: Yeah, Judy Maldonado: something Paola Ramirez: less likely Judy Maldonado: that Paola Ramirez: to Audra Doe: Sounds Judy Maldonado: y Audra Doe: reasonable. Judy Maldonado: you're gonna end up hating in a year, you know. Paola Ramirez: So then Audra Doe: If Paola Ramirez: th th that Audra Doe: you're going Paola Ramirez: would Audra Doe: for fashion trends like that they'll need t you'd have to have interchangeable cases so that you could or Paola Ramirez: Yeah. Audra Doe: 'cause otherwise someone's Judy Maldonado: Yeah. Audra Doe: gonna have to buy a complete new remote rather than just a case. Judy Maldonado: Mm. Paola Ramirez: it seems to make sense that we we'd just maybe stick with the standard rubber case, and then have the standard rubber buttons as well. Audra Doe: Okay. Judy Maldonado: Okay. Paola Ramirez: Um. Linda Houston: Uh we haven't really talked about uh the curvature of the case. There's flat, there's single-curved and there's double-curved. Paola Ramirez: Um. Linda Houston: I'm Paola Ramirez: Mayb Linda Houston: not exactly sure Paola Ramirez: Maybe Linda Houston: what Paola Ramirez: curves Linda Houston: these things look Paola Ramirez: give Linda Houston: like. Paola Ramirez: it like the slightly more aesthetic feel? But the double curve wouldn't require us to perform miracles with the Plasticine. Linda Houston: Well it says that Judy Maldonado: When you say d when you say double-curved, what what exactly does that mean? Linda Houston: I'm not exactly sure. Judy Maldonado: Okay. Linda Houston: Um I'll show you the remotes that I've got. See how uh Let's just get that bigger. See how uh the one Oh I'm not plugged Judy Maldonado: No you're Linda Houston: in, am Judy Maldonado: not Linda Houston: I? Judy Maldonado: connected Linda Houston: That doesn't Judy Maldonado: to Judy Maldonado Linda Houston: help. Judy Maldonado: anymore. Audra Doe: One one thing to Linda Houston: Shall Audra Doe: cons Linda Houston: I just turn it round for time? Audra Doe: one thing to consider is that in some ways you want um Judy Maldonado: That should come up. Audra Doe: by having a fairly standard case it means they can all fit together on top of each other therefore for storage purposes in shops and the like and it makes it easier that you can if you can Judy Maldonado: Mm. Audra Doe: store them up on top Paola Ramirez: Mm-hmm. Audra Doe: of each other. Whereas if you do um fancy things with it, you then gotta put it in a ca a a packaging box that that does that. And the cost of packaging could be quite important vis-a-vis the total cost of the product. Paola Ramirez: Yeah yeah. Judy Maldonado: Mm-hmm. Linda Houston: Hmm. Paola Ramirez: So shall we go through quickly and just work out what we've decide on, if we have to kind Audra Doe: So Paola Ramirez: of Audra Doe: but Judy Maldonado: Yeah. Linda Houston: Um it's not very clear up there, but you Audra Doe: No. Linda Houston: can see some of them have got kind of bulges, like Audra Doe: Mm Linda Houston: the second Audra Doe: yep. Linda Houston: one and the end one Judy Maldonado: Right. Linda Houston: uh where there's a curve there. I'm not exactl I don't know if a double curve is maybe it comes up slightly, Judy Maldonado: That's Linda Houston: or? Judy Maldonado: what I was trying to work out. Linda Houston: But um Audra Doe: Oh right. Linda Houston: it is a kinda sleeker look if you've got curves in there. Judy Maldonado: Shall we Audra Doe: S so do you wanna go for curves, more curves? We're meant Linda Houston: Definitely Audra Doe: to be f Linda Houston: a single, Audra Doe: we're meant to Linda Houston: maybe Audra Doe: be finishing Linda Houston: a double. Audra Doe: this meeting in about a minute or so. Judy Maldonado: Yeah. Paola Ramirez: 'Kay, so Linda Houston: Shall Paola Ramirez: shall Linda Houston: we Paola Ramirez: we Linda Houston: go for Paola Ramirez: quickly Linda Houston: single curve, just to compromise? Paola Ramirez: We'll go for single curve, yeah. Judy Maldonado: Okay. Audra Doe: Okay, Paola Ramirez: Single curve. Audra Doe: curved or double curved? So it's single curved. Paola Ramirez: So did we did we decide on the kinetic power supply? The Judy Maldonado: Yeah I think Paola Ramirez: one Linda Houston: Yeah. Paola Ramirez: you move Judy Maldonado: that Paola Ramirez: around? Judy Maldonado: think that's a Audra Doe: Yep. Judy Maldonado: good Paola Ramirez: Okay. Judy Maldonado: idea. Paola Ramirez: Um Linda Houston: And the rubber push buttons, Judy Maldonado: Rubber Linda Houston: rubber case. Judy Maldonado: Rubber buttons and case. Linda Houston: Um and we don't really know much about the colour scheme or logo yet do we, but Paola Ramirez: Oh we Linda Houston: possibly Paola Ramirez: ca Linda Houston: a sticker. Paola Ramirez: Yeah yeah, we'll still have the Are we gonna go for the simple circuit board just to keep the cost down? I th I think we can by Judy Maldonado: Yeah. Paola Ramirez: by not having anything too complicated. Linda Houston: Yeah. Paola Ramirez: Um. Linda Houston: Yeah and and the voice recognition, we can use that can't we, just to find it. Judy Maldonado: Yeah Linda Houston: Without Audra Doe: Yes. Paola Ramirez: Um. Judy Maldonado: yeah. Linda Houston: affecting the circuit board. Audra Doe: Yep. Paola Ramirez: And see we could always decide against it if something comes up that's just something to that we seemed to leave out. Judy Maldonado: And then are we going for sort of one button shaped like a fruit. Linda Houston: Yeah that Judy Maldonado: Or Linda Houston: sounds Judy Maldonado: veg. Linda Houston: like it wouldn't do too much harm in a couple of years. Uh what sort of shape do we want? Judy Maldonado: Don't know, maybe Audra Doe: So Judy Maldonado: just Audra Doe: we've got spongy feel buttons as well, have we? As well as or Judy Maldonado: Yeah. Audra Doe: w or was that Judy Maldonado: That's ru rubber buttons, yeah. Paola Ramirez: Yeah, it was Audra Doe: So Paola Ramirez: just Audra Doe: it's rubber buttons, so it's not really spongy feel buttons, it's just rubber buttons. Paola Ramirez: 'Kay. Judy Maldonado: Yeah. Audra Doe: With a rubber Linda Houston: Yeah, Judy Maldonado: Reasonably Audra Doe: case Linda Houston: so it's Judy Maldonado: spongy Linda Houston: not Audra Doe: right? Linda Houston: too wacky. Judy Maldonado: I guess, yeah. Audra Doe: And the standby button is gonna be different. Judy Maldonado: Yeah okay. Linda Houston: Um I think an apple would be a good recognisable shape. If you start getting into kinda aubergines and things, it gets a bit weird. Judy Maldonado: Yeah. Audra Doe: Okay so what what shape are we making the standby button? Judy Maldonado: Apple? Linda Houston: Vote? Audra Doe: A apple. Oh oh Judy Maldonado: Yeah. Audra Doe: Sorry? Linda Houston: Shall we vote on it? Judy Maldonado: Yeah. Paola Ramirez: We will go Linda Houston: Anyone Paola Ramirez: for the a Linda Houston: got Paola Ramirez: a Linda Houston: any Judy Maldonado: Apple Paola Ramirez: a Linda Houston: suggestions? Paola Ramirez: apples Judy Maldonado: apple Paola Ramirez: apples. Judy Maldonado: a Linda Houston: Right. Judy Maldonado: a qu Quite a big one, as well. Linda Houston: Okay. Ah. Judy Maldonado: A big apple. Uh Linda Houston: Well it could be red. Judy Maldonado: Could be a red apple, yeah. Either, don't mind. Audra Doe: A red apple? Linda Houston: Yeah Audra Doe: Is it? Linda Houston: 'cause we wanna incorporate a bit of colour if we can, once we find out Paola Ramirez: Okay. Linda Houston: um Paola Ramirez: And then we're gonna are you gonna work on keeping the button design quite simple? Just like the Just working out what we're gonna do for the next time. Judy Maldonado: Mm-hmm. Paola Ramirez: Um. Linda Houston: Yeah. Yeah that seems pretty straight forward. Paola Ramirez: Yeah. Linda Houston: 'Cause most of them will just be kind of mainly circular or like very plain. Paola Ramirez: 'Kay. Judy Maldonado: Mm-hmm. Okay. Audra Doe: Sorry what was that last thing again there? Linda Houston: Uh just to keep the shape of the buttons simple. Audra Doe: Right much option on that. I thought you were going for a single curve and Linda Houston: Ah just the uh shape of the buttons. Audra Doe: Alright. Paola Ramirez: And j yeah, just keeping the sort of the labelling them labelling of them fairly simple as well. Linda Houston: Yeah. Paola Ramirez: Fairly sort of self explanatory. Audra Doe: Right, so shape of buttons simple. Audra Doe: Okay. So that's that, I guess. We should now go away and get these things sorted out. I guess you two are on plasticine duty or whatever. Paola Ramirez: Okay. Audra Doe: Okay, so um. Paola Ramirez: Is that the end? Okay. Judy Maldonado: Looks like it. Audra Doe: Okay.

Audra Doe reviewed the minutes from the last meeting. Paola Ramirez discussed options for each of the internal components. He showed that the size of the chip was dependent on the type and number of additional features used. The group discussed incorporating speech recognition and other functions to be able to decide on chip size. They decided that using speech recognition for the locator function only would allow them to use a simple chip. Linda Houston presented several existing products. She presented a specialized children's remote; the group decided to focus on a basic remote that would appeal to a wide market. She expressed that buttons are often ambiguously shaped and that their remote must have an easy-to-use interface. Judy Maldonado presented trends in the remote control market and the fruit and vegetable and spongy material trends in fashion. The group discussed ways to incorporate these trends. They decided to make the standby button shaped like an apple, to use a rubber case and buttons, and to use a single-curved shape. Audra Doe instructed Linda Houston and Paola Ramirez to construct the prototype.

amisum

train

Sharon Drury: So is Why not save that. Martha Thiel: No, you'll ha have to open it up from elsewhere. Sharon Drury: Do you want to replace existing file, no. I actually tried to transfer it to My Documents, but Martha Thiel: Yeah, you have to you have to close that window. 'Cause that's the save one isn't it, so And then find it. Sharon Drury: spreadsheet. Sharon Drury: Yeah, but I've ta uh right, I'll just re-do it. That's the easiest way. Sharon Drury: Right. Melissa Plunkett: Well we've made our prototype anyway. We can have a good look at that. Martha Thiel: You pass it round to have a look. Melissa Plunkett: Mm-hmm. Y no, it's a slightly curved around the sides. Martha Thiel: Mm very nice. Melissa Plunkett: Um, it's almost curved like up to the main display as well. Martha Thiel: Mm-hmm. Melissa Plunkett: And the little line at the bottom indicates the bit the panel that you pull down. And the extra function buttons are below that panel Martha Thiel: Mm-hmm. Melissa Plunkett: on the little line. And we've got the stick on the button with the company logo on. Martha Thiel: Mm-hmm. Betty Montgomery: We also have a apple slash cherry design at the top. Martha Thiel: So it is, yeah. Cherry would be alright actually. Yeah. Melissa Plunkett: Yeah, it's bit more fun, isn't it? And it's kinda not really at a kind of you think apple, you think computers, like Apple Betty Montgomery: Yeah, Melissa Plunkett: Mac. Betty Montgomery: yeah, we might get a Martha Thiel: Mm-hmm. Copyright, yeah. What's this Melissa Plunkett: Yeah, Martha Thiel: this Melissa Plunkett: and cherries Martha Thiel: one? Melissa Plunkett: are fun, summery. Martha Thiel: What's that one there? Melissa Plunkett: Ah, that's the mute. Martha Thiel: Oh, okay. Betty Montgomery: For the M_. Martha Thiel: Right. Melissa Plunkett: It it'd probably have to be labelled mute. But Betty Montgomery: They're Melissa Plunkett: um, Betty Montgomery: thinking Melissa Plunkett: we didn't have anything small enough to write. Martha Thiel: Okay. Betty Montgomery: For the first time, well it was hard to get the h um the actual labelling on the individual buttons. Martha Thiel: Mm-hmm. Melissa Plunkett: Yeah. Uh, we just chose simple shapes for all them. Um, the important ones are the volume ones. So we made them a bit bigger. Martha Thiel: Mm-hmm. Melissa Plunkett: The mute could possibly be a bit smaller. Betty Montgomery: Hum, you separate off in colour the volume related buttons from the channel related buttons, so you've got the volume in orange on Martha Thiel: Yeah. Betty Montgomery: design there, and the the channel is in blue. Melissa Plunkett: Mm-hmm. Sharon Drury: R right. Melissa Plunkett: Yeah, and we chose Sharon Drury: Um, Melissa Plunkett: a V_ Sharon Drury: all Melissa Plunkett: plus Sharon Drury: these things Melissa Plunkett: and V_ minus. Sharon Drury: have cost implications. And when I done my cost a I had assumed the only uh button that would be a different colour would be the uh the red apple button. So However, I've now. But um, yeah so uh but there Martha Thiel: I'll see if I can find them. Sharon Drury: would be a cost implication on that, and uh as I suppose that so whether wanted to put in all these colours, would be uh Betty Montgomery: Yeah, Sharon Drury: open Betty Montgomery: sis Sharon Drury: to debate, I suppose. Melissa Plunkett: Well Martha Thiel: Have Melissa Plunkett: the colours wouldn't like that's they wouldn't be too important, but we didn't have any white Play-Doh. So that's Sharon Drury: An Melissa Plunkett: where the colour buttons came from. Sharon Drury: important consideration. Right, okay so um And the second one underneath would be the idea for the Betty Montgomery: Yes, we'll have the slide-away. Sharon Drury: Right, okay. Betty Montgomery: Bottom. Sharon Drury: So we've got um detail design meeting. Right. So So, we've got prototype presentation, which we've just done, evaluation criteria, um and finance, so I guess w we have to evaluate if that meets the various uh aspects that we're looking for uh from Martha Thiel: Mm-hmm. Sharon Drury: um our previous meeting. So Martha Thiel: Mm-hmm. Sharon Drury: other than the fact that it doesn't have the second layer, Betty Montgomery: Mm-hmm. Sharon Drury: but um obviously obviously it would. But other than that, we got the red apple. We got the buttons and the only thing that has really changed is the is the colouration of the buttons, Betty Montgomery: Yes, yes. Sharon Drury: and the bit after the evaluation criteria is uh is the finance. Martha Thiel: Right. Betty Montgomery: Okay. Sharon Drury: And the and the cost implication. The only snag about this is that uh the cost is probably kind of important. So um, and then the production evaluation, as to how easy that would be to uh to manufacture. Betty Montgomery: Mm-hmm. Sharon Drury: Um, and whether it would uh Martha Thiel: So if you had to do a presentation or will you just work it on the prototype? Melissa Plunkett: Uh, Betty Montgomery: This this is Melissa Plunkett: that's Betty Montgomery: a yes, this Martha Thiel: That's Betty Montgomery: is our presentation Martha Thiel: the pr Melissa Plunkett: it. Betty Montgomery: of the prototype. Martha Thiel: Okay. Sharon Drury: Right, so uh as far as the the finance of it would be concern would be to make sure that the cost aye the production cost 'cause you may remember that was one of the first uh considerations was to be in d under um uh twelve fifty or two and a half Betty Montgomery: Mm-hmm. Sharon Drury: uh twelve and a half Euros. So, there's no redesign. So that should uh Right, so, seems to Martha Thiel that the thing that I have to do is is quickly find that uh Betty Montgomery: Could we get this on the board just so we can see or do you mean do you have the figures there? Martha Thiel: we should plug it in. Sharon Drury: Right. Martha Thiel: Do you wanna plu do you wanna plug it in into the the Sharon Drury: Okay. Martha Thiel: back of that one. Betty Montgomery: 'Kay, Alice. So, Martha Thiel: We could do it as Betty Montgomery: sh Martha Thiel: we d go along, the production costs, looking at the prototype. Sharon Drury: Right. Betty Montgomery: 'Kay this should be then. Sharon Drury: Okay, so, by the fact that we've got uh the simple chip and the uh kinetic energy source, we've got a single curved case. We've got a rubber uh case materials supplements. So, Betty Montgomery: Mm-hmm. Sharon Drury: we had decided that we're having rubber buttons and Betty Montgomery: Have a push button interface. Sharon Drury: Okay. W Betty Montgomery: Um Sharon Drury: the button supplements. Well, originally, I thought there would just be uh one in there because it was the one red apple. Betty Montgomery: Um Sharon Drury: But So the so the real w the real question then would come in. Do you make all the buttons Martha Thiel: Well do we'll do it Sharon Drury: O Martha Thiel: on the prototype, so do two, see how much it is. Sharon Drury: Well, so we've got one special button form, which was the apple. Everything Martha Thiel: Yeah. Sharon Drury: else Betty Montgomery: Yeah. Sharon Drury: is gonna be a standard. Betty Montgomery: And then we'd Sharon Drury: We've Betty Montgomery: have Sharon Drury: got special material, rubber, wood, titanium, et cetera and that, so, Martha Thiel: Mm-hmm. Sharon Drury: I was originally, I was thinking rubber wasn't special, but according to this, maybe it is. Martha Thiel: Mm-hmm. Sharon Drury: So And the r I mean effectively we've got sixteen buttons that we're gonna have on there. Martha Thiel: Yeah. I think you just do one, don't you, for the Sharon Drury: W I don't know is is is the sort of answer, is that meant to be all sixteen buttons, and therefore I mean, what's the op The option was maybe not to have rubber buttons, but just to have the one that was soft and spongy, and therefore Martha Thiel: I think I think it's just it's just a one. Else Sharon Drury: Whereas it would be the special colour would be for the So you would only have the one special button that was rubber, whereas the rest would be hard plastic. Martha Thiel: I thi I think I think the button supplement i is just a supplement for all the buttons made in a different material, rather than per button. Sharon Drury: Mm. Martha Thiel: I don't know though. Sharon Drury: I would Every design change is uh Martha Thiel: Hmm. Sharon Drury: I dunno, um Okay, um, if we just had all the buttons as standard, except for the one red apple, then that would take care of that, I guess. We'd have one special colour and one special button form. Martha Thiel: Mm-hmm. Sharon Drury: And when I plugged that in last time remember it has to be under twelve and a half. As far as I know, that um that took care of the uh of the various supplements. Martha Thiel: Mm-hmm. Sharon Drury: And if What happened? Martha Thiel: You've just gone off the window into another one. It's on the bottom row. Melissa Plunkett: Maybe if you just minimise that one in the top right-hand corner of the little box. Yeah. Sharon Drury: Now, right. Okay, so, but the point would be that if we uh if we just did special Sorry, you were saying that it would be that one, that you would put in one there. Martha Thiel: Yeah. Yeah. Sharon Drury: Okay. Betty Montgomery: So that's nine point one there so we've got some Sharon Drury: So it Well, is it s is no, it's nine point seven I've got. Betty Montgomery: 'Kay. Martha Thiel: Mm-hmm. Sharon Drury: Okay. Betty Montgomery: Just give us a bit of Sharon Drury: So, that would that would work out fine if uh Martha Thiel: Mm-hmm. Sharon Drury: uh as assuming your correction are are assuming that that one change covers all the buttons, then that would be fine. Martha Thiel: Mm-hmm. Sharon Drury: And there's Melissa Plunkett: S Sharon Drury: nothing else as far as I can see that we we had uh planned to put Betty Montgomery: I switching Sharon Drury: on. Betty Montgomery: around those th um on the electronics we got the sample sensor. At the moment we've just got the simple chip, which costs one. Um, I Sharon Drury: Uh-huh. Betty Montgomery: guess the sample sens sample speaker would be the voice recognition thing, Martha Thiel: Yeah. Betty Montgomery: which puts up to four? We should be slightly over our budget but if we gather something else down to slightly lower standard, Martha Thiel: Yeah. Betty Montgomery: and maybe go with the one the special form buttons, then we could have Sharon Drury: Well, Betty Montgomery: the Sharon Drury: hold Betty Montgomery: speech Sharon Drury: on. if we Okay, that gives us twelve point seven Betty Montgomery: So uh maybe if we got rid of like the maybe one of the special colours, kept them all the same colour, then we could have the voice recognition Sharon Drury: But remember Betty Montgomery: without Sharon Drury: that the idea was to keep it the colour of the Oh, I see, so just take out the special colour for the apple and Betty Montgomery: Yeah, yeah. Melissa Plunkett: Um, D Betty Montgomery: Um Melissa Plunkett: wouldn't you have to keep the simple chip there as well? You know how you turn that one to a zero, wouldn't the chip and the Martha Thiel: Yeah, we have to have Melissa Plunkett: sample Martha Thiel: it Melissa Plunkett: speaker be separate things, Betty Montgomery: Oh Melissa Plunkett: so you Betty Montgomery: possibly, Melissa Plunkett: need both Martha Thiel: Yeah. Melissa Plunkett: of them? Betty Montgomery: yeah, yeah maybe. Maybe um we'd be giving up on the kinetic. Um Sharon Drury: And go Martha Thiel: Yeah. Sharon Drury: for battery instead. That would give Betty Montgomery: We should Sharon Drury: you one less. Betty Montgomery: Yeah, that would save us one, though we'd still be slightly Sharon Drury: But you Betty Montgomery: ov Sharon Drury: reckon that i I mean the thing is that you wanted to a appeal to people and not have to replace batteries. Betty Montgomery: Yeah, yeah. Well, since it's the through the whole technology type thing, um, you were saying in the market research that people like kind of interesting gadgets in them. Martha Thiel: Mm-hmm. Betty Montgomery: Um, whether they would figure the the s uh sample senor and the sample speaker, voice recognition be sort of a worthwhile thing to have. And then still Martha Thiel: Mm-hmm. Betty Montgomery: have the batteries, or whatever they would prefer not uh You know what I mean? The the problem was the battery's Sharon Drury: Mm-hmm. Betty Montgomery: running out and losing the um Martha Thiel: Yeah. Betty Montgomery: losing the remote. So you gotta decide which of those is more important to them. Sharon Drury: But which do you think or which do we think is the more important of the options? Melissa Plunkett: I think the Sharon Drury: In Melissa Plunkett: voice Sharon Drury: a sense, Melissa Plunkett: recognition. Sharon Drury: at the moment, we've got a total which we need to reduce down by one point two. At least. Remember that was a minimum requirement. The other option if we're planning on just going for something cheap and cheerful, would be to um make it originally, we're gonna make it a simple Martha Thiel: Shall Betty Montgomery: Yeah. Martha Thiel: we Sharon Drury: product. Martha Thiel: shall we evaluate the prototype as we've got it now first, and then sort of make decisions about what needs to be changed after? Sharon Drury: Mm-hmm. Makes Martha Thiel: Okay. Betty Montgomery: Okay. Sharon Drury: sense. Martha Thiel: Right um, I have a little thing. So, we've all got a note of it's thirteen point seven, isn't it, with everything we want on. Sharon Drury: Sorry, do you want that Martha Thiel: Yeah, Sharon Drury: back Martha Thiel: I Sharon Drury: up? Martha Thiel: just had a presentation to Sharon Drury: Right. Martha Thiel: do. Melissa Plunkett: But I do think uh the v uh voice recognition thing would be more impressive than the fact that it's got no battery. Sharon Drury: Okay, but remember the main the only reason we were planning on having the voice recognition was so that they could find the remote if it got lost. Martha Thiel: Mm-hmm. Mm. Right okay um, This is about the evaluation criteria that we use for the the prototype we've got here. And so the method is that the design team makes a prototype, and we evaluate the prototype against some criteria that we've formulated. And those ones are gonna be in response to sort of market research, and also finance, I guess. And do that on a scale from say true being one and false being seven, so if it's neither true nor false, then that's four. Martha Thiel: So, I got a set of criteria just based on the marketing that we need to add in a financial one as well, at the end. Um so, We have to say whether it's true or false that the product looks and feels fancy. Um The whether the product demonstrates technical innovation. Whether it's easy to use. Whether it's incorporating sort of the fashion element to attract the buyer. And whether it's a sort of recognisable Real Reaction product. And I have to go up onto the whiteboard and do this apparently, Betty Montgomery: Okay. Martha Thiel: so I'll go over here. Martha Thiel: Right. So the first one is um, does the product look and feel fancy. So if we do a sort of a one So Betty Montgomery: Okay, well we have a single curve, which was maybe like the Martha Thiel: Yeah. Betty Montgomery: feel of the product's quite good. So Martha Thiel: Okay. Betty Montgomery: uh Um, then we have the rubber kinda spongy feel, which was Martha Thiel: Yeah. Betty Montgomery: in at the time. Martha Thiel: Yeah. Betty Montgomery: Um, Martha Thiel: Yeah. Betty Montgomery: sorry that'd be considered fancy. Melissa Plunkett: Yeah, I'd maybe give it a a two. Martha Thiel: Of but I think What Is one false, or is t one true? I forgot. Melissa Plunkett: One's true. Martha Thiel: One's true, and okay. Seven's Melissa Plunkett: And a Martha Thiel: fal Melissa Plunkett: four is neutral. Martha Thiel: Four is neutral, okay. So Betty Montgomery: So maybe maybe a two. Melissa Plunkett: Yeah, 'cause we haven't got the double curve, so we can't like Sharon Drury: Go Melissa Plunkett: say it's Sharon Drury: for Martha Thiel: Right. Melissa Plunkett: completely Sharon Drury: one. Melissa Plunkett: true. But Sharon Drury: Yep. Melissa Plunkett: it's pretty close. We've got almost everything we can. Martha Thiel: Okay. Sharon Drury: Okay. Martha Thiel: Right. I gonna put underneath so I've got some more space. So, false is seven, true is one, and So uh say about a two for fancy, Betty Montgomery: Yeah. Martha Thiel: you Melissa Plunkett: Yeah. Martha Thiel: think? Okay. Sharon Drury: Yeah, why not not, m m maybe nearer three. Martha Thiel: Okay, well d you do Sharon Drury: Two Martha Thiel: an average Sharon Drury: three. Martha Thiel: at the end, I don't know. Um Sharon Drury: Well, it's just that uh saying something remember that when you look down, we've got solar power, we've got uh various other things you could have, Martha Thiel: Uh-huh. Sharon Drury: and we're not going for Martha Thiel: This Sharon Drury: these Martha Thiel: this Sharon Drury: options. Martha Thiel: is just this is just for like the look. Does it sort of look Sharon Drury: Mm-hmm. Martha Thiel: fancy rather than functional. So Melissa Plunkett: Yeah, I suppose that might be in the technical innovation bit. Martha Thiel: Yeah, so that so sh should we go for a a two on that? Sharon Drury: Okay. Martha Thiel: 'Kay. And I mean, how much does the product demonstrate technical innovation do Betty Montgomery: Um, Martha Thiel: you reckon? Betty Montgomery: deciding between the kinetic power or um the speech recognition, and if we had either of those for our budget, they both show a reasonable Martha Thiel: D Betty Montgomery: amount Martha Thiel: yeah. Betty Montgomery: of speech recognition. Martha Thiel: Okay. So, what about the pr The prototype as it is, Betty Montgomery: Um Martha Thiel: we've got we've got the speech recognition on it, haven't we. Betty Montgomery: But not the kinetic. Martha Thiel: But not the kinetic. Betty Montgomery: Like the power. Sharon Drury: No. 'Cause you can't afford that w we Betty Montgomery: No, Sharon Drury: took Betty Montgomery: we c Sharon Drury: that out Betty Montgomery: ca Sharon Drury: too. Betty Montgomery: yeah, we can't afford both. Martha Thiel: Alright, Sharon Drury: Didn't Martha Thiel: so Sharon Drury: you? Or Martha Thiel: So it doesn't It's pretty The prototype as it is isn't sort of um fulfilling the Betty Montgomery: No may is maybe about Melissa Plunkett: Maybe Betty Montgomery: neutral Melissa Plunkett: a three. Betty Montgomery: plus it it it's got something, but it hasn't got Martha Thiel: Okay. Yeah. Sharon Drury: Well, wait a minute. In Melissa Plunkett: I Sharon Drury: thirteen Melissa Plunkett: would give Sharon Drury: point Melissa Plunkett: it Sharon Drury: seven Melissa Plunkett: more than Sharon Drury: we Melissa Plunkett: a four. Sharon Drury: do have kinetic. The problem is we have to reduce down from there to Betty Montgomery: Right. Sharon Drury: get it down to twelve point five. Betty Montgomery: Okay. Sharon Drury: And one way of doing that would be to take out the kinetic. So, it's very much dependant on what you do with your options. Martha Thiel: Right, Sharon Drury: And Martha Thiel: okay. Sharon Drury: if Betty Montgomery: 'Kay. Sharon Drury: you're definitely going for the sample sensor and sample speaker, then because that the other functions we've got in are are more at the The special material, the rubber, wood, titanium, et cetera, if you go for that, th that's at the high end 'cause that's point six, whereas down at uh just special colours uh is point two. Now you're trying to lose one point two, so it seems to Martha Thiel that if you're going for the sample sensors speaker, you're basically then having to go for the cheaper options on everything else. Martha Thiel: Mm-hmm. Betty Montgomery: Okay. Sharon Drury: And Betty Montgomery: Um Sharon Drury: and the simple way to do it would be to have a battery, to have your uh sample sensor speaker, and then you're looking to uh take out Martha Thiel: S Sharon Drury: uh point two, Martha Thiel: I'm just gonna check my email. Sharon Drury: which would be come from the button supplements category. Martha Thiel: I'm just gonna check exactly what it said in the email for um the product. Melissa Plunkett: How much of a difference would it make if we made the case in plastic? Because we did say that we don't wanna follow the fashion too much. If the buttons are rubber that might be spongy enough. And then it Sharon Drury: Um, Melissa Plunkett: stand the Sharon Drury: interface Melissa Plunkett: test of time better. Sharon Drury: type um, well plastic rather than rubber. Martha Thiel: Okay. But I Sharon Drury: That that that would make the significant difference. You could either you could have it If you have a in plastic rather than rubber, then that would uh enable you to get you could keep kinetic then, you could keep your sample sensor, and you'd be looking to take out point two. So you could uh fiddle that down your special form at the bottom, or your special colour at the bottom. Betty Montgomery: Mm-hmm. Melissa Plunkett: Mm-hmm. Sharon Drury: And that would enable you to to do it. Martha Thiel: Okay. Betty Montgomery: So it says if we make a slightly more fancy, then we lose points innovation, and if we make it more innovative innovative, Sharon Drury: Yeah. Betty Montgomery: then we lose Martha Thiel: Yeah. Betty Montgomery: points on Sharon Drury: Ye Betty Montgomery: it being fancy, so Martha Thiel: I just read the email again and it sort of says it's evaluate the design sort of as it is, I think, so I think we need to think about finance after we've sort of evaluated that design. I don't know whether we're doing it in the wrong order or something or. Sharon Drury: Well, okay, but Melissa Plunkett: Well, I suppose it's rubber as it is, isn't it. Sharon Drury: It's rubber as it is, yes. Martha Thiel: bit or something, 'cause we've got both the both the um Sharon Drury: We Martha Thiel: the Sharon Drury: got we've Melissa Plunkett: Yeah. Martha Thiel: speech Sharon Drury: we've got thirteen point seven and we've got it in at the moment and if Martha Thiel: Yeah. Sharon Drury: and basically, we're going to reduce down from that. But the current one, you'd say would be fancy, would be too Betty Montgomery: Yeah, yeah. Martha Thiel: Yeah. Um, for for innovation, so we've got the speech the speech thing, and Sharon Drury: Mm-hmm. I would've said about a two as well. Martha Thiel: Do you reckon a two? Melissa Plunkett: Yeah, two or three. I'd be happy with a two. Martha Thiel: Okay. Sharon Drury: Oh. Martha Thiel: Two. And the next one is I'll have to get it back up now. Sharon Drury: The next on Well, I can just sing about. Easy to use. I would've said yes. I would go for a one on that at this point in time. Melissa Plunkett: Yeah. Martha Thiel: Okay. Melissa Plunkett: Yeah, I would say so as well. Sharon Drury: Um, incorporates elements of fashion to attract buyer. Well, Betty Montgomery: Um Sharon Drury: yeah it certainly has some. Melissa Plunkett: Yeah, it's got the cherry Betty Montgomery: It does, yeah. Melissa Plunkett: and the Martha Thiel: Um Melissa Plunkett: sponginess. Sharon Drury: Yep. Martha Thiel: Say about a three maybe? Sharon Drury: I don't know. Betty Montgomery: Yeah, Melissa Plunkett: Maybe Betty Montgomery: m um Melissa Plunkett: two? Betty Montgomery: Yeah, it was just doing it quite well. Um, I Sharon Drury: Yep. Betty Montgomery: think we're gonna have to lose some of these, but the moment, as it stands, it's um Sharon Drury: Yeah, I Martha Thiel: It's Sharon Drury: woulda Martha Thiel: a Sharon Drury: said Martha Thiel: two. Sharon Drury: two would seem reasonable. The product is a recognisable real r uh Martha Thiel: Yeah, this Sharon Drury: reaction Martha Thiel: is Sharon Drury: product? Betty Montgomery: Uh Martha Thiel: This Betty Montgomery: the sensor using all of its all of its products, all of its buttons, and it's got a fairly big label on the bottom saying Melissa Plunkett: Yeah, that's Martha Thiel: Yeah. Betty Montgomery: where Melissa Plunkett: a bit Betty Montgomery: it Melissa Plunkett: rough Betty Montgomery: comes Melissa Plunkett: at the minute. Betty Montgomery: from. Martha Thiel: So this is about sort of the corporate Sharon Drury: Oh. Martha Thiel: image of like new sort of sleek technology and all that sort of thing, as well Betty Montgomery: Okay. Martha Thiel: as having the logo on and all that. So sort of Is it sort of a recognisable product. Does it fit in with our other other products, which uh are sort of coffee makers and spacecraft. Melissa Plunkett: Uh, Martha Thiel: What Melissa Plunkett: well Sharon Drury: S Martha Thiel: do Melissa Plunkett: it's Martha Thiel: y Melissa Plunkett: got the same um speech feature as the coffee machine. Betty Montgomery: Also it's kind of spongy rubberiness is maybe bit more kinda comfortable than kinda sleek and new Martha Thiel: Yeah. Betty Montgomery: age. Um, Martha Thiel: Uh-huh. Betty Montgomery: it depends which way you look at it. Sharon Drury: Okay. So Martha Thiel: So Sharon Drury: we're going for a Betty Montgomery: Maybe a kind of Sharon Drury: two, Betty Montgomery: three? Uh d Martha Thiel: Two Sharon Drury: three? Melissa Plunkett: Yeah, Martha Thiel: or three? Melissa Plunkett: two or three. Well, the logo would be more um recognisable on the actual thing. It's just that the pen wouldn't really write on that paper. Sharon Drury: Sure. Melissa Plunkett: But um, Martha Thiel: Yeah. Melissa Plunkett: I think the logo would definitely be recognisable. And it does have attributes that other products do. Two? Aye. Go for it. Sharon Drury: Right, Martha Thiel: Two Sharon Drury: okay. Martha Thiel: or three. Sharon Drury: Two. Martha Thiel: How Sharon Drury: Right, come on. Martha Thiel: Two. Sharon Drury: That's Martha Thiel: Okay. Sharon Drury: that decided. Right. So Martha Thiel: Right. Sharon Drury: So we're now on to changing it to get it to fit in with the budget requirements, and then Martha Thiel: Yeah. Melissa Plunkett: What does what do all them numbers mean then? Do we add them up and rate or anything? Martha Thiel: Yeah we s yeah, I think we sort of add them up so sort of at an average is gonna be I'm just gonna do this Sharon Drury: About Martha Thiel: in my Sharon Drury: a two. Martha Thiel: head. Sharon Drury: Two. Martha Thiel: One point eight isn't it or something. I think, anyway. So yeah, pretty close to a two. Betty Montgomery: Yeah, Martha Thiel: So Betty Montgomery: so it's Martha Thiel: So it's I mean it's pretty good at the moment, but it's gonna get worse, isn't it. But we've gotta Sharon Drury: Yep. Martha Thiel: try and make sure it doesn't get Betty Montgomery: So should Sharon Drury: Two Martha Thiel: too Sharon Drury: b Martha Thiel: bad. Sharon Drury: two b two, yeah. Betty Montgomery: we get So are definite Was it thirteen point seven was the definite price rule if has. Sharon Drury: Yes. Martha Thiel: Yeah. Betty Montgomery: Okay, so we need to Sharon Drury: Well, you can lose one point two and still meet Martha Thiel: Do you wanna Sharon Drury: the requirements. Martha Thiel: plug it into yours so we can get up the Sharon Drury: Okay, well I put it back Martha Thiel: the Sharon Drury: on. Martha Thiel: finances Betty Montgomery: So I guess this Is this the last stage once we sort out the finances part of it? Martha Thiel: I'm not sure. Melissa Plunkett: we'll probably have to re-rate it. Sharon Drury: Yes, I would've thought so. Betty Montgomery: Yeah, Martha Thiel: Yeah. Betty Montgomery: yeah we'll make the adjustments and then see how are rates are going. Sharon Drury: Okay, so what was it, control uh F_ eight, wasn't Melissa Plunkett: Ah Sharon Drury: it? Melissa Plunkett: it's on. Martha Thiel: it's come on already. Sharon Drury: Oh. Oh. How kind. Right, okay. So, you can see there that the If you want to keep kinetic, right, you've got a choice there of going down to battery, which would save you one. You've got the sample sensor and and sample speaker, which is your big item. Betty Montgomery: Oh actually we just have a plastic case, then we lose two Sharon Drury: That's Betty Montgomery: points, Sharon Drury: right. Betty Montgomery: which gets us um Martha Thiel: Mm. Sharon Drury: Which gets you Betty Montgomery: In right within the budget range. Sharon Drury: Yes. Melissa Plunkett: Yeah, I think that'd be fine. Because that was just a trend, and we do have rubber buttons anyway. Betty Montgomery: So that's eleven point Martha Thiel: Yeah. Betty Montgomery: seven, and then we could make sure we definitely had all the button supplements. Martha Thiel: Different Sharon Drury: Alright. Martha Thiel: different colours, yeah. Yeah, I was I was thinking that because maybe maybe the sort of rubber case is a bit less in sort of the corporate identity than the Betty Montgomery: Possibly, Martha Thiel: sort of you Betty Montgomery: yeah. Martha Thiel: know sleeker plastic case. Betty Montgomery: Um Melissa Plunkett: Yeah. Sharon Drury: Okay, Betty Montgomery: And that would Sharon Drury: so Betty Montgomery: allow us to have all the technical innovations. So we'd lose a little bit on the maybe kind of Sharon Drury: So we're going for plastic, yes? Martha Thiel: Lose a little bit on the fashion, yeah, but Sharon Drury: Yep. Betty Montgomery: Oh Martha Thiel: And Betty Montgomery: yeah, Martha Thiel: then Betty Montgomery: and that would now be Yeah, that's that's within the budget. Um Do we actually have Do we just have one special uh special forms down here? Sharon Drury: Well, uh w uh there was debate as to how you would count them. Betty Montgomery: Um Sharon Drury: You got special colour. Well originally I was assuming we had the red apple, and therefore, that was the special colour. Melissa Plunkett: Yeah, I think we should just imagine white buttons. Betty Montgomery: And we we've we've got we've got enough for another Martha Thiel: Yeah. Betty Montgomery: we've got nought point eight left, so we've got enough for Sharon Drury: Well, Betty Montgomery: another Sharon Drury: we've got special form. Now that would be one button, and the question was was that all buttons or is that just one button. 'Cause our plan really was to have one button only with a special Betty Montgomery: Yeah, um Sharon Drury: So so no matter Betty Montgomery: But the Sharon Drury: how you Betty Montgomery: but Sharon Drury: look at that, that would be the same. The other Betty Montgomery: but Sharon Drury: thing would Betty Montgomery: but Sharon Drury: then Betty Montgomery: the Sharon Drury: be special material, rubber, wood, titanium. Betty Montgomery: I think maybe the special colour, we've got three now just because the Martha Thiel: Yeah. Betty Montgomery: volume buttons are different, I guess we'd have the ones which are blue at the moment Sharon Drury: Alright. Betty Montgomery: would would just be Sharon Drury: So, Betty Montgomery: the standard Sharon Drury: special Betty Montgomery: colour. Sharon Drury: colour, you want three in there. Betty Montgomery: Yeah, which I think we should Yeah, they'll still be fine for the for the price. Sharon Drury: Okay. Martha Thiel: Well I thin I think you you you just need two for the special colour 'cause it's just two supplements, you know. One original colour and then sort of two supplements, I think maybe. Sharon Drury: That makes sense. Betty Montgomery: Okay, Martha Thiel: Okay. Betty Montgomery: uh Melissa Plunkett: Yeah. Betty Montgomery: that's probably it. Martha Thiel: So we only ne we only need two for that. Sharon Drury: Okay. Martha Thiel: 'Cause I mean these these are moulded. The one colour's gonna be moulded out of a piece of plas uh of rubber, isn't Sharon Drury: Okay. Martha Thiel: it. Sharon Drury: Yeah, I would agree with that, I think. So special colours, two. Martha Thiel: Right. Sharon Drury: And we've got special form is the one apple. The rest are all standard, although you could argue that should maybe be You were making these buttons down the bottom, I was presuming, bigger than the other ones, or were you? Betty Montgomery: Ne Sharon Drury: Was that the Betty Montgomery: uh Sharon Drury: idea? Melissa Plunkett: Yeah, the volume ones should Betty Montgomery: Maybe Melissa Plunkett: stand Betty Montgomery: that'll be Melissa Plunkett: out Betty Montgomery: a Melissa Plunkett: a bit. Betty Montgomery: second supplement. Martha Thiel: Yeah, Betty Montgomery: Then there's Martha Thiel: that Betty Montgomery: a spe a second special form. Sharon Drury: Uh-huh. Martha Thiel: Yeah. Sharon Drury: I Betty Montgomery: Um Sharon Drury: would have thought that's probably about r Betty Montgomery: Well you got you got twelve. Sharon Drury: well. Martha Thiel: Okay, so tha Betty Montgomery: So I think that should still be okay. Yeah, Sharon Drury: Right. Betty Montgomery: that's twelve point three, so we're still within budget on that. Sharon Drury: Yep, that Betty Montgomery: Um Sharon Drury: makes sense. Betty Montgomery: So decide we've lost a little bit on the fashion and lost a bit on the fancy kinda Sharon Drury: Yep. Betty Montgomery: side of it, but generally speaking, we've kept the other attributes to the Sharon Drury: I woulda said so. Yeah. So you'd maybe put fash fan uh Betty Montgomery: That's Sharon Drury: fashion Betty Montgomery: without Sharon Drury: at three rather than Martha Thiel: So shall we do Betty Montgomery: Yeah. Martha Thiel: a Sharon Drury: two. Martha Thiel: Well, um Betty Montgomery: And specially it definitely could fits the the real product What was the what's the company name? Melissa Plunkett: Real Reactions? Sharon Drury: Real Betty Montgomery: R yeah. Sharon Drury: Reaction produ Martha Thiel: Yeah. Betty Montgomery: Yeah, Sharon Drury: I'm not quite sure, what Betty Montgomery: yeah. Sharon Drury: does that mean? Betty Montgomery: I mean it still seems definitely fit that p so that's like if that's the new age kind of um inno innovative Martha Thiel: Yeah, so Betty Montgomery: c type company, then um having the kinetic feature and the voice recognition Martha Thiel: Uh Betty Montgomery: is Sharon Drury: Yep Betty Montgomery: p quite high up Martha Thiel: So Betty Montgomery: on Martha Thiel: it's Sharon Drury: I Martha Thiel: w if we've Sharon Drury: would Martha Thiel: if Sharon Drury: s Martha Thiel: we've put in for another special form on a button, then maybe they could be a different shape. Like we got a cherry one. Maybe other ones could be something else shaped. I don't know. That Betty Montgomery: Um Martha Thiel: would be poss Sharon Drury: You mean of Martha Thiel: seeing as seeing as it's cheaper to make them a different seeing as we've got, you know, we've made it a a special form, so And that would sort of maybe keep us close on the sort of the fashion type one. And it would sort of, you know, keep it quite fancy as well, I don't Betty Montgomery: Mm-hmm. Martha Thiel: know. Sharon Drury: Well you could argue you might do it once a year, you would change, because at the moment you're making a red apple. Betty Montgomery: Yeah Martha Thiel: Well you Betty Montgomery: so Martha Thiel: could Betty Montgomery: it's Sharon Drury: So Betty Montgomery: a Sharon Drury: next year you could make next year's model the same, but have it as a Martha Thiel: Yeah. Betty Montgomery: Whatever fruit Sharon Drury: a Betty Montgomery: was in Sharon Drury: yeah Betty Montgomery: fashion Sharon Drury: whate Betty Montgomery: next Sharon Drury: whatever, Betty Montgomery: year. Sharon Drury: a lemon. Yeah, l a lemon lemon or something. Martha Thiel: Yeah, Sharon Drury: And Martha Thiel: I mean Sharon Drury: that Martha Thiel: the volume buttons could be lemons or something, maybe. Sharon Drury: amount Martha Thiel: Okay. So, we've what have we what have we rid of. We got rid of the plastic. Sharon Drury: Yeah, we've the Martha Thiel: Is Sharon Drury: main Martha Thiel: it Sharon Drury: thing we've Betty Montgomery: That Sharon Drury: changed Martha Thiel: The Betty Montgomery: yeah, Martha Thiel: rubber. Betty Montgomery: that was Sharon Drury: really Betty Montgomery: uh Sharon Drury: is Betty Montgomery: that Sharon Drury: the casing isn't it? Betty Montgomery: was Sharon Drury: We've Martha Thiel: Yeah. Betty Montgomery: just about all. I think we've saved quite a bit because we've just got the push-button interface, which is by far the cheapest. Martha Thiel: Yeah. Betty Montgomery: Um Martha Thiel: But uh Betty Montgomery: So maybe in a sense not having that, maybe we've lost some maybe lost something on the innovation side? I dunno. And that is like the most standard type of button. Martha Thiel: So I mean, we've got we got rid of the rubber case, but we've now s we now sort of got an extra form, and an extra colour for the buttons. So maybe in terms of sort of fanciness and fashionability, we're pretty much the same, Betty Montgomery: Yeah. Martha Thiel: maybe. So, I mean we could maybe put two again on them. Betty Montgomery: And everything else has stayed pretty much the same, Sharon Drury: Well, Betty Montgomery: so Sharon Drury: ease has certainly stayed. Betty Montgomery: Yeah, plus if anything Martha Thiel: Yeah. Betty Montgomery: that is special forms makes it slightly easier to Sharon Drury: Yeah. Martha Thiel: Yeah. Betty Montgomery: to use. Martha Thiel: And what about the sort of innovation? Betty Montgomery: Um, Martha Thiel: Do you think Betty Montgomery: well we've still got the kinetic energy. Um Martha Thiel: Okay. Sharon Drury: And the speech feature. Betty Montgomery: Yeah, the speech feature. Martha Thiel: And then, the corporate identity. Betty Montgomery: I think we've cut just about the same. We've maybe lost Hasn't it It's hard to tell how the rubber the rubber Sharon Drury: How Betty Montgomery: casing Sharon Drury: it would play Betty Montgomery: would really Sharon Drury: out, Betty Montgomery: affect Sharon Drury: yeah. Martha Thiel: Yeah. Sharon Drury: Oh. Martha Thiel: Whether whether that's considered to be sort of part of the corporate identity, I don't know. I mean, Betty Montgomery: Um Martha Thiel: it's maybe not. I mean Betty Montgomery: But I think more the the features of the actual control will be more important than maybe than the Martha Thiel: Yeah. Betty Montgomery: the actual aesthetics, but Martha Thiel: Yeah. Betty Montgomery: But either way, I think we've made it fairly close to what Martha Thiel: Yeah. Okay, Melissa Plunkett: Yeah, Martha Thiel: well I Melissa Plunkett: I Martha Thiel: mean Melissa Plunkett: don't see how we could make it any more. Um, Martha Thiel: We cou Melissa Plunkett: apart from maybe doing the whole thing in the kinda light shade of blue, like the casing. Martha Thiel: Mm-hmm. Melissa Plunkett: But then what colour would you make the R_s? Betty Montgomery: just the the company logo. So maybe there's like a set design which we get Sharon Drury: Well, Martha Thiel: Yeah. Sharon Drury: but Betty Montgomery: printed Sharon Drury: you've got Betty Montgomery: off. Sharon Drury: the company logo on there, which would effectively be a stick-on badge. Betty Montgomery: Okay. Sharon Drury: So you're in a sense, you're comparing the product without the company logo. Martha Thiel: Yeah. Sharon Drury: And then y but you've got the space for it Betty Montgomery: Yeah, Sharon Drury: to stick Betty Montgomery: yeah. Sharon Drury: it on. Martha Thiel: Hey, what what what's the company colour? Did you get told what the company colour is or Betty Montgomery: I'm still not quite sure we've established that. Melissa Plunkett: No, I just Sharon Drury: Don't think Melissa Plunkett: We Sharon Drury: so. Melissa Plunkett: got Sharon Drury: But Melissa Plunkett: the logo Sharon Drury: but Melissa Plunkett: off the Sharon Drury: i Melissa Plunkett: web Sharon Drury: but Melissa Plunkett: browser. Sharon Drury: in the sense that, as you saw Martha Thiel: Oh Sharon Drury: with Martha Thiel: right. Sharon Drury: um the Windows logo badge, it doesn't really matter. There's virtually n The way that you frame, you know, the Windows badge on there, it really doesn't matter what Martha Thiel: Hmm. Sharon Drury: colour it is, so long as our company's logo is framed w in the same way as that with a Martha Thiel: Mm-hmm. Sharon Drury: like a black outline. Fact, they've got black and white or black and silver. So Martha Thiel: Mm. Sharon Drury: basically, even if you had a silver the same colour of silver on your display, because you've got effectively a double edging on the uh on the logo, it means that it splits off what your logo is from the from the product. And Martha Thiel: Okay. Sharon Drury: that's actually quite a sneaky way of doing it. Martha Thiel: Uh-huh. 'Cause you've got sort of we've got point two to play with if you really wanted to. Sharon Drury: You could put in another Martha Thiel: Another colour. Or Sharon Drury: Well, Martha Thiel: would that Sharon Drury: in Martha Thiel: be Sharon Drury: this Martha Thiel: t Sharon Drury: one, you've actually got three colours of buttons. Martha Thiel: Yeah. Sharon Drury: Well, we decided that the blue ones were the um the standard colour. Martha Thiel: Okay. Sharon Drury: So you were talking about uh um We're assuming that all the buttons on the second panel, the hidden away panel, would all be standard. Betty Montgomery: Yeah. Martha Thiel: Yeah. Melissa Plunkett: Mm-hmm. Sharon Drury: Which m may or may not be the case. Martha Thiel: Yeah. Shall Betty Montgomery: Um Martha Thiel: we save the point two for profitability then? Sharon Drury: Well, yeah. Bu but but uh was the was there not a button that you were thinking of on the um on the other opt you know, on the second page, as it were, that uh you were thinking of maybe having as a different colour? Melissa Plunkett: Um, I don't think they would really need to be. I think if they were just all small round blue buttons, it'd be fine. Betty Montgomery: Yeah, maybe Melissa Plunkett: Needs Betty Montgomery: we've Melissa Plunkett: to be Betty Montgomery: m Melissa Plunkett: an enter button, but could just be the same as well. Betty Montgomery: Maybe for the the one they're gonna see all the time, we make it look good, and um, Martha Thiel: Hmm. Betty Montgomery: fit the kind of idea of what they want. And then for the more functional buttons, we don't worry too much about that and just have that as like a plus it's hidden away anyway, you're not gonna see it at the start. Martha Thiel: Yeah. I mean it's the sort of thing that, I mean, you wanna pick up the controller and just hit a button quickly Sharon Drury: Yeah, Martha Thiel: to Sharon Drury: well Martha Thiel: change the channel or volume. So, if it's dead obvious, then that's fine. But if you're opening the panel and you're looking and you're tuning, then you're paying a bit more attention. So it may be sort of different colour buttons isn't so important. Sharon Drury: Alright. Okay. Martha Thiel: 'Cause you Yeah. Betty Montgomery: Yeah. Sharon Drury: So Martha Thiel: So Sharon Drury: we just add that to profitability in effect. Martha Thiel: Yeah, I mean so Melissa Plunkett: Mm-hmm. Martha Thiel: we've dropped the cost, but Sharon Drury: Right, so we're meant to finish up in five minutes. Martha Thiel: Same sort of function? The criteria? It's alright. Betty Montgomery: 'Kay. Martha Thiel: Just made a load of money. Melissa Plunkett: Shouldn't we maybe lose a point on fashion, go to a three? 'Cause we've lost the overall spongy feel. 'Cause it doesn't seem right that it just hasn't changed at all. Martha Thiel: Well, but I think we said that w Because you got rid of the rubber, we put an extra an extra sort of fruit um shape on one of the buttons. Melissa Plunkett: Alright. Martha Thiel: le lemon Melissa Plunkett: Did we Martha Thiel: sh Melissa Plunkett: decide what that was, which button it was? Martha Thiel: I think well, Melissa Plunkett: On the volume ones? Martha Thiel: we could have lemon shaped ones with the volume ones or something. Melissa Plunkett: Right. Betty Montgomery: Uh, Martha Thiel: Or something like Betty Montgomery: That's Martha Thiel: that. Betty Montgomery: good. Martha Thiel: Yeah. Betty Montgomery: Definitely lemon shaped. Martha Thiel: Did did you have to have a rubber case, though, for rubber buttons? Or was it the other way around? Betty Montgomery: You had to have rubber buttons if you had the rubber case. Martha Thiel: Right, Sharon Drury: Mm-hmm. Martha Thiel: okay. Betty Montgomery: So I think we can we're Sharon Drury: So Betty Montgomery: okay. Sharon Drury: we're okay this way around. Martha Thiel: Yeah. So that so we've Sharon Drury: Until Martha Thiel: saved Sharon Drury: the design team comes in and says, get off. But you are the design team. Betty Montgomery: Then we say it's fine, so it's all good. Martha Thiel: Saved two Euros on that. Sharon Drury: So what bit are we on to? Melissa Plunkett: Um, can I just check if that's a cherry or an apple? Did we decide against the apple because of Apple Mac? And did we make it Sharon Drury: Yeah. Melissa Plunkett: a cherry officially? Sharon Drury: I th Martha Thiel: Mm-hmm. Sharon Drury: I th Oh. Right, okay. Betty Montgomery: Just in case we need that point two for lawsuits and such like. Sharon Drury: Oh drats, I've botched that, haven't I. Melissa Plunkett: So were we aiming for a certain target on that scale? Martha Thiel: Well, we're aiming for um one for all of them. M but Melissa Plunkett: Right. Martha Thiel: it really has to fit into the budget, so I guess we just have to adjust things to get it i in the Which is fair enough. Betty Montgomery: And we seem to have least something in each criteria. Martha Thiel: Yeah. Betty Montgomery: We haven't completely left anything out, so Martha Thiel: Yeah, I think most Betty Montgomery: As an overall product which has to be quite cheap, we've just about achieved Martha Thiel: Yeah. Betty Montgomery: everything. Martha Thiel: Yep. Melissa Plunkett: So do we have anything else to discuss? Martha Thiel: I don't know. What's on the agenda? Sharon Drury: Right, okay um What's happened here? Sharon Drury: Right, okay um Sharon Drury: Mm. Right, okay um, Right. So we got Betty Montgomery: We've got the Sharon Drury: So Betty Montgomery: closing. Sharon Drury: we've done the the finance bit and the Excel project and the We've done the redesign. So we're now on to project process. Now satisfaction with, for example, room for creativity, leadership, teamwork, means, et cetera, whiteboard, digital pens, et cetera. So, we're actually now uh, in a sense, on to the evaluation of the course rather than the evaluation of the project is Martha Thiel: Uh-huh. Sharon Drury: m my understanding of it. So what did you and remembering that nobody's just over the curtain. So, um Martha Thiel: Finish your meeting now. Betty Montgomery: We should just go through Melissa Plunkett: Huh. Betty Montgomery: this quickly and then Martha Thiel: Yeah. Sharon Drury: So I suppose the easiest way of doing it is to put some notes down, which I will do. Martha Thiel: Okay. Sharon Drury: So, uh I think I have to finish that page. Martha Thiel: Oh. Sharon Drury: Right, okay, so Sharon Drury: Project evaluation. So, um Creativity. Did you feel you got a chance to express yourselves well enough? Betty Montgomery: Um, yeah. Melissa Plunkett: Yeah. Sharon Drury: Well Betty Montgomery: Yeah. Sharon Drury: um Martha Thiel: I thought some of the divisions though between sort of the individual meetings were a bit arbitrary. Sharon Drury: Individual meetings. How do you mean? Martha Thiel: Yeah. Well, we were finding out various things in Sharon Drury: In you on your own. Martha Thiel: in be in-between the meetings, and they didn't the one meeting didn't always follow on for the other one, you know, sort of we had things thrown in at the second meeting where, Sharon Drury: Um Martha Thiel: you know, you'd looked at the remote controls and seen the curviness, but in the first one you'd also looked at some remote controls and looked at the buttons, and I don't understand why it would be in separate meetings that you'd do that. You know, you'd sort of you'd probably present it at one or something like that. Sharon Drury: Mm, The only thing you find is in a manufacturing process, you would normally, you go to a meeting, you decide, right, you do this, you do that, you do that. Martha Thiel: Yeah. Sharon Drury: Then you go away. You find out information. You then come back. You then discuss it. You then Martha Thiel: Uh-huh. Sharon Drury: go and change things around, and then go back. Martha Thiel: Yeah. Sharon Drury: So Betty Montgomery: Yeah, I suppose and then be going out and finding more information each time and Sharon Drury: Whereas, Betty Montgomery: then diff Martha Thiel: Yeah. Betty Montgomery: things will Sharon Drury: this Betty Montgomery: be relevant. Sharon Drury: time, you're really getting it from a database source, so it's not Martha Thiel: Yeah. Sharon Drury: uh well uh Anyway, so, what do you want to put down? I've put, seemed okay. Creativity, seemed okay. Um um flow of information on on any given subject given subject um sometimes disjointed. Martha Thiel: Yeah. Melissa Plunkett: I think it maybe could have been a slightly more creative project. I mean a remote control isn't the most um Martha Thiel: Yeah, the thing Melissa Plunkett: kind Martha Thiel: itself. Melissa Plunkett: of fancy thing Sharon Drury: Um Melissa Plunkett: that you could imagine designing. Martha Thiel: Yeah. Melissa Plunkett: at the minute. Sharon Drury: Have could have used a different example pel to increase Martha Thiel: Yeah. Betty Montgomery: Is this go Sharon Drury: create Betty Montgomery: It kinda kis fits the purpose that it was something everyone knows about and then Sharon Drury: Creativity. Betty Montgomery: something we can at least look at and think Martha Thiel: Mm-hmm. Betty Montgomery: how we Sharon Drury: You Betty Montgomery: can improve Sharon Drury: have to do it Betty Montgomery: on. Sharon Drury: within a set time frame is the other thing, so Martha Thiel: Yeah. But think like it was a bit restrictive just to say that you have to design a television remote control, in a way. I mean it depends what sort of business you're in, I guess. I mean this one seems. From the website it looks it's quite innovative, but we're coming up with some bucket shop product aren't we that's, you know, Betty Montgomery: one of those things. Martha Thiel: fifteen Betty Montgomery: Like uh, Martha Thiel: quid. Betty Montgomery: companies can have like a range of products and Sharon Drury: I th Betty Montgomery: I don't know how it works Sharon Drury: I uh Betty Montgomery: but Sharon Drury: d Betty Montgomery: I guess that something got sent out and have like a brief to kind of Sharon Drury: But the other thing is that uh they're I'm guessing that they're trying to use this um software to to demonstrate how you could uh do a project. I Martha Thiel: Yeah. Sharon Drury: mean, m my wife at the moment, for instance, is uh acting as a computer um for um you normally, you got a problem, so you go to your tutor and find out information to see how Martha Thiel: Mm-hmm. Sharon Drury: to get it fixed. So what she's doing is she's having to spend a day at the computer terminal at one end so that any student that comes along can uh ask whatever question. And then you or the idea is that the whichever uh person's at the other end can point them in the right direction, show them where to either give them directly give them help, or secondly, point them in the right direction, either at the library, or uh or or come back, or go and see Joe Bloggs, or whatever. So uh, and that was a project I suspect similar to this, because they they were actually trying to debug the uh computer software to enable um to enable it to work. And Martha Thiel: Hmm. Sharon Drury: of course, you had the Betty Montgomery: Yeah. Sharon Drury: machine crashing and various things going wrong. Betty Montgomery: Well, Martha Thiel: Mm-hmm. Betty Montgomery: sh we look at Sharon Drury: So Betty Montgomery: the last slide, see if it's got anything else. I think Sharon Drury: Alright, Betty Montgomery: there's one Sharon Drury: so we've got Betty Montgomery: one more Sharon Drury: uh Betty Montgomery: to go. Martha Thiel: Yeah. I mean if you look at their products on their website here, Real Reaction, I mean it's all pretty high-tech and cutting edge. Sharon Drury: New Martha Thiel: And Sharon Drury: ideas found, did we find any, no. Betty Montgomery: It was quite good with this um the white board, having that and the digital pens. Like, that's something Sharon Drury: Alright. Betty Montgomery: that made Martha Thiel: Yeah. Betty Montgomery: it a little easier. Martha Thiel: Yeah. Sharon Drury: Leadership, teamwork. Martha Thiel: we did find a new idea, I mean sort of a kinetic remote control. I've never seen one of them before. batteries, I think. So Sharon Drury: Does Betty Montgomery: voice recognition, especially not could Martha Thiel: Mm yeah. Sharon Drury: You've got voice recognition computers, that's Betty Montgomery: Yeah. Sharon Drury: not remote controls. Martha Thiel: Yeah. Melissa Plunkett: Well it's a different application of it. Sharon Drury: Mm-hmm. Betty Montgomery: Yeah, Sharon Drury: Okay, Betty Montgomery: so it's just like the same products, but just put together in a different way. Martha Thiel: Mm. Sharon Drury: so how do you reckon teamwork went? Betty Montgomery: Um Martha Thiel: That went okay, yeah. Betty Montgomery: Yeah, I guess we all had separate ideas and then discussed them. Martha Thiel: Mm-hmm, Melissa Plunkett: Yeah. Martha Thiel: yeah. Sharon Drury: To uh go uh reasonably well. Okay. Martha Thiel: I don't think sort of the budget um allowed Sharon Drury: Bit Martha Thiel: us to do anything Sharon Drury: bit arbitrary. Martha Thiel: Well, I mean I don't think it I just don't think it fitted in with the rest of their products. I mean, they've got all these sort of, you know, Sharon Drury: Mm-hmm. Martha Thiel: high definition D_V_D_ and portable seven inch d um lightweight computer screens, and uh I'm thinking, do you know, one cheap remote control doesn't really fit in. Surely Sharon Drury: So, Martha Thiel: they they should produ Sharon Drury: we're m we're meant to comment on leadership and the means, E_ G_ whiteboard, digital pens, et cetera. Melissa Plunkett: Well leadership's Sharon Drury: And Melissa Plunkett: a bit Sharon Drury: and Melissa Plunkett: of a funny Sharon Drury: new Melissa Plunkett: one, Sharon Drury: i new Melissa Plunkett: isn't Sharon Drury: ideas Melissa Plunkett: it. Sharon Drury: found was the the other thing. Martha Thiel: Yeah. Melissa Plunkett: But we can't really all fairly comment on leadership because you are Sharon Drury. You were the leader. So our experience of leadership wasn't really as Martha Thiel: Yeah. Melissa Plunkett: much as yours. Martha Thiel: Yeah. Sharon Drury: Now, I'd much rather be in marketing but I certainly didn't get this uh computer to work as well as I would have liked. However, um Alright uh means, so whiteboard um so really, it's uh equipment. Oh. Martha Thiel: Yeah. It worked. Melissa Plunkett: Yeah, Martha Thiel: Comput Melissa Plunkett: very nice. Martha Thiel: computers could be a bit difficult at times but Melissa Plunkett: But I mean, I d I don't I'm not sure I see the value in these. I mean, they record what you're writing, and then what do you do with it? Where do you get the recording? Do you plug Martha Thiel: I Melissa Plunkett: the Martha Thiel: think Melissa Plunkett: computer or something? Martha Thiel: there's a little there's a little um Betty Montgomery: So Martha Thiel: chi Betty Montgomery: it's not just for us, it's for the experiment as a whole, so Martha Thiel: There's a little there's a little chip, I think you must plug Betty Montgomery: Should Martha Thiel: it into Betty Montgomery: we quickly Martha Thiel: something Betty Montgomery: look at Martha Thiel: and Betty Montgomery: the last Martha Thiel: it Betty Montgomery: slide? Martha Thiel: produces Betty Montgomery: Sh Melissa Plunkett: Right. Martha Thiel: a Melissa Plunkett: I think you watch a video of it kind of. Martha Thiel: I don't know. Whether it just produces a big image of sort of everything you've written or something, and Page Sharon Drury: Right. Martha Thiel: after page. Sharon Drury: New ideas found, so one or two. Martha Thiel: Yeah. Kinetic powered remote control. Um, what was the other one? Melissa Plunkett: Voice um Martha Thiel: Vo yeah. Melissa Plunkett: recognition thing. Sharon Drury: um and uh voice uh, was it voice activated um Martha Thiel: Voice recognition, yeah. Sharon Drury: recognition. Martha Thiel: S Martha Thiel: Almost. To Melissa Plunkett: Pretty much. Martha Thiel: fill in these fill in these Sharon Drury: Right, Martha Thiel: questionnaires Sharon Drury: so, Martha Thiel: Oh Sharon Drury: uh Martha Thiel: no. Sharon Drury: are the costs within budget, yes. Is the project evaluated, yes. Uh, don't forget to complete final questionnaire and meeting summary. Then celebration. Betty Montgomery: Is that Martha Thiel: Hmm? Betty Montgomery: everything? Martha Thiel: I think that we've got two questionnaires and a Sharon Drury: Yeah. Martha Thiel: report on the last meeting. Sharon Drury: Uh, so we don't re So really I tried to save this the last time at twelve point three, and it didn't seem to have saved anywhere. Mind you, the the figure last was was different, but it should be poss

The first prototype for the remote control was made of single-curved rubber with a total of 16 rubber buttons (some of them in a slide-out panel) with a cherry design on top. It uses kinetic energy and has a sample sensor for the speech recognition. The initial cost was calculated at 13.70 Euros. Although over budget, the team decided to evaluate this prototype before making any changes. On a scale from 1 (true) to 7 (false) they rated it on the basis of the following criteria: fancy design (2), technological innovation (2), ease of use (1), incorporation of fashion elements (2), and brand recognition (2). Changing the rubber case to plastic reduced the cost and allowed for an extra button-form and colour. The team were reasonably satisfied with the project in terms of teamwork and creativity, although they thought that the flow of information was sometimes disjointed. However, the idea of designing a remote control seemed unexciting, especially since the requirements restricted it to TV only, and the budget was too small. Finally, some new ideas were also found in the form of kinetic energy source and use of speech recognition.

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Beatrice Jackson: Is everyone ready to start? Melanie Buggie: Yeah. Carol Shields: Yeah. Anne Peralez: Yes. Beatrice Jackson: Okay. Great Well. welcome to the third meeting of conceptual design. I'll just get the PowerPoint presentation up and running. Okay. Um, on the agenda for this, um, for this particular meeting, we'll have your three presentations on what you've done since our last meeting, after we came up with um some general ideas of our design. And, um, then we have to make some key decisions on, on our concept, how we're gonna make it, what uh materials we're gonna use, and that sort of thing. The meeting will be forty minutes long. Melanie Buggie: Okay. Beatrice Jackson: And um we will once again have Poppy as our first presenter. Melanie Buggie: Okay. Beatrice Jackson: Alright, and I will switch up PowerPoint. Melanie Buggie: Thank you. Beatrice Jackson: Okay. Melanie Buggie: Should be just loading. Okay. Oh, although I can't see it on my screen. That says go here. Okay. I've been doing some research into the different components that we could use, um what's available to us f to actually make the remote control. Um, first of all we have to look at how the remote control is actually made, and what is it happens inside the casing, which is more your field. Um thes, main internal feature is a circuit board, which contains all the elec electronics and also the contacts with the power source. Which is not necessarily a battery, as we're about to see. Um, there are several components of, um, the circuit board that we need to consider, where we'll be getting them from, what they'll be made of. Um, including the integrated circuit, which is also known as the chip. Which is where all the main information is uh contained. Um, diodes, transistors, resonators, resistors, and capacit capacitors all need to be considered as well. Um, and Beatrice Jackson: Um Melanie Buggie: all their positioning in the circuit. Beatrice Jackson: Are they all included, like mandatorily, or r are these different options? Melanie Buggie: Uh, these, they're all different options, they're all separate, apart from the chip, Beatrice Jackson: Yeah. Melanie Buggie: which we will probable decide whether we buy a simple, a regular, advanced. We can go into that later. Um, all the other things are individual components that we'd have to get in separately, and work out the most, like, effective um circuit, including all the wires and everything like that. And the L_E_D_ of course, that's a light emitting diode. So, we could, so we've got flex flexibility with colours and things, Beatrice Jackson: Mm. Melanie Buggie: with that as well. Okay, there are lots of different possibilities for the energy source. We could use a basic battery, but that brings with it, like they need to be recharged and the bulk, the size of it as well. And they're not so great to dispose of, environmentally. There's a hand-powered dynamo which is a sort of thing that was used for torches fifty years ago. A bit out of date. Kinetic energy is something Beatrice Jackson: Um Melanie Buggie: that's been recently developed. Beatrice Jackson: What is a hand-powered dynamo? Melanie Buggie: Um, where you manually charge up the power. Like you Beatrice Jackson: Just Melanie Buggie: wind Beatrice Jackson: every, Melanie Buggie: up Beatrice Jackson: every Melanie Buggie: something. Beatrice Jackson: once in a while? Melanie Buggie: Sorry? Beatrice Jackson: Just every once in a while Melanie Buggie: Yeah. Beatrice Jackson: or constantly? Melanie Buggie: Every once in a while I think. But Beatrice Jackson: Alright. Melanie Buggie: it's Beatrice Jackson: It'd be kind of strange to always be Melanie Buggie: Yeah. Beatrice Jackson: cranking Melanie Buggie: It would be like Beatrice Jackson: it Melanie Buggie: going Beatrice Jackson: I think. Melanie Buggie: a step back Carol Shields: Yeah. Melanie Buggie: in time. I don't think it would really be with kind of cutting edge technology. Beatrice Jackson: No. Melanie Buggie: Whereas kinetic energy is a new idea that's being used by some watches and other devices, where you just shake the device and it gives it power. I mean, the kinetic energy is transformed into power to make the circuit work. Um, or there's solar power, which we've been considering inside a building, which is where it's gonna be used, might not be quite so Beatrice Jackson: Right. Melanie Buggie: useful. But, good to look into, renewable energy, always the way. Um, lots of considerations for the case, like what sort of shape it would be, curved or flat. That's got a lot to do with the ergonomics. Like how it's comfortable and s sits in the hand. We don't want something that's huge and you can't pick up. Or too small. Or too slidy. I know I've had a remote control before which you couldn't tell which was the front and the back, 'cause it had so many buttons on, and the shape was so symmetrical that I'd be pressing like Anne Peralez: Mm. Melanie Buggie: a volume button instead of the on button. Because you can't really see which way round it is. Beatrice Jackson: Right. Melanie Buggie: Um, we also can choose what materials um, the we could use metal, we could use rubber which might be more um ideal for the anti-R_S_I_. It's like the same sort of rubber that's used in stress balls and Beatrice Jackson: Mm-hmm. Melanie Buggie: things like that, so it's very like soft, not so stressful on your hands. Wood. Um, again, stepping back in time again there. I don't think that's quite up to date with what we're looking for here. Beatrice Jackson: Yeah. Melanie Buggie: Um, titanium is not gonna be possible, even though it just it beyond our budget really. But, would've been maybe for future projects. Um right our choice for buttons as well. We've developed some we've got some good advances in technology, with our research team have found some uh new multiple um option scroll buttons. I think that was brought up for, um, they're basically quite a flexible design, modern, you don't have to use individual buttons. You can just slide up and down. I'm sure we're all quite familiar with those on Carol Shields: Yeah. Beatrice Jackson: Mm-hmm. Melanie Buggie: mobiles or computer laptop pads. Beatrice Jackson: Um one thing with the scroll buttons though. It, it we would have to have an L_C_D_ um Melanie Buggie: Yeah. That's true. Beatrice Jackson: display, and Melanie Buggie: And that would Beatrice Jackson: the Melanie Buggie: lead to Beatrice Jackson: glow Melanie Buggie: an advanced Beatrice Jackson: in the dark thing Melanie Buggie: yeah. If Beatrice Jackson: might Melanie Buggie: we have Beatrice Jackson: be difficult. Melanie Buggie: yeah. We're going on to that later with the advanc with the L_C_D_ that means we'd need a really advanced chip. Beatrice Jackson: Yeah. Melanie Buggie: And it's Anne Peralez: Mm-hmm. Melanie Buggie: unlikely that that's gonna be in our budget. Um, also we've got the integrated pushbutton, which is what we're most familiar with. It's the most straightforward. But you can in like incorporate that with a scroll button as well. Got decisions to make there. this is what I was just saying before. Linked in the different depends on what type of buttons we have and the inputs. Um simple would go with the pushbutton. Um, regular you could link with the scroll button. And the advanced we'd have to go with a L_C_D_ s Beatrice Jackson: Right. Melanie Buggie: display. My personal preferences? I think we could go for the kinetic energy source. I don't, I think that's quite um an advanced kind of technology. It's not been seen before, so it could be quite a, a novelty factor, attractive as well. And also energy saving 'cause you're producing the energy, you don't need an external sort of battery supply or solar panels. You just give it a shake. Beatrice Jackson: Yeah. Melanie Buggie: Sounds brilliant to Anne Peralez. Rubber Beatrice Jackson: Uh. Melanie Buggie: casing I thing would probably the best, if we're going for the anti-R_S_I_ and like more choice with um aesthetics. Like it could be pretty much any colour we want. Um, and gives you, yeah, more flexibility there. And probably the regular chip as opposed to the simple, then we could possibly have the scroll and the push, but no L_C_D_, 'cause we probably can't afford that one. Beatrice Jackson: Yeah. Um, one concern with the rubber casing Melanie Buggie: Mm-hmm. Beatrice Jackson: is that it would be rubber encapsulating all of these chips and diodes and delicate technology as like as the exterior. This is the one thing that's protecting its innards. Melanie Buggie: I think that would, uh there would be an in sort of more internal casing. And the rubber would just be the, what's in contact with the human. Beatrice Jackson: Yeah. Melanie Buggie: Yeah. Beatrice Jackson: Another thing is it might be more difficult if it's a rubber exterior talking about putting on interchangeable plates. Melanie Buggie: Yeah. Anne Peralez: Mm-hmm. Beatrice Jackson: Um, is it I don't see how a like a rubber plate going on top it would stay there. Like if it was sort of like a clip-on plastic plate. It would work that way. Melanie Buggie: Maybe Carol Shields: W Melanie Buggie: if the, um, if it was just kind of a, more of a rubber coating which was on to a case. So, it was kind of, the whole thing would be removable. Carol Shields: Like plastic with rubber, kind Melanie Buggie: Yeah. Carol Shields: of on top Melanie Buggie: Like Beatrice Jackson: Yeah. Melanie Buggie: I can't think of what. Carol Shields: Well, there's, there is a certain phone that has like a rubber casing, Melanie Buggie: Yeah. Beatrice Jackson: Yeah. Carol Shields: b like a Melanie Buggie: Or Carol Shields: Nokia Anne Peralez: Mm-hmm. Melanie Buggie: like an you Carol Shields: it is. Melanie Buggie: can get Carol Shields: It's Melanie Buggie: sort of outer casing for Carol Shields: yeah. Melanie Buggie: iPods and something, that's just Beatrice Jackson: Yeah. Anne Peralez: Like the Melanie Buggie: it's Anne Peralez: skin? Melanie Buggie: protective as Anne Peralez: Yeah. Melanie Buggie: well. It, it stops it, I mean, it would reduce the impact if it was dropped or something, Beatrice Jackson: Yeah. Melanie Buggie: as well, 'cause it wouldn't damage itself so easily. Beatrice Jackson: Alright. Melanie Buggie: I think Beatrice Jackson: So maybe Melanie Buggie: i maybe Beatrice Jackson: the Anne Peralez: Okay. Melanie Buggie: a mixture of both there, Beatrice Jackson: Yeah. Melanie Buggie: maybe. Yeah. Anne Peralez: So the actual remote would be hard plastic and Melanie Buggie: And Anne Peralez: the Melanie Buggie: then Anne Peralez: casings Melanie Buggie: yeah. Carol Shields: Yeah. Anne Peralez: rubber. Melanie Buggie: Yeah. Anne Peralez: Okay. And the buttons Beatrice Jackson: Yeah. Anne Peralez: obviously are rubber. Melanie Buggie: Yeah. Carol Shields: Yeah. Anne Peralez: Okay. Beatrice Jackson: Yeah. That sounds good. I, um, is it possible to put designs onto this type of rubber? Melanie Buggie: As far as I know. It should be. Beatrice Jackson: Okay, we'll just say yeah. Melanie Buggie: Yeah. Beatrice Jackson: Yes, just why Melanie Buggie: Yeah, Beatrice Jackson: not. Melanie Buggie: yeah. Beatrice Jackson: Alright. I like the kinetic energy source idea. Melanie Buggie: Yeah. I Beatrice Jackson: Um, Melanie Buggie: thought that was Beatrice Jackson: I don't know when people will, um, be moving a remote around a lot. Carol Shields: Yeah, Beatrice Jackson: But Carol Shields: tha Beatrice Jackson: I think Anne Peralez: Mm-hmm. Beatrice Jackson: that it's worth it, kinetety, kinetic um energy source. It could Melanie Buggie: Yeah. Beatrice Jackson: make an we could have any kind of style. It wouldn't be as heavy or bulky, and Melanie Buggie: Yeah. Beatrice Jackson: Yeah. Just for environmental reasons. Melanie Buggie: Yeah. Anne Peralez: I guess it's a bit scary 'cause it hasn't been done before. Melanie Buggie: Yeah. Anne Peralez: So it seems we'd have to do more research on it. Or I dunno Melanie Buggie: Yeah. Anne Peralez: if you could have a battery pack. Melanie Buggie: Like as a Carol Shields: Backup. Melanie Buggie: backup Anne Peralez: Yeah Carol Shields: Yeah. Melanie Buggie: for Anne Peralez: so there's Melanie Buggie: something. Anne Peralez: there is a one because most remotes use two batteries Melanie Buggie: Yeah. Anne Peralez: I believe. Beatrice Jackson: Yeah. Anne Peralez: So, if it was running off of one battery as Carol Shields: That Anne Peralez: a Carol Shields: would be good yeah. Melanie Buggie: Yeah. Some alternative just in case Anne Peralez: Right. Melanie Buggie: something went wrong. Carol Shields: Maybe we could you were saying about um solar power ma maybe not working indoors, but a lot of calculators, Melanie Buggie: That's true. Carol Shields: yeah, Melanie Buggie: I just thought Carol Shields: have Melanie Buggie: of that. Carol Shields: solar power. Melanie Buggie: Yeah. Carol Shields: So maybe could Melanie Buggie: Yeah. Carol Shields: be incorporated Melanie Buggie: May Carol Shields: as Melanie Buggie: maybe that could be the backup. Carol Shields: Yeah. Melanie Buggie: Instead Beatrice Jackson: Yeah. Melanie Buggie: of a battery. Anne Peralez: Although Melanie Buggie: Like solar Anne Peralez: it needs Melanie Buggie: backup. Anne Peralez: some light, doesn't it? Melanie Buggie: Yeah. Carol Shields: Do, Melanie Buggie: I suppose Beatrice Jackson: Yeah, Anne Peralez: So, Carol Shields: do Beatrice Jackson: you Carol Shields: those Melanie Buggie: s Beatrice Jackson: can Carol Shields: calculators Melanie Buggie: but Beatrice Jackson: watch Melanie Buggie: some Beatrice Jackson: a T_V_ Anne Peralez: if Beatrice Jackson: in the dark Anne Peralez: we're doing Beatrice Jackson: then. Carol Shields: yeah. Anne Peralez: yeah. If we're Melanie Buggie: But Carol Shields: I Melanie Buggie: thing Carol Shields: don't Melanie Buggie: is, it's Carol Shields: know how Melanie Buggie: not Carol Shields: it Melanie Buggie: you don't Carol Shields: works. Melanie Buggie: need the solar all the time. It can be stored. It can be like Carol Shields: Yeah. Melanie Buggie: you can Anne Peralez: Yeah. Melanie Buggie: have the solar energy and then it can store that energy and use it. It just needs to be in light for a certain Carol Shields: Yeah. Melanie Buggie: amount of time per day. Like a few Beatrice Jackson: Yeah. Melanie Buggie: hours a day. Beatrice Jackson: I think that might be a little impractical though. Anne Peralez: Yeah. I think sometimes it's just shoved under, under a cushion, and Beatrice Jackson: Yeah. Melanie Buggie: That's true. It Carol Shields: Yeah. Melanie Buggie: could Anne Peralez: yeah. Melanie Buggie: easily Beatrice Jackson: Like people don't wanna have to worry about that. Melanie Buggie: Yeah. Anne Peralez: Yeah. Beatrice Jackson: Yeah. Melanie Buggie: I suppose it would be really annoying if you get to think, oh no, I forgot to charge my remote today. Like Beatrice Jackson: Yeah. Melanie Buggie: if the kinetic thing, I think what's Carol Shields: Yeah. Melanie Buggie: best about Beatrice Jackson: Yeah. Melanie Buggie: that is that it's instant energy. You don't have to, you know, you can shake it a few times, or whatever. Beatrice Jackson: Yeah. Melanie Buggie: And Beatrice Jackson: Or just like Melanie Buggie: it Beatrice Jackson: pick Melanie Buggie: works. Beatrice Jackson: it up when you're gonna Melanie Buggie: Yeah. Carol Shields: Yeah, Beatrice Jackson: use Carol Shields: I Beatrice Jackson: it. Carol Shields: suppose. Melanie Buggie: Instead of you don't have to like make sure it's in the right place to charge and. Beatrice Jackson: Yeah. Carol Shields: Yeah. Beatrice Jackson: Alright. Cool. Melanie Buggie: K okay. Beatrice Jackson: 'S that the end of your presentation. Melanie Buggie: Yeah. Carol Shields: Yeah. Beatrice Jackson: Alright. Thank you. Melanie Buggie: There we go. Carol Shields: Thanks. Carol Shields: Oh. Carol Shields: It's not on my screen. Why? Melanie Buggie: it wasn't on mine either. I don't know why. I think, Carol Shields: You Melanie Buggie: I just, Carol Shields: don't know Melanie Buggie: I Carol Shields: why? Melanie Buggie: just used the mouse on there. Carol Shields: Oh okay. Is it that one? Beatrice Jackson: Yeah. That's Melanie Buggie: Yeah. Beatrice Jackson: um Carol Shields: Um, I'm just gonna go through the interface concept with yous now. Uh, first of all I'll explain what a user interface is. It's the aspects of a computer system which can be seen or otherwise perceived, for example, heard or felt maybe, or by the human user. And it's also the commands that the user uses to control its operation and to input data. Um, there are two types of user interfaces. There's the graphical user interface, which emphasises the use of pictures for output and a pointing device, for example a mouse for input control. So that's sort of like the scroll thing we were talking about. Beatrice Jackson: Oh. Okay. Carol Shields: Yeah. Beatrice Jackson: Yeah. Carol Shields: I'm not really sure about the pictures that maybe that's on an L_C_D_ screen. Melanie Buggie: Mm. Carol Shields: Or maybe it's the the buttons or pictures or something. Beatrice Jackson: Hmm. Melanie Buggie: Yeah. Beatrice Jackson: Yeah. Carol Shields: Do you think Melanie Buggie: So Carol Shields: it's Melanie Buggie: I suppose sometime Beatrice Jackson: Yeah, 'cause Melanie Buggie: after you. Beatrice Jackson: I'm sorry? Um, because command interface requires you to type textual commands and input at a keyboard, so the numbers are sort of like a keyboard. Carol Shields: Yeah. Beatrice Jackson: You're pressing the numbers Carol Shields: Yeah. Beatrice Jackson: for, Melanie Buggie: Mm. Beatrice Jackson: um, Carol Shields: So you must, Beatrice Jackson: for what you want. Carol Shields: for the graphical user you must need some kind of presentation for the graphics. Like an Melanie Buggie: I Carol Shields: L_C_D_ Melanie Buggie: s I Carol Shields: screen. Melanie Buggie: suppose where um mm on some buttons you would have like the power would be s some kind of symbol. Carol Shields: Yeah. Melanie Buggie: And if you wanted to go onto teletext or, I know we're not having that, but Carol Shields: Yeah. Melanie Buggie: I mean a similar thing, you, they have there's a like little picture with a screen with lines across it, which Carol Shields: Yeah. Melanie Buggie: I suppose it's that sort of thing like the, Carol Shields: Yeah. Melanie Buggie: the symbol on the button. But if we're having a simplified display anyway, w that, we Beatrice Jackson: Yeah, Melanie Buggie: probably Beatrice Jackson: we'll be Melanie Buggie: won't Beatrice Jackson: doing Melanie Buggie: have to focus so much on that. It'll be more the on the numbers Carol Shields: Yeah. Melanie Buggie: and the Beatrice Jackson: Yeah. Melanie Buggie: volume. Beatrice Jackson: It'd be more a command interface, Carol Shields: Yeah. Beatrice Jackson: and Melanie Buggie: I suppose Beatrice Jackson: then Melanie Buggie: we need to think of symbols for like the volume, display, and Beatrice Jackson: Yeah. Melanie Buggie: stuff like that. Anne Peralez: So it's just draf graphical for the pointing aspect? The infrared Melanie Buggie: I Anne Peralez: is like, that's considered a Beatrice Jackson: Hmm? Carol Shields: No I think it's to do with the actual symbols that are on the, that's on the buttons of the remote control, and Anne Peralez: Okay. So when it says Carol Shields: per Anne Peralez: pointing Melanie Buggie: For inp Anne Peralez: device that doesn't include Carol Shields: Well it could be a wee scroller thing, and something could come up on the screen. Beatrice Jackson: Yeah. I think they're talking about L_C_D_ type things. Melanie Buggie: Mm. Anne Peralez: Okay. Carol Shields: Yeah. Anne Peralez: Okay. Beatrice Jackson: Yeah. Carol Shields: But um I think we're gonna go with the command interface anyway, to make Beatrice Jackson: Yeah. Carol Shields: it more simplistic. Anne Peralez: Mm-hmm. Carol Shields: But the, we could incorporate some of the graphical user um points, as in just to make it m um nicer to look at maybe. Beatrice Jackson: What do you mean? Carol Shields: Like I can't think of an example, but Sort of like little pictures rather than Beatrice Jackson: Oh yeah, like Carol Shields: Like Beatrice Jackson: how Carol Shields: a little Beatrice Jackson: the buttons Carol Shields: sound. Instead of saying volume, like a little speaker or something. Beatrice Jackson: Yeah, Carol Shields: Yeah, Anne Peralez: Mm. Beatrice Jackson: as Carol Shields: something Beatrice Jackson: a button though. Carol Shields: y Beatrice Jackson: So, it's a keyboard in the shape of it, Carol Shields: Yeah Beatrice Jackson: right? Carol Shields: m perha yeah. Beatrice Jackson: Okay. Carol Shields: Yeah. Maybe. Beatrice Jackson: Yeah. I like that idea. Carol Shields: Um, the co uh we've decided that the command interface would be the most useful for a remote control. As it would be less complicated, and the controls would be more user-friendly. Um, the remote control would be cheaper to design, so that we'd have more money in the budget to, um, target the design area of the interface. You know, make it more trendy and original. We'll have more money if we keep it simple. Beatrice Jackson: Yeah. I'm sure i like kinetic energy would probably dip into the budget. Carol Shields: Yeah. Melanie Buggie: Yeah. Beatrice Jackson: A bit more too, Carol Shields: Seeing Beatrice Jackson: yeah. Carol Shields: as it's quite a new technology. Um We, we also have to keep in mind when we're designing our, um, more user-friendly remote control, that a lot of interfaces consist of a clutter of buttons, that, um, that their functions, colours and forms aren't always helpful. Melanie Buggie: Yeah. That's true. Carol Shields: Yeah. Melanie Buggie: That's in like the buttons with all the different like colours for different choices and things. Carol Shields: Yeah. Melanie Buggie: It can be a bit, yeah, overwhelming. Carol Shields: And that all interfaces are different. So, um, that doesn't improve the use of the produ product, so we need to come up with something that's easy to understand. And maybe learn from the mistakes of other interfaces that can be too complicated for people to use. Beatrice Jackson: Mm-hmm. Melanie Buggie: Yep. Carol Shields: Does anyone have any questions? Beatrice Jackson: Do you think that we should keep all the buttons to one same colour, just to keep it, give it a simplistic look. Carol Shields: Mm. Anne Peralez: I think if we go with the um design plate thing, we'll have to. Just because of colour clashing, and Beatrice Jackson: Yeah. Anne Peralez: if we Beatrice Jackson: Yeah. Anne Peralez: wanted to, so and, and we might, I mean, depending on what comes out of the design, we might have to stick to just black buttons. Carol Shields: But um Beatrice Jackson: But what about the lighting up effect? Anne Peralez: You mean different colours for the lighting or Beatrice Jackson: Um, well, um, I thought we had um decided that we would if you touched one of the buttons they'd all light up. And Anne Peralez: Mm-hmm. Beatrice Jackson: so if they were black, it wouldn't be possible for them to light up. Anne Peralez: Oh I see what you're saying. Well y Beatrice Jackson: If they were white they would glow, probably. If they were made out of rubber. Anne Peralez: Oh so you're picturing the light is coming from the back. I kinda pictured it as kind of coming from the sides and lighting it up frontwards. Melanie Buggie: Oh. Anne Peralez: But, Beatrice Jackson: Oh. Where Anne Peralez: but Beatrice Jackson: would the Anne Peralez: I guess, Beatrice Jackson: light Anne Peralez: you Beatrice Jackson: come Anne Peralez: mean from Beatrice Jackson: from? Anne Peralez: the back. Okay. Melanie Buggie: I'd assume, like, an internal light, Anne Peralez: Okay. Beatrice Jackson: Yeah. Carol Shields: Yeah. Melanie Buggie: that comes through. So there would have to, have to be some parts maybe transparent around Anne Peralez: Right. Melanie Buggie: the buttons, Beatrice Jackson: Yeah, Melanie Buggie: or something. Beatrice Jackson: and well rubber is a more translucent Melanie Buggie: Yeah, yeah. Beatrice Jackson: product too, so Anne Peralez: Mm-hmm. Melanie Buggie: It should be able Beatrice Jackson: we Melanie Buggie: to Beatrice Jackson: have that taken care of. Melanie Buggie: mm-hmm. Carol Shields: In the phone that I was thinking of as well, when you change the um covers of it, the, the little buttons that actually, you know, that contro Melanie Buggie: Li yeah. Carol Shields: control stuff, are behind the rubber. So you can change the buttons when you're changing the faces. Do Anne Peralez: Oh. Carol Shields: you know what I mean? Anne Peralez: Yeah. Beatrice Jackson: Oh. Carol Shields: 'Cause Anne Peralez: They, Carol Shields: it's Anne Peralez: they Carol Shields: just Anne Peralez: insert Carol Shields: the wee control, Anne Peralez: over. Carol Shields: yeah, Anne Peralez: Okay. Carol Shields: thing that's behind it. So Beatrice Jackson: Mm. Carol Shields: I mean, we don't have to decide on one colour. Each face could have its own colour of buttons maybe? Melanie Buggie: Mm-hmm. Beatrice Jackson: Well, if they're raised up buttons. Carol Shields: Yeah. Beatrice Jackson: So that you can feel them. We were talking about it being more um, a Anne Peralez: T Beatrice Jackson: lot more tangible. Um, it might be more difficult to do. Carol Shields: Yeah. Beatrice Jackson: If they're, if they're sticking up. If it's flat then, like o like on a cellphone or a mobile phone, it's like all very flat, and you just have to sort of press down on these tiny little buttons, but Carol Shields: Yeah. Beatrice Jackson: Yeah. Melanie Buggie: I think it would be possible. I don't think it would make that much difference. I mean, the uh the dimensions of it. 'Cause if it's just like constructed in the same way as like the front cover of a mobile phone. You can like take off the hard cover and then there's the like say the buttons. And then you get to the circuit. I don't think it would matter that the buttons were bigger through the, the top casing. I'm sure you could f work it out to fit in the casing, without Beatrice Jackson: Yeah. Melanie Buggie: causing too much difficulty. I'm sure Beatrice Jackson: Okay. Carol Shields: Yeah. Melanie Buggie: that'd be fine. Beatrice Jackson: Alright. If it's do-able we can do. Yeah, sounds good to Anne Peralez. Carol Shields: So that's everything, then? Melanie Buggie: Okay. Beatrice Jackson: Alright, thank you. Anne Peralez: Okay is that my turn then? Carol Shields: Yeah. Anne Peralez: Alright. I have a shorter report for you today. Um, it took a while to get this, uh Uh. Melanie Buggie: You're not plugged in yet. Anne Peralez: Oh. That's a very good point. Anne Peralez: Okay, so um, this report is about uh trend-watching. Um, basically so we can live up to our, our uh purpose of having a very fashionable remote control. Sorry. There we go. Um So, just so you know, my method was mainly web web-based research this time around. I also spoke with fashion experts in Milan, New York and Paris. And I looked at the design reports from previous years, here at Real Remote. Um, just so c we can work off of them, see how fashions have changed. Um, so I'll list the three most important aspects that I've come across. Um, and they, they're each more important than the one that comes after it. Uh, the first one is that there should be a fancy look-and-feel, instead of the current functional look-and-feel. Um, this should be our priority, as we've been saying. The second most important aspect is that a remote sh that the remote control should be technologically innovative. So, I think we've done a lot of talking about that, just with lighting and the buttons and the face-plates. Um, so it looks like we'll be able to keep on track with that. And the third most important aspect is that the remote control should be easy to use. So, pretty basic there. And the recent fashion update, uh, according to fashion-watchers in Paris and Milan, is that fruit and vegetables will be the most important theme for clothes, shoes and furniture. Um, also, in contra uh in contrast to last year, the feel of the material is expected to be spongy. Again, we've already discussed that with rubber versus hard plastic buttons. Um So, my personal preferences here, um of course, as we, we've already talked about the personal face-plates in this meeting, and I'd like to stick to that. The fruits and vegetable themes, I don't know if that's going to work for us. It sounds something that you'd use on kitchenware. I don't Melanie Buggie: Mm. Anne Peralez: know if we wanna do it on remotes. It could be one of the options. Maybe Beatrice Jackson: Mm-hmm. Anne Peralez: for the television that people have in their kitchen. Um, the temporary light-up idea, sounds like we're gonna stick to that. And then, uh, tying in a trendy look with user-friendliness. Beatrice Jackson: Yeah. Yeah, it's the fruits and vegetables is the only area that I find rather jarring. Anne Peralez: Mm-hmm. Beatrice Jackson: Everything Melanie Buggie: It Beatrice Jackson: else Melanie Buggie: is Beatrice Jackson: we Melanie Buggie: strange. Beatrice Jackson: can really, we can really um, do, according to our plans already, given the market. But fruits and vegetables seems a very strange Anne Peralez: It's, Beatrice Jackson: idea Anne Peralez: it's Beatrice Jackson: for Anne Peralez: a little Beatrice Jackson: a remote Carol Shields: Yeah. Beatrice Jackson: control. Melanie Buggie: Well Anne Peralez: but it, it's everywhere. So maybe Beatrice Jackson: Yeah. Anne Peralez: we I've seen a lot of purses with olives on them, you know. But Beatrice Jackson: Yeah. Anne Peralez: I I think, I think if we stick to T_V_ based, you know, maybe T_V_ shows, or Carol Shields: Yeah. Anne Peralez: Or Beatrice Jackson: But they Anne Peralez: colour Beatrice Jackson: still Anne Peralez: schemes. Beatrice Jackson: need to Melanie Buggie: We Beatrice Jackson: um fit into people's decor though. Anne Peralez: Right. Melanie Buggie: I think we possibly could take a more abstract design. Like look at the basic shapes of different fruits and vegetables. And then just really like strip it down to like really basic shapes. I mean we don't have to make something in the shape of a strawberry, but it could have the curves of a strawberry, Anne Peralez: Yeah. Melanie Buggie: or something. Anne Peralez: The Carol Shields: Yeah, Melanie Buggie: Or a strawberry seed Carol Shields: yeah. Melanie Buggie: or Anne Peralez: The Melanie Buggie: a leaf. Anne Peralez: essence of strawberry. Melanie Buggie: Or just Beatrice Jackson: Yeah. Melanie Buggie: like Anne Peralez: Yeah. Melanie Buggie: you know really make it a quite abstract, if that's fits in more with what we're doing. Instead Carol Shields: Yeah. Melanie Buggie: of fruits and vegetables, just Beatrice Jackson: Yeah. Melanie Buggie: if you look at it straightforward, it's a bit yeah. It doesn't s quite fit in with the trendy well, obviously it does, if that's the current Beatrice Jackson: Yeah. Melanie Buggie: theme. But may maybe we could go more directly, I don't know. Beatrice Jackson: Yeah. Melanie Buggie: But initially, I dunno. I think if we just sort of tone it down a bit. Beatrice Jackson: Tone Anne Peralez: I guess, Beatrice Jackson: it down. Melanie Buggie: Yeah Beatrice Jackson: Yeah, Carol Shields: Yeah. Anne Peralez: yeah. Beatrice Jackson: like more Melanie Buggie: and Beatrice Jackson: like Melanie Buggie: like not, Beatrice Jackson: photos Melanie Buggie: not Beatrice Jackson: of fruit, Melanie Buggie: yeah. Beatrice Jackson: on, Carol Shields: Or Beatrice Jackson: on our product. Carol Shields: banana-shaped. Anne Peralez: One thing I was thinking though is I dunno if you all remember from our kickoff meeting, we talked about our favourite animals. Carol Shields: Yeah. Anne Peralez: So maybe there could be animal-based, you know. Because a lot of people have a house cat. Or, or a dog. Melanie Buggie: Mm. Anne Peralez: Um, that might be getting, you know, too specific, and we should see what the success of the first face-plates are. But it's something to keep in mind. Beatrice Jackson: Mm-hmm. Anne Peralez: And, did you have any questions? Pretty straightforward? Melanie Buggie: Yeah. Beatrice Jackson: Yeah um Anne Peralez: Okay. Beatrice Jackson: Alright, given that information, we need to start making some more specific decisions. So I'll need to um hook up the PowerPoint again. Anne Peralez: There you go. Anne Peralez: Have you guys been saving your PowerPoint presentations to the Melanie Buggie: I didn't for the first one. Anne Peralez: okay. Melanie Buggie: But I have now. Beatrice Jackson: But it's still around right? Melanie Buggie: Yeah. Beatrice Jackson: Okay. Melanie Buggie: Uh, Carol Shields: Where Melanie Buggie: hopefully. Carol Shields: do you have to save it to? Melanie Buggie: Project documents I think. Carol Shields: Okay. Beatrice Jackson: Okay. I'm just trying to make this pop up now. Beatrice Jackson: Alright. Here we go. Okay so we have to uh decide now exactly what we are going to do. So Melanie Buggie: Okay. Beatrice Jackson: energy, we oh. Melanie Buggie: 'Kay. Beatrice Jackson: Oh no I can't write it in when it's in this setting. Does anyone know how to take it out of Um, Carol Shields: Just Anne Peralez: The PowerPoint? Carol Shields: escape Beatrice Jackson: yeah. Carol Shields: I think. Beatrice Jackson: Yeah. Okay. Um, so back to decisions. Energy, we've decided on kinetic, Melanie Buggie: Kinetic Beatrice Jackson: right? Carol Shields: Yeah. Melanie Buggie: yeah. Beatrice Jackson: Okay, so that's good. Melanie Buggie: Are we going to have a backup? Beatrice Jackson: Hmm. Melanie Buggie: Or do we just Beatrice Jackson: But would a backup really be necessary? I mean will people just use the battery if there's no, if there's, Melanie Buggie: I think maybe Beatrice Jackson: if there is backup. Melanie Buggie: we could just go for the kinetic energy, and be bold and innovative, and Beatrice Jackson: Yeah. Melanie Buggie: hope this works, and well hope that it works. Beatrice Jackson: Yeah. Melanie Buggie: I think yeah. Beatrice Jackson: There's Melanie Buggie: I think Beatrice Jackson: like no reason why it wouldn't work, Melanie Buggie: no. Beatrice Jackson: right? Anne Peralez: So Melanie Buggie: I, I think we should just like take uh advantage of like using this to its full potential. Beatrice Jackson: Yeah. It Melanie Buggie: Go Beatrice Jackson: could even Melanie Buggie: for Beatrice Jackson: be Melanie Buggie: it. Beatrice Jackson: one of our selling points. Melanie Buggie: It could Carol Shields: Yeah. Melanie Buggie: be fully Beatrice Jackson: Yeah. Melanie Buggie: kinetic energy. Beatrice Jackson: Yeah. Melanie Buggie: Yeah. Beatrice Jackson: Environmentally conscious Melanie Buggie: Is Beatrice Jackson: or something. Anne Peralez: So Melanie Buggie: everyone Anne Peralez: if it's Melanie Buggie: happy Anne Peralez: not working Melanie Buggie: with that? Anne Peralez: they just have to shake it a bit and that revitalises Beatrice Jackson: Yeah. Anne Peralez: it? Melanie Buggie: Yeah. Anne Peralez: Okay. Carol Shields: Hope so. Beatrice Jackson: Alright, the next um decision is chip on print. I don't exactly know what that means. Melanie Buggie: Um, it was whether we went for the simple, the regular, or the advanced chip. And that linked in with what buttons we would gonna have, so Beatrice Jackson: Right, and we were going for more simplistic style, right? Melanie Buggie: Yeah, it Carol Shields: Yeah. Melanie Buggie: was so that was without the L_C_D_. So that means we're not Beatrice Jackson: Yeah. Melanie Buggie: doing the advanced. So it depends on whether we wanted the scroll buttons or just the push buttons. Beatrice Jackson: I think we decided on the pushbuttons, right? Carol Shields: Yeah. I Melanie Buggie: Uh, Carol Shields: don Melanie Buggie: so that's Anne Peralez: Mm-hmm. Carol Shields: yeah. Melanie Buggie: the simple. Beatrice Jackson: Yeah. Would we need a more advanced one for uh the lighting, the interior lighting system? Melanie Buggie: Yeah possibly. So, it's Beatrice Jackson: Yeah? Melanie Buggie: probably gonna be the regular chip that we're going to need. So it's a Beatrice Jackson: Okay. Melanie Buggie: medium. So regular Beatrice Jackson: That's called Melanie Buggie: chip. Beatrice Jackson: medium, or regular? Melanie Buggie: Regular sorry. Beatrice Jackson: 'Kay. Melanie Buggie: Regular chip. Anne Peralez: Oh, is regular not simple? Carol Shields: Yeah. Melanie Buggie: Lighting. Yeah Carol Shields: It's for Melanie Buggie: if Carol Shields: the lighting, Melanie Buggie: we Carol Shields: yeah. Melanie Buggie: because of the lighting that we've decided to put Anne Peralez: Right Melanie Buggie: in as Anne Peralez: right Melanie Buggie: well. Anne Peralez: right. Beatrice Jackson: Okay, and cases. Um, Melanie Buggie: So Beatrice Jackson: does Melanie Buggie: th Beatrice Jackson: this, is this dependent on shape, or what it's made of, or what? Melanie Buggie: I think this is just like gonna be the a very outer case, which we will decide on rubber. Carol Shields: Yeah. Beatrice Jackson: Yeah. Well, I guess plastic and Melanie Buggie: Rubber. Beatrice Jackson: coated Carol Shields: Yeah Beatrice Jackson: in rubber. Melanie Buggie: Yeah. Beatrice Jackson: Plastic Melanie Buggie: Plastic Carol Shields: plastic Melanie Buggie: rubber Carol Shields: coat. Melanie Buggie: coat. Beatrice Jackson: with rubber coating and interchangeable Melanie Buggie: Interchangeable, Beatrice Jackson: um Melanie Buggie: yeah. Still going for that. Beatrice Jackson: yeah, interchangeable Melanie Buggie: Yeah. Beatrice Jackson: plates. Okay. User interface concept. This is your time to shine. Carol Shields: We decided on the component. I, I I'm sorry, I've lost my um PowerPoint Melanie Buggie: Your screen? Carol Shields: thing, so I can't remember what it's Anne Peralez: Think Carol Shields: ca Anne Peralez: it was Carol Shields: it's Anne Peralez: called Carol Shields: the Anne Peralez: command Carol Shields: component Anne Peralez: interface. Melanie Buggie: Was it Beatrice Jackson: Oh, yeah. Yeah. Anne Peralez: Command interface, Carol Shields: The command Beatrice Jackson: Command Carol Shields: inter Beatrice Jackson: interface. Melanie Buggie: Ouch. Carol Shields: The command line interface yeah. Beatrice Jackson: Did you say command line? Carol Shields: Yeah. Beatrice Jackson: Okay. Line interface. Alright, and supplements. What's that all about? Carol Shields: Um, I think that is well we haven't really made any decisions about what we're gonna do about the cluster of button functions, colours and forms, in the in consistent use Like. what what are ideas to combat these problems? Beatrice Jackson: Um Carol Shields: You know how um different interfaces are very different, and can be confusing because because of their difference, and because of Beatrice Jackson: Mm-hmm. Carol Shields: the different clusters of buttons that they have. We haven't really decided what to do about that. Beatrice Jackson: Um, what are our choices here? Carol Shields: Well it's just um w where where shall we locate the buttons. What kind of functions wi shall we have? Beatrice Jackson: You mean like we'll have the numbers of the channels, and we'll have Melanie Buggie: The power. Beatrice Jackson: the channel-changer, and volume, Melanie Buggie: Volume. Beatrice Jackson: and power? Anne Peralez: Mm-hmm. Carol Shields: So pretty Beatrice Jackson: Um Carol Shields: just just the basic Beatrice Jackson: Yeah. Carol Shields: button Beatrice Jackson: Like I Carol Shields: functions. Beatrice Jackson: don't know if we should go into like adjusting light levels, things like that, because different televisions will have Melanie Buggie: May yeah. Tone, contrast, Beatrice Jackson: Um, Melanie Buggie: and things. Beatrice Jackson: yeah. Melanie Buggie: That's a bit Anne Peralez: That was on, um one of my presentations. About how often it was used. Do you remember that? Melanie Buggie: Yeah, it Beatrice Jackson: Yep. Melanie Buggie: was minima well, Carol Shields: Yeah. Melanie Buggie: it wasn't Beatrice Jackson: Yeah, Melanie Buggie: the Beatrice Jackson: it was Melanie Buggie: l Beatrice Jackson: hardly ever used Anne Peralez: I w Beatrice Jackson: really. Anne Peralez: Should I bring it up? Beatrice Jackson: Yeah. Melanie Buggie: Yeah. That Beatrice Jackson: And Melanie Buggie: would Beatrice Jackson: most televisions Melanie Buggie: be good. Beatrice Jackson: will come with a remote. Melanie Buggie: Yeah, and surely that would be like quite specific to Carol Shields: Yeah, Melanie Buggie: the Carol Shields: each Melanie Buggie: individual Beatrice Jackson: Yeah. Carol Shields: television. Melanie Buggie: television, so Beatrice Jackson: 'Kay, well we know we want numbers. Anne Peralez: The ch t Screen settings was used um zero point five times an hour. So tw twice every once every two hours. Um, and it was considered a one point five relevance, on a scale of ten. That's brightness, colour, tone, Melanie Buggie: Mm. Anne Peralez: all that. Carol Shields: You don't change Melanie Buggie: I think most Carol Shields: that Melanie Buggie: of that comes Carol Shields: often, Melanie Buggie: like on the Carol Shields: yeah. Melanie Buggie: i individual television set itself, doesn't it? I'm sure it has Anne Peralez: Mm-hmm. Beatrice Jackson: Yeah, it Melanie Buggie: its Beatrice Jackson: does. Melanie Buggie: own buttons, so you don't necessarily need to have it on remote. Beatrice Jackson: Yeah, and Carol Shields: Yeah. Beatrice Jackson: different televisions. Like we, I don't know if we can make a remote that would be universal to all the different kinds Melanie Buggie: Yeah. Beatrice Jackson: of Melanie Buggie: So Beatrice Jackson: changes Melanie Buggie: we're just going Beatrice Jackson: like that. Melanie Buggie: for power, channels, Beatrice Jackson: Volume. Melanie Buggie: volume, Anne Peralez: The other one was audio settings. Mono, stereo, pitch. I mean I sometimes use that. Some T_V_s will have the option of like living room style, movie style, Carol Shields: Yeah. Anne Peralez: um and that, they say that's used zero point eight times an hour, which is actually somewhat high. Like Melanie Buggie: Mm. Anne Peralez: almost once an hour. Beatrice Jackson: Yeah. Anne Peralez: Um, relevance of two. Beatrice Jackson: Oh. We have five minutes to finish our meeting. Crap. Okay, um, let's do this fast. Um Anne Peralez: Well that didn't some up on mine. Beatrice Jackson: Should we have audio? It only comes up on mine usually. Carol Shields: It w it Anne Peralez: Oh. Carol Shields: would seem silly if we'd having anything else, just have an audio button though. Do you know? Beatrice Jackson: Yeah, I don't, I it's, it's a problem with the international uh appeal, I think. Um, if we have audio because we don't know how other televisions work. Carol Shields: But Beatrice Jackson: But we Carol Shields: we Beatrice Jackson: know that everyone has this and it's the same. Anne Peralez: Yeah I guess Melanie Buggie: I've Anne Peralez: that it affects the marketing, 'cause it, mm it is a good sales ploy to say, aren't you annoyed with remote controls that have all these buttons. Carol Shields: Yeah. Anne Peralez: This one has channel, volume Melanie Buggie: Yeah, that's it. Anne Peralez: and your Carol Shields: That Anne Peralez: channe Melanie Buggie: We Carol Shields: could Melanie Buggie: can Carol Shields: be Melanie Buggie: just Anne Peralez: and Carol Shields: a Melanie Buggie: go Anne Peralez: your Carol Shields: sales Anne Peralez: power. Melanie Buggie: for, Beatrice Jackson: Yeah. Melanie Buggie: make Carol Shields: pitch. Melanie Buggie: it a Anne Peralez: Yeah. Melanie Buggie: selling point that it is just Carol Shields: Simple Melanie Buggie: the basic. Beatrice Jackson: Yeah. Carol Shields: and Melanie Buggie: Yeah uh I Anne Peralez: Okay. Beatrice Jackson: Alright. Carol Shields: Yeah. Melanie Buggie: brilliant. Beatrice Jackson: Good. And, okay, in closing, 'cause we only have five minutes. We'll be meeting again in thirty minutes. Um, you'll be working, Poppy will be working on the look-and-feel design. Wait a minute. Is that right? Melanie Buggie: Mm-hmm. Beatrice Jackson: Yep, and um the user interface design, so this is where the trendy stuff comes in. And you'll be evaluating the product. Um, Poppy and Tara will have to work together, using modelling clay. And, um, your personal coach will give you the rest of the information of what needs to happen. Melanie Buggie: Okay. Beatrice Jackson: Alright. So, anyone else have something to say? Melanie Buggie: Um, I just have one question about Beatrice Jackson: Yeah. Melanie Buggie: the whole fruit and vegetable aspect. Beatrice Jackson: Yeah. Anne Peralez: Mm-hmm. Melanie Buggie: Are we seeing as that was the most popular thing that came up out of your market research, I thi I think we should keep to that rather than moving to animals or something, because Anne Peralez: Yeah. Beatrice Jackson: Yeah. Melanie Buggie: even if that may not seem obvious to us, if that's what the surveys brought out, I think that we should probably go along with that. Beatrice Jackson: Yeah. Melanie Buggie: Um, so I suppose that'll come out in our dev design development. But you're happy to go ahead with the fruit and Anne Peralez: Now Melanie Buggie: veg? Anne Peralez: do you guys need want an idea of how many uh are you gonna come up with casing ideas? Like f Melanie Buggie: Y Anne Peralez: five different Carol Shields: Yeah. Melanie Buggie: Yeah. Carol Shields: What I Beatrice Jackson: five. Carol Shields: What I was thinking what do yous think of this? Um, having the numbers kind of like, not a bunch of grapes, but you know like purple and kind of in a triangle. Anne Peralez: Mm-hmm. Carol Shields: Like grapes. Anne Peralez: Yeah you Carol Shields: Like Anne Peralez: can have Carol Shields: that's Anne Peralez: some fun Carol Shields: kind Anne Peralez: with Carol Shields: of Anne Peralez: the buttons, it's Carol Shields: fruity Anne Peralez: true. Beatrice Jackson: Mm-hmm. Carol Shields: or something. That's Anne Peralez: Yeah. Carol Shields: just Melanie Buggie: We can have a look at those ideas, yeah. Beatrice Jackson: Yeah. Anne Peralez: I guess what you i ideally you'd kind of think of age markets as well. So it's Melanie Buggie: Yeah. Anne Peralez: a something that will, you know, appeal to the fifteen to twenty five year olds. Something that your granny would want on her remote control. Um, Melanie Buggie: Yeah. Beatrice Jackson: Yeah. Anne Peralez: and international tastes as well, so Melanie Buggie: Tricky. Anne Peralez: Not easy. Melanie Buggie: A lot Beatrice Jackson: Yeah. Melanie Buggie: of things to consider. Carol Shields: Yeah. Beatrice Jackson: Lots Melanie Buggie: Hm. Beatrice Jackson: of yeah. Alright. Melanie Buggie: Okay. Beatrice Jackson: 'Kay we'll stick to the fruit and veggie theme then. Alright. And, um, we'll reconvene in thirty minutes. Melanie Buggie: Okay. Carol Shields: Okay. Beatrice Jackson: 'Kay. Anne Peralez: Okay. Beatrice Jackson: Bye. Melanie Buggie: Thank you. Beatrice Jackson: I'll see you later. Oh, what did I just do. Okay.

Beatrice Jackson opens this conceptual design meeting and gives them the agenda. Melanie Buggie presents first and talks about the components of a remote, energy source options, and materials for the remote, case, and buttons. The interface specialist presents the interface concept by explaining the difference between graphical and command interface. They decide the command interface is most useful for a remote because it is simpler and more user-friendly. The group discusses aspects of the user interface including the lighting up effect and material of the buttons. Anne Peralez presents on trend-watching and talks about how fruit and vegetables are an important fashion theme this year, and says the material used is expected to be spongy. The group discusses how they could implement these fashion trends into the design, then finalizes a few decisions about the components, materials, and energy sources. Beatrice Jackson closes the meeting, stating what each member's next task will be.

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Eunice Flores: Okay. Here we go. Alright, the agenda thi oh. Alright. Um the agenda for this meeting is um we'll initially have the prototype presentation by our two designers. And then we will evaluate it, given the criteria that um that we gave gave it. And um talk about our finances, whether we were under or over our budget. I have a um a spreadsheet where we can calculate um our prices for every aspect of of what we've made, given our options. And um product, as a group Kristina Ortiz: Okay. Eunice Flores: And um So first we'll have the prototype presentation. Do you need the um PowerPoint for Kristina Ortiz: Um Eunice Flores: this? Kristina Ortiz: yeah. I just got a few, Eunice Flores: Alright. Kristina Ortiz: show them. Thank you. Kristina Ortiz: Do you want to present it? Wanda Chatman: Um Kristina Ortiz: Yeah, here we are. Wanda Chatman: This is what we came up with. It's a pretty simple design. It's um based on a mango? Yeah. And Eunice Flores: On? Kristina Ortiz: Mango Wanda Chatman: we Eunice Flores: A Kristina Ortiz: shape. Eunice Flores: mango. Okay. Wanda Chatman: Yeah. And we have the company logo here and this will be the infrared Kristina Ortiz: The Wanda Chatman: here Kristina Ortiz: L_E_D_. Wanda Chatman: and this'll be the power point, the on off button Eunice Flores: Oh. Okay. Wanda Chatman: kind yeah. Julia Thornton: I'm sorry. What was the where's Eunice Flores: Oops. Julia Thornton: the L_E_D_? Wanda Chatman: It's in the middle of one of the little R_s. Julia Thornton: Oh. Okay. Wanda Chatman: And then the other one is the power. And uh we just have a simple design. We wanted it all to be Kristina Ortiz: So it's palm-held. Wanda Chatman: thumb yeah palm-held Kristina Ortiz: Yeah. Wanda Chatman: and Eunice Flores: Yeah. Wanda Chatman: all the buttons are accessible from your thumb. Eunice Flores: Notice Wanda Chatman: So Eunice Flores: you have Wanda Chatman: you Eunice Flores: a number Wanda Chatman: don't have Eunice Flores: ten Wanda Chatman: to Eunice Flores: button. Wanda Chatman: Oh that was a mistake, wasn't it? Right Kristina Ortiz: You Wanda Chatman: no, Kristina Ortiz: just need the Wanda Chatman: that's Kristina Ortiz: nought. Wanda Chatman: a zero. Take that one off. Eunice Flores: Okay. Wanda Chatman: Sorry. I was in charge of the numbers. Eunice Flores: No problem. Ah. Wanda Chatman: And this is just if you've got like eleven or twelve or thirt the plus. Kristina Ortiz: So one plus Wanda Chatman: You can Kristina Ortiz: one Wanda Chatman: go Kristina Ortiz: would be Wanda Chatman: one, Kristina Ortiz: eleven, or Wanda Chatman: three or something. Eunice Flores: Oh. Wanda Chatman: You Eunice Flores: You Wanda Chatman: press Eunice Flores: press Wanda Chatman: that Eunice Flores: a plus Wanda Chatman: first Eunice Flores: button? Wanda Chatman: and then you go one three yeah. Eunice Flores: Oh okay. I've never heard of that kind before. Wanda Chatman: Well we just thought, we have all the numbers here, so we wanted something representative of numbers larger than ten and Kristina Ortiz: Yeah Eunice Flores: Yeah. Kristina Ortiz: because if you on your average um remote, if you press one twice you just go to or uh say you wanted channel twelve, you Eunice Flores: Yeah. Kristina Ortiz: one, and go to one then two you'd go to, instead of Julia Thornton: Oh, Kristina Ortiz: twelve Julia Thornton: there's no e okay. Kristina Ortiz: So if you did Wanda Chatman: So Eunice Flores: Oh. Kristina Ortiz: like Wanda Chatman: the plus Kristina Ortiz: one plus Wanda Chatman: and Kristina Ortiz: two Wanda Chatman: then yeah. Kristina Ortiz: you could go to channel Eunice Flores: I Julia Thornton: Okay. Kristina Ortiz: twelve, or two plus Eunice Flores: But Kristina Ortiz: two is channel twenty Eunice Flores: Would Kristina Ortiz: two. Eunice Flores: you have to go zero plus one if you wanted to go to channel one or two? Wanda Chatman: No no, th all that's why we have all these numbers. These numbers um these numbers all work independently up to nine. Eunice Flores: Yeah but I mean if you press, it'll go to that channel right away. Wanda Chatman: Yeah. Eunice Flores: 'Cause you gotta press the plus afterwards. Wanda Chatman: Oh no. Uh, the plus is only for if you're going past the number nine. Eunice Flores: Yeah I know, but if if I wanna go to say number Julia Thornton: Sixty. Eunice Flores: like sixty five, channel sixty five, if Wanda Chatman: You Eunice Flores: I press Wanda Chatman: p Eunice Flores: the six it'll go to channel six, and then I'll Wanda Chatman: Oh. Eunice Flores: press the plus, and then it'll go to six and then put the five and it'll go to Wanda Chatman: No Eunice Flores: sixty Wanda Chatman: you press Eunice Flores: five? Wanda Chatman: the plus first. I Kristina Ortiz: Oh. Wanda Chatman: I well it doesn't we haven't really s I would've thought you pressed the plus first and then the six five, but she says plus press Kristina Ortiz: Well I don't Wanda Chatman: which Kristina Ortiz: mind, we Wanda Chatman: what Kristina Ortiz: can Wanda Chatman: do you Kristina Ortiz: further Wanda Chatman: think Kristina Ortiz: define Wanda Chatman: is Kristina Ortiz: that. Eunice Flores: I Wanda Chatman: simpler? Eunice Flores: th Wanda Chatman: It's Eunice Flores: Um Wanda Chatman: a Kristina Ortiz: I wouldn't have thought it'd be a problem that it went to channel six first, Wanda Chatman: Yeah. Kristina Ortiz: in like on the way to channel sixty five. Eunice Flores: Yeah it wouldn't be a problem. Wanda Chatman: Yeah. Eunice Flores: But Kristina Ortiz: But I suppose Eunice Flores: I was just Kristina Ortiz: it's Eunice Flores: wondering Kristina Ortiz: not as Eunice Flores: like as Julia Thornton: Well Kristina Ortiz: snappy. Julia Thornton: the Eunice Flores: long as we realise Julia Thornton: there is Eunice Flores: that's Julia Thornton: a Eunice Flores: what it'll do. Julia Thornton: there's a Wanda Chatman: Oops. Julia Thornton: delay on remotes I think. Where you Wanda Chatman: Yeah. Julia Thornton: can have it Kristina Ortiz: Yeah. Julia Thornton: it's like a five second input Kristina Ortiz: Yeah. Julia Thornton: time. Kristina Ortiz: If Julia Thornton: So Kristina Ortiz: you don't Julia Thornton: as long Kristina Ortiz: put Julia Thornton: as you Kristina Ortiz: it Julia Thornton: hit them dada Kristina Ortiz: Yeah. Wanda Chatman: Yeah. Kristina Ortiz: Yeah, that yeah. Julia Thornton: it should be fine. Eunice Flores: Yeah. Julia Thornton: As long as there's not a big pause between the t hitting the two buttons. Kristina Ortiz: Mm-hmm. Wanda Chatman: Yeah. So Kristina Ortiz: Um Julia Thornton: Was there so on the top there is volume and Kristina Ortiz: And channel, Wanda Chatman: A channel. Kristina Ortiz: which Julia Thornton: Channel Kristina Ortiz: is so Julia Thornton: up volume up. Okay cool. Kristina Ortiz: you could just Eunice Flores: C_ Wanda Chatman: Just Eunice Flores: and Wanda Chatman: so Eunice Flores: V_. Kristina Ortiz: go Wanda Chatman: we Kristina Ortiz: like Wanda Chatman: can Kristina Ortiz: that Wanda Chatman: flick Kristina Ortiz: without thinking about it, Eunice Flores: Right, Kristina Ortiz: like Julia Thornton: Yeah. Eunice Flores: where um where's the power button? Wanda Chatman: It's in the middle Kristina Ortiz: It's Julia Thornton: It's Wanda Chatman: of Julia Thornton: the Wanda Chatman: one Julia Thornton: R_. Wanda Chatman: of Kristina Ortiz: the Wanda Chatman: the Kristina Ortiz: bigger Wanda Chatman: little Kristina Ortiz: R_. Wanda Chatman: R_s. Eunice Flores: Oh okay. Kristina Ortiz: So it's just like. Wanda Chatman: Yeah, so Eunice Flores: Yeah. Wanda Chatman: it's Kristina Ortiz: We Wanda Chatman: all Kristina Ortiz: deci Wanda Chatman: accessible. Without m taking your hand off the remote. Eunice Flores: Yeah. Kristina Ortiz: Yeah Julia Thornton: Mm-hmm. Kristina Ortiz: um we went for like a a circular design for the numbers because we thought that's kind of a more natural movement than just going like that with your thumb. Eunice Flores: Oh okay. Kristina Ortiz: Uh e Julia Thornton: Mm-hmm. Kristina Ortiz: ergonomics Eunice Flores: Yeah. Kristina Ortiz: are all considered. Wanda Chatman: And Eunice Flores: Ergonomic, Kristina Ortiz: Yeah. Eunice Flores: definitely ergonomic. Wanda Chatman: it might actually help with the repetitive stress injury Kristina Ortiz: It could cause Wanda Chatman: as Kristina Ortiz: another Wanda Chatman: well. Kristina Ortiz: type of Wanda Chatman: Okay. Kristina Ortiz: repetitive stress injury though. But yeah, no I mean it's a different movement so Wanda Chatman: Yeah. Kristina Ortiz: yeah. Um and the feel of it, I mean, we've made this out of Play Doh, which is representing the, you know, Eunice Flores: The Kristina Ortiz: the Eunice Flores: spon Kristina Ortiz: rubber, Eunice Flores: yeah. Wanda Chatman: Yeah. Kristina Ortiz: and the spongy rubberness. Um 'cause it was said before in the material specification that this the this anti-R_S_I_ um material is often used in stress balls so this has got a you know a bit of give to it, Wanda Chatman: Yeah. Kristina Ortiz: and it just Eunice Flores: Yeah. Bit of a stress Kristina Ortiz: feels Eunice Flores: ball feel. Kristina Ortiz: feels Wanda Chatman: Yeah. Kristina Ortiz: different. Would you like to feel it yourselves? Eunice Flores: Yes. Kristina Ortiz: How it fits Eunice Flores: I Kristina Ortiz: in Eunice Flores: would. Kristina Ortiz: the palm of your hand? Eunice Flores: My goodness. There you go. Kristina Ortiz: Thanks. And you? Julia Thornton: Yes. Eunice Flores: Genevieve? Yeah. Julia Thornton: Oh it's nice. Oh I think I killed the five. I did. I killed Eunice Flores: And Julia Thornton: the Eunice Flores: something Julia Thornton: four. Eunice Flores: hmm. Julia Thornton: Oh god. Kristina Ortiz: O Okay, as for the colours, we were presented with um a limited range Julia Thornton: Oh it smells Wanda Chatman: Of Kristina Ortiz: of Julia Thornton: good. Kristina Ortiz: colours for Wanda Chatman: Play Kristina Ortiz: this Wanda Chatman: Doh Kristina Ortiz: prototype. Wanda Chatman: yeah. Kristina Ortiz: But we're thinking that, seeing as we're having it in interchangeable casing anyway, that this is not necessarily a representation of the true colours that we would necessarily use. Or the combination. Um and we're thinking to carry-on with the fruit and vegetable theme, the colour um combination just could just be named after different fruit, like Eunice Flores: Oh Kristina Ortiz: banana Eunice Flores: right. Kristina Ortiz: could be black and yellow, watermelon red and green, or vanilla might be the most popular if it just uh Wanda Chatman: 'Cause it'd Kristina Ortiz: blends Wanda Chatman: be quite Kristina Ortiz: in Wanda Chatman: subtle and Kristina Ortiz: more settled cream Eunice Flores: Yeah. Kristina Ortiz: instead of the Eunice Flores: It Kristina Ortiz: others Eunice Flores: looks Kristina Ortiz: are Eunice Flores: more Kristina Ortiz: all a bit garish. Eunice Flores: Think like vanilla and banana would. Kristina Ortiz: Banana's more representative of our colour scheme, like the company the yellow and black. Wanda Chatman: Yeah. Eunice Flores: Okay yeah. Kristina Ortiz: So that for corporate identity that would probably be the most strength. I mean watermelon, you know, m probably appealing Eunice Flores: Kinda Kristina Ortiz: to Eunice Flores: Christmas, Kristina Ortiz: the Eunice Flores: you know. Kristina Ortiz: yeah, Wanda Chatman: Yeah, Kristina Ortiz: seasonal. Wanda Chatman: yeah, yeah. Kristina Ortiz: Apple green, brown, more kinda trendy, you know, khaki Eunice Flores: Yeah. Wanda Chatman: The pomegranate's kinda girly and funky kind of, and Eunice Flores: Cool. Wanda Chatman: then the vanilla's more for the more sophisticated customer who just Kristina Ortiz: Yeah. Wanda Chatman: wants something that fits in with all decor. Kristina Ortiz: Okay. Um yeah we thought of the components it was definitely um a focus of ergonomics and just a single ha handheld device, I mean you don't need to use both hands, one hand to hold this and type in with the other, you can just use your thumb. Wanda Chatman: Yeah. Kristina Ortiz: Um, as we said the rubber's probably used for comfort and anti-R_S_I_ and that's about it. Eunice Flores: Alright, thank you very much. Good work everyone. Julia Thornton: Bravo Eunice Flores: Alright. And so now that we've we have a prototype, uh we need to go over the finances and seeing if this prototype matches uh what our budget can handle. Kristina Ortiz: Mm-hmm. Eunice Flores: So, I have something I'm going to Julia Thornton: You want the Eunice Flores: Oh wait a minute. Do you need to do a presentation first? Julia Thornton: I don't know what order it goes in. Eunice Flores: Yeah. I'm Julia Thornton: I have Eunice Flores: gonna Julia Thornton: one. Eunice Flores: check that out for a second. Kristina Ortiz: Mm go Eunice Flores: What time is it anyw Oh yeah sorry you're right. Julia Thornton: Evaluation Eunice Flores: Evaluation Julia Thornton: cri Okay. Eunice Flores: criteria is Julia Thornton: That's Eunice Flores: next Julia Thornton: Julia Thornton. Eunice Flores: in line. Yeah. Julia Thornton: Hello. Oh there we go. Julia Thornton: Okay. Come on my computer. Come on. Sorry my computer's giving Julia Thornton technical difficulties. Eunice Flores: Just press Julia Thornton: Should Eunice Flores: um Julia Thornton: I press Eunice Flores: function Julia Thornton: it again? Eunice Flores: eight again. Julia Thornton: Last time I did that it sh Okay. You're right. Eunice Flores: And then again I think. One more time. Julia Thornton: Oh. Still not there. Eunice Flores: Yeah. Yeah. Julia Thornton: Okay now I think for this one I could Would you guys prefer use the whiteboard or mayb maybe I'll just do it on right on the screen where you can see it. Um, we're gonna be doing an evaluation report together based on the protoptype that we've just seen. Um and looking looking back at my notes from our both our conceptual and our functional meetings, um I made a list of what our original requirements and goals were, um, back to our kick-off meeting this morning. Um, and we'll evaluate as to whether we've s done what we set out to do. Um and we're gonna do it on a one to seven scale where one is true and seven is false. So basically the lower p the lower the points the better. Okay so question number one. Does the remote whoops. Sorry. Oh I'm not gonna be able um, I'll do it on the whiteboard. I can't change it so I'm g I'm gonna ask you to push it down once. Eunice Flores: Okay. Julia Thornton: I'll write down our scores up on the Eunice Flores: Ooh. Julia Thornton: Okay so number one. Do we have a fancy look-and-feel? Wanda Chatman: Mm. Kristina Ortiz: Feel I think. We've been quite successful with the Eunice Flores: Yeah. Kristina Ortiz: rubber coating and Eunice Flores: The Wanda Chatman: Well Eunice Flores: look is a little bit more playful. Wanda Chatman: Yeah. Kristina Ortiz: Yeah. Julia Thornton: Yeah I guess that depends on your definition of fancy, but it's definitely different. It's not Eunice Flores: Oh definitely Julia Thornton: your traditional Eunice Flores: different yeah. Julia Thornton: yeah. Kristina Ortiz: I think the colour has a lot to do with it. I mean Julia Thornton: Mm-hmm. Kristina Ortiz: th the colours we were given for making the prototype aren't the colours that I think we would've necessarily Wanda Chatman: Yeah. Kristina Ortiz: chosen. It's not the kind of ooh uh Eunice Flores: Oh you were Kristina Ortiz: at Eunice Flores: only Kristina Ortiz: all Eunice Flores: given red Kristina Ortiz: sleek Eunice Flores: and black? Kristina Ortiz: red, black and yellow, and orange. Eunice Flores: Oh okay. Wanda Chatman: Yeah so not Kristina Ortiz: Um Wanda Chatman: very sleek and we don't wanna go for black because most remote controls Julia Thornton: Yeah. Wanda Chatman: are black or grey. So we want it Eunice Flores: Yeah. Wanda Chatman: to be stand out that way, anyway. Kristina Ortiz: But if Eunice Flores: Okay. Kristina Ortiz: you can imagine that in like a s just a maybe uh a kind of pale metallic-y Wanda Chatman: Yeah. Kristina Ortiz: finish or something Wanda Chatman: A metallic-y Julia Thornton: Mm-hmm. Wanda Chatman: finish we were thinking. Kristina Ortiz: Well I Eunice Flores: Yeah. Kristina Ortiz: know know it's for rubber. Wanda Chatman: Polished. Kristina Ortiz: I mean diff if Wanda Chatman: Okay Kristina Ortiz: you can visualise this in nice colours I think it would look quite Wanda Chatman: Yeah. Kristina Ortiz: fancy. Julia Thornton: Yeah. Eunice Flores: Yeah. Julia Thornton: I kinda I like the potato look. Eunice Flores: It's Julia Thornton: It's Eunice Flores: mango. Julia Thornton: very different. Kristina Ortiz: Oh Wanda Chatman: We Kristina Ortiz: well, potato, Wanda Chatman: we Kristina Ortiz: mango, Wanda Chatman: were Julia Thornton: It's what? Kristina Ortiz: fruit and veg. Eunice Flores: It's mango. Julia Thornton: Oh sorry the mango the mango look. Wanda Chatman: we were thinking Kristina Ortiz: Potato's Wanda Chatman: about Julia Thornton: Yeah Kristina Ortiz: fine. Wanda Chatman: yeah. Julia Thornton: it Kristina Ortiz: Potato's Julia Thornton: is, fruit Kristina Ortiz: fine. Julia Thornton: or vegetable depends on your mood. Kristina Ortiz: Yeah. Totally. It's Julia Thornton: So Kristina Ortiz: really Julia Thornton: I myself Kristina Ortiz: adaptable. Julia Thornton: would say a one or a two. Eunice Flores: Yeah. I would say two. Personally. Wanda Chatman: I Julia Thornton: It's a two? Wanda Chatman: w I'd say two I think. Julia Thornton: Okay, Kristina Ortiz: For the Julia Thornton: and p Wanda Chatman: Fanciness. Kristina Ortiz: fancy Eunice Flores: Yeah. Julia Thornton: One being true. So Kristina Ortiz: I uh two, Julia Thornton: Two. Kristina Ortiz: three. Julia Thornton: Okay, Wanda Chatman: Yeah. Julia Thornton: actu that's pro that's gonna get confusing, like that. Okay so question number two was is it techn technologically innovative? So I know we have the kinetic energy which is very innovative. Eunice Flores: Yeah. Kristina Ortiz: Yeah and the use of the rubber. Julia Thornton: Use of the rubber, Wanda Chatman: Yeah. Kristina Ortiz: For the Julia Thornton: the use Kristina Ortiz: anti-R_S_I_. Julia Thornton: of the L_E_D_. Eunice Flores: Yeah. Kristina Ortiz: The L_E_D_ use isn't Julia Thornton: Isn't Kristina Ortiz: particularly innovative Wanda Chatman: Mm. Kristina Ortiz: and we don't have any scroll buttons, it's all pushbuttons, there's no L_C_D_ control, so if we're thinking about the rest Julia Thornton: Mm-hmm. Kristina Ortiz: of the market, Eunice Flores: Yeah. Kristina Ortiz: it's sort of probably halfway. In some aspects it is, Eunice Flores: Yeah. I'd Kristina Ortiz: like Eunice Flores: say maybe Kristina Ortiz: we said. Eunice Flores: three. Wanda Chatman: I'll go for Julia Thornton: Yeah. Wanda Chatman: three as well. Julia Thornton: And I think I mean it it's tough to say because we were we didn't want it to be any more innovative than this, because then that Kristina Ortiz: Yeah. Wanda Chatman: No. Julia Thornton: would've Eunice Flores: Yeah Kristina Ortiz: Though Eunice Flores: we Kristina Ortiz: it Eunice Flores: want Kristina Ortiz: was Eunice Flores: it Kristina Ortiz: our Eunice Flores: simple. Kristina Ortiz: specification. Julia Thornton: defeated the Wanda Chatman: Wouldn't Julia Thornton: purpose. Wanda Chatman: be simple, Julia Thornton: So Wanda Chatman: yeah. Julia Thornton: I mean I we'll put three, but I think we actually reached our goal. Wanda Chatman: Yeah. Eunice Flores: Yeah. Julia Thornton: We didn't want it any more than that. Okay question number three. Uh, will it be easy to use? Eunice Flores: I think so. Kristina Ortiz: Yeah. Wanda Chatman: Yeah Julia Thornton: Yeah. Eunice Flores: Yeah. Kristina Ortiz: Yeah. Wanda Chatman: very. Julia Thornton: Yeah. Wanda Chatman: I Julia Thornton: S Wanda Chatman: think one Julia Thornton: Yeah I think Wanda Chatman: for Julia Thornton: it's Wanda Chatman: that. Eunice Flores: Yeah. Kristina Ortiz: Yeah. Eunice Flores: One. Julia Thornton: you can't Wanda Chatman: Yeah. Julia Thornton: really get confused with that. Wanda Chatman: No. Julia Thornton: I mean, Eunice Flores: Th Julia Thornton: there'll be s we have to work out the uh number Eunice Flores: The plus Julia Thornton: the Eunice Flores: number Julia Thornton: plus Eunice Flores: thing. Julia Thornton: system. Wanda Chatman: Yeah that's Julia Thornton: But once that's Wanda Chatman: the Julia Thornton: figured Wanda Chatman: only Julia Thornton: out, Wanda Chatman: thing Kristina Ortiz: Yeah Wanda Chatman: yeah. Julia Thornton: it Kristina Ortiz: and Julia Thornton: should Kristina Ortiz: perhaps Julia Thornton: be fine. Kristina Ortiz: the turning on but Julia Thornton: Number four. Is this a good-looking remote? Kristina Ortiz: Mm. Julia Thornton: Remember that seventy five percent of users find most remote controls ugly. Kristina Ortiz: Again Wanda Chatman: It's Kristina Ortiz: I Wanda Chatman: definitely Kristina Ortiz: think the colour comes into this. Eunice Flores: Yeah colour will definitely be a factor. Julia Thornton: Mm-hmm. Eunice Flores: I think that the logo could be smaller. Kristina Ortiz: Okay. Wanda Chatman: Yeah. Eunice Flores: And maybe not such a prominent way. Wanda Chatman: But Eunice Flores: Maybe Wanda Chatman: the Eunice Flores: like at the bottom, kind of. Wanda Chatman: Remember Kristina Ortiz: Not Wanda Chatman: the Kristina Ortiz: in Wanda Chatman: management said that it it had to be prominent. Julia Thornton: Whoops. Eunice Flores: Oh it just had to be on there I guess. Julia Thornton: Should Wanda Chatman: Yeah. Julia Thornton: just not touch it. Kristina Ortiz: Don't worry. Julia Thornton: This time it's the three I killed. I was just wondering if it should be like flatter. Or Kristina Ortiz: I suppose I've got quite big Eunice Flores: I Kristina Ortiz: hands. Eunice Flores: like Julia Thornton: Well Eunice Flores: the appeal of it being like a big glob in your Wanda Chatman: Yeah. Eunice Flores: hand. Wanda Chatman: But you know what I've just thought of there now. What where's it gonna sit in your living room? Is it not gonna fall off the arm Eunice Flores: Maybe Wanda Chatman: of the Eunice Flores: if the bottom Wanda Chatman: sofa? Eunice Flores: was just sort of flat, Julia Thornton: Yeah the bottom Eunice Flores: and then Julia Thornton: could Eunice Flores: the Julia Thornton: be Eunice Flores: rest Julia Thornton: like Eunice Flores: is Julia Thornton: ch Wanda Chatman: Yeah. Eunice Flores: like Julia Thornton: chopped a bit. Wanda Chatman: But then it Eunice Flores: round. Wanda Chatman: wouldn't sit as comfortably in your hand. Julia Thornton: Oh. That's true. Eunice Flores: It would still be comfortable I think. Kristina Ortiz: Thing is like Eunice Flores: We Julia Thornton: Maybe, Kristina Ortiz: that, Eunice Flores: c Julia Thornton: it Kristina Ortiz: it's Eunice Flores: we Kristina Ortiz: not Julia Thornton: could Eunice Flores: could handle Kristina Ortiz: going anywhere Eunice Flores: it I think. Julia Thornton: it Kristina Ortiz: particularly. Julia Thornton: could be on Wanda Chatman: Yeah. Julia Thornton: the bottom, so you wouldn't loo like if it's flat here, so it sits up. Kristina Ortiz: Yeah. Julia Thornton: Like that. Wanda Chatman: Oh that would be nice. Eunice Flores: Ah it'd fall over all the time though. It'd be annoying. Kristina Ortiz: Uh yeah, it's less Wanda Chatman: Yeah. Julia Thornton: I g Kristina Ortiz: um, what's Julia Thornton: If it's Kristina Ortiz: th Julia Thornton: weighted Kristina Ortiz: ha. Julia Thornton: maybe. Kristina Ortiz: H it's got Julia Thornton: Details, Kristina Ortiz: higher centre Julia Thornton: details. Kristina Ortiz: of gravity Eunice Flores: 'Kay we're done designing. Kristina Ortiz: like that. Julia Thornton: Okay. Eunice Flores: Come on. Julia Thornton: So, is this a good-looking remote? Would we wanna show it off Wanda Chatman: Three. Julia Thornton: to our friends? Wanda Chatman: You would though, 'cause it's bit it's more interesting than other Julia Thornton: Yeah. Wanda Chatman: remotes. Eunice Flores: I think, it was another colour and it was like I think it'd look okay. I think maybe Julia Thornton: Yeah? Eunice Flores: a two. Julia Thornton: I mean I gue Kristina Ortiz: I Julia Thornton: yeah, Kristina Ortiz: would Julia Thornton: it's personal Kristina Ortiz: definitely Julia Thornton: taste, Kristina Ortiz: go for Julia Thornton: but Kristina Ortiz: that rather than like your average plain Julia Thornton: Yeah. Wanda Chatman: Yeah. Kristina Ortiz: old remote like that, but definitely in another colour, I'm not happy with those colours. Julia Thornton: Okay, so should we say two for that? Eunice Flores: Sure. Kristina Ortiz: Yeah. Julia Thornton: Yeah? Wanda Chatman: Yeah. Julia Thornton: Okay. Uh, question number five. What's um will people be willing to spend twenty five Euros on this product? Remember that eighty percent of users were willing to spend more money when a remote control looked fancy. Wanda Chatman: I think we have to market it in the right way, that Julia Thornton: Mm-hmm. Wanda Chatman: um Kristina Ortiz: Yeah. Wanda Chatman: to say that it is simplistic. So people don't just see it and think, uh, this is so simplistic, I don't want Eunice Flores: Yeah. Wanda Chatman: to spend twenty five Euros. We have to market Julia Thornton: Yeah Wanda Chatman: it. Julia Thornton: it Kristina Ortiz: Yeah. Julia Thornton: the marketing will have a lot to Kristina Ortiz: And Julia Thornton: do with it. Wanda Chatman: And the kinetic Kristina Ortiz: the Wanda Chatman: energy part. Kristina Ortiz: kinetic Wanda Chatman: Yeah. Kristina Ortiz: energy, shaker-style-y, Eunice Flores: Yeah. Kristina Ortiz: whoo, ooh no. Julia Thornton: Shake it and Eunice Flores: Durable. Julia Thornton: the buttons fall off. Wanda Chatman: Don't shake Kristina Ortiz: But you know, those'll be firmly on. Wanda Chatman: Oh no the plus. You're Julia Thornton: No, I guess, Wanda Chatman: use Julia Thornton: I don't Wanda Chatman: the Julia Thornton: know much Wanda Chatman: zero. Julia Thornton: about the remote control industry, Wanda Chatman: Make Julia Thornton: how much Wanda Chatman: a new Julia Thornton: your Wanda Chatman: one. Julia Thornton: average sells for, Eunice Flores: But you're our Marketing Julia Thornton: but Eunice Flores: Expert. Julia Thornton: I know I am, aren't Wanda Chatman: I Julia Thornton: I? Wanda Chatman: think they're about ten po ten pound, aren't they? About ten pounds. Fifteen? Julia Thornton: don't have to buy batteries. So in the long term this can actually Wanda Chatman: Yeah. Kristina Ortiz: Mm, Julia Thornton: save you Kristina Ortiz: yeah, Julia Thornton: money. Eunice Flores: Oh. Kristina Ortiz: that's Julia Thornton: So we'll market Kristina Ortiz: true. Julia Thornton: it that Eunice Flores: Exactly. Julia Thornton: way too. Kristina Ortiz: Yeah. Eunice Flores: Exactly. Julia Thornton: So yeah Kristina Ortiz: Good Julia Thornton: I think Kristina Ortiz: point. Julia Thornton: with a good marketing scheme um and the personalisation options, it'll Eunice Flores: Yeah. I would give it a two still Kristina Ortiz: Yeah. Eunice Flores: though. Kristina Ortiz: Yeah. Julia Thornton: Yeah. Wanda Chatman: Mm. Julia Thornton: Okay number six. Can someone read it out? Or Kristina Ortiz: Does this prototype match the operating behaviour of the average user. Eunice Flores: Mm. Wanda Chatman: Yeah. Julia Thornton: Um yeah. So that was mainly that Kristina Ortiz: Yeah. Wanda Chatman: I think it does Eunice Flores: Oh Julia Thornton: the statistics Eunice Flores: yeah. Wanda Chatman: very Kristina Ortiz: Because Julia Thornton: we Wanda Chatman: well. Julia Thornton: said Kristina Ortiz: yeah, because the most accessible buttons are the volume and the and the Wanda Chatman: The Kristina Ortiz: channel-changing. Wanda Chatman: zap Julia Thornton: Mm-hmm. Kristina Ortiz: And Eunice Flores: Yeah. Wanda Chatman: yeah. Kristina Ortiz: it's just you won't have to think about it. You don't have to look down to find them. They're clearly there, easy to use. Eunice Flores: Yeah. Julia Thornton: Yeah Kristina Ortiz: Simple. Julia Thornton: I Wanda Chatman: Uh Julia Thornton: guess the I think the key word there is average, 'cause there were some people that used the uh video input and sound and stuff. Kristina Ortiz: Yeah. Julia Thornton: But they're not Kristina Ortiz: Mm. Julia Thornton: you and I really. So. Eunice Flores: Yeah. Julia Thornton: Okay so one? Wanda Chatman: Yeah. Kristina Ortiz: Yeah. Julia Thornton: Okay. Number seven. C Heather could you push it down? Will this remote control be easy to find when lost? Remember that fifty percent of users lose their remote regularly. Now is Eunice Flores: We Julia Thornton: there Eunice Flores: have Julia Thornton: the Eunice Flores: the alarm system. Julia Thornton: is the alarm system still was it implemented? Wanda Chatman: Yeah the bu when you press Kristina Ortiz: It Wanda Chatman: the alarm system, the lights Kristina Ortiz: Yeah l lights on and, Wanda Chatman: behind Kristina Ortiz: or flash as Wanda Chatman: the Kristina Ortiz: well. But I mean Wanda Chatman: and it'll vibra Kristina Ortiz: it's not obviously obvious from the outside that that's gonna happen Wanda Chatman: It'll Kristina Ortiz: 'cause Wanda Chatman: be again Kristina Ortiz: you can't Wanda Chatman: in the marketing. Kristina Ortiz: s particularly Eunice Flores: I Kristina Ortiz: see Eunice Flores: thought the light Kristina Ortiz: an Eunice Flores: from Kristina Ortiz: alarm. Eunice Flores: the inside was Wanda Chatman: Yeah. Eunice Flores: gonna light up. Wanda Chatman: The light it will. Eunice Flores: Or or Wanda Chatman: But Eunice Flores: was Kristina Ortiz: Yeah. Eunice Flores: it Kristina Ortiz: But Eunice Flores: gonna Kristina Ortiz: when the Eunice Flores: make a Kristina Ortiz: alarm's Eunice Flores: noise? Kristina Ortiz: not yeah. Wanda Chatman: But both Kristina Ortiz: If you Eunice Flores: You press the button it makes a noise right? Kristina Ortiz: Yeah. Wanda Chatman: Yeah. Julia Thornton: It turns into a duck Kristina Ortiz: You Julia Thornton: and starts Kristina Ortiz: could Julia Thornton: quacking. Kristina Ortiz: s Eunice Flores: Yeah. Kristina Ortiz: Yeah. Julia Thornton: Here I am. Eunice Flores: Awesome. Wanda Chatman: Oh, that would Eunice Flores: Awesome. Wanda Chatman: be brilliant. I'd be tempted Kristina Ortiz: Well Julia Thornton: Um Wanda Chatman: to Kristina Ortiz: the thing is, if it was had an alarm system, I mean, when it when it lights up as we I mean it could light up when the alarm went. Wanda Chatman: Yeah. Kristina Ortiz: But if it was hidden underneath the cushion or something, there wouldn't be any point. So you can't see the alarm, but it would light Wanda Chatman: It would Kristina Ortiz: up. Wanda Chatman: have to be in the market Eunice Flores: I though Julia Thornton: Okay. Eunice Flores: w it was gonna make a noise. Kristina Ortiz: Yeah. Wanda Chatman: Yeah but you Kristina Ortiz: Alarm, Wanda Chatman: still Kristina Ortiz: but Wanda Chatman: couldn't Kristina Ortiz: you can't see Wanda Chatman: see it. Kristina Ortiz: an alarm inside uh Wanda Chatman: It would just Kristina Ortiz: the Wanda Chatman: be a little Kristina Ortiz: alarm Wanda Chatman: speaker Kristina Ortiz: system Wanda Chatman: on the back Kristina Ortiz: itself. Wanda Chatman: or something. Eunice Flores: Okay. Julia Thornton: We oh you're just explaining why it's not on the prototype. Kristina Ortiz: Yeah. Julia Thornton: But yeah, it'll be Kristina Ortiz: Yeah. Julia Thornton: there. So we Eunice Flores: Oh Kristina Ortiz: It Julia Thornton: can Eunice Flores: okay. Kristina Ortiz: w Julia Thornton: we could say that Kristina Ortiz: yeah. Eunice Flores: Whoo. Okay. Kristina Ortiz: Sorry. Julia Thornton: We can give it a one, because compared to every other remote ever m ever made, this one will be easier to find. Eunice Flores: Yeah, Kristina Ortiz: Yeah. Julia Thornton: Okay. Um Eunice Flores: totally. Kristina Ortiz: Sorry Heather. That Eunice Flores: No Kristina Ortiz: wasn't Eunice Flores: problem, Kristina Ortiz: very clear. Julia Thornton: Question Eunice Flores: mm. Julia Thornton: number eight. Will it be easy to learn how to use this remote when brand new? Remember that thirty four percent of users usually found it difficult. So Eunice Flores: Totally. Julia Thornton: it has to be yeah, it's eas they'll pick Wanda Chatman: So Julia Thornton: it up Wanda Chatman: the Julia Thornton: and Wanda Chatman: plu Julia Thornton: they'll know what to do. Wanda Chatman: the plus Julia Thornton: The plus thing Wanda Chatman: w Julia Thornton: needs to be Wanda Chatman: once Julia Thornton: worked on. Wanda Chatman: that's written down on the page that'll Eunice Flores: Yeah. Wanda Chatman: be really simple, Kristina Ortiz: Yeah Wanda Chatman: won't it? Julia Thornton: Yeah. Kristina Ortiz: I think just because it's we've Julia Thornton: Well Kristina Ortiz: decided to reduce it down to the basic buttons, I think Wanda Chatman: Yeah. Kristina Ortiz: that Julia Thornton: Do Kristina Ortiz: in itself makes it so Julia Thornton: Does Kristina Ortiz: much Julia Thornton: it make Kristina Ortiz: easier Julia Thornton: more sense Kristina Ortiz: to use. Julia Thornton: for the middle one to be an just an enter button? So then you would have to push two buttons every time at least. Eunice Flores: Yeah, so it's just like channel six, Wanda Chatman: That Eunice Flores: six, Wanda Chatman: kind of annoys Eunice Flores: enter. Wanda Chatman: Julia Thornton though, when Kristina Ortiz: Mm. Wanda Chatman: it's zero six when you have to press I don't Eunice Flores: Yeah Wanda Chatman: know Eunice Flores: but Wanda Chatman: why. Eunice Flores: you don't have to press zeros. Julia Thornton: You could just press six enter, Wanda Chatman: Oh okay. Kristina Ortiz: And Julia Thornton: or Eunice Flores: And then Kristina Ortiz: or Eunice Flores: like Julia Thornton: one Wanda Chatman: Right. Kristina Ortiz: sixty Eunice Flores: twelve, Julia Thornton: two enter. Kristina Ortiz: six Eunice Flores: enter. Kristina Ortiz: enter, Wanda Chatman: Alright, Julia Thornton: Yeah. Wanda Chatman: aye. Kristina Ortiz: y Eunice Flores: Yeah. Kristina Ortiz: Yeah I think that's probably more straightforward. Yeah. Good Wanda Chatman: Yeah. Julia Thornton: Um, okay so we can Wanda Chatman: I'd Julia Thornton: we'll say Wanda Chatman: say Julia Thornton: yes it's Wanda Chatman: w yeah one. Julia Thornton: uh one? Wanda Chatman: Yeah. Eunice Flores: Yeah. Julia Thornton: Okay. Kristina Ortiz: Ooh. Mm. Julia Thornton: Question number nine. Kristina Ortiz: Oh. Julia Thornton: Uh, will it minimise the effects of R_S_I_, which was repeated strain injury? Wanda Chatman: Yeah. Kristina Ortiz: Injury. Julia Thornton: Um, which affected over a quarter of users. S Wanda Chatman: Hmm. Eunice Flores: I think so. It's like right in the Wanda Chatman: But if you're zapping Eunice Flores: Your thumb might get a little Kristina Ortiz: Yeah, Eunice Flores: bit Wanda Chatman: yeah. Kristina Ortiz: that's Eunice Flores: uh Kristina Ortiz: what I was thinking. Wanda Chatman: I don't think it will f Kristina Ortiz: We may have to do some more research into Wanda Chatman: Yeah, Kristina Ortiz: other strain Eunice Flores: Yeah. Kristina Ortiz: injuries that we don't know about. Eunice Flores: But it is soft. Kristina Ortiz: Mm-hmm. Julia Thornton: It's soft, Eunice Flores: And Julia Thornton: and Eunice Flores: that's Wanda Chatman: Mm. Eunice Flores: kind of what the um Kristina Ortiz: Mm. Julia Thornton: And people Eunice Flores: the PowerPoint Julia Thornton: could Eunice Flores: slide thing said would be good for Kristina Ortiz: Yeah. Eunice Flores: R_S_I_, Wanda Chatman: Yeah. Julia Thornton: Mm-hmm. Eunice Flores: so Julia Thornton: I Eunice Flores: maybe Julia Thornton: don't know Eunice Flores: it Julia Thornton: what Eunice Flores: is Julia Thornton: other options Eunice Flores: but Kristina Ortiz: I think we're getting Julia Thornton: there are. Eunice Flores: Yeah. Kristina Ortiz: that's true. Julia Thornton: Could I mean, you could hold it in your left hand and d use your index finger. But Kristina Ortiz: Mm. Julia Thornton: there's not really any other options unless it's like a keyboard. So, Wanda Chatman: Yeah. Eunice Flores: Yeah. Julia Thornton: I think we did as as much as you can with a remote control. Eunice Flores: Yeah. Julia Thornton: So, one or two do you think? Wanda Chatman: I Kristina Ortiz: I think Wanda Chatman: I'd say t Kristina Ortiz: yeah, I think Wanda Chatman: two. Kristina Ortiz: too. Wanda Chatman: Yeah. Julia Thornton: Two okay. Eunice Flores: Yeah. Julia Thornton: Okay number ten. Did we somehow incorporate the company colour and logo? Eunice Flores: Yes we did. Wanda Chatman: Yeah. Julia Thornton: Now is the colour gonna be there even if it's like vanilla? Is the yellow Wanda Chatman: N We we can't really do that because for example on the banana theme we can't have it as being yellow. Julia Thornton: Mm-hmm. Wanda Chatman: It won't stand out. So n it's not always gonna be the same colour. Julia Thornton: It sounds like the colour's something that we Kristina Ortiz: Yeah. Wanda Chatman: Gray, yeah. Eunice Flores: So it could be grey on the banana one. Wanda Chatman: Yeah, could be grey. Eunice Flores: Yeah. Julia Thornton: But I mean the yell yeah d yellow's ugly though, depending on Wanda Chatman: Yeah Julia Thornton: the Wanda Chatman: that's right, we didn't Julia Thornton: So Wanda Chatman: even Julia Thornton: I think we'll Wanda Chatman: rea Julia Thornton: have to talk to our executive managers, and Kristina Ortiz: Mm. Julia Thornton: see if we can get away with just the R_R_. Kristina Ortiz: Yeah. Wanda Chatman: Yeah. Kristina Ortiz: I think this is the the factor that we've been least successful in Julia Thornton: Okay. Wanda Chatman: Perhaps Kristina Ortiz: confronting. Wanda Chatman: a metallic Eunice Flores: Mm, yeah. Wanda Chatman: or or like that's grey, and it wouldn't be that expensive to have a little bit of metal. No? Julia Thornton: Yeah. Wanda Chatman: That Julia Thornton: And Wanda Chatman: isn't Julia Thornton: the buttons Wanda Chatman: rubber. Julia Thornton: in the middle. Okay. Kristina Ortiz: Yeah. Julia Thornton: So, do you think that's more of a three then? Three, four? Kristina Ortiz: Four I think. Julia Thornton: Four? Kristina Ortiz: Well I don't what do what Julia Thornton: Well we have good Eunice Flores: Hum. Julia Thornton: reasons for it, so we but we can still put a a four? Kristina Ortiz: Okay. Wanda Chatman: Okay. Julia Thornton: Okay, and final question. Um, did we stay true to our motto and put the fashion into electronics? Current trends of fruits and veggies, desire for sponginess. Eunice Flores: I would say so. Wanda Chatman: Following that briefing we Eunice Flores: But maybe Wanda Chatman: did. Eunice Flores: more like two 'cause there's no like pictures of fruit, it's just sort of naming it by a fruit. Wanda Chatman: Yeah. Kristina Ortiz: Yeah. Julia Thornton: Yeah. Eunice Flores: With Kristina Ortiz: Like Eunice Flores: the Kristina Ortiz: um Eunice Flores: with the Kristina Ortiz: the colour Eunice Flores: colours. Kristina Ortiz: scheme names and Wanda Chatman: Yeah. Kristina Ortiz: stuff. Julia Thornton: No, uh, are the plates interchangeable? I think I missed Wanda Chatman: Yeah. Julia Thornton: a few Kristina Ortiz: Yeah. Eunice Flores: Yeah. Julia Thornton: they are? So you can have banana and kiwi and Wanda Chatman: Yeah. Julia Thornton: okay. Kristina Ortiz: Yeah. Eunice Flores: Yeah. Kristina Ortiz: Yeah. Julia Thornton: Okay, so that's something that's kind of in the making too, like maybe it'll become more Eunice Flores: That's fashionable in itself to have interchangeable plates. Julia Thornton: Mm-hmm. Kristina Ortiz: It is. Wanda Chatman: I think w yeah, I think one. Well that was our brief and we followed the brief. Well we haven't Kristina Ortiz: The thing Wanda Chatman: got a big Kristina Ortiz: is, I Wanda Chatman: banana Kristina Ortiz: think if somebody Wanda Chatman: but Kristina Ortiz: saw that and you said what was that Wanda Chatman: Oh Kristina Ortiz: inspired Wanda Chatman: yeah. Kristina Ortiz: from, I Eunice Flores: Be Kristina Ortiz: don't Eunice Flores: like Kristina Ortiz: know if you'd instantly Wanda Chatman: No. Kristina Ortiz: say mango. Eunice Flores: Yeah. Wanda Chatman: No. Eunice Flores: Maybe if it was scented. Kristina Ortiz: Oh Wanda Chatman: Oh Kristina Ortiz: yeah. Wanda Chatman: that would be class. Kristina Ortiz: There we go. That would be great. Eunice Flores: Yeah we have money for that. Um Kristina Ortiz: Um Eunice Flores: Alright so based on this evaluation, do we average them out sorta thing? Julia Thornton: Yes we do. So I wh what was I gonna put for that? A two Eunice Flores: Oh. Julia Thornton: for fashion? Eunice Flores: I would say two. Wanda Chatman: Yeah. Two. Kristina Ortiz: Okay. Julia Thornton: Okay, so our average there, five, six, eight, ten, eleven, twelve, thirteen, fifteen, nineteen, twenty one, divided by eleven Wanda Chatman: It's Julia Thornton: is Eunice Flores: One point Kristina Ortiz: It's Eunice Flores: nine or something? Wanda Chatman: Yeah. Eunice Flores: I don't know these things. Kristina Ortiz: Between Eunice Flores: Um, Kristina Ortiz: one and two. Eunice Flores: between one and two. Julia Thornton: Between okay. Kristina Ortiz: So that's Wanda Chatman: Close Kristina Ortiz: pretty Julia Thornton: Um. Wanda Chatman: to two. Kristina Ortiz: fantastic. Wanda Chatman: Yeah. Julia Thornton: Yeah, that's very good 'cause the highest we coulda got is one. Wanda Chatman: I got Eunice Flores: Alright. Julia Thornton: Does that seem right then? Wanda Chatman: Yeah, 'cause we've a four to bring down. Julia Thornton: Okay. Kristina Ortiz: Mm. It Wanda Chatman: Uh, Kristina Ortiz: seems Wanda Chatman: aye. Kristina Ortiz: like it should be more around two. Eunice Flores: Yeah. Wanda Chatman: Yeah. Uh, should've added five. Kristina Ortiz: Do we have an online calculator? Eunice Flores: I'm attempting to do that right Kristina Ortiz: Okay. Eunice Flores: now. Wanda Chatman: This Eunice Flores: Yeah Wanda Chatman: is. Eunice Flores: it is one point nine. Ooh. Wanda Chatman: Yay. Kristina Ortiz: Oh wow. Well done. Eunice Flores: Go Kristina Ortiz: Well Eunice Flores: Heather Kristina Ortiz: that's Eunice Flores: Pauls. Kristina Ortiz: excellent. Eunice Flores: Yeah. Alright, now with that over and done with, our next step is to see if we are under budget. And um my computer's frozen. And now it's not. Okay. So um in our shared folder, if everyone could go there right now, um Julia Thornton: Sorry. Eunice Flores: I'm going to um Julia Thornton: Are you gonna do Eunice Flores: steal Julia Thornton: that? Eunice Flores: a cable. Julia Thornton: Okay. Eunice Flores: Um Wanda Chatman: Is that the project document? Eunice Flores: it's it's um it's an Excel file. Oh. Kristina Ortiz: Production costs. Wanda Chatman: Yeah. Eunice Flores: Yeah. 'Kay there we go. Um, production costs. And um I have to access that as well. Kristina Ortiz: It Eunice Flores: One Kristina Ortiz: says Eunice Flores: moment. Kristina Ortiz: it Eunice Flores: 'Kay so far I've added what I think or what is going on? Great. It's blinking at Julia Thornton. It's locked for editing. Read only. I'm gonna open up a second one then 'cause it's locked for editing. I have the original in my um my email account. Julia Thornton: Oh is it locked 'cause I'm in it? Eunice Flores: I Kristina Ortiz: I Eunice Flores: dunno. Kristina Ortiz: think it Julia Thornton: Or Kristina Ortiz: just means that we Julia Thornton: okay. Kristina Ortiz: can't add any more to it now. Have you have you completed it? Eunice Flores: No. Kristina Ortiz: Oh right. Eunice Flores: No, Kristina Ortiz: Okay. Eunice Flores: I was hoping that you guys could. Kristina Ortiz: Okay. Eunice Flores: Um, there we go. Okay here we go. So we need to tally up how much our w our product will be costing. So um if you can look up at the screen, um Kristina Ortiz: Yeah. Eunice Flores: the large screen, oh I guess looking at your own too and telling Julia Thornton which one you think. Okay we're using kinetic which is quite a large expense at three Euros. Kristina Ortiz: Yeah. Wanda Chatman: Oh Eunice Flores: Um we're Wanda Chatman: right. Eunice Flores: using a regular chip. Kristina Ortiz: Yeah. Eunice Flores: Um, Kristina Ortiz: Double Eunice Flores: it's cur it's double curved, Kristina Ortiz: double-curved Eunice Flores: so its curved Kristina Ortiz: yeah. Eunice Flores: all around. That's another three. We're already at five. Um, we're using plastic and rubber, Kristina Ortiz: Yeah. Eunice Flores: so Good thing plastic is free, we're at eight. Um Wanda Chatman: What about Eunice Flores: S Wanda Chatman: a special colour? Are Eunice Flores: Yeah. Wanda Chatman: we using that? Eunice Flores: I guess we should do it just for one kind. Kristina Ortiz: Yeah. Eunice Flores: So it's like special colour well we'll have two colours right? Kristina Ortiz: Yeah. Eunice Flores: Well one colour for the case, one colour for the buttons. Kristina Ortiz: Mm-hmm. Eunice Flores: So we can Wanda Chatman: Yeah. Eunice Flores: Um, we have push button interface, so that's inexpensive. And um we have a special colour for the button, and we also have a special form. And Wanda Chatman: And a special material. Yeah. Eunice Flores: a special material. Kristina Ortiz: Oof. Eunice Flores: Which puts us just barely under budget. Hurray. Kristina Ortiz: Congratulations Julia Thornton: Mm. 'S good. Eunice Flores: Yeah. Kristina Ortiz: guys. Eunice Flores: Good work guys. So um Wanda Chatman: That's good. Eunice Flores: our operating cost is twelve twenty Euros. Awesome. Eunice Flores: And back to our PowerPoint. So we've 'Kay. Yes we are. So we need to do a product evaluation, again, which is probably um I dunno. A different extension of a Kristina Ortiz: Of the actual project rather than the product? Wanda Chatman: Yeah. Eunice Flores: Hmm. Kristina Ortiz: A project? Is is yeah. Eunice Flores: Yeah 'cause we're talking Kristina Ortiz: So Eunice Flores: about Kristina Ortiz: wh Eunice Flores: leadership, Kristina Ortiz: how Eunice Flores: teamwork. Kristina Ortiz: we actually went round uh about doing it. Eunice Flores: Yeah. Alright so um Do you guys feel like there was room for creativity? Kristina Ortiz: I think we were pushed. Julia Thornton: Mm-hmm. Eunice Flores: Pushed for creativity? Kristina Ortiz: I mean we weren't really Wanda Chatman: The ma Kristina Ortiz: given a lot of time, or Wanda Chatman: Or Kristina Ortiz: materials, Wanda Chatman: materials. Kristina Ortiz: yeah, to go about our design task. Wanda Chatman: Yeah. Kristina Ortiz: So I think we could've done with a bit more time. Eunice Flores: Ye Okay. So it'd be like need more time and materials. Kristina Ortiz: Yeah. Eunice Flores: But you were allowed m creativity? Kristina Ortiz: Yeah. Eunice Flores: I think so as like but you were supposed to Julia Thornton: Yeah Eunice Flores: have Julia Thornton: and Eunice Flores: creativ Julia Thornton: the conceptual and functional. Like we were very creative in in coming up with an idea I guess, Wanda Chatman: Yeah. Kristina Ortiz: Yeah. Julia Thornton: but Kristina Ortiz: Well Julia Thornton: m Kristina Ortiz: we were just limited by resources really Julia Thornton: When we can down Kristina Ortiz: and Julia Thornton: to Wanda Chatman: Yeah. Kristina Ortiz: like Julia Thornton: it. Okay. Eunice Flores: Right. Kristina Ortiz: if we had decided to use the L_C_D_ screen, and like solar power backup and everything, then we wouldn't have been able to afford that. So that did limit Wanda Chatman: Creativity. Kristina Ortiz: creativity. Eunice Flores: Right Kristina Ortiz: Just Julia Thornton: Mm-hmm. Kristina Ortiz: resources. Eunice Flores: Okay Kristina Ortiz: But yeah. The fruit and veg idea. Eunice Flores: Great. Leadership? Is this Julia Thornton being Julia Thornton: Yeah. Eunice Flores: like, guys do you like Julia Thornton? Um. Julia Thornton: Good leadership, I think we stayed on Wanda Chatman: Yeah. Julia Thornton: task. Kristina Ortiz: Yeah Eunice Flores: Yeah. Kristina Ortiz: we did. We've, uh seeing as we've come out with what we intended. A pro um a product within the budget. I think Julia Thornton: Mm-hmm. Kristina Ortiz: that's a sign of good leadership and also our personal coach helped us along the way, so Eunice Flores: Yeah. Kristina Ortiz: you know Julia Thornton: And Kristina Ortiz: I Julia Thornton: the Kristina Ortiz: think Julia Thornton: timing Kristina Ortiz: it's been Julia Thornton: was Kristina Ortiz: fine. Julia Thornton: good. We never were pushed for time, or sat around doing nothing, so Wanda Chatman: Yeah. Kristina Ortiz: Yeah. Good timing. Eunice Flores: Oop Okay. Kristina Ortiz: And Eunice Flores: Teamwork? Kristina Ortiz: project manager Eunice Flores: I think we worked Kristina Ortiz: of course. Eunice Flores: great as a team. Kristina Ortiz: Yeah. Eunice Flores: Yeah? Wanda Chatman: Yeah. Julia Thornton: Was good teamwork. I think we are well-suited to our roles. Wanda Chatman: Yeah. Kristina Ortiz: Yeah. Eunice Flores: Alright how were our means? Kristina Ortiz: Um Eunice Flores: We needed more Play Doh colours. Wanda Chatman: Yeah. Kristina Ortiz: Yeah and more Play Doh, 'cause that was all the red Eunice Flores: Yeah. Kristina Ortiz: we had. So even Wanda Chatman: Yeah, it Kristina Ortiz: if we Wanda Chatman: c Kristina Ortiz: wanted Wanda Chatman: it might've Kristina Ortiz: to make Wanda Chatman: been Kristina Ortiz: a Wanda Chatman: bigger. Kristina Ortiz: bigger prototype, Julia Thornton: Oh really? Kristina Ortiz: we wouldn't have been able to. Julia Thornton: Okay. Eunice Flores: But ever everything else was satisfactory? Is that Julia Thornton: Yeah. The Eunice Flores: good Wanda Chatman: Yeah. Julia Thornton: computer programmes are good. The Kristina Ortiz: Yeah. It could be really straightforward for the computer. Julia Thornton: Yeah. I don't Kristina Ortiz: I think Julia Thornton: think there Kristina Ortiz: the Julia Thornton: was Kristina Ortiz: only Julia Thornton: anything Kristina Ortiz: thing was having to remember to you know to tick the okays Julia Thornton: Yeah. Kristina Ortiz: but I think I was the only one who struggled with that. Wanda Chatman: I'm actually not sure if I've saved my presentations. Eunice Flores: Yeah? Kristina Ortiz: Mm. Julia Thornton: They'll probably Kristina Ortiz: Uh Julia Thornton: still Kristina Ortiz: Julia Thornton too. Julia Thornton: be there. Kristina Ortiz: Yeah. Eunice Flores: New ideas found. I don't really know what that means. Julia Thornton: Um Kristina Ortiz: Well I think we've all learnt stuff from each other, like the n Wanda Chatman: Yeah. Kristina Ortiz: um Wanda Chatman: Through discussion. Kristina Ortiz: yeah. Just about each different. Got new ideas from each other. Julia Thornton: I'm not sure, new ideas found. Eunice Flores: Hmm? Julia Thornton: Yeah well I guess we really it we bounced off of each other, which was cool. Wanda Chatman: Yeah. Eunice Flores: Yeah. Julia Thornton: Like based on marketing stuff and then you'd say something about interface and Kristina Ortiz: Yeah. Julia Thornton: yeah, Eunice Flores: Yeah. Wanda Chatman: And we were Julia Thornton: worked Wanda Chatman: a able Julia Thornton: well. Wanda Chatman: to modify each other's ideas Julia Thornton: Mm-hmm. Kristina Ortiz: Yeah. Wanda Chatman: to fit in with our areas of expertise. Eunice Flores: Yeah. Each Julia Thornton: Oh does it have smart materials Eunice Flores: other's Julia Thornton: by the way? Kristina Ortiz: Sorry? Julia Thornton: Does it have smart materials? Eunice Flores: Mm. Kristina Ortiz: Oh yeah. Julia Thornton: Oh yeah. Kristina Ortiz: Well mm, did it come into Wanda Chatman: If Kristina Ortiz: the Wanda Chatman: if Kristina Ortiz: into Wanda Chatman: it if it Kristina Ortiz: I dunno if we counted that in the costs. Wanda Chatman: If it can be afforded. Eunice Flores: Okay? Well with that achieved, our last slide is our closing slide. Yes our costs are within budget. Kristina Ortiz: Yes. Eunice Flores: It's Julia Thornton: Mm-hmm. Eunice Flores: evaluated generally positively. Wanda Chatman: Yeah. Julia Thornton: Mm-hmm. Eunice Flores: And um don't forget to complete final questionnaire and meeting summary. Then Kristina Ortiz: Uh. Eunice Flores: we celebrate Wanda Chatman: Yay. Kristina Ortiz: Fantastic. Eunice Flores: in such a way that Julia Thornton: By Eunice Flores: I Julia Thornton: watching Eunice Flores: have no Julia Thornton: T_V_? Eunice Flores: idea. Kristina Ortiz: Okay, brilliant. Eunice Flores: Alright? Wanda Chatman: Yeah. Kristina Ortiz: Thank you very much. Eunice Flores: Okay, bye. Julia Thornton: Mm. Conclusion? Dadada.

Eunice Flores opens the meeting by stating the agenda. The designers give the prototype presentation, showing their simple design that is based on a mango. They point out the company logo and LED, and demonstrate how the device is palm-held and thumb-acessible. They also discuss the numerical, volume, channel, and power buttons as well as the color scheme. Julia Thornton administers the product evaluation, and they rate each of the ten criteria on a scale of 1-7. The criteria includes fancy look-and-feel, technological innovation, ease of use, look, whether people would be willing to spend 25 Euros for it, whether its operating behavior matches the average user, ease of finding when lost, ease of learning to use, whether it will minimize RSI, incorporation of company colors and logo, and whether it follows the motto. They average the scores and get 1.9. They check the product costing and find that their operating cost is 12.20 Euros. In evaluating the project process they are pleased with their creativity, leadership, timing, teamwork, discussions, and overall product given the resources they had. They close the meeting by thanking one another.

amisum

train

Mildred Stephens: Okay. Oh, that's not gonna work. Mildred Stephens: Oh, alright. Okay. Mildred Stephens: Okay. Um Paula Dess: Uh, uh, um. Mildred Stephens: alright. I'll just put that there. Uh as you all know we're here to create a brand new fantastic remote. Uh I'm Nick Debusk, I'm Mildred Stephens. Uh we'll just get started with everyone kind of letting each other know who they are and what you're doing, what your what your role is um. Go ahead. Paula Dess: Okay. I am Corinne Whiting and I will be Paula Dess and in each of the three phases I will have a different role. In the function design phase I will be talking about user requirement specification, and this means what needs and desires are to be fulfilled, and I'll be doing research to figure this out. In the conceptual design phase I will be dealing with trend watching and I'll be doing marketing research on the web. phase I will be doing product evaluation and so I will be collecting the requirements and ranking all the requirements to see how we did. Mildred Stephens: 'Kay. Victoria Mckinney: Hiya, I'm Ryan. Um I'm Victoria Mckinney. Um likewise I've three different roles for each stage of design. Um the functional design is looking at the tex technical functions of a remote control. Um in the concept design, the user interface, how the user reacts with the the product. And the detailed design um sort of like the user interface design, what they might be looking for, uh things like fashions, what makes wha how we're gonna make it special. That's about it. Kay Monaco: Right. I'm Manuel and I'm the Designer in in this project um. In the functional design phase I'm I'll be dealing mostly with the requirements, um we'll discuss what the prog what functions the the product has to fulfil and so and so on. Um I suppose we'll work pretty much together on that one. Um um in the conceptual design um I'll be pro mostly dealing with properties and materials um of our product. And look and feel of the product itself, um so we're pretty much working together obviously on the design front here. Okay. Mildred Stephens: Okay. Um so we've got our opening, our our agenda the opening, uh acquaintance which we've kinda done. Uh tool training, project plan discussion and then closing. Uh grand total of twenty five minutes we have here. Um so we are putting together a new remote control. Um we want it to be something original. Um of course we're a not only a electronics company but a fashion um conscious electronics company, so we want it to be trendy um and we want it to be easy to use. Um we've got the functional design, conceptual design and detailed design um which basically is is the three of you um. And w uh well um functional design um. Um do we have um any ideas of of maybe d let's just throw out some ideas of what kind of remote control we want to have, and then we can go into how we're gonna design it and and how we're gonna do the detailing on it. Victoria Mckinney: Yeah. Well uh s function of remote control is just just you know, change channels is its main function. Mildred Stephens: So we want it to be um a T_V_ remote or I I mean do we want it to to do other things besides just be a a television remote? Victoria Mckinney: Oh right. I suppose you c try make it a universal remote Mildred Stephens: 'Kay. Victoria Mckinney: for could work on all sort of electrical products in in one person's house. Paula Dess: Mm. Victoria Mckinney: But, you know, they all sorta have the same role changing channels, volumes and then programming. Mildred Stephens: Mm-hmm. 'Kay. Victoria Mckinney: I think Kay Monaco: Mm. Victoria Mckinney: they all work on the same prin principle as well sorta like I don't actually know. But is it just infra-red? Is that standard? Mildred Stephens: I Victoria Mckinney: Ye Mildred Stephens: I think yeah, Victoria Mckinney: yeah. Mildred Stephens: yeah, r universal remote. Um this is my first uh go-round Paula Dess: Huh. Mildred Stephens: with creating a remote control, so Paula Dess: Ours too. Mildred Stephens: I think we're all in the same boat here. Um Victoria Mckinney: Um one thing I thought of with the remote control is you always lose 'em. Mildred Stephens: Okay. Paula Dess: Mm. Victoria Mckinney: So if there's a g a way Paula Dess: Ch Victoria Mckinney: of finding it quite easily, Mildred Stephens: So Victoria Mckinney: I thought that'd Mildred Stephens: we Victoria Mckinney: be Mildred Stephens: should Victoria Mckinney: quite good Mildred Stephens: we Victoria Mckinney: quite Mildred Stephens: should Victoria Mckinney: a good feature. Mildred Stephens: set our remote control up to where it has a uh Paula Dess: Like a tracking device? Mildred Stephens: like a tracking device Victoria Mckinney: Oh Mildred Stephens: or Victoria Mckinney: you can get those key Mildred Stephens: or like a a Victoria Mckinney: well you could whistle or make a noise Mildred Stephens: It Victoria Mckinney: and Mildred Stephens: makes Victoria Mckinney: it'd Mildred Stephens: a noise, Victoria Mckinney: beep. Mildred Stephens: there's a button Kay Monaco: Mm, mm. Mildred Stephens: on the T_V_ that you press Paula Dess: Mm. Victoria Mckinney: Yeah. Mildred Stephens: and Kay Monaco: Right. Mildred Stephens: 'Kay. Paula Dess: Be good. Kay Monaco: So Victoria Mckinney: Generally, all remotes are sort of quite similar in their appearance. Mildred Stephens: Yeah. Victoria Mckinney: Just long. Mildred Stephens: Do we want so they're kinda like long and rectangular. Victoria Mckinney: Yeah. Mildred Stephens: Do Victoria Mckinney: Black Mildred Stephens: we want Victoria Mckinney: usually. Mildred Stephens: something crazy? You know, Victoria Mckinney: Yeah. Mildred Stephens: we want something new that's gonna Paula Dess: Lot more Mildred Stephens: stand Paula Dess: modern. Mildred Stephens: out. Victoria Mckinney: I Mildred Stephens: A Victoria Mckinney: think Mildred Stephens: m a Victoria Mckinney: so. Mildred Stephens: modern so our remote should Victoria Mckinney: Maybe Mildred Stephens: be Victoria Mckinney: sorta spherical or something. A ball. Paula Dess: Maybe like user-friendly, like a little Victoria Mckinney: Yeah. Paula Dess: you know, where you can use both hands, like a little keyboard type Victoria Mckinney: People Paula Dess: thing. Kay Monaco: Mm. Victoria Mckinney: I thought maybe, because people always tend to throw a remote control about the place to one another if it was in a ball, and Mildred Stephens: 'Kay. Victoria Mckinney: maybe the actual controls are inside or something. Paula Dess: Mm. Mildred Stephens: Um. Kay Monaco: Well there are of course certain restrictions, you can't have it be any form and fulfil all functions at the Victoria Mckinney: Yeah. Kay Monaco: same time, so there are always the some restrictions we have to apply here. Um however um one question is how stable is that thing supposed to be, that refers to the material, pretty much um. Paula Dess: Mm. Kay Monaco: What are we gonna build that thing out of? How sturdy is it gonna be? Do we want it to last longer or rather have people whatever, Mildred Stephens: Okay Kay Monaco: have Mildred Stephens: so Kay Monaco: to buy one Mildred Stephens: yeah, Kay Monaco: every Mildred Stephens: so Victoria Mckinney: Yeah. Mildred Stephens: we Kay Monaco: half Mildred Stephens: want Kay Monaco: a Mildred Stephens: it Kay Monaco: year? Mildred Stephens: to be sturdy, we want it to to hold up to somebody's child, you know, throwing it across the room or, as you said, people kinda throw it, so Victoria Mckinney: Yeah. Mildred Stephens: ball-shaped, uh you know, if it were ball-shaped maybe, Victoria Mckinney: It could Mildred Stephens: then Victoria Mckinney: be Mildred Stephens: it Victoria Mckinney: cased on the outside and t everything could be inside. Mildred Stephens: 'Kay. Um so we want it to be modern, fun, sturdy, um So our form and our function. Um we want it to be um easy to find. Mildred Stephens: Um What else it what else do we want it to to do? So we want it to be universal. It's something that we're supposed to sell for about twenty five Euros um and you know, goals for profits are I think somewhere around uh fifty million Euros, what they wanna make on it, so. Paula Dess: Mm. Also since we're partners of the International Remote Control Association, maybe we wanna make it something that would globally appeal. Mildred Stephens: 'Kay. Paula Dess: That's more on the research end, but the marketing. Mildred Stephens: So marketing, you know, how maybe uh marketing, you could s find out what is the most universally um appealing remote control out there. Paula Dess: Yeah. And maybe as far as design goes, maybe we could have different ones for different target audiences, Mildred Stephens: 'Kay. Paula Dess: 'cause maybe Victoria Mckinney: Ye Paula Dess: one won't apply to Victoria Mckinney: Small. Paula Dess: all of the countries we're targeting. Kay Monaco: Right. Mildred Stephens: Um Mildred Stephens: Do you guys have any ideas for what it should look like? Maybe we could draw it up on the on the board over there. Some ideas? We want it to be a b a ball, Victoria Mckinney: I'd I could draw Mildred Stephens: you know, Victoria Mckinney: sorta Mildred Stephens: we'll Victoria Mckinney: the Mildred Stephens: draw Victoria Mckinney: ball Mildred Stephens: up Victoria Mckinney: idea. Mildred Stephens: we'll draw up the ball and maybe th um where the buttons are located. Victoria Mckinney: My original idea was just simply sort of a sphere, where maybe you this is where it's connected together, and then when you open it out, it could fol it could be maybe flip, like a flip phone, and then when you fold it out the middle Maybe a hinge that'll have to be the strongest part of it. If that if we did use a hinge, or if it was just two parts, and then you'd have just sorta you you you know, your buttons. Thing is inside I think, sometimes remotes have too many buttons, so maybe as simple as possible, um as few buttons inside as possible. Um, I dunno, what's the idea for. Just something maybe if you ha if it had like if some kind of like light or something or lights around it. It's looking a bit like something out of Star Wars at the moment though, to be fair. But yeah. Paula Dess: Futuristic. Victoria Mckinney: That was that was a sorta simple idea I had Mildred Stephens: Uh-huh. Victoria Mckinney: and then you know you could about Right, it would almost be like a ball. So that was just just an idea I had. I don't know whether anybody else has other ideas? Kay Monaco: Right. One problem you'd get with this design is um the ball is a nice idea because of it's stability Victoria Mckinney: Yeah. Kay Monaco: really, but of course, since it's a ball, it'll roll, so Victoria Mckinney: Yeah. Kay Monaco: we'd have to have it flat on one Victoria Mckinney: Maybe Kay Monaco: side Victoria Mckinney: f yeah. Kay Monaco: at least, down here somewhere, take away that part. That's one of the big issues. Victoria Mckinney: Yeah, Kay Monaco: Also Victoria Mckinney: that's g that's a good idea. Kay Monaco: also you risk the hinges here. Victoria Mckinney: Yeah. Kay Monaco: That's that's um Victoria Mckinney: The Kay Monaco: a Victoria Mckinney: idea Kay Monaco: problem. Victoria Mckinney: it didn't have to necessarily be f a hinge, that Kay Monaco: That's Victoria Mckinney: was just one idea though. Kay Monaco: that's interesting of course, but that's of course a weak point, yeah. Victoria Mckinney: Yeah. Mildred Stephens: How would we go about um making you know getting rid of our weak points? What I mean would we just have a flat spot on the bottom of the ball? Not to put you on the spot, Kay Monaco: E No Mildred Stephens: but Kay Monaco: no, uh uh. Mildred Stephens: What did you say your Kay Monaco: N Mildred Stephens: title Kay Monaco: n Mildred Stephens: was again? Kay Monaco: Uh, I'm your Mildred Stephens: You're the Kay Monaco: Industrial Designer, Mildred Stephens: Kay Monaco. Kay Monaco: so i b well, the point is that well maybe I dunno. The shape is perhaps not the most ideal. Mildred Stephens: Okay. Kay Monaco: As as stable as it is, there must be a compromise between um Victoria Mckinney: Well I I suppose that things become Kay Monaco: stability Victoria Mckinney: design. Kay Monaco: and design Paula Dess: Mm-hmm. Kay Monaco: here, Victoria Mckinney: But I Kay Monaco: so. Victoria Mckinney: mean i I was trying to think of like the design of others. I can't think of anything other than a long rectangle for remote, maybe small, sort of fatter ones, but Mildred Stephens: Yeah. Victoria Mckinney: there's nothing being done sort of out of left Mildred Stephens: It's Victoria Mckinney: field, Mildred Stephens: not new, it's not Victoria Mckinney: yeah. Mildred Stephens: innovative, it's you know, everybody does long remote because it's Victoria Mckinney: Yeah. Mildred Stephens: easy, it's it's stable um. Paula Dess: 'Kay, I'll draw something. Mildred Stephens: So if Paula Dess: What? Mildred Stephens: no, go ahead. Paula Dess: My idea was just to have it be kind of like a keyboard type shape, you know, like video Victoria Mckinney: Yeah. Paula Dess: games l so. But maybe I mean that would be kinda big and bulky. We could also try to do the hinge thing, so it could like flip out that way. I don't know. That's my idea. Victoria Mckinney: I think definitely doing something different Paula Dess: Yeah. Victoria Mckinney: is a good idea. Kay Monaco: Mm. Victoria Mckinney: I mean maybe design something, that's sort of like uh I suppose not everybody's everybody's hand's the same, but something that would maybe fit in the hand easier. Mildred Stephens: Something Paula Dess: Mm. Mildred Stephens: with a grip. Victoria Mckinney: Yeah, Paula Dess: Yeah. Victoria Mckinney: with a grip. Mildred Stephens: Yeah. Because even I suppose even with the ball Victoria Mckinney: It still might be hard to Mildred Stephens: it's Victoria Mckinney: it still not Mildred Stephens: it might Victoria Mckinney: the ho Mildred Stephens: not be the easiest Victoria Mckinney: easiest Mildred Stephens: to hold Victoria Mckinney: thing Mildred Stephens: onto Victoria Mckinney: to hold, yeah. Mildred Stephens: um. Kay Monaco: Mm. Mildred Stephens: So perhaps the the joystick Victoria Mckinney: Like Mildred Stephens: the Victoria Mckinney: yeah. Mildred Stephens: the keyboard idea might work better. But then again, people like to use one hand to flip and one hand to hold their soda, Victoria Mckinney: Yeah. Mildred Stephens: so maybe Paula Dess: True. Mildred Stephens: maybe Victoria Mckinney: It's Mildred Stephens: we Victoria Mckinney: d yeah. I think it's definitely got to be a a one-handed Paula Dess: Mm. Victoria Mckinney: a one-handed job. Mildred Stephens: I feel like I'm just shooting everything down here. Uh Paula Dess: That's fine. Mildred Stephens: um Paula Dess: You're the boss, you're allowed to. Kay Monaco: Well with the one-handed design you also have the the problem of the size w 'cause you know from cell phones, they can be too small. So Paula Dess: Yeah. Kay Monaco: if the Mildred Stephens: Yeah. Kay Monaco: remote is too small it if it's small it probably looks better, but may not be th as functional. So for that there's Mildred Stephens: Okay, so Kay Monaco: So Mildred Stephens: unfortunately we've got about five minutes here to come up with our um remote control idea and start rolling with it. Um we've talked about our experiences with remote control and um we've got a couple ideas um. Let's see here. Mildred Stephens: What if we had what if we had not only um say we went with the ball the ball function um, but maybe we give it sort of grips along the side s um to make it easier to hold on to. So you know um s so Victoria Mckinney: Yeah. Mildred Stephens: onto that way. Course that'll then remove some of our our ball. Unless this unless this part were raised, so say the cover flips over and covers that part. So the grip is No, that wouldn't work either um. But if we're gonna make it flat on the bottom, then that eliminates our ball anyways. So if it were flat on the bottom and then had the sorta grips on the side here I guess, um and then flat uh And then we have the problem with the hinge. So if we're flat on the bottom, it's not gonna roll away, it'll stay where we want. Kay Monaco: The question is also, I dunno, d do you really always want to open that thing when you have to use it? Mildred Stephens: Mm, that's true. Kay Monaco: It's probably going to lie around opened all the time anyway, so I don't know if a lid is a good idea. From stabil stability point of view uh it certainly is, but also you have to face it and take into account the more of these things break by accident, uh the more we sell. So it's don't make it too Mildred Stephens: So Kay Monaco: stable Mildred Stephens: we don't have it flip open. Kay Monaco: uh. Mildred Stephens: We just have a ball Victoria Mckinney: But then maybe to go back to the to th s Kay Monaco: To Victoria Mckinney: something Kay Monaco: the other Victoria Mckinney: along Kay Monaco: design. Victoria Mckinney: those things then. Mildred Stephens: Okay, so then we forget the ball. Kay Monaco: It Paula Dess: Looks cool though. Mildred Stephens: It looks cool, Kay Monaco: looks Paula Dess: Yeah. Kay Monaco: cool. Mildred Stephens: but it's really not it's not Kay Monaco: Uh Mildred Stephens: functional Kay Monaco: functional. Mildred Stephens: um. So we've got our sort of keyboard kind. What if we flipped it around here, so that it were um Sorry, that doesn't look anything like what you had there. Um so it's up and down, you hold it this way. Course Victoria Mckinney: Yeah. Mildred Stephens: then it's it's like the rectangular again, only with a couple of jutting out points. Kay Monaco: Right. Right. Mildred Stephens: But it's one-handed um. Kay Monaco: Question is what makes those game pads functional? W I think that's pretty much the form for full hand. So it's a round shape underneath that makes it comfy, Paula Dess: Mm. Mildred Stephens: Yeah. Kay Monaco: right, makes it nice, so that's the essential part. Except for that I think Mildred Stephens: Yeah. Kay Monaco: we'll not probably not get a get away from some longer design. Paula Dess: Right. Kay Monaco: 'Cause you also have to know which way around to point this thing. Mildred Stephens: Yeah, Kay Monaco: You know, all that dif Mildred Stephens: because Kay Monaco: batteries Mildred Stephens: it doesn't have a cord, Kay Monaco: right, Mildred Stephens: like Kay Monaco: and Mildred Stephens: joysticks do. Kay Monaco: Batteries go weak as well, so um after a while you have to point it towards the uh towards the equipment you wanna control with it, right? So, have to m show which is the front, which is the back. Mildred Stephens: Is it possible to have it to where it would work with a like a sensor on either side? So that Kay Monaco: I suppose Mildred Stephens: either Kay Monaco: you could Mildred Stephens: way Kay Monaco: do Mildred Stephens: you're Kay Monaco: that. Mildred Stephens: pointing it it would Kay Monaco: O Mildred Stephens: work. Kay Monaco: of course the more technology you stick in that, the more Mildred Stephens: More Kay Monaco: it'll Mildred Stephens: expensive Kay Monaco: cost, Mildred Stephens: and Kay Monaco: so. Mildred Stephens: yeah. Kay Monaco: Course you can do that. Mildred Stephens: 'Kay. Um Kay Monaco: I mean of course it'll be evident after a while or if you look at it, it'll it'll be evident which way around to point it, since you have the the numbers and the and the Mildred Stephens: True. Kay Monaco: the buttons and stuff, but um it's rather about Victoria Mckinney: Put Kay Monaco: an Victoria Mckinney: it Kay Monaco: instinctual thing, like you just grab it, you don't have to s look at it, you know, which way around to point it. Otherwise the design of or the the point of putting two sensors on both sides um would probably work. Victoria Mckinney: Even if you designed it in some in a way that you know, isn't a rectangle, but still pointed in a direction that had definite points. So if that's your thing and you Paula Dess: Yeah. Victoria Mckinney: got something like that instead, and there's your s you kn you know which way you're gonna pointing it. Mildred Stephens: 'Kay. Paula Dess: Sorry Victoria Mckinney: Um Paula Dess: to interrupt, but we have a warning Mildred Stephens: Are we Paula Dess: to Mildred Stephens: out Paula Dess: finish. Mildred Stephens: of time? Paula Dess: Yeah. Kay Monaco: Mm. Mildred Stephens: Okay, well, just to finish up, should we s go with this plan, start making some Mildred Stephens: Are good ideas, what are not. Kay Monaco: Let's. Victoria Mckinney: Does it say what does Kay Monaco: Obviously Victoria Mckinney: it say for n it says on there what we need to do for the next meeting, I think. Mildred Stephens: Uh. Must Victoria Mckinney: T Mildred Stephens: finish now, so. And then marketing will look and see what uh what people want. Paula Dess: Mm. Kay Monaco: Alright. Paula Dess: Great. Mildred Stephens: Okay. And Project Manager will design a better meeting for next time around, be a little bit more prepared. And uh alright, good meeting.

Mildred Stephens opened the meeting and had the team members introduce themselves and describe their roles in the upcoming project. Mildred Stephens then described the upcoming project. The team then discussed their experiences with remote controls. They also discussed the project budget and which features they would like to see in the remote control they are to create. The team discussed universal usage, how to find remotes when misplaced, shapes and colors, ball shaped remotes, marketing strategies, keyboards on remotes, and remote sizes.

amisum

train

Helen Carrera: Yep. Soon as I get this. Helen Carrera: Okay. This is our last meeting. Um I'll go ahead and go through the minutes from the previous meeting. Uh and then we'll have a, the prototype presentation. Um then we will um do an evaluation. Uh or we'll see what, what we need to have under the criteria for the evaluation. Then we'll go through the finance and see if we fall within the budget. Um then we'll do the evaluation, and then can finish up after that with um any changes that we'll need to make, or hopefully everything will fall right in line. Um let's see, minutes from the last meeting. Um we looked at uh the the trends. We had uh the fashion trends that people want a fancy look-and-feel. It was twice as important as anything else. Um they liked fruit and vegetables in the new styles. Um and a spongy feel. So we were talking about trying to incorporate those into our prototype. Um they wanted limited buttons and simplicity. Um then we looked at the uh the method for coming up with our own remote. Um looking at other other devices. Um the iPod, we really liked the look of that. Um we also had uh the kid's remote for a simple idea. Um a two part remote, which was what were were originally looking at. Uh and then um there was talk of spee uh speech recognition um becoming more uh predominant and easier to use. But I think we've still decided not to go with that. Then we looked at the components um the materials for the case, the different energy sources, the different types of chips, um and made a decision on what we were going to use to make our remote. Um and basically how, what were making for the prototype. So I'm going to leave it at that and let you guys take over. Hildegarde Babb: The prototype discussion. Helen Carrera: The prototype yeah. Do you need a this? Hildegarde Babb: No. Helen Carrera: Okay. Hildegarde Babb: There Eleanora Barbour: Can try Hildegarde Babb: is Eleanora Barbour: to Hildegarde Babb: our Eleanora Barbour: plug Hildegarde Babb: remo Eleanora Barbour: that in there but Hildegarde Babb: the banana. Um yeah basically we we st went with the colour yellow. Um working on the principle of a fruit which was mentioned, it's basically designed around a banana. Um but it would be held in such a fashion, where it is, obviously it wouldn't be that floppy 'cause this would be hard plastic. These would be like the rubber, the rubber grips. So that's so that would help with grip, or like the ergonomics of it. Um but all the controlling would be done with this scroll wheel. You have to use your imagination a little bit. And this here represents the screen, where Helen Carrera: Very Hildegarde Babb: you, Helen Carrera: nice. Hildegarde Babb: where you'd go through. And the the simplest functions would be um almost identical to an iPod, where that one way ch through channels, that way th other way through channels. Volume up and down. And then to access the more complicated functions you'd you sorta go, you press that and go through the menus. It's that that simple. That just represents the infrared uh beam. That's a simple on and off switch. Um I don't know, we could use the voice. T that blue bits should be yellow, d that that'd be where the batteries would be I suppose. And um that's about it. It's as simple as you, we could make it really. Is there anything Eleanora Barbour: Right. Hildegarde Babb: you want to add? Eleanora Barbour: That's what we have there. That's plastic. Plastic covered with rubber. We might uh add some more underneath here. Maybe give it, give it a form. I mean you're supposed to hold it like that, but um just if you grab it, take Hildegarde Babb: Yeah. Eleanora Barbour: it from somewhere, Hildegarde Babb: Doesn't make much Eleanora Barbour: so Helen Carrera: Mm-hmm. Hildegarde Babb: make Eleanora Barbour: yeah, Hildegarde Babb: much difference. You Eleanora Barbour: you Hildegarde Babb: could Eleanora Barbour: have Hildegarde Babb: work Eleanora Barbour: some Hildegarde Babb: left-handed Eleanora Barbour: rub Hildegarde Babb: or right-handed Eleanora Barbour: yeah. Hildegarde Babb: I suppose. Eleanora Barbour: Exactly, use both. Might as well Hildegarde Babb: T the Eleanora Barbour: think Hildegarde Babb: actual Eleanora Barbour: about Hildegarde Babb: thing might be smaller. Eleanora Barbour: Th think about the button as Hildegarde Babb: Yeah. Eleanora Barbour: well. put either one one on either side or Helen Carrera: What but what's Eleanora Barbour: not Helen Carrera: that Eleanora Barbour: do Helen Carrera: button? Eleanora Barbour: it at all. Hildegarde Babb: Just the on Eleanora Barbour: It's Hildegarde Babb: and Eleanora Barbour: a quick Hildegarde Babb: off. Helen Carrera: Uh, Eleanora Barbour: on-off Helen Carrera: 'kay. Eleanora Barbour: button. That's um yeah I think it's pretty important. So you don't have to fiddle with that. Helen Carrera: 'Kay. Eleanora Barbour: Right? Um that's not um I'd say a bit smaller would probably be nice. Hildegarde Babb: Yeah. Eleanora Barbour: You wanna play with that over there. There you go. Hildegarde Babb: It's you know it's flimsy 'cause it's made out of heavy Play-Doh, Helen Carrera: Would you like Hildegarde Babb: but Eleanora Barbour: Right. Helen Carrera: to uh Marguerite Oliver: Pretty impressive. Helen Carrera: Well done. Marguerite Oliver: Kind. Hildegarde Babb: And whether or not it would fall into the cost everything I suppose. With the scroll and the L_C_D_. Helen Carrera: Well luckily we are going to find out. Or not luckily. Um do you have a Marguerite Oliver: I Helen Carrera: marketing Marguerite Oliver: do. Helen Carrera: presentation for us. Marguerite Oliver: Okay. You guys are gonna help Marguerite Oliver do an evaluation of the criteria. Um. Marguerite Oliver: Okay. So first I'll just discuss some of the criteria that I found. Just based on the past trend reports that I was looking at earlier. And then we'll do a group evaluation of the prototype. And then we will calculate the average score to see how we did. Marguerite Oliver: So we're gonna be doing it based on a seven point scale. And one is going to mean true, that we did actually achieve that. With seven being false, we did not achieve that. Marguerite Oliver: Okay. So for the first one, we need to decide, did we solved the problem of the users who complained about an ugly remote? Helen Carrera: I think it's definitely Marguerite Oliver: Mm. Helen Carrera: different than anything else Hildegarde Babb: Yeah. Helen Carrera: out there. So if they think that what is out there is ugly, then yes Hildegarde Babb: I Helen Carrera: I Hildegarde Babb: would. Helen Carrera: would say, I would say most definitely. It's bright. Hildegarde Babb: It's bright. It's Helen Carrera: It still has your traditional black. Hildegarde Babb: It's curved. It's not there's no sharp angles to Helen Carrera: Yep, Hildegarde Babb: it. Helen Carrera: not angular. Marguerite Oliver: Mm. Eleanora Barbour: I'd say, when it comes to the ergonomics, the form and stuff, yes that's definitely more beautiful than your average. However the colour, Marguerite Oliver: Yeah I think Eleanora Barbour: we Marguerite Oliver: the Eleanora Barbour: don't Marguerite Oliver: colours Eleanora Barbour: have a say Marguerite Oliver: detract Eleanora Barbour: in that. Marguerite Oliver: a little Hildegarde Babb: Some people Marguerite Oliver: bit. Hildegarde Babb: might Eleanora Barbour: That has Hildegarde Babb: say Eleanora Barbour: been, Hildegarde Babb: it. Yeah. Eleanora Barbour: that has been dictated Helen Carrera: Mm. Eleanora Barbour: pretty much by the company. So Marguerite Oliver: That's true. Eleanora Barbour: uh Helen Carrera: Yep. Eleanora Barbour: to answer that honestly I would rather say like uh, we have not solved the problem completely with Marguerite Oliver: Yeah. Eleanora Barbour: the ugly remote because the colour is ugly, definitely. Hildegarde Babb: Yeah. Eleanora Barbour: 'S nothing you can say about that. I mean I much prefer something like brushed chrome Hildegarde Babb: Yeah. Eleanora Barbour: with that form. But Helen Carrera: Yeah something more modern to go Eleanora Barbour: Right. Helen Carrera: a a modern colour to go with the modern form. Eleanora Barbour: Right. It's different. You don't want your uh three feet huge L_C_D_ dis display in your living room that's hanging from the wall to be controlled with something like that. Marguerite Oliver: Um okay so, do you think, since we This was a a sign criteria, do you think maybe we should put it somewhere in the middle then? Does Eleanora Barbour: Yeah. Marguerite Oliver: that sound good? Helen Carrera: Yeah. Hildegarde Babb: Yeah. Marguerite Oliver: What do you think? Three? Four? Helen Carrera: I Marguerite Oliver: Five? Helen Carrera: would say four. Marguerite Oliver: Four Eleanora Barbour: Yeah. Marguerite Oliver: is fair. Okay. Helen Carrera: Very non-committal, four. Marguerite Oliver: Okay, the second one. Did we make it simple for new users? Eleanora Barbour: It's very intuitive, I think yeah. Hildegarde Babb: Yeah. I think that was the main aim, one of the main aims that we had. Eleanora Barbour: S give it a one. Marguerite Oliver: One, Helen Carrera: Yeah. Marguerite Oliver: 'kay. Okay. Um, do the controls now match the operating behaviour of the users? Hildegarde Babb: Uh yeah. Marguerite Oliver: I'd Hildegarde Babb: 'Cause Marguerite Oliver: say Hildegarde Babb: we've Marguerite Oliver: that Hildegarde Babb: we've brought it down to basically four controls most common, which Eleanora Barbour: Right. Hildegarde Babb: are Helen Carrera: Mm-hmm. Hildegarde Babb: channel and volume. And then the other ones are just a matter of just going, just Helen Carrera: S Hildegarde Babb: scrolling further. Helen Carrera: scrolling through and selecting Hildegarde Babb: Yeah. Helen Carrera: a few. Eleanora Barbour: Right. Marguerite Oliver: So one? Eleanora Barbour: So that's a one. Marguerite Oliver: Yeah? Helen Carrera: I think that's a one. Marguerite Oliver: Okay. Okay um the fourth one. How about the problem of a remote being easily lost? One of the number one Eleanora Barbour: Something Marguerite Oliver: complaints. Eleanora Barbour: that big and that yellow you just don't lose anymore. Hildegarde Babb: Yeah. Marguerite Oliver: Whether Hildegarde Babb: It's Marguerite Oliver: you Hildegarde Babb: bright Marguerite Oliver: want to Hildegarde Babb: yellow. Marguerite Oliver: or not, Hildegarde Babb: Bright Marguerite Oliver: you're Hildegarde Babb: yellow's Marguerite Oliver: not Hildegarde Babb: hard Marguerite Oliver: gonna Hildegarde Babb: to Marguerite Oliver: lose Hildegarde Babb: lose. Marguerite Oliver: it. Hildegarde Babb: But um if we were to, if we were, that, the speech recognition. That, we could maybe just use that solely for the the finding thing. That was what we'd we'd mentioned. Helen Carrera: So if we incorporate speech recognition into it then it Hildegarde Babb: Just Helen Carrera: could Hildegarde Babb: just to use, to find it when it was lost. But like I said, like I Eleanora Barbour: Oops. Hildegarde Babb: don't think you'd lose something so yellow so easily. And it's Eleanora Barbour: Hmm. Hildegarde Babb: not gonna fall, like a rectangle would slip down behind things. That's gonna be a difficult shape to Eleanora Barbour: Well Helen Carrera: And Eleanora Barbour: what Helen Carrera: it is quite bright and Hildegarde Babb: Yeah. Maybe in the middle again, three or four or something? Eleanora Barbour: S Marguerite Oliver: Okay. Helen Carrera: Uh Hildegarde Babb: I mean you know loo losing things is one of those things that people can lose, Helen Carrera: Yeah. Hildegarde Babb: I mean a million ways. You can pick it up and walk away with it and then you've lost it. Marguerite Oliver: That's true. Eleanora Barbour: Mm. Helen Carrera: But if we do Marguerite Oliver: Mm. Helen Carrera: go with the, with the speech recognition, then it, then our scale goes up quite a bit Eleanora Barbour: Oh Helen Carrera: I Eleanora Barbour: yeah. Helen Carrera: think. Hildegarde Babb: Yeah. Eleanora Barbour: You probably Helen Carrera: Probably two. You know. If we eliminate the fact that you know it's impossible to guarantee that it's not gonna be lost Hildegarde Babb: Yeah. Helen Carrera: then Eleanora Barbour: Mm. Helen Carrera: I'd say two. With the speech recognition, which of course may be changed depending on budget. Hildegarde Babb: Yeah. Eleanora Barbour: Y you could add an extra feature actually. Which makes this thing raise hell when you remove it too far from the television. Hildegarde Babb: Yeah. Eleanora Barbour: We could add that but that's nothing we have thought of Helen Carrera: Which, Eleanora Barbour: so far. Helen Carrera: which may be cheaper than speech recognition if it Eleanora Barbour: Yes. Helen Carrera: were just a Hildegarde Babb: Yeah true. But Marguerite Oliver: Annoying Hildegarde Babb: I mean d just Marguerite Oliver: alarm Hildegarde Babb: those whistling, Marguerite Oliver: or something? Hildegarde Babb: clapping Marguerite Oliver: Yeah. Eleanora Barbour: It's Hildegarde Babb: key rings Eleanora Barbour: it's Hildegarde Babb: you have. They're cheap. So it can't be that Eleanora Barbour: Um the it's based Hildegarde Babb: expensive. Eleanora Barbour: on this anti anti-theft Helen Carrera: Some sort of Hildegarde Babb: Yeah. Eleanora Barbour: technology Helen Carrera: proximity Eleanora Barbour: for suitcases and stuff, where you have one piece that's attached to your luggage, another piece that starts beeping. That can't cost much. Hildegarde Babb: Yeah. Eleanora Barbour: So that can also easily be integrated because these things are small enough to to hide, so you have one piece, you have to glue somewhere behind Hildegarde Babb: stick it Eleanora Barbour: your Hildegarde Babb: on the T_V_. Eleanora Barbour: stick it behind your T_V_ and the other Helen Carrera: Pray that you don't accidentally lose that piece. Eleanora Barbour: Right. That'd be tough then. Well also your remote would uh alarm you if somebody stole you t your television, yeah. Ran off with it without taking the beautiful remote control. Hildegarde Babb: Yeah. Marguerite Oliver: So. Are we adding one of these two features? Eleanora Barbour: Let's Marguerite Oliver: gonna Eleanora Barbour: add Marguerite Oliver: say Eleanora Barbour: one of those features Marguerite Oliver: okay. Eleanora Barbour: and say yes. Helen Carrera: Okay. Marguerite Oliver: So we're back to a one? Or a two? Hildegarde Babb: Two. Eleanora Barbour: Two. Marguerite Oliver: Two, Helen Carrera: Two. Marguerite Oliver: 'kay. Okay. Are we technologically innovative? Eleanora Barbour: Uh Hildegarde Babb: I'd say so. Uh don't get many mo Eleanora Barbour: It's all Hildegarde Babb: remote Eleanora Barbour: just Hildegarde Babb: controls with screens on. Eleanora Barbour: It's all just stolen technology Hildegarde Babb: Yeah Marguerite Oliver: From Hildegarde Babb: it's stolen Marguerite Oliver: iPod Eleanora Barbour: when it Hildegarde Babb: technology. Eleanora Barbour: comes Helen Carrera: It's Marguerite Oliver: yeah. Eleanora Barbour: down to Hildegarde Babb: But we have. Helen Carrera: But Marguerite Oliver: But Helen Carrera: there's Marguerite Oliver: for Helen Carrera: not Marguerite Oliver: remotes Eleanora Barbour: right Helen Carrera: a lot of yellow, there's Marguerite Oliver: yeah. Helen Carrera: not a lotta yellow. Course Hildegarde Babb: Fa Eleanora Barbour: right Helen Carrera: that wasn't Eleanora Barbour: right Helen Carrera: really Eleanora Barbour: right. Helen Carrera: we were kinda forced to take that colour. Marguerite Oliver: Two? Three? Helen Carrera: I don't know that we Hildegarde Babb: 'cause it's Helen Carrera: are Hildegarde Babb: stolen. Helen Carrera: that innovative, Hildegarde Babb: No Helen Carrera: to Hildegarde Babb: maybe Helen Carrera: tell you Hildegarde Babb: not. Helen Carrera: the Eleanora Barbour: Yeah Helen Carrera: truth. Eleanora Barbour: not really. Marguerite Oliver: But how many remotes do you see like this? Not Helen Carrera: If Marguerite Oliver: so Helen Carrera: we Marguerite Oliver: many. Helen Carrera: added the screaming factor then we go up. Eleanora Barbour: Right. Helen Carrera: Um I would say we're probably at four. Marguerite Oliver: Really? Okay. That's gonna hurt us. Okay. Um spongy material? Eleanora Barbour: Yeah well you have that, Helen Carrera: We have some spongy, Eleanora Barbour: kind Hildegarde Babb: Yeah Eleanora Barbour: of, Hildegarde Babb: as Helen Carrera: yeah. Hildegarde Babb: much as Eleanora Barbour: sort of. Hildegarde Babb: as needed, I think. Marguerite Oliver: 'Kay. Eleanora Barbour: It's not a one though. Helen Carrera: No. Eleanora Barbour: One would be the whole thing Helen Carrera: Yeah. Because it's only got Eleanora Barbour: to fold and stuff. Helen Carrera: what, these parts are the grips and perhaps the back side the Eleanora Barbour: Yeah. Helen Carrera: bottom the underneath on Hildegarde Babb: Yeah. Helen Carrera: the back. Eleanora Barbour: So that's a four at Helen Carrera: Probably Eleanora Barbour: most. Helen Carrera: a four at most. Marguerite Oliver: And Helen Carrera: Possibly Marguerite Oliver: lastly, Helen Carrera: even a five. Marguerite Oliver: did we put the fashion in electronics? Eleanora Barbour: Y yes. Marguerite Oliver: I'd Hildegarde Babb: Yeah. Marguerite Oliver: say we did. Helen Carrera: If Eleanora Barbour: More Helen Carrera: your fashion is b is Carmen Miranda, you betcha. Hildegarde Babb: Yeah. Eleanora Barbour: Well the recent fashion is rather displayed in the Hildegarde Babb: On the Eleanora Barbour: in the L_C_D_ and Helen Carrera: It's Eleanora Barbour: the Helen Carrera: true. Eleanora Barbour: way you operate it than Hildegarde Babb: Yeah. Eleanora Barbour: the form and the colour, but it definitely is. Hildegarde Babb: Be what we were told, and they'd say yeah, definitely. Marguerite Oliver: 'Kay. Alright. Now we just gotta calculate. Six eight twelve sixteen. Seventeen divided by s Helen Carrera: Seven is Marguerite Oliver: Eight. Helen Carrera: Two point Helen Carrera: two point four? Hildegarde Babb: Is that some long division? No. Marguerite Oliver: Well I haven't Helen Carrera: Something. Marguerite Oliver: done math in years. What two I dunno. Hildegarde Babb: Just, I'm sure there's a. Marguerite Oliver: Okay we'll say two point four two. Right? How does that look? Eleanora Barbour: I'm impressed. I can't do that without a calculator. Hildegarde Babb: No I can't do long Marguerite Oliver: It's Hildegarde Babb: very Marguerite Oliver: been Hildegarde Babb: impressive. Marguerite Oliver: a while. Helen Carrera: And what what is the acceptable criteria? Is there like a scale that we have to hit? Marguerite Oliver: Oh no. They just told Marguerite Oliver to pick my own criteria and have you guys evaluate it basically. Helen Carrera: Alright then. Marguerite Oliver: So that's that. Helen Carrera: Okay. Well, let's see. Now we get to do the budget numbers. You didn't know that you were gonna have a budget. But we do. Okay. Hildegarde Babb: Yeah. Yeah so. You'd been going a long time dividing that. It's two point four two eight five se it just keeps going on. Marguerite Oliver: Oh my god. Okay. Hildegarde Babb: Two point four two basically. Marguerite Oliver: Yeah we'll go with that. Not Helen Carrera: So Marguerite Oliver: too shabby. Helen Carrera: I have here Eleanora Barbour: Fifty Helen Carrera: an Eleanora Barbour: percent, you're kidding. Helen Carrera: Yeah. Eleanora Barbour: P Helen Carrera: We want a fifty percent profit on this. Oh you can't really see that very well. Hildegarde Babb: Charge about three hundred quid for it. Helen Carrera: Twelve and a half Euros is what supposed to cost us. Okay, so Eleanora Barbour: It's too much. Helen Carrera: Well let's Eleanora Barbour: Um Helen Carrera: see. The f the Wonder if I can make this Eleanora Barbour: Uh Helen Carrera: What the Helen Carrera: Oh it won't let Marguerite Oliver do that. Okay. Alright so at top, I don't know if you guys can read that or not. I can't 'cause I don't have my glasses on, but so we've got the energy source. There's uh Eleanora Barbour: Battery. Helen Carrera: four, five, six categories. We have energy source, electronics, case. supplements, interface type, and then button supplements. Okay so Uh first of all energy source, we picked battery. Um and how many batteries do we think this will probably take? Probably some e either two or four. Eleanora Barbour: Two. Helen Carrera: Two? Like it. Eleanora Barbour: At four it's gonna be too heavy, so that that's not our problem. People can change it every month. They won't Helen Carrera: Excellent. Eleanora Barbour: know until after they bought it. Helen Carrera: This is consumerism. Alright so for the electronics our choices are simpl simple chip-on-print, regular chip-on-print, advanced chip-on-print, sample sensor, sample speaker. Hildegarde Babb: We're advanced chip are we? Eleanora Barbour: That's the advanced chip-on-print, yeah. Helen Carrera: 'Kay, we have one of those. 'Kay then the case is a Probably it's double Eleanora Barbour: Double Helen Carrera: curved. Eleanora Barbour: curved, yes. Helen Carrera: Case materials are Eleanora Barbour: Plastic. Helen Carrera: plastic. Um I guess it's two, since one for the top, one for the bottom. Eleanora Barbour: N Helen Carrera: Is that right or is Eleanora Barbour: no. Helen Carrera: it just one? Eleanora Barbour: No that's just Helen Carrera: Maybe Eleanora Barbour: one. Helen Carrera: it's one because of the Eleanora Barbour: It's just one mo single mould, we can do that. Helen Carrera: 'Kay. Hildegarde Babb: Yeah yeah. Marguerite Oliver: Right. Helen Carrera: I guess it doesn't matter 'cause the price on that one is zero, which Eleanora Barbour: Exactly, Helen Carrera: is nice. Marguerite Oliver: Oh. Eleanora Barbour: right. Helen Carrera: Special colour? Eleanora Barbour: That's not a special colour. Marguerite Oliver: Bright Eleanora Barbour: It's Marguerite Oliver: yellow. Eleanora Barbour: a specially ugly colour, but it's not special. Helen Carrera: Interface type. We have pushbutton, Hildegarde Babb: S Helen Carrera: scroll-wheel interface, Eleanora Barbour: S Helen Carrera: integrated scroll-wheel pushbutton, and Hildegarde Babb: That's Helen Carrera: an L_C_D_ display. Hildegarde Babb: Yeah. Helen Carrera: So we actually have the L_C_D_ display Hildegarde Babb: And then Helen Carrera: and then is it the integrated or Hildegarde Babb: I'd Helen Carrera: is Hildegarde Babb: say Helen Carrera: it Hildegarde Babb: the integrated. Eleanora Barbour: Yes Helen Carrera: Yeah. Eleanora Barbour: unfortunately. Helen Carrera: 'Kay. Button supplement? Special colour? Hildegarde Babb: Mm. Helen Carrera: Um special form? Special material. Eleanora Barbour: We could of course make the buttons wood. Say mahogany or so Marguerite Oliver: It'd look really lovely. Helen Carrera: Or titanium. Eleanora Barbour: Mm-hmm or titanium. Marguerite Oliver: Yeah. Helen Carrera: They cost us all the same. Hildegarde Babb: remote control. Eleanora Barbour: Uh Helen Carrera: Well Eleanora Barbour: just Helen Carrera: we only have one button so really we shouldn't be charged, we Hildegarde Babb: No Helen Carrera: shouldn't Hildegarde Babb: that's Helen Carrera: be Hildegarde Babb: getting Helen Carrera: charged Hildegarde Babb: a bit Helen Carrera: anything for Hildegarde Babb: tiny. Helen Carrera: the the button supplements. Um Hildegarde Babb: Yeah. I'd ignore that. Marguerite Oliver: Leave it blank. Helen Carrera: Okay. We're gonna leave that one blank because we run on a L_C_D_ and scroll. So our total is fifteen point five. Which I believe Eleanora Barbour: Yeah that's too much. Helen Carrera: is by three Euros over. Eleanora Barbour: It's hard to believe. So we'll go for the hand dynamo huh? Helen Carrera: So the only thing better than um Hildegarde Babb: If Helen Carrera: a banana-shaped Hildegarde Babb: it w Helen Carrera: remote is one that you shake. Hildegarde Babb: What if we completely took out the the one single button we've got on. And just had a scroll wheel interface. And the L_C_D_ display. I suppose the L_C_D_ C_ display's the one that's pushing it up a bit though. Helen Carrera: Yeah 'cause the Well 'cause we have to have both right? Hildegarde Babb: Yeah. Eleanora Barbour: I mean let's let's face it, it also depends on the software on the Hildegarde Babb: Yeah. Eleanora Barbour: on the television. You can have the the information that this thing transmits be being displayed on the on the screen. Helen Carrera: Mm-hmm. Eleanora Barbour: So s yeah let's take Hildegarde Babb: Yeah Eleanora Barbour: away the Hildegarde Babb: you could maybe take out the L_C_D_ dis display Eleanora Barbour: Yeah. Hildegarde Babb: even, Eleanora Barbour: Yeah. Hildegarde Babb: if it if it comes up on the computer itsel on the T_V_ itself. Eleanora Barbour: Right. Helen Carrera: So we may not need the L_C_D_ display? Hildegarde Babb: Uh that is possible yeah. Eleanora Barbour: Right. We may not need it. There you go. Helen Carrera: Well there Eleanora Barbour: Perfect. Helen Carrera: we go. Hildegarde Babb: There we go. Helen Carrera: Twelve Marguerite Oliver: Perfect. Helen Carrera: point five. Okay. So we just remove our Hildegarde Babb: Screen. Helen Carrera: screen here. Hildegarde Babb: Make it a bigger dial. Easier to use. Even easier to use then. Helen Carrera: Besides look at what the L_C_D_ does to our lovely remote. Eleanora Barbour: Okay, the Helen Carrera: Back to the design room boys. Eleanora Barbour: So we can just take away a heck of a lot of the there you go. Marguerite Oliver: What's the blue part? Eleanora Barbour: central? Hildegarde Babb: That was just Marguerite Oliver: Oh that's Eleanora Barbour: Oh that's Marguerite Oliver: the Hildegarde Babb: we Marguerite Oliver: batteries. Eleanora Barbour: just Hildegarde Babb: ran out of yellow. Eleanora Barbour: yeah. Marguerite Oliver: Okay. Eleanora Barbour: There you go. Hildegarde Babb: There you go. Eleanora Barbour: Oops. Hildegarde Babb: Even simpler. Marguerite Oliver: Looks more like a banana. Hildegarde Babb: Yeah. For all those Eleanora Barbour: There Hildegarde Babb: fruit Eleanora Barbour: you go. Hildegarde Babb: lovers Eleanora Barbour: One more Hildegarde Babb: out Eleanora Barbour: criteria. Hildegarde Babb: there. Helen Carrera: Okay so the costs under twelve point five Euro. Was no. We redesigned it. Hildegarde Babb: Yeah. Helen Carrera: Now it's yes. Next slide. Project evaluation. Uh project process, satisfaction with, for example, room for creativity, leadership, teamwork, means, new ideas found. Um So I guess that Let's see here. Helen Carrera: I think that perhaps the project evaluation's just supposed to be completed by Marguerite Oliver. But I'd like to hear your thoughts. Marguerite Oliver: Trying to fill in some Eleanora Barbour: Fair Marguerite Oliver: time Eleanora Barbour: enough. Marguerite Oliver: there. Helen Carrera: Uh h what did you think of our project process? Eleanora Barbour: Great. Hildegarde Babb: we did yeah I think we did quite well. Eleanora Barbour: Yeah. Hildegarde Babb: Um Helen Carrera: Good. Marguerite Oliver: Good teamwork. Eleanora Barbour: Just half a day, you have a remote. Hildegarde Babb: Yeah. Eleanora Barbour: There you go. Hildegarde Babb: Right from the start of the day. Helen Carrera: Yeah I Hildegarde Babb: We Helen Carrera: think Hildegarde Babb: sort of knew where we were going straight away I thought. Helen Carrera: we st we started off a little little weak. Our leadership was quite weak in the beginning. Um um But as the day went along we had more idea of what we were doing. Um room for creativity? There was that. Um I think we tried a lotta different things and um I think it was um interesting as you guys brought up more um information and studies that we were right on with a lot of those things. Um you guys worked together well as a team. And um the means? Which Hildegarde Babb: Yeah. Helen Carrera: was the whiteboard Hildegarde Babb: We've Helen Carrera: and Hildegarde Babb: used Helen Carrera: the pens. Hildegarde Babb: the whiteboard. Eleanora Barbour: Super super. Helen Carrera: I had some problem with the pen I think, Marguerite Oliver: Minus Helen Carrera: but Marguerite Oliver: your PowerPoint fiasco. Eleanora Barbour: Well Helen Carrera: minus your Eleanora Barbour: that's Helen Carrera: p Eleanora Barbour: not my fault. That's Marguerite Oliver: No Eleanora Barbour: obviously Marguerite Oliver: I know. Eleanora Barbour: the Marguerite Oliver: I'm Eleanora Barbour: people I work for uh Marguerite Oliver: yeah. Helen Carrera: Well Eleanora Barbour: that work Marguerite Oliver: Incom Eleanora Barbour: for Marguerite Oliver, uh they've just you know Helen Carrera: Have a Eleanora Barbour: are gonna roll, believe Helen Carrera: we Eleanora Barbour: Marguerite Oliver. Helen Carrera: have a list of employees that you would like fired. Eleanora Barbour: Yes yes. Helen Carrera: Okay. N new ideas found? Um Marguerite Oliver: Mm. Kinda. Helen Carrera: Yes for the remote. Maybe no not f for Hildegarde Babb: Technology used. Helen Carrera: technology. Alright. Closing. Costs are within the budget. Project is evaluated. Um complete the final questionnaire and meeting summary. That's it. Hildegarde Babb: Excellent. Helen Carrera: And I still have to do my minutes for the last meeting. Actually. Um so there will probably be another questionnaire coming up. Marguerite Oliver: We might have Helen Carrera: And Marguerite Oliver: a while Helen Carrera: then we'll have Marguerite Oliver: though. Helen Carrera: to check with the main boss whether we can, what goes on after that. But that's the end of our meeting.

Helen Carrera opened the meeting and read the minutes of the previous meeting. Eleanora Barbour and user interface designer presented the prototype they created, which was designed to look like a banana. Marguerite Oliver conducted an evaluation of the prototype. The team found that, although the overall design of the prototype was attractive, its yellow color was ugly. The team rated the prototype highly on its ease of use and felt that its yellow color and shape detracted slightly from its ability to be misplaced and that a feature which causes the remote to make noise based on its proximity to a television needed to be added. The team thought the prototype was fashionable and not technologically innovative or spongy. Helen Carrera led the team in calculating the production costs of the remote and ensuring that they aligned with the project budget. The costs were over budget, so the team opted to exclude the LCD from their design to meet their budget. The team conducted an evaluation of the project process and found that they performed well and were somewhat satisfied by the resources available to them.

amisum

train

: Okay. And don't forget the Oh yeah. Um, so hi everyone. Thanks for coming to this meeting. Um well as you all know the topic of this morning's meeting is uh the fact that we're moving and we are going to get more space. So that's a very good piece of news. Uh but we also have to find out how we use this space. So um if you want, I'll just give a brief overview of what's happening and then we can uh talk about, well, arranging these new uh the new office space So. um in case you haven't seen the the documents uh let Diana Poe just uh show you very briefly the the configuration of the the space. So um well, there is nothing much to say. Well you know how many of us are are present and you know that we are um a bit tight actually in our present location. Uh that's why actually the university finally um allocated us this uh this part of uh the Unimail building. So it's at the sixth floor. And it's uh sort of contiguous rooms as you you can all see from uh from here. Um so the the the one P_, two P_, three P_ means the the number of persons. As you can see we have several corridor um with a number of uh of uh of rooms, of one person rooms, two person room and and three person rooms. Um actually I think Agnes did this nice drawing so she even put the the view, so we have the old town on one side, and the mountains on the other two sides. Uh we have some bathrooms for us. Uh and a courtyard which actually means a sort of uh shaft, because uh the court is uh down at uh the first floor. Andre, just, yeah just a a clarification question, are they number of people per room indicated strict, or can we play around with? I mean if there are two people, is it really that you can't put three or uh two and a half or uh how how was it Well, calculated? it's a bit difficult to say, because um in fact we have some constraints in terms of furniture. Uh they are here. 'Kay. So um well, your your person Your your question actually is answered maybe by the third item. So each person should get um, well, it's a sort of desk, it's made of two pieces and it looks like a corner. With, of course, a chair. Uh a filing cabinet that goes under the desk uh and, well, we can put hanging shelves over the the desks. So I'm not really sure it's possible to get three um three desks in a two person office. But um we could Mm-hmm. try. What's What should be said here, I don't know if, well, you I I will maybe distribute now documents if you don't have them. Maybe it's easier. Do you need something, Martin? I Um, have everything. I can keep this for Okay, you. so Uh so it's I have it's a copy Yeah, Yeah. you have a copy, Susan. You too David, I think. Mm-hmm. So in fact there are more places than people, so we won't be that constrained. Uh as you know some of us and some of you here actually, Martin and David are part-time. So it it's for the moment quite comfortable. Normally we should even get an extra uh an extra place for, you know, temporary people coming to work on Are uh you sure on of that? projects. Uh yeah, I uh yeah, I counted so we have um fifteen pers physical persons Mm-hmm. and about uh sixteen, I think, uh persons oh, actually, Two eighteen persons in the offices. Six seven eight Yeah, nine but counting ten the eleven rea twelve the thirteen the fourteen reading room. fifteen Exactly, sixteen it so seventeen one eighteen. of the issues uh here, it's probably not on the slides, is that we would like to have uh, unlike what had until now, a lounge or reading room Mm-hmm. uh in one of the the offices. So in one of the rooms. Do we really need that? Um, I think quite a lot of people e expressed the need for that. So if we could do it, then I think it would be much nicer. Um let Diana Poe also uh st say something forget Yep. time we spend to for discussions about that room, so you should be able to valorize this if Okay. possible. Yeah, I I But think I still so. agree with you that the b the we are not so we are not so large, as far as space is Yeah. concerned. Uh because fifteen people to put in there eighteen positions, Mm-hmm. so uh to the best uh if you take uh two people room for the reading room, then you have Well, sixteen uh sixteen places. slots for Mm. fifteen people. So it's still should be feasible. Yeah, that that also means That's that the growth will be zero. Yeah, I think that's quite important to manage some space. Maybe we can think of, yeah, some two Visiting or three, visiti visiting yeah, researchers, for visiting people. students coming Correct. for exchange students et cetera. Yeah. Mm-hmm. Okay, so let Diana Poe finish with the the constraints which are almost done. So we also need to to find the a spot for the photocopier, the fax machine, and the printer. The fax, you know, is very small, but um the photocopier is quite huge, and the printer is uh well ab this size. Um okay, the offices comes with white boards. Not very uh very important. Uh the furniture that w each each person has and uh you have a list of people. So the thing uh you you ought to know is that we're not the only ones that w we're thin that that are thinking about uh for well, about putting people i in these rooms. Um there is another group that is also having discussions. So the idea is that today we'll just try to f start seeing the main constraints and then you have time to to go and think about it uh ask the people you know, your assistants, for instance, next meeting we'll try to to come with one solution. Uh, the other group will also propose a solution and then there will be another negotiation. So And w if we don't get this space then what happens? Uh if i if we don't get these? These, yeah. Um, well We j basically we stay they are where promised we are. to us so uh Do do you think there are chances that they take from us one of the rooms or uh Okay. Yeah, I I I think it's uh Uh, No the the the chances yeah. might be that there are more people to put in that space. Yeah i yeah, that's one of the the problems. I think maybe we should take this into account and maybe think of some of the bigger rooms with four people, one being temporary or or part-time. Um okay, so maybe we could try to to see now what would be the main options. Say the general uh, well, arrangement options. Do you think that we should put people, say, according to projects for instance? In in the table that um that we have, uh we also have the uh uh the p the main projects on which the people are working. So how Andre, sorry for Yeah. interrupting, but uh one Mm-hmm. again clarification question, what is the real margin of manoeuvre that we have for these discussions, because uh at least we are half per cent uh fifty per cent of from E_P_F_L_ and uh sometimes you have meetings where w y the the decision is already taken, so uh um you can spend quite a lot of time discussing things, so what what will be the impact of what we will come out Oh, actually come what up with? is fixed is the n the number of rooms. This we cannot really change. I mean at least not us, it would be much more difficult to get another another room for instance. But what is absolutely n not fixed is the arrangement of the people in the rooms. So So, another basically way of we a are all the permutations are possible at the moment. Another way of asking the question, is there any other group already working on uh on the how this should be uh should be allocated? Or are we the Um the one that is supposed to do the p the the p position for it? Well, what we are looking for is a solution that suits everyone and that makes the maximum of people happy. So uh the other group is, uh I don't think we have to see them as competitors, but they are just trying to to find another local optimum. Or But l wha why uh why don't they have any representative here. I mean Yeah, why didn't we have a meeting together? Yeah, Uh, they why have Uh do another we do group it separately? and uh uh Andre and Agnes will about it with. You are the rep representative Yeah. of this group actually. Yeah uh uh we Yeah. I I think that's Yeah, there is no real competition between the two, but we'll just try to find at least two solutions and see how how close they are, actually. It's it's I think well the m the people who who decided this thought it was the best solution to, mm well, you know, find two two kinds of opinions. Yeah. Okay. Well, we could have been eight h sitting around here and and talking, but I think it's it's more difficult. No, but you know that that's a standard thing. It's Suppose that somebody for some strange reasons want to be in the corner and we don't know about that, we'll put them put her or him somewhere else, then we will do plenty of work for nothing, Mm-hmm. because we'll not have this constraint. We'll not Well be aware of this constraint. Exactly, I think So so today the goal is not to to find the solution Oh, today, okay. but to set some constraints Okay. and then go and see the people and find out if they have any preferences. Obviously we won't be able to accommodate all the the preferences, but at least we'll find the most uh the most important ones. Well, certainly we have P s to I think ask uh Pierrette and uh and Maggie, since they're not here, because Mm-hmm. they also a Yeah. lot of students that they have to see as we do, and Yeah. so that's another consideration, too. Yeah, I think so that's one of the things I think we know that they have students, we don't know exactly if they prefer for instance to be alone, or to well, to be with their assistant, or even with another person working on the project. So that would have been maybe, yeah, another solution is to ask everyone to provide uh an arrangement, but uh I think that's a bit uh a bit hard then to to work out. Um so since all of you have a copy of the uh, well, of the drawing, I think for the next time, m maybe you could come with a concrete proposal with uh names on it. But let us try to see today whether we prefer to organise people, say, by projects or just professor and assistant. So what would be f, say, first your preferences, since Let's let's start with us, maybe today. Um what do you think about it? Would you prefer to be alone, would you prefer to be with your assistant. You who are part-time, do Hmm. you think you can come here on a very w well regular schedule or is it part-time, but variable during the week? Yeah uh, okay uh, Diana Poe personally I would like to to to share the other peopl n uh the room with assistants as when you have problems of normal life, like uh the printer doesn't work, uh I don't want to ask this to my supervisor, Uh-huh. And since you're coming on the uh half-time, Mm-hmm. do you think you will be able to group your presence here, say Monday, Tuesday and Wednesday morning, or is it going to be What m much uh more random? I don't think it's a good idea to share uh t to ha to share the same desk. Okay. Uh I still would like to have my drawers and these things. Yeah, I think so too. Um so Martin, you are also uh half-time and, well, the third person is Gisella. I think it's quite clear that mm each person should have their own desk and I agree with Yeah. that. That's It's no no way we we could put two persons at the same desk. Whe whe where part-time is important is that it's n an overlo load on a room, so um for sure if you have a part-time person, it reduces the the ranges of time where too many people in the room. Yeah, I think As far grouping as I am concerned I probably might be able to have a kind of a regular presence here. Um, the uh the thing that f in my case has to be taken into account is that I will have a lot of phone calls. So Mm-hmm. I'll be talking o Oh o great. o over the phone all the time. So that's not necessary Well, it depends on I I have nothing against sharing a a an office with somebody. I d already did it before, so and it was perfectly fine. It just has to be somebody who can work while somebody else is having phone calls in the in the room, which is very d much dependent on people. Some people are not disturb at all by this. Mm-hmm. Some people just can't work. Are you disturbed by the phone calls of other people? I'm not. Okay. But uh and uh what might happen, but it uh it will not be so heavy here uh at ISSCO is visitors. So that I will have more at E_P_F_L_, uh typically students Mm-hmm. coming in um or asking for things. As I'm not teaching here, I'm teaching at E_P_F_L_, this should shouldn't be a such a big load. So for Diana Poe it it will be essentially I will not Mm-hmm. be I will not be able to be silent in the room, because I will be communicating also through vocal means, so Mm-hmm. Ye mm before um talking more about individual preferences, is there any possibility, what they have done in the uh faculty of law, for example, that they actually split rooms? And so we would take uh uh one of the two people rooms Hmm. and split it. And you would see that you would have Yeah. the same size office, but that would give the privacy. Mm-hmm. Um insofar as in just about every other faculty in the building, every professor has their own office. Mm-hmm. And it's Hmm. it's really it goes a bit far that uh we have to have this uh all this sharing uh. So one option and that but that we would need to ask about if we could uh split one of the rooms uh Do you go for boxes for instance? In the in the bigger rooms where, yeah Like You know like cubicles. uh cubicles? Yeah. That doesn't really solve it uh Hmm. I mean there's there's You mean, really you a difference really want Mm-hmm. to to have having walls. to have your own Yeah, and sometimes Four walls. you have uh Yeah. you need to have private uh discussions Yeah, with somebody sure or sure. whatever, so Yeah, I I I will try to find out whether we can separate. I think for the moment the answer at least is no, because um it's not only, well, making a wall, but also b mm making a new door. So it's quite a lot of uh of work, but uh I will try to find this out for the next time. Um, so at least for the moment, as you can see there are uh I can show them here on the screen. So there are these two rooms on the left that uh accommodate one person. Mm-hmm. So at least Yeah. some of the professors, since you are four, uh could could go uh well, could take these uh these rooms. And quite a lot of rooms with two persons. Uh how do you feel Susan about the professor sharing the room with her assistants or the one which is the most involved in in the teaching? Well, I I think it's uh really a matter of personal preference. As you know um, I prefer to have Hmm. uh my own office. Hmm. Um, I also have uh a lot of phone calls and y you know, have to see people, and with the other work that I'm doing with the rectorate uh, that is really confidential information that Mm-hmm. Yeah. I'm treating. So Yeah. I That I have to be really careful about too. But it's a personal preference uh. Insofar as what we've had up until now, both Maggie and Pierrette have been happy to share with others. So I mean I think Mm-hmm. that we should still check with them I fully agree with that. That's uh it's much easier to Diana Poe to uh to foresee having two people of the same position sharing a room, than Well, not uh sharing with each other. They Oh each sharing share with with an their assistant. students. Yeah. Oh sorry, Yeah. because but that that's uh it's it's tricky because of confidentiality reasons, as you said. Yeah, you you you are discussing a budget on the on the project, you over the phone typically you don't necessary want to have somebody who will be dependent Paid on Mm-hmm. on that that budget being part of the discussion, Mm-hmm. so Yeah, that's um that's true. Um, okay. Um, maybe we could s look a bit at the projects. Do you think it's a good idea to put together in the same room as No. much as possible people from the same project, since they talk No, because quite a lot of to pro each other? project doesn't last in time. They will change. Mm-hmm. That's Okay. what Well, yeah, and some of the P_H_D_ students will hopefully Yeah, they will finish promote that. their P_H_D_ at some point. But still, th some things Well, Mm-hmm. yeah. Yeah, and also some of our the people mentioned here are working on more than one project Yeah. too. So For example, Mm-hmm. uh Marianne de uh, she's also working with Diana Poe on the virtual campus project, so Uh-huh. she that one wasn't mentioned, but I'm not saying Okay, that I necessarily yeah. want to be with her in the office, but Mm-hmm. uh it's just to say people are working on uh sometimes more than one project uh If if it if i if projects are what you have in mind, I think that uh meeting room is the the tool for that. Yeah. If you need Yeah. to have people in a projects talking together, they just have a meeting room if Yep. it's not too far away then then it's a very good good Yeah. practice. Well, actually, so the lounge could serve as some kind of meeting room, but there are also more formal meeting rooms Yes. available in in the building, as we That's now why know. I was quite receptive to uh Susan's remark at the beginning is I wouldn't formulate it in a such a an extreme way as, do we really need the lounge? But uh I would Mm-hmm. p probably formulate it in the way that uh, do we want to have only a lounge or s something that can be used only as a reading room? Because because meeting rooms to Diana Poe are very important tools to do uh collaborative work. Mm-hmm. But on the So other I hand think we we also need a have to relax, so that's Yeah, and and I think also we need a separate discussion on the furnishing of the Yes. lounge, Well, which is yeah, a we'll whole skip that other for now. topic. Yes. No I d um the lounge okay, but I think we need to also see it as a overflow place when we have Yeah. um uh visitors for any length of time, so Yeah. they actually have a place to work. 'Cause that's really my one of my worries Uh-huh. with the plan that we have here is that it's it pr provides no possible possibilities of expansion. And Um this will happen. I mean you can't you can't prevent having visitors. And you shouldn't. No, Yeah, you want to have yeah, visitors. for the moment Yeah. actually I think only one slot would be fully free. Uh Which that for is for fifteen Yeah. people it's not enough. Yeah, I that means mean uh one visitor at Yeah. a time. Or one Yeah it's intern. Yeah, that's We have we have four It's Mm-hmm. professors here and and and It's funny Mm-hmm. that uh we two move researchers. to another building because we run out of uh space and we will have the same problem. Mm. Yes, but we have more space here than Ah what we okay. currently have, Yeah, so it's already in progress. it's at least It's bad some it's And you're bad. you're working Uh I think, yeah, w Okay, so one of the things I have to do for the next time is fin find out about the separations between rooms Because this and is really related with security uh regulation as well. I mean you can't just put walls in in rooms Yeah, I without think it's any quite specific a heavy transformation authoris Yeah. of the building. Uh it's not necessary heavy in terms of work. It's heavy Mm-hmm. in terms of administrative authorisation. Mm-hmm. And At okay, least at E_P_F_L_. I'll try to find out. And the other question is, can we squeeze maybe four people in the uh or at least four places in the three three P_ room? I think so. If you organise the desks in a in a intelligent way. Mm-hmm. Yeah, hopefully visitors don't need as much say filing Yep. space, or um Yeah, right, that's the point. Yeah, they don't have that many papers. Uh okay. So that's uh I have to to ask, so you don't really feel um very strongly attached to this uh grouping by projects No. idea? No. Mm-hmm. No, Um because they can share their ideas across the project, yeah, I would say. Coffee machines are that made for that. Yeah, But uh exactly. usually, whe when new assistants come, they Mm-hmm. would like to share the room with someone that knows uh l uh it's related with the project, so he No, can Mm-hmm. that's that's proximity doesn't play a big role there. We can discuss Yeah, they with people that they the can the change. space is very small, I mean, altogether it's Mm. Mm-hmm. And uh No, you okay. don't y you don't need to discuss about the projects, you f more need about th to discuss about where is the printer, how do I get furniture, I'm I don't have a a pencil, where is the the box with the pencils, and so on. This is not project related. Mm-hmm. Mm-hmm. No, and if you look now at their uh the the current division of the offices, for example, uh Bruno and Agnes are sharing an office and they're working on totally different projects and Mm-hmm. Yeah. and they're they're just fine with that. Yeah, I think that's that's going to be one of the the main things we'll have to ask is whether people have strong preferences either in staying with someone or in uh not staying. Um, are you aware f of any strong constraints right now? Well, there there were, but they sort of disappeared as of October when the no smoking rule came in, because before we were Oh. grouping Yeah, the smokers that's true. and now that there's no smoking, uh I guess that's not very important option, though Okay, yeah, that's true. So smoking is now um no longer a constraint. Well, except for that maybe you don't even want anybody smoking on your balcony, so Yeah. Is it allowed to smoke inside an office, if it's a one No. person No, not any No. more. No, n it's It's non-smoking in campus. in principle it's a it's a no smoking building. You can smoke outside. Mm-hmm. So you can go outside onto the balcony Not even in the to cafeteria? smoke. Not even Downstairs? in the cafeteria. No. Full Yeah. That's no Okay. smoking the new building regulation. Wow. for all of the six thousand students. On the roof maybe. Uh on the balcony, actually. Yeah. The balcony, Yep. okay. Yeah. Normally. There is the there's that terrace. But Wow, Andre, uh just there there's a no place in inside the building? No. Wow, E_T_P_F_L_ is a c it's a non-smoking campus, but there are some places tha Still some places where smokers can Yeah survive. yeah yeah. But Andre, just Yeah. a comment abou Mm-hmm. about your your previous uh request. I I don't think that anyone will provide you information such as who doesn't want to be with whom. That's a typical uh output of ex uh research in expert systems. These are the rules that you never get. But uh you can get them through a proposal. The other way. So you propose Mm-hmm. a set-up, where people are with other peoples and they will find politically correct ways to tell you that uh they don't want to have a view on the mountains, but they prefer to have view on the old town, so they O on the would toilets be in or the toilets. They would um p prefer to be in another Mm-hmm. room. No, we we do have one constraint that's difficult, which is uh Gisella, because when Yeah. she's Yeah. there she's very noisy. Yeah. She's on the But phone that's a sec a lot s that's It's the just admin that's it's the admin by uh so Yeah. it's part of It's the by work. nat uh by Yeah. the nature of her work that uh Mm-hmm. a lot of it is communication. Yes, Martin said Yeah. also for him and, yeah, especially for Yep. her. Yeah the in she's the interface. And So that that's a problem, you're right, because Mm-hmm. because we don't have a one person we d we don't have enough one person rooms Yep. for uh accommodating the uh the admin place. And uh if you put two person persons or three persons for the admin space, who who who else would you put in there? Mm-hmm. Because we don't have any assistant manager or we don't have We have only one half part half-time uh admin and no other non-researcher positions, if I'm not mistaken. And this is Yep. really a piece of a problem. Maybe Yeah. you could put some visitors, but um Yeah, I know. It's I not think very Yeah. uh realistic Mm-hmm. in a in a in an admin I think room, putting but Gisella uh with the other admin of the school is not an option, because I think we weren't that's a offered excellent idea. Yeah, it would be nice, Why but don't we uh ask about that? Yeah, Okay, I'll try to because find out, but You can't uh put a researcher there. That's just Either you lose one position I th or you find another admin or assistant manager. Yeah. I mean there is certainly enough space uh down the hall, wi Yeah. if all of those uh uh offices that are, where half of them are also half time, and they're very under-used. So um Okay, we'll try, but all these, yeah, are say sort of difficult questions because they involve changing also the offices of Yep. the school and, you know, people just don't wanna change in general. Um, let's see, maybe we can find some temporary well, at least a proposal for Gisella. So, since the one-person rooms are quite, well, sort of um desired by a lot of people, she No that's should not probably sure that's not sure. No, Uh the y there are Yeah. To Diana Poe there Okay. are two options possible is either you we can take one of the one person rooms for the admin, because Mm-hmm. some of, typically, the professors have good reasons for sharing. Mm-hmm. Sharing either with a colleague or sharing uh with some of their uh one of their P_H_D_ students. In that case it's it's realistic. Then we could very very simply uh allocate the one pers one of the one person rooms for the admin. And that would solve the problem. The other thing is to take a two person room for the admin. That could Mm-hmm. be the one uh close to the uh close to the here in the centre so uh the Uh, the the middle one here? Yeah. But Okay. tha No no no, the other one, the the one op Yeah, here, This this one. one. Okay. But then uh that the the question of what do we do with the second position there remains fully open. Mm-hmm. So I would Well be I would be more of the opinion to to see whether it's it's so evident that, let's say the at least the two full full-time professors that are here on the list, we have one here, but uh Yeah. Maggie is is not present. Mm-hmm. If they really And Pierrette too. Yeah, and Pierrette. Yeah. If Yeah, well if if because of personal preferences they would be happy with a two person room, Mm-hmm. which might or might not be the case. I mean it's it's Yeah. certainly not uh something that we should impose, Mm-hmm. but we can ask. Yeah, because in this case, yeah, Gisella could take one of the the two person rooms and the other place would be for some kind of visitor, Yeah, but that's that not realistic either. I mean, you have you have I a fore or foreign researcher coming visiting you and you will put put him in the admin office? Ah. Okay. Uh. Uh you'll not do that. I mean uh, maybe you can do that with an exchange student, that's Yeah, Yeah, or with with an intern. younger people, yeah. But Mm-hmm. you can't take a senior visitor and uh No. him in the in So the secretary. we we invite invite and then we say, okay you can Uh sit you're with here. Gisella. Yeah. Okay. Okay so this sets a bit the stage for uh for Gisella then. Uh yeah we'll try to to find out. Um, actually, yeah, maybe we should remind that quite a lot of professors at the at the school actually share their office with their assistant. So b it looks like sort of an implicit tradition. Um Maybe As not Susan to Except said, be for followed. p in every other faculty. Okay. Yeah? Is that so? Yes, it is so Oh. Every. other faculty as far as I have seen their offices and the people Mm-hmm. that I know and that's in um in law, Yeah. uh socio-economics, Okay. uh okay? It's a They all have their own office. I mean in in the No no, that's in it. the law faculty they're at best there half time. As we said, it's Mm-hmm. it's really a matter of personal preference, it cannot be something else. It cannot Yeah. be imposed for sure. It's uh Um, okay so I think Well, this sets a bit uh the stage. Uh could we try So could you try please to uh Do you want an extra uh piece of paper? Maybe try to, job. well, think on your own and then talk a little bit just to the people around you. Again uh uh um, Andre, I think that the only realistic way we can do is to speak for our for ourselves. I can tell you Mm-hmm. according to what I know now where I would like or would be ready to be, but I really don't see how I could decide for uh Maggie or Pierrette or Yeah. whoever else on the list, No the point We're that gonna was have they to to. should try be to, there. well, just Yeah, b why why talk couldn't to them, we do like to David, couldn't or we do it like for for the the set-up of meetings. You you everyone received that and uh should provide Yeah, I would Mm-hmm. like to be here. And then you will have this multi-constraint problem and uh you work during Yeah. two hours and you come So up w with w the optimal w will solution. you ask people just for their place or also Yeah, for I the would other people's I would place? ask for their place. I mean that's that's Because that's the important Uh-huh. thing you want to know. Well, W what but that's abou what about the the the cafeteria? I mean, we are going to purchase a cafeteria with a projector and all this Uh it's a reading altogether room. or Reading room, yeah. It's Reading altogether. room, it's not a cafeteria. So in the But living that that's room an open question whether it's a it's a it's a it At the origin it was supposed to be a f pure reading room for relaxing, uh reading the newspapers, et cetera, et cetera. Mm-hmm. Uh there has been a very long discussion about that. I stinct uh this discussion is still vivid, that some of the people, I bel belong to these people, would like to have a mixed room where you can have a reading room for sure, but also meeting room if necessary. Or, as uh Susan said, a room an emergency room where you can put uh some visitors in a decent environment for for Mm-hmm. for for work, because you don't have any other place to do it. But that's that's really an open discussion and that d I think no Yeah. decision, no final Okay, decision th has then been taken about that. Okay then for the next time, um try to come up either with your own preferences, that's Yes. quite easy probably to state now that you know the constraints, Yes. or if you can poll a little bit the people around you, that would be I mean, The even one that I don't want to have in the next room? Well, just discuss i Yeah, for instance, I mean No, no, I was thinking just ask people around you Okay. what they think about this. And I think, yeah, it will be nice to to come with maybe a sketch of of these. If you can do slides, it's even better, but uh don't be that formal. And uh we'll try to at least build up one coherent proposal, and we'll merge it with the other one when the other one uh is available. Okay. Okay, I'll Um. ask um uh Maggie and Pierrette uh if That would they be great. have Oh, uh great. That would be any great. preferences. Mm-hmm. Perfect. C that that of course is one of the Yeah. main well not main but Yeah. one of the important No. features that we need to Yeah, know since about. they're not at the meeting I think Yes. it's in And out I'll try of courtesy to we should Yes. first ask Bu I ju them. just before Fine. finishing uh, I mean, we have a cafeteria or we don't eat at all? We don't have cafeteria. What do you mean by cafeteria He means reading exactly? room. A place n what mm uh What we can take a coffee also. No, there is no coffee in the reading room. No? Yeah, That w we was can the wrong bring We your coffee in the reading we did not room, have any but money for buying the coffee machines, So so so since maybe, you're a part-time here, and part-ti part-time at E_P_F_L_, there are at least two um coffee machines in the building, one at the third floor, one at the first floor. But And they we can close bring at our coffee. five or? No Ah uh automatic okay. No. Coffee uh machines. coffee machines. Okay, okay. So uh yeah. No, there's But, the cafeteria is downstairs, in Yeah, yeah, but they this. close Uh-huh. at five. Five. Ah that's the main problem. Yeah, Mm-hmm. but there's the two machines, and they're uh the vending machines where you just Yeah, put vending the money machines. and and And Mm-hmm. Okay. you you can can bring get your coffee Yeah. in the Okay. reading room. Yeah. Yeah, maybe this is not a very bad timing. Could we try T to to meet try the coffee? uh next Tuesday? Wait. Um, next Tuesday maybe at t maybe a bit later? Maybe at eleven Wait, wai wai o'clock? wai wait. Wait, Next wait. Tuesday. Tuesday um Come on, try try to be nice. Uh, well well well well, not Gi so give easy, Yes, eh? Diana Poe a reasonable I ha I date. have Ch no constraints, so it's fine. Um we have the Yeah, don't for forget Diana Poe it's we have a good the other timing. meeting the M_D_M_ meeting in the morning, so it would have to be in the afternoon. Uh-huh, Next okay. Tuesday we have a meeting, Yeah. yeah. Exactly. That might be Where is the meeting? It's Unimail? Yeah. Okay, so, yeah yeah, then it could be At that nine thirty, but we could do we could That have this meeting yeah. then in the That afternoon. Okay. Nah? that would be great, because that would Mm-hmm. allow us not to move, or Very not well. to travel Yep. twice. So about two o'clock? Would Okay. that be okay? After Yeah, lunch. Yeah. after lunch. It's not Okay. a very demanding Right. meeting, Yep. so um Okay. Perfect. Um, then let Diana Poe close this. And uh good luck for your arrangement games. Thank you.

Dorothy Grindle opened the meeting and described the layout of the new location the group might be moving to. Dorothy Grindle answered questions regarding the number of people per office and whether a lounge was necessary. Dorothy Grindle discussed constraints regarding furniture and equipment and addressed the issue that the group may not get the space they are after. The group then discussed how to arrange people within the proposed space. The group discussed grouping professors and their students together, grouping members of the same project together, the potential disturbance of phone calls to people sharing an office, physically splitting up offices for the sake of privacy by erecting walls, creating a meeting room for people of the same project to converge, how to accommodate visitors, where people can go to smoke, where to place Gisella, and how to allocate space to admin. The group also discussed the possibility of having a cafeteria and the locations of coffee machines.

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Cheryl Tucker: Okay. Alberta Keiser: Or you get it. Okay. Cheryl Tucker: No I don't think so it has to like yeah and you have to adjust the length. Cheryl Tucker: Okay, and then. Linda Miraglia: So we uh we will wait for Anna Cheryl Tucker: Yeah, Linda Miraglia: a few minutes. Cheryl Tucker: s yeah, um. Alberta Keiser: Mm. Yours is well Cheryl Tucker: I think you can put anywhere you want, actually. Alberta Keiser: Yeah Cheryl Tucker: I Alberta Keiser: but Cheryl Tucker: thin Alberta Keiser: the the mic should not Cheryl Tucker: It's not a directional mic, anyway. Linda Miraglia: I think it should work like this. Cheryl Tucker: Uh. Linda Miraglia: So I will try to get my presentation running. Alberta Keiser: Yeah. Cheryl Tucker: Yeah. Linda Miraglia: Mm. Alberta Keiser: Mm. Can't help you with that. Cheryl Tucker: Last. Linda Miraglia: It's Alberta Keiser: Okay, Linda Miraglia: no Alberta Keiser: it's Linda Miraglia: matter. Alberta Keiser: y yeah. Linda Miraglia: No problem. Ah yes. Alberta Keiser: Right. Cheryl Tucker: Okay. Alberta Keiser: Then press uh al Cheryl Tucker: Okay. Alberta Keiser: This. Linda Miraglia: I don't Alberta Keiser: You Linda Miraglia: know. Alberta Keiser: know? Linda Miraglia: Just try. Cheryl Tucker: 'Kay. Linda Miraglia: On Alberta Keiser: Oh oh. Linda Miraglia: this normal Cheryl Tucker: Alt F_ five. Linda Miraglia: Good. Doesn't appear on the screen here. Alberta Keiser: Right well Linda Miraglia: Oh. Alberta Keiser: Wow. Amazing. It's working. Linda Miraglia: Okay. Thank you. Uh. Sara Marks: Hold that. Linda Miraglia: Yes and you Sara Marks: Okay. Linda Miraglia: can put can clip it uh on your Somewhere. Sara Marks: Okay. Mm. Linda Miraglia: So, good morning, everyone. Um Welcome uh at the kick off meeting of our uh latest project. I hope you all have been uh updated about it. Alberta Keiser: Yeah. Linda Miraglia: Good. Cheryl Tucker: So. Yes. Linda Miraglia: So w we will try to structure this uh meeting with an a with an agenda uh as presented here. Um after the opening we will tr get acquainted to each other. See what our roles are in this project. So, um We have been provided with uh some uh w technical tools to uh to communicate and to well, learn from each other's plans uh as I can say um so w we will also try to uh to get acquainted to this tools so they are also new to Sara Marks I don't know whether you worked with them before. Um then we will come to the uh to the to the actual project plan. You all know I hope how it's about uh the uh new r remote control we are going going Cheryl Tucker: Total. Linda Miraglia: to design. Uh then we will uh discuss uh, well, how it should be and uh wh what uh what our new product should look lite like. And uh well then uh after some twenty five minutes I hope uh we can end this meeting. So. Um basically this is about a uh a new c remote control. Um We When you design a new product you of uh you of course want it to be original. Be uh we want to be distinguished, mm? People uh want to uh when they look at the shelf want to think, well that's the product I I need. So it needs to be trendy. I mean trendy is what people want, so then I w they will buy our product. But then, uh, it also should work uh user friendly and uh otherwise people uh uh well it will not be uh be rated very well in consumer uh articles and like that. So, the general outline of uh new project will be we first uh go through a functional design phase. Um You all get uh um certain task uh in this uh in this phase and uh then we will meet again and uh discuss this functional design. And the same holds for the uh ph two phases uh after this, the conceptual design and after that a a more detailed design in which the the final project should get its definite shape. Alright, but first we will do some uh tool training. In all in front of you uh you see uh the uh notebooks and w uh n note blocks and we have here a a a a white-board. Cheryl Tucker: Whitebo Sara Marks: Mm-hmm. Linda Miraglia: And um well it should work uh I've read it from my uh from some colleague that it should work with some kind of toolbar. I didn't find out yet how it work, but maybe one of you did, so Um Alberta Keiser: Under documents in the shared folder. Okay. Linda Miraglia: Yes. Do Do we have to say something about that? I I I'm not fully updated about this shared folder uh. Alberta Keiser: Yeah, I guess we'll have a shared folder uh with documents that we can share. Linda Miraglia: Yes Alberta Keiser: yeah. Linda Miraglia: well we will then find out ho how it works. Alberta Keiser: Yes. Linda Miraglia: Um. Well, this seems to Sara Marks, yes, some computer program but I didn't find it yet. So, we'll come to that later. So, uh now we will try out the white-board we have here. So, I would suggest uh Alberta Keiser: Each of us is going. Linda Miraglia: Well, yes, um we uh we should try to t to draw on it and then well it should be smart some way. I I'm not really sure how this works, but Alberta Keiser: Okay, shall I start? Sara Marks: Mm. Cheryl Tucker: Yeah, Sara Marks: Yeah. Cheryl Tucker: you Linda Miraglia: Yes, Cheryl Tucker: can start Linda Miraglia: a good Cheryl Tucker: it Linda Miraglia: idea Cheryl Tucker: you know. Sara Marks: I think for us Linda Miraglia: Mael. Sara Marks: it's just like a normal whiteboard, but they'll be recording Alberta Keiser: So, Sara Marks: what we Alberta Keiser: i Sara Marks: write down. Cheryl Tucker: No they will record through that. There's a sensor over Sara Marks: Mm. Cheryl Tucker: there which is going to record Sara Marks: Mm. Cheryl Tucker: the strokes Sara Marks: But Cheryl Tucker: that Sara Marks: for Cheryl Tucker: you Sara Marks: us Linda Miraglia: Okay. Cheryl Tucker: make. Sara Marks: it's just like a normal whiteboard. Cheryl Tucker: Yeah. Linda Miraglia: 'Kay. Alberta Keiser: But it's Actually, I think I cannot go with uh Linda Miraglia: You you D doesn't it work? Maybe someo Maybe maybe Anna, maybe Sara Marks: Mm-hmm. Alberta Keiser: Yeah. Linda Miraglia: you can start. Then he can maybe find out to get his cord right. Sara Marks: I have Linda Miraglia: So Sara Marks: to draw. Linda Miraglia: um L Why don't you draw uh your favourite animal on on th on Sara Marks: M Linda Miraglia: the white-board. Sara Marks: my my favourite animal. Sorry this is all tangled up here. Linda Miraglia: Oh, I see uh Sara Marks: That's better. Cheryl Tucker: Yeah. Linda Miraglia: Yeah. Yes. Mm. So draw it. We will try to Sara Marks: Mm-hmm. Linda Miraglia: guess what it is. Sara Marks: I'm a very bad drawer. Weird. my drawing. I'm a bad drawer. Okay. Linda Miraglia: Mm. Sara Marks: They're Cheryl Tucker: 's a Sara Marks: ears, Cheryl Tucker: cat. Sara Marks: by the way. No. Um close though. Okay so like a pet animal. Alberta Keiser: Okay. Sara Marks: Like a cat. Cheryl Tucker: Yeah. Linda Miraglia: It's like a cat, so I guess it's a cat. Sara Marks: No, not a cat though. Linda Miraglia: What is this now? Cheryl Tucker: Ah you forget about it. Alberta Keiser: You're on the knife. Cheryl Tucker: Yeah, uh I think it's fine. I just don't want to carry it off. Man, this wires, eh? We need a wireless microphone. You know? Pro specially we should next project we should take l like that. Linda Miraglia: So, Sara Marks: Okay. So. Linda Miraglia: that's Sara Marks: It's Linda Miraglia: the cat. Sara Marks: not a Linda Miraglia: Oh. Sara Marks: cat, it's Cheryl Tucker: So. Sara Marks: a dog. Alberta Keiser: Mael. Linda Miraglia: It's a dog. Sara Marks: Yes. Linda Miraglia: So but that's also kind of Cheryl Tucker: Oh Linda Miraglia: cat, Cheryl Tucker: the dog Linda Miraglia: isn't Cheryl Tucker: doesn't Linda Miraglia: it? Cheryl Tucker: have a tail? Sara Marks: It's Linda Miraglia: B Sara Marks: got a tail then. Linda Miraglia: bo Cheryl Tucker: Yeah, Linda Miraglia: both predators. Cheryl Tucker: sure, yeah. Sara Marks: Yeah yeah. Cheryl Tucker: I thought so. The dogs have a tail. Linda Miraglia: So, thank Sara Marks: So do Linda Miraglia: you. Sara Marks: cats. Linda Miraglia: Uh d did you uh Sara Marks: And you guessed cats Linda Miraglia: work Sara Marks: without Linda Miraglia: out Sara Marks: a Linda Miraglia: cord? Sara Marks: tail. Cheryl Tucker: Yeah. Alberta Keiser: Yeah, I think I will go without Sara Marks: Okay. Alberta Keiser: without it, right? Linda Miraglia: Okay. Cheryl Tucker: It'll still not extend, right? It's not up to that. Sara Marks: Okay, there you go. So what favourite characteristics. Uh. Dogs are always friendly and loyal and fun. Sara Marks: A horse? Cheryl Tucker: It's a horse. Sara Marks: This is why you're the designer. And I'm marketing. Linda Miraglia: Yes. Yes, yes this is Yes definitely a horse. Yes. Oh very good. So Sara Marks: Ah Linda Miraglia: I suppose Cheryl Tucker: Ah Linda Miraglia: it Cheryl Tucker: I think you can put that. Sara Marks: Mm-hmm. That's it. A blue and black zebra. Linda Miraglia: Yes. Can you can meet them in Africa, I think. Yes. Very good. So Sara Marks: The very rare blue zebras. Yes. Cheryl Tucker: I'll Linda Miraglia: Ma Matthew? Cheryl Tucker: tell to get it off my Uh? Mm-hmm. Linda Miraglia: So Sara Marks: You got a lot Linda Miraglia: Maybe Sara Marks: of room here. You can probably reach. Cheryl Tucker: Oh y it's not for that. Sara Marks: No? Cheryl Tucker: No. Linda Miraglia: I hope you have some space in your uh the Cheryl Tucker: Okay. Linda Miraglia: horse Cheryl Tucker: Yeah. Linda Miraglia: of uh Mael. Cheryl Tucker: So what should I draw? Mm. He has already to do cat. Sara Marks: I took a dog. Sara Marks: Um. A mouse? Linda Miraglia: This looks likes a cat who has been driven over. Sara Marks: Okay. Alberta Keiser: Yeah. And we should sum up its favourite charas characteristics, right? Sara Marks: Mm-hmm. Alberta Keiser: So Linda Miraglia: That's that's definitely a cat. Sara Marks: Mm-hmm. Alberta Keiser: Uh yeah. And i Th They like to sleep, that's why you said you they are like this. Yeah. Linda Miraglia: It's quite, you know relaxed situation. Yes. Sara Marks: Mm-hmm. Linda Miraglia: Yes, okay. Alberta Keiser: She has the small legs. Linda Miraglia: Th thank you, Matthew. Alberta Keiser: Yeah. Thank you, Matthew. Sara Marks: It's Alberta Keiser: Perfect. Sara Marks: a very big rat. Or a very small Alberta Keiser: Oh Sara Marks: cat. Alberta Keiser: a rat, okay. Linda Miraglia: Yes, this is certain uh some contribution to our Alberta Keiser: And Linda Miraglia: project. Alberta Keiser: you, Sara Marks: Mm 'kay. Your turn. Linda Miraglia: So. Let's see. Which animal has not been drawn yet. Linda Miraglia: So you've all drawn land animals, so why not draw an animal from Alberta Keiser: A bird. Linda Miraglia: the water. Alberta Keiser: Okay, in the water. Sara Marks: Ah I don't know what that is. It's Alberta Keiser: Mm. Sara Marks: a bit It's a bit hard to guess. Alberta Keiser: Yeah. Linda Miraglia: Mm. Cheryl Tucker: So Alberta Keiser: Put it colours. Maybe it would help Sara Marks: Yeah. Alberta Keiser: us. Linda Miraglia: Yes. Cheryl Tucker: The cat is going to eat the fish or Alberta Keiser: With Cheryl Tucker: the Alberta Keiser: different Cheryl Tucker: rat? Alberta Keiser: pen widths. Sara Marks: Mm-hmm Linda Miraglia: So Sara Marks: Oh, it's a shark now. Alberta Keiser: Ah it's a shark, yeah. Linda Miraglia: Oh, yes, why not? Good idea. Cheryl Tucker: Ah it's a baby shark, it looks to Sara Marks, you Sara Marks: Mm. Cheryl Tucker: know it's going to eat the cat rather than the cat eating the fish, Alberta Keiser: Oh. Cheryl Tucker: no? Sara Marks: Now it's a swordfish. Linda Miraglia: Why not. Alberta Keiser: You Linda Miraglia: A swordfish. Alberta Keiser: have some in in Australia, right? Sara Marks: Swordfish. Alberta Keiser: Yeah. Sara Marks: Um, Alberta Keiser: I dunno. Sara Marks: maybe. I've never Alberta Keiser: Oh Sara Marks: seen Alberta Keiser: well. Sara Marks: one, no. Alberta Keiser: Yeah. Linda Miraglia: I hope it still works. Alberta Keiser: Perfect. Linda Miraglia: So Alberta Keiser: So I dunno if we need to spend time on that, actually But uh Cheryl Tucker: You should go for the Linda Miraglia: W Cheryl Tucker: next Linda Miraglia: Well, Cheryl Tucker: one Linda Miraglia: this Cheryl Tucker: it seems to Linda Miraglia: uh Cheryl Tucker: Sara Marks. Linda Miraglia: this tool seemed to work. Alberta Keiser: Yeah, Sara Marks: Mm-hmm. Alberta Keiser: exactly, Linda Miraglia: Let's continue Alberta Keiser: yeah. Linda Miraglia: to uh to Alberta Keiser: Wow. Linda Miraglia: the real stuff. Um our project uh finance uh thing. Uh when we are and when w you are uh going to design w uh we must keep in mind that the selling price of the product uh will be about twenty five Euros, so when designing Cheryl Tucker: Twenty four. Linda Miraglia: a project uh I also look at you uh Mael, Alberta Keiser: Yeah. Linda Miraglia: keep in mind uh uh uh People uh want to get the feeling this is a twenty five Euro project uh pr um Alberta Keiser: Per remote control, Linda Miraglia: product. Alberta Keiser: yeah? Sara Marks: Mm. Alberta Keiser: Per project. Linda Miraglia: Yes. Okay. Um more interesting for our company of course, p uh profit aim, about fifty million Euro. So we have to sell uh quite a lot of this uh um things. Uh we will try to uh to get at a international market uh so um it will be I think mainly Europe and uh Northern America, Cheryl Tucker: Ah yeah, the sale man, Linda Miraglia: maybe Cheryl Tucker: four Linda Miraglia: some uh Cheryl Tucker: million. Linda Miraglia: Asian countries. Um also important for you all is um the the product uh production cost must be maximal uh twelve uh twelve Euro Alberta Keiser: So it's Linda Miraglia: and fifty cents. Alberta Keiser: half of the selling price, if I am good in Linda Miraglia: Yes, Alberta Keiser: mathematics. Linda Miraglia: of course. Uh um I mean we still have to uh to make a profit, huh? Alberta Keiser: Of Cheryl Tucker: They Alberta Keiser: course. Cheryl Tucker: have to sell Sara Marks: Mm. Cheryl Tucker: at least Linda Miraglia: You Cheryl Tucker: four Linda Miraglia: all Cheryl Tucker: million Linda Miraglia: have to be paid. Cheryl Tucker: to make a profit Sara Marks: Mm. Cheryl Tucker: Ah Linda Miraglia: Excuse Cheryl Tucker: we have Linda Miraglia: Sara Marks? Cheryl Tucker: to make we have to sell at least four million to make our own profit. Alberta Keiser: Oh Cheryl Tucker: Fifty Alberta Keiser: you're g very Cheryl Tucker: mill Alberta Keiser: good in mathematics. Sara Marks: Yes. Linda Miraglia: Yes, Alberta Keiser: Four Linda Miraglia: indeed. Alberta Keiser: million. Linda Miraglia: So uh Alberta Keiser: Yeah. Linda Miraglia: well I think w when we are working on the international market, uh in principle it has enough customers uh so when we have a good product we uh we could uh meet this this aim, I think. So, that about finance. And uh now just let have some discussion about what is a good remote control and uh well keep in mind this this first point, it has to be original, it has to be trendy, it has to be user friendly. Um, maybe someone can mention some additional uh prerequisites for Sara Marks: Mm-hmm. Linda Miraglia: a good remote control. Cheryl Tucker: Of course it should have a on off button. Sara Marks: Mm-hmm. Linda Miraglia: Yes, well i it should have the the the the expected functionality Sara Marks: Mm. Linda Miraglia: uh of a remote control. Sara Marks: Yeah. Cheryl Tucker: Yeah, s and it depends what application you are using it for. Sara Marks: Mm. Cheryl Tucker: You might need uh Linda Miraglia: We wer we were thinking television. Uh. Sara Marks: Mm. Cheryl Tucker: We are targ targeting the television set. So, Sara Marks: Mm. Cheryl Tucker: you need to record the channels. Sara Marks: Yeah. Linda Miraglia: Mm-hmm. Cheryl Tucker: You need to browse the browse the channels in upward Linda Miraglia: Yes, Cheryl Tucker: downward Sara Marks: Mm. Cheryl Tucker: way, Linda Miraglia: yes. Th th that's very handy I I always miss it and on Cheryl Tucker: Uh Linda Miraglia: some remote controls that Cheryl Tucker: And Linda Miraglia: you can go channel up or down ins instead of Sara Marks: Mm. Linda Miraglia: retyping the number, especially Sara Marks: Mm. Linda Miraglia: when you have a lot Cheryl Tucker: Uh, Linda Miraglia: of channels. Cheryl Tucker: and Alberta Keiser: And uh just before starting the detailed discussion, maybe we You are the marketing guy? Or Sara Marks: I'm marketing. Alberta Keiser: th Cheryl Tucker: Marketing. Alberta Keiser: So you are the marketing. Sara Marks: Yep. Alberta Keiser: And you are in the u use user interface Cheryl Tucker: Yeah. Alberta Keiser: uh Linda Miraglia: Yes. Alberta Keiser: design. So Cheryl Tucker: Yeah. Alberta Keiser: just yeah I wanted to to be sure. Cheryl Tucker: Sure. Alberta Keiser: And I I'm the Alberta Keiser Sara Marks: Mm-hmm. Alberta Keiser: okay. Linda Miraglia: Yes. Alberta Keiser: Because I Cheryl Tucker: Oh. Alberta Keiser: I don't know you very well, actually, Cheryl Tucker: I'm Alberta Keiser: but Cheryl Tucker: Matthew. Alberta Keiser: yeah. Okay. Cheryl Tucker: You know. Alberta Keiser: Mael. Cheryl Tucker: Matth Alberta Keiser: Happy to meet you. Cheryl Tucker: s uh Sara Marks: Anna. Alberta Keiser: Okay. Cheryl Tucker: Anna. Alberta Keiser: It's very Cheryl Tucker: And Linda Miraglia: A and Alberta Keiser: uh Linda Miraglia: I'm Nanne. Cheryl Tucker: um uh Matthew, yeah. I Linda Miraglia: So Cheryl Tucker: thi Alberta Keiser: Uh Cheryl Tucker: think you know Alberta Keiser: so Cheryl Tucker: Sara Marks, yeah? Alberta Keiser: yeah Cheryl Tucker: right Linda Miraglia: Yes. Cheryl Tucker: yeah. Alberta Keiser: uh Just uh on your web page but uh yeah not uh Linda Miraglia: So. Um Alberta Keiser: not face to face. Linda Miraglia: S Cheryl Tucker: So. Alberta Keiser: So Linda Miraglia: S Alberta Keiser: mm Linda Miraglia: s Sara Marks: Mm. Linda Miraglia: Are Cheryl Tucker: So Alberta Keiser: So Linda Miraglia: there Alberta Keiser: I Linda Miraglia: some other very important things to to do well, to specify in this first phase of of the project. So the browse function, Sara Marks: Mm. Linda Miraglia: as you m Sara Marks: Yeah. Linda Miraglia: mentioned. Cheryl Tucker: And Sara Marks: Oth Cheryl Tucker: uh, Sara Marks: yeah. Cheryl Tucker: you'd need the usual ones, like the changing the volume, changing the the channel and then Linda Miraglia: Yes. Cheryl Tucker: you Linda Miraglia: Yeah. Cheryl Tucker: uh Today we have uh um teletext and all those things. Tomorrow you might have a some more functions which might come through that, Linda Miraglia: Yes. Sara Marks: Mm. Alberta Keiser: Like Cheryl Tucker: so Alberta Keiser: what? Like internet on Cheryl Tucker: Yeah Alberta Keiser: the Sara Marks: Mm. Cheryl Tucker: I_P_O_ Alberta Keiser: on Cheryl Tucker: or. Alberta Keiser: T_V_? Cheryl Tucker: Now we are looking for television things or I_P_. For Alberta Keiser: Yeah. Cheryl Tucker: example personal video recorder Sara Marks: Mm. Cheryl Tucker: and all those stuffs are coming up. Sara Marks: But we can't really design Cheryl Tucker: Yeah. Sara Marks: for something that hasn't been invented yet. Cheryl Tucker: Ah it's it's it's it's coming up, actually. The personal video recorder and all those Linda Miraglia: Mm, Cheryl Tucker: things it is coming Linda Miraglia: well Cheryl Tucker: up. Linda Miraglia: uh I I think Uh Alberta Keiser: Actually, Linda Miraglia: w Alberta Keiser: yeah Cheryl Tucker: Let's Linda Miraglia: y Alberta Keiser: w Cheryl Tucker: Let's take Linda Miraglia: you two should should, I think, think this over uh w espec what, what functionality. Alberta Keiser: Of course, and first before um designing the func well thinking about the functionalities, we need to know what are the user requirements. Sara Marks: Mm. Yeah. Alberta Keiser: Um Linda Miraglia: Mm-hmm. Alberta Keiser: then Sara Marks: Yeah. Alberta Keiser: if they need internet, then we Sara Marks: Mm. Alberta Keiser: would be able to to p to propose something Sara Marks: Yeah. Alberta Keiser: with uh uh T_V_ over I_P_. But Sara Marks: But Alberta Keiser: before Sara Marks: Ninety percent of the time, ninety nine percent of the time, people will be using the main functions, the volume, the different channels, so we can have all the fancy things as well but the main controls need to be very obvious and very easy Linda Miraglia: Mm Sara Marks: to use. Linda Miraglia: mm mm. Keep k keep in mind i it's a it's a twenty five Euro unit, so uh uh the the very fancy stuff uh w we can leave that out, I think. So Sara Marks: Mm. Linda Miraglia: twenty five Euro you expect a quite, well normal but Sara Marks: Mm. Linda Miraglia: good functioning user friendly remote control. Cheryl Tucker: Oh in that case you can you always hook up with uh someone who is providing that and you know, you you sell their product as well as your product with them, Sara Marks: Mm. Cheryl Tucker: you know. Alberta Keiser: Yeah, Sara Marks: So Alberta Keiser: but Sara Marks: try Alberta Keiser: w Sara Marks: and Alberta Keiser: w Sara Marks: get T_V_ Alberta Keiser: we Sara Marks: manufacturers Alberta Keiser: want to design Sara Marks: to Alberta Keiser: a new one. Cheryl Tucker: Yeah. No, it's okay, yeah I understand. Alberta Keiser: Mm. Cheryl Tucker: So we need Alberta Keiser: Yeah. Cheryl Tucker: some numbering buttons, some teletext things and then um Alberta Keiser: The Yeah, the main is Linda Miraglia: Yes, but Alberta Keiser: browsing. Linda Miraglia: but but ab Alberta Keiser: Yeah. Linda Miraglia: about the spec the buttons, the Cheryl Tucker: Yeah. Linda Miraglia: buttons uh that will be on it. I I think we can discuss that in the in the next meeting. Cheryl Tucker: Yeah. Linda Miraglia: Uh I would like to get this wrapped up and go to an end of this meeting. Cheryl Tucker: Okay. Linda Miraglia: So Cheryl Tucker: Okay, we are alread mm. Alberta Keiser: Okay. Linda Miraglia: So Cheryl Tucker: Mm. Linda Miraglia: you know now the basic the basic things. Cheryl Tucker: Yeah. Sara Marks: Mm-hmm. Linda Miraglia: And well just Cheryl Tucker: L Linda Miraglia: just for the next meeting, um well, uh, you wor yes, work on a design, keep it general, I mean so w we will be still fle flexible with maybe adding some functions. Alberta Keiser: Mm-hmm. Linda Miraglia: So Um you will be working on on technical function design, so Cheryl Tucker: Yeah, sure. Linda Miraglia: And uh you and you and uh uh uh well, think about requirements, eh? Sara Marks: Mm-hmm. Linda Miraglia: Does it need internet, or or do do we stay at Cheryl Tucker: Stam. Linda Miraglia: basic Sara Marks: Yeah. Linda Miraglia: basic television uh interface. So, uh I think we should now all go work uh uh at this and uh Sara Marks: Mm-hmm. Linda Miraglia: you will be informed via email and other kind of communication. Sara Marks: Yeah. Cheryl Tucker: Okay. Linda Miraglia: So Alberta Keiser: Perfect. Linda Miraglia: next meeting will be in uh in thirty minutes uh. K keep it in mind.

The meeting begins with the group trying to resolve some equipment issues and waiting for Anna's arrival. Then Linda Miraglia introduces the meeting by saying they have some technical tools with which to communicate so they will try to get acquainted with them first. He starts talking about the product they are to design, a remote control which should be original, trendy, and user-friendly. The general outline of the project will be the functional, conceptual, and detailed design. They do some tool training by trying out the whiteboard, and each person draws his/her favorite animal on it. Linda Miraglia proceeds to talk about the project finance, which is followed by a group discussion about what functions a good remote control has. This includes the basics such as on/off, channel up/down browsing, volume and record button(s). At this point they clarify their names and roles in the group and then resume talking about remote control functions. They discuss some functions such as a personal video recorder, but say it is probable that they cannot produce a fancy device given their budget. Linda Miraglia closes the meeting by telling each group member what he/she will be working on.

amisum

train

Nancy Chappell: Right first time this time. Nu There we go. It's not that complicated, but I get it wrong every time. Nettie Youngs: Okay so we are just waiting for Nancy Chappell: For Nettie Youngs: Matthew. Nancy Chappell: Matthew, yep. Garnet Peoples: Mm. Garnet Peoples: Uh Garnet Peoples: So I suggest we start the uh without Nancy Chappell: Mm-hmm. Garnet Peoples: Matthew uh Nettie Youngs: Mm 'kay. Garnet Peoples: he's uh obviously late for some reason. Good. Um. Today uh we will uh talk about uh conceptual design. I hope uh you both did some uh some Nancy Chappell: Mm-hmm. Garnet Peoples: work uh concerning a uh conceptual design. Um this will be the uh agenda for the meeting uh. Uh I will take some minutes uh again. Nancy Chappell: Mm-hmm. Garnet Peoples: Um we will have the presentations of y of you different Nancy Chappell: Yep. Garnet Peoples: team members, Nettie Youngs: Yep. Garnet Peoples: and then to come decisions concepts uh have. So and Nettie Youngs: Mm-hmm. Garnet Peoples: that uh will uh we have some uh forty minutes uh to complete this Nancy Chappell: Mm-hmm. Garnet Peoples: uh. So um who has the fir do you ha Anna Nancy Chappell: I have Garnet Peoples: do you Nancy Chappell: a Garnet Peoples: have Nancy Chappell: presentation, Garnet Peoples: your presentation Nancy Chappell: I'm just Nettie Youngs: Yeah Garnet Peoples: ready? Nancy Chappell: making Nettie Youngs: I Nancy Chappell: this Nettie Youngs: think yeah Garnet Peoples: Okay. Nettie Youngs: the Matthew it is it's important that Matthew yeah is here because Garnet Peoples: Ah there is Matthew. Nettie Youngs: it's really a a team uh project with a team and if someone is not Albina Sloan: Sorry. Nettie Youngs: here then we cannot but it's okay it's good. Nancy Chappell: Okay I'll just email you this file, my presentation. Garnet Peoples: So. Good. Do presentation ready? Nancy Chappell: Mm-hmm I'm just emailing it to you. Garnet Peoples: Oh okay. Albina Sloan: So Garnet Peoples: So did you manage uh Albina Sloan: Yeah I sent you the slides you didn't see them? Garnet Peoples: Oh yes I see him, Albina Sloan: Okay. Garnet Peoples: good yes. No. Albina Sloan: So 'Kay. Nancy Chappell: Okay it should've gone through to you. Garnet Peoples: Okay mm yes I have it. Nancy Chappell: Mm-hmm. Okay so this just a presentation on uh the trends that we're gonna use to make the product stand out from the rest of the products out there at the moment. Um can I just put this on? So we have to work out a way what we can do with our product to make it stand out and make it so people wanna buy it. Um. This is to do this I will not remove my microphone. We basically used um some focus group surveys which I went through with you last time, the main results of that, and um some research on the current design um and fashion trends that are out there at the moment um, and as part of this The important aspects that came out were things that we've already discussed really. The most important by far was the look and feel of it. It needs to be something that's very different from everything else out there. It needs to stand out. It needs to be not functional like the rest of the things out there at the moment. Most people find remote controls boring at the moment, we need to have something that looks interesting, that looks exciting, that will stand out. People will wanna buy it. Um That was twice as i important as the next item on here which is that it has to be technologically innovative has to have something else, apart from just the look of it. People have to then think about it and say got something there that I want. That's a really cool feature, and it has to make them wanna buy it again. Third on the list, and again innovative was twice as important as this last um aspect, it has to be easy to use. So they have to be able to be able to look at it and have some intuitive idea of how to use it um. Drawing on the fashion trends at the moment, uh fruit and vegetables um. This is basically talking about just the the feel of it, so probably not the smell of it, but the bright colours, um Garnet Peoples: Mm. Nancy Chappell: eye-catching, really bold designs, Nettie Youngs: Mm-hmm. Garnet Peoples: Mm. Nancy Chappell: and a spongy feel. Um I had a talk to the design people about this, but having a remote that's tactile, that feels different, that would be really cool. That would make it stand out. Garnet Peoples: Hmm. Nancy Chappell: Um. Nettie Youngs: So can you repeat and be more precise about what you just said? Garnet Peoples: Spongy Nettie Youngs: Uh Garnet Peoples: feel? Nettie Youngs: about the feeling yeah uh Nancy Chappell: Well Nettie Youngs: yo Nancy Chappell: ma Albina Sloan: You Nancy Chappell: make Albina Sloan: can Nancy Chappell: it not necessar sp spongy is the current thing. Spongy is the current texture, but basically there are no reports no remotes at the moment which are spongy or tactile at all, so if we make it like maybe furry or Nettie Youngs: Okay. Nancy Chappell: soft or something, that'll be something that sets it apart, Garnet Peoples: Mm. Nancy Chappell: rather than just bare plastic which they all are at the moment. Nettie Youngs: Yeah. Garnet Peoples: Okay. Nancy Chappell: So as far as the design goes, the very most important aspect was the design, to the customers. So going with the fruit and vegetable idea, we've got the bright colours, so makes it stand out, the oranges and the the bright yellows and the florescent colours, part of the fruit and vegetables um. Going back to the idea of taking inspiration from mobile phones, they've all got those a lot of them have the changeable covers, so they can choose what colour the outside is. That's one way of looking at it um. Textured feel we just talked about. Maybe it's Garnet Peoples: Mm-hmm. Nancy Chappell: another way of doing that. So if it's part of the the changeable covers then may maybe they can choose a different texture, a spongy one or a soft one or something like that. So they can choose it li as they want to Nettie Youngs: Yeah Nancy Chappell: to maybe Nettie Youngs: that's a very good yeah. Nancy Chappell: to fit in with their decor in their living room, or just what they like, Nettie Youngs: Yeah. Nancy Chappell: their sports team or whatever. Um and yeah, still taking the inspiration from the mobile phone design so functionality, the way the mobile phones work, the way the keypad looks. Also just the way that a lot of industrial design is going into mobile phones at the moment. They're big selling items. People put a lot of thought into that so we can leverage off that, and we can start using some of their ideas. Um back to technological in in innovation, not quite as important, but still a big issue. Um we talked about having a way of finding a remote control if it's been lost, uh that's one thing we could look at. There are other aspects like L_C_D_ screens and speech recognition which weren't I don't think, in my personal opinion, gonna be worth the extra expense and the extra effort that will go into them. Nettie Youngs: Mm-hmm. Nancy Chappell: I think we're better doing something basic like this which is very important and very will be a really cool feature to put in. And use. I had no real specific ideas for this, having your core functions big and at the top Garnet Peoples: Mm. Nancy Chappell: maybe, by themselves, Garnet Peoples: Yes well maybe Nancy Chappell: and Garnet Peoples: Matthew Nancy Chappell: then Garnet Peoples: can can Nancy Chappell: yeah Albina Sloan: Yeah. Garnet Peoples: give Nancy Chappell: and Garnet Peoples: some Nancy Chappell: then Garnet Peoples: more Nancy Chappell: th Garnet Peoples: information Nancy Chappell: th the Garnet Peoples: on Nancy Chappell: finer Garnet Peoples: the Nancy Chappell: details of buttons you don't use as much either hidden away or completely separate. Garnet Peoples: Mm. Albina Sloan: Voila. Nancy Chappell: Yep and that's the presentation. Garnet Peoples: Okay good, that's very clear. Nettie Youngs: Yeah Albina Sloan: Yeah. Nettie Youngs: very clear. Garnet Peoples: 'Kay. Um. Nancy Chappell: So does anyone have any comments Garnet Peoples: Uh Nancy Chappell: or ideas on that? I think you Garnet Peoples: Maybe we yes well we maybe can decide later on um the l the the look and feel of uh I've it was a good idea maybe to to Nettie Youngs: To let the people choose, Garnet Peoples: Yes Nettie Youngs: you mean? Garnet Peoples: the the Nettie Youngs: Yeah. Garnet Peoples: the there are changeable covers, but on the other hand I I don't know whether my superiors would be so glad with it because you have to introduce a complete uh uh new l line of uh of supplies uh Nancy Chappell: Hmm. Garnet Peoples: it would be uh very complicated uh organisational Nancy Chappell: Well we're selling so many units of this. This is gonna be a mass marketed product, Garnet Peoples: Hmm. Nancy Chappell: we can afford to have two Garnet Peoples: Mm-hmm. Nancy Chappell: or three different designs Nettie Youngs: Yeah Nancy Chappell: at least. Nettie Youngs: a range of uh yeah, Garnet Peoples: Yes. Nettie Youngs: a set Nancy Chappell: Mm Nettie Youngs: of three, four different Nancy Chappell: mm. Nettie Youngs: aspects. Garnet Peoples: Mm-hmm. Nettie Youngs: Sure Garnet Peoples: Yes Nettie Youngs: that fits the Garnet Peoples: and of course it will be a we we get a if it works we can get uh after-sales Nancy Chappell: Mm. Garnet Peoples: I mean that would would be very good I mean Nettie Youngs: Yeah. Garnet Peoples: those covers could go for for three, five Euro. Nancy Chappell: Mm. Garnet Peoples: That's a very good idea um And then uh maybe uh we can go a th Matthew's presentation because Albina Sloan: Yeah s Nancy Chappell: Mm-hmm. Garnet Peoples: the Albina Sloan: then we could discuss later like we can put all ideas together. Garnet Peoples: Together indeed Nancy Chappell: Mm. Garnet Peoples: uh, Nettie Youngs: Yeah Garnet Peoples: because Albina Sloan: It should Garnet Peoples: you Nettie Youngs: yeah Albina Sloan: be Garnet Peoples: ma Albina Sloan: easier Garnet Peoples: might Nettie Youngs: I Garnet Peoples: have Albina Sloan: with Nettie Youngs: agree. Garnet Peoples: some Albina Sloan: that. Garnet Peoples: some information on the the easy to use, what Albina Sloan: Yeah. Nancy Chappell: Mm-hmm, Garnet Peoples: you were Nettie Youngs: Yeah. Nancy Chappell: yeah. Garnet Peoples: already mentioning. Nettie Youngs: And Albina Sloan: So Nettie Youngs: your part is very related to mine because Albina Sloan: Yeah. Nettie Youngs: when you suggest something then it Albina Sloan: Yeah Nettie Youngs: has to Albina Sloan: so Nettie Youngs: be integrated inside. Albina Sloan: I'll I'll go with that actually Nancy Chappell: Mm-hmm. Albina Sloan: so um Albina Sloan: Okay so m so then the the idea of uh having remote is generally you have uh keys and uh different, different forms, and uh they could be like buttons or like and um they could be of uh a varying sizes if you want to to uh basically emphasize a particular key more than the other, and uh maybe like you can have different colours for example having the r red for the on off switching on and off the button. So this this is the general trend to Nettie Youngs: Yeah. Albina Sloan: ha Nancy Chappell: Mm-hmm. Albina Sloan: the method they do. So what I have found was that uh currently uh the they are mostly that the T_V_, V_C_R_, music system operated ones actually, and they are very specific to each other, but there are some common keys for example if you want to follow the V_C_R_ and if you want to follow the uh g uh s some uh soundtrack on the w w see they have the common thing actually Nancy Chappell: Mm. Albina Sloan: you can have and uh There is also um a speech recognition to store channel information, names, like You can basically if you have a multiple functionality, say T_V_, V_C_R_ or something I say it Nancy Chappell: Mm. Albina Sloan: to the T_V_ and the T_V_, and you can programme the keys if you want to, certain keys are even the channel information. Nancy Chappell: Mm. I like the idea though of having speech recognition for like the n the name of a channel like B_B_C_, rather than having to remember the the number of it on the keypad. Albina Sloan: Yeah Nancy Chappell: That's a good idea. Albina Sloan: yeah so you you you can just uh because uh as more and more channels come then you have more and more problems to remember the v v Nancy Chappell: Mm. Albina Sloan: exact channel numbers ex Nettie Youngs: Yeah. Albina Sloan: exactly, even if you arrange it by however you arrange it, Nancy Chappell: Hmm. Albina Sloan: you still have the problem to Nancy Chappell: Mm. Albina Sloan: remember exactly Nancy Chappell: Yeah I really Albina Sloan: which Nancy Chappell: like that idea. Albina Sloan: channel Nettie Youngs: So Albina Sloan: you Nettie Youngs: what Albina Sloan: want Nettie Youngs: functionalities Albina Sloan: to Nettie Youngs: do you suggest for that? For Albina Sloan: So Nettie Youngs: facing Albina Sloan: it Nettie Youngs: this Albina Sloan: it Nettie Youngs: problem? Albina Sloan: it's like it limited one. In the present market I saw it that says something like they are looking for eighty word thing, eighty word, Nancy Chappell: Mm-hmm. Albina Sloan: which shouldn't be th that difficult to implement, like eighty to hundred word. Basically you want you don't want to store all the channels in the Nancy Chappell: Mm. Albina Sloan: remote control, you want to st store your favourite channel. Nancy Chappell: Maybe ten channels, Albina Sloan: Yeah Nancy Chappell: yeah Albina Sloan: some Nancy Chappell: at the most. Albina Sloan: ten twelve channel information. You Nettie Youngs: Okay. Albina Sloan: know you don't want to st store all the hundred Nancy Chappell: Mm. Albina Sloan: channel information into that. And uh basically uh it depends like the remote with L_C_D_ display for browsing because you have multiple functionalities for example you are watching a movie, and uh uh you are having a universal remote control and you want to uh you don't know really which functionality is now, so I am using the T_V_ so every time I use it, it could be like, for example I can use a simple toggle switch, and a display, so I press it so the display says, okay, I'm in T_V_ or D_V_D_ or whatever Nancy Chappell: Mm-hmm. Nettie Youngs: Mm-hmm. Albina Sloan: it is, instead of having three keys separately Nettie Youngs: Oh yeah yeah yeah Albina Sloan: for four Nettie Youngs: mm. Albina Sloan: keys, to model the functionalities Nancy Chappell: Mm. Albina Sloan: will increase actually, Nettie Youngs: Mm. Albina Sloan: and for you and you might want Nancy Chappell: Mm. Albina Sloan: you don't want separate keys for all of them. You can't. And uh well there can be children friendly where you can programme your remote so that they they are not allowed uh to browse certain channels which you can block them, and you can operate them. Nettie Youngs: Mm-hmm. Albina Sloan: So these are the things presently which are seen in the market scenarios at present. I personally would look at things like having a u universal remote, is uh um is a good idea, like instead of having unusual ones for all of them you can Nancy Chappell: Mm-hmm. Albina Sloan: think of having, um with multiple functionality possibly with speech recognition. I got a mail from the the coffee machine interface unit that uh they have uh integrated the s speech recognition into a into the coffee machine, and so Nancy Chappell: Mm Albina Sloan: if you Nancy Chappell: b Albina Sloan: say hello coffee machine, it say hi Joe, or something like that, you know, and Nancy Chappell: But a coffee Albina Sloan: uh Nancy Chappell: machine, there's not too many words they'd be using with that it's a Albina Sloan: Yeah Nancy Chappell: it's Albina Sloan: you you Nancy Chappell: a Albina Sloan: won't Nancy Chappell: small Albina Sloan: be Nancy Chappell: vocabulary. Albina Sloan: using it, so it's a limited vocabulary Nancy Chappell: Mm. Albina Sloan: mm thing, and very isolated word and Nancy Chappell: Mm. Albina Sloan: it's uh it is interesting, and basically storing the channel through voice or other ways of programming your keys, Nancy Chappell: Mm. Albina Sloan: on the display for the browsing which is again and maybe having something like a blinking thing, like uh it could indicate you're uh it it could indicate what is cal like the uh whether uh Nancy Chappell: Mm. Albina Sloan: you you have enough battery in your in your uh remote, Nettie Youngs: Yeah. Albina Sloan: the blinking. At the same time, if it's a dark room, it can be used to locate the remote also or Nettie Youngs: And you want okay for coming back to one Nancy Chappell: Two thirty Nettie Youngs: point Nancy Chappell: five supposed Nettie Youngs: y Nancy Chappell: to Nettie Youngs: you Nancy Chappell: finish. Nettie Youngs: want to let the user to programming the keys? Some of them? Albina Sloan: Yeah you can let them to do Nettie Youngs: And Albina Sloan: that. Nettie Youngs: uh isn't that too difficult for the we want w I don't know if we still want the um R_C_ to be easy to use, Nancy Chappell: Hmm. Nettie Youngs: that's the Albina Sloan: N no but the Nettie Youngs: compromise. Albina Sloan: if you give it d depends on the easiness like Nettie Youngs: Yeah. Albina Sloan: the user how much effort he can put. Nancy Chappell: Hmm. Albina Sloan: Like for example uh I would like to store in certain way, so if you want to give the full freedom to the user Nancy Chappell: Mm. Albina Sloan: or Nettie Youngs: Yeah. Albina Sloan: you want to keep some constraints Nancy Chappell: Yeah. Albina Sloan: and let the user use Nancy Chappell: Mm. Albina Sloan: it with that constraint. Nettie Youngs: Yeah. Nancy Chappell: I think Albina Sloan: So Nancy Chappell: you can Albina Sloan: it Nancy Chappell: do Albina Sloan: de Nancy Chappell: it both ways. You can have it so it's easy they can pick it up and use it straight away without Nettie Youngs: A standard. Nancy Chappell: doing anythi without customizing it, Nettie Youngs: Yeah. Nancy Chappell: or if they want to they have the option of using these extra features. Garnet Peoples: Um yes Albina Sloan: So Nettie Youngs: Yeah. Garnet Peoples: but but I do maybe you can give a hand to us because I I'm not sure whether that that we can implement that for twelve Euro and fifty cents. I'm sorry Nancy Chappell: Hmm. Garnet Peoples: to have Albina Sloan: So Garnet Peoples: Every time I have to come down on this price Nancy Chappell: Hmm. Garnet Peoples: again to so this might be a little limiting for your creativity, but Nancy Chappell: Hmm. Garnet Peoples: it's it's it's the real We have to consider it. S so Nettie Youngs: Yeah. Garnet Peoples: do we think these ideas an and my uh sp speech recognition, I mean maybe it's possible for for twelve Euro but then then it will be at cost of other functionality we might implement Nancy Chappell: Mm. Garnet Peoples: like the uh uh the the the furry uh uh case of Nancy Chappell: Hmm. Garnet Peoples: the Nettie Youngs: Mm-hmm yeah like I would say that for programming uh keys, you Albina Sloan: Yeah. Nettie Youngs: said, uh it could be uh easily uh done within the the package of twel twelve Euros, Garnet Peoples: Mm. Albina Sloan: Yeah. Nettie Youngs: but for the A_S_R_ system, uh I'm not sure if it's feasible to have Albina Sloan: We Nettie Youngs: this or Albina Sloan: well we can still look Nettie Youngs: We Albina Sloan: at we can talk with the coffee unit and you can uh check Nettie Youngs: Exactly Albina Sloan: how much Nettie Youngs: yeah Albina Sloan: how Nettie Youngs: i Albina Sloan: much Nettie Youngs: if if Albina Sloan: they Nettie Youngs: it's a low vocabulary Albina Sloan: yeah Nettie Youngs: it's already Albina Sloan: yeah Nettie Youngs: implemented, Nancy Chappell: Mm. Albina Sloan: yeah. Nettie Youngs: and w how much it's cost, maybe with Albina Sloan: Maybe Nettie Youngs: a f Albina Sloan: we can come Nettie Youngs: cheap chip. Garnet Peoples: Mm Albina Sloan: we we can Garnet Peoples: mm. Albina Sloan: talk to them, and we can come with that, you know. Nettie Youngs: Yeah. Albina Sloan: And also well you can think of having uh since you have a you know something maybe if you added little bit of display, you might need the to che keep checking the battery, so you really need a some kind of indicator, so it Nancy Chappell: Hmm. Albina Sloan: could be a blinking option of L_E_D_ Garnet Peoples: Hmm. Albina Sloan: it could actually Nettie Youngs: Yeah. Albina Sloan: be used to detect also. If it's in a dark room you can basically Nancy Chappell: Mm. Albina Sloan: detect it also. Nancy Chappell: Hmm. Nettie Youngs: Yeah. Garnet Peoples: Hmm. Albina Sloan: So Garnet Peoples: Mm. Nancy Chappell: I like the idea too of being able to use the remote in the dark, so either having the buttons so you can feel the difference between them or if they Albina Sloan: No actually Nancy Chappell: if they light up or Albina Sloan: i Nancy Chappell: something. Albina Sloan: if i it is like you know it tells you um, it can be for two purposes, Nancy Chappell: Mm. Albina Sloan: like if you have an L_C_D_ display and all those things Nancy Chappell: Mm. Albina Sloan: it's not going to be the standard remote, Nancy Chappell: Hmm. Albina Sloan: which is having uh which need just uh six six volt uh Nancy Chappell: Mm. Albina Sloan: th sorry three volts um of D_C_. It may need more actually, so y you you may need to check your battery usage it and then Nettie Youngs: Mm. Albina Sloan: you need that, some functionality to indicate the battery Nancy Chappell: Hmm. Albina Sloan: limit. Nettie Youngs: It's true. Albina Sloan: And then if the battery limit is indicated, if it could be ind indicated through a blinking something Nancy Chappell: Mm. Albina Sloan: and it can change the colour depending on your uh how much is the battery, well that is good enough to even locate even if you want to. Nettie Youngs: Mm-hmm. Albina Sloan: You know. Garnet Peoples: 'Kay good. Albina Sloan: Yeah so Nettie Youngs: I don't know how if if I have time to talk about the Garnet Peoples: Mm yes um Albina Sloan: You you have Garnet Peoples: I would Albina Sloan: time some more? Yep. Garnet Peoples: Yes yes you can you can still. We have time. Albina Sloan: Sure you can you know. Nettie Youngs: Okay. So what I'm gonna present here is very uh um yeah basic knowledge about the all the the components that are inside a a R_C_ a remote control, Nancy Chappell: Mm-hmm. Nettie Youngs: and how is it manufactured h what is the process, just to explain you. So the method is ther there is a a set of components in a in a remote control like, and uh what cost the the components in themself do not cost a lot but the the way to assemble everything costs obviously, and I will uh show you my preferences uh uh at the end. So there are two uh different types of uh um Garnet Peoples: Nice. Nettie Youngs: Two different ways Albina Sloan: Hmm. Nettie Youngs: of using the the components for making a a remote control. Uh the basic way is to use a an integrated circuit and some uh transistors with an that aims at communicating uh uh the message and to to send the message to the um to the led that will uh transmit to the receiver. And uh yeah the other components and the circuit board buttons, infrared, led, etcetera, for the components um. So you finding, just to say that the chip can detect uh when a key is pressed, and then it translate to the key, to a sequence, something like morse code, as you know, Albina Sloan: Mm-hmm. Garnet Peoples: Mm-hmm. Nettie Youngs: uh with a different sequence for each key, and uh uh that's, with the components we will use, we will have different uh messages, different sequences, and the chips sends that signal signal to the transistor that amplify to make it stronger um. So electronic parts are assembled onto uh printed boards uh because it's easier to mass produce and assemble. And uh so I think for our design we want some b uh programmable uh you know V_ V_L_S_I_ or Albina Sloan: Yeah Nettie Youngs: F_P_G_A_ Albina Sloan: mm mm-hmm. Nettie Youngs: uh high technology, and this is important, and also we'll use uh yeah like in any uh high-tech uh devices a chip of fi Albina Sloan: Mm-hmm. Nettie Youngs: fibreglass to them and connect them. So my personal design we need to find a solution what um what is the material of the cover we want to use. If it's plastic or Nancy Chappell: Mm. Nettie Youngs: you said that yeah you had some ideas uh like fruit, veg or I Garnet Peoples: Well Nettie Youngs: dunno. Garnet Peoples: well m m maybe Nettie Youngs: Yes. Garnet Peoples: m maybe we can give the uh the uh the case a very uh uh normal a v very normal case but, Nettie Youngs: Yes. Garnet Peoples: with the changeable covers to fancy it up. Nancy Chappell: Mm-hmm. Garnet Peoples: So like a normal cheap plastic case Nancy Chappell: Mm-hmm. Albina Sloan: Yeah. Garnet Peoples: which can Nettie Youngs: Yes. Garnet Peoples: be covered up in, for instance, a wooden case. I Nancy Chappell: Mm Garnet Peoples: mean just Nettie Youngs: Yeah like Garnet Peoples: what Nancy Chappell: just Nettie Youngs: they Nancy Chappell: have Nettie Youngs: do Nancy Chappell: a Nettie Youngs: in Nancy Chappell: yeah Nettie Youngs: with cars I think. Yeah Nancy Chappell: Just Nettie Youngs: inside Nancy Chappell: the veneer Nettie Youngs: the car Nancy Chappell: on it, Nettie Youngs: yeah. Nancy Chappell: yeah. Nettie Youngs: So they also emailed Nancy Chappell that uh they have available a bunch of different buttons, a scroll wheels, integrated push buttons s such as a computer mouse. Albina Sloan: Yeah. Nettie Youngs: And uh very cheap L_C_D_s, so liquid crystal displays, so I'm wondering, I think we might be able to integrate L_C_D_ into our R_C_. And the final point okay is um we have yeah there are some uh compromise to to do. Nancy Chappell: Hmm. Nettie Youngs: So we have to know that the push button requires a simple chip, but the scroll wheel uh and that kind of higher high-tech stuff needs more money um which is a higher price range alright. And the display requires an advanced chip, which in turns is more expensive than the regular chip, Garnet Peoples: Mm-hmm. Nettie Youngs: w we could be able to handle that. So to to sum up um we need yeah so I I just said that the components uh the list of components uh has to be uh yeah listed and um and um assembly is a an important process that has to be taken into account. And uh for the designing of the cove uh uh cover layout Albina Sloan: Sorry. Nancy Chappell: Mm. Nettie Youngs: then it's better to to to maybe see that with uh the the U_R_ exp U_R_I_ Expert so that we can it's really a team-working uh. Garnet Peoples: Mm. Nettie Youngs: So I I cannot design something without your agreement, Albina Sloan: Yeah Nettie Youngs: right? Garnet Peoples: No Albina Sloan: so of course Garnet Peoples: of Albina Sloan: for Garnet Peoples: course. Albina Sloan: example uh I wanted to know like if you want to have a a fo if you want to have the L_C_D_ display Nettie Youngs: Yes. Albina Sloan: over there, or if you want to store a programmes with a keys What kind of things you'll need inside your thin inside W wh what Nettie Youngs: Yeah it's kind of um Albina Sloan: W what Nettie Youngs: simple pro progra programmable device, Albina Sloan: Okay. Nettie Youngs: and we have to insert. I Albina Sloan: Okay. Nettie Youngs: think we could insert one that could underlie several functions of Albina Sloan: Okay so in that case you can even look at the technology what the mobile phone is trying to use with the card. Nettie Youngs: Exactly yeah, Albina Sloan: Yeah where Nettie Youngs: for Albina Sloan: they do Nettie Youngs: customizing Albina Sloan: all the wi Nettie Youngs: and Albina Sloan: with Nettie Youngs: yeah. Albina Sloan: with them actually. Nettie Youngs: Okay. Albina Sloan: How f cost effective it would be to put that car chip into it and do the Nettie Youngs: Yeah. Albina Sloan: programmable Garnet Peoples: So Albina Sloan: things. Nettie Youngs: Yeah Garnet Peoples: So Nettie Youngs: good Garnet Peoples: I Nettie Youngs: idea. Garnet Peoples: f I think we we should come to some decisions now Nettie Youngs: Yeah. Garnet Peoples: uh a about this. Um so I understand uh when we want a display we need a expensive chip, but when we want a scrolling wheel w we also need the expensive chip, so can we use same chip, so with one expensive chip we can uh implement several complicated uh or advanced features. Nettie Youngs: Exactly yeah that's Garnet Peoples: Yes. Nettie Youngs: a very good idea, we could have uh one main chip uh that Garnet Peoples: Mm-hmm. Nettie Youngs: could handle, uh it's called F_P_G_A_ chip, Garnet Peoples: Mm-hmm. Nancy Chappell: Mm-hmm. Nettie Youngs: that could handle both uh like scrolling wheels as well as uh L_C_D_ and yeah. Garnet Peoples: So when the more expensive chip you mentioned there is is possible in the in the given budget, uh maybe we should go for for the more expensive chip, so all features uh which you mentioned can be implemented based on the same chip. Nettie Youngs: Yes. Albina Sloan: D well Garnet Peoples: Do you think that's feasible? Albina Sloan: Well I don't know if it'll fit into our cost of twelve point five Euro Garnet Peoples: Uh Albina Sloan: you know. Garnet Peoples: You th you think it's possible. Albina Sloan: Is it possible to fit in Nettie Youngs: Yeah Albina Sloan: to Nettie Youngs: also Albina Sloan: that? Nettie Youngs: thinking, I think both uh if we had a budget of twenty twenty Albina Sloan: Sorry. Nettie Youngs: uh Euros, it will be okay, Garnet Peoples: Hmm. Nettie Youngs: but uh. Nancy Chappell: Well maybe we need specific costings then. Actually do maybe two designs and then cost them out and see which one is gonna fit in our budget better. Nettie Youngs: Yeah Garnet Peoples: Mm Nettie Youngs: that's an excellent idea. Garnet Peoples: yes wh when you make a a design ca you can next meeting you can give an quite Nettie Youngs: Yeah Garnet Peoples: an exact cost price. Nettie Youngs: yeah. Garnet Peoples: That w that Nancy Chappell: Mm. Garnet Peoples: would be Nettie Youngs: Yeah Garnet Peoples: a very Nettie Youngs: because right Garnet Peoples: good idea. Nettie Youngs: now I don't have price in in head but Garnet Peoples: Mm. Nettie Youngs: for next meeting I'm sure yeah be able Garnet Peoples: Good Nettie Youngs: to Garnet Peoples: good. Albina Sloan: Yeah that's uh Nettie Youngs: do that. Albina Sloan: that's something which I wanted to ask you also, like what will be the each individually the cost of it. Nettie Youngs: Yeah. Albina Sloan: For example if f if you want to put wood I wouldn't suggest for wood Nettie Youngs: Okay. Albina Sloan: uh 'cause it's I think it's m much easier to use a plastic or Nettie Youngs: I Albina Sloan: a Nettie Youngs: agree Albina Sloan: rubber Nettie Youngs: on that. Nancy Chappell: Mm. Albina Sloan: rather Nettie Youngs: Yeah. Albina Sloan: than wood. It will be much ch much expensive th though it's the most natural thing, but Garnet Peoples: Yes but I can I think uh I think we can just use more cheap plastic for a kind of basic edition, and Albina Sloan: Yeah. Garnet Peoples: then Nancy Chappell: Hmm. Garnet Peoples: people can fancy it up with with more expensive materials Albina Sloan: Yeah it's Garnet Peoples: which Albina Sloan: uh Garnet Peoples: which come with a with Albina Sloan: Yeah Garnet Peoples: another price. Albina Sloan: we we can give a preference to them, but it is but with plastic or the rubber or whatever it is it's much better with that rather than going for Garnet Peoples: Do do you agree? Nettie Youngs: Yeah but i Nancy Chappell: Mm Nettie Youngs: it's Nancy Chappell: yeah Nettie Youngs: a detailed Nancy Chappell: sure. Nettie Youngs: uh yeah yeah uh plastic versus uh Albina Sloan: Yeah. Nettie Youngs: wood, and we need maybe to centre our description on uh the the really the what buttons what uh functionality we want to offer to the user, Albina Sloan: Yeah. Nettie Youngs: and maybe with uh graphs or I don't know uh User Interface Designer you could maybe uh help us on that. Garnet Peoples: Ma I I think uh for next meeting we c you Nettie Youngs: Yeah. Garnet Peoples: two can present a real Albina Sloan: Yea Garnet Peoples: design. Nancy Chappell: Mm-hmm. Albina Sloan: Okay. Garnet Peoples: Uh so drawing it on the board. Nettie Youngs: Perfect yeah. Garnet Peoples: And then we now sh only have to t to decide the general function uh. So um Let let's say next meeting w you produce two designs, Albina Sloan: Yeah sure. Garnet Peoples: one one Albina Sloan: Yeah we will Garnet Peoples: one Albina Sloan: uh Garnet Peoples: less advanced and one more advanced and Nettie Youngs: Yeah. Garnet Peoples: with the Albina Sloan: Yeah. Garnet Peoples: cost price. Nancy Chappell: Mm. Garnet Peoples: Uh Albina Sloan: Uh. Garnet Peoples: furthermore we go for the for the uh basic plastic case Nancy Chappell: Mm. Albina Sloan: Yeah. Garnet Peoples: But that that that that can be done later. Nettie Youngs: Yeah customized. Garnet Peoples: We now can concentrate on the on the basic Nancy Chappell: Mm. Garnet Peoples: remote control. Um. Albina Sloan: Okay. We can give them smooth keys, you know. Smooth keys with bigger s uh So that you know The the problem most of the time we've seen, the keys is that it's small, Nettie Youngs: Yeah. Garnet Peoples: Mm. Albina Sloan: and every time we have to be very but if i the if we if we go to a different ways of designing those keys, then you can merge them together Nancy Chappell: So is there any Albina Sloan: to Nancy Chappell: of these that you're looking at particularly or is this Albina Sloan: Oh Nancy Chappell: just Albina Sloan: you Nancy Chappell: ideas? Albina Sloan: can actually, for example, if you see, they are they are they are quite small over here, Nancy Chappell: Mm-hmm. Albina Sloan: and uh now you can, for example, as I was if Nancy Chappell: Hmm. Albina Sloan: you make them big, it may change the look of the thing Nancy Chappell: Mm. Albina Sloan: also to the people. At the Nancy Chappell: Mm. Albina Sloan: same Garnet Peoples: Mm-hmm. Albina Sloan: time, it is m more uh like it would be more interesting for people who are having this R_S_I_ and all Nancy Chappell: Mm Albina Sloan: problem. Garnet Peoples: Yes yes yes bi Nancy Chappell: yeah. Garnet Peoples: big keys is Albina Sloan: Uh big keys Garnet Peoples: is Albina Sloan: may Garnet Peoples: good Albina Sloan: better Garnet Peoples: thing Nancy Chappell: You see? Garnet Peoples: I think. Albina Sloan: for them actually and uh Nettie Youngs: I agree yeah, and Nancy Chappell: Yeah. Nettie Youngs: not too m too many keys of course yeah. Garnet Peoples: No Nancy Chappell: Mm Garnet Peoples: no. Albina Sloan: Yeah. Nancy Chappell: well one I've had before, a r r remote control we have at home is one that's actually got a cover on the bottom so the bottom bit is just, covers half the keys most of the time, Garnet Peoples: Mm Nancy Chappell: and Garnet Peoples: mm mm. Nancy Chappell: then you can slide the cover back to get to the the more advanced keys. Garnet Peoples: Mm Albina Sloan: Yeah. Garnet Peoples: w but then you have still have uh when you don't use it you have such a a an extent of your remote control which you Nancy Chappell: Mm. Garnet Peoples: don't use. So maybe it's possible uh, I don't know whether you can can indicate this, that you can Nettie Youngs: Yeah. Garnet Peoples: elsewhere open your remote Nancy Chappell: Mm. Garnet Peoples: control and on the inside Nancy Chappell: Yeah. Garnet Peoples: are uh buttons you Nancy Chappell: Um Garnet Peoples: don't Nancy Chappell: yeah Garnet Peoples: use that much. Nancy Chappell: I've seen that before Albina Sloan: Yeah. Nancy Chappell: too. Anoth another like b it flips up and then you've got Garnet Peoples: Yes. Nancy Chappell: another Albina Sloan: Yes. Nancy Chappell: layer of buttons underneath. Albina Sloan: Yeah so it's something like this, the model here s Nancy Chappell: Mm. Nettie Youngs: Mm. Albina Sloan: you can put the Nancy Chappell: But Albina Sloan: keys Nettie Youngs: That's what you Nancy Chappell: I've Nettie Youngs: mean? Nancy Chappell: seen also with keys and buttons on the top Garnet Peoples: Yes Nancy Chappell: of here as well. Albina Sloan: Yeah. Garnet Peoples: I I Albina Sloan: Yeah. Garnet Peoples: th that's what I mean so I mean something like like Nancy Chappell: I Garnet Peoples: a Nancy Chappell: like Garnet Peoples: book. Nancy Chappell: this one. I like the shape of this one. Albina Sloan: Yeah. Nancy Chappell: Can we have can we think Nettie Youngs: Yeah Nancy Chappell: about maybe Nettie Youngs: I like Nancy Chappell: having Nettie Youngs: also Nancy Chappell: a Nettie Youngs: this Nancy Chappell: a Nettie Youngs: one. Nancy Chappell: non-recta non non-rectangular one, so with not just the straight little box that's a Nettie Youngs: Yeah, Nancy Chappell: maybe curved Albina Sloan: Yeah, Nettie Youngs: the point Nancy Chappell: or Albina Sloan: mm. Nettie Youngs: is Nancy Chappell: something. Nettie Youngs: w maybe we need to also to make a decision on how how how big we want to be and how many buttons Nancy Chappell: Mm Nettie Youngs: like Nancy Chappell: mm Nettie Youngs: n we Nancy Chappell: 'kay. Nettie Youngs: should dec Albina Sloan: We Nancy Chappell: Is this Albina Sloan: should Nancy Chappell: for the Albina Sloan: make Nancy Chappell: next Nettie Youngs: decide Albina Sloan: a Nancy Chappell: meeting though? I think we might be out of time Nettie Youngs: numbers Garnet Peoples: Mm. Nettie Youngs: or Nancy Chappell: out of time for this meeting. Albina Sloan: Yeah that yeah next meeting we should be Nettie Youngs: Okay. Garnet Peoples: Ju just make two designs, Albina Sloan: Yeah that Nettie Youngs: Yeah Albina Sloan: would Nettie Youngs: yeah Albina Sloan: depend Nettie Youngs: yeah. Albina Sloan: upon us actually. Garnet Peoples: and the we we can decide decide between th those designs. Nancy Chappell: Yep. Albina Sloan: Yeah Garnet Peoples: I Albina Sloan: okay. Garnet Peoples: think that would be Nettie Youngs: Perfect. Garnet Peoples: a good idea. So anyone uh any questions Albina Sloan: No Garnet Peoples: for now? Albina Sloan: no. Nancy Chappell: No. Albina Sloan: I don't have. Nancy Chappell: So is this is there anything else I need to do from a marketing point of view for the next meeting? Garnet Peoples: Um yes I come to that uh uh Albina Sloan: Maybe it would be interesting if you could look um for the cost inventories of other devices, if you're using speech recognition or something like that. Garnet Peoples: Yes well m maybe uh, I don't know whether that's possible, maybe you Nancy Chappell: Mm. Garnet Peoples: can start evaluating uh their work somehow. Nancy Chappell: Okay well is this Nancy Chappell designing a way to evaluate it so Thinking about how to set up test groups and things? Garnet Peoples: I don't know whether that's possible uh Nancy Chappell: Mm. Garnet Peoples: in the given time but a as far as possible. Nancy Chappell: Okay. Garnet Peoples: So Nancy Chappell: Yep. Garnet Peoples: uh you two will be together Nettie Youngs: Exactly. Garnet Peoples: w working on Albina Sloan: Mm. Garnet Peoples: a o on two prototypes Nettie Youngs: Yeah. Garnet Peoples: and further instructions will be uh will be sent to you by uh by Nettie Youngs: Two Garnet Peoples: email. Nettie Youngs: or three Albina Sloan: Two. Nettie Youngs: prototypes? Garnet Peoples: Two. Nettie Youngs: Two? Albina Sloan: One for like cost Garnet Peoples: I Albina Sloan: and the one with like higher-end Nettie Youngs: Okay. Garnet Peoples: Mm Nancy Chappell: Mm. Albina Sloan: so that Garnet Peoples: and then Albina Sloan: then we can be easily comparing them Nettie Youngs: Yeah Albina Sloan: or Garnet Peoples: Hmm. Nettie Youngs: and find Albina Sloan: you Nettie Youngs: maybe Albina Sloan: know Nettie Youngs: a compromise. Albina Sloan: find a compromise Nancy Chappell: Hmm. Albina Sloan: between both of them, Garnet Peoples: Yes Albina Sloan: yeah Garnet Peoples: okay. Albina Sloan: that's how it is. Nettie Youngs: Perfect Nancy Chappell: Mm-hmm. Nettie Youngs: yeah. Albina Sloan: Yep. Garnet Peoples: Okay let's call this to an end. Nancy Chappell: Mm Albina Sloan: Okay. Nancy Chappell: 'kay. Thanks guys. Nettie Youngs: Thanks. Albina Sloan: So we are done for now.

Then Garnet Peoples opens the meeting announcing that they will address conceptual design and then giving the agenda. Matthew arrives late and Nancy Chappell begins her presentation about trends. She emphasizes that the remote needs to be exciting, contain a cool feature, and be somewhat intuitive. She reports that currently fruits and vegetables are fashionable- thus bright eye-catching colors, bold designs, and a spongy feel is appropriate. She lists ideas such as changable covers, a locator, speech recognition, and LCD screens. The industrial specialist presents, talking about how a remote typically has different keys, structures and forms. He likes the idea of implenting speech recognition into a universal remote. They discuss without certainity about the cost of such functions. Nettie Youngs presents about remote control components and the manufacturing process, listing options such as various buttons, scroll wheels, integrated push buttons like those in a computer mouse, and LCDs. They discuss the project budget and the possibility of using an expensive chip. They decide to make two designs, one more advanced than the other. Garnet Peoples closes the meeting by telling each group member what his/her tasks will be until the next meeting.

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Lisa Burgher: How do you wear this thing? Shirley Charles: Hmm. Mm mm mm. Lisa Burgher: Not many stuff. Lisa Burgher: Original. Shirley Charles: Is recorded? Okay? Okay so welcome everyone. So we are here for the kickoff meeting of uh the process of designing a new remote control. So I will first start with a warm welcome opening stuff, then uh we will uh see what will be uh our product and what will be the different step we will have to design it. And uh then we will uh discuss if we have few ideas and we will uh end uh by uh dispatching the different task you will be you will have to fulfil to complete this process. So Lisa Burgher: Uh. Just one thing. Uh, you said twenty-five minutes, but I have something else to do uh, so gotta have another meeting uh soon, so maybe you could hurry up a bit Shirley Charles: sorry? Lisa Burgher: It's true. I have another meeting so if you could uh Shirley Charles: You have another meeting soon? Lisa Burgher: Yeah. Shirley Charles: So you have to be quick. Lisa Burgher: Yeah, for the lawnmower project. Shirley Charles: Okay. Lisa Burgher: Okay. Shirley Charles: So the the goal is to have a remote control so to have an advantage over our competitors we have to be original, we have to be trendy and we have to also try to be user-friendly. So uh the design step will be divided in three uh main points. First it will be the functional design. Third is the conceptual design and then is the desired design. So the functional design is to identify the main user needs, the technical function the remote control should fulfil. And then we will move to f conceptual design where we'll specify the different component involved, what kind of user interf interface we want and what are the different uh trend in user interface and stuff like that. And then the desired devi design will consist in uh specifically implementing and detailing the choice we've uh made in the second point. So I will now ask you which is very important for the design of a new remote control for to uh each of us to to draw uh your favourite animal on the white board. Lisa Burgher: What an original idea. Shirley Charles: Do you have any idea of which animal you want to show us? Lisa Burgher: Orangutan. Shirley Charles: Okay that's good. Rita Allen: No no Shirley Charles: n Rita Allen: n Shirley Charles: n You Lisa Burgher: no? Shirley Charles: should Lisa Burgher: But I don't have to say anything. When I'm drawing the orangutan. Shirley Charles: If you want to react uh about this wonderful drawing uh I'll let you uh comment. Lisa Burgher: It's an abstract drawing of an orangutan. Shirley Charles: Okay it's an abstract drawing. Lisa Burgher: Yes. Shirley Charles: I think it's nice and original. Rita Allen: You y the name Lisa Burgher: I don't Rita Allen: I think. Lisa Burgher: have a red colour. Usually orangutans have red hair so this is a very important but I don't have red pen, so Shirley Charles: Okay. Lisa Burgher: Yes. Shirley Charles: You want to draw something Christine? Diane Yono: Okay uh sorry. You This Shirley Charles: Of course your animal is recorded so it's not lost. Lisa Burgher: Yes. I know. Diane Yono: Sorry too uh. Shirley Charles: Is Lisa Burgher: Wha Shirley Charles: this uh Lisa Burgher: what Diane Yono: Is it beautiful? Lisa Burgher: is this strange beast? Is it a monster? Diane Yono: Do you know? It's a cat. Lisa Burgher: It's a cat? Diane Yono: Isn't it? Lisa Burgher: I thought these things did not exist. Diane Yono: Yes Rita Allen: Diane Yono Diane Yono: yes is it like that. Is Rita Allen: Ah Lisa Burgher: Ah Rita Allen: yeah. Diane Yono: it better? Shirley Charles: Ah okay Lisa Burgher: yeah Rita Allen: Yeah. Shirley Charles: it's pretty. Diane Yono: Okay. It's my cat. Shirley Charles: Okay it's your cat. Lisa Burgher: Does Diane Yono: Yeah. Lisa Burgher: have a name? Diane Yono: The name is Caramel. Lisa Burgher: Caramel. Rita Allen: Caramel. Lisa Burgher: Ah-ha. Diane Yono: Yeah. Shirley Charles: Okay. Olivier, Rita Allen: And you Shirley Charles: do you want to Rita Allen: I think I'm too short for the cables. Shirley Charles: Okay I go, but next time you'll do something I'm sure. Lisa Burgher: Next time I concentrate. Shirley Charles: I'm a bit short on cable. Okay. So what could I draw? Maybe I can draw like a very simplified cow. I don't know if it looks like a cow Lisa Burgher: He looks like a bong. Shirley Charles: Like a what? Lisa Burgher: Okay. Sorry. No. Rita Allen: Quite squarey. Lisa Burgher: Scary? Rita Allen: He also. Shirley Charles: I dunno it it looks more like a donkey in fact I would say. Rita Allen: Mm. Lisa Burgher: I I think we will Shirley Charles: Okay Lisa Burgher: be finished Shirley Charles: so Lisa Burgher: this uh Shirley Charles: I hope that it helps you uh in the process of designing Lisa Burgher: Is it Shirley Charles: a Lisa Burgher: for Shirley Charles: remote Lisa Burgher: uh Shirley Charles: control. Lisa Burgher: for putting a for logos, no. That's Shirley Charles: Okay. Let's move on. So Here the uh financial objective of our project. That is to say to to have a production cost lower than twelve point five Euros and have a selling price of twice that price t in order to target a profe profit of uh fifty uh million Euros. Lisa Burgher: I is there a matter for a new remote control? Shirley Charles: Yeah if it's trendy, original I d fulfil Lisa Burgher: Is it uh Shirley Charles: the user Lisa Burgher: a Shirley Charles: needs. Lisa Burgher: single device remote control or is it a multi-device remote control? Shirley Charles: We have to discuss that point. Lisa Burgher: Ah this is not Shirley Charles: On Lisa Burgher: defined at all? Shirley Charles: yeah you you can suggest points like Lisa Burgher: Ah, Shirley Charles: this. So Lisa Burgher: okay. Shirley Charles: what what so we have to decide for example if it can control one device or multiple. So what's what are your ideas about that? Maybe I can have the your opinion Lisa Burgher: Well uh Shirley Charles: from Lisa Burgher: do we sell Shirley Charles: the marketing Lisa Burgher: other stuff? Shirley Charles: side? Lisa Burgher: Uh if if we bundle the remote control with something uh to sell then it could be a single device, otherwise it could be programmable one otherwise who would buy a remote control from us. Shirley Charles: Okay, so if it selled uh by its own i it it would rather be for multiple device. Lisa Burgher: Yeah. Shirley Charles: Do you agree? Rita Allen: Mm-hmm. Shirley Charles: Yeah. So maybe it should be for multiple devices. And uh do you have any ideas um of uh design ideas or any uh uh technical requirement we we should uh fulfil? Rita Allen: I think we shouldn't have too many b for Lisa Burgher: No, Rita Allen: my part. Lisa Burgher: I Rita Allen: I Lisa Burgher: couldn Rita Allen: think Lisa Burgher: I cannot fi think of any requirements right now. Rita Allen: If we don't have so many buttons could be nice. Shirley Charles: Few buttons. Okay. And do you have it also to be to be lighted in order to be used in the dark? Might be a good idea. Rita Allen: Yeah. Shirley Charles: Okay. And do you have any um any uh idea of the trend the trend in domain, what it shouldn't it should look like, or things like that? Lisa Burgher: Mm. Shirley Charles: With rou okay. Like for okay. Lisa Burgher: Something like that, least fits in your hand. Rita Allen: Yeah. Shirley Charles: Okay. Lisa Burgher: Yeah. The basic requirement. Shirley Charles: So. Fit in your hand, yeah. Lisa Burgher: Only a buck. Shirley Charles: And also it have, i it may be it may be important for the remote control to be uh To, to resist to various shocks Rita Allen: Mm-hmm. Shirley Charles: that can happen Lisa Burgher: Waterproof. Shirley Charles: if it fall. Water-proof as well. Rita Allen: And I Shirley Charles: Maybe Rita Allen: think we Shirley Charles: it Rita Allen: should Shirley Charles: is original Rita Allen: have a device Shirley Charles: because you can uh use it in your uh in your bath whereas the others can't. Maybe water-proof would be very original. Rita Allen: Sorry. Shirley Charles: Havin having a water-proof remote control so that the people can uh use it in their bath. Lisa Burgher: Mm. Shirley Charles: That could Lisa Burgher: B it Shirley Charles: be Lisa Burgher: seems Shirley Charles: uh Lisa Burgher: uh so, but uh if you don't have an waterproof remote control it means you can just cover it with some plastic and you can sort of Shirley Charles: Yeah Lisa Burgher: f Shirley Charles: but, it is still something uh you have to buy and that is um Lisa Burgher: And, and Shirley Charles: not Lisa Burgher: that's one Shirley Charles: maybe Lisa Burgher: of the Shirley Charles: very Lisa Burgher: that's one of the shock I mean there are people that have a remote control and they are worried that it's going to break and they put some extra plastic around it. Shirley Charles: Yeah, Lisa Burgher: That's Shirley Charles: mayb Lisa Burgher: people they actually Shirley Charles: B Lisa Burgher: do it themselves. Shirley Charles: But maybe we can bulk it with uh already this plastic thing Rita Allen: Yeah. Shirley Charles: and uh the waterproof Rita Allen: directly. Shirley Charles: uh Lisa Burgher: I it Shirley Charles: stuff Lisa Burgher: will look Shirley Charles: as Lisa Burgher: a Shirley Charles: well. Lisa Burgher: bulky in that case. Shirley Charles: Yeah. Rita Allen: Yeah. Shirley Charles: Maybe we can sell uh all that together, so so plastic protection and uh and a waterproof box as well. That might be good uh track to follow. Lisa Burgher: Like as an optional thing. Shirley Charles: Optional or selled Rita Allen: And I I think we Shirley Charles: with Rita Allen: should Shirley Charles: it? Rita Allen: have something, most of the time I I lose my remote control. We should have Shirley Charles: Yeah. Rita Allen: s uh special bu button on the T_V_ Shirley Charles: Maybe we Rita Allen: to Shirley Charles: can Rita Allen: make Shirley Charles: have uh Rita Allen: the remote control beeping. Shirley Charles: But we don't design the T_V_. Rita Allen: Ah Shirley Charles: Maybe we Rita Allen: yeah. Shirley Charles: can have uh something you whistle and uh the remote control uh beep. Rita Allen: Yeah. Lisa Burgher: Barks. Shirley Charles: Yeah, Rita Allen: Barks. Shirley Charles: barks, yeah. So we can uh have a whistle uh remote control? Rita Allen: Yeah. Yeah whistle. Shirley Charles: I don't know, whistle-able? Rita Allen: Whistle Shirley Charles: Th Rita Allen: tracking. Shirley Charles: Whistle tracking yeah. Whistle tracking remote control. That's a good idea, that's very original and that's can Lisa Burgher: That's that's Shirley Charles: uh improve. Lisa Burgher: quite cool, but uh of course we you don't normally need uh any audio uh recording stuff on your remote control right? Shirley Charles: Yeah d d Lisa Burgher: So Shirley Charles: uh. Lisa Burgher: i it's just going to add t to the cost. Shirley Charles: Yeah but s still we have to mm we have to have an advantage over our competitors. I think this is a good advantage. Lisa Burgher: It's cool. I think I like the idea, but I'm not sure about the what you, who Shirley Charles: Yeah. Lisa Burgher: is giving who's Shirley Charles: We have Lisa Burgher: giving Shirley Charles: to Lisa Burgher: who's Shirley Charles: ask Lisa Burgher: giving our budget. Who's Shirley Charles: Yeah. We have to ask the quest of Lisa Burgher: Yeah. Shirley Charles: that's uh design to Lisa Burgher: Yeah. Shirley Charles: the uh Industrial um Designer. Rita Allen: Yeah. Shirley Charles: Which is Lisa Burgher: 'Kay. Shirley Charles: you. Rita Allen: yeah Shirley Charles: Okay so try to find that for next meeting. Rita Allen: Okay. Shirley Charles: Okay. So next meeting is in thirty minutes or so uh. Rita Allen: Don't panic. Shirley Charles: Don't pani. So so I will ask Rita Allen to find out more about this industrial design Rita Allen: Mm-hmm. Shirley Charles: so any working any working function we have discussed. So then I will ask the User Interf Interface Designer to to think about the point we discussed like the number of buttons, the the fact that is lighted or not, things like that, and Lisa Burgher: Mm-hmm. Shirley Charles: what would be convenient for the user. And also um I will ask the Market Expert to uh try to find out what are the absolute requirements, what is absolutely needed in a remote control uh for the user. So. And then uh I will uh just ask you to think about that and uh look at your mail because you will receive uh some good advice soon. Lisa Burgher: Mm. Shirley Charles: So. Thank you I think that's Lisa Burgher: Good. Rita Allen: Mm-hmm. Shirley Charles: all for this point. Diane Yono: Thank you Lisa Burgher: Uh, so we come back in five minutes? Half an hour. Shirley Charles: Anyway you will receive some messages. Shirley Charles: Be careful. You eat it? Does it move uh? Okay, but I don't know if it uh is still correctly uh We'll see. Rita Allen: Ah.

Shirley Charles introduced the project to the group and gave a timeline for the project. The group trained themselves to use the meeting room tools by drawing on the whiteboard. Shirley Charles presented the project budget and the projected price point and profit goals. The group discussed several of their initial ideas for the features of the product. They discussed making the remote able to control multiple devices, protection from water or from dropping the remote, and a locator function. Shirley Charles then instructed Lisa Burgher to research users' requirements, and instructed the Industrial and User Interface Designers to research the functions and usability features that were discussed in the meeting.

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Rita Lack: Okay. Chanell Dwyer: Okay everyone's ready. Marcia Hurley: Hello. Chanell Dwyer: So we are here uh for uh functional design. Okay? So we are here for the functional design meeting mm so first I will show the agenda so we will uh I will take notes during this meeting so I will try to summarise it and put that summary in the shared folder if you want to look at it afterwards so then uh each of you will uh lead a presentation on the task that has been required last time so user requirement specification, technical design and Then I will uh present you some new project requirements I received from uh the management board. Then we will take uh the decision on on the remote control uh needed functions and then I will assign you the task for the next part of the meeting. Of the of the process. So uh who want to start the the presentation of what they did? Rita Lack: F do you want to start Marcia Hurley: Make a start yeah. Chanell Dwyer: You can start. Marcia Hurley: So Cable, camera. Chanell Dwyer: You have uh PowerPoint? Marcia Hurley: Should be in my in their folder no? Chanell Dwyer: Ah yeah maybe there. Marcia Hurley: Up. Chanell Dwyer: Okay. Who are you? Marcia Hurley: Um at three I think. No? Mm. Chanell Dwyer: Ouch. And Rita Lack: Okay. Chanell Dwyer: We have a technical problem uh. Marcia Hurley: Do we think w s in the in the wrong folder maybe? It is possible. Chanell Dwyer: You put Rita Lack: No. Chanell Dwyer: it on Marcia Hurley: It was somewhere in something like this. I don't remember the name actually must be something like messenger AMI or something. Rita Lack: What do you have in short cut? Marcia Hurley: Go up. Rita Lack: Participant two. Marcia Hurley: Yeah go up. Chanell Dwyer: Yeah. Marcia Hurley: Again. No. Go back. Chanell Dwyer: You have no Marcia Hurley: Uh maybe messenger Messenger. Chanell Dwyer: Over. Okay. Marcia Hurley: No. There is nothing. Chanell Dwyer: There's no We have a Marcia Hurley: Let's Chanell Dwyer: technical Marcia Hurley: go and check. Chanell Dwyer: problem. Rita Lack: Yeah. Marcia Hurley: I'll Rita Lack: Otherwise, Marcia Hurley: go and check. Rita Lack: could you just describe by hand? Marcia Hurley: Okay. Rita Lack: With the the whiteboard? Marcia Hurley: Yeah. Chanell Dwyer: If you remember yeah Marcia Hurley: Yeah. Chanell Dwyer: but Marcia Hurley: So Chanell Dwyer: that's Marcia Hurley: uh. Basically what we want here is a remote control right. Chanell Dwyer: Yeah. Marcia Hurley: So um the question well first of all what to control. So most people want to have a a remote for their hi-fi and T_V_ and stuff like that. Rita Lack: Mm-hmm. Marcia Hurley: And but other people want th also remotes for controlling uh and toys like robotic pets and Rita Lack: Mm-hmm. Marcia Hurley: little robots and stuff and other people also want to have remotes for controlling um whole house. Rita Lack: Mm-hmm. Chanell Dwyer: Yeah. Marcia Hurley: Yeah, so there's a project I think called X_ house or something like that that does that, uh you can integrate your remote with uh computers stuff. Rita Lack: Mm-hmm. Marcia Hurley: So there is one that is one thing. The other is the the finder feature yeah by whistling or whatever. Uh Rita Lack: Okay. Marcia Hurley: if you have the finder feature then you can also have uh at the same time as and general voice commands if you want yeah. Rita Lack: Mm-hmm. Marcia Hurley: So I think it should be a package in that case. Uh so the user interface will consist of two parts. One is the voice command part and on one is the actual buttons part. Uh and th the buttons part would be uh a set of buttons for choosing devices, Rita Lack: Mm-hmm. Marcia Hurley: a set of buttons for special navigation in space, Rita Lack: Mm-hmm. Marcia Hurley: a set of buttons for linear access of medium and a set of buttons for random access. Chanell Dwyer: Okay. Marcia Hurley: Yeah? Rita Lack: What do you mean by linear access then? Marcia Hurley: Like a video tape goes forward, backwards, Rita Lack: Ah. Marcia Hurley: uh fast and stuff yeah. Um. Chanell Dwyer: Okay so special navigation, linear access, random access and there's a fourth one no? Marcia Hurley: Mm? Chanell Dwyer: So the better now for special navigation? Marcia Hurley: Yeah. For special navigation for example you might have a T_V_ in the menu and you going to Chanell Dwyer: Okay. Marcia Hurley: change yeah? Chanell Dwyer: Then linear Marcia Hurley: Uh. Chanell Dwyer: access then Marcia Hurley: Mm. Chanell Dwyer: random access. Marcia Hurley: Yeah and also parameter Chanell Dwyer: Ah yeah Marcia Hurley: changing. Chanell Dwyer: parameter okay. Marcia Hurley: So if there are common parameters maybe we should put special buttons for that Chanell Dwyer: Okay. Marcia Hurley: um or maybe we could have everything uh generic but uh there are a lot of uh remotes on the market right now Chanell Dwyer: Okay. Marcia Hurley: and basically this is most of the almost everybody has this stuff. Chanell Dwyer: Okay and and voice command did you uh Marcia Hurley: Voice command w we could specify anything. We could assign Chanell Dwyer: Okay. Marcia Hurley: any button a command to any button, Chanell Dwyer: Okay. Marcia Hurley: if we have enough processing power, I guess so. Yeah. Chanell Dwyer: Okay. Marcia Hurley: Yeah. Chanell Dwyer: So that's uh that close your investigations? Marcia Hurley: Yeah. Uh Chanell Dwyer: Okay. Marcia Hurley: yeah I think so. Not so far. Chanell Dwyer: Okay. Maybe we can have a look at the user requirements with Beatriz Westberg: Yeah. Um I dunno if you open Chanell Dwyer: I dunno if Beatriz Westberg: the Chanell Dwyer: I can open Beatriz Westberg: uh Chanell Dwyer: it. Maybe you Beatriz Westberg: m Chanell Dwyer: can Beatriz Westberg: is Chanell Dwyer: s Beatriz Westberg: not here. Chanell Dwyer: It's Beatriz Westberg: Uh in yeah okay. Chanell Dwyer: Messenger Beatriz Westberg: No. Chanell Dwyer: no? Beatriz Westberg: In document. Mm computer yeah. Chanell Dwyer: In which folder? Marcia Hurley: Where did you put it? Beatriz Westberg: Here. Here. Chanell Dwyer: Short-cut to Marcia Hurley: mm. Chanell Dwyer: AMI Beatriz Westberg: But it's Chanell Dwyer: shared Beatriz Westberg: not Chanell Dwyer: folder? Beatriz Westberg: Um. Chanell Dwyer: Maybe you can send it to Beatriz Westberg by email. Just to participant one. At AMI. Beatriz Westberg: Mm-hmm. Yeah, I can do that. Chanell Dwyer: I will try to show it to everyone, that would be more comfortable. Beatriz Westberg: Okay. Um. Chanell Dwyer: You send it? Beatriz Westberg: It's participant one? Chanell Dwyer: Yeah. Uh this is this email. Marcia Hurley: I'm designing the user interface. Beatriz Westberg: Okay. You can uh. Chanell Dwyer: Okay. So maybe I can switch slides when you Beatriz Westberg: Yeah. Chanell Dwyer: whenever you ask, that will be more convenient. So okay, Beatriz Westberg: Okay Chanell Dwyer: functional Beatriz Westberg: so Chanell Dwyer: requirements. Beatriz Westberg: you can you can go. Okay so in our usability lab we observed the remote control use among one hundred subjects Chanell Dwyer: Mm. Yeah. Beatriz Westberg: okay? And here I have the results so you can see that um seventy five per cent of users find most remote controls ugly so we have to find something to make them more more nice, more kind. Eighty per cents of users would spend more money when the remote control would look fancy. Eighty hundred per cent of users would spend more money when the remote control would look oh to it's not good. So okay. So Chanell Dwyer: We Beatriz Westberg: it's Chanell Dwyer: can Beatriz Westberg: not Chanell Dwyer: just Beatriz Westberg: in Chanell Dwyer: keep Beatriz Westberg: theory Chanell Dwyer: doing Beatriz Westberg: but Chanell Dwyer: that? Beatriz Westberg: I I can I can say yeah. Chanell Dwyer: Yeah. Beatriz Westberg: Fifty f uh seventy five per cent of users say they s zap a lot. So mm we have to have a remote control uh very um out for that. Uh the buttons have are to be um uh uh like you say resist resisting to to shocks. Chanell Dwyer: Okay. Beatriz Westberg: Um and fifty per cents of users say they only use uh ten per cents of but of the buttons in the Chanell Dwyer: Okay. Beatriz Westberg: in the remote control. So all the buttons we we have to put are have to to have um a use a real use and not Chanell Dwyer: Okay. Beatriz Westberg: only or Chanell Dwyer: Okay, so fewer buttons maybe Beatriz Westberg: Yeah. Chanell Dwyer: would be Beatriz Westberg: F Chanell Dwyer: good? Beatriz Westberg: not many buttons, and uh and uh uh u useable buttons. Chanell Dwyer: Okay. Marcia Hurley: But what kind of remote controls did you look at? Beatriz Westberg: Sorry? Marcia Hurley: What kind of task was it? It was a T_V_? Beatriz Westberg: Yeah. Uh Chanell Dwyer: Yeah. Beatriz Westberg: most for most is T_V_. Chanell Dwyer: Yeah but in fact we it it seems that we are going to make a T_V_ remote control according Marcia Hurley: Huh. Chanell Dwyer: to new requirements I received from the management Marcia Hurley: Uh-huh. Chanell Dwyer: bo I will present them in the following. Marcia Hurley: Ah! Good. Chanell Dwyer: Okay. Beatriz Westberg: 'Kay you can go so. So there are other frustrations expressed by users, so they said uh they lost uh often the remote control in in the Chanell Dwyer: Yeah. Beatriz Westberg: room so they want to have a way to to Chanell Dwyer: To find Beatriz Westberg: to Chanell Dwyer: it. Beatriz Westberg: find it. Chanell Dwyer: Yeah. Beatriz Westberg: Um and um lot of the time they it takes too much time to learn how to use Chanell Dwyer: Yeah. Beatriz Westberg: a new remote control. So they want something s Rita Lack: Mm-hmm. Beatriz Westberg: really very simple and uh Chanell Dwyer: Okay. Beatriz Westberg: easy to use. And uh remote controls are bad for Chanell Dwyer: What Beatriz Westberg: R_S_I_ Chanell Dwyer: is her other side? Beatriz Westberg: um I Marcia Hurley: Other Beatriz Westberg: dunno. Marcia Hurley: side yeah, yo wa your wrist. It i can become painful you can have tendonditis. Chanell Dwyer: Oh yeah? Marcia Hurley: Yeah. Chanell Dwyer: I did not knew that. Marcia Hurley: If you also up on a computer in a strange position. Chanell Dwyer: Okay so you we have to make it uh more Marcia Hurley: Ergonomic. Chanell Dwyer: ergonomic yeah. Marcia Hurley: But uh. Have Beatriz Westberg: Yeah. Marcia Hurley: to say ha ha. Chanell Dwyer: It's your job Oh. Beatriz Westberg: Uh. Chanell Dwyer: Uh sorry got a message from Microsoft. Beatriz Westberg: Okay um before that I I have some some some thing Chanell Dwyer: Yeah. Beatriz Westberg: uh to say before Chanell Dwyer: Yeah yeah. Beatriz Westberg: um We know that uh the user use uh a lot their um remote control um to to change channel. Chanell Dwyer: Yeah. Beatriz Westberg: Um and um to to change uh volume selection of Chanell Dwyer: Okay. Beatriz Westberg: the and uh and not uh a lot for setting for Chanell Dwyer: Yeah. Beatriz Westberg: setting the the channels and uh Rita Lack: Mm-hmm. Beatriz Westberg: thing things like that. Marcia Hurley: Mm-hmm. Chanell Dwyer: Okay. Beatriz Westberg: So it's better to put uh uh uh something very easy to set and uh Chanell Dwyer: Yeah. Beatriz Westberg: and Chanell Dwyer: This function should be very Beatriz Westberg: Very Chanell Dwyer: uh accessible. Beatriz Westberg: accessible yes. Chanell Dwyer: Yeah, okay. Beatriz Westberg: That's right. Chanell Dwyer: This is the main function okay. Beatriz Westberg: So then we asked some questions to them and Chanell Dwyer: Yeah. Beatriz Westberg: um we asked this question if Chanell Dwyer: Yeah. Beatriz Westberg: they prefer an L_C_D_ screen or on their remultific function remotes control and if they mm pay more for speech recognition in remote control Chanell Dwyer: Yeah. Beatriz Westberg: and you can go we have here the results of Marcia Hurley: The first question. Beatriz Westberg: of the questions. So you know that um for the younger it's very important Chanell Dwyer: To have L_C_D_ Beatriz Westberg: to have Chanell Dwyer: and Beatriz Westberg: the Chanell Dwyer: voice. Beatriz Westberg: s yes and speech recognition. And uh and the others is not so important but uh we know that uh uh people between fifteen and twenty five are people who watch a lot T_V_ and uh who who wh can use a lot this uh. Chanell Dwyer: Okay. Beatriz Westberg: So maybe we we can have a speech Chanell Dwyer: Yeah maybe Beatriz Westberg: recognition Chanell Dwyer: this this Beatriz Westberg: in. Chanell Dwyer: is important. Beatriz Westberg: Yeah. Chanell Dwyer: Moreover th maybe those uh like those teenager customer could advice their parents to buy this equipment and Marcia Hurley: Mm. Chanell Dwyer: so we can we have to take care of that point of view I think or so. Beatriz Westberg: Mm. Chanell Dwyer: Yeah. Beatriz Westberg: Okay and if there is th the conclusion now. So as we say before, I think uh um a remote control lightening in the dark it's it's a good thing. Chanell Dwyer: Okay. Beatriz Westberg: Uh not to many mud buttons like we we said before, e Chanell Dwyer: Yeah. Beatriz Westberg: easy to use uh a way to find it easily in the room and uh uh resistant to to shock and to Rita Lack: Mm-hmm. Beatriz Westberg: to Chanell Dwyer: Okay. Beatriz Westberg: An I s no, Chanell Dwyer: Okay Beatriz Westberg: yeah. Chanell Dwyer: these are the user Beatriz Westberg: I dunno Chanell Dwyer: requi Beatriz Westberg: if you see something else important or Rita Lack: I'm just thinking of some thing. Beatriz Westberg: Mm. Chanell Dwyer: Yeah. Rita Lack: Um We want to have a no, I know if a idea. We want to have a a general remote control for everything. Chanell Dwyer: No no no. We w it seems that we no want to have a T_V_ remote control. Rita Lack: Okay. Chanell Dwyer: From Marcia Hurley: Mm. Chanell Dwyer: the management board I receive Rita Lack: Yeah. Chanell Dwyer: an email. Cos it would be costly uh and and also it it would take more time to develop to Rita Lack: Yeah. Chanell Dwyer: have Rita Lack: Yeah Chanell Dwyer: a Rita Lack: yeah. Chanell Dwyer: a general generic remote Rita Lack: Yeah. Chanell Dwyer: control. Marcia Hurley: Mm I it's not true I think. The Rita Lack: No no. Marcia Hurley: the second claim that you put. Chanell Dwyer: That it would be too long to Marcia Hurley: Yeah. Chanell Dwyer: develop. Marcia Hurley: I think that should be the same. Chanell Dwyer: Oh yeah. Because I received that email from management board and they seems to tell that that if we want to be on the market as early as possible we should uh focus on T_V_ more where it seems that the market is more important. So maybe it's a good decision. I dunno. What's your Marcia Hurley: I have Chanell Dwyer: opinion? Marcia Hurley: uh I've no idea I mean I should know a bit more about how fast we can uh design it. I don't think Uh yeah. Rita Lack: Finish tonight. Marcia Hurley: Yeah. Okay. Rita Lack: But basically yeah Marcia Hurley: Yeah. Rita Lack: maybe I can continue with my presentation, it would be Chanell Dwyer: Okay. Rita Lack: al Beatriz Westberg: Yeah. Rita Lack: you Marcia Hurley: Yeah. Rita Lack: you but I think we have some technical problem or so. So I'm just going to describe briefly what we do in the remote control. Chanell Dwyer: Maybe Rita Lack: If Chanell Dwyer: you can Rita Lack: fact Chanell Dwyer: go to the whiteboard if you have some drawings to do I Rita Lack: Yeah Chanell Dwyer: don't Beatriz Westberg: Mm. Chanell Dwyer: know. Rita Lack: but Do I have oh yeah. Now I have enough cables. Marcia Hurley: Like a you feel a bit like a dog with this stuff. Rita Lack: Okay so I'm just going to describe in fact for for a remote control this is quite easy. We just have sorry, I'm going Chanell Dwyer: Okay. Are you okay? Rita Lack: Like that. I'm just going to describe. Basically we have a a battery a power supply here. After that we just have um user interface. Let's say that um something like that, which could be um a L_C_D_ let's say or um an array of push button, something like that. Push button or a L_C_D_. After that we we feed that into um uh an electronic chip. So I say U_C_ and I feed that to uh L_E_D_ which is uh infrared um which is a an infrared um component. And so what we for for myself this for for us this is quite easy. Chanell Dwyer: U_C_ is the central unit? Rita Lack: Yeah. Chanell Dwyer: Okay Rita Lack: Y Chanell Dwyer: yeah. Rita Lack: it's a it's this just a chip which does all the um numerical Chanell Dwyer: Computation. Rita Lack: numerical computation Chanell Dwyer: Okay. Rita Lack: according to your display. And so for us uh this is quite easy. We just need to take to define what we want to do when the user interface um wants something and after that we just do the coding to s and send that to to to the not the to the television. Chanell Dwyer: Okay. Rita Lack: So for us this is quite easy. Chanell Dwyer: Okay so this is quite easy. Rita Lack: Yeah. Um Chanell Dwyer: There is not that much Rita Lack: we just Chanell Dwyer: constraints. Rita Lack: have to define the processing power that we need uh especially if we want to do some uh speech recognition, in that case that mean that we are going to use more Marcia Hurley: This Rita Lack: for simple Marcia Hurley: will think this will take more time to develop Rita Lack: Yeah Marcia Hurley: also. Rita Lack: of course of Marcia Hurley: Yeah. Rita Lack: course. And um but for a standard one this is really easy. It's a question of one Marcia Hurley: Soon. Rita Lack: month and so Chanell Dwyer: To Rita Lack: on Chanell Dwyer: have a Rita Lack: s Chanell Dwyer: you s you speak about with voi voice control? Rita Lack: No no no no, I say Chanell Dwyer: Standard button one. Rita Lack: yeah standard uh standard remote control takes maybe uh one month to to do that. Marcia Hurley: Yeah. So the only time problem is the sp voice recognition. Rita Lack: Yeah. Marcia Hurley: Yeah. Rita Lack: Definitely. Marcia Hurley: Yeah. Chanell Dwyer: So do you have any idea of how long it would take to have voice recognition now? Rita Lack: I would say. Marcia Hurley: Ten years. Rita Lack: I would say uh about eight months to have the first results. Chanell Dwyer: Okay so i it's a bit long yeah. Rita Lack: Yeah. I can Um. Chanell Dwyer: One month for the standard one with button. Rita Lack: Yeah. Chanell Dwyer: Even if we have a L_C_D_ display? Rita Lack: Yeah even. I mean that this is really standard devices now. Um eight. For uh speech recognition. Chanell Dwyer: Okay yeah. Okay so we can take this into account. So who think it would be good to go for uh like speech recognition? Marcia Hurley: But we don't have time to market. Rita Lack: And also Chanell Dwyer: Yeah it Rita Lack: how Chanell Dwyer: will. Rita Lack: much uh I think Marcia Hurley: I think we should contact Rita Lack: during Marcia Hurley: management. Rita Lack: the kickoff meeting you say that we we shouldn't we shouldn't go up to twelve point five Euro Chanell Dwyer: Euros. Rita Lack: per Chanell Dwyer: Yeah, Rita Lack: unit Chanell Dwyer: yeah. Rita Lack: so how many units should we sell to have a Marcia Hurley: Well. Chanell Dwyer: Well Marcia Hurley: Uh Chanell Dwyer: each unit is is sell uh twenty five Euros. Rita Lack: Yeah but how many yeah. Marcia Hurley: How muc how much do you get how much do you if you buy one million units h no, one hundred thousand units. Eh chips. We're gonna need chips right. Rita Lack: Yeah. Marcia Hurley: Yeah. How much will it cost for one hundred thousand? Rita Lack: Usually this is less tha at two dollars per chip. Marcia Hurley: Okay. Chanell Dwyer: Because Marcia Hurley: So Chanell Dwyer: we Marcia Hurley: you Chanell Dwyer: are Marcia Hurley: have any idea for a powerful one that has uh good enough for do speech recognition. Rita Lack: Yeah, Marcia Hurley: Yeah? Okay. Rita Lack: we can Marcia Hurley: So. No Chanell Dwyer: It Marcia Hurley: it Chanell Dwyer: seems Marcia Hurley: doesn't. Chanell Dwyer: that that we want to sell like four million units from the Rita Lack: Mm-hmm. Chanell Dwyer: first meeting. Marcia Hurley: Okay. Four million. Chanell Dwyer: Okay. Beatriz Westberg: Mm. Rita Lack: Um I just had a question uh do you want to continue with your presenta? Chanell Dwyer: Yeah Rita Lack: Is Chanell Dwyer: I Rita Lack: it Chanell Dwyer: I will continue. Well ask your question if you want. Rita Lack: Um you say that I don't remember by heart but thirty per cent Beatriz Westberg: Mm? Rita Lack: of the tested people say that's it's quite difficult to to to use the remote control. Beatriz Westberg: Yeah. Rita Lack: Do they say that this is difficult but for the same reason or do they have other reason? Beatriz Westberg: Oh. Rita Lack: To to Beatriz Westberg: Would j Rita Lack: maybe to keep in mind maybe to access to that menu you should do something like Beatriz Westberg: Uh Rita Lack: that. Beatriz Westberg: yeah w I I think they they say that it's uh difficult to learn how to use it Rita Lack: Mm-hmm. Beatriz Westberg: but i when you know how to use it, Rita Lack: Mm-hmm. Beatriz Westberg: it's it's Chanell Dwyer: Okay. Beatriz Westberg: okay. Rita Lack: And Beatriz Westberg: But Chanell Dwyer: It's not intuitive first. Beatriz Westberg: Yeah. Rita Lack: But yeah maybe and what about if we design a remote control which can be configure as you want? You say that I want, I have six Marcia Hurley: Mh-hmm. Rita Lack: button Marcia Hurley: A a lot of people are uh if you have the L_C_D_ screen Rita Lack: Yeah. Marcia Hurley: if you can Chanell Dwyer: Yeah. Marcia Hurley: do it completely the way you want because the buttons also look Rita Lack: Yeah. Marcia Hurley: the way Chanell Dwyer: But, Marcia Hurley: you want them Chanell Dwyer: but also Marcia Hurley: but Chanell Dwyer: it seems Marcia Hurley: it will be Chanell Dwyer: that Marcia Hurley: hard to configure I mean imagine Rita Lack: Yeah. Chanell Dwyer: Yeah. Marcia Hurley: i uh so it's really something for the expert user. Rita Lack: Okay. Marcia Hurley: So I mean there are markets and markets. I think the young people are th uh are uh Christine here said uh Rita Lack: Yeah. Marcia Hurley: you have a Chanell Dwyer: Yeah. Marcia Hurley: uh it is yeah. So for our young people uh it will be cool, they can be able to use it. Th maybe their parents will not but they will configure it. I guess. Chanell Dwyer: Yeah. Rita Lack: Mm-hmm. Chanell Dwyer: Maybe it would be more complex to Beatriz Westberg: Mm. Chanell Dwyer: configure it Rita Lack: Yeah. Yeah. Chanell Dwyer: to be simple Rita Lack: Yeah. Marcia Hurley: Mm. Chanell Dwyer: than Beatriz Westberg: Mm. Chanell Dwyer: creating a simple product. Marcia Hurley: And there Rita Lack: Yeah. Marcia Hurley: are another thing is that if we make something that's simple and easy to use that's bas to use immediately that means that it will be exactly the same as everything else. Rita Lack: Yeah. Marcia Hurley: All right? Rita Lack: Yeah. Marcia Hurley: Otherwise, if it's different then of course everybody has somebody has to learn to use it first. Rita Lack: Yeah. Chanell Dwyer: Yeah. But also we we see that that most people find it find remote controls too complex because they have too many buttons and they mainly use only channels Beatriz Westberg: Mm. Chanell Dwyer: and Marcia Hurley: Mm-hmm. Chanell Dwyer: volume buttons. So we may just uh make a very easy to use remote control with mainly those buttons Marcia Hurley: Yeah. Chanell Dwyer: and maybe also um some lightning stuff too because most people find also hard to to find the remote control. Losed Marcia Hurley: Mm-hmm. Chanell Dwyer: lose it etcetera. These these are these two points are the main frustrations so maybe if we design something very simple and easy to uh find when lost it will uh add uh a serious competitive advantage without Beatriz Westberg: Mm. Chanell Dwyer: making something too complex and too long to develop. Marcia Hurley: Mm-hmm. Chanell Dwyer: So but le let us see first the new requirement. So we don't have to so this this uh is uh is um in the this is in the same direction as we were speaking so we don't have to make a very complex remote controls to access teletext and stuff like that Marcia Hurley: But teletext is just one button. Chanell Dwyer: Yeah but then you have to you have to define the buttons to surf Marcia Hurley: You Chanell Dwyer: amongst Marcia Hurley: you Chanell Dwyer: pages Marcia Hurley: just write Chanell Dwyer: and stuff. Marcia Hurley: the write the numbers. Chanell Dwyer: Yeah. So Marcia Hurley: So will Chanell Dwyer: well Marcia Hurley: you add with the channel keys, right? Chanell Dwyer: Yeah. Marcia Hurley: So. Chanell Dwyer: So anyway we don't have to include this feature because it's it's not used any more by users, they prefer to s Marcia Hurley: I am. I'm sure that uh it don't like but uh I don't see just one button. Chanell Dwyer: Yeah. Marcia Hurley: So. Chanell Dwyer: I dunno. If i one button is still one more button. If if if we want to make it very simple we have to reduce number of buttons compared to th to our competitors. Marcia Hurley: Mm-hmm. Chanell Dwyer: Well anyway I have this point. We can discuss. Also um so as as I told before uh it would be better if it's only for the T_V_ um because we want to be quick on on the market. And then also we have to make very uh uh clear that this uh this remote control is is part of of our products and show our corporate uh logo and and colours on the on the design as well so that uh they identify it as one of our product. So this is the the key point. So before uh finishing we can uh define uh what would be the characteristic of the o th of the control of the remote control and which button do we need which function do we want etcetera. Marcia Hurley: Capital. Beatriz Westberg: Mm. Chanell Dwyer: So do you um so so from from the Beatriz Westberg I think a key aspect is the easy to use aspect, it should be Beatriz Westberg: Mm. Chanell Dwyer: very simple and most button are never used only ten per cent of the button are are used often so I think we have to do something very simple and I think we all agree on that point, Rita Lack: Mm-hmm. Chanell Dwyer: no? Beatriz Westberg: Mm. Marcia Hurley: Well if it is going to be just a T_V_ remote control it is going to be very simple. Chanell Dwyer: Yeah okay. So yeah the key point here is simple. Maybe. So few buttons, channel, volume control and what el what function do you see Marcia Hurley: Well if it's Chanell Dwyer: in addition Marcia Hurley: going to Chanell Dwyer: to Marcia Hurley: be Chanell Dwyer: that? Marcia Hurley: as simple as possible then just have the remote control, there is no other function that I can see really. Chanell Dwyer: Yeah. Maybe switch T_V_ on and off Marcia Hurley: Uh no you want to keep television on so that the advertising can revenue can come back to us. Or Chanell Dwyer: Yeah. Marcia Hurley: something. Chanell Dwyer: Yeah. Volume, maybe a mute button, and then Rita Lack: Mm. Chanell Dwyer: on off button. And that's all? Rita Lack: Uh I know that som you say that many people are doing plenty of a lot of zapping. Beatriz Westberg: Mm-hmm. Chanell Dwyer: Mm. Rita Lack: I know tha I discovered that when I did a quick look, uh they do now som they do something which is quite nice now, Marcia Hurley: It's Rita Lack: you have a Marcia Hurley: a Rita Lack: button, Marcia Hurley: memory, Rita Lack: you Marcia Hurley: yeah. Rita Lack: you press it, and this is uh the previous channel which Chanell Dwyer: Okay. Rita Lack: has come back. Chanell Dwyer: Yeah this is cool. Maybe we can include that also. Previous previous channel button. So we have like channel button, the previous channel button, the Rita Lack: Mm-hmm. Chanell Dwyer: volume button, plus a mute button, Rita Lack: Mm-hmm. Chanell Dwyer: and uh just the the traditional on off Rita Lack: Mm-hmm. Chanell Dwyer: button. Marcia Hurley: And uh and of course the channel changing buttons. Chanell Dwyer: Yeah. I I talk Marcia Hurley: How Chanell Dwyer: about that, Marcia Hurley: should they Chanell Dwyer: yeah? Marcia Hurley: how should we implement that? Because uh could be numerical only or could be also incremental. Chanell Dwyer: Yeah. Incremental definitely because zapping you you switch Marcia Hurley: Mm-hmm. Chanell Dwyer: them. Rita Lack: Let's say that we can do something like that. This is uh incremental, but once you press it for a long time, you go five by five. Chanell Dwyer: We go Rita Lack: To Chanell Dwyer: faster? Rita Lack: go fa to go faster. Chanell Dwyer: Mm. Marcia Hurley: Mm. It's an interesting idea, that if you press it for a long time it does something else, in general. So if you you have your ten buttons for the for the numeric the numerical buttons and you have instead of having just one memory Rita Lack: Yeah. Marcia Hurley: you have if you press them for a long time No. Doesn't work does it. Chanell Dwyer: Maybe we should have also a digit Marcia Hurley: Maybe Chanell Dwyer: button Marcia Hurley: we should have a complete keyboard and just type console commands. Chanell Dwyer: Yeah. Marcia Hurley: Change channel to eight. No. Chanell Dwyer: Maybe we have also to have digits or only incremental. I dunno bec because Marcia Hurley: Well Chanell Dwyer: if Marcia Hurley: if Chanell Dwyer: you Marcia Hurley: it's Chanell Dwyer: have the Marcia Hurley: useful like if if you want to change between three channels for example then you h Chanell Dwyer: Uh. Marcia Hurley: you cannot you cannot cannot work with just memory being incremental. Chanell Dwyer: Yeah. Because you have your previous channel button if you have incremental only it's Rita Lack: Yeah. Chanell Dwyer: not uh it isn't worth it because the previous channel is eith either minus one or plus one. Marcia Hurley: Yeah. Yeah. Chanell Dwyer: So I think we need also digits. Rita Lack: Okay. Chanell Dwyer: Maybe we we can make very obvious the channel and volume button button and smaller button down there with the the digits. Marcia Hurley: Yeah when you zap usually you will have to press the same button all the time Chanell Dwyer: Yeah. Marcia Hurley: and Rita Lack: Or we can do something like that. We can Marcia Hurley: Yeah. Rita Lack: design the remote control to have access. You know some remote control have uh protection Marcia Hurley: Mm-hmm. Rita Lack: and so you you y Chanell Dwyer: Yeah. Marcia Hurley: Hey Rita Lack: You Marcia Hurley: I just thought this thing there is a I mean you know there is are some with a wheel like this. Instead of having the up down buttons for Chanell Dwyer: Yeah. Marcia Hurley: uh Rita Lack: Yeah, Marcia Hurley: you can have Rita Lack: a kind Marcia Hurley: the wheel. Rita Lack: of joystick. Marcia Hurley: Yeah. Chanell Dwyer: Yeah. Maybe we can have a wheel for incremental. Marcia Hurley: Yeah. Chanell Dwyer: Okay. So have a wheel for incremental, have the digits uh on the lower side that can be closed so as Rita Lack: Mm-hmm. Chanell Dwyer: you say protected, Marcia Hurley: Mm-hmm. Chanell Dwyer: and uh yeah I think this is Marcia Hurley: On Chanell Dwyer: the Marcia Hurley: the lower Chanell Dwyer: basi Marcia Hurley: side I think it you have to turn it. No? Chanell Dwyer: And do Marcia Hurley: If Chanell Dwyer: we Marcia Hurley: we do Chanell Dwyer: do Marcia Hurley: that. Chanell Dwyer: we have a Rita Lack: Or a or a ball, yeah, not a a wheel but a ball, and you say uh Chanell Dwyer: No, a wheel is Marcia Hurley: Yeah. Rita Lack: to Chanell Dwyer: better. I would say the wheel is better. Marcia Hurley: Because Chanell Dwyer: What Marcia Hurley: of Chanell Dwyer: is Marcia Hurley: that Chanell Dwyer: the expert of uh Rita Lack: Yeah. Marcia Hurley: Because it's uh it's it's not like a volume which is smooth yeah? The channels change one by one. Rita Lack: Yeah. Marcia Hurley: So you have to the user has to like to should feel the the Rita Lack: Yeah, Marcia Hurley: the discrete Rita Lack: the yeah. Chanell Dwyer: Okay. Marcia Hurley: sense a bit. Chanell Dwyer: Yeah. Marcia Hurley: Yeah. Chanell Dwyer: That's a good idea. Well also we have to decide uh so it should be lightening in the dark I think because most people lost their remote Rita Lack: 'S quite Chanell Dwyer: control. Rita Lack: it's quite easy we do Chanell Dwyer: Okay. Rita Lack: that w with back light on Marcia Hurley: Yeah. Rita Lack: the Marcia Hurley: Even Rita Lack: on Marcia Hurley: if Rita Lack: the Marcia Hurley: i Rita Lack: wheel. Marcia Hurley: L_E_D_ uh or a if if it's the L_C_D_ Rita Lack: A blue Marcia Hurley: feature uh Rita Lack: a blue L_E_D_ Marcia Hurley: whatever, Rita Lack: and Marcia Hurley: yeah. Chanell Dwyer: Yeah, Rita Lack: we sell that Chanell Dwyer: and Rita Lack: um. Chanell Dwyer: do we put Marcia Hurley: Yeah. Chanell Dwyer: an L_C_D_ display? Because it was important for young customers if you remember. Marcia Hurley: I think it's only put on if cou have multi function. Rita Lack: Yeah. Marcia Hurley: If you do not multi function then there is no p point in having L_C_D_. Just increase the cost. Chanell Dwyer: Okay. Marcia Hurley: The user does not have an advantage really. Chanell Dwyer: So no L_C_D_? Rita Lack: Mm-hmm. Beatriz Westberg: Hmm. Chanell Dwyer: And so no speech as well because it w it would delay too much the Rita Lack: Okay. Chanell Dwyer: development Marcia Hurley: Well if it's going Chanell Dwyer: process. Marcia Hurley: to delay yeah but uh it will be cool. It would. Because a user could say C_N_N_ for example and it would go Beatriz Westberg: Mm-hmm. Marcia Hurley: C_N_N_. Mm. Chanell Dwyer: Yeah. That would be cool. But Marcia Hurley: Yeah. Chanell Dwyer: eight months is really long and Maybe we can just uh Rita Lack: Ten years Chanell Dwyer: Okay. So um I I will uh I will so I we will move to next meeting so in after the lunch break Rita Lack: Mm-hmm. Chanell Dwyer: uh here are the individual uh action uh you are required to do but you will be uh recalled to the actions by uh email I think but you can take notes if you if you want but well the instruction will be sent. So thank you for uh your Rita Lack: Okay. Chanell Dwyer: suggestion and I I will make a summary of that meeting that I will put in the shared folder you Rita Lack: Okay. Chanell Dwyer: can't see Rita Lack: Okay. Chanell Dwyer: and uh and then you will um you will be able to to see what has been uh has been said on on this meeting and and what has been decided. Uh maybe for next meeting uh send Beatriz Westberg your presentation before by email so that we can see them uh altogether. Marcia Hurley: Yeah. Chanell Dwyer: That Beatriz Westberg: Mm. Chanell Dwyer: would be easier. Marcia Hurley: What is the folder that you put yours in? And did it it did work? Beatriz Westberg: No. Chanell Dwyer: No it did Beatriz Westberg: No Chanell Dwyer: not Beatriz Westberg: no. Chanell Dwyer: work. She send Marcia Hurley: Ah Chanell Dwyer: it Marcia Hurley: yeah. Beatriz Westberg: I dunno, Chanell Dwyer: to Beatriz Westberg by Marcia Hurley: Mm. Chanell Dwyer: email. Beatriz Westberg: I dunno it. Marcia Hurley: Okay. Chanell Dwyer: So maybe this is better, to send it by email. Marcia Hurley: Okay what Chanell Dwyer: Okay? Marcia Hurley: is your email? Chanell Dwyer: So yeah I I'm it's in the first uh email so I'm participant one Marcia Hurley: At participant Chanell Dwyer: at AMI Marcia Hurley: one. Okay. Chanell Dwyer: uh where is that, it's here. Participant one at AMI. Okay. So see you after lunch break. Beatriz Westberg: 'Kay Marcia Hurley: Well Beatriz Westberg: thank Marcia Hurley: during Beatriz Westberg: you. Marcia Hurley: lunch break actually. Marcia Hurley: So next time we should have a fight. How about uh management or something. Who happens to be your friend.

Marcia Hurley presented the major components of the interface design, dividing the interface into two parts: voice commands and buttons. Beatriz Westberg went over users' requirements as seen in a company study and showed that the major complaint was that remotes were too difficult to use. She also showed that users want fancier and more ergonomic designs, shock protection, voice recognition, and LCD screens. Chanell Dwyer announced a new requirement to the group, that the remote is only to control televisions. Rita Lack gave a layout of the internal functions of the device and showed that a standard chip, instead of a larger one that would accomodate voice recognition, would be the most feasible. Chanell Dwyer announced also that the group was not to include a teletext function and that they should integrate the company logo into the external design. The group decided on what button functions should be included and decided to eliminate the LCD screen and voice recognition from the design due to time and cost restraints.

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Gloria Moore: Okay. Dorothy Toner: Mm-hmm. Gloria Moore: So we are here for concept design meeting. So, we will first start by summarizing the mm the previous meeting and the decision we've taken. Uh I will take notes during this meeting so uh that you can uh look at my uh folder to see the summary of this meeting afterwards. So each of you will uh show us the various investigation they've done during uh previous uh hours. We'll then t take decision in concert then uh uh we will uh define the nest next, to have to be done before the next meeting. So, last time we decided to have a simple interface. We also decided to have a wheel to change channel previous channel button. Channel digit uh buttons should be uh protected by plastic cover or something for the remote control to look very simple. We have also button for volume, and to switch on off the T_V_. We have also uh the lightening feature for the remote control to be easy to find, and for fast development and low cost we have decided to have no L_C_D_ no voice features. So now uh we will have three presentations. So the conceptual specification by Industrial Designer, the specification of the U_I_ by or Dorothy Toner: Abdul Gloria Moore: U_I_ Dorothy Toner: al-Hasred is my name. Gloria Moore: okay. And uh the last point is uh trend watching by Market Expert. So maybe we can start with uh industrial design. So this is the presentation. Joan Wygant: Uh, I_D_ you want? Gloria Moore: Maybe I can switch slide Joan Wygant: Yeah. Gloria Moore: uh on your request. Joan Wygant: I v have three slides, so. I just look at the mm um just this. On some web pages Gloria Moore: Yeah. Joan Wygant: to find some documentation and I think a remote control is, as I s mentioned previously, you just have a a very simple chip and the mm the user interface is just done usually by push button and in our case we are using a um a wheel control. Joan Wygant: standard, and uh I just looked for the wheel sensor and the standard push button. And um yeah we can change directly. Gloria Moore: Yeah. Joan Wygant: In fact I have the number of that element which is very standard for remote control. The push button are usually extremely cheap, but I just have one problem and this is related with the wheel sensor, which seems to be quite expensive. Gloria Moore: Okay. Dorothy Toner: Mm-hmm. Joan Wygant: And I think we if we could just talk about that if we really need a wheel sensor or if we can not if if we could combine something with the push button. Gloria Moore: Okay. Joan Wygant: Uh Dorothy Toner: Yeah. Joan Wygant: a wheel sensor is fifty time the price of a a a push button. Gloria Moore: But Dorothy Toner: Mm. Gloria Moore: is it a significant price on the whole remote control? Because Joan Wygant: Yeah. Gloria Moore: we can afford up to twelve Euros for the price of the remote control. Joan Wygant: Yeah I I Gloria Moore: So Joan Wygant: th Gloria Moore: will will will this with uh including all possible things, so buttons, wheel and the chip, be uh lower than twelve Euros to produce? Joan Wygant: But I don't think that uh we should We should talk about uh the Dorothy Toner: Yeah. Joan Wygant: design of the box also which Gloria Moore: Okay Joan Wygant: needs some Dorothy Toner: Also Joan Wygant: money. Dorothy Toner: have to Joan Wygant: But Dorothy Toner: say Did you receive the email about the voice recognition? Joan Wygant: Um that's all Dorothy Toner: No? Joan Wygant: yeah. Gloria Moore: You received Joan Wygant: I haven't Gloria Moore: something Joan Wygant: chec Dorothy Toner: Yeah. You we uh an email from the manufacturing division that they have basically a voice recognition chip already developed. Gloria Moore: Hmm. Dorothy Toner: Says Yeah. It says that ri right now they just use it to uh to record uh answers to particular questions. But I guess Gloria Moore: And Dorothy Toner: it could Gloria Moore: could Dorothy Toner: be Gloria Moore: it be adapted? Dorothy Toner: I guess it's possible. I mean instead of recording the answers you can just uh record uh something simpler like Gloria Moore: Okay Dorothy Toner: a Gloria Moore: and Dorothy Toner: command. Gloria Moore: there can uh recognize some commands Dorothy Toner: Yeah Gloria Moore: and stuff? Dorothy Toner: you reco recognize commands and you can record new commands and stuff, so if they already Gloria Moore: Okay. Dorothy Toner: have it as uh as a chip Gloria Moore: Yeah. Dorothy Toner: then we we could use it. Gloria Moore: Okay maybe we can just uh listen to this presentation and then take decision later Dorothy Toner: Okay. Joan Wygant: Mm-hmm. Gloria Moore: on according Joan Wygant: Yeah Gloria Moore: to those news. Joan Wygant: but I think it's yeah Sorry, I haven't written my personal references. Um the I I just want to mention the the problem of the the r wheels sensor which is much more expensive than any push button, Gloria Moore: Okay. Joan Wygant: and if we could reduce that. We Dorothy Toner: Mm-hmm. Joan Wygant: we have already some good things uh with um um with the backlight of the push button. Dorothy Toner: I have a question about that actually. Um, what is the purpose of the light? Joan Wygant: Just to to make something which is uh slightly more design that uh a Dorothy Toner: Is Joan Wygant: squarey box Gloria Moore: You can Joan Wygant: with Gloria Moore: easily Joan Wygant: a rubber Gloria Moore: find the button Dorothy Toner: But Gloria Moore: in the dark or so? Dorothy Toner: But in th in the dark uh Yeah but is going to be always turned on, the light? Gloria Moore: It will be turned on when the when the user move the remote control I think, no? Dorothy Toner: But if you move it then you have it, you don't need to find it. Gloria Moore: Hmm. Dorothy Toner: You can see the buttons better, of course. Gloria Moore: Yeah. Dorothy Toner: Yeah. Gloria Moore: Yeah. Yeah. True. Joan Wygant: Yeah. Actually. Dorothy Toner: But if you move it then you have to have some sensor to when you move it to detect your movement. Joan Wygant: As soon as you thought to move the the remote control you have the light. Dorothy Toner: Yeah, but you need another sensor for that, right? Joan Wygant: Yeah. Again. Dorothy Toner: Yeah no it's too expensive. Joan Wygant: I don't think that this is really expensive, but Dorothy Toner: Okay. Joan Wygant: at the end this is plenty of Dorothy Toner: Mm. Joan Wygant: unexpen eh Dorothy Toner: Extra. Joan Wygant: very cheap Dorothy Toner: Yeah, okay. Joan Wygant: devices but uh Dorothy Toner: Mm. Joan Wygant: the bill starts to be Dorothy Toner: Yeah, but I expected also the wheel would be cheap but you tell Patricia Wick that it is very expensive so, yeah. Joan Wygant: First of all I was thinking to have a a continuous light and you w when t you you you you press the on button you have Dorothy Toner: Mm. Joan Wygant: the light on your remote control, when Dorothy Toner: Mm-hmm. Joan Wygant: you want to turn off your device Gloria Moore: But it can be uh battery consuming, no? To Joan Wygant: Yeah, Gloria Moore: have Joan Wygant: a Gloria Moore: the light Joan Wygant: little Gloria Moore: always on? Joan Wygant: bit. A little Dorothy Toner: Mm. Joan Wygant: bit. Gloria Moore: Well we will discuss that after maybe Joan Wygant: Yeah. Dorothy Toner: Okay. Gloria Moore: the Dorothy Toner: So Gloria Moore: other presentations. Dorothy Toner: uh my one, it uh should be in the shared folder. Gloria Moore: Yeah. Dorothy Toner: So. It was last time I saw it. Gloria Moore: And it is. Dorothy Toner: Okay. So, Gloria Moore: Okay. Dorothy Toner: just move to the next slide. So basically want very simple, right? That's the major idea, as simple Gloria Moore: Yeah. Dorothy Toner: as possible. Gloria Moore: Yeah. Dorothy Toner: So I just look at some current designs uh on the web, of usually more complicated remote controls. And let's look at two of them because uh th even though they have many buttons they look quite simple. And in our case we just uh reject the buttons what we don't need Gloria Moore: Yeah. Dorothy Toner: and it become even simpler. Um. So. Gloria Moore: And also does it uh fit well in hand? Because it was uh th Dorothy Toner: Yeah. Gloria Moore: your wrist problem Dorothy Toner: Well this Gloria Moore: with the usage. Dorothy Toner: these uh these remotes are quite big, so go to the next page, so. We have all these buttons as you can see, but most Gloria Moore: Yeah. Dorothy Toner: of them, we just need the ones in the middle. Joan Wygant: Yeah. Gloria Moore: Yeah. Dorothy Toner: So, from the bottom or whatever is there, Gloria Moore: Yeah. Dorothy Toner: uh the uh the numbers and then the top, uh until the ten also, this middle part, Gloria Moore: Yeah. Dorothy Toner: and on the left one is exactly the same. So it's basically more or less how we would like it, with a big volume control, big channel control, and mute and power, yeah? Gloria Moore: Yeah. Dorothy Toner: These are the basic thing. Gloria Moore: So it's only the central part. Dorothy Toner: So basically, w software we will build will look more or less the same as these two. Gloria Moore: Yeah. With a maybe a more ergonomic design on on the Dorothy Toner: Yeah, if you Gloria Moore: bottom Dorothy Toner: have, for Gloria Moore: part. Dorothy Toner: example I think that the volume and the buttons that are there on the top are not very easy to reach with your thumb. It Gloria Moore: Yeah. Dorothy Toner: could be on the right side, for example. Gloria Moore: Okay. Dorothy Toner: Yeah. Because we don't have these input buttons and this other stuff that they have. And I think that the plastic cover is not very good uh Gloria Moore: Okay. Dorothy Toner: idea because you open it, it can break, you ca you can do various things. Uh Gloria Moore: Okay. Dorothy Toner: you just need Gloria Moore: S Dorothy Toner: to put the channel numbers somewhere a bit out of the way. Gloria Moore: Okay. Dorothy Toner: So Gloria Moore: Will Dorothy Toner: that they're separate Gloria Moore: be down Dorothy Toner: a bit, Gloria Moore: or Dorothy Toner: yeah. Gloria Moore: Okay. Dorothy Toner: Uh and it's easy to press the other the big buttons, but uh, it's not that difficult to press the the channel buttons either. Mm. Yeah, I think that if you put the cover it will be even more difficult for the user. Gloria Moore: Okay. Dorothy Toner: Alright, you won't yeah. Usually what I have noticed that people put the plastic cover on things that you normally don't mess with, like buttons for t uh tuning the channels and Gloria Moore: Okay. Dorothy Toner: stuff like that. Yeah. That you want to protect a bit. And I think it's uh it's reasonable. Gloria Moore: Okay. Dorothy Toner: So, I don't think Yeah, this is just the the wheel. We could Gloria Moore: Mm. Dorothy Toner: use the some wheels can be pushed down, could use the push down of the wheel for the record if we want. Joan Wygant: Mm-hmm. Dorothy Toner: Uh so we could just basically use one just wheel and uh user could use just the wheel to do everything with Gloria Moore: Yeah. Dorothy Toner: the channels in that case. Gloria Moore: Maybe the wheel will be a good advantage over our competitors. Joan Wygant: Mm-hmm. Gloria Moore: Because otherwise it's pretty standard apart the fact that it's very simple. So maybe it's worse to uh Joan Wygant: To Gloria Moore: to Joan Wygant: s Gloria Moore: have more expense on that's that aspect. Joan Wygant: Mm-hmm. Dorothy Toner: Yeah, I guess the market researcher will tell us all about that. Gloria Moore: Okay. So we can move to the Is there any question? For designer of user interface? or we can move to the next part, maybe, and discuss afterwards? Gloria Moore: Okay. Patricia Wick: Okay, I can go? Can Gloria Moore: Yeah. Patricia Wick: I? So now the recent investigation we we have done fo of the remote control um. So, the most important aspect for remote controls is to be fancy look and feel and not current functional look and feel. And um the second aspect is uh that the remote control should be uh technological innovative. Gloria Moore: Okay. Patricia Wick: And the third most important aspect is to to is that the co remote control should be easy to use. about before. Dorothy Toner: Mm-hmm. Gloria Moore: Yeah. Patricia Wick: Yeah. And um so you you can go Gloria Moore: Yeah. Patricia Wick: after. And there is a fashion watchers in Paris and Milan that have detected the following trends, uh fruits and vegetables will be the most important theme for clothes, shoes, and furnitures. So, maybe if our remote control have to be a fruit form or vegetable form something Gloria Moore: Okay. Patricia Wick: like that, or Joan Wygant: I support an apple. Patricia Wick: And the mm the material is expected to be spongy. Uh I don't know which material can be spongy, Gloria Moore: Yeah. Patricia Wick: and if you Gloria Moore: This is good Dorothy Toner: Well, Gloria Moore: also Dorothy Toner: wou wou Gloria Moore: for Dorothy Toner: I think we can certainly just put the electronics in a spongy thing, it it Joan Wygant: Yeah. Dorothy Toner: would work, right? Gloria Moore: Yeah. Patricia Wick: Mm-hmm. Joan Wygant: Yeah. Dorothy Toner: Yeah. Gloria Moore: I think it is good also f to have a spongy Dorothy Toner: You can throw it to Gloria Moore: material, Dorothy Toner: the television. Gloria Moore: yeah. Yeah, because Patricia Wick: Okay Gloria Moore: it's Joan Wygant: Yeah. Gloria Moore: robust. Joan Wygant: Patricia Wick too. Patricia Wick: It's robust, yeah. Dorothy Toner: Hey that's a cool one. We could say that if you throw it, you have a sensor, and you throw it and hits the television and turns it off. When it d uh takes a shock. Gloria Moore: Yeah uh Joan Wygant: Ah Patricia Wick: Not good. Gloria Moore: sorry? Joan Wygant: it's okay. I know that they do that for alarm clock Patricia Wick: An Joan Wygant: also. Dorothy Toner: Yeah. Patricia Wick: and and uh this uh you can yeah you can say that. You ca uh you Gloria Moore: No. Patricia Wick: can go Gloria Moore: Yeah. Patricia Wick: uh before, Gloria Moore: Before? Patricia Wick: before, yes. And you know here the more iz important aspect is the fancy look and feel, Gloria Moore: Yeah. Patricia Wick: after is uh technological innovative, Gloria Moore: Yeah. Patricia Wick: and after the easy to Gloria Moore: Yeah. Patricia Wick: use. Gloria Moore: I think it's innovative to use the mm the wheel because I Joan Wygant: Yeah. Gloria Moore: think Patricia Wick: Yeah Gloria Moore: no one Patricia Wick: that's why Gloria Moore: else has. Patricia Wick: Yeah Gloria Moore: Has Patricia Wick: that's Gloria Moore: it? Patricia Wick: why I think we have to keep that if it's possible. Gloria Moore: Yeah. I think Joan Wygant: Mm-hmm. Gloria Moore: it's it makes it both easy and both innos innovative. Patricia Wick: Innovative. Gloria Moore: So Patricia Wick: Mm. Gloria Moore: I think it's a good aspect and it should Dorothy Toner: How Gloria Moore: be Dorothy Toner: do Gloria Moore: kept. Dorothy Toner: we make it look cool is the question. Gloria Moore: Cool, fancy? Dorothy Toner: Yeah. Gloria Moore: We have to make it l look like a fruit or vegetable. Patricia Wick: Yeah. Gloria Moore: Maybe Joan Wygant: What about Gloria Moore: uh Joan Wygant: um Gloria Moore: um Patricia Wick: Mm. Gloria Moore: a colour that remember Patricia Wick: Oh, Gloria Moore: some Patricia Wick: colour, Gloria Moore: fruit Patricia Wick: yeah. Gloria Moore: uh, things like that. Dorothy Toner: Well the obvious thing Patricia Wick: Oh i Dorothy Toner: is a banana, I guess. Patricia Wick: i Gloria Moore: Maybe yeah. Patricia Wick: I thought about a a pear, for example. You know the pear, is like that and it's it's easy to Gloria Moore: Yeah, Patricia Wick: to have in in Gloria Moore: and Patricia Wick: hand Gloria Moore: it's ergonomic Patricia Wick: and uh Gloria Moore: as well. Patricia Wick: Yeah. Gloria Moore: A pear. Dorothy Toner: The banana is also ergonomic. Gloria Moore: Yeah. Maybe pear yeah or something like that. Patricia Wick: Or a fruit like that. I dunno. Gloria Moore: Yeah. We can discuss that uh. D D Is is there anything you want to add? Dorothy Toner: Is there any fruit that is spongy? Gloria Moore: I don't think so. I think we we can have like yeah a pear is good, fit well, or banana as you told. Dorothy Toner: Yeah. Joan Wygant: And Gloria Moore: Something like Joan Wygant: for Gloria Moore: that. Joan Wygant: maybe look and feel, what about a a piece of ice, with blue L_E_D_ inside? Gloria Moore: But that's Dorothy Toner: You can Gloria Moore: not Dorothy Toner: make Gloria Moore: in Dorothy Toner: it Gloria Moore: the trend. Dorothy Toner: um Joan Wygant: Yeah. Gloria Moore: The trend is spongy, and vegetable Joan Wygant: Yeah. Gloria Moore: fruits. Dorothy Toner: It's not hard, the metal. Joan Wygant: Yeah. Gloria Moore: I Dorothy Toner: Plastic. Gloria Moore: think p spongy is good because it it will be robust as well. Joan Wygant: Yep. Gloria Moore: So, I think we can keep the wheel because it's Joan Wygant: Yeah. Gloria Moore: uh easy, it's innovative, even if the cost is a bit higher, and we also have to find a, so, a fruit like pear or banana wit uh any others idea you have. What kind of fr fruit would you like to to control your T_V_ with? Dorothy Toner: Mm. Gloria Moore: Odi Joan Wygant: Banana I think, it's a nice idea. Gloria Moore: Banana is also Joan Wygant: Because Gloria Moore: yellow so you you Joan Wygant: But Gloria Moore: can't lost your remote control Patricia Wick: Yeah. Gloria Moore: then. Dorothy Toner: Yeah. Joan Wygant: You y you don't use the banana when the Dorothy Toner: Two of Joan Wygant: banana Dorothy Toner: the button, Joan Wygant: is Dorothy Toner: yeah. Joan Wygant: curving like that, but when the banana is curving like that, Dorothy Toner: Yeah. Joan Wygant: with the wheel on the top Dorothy Toner: Yeah. Joan Wygant: and to control, and here you have Patricia Wick: But you Joan Wygant: a Patricia Wick: don't Joan Wygant: a Patricia Wick: have Joan Wygant: push button to Gloria Moore: I think Dorothy Toner: Yeah so you Gloria Moore: it's Dorothy Toner: can just Gloria Moore: a Dorothy Toner: have Gloria Moore: good Dorothy Toner: uh Gloria Moore: idea, yeah. Dorothy Toner: just have this curve, yeah, and you move uh your hand here to press the buttons and then you move uh on the other side. Gloria Moore: Yeah. Dorothy Toner: So you can Joan Wygant: Yeah. Dorothy Toner: have it on on two sides and it'll be cool, no? Gloria Moore: Yeah. then. Maybe we can keep the banana. And it will be very easy to find. Dorothy Toner: You Joan Wygant: And Dorothy Toner: can put also Joan Wygant: everybody Dorothy Toner: vibrator Joan Wygant: knows Dorothy Toner: inside. Joan Wygant: what is a banana. Basically. Patricia Wick: Yeah. Joan Wygant: If you if you start with uh fancy fruits and Dorothy Toner: Ah-ha. Joan Wygant: fra s Dorothy Toner: You can Joan Wygant: and Dorothy Toner: also Joan Wygant: tha Dorothy Toner: take into account the fact that the banana fits with the colour scheme of our company. Joan Wygant: Oh, Gloria Moore: Yeah. Joan Wygant: yeah Dorothy Toner: Yeah. Gloria Moore: Yeah it's really uh really a good point. Dorothy Toner: I hope the students of management die, but anyway. Now who are recording this meeting? Gloria Moore: I think it So One second. So we have to take some decision on this aspect. So, uh so for sorry, for uh component, so Joan Wygant: So Gloria Moore: we have to think about those aspects, sorry. Joan Wygant: So we will just use a a standard battery? Gloria Moore: Yeah. Joan Wygant: And uh the chip we chip imprint we know exactly which one we are going to use. Uh what do you mean by case? Gloria Moore: I think it's the box that should be spongy, banana's Joan Wygant: Yeah. Gloria Moore: shape. Joan Wygant: Uh I mean for Patricia Wick if we use a a spongy banana case, doesn't matter. I just want to have so something Dorothy Toner: The only th Joan Wygant: to prin to to fix my Dorothy Toner: Yeah. Joan Wygant: my components onto that box, Dorothy Toner: Y Joan Wygant: and Dorothy Toner: Yeah that Joan Wygant: that's Dorothy Toner: can Joan Wygant: it. Dorothy Toner: be in inside th in the Joan Wygant: Yeah Dorothy Toner: structure. Joan Wygant: yeah. Yeah. Dorothy Toner: But uh the thing is that the buttons and the wheel have to be I mean Joan Wygant: Spongy Dorothy Toner: if it's spongy Joan Wygant: also. Dorothy Toner: then the buttons and the wheel have to I mean if it's spongy then it's going to move, right? So, it's going to be bend a lot. So if we try Joan Wygant: Oh Dorothy Toner: to Gloria Moore: But Joan Wygant: no Dorothy Toner: push the Joan Wygant: I think Dorothy Toner: buttons, Joan Wygant: it's Dorothy Toner: it Joan Wygant: possible. Dorothy Toner: You think it's Gloria Moore: No Dorothy Toner: possible? Gloria Moore: the button would be In fact it it should be something odd shaped, with Joan Wygant: Yeah. Gloria Moore: a spongy cover. Dorothy Toner: Okay. Joan Wygant: Yeah. This is uh like Dorothy Toner: Yeah. Joan Wygant: the Gloria Moore: Okay odd shape with spongy cover. And standard battery okay, a chip imprint, there's no specific problem. So we agree to put the wheel Joan Wygant: Mm-hmm. Wheel on the top. Button, where do we want some buttons? Dorothy Toner: Well, usually hold 'Kay, we want it to be good also for the left-hand users, right? Joan Wygant: Yeah. Dorothy Toner: Uh Gloria Moore: So it have to it has to be symmetrical. Dorothy Toner: Yeah but okay. Sa let's say that th o It has to be basically you can only take two sides, one on ths this side where is the thumb and the other side where there is uh Joan Wygant: Yep. Dorothy Toner: yeah also the thumb. Joan Wygant: Yep. Dorothy Toner: Basically. Or you could use use this one, but I don't know if it's very comfortable, to use Gloria Moore: Yeah Dorothy Toner: this one Gloria Moore: maybe Dorothy Toner: for the Gloria Moore: the Dorothy Toner: wheel. Gloria Moore: thumb is more comfortable. Dorothy Toner: This for the wheel and then this for the buttons? Gloria Moore: Yeah Dorothy Toner: Should Gloria Moore: I think Dorothy Toner: have Gloria Moore: it's Dorothy Toner: the Gloria Moore: okay Dorothy Toner: two sides. Gloria Moore: for both right and left. Joan Wygant: Mm-hmm. Gloria Moore: Mm. Dorothy Toner: So if the left, we have the op Gloria Moore: I think you can turn it this way also. You can Dorothy Toner: Wheel Gloria Moore: do both with Dorothy Toner: Wheel buttons. Gloria Moore: both hands. Dorothy Toner: Yeah, the problem Gloria Moore: I think Dorothy Toner: is if Gloria Moore: it's Dorothy Toner: you have Gloria Moore: okay. Dorothy Toner: buttons and wheel then when you turn it around, the buttons are on the other side. So you cannot see them. Gloria Moore: Well, you Dorothy Toner: Yeah. Gloria Moore: you will get used to it. And moreover, Dorothy Toner: So the buttons have to be here Gloria Moore: th Dorothy Toner: and the wheel Gloria Moore: the button Dorothy Toner: has Gloria Moore: ar Dorothy Toner: to be Gloria Moore: are lighted so you you immediately identify the right side, because Dorothy Toner: Y Gloria Moore: you have light on buttons. Dorothy Toner: Yeah I know, but uh if you hold with your left hand, and the wheel is here, and the buttons are here, Gloria Moore: Yeah. Dorothy Toner: then when you turn it around the buttons will be on the other side. Gloria Moore: No you you I think you will use it only on the right or left hand, whether you are righty or lefty. I think for lefty it's okay. I can do this movement, and for righty as well. I think this doesn't change that much. Dorothy Toner: Okay. Gloria Moore: Yeah? Dorothy Toner: Okay. Maybe. Yeah. Gloria Moore: So, for interface we said also that we have uh this banana shape with button on the s on the side. And and uh a wheel on the top. Joan Wygant: Mm-hmm. Dorothy Toner: Yeah. Gloria Moore: So the colour is yellow. I think it's uh we defined everything according to what we should what the decision we should take, yeah. So maybe we can um we can uh work on those aspects uh until next meeting. So have the final uh look and feel design according to the decision. And have the the user interface design and uh then evaluate the prodyuc the product. That is to say, uh check if it fit the the requirement uh given by the users, but according to uh your presentation it seems to be okay. It seems to be fancy, innovative, and easy to use. Joan Wygant: Mm-hmm. Gloria Moore: So so to prepare the prototype I would suggest that Joan Wygant and Dorothy Toner uh work together. That would uh Joan Wygant: Yeah. Gloria Moore: be better, I think. And uh And so uh you will receive further instruction by emails, as usual. Dorothy Toner: Mm-hmm. Gloria Moore: So Dorothy Toner: Yes master. Gloria Moore: do you need to add anything? Dorothy Toner: No. Gloria Moore: You feel okay? Dorothy Toner: Yeah. Gloria Moore: You feel uh free to express what you want to say? Dorothy Toner: Yeah. Gloria Moore: You don't feel too constrained? Dorothy Toner: No. Gloria Moore: You don't feel free to answer this? Dorothy Toner: Maybe you can make uh uh mm okay. Gloria Moore: Okay, so Joan Wygant: Thank you. Gloria Moore: See you.

Joan Wygant presented the functional components that will appear in the prototype, and discussed with the group the high cost of the wheel sensor and the possibility of incorporating speech recognition. Dorothy Toner presented existing remote controls to help show the interface of the prototype. He showed how the new design will be more simple and ergonomic than the models he displayed by eliminating extra functions. Patricia Wick presented news about trends in fashion and in the market that will be incorporated into the design. A fruit and vegetable theme and spongy materials are popular trends that will be used in the design. The group finalized which features they wanted to integrate into the design. They decided to make the remote shaped like a banana and spongy, to have the buttons lighted, to have a wheel sensor at the top of the device, and to use only a standard chip and battery that would not accomodate speech recognition. Gloria Moore instructed Dorothy Toner and Joan Wygant to construct the prototype, and announced that the prototype would be evaluated in the next meeting.

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Michelle Vice: Okay. Je croix que c'est dommage de le it will be sad to destroy this prototype. It really looks like a banana. Kimberly Pruitt: It is a banana. Michelle Vice: It is a Kimberly Pruitt: It Michelle Vice: banana. Kimberly Pruitt: is of bananas. I would be confused with this thing. Michelle Vice: Mm. Kimberly Pruitt: S Edith Rowe: Mm-hmm. Michelle Vice: Okay. Kimberly Pruitt: How is everyone? Michelle Vice: Hi. Aundrea Reichel: Hi. Michelle Vice: So we are here for the detailed design meeting. Kimberly Pruitt: Mm-hmm. Michelle Vice: So we will uh I will first present what we are going to do in this meeting. Then uh I've I will also take notes during this meeting and I will send you uh a summary then as usual. We will then look the our two colleagues that make good work. And uh then we will see the financial aspects and the cost of the product. Then we will uh evaluate the product. And uh end with the conclusion of this project and see whether it fits with it fulf if it fulfil the requirement or not. Aundrea Reichel: Mm-hmm. Michelle Vice: So d let's start with the cost aspect so so I look at the aspect discussed last time, that is to say uh to have a standard battery, to have a yellow banana shaped uh case with uh a rubber material around it to be uh Kimberly Pruitt: Like Michelle Vice: to Kimberly Pruitt: a banana. Michelle Vice: feel spongy, and uh also at the different aspect like having a wheel Aundrea Reichel: Mm-hmm. Michelle Vice: etcetera. And the cost ended to be ten point seven Euros. So which is uh good, because we had a price gap of twelve point five Euros. Aundrea Reichel: Mm-hmm. Michelle Vice: So for the financial aspect it's okay, we can uh we can continue with this product uh as if, and we are now going to see the project evaluation with uh our marketing expert. Edith Rowe: Okay. So uh you can have my Michelle Vice: Yeah. Edith Rowe: project in Michelle Vice: You have a presentation? Edith Rowe: Uh yeah just a Michelle Vice: Participant Edith Rowe: Four. Michelle Vice: four, yes. Edith Rowe: Evaluation. Michelle Vice: Okay. Okay. Edith Rowe: Okay. So you can go. We can go through. Michelle Vice: Okay. Edith Rowe: So I made an evaluation and the the evaluation criteria is made according to the users' requirements and the market trends we talked about uh during the previous uh meetings. So you can go through and Michelle Vice: Okay. Edith Rowe: okay so uh we have uh six points. We we talked about before. Michelle Vice: Okay. Edith Rowe: So want to have a product fancy look and feel, technologically innovative, easy to use, fashion, easy to find in a room, and robust, Michelle Vice: Yeah. Aundrea Reichel: Mm-hmm. Edith Rowe: uh and uh uh I have a scale of uh seven points. Michelle Vice: Yeah. Edith Rowe: Okay. So I go through all the uh all the points here, Michelle Vice: Yeah. Edith Rowe: and uh according to what you think about the this project you can uh mm make a one point, two point or seven point. Okay? Michelle Vice: Okay. Edith Rowe: And after we ha we have an an average, and uh we see. Aundrea Reichel: Mm-hmm. Michelle Vice: Okay. Edith Rowe: The okay? Uh so uh fancy look and feel, what do Michelle Vice: Okay. Edith Rowe: you think? Michelle Vice: Maybe you can Edith Rowe: F between Michelle Vice: presen Edith Rowe: o one and seven. Michelle Vice: okay. Maybe hold it. So I think it's uh very uh very nice. Kimberly Pruitt: I Michelle Vice: What Kimberly Pruitt: give Michelle Vice: do Kimberly Pruitt: it Michelle Vice: you think? Kimberly Pruitt: a I give it a five. Michelle Vice: Yeah. So it's between one and seven? Edith Rowe: Yeah. Michelle Vice: Seven is the highest uh? Edith Rowe: Seven Michelle Vice: I will Edith Rowe: is the Michelle Vice: give a six. Aundrea Reichel: I will give a a five. Edith Rowe: Mm-hmm. Kimberly Pruitt: And Edith Rowe: sorry. Kimberly Pruitt: you? Do you vote uh Christine? Edith Rowe: eh? Kimberly Pruitt: Do you also vote? Edith Rowe: No, I just want to see something Michelle Vice: Maybe we all have to agree on a common Kimberly Pruitt: Well, we can very easily. Michelle Vice: Yeah. Edith Rowe: Mm-hmm. Uh I think uh and need to as well. Michelle Vice: No problem. Edith Rowe: Need to Michelle Vice: So Edith Rowe: uh I Michelle Vice: this Edith Rowe: don't know if Michelle Vice: is Edith Rowe: you Michelle Vice: your Edith Rowe: we ha we have to put uh one uh f If it's better or Michelle Vice: One Kimberly Pruitt: I Michelle Vice: is most. Edith Rowe: Uh-uh. Um. Michelle Vice: Well, we can choose what we want. Edith Rowe: Yeah. Michelle Vice: Okay, Edith Rowe: Or maybe Michelle Vice: let's Edith Rowe: we Michelle Vice: say Edith Rowe: can Michelle Vice: that Edith Rowe: say Michelle Vice: seven is the best. Edith Rowe: s seven is the best Michelle Vice: Okay. Edith Rowe: mm. Michelle Vice: So so do note the grade we have five, six for Edith Rowe, Aundrea Reichel: Five. Michelle Vice: five. And Edith Rowe: Oh sorry. Michelle Vice: what what's your choice? Edith Rowe: Six Michelle Vice: How much would you give on the fancy aspect, on Edith Rowe: Uh Michelle Vice: the fashionable aspect? Edith Rowe: s you can how much what? Michelle Vice: How much would you you don't answer to this uh Edith Rowe: Oh yes Michelle Vice: questionnaire? Edith Rowe: I mm I dunno mm, I think six, it's a good uh Kimberly Pruitt: So it will have five point five average. Michelle Vice: Five point five average. Edith Rowe: Yeah. Wa Michelle Vice: Okay. Kimberly Pruitt: Mm. Edith Rowe: can. Okay. Michelle Vice: Well, does it Edith Rowe: I sorry. Okay. So after, the technological aspect? Michelle Vice: Okay, techne technological aspect. Edith Rowe: So we we said uh we have uh a new technological uh thing with a wheel. Michelle Vice: Yeah, we have the wheel. Edith Rowe: Uh. Michelle Vice: We also have the rubber material, which make it uh like new also. I think I would give a five. Kimberly Pruitt: It's four. Michelle Vice: Four? Aundrea Reichel: A four also, Kimberly Pruitt: Yeah. Aundrea Reichel: because, except for the wheel, we don't have so much innovation. The rubber is Michelle Vice: Okay. Kimberly Pruitt: D are we including Aundrea Reichel: Uh a four. Kimberly Pruitt: the Aundrea Reichel: I Kimberly Pruitt: voice Aundrea Reichel: I Kimberly Pruitt: are you glu we including the voice in the end or Michelle Vice: No. Kimberly Pruitt: not? Huh? No. Okay. Michelle Vice: So Edith Rowe: No. Michelle Vice: what's your uh grade? Edith Rowe: Four. Michelle Vice: Four? So we have four, four f and five? Edith Rowe: We can put four? Kimberly Pruitt: Yeah. For Michelle Vice: Yeah, Kimberly Pruitt: twenty Michelle Vice: four. Edith Rowe: Everyone Kimberly Pruitt: five. Edith Rowe: is okay or Michelle Vice: Four, Edith Rowe: four poin Michelle Vice: yeah, let's put four. Edith Rowe: Four. Kimberly Pruitt: Yeah. Edith Rowe: Okay. Michelle Vice: Doesn't it Edith Rowe: Very easy to use. Do you think it's easy to use? Aundrea Reichel: Yeah. Michelle Vice: Yeah, I think Kimberly Pruitt: I give a Michelle Vice: so. Kimberly Pruitt: seven, I think. Michelle Vice: Yeah. Aundrea Reichel: Six. Michelle Vice: I would give a I would give a seven as well. It's very easy to use. Edith Rowe: Mm, Aundrea Reichel: Six. Edith Rowe: six for Edith Rowe also. Michelle Vice: So Edith Rowe: Six Kimberly Pruitt: 'Kay. Edith Rowe: point five. Michelle Vice: six point Aundrea Reichel: Six Michelle Vice: five. Aundrea Reichel: six six point five. Edith Rowe: Okay. Michelle Vice: Okay. Edith Rowe: Is it fashion? Michelle Vice: Oh yeah, its its f its fruit Edith Rowe: Seven? Michelle Vice: fruit shape. I would say seven. And is very Edith Rowe: Yeah Michelle Vice: very Edith Rowe: it's Michelle Vice: nice Edith Rowe: fashion, Michelle Vice: design. Edith Rowe: because it's a fruit, and Kimberly Pruitt: Yeah, Edith Rowe: we say Kimberly Pruitt: we can we Edith Rowe: that Kimberly Pruitt: can put Edith Rowe: the Kimberly Pruitt: a seven here. Yeah. Aundrea Reichel: Yeah, Edith Rowe: yeah, seven. Aundrea Reichel: seven. Michelle Vice: Yeah. Kimberly Pruitt: Yeah. Michelle Vice: Seven, okay. Kimberly Pruitt: Well, we hope. Aundrea Reichel: Easy Edith Rowe: Uh Aundrea Reichel: to find. Edith Rowe: easy to find in a room? Aundrea Reichel: I lost my banana. Michelle Vice: I think you can't miss it. Kimberly Pruitt: Yeah. Edith Rowe: Yeah? Michelle Vice: Okay. Aundrea Reichel: Uh. Kimberly Pruitt: Yeah, I think it's cool. I think we can put a six here. Edith Rowe: We have the lightning, or Michelle Vice: Yeah, Edith Rowe: The lighting. Michelle Vice: we have the we don't sesh especially Kimberly Pruitt: So you'll Michelle Vice: have Kimberly Pruitt: make Michelle Vice: the Kimberly Pruitt: the Michelle Vice: lightning Kimberly Pruitt: material Michelle Vice: but Kimberly Pruitt: transparent so that it uh lights up completely, or Michelle Vice: So it's yellow. It's okay. I think Edith Rowe: Yeah. Michelle Vice: it's very easy to Edith Rowe: Seven? Michelle Vice: I would say seven. It's hard to Aundrea Reichel: Six. Michelle Vice: miss it. Aundrea Reichel: Yeah, Kimberly Pruitt: Yeah. Edith Rowe: Is it Aundrea Reichel: okay. Edith Rowe: is it robust? Michelle Vice: Yeah, it's Aundrea Reichel: Uh f Michelle Vice: rubber, Aundrea Reichel: yeah, Michelle Vice: made of rubber, I think it's m it's uh more rubber than uh Aundrea Reichel: Yeah. Michelle Vice: other remote Kimberly Pruitt: Yeah Michelle Vice: control. Kimberly Pruitt: the only problem there might be which know, i if it's very sensitive, Michelle Vice: Yeah. Kimberly Pruitt: they will, Aundrea Reichel: Yeah. Kimberly Pruitt: I don't know Michelle Vice: But it is uh it is surrounded by rubber material. Kimberly Pruitt: Yeah, Aundrea Reichel: Yeah. Kimberly Pruitt: okay. Michelle Vice: So maybe we can put a six. Aundrea Reichel: Yeah. Kimberly Pruitt: Mm. Aundrea Reichel: Six Edith Rowe: Everybody is Aundrea Reichel: or five. Edith Rowe: okay, six. Aundrea Reichel: Five. Michelle Vice: Six Kimberly Pruitt: Six, Michelle Vice: is okay? Kimberly Pruitt: yeah, for Aundrea Reichel: Six. Edith Rowe: Yeah. Kimberly Pruitt: Edith Rowe. Edith Rowe: Okay. Michelle Vice: Yeah. Kimberly Pruitt: Yeah. Edith Rowe: S now Michelle Vice: Tadada. Edith Rowe: um so. Michelle Vice: We have to Kimberly Pruitt: Twenty. Michelle Vice: sum up Edith Rowe: Thirteen Michelle Vice: everything. Edith Rowe: uh, twenty, twenty six point five, uh seven, Kimberly Pruitt: Thirty. Edith Rowe: thirty two, thirty Kimberly Pruitt: Thir Edith Rowe: six. That's that's okay? Six. Kimberly Pruitt: Okay. Michelle Vice: Six is a Edith Rowe: Good. Michelle Vice: good Edith Rowe: Uh if we say that seven it's uh Kimberly Pruitt: Yeah, Michelle Vice: Yeah, Edith Rowe: it's Kimberly Pruitt: the Michelle Vice: the Edith Rowe: the Michelle Vice: be. Kimberly Pruitt: top Edith Rowe: better, and when uh s Michelle Vice: Okay, Kimberly Pruitt: Mm. Michelle Vice: so Edith Rowe: six Michelle Vice: six Edith Rowe: sit Michelle Vice: is Edith Rowe: six Michelle Vice: a Edith Rowe: are good it's a good uh p product, Kimberly Pruitt: So will Edith Rowe: I think. Kimberly Pruitt: become eight soon? Michelle Vice: So it's a good evaluation, I think. It's very promising. Kimberly Pruitt: Yeah, well it's a bit biased. Edith Rowe: We have a good Michelle Vice: Huh. Edith Rowe: price and uh. Aundrea Reichel: Yeah. Kimberly Pruitt: Okay. Edith Rowe: Good. Michelle Vice: So this prototype is quite nice. Kimberly Pruitt: Because I saw uh some phones that were banana shaped, Michelle Vice: Yeah. Kimberly Pruitt: uh wireless phones not mobile ones, wireless Michelle Vice: Okay. Kimberly Pruitt: for the house, uh quite big also, and they were selling something like a hundred Euros, two hundred Euros. Just a just a phone, wireless. Aundrea Reichel: Mm-hmm. Michelle Vice: So having this at twenty five Euros is uh quite attractive, I think. Kimberly Pruitt: Yeah. Michelle Vice: I think Aundrea Reichel: But Michelle Vice: the Aundrea Reichel: almo also the complexity between a phone and a remote control is not Kimberly Pruitt: Yeah. Aundrea Reichel: cannot compare. Kimberly Pruitt: Yeah, Michelle Vice: Yeah. Kimberly Pruitt: it's much more complex, but Michelle Vice: So, I think, we can summarise. So we have seen the prototype. It's very nice according to the work of our two designer. The the the financial aspect were okay. We we have the cost below uh our threshold and so we could sell at twenty five Euros and make i make profit. The the evaluation give satisfying result as well. So I think we can move to the last part of the meeting. So the cost is in the budget, the evaluation is okay, so I th I think we can now uh open champagne and make a huge party. Aundrea Reichel: Start Michelle Vice: I Aundrea Reichel: to Michelle Vice: don't know if Aundrea Reichel: eat banana. Michelle Vice: it's provided by uh by the meeting staff. Edith Rowe: Mm-hmm. Kimberly Pruitt: Okay. Michelle Vice: Okay so congratulation. Aundrea Reichel: Yeah. Kimberly Pruitt: Congratulations Michelle Vice: Nice product. Kimberly Pruitt: to the team. Uh very well, we worked together fantastically. Michelle Vice: Yeah. I think it was a good collaboration uh. Aspect. Kimberly Pruitt: So what does the management say? Michelle Vice: Sorry? Kimberly Pruitt: What does the management say? Michelle Vice: I think we will have um much bigger project next time and a much bigger salary as well. Kimberly Pruitt: Ah. Michelle Vice: All it depends on who watch this meeting. Aundrea Reichel: Yeah. Michelle Vice: We don't know. Kimberly Pruitt: Yeah. Okay. Michelle Vice: good guys, Aundrea Reichel: Okay. Michelle Vice: so see you for next uh successful project. Aundrea Reichel: Yeah. Fruits. Edith Rowe: Mm 'kay. Kimberly Pruitt: Mm.

Michelle Vice presented the final cost of the remote with the finalized list of components. The final cost was under the alotted budget; Michelle Vice announced that the project could then continue with the current prototype. Edith Rowe presented an evaluation of the prototype to the group. The group evaluated the prototype based on the requirements of users presented in the first meetings. The group decided that the prototype met enough of these goals to be able to market the product. The prototype was presented and the group discussed the look of the prototype. Michelle Vice summarized the accomplishments of the meeting.

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train

Elizabeth Claiborne: So we are here to talk about functional design Now. hopefully we've all got a better idea from than we did f leaving the last meeting as to what it is we are up to now. So here's an agenda. Uh I'll open. Um you should know that I'll be taking minutes during all the meetings, as I was struggling to our last time uh and that'll be easier for Brigette Tadlock now because I'm not actually giving the whole presentation. Uh the additional points just stuff that we sent that I forwarded on from upper management having a few bright ideas to make our lives painful. Um now you can all give your presentations. We can talk about the requirements and hopefully come to some decisions. Right, forty minutes for this meeting, so a bit more time than the last one. Here's the additional points I just wanted to put those in there to see if you guys had any comments on them. Uh did you all receive that email? Winifred Keller: Yep. Brigette Tadlock: Yeah. Elizabeth Claiborne: So does anyone have any overall Brigette Tadlock: Well uh what comes up for Brigette Tadlock that if we're gonna if we're gonna be marketing a product that Elizabeth Claiborne: Mm. Brigette Tadlock: is going to be uh having no teletext, people Elizabeth Claiborne: Mm. Brigette Tadlock: are very comfortable with the idea of having teletext and using teletext, Elizabeth Claiborne: Yep. Brigette Tadlock: and so we're not we're gonna be a new product without something that people are very comfortable having right now. So that's, from a marketing perspective Elizabeth Claiborne: Mm. Brigette Tadlock: I I see I see a lack. And so we have to go, I think, in the other What are we gonna have that makes this thing better Elizabeth Claiborne: Well tha Brigette Tadlock: than Elizabeth Claiborne: that first point could uh also be an op opportunity because in seeing that teletext is becoming outdated, some sort remote control that can work with the Internet there is the opportunity Brigette Tadlock: Right. Elizabeth Claiborne: that's presented, I Brigette Tadlock: Yeah. Elizabeth Claiborne: guess. Brigette Tadlock: No, I I agree with you. So what Elizabeth Claiborne: Okay. Brigette Tadlock: I'm talking about is I see that one side we're eliminating something so we have to come up with another side which is, what are we gonna be targeting our market uh that identifies our product as better than because it doesn't have teletext it has ta-ta-ta-ta-ta. So Elizabeth Claiborne: Okay. Brigette Tadlock: that's that's that was my reactions. Elizabeth Claiborne: Yeah. but but we are sort of being dictated that this should only be Brigette Tadlock: Yeah yeah. Elizabeth Claiborne: for the television. So we're quite fixed. Brigette Tadlock: Yep. Elizabeth Claiborne: So we're really probably, in terms of marketing, are looking for that's uh that's a cost winner rather than a fantastic new feature product. Brigette Tadlock: Okay. Stephanie Struble: Yeah Elizabeth Claiborne: Yeah. Stephanie Struble: bu but we we're remote, we not design the T_V_. Elizabeth Claiborne: Hmm. Stephanie Struble: So uh we're gonna be removing the teletext out of any T_V_ Brigette Tadlock: Yeah. Stephanie Struble: that we Brigette Tadlock: 'Kay. Stephanie Struble: people use our remote with. Brigette Tadlock: That's right. Elizabeth Claiborne: Hmm. Brigette Tadlock: I think Stephanie Struble: So Brigette Tadlock: we Stephanie Struble: it's Brigette Tadlock: take with you. Stephanie Struble: kind of a stupid Elizabeth Claiborne: But Stephanie Struble: decision. Elizabeth Claiborne: there's also Winifred Keller: Right. Elizabeth Claiborne: the potential for mark there's a market here for our lost teletext. For example someone that just goes to the shop that wants a replacement wants it as cheap as possible. Twenty-five Euros is the selling price, we really have to innovate here I guess. Brigette Tadlock: That's what I'm that's what I'm talking about is is that we have to find something that is gonna be very attractive about this product 'cause somebody, some people are gonna be hap unhappy 'cause it took they can't ac access their teletext. Elizabeth Claiborne: Mm. Brigette Tadlock: Okay. 'Cause we're talking about eighty percent or ninety percent or ninety-five percent of the televisions out there are are teletext. Elizabeth Claiborne: K yeah. Brigette Tadlock: So so it's it's not that I'm criticizing the product at all. It's just when we eliminate that then what do we bring? What are we bringing in to take the place of this, and we have to Elizabeth Claiborne: Mm Brigette Tadlock: d Elizabeth Claiborne: 'kay. Brigette Tadlock: in my opinion we have to double up. If we lose one we need to bring two or Elizabeth Claiborne: Okay. Brigette Tadlock: three. Elizabeth Claiborne: Okay I think that the last point is probably quite uh straightforward. Obviously the the w it has to be branded. Stephanie Struble: So then the Elizabeth Claiborne: 'Kay. Stephanie Struble: double R_ will be our our Elizabeth Claiborne: On the product yeah. Winifred Keller: I think Elizabeth Claiborne: Can Winifred Keller: one Stephanie Struble: I tho Elizabeth Claiborne: you handle Stephanie Struble: I Winifred Keller: of Stephanie Struble: tho I thou Elizabeth Claiborne: that black and yellow? Stephanie Struble: I think Rol Ro Rolls-Royce might mind, but don't worry. Winifred Keller: I w, yeah, one of the things that we should also keep in mind um when we're doing this I mean our company's slogan is we put the fashion in electronics, right. So I think our kind of our target here is to have some kind of very like sleek nice look remote and we want it to be functional as well, but I think one of the main selling points is that we don't want it to be clunky like. You Elizabeth Claiborne: Mm. Winifred Keller: know we don't wanna a big clunker. We want something that looks nice and it's fashionable and so Brigette Tadlock: So you have this? Elizabeth Claiborne: Nah. So we have three presentations, and I think we'll go in order of participant number here. So we can have a look at the working design first from participant two. That's Stephanie Struble: Yes. Winifred Keller: That's fine. Elizabeth Claiborne: Okay. Winifred Keller: Okay so Elizabeth Claiborne: Mm it's enough. But uh click it on off? Winifred Keller: so you all know Brigette Tadlock, I'm Stephanie Struble. And we've some basic components that um our remote is gonna need, just basically every remote'll need 'em. We need some kinda of power d power source. Um we have to decide on our our user interface, which is his department, but the in user interface is also a major component. Um we need a programmable digital signal processor to um to take the input from the user and translate that into uh into electronic signal, which we pass to the infra-red L_E_D_, which you aim at the television uh which and it receives that signal. You need a on-off switch um I don't know how that got in there. And uh we also need to um have the if we want a universal remote we need to have encryption codes for the different makes of T_V_s. So we need to know all the different you know all the different signals and so that'll require some memory as well. Um so here's just a basic layout of how how the remote would work. You ha the v the power source is in the upper right-hand corner there, and you can see that uh we have the user interface here which is connected to the chip which does all our signal processing, and then passes that signal on to the infra-red L_E_D_ and that signal is then emitted and received by the television at the photo-transistor. So those are the basic components that need to go into this and everything else is pretty much uh open to move around. Brigette Tadlock: Now is would this be considered just a standard uh um Winifred Keller: I think any Brigette Tadlock: This Winifred Keller: des Brigette Tadlock: is not this is not cutting edge technology we're talking here. We're talking Winifred Keller: No. Brigette Tadlock: about existing technology. Winifred Keller: Right I think Brigette Tadlock: Nothing is being modified or upgraded or Winifred Keller: Yeah this is Brigette Tadlock: new discoveries. Winifred Keller: just this is just a basic layout of ev of all the components that w w are gonna be absolutely necessary f to have a working remote. We can add things in like if we wanted some voice recognition, I mean that I mean that you can kinda say would would fall under the user interface and the digital signal processing Brigette Tadlock: Okay. Winifred Keller: chip. Brigette Tadlock: Okay. Elizabeth Claiborne: Do Winifred Keller: But Elizabeth Claiborne: we have an idea of costs of different components? Winifred Keller: Um well the most the most costly components are gonna be the chip and the uh th it could als basically the user interface and the casing are gonna be expensive as well. Um Elizabeth Claiborne: 'Kay. Winifred Keller: the L_E_D_ and the the transistors and everything else are you know they're they're pretty cheap. So depending on what we want our functionality to be, um the chip could be expensive or it could be cheap. Um Elizabeth Claiborne: Mm 'kay. Winifred Keller: depending on the n amount of memory we need in there and stuff like that and h and h you know how Elizabeth Claiborne: Do we Winifred Keller: much Elizabeth Claiborne: have any Winifred Keller: power. Elizabeth Claiborne: ballpark figures for that yet? No. Winifred Keller: Uh I don't have any figures right now. Elizabeth Claiborne: 'Kay. Winifred Keller: We uh we have to wait until we get to a more specific design phase for that. Elizabeth Claiborne: Yeah. Brigette Tadlock: N okay. Winifred Keller: Um but and I think a significant part of the cost could be the actual the actual casing itself and and you know the the b the buttons and things Brigette Tadlock: Mm. Winifred Keller: like that, Brigette Tadlock: Mm the Winifred Keller: I Brigette Tadlock: shell? Winifred Keller: think. Yeah. Basically yeah. Brigette Tadlock: Okay. Elizabeth Claiborne: Okay. Winifred Keller: So yeah. That's all I have really. Elizabeth Claiborne: Okay. Thanks. And we have participant three, which I believe is Pedro. Stephanie Struble: I Elizabeth Claiborne: I can give you that to Stephanie Struble: Hey Elizabeth Claiborne: click Stephanie Struble: mouse. Elizabeth Claiborne: on. Stephanie Struble: Open. Elizabeth Claiborne: And you wanna get View a slide show, that's what you wanna do, yeah? Just go up to view. Stephanie Struble: Uh. Winifred Keller: Click, don't Yeah. Elizabeth Claiborne: Mm 'kay Stephanie Struble: This doesn't work. So yeah function design. Um you guys know Brigette Tadlock, Pedro, and um what I found is we want to do fashion and I think, honestly, we should keep technology low and just simple basically and try to aim for design. If basically a case will will cost the same if it looks good or bad so we ma we have to make it look good. Um something cute and small. The big chunky remotes are died in the eighties. So we should just go for something that people will like to actually look at. And um although mo most people will buy s televisions and everything for uh that have loads of loads of little functions and everything and they mostly end up using simple functions and little things and most the people won't won't get too mad of actually having to go the to the s to the television to, for instance, tune in their the stations. There's no need to have that in the remote. So um um as for what I would recommend for uh the the interface design, and uh I will change the colours on the on the logo, but um we should go for the user-oriented device, so simple controls and good ergonomics. Um and uh although I th I th I'm still here recommending the teletext so I'll remove that, I guess, but um we should go for Elizabeth Claiborne: But Stephanie Struble: the Elizabeth Claiborne: I t I think what the the management recommendation was less that there's a worry that teletext will become outdated rather than we shouldn't have it. So I I still think if it's cheap enough functionality-wise to include, it really should be in there. Winifred Keller: Mm-hmm. Elizabeth Claiborne: Because otherwise we're just going to I mean even if it's necessary or not, if you if you're given the choice between a t a remote with teletext or without uh when it really if it i if it isn't more expensive for us to k make because as far as I understand it, it can be operated with the same set of buttons, yeah? Winifred Keller: Right Elizabeth Claiborne: So Winifred Keller: as Stephanie Struble: Yeah. Winifred Keller: far Elizabeth Claiborne: it Winifred Keller: as Elizabeth Claiborne: should Winifred Keller: i Elizabeth Claiborne: be in there. Winifred Keller: it's just uh the cost of an extra button. I mean software-wise Elizabeth Claiborne: Yeah. Winifred Keller: there's really no difference. Elizabeth Claiborne: Okay. Winifred Keller: I think. Elizabeth Claiborne: Isn't Brigette Tadlock: I have maybe a silly question. I in the very beginning it said with the with the advent of computers there's gonna be the it's gonna be out-moded teletext. I I don't understand how those two things are connected. How does how does computers and teletext h how why is one eliminating the need of the other? I don't understand that. Elizabeth Claiborne: Well maybe what we're getting into here is the the idea of uh Internet through the T_V_ for example. So that might play on what Stephanie Struble: Yeah Elizabeth Claiborne: we can Stephanie Struble: the they're Elizabeth Claiborne: do. Stephanie Struble: basically aiming at saying that you would use you know a couple of years ago teletext to be the easiest way to check like for uh Winifred Keller: Scheduling. Stephanie Struble: uh the scheduling and the next programme and stuff like Winifred Keller: Um Stephanie Struble: that Winifred Keller: to find Stephanie Struble: and now Winifred Keller: out what what you're watching even if there's commercials you know. Stephanie Struble: Yeah Brigette Tadlock: Okay. Stephanie Struble: and now you can c look it over Internet. But I still think teletext is Winifred Keller: I Stephanie Struble: way Winifred Keller: think Stephanie Struble: more convenient Winifred Keller: I Stephanie Struble: until Winifred Keller: ha Stephanie Struble: until we have the same commodities. Brigette Tadlock: Yeah 'cause, yeah, Winifred Keller: I Brigette Tadlock: I Winifred Keller: agree. Brigette Tadlock: just I don't see the cross-over between computers and television. I mean I do see the cross-over in some sense, but Stephanie Struble: Yeah, but it's not happen yet. Winifred Keller: Well for Brigette Tadlock: but Winifred Keller: Brigette Tadlock Stephanie Struble: Yeah. Brigette Tadlock: but Elizabeth Claiborne: Well Brigette Tadlock: but Elizabeth Claiborne: you have Brigette Tadlock: with Elizabeth Claiborne: digital Brigette Tadlock: the the Elizabeth Claiborne: T_V_ Brigette Tadlock: remote Elizabeth Claiborne: still Brigette Tadlock: is is Elizabeth Claiborne: already. Brigette Tadlock: used for television, okay. So Winifred Keller: Yeah. Brigette Tadlock: so if we make the cross-over and we're gonna view television on computers Winifred Keller: Unless you Brigette Tadlock: then Winifred Keller: have Brigette Tadlock: we're Winifred Keller: a Brigette Tadlock: then we're losing the the necessity of the remote. Winifred Keller: Yeah. Elizabeth Claiborne: Well there Brigette Tadlock: S Elizabeth Claiborne: there is a for example on digital T_V_ systems you have you can press a button and you can buy things in adverts, and you can uh Winifred Keller: Mm-hmm. Elizabeth Claiborne: you can view through a catalogue for example. A a family member of mine has got a system where you just um you can Yeah, and there's other features for example on other systems where you can pause live T_V_ and things like that. They're just features from the Internet uh from computers are are coming into the T_V_ sort of under the covers, Brigette Tadlock: Okay. Elizabeth Claiborne: but you still use it through a teletext. So Brigette Tadlock: Okay. Elizabeth Claiborne: now the things to think here are that that there's gonna be more functionality, Stephanie Struble: Yeah but Elizabeth Claiborne: potentially Stephanie Struble: we we don't we're not Elizabeth Claiborne: that Stephanie Struble: aiming Elizabeth Claiborne: we can handle. Stephanie Struble: a command for that. That's the thing. And all of those require the other commands with more complexity and more software Winifred Keller: I Stephanie Struble: and Winifred Keller: think a lot of that's proprietary anyways. You're not gonna be able Elizabeth Claiborne: Mm. Winifred Keller: to, you, like command a TiVo with our remote. I don't think. Elizabeth Claiborne: But still there there's an opportunity. If if it's, for example, a trainable one then we're just simply having like an up, down, left, right, an okay button or something like that might might do as well in future proofing it. Stephanie Struble: Yeah but we would increase the price to try to make Elizabeth Claiborne: Mm. Stephanie Struble: it a trainable one, so Elizabeth Claiborne: Okay. Stephanie Struble: Well I dunno. One way the other teletext was there but I guess we can remove it or, you know, make two separate Winifred Keller: I think Stephanie Struble: interface Winifred Keller: if it's possible Stephanie Struble: designs. Winifred Keller: you should try to you know have a talk with management about that. Just you know Brigette Tadlock: Yeah I Stephanie Struble: Yeah. Brigette Tadlock: don't I don't see the logic. I Stephanie Struble: Yeah. Brigette Tadlock: I don't see the logic in elimination of teletext, I just I I Elizabeth Claiborne: Yeah, and neither Brigette Tadlock: but I'm Elizabeth Claiborne: do I Brigette Tadlock: not a tech-mind Elizabeth Claiborne: in fact. Brigette Tadlock: either. I just don't see the cross-over between computers and and and Elizabeth Claiborne: Bu Brigette Tadlock: 'Cause Elizabeth Claiborne: uh. Brigette Tadlock: we are designing something for a television, okay. Elizabeth Claiborne: I'll communicate that back to those guys there a a and th the message really we wanna be sending to them is that, although teletext may become outdated w there's no l logic in not having it in there anyway Stephanie Struble: Yeah. Elizabeth Claiborne: i if Winifred Keller: Right Elizabeth Claiborne: it Winifred Keller: it's Elizabeth Claiborne: doesn't Winifred Keller: just not Elizabeth Claiborne: affect the price. Brigette Tadlock: We are selling Winifred Keller: Yeah. Stephanie Struble: Yeah. Brigette Tadlock: it to an existing market. Elizabeth Claiborne: future-proof our system for future systems that have something else other than teletext maybe. Stephanie Struble: Yeah Elizabeth Claiborne: I Stephanie Struble: but Elizabeth Claiborne: dunno Stephanie Struble: we're not Elizabeth Claiborne: I'm Stephanie Struble: putting Brigette Tadlock: That's Stephanie Struble: some there's no no putting anything in in the place of teletext. Brigette Tadlock: Yeah, and Elizabeth Claiborne: Mm Brigette Tadlock: and, Elizabeth Claiborne: 'kay. Brigette Tadlock: yeah, Stephanie Struble: That's the Brigette Tadlock: and Stephanie Struble: problem. Brigette Tadlock: and we're also marketing a product. It's what I'm seeing is a is a mid-range cost product. So so Elizabeth Claiborne: Mm. Brigette Tadlock: w we can't go and pump a whole bunch of technology Elizabeth Claiborne: Yeah. Brigette Tadlock: into this thing because all of a sudden we are gonna have cost overruns. So if we drop if we are gonna choose to drop teletext, again what are we adding to the product that makes it marketable? Elizabeth Claiborne: Hmm. So if we're keeping it basic we're loo loo what we're looking to sell it basically is it's uh just being very easy to use, looking exceptionally good, that sort of thing. 'Cause we really don't have anything else there, do we? Stephanie Struble: Yeah. Brigette Tadlock: I don't I don't see it, and to Brigette Tadlock if I'm gonna market a product for b for beauty for for design I'm gonna I'm gonna try to market it at a much higher price. I need to make it special with a high price tag. I don't want to make it economically Elizabeth Claiborne: Mm-hmm. Brigette Tadlock: uh g uh competitive. I want I want to market it as exclusive. So I would market this product it at eighty-nine Euros and come up with some really beautiful exterior design or something th but but I Elizabeth Claiborne: But Brigette Tadlock: don't Elizabeth Claiborne: i if Brigette Tadlock: think Elizabeth Claiborne: design Brigette Tadlock: we have that Elizabeth Claiborne: if Brigette Tadlock: flexibility. Elizabeth Claiborne: design is cheap and functionality is basic, then twenty-five Euros is probably a high price for a commoner garden stan standard T_V_ so the place uh remote the then the place we're going to justify that cost is through through design through making it a a sleek elegant high-priced basic remote. Does that make sense, Brigette Tadlock: No I Elizabeth Claiborne: huh? Brigette Tadlock: no I I understand Elizabeth Claiborne: Mm. Brigette Tadlock: what you say, but what I'm what I'm, okay we probably need to move along, Elizabeth Claiborne: Yeah Brigette Tadlock: but Elizabeth Claiborne: we probably Brigette Tadlock: my Elizabeth Claiborne: should. Brigette Tadlock: my concern Elizabeth Claiborne: We we're doing Brigette Tadlock: is trying Elizabeth Claiborne: alright for Brigette Tadlock: to find Elizabeth Claiborne: time. Brigette Tadlock: a marketing niche for this product, and if I'm coming in with a with with twenty-five Euros, which is mid-market price, um then what am I going to give these people for this? Elizabeth Claiborne: Yeah. Brigette Tadlock: So that's just my question, but we can keep talking. Elizabeth Claiborne: Okay. Sorry that kinda cut into you there. Stephanie Struble: No just I I would I would advocate for continuing teletext and those would be the basic commands. Um as for, you know, the the case design uh maybe I'll come up with more concrete ideas. Right now it's just the idea of simplicity and slickness, cute Winifred Keller: Right. Stephanie Struble: and small Winifred Keller: I'm Stephanie Struble: um Winifred Keller: just thinking you know with all these universal remotes that are out there, how many people how many people actually use every feature that ar you know i like these trainable remotes and things like that, where, you know, it's just so confusing to do to use all these functions. Where I think the largest portion of the market is just gonna you know they lost their T_V_ remote, they need another one that'll work with their T_V_. They want something that looks nice, that that that isn't gonna break when they drop it, that you know that maybe it's it's ergonomic, it feels good in your hand, Elizabeth Claiborne: Mm. Winifred Keller: something like that. I think that's gonna be where you're gonna find the biggest, you know, market share. Elizabeth Claiborne: So we are looking for something that looks good and just works, rather than looking for any special features. Is that Winifred Keller: I think Stephanie Struble: Yeah. Winifred Keller: the more bells and whistles we add, it's just gonna cut into our into our profits. Winifred Keller: Maybe Stephanie Struble: Yeah mm. Elizabeth Claiborne: Mm. Winifred Keller: five percent, Elizabeth Claiborne: But Winifred Keller: you know, Elizabeth Claiborne: we can talk a Winifred Keller: and Elizabeth Claiborne: little Winifred Keller: how much Elizabeth Claiborne: bit more potentially in the marketing marketing Winifred Keller: Right. Elizabeth Claiborne: presentation about this. Winifred Keller: Yeah okay. Elizabeth Claiborne: Be Winifred Keller: I'm Elizabeth Claiborne: a Winifred Keller: sorry. Elizabeth Claiborne: good idea. Uh sorry, I didn't mean to cut Brigette Tadlock: Yeah. Winifred Keller: Sorry boss. Elizabeth Claiborne: in. I'm not the boss. Okay. Brigette Tadlock: Oh P Pedro, I just want to say quickly I I would really like it when you can come up with some more bells and whistles, eh. You know sell uh things come to my mind is uh uh something that's uh um voice-activated. I know we're getting into some, I hope, some big money on this thing, Elizabeth Claiborne: I think Brigette Tadlock: but Elizabeth Claiborne: that's probably a question more for Brigette Tadlock: Is that for over Elizabeth Claiborne: for Brigette Tadlock: here? Elizabeth Claiborne: this Winifred Keller: Yeah. Elizabeth Claiborne: guy here, yeah. Brigette Tadlock: Okay, alright. Winifred Keller: Well it's kinda both of us. Us Elizabeth Claiborne: Is Winifred Keller: us Elizabeth Claiborne: it? Winifred Keller: user Brigette Tadlock: That's Winifred Keller: interface. Elizabeth Claiborne: Okay. Brigette Tadlock: 'Cause uh Stephanie Struble: Mm-hmm. Brigette Tadlock: and I think of voice-activated So some way Winifred Keller: Mm-hmm. Brigette Tadlock: that I can I can find my remote by Winifred Keller: I was thinking about Brigette Tadlock: clapping Winifred Keller: that. Brigette Tadlock: my hands or something Winifred Keller: Then your lights Elizabeth Claiborne: Mm. Winifred Keller: would go off, Brigette Tadlock: uh Winifred Keller: though. Brigette Tadlock: and and so so um But this 's just something. I'm trying to find some bells and whistles 'cause when they talk about tel taking out teletext, it's like, what are we gonna put in? What makes this thing attractive? And it's only for televisions. So we everyth our our competition out there has got these these multiple adaptors where they can use 'em for their V_C_R_s, their D_V_D_s, their their televisions and we're coming out with one remote for television only. And so to Brigette Tadlock we have to Winifred Keller: Yeah. Brigette Tadlock: make this a really special product I I I don't s I really have to say I don't see the market niche for this product. At this price I don't see it yet. I'm I I go along with this, because this is what we're given to try to market, but I I don't see the market niche for this product Elizabeth Claiborne: Hmm. Brigette Tadlock: without without some really sort of something really special to identify it as as unique in the market. Stephanie Struble: But we th that should be design. Brigette Tadlock: Yeah. Stephanie Struble: That should be the design basically. Winifred Keller: Right. Stephanie Struble: I think technology we'd we we're not in the price range to do it. We don't have the money to do it towards t f technology so Brigette Tadlock: Okay. Stephanie Struble: we should we should aim Brigette Tadlock: Have to Stephanie Struble: at Brigette Tadlock: do Stephanie Struble: design. Brigette Tadlock: you have to do it in the box? Stephanie Struble: Yeah. Brigette Tadlock: Okay well, Stephanie Struble: Yeah. Brigette Tadlock: so so that's up to you then to to make this box in something that's absolutely extraordinary. Elizabeth Claiborne: Okay. Brigette Tadlock: Maybe make it in the form of a gun. We can sell it in United States. Elizabeth Claiborne: I have a question uh for you. Does any of the um the features that Pedro's spoken about here have any implications we might not have thought about on in terms of just pure functionality? In terms of making Winifred Keller: I don't Elizabeth Claiborne: it work or the cost of that or Winifred Keller: I think all these things are pretty standard. I think we'll be okay. Elizabeth Claiborne: Okay. 'Kay. Cheers. Onto participant four. Brigette Tadlock: Well you know for marketing f marketing for Brigette Tadlock is uh and uh how do I go here? Okay. Winifred Keller: Mm you can just click. Brigette Tadlock: Go go. Is Winifred Keller: No Brigette Tadlock: that Winifred Keller: no Brigette Tadlock: right? Winifred Keller: no you just get off that. You just click anywhere. Brigette Tadlock: Ah-ha. Yeah, what for Brigette Tadlock is it um I d I don't know what I'm marketing right now, okay, 'til you spoke and when I wrote this, I don't know what I'm marketing. I just know that I I was identified as a a we identified ourselves as a as a developer, as a manufacturer, and as a as a um distributor t to other wholesalers. And so the th the twenty-five Euros that we've identified as the sale price is a wholesale price Stephanie Struble: Mm-hmm. Brigette Tadlock: rather than a retail price. That's what we decided here. Um so what I did is I I decided that that this this needs to be a product in a in a sense can market itself. So what we've identified here as our main marketing stratagem is is in design. We're making the most beautiful attractive uh whatever we decide it is. So that means we have about seven more minutes or ten minutes left. Elizabeth Claiborne: Mm-hmm. Brigette Tadlock: Um so I would like to have a product that that we can sell easily. So I say inspiration, so having something beauty, something attractive, uh something that in a sense will sell itself. Stephanie Struble: Mm-hmm. Brigette Tadlock: Uh innovation I think fits into what we're talking about here with design. Uh cutting edge technology, I don't think we're gonna have that, these were ideas I was putting together, um unless we come up with some New Age product a as far as the casing is concerned. I I wanna make this thing something that I can identify as special in some way, so maybe we can have some I I talked about environmentally sensitive, uh maybe we have a product that can be identified in some way as advantageous in a home. I don't know. These are just thoughts. Uh I wanted to talk about uh who we are as a as a corporation, that we're new, we're aggressive, we're competitive, we're we're trying to provide a product from a new perspective rather than from an old corporate line. So to Brigette Tadlock it's about selling d uh our identity our corporate identity along with the product. Um what I found is that the projected costs are competitive. Stephanie Struble: Mm-hmm. Brigette Tadlock: Uh we're kind of in the middle of the market, but what I'm seeing is that the market is ready for I I identified new technology, but again, because what I see is budget restrictions and limitations, I don't know that we can bring any new technology into this thing. If if we could have a technological something Winifred Keller: I have an Brigette Tadlock: Mm Winifred Keller: idea. Brigette Tadlock: p please. Winifred Keller: And it's kind of along the s lines of environmentally sensitive, and it may even fit into ergonomics, and even kind of address the issue of losing losing the remote, what we were saying it's a common Elizabeth Claiborne: Mm. Winifred Keller: issue. Um what we can do is, well you know that batteries throwing a aw remotes run through batteries like crazy. Elizabeth Claiborne: Yeah. Winifred Keller: Right? And Brigette Tadlock: Solar. Winifred Keller: s for some people Yeah. Well maybe not a solar remote Brigette Tadlock: But solar Winifred Keller: but instead what about if we had like a power cradle? Like a a cradle that is is there to hold the remote when you're not using it, so you'll always know where the remote is 'cause you have to put it back there to charge the remote, and we can, instead of having instead of having, you know, replaceable batteries we'll just have a power cell that stays there for the life of the remote. You never have to get go through the go through uh all these different batteries. And also you can I I think it's a good opportunity for the user design or for not just for the user design, but also for the just for the look and feel of the remote as as a whole. You know you could have some kind of neat little, you know, a sexy design for d a cradle and the remote itself. Brigette Tadlock: Blah, I like it. I like the idea, but we're talking about in cost is gonna probably double. Winifred Keller: It w it would increase the cost. Brigette Tadlock: But boy, we can sell this thing, because there's no batteries, it's environmentally sensitive, i we can identify it as a safer product in some form. Winifred Keller: And you could page the remote if you lose it. Maybe there's a button on the cradle. Brigette Tadlock: Yep, that's right. I really see Elizabeth Claiborne: Now the Brigette Tadlock: But the Elizabeth Claiborne: the question Brigette Tadlock: cost Elizabeth Claiborne: is Brigette Tadlock: i Elizabeth Claiborne: can we make this for less than twelve-fifty per? Brigette Tadlock: No no. No no, we have t we have to change the end cost. There's uh Elizabeth Claiborne: We Brigette Tadlock: I mean Elizabeth Claiborne: we Brigette Tadlock: I don't Elizabeth Claiborne: well do Brigette Tadlock: see Elizabeth Claiborne: we Brigette Tadlock: it Elizabeth Claiborne: necessarily Brigette Tadlock: anyway. Elizabeth Claiborne: have to change the end cost because uh Can we dl can we do that without uh changing it twelve-fifty per product, if we basically can sell more based on this? Brigette Tadlock: Yeah, that's gonna be up to these guys. I Winifred Keller: Well Brigette Tadlock: my reaction is Winifred Keller: what Brigette Tadlock: no, but Winifred Keller: I can do is I can d look into ho well Pedro and I can look into how much this might increase our our costs Elizabeth Claiborne: Mm-hmm. Winifred Keller: and you can look into what kind of effect an increased cost is gonna have on our on our final numbers. Elizabeth Claiborne: Yeah we we can certainly push for a more expensive product Brigette Tadlock: Well, see Elizabeth Claiborne: if Brigette Tadlock: I Elizabeth Claiborne: that's Brigette Tadlock: I Elizabeth Claiborne: gonna Brigette Tadlock: see Elizabeth Claiborne: be Brigette Tadlock: I I'm an advocate to make this an exclusive product. You know, let's let's sell this wholesale for for fifty Euros, sixty Euros. Let's make this thing really exclusive, environmentally sensitive, uh high-tech design, uh ergonomics, all of this. Just make this thing uh, yeah, the the the Rolls Royce of of remote controls. Winifred Keller: I I Brigette Tadlock: Every home's got to have it. If you don't have one, hey what kind of remote do you have? Oh you've got one of those, oh fantastic, I want one of those too. Winifred Keller: Yeah. Brigette Tadlock: I just don't have enough money right now. Winifred Keller: I just don't know about that, because in order to do that in order to price it at that kind of level I think we'd need to have every functionality that all the other competitors are offering like being able to operate, you know, the D_V_D_ player and, you know, the stereo system and all that. Which is a pretty basic function that w we've opted out of. And additionally we're m maybe not supporting teletext um Elizabeth Claiborne: Nah, I think we can say with certainty now that we are supporting teletext. Winifred Keller: But I do think there are some basic features that we don't have that a lot of other remotes are going to have. Brigette Tadlock: Yep, one one thing I don't understand is h they've they've given us this package, okay. Elizabeth Claiborne: Mm-hmm. Brigette Tadlock: Now uh in my opinion we need to give them a package back, okay. They say they say okay here you go. They gave us a fundament a foundation of of what they want, Winifred Keller: Mm-hmm. Brigette Tadlock: and Elizabeth Claiborne: Mm-hmm. Brigette Tadlock: and w it's our place to kinda analyse and evaluate. I don't think it's our place to create their product for them, maybe it is. I don't know what kind of role we have in this in the corporate ladder uh, but to Brigette Tadlock it's like, okay, you have got your here's our ideas, okay. Elizabeth Claiborne: Mm. Brigette Tadlock: And then let them look at those ideas and they say, yeah well, we can we can raise the price twenty percent, you know we like this idea, this idea no, but to Brigette Tadlock it's it's about a choice, do we follow their directives or do we make uh presentations back and and then and then discuss? beca I I do not I do not see the market niche for the product that they're handing f handing us Elizabeth Claiborne: Mm. Brigette Tadlock: right now. I don't Winifred Keller: I don Brigette Tadlock: see it. Winifred Keller: I I d I have to disagree though. I think our market niche is basically people who need who have lost their remote or uh who've broken their remote and don't wanna send back to the manufacturer, they just wanna run out to the store and get a remote, and then they're gonna look on the shelf and they're gonna see ours is the nicest looking remote. It does what they need. These aren't I I think that Elizabeth Claiborne: And Winifred Keller: it Elizabeth Claiborne: and th to get to back to another point, sorry uh uh for cutting in but, I th I think it's important to remember that that this remote has to work with multiple T_V_s, yeah, 'cause it's Winifred Keller: Right. Elizabeth Claiborne: selling on its own. It's not going to be specifically Brigette Tadlock: Right. Elizabeth Claiborne: for Hitachi Winifred Keller: Right. Elizabeth Claiborne: T_V_s or or Brigette Tadlock: No I Elizabeth Claiborne: whatever. Brigette Tadlock: understand that. Elizabeth Claiborne: So technologically, if I understand it, uh T_V_s T_V_ remote's working exactly the same way as video remotes and D_V_D_ remotes. All you need to do is train them to the individual one, all you need to do is is know the the f like some four-digit code. So Winifred Keller: Mm-hmm. Elizabeth Claiborne: saying that it works with all T_V_s is equivalent to saying that it'll work with D_V_D_s Brigette Tadlock: Nope, Elizabeth Claiborne: and Brigette Tadlock: they've identified Elizabeth Claiborne: other things. Brigette Tadlock: the product as not working for anything but televisions. Stephanie Struble: Yeah Brigette Tadlock: They've Stephanie Struble: y Elizabeth Claiborne: Oh okay Brigette Tadlock: identified Stephanie Struble: y Elizabeth Claiborne: okay. Stephanie Struble: you Elizabeth Claiborne: We Stephanie Struble: you Brigette Tadlock: this Elizabeth Claiborne: have Stephanie Struble: wouldn't Brigette Tadlock: product Elizabeth Claiborne: done this. Brigette Tadlock: limita That's why I say I Stephanie Struble: The Brigette Tadlock: don't Stephanie Struble: interface Brigette Tadlock: I Stephanie Struble: will Brigette Tadlock: don't Stephanie Struble: be different. Brigette Tadlock: see the market niche for this. If Elizabeth Claiborne: I see. Brigette Tadlock: we if w if we were going to have a product that worked for D_V_D_s, V_C_R_s and everything, then Elizabeth Claiborne: Mm-hmm. Brigette Tadlock: I can see the market niche, but we we're only identified as going for televisions without teletext. And it's Winifred Keller: Right. Brigette Tadlock: like whoa we ha in my opinion we have to go with something that's extremely exclusive Winifred Keller: Well here's Brigette Tadlock: to make this thing marketable, Elizabeth Claiborne: And I Brigette Tadlock: because Elizabeth Claiborne: I'd Brigette Tadlock: who wants just Elizabeth Claiborne: Mm sorry. Brigette Tadlock: a television Winifred Keller: Right. Brigette Tadlock: remote? I Winifred Keller: We Brigette Tadlock: don't. Winifred Keller: he well here's my thing about that. If you're in the market for this ultimate remote, you're not gonna go for just a television remote. If it can't Brigette Tadlock: That's right. Winifred Keller: control if it can't control your your D_V_D_ player and a al if y if you can't get that all-in-one ultimate remote, that just you can throw all your other remotes away. I'm not gonna buy a d seventy-five Euro remote. Brigette Tadlock: I I I have a tendency to agree with you. I really do. Elizabeth Claiborne: So Brigette Tadlock: That's Elizabeth Claiborne: we Brigette Tadlock: why Elizabeth Claiborne: really Brigette Tadlock: I say Elizabeth Claiborne: can't Brigette Tadlock: I quest Elizabeth Claiborne: chase Brigette Tadlock: I q Elizabeth Claiborne: that. Brigette Tadlock: I question the marketability of the product. I really question Winifred Keller: So I think Brigette Tadlock: where Winifred Keller: what we Brigette Tadlock: we create the demand. Winifred Keller: So Elizabeth Claiborne: We're Winifred Keller: that's Elizabeth Claiborne: really Winifred Keller: what Elizabeth Claiborne: looking Winifred Keller: I'm saying Elizabeth Claiborne: for something basic. The the one thing that that that you said really struck a chord with Brigette Tadlock here in that we're we're carrying the corporate identity with the product, but we're actually looking for a large profit at the same time where I'd be inclined to go back to upper-level management and say like let's just cut down our profit expected on this product because we are actually branding our company here. We're selling more than just the product. We're trying to get mind-share about uh Real Reaction to to the people who are gonna buy consumer electronics. We want people to eventually say, oh that's that's Real Reaction that's a good m make. It's reliable. And and we're gonna make it we're gonna win mind-share by uh either being a fantastic product or for it working, it just being good, reasonable-priced, and solid. So if we can make if we can put an emphasis here on it not breaking I Winifred Keller: Mm-hmm. Elizabeth Claiborne: think that's in itself an Winifred Keller: I Elizabeth Claiborne: extremely Winifred Keller: think that's big. Brigette Tadlock: W okay if Elizabeth Claiborne: big Brigette Tadlock: you Elizabeth Claiborne: thing. Brigette Tadlock: if you drop the cost, now if you make if you make go to the other side of the cost scale, and you make it less expensive, then all of a sudden now we're going into an a a new market area. So we can say low-cost uh uh um Stephanie Struble: Good Brigette Tadlock: uh Stephanie Struble: design. Brigette Tadlock: good design, beautiful, Elizabeth Claiborne: We only have a few minutes Brigette Tadlock: wa-da-da-da-da-da. Elizabeth Claiborne: left. Brigette Tadlock: But what I'm saying is right now we're middle market. Elizabeth Claiborne: Is twenty-five Euros a mid-market price for a remote? Brigette Tadlock: Yeah for Elizabeth Claiborne: Okay. Winifred Keller: I think Brigette Tadlock: for Winifred Keller: so, Brigette Tadlock: multi Winifred Keller: yeah. Brigette Tadlock: for a multi-function remote, that's a mid-market price. In a discount right now you can buy 'em on sale sometimes for about about uh eighteen, nineteen Euro, and that's for Elizabeth Claiborne: Okay. Brigette Tadlock: the multi-functions, uh D_V_D_, V_C_R_, uh catch-alls. And and they have 'em in a little box in the middle, and and this is the consciousness that most people have about replacement remote controls. So to Brigette Tadlock, to market this a t only a television remote control we have to change consciousness. We have to have something that will change people's thinking to identify this as advantageous, and I don't know what that is. It's gotta be low-cost or high-cost with with special design features. Elizabeth Claiborne: Well I'd be inclined to say, if we can make the design better than any comparable remote while reducing the cost, then that's the way we really should play it. Winifred Keller: Yeah. Elizabeth Claiborne: If we can take it down to you know fifteen rather than twenty-five and make a low profit-margin on it, but we're really doing that to sell the brand. Yep we have five minutes left. Uh rather Brigette Tadlock: Or my d Elizabeth Claiborne: th uh to to to sell for Real Reactions. And I can communicate this to to the more senior uh mm people within the company here to to get a reaction. Winifred Keller: What about um the idea that I had with the cradle? How do you feel about that? Or how does Elizabeth Claiborne: Well Winifred Keller: everybody Elizabeth Claiborne: how does Winifred Keller: feel? Elizabeth Claiborne: everybody feel? I Brigette Tadlock: I mean I Elizabeth Claiborne: I think Brigette Tadlock: I well we g we're talking about the other end now. I like it. I like Winifred Keller: No, Brigette Tadlock: the Winifred Keller: but Brigette Tadlock: idea, Winifred Keller: I that's the Brigette Tadlock: but Winifred Keller: thing Brigette Tadlock: we have Winifred Keller: I Brigette Tadlock: t Winifred Keller: I Brigette Tadlock: we Winifred Keller: don't Brigette Tadlock: have Winifred Keller: think Brigette Tadlock: to find Winifred Keller: it's necessarily Brigette Tadlock: out Winifred Keller: the other end. Elizabeth Claiborne: The other the o the problem with that in my mind I just think off-hand as a as a consumer, would I wanna buy that? And I think maybe not because I've got a remote and I'll take it to different chairs, I'll take Winifred Keller: Mm-hmm. Elizabeth Claiborne: it to different I w I don't wanna go over somewhere and put it down. It Winifred Keller: Right. Elizabeth Claiborne: i if it is gonna be somewhere that you put it down then it needs to be at the side of your armchair, and that implies that there's only one T_V_ user. So it's very good for some people but Winifred Keller: Well Elizabeth Claiborne: it's Winifred Keller: it lasts Elizabeth Claiborne: not a like Winifred Keller: it would last for several hours on its own power, but when you're done with it you put it back in the cradle. Elizabeth Claiborne: But it it takes away the ease of use of the remote to a Winifred Keller: Yeah Elizabeth Claiborne: certain extent. Winifred Keller: well it Elizabeth Claiborne: You have to l sort of remember. You Winifred Keller: Mm-hmm. Elizabeth Claiborne: have to d shift down the side of the couch to find it and put it back and Winifred Keller: Mm-hmm. Elizabeth Claiborne: Yeah. I d Brigette Tadlock: Well. Elizabeth Claiborne: I d I d I think it it in my mind it doesn't seem like something that oh I'd really want uh because Brigette Tadlock: Mm. Elizabeth Claiborne: of that fact. But I I don't know, that's just my opinion. Brigette Tadlock: Well, I think again it's it we have a cost issue here. You know if we're gonna go in this direction, to Brigette Tadlock we're going to the other side of the cost range. Are we Elizabeth Claiborne: Mm. Brigette Tadlock: gonna make this selling selling the cost as a high high-tech uh um environmentally sensitive whatever, or are we gonna go to the lower side of the range? Again I don't see our market niche in the middle for our product yet. I don't Elizabeth Claiborne: 'Kay. Brigette Tadlock: see it yet. Elizabeth Claiborne: So what do we think maybe we should Pedro, do you have any opinion on it? Stephanie Struble: Uh we should keep it simple, mm medium-low cost mar um cost area and uh make it look good. Brigette Tadlock: W a question I have in in a 'cause I I I think I agree with you on, we gotta make it a box. The box is gonna sell it I think, Elizabeth Claiborne: Really Brigette Tadlock: the outside, Elizabeth Claiborne: need to wrap Brigette Tadlock: the casing. Elizabeth Claiborne: up now. Brigette Tadlock: Can can can we have multiple designs? Have a modern, have a traditional, have a you know, and so so instead of them all looking the same, people can have maybe four or five different designs they can choose from. I don't know what that creates cost, or Winifred Keller: Well the the problem with that is we may end up with a whole bunch of inventory of a Brigette Tadlock: Yep one Winifred Keller: of Brigette Tadlock: over Winifred Keller: a poor Brigette Tadlock: another. Winifred Keller: design Brigette Tadlock: Yeah, okay, Winifred Keller: you know. Brigette Tadlock: I hear Winifred Keller: So Brigette Tadlock: that. Stephanie Struble: Yeah, complicated but Winifred Keller: Um but what we could do is some kind of well I mean Yeah we we need to, I mean, have a few designs to look at and then come up with something that I think we all agree is, you know, the best fit. I think w what's really important is it has to look good, it has to feel it has to feel good in your hand, Elizabeth Claiborne: Yeah. Winifred Keller: it has to be durable, it has to a and I think it's really important that it doesn't look cheap. I Stephanie Struble: Yeah. Winifred Keller: think I think we have to make sure people look at it an and feel like it its like a quality remote. Even Brigette Tadlock: What ab Winifred Keller: though the cost Brigette Tadlock: what ab Winifred Keller: may be low. Brigette Tadlock: what about a a remote that's that doesn't maybe look like a remote? Just an idea. Winifred Keller: Mm-hmm. Brigette Tadlock: Just just okay 'cause I mean we all know what a remote looks like on the outside. They're selling these things everywhere. Maybe that could be part of our design exclusivity, is we make a remote that doesn't even look like a remote it it opens like a telephone. Winifred Keller: Or what if it looks like a pen? Brigette Tadlock: Doesn't matter, yeah. Winifred Keller: Yeah. Brigette Tadlock: I'm just jus I talking about some Winifred Keller: A pointer? Brigette Tadlock: something to make this thing unique. It That's the thing, I'm gonna keep thumping on. Winifred Keller: Yeah. Brigette Tadlock: I'll sell whatever Elizabeth Claiborne: Mm. Brigette Tadlock: you guys design. Winifred Keller: Yeah. Brigette Tadlock: I don't have a problem selling a product, that's not the issue. I give you ideas, you guys create the product. Once you have the finished product I'll find a way to sell it. Don't worry about it. I just give you these things now, because these are my thoughts and feelings. Stephanie Struble: Okay. Winifred Keller: So just to touch on m my point one last time that I had brought up. Um I really un unless you guys are die-hard against the fact that um it's possible like it reduces the usability of the remote b and the fact that you can't lose it on your own, I think it still might be a good idea to investigate having like Elizabeth Claiborne: Yeah. Winifred Keller: a power cradle. Stephanie Struble: Okay. Yeah. Winifred Keller: Because I really think i in a certain sense it almost like for Brigette Tadlock I would want to have that just, because I know at the end of when I'm done watching T_V_ that when I'm done, oh I better go find the remote and put it back where it belongs. Maybe th th th that's just some people that like that. Elizabeth Claiborne: I mean Winifred Keller: A lot Brigette Tadlock: No Elizabeth Claiborne: there's Winifred Keller: of Elizabeth Claiborne: al Winifred Keller: people Brigette Tadlock: no. Elizabeth Claiborne: there's also remote controls I remember that that worked uh, this hasn't been done in a while I think, but th as a as a watch. Winifred Keller: As a watch? Elizabeth Claiborne: Yeah, there Winifred Keller: Mm Elizabeth Claiborne: is remote Winifred Keller: 'kay. Elizabeth Claiborne: control watches um, but I think they're a sorta eighties thing, so it might not be easy to market in it Stephanie Struble: Yeah Elizabeth Claiborne: uh but the the technologies Stephanie Struble: they are not simple. Elizabeth Claiborne: came along and it might be cheaper to make now. Those things may have been inexpensive for all I know. Winifred Keller: Mm-hmm. Brigette Tadlock: One thing I just thought about when you were saying that, is that the p our target market is gonna be someone who has lost or broken Winifred Keller: That's Brigette Tadlock: We Winifred Keller: what Brigette Tadlock: gotta stop? Winifred Keller: I was saying. Brigette Tadlock: Who's lost Elizabeth Claiborne: Gotta cut Brigette Tadlock: or broken Elizabeth Claiborne: up. Brigette Tadlock: their their remote. So how many remotes do they wanna buy? Can we p can we sell them a remote that can maybe guarantee they will not Winifred Keller: Exactly. Brigette Tadlock: need to buy another one? Elizabeth Claiborne: Mm. Stephanie Struble: Yeah. Brigette Tadlock: And so with with with this kind of system Winifred Keller: Mm-hmm. Brigette Tadlock: or locator or something, to to think about, how have people been been losing or breaking Winifred Keller: Mm-hmm. Brigette Tadlock: their remote? How does this happen? Elizabeth Claiborne: The Winifred Keller: And Elizabeth Claiborne: last Winifred Keller: also Elizabeth Claiborne: remote Winifred Keller: presumably Elizabeth Claiborne: you'll ever buy. Winifred Keller: they've Brigette Tadlock: And and then and then design the product, maybe some component of the product that can identify this as the last one you'll ever need to Elizabeth Claiborne: Well Brigette Tadlock: buy. Winifred Keller: Exactly. Elizabeth Claiborne: if if we're going down that then we can we don't need to go the it it strikes Brigette Tadlock that the locator feature might actually be Winifred Keller: Yeah. Elizabeth Claiborne: uh quite expensive to make. Whereas actually just putting it in a power cradle might not be too expensive at Winifred Keller: True. Elizabeth Claiborne: all because that's just done with mobile Winifred Keller: Right. Elizabeth Claiborne: phones you can just n we Winifred Keller: Yeah. Elizabeth Claiborne: we have Winifred Keller: The locator'll Elizabeth Claiborne: said we have Winifred Keller: definitely Elizabeth Claiborne: actually similar Winifred Keller: be more Elizabeth Claiborne: products Winifred Keller: expensive. Elizabeth Claiborne: that we can take from and potentially cut costs there. Winifred Keller: Mm-hmm. Elizabeth Claiborne: Um need to look into whether we can do that but uh I think we we have some m mobile phone-based products uh checking quickly our Internet. We really need to finish up here. Brigette Tadlock: uh Elizabeth Claiborne: But uh Brigette Tadlock: we can make it in the shape of a coffee pot. Elizabeth Claiborne: Yeah we have the the power-adaptor products. We sell power-adaptor products. So for example Brigette Tadlock: It's Elizabeth Claiborne: there's Brigette Tadlock: uh just Elizabeth Claiborne: nothing Brigette Tadlock: it's Elizabeth Claiborne: stopping Brigette Tadlock: that Elizabeth Claiborne: us Brigette Tadlock: I think it's telling us to stop Elizabeth Claiborne: using Brigette Tadlock: our Elizabeth Claiborne: that Brigette Tadlock: meeting. Elizabeth Claiborne: technology. Yeah. Brigette Tadlock: So we have the c we probably have have on-line in our in our system, we have the ability to create this, we're talking about. Elizabeth Claiborne: Yeah I Brigette Tadlock: A charging Elizabeth Claiborne: think so, Brigette Tadlock: system. Elizabeth Claiborne: without it being too In fact we can cut costs through using the manufacturing that's already gonna be in place Winifred Keller: Right. Elizabeth Claiborne: here. Brigette Tadlock: If if we can create this we have probably five or six or seven really strong marketing characteristics. Winifred Keller: Right. I think one Elizabeth Claiborne: Okay. Winifred Keller: of the things that we can put right on the box is, never buy another battery. Elizabeth Claiborne: Yep. Winifred Keller: You know, something like that. Elizabeth Claiborne: 'Kay. Thanks guys. Stephanie Struble: Yep. Brigette Tadlock: No that's not what I want, I want Oh look it here.

Elizabeth Claiborne reviewed new requirements for the project with the group and discussed their implementation. Stephanie Struble presented the basic components of a remote control device and how they work together. He showed that the size of the chip they will use is dependent on how many complicated functions are included. Winifred Keller stressed that the project should focus on a simple design for the device. The group discussed not being able to include a teletext component, and that the product design would have to be the main selling point of the device. Brigette Tadlock discussed his marketing strategy for the project, again stressing the attractiveness of the product design. Stephanie Struble proposed including a battery charging stand with the device but it was decided that it was not a useful feature. The group continued to discuss the marketing strategy for the device as it would not include many advanced technological functions; they discussed including a guarantee for the remote and using a unique form factor.

amisum

train

Pamela Fleishman: Afternoon guys. It's gonna be. Suzanne Hash: Rock and roll. Pamela Fleishman: Oh. 'Kay. Suzanne Hash: So do we need to re-train Mike on how to put his mic on? Patti Holden: Think Pamela Fleishman: We may Suzanne Hash: Okay, Patti Holden: s Pamela Fleishman: do. Suzanne Hash: can he get it all by himself this time? Pamela Fleishman: I dunno, Patti Holden: Mm. Pamela Fleishman: I'm feeling like a Patti Holden: Pro Pamela Fleishman: big boy. Patti Holden: Probably not, been Suzanne Hash: So Patti Holden: listening too much. He's Suzanne Hash: I believe Patti Holden: getting Suzanne Hash: I Patti Holden: retarded. Suzanne Hash: can fly. Bettie Barnes: Alright Patti Holden: Yay. Bettie Barnes: well we got some exciting stuff for you guys. Patti Holden: Or not. Bettie Barnes: Or not. Patti Holden: Yeah. Suzanne Hash: Just what I needed was something exciting. Remember, I'm an old man. Pamela Fleishman: 'Kay, ready to go? Bettie Barnes: All ready. Pamela Fleishman: 'Kay so Patti Holden: Apparently Pamela Fleishman: we've Patti Holden: I'm Pamela Fleishman: got Patti Holden: old as Pamela Fleishman: our Patti Holden: well. Pamela Fleishman: conceptual design meeting. Hopefully we've Suzanne Hash: Thirty's Pamela Fleishman: all got exciting Suzanne Hash: really young, Pamela Fleishman: ideas Suzanne Hash: eh? Pamela Fleishman: now. Bettie Barnes: We do. Pamela Fleishman: Uh k exciting ideas. 'Kay so here's our agenda our agenda. Um I'm gonna open. I'm gonna talk for a bit about what we're gonna do. I'm gonna take some notes. We're gonna all do a presentation, then we're gonna make some decisions now. Yep. Bettie Barnes: Alright. Pamela Fleishman: Well when I say hopefully, we have to. So I'm gonna let you guys talk before we make decisions. And does anyone really want to go first? Bettie Barnes: I guess I'll go first. Pamela Fleishman: You p two? Bettie Barnes: Yeah. Pamela Fleishman: What's Bettie Barnes: Component, I think. Pamela Fleishman: Components Bettie Barnes: Yeah. Pamela Fleishman: design. Bettie Barnes: Yep that's it. Patti Holden: Presented by name. Bettie Barnes: My name is. Suzanne Hash: Jose he Pamela Fleishman: Your Suzanne Hash: man Pamela Fleishman: name Suzanne Hash: is. Pamela Fleishman: is name? Bettie Barnes: My name is name. Pamela Fleishman: Huh hi Patti Holden: My Pamela Fleishman: name. Patti Holden: name is Inigo Montoya. You killed my father. Bettie Barnes: Sorry Patti Holden: Prepare Bettie Barnes: I did this Patti Holden: to Bettie Barnes: in a bit of a rush. Suzanne Hash: N name. Bettie Barnes: So Pamela Fleishman: Right. Patti Holden: die. Bettie Barnes: so here's a look inside your really old-looking remote control. Um you've got a printed a printed uh circuit board here, and you've got all these buttons which kinda press little rubber nubbies little holes that Pamela Fleishman: We've all Bettie Barnes: activate Pamela Fleishman: broke a remote control ri um s Bettie Barnes: Yeah Pamela Fleishman: yeah. Suzanne Hash: I've Bettie Barnes: we've all broken a remote control. So you've also got um you've got your chip here, your batteries here, and some sorta electronics. Um Suzanne Hash: I just love you tech guys, huh. They just Patti Holden: Yeah there's a thingy and Suzanne Hash: Yeah Patti Holden: a dingy Bettie Barnes: Well Suzanne Hash: y Patti Holden: and Suzanne Hash: do jabber. Pamela Fleishman: You press Bettie Barnes: so Pamela Fleishman: this and Bettie Barnes: you've Pamela Fleishman: it does Bettie Barnes: got Pamela Fleishman: th Bettie Barnes: here's here's a transistor, and this amplifies your signal, um you've got the L_E_D_ here on the end of the uh uh on the end of the printed circuit board. Um you've got a couple diodes here for I don't know who and whatnot. Pamela Fleishman: I dunno Bettie Barnes: So Pamela Fleishman: who and whatnot. Bettie Barnes: exactly. Patti Holden: Nah. Bettie Barnes: So um we've got a i in this in this uh drawing Suzanne Hash: P Bettie Barnes: he uh in this example here, this is a eighteen pin um uh chip Suzanne Hash: Yeah. Bettie Barnes: I dunno. Uh it's two double A_ batteries. This is pretty standard remote. So here are options for our power sources. You can use a basic battery, which we've already discussed, um th our tech department also said we have the option of doing some kind of hand dynamo where maybe you crank it or something like that. I Pamela Fleishman: 'Kay. Bettie Barnes: don't know if that's really Patti Holden: I wanna change that. Bettie Barnes: I don't know we got some qu crazy guys down there in that department so Pamela Fleishman: Okay. Suzanne Hash: I gotta gotta flashlight, and uh Bettie Barnes: You shake it. Suzanne Hash: yeah but it's interesting 'cause you shake it like this. Like this. Bettie Barnes: Yeah. So that's the next bullet is the Suzanne Hash: And Bettie Barnes: um Suzanne Hash: that's on the camera. Bettie Barnes: the kinetic provision of energy, so it's like that flashlight where you have to shake it. Suzanne Hash: Yeah. Pamela Fleishman: 'Kay. Bettie Barnes: Uh we've got solar cells, which I don't think is a very good idea because um you could not use your remote at night which doesn't make a lot of sense. Pamela Fleishman: Mm 'kay. Bettie Barnes: And finally we've got our cradle o our power cradle idea. Pamela Fleishman: Okay so we basically have battery versus cradle Bettie Barnes: M Pamela Fleishman: here? Bettie Barnes: battery versus cradle I think Pamela Fleishman: Okay. Bettie Barnes: is yeah. Patti Holden: I like the kinetic. Pamela Fleishman: So Suzanne Hash: I Pamela Fleishman: we have Suzanne Hash: g I Pamela Fleishman: battery Suzanne Hash: I figured Pamela Fleishman: versus Bettie Barnes: It Suzanne Hash: you Bettie Barnes: could Pamela Fleishman: cradle Bettie Barnes: be Suzanne Hash: would. Bettie Barnes: fun. Suzanne Hash: Yes. Yeah. Pamela Fleishman: It's actually a novel thing because you could sell it a as a novelty, just to be actually serious Bettie Barnes: Yeah. Pamela Fleishman: for a minute here, you Bettie Barnes: Well Pamela Fleishman: could Bettie Barnes: it is it is more uh I mean it is more eco-friendly than the than the cradle 'cause you're still using Pamela Fleishman: Mm. Bettie Barnes: power off the grid with the cradle. So Pamela Fleishman: Hmm. Bettie Barnes: um our case design. We have uh choices in materials and choices in the general shapes that we can do. Our material choices are a plastic latex um ty or plastic, a rubber latex type thing, uh wood, or titanium. If we go with titanium we're gonna be uh limited in the amount of shapes we can do because it's tough to shape the titanium, and uh Yeah pers Pamela Fleishman: Wood wood would ge would give us a little bit of a marketing niche, wouldn't it. Bettie Barnes: I think wood i Pamela Fleishman: Nah. Bettie Barnes: I I can't see anybody Suzanne Hash: It it Bettie Barnes: wanting Suzanne Hash: it Bettie Barnes: to use a wooden remote, it's Suzanne Hash: Uh. Bettie Barnes: just Pamela Fleishman: Okay. Bettie Barnes: anti-technology really, you know. Pamela Fleishman: Hmm. Suzanne Hash: Uh uh to Suzanne Hash in a marketing sense it's not it's not relative. We can we can o we can uh accentuate whatever whatever product you put in there we can find Bettie Barnes: Right. Suzanne Hash: a way to accentuate Bettie Barnes: And what Suzanne Hash: it. Pamela Fleishman: Okay. Bettie Barnes: we may be able to do, and I think this might be the best option is to combine some a couple of these. Um my recommendation personally would be to do some kind of a plastic inner shell with a like a rubber outer shell, to make it um to mak uh like a thick plastic inner shell and a t um kind of a to have that rubber outer shell to make it more durable, and also maybe i I think it feels a little better than the plastic. Pamela Fleishman: 'Kay. Do you get a good grip on the rubber? Bettie Barnes: Yeah Pamela Fleishman: Yeah okay. Suzanne Hash: And Bettie Barnes: um Suzanne Hash: if you make it from that super rubber, when you drop it on the floor it can bounce right back up in your hand. Bettie Barnes: Yeah. Suzanne Hash: You don't even need to lean down to get it. Bettie Barnes: The advantages of working with plastic and rubber is w we we'll have a lot more um options just in terms of shape because you can extrude plastic in basically any shape you want. So um and then we can cover you know the breakable bits with rubber yeah so um Pamela Fleishman: Okay. Bettie Barnes: But basically these are curved and double-curved I I believe that the tech department, in their um in their message to Suzanne Hash, that they were referring to the number of th curves in the bottom. I have no idea exactly what they're talking about, but that's Pamela Fleishman: Okay. Bettie Barnes: what they told Suzanne Hash, uncurved, flat, curved, or double-curved. I would guess this like this pen would be kinda like a double-curved, where it's curved on m m multiple axes, right? I think curved means just curved in one axis and double-curved is curved in two axes Pamela Fleishman: Okay. Bettie Barnes: or surfaces. I Pamela Fleishman: I Bettie Barnes: have Pamela Fleishman: think Bettie Barnes: no Pamela Fleishman: it Bettie Barnes: idea. Pamela Fleishman: might mean something like that sorta shape because a double curve rather Suzanne Hash: Mm-hmm Pamela Fleishman: than Suzanne Hash: yeah Pamela Fleishman: a Bettie Barnes: Oh Suzanne Hash: that's Bettie Barnes: okay Pamela Fleishman: yeah that's Suzanne Hash: yeah Bettie Barnes: oh Suzanne Hash: that's Bettie Barnes: like Suzanne Hash: what Bettie Barnes: a Suzanne Hash: I Bettie Barnes: wave, Suzanne Hash: see. Pamela Fleishman: what. Bettie Barnes: okay. Suzanne Hash: Yeah Bettie Barnes: Alright Suzanne Hash: that's what I see Bettie Barnes: that Suzanne Hash: also. Bettie Barnes: makes sense okay. Um okay, with the interface we have the following options, we can u we can use push buttons, we can use a scroll wheel with an integrated push button, and Suzanne Hash: Ooh. Bettie Barnes: L_C_D_ display, or multiple scrolling wheels. Um so these are all options that the user interface guy can uh has at his disposal to put together a user interface. Pamela Fleishman: Okay. Bettie Barnes: For electronics, we have these very technical um descriptions here. A simple chip, which is the least expensive, but I have no numbers to give you, a regular chip, which is like the medium porridge the medium Pamela Fleishman: D do we have actually Bettie Barnes: expense Pamela Fleishman: any Bettie Barnes: uh Pamela Fleishman: concept of what the difference is between a simple chip and an advanced chip? Bettie Barnes: Yes the difference is, with a simple chip a simple chip will operate oh why doesn't this scroll up? Previous previous, okay. Um Pamela Fleishman: Okay. Bettie Barnes: an advanced chip is required to to operate um the L_C_D_ display, and it didn't say specifically, but I I have a hunch that a regular chip is gonna be the scroll wheel and the multiple scroll wheels. Pamela Fleishman: Okay. Bettie Barnes: So but yeah. Pamela Fleishman: Yeah that makes sense. Bettie Barnes: That's the Pamela Fleishman: So Bettie Barnes: end of my presentation. Pamela Fleishman: presentation from I guess design would go best. Next. Pamela Fleishman: Technical functions or interface concept? Bettie Barnes: I think Patti Holden: Oh interface concept. Pamela Fleishman: Yeah that's it. Yes, but it has your name on it. Patti Holden: Well that doesn't bo bode well for it for it tats as well. Um so, somehow that thing's too big, but um okay um our uh manufacturing division wanted the speech recognition. They say they could put it to work but um we don't think so. Bettie Barnes: No. Patti Holden: No. It it it you'll be you know be affected by Bettie Barnes: If Patti Holden: the by Bettie Barnes: the Patti Holden: the other Bettie Barnes: T_V_ Patti Holden: speech Bettie Barnes: is working, Patti Holden: and Bettie Barnes: yeah. That's just I mean it'll if somebody says up in the middle of a television show, it's gonna change the channel. Patti Holden: Yeah and and fighting Bettie Barnes: So Patti Holden: for the remote would not be fun anymore, and I think that's one of the things we Pamela Fleishman: But Patti Holden: wanna Pamela Fleishman: what if Patti Holden: keep. Pamela Fleishman: you actually had to press a button to make it recognize? So if you pressed it and went, up? Patti Holden: That kinda would Bettie Barnes: Well then why don't Patti Holden: r Bettie Barnes: you just press the up Patti Holden: d Bettie Barnes: button? Patti Holden: yeah. Pamela Fleishman: Man yeah. Patti Holden: That would kind of lose Pamela Fleishman: But if it's just Patti Holden: it. Pamela Fleishman: one thing with a button that you can just go Suzanne Hash: That's right. Bettie Barnes: Even Pamela Fleishman: Up. Bettie Barnes: still there's gonna be interf th there's there still will be interference from the T_V_. It Pamela Fleishman: Yeah, okay. Bettie Barnes: might not be it might not be completely confusing, but I think you'll still y it's still I don't think it's practical at all. I think it's a bad idea frankly. Patti Holden: Yeah Pamela Fleishman: Okay. Patti Holden: so um taking that away, our uh Pamela Fleishman: You guys know your stuff. Patti Holden: the the the rubber but rubber buttons are the more reliable it's the the ones that would al would allow us to to market our product as being you know less prone to damage and more resistant to things like spillage of liquids over it or you know mistreat misuses as it happens to remote controls. Um as for the point that we making about losing it. Well, we wanna small r remote control one side because uh we want it to be cool and uh designed, but um apparently um market shows that bigger s bigger um remotes get less lost, Bettie Barnes: That I Patti Holden: about Bettie Barnes: would believe. Suzanne Hash: Mm-hmm. Pamela Fleishman: Mm. Patti Holden: But um yeah I think we we need to compromise between those two and somehow we'll do that. Somehow. Um so the the what I would propose is something more or less in the uh direction of what is to yo the right of that slide uh but without with a l a less complicated um design, so the numbers, the volume control, and channel control, and teletext access. Uh the volume and channel control can just become those the the four button array as in if it was a round dial. Bettie Barnes: Mm-hmm. Patti Holden: And um if you just think about it as the one to the right but with the numbers and the four buttons plus maybe a centre one with teletext. Pamela Fleishman: So we're suggesting doing a sorta scroll wheel thing for the volume? Patti Holden: Ye no it's Bettie Barnes: That's Patti Holden: not Bettie Barnes: not Patti Holden: i Bettie Barnes: a Patti Holden: i Bettie Barnes: scroll wheel. Patti Holden: it's just Pamela Fleishman: Nah. Patti Holden: four buttons that are on a cross, Pamela Fleishman: Oh okay Patti Holden: so Pamela Fleishman: okay. Patti Holden: that you Pamela Fleishman: I Patti Holden: ba Pamela Fleishman: see. Patti Holden: basically can control all of the Bettie Barnes: Right. Patti Holden: important tasks from that alone. Bettie Barnes: Instead of Pamela Fleishman: Uh, Bettie Barnes: play, Pamela Fleishman: okay. Bettie Barnes: stop, rewind, and fast forward there, that's up, down, louder, and quieter. Pamela Fleishman: Okay. Patti Holden: Yeah um yeah so I think we w we go for something mid-sized, so something looks good and uh is not too prone to get lost. That be it. Pamela Fleishman: 'Kay. So on to Pamela Fleishman: Y functional requirements or trend watching? Suzanne Hash: I dunno. Bettie Barnes: Trend watching Suzanne Hash: Trend Bettie Barnes: has Suzanne Hash: watching Bettie Barnes: a later Suzanne Hash: I guess. Bettie Barnes: date there. Suzanne Hash: Trend watching I believe. Pamela Fleishman: forty six nineteen fifty seven. Suzanne Hash: See Pamela Fleishman: Yep. Suzanne Hash: what it looks like. It's been so long. Well I don't know what to say. When I s when I see the when I see the product I I I I don't wanna buy it. I see so many of 'em out there. There's nothing about that product that makes Suzanne Hash wanna choose that product over other products that are out there. Bettie Barnes: Are you talking about the picture? Suzanne Hash: Yeah yeah. Bettie Barnes: That's not our that's not our b design, that's just Suzanne Hash: Okay. Bettie Barnes: a that's just something he a a graphic he used to show you the layout Suzanne Hash: Okay. Bettie Barnes: of what the layout of the buttons might be like. Suzanne Hash: Okay 'cause 'cause right now I don't have too much to say about how to market this product because we don't have a product to market yet. And Pamela Fleishman: Mm. Suzanne Hash: uh from from talking to Mike is that we have we have uh we can market a more expensive product now. That's what I understand Pamela Fleishman: Upper Suzanne Hash: so, Pamela Fleishman: management said yes. Suzanne Hash: hello. Pamela Fleishman: Uh e excuse that, that's a bit of spam. Suzanne Hash: And and so yeah I'm a I'm a little bit stuck right now in that what uh w what is it that I'm gonna market? Uh without special or increased marketable features I don't believe the product has a consumer demand. Uh I like the idea of of the scroll makin there are so many people making these products at this price right now. What are we gonna do to make this one special and unique? Bettie Barnes: What's special and unique about a scroll? Suzanne Hash: Uh well I don't Pamela Fleishman: It's cool. Suzanne Hash: yeah it's I I just see it as different. I don't say it's specially mm I don't say it's special. Uh I say that it's different I what I'm looking for as marketing is m give Suzanne Hash something different. I give Suzanne Hash a lower price, give Suzanne Hash a higher price, give Suzanne Hash some new technology, don't give Suzanne Hash the same thing that everybody else is putting out there on the shelf it's f at the same price. I need something to market about this thing. We're we're a new Pamela Fleishman: I'd Suzanne Hash: firm. Pamela Fleishman: I'd say though that we if we did make the decision to go with the cradle though, Suzanne Hash: What Pamela Fleishman: the then we Suzanne Hash: i Pamela Fleishman: have that Suzanne Hash: if Pamela Fleishman: as Suzanne Hash: when Pamela Fleishman: well, but Suzanne Hash: when we Pamela Fleishman: wi with Suzanne Hash: have Pamela Fleishman: a similar Suzanne Hash: yeah when we when we have something like the cradle or or something give that's as as a marketing standard I need something to market, to make Bettie Barnes: Well Suzanne Hash: this product unique. Bettie Barnes: right I think the two big th points that we have so far are the having the cradle and also having uh the um the actual design of the uh case itself having like this like rubber shell maybe with a plastic Suzanne Hash: Yep. Bettie Barnes: interior, having it look really nice um and also be really durable. Suzanne Hash: Mm 'kay. Just remember when I made up this report I didn't have the information that we're discussing here. Bettie Barnes: Right Pamela Fleishman: Mm. Bettie Barnes: yeah. Suzanne Hash: And Pamela Fleishman: Course. Suzanne Hash: and Bettie Barnes: Yeah. Suzanne Hash: so so uh yeah when we have a cradle, when we have some kind of design, so what I'm saying is, from my perspective, I don't have a product to market right now. Um uh my personal preference is that we make some adjustment in the cost, either lower or develop an integrated new technol technology. That's that is the next step, there's technology and then there is technology, Pamela Fleishman: Yeah Suzanne Hash: which Pamela Fleishman: 'cause Suzanne Hash: we're Pamela Fleishman: that's. Suzanne Hash: moving into the next phase. And so uh we're gonna have some new technology to enhance the marketability. Yeah uh again I'm not sold on the product because we don't have a product in my opinion Pamela Fleishman: Mm. Suzanne Hash: yet. So Pamela Fleishman: Mm 'kay. Suzanne Hash: I Bettie Barnes: Well Suzanne Hash: need Bettie Barnes: let's Suzanne Hash: a product. Bettie Barnes: get a product then. Suzanne Hash: I need a product to market. And I just whatever product you guys put together, we'll find a way to market it. Tha that I'm not concerned with. Pamela Fleishman: So now Suzanne Hash: If you if you give Suzanne Hash if you give Suzanne Hash a cut-out of what everybody else has then I need to I need to find a lower cost. Pamela Fleishman: So our big questions here really are cradle or not cradle? Do we go basic or do we go for features? Uh d does anyone really wanna do anything with the scroll wheel or should we ditch that Bettie Barnes: Well my question Pamela Fleishman: off-hand Bettie Barnes: is what Pamela Fleishman: first? Bettie Barnes: would the scroll wheel do? Function-wise, what does that do that Pamela Fleishman: Oh but that was in your presentation so wh what would you imagine Suzanne Hash: Yeah Pamela Fleishman: it doing? Suzanne Hash: wh wh what's the wh Bettie Barnes: Yeah. Well it's it's just another way to do the exact same thing that the buttons do. Pamela Fleishman: Mm 'kay. Suzanne Hash: Okay now Patti Holden: But Suzanne Hash: what Patti Holden: would Suzanne Hash: I see Patti Holden: we Suzanne Hash: with the scroll wheel is everybody has buttons. So from a marketing standpoint I have I have another door to walk through when we have something that's unique. Pamela Fleishman: Yeah. Suzanne Hash: If it creates something more complex or more expensive, then I don't know if that makes it uh a marketing necessity. But again, from a marketing perspective I want as much new and different about this thing as possible because we're we're co it's a very competitive market. Pamela Fleishman: What I understand about scroll wheels is they're they're quite expensive to Bettie Barnes: Yeah. Pamela Fleishman: to make. Bettie Barnes: Th Pamela Fleishman: So I d Bettie Barnes: they are gonna be more expensive, but on the other hand, I mean, it I mean it is an alternative if if you think that's gonna sell some some uh you know if if we're gonna make up the extra cost by extra sales I think maybe it's worth it to do it, but I mean I would just use if I was gonna do this I would just use the scroll wheel for s channels up and channels down. I don't think volume or do you think volume would be Patti Holden: I dunno. I'll bet first in volume maybe. I dunno. Bettie Barnes: No we can we can do multiple scroll wheels but Pamela Fleishman: Well I d I like the idea of basically focusing the my personal preference is focusing the p the product on the idea of the uh the case the the uh dock to put it in to to charge it. We can target like environmentally friendly ideas, that Suzanne Hash: Mm-hmm. Pamela Fleishman: sorta things. It s i m makes it easy Suzanne Hash: Yeah yeah. Pamela Fleishman: to market, it's Suzanne Hash: I Pamela Fleishman: easy Suzanne Hash: think Pamela Fleishman: to differentiate Suzanne Hash: it's Pamela Fleishman: the product, Suzanne Hash: that's right. Pamela Fleishman: yeah so. Suzanne Hash: I think so. Pamela Fleishman: And if we we keep the rest in a format that is durable because th th the whole product's gonna need to be more durable th thus Bettie Barnes: Mm-hmm. Pamela Fleishman: because you're not going to be ditching it as often. It's gonna need to be more expensive because of the cradle. Suzanne Hash: Mm. Pamela Fleishman: So if we can market it in terms of Suzanne Hash: Yep. Pamela Fleishman: that and yeah Suzanne Hash: I Pamela Fleishman: well Suzanne Hash: think we got some exclusivity in that, you know, we got something that nobody Bettie Barnes: Yeah. Suzanne Hash: else has right now, adjustments in the retail or wholesale price if we need to and it also can create it's own demand from it's uniqueness. Pamela Fleishman: So our big decision then is like how do we do um like we have to decide on the details and we have to decide on well n not exactly the details, but d do we have uh What type of casing? I personally like what you were saying about the plastic with the rubber. Bettie Barnes: Mm-hmm. I'm thinking yeah something like kinda almost like these pens, you know, where there's you have plastic bits and then it's not really rubber but just kinda like a fused the plastic with rubber on the outside. Pamela Fleishman: Okay. Just a very thin sorta sheet for a a grip, sorta Bettie Barnes: Well no Pamela Fleishman: thing Bettie Barnes: ma Pamela Fleishman: or Bettie Barnes: yeah Pamela Fleishman: for Bettie Barnes: maybe a bit more then th is on here but ju just as a kind of an inspiration, these pens I think are are kind of Pamela Fleishman: Okay. So then if we d d do we want to do anything more basic with the uh more advanced with the user interface in terms of do we want to go for um buttons, or do we want if we're ditching the scroll wheels do we want to go L_C_D_? Do we want to give do we want to have anything else on it? Patti Holden: It's only a T_V_. Bettie Barnes: Or from from my perspective I think L_C_D_ is a mistake because this is a universal remote and all you're doing I mean it's you're not gonna get any information back from the television, so the only information you can display on this remote is what channel you just sent it at last and there's just not a lot of information, you know, there. Patti Holden: Hmm. Bettie Barnes: It Pamela Fleishman: Okay. Bettie Barnes: receives no information. So I I don't see any reason for having an L_C_D_ 'cause it's an increased cost. Unless Suzanne Hash: Yeah. Bettie Barnes: you can think of something interesting to do with it. Suzanne Hash: Yeah right now there's right now there's nothing coming out of the T_V_ to receive, so Bettie Barnes: Right. Suzanne Hash: you know unless technology changes and information starts coming out of the a cable box or something there's no s I don't see the, I don't see the necessity of an L_C_D_ either. Don't see it. Pamela Fleishman: Okay so the question is now I guess we need t to decide on well y you guys basically have to now go and figure out the details of this thing. of marketing and uh project management are are there any other questions that we need to answer now before you guys can go and build this? What what overall things have we not decided on? Bettie Barnes: Well we have to I think for Suzanne Hash it's still not exactly clear exactly what the inter user interface is gonna be. There's the scroll wheel, in or out? What do you guys like in the user interface? Pamela Fleishman: I think maybe in terms of marketing, is that gonna make enough of a Suzanne Hash: Again. Pamela Fleishman: difference to justify the cost? Suzanne Hash: Well I think it's it's the more uniqueness you can bring to the product, the easier it is, I believe, for Suzanne Hash to market. Uh again the push-buttons I I see are are everywhere. And so we can go with the same thing, but we're gonna be com competing in a in a broader market than if we go with something unique. You know the other thing I thought about was you know, do we go to something like this? Make a remote that doesn't look like a remote. It's just another it's just a an idea, and I don't know Bettie Barnes: Well I dunno about like the flip-phone idea, because I think, as far as durability th it's not a big well Suzanne Hash: I Bettie Barnes: maybe Suzanne Hash: mean what Bettie Barnes: when Suzanne Hash: I Bettie Barnes: it's Suzanne Hash: see Bettie Barnes: closed. Suzanne Hash: one of the things one of the things you brought up in Bettie Barnes: Mm-hmm. Suzanne Hash: an earlier presentation is, when you got children, their their stuff gets inside the circuitry, they get dirty, they get messy with drinks and stuff. This Bettie Barnes: Mm-hmm. Suzanne Hash: And what I keep throwing out there I just keep throwing out ideas to try to make this thing look or act or in some way identify itself as unique or different. Patti Holden: Mm-hmm. Suzanne Hash: But you guys are the ones that have to c ultimately create the product within cost. Pamela Fleishman: Yeah and I guess th th the question th th that you're being asked right now is whether is the dock enough of a unique feature to be able to go out and sell that a a as a a very different product, or do we really need the scroll wheel as well? Because Suzanne Hash: Oh Pamela Fleishman: the scroll Suzanne Hash: okay Pamela Fleishman: wheel comes at quite Suzanne Hash: phew. Pamela Fleishman: a cost. Bettie Barnes: Yeah. Suzanne Hash: I think you gotta g get into cost effectiveness. I think if you can have the base station with a with a locator, I think those are two very strong features, if Bettie Barnes: Well Suzanne Hash: that's something that can be integrated Bettie Barnes: The Suzanne Hash: without a bunch of extra cost. Bettie Barnes: The locator's gonna require a radio transmitter, which Suzanne Hash: Mm-hmm. Bettie Barnes: will Pamela Fleishman: That's gonna n is that gonna need a better chip as well? Bettie Barnes: Um Patti Holden: No Bettie Barnes: we're Patti Holden: it's Bettie Barnes: probably Patti Holden: just Bettie Barnes: gonna Patti Holden: different. Bettie Barnes: have to go with a like a medium chip, s I would imagine. But we I we will need a receiver, an antenna. Suzanne Hash: Integrated, yeah. Bettie Barnes: Yeah. Suzanne Hash: So it's just uh I I think that's Bettie Barnes: It should be a really simple signal though so Suzanne Hash: I know personally that would be a very attractive feature, is to have a uh have a button I can push to find my remote control. Pamela Fleishman: And it's presumably gonna need a little speaker in it or something like that as well to beep. Bettie Barnes: That's true yeah. Pamela Fleishman: But I guess a little tiny speaker is gonna be quite cheap, it's not gonna need q quality, Bettie Barnes: Oh yeah Pamela Fleishman: is it? It's Bettie Barnes: yeah. It'll be really cheap. Suzanne Hash: Or maybe you can like have a a smell-o-rama, you know you push a button and it s puts out a stink. You can Patti Holden: Maybe not. Pamela Fleishman: Makes your living room more fresh as Suzanne Hash: Yeah Pamela Fleishman: you watch. Suzanne Hash: yeah yeah yeah. Pamela Fleishman: Okay we're Patti Holden: S Pamela Fleishman: doing well for time here. Um we've got about another ten minutes. I think that uh Bettie Barnes: So the scroll wheel, in or out? Pamela Fleishman: Mm pr my personal preference is out. I don't think the cost is justified for a little bit more uniqueness when we already have that, and I don't s think Patti Holden: Yeah. Pamela Fleishman: it's obvious and natural how it would be used. Patti Holden: Yeah I think we have like and it's not very usable and it will bring down the robustness of the whole thing, 'cause Pamela Fleishman: Mm. Patti Holden: it's Suzanne Hash: Yeah. Patti Holden: it it breaks down easier. Bettie Barnes: For Suzanne Hash I think the scroll wheel actually might not be so bad. I don't know exactly what the increased cost is gonna be, but I think he does have a point, i it might push somebody over the edge when they're looking at our at our remote versus something else, when they see this one has a scroll wheel to go up and down on the channels. I think it might be kinda neat to be able to do it like that. Pamela Fleishman: But Suzanne Hash: W Pamela Fleishman: then that that surely d depends a little on the T_V_ because some T_V_s are quite slow at changing channels from Bettie Barnes: Sure. Pamela Fleishman: like so if you've got a scroll wheel and you s you have to scroll scroll it really really slowly just so that you're actually keeping in pace with the T_V_'s ability to to change channels. Or Suzanne Hash: Yeah. Pamela Fleishman: do you have to go through and you wait for it? You scroll it a bunch of times and you wait Bettie Barnes: Well Pamela Fleishman: for Bettie Barnes: I Pamela Fleishman: it Bettie Barnes: think Pamela Fleishman: to Bettie Barnes: wh what it would be is like like the m like this, where it's maybe you know a digital wheel, Pamela Fleishman: Mm. Bettie Barnes: right, where it's where it's quantized into you know certain Suzanne Hash: Oh Pamela Fleishman: Uh Suzanne Hash: yeah. Pamela Fleishman: I see I see. That's where you Suzanne Hash: Yeah. Bettie Barnes: That was that was my my intuition Pamela Fleishman: Ah I see Bettie Barnes: of what the Pamela Fleishman: I see Bettie Barnes: scroll Pamela Fleishman: what you're Bettie Barnes: wheel Pamela Fleishman: talking Bettie Barnes: would be. Pamela Fleishman: about now. Okay. Bettie Barnes: It's just it's basically it it's just a f look and feel thing. It has the same exact functionality as two buttons. Suzanne Hash: I I think there's you know that uh there are so many people today that are that are surfing are television surfers, and I see the scroll as a as a great mechanism for surfing. Instead Pamela Fleishman: Yeah Suzanne Hash: of going Pamela Fleishman: if you're Suzanne Hash: button-to-bu Pamela Fleishman: just sitting there going Suzanne Hash: you just j you'd j j j j j j. Bettie Barnes: Yeah. Suzanne Hash: I Pamela Fleishman: That's Suzanne Hash: really Pamela Fleishman: kinda cool actually. Suzanne Hash: I really think Pamela Fleishman: I like Suzanne Hash: that's Pamela Fleishman: that. Suzanne Hash: a really cool thing for surfing. Bettie Barnes: Now just just so you know though uh you did bring up a point which is very valid, is a lot of T_V_s won't re the T_V_s won't respond exactly the same. Some of them are gonna be kinda slow switching, so you may like queue up like fifteen channel changes, and it'll be like flip, flip, flip. Suzanne Hash: Well there's Bettie Barnes: But Suzanne Hash: ano Pamela Fleishman: Well not n necessarily. You could basically make it so that it'll I mean it's just gonna be sending a signal to the T_V_ yeah Bettie Barnes: Right. Pamela Fleishman: the T_V_'s Suzanne Hash: That's right. Pamela Fleishman: ge so if you send about five flip channels, if you did that it's gonna flip once. If Bettie Barnes: Yeah Pamela Fleishman: you Bettie Barnes: it Pamela Fleishman: do Bettie Barnes: just Pamela Fleishman: that. Bettie Barnes: might be frustrating where you Pamela Fleishman: Other Bettie Barnes: can't Pamela Fleishman: than Bettie Barnes: make Pamela Fleishman: click Bettie Barnes: it go Pamela Fleishman: click Bettie Barnes: as fast Pamela Fleishman: click. Bettie Barnes: as you want, but I think Pamela Fleishman: Yeah. Bettie Barnes: once people get used to it I I do like the idea of the scroll wheel though. Pamela Fleishman: And if we're marketing it as a high niche product, then we're gonna be selling it to people who are buying good T_V_s as well, yeah, presumably. Patti Holden: Mm-hmm. Suzanne Hash: Yeah I think Pamela Fleishman: Primarily. Suzanne Hash: so. I I Patti Holden: Yep. Suzanne Hash: think so. Now the the only thing I I on the interface side of it, is that I I I see the dilemma. But if we have the option of of scrolling at any particular speed, or the option of jumping direct, okay. Pamela Fleishman: Mm-hmm. Suzanne Hash: So I can go uh presuming I have, on my television, something that tells Suzanne Hash what channel I'm on, I can scroll direct from channel five to channel thirty two. I know what because it's on the television. The television tells Suzanne Hash what channel it's on when I change it. So I don't know that really that's that's gonna be a a d problem, 'cause the television can go automatically from channel five to channel thirty two with the push of a button. Pamela Fleishman: Mm-hmm. Suzanne Hash: Okay? So ca can we can we create that kind of interface within a scroll system? You understand what I'm saying? Bettie Barnes: I think I know what you might be getting at, or Pamela Fleishman: Oh Bettie Barnes: or Pamela Fleishman: I see so if maybe if we had an L_C_D_ up the top that just did a number on it, right? Suzanne Hash: Oh Pamela Fleishman: And Suzanne Hash: no Pamela Fleishman: then Suzanne Hash: we Pamela Fleishman: it Suzanne Hash: could read Pamela Fleishman: that Suzanne Hash: it Pamela Fleishman: basically Suzanne Hash: from Bettie Barnes: Well, Suzanne Hash: the television. Bettie Barnes: what about this what Pamela Fleishman: Mm. Bettie Barnes: about if you can programme in your favourite channels into this scroll wheel and you can just like roll through your favourite channels, Pamela Fleishman: Well that's Bettie Barnes: and Pamela Fleishman: quite Bettie Barnes: it c Pamela Fleishman: cool. You'd Bettie Barnes: it Pamela Fleishman: need a display on the th Bettie Barnes: Why? Pamela Fleishman: the thing. Bettie Barnes: It'll tell you when you flip the Suzanne Hash: Yeah Bettie Barnes: channel Suzanne Hash: the Bettie Barnes: on the Suzanne Hash: the television Bettie Barnes: T_V_. Suzanne Hash: can tell you. Bettie Barnes: Yeah. Suzanne Hash: Can. Pamela Fleishman: Oh yeah yeah no I see what you're talking about. Yeah that's kinda cool. How would you program it though? Bettie Barnes: Well you just it's one extra button. You Suzanne Hash: Put Bettie Barnes: say programme start, and then type in 'cause you still have the typing you know you'll still have the keypad where you Pamela Fleishman: Okay Bettie Barnes: can type Pamela Fleishman: okay. Bettie Barnes: 'em in manually. So programme start, zero, one, enter, zero, five, enter, thirty eight, enter, programme end. Suzanne Hash: And then. Pamela Fleishman: Okay and yeah and that just basically flips between it and it'll go Bettie Barnes: Mm-hmm. Pamela Fleishman: it sends out zero, five, and then thirty six, and then Bettie Barnes: Mm-hmm. Pamela Fleishman: zero, one again. Yeah that's kinda cool. I like that. Suzanne Hash: And again we have another another great marketing tool. We have about three we have three or four Pamela Fleishman: That's Suzanne Hash: things Pamela Fleishman: not Suzanne Hash: here. Pamela Fleishman: gonna be too expensive because that's gonna be you're gonna be able to nab that off of computer mouse manufacturers really. Bettie Barnes: Mm-hmm. Pamela Fleishman: You could basically come up with a partnership to be able to produce that quite cheaply. Suzanne Hash: I dunno and Patti Holden: Yeah. Suzanne Hash: an maybe we maybe even have this as in-house technology. This may be something that's available through our own uh through our own services. Pamela Fleishman: Might be, but tha that's not gonna be such a costly feature. The problem we're gonna have is making it robust. Bettie Barnes: Oh well Pamela Fleishman: Making Bettie Barnes: we also Pamela Fleishman: it last. Bettie Barnes: have to determine in some manner how to switch between modes, between going through your favourites list and just hitting up one, up Suzanne Hash: Or Bettie Barnes: two. Suzanne Hash: we go directional up Pamela Fleishman: So if there's Suzanne Hash: we Pamela Fleishman: a button Suzanne Hash: go we go Pamela Fleishman: for Suzanne Hash: this Pamela Fleishman: each Suzanne Hash: we Pamela Fleishman: type. Suzanne Hash: go this we go this way for one, we go this way for the other. Bettie Barnes: No because you wanna be able to go up and down through the channels. Pamela Fleishman: Yeah people are gonna Suzanne Hash: Ah-ha Pamela Fleishman: have their favourite Suzanne Hash: okay. Pamela Fleishman: sorta, whether Suzanne Hash: Okay, Pamela Fleishman: they do that Suzanne Hash: okay, Pamela Fleishman: or whether they Suzanne Hash: well then you Bettie Barnes: Right. Suzanne Hash: just have, you have a diff you have a mode Bettie Barnes: I think Suzanne Hash: switch. Pamela Fleishman: Yeah Bettie Barnes: we'll need Pamela Fleishman: yeah Bettie Barnes: a Pamela Fleishman: the mode switch. Bettie Barnes: we'll need a mode switch, but then if we have a mode switch we're gonna need some kinda indicator Pamela Fleishman: Just Bettie Barnes: to Pamela Fleishman: the Bettie Barnes: which, Pamela Fleishman: lights behind Bettie Barnes: an Pamela Fleishman: the Bettie Barnes: L_E_ Pamela Fleishman: buttons. You Bettie Barnes: an Pamela Fleishman: could have Bettie Barnes: L_E_D_ Pamela Fleishman: back-lit buttons maybe. Bettie Barnes: okay. Pamela Fleishman: Would Patti Holden: Yeah. Pamela Fleishman: that work? Is Bettie Barnes: Okay. Pamela Fleishman: that okay we have five minutes. So right details th that we've talked about here are that we want a scroll wheel. We want a mode indicator. We want back-lit buttons. And if we're making back-lit buttons period, do we want that just for the mode indicator or maybe to indicate what button you're pressing at the time, so that you know if it's actually pressed or not. I've seen some remotes do that. Bettie Barnes: Okay. Just so you know I think I mean it was my understanding that before we were gonna stay in the mid-market range. It seems we're kind of approaching a higher-end Suzanne Hash: Yeah Bettie Barnes: range. Suzanne Hash: yeah. Pamela Fleishman: I think Bettie Barnes: I wanna make Pamela Fleishman: we Bettie Barnes: sure Pamela Fleishman: are Bettie Barnes: everybody's Pamela Fleishman: yeah. Bettie Barnes: okay Suzanne Hash: Well you Bettie Barnes: with Suzanne Hash: had acknowledged Bettie Barnes: that. Suzanne Hash: that we have more money for this. Pamela Fleishman: Yeah Suzanne Hash: Didn't you Pamela Fleishman: well Suzanne Hash: say Pamela Fleishman: we don't Suzanne Hash: so? Pamela Fleishman: have it's not that we have more money, we can push up the the price. Suzanne Hash: That's what I mean. We can Pamela Fleishman: Yeah. Suzanne Hash: increase the cost. Bettie Barnes: Okay. Suzanne Hash: So Pamela Fleishman: 'Kay. Suzanne Hash: I don't know I don't Bettie Barnes: I just Suzanne Hash: know Bettie Barnes: wanna Suzanne Hash: whether Bettie Barnes: make Suzanne Hash: having Bettie Barnes: sure everybody's on board with it. So Pamela Fleishman: Yeah. So we really need to be sure as to what we can push the cost up to, though we haven't got to a stage where we're ready to pin down the price of components. But I'd say what sorta price are we looking to be able to sell something like that, and what sorta price can we make it for? Suzanne Hash: Well I think th I think the design and technology has to come back and say, okay to create this product we see it's gonna cost us this much for this volume, because we do have a volume target of of fifty million profit. Pamela Fleishman: Yeah no I I think that's where we really should be more flexible than anything else because as we said in the last meeting, our management is really looking for us to push our brand. Bettie Barnes: Right. Pamela Fleishman: We're entering a new market here, so I think the the profit expectation for this one product is maybe not as important as being able to Suzanne Hash: Okay I'm I'm okay with that. I guess what I just want to Suzanne Hash the next step is for these guys to come come in with the design proposal w with the cost estimate attached, and then we have to take this to the next Pamela Fleishman: But Suzanne Hash: level. Pamela Fleishman: th what's our ballpark as to what we'd be able to sell something Bettie Barnes: Well Pamela Fleishman: like this Bettie Barnes: y yeah. Pamela Fleishman: for? Bettie Barnes: Let's let's try Suzanne Hash: We have Bettie Barnes: and think Suzanne Hash: to find Bettie Barnes: now, Suzanne Hash: cost. Bettie Barnes: how much would you pay for with all these features how much would you pay if you went to the store, and you were in the market f to replace your T_V_ remote, how much would you pay for that? Pamela Fleishman: But you've gotta think who our target market is because Bettie Barnes: I'm just asking Pamela Fleishman: I I'm Bettie Barnes: you. Pamela Fleishman: not our target market. I'm a student, but Bettie Barnes: If Pamela Fleishman: on the other hand I would think, mm with my Project Manager salary, I Bettie Barnes: Then Pamela Fleishman: would Bettie Barnes: you could probably Pamela Fleishman: think Bettie Barnes: afford Pamela Fleishman: yeah Bettie Barnes: this. Pamela Fleishman: I could probably afford this uh would I buy it? Maybe. If I had a cool new T_V_ and this was r looking really slick and it had the dock and it had the scroll wheel, which I think's a really cool idea, that would sell Suzanne Hash on it a little. Then maybe you know. I do I don't think I'd go over a hundred Euro certainly, Bettie Barnes: Oh Pamela Fleishman: that would Bettie Barnes: no Pamela Fleishman: be way Bettie Barnes: no. Pamela Fleishman: too much, but the I would be happy paying over forty for it, I guess, Bettie Barnes: I would say thirty Pamela Fleishman: but not Bettie Barnes: five Pamela Fleishman: much Bettie Barnes: to forty. Suzanne Hash: Yeah, I was gonna say thirty five to fifty. Pamela Fleishman: 'Kay. Thirty five to fifty Euros is our sales bracket okay. Bettie Barnes: Okay. Pamela Fleishman: So Suzanne Hash: Because Pamela Fleishman: the question Suzanne Hash: one of Pamela Fleishman: is Suzanne Hash: th Pamela Fleishman: what Suzanne Hash: one Pamela Fleishman: we ca Suzanne Hash: of Pamela Fleishman: we Suzanne Hash: the Pamela Fleishman: make Suzanne Hash: things Pamela Fleishman: it Suzanne Hash: we're Pamela Fleishman: for. Suzanne Hash: marketing about this product is that this is the last one you will ever need to buy for Bettie Barnes: Right. Suzanne Hash: your television. Pamela Fleishman: Mm. Suzanne Hash: It's one of the marketing features in this. Pamela Fleishman: That's why the scroll needs to be really robust. Patti Holden: Okay so we'll come up with something between thirty five and fifty that is rug rubber, robust, with scroll wheel, with the new facilities of the scroll wheel like favourite stuff, favourite channels, Suzanne Hash: Mm-hmm. Bettie Barnes: With Patti Holden: and Bettie Barnes: a cradle, radio Patti Holden: and Bettie Barnes: transmitters, Patti Holden: with a cradle, and yeah and the locator. Bettie Barnes: and back-lit buttons. And it's gonna look sexy. Patti Holden: Or not. Bettie Barnes: Or not. It might look like clay. Patti Holden: Okay so you can market Suzanne Hash: Yeah yeah. Patti Holden: pe depending Suzanne Hash: Bas th that's Patti Holden: on that? Suzanne Hash: that's easy. That's that's not a, it's a. 'Cause we have about six, six, seven features in that alone. Pamela Fleishman: Yep. Suzanne Hash: Under Patti Holden: Cool. Suzanne Hash: the title of uniquenesses. Patti Holden: Hmm. Pamela Fleishman: Okay. The next meeting starts in thirty minutes, although does it? It starts at three twenty one, the next meeting. So we've got more than a thirty minutes. Um we've got Suzanne Hash: Well Pamela Fleishman: more Suzanne Hash: I have Pamela Fleishman: like fifty. Suzanne Hash: Is my three twenty one is the next meeting? Pamela Fleishman: The the ne next meeting is three twenty one yeah. Suzanne Hash: That's that's almost uh fifty minutes. Pamela Fleishman: Yeah that is. Uh Suzanne Hash: You guys Pamela Fleishman: they've Suzanne Hash: can Pamela Fleishman: they've changed the times from the presentations. Suzanne Hash: You guys you guys can uh create a All Bettie Barnes: Probably. Suzanne Hash: kinds of things. Bettie Barnes: We'll let you know when we're done, if we can go earlier. Suzanne Hash: Thanks, yeah. Pamela Fleishman: Okay so you guys will be getting your modelling done now Bettie Barnes: Yeah. Pamela Fleishman: and uh Okay are there any other questions with regards to what this thing's gonna do, look like, how it's gonna work that need to be addressed before we really look at this in a lot of detail? Bettie Barnes: I don't think so. If we have any questions we'll just email you I guess. Pamela Fleishman: Okay. Patti Holden: Yeah I think it pretty much everything's covered. Pamela Fleishman: Okay. This one was quite easy. Patti Holden: Coulda been worse. Suzanne Hash: Still. Pamela Fleishman: Always the optimist. Patti Holden: Yes I am. Pamela Fleishman: 'Kay thanks guys. Suzanne Hash: Thank you. I don't have any emails. This means I can go home. Oh, we all leave.

Patti Holden presented an overview of the internal components of a remote control device. He discussed energy source and material options, and suggested that using rubber and plastic would be the most versatile option. He displayed the three options for chips. Bettie Barnes discussed voice recognition with the group, and the group decided to not use it in their design. He suggested using rubber buttons because of their durability. He discussed the size of the device and the layout of the interface, and suggested that the remote be moderately sized to prevent its getting lost. Suzanne Hash expressed concern that the remote lacked enough features to be distinctive. The group had a discussion to decide on the product features. They decided to include a charging stand, to use a thin rubber casing material, to include a locator function and a scroll wheel with two channel-changing options to increase its usability. The group discussed the cost of the various components and decided to sell the device at a point between thirty-five and fifty Euros. Bettie Barnes and Patti Holden were instructed to construct the prototype.

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Joy Williams: So we can start? Olene Agosto: Yeah. Joy Williams: Suppose I have to do my presentation. Dianna Carter: Ah okay. Joy Williams: Eh um Dianna Carter: It's Ada Longmund? Joy Williams: So, I'll present myself, I'm Ada Longmund, and as you may know it, I'm the pr project manager. So um we will have to um speak about m the project. Our project project is to create um a new remote control and as you may know there's lot of industrials interesting in creating a remote control, so the remote control has to be original, trendy and um user-friendly. Record. So method is the following. So if we're um the functional design, you have to do uh any individual work and uh also work with uh meetings talking with each other. Uh it will be the same for the conceptual design and also the same for the detailed design. Uh. The tool training is to try out the white board, Olene Agosto: Mm-hmm. Joy Williams: so Dianna Carter: Maybe someone ha we have to this whiteboard, yeah? Joy Williams: Maybe you can draw your favourite animal and Olene Agosto: So Joy Williams: make Olene Agosto: right Joy Williams: a Olene Agosto: now? Joy Williams: list of its favourite characteristics. I don't know if we have to do Ola Aquino: So Joy Williams: it Ola Aquino: yeah Joy Williams: now, Ola Aquino: I think Joy Williams: maybe Ola Aquino: you can Joy Williams: later Ola Aquino: do it. Joy Williams: later. Dianna Carter: Yeah, I don't know. Joy Williams: So the selling price of the product will be twenty five Euros. Ola Aquino: Twenty five Olene Agosto: Mm. Joy Williams: Yeah. Ola Aquino: Euros? Joy Williams: Yeah. I think it's quite Dianna Carter: I it's Joy Williams: good Dianna Carter: it's Joy Williams: price, Dianna Carter: reasonable, s Olene Agosto: It's Dianna Carter: quite Joy Williams: yeah. Dianna Carter: yeah. Olene Agosto: reasonable, I think, Dianna Carter: Twenty Olene Agosto: yeah. Dianna Carter: five. Joy Williams: And uh Dianna Carter: Is Joy Williams: it will uh be a an international remote control, as we want to sell it in the entire world, and the product costs will be not more than twelve Euros and fifty centimes. So, as you will discuss about the remote control you will have to experience your um with the remote control. Um just uh maybe be imaginative with remote const con controls, try to create something new and people would like to to buy. And and the next meeting will start in thirty minutes, so you'll ha all have your spethisfispis specif specific role and you know I suppose you know what you have to do. And Dianna Carter: Yeah. I I hope Joy Williams: uh Dianna Carter: so Joy Williams: you will have to work on the design and also to work on the design of th technical fun functions of the remote control and think of the user requirement specifications. Olene Agosto: Those things just refer to each of each of us, I think. Ola Aquino: Yep. Joy Williams: Yeah. Olene Agosto: AMI and okay. Joy Williams: I_D_, yeah. Ola Aquino: Yeah. Joy Williams: So Dianna Carter: I_D_ is for the Industrial Design, yeah? Olene Agosto: Okay. Dianna Carter: And U_I_D_, it's for Ola Aquino, Ola Aquino: That's Olene Agosto. Olene Agosto: Okay, and Marketing Dianna Carter: yeah? Olene Agosto: Expert, it's Olene Agosto. Dianna Carter: AMI yeah project. Joy Williams: So I will manage all all Dianna Carter: you Joy Williams: the group. Dianna Carter: will be the manager Olene Agosto: You can manage all this, Dianna Carter: yeah Olene Agosto: yeah. Ola Aquino: Okay. Olene Agosto: Good. Joy Williams: So you have questions? Olene Agosto: Um. Not really. Joy Williams: So you all know what the parts of the work you have to do. Ola Aquino: Yeah. Olene Agosto: So which you, Dianna Carter. Ola Aquino: No I'm user Dianna Carter: I am the Ola Aquino: interf Dianna Carter: Industrial Design, Ola Aquino: I'm user Dianna Carter: yeah Ola Aquino: interface design. Olene Agosto: Okay. Joy Williams: Mm-hmm. And you? Dianna Carter: I am Dianna Carter so. Joy Williams: Mm okay. Ola Aquino: Okay. Olene Agosto: Yeah. Ola Aquino: So what's the difference between user interface design Joy Williams: Hmm. Ola Aquino: d Olene Agosto: I mean, you Ola Aquino: industrial Olene Agosto: have to know. Ola Aquino: design? Olene Agosto: Ah, you have to know it. Dianna Carter: It's difficult. Olene Agosto: It's your job, I hope you you know what it is. Dianna Carter: You know very soon. Ola Aquino: Yeah, I think so. Dianna Carter: So Olene Agosto: Mm. Joy Williams: I suppose you have to design it and you have to take care of the industrial way to transform Ola Aquino: Okay, so Joy Williams: it. Ola Aquino: I make uh Olene Agosto: Yeah. Ola Aquino: u user interface. You you Joy Williams: And i maybe Ola Aquino: de you Joy Williams: you Ola Aquino: implement Joy Williams: will transform Ola Aquino: the Joy Williams: it. Ola Aquino: core functions Dianna Carter: I I Ola Aquino: in Dianna Carter: think Ola Aquino: the Dianna Carter: the user the user interface design is he will design how the user will Ola Aquino: Use Dianna Carter: you know the Ola Aquino: it. Dianna Carter: relation between the user and Ola Aquino: Make Dianna Carter: you know Ola Aquino: make Dianna Carter: the remote Ola Aquino: yeah. Dianna Carter: control so And the uh industrial design, it is how the object will look like. Ola Aquino: Maybe I think Dianna Carter: Yeah. So the materi Ola Aquino: design. I design the user f user interface, you design the function. Joy Williams: Maybe, it is the outside and the inside. Ola Aquino: Yeah. Olene Agosto: Okay. Dianna Carter: Okay Ola Aquino: Okay. Dianna Carter: right. But I was thinking that he's a user 'cause the user interface to design for example where the but button will be, you know. Ola Aquino: Yeah yeah. Dianna Carter: But I don't know. Okay. Olene Agosto: Well. You know. Dianna Carter: I'm Dianna Carter. Olene Agosto: Oh, okay, okay. Not the other one. Dianna Carter: So. Ola Aquino: Okay. Dianna Carter: Okay. So and Olene Agosto will Olene Agosto: Yeah, I'm just go I'm trying to give you some trends about what should be done and what the users would like to have Joy Williams: And Olene Agosto: and then Joy Williams: yeah. Olene Agosto: thi this would I guess converged to Ola Aquino wi and then Industrial Dianna Carter: Ok Olene Agosto: Designer. Dianna Carter: Okay. Joy Williams: And when designing y the remote control just remember that uh it has to be a kind of international product. Ola Aquino: Okay. Joy Williams: So you don't have to do something really specific, Ola Aquino: Mm-hmm. Joy Williams: as Olene Agosto: Mm. Joy Williams: everybody everybody will have to use it, it's sor the same as keyboards. Ola Aquino: Yeah. Joy Williams: You know, you have Qwerty, Azerty, French and U_K_ Ola Aquino: Mm. Joy Williams: keyboard, Ola Aquino: Yeah. Joy Williams: so really the remote control to be international. Ola Aquino: Okay. Olene Agosto: Mm-hmm. Joy Williams: And not too expensive. Ola Aquino: Yeah. And uh simple. Joy Williams: As we want to Ola Aquino: And Joy Williams: maximise Ola Aquino: easy to Joy Williams: the Ola Aquino: use. Joy Williams: benefit. Olene Agosto: And you have to keep it under twelve Euros and f Joy Williams: Yeah, Olene Agosto: fifty, Ola Aquino: Ah, Joy Williams: you Olene Agosto: so. Joy Williams: have to Ola Aquino: yeah. Joy Williams: keep in mind that Olene Agosto: That's the Dianna Carter: It should Olene Agosto: problem. Joy Williams: the Dianna Carter: be Joy Williams: product cost won't be maxim more Ola Aquino: Okay. Joy Williams: than twelve dot fifty Euros. Ola Aquino: Okay. Joy Williams: And to be sure that really people will be interested in buying a new remote control with maybe new functionalities that don't exist in the mm existing remote controls now. Ola Aquino: Okay. Joy Williams: So, is it okay? Olene Agosto: Mm. Ola Aquino: Yeah. Olene Agosto: It's clear. Dianna Carter: There was a step about drawing something in the in the board, I don't know. Olene Agosto: Yeah, maybe should go and draw an animal. Dianna Carter: Is it? Are we supposed to do right now? Ola Aquino: Yeah yeah, you try. Try Dianna Carter: Oh Ola Aquino: first. Dianna Carter: right it's it's from the left to the ri It's Joy Williams: So you think we have to do it now? Dianna Carter: I d I was thinking but I n I'm not sure now. Ola Aquino: You can draw something which is very simple. Dianna Carter: Oh Joy Williams: You want Olene Agosto to draw something? Dianna Carter: Everybody Joy Williams: Product manager okay, Ola Aquino: Oh, maybe we should Joy Williams: let's Ola Aquino: bring Joy Williams: go, Ola Aquino: Kemy Joy Williams: I will try. Ola Aquino: here. Kemy Olene Agosto: Many Ola Aquino: is really good at drawing. Dianna Carter: I think everybody should do it, so. Olene Agosto: Yeah. Dianna Carter: It's not matter So. Ola Aquino: You're going to draw? Okay. Olene Agosto: Uh it's the same as mine. Dianna Carter: yeah. It's Ola Aquino: What's Dianna Carter: a Ola Aquino: this? Dianna Carter: It's a cat. Ola Aquino: It's a fat cat. Dianna Carter: It is not a fat cat. Olene Agosto: It's the fat cat, okay. Dianna Carter: Yeah, it is a Ola Aquino: Can you draw uh um rabbit? Oh, hat ha rat. Olene Agosto: A rat? Ola Aquino: Yeah. Olene Agosto: That's difficult. Dianna Carter: Yes you have to draw a rat if you want Joy Williams: No. Dianna Carter: a rat. Joy Williams: A mouse is not Dianna Carter: It's Joy Williams: too difficult. Dianna Carter: your Joy Williams: Mouse Dianna Carter: rat. Joy Williams: is okay. Ola Aquino: Yeah, it's okay. Olene Agosto: Yeah. Just go, you you Dianna Carter: Okay, Olene Agosto: the closest Dianna Carter: go Olene Agosto: to the whiteboard. Ola Aquino: Mm. Olene Agosto: Jus Dianna Carter: right, but in grow, it's everybody Ola Aquino: Okay. Dianna Carter: has to grow Olene Agosto: Yeah. Ola Aquino: Oh. Okay, I draw. The only thing I can draw is like this. Oh. Oh. Oh. Olene Agosto: A duck. Ola Aquino: No. Dianna Carter: What Ola Aquino: What's Dianna Carter: are Ola Aquino: this? Dianna Carter: you I don no idea, Joy Williams: You Dianna Carter: so Joy Williams: love the eyes. Yeah, that was the eyes. Ola Aquino: Okay. Joy Williams: A clown. Rabbit. Dianna Carter: It's a rabbit. Olene Agosto: Pikachu. Joy Williams: It's a rabbit. Olene Agosto: Oh yeah. Bugs Bunny one. Joy Williams: Yeah. Ola Aquino: Okay. Dianna Carter: It's not so bad so. Ola Aquino: The only thing I can draw, because it's very simple. Olene Agosto: Okay. I go. Olene Agosto: What? Oh. So what else? This was my favourite one, but Dianna Carter: So you don't have a Joy Williams: Thank you. Dianna Carter: A fish. Olene Agosto: Right. A Dianna Carter: That's a Olene Agosto: fish. Dianna Carter: that's a fish? Okay, let's try to draw something. Joy Williams: You forgot the chips. Olene Agosto: Oh yeah, doesn't look so fine. Dianna Carter: Have to be really careful. Joy Williams: Fish and chips. Olene Agosto: Okay, Dianna Carter: Ah Olene Agosto: it's your turn. Ola Aquino: Oh. Dianna Carter: it's my turn. Ola Aquino: Okay, be careful. Dianna Carter: Okay. So. Joy Williams: Of Ola Aquino: No problem, no problem. Dianna Carter: It's ok So, what can I draw some more? Joy Williams: Oh. Dianna Carter: No. Dianna Carter: Mm Dianna Carter: Yeah, it's it's a se it's my priority this one. Yeah. Olene Agosto: Mm. Ola Aquino: A person? Dianna Carter: No. It's a really crazy dog Ola Aquino: Dog. Joy Williams: Oh yeah. Dianna Carter: Okay. Olene Agosto: Good. Dianna Carter: Transfer. It's a dog in a village. Ola Aquino: Okay. Dianna Carter: So what are you sug going to do now? Olene Agosto: I think it's done. Joy Williams: Yeah, Dianna Carter: It's done? Joy Williams: I think Olene Agosto: Yeah. Joy Williams: yeah. Ola Aquino: Okay. Joy Williams: Just have to Ola Aquino: So we Joy Williams: present Ola Aquino: have break. Joy Williams: project, discuss a little bit about it. Dianna Carter: Oh my God. Olene Agosto: Oh, we have twenty five minutes for the meeting. Joy Williams: Yeah. Olene Agosto: Okay. Joy Williams: So, Ola Aquino: Oh. Joy Williams: if you have questions. Ola Aquino: Hmm. Olene Agosto: Know what time is it? No. Ola Aquino: No. Joy Williams: It's okay? Dianna Carter: Yeah, it's okay. Joy Williams: You know your job? you know your job? Dianna Carter: We have Joy Williams: You Dianna Carter: an Joy Williams: know Dianna Carter: idea Joy Williams: your job? Dianna Carter: yeah. I have an idea of my job so Joy Williams: Okay. Dianna Carter: yeah so. Yeah. Ola Aquino: Okay. Olene Agosto: Good.

Joy Williams introduced the upcoming project to the team members and discussed the roles of each member and the selling price for the remote they will produce. Then the team participated in an exercise in which they all drew animals.

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Christina Huber: So, I will open our functional design meeting. Ruth Caya: Mm-hmm. Christina Huber: So, I will play role of the secretary. As also Program Ma Manager. So, we will have the three presentations from the In May Cardenas: Industrial Christina Huber: Industrial May Cardenas: Design. Christina Huber: Designer, User Interface Designer and um Ruth Caya: Marketing Christina Huber: What's your Ruth Caya: Expert. Sabrina Chaffee: Okay. Christina Huber: talk? Marketing Experts. Ruth Caya: Mm. Christina Huber: And after that we uh will have the uh new product requirements, the decision on the remote control functions, and we will close the meetings after. Mm so um I suppose the first to do the presentation will be Sabrina Chaffee. Sabrina Chaffee: Okay. Christina Huber: Um, so you're participant two? May Cardenas: One one. Sabrina Chaffee: No no no. Christina Huber: No you're Sabrina Chaffee: One. Christina Huber: No, I'm May Cardenas: Three three, Christina Huber: participant May Cardenas: it's three sorry. Sabrina Chaffee: I Christina Huber: one. Sabrina Chaffee: I think I'm a. Christina Huber: Okay, never mind. Ruth Caya: Okay. Christina Huber: 'Kay, did you save your presentation? Sabrina Chaffee: In one. May Cardenas: In one, sorry. Ruth Caya: Yeah Christina Huber: Isn't that technical functions? Ruth Caya: No sure. May Cardenas: So you didn't save it maybe. Sabrina Chaffee: It's mine. Ruth Caya: Uh May Cardenas: Alright, Ruth Caya: it's May Cardenas: so Ruth Caya: David Christina Huber: Name's Jordan. Ruth Caya: Jordan. Course. Christina Huber: So May Cardenas: David Jordan? Sabrina Chaffee: Mm yeah. May Cardenas: Mm-hmm. Ruth Caya: Mm-hmm. Christina Huber: so I'll I let David Jordan do his presentation. Sabrina Chaffee: Okay. Ruth Caya: No, no. Uh this one doesn't want Christina Huber: Uh. Ruth Caya: to be moved, I May Cardenas: Too Ruth Caya: think. May Cardenas: great for Sabrina Chaffee: Okay, May Cardenas: email Sabrina Chaffee: so. May Cardenas: then. Sabrina Chaffee: The first I will present the technical function design for user interface for our uh remote T_V_ control. May Cardenas: Yeah. Sabrina Chaffee: Uh I I will focus on user interface design. Um Christina Huber: Mm. Sabrina Chaffee: so move to the next slide. As we know our remote c rem remote T_V_ control it's very has very soph sophisticated functions, as we show from this picture. Over, I think over s twelve or twenty s functions of a remote T_V_ control. So how can we um design a user interface with so sa with so many sophisticated functions? Um, let's move to next slide. Um. Yeah. So I so we want to design uh elegant, easy to use inter interface. A very good example is Google. As we know uh Google it's a very successful because his um powerful function, but with very easy to use user interface. Um so move to next s slide. So my job is to uh design a Google T_V_ controller which I want to have sophisticated functions while with very easy to use user interface. So That's the end of the talk the end of the presentation. Christina Huber: So you propose to to have the Sabrina Chaffee: Uh Christina Huber: remote control which will be Sabrina Chaffee: With sophisticated Christina Huber: powerful. Sabrina Chaffee: functions, but Christina Huber: So Sabrina Chaffee: with Christina Huber: powerful, Sabrina Chaffee: very yeah powerful. Christina Huber: many functions Sabrina Chaffee: Yes. Christina Huber: and very easy to use. Sabrina Chaffee: Yep. Ruth Caya: So, I dunno, it's maybe difficult to May Cardenas: To merge the Ruth Caya: have May Cardenas: two system Ruth Caya: both, May Cardenas: huh. Ruth Caya: I mean the Sabrina Chaffee: Yeah. Ruth Caya: the one on the right doesn't look so simple and Yeah. Christina Huber: You mean this one? Ruth Caya: Yeah. Christina Huber: Yeah you have to learn the manual before using this remote control, I suppose. May Cardenas: Mm yep. But Sabrina Chaffee: But if we May Cardenas: But Sabrina Chaffee: have May Cardenas: this Sabrina Chaffee: very May Cardenas: is Sabrina Chaffee: very good user interface May Cardenas: Yeah. Sabrina Chaffee: it Ruth Caya: Yeah, Sabrina Chaffee: take Ruth Caya: and Sabrina Chaffee: less Ruth Caya: then Sabrina Chaffee: time Ruth Caya: Yeah. Sabrina Chaffee: for user to learn how to use it. May Cardenas: Yeah you maybe you have some international standards, where you know, if you can use one is the other are or almost the same, so the sign. Christina Huber: Oh you mean for the yeah pic May Cardenas: Yeah, Christina Huber: pictograms or things like May Cardenas: yeah. Christina Huber: that? May Cardenas: For example, I dunno here, escape, you know, you have escape in computers you have, so if you see escape, you know that it should be Ruth Caya: Oh May Cardenas: the Ruth Caya: it May Cardenas: same. Ruth Caya: should okay, yeah. May Cardenas: So Ruth Caya: The May Cardenas: you Ruth Caya: user May Cardenas: have Ruth Caya: should know. May Cardenas: to The sh the user there for example the power off button it is something very international, you know that So. Christina Huber: Yeah um such as maybe the May Cardenas: Yeah. So. Christina Huber: Go on, go back and May Cardenas: Yeah, but the question is how to merge you know the Google system to the system, alright. Ruth Caya: Yeah, Sabrina Chaffee: Yeah, that's Ruth Caya: that's Sabrina Chaffee: my Ruth Caya: gonna Sabrina Chaffee: job. Ruth Caya: be the trick. May Cardenas: That's your Sabrina Chaffee: That's my May Cardenas: job Sabrina Chaffee: job. It's not the easiest I've got to. May Cardenas: It you Christina Huber: So, you will propose us something which is yeah so powerful and easy to use. Sabrina Chaffee: Yep. Christina Huber: Okay. Ruth Caya: Okay. Sabrina Chaffee: Powerful and easy to use. Ruth Caya: So that's the point. Sabrina Chaffee: Yeah, that's the point. Christina Huber: So, next I propose the Industrial User May Cardenas: Okay, Christina Huber: Interface to May Cardenas: okay. Christina Huber: present things. So you you're May Cardenas: Participant two. Yeah. Christina Huber: Um. Okay. May Cardenas: The rationale Christina Huber: So, May Cardenas: must Christina Huber: Baba is the uh the May Cardenas: be Christina Huber: Industrial May Cardenas: design, or Christina Huber: Designer. Okay. May Cardenas: So we can move to the next slide. As you all know, you know m my job is to design you know uh to give an industrial design of the remote control. So the re basically the remote control will be, you know, infrared control, so Christina Huber: Mm-hmm. May Cardenas: the problem is how to relate the how to relate the remote control device, like for example this one I h I'm holding in my hand and the T_V_. So, this one is leather bu based but Ruth Caya: Mm. May Cardenas: I propose a nifra infrared base you know, so so for Ruth Caya I think that it is better it's bet it's better to control T_V_ so you know, so it's it will be cheaper and it is less technology than, you know For the cheap price we have, for the cheap price we want to Ruth Caya: True. Christina Huber: So you mean that infrared control is a cheap technology? May Cardenas: I think it's cheaper than laser, so. Christina Huber: Yeah. Ruth Caya: Okay. Christina Huber: Do y you know the requirements for the remote control? Twelve, Ruth Caya: What Christina Huber: nearly thirteen, Ruth Caya: the cost Christina Huber: yeah. Ruth Caya: is? Christina Huber: The May Cardenas: Yeah, Christina Huber: cost May Cardenas: I think Ruth Caya: Twelve, May Cardenas: for the Ruth Caya: twelve May Cardenas: cost Ruth Caya: a May Cardenas: we Ruth Caya: half. May Cardenas: want for the cost we want it's better to have uh uh Let's see. Yeah. You can move to the next slide, so. So the di the differen the findings you know what you find inside the re i the the system here inside it is just, you know a bulb and an infrared bulb, so here for example the infrared bulb will be here Christina Huber: Mm-hmm. May Cardenas: and the bulb it will be somewhere inside. Ruth Caya: That might May Cardenas: You can go Christina Huber: Okay. May Cardenas: to Ruth Caya: just May Cardenas: the next slide. I have Ruth Caya: So. May Cardenas: some kind of pictures you know, here. You have the b the bulb, it is a blue the blue stuff here and Christina Huber: Yeah. May Cardenas: the infrared and the infrared bulb it is the red stuff you know and so and you have the other subcomponent that are not really here so important, so. Christina Huber: What is this? May Cardenas: This is in fact some other component that are in between the electrical de the electronic Christina Huber: Okay. May Cardenas: device. Look. But here what I wanted to emphasise it is just you know the bulb and. Christina Huber: Okay. May Cardenas: So and the next slide, it is the last one it's So it's I think it should be wire wireless re remote con Because you know, it's easier to manage and you know because you f the b the the battery problem can hold you know will you use a battery or the a wire to connected you. Or maybe some kind of thing that we can have both, but you know, I at my side prefer a wireless. Christina Huber: Okay. May Cardenas: Okay, so Ruth Caya: Okay. May Cardenas: if you have some question I didn't answer? Ruth Caya: What's the average price of this technology then? May Cardenas: Well the avera the average prices I think that this technology will cost, I dunno, around eight Euros, so. Or at least you know, the Sabrina Chaffee: So what, the wireless remote control? There's a wire with remote control? May Cardenas: You'd yes, you can. It's so so bres you have to decide how how you will you know, put some energy inside, so you can think about wireless or you know it's it's a question that we can raise, so. We can think that you know, with the wire, you know, without a wire. We can have both also. Sabrina Chaffee: Okay. Christina Huber: So you think that uh a cable between the remote control and the T_V_ Sabrina Chaffee: Okay. Christina Huber: won't be a good Sabrina Chaffee: Okay. Christina Huber: idea. No it wou maybe it will be cheaper I dunno, I just may maybe you making Ruth Caya: But this Christina Huber: a solu Ruth Caya: is what you would like to ask the user first and I don't think the user would be ready to have a Christina Huber: Yeah, Sabrina Chaffee: Wireless remote control. Christina Huber: but May Cardenas: Yeah, but Ruth Caya: I don't May Cardenas: some Ruth Caya: think May Cardenas: pa Ruth Caya: well, yeah, I don't think he May Cardenas: I always Ruth Caya: would, May Cardenas: want to Ruth Caya: but May Cardenas: have you Ruth Caya: in May Cardenas: know, Ruth Caya: a May Cardenas: sometime Ruth Caya: sense May Cardenas: I want to have wire because Christina Huber: Yeah May Cardenas: you Christina Huber: but May Cardenas: know. Christina Huber: as Industrial Designer, do you think that it will be feasible to have uh linked or to have link between the remote control and the television? I'm just asking you. Do you think it will be cheaper? May Cardenas: Uh, I don't think it will be too much. Sabrina Chaffee: Okay. Christina Huber: Could you answer please? May Cardenas: Have to think about the question, you know, 'cause it's I Christina Huber: Okay. May Cardenas: think that you know you can always you know I think wha wha with the wire it's mm cheaper but you know the wireless it's more practical, so. Christina Huber: Yeah, but I think the wireless problem is more the um David Jordan's problem. Sabrina Chaffee: Mm-hmm. Christina Huber: As it's Ruth Caya: The wire? Christina Huber: yeah. Ruth Caya: Yeah. True. May Cardenas: Okay, Christina Huber: I think May Cardenas: yeah. Christina Huber: it's more your problem. Mayb maybe you have just to to kind of research or Sabrina Chaffee: Mm-hmm. Christina Huber: try to ask people if they will like something wireless or not. Ruth Caya: Uh that's my job. That's the Christina Huber: Okay, I'm sorry. So Ruth Caya: Now the May Cardenas: Yeah but, it should be an agreement, you know, because even if you can think of the wireless, it is it's it is the job of the the the g Graphical User Designer, but you know. If it is a lot cheaper and if you want to reach for example some the the money you have, if you want to use, so it can be good to have a wireless, it it is a question. Sabrina Chaffee: Okay. Christina Huber: So just think of um the usability. Sabrina Chaffee: Design a wireless Christina Huber: Yeah. Sabrina Chaffee: remote control. Christina Huber: Just think of the problem. If when you have wireless remote control and if you lose Sabrina Chaffee: Yeah. Christina Huber: it? Ruth Caya: Yeah. Christina Huber: I think it's would be easier to have a link between the remote control and Ruth Caya: Well that's actually one of the Christina Huber: the Ruth Caya: point, Christina Huber: television, Ruth Caya: yeah? Christina Huber: yeah. Ruth Caya: True. This you will see in my presentation then. Christina Huber: So I will let you Ruth Caya: Yeah. Christina Huber: to do May Cardenas: Okay. Christina Huber: your presentation, so. Ruth Caya: Which is participant four. So just trying to answer all the questions, if the user would be happy to have something or something else uh. We've made a study, so could you go to next slide. Sorry for the functional recurrence. So that's the standard method for marketing, okay. We had one hundred subjects, um, we observe their remote control use in a lab and then after all the experiments they had to fill up a questionnaire, um, and see what was okay or not for them. May Cardenas: Mm-hmm. Ruth Caya: Okay. So then it's some statistics about what we observed and what they answered. Um actually seventy five percent of the users find m the most remote controls uh ugly, okay, so that's Christina Huber: You mean the loo the May Cardenas: The Christina Huber: look, May Cardenas: look, Christina Huber: the May Cardenas: how Christina Huber: outside? May Cardenas: it look Christina Huber: Okay. Ruth Caya: Yeah, May Cardenas: like. Ruth Caya: the the look is is bad for them so uh it's your job, David, maybe. Then eighty percent of users would spend more money um actually if if the remote controls were not so ugly. So this is where we could have uh yeah, good market, I guess, May Cardenas: Yeah. Ruth Caya: if people are ready to pay more. So it's it's interesting information, I think. And then um yeah, the remote controls like the one you've shown previously it's not so doesn't fit the user requirements sometime, because it's too many buttons and so on. So we should change this as well. And uh users are actually zapping a lot, so they're using the device intensively, that's something to take into account as well. And um, you know, ten percent of the buttons are actually used in the remote control. And uh this is one of the main point for Ruth Caya. But I'll come back to it later. 'Kay. Could you go next slide? Uh, so as you said Christina Huber: Mm-hmm. Ruth Caya: uh, remote controls are often lost somewhere in the room. So this is from the experiments we've done, so if we could solve this problem this would be interesting for the user, I think. Um it takes too much time to learn how to use the remote control for thirty five percent of the people. And uh remote control are really bad for R_S_I_ problems for twenty six percent of the users. Christina Huber: What is R_S_I_? Ruth Caya: R_S_I_ is like, when you're using the same um doing the same movement several times, May Cardenas: Yeah. Ruth Caya: then you get injured. Christina Huber: Ah um Ruth Caya: Okay? Christina Huber: okay. Ruth Caya: So, those numbers are less important then the previous one, but still it has to be taken to count. So last slide. Um so my pres personal preferences for this problem is we have to meet the user needs. If we can make it look fancy then we might sell more than our uh concurrent, okay. May Cardenas: Okay. Christina Huber: Mm-hmm. Ruth Caya: And definitely if it could have less buttons, still maybe the same number of um Sabrina Chaffee: Functions. Ruth Caya: functions, but less buttons, this would definitely be a good way of selling more. May Cardenas: Okay. Ruth Caya: Okay. So Christina Huber: Mm okay. And just to have uh an idea, do you think you as Sabrina Chaffee to would it be possible to have less buttons and Sabrina Chaffee: Yeah. Christina Huber: still have the same functionality and to have powerful remote control, you think it's possible? Sure? Sabrina Chaffee: Yeah, I think Christina Huber: Yeah? Sabrina Chaffee: possible. Because we can We can uh mix uh several function in one button. Christina Huber: Yeah. Sabrina Chaffee: So lets you then you have less buttons. Christina Huber: Yeah, but Sabrina Chaffee: But I'm Christina Huber: do you Sabrina Chaffee: not Christina Huber: think Sabrina Chaffee: sure Christina Huber: it will be easy to use? Because if you have many functions just for one button it would be quite difficult for the user to know. Ruth Caya: Yeah, remember the user is not happy to read the Christina Huber: Yeah, May Cardenas: The manuals. Christina Huber: I think Ruth Caya: manual. Christina Huber: the Ruth Caya: It's Sabrina Chaffee: No you you can have a switch menu, so you can Christina Huber: Yeah, Sabrina Chaffee: well Christina Huber: but Sabrina Chaffee: for example Christina Huber: it has to be intuitive. Sabrina Chaffee: Yeah, I think so. Like for for example you can uh you can category the function i i into several classes. Then for um you can have a switch menu, so Christina Huber: Yeah, Sabrina Chaffee: you put Christina Huber: okay. Sabrina Chaffee: the switch menu to it it tend to this kind of this category of functions. Christina Huber: Okay, Sabrina Chaffee: Then you Christina Huber: but Sabrina Chaffee: you put the switch button, then it switch to another category of functions. Yeah. For example, if you have remote control you you can rem you can control your T_V_ and also you can control your uh recorder. May Cardenas: With Sabrina Chaffee: So May Cardenas: a Sabrina Chaffee: there's a different functions, but i if you you there's a button you can switch between control T_V_ and control your recorder. So we can has less buttons. Christina Huber: Yeah, Sabrina Chaffee: But Christina Huber: but Sabrina Chaffee: what I'm not so sure is about how to make the remote control look funny look May Cardenas: Look Sabrina Chaffee: fancy, May Cardenas: fancy. Sabrina Chaffee: not funny. May Cardenas: question that should Sabrina Chaffee: Because May Cardenas: be asked to the Sabrina Chaffee: different people have a different opinion about fancy. You know. May Cardenas: If you Ruth Caya: Yeah. May Cardenas: ask the people, maybe the the marketing people. Ruth Caya: Yeah, this Sabrina Chaffee: Because Ruth Caya: is something Sabrina Chaffee: maybe Ruth Caya: we Sabrina Chaffee: a Ruth Caya: sh Sabrina Chaffee: colourful is fancy for some people, but maybe Christina Huber: Mm-hmm. Sabrina Chaffee: simple and Ruth Caya: But this was Sabrina Chaffee: uh uniform Ruth Caya: first step and Sabrina Chaffee: colourful is fancy for some for other peoples, so. Ruth Caya: This May Cardenas: I think Ruth Caya: was May Cardenas: the solution Ruth Caya: the first step, yeah. May Cardenas: is to have many colours of you know instead of having one grey Christina Huber: Yeah, but I May Cardenas: standard Christina Huber: think it will increase the price of the production Ruth Caya: Specially distribution, Christina Huber: of the remote Ruth Caya: yeah. Christina Huber: control. May Cardenas: Yeah, yeah, maybe. Yeah, maybe. Christina Huber: If you need to have special colours for remote Ruth Caya: Uh Christina Huber: controls it will Sabrina Chaffee: Yeah, personalised Christina Huber: cost more. Sabrina Chaffee: colour. Because you Christina Huber: Yeah, Sabrina Chaffee: know Christina Huber: it will cost little bit more. Sabrina Chaffee: Yeah, because maybe some people prefer a red remote May Cardenas: Yeah, Sabrina Chaffee: control, May Cardenas: yeah, Sabrina Chaffee: some people May Cardenas: yeah. Sabrina Chaffee: prefer black remote Ruth Caya: Yeah, but Sabrina Chaffee: control. Ruth Caya: this is what we would ask to the users, so. Christina Huber: And Sabrina Chaffee: Maybe Christina Huber: also Sabrina Chaffee: we Christina Huber: f Sabrina Chaffee: can have di Ruth Caya: Yeah. Sabrina Chaffee: di we can have uh several options, so user can select which colour they prefer, so. Christina Huber: Yeah, but as soon as you speak about options, Sabrina Chaffee: Mm-hmm. Christina Huber: it means Ruth Caya: Yeah, remember Christina Huber: that the price increases, Ruth Caya: it's Christina Huber: and we don't really want Ruth Caya: twelve Christina Huber: the Ruth Caya: Euros. Christina Huber: price to be too too high, because we wanna be able to produce it. So, we want something fancy, as uh previously said, Florent, something very easy to use, powerful and also as uh it's written here, seventy five percent of users, they zap lot, so maybe just having many functions in one button Sabrina Chaffee: Mm-hmm. Christina Huber: is not that good if you want to zap a lot. Ruth Caya: Hmm. Christina Huber: And they don't really want to zap between functions of their remote control, Sabrina Chaffee: Mm-hmm. Christina Huber: they want to zap between channels on T_V_. So I think you have quite lot of points to to think about May Cardenas: Yeah. Christina Huber: and to discuss it with May Cardenas: Yeah, Sabrina Chaffee: Yeah. Christina Huber: uh May Cardenas: hmm. Christina Huber: the other members. So, is it okay for your presentation? Nothing else Ruth Caya: Yeah, it's Christina Huber: to Ruth Caya: done, Christina Huber: to add? Ruth Caya: just yeah. If we would if we could remember like, not too many buttons and make it look fancy, I think Christina Huber: Mm-hmm. Ruth Caya: it would Christina Huber: Okay. Ruth Caya: make it. Christina Huber: Mm so So, Ruth Caya: So. Christina Huber: I had some new information about the product requirements, so you will have to take care of it of it in your thinking, in your designing of the remote control. So the first one is that um for the designing of the remote control we don't really want to use the teletext anymore, Sabrina Chaffee: Mm-hmm. Christina Huber: as it's something that's It's is uh Ruth Caya: Lame, Christina Huber: No Ruth Caya: or Christina Huber: yeah, internet at home, Sabrina Chaffee: Mm-hmm. Christina Huber: so it's better to use internet then teletext. Sabrina Chaffee: Yeah. Christina Huber: So, you will have to think about it in your in in the design of your remote control, May Cardenas: Yep. Christina Huber: and also the remote control will only be used for television, so for y for you your designing, you're not you won't be uh you won't had um buttons to just to manipulate Sabrina Chaffee: Control. Christina Huber: yeah to control the recorder or Sabrina Chaffee: Mm-hmm. Christina Huber: maybe the garage door or things like that. It's Ruth Caya: Mm-hmm Christina Huber: because if we want to to do remote control Sabrina Chaffee: Mm. Christina Huber: which will be used for for the television, for the recorder, for the camcorder and all the others, it will become too complex and it will increase the pli the price and we can't do that. We really want to focus on the remote control for the television. Is it okay? Sabrina Chaffee: Okay. But there's balance between function Christina Huber: So maybe Sabrina Chaffee: and the Christina Huber: it Sabrina Chaffee: cost. Christina Huber: will be easier for you to to design it, to have Sabrina Chaffee: Yeah. Christina Huber: very Sabrina Chaffee: Okay. Christina Huber: powerful and easy. And also we want the image of the uh um real reaction Sabrina Chaffee: Mm-hmm. Christina Huber: be recognisable in the product, such as the colour and s the slogan. Ruth Caya: Yeah. Christina Huber: I mean that's uh if uh you want to buy a remote control and if you go in a shop and if you see the remote control you will recognise Sabrina Chaffee: Mm-hm. Christina Huber: directly that s it's our product. Ruth Caya: Mm-hmm. Christina Huber: So you will have to use the colour of the product, Sabrina Chaffee: Okay. Christina Huber: of the um um of the uh of real reaction Sabrina Chaffee: Okay. May Cardenas: So. Christina Huber: and uh also Ruth Caya: So has to be yellow. Christina Huber: Yeah. May Cardenas: Yellow. Christina Huber: As we say, we put the fashion in electronics, so it has to be a fashion remote control. Sabrina Chaffee: Okay. Christina Huber: Fancy, fashion, powerful, easy to use. Sabrina Chaffee: Mm-hmm. Christina Huber: Require lot of requirements, but Sabrina Chaffee: Yeah. May Cardenas: For cheap remote control, Sabrina Chaffee: And cheap. May Cardenas: yeah. Christina Huber: Yeah. Sabrina Chaffee: A low cost. Christina Huber: Yeah. But uh that's your your job May Cardenas: Yeah. Christina Huber: to find something mm May Cardenas: Yeah, Christina Huber: matches. May Cardenas: 'cause what I'm thinking is how will you will connect the T_V_ to internet, so. This is Ruth Caya: I don't think it's part of the remote control design anyway. Christina Huber: Maybe not, Ruth Caya: It's Christina Huber: but mayb Ruth Caya: maybe more in browsing. May Cardenas: Yeah, but this this mean that your T_V_ would be able to, you know, connect to internet, you know, surf the web. Sabrina Chaffee: Yeah, there's that box in Ruth Caya: Yeah. Sabrina Chaffee: uh o of it. A pi There's that box in the T_V_, so with the set box you you can connect internet with your T_V_. May Cardenas: Okay. Sabrina Chaffee: Ok Ruth Caya: Hm-mm. Sabrina Chaffee: It's It's not so uh popular now. May Cardenas: It's pop I don't think it's popular, so that's the Sabrina Chaffee: Mm. May Cardenas: problem so. You had i if you are designing a remote control for you know the global Sabrina Chaffee: Global, May Cardenas: usage, Sabrina Chaffee: okay. May Cardenas: so if people don't have the technology. Christina Huber: So. Ruth Caya: Mm-hmm. Christina Huber: So Sabrina Chaffee: So Christina Huber: everybody Sabrina Chaffee: I I Christina Huber: is Sabrina Chaffee: so Christina Huber: okay with the new requirements? Sabrina Chaffee: As as for the colour, what what do you think? Christina Huber: I think it has to be yellow. May Cardenas: Yellow? Christina Huber: Yeah. May Cardenas: Do you Sabrina Chaffee: Yellow? May Cardenas: think that people like the colour Sabrina Chaffee: T_V_ May Cardenas: yellow? Sabrina Chaffee: remote control? Ruth Caya: Min Christina Huber: Maybe you can change the colour, Sabrina Chaffee: Okay. Christina Huber: but the image of the society has to be recognised. Sabrina Chaffee: Okay. Ruth Caya: Yeah. May Cardenas: I think Christina Huber: Why May Cardenas: if Christina Huber: you May Cardenas: you Christina Huber: go May Cardenas: have you know th like a yellow ribbon here is the double R_. Christina Huber: It has to be fashion. May Cardenas: Or should be. Yeah, so. Doesn't Sabrina Chaffee: Okay. Christina Huber: So you May Cardenas: need to be completely Christina Huber: have to May Cardenas: yellow, but just mm. Christina Huber: Yeah. It has to be a fashion and really be uh the image of the society. Just when you enter you say oh, oh, it's real reaction. Think it's a Sabrina Chaffee: Okay, Christina Huber: re reaction Sabrina Chaffee: okay. Christina Huber: remote control, so. Sabrina Chaffee: Okay. Christina Huber: And also it has to be attractive, of Sabrina Chaffee: Mm. Christina Huber: course, because if you want to sale to sell the remote control. It's okay? Ruth Caya: Regarding the first line, what So we're just expecting no more use of the teletext. Christina Huber: Yeah. Ruth Caya: And that's it. Christina Huber: Yeah. May Cardenas: But I dunno, but why, nobody's a threat to Ruth Caya. Ruth Caya: It's already changed for Christina Huber: I think it would be simpler. Ruth Caya: Mm-hmm. Christina Huber: Okay. So I will close the meeting, um just after that we'll have lunch break. And you will have in thirty minutes individual work. Uh Y you You will have as the I_D_ I don't remember what is May Cardenas: Industrial Christina Huber: industr Ruth Caya: Industrial Designer. May Cardenas: Designer, Christina Huber: Industrial May Cardenas: yeah. Christina Huber: Designer to put May Cardenas: Component Christina Huber: um pon May Cardenas: component, Christina Huber: yeah, May Cardenas: yeah. Christina Huber: and Sabrina Chaffee to work on the user interface concept. Sabrina Chaffee: Okay. Christina Huber: And Florent to work my subject. Ruth Caya: Yep. Christina Huber: And so specific instructions will be sent to you by your personal coach. Ruth Caya: Okay. Christina Huber: It's okay? Ruth Caya: Yeah. Christina Huber: I think the um session is closed. May Cardenas: Good. Christina Huber: And by the way, Mister David Jordan, please record your presentations in your own folder. May Cardenas: Okay Sabrina Chaffee: Okay. Christina Huber: Not in mine. May Cardenas: Okay, Sabrina Chaffee: Okay. May Cardenas: that's Christina Huber: Should May Cardenas: clear. Christina Huber: be better.

Sabrina Chaffee discussed some characteristics and functions to consider in designing the remote and introduced an idea for giving the remote international appeal by merging it with a system such as Google. May Cardenas discussed the interior workings of a remote and presented options for components and materials which would keep costs low. Ruth Caya presented consumer preferences and requirements. Christina Huber introduced the new requirements for the project. The team then discussed different features they could include in the design of the remote.

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Alice Burge: So let's start our second Cherie Casares meeting on design. Cherie Casares: Mm-hmm. Alice Burge: So, as the previous meeting I will be the secretary Miki Pedersen: Mm-hmm. Alice Burge: and we will have three presentations and we'll have to decide on the remote control concept and finally we'll close the decision. So I will first uh Cherie Casares: No y you do the minutes first or, Alice Burge: What? Cherie Casares: No? Alice Burge: I I think I will let uh Cherie Casares: Okay. Alice Burge: our User Interface Designer speak first, Mister David Jordan. Helen Wojcik: Yep. Alice Burge: So, we'll Helen Wojcik: Yeah. Alice Burge: S technical accessoire? Helen Wojcik: No no no. Alice Burge: Interface? Helen Wojcik: Yeah. Alice Burge: This. Helen Wojcik: Mm. So uh first I will present the concept of user interface. Um there's three concepts in the user interface. So first one it's a Google controller. The second is a fancy controller. The last one is uh intelligent controller. So there are three concepts in our controller. Um n next I will explain one by one, the first is Google controller. Um, so I want the controller to be easy to use, but with sophisticated functions. So it's a combination of easy to use and um sophisticated functions. Uh this is a first concept of our controller. The second concept is a fancy controller, um so we want give the customers the impression that our controller is very attractive, um they can easy recognise our controller among a lot of products, so so the u the user f the the u user interface should be very very cute, very Cherie Casares: Mm. Miki Pedersen: Mm. Helen Wojcik: very g um Miki Pedersen: A nice Helen Wojcik: attractive. Miki Pedersen: one. Helen Wojcik: Such like this, there are several uh examples in the slides. Alice Burge: I'm not sure the one in the middle is very attractive. Helen Wojcik: Yeah, it's very, you know if you're Alice Burge: very big yeah. Helen Wojcik: Yeah. It's hard f i it's easy for you to remember it. Or to recognise it, yeah. Alice Burge: Okay. Yeah, Helen Wojcik: Yeah. Alice Burge: why not. Helen Wojcik: Yeah. Alice Burge: We'll have big discussion Miki Pedersen: Yeah. Alice Burge: I suppose after that, Helen Wojcik: Yeah. Miki Pedersen: Yeah. Alice Burge: so. Cherie Casares: Mm. Helen Wojcik: So the last uh concept is intelligent. We want uh we want our controller to be smart, Miki Pedersen: Mm-hmm. Cherie Casares: Mm. Helen Wojcik: so maybe we should uh use um uh technology, such as speech recognition technology and gesture recognition technology, so we need to have coop some cooperation with some research institute on speech recognition and um gesture recognition. Um With this advanced features we I think we can attract a lot of user. Alice Burge: Okay. Helen Wojcik: Okay. Alice Burge: Something else? Helen Wojcik: No. There this is the three concepts of Miki Pedersen: Yeah. Helen Wojcik: our Alice Burge: I just have Helen Wojcik: controller. Alice Burge: one question, Helen Wojcik: Yeah. Alice Burge: because for the intelligent controller, Helen Wojcik: Yeah. Alice Burge: you said that we can use the voice recognition or the gesture recognition, but as the um expert told us, most of the people want to use the remote control to zap t to zap between channels. Helen Wojcik: Yeah, Alice Burge: Do you Helen Wojcik: so Alice Burge: think they will be able to use gestures? Because, Helen Wojcik: Y Alice Burge: if they do all the time the same gesture, as you said previously in the last meeting, maybe they will get injuries because of that? Miki Pedersen: Yeah. Alice Burge: or Miki Pedersen: Maybe. Alice Burge: if you say channel three channel three two three four six five, I think they will be bored after a while. You don't think so? Helen Wojcik: Uh I think some time it's very uh convenient to use voice interface and gesture interface Alice Burge: Yeah, sure. Helen Wojcik: than use button. For example, if you cannot find your Alice Burge: I Helen Wojcik: uh Miki Pedersen: Oh Helen Wojcik: controller, Miki Pedersen: yeah, that's a good Helen Wojcik: you Alice Burge: That's Helen Wojcik: can Miki Pedersen: that's Helen Wojcik: just Miki Pedersen: a Alice Burge: true. Miki Pedersen: good Helen Wojcik: uh Miki Pedersen: point, so. Helen Wojcik: just just uh speak something such as, Miki Pedersen: One and Alice Burge: Yeah, Helen Wojcik: yeah, Alice Burge: but suppose Helen Wojcik: one Alice Burge: you Helen Wojcik: two. Alice Burge: got a cold. You Helen Wojcik: Yeah. Alice Burge: have a mute Cherie Casares: Mm. Alice Burge: remote controller. Helen Wojcik: So you can use your gesture. That's no problem. Cherie Casares: Yeah but how how is how Alice Burge: Broken Cherie Casares: risky Alice Burge: arm? Cherie Casares: is it to trust like speech recognition or gesture recognition? Helen Wojcik: For limited vocabulary speech recognition is Cherie Casares: Okay. Helen Wojcik: very reliable Cherie Casares: Okay. Helen Wojcik: and for s limited vocabulary gesture recognition is also Alice Burge: Yeah, Helen Wojcik: very Alice Burge: but suppose you have a family watching T_V_, Helen Wojcik: Yeah. Alice Burge: and if they want to use Miki Pedersen: Yep. Alice Burge: their private remote control in the same time, do you think it will work? Everybody wanting to change channel Cherie Casares: But this Alice Burge: in the same Cherie Casares: this Alice Burge: time? Cherie Casares: but this would never happen anyway. Helen Wojcik: Yeah, they cannot Alice Burge: Why? Helen Wojcik: speak at the same time. Cherie Casares: Yeah Alice Burge: If you have one brother and one sister and they want to Cherie Casares: Yeah, Alice Burge: watch Cherie Casares: but the Alice Burge: their favourite uh T_V_ programme, so they say oh channel four channel three channel four channel Miki Pedersen: Yeah Alice Burge: three Helen Wojcik: Yeah, Miki Pedersen: but Helen Wojcik: it's Cherie Casares: Yeah Helen Wojcik: very Cherie Casares: but Alice Burge: all Cherie Casares: this Helen Wojcik: interesting. Alice Burge: the time, Miki Pedersen: Yeah Alice Burge: so. Miki Pedersen: but the same can happen even with it you know this Cherie Casares: Yeah. Miki Pedersen: kind of remote control because Helen Wojcik: Yeah. Cherie Casares: I don't think Miki Pedersen: the Alice Burge: Yeah, Cherie Casares: it Alice Burge: but you have the remote control, so maybe you Miki Pedersen: That's Alice Burge: can keep Miki Pedersen: right. Alice Burge: it f with you. You're not you're not obliged Cherie Casares: Oh, Alice Burge: to Cherie Casares: okay, Alice Burge: share Cherie Casares: okay, Alice Burge: it. Cherie Casares: you mean it could be a problem for Alice Burge: Yeah, Cherie Casares: this Alice Burge: we can Cherie Casares: kind Helen Wojcik: Yeah, Cherie Casares: of Helen Wojcik: that's Cherie Casares: stuff. Alice Burge: yeah. Helen Wojcik: that's the advantage of intelligent controller. Even you h Cherie Casares: No. Helen Wojcik: you have the controller, I can Miki Pedersen: It's Helen Wojcik: I can say Miki Pedersen: it's Helen Wojcik: channel three, so it's c come Cherie Casares: No, but Helen Wojcik: to Cherie Casares: this Helen Wojcik: channel Cherie Casares: is disadvant Helen Wojcik: three, I don't have Cherie Casares: disadvantage. Helen Wojcik: to Alice Burge: Yeah, I think it's a disadvantage. Helen Wojcik: It's Cherie Casares: Yeah. Helen Wojcik: advantage. Miki Pedersen: And mayb maybe we can have the switching mode to pass from you know voice controller to Alice Burge: Yeah, but one Miki Pedersen: manual Alice Burge: other question. Miki Pedersen: controllers, Alice Burge: How Miki Pedersen: eh. Alice Burge: how much will it cost? Miki Pedersen: No, more Helen Wojcik: How Miki Pedersen: expensive Helen Wojcik: much? Miki Pedersen: maybe. Alice Burge: Yeah. Because I suppose we need to do research to have something working. Helen Wojcik: No no we we d we we just Cherie Casares: Uh if Helen Wojcik: are Cherie Casares: you if Helen Wojcik: use Alice Burge: Some Helen Wojcik: um Cherie Casares: if Alice Burge: some Cherie Casares: you Alice Burge: efficient. Cherie Casares: use the basic Helen Wojcik: No no we just um have some cooperation with some research institute, we don't have to do some basic research on this Alice Burge: So Helen Wojcik: field. Alice Burge: you think it won't cost an Not a lot for us? Or? Helen Wojcik: Yeah, I think it's uh because uh this technology is uh um for limited wor or limited wor uh lexical recognition, it's very Alice Burge: Yeah, but uh uh Helen Wojcik: it's uh yeah. Cherie Casares: But it's Helen Wojcik: It's Cherie Casares: it's changing how the remote control is gonna be built. Because then you need uh I mean this doesn't have uh the power to do recognition, for example. Miki Pedersen: Well y y Helen Wojcik: No it's Miki Pedersen: you have Helen Wojcik: uh Miki Pedersen: also the language Helen Wojcik: Even Miki Pedersen: problem, Helen Wojcik: for Miki Pedersen: you Helen Wojcik: the Miki Pedersen: know when Helen Wojcik: f Miki Pedersen: you Helen Wojcik: um Alice Burge: Mm-mm. Helen Wojcik: because Miki Pedersen: 'Cause Helen Wojcik: the Miki Pedersen: it Helen Wojcik: the vocabulary Miki Pedersen: it have to be universal, Helen Wojcik: the Miki Pedersen: so. Alice Burge: Yeah. I Helen Wojcik: The Alice Burge: agree Helen Wojcik: vocabulary Alice Burge: with uh Helen Wojcik: is very small, so Cherie Casares: Yeah. Helen Wojcik: that's Alice Burge: Yeah, Helen Wojcik: not a problem. Alice Burge: but there is one problem that uh Baba Miki Pedersen: Yeah. Helen Wojcik: Yeah. Alice Burge: talked about is the international remote control. We need something that is international. Suppose we're we want to sell it in France. Helen Wojcik: Yeah. Alice Burge: The recognition system will be able to understand French. If you want to go to England, Helen Wojcik: Yeah. Alice Burge: it will be able to understand English, so. Helen Wojcik: Yeah, the key, the key Cherie Casares: Yeah, Helen Wojcik: um Cherie Casares: this could be downloaded by the web Helen Wojcik: the Cherie Casares: maybe, Helen Wojcik: key of Cherie Casares: or Helen Wojcik: our the key feature of our controller is that it's it has some some um adaptation Miki Pedersen: Yeah Helen Wojcik: mechanism. Miki Pedersen: but you know. The Helen Wojcik: It's Miki Pedersen: product Helen Wojcik: It's Miki Pedersen: The pro Helen Wojcik: it means when you when you sell this controller in China it's can recognise Chinese. It's r if you sell this controller in France Miki Pedersen: It's Helen Wojcik: it Miki Pedersen: a very Helen Wojcik: can Miki Pedersen: smart, Helen Wojcik: recognise French. Cherie Casares: Yeah. Miki Pedersen: it's a Alice Burge: Mm, Miki Pedersen: very smart Alice Burge: okay. Miki Pedersen: controller maybe Helen Wojcik: Yeah, it's Alice Burge: And with no increase in the pri production price Miki Pedersen: Oh yeah Alice Burge: of the Miki Pedersen: yeah Alice Burge: remote Miki Pedersen: yeah yeah. Alice Burge: control? Helen Wojcik: Because Miki Pedersen: But Helen Wojcik: of this product uh this technology has already been developed. Alice Burge: Yeah, Helen Wojcik: So Alice Burge: but how will Miki Pedersen: Yeah Alice Burge: you Miki Pedersen: but the problem is how to s you know if this is a push button controller, you Helen Wojcik: Yeah. Miki Pedersen: can send this con this remote control everywhere in the world, Helen Wojcik: Yeah. Miki Pedersen: the same one. Cherie Casares: Mm. Miki Pedersen: If you have the language, you have to Helen Wojcik: Oh n Miki Pedersen: develop Helen Wojcik: Yeah, yeah tha Miki Pedersen: for Helen Wojcik: that's Miki Pedersen: each Helen Wojcik: why Miki Pedersen: country. Helen Wojcik: we have to do language adaptation. Miki Pedersen: Yeah, but for each country you have to do one, Helen Wojcik: Yeah. Miki Pedersen: because uh the for example Helen Wojcik: Even Miki Pedersen: for Se Helen Wojcik: for each f for even for different family we have to do d Miki Pedersen: Oh really? Helen Wojcik: yeah we would we Miki Pedersen: That's Helen Wojcik: have to do adaptation to Alice Burge: Oh. Cherie Casares: Yeah, but then Alice Burge: Seems Cherie Casares: w Alice Burge: to be quite complex. Cherie Casares: Yeah, we have to Miki Pedersen: Comple Helen Wojcik: No, Cherie Casares: take Helen Wojcik: it's not Cherie Casares: care Helen Wojcik: so Cherie Casares: of the Helen Wojcik: complex. Cherie Casares: twelve Euros problem. Alice Burge: And what about voice recognition, do we have microphones? And where will be they? Do you think Helen Wojcik: No no Alice Burge: if Helen Wojcik: no Alice Burge: we're Helen Wojcik: it's Alice Burge: far Helen Wojcik: not Alice Burge: from television it will work? Helen Wojcik: I think that's n that's not a problem because you you don't have to wear a microphone. It it just the microphone is embedded in the controller. Alice Burge: Yeah, but where is the controller? Cherie Casares: Okay. Helen Wojcik: Where is the controller? Alice Burge: Yeah. Helen Wojcik: It's in your family, in your home. Cherie Casares: No, but Alice Burge: Yeah, Cherie Casares: then it's Alice Burge: but Cherie Casares: it's Alice Burge: we're Cherie Casares: like this Alice Burge: here it's uh Cherie Casares: uh Alice Burge: an object. But Helen Wojcik: Yeah. Alice Burge: here you say you want to use i uh Helen Wojcik: Yeah you can Alice Burge: s Helen Wojcik: you Alice Burge: technology. Helen Wojcik: can embed it uh Miki Pedersen: A microphone Helen Wojcik: microphone Miki Pedersen: maybe. Helen Wojcik: here. Alice Burge: Yeah, but wha what is the use of voice or gesture recognition if you have a remote control li like this, if you have an object. If you want to use voice or gesture you need to be Miki Pedersen: To talk Alice Burge: free, Miki Pedersen: to the to the T_V_ Alice Burge: without any Miki Pedersen: maybe. Alice Burge: object. You just want to interact Helen Wojcik: Yeah yeah just Alice Burge: with Helen Wojcik: you Alice Burge: television. Helen Wojcik: just put the controller here, then you Miki Pedersen: I if you say Helen Wojcik: you Miki Pedersen: one, Helen Wojcik: use Miki Pedersen: he switch Helen Wojcik: your command Miki Pedersen: to channel, yeah. Helen Wojcik: and you do s your gesture. Alice Burge: Yeah, but you can lose it. Helen Wojcik: No no it's n y if you lose it Miki Pedersen: So well for example if it is somewhere in the room if i maybe if it is in the table there you can always say s channel one and the t the remote control gives the order to the T_V_ Helen Wojcik: Yeah. Miki Pedersen: to switch to channel Alice Burge: Okay Miki Pedersen: one. Alice Burge: you so you can build a kind of Miki Pedersen: Devic Alice Burge: black box and put it Cherie Casares: Yeah. Alice Burge: on T_V_ and Miki Pedersen: Yeah. Alice Burge: just to recognize Miki Pedersen: Yeah. Alice Burge: gestures and voice. Miki Pedersen: Yeah but so you need a camera and you know a microphone Helen Wojcik: Yeah. Alice Burge: Ah. Miki Pedersen: inside your remote control. Cherie Casares: But you would still have the buttons. Or is it do you think it should be only voice recognition and gesture recognition? Or you you still have the possibility to use buttons? Helen Wojcik: I think it we should give the uh flexibility to the user Cherie Casares: Okay, Helen Wojcik: and Cherie Casares: so Helen Wojcik: we Cherie Casares: you Helen Wojcik: think yeah. Cherie Casares: yeah. Alice Burge: Yeah, Helen Wojcik: You can see they can switch form one modality to another. Alice Burge: Mm. Cherie Casares: Yeah, I dunno. It's a bit risky risky. Miki Pedersen: Yeah. Alice Burge: I Helen Wojcik: No, Alice Burge: think so. Helen Wojcik: that's Alice Burge: And Helen Wojcik: quite Alice Burge: maybe Helen Wojcik: inter Alice Burge: it will be quite Helen Wojcik: quite attractive. Miki Pedersen: But I think that, you know, switching from one country to to another will be a problem, so although y y Helen Wojcik: Well, if you do language adaptation, there should be no problem. Miki Pedersen: Yeah but Cherie Casares: Yeah, Miki Pedersen: i i Cherie Casares: I dunno. Alice Burge: Okay. Helen Wojcik: We should have confidence in technology. Miki Pedersen: Yeah, we should. Uh. Alice Burge: Hmm. So, what do you think? We'll try the controllers you'd prefer. Miki Pedersen: Mm. Cherie Casares: What? Alice Burge: Which kind of controller would you prefer to use, you as a Cherie Casares: If Alice Burge: remote Cherie Casares: if Alice Burge: control user? Cherie Casares: I mean, uh I'm sure if the user pays the same price, he's happy to have recognition. Helen Wojcik: More features, yeah. Cherie Casares: But Miki Pedersen: Yeah, but Cherie Casares: if if if it like doubles uh Miki Pedersen: I think he Cherie Casares: no Miki Pedersen: need Cherie Casares: one would Miki Pedersen: a control Cherie Casares: would be interested. Miki Pedersen: that is very reliable, so. Alice Burge: So I think it would be better not to do any intelligent controller and to stay with the Google controller or a fancy controller. Maybe try to mix the Google controller and the fancy controller? Hmm? Miki Pedersen: Yeah. Yeah. Alice Burge: Just want to have something controller which is in a kind of intelligent controller, easy to use, sophisticated and fancy. Helen Wojcik: Yeah Alice Burge: You Helen Wojcik: but Alice Burge: think Helen Wojcik: if Alice Burge: it's possible? Helen Wojcik: if you stick to um stick to the first two parts. So what's the difference between our controller with other products in the market? There's no k features of our controller, so is there is there any necessary to design new controller without Cherie Casares: Yeah. Miki Pedersen: Yeah. Helen Wojcik: any breakthrough features? Cherie Casares: No, I mean Helen Wojcik: Would y would you replace your controller with a controller with similar function if you Miki Pedersen: It's Helen Wojcik: do not Cherie Casares: Y Miki Pedersen: not really Helen Wojcik: have some Miki Pedersen: the we Helen Wojcik: some function Miki Pedersen: we can Helen Wojcik: inside Miki Pedersen: add for Helen Wojcik: it Miki Pedersen: example Helen Wojcik: that Miki Pedersen: some function like for browsing in internet, so or something like that. But uh I think a user need Helen Wojcik: Yeah, you y that's a fun that's not the function of the controller, that's a function of T_V_. can replace your T_V_ with a new T_V_ with internet browsing Cherie Casares: No, Helen Wojcik: function, Cherie Casares: but you need Helen Wojcik: but Cherie Casares: you need new remote controller then. Because if you wanna browse internet or, Miki Pedersen: Don't have Cherie Casares: I don't know, Miki Pedersen: a the Cherie Casares: if you Miki Pedersen: the Cherie Casares: wanna type something, or Helen Wojcik: Okay. Miki Pedersen: Yeah if we can send email from Helen Wojcik: But Miki Pedersen: it. Helen Wojcik: it's not the only the problem only the Cherie Casares: No. Helen Wojcik: issue of controller, it's Cherie Casares: No. Helen Wojcik: it's also the issue of the T_V_. Miki Pedersen: Because the p the problem I can see with with the voice or the gesture itself wh Cherie Casares: Cause Miki Pedersen: what Cherie Casares: for example Miki Pedersen: can happen in a Cherie Casares: yeah. Miki Pedersen: family i i for example Helen Wojcik: Yeah, Miki Pedersen: if Helen Wojcik: but we do we do we we we cannot rely one hundred percent on these features Cherie Casares: Yeah. Helen Wojcik: to u to use the controller, Alice Burge: Yeah, but Helen Wojcik: but Alice Burge: uh we want Helen Wojcik: with the Alice Burge: so Helen Wojcik: features of our controller such as you have the feature of voice recognition in your mobile but you seldom use it, your mobile, but you when you choose a new mobile, Cherie Casares: Yeah, Helen Wojcik: you Cherie Casares: you wou Helen Wojcik: choose Cherie Casares: you would Helen Wojcik: the one with voice recognition. Cherie Casares: True. Helen Wojcik: That's the feature is not one hundred percent reliable, but it's a feature to distinguish our product from our from other products. Alice Burge: Yeah, but Miki Pedersen: Yeah Alice Burge: w we we want something th that works all the time, Helen Wojcik: Yeah. Alice Burge: every day, every hour, Helen Wojcik: Yeah, Alice Burge: for Helen Wojcik: uh Miki Pedersen: And for Alice Burge: everyone. Miki Pedersen: all the person of the family maybe, Helen Wojcik: Yeah, if Alice Burge: You Miki Pedersen: so, Helen Wojcik: if Alice Burge: don't Miki Pedersen: yeah. Alice Burge: need Helen Wojcik: if Alice Burge: to Helen Wojcik: if Alice Burge: tune Helen Wojcik: you're if you Alice Burge: it. Helen Wojcik: ar if you already have a product it works one hundred percent reliable, would you replace it with another one? Alice Burge: Yeah, why not? Cherie Casares: I Alice Burge: If Cherie Casares: mean, Alice Burge: it's Cherie Casares: for example the goo y Miki Pedersen: Because Cherie Casares: you Miki Pedersen: you have Cherie Casares: say Miki Pedersen: new Cherie Casares: we would we would to have a Google-like Helen Wojcik: Yeah. Cherie Casares: controller. Helen Wojcik: Yeah. Cherie Casares: I don't see how adding speech or gesture recognition would make the remote control look more like Google. Google is is simple, works fine, Helen Wojcik: Yeah. Cherie Casares: so I I guess if can have a remote control that is really basic, simple and works fine, Helen Wojcik: Yeah. Cherie Casares: it's already a lot. Helen Wojcik: Oh yes, but Cherie Casares: Uh Helen Wojcik: there's Cherie Casares: thi Helen Wojcik: no Cherie Casares: this Helen Wojcik: big difference between the traditional controller. Cherie Casares: I mean, the user is not only interested in having speech or gesture recognition or Helen Wojcik: The then Cherie Casares: if he has Helen Wojcik: nn no. Cherie Casares: something Helen Wojcik: Tha Cherie Casares: that works fine and is really fancy, looks nice and Alice Burge: Not Helen Wojcik: But Alice Burge: too Helen Wojcik: the Cherie Casares: it's Alice Burge: expensive Helen Wojcik: there's Cherie Casares: easy easy Helen Wojcik: there's Alice Burge: too. Cherie Casares: to Helen Wojcik: n Cherie Casares: use, Helen Wojcik: there's n Cherie Casares: easy Helen Wojcik: not Cherie Casares: to use. Helen Wojcik: enough motivation for them to replace their old controller with a new one Cherie Casares: See Helen Wojcik: if there's no key feature in the new controller. Cherie Casares: That's the Helen Wojcik: That's Cherie Casares: problem, Helen Wojcik: the same yeah. Cherie Casares: yeah. I mean, I I know it's more interesting to develop a remote controller with speech and gesture and whatever. Helen Wojcik: Yeah. Cherie Casares: But you have to think, Miki Pedersen: Ye Cherie Casares: the user is the one who gonna buy the product and Helen Wojcik: Yeah. Cherie Casares: so. Alice Burge: Okay. Cherie Casares: I mean, that's Alice Burge: So Cherie Casares: the point. Alice Burge: let's go to Miki Pedersen. Helen Wojcik: Okay. Miki Pedersen: Okay. Alice Burge: Maybe we'll be able to take a decision after that, Miki Pedersen: Okay. Helen Wojcik: Yeah. Alice Burge: so. Two? Miki Pedersen: Yeah, participant two um Alice Burge: Working? Miki Pedersen: Yeah, working design, so. So I think Alice Burge: I can Miki Pedersen: Can you go to the next one? I uh it's not this one. It's uh Alice Burge: Okay. Miki Pedersen: oth the oth so I It's the working design. Sorry. Component Alice Burge: It's Miki Pedersen: design. Alice Burge: okay Miki Pedersen: So this yeah so this is the described use What? Are you inst Alice Burge: Uh I think there's something wrong with your Helen Wojcik: It did didn't r receive it. Didn't Alice Burge: Maybe you Helen Wojcik: receive it. Alice Burge: you record it somewhere else. Miki Pedersen: I don't think so. Helen Wojcik: Participant one. Participant one. Alice Burge: Interface concept. No. Cherie Casares: Hmm. Alice Burge: Mm mm. Miki Pedersen: Oh. Maybe I record recorded directly on the Computer. Cherie Casares: Yeah. Alice Burge: Uh. Cherie Casares: Dunno. Alice Burge: Nope. Miki Pedersen: Okay, okay. Yes. Alice Burge: It seems that we have a problem with the Cherie Casares: I dunno if you remember what you had to say or Miki Pedersen: I can say it to you without. Alice Burge: Yeah, so Helen Wojcik: Yeah, maybe we can first come to Alice Burge: No, I think it will be more interesting Helen Wojcik: uh Alice Burge: to Helen Wojcik: to Frahan. Alice Burge: start with uh Helen Wojcik: With Frahan, Cherie Casares: I think it's Helen Wojcik: then Cherie Casares: more Helen Wojcik: you Cherie Casares: interesting Helen Wojcik: can prepare Cherie Casares: what Helen Wojcik: your slides, Cherie Casares: he says, okay. Helen Wojcik: then present Alice Burge: Yeah. Helen Wojcik: it later. Miki Pedersen: Yeah, exac Okay. Alice Burge: I think it will be interesting after your Miki Pedersen: Yeah. Alice Burge: presentation Cherie Casares: Yeah, Alice Burge: to have Cherie Casares: true. Alice Burge: um Baba's presentation. Miki Pedersen: Yeah. Helen Wojcik: Okay. Miki Pedersen: In fact, I don't Alice Burge: So. Miki Pedersen: know, I s Alice Burge: Okay. Miki Pedersen: because i in my presentation I don't have here with so Alice Burge: Okay, never Miki Pedersen: It Alice Burge: mind. Miki Pedersen: was in fact the design use to show you the design of what is inside Helen Wojcik: Okay. Miki Pedersen: a what is inside and what are the different component of the r of the remote control. Helen Wojcik: Okay. Miki Pedersen: So it will be interesting so I could show you some some picture Helen Wojcik: Okay. Miki Pedersen: of what is inside and so. So I in fact the the f something I want to discuss is which kind of material are we going to use, so Alice Burge: Mm-hmm. Miki Pedersen: will it will be wooden wooden di wooden remote control or a a plastic remote control like this one. So and in which which which kind will be the the different bu button, Alice Burge: Mm-hmm. Miki Pedersen: so it can be some, you know, classic pushbutton like this one, or you have also some button like L_C_D_ where you know, Helen Wojcik: Mm-hmm. Alice Burge: Mm-hmm. Miki Pedersen: the button the buttons are unlighted during the night, or, you know, you can Alice Burge: Okay. Miki Pedersen: see them in the darkness. Helen Wojcik: Okay. Miki Pedersen: And the other thing I want to discuss also is which kind of alimentation, electric alimentation do you want to have, so will it be for example uh d uh solar energy alimentation Helen Wojcik: Uh-huh. Miki Pedersen: or will it be a battery like the classical battery so. And I think that for example for the alimentation it would be good to have uh both of them, so so for example in some country where you are in the the countryside and you are far from, you know, the cities uh Helen Wojcik: Mm-hmm. Miki Pedersen: for example in some place in in S Senegal, so if you have electric if you have solar Helen Wojcik: Mm-hmm. Miki Pedersen: alimentation, you just, when you want to have recharger or remote control power you just put it on the sun and after one hour you can come and so it can be interesting for people to have this kind of remote con It can be something interesting to make people buy it, for example. Alice Burge: Yeah, I think it's an Miki Pedersen: Yeah. Alice Burge: added value to the remote control Miki Pedersen: Yeah, yeah Alice Burge: and maybe Miki Pedersen: mm. Alice Burge: it can attract all the ecological Miki Pedersen: yeah, Alice Burge: k Cherie Casares: Yeah. Miki Pedersen: yeah, Alice Burge: yeah Miki Pedersen: yeah, Alice Burge: consumers Miki Pedersen: yeah, Cherie Casares: Yeah. Miki Pedersen: yeah. Alice Burge: and but about the the price of adding this solar battery, would it be something really that will increase the price of production more, no? Miki Pedersen: Alrigh In fact, having them both will if we want to have battery, regular battery and and the solar energy battery it could be it'll it will add a little bit of the price, Alice Burge: So. Miki Pedersen: but it will be an added value also that will be Cherie Casares: Yeah. Miki Pedersen: compensated, Alice Burge: Okay. Miki Pedersen: so hmm. Alice Burge: And what tha what about the uh materials? Miki Pedersen: And the materials, it depends for example you if you have a wooden material it can be more the plastic material is more common it's Alice Burge: Impersonal, Miki Pedersen: very resistant but, Alice Burge: mm-hmm. Miki Pedersen: you know, something wooden will be like, I don't know Alice Burge: Yeah. Cherie Casares: Special Miki Pedersen: high Cherie Casares: for Miki Pedersen: cl so a special high class, or you know, Cherie Casares: Mm-hmm. Alice Burge: Yeah, and Miki Pedersen: you Alice Burge: i Miki Pedersen: can have some Alice Burge: if you we want to put fashion in electronics maybe we can try to do something with wood. Helen Wojcik: Mm-hmm. Miki Pedersen: Yeah, even Cherie Casares: Yeah. Miki Pedersen: if it is not completely wood, but just a part of the, you Alice Burge: Mm-hmm. Miki Pedersen: know, will be wooden, in wood Alice Burge: Mm. Miki Pedersen: and it can be interesting. Alice Burge: Mm okay, seems Miki Pedersen: And Alice Burge: to be interesting, Miki Pedersen: so Alice Burge: mm. Miki Pedersen: the last point is y also would do you want to have some very cheap integrated cir circuits, chips, or do you have low level or or very very expensive, it depends, but I think that low level will be, you know, it is an interim module. Alice Burge: Yeah, we want something easy to use and Miki Pedersen: Yeah. Alice Burge: so I think maybe something very low level wou Miki Pedersen: Yeah. Yeah, Alice Burge: would be enough. Miki Pedersen: yeah. Alice Burge: And you think that we will be Miki Pedersen: Yeah, I think it will fit on the price we want, twel Alice Burge: Okay. Miki Pedersen: twelve Euros, so. Alice Burge: So wood. And what about the buttons? Miki Pedersen: I think the buttons I pr I prefer, you know, the L_C_D_ you know lighted buttons because, you know, it's I don't know Alice Burge: No it's fashion, Miki Pedersen: um yeah, in the Alice Burge: yeah. Miki Pedersen: dark, it's fashion and it's related to how beautiful it is or uh if you want to watch T_V_ in the darkness or if you want to lo find your find your your remote control that is lost, you know in the darkness it's very easy so, right. Cherie Casares: What about the touch scr touch screen? For example. It's it's expensive I I guess. Miki Pedersen: I think a touch screen will be t as expensive as the L_C_D_ buttons so. Cherie Casares: Mm. Miki Pedersen: But And it is a kind of other design, I mean. It can Cherie Casares: Yeah. Miki Pedersen: also be interesting to have this kind of Helen Wojcik: So you got email? Alice Burge: I dunno. I think we have only uh five minutes left. Cherie Casares: Okay. Alice Burge: Participant four? Functional requirements? Cherie Casares: Uh no, trend watching. The other one. Alice Burge: This one? Cherie Casares: Yeah. Uh, I think so, just Yeah, so just to meet the user requirements I would just do a s short anal analysis of the remote control market and to kind of um have a better overview of what's the fashion in general I've checked more than only the remote control market, so next. So again, it's pretty much similar to what I've said in the previous meeting. Um user really really want a fancy look and feel. They're not so so interested in uh functional look and feel, okay. Like the one you've shown, David, Helen Wojcik: Mm. Cherie Casares: with all the buttons and I Miki Pedersen: Mm. Cherie Casares: mean i i it sounds good technically but it's it's not what they want and uh So, second point is they still want it it to be technologically innovative, so maybe it's sort of related to what you've said with the speech recognition and so on. Alice Burge: Okay. Cherie Casares: At the same time, it's important that it's easy to use. So that were the three first points from the remote control uh analysis. Now i if we look at fashion in general um Okay. Wha what we really see this year is that uh everything from clothes to shoes and furniture is is inspired by fruits and vegetables, okay, Miki Pedersen: Ah yes. Cherie Casares: so I think we really have to take this into account for the design of the Miki Pedersen: Yeah, Cherie Casares: the thing. Miki Pedersen: yeah. Okay, yeah. Cherie Casares: 'Cause it's it's really what people want. Even if it's in general fashion, we want it to be in the remote control. And then uh if if we take the ordering or the ranking of all the points, fancy look and feel has, on a score of seven would have six as importance. Uh the remote control has to be technologically innovative, it's three. Then easy to use uh it's not so important actually with respect to other y other ones. Miki Pedersen: Okay. Cherie Casares: So we see fancy look an look and feel is the most important one, uh from Milan and Paris Miki Pedersen: And fruit and vegetables yeah. Cherie Casares: we go to the fruits and vede vegetables. And the other point I haven't mention is people wan want to have a spongy Miki Pedersen: Spongy Cherie Casares: touch, okay Miki Pedersen: 'Kay. Cherie Casares: so this is this maybe doesn't really fit with the wooden design. Miki Pedersen: Okay, yeah, yeah. Cherie Casares: I dunno. Miki Pedersen: Yeah, but the problem is which kind of material do you need to to be spongy? Cherie Casares: Yeah thi this is this would be like um Miki Pedersen: Pla Cherie Casares: plastic-like, Miki Pedersen: S Cherie Casares: but Miki Pedersen: Very stuff Cherie Casares: rubber, mayb Miki Pedersen: Okay, Cherie Casares: maybe, Miki Pedersen: rubber Cherie Casares: you Miki Pedersen: rubber Cherie Casares: know, rubber-like Miki Pedersen: desi okay, yeah. Cherie Casares: uh Miki Pedersen: Yeah. Cherie Casares: device, so um Miki Pedersen: Yeah. Cherie Casares: Okay, tha tha that was the main point, I think, from the trend in fashion. Miki Pedersen: Okay. Alice Burge: So we have to take decisions about the component concepts, about the energy. So, as you say you want something technologically innovative, Miki Pedersen: Yeah. Alice Burge: maybe using Miki Pedersen: Solar. Alice Burge: solar energy and Cherie Casares: Yeah, so when I think it's Miki Pedersen: Okay. Alice Burge: with battery would be something interesting, maybe will attract Cherie Casares: Mm-hmm Miki Pedersen: Yeah. It will be a Alice Burge: pro-ecology consumers. Miki Pedersen: Yeah. Alice Burge: Uh cheap imprint so you s you propose low level Miki Pedersen: Yeah, I Alice Burge: chips Miki Pedersen: think Alice Burge: would be uh enough to have something Miki Pedersen: Yeah, yeah. Alice Burge: working well. Miki Pedersen: Yeah. Alice Burge: Case. Helen Wojcik: Later? Alice Burge: So you think case. Something spongy. Someth no wood. Miki Pedersen: No wood but Cherie Casares: Maybe not no Miki Pedersen: Plastic? Cherie Casares: wood, but I mean Miki Pedersen: Would some Cherie Casares: ma maybe not the part you Helen Wojcik: Pla Cherie Casares: touching you Alice Burge: Maybe Cherie Casares: know. Miki Pedersen: I think Alice Burge: you Miki Pedersen: we can have wood for example in the bottom and, you Cherie Casares: Yeah, Miki Pedersen: know. Cherie Casares: maybe Miki Pedersen: It depends Cherie Casares: the base. Miki Pedersen: on the design we want, so. Alice Burge: It's Cherie Casares: But still y Alice Burge: it's natural. Miki Pedersen: Yeah, Cherie Casares: Yeah. Alice Burge: Th Miki Pedersen: it's natural Alice Burge: The feeling Miki Pedersen: and i Alice Burge: is natural, so maybe we can stay with wood. Miki Pedersen: And it can be correlated to energy, solar energy, so for the marketing aspect, you know, saying Cherie Casares: Yeah, Miki Pedersen: that Cherie Casares: I mean Miki Pedersen: it's Cherie Casares: it's not Miki Pedersen: ecol Cherie Casares: exactly right for the spongy Miki Pedersen: Mm, Cherie Casares: point Miki Pedersen: yeah, Cherie Casares: of view. Miki Pedersen: it's not right, so. Alice Burge: But it's still fashion. Cherie Casares: But we could maybe have both like part of wood and some rubber for the buttons, or Miki Pedersen: Okay. Cherie Casares: I Alice Burge: Yeah, Cherie Casares: dunno. Alice Burge: something that you can Cherie Casares: Yeah. Alice Burge: into it. Uh and what about the user interface concept? Miki Pedersen: Google and Alice Burge: Google and fancy? Miki Pedersen: and fancy, f how about the the voice? Alice Burge: Because Miki Pedersen: And Alice Burge: I think that with the voice and gesture recognition there are still some disadvantages with this. Helen Wojcik: Uh Miki Pedersen: Uh Helen Wojcik: yes. Miki Pedersen: maybe we can do some marketing studies asking people if they're interested and how It It is an an interesting concept to see to have Cherie Casares: Yeah. Miki Pedersen: uh Helen Wojcik: Yeah. Miki Pedersen: voice control. Helen Wojcik: Yeah. The smart Miki Pedersen: Mm. Helen Wojcik: controller. Miki Pedersen: Yeah. But and the problem is I I'm we can infer i if you have v voice control why not to put it directly on the the T_V_, so speak directly to the T_V_ and you don't need a remote control actually, so. Alice Burge: Yeah, but you need a receiver to recognize the gestures and the voice. Miki Pedersen: But it will be embedded on the T_V_ and not on the remote control, so. Alice Burge: That's Cherie Casares: Yeah Alice Burge: true. Cherie Casares: d Helen Wojcik: Okay. Cherie Casares: I dunno. Alice Burge: So maybe we'll just focus on the Google controller plus the Helen Wojcik: Mm. Alice Burge: fancy controller, maybe try to mix them these two concepts together, just in one and do a remote control with solar energy Helen Wojcik: Yeah. Alice Burge: and batteries and with lev low level chips and wood. Helen Wojcik: It's good. Alice Burge: And L_C_D_ buttons. Miki Pedersen: Yeah, L_C_D_. Alice Burge: Yeah, I think for these supplements the solar energy would be something quite interesting and not maybe too difficult Miki Pedersen: Yeah, Alice Burge: to add. Miki Pedersen: yeah, yeah. And pf what can we think a supplement to Cherie Casares: What interface? Alice Burge: Yeah, for the interface something added value. Miki Pedersen: I think the supplement can be the voice. It is just, you know, it is not the most important, but it can be a part of Alice Burge: With a module? You mean the remote control with a mur module if you want you can Miki Pedersen: Yeah, Alice Burge: just use Miki Pedersen: yeah. Alice Burge: commands, words Miki Pedersen: Yeah. Alice Burge: and Miki Pedersen: Mm. Alice Burge: use them Helen Wojcik: Mm-hmm. Alice Burge: when you don't want to use Miki Pedersen: To Alice Burge: your Miki Pedersen: push Alice Burge: fingers. Miki Pedersen: button, yeah, yeah. Even it is for s just some kids, you know, switching channels one two three four. Alice Burge: Turning the T_V_ Miki Pedersen: Yeah, Alice Burge: o Miki Pedersen: turning Alice Burge: on o Miki Pedersen: yeah, Alice Burge: or off. Miki Pedersen: yeah. Not very complex commands, but easy commands, so. Alice Burge: So, adding some vocal commands. Miki Pedersen: Yeah. Alice Burge: Simple ones? Miki Pedersen: Yeah, simple ones for Alice Burge: Okay. So the next meeting will start in thirty meeti minutes so we'll you will all have to work in in your direction. So you will have to work on the look and feel design, Helen Wojcik: Yeah. Alice Burge: to have the easy to use, powerful and fancy remote control Helen Wojcik: Yep. Alice Burge: with some added value such as the uh simple vocal commands recognition. Helen Wojcik: Yeah. Alice Burge: Uh you will have to work more, Baba, on the um spongy way to to add spongy um Miki Pedersen: expensive Alice Burge: touch Miki Pedersen: buttons Alice Burge: to the buttons Miki Pedersen: Yeah, to make some Alice Burge: and Miki Pedersen: new Alice Burge: try to find maybe a nice shape for the wooden remote control. Miki Pedersen: Yeah. Alice Burge: And I sup I think we'll have to evaluate th the product Cherie Casares: Yeah, Alice Burge: too. Cherie Casares: no not forgetting about the fruits and vegetables Alice Burge: Yeah. Miki Pedersen: Okay, fruits. Cherie Casares: trends. Alice Burge: Yeah. Cherie Casares: If possible. Miki Pedersen: Okay. Alice Burge: And remember as as I said last meeting, we really have to build a fashion remote control and uh the colour of the um the society will be really Miki Pedersen: Need it to be, okay. Alice Burge: it will be seen in the remote control. So you will have Baba and David Jordan you will have to work together on the prototype Helen Wojcik: Yeah. Alice Burge: and you will have next time to show us um modelling a cl a clay remote control, so Helen Wojcik: Okay. Miki Pedersen: Okay. Alice Burge: you will have to model model something. Helen Wojcik: Yep Alice Burge: And I think that some specific instructions will be sent to you by your personal coach. Miki Pedersen: Okay. Alice Burge: So, Helen Wojcik: Okay. Alice Burge: no more questions, we can close the session. Cherie Casares: Hmm. Miki Pedersen: Sounds good, mm-hmm. Cherie Casares: Okay. Alice Burge: Yeah. Helen Wojcik: Okay. Alice Burge: Okay, cool.

Helen Wojcik presented three different concepts to consider for the user interface and introduced the idea of using speech recognition in the design of the remote. The team discussed the issue of using speech recognition at length. Miki Pedersen presented possible materials to use in making the case for the remote, introduced the option of using a solar battery, and discussed options for buttons. The Marketing Specialist discussed recent findings from trend watching reports. The team discussed what materials to use and their interface concept.

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Corinna Harre: Mm-hmm So, ready? Bernice Johnson: No Naomi Calhoun: 'Kay. Bernice Johnson: not really. Just Crap. Corinna Harre: Sorry I, Bernice Johnson: Okay. Corinna Harre: I Naomi Calhoun: It's perfect. Corinna Harre: um I'm Chana Buzby: Your Corinna Harre: afraid Chana Buzby: judgement it's is biased. Corinna Harre: Uh thi this remote control will stay a prototype. Bernice Johnson: 'Kay, so whe where is the remote control? Chana Buzby: So, Naomi Calhoun: Where Chana Buzby: we are Naomi Calhoun: It's? here. Chana Buzby: So Corinna Harre: Okay. Chana Buzby: let's go for our detailed design meeting. Bernice Johnson: Yep. Chana Buzby: So I will still play the role of the secretary, and we'll have um first the project presentation by our Naomi Calhoun: Okay. Chana Buzby: User Interface Designer, David Jordan, Naomi Calhoun: Yeah. Corinna Harre: Yeah. Chana Buzby: and our Industrial Designer, Baba. Corinna Harre: Yeah. Naomi Calhoun: 'Kay. Chana Buzby: So we'll have to evaluate the uh your proposed remote control, and um have an idea of the price that uh this thing will cost. And in case we're all agree on the fabrica of um building of this remote control, we'll evaluate the um production. So maybe I will let the our two designers talk about so Naomi Calhoun: I have slides. Chana Buzby: their Corinna Harre: Okay. Chana Buzby: You have s oh, sorry. Oops. Naomi Calhoun: Ah, that is Corinna Harre: Effectively Naomi Calhoun: three. Corinna Harre: one slide and maybe we can Naomi Calhoun: Product prod Corinna Harre: discuss Bernice Johnson: What Corinna Harre: everything. Bernice Johnson: slides? Naomi Calhoun: Yep. Okay. Okay. So, this is our product or prototype. This is made by clay. Chana Buzby: Looks strange. Naomi Calhoun: Yeah. Uh the basic colour is uh yellow and red. Yellow is uh our company colour, Chana Buzby: Okay. Naomi Calhoun: uh red it's uh is more attractive. So we used two basic colour, yellow and red. And the there's two basic shape. The first is a circle and the second is a triangle s piece. It's Corinna Harre: Okay. Naomi Calhoun: we call it a mushroom design. It's looks like some mushroom, Corinna Harre: Yeah. Naomi Calhoun: so we call it mushroom design. Corinna Harre: Uh Naomi Calhoun: So this is a introduction of our product. Next Chana Buzby: Genetically Naomi Calhoun: a mo Chana Buzby: modified mushroom I will say, but Bernice Johnson: Yeah. Chana Buzby: keep Naomi Calhoun: Okay, Chana Buzby: on speaking. Naomi Calhoun: yeah, so next slide. So there are several key features of our pr prototype. The first is that it is fuzzy. I'm sure this would be the unique design the market. Corinna Harre: Yeah, Chana Buzby: Oh. Corinna Harre: yeah I'm sure. Chana Buzby: Maybe, I hope so. Naomi Calhoun: Yeah, so it's a fuzzy design, and a unique design. Corinna Harre: Yeah, that's Naomi Calhoun: Um, Corinna Harre: true. Naomi Calhoun: and uh the second key feature is that uh s circle channel um selection. In the traditional key uh traditional controller use button to to select the channel but now we have a s circle, so we can turn this ball to t to select channel. So it's quite Chana Buzby: Chan Naomi Calhoun: convenient for user to use it. Chana Buzby: Yeah, okay, but don't Naomi Calhoun: Yeah, Chana Buzby: touch don't destroy Naomi Calhoun: s Chana Buzby: your prototype. Naomi Calhoun: okay. Uh the third feature is a stable triangle base. Uh this sta uh this triangle base is very stable, so uh so it's it's um it's unlikely you cannot found it. So it's v Um, you can put it in the table so you can turn the the ball to cha to select the channel and there's some cute button. You c can can you can see the the shape of the buttons n is a mushroom, so Chana Buzby: Everything's mushroom. Corinna Harre: Yeah. Naomi Calhoun: Yeah, Chana Buzby: So Naomi Calhoun: everything's Chana Buzby: we can Naomi Calhoun: mushroom. Chana Buzby: call our Naomi Calhoun: Mush Chana Buzby: remote control the mushroom. Corinna Harre: Yeah Naomi Calhoun: Mushroom Corinna Harre: but Naomi Calhoun: design, Corinna Harre: it's not Naomi Calhoun: yeah. Corinna Harre: like really mushroom because you have uh you know uh like lemon shape, you know, centre Naomi Calhoun: Yeah. Corinna Harre: is Chana Buzby: Okay. Corinna Harre: yellow and Naomi Calhoun: Yeah, Corinna Harre: t Naomi Calhoun: th that's why if Corinna Harre: d Naomi Calhoun: you put it in the table, be Corinna Harre: To integrate, Naomi Calhoun: careful, Corinna Harre: you Naomi Calhoun: somebody Corinna Harre: know yeah. Naomi Calhoun: will eat it. Corinna Harre: I don't think I hope nobody will eat it. You know, to integrate the fruit aspect, you know the Naomi Calhoun: Yeah. Chana Buzby: Oh. Bernice Johnson: Yeah, Corinna Harre: the Bernice Johnson: because mushroom Corinna Harre: in Bernice Johnson: was not in the trends. I mean Corinna Harre: Really? Bernice Johnson: there Chana Buzby: Fruits Corinna Harre: But Bernice Johnson: was fruits Chana Buzby: and vegetables. Bernice Johnson: yeah. Corinna Harre: Fruit and vegetable, so Chana Buzby: Vegetables. Bernice Johnson: Yeah. Corinna Harre: mushroom was Chana Buzby: Mushroom Corinna Harre: a kind Chana Buzby: is a vegetable. Corinna Harre: of you know Bernice Johnson: I don't think Corinna Harre: uh Bernice Johnson: it is. Naomi Calhoun: Yeah. Chana Buzby: It's vegetable. Corinna Harre: Mushroom? Naomi Calhoun: Yeah. Bernice Johnson: Mm-hmm. Corinna Harre: Oh, uh I'm not Chana Buzby: So Corinna Harre: sure. Chana Buzby: th it's something eatable. Corinna Harre: We can Bernice Johnson: Yeah. Corinna Harre: it's a veg a kind of vegetable, but you know Naomi Calhoun: Yeah. Corinna Harre: we we integrated them with different Bernice Johnson: But Corinna Harre: colour. Bernice Johnson: anyway this is not a mushroom anyway, so Naomi Calhoun: Yeah. Bernice Johnson: it's fine. Corinna Harre: I I think we take into account what you said about fruit and vegetable you know. This, you know, very Bernice Johnson: No, I mean, Corinna Harre: enlighted Bernice Johnson: yeah Corinna Harre: colours, you Bernice Johnson: yeah. Corinna Harre: know. Bernice Johnson: Inspira inspiration Corinna Harre: And inspired Bernice Johnson: is Corinna Harre: colour and and very sophisticated material, so. Bernice Johnson: True. Naomi Calhoun: Yeah. Corinna Harre: And so Chana Buzby: Next slide. Naomi Calhoun: Uh, no this our only Corinna Harre: So Naomi Calhoun: two Corinna Harre: what Naomi Calhoun: slides. Corinna Harre: we w what I can add is that, you know he talk about what is outside, Naomi Calhoun: Yeah. Corinna Harre: so what is inside is what we dis what we talked before about, you know, the chip, it is a low level chip, and Naomi Calhoun: So we cut it to see. Corinna Harre: You know, we don't need to k. Chana Buzby: Mm-hmm. Corinna Harre: You know wi the low level chips inside and you know the L_C_D_ button Naomi Calhoun: Okay. Corinna Harre: and the Naomi Calhoun: So Corinna Harre: i Naomi Calhoun: where's the battery battery? Corinna Harre: The battery it is under. It Chana Buzby: In the base. Corinna Harre: is in Naomi Calhoun: Base. Corinna Harre: th in Chana Buzby: In the Corinna Harre: in Chana Buzby: basement. Corinna Harre: the base, Naomi Calhoun: Here? Corinna Harre: yeah. Chana Buzby: In the basement. And where is Bernice Johnson: But Chana Buzby: the Bernice Johnson: we Chana Buzby: solar Bernice Johnson: say uh Chana Buzby: solar Bernice Johnson: we sa Chana Buzby: cell? Bernice Johnson: we said solar. Chana Buzby: Where Corinna Harre: In Chana Buzby: is Corinna Harre: fact Chana Buzby: the solar Corinna Harre: this Chana Buzby: cell? Corinna Harre: this this this is a kind of you know revolutionary solar receptor that we can put outside and Chana Buzby: Oh. Do you Naomi Calhoun: Okay. Chana Buzby: think it won't be It won't cris increase the price? Corinna Harre: I don't think so, Chana Buzby: Okay, Corinna Harre: but it Chana Buzby: we'll Corinna Harre: it's Chana Buzby: see after. Corinna Harre: might be Chana Buzby: We Corinna Harre: okay, so. Chana Buzby: will have Corinna Harre: I Chana Buzby: first Corinna Harre: it might be Chana Buzby: to Corinna Harre: okay. Naomi Calhoun: Okay. Corinna Harre: So Chana Buzby: so, mister money, what's Bernice Johnson: Yeah. Chana Buzby: your opinion according to this remote control? Bernice Johnson: I mean, we gonna try to measure how good it is instead of just talking about uh we had three keys key points to uh for this remote control design, and first one was uh Chana Buzby: Mm-hmm. Bernice Johnson: fancy look and feel. Corinna Harre: Yeah. Naomi Calhoun: Yeah. Bernice Johnson: So w we'll try to judge this feature uh with a one to seven scale, one being uh no, I think. Uh just let Bernice Johnson check. Corinna Harre: So, four point three point five, it means it's acceptable. Bernice Johnson: One one being true, and seven being false. Okay. Corinna Harre: Oops. Bernice Johnson: Ouch. So Naomi Calhoun: Okay. Bernice Johnson: Do we have a fancy look and feel, Naomi Calhoun: Yeah, Bernice Johnson: according Naomi Calhoun: I Bernice Johnson: to Naomi Calhoun: think Bernice Johnson: you? Naomi Calhoun: so. Corinna Harre: I think you have nice colours. I don't Bernice Johnson: But is it Corinna Harre: The sha the bowl shape Naomi Calhoun: Yeah, Corinna Harre: people Naomi Calhoun: the shape Corinna Harre: like. Naomi Calhoun: is unique, and the colour Bernice Johnson: Uh I'll agree it's unique, but is it really Naomi Calhoun: So Corinna Harre: Is Naomi Calhoun: it Corinna Harre: it Naomi Calhoun: depend Corinna Harre: really Naomi Calhoun: on Corinna Harre: fancy? Naomi Calhoun: how d do you define fancy. Bernice Johnson: Yeah I mean, fancy was was defined by s fruit and vegetable look. Corinna Harre: But it's you have the lemon aspect of this th this this thing. Bernice Johnson: Yeah. Chana Buzby: Maybe if you change if you take the buttons out, Corinna Harre: Do Don't Chana Buzby: and maybe Corinna Harre: do that, Chana Buzby: do Corinna Harre: please. Chana Buzby: things like that Bernice Johnson: I dunno where the lemon is, but I mean it's Corinna Harre: I Bernice Johnson: not Corinna Harre: it's Bernice Johnson: obvious. Corinna Harre: it's i this shape is a lemon like, so Chana Buzby: It would be bet more like a lemon? Corinna Harre: Yeah. Bernice Johnson: If Corinna Harre: Because Bernice Johnson: I dunno, maybe Corinna Harre: i Bernice Johnson: improving the texture of like having Chana Buzby: Yeah. Bernice Johnson: it less Corinna Harre: Less Bernice Johnson: smooth Corinna Harre: button. Bernice Johnson: or Naomi Calhoun: Uh so, my mush. Chana Buzby: Looks like more fruit. Corinna Harre: Yeah, Naomi Calhoun: Mm. Corinna Harre: but you Chana Buzby: Maybe Corinna Harre: don't have any Chana Buzby: a Corinna Harre: button now. Chana Buzby: pineapple? Bernice Johnson: Yeah. I dunno. Chana Buzby: And you know, you have the finger here, Naomi Calhoun: Yeah. Chana Buzby: with the buttons? Naomi Calhoun: Hmm. Corinna Harre: That's uh yeah, is Bernice Johnson: Yeah, Corinna Harre: that Bernice Johnson: it's Corinna Harre: that's Bernice Johnson: getting Corinna Harre: a good idea. So that's great. Chana Buzby: It looks more like a pineapple. Corinna Harre: That's Chana Buzby: Sorry. Corinna Harre: great. Chana Buzby: What's the use for that? Naomi Calhoun: Uh, for Corinna Harre: I have Naomi Calhoun: turn Corinna Harre: no Naomi Calhoun: turn Corinna Harre: idea, Naomi Calhoun: the ball. Corinna Harre: so. Naomi Calhoun: If you want to turn the ball, Corinna Harre: I have no idea Naomi Calhoun: it's very it's very convenient for Corinna Harre: what Naomi Calhoun: you to to to turn the ball to change the channel. Bernice Johnson: Okay. Chana Buzby: And Naomi Calhoun: Uh. Chana Buzby: where is the voice recognition? Naomi Calhoun: Ah, it's embedded, your microphone. Bernice Johnson: Yeah, that's Chana Buzby: Okay. Naomi Calhoun: Th this th th there's two Bernice Johnson: Wait th that's Naomi Calhoun: two Bernice Johnson: the Naomi Calhoun: functions. Bernice Johnson: second point. Naomi Calhoun: This is microphone Bernice Johnson: First one Naomi Calhoun: array Bernice Johnson: is we have to judge the Corinna Harre: If it is fancy or not. Bernice Johnson: fancy Chana Buzby: Okay. Bernice Johnson: look and feel. Chana Buzby: Is it better Bernice Johnson: I mean Chana Buzby: like that? Corinna Harre: So Chana Buzby: Looks Corinna Harre: we can we can Chana Buzby: okay, Corinna Harre: say Chana Buzby: let's say it's Corinna Harre: t Chana Buzby: a pineapple now. Corinna Harre: The colour, is the colour acceptable? Bernice Johnson: No, the colour is okay, that's fine. Corinna Harre: So the shape Bernice Johnson: I mean Corinna Harre: now. Bernice Johnson: it's Chana Buzby: It Bernice Johnson: but Chana Buzby: looks Bernice Johnson: I Chana Buzby: like Bernice Johnson: would say Chana Buzby: a Bernice Johnson: there is more too much red. Chana Buzby: now Corinna Harre: It's Chana Buzby: you Corinna Harre: too Chana Buzby: took Corinna Harre: much Chana Buzby: it. Corinna Harre: red? Bernice Johnson: Um Corinna Harre: In Bernice Johnson: if Corinna Harre: the basement? Chana Buzby: It looks like a pineapple with cherry on top. Naomi Calhoun: Okay. Bernice Johnson: Right. So, from one to seven? Chana Buzby: Mm uh Corinna Harre: I will give Chana Buzby: Seven Corinna Harre: I will Chana Buzby: is the ma the maximum? Bernice Johnson: No, Corinna Harre: I'll Bernice Johnson: seven Corinna Harre: gi Bernice Johnson: is false and one is true. Corinna Harre: I'll give two or three. Three, it's Chana Buzby: Three, Corinna Harre: okay. Chana Buzby: I will say three. Corinna Harre: Three, three. Bernice Johnson: Three? Corinna Harre: Three is fine for Bernice Johnson. Bernice Johnson: Okay. Naomi Calhoun: 'Kay. Bernice Johnson: Three. Chana Buzby: Isn't it bitter like that? Naomi Calhoun: Yeah yeah Bernice Johnson: Then Naomi Calhoun: yeah. Bernice Johnson: uh let Bernice Johnson Corinna Harre: What other Bernice Johnson: The other criterion is Corinna Harre: Is it easy Bernice Johnson: is it Corinna Harre: to use? Bernice Johnson: technologically uh Chana Buzby: Feasible? Bernice Johnson: technologically in innovative. Corinna Harre: Ye uh Chana Buzby: You said previously that you there's um microphone inside an Corinna Harre: Embedded. Naomi Calhoun: Yeah, this is microphone array, in fact. Corinna Harre: It's a micro Naomi Calhoun: There four Corinna Harre: array, Naomi Calhoun: microphone. Chana Buzby: Oh. Okay, Corinna Harre: okay. Naomi Calhoun: So they they they Chana Buzby: and Naomi Calhoun: they Chana Buzby: you Naomi Calhoun: there's Chana Buzby: have Naomi Calhoun: a microphone Chana Buzby: the Naomi Calhoun: array. Chana Buzby: there's the technology inside that recognise simple vocal Naomi Calhoun: Yeah, Chana Buzby: comments? Naomi Calhoun: yeah. So you Chana Buzby: And Naomi Calhoun: can Chana Buzby: you Naomi Calhoun: capture Chana Buzby: can turn Naomi Calhoun: voice Chana Buzby: it so Corinna Harre: Oh Naomi Calhoun: yeah, Corinna Harre: yeah, Chana Buzby: maybe Naomi Calhoun: you Corinna Harre: yeah. Chana Buzby: it's Naomi Calhoun: c Chana Buzby: techno Naomi Calhoun: Yeah, Chana Buzby: technologically Naomi Calhoun: so you can Corinna Harre: And Chana Buzby: innov Corinna Harre: I Naomi Calhoun: capture Corinna Harre: think Chana Buzby: innovative? Corinna Harre: you you've never seen Naomi Calhoun: s voice Corinna Harre: a rou Naomi Calhoun: from Corinna Harre: a round Naomi Calhoun: different Corinna Harre: remote control, so Naomi Calhoun: directions. Corinna Harre: it is Bernice Johnson: Yeah Naomi Calhoun: Yeah. Bernice Johnson: bu but Corinna Harre: I Bernice Johnson: when you say technologically it's more uh Corinna Harre: W Bernice Johnson: I dunno, Corinna Harre: Yeah, but Bernice Johnson: in the core, or single. Chana Buzby: We have tactile buttons. Bernice Johnson: Mm-hmm. Corinna Harre: I see, you have microphone array embedded. You have Bernice Johnson: No, that's good. Yeah. Corinna Harre: That's good. And you have, you know this ki this solar Chana Buzby: Oh, Corinna Harre: receptor Chana Buzby: yeah. Corinna Harre: that, Bernice Johnson: Yeah, th Corinna Harre: you Bernice Johnson: that's Corinna Harre: know Bernice Johnson: another Corinna Harre: Yes. Bernice Johnson: really good point. Corinna Harre: Yeah. Bernice Johnson: Maybe Corinna Harre: I think technically Bernice Johnson: okay. Corinna Harre: it's acceptable, so Chana Buzby: Maybe two? Corinna Harre: Yeah. Bernice Johnson: So using the same scale, two? Chana Buzby: Two? Corinna Harre: Two, Chana Buzby: I Corinna Harre: yeah, two. It's Chana Buzby: would Corinna Harre: it's Chana Buzby: say Corinna Harre: fine, Chana Buzby: two. Corinna Harre: so. Chana Buzby: You agree? Bernice Johnson: Okay. Naomi Calhoun: Yeah, I agree. Chana Buzby: It's better Bernice Johnson: Now Chana Buzby: like Bernice Johnson: maybe Chana Buzby: that, isn't Bernice Johnson: the most Chana Buzby: it? Bernice Johnson: critical one. Chana Buzby: Okay. Corinna Harre: Most Bernice Johnson: L last one w I would like to judge is is it easy to use? Corinna Harre: Eh, for th the vocal command yes, it's might be easy. But it's Naomi Calhoun: Yeah, Corinna Harre: just Naomi Calhoun: it's Corinna Harre: speaking. Naomi Calhoun: very easy. Corinna Harre: You just need Bernice Johnson: Yeah but Corinna Harre: the Bernice Johnson: this Corinna Harre: command. Naomi Calhoun: You Bernice Johnson: this Naomi Calhoun: can Bernice Johnson: turning Naomi Calhoun: use this in this way. Bernice Johnson: can you can you just re explain Bernice Johnson the Corinna Harre: As a principle. Naomi Calhoun: Yeah. Bernice Johnson: Please. Naomi Calhoun: Th this is the base. Bernice Johnson: Yeah. Naomi Calhoun: So you can turn to change the channel. Bernice Johnson: Yeah but how how intuitive is it to turn things Naomi Calhoun: You just Bernice Johnson: to change Naomi Calhoun: tu Bernice Johnson: channels? Naomi Calhoun: turn d Corinna Harre: I Naomi Calhoun: d Corinna Harre: think maybe if you Bernice Johnson: Like Corinna Harre: he Bernice Johnson: if you want Chana Buzby: Oh, Bernice Johnson: to Chana Buzby: ok Bernice Johnson: go from Chana Buzby: I understand. Corinna Harre: If you hear some Chana Buzby: You take Corinna Harre: click Chana Buzby: take the remote, so and you can turn Naomi Calhoun: Yeah. Chana Buzby: like that to change the channel? Naomi Calhoun: Yeah. Bernice Johnson: Yeah but imagine Chana Buzby: I Bernice Johnson: you Chana Buzby: think Bernice Johnson: y Chana Buzby: it's quite easy to so s zapping, but maybe it will be too fast. Corinna Harre: Yeah, it Bernice Johnson: Yeah Corinna Harre: would Bernice Johnson: I'm I'm no I'm not definitely convinced it's it's the best way to if you wanna jump from, I dunno, one to twenty? Corinna Harre: Oh Naomi Calhoun: Yeah. Corinna Harre: yeah, that's difficult. Bernice Johnson: How can you Corinna Harre: That's Bernice Johnson: go Corinna Harre: dif that's Bernice Johnson: directly Corinna Harre: difficult. Bernice Johnson: to twenty, for example? Naomi Calhoun: No, no, no. I if y Bernice Johnson: Yeah. Naomi Calhoun: uh if it depend on the the angle you turn the Bernice Johnson: Yeah. Corinna Harre: Yeah Bernice Johnson: I Corinna Harre: but Bernice Johnson: agree. Corinna Harre: y how Bernice Johnson: I agree. But I mean if Corinna Harre: you need to know Naomi Calhoun: I if Bernice Johnson: you're Corinna Harre: I Bernice Johnson: fro Naomi Calhoun: if Bernice Johnson: from Naomi Calhoun: this Bernice Johnson: two? Naomi Calhoun: is a channel one. So it c it could be channel Corinna Harre: I think Naomi Calhoun: two, Corinna Harre: something Naomi Calhoun: channel Corinna Harre: that Naomi Calhoun: three, channel Corinna Harre: Yeah. Naomi Calhoun: four, channel five. Chana Buzby: Yeah, you have Naomi Calhoun: So Chana Buzby: a, Naomi Calhoun: change. Chana Buzby: like Naomi Calhoun: Yeah. Chana Buzby: that, Corinna Harre: And Bernice Johnson: Yeah Corinna Harre: you Chana Buzby: and Corinna Harre: you Bernice Johnson: ju Corinna Harre: can Bernice Johnson: just Chana Buzby: so on. Bernice Johnson: imagine you have fifty fifty Chana Buzby: Oh Bernice Johnson: channels Chana Buzby: yeah. Bernice Johnson: uh Naomi Calhoun: Y uh fifth channel Bernice Johnson: We're not Naomi Calhoun: divided Bernice Johnson: talking Naomi Calhoun: by the num by the by three hundred thirteen degree. Bernice Johnson: Yeah. Naomi Calhoun: So you got how many degree you Chana Buzby: Yeah Naomi Calhoun: you Chana Buzby: but y but you have Naomi Calhoun: it Chana Buzby: to go through all the channels if Corinna Harre: I Chana Buzby: you Naomi Calhoun: No Corinna Harre: think Chana Buzby: want Corinna Harre: you Naomi Calhoun: no, Chana Buzby: to Corinna Harre: can Naomi Calhoun: you Chana Buzby: go Naomi Calhoun: don't Corinna Harre: if Naomi Calhoun: have Corinna Harre: you have Naomi Calhoun: to Corinna Harre: a scale, Naomi Calhoun: y Corinna Harre: so Naomi Calhoun: no it's uh when you when you stop t uh when you stop, the the turn, Chana Buzby: Mm-hmm. Naomi Calhoun: then the angle you stop is the angle you is Bernice Johnson: Yeah. Naomi Calhoun: the channel you Bernice Johnson: How d how do you know this angle is th is the correct one? Naomi Calhoun: It's it's very easy, because you kn you know how many channel are there in Bernice Johnson: So Naomi Calhoun: the Bernice Johnson: you you count one degree, two degrees, no. Naomi Calhoun: Yeah, yeah, yeah. You can do it. Bernice Johnson: I don't think so. Naomi Calhoun: I think so I Corinna Harre: Yeah, Naomi Calhoun: think so you Corinna Harre: it's Naomi Calhoun: can Corinna Harre: a Naomi Calhoun: do Corinna Harre: bit Naomi Calhoun: it. Corinna Harre: difficult. Naomi Calhoun: I think so, you can just Corinna Harre: I think Naomi Calhoun: change. Corinna Harre: b but the the vocal command is easy too. You can say fifty Bernice Johnson: Yeah voc vocal Corinna Harre: and Bernice Johnson: command is okay. Corinna Harre: fifty it's okay, so Bernice Johnson: But w we've said previously that maybe it's not going Naomi Calhoun: There's Bernice Johnson: to be Naomi Calhoun: uh also Bernice Johnson: th l Chana Buzby: Yeah, Naomi Calhoun: a number, Chana Buzby: but when you're Naomi Calhoun: you Bernice Johnson: the Naomi Calhoun: know. Bernice Johnson: main Chana Buzby: zapping you're changing from one channel to the other, so you're passing through all the channels. So, when you say I want to go to the channel number twenty that's you've decided to go to channel twenty, so you can say channel twenty, Corinna Harre: Uh, yeah, Chana Buzby: or Corinna Harre: and Chana Buzby: channel Corinna Harre: y that's Chana Buzby: four, because Corinna Harre: yeah. Chana Buzby: you really want to go on this channel. But if you really Bernice Johnson: And this Chana Buzby: want Bernice Johnson: would be Chana Buzby: to Bernice Johnson: more for browsing, Chana Buzby: to do zapping Bernice Johnson: ah. Chana Buzby: you you Bernice Johnson: Yeah. Chana Buzby: don't really know what you want to do, you can turn it. Corinna Harre: Yeah. Chana Buzby: Just go through all the channels Corinna Harre: To see Chana Buzby: and maybe Naomi Calhoun: Mm-hmm. Corinna Harre: uh Chana Buzby: stop if Corinna Harre: yeah Naomi Calhoun: Yeah. Chana Buzby: there is something Naomi Calhoun: Yeah. Corinna Harre: uh Chana Buzby: interesting? Corinna Harre: Yeah. Bernice Johnson: Mm-hmm. Chana Buzby: Seems to be good. Naomi Calhoun: Yeah. Chana Buzby: Good choice, mister David Jordan. Naomi Calhoun: Yeah. Bernice Johnson: Yeah, I mean you're famous. Corinna Harre: And but Naomi Calhoun: And also Corinna Harre: I'd Naomi Calhoun: you can, if Bernice Johnson: You. Naomi Calhoun: you i Chana Buzby: yeah, what's Naomi Calhoun: You ca Chana Buzby: what's Naomi Calhoun: you can Chana Buzby: this Naomi Calhoun: turn this. Chana Buzby: cherry? Naomi Calhoun: Or you ca you can you can also Corinna Harre: It is a turn Naomi Calhoun: turn Corinna Harre: off Naomi Calhoun: this. Corinna Harre: t turn off Naomi Calhoun: For Corinna Harre: button, Naomi Calhoun: this you Corinna Harre: maybe. Naomi Calhoun: can tune it's for tune. You you if you want to skip from channel one to channel two, you you skip this. If you want to from uh skip from channel one to channel ten you tune this. Bernice Johnson: Mm. Naomi Calhoun: It's like fine, from coarse to fine. This is coarse, this is fine. Corinna Harre: Yeah, yeah yeah. That's Chana Buzby: Okay. Naomi Calhoun: So it's coarse to fine Corinna Harre: that's Naomi Calhoun: design. Corinna Harre: very technologic, so. Yeah. Naomi Calhoun: Yeah. Bernice Johnson: Okay the uh th this looks better. Yeah. Naomi Calhoun: Yeah is is this is, from one channel Corinna Harre: S Naomi Calhoun: to Corinna Harre: But I Naomi Calhoun: maybe Corinna Harre: di Naomi Calhoun: to Corinna Harre: I didn't Naomi Calhoun: ten channel. Corinna Harre: see where the Naomi Calhoun: This Corinna Harre: t f Naomi Calhoun: is from Corinna Harre: the turn Naomi Calhoun: one channel Corinna Harre: off Naomi Calhoun: to Corinna Harre: t turn on turn off button so much activates maybe one of the Chana Buzby: Yeah, Naomi Calhoun: Yeah. Chana Buzby: th you Naomi Calhoun: Yeah. Chana Buzby: have the vocal commands. Corinna Harre: Uh it's Naomi Calhoun: Yeah. Corinna Harre: k Chana Buzby: On off. Corinna Harre: on off, yeah. Bernice Johnson: Yeah, but it has to be on to Chana Buzby: Most Bernice Johnson: recognise Chana Buzby: of the time Bernice Johnson: fas Chana Buzby: you have the yeah it's a sleeping remote control. Corinna Harre: Yeah, sleeping. Bernice Johnson: Ah, that's not the ecological Chana Buzby: That's Bernice Johnson: part, Chana Buzby: true. W that Bernice Johnson: yeah. Chana Buzby: why we have the Bernice Johnson: Solar. Chana Buzby: solar Corinna Harre: To compensate. Chana Buzby: ti yeah. Corinna Harre: Yeah. Naomi Calhoun: Okay. Chana Buzby: So Bernice Johnson: So, which number? Chana Buzby: three. Corinna Harre: Easy to use, it's very relative but three it's fine, I think, it's reasonable Naomi Calhoun: Mm-hmm. Chana Buzby: Do you agree? Corinna Harre: three. Naomi Calhoun: Yeah, Chana Buzby: Three? Naomi Calhoun: agree, agree. Bernice Johnson: So reasonably, is four, is one? Corinna Harre: Three f three for Bernice Johnson, it's o it's okay. Bernice Johnson: So, Corinna Harre: Four Bernice Johnson: three. Corinna Harre: or three. Maybe you can vote to see how many everybody gives no and just take Chana Buzby: And Corinna Harre: the mean. Chana Buzby: what's your opinion? Bernice Johnson: Uh Corinna Harre: Will Bernice Johnson: we Corinna Harre: you Bernice Johnson: wouldn't Corinna Harre: give Bernice Johnson: say, I mean, Corinna Harre: four? Bernice Johnson: those are sort of agreed but this one would be more five to Bernice Johnson. Corinna Harre: Five? Bernice Johnson: I'd like I mean this is the just a prototype. I'm not really convinced it's so easy to use, Corinna Harre: Yeah, Bernice Johnson: but Corinna Harre: so Bernice Johnson: I don't Corinna Harre: maybe Naomi Calhoun: Uh Bernice Johnson: know. Corinna Harre: if Naomi Calhoun: w w what do y what uh you compare with traditional Bernice Johnson: Yeah. Naomi Calhoun: uh um tr traditional controller? I think it's easier than traditional controller. If you use traditional controller you have to put a button, but now you don't have to put button, you have you just turn the Corinna Harre: Yeah Naomi Calhoun: turn the Corinna Harre: but Naomi Calhoun: ball. Corinna Harre: y you know Naomi Calhoun: There's Bernice Johnson: So you have Naomi Calhoun: two kind of balls, the smaller the the the Bernice Johnson: yeah. Naomi Calhoun: so you can c you can c you can control the scale. But in the traditional controller, how do how can you control the scale? Bernice Johnson: Uh by pushing Corinna Harre: You just push Bernice Johnson: zero Corinna Harre: two button, Bernice Johnson: after Corinna Harre: zero Bernice Johnson: after Corinna Harre: and Bernice Johnson: the first one. Corinna Harre: and Naomi Calhoun: Yeah, Corinna Harre: one. And Naomi Calhoun: yeah, yeah, y you you can do it, Bernice Johnson: Yeah. Naomi Calhoun: but Corinna Harre: that's Naomi Calhoun: you can also do it in the b if you you do not wa if you do not want to browsing all the channel you can just p there's also a button here. Corinna Harre: Are there some buttons? Okay. Naomi Calhoun: Yeah, this function is just for your browsing, from one channel to th the next one, the next s sn s, the Bernice Johnson: Mm-hmm. Chana Buzby: It's Naomi Calhoun: th the Chana Buzby: not Naomi Calhoun: third Chana Buzby: what Naomi Calhoun: one. Chana Buzby: you said previously. Previously Bernice Johnson: Yeah, Chana Buzby: you Bernice Johnson: if you're Chana Buzby: said Bernice Johnson: changing Chana Buzby: that turning Bernice Johnson: your mind. Chana Buzby: this was the fine Bernice Johnson: Fine to coarse. Chana Buzby: Fine Naomi Calhoun: Yeah, Chana Buzby: to coarse. And Naomi Calhoun: yeah. Chana Buzby: from ten to ten channels Naomi Calhoun: Y one Chana Buzby: here. Naomi Calhoun: to ten, ten to twelve, uh ten to t uh twenty. Ten to twenty and this one, t one two three four five six, like this. Chana Buzby: Okay. Naomi Calhoun: Uh there's different scale, so you can Bernice Johnson: Okay. Naomi Calhoun: you can choose Bernice Johnson: But this Naomi Calhoun: how much do Bernice Johnson: this Naomi Calhoun: you want Bernice Johnson: has Naomi Calhoun: to Bernice Johnson: to Naomi Calhoun: sc Bernice Johnson: stay on the table, right? Naomi Calhoun: Mm-hmm. Bernice Johnson: This has to stay on the table. Naomi Calhoun: I i Corinna Harre: In fact on a flat Naomi Calhoun: this is Corinna Harre: place Naomi Calhoun: just a base. You can just Corinna Harre: You can Bernice Johnson: Yeah Naomi Calhoun: Yeah. Bernice Johnson: but then uh when you turn Chana Buzby: Oh Bernice Johnson: turn it Corinna Harre: Oh ye yes, that's Chana Buzby: Yeah, Bernice Johnson: Just Corinna Harre: right. Chana Buzby: no no, no. You can't put Bernice Johnson: It's Chana Buzby: it out. It's just your turning from the base. You need to have everything in hand. If you want to turn, you can't use it and turn. It's impossible. Bernice Johnson: Yeah. Chana Buzby: You need to put it on and Bernice Johnson: You know Chana Buzby: turn. Bernice Johnson: tha that's the weak point, Corinna Harre: Oh Bernice Johnson: because with a traditional Naomi Calhoun: You use your Bernice Johnson: one Naomi Calhoun: y Bernice Johnson: you just have one hand. Chana Buzby: Yeah, but Corinna Harre: my Chana Buzby: nobody Corinna Harre: God. Chana Buzby: would be able to take it in the pocket and bring it in the kitchen and say I've lost the remote control. Nobody would take it. Bernice Johnson: Sure. Yeah, you would never Chana Buzby: So nobody Bernice Johnson: you would Chana Buzby: w Bernice Johnson: never lose Chana Buzby: will Bernice Johnson: this one, Chana Buzby: lost Bernice Johnson: yeah. Chana Buzby: lose Naomi Calhoun: So Chana Buzby: it. Naomi Calhoun: th this is a d next generation controller. Corinna Harre: yeah Bernice Johnson: Yeah. Naomi Calhoun: Yeah. Corinna Harre: maybe, maybe may it's the next Naomi Calhoun: Okay Corinna Harre: prototype, Naomi Calhoun: okay, Corinna Harre: maybe Naomi Calhoun: okay. Corinna Harre: we cou Chana Buzby: S maybe we can change from Corinna Harre: Four. Chana Buzby: th Corinna Harre: Maybe four, Naomi Calhoun: Four. Corinna Harre: it's okay. Naomi Calhoun: Okay. Chana Buzby: Four? Corinna Harre: I'll put four. Chana Buzby: Easy to use, four. Gonna Bernice Johnson: Four. Chana Buzby: say four. Corinna Harre: Yeah, four it's more Bernice Johnson: Uh Corinna Harre: reasonable. Bernice Johnson: it's even easier to maybe. Corinna Harre: You can you can erase with this er Bernice Johnson: Ok Corinna Harre: yeah. Naomi Calhoun: Okay. Bernice Johnson: Mm. Corinna Harre: Yeah, four it's more reasonable, so. So Bernice Johnson: So, Corinna Harre: it's Bernice Johnson: average? Corinna Harre: nine, nine over Bernice Johnson: Three? Naomi Calhoun: Three? Corinna Harre: three. Chana Buzby: Trois. Three. Corinna Harre: Oh yeah, it's. Naomi Calhoun: Trois. Bernice Johnson: Okay, so Corinna Harre: It need maybe some wo further work, but Bernice Johnson: Yeah, Corinna Harre: it's Bernice Johnson: especially on the easy to use Corinna Harre: Yeah, uh s Naomi Calhoun: Yeah. Corinna Harre: yeah. Bernice Johnson: target. Corinna Harre: Might Chana Buzby: So, Corinna Harre: it might be fine. Bernice Johnson: Okay. Chana Buzby: th the project is accepted? Naomi Calhoun: Yeah. Corinna Harre: Yeah, b I think Chana Buzby: But I d m I think that it will be good to do some more work to transform this into a pineapple. Naomi Calhoun: Yeah. Corinna Harre: Yeah, yeah. Naomi Calhoun: Yeah. Okay. Chana Buzby: So uh mm Corinna Harre: That's Chana Buzby: mm. Corinna Harre: the finance. Chana Buzby: Mm. Okay and we we had a project prototype presentation with the evaluation. So as we all agree to accept, Corinna Harre: Yeah. Naomi Calhoun: Mm. Chana Buzby: under Naomi Calhoun: Okay. Chana Buzby: certain conditions, the prototype, we'll have look to the final sh financial view. So we need to calculate the production cost. Bernice Johnson: Mm-hmm. Chana Buzby: As I said in the first meeting we need to have so a remote control that would cost not more than twelve and Naomi Calhoun: Mm-hmm. Chana Buzby: point fifty Euros. Naomi Calhoun: Mm-hmm. Chana Buzby: And if not if it's not the case y you would have to redesign it. Corinna Harre: Oh yeah. Naomi Calhoun: Yeah. Chana Buzby: So, just have a look at the okay here is the Excel sheet, so so it has the energy source. We have hand dynamo. No, Bernice Johnson: No. Chana Buzby: we don't use that. We have battery, right? Corinna Harre: Yeah, we have battery. Chana Buzby: Kinetic, we don't have it, Corinna Harre: No, Chana Buzby: I suppose, Corinna Harre: um Chana Buzby: but we Corinna Harre: solar Chana Buzby: have solar Corinna Harre: cells, Chana Buzby: cells. Corinna Harre: yeah. Chana Buzby: Um, how many do y do you need, solar cells? Do you think one would be enough, or such as Corinna Harre: Uh I think in Chana Buzby: as Corinna Harre: each Chana Buzby: number Corinna Harre: ball Chana Buzby: of Corinna Harre: you Chana Buzby: branches? Corinna Harre: have three Chana Buzby: Three? Corinna Harre: three uh yeah, three, yeah. Three three solar cells. Chana Buzby: So, electronic. Single simple chip on print? Just Corinna Harre: S Chana Buzby: one Corinna Harre: s Chana Buzby: would be necessary? Corinna Harre: simple, simple, yeah. Chana Buzby: One? Corinna Harre: Yeah. Chana Buzby: Zero for the others. And sample sensor, sample speaker. One? Corinna Harre: Mm. One maybe, yeah. Chana Buzby: As we have voice recognition, Corinna Harre: Yeah Chana Buzby: I think. Corinna Harre: yeah yeah. Chana Buzby: So Corinna Harre: Is it Chana Buzby: the case. Corinna Harre: Is sh it Bernice Johnson: So we are all already nineteen. Corinna Harre: Wooden. Chana Buzby: Okay, just Naomi Calhoun: The solar cell Chana Buzby: keep Naomi Calhoun: is too Chana Buzby: on going, Naomi Calhoun: expensive. Chana Buzby: just Bernice Johnson: Yeah. Chana Buzby: to have an idea. Corinna Harre: Is Yes a wooden pl I and that's There's no Chana Buzby: Well Corinna Harre: wood, so plastic Chana Buzby: uh Corinna Harre: just only, Chana Buzby: yeah, Corinna Harre: I think. Chana Buzby: but what what about case? Uncurved, flat, single curved, double curved. I think it's more like Bernice Johnson: That's Chana Buzby: double Bernice Johnson: gonna be Chana Buzby: curved. Bernice Johnson: double Corinna Harre: Double Bernice Johnson: curved, Corinna Harre: curve, yeah, Bernice Johnson: yeah. Corinna Harre: double curve. Chana Buzby: One? Corinna Harre: One, you have. Chana Buzby: Uh wood? Corinna Harre: But it's yeah, Bernice Johnson: Rather four Corinna Harre: a Bernice Johnson: buttons. Corinna Harre: a rubber uh Bernice Johnson: Oh Chana Buzby: Uh Bernice Johnson: no, interface. Chana Buzby: do we need special colour? Y maybe, Corinna Harre: Yeah, Chana Buzby: two? Corinna Harre: yeah. Bernice Johnson: Yeah, Chana Buzby: We have Bernice Johnson: yeah Chana Buzby: two Bernice Johnson: that's Chana Buzby: special Corinna Harre: Y Bernice Johnson: special Chana Buzby: colours. Bernice Johnson: colours, Corinna Harre: y yeah, yeah. Bernice Johnson: sure. Chana Buzby: Push button. Naomi Calhoun: Mm. Yeah, we have four. Corinna Harre: Five? Naomi Calhoun: Five. Chana Buzby: Okay. Scroll wheel. Naomi Calhoun: No. Chana Buzby: We don no. It it's more like integrated Corinna Harre: I think Chana Buzby: scor. Corinna Harre: that this will Naomi Calhoun: No Corinna Harre: be Naomi Calhoun: no. Corinna Harre: like a scroll Bernice Johnson: Yeah tha Corinna Harre: wheel, Bernice Johnson: that's Corinna Harre: actually. Bernice Johnson: wheel. Corinna Harre: Y you Naomi Calhoun: No Corinna Harre: tu Naomi Calhoun: no no, it Corinna Harre: you turn you turn it, so Chana Buzby: Yeah, Naomi Calhoun: Okay. Chana Buzby: maybe Bernice Johnson: Yeah. Chana Buzby: two scroll wheel, as we Corinna Harre: Yeah, Chana Buzby: have Corinna Harre: true. Chana Buzby: the coarse Corinna Harre: Yeah, yeah. Yeah. Chana Buzby: coarse to fine scroll Corinna Harre: Okay, Chana Buzby: wheel. Corinna Harre: yeah, yeah. Scr Chana Buzby: So, Bernice Johnson: I think the Chana Buzby: no Bernice Johnson: price Chana Buzby: button Bernice Johnson: is okay. Chana Buzby: supplements? Naomi Calhoun: No. Chana Buzby: Okay. Bernice Johnson: Um, no. Chana Buzby: Okay we I think we have problem. Corinna Harre: L_C_ display, maybe. Interface. Chana Buzby: I think we s if we keep on adding things Corinna Harre: It's okay. fine. Chana Buzby: so we have to Bernice Johnson: Yeah w one of the m key point is solar cells. Chana Buzby: Maybe if w t if suppose if we change and we g put just one? Bernice Johnson: Yeah. Chana Buzby: Has it changed. Corinna Harre: Yeah, it was stage one, so. Bernice Johnson: but Chana Buzby: Okay. Naomi Calhoun: We have change Bernice Johnson: just imagine Naomi Calhoun: the electronics Bernice Johnson: we have Naomi Calhoun: to from from the the the sample Corinna Harre: So Naomi Calhoun: sensor to regular chip. Oh. We have to delete the the sample sensor, I think. Bernice Johnson: Yeah. Chana Buzby: Yeah, but we have you the the voice recognition, no? Bernice Johnson: Yeah but this one one of the feature we were not Naomi Calhoun: Yeah it's Bernice Johnson: really Naomi Calhoun: the one it's m maybe Chana Buzby: Okay. Naomi Calhoun: we ha we have two versions, the first version, the basic version. Corinna Harre: I think you can Naomi Calhoun: Advanced Corinna Harre: transform Bernice Johnson: Yeah. Naomi Calhoun: version Corinna Harre: the Naomi Calhoun: we Corinna Harre: wood Naomi Calhoun: have Corinna Harre: into Naomi Calhoun: speak. Corinna Harre: plastic, maybe. Because uh Bernice Johnson: Yeah, Corinna Harre: it seems Bernice Johnson: if Corinna Harre: that this Chana Buzby: Or Corinna Harre: can Chana Buzby: it Corinna Harre: be Chana Buzby: would be better. Corinna Harre: yeah, wood into plastic and it it should be fine. Naomi Calhoun: Plastic is free. Bernice Johnson: Yeah. Chana Buzby: So, do we need special colour? Bernice Johnson: Yeah, that's one of Chana Buzby: Because we have Bernice Johnson: the Chana Buzby: red. Bernice Johnson: requirement. Corinna Harre: Yeah, red and Naomi Calhoun: Wait. Corinna Harre: yellow. Chana Buzby: Red and yellow. Bernice Johnson: We Corinna Harre: Fancy. Bernice Johnson: could Naomi Calhoun: We Bernice Johnson: turn Naomi Calhoun: we Bernice Johnson: we Naomi Calhoun: can Bernice Johnson: could Naomi Calhoun: we Bernice Johnson: turn Naomi Calhoun: can Bernice Johnson: everything Naomi Calhoun: we c Bernice Johnson: in either Naomi Calhoun: yellow. Bernice Johnson: yellow or black. Black then is a regular colour, so. Chana Buzby: I think so we need if we try to have a kind of Bernice Johnson: Yeah, Chana Buzby: pineapple Bernice Johnson: one. Chana Buzby: bee. Bernice Johnson: Yeah. So push button then it's it's the next expensive Chana Buzby: Yeah. Bernice Johnson: one. Chana Buzby: An but we have integrated scroll wheel with push dut button. And I think this is one. Bernice Johnson: Yeah, Chana Buzby: Integrated Bernice Johnson: thi this might Chana Buzby: scroll Bernice Johnson: be. Chana Buzby: wheel push button. So we'll we have only one? And push button. Bernice Johnson: Close to. Chana Buzby: So if we have all Corinna Harre: One. Chana Buzby: integrated i in the scroll wheel and push button, it's uh Corinna Harre: I can remove maybe f you have five with push buttons, so we can just, I dunno, try to modify some of them to have yeah. Bernice Johnson: Okay, so what's the bottleneck? Naomi Calhoun: How about we change Bernice Johnson: Double Naomi Calhoun: the sale? Bernice Johnson: curved. Corinna Harre: Double curve. We can transform the double curve into single Chana Buzby: Something flat. Corinna Harre: c yeah. F some Bernice Johnson: Yeah, but flat Chana Buzby: S uncurved. Bernice Johnson: Case, what's Chana Buzby: Yeah, maybe Bernice Johnson: the Chana Buzby: not. Bernice Johnson: ca Corinna Harre: Single curve. Chana Buzby: Yeah. Corinna Harre: Single curve should be fine, so. Oh, what Chana Buzby: Mm. Naomi Calhoun: Ah we have Bernice Johnson: And Naomi Calhoun: one Bernice Johnson: then Chana Buzby: Nearly. Bernice Johnson: one Euro left. Um. Chana Buzby: Maybe don't Corinna Harre: It's Chana Buzby: bat no battery, only solar cells. Corinna Harre: it's a bad idea, so. Bernice Johnson: Um Chana Buzby: I think there's a problem with the push push button. We only need maybe Corinna Harre: Two? Chana Buzby: just one. Corinna Harre: One. Chana Buzby: Just one. Yeah. Corinna Harre: That's fine. Naomi Calhoun: Okay. Okay. Corinna Harre: That's Naomi Calhoun: Agree. Corinna Harre: fine. Bernice Johnson: So Chana Buzby: So Bernice Johnson: we have one Corinna Harre: One Bernice Johnson: button, Chana Buzby: yeah, Bernice Johnson: one Chana Buzby: you will Bernice Johnson: wheel. Chana Buzby: have So Corinna Harre: s Chana Buzby: one button, and Corinna Harre: one Chana Buzby: s Corinna Harre: scroll wheel, so Chana Buzby: scroll wheel with push button on it. Corinna Harre: And the vocal chord, it's fine. It I th it's fine. Chana Buzby: So Bernice Johnson: It's good they're not charging anything for that. Chana Buzby: So, yeah. It think we we've done good job, as the cost is Naomi Calhoun: Cou could we have look Chana Buzby: twelve fifty Naomi Calhoun: Could we Chana Buzby: e Naomi Calhoun: have look at the Bernice Johnson: Yeah y actually Naomi Calhoun: p the Bernice Johnson: it's wrong. We're not Naomi Calhoun: the prod Bernice Johnson: under Naomi Calhoun: the p Bernice Johnson: twelve Naomi Calhoun: the cost? Bernice Johnson: Euros Chana Buzby: Yeah, but it's Bernice Johnson: and a half. Chana Buzby: under or equal. It's not written. Corinna Harre: It's Chana Buzby: Sometimes Corinna Harre: fine. Chana Buzby: it's under or equal. Corinna Harre: It's under or Bernice Johnson: Okay. Corinna Harre: equal. It's fine, so Bernice Johnson: Okay. Naomi Calhoun: Okay. So let's say Chana Buzby: Twelve Naomi Calhoun: Wha what Chana Buzby: fifty. Naomi Calhoun: yeah. Corinna Harre: It's fine, twelve fifty Naomi Calhoun: Which part Corinna Harre: uh Naomi Calhoun: is the most expensive part? Bernice Johnson: Solar cells. Corinna Harre: The solar Chana Buzby: Yeah, Corinna Harre: cells, Chana Buzby: I think. Corinna Harre: r is Naomi Calhoun: Yeah, Corinna Harre: i is it? Naomi Calhoun: I think it's not t t Chana Buzby: I think, yeah. But it would i be interesting for our marketing team, to make Corinna Harre: Yeah, Chana Buzby: a lot Corinna Harre: to Chana Buzby: of Corinna Harre: be able to si Chana Buzby: advertisement Corinna Harre: to sell it. Chana Buzby: concerning these solar cells Bernice Johnson: Yeah. Chana Buzby: to be Naomi Calhoun: Cheaper. Bernice Johnson: That's nice argument, but Corinna Harre: Yeah, with Bernice Johnson: if Corinna Harre: mi Bernice Johnson: it's it's still four Corinna Harre: It's it is Bernice Johnson: our Corinna Harre: really Bernice Johnson: of Corinna Harre: really Bernice Johnson: twelve. Corinna Harre: uh really very very expensive, though. Bernice Johnson: Yeah. Corinna Harre: Maybe if uh okay. Naomi Calhoun: Okay. Chana Buzby: Yeah but it will be technologically innova innovative, Corinna Harre: Yeah, Chana Buzby: so. Corinna Harre: yeah. Bernice Johnson: Yeah but we just have one button. Chana Buzby: So it's easy to use and powerful, as the remote control a has only one button. Bernice Johnson: Easy. I don't know about powerful. Yeah. Corinna Harre: It's easy Chana Buzby: Easy, Corinna Harre: to use. It's very Chana Buzby: powerful. Corinna Harre: easy to use. Bernice Johnson: Mm. Chana Buzby: So I don't think we need to redesign the p the product. Corinna Harre: No. Bernice Johnson: Uh that's what we've just done. Corinna Harre: We've done it Chana Buzby: Yeah. Corinna Harre: with it Bernice Johnson: Yeah. Corinna Harre: is under the if it was low, high or so. Bernice Johnson: Um Chana Buzby: So Bernice Johnson: okay. Chana Buzby: Now Corinna Harre: So So what are we going to do with this project evaluation? Chana Buzby: So Bernice Johnson: Well I think we have just have to discuss if Corinna Harre: Okay, okay, it's Bernice Johnson: I dunno. Corinna Harre: fine. Chana Buzby: So did you enjoy your clay modelling? Naomi Calhoun: Yes. Of course. This is Chana Buzby: Yeah? Naomi Calhoun: my job. Chana Buzby: Was it a nice way to create your remote control? Naomi Calhoun: Yeah, it's uh it's good, to to create a control instead of a computer. Corinna Harre: Yeah, I think I find it really funny and amazing and interesting to go through all the process to from the beginning to the end. And designing, looking at the chips, the solar cells and Naomi Calhoun: Yeah. Corinna Harre: uh and it was very informative for. Chana Buzby: And for the marketing guy? Bernice Johnson: Uh tha that was good but we should have more brainstorming like meetings, maybe. Corinna Harre: Yep. Bernice Johnson: 'Cause we just presenting one is presenting his stuff next one his Naomi Calhoun: Okay. Bernice Johnson: stuff and then we try to combine afterwards, so it Corinna Harre: Okay, Bernice Johnson: um. Corinna Harre: okay. Chana Buzby: And new ideas about new products, maybe, wi which would be fashion and uh and yellow. Corinna Harre: Yellow. I think you can think about a yellow T_V_ now after a fruit T_V_ or I dunno. It can be an interesting I don't know Chana Buzby: Yes, just lemon. Corinna Harre: Yeah, just a lemon T_V_ it'd be yellow Naomi Calhoun: Yeah, Corinna Harre: lemon. Naomi Calhoun: but y you know the traditional T_V_ it's um Corinna Harre: It's flat, Naomi Calhoun: Yeah Corinna Harre: uh Naomi Calhoun: yeah it's flat, Chana Buzby: Squared? Naomi Calhoun: yeah the shape is very boring. Corinna Harre: Yeah, that's Naomi Calhoun: Could Corinna Harre: right. Naomi Calhoun: we Corinna Harre: It's really boring, Naomi Calhoun: come up Corinna Harre: yeah. Naomi Calhoun: with new T_V_ Corinna Harre: Yeah. Naomi Calhoun: with such as this kind of T_V_? So you can you have base, triangle base so you the T_V_ you Chana Buzby: Ah, Naomi Calhoun: can Chana Buzby: the lemon T_V_ with the pineapple remote control. Corinna Harre: Yeah, that's Naomi Calhoun: Yeah. Corinna Harre: that would be really interesting, Naomi Calhoun: Yeah. Corinna Harre: actually. Naomi Calhoun: Because the T_V_ you Chana Buzby: Oh, Naomi Calhoun: also Chana Buzby: that's interesting. You could f we could do a kind of fruit collection of electronics Corinna Harre: Device Chana Buzby: things. Corinna Harre: devi Naomi Calhoun: Yeah. Chana Buzby: Electronic Bernice Johnson: Yeah, Chana Buzby: device. Bernice Johnson: but Naomi Calhoun: Yeah. Bernice Johnson: just don't trust too much the Corinna Harre: The fruit? Bernice Johnson: trends. Corinna Harre: Yeah. Bernice Johnson: 'Cause fruit Chana Buzby: Maybe Bernice Johnson: and vegetables it won't last for ten years uh. Chana Buzby: Yeah, Corinna Harre: Yeah, Chana Buzby: maybe Corinna Harre: it's Chana Buzby: la Bernice Johnson: Maybe Chana Buzby: next Bernice Johnson: two Chana Buzby: year Bernice Johnson: years Chana Buzby: it will Bernice Johnson: it's Chana Buzby: be Bernice Johnson: dead. Chana Buzby: insects. Bernice Johnson: Yeah. Corinna Harre: But I think it's good to follow the f flow Bernice Johnson: Yeah. Corinna Harre: and you know make it now and after, you know, if Naomi Calhoun: Mm. Corinna Harre: the people change their mind you change also the Bernice Johnson: Yeah, Corinna Harre: product. Bernice Johnson: but this is good because it's not a long long life product. Corinna Harre: Yeah. Bernice Johnson: T_V_ is more like fifteen years, maybe, so. Corinna Harre: Yeah, Bernice Johnson: If Corinna Harre: yeah. Bernice Johnson: you have Corinna Harre: That's Bernice Johnson: a lemon Corinna Harre: a Bernice Johnson: lemon Corinna Harre: yeah, Bernice Johnson: T_V_ for Corinna Harre: yeah. We can Bernice Johnson: fifteen Corinna Harre: think about Bernice Johnson: years Corinna Harre: T_V_ with you know where you can change you know the aspects o like for the cell phones, you know. Chana Buzby: Customable Corinna Harre: Yeah, you customise Chana Buzby: T_V_. Corinna Harre: it every ti so every Bernice Johnson: Yeah, Corinna Harre: ti if Bernice Johnson: yeah. Corinna Harre: people change, you just change the appearance, Chana Buzby: Ah Corinna Harre: and Chana Buzby: such Corinna Harre: y y Chana Buzby: yeah. Corinna Harre: you Chana Buzby: You've Corinna Harre: can Bernice Johnson: Tha Corinna Harre: keep Bernice Johnson: that Chana Buzby: already Bernice Johnson: would Chana Buzby: said Naomi Calhoun: Okay. Chana Buzby: mobile Bernice Johnson: that would make Chana Buzby: phones. Bernice Johnson: it. Yeah. Corinna Harre: Yeah, you can keep the global appearan Chana Buzby: Yeah, and following Corinna Harre: The mood of persons, the fashions uh Naomi Calhoun: Yeah. Chana Buzby: Mm. Corinna Harre: We Chana Buzby: It's interesting, maybe Corinna Harre: int Chana Buzby: we can create a a line of uh T_V_ Corinna Harre: Yeah, Chana Buzby: with uh Corinna Harre: T_V_, yeah. Naomi Calhoun: Yeah. Corinna Harre: A Chana Buzby: a Corinna Harre: T_V_ Chana Buzby: a tr Corinna Harre: for autumn and a T_V_ for winter, you know, so Naomi Calhoun: Yeah. Corinna Harre: it's So what i and do w is it Okay. Chana Buzby: So I think the costs are within the budget. We're just Corinna Harre: Yeah, the Chana Buzby: at Corinna Harre: pr Naomi Calhoun: Yep. Bernice Johnson: Yeah. Corinna Harre: at Chana Buzby: twelve fifty Euros. So do you think you can celebrate your creation? Naomi Calhoun: And you can celebrate your leadership. Chana Buzby: Oh, thanks a lot. Thank you, Corinna Harre: Yeah Chana Buzby: mister Corinna Harre: but I think Chana Buzby: David Jordan. Corinna Harre: f it's really a celebrating object. So it's yellow and very Naomi Calhoun: Yeah. Bernice Johnson: Hmm. Corinna Harre: a very ha it's very happy, so. Bernice Johnson: Yeah. It's Corinna Harre: Uh it's Bernice Johnson: party Corinna Harre: it's Bernice Johnson: party Corinna Harre: a pr it's Bernice Johnson: remote Corinna Harre: like Bernice Johnson: control. Corinna Harre: yeah. Chana Buzby: The thing now is to to sell it. Naomi Calhoun: Yeah, it's your job. Corinna Harre: Yeah, Naomi Calhoun: Sell it. Corinna Harre: right, go and sell it. Goo and Bernice Johnson: Yeah. Corinna Harre: good luck, so Naomi Calhoun: Yeah. Okay and the twelve fifty twelve uh twelve Bernice Johnson: Uh-huh. Twenty five Euros. Naomi Calhoun: Twenty five Euros, yeah. Bernice Johnson: Yeah, I think it's Naomi Calhoun: Twenty five Chana Buzby: It's Naomi Calhoun: Euros. Chana Buzby: maybe a little bit expensive. Bernice Johnson: It's cheap, yeah. No, I Naomi Calhoun: No, it's not so Corinna Harre: It Naomi Calhoun: expensive. Corinna Harre: should be Bernice Johnson: I'm Corinna Harre: fine. Bernice Johnson: not so happy about the fruit shape, you know. Corinna Harre: Wh really? It should be it should be fine, you know, actually. Naomi Calhoun: Okay. Corinna Harre: S Chana Buzby: Maybe what you Bernice Johnson: Yeah. Chana Buzby: can do a test. Put it outside, and if bees come, it's really fruit. Corinna Harre: I Naomi Calhoun: Okay. Corinna Harre: I think I like the Chana Buzby: But don't Corinna Harre: the Chana Buzby: put Corinna Harre: colour Chana Buzby: sugar Corinna Harre: a Chana Buzby: in Corinna Harre: the Chana Buzby: it, Corinna Harre: colour Chana Buzby: it's Corinna Harre: are Chana Buzby: not Corinna Harre: very Chana Buzby: working. Corinna Harre: good, so actually so Bernice Johnson: No, the colours are uh it's perfect, yeah. Corinna Harre: It's perfect, and Bernice Johnson: True. Uh yeah, another thing is the logo is missing still. Corinna Harre: I p is Chana Buzby: Yeah, but Corinna Harre: th Chana Buzby: the colour, I think the colour Corinna Harre: y the Chana Buzby: is more is Corinna Harre: the yellow Chana Buzby: most important, Bernice Johnson: Uh Corinna Harre: ball thing that Chana Buzby: because I I don't think you have ever seen something like that before for a remote control. Bernice Johnson: Still that was one of the requirements we had. It's yeah but it I don't think it's such a problem just putting Corinna Harre: Uh Bernice Johnson: the logo somewhere. Corinna Harre: f like y we can we can put some uh double Chana Buzby: Yeah, but we Corinna Harre: R_ Chana Buzby: decided to have something yellow and red, for the costs. Bernice Johnson: Yeah. Chana Buzby: So maybe we can just integrate it on th on one side, Bernice Johnson: Mm. Chana Buzby: the double R_. Corinna Harre: Okay yeah, Bernice Johnson: Yeah. Corinna Harre: yeah. That's actually Naomi Calhoun: Mm. Corinna Harre: good idea, so Chana Buzby: So we have the logo, we have the colour, and we have the fashion in electronics, Naomi Calhoun: So we have to give Chana Buzby: so Naomi Calhoun: a Chana Buzby: we have the slogan too. Naomi Calhoun: So we have give him give it a cute name. Bernice Johnson: Cute Chana Buzby: Yeah Naomi Calhoun: Mush Chana Buzby: th Naomi Calhoun: mushroom Bernice Johnson: na Chana Buzby: no, it's Naomi Calhoun: controller. Chana Buzby: the it's the pineapple control Bernice Johnson: You cannot Chana Buzby: remote Bernice Johnson: say mushroom Chana Buzby: control. Bernice Johnson: because it's Corinna Harre: It's Bernice Johnson: not Chana Buzby: It's Bernice Johnson: the Corinna Harre: not Bernice Johnson: trend. Chana Buzby: a Corinna Harre: a Chana Buzby: pineapple Corinna Harre: mushroom. Chana Buzby: now, Bernice Johnson: It's not Chana Buzby: it Bernice Johnson: the Corinna Harre: It's Chana Buzby: has Bernice Johnson: trend. Corinna Harre: a Chana Buzby: changed. Corinna Harre: pineapple remote Chana Buzby: It's Corinna Harre: controls. Chana Buzby: a pineapple. Naomi Calhoun: Pa Chana Buzby: Pineapple. Naomi Calhoun: Pine apple. Corinna Harre: Yeah, pineapple remote remote Bernice Johnson: Yeah, but Corinna Harre: control. Bernice Johnson: just flying saucer, Chana Buzby: With cherry Bernice Johnson: or Chana Buzby: on top. Naomi Calhoun: Okay. Corinna Harre: Oh, Bernice Johnson: I would Corinna Harre: that Bernice Johnson: say flying saucer. Corinna Harre: Oh unid uh Bernice Johnson: It's Corinna Harre: unidentified Bernice Johnson: more appropriate, Corinna Harre: remote Bernice Johnson: somehow. Corinna Harre: control, so Naomi Calhoun: Okay. Okay. Corinna Harre: That's that's pineapple remote control. I think it's fine. Bernice Johnson: Mm. Naomi Calhoun: Okay. Chana Buzby: Will Corinna Harre: Yeah. Chana Buzby: you buy one? Corinna Harre: Yeah I will try I'll Chana Buzby: Try to. Naomi Calhoun: Twenty Chana Buzby: Okay Naomi Calhoun: five Corinna Harre: try. Chana Buzby: uh Naomi Calhoun: Euro. Corinna Harre: I can hel I will try versions so to see Naomi Calhoun: Okay. Corinna Harre: how easy easy Naomi Calhoun: Yeah Corinna Harre: to manage Naomi Calhoun: you told Bernice Johnson you h you d you d you lost your control your Corinna Harre: Yeah I always Naomi Calhoun: T_V_ Corinna Harre: lose Naomi Calhoun: so Corinna Harre: my Yeah, so Naomi Calhoun: so you need to buy one. Corinna Harre: so i if it is a universal one I can use it with my T_V_, so Naomi Calhoun: Okay. Corinna Harre: it would Bernice Johnson: Mm. Corinna Harre: be Chana Buzby: One thing I like is the shape, because you know it's not like the Naomi Calhoun: Traditional Chana Buzby: uh the Naomi Calhoun: one? Chana Buzby: remote controls you can Naomi Calhoun: Yeah. Chana Buzby: put in your pocket, on uh in Naomi Calhoun: So Chana Buzby: your jacket. Naomi Calhoun: this one and this one. What do you choose? Chana Buzby: I prefer the laser remote Corinna Harre: I Chana Buzby: control. Naomi Calhoun: What do you choose? Corinna Harre: think I would choose this one because Chana Buzby: No. Corinna Harre: of the colour. It's Naomi Calhoun: Okay. Corinna Harre: it's will enlight your house, your home and your T_V_, so. Naomi Calhoun: Okay. Corinna Harre: Yeah. Chana Buzby: Oh. Maybe next if we decide to do something we'd can put light inside. Corinna Harre: Yeah, yeah that would be Bernice Johnson: Yeah Corinna Harre: uh Bernice Johnson: but that's Corinna Harre: an idea. Bernice Johnson: going to be expensive, you know. Chana Buzby: Yeah. Bernice Johnson: We had some problems going Chana Buzby: I Bernice Johnson: to Chana Buzby: think Bernice Johnson: twelve Euros and Chana Buzby: it Bernice Johnson: uh I Chana Buzby: it Bernice Johnson: dunno. Chana Buzby: would be interesting to just to see if we can if people will buy this one, and maybe add some Bernice Johnson: Yeah, Chana Buzby: features Bernice Johnson: afterwards, Chana Buzby: to it Bernice Johnson: if Naomi Calhoun: Yeah. Chana Buzby: after Naomi Calhoun: Yeah. Chana Buzby: yeah. Bernice Johnson: if it's a new trend. Okay. Chana Buzby: So Corinna Harre: Yeah that's that fine. So we can celebrate now. That's our new product. Chana Buzby: Champagne, Bernice Johnson: We should celebrate. Chana Buzby: mister Baba. Corinna Harre: Yes. It's it's fine. It's I like it. Naomi Calhoun: So buy one. Corinna Harre: Next time. Well, I'll buy one here. Naomi Calhoun: Yeah. Chana Buzby: So Bernice Johnson: Mm. Chana Buzby: Okay, I will close this. Mm. Corinna Harre: Yeah. No? Chana Buzby: So I think we have finished Corinna Harre: Okay. Chana Buzby: the designing and the evaluation of our remote control Corinna Harre: Okay. Bernice Johnson: Yeah. Chana Buzby: and we have a nearly final product. Bernice Johnson: Our final prototype Corinna Harre: Final Bernice Johnson: which Corinna Harre: prototype, Chana Buzby: Final Corinna Harre: yeah, Chana Buzby: prototype, Corinna Harre: ye Chana Buzby: right. Bernice Johnson: yeah. Corinna Harre: yeah. Naomi Calhoun: Prototype, yeah. Chana Buzby: So, Naomi Calhoun: Okay. Chana Buzby: thank you very much. Corinna Harre: Okay. Naomi Calhoun: Okay. Corinna Harre: Okay. Chana Buzby: Very productive. Naomi Calhoun: Okay. Thanks. Corinna Harre: S so who is going to take the remote control?

Naomi Calhoun and Corinna Harre presented their prototype for the remote. The prototype was yellow and red and was shaped like a mushroom. The team then conducted a product evaluation of the prototype. Overall, the team found the prototype to be technologically innovative but had some issues with the prototype's appearance and its usability. The team decided that the prototype required further work. The team then discussed the production costs of the remote and what features they should retain or lose in order to maintain their target cost. In discussing the production costs, the team settled on what features they wanted in the remote, while staying within the boundaries of their budget, and decided it was not necessary to completely redesign their product. The team then engaged in a project evaluation in which the team discussed the process of creating their product.

amisum

train

Peggy Murdock: Okay. Good morning everybody. Jeanine Lemay: Good morning. Peggy Murdock: Oh, everybody is not ready. Sara Leaming: Uh almost. Ready. Peggy Murdock: Alright. Okay, let's go. So, we're here today to to have our first kick-off meeting about uh this new project we're going to tak to talk about in a few minutes. Um so I will be uh Sebastian Peggy Murdock. Um you are the Sara Leaming: I'm uh Michael. Sara Leaming. Peggy Murdock: Okay. Lucinda Paul: Hi I'm Guillermo. I'm Lucinda Paul. Jeanine Lemay: And I am, Jeanine Lemay. Peggy Murdock: Okay, very good. Thanks for being here. Um so let's have a look to the the agenda. So, we are going to go through this agenda and mainly first to uh to make to to be used to the tools uh available in this nice and smart meeting room we have here. Um then we'll go to uh the plans for project and have general discussions about it. So, the goal of this project is to uh developed a new remote control. Um it should be original, trendy, and also user friendly. As usual we will follow the the project method um that we are using in the in our company. It is in three step as you know. First the functional design. The second's a conceptual design, and then the detailed design. During each step uh of each design we wi you will work uh s separately, individually on uh your specific tasks and will m we will meet to um to discuss and take decisions about uh what you've you've you did and what uh we will do next. So first, we have to to train ourself with all the um the tools availables in the in this nice meeting room and uh particularly the the white board so uh we are going to go through the white board and take some um s some notes or do some drawings. So who want to start? Sara Leaming: Ah well Peggy Murdock: Mister. Sara Leaming: if no one else wants to, yeah. Okay so, want Lucinda Paul to draw my favourite animal. Let's see. Sara Leaming: Well, I don't really have a favourite animal, but um uh Peggy Murdock: You have one in mind? Sara Leaming: I think I have one in mind, so uh I'm gonna about the uh spider because you can actually draw it pretty well in the corner of a white board. The spider has a spider lives in a web and uh it has eight legs, and uh it can move all about the web in two dimensions. Unless it's a three dimensional web which y they have sometimes. There are some spiders that live in like that have like uh kind of a a big ball of a of a web. And uh the other thing is some spiders can actually uh fly like uh they have uh they let out like uh a stream of like the web building material but it's it acts like a parachute so they can actually kind of go and find new uh build a new web somewhere else. So I think they did this in uh in Charlotte's Web that movie that little uh well it's actually a book first but uh um at the end all the the spiders kinda flew away. So, Peggy Murdock: Okay. Sara Leaming: that's Peggy Murdock: Th Sara Leaming: my animal. Peggy Murdock: thank you. Very interesting. Guillermo you want to? Lucinda Paul: 'kay I dunno why, but when I was a child I I wanted to be a a panther not a pink panther, Jeanine Lemay: But don't Lucinda Paul: or Jeanine Lemay: you Lucinda Paul: maybe Jeanine Lemay: think Lucinda Paul: yes. Jeanine Lemay: it's very difficult to draw a panther? Lucinda Paul: Uh yeah yeah. Jeanine Lemay: So bad Peggy Murdock: It Jeanine Lemay: I don't like Peggy Murdock: would be Jeanine Lemay: it. Peggy Murdock: very funny for us. Oh. Lucinda Paul: Okay it's a friendly panther. Sara Leaming: Maybe it's happy 'cause it just ate someone. Lucinda Paul: Yeah maybe. Um. Actually, honestly I I I dunno what's what's his it's be behaviour, I dunno if if it's the male who who hunts or it's the female uh, I I the female lions who who hunt, so but I like it because it's fast, and it's black as well, so it can he it can hide itself very easily and it's it's it looks like um powerful, strong, uh I dunno. I I watch a a film about a black panther when I was a child and I was in that age when everything was shocking Lucinda Paul a lot. Peggy Murdock: Okay. Thank Lucinda Paul: Okay. Peggy Murdock: you. Hemant. Jeanine Lemay: Um sure. Sara Leaming: So you don't like pink panthers? Lucinda Paul: I like it. Jeanine Lemay: Oh yeah. Thanks. This lapel is coming out once in a while. It's not very strong. Okay. So, not the favourite animal, but I think I'll draw elephant. I'll try to draw elephant. It's a problem. Okay, thanks. Okay so, elephant goes like this, it has four feet. I don't know whether there's any dist there should be any distance or not, but I think this is the easiest. And then we have it's trunk. And yep something like this. An eye, cute. Yeah, so Peggy Murdock: Poor elephant. Jeanine Lemay: and sometimes they have a hump. It seems that uh elephants are pretty friendly and they they have one very important way a different way of walking. So when they walk, wherever they are going to put their first feet, the second feet will always be. When they'll come to that position the second, the third feet will be there. That's the way they walk. And that's very peculiar about them. None of the other animals walk like this. And they are very useful to human beings. At least few few hundred years ago when there was no means of transportations or something, or when they had to carry huge um loads from one place to another, elephants were very useful. And they are found in um usually the warm countries. And um they are the biggest terrestrial animal. That's what I know about them. So, that's what I wanted to tell about Sara Leaming: So Jeanine Lemay: elephants. Sara Leaming: is this uh an Indian or an African elephant, 'cause you haven't drawn Jeanine Lemay: There Sara Leaming: the Jeanine Lemay: are Sara Leaming: ears? Jeanine Lemay: two kind of uh yeah, they are very different, Indian and African elephants. So Indian elephant is having one bump, I think, and the African have two. And then there's a difference in the trunk of the animals, these elephants who are Indian and So at some for some elephants it's the trunk is having one Do we have some message there? Peggy Murdock: Yes. We have to I Jeanine Lemay: Wind Peggy Murdock: have Jeanine Lemay: up? Peggy Murdock: to catch you, sorry. Jeanine Lemay: Okay, Peggy Murdock: We have to to Jeanine Lemay: some Peggy Murdock: go through Jeanine Lemay: other time. Peggy Murdock: the meeting. Sara Leaming: Okay. Jeanine Lemay: Thank you. Peggy Murdock: Thank you. Sara Leaming: We can discuss that off-line. Peggy Murdock: Yeah we'll discuss a f a fly or do we'll do another meeting abo on Jeanine Lemay: Thanks. Peggy Murdock: elephants. So so another important part of the project is about money, uh and about so about finances. So we should target selling price of twenty-five Euro for this remote control and uh we have um which which would generate a profit of of um fifty million Euros, okay. And we should target the inter an international market. Sara Leaming: So could I just ask one question, um is this a stand-alone unit that we're gonna be selling? So it's gonna be you already have a T_V_ but you're buying an extra remote control for it or something? Peggy Murdock: O this is the next topic we have to discuss exactly, Sara Leaming: Okay, alright. Peggy Murdock: so let's go to it. So um we should decide which kind of remote control we want to uh we want to uh we want to go. Should be should should it be um specific remote control to some specific device? Should it be a universal one? And uh etcetera. So um so I'm waiting for your for your inputs very quickly because we have only three three minutes to go. Sara Leaming: Okay well, so, it seems the the first thing that they've kinda specified is the price like based on how much profit we wanna make, which seems to a kind of a little strange if we don't know what the the product is yet, but I guess if that's if that's the requirement that we need to to design the the product to actually fit that that price bracket so, I guess we're gonna need to find out what's actually you know, what people ar are willing to pay for um what kind of product they're expecting for twenty-five Euro Peggy Murdock: Okay. Sara Leaming: because it seems quite a lot for a remote control, so Peggy Murdock: Okay Sara Leaming: it's Peggy Murdock: I think this is more a job to our Jeanine Lemay: Marketing Peggy Murdock: market Jeanine Lemay: person. Sara Leaming: Yeah. Peggy Murdock: person yeah. Jeanine Lemay: Mm-hmm. Peggy Murdock: So it should be the topic of maybe of the next meeting just to to have an overview of this and uh in which direction we should go. So we need to close the meeting. Uh we'll have a new meeting soon and uh so the work every every of you ha have t d to do. So um you have to work on the on the working design, you have to uh work on the technical functions, and uh you have to work on us user requirements specs, alright? Lucinda Paul: Yeah. Peggy Murdock: Um you will receive some information by emails, i as usual. Thanks for coming today. Sara Leaming: Okay. Jeanine Lemay: Thanks. Peggy Murdock: Thanks. Sara Leaming: Alright.

Peggy Murdock Sebastian opens the meeting. The rest introduce themselves, including Michael the interface designer, Guillermo Lucinda Paul, and Hemant Jeanine Lemay. Peggy Murdock states the goal of the project, which is to develop a new remote control. It should be original, trendy, and user-friendly. He also mentions the three-step project- functional design, conceptual design, and detailed design. Then they take turns drawing their favorite animal on the white board. After that they briefly discuss finances. The remote control's target selling price of twenty-five Euro dollars and will be for the international market. They need to generate a profit of fifty million Euros. The question of whether the remote control should be for a specific device was brought up but not answered. Peggy Murdock closes the meeting, telling each group member what he is responsible for and reminding them that they will receive more information by email.

amisum

train

Deborah Noel: Okay everybody is ready? Good morning again So. today we are going to have a f second meeting. Oh Michael, Melda Landis: Yep. Deborah Noel: hi. You're late. You have a good reason for that? Melda Landis: Yes. Deborah Noel: Very good. Okay, let's have a look to the agenda today. So, we are going to have a meeting about the functional design. Um so first before starting I w just going to uh to go quickly to through the minutes of previous meeting. So uh we we are not decided if w we should go for a universal or specific uh uh remote control, but I have new um new i inputs for about that topics. I goin I'm going to share with you. And uh basically we decided to um to uh go to individual actions for each of you uh so um Industrial Designer should wor was supposed to work on th on th on the working design. Heather Keast: Yep. Deborah Noel: You showed us you ar you you prepare Heather Keast: Yeah. Deborah Noel: something for us? Heather Keast: Yep. Deborah Noel: The U_I_ guy also uh work on that, yeah, and for the mar Melda Landis: Mm. Deborah Noel: our Marketing Expert should deliver some specs. Alright so so we are going to go through three of your individual presentations. But first I would like quickly to uh to decide of to give a name to the project. So, I just put d quickly Remo, but if you have any o other names that we co could decide for just to to keep something fun for our project we we should we could discuss quickly. Any ideas? Heather Keast: Mm-hmm. Melda Landis: Uh the Powerstick Deborah Noel: Powerstick, yeah. What else? What else? Alexis Patter: Uh. Melda Landis: Maybe a Spanish name Alexis Patter: Mm Melda Landis: would Alexis Patter: I Melda Landis: work Alexis Patter: was Melda Landis: well. Alexis Patter: thinking Melda Landis: Especially Alexis Patter: of Melda Landis: if we're selling Alexis Patter: the Melda Landis: into the U_S_ market becasue there's a lot of Spanish speakers there. Maybe something that sounds cool in English but sounds funny in Spanish. Alexis Patter: Mando. Melda Landis: Mando. What Deborah Noel: Mango? Melda Landis: is that? Deborah Noel: Mango? Alexis Patter: Mando. Deborah Noel: Mando. M_A_? M_A_? Alexis Patter: A_N_ yeah D_O. Deborah Noel: M_ D_O_. Mm, okay. Alexis Patter: It doesn't it doesn't sound Deborah Noel: What does it mean? Alexis Patter: cool for Alexis Patter, but Deborah Noel: Oh. Alexis Patter: maybe for a Spanish for I for Melda Landis: What does it mean in Spanish? Alexis Patter: Control. Melda Landis: Control. Deborah Noel: Hmm. Melda Landis: Okay. Deborah Noel: Nice. Melda Landis: 'Cause it also like in English it sounds like you know the man's tool you know because you know Alexis Patter: But Melda Landis: men Alexis Patter: mm, Melda Landis: like to have control Alexis Patter: yeah. Melda Landis: of the remote so it Alexis Patter: Mando Melda Landis: might Alexis Patter: sounds Latino. Melda Landis: The Mando. Deborah Noel: Okay. So, let's go for Mando? Yeah? Heather Keast: Yeah, Deborah Noel: No objection? Heather Keast: yeah. Melda Landis: Yeah that's. Deborah Noel: Great. Melda Landis: And Deborah Noel: So Melda Landis: we could have some like you d you could have the fonts you know special, so you have man in like in in uh in one o in one font and then the O_ as like Deborah Noel: Okay, I think Melda Landis: Although Deborah Noel: this Melda Landis: you don't Deborah Noel: is Melda Landis: wanna cut uh cut women out of Deborah Noel: Okay. Melda Landis: the uh potential buyers though, do you? So Heather Keast: Yeah they are the most T_V_ watcher. So we should be careful. Melda Landis: Yeah. Deborah Noel: Okay, I think this is more a question of Alexis Patter: But yeah Melda Landis: Marketing. Deborah Noel: of Alexis Patter: it Deborah Noel: I Alexis Patter: uh Deborah Noel: I think this is more a question of of look and feel. Something that should be addressed later. We should Alexis Patter: Yeah Deborah Noel: we should go to Alexis Patter: because Deborah Noel: other Alexis Patter: if the product Deborah Noel: for the other topics. Alexis Patter: will be international Melda Landis: Well that's the thing. We need to know who we're selling it to before we can really decide on a Deborah Noel: Yeah okay, so Melda Landis: Um. Deborah Noel: let's stick f to Man Mando for the name and we'll see for the for the look and feel later. So let's go for the three presentations right now. So, who want to start? Alexis Patter: Maybe Deborah Noel: So Alexis Patter: maybe Deborah Noel: maybe Alexis Patter: I Deborah Noel: we Alexis Patter: should Deborah Noel: could Alexis Patter: uh start. Deborah Noel: start with the market, yeah. Alexis Patter: Yeah. Mm. Okay. Deborah Noel: Okay so I have your slides somewhere? Alexis Patter: Yeah. Should be in participant four. Deborah Noel: Participant four. Alexis Patter: Yeah, Deborah Noel: This one? Alexis Patter: yeah. Alexis Patter: Uh. Deborah Noel: S that's coming. Uh Melda Landis: Yeah. Heather Keast: Yep. Deborah Noel: okay. Great. Alexis Patter: Okay so yeah will I will give a brief outline about what I what I prepared for this meeting. Deborah Noel: Mm-hmm. Alexis Patter: For the functional requirements and especially for the for the user requirements. I prepare a marketing report and we have to find the weaknesses and and the the improvements we could do to the current remote controls. And also I di I did a study with for the incorporation of new technologies it seems that the remote controls have been have remained the same for the last five, ten years. There is no no significant difference between the the b the first new controls and Deborah Noel: Okay. Alexis Patter: Yeah. Deborah Noel: Sh next slide? Okay. Alexis Patter: Yeah. Well more most of the people think that remote controls are ugly, thoroughly. So and they they admit that the the they should uh s they would uh spend more money in a fancier remote control, which is which is good and it's interesting point. Also the people are worried about about the R_S_I_ disease, which is if you repeat the sa the same movement, which is not a with a not very appropriate device, you you will have problems whe when you will get old. So s people are uh are worried about the the shape of the of the remote control. They are also they get angry very often because they lost the remote control very often, so I think it would be a good point to to l to to find a a solution to any beep any alarm or something incorporated to with the remote control every time it it get lost. Deborah Noel: Mm-hmm. Alexis Patter: And also I found that young people the the younger people are the more interested they are in incorporating new technologies in the in the remote control. Deborah Noel: Okay. Alexis Patter: So in my opinion the Mando this Mando shouldn't be very small because the smaller it is, the more like the the liklier it is to get lost. Liklier or more likely? Melda Landis: More likely. Alexis Patter: likely. Okay. Uh people also complain because they they they all have the same size of the buttons for buttons who w which are not very use like f uh memorising channels or or this kind of actions which are not very often but they they shouldn't they shouldn't have the same importance in the in the uh in the remote cont in the remote control. Also the z the design should fit the hand shape. So it may be interesting to to think in a in both prototypes, for right and left handed people. Melda Landis: Well th the on the thing is though, most remote controls are used by more than one person. So unless you're kind of targeting single people you know you're gonna maybe Alexis Patter: Yeah. Melda Landis: cut out some a lot of your market. Alexis Patter: I dunno I th Anyway I think it could be int interesting to to release some a a small fraction of Heather Keast: Well Alexis Patter: of Heather Keast: maybe Alexis Patter: this Heather Keast: it could be a Alexis Patter: remote Heather Keast: universal Alexis Patter: controls. Heather Keast: design. Alexis Patter: Sorry? Heather Keast: A universal design, which is which is good for both the hands. Alexis Patter: Yeah. Melda Landis: Still Heather Keast: Yeah? Melda Landis: shaped for yeah for your hand but not for a particular Heather Keast: That's right, Melda Landis: hand, Alexis Patter: Yeah. Melda Landis: right? Heather Keast: whether it's left hand or right hand, but but don't you think that the two points are clashing, one thing you are saying design should fit the hand shape and it should not be very small? Alexis Patter: Sorry? Heather Keast: The first and the third point, they are clashing. Melda Landis: Well it can still be a, you can still extend past Alexis Patter: Yeah. Melda Landis: the hand. Deborah Noel: Yeah. Heather Keast: Okay. Alexis Patter: Like Melda Landis: Uh. Alexis Patter: uh Heather Keast: So fitting the hand doesn't mean much then. Melda Landis: Well it means like, this remote here is kind of is very thin and long so instead Heather Keast: Mm-hmm Melda Landis: of having Heather Keast: mm-hmm. Melda Landis: you know you might have it kind of Alexis Patter: Yeah, Melda Landis: a Alexis Patter: like Melda Landis: bit bigger or, you know, with maybe some some Heather Keast: Mm-hmm Melda Landis: finger Heather Keast: mm-hmm Melda Landis: molds Heather Keast: mm-hmm. Melda Landis: or something. Heather Keast: So it means design should be similar to the traditional ones? Little sleek, longer? Alexis Patter: No no Heather Keast: And Alexis Patter: I was Heather Keast: it should Alexis Patter: thinking Heather Keast: fit Alexis Patter: of Heather Keast: the Alexis Patter: so Heather Keast: hand. Alexis Patter: like Deborah Noel: Something Alexis Patter: something Deborah Noel: with the shape of the palm? Alexis Patter: yeah. Heather Keast: Mm-hmm mm-hmm mm-hmm. Melda Landis: Some Alexis Patter: Yeah. Melda Landis: finger grips maybe. You could even have some buttons like you know Deborah Noel: On Alexis Patter: Yeah Deborah Noel: the sides. Alexis Patter: yeah. Melda Landis: on Alexis Patter: It Melda Landis: the sides Alexis Patter: sh it shouldn't Melda Landis: and everything, Alexis Patter: it shouldn't Melda Landis: but Alexis Patter: be symmetric symmetrical. Heather Keast: Mm-hm Alexis Patter: Not Heather Keast: mm-hmm Alexis Patter: anymore. Heather Keast: mm-hmm. Alexis Patter: That's what yeah. Deborah Noel: And then finally Alexis Patter: And finally, the incorporation of a L_C_D_ or a speech recognition system in the remote control could also be interesting, but I don't know if the budget would Melda Landis: Yeah. Alexis Patter: be large Deborah Noel: Yeah. Alexis Patter: enough. Deborah Noel: First I'm just wondering about the L_C_D_ stuff Alexis Patter: But Deborah Noel: because Alexis Patter: most of Deborah Noel: uh Alexis Patter: yeah Deborah Noel: because Alexis Patter: most of the young people to thirty to thirty years old were really interested in this kind of technology. Deborah Noel: Yeah, so maybe it's a good time for Alexis Patter to uh to bring you to some new uh new informations. We had the new requirements from the so uh from the head offices of the company, and so they wanted so they want to um they would like to be restricted to T_V_. Melda Landis: Yeah. Deborah Noel: Okay, I dunno if you had this information already. Melda Landis: No. Deborah Noel: No, so they want us to restrict the remote control to T_V_ only because of time limitations. Um they want also Alexis Patter: Actually Deborah Noel: uh Alexis Patter: this marketing report is restricted to T_V_ remote controls. Deborah Noel: Excellent. So we have also to focus more on the internet aspects because well well te teletext is outdated now and uh finally, it should be clear that the corporate image, that means colours and logos of the co our company should be clearly inde identified in the product. So Melda Landis: I was still uh I was still working on this uh twenty five Euro price point because I think actually having looked at some of the remotes out there, this is quite a low uh price if if we're maybe I can get to this in my presentation though, but um Deborah Noel: Yeah yeah. Melda Landis: yeah. Deborah Noel: Sure sure. So maybe we can jump to your presentations, Melda Landis: Yep. Deborah Noel: right Melda Landis: Okay. Deborah Noel: now. Okay so let's keep in mind about tha that that this last point about L_C_D_ and speech uh Melda Landis: Yeah. I Deborah Noel: reco Melda Landis: think even even if it was within budget do a speech reco rec system it might be a bit difficult because if you think if you're watching T_V_ you're gonna have a lot of this uh background noise from the T_V_ which might interfere with the Deborah Noel: Sorry, what is your? Melda Landis: Uh participant three. You might have some background noise from the T_V_ which will make the speech recognition much uh Alexis Patter: Yeah but you should Melda Landis: harder, Alexis Patter: be able to Melda Landis: so. Alexis Patter: activate or disactivate, so yeah Melda Landis: Oh you press Alexis Patter: yeah. Melda Landis: a press a button to talk, and the Alexis Patter: Yeah Melda Landis: the T_V_ Alexis Patter: uh channel Melda Landis: the T_V_ Alexis Patter: fifty. Melda Landis: sound turns off. Alexis Patter: Yeah. Heather Keast: No it could be command control kind of thing. It requir recognises particular sequence and then it gets activated. Means you say you should say like does that, remote control being on or be on kind of thing, and then remote control comes in the picture for the speech recognition. Melda Landis: Yeah. Heather Keast: Because this kind of thing means speech is there from the T_V_ also. Melda Landis: Yeah. Heather Keast: So there should be something command controlled, you start Melda Landis: Mm. Heather Keast: and then you stop. Melda Landis: Yeah. Heather Keast: It's like V_I_ editor, you are having two modes similarly. Otherwise it's just lying idle. Deborah Noel: Okay Michael. Melda Landis: Okay, so, could I describe the mouse maybe be Deborah Noel: Sorry? Melda Landis: easier to could I use the mouse, or Deborah Noel: Um yeah. Melda Landis: Mm. Thanks. Okay. Deborah Noel: The wheel doesn't work. Melda Landis: Great. Okay so um while uh researching this this topic I first of all just thought of a couple of things that I would like to see in a remote, and just uh looked to see if they're actually available in any current remotes, and then also searched for which are the top-rated uh remote controls on Epinions dot com, which is a a you know a a customer um written basically review site. So um there's a pretty wide range of uh remote controls these days and and uh this remote control on the right here is is one of the more extravagant, but it's not really it's by no means uh mm you know on it's own in being so expensive. There are a lot of expensive remote controls out there. Deborah Noel: Looks like a P_D_A_? Melda Landis: So yeah it doe it's well basically all the functions uh are controlled through through the L_C_D_ screen except for the really really kind of main functions, which have a couple of of their own buttons. Um and if you look at a lot of the universal remotes out um on the market, I know we're working on television remote, but a lot of the universal remotes out there have uh have these L_C_D_ screens which kind of helps when you're using multiple uh devices I suppose because you can have multiple kind of functions d different functions on the screen at different times. But um the thing that I find most interesting about this remote control, and it's kind of difficult to uh to see in the slide, but it has a scroll wheel on it, which is kind of like uh a mouse scroll wheel, which I think is it's a really kind of important design aspect um is it's 'Cause the thing is what a what we the presen this presentation we had is what we want the remote control to actually do. And obviously the the simplest thing that a remote control does is it just change Heather Keast: Change Melda Landis: the Heather Keast: the channels. Melda Landis: change the channel. Heather Keast: Yeah. Melda Landis: Now um uh the I think that a scroll wheel is actually pretty a pretty handy way of of changing the channel. 'Cause I know when I um when I use the remote to change the channel I very rarely use the numbers on the on the Heather Keast: Mmm-hmm Melda Landis: pad. I usually Heather Keast: mm-hmm. Melda Landis: use the up and down Heather Keast: Yeah yeah. Melda Landis: a special button to enter a two-digit number, and then two numbers, so that's just uh it's annoying. So I think a scroll wheel is is quite handy. Now um the the scroll wheel is is much more useful if you have an L_C_D_ screen, and this brings us to the the point you were mentioning before about the internet uh capability. Deborah Noel: Mm-hmm. Melda Landis: One possibility, if we now we need to still talk about the price point because obviously a lot of this stuff can't be done for twenty five Eu uh Euro, but one possibility is to download program information into the L_C_D_ screen so that instead of actually saying I want to I want to go to channel thirty seven because I know this programme's on, you know, often you don't know what ch what channel it's on, or you don't know what's on. If you have a list of of programs on your L_C_D_ screen you just scroll to that program rather than to a channel. So if you think about it's kind of like a you know in mobile phones now you don't use you don't remember people's phone number, you remember their name and you go find that name and ring it. So this would be pretty kind of a handy thing to have, but um we we really need t to discuss the price. So, I mean there are there are uh cheaper this is another multi kinda purpose remote control where it's it's it's very simple, there's only a few buttons, but al each of those buttons does something different in a different context. So this is something else we might wanna consider, is really kind of limiting the number of buttons, because this is the top rating uh universal remote control on on Epinions. It it's really uh maybe worth thinking about limiting the number of buttons as much as as possible um because really I think people want to be able to find the button they're looking for without even looking at the remote control. And was saying before about having different size buttons for different you know frequently used uh tasks, but I think also you know the location and and shape of the buttons is important, but also the number of buttons. So if you have too many buttons it it it increases the the difficulty of finding Heather Keast: But Melda Landis: the one Heather Keast: there Melda Landis: you Heather Keast: is Melda Landis: want. Heather Keast: one Melda Landis: So Heather Keast: problem then the user has to understand each of that functionality. Deborah Noel: Mm-hmm. Melda Landis: Yeah well Heather Keast: Because Melda Landis: we w Heather Keast: the same button is doing too many things. Melda Landis: Yeah well we will have a bit of a simpler uh task in that we're only doing uh a television remote control. Um I think maybe one option is to have you know a little flip-open um door that uh that you have hidden most of the time, but contains the extra buttons like, say, the number buttons for instance. Heather Keast: Mm-hmm. Melda Landis: Um I I would if I had my perfect remote control, I'd probably just have no numbers at all on it because Heather Keast: Mm-hmm. Melda Landis: they're just in the way. They don't really do anything. Maybe you know I although I do also find flip-open doors a bit of a pain because sometimes they can break off or or whatever, but maybe a door that you can you can permanantly remove or permanantly Heather Keast: Mm-hmm. Melda Landis: have on would be good. Um but I think definitely you need to to keep the buttons down to a minimum, but not not let that kind of interfere with the functionality of of the device. Um Alexis Patter: H I think I think that the tr the transition to this to this new remote control shouldn't be very very abrupt very hard because w if people see a remo see the see a remote control without numbers mm they will think it's very difficult to learn very difficult to Heather Keast: It does Alexis Patter: very Heather Keast: sampling Alexis Patter: different Heather Keast: out of Alexis Patter: build very Heather Keast: the. Alexis Patter: different to Melda Landis: Well I guess Alexis Patter: the traditional Melda Landis: that depends on how you market it. If you if you have the right advertisement showing how how Alexis Patter: If Melda Landis: how easy Alexis Patter: y Melda Landis: it is and how you can, you know, navigate to a program without the numbers, then people might say that looks pretty easy. Deborah Noel: Okay, Melda Landis: So, Deborah Noel: can Melda Landis: but Deborah Noel: you continue, Melda Landis: yep. Deborah Noel: please Mi? Melda Landis: Um okay, so, I think um one of the really kind of useful things you can do with with internet connectivity would be to have this a programme driven interface rather than the channel number. So if we can have a higher priced uh remote control I think that would really be worth uh something that would be worth implementing. Um mm there's the L_C_D_ screen, um which maybe maybe is too expensive, um but I think also at the scroll wheel, I haven't mentioned it here, the scroll wheel could be used without an L_C_D_ screen, just for changing channel numbers easily. I think even that, I mean, that would be a fairly cheap thing, compared to an L_C_D_ screen, Deborah Noel: Mm-hmm. Melda Landis: to implement, um but I think that would be quite useful as well. And the other thing, you say we need to we need to keep it just television, but I think one maybe one option, since this is supposed to be a kind of a fashionable device, is you know there's a certain kind of cool or wow factor that you can kind of you can have with technology, and maybe we wanna make it something that's extensible to do other tasks. Say you have like um a little another little kind of base unit that can also receive signals as well as the television where you can, say uh, change the lighting in the room. You know that would be something maybe you could sell as an extra, so that it doesn't have to be part of the initial development, but, you know, later on you could you can you know you also, selling the potential of the device. Then you say potentially you can then do other cool stuff like change the lights, I dunno, close the windows, whatever, turn the heating on, and um, I think that's something we may need to have as as at least as an optional extra to to kinda make our product Deborah Noel: Okay. Melda Landis: cool, since we say we're putting the fashion in electronics. Deborah Noel: Okay. Okay, thanks. Heather Keast: Yep. Deborah Noel: you Heather Keast: So Deborah Noel: want to go? Heather Keast: yeah. So most of the things which we are discussing about is speech recognition uh, that means Deborah Noel: This Heather Keast: on Deborah Noel: one? Heather Keast: my own I yeah, it should be. Deborah Noel: Great. No, not that one. you are two. Heather Keast: Two. Deborah Noel: Alright. Heather Keast: Okay so the working design is uh user i interface could be of two types, one is the usual press buttons which are there so that the user feels that he is knoing doing some he is knowing about that technology. So he is pretty comfortable if he wants to get this, and on top of that there there could be a speech recognition technology also being sitting on the on the remote. So the old kind of users who don't want to have any changes, it can it can be useful for them, and the new users, as uh our Marketing Expert was saying, they can use the new gizmo which is speech recognition kind of thing. Deborah Noel: Okay, sorry to interrupt you, but we have seen before that there is a new way of interacting that use wheel. Heather Keast: That's right. So anyway, that didn't come into my mind, Deborah Noel: Okay. Heather Keast: so th that is a possibility. These could be other kind of interfaces. Means we can have, depending on the cost, how much we can afford, we can have different kind of interfaces. So spe buttons are something which is very everybody is familiar with. So if you go to the market and you say that buttons are there the people know what it is, Deborah Noel: Mm-hmm. Heather Keast: and on top of that if we are having extra functionality people are willing to shell that twenty-five Euros money which we are thinking. Otherwise we are just like others in the market. So anyway that is the first, user interface could be of more than one type, and uh yeah that means we can do the on-line changes which which cannot be done now actually. So apart from the speech, we can have the scroll kind of thing with the buttons. Now for buttons, normal requirements like bit coding and all those things are required. And for voice, limited vocabulary automatic speech recognition system is required and we require a microphone also to be sitting there on the remote. Deborah Noel: Yeah. That increases the the cost also. Heather Keast: Uh that's right. But uh means we have to see how much what kind of microphones and stuff like that. Deborah Noel: Do you think that performance of such systems are enough to to target well of such technologies is enough? Heather Keast: Uh yes, if it is limited vocabulary usually it's enough. Deborah Noel: Okay. Heather Keast: Yeah we we can uh target, means we can target ninety five percent accuracy or somewhere ninety Deborah Noel: Well Heather Keast: seven Deborah Noel: wh Heather Keast: perc Deborah Noel: uh I imagine Melda Landis: Hmm. Deborah Noel: also that the microphone will be an ambiance um a um an ambience microphones Heather Keast: That's Deborah Noel: because Heather Keast: right. Deborah Noel: you are not going to speak into Heather Keast: No Deborah Noel: into Heather Keast: it Deborah Noel: th Heather Keast: it could Deborah Noel: into Heather Keast: be Deborah Noel: the remote Heather Keast: little Deborah Noel: control. Heather Keast: d yeah Deborah Noel: So Heather Keast: it Deborah Noel: it Heather Keast: could Deborah Noel: could Heather Keast: be Deborah Noel: be s a few centimetres. Heather Keast: That's right. Melda Landis: Well Heather Keast: That's Melda Landis: one Heather Keast: right. Melda Landis: one other thing that that speech recognition could really blow out the price for is uh when you want to sell into other markets, though, because, I'm not sure exactly where we're gonna sell this, but I presume it's not gonna just be English speaking countries. Deborah Noel: Yeah. Melda Landis: So Heather Keast: Mm-hmm Melda Landis: then you have Heather Keast: mm-hmm. Melda Landis: to s you know, you have to train models for Heather Keast: Uh it's more like, means there are different speech technologies which are existing so D_T_W_ could be kind of which is the easiest. So you have to store some templates on the on the on the chip itself, and it's just dynamic time warping where you try to find out what it is, instead of having Melda Landis: Yeah. Heather Keast: a model which has to Deborah Noel: Okay. Heather Keast: be trained and being a micro-controller. Deborah Noel: Okay we shou we should discuss this Heather Keast: Yeah, Deborah Noel: la later Heather Keast: that's right. Deborah Noel: after after after this Heather Keast: Yeah. Deborah Noel: this uh slide. Heather Keast: So Deborah Noel: This Heather Keast: we Deborah Noel: is Heather Keast: can Deborah Noel: a this is a this is a a very important uh issue Heather Keast: That's Deborah Noel: in Heather Keast: right. Deborah Noel: discussion. Heather Keast: Yep. Deborah Noel: Okay, next. Heather Keast: Yep. Deborah Noel: Uh that finished? Heather Keast: No no. Components. Deborah Noel: No? Components? Heather Keast: Yeah. So, will you go to the next slide? Deborah Noel: Yes sure. Heather Keast: Yeah so this is the design which we are thinking so. We are having a power button and the switch, which is not much, and then we are having the which is to indicate whether the power is on or not. And then there are two kind of things which can be so one is the button interface which has not been shown because because of lack of time. So we could not put that. So now where the A_S_R_ decoder is sitting, similarly there are different kind of interfaces which could be there. there, and then there could be another scroll button scroll scroller, and then there could be buttons, and all of them they will just do the decoding and put it in the math put it in the proper message format. And then there is there is the chip which is sitting, the green one, and it converts it into bit codes, and that bit codes are sent by the infrared device to the receiver. Deborah Noel: Okay. Heather Keast: So this is the easiest design the there could be. So th an A_S_R_ decoder we can have things in. To have different technologies. So this was the my personal preference was that we can have A_S_R_ sitting there on the remote control. Melda Landis: You Heather Keast: Yeah. Melda Landis: know I guess you could actually train the remote control as you're using it by saying you know turn volume up, and you press the uh press the button like uh s people teach sign language to kids f well, Heather Keast: Yeah but Melda Landis: by Heather Keast: uh Melda Landis: speaking and Heather Keast: as soon Melda Landis: doing Heather Keast: as you try to put the microchip kind of thing or something the price will go up. Melda Landis: Yeah. Heather Keast: So these Deborah Noel: Okay. Heather Keast: are the slight problems. Deborah Noel: So your your opinion is that we should go for special Heather Keast: Because Deborah Noel: condition technologies? Heather Keast: yeah the reason is that if we go into the market means though I don't have much idea, but as he the uh Marketing Expert presentation Alexis Patter: I'm sure Heather Keast: was Alexis Patter: if you can sell a a speech recognition remote control for twenty five Euros everyo everyone will s will buy it. Heather Keast: So if Melda Landis: Actually Heather Keast: we go Melda Landis: I'm Heather Keast: with Melda Landis: not Heather Keast: just Melda Landis: so sure Heather Keast: the Alexis Patter: I'm Melda Landis: because Alexis Patter: sure. Melda Landis: I'm the you know if I was using a remote control to, say, turn the volume up because I can't hear it very well, I don't really want to you know drown out what people are saying by talking you know when I'm when I'm instead of pressing up on on a remote control. You know if there's some there's some dialogue all of a sudden that I can't hear, Deborah Noel: Yeah. Melda Landis: I'm trying to actually find out what's being said, so maybe speech recognition gets in the way more than it helps. Deborah Noel: Okay so Alexis Patter: Yeah but you know the the average frequency of pushing buttons, it's about Melda Landis: Well it depends if it's a remote control Alexis Patter: it's about Melda Landis: th Alexis Patter: eighty eighty eighty pushes per hour, or something like that. Melda Landis: Maybe if the remote control is something that y you don't actually have to pick up anymore, that would be a a useful feature of the speech recogntion. If you can Heather Keast: Mm-hmm. Melda Landis: leave it sitting Heather Keast: Mm-hmm. Melda Landis: on the table and Heather Keast: Mm-hmm. Melda Landis: you don't actually have Heather Keast: Mm-hmm. Melda Landis: to find Heather Keast: Mm-hmm. Melda Landis: it, then Heather Keast: Mm-hmm. Melda Landis: that could be. Deborah Noel: have to take some deci decisions right now. Heather Keast: Alright. Deborah Noel: Um so if I if I kind of summarise everything we've de we we said. We are targeting T_V_. We need we need to have um um remote control which is fanc fancy, which is uh which is easy to to hand not too small, not too big. Um we have Alexis Patter: With a good shape for Deborah Noel: or Alexis Patter: the Deborah Noel: good shape, yes. We should bring new technologies for young peoples, and uh as we have uh also requirements to to use uh to to push thr toward the internet. Maybe this is something we can stick to it. And um also, a very interesting things I I I've seen on on on the one of the comp o our competitor is this wheel that we can use to navigate. So so my feeling is that re regarding costs budget we have an an an target price, it's not possible to go s to go to L_C_D_ and also to go to automatic speech recognition technologies. Uh first m m why not to go to L_C_D_. Because um in fact as we are targeting uh T_V_ in fact we can use T_V_ screen as a screen to feedback to to give some feedback informations about what Melda Landis: Well it depends Deborah Noel: we could Melda Landis: though Deborah Noel: have. Melda Landis: well it depends. If we we don't unless we have some input some video input to the T_V_ or we have control over the T_V_ then we can't actually display that. Like if we if we produce the T_V_s then then yeah we can put you know menus up up there, but otherwise we need to actually have some kind of something sitting in between the video signal and the and the T_V_ to superimpose those those menus. So that's an extra Deborah Noel: Yeah that's right. Don Melda Landis: cost. Deborah Noel: don't you ha don't we have contacts with uh people on T_V_ or or well systems that exist that we Melda Landis: Well this is Deborah Noel: can use? Melda Landis: this is another que we still haven't really defined the remote. Are we still you say we're focusing on T_V_, but is it still a kind of like a universal remote in that it's a replacement remote control, or Deborah Noel: Yeah. Melda Landis: is this something for our own line of of televisions? 'Cause that really makes a big difference. 'Cause even if we have contacts we can't really produce a remote control that can bring up menus on other other companies' T_V_s. It's just there are too many T_V_s out there. Deborah Noel: Yeah. Melda Landis: It's it's not really Deborah Noel: That's Melda Landis: gonna Deborah Noel: good point. What's what cou what could be the cost of uh well, could we fit the the targets uh in terms of cost uh if we go s to L_C_D_ on the remote control? Melda Landis: For twenty five Euro? Deborah Noel: Yeah. Heather Keast: It's Melda Landis: I think Heather Keast: not Melda Landis: it's Heather Keast: possible. Melda Landis: impossible. Heather Keast: It's impossible. Melda Landis: But Alexis Patter: Yeah. Melda Landis: but I dunno, I think um it would be good to know if there is any leverage in that any leeway in that um that twenty five Euro because for twenty five Euro I think all we can really do is provide a very basic remote control, and that seems to be kind of against the philosophy of our company which is you know putting the fashion into electronics. So I would I would like to know if there's any chance of of increasing the uh Alexis Patter: Uh Melda Landis: of increasing the unit price. Alexis Patter: What would Deborah Noel: So Alexis Patter: be Deborah Noel: you mean yo you mean we we should target something maybe which is which would be more expensive Melda Landis: Yeah. Deborah Noel: but re really fancy in Melda Landis: Yeah. Deborah Noel: terms to um in terms to had to have really an added value? Melda Landis: Yeah because Deborah Noel: Okay, Melda Landis: yeah. Deborah Noel: so regarding the automatic Alexis Patter: Wha Deborah Noel: speech recognition, I think Alexis Patter: but Deborah Noel: this is Alexis Patter: what would be one question, what would be the goal of putting an L_C_D_ in a remote control? Melda Landis: Well Alexis Patter: What Melda Landis: th Alexis Patter: what kind of information? Melda Landis: 'Cause you can have things like the programme name instead of the channel numbers, like Alexis Patter: Yeah Melda Landis: an interactive Alexis Patter: but mo Melda Landis: programme Alexis Patter: most of the Melda Landis: guide. Alexis Patter: T_V_s nowadays Deborah Noel: They Alexis Patter: show Deborah Noel: have tele Alexis Patter: the Deborah Noel: teletext. Alexis Patter: show the Deborah Noel: Well, because they have teletext Alexis Patter: the n Deborah Noel: on it. Th th you have a teletext sin signal that you can that you can uh Alexis Patter: Yeah Deborah Noel: that you Alexis Patter: but Deborah Noel: can get thr Alexis Patter: yeah Deborah Noel: through Alexis Patter: most Deborah Noel: the channel. Alexis Patter: of the T_V_s have teletext nowadays. Deborah Noel: They have t most of them have Alexis Patter: Yeah. Deborah Noel: teletext, but we want to get rid well one of our requirements is to uh to move to teletext to uh to the use of internet. So to to uh Melda Landis: You can get a lot more information Deborah Noel: to browse more easily Melda Landis: on Deborah Noel: the teletext. Melda Landis: it. Deborah Noel: For instance through uh through your remote control. Alexis Patter: So what would what would appear in the in the L_C_D_? Melda Landis: So you could have the name of the programme, you could have um Deborah Noel: The ti Melda Landis: the start time Deborah Noel: the start Melda Landis: you know Deborah Noel: time, Melda Landis: where it's Deborah Noel: all Melda Landis: up Deborah Noel: the Melda Landis: to. Deborah Noel: p all the programmes you could have uh Melda Landis: You could have a l even Deborah Noel: o Melda Landis: a little image of you know the c Alexis Patter: Okay. Melda Landis: you know the the m the main actors or something so you can quickly just kind of even without Deborah Noel: Well Melda Landis: reading Deborah Noel: I don't know if this information is available from teletext, also. Melda Landis: Well no, but there are the electronic programme guides out Heather Keast: Are Melda Landis: there. They may not have pictures, but maybe they do. There's dependi it also Deborah Noel: Well because Melda Landis: depends on the country. Deborah Noel: for the same reason that we cannot uh informations on the T_V_. We c we couldn't grab information information which is not there. Melda Landis: No but I mean with the internet you have flexibility of where you get your information from. So it may be possible that there are Deborah Noel: So Melda Landis: people out there providing that. Deborah Noel: so that mean Alexis Patter: But Deborah Noel: w Melda Landis: Uh. Deborah Noel: w we need an in an extra internet connection to use the remote control, if you want to browse, Alexis Patter: Yeah. Deborah Noel: in addition to the T_V_, or uh or it should be a special T_V_ connected Melda Landis: Well Deborah Noel: to Melda Landis: I I think if we're gonna I think we would definitely need the internet connection because even with y I don't think you could even get teletext information from the T_V_ onto the remote control, especially if we don't control the T_V_. I dunno. We need to find that out. Deborah Noel: Okay. We need to close the meeting. Um so Heather Keast: But just a small thing, what Deborah Noel: Very Heather Keast: kind Deborah Noel: quickly. Heather Keast: of market we are targeting? Is it that we are targeting the replacement remote market, or what? So the remote has gone bad and the person wants to buy a new remote or because the cost of L_C_D_ thing could be as high as the T_V_ itself. That is very Deborah Noel: No. Heather Keast: important. Melda Landis: Mm. If Deborah Noel: Yeah, Melda Landis: it's a really small T_V_ Deborah Noel: well Melda Landis: maybe. Deborah Noel: people go to buy another remote control when they broke Heather Keast: Broke. Deborah Noel: n Heather Keast: Okay. Deborah Noel: broke Heather Keast: Okay. Deborah Noel: their, and they want to go t for universal Heather Keast: Okay. Deborah Noel: one, and Heather Keast: Okay. Deborah Noel: they take the fanciest they can Heather Keast: Okay. Deborah Noel: have. Heather Keast: Okay. Deborah Noel: So this is that we z that that we should target. So the com the um the uh the committment is the following, we don't go for speech recognition technology. Heather Keast: Mm-hmm. Deborah Noel: The L_C_D_ is still on disc is still open to discussion. It is up to you to go through this um uh this way and to to report report Alexis Patter back next meeting. So Alexis Patter: I think that the speech recognition technology would Heather Keast: It's Alexis Patter: be cheaper Heather Keast: it's cheaper Alexis Patter: the Heather Keast: as compared Alexis Patter: than Heather Keast: to Alexis Patter: the Heather Keast: the L_C_D_. Alexis Patter: L_C_D_. Deborah Noel: Yeah, but not sure. Maybe it's cheaper, but we have no Alexis Patter: Because with the L_C_D_ you need more requirements. You need a internet connection. You need m more things. But for the speech Melda Landis: Well Alexis Patter: recognition Melda Landis: the thing Alexis Patter: you Melda Landis: is Alexis Patter: you Melda Landis: I think Alexis Patter: don't need Melda Landis: I Alexis Patter: anything. Melda Landis: think the type of peop Alexis Patter: channel fifty, and that's it. Melda Landis: I think the type of people that are gonna want to buy a very stylish rem r remote control with lots of new technologies are the kinda people that are gonna have you know a wireless internet connection maybe, or a Alexis Patter: But then Melda Landis: you know. Alexis Patter: we should move to another target b because Heather Keast: Means Alexis Patter: at twenty Heather Keast: th Alexis Patter: five Heather Keast: yeah Alexis Patter: Dollars, Melda Landis: Well this Alexis Patter: it's Melda Landis: is what Heather Keast: twenty Melda Landis: we need Heather Keast: five Melda Landis: to find Heather Keast: Euros Melda Landis: out. Can Heather Keast: is Melda Landis: we Heather Keast: yeah, Melda Landis: can Heather Keast: that's Melda Landis: we Heather Keast: right. Melda Landis: increase the the price point of this remote control? 'Cause otherwise we need Deborah Noel: Okay this is this is an open question for you. Yeah. This is uh up to you to tell us. But I'm definitely not keen on Alexis Patter: To move to another target? Deborah Noel: to to no no no, I'm no I'm definit definitely not keen on going to speech recognition technologies. I'm not confident enough. I'm not sure that that we'll have a product really that work. I uh that work Melda Landis: It's kind of hard to guarantee Deborah Noel: It's Melda Landis: that Deborah Noel: real Melda Landis: you're gonna Deborah Noel: yeah. How to guarantee such performances is really hard. Alexis Patter: the expert uh said ninety five percent. Melda Landis: Ninety Deborah Noel: Well this Melda Landis: five Deborah Noel: is still Melda Landis: percent is not good enough Deborah Noel: is Melda Landis: though. Deborah Noel: is very bad. So, this is the end of this discussion. Next meeting uh here are the task you have to work on. Um so you have to work on the component uh concept. Heather Keast: Okay. Deborah Noel: Uh you have to work on user interface, and you have to go through a trend watching. Okay. So the question is still open about the L_C_D_ thing. Um uh we I hope that next meeting we will uh we'll take some um decision that direction. Thanks. Melda Landis: Yep. Deborah Noel: Bye.

Deborah Noel opens the meeting stating that they will address the functional design of the remote and saying they are still undecided about whether it should be universal or specific. He suggests they name the project and they come up with "mando", meaning "control" in Spanish. Alexis Patter presents some research done on user opinions of remotes. He suggests the use of using voice recognition or an LCD, which they discuss despite concerns about budget limitation. Heather Keast presents, showing examples of existing products and suggesting they add a scroll wheel for channel-changing. He says Internet capability might be necessary for an LCD and then brings up button size, suggesting having a flip-open door with extra buttons under it. They discuss voice recognition again, and then the interface specialist presents. He suggests they have two types of user interfaces and brings up that voice recognition would increase production price. They talk about the budget limitations on features and then Deborah Noel summarizes decisios made and closes the meeting by teeling each group member what he should work on.

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Nancy Blackburn: Okay? Good afternoon. Hope Mamie Townsend: Afternoon. Nancy Blackburn: you have Prudence Boros: Hi. Nancy Blackburn: good lunch. Mamie Townsend: Yeah, we had falafel. Nancy Blackburn: Oh. Nice. And you? Prudence Boros: Uh, yes, I had something similar non-vegetarian. Nancy Blackburn: Okay. So today is um our third meeting. It will be about the conceptual design uh. If I come back to uh the minutes of the last meetings um. We decided not to go for speech recognition technologies because of some reasons and we are not decided about u the use of L_C_D_ screen on on the remote control because of costs. So maybe we wi be to clarify this question to today. Uh at the end of the meeting we should take decision on that point. So I hope uh that your respective pr presentations uh will help us. So each of you have some presentatio presentation to perform um who starts? Dionne Vasquez: Okay, Nancy Blackburn: So marketing. So you are you saved your y your presentation somewhere? Dionne Vasquez: Yep. Nancy Blackburn: So you're four? Dionne Vasquez: Four yeah, Nancy Blackburn: Which is trend watch. Okay. Mr Marketing Experts. Dionne Vasquez: Yeah that's Dionne Vasquez. Nancy Blackburn: So Dionne Vasquez: Uh. Well I investigate the preference more d I investigate deeper the preference of the users. Uh so the the current investigation th uh th uh sorry the current the n current trends? Prudence Boros: Yeah. Dionne Vasquez: Yeah? Nancy Blackburn: Mm-hmm. Dionne Vasquez: Okay. Okay. Well wha what I found um can you Nancy Blackburn: Next slide? Dionne Vasquez: Yeah. Nancy Blackburn: Yeah. Dionne Vasquez: Thank you. What I found in order of importance from less to more important is that people want an easy to use device. After they they want something new technologic technologically speaking, but the most what they what they find more more interesting, more or more important it's uh a fancy look and feel instead of uh instead of the current the current trend which was f the functional look and feel. So now more more cool aspect, ma more a cooler aspect uh rather than a device with many functions and many buttons with instead of i instead of ha of a device which can do many things, a device which is pleasant to to watch, to see. Nancy Blackburn: Okay. Dionne Vasquez: Uh also Well in in Euro in in Paris and and Milan the in Paris and in Paris and Milan the the current trend of uh of clothes, furniture and all this all this fashion it's it's fruit and the the the theme is fruit and vegetables. Nancy Blackburn: Mm. Dionne Vasquez: And also in the in the U_S_A_ the the current the mor the most popular feeling it's it's a spongy. Spongy means eponge? Mamie Townsend: Mm-hmm. Dionne Vasquez: So maybe we should we should think in in this direction, so Prudence Boros: What what do you mean by fruit and vegetables and spongy? What Mamie Townsend: Spongy Prudence Boros: you mean Mamie Townsend: means Prudence Boros: clothe Mamie Townsend: it it's like Dionne Vasquez: Fruit Mamie Townsend: sp Dionne Vasquez: vegetables is the the new have you seen the last exposition of clothes in Milan? Prudence Boros: No, I missed that one. Dionne Vasquez: Yeah, I I didn't miss an I didn't miss and I saw that the fruit, there are many fr pictures of fruits and vegetables in the Prudence Boros: Oh, Dionne Vasquez: clothes. Prudence Boros: they're okay so they're not like dressed as a carrot they just have Dionne Vasquez: No no, Prudence Boros: like Dionne Vasquez: not not yet, not Prudence Boros: pictures Dionne Vasquez: yet. Prudence Boros: of fruit on, Dionne Vasquez: Yeah, Prudence Boros: okay. Dionne Vasquez: yeah. Prudence Boros: So Dionne Vasquez: So Prudence Boros: we're not gonna Dionne Vasquez: te Prudence Boros: have a remote Dionne Vasquez: textu Prudence Boros: control Dionne Vasquez: textures, Prudence Boros: in the shape of Dionne Vasquez: yeah. Prudence Boros: of a banana, just Dionne Vasquez: Yeah. Prudence Boros: maybe Dionne Vasquez: Vegetable textures and all this kind. Nancy Blackburn: Drawings of bananas. Dionne Vasquez: Uh Prudence Boros: Okay and Nancy Blackburn: Uh-huh. Dionne Vasquez: yeah, yeah. Mamie Townsend: But what's your suggestion how we can have some shape like that on the Nancy Blackburn: Well Mamie Townsend: remote? Nancy Blackburn: so this is in the next slide certainly. Dionne Vasquez: Uh no no, it's not. Nancy Blackburn: It's not? Dionne Vasquez: It's And Prudence Boros: which fruit are you thinking of Dionne Vasquez: Um. I ha I haven't thought of any particular fruit, but the general aspect of the of the remote control may may could remind some kind of vegetable, some kind of instead of vegetable, some natur mm uh natural object or something. Mamie Townsend: Mm-hmm. Dionne Vasquez: But yeah it it Nancy Blackburn: So maybe Dionne Vasquez: depends Nancy Blackburn: you Dionne Vasquez: on Nancy Blackburn: maybe Dionne Vasquez: the Nancy Blackburn: you can display a banana on the L_C_D_. Prudence Boros: Oh, so you want the remote control to be the shape of a fruit, or you want just some kind of like fruit logo on the Mamie Townsend: Means buttons are Dionne Vasquez: Yeah Mamie Townsend: in the Dionne Vasquez: maybe Mamie Townsend: shape Dionne Vasquez: the Mamie Townsend: of Dionne Vasquez: shape Mamie Townsend: fruits, Dionne Vasquez: the shape Mamie Townsend: buttons are in the frape shape of fruits or something, apple, banana, something like that. Dionne Vasquez: No, not n Nancy Blackburn: Apple for Dionne Vasquez: not Nancy Blackburn: channel Dionne Vasquez: not too Nancy Blackburn: one. Dionne Vasquez: much focus, not too much focu not n not too s not too similar to a fruit because Mamie Townsend: Mm-hmm. Dionne Vasquez: next year the ten the trend the trend will be different. Mamie Townsend: Mm-hmm. Dionne Vasquez: So we shouldn't be at re really attached to to the Prudence Boros: So Dionne Vasquez: trend Prudence Boros: something Dionne Vasquez: but Prudence Boros: that looks half like a fruit and half like an elephant. Dionne Vasquez: For instance, yeah. African or as an elephant? Mamie Townsend: That we can discuss afterwards. Prudence Boros: But okay, I'm Nancy Blackburn: Okay. Prudence Boros: not, I'm not really sure if uh that would really appeal to everyone though, maybe just to fashion gurus, like maybe just like a little bit n a little fruit picture somewhere in the corner, but I don't know about uh I dunno how ergonomic Dionne Vasquez: Well Prudence Boros: a, Dionne Vasquez: ma Prudence Boros: an Dionne Vasquez: maybe Prudence Boros: orange is. Dionne Vasquez: we we should further specify what target are we focusing. I think in my opinion we should focus on on young people because they are more open to new Prudence Boros: To fruit? Dionne Vasquez: devi new devices and also yeah according to the marketing report ninety p ninety five percent of young people was was was able to to buy a a n a cooler remote control. Prudence Boros: But is it uh is fruit cool? Dionne Vasquez: What? Nancy Blackburn: That's a question. Dionne Vasquez: What? Prudence Boros: Is fruit cool? Dionne Vasquez: Yeah? Uh Is the new trend of the Prudence Boros: Well I guess, you know, Apple has the iPod so, imagi just 'cause they have an apple on their on their product, doesn't mean fruit is cool. Dionne Vasquez: No I think we we should think about a a shape with it a device with a shape of some Prudence Boros: Okay, but it has to be easy to uh to use though and to hold you know, you don't wanna pear or a Dionne Vasquez: Yeah. Prudence Boros: watermelon. Dionne Vasquez: Don don't you think we can find uh the shape of a fruit which is handy Prudence Boros: Well, Dionne Vasquez: to Prudence Boros: probably Dionne Vasquez: use? Prudence Boros: the only thing is a banana Mamie Townsend: Banana. Prudence Boros: that I can think of, a cucumber. Mamie Townsend: Mm-hmm. Prudence Boros: I Dionne Vasquez: Or Prudence Boros: dunno. Dionne Vasquez: m Nancy Blackburn: Maybe too long. Prudence Boros: Maybe. Too green. Dionne Vasquez: Maybe. Prudence Boros: So, but Nancy Blackburn: A Prudence Boros: I mean you Nancy Blackburn: banana. Prudence Boros: also have to you have to also Dionne Vasquez: Um Prudence Boros: have, fit r all the buttons and you know. It's, it Dionne Vasquez: Yeah. Prudence Boros: The thing is you have t normally with um with buttons, they have to be at some point attached to a circuit board so if you're gonna have things like on a cylindrical kind of device it may be difficult to kind of to build. Mamie Townsend: I don't th it will Dionne Vasquez: Yeah Mamie Townsend: be Dionne Vasquez: but Mamie Townsend: rolling Dionne Vasquez: I li Mamie Townsend: a lot. Dionne Vasquez: I like your idea Nancy Blackburn: Okay. Dionne Vasquez: that we shouldn't have a lot of buttons Nancy Blackburn: Yeah Dionne Vasquez: b Nancy Blackburn: and Dionne Vasquez: buttons Nancy Blackburn: you you Dionne Vasquez: so Nancy Blackburn: you will not have pla enough a lot of place to put a L_C_D_ on a banana also. Prudence Boros: Yeah. Dionne Vasquez: Uh do you want a an L_C_D_ with twenty five Euros? Nancy Blackburn: Well, Prudence Boros: Well, Nancy Blackburn: you're Prudence Boros: this Nancy Blackburn: the Prudence Boros: is Nancy Blackburn: Marketing Expert you should tell us if it Dionne Vasquez: I Nancy Blackburn: is too much Dionne Vasquez: think Nancy Blackburn: or not. Dionne Vasquez: Well, according to the to the report people are more interested in in a fa fancy look and feel and in a technological inno in innovation, so, Nancy Blackburn: So Dionne Vasquez: I will give more importance to the look and feel than rather than the Nancy Blackburn: So you you Dionne Vasquez: new Nancy Blackburn: you suggest Dionne Vasquez: inputs Nancy Blackburn: to go Dionne Vasquez: and also Nancy Blackburn: f Dionne Vasquez: it's I'm not convinced about this L_C_D_ because you need uh internet connection, you need more things, it's not just buying a new control re Nancy Blackburn: Okay. Dionne Vasquez: remote, you need buying control remote, buying uh more Nancy Blackburn: S Dionne Vasquez: things. Nancy Blackburn: so Dionne Vasquez: It's Nancy Blackburn: you're simply Dionne Vasquez: not so simple. Nancy Blackburn: you're simply looking s to a remote control that looks like a banana with Dionne Vasquez: For instance, Nancy Blackburn: few buttons Dionne Vasquez: yeah. Nancy Blackburn: with Dionne Vasquez: Yeah Nancy Blackburn: only Dionne Vasquez: for Nancy Blackburn: a few Dionne Vasquez: for Nancy Blackburn: buttons. Dionne Vasquez: for given an an example yeah. Nancy Blackburn: Okay good. So maybe you can go ahead? Dionne Vasquez: Yeah no, it's what I already said. Nancy Blackburn: Okay. Thanks. Um. Okay, I'll give the floor. So you are User Interface guy. Prudence Boros: Okay. Nancy Blackburn: So you're three? Prudence Boros: Yeah. Nancy Blackburn: And it's this one. Prudence Boros: Yep. Nancy Blackburn: Go for it. Prudence Boros: Yep. Okay. So. S next uh slide. Okay. So I received an email um around lunchtime letting Dionne Vasquez know that the brilliant minds at our technology division had developed an integrated programmable sample sensor sample speaker unit, um which is a way for you to have a conversation with your coffee machine and or remote control. Mamie Townsend: But it's just a Prudence Boros: It's no, what it is, it's Mamie Townsend: It's Prudence Boros: it's Mamie Townsend: not a Prudence Boros: very Mamie Townsend: microphone. Prudence Boros: It has a has a microphone, has a speaker, it's got a little chip and Mamie Townsend: Mm-hmm. Prudence Boros: it allows you Mamie Townsend: Actually Prudence Boros: t Mamie Townsend: I'm not reading microphone there, so that's why you can all have conversation, Prudence Boros: Well, it's Mamie Townsend: it Prudence Boros: a sample Mamie Townsend: just to speak to you. Prudence Boros: sensor sample speaker. Sample sensor sample speaker. It means Mamie Townsend: Mm-hmm. Prudence Boros: that it can recognize, it can do like a match on a on a certain phrase that you speak Mamie Townsend: Mm-hmm. Prudence Boros: and then can play back a Mamie Townsend: Mm-hmm. Prudence Boros: phrase in response to that. Mamie Townsend: Mm-hmm, mm-hmm. Prudence Boros: But uh there's no kind of um understanding of the phrase. Mamie Townsend: Okay. Prudence Boros: So, I mean, you know, I guess you could build that in, you could you could link the the recognition of a certain phrase to some function on on Mamie Townsend: Mm-hmm, Prudence Boros: the remote Mamie Townsend: mm-hmm, Prudence Boros: control. Mamie Townsend: mm-hmm. Prudence Boros: But basically the thing is, we have this technology available Mamie Townsend: In-house. Prudence Boros: in-house. So, Mamie Townsend: Mm-hmm. Prudence Boros: um but the thing is obviously there's still gonna be a cost if you Mamie Townsend: Mm-hmm, Prudence Boros: decided to integrate that because Mamie Townsend: mm-hmm. Prudence Boros: you still have to pay for the c production of the components, so um it it but it basically means we c we can kind of consider this from uh you know uh a theoretical or usability kind of viewpoint without worrying too much about you know how to develop it because we have this already done. Mamie Townsend: Mm-hmm, mm-hmm. Prudence Boros: Whilst you know, some people might get annoyed if we uh if we just dump it, Nancy Blackburn: I there's something that I unclear really understanding. Is this a technology that recognize keywords speech keywords? Prudence Boros: It's it it's no, well, it's it'll recognize uh I guess keywords, but you know keywords in a certain order like a phrase. You train it for a certain uh, for a certain phrase, you say the the example they said that they have uh up and running with their prototype is um well they've actually integrated into the into the the coffee machine that uh that we're producing is, you can say good morning to the coffee machine and it can recognize that phrase and it'll playback good morning, Nancy Blackburn: And Prudence Boros: how Nancy Blackburn: it's Prudence Boros: would Nancy Blackburn: just Prudence Boros: you like Nancy Blackburn: to, Prudence Boros: your coffee? Nancy Blackburn: it's just to playback something? Prudence Boros: Yeah. So actually that was a bad example, 'cause it doesn't actually ask how do you want your coffee because it can't really understand the response, Nancy Blackburn: Yeah Prudence Boros: so. Nancy Blackburn: yeah. So this is not s really to do to to do control. Prudence Boros: Only, like, only in the sense that it it can recognize a set Nancy Blackburn: Yeah. Prudence Boros: a set target Nancy Blackburn: This Prudence Boros: kind Nancy Blackburn: is just Prudence Boros: of word Nancy Blackburn: more Prudence Boros: an Nancy Blackburn: like a poi Prudence Boros: It's designed Nancy Blackburn: pois Prudence Boros: it's Nancy Blackburn: yeah. Prudence Boros: designed as a fun kind of thing, Nancy Blackburn: Yeah Prudence Boros: but I guess Nancy Blackburn: yeah. Prudence Boros: you could use it as uh as a way to implement uh Nancy Blackburn: So Dionne Vasquez: Yeah but Nancy Blackburn: it it's c uh it it it Dionne Vasquez: you Nancy Blackburn: is Dionne Vasquez: can Nancy Blackburn: a Dionne Vasquez: u Nancy Blackburn: uh uh easy uh a fancy thing that you you can bring to we can bring to the remote control that will not have any Prudence Boros: Completely Nancy Blackburn: uh Prudence Boros: pointless yeah. Nancy Blackburn: yeah comp completely pointless Prudence Boros: Yeah. Nancy Blackburn: for the inter for from the interaction point of v point of view. Prudence Boros: Yeah, unless you know, you like having conversation with your remote control. Nancy Blackburn: Okay. Dionne Vasquez: Yeah but the can we use it for saying okay, channel fifty, Prudence Boros: Well Dionne Vasquez: channel Prudence Boros: yeah, that's the Dionne Vasquez: twenty? Prudence Boros: thing, if you can but you have to pro though I think it's a fairly simple design so you would have to record into the device every possible combination, you have to s tr train it to l to learn channel fifteen, that whole thing, not just the word channel and the Nancy Blackburn: Yeah Prudence Boros: word fifteen, it doesn't Nancy Blackburn: yeah. Prudence Boros: have that Nancy Blackburn: So Prudence Boros: kind of logic Nancy Blackburn: this is Prudence Boros: in it. Mamie Townsend: Mm-hmm. Nancy Blackburn: so this Prudence Boros: So Nancy Blackburn: is this is much more than tak taking this technology, bringing it to the remote control and using it. So this is out of discussion. Prudence Boros: Yeah. Nancy Blackburn: So if if if it is something that you can we can bring easily and to put it into the banana remote control Dionne Vasquez: M Mando. Prudence Boros: Banana-mando. Nancy Blackburn: No this is mm banana-bando, Dionne Vasquez: Banana-mando Prudence Boros: Banana-man Dionne Vasquez: yeah. Nancy Blackburn: yeah. Uh then it could be cool yeah. Mamie Townsend: Yeah okay, let's go ahead. Nancy Blackburn: Okay. Prudence Boros: I uh I I I don't think it's worth it though, I think it doesn't really add much to the functional design and it's it's it's not mature enough to use as a speech recognition engine, Nancy Blackburn: Okay. Prudence Boros: so Um, yeah. So if we can just move on to the next slide, I've just done a quick mock-up of uh uh some of the features of our potential funky-looking uh Nancy Blackburn: It doesn't Prudence Boros: remote Nancy Blackburn: look like Prudence Boros: control Nancy Blackburn: a banana at all. Prudence Boros: Well, you see, I was I was unaware at this point of th of the fruit focus, Nancy Blackburn: Yeah. Prudence Boros: um, so Nancy Blackburn: But Prudence Boros: at the Nancy Blackburn: you Prudence Boros: moment Dionne Vasquez: Looks Prudence Boros: it's more Dionne Vasquez: like Nancy Blackburn: you Dionne Vasquez: a Prudence Boros: of Nancy Blackburn: can Dionne Vasquez: tr Prudence Boros: a Nancy Blackburn: fit Prudence Boros: box Nancy Blackburn: i Prudence Boros: focus. Dionne Vasquez: look likes Nancy Blackburn: you're saying Dionne Vasquez: a Nancy Blackburn: now you can Dionne Vasquez: a tro Nancy Blackburn: fit Dionne Vasquez: a Nancy Blackburn: it Dionne Vasquez: tropical Nancy Blackburn: to Dionne Vasquez: fruit. Nancy Blackburn: Yeah. Dionne Vasquez: Yeah. Prudence Boros: Yeah, well, this is actu this could be a genetically engineered fruit that's designed to be you know square so that it packs tighter in the boxes. But um, I've just indicated here, we could have actually two scroll wheels, 'cause I think the scroll wheel is a fairly um Mamie Townsend: Stable Prudence Boros: key part Mamie Townsend: thing, that's Prudence Boros: of, Mamie Townsend: right. Prudence Boros: you know, I think Mamie Townsend: To Prudence Boros: everyone Mamie Townsend: have, Prudence Boros: has has agreed that it's that it could Mamie Townsend: mm-hmm, Prudence Boros: be quite a useful um Mamie Townsend: mm-hmm. Prudence Boros: thing, so. But I think it's important, you know, to have two scroll wheels because, you know, you want one for for the channel, but you also want one for for the volume, Nancy Blackburn: Mm. Prudence Boros: because it's it's the volume i it's, you know it's very handy for it to have uh instant kind Mamie Townsend: Mm-hmm, Prudence Boros: of uh feedback Mamie Townsend: mm-hmm. Prudence Boros: uh and response, so. But um, I've also included this turbo button because I think, you know, every design should have a turbo button, Dionne Vasquez: What's a turbo Prudence Boros: and Dionne Vasquez: button? Prudence Boros: well so this is you know, a unique problem with with televisions is that if you have this scro this scroll wheel for the television, the uh the tuner on the T_V_ is not gonna be able to to switch between stations as fast as you can scroll, so you know, the th the person might want to have a uh Might want to be able to scroll past television stations without seeing what's on them, in which case it just waits until you stop scrolling and then, you know, displays that station. Or they might want to scroll and and have a quick glimpse of it, even if it lags behind what they're doing. Dionne Vasquez: It con it controls the speed? Prudence Boros: Yeah, so with this turbo button you can, say, skip over t channels if uh, you know, if I'm if I'm going if I'm scrolling past them and you know, it's um, you could have a little red light that comes up when they press it so they feel you know it's really going fast or whatever. So yeah, that's um, those are the two important uh features I think Mamie Townsend: Mm-hmm. Prudence Boros: we need on the remote, but I mean we can discuss about what other kind of buttons we need, um. You know, i it could be, you know, if we if we wanna have like a very cheap kind of device, I mean, we could either consider that maybe we want to sell this as a very, if it's gonna be a banana, you know that's a pretty gimmicky kind of thing that doesn't have that much functionality, it's just you know a couple of scroll wheels and a button cause it's hard to get so many buttons on a Nancy Blackburn: It's enough. Prudence Boros: banana and it's still very it may even be for most for some people more functional than their current remote, but if they have these scroll wheels, so, um you know, what other buttons do we want? Mamie Townsend: Mm-hmm. Prudence Boros: I mean we could have well, I guess you need an on and off Nancy Blackburn: Switch Prudence Boros: switch, Nancy Blackburn: on. Prudence Boros: but you could Nancy Blackburn: Yeah. Prudence Boros: you could o you could turn it turn it on by taking the top off the banana maybe, you know, it's kind of Dionne Vasquez: Yeah. Prudence Boros: like a spy Dionne Vasquez: So Prudence Boros: kind of flick thing. Dionne Vasquez: sounds crazy. I like crazy ideas. Prudence Boros: That's why you're a marketing Nancy Blackburn: Okay. Dionne Vasquez: Yeah, Prudence Boros: guru. Nancy Blackburn: So Dionne Vasquez: of course. Nancy Blackburn: i it looks like we're going completely to forget about the L_C_D_ thing. Prudence Boros: Well, that's the thing, as have we decided that we can only spend, uh, twenty five Euro? Nancy Blackburn: I think Prudence Boros: Well not spend, Nancy Blackburn: that Prudence Boros: but you know, charge twenty five Euro. Dionne Vasquez: I I think we could use somehow the s coffee machine dialogue interface or so. Nancy Blackburn: No we can we can't use that. Dionne Vasquez: You we can? Nancy Blackburn: We Dionne Vasquez: We Nancy Blackburn: can't Dionne Vasquez: can't. Nancy Blackburn: use that to Mamie Townsend: Communicate. Nancy Blackburn: to comman co communicate, it's just Dionne Vasquez: Yeah, Nancy Blackburn: a Dionne Vasquez: but Nancy Blackburn: thing Dionne Vasquez: we can say Mamie Townsend: It's one Dionne Vasquez: channel Mamie Townsend: way. Dionne Vasquez: twenty five. Nancy Blackburn: No. Dionne Vasquez: No? Prudence Boros: But then you have to have a template for every channel, for a hundred channels, you have to be able to to recognize Dionne Vasquez: It's Mamie Townsend: Mm-hmm. Dionne Vasquez: not a lot one Prudence Boros: Mm. Dionne Vasquez: hundred templates, it's Prudence Boros: Well, Dionne Vasquez: not Prudence Boros: I f I think it's probably more than, than our can handle because Nancy Blackburn: Yeah. Prudence Boros: it's designed for a coffee machine, you know, to say hello in the morning. Dionne Vasquez: Ah, it's designed for a cof okay. Is it design for a coffee machine? Prudence Boros: Well that's its current application, I would presume Dionne Vasquez: Okay. Prudence Boros: that it's kind of, they wouldn't design it to handle a hundred things Dionne Vasquez: Yeah. Prudence Boros: th so. Dionne Vasquez: Maybe you could ask your the you could ask the engineering department Mamie Townsend: Mm-hmm. Nancy Blackburn: Yeah. Dionne Vasquez: if Nancy Blackburn: A Dionne Vasquez: we Nancy Blackburn: good Dionne Vasquez: can Nancy Blackburn: good good Prudence Boros: But Nancy Blackburn: thing. You Prudence Boros: uh Nancy Blackburn: want to g to move Mamie Townsend: Yeah, Nancy Blackburn: to your Mamie Townsend: that's right, Nancy Blackburn: slides? Mamie Townsend: yeah. Nancy Blackburn: You're finished? Prudence Boros: Well I just I just made the point, I don't I don't know if that speech recognition is, you know, even if we can do it, I think it's not really appropriate for uh Nancy Blackburn: Yeah I think so. Prudence Boros: television environment. But um I did have one thing from a previous meeting, you were talking about um Dionne Vasquez: Yeah. Prudence Boros: being able to find the remote control and I was talking about extendin being able to extend the remote control by having you know, a base station that can control other things as well. Nancy Blackburn: Mm-hmm. Prudence Boros: It might be useful to have some kind of base station, even if it's just you press on a button on it and uh and the remote control starts beeping, you know, this is a way of finding the remote. Y in that Nancy Blackburn: Mm. Prudence Boros: case maybe the maybe the speech recognition the speech thing could be useful just to say Nancy Blackburn: Exactly yeah. Prudence Boros: I'm here but uh it's probably a bit of overkill if you could just have a Mamie Townsend: So it's a Prudence Boros: a Mamie Townsend: speech Prudence Boros: beeping Mamie Townsend: synthesis kind of thing, something has Prudence Boros: It's Mamie Townsend: been uh stored Prudence Boros: speech Mamie Townsend: and it's just uh spoken out. Prudence Boros: It's it's speech synthesis and s Mamie Townsend: Mm-hmm. Prudence Boros: it's speech kind of, not really speech recognition, but Mamie Townsend: Yeah. Prudence Boros: kind of pattern Mamie Townsend: That's right. Prudence Boros: matching, yeah Nancy Blackburn: Oh, good idea. Prudence Boros: yeah. Nancy Blackburn: Very good. Okay, let's move on. So you're two? Mamie Townsend: That's right. Nancy Blackburn: Okay. Mamie Townsend: So this is going to be about the component design. Nancy Blackburn: Mm-hmm. Mamie Townsend: So first thing is we need power source for the remote control. So I was of the idea that we can have two kind of power supplies, one is the usual batteries which are there, they could be chargeable batteries if there's a basis station kind of thing and on top of that we can have solar cells, when the lighting conditions are good they can be used so it'll be pretty uh innovative kind. Then uh we need plastic with some elasticity so that if your if the remote control falls it's not broken directly into pieces, there should be some flexibility in t Prudence Boros: I guess that fits in with the spongy kind of design philosophy. Nancy Blackburn: Yeah. Mamie Townsend: Yeah. So there should we should think of something like that and then it should be double curve. The s science for the ease of handling and there are some other issues why we need double curve. Then controls for the traditionals u traditional users we can have the push buttons so that they don't feel that it's an alien thing for them. Prudence Boros: So, just one second, when you say double curve, what do you actually mean? You reckon you could like draw us a thing on the, on the whiteboard Mamie Townsend: Double Prudence Boros: 'cause I'm Mamie Townsend: curve Prudence Boros: not sure Mamie Townsend: is, you have curves on both the sides if I'm right. So it's symmetrical kind of thing, whatever it is. Prudence Boros: Okay, but like, Mamie Townsend: So, Prudence Boros: kind of convex Mamie Townsend: it could Prudence Boros: or concave? Mamie Townsend: be curve, so it could be convex, conve concave, depending on Prudence Boros: Mm-hmm. Mamie Townsend: what what we want. Prudence Boros: Okay. Mamie Townsend: So there are flats, there are single curve and there are double curves. Prudence Boros: Okay. Mamie Townsend: These are the three things, and there are different materials, with plastic you can have double curve but with uh certain other materials we cannot have double curve. So there there was uh there were many other materials like wood, titanium and all those things, but plastic is I think is the most appropriate one, Nancy Blackburn: Yeah. Mamie Townsend: it'll bring the cost down and anyway it's Prudence Boros: Although, you know, wood could be uh quite a stylish uh option, if you take like, nice quality kind of wood that's got a nice grain and you Nancy Blackburn: Mm Prudence Boros: kind of put Nancy Blackburn: but Prudence Boros: some, Nancy Blackburn: i Prudence Boros: some Nancy Blackburn: but Prudence Boros: varnish Nancy Blackburn: there is Prudence Boros: on. Nancy Blackburn: no elasticity which Mamie Townsend: Wooden Nancy Blackburn: could Mamie Townsend: cases Nancy Blackburn: be Prudence Boros: Well it depends, I mean, you have the outs the wood itself is not gonna break so you don't have to worry too much about the case being Nancy Blackburn: Yeah Prudence Boros: broken, Nancy Blackburn: but the Prudence Boros: it's Nancy Blackburn: components Prudence Boros: the inside. Nancy Blackburn: inside. Prudence Boros: Yeah but inside you know you could have you can still have some kind of cushioning that's Mamie Townsend: Mm-hmm. Nancy Blackburn: Yeah. Prudence Boros: not visible to the to the user. Nancy Blackburn: Very Mamie Townsend: Mm-hmm. Nancy Blackburn: too expensive to do. Dionne Vasquez: Yeah. Prudence Boros: And I mean you Nancy Blackburn: And Prudence Boros: could Nancy Blackburn: also Prudence Boros: also, Nancy Blackburn: uh Prudence Boros: you can have just a very thin veneer of wood as well. Nancy Blackburn: Yeah but it's more easier to do a banana in plastic than uh in wood. Prudence Boros: That's true, but are we set on the banana idea? Dionne Vasquez: Actually Nancy Blackburn: Well it look like it Dionne Vasquez: I was Nancy Blackburn: looks Dionne Vasquez: thinking Nancy Blackburn: like you Dionne Vasquez: that Nancy Blackburn: are all Dionne Vasquez: the Nancy Blackburn: targeting that yeah? Dionne Vasquez: the shape of a banana is not it's not really handy. Nancy Blackburn: Yes it is. Dionne Vasquez: Uh I don't know the name o o in English uh Mamie Townsend: Is it Dionne Vasquez: This Mamie Townsend: an e Dionne Vasquez: it's Mamie Townsend: apple Dionne Vasquez: not a Mamie Townsend: which Dionne Vasquez: fruit Mamie Townsend: has Dionne Vasquez: it's a vegetable. Prudence Boros: It's like a pumpkin or Nancy Blackburn: Yeah? Pumpkin. Dionne Vasquez: Green. Prudence Boros: Green. Nancy Blackburn: Green. Um um um, yes I see. Prudence Boros: What does it taste Dionne Vasquez: And you Prudence Boros: like? Dionne Vasquez: put in the salad. Nancy Blackburn: Pep pepperoni. Dionne Vasquez: Um Prudence Boros: Ah yeah, is it what's it in French? Nancy Blackburn: Poivron. Dionne Vasquez: Oui c'est ca Prudence Boros: Yeah, okay, so capsicum or pepper. Nancy Blackburn: Uh pepper. Prudence Boros: Yeah. Dionne Vasquez: Pepper. Nancy Blackburn: But um they do Dionne Vasquez: And it's Nancy Blackburn: d Dionne Vasquez: al it also suits with the double curve for Nancy Blackburn: Yeah. Dionne Vasquez: easy of Prudence Boros: I don't know, it seems a little bit kind of bulky to Dionne Vasquez, Dionne Vasquez: No, Prudence Boros: like Dionne Vasquez: I Nancy Blackburn: Yeah. Dionne Vasquez: mean in a Nancy Blackburn: It's not re Prudence Boros: like Nancy Blackburn: it Prudence Boros: with Nancy Blackburn: you Prudence Boros: a banana Nancy Blackburn: you Prudence Boros: you Nancy Blackburn: think Prudence Boros: can Nancy Blackburn: it's Prudence Boros: have Nancy Blackburn: really fancy and fun? You think that young people Dionne Vasquez: I'm sure Nancy Blackburn: that are Dionne Vasquez: it's fun. Nancy Blackburn: Yeah. More than a banana? Dionne Vasquez: But banana is not so handy, Mamie Townsend: Banana Prudence Boros: Well Dionne Vasquez: I think Mamie Townsend: is Dionne Vasquez: that's Mamie Townsend: more Dionne Vasquez: handier. Mamie Townsend: handier as compared to this I think, and to capsicum. Prudence Boros: But like a banana you can you can be holding like this and have the scroll wheel kind of on top and Nancy Blackburn: Yeah. Prudence Boros: just roll it back and forth like Nancy Blackburn: It's Prudence Boros: that, Nancy Blackburn: kind Prudence Boros: but with Nancy Blackburn: it's Prudence Boros: uh Nancy Blackburn: kind of Prudence Boros: I Nancy Blackburn: it's Prudence Boros: don't Nancy Blackburn: more Prudence Boros: know how you would hold Nancy Blackburn: uh Prudence Boros: a capsicum and Nancy Blackburn: it's really ergonomic, it's fit in the hand and you've a lot of surface to to put the controls. Okay let's move Dionne Vasquez: Yeah Nancy Blackburn: on. Dionne Vasquez: you're right. Nancy Blackburn: So time is running, let's move on. Mamie Townsend: Okay, so push buttons for the traditional users so that they don't feel they are alienated, just and a scroll button with push technology for channel selection, volume control and teletext browsing. These are the three scroll buttons which are already available with us in the company and we we can go ahead with that. Nancy Blackburn: Okay. Mamie Townsend: Yeah, we can go to the next slide. Then uh there are different kind of chips, one one is the basic chip and the regular chip and one an adva advanced chip. So we can have regular chip for control. Pricing is a factor for us, that's why we'll go for the regular chip. And uh regular chip supports speaker support, so this functionality could be used for tracing the mobile phone which has been misplaced. Prudence Boros: So is that, when you say speaker support, you mean it just has some output pinned which which which kind Mamie Townsend: It Prudence Boros: of Mamie Townsend: could be a beep kind of thing. Prudence Boros: Okay, but the speaker is actually attached to the to the chip in some way, or is just Mamie Townsend: Yes, Prudence Boros: the the Mamie Townsend: yes, Prudence Boros: signal? Mamie Townsend: that's Prudence Boros: Okay. Mamie Townsend: right, it's it's onto the chip, most most probably, not Prudence Boros: Okay. Mamie Townsend: not hundred per cent sure about Prudence Boros: So Mamie Townsend: that. Prudence Boros: are there any issues where we place this this chip to make sure you can actually hear the the speaker from the outside of the banana? Mamie Townsend: That will be the volume control I think which which a user shou it it should be already pre-defined. It should be whatever will be the case, Prudence Boros: Okay. Mamie Townsend: the chip is always going to be sitting inside. Prudence Boros: Yeah, but the speaker, if the speaker is actually on the chip, Mamie Townsend: Mm-hmm. Prudence Boros: then if it's too far away from the the casing, or if the casing is too thick, then you may not hear the Mamie Townsend: Uh, Prudence Boros: the speaker. Mamie Townsend: so we can have it at one of the boundaries so that things are slightly better. Prudence Boros: Yeah. Mamie Townsend: As or as hearing is concerned, we can have some gap at some place, Prudence Boros: Yeah. Mamie Townsend: so Prudence Boros: So Mamie Townsend: that Prudence Boros: that's something we have to keep in mind with the actual physical design is to keep the Mamie Townsend: That's right. Prudence Boros: the speaker close enough to the outside. Mamie Townsend: Okay. Yeah. So these these were the component selection and these things. We can go to the next slide. And uh these were the findings which I I saw with the web web, that user wants to have control more than one device wants to control more than one device from the same remote control, so our T_V_ remote can have little extra things to support additional devices like V_C_R_ D_V_D_ players which are usually attached with the T_V_, because users are like this and they don't want to have one remote control for everything, so with Prudence Boros: Although, Mamie Townsend: this additional Prudence Boros: if Mamie Townsend: little, we might be having slightly better market for us. Prudence Boros: It depends, if we like, if we are concentrating on like a fruit design, then maybe Mamie Townsend: Mm. Prudence Boros: maybe we wanna sell a collection of fruit, Mamie Townsend: Of fruits. Prudence Boros: you know, like a different fruit for each device. Mamie Townsend: Mm-hmm. Prudence Boros: Cause that, you know, that sometimes people like to collect um Mamie Townsend: Remotes Nancy Blackburn: S objects. Prudence Boros: you know Mamie Townsend: objects, Prudence Boros: things that Mamie Townsend: okay. Prudence Boros: of a similar Nancy Blackburn: Crazy objects. Dionne Vasquez: I think that would Prudence Boros: type. Dionne Vasquez: be funny at the beginning but after one month you will be tired of be surrounded of fruits. Prudence Boros: Well, you're the one who wanted to do fruit in the Dionne Vasquez: No Prudence Boros: first Dionne Vasquez: but Prudence Boros: place. Dionne Vasquez: I think just one fruit to control everything. Prudence Boros: Like a power fruit. Dionne Vasquez: A power fr a power M a Mando, a Supermando fruit. Prudence Boros: Yeah. Nancy Blackburn: Okay. Mamie Townsend: s and we should have it on the remote. Dionne Vasquez: Actually Prudence Boros: Well Nancy Blackburn: Okay, Dionne Vasquez: I Nancy Blackburn: good. Dionne Vasquez: I didn't understand very well this trace speaker lost control. Mamie Townsend: So you're having a basis station. Okay. Your usually your remote sits on that. So you and it's that's why it can have chargeable batteries. Now let's Dionne Vasquez: So Mamie Townsend: say Dionne Vasquez: you you have to buy two things, the banana and the basis Nancy Blackburn: Bu Dionne Vasquez: station. Nancy Blackburn: it's Mamie Townsend: Basis station Nancy Blackburn: it's. Mamie Townsend: is with the thing. Nancy Blackburn: You s you you thing. Mamie Townsend: It's like a telephone handset is there and the basis station for the telephone hand set is there. So now what user gets additionally he doesn't have to buy batteries, they're rechargeable batteries, so over the period of cor time he'll recover the cost. So you're having the basis station and there is a button, if you press that button wherever the remote it'll start beeping so you know where the remote is. Prudence Boros: I Mamie Townsend: Uh Prudence Boros: think that's a pretty handy feature. Nancy Blackburn: Yeah. Dionne Vasquez: Yeah. Prudence Boros: I think it's kind of people would find that worth it even if it wasn't uh a recharging station, even Mamie Townsend: Mm-hmm, Prudence Boros: if they didn't Mamie Townsend: mm-hmm, Prudence Boros: have to buy extra batteries, you know. Mamie Townsend: mm-hmm, mm-hmm. Dionne Vasquez: Yeah but Prudence Boros: So Dionne Vasquez: I'm a bit worried about the budget. Mamie Townsend: Uh this is basis station is nothing more, just it's a wire which is coming from the main cable Nancy Blackburn: Mm-hmm. Mamie Townsend: and uh you're having one socket on which the thing sits. Prudence Boros: Although you do need to include R_F_ kind of Mamie Townsend: That's right. Prudence Boros: circuitry in Mamie Townsend: But Prudence Boros: the remote. Mamie Townsend: all these things are usually in-house so we don't have much problems. So component cost is going to be the least. Anyway, we are not using really advanced technology, L_C_D_ has already been ruled out, A_S_R_ has been ruled out. So it's the basic thing but very trendy and very user-friendly. Prudence Boros: Okay. Mamie Townsend: And Prudence Boros: I'm just wondering actually, 'cause, you know, I this whole fruit thing with the banana, it's um it seemed like it first seems a bit kind of uh niche, like only a few people would really want a banana, but what if it was kind of uh a stylised banana? You know, rather than having it kind of you know yellow and really looking exactly like a banana, you could make it kind of silver. And um, you know to give you kind of the idea of a banana but without it looking you know completely kitsch. For better want of a better word you know? Nancy Blackburn: You Mamie Townsend: Mm-hmm. Nancy Blackburn: think that yellow it's kitsch. Prudence Boros: Well, you know, I don Nancy Blackburn: If Prudence Boros: I don't Dionne Vasquez: Yeah. Prudence Boros: know how Nancy Blackburn: you Prudence Boros: many Nancy Blackburn: make Prudence Boros: peop Nancy Blackburn: something that looks like a banana it should Dionne Vasquez: No, Nancy Blackburn: have Dionne Vasquez: I Nancy Blackburn: the Dionne Vasquez: I Nancy Blackburn: colour of a banana. Mamie Townsend: A yeah, otherwise Prudence Boros: Well Mamie Townsend: it'll be Prudence Boros: they Mamie Townsend: mis Nancy Blackburn: O otherwise Mamie Townsend: means you don't get Dionne Vasquez: Maybe Mamie Townsend: b any feeling Dionne Vasquez: li like Mamie Townsend: then. Dionne Vasquez: that. Mamie Townsend: It's neither a Prudence Boros: Yeah, Mamie Townsend: banana Prudence Boros: like this Mamie Townsend: nor Prudence Boros: colour Mamie Townsend: a Prudence Boros: this colour Maybe, you know, maybe like still in the shape of a banana. Nancy Blackburn: Roughly. Prudence Boros: No, exactly. Exactly. Um, but you know, just maybe maybe not exactly the same texture as a banana and just kind of, you know because the thing is it's gonna be a little bit difficult to make um to give like the texture of a banana anyway and to k to have the exact shape. I think if you're gonna not be able to do it properly you may as well do it in a stylised way that just looks a bit more kind of, you know, twenty first century rather than Nancy Blackburn: Yeah. Prudence Boros: sixties or seventies. Nancy Blackburn: Okay. Mamie Townsend: And Nancy Blackburn: Let's Mamie Townsend: uh Nancy Blackburn: move on. Uh Mamie Townsend: going to Nancy Blackburn: uh Mamie Townsend: the last slide. Nancy Blackburn: yeah. the meeting I'd like to to draw some sketch about the pro future prot prototype. Prudence Boros: Okay. Nancy Blackburn: Go for it. Mamie Townsend: Okay. Nancy Blackburn: Well no, not not you, you can finish Mamie Townsend: Okay. Nancy Blackburn: your slides Mamie Townsend: Okay, Nancy Blackburn: before Mamie Townsend: so. Anyway, users'll be so the findings is users'll be very interested in our locator device to find their misplaced Nancy Blackburn: Mm Mamie Townsend: remotes. Nancy Blackburn: okay. Mamie Townsend: So that was very I thought it's a very good suggestion by everybody. Nancy Blackburn: Okay. Mamie Townsend: That's it. Nancy Blackburn: That's all? Mamie Townsend: Yep. Nancy Blackburn: Okay, so mm so well done for the presentations. So we need to take some de decisions about um about what we're going to do. So I I propose that you go to the whiteboard Prudence Boros: Yeah. Nancy Blackburn: and we're going to report all the ideas we had we had during this these presentations just to draw some sketch about Prudence Boros: Okay. Nancy Blackburn: what will be the prod final product and uh where Superman go banana and uh uh extra Mamie Townsend: Mm-hmm. Nancy Blackburn: func functionalities such as wheels, um the speaker unit um well not in order not to lost the um the device, I do I don't remember you Mamie Townsend: That's Nancy Blackburn: call Mamie Townsend: right. Nancy Blackburn: it? Mamie Townsend: The basis station. Nancy Blackburn: Basis Mamie Townsend: That's Nancy Blackburn: station, yeah. Mamie Townsend: right. Nancy Blackburn: Uh so um so we're going for a stylish banana shape. Prudence Boros: Yeah, so, I guess you wanna hold like the way the end of the banana you wanna kind of hold as ma you maybe wanna kinda hold like a gun rather than 'cause you don't want it to point kind of Nancy Blackburn: Yeah, Prudence Boros: towards the floor. Nancy Blackburn: right. Prudence Boros: So you know, so if you have like Dionne Vasquez: What about what about this shape? More or less. Nancy Blackburn: We Mamie Townsend: There's less space on this to put with the buttons. Nancy Blackburn: I if it Dionne Vasquez: Yeah, Nancy Blackburn: i Dionne Vasquez: but Nancy Blackburn: if it has Dionne Vasquez: how Nancy Blackburn: really Dionne Vasquez: many Nancy Blackburn: the Dionne Vasquez: buttons Nancy Blackburn: model Dionne Vasquez: do Nancy Blackburn: shape Dionne Vasquez: we need? Nancy Blackburn: of a bana you could the the starting is good but it could it should have more the shape of a banana if you want to point really a at the thing. If you don't want to to to do that movement which is which is difficult if you don't have to do it in fact, it's better. Mamie Townsend: Uh Nancy Blackburn: So Mamie Townsend: what about Nancy Blackburn: ti Mamie Townsend: a Nancy Blackburn: time is running, we have to we have to we have to to move forward. So let's skip to uh this uh this this this idea. Yeah. Prudence Boros: Okay, so Nancy Blackburn: So Prudence Boros: So Nancy Blackburn: we have this. We have a a basis um, how do you call it? Mamie Townsend: The base station. Nancy Blackburn: A base station. Mamie Townsend: Right. Nancy Blackburn: We'll have a base station extra uh on the side. Prudence Boros: okay, so I guess we need, you know, something that can fit a banana shaped object. Mamie Townsend: Mm-hmm. Nancy Blackburn: Yeah. Mamie Townsend: Yeah. Nancy Blackburn: Uh, we have a R_F_ for um for beeping Mamie Townsend: That's right, yeah, Nancy Blackburn: for beeping. Mamie Townsend: we need that, yeah. Nancy Blackburn: We need b R_F_ to Prudence Boros: Okay, Nancy Blackburn: beep. Prudence Boros: so it's Nancy Blackburn: So Prudence Boros: uh Nancy Blackburn: we that means we need a button on th on the on the basis. Prudence Boros: Yeah. Mamie Townsend: Basis station. Nancy Blackburn: Basis station, Mamie Townsend: Yeah, Nancy Blackburn: thank you. Mamie Townsend: yeah. Prudence Boros: Alright, so we need uh okay. Nancy Blackburn: Can Prudence Boros: Yeah. Nancy Blackburn: you go quickly please? Okay. So we are going to add uh also um you as you suggested the whee some wheels to control the volumes and channels Prudence Boros: Yeah. Nancy Blackburn: and your tur turbo turbo uh Prudence Boros: Yeah, Nancy Blackburn: button. Mamie Townsend: Turbo Prudence Boros: which Mamie Townsend: button. Prudence Boros: I think it's it's probably best actually on the on the underneath of the Nancy Blackburn: Yeah, on the Prudence Boros: the Nancy Blackburn: th Prudence Boros: device, so you have Nancy Blackburn: yeah, maybe here. And Prudence Boros: Yes. Nancy Blackburn: the and the wheel a a at the level of the thumb for instance. Prudence Boros: Yeah, so you have the thumb kind of here. Nancy Blackburn: And and you have two wheels. Prudence Boros: So yeah, you need one one here and one on on the other side, Nancy Blackburn: Okay right. Prudence Boros: so you got volume an and channel. Nancy Blackburn: Good. Prudence Boros: And, Nancy Blackburn: So Prudence Boros: uh Nancy Blackburn: no L_C_D_. Prudence Boros: No L_C_D_. Nancy Blackburn: Okay great. Um. Very good. Mamie Townsend: Okay. Prudence Boros: Oh we need a we need a power um on off switch as well. Nancy Blackburn: Yeah. Mamie Townsend: Uh for the remote? Prudence Boros: Yeah. Nancy Blackburn: Oh, just Mamie Townsend: Remotes Nancy Blackburn: the switch, Mamie Townsend: don't Nancy Blackburn: no f Mamie Townsend: have power Nancy Blackburn: not for Mamie Townsend: on Nancy Blackburn: the Mamie Townsend: off Nancy Blackburn: T_V_ Mamie Townsend: switch. Nancy Blackburn: for the T_V_. Prudence Boros: Yeah. Nancy Blackburn: Uh Mamie Townsend: Okay. Nancy Blackburn: so Mamie Townsend: S Nancy Blackburn: you Mamie Townsend: no, that'll be controlled by the Dionne Vasquez: What Mamie Townsend: those buttons'll be Dionne Vasquez: a Mamie Townsend: there already, yeah. Prudence Boros: Where? Mamie Townsend: Means on Nancy Blackburn: On the Mamie Townsend: the Nancy Blackburn: side. Mamie Townsend: remote. Because Prudence Boros: Okay. Mamie Townsend: remote is going to have both the interfaces, scroll as well as buttons. They are not going to cost you much, everything is in-house and now you don't want the traditional users to be apprehensive of this. Prudence Boros: Well, I dunno if the traditional user is gonna buy a a banana remote Mamie Townsend: Oh, Prudence Boros: in the Mamie Townsend: yeah. Prudence Boros: first place, you Mamie Townsend: That's Prudence Boros: know. Mamie Townsend: that's another issue which Prudence Boros: Y Mamie Townsend: I Prudence Boros: I mean Mamie Townsend: didn't think of. Prudence Boros: you need to kind of keep it um Mamie Townsend: But you know our targets are very high, means fifty million Euros is the profit which we want Dionne Vasquez: What Mamie Townsend: make. Dionne Vasquez: about Prudence Boros: Yeah, how many of these did we wanna sell? I can't remember, Mamie Townsend: Twenty Prudence Boros: what was Mamie Townsend: five. Twelve point Nancy Blackburn: Twenty Mamie Townsend: five Nancy Blackburn: five. Mamie Townsend: is the profit on one. Prudence Boros: Yeah, but how many units did we need to to sell? Mamie Townsend: Uh forty th four. Dionne Vasquez: Four Mamie Townsend: Point Dionne Vasquez: millions? Mamie Townsend: point four million? Prudence Boros: Four point four million. Mamie Townsend: Point four million. Prudence Boros: That's a lot of fruit. Nancy Blackburn: Yeah. Mamie Townsend: In the market. Dionne Vasquez: What about Nancy Blackburn: So. Dionne Vasquez: a Nancy Blackburn: Well. No. Time is running, we have to close the meeting in a few Prudence Boros: Okay. Nancy Blackburn: minutes. So, okay, the next step, you can come back to your Prudence Boros: Okay. Nancy Blackburn: seat. The next step is to go for to f is to go to uh to building a prototype, based on this, okay? Prudence Boros: Okay. Nancy Blackburn: So next meeting you guys have to prepare the followi things. You have to uh work on the look and feel uh design and you have to work on the user interface, in fact you two you have to work together Mamie Townsend: Mm-hmm. Nancy Blackburn: to model the first uh f first prototype. Uh Marketing Expert uh have to go to product evaluation. Okay? Dionne Vasquez: I wo what about adding the this word spotting, keyword spotting recognition saying volume up volume down? Nancy Blackburn: It's too difficult. Dionne Vasquez: It's too difficult but people like innovation and that's really uh innovative and I don't know if it would cost a lot, just a few five words. Nancy Blackburn: It's not a possi it will not be possible to implement it for the next prototype, so t it's in the next prototype so Prudence Boros: Uh. Nancy Blackburn: let's skip it. Dionne Vasquez: Okay. Mamie Townsend: For the future prototypes. Nancy Blackburn: Yeah, maybe, for the n if if Prudence Boros: That can be Nancy Blackburn: if Prudence Boros: the t Nancy Blackburn: it it works well, we'll go for Prudence Boros: That can Nancy Blackburn: uh Prudence Boros: be Nancy Blackburn: an Prudence Boros: like Nancy Blackburn: orange Prudence Boros: the turbo Nancy Blackburn: one. Prudence Boros: banana plus plus Nancy Blackburn: Yeah Dionne Vasquez: Plus Prudence Boros: commando. Dionne Vasquez: plus, okay. Nancy Blackburn: yeah, honour the fruit. Dionne Vasquez: Maybe objective banana? Nancy Blackburn: Okay. Thanks very much. We'll see n next meeting. Bye. Mamie Townsend: So meeting's Prudence Boros: Okay. Mamie Townsend: over? Prudence Boros: Yep. Mamie Townsend: Okay. Prudence Boros: We have to go design Mamie Townsend: Okay. Prudence Boros: the prototype. Mamie Townsend: Okay. Thank you. Nancy Blackburn: Thank you. Dionne Vasquez: Thank you. Mamie Townsend: The problem is after all this meeting there is

Nancy Blackburn opens the meeting, stating that it is about conceptual design. He restates the last meeting's descision that they will not do speech recognition technology but says they still have to decide whether to use an LCD screen. Then they move on to the three presentations. Dionne Vasquez is first to present, and he talks about making a pleasant-looking device, particularly one that favors current trends. They then begin talking about using a fruit, vegetable, or natural object as the shape of the remote, the logo, or for the buttons. Eventually they decide to make the device the shape of a banana. Next, the user interface specialist presents. He annouces that the technology division of their company has developed an integrated programmeable sample speaker unit, which would allow a person to have a conversation with the remote control. They have the option of using that technology. He shows them his plan what the remote control could look like and the features it might have. He suggests putting two scroll wheels- one for changing the channel and another for the volume. He also included a turbo button for speed, which he thinks every design should have. Since they can only charge twenty-five euro they decide to eliminate the LCD screen idea. After that the interface specialist talks about having a base station for the purpose of finding the remote control when lost. The user could simply press a button on the base station and the remote control would start beeping. Lastly, Mamie Townsend presents, discussing the power source of the remote control. He suggests that they could have one of two kinds of power supplies- the usual batteries or rechargable ones if there is to be a base station and they could place solar cells on top for times when the lighting is good. He talks about using plastic with elasticity so that the remote would not break into pieces if it fell, which relates to their earlier discussion about giving it a spongy design. Plastic is also less costly than other options of wood or titanum. In addition, he talks about giving the control a double curve, curves on both the sides so that it is easy to hold and handle. They do not yet seem set about the idea of making it a banana shape, and one group member feels that the shape is not handy. The industrial desiger tells them they will use a regular chip rather than the advanced one since pricing is a factor. They agree on having base station with the remote. They go on to have discussion, with one member suggesting that they make the banana more stylized so that it looks less like a banana- for example, it could be silver. After that Nancy Blackburn has them discuss/reiterate the decisions made during the meeting: no LCD screen, the remote will have a base station, a RF for beeping, a button on the base station to press, possibly a stylish banana-shape for the control, 2 scroll wheels to control the volume and channels at the thumb level, a turbo button perhaps underneath the device, on/off button for the TV.

amisum

train

Kathleen Grisson: Okay. Good afternoon again. So we should have our final meeting about the detail designed of detail design of the of the remote Um So here is the agenda for today. Uh uh just going to go quickly through the minutes of the last last uh meeting then we have a p presentation of prototype of you two, sounds interesting. And we'll have um presentation of evaluation crit criteria by ou our Marketing Experts. we'll to finance evaluation the of the cost of the thing and um hopefully uh we should fit the target o tw of twelve point five uh uh Euro. Okay. So let's go. Uh if I go quickly through the minutes of the last meeting. So we went through th uh w we took this following decisions. No L_C_D_, no speech recognition technology, okay, we went through a b to a banana look and feel for the remote control. We went through the use of wheels and but buttons. And also the use of a basis station for battery ch charging and uh also to um call the to call the mot mote remote control when it is lost. Okay. Um. Good. So guys let this uh wonderful thing. Caren Brinkley: Okay so we can go to the slides. Kathleen Grisson: Oh yeah. Sorry. Caren Brinkley: Yeah. Kathleen Grisson: Um. Caren Brinkley: Number three. Oh number two sorry. Kathleen Grisson: Which is Caren Brinkley: So final design. Final design. Okay so Michael you can go ahead. Kimberley Streeter: Yeah so uh following our decision to uh make a yellow well to make a banana Kathleen Grisson: Yeah can you show it to the the Kimberley Streeter: remote Kathleen Grisson: camera maybe. Kimberley Streeter: okay so we actually have a Caren Brinkley: You can pull it out first, Kimberley Streeter: We've Caren Brinkley: maybe. Kimberley Streeter: well first first of all we made a an attractive base station uh with a banana leaf uh Kathleen Grisson: Mm-hmm. Kimberley Streeter: look and feel um and uh bana sit the banana sits in there k you know nicely weighted so that it's not gonna tip over and um this is the remote itself, it's kind of it's it's ergonomic, it fits in the hand uh rather well. We've the two uh uh scroll wheels here which you know one on the the left for the uh volume and the one on the right for for the channel and uh underneath we have the uh the turbo button which is in like a nice uh trigger position for you know for pressing quite naturally. Kathleen Grisson: What's the use uh of the t turbo button already? Kimberley Streeter: This is when you when you uh are scrolling the uh through the channels you can tell it to to skip th past channels that you Kathleen Grisson: Ah yeah yeah Kimberley Streeter: quickly Kathleen Grisson: an then you Kimberley Streeter: rather Kathleen Grisson: stop Kimberley Streeter: th Kathleen Grisson: when you stop it stops. Kimberley Streeter: Yeah. Well when you stop scrolling the wheel it stops. But Caren Brinkley: Uh Kimberley Streeter: normally with uh it will just uh s stay on each station briefly so you can see Kathleen Grisson: Uh-huh. Kimberley Streeter: the Caren Brinkley: And Kimberley Streeter: the Caren Brinkley: we Kimberley Streeter: picture. Caren Brinkley: we do have one more functionality. If you take the banana as such and uh you press the turbo button, so it switch ons the switch ons the T_V_. Kimberley Streeter: The T_V_ yeah. Kathleen Grisson: Which one? Kimberley Streeter: The s the Caren Brinkley: The Kimberley Streeter: turbo Caren Brinkley: turbo button. Kimberley Streeter: button. So Kathleen Grisson: Okay. Kimberley Streeter: rather than having uh Caren Brinkley: Additional Kimberley Streeter: an extra Caren Brinkley: button. Kimberley Streeter: button for um for the on off switch you just use the turbo button. Catalina Martinez: What this button for? Kimberley Streeter: This is a teletext button. Catalina Martinez: Okay. Kimberley Streeter: So once you press that then you get teletext and you can use the the channel selector scroll wheel as uh Kathleen Grisson: To navigate Catalina Martinez: But if Kimberley Streeter: To navigate Kathleen Grisson: it through Caren Brinkley: That's right, Kimberley Streeter: yeah. Kathleen Grisson: th through Catalina Martinez: you Caren Brinkley: that's Kathleen Grisson: teletext. Caren Brinkley: right. Catalina Martinez: want to go to page seven hundred? Kimberley Streeter: Yeah. Kathleen Grisson: with Catalina Martinez: How man Kathleen Grisson: the wheel it's easy. Kimberley Streeter: Well then you can you you have like a little uh number selection thing, you press the the the teletext button uh to move between uh the fields and then you can just scroll the number back and forth so you have s you go you scroll to seven and then zero zero and then you can uh Catalina Martinez: I don't understand it. Can you repeat it? Kimberley Streeter: Well you can you can press press the teletext button Catalina Martinez: Yeah. Kimberley Streeter: and then Caren Brinkley: then Kimberley Streeter: you then you Caren Brinkley: then Kimberley Streeter: can Caren Brinkley: both Kimberley Streeter: you can Caren Brinkley: scroll Kimberley Streeter: f Caren Brinkley: buttons they are for teletext browsing. And you can tele Catalina Martinez: Ah okay okay. Caren Brinkley: yeah, once Catalina Martinez: Okay. Caren Brinkley: you Kimberley Streeter: Mm Caren Brinkley: press Catalina Martinez: Okay Caren Brinkley: the teletext Catalina Martinez: okay. Kimberley Streeter: uh Caren Brinkley: button then the scroll buttons Catalina Martinez: Okay. Caren Brinkley: they are more for teletext, they are no more for channel or vol volume. Catalina Martinez: I see. I see. Caren Brinkley: Yeah. Catalina Martinez: Okay. Okay. Kimberley Streeter: And this is the uh the infrared uh port. Caren Brinkley: That's right. Kimberley Streeter: Also the top of the banana. Caren Brinkley: Yeah. Kathleen Grisson: Excellent. Kimberley Streeter: So. And then we have in the uh in the base station we have the the button at the front for uh Kathleen Grisson: Calling. Kimberley Streeter: for calling the uh the banana. Caren Brinkley: Yeah. Kathleen Grisson: Excellent. And the the leaves plays the roles of of antennas? Kimberley Streeter: Actually they do. That's Kathleen Grisson: Oh. Kimberley Streeter: that's yeah that's uh that's Caren Brinkley: Yeah. Kimberley Streeter: form and function in the one in the one Caren Brinkley: So it Kimberley Streeter: uh Caren Brinkley: always Kimberley Streeter: object. Caren Brinkley: means, whatever the rays goes by they they get reflected and then you are having a better coverage. It's like antennas. Kimberley Streeter: Yeah. So. But yeah that's um that's just like that's an attractive um base station. Kathleen Grisson: Great. Kimberley Streeter: So. Okay. Kathleen Grisson: So, what else? Caren Brinkley: And for the power source we are having solar cells and rechargeable batteries and this and uh the basis station is going to have the input from the mm power line for for charging the batteries. Catalina Martinez: Is it really weight? Is it light or Caren Brinkley: It is very light. Kathleen Grisson: Yeah, Catalina Martinez: Okay. Kathleen Grisson: they're Kimberley Streeter: It's Kathleen Grisson: light. Kimberley Streeter: it's uh it's about the weight of a banana. Catalina Martinez: Okay. Kimberley Streeter: You know, to give you the correct look and feel. Caren Brinkley: Yeah. Catalina Martinez: Ok Caren Brinkley: And we have put these different colours so that people don't mistake them mistake it as a banana. Catalina Martinez: Okay. Caren Brinkley: Otherwise it's you know Catalina Martinez: Yeah yeah yeah, I Caren Brinkley: a Catalina Martinez: see. Caren Brinkley: child comes Catalina Martinez: I under Caren Brinkley: and Catalina Martinez: I understand. Caren Brinkley: so Kimberley Streeter: I think a child would try to eat it anyway, so maybe Caren Brinkley: Yeah. Kimberley Streeter: we should consider that. maybe health and safety aspects. Kathleen Grisson: Ah yeah. Caren Brinkley: Mm-hmm. Oh we didn't think of that yet. Kimberley Streeter: Yeah. Caren Brinkley: Yeah. Kathleen Grisson: So for the power source, apparently you still you you want to use both solar cells and Caren Brinkley: Oh Kathleen Grisson: batteries. Caren Brinkley: yeah that's right. Kathleen Grisson: Uh you mean okay. So Kimberley Streeter: I don't really know if the solar cells are actually necessary Kathleen Grisson: Yeah, Kimberley Streeter: any more Kathleen Grisson: where Kimberley Streeter: if you have Kathleen Grisson: are Kimberley Streeter: a Kathleen Grisson: going Kimberley Streeter: recharging Kathleen Grisson: to Kimberley Streeter: base station. Kathleen Grisson: where are Caren Brinkley: Mm-hmm Kathleen Grisson: you are Caren Brinkley: mm-hmm. Kathleen Grisson: you going to place them? Caren Brinkley: It'll It'll be always at top somewhere at there. Kimberley Streeter: If I was gonna place them I'd put them on the on the top here since that's like Kathleen Grisson: You have enough Kimberley Streeter: uh the Kathleen Grisson: surface? Kimberley Streeter: black bit Kathleen Grisson: You Kimberley Streeter: but yeah I don't I really don't think it's necessary to have the solar cells Caren Brinkley: Yeah because Kimberley Streeter: anymore. Caren Brinkley: now we are having rechargeable batteries Kathleen Grisson: Okay. Caren Brinkley: so Kimberley Streeter: Mm. Caren Brinkley: that that Kathleen Grisson: What Caren Brinkley: is. Kathleen Grisson: will be the autonomy? Roughly? Kimberley Streeter: The what sorry? Kathleen Grisson: The autonomy. Autonomy. Kimberley Streeter: What do you mean? Kathleen Grisson: Uh Catalina Martinez: How long Kathleen Grisson: I Catalina Martinez: the Kathleen Grisson: mean how Catalina Martinez: how long Kathleen Grisson: long does i Catalina Martinez: the Kathleen Grisson: how Catalina Martinez: bit Kathleen Grisson: how Catalina Martinez: the Kimberley Streeter: Ah. Catalina Martinez: batteries Kathleen Grisson: how long can Catalina Martinez: long. Kathleen Grisson: it be held off Kimberley Streeter: Ah. Kathleen Grisson: a station? Kimberley Streeter: A long time. Kathleen Grisson: Yeah. Caren Brinkley: Eight Kathleen Grisson: A long Caren Brinkley: to ten eight to ten hours. Kimberley Streeter: No no no, it can it should Caren Brinkley: N Kimberley Streeter: be Caren Brinkley: most Kimberley Streeter: weeks. Caren Brinkley: no most of the time it's not being used. Kathleen Grisson: Yeah, so it's Kimberley Streeter: Yeah Caren Brinkley: So when Kimberley Streeter: but y Caren Brinkley: when Kimberley Streeter: people Caren Brinkley: you are Kimberley Streeter: don't Caren Brinkley: making Kimberley Streeter: like Caren Brinkley: it Kimberley Streeter: to put Caren Brinkley: on Kimberley Streeter: it Kathleen Grisson: It's Kimberley Streeter: back in Kathleen Grisson: used Kimberley Streeter: the base Kathleen Grisson: only Kimberley Streeter: station Kathleen Grisson: when you Kimberley Streeter: all the time people Caren Brinkley: Mm. Kimberley Streeter: leave wanna leave it on the couch so Caren Brinkley: Mm-hmm. No eight or eight or ten hours of working. If Kimberley Streeter: Ah, Caren Brinkley: you are just Kimberley Streeter: okay. Caren Brinkley: leaving like that it'll Kimberley Streeter: Okay. Caren Brinkley: be much longer. Kathleen Grisson: Yeah. F weeks. Caren Brinkley: Yeah. Kimberley Streeter: Yeah. Caren Brinkley: That's right. Kathleen Grisson: Right. Next slide? Caren Brinkley: Yeah. And we are having the speakers regular chip for control. Pricing is was a factor so that's why we have gone for a regular chip only not the advanced chip. And uh that's it. Kathleen Grisson: Okay. Okay. Those really Caren Brinkley: That's right. Kathleen Grisson: sounds very good. Nothing else to add? Kimberley Streeter: It seems to be falling Catalina Martinez: l Kimberley Streeter: over. Kathleen Grisson: Yeah. Catalina Martinez: yeah. I like I like it. Maybe the the thing that convince Catalina Martinez the less is the the multifunctional buttons. Looks a bit Caren Brinkley: You want to have more functional buttons? Catalina Martinez: Looks a bit puzzled uh I dunno how to say that. You the Caren Brinkley: You are Catalina Martinez: the Caren Brinkley: not Catalina Martinez: b Caren Brinkley: convinced. Catalina Martinez: the buttons change h h their function depending if Caren Brinkley: Not Catalina Martinez: y it's Caren Brinkley: not Catalina Martinez: teletext Caren Brinkley: many, we Catalina Martinez: or not Caren Brinkley: we want to keep it simple. So that this button fo is for teletext which is usually also the case, that usually there is a teletext button and once you press that, the channel buttons, they baco become the scrolling buttons. Catalina Martinez: And the volume button will will become Caren Brinkley: It's up to you, means. Now that Kathleen Grisson: Well in fact b both will be could be useful, navigating Caren Brinkley: Means Kathleen Grisson: through Caren Brinkley: let's Kathleen Grisson: teletext. Caren Brinkley: say this this can move the the larger digits and this can move the smaller digits. Kimberley Streeter: Or can move between positions Caren Brinkley: That's Kimberley Streeter: in Caren Brinkley: right. Kimberley Streeter: the in the number. Catalina Martinez: And Kathleen Grisson: Yeah. Catalina Martinez: what about people who want to use digits? Butto real buttons? Kathleen Grisson: Wow. Caren Brinkley: Yeah. So there was there was a constraint that the surface area which we have on this banana on one side because of the shape. So we are targeting a segment which is which is just very trendy kind of thing, they they don't care about the buttons any more. Catalina Martinez: Okay. Caren Brinkley: And anyway Catalina Martinez: Because have you thought about configuration and all this kind of uh stuff? Kimberley Streeter: It's all automatic. Catalina Martinez: It's all automatic. Kimberley Streeter: Yep. Catalina Martinez: Okay. Okay yeah Kathleen Grisson: Very Catalina Martinez: it's fine. Kathleen Grisson: good Catalina Martinez: W Kathleen Grisson: uh yeah Catalina Martinez: we are living in a Kathleen Grisson: you Catalina Martinez: wonderful Kathleen Grisson: th Catalina Martinez: world. Kathleen Grisson: yeah. Kimberley Streeter: Uh. Kathleen Grisson: Bananas everywhere. Okay, so Catalina Martinez: Automatically configure. Kathleen Grisson: So we have to go through now Caren Brinkley: Evalua Kathleen Grisson: evaluations. Caren Brinkley: yeah. Catalina Martinez: Yeah. Kathleen Grisson: So Catalina Martinez: S Kathleen Grisson: your slides are ready? Uh you're four Catalina Martinez: Yeah. Kathleen Grisson: I think. So this is one, which one is this one? Catalina Martinez: Yeah. Okay. I I const I constructed a a list of criteria based on the on the general user requirements. And each criteria is will be evaluated it's uh logical criteria so we must users must say i if it's true or is or if it's false in a in a scale ranging from zero to seven. Caren Brinkley: Why this strange factor of seven? Catalina Martinez: Because i I'm sorry. Sorry. Caren Brinkley: Usually I Catalina Martinez: Ah Caren Brinkley: have Catalina Martinez: yeah. Caren Brinkley: seen Catalina Martinez: It's Caren Brinkley: that Catalina Martinez: from Caren Brinkley: scales Catalina Martinez: sorry, Caren Brinkley: are from Catalina Martinez: it's Caren Brinkley: one Catalina Martinez: from Caren Brinkley: to ten. Catalina Martinez: one to seven. It's from from one to seven sorry. Because it should be an even it Caren Brinkley: Okay. Catalina Martinez: should be an even Kathleen Grisson: Num Caren Brinkley: Okay. Catalina Martinez: uh Kathleen Grisson: number Catalina Martinez: scale, Caren Brinkley: Mm-hmm. Catalina Martinez: and five is too short and nine is too long. Caren Brinkley: Okay. Okay fine, got Catalina Martinez: I'm Caren Brinkley: the idea. Catalina Martinez: a I Kathleen Grisson: So to Catalina Martinez: I'm Kathleen Grisson: have in order to have enough granularity Catalina Martinez: Sorry? Kathleen Grisson: it's in order to have enough granularity Catalina Martinez: Yeah yeah. Kathleen Grisson: in the evaluation. Caren Brinkley: Okay. Catalina Martinez: The variance is mi it's Kathleen Grisson: Okay. Caren Brinkley: Okay, Catalina Martinez: is minimal. Caren Brinkley: okay, great. Catalina Martinez: I'm um answering your question. Caren Brinkley: Okay. Catalina Martinez: Okay. Caren Brinkley: Yeah yeah. Go ahead. Catalina Martinez: And that's the criteria I I found more useful. I think I sh I I could write the criteria in the on the whiteboard? Caren Brinkley: Mm-hmm. Sure. Catalina Martinez: And we all four could range Caren Brinkley: Okay. Yeah Catalina Martinez: could evaluate the Caren Brinkley: yeah. Yeah. Kathleen Grisson: Okay. Caren Brinkley: So you can say fancy, handy. Caren Brinkley: Handy. Catalina Martinez: Okay let's let's evaluate if it's fancy or Caren Brinkley: Yeah, it's fancy, according to Catalina Martinez. Catalina Martinez: Seven but Kathleen Grisson: Yeah, six. Caren Brinkley: Seven. Kathleen Grisson: S seven. Caren Brinkley: Seven by Catalina Martinez. Kathleen Grisson: Six. Catalina Martinez: I would say seven. Caren Brinkley: Okay. Catalina Martinez: It's quite fancy. Caren Brinkley: So you can add seven plus six plus seven plus Kathleen Grisson: No, wait. Kimberley Streeter: Yeah uh five. Kathleen Grisson: What do you say seven? Caren Brinkley: Five. Kathleen Grisson: Five? Kimberley Streeter: Five, maybe maybe maybe six it's it's I guess Kathleen Grisson: Okay, six Kimberley Streeter: it's Kathleen Grisson: point five. Kimberley Streeter: yeah. Kathleen Grisson: Handy? Caren Brinkley: Again I'll give seven. Kathleen Grisson: Seven. Kimberley Streeter: I'd give it a six like Catalina Martinez: Six. Kimberley Streeter: I'd I think it's probably more handy than my current remote, Caren Brinkley: Yep. Kimberley Streeter: 'cause of the scroll wheels but maybe loses the point for not having you know the extra buttons when you reall if you do need them for some reason but you know you can always use your other remote. Kathleen Grisson: So seven, Caren Brinkley: Seven Kathleen Grisson: seven, Caren Brinkley: for Catalina Martinez. Kathleen Grisson: six, Kimberley Streeter: Yeah. Catalina Martinez: Six. Kathleen Grisson: six point five. Functional. Caren Brinkley: I'll give five. Kathleen Grisson: Four. Catalina Martinez: I would say Kimberley Streeter: Well it depends when you say functional, do you mean it does what we want it to do, or d does what it does, you know, Catalina Martinez: Everything Kimberley Streeter: can it make Catalina Martinez: ar Kimberley Streeter: you coffee? You know. Catalina Martinez: Mm everything Kathleen Grisson: Uh for a remote control, does he have all the Kimberley Streeter: Yeah. Yeah. Kathleen Grisson: you Catalina Martinez: It's Kathleen Grisson: could Catalina Martinez: compared Kathleen Grisson: expect. Catalina Martinez: to the all Caren Brinkley: That's right. Catalina Martinez: remote controls. Caren Brinkley: That's Kimberley Streeter: That's before Caren Brinkley: right. The standards. What is available in the market off the shelf. Kimberley Streeter: Yeah. I have to say four. Catalina Martinez: Actually I don't know what are the r the real specification of a of a universal Kimberley Streeter: Well it's not a Catalina Martinez: remote Kimberley Streeter: universal Catalina Martinez: contro Kimberley Streeter: remote. Remember Caren Brinkley: We Catalina Martinez: Ah it's Kimberley Streeter: we're focus Catalina Martinez: not an univer Kimberley Streeter: we're supposed Catalina Martinez: but it's Kimberley Streeter: to focus Catalina Martinez: for all Kimberley Streeter: just Catalina Martinez: kind Kimberley Streeter: on T_V_s. Catalina Martinez: of T_V_s? Kathleen Grisson: Yeah. Kimberley Streeter: Well all T_V_s but only T_ only T_V_s I guess. Kathleen Grisson: So it's universal but for T_V_s. Catalina Martinez: Yeah. Kathleen Grisson: So s uh four? Caren Brinkley: Five. Kathleen Grisson: Five? Kimberley Streeter: Four. Kathleen Grisson: Four. Catalina Martinez: Four. Four. Caren Brinkley: So four point two? Kimberley Streeter: Just four. Kathleen Grisson: Four. Caren Brinkley: four. Catalina Martinez: So Kimberley Streeter: Obviously Catalina Martinez: four? Kimberley Streeter: there are some outliers so Kathleen Grisson: Okay cool? Cool device. Caren Brinkley: There I'll give it seven. Catalina Martinez: It means cool features, like new features actually. Caren Brinkley: That's right. Kimberley Streeter: Which Caren Brinkley: For a T_V_ the most important feature which I felt was the locator which is a cool feature. And then the scroll buttons are again cool features. We don't have L_C_D_ for it but that we decided we don't want to have. Kathleen Grisson: Yeah. Seven. Catalina Martinez: I would say five. Kimberley Streeter: I'll say five. Caren Brinkley: Mm-hmm. Kathleen Grisson: Six. Caren Brinkley: Seven. Kathleen Grisson: Plus six, Kimberley Streeter: Yeah. Kathleen Grisson: I say I said seven. So it's Kimberley Streeter: S Catalina Martinez: You Kathleen Grisson: six. Catalina Martinez: said seven? Kathleen Grisson: Yeah. Kimberley Streeter: yeah. 'Cause it's five five seven seven so Caren Brinkley: Okay. Kimberley Streeter: Uh, okay, definitely easy Caren Brinkley: Definitely Kimberley Streeter: to use. Caren Brinkley: seven. Kimberley Streeter: Seven. Kathleen Grisson: Seven. Seven. And you? Catalina Martinez: Five. Kathleen Grisson: Outl you are not lik outlier. Seven Catalina Martinez: Sorry, Caren Brinkley: Okay. Catalina Martinez: I have Kathleen Grisson: Okay Catalina Martinez: them Kathleen Grisson: okay okay okay. Kimberley Streeter: Alright, now here's the sixty million Dollar question, well, twenty five twenty five Euro question. Kathleen Grisson: Of course I'll buy the banana. Kimberley Streeter: What do you what do you guys reckon? Caren Brinkley: I'll Catalina Martinez: Of Caren Brinkley: say Kathleen Grisson: Well Catalina Martinez: cour Caren Brinkley: five. Catalina Martinez: Of course the most difficult question for the end. Caren Brinkley: I'll Kimberley Streeter: Hmm. Caren Brinkley: say five. Kathleen Grisson: Twenty five Euros. Catalina Martinez: I find it quite cheap actually. I dunno. If i i it depends, Kathleen Grisson: Cheap. Catalina Martinez: if you live in in Switzerland or you live in Kathleen Grisson: Yeah, so the target price is for all Europe, or only for rich countries? It's more targeting U_K_ or Catalina Martinez: I don't know. Wha the initial specifications were for the whole all Europe or Kathleen Grisson: So this is Kimberley Streeter: Uh Kathleen Grisson: selling costs, not production costs. Catalina Martinez: Yeah this Kimberley Streeter: Yeah. Catalina Martinez: is the the Kimberley Streeter: Yeah. Catalina Martinez: initial specifications. Kathleen Grisson: Yeah yeah sure. Um Five. Catalina Martinez: I would say six. It's quite cheap actually. Kimberley Streeter: I'd say two. Caren Brinkley: Why? Kimberley Streeter: I don't want a banana on my living room table, a Kathleen Grisson: Aw, Kimberley Streeter: banana remote. Kathleen Grisson: should Caren Brinkley: No Kathleen Grisson: be nice Caren Brinkley: but it's Kathleen Grisson: in Caren Brinkley: really Kathleen Grisson: your Caren Brinkley: handy actually if you see. Kimberley Streeter: It Caren Brinkley: It's Kimberley Streeter: is handy, Caren Brinkley: it's so handy. Kimberley Streeter: it's Caren Brinkley: And Kimberley Streeter: handy, Caren Brinkley: then Kimberley Streeter: but it it's terrible. Caren Brinkley: Anyb anybody Kathleen Grisson: It's Caren Brinkley: who Kathleen Grisson: kitsch. Caren Brinkley: comes Kimberley Streeter: Yeah. Caren Brinkley: here anybody who comes to your home he'll at least ask once what is this. Kimberley Streeter: Yeah, but it's not a positive thing. Caren Brinkley: It's a very positive thing Kimberley Streeter: Well, Caren Brinkley: if Kimberley Streeter: you Caren Brinkley: you see Kimberley Streeter: know, Caren Brinkley: like that. Kimberley Streeter: it's it's handy, Kathleen Grisson: Well, Kimberley Streeter: it's ergonomic, Kathleen Grisson: don't forget Kimberley Streeter: but Kathleen Grisson: well, Kimberley Streeter: it's a banana. Kathleen Grisson: don't for don't forget who we're targeting also who are f f who are Caren Brinkley: Youngsters. Catalina Martinez: Actually Kathleen Grisson: wh yeah, Catalina Martinez: maybe Kathleen Grisson: youngst youngst Kimberley Streeter: so. Kathleen Grisson: No well yeah I if Catalina Martinez: Yeah Kathleen Grisson: you would be young. Not telling that you are young. Li li like a teenager for instance. Kimberley Streeter: No, it's I. Kathleen Grisson: Okay Kimberley Streeter: I would buy Kathleen Grisson: you're you're crazy teenager and you like fun Caren Brinkley: You want Kathleen Grisson: things. Caren Brinkley: to flaunt. Kathleen Grisson: Yeah. Caren Brinkley: You with your girlfriend or something. Kathleen Grisson: Yeah, you want to show the beautiful banana Kimberley Streeter: S Kathleen Grisson: you have. Caren Brinkley: Or might Kimberley Streeter: s Caren Brinkley: be it does some other kind of thing but Kimberley Streeter: Still I I'd say two. I don't think I at any stage in my life I would want a banana remote control, really. Caren Brinkley: Uh yeah, crazy. Kathleen Grisson: Okay so Kimberley Streeter: I can Kathleen Grisson: you Kimberley Streeter: say, Kathleen Grisson: s you Kimberley Streeter: maybe Kathleen Grisson: give Kimberley Streeter: there is a market Kathleen Grisson: oh Kimberley Streeter: for it, Kathleen Grisson: yeah Kimberley Streeter: I dunno. Kathleen Grisson: yeah I know I know. So you say two. Kimberley Streeter: Yeah. Caren Brinkley: I say five. Kathleen Grisson: F I d I say five. You say? Catalina Martinez: I change the question. Kathleen Grisson: So what's Caren Brinkley: And Kathleen Grisson: the Caren Brinkley: you Kathleen Grisson: new Caren Brinkley: have saved Kathleen Grisson: question? Caren Brinkley: it? Catalina Martinez: So yeah upload the Caren Brinkley: You'll have to reload. Kathleen Grisson: Uh yeah, I think so. Kimberley Streeter: Okay, so, it depends if uh Catalina Martinez: Yeah it's two different situations. If you really need an universal remote control or if you would change your remote control for a n for a new one. Kathleen Grisson: Yeah that's two Kimberley Streeter: If Kathleen Grisson: different Kimberley Streeter: I had Kathleen Grisson: question. Kimberley Streeter: t if I had to spend twenty five Euro, if that was like my limit, maybe I would buy it. Because the other twenty five Euro remote controls are probably gonna look Caren Brinkley: They're not Kathleen Grisson: Ugly. Kimberley Streeter: worse Caren Brinkley: going to be Kimberley Streeter: than Caren Brinkley: as Kimberley Streeter: a banana. Caren Brinkley: And they they might not be a as easy as Kimberley Streeter: And Caren Brinkley: this Kimberley Streeter: it yeah Caren Brinkley: yeah. Kimberley Streeter: this is gonna f you know handy to use. Caren Brinkley: Yeah. Catalina Martinez: So? What Caren Brinkley: S Catalina Martinez: now? Kathleen Grisson: I stick Catalina Martinez: What Kathleen Grisson: to five. Catalina Martinez: range? Caren Brinkley: I go Kimberley Streeter: Although Caren Brinkley: slightly Kimberley Streeter: it still Caren Brinkley: up. Kimberley Streeter: has Caren Brinkley: Six. Kimberley Streeter: it still Catalina Martinez: Six. Kimberley Streeter: has the word of course at the beginning so I dunno. Um. Kathleen Grisson: W we have six, Kimberley Streeter: I'd Kathleen Grisson: five Kimberley Streeter: give it I'd give it a Kathleen Grisson: Three Kimberley Streeter: I give it a four now. Kathleen Grisson: So we are Catalina Martinez: Six? Six? Caren Brinkley: Six, Kathleen Grisson: six, Caren Brinkley: five, Kathleen Grisson: five, Caren Brinkley: four. Kathleen Grisson: four Catalina Martinez: Six, so it's uh five point five, or less. Kathleen Grisson: Yeah. So Caren Brinkley: Okay. Kathleen Grisson: So and last question, will I change my rem change my remote control from Mando banana. Um, zero. No uh we can't. So one. Catalina Martinez: Actually yeah, I we Kathleen Grisson: Well if. Kimberley Streeter: Yeah. Kathleen Grisson: let's say I'll put two. Kimberley Streeter: I'd say three, I mean my remote control is kinda at home is pretty terrible. If it was change my remote control of my D_V_D_ player for a Mando banana then I would be more inclined to Kathleen Grisson: It's for the T_V_. Kimberley Streeter: but uh 'cause it's really bad but uh I'd say a three. Caren Brinkley: I'll still give it five. Catalina Martinez: Five? Caren Brinkley: Yeah. Kathleen Grisson: Two three Catalina Martinez: You Kathleen Grisson: five Catalina Martinez: are romantic, really. I Kathleen Grisson: two Catalina Martinez: would Kathleen Grisson: three Catalina Martinez: say two. Kathleen Grisson: fi and two. Caren Brinkley: So Kathleen Grisson: So Caren Brinkley: it's Kathleen Grisson: it's Caren Brinkley: somewhere Kathleen Grisson: r Caren Brinkley: three point five I Kathleen Grisson: Yeah, Caren Brinkley: think. Kathleen Grisson: three point five. Catalina Martinez: Who is the outlier? Wh wh you said five? Caren Brinkley: No Kathleen Grisson: No Caren Brinkley: I said Kathleen Grisson: no Caren Brinkley: five. Kathleen Grisson: you say five, he is the outlier. Okay just just do a sum. Catalina Martinez: I don't know if it's a Kimberley Streeter: It's not very promising but you know we're Catalina Martinez: No Kimberley Streeter: not young trendsetters. Catalina Martinez: because there are more yeah, we shouldn't sum like that. Kathleen Grisson: Well maybe we should we should uh have Catalina Martinez: Because Kathleen Grisson: a look globally Catalina Martinez: the the Kathleen Grisson: glob Catalina Martinez: last two questions is much more important than the rest actually. Caren Brinkley: Mm-hmm. Catalina Martinez: Otherwise we wouldn't Kimberley Streeter: Is Catalina Martinez: we will Kimberley Streeter: there some Catalina Martinez: not sell. Kimberley Streeter: some formula you're using that says you have to sum them up? Catalina Martinez: Uh no I didn't anything. Kimberley Streeter: Well just leave it at that then. Kathleen Grisson: Yeah. Caren Brinkley: Oops. Catalina Martinez: Yeah, the Kathleen Grisson: So maybe Catalina Martinez: uh Kathleen Grisson: maybe w we can we should stick to general feeling. Catalina Martinez: Yeah. Kathleen Grisson: We can had uh have a out of these numbers, which which is that well we should go for it. Catalina Martinez: Do Kathleen Grisson: Problem Catalina Martinez: you want Catalina Martinez Kathleen Grisson: with Catalina Martinez: to sum Kathleen Grisson: connectors? Catalina Martinez: o I think Kimberley Streeter: No. Catalina Martinez: it's not Kimberley Streeter: I think it it Caren Brinkley: Yeah Kimberley Streeter: kind Caren Brinkley: it's Kimberley Streeter: of Caren Brinkley: it's Kimberley Streeter: you just Caren Brinkley: funny. Kimberley Streeter: lose information if you sum it, Kathleen Grisson: Okay. Kimberley Streeter: so. Kathleen Grisson: So let's move uh let's move on. Caren Brinkley: Yeah, sure. Kathleen Grisson: Okay, now now we have to mm to estimate uh the cost okay. So I prepare an Excel sh uh an Excel sheet. Um well we are going to calculate the production costs. We should we should be below twelve point five. So I already uh put some pu some numbers here, okay. We are going to go through so this is the number the mm number of components we need for this thing. So it appears that there were things that we didn't thought about. Uh and also things that I uh I d I forget to uh to put like solar cells. Caren Brinkley: Mm-hmm. Kimberley Streeter: Well we decided against the solar cells so Kathleen Grisson: Oh Caren Brinkley: Solar cells, Kathleen Grisson: yeah finally Caren Brinkley: yeah yeah Kathleen Grisson: we say Caren Brinkley: yeah Kathleen Grisson: no. Caren Brinkley: yeah yeah, Kathleen Grisson: Okay Caren Brinkley: we said no to Kathleen Grisson: so Caren Brinkley: that. Kathleen Grisson: let's let's go let's go let go through all the lines. So hand dynamo. This something we didn't thought about. But Kimberley Streeter: You mean, charging it by shaking the banana. Kathleen Grisson: Yeah. Caren Brinkley: I think rechargeable batteries will take care of the power thing. Kathleen Grisson: Yeah. Caren Brinkley: Yeah. bring Kathleen Grisson: Okay Caren Brinkley: the cost Kathleen Grisson: so we we stick to battery, one. Caren Brinkley: Yeah. Kathleen Grisson: No kinetic also. I don't I don't see the difference between kinetic and dynamo. Kimberley Streeter: Well maybe dynamo is like you have to actually Kathleen Grisson: Ah you have to ah okay I see so kinetic is Catalina Martinez: S Kathleen Grisson: really uh shaking the banana. Kimberley Streeter: Yeah. Caren Brinkley: Yeah. Kathleen Grisson: Crazy. Okay. So those banana is falling. Let's go ahead. So Caren Brinkley: Okay. Kathleen Grisson: we we st only have one for battery. Uh then for electronics um so I didn't put anything for the. Caren Brinkley: So we have the regular chip on the print, Kathleen Grisson: Yeah. Caren Brinkley: which is one. Kathleen Grisson: Yeah. Caren Brinkley: And that's it. Kathleen Grisson: Okay. No so we hin Caren Brinkley: And we have sample speaker. Kathleen Grisson: Yeah so Caren Brinkley: Yeah. Kathleen Grisson: one. Caren Brinkley: Yeah. the cost of that is very high. Kathleen Grisson: Ooh ye ye ye the cost is increasing. Kimberley Streeter: Well Kathleen Grisson: So we Kimberley Streeter: actually Kathleen Grisson: are Kimberley Streeter: that that no that sample speaker is not we we're not using that, we're just using the Kathleen Grisson: The beep. Kimberley Streeter: the very beep simple beep, that Caren Brinkley: Uh-huh. Kimberley Streeter: s that sample thing is Kathleen Grisson: That's Kimberley Streeter: like Kathleen Grisson: what Kimberley Streeter: the voice recording and Caren Brinkley: Mm-hmm. Kimberley Streeter: everything. Caren Brinkley: Mm-hmm. Kathleen Grisson: Okay so Kimberley Streeter: So Kathleen Grisson: I'll remove it. Kimberley Streeter: Yeah. I Kathleen Grisson: S Kimberley Streeter: say that Yeah. Caren Brinkley: And we have Kathleen Grisson: So Caren Brinkley: sev Kathleen Grisson: don't we need a Oh there is no listing for r radio frequency thing. Caren Brinkley: Yeah. Kathleen Grisson: So Caren Brinkley: So we we'll put some extras, if there is Kathleen Grisson: Yeah Caren Brinkley: something. Kathleen Grisson: maybe. We'll see Kimberley Streeter: Mm. Kathleen Grisson: later. Okay so in for the case um I put single curved. Caren Brinkley: Okay. To reduce the cost, it's okay. Kimberley Streeter: Well, wait a second, Kathleen Grisson: Because we Kimberley Streeter: no, Kathleen Grisson: have two Kimberley Streeter: it's Kathleen Grisson: things. Kimberley Streeter: it's double curved, it's got a c, Caren Brinkley: Oh Kimberley Streeter: it's Caren Brinkley: it's Kimberley Streeter: uh Kathleen Grisson: No. Caren Brinkley: got all the directions so don't worry. Kimberley Streeter: Well d yeah it's monotonic but Caren Brinkley: It's got a direction. Kimberley Streeter: it's got but if you hold it if you hold it that way that's two curved, one on this side, one on that side, but they're opposite Kathleen Grisson: Well. Kimberley Streeter: sides. Catalina Martinez: Actually Kathleen Grisson: What a Catalina Martinez: what's Kathleen Grisson: what Kimberley Streeter: This Catalina Martinez: the differen Kimberley Streeter: is actually Kathleen Grisson: i Kimberley Streeter: I mean Kathleen Grisson: if Kimberley Streeter: this probably Kathleen Grisson: I put one here. Kimberley Streeter: this probably actually costs more than three Kathleen Grisson: Yeah Kimberley Streeter: if Kathleen Grisson: so Kimberley Streeter: you Kathleen Grisson: let's put one here in the then Caren Brinkley: Okay. Kathleen Grisson: instead of Caren Brinkley: Okay. Kathleen Grisson: single oka all right. Kimberley Streeter: Yeah. Kathleen Grisson: So we stick to plastic, it cost Caren Brinkley: Yeah. Kathleen Grisson: nothing. Caren Brinkley: That's right. Kimberley Streeter: Well no didn't we say we wanted to do a rubber Kathleen Grisson: No, it's too no. Kimberley Streeter: if you drop it? Catalina Martinez: Too Kathleen Grisson: It's Catalina Martinez: expensive. Kathleen Grisson: too expensive. Kimberley Streeter: Well when Kathleen Grisson: We're Kimberley Streeter: okay. Kathleen Grisson: already at Kimberley Streeter: Well Kathleen Grisson: eleven. Kimberley Streeter: we we'll come back we'll come back and see if we can fit it in. Kathleen Grisson: Okay so I put rubber one. Okay so special colour, yellow. Kimberley Streeter: Yeah. Kathleen Grisson: Uh for the interface we have Caren Brinkley: We don't have any push buttons. Kimberley Streeter: No, we have two push buttons. Kathleen Grisson: We have three. Caren Brinkley: No that is a scroll wheel itself, Kimberley Streeter: Huh. Caren Brinkley: it'll be put in that. Kathleen Grisson: No no. We have Caren Brinkley: Ah Kathleen Grisson: two scroll, Caren Brinkley: okay, okay. Kathleen Grisson: and Kimberley Streeter: Uh. Kathleen Grisson: we have three push buttons. Caren Brinkley: Okay, okay. Catalina Martinez: Actually Kimberley Streeter: Okay Kathleen Grisson: And Catalina Martinez: whe Kimberley Streeter: it's gonna Catalina Martinez: whe Kimberley Streeter: have to be plastic. Catalina Martinez: when you wrote regular chip you should put two, because there is another chip here. Kathleen Grisson: No it's no chip. This is just radio frequency. Caren Brinkley: Yeah. Kathleen Grisson: Th This Catalina Martinez: Yeah Kathleen Grisson: is Catalina Martinez: but Kathleen Grisson: no chip. Caren Brinkley: No. Catalina Martinez: you Caren Brinkley: There's Catalina Martinez: need Caren Brinkley: no chip there. It just emits the signal. Kathleen Grisson: It's just Caren Brinkley: And the receiver accepts it and Kathleen Grisson: Yeah. Catalina Martinez: Fo Caren Brinkley: that's Catalina Martinez: i Caren Brinkley: it. Catalina Martinez: it does nothing actually? Kathleen Grisson: No. Caren Brinkley: Just Kathleen Grisson: Just Caren Brinkley: se sends the signal, Kathleen Grisson: only. Caren Brinkley: that's it. Kimberley Streeter: It's a recharger thing and uh Kathleen Grisson: Okay w we didn't think a thought about uh integrated scroll wheel push buttons. Kimberley Streeter: Well I actually did um think about it myself but I thought you know because you could potentially you know you could be pushing it down as you scroll it for a instead of a turbo Kathleen Grisson: Yeah, Kimberley Streeter: button but you know the turbo Kathleen Grisson: so Kimberley Streeter: button does add that extra class. Kathleen Grisson: Yeah. Kimberley Streeter: You know. So I mean if we're if we're over budget then maybe we could we could rethink that. Kathleen Grisson: Okay. So no L_C_D_, so for we have no button supplements, Caren Brinkley: Yep. Kathleen Grisson: right? Caren Brinkley: No. Kathleen Grisson: Uh well in fact could we could not we consider this button as a button supplement because oh no, these are these are for colours, co and special forms, special Kimberley Streeter: Yeah. Kathleen Grisson: colours and special materials. Kimberley Streeter: No we're not we Kathleen Grisson: So Kimberley Streeter: don't need anything special for Kathleen Grisson: Okay Kimberley Streeter: the buttons. Kathleen Grisson: so we are over budget. Caren Brinkley: Yeah. So first thing which we should take care of is, Kimberley Streeter: Make it Caren Brinkley: instead Kimberley Streeter: plastic Caren Brinkley: of Kimberley Streeter: instead Caren Brinkley: rubber, Kimberley Streeter: of rubber. Caren Brinkley: let Kathleen Grisson: Yeah. Caren Brinkley: it be plastic. Kimberley Streeter: And then we're basically o on budget except for you know ten cents. Caren Brinkley: And uh that much money will be required for the base station, which is not there. Kathleen Grisson: Yeah. Kimberley Streeter: Yeah. Kathleen Grisson: So mayb in fact n we have to put two here because it cost nothing. Kimberley Streeter: Yeah well Caren Brinkley: Yeah. Kimberley Streeter: pl the base station is made Caren Brinkley: That's Kimberley Streeter: out Caren Brinkley: right. Kimberley Streeter: of m many Caren Brinkley: So Kimberley Streeter: units of plastic. Caren Brinkley: might be ninety centimes for the the remaining things which the cord and everything Kathleen Grisson: Exactly Caren Brinkley: which'll go Kathleen Grisson: exactly so we have margin for that stuff. Caren Brinkley: That's right. Kimberley Streeter: Does that include charging circuitry and everything? Kathleen Grisson: Yeah maybe. Okay good. Caren Brinkley: Yeah. Kathleen Grisson: Wha Excellent. Kimberley Streeter: So what do we do with the extra profits? Kathleen Grisson: Um we'll invest in R_ and D_. Kimberley Streeter: Okay. The next fruit. Kathleen Grisson: Yeah. So well we're under the the the cost. So we can go to through to project evaluation. Catalina Martinez: Okay so now we have a product which nobody would would buy. Would yeah, would buy. Kathleen Grisson: Sorry? Kimberley Streeter: No we have Catalina Martinez: Yeah Kimberley Streeter: a product Catalina Martinez: because Kimberley Streeter: which none of us would Catalina Martinez: th Kimberley Streeter: buy. Catalina Martinez: th the evaluation Kathleen Grisson: Which is Catalina Martinez: project Kathleen Grisson: different. Which is different. None of us will buy it. Kimberley Streeter: No it's people in in in Milan and uh in Paris Catalina Martinez: Ah would buy, Kimberley Streeter: that Catalina Martinez: yeah. Kimberley Streeter: are gonna buy it. Catalina Martinez: Massively, Kimberley Streeter: We're n Catalina Martinez: yeah. Kimberley Streeter: yeah. We're not in Milan or Paris. Catalina Martinez: Yeah. Okay. Uh you have been in Milan a couple of times, so. Kimberley Streeter: Actually Kathleen Grisson: This Kimberley Streeter: there Kathleen Grisson: is Kimberley Streeter: were a lot Kathleen Grisson: a Kimberley Streeter: of Kathleen Grisson: battery. Catalina Martinez: And you said the lowest. Kathleen Grisson: This is Caren Brinkley: S Kathleen Grisson: what we which you can mm Caren Brinkley: Detachable battery. Kimberley Streeter: That's 'cause I'm Kathleen Grisson: It Kimberley Streeter: sick Kathleen Grisson: did Kimberley Streeter: of Kathleen Grisson: yeah. Catalina Martinez: Yeah, for Kimberley Streeter: Milan. Catalina Martinez: the batteries Kathleen Grisson: Extra battery, yeah. Exac Kimberley Streeter: Okay so um project process. Kathleen Grisson: Well in fact I I did not know I didn't know really what to say here. If uh if you have any ideas of what we can we can say. So I don't I don't I don't understand what what they mean by satisfaction um and for and for example. Should it be more like um like a status of of the these meetings in fact. Kimberley Streeter: Yeah. Kathleen Grisson: Yeah well in fact uh we we use a little bit the white board and the digital pen, not that much. Kimberley Streeter: I dunno I think we had a fair bit of creativity. Kathleen Grisson: Oh yeah it's really creative. Kimberley Streeter: And uh but I think one thing we m missed out of this whole process was a um like a focus group with the actual people we're targeting. We needed some of these kind of young trendsetters Kathleen Grisson: Yeah. Kimberley Streeter: to come in and play with the banana and you know see if they Caren Brinkley: They like that. Kimberley Streeter: see if they like it. Caren Brinkley: Mm-hmm. Kathleen Grisson: Yeah maybe we should go through, yeah an uh evaluation. Kimberley Streeter: Because yeah the evaluation for us is is kind of Caren Brinkley: Biased. Kimberley Streeter: pointless. Kathleen Grisson: So maybe you should we should do a kinda evaluation in the streets like asking to young peoples well, do you like Kimberley Streeter: Yeah. Kathleen Grisson: to have a banana as a remote control. Kimberley Streeter: Because Caren Brinkley: Mm-hmm. Kimberley Streeter: it it would also be interesting to uh you to know find out if we have a market in really young children as well, to see you know how to how to market this thing. Caren Brinkley: Mm-hmm. Kathleen Grisson: Yeah. Kimberley Streeter: 'Cause you know if well I mean maybe you don't wanna give all your kids their own remote because they'll be changing the channel all the time but you know maybe in some households where there is you know a T_V_ for each kid, then you know, banana remote control could be fun for them as well. Might Kathleen Grisson: Mm-hmm. Kimberley Streeter: have to draw a face on it. So but I think that's something we need to to work on next time is really finding out more about the target market. Kathleen Grisson: Yep. Any any new ideas we could uh we could investigate next time? Dunno, oranges? Caren Brinkley: Yeah. The cost of the thing can be made more than might be. Because I think it's just the optimal, what we have done for the cost which we are looking forward to. Kimberley Streeter: Yeah. I think there are ways we could maybe simplify the Caren Brinkley: Interface. Kimberley Streeter: Well Catalina Martinez: Mm-hmm. Kimberley Streeter: just the the the circuit board that we're using inside, I'm Caren Brinkley: Mm-hmm. Kimberley Streeter: not sure really how complicated our um our needs are. I mean all we have is two push buttons and two scrollers, do we really need an integrated circuit to Kathleen Grisson: Hmm. Kimberley Streeter: you Caren Brinkley: Mm-hmm. Kimberley Streeter: know to process Caren Brinkley: Mm-hmm. Kimberley Streeter: that. Caren Brinkley: Mm-hmm. Catalina Martinez: So more general remote control instead of just focusing on uh on T_V_. Caren Brinkley: That's Catalina Martinez: The complexity Caren Brinkley: right. Catalina Martinez: shouldn't be much higher. Caren Brinkley: Yeah. Catalina Martinez: For you said if it good for D_V_D_ then I Kimberley Streeter: And Catalina Martinez: would Kimberley Streeter: also fo you know for mood lighting and and stuff, that would be rather cool. I think that's actually something that should be in version two, is the ability to you know to control Caren Brinkley: Integrate. Kimberley Streeter: things other than the T_V_ and not just electronic equipment but you Caren Brinkley: Mm-hmm. Kimberley Streeter: know the whole environment of the room. Kathleen Grisson: Okay. Very good. Caren Brinkley: So Kathleen Grisson: So Caren Brinkley: What else? Kathleen Grisson: Well done. I Caren Brinkley: Okay. Kathleen Grisson: think we we can go Caren Brinkley: Home? Kathleen Grisson: home. Caren Brinkley: Happily satisfied. Kathleen Grisson: Yeah. Maybe maybe we can hassle the the production department to to make a a real prototype that we can use at home to to evaluate. Caren Brinkley: Mm-hmm. Kimberley Streeter: Yep. Kathleen Grisson: Okay so thanks very much. Caren Brinkley: Thank Kimberley Streeter: Okay. Caren Brinkley: you. Kathleen Grisson: Bye. Kimberley Streeter: Thank you. Catalina Martinez: Bye.

Kathleen Grisson goes through the minutes of the last meeting. They have the prototype presentation and talk about the final design, features, and power source, type of chip and weight of the remote. They go through the evaulations, using the a list of criteria made by Catalina Martinez. They rate each criteria on a scale of 0 (true) to 7 (false): how fancy it is, how handy it is, how functional, how cool it is, whether they would spend twenty five euro for it, and whether they would change their current remote for this one. Next they do a cost estimate for production. In doing this, they decide against solar cells and go with the rechargable batteries. They keep the regular chip, stick with plastic, put two scroll wheels and three push buttons, and make it a special shade of yellow. They eliminate the turbo button and give the remote a single curve because of budget restrictions. They briefly evaulate the project process and close the meeting.

amisum

train

Janet Felmet: So um nice to see you again. Uh. So, uh. Tod uh for this meeting I will take the notes and do the minutes. Uh so we will see our three presentations. Um we will start with the uh Manager Expert wi who will talk about uh user re requirements, whats user needs and what it desire for this devi device. Sarah Delagarza: Okay, can I have the laptop over Janet Felmet: Yep. Sarah Delagarza: here, Janet Felmet: Oh, I don't think so. I think you Sarah Delagarza: Okay. Janet Felmet: have Sarah Delagarza: Have to get Janet Felmet: to Sarah Delagarza: up. Janet Felmet: come here. I dunno. I think it should stay. Sarah Delagarza: Excuse Sarah Delagarza. Lisa Baker: Yeah, that's it. Sarah Delagarza: Okay. Janet Felmet: Should stay in the square here. Sarah Delagarza: Okay. Janet Felmet: Oh, maybe. Sarah Delagarza: Okay, so basically I'm gonna present Janet Felmet: Oh, Sarah Delagarza: some Janet Felmet: you Sarah Delagarza: findings Janet Felmet: can put it here. Sarah Delagarza: of a study we conducted Janet Felmet: Oh that's okay, it's jus Sarah Delagarza: uh into uh what users want in this remote control. Um so first of all we what we did is we um conducted a an experiment with a hundred test subjects. Um we put them in a in our um usability laboratory and got them to, you know, um play with remote controls and also to complete, after they'd done that, to complete a questionnaire uh to tell us what they like and what they don't like in remote controls. So basically um the major things we found out was that um basically users don't like the look and feel of of most remote controls that are currently on the market. Um they, you know, seventy five percent of the people we we uh did the experiments on, found that rem remote the remote controls that they'd used in the past were ugly. Completely ugly. Um they they didn't match the operating behaviour of the user, that is, you know, the the way users use remote controls when they're watching T_V_. Um, that the layout of the remote controls didn't match they way that they used it. Um and thirdly they say that w half of the users that we um tested said that they only used ten percent of the buttons that uh are on remote controls. Um so we collect we also some collected some usage statistics uh based on how these test subjects were using their remote control. And from this we basically came up with the figure that the channel buttons, the channel selection buttons are the most by far the most used buttons on the remote control. Um and you can see they're used a hundred and sixty eight times per hour on average, um, while the user's watching T_V_. Um the closest button that was used, well the cl the button that was used that was closest to the channel button was the teletext button, um which was used fourteen times per hour, followed by the volume button, which was four times per hour, um, all the other, all the other um buttons, such as ch um audio and picture selection um configuration buttons and things were used, you know, l approx well less than or equal to one times per hour. Um we also asked users um which buttons had the most importance to them, you know, which which buttons they felt were the most important buttons on on the remote control. And basically they came they said the channel, volume, and power buttons had the highest relevance to users, um note that only power was very infrequently used, it only had a b a a fr usage frequency of about one times per hour, but users ranked it as having a very very high relevance. Um and the audio and picture settings had a very that well the users thought that um w the audio and picture settings were very uh weren't very important to them um, and they used them very infrequently a as well. So we asked users what what um frustrates them the most about um current remote controls. And fifty percent of the users said that uh what frustrates them is losing the remote control um somewhere in the room and not being able to find it. Um they also said that it um it takes a lot of time to learn a new remote control, especially when there's many buttons and it's a, you know, a c a a unintuitive interface. Um and then thirdly, they some users commented on the fact that the the you know the way that you have to hold and press buttons on a remote control ar are bad and um cause u repetitive strain injury. We also asked some users about some specific features that they'd like to see in the on the remote control. In particular, do they want an L_C_D_ d display, and secondly, do they think speech recognition uh is a useful feature to have on a remote control. Um basically our findings are that um amongst a younger age groups uh the answer is umv overwhelmingly yes. They want these features, they want these high technology features. Um for instance, ninety one percent of pe of people aged between fifteen and twenty five said yes, they want these features. Whereas um the the trend was as users as users um became older and older uh they were less likely to want these sort of features in a um in a remote control. So I guess it depends on where we're focusing our our market. Um and as our company motto is putting fashion in electronics, um I think we're focusing on the younger younger um target demographic, and so maybe we should think about adding these sort of high technology features into our remote control. Janet Felmet: Hmm. Sarah Delagarza: That's my dic that's my presentation. Thank you. Janet Felmet: Thank you. Tonya Mcgloster: Okay. Janet Felmet: So, um maybe now we can talk about a user interface and uh about the technical function of this device. So uh Pet Peter, can you talk say something Lisa Baker: Well Janet Felmet: about that? Lisa Baker: okay, yeah. Yeah, but the user user Janet Felmet: No. Tonya Mcgloster: B Lisa Baker: interface Tonya Mcgloster: you think uh Lisa Baker: is responsible. Tonya Mcgloster: I I'm User Interface Janet Felmet: Ah. Lisa Baker: Okay, so. Janet Felmet: Sorry, I'm Sorry. Tonya Mcgloster: Okay. Janet Felmet: Sorry. Tonya Mcgloster: Okay. If I could go there with this cable. Lisa Baker: You're scaring Sarah Delagarza with L_C_D_ man. And speech recognition in remote unit, it will be very e expensive. Sarah Delagarza: Yeah, it's true, but, you know, they're features that users want, so it's Lisa Baker: Yeah. Sarah Delagarza: And our production cost of twelve fifty Euros per per unit is fairly high I think, so Lisa Baker: Yeah. Sarah Delagarza: I think we can afford to to add these sort of features into our remote. Lisa Baker: At least we have couple of months t to work on it so so it will be cheaper Tonya Mcgloster: Sh okay. Lisa Baker: finally. Sarah Delagarza: It is true. Tonya Mcgloster: Where's delete button? Okay. Oh I'm sorry. Tonya Mcgloster: Okay. Sarah Delagarza: That's the wrong one, I think. Janet Felmet: Yeah, it's still Bob Morris. Tonya Mcgloster: Oh. Presentation three? Lisa Baker: Because you cancelled Janet Felmet: Yeah you should have Lisa Baker: it. Janet Felmet: put yes. Lisa Baker: Yeah. Tonya Mcgloster: Oh. Janet Felmet: Click on yes. yeah. Lisa Baker: Yep. Tonya Mcgloster: Okay, so here is my presentation about technical function design. I will talk about different components and s of system and how they react together. Okay, uh, first is a remote control it's a device, as, for uh, different commands uh with this device. And the main idea we don't use any cable and we can rec react simpler with the device. Uh i it has different blocks, different blocks. Uh first is remote control have sh ha should have some electric circuits uh making interface with uh keyboard and uh r reading uh keyboard and reading the keyboard uh commands. And then inter then make uh these keyboard commands, uh in interpret these int uh keyboard commands. And then there should be uh an electronic circuit making uh electronic signals according to these commands and uh finally there is a transmitter which is a cord or a a diode making uh making uh waves to transmit through the air and uh uh this air this uh wave uh will be received by the by the other device like a television or whatever, to uh r to realise the command. Okay, uh about what I found about uh different uh these different blocks are uh, usually there are two different methods uh to for designing a remote control. They are based on infra-red uh waves or uh uh Lisa Baker: You still Tonya Mcgloster: radio Lisa Baker: want Tonya Mcgloster: waves. Lisa Baker: Sarah Delagarza the presentation. Tonya Mcgloster: There are two different uh uh solutions I mean. This is uh this can be uh uh the the differences the th between different kind of waves, infra-red or radio waves. And uh also as uh I understood, and uh I think it was a part of uh Bob, uh uh presentation, people prefer to have uh to have uh the remote control with less button. So for the electronic part, working and interfacing, with button, we should we should try to t try to design a remote control having uh some some simpler buttons or some rolling buttons to just to just to search between different options, and showing o something on T_V_ and putting less lesser stuff on the uh on the remote control. And uh personal preferences, uh uh uh uh certainly a remote control with uh working with radio waves is uh preferred because uh you can pr you can take it in any direction and you don't need to tune it any way. And uh uh again, using bigger buttons and less number of buttons are also preferred, as I see. Okay. That was my presentation. Sarah Delagarza: Okay. Sarah Delagarza: I have a question. Tonya Mcgloster: Uh-huh. Sarah Delagarza: Do you think radio waves um will interfere with other appliances in the home? Tonya Mcgloster: Uh, I don't think so, because uh we can make uh we ca we can make this wave in a specific frequency. So they can be in a range which is not inter interfering with the with other devices inside the home. Sarah Delagarza: Okay. Janet Felmet: So Lisa Baker: Yeah it should be Janet Felmet: can Lisa Baker: okay. Janet Felmet: we use any any frequency? We have the right to use any frequency? Tonya Mcgloster: Uh no but as I know, there is a range for uh for this uh f for for uh for this stuff, for designing this circuit. We can we can we can tune our uh transmitter to work in this range, and for this range we don't need to ask any permission. Janet Felmet: Okay. And what happen with uh radio waves when two neighbours have the same have our remote control, for example? And so do they have the same frequency, or? Tonya Mcgloster: Uh for this I'm not uh I I don't know the solution, but one solution can be something like putting uh p password or something inside the wave, so the only your Janet Felmet: Okay. Tonya Mcgloster: T_V_ can Janet Felmet: A Tonya Mcgloster: understand Janet Felmet: kind of identification, Tonya Mcgloster: it Yeah, identification Lisa Baker: Yeah f Tonya Mcgloster: code Janet Felmet: okay. Tonya Mcgloster: inside the Lisa Baker: uh Janet Felmet: So Lisa Baker: I know about this, since it's my it's exactly my field, so. It's uh kind of handshaking, uh, when starting to uh when you start to communicate with the your T_V_ Janet Felmet: Yeah. Lisa Baker: then then it's like an handshaking Janet Felmet: So Lisa Baker: protocol with your your remote. So so if two two devices are trying to go to communicate with the T_V_ set then the the the one which has the more energy in the wave is chosen. Well it can be a problem sometimes, but most of the time it works okay. Janet Felmet: Okay. Tonya Mcgloster: The password may simply uh or uh i identification code may simply solve this problem. A specific uh remote control has Lisa Baker: Yeah Tonya Mcgloster: a Lisa Baker: but Tonya Mcgloster: specific Lisa Baker: we we don't have to think Tonya Mcgloster: f Lisa Baker: uh about this because I think as a function designer that we will use the already made uh circuits which we probably bu buy. It's worth to buy. Janet Felmet: Hmm. Lisa Baker: And they have these problems solved so. Sarah Delagarza: Okay. Lisa Baker: So Tonya Mcgloster: Mm. Lisa Baker: we don't have to think about these. Tonya Mcgloster: Mm-hmm. Janet Felmet: Okay. Sarah Delagarza: Okay. Janet Felmet: So, maybe you can talk about the function, and Lisa Baker: Yes. I have only a couple of things because I had I struggled a bit with the software that I'm supposed to use in this uh uh in this company. I was used to use Linux before, so. But I tried to tried to break through this too, I guess. Mm. Janet Felmet: Open. Lisa Baker: Ah. Okay. How to make it big? Janet Felmet: Slide Tonya Mcgloster: Five. Janet Felmet: show. Lisa Baker: Slide show. Okay, thanks. Janet Felmet: It should work, so you can. Lisa Baker: Okay. Oh so I will speak about working design. That's the first slide. Uh what uh I have to do? A look at what the other company Okay so uh presently I am looking what is possible to use, what circuits to use and stuff like that because uh I didn't work uh with these uh circuits so far so I have to look what what is a v a v available on the market for for the communication for the I_R_ circuits and so on, so I'm currently looking what is available on the web. And uh I wanted to ask you m maybe afterwards, after after our discussion, if we have some contacts in some companies, so, which can report on what is going on there, so, I would be Janet Felmet: Mm. Lisa Baker: glad if you can Janet Felmet: Yeah. Lisa Baker: tell Sarah Delagarza about them. So, you know. Uh, okay findings, that's the point that I'm working on currently but uh so far I I was uh looking what what are the blue circuit, I mean radio wave radio frequency circuits Sarah Delagarza: Mm-hmm. Lisa Baker: are available now, but the prices I read are high. So, I know that uh the user interface people and these speak about radio frequency waves because you can you can uh Tonya Mcgloster: Mm-hmm. Lisa Baker: you can make the T_V_ do what you want even Janet Felmet: Hmm. Lisa Baker: if you are in the bathroom or so on, but you know, when you are not close to the T_V_ you probably won't need to to change the program and so on and so I am I am voting for s to stick to the um infra-red control instead of R_W_ but we will discuss it later maybe. Uh. Components to use, I'm not exactly sure what I will use for the design of the circuit. It depends uh on whether we will use the L_C_D_ and mainly the speech recognition, because the speech rec Yeah? Sarah Delagarza: Are we um are we planning to take an off the shelf an O_E_M_ component for the radio wave circuit, or are we planning to construct our own circuit Lisa Baker: No no Sarah Delagarza: board? Lisa Baker: no no no. This we this we buy I think, because it's rather cheap nowadays and it's Sarah Delagarza: Okay Lisa Baker: not worth Sarah Delagarza: s Lisa Baker: to construct ourselves. Sarah Delagarza: So we just buy a circuit board and Lisa Baker: Exactly. Sarah Delagarza: Okay. Lisa Baker: But I'm not sure about the circuit which is responsible for speech recognition. This I prefer that we should make ourselves. Sarah Delagarza: Okay. Lisa Baker: But it depends whether we take a decision to use it. Same thing. It's fairly expensive to use these circuits. So, speech recognition well, L_C_D_ it's okay because it's common nowadays to use L_C_D_, so I agree on using any kind of L_C_D_, less buttons good for Sarah Delagarza as a as a designer of the circuit. Janet Felmet: Yeah. Lisa Baker: But the speech recognition we have to compare whether Tonya Mcgloster: Mm. Lisa Baker: the price and the Janet Felmet: Yeah. Lisa Baker: what does it offer, you know. Janet Felmet: So what do you think would Lisa Baker: Yeah, I'm Janet Felmet: be the price, it would be out of range? Or it would be maybe Lisa Baker: Oh. Janet Felmet: feasible? Lisa Baker: I was not thinking too much about the price. But if we use the L_C_D_ uh even the radio frequency communication with the T_V_ set and the backlight and uh related things like the photo diodes and stuff, it should be okay. If we decide to use the speech recognition, then we probably could struggle but we'll see afterwards. Janet Felmet: Okay. Lisa Baker: It depends of you if if the M_E_ or U_I_D_, I'm Janet Felmet: Mm. Lisa Baker: sorry about the names, I don't really know, uh want to have it like in metal or in plastic, these things, it it depends on you not Because the the the electronic device's price is not not so big in comparison to to the overall shape and stuff like that, so. Sarah Delagarza: Okay. Lisa Baker: We will discuss it afterwards. Oh, this is nothing. This is just my notes on what to use. preferably to use R_W_ circuit, but from the point of view uh of the design and price, I would stick to I_R_s. That's my opinion. Uh I mean if infra-red uh circuit not not the radio frequency. Janet Felmet: Why? Because it's simpler? Lisa Baker: Because because the the range where you can Janet Felmet: Yeah. Lisa Baker: use it is fair. Janet Felmet: Mm. Lisa Baker: It's okay I think. And the price is fairly cheap Janet Felmet: Okay. Lisa Baker: for this. Janet Felmet: It's Lisa Baker: Well, Janet Felmet: a a Lisa Baker: depends. Janet Felmet: price matter. Yeah. Lisa Baker: Jus just the price. Janet Felmet: Mm. Lisa Baker: Otherwise I don't care what I put there because it's the chip which I buy or which Janet Felmet: Okay. Lisa Baker: we buy. So I I I think Sarah Delagarza: What Lisa Baker: it's Sarah Delagarza: how much Lisa Baker: o Sarah Delagarza: more expensive? Lisa Baker: y Sarah Delagarza: Are we talking three Lisa Baker: o. Sarah Delagarza: times more expensive? Or Lisa Baker: Well, Sarah Delagarza: ten Lisa Baker: three Sarah Delagarza: times Lisa Baker: to Sarah Delagarza: more Lisa Baker: three Sarah Delagarza: expensive? Or Lisa Baker: to five. Sarah Delagarza: Okay. Lisa Baker: N not ten times, but it Sarah Delagarza: Yeah Lisa Baker: depends what Sarah Delagarza: yeah. Lisa Baker: what we Sarah Delagarza: That's still a lot. I think it's it's probably not Janet Felmet: Hmm. Sarah Delagarza: worth spending the extra money, because Janet Felmet: Yeah. Sarah Delagarza: I mean all the other remote controls on the market have infra-red, so people don't expect anything other than infra-red. Janet Felmet: Yeah. Sarah Delagarza: So it's Lisa Baker: Yeah. Sarah Delagarza: not worth spending Janet Felmet: Well Sarah Delagarza: the extra Lisa Baker: Th Sarah Delagarza: money. Lisa Baker: they are used Janet Felmet: I, Lisa Baker: to use Janet Felmet: oh Lisa Baker: it when they can see the T_V_ so, Sarah Delagarza: Yeah. Lisa Baker: I Janet Felmet: On Lisa Baker: don't Janet Felmet: the other Lisa Baker: know. Janet Felmet: side, we want to have something new. You know, Sarah Delagarza: Yeah. Janet Felmet: where we want to to have something new and So we I think we should still thinking about it. But Sarah Delagarza: But I think, Janet Felmet: maybe. Sarah Delagarza: based on my usability studies I th I feel that users are prioritise the look and the feel and Janet Felmet: Okay. Sarah Delagarza: the trendiness above, you know, the difference between infra-red or radio waves. So I think we're better off spending money Lisa Baker: You the user interface, Sarah Delagarza: in the usability Lisa Baker: and Janet Felmet: Okay. Lisa Baker: management Tonya Mcgloster: Mm. Sarah Delagarza: phase. Janet Felmet: Yeah. Lisa Baker: man, uh Sarah Delagarza: Okay. Lisa Baker: Uh okay, that's it for Sarah Delagarza. Janet Felmet: Okay, thank you Peter. Lisa Baker: 'Kay. Janet Felmet: So um I have to inform you I receive an email from the management bon board today and they have new requirements for the for the remote control. Sarah Delagarza: Mm. Janet Felmet: Um first um, they say that's uh about something about t teletext. Uh apparently it becomes from according to them it becomes out of date. Out-dated. And uh Because of the internet popularity and everybody has internet at home, and actually it's not useful to have teletext. Um. So I think we can avoid the teletext. Um the second thing is uh they suggest that that we should uh use the remote control only for T_V_, not for D_V_D_ and other devices, because it make it it makes it's too complex and uh because we have not much time for this project we should stay on T_V_ on the only specific T_V_ remote control. Lisa Baker: I agree. Janet Felmet: The third the third one is uh about the the the image of the company. So um uh we should we should keep uh The the product should be recognisable. Uh, uh It's That mean we should use the colour of our company and maybe put somewhere the s the slogan of the company, which is uh, we put fashion of in electronics. So, when people see the the remote control, they should say oh it's from Real Reaction and he s they should recognise the company. So, um So now we we should take the decision what we are going to what function we will have on this uh on this remote control. So, mm, are we going to use L_C_D_, speech recognition? Uh. Sarah Delagarza: Well, should we start with just the core, the basic functions that we need. And then Janet Felmet: Yeah. Sarah Delagarza: we can move on Tonya Mcgloster: Mm. Sarah Delagarza: to the Tonya Mcgloster: Yes. Sarah Delagarza: more Janet Felmet: Maybe, Sarah Delagarza: advanced features. Janet Felmet: maybe. Lisa Baker: Okay, so the available things are L_C_D_, the buttons and everything. Uh radio frequency depends. And, well the recognition it depends on Janet Felmet: Yeah Lisa Baker: you guys. You Janet Felmet: but Lisa Baker: should probably speak. Janet Felmet: first maybe what is what are the usual function of a standard remote control? I mean Lisa Baker: Okay. Janet Felmet: what do Sarah Delagarza: Okay, well, Janet Felmet: Yeah. Sarah Delagarza: I mean the obvious one is changing channels. Janet Felmet: Yeah. Tonya Mcgloster: Yeah. Janet Felmet: I think we should stick on very useful functions, because Sarah Delagarza: Yeah. Janet Felmet: we want less button. So, yeah. Sarah Delagarza: Yeah, okay. Janet Felmet: So, turning channel, of course. Volume setting. Lisa Baker: Uh just one note to the chan channel changing. Do we will we use only two buttons, or or like numbered buttons? I mean those nine Janet Felmet: Yeah. Lisa Baker: plus one or two? Tonya Mcgloster: Mm-hmm. Janet Felmet: I think it would be a b Lisa Baker: Because it's many buttons and we were speaking about lowering the number. Tonya Mcgloster: Mm. Janet Felmet: Yeah. Sarah Delagarza: Yeah, I Janet Felmet: On the other side we have more and more channels, and if you want to pass through all the Tonya Mcgloster: Yeah. Janet Felmet: channels to get the channel you want, it's Lisa Baker: Okay so so we keep all these Tonya Mcgloster: Yeah Janet Felmet: Maybe Tonya Mcgloster: yeah, Lisa Baker: all Tonya Mcgloster: at Janet Felmet: maybe Tonya Mcgloster: least Lisa Baker: these buttons. Janet Felmet: we Tonya Mcgloster: nine, Janet Felmet: could Tonya Mcgloster: ten Janet Felmet: think of Tonya Mcgloster: button. Janet Felmet: something more betweens, like uh Lisa Baker: Like ten plus, five plus, one plus, one minus Janet Felmet: Yeah. Lisa Baker: or something. Janet Felmet: Maybe something Lisa Baker: Or using Janet Felmet: like Lisa Baker: the Janet Felmet: that. Lisa Baker: names and the keyboard I Sarah Delagarza: Ah yeah. Lisa Baker: dunno. Janet Felmet: Uh. Tonya Mcgloster: Or Janet Felmet: Maybe Tonya Mcgloster: Or something. Janet Felmet: Oh I don't know. Oh. Maybe we could have key buttons, like uh discovery channe like documentary channel, and movies channel and Lisa Baker: You mean Tonya Mcgloster: Mm-hmm. Lisa Baker: like Janet Felmet: And Lisa Baker: hierarchical Janet Felmet: inside Lisa Baker: structure. Janet Felmet: this Tonya Mcgloster: Okay. Janet Felmet: this thing you can move, Tonya Mcgloster: Like categorising Janet Felmet: maybe switch. Tonya Mcgloster: channels. Janet Felmet: If you want to see a movie you click on the movie button so you have all the movie channels Tonya Mcgloster: Mm-hmm. Janet Felmet: and Lisa Baker: Okay, Janet Felmet: after Lisa Baker: so Janet Felmet: you've Lisa Baker: s Janet Felmet: you plus Lisa Baker: Oh Janet Felmet: plus Lisa Baker: sorry. Janet Felmet: plus. Tonya Mcgloster: Okay. Janet Felmet: I It just an idea. I don't know what you think about that but. Lisa Baker: So it requires the use of L_C_D_ probably, to to tell you Sarah Delagarza: To Janet Felmet: Yeah, Sarah Delagarza: have some feedback. Janet Felmet: probably, yeah, Lisa Baker: Okay, Janet Felmet: yeah. Tonya Mcgloster: Mm-hmm. Sarah Delagarza: Yeah. Lisa Baker: so I'll make a note on L_C_D_. Sarah Delagarza: We could maybe also c um incorporate Petre's idea of the um slider for the volume, Tonya Mcgloster: Okay. Sarah Delagarza: with the channel. Janet Felmet: Okay. Sarah Delagarza: So we c you could quickly just Lisa Baker: Yeah. Sarah Delagarza: through many channels. Lisa Baker: Like roller for the Sarah Delagarza: For Lisa Baker: Yeah. Sarah Delagarza: the channels, perhaps. Lisa Baker: Okay. Janet Felmet: Anything else? Sarah Delagarza: So we've got channel and volume. Um. Janet Felmet: Yeah. Lisa Baker: So we are still s speaking about the common devices or we are inviting Sarah Delagarza: I think Lisa Baker: the Sarah Delagarza: so. Lisa Baker: new one? Sarah Delagarza: I think basically Janet Felmet: Yeah. Sarah Delagarza: the core functions we want, and then more advanced ones. Janet Felmet: What about the settings of the T_V_? Because it's button we don't use very often, but it's we need it anyway. Tonya Mcgloster: So Janet Felmet: So Sarah Delagarza: Yeah. Tonya Mcgloster: uh we don't have any uh we don't have uh we should just design the remote control and we sh we don't have any access to the to the T_V_ design or we can change some design. Because one solution for this um uh uh ch changing channels is to see a summary of all channels, some some preview of all channels and then you Lisa Baker: On Tonya Mcgloster: can Lisa Baker: the screen, Tonya Mcgloster: Yeah. Lisa Baker: you mean? Tonya Mcgloster: Yeah Lisa Baker: Not Tonya Mcgloster: b Lisa Baker: on the control, Tonya Mcgloster: Not on Lisa Baker: but Tonya Mcgloster: the Lisa Baker: on Tonya Mcgloster: control, Lisa Baker: the screen. Tonya Mcgloster: on the screen, on the T_V_ screen. Lisa Baker: Well, this Sarah Delagarza: I don't Lisa Baker: would Tonya Mcgloster: And Lisa Baker: avoid Tonya Mcgloster: then Lisa Baker: L_C_D_, then. Sarah Delagarza: Oh, I don't but I don't think we're we're the ones. I mean this remote control we're developing is a generic control for Janet Felmet: Yeah, Sarah Delagarza: all T_V_s, Janet Felmet: yeah. Tonya Mcgloster: Mm-hmm. Janet Felmet: know if Lisa Baker: Oh. Sarah Delagarza: I Janet Felmet: it's Sarah Delagarza: think. Janet Felmet: possible to to watch something Lisa Baker: W Janet Felmet: on T_V_ Lisa Baker: I I think it it would be better to to stick to the remote control Janet Felmet: Yeah. Lisa Baker: and not to bother the T_V_ to Janet Felmet: Yeah. Tonya Mcgloster: Mm-hmm. Lisa Baker: to to print these things. Well it wi it will be still more expensive, but for the L_C_D_ and this stuff is no problem Tonya Mcgloster: Mm-hmm. Lisa Baker: in the price. Sarah Delagarza: Okay. Janet Felmet: So, what are we doing with the settings? Because settings if we want to do settings we need buttons for that and we want less buttons, so. Maybe with the L_C_D_ we can do something Tonya Mcgloster: Yeah. Janet Felmet: with less buttons, but Sarah Delagarza: But then you don't want to make the L_C_D_ display too complicated Janet Felmet: Mm. Sarah Delagarza: at the same time. I mean there's always Lisa Baker: Two T_V_s. Sarah Delagarza: we can always have these l less often used functions hidden somewhere, under a cover Janet Felmet: Yeah. Sarah Delagarza: or Janet Felmet: Oh yeah. Sarah Delagarza: at Lisa Baker: Like Sarah Delagarza: the back of under Janet Felmet: Oh, Lisa Baker: ma Sarah Delagarza: a slide Janet Felmet: the. Sarah Delagarza: or some Lisa Baker: We we could have for example two buttons like simple mode and advanced mode. Or I dunno. Sarah Delagarza: Yeah. Lisa Baker: Or Sarah Delagarza: Yeah. Lisa Baker: like children and grandfather's mode, and Tonya Mcgloster: Mm. Lisa Baker: the, well the the user not the user, the man mana T_V_ manager mode. Sarah Delagarza: Okay. Lisa Baker: Ah, Tonya Mcgloster: Mm-hmm. Lisa Baker: I dunno. Sarah Delagarza: So we have five minutes left. Janet Felmet: Yeah. Sarah Delagarza: Um. Lisa Baker: Uh. Sarah Delagarza: So I think s the settings we th we are agreeing are agreed that they're required. Janet Felmet: Yeah. Tonya Mcgloster: Mm-hmm. Sarah Delagarza: It's just Lisa Baker: Yeah. Sarah Delagarza: how to a Janet Felmet: We should hide them somewhere. Lisa Baker: Hide Sarah Delagarza: Yeah. Lisa Baker: them, okay. Janet Felmet: In the menus of the L_C_D_ Sarah Delagarza: Okay. Janet Felmet: or in the back of the remote control, or something like Sarah Delagarza: Yeah. Janet Felmet: that. Sarah Delagarza: Uh, okay, what else? Lisa Baker: Um. Sarah Delagarza: I mean a power button's obviously Lisa Baker: Yes. Sarah Delagarza: uh Lisa Baker: This Sarah Delagarza: required. Lisa Baker: I was thinking. Do we need a power button at all? Should should shouldn't we do it like sleep mode after five minutes of not using it? Because generally Janet Felmet: It's it's a kind of setting, I think. It should Tonya Mcgloster: Mm. Janet Felmet: fit in those settings Tonya Mcgloster: Settings. Janet Felmet: functions. Because it's not a very current useful function. Sarah Delagarza: Uh, well I think when they say power button they mean to turn the T_V_ on and off. Janet Felmet: No, Lisa Baker: Yes. Janet Felmet: I think it's after after five minutes Lisa Baker: Well Janet Felmet: or something Lisa Baker: I Janet Felmet: a timer Lisa Baker: I uh Janet Felmet: I I think, Sarah Delagarza: But if you're Janet Felmet: no? Sarah Delagarza: watching T_V_ for two hours, you don't want your T_V_ to turn off Lisa Baker: You don't Sarah Delagarza: after Lisa Baker: need Sarah Delagarza: five Lisa Baker: to Sarah Delagarza: five Lisa Baker: every Sarah Delagarza: minute Lisa Baker: five minutes to keep it alive. Uh probably. Okay, so we should keep this button. Sarah Delagarza: I mean based Tonya Mcgloster: Yeah. Sarah Delagarza: on our usability studies again, um pe um people said that the power button was v a very Janet Felmet: Oh okay, Sarah Delagarza: relevant button. Janet Felmet: yeah. Tonya Mcgloster: Mm-hmm. Sarah Delagarza: Um, you know, it was nine out of ten Lisa Baker: Okay, so Sarah Delagarza: re Lisa Baker: we Sarah Delagarza: relevance. Lisa Baker: we could p what we could probably do is to keep also to keep uh keep the L_C_D_ and all the buttons and stuff, we could make it like a opening opening style that if you open it Janet Felmet: Yeah. Lisa Baker: you are you just turn on the T_V_ and if you close it, it will Janet Felmet: Yeah. Lisa Baker: turn off the T_V_. If if you like this, Sarah Delagarza: Okay. B Okay. Lisa Baker: Because, well Sarah Delagarza: I think we need Lisa Baker: it's Sarah Delagarza: to concentrate Lisa Baker: maybe question Sarah Delagarza: on the, Lisa Baker: for you Sarah Delagarza: you know, the Lisa Baker: t Sarah Delagarza: major Tonya Mcgloster: Mm-hmm. Sarah Delagarza: usage of the th of the control, Janet Felmet: Yeah. Sarah Delagarza: which is you sit down, you turn on your T_V_, you change channels, you change the volume, you turn the T_V_ off. Janet Felmet: Yeah. Sarah Delagarza: Um Janet Felmet: So s yeah. Sarah Delagarza: and all the other f functionality is Tonya Mcgloster: Yeah, they Sarah Delagarza: not Tonya Mcgloster: can Sarah Delagarza: used very often. Tonya Mcgloster: yeah they can be hide somewhere by a cover or something Janet Felmet: Yeah. Tonya Mcgloster: like this. Sarah Delagarza: Yeah. Tonya Mcgloster: Like covering Janet Felmet: On the Lisa Baker: Yeah. Janet Felmet: back, or Tonya Mcgloster: cu. Lisa Baker: I mean like the Tonya Mcgloster: Yeah, like mobile phone Lisa Baker: Yeah but Tonya Mcgloster: covering. Lisa Baker: since we have the L_C_D_, we didn't need too much button too many buttons. Um, okay, just um the decision of the power button. Should we make it a button, or some some something which would be Janet Felmet: For what? Lisa Baker: Uh Sarah Delagarza: I think a button. Tonya Mcgloster: A button Lisa Baker: power button. Tonya Mcgloster: is better. Sarah Delagarza: I think it should Janet Felmet: Ah Sarah Delagarza: be a Lisa Baker: If Sarah Delagarza: bu Lisa Baker: it Janet Felmet: oh Tonya Mcgloster: Yeah. Janet Felmet: yeah, Lisa Baker: if Janet Felmet: yeah. Lisa Baker: it's a button or Janet Felmet: Yeah Sarah Delagarza: Its own Janet Felmet: a Lisa Baker: Okay. Janet Felmet: button, Sarah Delagarza: button Janet Felmet: yeah I guess Sarah Delagarza: on the Janet Felmet: so. Sarah Delagarza: front. Tonya Mcgloster: Mm. Lisa Baker: Okay, one nice big button. Old fashioned button, to satisfy the grandmothers. Hmm. Sarah Delagarza: Okay. Janet Felmet: So, Lisa Baker: Mm. Sarah Delagarza: S Janet Felmet: any other suggestions or functions? Sarah Delagarza: What about things like the clock and um timers? Lisa Baker: Do we still have the time? I I just wonder. Janet Felmet: Yeah, we have still one or two minutes Lisa Baker: Okay. Janet Felmet: to talk, yeah. Lisa Baker: Oh. Well what w Tonya Mcgloster: Clock Lisa Baker: what was the question? Tonya Mcgloster: or Sarah Delagarza: Uh um, you know, some func some features on the control to display a time, or Janet Felmet: Usually Sarah Delagarza: t Janet Felmet: it's Sarah Delagarza: to Janet Felmet: already Sarah Delagarza: display Janet Felmet: on T_V_ or something like Tonya Mcgloster: Yes. Janet Felmet: that. Lisa Baker: Yeah but since we want to control all the televisions, and Janet Felmet: Yeah. Lisa Baker: and it would probably be worth to to set the timing on the remote, no? Because Tonya Mcgloster: Mm. Lisa Baker: if if the T_V_ turns Janet Felmet: Yeah. Lisa Baker: on itself, it Janet Felmet: Yeah. Lisa Baker: well you Janet Felmet: If Lisa Baker: know, Janet Felmet: we if Lisa Baker: if Janet Felmet: we Lisa Baker: the time Janet Felmet: add Lisa Baker: The Janet Felmet: the time, Lisa Baker: timer should be there. Janet Felmet: we have to have maybe a bigger display or something like that, and is it very useful? I mean, are users wants to have the time on the on the remote? Tonya Mcgloster: Mm. Janet Felmet: This is the question. Sarah Delagarza: Probably not. Janet Felmet: Is it useful? Tonya Mcgloster: Yes. Sarah Delagarza: It's a questi yeah, it's a trade-off. Janet Felmet: W In my opinion we should have only useful thing and Because Sarah Delagarza: 'Kay. Janet Felmet: apparently they want The simpler Lisa Baker: Ah, Janet Felmet: it's is Lisa Baker: yeah. Janet Felmet: better. Sarah Delagarza: Okay simple. Lisa Baker: Did you did you ever use the like the timing of turning on the T_V_, well And based on Sarah Delagarza: Very, Lisa Baker: your Sarah Delagarza: yeah okay, very occasionally. But I do use the I do use the display of the time quite often, Tonya Mcgloster: Mm. Sarah Delagarza: but Lisa Baker: Yeah but it can be on the display in in a corner all Sarah Delagarza: Yeah. Lisa Baker: the time on the remote. Sarah Delagarza: Yeah that's okay, that's true. Okay, so no Janet Felmet: No time Sarah Delagarza: time Janet Felmet: on. Sarah Delagarza: button. Tonya Mcgloster: And Sarah Delagarza: Okay. Tonya Mcgloster: uh do we need to include anything about the speech recognition and the speech commands, Lisa Baker: Yes Tonya Mcgloster: or? Janet Felmet: I think Lisa Baker: yes. Tonya Mcgloster: I I thin I think it will not take lots of place, we just need a microphone and the software, so people may be attracted to buy this stuff and it's not very difficult to uh put a software inside the the electronic device and put a microphone. It doesn't take that much place and also that much It doesn't cost that much. Janet Felmet: Yeah. Lisa Baker: Yeah but we we should be careful about the battery life, then. If we use Janet Felmet: So Lisa Baker: the Janet Felmet: maybe Lisa Baker: speech Janet Felmet: we think Lisa Baker: recognition. Janet Felmet: we can think more about that, and discuss that maybe last time Tonya Mcgloster: Mm-hmm. Janet Felmet: next time. Lisa Baker: Yeah. Janet Felmet: And uh yeah, now the meeting room is busy. Somebody booked the meeting room just for at one P_M_, and so we should leave. Uh. So, um. So now we are going for for a small lunch. It's uh funded by the company. And uh after we have uh thirteen minutes to to do indevel individual works. And uh I will do the minutes. And uh you are going to work on your individual works. And uh you will receive as usual your specific instruction and so on. Sarah Delagarza: Okay, Janet Felmet: Thank you everybody. Sarah Delagarza: cool. Okay Tonya Mcgloster: Thanks. Sarah Delagarza: Thank you.

Janet Felmet opened the meeting and then Sarah Delagarza discussed user requirements. Sarah Delagarza also found that younger users want an LCD display and a remote capable of speech recognition. The interface specialist discussed the interior workings of a remote and stated a preference for using radio waves over infra-red technology. Lisa Baker discussed particular components that a remote could include. Janet Felmet briefed the team on some new requirements and initiated a discussion in which the team discussed and decided on various features to include in the remote they will produce.

amisum

train

Annie Talavera: Hello, uh Angel Brooks: Hello. Annie Talavera: this Loree Driscoll: Mm-hmm. Annie Talavera: meeting Kim Karol: Hello. Annie Talavera: we are it's fo should on the conceptual design of the remote. Um the goal of this meeting is to reach a decision at the end on the concept and I think the last time we talked about an a lot and we had a rough idea of what is going to be, but uh in th at the end of this meeting we have to to reach a decision. So, uh we will have again three presentation, from all of you, and uh I hope will be fast because I would like to have to for long discussion and and decisions. So, who wants to start? Kim Karol: I s Annie Talavera: Okay. Angel Brooks: Okay. Kim Karol: No, no, you you start. Angel Brooks: Okay, Annie Talavera: So Angel Brooks: I'll Annie Talavera: start, Angel Brooks: start. Annie Talavera: uh Angel Brooks: Can open my presentation please. Annie Talavera: Uh. Angel Brooks: I'm number four. Trend. Annie Talavera: This one? Angel Brooks: Yep. Can you pass the mouse, please. Oh Annie Talavera: Turn. Angel Brooks: okay, that's fine. Okay. Um so basically I just want to presented to you present to you some recent results we've had from um looking at uh um some remote control market research and some fashion trends around the world. Um fashion trends we got from talking our our contacts Um so f from our market research basically we've come to the conclusion that a fancy look and feel, um as opposed to a functional look and feel, is our number one priority. Um fancy is is Annie Talavera: Hmm. Angel Brooks: is is Loree Driscoll: Hmm. Angel Brooks: the, you know, highest priority. Secondly um that our remote control needs to be techn technologically innovative. Um so this is t number two priority but it's two times less important as the fancy criteria. Um and third thirdly the easiness of use is is the um is is important as well, but again two times less important as the technologically innovativeness of the remote control. From our f fashion people in Paris and Milan, um we've discovered that this year um fruit the fruit and vegetable motif will be the most important thing in in clothes, shoes and furniture. So, I'm pretty confident that our remote control fits into the furniture category. And also um the feel of material this year um is expected to be spongy. Annie Talavera: Okay. Angel Brooks: Um so hopefully our remote control reflects that s in some way. Loree Driscoll: What does it mean, spongy Angel Brooks: Uh sort of um squishy. Um. Loree Driscoll: Like soft, or something? Angel Brooks: Yeah soft, like a uh Annie Talavera: Like Angel Brooks: like a Annie Talavera: a Angel Brooks: sponge. Annie Talavera: sponge. Angel Brooks: I Annie Talavera: Yeah. Angel Brooks: don't Loree Driscoll: Okay. Angel Brooks: know. Yeah. Loree Driscoll: I will see. Angel Brooks: Um so in conclusion, we need a our remote control needs to be something that's really fancy, um has lots of technolog tech technology in it. Um somehow Loree Driscoll: Okay. Angel Brooks: would be good to have it related to fruit and vegetables with a spongy feel. And that it's easy to use and from our last meeting our you know Fabian told us that w you know one of the requirements is that we have to reflect the look and feel of our of th the Real Reaction company. Um. Annie Talavera: Yeah, uh Angel Brooks: That's it. Annie Talavera: yeah. Easy to use, is it uh a as much as important than technology or fancy thing. It's less important, right? Angel Brooks: Less important. So Annie Talavera: Yeah yeah. Angel Brooks: um fanciness first and Annie Talavera: Okay. Angel Brooks: then two ti you know, half as important as that is technology technology, and half important as technology is easy to use. So. Annie Talavera: So, Hamed, can you. Kim Karol: Yeah. The second one. Could you please Annie Talavera: Mm-hmm. Kim Karol: show the presentation number three. Loree Driscoll: I think the biggest struggle will be the easy to use feature. We'll see. Kim Karol: Yeah. Annie Talavera: Um. Number? Kim Karol: Three. Annie Talavera: Three. This one? Kim Karol: Yes. Just Could you please check if it is the first one or the second. Uh, n n no, it's the first one. The second one. Annie Talavera: So it's not this one. Kim Karol: Uh yeah. Okay. Okay So am going to talk about a little bit about how this remote control should be to be more easy to use I think uh I think the feature easy to use is more important than being fancy, but okay, we can discuss about it uh later. Um generally, generally uh this remote control uh uh should be should be something, in my opinion, uh the first feature is just to be easy to use. So, the more frequent buttons should be larger, they should be placed in a good position uh uh inside the remote control. And uh s uh I can conclude like this, that we shouldn't need to learn how to use it. It should be we shouldn't need to es open a a t book and uh start reading and uh learning how to use this uh this uh remote control. Okay. So what I found out that uh as I said uh I think it's better to put uh more frequent uh uh uh ke uh buttons which are used more in the middle of the remote control, and they should be bigger in size. Uh the shape of remote control should be in a way which can which should be taken easily in hand. It should not be completely like uh a cube. It should be it should have round edge, so Loree Driscoll: Exactly. Kim Karol: uh then it's easier. And maybe uh just like some toys, some joystick which is easier to take inside the hand. And uh also f uh uh m because because customers doesn't like to buy lots of battery, it should not uh consume lots of energy. Okay. And my personal p uh preference is uh, as I said, uh just putting this buttons in a special places and covered some buttons which are not used uh that much like settings button, like mobile phone. Usually some mobile phone cover the dialling number part, so we can cover these buttons which are not used or uh number buttons for the for the for the can channels, and just put uh volume change or s ch can uh channel change buttons uh uh in the remote control. And if the user needed to do some more complex task uh he he can open the cover and then change settings or something like this. Uh. And also uh I think if we put some some some some some buttons inside of the remote control it can be used easier. Not on remote control. I dunno if I can explain well. But uh just inside. For example, a sliding or rolling uh uh d uh stuff, if we put it inside then we can easily manipulate with uh thumb. So it can be another uh preference. And uh I dunno but uh I think usage of a speech recogn uh r recogniser can be good. I know that it consumes lots of energy, but if we do it in some way that it asleeps when there is no sound and when it detects some sound it may consume less energy. And I think it's good because it's something new and usually young people like something new. So it may not be very useful but because it's new, people may buy it. Uh I personally think there should be a big difference between uh between something. Otherwise they prefer to buy something which is coming from a famous company, or. Okay. That's mine. Annie Talavera: Okay. Loree Driscoll: Uh okay, so good news from Angel Brooks uh uh for Angel Brooks from Hamed, but bad news from Bob obviously, because spongy design, I don't like it as Okay, so could you please, Fabien, open it. Annie Talavera: Yeah. Loree Driscoll: I'm person two. And which one, uh first one. I'm not sure but check the first one. I Most of the things I have to write myself on the Annie Talavera: This Loree Driscoll: board, Annie Talavera: one, yeah. Loree Driscoll: but Yeah, that's it. Just It's only this slide? Yeah. This this is just uh one thing I wanted to mention and show you that I just uh I just found this, that our company uh developed a s a seven f seven fingers or I'll just Angel Brooks: Inch. Loree Driscoll: Yeah, seven seven inch T_ T_F_T_ screen, which is good news for us, since we wanted to include a display there. Uh so I I probably Annie Talavera: Oh, Loree Driscoll: draw it down raw scheme. This is this is the stuff that I Annie Talavera: Oops. Loree Driscoll: can use to Okay, so the this will be like the overall scheme or overall requirements from the engineering point of view. Uh first thing is uh this will be the overall shape, no uh I'm not speaking about the real shape of the device, but the shape of the inside of the device. So there will be some circuit uh for the power. So, say power circuit here. Uh the main energy will be taken from batteries that we can uh uh And if we decide to use the speech recognition stuff there, we must use additional source of energy, which I found the best is to use the solar cells which can which can uh supply everything. I was computing all the all the things related to the speech recognition, and it's okay to use just uh two batteries and solar cells, so. So no problem. There can be also solar cell. Uh the main board with all the circuits will take at least seven to seven centimetres, so this is my like hard requirement for the guys from the design. So Kim Karol: Mm-hmm. Loree Driscoll: at least seven to seven. It depends where you put your screen, because the screen is uh seven inch, so it depends on you where where you put it. It doesn't matter. Um it's just one cord from from the main board to the screen which can be elsewhere. So this will be T_F_T_. And on the main board we have the um interface to the microphone, which is somewhere, say here. Interface to the microphone. Then the graphical card uh for the T_F_T_ and the third unit is the I_R_. The good news is that we can uh we decided to use the infra-red unit because our company has also developed the chip for communication by the infra-red, including all the stuff inside, so it will be very cheap for us. So infra-red here. So the once again the overall requirements, seven to seven centimetres for the board, which has to be which can be spongy but has to be this size, and the T_F_T_ which is seven inches. Um I have to check what I wanted to Uh from my point of view I don't care about the about the material used for the overall des uh ov all the device. Annie Talavera: Can you fit any uh for example a T_F_T_ or any electronic device in a spongy thing, or is there any problem for that? For example, put electronic card on a spongy thing, I can I can imagine it could be a problem. Loree Driscoll: A all these things in in uh in this box are okay to put in in any shape, basically. But we Annie Talavera: Yep. Loree Driscoll: have to take care of the T_F_T_. Well, sponginess. Maybe it a good feature, since it takes if it's around the T_F_T_ Annie Talavera: Okay. Loree Driscoll: then it's Annie Talavera: So Loree Driscoll: good, because it's just keeps it safe, I dunno. Kim Karol: Well maybe it Angel Brooks: So Kim Karol: can have two shells, a hard shell inside and a spongy Annie Talavera: Okay. Kim Karol: shell Annie Talavera: Maybe Kim Karol: outside. Annie Talavera: put electronic in a box and a spongy thing around. Loree Driscoll: Well, Annie Talavera: maybe after. Angel Brooks: So Loree Driscoll: it's maybe Annie Talavera: Yeah. Angel Brooks: Ca Loree Driscoll: related to the U_I_. Angel Brooks: Can I ask a question. Loree Driscoll: A Yeah, that's all from Angel Brooks. Angel Brooks: This seven inch T_F_T_ screen, Loree Driscoll: Yeah? Angel Brooks: how big is it in reality? Loree Driscoll: Well, seven to seven inches. Angel Brooks: So like that. Loree Driscoll: Yes. Angel Brooks: That's quite big. Uh uh have we decided that we're gonna use this T_F_T_ screen? Loree Driscoll: Yeah Annie Talavera: No, Loree Driscoll: but Annie Talavera: I don't think it's seven by seven, I think it's Loree Driscoll: To Annie Talavera: seven Loree Driscoll: be honest, Annie Talavera: the diagonal Loree Driscoll: I was Annie Talavera: is seven. Usually when they say Angel Brooks: But Annie Talavera: seven Angel Brooks: I mean even Kim Karol: Yeah Annie Talavera: inch Angel Brooks: even Annie Talavera: I Kim Karol: yes. Angel Brooks: that Annie Talavera: think Angel Brooks: is Annie Talavera: it's Angel Brooks: like Annie Talavera: the Angel Brooks: this Annie Talavera: diagonal. Angel Brooks: big. Annie Talavera: Yeah. I dunno I dun I dun One each. But, yeah, Loree Driscoll: Yeah, honestly speaking I was thinking that it was seven centimetres initially, Angel Brooks: Yeah. Loree Driscoll: but it's seven inches. But I I think we can we can cut it. Angel Brooks: You can cut the T_F_T_ screen. Loree Driscoll: Yeah, no no problem, Annie Talavera: Let's Loree Driscoll: because Annie Talavera: go. Loree Driscoll: because because then the size of the graphic card will be one fourth. So Yeah, but no Annie Talavera: So Loree Driscoll: problem Annie Talavera: let's cut Loree Driscoll: to Annie Talavera: the Loree Driscoll: to Annie Talavera: T_F_T_. Loree Driscoll: Angel Brooks to cut the screen. Kim Karol: Mm. Angel Brooks: Okay, so Loree Driscoll: So so for the same price we have four Annie Talavera: Mm. Loree Driscoll: screens now. Angel Brooks: Okay. Annie Talavera: These technical engineers, huh. Angel Brooks: So, what's the size of the device? Loree Driscoll: Ah well this is like this is almost nothing. Seven to seven to at least well some three millimetres or something. Angel Brooks: Even from my perspective seven t seven centimetres by seven centimetres is still Loree Driscoll: Yeah, but we wanted the big Angel Brooks: Is it Loree Driscoll: buttons Angel Brooks: Can you hold Loree Driscoll: and Angel Brooks: that, Loree Driscoll: stuff Angel Brooks: or? Loree Driscoll: like that, you know. Because if it's t too small we can we can lose it, at home, you know. Annie Talavera: What user wants. He wants a small remote control, Kim Karol: Uh. Angel Brooks: Yeah, Annie Talavera: or? Uh Angel Brooks: a small Annie Talavera: uh Loree Driscoll: I thought Angel Brooks: c Loree Driscoll: that Angel Brooks: control Loree Driscoll: it it Angel Brooks: that they Loree Driscoll: should Angel Brooks: can Annie Talavera: with Loree Driscoll: fit Angel Brooks: hold Annie Talavera: big Angel Brooks: in Loree Driscoll: in Angel Brooks: hand. Loree Driscoll: the Annie Talavera: buttons. Loree Driscoll: hand or Kim Karol: Yes. Loree Driscoll: something. Annie Talavera: It's difficult. A Angel Brooks: But Annie Talavera: sm Angel Brooks: is something that's seven centimetres square e easy to hold? Loree Driscoll: W I I think so. I if the roller buttons are on the side you don't have to catch it like that, but just like this, and you know follow follow Well, that's that's no task for Angel Brooks, but well Annie Talavera: So Loree Driscoll: seven Annie Talavera: maybe you Loree Driscoll: to Annie Talavera: can Loree Driscoll: seven Annie Talavera: finish Loree Driscoll: at least Annie Talavera: your presentation, Loree Driscoll: yeah, but Annie Talavera: and afterwards we will discuss Kim Karol: Maybe this. Loree Driscoll: Oh, Annie Talavera: about Angel Brooks: Okay. Loree Driscoll: okay. Annie Talavera: all this. Loree Driscoll: Okay thanks. Annie Talavera: That's it. Okay. So. No. Uh, so I think we have a lot We have to take decision today, so I think we have to do some work to finalise our idea and take decisions. Uh first I think energy it's a key problem because uh it depend what can we have as feature if we use only batteries, for example, or something like that. Because can we have L_C_D_ and speech recognition with battery, and it's Loree Driscoll: Not Annie Talavera: also r related to the size of the of the devi of the Loree Driscoll: J Annie Talavera: device? Loree Driscoll: uh just a point to the energy th things. Annie Talavera: Okay. Loree Driscoll: so no problem in energy, Annie Talavera: So Loree Driscoll: I think. Annie Talavera: Okay. Loree Driscoll: But Kim Karol: So but Loree Driscoll: we have to use the solar cell. Otherwise Annie Talavera: Uh Loree Driscoll: not. Annie Talavera: like but using how many batteries, for example? Are are what Maybe what is the size of the battery Loree Driscoll: Yeah I was thinking just common A_A_ cells. Annie Talavera: Okay. Uh Loree Driscoll: So like Annie Talavera: one Loree Driscoll: three Annie Talavera: two Loree Driscoll: to five centimetres, I dunno exactly, Annie Talavera: Okay. Loree Driscoll: but. Angel Brooks: So if we use s solar cells, um Loree Driscoll: S Angel Brooks: where is the sun if someone's watching Loree Driscoll: Uh Angel Brooks: T_V_ Loree Driscoll: d Angel Brooks: inside? Loree Driscoll: doesn't need to be sun. It it's just the daylight, you know. Annie Talavera: The Angel Brooks: Okay. Annie Talavera: television Loree Driscoll: Yeah well I I Annie Talavera: lights. Loree Driscoll: suppose that I suppose that uh that this remote control won't be in the in the room like this, where there is light only when Kim Karol: Mm-hmm. Loree Driscoll: when there are people, but. Annie Talavera: At least when there is T_V_ you can get light Loree Driscoll: Yeah Annie Talavera: from Loree Driscoll: from the Annie Talavera: the Loree Driscoll: T_ Annie Talavera: T_V_. Kim Karol: Yeah. Loree Driscoll: I don't think it's enough, uh. Annie Talavera: I dunno. Angel Brooks: Okay. Annie Talavera: Okay. Mm. Loree Driscoll: Ah it's a it's a compromise, no? Annie Talavera: At least it's new and maybe technology Loree Driscoll: Yeah, Annie Talavera: New Loree Driscoll: that's Angel Brooks: It's Annie Talavera: technology. Loree Driscoll: why I Angel Brooks: it's Loree Driscoll: wanted Angel Brooks: quite innovative, Loree Driscoll: to to include Angel Brooks: yes. Annie Talavera: Yeah. Loree Driscoll: the speech recognition, Kim Karol: Hmm. Loree Driscoll: because you wanted Annie Talavera: Um. Loree Driscoll: all the new Angel Brooks: And if you Loree Driscoll: things. Angel Brooks: watch T_V_ outside it's very Annie Talavera: So Angel Brooks: useful. Annie Talavera: I think before talking about the other thing, it's important thing it's the case. Uh what what are gonna be the size, because its weight drives the other what we are going to use as features and so on. For example for the for the L_C_D_, if we choose to have a small device, we cannot use this um a such a a a screen. Loree Driscoll: Uh the s the screen is okay, but the board, uh that's the problem. Well what what would you guess as a shape? Or what Kim Karol: Mm. Loree Driscoll: what would be the shape? Kim Karol: I think I think their being uh large or small is not important. The only important thing is to be able to take it in uh inside hand easily. So let's say Loree Driscoll: Mm. Kim Karol: an average size, okay, and it should not be very heavy also. And I prefer to is it shouldn't have a uniform shape, so in the middle it should be a little bit thinner, maybe maybe. So we c it's like like some joysticks. You can take uh some some joystick you can take inside hand easier because it's it's designed for your f uh taking into account your finger shape and your palm shape. So the general shape should be like this. I think uh seven centimetre by seven centimetre is a little bit large. So uh Loree Driscoll: Okay. Kim Karol: seven not seven but let's say five by ten it's I think it's that's my opinion. Angel Brooks: Which Kim Karol: It's Angel Brooks: is the same Kim Karol: easier. Angel Brooks: area. Kim Karol: Yeah. Angel Brooks: Could Loree Driscoll: Okay. Angel Brooks: you re could you redesign your board? Loree Driscoll: Five to ten. Angel Brooks: Oh, five Loree Driscoll: Well that Angel Brooks: five centimetres by ten centimetres. Loree Driscoll: Yeah, right. Angel Brooks: Yeah. Loree Driscoll: Yeah, I think it's feasib Well one um um How could we do it? We could put the board next to, well, under the L_C_D_ and for Kim Karol: Mm-hmm. Loree Driscoll: example make the L_C_D_ be totally unrelated to the thing that you hold in your hand. Like holding something, and the L_C_D_ to be just on top of it, you know somehow. Well But maybe Annie Talavera: Oh. Loree Driscoll: let's stick to the s spongy thing, like one unit. Annie Talavera: I've Loree Driscoll: Well Annie Talavera: I Loree Driscoll: fi Annie Talavera: s Loree Driscoll: five Annie Talavera: I Loree Driscoll: to Annie Talavera: think Loree Driscoll: ten it would be feasible. Annie Talavera: the easiest thing would be to to have a smaller L_C_D_, if it's possible. Kim Karol: Mm. Loree Driscoll: Okay, so five to ten, I I think it's it's Annie Talavera: Okay. Loree Driscoll: feasible. Annie Talavera: So we Loree Driscoll: I'll make Annie Talavera: are agree Loree Driscoll: it. Annie Talavera: with a small Kim Karol: Or Loree Driscoll: Fo Annie Talavera: L_C_D_. Kim Karol: uh Loree Driscoll: Five by ten. Kim Karol: or I don't know but I don't want to now invent something new, because we didn't discuss about it. So using some L_C_D_s we can touch, so we can remove uh keys and just uh having uh, I dunno the name, L_C_D_ responding to fingers. Annie Talavera: Yeah. Kim Karol: Touching the screen. Something Annie Talavera: Tactile Kim Karol: like Angel Brooks: Mm, Annie Talavera: or something, Angel Brooks: touch screen. Annie Talavera: yeah. Touch screen, yeah. Kim Karol: So But for now if we don't want to use such kind of screens Annie Talavera: Yeah. Kim Karol: I I think we using a a smaller screen is better, because Annie Talavera: The problem is we have a limit in a month of time, so we cannot do Loree Driscoll: Mm-hmm. Annie Talavera: something very new. So Angel Brooks: So Annie Talavera: let's go Loree Driscoll: Okay, Annie Talavera: for Loree Driscoll: so Annie Talavera: a small L_C_D_. Loree Driscoll: Yeah, so Kim Karol: A smaller Loree Driscoll: so just Kim Karol: s Loree Driscoll: just give Angel Brooks the the the five by ten numbers that Annie Talavera: Yeah Loree Driscoll: you find Annie Talavera: okay. Loree Driscoll: the best and send Kim Karol: Okay. Loree Driscoll: it Angel Brooks and Annie Talavera: So, Loree Driscoll: I will Annie Talavera: five Loree Driscoll: work Annie Talavera: by Loree Driscoll: it Annie Talavera: s Loree Driscoll: out. Annie Talavera: ten. Loree Driscoll: Hmm. Annie Talavera: Um so what about, so the case we talked about. Um something easy to use, you said something easy to use but how does that fit in a fashion way, like with fruit and vegetable, and about the colour and logo of the of the company and so on, now, can we do that? My first idea is because our colour is more yellow, and the it should be easy to take in a hand, I thought about banana, or something like that, which is fruits, and Loree Driscoll: Seven to ten banana. Annie Talavera: A big Loree Driscoll: Okay. Annie Talavera: banana. Loree Driscoll: Rather mango or something or. Annie Talavera: Um. Angel Brooks: Well it's it's definitely the obvious choice, with the colour of Annie Talavera: Yeah. Angel Brooks: our company. I mean what Annie Talavera: Yeah. Angel Brooks: other Annie Talavera: But Angel Brooks: what other fruit Annie Talavera: it's just Angel Brooks: and vegetables Annie Talavera: an idea. I dunno what you think Angel Brooks: Do you Annie Talavera: about, Angel Brooks: know of any any other fruit Annie Talavera: but Angel Brooks: and vegetables that are yellow? Annie Talavera: Yeah. I dunno if it can fit with the technology. You are the specialists of that. Loree Driscoll: You mean banana. Well, but If it's If it If the banana is big enough. Then, yes. Annie Talavera: So Loree Driscoll: But if you want to look at the screen, no. Well Annie Talavera: Yeah, and Kim Karol: I think this Annie Talavera: The Kim Karol: is Annie Talavera: screen has Kim Karol: not good. Annie Talavera: to be square? Or it can be like a a shape, quite, Loree Driscoll: Well, Annie Talavera: uh Loree Driscoll: it can Annie Talavera: with Loree Driscoll: be Annie Talavera: curves. Loree Driscoll: whatever you want. But Annie Talavera: It could. Loree Driscoll: if it's square then we get four screens out of one by cutting just. But if you want some shape then we Annie Talavera: Yeah. Loree Driscoll: can only get like two screens out of seven to seven inches, Kim Karol: Mm. Loree Driscoll: so. It's like more more expensive to have shape like that. But I don't care. You know, if we fit Angel Brooks: Well Loree Driscoll: this requirement. Angel Brooks: I'd like a shaped screen. I think that's more important than saving Loree Driscoll: Okay Annie Talavera: Okay Angel Brooks: a bit Annie Talavera: okay. Angel Brooks: of money on Kim Karol: Mm. Angel Brooks: on the T_F_T_ screen. Loree Driscoll: Yeah, m maybe the banana could be like a bit uh fatter than than the c Annie Talavera: Yeah. Loree Driscoll: c common Annie Talavera: Yeah, Loree Driscoll: one. Annie Talavera: it should Loree Driscoll: But Annie Talavera: remember banana, but it's not doesn't have to b Loree Driscoll: Like modified Annie Talavera: to be uh uh Loree Driscoll: banana, okay. Annie Talavera: really the size and exactly the shape of a banana. Loree Driscoll: Well it we'll stick to banana, or? Kim Karol: Okay. Angel Brooks: Yeah, banana's Annie Talavera: Okay. Angel Brooks: good. Loree Driscoll: Okay. Angel Brooks: Okay. Loree Driscoll: Mm-mm. Annie Talavera: So, the last point we decided it's infra-red, I guess. Kim Karol: Yeah, I Loree Driscoll: Yeah, Annie Talavera: Everybody's Kim Karol: think infra-red. Loree Driscoll: yeah. Annie Talavera: agreed. Loree Driscoll: Sure. Annie Talavera: Uh, so that's it I think about the concepts. You have other thing to add to this point, or uh no? So, uh about the user interface, so we are going to use L_C_D_. In the last meeting we talked about uh hidden buttons. I don't know what we are going to do with that. You Loree Driscoll: Like Annie Talavera: talked Loree Driscoll: like Annie Talavera: about Loree Driscoll: peeling Annie Talavera: the Loree Driscoll: of Annie Talavera: buttons Loree Driscoll: the banana Annie Talavera: on the Kim Karol: Yeah, Annie Talavera: side Loree Driscoll: you s Kim Karol: peeling of the banana. Loree Driscoll: It Annie Talavera: Mm Loree Driscoll: would be cool, yeah. Annie Talavera: what? Loree Driscoll: Peeling of the banana, you know, Kim Karol: Yeah. Loree Driscoll: should should discover the other buttons, Kim Karol: Mm. Loree Driscoll: which are hidden. Annie Talavera: Yeah. Okay. And you mean the first layer would be spongy. Kim Karol: Yeah. Loree Driscoll: First layer obviously spo Yeah, w Annie Talavera: So Loree Driscoll: It's it's like Annie Talavera: Is Loree Driscoll: silly, but the people Annie Talavera: it Loree Driscoll: will really appreciate Annie Talavera: is Loree Driscoll: it, yeah Annie Talavera: it Loree Driscoll: I think. Annie Talavera: possible to do that? It would be a great idea, but is it possible technically? Kim Karol: Uh Annie Talavera: Like doing a spongy layer of Angel Brooks: I think Annie Talavera: the banana, Angel Brooks: if we Annie Talavera: and Angel Brooks: if Annie Talavera: you Angel Brooks: we Annie Talavera: open Angel Brooks: have a Annie Talavera: it. Angel Brooks: spongy layer on the outside of the banana then Annie Talavera: Yeah. Angel Brooks: it's easy to make that, you know, to Kim Karol: Mm-hmm. Angel Brooks: manipulate that Annie Talavera: Yeah. Angel Brooks: to Kim Karol: Yeah, Annie Talavera: Yeah. Kim Karol: some Angel Brooks: hav be a cover that you can pull off and Kim Karol: Something like a plastic cover covering uh some interface, U_S_B_ interface as in the in uh digital camera. If you see it's like peeling. You open a plastic cover and you see some U_S_B_ interfaces, some some interfaces for adaptor. So keys can be uh buttons can be covered like this, with a plastic cover and uh when uh and when you open this cover it's like peeling a banana. So, something like this. Annie Talavera: Yeah, but do you see that as a rigid thing, or like like a banana, something very soft, you can open like banana, or. Loree Driscoll: Well is it possible to make it soft? Kim Karol: Yeah, yeah, Annie Talavera: Yeah. Kim Karol: yeah it's a lic like a plastic cover, so. Loree Driscoll: So I think Annie Talavera: So, Loree Driscoll: if it's so then it's Annie Talavera: I dunno Loree Driscoll: cool? Annie Talavera: what you think, Bob, but it would be great for users I think, and very Angel Brooks: I think for Annie Talavera: good Angel Brooks: sure. Annie Talavera: for marketing. Angel Brooks: Definitely. The softer the better. Annie Talavera: Yeah. Loree Driscoll: Cool. Angel Brooks: Yeah. Loree Driscoll: Honestly speaking, I cannot imagine it, so far, but Annie Talavera: Yeah. Loree Driscoll: it will be terrible. Annie Talavera: Um. Loree Driscoll: Mm. Annie Talavera: And setting buttons hidden in. Annie Talavera: Mm, other remarks, or something, or. Something we didn't talk about yes yet, or. I think we are almost there. Uh maybe, how can we, if we have a soft thing, like this, and to open it we have to attach it somewhere, I dunno how to do that technically, or. Kim Karol: Mm-hmm. Annie Talavera: And how Loree Driscoll: Pof. Angel Brooks: We could use Velcro. Annie Talavera: Yeah, maybe. Angel Brooks: Or uh ma maybe a magnetic Kim Karol: Yes, yeah it's a good idea. Angel Brooks: thing. Kim Karol: Magnetic. Annie Talavera: Ma magnetic oh. Kim Karol: Mm. Yeah or a Yeah it can is it can be a plastic cover uh sticking to the to the all the stuff like uh with magnetic p uh magnetic uh magnetic uh materials in the border, so it's it sticks like refrigerator door, completely. Annie Talavera: Okay. Kim Karol: And when you try to open it, it will be opened easily. So you you can be sure that it will not be open while you're uh while while uh you are commonly using uh buttons on Annie Talavera: Okay. Kim Karol: the banana. Annie Talavera: And what would be the matter here of the first layer I mean? Mm. Likes. Soft plastic, or Angel Brooks: Yeah, I imagine some sort of vinyl Annie Talavera: Yeah, Angel Brooks: thing. Annie Talavera: yeah, yeah. Angel Brooks: In a in a sort of a with a suede sort of feel. Maybe. Loree Driscoll: Well since since the since the things like the like the screen and um how to say that, solar cell has to be has to be like kept kept in the shape, we cannot b uh So we need that the that the peeling uh I dunno but we should we should take care of these two two things. So, if if uh the solar cell won't be visible while the banana is closed, then the material must be able to put the light inside, you know. So that we can reach the energy out of it out of that. Angel Brooks: Mm. Kim Karol: Mm. Angel Brooks: So you're saying is it possible to have a solar cell and this removable cover Loree Driscoll: It is Angel Brooks: and Loree Driscoll: possible, but, well if Angel Brooks: And Loree Driscoll: it Angel Brooks: a and a banana. Kim Karol: Mm. Loree Driscoll: I dunno. I dunno how to how to do it if if t if to if it's better to put the solar cell to the t to the peeling or outside it, Annie Talavera: Hmm. Angel Brooks: Yeah. Loree Driscoll: or or inside. But then it must be some window there, Angel Brooks: Okay. Loree Driscoll: you know. Kim Karol: Mm. Annie Talavera: And something we forgot, maybe, uh about the speech recognition system, are we going to use it, or not? Kim Karol: Yes, I think. Angel Brooks: I think Kim Karol: I Angel Brooks: it's Kim Karol: think Angel Brooks: important. Kim Karol: so. Annie Talavera: It Angel Brooks: I think Annie Talavera: i Yeah, Angel Brooks: One Annie Talavera: it seems Angel Brooks: of our Annie Talavera: feasible, Angel Brooks: p Annie Talavera: and it Angel Brooks: priorities Annie Talavera: would be Angel Brooks: is Annie Talavera: something Angel Brooks: tech Annie Talavera: very Angel Brooks: technology. Annie Talavera: great. Kim Karol: Mm. Angel Brooks: And Annie Talavera: So we have the de design, the a good shape, Kim Karol: Mm-hmm. Annie Talavera: new and so on, and we have also the technology thing w will be. Angel Brooks: Mm-hmm. Annie Talavera: And Kim Karol: Mm. Annie Talavera: even the easy to use thing, so it will be perfect. Kim Karol: Mm. Annie Talavera: So Angel Brooks: Yeah. Annie Talavera: we add also Loree Driscoll: Yeah. Annie Talavera: the speech recognition device. Loree Driscoll: I agree. Annie Talavera: So, that great. We have decided everything. And think we are on a good way. So, um uh the next meeting will start in thirty minutes. Um, so uh the the Industrial Manager uh will uh will work on the look and feel design. The User Interface uh uh Mana uh Manager will work on the user interface device. And the Angel Brooks will do the first project evaluation. Angel Brooks: Okay. Annie Talavera: So, I hope you can do that in thirty minutes. And uh, yeah, I uh I think you should work together, s you uh Hamed and Peter, to work uh in a in a first prototype, and uh more about the shape and so on and how you can manage to put everything together. And um as usual you will receive some specific instructions on. So Loree Driscoll: Okay. Annie Talavera: thank you all everybody, and see you in thirty minutes. Angel Brooks: Okay. Thank Loree Driscoll: Okay. Angel Brooks: you. Kim Karol: Thank you.

Annie Talavera stated that the goal for the current meeting was to decide upon a concept for the remote the team is creating. Angel Brooks discussed his findings from trend watching reports. He found that current trends are such that a product must have a fancy look and feel, be technologically innovative, be easy to use, incorporate a fruit and vegetable motif, and must be spongy. Kim Karol discussed how to create an interface for a remote that is easy to use. Kim Karol discussed the placement of commonly used buttons, the overall shape of a remote, and how to hide less commonly used buttons. Loree Driscoll discussed various components and energy sources the remote could include. Loree Driscoll focused on the use of a TFT screen and the use of solar cells to supplement the energy from two regular batteries. The team then discussed and made decisions regarding the option to use solar cells, the specifications of an LCD screen, how to incorporate a fruit and vegetable motif into their design, and how to hide lesser used buttons.

amisum

train

Theresa Kelly: Oops. May Bloom: So, hello everyone. We're here to have a kick-off meeting for the design of a f for the beginning of new project um uh remote control for the design for a new remote control. I'm May Bloom Christa Pavlov and okay let's begin. So I'm first going to do an opening then we get used to one anothers and we speak about this tool we're going to design and try to make a project plan, some discussion and then we talk of uh the next meeting. So um we want to to do a new remote control. It has to be original, trendy and user friendly. Um I think the important points we have to t talk about are uh it's functional design, it's conceptual design, and desail detailed design. and for that we're going um all to work individually and then have meeting during the whole day. Um, so let's try the whiteboard. Adrian Gonzalez: Wow. May Bloom: Um so any of you who want to go. Theresa Kelly: Yeah, for favourite animals. It's not favourite one but the I can draw. And it's gonna be you'll try to guess. Adrian Gonzalez: Wow. May Bloom: Wow. Adrian Gonzalez: Complex. Huh? A cat. Audra May: No. Theresa Kelly: No. Adrian Gonzalez: No. Darn. Uh. May Bloom: A rabbit. Theresa Kelly: Yes, that's a rabbit. Adrian Gonzalez: A Theresa Kelly: That's Adrian Gonzalez: what? Theresa Kelly: my favourite May Bloom: A Theresa Kelly: one. May Bloom: rabbit. Adrian Gonzalez: A r Audra May: Rabbit. Adrian Gonzalez: a rabbit, oh oh yeah, where is the carrot? Okay Theresa Kelly: That's Adrian Gonzalez: mm-hmm. Theresa Kelly: it. May Bloom: You want to go? Adrian Gonzalez: I am not very good at Theresa Kelly: Hmm. Adrian Gonzalez: uh this kind of stuff. My favourite animal is Theresa Kelly: Wow. Audra May: You wa May Bloom: A human Adrian Gonzalez: Guess. May Bloom: ah. Adrian Gonzalez: A human, yay. It's a very complex animal Theresa Kelly: No. Adrian Gonzalez: and um yeah. Characteristics of this this animal is dangerous. May Bloom: Mm I think Audra May: Is May Bloom: you're Audra May: the white May Bloom: supposed to, yeah. Audra May: okay. May Bloom: Hmm. Audra May: I guess you can. Theresa Kelly: Wow. That's cobra. Adrian Gonzalez: of uh snake? Cobra? Exactly. Audra May: Yeah uh not really. Small cobra. Theresa Kelly: No, it just small cobra, yeah. Adrian Gonzalez: Uh-huh. May Bloom: Is that Theresa Kelly: It's May Bloom: a worm? Theresa Kelly: co c May Bloom: Or Theresa Kelly: quite recognisable. Adrian Gonzalez: What about you May Bloom: Uh yeah Christa Pavlov Adrian Gonzalez: uh Christa? Audra May: Chris. Theresa Kelly: Christa Christa. May Bloom: Mm. Adrian Gonzalez: A fish. Audra May: Mm. Theresa Kelly: Hmm. May Bloom: Smiling fish. Audra May: Smile fish. Adrian Gonzalez: A smiling fish. Mm-hmm. May Bloom: Mm-hmm. Theresa Kelly: Okay. Adrian Gonzalez: So, w whiteboard is working? Audra May: Yeah. May Bloom: Yeah. Adrian Gonzalez: Good. Next. May Bloom: Next. Let's talk about money. Adrian Gonzalez: Yeah, well. Theresa Kelly: According to the drawings. Adrian Gonzalez: Not Adrian Gonzalez. Audra May: Yeah, Theresa Kelly: Okay. Audra May: you're Adrian Gonzalez: So. May Bloom: So. Adrian Gonzalez: Twenty five Euro for a May Bloom: Yeah, Adrian Gonzalez: remote control. May Bloom: mm that's the price Audra May: Hmm. May Bloom: we want to that's Adrian Gonzalez: Okay. May Bloom: the aim for the price for the remote control. We aim to do this profit. Adrian Gonzalez: 'tis big number. Theresa Kelly: On the May Bloom: Yeah. Theresa Kelly: international market. May Bloom: Mm-hmm. Audra May: Yeah, we're to sell two million then. Theresa Kelly: Wow. Adrian Gonzalez: Mm-hmm. May Bloom: Mm for a production cost of mm twelve fifty Euros maximum. 'Kay. So any of you have experience in remote controls? Adrian Gonzalez: Uh Audra May: Mm Adrian Gonzalez: yes, Audra May: yeah. Adrian Gonzalez: we have plenty at home. In fact, my daughter likes l remote May Bloom: That Theresa Kelly: Mm. Adrian Gonzalez: controls. Theresa Kelly: To eat? Adrian Gonzalez: To eat? Yeah, mainly, and to break. May Bloom: So that could be a great um application. Remote controls children proof. Adrian Gonzalez: Mm-hmm. May Bloom: Mm Adrian Gonzalez: Yeah. May Bloom: mm-hmm. Adrian Gonzalez: Ye Theresa Kelly: Children Adrian Gonzalez: ye Theresa Kelly: proof. Adrian Gonzalez: yeah. Theresa Kelly: Hmm. Adrian Gonzalez: So she likes uh buttons Audra May: Yeah, May Bloom: Okay. Audra May: pret Adrian Gonzalez: which make click, so it has to click. May Bloom: So they have to be waterproof Adrian Gonzalez: It has May Bloom: maybe? Adrian Gonzalez: to be uh May Bloom: 'Cause Adrian Gonzalez: wha May Bloom: they Adrian Gonzalez: baby May Bloom: eat Adrian Gonzalez: proof May Bloom: she ate Adrian Gonzalez: yeah May Bloom: it. Adrian Gonzalez: but mainly it has to be very robust because May Bloom: Mm-hmm. Adrian Gonzalez: even if Audra May: Yeah. Adrian Gonzalez: she's not very tall she's uh high enough so that uh when she throw it away it's uh Audra May: Ah. Adrian Gonzalez: So it has to be very robust. Theresa Kelly: Okay, unbreakable. Adrian Gonzalez: Unbreakable, Theresa Kelly: Uh-huh. Adrian Gonzalez: yeah. Mm-hmm. May Bloom: Mm-hmm. Adrian Gonzalez: And uh it has to be nice looking, Audra May: Yeah. Adrian Gonzalez: colourful, May Bloom: Colourful, Adrian Gonzalez: maybe Theresa Kelly: Colourful? May Bloom: yeah mm. Theresa Kelly: That's not Adrian Gonzalez: colourful, Theresa Kelly: practical. Adrian Gonzalez: because Audra May: Yeah. Adrian Gonzalez: uh nobody has colourful May Bloom: No, that's Audra May: Yeah, it's May Bloom: a Adrian Gonzalez: remote May Bloom: good Audra May: always Adrian Gonzalez: control, May Bloom: idea. Adrian Gonzalez: they're Audra May: black Adrian Gonzalez: always black, Audra May: or Adrian Gonzalez: yeah, May Bloom: Mm Theresa Kelly: No. Audra May: yeah. May Bloom: mm-mm. Adrian Gonzalez: but this one could be I dunno, purple Theresa Kelly: But how May Bloom: Yeah. Theresa Kelly: gonna Adrian Gonzalez: or b Theresa Kelly: okay, just uh but it's uh monochrome it's Audra May: Yeah. Theresa Kelly: n it's not like Adrian Gonzalez: Yeah, yeah. May Bloom: No, Audra May: Yeah. May Bloom: because you think, Adrian Gonzalez: One colour. May Bloom: why Theresa Kelly: Otherwise May Bloom: not. Theresa Kelly: you will never find Audra May: Yeah. Theresa Kelly: it. Adrian Gonzalez: Yeah, Audra May: Yeah Adrian Gonzalez: yeah. Audra May: even we can change colours, no? Like the uh Adrian Gonzalez: Oh like the phones, Audra May: like the phones Adrian Gonzalez: yeah, Audra May: and these Adrian Gonzalez: it Audra May: things Theresa Kelly: Cool. Adrian Gonzalez: could change Audra May: we c Adrian Gonzalez: colours, May Bloom: Mm-hmm. Adrian Gonzalez: yeah. Audra May: yeah. At least for children like Theresa Kelly: Ch Audra May: one colour and. Adrian Gonzalez: Yeah. Good. May Bloom: Good idea. Audra May: And it should be really small and. May Bloom: Small also? Don't Audra May: Huh May Bloom: you think Audra May: not so big like May Bloom: No Audra May: yeah. May Bloom: uh, not too much buttons or Audra May: Yeah, not May Bloom: mm. Audra May: too much buttons and Adrian Gonzalez: Should it be, y you know these uh remote controls where um they are what they call a universal ret remote control May Bloom: Mm-hmm. Adrian Gonzalez: so y you can decide that now it's the remote control for the television, then it's the remote control for the Audra May: Uh. Adrian Gonzalez: the sound system, or Audra May: Yeah. Adrian Gonzalez: for your refrigerator whatever May Bloom: Yeah, Adrian Gonzalez: I dunno May Bloom: that's Adrian Gonzalez: if it's Or if we should have a targeted re remote control. May Bloom: Okay. So, Adrian Gonzalez: So May Bloom: I Adrian Gonzalez: colour, May Bloom: think Adrian Gonzalez: robustness, May Bloom: there's Adrian Gonzalez: easy to use, size, yeah, size matters, Audra May: Yeah. Adrian Gonzalez: yeah. Audra May: Colour, size, May Bloom: So Audra May: sh May Bloom: you you think it's better if small than bigger. Audra May: Yeah, Adrian Gonzalez: Mm. Audra May: maybe at least n not bigger than this I Theresa Kelly: Yeah, Audra May: guess. Theresa Kelly: but without any extremes like n not of this size, May Bloom: No, Theresa Kelly: not Audra May: Yeah May Bloom: not Theresa Kelly: too May Bloom: too Theresa Kelly: large. Audra May: yeah, May Bloom: small, Theresa Kelly: Okay. May Bloom: yeah. Adrian Gonzalez: Yeah. Audra May: at least it should hold in your hand n properly, like. May Bloom: Hmm. Theresa Kelly: Yeah, like a palm sized. Audra May: Yeah. Adrian Gonzalez: Mm. Theresa Kelly: Just to hold it. May Bloom: Okay. Adrian Gonzalez: But uh what would be different from this, from the others? I dunno if Audra May: Uh maybe we can change the colours that at least the frame. Adrian Gonzalez: Yeah, at Audra May: Mm. Adrian Gonzalez: least the colour Audra May: S Adrian Gonzalez: would Audra May: so Adrian Gonzalez: be different. Audra May: then it depends you are to May Bloom: Mm. Audra May: Mm I mean you c you can easily remove the frame. Adrian Gonzalez: I think one thing important for instance in this remote control if you remember when people use it they're they never find a good button in the right Audra May: Yeah, Adrian Gonzalez: place. May Bloom: Mm-hmm. Audra May: yeah. Adrian Gonzalez: For some reason they they Audra May: Yeah. Adrian Gonzalez: they click the off button when they want to use the Audra May: Yeah. Adrian Gonzalez: So there's a problem in the design of that kind of remote control somehow, May Bloom: Mm. Adrian Gonzalez: I May Bloom: So, Adrian Gonzalez: dunno. May Bloom: some kind of idea uh with um um cellular phone with a a screen that will tell you what Theresa Kelly: No, no May Bloom: no. Theresa Kelly: screens, it's too complex. May Bloom: Okay. Audra May: Mm. Adrian Gonzalez: Too expensive for twelve Euro? Audra May: Too expensive, Theresa Kelly: And n Audra May: yeah. Theresa Kelly: maybe May Bloom: And Theresa Kelly: not May Bloom: too expensive. Theresa Kelly: too expensive, well it's not my problem, but well Adrian Gonzalez: Ah. Theresa Kelly: okay. But no screens on remote controls. Adrian Gonzalez: Mm-hmm. May Bloom: Mm. Adrian Gonzalez: I thought it could be only a screen which would change depending on uh uh the use or even the user. So ma Theresa Kelly: Mm-hmm. Adrian Gonzalez: I prefer to have the off button at the top right, Audra May: Ye yeah. Adrian Gonzalez: so I would have my own design of the remote control because it's in fact just a a full touch Audra May: Hmm. Adrian Gonzalez: screen remote control, if you if you like. Audra May: I mean it Adrian Gonzalez: I don't Audra May: it's Adrian Gonzalez: know if Audra May: like Adrian Gonzalez: it makes sense, but May Bloom: Mm-mm. Audra May: it's like two types no? people are right handed or left handed so y because Adrian Gonzalez: Yeah, Audra May: I am left Adrian Gonzalez: for Audra May: handed Adrian Gonzalez: instance, Audra May: I use like Adrian Gonzalez: mm. Audra May: this, say if you're right handed you use Theresa Kelly: Mm-hmm, Audra May: like this or Theresa Kelly: mm-hmm. May Bloom: Mm-hmm. Adrian Gonzalez: Mm. Audra May: so May Bloom: Mm Audra May: tha May Bloom: mm mm. Audra May: your switch on and off should be May Bloom: So adaptable Audra May: on yeah. May Bloom: yeah Theresa Kelly: Adaptable. Adrian Gonzalez: Maybe, May Bloom: something Adrian Gonzalez: if if Theresa Kelly: Alright, Audra May: Mm Adrian Gonzalez: it's May Bloom: yeah. Adrian Gonzalez: possible, Theresa Kelly: good, Adrian Gonzalez: yeah. Theresa Kelly: so Audra May: huh. Theresa Kelly: how many actions do we need to implement in it? Audra May: Maybe Theresa Kelly: On Audra May: I think Theresa Kelly: off? Audra May: even we can keep two switches and then Adrian Gonzalez: Yeah. Audra May: we can uh only make one working. We can adapt only one switch, suppose here like we can make two switches and if I'm left-hander I use this switch to follow the main operations. Theresa Kelly: I mean if it's less than three uh then we can make it uh like a Audra May: Two. Adrian Gonzalez: Three buttons you mean? Theresa Kelly: like three May Bloom: Three Theresa Kelly: mental May Bloom: option. Theresa Kelly: states, Adrian Gonzalez: Ah. Theresa Kelly: yeah you know what I mean, we can just make it uh Audra May: Yeah. Yeah. May Bloom: Um. Theresa Kelly: controlled by a brain, huh? May Bloom: Mm-hmm. Adrian Gonzalez: Mm-hmm, yeah, May Bloom: Maybe Adrian Gonzalez: sure. May Bloom: if it's more, if there is a software inside that ask you three Theresa Kelly: Mm-hmm. May Bloom: Hmm. If it if we want a r universal remote control that we sa like we say before it may may need more than three mm three button, three mm possibilities, Theresa Kelly: Sh Adrian Gonzalez: Yeah, more than Theresa Kelly: sure, Adrian Gonzalez: three May Bloom: ye Adrian Gonzalez: actions Theresa Kelly: sure. Audra May: Mm Adrian Gonzalez: that Audra May: yeah. Adrian Gonzalez: you may May Bloom: yeah. Adrian Gonzalez: want to do at a given time. Audra May: Yeah. Theresa Kelly: But for standard actions you usually what do you do, you change channels, you adjust volume, and nothing else. Adrian Gonzalez: Yeah but for instance when you change channels you can have you can just go to the next one or go to Audra May: Mm. Adrian Gonzalez: channel twenty five. Audra May: Yeah. May Bloom: Mm. Adrian Gonzalez: And that's already more complex to go to channel twenty Theresa Kelly: Mm-hmm. Adrian Gonzalez: five. Theresa Kelly: You do this? Audra May: Yeah. Adrian Gonzalez: Uh no. Theresa Kelly: I usually just change channels. Adrian Gonzalez: Because I'm only using three or four channels but Audra May: Yeah. But they keep generally their t slash slash uh this thing and then the dash dash and then you can put May Bloom: Yeah. Audra May: yeah, May Bloom: I Audra May: you can only May Bloom: change Audra May: have one May Bloom: channel Audra May: bit. May Bloom: like this, m Audra May: Dash. May Bloom: uh I want to go to twenty five, and then to Adrian Gonzalez: And May Bloom: ten, Adrian Gonzalez: then back May Bloom: uh-huh Adrian Gonzalez: to the May Bloom: mm Adrian Gonzalez: one May Bloom: yeah. Adrian Gonzalez: I was before, May Bloom: Also Adrian Gonzalez: so there's May Bloom: we can be Theresa Kelly: Uh-huh. Adrian Gonzalez: whichever Audra May: Yeah May Bloom: here Audra May: you Adrian Gonzalez: it Audra May: can Adrian Gonzalez: was. Audra May: yeah. May Bloom: yeah, that would Theresa Kelly: Go May Bloom: be Theresa Kelly: back May Bloom: cool. Audra May: Yeah. Theresa Kelly: button Adrian Gonzalez: Yeah. Theresa Kelly: is Adrian Gonzalez: Uh Theresa Kelly: good. Adrian Gonzalez: uh we had that Theresa Kelly: I once Adrian Gonzalez: in Theresa Kelly: had Audra May: Yeah Adrian Gonzalez: in Audra May: yeah, the Theresa Kelly: it. Audra May: previous Adrian Gonzalez: other countries. Audra May: button is. May Bloom: Mm Adrian Gonzalez: Yeah May Bloom: yeah. Theresa Kelly: Mm-hmm. Adrian Gonzalez: e even the history Audra May: Uh, okay. Adrian Gonzalez: so you could like uh undo Theresa Kelly: History. Audra May: Oh uh. Adrian Gonzalez: previous of the previous. Then you can watch Audra May: Uh. Adrian Gonzalez: what your ah you could also record your Audra May: Yeah. Adrian Gonzalez: record your sequence of actions, that becomes more complex, but you could look at what uh the other people have used Audra May: Yeah yeah, Adrian Gonzalez: there Audra May: what the Adrian Gonzalez: or May Bloom: Mm-mm. Audra May: which channels Adrian Gonzalez: remote controls. Audra May: the viewer Adrian Gonzalez: Yeah maybe May Bloom: Okay. Adrian Gonzalez: it's a May Bloom: So I think we have full Adrian Gonzalez: Okay. May Bloom: of idea. Um we're going to meet again in thirty minutes and uh I want you to mm work on these ideas and try to make a uh the ones, make um to decide what what are the ones important and what are the one that we don't want. And um m maybe more in the technical parts what uh do we want to do. Um. So um your personal coach will send you some instruction for for this thirty minutes. Adrian Gonzalez: So what does M_E_ means? M_E_ the user requirements? Or that's uh that's for us? Theresa Kelly: Market Expert. Audra May: Marketing May Bloom: Mm. Adrian Gonzalez: Uh that's Adrian Gonzalez. Audra May: yeah. Adrian Gonzalez: Oh, of course yeah, the user requirement specifications, uh-huh, May Bloom: Mm-hmm. Adrian Gonzalez: yeah. Okay. May Bloom: Mm Adrian Gonzalez: I'll May Bloom: okay. Adrian Gonzalez: think of that. May Bloom: So. Adrian Gonzalez: So? May Bloom: I think that's all. Adrian Gonzalez: Meeting's over? Great. May Bloom: Yeah. Theresa Kelly: Okay. Audra May: Thank you. Adrian Gonzalez: Thank you. Theresa Kelly: Thank May Bloom: See Theresa Kelly: you everybody. May Bloom: you in thirty minutes.

May Bloom opened the meeting and introduced the upcoming project to the team members. The team members then participated in an exercise in which each team member drew his favorite animal and discussed why he liked the particular animal. After the drawing exercise, May Bloom discussed selling prices and production costs for the remote the team will design. May Bloom also indicated that the remote will be sold internationally and that two million remotes are expected to be sold. The team then discussed their experiences using remotes in the past and what features to consider implementing in the remote they will produce. The team members discussed child proof capabilities, color options, how to adapt a remote for left-handed users, a "go back" function, the size of a remote, buttons, and LCD screens. May Bloom closed the meeting and gave the team members their assignments and then one of the team members briefly went over his role on the team.

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Anna Gunter: So Blanche Ford: So Anna Gunter: I hope you're ready for this uh functional design meeting. Blanche Ford: Of course. Anna Gunter: Um so I will take the minutes you mm you three are going to do presentation. Um uh we want to know to at the end to know the new project's requirement so we need uh to know the the user uh needs that we want to fulfil to fulfil the from the technical part we want to know how it going to work and um third part uh I don't remember which is not very good. Ah of course how, to to design this uh this Blanche Ford: Nice stuff Anna Gunter: yeah. So um let's go for the three presentations, so first Blanche Ford: Who starts? Anna Gunter: um Marketing Blanche Ford: Oh. Ha. Anna Gunter: Expert. Blanche Ford: okay. Anna Gunter: So wait a minute. Blanche Ford: So Anna Gunter: Mm. Blanche Ford: I dunno if I can do that like this? Yeah? So it's being modified. Do you want yeah, open. Read only. I hope I saved it. So, Belinda Vangieson: Sammy Blanche Ford: um Belinda Vangieson: Benjo. Blanche Ford: yeah, Belinda Vangieson: I know this Blanche Ford: this Belinda Vangieson: name Blanche Ford: is Belinda Vangieson: uh Blanche Ford: my name. Anna Gunter: Sounds uh Belinda Vangieson: We. met Blanche Ford: So Belinda Vangieson: before. Blanche Ford: as you know, you I think you already know Blanche Ford, Sammy Benjo. I am the expert in marketing I want to tell you uh s want and uh like and dislike in remote controls, and I hope this is going to help you to to design it correctly. So next please. Uh-oh. Anna Gunter: Mm Amy Mosier: Yeah, it Anna Gunter: uh. Amy Mosier: is put F_ five. Anna Gunter: Hmm. Blanche Ford: Hmm. Amy Mosier: The full page presentation, Blanche Ford: Yeah maybe Amy Mosier: yep. Blanche Ford: in the full page because Belinda Vangieson: F_ Blanche Ford: i Anna Gunter: Okay. Belinda Vangieson: F_ five. Amy Mosier: Yeah. Blanche Ford: I spent Amy Mosier: Yep. Blanche Ford: lots of time doing this presentation, Anna Gunter: F_ five. Blanche Ford: so. Amy Mosier: Yeah. Blanche Ford: Uh-huh hmm okay. Anna Gunter: Mm-hmm. Mm. Blanche Ford: So basically uh what I suggest is that uh instead of deciding ourself what what could be and what should be a good uh remote control, let's ask people who are users of remote controls how they feel about w the current remote controls, what they like, what they don't like and um and what they do with them by the way because they are supposed to be useful. Don't forget about that. So we've we've conducted a a survey on on the use of uh remote controls and I'd like to show you some of the results we found on this survey. And next please. Yeah, so basically what we found was that uh there are several things that the user don't like in remote controls. First of all, they find it very ugly. Current remote controls as you know they're the same as this one uh they're not nice colour, not nice shape, I mean they're all the same, and they're not l good looking. Um what is interesting is that in fact it seems that they were people are ready to pay for nice and look and fancy looking uh remote control, so I think we should probably spend lots of time in and effort in that um. And the other thing is that uh the the current remote controls are not so easy to use and it it the the current uh facilities that they offer do not match what people really want to use their remote controls. For instance uh we see that uh they zap very often so I think this is a very uh important uh functionality that it should be easy for them to to zap uh in one way or another. And most of the buttons uh on uh current remote controls are not used, so I think we should design something where some of the buttons which are those that are used should be easier to see and use than others that only a couple of people are using. Um next please. Now people are very frustrated w with their remote controls and they for instance uh they don't even find it it's it's often lost somewhere in the in the in your home and nobody knows where it Amy Mosier: Yeah. Blanche Ford: is. Maybe Belinda Vangieson: Agree. Blanche Ford: if we have something where we Amy Mosier: Yeah. Blanche Ford: could ask the remote control please, where are you? Like Amy Mosier: Yeah. Blanche Ford: uh something to to like t I think phones. Some of the phones have some of this kind of s functionality. Uh of course phone you can always phone your phone but you can't phone Amy Mosier: You can Blanche Ford: your your Amy Mosier: you Blanche Ford: remote Anna Gunter: Why Blanche Ford: control. Anna Gunter: not? Amy Mosier: are. Blanche Ford: But why not? Yeah. And because of the fact that there are so many buttons in these remote controls that nobody use, in fact Amy Mosier: Hmm. Blanche Ford: they don't even know how to use them, so most of the the people say they they don't know how to they to use properly their r remote controls. And uh they are bad for R_S_I_ but uh I don't remember what is R_S_I_. So I think they are bad. Anna Gunter: Okay uh tha that's look Belinda Vangieson: R_S_I_ Anna Gunter: great. Belinda Vangieson: mm-hmm. Blanche Ford: Mm-hmm. Mm nobody has any idea about that? Well I'll Amy Mosier: Yeah, Blanche Ford: check uh Amy Mosier: it's Blanche Ford: with my Amy Mosier: electromagnetic waves or something Blanche Ford: Oh, Amy Mosier: kind of maybe Belinda Vangieson: No, Blanche Ford: okay, Amy Mosier: uh effect. Blanche Ford: I think Belinda Vangieson: I Blanche Ford: it's Belinda Vangieson: don't Blanche Ford: a technical Belinda Vangieson: think so. Blanche Ford: thing which Amy Mosier: Yeah, because infrared Blanche Ford: our Amy Mosier: uses some Blanche Ford: Okay. Anna Gunter: Mm-hmm. Amy Mosier: electromagnetic Anna Gunter: Okay. Amy Mosier: technology, Belinda Vangieson: Okay. Amy Mosier: and those Blanche Ford: So, Amy Mosier: waves Blanche Ford: it Amy Mosier: have high Blanche Ford: seems Belinda Vangieson: But twenty Blanche Ford: that Belinda Vangieson: six percent, do you know Blanche Ford: it's a Amy Mosier: Uh. Blanche Ford: lot of people for a Belinda Vangieson: Twenty Blanche Ford: concept Anna Gunter: Or something Blanche Ford: that we Anna Gunter: we Blanche Ford: don't Anna Gunter: don't Blanche Ford: know Anna Gunter: know. Belinda Vangieson: five. Blanche Ford: but Amy Mosier: Uh. Blanche Ford: we have to take this into account. Belinda Vangieson: Every fourth, you Anna Gunter: Mm-hmm. Belinda Vangieson: know. Amy Mosier: Yeah it's Belinda Vangieson: Every four Amy Mosier: People really Belinda Vangieson: some of us knows. Anna Gunter: Okay. Blanche Ford: So anyway Belinda Vangieson: One Blanche Ford: that's Belinda Vangieson: of Blanche Ford: for Belinda Vangieson: us Blanche Ford: what the biggest frustration uh of the user and um Amy Mosier: Yeah. Yeah. Blanche Ford: what else do I have? Next slide? Ah yeah. Belinda Vangieson: Mm-hmm. Blanche Ford: So we've listed a couple of uh Belinda Vangieson: Functions. Blanche Ford: s uh functions that may be uh used by u the user in the current uh available uh remote controls and uh well the tables look very nice to read but what is important is to understand that the power button is not used often because in general you use it only once per session, but it is very relevant. People want to have a power button. Channel selection is uh o often used very often used and indeed uh very relevant. Blanche Ford: Ah now I remember what is R_S_I_ it's repetitivity stress injury. We have to be careful with that word but Amy Mosier: Uh. Blanche Ford: uh anyway I continue my presentation so yeah, channel selection is um very important, very often used. Volume is not often used but people uh want to have control on volume and that makes sense of course. Blanche Ford: All of them. they're not often used and they are s more or less relevant. It seems that people find teletext teletext uh relevant, even if I personally never use it but seems that it's average relevant at least, so. Anna Gunter: I have been told that we uh don't consider teletext, that it's out of date now because of internet. Blanche Ford: I can tell you that uh in a l in a scale between one and ten relevant uh not relevant to relevant people scored a six on this, which is not as uh these these two one were had I think ten I think. Anna Gunter: Mm-hmm. Blanche Ford: But but if you compare with these ones, uh I think they scored a one or two. Not very Amy Mosier: Hmm. Blanche Ford: relevant, so if if there are good reason not to put teletext it's okay but just know that people find it somehow relevant. Anna Gunter: Mm-hmm Belinda Vangieson: Mm-hmm. Blanche Ford: That's for the main functions I think and uh then we can ask uh ourself uh what people don't have that may be useful. For instance I think net next slide. One of the thing the trend uh that uh you are probably aware of is the possibility the eventual possibility of having speech recognition in your remote control, so you wouldn't have to tap tap in your buttons but just tell your remote control or whatever you need you have what you want. So we've conducted a survey about uh whether people would like or not to have uh this kind of uh functionality in their remote control and as we can see it really depends on the age. Young people, probably because it's a buzz word, find it very relevant. And uh as the age goes up the the relevance goes down. Amy Mosier: Yeah. Blanche Ford: So now it really depends on the kind of uh targeting uh wha who are we targeting with this remote control? I think if we Amy Mosier: 'Cause Blanche Ford: are targeting young people then uh it's probably something we have to consider. If we are targeting you very old people this is something they really don't know why they this should be so Anna Gunter: Mm-mm. Blanche Ford: now this Anna Gunter: Okay. Blanche Ford: is of course, depends on that. And um I don't have any conclusion, I didn't have time the meeting was very tight, so that's basically my findings. And uh, if you have any question? Anna Gunter: Mm I think it's good, okay. You done a good Belinda Vangieson: I Blanche Ford: I can Belinda Vangieson: got Anna Gunter: review. Blanche Ford: go back. Belinda Vangieson: one question, Amy Mosier: you. Blanche Ford: Yeah one question, yeah? Belinda Vangieson: uh you are a Market Expert so Blanche Ford: I am. Belinda Vangieson: should we aim at the young people or not? Blanche Ford: I think we should aim at the young people. But uh I think they are they are those uh who might be more interested in a in a new device. Amy Mosier: Mm. Blanche Ford: In general the the early adopters of a new device are young people, less than Belinda Vangieson: Okay, Blanche Ford: more Amy Mosier: Mm. Blanche Ford: than Belinda Vangieson: then teletext is used less. Anna Gunter: Mm-hmm. Blanche Ford: Then teletext is useless for them I think, Belinda Vangieson: Okay. Blanche Ford: yeah. Because they they have other means of finding Belinda Vangieson: Mm-hmm. Blanche Ford: their Anna Gunter: Mm-hmm Blanche Ford: information. Belinda Vangieson: Mm-hmm. Anna Gunter: mm Blanche Ford: Yeah. Anna Gunter: mm. Okay. Blanche Ford: But Anna Gunter: That's good Blanche Ford: yeah. Amy Mosier: Mm, Anna Gunter: point. Belinda Vangieson: Mm. Amy Mosier: yep. Belinda Vangieson: Okay. Blanche Ford: Nope. 'Kay? Anna Gunter: Okay. Amy Mosier: Thank you. Anna Gunter: So um now I think it's the turn of the the I'm not sure um Anna Gunter: Of the technical function, so Blanche Ford: So Anna Gunter: uh Blanche Ford: I think it's you, Amy Mosier: Uh it's Blanche Ford: huh? No? Belinda Vangieson: That's Amy Mosier: techni Belinda Vangieson: Blanche Ford. Amy Mosier: function Anna Gunter: what effect Blanche Ford: No, Amy Mosier: of Blanche Ford: user requiremen Amy Mosier: Yeah. Anna Gunter: Okay. Wait a Amy Mosier: I Anna Gunter: second. Amy Mosier: have to do Anna Gunter: Argh. Amy Mosier: working design so uh. Anna Gunter: So Belinda Vangieson: That's Anna Gunter: you're Belinda Vangieson: but this but number three, yes. Mm-hmm. So, my name is Mark Dwight, and um I am responsible for User Interface Design. However, uh mm Project Manager asked Blanche Ford to give you some presentation about technical functions design. Uh, as I'm a more an artist that's gonna be less technical functions but more User Interface and current intentions and everything which is linked with this. So next Anna Gunter: Okay. Belinda Vangieson: slide please. Anna Gunter: Let's go. Belinda Vangieson: And uh a general method which is seems Amy Mosier: Mm. Belinda Vangieson: to be very useful for our task is not to forget about uh Occam razor. We should never complicate things too much. We should only make a remote control, nothing more. Nothing more than this, just a remote control. 'Cause current remote Blanche Ford: Makes sense. Belinda Vangieson: controls they are never easy enough to use. So, make a click, please. So here is this remote control. It's quite a standard one, but it's not from a T_V_, it's from a much easier device like air conditioning or something. But you know, we can use it for a T_V_ easily. Only buttons we need is on off, volume, channels and maybe some options or something else, and please make a click, compared to this one which Amy Mosier: It's Belinda Vangieson: one would you prefer? I guess Amy Mosier: Yeah, Belinda Vangieson: this. Blanche Ford: I would say Amy Mosier: yeah. Blanche Ford: the simplest one as long as there are the uh I find the buttons that I need every time I need a button. Belinda Vangieson: Sure, Amy Mosier: Yeah. Belinda Vangieson: sure. Amy Mosier: Maybe it can be yeah middle of like, Belinda Vangieson: Yeah, Amy Mosier: between those two li Belinda Vangieson: and our method is going to be, provide simple Anna Gunter: Oh sorry. Belinda Vangieson: simple desires into simple actions. Blanche Ford: Nice. Nice sentence. Belinda Vangieson: Findings. Anna Gunter: Okay. Oh sorry. Belinda Vangieson: Our question of the style, we should remember that our company puts fashion into electronics and we should never forget about it. Concept. Amy Mosier: S you Belinda Vangieson: Be Amy Mosier: should Belinda Vangieson: simple. Amy Mosier: yeah. Belinda Vangieson: Be simple and you'll lean on this market. Market is a of remote controls you know it better, Blanche Ford: Mm. Belinda Vangieson: it's very well, it's it's not an easy field to to play, you know? So be simple. For personal preferences I think that to make a baby-proof remote control it got to be a titanium. It's a really good style, it going to be look like like this. It is unbreakable and it is very universal. W we'll have a screen with a back light which can change colours, Blanche Ford: Mm-hmm. Belinda Vangieson: and we can put all the options into this screen. We'll need only few buttons. All the other things can be controlled through the screen. And all these buttons should be easy to find and to click, 'cause when you watch a movie and you want to change something, you always try to find a good button and click it, but you should do it by touching it and finding it easily just by touch. So Press I would propose this concept for design, just few buttons, Amy Mosier: Mm. Belinda Vangieson: a screen with a back light which can change colours, titanium I think, and uh what else? I got just very few and good ideas. We need power and volume. And let us include two nice features into this device, first, power on and off can be made fully automatic. When you go to the sofa, take your control and point it to the T_V_, Anna Gunter: It's Blanche Ford: Hmm. Anna Gunter: off. It's on. Belinda Vangieson: the T_V_ turns on. Blanche Ford: And when does it turn off? Belinda Vangieson: When you don't touch the control but you go out of the Blanche Ford: Oh Belinda Vangieson: For Blanche Ford: so you have a Belinda Vangieson: for enough time like uh you Blanche Ford: sensing sensor machine that uh Belinda Vangieson: It's Blanche Ford: knows Belinda Vangieson: a question to our technical Blanche Ford: Tech Belinda Vangieson: design, our two engineers. And another nice feature that I would like to implement is uh volume control. Suppose you set u you set up some volume and then you move out or you move to the other corner of the room and take your control with you. Like, you want to to change the chair or you want to move to the armchair from the sofa or Anna Gunter: Or you want to go to Belinda Vangieson: something, Anna Gunter: the kitchen. Belinda Vangieson: and then the volume changes. Blanche Ford: Mm-hmm. Belinda Vangieson: It's easy to do, you just control the Blanche Ford: According to your distance Amy Mosier: Distance. Blanche Ford: to Belinda Vangieson: According to the distance. Blanche Ford: and the angle maybe, if you have a Belinda Vangieson: Yeah Blanche Ford: stereo system. Belinda Vangieson: yeah yeah. Blanche Ford: Uh I'm Belinda Vangieson: So Blanche Ford: not sure about the screen, wha what is the use usefulness of the screen? Uh is it a touch screen by the way? Belinda Vangieson: I think it can be just a menu which can be controlled with a left, right, up, down and enter. Blanche Ford: So it gives Amy Mosier: Yeah. Blanche Ford: instructions but uh it has to be with an back light somehow. Belinda Vangieson: So, its main purpose in fact is a back light, Amy Mosier: Mm-hmm. Blanche Ford: Okay. Belinda Vangieson: which change colours, which makes it easier to find, and each can it can respond for your voice, like it can turn on the light for you just to f find it easily, yeah? Blanche Ford: Okay. Anna Gunter: Mm. Belinda Vangieson: So basically that's it. Anna Gunter: Um I see that you target uh several s application not only T_V_ but i like we talk about um universal uh remote control. Belinda Vangieson: Can be easily done, Anna Gunter: Yeah. Belinda Vangieson: 'cause you got simple designs, y we should put it to simple actions. Anna Gunter: Hmm. Belinda Vangieson: Let it be universal, so you want to use it for your hi-fi system. You want to change tracks and you want to adjust volume. Anna Gunter: Mm-hmm. Belinda Vangieson: Just Amy Mosier: Mm. Belinda Vangieson: few actions, a few actions for everything. Anna Gunter: Hmm. S Belinda Vangieson: All the rest, we sh we'll put it into this menu on the screen. Anna Gunter: Mm. Since we were targeting a really soon uh uh date for the the the um i issuing of this uh remote control I think we will only concentrate on T_V_ for the moment Amy Mosier: Mm. Anna Gunter: and Belinda Vangieson: Okay, okay. Amy Mosier: Yeah Anna Gunter: then Amy Mosier: and it Anna Gunter: maybe Amy Mosier: mm. Anna Gunter: m Belinda Vangieson: Okay, Anna Gunter: make Belinda Vangieson: but it's quite Anna Gunter: it Belinda Vangieson: universal Anna Gunter: more generalised Amy Mosier: Mm. Belinda Vangieson: you know. Anna Gunter: yeah. Belinda Vangieson: We can just extend it to any Amy Mosier: Mm. Belinda Vangieson: device. Blanche Ford: So for instance if I want to go to directly to channel twenty five, how would I do can I do that with this? Yeah mm let's say I am uh on channel eight now. You know these days we have hundreds of channels, that's not so Belinda Vangieson: Mm-hmm. Blanche Ford: easy to go just next next next when you have hundreds of channels. Belinda Vangieson: In fact Blanche Ford: Or is Belinda Vangieson: I would Blanche Ford: it? Belinda Vangieson: propose another solution. Basically you use just four or five channels, Blanche Ford: Most Belinda Vangieson: right? Blanche Ford: people yeah. Belinda Vangieson: Yeah. So uh set up your T_V_ set like channels that you use they're one, two, three and five, and you will never have to go to a twenty fives channel. Blanche Ford: In fact in in one uh remote control that I've seen, instead of doing that d you could just say these are the cha ch channel three, twenty eight, forty eight and uh sixty four are those that I want to by cycled with my next button. Anna Gunter: Yeah it's Blanche Ford: I uh Anna Gunter: it's the same Amy Mosier: Yeah. Anna Gunter: solution, I think. Blanche Ford: B yeah. Anna Gunter: Hmm. Amy Mosier: But even we can have some uh L_C_D_ display, like you can uh Blanche Ford: Go Amy Mosier: de Blanche Ford: to Amy Mosier: you Blanche Ford: channel Amy Mosier: can just Blanche Ford: twenty five. Amy Mosier: button the number and Blanche Ford: One Amy Mosier: then Blanche Ford: thing Amy Mosier: it Blanche Ford: is Amy Mosier: go Blanche Ford: that Amy Mosier: t Blanche Ford: as I said Amy Mosier: because Blanche Ford: in my presentation people really do like to z zap. So Amy Mosier: Yeah. Blanche Ford: even if they are only watching four or five channels, Belinda Vangieson: Mm-hmm. Blanche Ford: I think Amy Mosier: But Blanche Ford: they Amy Mosier: still Blanche Ford: want to zap out of the one hundred channels, Amy Mosier: Yeah. Blanche Ford: just because this is one kind of thing they do, Anna Gunter: Yeah Blanche Ford: zapping. Anna Gunter: uh on zap Amy Mosier: Yeah. Anna Gunter: it's only next next Blanche Ford: And it's Anna Gunter: next Blanche Ford: only Anna Gunter: next Blanche Ford: next. Amy Mosier: Yeah. Anna Gunter: next, Blanche Ford: Yeah Anna Gunter: yeah. Blanche Ford: so but Belinda Vangieson: Mm. Blanche Ford: you have to Anna Gunter: Mm-hmm. Belinda Vangieson: We got these buttons here. Blanche Ford: Okay. Belinda Vangieson: Next next. Amy Mosier: Yeah.. Belinda Vangieson: Or say this can be back. Amy Mosier: Yeah. But otherwise like we can put some display on numbers and then they can just press Blanche Ford: So Amy Mosier: suppose Blanche Ford: it would be Amy Mosier: two five they just press two and five and then Blanche Ford: Okay. Amy Mosier: Yeah. Anna Gunter: Maybe we can make uh different modes for each button and you Amy Mosier: Yeah. Anna Gunter: can change mode zapping Amy Mosier: Yeah, Anna Gunter: mode Amy Mosier: yeah. Anna Gunter: or Blanche Ford: Mm-hmm. Alright. Anna Gunter: uh current Amy Mosier: Yeah, Anna Gunter: chan Amy Mosier: yeah. Yeah Blanche Ford: Listening Amy Mosier: but since we are focusing Blanche Ford: more. Amy Mosier: only on T_V_ remote controls Anna Gunter: Yeah. Amy Mosier: so Blanche Ford: Mm-hmm. Amy Mosier: we can have more functions for T_V_ uh if you want to go for a universal then we ought to limit for functions for each of our devices. Anna Gunter: Mm-hmm. Blanche Ford: Okay. Belinda Vangieson: Could we carry out some research if we w really need this, like how many people really need to go to channel number twenty five and then to sixty four? Blanche Ford: Well I could could uh have a look at that Amy Mosier: Yeah. Yeah. Blanche Ford: maybe. Belinda Vangieson: Okay. Blanche Ford: I'll check in my department if there's someone specialist in that. Belinda Vangieson: Okay. Blanche Ford: Although I don't know. Anna Gunter: Okay. Belinda Vangieson: Alright? Thanks for your attention. Anna Gunter: Uh you're finish? Okay. So now the technical aspects of this new device. Mm. Amy Mosier: Two. Yeah, if Sorry. Anna Gunter: You prefer it. Amy Mosier: Yeah. Uh as you know, I am mister Ramaro. I am an expert in uh industrial design of all electronic devices and I previously devised many uh like digital calculators and electronic calculators. So now I'll briefly describe the working design of our remote control. Well, as you know the basic function of remote control is sending some message to the the device, like T_V_ or V_C_R_ or D_V_D_ player etcetera. So we will have a p portable device which will send message to the the main device like T_V_. So we need to have some energy source to do what to do the functions, what we want on this portable device. And usually this so to do these functions we need an interface, which basically some kind of pressing buttons or keys or like moving jack or something like that. And then these messages these key buttons can be transferred into some kind of message and then it will process by the chip and then it will generate some information to the main device. It's generally in the form of infrared or some kind of s sensor information. Then we will have the main control in the main device to do the particular action what we want. So, basically we need uh since we are focusing on our interface device remote control we need few components, mainly the energy source like the battery and then we have user interface like uh the keypad and you know buttons we want, and then we have some chip, it's mainly digital signal processing chip because since we are I am one doing mostly digital uh devices we ought to have some kind of processor which take care of all these functions and put it in some digital format. And then we'll have the infrared L_E_D_ source which sends the information to the main device. Then we'll have switch in our main uh um device to do particular operations, and we ought to do different codes for different T_V_s, so Anna Gunter: Mm-hmm. Amy Mosier: some T_V_s will have different encryption codes for doing s s uh channel changing Anna Gunter: Okay. Amy Mosier: and these things. Anna Gunter: To make it quite uh an universal uh device Amy Mosier: Yeah yeah, Anna Gunter: uh. Amy Mosier: because the people don't use one particular brand so Anna Gunter: Mm. Amy Mosier: or at least we have more more than five brands, which Anna Gunter: Okay. Amy Mosier: are really good. So we need to check their specifications and do their uh encryption that's passing information to the T_V_ device. So we need to have particular encryption codes. Anna Gunter: Okay. Amy Mosier: Then, components, so we have the main uh energy source and then we will have some buttons and then we will have infrared uh source and then we have some inside some chip in in the device. Uh since I don't have much time so I'll input the connections to all this components. And since I also want to know feedback from our Marketing Expert and User Anna Gunter: Mm-hmm. Amy Mosier: Interface, so if you want to add some more components we Anna Gunter: Mm-hmm. Amy Mosier: can Anna Gunter: And Amy Mosier: incorporate Anna Gunter: from from Amy Mosier: them. Anna Gunter: the discussion we had do you Amy Mosier: Yeah. Anna Gunter: can you make it on the whiteboard, or Amy Mosier: Yeah, Anna Gunter: mm. Amy Mosier: I'm sure, because since our User Interface speech recognition and also Marketing Anna Gunter: Mm-hmm. Amy Mosier: Expert for the speech recognition is really handy, Blanche Ford: Mm-hmm. Anna Gunter: Mm-hmm. Amy Mosier: so we can have another, like uh s simple speech recogniser on our D_S_B_ Anna Gunter: Mm. Amy Mosier: chip. Since we have some kind of uh energy this is our this normal battery, so this battery, once you s switch on it will take power and we can have some speech recognition and in our g generally small digital signal processing chip so that and we will put uh the small uh simple speech recogniser and Anna Gunter: On Amy Mosier: we can also train the speech recogniser for particular user so you just Anna Gunter: Uh train it, okay. Amy Mosier: yeah, Blanche Ford: Mm-hmm. Anna Gunter: Mm-hmm. Amy Mosier: so that we just use simple Belinda Vangieson: Too complex. Amy Mosier: recog no Blanche Ford: But Amy Mosier: but Blanche Ford: uh very Amy Mosier: but Blanche Ford: very good to sell. Amy Mosier: Yeah. No, even in even simple mobile device like any mobile brand you can have these voice dialers or Blanche Ford: Think Amy Mosier: these Blanche Ford: of Amy Mosier: things, Blanche Ford: a all Belinda Vangieson: Okay. Blanche Ford: these young Amy Mosier: yeah. Blanche Ford: people who would love to say that this remote control only works for them, Belinda Vangieson: Okay. Amy Mosier: Yeah. Blanche Ford: and ha ha you cannot use my remote control, because Anna Gunter: Mm. Blanche Ford: it's targeted Amy Mosier: Yeah. Blanche Ford: to Blanche Ford. Whatever. Anna Gunter: And what Amy Mosier: So Anna Gunter: about the price of this component? Amy Mosier: Uh maybe we can make uh Anna Gunter: It Amy Mosier: it Anna Gunter: mm Amy Mosier: in five Euros and Anna Gunter: okay. Amy Mosier: even Blanche Ford: Hmm. Amy Mosier: less Blanche Ford: Cheap. Amy Mosier: than that, because we want to have Blanche Ford: Millions. Amy Mosier: uh millions and Anna Gunter: Mm. Amy Mosier: in bulk, so we can make really simp Anna Gunter: Okay. Amy Mosier: and Blanche Ford: Cheap. Amy Mosier: we want to make really simple device because we have only very few words like like power, switch on Anna Gunter: Mm-hmm. Amy Mosier: or some like then we'll have something like this um we'll have volume and then we will have s particular channel, so users can Blanche Ford: The Amy Mosier: listen. Blanche Ford: user uh Anna Gunter: Mm-hmm. Blanche Ford: will just be able to say uh please can you uh pump up the vo pump up the volume or or it Amy Mosier: Ye Blanche Ford: will be something like volume, Amy Mosier: No, yeah, Blanche Ford: up, Amy Mosier: a Blanche Ford: down. Amy Mosier: user can use any kind of sender but they should have this prompt volume and Blanche Ford: Okay. Amy Mosier: then Anna Gunter: With a keywords and Amy Mosier: yeah Anna Gunter: yeah. Amy Mosier: volume and decrease or increase, so Blanche Ford: Okay. Amy Mosier: we try to only recognise those Blanche Ford: Couple Amy Mosier: words Blanche Ford: of words. Amy Mosier: and Anna Gunter: Mm-hmm mm. Amy Mosier: and because we can't really say user to say same wording then it become Anna Gunter: Mm-hmm. Amy Mosier: more mechanical and Blanche Ford: Okay. Amy Mosier: yeah. Anna Gunter: Okay. Belinda Vangieson: Um. Amy Mosier: And then we can have channel they can say, okay I want eight, because we don't know like users have different programmes, I mean they don't really follow same channels strict uh so we just want channel number, we don't want like B_B_C_ or C_N_N_ or something Blanche Ford: Of course Amy Mosier: else Anna Gunter: Okay. Blanche Ford: uh Amy Mosier: because Blanche Ford: it has to Amy Mosier: it Belinda Vangieson: Okay. Amy Mosier: will Blanche Ford: be Amy Mosier: be complicated so we'll have only these three uh main basic uh Blanche Ford: Okay. Amy Mosier: anyway volume is not really speech recognition problem, it's it it will be take care of our main Belinda Vangieson: No you know it's a conceptual Amy Mosier: mm. Belinda Vangieson: question, 'cause now I see th this the picture in front of my eyes like a user taking his remote control and shouting into it, volume up, volume Blanche Ford: But Belinda Vangieson: up, Blanche Ford: then I Belinda Vangieson: and Blanche Ford: think you Belinda Vangieson: and he's coming you know, he's really annoyed with this, Blanche Ford: you Belinda Vangieson: down, up, down. Blanche Ford: First of all I I think this is not uh functionality that it is going to be instead of using Anna Gunter: No, Blanche Ford: the buttons. Anna Gunter: in no not Blanche Ford: It's Anna Gunter: only Blanche Ford: on Anna Gunter: speech, Blanche Ford: top Anna Gunter: yeah. Blanche Ford: of using the button. Belinda Vangieson: Okay, for Anna Gunter: I Belinda Vangieson: this Anna Gunter: it's Belinda Vangieson: budget Anna Gunter: an option. Belinda Vangieson: like twelve Euros. Blanche Ford: Well, I dunno. Amy Mosier: Yeah actually we we can have one switch to like uh switch on, on and off, this processor and This really, suppose like here we have our main chip which controls power, volume and this part and this D_S_P_s. Belinda Vangieson: Mm-hmm. Amy Mosier: Again, this to have some interaction like suppose people use D_S_P_ then it particularly sends some information to the chip like in some form, like volume and like this key. So Belinda Vangieson: Okay.. Amy Mosier: it may not be like very expensive, because since we are only focusing on Blanche Ford: T_V_. Amy Mosier: T_V_ remote control so Anna Gunter: Okay. Belinda Vangieson: Mm-hmm, Amy Mosier: and we have Belinda Vangieson: mm-hmm. Amy Mosier: only few Anna Gunter: Sho Amy Mosier: things here Anna Gunter: to to train, okay. Amy Mosier: Yeah. Belinda Vangieson: Did you consider the r gest uh gesture recognition? Like, if I want to put volume up I like do mm I take my remote control do like something like Amy Mosier: Um Belinda Vangieson: roll 'em up Amy Mosier: uh Belinda Vangieson: or roll 'em down. Anna Gunter: Mm. Amy Mosier: uh this point we didn't consider because it's Blanche Ford: Very expensive, Amy Mosier: it's Blanche Ford: no? Amy Mosier: very expensive because v our target is only like Anna Gunter: And Amy Mosier: twelve Anna Gunter: well, Amy Mosier: point five Euros Anna Gunter: what Belinda Vangieson: Mm Anna Gunter: about Amy Mosier: and Belinda Vangieson: why? Anna Gunter: the idea of Belinda Vangieson: That's Anna Gunter: automatic Belinda Vangieson: just Anna Gunter: on off on Blanche Ford: And Anna Gunter: the Blanche Ford: volume Amy Mosier: Yeah, Blanche Ford: control. Amy Mosier: even automatic Anna Gunter: button, yeah. Amy Mosier: on off is also a bit problematic, because it different criteria for different people like so suppose people are really uh they just uh they don't touch the remote and mm y Blanche Ford: So but Amy Mosier: you don't Blanche Ford: uh Amy Mosier: know how much time you need to switch on or switch off and Blanche Ford: Sh should we target a a user personalised uh uh remote control? So in in a given room there might be more than one remote control. We would uh have each one Amy Mosier: Yay yeah. Blanche Ford: and uh with our own personal uh settings. Amy Mosier: Yeah that can be possible, especially for power settings, so user can say okay, suppose they're watching a tennis match or something then they can say okay Blanche Ford: Hmm. Amy Mosier: uh after one hour I Anna Gunter: Wouldn't that make Amy Mosier: They can Anna Gunter: uh Amy Mosier: make Anna Gunter: arguments? Blanche Ford: Yeah, of Anna Gunter: I Blanche Ford: course. Anna Gunter: want uh Blanche Ford: That's no problem, we will sell more. Amy Mosier: Yeah we can have Anna Gunter: And we Belinda Vangieson: We Anna Gunter: can Belinda Vangieson: got Anna Gunter: increase this Belinda Vangieson: a Anna Gunter: the strength Blanche Ford: Yeah exactly. Anna Gunter: y you can Belinda Vangieson: really Anna Gunter: buy Belinda Vangieson: good Market Anna Gunter: one Belinda Vangieson: Expert. Anna Gunter: with Amy Mosier: Yeah. Belinda Vangieson: Let's send more, let's sell more. Okay. Anna Gunter: Mm-hmm. Okay. You have mm something else to say? Amy Mosier: Uh, Anna Gunter: Uh. Amy Mosier: not very much, like Anna Gunter: No. Amy Mosier: yeah. Blanche Ford: Okay. Thanks. Anna Gunter: Okay, Amy Mosier: Thank you. Anna Gunter: thanks. Amy Mosier: Yep. Thank you. Anna Gunter: So Amy Mosier: Can you just yeah. Anna Gunter: mm mm I think, okay, we're just on time. Um mm mm. So, we're now going to l have the lunch break. Blanche Ford: Mm great. Anna Gunter: Then we will work again for thirty minutes individual work, and um we will uh meet again for the next meeting, and uh in this one want to to be more focused on the individual actions the um on the components so uh you will focus on the component Amy Mosier: Yeah Anna Gunter: concept Amy Mosier: yeah. Anna Gunter: um uh of course the Amy Mosier: Mark Anna Gunter: U_I_D_ Amy Mosier: will Anna Gunter: Mark will be uh focused on the user interface concept and uh our m Market Expert Sammy Benjo uh on the trend watching. So um of course like before specific instruction will be sent to you by your personal personal coach. Well I think that's all. And we have um maybe we have to we say, only for T_V_, not teletext? Uh I think automatic on off control uh it's not possible. Amy Mosier: Uh it's Blanche Ford: Difficult. Amy Mosier: in current price, Anna Gunter: Yeah, Amy Mosier: yeah. Anna Gunter: maybe in the next Amy Mosier: Yeah. Anna Gunter: uh step if we make it work um. Amy Mosier: But speech recogniser can be Anna Gunter: Yeah, Amy Mosier: possible. Anna Gunter: implemented. O okay, we Blanche Ford: Mm-hmm. Anna Gunter: can think about that. And um do you see something else? Blanche Ford: No. Belinda Vangieson: Uh, should it be equipped with the uh, with uh speakers? Blanche Ford: Speakers Belinda Vangieson: Like, Blanche Ford: in the remote Belinda Vangieson: you want Blanche Ford: cont Belinda Vangieson: to find it, you shout Blanche Ford: Oh yeah. Belinda Vangieson: control, Anna Gunter: Uh yeah that's Belinda Vangieson: and it answers is I'm here? Or Blanche Ford: It just beeps. That would be enough. Belinda Vangieson: Just beeps? Anna Gunter: Or maybe Blanche Ford: Something Anna Gunter: you Blanche Ford: very Anna Gunter: want Blanche Ford: cheap. Anna Gunter: to phone him. Blanche Ford: But that's Amy Mosier: Yeah Anna Gunter: Since Amy Mosier: yeah Blanche Ford: ex Anna Gunter: now Amy Mosier: yeah. Anna Gunter: all Blanche Ford: that's expensive. Anna Gunter: yeah? Blanche Ford: Uh. Amy Mosier: Yeah, especially Anna Gunter: Think Amy Mosier: the power, it really consumes because Anna Gunter: Uh-huh. Amy Mosier: it should be all the time on and Blanche Ford: Well I Anna Gunter: And uh Blanche Ford: I heard of devices where you just uh whistle them and Anna Gunter: And Blanche Ford: and they Anna Gunter: it's answered. Blanche Ford: because Amy Mosier: Yeah. Blanche Ford: of the the frequency they Amy Mosier: Yeah. Blanche Ford: they just Belinda Vangieson: I can't whistle. Blanche Ford: answer to that. Belinda Vangieson: No, Blanche Ford: You can't whistle. Belinda Vangieson: no, Blanche Ford: Uh-huh. Belinda Vangieson: I can't. Blanche Ford: Or a clap. Belinda Vangieson: Mm. Anna Gunter: Clap Blanche Ford: You can clap. Anna Gunter: clap Blanche Ford: Can you? Amy Mosier: Yeah. Anna Gunter: clap it's a good Blanche Ford: Clap is good. Anna Gunter: I Amy Mosier: Yeah. Anna Gunter: I think Blanche Ford: Tak Anna Gunter: it's universal. Blanche Ford: Just a Anna Gunter: What about Blanche Ford: suggestion. Belinda Vangieson: Okay. Anna Gunter: people without hand? Yeah. Blanche Ford: With only one hand? Amy Mosier: Yeah I think it's good. Blanche Ford: These are not our target Anna Gunter: Mm Blanche Ford: people. Anna Gunter: uh okay. Amy Mosier: But it's a good feature I guess yeah we need to Anna Gunter: Mm-hmm. Amy Mosier: think about more Anna Gunter: Okay. Amy Mosier: how to incorporate it. Belinda Vangieson: Just don't interfere with other devices like 'cause Blanche Ford: Mm-hmm. Belinda Vangieson: like all these people do that their lights are turning on with clapping. Blanche Ford: Oh Amy Mosier: Oh. Blanche Ford: that's e that already exists Belinda Vangieson: Yeah, Blanche Ford: okay Belinda Vangieson: I got it Blanche Ford: okay. Belinda Vangieson: at my home, Anna Gunter: Mm-hmm. Belinda Vangieson: like. Blanche Ford: Oh yeah, you do Belinda Vangieson: Oops. Blanche Ford: have. Wow. Amy Mosier: Ah Blanche Ford: You're Amy Mosier: it's Blanche Ford: trendy. Anna Gunter: Mm-hmm, so let's to think s Blanche Ford: Think about Anna Gunter: so Blanche Ford: it. Anna Gunter: that Blanche Ford: Yeah, Anna Gunter: yeah. I Blanche Ford: okay. Anna Gunter: think that could be in the component uh concept Amy Mosier: Yeah. Anna Gunter: uh. It yes. Blanche Ford: Okay. Anna Gunter: Okay. Blanche Ford: Good we're done? Anna Gunter: So, yeah Amy Mosier: Yeah. Anna Gunter: let's, Blanche Ford: Right, Anna Gunter: go Blanche Ford: thanks. Anna Gunter: to lunch. Amy Mosier: Thank you, thank you very much.

Anna Gunter opened the meeting and stated the agenda to the team members. Blanche Ford discussed the findings of a survey which indicated that current remotes are ugly, difficult to use, have a number of unused buttons, frustrate users when misplaced, and contribute to RSI. Blanche Ford also stated that young users like speech recognition and that users in general want buttons for power, channel selection, volume control, and a few lesser used settings. Belinda Vangieson presented existing remotes to exemplify the need for simpler designs, discussed the use of components such as titanium and a back-lit LCD screen, and discussed other features to consider such as color options. Amy Mosier discussed the interior workings of a remote and how to handle universal capability and speech recognition. After Anna Gunter's closing, Anna Gunter recapped some decisions and the team discussed how to handle the issue of locating a remote when misplaced.

amisum

train

Alexandra Engstrom: Mm. Pearl Gionet: So, Alexandra Engstrom: So, uh Pearl Gionet: Hi Alexandra Engstrom: now Pearl Gionet: Christa. Alexandra Engstrom: it's the Hi Sammy. It's the detail design meeting, so we're going last meeting. So um, first uh Mark and Rama are going to present uh the prototype. Uh then uh Sammy will propose some uh crite cr criteria to evaluate this prototype. Then, w we Pearl Gionet: Yes. Margo Bonds: Yes. Alexandra Engstrom: And then we going to do some finance Margo Bonds: And chocolate? Alexandra Engstrom: to see if uh it is uh feasible and uh at the end we will we will um evaluate ourself as a team And. that's all. Pearl Gionet: Mm. Alexandra Engstrom: Okay. So first, let's uh see the prototype. Antoinette Duffy: Yeah. Uh, here we our prototype model. Alexandra Engstrom: Okay. Margo Bonds: Mm-hmm. Alexandra Engstrom: And you Antoinette Duffy: Yeah. Alexandra Engstrom: have some slides then? Antoinette Duffy: Yeah, Margo Bonds: Yes, Antoinette Duffy: we Alexandra Engstrom: Yeah. Antoinette Duffy: have also some Alexandra Engstrom: Mm. Antoinette Duffy: slides. Margo Bonds: and place some Alexandra Engstrom: Okay. Margo Bonds: slides. Alexandra Engstrom: Uh so in which uh Antoinette Duffy: In Margo Bonds: Uh, participant three. Prototype. Antoinette Duffy: Yeah. Alexandra Engstrom: Mm okay. Mm. Antoinette Duffy: Five. Margo Bonds: Uh, so Antoinette Duffy: Him. Margo Bonds: this is our remote control. It's a r working prototype. You can use it now by switching all these buttons. So first, I present as we came to this perfect model, and Pearl Gionet: Yeah. Margo Bonds: then we'll give some technical specifications. Alexandra Engstrom: Mm-hmm. Margo Bonds: That's well, so that's that. Please, next slide. We analysed all the fruits and NASA, and uh made some Alexandra Engstrom: MASA? Margo Bonds: real good Yeah. If you can see this, and the stars are showing that. And um, Pearl Gionet: Mm-hmm. Margo Bonds: s society will accept that. For sure. And making some analysis of different fruits, we choose the ultimate form, ultimate colours, and uh ultimate smell of it. S please, next slide. But we still didn't want to go far from our titanium idea, 'cause it's the most of the moder the m the modern material we can p select. And it's practical. And it's still say it's for our needs, so please press something. And as I said, Alexandra Engstrom: Okay. Margo Bonds: it's perfect. Please Antoinette Duffy: Experience. Margo Bonds: press it. Antoinette Duffy: Explanat Margo Bonds: Everyone is f really uh really glad to obtain an Pearl Gionet: Such a nice Antoinette Duffy: See Margo Bonds: s Antoinette Duffy: this. Pearl Gionet: thing. Margo Bonds: such a r such a device. So you can touch it with your hands. Pearl Gionet: Can I? Ho-ho. Margo Bonds: Sure. Antoinette Duffy: You can Margo Bonds: Yes. Alexandra Engstrom: What do you say? Margo Bonds: N Pearl Gionet: It says Margo Bonds: You Pearl Gionet: I Margo Bonds: must Pearl Gionet: will Margo Bonds: say it. Pearl Gionet: uh Antoinette Duffy: Spongy. Pearl Gionet: I'll buy it. Margo Bonds: Yeah. Alexandra Engstrom: One day. Pearl Gionet: If I if I need Alexandra Engstrom: He Pearl Gionet: so. Hopefully my daughter will like it. Margo Bonds: Okay. Y and we got the answer. Uh, it Pearl Gionet: Yes, Margo Bonds: is, Pearl Gionet: of Margo Bonds: yes, Pearl Gionet: course. Of Margo Bonds: of course. Pearl Gionet: c course. Margo Bonds: please next slide. Um, this is a prototype. You can have a look at it, and Pearl Gionet: Ah. Margo Bonds: That's all I wanted to say. Now Antoinette Duffy: Hmm. Margo Bonds: it's technical specification by our colleague. Alexandra Engstrom: Hmm. Antoinette Duffy: So Pearl Gionet: Oh, there is a button missing. Okay Antoinette Duffy: Yeah. This this is really flexible. You can add your Pearl Gionet: It's. Antoinette Duffy: buttons. Pearl Gionet: in option. Antoinette Duffy: Yeah. So function, mm Alexandra Engstrom: Mm-hmm. Antoinette Duffy: So, as we discussed, we to switch on switch off whenever we want And so, we have buttons and using L_C_D_, or like you can use this jog wheel and select which ever option on the L_C_D_, and then do on and off. Then you ha you'll have volume control. So, you you can press these buttons to increase or decrease the volume. And we have some L_C_D_ controls. Like, m switching the L_C_D_ display if you want to use L_C_D_, or you don't want you can just use Alexandra Engstrom: Mm-hmm. Antoinette Duffy: normal button. And we have speech recognition. Here you have microphone, and then Pearl Gionet: Hmm. Antoinette Duffy: it date records your voice, and then it try to recognise. And it can also do the action. And location finder. And we want to do the location basically using speech recogniser. Pearl Gionet: Mm-hmm. Antoinette Duffy: You can just say, where is my remote control. Or uh, you can just give some nickname to your remote control, Pearl Gionet: Hey, Antoinette Duffy: like Bobby. Pearl Gionet: babe. Alexandra Engstrom: Bobby. Antoinette Duffy: And then, Pearl Gionet: Bob. Antoinette Duffy: it will say hi. Pearl Gionet: Hey Bob. Antoinette Duffy: Yeah, Pearl Gionet: Okay, Antoinette Duffy: hi, and then Alexandra Engstrom: Mm-hmm. Antoinette Duffy: you can Pearl Gionet: that's good. Antoinette Duffy: use Alexandra Engstrom: Hmm. Antoinette Duffy: it. Alexandra Engstrom: 'Kay. Antoinette Duffy: So, um our team is now fruits. Mainly strawberry. So, you can have Pearl Gionet: Oh, these are strawberries. Antoinette Duffy: And then you can see the look L_C_D_ and all the switches. Alexandra Engstrom: Are colourful. Yeah. Antoinette Duffy: Material, we want to stick to titanium. We will send, we want Pearl Gionet: Fruit Antoinette Duffy: to Pearl Gionet: smelling spongy titanium. I didn't know it exist, but that's great. Antoinette Duffy: Yeah, or s So, we want to have simple and perfect shapes, like I shown in these phones. You can have your own designs and and you can feel simple designs. And you can choose colours Pearl Gionet: Ha. Antoinette Duffy: on your day for each Alexandra Engstrom: Ho-ho. Antoinette Duffy: day, or even many colours. Pearl Gionet: You mean we Alexandra Engstrom: That's Pearl Gionet: can Alexandra Engstrom: for Pearl Gionet: change Alexandra Engstrom: the Pearl Gionet: the colour Alexandra Engstrom: L_C_D_ Pearl Gionet: uh Alexandra Engstrom: or Pearl Gionet: of Alexandra Engstrom: for Pearl Gionet: th Alexandra Engstrom: the titanium? Antoinette Duffy: For Pearl Gionet: Yeah. Antoinette Duffy: the L_C_D_. Pearl Gionet: Yeah okay, for the L_C_D_. Antoinette Duffy: With titanium it's Pearl Gionet: Tit titanium Antoinette Duffy: it is Pearl Gionet: is Antoinette Duffy: silver. Margo Bonds: We are still working Alexandra Engstrom: Mm-mm. Margo Bonds: on titanium. Antoinette Duffy: Yeah. Pearl Gionet: Uh, okay. Margo Bonds: So, Antoinette Duffy: Mm, yeah. Margo Bonds: r we'll start with L_C_D_. You can ask Bob. It's Antoinette Duffy: Yeah. Margo Bonds: Tuesday. Pearl Gionet: Yeah, Bob, please. Alexandra Engstrom: Hey, you know you're theme today. Pearl Gionet: Tuesday colour. Antoinette Duffy: Yeah. Even you Pearl Gionet: Okay. Antoinette Duffy: can configure your colours for its the Alexandra Engstrom: Hmm. Antoinette Duffy: depending on Pearl Gionet: Mm-hmm. Antoinette Duffy: your mood, or s Pearl Gionet: Black for Sunday. Antoinette Duffy: And you can have many colours on weekends. Or Alexandra Engstrom: And w wait, wh what are the strawberries for? Pearl Gionet: On the L_C_D_? Antoinette Duffy: Huh? Alexandra Engstrom: Wh Pearl Gionet: Oh. Alexandra Engstrom: wh Antoinette Duffy: Ah, these are like sensors. Alexandra Engstrom: Mm-hmm. Pearl Gionet: Of course. What do you think? Margo Bonds: That's location Pearl Gionet: Strawberry Margo Bonds: sensors. Pearl Gionet: sensors. Very useful. Alexandra Engstrom: Okay. Strawberries. Antoinette Duffy: So, after this meeting we'll propose a party for our success Alexandra Engstrom: Ah. Antoinette Duffy: for Pearl Gionet: Lounge meeting. Antoinette Duffy: So, if you are vegetarian or you have any options, please let us know. Margo Bonds: Yeah, and we can just some strawberry Antoinette Duffy: Yeah. Margo Bonds: first. Um Pearl Gionet: Alright. Good. Alexandra Engstrom: Okay. Margo Bonds: Oops. Antoinette Duffy: S Alexandra Engstrom: Mm-hmm. Pearl Gionet: So, huh. Interesting. Antoinette Duffy: So, any specific Pearl Gionet: In Antoinette Duffy: questions Pearl Gionet: interesting. Antoinette Duffy: for Pearl Gionet: Mm mm. Alexandra Engstrom: Uh we'll see in the financial part if uh Pearl Gionet: It Alexandra Engstrom: all Antoinette Duffy: Yeah. Pearl Gionet: makes sense. Alexandra Engstrom: gets into Margo Bonds: Let's make a party first maybe. Antoinette Duffy: Yeah. Then we can discuss We Alexandra Engstrom: W Antoinette Duffy: can Alexandra Engstrom: Who is the five uh fifty millions we first make a party in? Pearl Gionet: So Antoinette Duffy: Yeah, then Pearl Gionet: uh, Antoinette Duffy: we can Pearl Gionet: this Antoinette Duffy: have Pearl Gionet: is Antoinette Duffy: how much for how money is left. Alexandra Engstrom: Mm-hmm. Pearl Gionet: What a design. Alexandra Engstrom: Okay. Uh, so Pearl Gionet: It's Alexandra Engstrom: Let's Pearl Gionet: my turn. Alexandra Engstrom: uh, yeah, let's see if Pearl Gionet: Mm-hmm. Alexandra Engstrom: uh th it's Pearl Gionet: Let's Alexandra Engstrom: meet Pearl Gionet: see if Alexandra Engstrom: the Pearl Gionet: this Alexandra Engstrom: evaluation criterium. Antoinette Duffy: Yeah. Pearl Gionet: Yeah, if you meet the evaluation criterion. Alexandra Engstrom: Oops. Antoinette Duffy: Fudge. Pearl Gionet: Yeah. So, evaluation please. So. You made a very nice prototype, and um, I think, we now need altogether to try to evaluate it to see if it makes sense to do it, if it fulfils our what we want to do, and things like that. So mm Uh, next slide, please. As you know, before going and uh creating and producing these strawberry uh Antoinette Duffy: Yeah. Pearl Gionet: remote control, it's very important to first verify if it makes sense, if we have a chance to sell it. Uh, so we need to evaluate it um, try to do it in a constative way, and as much as we can. To so what I propose is that we are going to to have this scale from one to seven. One meaning that, ye yes uh it fulfils uh the the criterion, whatever it is. And seven meaning, no it doesn't fulfil at all. And we're all l going to list all the criterion. I'm going to go to that next slide, Alexandra Engstrom: Okay. Pearl Gionet: and together try to evaluate this according to this criterion and from one to seven. And then we are just going to have an average, which will give us the value of our uh remote control. So, maybe we can have a look at the criteria? Antoinette Duffy: Fancy. Pearl Gionet: So these are the criterion uh I'm I thought were important. Of course, this can be discussed, but let's let's see, so let's vote. So we have fancy here and we have the scale Alexandra Engstrom: Mm-hmm. Pearl Gionet: from one to seven with four in the middle. So, Antoinette Duffy: Huh. Yeah, what's is Pearl Gionet: what Antoinette Duffy: really Pearl Gionet: do you think, is it fancy? Antoinette Duffy: Uh, it's really Alexandra Engstrom: Uh, I think that fancy, we can say it is fancy. Pearl Gionet: It is very very fancy. Or have you ever seen something like that? Alexandra Engstrom: Oh. I am not the d the only one Pearl Gionet: Yeah, Alexandra Engstrom: choosing, Pearl Gionet: of course. Alexandra Engstrom: yeah. Pearl Gionet: What Alexandra Engstrom: Uh Pearl Gionet: do you Alexandra Engstrom: what Pearl Gionet: think? Alexandra Engstrom: do you think? Margo Bonds: Feel Pearl Gionet: Is it Margo Bonds: the weight. Pearl Gionet: The weight is later. Antoinette Duffy: Yeah. Oh. Margo Bonds: Really. Alexandra Engstrom: Uh-huh. Pearl Gionet: Now we're Margo Bonds: Okay. Pearl Gionet: We're on the fanciness now. I think it's quite fancy. Antoinette Duffy: Yeah, yeah. Pearl Gionet: It's Antoinette Duffy: We Pearl Gionet: uh Antoinette Duffy: can Alexandra Engstrom: Yeah. Antoinette Duffy: give at least Alexandra Engstrom: Yeah. Antoinette Duffy: five or Pearl Gionet: Yeah, Antoinette Duffy: six, Pearl Gionet: so Antoinette Duffy: seven. Pearl Gionet: No it's it's Alexandra Engstrom: It's Pearl Gionet: one. Alexandra Engstrom: in the other. Yeah. Pearl Gionet: Yeah, Antoinette Duffy: Oh, Pearl Gionet: o Antoinette Duffy: Oh. So Pearl Gionet: one means it's, Antoinette Duffy: Oh, Pearl Gionet: yes, Antoinette Duffy: okay. Pearl Gionet: a very Alexandra Engstrom: Mm. Pearl Gionet: fancy Antoinette Duffy: Yeah, Pearl Gionet: and Antoinette Duffy: okay. Pearl Gionet: seven mean no at Antoinette Duffy: Oh, okay. Pearl Gionet: all. Antoinette Duffy: So Pearl Gionet: So it's one or two. What Alexandra Engstrom: Two. Pearl Gionet: do Antoinette Duffy: M Pearl Gionet: you think? Antoinette Duffy: maybe Alexandra Engstrom: Let's Pearl Gionet: Two? Alexandra Engstrom: say Antoinette Duffy: two. Alexandra Engstrom: two, yeah. Pearl Gionet: Okay. Margo Bonds: Two. Two. Pearl Gionet: So here, two. Up. Then we have Antoinette Duffy: Technology. Pearl Gionet: uh technology. Antoinette Duffy: Yeah. Um Pearl Gionet: So, what about technology? We have uh we have speech recognition, we have location based, Antoinette Duffy: And Pearl Gionet: we Antoinette Duffy: we have L_C_D_. Pearl Gionet: have L_C_D_. Antoinette Duffy: So Alexandra Engstrom: Change Antoinette Duffy: you Alexandra Engstrom: colour of Pearl Gionet: Change Alexandra Engstrom: t Antoinette Duffy: change Pearl Gionet: colour, Antoinette Duffy: colours. Pearl Gionet: I mean that's very Antoinette Duffy: Useful. Alexandra Engstrom: Yeah, Pearl Gionet: Quite Alexandra Engstrom: I think it's Pearl Gionet: d Margo Bonds: Yeah, Pearl Gionet: I Alexandra Engstrom: a Pearl Gionet: think Margo Bonds: yeah, Pearl Gionet: it's Margo Bonds: yeah. Pearl Gionet: a one for that, Alexandra Engstrom: Yeah. Pearl Gionet: at Antoinette Duffy: Yeah, Margo Bonds: Yeah. Alexandra Engstrom: Yeah. Pearl Gionet: least. Antoinette Duffy: yeah. Margo Bonds: Uh Antoinette Duffy: It's Pearl Gionet: At Antoinette Duffy: silly. Pearl Gionet: least a one, yeah. Alexandra Engstrom: Mm-mm. Pearl Gionet: Robustness, Antoinette Duffy: Uh, Pearl Gionet: uh-huh. Antoinette Duffy: still we need to cha Pearl Gionet: So let's suppose my daughter take it and um Alexandra Engstrom: Um Pearl Gionet: and through it away. Do you think it makes sense that it's going to live again? Uh, Alexandra Engstrom: The Pearl Gionet: maybe Alexandra Engstrom: strawberries Antoinette Duffy: Yeah, Pearl Gionet: not the prototype. Antoinette Duffy: it Alexandra Engstrom: Oh. Pearl Gionet: Let's try. Oh my god. Antoinette Duffy: Maybe strawberry. Pearl Gionet: Okay, we just lost one strawberry. Margo Bonds: No. Pearl Gionet: So Antoinette Duffy: Oh. Margo Bonds: No. Pearl Gionet: Not at all? Margo Bonds: How can I say this. Antoinette Duffy: Yeah, we can easily Margo Bonds: It's still Antoinette Duffy: plug it. Margo Bonds: it's still working, and Pearl Gionet: It Margo Bonds: your Pearl Gionet: is Margo Bonds: daughter got a bonus. Pearl Gionet: Yeah. Margo Bonds: A strawberry. Pearl Gionet: Yeah. So it's not so bad. Alexandra Engstrom: Mm-mm. Pearl Gionet: I Antoinette Duffy: Yeah, Pearl Gionet: um Antoinette Duffy: yeah. Pearl Gionet: uh I would say three. Alexandra Engstrom: Yeah. But it's Antoinette Duffy: Yeah. Pearl Gionet: Yeah, Alexandra Engstrom: too. Pearl Gionet: that does Alexandra Engstrom: It's Pearl Gionet: make Alexandra Engstrom: um Pearl Gionet: sense, yeah? Alexandra Engstrom: robust, yeah. Antoinette Duffy: Useful? Pearl Gionet: Useful. Well, so the question is does it have uh the minimum requirement of re remote control? Antoinette Duffy: Yeah, Pearl Gionet: So I don't know. These buttons are uh Alexandra Engstrom: Oh, Pearl Gionet: It Alexandra Engstrom: yeah, Pearl Gionet: not Alexandra Engstrom: lets Pearl Gionet: clear. Alexandra Engstrom: Pearl Gionet try. Pearl Gionet: But you have at least uh Alexandra Engstrom: Yeah. Antoinette Duffy: Yeah. Pearl Gionet: next Alexandra Engstrom: What Pearl Gionet: produce. Alexandra Engstrom: is uh next, Antoinette Duffy: Yeah, channel. Alexandra Engstrom: please? Antoinette Duffy: I this is volume control and channel changes. Pearl Gionet: Uh, it depends Antoinette Duffy: These Pearl Gionet: on Antoinette Duffy: are Pearl Gionet: the Antoinette Duffy: the main Pearl Gionet: Okay. Alexandra Engstrom: And you can uh do di Antoinette Duffy: You Alexandra Engstrom: two sites? Antoinette Duffy: Yeah. Alexandra Engstrom: Yeah. Antoinette Duffy: Yeah, and you can do on L_C_D_ using these Alexandra Engstrom: Okay, Antoinette Duffy: going Alexandra Engstrom: also. Antoinette Duffy: to scrolling all the option. Pearl Gionet: So Antoinette Duffy: So Pearl Gionet: but, Antoinette Duffy: if Pearl Gionet: for Antoinette Duffy: you Pearl Gionet: instance, Antoinette Duffy: don't want Pearl Gionet: because the L_C_D_ is not uh touch control, touch screen, Antoinette Duffy: Yeah, um Pearl Gionet: you Antoinette Duffy: yeah. Pearl Gionet: cannot go to channel twenty five directly. Alexandra Engstrom: You can, Antoinette Duffy: Yeah. Margo Bonds: You Alexandra Engstrom: by Margo Bonds: can. Alexandra Engstrom: using the Pearl Gionet: Directly. Margo Bonds: You go you So, Alexandra Engstrom: You Margo Bonds: the Alexandra Engstrom: c Margo Bonds: basic Alexandra Engstrom: push Margo Bonds: mode Alexandra Engstrom: here the the Margo Bonds: Yeah. Alexandra Engstrom: yeah. Margo Bonds: So that's simple. The basic mode is uh you got just two buttons Pearl Gionet: Yeah. Margo Bonds: and a jog dial. With Pearl Gionet: Oh, Margo Bonds: two buttons, Pearl Gionet: it's a jog Margo Bonds: you Pearl Gionet: dial, Margo Bonds: do this Pearl Gionet: okay. Margo Bonds: like uh volume up, volume down. Pearl Gionet: Uh-huh. Antoinette Duffy: And Margo Bonds: Or Antoinette Duffy: channel. Margo Bonds: if you go to the site, it's channel up channel down. Pearl Gionet: Okay. Margo Bonds: And if you want to make to s twenty-five, you push on this. Pearl Gionet: Yeah. Antoinette Duffy: You can select. Margo Bonds: You select twenty, you select five. Pearl Gionet: Okay. Margo Bonds: That's it. Antoinette Duffy: Yeah mm. Pearl Gionet: It's much longer than Margo Bonds: No. Pearl Gionet: that that being two two five, no? Don't you think so? we can go. That's uh You're right. Antoinette Duffy: Yeah, yeah, yeah. Y you need Pearl Gionet: That's Antoinette Duffy: to like Pearl Gionet: it's Antoinette Duffy: press Pearl Gionet: less Antoinette Duffy: two and Pearl Gionet: uh Antoinette Duffy: five and Pearl Gionet: Yeah. Antoinette Duffy: Yeah. Pearl Gionet: But it's it's nice, because people anyway don't go there. But Antoinette Duffy: Yeah, yeah. Yeah mm. Pearl Gionet: So what do you think for it, usefulness? Antoinette Duffy: So, Pearl Gionet: Seems Antoinette Duffy: d Pearl Gionet: to be useful. Antoinette Duffy: Yeah, we need to address we want we only address two main functions here and the other functions will be on L_C_D_. So Alexandra Engstrom: Let Pearl Gionet understand Antoinette Duffy: so Alexandra Engstrom: well, because I'm not sure that's for that Pearl Gionet: Both. Alexandra Engstrom: this one are b d uh two dir directional Pearl Gionet: Yeah. Alexandra Engstrom: button. Yeah, Margo Bonds: Yeah. Alexandra Engstrom: two Pearl Gionet: Yeah. Antoinette Duffy: Yeah. Margo Bonds: Yeah. Pearl Gionet: Up Alexandra Engstrom: Yeah. Pearl Gionet: down Antoinette Duffy: Yeah. Pearl Gionet: or left Antoinette Duffy: Up. Pearl Gionet: right. Alexandra Engstrom: Yeah. Pearl Gionet: Yeah. Alexandra Engstrom: And which what is that? Pearl Gionet: That Margo Bonds: It's a jog Antoinette Duffy: This Margo Bonds: dial Antoinette Duffy: is Margo Bonds: for controlling Antoinette Duffy: jog wheel. Margo Bonds: the cursor on Alexandra Engstrom: Okay, Margo Bonds: the L_C_D_ Alexandra Engstrom: okay. Margo Bonds: screen. Antoinette Duffy: Yeah. Alexandra Engstrom: It's Margo Bonds: Like, Alexandra Engstrom: a kind Margo Bonds: selecting Alexandra Engstrom: Oh, okay Margo Bonds: the Antoinette Duffy: Um, Margo Bonds: menus. Alexandra Engstrom: okay. Antoinette Duffy: see in Pearl Gionet: Cool. Antoinette Duffy: L_C_D_, like you will have blocks and you Alexandra Engstrom: Oh Antoinette Duffy: select Alexandra Engstrom: oh Antoinette Duffy: which Alexandra Engstrom: okay, Antoinette Duffy: one. Alexandra Engstrom: great. Pearl Gionet: I would say then uh Alexandra Engstrom: Now it's looks us useful. Pearl Gionet: Two or three? Antoinette Duffy: Yeah. Alexandra Engstrom: Yeah. Pearl Gionet: Two or Antoinette Duffy: Yeah. Pearl Gionet: three? Antoinette Duffy: Two, Pearl Gionet: Two. Okay, Alexandra Engstrom: Yeah. Pearl Gionet: two. Antoinette Duffy: maybe. Pearl Gionet: So size and weight. Antoinette Duffy: Yeah, yeah. Pearl Gionet: Is it the the the effective size and weight that the Is it uh real size, real weight? Or Antoinette Duffy: Yeah, Pearl Gionet: Because Antoinette Duffy: it's Pearl Gionet: it Antoinette Duffy: size al almost Pearl Gionet: Size is going to be that, Antoinette Duffy: Yeah, Pearl Gionet: yeah? Antoinette Duffy: because it is Pearl Gionet: Uh, and and Antoinette Duffy: The weight will be bit lighter. We will s Margo Bonds: Sure, without Antoinette Duffy: We use Alexandra Engstrom: Mm-mm. Antoinette Duffy: titanium. Margo Bonds: titanium Antoinette Duffy: Yeah. Margo Bonds: alloy, it's going to be light. Antoinette Duffy: Yeah. Pearl Gionet: It's going to be lighter, because Antoinette Duffy: Yeah. Margo Bonds: Of Pearl Gionet: this Margo Bonds: course. Pearl Gionet: seems to be very heavy Antoinette Duffy: Heavy. Pearl Gionet: f I mean, Antoinette Duffy: Yeah. Pearl Gionet: for my daughter, for instance. Alexandra Engstrom: Mm-hmm. Antoinette Duffy: Yeah. Pearl Gionet: Not sure if uh she can use it. Antoinette Duffy: But sides uh, the Pearl Gionet: So, Antoinette Duffy: sides should be okay. Yeah Pearl Gionet: should be okay. Antoinette Duffy: mm. Pearl Gionet: Up to three for that, Alexandra Engstrom: Mm-mm. Pearl Gionet: because I'm haven't seen the weight so Margo Bonds: Okay. Pearl Gionet: I Antoinette Duffy: Oh. Pearl Gionet: must Margo Bonds: Okay. Pearl Gionet: not uh Colour and shape. Alexandra Engstrom: Uh-oh. Pearl Gionet: Well, so colour, it seems that we have the several colours for the L_C_D_. Antoinette Duffy: Yeah. Alexandra Engstrom: Yeah. Pearl Gionet: But um, it's not very clear what is the colour of the sh the sh the case. Alexandra Engstrom: Yeah. Antoinette Duffy: The case is silver Pearl Gionet: It's a Antoinette Duffy: titanium, Alexandra Engstrom: Yeah, it's. Antoinette Duffy: no? Pearl Gionet: it's going to be titanium. Antoinette Duffy: Yeah. Pearl Gionet: Okay, okay. That's nice. Alexandra Engstrom: Let's imagine. Pearl Gionet: I think it's good. Okay. Alexandra Engstrom: And what about the strawberries on the top? I'm not convince. Pearl Gionet: Yahoo. Alexandra Engstrom: But maybe I'm not trendy. But, uh Pearl Gionet: Well Antoinette Duffy: Oh. Pearl Gionet: y you know, it's this uh fruit and vegetable year. Antoinette Duffy: Yeah, Alexandra Engstrom: Yeah, Antoinette Duffy: yeah. Pearl Gionet: So Antoinette Duffy: Yeah. Alexandra Engstrom: but uh uh they're not useful. I Antoinette Duffy: So Alexandra Engstrom: I Antoinette Duffy: maybe, I Alexandra Engstrom: mean Antoinette Duffy: think Alexandra Engstrom: it that's Pearl Gionet: Uh, I think Alexandra Engstrom: uh Pearl Gionet: usefulness is m as as I rem um just have to remind you Alexandra Engstrom: Mm-hmm. Pearl Gionet: that Antoinette Duffy: Yeah. Pearl Gionet: usefulness is much less important than fanciness. Alexandra Engstrom: Yep. Antoinette Duffy: Yeah, Pearl Gionet: Whether Antoinette Duffy: well Pearl Gionet: it's fancy or not now, it Antoinette Duffy: Yeah. Um Alexandra Engstrom: Hmm. Pearl Gionet: we have to decide. But this Alexandra Engstrom: I Pearl Gionet: If it's Alexandra Engstrom: would have m uh i found more fancy that the fruits are useful. Pearl Gionet: Uh-huh. So, that they will that maybe the fruit may be here instead. Alexandra Engstrom: Yeah. Antoinette Duffy: Yeah, well then it's bit difficult to use. Not like this d We're just giving the fruit for more fanciness and Alexandra Engstrom: Mm-hmm. Antoinette Duffy: more Alexandra Engstrom: But Antoinette Duffy: attraction, Alexandra Engstrom: the n Antoinette Duffy: too. Alexandra Engstrom: Yeah. Antoinette Duffy: So, maybe think we can have rubber or some sponges, stuff for strawberries and different colours. Alexandra Engstrom: Mm. Antoinette Duffy: So Pearl Gionet: So, it seems Antoinette Duffy: it's Pearl Gionet: we are not so clear on the shape Alexandra Engstrom: No, Pearl Gionet: uh Antoinette Duffy: These Alexandra Engstrom: I'm Antoinette Duffy: buttons Alexandra Engstrom: not sure uh why uh if it was like this Antoinette Duffy: But Alexandra Engstrom: I Antoinette Duffy: it looks really Alexandra Engstrom: It's Antoinette Duffy: not Alexandra Engstrom: n Antoinette Duffy: really good. I mean, Alexandra Engstrom: no, it's not Antoinette Duffy: the f Alexandra Engstrom: fancy any Antoinette Duffy: Yeah. Alexandra Engstrom: more. Antoinette Duffy: So these are kind of rubber things. Even if you lose one Alexandra Engstrom: Okay. Antoinette Duffy: you can just put whatever. Margo Bonds: And Antoinette Duffy: Even we can provide many different colours Alexandra Engstrom: Uh-huh. Antoinette Duffy: or different Alexandra Engstrom: And Antoinette Duffy: fruits, Margo Bonds: Moreover, Alexandra Engstrom: different Antoinette Duffy: and Alexandra Engstrom: routes. Margo Bonds: moreover it Alexandra Engstrom: Okay, Margo Bonds: covers Alexandra Engstrom: I see Margo Bonds: it covers Alexandra Engstrom: what Margo Bonds: all the end goals. Antoinette Duffy: Yeah. Margo Bonds: Even if it is, you know, it's very rounded, but still you got some rubber fruit here, and Antoinette Duffy: Yeah. Margo Bonds: it's completely uh completely secure to leave it uh with children Alexandra Engstrom: Okay, Margo Bonds: and Alexandra Engstrom: so Margo Bonds: that. Alexandra Engstrom: you Antoinette Duffy: Yeah. Alexandra Engstrom: you you feel like it's something uh a Antoinette Duffy: Yeah. Alexandra Engstrom: protection for the Antoinette Duffy: Yeah. Alexandra Engstrom: remote control. Antoinette Duffy: Yeah, we've yeah we have sensors here and so here and here, so Alexandra Engstrom: Also. Antoinette Duffy: we just Yeah, so even if you don't put, it works. But this is really Alexandra Engstrom: Okay. Antoinette Duffy: fancy. Pearl Gionet: I suggested three. Alexandra Engstrom: Okay. Pearl Gionet: Because uh, everybody s doesn't seem to be convince, although Margo Bonds: Okay. Pearl Gionet: it's quite You Margo Bonds: Okay. Pearl Gionet: have Antoinette Duffy: Yeah. Pearl Gionet: good arguments. Antoinette Duffy: Yeah. Pearl Gionet: But Alexandra Engstrom: Okay. Pearl Gionet: And uh the last one is adaptive. This is not r maybe not as important as the other one, Antoinette Duffy: Yeah. Pearl Gionet: but uh can we adapt it to each each personal use? Margo Bonds: Sure, sure, just look at it. Pearl Gionet: Great. Margo Bonds: It's full adaptable. Pearl Gionet: Fully Alexandra Engstrom: Wow, Pearl Gionet: adaptable. Margo Bonds: Yeah, Pearl Gionet: That's Alexandra Engstrom: that's Margo Bonds: you Pearl Gionet: Yeah. Margo Bonds: can Alexandra Engstrom: a Margo Bonds: fit it into Pearl Gionet: So you can Margo Bonds: your Pearl Gionet: fit Margo Bonds: palm, Pearl Gionet: into Margo Bonds: you Pearl Gionet: your Margo Bonds: know. Pearl Gionet: palm, okay. Alexandra Engstrom: Yea Pearl Gionet: That Antoinette Duffy: Yeah. Pearl Gionet: What Antoinette Duffy: You Pearl Gionet: else Antoinette Duffy: can Pearl Gionet: can we need? You Antoinette Duffy: Yeah. Pearl Gionet: Do you think you are gonna be able to do that with ti titanium as Alexandra Engstrom: Yeah, Pearl Gionet: well? Alexandra Engstrom: it's fudge titanium. Pearl Gionet: It's Alexandra Engstrom: You Pearl Gionet: fudge, Alexandra Engstrom: know. Pearl Gionet: yeah, yeah. Alexandra Engstrom: Right, Margo Bonds: Mm, Alexandra Engstrom: yeah. Pearl Gionet: Yeah, fruit Alexandra Engstrom: And Pearl Gionet: titanium, Alexandra Engstrom: uh Pearl Gionet: yeah. Well, I if if this is if you are ready to do that, then I think it deserves Antoinette Duffy: Yeah. Pearl Gionet: a one. Alexandra Engstrom: Okay. Let's go for one. Pearl Gionet: Okay. Antoinette Duffy: Yeah. Pearl Gionet: Now we have to do the average. Antoinette Duffy: Three, three, six, eight, Pearl Gionet: Who is good in Antoinette Duffy: eleven. Pearl Gionet: math? Margo Bonds: It's two point one seven. Pearl Gionet: Okay. Two point one seven. That's nice. Two point one seven out of seven. Antoinette Duffy: Hmm. Pearl Gionet: I think we have a good Alexandra Engstrom: Yeah. Pearl Gionet: good thing. Well, that's all I had to say about the evaluation. So Alexandra Engstrom: So it's a good evaluation. Pearl Gionet: It seems to be good, yeah. Alexandra Engstrom: Yeah. Antoinette Duffy: Yeah mm. Alexandra Engstrom: Mm. Pearl Gionet: We have uh Antoinette Duffy: Yeah, two one one seven, Pearl Gionet: Yeah. Antoinette Duffy: we have. So Alexandra Engstrom: Mm-mm. Pearl Gionet: Yeah. Okay. Thanks. Alexandra Engstrom: Okay. So now, it has to fulfil the financial Antoinette Duffy: Financi Alexandra Engstrom: criterium? Pearl Gionet: Ah-ha. Alexandra Engstrom: So, I have an Here. Um. Antoinette Duffy: Energy. Pearl Gionet: So Antoinette Duffy: Uh, Pearl Gionet: so Antoinette Duffy: we use Pearl Gionet: how many batteries Antoinette Duffy: bat Pearl Gionet: do we need? Antoinette Duffy: One battery. Pearl Gionet: One battery? Antoinette Duffy: Yep. Alexandra Engstrom: Okay, so Pearl Gionet: Good. Alexandra Engstrom: two. Pearl Gionet: Why two? Antoinette Duffy: Oh, we just need one, I guess. Pearl Gionet: Say no. No, ne never install. Alexandra Engstrom: Uh-huh. Pearl Gionet: Two batteries or one? Alexandra Engstrom: Oh. Antoinette Duffy: No, number is one. We need only one Pearl Gionet: Only Antoinette Duffy: battery. Pearl Gionet: one. Alexandra Engstrom: Yeah yeah, but the price is two. Pearl Gionet: No, no. Alexandra Engstrom: Oh, number. Pearl Gionet: But Margo Bonds: No, uh Pearl Gionet: no, no. Alexandra Engstrom: Sorry Margo Bonds: you Antoinette Duffy: Number, Pearl Gionet: No, no Alexandra Engstrom: sorry Margo Bonds: just Antoinette Duffy: number. Pearl Gionet: way. Alexandra Engstrom: sorry. I'm Margo Bonds: Number. Alexandra Engstrom: sorry. Pearl Gionet: Yeah. Alexandra Engstrom: Yeah. Margo Bonds: Yeah. Alexandra Engstrom: Yeah. Pearl Gionet: You never use uh Excel? Alexandra Engstrom: Oh. No, never. Pearl Gionet: Good. Margo Bonds: How What what's the limit? Alexandra Engstrom: H Margo Bonds: Uh, Pearl Gionet: It's twelve Margo Bonds: it's Pearl Gionet: bucks. Margo Bonds: it's okay that I don't know, 'cause uh it's not my field. Twelve bucks. Pearl Gionet: Twelve bucks. Margo Bonds: Okay, Pearl Gionet: Twelve Margo Bonds: now Pearl Gionet: and a half, Margo Bonds: Mm-hmm. Pearl Gionet: I think. Antoinette Duffy: So Margo Bonds: Check Antoinette Duffy: we Margo Bonds: that Pearl Gionet: Okay. Margo Bonds: number also. Pearl Gionet: Okay, electronics. Antoinette Duffy: We have Pearl Gionet: So Antoinette Duffy: sample chip. Uh, like Pearl Gionet: It's a simple Antoinette Duffy: simple Pearl Gionet: chip? Antoinette Duffy: chip, yeah. Pearl Gionet: Simple Antoinette Duffy: So, Pearl Gionet: chip, okay. Antoinette Duffy: yeah. Pearl Gionet: One. Antoinette Duffy: Yeah. Four buttons at Pearl Gionet: Okay. Antoinette Duffy: least. Alexandra Engstrom: Okay. Antoinette Duffy: And then we have Alexandra Engstrom: And Antoinette Duffy: the Alexandra Engstrom: for Antoinette Duffy: t Alexandra Engstrom: the Antoinette Duffy: sample speaker sensor for speech recognition. Alexandra Engstrom: One also. Pearl Gionet: One Antoinette Duffy: Yeah, Pearl Gionet: or Antoinette Duffy: one Pearl Gionet: two? Antoinette Duffy: to Pearl Gionet: One? Antoinette Duffy: one. Yeah, one. Pearl Gionet: Okay. So the case, which one uh is it in the end? Antoinette Duffy: Yeah, I think we will go for a single curve, no? Pearl Gionet: Let's do a single curve. Antoinette Duffy: Oh, is Margo Bonds: It's it's flat. Pearl Gionet: It's flat, Antoinette Duffy: Oh. Pearl Gionet: and curved. Antoinette Duffy: Oh, Alexandra Engstrom: I Margo Bonds: It's Alexandra Engstrom: thought Margo Bonds: flat. Antoinette Duffy: okay. Alexandra Engstrom: you can curve somebody. Margo Bonds: But it Pearl Gionet: It's Margo Bonds: is flat, you Pearl Gionet: curvable. Margo Bonds: Look. It's curvable, but it's not curved. Pearl Gionet: Maybe there is a supplement for that, no? Alexandra Engstrom: Mm-hmm. Pearl Gionet: It's only curve? Okay, Alexandra Engstrom: Oh Pearl Gionet: let's Alexandra Engstrom: see, I Pearl Gionet: go. Alexandra Engstrom: I think that Antoinette Duffy: Yeah. Alexandra Engstrom: the the price is this one. Pearl Gionet: This Okay, you Alexandra Engstrom: Yeah, yeah. Don't chip on Pearl Gionet: d We tried, Alexandra Engstrom: Pearl Gionet. Pearl Gionet: we tried. Antoinette Duffy: Oh. Margo Bonds: Oh, okay. Pearl Gionet: So, what Antoinette Duffy: Titanium. Pearl Gionet: is it? T titanium? Alexandra Engstrom: Mm-hmm. Margo Bonds: Mm. Pearl Gionet: Mm, that's expensive. Mm-hmm. Alexandra Engstrom: Mm-mm. Margo Bonds: Mm. Alexandra Engstrom: Yeah. But Pearl Gionet: Okay. Alexandra Engstrom: she wanted u the Antoinette Duffy: Yeah, Alexandra Engstrom: fudge Antoinette Duffy: well Alexandra Engstrom: titanium. I think it's five, but you don't say. Pearl Gionet: Let's stick to s titan. Special colour? No Margo Bonds: Well, Pearl Gionet: because Margo Bonds: n Antoinette Duffy: No, only Margo Bonds: Why Pearl Gionet: uh Antoinette Duffy: one, Margo Bonds: three? Antoinette Duffy: no? Alexandra Engstrom: Mm. Margo Bonds: Why three? Alexandra Engstrom: Oh, sorry. Again, Pearl Gionet: Yeah. Antoinette Duffy: Um Alexandra Engstrom: I'm See it. Special Antoinette Duffy: Interface. Alexandra Engstrom: colour, Pearl Gionet: Oh. Alexandra Engstrom: or it's only on the. Antoinette Duffy: Yes, in L_C_D_ display. Ok Yeah, an Alexandra Engstrom: So Antoinette Duffy: Yeah. Alexandra Engstrom: I put it here. Antoinette Duffy: Push-button. Pearl Gionet: So the L_C_D_ Alexandra Engstrom: How Antoinette Duffy: Scro Alexandra Engstrom: many push-button? Three or Antoinette Duffy: Uh, Alexandra Engstrom: two? Antoinette Duffy: two. Pearl Gionet: Two. Alexandra Engstrom: Is there The scroll-wheel, okay. Antoinette Duffy: Yeah. Pearl Gionet: Yeah. It's going to Antoinette Duffy: One Pearl Gionet: be expensive. Antoinette Duffy: scroll wheel. One L_C_D_ displayed. Alexandra Engstrom: Okay. Um That's Pearl Gionet: That's all? No. Alexandra Engstrom: that's Antoinette Duffy: Yeah. Alexandra Engstrom: not We choose this one, and not this one. Pearl Gionet: Oh, I think, no it's Uh, is it Antoinette Duffy: Yeah, it's Pearl Gionet: a Antoinette Duffy: cheaper. Pearl Gionet: scroll wheel and pe push button, th this Alexandra Engstrom: Or Pearl Gionet: centre Antoinette Duffy: Yeah. Alexandra Engstrom: only Pearl Gionet: one? Alexandra Engstrom: a scroll-wheel. Pearl Gionet: Or only Antoinette Duffy: Only scroll wheel. Pearl Gionet: only scroll wheel, Antoinette Duffy: Yeah mm. Pearl Gionet: okay. Antoinette Duffy: So Pearl Gionet: You are trying Alexandra Engstrom: You try Pearl Gionet: to Alexandra Engstrom: to Pearl Gionet: make Alexandra Engstrom: s No, Pearl Gionet: make Alexandra Engstrom: no, Pearl Gionet: up Alexandra Engstrom: no. Antoinette Duffy: It's already Alexandra Engstrom: Because Pearl Gionet: make us up. Alexandra Engstrom: how do you do to y select? Pearl Gionet: No, but you select Antoinette Duffy: Ah. Pearl Gionet: with the two d the other two buttons, Antoinette Duffy: Y Alexandra Engstrom: Yeah, Pearl Gionet: no? Alexandra Engstrom: I mean Antoinette Duffy: ye Alexandra Engstrom: you you Pearl Gionet: That's true. Alexandra Engstrom: go on the location with your scroll Pearl Gionet: Yeah. Antoinette Duffy: Yeah. Alexandra Engstrom: wheel and then Antoinette Duffy: Then Alexandra Engstrom: you Antoinette Duffy: it automatically Pearl Gionet: Yeah. Antoinette Duffy: we can just do like you feel, it goes. Alexandra Engstrom: Stay Antoinette Duffy: And it Pearl Gionet: It Antoinette Duffy: will Alexandra Engstrom: longer. Pearl Gionet: should Antoinette Duffy: activate Pearl Gionet: stay. Alexandra Engstrom: Okay. Pearl Gionet: Yeah. Antoinette Duffy: Um, Alexandra Engstrom: Oops. Antoinette Duffy: plus, yeah, it's price is really Alexandra Engstrom: Okay, okay. Um Antoinette Duffy: Special colours, yeah. Alexandra Engstrom: Mm-hmm. Margo Bonds: For Antoinette Duffy: Okay. Margo Bonds: buttons. Antoinette Duffy: Yeah, Margo Bonds: No, Antoinette Duffy: buttons and Margo Bonds: buttons Antoinette Duffy: strawberries. Margo Bonds: just normal. Antoinette Duffy: Yeah. Special form. Alexandra Engstrom: You you have all of these, no? Pearl Gionet: She's very hard on this. Special Alexandra Engstrom: Mm maybe Pearl Gionet: colour? Alexandra Engstrom: n not this one but Pearl Gionet: Yeah. No. Special material? Antoinette Duffy: Uh, we have Margo Bonds: That's for Antoinette Duffy: titan Margo Bonds: buttons. But buttons are Pearl Gionet: Yeah, Margo Bonds: standard. Pearl Gionet: buttons are the standard buttons. Yeah. It's only buttons, these. Alexandra Engstrom: Yeah, so Pearl Gionet: Nothing special. Antoinette Duffy: Yeah. Pearl Gionet: Okay. So we are at seventeen dot eight. Alexandra Engstrom: Not special colours an interest in? Pearl Gionet: No, the colour is in the L_C_D_. Alexandra Engstrom: And buttons are not colourised? They Pearl Gionet: I Alexandra Engstrom: are Antoinette Duffy: Mm, Pearl Gionet: no. Antoinette Duffy: hmm, Alexandra Engstrom: m Antoinette Duffy: I think uh because you can just go for Pearl Gionet: We can Antoinette Duffy: a Pearl Gionet: just Antoinette Duffy: good Pearl Gionet: use Antoinette Duffy: colours. Pearl Gionet: this red. Antoinette Duffy: Yeah, Pearl Gionet: It's Antoinette Duffy: and uh Alexandra Engstrom: Boo-hoo. It's already too expensive. Antoinette Duffy: Yeah. Alexandra Engstrom: Apparently. Pearl Gionet: So what is Are we supposed to cut things Alexandra Engstrom: Yeah. Pearl Gionet: out now? Alexandra Engstrom: Mm. Pearl Gionet: Uh, until we get twelve Alexandra Engstrom: Mm-hmm. Pearl Gionet: fifty. Alexandra Engstrom: Mm. Antoinette Duffy: Oh. Alexandra Engstrom: So think of what we can cut uh here. Pearl Gionet: Well, if I look at what is the most expensive things, uh it's the L_C_D_ Antoinette Duffy: Sample Pearl Gionet: and the speaker. Antoinette Duffy: speaker. Yeah. Alexandra Engstrom: Apparently, we have to choose one or the other. Pearl Gionet: Yeah. Antoinette Duffy: Yeah. Pearl Gionet: Yeah. Margo Bonds: Well, as you may know there's some research done in the field of producing energy from mechanical eng, I mean, producing electricity from mechanical energy. So, the point is that when you take device and push the button, you produce enough energy Alexandra Engstrom: But you don't Margo Bonds: to Alexandra Engstrom: need Margo Bonds: make Alexandra Engstrom: a battery? Margo Bonds: electricity. Yeah, that Alexandra Engstrom: Mm. Margo Bonds: you don't need a battery. Pearl Gionet: Mm-hmm. Margo Bonds: So, it's something like hand dynamo robot. A real high-tech version of it. Pearl Gionet: So Alexandra Engstrom: But Pearl Gionet: that would Alexandra Engstrom: um it's like the hand dynamo, no? Antoinette Duffy: Maybe the jog wheel can be like kind Pearl Gionet: So, Antoinette Duffy: of Pearl Gionet: but if Antoinette Duffy: hand Pearl Gionet: we select the hand dynamo it's okay, we only We Antoinette Duffy: is Pearl Gionet: we win one. Margo Bonds: Okay, Antoinette Duffy: Yeah. Pearl Gionet: That's already Margo Bonds: but l Pearl Gionet: that. Alexandra Engstrom: Uh it's a Pearl Gionet: Okay, Alexandra Engstrom: it's a beginning. Pearl Gionet: let's Antoinette Duffy: Yeah. Pearl Gionet: do Margo Bonds: Why Pearl Gionet: that. Margo Bonds: not. Alexandra Engstrom: Okay. Margo Bonds: Let's do that. Alexandra Engstrom: So One Antoinette Duffy: Yeah, Alexandra Engstrom: here Antoinette Duffy: just Alexandra Engstrom: and Antoinette Duffy: remo Alexandra Engstrom: here. 'Kay. Margo Bonds: And Antoinette Duffy: S Margo Bonds: I propose to So uh, about chips. Advanced chip on print, right? Alexandra Engstrom: Mm-hmm. Margo Bonds: So, put minus one there, please. Antoinette Duffy: Yeah. Pearl Gionet: I'm Alexandra Engstrom: Mm. Pearl Gionet: not sure if this is legal. Margo Bonds: Why not? Alexandra Engstrom: That's right. Antoinette Duffy: Uh, no. Margo Bonds: And? Pearl Gionet: And? Alexandra Engstrom: M maybe minus uh three, Pearl Gionet: No. Antoinette Duffy: Yeah. Alexandra Engstrom: no? Pearl Gionet: Okay, Margo Bonds: So, Antoinette Duffy: No, no. It's Margo Bonds: was Pearl Gionet: let's Antoinette Duffy: not Pearl Gionet: see. Margo Bonds: there result? Let's have a look. Antoinette Duffy: It's not changing, Alexandra Engstrom: Mm-hmm. Antoinette Duffy: no? It Pearl Gionet: Yeah, yeah, Margo Bonds: Why? Antoinette Duffy: you don't Pearl Gionet: yeah, if Alexandra Engstrom: Mm. Pearl Gionet: Click somewhere, you'll see features. Margo Bonds: Oops. Pearl Gionet: Yes, it does. Maybe put minus two, so it looks uh Alexandra Engstrom: So Pearl Gionet: more reasonable. Margo Bonds: Yeah. Why not. Pearl Gionet: Yeah, anyway No, Alexandra Engstrom: Oh, Pearl Gionet: minus Margo Bonds: Minus. Alexandra Engstrom: sorry. Pearl Gionet: two. Alexandra Engstrom: Mm-hmm. Pearl Gionet: Nobody will know. Alexandra Engstrom: Mm. Pearl Gionet: It's not recorded, is it? Margo Bonds: Good. Pearl Gionet: Okay, we're on time. Good. Alexandra Engstrom: Okay. Antoinette Duffy: So now on, we can increase our Still you have two more. Alexandra Engstrom: Oh, Antoinette Duffy: Maybe Alexandra Engstrom: we can Antoinette Duffy: we can Alexandra Engstrom: put Antoinette Duffy: use Alexandra Engstrom: uh Antoinette Duffy: it for Alexandra Engstrom: a Antoinette Duffy: our Alexandra Engstrom: hand Antoinette Duffy: party. Alexandra Engstrom: dynamo and a battery if Margo Bonds: And Alexandra Engstrom: you want. Margo Bonds: a battery Alexandra Engstrom: Oh. Antoinette Duffy: Yeah. Margo Bonds: and a battery, yeah. Antoinette Duffy: Yeah, yeah. Alexandra Engstrom: Both its it's cool. Pearl Gionet: No, now we are exp exceeding Margo Bonds: Now Pearl Gionet: I Margo Bonds: it's Pearl Gionet: think. Margo Bonds: fancy, let's Antoinette Duffy: Yeah, Pearl Gionet: It Alexandra Engstrom: Mm. Margo Bonds: add Antoinette Duffy: that Margo Bonds: one instead of Pearl Gionet: Is Margo Bonds: two. Pearl Gionet: it? Alexandra Engstrom: Yeah, Pearl Gionet: I think we're exceeding now. We have Antoinette Duffy: No, but Alexandra Engstrom: yeah Pearl Gionet: to remove Alexandra Engstrom: y Antoinette Duffy: point Pearl Gionet: the Antoinette Duffy: five point three. Pearl Gionet: Uh, Antoinette Duffy: Okay. Pearl Gionet: it's better. I think they are counting uh Alexandra Engstrom: Yeah. Antoinette Duffy: Is Alexandra Engstrom: Mm. It's Pearl Gionet: We Antoinette Duffy: really Pearl Gionet: would Alexandra Engstrom: maximum Antoinette Duffy: strict? Pearl Gionet: prefer, Alexandra Engstrom: and Pearl Gionet: yeah. Alexandra Engstrom: don't Pearl Gionet: Maximum Antoinette Duffy: Oh. Alexandra Engstrom: have to Pearl Gionet: is Alexandra Engstrom: Yeah, Pearl Gionet: maximum. Alexandra Engstrom: yeah. Pearl Gionet: So, Alexandra Engstrom: Uh Pearl Gionet: remove Antoinette Duffy: Oh yeah. Pearl Gionet: one of them. Yeah. Okay. Okay, we're uh Alexandra Engstrom: Uh, Pearl Gionet: on Alexandra Engstrom: mm-mm. Pearl Gionet: target. Alexandra Engstrom: Yeah. Mm. Okay. Mm. So target reached. Pearl Gionet: I'm just curious to see this uh Antoinette Duffy: Ho Pearl Gionet: my address chip on print. Alexandra Engstrom: It's um English uh Pearl Gionet: Trick. Alexandra Engstrom: Yeah. Pearl Gionet: Uh, I would say it's the Russian trick, but Anyway Alexandra Engstrom: Yeah, but uh is uh English. So Pearl Gionet: No, they may Alexandra Engstrom: Mm. Antoinette Duffy: Oh. Margo Bonds: Well, Pearl Gionet: have some Antoinette Duffy: Uh Margo Bonds: I Pearl Gionet: their Margo Bonds: don't know. Pearl Gionet: origins, Margo Bonds: I don't know. Pearl Gionet: strange origins Margo Bonds: I am not sure who was programming this calculator, you know. B_ somewhere instead of a number. Alexandra Engstrom: Mm, let's try. Pearl Gionet: No, no, no. Let's finish this meeting Alexandra Engstrom: Okay. Pearl Gionet: instead. Antoinette Duffy: And we can discuss Alexandra Engstrom: I save Antoinette Duffy: all these things Alexandra Engstrom: it Antoinette Duffy: in our Alexandra Engstrom: uh Antoinette Duffy: party. Pearl Gionet: What else? Alexandra Engstrom: Okay, so next mm Pearl Gionet: No. This Alexandra Engstrom: No, that's Pearl Gionet: is Alexandra Engstrom: yours. Pearl Gionet: right. Alexandra Engstrom: Sorry. Pearl Gionet: Okay, so Alexandra Engstrom: 'Kay. Pearl Gionet: finance, that's done. Are the cost under twelve? Antoinette Duffy: Mm Pearl Gionet: Yes. Antoinette Duffy: yeah, very much. Pearl Gionet: Project evaluation, good. Alexandra Engstrom: Okay. So Margo Bonds: Next Alexandra Engstrom: now Margo Bonds: slide. Pearl Gionet: Project process. Alexandra Engstrom: We have to make um Pearl Gionet: Safe uh asse uh Alexandra Engstrom: Yeah. Pearl Gionet: safe assessment. Alexandra Engstrom: Yeah. Mm. See mm how Are we a good team? Mm. Pearl Gionet: Yeah, Margo Bonds: Okay. Pearl Gionet: I think we've listened to everybody. Alexandra Engstrom: Mm-hmm. Pearl Gionet: Everybody could say what they thought. Alexandra Engstrom: Mm. Pearl Gionet: And uh Alexandra Engstrom: Is there enough room for creativity? Margo Bonds: Yeah, yeah. Antoinette Duffy: Yeah, Alexandra Engstrom: Mm. And you. Pearl Gionet: Yeah. Antoinette Duffy: yeah. Margo Bonds: Yeah. Pearl Gionet: When we see the results, Antoinette Duffy: Yeah, Pearl Gionet: there is Antoinette Duffy: it's Pearl Gionet: no Antoinette Duffy: really Pearl Gionet: doubt Alexandra Engstrom: Mm. Pearl Gionet: there Alexandra Engstrom: Oh. Okay. Well, project evaluation. Pearl Gionet: Maybe a lack of leadership? Margo Bonds: M maybe not, Pearl Gionet: Team-work, Margo Bonds: huh? Pearl Gionet: very Antoinette Duffy: Yeah. Pearl Gionet: strong, I Antoinette Duffy: Yeah, Pearl Gionet: would say. Antoinette Duffy: our team-work Pearl Gionet: Team-work, Antoinette Duffy: is really Pearl Gionet: no Antoinette Duffy: strong. Pearl Gionet: problem. Means. Whiteboard, digital pens. Antoinette Duffy: Oh, we still, I guess. Margo Bonds: What was the Oh yeah, what was good? Everything. Pearl Gionet: Yeah, Margo Bonds: What Pearl Gionet: I Margo Bonds: was Pearl Gionet: think Margo Bonds: bad? Pearl Gionet: white-board is useful. Digital pens, useful. Antoinette Duffy: Hmm. Pearl Gionet: New ideas found? Alexandra Engstrom: So, Pearl Gionet: Yeah. Alexandra Engstrom: you say, is there sheep? Luck. Okay. So luck, but good. Which Pearl Gionet: But uh Alexandra Engstrom: imply good uh team performance. Pearl Gionet: Yeah, Margo Bonds: Yeah. Pearl Gionet: but Margo Bonds: A Pearl Gionet: uh then I Margo Bonds: good Pearl Gionet: I mus Margo Bonds: leader, you know, a good leader is somewhere in the shade and Pearl Gionet: That's true. And there's uh one Antoinette Duffy: Don't Pearl Gionet: very Antoinette Duffy: really. Pearl Gionet: important point. We're on time. Antoinette Duffy: Yeah. Alexandra Engstrom: Mm-hmm. Pearl Gionet: Meetings Antoinette Duffy: And we also Pearl Gionet: finish when they have to or even before. Antoinette Duffy: Mm. We made Pearl Gionet: The for Antoinette Duffy: Mm. Pearl Gionet: meeting it's uh one of the most important thing. Margo Bonds: Of course. Uh Alexandra Engstrom: Okay. Mm. Margo Bonds: Not to waste time, that's important. Pearl Gionet: Yeah. Yeah, we have other uh Antoinette Duffy: Hmm. Margo Bonds: We need time Pearl Gionet: remote Margo Bonds: f Pearl Gionet: controls to create. Alexandra Engstrom: Okay. Antoinette Duffy: Ah, we got new idea, speech recognition, location finding. Alexandra Engstrom: A lot Margo Bonds: New Alexandra Engstrom: of Margo Bonds: materials. Alexandra Engstrom: uh Pearl Gionet: Mm. Antoinette Duffy: New materials, new s uh this fancy strawberry design. Alexandra Engstrom: Yeah, Pearl Gionet: Mm, yeah. Alexandra Engstrom: uh new ways of doing financial Pearl Gionet: Hey, just wondering if my uh Antoinette Duffy: And new tricks. Pearl Gionet: what about the the pink the pinkness of that uh. Alexandra Engstrom: Mm. Mm. They're working Pearl Gionet: They Alexandra Engstrom: on um Pearl Gionet: are working Alexandra Engstrom: pink Pearl Gionet: on Alexandra Engstrom: titanium. Pearl Gionet: a Okay, good. Antoinette Duffy: Ah, very. Pearl Gionet: I think Margo Bonds: Budget. Pearl Gionet: we are great. There's Antoinette Duffy: Yeah. Pearl Gionet: no no other words for that. We Margo Bonds: Alright. Pearl Gionet: are probably the best. Alexandra Engstrom: Mm Pearl Gionet: Real Alexandra Engstrom: yeah. Pearl Gionet: Reaction Alexandra Engstrom: Yeah, we're really Pearl Gionet: is uh Yeah. Alexandra Engstrom: nice. Pearl Gionet: Yeah. Alexandra Engstrom: Yeah. Mm. Okay. Pearl Gionet: Finished? Alexandra Engstrom: I think it's Pearl Gionet: Ah, celebration. Are the costs within the budget? Of Alexandra Engstrom: Yeah. Pearl Gionet: course they Antoinette Duffy: Yeah. Pearl Gionet: are. Yeah. Alexandra Engstrom: Uh How Margo Bonds: Okay. Pearl Gionet: Is the project evaluated? Yes, Antoinette Duffy: Yeah, Margo Bonds: Yeah, Alexandra Engstrom: Yeah. Antoinette Duffy: yeah, Margo Bonds: it Pearl Gionet: it is. Margo Bonds: is. Antoinette Duffy: it's We got two Alexandra Engstrom: Mm. Antoinette Duffy: Good Margo Bonds: So, Antoinette Duffy: score. Margo Bonds: we see, we can even forecast. they propose us like celebration, everything, we could forecast it, right? Pearl Gionet: To whom? To the whole our company? Alexandra Engstrom: I'm the one, proposing the celebration. Of Margo Bonds: You? Alexandra Engstrom: course, you Margo Bonds: It Alexandra Engstrom: know Margo Bonds: was Alexandra Engstrom: I'm Margo Bonds: you. Alexandra Engstrom: the program manager. Margo Bonds: Okay. Antoinette Duffy: Oh, okay. Pearl Gionet: So, let's celebrate. Uh Alexandra Engstrom: Mm-hmm. Antoinette Duffy: So where we will go now? Alexandra Engstrom: Ah Antoinette Duffy: Uh, Alexandra Engstrom: um, I Pearl Gionet: I Alexandra Engstrom: think Pearl Gionet: think Antoinette Duffy: ye Will Pearl Gionet: the Alexandra Engstrom: it's Pearl Gionet: meeting Antoinette Duffy: go Alexandra Engstrom: finish. Antoinette Duffy: to Italian restaurant, Pearl Gionet: The Antoinette Duffy: or Pearl Gionet: meeting is over Alexandra Engstrom: Yeah. Pearl Gionet: at least. Alexandra Engstrom: Mm. Pearl Gionet: So, Antoinette Duffy: Ah, Pearl Gionet: we have Antoinette Duffy: okay. Pearl Gionet: to Antoinette Duffy: We can decide. Pearl Gionet: go out. Alexandra Engstrom: Mm-mm. Antoinette Duffy: Yeah. Margo Bonds: Okay. Alexandra Engstrom: And we go to the party. Antoinette Duffy: Yeah. Pearl Gionet: Yeah, yeah, Antoinette Duffy: Thank you. Pearl Gionet: yeah. Alexandra Engstrom: thank you to you. Mm.

This last meeting started with the presentation of a remote control prototype. It has on-off and volume buttons, an LCD screen (it can be active or switched off) in various colours, which largely replaces the use of push buttons, and a jog-wheel for navigation and option selection in the menus presented on the LCD. It also includes speech recognition as an alternative interface, which also serves as mechanism for locating the device. It was designed to be powered by a single battery. The casing will be made of titanium with rubber strawberries following the fruit and veg fashion. The prototype was evaluated on a scale of 1(excellent)-7(very bad) in terms of fancifulness, technology, robustness, usefulness, size, colour and shape and customizability: the average mark was 2.17; the team were satisfied with their prototype, although after costs were calculated it proved very expensive. Finally, the team evaluated the whole process: they deemed themselves a good team, they found there was plenty of room for creativity and they liked Alexandra Engstrom's leadership.

amisum

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Leah Geidl: So we come again for the the second meeting. Doreen Kennedy: Mm-hmm. Leah Geidl: Uh for the aim of this meeting now is to to make presentation about uh the work for each one. And take the the decision Doreen Kennedy: Okay. Leah Geidl: about the the design and the functionality of the the remote control. Shannon Grace: Okay. Leah Geidl: And we have think I got a new project requirement. So I think uh teletext becomes outdated. So Shannon Grace: Okay. Leah Geidl: the popularity of the since the popularity of the internet, and I think we don't need lighting adaptive, for the the television. And of course we should have our image in the in the design. So, let's start with the Shannon Grace. Shannon Grace: Yeah, alright. So Leah Geidl: Or Shannon Grace: uh Leah Geidl: y you can use the whiteboard Shannon Grace: Well I have Leah Geidl: if you Shannon Grace: a Leah Geidl: want. Shannon Grace: PowerPoint pr presentation stored Leah Geidl: Here. Shannon Grace: in my in my personal folder so I I I think you can reach it from here. Griselda Scott: Just go to explorer. Or open. Leah Geidl: Oh okay. Griselda Scott: Participant. Shannon Grace: Participant two. Leah Geidl: This one. Shannon Grace: Yeah. Griselda Scott: Open uh. Shannon Grace: Uh open. Leah Geidl: Do you want to open Doreen Kennedy: Because it's you mean. Shannon Grace: Right, so um I will talk about the the w Doreen Kennedy: F_ five. Shannon Grace: working design and Griselda Scott: Slide show, view slide show, Leah Geidl: Ah. Shannon Grace: And um well I I will present my my first idea on how to build the our new remote control for television. So uh can you go one page down, please. So I things do is to define the hardware components neededs to achieve uh what we want to do. So uh mm I'm thin uh I think uh I I'll do a survey about what is uh what is available on the market and what what is the the cheapest possible things we hav we can use. Then uh I will try with the technical team to to build a prototype and to see uh with uh h how this little box would uh look look like. And how an and we can uh start troubleshooting first uh com communication problems or things like that. And when we are ready with this first prototype I I think we can add some software functionalities on a programmable chip like browsing by content or um things like that. Okay so can you go down uh So, wha what I think for now is we don't want to have a remote control w which is wired so uh I think we u we can use a battery for the. Then two programmable chips for both software functionalities and communication. And the communication with the T_V_ set is uh made through uh infrared communication So uh this is the the schema of Doreen Kennedy: Did you draw it? Shannon Grace: the Leah Geidl: Wow. Shannon Grace: o of the future uh remote controls so uh you can you can see the components, uh battery and uh the two chips goes to the infrared uh connection to Doreen Kennedy: This. Shannon Grace: the T_V_ set. Leah Geidl: This Doreen Kennedy: What is the other chip for? The one on top. Shannon Grace: The one on top is for the um well Griselda Scott: One is Shannon Grace: the Griselda Scott: a communication. Shannon Grace: functionali the functionalities and the the th red um sorry the green one is is to well, putting things together, um f transform the data into uh Doreen Kennedy: For Shannon Grace: qu Doreen Kennedy: men. Shannon Grace: into the format to Doreen Kennedy: To the Shannon Grace: to Doreen Kennedy: in Shannon Grace: uh to communicate with the T_V_ set. Doreen Kennedy: Okay. Shannon Grace: And, that's it. I think we should use a F_P_G_A_ for Doreen Kennedy: Mm. Shannon Grace: for the functionalities which is easy to Doreen Kennedy: What Shannon Grace: to Doreen Kennedy: is F_P_G_A_? Shannon Grace: t It's field programmable uh something Griselda Scott: Gateway Shannon Grace: array. Griselda Scott: arrays. Shannon Grace: Yeah. Griselda Scott: It's a field programmable gateway arrays. Doreen Kennedy: So why's it how is it different from the Bluetooth? Shannon Grace: Well, uh a F_P_G_A_ is just a chip you Doreen Kennedy: Yeah. Shannon Grace: can uh you can Doreen Kennedy: Programme it. Shannon Grace: pr Griselda Scott: Yeah. Shannon Grace: programme it uh wi with wh whatever you want. Doreen Kennedy: Okay. Shannon Grace: And uh well the Bluetooth chip is just responsible to uh make Doreen Kennedy: Yeah. Shannon Grace: the communication uh between Doreen Kennedy: Uh Shannon Grace: uh the two devices. Doreen Kennedy: So this are the they have to work together? Or? they have to work Shannon Grace: No. Doreen Kennedy: or two Shannon Grace: Well, th the F_P_G_A_ will produce the the data to send. Doreen Kennedy: Okay. Griselda Scott: Or it's something like isn't hardware the first one? And the second one is Doreen Kennedy: Is the Griselda Scott: for the software. Doreen Kennedy: is the software par Griselda Scott: Yeah to Doreen Kennedy: alri Griselda Scott: run Shannon Grace: Yeah. Griselda Scott: th Doreen Kennedy: okay. Griselda Scott: to make it run. That's Doreen Kennedy: Okay, Griselda Scott: it. Doreen Kennedy: okay. So you can control if you want, right? Shannon Grace: Yeah. Griselda Scott: No. Shannon Grace: Alright and that's it for the working design. So if you have any questions? Doreen Kennedy: Mm. Griselda Scott: Okay, and how about the battery power? power to the battery comes through infrared? Shannon Grace: Uh no no no no, I think uh we have uh to to uh have uh embedded uh b batteries in in the Griselda Scott: Into the Shannon Grace: yeah into the t. Griselda Scott: more compact and Shannon Grace: Yeah, Griselda Scott: uh Shannon Grace: yeah. Griselda Scott: okay, Shannon Grace: And uh I I don't think it will need um very uh Doreen Kennedy: Mm. Shannon Grace: much power to Doreen Kennedy: Mm. Shannon Grace: make it run, so Griselda Scott: Yeah, yeah. Doreen Kennedy: Mm. Griselda Scott: Okay. Doreen Kennedy: You can put it on the charger when uh you when you don't Shannon Grace: Yeah. Doreen Kennedy: need to use it. Shannon Grace: It's a good idea. Griselda Scott: Yeah, that's right. Doreen Kennedy: Yeah. Griselda Scott: Having a charger rather than putting the battery cells Doreen Kennedy: Yeah, Griselda Scott: always. Shannon Grace: Yeah. Doreen Kennedy: yeah. Griselda Scott: People don't like it to have to Doreen Kennedy: Yeah. Griselda Scott: buy the batteries when they run out. Doreen Kennedy: Mm. Griselda Scott: We Doreen Kennedy: Uh Griselda Scott: just make a small Doreen Kennedy: mm. Y Griselda Scott: charger Doreen Kennedy: yeah, Griselda Scott: and put Doreen Kennedy: yeah. Griselda Scott: it Doreen Kennedy: Because Shannon Grace: That's Doreen Kennedy: you Shannon Grace: a Doreen Kennedy: are Shannon Grace: good Doreen Kennedy: using Leah Geidl: You Shannon Grace: idea. Leah Geidl: can i yeah. Doreen Kennedy: because you are using Leah Geidl: Ma Doreen Kennedy: Bluetooth, if some people have P_D_A_ they can use their P_D_A_ to control the T_V_ if they want to, right? Shannon Grace: Also, but Griselda Scott: Bu Shannon Grace: but I Doreen Kennedy: I dunno. Leah Geidl: Yeah we can Shannon Grace: I Leah Geidl: change Shannon Grace: I think Leah Geidl: the Shannon Grace: uh the the Leah Geidl: b. Shannon Grace: goal is to sell our Griselda Scott: Our Shannon Grace: remote Griselda Scott: remote, Leah Geidl: Yeah. Griselda Scott: we do not Shannon Grace: control. Griselda Scott: want to make it P_D_A_. Shannon Grace: S okay, so charger for is the. Leah Geidl: Um. Doreen Kennedy: So is mine. Leah Geidl: It's mine. Doreen Kennedy: Oh. Leah Geidl: Participant one, no? Doreen Kennedy: Yeah, this your Leah Geidl: Mm. Oh we have so let's move to to user interface design. Doreen Kennedy: Yeah. So you can open uh Leah Geidl: Participant Doreen Kennedy: three. Yeah. So So I'm working on the technical functions design. can you show the next slide. So the the purpose is to to find uh the important questions to ask is what effect should the apparatus have. So so I found on a webs on the internet Leah Geidl: During the weekend. Doreen Kennedy: yeah. I spent a lot of time searching Leah Geidl: That's Doreen Kennedy: and Leah Geidl: good. Doreen Kennedy: uh and I found that uh the function of remote control is to send messages to television set. Leah Geidl: Mm-hmm. Griselda Scott: G Doreen Kennedy: For example switch on, switch off, switch the next channel and so on and so on. So I found two very good prototypes for for this interface from our competitors so can you Leah Geidl: This are usual functionality. Doreen Kennedy: Yeah, yeah, yeah. Ours is a bit uh different. So these are two example. One is from the other one is from, Leah Geidl: Tasks. Doreen Kennedy: yeah, uh engineering centr yeah. This is the most competing prototypes I've found. But then uh loo but then I found if you look at you see on the left one there are too many buttons Leah Geidl: And they are small. Doreen Kennedy: Yeah. O on the right I tried to play with the problem is that uh if I have hundred channels I have uh I have to choo press the other button to choose the Shannon Grace: Yeah. Doreen Kennedy: hundred channels and I have to compose the number so it's very lousy. Shannon Grace: Of Leah Geidl: Mm-hmm. Doreen Kennedy: So you Shannon Grace: course. Doreen Kennedy: so you move to the next the next one. Yeah, so I talk about the problem. And then I I look at the user manual they are a hundred pages thick, so we don't want that. Leah Geidl: Yeah. Doreen Kennedy: So I propose the easy to use uh prototype. You can navigate on T_V_ screen and we can the user's preference and we need to have the T_V_ connected to internet so we end in order to access the T_V_ programmes by X_M_L_ and we need some to do some preprocessing. From the technical aspect, the processing should be done on the T_V_ set than on the on the remote controller, right? And then we the speech recognition as uh Harry says we may just put in we may K_I_V_. Leah Geidl: What do you mean by the pa pa processing will be done on the T_V_ Doreen Kennedy: Yeah, all the processing Leah Geidl: than the Doreen Kennedy: is done the T_V_ is a compu has some processing power the Shannon Grace: So we Leah Geidl: So Shannon Grace: have Leah Geidl: we Shannon Grace: to Leah Geidl: should Shannon Grace: t Leah Geidl: have specific T_V_? Doreen Kennedy: Yeah. Leah Geidl: Or? Shannon Grace: We have to Leah Geidl: We Shannon Grace: sell Leah Geidl: can Shannon Grace: a Leah Geidl: use this. Shannon Grace: T_V_ with the remote Leah Geidl: Yeah, Shannon Grace: control too. Leah Geidl: we don't Doreen Kennedy: Yeah because are you just wondering what controller Leah Geidl: Yeah, I think Doreen Kennedy: okay. Griselda Scott: Yeah, Leah Geidl: so. Griselda Scott: not Leah Geidl: J Shannon Grace: I think Leah Geidl: j Griselda Scott: the T_V_s. Leah Geidl: just the Shannon Grace: there Leah Geidl: remote Shannon Grace: there is Leah Geidl: control. Shannon Grace: there is al there there is a a technology like show view Doreen Kennedy: Yeah. Shannon Grace: who is already available on most of the T_V_ set on recorders or thing like that and we can try t to get this information Doreen Kennedy: Okay. Shannon Grace: on to the remote control to Griselda Scott: Yeah. Shannon Grace: to do Doreen Kennedy: Yeah. Shannon Grace: the processing on the remote control Griselda Scott: Yeah, Shannon Grace: because Griselda Scott: that's right. Doreen Kennedy: Okay. So i the Leah Geidl: Mm. Doreen Kennedy: processing on on the remote controller Leah Geidl: Yeah, Doreen Kennedy: so it can Leah Geidl: we. Doreen Kennedy: u be used in any T_V_, any conventional T_V_ sets? Leah Geidl: Yeah. Doreen Kennedy: Mm. Okay. Leah Geidl: Speech recognition. Doreen Kennedy: N yeah, that's all. The next one? So I come up with a simple design, just keep the v navigation buttons. Shannon Grace: Yes, that's a good idea, I think. Leah Geidl: Keep the Shannon Grace: We Leah Geidl: navigation Shannon Grace: d we don't we we Leah Geidl: but Shannon Grace: don't need really much buttons to i if we have a screen to navigate on Doreen Kennedy: Yeah. Shannon Grace: on the T_V_ so uh Doreen Kennedy: Yeah. Shannon Grace: Well, f four five buttons, it's Doreen Kennedy: Yeah. Shannon Grace: sufficient. Doreen Kennedy: Mm. Shannon Grace: It's easy to build, Griselda Scott: Yeah, Shannon Grace: it Griselda Scott: that's Shannon Grace: does Griselda Scott: right. Shannon Grace: not consume much power. Doreen Kennedy: Okay, that's Griselda Scott: Oh, Doreen Kennedy: all. Griselda Scott: but you have a catch there, um assume that um if you want to go to if you are watching channel two and if you want to go to channel ninety nine, then. Shannon Grace: Well, then y you you go to the main menu and uh you have uh go to channel and Doreen Kennedy: Mm. Shannon Grace: then Doreen Kennedy: Mm. Shannon Grace: uh you Doreen Kennedy: No, Shannon Grace: can Doreen Kennedy: because you choose by channel, so Shannon Grace: Yeah. Griselda Scott: Uh-huh huh Doreen Kennedy: you choose Shannon Grace: Maybe Griselda Scott: huh huh. Doreen Kennedy: by T_V_ Shannon Grace: you. Doreen Kennedy: program so you don't have hundred channels to choose from. Griselda Scott: Mm-hmm hmm Doreen Kennedy: If you Griselda Scott: hmm. Doreen Kennedy: go by channel, you don't have to do that. Shannon Grace: but uh Griselda Scott: But Shannon Grace: I I think i Leah Geidl: So you are Shannon Grace: i if you if you want to to make uh Doreen Kennedy: Ah. Shannon Grace: well a a big jump Doreen Kennedy: Ah, Griselda Scott: Yeah Doreen Kennedy: a big Griselda Scott: then Doreen Kennedy: jump. Shannon Grace: but Griselda Scott: yeah that's right. Shannon Grace: uh well you you have to to have a a a device when you could you could Doreen Kennedy: A mouse or Shannon Grace: Well, not a mouse but uh something that that says more clearly that uh right, left, up, down, Doreen Kennedy: Yeah. Griselda Scott: Mm hmm Shannon Grace: well, Griselda Scott: hmm. Okay. Leah Geidl: Mm. Shannon Grace: the to have the ability to to to write something to the navigator, maybe directly, or Griselda Scott: Okay. Shannon Grace: So, Doreen Kennedy: Mm. Shannon Grace: we can think of buttons like in the telephone to send messages or things like that. Doreen Kennedy: Mm-hmm. Shannon Grace: But Leah Geidl: How Shannon Grace: we'll Leah Geidl: the Shannon Grace: see. Leah Geidl: this remote? Doreen Kennedy: Uh it's gonna be small. Leah Geidl: Yeah, of course Doreen Kennedy: Yeah. So it'll beep Leah Geidl: small. Griselda Scott: too small that it goes Doreen Kennedy: if Griselda Scott: under Doreen Kennedy: you Griselda Scott: the sofa Doreen Kennedy: wanna Griselda Scott: and we can't find Doreen Kennedy: find it you just Griselda Scott: it. Doreen Kennedy: uh shout y h just it just has to re respond to you when you look for the device. Griselda Scott: Yeah, that's. Doreen Kennedy: I dunno how Griselda Scott: just give it a name Doreen Kennedy: bu Griselda Scott: and we call him. Doreen Kennedy: And responds to you, Griselda Scott: Yeah, Doreen Kennedy: and Griselda Scott: that's right. Yeah, that's right. Shannon Grace: Okay, so uh next presentation Leah Geidl: Participant four. Leah Geidl: So Harry. Griselda Scott: Okay, after having the inputs from industrial design and user Shannon Grace: Mm. Griselda Scott: interface, I think most of the points which I want to are already covered here. And to find the most interesting features what the users would be interested, then what we have done is we have put a feedback forms in all the magazines, and the users send the feedbacks, and based on that These are the findings which we got and yeah adding of a speech interface is always good for a T_V_ remote but the technology We already know that as Shannon Grace: Well Griselda Scott: discussed Shannon Grace: I I Griselda Scott: earlier Shannon Grace: think it will be a, yes, a bit complicated to um make a speech recognisers runs on the small uh ts Griselda Scott: An it Doreen Kennedy: I- Griselda Scott: does how Doreen Kennedy: mm. Griselda Scott: feasible it is. Doreen Kennedy: But I think if you to recognise numbers it's a well-studied problem. I if you just recognise uh numbers is a limited you have limited Griselda Scott: Oh Doreen Kennedy: vocabulary Griselda Scott: we can put an limited vocabulary as in the mobile phones. Shannon Grace: Yeah. Griselda Scott: We just have the Doreen Kennedy: Mm. Yeah. Shannon Grace: so it's a good idea. Griselda Scott: it's not going to take much space also. It's going to be very slim. Doreen Kennedy: Mm. Griselda Scott: And Doreen Kennedy: Mm. Griselda Scott: next one was the size of the remote control. It has to be of course a very slim and small one. And of course most of the people are interested in if it's less expensive, Doreen Kennedy: Mm. Leah Geidl: Mm-hmm. Griselda Scott: so this is an important criteria here Doreen Kennedy: But Griselda Scott: is Leah Geidl: But do you think what they sug suggested s possibility. Griselda Scott: I mean Doreen Kennedy: Mm. Griselda Scott: we have to look for a trade-off. The Doreen Kennedy: Yeah. Griselda Scott: features and the cost. Doreen Kennedy: I Leah Geidl: Yeah. Doreen Kennedy: no I I think that uh i if we go for quality people may tolerate for high quality and of course comes with uh reasonable cost. Maybe not less, but they may be willing to pay Griselda Scott: Little bit more Doreen Kennedy: little Shannon Grace: Yeah. Griselda Scott: if Leah Geidl: It Doreen Kennedy: bit Griselda Scott: it's Doreen Kennedy: more for Griselda Scott: with extra Doreen Kennedy: comfort, Griselda Scott: features. Leah Geidl: Yeah. Doreen Kennedy: yeah, extra features. Shannon Grace: Yeah, s Griselda Scott: Okay. Shannon Grace: s speech is a important extra feature I Griselda Scott: Yeah, Shannon Grace: think Doreen Kennedy: Mm. Griselda Scott: yeah. That's right. Leah Geidl: But is Doreen Kennedy: Yeah. Leah Geidl: it useful or not u Shannon Grace: Well, Leah Geidl: I don't Shannon Grace: uh Leah Geidl: know. There is in Griselda Scott: I mean, for Leah Geidl: the Griselda Scott: a lazy guys they could say nine and the nine channel comes. Or they say movie name or I don't go for movie names but only for the numbers on the channel, or volume up, volume Doreen Kennedy: Mm. Griselda Scott: down, brightness, contrast. Doreen Kennedy: Mm. Leah Geidl: Mm. Griselda Scott: So, I think this should be a good idea, to put this features. And the fourth one was the teletext in various languages. Shannon Grace: we we just have to find a mean how to Griselda Scott: Mm, Shannon Grace: to Griselda Scott: I Shannon Grace: add Griselda Scott: think Shannon Grace: a m a a a microphone or uh well yes a microphone into the the remote control, so I well Leah Geidl: I think Shannon Grace: it Leah Geidl: i Shannon Grace: will be alright. Doreen Kennedy: What is the teletext? Leah Geidl: If it's necessary can you can Doreen Kennedy: Mm. Leah Geidl: do that. We can integrate small microphone in the Shannon Grace: Yeah. Leah Geidl: remote so it's not really a problem. Shannon Grace: Okay. Leah Geidl: What about lighting adaptive options? Griselda Scott: Yeah as discussed Leah Geidl: According Griselda Scott: in the earlier Leah Geidl: to the Griselda Scott: meeting, Leah Geidl: re to the new Griselda Scott: but Leah Geidl: requirements I think we Griselda Scott: I Leah Geidl: don't Griselda Scott: think Leah Geidl: need Griselda Scott: uh Leah Geidl: that. Griselda Scott: not much people are really Leah Geidl: Yeah. Griselda Scott: interested in this point if it's not really Doreen Kennedy: It Griselda Scott: required. Doreen Kennedy: is interesting but we are only concerned with the remote controller. Leah Geidl: Mm. Doreen Kennedy: So you need s special T_V_ sets to do that? Or it's it's done via this remote controller? It's Griselda Scott: I Doreen Kennedy: very Griselda Scott: mean Doreen Kennedy: complex. Shannon Grace: Yeah, I think it's a bit complex too Griselda Scott: I mean yeah, it's for the um industrial design and users interface designers to decide Doreen Kennedy: Mm. Griselda Scott: if it's going to be working or not. Shannon Grace: For our next product, our Griselda Scott: I Shannon Grace: new Griselda Scott: think Shannon Grace: T_V_ set with Doreen Kennedy: Yeah, Shannon Grace: uh Doreen Kennedy: then we can conclude Shannon Grace: automatical Doreen Kennedy: that. Shannon Grace: uh sound Doreen Kennedy: Yeah. Shannon Grace: adjustment Doreen Kennedy: Yeah, Shannon Grace: light Doreen Kennedy: but it's quite possible but maybe not in this project. Leah Geidl: So we have I think we have s still we have couple of minutes. Mm-mm. Leah Geidl: So any things to to discuss? Griselda Scott: I Leah Geidl: Or Griselda Scott: think Leah Geidl: any Griselda Scott: as I Leah Geidl: suggestions? Griselda Scott: discussed th that four points would be good for um marketing. The speech interface and uh less uh Leah Geidl: Expensive. Griselda Scott: reasonable Leah Geidl: Price. Griselda Scott: uh cost. Doreen Kennedy: Mm. Griselda Scott: And the lighting adaptation and the teletext. Doreen Kennedy: Mm. Griselda Scott: And regarding the teletext uh these are the subtitl these are the text information which you got on the televisions. Doreen Kennedy: Okay. Griselda Scott: If you are watching an foreign movie, Doreen Kennedy: Yeah. Griselda Scott: you get subtitles sometimes. Doreen Kennedy: Okay. Griselda Scott: And uh if Doreen Kennedy: Mm. Griselda Scott: you are a French guy watching an English movie you would like to have it in French. And if I am a German then I would like to have the my options in German. So, the remote it should have some Shannon Grace: Function. Griselda Scott: it should give Griselda Scott some flexibility of choosing the ch languages. That should be a good uh point. Shannon Grace: Yeah, but well what about the the new project's requirement? I I I think we should Leah Geidl: I think we Shannon Grace: give Leah Geidl: we Shannon Grace: up Leah Geidl: can Shannon Grace: with teletext, Leah Geidl: we Shannon Grace: no? Leah Geidl: is Shannon Grace: Yes. Leah Geidl: the. Shannon Grace: Well, so maybe we we can j we can already think uh about a way to to access the internet via the television. Doreen Kennedy: Mm. Shannon Grace: Because if Doreen Kennedy: Using the T_V_ to access the internet? Or what? I didn't quite understand Shannon Grace: Yeah, but Leah Geidl: Yeah. Shannon Grace: uh we can think that in a few years there will be T_V_ set that can access the internet. Doreen Kennedy: Yeah, okay. Shannon Grace: So Griselda Scott: We already Shannon Grace: it's Griselda Scott: have Shannon Grace: a good Griselda Scott: some. Shannon Grace: idea if i i if we i if if we uh think about how to to to build up our remote uh control w with this functionality in a w which will c which will come in a few years. So if we already have it in our Leah Geidl: So you have to Shannon Grace: remote Leah Geidl: anticipate Shannon Grace: control Leah Geidl: the the future? Shannon Grace: Yeah. Doreen Kennedy: Yeah. The future Shannon Grace: Yeah. Doreen Kennedy: demand, market demand. Griselda Scott: Yeah, Shannon Grace: Yeah, to desi Griselda Scott: that's right. Shannon Grace: well, not not to implement it, but to well, to find a way to to add Doreen Kennedy: The Shannon Grace: to Doreen Kennedy: functionality Shannon Grace: add this functionality in a Doreen Kennedy: in the future. Leah Geidl: In future. Shannon Grace: yeah, Doreen Kennedy: Alright. Shannon Grace: in an in an easy manner, if is possible. Doreen Kennedy: Yeah. Because all the T_V_ sets will be digital, right. All the programmes, everything will be in digital than analog. Th the system will change and Shannon Grace: Yeah, yeah. Doreen Kennedy: we have to anticipate for those change. Griselda Scott: Yeah, Shannon Grace: Okay. Leah Geidl: Okay. Shannon Grace: So Leah Geidl: So let's go for the the lunch break, and Shannon Grace: Okay, Leah Geidl: we will Shannon Grace: thank Leah Geidl: meet Shannon Grace: you. Griselda Scott: Okay, Doreen Kennedy: Okay. Griselda Scott: thank you. Leah Geidl: after. Doreen Kennedy: Thank you.

Leah Geidl presented the goals of the meeting and new product requirements. Shannon Grace presented the internal components of a remote control and showed a diagram of how they operate together. He suggested that field programmable gateway arrays be used for the chip controlling software functionalities, and it was suggested that the remote be used with a recharging stand. Doreen Kennedy gave a presentation on the technical functions of the remote, and displayed the interfaces of two existing products for comparison. He showed that the competitors' remotes were too complicated. He suggested that the televisions that the remotes are used with connect to the internet to access downloadable programs. He suggested a simple design with few buttons, small size, and a locator function. Griselda Scott presented several characteristics important to users. He discussed using speech recognition and ways to make it feasible for the project, small size, low price point, and incorporating teletext in different languages. The group discussed the new requirement that required them to omit teletext from their design, and discussed the possibility of using the remote to access the internet through the television.

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Helen Williams: So we come to the third meetings. I have good. Um so in the last meeting we have discussed the functional design and now we will talk about the conceptual design. So we Elizabeth Douthit: Okay Helen Williams: will talk about Elizabeth Douthit: so Helen Williams: some Elizabeth Douthit: I think I Helen Williams: specific Elizabeth Douthit: will Helen Williams: details. Elizabeth Douthit: do my presentation on the components concept so can you please uh open uh I'm participant two. Components Helen Williams: This Elizabeth Douthit: design. Okay so uh the first thing uh I have done is to to made a review together with the uh manufactural uh department and have which components was uh available to build a remote control. So for energy sources we have we have to choose between the solar energy, hand dynamo and uh kinetic um well uh kinetic uh technique to to store the energy. We also um we also can put a regular battery in the in the remote control. Helen Williams: Uh Elizabeth Douthit: Now Helen Williams: this is what we have decided in the last meeting. But if we use battery Elizabeth Douthit: Yeah b uh f well uh I meant uh by by battery I meant uh I will not have a uh a wire between the remote control and the energy source but uh I didn't fou we didn't decide yet which kind of battery we will put inside the the remote. So uh it's a point to discuss. Then uh the case material we have uh uh also several choices, like wood, rubber, titanium or latex. But uh well it's not a a re uh well a real issue for the from the technical uh point of view. Concerning the interface uh we can we can put mm just simple buttons or scrolls or buttons uh much more complicated, but it also requires that the chip to process Glenda Clancy: Mm. Elizabeth Douthit: the button is more complicated so. And uh this is the last point, the choice of chips. So what I have f found is that I think basic battery or kinetic uh energy uh collection is the is the better way to provide energy because I think solar energy wi won't work in a cluttered uh Glenda Clancy: Mm. Elizabeth Douthit: uh environment. So um so I think we can start with these two main things. For the case uh well uh I think that uh titanium is um is a good choice because it's trendy and it's uh it's uh well it's modern and uh user are are are mm will be uh very happy to have a a a nice remote. For the interface uh I think that we can ach achieve uh all the desired functionalities by s just uh using uh rubber buttons, simple buttons and th thus this allow to use a regular chip that are uh well cheaper. Glenda Clancy: Mm. Elizabeth Douthit: And s so uh we can move to the next slide. Glenda Clancy: Sorry. Elizabeth Douthit: Yeah. Glenda Clancy: What is this single curved what does it mean? Elizabeth Douthit: Well uh uh i i it's uh it's the the shape of the um Glenda Clancy: So it's Elizabeth Douthit: of Glenda Clancy: it's Elizabeth Douthit: the Glenda Clancy: not Elizabeth Douthit: remote. You you will have the well um the the curve will fit into Glenda Clancy: Yo Elizabeth Douthit: your Glenda Clancy: l Elizabeth Douthit: hand when you Glenda Clancy: yeah. When Elizabeth Douthit: grab Glenda Clancy: you hold Elizabeth Douthit: the Glenda Clancy: on it, it is comfortable to hold. Elizabeth Douthit: Yeah. It's more confog f comfortable that if these Glenda Clancy: Okay. Elizabeth Douthit: uh it's completely flat. Glenda Clancy: Yeah. And the battery, is it kind of a rechargeable or it doesn't matter? Elizabeth Douthit: Yeah the um that's the point. The kinetic one is uh y you can recharge uh by the um Glenda Clancy: That that's what it means by Elizabeth Douthit: Yeah and Glenda Clancy: kinetic. Elizabeth Douthit: by well by just by moving the ar uh Glenda Clancy: Okay. Elizabeth Douthit: your arm the Glenda Clancy: Mm-hmm. Elizabeth Douthit: mm well the remote will uh accumulate energy. Glenda Clancy: Okay. Elizabeth Douthit: But I d I don't know it's if it is feasible because I don't know if yet if Glenda Clancy: Mm. Elizabeth Douthit: if the user will move enough Glenda Clancy: Mm. Elizabeth Douthit: to provide Glenda Clancy: Okay. Elizabeth Douthit: the remote um Glenda Clancy: Yeah. Elizabeth Douthit: all the necessary energy. Glenda Clancy: Yeah. We we might check with our R_ and D_ department to see if they this product Elizabeth Douthit: Yeah. Glenda Clancy: ready Elizabeth Douthit: And Glenda Clancy: for market. Elizabeth Douthit: yeah and so can you go to the next slide please. So and uh that's uh that summarize well what I have said. Glenda Clancy: Mm mm. Elizabeth Douthit: So Glenda Clancy: Wha Elizabeth Douthit: uh you're right we can uh see in our uh R_ and D_ uh Glenda Clancy: Ah the department. Elizabeth Douthit: if the kinetic metal is sufficient Glenda Clancy: Mm. Elizabeth Douthit: to provide enough energy. That's it. Glenda Clancy: Uh Glenda Clancy: So I um keep in touch with the R_ and D_ department. Elizabeth Douthit: Oh yeah I take care, it's all right. Glenda Clancy: So the titanium case is the normal case that I'll show you some pictures that I have and you tell Ruth Choate whether they are titanium case or not. Elizabeth Douthit: All Glenda Clancy: 'Cause I am Elizabeth Douthit: right. Glenda Clancy: not very sure, Elizabeth Douthit: Yeah. Glenda Clancy: plastic, titanium or whatever. There's another point I want to make, is that the uh well you've seen them I le na my presentation that um I point out some why buttons are not the mm not the only ways you can use Yeah. Yeah, maybe n Helen Williams: We will, okay. Helen Williams: Three. Glenda Clancy: Yeah. So the user interface is uh i it uses the aspect uh of a computer system, a programme which can be seen or heard or otherwise perceived by the human user and the commands and mechanism the user uses to control its operation and input data. So you s this gives you the ways to input data and we have uh we are more we emphasise more on the graphical user interface here. The idea is to represent buttons as figures, diagrams, symbols and on so you you can easily when you look at the symbols you understand what it is doing. Helen Williams: What's the function of this Glenda Clancy: Yeah. Helen Williams: button. Glenda Clancy: Yeah. So. Helen Williams: I think it makes the the interface really Glenda Clancy: Ea easy to use. So next one. Helen Williams: Graphical user Glenda Clancy: function Helen Williams: interface. Glenda Clancy: five. So I can use the button, the mouse maybe. Helen Williams: use of pictures. Glenda Clancy: Yeah. So next line. So the here are some examples. So they cluster the buttons together. They group them into col they colour them and uh they have different forms as well. Mm but this interface are kind of confusing. Uh basically there are too many buttons. Right. Next one. Elizabeth Douthit: Yeah. Glenda Clancy: So some people are propose voice recognition and so ah by the way I receive an email from the from one our departments saying that the voice recognition has been used in the coffee machine for this by a company when you tell the you say good morning coffee machine and the machine are reply to you. Elizabeth Douthit: Mm-hmm Glenda Clancy: So Elizabeth Douthit: mm Glenda Clancy: I just Elizabeth Douthit: mm. Glenda Clancy: got an email saying that. And it seems like this voice recognition technology is ready to be used so we might consider that, Elizabeth Douthit: Yeah Glenda Clancy: supposedly. Elizabeth Douthit: fine. Glenda Clancy: The next one. Mm so somebody some people use uh some people use a spinning wheel th with the L_C_ display so instead of using the mm buttons you have a L_C_D_ screen and then there you can u you can use that as buttons, you can use that as real so so that could be an option as well. Touch screen, I mean. Helen Williams: Yeah. Glenda Clancy: Next one. And some people propose a scroll button. Integrated with push buttons or you may have scroll button instead of p just the push button. Like the one we have here. Uh, next one. So mm Helen Williams: Mm-hmm. Glenda Clancy: so there are a few aspects that I collected here. So s basically this deals with special users, children, handicapped people, old people, and uh mm and prog basically they are programmable, specially for children. And uh mm yeah yeah. And then they also secure uh covers, to protect uh secure and hidden programming and battery covers that will protect your settings. So But we don't have to integrate all these complicated features. I'm just saying that the currently in the market there are there are control there are remote controllers f customisable for different people. Yeah, so that's the point. The next one. And uh you see this is the one where you have the protection cover. Mm maybe useful for children, they migh you you they only see the buttons outside. And for adults wh where you have more control you can see the one inside. So the adults might wanna have a key to lock that to pr so children will not touch the button inside. Elizabeth Douthit: Yeah. Glenda Clancy: Yeah. Elizabeth Douthit: S a good idea. Glenda Clancy: The next one. So this guy this is another company that provides big buttons. At I see that that is useful for old people and then you don't get it lost. But for our product we don't need a big one because you have voice recognition Elizabeth Douthit: Yeah. Glenda Clancy: e eventually with use. And you can call your remote controller if you don't know where it is. T_V_ remote controller where are you? And then, he will beeps and to say that I am here, for example. Is it possible? Helen Williams: We should Ruth Choate: Yeah. Helen Williams: include Elizabeth Douthit: Yeah. Helen Williams: speech synthesis in this case, no? Glenda Clancy: Uh? Elizabeth Douthit: Yeah Ruth Choate: Yeah. Elizabeth Douthit: but uh as Norman say if uh there is uh already a commercial product Glenda Clancy: Yeah. Elizabeth Douthit: available who t who do this we we can check uh to integrate Glenda Clancy: Yeah. Elizabeth Douthit: it i Glenda Clancy: Yeah. Elizabeth Douthit: into our uh new remote control. Glenda Clancy: Yeah. And uh, this is another one where you can uh the the the part that's a V_ standing for the volume. So there's a up arrow and a down arrow. top on the top up arrow if Helen Williams: Mm-hmm. Glenda Clancy: you up arrow there's a V_ like as as if it's turning down so it's confusing interface, so I Elizabeth Douthit: Yeah Glenda Clancy: wanna Elizabeth Douthit: yeah. Glenda Clancy: avoid this kind of thing in the design. And here are is uh here is a s short summary that I summary that I compiled after the findings I found. Big buttons are convenient, voice recognition helps, push buttons, scroll buttons, spinning wheels can be used as navigation tools. And uh user customisable is important and finally simplicity simplicity is the key. Yeah. So we have many concepts Elizabeth Douthit: Hmm. Glenda Clancy: there but we have to choose later on Elizabeth Douthit: Yeah. Glenda Clancy: which ones are important to be used. And basically Elizabeth Douthit: Well I Glenda Clancy: uh Elizabeth Douthit: I think you it's it's it's fine you have uh reviewed all all the Glenda Clancy: Yeah. Elizabeth Douthit: possibilities but uh uh well uh i if we consider that uh the user interface is displayed on the T_V_ screen Glenda Clancy: Mm-hmm. Elizabeth Douthit: I don't think we nee uh we need much buttons in the remote since we Glenda Clancy: Yeah. Elizabeth Douthit: we just have to navigate and to have a okay or enter key or Glenda Clancy: Mm. Elizabeth Douthit: things like that, because uh adding wheels or scrolls uh makes the thing more complicated and more Glenda Clancy: Mm. Elizabeth Douthit: expensive also, so. Glenda Clancy: Okay. Helen Williams: Or maybe we can include the user manual in the in the remote control and we should have just a button like help and you say uh and you ik you press the button help and maybe you see the the user Elizabeth Douthit: Yeah. Helen Williams: m Elizabeth Douthit: That's Helen Williams: might Elizabeth Douthit: a good Helen Williams: in Elizabeth Douthit: idea. Helen Williams: the in the T_V_. Elizabeth Douthit: To have a help button. Glenda Clancy: A help button. Elizabeth Douthit: Yeah. Helen Williams: Yeah. Glenda Clancy: So you are display on the screen. Elizabeth Douthit: On Helen Williams: On Glenda Clancy: So Elizabeth Douthit: the T_V_ Helen Williams: T_V_ Elizabeth Douthit: screen. On Glenda Clancy: on Elizabeth Douthit: the Glenda Clancy: the Elizabeth Douthit: T_V_ Glenda Clancy: T_V_ Helen Williams: T_V_ Glenda Clancy: screen. Elizabeth Douthit: screen Helen Williams: screen. Elizabeth Douthit: the Helen Williams: So Elizabeth Douthit: uh Helen Williams: just you Glenda Clancy: Okay. Helen Williams: push Elizabeth Douthit: how to Helen Williams: the Elizabeth Douthit: use Helen Williams: button Elizabeth Douthit: your Helen Williams: and Elizabeth Douthit: remote. Glenda Clancy: Okay. Helen Williams: we will Ruth Choate: Oh. Glenda Clancy: Okay. So that eliminates all the complicated documentation, Helen Williams: Yeah. Glenda Clancy: okay. So Ruth Choate: But Glenda Clancy: wi Ruth Choate: people are often enough looking at the help, once they see Helen Williams: If Ruth Choate: the Helen Williams: the Ruth Choate: help Helen Williams: if Ruth Choate: button they say oh this is a complicated stuff. Helen Williams: No In the case Elizabeth Douthit: Uh Helen Williams: where Elizabeth Douthit: yeah. Helen Williams: they need help, Ruth Choate: It's a psychology. Helen Williams: in the case where they need Elizabeth Douthit: In a marketing Helen Williams: help. Elizabeth Douthit: point Ruth Choate: Okay. Elizabeth Douthit: of view. Ruth Choate: And Glenda Clancy: Yeah. Ruth Choate: let us see what the market demands. We could Helen Williams: Yeah. Ruth Choate: just go to my presentation. Elizabeth Douthit: But uh wel well I Helen Williams: It's Elizabeth Douthit: think Helen Williams: just for user customizable, Ruth Choate: Yeah that's Helen Williams: for Ruth Choate: right. Helen Williams: kids or old people. Glenda Clancy: Mm. Ruth Choate: I mean Helen Williams: So Ruth Choate: it just showed us the remote with an cap which could be used for kids and if you remove the Helen Williams: So it's the same Ruth Choate: Same remote with some Helen Williams: Can be used by both Ruth Choate: Both Helen Williams: kids Ruth Choate: yeah. Helen Williams: and Glenda Clancy: Mm. Helen Williams: old people. Glenda Clancy: Well uh what I s propose is that uh you know a remote controller, i it could be a cube, is uh a small device that uh looks like a cube and maybe you can just change the um the buttons, if you ch turn one side you get one one buttons, you turn the other side you get the other buttons, so for maybe new generation people who get used to the computer they want lots of controls. Helen Williams: Maybe for kids, kids they like uh Glenda Clancy: Small Helen Williams: t no Elizabeth Douthit: Uh Helen Williams: l Elizabeth Douthit: well. Helen Williams: they Elizabeth Douthit: So Helen Williams: like Glenda Clancy: Yeah. Helen Williams: to Elizabeth Douthit: le le let's see what Glenda Clancy: Let's Elizabeth Douthit: uh Glenda Clancy: see the Elizabeth Douthit: what Glenda Clancy: market demand. Elizabeth Douthit: people Ruth Choate: And Elizabeth Douthit: want. Ruth Choate: then we Glenda Clancy: What Ruth Choate: decide what Glenda Clancy: what market Ruth Choate: what we can Glenda Clancy: yes Ruth Choate: yeah. Glenda Clancy: yes. Ruth Choate: So we just made an marketing survey of what people need from our remotes and how it could be special from the other remotes. And we got the best on the responses from the questionnaires. Uh we also have some prizes for the most creative solutions. And we found the following solutions which we could which would be helpful for our design. So seventy percent of the users, they find their remote controls very ugly, they don't find it pleasant to use in the size or usage or anything. And eighty percent of the people they are always l I mean they are willing to spend more money if the remote control would look fancy. And the current remote controls do not match well the operating behaviour of the user. And seventy five percent of the users said they zap a lot. And fifty Helen Williams: Yeah. Ruth Choate: percent say they use only ten percent of the buttons, Elizabeth Douthit: Yeah. Ruth Choate: so Helen Williams: Mm-hmm. Ruth Choate: the rest of the ninety percent of the buttons they're not Glenda Clancy: Yeah. Ruth Choate: used most of the times. Glenda Clancy: Yes. Ruth Choate: So this were the findings which we found. And also they cited frustrations with the present remote controls. Most of fifty percent of the time the remote controls are lost somewhere in the room and people are always searching for them rather than watching the T_V_. Glenda Clancy: Yeah. Ruth Choate: And by the time they found the remote control the program is finished. So Elizabeth Douthit: Yeah. Ruth Choate: they're frustrated a lot And um if the remote control is too complicated it takes much time to learn the Glenda Clancy: Mm. Ruth Choate: functionality Elizabeth Douthit: Mm, the Ruth Choate: of Elizabeth Douthit: functionalities Ruth Choate: it. Elizabeth Douthit: yeah. Ruth Choate: So you can just see the percentage, fifty percent people they responded that they always lose their remotes and thirty four percent they say that it's quite difficult to learn if it's too complex. Elizabeth Douthit: Yeah. Ruth Choate: So keeping in view all these findings and the frustrations I think this should be the solution for them. We should have an L_C_D_ on the rem remote control. Glenda Clancy: Oh. Elizabeth Douthit: Well mm w well I I I don't really see the advantage of having uh L_C_D_ on the on the remote control if we have a a Glenda Clancy: Big screen. Elizabeth Douthit: a big screen and uh display on the screen. It's Ruth Choate: Mm-hmm? Elizabeth Douthit: yeah of course it's fancy trendy and so on but it's it's expensive to produce Glenda Clancy: Yeah. Elizabeth Douthit: and it's Ruth Choate: I mean Elizabeth Douthit: not Ruth Choate: as Elizabeth Douthit: really Ruth Choate: our survey says that people are willing to pay more if Elizabeth Douthit: Yeah. Ruth Choate: their remotes are fancy. So if we have a L_C_D_ on the remote, rather than looking onto the T_V_ you just look into a remote and navigate it. It's the same menu Glenda Clancy: Mm yeah. Ruth Choate: as we have saw that iPod Elizabeth Douthit: Yeah Ruth Choate: remote Elizabeth Douthit: yeah. Ruth Choate: control. Glenda Clancy: Mm. Ruth Choate: We just play Glenda Clancy: The thing Ruth Choate: around Elizabeth Douthit: Yeah but when you play with the iPod you don't have a big screen in front of you, Glenda Clancy: Yeah. Ruth Choate: Yeah. Helen Williams: You can Glenda Clancy: Yeah. Elizabeth Douthit: s Helen Williams: use this screen instead of the Glenda Clancy: Yeah. Helen Williams: big se screen, Glenda Clancy: If Helen Williams: instead Glenda Clancy: you Helen Williams: of Glenda Clancy: re-use Helen Williams: use Glenda Clancy: the Helen Williams: the Glenda Clancy: existing screen, Helen Williams: yeah. Glenda Clancy: we element eliminate the L_C_D_, after all the L_C_D_ just to display Helen Williams: Hmm. Glenda Clancy: and if you have the colourful screen you can make the display colourful, fancy, Ruth Choate: Yeah. Glenda Clancy: as fancy as the one on the L_C_D_, Elizabeth Douthit: Yeah. Glenda Clancy: maybe even better. So Ruth Choate: I mean this were the points Glenda Clancy: Yeah. Ruth Choate: which we got from the market Elizabeth Douthit: Yeah. Yeah yeah. Ruth Choate: demands. So Glenda Clancy: Yeah. Elizabeth Douthit: So I th I I Ruth Choate: the other Elizabeth Douthit: think Ruth Choate: one Elizabeth Douthit: we we can focus on the uh on the fancy look on the uh Glenda Clancy: Yeah. More on a fancy Ruth Choate: Yeah that's Glenda Clancy: design. Ruth Choate: fine. Yeah. Elizabeth Douthit: on the speech Ruth Choate: I mean Elizabeth Douthit: recognition Ruth Choate: that's Elizabeth Douthit: if the technology is available but well I think Glenda Clancy: Yeah. Elizabeth Douthit: L_C_D_ will uh will uh make us spend a lot of money for Glenda Clancy: Mm. Elizabeth Douthit: not so big results. Glenda Clancy: Remember Ruth Choate: Mm-hmm. Glenda Clancy: we have a s budget Helen Williams: But Glenda Clancy: for the cost of producing the remote controller. Helen Williams: Yeah. Glenda Clancy: Yeah. Ruth Choate: Uh yeah Glenda Clancy: So Ruth Choate: we Glenda Clancy: i Ruth Choate: have Glenda Clancy: is Ruth Choate: uh Glenda Clancy: so the thing is you can find out how much an L_C_D_ will cost and then we'll decide again. Ruth Choate: I mean that should be found out by the Industrial Designers. Glenda Clancy: Uh maybe you can find out the price and tell us next time. Elizabeth Douthit: So Glenda Clancy: Is i if Elizabeth Douthit: price Glenda Clancy: i Elizabeth Douthit: of uh L_C_D_ display. Glenda Clancy: Yeah. Ruth Choate: And it's Elizabeth Douthit: And Ruth Choate: always good to have an voice recognition Glenda Clancy: Yeah. Ruth Choate: for the remote Glenda Clancy: And Ruth Choate: controls. Glenda Clancy: also the cost for the speech recognition. Helen Williams: Mm. Elizabeth Douthit: Yeah. Glenda Clancy: Ask our R_ Helen Williams: It's Glenda Clancy: and Helen Williams: for Glenda Clancy: D_ department. Helen Williams: it's just for small vocabulary. Glenda Clancy: Yeah. Ruth Choate: Yeah Helen Williams: We Ruth Choate: it's o only Helen Williams: it's Ruth Choate: for Helen Williams: not Ruth Choate: a limited vocabulary, Glenda Clancy: Yeah. Helen Williams: yeah. Ruth Choate: say Glenda Clancy: And ho Ruth Choate: eighty commands or so. Helen Williams: Yeah. Glenda Clancy: Yeah. Elizabeth Douthit: Yeah okay. Glenda Clancy: And also Elizabeth Douthit: And Glenda Clancy: the scroller button, how much will it cost. Elizabeth Douthit: Well uh compared to the to s the simpl simpler Helen Williams: Yeah. Elizabeth Douthit: simplest Ruth Choate: Mm, Helen Williams: Push Elizabeth Douthit: button. Ruth Choate: the scroll Helen Williams: push. Ruth Choate: button, from the survey we never see that people would like to have Elizabeth Douthit: Yeah. Ruth Choate: some scrolling button. Because Elizabeth Douthit: Yeah I think Ruth Choate: they they Elizabeth Douthit: that Ruth Choate: just they're just frightened to use the scrollings Glenda Clancy: Yeah. Ruth Choate: or help button. Elizabeth Douthit: Yeah I I I think that uh well uh as we have seen in the in the presentation uh well uh about uh uh fifty percent of the of the percent Glenda Clancy: Don't use the buttons. Elizabeth Douthit: n choose the button so uh I think to have uh five uh simple Glenda Clancy: Yeah. Elizabeth Douthit: button is sufficient Glenda Clancy: Yeah. Elizabeth Douthit: for our Glenda Clancy: Yeah. Elizabeth Douthit: functionality. Glenda Clancy: Yeah. Ruth Choate: Yeah. Helen Williams: It doesn't mean that the other buttons are not Glenda Clancy: Important. Helen Williams: necessary or important. Elizabeth Douthit: Yeah. But Helen Williams: But they are just less Ruth Choate: They're Helen Williams: used Ruth Choate: not used much. Helen Williams: compar yeah. Elizabeth Douthit: But the uh the thing is is i is that we can add a functionality on the on the T_V_ screen like Glenda Clancy: Yeah. Elizabeth Douthit: uh a a list of function Glenda Clancy: Yeah. Elizabeth Douthit: and then you choose Glenda Clancy: Mm. Elizabeth Douthit: with the with the button to Glenda Clancy: Yeah, Elizabeth Douthit: well Glenda Clancy: yeah. Elizabeth Douthit: you navigate and you Glenda Clancy: So so the at Helen Williams: Or Glenda Clancy: most Helen Williams: maybe we Glenda Clancy: more Helen Williams: can Glenda Clancy: power Helen Williams: u Glenda Clancy: uh. Helen Williams: uh or maybe we can uh make this the ten percent of button more bigger than the others. Elizabeth Douthit: Yeah. Helen Williams: So. Elizabeth Douthit: But if i i if we if we could have a a a display uh g a user interface that is very complete on the T_V_ screen I think that just five buttons are sufficient, Glenda Clancy: Yep. Elizabeth Douthit: one to go up left right down and uh enter Glenda Clancy: Yeah. Elizabeth Douthit: and you you you just select the functionality you want to access Glenda Clancy: Mm. Elizabeth Douthit: or things like Glenda Clancy: Mm. Elizabeth Douthit: that. Glenda Clancy: Yeah. Elizabeth Douthit: You don't have to to switch to a channel Glenda Clancy: Yeah. Elizabeth Douthit: to another Helen Williams: Mm. Elizabeth Douthit: uh Ruth Choate: Or it could be like this, as the people say, if they have a L_C_D_ on the remote not on the television. Because when you have the L_C_D_ onto the television screen you miss the picture in the background, we are most focused on the commands. So Elizabeth Douthit: Yeah Ruth Choate: if you Elizabeth Douthit: but Ruth Choate: have then L_C_D_ in the remote, you just have a menu, and increasing and lower these signs here to change the programs and this menu when you press the menu, in the L_C_D_ displays as you go on pressing the menu it faster displays volume, then the program, then the brightness, contrast and all Glenda Clancy: Mm. Ruth Choate: the stuff. And Elizabeth Douthit: Yeah Ruth Choate: accordingly Elizabeth Douthit: but Ruth Choate: you can just increase or decrease. Glenda Clancy: Mm. Elizabeth Douthit: if Helen Williams: It's Elizabeth Douthit: you look at the L_C_D_ you you don't look at the T_V_ screen so Glenda Clancy: Mm. I if Elizabeth Douthit: i i it's Glenda Clancy: Mm. Elizabeth Douthit: not really worth to get Glenda Clancy: Mm. Elizabeth Douthit: to have the image if you don't look Glenda Clancy: Yeah. Elizabeth Douthit: at, Helen Williams: And Elizabeth Douthit: so. Helen Williams: I think it's increases the cost of the Elizabeth Douthit: Yeah. Helen Williams: the remote control if you use Ruth Choate: Yeah that Helen Williams: L_C_D_. Ruth Choate: has to be checked out. Glenda Clancy: I think that Helen Williams: I Glenda Clancy: there's no contradiction here, because if there are few buttons, you don't have to look at your your controller any more because you know where the buttons are, Elizabeth Douthit: Yeah. Glenda Clancy: so if you wanna control the screen d sh sharpness you just say sharpness and then you t turn you just press lef increase or decrease button and the same for the volume Ruth Choate: Yeah. Glenda Clancy: and the channel, if you had the speech recognition there you just shout your channel, just tell your channel and then you don't even have to look at the butto at the controller so finally Ruth Choate: Okay. Glenda Clancy: that wil eliminates the the need for L_C_D_, with the help of speech recogniser you can Ruth Choate: I mean, Glenda Clancy: Yeah. Ruth Choate: better if we could just check all the cost with L_C_D_ and also with the speech recognition. Glenda Clancy: Mm. Elizabeth Douthit: Yeah. Ruth Choate: And then we could find which would Glenda Clancy: Mm. Ruth Choate: would be a more Glenda Clancy: Mm. Ruth Choate: suitable in this case. Glenda Clancy: Yeah. A and Ruth Choate: And the third problem was to find the remote control. Always, so fifty percent of the people say they lose the remotes. Elizabeth Douthit: Well so we we can think about a well a a vocal command like uh Glenda Clancy: Mm. Elizabeth Douthit: find and when the remote control uh Glenda Clancy: Where, Elizabeth Douthit: hears Helen Williams: You will Elizabeth Douthit: fine Helen Williams: listen to a peep, Elizabeth Douthit: well Helen Williams: special Elizabeth Douthit: yeah Glenda Clancy: yeah. Elizabeth Douthit: just Helen Williams: peep. Elizabeth Douthit: uh to make him beep Ruth Choate: Yeah that's right, that's exactly Elizabeth Douthit: or t Ruth Choate: what I mean by voice commander. Or Elizabeth Douthit: Yeah. Ruth Choate: it could be also Glenda Clancy: Yeah. Ruth Choate: something like this, uh it's always Glenda Clancy: Mm. Ruth Choate: boring to change the batteries of the remotes control, Elizabeth Douthit: Yeah. Ruth Choate: so we have some one charger there and whenever we don't use the remote control Glenda Clancy: Put it back Ruth Choate: we put Elizabeth Douthit: Put Glenda Clancy: at the Ruth Choate: it Glenda Clancy: charge. Ruth Choate: in the charger. Glenda Clancy: Yeah. Ruth Choate: And when we're using that t remote and if we misplace somewhere, in the charger we have a small button, and just by pressing the button in the charger the uh remote control beeps, Elizabeth Douthit: Yeah. Glenda Clancy: Yeah. Ruth Choate: wherever Helen Williams: Okay. Ruth Choate: it is. Elizabeth Douthit: And that's a good idea, that's simple, Helen Williams: Yeah. Glenda Clancy: Mm. Ruth Choate: I mean Elizabeth Douthit: like Ruth Choate: it Elizabeth Douthit: in Ruth Choate: doe Elizabeth Douthit: phones. Ruth Choate: it also doesn't require a voice command, because Elizabeth Douthit: Yeah. Ruth Choate: there are Helen Williams: But Ruth Choate: problems Helen Williams: you Ruth Choate: with Helen Williams: don't Ruth Choate: a voice Helen Williams: you don't Ruth Choate: command. Helen Williams: have to move Glenda Clancy: Hmm. Helen Williams: the the charger. Glenda Clancy: Mm. Ruth Choate: Yeah, yeah, yeah. I mean Glenda Clancy: Th Ruth Choate: charger Helen Williams: You Ruth Choate: would Helen Williams: have Glenda Clancy: yeah. Ruth Choate: be Helen Williams: to Ruth Choate: fixed Helen Williams: keep Ruth Choate: because it's Helen Williams: it. Elizabeth Douthit: Yeah. Ruth Choate: always with Glenda Clancy: Mm yeah. Ruth Choate: electricity plugged. Elizabeth Douthit: Yeah if Glenda Clancy: Yeah. Elizabeth Douthit: there Helen Williams: Okay. Elizabeth Douthit: if there uh there Glenda Clancy: Mm. Elizabeth Douthit: is nuff not enough battery. Glenda Clancy: Mm. There's Elizabeth Douthit: Also Glenda Clancy: mm. Elizabeth Douthit: and Glenda Clancy: Mm. Elizabeth Douthit: uh uh the remote is lost. Glenda Clancy: Yeah. Ruth Choate: Yeah that's right. Glenda Clancy: That we can what we can do is we can program a function whereby when you press the switch off T_V_ button, the off button, the remote there be s uh instruction on the screen, please charge charge Ruth Choate. Elizabeth Douthit: Yeah. Glenda Clancy: You never get it lost because uh every time you're off the computer the T_V_ you are asked the the command the T_V_ com remote controller would tell you to put it back to where to the charger. Ruth Choate: It's an good reminder, Glenda Clancy: Yeah. Ruth Choate: right. Glenda Clancy: So you will never get lost Elizabeth Douthit: Okay. Glenda Clancy: yeah. Helen Williams: Maybe for some people lazy Glenda Clancy: Yeah. Helen Williams: people. Glenda Clancy: Yeah because everything is programmed inside. Helen Williams: Yeah yeah. Glenda Clancy: So it's it's uh it's all about strategy, y Ruth Choate: And of course the final point is a fancy look. Glenda Clancy: Mm. Ruth Choate: As we have seen earlier the remotes which were displayed by Glenda Clancy: Mm. Ruth Choate: Norman they weren't fancy, Elizabeth Douthit: They were ugly. Ruth Choate: I mean mm Elizabeth Douthit: They Ruth Choate: very Glenda Clancy: Yeah, Ruth Choate: big or Glenda Clancy: yeah. Ruth Choate: something Helen Williams: Mm. Ruth Choate: with lot of buttons. I think we should have something Elizabeth Douthit: Well Ruth Choate: it Elizabeth Douthit: the last one with the um Glenda Clancy: With uh two two Elizabeth Douthit: yeah with the two parts was Glenda Clancy: two parts Elizabeth Douthit: uh Glenda Clancy: controller. Elizabeth Douthit: original, Ruth Choate: I mean Elizabeth Douthit: so Ruth Choate: uh I mean uh I mean uh you see if it's like that even a kid who wants to have a control he could just plug it and Elizabeth Douthit: Yeah. Ruth Choate: use it, you can't avoid him. But you can have an button for child lock. Glenda Clancy: Yeah. Elizabeth Douthit: Yeah. Glenda Clancy: Mm. Ruth Choate: So just by pressing the button with Glenda Clancy: Mm. Ruth Choate: some code, you t you put a lock Glenda Clancy: Mm. Ruth Choate: onto the remote, Glenda Clancy: Mm. Ruth Choate: so that he can't use even Elizabeth Douthit: Well Glenda Clancy: Mm. Elizabeth Douthit: we can think about uh having uh on the on the on the user interface when you switch on the T_V_ Ruth Choate: Mm Glenda Clancy: Mm. Ruth Choate: uh Elizabeth Douthit: you can uh well write a code or choose a category, Helen Williams: Or Glenda Clancy: Mm. Elizabeth Douthit: if it is kids, uh Glenda Clancy: Yeah. Elizabeth Douthit: things like that. Ruth Choate: That's right. Glenda Clancy: Mm. Helen Williams: Or maybe you have to to show some specific programmes for kids and Glenda Clancy: Mm. Helen Williams: then just Glenda Clancy: these Helen Williams: just Glenda Clancy: are probl Helen Williams: yeah Glenda Clancy: yeah. Helen Williams: just push uh kids button Glenda Clancy: Mm. Mm. Helen Williams: so it's automatically. Glenda Clancy: Mm. Helen Williams: So if he. Ruth Choate: I think these other four points they're the market demands and so it's for the user interface design Elizabeth Douthit: So for Ruth Choate: and Elizabeth Douthit: mm Glenda Clancy: Mm. Ruth Choate: industrial Helen Williams: Yeah. Ruth Choate: design Elizabeth Douthit: yeah. Ruth Choate: to Elizabeth Douthit: So Ruth Choate: just Elizabeth Douthit: for Ruth Choate: think Elizabeth Douthit: my part I will check the prices the um the prices difference uh of what to use, where to use, and s Ruth Choate: Yeah Elizabeth Douthit: uh Ruth Choate: I think it Elizabeth Douthit: and Ruth Choate: should Elizabeth Douthit: so Ruth Choate: be clearer Elizabeth Douthit: on. Ruth Choate: for us in the next meeting that Elizabeth Douthit: Yeah. Ruth Choate: th uh these could be included. Glenda Clancy: Mm. I think we need to define also a s the set of vocabularies for the speech recogniser Elizabeth Douthit: Yeah. Glenda Clancy: because uh if you want uh say we can sort by channels or sort by T_V_ programs, you have to decide a category of vocabularies for them. If numbers, they're easy, Helen Williams: Mm-hmm. Glenda Clancy: but if name the channel by by name Elizabeth Douthit: Well I think we can we can have just numbers for channels and you can say to your remote control like uh sports and then on the T_V_ you have a list with with uh uh well Glenda Clancy: Mm. Elizabeth Douthit: with sports program playing now and Ruth Choate: No, Elizabeth Douthit: and uh Ruth Choate: we have a problem there. You see uh if you have a voice commands and you are s you are watching a score on uh basketball score or something, and if the score comes twenty four thirty five, you've just say twenty five and Helen Williams: Yeah Ruth Choate: suddenly Helen Williams: it's yeah. Ruth Choate: the screen the channel goes to twenty five. So I think Elizabeth Douthit: That's Glenda Clancy: Mm. Ruth Choate: there Elizabeth Douthit: right, Ruth Choate: should be Elizabeth Douthit: yeah, Ruth Choate: a prefix Elizabeth Douthit: yeah. Ruth Choate: to some numbers Elizabeth Douthit: Well but well e every possible word uh has a probability to come about of the T_V_ Glenda Clancy: Yeah. Elizabeth Douthit: so. Ruth Choate: I mean the the you just check all the probability that saying T_V_ twenty five and just ordinary twenty five. Glenda Clancy: Mm. Elizabeth Douthit: Yeah Ruth Choate: Ordinary Elizabeth Douthit: yeah. Ruth Choate: twenty five you almost there's a probability of being said Elizabeth Douthit: Yeah Glenda Clancy: Mm. Elizabeth Douthit: but Ruth Choate: around sixty Elizabeth Douthit: well Ruth Choate: seventy percent Elizabeth Douthit: okay. Ruth Choate: and T_V_ twenty five I dunno it will be round Glenda Clancy: Mm. Ruth Choate: about one or two percent. Helen Williams: Mm-hmm. Glenda Clancy: Mm. Ruth Choate: So it's better to have some prefix before the number. Glenda Clancy: But I I I think that the user would like wou would like to associate the channel or call the channel rather than than the numbers. Ruth Choate: Yeah something, some code. Glenda Clancy: You say numbe channel number five of the T_V_ correspond to something else Elizabeth Douthit: Yeah Glenda Clancy: in Elizabeth Douthit: yeah. Glenda Clancy: the channel. So some people may want to say, I want to see this Elizabeth Douthit: Mm Glenda Clancy: channel. Elizabeth Douthit: mm. Well Ruth Choate: That will Elizabeth Douthit: I Ruth Choate: be too big. And Helen Williams: Or Ruth Choate: it will Helen Williams: just Ruth Choate: be difficult for the vocabulary also. Glenda Clancy: Yeah. Check with the v R_ and D_ department the Helen Williams: It's Glenda Clancy: capability Helen Williams: difficult Glenda Clancy: of Helen Williams: to Glenda Clancy: recogniser. Helen Williams: to just say the the name of the channel. Glenda Clancy: Uh? Helen Williams: It will be difficult to say just the name of the channel. Because Glenda Clancy: Well, Helen Williams: you have Glenda Clancy: it's Helen Williams: to Glenda Clancy: convenient Helen Williams: s t Glenda Clancy: for Helen Williams: uh Glenda Clancy: the user. Helen Williams: a ch yeah but you have to to have all the name of the channel in your vocabulary. Ruth Choate: Als might be you just forgot Helen Williams: Or maybe Ruth Choate: the channel name, you Elizabeth Douthit: Yeah. Ruth Choate: kno only know the number. Then Glenda Clancy: The Helen Williams: Or maybe Glenda Clancy: uh Helen Williams: the user Glenda Clancy: uh Helen Williams: can create Glenda Clancy: mm. Helen Williams: his own vocabulary, Glenda Clancy: Mm. Helen Williams: just pronouncing the Glenda Clancy: I I think that Helen Williams: the Glenda Clancy: I Helen Williams: name Glenda Clancy: have Helen Williams: of channels and Glenda Clancy: mm Helen Williams: include Glenda Clancy: mm Helen Williams: in the vocabulary. Glenda Clancy: I think there's another way you can do is that uh you can uh if when the user ch press a button to choose the channel for example, then what you can do is that the you can make the T_V_ screen to split them into small little little squares of images where you you you have a snapshot of every channel, so let's say it's a four by four matrix of the images, so now what you do is f looking at the all the sixteen channels available at one time, you just use the control button uh, you Ruth Choate: Yeah, Glenda Clancy: just you Ruth Choate: the. Glenda Clancy: you just choose the the option you want and then you just hit the button and then you go to that channel. So Helen Williams: Or lets the user create his Glenda Clancy: Mm. Helen Williams: own vocabulary Glenda Clancy: So Helen Williams: of Glenda Clancy: you Helen Williams: channel. Glenda Clancy: you don't use the speech recogniser in that way. Helen Williams: No. Just you have uh in the beginning you have uh t you have to train you have to create the vocabulary Glenda Clancy: Oh, okay. Helen Williams: by yourself. Glenda Clancy: Yeah. Elizabeth Douthit: Well I uh I Helen Williams: By Elizabeth Douthit: also Helen Williams: associating each channel with the name or Elizabeth Douthit: I I also think about uh another problem, if if there is uh more than one person who is watching T_V_ Ruth Choate: Yeah Elizabeth Douthit: the Helen Williams: And Elizabeth Douthit: s Helen Williams: for Ruth Choate: yeah, Helen Williams: each one Elizabeth Douthit: well Helen Williams: has Elizabeth Douthit: the Helen Williams: his Elizabeth Douthit: the speech uh Helen Williams: own. Elizabeth Douthit: r recogniser should be able to distinguish between the two. Because uh Glenda Clancy: Mm. Elizabeth Douthit: I remember when I was a young child Helen Williams: Or Elizabeth Douthit: with Helen Williams: you have Elizabeth Douthit: my sister Helen Williams: to Glenda Clancy: Yeah, I wanna watch Ruth Choate: Yeah. Helen Williams: s Elizabeth Douthit: we Glenda Clancy: this, I wanna watch Elizabeth Douthit: yeah Glenda Clancy: that. Elizabeth Douthit: we always want to w to watch different emission at the at the same time so it's a pr it could be a problem if uh if well if someone passes by when you are watching T_V_ and say oh T_V_ thirty and just run, Glenda Clancy: Mm. Elizabeth Douthit: s Ruth Choate: A and in the same lines we would have a one more problem. If we are using the television in the different environments, say in the factories or in the shops Elizabeth Douthit: Yeah, yeah. Ruth Choate: where there is a lot of noise Helen Williams: Yeah. Ruth Choate: and this voice commands if they fail to work, that would bring a bad name bad uh reputation Glenda Clancy: Mm. Ruth Choate: for our company. So Helen Williams: Mm. Ruth Choate: I think we should specify some pre-requirements if we want to use a voice commands, say that it should be used in an silent homely environment or Elizabeth Douthit: Yeah. Ruth Choate: s something. Helen Williams: Or we can switch on or switch off the the special, Ruth Choate: Yeah that's right that should be an option. Helen Williams: yeah. Glenda Clancy: Mm. Elizabeth Douthit: Yeah that's well I think that's a good uh a good option because it's simple and uh simple Glenda Clancy: Hmm. Elizabeth Douthit: to implement also, so. Ruth Choate: I think these are the practical problems. So we need to take care of them in the design. Helen Williams: Maybe we'll discuss them in next meeting. It's time to close this meeting. Elizabeth Douthit: Okay. Glenda Clancy: Well, you Ruth Choate: Okay. Glenda Clancy: you stay a five minutes. Ruth Choate: Oh it came there on three minutes back Helen Williams: Yeah. Ruth Choate: so we are I think we can just press the Helen Williams: Okay. Ruth Choate: okay. Elizabeth Douthit: Okay. So Helen Williams: Thanks Elizabeth Douthit: I see Helen Williams: for Elizabeth Douthit: ya. Ruth Choate: Okay. Helen Williams: your collaborations. Ruth Choate: See you another thirty minutes.

Elizabeth Douthit presented options for each component. He suggested kinetic energy, a titanium case, and rubber push buttons. The group will ask if the kinetic energy component can provide enough energy. Glenda Clancy introduced the graphical user interface to the group and suggested using an LCD screen. He presented several existing products and suggested the following: large buttons; voice recognition; either push, scroll, or spinning buttons; and incorporating some customizable components. The group discussed including a help button; it was decided that it would make the device seem more complicated. Ruth Choate presented that users found remotes too easily lost, complicated, and ugly. He showed that users were willing to pay more for a fancy remote. He suggested the LCD screen; the group felt that it was better to utilize the user's television as a display screen, but that they would inquire about cost before deciding. The group will inquire about the cost of voice recognition and scroll buttons. The group discussed incorporating a locator function and customization for children. They discussed the sensitivity of the voice recognizer to other noises; the group will ask about the capability of the recognizer.

amisum

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Wanda Harper: So in last meeting we have discussed the conceptual design and we asked you to prepare a prototype for the for the remote control. So. Cleo Walshe: Okay. Wanda Harper: So let's see the what Cleo Walshe: Yeah, so Wanda Harper: did you prepare. Cleo Walshe: can you go out to the shared folder? Mm the Wanda Harper: Sh Cleo Walshe: shared folder. Wanda Harper: share folder for Cleo Walshe: Yes. Wanda Harper: th your presentation? Cleo Walshe: We have a presentation. Wanda Harper: Because I have here Cleo Walshe: Uh So I got the participant uh three. W uh. Three. It's the final design, yeah. Wanda Harper: Okay just one. Cleo Walshe: S so so I discussed with Glenda Krause: Mm. Cleo Walshe: Guillaume. Right. Glenda Krause: Yeah. Cleo Walshe: And uh so we have and we we are both agreed on some two versions of the prototypes, because we not decided whether we to have an L_C_D_ or not because it's too expensive. So we come up with two versions. One with and one without L_C_D_s. Um but both comes with a charger and then detachable and uh or control module. And detachable big buttons for all people um. So. Glenda Krause: okay so I'll show you the the two prototypes. Here we have the first one with the beautiful uh L_C_D_ um display. You you can s here. And you can uh just um browse into the the navigation menu by uh joystick Cleo Walshe: Mm. Glenda Krause: joystick-like uh button. You can uh choose the direction and if you just push on it it's considered like Cleo Walshe: Mm. Glenda Krause: a enter function. Cleo Walshe: Mm-hmm. Glenda Krause: You have on the mm on the side here the microphone for the for the speech recognition. And here the the switch that control if you Wanda Harper: Why Glenda Krause: want Wanda Harper: you why you you put it in the the side? Glenda Krause: Well I I I think uh it's Wanda Harper: It's not Glenda Krause: the Wanda Harper: a good place maybe. Glenda Krause: Yeah Cleo Walshe: No i i Glenda Krause: but Cleo Walshe: it's the all around camer uh microphone isn't it. The the microphone picks up Glenda Krause: Yeah. Cleo Walshe: the speeches Christina Dauphin: Is it an Cleo Walshe: from Christina Dauphin: only Cleo Walshe: anywhere. Christina Dauphin: a single mic or a microphone array? Glenda Krause: Well so it's a microphone array. Wanda Harper: Oh it's Christina Dauphin: Mm-hmm. Wanda Harper: very costly, microphone Glenda Krause: No Wanda Harper: array. Glenda Krause: it's Cleo Walshe: Yeah Glenda Krause: just a single microphone, and you I I think uh we we put it here because I think when you when you are browsing your L_C_D_ Christina Dauphin: Yeah. Cleo Walshe: Mm. Glenda Krause: you will be close to well it's better to to to place it here th Cleo Walshe: Yeah Glenda Krause: than here, Christina Dauphin: Okay. Glenda Krause: for instance. Cleo Walshe: yeah. Glenda Krause: And here is a little switch that control if you want the the speaker uh recognition system to um to be on or off. And uh so this remote control comes up with its charger. Wanda Harper: How much does it cost this one? Glenda Krause: Well this this prototype is um made for about uh well fi Cleo Walshe: For the Glenda Krause: fi fifteen fifteen dollars Cleo Walshe: Yeah. Wanda Harper: Fifteen dollars? Glenda Krause: fifteen dollars, but uh well it's Wanda Harper: above Glenda Krause: not Wanda Harper: it's Glenda Krause: it's not Wanda Harper: above Glenda Krause: uh Wanda Harper: the budget. Glenda Krause: yeah, but uh it's just a prototype and if we uh if we optimises the um the uh voila. Christina Dauphin: The cost would be le reduced. Glenda Krause: Yeah the and the Cleo Walshe: Mm. Glenda Krause: the production costs we we can achieve Cleo Walshe: Hmm. Glenda Krause: uh about ten dollars. Wanda Harper: How many b battery is there? Glenda Krause: How many, excuse Christina Dauphin? Wanda Harper: Battery. Glenda Krause: Well uh f battery, we use uh Cleo Walshe: Is Glenda Krause: about Cleo Walshe: it n Glenda Krause: uh Cleo Walshe: the two A_A_s batteries in Glenda Krause: Yeah. Cleo Walshe: it. A_A_ rechargeable batteries. Glenda Krause: Rechargeable of course, Cleo Walshe: Yeah rechargeable Glenda Krause: because we have Cleo Walshe: batteries. Glenda Krause: the charger. Cleo Walshe: We have the charger so Glenda Krause: Yeah Cleo Walshe: it's no problem. Glenda Krause: and you just Wanda Harper: So one one battery? Glenda Krause: On uh yeah one battery. Christina Dauphin: Is that two or one? Wanda Harper: It's kinetic reserve. Cleo Walshe: Actually uh it's a flexible thing. You just n Christina Dauphin: Now Cleo Walshe: uh Christina Dauphin: what is the whole day rating for that? Glenda Krause: The Christina Dauphin: Whole Glenda Krause: excuse Christina Dauphin: day's Glenda Krause: Christina Dauphin? Christina Dauphin: rating. What type of battery? Glenda Krause: Oh yeah it's just a r uh simple battery a rechargeable uh Cleo Walshe: Yeah Glenda Krause: if you uh Cleo Walshe: yeah. Glenda Krause: like it's exist. Christina Dauphin: Something like a two A_, A_ three size batteries? Glenda Krause: Yeah. Christina Dauphin: Mm-hmm. Cleo Walshe: Yeah. Glenda Krause: So and if you want to charge the battery you just put the remote control like that Cleo Walshe: Yeah. Glenda Krause: to plug in the Cleo Walshe: Yeah. Glenda Krause: the charger and uh leave it uh alone, Cleo Walshe: Mm. Glenda Krause: it's alright. Then the next time you pick it, oh Cleo Walshe: At Glenda Krause: it Cleo Walshe: uh Glenda Krause: works. Cleo Walshe: yeah. I forgot to tell you there is only a single button there, Glenda Krause: Yeah Cleo Walshe: b this Glenda Krause: just explain Cleo Walshe: button Glenda Krause: the button uh Cleo Walshe: yeah alright. Glenda Krause: Norman. Cleo Walshe: This button is like the mouse is like a joystick, you can move in three hundred and sixty degrees of direction so you can make a turn and it the additi functions associated to all the actions you ma you have a click you have a double click Wanda Harper: Mm. Cleo Walshe: all in a single button. You can move up, down, left, right, or you can do a swing. So a swing to the left, a swing to the right defines other functions. So even though it's a single button, but it is pretty s flexible because of the three hundred and sixty degree movement. Christina Dauphin: And the L_C_D_ is this one, on the Cleo Walshe: Yeah. Christina Dauphin: remote? Glenda Krause: Yep. Cleo Walshe: This is the version y that comes with L_C_D_. Christina Dauphin: Yeah. Cleo Walshe: Here I present another version without the L_C_D_. Wanda Harper: I think it's not a good idea because after maybe one or two months Cleo Walshe: Mm. Wanda Harper: of function is getting destroyed. If Cleo Walshe: Uh Wanda Harper: you Cleo Walshe: okay Glenda Krause: Yeah Cleo Walshe: this is Glenda Krause: it's Cleo Walshe: new prototype uh. Glenda Krause: So we have the the second version also with the different uh button configuration. The second version is also simpler, we d uh we had just uh I have to put the microphone also. So basically th it's the Christina Dauphin: Uh-huh Glenda Krause: same Christina Dauphin: and also Glenda Krause: uh Christina Dauphin: the switch. Glenda Krause: yeah. Cleo Walshe: Yeah Christina Dauphin: Okay. Glenda Krause: Basically Cleo Walshe: yeah. Glenda Krause: it's the same uh things uh uh as uh I presented before. But here we have uh we have uh four buttons for navigation. Press one button uh acting Cleo Walshe: Mm. Glenda Krause: as a a enter button. So um yeah according to what you said it's more robust to the user. Wanda Harper: Mm-hmm. Christina Dauphin: Mm-hmm. Glenda Krause: And uh it's also cheaper to produce. We can produce uh such remote control for about uh four dollars. Wanda Harper: No four dollars, it's good. Christina Dauphin: And I think you forgot a point here have an button to find the charger, Cleo Walshe: Oh no th Christina Dauphin: because that's Cleo Walshe: actually Christina Dauphin: a major Cleo Walshe: th Christina Dauphin: that's Glenda Krause: Yeah Cleo Walshe: we'll Christina Dauphin: a Cleo Walshe: come Glenda Krause: it's Cleo Walshe: to that Glenda Krause: it's Cleo Walshe: point in Glenda Krause: it's Cleo Walshe: our Glenda Krause: embed in the Cleo Walshe: Yeah. Glenda Krause: uh speech recognition system. Christina Dauphin: Okay and Glenda Krause: So Christina Dauphin: if you disable speech recognition system then? Cleo Walshe: W w I'll I'll come to that point later Christina Dauphin: Mm Cleo Walshe: on. Christina Dauphin: hmm hmm hmm hmm hmm. Glenda Krause: so Norman will explain to you. Wanda Harper: And Cleo Walshe: Yeah. Wanda Harper: we Christina Dauphin: Okay. Wanda Harper: will we will serve the charger with this? Glenda Krause: Yeah yeah Cleo Walshe: Th they Wanda Harper: With Glenda Krause: of course Wanda Harper: the remote control. Glenda Krause: mm. Cleo Walshe: either these with the uh the the charger any in either versions you they they ha they use the same charger Wanda Harper: Okay Cleo Walshe: yeah. Wanda Harper: so the price of the charger included in the Cleo Walshe: Uh it's a standard module so you should get it for a cheap price uh. Glenda Krause: Thank thank you. Wanda Harper: Mm-hmm. Glenda Krause: And so Cleo Walshe: It's that Glenda Krause: mm-hmm. Cleo Walshe: same charger that you can use for the hand-phone but uh again depends on the types. I think we have to investigate more on that, but Wanda Harper: The price should be below twelve Cleo Walshe: Yeah. Wanda Harper: and a half Euro. Cleo Walshe: Yeah Wanda Harper: Well Cleo Walshe: but Wanda Harper: that's Cleo Walshe: as the Marketing Wanda Harper: so Cleo Walshe: Manager says, people is willing to people are willing to pay more for good design. Christina Dauphin: Yeah people Wanda Harper: We Christina Dauphin: are willing Wanda Harper: have Christina Dauphin: to Wanda Harper: we Christina Dauphin: pay more, Wanda Harper: have just Christina Dauphin: but the company is not willing to invest more Cleo Walshe: Yeah. Wanda Harper: The price Christina Dauphin: at the Wanda Harper: of Christina Dauphin: moment. Wanda Harper: selling is twenty Cleo Walshe: Yeah. Wanda Harper: five Euros. Cleo Walshe: Mm-hmm. Wanda Harper: And the price of Glenda Krause: Alright Wanda Harper: production Glenda Krause: please uh go on Norman with the special Christina Dauphin: Or Glenda Krause: features. Christina Dauphin: uh Cleo Walshe: Yeah we'll we'll come up to that, the the the thing that makes this the controller cheap is that it is modular so you want more function you pay more. If you want less function i i if you want a reasonable price you pay for the functions that you add on to the system, so is uh modular. Wanda Harper: That's for this basis function and if you want more you pay Cleo Walshe: Yeah Wanda Harper: more. Cleo Walshe: yeah, Christina Dauphin: Something Cleo Walshe: for example Christina Dauphin: like Cleo Walshe: the L_C_D_, Christina Dauphin: customised. Cleo Walshe: you can take it Christina Dauphin: Yeah Cleo Walshe: you can put Wanda Harper: Yeah. Cleo Walshe: it put it back in, or you can use the other one, or the speech recogniser with the microphone yeah yeah. You want a microphone to put in the Wanda Harper: Okay. Cleo Walshe: speech recogniser you don't wan you pay less for the system you see. Christina Dauphin: Mm hmm hmm hmm. Cleo Walshe: So Christina Dauphin: Hmm okay. Cleo Walshe: It's pretty flexible in the yeah Glenda Krause: You also Cleo Walshe: price. Glenda Krause: have the Wanda Harper: But Glenda Krause: the the two other modules for the parental control Cleo Walshe: Uh yeah yeah you should Christina Dauphin: And Glenda Krause: that Cleo Walshe: present Christina Dauphin: this Glenda Krause: that Cleo Walshe: that. Christina Dauphin: is Glenda Krause: you ca Christina Dauphin: other one? Glenda Krause: you can add up to the to your remote control i i if you uh if you want to to have more more power on what you do, Cleo Walshe: Yeah. Glenda Krause: and uh which channel you want to choose and so on. H here is just the the the module for the kids and th if the parents want Christina Dauphin: Mm Glenda Krause: to Christina Dauphin: hmm hmm Glenda Krause: watch Christina Dauphin: hmm. Glenda Krause: T_V_, up they come up with their modules, they just plug in it Cleo Walshe: Yeah Glenda Krause: and they can have all the control they want here. Cleo Walshe: Mm. Glenda Krause: We also have this module for uh old people Cleo Walshe: Hmm. Glenda Krause: with big buttons, clearly labelled, and it acts like the previous Cleo Walshe: Yeah. Glenda Krause: one, you just plug in and it works. Christina Dauphin: Mm-hmm. Cleo Walshe: Yeah the i the idea the the conceptual idea is that simplicity and powerful. Simplicity meaning that we have few buttons, powerful is that all the controls with the one you saw we saw earlier in the meetings with lots of buttons n but here you only have few buttons but you retain the mm the same powerful functionalities. But in addition with simplicity. So that's the best idea, the cond that that's our uh an innovation um uh i in this uh design here. Wanda Harper: Mm-hmm. Cleo Walshe: Okay now we come to other important features that I did not tell you. The first one is the speech recogniser, again it's detachable or add-on. And then we also have security feature for example this here oop it's very robust, it doesn't break and the material, what's the material Glenda Krause: The Cleo Walshe: again? Glenda Krause: titanium and Wanda Harper: Titanium. Glenda Krause: so it's very uh Cleo Walshe: Again uh and the battery life is uh is an is an endurable one, again because this is A_A_ batteries you can choose the types of battery you want. Christina Dauphin: Yeah that's fine. Cleo Walshe: Lithium-ion may be a good one, but you can replace it with cheaper one, again you pay for what you get, and then um y the other p points are robust and misplacement reminder. So when you finish watching your T_V_ and you the you t you turn off the T_V_, uh and then there's this message coming out that uh please put that back to the charger, Christina Dauphin: Okay. Cleo Walshe: so that's the or is it that's the reminder part. Yeah and um And it also use a programmable channel and vocabulary, so we didn't define the vocabulary so it's up to the user to define Christina Dauphin: Mm hmm hmm hmm. Cleo Walshe: so sorry? And then uh because of the chil because children are using the device so we have also a a of T_V_ programmes by genre, and this can be used by the adult or by the children. So instead of choosing the channel you are choosing the T_V_ contents of the night. So it's pretty powerful, and that's that's why the num buttons are reduced, because of this feature. Yeah. And and for the materials that is cheap to produce I think uh it's quite clear from yeah. And also like the and the fancy designs yeah. Maybe we can Wanda Harper: What Cleo Walshe: improve Wanda Harper: what's Cleo Walshe: more on the design Wanda Harper: Maybe yeah. What's Cleo Walshe: but Wanda Harper: the price to p to produce? Cleo Walshe: uh this is the Glenda Krause: Well so the price to produce For uh the simplest one, say we start from four dollars to produce such a device. Uh it's Wanda Harper: With Glenda Krause: about Wanda Harper: with Glenda Krause: it Wanda Harper: with the Glenda Krause: The Christina Dauphin: With the Wanda Harper: charge? Christina Dauphin: charger? Glenda Krause: without without the charger Wanda Harper: Okay. Cleo Walshe: Yeah. Glenda Krause: it's about uh well two dollars to produce uh the microphone and speech recognition systems. Two dollars for the uh for the add-on modules, and finally three dollars for the charger. So if you uh sum up uh everything Wanda Harper: We don't have charger. Glenda Krause: wi with the L_C_D_, which costs two dollar, you have two plus four plus four plus two plus two. It's Christina Dauphin: I think Glenda Krause: about Christina Dauphin: we can use Excel. Wanda Harper: We don't have all the options. Cleo Walshe: Yeah. Glenda Krause: so the total Wanda Harper: Charger Glenda Krause: cost if Wanda Harper: we Glenda Krause: you Wanda Harper: don't have Glenda Krause: if Wanda Harper: charger Glenda Krause: you want Wanda Harper: here Glenda Krause: all the Wanda Harper: either. Glenda Krause: fuct functionalities will be about uh fifteen dollars. Cleo Walshe: Yeah. Wanda Harper: No it's Glenda Krause: But it's just if you want all functionalities. Wanda Harper: it's below the the the budget. Cleo Walshe: Yeah. Glenda Krause: Excuse Christina Dauphin? Wanda Harper: It's below the bu the budget. Christina Dauphin: Yeah it's a nice Wanda Harper: We Christina Dauphin: input but we have an other inputs from the l public demands. I think we will just have a rough look and then we can make our statements, and we can finalise the product based Cleo Walshe: Yeah. Christina Dauphin: on this discu Glenda Krause: Yeah. Christina Dauphin: I think we can just go to my presentation then. We can wind up. Or we could uh come to some f uh final conclusions. Christina Dauphin: So the marketing made an evaluation criteria and these were some of the findings, and uh in the market the people are not really interested with L_C_D_, without L_C_D_, with speech recognition interface, or without speech recognition interface, but most of the people what they are interested is first thing is, they want to have an fancy look and feel, it should be very fancy with colourful and uh very handy to hold. And Cleo Walshe: Mm. Christina Dauphin: the second thing is it should be much more technologically innovative. Of course in that we could put L_C_D_ or recognition to be more technologically innovative. And the third one is easy to use. Glenda Krause: Well Cleo Walshe: Mm. Glenda Krause: I think that the technical in innovation is is in the product itself since we haven't yet a remote who are allowing to to choose interactively with the T_V_ screen uh uh with just four buttons. Christina Dauphin: Okay and if we go to the next slide, here you can find these are the latest fashion updates, and so this in Paris and Milan they have detected this trends that the this year it's going to be an year of fruit and vegetable, so people are really interested Cleo Walshe: Spongy Christina Dauphin: to see if Cleo Walshe: spongy. Christina Dauphin: they have an remote in the shape of the fruit or a vegetable, or Cleo Walshe: Mm Christina Dauphin: whatever they like. Cleo Walshe: mm. Christina Dauphin: So I think it should be much more customised Cleo Walshe: Mm Christina Dauphin: to make a different Cleo Walshe: mm. Christina Dauphin: uh shapes. And the second thing is, and if the material, they really do not want it to be very hard, as in the case of very pl plastic or titanium, it should be somewhat spongy. Glenda Krause: Okay. Cleo Walshe: But the the problem is that uh is it robust to mishandling? Christina Dauphin: Um. Cleo Walshe: We have you should find a material that is robust at the same time spongy. Glenda Krause: A Christina Dauphin: Yeah Glenda Krause: sponge. Christina Dauphin: so Cleo Walshe: Spongy. Christina Dauphin: uh so finally we have these three criterias. One is fancy look, second is innovative, and third is easy to use. So these are the f uh three criteria on which we are going to build our remote. Cleo Walshe: Mm-hmm. Christina Dauphin: So Glenda Krause: Hmm. Christina Dauphin: and we have an evaluation criteria for each one of these, say that we have a seven point scale, from one to seven, Cleo Walshe: Mm-hmm. Christina Dauphin: and for each of the product you could just give Christina Dauphin the scale according to this. Cleo Walshe: Mm. Christina Dauphin: So now you have with L_C_D_ and without L_C_D_, so Cleo Walshe: Mm. Christina Dauphin: on this scale, if it is true, if it is if it has a fancy look you could just tell Christina Dauphin one, or if it is false, it doesn't it looks uh it doesn't look much fancy, then you could just tell Christina Dauphin seven. So Cleo Walshe: So Christina Dauphin: We can make our study on this and Cleo Walshe: so is the e evaluation depending on us or other users? Christina Dauphin: No no we have you have designed two products now, Wanda Harper: Yeah. Christina Dauphin: one is with L_C_D_ and without Cleo Walshe: Yeah. Glenda Krause: Yeah. Christina Dauphin: L_C_D_. Cleo Walshe: But who will give the scoring uh we ourself or Wanda Harper: You. Christina Dauphin: According Cleo Walshe: or a Christina Dauphin: to Cleo Walshe: third party? Christina Dauphin: you, no according to you designers, how will feel does it uh with Cleo Walshe: Mm. Christina Dauphin: L_C_D_ and without L_C_D_? Okay let us make this L_ and without L_C_D_. On on this scale the L_C_D_ Cleo Walshe: Mm. Christina Dauphin: remote control. How do Cleo Walshe: Mm. Christina Dauphin: you look how does it look? D is it very fancy or doesn't look much fancy? Glenda Krause: Well it doesn't look much fancy I'll I'll say three or four. Christina Dauphin: And you both agree for that? Wanda Harper: And you? Cleo Walshe: I think we can improve on the design. Glenda Krause: Yeah. Cleo Walshe: Som Glenda Krause: It's it Cleo Walshe: someone Glenda Krause: it Cleo Walshe: um commented this is like a the stone age uh design. Um we have been focused all all this time on the Glenda Krause: Technical Cleo Walshe: on the technical Glenda Krause: aspects. Cleo Walshe: aspect, functional aspect, but also the simplicity. Wanda Harper: Mm-hmm. Cleo Walshe: As for the design maybe we c should hire a designer Christina Dauphin: So I take Cleo Walshe: to Christina Dauphin: three on Cleo Walshe: help. Glenda Krause: Yeah Christina Dauphin: with Glenda Krause: a three. Christina Dauphin: L_C_D_? So without Cleo Walshe: Yeah. Christina Dauphin: L_C_D_ how would you rate it? Glenda Krause: Uh four. Christina Dauphin: Four. Glenda Krause: I think it's it's uh more easy to make f fancy things when it's not complicated Cleo Walshe: Yeah. Yeah. Christina Dauphin: And in the sense of innovativeness, with L_C_D_. Glenda Krause: Well it's it's the same for both so I will give a five, six. Cleo Walshe: Mm. Christina Dauphin: Five with L_C_D_ and Glenda Krause: Well five also uh Cleo Walshe: Yeah Glenda Krause: Norman please. Wanda Harper: Uh Cleo Walshe: from the innovation aspect I feel that uh what is most innovative of our prototype compared to the existing prototypes that we saw l in the last meeting is that um the retrieval of T_V_ programmes by content, because uh that is really innovative, and for now and another innovation we have is simplicity and simplicity, few buttons, we've uh Glenda Krause: With lot of functionalities. Cleo Walshe: A lot of functionalities. Christina Dauphin: So Cleo Walshe: So Christina Dauphin: without Cleo Walshe: that is Christina Dauphin: L_C_D_? Cleo Walshe: uh that is uh for both th Our gi I think that the our our product is uh has the best in all well this is a biased judgement Christina Dauphin: No Cleo Walshe: because Christina Dauphin: no according Cleo Walshe: we designed Christina Dauphin: to design Cleo Walshe: them. Christina Dauphin: aspect we want to know how Cleo Walshe: Yeah. Christina Dauphin: would you feel the innovativeness? Cleo Walshe: Uh the innovation is v is very high I think. Christina Dauphin: With Wanda Harper: For Christina Dauphin: L_C_D_. Wanda Harper: L_C_D_. Christina Dauphin: And without Cleo Walshe: Both. Christina Dauphin: L_C_D_? Glenda Krause: Mm for both it's Cleo Walshe: For both. Glenda Krause: the the same innovations. Cleo Walshe: It's the same innovation. Christina Dauphin: Okay. Cleo Walshe: So maybe I can put six to seven. Glenda Krause: six, let's Wanda Harper: Without Glenda Krause: go for Wanda Harper: L_C_D_. Glenda Krause: six. Cleo Walshe: Both. Christina Dauphin: No actually uh to make it with L_C_D_ you make more efforts. So I there is high innovativeness included if you make it with L_C_D_ Glenda Krause: Yeah. Christina Dauphin: y then when it is without L_C_D_ Cleo Walshe: Mm. Christina Dauphin: there is not much Wanda Harper: Uh no Christina Dauphin: innovativeness. Wanda Harper: innovative yeah. Christina Dauphin: So Cleo Walshe: Uh Christina Dauphin: we Cleo Walshe: uh Christina Dauphin: can't Cleo Walshe: uh Christina Dauphin: go Cleo Walshe: there w there was a there was a issue here is that what are what is the display on the L_C_D_? We haven't really uh Glenda Krause: Talk Christina Dauphin: I mean Cleo Walshe: determined Glenda Krause: about Christina Dauphin: that what you are sayin that's Cleo Walshe: what Christina Dauphin: what the Cleo Walshe: are actually Christina Dauphin: design Cleo Walshe: actually it's good to have a L_C_D_ but what are we gonna display on a L_C_D_? Christina Dauphin: No it's like this, I mean on the L_C_D_, according to what I understand from your model is, Wanda Harper: So let's remove Christina Dauphin: you Wanda Harper: it. Christina Dauphin: have a joystick here, Cleo Walshe: Yeah? Christina Dauphin: and you have L_C_D_, Cleo Walshe: Yeah. Christina Dauphin: you just press your joystick, you get here a programme. Cleo Walshe: Yeah but Glenda Krause: Yeah Christina Dauphin: Uh Glenda Krause: but Christina Dauphin: then Glenda Krause: you have Wanda Harper: But Glenda Krause: the same programme on the T_V_ screen. Cleo Walshe: Yes exactly. Wanda Harper: This is the problem. Christina Dauphin: No on the T_V_ you don't it doesn't display on the T_V_ now. Glenda Krause: If you have the L_C_D_, Christina Dauphin: L_C_D_? Glenda Krause: but if n Christina Dauphin: Then uh there is no meaning in having it on the T_V_. Glenda Krause: Yeah. Christina Dauphin: a channels, volume and all the stuff Cleo Walshe: But Christina Dauphin: and what Cleo Walshe: you cannot Christina Dauphin: a Cleo Walshe: display all on a L_C_D_. Christina Dauphin: I mean that depends upon your design, so Cleo Walshe: Anyway for for the users who who who opt for L_C_D_ Christina Dauphin: I mean Cleo Walshe: we'll give them the give them the L_C_D_, we give what the customer uh wants, right. Glenda Krause: Yeah. Christina Dauphin: So without L_C_D_ you want to put it fi the same level of innovativeness? And which do you recommend e easy to use, with L_C_D_ or without L_C_D_? Glenda Krause: Well I think both are really easy to use because there are few button buttons, Cleo Walshe: Yeah. Glenda Krause: and uh well t p the menu are clear, Cleo Walshe: Yeah. Glenda Krause: well-organised, so Cleo Walshe: Yeah. Glenda Krause: Well with little knowing of the technology you can you can easily use the product so I will give a six for the easy Cleo Walshe: Yeah Glenda Krause: to use. Cleo Walshe: I think sorry. Wanda Harper: No it's just if I I see the the f the rate I think it's better to do it without L_C_D_. Because Christina Dauphin: Yeah. Wanda Harper: that's with L_C_D_ just will increase the price, and I thi i they have the same rate so Cleo Walshe: Yeah. Wanda Harper: without L_C_D_ Christina Dauphin: Or we can Wanda Harper: it Christina Dauphin: just Wanda Harper: will be Christina Dauphin: go back to the previous slide uh where we ha we have a few updates. So I mean in the product design you could just amend it to make some few changes Cleo Walshe: Yeah. Christina Dauphin: according to fruit and Cleo Walshe: Yeah. Christina Dauphin: vegetable or a spongy touch Cleo Walshe: Yeah. Christina Dauphin: without L_C_D_ and without speech recognition. Even then our product is going to be Glenda Krause: Yeah, it's Christina Dauphin: very Glenda Krause: cheaper Christina Dauphin: good. Glenda Krause: to produce. Christina Dauphin: Yeah. Cleo Walshe: Mm. S Glenda Krause: And uh if the the well if we have less technology we have more liberty to uh Christina Dauphin: Yeah Glenda Krause: for Christina Dauphin: that's Glenda Krause: the shape Christina Dauphin: right. Glenda Krause: and uh things like that so Cleo Walshe: Yeah. I have another thing to say about the easy to use aspect. I think the easy to use uh aspect is different for different people. Glenda Krause: Yep. Cleo Walshe: For the Wanda Harper: Mm-hmm. Cleo Walshe: young generation easy to use may be very complicated because uh they w they wants lot of controls with lots of buttons. For kids they want simply the s similarit Christina Dauphin: Yeah Cleo Walshe: for Christina Dauphin: yeah Cleo Walshe: the old Christina Dauphin: that's Cleo Walshe: people Christina Dauphin: right. Cleo Walshe: they want simplicity, so that's why we have the parental module. Uh we can ha have build a more complex design if if they want it, but but uh what I'm trying to say here is that the um we have different sets of buttons for different kinds of people. So in terms of easy to use I think it's very user customisable. User customisation is very important yeah. Glenda Krause: Yeah. Cleo Walshe: Yeah so Christina Dauphin: So without Glenda Krause: Six. Christina Dauphin: L_C_D_ I just take it five? Wanda Harper: Mm-hmm. Cleo Walshe: W Christina Dauphin: Or Cleo Walshe: uh Christina Dauphin: you want it to be six? Glenda Krause: Um six. Cleo Walshe: I think it's the same. Yeah. Glenda Krause: Yes as you say, with better uh Wanda Harper: Without Christina Dauphin: S s Wanda Harper: L_C_D_. Christina Dauphin: oh Glenda Krause: yeah. Christina Dauphin: I think it's better to have this without L_C_D_. Glenda Krause: And to improve the Christina Dauphin: As our Glenda Krause: the Christina Dauphin: Programme Glenda Krause: look. Christina Dauphin: Manager s Cleo Walshe: Yeah. Christina Dauphin: Pro Project Manager says that without L_C_D_ it is going to reduce the cost also, Wanda Harper: Yeah. Christina Dauphin: and Cleo Walshe: Mm. Christina Dauphin: it's going to be much Glenda Krause: Yes Christina Dauphin: simpler Glenda Krause: and to Christina Dauphin: to Glenda Krause: give Christina Dauphin: use. Glenda Krause: us more liberty to have a fancy look so Cleo Walshe: Yeah. Glenda Krause: so let's go back to our laboratory and Christina Dauphin: So. Wanda Harper: What Cleo Walshe: To improve Wanda Harper: a what Cleo Walshe: on Wanda Harper: what Cleo Walshe: the design. Wanda Harper: about the sys speech recognition? Cleo Walshe: Huh? Wanda Harper: what about the integration of Cleo Walshe: The Wanda Harper: speech Cleo Walshe: speech recogniser Wanda Harper: recognition? Cleo Walshe: is a add-on module. Glenda Krause: Yeah. Cleo Walshe: Right? Christina Dauphin: That's going to be an optional. If somebody wants to buy it they can have it, otherwise Wanda Harper: Ah Christina Dauphin: no. Wanda Harper: so it's optional Christina Dauphin: It's Wanda Harper: with Christina Dauphin: an Wanda Harper: the Christina Dauphin: optional. Wanda Harper: okay. Cleo Walshe: Yeah. Glenda Krause: It's optional yeah, since well according to this study uh people more Wanda Harper: I think Glenda Krause: likes Wanda Harper: it will Glenda Krause: more Wanda Harper: be I Glenda Krause: to have Wanda Harper: think Glenda Krause: a spongy Wanda Harper: i Glenda Krause: uh remote Christina Dauphin: Yeah. Glenda Krause: control than Wanda Harper: I think it will be better if we have all these modules in the same remote control, because maybe parents will Christina Dauphin: Yeah, but Wanda Harper: lose Christina Dauphin: I mean Wanda Harper: these Christina Dauphin: if you have Wanda Harper: uh Christina Dauphin: an add-ons, the kids may just uh hide the parental module Wanda Harper: Yeah. Christina Dauphin: and Wanda Harper: Or Christina Dauphin: so Wanda Harper: ma Christina Dauphin: that their Wanda Harper: yeah. Christina Dauphin: parents can't Wanda Harper: Or Christina Dauphin: use Wanda Harper: maybe Christina Dauphin: it. Wanda Harper: parents they can for forget where they put it or, so mayb better if you have all this in the same Christina Dauphin: In the same set, yeah, Cleo Walshe: Oh. Christina Dauphin: and and individual buttons to make them work. Wanda Harper: Yeah. Cleo Walshe: The problem is if i we are bla if a customer wants a certain component, and doesn't want the parental control because it's a couple who do not have children when you sell the product in the market you could meet any kind of people, and not all people will need all the functionalities we propose to them. So we might lose the customer because of this. I don't know, what do you Wanda Harper: So Cleo Walshe: think Wanda Harper: you mean that Cleo Walshe: uh? Wanda Harper: even if these modules will be will be functional uh will be optional. Cleo Walshe: Yes exa what do you think, I don't know. You are Marketing Christina Dauphin: I mean Wanda Harper: Uh Christina Dauphin: how Cleo Walshe: Manag. Christina Dauphin: to how to how to make a marketing survey that Cleo Walshe: Yeah. Christina Dauphin: uh how many married couple or how many couples have a T_V_ or to the number or singles who have a television. Glenda Krause: Yeah. Christina Dauphin: So based on that I think Cleo Walshe: Yeah. But the the question is n does those modularity increase the production cost or decrease the production cost? Wanda Harper: I think it inc increase. Glenda Krause: if Well you can if you had Wanda Harper: I Glenda Krause: uh Wanda Harper: think it Glenda Krause: something Wanda Harper: i increases. Glenda Krause: li Oh no, because if you if you add uh something well yeah maybe because it's three different pieces uh Wanda Harper: Hmm. Glenda Krause: to to to build but Christina Dauphin: But you can make it on a single P_C_ with three different options. Glenda Krause: Yeah yeah yeah it's I think it's cheaper if you Cleo Walshe: Mm. Glenda Krause: if you already built the all the functionalities um Cleo Walshe: Mm. Glenda Krause: on the same module, but uh Cleo Walshe: Yeah. Christina Dauphin: On the same P_C_B_ Glenda Krause: Yeah. Christina Dauphin: yeah Cleo Walshe: Well Christina Dauphin: yeah. Cleo Walshe: well the other aspect is that if in the when they have the ar existing product you you gonna maintain the the you're gonna keep the same customer, because the same customer will come back to buy other add-ons. Christina Dauphin: Yeah that's right. Cleo Walshe: So Christina Dauphin: I mean you could Cleo Walshe: so Christina Dauphin: just provide with an optional. Cleo Walshe: Yeah i i so if don't don't buy now they can buy i in the future. So in in that way you're actually keeping the cus the same customer, attracting them to come back in again and again. Christina Dauphin: So it's something like a Microsoft product Cleo Walshe: We're Wanda Harper: And Cleo Walshe: not Christina Dauphin: update. Cleo Walshe: trying to follow Wanda Harper: and we Cleo Walshe: the Microsoft Wanda Harper: we we we we we don't want that. Cleo Walshe: and we don't want to the m Christina Dauphin: Updates and we sell it. We make updates and sell it. Cleo Walshe: Yeah well if the buyers can be up the th would be can be upgraded, it would be a good thing right? Glenda Krause: Yeah. Cleo Walshe: Yeah, it depends on the Christina Dauphin: And uh what's the idea about uh Cleo Walshe: v Christina Dauphin: the shape of Cleo Walshe: production. Christina Dauphin: the remote controls? Uh Glenda Krause: Well Christina Dauphin: can Glenda Krause: so Christina Dauphin: they be made into a fruit and vegetable Glenda Krause: Yeah Christina Dauphin: types? Glenda Krause: yeah Christina Dauphin: Do you require different Glenda Krause: I think Christina Dauphin: types Glenda Krause: we are Christina Dauphin: of P_C_B_s and Glenda Krause: yeah but we are also the um well the components will have to change because uh we have to deal with the shape and um but Cleo Walshe: Mm. Glenda Krause: I don't think it will uh increase the cost too much so Christina Dauphin: Or uh it could be like this the P_C_B_ would be the same for all, but only the exterior uh Cleo Walshe: Mm. Christina Dauphin: shape is different o for all. Glenda Krause: Uh well but it's a bit complicated to if if if you need machines to different machines to Cleo Walshe: Yeah. Glenda Krause: um ah well Cleo Walshe: What we can change is to propose the customers with skins. For example the i the mobile phones nowaday, Christina Dauphin: Yeah, yeah that's Cleo Walshe: they sell Christina Dauphin: right. Cleo Walshe: different kinds of skin and then people just feel that oh I have a new skin and looks better. Glenda Krause: Yeah yeah we can have the same Cleo Walshe: Yeah. Glenda Krause: global shape and then uh Cleo Walshe: Yeah. Glenda Krause: add on Christina Dauphin: Yeah that's Glenda Krause: skins Christina Dauphin: right. Glenda Krause: and Cleo Walshe: Yeah. Glenda Krause: with with this uh tex spongy texture uh things Cleo Walshe: Yeah Glenda Krause: like that. Cleo Walshe: you can pl in what material would that be in uh? Glenda Krause: Sponge. Christina Dauphin: I think you need to look into the material. Cleo Walshe: Yeah or furry like a pet dog kind of thing. Christina Dauphin: Yeah yeah. Glenda Krause: Okay. Wanda Harper: So Glenda Krause: So we finished the prototype uh presentation if you have uh something else to say. Christina Dauphin: I think Wanda Harper would be interested to look about the financial issues in making these models. Wanda Harper: Project evaluation project satisfaction, for example. I don't know, we have to ask these question. We have to give answers so Cleo Walshe: I suppose that you this criteria, is it? Wanda Harper: Project evaluation. Cleo Walshe: Room for creativity. This room is a bit small, but but I think it's okay for us to work with. Christina Dauphin: I feel it's fine, we know we don't need uh I think it's okay. Cleo Walshe: Yeah mm. Glenda Krause: That Christina Dauphin: This is Glenda Krause: was Christina Dauphin: fine Glenda Krause: good. Christina Dauphin: for making a presentat Cleo Walshe: Mm. Christina Dauphin: for project presentations. Cleo Walshe: Yeah Glenda Krause: Yeah. Cleo Walshe: anyway we have the laboratory nearby to build our modules so it's okay. Wanda Harper: Mm-hmm. Christina Dauphin: And the leadership was excellent. Wanda Harper: Yeah I think so. Cleo Walshe: Good job Glenda Krause: Fine yes uh. Cleo Walshe: good Wanda Harper: He gave you the liberty to talk Cleo Walshe: job. Christina Dauphin: Yeah Wanda Harper: as Christina Dauphin: that's Wanda Harper: you Christina Dauphin: right. Wanda Harper: wants. Christina Dauphin: Yeah that's right. Wanda Harper: Uh the teamwork was very very good. Glenda Krause: Very democratic. Wanda Harper: I was really I am very satisfying to work with with Glenda Krause: Thank Wanda Harper: you. Glenda Krause: you. Cleo Walshe: Thank you. Wanda Harper: Oh. Glenda Krause: Alright. Cleo Walshe: Alright. Christina Dauphin: And new ideas found. Any new ideas to make these presentations more interactive and more interesting? Cleo Walshe: Mm. Glenda Krause: Come up with new product. Christina Dauphin: I mean uh what type of product would you think could we make this more interesting? Wanda Harper: Less fancy. Cleo Walshe: Mm we I I know something, we need more cakes, more biscuits on the table while we have meetings. Glenda Krause: Yeah and also more well uh more seriously I think it's Cleo Walshe: Mm. Glenda Krause: it's a good idea to have uh clear clear points whenever we do a meeting uh prior to the meeting to have uh well a list with the points who will be discussed or things like that, but I think it's alright. We achieved uh project goal I Christina Dauphin: Yeah Glenda Krause: think. Christina Dauphin: that is within Wanda Harper: De Christina Dauphin: the budget. Cleo Walshe: Mm. Glenda Krause: It's w yes, Christina Dauphin: And the evaluation Glenda Krause: more Wanda Harper: Without Glenda Krause: or less. Christina Dauphin: was Wanda Harper: without L_C_D_, without speech recognition, Christina Dauphin: Yeah that's Glenda Krause: Yeah Christina Dauphin: right. Glenda Krause: but Wanda Harper: it will be simple. Glenda Krause: Alright. Christina Dauphin: And the next Glenda Krause: So. Christina Dauphin: is celebration. So Glenda Krause: So uh coffee machine. Wanda Harper: Yeah free free coffee. Glenda Krause: Okay. Cleo Walshe: Alright then, we finished? Wanda Harper: Yeah Christina Dauphin: Yeah Wanda Harper: thank Cleo Walshe: Thank Christina Dauphin: thank Wanda Harper: you Cleo Walshe: you Wanda Harper: for Cleo Walshe: very Christina Dauphin: you, Wanda Harper: your Christina Dauphin: thank Cleo Walshe: much. Christina Dauphin: you very much. Wanda Harper: work and

Cleo Walshe and Glenda Krause presented two prototypes, one with an LCD screen and one without. They demonstrated how to navigate through the menus and presented the voice recognition and energy source components and the charging stand. They discussed their modular design. They discussed the parental control module and the titanium casing. The production costs were below budget for the basic models. Christina Dauphin presented three important user requirements, and also the fruit and vegetable and spongy material trends in fashion. He then led an evaluation of the prototypes according to these requirements. The group did not feel that the remotes sufficiently met the criteria. They decided to continue working on the design and to take out the LCD screen and voice recognition. They discussed the modular design and its advantages in attracting customers. The group discussed how to incorporate the fashion trends; it was suggested that one shape was used, which could be customized with skins. Wanda Harper led an evaluation of the group's experience on the project. The group was pleased with the teamwork and leadership, but one participant complained that not enough information was given about each meeting's agenda.

amisum

train

Tanya Minor: Uh welcome back after lunch, hope uh you had a good lunch together. For uh this meeting the main agenda okay uh to discuss about the conceptual design meeting. Okay and the agenda will be the opening and uh that's uh the product manager or secretary that's Sue Conaughty and uh the presentations from the Christine and uh Agnes and from Mister Ed. And finally in this meeting we have to decide and we are to take a decision on the remote control concept and uh the functional design minutes, I think it's uh little bit uh low, but I I hope we can finish it up so I'll handle to the the functional team, to the Christine, okay, to discuss about uh the components concept. Angela Garnett: Okay. So uh, if you could open the presentation. I'm number two. Tanya Minor: You're number two. 'Kay Angela Garnett: Components design, there we go. So uh can we put it in slide show mode? Yeah. Tanya Minor: The next one. Angela Garnett: Right here, is that little that one, yes please. Thank you. I'll take the mouse. So uh we were looking he specifically at the components uh the following components, uh the case, the power supply, uh the means of communications with the television set. instance we talked sort of speech recognition, you have to have microphone well no you don't actually I haven't have to have microphone in the device, but um maybe you do have it a a way it has to it has to hear the speaker Amanda Mork: Mm-hmm. Angela Garnett: and um, so it could be in the television set, could be in the device, but somewhere you have to put the microphone, um and a w a way of making beeps or sounds so you can find it when it's gets lost. Um so the other w thing that we So. Our method for going about this is we've looked at uh the histo hi historical record, what's worked, what hasn't and then we also um we wanted to evaluate some new materials and we contacted manufacturing for their input because, course, we m might come up and choose the material that then manufacturing didn't have the technologies or capabilities to offer us, so uh this is the approach that we took during our um our research. So um for the case, um we told we were making a specifica specific assumption that it would be curved in design. Course, you know, I wanted it to be expandable and shrinkable, but um that uh doesn't seem to b be one of the choic non-option we can uh we can really seriously explore, so then we were thinking about um rubber, but um unfortunately that's been eliminated because of the heat uh factor and th um there might be some problems with the m uh how it's uh goes with the board. Uh and uh then th plastic also has this problem of melting and it's brittle it gets brittle after a while, so um we still had titanium and and wood available, but um unfortunately uh uh titanium's also been eliminated uh, the m people in manufacturing said that you couldn't make d curved cases out of titanium, although how Apple did it with th PowerBook I'm not su quite sure but uh nevertheless um they've eliminated all of our options except wood. So, Amanda Mork: At least environmentally Angela Garnett: this Amanda Mork: friendly. Angela Garnett: is our finding. And a as she said, it's an environmentally friendly uh material, so we're we're currently uh proposing, uh we'll get to all my personal preferences in just a second. So then there's this other matter of the chips and um well we could use a simple design on the board, but uh these simple chips, but that's only works for the bu you don't get very much um intelligence with this simple one. And um then there was the regular which I regret that I've forgotten exactly why I'm eliminating that one. Uh the other option was this advanced chip on print, and uh we liked th we we found that it it includes this infrared sender, which w 'member the beam was that was an important component of finding the right chip. And uh manufacturing has told us that they've um uh recently developed a uh a sensor and a speaker that would uh be integrated into this advanced chip on print, so uh we we uh now jumping right to our personal preferences um I I'd really think we should, you know, use some of uh some really exotic woods, like um, you know uh, well you guys come from tropical countries so you can kinda think of some trees and some nice woods. I think that people will might really want to design their own cases, you see, they could do sort of a this um three-dimensional design on the internet, and then they could submit their orders, kinda like you submit a custom car order, you know, and you can choose the colour and the size of the wheels and the colours of the leather and things like that, and then I uh think we should go with the solar cells as well as the um microphone and speaker on the advanced chip. So this is the findings of our research and my recommendations um for the new remote control w um would be to have um have it be made out of wood. Do you have any problems with that? Tanya Minor: Can you go back uh one slide? Angela Garnett: I'm not sure, how do I Oh, I know, let's see. Amanda Mork: Thank Angela Garnett: Let's go back Amanda Mork: you. Angela Garnett: up here. Amanda Mork: Yeah. Tanya Minor: Yes, uh question, uh, what's mean exactly, advanced chip on print? What's the meaning of that? Angela Garnett: I think it's um um a multiple uh chip design um and it's uh maybe printed on to the circuit board. Tanya Minor: Mm-hmm. Angela Garnett: Uh I could find out more about that Tanya Minor: Yeah, is Angela Garnett: uh Tanya Minor: it means Angela Garnett: before Tanya Minor: it's Angela Garnett: the Tanya Minor: on Angela Garnett: next Tanya Minor: the Angela Garnett: fi next meeting. Tanya Minor: yeah is it on a micro-proc micro-processor based or uh Angela Garnett: I don't know, but I'll find out more at our next Tanya Minor: Okay, Angela Garnett: meeting. Tanya Minor: tha that would be great, so if you find out from the technology background, okay, so that would be good. Angela Garnett: Sounds good. Amanda Mork: Why was the plastic eliminated as a possible material? Angela Garnett: Because um it gets brittle, cracks Amanda Mork: Mm-hmm. Angela Garnett: Um We want we expect these um uh these remote controls to be around for several hundred years. So. Good Amanda Mork: Whic Sue Conaughty: Wow, Angela Garnett: ex Good Amanda Mork: Which Angela Garnett: expression. Sue Conaughty: good expression. Well after us. Amanda Mork: Although I think I think with wood though you'd run into the same types of problems, wouldn't you, I mean it chips, it if you drop it, uh it's I'm not su Tanya Minor: So so you're not convinced about Sue Conaughty: Actually, I'm Tanya Minor: the Sue Conaughty: ready to Tanya Minor: the Sue Conaughty: sell Tanya Minor: wood, Sue Conaughty: it. Tanya Minor: yes. Angela Garnett: you're what? Sue Conaughty: I'm Amanda Mork: I think Sue Conaughty: ready to sell it. Amanda Mork: if you re if you use Angela Garnett: You Amanda Mork: really Angela Garnett: think? Amanda Mork: good quality wood then it might work Sue Conaughty: No Angela Garnett: And Sue Conaughty: y Amanda Mork: but Angela Garnett: you Amanda Mork: you can't Angela Garnett: could Sue Conaughty: no Amanda Mork: just use Angela Garnett: you could Sue Conaughty: no Angela Garnett: sell Sue Conaughty: no, Angela Garnett: oils Sue Conaughty: the o the Angela Garnett: with Sue Conaughty: only Angela Garnett: it, Sue Conaughty: w Angela Garnett: to Sue Conaughty: the Angela Garnett: take Sue Conaughty: only Angela Garnett: care Sue Conaughty: wood Angela Garnett: of it. Sue Conaughty: you can use are the ones that are hard, extremely Amanda Mork: Yeah, Sue Conaughty: hard Amanda Mork: exactly, Sue Conaughty: wood, but Amanda Mork: yeah. Sue Conaughty: there are some very pretty woods out there. Angela Garnett: Well I'm glad Sue Conaughty: That's actually Angela Garnett: you Sue Conaughty: very innovative idea. Angela Garnett: Okay, good. Sorr having a hard time keeping wi control over my face. Sue Conaughty: Well it's actually very n Angela Garnett: Mm-hmm. Amanda Mork: The stain. Sue Conaughty: I mean it's each person is gonna have their own personalised, individualised speech recognition remote Angela Garnett: Mm. Sue Conaughty: control in wood, that's not on the market. Tanya Minor: Yeah, so it it's looks good the the design the functional design uh, what about yo you? Amanda Mork: Um, in terms of comments on this or Tanya Minor: Yes, Amanda Mork: in terms of my Tanya Minor: in t Amanda Mork: own Tanya Minor: yes, Sue Conaughty: In turns of wow. Tanya Minor: in term in terms of comments first Angela Garnett: She works in the cubicle next to Sue Conaughty so she's uh she was already a little bit prepared Amanda Mork: Y Angela Garnett: for this. Amanda Mork: yeah. Angela Garnett: Luckily Ed was not. Sue Conaughty: Wood? Amanda Mork: I think we can get the quality materials then it shouldn't influence the design principles too much, which you'll see with my presentation. One thing we'd have to check though is what the users whether how quickly the novelty wears off Angela Garnett: Mm-hmm. Amanda Mork: of having Angela Garnett: Yeah, you wouldn't wanna have Amanda Mork: uh Angela Garnett: to have splinters in your Amanda Mork: Yeah, Angela Garnett: hand while you're Amanda Mork: for Angela Garnett: using Amanda Mork: example. Angela Garnett: your Amanda Mork: So, have to see how kid-friendly it is and and all that, but Angela Garnett: It's really good if your dog gets ahold of it, they can use it for teething. Sue Conaughty: They do that anyway with the rubber and plastic, so, Angela Garnett: Yeah, Sue Conaughty: and Angela Garnett: they do it with other Sue Conaughty: chew Angela Garnett: materials Sue Conaughty: 'em up. Angela Garnett: as well, yeah. Sue Conaughty: And chew 'em up. Tanya Minor: Okay then, uh, let's move to Agnes. Amanda Mork: Sure. Angela Garnett: Oh, I'm sorry. Tanya Minor: S you're Tanya Minor: You are in participant Amanda Mork: One point three, Tanya Minor: three. Amanda Mork: yeah Uh, yeah. Tanya Minor: This one? Amanda Mork: I think so, yeah. Yeah, that's the one. So, it's a very short presentation, 'cause I'm actually gonna draw you the layout on the board so if you want to just go straight to the second slide, um, which basically shows, sort of I took the ideas that we were talking about last time um and tried to put that into the remote control so the things that y you can actually see on it are the on off switch, volume and channel control, the menu access button, ergonomic shape, which I completely agree with Christine's idea to have it sort of molded, so it's slightly more ergonomic and comfortable to hold than the r standard very straight remote controls. And actually the other thing with the wood if we take your customising idea, is that people can actually do sort of quasi-measurements on their hand size, so if someone has larger hands, Angela Garnett: Right, my hand Amanda Mork: you have Angela Garnett: is Amanda Mork: a wider Angela Garnett: uh different Amanda Mork: remote Angela Garnett: size Amanda Mork: control. Angela Garnett: than yours for example. Amanda Mork: So, that's actually a really good idea for customi customisability. Um, one thing I thought might be kind of interesting is to put a flip screen on it, just like you have on flip phones, so that you don't have this case where someone sits on the remote control or accidentally puts their hand on it, especially if you have little kids around, they're not pressing the buttons while you're trying to watch a T_V_ show and accidentally change the channel Angela Garnett: Mm-hmm. Amanda Mork: or turn it off. And also um you had issues with the batteries running out, so I thought maybe we could put a little battery life-light on it that kind of goes dimmer and dimmer and dimmer as your battery is starts to die. And in terms of invisible features, audio and um tactile feedback on button presses Angela Garnett: Mm-hmm. Amanda Mork: and, like you said, speech recognition. So, in terms of what this thing would actually look like Despite working in interface design, I'm not the greatest artist in the world, so you'll have to forgive Sue Conaughty. You'd have something like this with an on-off switch fairly big, sort of in the corner and by itself, so you don't accidentally turn your T_V_ off while you're trying to manoeuvre other buttons. And then you have sort of one of those toggle displays for, oops, channels and volume, sort of for surfing channels and then volume, so the volume would be the up and down, 'cause volume goes up and down and then channels left to right. And then here you'd have your sort of standard, telephonish number pad. And then on one side you would have an access to the menu on your T_V_ and on the other side a way to turn off the voice control. So that if the user doesn't Angela Garnett: Mm. Amanda Mork: want to use their voice, they can just turn it off and you don't have the remote control Angela Garnett: Mm-hmm. Amanda Mork: accidentally changing things on you. Um, so again you can have a little L_C_D_ light somewhere, the flip thing and Have I forgotten anything? I don't think so. So, Sue Conaughty: No. Amanda Mork: as you can see, it's a very very simple design, which is one of the things I really wanted to keep, is keep it simple, not have too many buttons, not have too many functionalities thrown into it. Think the design can pretty much carry over to everything, although with the wood the flip screen might have to do something slightly Angela Garnett: A Amanda Mork: different. Angela Garnett: hinge. Be like a copper hinge or Amanda Mork: Yeah. Angela Garnett: you know. Amanda Mork: But you also have to d start watching out for the weight, 'cause depending on how much the the flip screen will add to the weight Angela Garnett: Mm-hmm. Amanda Mork: of the remote control, you don't want it to start getting too heavy. Angela Garnett: Mm. Amanda Mork: But that's the general layout with the general functionalities, if we come up with something else. As you can see, there's still lots of space on the actual remote control and if you do it customisably, you can make this thing fairly small or fairly o large, Angela Garnett: Mm-hmm, Amanda Mork: depending on personal Angela Garnett: mm-hmm. Amanda Mork: preferences. Sue Conaughty: Hmm. Amanda Mork: So, that's pretty much all I had to say, I mean, everything else in terms of design issues. just depending on where your thumb is and you tend to use the the volume control and uh the browsing more than the actual number pad, so that would be sort of in direct line of where your thumb goes when you are holding the Angela Garnett: Mm-hmm. Amanda Mork: remote control, the number pad a little bit lower 'cause it's used Angela Garnett: Mm. Amanda Mork: less frequently. Angela Garnett: Mm-hmm. Amanda Mork: So once we decide exactly what we want, then we can figure out the exact positioning, but more or less I think it should go along those lines. Tanya Minor: So what's your, uh, the comments or uh s Sue Conaughty: Simple design. It's what consumers want. Tanya Minor: Okay Sue Conaughty: It's almost like, Houston, we have a product here. Problem is obviously gonna be cost. Amanda Mork: Mm-hmm. Sue Conaughty: Okay, I also have a f very simple presentation, Tanya Minor: Mm-hmm. Sue Conaughty: because for the marketing point you have to see Tanya Minor: Yeah. Sue Conaughty: what the consumers want. Amanda Mork: Yeah. Sue Conaughty: I also have uh copied a different type of remote. If you can find Sue Conaughty, where I'm at. There should only be one in here. trend watch. Angela Garnett: Sure. Sue Conaughty: It's being modified. They're stealing our product. We've been giving simple questionnaires in different areas because th obviously we have to see what the com consumers are looking for today, 'cause uh trends change very very quickly. In six months maybe this idea is already gone out the window, so it's gonna be a question how fast we can act. Uh they already erased the rest of mine, huh. Angela Garnett: No, f Amanda Mork: No, no. Angela Garnett: go to findings. Sue Conaughty: No no, no no. 'Cause I had another comment there. Uh the market trend. This is what we know from the last uh from the questionnaires from the the all the p surveys we've done, fancy and feel-good, that's what we've been looking for, something that feels good in the hand, that's easy to use. Looking for next generation of innovation, because all the remotes out there now, they're all very similar, they all do the same thing, we have to have something completely different. Okay? Easy to use, has always has become has become another major interest that uh, with the whiteboard we can see that it's a remote that's easy to use. And I think this is another thing that's interesting is the consumers actually willing to pay the price for exciting tel technology. So even if we have a product that may be more expensive, if it comes out right, if they look it looks and feels good and has technology. The second two, you can see the last one is a very easy simple design. The second one, there is about uh forty-five thousand different buttons on it, which makes it fairly hard to read, uh very hard to use. The first one, I see that they put in a display. Now there's something else uh with the little flip-up, now we're adding all kinds of things in, but with Amanda Mork: Mm-hmm. Sue Conaughty: the little flip-up, if you have a little display on the flip-up that when you close it everything is locked. Amanda Mork: Yeah. Sue Conaughty: Maybe the display also makes it easier to use, because sometimes when you're looking for buttons, maybe if you see a display Angela Garnett: Context-sensitive instructions, Amanda Mork: Right. Sue Conaughty: Okay Angela Garnett: depending on what the tel what mode the T_V_ or the D_V_D_ or something Sue Conaughty: Because Angela Garnett: else Sue Conaughty: I've Angela Garnett: is Sue Conaughty: seen Angela Garnett: in. Amanda Mork: Especially you Sue Conaughty: mostly Amanda Mork: might need something Sue Conaughty: the standard Amanda Mork: like that for Sue Conaughty: ones, Amanda Mork: training Sue Conaughty: yeah. Amanda Mork: the speech recognition Sue Conaughty: Now you have it now you Amanda Mork: and Sue Conaughty: have one with the very simple also. The idea is simple, but with a display, Amanda Mork: Mm-hmm. Sue Conaughty: so you can see what you're doing. So maybe if we can incorporate the easiness of use, Amanda Mork: Mm-hmm. Sue Conaughty: trendy, fancy, feels good, uh with a display, wood, designer wood, designer colours, Angela Garnett: You Sue Conaughty: we Angela Garnett: know, Sue Conaughty: might've Angela Garnett: maybe what you could do is when somebody orders the device Angela Garnett you could send them like um a uh uh b some sort of a foam rubber um ball, Amanda Mork: Oh yeah. Angela Garnett: and then they would squeeze it, and it would take the shape of their hand. Amanda Mork: Yeah, so it's really molded to Angela Garnett: To t Amanda Mork: to your specific Sue Conaughty: Mm-hmm. Angela Garnett: an and then you would know like um what the geometry of their hands would be and uh Sue Conaughty: How hard they squeeze? Angela Garnett: Yes Sue Conaughty: Resistance Angela Garnett: you'd know what kind Sue Conaughty: resistance, Angela Garnett: of wood to get. Sue Conaughty: right. Amanda Mork: But th for that you'd also have to do sort of an average across families and Angela Garnett: That's Amanda Mork: things like Angela Garnett: right, Amanda Mork: that Angela Garnett: that's Amanda Mork: if Angela Garnett: right, you wouldn't Amanda Mork: unless Angela Garnett: wanna go Amanda Mork: everyone Angela Garnett: too far Amanda Mork: has their Angela Garnett: down Amanda Mork: own Angela Garnett: that. Amanda Mork: personal remote. Angela Garnett: Oh that that actually would uh increase the um the revenues Amanda Mork: The sales, Angela Garnett: we could expect, Amanda Mork: yeah. Tanya Minor: The Angela Garnett: yeah. Tanya Minor: Yeah. I hope so. Sue Conaughty: No, but incorporating the three uh obviously it'd be something totally new on the market, Amanda Mork: Yeah. Sue Conaughty: totally different and from Amanda Mork: Well, already the customisability is a really good sort of new Sue Conaughty: Although, what Amanda Mork: gimmick. Sue Conaughty: it was it uh it was uh Nokia that came out with this changeable colours. Angela Garnett: Mm-hmm. Sue Conaughty: Right, Amanda Mork: Yeah. Sue Conaughty: you take it apart, and put on another Amanda Mork: Yeah. Sue Conaughty: face, take it off and put on another Angela Garnett: Right, Sue Conaughty: face Angela Garnett: mm. Sue Conaughty: and Amanda Mork: And Sue Conaughty: then Amanda Mork: that took off, Sue Conaughty: they sold Amanda Mork: yeah, Sue Conaughty: millions, Amanda Mork: yeah. Sue Conaughty: millions. So. So say with the f with the findings, with the research, easy to use something totally new. Amanda Mork: Mm-hmm. Sue Conaughty: We have to come up with something totally new that is not on the market. Angela Garnett: We'd also have to wor um consider that uh who we were gonna get to make these custom cases in terms of manufacturing processes, we might wanna um learn about um labour laws. You know in different countries and stuff wher so we can do it cheap, but you don't wanna exploit uh labour in um third world countries. Tanya Minor: Yeah. Angela Garnett: So actually you could turn it y turn around and say that you're uh par the reason the cost is high for the device is because um you're paying a a working wage to the person who made the device. Amanda Mork: Mm-hmm. Tanya Minor: Yeah, but we can get a production in, uh, countries like, uh, Angela Garnett: Cost Tanya Minor: India Angela Garnett: of living is Tanya Minor: yes, Angela Garnett: low. Tanya Minor: yes, countries like India or China or Malaysia, so you can go a better features and better price and you can sell more. So Angela Garnett: Good, well th that'd be something that manufacturing would have to Tanya Minor: Yeah, Angela Garnett: um Tanya Minor: yeah, so Angela Garnett: explore more Amanda Mork: Mm yeah. Angela Garnett: and Tanya Minor: Yes. Sue Conaughty: Where Angela Garnett: to Sue Conaughty: w Where Angela Garnett: where Sue Conaughty: it would be manufactured Angela Garnett: Mm-hmm. Sue Conaughty: is is Tanya Minor: So Sue Conaughty: another step. Tanya Minor: Yeah, Angela Garnett: Yeah. Tanya Minor: so Sue Conaughty: We're here to design, Tanya Minor: Yes uh, but uh Sue Conaughty: come up Tanya Minor: that Sue Conaughty: with Tanya Minor: that Sue Conaughty: a nice Tanya Minor: we Sue Conaughty: product. Tanya Minor: can that we can Amanda Mork: Mm-hmm. Tanya Minor: talk about the production later, okay, depends on the the quantity, okay. Angela Garnett: Mm-hmm. Tanya Minor: So we don't need to have our own uh fabric factory or something, so we can have a tie-up with who the do the fabric, okay, for the different uh electronics items, then we can have a business tie-up and to get to cut the cost, okay, to sell more. So, but uh le let's decide first about the components concept and uh interface concept, okay, if is acceptable for both of you, what uh Ed was talking. And your design whether you want with the display Amanda Mork: Mm-hmm. Tanya Minor: or without display or just a simple, so Amanda Mork: I think it depends, I mean I think it's a good idea, but we need to really think about how useful it's gonna be because theoretically with the T_V_ you already have a big display right in front of you. Tanya Minor: Yeah. Angela Garnett: Hmm. Amanda Mork: So, if we're trying to keep costs down, then maybe sacrificing the display Angela Garnett: Hmm. Amanda Mork: is a way to go. I mean it depends on how much putting a display costs and Angela Garnett: Hmm. Amanda Mork: what it would be used for very specifically what it would be used for, Angela Garnett: Mm-hmm. Amanda Mork: 'cause if it's only used for one little thing, then putting in a big display case or a big display that's probably expensive just to do the training on the chip for the speech recognition or whatever, may not be the most cost-efficient way to go, but that's just sort of speculation, I mean. Angela Garnett: What do you think Ed? Do you he liked the display in one of the concepts that you showed, um, do you know how much it costs, um, to to add a little display like this Sue Conaughty: No. Angela Garnett: uh? Sue Conaughty: No Angela Garnett: Do Sue Conaughty: no Angela Garnett: you wanna take an action Sue Conaughty: p spec Angela Garnett: item Sue Conaughty: It's Angela Garnett: to go find out? Sue Conaughty: 'cause we have to find out cost on it. Angela Garnett: Okay. Sorry Sue Conaughty: Um, Angela Garnett: about that. Sue Conaughty: no that's no problem. I'm here for the pushing it after it's made. Tanya Minor: Yes. Sue Conaughty: I will market it. Once we get a price on it then we can market it. Angela Garnett: So the the advanced chip on print is what um what we've we've deci we've determined and the uh engineering industrial design is the recommendation, and um I think we've kinda come to some agreement regarding um this concept of a wooden case. Amanda Mork: Mm-hmm. Angela Garnett: A customisable and Sue Conaughty: Nice beautiful mahogany Amanda Mork: What about Sue Conaughty: red Amanda Mork: the Sue Conaughty: wooden Amanda Mork: buttons, Sue Conaughty: case. Amanda Mork: would Would the buttons be wood too, or Angela Garnett: Uh I don't think so, Tanya Minor: I don't think so. Angela Garnett: no, I think they could be rubber Tanya Minor: Yes. Angela Garnett: like they are now, Tanya Minor: Yes. Angela Garnett: so you have that Tanya Minor: Don't Angela Garnett: tactile Tanya Minor: looks nice Angela Garnett: experience Tanya Minor: uh. Angela Garnett: of Tanya Minor: Yeah, so uh what we'll do is, uh, we will stick with the the simple design for time being until uh th Ed find outs about the how much it's cost to the extra, in case we go for the display. Amanda Mork: Mm-hmm. Tanya Minor: Okay. So maybe what you can do is uh, both of you, you can come up with the the prototype, okay, the model. Amanda Mork: Okay. Tanya Minor: Okay? Amanda Mork: Sure. Angela Garnett: So um are we done with this meeting? Tanya Minor: Yeah, I hope, if is it okay if uh they will come up with the prototype design, okay. Then they can show you how it looks like, and then we can uh submit to the I will submit to the management. Okay? Then meantime you can come up with the price, how much it's cost as extra for uh the display. Angela Garnett: And a marketing Tanya Minor: An Angela Garnett: strategy. Tanya Minor: and the marketing Sue Conaughty: And Tanya Minor: strategy, Sue Conaughty: marketing strategy, Tanya Minor: that's very Sue Conaughty: thank Tanya Minor: important, Sue Conaughty: you. Tanya Minor: okay. Yes. How much Sue Conaughty: Fired. Tanya Minor: you can how mu how much how much you can sell extra. Of course you'll make money too, so it it's not only pay-out, you make money too, your commission. Okay, so, any questions? Amanda Mork: No. Tanya Minor: So, by next meeting, so, please come up with the the prototype, okay, then uh, then we can proceed from there. Amanda Mork: Okay. Tanya Minor: It's okay? Amanda Mork: Mm-hmm. Tanya Minor: So thanks for all your uh efforts and coming for the meeting again, and see you soon then. Amanda Mork: Okay. Tanya Minor: Okay? Thank you.

Angela Garnett gave her components concept presentation, which presented the components that will be used and how they will be integrated into the functional design. She announced that their only choice for casing material was wood, so she suggested an idea of having customizable wood cases. Amanda Mork gave her presentation on the user interface concept for the product, and gave a basic layout of the remote's key functions. Sue Conaughty presented the marketing concept and discussed including a display to facilitate use. The group discussed the unique, custom design of the remote, and quickly talked about finding a manufacturer that could make the custom cases cheaply that still paid fair wages. The group also discussed whether or not to incorporate the display into the design, and decided to wait until the cost of adding that feature was known before adding it to the design. Angela Garnett and Amanda Mork were instructed to begin building a prototype, and Sue Conaughty was instructed to work on the marketing strategy as well as research the cost of the display component.

amisum

train

Ofelia Aquilina: I'm Margaret Smith: Welcome Ofelia Aquilina: sorry Margaret Smith: back. Ofelia Aquilina: to be late. Margaret Smith: Welcome back everybody. Mary Wyatt: Yeah. Thanks. Margaret Smith: So this meeting agenda will be the detailed design meeting. And uh opening and uh P_M_s of the meet minutes, uh prototype presentation from uh Christine and uh Agnes. Ofelia Aquilina: Agnes, yes. Margaret Smith: Yes and uh evaluation criteria. The finance, it's uh from my side, from the management, and uh production evaluation. Then uh closing. So we have forty minutes to discuss and uh finalise and close the product and project and to move further, okay, so Okay, let's talk about maybe first uh for the prototype. Mary Wyatt: Mm, okay. Margaret Smith: So I handle to Mary Wyatt: I've done presentation, but it pretty much covers work that we've both done, so if I'm missing anything, Christine Margaret Smith: So Mary Wyatt: can Margaret Smith: shall Mary Wyatt: just Margaret Smith: I go to Ofelia Aquilina: Uh thank Mary Wyatt: correct Margaret Smith: sorry. Ofelia Aquilina: you, Mary Wyatt: Tricia Edwards. Ofelia Aquilina: so you did a Margaret Smith: Yep. Ofelia Aquilina: PowerPoint Margaret Smith: S Ofelia Aquilina: presentation, good for you. Margaret Smith: Okay, let's go to A_M_I_. Mary Wyatt: It's not the biggest PowerPoint presentation in the world, but Margaret Smith: So in two or three or Mary Wyatt: Three. Um. No Tricia Edwards: Probably. Mary Wyatt: it's think it's the last Tricia Edwards: Technical Mary Wyatt: one. Tricia Edwards: pa I would think. Mary Wyatt: No, then this is the la yeah, that Tricia Edwards: Ha. Mary Wyatt: one, final design. Margaret Smith: Yeah. Mary Wyatt: It is named appropriately, you just couldn't see the name. Um okay I have Margaret Smith: Yes. Mary Wyatt: Thanks. Alright, so from when we were discussing specifying the case in the last meeting, we decided that we wanted an ergonomic shape, the material that we chose was wood, and uh the colour would be customisable, 'cause you can stain the wood whatever colour. Um, so in terms of function, you have to be able to turn the T_V_ on and off, volume and channel control, menu control, voice recognition control, and we've incorporated the L_C_D_ screen on the flip panel as part of the design, if we figure out it's too expensive, well then you just take it off. Um, so to unveil our lovely product. This is our remote control, with the flip panel as you can see. So if you lift up the panel, you can see the lovely yellow L_C_D_ display. Um, this is actually hard to do. The yellow button you have is the on off button, so it's really big, hard to miss. You have the the red um triangles are the toggles for changing the volume. So up volume up, down volume down. The green are the channel changing. S And it's one of those very light, very touchable displays. And then you have the numeric pad in the dark blue at the bottom, and on the right-hand side you have the access to the menu on the T_V_, and on the left-hand side you have the the the ability to turn off the voice recognition. So this is pretty much what we had on the white board the last time. Margaret Smith: Mm-hmm. Mary Wyatt: So. Ofelia Aquilina: Um and uh Mary Wyatt: Oh Ofelia Aquilina: I Mary Wyatt: yes. Ofelia Aquilina: could Yeah the Mary Wyatt: Additional Ofelia Aquilina: d Mary Wyatt: feature on the back is that you can have your own customised backing and I suppose you could do the same thing on the flip case on the front. So that you can really make this a highly highly customisable remote control. Ofelia Aquilina: We haven't um uh specified where the speaker or the microphone will be placed. That depends on the uh s design of the circuit board inside and uh what room is left um Mary Wyatt: Yeah. Margaret Smith: I think the microphone is on on the top, uh Ofelia Aquilina: Yes, Margaret Smith: on the middle, Ofelia Aquilina: okay. Margaret Smith: the under the flip. Ofelia Aquilina: Uh-huh. Margaret Smith: So that will be the safe, so p any the chip it's not on the chip because you need to have microphone to Ofelia Aquilina: No, I mean it depends on the design of the circuit board. Margaret Smith: Yes. Mary Wyatt: But it shouldn't be under the flip either, because you can have the remote control closed, but you still might want to Margaret Smith: Uh it's Mary Wyatt: activate Margaret Smith: it's Mary Wyatt: it by voice. Margaret Smith: Yeah, but uh uh my opinion I think it's better under the flip because whenever you want to uh the talk, okay, so then you can speak then you can close it. But if you put it on the on the flip, okay, then uh technical I don't think it's uh feasible, 'cause most of the time you speak then it will be recognised. Mary Wyatt: But if you've already got the remote control in your hand you need to open the flip to use the voice, why use the voice, why not just use your hand? I mean the whole point of the voice is that if the remote control is sitting there and I'm too lazy to reach over and pick it up, I can just use my voice. Ofelia Aquilina: Maybe I've got my hand in the popcorn bowl and I'm holding my cup of Coca-Cola in the other hand. Mary Wyatt: Yeah. And you Tricia Edwards: I Mary Wyatt: don't Tricia Edwards: don't Mary Wyatt: wanna let Tricia Edwards: wanna Mary Wyatt: go Tricia Edwards: say. Mary Wyatt: of either one. Tricia Edwards: Louder. Yeah. Mary Wyatt: I mean it doesn't have to be on the flip, it can be on the side Tricia Edwards: Can Mary Wyatt: somewhere. Tricia Edwards: also be on the side. Margaret Smith: Yeah, the sides maybe Mary Wyatt: Yeah. Margaret Smith: is good. So That's good idea. Ofelia Aquilina: Mm-hmm. Mary Wyatt: So, I mean I can pass this around if Margaret Smith: Yes. Mary Wyatt: anyone Margaret Smith: So it's Mary Wyatt: wants Margaret Smith: maybe good Mary Wyatt: to Margaret Smith: idea. Ofelia Aquilina: Yeah, y better you pass it around with a napkin. Tricia Edwards: No, because y you can easily put a microphone on the side that would have Mary Wyatt: Yeah. Tricia Edwards: no problem Margaret Smith: Yes. Tricia Edwards: would haven't been not be damaged or anything, and it'd Margaret Smith: Yeah. Tricia Edwards: be accessible all the time to voice. Mary Wyatt: Yeah, exactly. Tricia Edwards: Yeah. Margaret Smith: So it's maybe good idea. S s Ofelia Aquilina: It's um Tricia Edwards: Compliments to the artist. Ofelia Aquilina: It's um You need to work on the weight a little bit. Mary Wyatt: Yes. Tricia Edwards: Uh. Margaret Smith: Okay. S I'm Mary Wyatt: And maybe Margaret Smith: fine, Mary Wyatt: the shape Margaret Smith: I'm satisfi Mary Wyatt: of the buttons, the little Margaret Smith: I'm satisfied. Mary Wyatt: egg shapes aren't the most economical, Ofelia Aquilina: We're glad Margaret Smith: Of course Ofelia Aquilina: you're Margaret Smith: it's Ofelia Aquilina: satisfied. Mary Wyatt: but Margaret Smith: it's it's looks more heo heavy, but I think when it's completely maybe it's a less weight. Mary Wyatt: Yeah. I mean this is plasticene. There's Margaret Smith: Yes. Mary Wyatt: only so much you can do. We could have possibly made it a lot thinner as well. But And part of the thing is m a lot of people say that they don't like something that's too light, because they don't feel like they have enough control over it. Ofelia Aquilina: Mm-hmm. Mary Wyatt: So I mean maybe this is excessively heavy, but I think it needs to have some weight, it needs Margaret Smith: Yep. Mary Wyatt: to feel like you're still holding something. So that's pretty much it for our presentation actually. Margaret Smith: That's your uh prototype model? Mary Wyatt: Yeah. Margaret Smith: Okay, that's good, thank you very much. So any comments or uh Tricia Edwards: Well, the prototype is very within the design and ideas that we've we've about on previous meetings. Margaret Smith: Okay. Tricia Edwards: Now it goes into this next phase as the financial Margaret Smith: Yes, that Tricia Edwards: uh marketing Margaret Smith: uh Tricia Edwards: uh Margaret Smith: So I'll come back to the Margaret Smith: So evaluation criteria, I think uh that will be good, so then let's come to the finance uh, I have some uh calculations which I made uh as for uh the budget. So here you can uh look like uh the energy and uh dynamo and uh kinetic and solar cells. Uh it's optional, somewhat optional and Ed wants the chip on print, that's what uh we were talking about that. So then we have sample sensor and sample speaker, then uh we have the wood material, then special colour and push button. So it's uh actually, our budget was uh twelve point five Euro, but uh it's coming to nine point nine five Euro, so we are under uh below the budget, okay, so still we are saving some money. I think it's a good figure. Ofelia Aquilina: Yes, great I I'm surprised. Congratulations. Margaret Smith: Than thank you. Tricia Edwards: Well we haven't come to mine yet, so Ofelia Aquilina: Oh, okay. Tricia Edwards: we're Ofelia Aquilina: It's Tricia Edwards: gonna have a Ofelia Aquilina: gonna Tricia Edwards: bit Ofelia Aquilina: cost Tricia Edwards: of Ofelia Aquilina: a Tricia Edwards: difference Ofelia Aquilina: long Tricia Edwards: of opinion, Ofelia Aquilina: way Tricia Edwards: yes. Ofelia Aquilina: to c you know, cost a lot of money to market it, is it? Margaret Smith: So maybe it's for some money we can utilise for our uh marketing, for the sales, okay, and uh Tricia Edwards: Well, it just depends on if we're gonna add a o on this pr provisionary cost analysis, we do not have a L_C_ display. L_C_ display is gonna be very expensive, Mary Wyatt: No Tricia Edwards: it's gonna Mary Wyatt: we do, Tricia Edwards: be Mary Wyatt: but it's not filled in. It's Tricia Edwards: It's Margaret Smith: It's Tricia Edwards: not Mary Wyatt: number Tricia Edwards: it doesn't Mary Wyatt: thirty. Ofelia Aquilina: Thirty. Tricia Edwards: say. Margaret Smith: not. Tricia Edwards: We don't Margaret Smith: Yeah. Tricia Edwards: have the price Mary Wyatt: Oh, Tricia Edwards: up Mary Wyatt: yeah, Tricia Edwards: there, Margaret Smith: Yeah. Mary Wyatt: yeah, you're Margaret Smith: Yeah. Tricia Edwards: okay, Mary Wyatt: right, sorry, Ofelia Aquilina: Yeah. Margaret Smith: Yeah. Mary Wyatt: yes. Tricia Edwards: so if we add approximately two to three Euro per remote, now we're up around about twelve, twelve and a half as to what uh the company had initially uh requested. Ofelia Aquilina: So that Tricia Edwards: Um Ofelia Aquilina: means we can put the uh Tricia Edwards: Display Ofelia Aquilina: the L_C_D_ Tricia Edwards: in. Ofelia Aquilina: in, yeah. Tricia Edwards: But as far as production um I'm putting up a question because we're talking about profit also, and in mine you'll see uh the problem with uh our survey, the p the possibility that how many units can be sold, what percentage of the market, etcetera etcetera because that has to be taken in into consideration. Uh this is just production cost, it is not uh advertising cost, it's not transportation cost uh Margaret Smith: Yes, so still uh we have twelve point five Tricia Edwards: And Margaret Smith: Euro. Tricia Edwards: that will inflate Margaret Smith: Yes. Tricia Edwards: quite a bit the cost of the uh Margaret Smith: Yeah, Tricia Edwards: the Margaret Smith: but Tricia Edwards: cost of the unit Margaret Smith: Yes. Tricia Edwards: for the company. Margaret Smith: Yep. Mary Wyatt: Um-hmm. Tricia Edwards: So to come up with what the company wants is a fifty million Pound profit, we're gonna have to go a long ways. Margaret Smith: Yes. This we are talking about one unit, okay, so Tricia Edwards: Yes. Margaret Smith: when it go into the quantity, okay, and the cost will come down. Tricia Edwards: Slightly. Ofelia Aquilina: Although customisation, because this is being done, you know, the on on-order basis, Margaret Smith: Yeah. Tricia Edwards: It's Ofelia Aquilina: it Tricia Edwards: gonna Ofelia Aquilina: might Tricia Edwards: be very Ofelia Aquilina: be Tricia Edwards: hard Ofelia Aquilina: uh Tricia Edwards: to Ofelia Aquilina: the the quantity Mary Wyatt: Yes. Tricia Edwards: reduce. Ofelia Aquilina: won't m won't uh the circuit board will b you're right, would be in producing quantity, but the cost of the case would uh be fixed at the Uh you got some pretty cheap labour that can do this case for one Euro. Tricia Edwards: That's Ofelia Aquilina: That's Tricia Edwards: not bad. Ofelia Aquilina: really that's the cost of the material Margaret Smith: Yep. Ofelia Aquilina: and lab wow, that's Margaret Smith: Yeah. Ofelia Aquilina: really outstanding. Margaret Smith: But anyhow, still we are under control, okay, so what uh I will do is I will try to negotiate with the vendors, okay, to get uh the production cost less, okay, so then we can save some money, okay, to put into th our marketing or uh you know the promotions, whatever, okay, so that uh I will look after. I will speak to the management and how to get uh you know some more uh cost down. Tricia Edwards: If we can go to to my display. And we'll come back to yours Margaret Smith: Yes. Tricia Edwards: just to give everybody an idea of the market. So now I'm gonna scare everybody out of this project. If I'm still here. Margaret Smith: You're in four? Tricia Edwards: Yep. The four gives Tricia Edwards it's gotta be uh Margaret Smith: TrendWatch. Tricia Edwards: TrendWatch. Ofelia Aquilina: Is this the same one you did before? Tricia Edwards: No. Ofelia Aquilina: Okay. Tricia Edwards: It shouldn't be if Mary Wyatt: That's Tricia Edwards: it's not it's not the right one. Mary Wyatt: no, Tricia Edwards: No, Mary Wyatt: I think Tricia Edwards: no Mary Wyatt: it's the Tricia Edwards: we Mary Wyatt: same Tricia Edwards: g Mary Wyatt: one. Tricia Edwards: no, that's the same one. You have to go back and find another one. Whatever name it popped up under. Uh Mary Wyatt: Functional. Tricia Edwards: functional, try functional, it might not be it either, but we'll see. Mary Wyatt: It looks like it, there's Tricia Edwards: Yep, that's Mary Wyatt: S Tricia Edwards: it. Mary Wyatt: Yeah. Tricia Edwards: So we'll go screen by screen. Margaret Smith: Okay. Tricia Edwards: Although since uh we need to have some type of idea on a market uh we had independent study that says it this this market has an availability to absorb eight mi eight million units per year. Okay? Our internal company evaluation puts it between eight to nine million which is approximately the same as the independent study. Margaret Smith: Yep. Tricia Edwards: So if we continue, we'll look at the findings. Next screen. Which means that uh if we have a target of two million would the company has to take twenty five percent of the market in the first year, Margaret Smith: Mm-hmm. Tricia Edwards: which is actually a tremendous amount. Ofelia Aquilina: Yeah, no kidding. Tricia Edwards: No kidding, yeah. Ofelia Aquilina: Mayb maybe they already expected Tricia Edwards: So, Ofelia Aquilina: something. Tricia Edwards: if we put an inflated price of fifty Euro at a production cost that cannot exceed twenty-five Euro, okay, we're already in that that price, Margaret Smith: Yes. Tricia Edwards: okay, with transport, promotion, labour, because we hav gi included the promotion in the cost, Mary Wyatt: Um-hmm. Tricia Edwards: transport for the material to the stores or whatever how however we're gonna break this down between our our retailers. Twenty-five percent of the market to get to two million units. At two million units, we have to have a profit of twenty-five Euro per unit to get to the fifty million unit Eu Margaret Smith: Mm-hmm. Tricia Edwards: Euro profit. Margaret Smith: Yep. Tricia Edwards: Okay? So, obviously we w w I just did a run down the evaluation of the form, the fan uh the fancy stylishness of the of the unit, the ease of use, speech recognition, cost, we've gone through these. Now, the company must evaluate the feasibility of being able to take enough of the market to justify in production. Or we project this over two years, but being that the market changes very very quickly, maybe Margaret Smith: Yes. Tricia Edwards: there's no more interest in buying this thing in eighteen months from now. Margaret Smith: Yep. Tricia Edwards: So, Margaret Smith: Of Mary Wyatt: Mm. Margaret Smith: course. Tricia Edwards: now we have to come up with a decision. Can the company sell two million units? Margaret Smith: Yep. Tricia Edwards: Can it sell it for Ofelia Aquilina: Could Tricia Edwards: fifty Euros? Margaret Smith: Yep. Ofelia Aquilina: could I go to findings? Uh uh um I would uh like to explore the possibility of using um alternative um delivery and sales channel which would be um to use the internet Margaret Smith: Yes. Mary Wyatt: I was thinking the same Ofelia Aquilina: for Mary Wyatt: thing, Ofelia Aquilina: promotion Mary Wyatt: yeah. Ofelia Aquilina: and ordering and then to drop-ship the p product to the customer's Mary Wyatt: Directly. Ofelia Aquilina: residence. That way you have no storage, you have no um you do have transportation, Mary Wyatt: Um-hmm. Ofelia Aquilina: still have the labour cost, but you don't have the transport to the uh point of sale. Margaret Smith: Yes. Mary Wyatt: Yeah. Ofelia Aquilina: The point of sale is Margaret Smith: To the Ofelia Aquilina: online. Margaret Smith: agents. Mary Wyatt: Yeah. You can do a shipping centre somewhere, or strategically place shipping centres Ofelia Aquilina: Right, Mary Wyatt: to minimise Ofelia Aquilina: like Amazon. Mary Wyatt: distance Ofelia Aquilina: In fact, Mary Wyatt: costs. Ofelia Aquilina: we Margaret Smith: Yes. Ofelia Aquilina: should sell through Amazon, don't you Margaret Smith: Or Ofelia Aquilina: think? Margaret Smith: eBay, or Ofelia Aquilina: Or eBay, yeah. Margaret Smith: Yes. Mary Wyatt: Yeah. Ofelia Aquilina: There's an idea. Going Margaret Smith: Yeah, that's a good Ofelia Aquilina: with Margaret Smith: idea. Ofelia Aquilina: um Margaret Smith: To impro more profit Tricia Edwards: S Margaret Smith: and Tricia Edwards: Upscale Margaret Smith: uh Tricia Edwards: technology. Margaret Smith: Yeah, yes. Ofelia Aquilina: Ah, we we're do you know, selling a Tricia Edwards: Well. Ofelia Aquilina: unique product uh. Mary Wyatt: That actually makes more sense if we're gonna make it so highly customisable, 'cause on the web people can look at the different options they have, see maybe what other people have done, what Ofelia Aquilina: Mm. Mary Wyatt: the range of possibility Tricia Edwards: There are several Mary Wyatt: as, Tricia Edwards: companies Mary Wyatt: whereas Tricia Edwards: that Mary Wyatt: if Tricia Edwards: have gone Mary Wyatt: you're Tricia Edwards: that Mary Wyatt: in a store, Tricia Edwards: way. Ofelia Aquilina: Mm. Mary Wyatt: you can't unless you're a highly imaginative person, you may not really know what it is you want, whereas on the web, if you have a bunch Ofelia Aquilina: Mm-hmm. Mary Wyatt: of pictures, it can sort of trigger ideas and Ofelia Aquilina: And you can even have an a movie that you can rotate the object and look at the Mary Wyatt: Yeah. Ofelia Aquilina: di the only thing that you're missing really is the Mary Wyatt: The Ofelia Aquilina: weight. Mary Wyatt: weight Tricia Edwards: Weight, Mary Wyatt: and feel. Tricia Edwards: the feel of the Ofelia Aquilina: Mm. Tricia Edwards: product, Mary Wyatt: Yeah. Tricia Edwards: but Ofelia Aquilina: We're getting used to that. It's not quite like trying on a shoe, but people Mary Wyatt: Yeah. Ofelia Aquilina: are getting used to buying things online that they can't touch Mary Wyatt: Yeah. Ofelia Aquilina: before Tricia Edwards: There are several Ofelia Aquilina: buying. Tricia Edwards: that have gone through with the watches, too. You can customise a watch, you can see how it is at the f Mary Wyatt: Mm-hmm. Tricia Edwards: at the end of the production, Ofelia Aquilina: Uh-huh. Tricia Edwards: you can change it uh There's a lot of online that's that is doing Mary Wyatt: Yes. Tricia Edwards: this now. And when you're rotating, you'll look behind and look this way uh it's possible to do with this, Margaret Smith: Yeah. Tricia Edwards: know, feasibili feasibility uh lower the price of the unit. Mary Wyatt: Mm-hmm. Margaret Smith: We can. Ofelia Aquilina: Great. Margaret Smith: I don't think that's uh not possible, it's uh okay then, l uh let's wait for the production, okay, then uh you can evaluate the product, so how it looks like technically and uh how it look like uh the real. Mary Wyatt: What turnaround time do we have? Margaret Smith: T Mary Wyatt: 'Cause I mean production evaluation can Margaret Smith: Oh Mary Wyatt: be Margaret Smith: but Mary Wyatt: very very quick or very very Margaret Smith: Yes Mary Wyatt: long. Margaret Smith: it's it's very quick, of course. It will uh come back in two weeks, okay, it will be ready in two weeks. Ofelia Aquilina: Works for Tricia Edwards. Margaret Smith: For evaluation, okay. Ofelia Aquilina: Prototypes, you mean. Margaret Smith: Yes, the Ofelia Aquilina: In Margaret Smith: prototype Ofelia Aquilina: um Margaret Smith: uh prototype product evaluation. Ofelia Aquilina: We probably should do some market tests Margaret Smith: Yes. Ofelia Aquilina: uh once we have the prototypes Tricia Edwards: Well, obviously. Margaret Smith: Yes. Ofelia Aquilina: and do some orders Mary Wyatt: Yeah. Ofelia Aquilina: and things like Margaret Smith: Yes. Ofelia Aquilina: that and test-market it. Tricia Edwards: Mm that'd Margaret Smith: Yeah. Tricia Edwards: have to be thrown out on the market for people to get an idea, to Margaret Smith: So Tricia Edwards: see Margaret Smith: you can take Tricia Edwards: get Margaret Smith: a Mary Wyatt: Mm-hmm. Margaret Smith: minimum two Tricia Edwards: get Margaret Smith: weeks Tricia Edwards: their Margaret Smith: to a maximum four weeks. Yeah. Mary Wyatt: it's not a trivial task. Margaret Smith: Yeah, because we we are not going to do it in uh our factory, okay, so we can Mary Wyatt: No Margaret Smith: give it Mary Wyatt: no. Margaret Smith: a product Mary Wyatt: We Margaret Smith: evalua Mary Wyatt: definitely shouldn't do it Margaret Smith: Yes, Mary Wyatt: in our factory. Margaret Smith: yes. So we'll do it in the other place, and I don't think it's take more than four weeks time. Or uh Okay, so then the real production we will start once we product evaluation, okay then, uh it's approve from uh the technical team and uh your team, okay, uh from the management, then we can launch in the market. Hm? Ofelia Aquilina: Any outstanding? Margaret Smith: S Any any other uh questions or uh comments to be discuss? Ofelia Aquilina: No, Mary Wyatt: What ab Ofelia Aquilina: I'm Tricia Edwards: I think we Ofelia Aquilina: go Tricia Edwards: pretty Ofelia Aquilina: ahead. Tricia Edwards: much covered everything. Margaret Smith: Okay, so then Ofelia Aquilina: Did you Margaret Smith: uh Ofelia Aquilina: have something? Mary Wyatt: Well I was just wondering about if we're gonna do a product evaluation then what about time for redesign if the users come back and tell us no this is bad, this is bad, we want this done differently. Margaret Smith: Okay uh, let's take like this. Let's proceed with this model, okay, for the for the marketing direction, okay. So no more changes will be made, okay, in this the basic design. Okay? So we will introduce m this model and uh let's introduce in the market and let's take the feedback from the customers, then we can uh go for the Ofelia Aquilina: Second generation. Margaret Smith: second generation. Okay. There's no end, there's not limit. Mary Wyatt: The problem is there Margaret Smith: Every Mary Wyatt: might not Margaret Smith: every Mary Wyatt: be a second Margaret Smith: custom Mary Wyatt: generation if the first generation Tricia Edwards: Well, then it Mary Wyatt: flops Tricia Edwards: may not be. Mary Wyatt: for some silly reason Margaret Smith: Okay. Well, every Mary Wyatt: that Margaret Smith: customer, Mary Wyatt: we haven't thought Margaret Smith: okay, Tricia Edwards: Like Mary Wyatt: of. Tricia Edwards: people Margaret Smith: they have Tricia Edwards: don't Margaret Smith: their Tricia Edwards: like Margaret Smith: own Tricia Edwards: wood. Margaret Smith: ideas, they have their own test, okay, so there's no end, there's no limit. Mary Wyatt: No, but there's a difference between releasing a product that has been minimally tested and fine-tuned to suit a general range of requirements versus releasing a product that we think will work but we don't really have anything to back Tricia Edwards: very Mary Wyatt: it Tricia Edwards: specific. Mary Wyatt: up. Margaret Smith: Yeah, so that's the reason you are here for uh the design, okay, I hope you made a Mary Wyatt: Yes, Margaret Smith: good design. Mary Wyatt: but I'm not everybody. I mean the whole point of user evaluation is to see what real people need. We have our own motivations in mind, we have our own ideas in mind, but that doesn't mean that that's what's gonna sell. Margaret Smith: Yeah, but uh see, we ought to take a few considerations, okay, one is the price consideration, one is future consideration, okay, like uh you can eat uh you can all eat more chi I can eat more chilli, okay, so i it's a depends on the individual taste, you know, so we have we have to balance somewhere. Mary Wyatt: Yeah, of course. I'm just trying to point out that I think that your evaluation and redesign turnaround time is too short well you have no redesign not you personally, but Margaret Smith: Yes. Mary Wyatt: in the project Ofelia Aquilina: Our Mary Wyatt: we Ofelia Aquilina: project Mary Wyatt: have no Margaret Smith: Yeah. Ofelia Aquilina: doesn't Mary Wyatt: redesign time Ofelia Aquilina: um Mary Wyatt: and Ofelia Aquilina: Ed, d do you know what season of the year or time of the year is the most important for T_V_ remote control sales? Tricia Edwards: Hmm. Ofelia Aquilina: Would it be the Christmas season by any chance? Margaret Smith: The sports time. Ofelia Aquilina: Sports season. Tricia Edwards: Right before Ofelia Aquilina: Which Tricia Edwards: the Eur Ofelia Aquilina: sport Tricia Edwards: the Ofelia Aquilina: season? Tricia Edwards: World Cup. Margaret Smith: Football. Tricia Edwards: World Ofelia Aquilina: So Mary Wyatt: Yeah. Tricia Edwards: soccer. Ofelia Aquilina: so Tricia Edwards: World Cup soccer, they need those things Margaret Smith: Football. Tricia Edwards: that they have Ofelia Aquilina: maybe Tricia Edwards: their hands Ofelia Aquilina: what Tricia Edwards: g occupied and they need to be able to talk to the con remote control. Ofelia Aquilina: So I think what we need to do is perhaps to synchronise the final the the launch of a user-tested Margaret Smith: Yes. Ofelia Aquilina: device with some special event. Margaret Smith: Yes. Mary Wyatt: Yeah, that's Ofelia Aquilina: And Mary Wyatt: a good idea. Ofelia Aquilina: and then um so that gives us a little more time perhaps then we anticipated, because I don't know when the World Cup is, but I'm sure there's gonna be one. Tricia Edwards: Or any major sports. Ofelia Aquilina: Or another m major sports event. Probably not the um the football games coming up the end of January. I think that might be a little too aggressive Margaret Smith: Yes. Mary Wyatt: Yeah. Ofelia Aquilina: um, but, so, I'm just ig uh pointing out a uh a strategy to uh do some additional user testing Margaret Smith: Research. Mary Wyatt: Mm-hmm. Ofelia Aquilina: pri and then to launch um at a a major sports event or Margaret Smith: Yep. Ofelia Aquilina: uh perhaps to uh Mary Wyatt: That's Ofelia Aquilina: also Mary Wyatt: actually good place to advertise it too. Ofelia Aquilina: And to work with Mary Wyatt: Yeah. Ofelia Aquilina: motion pictures. There might be some motion pictures that are coming out um that are coming out on D_V_D_ that uh they need to have a m special remote control to work with it, so we could maybe work out a campaign with uh with Sony Pictures Margaret Smith: Yes. Ofelia Aquilina: for example. Maybe Mary Wyatt: Mm-hmm. Ofelia Aquilina: some management has got uh relationships there we can leverage. Margaret Smith: Yes, the that of course uh I will convince the management to do that, okay. Ofelia Aquilina: That's great. Mary Wyatt: It's just something to to keep in mind, 'cause it's really really important. Margaret Smith: Sure, sure, Mary Wyatt: A lot of products have Margaret Smith: yes. Mary Wyatt: gone out there without being properly user-tested and completely flopped, when in fact it gets re-released a few years down the line with proper testing and it takes off like crazy. Ofelia Aquilina: Disposable diapers is an example of that in fact. Mary Wyatt: Really? Ofelia Aquilina: Yes, Mary Wyatt: That I didn't Ofelia Aquilina: it is one of Mary Wyatt: know. Ofelia Aquilina: the first consumer products that was launched about thirty years that was a disposable consumer product, and uh people the market hadn't really gotten on to the concept that you could use something and then throw it away, Mary Wyatt: Mm-hmm. Ofelia Aquilina: 'cause it wasn't uh but then when they re-launched them thirty years later, they were virtually the same design, but people had gotten the throw-away, you know, paper cups and napki y all kinds of things that they hadn't um so, Mary Wyatt: Yeah. Ofelia Aquilina: you're right, timing is very important, Margaret Smith: Yeah. Ofelia Aquilina: a good product. Mary Wyatt: Yeah. Margaret Smith: That's the reason Ed is here. I Ofelia Aquilina: That's Margaret Smith: think he Ofelia Aquilina: right. Margaret Smith: can promote the the brand value and the product value. Ofelia Aquilina: It's gonna be very important to the Margaret Smith: Yes. Ofelia Aquilina: company. Margaret Smith: We are behind the scene and he is the front screen, so. Mary Wyatt: Yep. Tricia Edwards: Yeah, I'm the one Margaret Smith: He's Tricia Edwards: who takes Margaret Smith: on Tricia Edwards: the Margaret Smith: the Tricia Edwards: heat. Margaret Smith: big screen. Mary Wyatt: Exactly. Ofelia Aquilina: Good luck, Ed. Tricia Edwards: If it's a flop, it's the marketer. Ofelia Aquilina: You look very relaxed, Tricia Edwards: Yes. Ofelia Aquilina: considering h you know, the Tricia Edwards: Yes. Ofelia Aquilina: uh Tricia Edwards: Stress. Ofelia Aquilina: the weight on your shoulders, yeah. Margaret Smith: Okay, so then uh let's come to the closing and Tricia Edwards: Celebration. Margaret Smith: uh are the costs within the budget and uh is the product evaluated, okay, so that will uh come soon. Okay for uh but our time being, so thanks for all your efforts and great work and uh great design and uh let's leave it to the Ed for later for once production is over and the meantime let's celebrate. So let's meet up uh this evening to hang up for some party. Ofelia Aquilina: Sounds good. Margaret Smith: 'S good. Mary Wyatt: Okay. Ofelia Aquilina: Thank you. Tricia Edwards: Very good. Ofelia Aquilina: Nice working with you. Tricia Edwards: Thank you very much. Margaret Smith: Thank you. Mary Wyatt: Thanks. Margaret Smith: Thank you again for all. And Tricia Edwards: Bye-bye. Margaret Smith: see you in the evening for drinks. Tricia Edwards: Yep, okay, see Mary Wyatt: Bye. Tricia Edwards: you later on.

Mary Wyatt presented the prototype of the product to the group. The product featured an LCD display, a flip panel, and a customizable case back. Margaret Smith displayed the cost of all of the components, and the group decided that the current budget would not allow the addition of the LCD display. Margaret Smith decided to negotiate the cost of production to allow the addition of the display. Tricia Edwards gave a presentation on sales projection and showed that the current projected sales point would probably not allow the project to reach its profit aim. The group also discussed the distribution and promotion of the product on the internet. Mary Wyatt expressed concern that there would not be time under the current plan to make changes to the product resulting from consumer testing; Margaret Smith decided that no additional changes would be made. The group then discussed other means of promoting the product: launching the remote at the same time as a large sporting event or DVD release.

amisum

train

Etta Rich: Okay. Rebecca Shah: Okay. Etta Rich: Everybody ready? Cynthia Fowler: Yeah. Rebecca Shah: I think so. Etta Rich: Uh I think the first do is introduce ourselves Rebecca Shah: Yeah that's a Etta Rich: and Rebecca Shah: plan Etta Rich: everybody's name and what your function is? So maybe we start Dawn Maclean: Okay. Etta Rich: with you? Dawn Maclean: Yeah, my name is Francina. And an user interface my role is uh the main responsibility is user interface. Etta Rich: Mm-hmm. Dawn Maclean: And my role is to design uh a television remote control. Etta Rich: Mm-hmm. Okay. Rebecca Shah: And I'm a marketing person. I wanna figure out how to sell them. Etta Rich: Mm-hmm. And your name is? Rebecca Shah: My name is Eileen. Etta Rich: Okay. Cynthia Fowler: Yeah. Uh I'm Jeanne-Oui. Um role industrial designer and my responsibilities are uh uh um deal with the technical-functional designs and specifications of user interface and dealing with user interface design. Etta Rich: Very good. And as you already know I am Betty. I am Etta Rich for today. So why don't we look at the presentation to see what we really are supposed to do. Rebecca Shah: Okay. Etta Rich: Um. Yes y opening, acquaintance, tool training well, I think, already I guess the tool is really our the computer, Rebecca Shah: Mm-hmm. Etta Rich: as far as I can see. Uh we get ins each of us will get instructions and we'll take it from there. Project plan, that falls under the same heading pretty much. Um, I don't think we have any great discussion at this point. Rebecca Shah: No. Etta Rich: Um. Here is what this thing should be. This thing we are gonna um uh design is a new remote control. Uh should be original, Rebecca Shah: Mm-hmm. Etta Rich: trendy, and, of course, user friendly. So maybe you wanna make some notes of that. Rebecca Shah: Okay. Etta Rich: Okay? Rebecca Shah: Mm-hmm. Etta Rich: All right. Here is what the functional design is supposed to achieve. Um. That is it's gonna be individual work and then at the meeting we'll discuss what uh we have come up with. The same goes for the conceptual design, there will be individual work whic and then discussion afterwards. Detailed design, Rebecca Shah: Mm 'kay so Etta Rich: same thing basically. Rebecca Shah: Three different types of design that we're gonna be concerned with Etta Rich: Mm-hmm. Rebecca Shah: okay. Etta Rich: Mm-hmm. Rebecca Shah: Functional, conception and detailed. Etta Rich: I can't write with this thing. Rebecca Shah: Maybe we should redesign it. Etta Rich: Yes. Rebecca Shah: After we've finished the remote control we'll get to that. Etta Rich: Yeah, okay. All right? Then, tool training try out the white board, participant can draw their favourite animal. Does anybody want to go and see how the white board works? So that in case we have to, in the next meeting, present something on the white board. You wanna go Eileen and Rebecca Shah: Okay, I'll see what I can do. Etta Rich: Whether you without hanging yourself. Rebecca Shah: See if I remember how to draw a kitty cat or a rabbit or something. Etta Rich: And remember you have to press so it works. Rebecca Shah: So that it will record Etta Rich: Mm-hmm. Rebecca Shah: okay. Um uh um traditional kitty cat. Etta Rich: Fat, a fat cat. Rebecca Shah: I've a very fat cat. And it likes to sit like that. Etta Rich: Okay. Rebecca Shah: Okay. Etta Rich: And you're Francine, Dawn Maclean: Yes, Etta Rich: right? Dawn Maclean: I'm Etta Rich: Would you Dawn Maclean: Francina. Etta Rich: like s like just to see Dawn Maclean: Yes, Etta Rich: um Dawn Maclean: sure. Etta Rich: how it feels, so that you have a little idea? Rebecca Shah: Am I supposed Etta Rich: In Rebecca Shah: to wipe off that or Etta Rich: No, no. No, that's okay. Dawn Maclean: No, Okay. Rebecca Shah: okay. Etta Rich: I don't know, we'll get to that later. Rebecca Shah: Okay. Dawn Maclean: What should I draw? Cynthia Fowler: Snake. Dawn Maclean: I'm going to draw a snake. How does it look like? Rebecca Shah: Uh, okay. Etta Rich: Okay. Okay. Rebecca Shah: I hope the kitty cat is hungry 'cause I don't like snakes. Etta Rich: Here's the project finance uh which, of course, we all have to think about when we design this thing. Um selling price is supposed to be twenty five Euro. Uh Rebecca Shah: Mm-hmm. Etta Rich: profit aim for the company is fifty million Euro, the market range unlimited meaning international Rebecca Shah: Okay. Etta Rich: and the production cost should not exceed hopefully should be less than twelve fifty Euro. Rebecca Shah: Mm 'kay that should keep everybody on their toes and challenged. Etta Rich: Mm-hmm. Rebecca Shah: Profit. Um Etta Rich: So Rebecca Shah: is Etta Rich: these Rebecca Shah: fifty Etta Rich: are all things, of course, Rebecca Shah: mm. Etta Rich: to remember with the budget and when you design to materials, cost, etcetera. Now, uh the Rebecca Shah: Oops. Etta Rich: discussion I guess is um does anyone of you have experience with remote control? Cynthia Fowler: Yeah, Etta Rich: I Cynthia Fowler: of Etta Rich: exp Cynthia Fowler: course, Etta Rich: I Cynthia Fowler: using Etta Rich: s Dawn Maclean: Yes. Etta Rich: 'cause Cynthia Fowler: remote Etta Rich: we we Cynthia Fowler: control. Etta Rich: use 'em we use Cynthia Fowler: Yeah. Etta Rich: 'em, right, everyday. And um now having used a remote control for years does anybody already have like an idea like things you didn't like with it, things you would like to change, things you would like to improve with this thing ye any first ideas? Would you like it to be smaller, Cynthia Fowler: Uh. Etta Rich: bigger, Dawn Maclean: Yeah, Etta Rich: have Dawn Maclean: I Etta Rich: more have more buttons on it or maybe clearly better marked buttons, you know, things Cynthia Fowler: Yeah. Etta Rich: like that? Cynthia Fowler: Yeah. Dawn Maclean: Yes, I I feel that all the remote should be very compact. Etta Rich: Small, right. Dawn Maclean: Yeah those, Etta Rich: Mm-hmm. Dawn Maclean: which we get here nowadays it's very long. Etta Rich: Mm-hmm. Dawn Maclean: And um and it should have multi-purpose. Like uh the remote control which we use for T_V_, it shou uh it should be used f uh for some other purpose also, like controlling the Etta Rich: Mm-hmm. Dawn Maclean: uh Cynthia Fowler: Audio Dawn Maclean: temperature Cynthia Fowler: player. Dawn Maclean: inside Cynthia Fowler: Oh. Dawn Maclean: the house or Cynthia Fowler: Okay. Dawn Maclean: for air-conditioners, or for heating system. Etta Rich: So it should be a multi-functional Dawn Maclean: Yes, Etta Rich: uh Dawn Maclean: exactly Etta Rich: gadget that Dawn Maclean: Yes. Etta Rich: would Cynthia Fowler: Hmm. Etta Rich: um control all your household uh Dawn Maclean: Yes. Etta Rich: uh Cynthia Fowler: Divides Etta Rich: machines Cynthia Fowler: us Etta Rich: basically. Cynthia Fowler: Yeah. Dawn Maclean: Yeah. Exactly. Cynthia Fowler: Yeah. Rebecca Shah: At um twelve fifty Euros per Etta Rich: Well. Rebecca Shah: Well who knows if we get a really good designer maybe we Cynthia Fowler: Yeah. Rebecca Shah: can do that. We certainly can try to I agree with her that to market something successfully it should do some more things. Etta Rich: It should be something new it should be s it it should do something different than than just what Rebecca Shah: That's Etta Rich: we have. Rebecca Shah: right. Cynthia Fowler: Yeah, Etta Rich: Now, Dawn Maclean: Yeah. Etta Rich: of Cynthia Fowler: of Etta Rich: course, Cynthia Fowler: course. Etta Rich: the other thing to think there is maybe the design. Dawn Maclean: Yeah, design should be, yeah it should be different. All the almost all Etta Rich: Like Dawn Maclean: the Etta Rich: trendy no like Dawn Maclean: remotes Etta Rich: f for earlier we saw maybe it should be something trendy you know. Cynthia Fowler: Yeah Dawn Maclean: Yes, Cynthia Fowler: maybe, Dawn Maclean: exactly. Etta Rich: Maybe Cynthia Fowler: ten Etta Rich: it should Cynthia Fowler: I Etta Rich: different colours Cynthia Fowler: do yeah, colours Etta Rich: or materials Dawn Maclean: Are Cynthia Fowler: and Dawn Maclean: different Cynthia Fowler: al shapes Dawn Maclean: shapes. Cynthia Fowler: also. Etta Rich: or Dawn Maclean: Yes. Etta Rich: you Cynthia Fowler: Yeah. Etta Rich: know. Um so yeah shapes right, you know, like kidney shape feels Dawn Maclean: Yes. Etta Rich: better in your hand or something, Cynthia Fowler: Yeah of Etta Rich: you Rebecca Shah: Yeah Etta Rich: know. Cynthia Fowler: course Rebecca Shah: okay, Cynthia Fowler: yeah. Rebecca Shah: friendly shape, Etta Rich: Yeah. Rebecca Shah: that would help. I think another thing that would help is Etta Rich: Yes. Rebecca Shah: um if it beeps when you clap, because I think one of the big things that happens is people lose them. They can't find it. Etta Rich: That is true, because they put a newspaper or they put it behind Cynthia Fowler: Yeah. Etta Rich: a plant or, we you know, whatever. Rebecca Shah: Mm-hmm. Etta Rich: And and they suddenly the phone rings and they want to turn the T_V_ off and they say, where the hell is my my remote control yeah? Rebecca Shah: So Etta Rich: Well Rebecca Shah: some Etta Rich: or yeah or if it's really, if it's really in a dark spot that it gives out a a sound Cynthia Fowler: Yeah, some Etta Rich: or a signal. Cynthia Fowler: beep Rebecca Shah: Uh so, Cynthia Fowler: or something Dawn Maclean: Or a Etta Rich: Yeah. Dawn Maclean: b Cynthia Fowler: like that, Rebecca Shah: so Etta Rich: Mm-hmm. Cynthia Fowler: so Rebecca Shah: it's Cynthia Fowler: that Rebecca Shah: really Cynthia Fowler: we can Rebecca Shah: the Cynthia Fowler: go Etta Rich: So Rebecca Shah: beep Etta Rich: if Rebecca Shah: or, Etta Rich: lost Rebecca Shah: or a light should blink. Etta Rich: If lost Dawn Maclean: Should Cynthia Fowler: Yeah. Dawn Maclean: ha Etta Rich: uh Dawn Maclean: A Etta Rich: signal Dawn Maclean: fluorescent Etta Rich: with Dawn Maclean: signal, Etta Rich: b Dawn Maclean: yeah. Etta Rich: throw Rebecca Shah: Mm Etta Rich: signal, Rebecca Shah: 'kay. Etta Rich: you know. Cynthia Fowler: Yeah, maybe it should have a light so that we can, we can just recognise where it is. Etta Rich: Exactly, Cynthia Fowler: Yeah, yeah. Etta Rich: I mean just Cynthia Fowler: May not Etta Rich: that's Cynthia Fowler: be Etta Rich: what Cynthia Fowler: beep. Etta Rich: I'm saying. I'm just saying throw signal meaning just whether it's a beep Cynthia Fowler: Beep Etta Rich: or whether Cynthia Fowler: or uh it's Etta Rich: a Cynthia Fowler: a Etta Rich: light Cynthia Fowler: light, Etta Rich: or Cynthia Fowler: maybe Rebecca Shah: And do Cynthia Fowler: it's Rebecca Shah: you think Cynthia Fowler: a light. Rebecca Shah: a good c c um clue for that is that it would respond to a clap or it would respond to your voice or it would respond what what should you have to do to make it beep or blink? Etta Rich: Okay, my my idea is maybe that the minute it's really hidden, in in other words if it's like in a dark spot, Rebecca Shah: Mm-hmm. Etta Rich: uh meaning you know like a newspaper is on top, a sweater is on top or Rebecca Shah: Mm-hmm. Etta Rich: it it's behind a plant, at that moment it's it's like, it's like um, what you call it a light s sensors, you know? Rebecca Shah: Okay so Dawn Maclean: Yes. Rebecca Shah: Okay. Cynthia Fowler: Yeah, probably Etta Rich: I mean, that we can Cynthia Fowler: yeah, Etta Rich: discuss Cynthia Fowler: probably Etta Rich: that Cynthia Fowler: it's Etta Rich: later, Cynthia Fowler: a yeah, Etta Rich: you know. Cynthia Fowler: yeah. Dawn Maclean: Yeah. And uh Rebecca Shah: So the light sensor would activate the signal. Etta Rich: That's right. Cynthia Fowler: Mm-hmm. Etta Rich: You know there would be right you have to have some kind of sensor and I I think uh voice or clapping it's not specific enough. Uh I know there are the lamps and stuff, you know, you Rebecca Shah: Mm-hmm. Etta Rich: can clap on and Dawn Maclean: Yes. Etta Rich: off, but I think they only work to certain degree and Rebecca Shah: But it could be someplace really obvious and you still wouldn't be able to find it. Cynthia Fowler: Yeah, Etta Rich: What Cynthia Fowler: of course, Etta Rich: with Cynthia Fowler: that didn't Rebecca Shah: Well, Dawn Maclean: Then, Rebecca Shah: because Dawn Maclean: in that Rebecca Shah: you're s Dawn Maclean: case Rebecca Shah: because Cynthia Fowler: I i Rebecca Shah: you're Cynthia Fowler: we Rebecca Shah: silly. Cynthia Fowler: can't do Rebecca Shah: Because Cynthia Fowler: it. Rebecca Shah: people are silly. Etta Rich: Oh yeah well, but then Rebecca Shah: I mean Etta Rich: those Rebecca Shah: it could Etta Rich: people Rebecca Shah: be on Etta Rich: we can't help everybody. Rebecca Shah: well, i if it were like on top of your bookcase and you usually kept it on the coffee table um, you know, Etta Rich: Okay Rebecca Shah: well Etta Rich: we have Rebecca Shah: maybe we Etta Rich: uh Rebecca Shah: have to move along, Etta Rich: yeah, Rebecca Shah: okay. Etta Rich: we have to move along, but I think we have some good Cynthia Fowler: Yeah, Etta Rich: good points Cynthia Fowler: good point. Etta Rich: to start with here. Okay, the next meeting will be in thirty minutes. I think you all did you get uh notices on your computer Cynthia Fowler: Rebecca Shah Etta Rich: for Cynthia Fowler: yeah. Etta Rich: this? Okay so well, you got the notice Dawn Maclean: Yes. Etta Rich: um uh. The working design, I guess that's the function I_D_ uh who is this? Cynthia Fowler Cynthia Fowler: Yeah. Etta Rich: That's you. Cynthia Fowler: Yeah, it's functional de yeah, exactly, Etta Rich: Okay. Cynthia Fowler: technical. Etta Rich: So, we looking for a working design when Cynthia Fowler: Yeah. Etta Rich: we come back. Cynthia Fowler: Uh working design, yeah, it's it's uh mainly Etta Rich: Then Cynthia Fowler: technical-functional design. Etta Rich: And then the technical funct you are the technical Cynthia Fowler: Yeah, functional Etta Rich: function, so Cynthia Fowler: design, and you Etta Rich: so you are the working design. So you Dawn Maclean: Okay. Etta Rich: have a working design and then a functional design. And the marketing manager is coming up with some user requirement specification, like friendliness, and what we just discussed in general. That would be your idea. And, of course, price. That it, that it, that the price is a good price. Rebecca Shah: Mm-hmm. Etta Rich: I mean, the price is given, but, that was Rebecca Shah: We have to justify that Etta Rich: That's Rebecca Shah: price Etta Rich: right. Rebecca Shah: by having sufficient features to make it sell at that price. Etta Rich: That's right. And, you know, specifi you you will get specific um instructions for that. I think that's the end of the show. Yeah. So um we have well, we have a twen two two two three minutes. Um any questions at this point? Or uh suggestions? Rebecca Shah: Mm. Etta Rich: I think basically basically you will get instructions to work with and Dawn Maclean: Okay. Etta Rich: if you have any questions Cynthia Fowler: Yeah. Etta Rich: uh, uh I guess, you can uh Rebecca Shah: Okay, I think I have enough to think about 'til our next meeting. Etta Rich: Mm-hmm. Cynthia Fowler: Yeah, even Rebecca Shah: How about Cynthia Fowler: I have. Rebecca Shah: you people? Cynthia Fowler: Yeah, Dawn Maclean: Yes. Rebecca Shah: Really? Cynthia Fowler: even I have, Etta Rich: Mm-hmm. Cynthia Fowler: I Rebecca Shah: Okay. Cynthia Fowler: think, yeah. Rebecca Shah: 'Kay. Etta Rich: Okay. Rebecca Shah: Alright, Cynthia Fowler: Yeah, Rebecca Shah: well Cynthia Fowler: so let's Rebecca Shah: uh Cynthia Fowler: see. Etta Rich: Then uh we see you in about thirty minutes. Dawn Maclean: Yes. Etta Rich: And see what we can come up with. Cynthia Fowler: Hmm. Rebecca Shah: Okay, Dawn Maclean: Okay. Rebecca Shah: very good. Etta Rich: Okay? Dawn Maclean: Yes. Cynthia Fowler: Yeah.

The meeting opens with the group doing introductions by giving their name and role. Betty is Etta Rich, Francina is the user interface specialist, Eileen is Rebecca Shah, and Jeanne is Cynthia Fowler. Etta Rich tells them they will be designing a new remote control that should be original, trendy, and user-friendly. They will be concerned with functional, conceptional, and detailed design. To try out the whiteboard, each group member draws her favorite animal on the board. They discuss the project budget and then talk about their experiences with remote controls. They seemed to agree that the remote should be compact and have a multi-purpose functions. They also agree that it should do something different that current controls cannot do and that it should be made of different colors, materials, and shapes. They also discuss a way of helping people find the remote when it is lost- a signal, whether it is a beep or light. Then they close the meeting with Etta Rich going over the tasks they are to complete and telling them they will meet again in about thirty minutes.

amisum

train

Reva Tutwiler: Okay. Hello everyone. Una Gibbs: Hi. Beverly Weidner: Hi. Linda Gibbs: Hi. Reva Tutwiler: Um how uh we doing Una Gibbs: Yeah, good. Reva Tutwiler: Uh first we going uh over the minutes of the last meeting, more or less. Linda Gibbs: Mm-hmm. Reva Tutwiler: Um in the last meeting uh the marketing manager had presented uh her method of working, meaning gathering i suggestions from everyone to see how she best could market uh this this product at the within the budget uh that was given. Uh in general the idea is that it should be something that is not difficult to use. Um it's also an item people lose So we should address that. And, of course, it should be something s s that is very simple to use. In addition to that to make it sell, of course, uh the marketing manager w wishes that it be very attractive, or like she says put some sizzle into it in one way or another so that the people are buying it now because, in particular with smaller items, that's a very important fact, 'cause um if they say, well, I go home and think about it, that won't work. Um also mentioned was it should be uh it should have a very short learning curve. And maybe it could be sold by using a slogan. Una Gibbs: Hmm. Reva Tutwiler: Our technical manager has then said that she feels it should have a chip that has infra-red bits and it has an interface controls w interface that controls the chip. Therefore, messages uh will be controlled in the same manner. There should be extra features like lid buttons, maybe a beep. If too many buttons are pressed, mm uh uh child lock um and uh maybe a display clock so that people could um you could see the time, you know, what show they want to watch. Also mentioned was uh maybe different shapes. So the components of the thing should be button, bulbs, infra infra-red bulbs, battery, chips, wires, and maybe some kind of a holder uh for the for the uh item. Francino who is our um Linda Gibbs: Interface designer. Reva Tutwiler: interface designer um uh has mentioned that the that it, of course, should have an on-off button, and also has mentioned an interesting feature that it should have maybe a channel lock. Particularly with maybe small children that they couldn't uh watch a channel that is undesirable. It should be compact. Her personal favourite was it should be T-shaped. And maybe have an anar alarm-clock. And the material should possibly be not of non-allergic nature. Uh the different systems uh that exist are infra-red or radio-waves. Uh maybe it should have uh electri electrici electricity saving feature. And even possibly a timer to so that people can program their favourite uh uh program on th right from the remote. Linda Gibbs: Yes. Reva Tutwiler: Uh are we all in agreement that that's about what we discussed last time? Una Gibbs: Yeah. Linda Gibbs: Yes Reva Tutwiler: Okay. Beverly Weidner: Yeah I think pretty much is it. Yeah. Mm-hmm Reva Tutwiler: Okay, then we I'm looking for three presentations. And uh I don't know whether the order matters much uh, I don't I don't think so, so whoever Linda Gibbs: Okay, Reva Tutwiler: w wants Linda Gibbs: I can start first. Reva Tutwiler: Yeah, okay. Linda Gibbs: Okay. Now my slide, Reva Tutwiler: Okay, Linda Gibbs: please. Reva Tutwiler: your slides. Okay. Oh, come on, close already. And that's number two, right? Linda Gibbs: Three. Reva Tutwiler: Three. Linda Gibbs: Participant three. Yes. Linda Gibbs: Okay. Reva Tutwiler: Okay. Linda Gibbs: Now as an interface designer, I would give more emphasis on the interface, how the remote looks like so that it is sellable, it is attractive to customers. Next, please. Okay. Now the function of a remote is to send messages to the television. This messages could be uh switch message or to next message or swapping the channels or switching onto a particular channel, like you can have the numbers one, two, three, four, up to nine. Reva Tutwiler: Nine what? Nine channel uh switches? Linda Gibbs: Pardon Beverly Weidner? Reva Tutwiler: Nine channel switches? Is Linda Gibbs: Yes, Reva Tutwiler: Yeah. Linda Gibbs: nine Reva Tutwiler: Mm-hmm. Linda Gibbs: numbers. Reva Tutwiler: Mm-hmm. Linda Gibbs: And then you have swapping of uh button Reva Tutwiler: Mm-hmm. Linda Gibbs: by which using which you can swap the channels if you don't want to see the third channel you can swap it to the fourth channel or vice versa. Then it should have a next button, and next button channel by which you can keep on uh v uh Una Gibbs: Going Linda Gibbs: mm Reva Tutwiler: Mm-hmm. Una Gibbs: to the nex Linda Gibbs: eh Una Gibbs: next. Linda Gibbs: scrolling the channels one Reva Tutwiler: Mm-hmm. Linda Gibbs: by one. Next slide, please. Reva Tutwiler: Mm-hmm. Linda Gibbs: Then you should have a button which should which ca which can be used for increasing or decreasing the volume. Reva Tutwiler: Mm-hmm. Linda Gibbs: Then, there should be a button which can give subtitles for a particular program which is going on a television. For example, if you are watching a French program and you would like to have a subtitles in English, Reva Tutwiler: Mm-hmm. Linda Gibbs: then there should be a channel which can trigger this mechanism in the television so that the user can see uh the the subtitles on the screen. Then there should d uh there should be some buttons which can control features like the colour, colour of the picture, the contrast, sharpness, brightness of the picture. Now there should be a memory switch. There should be a mute button. Suddenly if if if uh uh viewer he gets a telephone call, and if he want he doesn't want to switch off the uh T_V_, but he he can reduce the sound, he can bring the volume down and he can watch he can uh while talking he can watch the T_V_. Now the most important feature I would like to have in my remote would be the speech recognition feature. It's an integrated progra programmable sample sensor speaker unit. So a remote can be th can be uh designed which can have the voice recognisers, you can record your own voice Reva Tutwiler: Mm-hmm. Linda Gibbs: which can be recognised by as voice recogniser in the television, for example, if you want to see we if you want to see the ninth channel if you say just say ninth channel, uh th now the the uh yeah, the remote Reva Tutwiler: Mm-hmm. Linda Gibbs: will automatically it will switch to the ninth channel. Reva Tutwiler: Mm-hmm. Linda Gibbs: So the T_V_ will have some recogniser which will recognise the user's voice and accordingly it will change its functionalities. Reva Tutwiler: Mm-hmm. Mm-hmm. Linda Gibbs: So this is one of the very important feature a remote control can have. So this is one one of the interface which can be created. Reva Tutwiler: Mm-hmm. Linda Gibbs: A very simple interface which has all the t uh uh important features. Then, please, Reva Tutwiler: Mm-hmm. Linda Gibbs: next slide. Reva Tutwiler: Mm-hmm. Linda Gibbs: Then, these are some of the remotes which are different in shape and colour, but they have many buttons. Reva Tutwiler: Mm-hmm. Linda Gibbs: So uh sometimes the user finds it very difficult to recognise which button is for what function and all that. So you can you can design an interface which is very simple, and which is user-friendly. Even a kid can use that. Reva Tutwiler: Mm-hmm. Linda Gibbs: So can you go on t t uh to the next slide. Yeah, so this is one of the interface or one of the remote which has this vi voice recogniser. Reva Tutwiler: Mm-hmm. Linda Gibbs: And this has multi-purpose use, it can be used for T_V_, it can be used for cable-satellite, it can be used for V_C_R_, D_V_D_s and audio. And this has in-built voice recogniser. Can you go on to the next slide? Yeah, now this is an interface for a chil uh for a remote uh uh which a child can use. Reva Tutwiler: Mm-hmm. Linda Gibbs: Uh this is user-friendly, it's very attractive and uh children can use it as well as they can play with it. And this comes with different colours, different shapes. Una Gibbs: Mm. Reva Tutwiler: Mm-hmm. Linda Gibbs: And this this uh child uh interface has minimum buttons and all the important uh buttons are there in this small, compact, attractive child interface. Next slide, please. Now this is a big over-sized remote which cannot be misplaced or it's impossible to misplace. Beverly Weidner: You don't know Linda Gibbs: this. Beverly Weidner: Beverly Weidner. I could Linda Gibbs: So this Beverly Weidner: lose Linda Gibbs: is Beverly Weidner: that Linda Gibbs: No Beverly Weidner: in a minute. Linda Gibbs: this is a very big, you cannot misplace it anywhere. So this is a jumbo universal remote control and it's impossible to im misplace or lose. Reva Tutwiler: Mm-hmm. Linda Gibbs: This i this is one such interface which can be created. And the personal preference uh would be a spe uh uh to incorporate speech recognisers uh which will respond to user's voice for a particular Reva Tutwiler: Mm-hmm. Linda Gibbs: uh function. Reva Tutwiler: Right. Linda Gibbs: Thank you, that's Reva Tutwiler: Mm-hmm. Reva Tutwiler: Okay, thank you very much. Uh any comments on uh her presentation? Beverly Weidner: Well, um looks like we still have quite a choice of things out there. Una Gibbs: Mm-hmm. Beverly Weidner: Um what uh I'm No suggestion's bad. Linda Gibbs: Mm yes. Beverly Weidner: But uh we're gonna have to narrow it down a little more. I don't think that we can get uh the too big to misplace, I think it's just funny. Um I Linda Gibbs: Okay. Reva Tutwiler: Yeah, I I th I think Beverly Weidner: don't think that's gonna be our impulse purchase at the checkout counter. Linda Gibbs: Okay. Beverly Weidner: It's it's gonna be a little bit Reva Tutwiler: No, Beverly Weidner: too Reva Tutwiler: I Beverly Weidner: unwieldy. Reva Tutwiler: think the these are her presentations, Beverly Weidner: Yeah Reva Tutwiler: but Beverly Weidner: mm. Mm-hmm. Reva Tutwiler: uh as far as the decision making we getting Beverly Weidner: Have Reva Tutwiler: to Beverly Weidner: to Reva Tutwiler: that Beverly Weidner: come back Reva Tutwiler: after Beverly Weidner: to that Linda Gibbs: We Beverly Weidner: later. Linda Gibbs: can. Reva Tutwiler: after Beverly Weidner: Okay. Reva Tutwiler: but if I just wanted to know whether anybody had any any anything to add to her Beverly Weidner: No, Reva Tutwiler: presentation. Beverly Weidner: I think her presentation was good, and Reva Tutwiler: Mm right. Beverly Weidner: she really explored all the options. Yeah. Reva Tutwiler: Mm-hmm. Ho who wants to go next um? Una Gibbs: Yeah, maybe. Reva Tutwiler: Mm-hmm. Okay, and you Una Gibbs: Participant two. Reva Tutwiler: Uh okay. Una Gibbs: Uh the next one, sorry. Reva Tutwiler: Oops. Una Gibbs: It's it was the old one. Components. Reva Tutwiler: The components design. Mm-hmm. Okay. Una Gibbs: Um this time I'm I'm going to um concentrate more on the components Beverly Weidner: Mm-hmm. Una Gibbs: and the technical side of the remote controller design. Uh, can you go on to the Reva Tutwiler: Mm-hmm. Una Gibbs: next slide, please. I have just brief uh down few uh components which we require for the remote control uh construction. Uh the first one is case to keep all the components like integrated circuit, battery, etcetera, etcetera, it's like Uh it can be a plastic one, hard plastic, so that it can be strong, even if you just uh uh, you know, if you if it falls down, then it doesn't break. So it should be strong. Reva Tutwiler: Mm-hmm. Una Gibbs: And uh uh there are no harmful materials used in that. And it should be recyclable. Reva Tutwiler: Mm-hmm. Una Gibbs: Uh and Beverly Weidner: Mm-hmm. Una Gibbs: uh, Beverly Weidner: Good point. Una Gibbs: yeah, and also uh using of colouring compon components like uh if we want to have different colours, blue, red, green, so uh uh we have to use uh some colouring compone compone components. And uh the second important thing is uh uh uh integrated circuit. Uh which uh we can use a highly sophisticated one because it's like the it's like the heart of the remote controller. If it is not efficient then everything wi is going to be uh like um the lef ess less efficient so it you should we should have a highly sophisticated one. And it should be resistant to high as well as uh low temperatures. Suppose if it is thirty-eight degrees outside forty degrees outside, it should it should uh be able to re uh resist the uh temperature uh uh highs and uh high temperatures and low temperatures. And uh it should be with uh um equipped with timer and alarm facility. And the uh other component we should uh we have in the remote controller is a resistor uh which is like uh uh i it is very very much important for the electricity uh flow through through through the uh remote controller and uh also a capacitor which is a b which is a m I think it's it's like a battery, capacitor. Can you Beverly Weidner: Mm-hmm. Una Gibbs: go on to the next slide, please? Reva Tutwiler: Mm-hmm. Una Gibbs: Uh a diode, a transistor, a resonator, these are all this uh technical uh electri electronic compons uh components which are which we have to use in a remote controller. A battery uh, I would like to suggest one thing uh if we uh if we will be able to make a res rechargeable battery then we sh we need not go for a high performance battery, Beverly Weidner: Mm-hmm. Una Gibbs: even if it is a low performance battery it ca it can't l it can't charge much. It it it's not a high voltage battery. Then also we can If it is a rechargeable one, then uh people can use it for a long time, so in that way we can cut cut the cost, but w uh uh that we have to make the battery as rechargeable one. And we we have a circuit board uh in a remote controller. Can you go to the next slide, please. And how it works, how the remote controller works. When you press a button Reva Tutwiler: Go away. Una Gibbs: Thank you. Uh when you press a button, when you do that, you complete a specific connection that means when you when you press a button there will be a s a small circuit underneath the button, and it will send some signals through the wires, and then uh the chip will send start connection and knows that which button is pressed. Suppose you have pressed channel one button, number one you have pressed, then the uh chip will know that the number one button was pressed. It pros produces a mors morse code line signal specific to that button. Every button, every individual button, has its own morse code. Suppose uh the uh user has pressed butto button one, then it will have a spe the circuit will generate a specific morse code to b that that button, and the transistor will amplify the signal and send then to the L_E_D_ which translates the signal into infrared light. Like you have got a signal by pressing a button. That's a d a morse code has been generated by the integrated circuit. Now, that signal, that morse code, has to be amplified by the transistor. That is the use of transist transistor we which we use in the remote controller. It will amplify the signal and it will send it to the L_E_D_ and which translates the signal into an infra infrared bits. The sensor on the T_V_ can see the infrared light, and seeing the signal seeing the signal re it reacts appropriately, that when it sees the amplified mo morse code signal, then it will uh it will uh know which uh what what action it has to uh do. Then it will do the appropriate action. So uh this is how the remote controller works. Linda Gibbs: It works. Una Gibbs: Can you go to the next slide, please. Yeah, I have few pictures. remote controller uh it's it's it this is a normal remote controller. Beverly Weidner: Mm-hmm. Una Gibbs: And to the next slide, please. And where we had a a few buttons and all. And uh if you open the remote controller you have this circui circuit board Beverly Weidner: Mm-hmm. Una Gibbs: and few electronic components, like you can see a chip there Beverly Weidner: Mm-hmm. Reva Tutwiler: Mm-hmm. Una Gibbs: which is having eighteen pins, and also a capac uh a capacitor, three resistors and also a resonator uh um mm yeah, and di and a diode transistor. Reva Tutwiler: Mm-hmm. Una Gibbs: The electronic components uh all of the electronic components have all those uh things like a chip and d diode transistors an Yeah, di um can y uh you can see the T_A_ double one eight three five Reva Tutwiler: Mm-hmm. Una Gibbs: labelled Linda Gibbs: Mm Una Gibbs: uh Linda Gibbs: yes. Una Gibbs: chip Reva Tutwiler: Mm-hmm. Beverly Weidner: Yes. Una Gibbs: um. Uh you can also see the uh uh the green two green things are uh these are they are they are resistors, Linda Gibbs: Mm-hmm. Una Gibbs: and uh just beside that you can see a transistor, and a uh uh cylinder shape, uh that one is a capacitor. Uh and also there are uh um resistors uh sorry, ther there is a diode. Reva Tutwiler: Mm-hmm. Una Gibbs: Can you go Reva Tutwiler: Mm-hmm. Una Gibbs: go on to the next slide. So uh this is the circuit board. The green one is a circuit board. Actually, uh building a circuit bo board is pretty pretty uh easy and also it's a it's a l l inexpensive. Uh it's it costs less than what you print on a paper, because uh uh when you when you are building uh some circuits some um uh circuits and also wires, it's it's better to go for printing, because uh you can build these kind of k circuit boards on a on a bulk and it's just printing, nothing Linda Gibbs: Mm-hmm. Una Gibbs: like uh, you know, you don't need to use wires and all. It's not exactly wires we are using. It's just printing something on a board. Tha tho those prints will acti act as wires and ci uh circuits. So th that green uh thing is a circuit board, and also you can see uh there are b s like uh um access for buttons, like when you press a button, the circuit under the button will be activated uh th it will it will he get some signals from it and it will uh it Linda Gibbs: Transmit. Una Gibbs: will ch its ch se send a signal signals to the, yeah, um integrated circuit. Can you go to the next slide, please. Uh so this is these are the circuits un underneath the buttons. Uh can you see the black uh, round marks? Reva Tutwiler: Mm-hmm. Una Gibbs: They Beverly Weidner: Yes. Una Gibbs: they are the circuits. Next, please. And um like uh we have uh designed uh before we have seen some uh few things like instead off buttons we have some scrolls. Uh b but a b a push-button requires a simple chip underneath it, but whereas a scroll wheel requires normally a regular chip which is a higher price range. Beverly Weidner: Okay. Una Gibbs: Like for s scrolls we have to go for a sophisticated and and Linda Gibbs: Okay. Una Gibbs: k uh uh uh full a complete chip. Uh and a as energy source we offer a basic battery, a more ingenious uh hard dynamo, um a kinetic provision of energy, more than what is that you shake casually to provide energy. So that also we can have in a battery, uh or we can use solar sells. Beverly Weidner: Hmm, Una Gibbs: Uh. Beverly Weidner: that's interesting. Una Gibbs: Yeah. Uh yeah uh the product can be de delivered into different cases. Uh usually, the cases and card flat that w we Linda Gibbs: Okay. Una Gibbs: see usually uh d uh a normal remote controller. Um. Reva Tutwiler: Okay. Una Gibbs: Yeah. Reva Tutwiler: And you have more pictures. Uh we have five minutes to the end Una Gibbs: Yeah, Reva Tutwiler: of the meeting. Una Gibbs: maybe d uh I have just one more slide, I think. Um. Like we can have a ma material such as plastic, rubber, wood, titanium, but titanium we can't use. Um and also for electronics we can use a simple and regular um re or an advanced chip on the print, um also infra it includes the infrared se sender. Um yeah the uh for the movie just to j develop uh samples and so spe sample speaker. An Yeah, that's it. It's all for Beverly Weidner now, thank Reva Tutwiler: Okay, Una Gibbs: you. Reva Tutwiler: well thank you. Any particular comments by anybody? Beverly Weidner: Uh yeah, on the scroll and the push-button, um ca you can achieve scrolling by repeatedly pushing a button? Una Gibbs: No, no, no, th the the the scrolling wheels are different, like you can go for a sw switches like buttons or scrolls, Beverly Weidner: Mm-hmm. Una Gibbs: uh which which we used to do before ten ten years before, I think. Now, nobody uses that because you need you need a a k sophisticated chip and all. So I think Beverly Weidner: Um. Una Gibbs: it's better we go for uh um ordinary buttons. Beverly Weidner: We'll just go for push Una Gibbs: Yeah Beverly Weidner: buttons Una Gibbs: uh yeah, Beverly Weidner: for Linda Gibbs: Push-buttons. Beverly Weidner: in Una Gibbs: push-buttons. Beverly Weidner: the interest Una Gibbs: Yeah. Beverly Weidner: of cost. Una Gibbs: Yeah. Beverly Weidner: Okay. Reva Tutwiler: We don't have a lot of time left and we will still have to make a decision, and Beverly Weidner has to present her Beverly Weidner: Okay. Reva Tutwiler: her Beverly Weidner: Go right Reva Tutwiler: thing. Beverly Weidner: to my first my next slide. Reva Tutwiler: Uh okay. Beverly Weidner: Um alright, my method is uh I'm interested in what the competition is doing, and wanna see how we can make ourselves different from the competition, so I've really been looking at the press and the ads that are out there for other remote controllers. I s I spend a lot of time on the internet um surfing around doing the same thing. And then when I'm out um in people's houses or at meetings or anything like that, I try to notice what kind of remote controls people have, and if it's convenient in the conversation I ask about it. And I would encourage you all to do the same. Um and my findings from this is that, you know, small is beautiful. Um people like something that really fits in their hand. Linda Gibbs: 'Kay. Beverly Weidner: Simple is beautiful. They don't want to have to squint at small print um, they want buttons whose functions are obvious, and they want um as few buttons as possible, and they don't care for the mode thing. They want each button to do something. And eye-catching is important. It's gotta look cute, it's gotta look appealing. Go ahead, I'm trying to finish fast for you. Um and our preference is, as far as I'm concerned, are we got to get to the market before the competition. Ours has to be look really great and it has to come out before the others, so that we have a leg up on time to sell it and push it before other people get out their Christmas item. And we should develop one or two features we can really dwell on in our ad campaign. If we try to tell people it has too many great features, um the consumer just gets confused and we don't get anywhere. So we've gotta narrow our selection down to li two things, I think, that we gonna say are really great about our our our new product. And I've been looking around um at what designs every year different things are popular. And in my research this year I found out that fruit and vegetable shapes are really popular. And people are tired of hard plastic and hard metal. They are more back into soft feel, spongy feeling things, things with maybe a little cloth on them. So those are things maybe we wanna look at as far as saleability of the item. Linda Gibbs: Mm-hmm. Reva Tutwiler: Okay. Uh that concludes the presentation of everyone. And what we really have to decide in this meeting is um the concept of the remote. Beverly Weidner: Mm-hmm. Reva Tutwiler: And uh so what do we think on the concept of the remote? Beverly Weidner: You wanna try to come back to yours, and Linda Gibbs: Uh yes, Reva Tutwiler: Y Beverly Weidner: limit Linda Gibbs: I would Beverly Weidner: yours Linda Gibbs: like Beverly Weidner: a Linda Gibbs: to Beverly Weidner: bit? Linda Gibbs: include this feature which is called as voice recogniser. Beverly Weidner: Okay. Reva Tutwiler: Okay. Mm-hmm. Una Gibbs: Mm-hmm. Beverly Weidner: So speech recognition is most important as far as you're concerned? Una Gibbs: Yeah, but w Beverly Weidner: Yeah h that could that Una Gibbs: Yeah. Beverly Weidner: could Reva Tutwiler: I Beverly Weidner: that Reva Tutwiler: think Beverly Weidner: could Reva Tutwiler: that's Beverly Weidner: be our star feature. That that be really good, yeah, Una Gibbs: Yeah, Reva Tutwiler: Mm-hmm. Beverly Weidner: I agree Una Gibbs: but Beverly Weidner: with Una Gibbs: but Beverly Weidner: that. Una Gibbs: I what I'm uh very very much doubtful how how uh far it will work, because a speech recogniser like i it it has its own uh uh problems, Beverly Weidner: Distance Una Gibbs: issues. Beverly Weidner: problem? Una Gibbs: Yeah, it's not distance problem it it's Linda Gibbs: Mm-hmm. Una Gibbs: recognising a person's voice, like maybe different people will be having different voices, so Beverly Weidner: Uh. Una Gibbs: it like it's uh everything Reva Tutwiler: Well, Una Gibbs: so Reva Tutwiler: you you Una Gibbs: i Reva Tutwiler: teach You have to teach Una Gibbs: So Reva Tutwiler: uh Una Gibbs: to get a good recogni recognising Linda Gibbs: No, Una Gibbs: system, Linda Gibbs: it's Una Gibbs: it's Linda Gibbs: it's, Una Gibbs: a Linda Gibbs: uh yeah, Una Gibbs: costly Linda Gibbs: it Una Gibbs: thing, Linda Gibbs: it's Una Gibbs: I think. Linda Gibbs: like your recording of uh all uh um a question already, and then you're expecting an answer from th For example, you have a T_V_ system, I'm the user Una Gibbs: Mm-hmm. Linda Gibbs: and my family members are the user, I will already record Una Gibbs: Yeah, but Linda Gibbs: uh Una Gibbs: Yeah. Linda Gibbs: a question Una Gibbs: Mm-hmm. Linda Gibbs: like, uh good morning, like around eight o'clock I want to see the news Una Gibbs: Mm-hmm. Linda Gibbs: in the television. So I'll say just good morning and the T_V_ will switch on. Una Gibbs: Mm-hmm. Linda Gibbs: It will recognise my voice Una Gibbs: Yeah. Linda Gibbs: and will switch Reva Tutwiler: Okay, Linda Gibbs: on. Reva Tutwiler: before we get too far off here um, the components of the concept is the energy. What kind of energy do we foresee? Beverly Weidner: I Reva Tutwiler: Battery. Beverly Weidner: think I think battery, Reva Tutwiler: Battery. Linda Gibbs: Battery. Beverly Weidner: and I think we all agreed on that. That Linda Gibbs: Yes. Beverly Weidner: that's that's gonna Una Gibbs: Yeah. Beverly Weidner: be most cost-effective Una Gibbs: Yeah. Beverly Weidner: and the best thing. Reva Tutwiler: Okay then chip on print. Una Gibbs: Yeah. Beverly Weidner: Yep. Linda Gibbs: Yes. Reva Tutwiler: Okay. And the case. And I think we all agree on the case, we wanna have something uh maybe bright, colourful. Una Gibbs: Yeah. Beverly Weidner: Bright, colourful, Linda Gibbs: And compact. Una Gibbs: And also strong. Beverly Weidner: trendy trendy design, Una Gibbs: Trendy, Linda Gibbs: Trendy design Beverly Weidner: and strong. Una Gibbs: yeah. Linda Gibbs: and compact. Reva Tutwiler: Mm-hmm. Trendy design, compact and strong. Beverly Weidner: Mm-hmm. Linda Gibbs: Yes. Reva Tutwiler: User interface concept, uh interface type, supplements That will be your Una Gibbs: Uh. Reva Tutwiler: area I think, right, Jana. Una Gibbs: Um like the switches, like we use buttons for user interface. Linda Gibbs: Push-buttons. Reva Tutwiler: Put uh k Una Gibbs: Push-buttons. Reva Tutwiler: I guess uh for yeah. And Not sure what they mean Linda Gibbs: And Reva Tutwiler: by supplements. Una Gibbs: Yeah. Linda Gibbs: Supplements Beverly Weidner: Well, I think Linda Gibbs: like Beverly Weidner: that Linda Gibbs: different types of features buttons, Beverly Weidner: Yeah, Linda Gibbs: like can Beverly Weidner: or Linda Gibbs: have Reva Tutwiler: Oh, Linda Gibbs: a Reva Tutwiler: like Linda Gibbs: f mute button Beverly Weidner: or Linda Gibbs: or Beverly Weidner: like her speech Linda Gibbs: a Beverly Weidner: recognition Reva Tutwiler: Oh. Linda Gibbs: swapping Beverly Weidner: would also Linda Gibbs: button. Beverly Weidner: be a supplement. Her Reva Tutwiler: A what? Beverly Weidner: speech recognition Reva Tutwiler: Right, Beverly Weidner: feature Reva Tutwiler: right, Linda Gibbs: Recogniser. Beverly Weidner: would Reva Tutwiler: right, Beverly Weidner: be a supplement. Reva Tutwiler: mm-hmm. Una Gibbs: Mm yeah. Linda Gibbs: Yes. Beverly Weidner: Okay, so why don't we put down speech recognition if possible Una Gibbs: Hmm. Beverly Weidner: pending some more research from our industrial engineer on how expensive Una Gibbs: Mm-hmm. Beverly Weidner: that is. Una Gibbs: Yeah. Reva Tutwiler: Right. Linda Gibbs: Yes. Reva Tutwiler: Okay. Uh our next meeting will be in thirty minutes, and the uh I_D_ is to this is the individual actions to be taken until then, to have the look and feel design, and uh the U_I_D_ is supposed to uh come up with the user interface design, Una Gibbs: Mm-hmm. Reva Tutwiler: and Beverly Weidner with the product evaluation. Beverly Weidner: Okay. Reva Tutwiler: In this phase, the two of you, Jana and Francine, have to work together on a prototype Linda Gibbs: Okay. Reva Tutwiler: using modelling clay, it says here. You will receive Una Gibbs: Mm-hmm. Reva Tutwiler: specific instructions will be sent to you by your coaches. Linda Gibbs: Okay. Reva Tutwiler: Um if you have any questions, you know, you you can always uh contact Beverly Weidner um or uh or your coach, I suppose. Beverly Weidner: Wherever they're hiding? Reva Tutwiler: Um so um I think we conclude the meeting here and we come back in uh uh thirty minutes, Una Gibbs: Yeah. Linda Gibbs: Okay. Reva Tutwiler: according to our timetable here. Thank you very much. Una Gibbs: Thank Linda Gibbs: Thank Una Gibbs: you. Linda Gibbs: you.

Reva Tutwiler opens the meeting by going over the minutes of the last meeting. The interface specialist begins her presentation by highlighting important remote functions and showing examples of remote interfaces. The group comments on her presentation, and then Una Gibbs begins presenting. She talks about the technical electronic components of the remote, explains how a remote works, and shows a few pictures revealing the insides of a normal remote control. She suggests giving the remote a strong shell so it is durable, using a rechargable battery, and not adding a scroll wheel because it requires a sophisticated chip. Beverly Weidner presents, talking about user preferences for a small, simple, eye-catching, cute, appealing, and functional remote. Fruit and vegetable shapes are popular this year, so a soft, spongy remote perhaps covered with cloth could make the item marketable. The group discusses the issues surrounding speech recognition, noting that if it is good quality it could be costly. They about the power source and review the objectives of the product. Reva Tutwiler closes the meeting by telling each member what task she is to complete.

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Peggy Semple: Well hi everyone again. Tina Strzelecki: Hello. Wanda Zarate: Hello. Jillian Johnson: Hello Peggy Semple: Um like before uh I have to redo the meetings from n th the minutes from the last meeting Jillian Johnson: Mm-hmm. Peggy Semple: and so here we go. Uh it was discussed in the last meeting uh which was opened by the presentation from the interface um Tina Strzelecki: Designer. Peggy Semple: designer that uh looks would be very important on this new remote and um it is to send messages of course to the T_V_. It should have nine channel buttons, a button volume buttons buttons, switch to control features, colour contrast, sharpness etcetera. It should have a memory switch, a mute button in case the telephone rings or something. Uh speech recognition is one of her very f favourite personal uh features she would like see d d to be integrated in this um in this new remote. Um. Should be child friendly design with few buttons, colourful maybe with s star shaped or other shaped buttons. Um she uh presented also an oversized remote which she guarantees nobody will ever be able to lose. Um Jillian Johnson: And she was challenged on that point Peggy Semple: that's right. Tina Strzelecki: Yes. Peggy Semple: But uh her very f personal favourite really she, she would very much like to see a speech recogniser integrated in this remote. Wanda Zarate um presented her uh thoughts on the issue. She would like a special case made out of plastic that is very strong, not using any harmful materials, should be recyclable and should be colourful. Should have an integrated circuit board that's highly sophisticated and temperature resistant. She would like to see a timer and or alarm facility integrated. Uh technically this thing would also have a resistor and a capacitor, diode transistor, resonator, and if possible a rechargeable battery. Uh and of course a circuit board. And how it would works, you press the button, the chip is morse morse code related relays the uh to the generat to the generator amplification and uh the circuit board is very inexpensive to build Jillian Johnson: Okay. Peggy Semple: and so she thinks this is a great feature uh to to to consider. She would like uh this whole thing should be push buttons with a simple chip uh scrolling method is more expensive and not that practical anymore. Should be battery operated and of course she would have the special cases. Jillian Johnson uh who has to finally come up with to to to market this product has been watching the competition, has done some research on the internet and also has used h her personal observations to come up with the fact that such a remote sh should be small, easy to use and it should be eye catching. From her point of view of course one of the most important facts is that we should get to market before our competition does. To do that uh maybe one or two features should be developed on which we could dwell on or in other words on which our campaign could be built on. Too many new features or too many points would only confuse matter. So we prefer to have one or two features that can be really uh driven home. Um it should have a fruit and vegetable design and should have a soft feel. She feels that's really what people want today. And the decision that we took last time was that uh the special feature we would like to see is a speech recogniser, the energy should be battery uh should be on a chip, should be trendy design, compact and strong, and should have buttons. And that concludes the presentation from the last minutes from the last meeting. Now uh we are ready for the presentation of the prototype. Wanda Zarate: Yeah. Tina Strzelecki: Yeah. Just the look like, the button part I'll explain. Wanda Zarate: Yeah. so this what uh we have made This is a model of the remote control which we are going to build. Peggy Semple: Mm-hmm. Wanda Zarate: Uh this is us in a snail shape Jillian Johnson: Mm-hmm. Wanda Zarate: so uh it it is attractive um and it's it's blue in colour Jillian Johnson: Mm-hmm. Wanda Zarate: uh bright and uh it has yellow buttons and all the different colour buttons Jillian Johnson: Mm-hmm. Wanda Zarate: so it is a uh uh a looks-wise it is beautiful. Jillian Johnson: Mm-hmm. Wanda Zarate: Uh and also compact in shape. Jillian Johnson: Mm-hmm. Mm-hmm. Mm-hmm. Good. Wanda Zarate: Yeah, oops, sorry. Jillian Johnson: You used to have all the buttons Wanda Zarate: Um yeah and um uh the material which we are going to use for the case is uh plastic and uh w which which is s strong um uh and also uh for the Um the material is plastic and uh for the buttons it is uh s soft rubber um and Jillian Johnson: Oh Wanda Zarate: als Jillian Johnson: that's good, Wanda Zarate: yeah. Jillian Johnson: no, that's nice and friendly. Wanda Zarate: Yeah because uh uh you'll be touching the buttons Jillian Johnson: Mm-hmm. Wanda Zarate: more so Jillian Johnson: Mm. Wanda Zarate: it is soft when you Peggy Semple: Mm-hmm, Wanda Zarate: touch Jillian Johnson: Mm-hmm. Wanda Zarate: it. Peggy Semple: mm-hmm. Wanda Zarate: And then um uh for the for the led, for the light emitting diode it Jillian Johnson: Mm-hmm. Wanda Zarate: is a fluorescent green and Jillian Johnson: Mm-hmm. Wanda Zarate: it's a a it is a bulb like an ordinary infrared. And and the button button's part uh will be explained by F Francina. Tina Strzelecki: Okay. Jillian Johnson: Okay. Tina Strzelecki: Now the um we decided upon including certain features on our remote. Now these features includes the s um signal emitting uh signal it's the led Jillian Johnson: Yeah, Tina Strzelecki: or Jillian Johnson: okay, Tina Strzelecki: L_E_D_ Peggy Semple: Mm-hmm, Jillian Johnson: mm-hmm. Peggy Semple: mm-hmm. Tina Strzelecki: the infrared. Now uh we have included the switch on and off button. Jillian Johnson: Mm-hmm. Tina Strzelecki: Now we have included another feature that is the mute button Jillian Johnson: Mm-hmm. Tina Strzelecki: on the side of the model. Jillian Johnson: Mm-hmm. Tina Strzelecki: Then we have included one to nine buttons the programmes the different channels. Jillian Johnson: Mm-hmm. Tina Strzelecki: We have also included two buttons for increasing or decreasing the volume. Jillian Johnson: Mm-hmm. Tina Strzelecki: And we have also included two buttons for scrolling up and scrolling down the programme channels. Jillian Johnson: Mm. Tina Strzelecki: Now our our model also contains a button which is called as the menu button. Peggy Semple: What kind of button? Tina Strzelecki: Menu button. Peggy Semple: Menu? Uh menu Tina Strzelecki: Yes, Jillian Johnson: Menu Peggy Semple: th menu, Tina Strzelecki: menu Jillian Johnson: button. Peggy Semple: uh one one. Tina Strzelecki: At the centre Jillian Johnson: Mm-hmm. Tina Strzelecki: we have included a button which is fluorescent green colour and this is the menu button which will control the colour, sharpness, brightness Jillian Johnson: Mm-hmm. Of the screen. Tina Strzelecki: of Jillian Johnson: Mm, Tina Strzelecki: this Jillian Johnson: mm-hmm. Tina Strzelecki: uh picture. We have also included a button which is called as the swapping button. Now this is uh a special, special feature which we have included. Now this button is an elongated shaped button and this is slightly flexible so if it is turned towards the right it will take to the previous channel, if it is turned towards the right it will take to the next channel. It will take the user to the previous and the next channel so this is a swapping button. Jillian Johnson: The next channel in the numeric pattern, or Tina Strzelecki: No, swapping is if if example you're you're watching the second channel Jillian Johnson: Yeah, mm-hmm. Tina Strzelecki: and then you go to the tenth channel and if Jillian Johnson: Mm. Tina Strzelecki: you want to go back to the second channel you can swap, this button. Jillian Johnson: Okay, Tina Strzelecki: Yes. Jillian Johnson: okay. Tina Strzelecki: And at the end, it this remote has inbuilt voice recogniser which Peggy Semple: Okay. Tina Strzelecki: c which will recognise the user's voice Peggy Semple: Mm-hmm. Tina Strzelecki: and then it'll act accordingly. Peggy Semple: Mm-hmm. Tina Strzelecki: So Jillian Johnson: Okay. Tina Strzelecki: this is our proposed model. Jillian Johnson: Mm-hmm. Tina Strzelecki: Now Jillian Johnson has to Wanda Zarate: Tell, yeah. Tina Strzelecki: give her suggestion whether it'll be sellable or it'll be cost effective. Jillian Johnson: Okay, well um what what I really like a lot about it is that you can reach the whole thing with one thumb, Tina Strzelecki: Yes, Jillian Johnson: that Tina Strzelecki: yes. Jillian Johnson: you can really hold it in Wanda Zarate: Mm-hmm. Jillian Johnson: one h you don't need two hands and it's easily reachable even for somebody with a small hand, yeah? Peggy Semple: Yes the buttons are all raised, right? Jillian Johnson: The buttons Tina Strzelecki: Yes. Jillian Johnson: are all raised Peggy Semple: Are raised, Jillian Johnson: and Peggy Semple: mm-hmm. Jillian Johnson: if you hold it in the centre of your hand you can even reach it over here Peggy Semple: Right. Jillian Johnson: so you don't have to turn it around, turn it upside down, Peggy Semple: Or have two hands Jillian Johnson: move Peggy Semple: to operate Jillian Johnson: it up, Peggy Semple: it, Jillian Johnson: up Peggy Semple: yeah. Jillian Johnson: and down, I really like that. You really Tina Strzelecki: Mm. Wanda Zarate: Mm-hmm. Jillian Johnson: did a good job on that, my little designers. Um and um I like the idea that the on-off button is in a really prominent place. That's that's a really good good Peggy Semple: Yes, Jillian Johnson: thing. Peggy Semple: and it sort of sticks up so Jillian Johnson: Yeah, Peggy Semple: that Jillian Johnson: that's great. Peggy Semple: you really you don't have to g Wanda Zarate: Hmm. Peggy Semple: first go like oh yeah Jillian Johnson: Mm-hmm. Peggy Semple: here Wanda Zarate: Mm-hmm. Peggy Semple: it's on Tina Strzelecki: Abs Peggy Semple: and Tina Strzelecki: okay. Peggy Semple: yeah, mm-hmm. Jillian Johnson: The colour's very attractive. Um the um these buttons uh around here are the mute Tina Strzelecki: No, Jillian Johnson: and Tina Strzelecki: these the front buttons Jillian Johnson: these Tina Strzelecki: which are here, Jillian Johnson: mm-hmm Tina Strzelecki: are the mute buttons. Jillian Johnson: On both sides they're Tina Strzelecki: Yes, Jillian Johnson: mute? Tina Strzelecki: yes. Jillian Johnson: So you can push either one? Tina Strzelecki: Yes. Jillian Johnson: Okay. Peggy Semple: So if you're left-handed or right-handed Jillian Johnson: And Peggy Semple: it Jillian Johnson: this Peggy Semple: doesn't Jillian Johnson: brings Peggy Semple: matter. Jillian Johnson: the menu up on the screen? Tina Strzelecki: Pardon Jillian Johnson? Jillian Johnson: This brings Tina Strzelecki: This Jillian Johnson: the menu Tina Strzelecki: is the Jillian Johnson: up Tina Strzelecki: menu Jillian Johnson: on the Tina Strzelecki: yes, Jillian Johnson: screen Tina Strzelecki: yes. Jillian Johnson: and the orange ones are Tina Strzelecki: A the the these these two are th to increase or decrease the volumes, Jillian Johnson: Okay. Tina Strzelecki: and these two are to uh scroll the programme channels. Jillian Johnson: F f okay. Right, Tina Strzelecki: Scroll Jillian Johnson: very good. Tina Strzelecki: up or scroll down the channels. Jillian Johnson: Uh it looks mm looks like something I can sell. Okay and now I'm supposed Peggy Semple: Well, Jillian Johnson: to Peggy Semple: I have one question Jillian Johnson: yeah. Peggy Semple: uh will there be anything written on the buttons, like that people know, or they have to learn that from a piece of paper which button does what? Tina Strzelecki: Yes, Wanda Zarate: Ah. Tina Strzelecki: it will have uh these Wanda Zarate: Yeah, Tina Strzelecki: buttons Wanda Zarate: definitely. Tina Strzelecki: will have the numbers and all the rest of the buttons will have symbols. Peggy Semple: Will have symbols Tina Strzelecki: Yes, Peggy Semple: so that Jillian Johnson: Yeah. Tina Strzelecki: which Wanda Zarate: Yeah. Peggy Semple: that Tina Strzelecki: can be easily Peggy Semple: that Tina Strzelecki: recognised. Wanda Zarate: Yeah. Peggy Semple: the user really knows Wanda Zarate: Yeah. Peggy Semple: you know Tina Strzelecki: Yes. Peggy Semple: and doesn't have Wanda Zarate: Yeah. Peggy Semple: to first Jillian Johnson: Good point Peggy Semple: learn Jillian Johnson: because Peggy Semple: it Jillian Johnson: we need Tina Strzelecki: Yes. Jillian Johnson: the symbols 'cause we're going Wanda Zarate: Yeah Jillian Johnson: into Wanda Zarate: of Jillian Johnson: an Wanda Zarate: course, Jillian Johnson: international Wanda Zarate: and Jillian Johnson: market Wanda Zarate: also Jillian Johnson: we can't Tina Strzelecki: Yes. Jillian Johnson: have anything Wanda Zarate: Hmm. Jillian Johnson: that's language Peggy Semple: Yeah. Jillian Johnson: dependent. Wanda Zarate: Yeah. Peggy Semple: But Tina Strzelecki: Yes. Peggy Semple: anyway it would ha i i i it Wanda Zarate: Yeah Peggy Semple: has Wanda Zarate: we Peggy Semple: to have some Wanda Zarate: can Peggy Semple: kind of of Jillian Johnson: Symbols Wanda Zarate: Text. Jillian Johnson: on Peggy Semple: symbols, Jillian Johnson: it. Mm-hmm, Peggy Semple: text Tina Strzelecki: Yes. Peggy Semple: or something Jillian Johnson: mm-hmm. Wanda Zarate: Text Peggy Semple: so that Wanda Zarate: that Peggy Semple: people Wanda Zarate: we can Peggy Semple: kn Wanda Zarate: have on the case itself, we can Tina Strzelecki: Yes. Peggy Semple: That's Wanda Zarate: it Peggy Semple: right. Wanda Zarate: will Jillian Johnson: Mm-hmm. Wanda Zarate: be printed on the case and Peggy Semple: Okay, Wanda Zarate: symbols Peggy Semple: yeah Wanda Zarate: as Peggy Semple: just Wanda Zarate: well Tina Strzelecki: And Peggy Semple: wanted Wanda Zarate: as Peggy Semple: make Wanda Zarate: the Peggy Semple: sure Wanda Zarate: buttons. Peggy Semple: of Wanda Zarate: Yeah. Peggy Semple: that mm-hmm. Tina Strzelecki: and one Jillian Johnson: Mm, Tina Strzelecki: more Jillian Johnson: 'kay, mm. Tina Strzelecki: feature is we we have a holder for this remote Jillian Johnson: Mm-hmm. Tina Strzelecki: which is an oyster shape. A shell shape. Jillian Johnson: For the snail, Peggy Semple: Right, Jillian Johnson: yeah, Tina Strzelecki: Yes, Wanda Zarate: Yeah. Jillian Johnson: mm-hmm, Peggy Semple: mm-hmm. Tina Strzelecki: yes. Jillian Johnson: we have Wanda Zarate: So Jillian Johnson: the snail Wanda Zarate: it is Jillian Johnson: shell. Tina Strzelecki: Yes, Peggy Semple: Mm-hmm. Wanda Zarate: yeah, Tina Strzelecki: snail Jillian Johnson: He Tina Strzelecki: shell. Jillian Johnson: goes right back Wanda Zarate: yeah Jillian Johnson: into his Wanda Zarate: shell. Jillian Johnson: shell. Tina Strzelecki: Yes. Peggy Semple: Right. Jillian Johnson: Well you know I think we could do something really funny with this too because the snail is known to be slow Wanda Zarate: Mm-hmm. Jillian Johnson: and we could have some sort of little comic effect on our marketing Tina Strzelecki: Mm-hmm. Wanda Zarate: Mm. Jillian Johnson: about how this is a rapid snail Tina Strzelecki: Y Yes Jillian Johnson: or something Wanda Zarate: Yeah, Jillian Johnson: like that Wanda Zarate: of Jillian Johnson: you know that Wanda Zarate: course, Jillian Johnson: would, that would Wanda Zarate: yeah. Jillian Johnson: really work. Peggy Semple: Now what, Jillian Johnson: So Peggy Semple: what are our special features for the marketing? That's really the voice recognition that's really unusual Jillian Johnson: I think voice recognition is our big selling point Wanda Zarate: Mm. Jillian Johnson: 'cause Wanda Zarate: Mm-hmm. Jillian Johnson: nobody else seems to have that Wanda Zarate: Mm. Jillian Johnson: in in this price range. Peggy Semple: And then, and then the other thing would basically be sh shape or practicality of use. Jillian Johnson: Yep uh Peggy Semple: You Jillian Johnson: well Peggy Semple: know. Jillian Johnson: I think that everybody's gonna say their remote control is practical. I think we have Peggy Semple: Colours. Jillian Johnson: to, we have to dwell on on on the appearance. Peggy Semple: Mm-hmm. Jillian Johnson: We're really gonna have the be the Peggy Semple: Cutest. Jillian Johnson: cutest remote control on the block. Wanda Zarate: Mm. Peggy Semple: Yeah. Jillian Johnson: So I think we have to play with the image, play with the snail image um play with the visual and then the voice recognition. I Wanda Zarate: Mm-hmm. Jillian Johnson: think those are the two things to push. The look and the voice recognition. They're gonna be our two selling points. Peggy Semple: Okay, now uh having said that Jillian Johnson: I'm supposed to make a little presentation, aren't I? Peggy Semple: No, now this was our evaluation criteria which Jillian Johnson: Okay. Peggy Semple: we uh just have done. Now we're gonna talk about financing. Jillian Johnson: Ah, but in my instructions I think it said I was supposed to go to the board and do something. No? Peggy Semple: Well, there is a production evaluation. Is that you? Jillian Johnson: Yeah, that's Jillian Johnson. Peggy Semple: But that's after the financing. Jillian Johnson: Oh, okay. Peggy Semple: See? Jillian Johnson: Sorry, Peggy Semple: Fi see? Jillian Johnson: sorry. Mm-mm. Peggy Semple: Um. had looks and voice recognition. Okay now on the financing we bring up the mm there it is. Okay uh energy source we say that's battery, right? Wanda Zarate: Mm. Jillian Johnson: That's right. Peggy Semple: Okay, now. So we I guess we use one. Wanda Zarate: Yeah. Tina Strzelecki: Yes. Peggy Semple: What? T cell or chart you are trying to change is protected. Well, that's nice. She told Jillian Johnson I could just ch change it here and then it would It doesn't work. Hmm. Jillian Johnson: Can you just fill it in in the yellow boxes? Or Peggy Semple: Oh, okay Wanda Zarate: Yeah. Peggy Semple: yeah, okay, let's see. Okay, Tina Strzelecki: Yes. Peggy Semple: one, okay. Oh go away. Um kinetic source so that's in the energy source that's all we need. Wanda Zarate: Mm-hmm. Peggy Semple: Uh electronics, simple chip on print? Is Wanda Zarate: Yeah, Peggy Semple: that's Tina Strzelecki: Yes. Peggy Semple: what we're using? Wanda Zarate: yeah. Peggy Semple: One of those? Come on. Okay, one. Uh regular chip on print. No. Wanda Zarate: No. Peggy Semple: That's all we need, the Wanda Zarate: Yeah. Peggy Semple: one case, uncurved flat, single curved, double curved. Jillian Johnson: Well. Wanda Zarate: This is a Tina Strzelecki: Single curve? Mm. Jillian Johnson: I guess it's double curved. Peggy Semple: Double curved? One of those? Jillian Johnson: Mm-hmm. Peggy Semple: Case materi s supplements. Plastic we said, Wanda Zarate: Yeah. Peggy Semple: right? Tina Strzelecki: Plastic. Peggy Semple: Uh wood, rubber? Jillian Johnson: Rubber, Wanda Zarate: Yeah. Jillian Johnson: because we're gonna have the soft buttons. Peggy Semple: Uh but, yes but Wanda Zarate: I think uh that is uh f for rubbers Peggy Semple: That's Wanda Zarate: that is Peggy Semple: just Wanda Zarate: uh yeah Peggy Semple: for the case Wanda Zarate: case Peggy Semple: material, Wanda Zarate: material. Tina Strzelecki: Is this for the Peggy Semple: so Jillian Johnson: Oh Tina Strzelecki: case? Jillian Johnson: okay, Tina Strzelecki: Yes. Jillian Johnson: the mm-hmm, Peggy Semple: special Jillian Johnson: mm' kay. Peggy Semple: colours though, we having that, right? Wanda Zarate: Mm-hmm. Tina Strzelecki: Yes. Jillian Johnson: Mm-hmm. Peggy Semple: And then we have to interface push buttons. Tina Strzelecki: Yes. Jillian Johnson: Mm-hmm. Peggy Semple: Scroll wheel, no. Integrated scroll wheel, L_C_ display? Jillian Johnson: No, Tina Strzelecki: No. Jillian Johnson: 'cause Peggy Semple: Button. Jillian Johnson: we didn't put the clock in it after all, right? Peggy Semple: No. Wanda Zarate: Yeah. Jillian Johnson: Mm-hmm. Peggy Semple: Uh, Tina Strzelecki: Speci Peggy Semple: button supplement special colour? Tina Strzelecki: Yes Peggy Semple: Special form? Tina Strzelecki: Yes Jillian Johnson: Yes. Tina Strzelecki: d we do have special form. Peggy Semple: And special material, rubber, wood, yes. Wanda Zarate: Yeah. Peggy Semple: Okay. Total seven point six whatever that means. Wanda Zarate: Uh, I think that's the Peggy Semple: That's Tina Strzelecki: One two Peggy Semple: the Tina Strzelecki: three Peggy Semple: price. Wanda Zarate: price. Tina Strzelecki: four five six seven eight nine Wanda Zarate: Maybe Peggy Semple: Mm? Wanda Zarate: it is it just n Peggy Semple: Eight, eight point two. Tina Strzelecki: Nine Peggy Semple: That's Tina Strzelecki: points, Peggy Semple: hmm? Tina Strzelecki: okay, yes. Peggy Semple: Eight point two, right? So, we looks like we are well within budget. Wanda Zarate: Yeah. Jillian Johnson: Mm-hmm. Tina Strzelecki: Okay. Peggy Semple: Okay. I guess I should save this I suppose, huh? Jillian Johnson: Yeah. Peggy Semple: Oops. Peggy Semple: Uh-huh huh huh. Tina Strzelecki: On the desktop. Peggy Semple: I just tried that. My Wanda Zarate: AMI. Peggy Semple: documents, computer. My Wanda Zarate: AMI Peggy Semple: compu Wanda Zarate: should for Peggy Semple: Ah oh here it is, yes. Okay, fine. Save. Okay good, so that's the good news. We gonna be popular. Jillian Johnson: Mm-hmm. Wanda Zarate: Yeah. Peggy Semple: Um. So that uh I think financing was pretty simple. Jillian Johnson: Mm-hmm. Peggy Semple: Now we would like to have a presentation by Jillian Johnson on production evaluation. Jillian Johnson: Okay, I'll take my file down so you can bring it up. Jillian Johnson: 'Kay should be able to get it now. 'Kay, why don't you move just to the next slide right away. Peggy Semple: You wanna go to the next slide? Jillian Johnson: Yeah right away. Peggy Semple: Okay. Jillian Johnson: Okay, well uh obviously my method for uh s m the marketing of this thing is first to ask the big question, will it sell? And I think we should show this prototype to people from various age and socio-economic groups and see about any fine tuning Tina Strzelecki: Okay. Jillian Johnson: that maybe little things we Wanda Zarate: Mm-hmm. Jillian Johnson: haven't thought of. We can't accept every suggestion of course, but maybe we just Wanda Zarate: Yeah. Jillian Johnson: need to get a few. And show the the prototype to consumer research groups, we don't s want somebody to suddenly come to us and tell us that this button is toxic and Wanda Zarate: Mm-hmm. Jillian Johnson: you know some child will swallow it and then we won't sell any. Wanda Zarate: Mm. Jillian Johnson: So we have to get some input from those people. Wanda Zarate: Mm-hmm. Jillian Johnson: And then after that we just have to go with our best intuition and you know we like it, we think it's good, we're gonna get behind it and sell it. Um, next slide please. Okay, now the things that I was thinking and th my wish list has really been realised in this prototype. I wanted the shape to be biomorphic, I didn't want anything with angles and all square, I wanted it to be comfy and roundy. The size is small, the colour's bright and warm which is what we wanted. We wanted the feel to be as soft as possible, we'll have the soft buttons Wanda Zarate: Mm-hmm. Jillian Johnson: and the way this is shaped, even though it's gonna be hard plastic, it feels good in your hand so that's nice. And functionality I put last on my list because people aren't going to use it before they buy it. So paradoxically the other features, in other words, the look, the feel um and the shape, Tina Strzelecki: Fee Jillian Johnson: that's what people are Tina Strzelecki: selling. Jillian Johnson: gonna get in the store. Wanda Zarate: Yeah. Jillian Johnson: They don't have a television in the store, they can't play with it. Wanda Zarate: Yeah. Tina Strzelecki: Yes. Jillian Johnson: Um so they'll be our main selling points. So um th those have been fulfilled by your prototype and go ahead to the next slide please. Okay, so um the shape um I think is a a one. That's really, really excellent shape. The size is small um and th these points are in the importance for the, for the marketing, these aren't i in how I feel. I think that it's I think that it's plenty small enough to sell but I think we're sort of right the scale is one to seven. I think we're sort of right in the middle as far Tina Strzelecki: Okay. Jillian Johnson: as c other competitors. And our colour I think is great. The colours are bright and warm and we really do great job there. And given um the constraints that we had I think we got it as soft as possible. And then functionality um I think you did a really good job on functionality, obviously we could have ad added different functions but then we'd disturb something else so I would say that we got to a five out of seven on on functionality. So Tina Strzelecki: Okay. Jillian Johnson: I think Wanda Zarate: Mm-hmm. Jillian Johnson: that basically we've got a great product and we can get off and running with it. Wanda Zarate: Yeah. Peggy Semple: Um I just realised one thing. Jillian Johnson: Yes. Peggy Semple: In the financing there was no room for our voice recogniser. Tina Strzelecki: Yes. Jillian Johnson: Ah. Wanda Zarate: Yeah. Peggy Semple: And uh I don't know how we can evaluate that or how we can include that, too. Jillian Johnson: Well, um we had what, eight eight euros twenty as our cost? Peggy Semple: Eight, eight twenty, yes. Wanda Zarate: Eight twenty Jillian Johnson: And Wanda Zarate: so Jillian Johnson: so we've got Wanda Zarate: We Jillian Johnson: we've Wanda Zarate: have Jillian Johnson: still Wanda Zarate: um Jillian Johnson: got four euros Wanda Zarate: four Jillian Johnson: to go Wanda Zarate: euros, yeah Jillian Johnson: to spend. Peggy Semple: I mean maximum we have another four point three euros Jillian Johnson: Mm-hmm. Peggy Semple: I mean four thirty. Jillian Johnson: Well um that's Peggy Semple: But I mean we have no way of presenting that to management as you know as a f finished, as a finished product and saying okay with the voice recogniser that costs so much. Jillian Johnson: Mm-hmm. Peggy Semple: So um we just have to beware of that. I mean Wanda Zarate: Yeah. Peggy Semple: and know whether the four thirty will really cover that. Jillian Johnson: Well Wanda Zarate: Yeah. Jillian Johnson: as we know in today's technic technological world you can do just about anything at any price, the the the problem is quality. Wanda Zarate: Yeah. Jillian Johnson: So we're just gonna have to settle for whatever quality Wanda Zarate: Yeah, Jillian Johnson: that will buy Tina Strzelecki: Yes, Jillian Johnson: us. Wanda Zarate: yeah. Tina Strzelecki: yes. Jillian Johnson: And um it may not be the greatest quality but it may sell anyway. Wanda Zarate: Yeah, Peggy Semple: Yeah. Wanda Zarate: still. Jillian Johnson: As we've seen with so Wanda Zarate: Yeah. Jillian Johnson: many of these kinds of products. Peggy Semple: I'm sorry to interrupt then but I just uh recog I just remembered that there was no that that was not um included Wanda Zarate: Included, yeah. Peggy Semple: uh that there was no room for any Wanda Zarate: Hmm, Peggy Semple: special features, Wanda Zarate: hmm Tina Strzelecki: Yeah mm. Peggy Semple: okay? So to beware of that. You wanna go to this next slide, marketing Jillian Johnson: Uh, Peggy Semple: expert? Jillian Johnson: well I isn't this my last slide? Maybe. Peggy Semple: I dunno. Jillian Johnson: Go ahead. Peggy Semple: Yes Jillian Johnson: I think Peggy Semple: it Jillian Johnson: that Peggy Semple: is. Jillian Johnson: was my last slide, yeah. Peggy Semple: Mm-hmm. Jillian Johnson: Um. Mm okay. And I'm supposed to present this scale on the whiteboard. Um and we're supposed to talk about those things as a team now, so if you put my last slide back up there. Peggy Semple: Oh. Jillian Johnson: I'm sorry I've um forgot to do that, um. Peggy Semple: Why? Wh why you need that up? Jillian Johnson: Hmm? Well because I can't remember what I put on there. Okay. Now I'm supposed to see how long my leash is here. Peggy Semple: I think you can make it there. Jillian Johnson: Mm 'kay. You ready. So now we're all supposed to say what we think. Um okay so on shape I gave it a one. Wait what would you ra uh one being good and seven being the worst. Tina Strzelecki: Worse, okay. Jillian Johnson: Um what do you think the shape is? Tina Strzelecki: One. Jillian Johnson: One, okay, and Be Betsy? Peggy Semple: Yes I think uh shape is one. Wanda Zarate: Yeah, Jillian Johnson: Okay, uh-huh Wanda Zarate: even my yeah, shape Jillian Johnson: one, Wanda Zarate: is one. Jillian Johnson: okay. And how about on size? On size Peggy Semple: You you gave it a four. Jillian Johnson: I gave it a four, yeah, I feel it's just average. Peggy Semple: Um, I dunno. I think I would give it at least a two. Jillian Johnson: Okay. Tina Strzelecki: One. Jillian Johnson: Mm-hmm. Wanda Zarate: Yeah, even I think it is one. Jillian Johnson: Okay. Wanda Zarate: It's quite small. Jillian Johnson: Okay you're the designer, of course you wanna give it a one. Um and then how about how we doing on colour? Peggy Semple: Colour uh I Jillian Johnson: Colour, I gave it a one. Peggy Semple: One. Jillian Johnson: I really like all those nice bright, warm Peggy Semple: I Jillian Johnson: colours. Peggy Semple: I like the colours. Tina Strzelecki: One. Peggy Semple: One. Jillian Johnson: One. Tina Strzelecki: Yes. Wanda Zarate: Yeah, one. Jillian Johnson: One, one, one, okay. And how about the feel? Taking into um consideration texture and comfort in the hand. Peggy Semple: Uh, I think I would give it a two. Jillian Johnson: Okay, I gave it a three, two, Tina Strzelecki: I'll Jillian Johnson: yeah? Tina Strzelecki: give three. Jillian Johnson: Three. Wanda Zarate: Uh maybe two, Jillian Johnson: Two, okay. Wanda Zarate: yeah. Jillian Johnson: And the next is functionality where I I admit I was a little hard on our team here, but Peggy Semple: Well it's also you can't really try it out uh Jillian Johnson: Yeah. Peggy Semple: the other things you have have more is are more tangible so Jillian Johnson: Mm-hmm. Peggy Semple: from that point of view but um I'll give it a three. Jillian Johnson: Okay. Tina Strzelecki: Two. Jillian Johnson: Two, okay. Wanda Zarate: Uh three, Jillian Johnson: Three? Wanda Zarate: mm-hmm. Jillian Johnson: Okay. Well, um. It looks like we've got got ourselves a pretty good product. Um the functionality's the only place where maybe we have to think about m m maybe, heaven forbid, having another meeting. Wanda Zarate: Yeah. Jillian Johnson: But um otherwise I think we're we're ready to go to go with this product. Anybody else have any other comments or any other things that we feel we should evaluate? Peggy Semple: Uh. Here is what we looking at uh satisfaction on for example room for creativity. Um. Is there more room for creativity or are we absolutely happy? Wanda Zarate: Maybe Tina Strzelecki: We can Wanda Zarate: we can Tina Strzelecki: always improve, yes. Wanda Zarate: yeah, include some more buttons and Tina Strzelecki: Yes, Wanda Zarate: uh Tina Strzelecki: features. Wanda Zarate: um yeah features. We can make the buttons few buttons smaller. Uh I think they are quite big, so I think I I mean we can just have small buttons and more buttons in that case. If we want to have more features than that. Jillian Johnson: Mm-hmm. Well then again if we're gonna um do the speech recognition thing Wanda Zarate: Yeah. Jillian Johnson: we're gon there gonna be some buttons that are gonna have to be added Wanda Zarate: Yeah, Jillian Johnson: for that Wanda Zarate: definitely. Tina Strzelecki: Yes. Jillian Johnson: for the recording of the the speech. Tina Strzelecki: Voices. Wanda Zarate: Mm-hmm. Jillian Johnson: So that that's where we're gonna have to do maybe we can eliminate one of the mute buttons, Wanda Zarate: Yeah, definitely, Jillian Johnson: instead Tina Strzelecki: Yes. Jillian Johnson: of having two mute Wanda Zarate: yeah, Jillian Johnson: buttons. Wanda Zarate: two mu mute Tina Strzelecki: Yes. Jillian Johnson: And Wanda Zarate: buttons. Jillian Johnson: um then maybe we can do something with the um the volume control. Maybe we can put that all on one button. Wanda Zarate: Hmm. Jillian Johnson: Um and a couple of other th maybe comp uh consolidate some of the usage an and see what we can do with that. Wanda Zarate: Mm-hmm. Peggy Semple: Y um al Tina Strzelecki: And Peggy Semple: always Tina Strzelecki: maybe Peggy Semple: bearing in mind that right now we are of course well within the budget Jillian Johnson: Mm-hmm. Peggy Semple: and that we still you know we probably can't, with this particular item, we probably can't just uh add a whole lot of more things. Jillian Johnson: No. Peggy Semple: Uh Wanda Zarate: Yeah. Peggy Semple: um we need uh you know we need to leave space money-wise Jillian Johnson: Mm-hmm. Peggy Semple: for the voice recogniser. Jillian Johnson: Mm-hmm. Tina Strzelecki: Yes. Peggy Semple: Um. Wanda Zarate: Mm-hmm. Peggy Semple: So th the question really is how do we feel with the project process? Uh, um are we happy with the creativity that has passed here or we're not happy with the new product we created or that was created? Uh I think personally I think uh I'm pretty happy. Jillian Johnson: I'm pretty happy with Wanda Zarate: Even Jillian Johnson: it Peggy Semple: Um Jillian Johnson: too, Wanda Zarate: I'm Jillian Johnson: yeah Wanda Zarate: happy. Jillian Johnson: um, it's Peggy Semple: an Jillian Johnson: something I think I can market. Wanda Zarate: Yeah. Jillian Johnson: Yeah. Peggy Semple: and then the next question is are we happy with the leadership of this project? Uh Jillian Johnson: I think you've done a good job, Miss Tina Strzelecki: Yes, Jillian Johnson: leader. Wanda Zarate: Yeah, Tina Strzelecki: yes you've Wanda Zarate: yeah, Tina Strzelecki: done Wanda Zarate: definitely. Peggy Semple: And Tina Strzelecki: a good job. Peggy Semple: I think team work I think was very very good, Jillian Johnson: Yeah Peggy Semple: I Jillian Johnson: I Peggy Semple: think Jillian Johnson: d Wanda Zarate: Mm-hmm. Jillian Johnson: I Peggy Semple: we Jillian Johnson: do Peggy Semple: really Jillian Johnson: too I think we Wanda Zarate: Yeah. Peggy Semple: yeah. Jillian Johnson: worked well together as a team, yeah. Wanda Zarate: Yeah. Peggy Semple: Mm-hmm. Jillian Johnson: Mm-hmm. Peggy Semple: And uh I think we are we happy with the means we used? We used whiteboard, we didn't use digital p well digital pens I guess are these things. Jillian Johnson: Yeah maybe we could've used the whiteboard Tina Strzelecki: Whiteboard Jillian Johnson: a little Tina Strzelecki: more, Jillian Johnson: bit more, Tina Strzelecki: yes, Jillian Johnson: yeah, Wanda Zarate: Yeah, Jillian Johnson: we Wanda Zarate: probably. Jillian Johnson: didn't use Peggy Semple: Yes, Jillian Johnson: that Tina Strzelecki: yes. Jillian Johnson: enough. Peggy Semple: we could. Uh, it's maybe not in the best position in the room um you know like sometimes it's positioned so that it's much better visible for everybody Jillian Johnson: Mm-hmm. Peggy Semple: and I think from that point of view we sort of ignored it a little bit. Jillian Johnson: And we Tina Strzelecki: Yes. Jillian Johnson: used the slide because it was better positioned. Peggy Semple: Yes, Wanda Zarate: Yeah. Peggy Semple: I think so, Tina Strzelecki: No. Peggy Semple: I think Jillian Johnson: Mm Peggy Semple: absolutely, Jillian Johnson: I think that's true Peggy Semple: and Jillian Johnson: mm-hmm. Peggy Semple: fortunately we all had slides presentation which made it a little easier. Wanda Zarate: Hmm. Tina Strzelecki: Yes. Jillian Johnson: Mm-hmm. Peggy Semple: Um did we new did we find new ideas? I think we did. Wanda Zarate: Yeah, Jillian Johnson: I think we were Wanda Zarate: many. Jillian Johnson: we were very good, Peggy Semple: I Jillian Johnson: yeah, Peggy Semple: think Jillian Johnson: mm. Peggy Semple: we we did, uh in more than one respect Jillian Johnson: Mm-hmm. Peggy Semple: and uh so I think we did very well here. Jillian Johnson: Okay. Peggy Semple: Are the costs within budget? Yes, yes. Uh is the project evaluated? Jillian Johnson: Yes, yes. Peggy Semple: Yes. Wanda Zarate: Yeah. Peggy Semple: Um Jillian Johnson: Celebration. Peggy Semple: then celebration. Tina Strzelecki: Cel celebration yes, Wanda Zarate: Ah. Tina Strzelecki: yes. Jillian Johnson: Today we have apple juice and after we sell m million of 'em we have champagne. Peggy Semple: So I I thank you all very much. Um, I think this was very good Jillian Johnson: Mm-hmm. Peggy Semple: and Wanda Zarate: Yeah. Peggy Semple: um I think we did come up with a new product that's uh feasible. Jillian Johnson: Mm-hmm. Peggy Semple: Feasible from the production point of view and feasible from a marketing point of view. Jillian Johnson: Mm-hmm. Peggy Semple: So, Jillian Johnson: Okay. Wanda Zarate: Yeah. Peggy Semple: thank you. Tina Strzelecki: Thank Wanda Zarate: Thank you Tina Strzelecki: you. Wanda Zarate: very Jillian Johnson: Okay. Wanda Zarate: much. Jillian Johnson: Watch I I have my cord behind you Tina Strzelecki: Okay. Jillian Johnson: here. Okay. Peggy Semple: I always get it on here, but getting it off is Wanda Zarate: Do we do we have some time left? Uh you have Tina Strzelecki: They say it's forty minutes. Peggy Semple: Ah yes Jillian Johnson: But Peggy Semple: we have time later but we don't Jillian Johnson: we we were told we could end the final meeting at any time, Tina Strzelecki: Okay. Wanda Zarate: Oh, alright. Jillian Johnson: whenever we felt we were finished. It'll take Jillian Johnson the rest of the time to get my microphone out from my necklace. Oh, there we go.

Peggy Semple opens the meeting by going over the minutes of the last meeting, detailing the main points of each person's presentation. They do the prototype presentation which includes a model of the remote control. The group discusses this proposed model, approving of the small size and look of it. They goes over finances and are pleased to find that they are well within budget. However, while Jillian Johnson is doing the product evaulation the group realizes that they neglected to calculate voice recognition into the financing. Their cost had been 8.20 Euros and they have 4.30 left to cover it, so they decide to settle for whatever quality it will buy. They rate their product on its shape, size, color, feel, and functionality. They discuss the project process, talk briefly about adding more features, and one member suggests eliminating a mute buttons and include a diffferent feature. They are happy with the creativity, leadership, and teamwork within the group, and close the meeting by thanking one another.

amisum

train

Sheila Smith: Okay. Uh good afternoon. Mary Creighton: Good afternoon. Sheila Smith: This is our third meeting already. I hope you enjoyed your lunch. I did anyway. Um let's see. Presentation three. Okay this is um the second phase uh we're going to discuss today. It's the conceptual design meeting. And a few points of interest in this meeting um are the conceptual specification of components. Uh conceptual specification of design. And also trend-watching. Um these are hopefully the points you addressed in uh your pre uh presentations going show Mary Creighton in a few minutes. Um but first I'll show you the agenda. Uh first the opening. Then we have three presentations. Uh after that we have to come to a decision on remote control concepts. How we're going to make it. And then we're closing. We have about forty minutes. Uh so I suggest let's get started. Uh did someone encounter any problems during the preparation? No? Johanna Kutchera: No. Sheila Smith: Everything fine? That's nice. Then a little uh thing about the last meeting. Uh these are the points um we agreed on. The requirements and the target market. Uh requirements are uh teletext, docking station, audio signal, small screen, with some extras that uh button information. And we are going to use default materials. Um does somebody have any comments on these requirements? Maybe? No? These are just the the things we thought of, so maybe if you figured something else or thought of something else, just let Mary Creighton know. And maybe we can uh work it out. And we're going to target uh sixty to to eighty year old customers. So now everybody knows what we're do we're doing, um I suggest let's get started with the presentations. So shall we keep the same uh line-up as uh last time? Mary Creighton: Sure. Sheila Smith: Okay. Mary Creighton: I'll start off then. Sheila Smith: Good luck. Mary Creighton: Doh. Mary Creighton: 'Kay I'm uh gonna inform you about the trend-watching I've done over the past few days. Um we've done some market research. We distributed some more enquetes, questionnaires. And um besides that um I deployed some trend-watchers to Milan and Paris to well get all of the newest trends. And I've consulted some additional trend-watch trend-watchers, after the original trend-watchers return, about what the the best design would be. Um okay these are some overall findings. Um most important thing is the fancy design. Um the research indicated that that was by far the most important factor. Um innovativeness was about half as important as the fancy design. By innovativeness this means um functions which are not featured in other remote controls. Um about half of, half as important as the innovativeness was the was easy to use. Um for our um group, we're focusing on the people of sixty to eighty y years old, this is um, these factors are slightly more equal. 'Kay these are some more group specific findings. Uh the older people prefer dark colours. Uh they like recognisable shapes, and familiar material. And our surveys have indicated that especially wood is pretty much the material for older people. Um this is, this image will give you a little bit of an impression about um the look-and-feel that um the remote should have. Um this leads us to some personal preferences. Uh the remote control and the docking station should uh blend in in the in the room. Um so this would mean no uh eye-catching designs. Just keep it simple and Well the docking station and small screen would be our main points of interest, because this would be the These would uh be the innovativeness in the remote control. So this would be very important that we at least include these features. Um well the trend-watchers I consulted advised that it b should be, the remote control and the docking station should be telephone-shaped. So you could imagine that uh the remote control will be standing up straight in the docking station. This is not really This is pretty much a new shape to uh older people. So they would prefer uh a design where the remote control just lies flat in the docking station. So it would be kinda more telephone-shaped. Um besides that we would advise um to bring two editions, one with a wood-like colour and maybe feel, and one with a grey-black colour. The wood-like for the more uh exclusive people. People with more money. Uh the grey-black colour for well people with less means. That would be all. Sheila Smith: Okay. Thank you. Any questions about the Mary Creighton: Any Sheila Smith: the trends? Mary Creighton: questions? Sheila Smith: Mayb Johanna Kutchera: Mm no. Sheila Smith: No? Okay, we go on to the next one. Johanna Kutchera: Um 'kay um. uh some uh research uh a about um designing of an interface. Um the uh last meeting uh we had a about um uh using a f few buttons. So uh um uh that's w what I what I want to uh uh to do in uh our design. So um finding an attractive uh way to control uh the remote control. Um the uh I found some uh something about uh speech uh recognition. So maybe uh we uh uh that. Uh and uh using a little uh display. So um findings. Um yeah just um we have just to focus on the primary um functions. So uh only uh buttons uh for uh sound, um for uh on-off, um uh shifting u up uh sa uh ca channel or uh down shifting down. Um uh let's see. Um yeah and Uh we uh need some uh new a attractive functions uh uh which attract uh uh people for using it. So uh it's uh like a speak uh speech uh recognition and um a special button for selecting uh subtitles. Just uh what we uh mentioned uh last uh meeting. Um and yeah overall um user-friendly. So uh using uh large large buttons. Um It's uh possible to uh uh to make um quite cheap uh system for uh speech uh recognition. Um you can think about um uh when you lost your um remote control, you can uh call it and um it gives an um sig signal. So uh uh yeah. And and uh for uh shifting up a sen uh c ch channel or uh for um uh putting out uh sound or something, you can uh just give a sign uh say um sound off or A and uh yeah. Television uh put the sound off uh put the sound off uh. Um Let's see. Uh yeah. I was thinking about the special uh button for uh subtitles, um just one button to keep it uh simple. Uh one push on the button uh you get uh uh small uh subtitles. Um double push push um, if double click, um so uh you get uh big uh subtitles, for uh people uh um uh which c f uh who can't uh read small uh subtitles. So uh Um Yeah and w we have to keep uh in general buttons uh so um we've got um the buttons we have to use. The on-off, sound on-off, sound higher or lower, um the numbers, uh zero to uh uh nine. Um the general buttons m more general b one button for shifting up and shifting down uh channel. Um also we want to uh use a little d display uh for um for displaying the uh the functions of the buttons. And um we can uh build in a function f which uh shows the channel or some uh which the t television is on. So um made a little uh picture of uh it. Um See. Um yeah. Just um we can put uh the on-off button uh over in this uh corner, um almost uh e all uh remote controls uh are using a on-off button on that place. Um so uh people uh will uh recognise uh um the button. So um D display uh of it, it's uh just a small display. Uh um you can put it uh on top. Um it's uh most uh uh place where people uh, most of looks at. So uh um and a special uh button for shifting up uh and uh shifting down uh channel, um it's uh on place where um the thumb of of the So you you can uh easily uh shift up or shift down. Um it's uh quite uh handy place. So um and uh all the f functions for subtitle uh one button, uh for sound uh Uh and uh for our design, um uh we have to discuss about it uh I think uh so uh the form of it so Sheila Smith: Okay. Johanna Kutchera: And that's it. Sheila Smith: Uh thank you. Claire Christenson: Okay. About the components design. Um for the energy source we can use a basic battery or, a as an optional thing, a kinetic energy, like in a watch, which you just shake and it produces energy. But if we choose for that option, the docking station would c become obsolete. So I don't think it's really an option. Uh for the casing, uh the uh manufacturing department can deliver uh a flat casing, single or double curved casing. we're gonna use. It's uh doesn't uh imply any technical restrictions. Uh as a case supplement, we could um, I thought of that l later, uh a rubber uh belt, like a anti-slip. Uh for the b buttons, we can use plastic or rubber. And the chip-set, um it says simple here, but it should be advanced, because we're using an L_C_D_ uh screen. And as uh the trend-watcher presentation showed, um people like wood, but it raises the price and it doesn't really fit the image, unless we would start two product lines. Form should follow function overall. Um well the kinetic energy source is rather fancy. But depends on what we want. I think we should disc discuss that. Um for the case, uh the supplement and the buttons, it really depends on the designer. And the chip-set uh really should be advanced because otherwise uh it would really be a simple uh remote control. And that's it. Sheila Smith: Okay. Thank you. So that brings us to the discussion about our concepts. Mm. 'Kay. Sheila Smith: So these are the points we have to discuss. Um first I think we can talk about the energy source, since that's um has a pretty big influence on production price, uh and image. Uh so uh f I think first of all we have to see uh it is possible to introduce kinetic energy Claire Christenson: Yes Sheila Smith: in our Claire Christenson: w Sheila Smith: budget, Claire Christenson: there Sheila Smith: I think. Claire Christenson: there are four options. We could use the basic normal battery. Sheila Smith: Yeah. Claire Christenson: Uh a hand dynamo. But I don't think that's really an option. Sheila Smith: Okay. Claire Christenson: You don't wanna swing before you can watch television. Sheila Smith: Yeah. Claire Christenson: Uh solar cells. But not every room is very Johanna Kutchera: Mm. Claire Christenson: light so it's Sheila Smith: No. Claire Christenson: not a very good option. Or the kinetic energy. Sheila Smith: Yeah. Okay. Mary Creighton: And how exactly does the kinetic energy work? Claire Christenson: Well Mary Creighton: You Claire Christenson: y Mary Creighton: just Claire Christenson: you basically shake your Mary Creighton: You Claire Christenson: remote, Mary Creighton: use it and Claire Christenson: and Mary Creighton: it Claire Christenson: then it Mary Creighton: works. Claire Christenson: powers up. Yeah. Sheila Smith: Yeah. Mary Creighton: Okay. Johanna Kutchera: Nah. Mary Creighton: Well personally I don't think that older people like to shake their remote control before they use it. Claire Christenson: Yeah. That's true. Mary Creighton: And besides that you mentioned it would make the docking station obsolete. Claire Christenson: Oh. Mary Creighton: And I think our docking station could be one of the marketing issues with which we can um get great popularity for our product. Sheila Smith: Yeah. Johanna Kutchera: But Mary Creighton: Um Johanna Kutchera: what's Mary Creighton: wel Johanna Kutchera: the function? Yeah f for loading up uh the batteries. Mary Creighton: Yeah you could load Johanna Kutchera: B Mary Creighton: up the Johanna Kutchera: b Mary Creighton: batteries, you could um insert the find the lost remote control function in there. Johanna Kutchera: Okay but uh it won't use uh much e energy uh I I believe. Uh it's uh just a small display so I believe uh it will run on one battery for um six months or f or or more. So Sheila Smith: Uh Johanna Kutchera: I believe one battery uh is just enough. Uh so Sheila Smith: Uh well I think Mary Creighton: That's true. Sheila Smith: uh elderly people just like to have everything in place. And I don't think they they like uh remotes just laying everywhere in their rooms. Johanna Kutchera: Okay. Sheila Smith: So maybe a docking station will help them give the remote Johanna Kutchera: Yeah. Sheila Smith: a Johanna Kutchera: That's Sheila Smith: place. Johanna Kutchera: true. Yeah. Sheila Smith: And also what you said. Um you can introduce voice recognition by uh finding back Johanna Kutchera: Mm-hmm. Sheila Smith: your remote. Johanna Kutchera: Yeah. Sheila Smith: But I think it's um more efficient and cheaper to put it in the docking station. So you have a but button on your docking station which you can push, and then it starts beeping. Johanna Kutchera: Okay. Sheila Smith: And then we can we can still use Johanna Kutchera: Yeah. Sheila Smith: the voice recognition, but maybe then for only the the channels. Johanna Kutchera: Uh. Sheila Smith: That's Mary Creighton: I'm wondering Sheila Smith: safe. Mary Creighton: um what will the voice recognition mean for the production price? Sheila Smith: Yeah. That's a good Claire Christenson: Mm Sheila Smith: point. Claire Christenson: I don't have any information on pricing. So I'll have to ask the manufacturing department. Johanna Kutchera: Mm. Mary Creighton: 'Cause in our earlier um market research, if you'd allow Mary Creighton to Sheila Smith: Yeah, Mary Creighton: go Sheila Smith: sure. Mary Creighton: to the flat board, Sheila Smith: Go Mary Creighton: SMARTboard. Sheila Smith: ahead. Mary Creighton: Um so it was open here. Um we also um asked if w they would, if people would pay more for speech recognition in a remote control. Well you can see here, our target group would not do that. Sheila Smith: No. Mary Creighton: So if that would increase the price for which we're selling our remote control Johanna Kutchera: Mm. Mary Creighton: I would greatly advise not to do it. Sheila Smith: Yeah. Mary Creighton: I think that would be better to uh insert in our other product, that is meant for the Sheila Smith: Yeah. Mary Creighton: younger people. Claire Christenson: But that Johanna Kutchera: 'Kay. Claire Christenson: would also go for the L_C_D_ screen then I guess. It's a bit higher percentage, but Mary Creighton: Um well this is Yeah but this is here the question was, would you prefer it. So that doesn't really mean they wouldn't pay extra for it. And on top of that the L_C_D_ screen would um help in making the remote control easier to use. Johanna Kutchera: Yeah. Sheila Smith: Yeah. Mary Creighton: And Claire Christenson: Okay. Mary Creighton: I think a voice recognition function would not make the remote control much Sheila Smith: Easier Mary Creighton: easier Sheila Smith: to Mary Creighton: to use. Sheila Smith: use? No, I think that's a good point. Johanna Kutchera: But uh is uh our uh research um about um bi large uh L_C_D_ sh uh display, or uh just a small one uh we want to uh use? Mary Creighton: Um well this was for like an L_C_D_ screen like you would have on a on the the most advanced mobile phones. Johanna Kutchera: Okay. Mary Creighton: So pretty large. Johanna Kutchera: Yeah. Sheila Smith: Yeah. I personally think the L_C_D_ screen we wanna use, with the extra information, I think nobody has anything against it. Because Johanna Kutchera: No. Sheila Smith: it's just uh some extra information, and it's easy to ignore as well. Johanna Kutchera: Yeah. Sheila Smith: So if you don't wanna use it you just don't use it. And um yeah I think the um Maybe we have to uh discard the voice recognition. Because it will increase cost uh signifi uh significantly. And I don't think the I don't think it will be a lot easier to use, as well. Johanna Kutchera: Yeah. Sheila Smith: So that brings us back to the energy. If we don't have the voice recognition, it will it won't use a lot of energy to use. Johanna Kutchera: Mm-hmm. Sheila Smith: Um So in that case we could use kinetic uh energy, but I think just a simple battery which you can reload on a docking station is just as good. And much cheaper as well. Johanna Kutchera: Yeah. Sheila Smith: So Claire Christenson: And that's the best choice. Sheila Smith: Okay let Mary Creighton just choose for the battery. That brings us to the chip. Claire Christenson: Well there isn't any choice there because Sheila Smith: Just Claire Christenson: we're using Sheila Smith: the advanced. Claire Christenson: the the the the display. So it's gotta be advanced. Sheila Smith: Okay, Mary Creighton: 'Kay. Sheila Smith: advanced chip. And then we get to the point of the case. Um which brings us a little bit back to marketing as well. Uh if we wanna choose for wood or the black and grey. Or both? Um as we saw there is not Yeah wood is a lot more expensive to produce. Mary Creighton: Mm-hmm. Sheila Smith: Um but I think it will attract elderly people who wanna have something exclusive, which they can show off to their Mary Creighton: Mm-hmm. Sheila Smith: grandkids. Look I've got a new remote Mary Creighton: Well Sheila Smith: control, Johanna Kutchera: Uh Sheila Smith: and uh Johanna Kutchera: I Mary Creighton: And Johanna Kutchera: dunno. Mary Creighton: I think most important factor there is the wooden colour. So it wouldn't actually have to be wood, Sheila Smith: Yeah. Mary Creighton: if it's just Sheila Smith: That's right. Mary Creighton: wood-coloured. Johanna Kutchera: Mm. Sheila Smith: But with colour was a lot more expensive? Or? Claire Christenson: Mm I dunno. Sheila Smith: You don't know? Claire Christenson: I'll have to uh Sheila Smith: I think Claire Christenson: research. Sheila Smith: so because Yeah. Mary Creighton: Probably. Johanna Kutchera: Mm. Sheila Smith: It's a lot more difficult to to handle and to to get in the right shape. Johanna Kutchera: Uh is it possible uh to make um changeable uh case. So um uh you 'cause uh Yeah with uh mobile phones uh uh so uh like the Nokia Sheila Smith: Yeah. Johanna Kutchera: mobile phones, uh when you can change the case of it. Sheila Smith: Change Johanna Kutchera: So Sheila Smith: the cases. Yeah. Johanna Kutchera: maybe it's possible uh possibility. So um um you have just to make one um standard um remote control, Sheila Smith: You can sell the cases. Johanna Kutchera: Yeah. Sheila Smith: Yeah I. think that's a very good option. Because um then you can advertise as well with the Give your grandfather a new case Johanna Kutchera: Yeah. Sheila Smith: for his remote control, or whatever. Because that's a it's something extra, it's something other remotes don't have, Johanna Kutchera: Yeah. Sheila Smith: which we can Mary Creighton: Yeah Sheila Smith: get a great Mary Creighton: that Sheila Smith: advantage Mary Creighton: is true. Sheila Smith: point. So and then you can make them with colour. Black and grey, other colours Johanna Kutchera: Yeah. Sheila Smith: as well. Mary Creighton: Yeah. We would have to look carefully into the design Sheila Smith: Costs. Mary Creighton: though. 'Cause we would have to make one w uh control which would fit in with a wooden cover and a plastic cover. Sheila Smith: Yeah. Mary Creighton: The more original one, or the more standard one. Sheila Smith: Yeah. Mary Creighton: So that would Sheila Smith: So you suggest we should design two different telephones on Mary Creighton: Well Sheila Smith: which Mary Creighton: I wouldn't Sheila Smith: you can Mary Creighton: design Sheila Smith: apply, Mary Creighton: a telephone but Sheila Smith: yeah remote controls, on which you can apply different case covers, Mary Creighton: Well no I Sheila Smith: for Mary Creighton: think Sheila Smith: example. Mary Creighton: w we should just, we should then just design one um Sheila Smith: Remote. Mary Creighton: one remote, but it would have to be fancy with either the wood cover or the Sheila Smith: Yeah. Mary Creighton: plastic one. Sheila Smith: Okay. Mary Creighton: So, but that shouldn't be too much of a problem. Sheila Smith: So everybody's okay with the changing covers? Claire Christenson: Yes. Sheila Smith: I Johanna Kutchera: Yeah. Sheila Smith: think that's a good uh good option. Changing case covers. Mary Creighton: Um I heard our Industrial Designer talk about uh flat, single and double curved. Claire Christenson: Yes. Sheila Smith: Yeah. Mary Creighton: explain that a little more? Claire Christenson: Well the the general like most older remotes are flat, just straight. Mary Creighton: Mm-hmm. Claire Christenson: And uh our d manufacturing department can also deliver single curved or double curved ca curved cases. Mary Creighton: And what would single curved and double curved mean? Claire Christenson: Um it would just only affect the form, for as far as I know. So it's j really just up to the design department what we're gonna use. Mary Creighton: Okay. Claire Christenson: It doesn't really matter for the price or the functionality. Mary Creighton: So we can pretty much just Claire Christenson: Pick one Mary Creighton: do whatever Claire Christenson: you like, Mary Creighton: we want. Claire Christenson: yes. Sheila Smith: Mm. Mary Creighton: 'Kay. Sheila Smith: Okay. Mary Creighton: That's good. Sheila Smith: Uh but the form has to be um It has to It's has to be possible to stand up? Or just only to Mary Creighton: No Sheila Smith: lie down? Mary Creighton: just to lie down. Johanna Kutchera: okay. Sheila Smith: And the the Mary Creighton: We'll Sheila Smith: cover Mary Creighton: go for that. Sheila Smith: of the the docking station is also on top of the television then? Or not? Mary Creighton: Well or besides it. Sheila Smith: And you can just yeah then click it in. That's okay. Um so the interface. What type of interface do we want to use? Um maybe you can make a little drawing of it on the Mary Creighton: Mm-hmm. Sheila Smith: on the the board. Johanna Kutchera: Mm. Sheila Smith: Does somebody have ideas for a form or Johanna Kutchera: Uh we can just use the regular form of it, but it's um not quite uh fancy. So um Yeah. Mary Creighton: Um you uh said you wanted to put the um changing channels button on the right side, so you could, Johanna Kutchera: Yeah. Mary Creighton: so your thumb would be easily Johanna Kutchera: Yeah. Mary Creighton: Well uh I think that was a very good point 'cause I pointed out earlier that a lot of remotes cause R_S_I_. So that would be great for that. Um I thought maybe we could just make one of those buttons on both the left and the right side. Johanna Kutchera: For Mary Creighton: For Johanna Kutchera: uh Mary Creighton: left-handed users Johanna Kutchera: Uh for Yeah yeah. Mary Creighton: also. Sheila Smith: Yep. Johanna Kutchera: Mm. Yeah we um Is it possible to um program it s so uh you got on the left side uh or on the right side uh buttons for for shifting u up and shifting up? And on the uh other uh uh o other side uh buttons for uh shifting, uh for for the sound? Mary Creighton: For the Johanna Kutchera: Or Mary Creighton: volume. Johanna Kutchera: Or isn't Mary Creighton: Um Johanna Kutchera: it? Sheila Smith: Mm. Mary Creighton: well that could Yeah we could do that but I'm not sure if that would be very good for the easy, ease of Sheila Smith: Usabili Mary Creighton: use. Sheila Smith: Yeah Johanna Kutchera: Yeah Sheila Smith: ease Johanna Kutchera: okay. Sheila Smith: of use will be a lot more difficult, and then it's Johanna Kutchera: Uh. Mary Creighton: But if we would make um a changing channels and changing volume button on both sides, that would certainly yield great options for the design of the remote. Johanna Kutchera: Mm. Mary Creighton: 'Cause it could be made all symmetrical and stuff. Johanna Kutchera: Yeah but Sheila Smith: But you have extra buttons. Johanna Kutchera: Yeah. Sheila Smith: So people can get confused. Johanna Kutchera: Yeah. Mary Creighton: That is true. Johanna Kutchera: Yeah. Sheila Smith: Especially if they have the same writings on it. Johanna Kutchera: See um yeah. Or we have to make a left uh Sheila Smith: Can't Johanna Kutchera: For Sheila Smith: we make Johanna Kutchera: lefties Sheila Smith: uh Johanna Kutchera: and Sheila Smith: Can't we make a remote which you can flip over and use on the same Johanna Kutchera: Um Sheila Smith: functions as the normal one? Johanna Kutchera: You mean um Sheila Smith: Then you have Johanna Kutchera: Yeah Sheila Smith: to Johanna Kutchera: if Sheila Smith: Let's see if I ca A blank one. And then you get Sheila Smith: Here's a little L_C_D_ screen. Uh now I have to think. Sheila Smith: It's a plus and a min. No it's not very handy I think. Johanna Kutchera: Mm Sheila Smith: Because Johanna Kutchera: no. Sheila Smith: the plus and the min will be opposite and Johanna Kutchera: Yeah. Mary Creighton: Yeah. Sheila Smith: all kinds of No that's not gonna work. I guess. Maybe Johanna Kutchera: Um Sheila Smith: we should Yeah. But is it a problem that left-handed persons use a different hand? I think the functions are that basic that nobody should have any problems with uh Mary Creighton: Yeah. Sheila Smith: choosing a channel Mary Creighton: That is Sheila Smith: or Mary Creighton: true. Johanna Kutchera: Yeah. It's just uh u using uh your thumb. Sheila Smith: Y Johanna Kutchera: So Sheila Smith: yeah. Johanna Kutchera: um Sheila Smith: Yeah. Johanna Kutchera: it's Sheila Smith: I think we could just uh leave it a normal shape. Johanna Kutchera: Yeah. Claire Christenson: Yeah. Sheila Smith: Uh but maybe we have to make it a l a bit more fancy. In one or ano another way. Johanna Kutchera: Yeah. Um Claire Christenson: I think we should start by by choosing a case. Because that's the basis Johanna Kutchera: Yeah Claire Christenson: you're building on. Johanna Kutchera: yeah. Sheila Smith: Yeah. Mary Creighton: Yeah. Sheila Smith: Um Claire Christenson: So I could Sheila Smith: yeah Claire Christenson: draw Sheila Smith: just Claire Christenson: them out. Let's look at the flat case. Oh. It's from the side so it's Johanna Kutchera: Mm-hmm. Mary Creighton: Mm-hmm. Claire Christenson: rather normal. Sheila Smith: Yeah. Claire Christenson: The the single curved so I'm not really sure what they're gonna look like, but I think it's something like this. Claire Christenson: So this type should be better for you or better Should prevent Sheila Smith: Easier? Claire Christenson: repetitive strain injury a bit. And the double curved s looks something like this I guess. Johanna Kutchera: Mm. Claire Christenson: So th those are the three options we have. Sheila Smith: 'Kay. Mary Creighton: Mm. Sheila Smith: I suggest um the single curved, because maybe the curve is pretty good to put the the screen in. Uh so that elderly people can uh use the remote control and at the same time look easily at the screen, because it's a bit, Johanna Kutchera: So um Sheila Smith: it has a bit of a angle. Johanna Kutchera: Do you say this um S uh Uh you got like uh sort of a I believe There? Mary Creighton: Mm-hmm. Johanna Kutchera: So um you want to put a display over here? Or not? Sheila Smith: Yeah. Johanna Kutchera: Yeah. Sheila Smith: I think so. Yeah. Johanna Kutchera: Um Yeah. Sheila Smith: But Johanna Kutchera: Uh Sheila Smith: now it's Johanna Kutchera: we can make it Sheila Smith: Do Johanna Kutchera: um Sheila Smith: you have it upside down or Johanna Kutchera: Mm? Sheila Smith: Do you Johanna Kutchera: That's Sheila Smith: have it Johanna Kutchera: the top. So Sheila Smith: this Johanna Kutchera: uh Sheila Smith: that's Johanna Kutchera: this Sheila Smith: top? Johanna Kutchera: top. This down. Sheila Smith: Okay. Johanna Kutchera: Um maybe it's possible to uh make this side like um Let's see. Um Colour uh okay. Uh to make this side um like mm the right colour. Um bit like so uh um in the form of your hand. So um Uh it's an Sheila Smith: Yeah. Johanna Kutchera: So so the remote control have to um lay in your hand. So uh it's possib um yeah for Sheila Smith: So Johanna Kutchera: s Sheila Smith: get Johanna Kutchera: so Sheila Smith: your Johanna Kutchera: and Sheila Smith: mouse. Yeah. Johanna Kutchera: And to put uh the the buttons for um changing uh the channel uh over here uh Sheila Smith: Yeah. That's a good one. Johanna Kutchera: Yeah. Claire Christenson: Yeah. Sheila Smith: But I think it's better to put the screen uh on top. Johanna Kutchera: Uh Sheila Smith: So just Johanna Kutchera: rem Sheila Smith: flip it a hundred and eighty degrees around then you Johanna Kutchera: Yeah Sheila Smith: get Johanna Kutchera: but this place um Sheila Smith: here. If you can have this one, you turn it like this. And then flip it upside down. Johanna Kutchera: Uh it's Yeah I dunno um Sheila Smith: Because uh maybe your hand is in the way, if you have the display Johanna Kutchera: Yeah. Mary Creighton: Mm-hmm. Sheila Smith: here. Claire Christenson: It's more logical to have it on top as well because, Sheila Smith: I think i Johanna Kutchera: Yeah Claire Christenson: like on your mobile phone, Johanna Kutchera: so Claire Christenson: it's always above. Mary Creighton: Yeah. Sheila Smith: On top. Johanna Kutchera: So Sheila Smith: Yeah. Claire Christenson: Oh maybe you should just s start on a blank page. Mary Creighton: Yeah. Sheila Smith: So then we get Sheila Smith: Here's That's the curve. Johanna Kutchera: Five minutes. Sheila Smith: Here the display, and then buttons. Yeah and then we can have a little bit off here and here maybe. Just that's for left hand and right hand users. Johanna Kutchera: Yeah. Mary Creighton: Mm-hmm. Sheila Smith: And then h the rest of the buttons over Johanna Kutchera: Yeah. Sheila Smith: here. Johanna Kutchera: But um the on-off button, um still on the top Sheila Smith: Yeah Johanna Kutchera: uh Sheila Smith: still Johanna Kutchera: Yeah. Sheila Smith: here jus Johanna Kutchera: Yeah. Sheila Smith: That's Mary Creighton: And I'd prefer the corners to be round. Sheila Smith: Yeah. Johanna Kutchera: Yeah. 'Kay. Mary Creighton: Think Sheila Smith: Should Mary Creighton: that would Sheila Smith: be Mary Creighton: be Sheila Smith: more Mary Creighton: better. Sheila Smith: bit more friendly, yeah. Mary Creighton: Friendly on the eye. Sheila Smith: 'Kay. Supplements. That's okay. Where's my mouse? Then We've got a general idea of the concepts and the materials we're going to use. So now for the next meeting uh we'll have to look at the look-and-feel design. It's important that the corporate design image uh is going to be in the remote. So check out the corporate website maybe. The user interface design, it's the same story. And product evaluation. So Claire Christenson and User Interface Designer are going to work together on this one. But you're going to get your instructions I think sended by the coach. So just um I will put these um minutes on the in the folder. Claire Christenson: Okay. Sheila Smith: And then we're going to uh try to finish our project, and uh make a good design for all the grandfathers and grandmothers, I think. Which are Uh let's see. I'm not sure if you're going to start right away to work together or I think you're going to fill in the questionnaires first. Johanna Kutchera: Yeah. Mary Creighton: Yeah. Sheila Smith: And then you'll get a message. Johanna Kutchera: Yeah. Sheila Smith: So that's uh basically it. Maybe this one? Then we can save this one in the folders group. Uh yes, it's here. Mary Creighton: Yeah. Sheila Smith: SMARTboard, there it it. So if you wanna have a look at it, it's over there in the projects folder. Johanna Kutchera: Yeah. Sheila Smith: And then I guess we'll start in thirty minutes again. Thank Mary Creighton: Very Sheila Smith: you. Mary Creighton: good. Claire Christenson: Okay. Johanna Kutchera: Okay.

Sheila Smith opened the meeting and recapped the decisions made in the previous meeting. Mary Creighton discussed his personal preferences for the design of the remote and presented the results of trend-watching reports, which indicated that there is a need for products which are fancy, innovative, easy to use, in dark colors, in recognizable shapes, and in a familiar material like wood. Johanna Kutchera discussed the option to include speech recognition and which functions to include on the remote. Claire Christenson discussed which options he preferred for the remote in terms of energy sources, casing, case supplements, buttons, and chips. The team then discussed and made decisions regarding energy sources, speech recognition, LCD screens, chips, case materials and colors, case shape and orientation, and button orientation.

amisum

train

Heather Wilson: So Heather Wilson: Hello. Clotilde Allison: Good afternoon. Sorry I'm a little late. Heather Wilson: No problem Clotilde Allison: Got stuck in the traffic. Heather Wilson: Okay. That's possible on uh this time of day. Starts at three o'clock. Uh Clotilde Allison: Yeah. Heather Wilson: Uh, let Clotilde Allison see. Our fourth and last meeting. There he is. Yes. Okay this our last meeting. In this meeting we will discuss our final design. And we will do some evaluation about the, not only the product, but also the project. And then we're going to close the project today as well. So after this you be free to go and uh spend all your money. And this uh design, detailed design meeting uh we will discuss uh the look-and-feel of the design, the usability interface design, and we will do the product evaluation. Um, in order to do that we have this agenda. We'll have the prototype presentation first. Then we will set up some evaluation cri um criteria. Then we will look at the finance. Uh we will have to see if everything we wanna do is also possible within our budget. Because everything costs money, and the more functions you wanna have the more money it will cost. So we have to see if it fits within the twelve and a half Euro per remote. But we will see that later. Then we will do the project uh evaluation, and the closing after that. We've got forty minutes. So we will be finished at half past three. But first um we will do the this is prototype presentation. So, if some Debra Garczynski: Okay. Heather Wilson: yeah if somebody wants step forward. Debra Garczynski: Well this what Clotilde Allison Richard came up with. The default spot for the on-off button. The mute button just below that. Then there's the volume and channel selectors. Simple plus-minus button. Uh we thought of a help button. If you hold it and you press another button, uh the help goes to the L_C_D_ screen. Then there's the zero to one to zero buttons. A button for teletext. A button for the subtitles. And the company logo. And uh we'll have to see from testing uh how the users take it. Heather Wilson: Okay. Clotilde Allison: Um, is this the moment where we Rosalee Lyons: So Clotilde Allison: ask or can ask questions about the functionality? Debra Garczynski: Sure Rosalee Lyons: Yeah. Debra Garczynski: uh Rosalee Lyons: Yeah. Debra Garczynski: just pop in at any time. Clotilde Allison: Um, when you're in teletext there usually are buttons where you just you just press it and you g go to the next teletext page. Rosalee Lyons: Uh, uh the uh as th as the normal uh remote controls uh So um You put it uh you um came in uh page uh one hundred. Now Clotilde Allison: Mm-hmm. Rosalee Lyons: you can use the normal uh one to zero buttons. And you But you can also uh use the um button th for uh changing the S so shifting. Clotilde Allison: Okay. Rosalee Lyons: yeah shifting up in on t on t down. So Clotilde Allison: Okay. Um Yeah. Heather Wilson: Okay. Uh but um I thought in a few meetings earlier we uh uh tried to keep it uh simple. Rosalee Lyons: Oh yeah? Heather Wilson: Uh just a few buttons and large buttons. But uh I think these are altogether quite a quite a few buttons. So I'm wondering if we if we neely really need all of those buttons. Debra Garczynski: I think if you look at most controls, they've got more buttons than this. Heather Wilson: That's right. Debra Garczynski: And Rosalee Lyons: Yeah. Debra Garczynski: well the on-off button, it's it's a necessity. You Rosalee Lyons: Yeah. Heather Wilson: Yeah. Debra Garczynski: can't drop that one. The volume and channel buttons, you need you obviously need those those. Heather Wilson: Yeah. Debra Garczynski: The mute button could be replaced uh by pressing the volume-down button twice. So we could cancel that one. I think the help button really is necessary Rosalee Lyons: Yeah Debra Garczynski: because Rosalee Lyons: yeah. Debra Garczynski: there's no other way to know when someone wants to know what a button does. Heather Wilson: Mm. Rosalee Lyons: Uh, or you can build in uh when you press uh one button uh Heather Wilson: Long Rosalee Lyons: uh Heather Wilson: time. Rosalee Lyons: Yeah. Heather Wilson: Yeah. If Rosalee Lyons: But Heather Wilson: you put Rosalee Lyons: m Yeah. We disc discuss that already. But uh we think uh old people uh don't know that uh option. So uh they just put in uh put press uh the button and uh Heather Wilson: Yeah. Okay. Debra Garczynski: Well, you can't leave out the number buttons I guess. Rosalee Lyons: And uh Heather Wilson: Yeah. Debra Garczynski: And Heather Wilson: Uh teletext and subtitles are Debra Garczynski: Yeah. Heather Wilson: yeah Rosalee Lyons: Oh. Heather Wilson: necessary. Clotilde Allison: Yeah. Heather Wilson: Okay. Debra Garczynski: So it's rather basic already. Clotilde Allison: Yeah. Think so. That's what I pointed out earlier. If you just make a for just the T_V_ there's just not much to gain here. Rosalee Lyons: Yeah. Heather Wilson: Yep. Okay. So we had somebody about th interfa Something about the design of the buttons there? Debra Garczynski: Yeah, they're It's Rosalee Lyons: Yeah. Heather Wilson: Just n normal Debra Garczynski: rather Heather Wilson: plain Debra Garczynski: hard Rosalee Lyons: Yeah, Debra Garczynski: to Rosalee Lyons: it Debra Garczynski: draw Heather Wilson: buttons. Debra Garczynski: on the white-board. But they're supposed to be equal sized, round, with a with a little logo on it for the for the volume, the Rosalee Lyons: Yeah Debra Garczynski: the triangle Heather Wilson: Yeah. Rosalee Lyons: yeah. Debra Garczynski: and Rosalee Lyons: Just Debra Garczynski: stuff. Rosalee Lyons: to recognise Heather Wilson: 'Kay. Rosalee Lyons: it, so Debra Garczynski: Just for Rosalee Lyons: uh Debra Garczynski: recognition. Rosalee Lyons: Uh yeah and now we don't need uh LEDs or um Heather Wilson: No. Rosalee Lyons: Y uh s some uh remote controls uh do it also, Heather Wilson: No. Rosalee Lyons: but um uh because we use the little display we don't uh have to use it. Uh Heather Wilson: Yeah. Rosalee Lyons: so Heather Wilson: Okay. Debra Garczynski: So and for the materials we've just chosen for rubber buttons. Rosalee Lyons: Nay. Debra Garczynski: With Heather Wilson: Yep. Debra Garczynski: a a different colour than the case. So they jump out. Heather Wilson: Okay. Debra Garczynski: And uh that's about it. Heather Wilson: That's nice. Then because we only have thirty minutes left, I will move on to the finance part, which is pretty exciting, to see if it's all possible what we wanna do. And I can tell you that we're going to have a pretty hard time producing this for twelve and a half Euros. Rosalee Lyons: Mm. Heather Wilson: If we see I don't know if I've filled in correctly, so just correct Clotilde Allison if you see uh something wrong. I counted two batteries. But maybe we can also use one. I don't know if it's Clotilde Allison: Since Heather Wilson: possible. Clotilde Allison: it rechargeable. Heather Wilson: It's rechargeable. That's Rosalee Lyons: Yeah Heather Wilson: right. Rosalee Lyons: we can u just uh Heather Wilson: Okay. That's two Euros off. Rosalee Lyons: 'Kay. Heather Wilson: We need the advanced chip. So there's Debra Garczynski: Yep. Heather Wilson: not much to uh to save there. Here we have the single curves. Uh we can see that the difference between uncurved and the single curved is one Euro. Rosalee Lyons: Mm. Heather Wilson: Um, I don't know, but I think the single curved is good for design, Rosalee Lyons: Yeah. Heather Wilson: and also for the display to have a prominent place on the remote control. Debra Garczynski: Yes. Heather Wilson: I think we have to keep that. Rosalee Lyons: Yeah. Heather Wilson: Then we have the case material supplements. It's plastic. It's the cheapest one we need. So that's uh not much to save either. But then the biggest costs are the buttons. So maybe we really should try to Rosalee Lyons: Okay. Heather Wilson: discard some buttons to uh keep our costs low. Rosalee Lyons: Yeah. Heather Wilson: Because you have to we will have to get the twelve and a half Euros at the end. Um, so if we Let's fir first count Rosalee Lyons: Uh Heather Wilson: the buttons we have now. Because Rosalee Lyons: Sixteen, Heather Wilson: I Rosalee Lyons: I believe so. Heather Wilson: Sixteen. Nah, that will be even more then. Eighteen Euros. So, Rosalee Lyons: Uh seventeen. Heather Wilson: seventeen. Clotilde Allison: Um Rosalee Lyons: Uh with the help button. Heather Wilson: Okay, Debra Garczynski: Yep. Heather Wilson: including the Clotilde Allison: Damn. Heather Wilson: help? Rosalee Lyons: Yeah. Heather Wilson: Yeah. Uh seventeen. I think we can uh discard the help and the mute button uh by pressing down volume long, or pressing down a a number Debra Garczynski: Yep. Heather Wilson: long. That saves us uh one Euro already. 'Cause then we have got fifteen I think? Debra Garczynski: Yeah. Clotilde Allison: Wouldn't Yeah. Heather Wilson: Fifteen Clotilde Allison: No. Heather Wilson: buttons. Clotilde Allison: That wouldn't be an option. Heather Wilson: And Clotilde Allison: Uh, Heather Wilson: this Clotilde Allison: d Heather Wilson: is Clotilde Allison: I assume you'd count the volume and channel thingies for two buttons each, right? Heather Wilson: No those are one, Rosalee Lyons: Yeah. Heather Wilson: I think. Clotilde Allison: Well, think Rosalee Lyons: Where Clotilde Allison: actually Rosalee Lyons: did Clotilde Allison: there're two Rosalee Lyons: uh Clotilde Allison: buttons, Rosalee Lyons: Uh, Clotilde Allison: aren't they? Rosalee Lyons: it's just one button. But, um Yeah. There were uh two uh for one big button. But they are uh more expensive than the small ones. Uh, yeah. Heather Wilson: Yeah Rosalee Lyons: So Heather Wilson: but th it's not stated in this Rosalee Lyons: It's just a. Heather Wilson: files. So maybe we can we can even make one button with the volume and the channel in one, by Clotilde Allison: Well Heather Wilson: pressing Clotilde Allison: I was thinking, maybe you could just integrate three of those numbers to one button. Heather Wilson: That's possibility as well. Clotilde Allison: That would cut the cost. Heather Wilson: So And it's good for the design as well. So you can make Uh let's see. If you make this Heather Wilson: Looks a bit like uh a cross. Plus. Min. Rosalee Lyons: But I don't don't know if if it's Heather Wilson: Uh s yeah Rosalee Lyons: cheaper. Heather Wilson: channel. Rosalee Lyons: So uh, Heather Wilson: Yeah Rosalee Lyons: we've Heather Wilson: w Rosalee Lyons: still got four buttons, but just um So Heather Wilson: Yeah th I think they count uh the materials. Rosalee Lyons: You got uh not not a butt button itself, but uh on the um Heather Wilson: Yeah on the chip there. Rosalee Lyons: Yeah. On Heather Wilson: Yeah. Rosalee Lyons: the chip Debra Garczynski: Yeah. Rosalee Lyons: you've got still Clotilde Allison: Mm-hmm. Rosalee Lyons: uh four Heather Wilson: That's Rosalee Lyons: uh Heather Wilson: right. That's right. Rosalee Lyons: four buttons. So Clotilde Allison: Yeah. Heather Wilson: But I think because we have the advanced chip Rosalee Lyons: Yeah, but Heather Wilson: we can just count this as one button. But No but I Clotilde Allison: But, Heather Wilson: think Clotilde Allison: I think this really is four buttons anyhow. Debra Garczynski: Yes. Heather Wilson: Yeah. Maybe it is, but then it seems to Clotilde Allison that it's impossible to get the twelve and a half Euros. Also the Clotilde Allison: Yes. Heather Wilson: L_C_ display, Debra Garczynski: Uh that's Heather Wilson: I Debra Garczynski: that's Heather Wilson: think Debra Garczynski: a big Heather Wilson: it's, Debra Garczynski: cost. Heather Wilson: I think it's too expensive for the display we use. Debra Garczynski: If we leave out the display we can also save money on the chip. Heather Wilson: That's right, but what's the big advantage of our remote then? Clotilde Allison: Only the docking station, I guess. Heather Wilson: Yeah. Debra Garczynski: Which isn't the the docking station isn't even in this c s schematic. Heather Wilson: No. Debra Garczynski: So it's not even Heather Wilson: That's Debra Garczynski: taken Heather Wilson: extra. Debra Garczynski: into the price. Heather Wilson: That's extra. That's right. Clotilde Allison: Maybe we should to a different supplier. Heather Wilson: That's an option. Poland. Something. Clotilde Allison: Yeah. Heather Wilson: Polish supplier. Don't you think we can, if we can count this as v as one button, and integrate th uh these buttons in three, then we save a lot of money as well. Debra Garczynski: We we could save money on it. But would it make the remote more usable for elderly people? Clotilde Allison: Yeah, that's what I'm wondering. Debra Garczynski: My mother can't even send send an S_M_S_ message. So Heather Wilson: Yeah. That's a point. Clotilde Allison: Um Rosalee Lyons: Are we gonna buy a um a remote control uh when you can uh use it? So um Yeah. We m uh we must um stay below the um below um twelve uh fifty or Heather Wilson: Yep. Debra Garczynski: Yeah. Rosalee Lyons: Can't uh go um Heather Wilson: No. Clotilde Allison: Well, since the market research indicated that older people spend their money easier, more easy, maybe it's feasible to just put the price of the remote up a little. Especially since we have those Rosalee Lyons: Nay. Clotilde Allison: nice features. Heather Wilson: Yeah but uh we have to stick to the twelve and a half Euros. We don't have any more budget to Debra Garczynski: The margin Heather Wilson: develop Rosalee Lyons: Is it Debra Garczynski: will Rosalee Lyons: impossible Debra Garczynski: get Heather Wilson: it. Debra Garczynski: too small. Rosalee Lyons: to Debra Garczynski: Yeah. Heather Wilson: Yeah. Rosalee Lyons: But it Heather Wilson: So Rosalee Lyons: is possible to make one uh for uh twelve fifty. I don't think Heather Wilson: It Rosalee Lyons: so. Heather Wilson: is. If Clotilde Allison: It Heather Wilson: you Clotilde Allison: would Heather Wilson: leave Clotilde Allison: be a be Heather Wilson: out Clotilde Allison: a Heather Wilson: the L_C_ Clotilde Allison: pretty Rosalee Lyons: S Clotilde Allison: rigid Heather Wilson: display. Clotilde Allison: one. Heather Wilson: And if you use Rosalee Lyons: Yeah. Heather Wilson: less buttons. Say Debra Garczynski: Ten. Rosalee Lyons: But, Heather Wilson: Or you can Rosalee Lyons: you can't use Heather Wilson: take Rosalee Lyons: uh Heather Wilson: the single chip. There it is. Rosalee Lyons: Yeah. But we want to make a Heather Wilson: But then Rosalee Lyons: uh Heather Wilson: w Rosalee Lyons: so uh uh fancy and a good uh Yeah. Heather Wilson: Good looking. Rosalee Lyons: Uh, wi with n Oh, with uh Heather Wilson: Yeah. Rosalee Lyons: attractive uh o options. So uh, you can stay uh below uh twelve fifty. So Heather Wilson: I think Clotilde Allison: Or Heather Wilson: it's Clotilde Allison: b Heather Wilson: uh difficult as well, but Clotilde Allison: Basically becoming a choice between like either a good remote and a higher production cost, or just Debra Garczynski: No remote. Clotilde Allison: any other remote control. Heather Wilson: Or we can leave out the ten buttons and take one scroll wheel for the programme numbers. Rosalee Lyons: Scroll-wheel's Heather Wilson: Then w Rosalee Lyons: one. Heather Wilson: Because Debra Garczynski: That's Heather Wilson: then Rosalee Lyons: No, it Heather Wilson: we save ten buttons. Then Rosalee Lyons: Yeah. Heather Wilson: we have five and one. And and see. If we have this one and we've got the advanced W uh, Debra Garczynski: We're getting closer. Heather Wilson: we're getting Rosalee Lyons: Yeah. Heather Wilson: close. Clotilde Allison: But how does scroll-wheel work here? Heather Wilson: Then you will Or maybe you can um scroll. If you scroll you will see the numbers on the L_C_D_ display. Until you've Debra Garczynski: Yeah. Heather Wilson: got the right number, then you push it. Clotilde Allison: That would bring up the price of the scroll-wheel also. Heather Wilson: Alright. Clotilde Allison: Integrated Heather Wilson: It's gotta Clotilde Allison: scroll-wheel Heather Wilson: scroll and Rosalee Lyons: Mm. Heather Wilson: push. Clotilde Allison: push-button. Heather Wilson: Okay but Clotilde Allison: But Heather Wilson: then you Clotilde Allison: Yeah. Heather Wilson: you can push uh some other button as well. Debra Garczynski: You could just not scroll for a half a second. Heather Wilson: Yeah. Debra Garczynski: So Heather Wilson: That's right. So Debra Garczynski: you Heather Wilson: if Debra Garczynski: won't Heather Wilson: you scroll Debra Garczynski: need a button. Heather Wilson: to a number and then you wait a half second, then it g turns to that channel. Clotilde Allison: I think that would be like the end of our usability. Rosalee Lyons: D yeah. Heather Wilson: But it would definitely crop cost, a lot. Clotilde Allison: Yeah, but Heather Wilson: And we need the battery. And the regular chip is not possible? It has to be advanced? Debra Garczynski: If you want to use an L_C_D_ screen you Heather Wilson: It has Debra Garczynski: you need Heather Wilson: to be Debra Garczynski: an advanced Heather Wilson: advanced. Debra Garczynski: chip, yes. Rosalee Lyons: Hmm. Heather Wilson: Yeah. Okay. And we can save a Euro by a flat design. That's an option we can Debra Garczynski: Yep. Rosalee Lyons: Ja ja. Heather Wilson: Then we're almost there. Debra Garczynski: Yeah if you v could just leave out one more button. Heather Wilson: Yeah. So if we Rosalee Lyons: Yeah, or we have to uh skip the subtitle uh button. Debra Garczynski: Yeah. Heather Wilson: Yeah but I think Rosalee Lyons: So Heather Wilson: that's Rosalee Lyons: Yeah Heather Wilson: That is a big advantage, if we're Rosalee Lyons: Yeah it's a big advantage. But Heather Wilson: But Rosalee Lyons: um, Heather Wilson: Can we use Rosalee Lyons: it's Heather Wilson: can't we integrate the teletext and the subtitles in one button? Debra Garczynski: I Rosalee Lyons: Uh, Debra Garczynski: think Rosalee Lyons: yeah. Debra Garczynski: so. Yeah. Clotilde Allison: Well, Heather Wilson: If you push Clotilde Allison: think it's Heather Wilson: it Clotilde Allison: pretty much Heather Wilson: three Clotilde Allison: the Heather Wilson: times? Rosalee Lyons: Yeah. Clotilde Allison: teletext subtitles are right now you just push the teletext button, go to page eight eight eight, Heather Wilson: Yeah. Clotilde Allison: and Rosalee Lyons: Yeah. Clotilde Allison: teletext disappears. But the subtitles stay there. Rosalee Lyons: But if you push Clotilde Allison: I Rosalee Lyons: the Clotilde Allison: think that's Rosalee Lyons: teletext Clotilde Allison: the case on Rosalee Lyons: button Clotilde Allison: most Rosalee Lyons: twice Debra Garczynski: What if you have to scroll Rosalee Lyons: It's Debra Garczynski: to page Rosalee Lyons: uh Debra Garczynski: eighty eight? Eight hundred eighty eight. Rosalee Lyons: One Heather Wilson: Ah that's Rosalee Lyons: m uh Heather Wilson: not Clotilde Allison: Well, Heather Wilson: really Clotilde Allison: that could Heather Wilson: that Clotilde Allison: be Rosalee Lyons: one Clotilde Allison: just Rosalee Lyons: b uh, a Clotilde Allison: uh Rosalee Lyons: few Clotilde Allison: like the Rosalee Lyons: buttons. Clotilde Allison: scroll to eight, click, scroll to eight, click, scroll to eight, click. Debra Garczynski: Yeah. Okay. Clotilde Allison: But then again that would be d j just pretty much not an option for older people, who don't Debra Garczynski: No. Clotilde Allison: even know what a scroll-wheel is. Rosalee Lyons: Yeah. Clotilde Allison: Holding a Heather Wilson: No. Clotilde Allison: remote with which they expect to have like ten buttons for the numbers one to zero. With only five buttons on it. And a scroll-wheel. Heather Wilson: I think if you make a good advertisement uh on television and in the in the guide, you can explain to the people how to use the scroll wheel. If you just make it real simple. Because it saves it saves a lot of money. And we can keep our L_C_D_ screen, which can provide extra information. How to use the scroll wheel. How to use the other Clotilde Allison: True. Heather Wilson: bu buttons Clotilde Allison: True. Heather Wilson: as subtitles. Rosalee Lyons: Hmm. Heather Wilson: And it's good for the innovative design as well. If you would erase these. Mm eraser? Heather Wilson: And we put uh Heather Wilson: Looks a bit odd maybe. Clotilde Allison: That's a pretty big scroll wheel. Heather Wilson: That is Heather Wilson: Something like that. Then, yeah. We've got the scroll-wheel. One, two, three, four, five buttons, if we erase this one. Heather Wilson: And these are two buttons then. Debra Garczynski: We could make two buttons out of that. And just um If you press the volume button you Heather Wilson: Yeah. Debra Garczynski: can control the volume with the scroll-wheel. So that would save two buttons. If you do Heather Wilson: Yeah. Debra Garczynski: the same for the channel. Heather Wilson: That's really a good good idea, I think. And it will make the use of the scroll wheel Debra Garczynski: More Heather Wilson: uh Debra Garczynski: obvious. Heather Wilson: more obvious indeed. So we make one for the volume, one for the channel. Heather Wilson: Plus scroll. Debra Garczynski: So if we Heather Wilson: That's right. So we've got one, two, three. Yeah, we can leave the teletext in if we want. Debra Garczynski: Yeah. Rosalee Lyons: Yeah. Heather Wilson: That's m Debra Garczynski: So Heather Wilson: that's better. Clotilde Allison: So this is five Debra Garczynski: If Clotilde Allison: buttons. Debra Garczynski: we leave out all those buttons, perhaps you can go with the flat flat case. And make it smaller overall. So Heather Wilson: Y Debra Garczynski: if Heather Wilson: yeah. Debra Garczynski: you put the the volume and channel buttons on the same height as the on-off button, the Heather Wilson: Mm yeah. Debra Garczynski: screen right behi under that, than the scroll button Heather Wilson: Uh yeah, Debra Garczynski: you Heather Wilson: and then Debra Garczynski: get Heather Wilson: you can Debra Garczynski: a a much smaller remote. Rosalee Lyons: Uh yeah. Heather Wilson: That's right. Debra Garczynski: And it Heather Wilson: So Debra Garczynski: sh Heather Wilson: we can decrease this one to four buttons. Debra Garczynski: Yeah? Clotilde Allison: Right now we have five. Rosalee Lyons: But uh, you can make a f quite a big uh remote remote control for uh just the same price as a small one. Heather Wilson: Yeah. Rosalee Lyons: Just uh Heather Wilson: That's Rosalee Lyons: you Heather Wilson: no problem. Rosalee Lyons: only have to pay for the double curved or single curved. It uh Heather Wilson: Yeah. Rosalee Lyons: it's a bit uh Heather Wilson: Yeah. It's uh it's more the moulds in which they are being made, I think. Single Clotilde Allison: Mm. Heather Wilson: curved is really easy to just fill in. And cases come right out of the machine. And single curved you have to have a different uh different machine, than a flat one. I think this is a really easy one. Um, what does everybody think about a flat or a single curved design? Freek, what do you think? Clotilde Allison: Well, I still think we should go for the single curve design. Debra Garczynski: Yeah. Clotilde Allison: But then again, Debra Garczynski: Richard's argument was Clotilde Allison: all Debra Garczynski: very Clotilde Allison: these Rosalee Lyons: Yeah. Clotilde Allison: changes Debra Garczynski: good. Heather Wilson: Yeah. Clotilde Allison: are not Debra Garczynski: Yeah. Clotilde Allison: really okay Heather Wilson: Yep. Clotilde Allison: with Clotilde Allison. But since Heather Wilson: We have to cut costs. Clotilde Allison: we just have to. Rosalee Lyons: Yeah. Heather Wilson: Yeah. Yeah Clotilde Allison: I'd Heather Wilson: I'm Clotilde Allison: rather Heather Wilson: ag Clotilde Allison: just go to the board and Heather Wilson: Ask for more Clotilde Allison: get Heather Wilson: money. Clotilde Allison: us to spend eighteen dollars a a Heather Wilson: Yeah. Clotilde Allison: remote. Heather Wilson: Yeah. I am agreeing Clotilde Allison: Or do Heather Wilson: with Clotilde Allison: some Heather Wilson: the Clotilde Allison: market Heather Wilson: usability. Clotilde Allison: research and Heather Wilson: Yeah. Clotilde Allison: see what the options are. Heather Wilson: Yeah. But th um I think we can then keep the single curved one. Just to express our L_C_D_ screen a bit more. Debra Garczynski: Yep. Clotilde Allison: Yeah. Heather Wilson: So Rosalee Lyons: Yeah. Heather Wilson: people will use it more, and especially for the help functions, it will be good if we have scroll bar, scroll button. It will be necessary to have good help function, as well. Heather Wilson: So this is scroll. Heather Wilson: I think it was better to have this price list a bit earlier. Before Clotilde Allison: Yes. Heather Wilson: we went on to Clotilde Allison: Definitely. Heather Wilson: the Rosalee Lyons: The th Heather Wilson: to the whole design. But I'm glad we could make a bit. Clotilde Allison: Yeah. Heather Wilson: It's pretty different, if you Clotilde Allison: It's Heather Wilson: saw Clotilde Allison: pretty Heather Wilson: the Clotilde Allison: different. Heather Wilson: last one Clotilde Allison: But Heather Wilson: than this one. Clotilde Allison: this is not really like for the group we were making our remote. Rosalee Lyons: No. Clotilde Allison: This will really require a lot of marketing Heather Wilson: Yeah. It will. Clotilde Allison: to get this to sell. Heather Wilson: Yeah. Clotilde Allison: 'Cause Rosalee Lyons: But um Clotilde Allison: if older people like familiar forms and familiar stuff. This is not familiar for them. Heather Wilson: No, but Clotilde Allison: So Heather Wilson: I Clotilde Allison: we're Heather Wilson: think Clotilde Allison: gonna have to do a lotta convincing them. Heather Wilson: I think the most Rosalee Lyons: But they know the scroll-buttons from uh old radios. Uh they cal also uh buttons like that for uh Clotilde Allison: Yeah. Heather Wilson: That's right. Rosalee Lyons: changing uh channels. So Heather Wilson: We can let Rosalee Lyons: maybe it's Heather Wilson: l Rosalee Lyons: uh Heather Wilson: We can stick it out, a bit. Like a old old Rosalee Lyons: Yeah. Heather Wilson: buttons. Rosalee Lyons: Yeah. Heather Wilson: Maybe that's recognisable for them as well. Rosalee Lyons: Yeah. Heather Wilson: Yeah. That's a good one. So, I'm afraid we have to move on. And it's uh it's b uh less frightening, I think. If they see this design they think oh, there are only five buttons, and uh Rosalee Lyons: Yeah. Heather Wilson: But Clotilde Allison: That's Heather Wilson: we Clotilde Allison: true. Heather Wilson: will see. Clotilde Allison: Might uh might be confusing too. Heather Wilson: Yeah. That's Clotilde Allison: They'd Rosalee Lyons: Mm-hmm. Heather Wilson: definitely Clotilde Allison: be like, what? Heather Wilson: right. Clotilde Allison: Only five buttons? Heather Wilson: Yeah. Rosalee Lyons: But very special, so uh Heather Wilson: I would buy Clotilde Allison: Yeah. Heather Wilson: it. Clotilde Allison: But you're not sixty. Heather Wilson: That's right. I would buy it if I was six. No I don't know. What it costs under twelve and a half Euros? No? Uh, yes they are. Rosalee Lyons: No. Heather Wilson: No. But we can go on with the project evaluation. Clotilde Allison: Mm-hmm. Heather Wilson: Let's see. I can sit down I think. We still have fifteen minutes left, so we're nice on schedule. Debra Garczynski: Yeah. Heather Wilson: Um, the project process. Clotilde Allison: So um, I like set up all these criteria. And Heather Wilson: Evaluation Clotilde Allison: evaluation Heather Wilson: criteria. Clotilde Allison: of the Heather Wilson: That's right. That was the Clotilde Allison: thingy. Heather Wilson: the point I forgot. I should There we are. Evaluation criteria. Clotilde Allison: Thank you. Heather Wilson: Go ahead. We've got five minutes I think for those criteria. Clotilde Allison: Five more minutes? Heather Wilson: No we've got fifteen minutes but Clotilde Allison: Okay. Heather Wilson: Uh yes. What? Clotilde Allison: 'Kay so I did some literature study study, and analysis of the requirements we set up earlier. Heather Wilson: Uh yeah. Clotilde Allison: Translated it into criteria, which would be these. Um, is the remote fancy? The shape, look and feel. Innovative? What new functions are there? Uh, easy to use? Uh, learnability is a very important factor here. Uh, is it functional? Are there not too many functions uh among the functions? And are the those functions that are there, are they useful? And the cost. The target group. Is the remote really for the group we're making it for? And recognability. If our company is If it is easily recognisable that our company made it? And So we're supposed to evaluate it right now. Heather Wilson: Okay. Clotilde Allison: Let's see. Oh I have to say this was a little hard, because the minutes of our last meeting were not here. Heather Wilson: Yeah, that's Rosalee Lyons: Mm. Heather Wilson: because my pen failed to upload his data. Clotilde Allison: Okay. Rosalee Lyons: Yeah? Heather Wilson: I Clotilde Allison: Interesting. Heather Wilson: tried to but it's uh it's giving errors by downloading Clotilde Allison: So Heather Wilson: the software. Rosalee Lyons: Mm. 'Kay. Clotilde Allison: Is the design fancy, on a scale of one to seven? Heather Wilson: I think it's fancy. Debra Garczynski: Six. Heather Wilson: Yeah. Rosalee Lyons: Uh six. Clotilde Allison: We all go for six? Rosalee Lyons: Yeah. Heather Wilson: Six. Clotilde Allison: Good. Um, is the design innovative? Heather Wilson: Very. Rosalee Lyons: Mm. Clotilde Allison: I think so, with Rosalee Lyons: Sh Clotilde Allison: our L_C_D_ Heather Wilson: Subtitles, Clotilde Allison: screen, docking station, Heather Wilson: buttons. Clotilde Allison: scroll-buttons. Heather Wilson: Yeah. Debra Garczynski: Yeah. Heather Wilson: Seven. Clotilde Allison: Seven? Rosalee Lyons: Yeah. Heather Wilson: Yeah. So we've got twenty cents for our docking station, huh? Clotilde Allison: Should be do-able. Heather Wilson: Yeah. That's right. Clotilde Allison: Is the design easy to use? Rosalee Lyons: Mm. Not Heather Wilson: That's Rosalee Lyons: really. Heather Wilson: a bit dodgy. Clotilde Allison: Well Would be for us. But Rosalee Lyons: For old people Heather Wilson: I would Rosalee Lyons: I Heather Wilson: say Rosalee Lyons: I Heather Wilson: four. Debra Garczynski: Four Rosalee Lyons: W Debra Garczynski: or five. Heather Wilson: Four Debra Garczynski: Yes. Heather Wilson: or Rosalee Lyons: Yeah. Heather Wilson: five between. Rosalee Lyons: Four. Heather Wilson: Between four or five. Clotilde Allison: I'd go for four, too. Rosalee Lyons: Yeah. Heather Wilson: Yeah. Is it functional? Clotilde Allison: Is the design functional? Um, do we have all functions that we want to include? Heather Wilson: Yes. Rosalee Lyons: N Yeah. Clotilde Allison: I think we do. Do we have too many functions? Debra Garczynski: No. Heather Wilson: No. Rosalee Lyons: No. Clotilde Allison: I don't think so. It's pretty slim. Heather Wilson: Think it's uh seven. Clotilde Allison: Seven. and do we um take care of the biggest frustrations of the remote control? Like it getting lost and Rosalee Lyons: Mm Clotilde Allison: R_S_I_ Debra Garczynski: Mm, we haven't Rosalee Lyons: m Debra Garczynski: thought of that one. Clotilde Allison: influences? Heather Wilson: It was. Clotilde Allison: Think we do. Heather Wilson: I had them worked out. Mm. They are ugly, not very functional, and getting lost. Clotilde Allison: Are the Rosalee Lyons: Yeah. Clotilde Allison: production costs within the preset limits? Well they are now. Heather Wilson: Yeah. Clotilde Allison: Does the design fit the group of focus? Debra Garczynski: I think Rosalee Lyons: Mm, Debra Garczynski: that's a three. Rosalee Lyons: th yeah. Clotilde Allison: Yeah. Heather Wilson: No I think Clotilde Allison: I think Heather Wilson: with our Clotilde Allison: it doesn't. Heather Wilson: new Rosalee Lyons: Yeah. Heather Wilson: radio button, I think it's uh Rosalee Lyons: Uh Heather Wilson: I think it's better. Rosalee Lyons: We have to test Clotilde Allison: I don't Rosalee Lyons: it s Clotilde Allison: know. Rosalee Lyons: But Debra Garczynski: I still I think it's Clotilde Allison: I think Heather Wilson: I think Debra Garczynski: too Heather Wilson: it Debra Garczynski: m too fancy. Too too Clotilde Allison: I think Debra Garczynski: flashy. Clotilde Allison: a radio button is not exactly what older people expect to have a remote control. Rosalee Lyons: Uh, yeah, true. Heather Wilson: Yeah. I would give it a four. Clotilde Allison: I'm not sure. I think I'd go for two. Rosalee Lyons: I go for three. So Heather Wilson: Then we have to do the three. It's the Clotilde Allison: 'Kay. Clotilde Allison: Is the company company recognisable? Heather Wilson: Yes Rosalee Lyons: Yeah Heather Wilson: it Rosalee Lyons: yeah. Clotilde Allison: Well, Heather Wilson: is. Clotilde Allison: we have the logo there. Heather Wilson: Yeah. Clotilde Allison: So Heather Wilson: And they wanna put fashion in their products. Uh in the slogan of the company. And we have the removable front cases. Rosalee Lyons: Yeah. Heather Wilson: So, Clotilde Allison: Yeah. Heather Wilson: I think it's very recognisable. Yep. Clotilde Allison: So that will be this. I was also supposed to calculate the score, but thought we would have another private Heather Wilson: We've got a calculate Clotilde Allison: thingy after Heather Wilson: it. Clotilde Allison: this. Heather Wilson: Mm? Debra Garczynski: Twendag Clotilde Allison: Is this Debra Garczynski: sieven Clotilde Allison: Like after Debra Garczynski: an Clotilde Allison: this, Debra Garczynski: twendag. Clotilde Allison: are we done? Or Heather Wilson: N We've gonna Clotilde Allison: We're gonna Heather Wilson: We're Clotilde Allison: go Heather Wilson: going Clotilde Allison: to our Heather Wilson: to Clotilde Allison: other Heather Wilson: evaluate Clotilde Allison: room again. Heather Wilson: it. Clotilde Allison: Well, anyhow. These are seven factors times seven is forty something. Two? No. Nine? Heather Wilson: Forty nine. Clotilde Allison: Uh, minus one. Minus three, minus four. Minus four. So that would be minus eight. Forty one Heather Wilson: Forty one. Clotilde Allison: out of forty nine. Heather Wilson: That's Around Clotilde Allison: Okay. Heather Wilson: eighty percent. What is it? Clotilde Allison: Guess I'll just type that in on the bottom here. Heather Wilson: That's eighty four percent. I Rosalee Lyons: Hmm. Heather Wilson: think that's a pretty nice score. Debra Garczynski: Yeah. Rosalee Lyons: Yeah. Clotilde Allison: Hmm. 'Kay. So that will be the evaluation. Heather Wilson: Okay. Thank you. So, that brings us to the project evaluation. Yep. Thank you. Project process. Did we move through the right phases, you think? Along the process? Debra Garczynski: Yes. Rosalee Lyons: Yeah. But it Clotilde Allison: Think we should have a should have had the finance thingy a lot earlier. Rosalee Lyons: Yeah. Heather Wilson: That's right. Clotilde Allison: In the design phase. Heather Wilson: So lack of information about prices. Clotilde Allison: Yeah. Debra Garczynski: Yeah. Rosalee Lyons: Yeah. Debra Garczynski: That's Clotilde Allison: Definitely. Debra Garczynski: true. Heather Wilson: Okay. Uh Okay. Satisfaction. Was there room for creativity? Clotilde Allison: No. Heather Wilson: No? Clotilde Allison: Not too much. No. Heather Wilson: It's because of the finance sheet. Rosalee Lyons: Yeah. Heather Wilson: Yeah. Debra Garczynski: Yeah, there w there was enough Clotilde Allison: Yeah, Debra Garczynski: room, Clotilde Allison: true. Debra Garczynski: but the finance Clotilde Allison: But Heather Wilson: The Debra Garczynski: uh Heather Wilson: room Rosalee Lyons: Yeah. Heather Wilson: was Yeah. Clotilde Allison: And I would've liked to go for the younger users also. And just to be able to access internet and get something of your own. Rosalee Lyons: Mm. Heather Wilson: Restrictions. Internet access. 'Kay. Leadership. Was it clear what everybody had to do uh according to their roles and functions? Debra Garczynski: Yes. Heather Wilson: Yeah? Clotilde Allison: Yeah. Rosalee Lyons: Yeah. Heather Wilson: Teamwork? Did Rosalee Lyons: So Heather Wilson: it work out? Working together? Also, you two of you with the uh Debra Garczynski: Yes, was okay. Heather Wilson: last Rosalee Lyons: Yeah. Heather Wilson: phase? Nice. Debra Garczynski: The tasks are very structured, so you can just do step by step and Rosalee Lyons: Mm-hmm. Clotilde Allison: Mm-hmm. Debra Garczynski: it's very easy. Heather Wilson: tasks. Okay. Were the means sufficient for the tasks uh we had to do? Or were they too much? Debra Garczynski: Well, Rosalee Lyons: Mm. Debra Garczynski: the smart-board, the d d drawing is just a pain in the ass, but Heather Wilson: Smart-board. Debra Garczynski: The digital the digital pen is very nice. Rosalee Lyons: Yeah. Heather Wilson: If it wants Clotilde Allison: Yeah. Rosalee Lyons: But Heather Wilson: to download its uh Debra Garczynski: Yes. Clotilde Allison: Yeah. Debra Garczynski: Yeah. Rosalee Lyons: Uh Heather Wilson: data. Failed download. Smart-board was irritating. So you rather wanted to have a flip-over? Or something Debra Garczynski: A flip-over Heather Wilson: else? Rosalee Lyons: Yeah. A flipper's Debra Garczynski: or a more Rosalee Lyons: uh easier, Debra Garczynski: precise Rosalee Lyons: so Debra Garczynski: uh Rosalee Lyons: Yeah. Clotilde Allison: Yeah. Heather Wilson: Faster Debra Garczynski: digit Heather Wilson: as well, Debra Garczynski: Yes. Heather Wilson: I think. Yeah. Flip-over. Rosalee Lyons: But if you want to share uh of uh when you make um a picture like this uh on the presentation, it's easier to uh share it with uh other people. Uh so uh you can sh Heather Wilson: Yeah. Rosalee Lyons: save it uh and uh put it on the internet, or uh uh in shared f uh folder or uh sh uh shared Clotilde Allison: Yeah, Rosalee Lyons: directory. Clotilde Allison: I tried to Rosalee Lyons: So Clotilde Allison: open the file Rosalee Lyons: So Clotilde Allison: on my laptop, Rosalee Lyons: Yeah? Clotilde Allison: but Debra Garczynski: No. Rosalee Lyons: No? Debra Garczynski: Didn't work. Clotilde Allison: not possible. Heather Wilson: Uh you need a smart board uh Clotilde Allison: Yeah. Heather Wilson: application I think. Rosalee Lyons: T can uh Heather Wilson: But Rosalee Lyons: can you Heather Wilson: I think Rosalee Lyons: export Heather Wilson: you can Rosalee Lyons: it uh Heather Wilson: Yeah. Rosalee Lyons: like a Heather Wilson: Should be possible. Clotilde Allison: no. Rosalee Lyons: Yeah. Heather Wilson: Yeah you can export it as image. Must Yeah must be Clotilde Allison: Should've done that then. Heather Wilson: So the sharing of the information was uh was okay? Clotilde Allison: Pen is here. Debra Garczynski: Yes. Heather Wilson: Uh, network. Rosalee Lyons: Uh. Heather Wilson: Yeah, pen is here on the table. Rosalee Lyons: Uh, yeah. So you Heather Wilson: Yeah. Rosalee Lyons: can Uh Clotilde Allison: Mm. Heather Wilson: It's Rosalee Lyons: It's Heather Wilson: possible. Rosalee Lyons: possible. Clotilde Allison: Yeah. Heather Wilson: Okay. Rosalee Lyons: Okay. Heather Wilson: That's nice. Have we found new ideas for having this kind of meetings? Or Rosalee Lyons: Um, yeah Heather Wilson: Yeah. Rosalee Lyons: Um it's uh easier to uh to do the th things that are like that on a computer. Heather Wilson: Yeah. Rosalee Lyons: Uh, so uh just l uh Heather Wilson: So Rosalee Lyons: like uh at u university uh Heather Wilson: Yeah. Rosalee Lyons: So Heather Wilson: So everybody Clotilde Allison: Mm-hmm. Heather Wilson: puts his own score. And Rosalee Lyons: Yeah. Heather Wilson: then Clotilde Allison: Yeah. Heather Wilson: it mediates the score, and Rosalee Lyons: Yeah. Heather Wilson: you can get one Debra Garczynski: Yeah. Heather Wilson: Yeah. That's better. So that's uh How do we call? Heather Wilson: Evaluation criteria. Heather Wilson: Okay. Mm, any more ideas? Or questions about the project? Or about the product? Rosalee Lyons: Mm. Heather Wilson: Because I think then that we get to our last sheet. Are the costs within the budget? Rosalee Lyons: Mm yeah. Heather Wilson: Yeah. Clotilde Allison: They are. Debra Garczynski: Considering Heather Wilson: Do we Debra Garczynski: we are not going to make a docking station. Heather Wilson: Docking station. That's a good point. But maybe because of the docking station the price of the remote can also be a little bit higher? Clotilde Allison: Yeah. Heather Wilson: Uh Debra Garczynski: Perhaps. Heather Wilson: and I think you can compensate that as well. Rosalee Lyons: Mm. Heather Wilson: So I think that shouldn't be the biggest problem, because it's very cheap to make as well. Debra Garczynski: Mm-hmm. Rosalee Lyons: Yeah. Heather Wilson: Do we think we gonna get the twelve and a half million? Or what was it? Clotilde Allison: Fifty grand. Heather Wilson: Fifteen fifteen million. I think we will. If we gonna export this product. It's Clotilde Allison: Yeah. Heather Wilson: innovative. Especially in America. People are pretty decadent. Rosalee Lyons: Yeah. Mm. Heather Wilson: Sometimes. Clotilde Allison: Yeah, still I Rosalee Lyons: Yeah. Clotilde Allison: think I mean if we're n gonna make a scroll-button anyway Heather Wilson: You Clotilde Allison: it'd Heather Wilson: can Clotilde Allison: be Heather Wilson: do Clotilde Allison: more Heather Wilson: more. Clotilde Allison: for the younger people than for the older people. Heather Wilson: Yeah. Rosalee Lyons: Ah. Clotilde Allison: So maybe we should just re-focus. Heather Wilson: Just put it on the market for everybody. You Rosalee Lyons: Ah. Clotilde Allison: Or Heather Wilson: can Clotilde Allison: specifically for Heather Wilson: you Clotilde Allison: younger Heather Wilson: can change Clotilde Allison: people. Heather Wilson: markets where by changing the front covers. Rosalee Lyons: Ah. Heather Wilson: That's one thing you can Clotilde Allison: That's true. Heather Wilson: change it with. So you can also try to uh reach the younger people by uh putting fancy covers on on the market. Just as a test. See how it works. That's I think a good advantage. Clotilde Allison: Yeah, I think then it would be way more uh popular with younger people than it is, than would be with older people. Heather Wilson: Yeah. Clotilde Allison: Even if it were their covers. Rosalee Lyons: Hmm. Heather Wilson: Uh, uh Clotilde Allison: But Heather Wilson: then I think we can have our little celebration, right now. That's it. Clotilde Allison: Party party. Heather Wilson: Yeah. I think we still have to fit in one more questionnaire. Rosalee Lyons: Where's the champagne? Clotilde Allison: 'Kay. Heather Wilson: I think. I don't know. I didn't get a message from the from ending of the Rosalee Lyons: Uh, I believe y uh Heather Wilson: Oh Clotilde Allison: Oh Heather Wilson: I Clotilde Allison: you Heather Wilson: think Clotilde Allison: did. Heather Wilson: I have one now. Five more minutes? Oh that's Rosalee Lyons: Okay. Heather Wilson: nice. Then we still have some questions. If somebody has some questions they can ask them now. Or we can put these in the project folder as well. Clotilde Allison: Mm-hmm. Heather Wilson: Maybe that's Rosalee Lyons: Yeah. Heather Wilson: Export as picture, I think. Clotilde Allison: Yeah. Rosalee Lyons: Yeah. Heather Wilson: Hmm. This is another network, I guess. Heather Wilson: Does somebody see the project folder? I don't. Hmm. My Documents. Rosalee Lyons: Uh maybe uh they will save it. So uh Heather Wilson: Yeah, I'll just Clotilde Allison: Yeah, Heather Wilson: put it Clotilde Allison: it Heather Wilson: in Clotilde Allison: probably Heather Wilson: My Documents Clotilde Allison: will. Heather Wilson: and uh That's okay. Heather Wilson: Okay. I think I'm going to make our final presentation now. Clotilde Allison: Oh yeah, you're supposed to make Heather Wilson: And then Clotilde Allison: a final Heather Wilson: I will be back in about ten minutes to show you the final presentation. Rosalee Lyons: Okay. Debra Garczynski: Okay. Heather Wilson: Summary of the project. Clotilde Allison: Are we supposed to go into our own rooms again? Rosalee Lyons: Uh maybe we have to fill uh another Heather Wilson: Yeah. Rosalee Lyons: questionnaire. Heather Wilson: Questionnaire. Rosalee Lyons: So uh Heather Wilson: I think you Clotilde Allison: Yeah. Heather Wilson: all get a questionnaire in Rosalee Lyons: Yeah. Heather Wilson: in your room. Rosalee Lyons: Yeah. Heather Wilson: And then I'll meet you in I think about ten minutes, Debra Garczynski: Okay. Heather Wilson: or something. Rosalee Lyons: Okay. Heather Wilson: Okay. Thank you. Hopefully my pen will download its software. Clotilde Allison: Yeah. Heather Wilson: Oh. Or data. Clotilde Allison: That'd be nice.

In the detailed design meeting the team created a prototype. Along with buttons for numbers, channel selector, volume, mute, on-off, teletext, and subtitles, the prototype included an LCD screen and a help button for functional information. One rechargable battery, single-curve form and plastic case, brought the total cost to 17 Euros. To reduce this cost, it was decided to replace most buttons with a scrollwheel. The remaining buttons were one for channel selection, one for volume (both assisted by the scrollwheel), teletext, on-off and the help button. A suggestion to target the product to a younger or perhaps more general group was met with approval. All these components were re-arranged in a revised prototype. It was evaluated on a scale from 1 to 7 on the basis of the following criteria: fancy design (6), technological innovation (4), functionality (7), consideration of the target group (3). The remote was also recognisable as a fashionable Real Reaction product. The project process was deemed well-structured, although everyone thought it would have been better had they known the component prices at an earlier stage. Teamword and leadership were good, but room for creativity impeded by budget constraints.

amisum

train

Breanna Fritz: Bonjour. Brenda Blakenship: It's It won't wake up. Yeah. I a bit early. Like Breanna Fritz: Why? Brenda Blakenship: What? No, I just came in. Uh normally I was one of them. Breanna Fritz: Okay. Brenda Blakenship: Come on. Breanna Fritz: Check check Sophia Irving: Hello. Breanna Fritz: check Brenda Blakenship: Why Sophia Irving: Oop. Brenda Blakenship: won't it wake up? Brenda Blakenship: Is it on? Breanna Fritz: The power light doesn't work. You turned it off. Brenda Blakenship: But how? Ah, there it is. Nicole Wieczorek: Okay. Sophia Irving: Okay. Brenda Blakenship: Uh. Nicole Wieczorek: I received an email with uh a few on uh the. So I'll discuss them Sophia Irving: Okay, we're Breanna Fritz: Okay. Sophia Irving: just Nicole Wieczorek: with you. Yeah. Sophia Irving: to the later. Brenda Blakenship: Yeah, I received Sophia Irving: So Brenda Blakenship: an Sophia Irving: we're Brenda Blakenship: email Sophia Irving: going to Brenda Blakenship: as Sophia Irving: talk Brenda Blakenship: well. Sophia Irving: about the conceptual model. Breanna Fritz: Oh. Breanna Fritz: Hmm. Brenda Blakenship: Which one was mine? Sophia Irving: So that's Breanna Fritz. Uh okay. So Uh okay. Okay, so I just show you the m the no mm mm the the the the the the minutes, minute. What's it called, I dunno. Whatever. Brenda Blakenship: The minutes. Sophia Irving: Okay, so we just talked about uh Oh you want Breanna Fritz to show that there or Breanna Fritz: Uh Brenda Blakenship: No, Nicole Wieczorek: Mm Brenda Blakenship: just Nicole Wieczorek: no. Brenda Blakenship: tell Sophia Irving: Okay, Brenda Blakenship: us. Sophia Irving: we just talked about it looks Has. to look nice. Usability is very important. People don't want to spend money on something that's similar to cheaper ones. Um It has to be very basic, not too many buttons. Light switches on if you use a button. Uh text T_V_ still has to be a possibility. And it has to be easy to learn. That were the things I uh make minutes of. And the functions are volume, channel to choose channels, an on-off, a mute uh button, and a text T_V_ button. That are the functions. That right? Nicole Wieczorek: Yeah. Brenda Blakenship: Yes. Sophia Irving: Okay. So I just want to give you uh Mike again, the first uh presentation of your Breanna Fritz: Shall I start? Sophia Irving: Yeah. Breanna Fritz: No. Okay well I received an email Okay. Breanna Fritz: I searched the web, uh and uh I searched uh on this d document, recent investigation of the remote control market. It has been done in Italy uh Italy and in uh another country in Europe, I forget it. but uh found out most important aspect for remote controls happens to be a fancy look-and-feel, instead of the current functional look and feel. So it's very important for us to create something new. So what Michael just said, it must be uh some very different from ordinary uh remote controls. Fancy stands for an original look-and-feel of the case and interface. Uh this uh aspect is the most important one. Uh it came out of the research. It uh is twice important as the following. The second uh most important aspect is that a remote control should it uh technological innovative. Uh that stands for uh uh new technical uh features. And then uh that uh This is a point of discussion, because we just decided that we don't make use of uh L_C_D_ or uh speech recognition. Brenda Blakenship: Hmm. Breanna Fritz: But um this is the second uh important uh aspect, and I think uh we must use some of the new technology, to be uh innovative. Sophia Irving: But we already have the flashing flashing light on the Breanna Fritz: Uh maybe maybe something Brenda Blakenship: Yeah, Breanna Fritz: new. Brenda Blakenship: more. Breanna Fritz: We have Nicole Wieczorek: Hmm. Breanna Fritz: to discuss about it s uh Brenda Blakenship: Well, Sophia Irving: Okay. Brenda Blakenship: I'll I'll get back Breanna Fritz: Okay, Brenda Blakenship: on it. Breanna Fritz: uh features not uh do not exist in current remote controls. And that's very hard I think. Uh the third one is the aspect of the remote control should be easy to use. But uh that was an overall uh point. We already discussed that. Um I've got one picture. Uh d our our target group uh we thought about was young and trendy. Sophia Irving: Yeah. Breanna Fritz: So I took uh that part of the webpage. And it says uh fashion-watchers of uh uh Pari uh France and uh Italy, yeah, uh have detected the following trends. This trends I th uh trend I think it's not um that meaningful for us, maybe. But it's about uh clothes and shoes. But the Sophia Irving: Hmm. Breanna Fritz: uh the next uh aspect also in contrast to last year, the feel of material is expe uh uh is expected to be spongy. Brenda Blakenship: Spongy. Breanna Fritz: But spongy, what what does spongy Nicole Wieczorek: Spongy. Breanna Fritz: says? Brenda Blakenship: Spongy, Breanna Fritz: Spongy. Brenda Blakenship: like sponge. Breanna Fritz: Okay. Nicole Wieczorek: So rubber, kind of. Brenda Blakenship: Uh soft materials. Nicole Wieczorek: Yeah. Sophia Irving: But maybe th that's al definitely a good idea, because you've you're you drop y your remote control very often on the ground. Brenda Blakenship: Yeah, Sophia Irving: So it has Brenda Blakenship: but Sophia Irving: to be Breanna Fritz: Yeah. Brenda Blakenship: Yeah. Sophia Irving: flexible. Breanna Fritz: Yeah, it's something that uh it stand there. But I didn't knew uh knew what it means. So spongy means y Nicole Wieczorek: It's like Breanna Fritz: Yeah. Nicole Wieczorek: a sponge. Brenda Blakenship: Soft, sponge. Breanna Fritz: So it's also a stress-ball. Sophia Irving: That's a good Nicole Wieczorek: Yeah, Sophia Irving: That's a good Nicole Wieczorek: somewhat Sophia Irving: idea. If it's Nicole Wieczorek: like Sophia Irving: de like that. That's Brenda Blakenship: Yeah, Sophia Irving: good, a Brenda Blakenship: but Sophia Irving: good idea. Brenda Blakenship: Yeah. How are Sophia Irving: Is it Brenda Blakenship: you Sophia Irving: a Brenda Blakenship: gonna Sophia Irving: bit Brenda Blakenship: make Sophia Irving: like Brenda Blakenship: it? Sophia Irving: like the the the the remote control? R_ soft. Breanna Fritz: Uh Nicole Wieczorek: Yeah, I've some uh material uh information, but I'll give you it later Sophia Irving: Okay. Nicole Wieczorek: in my presentation. Breanna Fritz: Okay? What do I think? Uh because a fancy look is the most important thing uh for remote control uh control, I think about changeable fronts. Sophia Irving: Yeah. Breanna Fritz: Uh maybe a see-through one in a a fruit front. Because it's uh it's hot. And uh some basic uh colour fronts. Uh so we can make uh five different fronts to start with or something. Uh maybe an extraordinary shape, like a sponge. Uh or uh, yeah, just another shape than a normal uh remote control ha uh has. Just Brenda Blakenship: Yeah. Breanna Fritz: uh something round in it, or uh maybe not uh not uh Yeah, I dun dunno. We have to discuss about that. Uh y yeah. Main point uh still uh is the technolo technological innovative. Yeah, how do we do that? Maybe speech? We ma must have some kind of gadget. Brenda Blakenship: Yeah, I'll get back on that. Breanna Fritz: So Nicole Wieczorek: Hmm. Sophia Irving: It's very uh difficult to to Breanna Fritz: Intro Sophia Irving: to Breanna Fritz: Yeah. Sophia Irving: do it. Because it's only twelve and a half Euros you have to spend Breanna Fritz: Yeah, Sophia Irving: on every Brenda Blakenship: Well, Breanna Fritz: that's Sophia Irving: remote Breanna Fritz: the problem. Sophia Irving: control. Breanna Fritz: That's Brenda Blakenship: I Breanna Fritz: the main Brenda Blakenship: got Breanna Fritz: problem. Brenda Blakenship: f also an email from Breanna Fritz: So Brenda Blakenship: the the technology department. Breanna Fritz: Maybe we watch the first Brenda Blakenship: They Breanna Fritz: uh Brenda Blakenship: have done Breanna Fritz: the next Brenda Blakenship: uh Breanna Fritz: two Brenda Blakenship: research Breanna Fritz: presentations. Brenda Blakenship: about it, and uh even more possibilities now with speech. So they recommended using it. Sophia Irving: Okay. Brenda Blakenship: Well Nicole Wieczorek: Hmm. Breanna Fritz: Okay. Uh let's Brenda Blakenship: I'll check what they exact Breanna Fritz: first Brenda Blakenship: mean. Breanna Fritz: watch Paul's presentation Brenda Blakenship: So Breanna Fritz: first then. Brenda Blakenship: uh Nicole Wieczorek: Yeah, well actually we have don't have an idea how much it's gonna cost. But maybe it's cheap Brenda Blakenship: Yeah, Nicole Wieczorek: it's Brenda Blakenship: th that's Nicole Wieczorek: to Brenda Blakenship: the Nicole Wieczorek: implement. Brenda Blakenship: only problem. I d They don't say how much it will cost, so Um but uh if Breanna Fritz: Oh. Brenda Blakenship: we implement Breanna Fritz: It's mass production. Brenda Blakenship: uh speech Breanna Fritz: So you can Brenda Blakenship: recognition, Breanna Fritz: say, you can Brenda Blakenship: I think it would be better to implement L_C_D_ as well. Since you have to uh configure speech Sophia Irving: But Brenda Blakenship: thing. Sophia Irving: that's definitely more expensive than Brenda Blakenship: Yeah, that's that's something I dunno. Breanna Fritz: Yeah. But how uh we we're gonna make many of those. So we can start a mass production, and then Sophia Irving: Yeah, but a Breanna Fritz: the Sophia Irving: telephone Breanna Fritz: cost will still Sophia Irving: Okay, Breanna Fritz: will be. Sophia Irving: yeah. But a telephone also have a L_C_D_ and Brenda Blakenship: Yeah, so uh we Sophia Irving: and Brenda Blakenship: gotta Sophia Irving: it's about Brenda Blakenship: de Sophia Irving: t two hundred Euros. So uh Brenda Blakenship: We have to decide Breanna Fritz: Yeah. Brenda Blakenship: on that. Breanna Fritz: Okay. That was this? Brenda Blakenship: Mm uh Nicole Wieczorek: Oh I got an email uh And it says uh the chip can be uh simple, regular or advanced. And Um They say uh a display requires an advanced chip. And this is more expensive than all the other chips. So it's m Brenda Blakenship: L_D_C_ Nicole Wieczorek: the most Brenda Blakenship: doesn't Nicole Wieczorek: expensive. Brenda Blakenship: require Nicole Wieczorek: Yeah, it says in the email. The display requires an advanced chip. Brenda Blakenship: Okay. And speech recognition? Nicole Wieczorek: Yeah, probably too. Brenda Blakenship: Advanced. Nicole Wieczorek: I I haven't Brenda Blakenship: Yeah. Nicole Wieczorek: got anything about speech recognition, but Brenda Blakenship: I'll I'll give Nicole Wieczorek: Well Brenda Blakenship: you my Nicole Wieczorek: it d Brenda Blakenship: design. Nicole Wieczorek: That's that's the most expensive chip, we need. If we're doing uh Brenda Blakenship: Yeah Nicole Wieczorek: if Brenda Blakenship: okay. Nicole Wieczorek: we're doing Brenda Blakenship: So Nicole Wieczorek: a Brenda Blakenship: we Nicole Wieczorek: display. Brenda Blakenship: Well we can Brenda Blakenship: I had uh to make a sort of a design. So I did some searching on the internet. I watched the old remote controls and news com remote como uh remote controls. I think we should um This is one of the modern remote controls of the moment. I think we should go more to the iPod and M_P_ three players. Sophia Irving: Yeah, just Brenda Blakenship: Mobile phones. Sophia Irving: modern modern but still Brenda Blakenship: More modern. Sophia Irving: uh basic. Brenda Blakenship: Y yes. Um you probably have to make it a bit bigger and a bit smaller. 'Cause remote con control, you can see it here, you have to bo reach both out both sides. And here you just have one, few buttons. So that's that's the main difference. But looks uh I definitely think we should go like this. And then changeable fonts, so Nicole Wieczorek: Hmm. Brenda Blakenship: It's the most important part, I think. But And the home base is something like that, something simple. Well and then I just ordered the the buttons a bit. Uh basic buttons. On-off, mute. And th maybe two others, I dunno. Sophia Irving: Yeah, Brenda Blakenship: Text Sophia Irving: maybe Brenda Blakenship: buttons. Sophia Irving: the teletext Brenda Blakenship: Yeah, Sophia Irving: tel Brenda Blakenship: text button, maybe there and there. And then the colour buttons, if we want it on. I don't find it very usable, but Breanna Fritz: No, Sophia Irving: No. Breanna Fritz: I don't Brenda Blakenship: it's Uh I don't think it's Breanna Fritz: uh I don't like Brenda Blakenship: fits in Breanna Fritz: it. Brenda Blakenship: the the modern theme as well. Nicole Wieczorek: Hmm. Brenda Blakenship: So and then yeah we saw the the pla display, in the the iPod. They can put the basic buttons, one, two, three, four. And uh f above ten. And Nicole Wieczorek: But it Brenda Blakenship: I think Nicole Wieczorek: That's on on the display. Brenda Blakenship: No no. That th there is no display there. But it's on the place of the display. And I think we should uh light this up much more than that part. So Sophia Irving: Yeah. Brenda Blakenship: the focus is on these two parts. Sophia Irving: Yeah. Brenda Blakenship: So you don't see all the buttons you else Sophia Irving: But Brenda Blakenship: need. Sophia Irving: it sounds very difficult to use. Because um the volume and channel is on the on Brenda Blakenship: Uh Sophia Irving: the Brenda Blakenship: well Sophia Irving: the bottom Brenda Blakenship: um Sophia Irving: of it. So you can't use your thumb for it. Brenda Blakenship: This is how it is now. Um Here uh Well we have volume. Nicole Wieczorek: I think Sophia Irving: Yeah, Nicole Wieczorek: it is Sophia Irving: down Nicole Wieczorek: on Sophia Irving: there. Nicole Wieczorek: uh on the bottom too. Sophia Irving: But it's not not the Brenda Blakenship: Yeah. Sophia Irving: best best. Brenda Blakenship: Well here we have also side scrolls. I dunno Nicole Wieczorek: Yeah, Brenda Blakenship: if we can Nicole Wieczorek: okay. Brenda Blakenship: use that. Sophia Irving: Yeah, Brenda Blakenship: Do Nicole Wieczorek: Yeah, Brenda Blakenship: we Sophia Irving: for Brenda Blakenship: want Sophia Irving: volume. Nicole Wieczorek: I've Brenda Blakenship: to use Nicole Wieczorek: I've got something of Sophia Irving: For volume, Nicole Wieczorek: that uh too. Sophia Irving: or a channel. Yeah, Brenda Blakenship: For Sophia Irving: why Brenda Blakenship: volume? Sophia Irving: not. Brenda Blakenship: Well then Nicole Wieczorek: Scroll. Brenda Blakenship: we can even simplify it more. By just putting the volume on the side. And Sophia Irving: And the channels Brenda Blakenship: and Sophia Irving: as well. Brenda Blakenship: just channel buttons here. Sophia Irving: Oh yeah. Nicole Wieczorek: Yeah, Brenda Blakenship: But Nicole Wieczorek: or Brenda Blakenship: I think Nicole Wieczorek: uh Brenda Blakenship: uh Nicole Wieczorek: maybe uh The channel buttons are often used. And you can't use them now with your thumb, because the thing is not, it's Brenda Blakenship: Well. Nicole Wieczorek: not easy to Brenda Blakenship: Yeah, well it's Nicole Wieczorek: control. Brenda Blakenship: Basically it's it's here. Nicole Wieczorek: Yeah okay, m maybe we cho should put that on top, and Sophia Irving: Yeah, that's Nicole Wieczorek: buttons Sophia Irving: better. Nicole Wieczorek: we Brenda Blakenship: They're Nicole Wieczorek: we Brenda Blakenship: on Nicole Wieczorek: don't Brenda Blakenship: top? Nicole Wieczorek: use on, in Sophia Irving: Yeah, Nicole Wieczorek: the bottom. Sophia Irving: just th th th other buttons like text T_V_. Put that on the button bottom. Nicole Wieczorek: Because uh Brenda Blakenship: You mean Nicole Wieczorek: you Brenda Blakenship: uh Nicole Wieczorek: can't hold it. Brenda Blakenship: these Nicole Wieczorek: You can't Sophia Irving: Mm-hmm. Nicole Wieczorek: hold Brenda Blakenship: to the Nicole Wieczorek: it Brenda Blakenship: low? Nicole Wieczorek: th the Sophia Irving: Yeah. Nicole Wieczorek: control and push the buttons. Sophia Irving: Except from the on-off button. Brenda Blakenship: Oh okay. Well, yeah. Nicole Wieczorek: But I I think w you'll use uh the switch channels buttons uh more often than the normal uh channel buttons, like one two three. So maybe we can Brenda Blakenship: Mm Nicole Wieczorek: put that on the bottom. Brenda Blakenship: Maybe. I dunno, but yeah we'll Nicole Wieczorek: Like zapping is just switching Brenda Blakenship: Yeah, maybe Nicole Wieczorek: one channel Brenda Blakenship: it's not Nicole Wieczorek: at a time. Brenda Blakenship: easy if it's below. It's harder to zap. So I think uh it should be should be easy to. I think it's pretty standard, these rubber buttons on the top. Nicole Wieczorek: Yeah okay. That's Brenda Blakenship: And Nicole Wieczorek: that's good, Brenda Blakenship: uh Nicole Wieczorek: but Brenda Blakenship: if you don't light 'em up, they don't uh you don't see 'em very good. I think it's modern to light this area up, and to light this area up. So the focus gets on these parts and not on there. Nicole Wieczorek: Yeah okay. Brenda Blakenship: But uh the position of course can be different. It's s We have to look uh what's easy to use, and how it's easier to use. Nicole Wieczorek: Yeah. Brenda Blakenship: So we can uh switch these to Nicole Wieczorek: Hmm. Brenda Blakenship: I dunno if it l will look good, if you put those on t on the bottom half. Nicole Wieczorek: No, I think th the the top buttons are okay. Brenda Blakenship: Okay. Nicole Wieczorek: They sh Those should be on top. Brenda Blakenship: Yeah, Nicole Wieczorek: But Brenda Blakenship: maybe Nicole Wieczorek: uh we we can switch those two, Brenda Blakenship: Those Nicole Wieczorek: yeah. Brenda Blakenship: two, yeah. And uh, yeah, you have to make sure it's easy to uh Yes, it has to be big enough so you can hold it, Breanna Fritz: Okay. Brenda Blakenship: right. Well that's that's my findings. So uh my personal opinion is that we should go more modern look. M_P_ three player. And uh well um if, we I don't think we should put it on top then. I think that, if we're gonna put in more technology, that you need to be able to uh switch it open. Nicole Wieczorek: Yeah. Brenda Blakenship: To Sophia Irving: Yeah. Brenda Blakenship: use Sophia Irving: Yeah, that's cool. Brenda Blakenship: So if you put in uh speech recognition, you need so more uh many more buttons. Which won't look good on the front side I think. Sophia Irving: Okay. Nicole Wieczorek: No. Brenda Blakenship: So that's something we have to decide on. Nicole Wieczorek: Yeah, we have to keep it simple. Brenda Blakenship: Yeah. Sophia Irving: We have to decide this this lecture, or this this this uh Brenda Blakenship: What we're gonna do. Sophia Irving: fifty minutes, yeah, Brenda Blakenship: Okay. Sophia Irving: how it is gonna look. Nicole Wieczorek: Okay, the component design. I looked at uh some similar devices, and uh my own common knowledge. So uh this was on the web site. If you aim at a young public, you should use materials that are soft with primary colours like green, blue, red. So flashy kinda colours. Uh shapes should be curved, so round shapes. Not Nothing square-like. Sophia Irving: Okay, so Hmm, okay. Brenda Blakenship: Yeah well uh iPod is trendy. And Nicole Wieczorek: Yeah. Brenda Blakenship: it is well curved Breanna Fritz: Square. Brenda Blakenship: square. Breanna Fritz: Like. Nicole Wieczorek: Yeah, but mm is uh has round corners I Brenda Blakenship: Okay. Nicole Wieczorek: think. Brenda Blakenship: So Nicole Wieczorek: So Brenda Blakenship: not Nicole Wieczorek: we shouldn't have too square corners Brenda Blakenship: Yeah Nicole Wieczorek: and Brenda Blakenship: okay. Nicole Wieczorek: that Brenda Blakenship: Not Nicole Wieczorek: kind of Brenda Blakenship: uh the Nicole Wieczorek: thing. Brenda Blakenship: old uh Nicole Wieczorek: Yeah. Brenda Blakenship: box look. Nicole Wieczorek: And um sports and gaming device style characteristics. I don't know exactly what that means, but it should be, well yeah, popular kind of Breanna Fritz: Mm. Nicole Wieczorek: looking, Sophia Irving: Yeah, we have to Nicole Wieczorek: I think. Sophia Irving: put our Real Reaction logo as well on the Nicole Wieczorek: Okay. Sophia Irving: on the remote control. Brenda Blakenship: Mm Yeah, Sophia Irving: So the Brenda Blakenship: it's Sophia Irving: colours also. So we have ha to ma make it in black, black, yellow. Nicole Wieczorek: Yeah. Brenda Blakenship: Black yellow control. Sophia Irving: Maybe the sides Nicole Wieczorek: Yeah, Sophia Irving: in Nicole Wieczorek: mm Sophia Irving: yellow Nicole Wieczorek: n Sophia Irving: and the the the top in Nicole Wieczorek: Not Sophia Irving: black. Nicole Wieczorek: that weird, because we definitely want to make it kind of flashy, to attract a young public. Brenda Blakenship: Yeah, but uh I don't think the the colours black and yellow go well together. But Nicole Wieczorek: No, Sophia Irving: We Nicole Wieczorek: okay. Sophia Irving: make i Maybe Nicole Wieczorek: That's Sophia Irving: you can Nicole Wieczorek: a Sophia Irving: put Nicole Wieczorek: that's Sophia Irving: yellow Nicole Wieczorek: a sen Sophia Irving: on the side and black on the on the front. Nicole Wieczorek: That's just a matter of tastes, but Brenda Blakenship: Yeah, okay. Nicole Wieczorek: We have to use uh kind of flashy colours, Brenda Blakenship: Uh can't Nicole Wieczorek: I think. Brenda Blakenship: we use um different uh fron uh fronts, with all with the the logo on it? Nicole Wieczorek: Yeah. Sophia Irving: Yeah, Brenda Blakenship: Can Sophia Irving: it's Brenda Blakenship: we Sophia Irving: cool. Brenda Blakenship: do that? Sophia Irving: Yep. Nicole Wieczorek: Like Brenda Blakenship: So Nicole Wieczorek: fronts Sophia Irving: And Nicole Wieczorek: in in Sophia Irving: still Nicole Wieczorek: red Sophia Irving: trans Nicole Wieczorek: and yellow Brenda Blakenship: Yes. Nicole Wieczorek: and blue and Breanna Fritz: Oh yeah. Brenda Blakenship: So Sophia Irving: Still still transparent. Nicole Wieczorek: Okay. Brenda Blakenship: Yeah. But with all with logo on it. Sophia Irving: Okay. Nicole Wieczorek: Well this is a remote control, a very old one. Um Then the components. The case has just a Here's black. But Sophia Irving: Yeah, Nicole Wieczorek: we Sophia Irving: we Nicole Wieczorek: are Sophia Irving: make Nicole Wieczorek: making Sophia Irving: it som Nicole Wieczorek: it uh Sophia Irving: Maybe we have to make it from soft material. Uh I'm not sure. Nicole Wieczorek: Yeah, I dunno. Brenda Blakenship: Yeah. Nicole Wieczorek: Maybe. But anyways uh it should be transparent. We decided that, huh? Brenda Blakenship: Well Nicole Wieczorek: S Brenda Blakenship: one of the options. You can Just like a mobile phone, you can make um Nicole Wieczorek: Okay. Brenda Blakenship: different fronts on it. So you can just replace them I think. Nicole Wieczorek: Yeah, we could Brenda Blakenship: That Nicole Wieczorek: do Brenda Blakenship: was Nicole Wieczorek: that. Brenda Blakenship: the idea, or just uh Sophia Irving: Yeah. Brenda Blakenship: release one. Sophia Irving: Just give five with them, just in a box. Five Brenda Blakenship: Yeah, uh Sophia Irving: different Brenda Blakenship: Or just Nicole Wieczorek: Yeah, but Brenda Blakenship: uh Nicole Wieczorek: y you Brenda Blakenship: sell Nicole Wieczorek: could Brenda Blakenship: different ones. Nicole Wieczorek: you could make 'em uh uh like blue and transparent. So you Sophia Irving: Yeah. Nicole Wieczorek: can still Brenda Blakenship: Yeah. Sophia Irving: Cool. Nicole Wieczorek: th look Brenda Blakenship: Yeah. Nicole Wieczorek: through it. Um the buttons. Normal rubber I think. Like normal ordinary buttons. Brenda Blakenship: Yeah, Nicole Wieczorek: Soft. Brenda Blakenship: I uh I dunno. Sophia Irving: Yeah. Brenda Blakenship: A more Sophia Irving: It it could be like a Nokia, like Brenda Blakenship: Yeah, just Sophia Irving: plastic. Breanna Fritz: Uh uh Brenda Blakenship: uh Nicole Wieczorek: With the Sophia Irving: That's Nicole Wieczorek: hard Sophia Irving: better Nicole Wieczorek: hard Sophia Irving: prob Nicole Wieczorek: buttons. Brenda Blakenship: I think Sophia Irving: Yeah. Brenda Blakenship: uh rubber really has an odd look. Nicole Wieczorek: Okay. Breanna Fritz: Yeah. Sophia Irving: Yeah. Breanna Fritz: The the the new uh new modern uh remote controls, uh the buttons are part of the uh the style, I think is part of the remote control itself. Brenda Blakenship: Yeah. Breanna Fritz: It it's one uh a one uh out of one shape. Uh it's n doesn't Is uh a button uh um How do you say it? Nicole Wieczorek: Yeah, Breanna Fritz: It Nicole Wieczorek: it's Breanna Fritz: it Nicole Wieczorek: it's Breanna Fritz: didn't Nicole Wieczorek: all Breanna Fritz: it Nicole Wieczorek: on Breanna Fritz: i Nicole Wieczorek: one Breanna Fritz: it Nicole Wieczorek: level. Breanna Fritz: don't come out of the Nicole Wieczorek: Yeah, on Breanna Fritz: on Nicole Wieczorek: one Breanna Fritz: the background. Nicole Wieczorek: level. Breanna Fritz: It is in uh the c a remote Brenda Blakenship: Yeah. Breanna Fritz: control uh Nicole Wieczorek: Yeah, I know what you mean. So we have to keep it on the one level. Like Breanna Fritz: Yeah. Brenda Blakenship: Yeah, like mobile Nicole Wieczorek: th the Brenda Blakenship: phones. Nicole Wieczorek: top it's Brenda Blakenship: Like Nicole Wieczorek: Yeah. Brenda Blakenship: uh the iPod. Uh just Nicole Wieczorek: Yeah, okay. Okay, Sophia Irving: Yeah, Nicole Wieczorek: it's chos Sophia Irving: that's cool. Nicole Wieczorek: So that should be hard plastic. Then the buttons? I think. Or Brenda Blakenship: I Nicole Wieczorek: maybe Brenda Blakenship: dunno what uh kind of material it is. But Sophia Irving: But Nicole Wieczorek: Yeah. Sophia Irving: maybe you can m make a uh round fluff or soft material. Just only the Brenda Blakenship: Oops. Sophia Irving: basic uh basic remote control from normal plastic, and Nicole Wieczorek: Yeah. Sophia Irving: the rounds of it from softer s Nicole Wieczorek: Okay. Brenda Blakenship: Yeah. Nicole Wieczorek: And um Sophia Irving: I dunno. Nicole Wieczorek: Then the L_E_D_. The normal infrared L_E_D_ I think s sufficient. And back light L_E_D_s. Sophia Irving: Y Nicole Wieczorek: So Brenda Blakenship: Yeah. Sophia Irving: Cool. Nicole Wieczorek: But I think we have to make the case transparent, otherwise the back light won't work. So if you put Sophia Irving: Yeah. Brenda Blakenship: Uh you Sophia Irving: Y i Brenda Blakenship: can Sophia Irving: if you Brenda Blakenship: just Sophia Irving: The numbers Brenda Blakenship: make them around Sophia Irving: could be Brenda Blakenship: the buttons Sophia Irving: can be Yeah, Brenda Blakenship: uh Sophia Irving: that's Brenda Blakenship: Yeah. Sophia Irving: right. Nicole Wieczorek: Okay. Brenda Blakenship: Or it runs the whole Nicole Wieczorek: Yeah, but we can still make it transparent. So Sophia Irving: They can Brenda Blakenship: Yeah, Sophia Irving: choose. Brenda Blakenship: you Nicole Wieczorek: Or Brenda Blakenship: can Nicole Wieczorek: no Brenda Blakenship: halfs transparent, or just that it's comes out a bit. Nicole Wieczorek: Yeah okay. Good. And in green colour, the back lights or Brenda Blakenship: Different, I think, also. Nicole Wieczorek: Yeah? Sophia Irving: Blue. Brenda Blakenship: Blue or red. Breanna Fritz: Yeah. Brenda Blakenship: Whatever you want it, I think. Uh depends on the colour Sophia Irving: Yeah, but Brenda Blakenship: of Sophia Irving: you Brenda Blakenship: the Sophia Irving: can't choo You Breanna Fritz: Uh Sophia Irving: can't choose Breanna Fritz: i Sophia Irving: it when you buy it. You Brenda Blakenship: Yeah, Sophia Irving: have Brenda Blakenship: that's Sophia Irving: to Brenda Blakenship: true. Sophia Irving: choose Brenda Blakenship: But Nicole Wieczorek: No, but I think there are multiple colour LEDs. So Sophia Irving: Is it Breanna Fritz: Yeah, Sophia Irving: Okay. Breanna Fritz: but can you change Nicole Wieczorek: I I Breanna Fritz: it Nicole Wieczorek: know Breanna Fritz: if you already Nicole Wieczorek: I dunno. Is Breanna Fritz: bought the the Brenda Blakenship: Yeah, Breanna Fritz: remote Brenda Blakenship: it Breanna Fritz: control? Brenda Blakenship: can. Breanna Fritz: You Brenda Blakenship: 'Cause this Sophia Irving: Yeah, okay. Brenda Blakenship: a mo mib uh mobile Nicole Wieczorek: Maybe Brenda Blakenship: phone Nicole Wieczorek: it's Brenda Blakenship: as Nicole Wieczorek: it's Brenda Blakenship: well. Nicole Wieczorek: more impor Sophia Irving: Maybe Nicole Wieczorek: more Sophia Irving: put some different Nicole Wieczorek: expensive. Sophia Irving: ones in it. Doesn't Nicole Wieczorek: I Sophia Irving: matter. Nicole Wieczorek: think Sophia Irving: It's Nicole Wieczorek: it's Sophia Irving: just Brenda Blakenship: I have Sophia Irving: No, Brenda Blakenship: the mo Sophia Irving: just Brenda Blakenship: mi Sophia Irving: some Brenda Blakenship: I Sophia Irving: LED. Brenda Blakenship: have a blinking light on my phone. And I can change the colour of it. Sophia Irving: Okay, cool. Just make it some different colours. Blue, red and green, or something. Nicole Wieczorek: Yeah, I dunno. Maybe it's too expensive, but it Brenda Blakenship: Well, Nicole Wieczorek: I th Brenda Blakenship: we don't Nicole Wieczorek: I don't Brenda Blakenship: put Nicole Wieczorek: think so. Brenda Blakenship: put in any fancier technology yet. Breanna Fritz: Hmm. Brenda Blakenship: So Nicole Wieczorek: Then uh some more technical things. I don't know what it is, Um this is the normal circuit board, like a chip board in in a lot of uh things. Sophia Irving: Yeah, we have to hurry Nicole Wieczorek: W Sophia Irving: up a bit, Nicole Wieczorek: So Sophia Irving: so Nicole Wieczorek: we d we just need this and this transistors and resonators. There's all these kind of things. Um Brenda Blakenship: I'm Nicole Wieczorek: they Brenda Blakenship: sure Nicole Wieczorek: they basically Brenda Blakenship: we can fit Nicole Wieczorek: said Brenda Blakenship: in. Nicole Wieczorek: that that's almost the same on any uh remote controls. So I guess we j we just need that. Brenda Blakenship: Yeah. Nicole Wieczorek: I don't know what they do or Breanna Fritz: Okay Brenda Blakenship: Yeah okay. Breanna Fritz: yeah, Brenda Blakenship: We just Breanna Fritz: you can you can change Yeah. No. Nicole Wieczorek: Nah, but they just said we need it. Sophia Irving: Okay. Nicole Wieczorek: Uh the battery contacts, like normal batteries ca you can put Sophia Irving: Yeah, Nicole Wieczorek: in. Sophia Irving: a recharger maybe. Brenda Blakenship: Yeah, we Nicole Wieczorek: Yeah Brenda Blakenship: have to Nicole Wieczorek: okay. Brenda Blakenship: make sure Nicole Wieczorek: Yeah Sophia Irving: We Brenda Blakenship: to Sophia Irving: still Brenda Blakenship: uh Nicole Wieczorek: but Sophia Irving: want to have a recharger, don't we? Is Brenda Blakenship: Yes. Sophia Irving: that still Brenda Blakenship: Yes. Sophia Irving: the Nicole Wieczorek: Yeah, but it i We don't wanna have a ar an How do you call it? Accu. Sophia Irving: A recha Oh no. Brenda Blakenship: Re recharger. Nicole Wieczorek: Y Sophia Irving: Uh Brenda Blakenship: Base Nicole Wieczorek: uh Sophia Irving: Battery. Nicole Wieczorek: just Brenda Blakenship: station. Sophia Irving: It's Nicole Wieczorek: just Sophia Irving: just a Nicole Wieczorek: batteries, Sophia Irving: battery. Nicole Wieczorek: rechargeable Sophia Irving: Yeah. Brenda Blakenship: Yeah, Nicole Wieczorek: batteries. Brenda Blakenship: batteries. Yes, rechargeable Nicole Wieczorek: Okay. Brenda Blakenship: batteries, I think's best. Nicole Wieczorek: Not a separate Sophia Irving: No, just Nicole Wieczorek: Okay. Sophia Irving: rechargeable batteries. Nicole Wieczorek: And uh a chip, that's this one. Then uh I received some possibilities. Um for the energy source we can use batteries or a kinetic uh Like with the pulse watch. So it operates Breanna Fritz: Ah Nicole Wieczorek: on Breanna Fritz: cool. Nicole Wieczorek: your wrist kinda. Breanna Fritz: Okay. Brenda Blakenship: So if you Nicole Wieczorek: If Brenda Blakenship: hold Nicole Wieczorek: you Sophia Irving: But Nicole Wieczorek: hold Brenda Blakenship: it, Sophia Irving: normally Nicole Wieczorek: it. Brenda Blakenship: it gets Sophia Irving: you Brenda Blakenship: powered. Sophia Irving: put a remote control on the table Nicole Wieczorek: Yeah, Sophia Irving: or Nicole Wieczorek: I don't Sophia Irving: on the Nicole Wieczorek: think it will work, Sophia Irving: couch. Nicole Wieczorek: and Or we can also use solar cells. But you mostly Sophia Irving: It's dark Nicole Wieczorek: use Sophia Irving: in Nicole Wieczorek: it Sophia Irving: the room. Nicole Wieczorek: indoors, Sophia Irving: No. It's Nicole Wieczorek: so Sophia Irving: just batteries, that's cheaper. Nicole Wieczorek: Yeah, and and we can use the home station kind of thing. Sophia Irving: Yeah. Nicole Wieczorek: Um cases, flat, so uncurved. Uh two D_ curved is um like front to the back. And three D_ curved is also in depth. Breanna Fritz: Okay. Nicole Wieczorek: So that's possible. Uh but with three D_ uh curved uh remote controls, we must use rubber buttons. So we can't Brenda Blakenship: Mm. Nicole Wieczorek: use the flat Brenda Blakenship: So Nicole Wieczorek: buttons. Brenda Blakenship: we need uh two D_. Nicole Wieczorek: Yeah, Sophia Irving: Yeah. Nicole Wieczorek: I think. Sophia Irving: Definitely. Nicole Wieczorek: Um these kinda materials can be used. Sophia Irving: But it doesn't really matter, we just make it plastic. Brenda Blakenship: Yeah. Nicole Wieczorek: Yeah, I think so too. Sophia Irving: The scroll wheels, that's cool. That's for the volume. Nicole Wieczorek: Yeah, scroll wheels um Brenda Blakenship: Yeah. Nicole Wieczorek: Yeah, that's good. We can use multiple scroll wheels, w if we want to. But I Sophia Irving: Yeah. Nicole Wieczorek: think just the volume is enough. Brenda Blakenship: Uh For channels it's not Sophia Irving: Okay. Brenda Blakenship: handy, because you scroll too fast. Nicole Wieczorek: And uh the L_C_D_. So we need Breanna Fritz: Mm Nicole Wieczorek: uh the expensive, most expensive chip, if we use an L_C_D_. Sophia Irving: I don't think that's an opportunity. Just skip it. that to Nicole Wieczorek: Okay, then we Sophia Irving: to put it Nicole Wieczorek: we Sophia Irving: in. Nicole Wieczorek: use m must use the second most expensive chip. So th so the regular chip. Because we use scroll wheels. Sophia Irving: Yeah, okay. Brenda Blakenship: Okay. Nicole Wieczorek: And um Yeah, that was it I Sophia Irving: Okay. Nicole Wieczorek: guess. Uh are are we using a a rubber case, or Sophia Irving: Oh Nicole Wieczorek: We haven't Sophia Irving: just Nicole Wieczorek: decided Sophia Irving: sk Maybe Nicole Wieczorek: yet. Sophia Irving: you have to skip that one as well. It's Brenda Blakenship: Uh I don't think Breanna Fritz: Uh Brenda Blakenship: a rubber Nicole Wieczorek: L Brenda Blakenship: case Nicole Wieczorek: Yeah, i Brenda Blakenship: looks Breanna Fritz: but we Nicole Wieczorek: it Breanna Fritz: have Nicole Wieczorek: it should Breanna Fritz: to Nicole Wieczorek: be Breanna Fritz: do Nicole Wieczorek: soft. Breanna Fritz: something about the trend. Nicole Wieczorek: You said so? Breanna Fritz: The trend is uh spong spongy uh and uh fruit or fresh fresh. Brenda Blakenship: Yeah, okay. That Breanna Fritz: And Brenda Blakenship: Uh fruit Breanna Fritz: uh now Brenda Blakenship: and Breanna Fritz: we Brenda Blakenship: veg, Breanna Fritz: have nothing Brenda Blakenship: or Breanna Fritz: about uh about those those two. Brenda Blakenship: Yeah, fruit and veg can be just the covers. Breanna Fritz: Uh yeah i Just Brenda Blakenship: So you can Breanna Fritz: Just on front. Brenda Blakenship: the the spongy yeah, I dunno. I can't imagine Sophia Irving: No. Brenda Blakenship: a soft remote control. Sophia Irving: No. Brenda Blakenship: I just can't imagine it. Nicole Wieczorek: So just hard plastic? Sophia Irving: Yeah. Nicole Wieczorek: Okay. Brenda Blakenship: Yeah, I think. Titanium. It's mentioned here uh. Nicole Wieczorek: Titanium, uh I think it's too expensive. Sophia Irving: But maybe the form has to be a bit different. Not the sh the square form. Just a bit Nicole Wieczorek: Yeah, you can make Sophia Irving: more Nicole Wieczorek: it curved Sophia Irving: rounded. Nicole Wieczorek: or Sophia Irving: Yeah. Nicole Wieczorek: mm round. But just in two D_, not Sophia Irving: Yeah. Nicole Wieczorek: in depth. Sophia Irving: Yeah, that's Brenda Blakenship: Okay. Sophia Irving: right. Sophia Irving: So We have to decide which one we're going to choose from these. What exactly. Because we have to know it. So the energy uh is the recharger. We already know that. Brenda Blakenship: Yeah. Sophia Irving: Just Brenda Blakenship: We Sophia Irving: a Brenda Blakenship: have Sophia Irving: normal Brenda Blakenship: batteries. Sophia Irving: battery. Okay. The chip-on-print is a normal one. Nicole Wieczorek: Yeah. Brenda Blakenship: Regular. Sophia Irving: Okay, the case is just a plastic Nicole Wieczorek: Yeah Sophia Irving: one. Nicole Wieczorek: th yeah, the chip is the the regular Sophia Irving: Yeah, Nicole Wieczorek: one. You Sophia Irving: re Nicole Wieczorek: have Sophia Irving: Yeah, Nicole Wieczorek: the simple Sophia Irving: regular. Nicole Wieczorek: one, regular Sophia Irving: Yeah, Nicole Wieczorek: and Sophia Irving: okay. Nicole Wieczorek: advanced. So it's Sophia Irving: Yeah, Nicole Wieczorek: b should Sophia Irving: regular. Nicole Wieczorek: be regular uh the second. Sophia Irving: Okay. Nicole Wieczorek: I think I'll just Sophia Irving: And Nicole Wieczorek: check Sophia Irving: we Nicole Wieczorek: it. Sophia Irving: need a plastic case, with a scroll wheel. Brenda Blakenship: Yes. Sophia Irving: That's pretty much it. Nicole Wieczorek: Yeah. Brenda Blakenship: User Sophia Irving: And Brenda Blakenship: interface Sophia Irving: a flashy Brenda Blakenship: concept. Sophia Irving: light. So uh I'm not sure. But we do I don't know if we expected to draw on this one at this moment. But Brenda Blakenship: I dunno either. Nicole Wieczorek: Mm. Or should we Brenda Blakenship: Uh Nicole Wieczorek: do it in the next meeting? Brenda Blakenship: I_D_ and U_I_D_ work together on prototype drawing on smart board. Sophia Irving: Yeah. Nicole Wieczorek: So Sophia Irving: That's Nicole Wieczorek: we Sophia Irving: for Nicole Wieczorek: should Sophia Irving: the next Nicole Wieczorek: did it Sophia Irving: one. Nicole Wieczorek: here? Brenda Blakenship: So Sophia Irving: That's for Brenda Blakenship: we're Sophia Irving: th Brenda Blakenship: staying here? Nicole Wieczorek: Or should we Sophia Irving: Uh Nicole Wieczorek: do it in the Sophia Irving: that Nicole Wieczorek: next Sophia Irving: I Nicole Wieczorek: meeting? Sophia Irving: think that's the next next meeting. Nicole Wieczorek: Okay. Sophia Irving: But you definitely get a specific instruction. Brenda Blakenship: Okay, so Nicole Wieczorek: Yeah. Brenda Blakenship: now we're ka thirty minutes alone again? Sophia Irving: But th think about something that's more rounded. Just And more Brenda Blakenship: Yeah, uh Sophia Irving: It has Brenda Blakenship: I dunno. Sophia Irving: to be Brenda Blakenship: But the iPod and etcetera, M_P_ three players, mobile phones. Sophia Irving: Uh a bit. Just just on the top Brenda Blakenship: Just Sophia Irving: or on the Brenda Blakenship: a bit Sophia Irving: bottom. Brenda Blakenship: cur Okay, I'll see if I can see any of those. Sophia Irving: Maybe the wheel can be uh like uh like this. O um if you draw it like this, you get a What the fuck is it? Okay. Mm Doesn't work. You see what I mean? If I draw here Nicole Wieczorek: What? Sophia Irving: It draws about four centimetres Nicole Wieczorek: Oh. Sophia Irving: lower than Nah okay. Nicole Wieczorek: Okay. Sophia Irving: Just. Maybe you can make it like this. And this is all the wheel for volume. So that you just um It's all rounded, so you can do Nicole Wieczorek: Like a Sophia Irving: uh Nicole Wieczorek: very Sophia Irving: turn Nicole Wieczorek: big Sophia Irving: this one. Nicole Wieczorek: scroll-wheel. Sophia Irving: Yeah, but just not on the top, but uh on the side of it. Nicole Wieczorek: Okay. Sophia Irving: Maybe, I dunno. Nicole Wieczorek: Hmm. Sophia Irving: Okay, so we have this at the moment. Nicole Wieczorek: I think uh you'll get a a lot of uh volume changing when Brenda Blakenship: Yeah, you Nicole Wieczorek: it's not wanted. Brenda Blakenship: Yeah. Sophia Irving: Okay, so we'd have this. Is that okay? Nicole Wieczorek: Yeah. Brenda Blakenship: Yeah, Nicole Wieczorek: I Brenda Blakenship: that's Nicole Wieczorek: think Brenda Blakenship: a little Nicole Wieczorek: it's Brenda Blakenship: problem, Nicole Wieczorek: probably Brenda Blakenship: of course, Nicole Wieczorek: better. Brenda Blakenship: as well. Sophia Irving: And Nicole Wieczorek: Yeah, but maybe we can make a a plastic, so that you i if you like drop it, it won't change the volume. Brenda Blakenship: Yeah, Nicole Wieczorek: Only Brenda Blakenship: maybe Nicole Wieczorek: if you Brenda Blakenship: you just Nicole Wieczorek: use your Brenda Blakenship: have to Nicole Wieczorek: finger. Brenda Blakenship: make it uh That's not scrollable too easy. Sophia Irving: Like this. And uh what's the channel choose? Where do we uh put that? Nicole Wieczorek: I think in Sophia Irving: Still Nicole Wieczorek: middle. Sophia Irving: on the bottom or Brenda Blakenship: Uh wh what is the middle part? Sophia Irving: That's the numbers. Nicole Wieczorek: Uh I Brenda Blakenship: Numbers, Nicole Wieczorek: think th the Brenda Blakenship: okay. Nicole Wieczorek: numbers should be in the bottom, and and the switch channel in the middle. Brenda Blakenship: Yeah, I agree as well. Use the Sophia Irving: It Brenda Blakenship: dz Sophia Irving: doesn't make a difference, if you put the s uh the switch channels on side of each other or on top of each other. Because you already have the volume here, so You can also put it here one butt and the other one there. Next to each other. Brenda Blakenship: Yeah, that's Sophia Irving: back Brenda Blakenship: right. Sophia Irving: and forth. So you can also can put it all on the top, and this, you keep this empty. Because you have to hold it as well. Nicole Wieczorek: Or you could do the switch channel up button above the the numbers and switch channel down button Sophia Irving: But that's Nicole Wieczorek: below. Sophia Irving: not want to zap very quick, so Brenda Blakenship: Yeah, Nicole Wieczorek: Yeah, Brenda Blakenship: I Nicole Wieczorek: okay. Brenda Blakenship: think uh zapping Sophia Irving: Yeah? Brenda Blakenship: is the highest priority. And then you use those Sophia Irving: Is Brenda Blakenship: uh Sophia Irving: this a opportunity, or you don't want Brenda Blakenship: Yeah, Sophia Irving: a different Brenda Blakenship: of course uh. Nicole Wieczorek: Uh but I think we we should bu uh put 'em on top of each other, so Sophia Irving: Why? Nicole Wieczorek: Because then it's it's easy to know m if I push the the Sophia Irving: But still Nicole Wieczorek: the Sophia Irving: the Nicole Wieczorek: up Sophia Irving: next It's still the next one. Nicole Wieczorek: Yeah, Sophia Irving: Doesn't Nicole Wieczorek: but the top Sophia Irving: make Nicole Wieczorek: the top button is is like you switch channel up, and down button is Sophia Irving: Yeah, but fo Nicole Wieczorek: If you put Sophia Irving: from Nicole Wieczorek: them Sophia Irving: left to right is exactly the same. Brenda Blakenship: Yeah. Sophia Irving: It ma it doesn't make Brenda Blakenship: I Sophia Irving: a big Brenda Blakenship: I Sophia Irving: difference. Brenda Blakenship: think it's Nicole Wieczorek: But Brenda Blakenship: It's Nicole Wieczorek: uh but Brenda Blakenship: it's obvious, Nicole Wieczorek: I I think Brenda Blakenship: I think. Nicole Wieczorek: uh left to right is more often associated with volume, and top down is more with uh Breanna Fritz: Yeah, Nicole Wieczorek: channel changing. Breanna Fritz: that's not not Sophia Irving: But it's Nicole Wieczorek: In Breanna Fritz: It's Sophia Irving: exactly Nicole Wieczorek: uh Breanna Fritz: not Nicole Wieczorek: On Breanna Fritz: al Nicole Wieczorek: most Breanna Fritz: uh always Sophia Irving: th Nicole Wieczorek: on most Breanna Fritz: the same. Nicole Wieczorek: remote Breanna Fritz: Every Nicole Wieczorek: controls. Breanna Fritz: remote control's Brenda Blakenship: Yeah, I think Breanna Fritz: uh Nicole Wieczorek: So so if we Breanna Fritz: different. Nicole Wieczorek: use that, they will probably have a long learning uh time. Sophia Irving: I dunno. Brenda Blakenship: No, Sophia Irving: I You Brenda Blakenship: uh Sophia Irving: already Brenda Blakenship: I Sophia Irving: have Brenda Blakenship: think Sophia Irving: the volume on the side, so you can't make it you can't ma make a Brenda Blakenship: Yeah. Sophia Irving: mistake. So it's Brenda Blakenship: I think Sophia Irving: uh Brenda Blakenship: it's s so Nicole Wieczorek: I Brenda Blakenship: simple Nicole Wieczorek: dunno. Brenda Blakenship: you just Nicole Wieczorek: Okay. Sophia Irving: So but that's for that's for you, 'cause Brenda Blakenship: Yeah, Sophia Irving: it's Brenda Blakenship: okay I'll d I'll take a look at it. Sophia Irving: Okay, so hmm. What did What else we have to discuss about? I dunno. Brenda Blakenship: Think we need to work uh thirty minutes again? Breanna Fritz: Yeah, we have to care that it r uh looks really new. Because uh we still hold on to the uh ordinary uh uh square uh Sophia Irving: Yeah. Breanna Fritz: remote control. 'Cause wha what I see the only difference i i i in fact is that we use a scroll-wheel on the outside. Sophia Irving: And the Brenda Blakenship: No, Sophia Irving: LED. Brenda Blakenship: you have uh Nicole Wieczorek: Yeah, but i Brenda Blakenship: It Nicole Wieczorek: i it Brenda Blakenship: is Nicole Wieczorek: should be round in Brenda Blakenship: Uh Nicole Wieczorek: in shape. Brenda Blakenship: the current Nicole Wieczorek: So Brenda Blakenship: uh controllers are all black and plastic. You have to look at that image of the iPod. Breanna Fritz: Yes. Brenda Blakenship: More Breanna Fritz: Okay. Brenda Blakenship: that uh kind of style. Breanna Fritz: And a bit uh Brenda Blakenship: Not not the old grey Sophia Irving: Uh Brenda Blakenship: black Breanna Fritz: Some some Sophia Irving: Yeah. Breanna Fritz: kind of bling bling uh Brenda Blakenship: Where Breanna Fritz: mm Brenda Blakenship: you can put a ve Breanna Fritz: can we have Brenda Blakenship: Uh we have If we do it like that we have below have we uh a lot of room to put a nice logo. Sophia Irving: Yeah. Uh the logo was has to be on there. Yeah, that's right. Breanna Fritz: Uh and how many uh fronts uh fronts do we put on the market then? Uh five or something? Sophia Irving: Yeah, Breanna Fritz: Or more Sophia Irving: five. Breanna Fritz: or Sophia Irving: Let's give five. Brenda Blakenship: Maybe you can buy separate ones Breanna Fritz: And Brenda Blakenship: and uh Breanna Fritz: um uh uh buy the product. You buy, you get one. And uh basic. Or you Brenda Blakenship: Yeah. Breanna Fritz: can Brenda Blakenship: Um Breanna Fritz: choose one uh Brenda Blakenship: I think Breanna Fritz: if you buy Brenda Blakenship: Yeah. Breanna Fritz: the project. Nicole Wieczorek: No, Brenda Blakenship: That's Nicole Wieczorek: tha Brenda Blakenship: your Nicole Wieczorek: that Brenda Blakenship: choice, Nicole Wieczorek: will be Brenda Blakenship: I think huh. Sophia Irving: So y you can put the bottom of the remote control in recharger? Is that is that a good good opportunity? Brenda Blakenship: Yes. Nicole Wieczorek: Yeah, Sophia Irving: So you Nicole Wieczorek: so Sophia Irving: could put it like Nicole Wieczorek: top Sophia Irving: that, Nicole Wieczorek: down. Sophia Irving: okay. Nicole Wieczorek: Hmm? Breanna Fritz: Yeah, you sl uh you let it slide in the docking station. Nicole Wieczorek: Do we have to design that w as well? Breanna Fritz: Yeah. Sophia Irving: Uh I'm Nicole Wieczorek: The Sophia Irving: not Nicole Wieczorek: docking Sophia Irving: sure. Nicole Wieczorek: station? Brenda Blakenship: Yeah, I think so. Nicole Wieczorek: Hmm. Breanna Fritz: Yeah, we Brenda Blakenship: But Breanna Fritz: can b Brenda Blakenship: th Yeah, that can be very simple. Least. Breanna Fritz: It c it could be Nicole Wieczorek: Yeah, Breanna Fritz: just just Nicole Wieczorek: just a recharger. Breanna Fritz: a square, just Brenda Blakenship: Yeah, Breanna Fritz: a Brenda Blakenship: just Breanna Fritz: packet. Brenda Blakenship: where you're around something. Li Yeah, we had one example. Nicole Wieczorek: But we have to make contacts on the on the remote control and the recharger as well. Brenda Blakenship: Mm. Mm. Breanna Fritz: Yeah, but that's a round Brenda Blakenship: Which w Breanna Fritz: one. Maybe we can choose then. Brenda Blakenship: Here you see one that's very round. Nicole Wieczorek: Oh yeah, okay. Brenda Blakenship: So I think that can be all kind of shapes. Sophia Irving: But maybe you can just round up the corners a bit. Nicole Wieczorek: Of Sophia Irving: That's Nicole Wieczorek: the remote Sophia Irving: all. Nicole Wieczorek: control? Sophia Irving: Yeah. Breanna Fritz: Yeah. Nicole Wieczorek: Yeah Yeah. Sophia Irving: Just Brenda Blakenship: Yeah, Sophia Irving: round it Brenda Blakenship: so Sophia Irving: up. Brenda Blakenship: y you don't want uh this uh like the iPod. But Sophia Irving: No. Brenda Blakenship: More rounded. Sophia Irving: Yeah. Yeah. Brenda Blakenship: Yeah, I think it will just look like more like this one. Since it's This is also rounded. Sophia Irving: No, Brenda Blakenship: I think Sophia Irving: just Brenda Blakenship: i Sophia Irving: just the corners. Brenda Blakenship: Yeah okay, tho those are al already a bit cornered. Mm Sophia Irving: Okay. Nicole Wieczorek: Yeah, but we can we can do all kinds of uh As long as it isn is in two D_ we can use all kind of Sophia Irving: Shapes. Nicole Wieczorek: round shapes. Brenda Blakenship: Yeah okay, but then Nicole Wieczorek: Not Brenda Blakenship: we Nicole Wieczorek: in Brenda Blakenship: have Nicole Wieczorek: depth. Brenda Blakenship: to think of something totally new. Nicole Wieczorek: Yeah, but Yeah, if if we want to make it kind of, yeah, new. Brenda Blakenship: I've uh I had a lot of picture of old ones. And all curves have already been done. Sophia Irving: It's a bit annoying, isn't it? Breanna Fritz: Yeah. What do we do wrong? Hmm. Just just more like this and not uh a square. Brenda Blakenship: Yeah okay, Breanna Fritz: Okay. Brenda Blakenship: yeah well Nicole Wieczorek: Yeah, but we could do a lot of, lot more curving. I would do it Brenda Blakenship: Yeah. I know we can do a lot more, but Breanna Fritz: Yeah, it Nicole Wieczorek: Like in this kind of shape or Breanna Fritz: Uh it's very annoying. Okay. Nicole Wieczorek: I dunno. I dunno if it's handy. Brenda Blakenship: I think it will only Breanna Fritz: Uh Brenda Blakenship: look more like the old remote controls. Nicole Wieczorek: This? Brenda Blakenship: Yeah. Nicole Wieczorek: The olden the olden ones had looked like just a square Brenda Blakenship: Yeah Nicole Wieczorek: thing. Brenda Blakenship: okay. But uh I had a lot of pictures Oh I can show you here what the old ones look like. Nicole Wieczorek: Mm. Brenda Blakenship: Curves, curves. Nicole Wieczorek: Yeah. Brenda Blakenship: You've more there as well. Nicole Wieczorek: Yeah, okay. Brenda Blakenship: It wasn't very small one. Nicole Wieczorek: Yeah. Brenda Blakenship: very simple. That is for elderly. Sophia Irving: So we have to make a decision, what kind of form it's gonna have t going to have. Nicole Wieczorek: Yeah, I don't know. Breanna Fritz: Yeah. Brenda Blakenship: I think if w My opinion. If we just uh take the iPod, and Breanna Fritz: Yeah. Brenda Blakenship: the same look. So uh light or just whatever colour, but the same light colours. Nicole Wieczorek: Mm-hmm. Brenda Blakenship: And uh just with uh together with uh the back-lights b look will look very new. No rubber buttons or something. Just together with the back-lights you'll get a totally new look. More like the M_P_ three player M_ um P_ M_ P_ three player. Nicole Wieczorek: Yeah. Sophia Irving: And you have the scroll button inside. Brenda Blakenship: Yes. Sophia Irving: Okay. Brenda Blakenship: Just Breanna Fritz: Yeah. Brenda Blakenship: a simple Sophia Irving: But why Brenda Blakenship: scrollb Sophia Irving: do we have to round it on the t bottom then? Of Skip that one as well. Brenda Blakenship: Doesn't have to be. Sophia Irving: Okay. Yeah, it's cool. Nicole Wieczorek: Yeah, though that's a trend. If we want to make it. But yeah, I'm not a Trendwatcher, you are. So Breanna Fritz: Uh the t the trend is Sophia Irving: Rubber spongy. Breanna Fritz: spongy and fruity. But yeah. Brenda Blakenship: Yeah. No. Nicole Wieczorek: Spongeball Brenda Blakenship: Spongy Nicole Wieczorek: kinda. Brenda Blakenship: and Breanna Fritz: It's not not a lot of trends I uh I found uh Sophia Irving: Okay, so we have s still one minute left. So Breanna Fritz: Uh Sophia Irving: just I think it's okay if you just keep it a bit square. Brenda Blakenship: Mm. Nicole Wieczorek: Okay. Breanna Fritz: It The Nicole Wieczorek: Yeah, I d Breanna Fritz: th Nicole Wieczorek: I Breanna Fritz: th Nicole Wieczorek: don't know n something about ergonomic kind Sophia Irving: No. Nicole Wieczorek: of fits-in-the-hand Breanna Fritz: Yeah. Nicole Wieczorek: uh Sophia Irving: But Nicole Wieczorek: stuff. Sophia Irving: I I think it's still for older people. You j still have older people. It's only annoying if it if it's like that f formed like that, like f Whatever. Just Breanna Fritz: There is Nicole Wieczorek: Yeah, Breanna Fritz: one Sophia Irving: you have Nicole Wieczorek: but Sophia Irving: a normal Nicole Wieczorek: we're we're aiming at a young Breanna Fritz: There's Nicole Wieczorek: public. Breanna Fritz: just one overall important aspect is that we must make it fancy and it looks original, and I hope we can uh make it look not like the iPod itself. It must have uh uh uh Brenda Blakenship: Yeah, Breanna Fritz: a very Brenda Blakenship: idea. Breanna Fritz: different Brenda Blakenship: But you're If you look at the way remote controls are now Breanna Fritz: Yeah, they're all Brenda Blakenship: And Breanna Fritz: the same. Brenda Blakenship: if you Sophia Irving: But Brenda Blakenship: make Sophia Irving: i it Brenda Blakenship: it Sophia Irving: is Brenda Blakenship: look Sophia Irving: it Brenda Blakenship: like Sophia Irving: is Brenda Blakenship: the iPod Sophia Irving: it is already fancy. Because of the lights on the bottom Brenda Blakenship: Yeah Sophia Irving: of it. That's Brenda Blakenship: okay. Sophia Irving: already Brenda Blakenship: So Sophia Irving: fancy. Brenda Blakenship: that's already Sophia Irving: Uh Brenda Blakenship: a very big Sophia Irving: maybe Brenda Blakenship: change Sophia Irving: maybe Brenda Blakenship: compared Sophia Irving: make Brenda Blakenship: to Sophia Irving: the the mm the wha what's it called uh scroll wheel. Make it in in yellow or something. Just like the colours of Real Nicole Wieczorek: Hmm. Sophia Irving: Reaction. Brenda Blakenship: Ye yeah. Well uh Nicole Wieczorek: Yeah, we could do that. Brenda Blakenship: Could. Breanna Fritz: Uh yeah, but uh if you the f uh front, the scroll wheel will still uh Sophia Irving: Yeah. Breanna Fritz: be yellow. Brenda Blakenship: No, I think Oh. Sophia Irving: It's right. Brenda Blakenship: Think the scroll wheel won't be very big. Since if you put it uh somewhere, the chances that it will scroll are too big. Sophia Irving: Yeah. Brenda Blakenship: So it will just be a small small scroll wheel. So it won't uh stick out much. Sophia Irving: Yeah. Maybe the ones we are going to draw there. Maybe we have to ask uh to the the mm to her if it has if it can work better than this. Because it doesn't work properly. Breanna Fritz: No. Sophia Irving: So maybe you Brenda Blakenship: Yeah Sophia Irving: have Brenda Blakenship: okay. Sophia Irving: to ask Brenda Blakenship: Well, Sophia Irving: her. Brenda Blakenship: maybe we can just open images there, and I'll paint and paint. Sophia Irving: Okay. Brenda Blakenship: I'll Sophia Irving: Yeah. Brenda Blakenship: be able to do Sophia Irving: That's Brenda Blakenship: a better Sophia Irving: probably Brenda Blakenship: job. Breanna Fritz: If you set the pen yeah, he will draw here. Doesn't work. Sophia Irving: Okay, so just finish it. So we make it a bit like m that one probably. Breanna Fritz: Yeah, Sophia Irving: Yeah. Is that okay? Brenda Blakenship: Bu Breanna Fritz: I'll see it. Brenda Blakenship: Yeah, I Nicole Wieczorek: Yeah. Brenda Blakenship: agree more Sophia Irving: Okay, Brenda Blakenship: like iPod. Sophia Irving: only the colour and the flashy light and Brenda Blakenship: Yes. Sophia Irving: the Brenda Blakenship: Just Sophia Irving: We just Brenda Blakenship: a Sophia Irving: we just skip the the the voca or was it the the speech Brenda Blakenship: Speech. Sophia Irving: recognition. Brenda Blakenship: Yeah, do we s keep that? Yeah, I think Sophia Irving: Or keep that? It's okay. But you'd definitely Nicole Wieczorek: S Sophia Irving: need a Brenda Blakenship: Well Nicole Wieczorek: Uh Brenda Blakenship: uh then Nicole Wieczorek: yeah, Sophia Irving: advanced Brenda Blakenship: it Nicole Wieczorek: I Brenda Blakenship: w Sophia Irving: chip. Nicole Wieczorek: don't Breanna Fritz: Uh Nicole Wieczorek: know. Yeah, I think so. And we we have to build in a microphone and Brenda Blakenship: Well that's very easy. We already have uh the beeping of the Nicole Wieczorek: Yeah, and I do I Brenda Blakenship: home Nicole Wieczorek: don't Brenda Blakenship: station, Nicole Wieczorek: know anything Brenda Blakenship: so Nicole Wieczorek: about that. I d Breanna Fritz: No. Nicole Wieczorek: I didn't receive any information Brenda Blakenship: Uh strange Nicole Wieczorek: on speech Brenda Blakenship: that Nicole Wieczorek: recognition, Brenda Blakenship: I received Nicole Wieczorek: so Brenda Blakenship: the Breanna Fritz: Oh that's hard. Brenda Blakenship: information Breanna Fritz: But Brenda Blakenship: about Sophia Irving: So Brenda Blakenship: that. Breanna Fritz: Uh the ma the main points I I I uh just said. We have to be original and uh technological innovative. Becau Yeah. Sophia Irving: Can we just Breanna Fritz: But Sophia Irving: put it speech recognition in it as well, okay? Brenda Blakenship: So shall we Breanna Fritz: Ma Brenda Blakenship: it open then? Sophia Irving: Yeah. Brenda Blakenship: So we can put all the Sophia Irving: The function of that in there. Yeah. Brenda Blakenship: Okay. Sophia Irving: And we need Nicole Wieczorek: Fine. Sophia Irving: a Probably we need a uh advanced chip then. Nicole Wieczorek: Yeah, we Sophia Irving: But Nicole Wieczorek: probably Sophia Irving: it doesn't say Nicole Wieczorek: do. Sophia Irving: anything Brenda Blakenship: Yeah. Sophia Irving: about it, does it? Nicole Wieczorek: No. Brenda Blakenship: Oh yeah, Breanna Fritz: But we don't Brenda Blakenship: I Breanna Fritz: have any f information about the cost. Brenda Blakenship: No. Breanna Fritz: We started with information about Brenda Blakenship: I just Breanna Fritz: the cost Nicole Wieczorek: Yeah, Breanna Fritz: was Nicole Wieczorek: uh Breanna Fritz: now Brenda Blakenship: I Nicole Wieczorek: I Brenda Blakenship: just Breanna Fritz: th Brenda Blakenship: received Nicole Wieczorek: have I Brenda Blakenship: the Nicole Wieczorek: have some some information about the cost. But just a about Brenda Blakenship: Yeah. Nicole Wieczorek: the chip. Breanna Fritz: And how much is the chip? The the the Nicole Wieczorek: I don't know how much, but Brenda Blakenship: Yeah, our division has Nicole Wieczorek: Just Brenda Blakenship: developed Nicole Wieczorek: in inexpensive Brenda Blakenship: a new speech recognition Nicole Wieczorek: or Brenda Blakenship: feature, the integrated programmable sample sensor simple speaker u unit. This is a very small electronic unit, will give a standard answer after it recognise a question. Breanna Fritz: And how how does it work? Is it Brenda Blakenship: Doesn't say. Just You say record, followed by your question sample, and after a few seconds the answer uh sample. Because uh So it works like uh good morning remote control, and then the remote control says good morning. Sophia Irving: It doesn't has to say anything. Breanna Fritz: No. Sophia Irving: Just You have to just talk Breanna Fritz: Does Sophia Irving: to Brenda Blakenship: Yeah Breanna Fritz: it say Brenda Blakenship: uh th that's Breanna Fritz: does it say Brenda Blakenship: just Breanna Fritz: something Sophia Irving: Okay, Breanna Fritz: back? Sophia Irving: we have to stop Brenda Blakenship: It's Sophia Irving: it now. Brenda Blakenship: a Sophia Irving: So Brenda Blakenship: No. Sophia Irving: just Brenda Blakenship: Yeah, it Well that's integrated in the chip, so if you use the speech recognition, Sophia Irving: Okay, that's a r Brenda Blakenship: that's Sophia Irving: That's that's Brenda Blakenship: in it. Sophia Irving: a Nicole Wieczorek: But i it's Sophia Irving: advanced Nicole Wieczorek: a separate chip. Brenda Blakenship: I dunno, but if we use speech recognition, that will be in it as well. Breanna Fritz: Okay. Nicole Wieczorek: Yeah, I don't know anything about Breanna Fritz: Um Nicole Wieczorek: this, but Sophia Irving: Yeah, we Nicole Wieczorek: Nah. Sophia Irving: just decide not to put it in, because it's too difficult. Nicole Wieczorek: I dunno. Brenda Blakenship: Well it it would be would be a good feature Breanna Fritz: Yeah. Brenda Blakenship: feature. Sophia Irving: Okay, we just put it in, because Brenda Blakenship: Okay. Sophia Irving: it's a good feature. Brenda Blakenship: No Sophia Irving: We Brenda Blakenship: no worries about Sophia Irving: have to Brenda Blakenship: the cost, Sophia Irving: stop now. Brenda Blakenship: etcetera. Sophia Irving: Okay, Brenda Blakenship: And there's Sophia Irving: just Brenda Blakenship: a chip Sophia Irving: We Brenda Blakenship: in Sophia Irving: have Brenda Blakenship: it Sophia Irving: to stop Brenda Blakenship: that Sophia Irving: it Brenda Blakenship: will Sophia Irving: now. Brenda Blakenship: Okay. Breanna Fritz: Fine.

Sophia Irving reviewed the minutes from the previous meeting. Breanna Fritz gave a trendwatching report. He found that a fancy look and feel was most important for users. He also discussed the trend towards spongy materials. The group discussed the cost of adding speech recognition, the LCD screen, and the advanced chip. Brenda Blakenship discussed the look of the interface with the group. They discussed the placement and design of the buttons and decided to use scroll wheels for volume. Nicole Wieczorek advised that flashy colors and rounded shapes be used. The group discussed how to incorporate the logo and including changeable faces. They discussed materials for the buttons and the backlight. The group decided to use rechargeable batteries and a stand, to use plastic for the casing and buttons, and to not include an LCD screen. Brenda Blakenship and Nicole Wieczorek were instructed to draw the prototype at the next meeting, and Brenda Blakenship was instructed to finalize the button placement. The group finalized the look of the product, and eventually decided to incorporate speech recognition and an advanced chip.

amisum

train

Ofelia Green: Good morning, again. Lillian Knight: One question. Kimberly Sclafani: Yeah. Choose Lillian Knight: Send. Kimberly Sclafani: a number? Lillian Knight: Submit. Marie Brocato: Yep yep yep yep. Ofelia Green: All Lillian Knight: Mm. Ofelia Green: set? Marie Brocato: Mm-hmm. Lillian Knight: Yeah. Ofelia Green: Good Okay. Let's see what we can find here. Okay. A very warm welcome again to everyone. Um here we are already at our uh functional design meeting. Um and this is what we are going to do. The opening, which we are doing now, um and the special note, I'm project manager but on the meetings I'm also the secretary, which means I will make uh minutes as I did of the previous meeting. And uh I put these as fast as possible in the uh project folder, so you can see them and review what we have discussed. Um if I'm right, there are three presentations, I guess each one of you has prepared one? Kimberly Sclafani: Yes. Ofelia Green: Good. And um we will also take a look at new project requirements, um if you haven't heard about them yet. And then of course we have to take a decision on the remote control functions and we have some more time, forty minutes. But I think we will need it. Um well I don't know who wants to go first with his presentation. Lillian Knight: I'll go first. Okay. Marie Brocato: Yeah. Lillian Knight: I'll go first Kimberly Sclafani: Well. Ofelia Green: You Lillian Knight: yeah. Ofelia Green: can go first, okay. Marie Brocato: Well, shall I go first with the users? Kimberly Sclafani: Well Marie Brocato: I think well okay no problem. Ofelia Green: Is there Kimberly Sclafani: everybody Ofelia Green: an order? I Kimberly Sclafani: already Ofelia Green: haven't Kimberly Sclafani: has Marie Brocato: Ja Kimberly Sclafani: his presentation, Marie Brocato: precies, ja precies, Kimberly Sclafani: so Lillian Knight: So. Marie Brocato: ja precies Kimberly Sclafani: you can adjust Lillian Knight: Huh? Kimberly Sclafani: it. Lillian Knight: Okay, um Ofelia Green: And one question, uh your name Denni, is it with a Marie Brocato: E_I_E_. Ofelia Green: I_E_ E_I_E_, okay. Thank you. Lillian Knight: Okay, um I wanted to explain the working design of the remote control. It's possibly very handy if you want to uh design one of those. Um well so it basically works uh as I uh uh r wrote down uh in this uh little uh summary. Uh you press a button, uh that's when you do pr example when you uh want to turn up the volume, um a little connection is made uh the the rubber uh button just presses on a Ofelia Green: Sorry. Lillian Knight: on a little print plate uh which uh makes uh uh a connection that uh gives the chips, uh which is uh mounted beneath those uh that plastic of a rubber button. Uh senses that a connection has been made, and know and knows what button you pressed, becau uh for example the the volume up or volume down button. Um uh the the chip uh makes a Morse code uh like uh signal which uh then is si uh signalled to uh several transistors which makes uh which sends the signal to a little let. You know what a let is? Kimberly Sclafani: Yeah. Lillian Knight: Okay. And that makes uh the the infra-red lights signal which is sent to the television set. Uh which has a sensor in it to uh sense uh the signal of the infra-red. That's basically uh how it works. Um the findings uh uh that I found uh searching up some uh detailed information about the remote controls, are that uh they are very easy to produce, uh it is pis uh it's possible to uh make them in mass production because it is as eas it is as easy as uh printing a page, uh just uh fibreglass plate um is b uh is uh covered with uh some uh coatings and uh uh and chips. Uh and the technology's already available, we don't have to find out how remote controls uh have to work or uh how that how uh to make some chips that are possible to uh to to transmit those uh signals. Uh I made a little uh uh animation of about how a tran our Kimberly Sclafani: Oh Lillian Knight: uh Kimberly Sclafani: right. Lillian Knight: remote controller works. Marie Brocato: Animation. Lillian Knight: we tel Kimberly Sclafani: There is something turning. Lillian Knight: There. Ofelia Green: Yeah, it's a little bug it's in the in the smart board. Lillian Knight: Okay. Uh well the sub-component, I suppose that you understand what a sub-component is, is f in this example it's the button. Uh when it is pressed down, um, the switch is ter is uh is switched on, so with uh the wire is sent to the to the chip in uh co-operation with the battery of course, because to make uh a a signal possible you have to have some sort of uh li uh a d ad uh electronic uh Marie Brocato: Infrared light. Lillian Knight: Yes, uh, okay. Um w after it's being composed by the chip uh the signal uh is transported uh to the infra-red bulb, and from there it signals a Morse code-like signal to the to the b to the bulb in uh in the television set. Okay. S Uh I wrote down some personal preferences about uh the remote control. Of course it is very handy if the remote control is hand held, so you don't have to uh uh wind it up or something, or just is it's it's very light to uh to make uh to use it. Uh I personally uh pref prefer that uh it would be p uh come available in the various colours, and uh easy to use buttons. But I suppose that the one of the other team members Kimberly Sclafani: Yeah, I've got Lillian Knight: uh Kimberly Sclafani: it there too. Lillian Knight: uh thought of that uh too. And it is possible for several designs and um easy to use b uh sorry, easy to use buttons. Perhaps soft touch, uh touch screen uh buttons because uh the rubber buttons are always uh uh they uh slightly uh they can be slightly damaged, uh so the numbers on the buttons are not possible uh to read anymore. And uh well as I said uh before th uh we can uh make several designs. Kimberly Sclafani: Yeah. Lillian Knight: Okay, well, that's my contribution to this meeting, and uh Marie Brocato: To this meeting. Ofelia Green: Okay, Lillian Knight: two Ofelia Green: thank Lillian Knight: of Ofelia Green: you. Lillian Knight: these this Kimberly Sclafani: Shall Lillian Knight: meeting. Kimberly Sclafani: I go uh next? Ofelia Green: Yep. Lillian Knight: So. Kimberly Sclafani: 'Kay. Ofelia Green: Please. Kimberly Sclafani: So. Marie Brocato: Smoking. Kimberly Sclafani: Well uh, my name's, and I looked at uh technical functions design of the remote. Uh I did this by uh looking at examples other remote controls, of how they uh they look, and information from the web that I found. Um well what I found was that uh th the actual use of the remote control is to send messages to television set, how you uh d what you described uh just early. And this can be all sorts of medsa messages, turn it on, turn it off, uh change the channel, adjust volume, that kind of thing. Uh play video, teletext, but also t uh play C_D_ if you use it your C_D_ player the remote control will that one. There are some uh examples of remote controls. You can see they are very different. The one has got all the functions that you could possibly need and an lot of uh buttons etcetera. And the other is uh more user friendly, little with big buttons. And uh not n all the the the the stuff you can do with it, but uh the the essential stuff is there. Um I guess you could better y you should look at a a user centred uh approach, because the customers have to use them and and if they don't think it's usable they won't uh buy it. A lot of buttons they may think from I don't need s as much as that. Uh, well perf personal preferences is is uh a simple remote, with uh the basic functions that you can need that you could use. But uh keep in mind the new functions of T_V_ what we discussed earlier, split screen and uh is that a function that you should have? Because all the T_V_s will have them. Or because of only a few and isn't really necessary. And then uh make it I would make so that you can could uh use it on more than one appliance. If you have one that uh uh does with the vi the the video, it could also work with uh with the stereo, because play is play and stop stop and that sort of thing. The shu c you could reuse the buttons so that you don't have to have a lot of buttons for uh anything. And it should be a user friendly, clear buttons, and not too much. And that is my presentation. Ofelia Green: Okay, Lillian Knight: Okay. Ofelia Green: thank you. Marie Brocato: 'Kay. Check. Kimberly Sclafani: You must still have it open. Marie Brocato: Kijke Marie Brocato: 'Kay, so. We're going to j discuss the functional requirements of the remote, that m that means that functions user n want to have on the remote control, or just Yeah, and the users, actually. The methods I I prefer is we're going to look which section of the users we are going to focus a l on more. Are the younger people going to buy the remote control or the elderly people? And then tho that section we're going to focus and adjust the remote more to that section than the whole user section. Okay. Some data. Younger people, from sixteen to thir forty five um years are more interested in fj features like L_C_D_ screens, speech recognition e etcetera. And we possess about two third of the market from in that range of age. The elderly people, from forty five years to sixty five years are not that much interested in features, and we possess less than two third, that's two fifth, of the market share in that area. Goed so. Lillian Knight: Hmm. Marie Brocato: 'Kay. Findings. Fifty percent of the users lose their remote often. So we don't have to make it very small, Kimberly Sclafani: Yeah. Marie Brocato: like uh like a mobile phone or something, but some somewhat bi bigger than small, so you don't lose it that much anymore. Seventy five percent of the users also find it ugly, Lillian Knight: Mm. Marie Brocato: and fif seventy five of the users zap a lot, so the buttons sh should be that small, or shouldn't be that complex because we have to search for the buttons, which one are you going to use. Next. Important issues about the remote. I think it would be better with a personal reference, but okay. Remote control has to have to have a low power usage, because s w seventy five percent of the users only zap one time an hour, so the power usage is also one one time an hour, or so, with a high power usage we would use a lot of but batteries. The volume button and the channel buttons are the two most important buttons on the remote control, so those they those have to h be find very easily. And have to be somewhat like bigger etcetera. It has also be have to find easily when the label is gone. My colleague Lillian Knight: Mm. Marie Brocato: also announced it that labels should be scratched off Kimberly Sclafani: Hmm. Marie Brocato: or would be s uh senden okay. So uh if that's k uh if that's the problem, you also have to find it easily on the remote. Buttons. Like what all colleagues said, have to have to be minimalized. or should be covered, or in L_C_D_ screen. L_C_D_ screen is easy because we have the L_C_D_ screen, we have the various options. Put one option and then you have the all the buttons of that options, so the other options would be gone. And you don't see the buttons. So L_C_D_ screens should be easy, but an L_C_D_ screen, the problem with the L_ sc L_C_D_ screen is that elderly people fr from forty five to for sixty five years don't use the L_C_D_ screen a lot. So we have to that keep that in mind that if you're going to implement L_C_D_ screen, you don't have to make it that hard to learn or to use. Lillian Knight: Uh L_C_D_ screen as in uh touch screen? Marie Brocato: Yeah, touch screen, Lillian Knight: Okay. Marie Brocato: yeah. The last but not least, younger people are more critical about the features. Because they use the remote control often more often, and are more technical than the ol older people. And the older people spend more money, Kimberly Sclafani: Mm. Marie Brocato: and easily on a remote control. Lillian Knight: 'Kay. Marie Brocato: So we have to keep in mind to to focus not a lot not that much on the younger pep younger people, but also somewhat on the elderly people. And on my personal preferences, I don't have any mo more time to come with that, but like I said, L_C_D_ screen is easily to use because you have you can implement a lot of buttons in one remote with not that much buttons. And it should be easy to use. Especially the volume buttons, the channel buttes buttons and the number buttons to zap through the channels. And that is it. Lillian Knight: Okay. Ofelia Green: Okay, Kimberly Sclafani: Oh right. Ofelia Green: thank you. Um, well thank you all, huh. I dunno uh did everyone receive an email with uh the new project requirements? Kimberly Sclafani: No. Ofelia Green: No? Well, Kimberly Sclafani: Res I did not. Lillian Knight: No. Kimberly Sclafani: Perhaps the rest? Ofelia Green: then I think it's a good thing Marie Brocato: Ja, Ofelia Green: that I made a separate slide of them so you can all read them. Oh, well not in this presentation. Hmm. Should be in there. Well, I can tell you them uh from my laptop. Um teletext does has become outdated since the popularity Kimberly Sclafani: Oh. Ofelia Green: of the internet. So that's uh the first thing we I think we should pay less attention to uh teletext. Uh the remote control should only be used for the television, otherwise the project becomes more complex, which endangers the time to market, and of course would make it more costly, I think. Um our current customers are within the age group of forty plus, and new product should reach a new market with customers that are younger than forty, and you talked about that before. And uh a last point, but also very important, our corporate image should stay recognisable in our products, which means that our uh corporate colour and slogan must be implemented in the new design. So we have to keep that in mind. Um well uh according to our agenda it's then time to take a decision on the remote control functions. Kimberly Sclafani: Mm. Ofelia Green: So, who has any idea about what should be on it, and what shouldn't? Kimberly Sclafani: Well you said it should only Marie Brocato: Be television. Kimberly Sclafani: uh work with one appliance? Or with one uh d che only the T_V_? Ofelia Green: Yeah. Lillian Knight: Yeah. Ofelia Green: Only be used Kimberly Sclafani: And Ofelia Green: for television. Kimberly Sclafani: the video also, or not uh? Marie Brocato: Only Ofelia Green: Well Marie Brocato: the Ofelia Green: it Marie Brocato: television. Ofelia Green: says only for television here, Kimberly Sclafani: Oh. Ofelia Green: huh. Kimberly Sclafani: Alright. Okay. Ofelia Green: Makes it a lot easier, huh? Kimberly Sclafani: Yeah. Lillian Knight: Mm. Marie Brocato: So yeah, then you can yeah. Requirements, no? Functions. Ofelia Green: Mm-hmm. Kimberly Sclafani: Then it should Lillian Knight: Yeah for Kimberly Sclafani: have uh on, off, Marie Brocato: Yeah, Lillian Knight: Standby Kimberly Sclafani: and Marie Brocato: the Kimberly Sclafani: uh Marie Brocato: basics Lillian Knight: options, yeah? Marie Brocato: then by a volume, channel, one till two zero Lillian Knight: Uh yeah. Marie Brocato: numbers on it, Kimberly Sclafani: Yeah. And per Marie Brocato: oh teletext Kimberly Sclafani: perhaps uh Marie Brocato: doesn't have to be? Kimberly Sclafani: No. Marie Brocato: Um Kimberly Sclafani: Well uh uh Marie Brocato: other functions. Kimberly Sclafani: yes yes s Marie Brocato: Yeah Kimberly Sclafani: sh A button Marie Brocato: I had Kimberly Sclafani: where you can uh change from one number to two Lillian Knight: Two Kimberly Sclafani: numbers. Lillian Knight: s two Marie Brocato: Yeah, Lillian Knight: two digits, Marie Brocato: yeah. Lillian Knight: oh Kimberly Sclafani: Can Lillian Knight: okay. Kimberly Sclafani: you Don't know Lillian Knight: Yeah Kimberly Sclafani: if Lillian Knight: I Kimberly Sclafani: that's Lillian Knight: understand Kimberly Sclafani: got a name, Lillian Knight: what Marie Brocato: I Lillian Knight: you Marie Brocato: think Kimberly Sclafani: but Lillian Knight: mean. Marie Brocato: it's I Lillian Knight: Yeah. Marie Brocato: think it's easy to implement a button with a s s what which especially do that, because some T_V_s, if you press the t one and then the two, Lillian Knight: It makes Marie Brocato: it Lillian Knight: it twelve, Marie Brocato: be between Lillian Knight: yeah. Marie Brocato: five secs it make twelve, Kimberly Sclafani: Yeah. Marie Brocato: and that's Lillian Knight: Indeed. Kimberly Sclafani: S Lillian Knight: Okay. Marie Brocato: that's not relaxed Lillian Knight: Well, not Marie Brocato: to Lillian Knight: really Marie Brocato: user. Lillian Knight: And and there are some models that don't uh accommodate that function. So Marie Brocato: Yeah. Lillian Knight: d uh wh the Philip's television makes it possible in that indeed to uh press one and then two to Marie Brocato: So Lillian Knight: make Marie Brocato: that Lillian Knight: uh Kimberly Sclafani: Yeah. Lillian Knight: the Marie Brocato: it easy Lillian Knight: uh tj Marie Brocato: and Lillian Knight: to reach Marie Brocato: fast. Lillian Knight: channel twelve. But Marie Brocato: Yeah. Lillian Knight: uh all the television makes uh use of those button Kimberly Sclafani: Yeah. Lillian Knight: where you first press that button and then press two digits to uh Kimberly Sclafani: Yeah, so you Lillian Knight: to get Kimberly Sclafani: should have that one on. Lillian Knight: Uh yeah, think so. Kimberly Sclafani: Mute misschien Marie Brocato: plus, or? Kimberly Sclafani: also. Lillian Knight: Mm. Ofelia Green: Uh well new product should reach a market with customers that are younger than forty, and now Marie Brocato: Forties, Ofelia Green: we have Marie Brocato: okay Ofelia Green: current Marie Brocato: because Ofelia Green: customers uh of forty plus. Marie Brocato: because younger people as Uh younger people have now, sixteen till to twenty five age, are f eighty one percent interested in L_C_D_ screen. From twenty six to thirty five have sixty six percent, and thirty six to forty five, fifty five percent, so I think to um Because on most recog remote controls um the print plate will be broken how much, two years. You have to press h very hard Lillian Knight: Mm-hmm. Marie Brocato: to go to the Ofelia Green: Mm-hmm. Marie Brocato: next channel. With the L_C_D_ screen it's easier because you only have to wipe the screen to uh Lillian Knight: Yeah, we we Marie Brocato: for Lillian Knight: could Marie Brocato: fingerprint, Lillian Knight: yeah. Marie Brocato: and then you Lillian Knight: But Marie Brocato: can Lillian Knight: I Marie Brocato: use Lillian Knight: think Marie Brocato: it Lillian Knight: that Marie Brocato: again. Lillian Knight: uh that collides with our mission to make it very cheap. Because Marie Brocato: Yeah, Lillian Knight: L_C_D_ Marie Brocato: okay. Lillian Knight: screens are very expensive. Marie Brocato: Yeah but Lillian Knight: A touch Marie Brocato: a Lillian Knight: screen Marie Brocato: you don't Kimberly Sclafani: An Marie Brocato: know Lillian Knight: uh probably uh even more. So, Marie Brocato: True. Lillian Knight: true, true. But uh Well um an L_C_D_ screen uh, how was the information? Marie Brocato: Yeah, it only says that this perce percentage like L_C_D_ screen. Because, yeah and it says that younger age between sixteen and forty five highly interesting features more critical. Lillian Knight: So Marie Brocato: And if Lillian Knight: perhaps Marie Brocato: the only f Lillian Knight: we should we should focus on that L_C_D_ screen. Marie Brocato: Yeah, because our target is sixteen to forty five. Kimberly Sclafani: But, Lillian Knight: Yeah but uh will Kimberly Sclafani: do you Lillian Knight: we not uh exceed our uh our Marie Brocato: Yeah you don't Lillian Knight: uh production Marie Brocato: know how much it costs. Lillian Knight: uh Marie Brocato: Yeah, you don't know how much it costs, the L_C_D_ screen. Lillian Knight: Is it possible to find out, anyway? Marie Brocato: No, I don't have Lillian Knight: You Marie Brocato: any Lillian Knight: know? Marie Brocato: costs here, I only have percentages. Kimberly Sclafani: But if you would do an L_C_D_ screen do we have don don't you have any buttons? Or because Marie Brocato: Yeah. Kimberly Sclafani: if it only directs at the T_V_, then you only have uh I don't know what you want to Lillian Knight: No, an Kimberly Sclafani: do Lillian Knight: L_C_D_ Kimberly Sclafani: with Lillian Knight: screen's Kimberly Sclafani: the L_C_D_ Lillian Knight: just Kimberly Sclafani: screen. Lillian Knight: like uh like a drawn here. Um just uh displays several buttons, Kimberly Sclafani: Yeah? Lillian Knight: for example um if you wanted the minimal uh use b uh buttons, such as channel and volume, you just h uh displays four buttons on the screen Kimberly Sclafani: Oh right, Lillian Knight: and Kimberly Sclafani: so you Lillian Knight: it's Kimberly Sclafani: can Lillian Knight: possible to p uh press them down, Kimberly Sclafani: Oh, Lillian Knight: just like a touch screen. Kimberly Sclafani: yeah alright. So you can adjust which buttons you want on that Marie Brocato: Yeah, Kimberly Sclafani: s Marie Brocato: if Kimberly Sclafani: screen. Lillian Knight: Yeah, Marie Brocato: you Lillian Knight: we Marie Brocato: want Lillian Knight: can make Marie Brocato: to adjust, Lillian Knight: it possible Marie Brocato: like Lillian Knight: to do that, Marie Brocato: for Lillian Knight: yeah. Marie Brocato: example, adjust the audio settings, you press audio on the touchscreen and you get Lillian Knight: Yeah Marie Brocato: the buttons for Lillian Knight: yeah. Marie Brocato: audio settings, Kimberly Sclafani: Yeah alright, oh right. Marie Brocato: so the other buttons are gone. Kimberly Sclafani: Yeah. Lillian Knight: Yeah, yeah. Ofelia Green: So we're going for an L_C_D_ screen? Kimberly Sclafani: Yeah. Marie Brocato: I Kimberly Sclafani: Would Marie Brocato: think Kimberly Sclafani: be yeah. Marie Brocato: it's the most Lillian Knight: That's Marie Brocato: easier Lillian Knight: my Marie Brocato: thing, Lillian Knight: uh Marie Brocato: yeah. Ofelia Green: And hoping that when we produce a lot it won't be too expensive. Marie Brocato: No. Lillian Knight: Yeah. Kimberly Sclafani: Well we had twelve fifty, I guess, Marie Brocato: Yeah. Kimberly Sclafani: for uh Lillian Knight: Twelve Kimberly Sclafani: production? Lillian Knight: fifty. Kimberly Sclafani: Yeah. I dunno how expensive an Lillian Knight: Um. Kimberly Sclafani: L_C_D_ screen is. Any guesses? Lillian Knight: Well I suppose wi if the mar if our um if the i if the young people are interested in L_C_D_ screens, we should Marie Brocato: Highly. Lillian Knight: make 'em. Ofelia Green: Mm-hmm. Lillian Knight: And Kimberly Sclafani: Yeah. Lillian Knight: if that is Kimberly Sclafani: But Lillian Knight: our d uh market share to uh and our goal to uh deliver those uh remote Kimberly Sclafani: But Lillian Knight: controls Kimberly Sclafani: he also said that we should not only focus on the younger people, but also on the older, Marie Brocato: Yeah, Kimberly Sclafani: and will Marie Brocato: but Kimberly Sclafani: they use it if it only has an Marie Brocato: Um, Kimberly Sclafani: L_C_D_ screen? Marie Brocato: s forty six to forty five, thirty three percent, and sixty fifty six to sixty five twelve percent. But Kimberly Sclafani: Oh, so Marie Brocato: our Kimberly Sclafani: still a little Marie Brocato: our Kimberly Sclafani: bit people Marie Brocato: our what's it, project requirements are the new products should be reached for new Lillian Knight: Yeah. Marie Brocato: markets, to customers that are Kimberly Sclafani: Yeah Marie Brocato: younger Kimberly Sclafani: that's Marie Brocato: than forty. Kimberly Sclafani: right. But you don't want to alienate the other uh Marie Brocato: No, that not now, but, so Kimberly Sclafani: But if they also buy it then it's alright. I guess. Marie Brocato: Yeah, but market share fro for for Lillian Knight: Yeah. Marie Brocato: forty years and younger is higher than that of sixty five Kimberly Sclafani: Yeah. Marie Brocato: and younger. Kimberly Sclafani: Alright. Ofelia Green: Okay, so Kimberly Sclafani: An Ofelia Green: L_C_D_ it is? Kimberly Sclafani: Yes. Lillian Knight: Mm. Ofelia Green: Okay. Lillian Knight: It's treasure. Ofelia Green: And Lillian Knight: I Ofelia Green: what Lillian Knight: hope Ofelia Green: else? Lillian Knight: we uh h and Marie Brocato: Yeah, Lillian Knight: let's Marie Brocato: i Lillian Knight: hope to Marie Brocato: i if Lillian Knight: reach Marie Brocato: it Lillian Knight: those uh Marie Brocato: Yeah, if it costs Lillian Knight: those sales. Marie Brocato: gets too much, too expensive, then yeah, we should be sticking to rubber buttons. Kimberly Sclafani: Yeah. Lillian Knight: Yeah, can you um uh s I think that that they will send you some information about uh the cost of L_C_D_ uh Marie Brocato: N Lillian Knight: screens. Kimberly Sclafani: Yeah. Marie Brocato: nothing, no costs at all. Lillian Knight: Uh Kimberly Sclafani: But Lillian Knight: so if Kimberly Sclafani: perhaps Lillian Knight: you Kimberly Sclafani: later, Lillian Knight: uh Yeah, Kimberly Sclafani: so uh Lillian Knight: so if you uh you receive an email about that, uh can you post it in the Marie Brocato: Yeah, Lillian Knight: or shouldn't Marie Brocato: in Lillian Knight: we post that in uh our projects mail uh folder. Marie Brocato: I think Kimberly Sclafani: Yeah. Marie Brocato: that should yeah I think we all get the costs of everything. Kimberly Sclafani: I Lillian Knight: Because you are Kimberly Sclafani: don't Lillian Knight: the the Marketing uh Marie Brocato: Yeah, Lillian Knight: Expert. Marie Brocato: okay, I'll I'll Lillian Knight: I Marie Brocato: post Lillian Knight: uh Marie Brocato: it. Kimberly Sclafani: Well perhaps we should have a backup plan that we would use buttons Lillian Knight: Yeah sure, Kimberly Sclafani: if it's Lillian Knight: sure. Kimberly Sclafani: uh Marie Brocato: Yeah. Ofelia Green: Yeah, Kimberly Sclafani: too expensive. Ofelia Green: okay. But for now Marie Brocato: Okay, Ofelia Green: it's L_C_D_. Marie Brocato: L_C_D_, Kimberly Sclafani: Yeah. Marie Brocato: yeah. Ofelia Green: Okay. Marie Brocato: Then you have the seventy five percent of users find it r ugly. Kimberly Sclafani: The L_C_D_? Marie Brocato: Yeah, Kimberly Sclafani: Oh Marie Brocato: and Kimberly Sclafani: that's Marie Brocato: eighty Kimberly Sclafani: a Marie Brocato: percent Kimberly Sclafani: bit of a problem. Marie Brocato: of the users would spend more money with a when a remote would look fancy. Kimberly Sclafani: Oh, that's Lillian Knight: Mm. Kimberly Sclafani: a bit of a problem. Marie Brocato: Tha i l i it'll look fancy with Lillian Knight: It's Marie Brocato: L_C_D_ Lillian Knight: looks fancy Marie Brocato: screen. Lillian Knight: one yeah, of L_C_D_ Kimberly Sclafani: Yeah, but Lillian Knight: screen. Kimberly Sclafani: they Marie Brocato: Yeah. Kimberly Sclafani: don't they Ofelia Green: Yeah. Kimberly Sclafani: don't like it. They think it's ugly. When it has an L_C_D_ Marie Brocato: Yeah, just Kimberly Sclafani: screen. Marie Brocato: a the plain remotes, not not specific L_C_D_ remotes. Kimberly Sclafani: Oh, alright, I thought that you said that. Marie Brocato: So Ofelia Green: Yeah, and maybe you can make something fancy out of an L_C_D_ remote, Kimberly Sclafani: Yeah. Ofelia Green: because it's new, Marie Brocato: Mm-hmm. Ofelia Green: as far as I know. Marie Brocato: Yeah, Lillian Knight: Mm yeah. Marie Brocato: of course. And Lillian Knight: And Marie Brocato: then Lillian Knight: then Marie Brocato: you have Lillian Knight: not Marie Brocato: the other Lillian Knight: yeah. Marie Brocato: thing, that seventy five percent zap a lot, but that's Lillian Knight: Um. Marie Brocato: not a f question with the L_C_D_ screen. Only thing you have to do is wipe the screen off once each time, Lillian Knight: Yeah. Marie Brocato: to get all the fingerprints off it. Kimberly Sclafani: Yeah. Lillian Knight: Mm. Okay? Ofelia Green: Okay, what else does our remote need? Marie Brocato: Um Kimberly Sclafani: A mute button. Ofelia Green: Mute button. Marie Brocato: Mm-hmm. Kimberly Sclafani: I think. Marie Brocato: The most important Kimberly Sclafani: And Marie Brocato: things on a f on an on an uh remote control are channel selection, volume con selection, Lillian Knight: Yeah. Marie Brocato: and power s power usage. Kimberly Sclafani: Yeah. Marie Brocato: And a teletext, but that Kimberly Sclafani: But Marie Brocato: is not of the question. Other things are Kimberly Sclafani: you put a button of Marie Brocato: Sorry? Kimberly Sclafani: for teletext on the for the people who want to use it? Marie Brocato: Yeah, it Kimberly Sclafani: Remembering Marie Brocato: could be. Kimberly Sclafani: we have got a big remote Marie Brocato: Yeah. Kimberly Sclafani: that you have to fill. Ofelia Green: Mm-hmm. Yeah, and we could make an a a separate menu on the L_C_D_ Marie Brocato: Yeah, teletext. Ofelia Green: uh Lillian Knight: Yeah. Ofelia Green: screen Kimberly Sclafani: Yeah. Ofelia Green: for teletext. Lillian Knight: And there's Marie Brocato: And Lillian Knight: also Marie Brocato: other Lillian Knight: a Marie Brocato: other less important things are screen settings, audio settings, and channel settings, Kimberly Sclafani: Yeah, they Marie Brocato: but Kimberly Sclafani: are less important, but I think they should Marie Brocato: Less important. Kimberly Sclafani: be there, Marie Brocato: Yeah, Kimberly Sclafani: or not? Marie Brocato: should be there, but not Lillian Knight: A sh but in a sub sub-menu Marie Brocato: press Lillian Knight: or Marie Brocato: Yeah, Lillian Knight: something Marie Brocato: sub-menu, Lillian Knight: like that. Marie Brocato: yeah. Lillian Knight: Uh I think it's also important to uh make it possible to um how do you call it in English, uh, to not use batteries, and use ac uh bat uh batteries to uh Ofelia Green: Mm-hmm. Kimberly Sclafani: Like with Lillian Knight: to be Kimberly Sclafani: a with Lillian Knight: yeah Kimberly Sclafani: a mouse, you Lillian Knight: yeah sure. Kimberly Sclafani: have not, Lillian Knight: Indeed. Kimberly Sclafani: yeah. Lillian Knight: So uh you can mount uh the the the uh Marie Brocato: Yeah, in a breath it's Lillian Knight: uh the remote control to um Ofelia Green: Mm-hmm. Marie Brocato: Charted. Kimberly Sclafani: We should think Lillian Knight: to refill Kimberly Sclafani: of the twelve fifty Lillian Knight: the Kimberly Sclafani: we have but Marie Brocato: Yeah, but we don't Kimberly Sclafani: I Marie Brocato: we Kimberly Sclafani: don't Marie Brocato: don't Kimberly Sclafani: know Marie Brocato: have Kimberly Sclafani: how Marie Brocato: any Kimberly Sclafani: much Marie Brocato: costs Kimberly Sclafani: that's Lillian Knight: Yeah. Kimberly Sclafani: going Marie Brocato: now, so Kimberly Sclafani: to uh Lillian Knight: Okay, Marie Brocato: Yeah. Lillian Knight: because i uh when you get an L_C_D_ screen, you run it on batteries, Kimberly Sclafani: Yeah. Lillian Knight: the batteries will be uh empty Marie Brocato: Yeah Lillian Knight: very Marie Brocato: e Lillian Knight: soon, Marie Brocato: e power Lillian Knight: very Marie Brocato: supply Lillian Knight: fast. Marie Brocato: is one of Kimberly Sclafani: You Marie Brocato: the Kimberly Sclafani: should Marie Brocato: most important things. Kimberly Sclafani: Perhaps you should be able to Lillian Knight: Yeah. Kimberly Sclafani: to switch the control off. If you have an L_C_D_ screen that's burns all the time I dunno. Lillian Knight: Yeah, yeah. Yeah. Kimberly Sclafani: You shouldn't on and off because that's ver extra, that you have t first you have to turn the remote on, and then you can uh Ofelia Green: Mm-hmm. Lillian Knight: Uh Kimberly Sclafani: I don't Marie Brocato: Yeah, I Kimberly Sclafani: know. Marie Brocato: think it's it's not that easy because I don't think people will like it who who uh that you have to turn it on Kimberly Sclafani: Nee Marie Brocato: first Kimberly Sclafani: that's Marie Brocato: and then Kimberly Sclafani: that's Marie Brocato: use it, so Kimberly Sclafani: uh yeah. Marie Brocato: I think it's better when th the T_V_ shuts down, the remote shuts down. Kimberly Sclafani: But Lillian Knight: And Kimberly Sclafani: then you Lillian Knight: go Kimberly Sclafani: can't Lillian Knight: to standby mode when you don't use Marie Brocato: Yeah. Kimberly Sclafani: Yeah. Lillian Knight: it, so that Kimberly Sclafani: Yeah yeah au automac matically, that it Lillian Knight: Yeah, automatically. Kimberly Sclafani: yeah. Marie Brocato: Yeah. Lillian Knight: After two Marie Brocato: After Lillian Knight: minutes Marie Brocato: two Lillian Knight: or three Marie Brocato: minutes, yeah Lillian Knight: minutes, Marie Brocato: two three Lillian Knight: something Marie Brocato: minutes, Lillian Knight: like Marie Brocato: yeah. Lillian Knight: that. Kimberly Sclafani: Yeah. Ofelia Green: Yeah. And maybe a low battery indicator? Lillian Knight: Yeah. Ofelia Green: On the screen. Lillian Knight: Sure. Marie Brocato: Yeah. And then b that uh before an hour when its get again gets empty. Lillian Knight: Yeah. Marie Brocato: Then you have plenty of time to recharge it, of put Lillian Knight: Mm. Marie Brocato: it in a recharger. Charger. Ofelia Green: So we are going for the for the recharger. Lillian Knight: Yeah. Marie Brocato: Yeah, Ofelia Green: Okay. Marie Brocato: if it's. Uh. Kimberly Sclafani: If it's sensible. Marie Brocato: Yeah, because when you're watching T_V_, Kimberly Sclafani: Yeah. Marie Brocato: you're zapping and you have to put it in a recharger, Kimberly Sclafani: Yeah, Marie Brocato: and I don't Kimberly Sclafani: b when Lillian Knight: No, Marie Brocato: think Kimberly Sclafani: the Marie Brocato: it Kimberly Sclafani: batteries Lillian Knight: when you Kimberly Sclafani: are low Lillian Knight: when you're done with s uh w uh Marie Brocato: Yeah, okay, but then we Lillian Knight: watching Marie Brocato: have to be Lillian Knight: your Marie Brocato: sure Lillian Knight: television, Marie Brocato: that the Lillian Knight: you Marie Brocato: the Lillian Knight: have Marie Brocato: the Lillian Knight: to put Marie Brocato: the batteries Lillian Knight: it Marie Brocato: go hours, six hours, five, Lillian Knight: Yeah sure, Marie Brocato: six hours, Kimberly Sclafani: But you'll Lillian Knight: of course. Marie Brocato: then. Kimberly Sclafani: also forget to put it in, Marie Brocato: Yeah, then Kimberly Sclafani: because Lillian Knight: Yeah, Marie Brocato: you have Kimberly Sclafani: you Lillian Knight: but Marie Brocato: a problem. Kimberly Sclafani: throw it on the couch and you don't remember. Lillian Knight: But you also forget to buy batteries, Kimberly Sclafani: Yeah. That's Lillian Knight: and Kimberly Sclafani: right. Lillian Knight: then you can you can't use it, so Kimberly Sclafani: Yeah. Lillian Knight: I Marie Brocato: Or we have to be sure that the batteries last couple of days when they're recharged. Lillian Knight: Yeah. Marie Brocato: So. Kimberly Sclafani: Well I think the batteries should should w should work a lot longer than a couple of days, Marie Brocato: Yeah because Kimberly Sclafani: or not? Marie Brocato: you have b but Kimberly Sclafani: 'Cause Marie Brocato: you have L_C_D_ screen. Kimberly Sclafani: Yeah, that's right, Marie Brocato: High power Kimberly Sclafani: but Marie Brocato: usage. Lillian Knight: High power user cell, i uh it should be uh a standard move to to put your remote control in the charger when you're done Marie Brocato: Yes. Lillian Knight: watching television, that's also a a a great advantage because you can't lose it anymore. Because you are Marie Brocato: True. Lillian Knight: obliged to uh put it in the charger Marie Brocato: Yeah. Yeah. Lillian Knight: and not Marie Brocato: True. Lillian Knight: to uh leave it in a couch uh between some cushions. Kimberly Sclafani: Yeah. Right. Marie Brocato: Yeah, Lillian Knight: Okay. Marie Brocato: you made a point there. Kimberly Sclafani: But Ofelia Green: Yeah, Kimberly Sclafani: then you also Ofelia Green: also. Kimberly Sclafani: have to s have somewhere where you can put a remo recharger near your couch because otherwise you have to Marie Brocato: Yeah, otherwise Kimberly Sclafani: walk Marie Brocato: all Kimberly Sclafani: a Marie Brocato: your Kimberly Sclafani: long Marie Brocato: yeah. Kimberly Sclafani: way when you twoft want to turn on the T_V_. Marie Brocato: Just a small device. Kimberly Sclafani: Yeah. Lillian Knight: Yeah it Marie Brocato: Plug Kimberly Sclafani: I think Lillian Knight: hasn't Marie Brocato: it in, Lillian Knight: It Kimberly Sclafani: everything Lillian Knight: doesn't Marie Brocato: that's Lillian Knight: have Marie Brocato: it. Kimberly Sclafani: has Lillian Knight: to be big. Kimberly Sclafani: it Marie Brocato: Yeah, Kimberly Sclafani: for Marie Brocato: like a Kimberly Sclafani: and Marie Brocato: like Kimberly Sclafani: I Marie Brocato: telephone Kimberly Sclafani: guess. Marie Brocato: charger or something. Lillian Knight: Yeah just just a cable, or Marie Brocato: Yeah. Lillian Knight: a even a a a a a charger where you can mount it on. Marie Brocato: Yeah. Lillian Knight: Something like that, just u Kimberly Sclafani: Yeah. Lillian Knight: Okay. Kimberly Sclafani: Alright. Ofelia Green: Okay, well Marie Brocato: It has to be Ofelia Green: I've Marie Brocato: easy to use also, or Ofelia Green: Yeah, Marie Brocato: things. Ofelia Green: you have some more points. Marie Brocato: Uh market share, speaker re speech recognition. I think. Lillian Knight: Functional designs uh for the elderly uh you could make it possible to enlarge the screen, so make Marie Brocato: Also. Lillian Knight: it possible to not uh display uh a button at ten points uh, Marie Brocato: Well I Lillian Knight: or Marie Brocato: think that this should be standard. Large Lillian Knight: Yeah but it is Marie Brocato: button Lillian Knight: uh one Marie Brocato: large Lillian Knight: of the functions Marie Brocato: buttons. Lillian Knight: you have to uh specify. Marie Brocato: Yeah? Okay. Lillian Knight: Because we can look at uh uh perhaps uh forty buttons at a screen, but the elderly only look at two buttons. Okay. Ofelia Green: And you said something about speech recognition? Marie Brocato: Yeah, it Lillian Knight: Speech Marie Brocato: says also Lillian Knight: recognition? Marie Brocato: Yeah. Lillian Knight: Hello. Twelve Euro twelve Kimberly Sclafani: Yeah, Marie Brocato: Twelve. Kimberly Sclafani: twelve Lillian Knight: Euro Kimberly Sclafani: fifty, Lillian Knight: fifty. Kimberly Sclafani: twelve fifty. Marie Brocato: That's an also ninety one percent sixteen to twenty five, twenty six to thirty five years, seventy six percent, and thirty six to forty five, thirty five percent. Kimberly Sclafani: So it's pretty Lillian Knight: Well, Kimberly Sclafani: big. Lillian Knight: spread Marie Brocato: But Lillian Knight: it by a Marie Brocato: then Lillian Knight: big Marie Brocato: I Lillian Knight: market. Marie Brocato: I I Ofelia Green: Even bigger than for L_C_D_. Kimberly Sclafani: Yeah. Marie Brocato: Yeah. Kimberly Sclafani: W I know let's do a speech. Lillian Knight: Well let's leave out all the remote controls and just put a Kimberly Sclafani: Yeah. Lillian Knight: microphone Kimberly Sclafani: Yeah. Lillian Knight: on top Marie Brocato: Yeah. Lillian Knight: of the television to Marie Brocato: Ninety. Twenty five. Kimberly Sclafani: You can clap Lillian Knight: Yeah Kimberly Sclafani: or something. Lillian Knight: Yeah. Marie Brocato: channel. Lillian Knight: Turn volume up. Kimberly Sclafani: Yeah. Lillian Knight: Hey, that that's an idea. Kimberly Sclafani: Now you shouldn't say the wrong thing, I dunno. Marie Brocato: Yeah. Lillian Knight: Okay, well that should it has to be remote control, not Marie Brocato: Yeah, Lillian Knight: Yeah. Marie Brocato: twelve. Kimberly Sclafani: But they want to talk into the remo remote Marie Brocato: Yeah. Kimberly Sclafani: control, Lillian Knight: Sure Kimberly Sclafani: or Lillian Knight: why Kimberly Sclafani: something, Lillian Knight: not Kimberly Sclafani: or? Marie Brocato: Is Lillian Knight: why Marie Brocato: this Lillian Knight: not Marie Brocato: only would you would you pay more for speech recognition in a remote control. It's Lillian Knight: Yeah, Marie Brocato: the only thing it says. Lillian Knight: mm. Kimberly Sclafani: Oh, but do we want to implement that, or? Marie Brocato: I think an L_C_D_ screen should be suf sufficient. Lillian Knight: Yeah. Ofelia Green: But when you look at the percentages Marie Brocato: Yeah, it says a lot, but Lillian Knight: Perhaps the options Ofelia Green: Speech Lillian Knight: should Ofelia Green: recognition Lillian Knight: be uh Ofelia Green: scores even higher, huh? Lillian Knight: Why not? Ofelia Green: Yeah, Lillian Knight: Why not? Ofelia Green: well, maybe because of the cost, but uh Kimberly Sclafani: Yeah. Ofelia Green: nobody knows uh how Lillian Knight: Let's Ofelia Green: much Lillian Knight: hope uh Ofelia Green: uh Kimberly Sclafani: I Marie Brocato: No Kimberly Sclafani: know Lillian Knight: to have Marie Brocato: I Ofelia Green: it Marie Brocato: think Lillian Knight: some Marie Brocato: I Ofelia Green: will Lillian Knight: uh Marie Brocato: think Ofelia Green: cost Marie Brocato: it's Lillian Knight: d Marie Brocato: better to have Ofelia Green: uh. Marie Brocato: L_ L_C_D_ screen, because in the area of tw thirty six to forty five, we have about thirty percent of the market share in in our hands, and fifty five of those people want L_C_D_ screen and thirty five want speech recognition. So I think it's better to keep it with L_C_D_ screen. Kimberly Sclafani: Mm. Ofelia Green: But would it be useful to imple implement both? Marie Brocato: Yeah, Ofelia Green: On one remote? Marie Brocato: if the Kimberly Sclafani: Well Marie Brocato: costs Ofelia Green: Or Marie Brocato: al allow it. Ofelia Green: Yeah, Kimberly Sclafani: I Ofelia Green: I Kimberly Sclafani: don't Ofelia Green: dunno. Kimberly Sclafani: know if that can be done with the cost of twelve fifty. Marie Brocato: Nee. Kimberly Sclafani: With that uh Marie Brocato: If it should be done, if it could be done, Kimberly Sclafani: Yeah, Lillian Knight: We Marie Brocato: I Lillian Knight: should Marie Brocato: won't Lillian Knight: do Marie Brocato: matter. Lillian Knight: it. Kimberly Sclafani: but how Marie Brocato: Yeah. Kimberly Sclafani: would Lillian Knight: Yeah. Kimberly Sclafani: you Lillian Knight: Sure. Kimberly Sclafani: like to implement that, that you say volume up, and then it goes Lillian Knight: Yeah. Kimberly Sclafani: up, Marie Brocato: Yeah. Kimberly Sclafani: or? Uh. Lillian Knight: Certain systems already exist, I think. Marie Brocato: Mm-hmm. Kimberly Sclafani: Then you also have to have different languages if we go international. Then uh Marie Brocato: True. Kimberly Sclafani: it's y Lillian Knight: True, Kimberly Sclafani: it's Lillian Knight: yeah. Kimberly Sclafani: yours to do Marie Brocato: Yeah. Kimberly Sclafani: a Marie Brocato: True. Kimberly Sclafani: French and Lillian Knight: Yeah. Kimberly Sclafani: Dutch and English and Marie Brocato: But that should Lillian Knight: This should be Marie Brocato: also Lillian Knight: uh accommodated Marie Brocato: be with f Lillian Knight: with some software, Marie Brocato: should be also with L_C_D_ Lillian Knight: uh, Marie Brocato: screen. Lillian Knight: uh. Yeah. Marie Brocato: Because then I think in Chinese Kimberly Sclafani: Yeah, Marie Brocato: is Kimberly Sclafani: that's Marie Brocato: different Kimberly Sclafani: right. Marie Brocato: written, volume is different written than um Kimberly Sclafani: Yeah. Marie Brocato: Swahili Lillian Knight: Right. Marie Brocato: or something. Lillian Knight: Swahili. Kimberly Sclafani: Yeah you Lillian Knight: Swahili. Kimberly Sclafani: can use icons for the Lillian Knight: Yeah. Marie Brocato: Ja, well possible. Kimberly Sclafani: a speaker and uh Lillian Knight: Indeed. Kimberly Sclafani: But if that's better Marie Brocato: Yeah, yeah Kimberly Sclafani: than Marie Brocato: yeah Kimberly Sclafani: language Marie Brocato: yeah. Kimberly Sclafani: for Lillian Knight: Yeah. Kimberly Sclafani: the for the remote. Lillian Knight: So we want to uh yeah it's international Kimberly Sclafani: Then it's Lillian Knight: uh Kimberly Sclafani: Yeah. Lillian Knight: okay. Okay. Marie Brocato: 'Kay, what else? Ofelia Green: So, no speech recognition? Or Kimberly Sclafani: Well, if it could be done, we Marie Brocato: Yeah, we Lillian Knight: Y Marie Brocato: have Lillian Knight: it Marie Brocato: to Lillian Knight: should Marie Brocato: keep Lillian Knight: be done. Marie Brocato: Yeah. Lillian Knight: If it could be done, should be done. Kimberly Sclafani: Yeah. Ofelia Green: Yeah, and then we have different languages. Kimberly Sclafani: Yeah, that should be uh Lillian Knight: That's not so difficult Kimberly Sclafani: anything matters. Lillian Knight: at all, Ofelia Green: Okay, Lillian Knight: because Ofelia Green: just make Lillian Knight: I Ofelia Green: a separate Lillian Knight: already Ofelia Green: remote Lillian Knight: use Ofelia Green: for Lillian Knight: on several Ofelia Green: each uh Lillian Knight: voice operated systems, and they are all possible to uh not all, but Kimberly Sclafani: Well, you Marie Brocato: I think Kimberly Sclafani: sh Marie Brocato: it's Kimberly Sclafani: you Marie Brocato: difficult. Kimberly Sclafani: should to adjust the thing. Marie Brocato: Every language of dialects Kimberly Sclafani: Yeah. Marie Brocato: I think it's very differen difficult. Kimberly Sclafani: And you have to speak the so that it Marie Brocato: Yeah. Kimberly Sclafani: can understand. Marie Brocato: I think it can't be implemented, but maybe Kimberly Sclafani: You could use that n as an option, Marie Brocato: Yeah, Kimberly Sclafani: if you Marie Brocato: 's Kimberly Sclafani: have Marie Brocato: an option, yes. Kimberly Sclafani: money left, or something. Lillian Knight: Yeah, sure, indeed. Marie Brocato: Fifty Euro cents. Kimberly Sclafani: Yeah. Let's do speech. Marie Brocato: Yeah. Lillian Knight: For speech recognition. Ofelia Green: Okay, so we only do this when we have enough money left. Kimberly Sclafani: Yeah. Ofelia Green: Okay. Well I've written down an an on or off button, volume selection, channel selection, uh the digits from one to zero, huh. Um or from zero to nine. Uh a digits button to switch uh between one and two digits, mute button, a separate menu for teletext, a battery indicator. Um we're going to use a docking station and uh probably L_C_D_ and if there's enough money, speech recognition. Kimberly Sclafani: Mm. Ofelia Green: And uh the possibility to uh enlarge buttons or to have large buttons Marie Brocato: Mm, Kimberly Sclafani: Yeah. Marie Brocato: yes. Kimberly Sclafani: I Ofelia Green: in Kimberly Sclafani: With Ofelia Green: general. Kimberly Sclafani: uh teletext if it wasn't ver very important, Marie Brocato: No, Kimberly Sclafani: it was Marie Brocato: but Kimberly Sclafani: but You also now have colours. I don't know if we should implement that. Marie Brocato: Curved? Kimberly Sclafani: Yeah, when you press the red button, you go to page one hundred two, and when you press the Lillian Knight: Uh yeah. Kimberly Sclafani: I don't know if we should Marie Brocato: Um. Kimberly Sclafani: implement that, because it says that teletext not really Lillian Knight: S Kimberly Sclafani: important, Lillian Knight: Shortcuts. Kimberly Sclafani: but Lillian Knight: Uh. Kimberly Sclafani: yeah, the shortcut, Marie Brocato: I Kimberly Sclafani: and Marie Brocato: think Kimberly Sclafani: you can't Marie Brocato: we should Kimberly Sclafani: go Marie Brocato: we Kimberly Sclafani: to Marie Brocato: could Kimberly Sclafani: sport. Marie Brocato: that we could also implement a audio settings, screen settings and channel settings, but as sub-menus. Kimberly Sclafani: Yeah. Lillian Knight: Mm. Marie Brocato: D Mainly if you turn the uh remote control on, you have to u you have to see from one till zero, channel and volume. And if you want to use teletext screen or audio, then you can Lillian Knight: Sh Marie Brocato: press it. Lillian Knight: Yeah, Marie Brocato: It Lillian Knight: just Marie Brocato: should be Lillian Knight: just Marie Brocato: available Lillian Knight: sub-menu. Marie Brocato: but not Lillian Knight: Yeah. Kimberly Sclafani: 'Cause Lillian Knight: Not Kimberly Sclafani: it should Lillian Knight: directly Marie Brocato: not Kimberly Sclafani: be there. Marie Brocato: Yeah. Lillian Knight: uh available. Marie Brocato: Yeah. Lillian Knight: Okay. Ofelia Green: Okay, too much teletext support, but in a separate menu, and Marie Brocato: Yeah. Lillian Knight: Mm. Kimberly Sclafani: So actually it is there but it's Marie Brocato: Yeah, but Kimberly Sclafani: just Marie Brocato: s Kimberly Sclafani: not r ready Lillian Knight: Directly Kimberly Sclafani: there. Lillian Knight: available. Marie Brocato: Yeah. Lillian Knight: So does it confuse uh the Kimberly Sclafani: You'll Lillian Knight: user? Kimberly Sclafani: have to search Marie Brocato: They'd Kimberly Sclafani: for Marie Brocato: have Kimberly Sclafani: it. Marie Brocato: to be easy Lillian Knight: Uh. Marie Brocato: to use. Lillian Knight: I'll search um. If you want to use teletext, you can push the teletext Kimberly Sclafani: Yeah. Lillian Knight: button and then the options uh become available. Kimberly Sclafani: Yeah, that's a Marie Brocato: The sign of it. Ofelia Green: Okay, but no more buttons or functions, or? Marie Brocato: Uh, Lillian Knight: No. Kimberly Sclafani: I guess Marie Brocato: no. Kimberly Sclafani: not. Marie Brocato: What else can you do with Kimberly Sclafani: We've Marie Brocato: a Kimberly Sclafani: got Marie Brocato: television? Kimberly Sclafani: anon Ofelia Green: Aren't we forgetting something Kimberly Sclafani: Have got got Ofelia Green: very Kimberly Sclafani: two Ofelia Green: important? Kimberly Sclafani: examples here, but I don't think there's anything Marie Brocato: Uh Kimberly Sclafani: we're missing. Marie Brocato: play, pause, doesn't n need to be Kimberly Sclafani: Well, we Marie Brocato: there. Kimberly Sclafani: don't have the video orders Marie Brocato: Yes, so this is your presentation. We could check the other remote controls with Kimberly Sclafani: Yeah, you Marie Brocato: technical Kimberly Sclafani: could look Marie Brocato: functions. Kimberly Sclafani: here all the the Marie Brocato: Which ones were yours? Kimberly Sclafani: Uh th th th th I don't know, technical Marie Brocato: Techni Kimberly Sclafani: functions. They're a bit small, you can we should stretch them, because Ofelia Green: Ping. Marie Brocato: Ja ja ja ja ja. Technical functions. Yeah okay. Kimberly Sclafani: I guess we've got them all. Marie Brocato: Uh I think I go to have volume, mute but I Yeah. Very slow. Yeah, the zoom buttons. Kimberly Sclafani: And for a T_V_? Marie Brocato: Yeah, b wide Kimberly Sclafani: Can you zoom Marie Brocato: screen, Kimberly Sclafani: in a T_V_? Marie Brocato: high screen, different Kimberly Sclafani: Or Marie Brocato: things Kimberly Sclafani: that Marie Brocato: you Kimberly Sclafani: you Marie Brocato: have, Kimberly Sclafani: can put 'em on uh on Marie Brocato: yeah different Kimberly Sclafani: on wide Marie Brocato: uh Kimberly Sclafani: and Marie Brocato: Yeah. Kimberly Sclafani: yeah. But that should also be a sub then, a sub uh menu Lillian Knight: Menu. Marie Brocato: Yeah Kimberly Sclafani: thing. Marie Brocato: it should be available, but then in separate screen settings or something. Kimberly Sclafani: Yeah, Lillian Knight: Mm. Kimberly Sclafani: so we should also implement se screen settings. Marie Brocato: Yeah, screen settings, audio settings, Kimberly Sclafani: Oh Marie Brocato: teletext Kimberly Sclafani: right. Marie Brocato: settings you have. Kimberly Sclafani: Yeah. Marie Brocato: Channel settings. Kimberly Sclafani: Yeah, so you can program Marie Brocato: So those Kimberly Sclafani: the Marie Brocato: four, and of course the main. Kimberly Sclafani: Yeah, so the first you see the main, and the other ones you can Marie Brocato: Yeah. Kimberly Sclafani: uh go Marie Brocato: Yeah. Kimberly Sclafani: to uh Marie Brocato: Like tap screens or something Kimberly Sclafani: Yeah. Marie Brocato: or, I dunno. Kimberly Sclafani: I Marie Brocato: Something Kimberly Sclafani: hope we can do this. Lillian Knight: There are a Marie Brocato: Yeah, Lillian Knight: lot of options Marie Brocato: if Lillian Knight: depending Marie Brocato: uh Lillian Knight: uh on what kind of television you got. 'Cause if you don't got a wide screen television you don't need the uh Marie Brocato: No, you don't Lillian Knight: the screen Marie Brocato: yu a Lillian Knight: settings Marie Brocato: no you then Lillian Knight: uh Marie Brocato: you Lillian Knight: for Marie Brocato: don't no ni Lillian Knight: uh Marie Brocato: don't then you don't use it. Lillian Knight: Yeah and if the television does not support such uh operations Marie Brocato: Mm-hmm. Kimberly Sclafani: We don't have to use that top. Yeah. Marie Brocato: Yeah. Lillian Knight: Yeah. Marie Brocato: So you leave it alone. Lillian Knight: Yeah. Marie Brocato: Yeah. Or it could be possible to have a a standard version of the remote, Kimberly Sclafani: Yeah. Marie Brocato: an expanded version. Kimberly Sclafani: And do we want them in different colours, Marie Brocato: Yeah. Kimberly Sclafani: or And Marie Brocato: Colours. Kimberly Sclafani: and the buttons, should they have Marie Brocato: Yeah. Kimberly Sclafani: colours? Lillian Knight: Colours I think the main colour of the Kimberly Sclafani: Oh but we Lillian Knight: remote Kimberly Sclafani: don't have Lillian Knight: control Kimberly Sclafani: any buttons. Lillian Knight: is uh the colour of the L_C_D_ screen. Kimberly Sclafani: Yeah. Lillian Knight: I Ofelia Green: Yeah. Lillian Knight: Because Marie Brocato: Yeah, Lillian Knight: we don't Marie Brocato: then Lillian Knight: want Marie Brocato: defines Lillian Knight: a lot Marie Brocato: itself. Lillian Knight: a devi yeah Marie Brocato: Because Lillian Knight: a device Marie Brocato: uh Lillian Knight: self s g Marie Brocato: how many percent? Eighty percent? Kimberly Sclafani: They think it's ugly, Marie Brocato: Would spend Kimberly Sclafani: right? Marie Brocato: more money if it looks fancy. Lillian Knight: Okay, so use uh very uh lot of peo Kimberly Sclafani: Perhaps you can uh make adjustable fronts, like with the telephones. Lillian Knight: Adjust with phones, yes Kimberly Sclafani: You can uh But Lillian Knight: Okay. Kimberly Sclafani: I Lillian Knight: Twelve Kimberly Sclafani: don't Lillian Knight: Euro fifty. Kimberly Sclafani: think that uh Lillian Knight: Well, make it available in different colours, you mean? Sure. Kimberly Sclafani: Yeah. Marie Brocato: Yeah. Lillian Knight: Red, white, blue, black. Marie Brocato: Rasta Ofelia Green: And a see-through Marie Brocato: colours. Lillian Knight: Grey. Ofelia Green: uh Lillian Knight: Yeah Kimberly Sclafani: Yeah. Lillian Knight: sea view, Marie Brocato: Yeah, see Lillian Knight: yes, Marie Brocato: through version. Lillian Knight: Simpson's versions and Marie Brocato: Yeah. If you press a button, it turns green. Kimberly Sclafani: Yeah. Ofelia Green: Okay, Lillian Knight: Leave. Kimberly Sclafani: A Ofelia Green: well Kimberly Sclafani: disco version. Ofelia Green: that's the Kimberly Sclafani: Five minutes? Ofelia Green: signal for las final five minutes. Um so I have uh the things I just read. Um then we have uh separate menus for teletext, screen settings, audio settings, and Lillian Knight: Yeah. Ofelia Green: what else? Marie Brocato: Channel settings? Kimberly Sclafani: Oh yeah, right. Ofelia Green: Channel Kimberly Sclafani: So you Ofelia Green: settings. Kimberly Sclafani: can program the T_V_. Marie Brocato: Yeah. Ofelia Green: Okay. Marie Brocato: Mm. Kimberly Sclafani: Perhaps you should you'd throw them on on in one pile. So, options, and then you sub them. Marie Brocato: Yeah. Kimberly Sclafani: Otherwise Marie Brocato: Could Kimberly Sclafani: you Marie Brocato: be possible. Kimberly Sclafani: have all those teletext, perhaps teletext Lillian Knight: Mm. Kimberly Sclafani: not, but Marie Brocato: Or like uh you Ofelia Green: No, Marie Brocato: have Ofelia Green: we Marie Brocato: a menu Ofelia Green: said teletext Marie Brocato: button, you Ofelia Green: also Marie Brocato: press Ofelia Green: a separate menu. Marie Brocato: Yeah, or Kimberly Sclafani: Yeah, Marie Brocato: otherwise Kimberly Sclafani: but I Marie Brocato: you have a menu button, press menu then you have uh Kimberly Sclafani: Yeah. Marie Brocato: main uh menu search uh all the all the settings. Kimberly Sclafani: Yeah. Ofelia Green: Okay, Kimberly Sclafani: But Ofelia Green: but we can work that out Marie Brocato: Yeah, Ofelia Green: later, Marie Brocato: no problem. Ofelia Green: I guess. So Marie Brocato: Yep. Ofelia Green: we're having a a general menu with the most used functions, uh teletext, screen settings, audio settings, channel settings, and maybe there are options for the remote itself? Like Kimberly Sclafani: I don't Ofelia Green: uh Kimberly Sclafani: know. Ofelia Green: large icons or small icons and Marie Brocato: Um, Ofelia Green: I don't know what Lillian Knight: No. Ofelia Green: else, but Marie Brocato: I think b because we don't have a lot of buttons on the one screen, I Kimberly Sclafani: Or Marie Brocato: think Kimberly Sclafani: do we Marie Brocato: the Kimberly Sclafani: have Marie Brocato: buttons Kimberly Sclafani: any buttons? Marie Brocato: Yeah, Kimberly Sclafani: On the Marie Brocato: but Kimberly Sclafani: remote. Marie Brocato: but or Kimberly Sclafani: Which Marie Brocato: like Kimberly Sclafani: one? Marie Brocato: you have you only have channel button or volume button. Those buttons Kimberly Sclafani: But Marie Brocato: you Ofelia Green: Yeah, Marie Brocato: can Kimberly Sclafani: that's Ofelia Green: but Kimberly Sclafani: also Ofelia Green: on Marie Brocato: you Ofelia Green: the Marie Brocato: can Ofelia Green: L_C_D_, Kimberly Sclafani: in the L_C_D_, Ofelia Green: huh? Kimberly Sclafani: right? Marie Brocato: Yeah. Ofelia Green: Right, yeah, okay. Marie Brocato: Yeah, Kimberly Sclafani: So we don't Marie Brocato: th Kimberly Sclafani: have any normal buttons Marie Brocato: No, no Kimberly Sclafani: that Marie Brocato: normal Kimberly Sclafani: uh No, Marie Brocato: buttons, Kimberly Sclafani: alright. Marie Brocato: yeah. Maybe only the on and o Kimberly Sclafani: Yet Marie Brocato: on Kimberly Sclafani: on Marie Brocato: and off Kimberly Sclafani: and off Marie Brocato: button. Kimberly Sclafani: is Ofelia Green: But Kimberly Sclafani: p is Ofelia Green: we don't Kimberly Sclafani: perhaps Lillian Knight: Uh Marie Brocato: But Ofelia Green: need Lillian Knight: not Marie Brocato: I don't Ofelia Green: a special Lillian Knight: button Kimberly Sclafani: you kno Marie Brocato: think Ofelia Green: we don't need a special options menu for the remote itself. Marie Brocato: Mm, Kimberly Sclafani: No, Marie Brocato: no. Kimberly Sclafani: no. Ofelia Green: Okay. Kimberly Sclafani: Oh well, you should be able to set which T_V_ you have. If you Lillian Knight: Yeah Kimberly Sclafani: have Lillian Knight: sure, of Kimberly Sclafani: if Lillian Knight: course Kimberly Sclafani: you Lillian Knight: you need Kimberly Sclafani: have uh Lillian Knight: uh a settings button, uh or a settings option for the remote control. Kimberly Sclafani: Yeah. But isn't idea to use uh uh what you said, uh normal on and off button for the T_V_, Marie Brocato: No no Kimberly Sclafani: that Marie Brocato: no, Kimberly Sclafani: you Marie Brocato: because Kimberly Sclafani: don't have Marie Brocato: we Kimberly Sclafani: to Marie Brocato: we Kimberly Sclafani: use a Marie Brocato: discussed that you could charge it, otherwise is it it jumps to stand-by mode Kimberly Sclafani: Yeah Marie Brocato: automatically. Kimberly Sclafani: but but not for the remote but for the T_V_, that Marie Brocato: Yeah, Kimberly Sclafani: you Marie Brocato: but Kimberly Sclafani: use Marie Brocato: a T_V_ of course, th that's the I think that's a best thing is that to implement that one in the menu with the volume and channel. Kimberly Sclafani: But a not as normal button, Marie Brocato: No. Kimberly Sclafani: in the L_C_D_, yeah. Ofelia Green: Well maybe there should be a separate button apart from the L_C_D_, because you can't turn it on when the L_C_D_ is off. So how do you turn the thing on? There has to be a Kimberly Sclafani: No you just Ofelia Green: on button Kimberly Sclafani: tap Ofelia Green: on the remote, Kimberly Sclafani: I Marie Brocato: Yeah, Kimberly Sclafani: think. Marie Brocato: you Lillian Knight: Just Marie Brocato: tap. Lillian Knight: tap Ofelia Green: huh? Lillian Knight: it. Marie Brocato: Touch Ofelia Green: Tap Marie Brocato: screen, Ofelia Green: the thing. Okay. Marie Brocato: yeah then it's turn Ofelia Green: And then Marie Brocato: turn off, Ofelia Green: the television Marie Brocato: turn on. Ofelia Green: is on also, or just the remote? Marie Brocato: No, just the remote. A television Ofelia Green: Sure. Kimberly Sclafani: But Marie Brocato: don't have to be on, that one you can Lillian Knight: Yeah, it Marie Brocato: press Lillian Knight: should Marie Brocato: on, Lillian Knight: be in standby mode, Marie Brocato: yeah stand-by, Lillian Knight: but Marie Brocato: then press on remote, press on and then T_V_ should be available. Kimberly Sclafani: Yeah a yeah. Marie Brocato: Or not. Kimberly Sclafani: I don't know whether it's handy to have a n a normal on button, a r just uh Marie Brocato: Separate. Kimberly Sclafani: rubber uh for for T_V_, so you can turn it on and then you can choose the channel. Otherwise you I don't know whether or not that's Lillian Knight: A A A normal button Kimberly Sclafani: Yeah, Lillian Knight: on the remote control, Kimberly Sclafani: yeah. Lillian Knight: or norm? Kimberly Sclafani: To turn it on. Of or you should put it in the L_C_D_ screen. Lillian Knight: Yeah, because uh when you touch the L_C_D_ screen when it is in standby mode, it should pop on. Kimberly Sclafani: Yeah, I have, yeah. Ofelia Green: Okay, Lillian Knight: Wh uh why Ofelia Green: well Lillian Knight: would it be a a need to have a normal button? Kimberly Sclafani: Well I I guess if you use the L_C_D_ screen, you first have to search where is the on button, then you uh you you then turn it, and then the T_V_ goes on. But if you have a normal on button on the on the remote, then you do the on, and then you search the channel which you want. Marie Brocato: Yeah, but I think the re the remote control, if you press tap the screen, it always should jump to the screen which has the volume button, channel Lillian Knight: Mm. Marie Brocato: button, and of course of also the on and off button. Kimberly Sclafani: Oh right. Lillian Knight: I think it looks a lot more fancy if Kimberly Sclafani: Yeah, Lillian Knight: you use Kimberly Sclafani: I think Lillian Knight: uh Kimberly Sclafani: so too. Lillian Knight: if Kimberly Sclafani: Otherwise Lillian Knight: you don't have any Kimberly Sclafani: y Lillian Knight: buttons Kimberly Sclafani: wet e k Lillian Knight: on Kimberly Sclafani: Yeah. Lillian Knight: the s on Ofelia Green: Yeah. Marie Brocato: Yeah. Lillian Knight: on remote control. Ofelia Green: So actually we're going to create a a button-less uh Kimberly Sclafani: Yeah. Ofelia Green: remote. No buttons at all. Okay, well that's might be a unique selling point, huh for Marie Brocato: Mm-hmm. Ofelia Green: a remote. Kimberly Sclafani: If we can afford Ofelia Green: Okay, well Kimberly Sclafani: it. Marie Brocato: Yeah, Ofelia Green: I Marie Brocato: if we Ofelia Green: guess Marie Brocato: can afford Ofelia Green: we have to Marie Brocato: it. Yeah. Ofelia Green: postpone Lillian Knight: Oh, okay Ofelia Green: further discussion to uh our next meeting, because we're running out of time. Um for now, we're having a lunch break, Lillian Knight: Oh. Ofelia Green: and then there will be uh half an hour for the uh next share of individual work. I will uh write uh minutes, if I can create them out of this. And Lillian Knight: Mm. Ofelia Green: uh put them in the the project documents uh folder. And here are the individual actions for the for the other roles. And of course specific instructions will be sent to you again by your uh personal coach. Kimberly Sclafani: Alright. Ofelia Green: Luckily as we are. Okay, well thank you very much, Marie Brocato: Mm-hmm. Ofelia Green: for now, and uh Kimberly Sclafani: Lunch. Ofelia Green: have a nice lunch, huh? Lillian Knight: Okay. Food. Kimberly Sclafani: Should we put this back in our rooms, or uh? Lillian Knight: Yeah, think so. Kimberly Sclafani: Yeah.

Ofelia Green opened the meeting and then Lillian Knight discussed the interior workings of a remote along with his personal preferences for the appearance of a remote. Kimberly Sclafani discussed the technical functions of a remote and indicated that a user centered approach to designing the interface would be preferable. Marie Brocato discussed the functional requirements of a remote and user tendencies in using remotes. Marie Brocato indicated that an ideal remote would include an LCD screen, would not be too small in size, and is easy to use. Ofelia Green briefed the team on some new requirements and led them in a discussion in which the team discussed their target group and made decisions on the appearance and functions of their upcoming product.

amisum

train

Peggy Richards: Okay, welcome everyone to our next meeting. I'm writing and busy leading the meeting, but um I've prepared a little presentation once again um or at least an agenda I think uh the biggest part of the presentation will be uh on your side. Um we are here at the conceptual design meeting, which is hereby opened. Um once again I will try to uh write some minutes which I just from the previous meeting uh placed inside our project folder, which was quite some typing. Um we uh three presentations, if I'm right, and after that we will take a decision on the remote control concepts. And just as the last time we have forty minutes to accomplish that. Okay, well I'd say let's start with the Jean Patterson: 'Kay. Peggy Richards: first presentation. Um in the same order as last Jennifer Walls: W sure. Peggy Richards: time? Amanda Deal: Mm. Peggy Richards: Okay. Amanda Deal: Alright. Peggy Richards: Well, take it away. Jennifer Walls: Okay uh welcome you. Components design, um uh first of all uh I would like to uh uh accommodate some of those uh things I uh uh elaborate some of the things I did. I I elaborated on the concept. What should be um uh said about uh the components, uh its properties and what kind of materials should we use to uh to make uh one of those r remote controls. Uh well of all I've uh d subtracted some of the components is that are used uh are w w from what remote control's formed. Uh first of all, the case, the case, the surrounding of the of the the remote control. I would like to uh give you an idea of uh how I thought about. Jean Patterson: Don't destroy my giraffe. Jennifer Walls: Giraffe's gone now. Okay um the case was is made from rubber, I suppose. There's one of the because when you use a remote control a lot of people uh will uh will uh drop their remote control and they Amanda Deal: Hmm. Jennifer Walls: break uh becau the uh titanium was also an option. But uh it's a very expensive material. Uh rubber is, I think, uh the best suitable uh material uh to use uh for our uh for our remote control. Um it's poss it's also possible to uh create fancy colours with rubber. Uh rubber l makes it easy to uh to to it lets lets itself colour. Uh titanium uh you have to paint it and with that uh it's possible to scratch it or uh yeah make it ugly. Uh rubber uh the total uh piece of rubber that's sor uh that's that's used uh to make the case is uh the same colour, so if you scratch it it's still the same colour, perhaps uh it's a little bit damaged. But it's a very strong material. Um I h I had an idea single covered uh curved, sorry, single curved. Uh so it's t two dimensional. I think it's uh it's best to draw oh green. Amanda Deal: It's a colour. Jean Patterson: Bright colour. Jennifer Walls: Uh Jean Patterson: Fancy colour. Jennifer Walls: New. Jean Patterson: Forward. Jennifer Walls: Blank. Okay. Jean Patterson: You have to go t Jennifer Walls: Let's make it uh black. Okay. I thought of an idea like this. Oh that. Um delete. Blank. Okay. So it also looks nice when it's on your table. So you get uh it doesn't lay flat down on the table, but it's c it's stands. Jean Patterson: Oh it's a side view. Jennifer Walls: Side view yes it's side view so uh I I'm not technically good at th three D_ modelling, but. Um uh it's just an idea I had so it's uh it's very uh so its also looks nice when it's on the table. Um the graphical user interface and the buttons, uh we also thought about that already. Uh I thought about uh the L_C_D_ touch screen, which is uh is easy to clean too. One of the great uh advantages of the L_C_D_ screen you just use some or uh another uh cleaning uh uh cl some cleaning stuff. And um it should be made of strong plastic and it should be bright. Well I already uh s uh explained some properties of that material and I think uh well we also we almost concluded about that uh this should uh be uh our uh Jean Patterson: True. Jennifer Walls: button component. So uh uh that's all about uh the buttons. Uh the batteries, uh we also thought about that already, uh will be chargeable with uh uh an option for a mount station so you can uh put the uh the remote control in a mount station so its charges itself up instead of uh plugging it in or something like that. Questions, Jean Patterson: No no no Amanda Deal: No. Jean Patterson: no Jennifer Walls: Okay. Jean Patterson: no. Just looking. Jennifer Walls: And they should be long lasting, not uh not be empty uh in about uh two minutes or uh thirty minutes or forty minutes of use. And next step is the chip uh th the component that's uh makes or transmits the signal to the television. Uh there was an option to use s a rather simple chip but I think uh because uh of our uh highly uh requiring uh requirements, there should be an advanced chip in it with uh also the ability to uh facilitate speaker speech recognition uh which unfortunately is still in a test phase, so uh there should be some more uh investigation on that side. Uh my personal preferences uh I also overheard in the last meeting that there shou we should use uh our own business colours. That was correct, wasn't it? Peggy Richards: Mm-hmm. Jennifer Walls: Okay. I think they are rather boring for um for use with rubber. Peggy Richards: Well, business colours I thought it was the the slogan and uh the corporate image, so yeah, it Jennifer Walls: Okay Peggy Richards: needs colour, Jennifer Walls: they should be m sh they should be in mind, wasn't Peggy Richards: but I Jennifer Walls: it? Peggy Richards: don't think you have to make the entire thing in the corporate Jennifer Walls: Okay Peggy Richards: colour. Jennifer Walls: so it d it doesn't says uh to uh have the Peggy Richards: It Jennifer Walls: slogan? Peggy Richards: must be recognisable. Jennifer Walls: Okay okay. Well that's possible of course. We could make Amanda Deal: You can put Jennifer Walls: a little Amanda Deal: the Jennifer Walls: R_ Amanda Deal: R_ and R_. Jennifer Walls: and R_ on the top of the machine. Uh so they are pretty boring, I suggest, because just the availability with rubber to make fantastic colours uh and also in a lot of possible colours, so it's possible to make very uh fancy uh remote controls which peopl uh who people in which people will find they're uh interesting. And uh will buy uh them faster when they look at the same old grey or black uh colours. Uh s as I said uh before rubber is uh is impossible to damage severely of course you can break it when you you when you break it in s for example with a pair of scissors or something like that, but i if you drop it it's not uh broken uh right away s instead of using uh plastic, hard plastic or uh titanium. And I personally liked uh the single curved uh remote control, because it yeah it makes sense. Okay. Well that's all about my uh my findings. Amanda Deal: Alright. Peggy Richards: Okay, thank you. Jean Patterson: Mm mm Amanda Deal: I will Jean Patterson: mm. Amanda Deal: go next. Jean Patterson: Next. Amanda Deal: Alright so I thought a little bit about the interface. Uh how it should look. And uh uh we uh determined that will not be no buttons, but only an L_C_D_ screen, so I had to uh look on that. And the design is therefore we just uh uh thought of. Uh first there are some new findings and new technology for speech recognition. And this is that uh um uh uh you you ask you give a question through through the device and it answers you. And they already uh put this in an in a coffee maker. And so that it you say uh good morning, uh coffee maker, and it says t says to you back good morning Jennifer Walls: Mm. Amanda Deal: Joe or what's your name. This uh and there's an easy way to uh program that uh you say record into the device into the speaker and then you say the question and three seconds later you say the answer and then when you say the question it gives you the answer. Jennifer Walls: Mm. Amanda Deal: Um Peggy Richards: Mm. Amanda Deal: perhaps it's useful, perhaps for because Jennifer Walls: Mm. Amanda Deal: people um lose the remote, they can yell uh remote where are you and calls or something. Jean Patterson: It's true. Amanda Deal: And perhaps we could uh implement that. And then I have to go out of the presentation because Jennifer Walls: Oh Amanda Deal: I Jennifer Walls: my God. Amanda Deal: tried to make some kind of a a idea of how it should look like but I can't draw, so uh don't make too much of it. I tried to uh the L_C_D_ screen I tried to sort of to draw. I thought uh at least uh the icon for the volume. I don't know if there is an icon for the program, but Jennifer Walls: Not just a P_. Amanda Deal: yeah. Jean Patterson: P_ yeah, just a P_. Amanda Deal: So Jennifer Walls: ... Amanda Deal: uh and then the buttons above and uh below the and the and the mute button also recognisable as an icon. Um. Jean Patterson: Where's where's the button for two? Amanda Deal: I forgot that one. Jean Patterson: Okay. Amanda Deal: I thought I forgot something, but uh. And uh and uh the numbers, that should be a bit larger I think it's not really on scale and and Jennifer Walls: Ah. Amanda Deal: so forth. Jean Patterson: Doesn't matter. Amanda Deal: Um an options button. And I thought the the button for teletext apar uh apart because it's not really options, I think. Jennifer Walls: Mm-hmm. Amanda Deal: It's uh options Jean Patterson: No. Amanda Deal: is the settings of the remote and of the T_V_ and that kind of uh thing. Jennifer Walls: Yep. Amanda Deal: So could call it settings or something. But this is a bit uh how I thought it. And uh the L_C_D_ uh somewhere on the remote. Perhaps we could be more curvy the remote perhaps should, so that it's better in your hand or something uh. Jennifer Walls: Oh okay, yeah. Amanda Deal: But uh and and uh a microph microphone for the speech uh recognition if we want to implement that. Uh and then uh if you press the op options button, now we have an example of and then you should get the other options with what what you could do and that you could do with something like this this. Jennifer Walls: Oh yeah, Amanda Deal: And uh it's also uh I thought think we discussed uh earlier that uh older people don't really want to use uh these extra settings. And older people a also don't really want to use this uh th this kind of option menus. So they want to u use one button and then something happens, and not choose with uh this kind of uh And you could put in a an a really s little scrolling device on the Peggy Richards: Mm-hmm. Amanda Deal: side of your uh remote, so you Jennifer Walls: Mm. Amanda Deal: could scroll scroll uh across these uh things. Jennifer Walls: Okay. Amanda Deal: That's an option. And that was my uh finding dinge. Peggy Richards: Thanks. Amanda Deal: Yeah. Jean Patterson: Okay. Peggy Richards: Now our third Jennifer Walls: Go Danny, go Danny. Peggy Richards: team member with his presentation. Jean Patterson: Okay, going to you about trend watching. The trends from the past years what the people like, what the youngsters, what the elderly people liked about shapes, material and stuff. 'Kay. The method I used was Like I told I watched the trends from the past years about colours, shapes, material they wanted uh from elderly and young people. So we can keep that in mind for designing f uh the device itself. Findings I made. The most important thing people liked last year was that the remote control should be look look fancy. The second important thing that w should be if inv in innov innovative, okay, like the L_C_D_ screen that's quite innovative so that should be great meeting for this. And the third thing is it should be easy to use. I think with only one menu, four button, channel, volume, it should also be enough for easy to use. The personal preferences for the young people, they liked fruity colours like uh Jennifer Walls: Fruity? Jean Patterson: banana yellow, uh Jennifer Walls: Fruity. Jean Patterson: strawberry red and stuff. Amanda Deal: Grass green. Jean Patterson: Yeah. Like that. The round shapes, and soft material m materials like the rubber. Jennifer Walls: Mm. Jean Patterson: It should be Jennifer Walls: Okay. Jean Patterson: soft uh i it should feeling spongy or s Sponge Bob like things. Amanda Deal: Let's Jean Patterson: Th Amanda Deal: build it into a sponge. Jean Patterson: Elderly people like au colours which y are being seen in autumn like um woods um dark brown, red, deep reds and stuff. They liked square shapes with round edges. And hard materials like wood, um titanium. They those kind of materials they liked. This is a bit like the young peoples like the fruity colours, innovative, all the colours you see, the blue, the red, the white, the yellow, that stuff. And then I th I I personally thought the front side of the shape should be something for the youngsters Peggy Richards: Oh y Jean Patterson: like like this or something. It's it's a bit like a banana. And the colour should be yellow, or something. And for the elderly people just plain old. Because we decided to have two kind of remotes, two designs, or was it two Amanda Deal: It Jean Patterson: colours? Amanda Deal: was one Jean Patterson: Different Amanda Deal: remote, Jean Patterson: colours, yeah. Amanda Deal: I think, different Jean Patterson: We should Amanda Deal: colours. Jean Patterson: decide whether it's going to be with round shapes. I think like my colleague, you said, is that's e better, or for the elderly people something like like the iPod or something, with round squares. Simple but easy to use. Jennifer Walls: Mm. Jean Patterson: So that's it. Jennifer Walls: Okay. Peggy Richards: So Jean Patterson: That Peggy Richards: for Jean Patterson: is Peggy Richards: the older Jean Patterson: my Peggy Richards: people, a more traditional Jean Patterson: Yeah, Peggy Richards: uh Jean Patterson: like the Peggy Richards: form. Jean Patterson: older o older colours I can maybe Amanda Deal: You could you could uh change the colours, that was also the idea. I Jean Patterson: Yeah. Amanda Deal: don't know which shape you should should take, but. Jean Patterson: Colours th the elderly Peggy Richards: Yeah, Jean Patterson: people Peggy Richards: I guess changing colours will be easier than changing Amanda Deal: Yeah. Jennifer Walls: Changing Peggy Richards: uh Jennifer Walls: just the shape of the Peggy Richards: the shape Jennifer Walls: uh Peggy Richards: of it. Jennifer Walls: remote control? Amanda Deal: Perhaps you could find something in the middle. Jennifer Walls: Yeah, Amanda Deal: Round Jennifer Walls: s Amanda Deal: but square. Jennifer Walls: round corners, but s but square, yeah. Amanda Deal: Yeah. Peggy Richards: But maybe then both groups won't buy it. Jennifer Walls: Yeah. Amanda Deal: Uh i i if you do it uh uh square, with round corners but a little uh in the middle of it uh i Do Jennifer Walls: Yeah Amanda Deal: you Jennifer Walls: I know what Amanda Deal: know Jennifer Walls: you Amanda Deal: what Jennifer Walls: mean, Amanda Deal: I mean? Jennifer Walls: kind of like a. Amanda Deal: wait, like like this uh a bit. Jennifer Walls: Yeah. Amanda Deal: So it's a bit square, but it's also a bit uh round. Jennifer Walls: Kinda like a beer glass. Amanda Deal: So Jennifer Walls: Yeah. Amanda Deal: but then Jennifer Walls: I know what you mean. Amanda Deal: Same sides. Jennifer Walls: It's also easy Amanda Deal: But that's Jennifer Walls: to Amanda Deal: uh Jennifer Walls: to have to to put in your hand. Amanda Deal: Yeah but that's also how other remotes are shaped, so that's uh Jennifer Walls: Yeah. Amanda Deal: But perhaps that's a good thing, so that's easy to use. People know the Jennifer Walls: Will recognise that's as a remote Amanda Deal: Yeah. Jennifer Walls: control. Jean Patterson: Uh Jennifer Walls: Uh when I saw your d Oh. Jean Patterson: Look something like that. Autumn colours like red, brown. They liked the wood Jennifer Walls: Huh. Jean Patterson: a lot. Peggy Richards: Mm-hmm. Jean Patterson: So Amanda Deal: Yeah. Jean Patterson: maybe we could give it like wooden loo look look or something Amanda Deal: Yeah. Jennifer Walls: Yeah, kinda Jean Patterson: in Jennifer Walls: like old Jean Patterson: that Jennifer Walls: cars, Jean Patterson: colour. And Jennifer Walls: uh Jean Patterson: a bit bit Amanda Deal: Yeah. Jean Patterson: old school style renaissance, medieval kind of things. Amanda Deal: Swords. Jennifer Walls: Let's Jean Patterson: Those Jennifer Walls: put Jean Patterson: kind Jennifer Walls: it all Jean Patterson: of Yeah, Jennifer Walls: together. Jean Patterson: those kind of things. So you see the big difference between the young people? Fresh, Amanda Deal: Yeah. Jean Patterson: exciting. And the old people, Amanda Deal: But that's easily Jean Patterson: old Amanda Deal: to do Jean Patterson: and Amanda Deal: with Jean Patterson: boring. Amanda Deal: the colour, I think. Jean Patterson: So Sorry? Amanda Deal: That's easy to do with the colours, Jean Patterson: Yeah Amanda Deal: I Jean Patterson: I think Amanda Deal: think. Jean Patterson: it's it's easier to do in colour than in shape. Amanda Deal: Yeah. Jennifer Walls: Uh. Jean Patterson: Because otherwise Peggy Richards: Yeah we Jean Patterson: we have Peggy Richards: think so Jean Patterson: to Peggy Richards: too. Jean Patterson: get different shapes, and colour way easier than yeah the shapes. In material yeah rubber, rubber is, like I said, young people like more soft materials and spongy ones and the old people like plain wood. Amanda Deal: Yeah. Jennifer Walls: Yeah. Jean Patterson: So we have to decide if we're going to use real hard rubber, or soft rubber. Amanda Deal: Yeah Jean Patterson: Or something something Amanda Deal: think Jean Patterson: between Amanda Deal: uh Jean Patterson: that. Jennifer Walls: Soft Amanda Deal: Also Jennifer Walls: rubber. Amanda Deal: in between. Jean Patterson: Yeah soft rubber which you can you can feel Jennifer Walls: Yeah Jean Patterson: in it. Jennifer Walls: I know what you Um. Amanda Deal: I don't think you should Jean Patterson: Or Amanda Deal: be able to mould it, but Jean Patterson: No. Or Jennifer Walls: It should Jean Patterson: or wh what's Jennifer Walls: shouldn't Jean Patterson: something Jennifer Walls: be. Jean Patterson: harder. No no no but but you have to like like like a a eraser or something. That's the bit you Amanda Deal: Yeah. Jean Patterson: can press it in, or something harder. Jennifer Walls: Uh. Amanda Deal: Bit like this kind of rubber. This uh Jean Patterson: Yeah, something like this, yeah. Amanda Deal: But it's quite hard, this. Jean Patterson: Yeah it's quite hard but you can press it in. Amanda Deal: Yeah. Jean Patterson: It's feels kind s spongy. Jennifer Walls: Spongy. Peggy Richards: Hmm. Jean Patterson: Something. Amanda Deal: I Jean Patterson: No. Amanda Deal: don't think it's rubber. Jean Patterson: N n n Peggy Richards: So we need a spongy feeling. Amanda Deal: Uh did you have something about uh Jean Patterson: Are you going to invite Jennifer Walls: Yeah. Jean Patterson: Sponge Bob, maybe he can Amanda Deal: So Jennifer Walls: Ding Amanda Deal: we Jennifer Walls: ding. Amanda Deal: should first decide about shape, I think. Jean Patterson: Yeah I Amanda Deal: Which Jean Patterson: think Amanda Deal: uh Jean Patterson: that's the better thing to do. Amanda Deal: Then you can fit the L_C_D_ screen in it, and can decide uh. Jennifer Walls: Um I also s uh can't help but notice that you uh used an you had a remote control and the L_C_D_ screen was uh rather small. Jean Patterson: Yeah w Jennifer Walls: Um. Amanda Deal: Yeah Jean Patterson: I think Jennifer Walls: ... Jean Patterson: that Amanda Deal: it's Jean Patterson: L_C_D_ Amanda Deal: supposed Jean Patterson: screen Amanda Deal: to be Jean Patterson: should Amanda Deal: bit Jean Patterson: be Amanda Deal: s bit s bit Jennifer Walls: This Jean Patterson: like Jennifer Walls: was your size, Amanda Deal: Yeah. Jennifer Walls: but I think it should be larger. Jean Patterson: Yeah three quarter of the Jennifer Walls: Yeah, three Jean Patterson: of Jennifer Walls: quarters. Jean Patterson: the Jennifer Walls: So uh so you don't have to put your Jean Patterson: Yeah Jennifer Walls: oh. Jean Patterson: the buttons won't get that small Jennifer Walls: Uh new, Jean Patterson: when the L_C_D_ screen Jennifer Walls: blank. Jean Patterson: is Jennifer Walls: So uh when you get this uh Amanda Deal: Ooh Jennifer Walls: Uh kinda like this. Jean Patterson: Mm-hmm. Jennifer Walls: Or Amanda Deal: Yeah. Jennifer Walls: should it be larger? Jean Patterson: Larger I think. Jennifer Walls: Larger? Because you want to put your hands Amanda Deal: But if Jean Patterson: Yeah Amanda Deal: you pu Jean Patterson: becau because Amanda Deal: Now Jennifer Walls: You want Jean Patterson: you have Amanda Deal: you can put your hand there and then you won't touch the screen. Jennifer Walls: Yeah. Amanda Deal: Perhaps Jean Patterson: Yeah okay, Amanda Deal: that's Jean Patterson: true, Amanda Deal: best. Jean Patterson: true, true true. Jennifer Walls: Your thumb here. Amanda Deal: But not on the screen because Jennifer Walls: Yeah. Amanda Deal: Yeah that's uh Jean Patterson: Yeah. Amanda Deal: that's an idea. Looks a Jennifer Walls: Because Amanda Deal: bit like Jennifer Walls: when you Amanda Deal: a Game Jennifer Walls: put your Amanda Deal: Boy Jennifer Walls: f Amanda Deal: now. Jennifer Walls: Yeah but if yo if you make the the L_C_D_ screen as large as the remote control itself, uh you'll you'll always get some You Amanda Deal: You always touch it, Jean Patterson: Yeah Jennifer Walls: Yeah. Amanda Deal: yeah. Jean Patterson: yeah Jennifer Walls: Going Jean Patterson: yeah Jennifer Walls: to be Jean Patterson: yeah. Jennifer Walls: very greasy and stuff. Jean Patterson: But it won't get that small because you have how much? Nine ten eleven twelve thirteen fourteen fifteen buttons on the screen. Amanda Deal: Yeah. Jean Patterson: One to zero, Jennifer Walls: Yeah you don't want Jean Patterson: the Jennifer Walls: it Jean Patterson: two Jennifer Walls: too Jean Patterson: digit, Jennifer Walls: small. How yeah how large Jean Patterson: You have to you have to Because some fat people with d thick fingers Jennifer Walls: Yeah they have thick Jean Patterson: will Jennifer Walls: fingers. Jean Patterson: press three buttons at same time. Jennifer Walls: But if you wanna make it in international, Japanese uh people got uh rather small hands Jean Patterson: Yeah true, but Jennifer Walls: and Jean Patterson: Yeah, Jennifer Walls: we got Jean Patterson: we Jennifer Walls: these Jean Patterson: have Jennifer Walls: large Jean Patterson: we have the zoom option, right? Jennifer Walls: Zoom opt Ah yeah of course, yeah. You can make it larger to to uh to uh with accompanying Jean Patterson: Yeah. Jennifer Walls: uh greater fields to push the button. Peggy Richards: Yeah. Jean Patterson: Yeah. Peggy Richards: And we won't include a a pen, or something to point, Jean Patterson: No. Peggy Richards: hey, we we want to do it with our fingers, Jean Patterson: Yeah. Peggy Richards: right? Jennifer Walls: Your fingers, yeah. Jean Patterson: Yeah. Jennifer Walls: You don't Peggy Richards: Yeah. Jennifer Walls: want Amanda Deal: Y Jennifer Walls: uh Amanda Deal: you Jennifer Walls: Because Amanda Deal: could Jennifer Walls: if Jean Patterson: Use Jennifer Walls: you Amanda Deal: include Jennifer Walls: lose Jean Patterson: a pen Jennifer Walls: the Jean Patterson: You Jennifer Walls: pen Amanda Deal: a Jean Patterson: you Amanda Deal: pen. Jean Patterson: c you Jennifer Walls: uh Jean Patterson: can lose the pen. Peggy Richards: Yeah but I Jennifer Walls: if Peggy Richards: think Jennifer Walls: you lose the pen Peggy Richards: people want Jennifer Walls: uh Peggy Richards: to Jennifer Walls: you Peggy Richards: use Jennifer Walls: can't Peggy Richards: a remote Jennifer Walls: use Peggy Richards: with with their Jean Patterson: Yeah Peggy Richards: fingers Jean Patterson: the fingers, Peggy Richards: because Amanda Deal: Yeah Peggy Richards: th Amanda Deal: o Peggy Richards: they're used Jean Patterson: yeah. Amanda Deal: yeah, Peggy Richards: to that and Amanda Deal: if they think it's handy to use a pen. Yeah I think this uh this is a good size for the screen. I don't know how how large the actual remote should be but a little bit Peggy Richards: And Amanda Deal: like Peggy Richards: maybe we Amanda Deal: this, Peggy Richards: have Amanda Deal: or Peggy Richards: to Amanda Deal: something. Peggy Richards: add a tissue to remove the grease from all the fingers, Amanda Deal: Yeah. Jennifer Walls: Yeah Peggy Richards: huh. Jean Patterson: Yeah but that Jennifer Walls: You Jean Patterson: that can Jennifer Walls: can Jean Patterson: be Jennifer Walls: do Jean Patterson: with Jennifer Walls: whatever Jean Patterson: plain Jennifer Walls: uh any uh Jean Patterson: soft tissue. Jennifer Walls: cloth. Jean Patterson: Yeah, you Peggy Richards: Okay Jean Patterson: can buy Peggy Richards: well Jean Patterson: those Peggy Richards: maybe, Jean Patterson: at Peggy Richards: if I can interrupt you, maybe I should uh should show some points on which we uh should take a decision. Jennifer Walls: Sure. Peggy Richards: So we can discuss these points. those points um energy question mark. How how should we uh supply the thing with energy and how are we going to do it with separate docking station and then put in it. Uh chip on print and case. Those are points my uh coach advised Jean Patterson to discuss here, but I hope you have ideas about them. Amanda Deal: I think energy were batteries and then uh and uh Jennifer Walls: The docking station. Amanda Deal: Yeah. Peggy Richards: Yeah. So that's the Jean Patterson: Maybe Peggy Richards: the Jean Patterson: it's Peggy Richards: the Jean Patterson: better Peggy Richards: first Jean Patterson: to Peggy Richards: point. We Jean Patterson: to Peggy Richards: already Jean Patterson: include Peggy Richards: decided that on Jennifer Walls: W Peggy Richards: the Jean Patterson: rechargeable Peggy Richards: previous Jean Patterson: batteries Peggy Richards: meeting. Amanda Deal: Yeah. Jean Patterson: which you can recharge Amanda Deal: Yeah. Jean Patterson: through the docking station. Amanda Deal: Yeah. Jean Patterson: So Peggy Richards: Mm-hmm. Jennifer Walls: Yeah. Jean Patterson: if Amanda Deal: Just Jean Patterson: the badg Amanda Deal: like Jean Patterson: the Amanda Deal: with Jean Patterson: batteries Amanda Deal: the Jean Patterson: are Amanda Deal: telephone. Jean Patterson: dead Jennifer Walls: I kinda Jean Patterson: then you can Jennifer Walls: like Jean Patterson: re Jennifer Walls: your Jean Patterson: you can uh change them. Jennifer Walls: Yeah you got some uh some of those uh uh wireless uh mice? Jean Patterson: Yeah Jennifer Walls: Mouse. Jean Patterson: yeah Jennifer Walls: Computer Jean Patterson: yeah Jennifer Walls: mouse. Jean Patterson: like those. Jennifer Walls: Kinda like those kind of batteries. Jean Patterson: Yep. Amanda Deal: but it should be th I think normal batteries, not Jean Patterson: Yeah, Amanda Deal: not Jean Patterson: normal Amanda Deal: like two or Jean Patterson: plain you Amanda Deal: two uh Jean Patterson: No normal plain batteries Amanda Deal: Yeah. Jean Patterson: you can buy at the supermarket Jennifer Walls: Yeah. Jean Patterson: or retail Peggy Richards: Simple Jean Patterson: shop. Peggy Richards: rechargeable Jean Patterson: Yeah. Peggy Richards: uh Amanda Deal: Yeah. Peggy Richards: batteries. Amanda Deal: Um what was with the chip on print? Jennifer Walls: The chip on print? Um Uh you gotta f Yeah. I think so. Chip on print with a with a Jean Patterson: Print Jennifer Walls: simple Jean Patterson: plate. Jennifer Walls: uh a sim not a simple but a We also discussed that. Didn't we? Peggy Richards: Yeah but how did this how does that with a L_C_D_ screen? You still have a print plate. Jennifer Walls: Uh Jean Patterson: Yeah yeah yeah. You always have a print plate. Jennifer Walls: Beg your pardon? Jean Patterson: You always have a print plate, right? Jennifer Walls: Yeah sure, Peggy Richards: Mm-hmm. Jennifer Walls: of course, yeah. Jean Patterson: Always, so I dunno what w what we have to decide about that. Peggy Richards: Yeah well it's a good question. It just was in there and I didn't Jennifer Walls: Well Peggy Richards: have Jennifer Walls: uh Peggy Richards: any Jennifer Walls: chip Peggy Richards: information Jennifer Walls: on print, Peggy Richards: about it, Jennifer Walls: I Peggy Richards: but Jennifer Walls: think what they mean uh with the regular rubber buttons that you got, uh it's always clear for the remote control when you press uh a certain button. Peggy Richards: Mm-hmm. Jennifer Walls: But when you got a L_C_D_ screen, Jean Patterson: Yeah, okay. Jennifer Walls: with no uh with not the buttons Jean Patterson: But Jennifer Walls: are not always on the same place, for example if you enlarge a button, or if you got several Amanda Deal: Yeah. Jennifer Walls: options uh appearing on your screen, uh the co-ordinations aren't always the same. When you got a regular button, th the button of stand-by is always on the same Jean Patterson: Yeah Jennifer Walls: place Jean Patterson: okay, but Jennifer Walls: and you got on the Jean Patterson: the Jennifer Walls: and on the Jean Patterson: p print plate of L_ L_C_D_ screen is more advanced than a normal Jennifer Walls: Yeah. Jean Patterson: print plate, so that that's not of any discussion, I think. Peggy Richards: Well you need some kind of C_P_U_, I guess. Jennifer Walls: I suppose Jean Patterson: Mm, Jennifer Walls: so. Jean Patterson: I don't I dunno I don't think that's Jennifer Walls: It is a simple C_P_U_ but it doesn't Jean Patterson: Yeah yeah okay but I d I I don't know if nor o s it's Jennifer Walls: Yeah Jean Patterson: quite Jennifer Walls: because Jean Patterson: a simple Jennifer Walls: it has Jean Patterson: L_C_D_. Jennifer Walls: to uh b Jean Patterson: Yeah, it's quite a simple L_C_D_ screen. I think they don't need that big Jennifer Walls: Yeah but Jean Patterson: of C_P_U_. Jennifer Walls: it the the remote control has to know whether you're in a settings menu or just uh you just want to turn up the volume. Jean Patterson: Yeah, okay, true true. True. Jennifer Walls: So it has to have some kind of a calculation unit or C_P_U_ to know uh in which state you are and uh which button you are pressing in at the right moment. Peggy Richards: Mm-hmm. Because we're projecting projecting the buttons on the L_C_D_ Jennifer Walls: Yeah. Peggy Richards: screen. Jennifer Walls: And a touch screen makes it uh possible to uh to get the co-ordination of your finger Peggy Richards: Yeah. Jennifer Walls: on the screen. And the case, yeah we already discussed Amanda Deal: It's Jennifer Walls: the case, Amanda Deal: rubber. Jennifer Walls: we wanted to make it from rubber Amanda Deal: Yeah Jennifer Walls: and Amanda Deal: but Jennifer Walls: uh Amanda Deal: but a hard rubber like this? Or softer rubber or Jennifer Walls: Uh hard rubber I think. Amanda Deal: Yeah. Jennifer Walls: That's the easy to ha uh to to Jean Patterson: Yeah. Jennifer Walls: uh Amanda Deal: It bounces back from Jennifer Walls: Yeah. Amanda Deal: the floor where you Jennifer Walls: Yeah Jean Patterson: We Amanda Deal: throw Jennifer Walls: sure, Jean Patterson: have different Amanda Deal: it. Jennifer Walls: look. Jean Patterson: colours. Amanda Deal: Yeah yeah this Jean Patterson: So Amanda Deal: in different Jean Patterson: the shapes Jennifer Walls: D Amanda Deal: colours? Jean Patterson: is something between the square shapes with round colo corners and a round shapes? No I don't think, I think it's more round than square. Amanda Deal: Yeah it's a bit. But I think Jean Patterson: So it Amanda Deal: it Jean Patterson: meets Amanda Deal: should be a bit longer, Jean Patterson: I think Amanda Deal: perhaps. Jean Patterson: it meets more the young people than the older people. Amanda Deal: Yeah. Peggy Richards: Yeah. But Amanda Deal: I Peggy Richards: that's Amanda Deal: think Peggy Richards: what Amanda Deal: so Peggy Richards: we want, Amanda Deal: too. Jean Patterson: Yeah, that's our target. Jennifer Walls: It's our main target. Jean Patterson: Yeah. Amanda Deal: Yeah. Peggy Richards: Mm-hmm. Jean Patterson: Lower than forty years, I think it Jennifer Walls: Well Jean Patterson: was. Jennifer Walls: and how about my idea uh of making it um with one single curve? Jean Patterson: Oh yeah that that Jennifer Walls: So i Jean Patterson: I think I thought that Amanda Deal: Yeah. Jean Patterson: was a quite good Jennifer Walls: Because it's a gadget and you want Jean Patterson: Yeah. Jennifer Walls: to show it off, of course. Peggy Richards: Yeah yeah you have Amanda Deal: Yeah. Peggy Richards: a fancy design, Jennifer Walls: Uh. Peggy Richards: then, right away. Jean Patterson: You can Peggy Richards: So Jean Patterson: put Jennifer Walls: Because Jean Patterson: it Jennifer Walls: it Jean Patterson: on your table with Jennifer Walls: Yeah. Jean Patterson: the L_C_D_ screen, you don't have to put it get it in your hand, you can put it next to you and then Jennifer Walls: Yeah. Jean Patterson: dive it in Amanda Deal: Yeah, that's Jean Patterson: and. Amanda Deal: a good idea. Jennifer Walls: It's a lot easier. Jean Patterson: Yeah. Amanda Deal: Yeah, alright. Jean Patterson: So Jennifer Walls: So, so Peggy Richards: Okay Jennifer Walls: you got uh Peggy Richards: so Jennifer Walls: Did Amanda Deal: And then Jennifer Walls: you write that down? Uh got a single curved uh rubber f uh fancy coloured Jean Patterson: You can't Jennifer Walls: remote Jean Patterson: you Jennifer Walls: control. Jean Patterson: You can't oh, you c you can draw it on your paper and then load Jennifer Walls: Yeah. Jean Patterson: it on the Amanda Deal: Yeah, you can uh Peggy Richards: Yeah Amanda Deal: It's Peggy Richards: but Amanda Deal: pretty Peggy Richards: I wrote it Amanda Deal: easy Peggy Richards: down. Amanda Deal: but Jean Patterson: And load Amanda Deal: And Jean Patterson: it on the the user the server. Peggy Richards: What about the user interface, there are also some some questions uh about the concepts I think you have some ideas Amanda Deal: Yeah, Peggy Richards: on that. Amanda Deal: I had what Peggy Richards: You Amanda Deal: I Peggy Richards: you showed your Amanda Deal: just Peggy Richards: drawing. Amanda Deal: uh I should again. I miss a few buttons, but. Well. At least uh what we should also have on, I just remembered, um a menu to go back through the first uh Jean Patterson: Mm-hmm. Amanda Deal: if if you touch options, Jean Patterson: Yeah, Amanda Deal: you Jean Patterson: you Amanda Deal: can't Jean Patterson: have to go Amanda Deal: go Jean Patterson: back. Amanda Deal: back to this Jean Patterson: Yeah Amanda Deal: uh Jean Patterson: uh uh. Amanda Deal: right away now. This Jean Patterson: Isn't it better to have the sound and the general buttons horizontal? Amanda Deal: I don't know. Jean Patterson: With the minus and the plus. Amanda Deal: I think Jean Patterson: I Amanda Deal: it's Jean Patterson: think it's easier Amanda Deal: I don't Jean Patterson: than Amanda Deal: know. I I thought it was uh easier to handle Jean Patterson: Yeah. Amanda Deal: this way, but I don't know what they think. Jennifer Walls: Sorry? Amanda Deal: Would Peggy Richards: Mm. Amanda Deal: you like the the buttons horizontal or v vertical? Jean Patterson: For sound and Jennifer Walls: Depends Amanda Deal: Th Jean Patterson: channel. Jennifer Walls: on the screen. If you make the screen vertical it doesn't matter. If you make it uh in a rectangle Amanda Deal: Right Jean Patterson: Yeah. Amanda Deal: well if we make it like this, Jennifer Walls: I so Amanda Deal: I Jennifer Walls: it's Amanda Deal: think Jennifer Walls: it's Amanda Deal: if you Jennifer Walls: it's it's Amanda Deal: put it like Jennifer Walls: Square. Amanda Deal: this Jean Patterson: I think it's it's easier to have it something like Oh a button uh minus here, plus over here. A minus here, plus over here. Jennifer Walls: Oh, okay. Jean Patterson: And on here. Amanda Deal: Yeah. Jean Patterson: The other buttons and on here the top. The options Amanda Deal: Yeah. But I think Jean Patterson: and Amanda Deal: I Jean Patterson: then Amanda Deal: wou Jean Patterson: you have something like uh the P_ over here, and the sound. Amanda Deal: I think Jean Patterson: Something Amanda Deal: that's a Jean Patterson: uh Amanda Deal: matter of what you're used to. I think I would put a plus and a min uh here. And then the P_ in the mid in the middle and the sound uh in the middle. Jennifer Walls: Uh. Jean Patterson: Something like Sh Jennifer Walls: Take your time. Jean Patterson: Plus minus plus uh Amanda Deal: Almost. Jean Patterson: minus. Amanda Deal: Yeah but I think when you are holding it, you could press the minus and the plus and with the other finger the minus and the plus. Jean Patterson: Yeah I think you're going to s you're going to use it with one thumb. Amanda Deal: Yeah but I think Yeah I don't know. Perhaps Jennifer Walls: W Amanda Deal: I have some examples. Jennifer Walls: We'll leave Amanda Deal: I don't Jennifer Walls: that Amanda Deal: know Jennifer Walls: to the usability engineering then. Jean Patterson: Who's the usability engineering? Amanda Deal: That's Jean Patterson. Jean Patterson: She is. Amanda Deal: But I'm going to look if I've got some examples 'cause perhaps you should choose what's most Jean Patterson: Oh. Amanda Deal: often used. The Jennifer Walls: Yeah. Jean Patterson: Um Amanda Deal: 'Cause they can use that better. Jennifer Walls: Consistency. Amanda Deal: Yeah. Jean Patterson: Oh I have that Amanda Deal: I Jean Patterson: those s numbers. Amanda Deal: Here is our here are uh Jean Patterson: Or a good watch. Amanda Deal: I don't really know. Jean Patterson: B Peggy Richards: Everybody's searching in his data. Jean Patterson: Channel Amanda Deal: Yeah. Jean Patterson: selection. Per hour one hundred and sixty eight. Volume selection four times Amanda Deal: Yeah Jean Patterson: an Amanda Deal: but Jean Patterson: hour Amanda Deal: But I mean if it's usually plus or min above each other or next to each other Jennifer Walls: Yeah. Amanda Deal: on a normal remote. Jean Patterson: Uh Jennifer Walls: So not how much n not how often it's used, but Amanda Deal: W what's Jean Patterson: Yeah, Amanda Deal: what's Jean Patterson: that Amanda Deal: usual Jean Patterson: depends Amanda Deal: or normal. Jean Patterson: on on on Amanda Deal: Yes Jean Patterson: the Amanda Deal: I'm Jean Patterson: remote. Amanda Deal: looking here. But here's it's Jennifer Walls: Uh. Amanda Deal: below, here also, and now here's here's next to each other. I think it's it's a Jean Patterson: I think because I have two televisions at home. One is horizontal, one is vertical, so it Jennifer Walls: Yeah it does Amanda Deal: Yeah. Jennifer Walls: it Jean Patterson: depends. Jennifer Walls: doesn't really matter, but Jean Patterson: Yeah. Depends. Jennifer Walls: Uh. Amanda Deal: I think the the the volume was usually uh above each other, because you go higher and Jean Patterson: Yeah, Amanda Deal: down. Jean Patterson: lower. Amanda Deal: And the the pay the the the program is next to each other, because you would go further and back. Jean Patterson: True. Amanda Deal: That's how it's is usually when I look here Jennifer Walls: Okay, Amanda Deal: that's Jennifer Walls: um. Amanda Deal: what I see. Jennifer Walls: Let's cut to the chase. Jean Patterson: It's got to change. Peggy Richards: Yeah well I think we have we don't have to decide about that now how where we will put the buttons Amanda Deal: I don't know. Jean Patterson: Yeah is it Peggy Richards: just Jean Patterson: is Peggy Richards: the Jean Patterson: user interface. Amanda Deal: Yeah. Peggy Richards: concepts. Jean Patterson: Component. Amanda Deal: This concept is in the actual design, but you should know where you would place Jennifer Walls: Okay, Amanda Deal: a Jennifer Walls: well le Yeah. Interface, Amanda Deal: And the speech Jennifer Walls: yeah. Amanda Deal: uh shall we implement that? Or uh Peggy Richards: Yeah well we just heard about the new uh Jean Patterson: Yeah Peggy Richards: technology, Jean Patterson: I Jennifer Walls: Technologies, Jean Patterson: think it's it's Jennifer Walls: uh. Peggy Richards: huh? Jean Patterson: easy for that, where are you, but then it says I'm Jennifer Walls: Yeah. Jean Patterson: here. Amanda Deal: Yeah. Jennifer Walls: Makes it Amanda Deal: But Jennifer Walls: possible Amanda Deal: then you Jennifer Walls: to Amanda Deal: should Jean Patterson: Yeah. Amanda Deal: also find a place You could if you do it like this you could put it in a corner or something. Jennifer Walls: Mm. Amanda Deal: You can talk into the corner. Jean Patterson: Yeah, a microphone, yeah. Amanda Deal: Yeah. Jennifer Walls: Not even Peggy Richards: Mm-hmm. Jennifer Walls: necessary, because a lotta you can make a very sensitive microphone, so it makes it possible to uh just put it arou uh underneath it or on the on the bottom of the uh Amanda Deal: Yeah. Peggy Richards: Yeah Jennifer Walls: remote. Peggy Richards: maybe at the Amanda Deal: But Peggy Richards: bottom where you can can hel hold it Amanda Deal: Yeah, Peggy Richards: with Amanda Deal: that's Peggy Richards: you hand Jennifer Walls: Yeah. Amanda Deal: also. Peggy Richards: that there's also a microphone uh Jennifer Walls: Right. Peggy Richards: over there. Amanda Deal: So, Jennifer Walls: But Amanda Deal: in Jennifer Walls: that's Amanda Deal: the Jennifer Walls: not Amanda Deal: middle Jennifer Walls: import Amanda Deal: or something. Jennifer Walls: I Peggy Richards: Yeah, Jennifer Walls: think Peggy Richards: yeah. Jennifer Walls: that's not im very important because yeah, it doesn't matter where the microphone is. Amanda Deal: but you should uh decide where you want Jennifer Walls: Ah Amanda Deal: to Jennifer Walls: okay, Amanda Deal: put it. Jennifer Walls: sure, okay, Amanda Deal: Right? Jennifer Walls: well tha Jean Patterson: Um I Jennifer Walls: Underneath? Jean Patterson: think where it isn't seen the most. Jennifer Walls: Indeed. It shouldn't be uh Jean Patterson: Inside. Amanda Deal: You Jennifer Walls: very Amanda Deal: could p you Jennifer Walls: uh Amanda Deal: could Jennifer Walls: visible. Amanda Deal: put it in a logo of the company. Peggy Richards: Yeah. Jennifer Walls: Yeah sure, Jean Patterson: Yeah. Peggy Richards: Well Jennifer Walls: why Peggy Richards: maybe Jennifer Walls: no Peggy Richards: just Jean Patterson: I i Peggy Richards: in the Jean Patterson: between Peggy Richards: the spot Jean Patterson: the Peggy Richards: you just Jean Patterson: round of the R_. Peggy Richards: pointed out Amanda Deal: Yeah. Jean Patterson: Yeah. Peggy Richards: because I think it should be in a in an important position where people can see it, because it is the the unique uh idea of our remote, huh, the the speech Amanda Deal: Yeah. Peggy Richards: control. Jean Patterson: Yeah, Amanda Deal: So where Jean Patterson: okay. Amanda Deal: do you want to put it? Peggy Richards: Well maybe Jennifer Walls: Yeah but it doesn't makes Peggy Richards: where Jennifer Walls: it uh Peggy Richards: the one hand Jennifer Walls: any more fancy because you get to see uh Amanda Deal: Yeah actually it does Jean Patterson: Yeah. Amanda Deal: because it you can you can find it better if you use it. Jean Patterson: Yeah bu but Amanda Deal: It's a way for you to uh Jennifer Walls: Uh. Amanda Deal: So it makes more sense just 'cause other remotes don't have that. Jennifer Walls: Yeah, okay. Peggy Richards: But are we talking about the button, or about the microphone? Amanda Deal: About a microphone, Peggy Richards: Yeah Amanda Deal: there Peggy Richards: because Amanda Deal: is no button. Peggy Richards: a microphone is very small thing, but you can make it look like it's big Amanda Deal: Yeah. Peggy Richards: so as its its really an important function of the remote. Jean Patterson: I think the left s under corner should be the best. Where isn't i it isn't most in sight. Amanda Deal: Yeah. Jennifer Walls: Okay. Jean Patterson: I think. Jennifer Walls: Well put it there. I don't mind. That doesn't doesn't really matter. Jean Patterson: No. Actually doesn't. Jennifer Walls: Okay. Amanda Deal: Alright. Jennifer Walls: So? Amanda Deal: Any more uh Peggy Richards: So well uh type, supplements, Jennifer Walls: Interface type. Peggy Richards: anything. Yeah, well we already s discussed Jennifer Walls: The L_C_D_ Peggy Richards: that, huh, the the Jennifer Walls: yeah, Peggy Richards: L_C_D_ Jennifer Walls: uh Peggy Richards: and Jennifer Walls: supplements Amanda Deal: Yeah. Jennifer Walls: well Jean Patterson: I Jennifer Walls: the Jean Patterson: think Jennifer Walls: supplement Jean Patterson: I Jennifer Walls: is Jean Patterson: thought Jennifer Walls: to yeah. Jean Patterson: the, like you said, like scroll next to the remote Amanda Deal: Yeah. Jean Patterson: isn't that handy. I think it's better to just up what you'd like to do on the screen. If you want to go back you have to back button go back, Amanda Deal: Yeah. Jean Patterson: if you want to choose audio settings you press audio settings and it goes to that s sub-menu. Jennifer Walls: Hey, Amanda Deal: Um yeah. Yeah the the young people do like Jennifer Walls: Use Amanda Deal: uh scroll Jennifer Walls: the scroll. Jean Patterson: Yeah? Amanda Deal: uh Jennifer Walls: Yeah Jean Patterson: You do Amanda Deal: yeah. Jean Patterson: like Jennifer Walls: I think Jean Patterson: it? Jennifer Walls: so too. So why not, on on side. Amanda Deal: Or at least Yeah I don't know if it's really the scroll, but the menu they like most, and I think you can never get through a menu Jennifer Walls: Fast, Amanda Deal: great with a Jennifer Walls: yeah. Amanda Deal: scroll uh Jean Patterson: Yeah Jennifer Walls: So Jean Patterson: I think Jennifer Walls: if you've Jean Patterson: it Jennifer Walls: got a Jean Patterson: is Jennifer Walls: settings, Jean Patterson: is faster. Jennifer Walls: if you Jean Patterson: Becau I think the scroll's easier if you have a lot of options, Jennifer Walls: Yes. Jean Patterson: but if you don't have a lot Amanda Deal: But you Jean Patterson: of Amanda Deal: have Jean Patterson: option Amanda Deal: it's Jean Patterson: then Jennifer Walls: You Amanda Deal: f uh Jennifer Walls: have a lot of options, Amanda Deal: we have Jennifer Walls: because when Amanda Deal: five Jennifer Walls: you use Amanda Deal: or Jennifer Walls: Yeah Amanda Deal: four Jennifer Walls: you get Amanda Deal: or Jennifer Walls: w Amanda Deal: something. Jennifer Walls: when you Jean Patterson: Y Jennifer Walls: use uh the settings menu for example to look up some uh uh some channels on your uh on your television, Peggy Richards: Mm-hmm. Jennifer Walls: you should scroll scroll down uh on a menu Jean Patterson: Uh-huh. Jennifer Walls: which probably does not fit on your screen. Jean Patterson: Yeah, okay, Amanda Deal: Yeah. Jean Patterson: true. Jennifer Walls: So then it's uh very handy to to scroll down, Jean Patterson: Okay. Jennifer Walls: you make just a rubber just like uh on your mouse or. Just put it on the side and it's very easy to use. Jean Patterson: Okay, no problem. Peggy Richards: And I think I would it would make even more fancy because you have another interesting thing Jennifer Walls: Yeah, Peggy Richards: on the side which Jennifer Walls: yeah. Peggy Richards: you Amanda Deal: Yeah. Peggy Richards: can touch and Amanda Deal: It's also different. Peggy Richards: Yeah. Jennifer Walls: Yeah. Jean Patterson: Okay. Peggy Richards: Okay. Well there's our five minutes uh warning. Um any more uh questions about about the design or the user Jean Patterson: Um. Peggy Richards: interface or different components, everyone? Jean Patterson: No, colours are clear, shape is Peggy Richards: Everybody Jean Patterson: clear, Peggy Richards: think they can Jean Patterson: material Peggy Richards: can Jean Patterson: is clear. Jennifer Walls: Okay, what's the standard colour? Peggy Richards: work for that? Jean Patterson: And a standard, yeah Peggy Richards: Is Jean Patterson: we Peggy Richards: there Jean Patterson: don't Peggy Richards: a standard colour? Jean Patterson: no we Jennifer Walls: I Jean Patterson: have Jennifer Walls: I Jean Patterson: different colour. How many colours Jennifer Walls: You got Jean Patterson: are Jennifer Walls: you Jean Patterson: we Jennifer Walls: got Jean Patterson: going Amanda Deal: You Jennifer Walls: different Amanda Deal: should Jean Patterson: to Jennifer Walls: colours, Amanda Deal: you should have Jennifer Walls: but Amanda Deal: a Jennifer Walls: you Amanda Deal: black Jennifer Walls: should Amanda Deal: one Jennifer Walls: have a standard Amanda Deal: because uh Jennifer Walls: colour. Amanda Deal: I think black Jean Patterson: Black. Amanda Deal: is standard. Jean Patterson: Yeah, black I Jennifer Walls: Black? Jean Patterson: think is is the standard. Jennifer Walls: With the with the yellow Amanda Deal: But if you Jennifer Walls: uh Amanda Deal: want to be different, Jean Patterson: Dark grey, something Amanda Deal: then uh Jean Patterson: like this this colour or something. Jennifer Walls: Just a regular uh Jean Patterson: Yeah Jennifer Walls: remote Jean Patterson: like like Jennifer Walls: colour. Jean Patterson: yeah. Jennifer Walls: And then have Jean Patterson: Or Jennifer Walls: uh Jean Patterson: or silver. Jennifer Walls: different covers uh to Jean Patterson: I Jennifer Walls: use. Jean Patterson: think it's better to have silver nowadays. Jennifer Walls: Silver, Amanda Deal: Silver. Jennifer Walls: yeah. Jean Patterson: I think Peggy Richards: Yeah. Jean Patterson: you see more silver Jennifer Walls: You see a lot Jean Patterson: than Jennifer Walls: of Jean Patterson: black. Jennifer Walls: t uh Peggy Richards: But Jennifer Walls: silver Peggy Richards: still silver Jennifer Walls: televisions. Peggy Richards: and black Amanda Deal: Silver Peggy Richards: are Jean Patterson: Yeah Amanda Deal: rubber. Peggy Richards: well Jean Patterson: the the Peggy Richards: silver Jean Patterson: silver black Peggy Richards: is Jean Patterson: are Peggy Richards: new Jean Patterson: our main Peggy Richards: but also Jean Patterson: colours. Peggy Richards: traditional, so Jean Patterson: Yeah. Peggy Richards: uh Jean Patterson: I think we have silver, black and between those is like I dunno s five colours between them or something. Peggy Richards: Yeah w what about a yellow thing, I mean it Jennifer Walls: Yeah y I Jean Patterson: Yeah Jennifer Walls: think Jean Patterson: yeah yeah Jennifer Walls: it's Jean Patterson: it'll be Jennifer Walls: better Jean Patterson: a banana Jennifer Walls: to Jean Patterson: yellow, we have. Peggy Richards: could be ugly, but it's definitely fancy. Jean Patterson: R red. Jennifer Walls: Yeah th yeah. Amanda Deal: But Jennifer Walls: That's right. Amanda Deal: yeah. Jean Patterson: Green, Jennifer Walls: But if you use Jean Patterson: wood, Jennifer Walls: uh Jean Patterson: brown. Jennifer Walls: silver, Jean Patterson: Yeah. Jennifer Walls: uh rubber s silver rubber isn't fancy. Jean Patterson: True. Jennifer Walls: When you use titanium, silver is fancy, but when Amanda Deal: Yeah. Jennifer Walls: you use silver rubber, it isn't fancy. Silver has to shine, and rubber doesn't shine. Peggy Richards: Mm-hmm. Jennifer Walls: Especially when it's made of soft rubber like this. Amanda Deal: Yeah. Jennifer Walls: You understand? Jean Patterson: Yeah, I understand. Peggy Richards: Yeah I would think about colours like uh red, yellow, Jean Patterson: Yeah Peggy Richards: green, Jennifer Walls: Yeah. Jean Patterson: o Peggy Richards: blue, Jean Patterson: of course. Peggy Richards: just Jean Patterson: The fruity colours Jennifer Walls: Fruity. Peggy Richards: Yeah. Amanda Deal: Just all kind Jean Patterson: and Amanda Deal: of colour. Jean Patterson: the Jennifer Walls: Fruity Jean Patterson: autumn colours, Jennifer Walls: loops. Jean Patterson: like red and brown, dark red Peggy Richards: Mm-hmm. Jean Patterson: and brown. Peggy Richards: Maroon. Amanda Deal: Yeah. Peggy Richards: Yeah. Jennifer Walls: Okay. Peggy Richards: Okay, so Amanda Deal: And and do we have to have a normal black one, or uh Peggy Richards: Who's Amanda Deal: Is it Peggy Richards: pinging? Jean Patterson: No. Peggy Richards: You are pingin Okay. Jennifer Walls: You ping. Peggy Richards: Okay, so uh that wraps it up? Everybody Amanda Deal: Yeah. Peggy Richards: knows uh what to do? Well Jennifer Walls: Well Peggy Richards: I Jennifer Walls: not Peggy Richards: wrote Amanda Deal: Well Jennifer Walls: what Amanda Deal: I Peggy Richards: it Amanda Deal: don't Jennifer Walls: to Peggy Richards: down Jennifer Walls: do. Amanda Deal: know Peggy Richards: here. Amanda Deal: what to do, Peggy Richards: I Amanda Deal: but. Peggy Richards: wrote Jennifer Walls: Not what Peggy Richards: it down here Jennifer Walls: to Peggy Richards: what to do um. Jennifer Walls: do. Look. Peggy Richards: The next meeting is once again in thirty minutes. Jennifer Walls: Okay. Peggy Richards: Um here are the individual actions, and especially notice that uh the Industrial Amanda Deal: Ooh. Peggy Richards: Designer and Amanda Deal are going to work together Amanda Deal: Right. Peggy Richards: on a prototype drawing on Jean Patterson: S Peggy Richards: a smart board, Amanda Deal: Yeah. Peggy Richards: and of course Jean Patterson: tough. Peggy Richards: to all four of us uh specific instructions Jean Patterson: We'll be Peggy Richards: will Jean Patterson: available. Peggy Richards: be emailed by Amanda Deal: But Peggy Richards: our Amanda Deal: do Peggy Richards: personal Amanda Deal: we have Peggy Richards: coach. Amanda Deal: to We'll work together, but do we have to stay here, or do we Peggy Richards: Well I I'd say just wait uh for Amanda Deal: Right. Peggy Richards: email and uh find out. Amanda Deal: Yes. Peggy Richards: I don't know. Amanda Deal: Okay. Jennifer Walls: Thin I think we should work. Peggy Richards: Okay well that was what I had to say, Amanda Deal: Yeah I Peggy Richards: uh, Amanda Deal: think. Peggy Richards: final thoughts from anyone, or? Amanda Deal: No. Jean Patterson: No. Peggy Richards: We're finished. Okay, well thank you very much. Amanda Deal: Yeah. Jean Patterson: Finished. Jennifer Walls: Thank you very much. Amanda Deal: So we have to keep talking English now?

After Peggy Richards opened the meeting, Jennifer Walls discussed his preference for making a remote which is single-curved, made of rubber, contains an LCD, has a docking station to recharge the batteries, and uses a simple chip. Amanda Deal discussed how speech recognition could be useful to users who often lose their remotes, the layout of the interface, and the option to include a scroll device on the side of the remote to access a menu containing extra features. Jean Patterson discussed the results of trend-watching reports and his preference for a banana-like remote for younger people and a traditional remote for older people. The trend-watching reports indicated that products should be fancy, innovative, easy to use, in fruity colors, in soft and spongy materials, and in hard materials in autumn colors with square shapes with round edges if appealing to elderly people. The team discussed case shapes, color options, types of rubber, and dimensions. The team then made decisions regarding energy sources, components, and the remote interface.

amisum

train

Mildred Fairbairn: Good. Edna Madison: Beep. Oh. Pinkie Richter: What? Mildred Fairbairn: So uh welcome everyone. Pinkie Richter: Yeah. Mildred Fairbairn: Um as you may have noticed I uh created separate folders because it was uh Pinkie Richter: Yeah. Mildred Fairbairn: tending to get a little busy in our uh shared project documents uh folder. I don't know if everybody uh put their own uh documents in the right folder, which is for now the detailed design meeting. Alicia Kaywood: That's new one? Pinkie Richter: We Mildred Fairbairn: Yeah. Pinkie Richter: didn't make any uh Edna Madison: Uh, we should save that Pinkie Richter: Oh in Mildred Fairbairn: Then I'll move Edna Madison: one. Mildred Fairbairn: this Pinkie Richter: Didn't Mildred Fairbairn: one. Pinkie Richter: we just do that? Edna Madison: Yeah, save in the folder. Pinkie Richter: Oh. Edna Madison: Save as project. Mildred Fairbairn: Oh no, this is just one big document, so you can leave that wherever it is. Edna Madison: Oh, okay. Hmm hmm. Mildred Fairbairn: And evaluation left. Okay. Edna Madison: Agenda. Mildred Fairbairn: Well not main documents this time. Pinkie Richter: Hmm? Mildred Fairbairn: Oh uh yes. I have it open myself I guess. Um well the detailed design meeting Huh? We're finally getting somewhere hopefully. Um what are we going to do? I've opened it already. Um I'm still going to take some minutes, Edna Madison: Oh, sorry. Mildred Fairbairn: and if I'm right, you two are going to give a prototype presentation? Pinkie Richter: We could. Mildred Fairbairn: Aren't you? Yes, you are. And uh m did you do something with evaluation criteria? Alicia Kaywood: Yep. Yep. Mildred Fairbairn: Good. And we have a correct agenda. And uh then we have to look at something which is less nice, the finance uh aspect, whether we can afford what we have designed, and Pinkie Richter: Oops. Mildred Fairbairn: if we can we can uh commence the final part which is the production or project evaluation, how did we work together and what are the results, and how happy are we with those. Okay, well finance uh will be later. Now I'd like to give the word to you two. Pinkie Richter: Yeah. Edna Madison: Okay. Get up stand up. Pinkie Richter: Well Edna Madison: just Pinkie Richter: uh we Edna Madison: 'Kay. Pinkie Richter: made a prototype. We first start with the overall uh This Edna Madison: View. Pinkie Richter: is about the total remote control. We made it Edna Madison: Just example colour, so Pinkie Richter: Yeah. Edna Madison: uh there's one the colours we would to uh see Pinkie Richter: It's a fresh Edna Madison: our. Pinkie Richter: colour. And uh the screen light blue. Oh uh this the scroll button and the microphone on the on the sides here under. And the R_ and R_ logo, it just says R_ and R_ now, but uh Edna Madison: Okay? Pinkie Richter: Any questions so far? Alicia Kaywood: Big microphone. Edna Madison: yeah, just Pinkie Richter: Yeah. Edna Madison: uh just an idea about Alicia Kaywood: Oh okay. Edna Madison: how to m th that could also be Alicia Kaywood: That's Edna Madison: possible. Alicia Kaywood: the place where it's going to be, not Edna Madison: Uh Alicia Kaywood: the size. Pinkie Richter: Yeah. Edna Madison: well, it's an idea in a Pinkie Richter: Oh y Edna Madison: so. Pinkie Richter: you perhaps you should make it a bit big, so people know it's there and uh Edna Madison: Do not forget it. Pinkie Richter: Uh Alicia Kaywood: Mm-hmm. Edna Madison: To function it it doesn't really have to be sm uh big of course. Alicia Kaywood: Yeah, Pinkie Richter: Hmm. Alicia Kaywood: okay. Edna Madison: The microphone Alicia Kaywood: Of course. Edna Madison: could be just a minor uh hole Alicia Kaywood: Mm. Edna Madison: uh Alicia Kaywood: Mm, Edna Madison: on the left Alicia Kaywood: th yeah. Edna Madison: uh button. Alicia Kaywood: Small. Edna Madison: Okay um we also made some uh ideas about how uh the options menu would work. Uh using the scroll button on sides uh y uh I uh um Pinkie Richter: You push the scroll button Edna Madison: Yeah, you push the scroll button Pinkie Richter: and it's claps out if there's Edna Madison: and a drop Pinkie Richter: a Edna Madison: down menu or a pull out menu comes out and uh you get uh you get the options uh becoming available. For example uh T_V_ settings, uh Pinkie Richter: Remote settings, Edna Madison: remote Pinkie Richter: et cetera. Edna Madison: settings, et cetera. Pinkie Richter: Yeah. Edna Madison: So uh you can scroll down too with the scroll uh button, uh as you can see oh, it's here, just push it in, uh the menu comes out like this and uh i it all becomes visible. Pinkie Richter: Yeah. Edna Madison: Um Pinkie Richter: And you could also touch it so that it comes Edna Madison: Yeah, Pinkie Richter: out, and Edna Madison: that's c Pinkie Richter: and use Edna Madison: Yeah. Pinkie Richter: the the the scroll thing as a with your fingers. Edna Madison: Indeed. Pinkie Richter: Yes. Edna Madison: Okay, um it's also uh nice to see that um we made a small uh menu, uh the options menu uh becoming available when pressing the uh scroll uh button, and the opportunity to use the teletext, whi which is used uh which should still be used and we think that it's uh very handy to put it uh not uh under the options menu, but in uh Yes. In an apart uh Pinkie Richter: Yeah. Mildred Fairbairn: So a separate button Edna Madison: In a separate Mildred Fairbairn: for Pinkie Richter: Yeah. Edna Madison: button, Mildred Fairbairn: for text, Edna Madison: yeah. Mildred Fairbairn: okay. Pinkie Richter: Perhaps we should use the teletext sign in p Edna Madison: A sign, Pinkie Richter: yeah. Edna Madison: yeah, just like Okay, indeed. Pinkie Richter: Yeah. Edna Madison: Okay, we can Pinkie Richter: Forgot. Edna Madison: uh modify that later. Okay. Would you like to make any comments about next Pinkie Richter: Uh Edna Madison: uh Pinkie Richter: well, this is the total interface uh that f of the L_C_D_ screen. Uh the numbers, which is pretty straight forward. We put ano an an extra button in. We can erase it, but It's the button where you can switch channels. just when you are one and you go to two, you can or if you go to five, you can go back to one with that button. Yeah, Edna Madison: Previous page, Pinkie Richter: that Edna Madison: yeah, Pinkie Richter: one, yeah. Edna Madison: indeed. Pinkie Richter: It has a name. And uh Edna Madison: Oh my God. Pinkie Richter: uh we put that in, I thought it would be handy there. Uh this the one number or two numbers button. Below that, the page and the sound. And uh in the middle the the mute. Uh battery indicator. It's Edna Madison: It's Pinkie Richter: it's Edna Madison: quite Pinkie Richter: a bit Edna Madison: large. Pinkie Richter: big. And this is the uh the on off uh knop, the stand by uh knop. Or at least it should look like it. And the options uh Edna Madison: Okay. Pinkie Richter: of teletext. Edna Madison: You can see very clearly now that the uh teletext and options menu isn't uh taking uh much uh uh it's taking much part of the screen, so it's very uh when you uh when you use it, doesn't uh become irritating to see. 'Cause Pinkie Richter: Huh. Edna Madison: if you put it on the top you always get see the the options menu. 'Cause people regularly uh read from left top to right down, so Mildred Fairbairn: Mm-hmm. Pinkie Richter: Yeah. Well this about it, I think. Edna Madison: Okay. Pinkie Richter: Yeah. Edna Madison: Huh. Mildred Fairbairn: Thank you. Pinkie Richter: I will put Mildred Fairbairn: Looks Pinkie Richter: it Mildred Fairbairn: good. Pinkie Richter: back on the on Mildred Fairbairn: And Pinkie Richter: the Mildred Fairbairn: I Pinkie Richter: nice Mildred Fairbairn: just missed Pinkie Richter: green. Mildred Fairbairn: when I was typing The R_R_ stands for? Pinkie Richter: That's the logo of the Mildred Fairbairn: Logo, okay. Pinkie Richter: Yeah. It's th th Mildred Fairbairn: Okay well Pinkie Richter: right now it's only R_ R_, but uh Edna Madison: Full screen. Mildred Fairbairn: I would have recognised Alicia Kaywood: Shit. Mildred Fairbairn: it if it were the right colours of course. Pinkie Richter: Yeah. Edna Madison: Alright. Pinkie Richter: Sorry. Alicia Kaywood: 'Kay. Mildred Fairbairn: Okay, the Pinkie Richter: Oh full screen, Mildred Fairbairn: evaluation Pinkie Richter: yeah. Edna Madison: Huh. Mildred Fairbairn: criteria, huh? Alicia Kaywood: Evaluation. 'Kay, my task was this time to put up a questionnaire by we can evaluate of the remote control by the questions we requirements from the of the users My name, my job, okay. Edna Madison: My name, Alicia Kaywood: The methods. Edna Madison: my job. Alicia Kaywood: Questionnaire with seven point scale from one to seven, from true to false, like Pinkie Richter: Right. Alicia Kaywood: question, is remote big enough, we can say it's true or it's false by steps. One means absolutely not true, seven means true. Pinkie Richter: Yeah. Alicia Kaywood: The three important things of refa Edna Madison: Sorry, you used the PowerPoint Alicia Kaywood: are uh from th of this year is are, is the remote control fancy enough, Pinkie Richter: Yeah. Alicia Kaywood: is it in innovative enough, and is it easy enough to use. And then evaluation itself. Uh. Edna Madison: What? Alicia Kaywood: So. Edna Madison: Bling. Alicia Kaywood: Okay. Pinkie Richter: Yeah. Alicia Kaywood: First question. Is the design fancy enough? Pinkie Richter: Well Alicia Kaywood: Project Manager, what do you think? Mildred Fairbairn: Well it's looks fancy, especially with the Pinkie Richter: Yeah. Mildred Fairbairn: green colour. Alicia Kaywood: But does it Mildred Fairbairn: And the the curves which we decided, huh? Alicia Kaywood: Yeah. Mildred Fairbairn: Only what happened to the single curve we spoke Edna Madison: Now uh Mildred Fairbairn: about Pinkie Richter: It uh Edna Madison: the single Pinkie Richter: oh Mildred Fairbairn: last Pinkie Richter: it's Mildred Fairbairn: meeting? Edna Madison: curved Pinkie Richter: in the background. Edna Madison: idea was Pinkie Richter: Oh. Edna Madison: uh Yeah, okay, you ge um Pinkie Richter: Y you should make uh a sideways Edna Madison: Yeah. Pinkie Richter: uh view. Edna Madison: The sideways view, uh that that that Pinkie Richter: It Edna Madison: ma Pinkie Richter: will be, I guess. Oh, Edna Madison: Ho not Pinkie Richter: we Edna Madison: that Pinkie Richter: can Edna Madison: pen. Not that Pinkie Richter: Oh Edna Madison: pen. Pinkie Richter: g I would Mildred Fairbairn: Well it might Pinkie Richter: smart Mildred Fairbairn: work one Pinkie Richter: board. Mildred Fairbairn: time, huh. Pinkie Richter: Uh can I draw here or uh Edna Madison: Suppose so. Alicia Kaywood: Think. Pinkie Richter: Ooh. Edna Madison: Ah. Alicia Kaywood: Yeah, yeah, Edna Madison: Oh Alicia Kaywood: you can. Edna Madison: my Pinkie Richter: So Edna Madison: God, it Pinkie Richter: it Edna Madison: works. Pinkie Richter: would be uh something like this from the side, but with a bit of uh curve here, right? Edna Madison: Yeah, that's the single curve indeed. Pinkie Richter: Yeah. So if you v flip it like this. Edna Madison: Yep. Mildred Fairbairn: Okay. Pinkie Richter: Here's Edna Madison: That's Pinkie Richter: yeah. Edna Madison: not very i it's also uh very handy if you make a side curve way to make the the remote control very thin at the bottom uh at a bottom at a bottom. Uh make it uh rather thick on the top, because uh on the top it has uh the screen, which takes uh in some uh space, and the batteries can be located over there, Pinkie Richter: Yeah. Edna Madison: so Pinkie Richter: So Edna Madison: uh Pinkie Richter: you just make the back of this part a bit bigger, so that Edna Madison: Yeah. Pinkie Richter: it lays Alicia Kaywood: Isn't Pinkie Richter: a Alicia Kaywood: going Pinkie Richter: bit Alicia Kaywood: to Pinkie Richter: o Alicia Kaywood: be a little bit heavy at the top? Edna Madison: No. Pinkie Richter: Yeah, that's a bit of problem maybe. Alicia Kaywood: With two batteries, the whole print plate and t and Pinkie Richter: Yeah. Alicia Kaywood: top, and if you're holding it Pinkie Richter: I think yeah, the Alicia Kaywood: quite Pinkie Richter: battery Alicia Kaywood: a Pinkie Richter: should Alicia Kaywood: lot Pinkie Richter: be in here, Alicia Kaywood: I think Pinkie Richter: because it's Edna Madison: Yeah. Pinkie Richter: just nothing, Alicia Kaywood: Yeah. Pinkie Richter: so if you could Edna Madison: Okay, indeed. Yeah. Pinkie Richter: Yeah. 'Cause Mildred Fairbairn: Okay, Pinkie Richter: otherwise Mildred Fairbairn: but we Pinkie Richter: I Mildred Fairbairn: have Pinkie Richter: think Mildred Fairbairn: to Pinkie Richter: i Mildred Fairbairn: rate uh Alicia Kaywood: Yeah, we have to rate. Mildred Fairbairn: these things Alicia Kaywood: Is Mildred Fairbairn: now? Alicia Kaywood: it Mildred Fairbairn: Okay. Alicia Kaywood: fancy enough? True is one, false is seven. So fancy enough means, does it comes to the younger people and the elder people. Pinkie Richter: I think it Edna Madison: I think Pinkie Richter: does. Edna Madison: so. Alicia Kaywood: I think Pinkie Richter: I Edna Madison: It's pretty Pinkie Richter: if you Edna Madison: fancy. Pinkie Richter: don't make it green, then the elder people won't won't Alicia Kaywood: Yeah, Pinkie Richter: like Alicia Kaywood: I have Pinkie Richter: it. Alicia Kaywood: to agree, all the colour colours don don Pinkie Richter: Yeah. Edna Madison: you Alicia Kaywood: doesn't Edna Madison: get Alicia Kaywood: matter Edna Madison: th Alicia Kaywood: that m that much now, it's Mildred Fairbairn: Mm-hmm. Alicia Kaywood: only design. Pinkie Richter: I think it does. Mildred Fairbairn: Yeah. Alicia Kaywood: And the design. Mildred Fairbairn: Well I think Edna Madison: Yeah. Mildred Fairbairn: uh especially because of the microphone and the L_C_D_ screen Pinkie Richter: Yeah. I don't know Mildred Fairbairn: also. Pinkie Richter: whether older people will use Mildred Fairbairn: Very Pinkie Richter: it, Mildred Fairbairn: new Pinkie Richter: but Mildred Fairbairn: thing. Well Alicia Kaywood: So Mildred Fairbairn: Fancy Pinkie Richter: I Mildred Fairbairn: the Pinkie Richter: would Mildred Fairbairn: old Pinkie Richter: make it Mildred Fairbairn: people Pinkie Richter: a two Mildred Fairbairn: will. Pinkie Richter: or something. Alicia Kaywood: A two? Pinkie Richter: Yeah. Huh? Edna Madison: It's true, it's a one. Pinkie Richter: Alright, it's a one. Edna Madison: Very Pinkie Richter: Oh Edna Madison: fancy. Mildred Fairbairn: No, it's a two. Pinkie Richter: it's a one. Mildred Fairbairn: Little bit strange we have to judge that ourselves, huh? Alicia Kaywood: Yeah, Pinkie Richter: Yeah. Alicia Kaywood: I n used I wouldn I should use that one, but it doesn't Pinkie Richter: But it's a one uh Alicia Kaywood: Okay, Pinkie Richter: Maybe Alicia Kaywood: no Pinkie Richter: uh Alicia Kaywood: it's two? True is a one. Pinkie Richter: Yeah. Alicia Kaywood: Very true, is it very true or isn't that true? Mildred Fairbairn: Well Pinkie Richter: Well Mildred Fairbairn: I'd Pinkie Richter: they Mildred Fairbairn: say Pinkie Richter: think Mildred Fairbairn: two Pinkie Richter: it's very Mildred Fairbairn: on a scale Pinkie Richter: true, but Edna Madison: It's very Pinkie Richter: uh Edna Madison: true, Alicia Kaywood: Yeah, Edna Madison: because Alicia Kaywood: I think Edna Madison: we designed Alicia Kaywood: two. Edna Madison: it to be very fancy, so Pinkie Richter: Yeah, but Edna Madison: It's very fancy, I think. Pinkie Richter: We should Edna Madison: Have you ever Pinkie Richter: perhaps Edna Madison: seen a remote control like this? Mildred Fairbairn: No, okay well, Edna Madison: No, Mildred Fairbairn: that's Edna Madison: okay, Mildred Fairbairn: true. Edna Madison: so Alicia Kaywood: That's Pinkie Richter: That Edna Madison: so Alicia Kaywood: fancy Pinkie Richter: not. Edna Madison: it's fancy. Alicia Kaywood: enough. Pinkie Richter: Yeah. Alicia Kaywood: Then? Mildred Fairbairn: Okay, one two. That doesn't matter that much, Alicia Kaywood: Okay. Mildred Fairbairn: so Edna Madison: Yeah. Mildred Fairbairn: make it a one. Alicia Kaywood: Let's give it a two. Is it innovative? Pinkie Richter: I think Alicia Kaywood: Enough. Pinkie Richter: it is, because it has Mildred Fairbairn: Yeah Pinkie Richter: an L_C_D_ Mildred Fairbairn: m Pinkie Richter: screen, a mi microphone. Edna Madison: And uh Alicia Kaywood: We have Pinkie Richter: It's Alicia Kaywood: for Pinkie Richter: from Alicia Kaywood: the search Pinkie Richter: rubber. Edna Madison: uh the scroll Alicia Kaywood: function. Edna Madison: is rubber, Pinkie Richter: Yeah. Edna Madison: so s Alicia Kaywood: The scroller Edna Madison: Eno Alicia Kaywood: a bit I think Edna Madison: enough Alicia Kaywood: it's Edna Madison: to Pinkie Richter: It's Edna Madison: I Pinkie Richter: a one Edna Madison: think. Alicia Kaywood: it's a Pinkie Richter: I Alicia Kaywood: one Pinkie Richter: think. Alicia Kaywood: yeah. True. Also huh uh-huh the buttons, are they easy to find? That was a big requirement of the old people. Pinkie Richter: Yeah, because they're right on your screen. So you can use the b the the arrows. Edna Madison: Huh. Pinkie Richter: They're right on your screen, so I don't know where you'd Edna Madison: With the ones Pinkie Richter: search. Alicia Kaywood: Are all the buttons Pinkie Richter: Yeah. Alicia Kaywood: easy to find? Not only this buttons, all the buttons. Pinkie Richter: Well, I think they are. The Edna Madison: Yeah. Pinkie Richter: options are it uh little bit harder, but if you Edna Madison: Take Pinkie Richter: touch Edna Madison: a harder Pinkie Richter: the Edna Madison: look, Pinkie Richter: options Edna Madison: yeah, Pinkie Richter: then Edna Madison: sure. Pinkie Richter: it's uh Alicia Kaywood: I think th it's Edna Madison: It's easier Alicia Kaywood: easy t Edna Madison: than the regular uh remote control. Alicia Kaywood: Yeah, Mildred Fairbairn: Yeah, Alicia Kaywood: I Mildred Fairbairn: and Alicia Kaywood: think Mildred Fairbairn: you use Alicia Kaywood: this is easy Mildred Fairbairn: these Alicia Kaywood: now. Mildred Fairbairn: buttons Alicia Kaywood: I think Mildred Fairbairn: the most, Alicia Kaywood: th I think Mildred Fairbairn: huh? Alicia Kaywood: the Edna Madison: Yeah. Alicia Kaywood: options Mildred Fairbairn: So Alicia Kaywood: buttons are not the the easiest way to to Pinkie Richter: No they're not, but they're Alicia Kaywood: to Pinkie Richter: they're Alicia Kaywood: handle. Pinkie Richter: they are easy to find. Alicia Kaywood: True. I Edna Madison: Yeah, Alicia Kaywood: would rate Edna Madison: they Alicia Kaywood: it Edna Madison: are Alicia Kaywood: a Edna Madison: a lot easier to find than uh th than on the regular remote controls where you have Pinkie Richter: Oh. Edna Madison: to uh find out what which sign or icon means on uh every Alicia Kaywood: Yeah, Edna Madison: button. Alicia Kaywood: okay, Pinkie Richter: Yeah. Alicia Kaywood: that's true, that's Edna Madison: So Mildred Fairbairn: So Alicia Kaywood: true. Edna Madison: you have t you Mildred Fairbairn: which Edna Madison: have to use the Alicia Kaywood: But Edna Madison: the Alicia Kaywood: that's Edna Madison: the Alicia Kaywood: that's vantage Edna Madison: manual Alicia Kaywood: of L_C_D_ Edna Madison: to Alicia Kaywood: screen, Edna Madison: understand Alicia Kaywood: you can have Edna Madison: most Alicia Kaywood: text. Mildred Fairbairn: So Edna Madison: Yeah. Mildred Fairbairn: which number are we going Pinkie Richter: I would Mildred Fairbairn: to Edna Madison: I Mildred Fairbairn: fill Pinkie Richter: say Edna Madison: think Mildred Fairbairn: in? Edna Madison: it's Pinkie Richter: yeah. Edna Madison: uh it's a two, Pinkie Richter: Yeah. Edna Madison: at least. Pinkie Richter: Yeah, Mildred Fairbairn: A Pinkie Richter: you Mildred Fairbairn: two, Pinkie Richter: can make Mildred Fairbairn: yeah? Pinkie Richter: it a two. Mildred Fairbairn: Two, Alicia Kaywood: Yeah. Mildred Fairbairn: three Edna Madison: It's not Mildred Fairbairn: and Edna Madison: perfect, Mildred Fairbairn: what do you Edna Madison: but Mildred Fairbairn: think? Alicia Kaywood: I think it's a three. Edna Madison: A three? Mildred Fairbairn: Okay, Edna Madison: And Mildred Fairbairn: so Edna Madison: why Mildred Fairbairn: we Edna Madison: is Alicia Kaywood: I Mildred Fairbairn: have Edna Madison: that? Alicia Kaywood: personally Mildred Fairbairn: two, Alicia Kaywood: think, because Mildred Fairbairn: two, Alicia Kaywood: I d I don't Mildred Fairbairn: three. Alicia Kaywood: think i maybe it's easy to use, it has to be easy to find right away. I I think if you have the button at the right, I don't think you can find the option Pinkie Richter: Yeah, but Alicia Kaywood: button Pinkie Richter: you don't have Alicia Kaywood: that Pinkie Richter: t Alicia Kaywood: easy. Pinkie Richter: have to use the button on the right. Alicia Kaywood: You Pinkie Richter: You Alicia Kaywood: can Pinkie Richter: can touch it. Alicia Kaywood: touch it. Pinkie Richter: Yeah. Edna Madison: It said bo Pinkie Richter: You you Edna Madison: both Pinkie Richter: can touch Edna Madison: the Alicia Kaywood: Yeah, Edna Madison: options. Pinkie Richter: options. Alicia Kaywood: okay, but you have y then you have here s written option on here, the teletext button, right? Pinkie Richter: Yeah. Edna Madison: Yeah. Alicia Kaywood: Okay, then okay, good. Then I think also two, yeah. Pinkie Richter: You can touch options and Mildred Fairbairn: A Pinkie Richter: it's Mildred Fairbairn: two, Pinkie Richter: comes Mildred Fairbairn: okay, Pinkie Richter: out. Alicia Kaywood: Yep. Edna Madison: A Mildred Fairbairn: because Edna Madison: two, Mildred Fairbairn: we have Edna Madison: a two. Mildred Fairbairn: to Pinkie Richter: The uh the Mildred Fairbairn: It's Pinkie Richter: um Edna Madison: Uh Mildred Fairbairn: the Edna Madison: the Mildred Fairbairn: box Edna Madison: next Mildred Fairbairn: below Pinkie Richter: Below. Edna Madison: question Mildred Fairbairn: it, huh? Edna Madison: the next question. Oh my God. Mildred Fairbairn: Otherwise we have two results in one question. Pinkie Richter: It's different. Mildred Fairbairn: Okay, next Alicia Kaywood: It's Mildred Fairbairn: question. Alicia Kaywood: easy to use, as well for younger as elderl elderly people. Pinkie Richter: For young people I think it's easy to use. Alicia Kaywood: Young means Edna Madison: Yeah, Alicia Kaywood: sixteen Edna Madison: I was Alicia Kaywood: to forty years. Edna Madison: uh Pinkie Richter: Yeah. Alicia Kaywood: And elderly from forty Edna Madison: Yeah. Alicia Kaywood: eight to their Pinkie Richter: I think Alicia Kaywood: death. Pinkie Richter: it's Edna Madison: I think it's the most useful uh remote control ever to be manufactured. Mildred Fairbairn: Okay, you're very enthusiastic Alicia Kaywood: Also Mildred Fairbairn: about Pinkie Richter: In the entire Mildred Fairbairn: your Alicia Kaywood: if Mildred Fairbairn: own Alicia Kaywood: you're Mildred Fairbairn: design, Pinkie Richter: mankind. Edna Madison: Yeah, Alicia Kaywood: sixty Edna Madison: but Mildred Fairbairn: huh? Edna Madison: because Alicia Kaywood: years Edna Madison: it has Alicia Kaywood: old Edna Madison: the regular uh controls, li uh as you can see in the screen now, and uh So it's Pinkie Richter: Yeah. Edna Madison: t I think it's really easy to use. You want Alicia Kaywood: Also Edna Madison: these options Mildred Fairbairn: As well for Edna Madison: to Mildred Fairbairn: the for the older Alicia Kaywood: Yeah, Mildred Fairbairn: people? Alicia Kaywood: as well Edna Madison: Uh sure. Alicia Kaywood: as your if you're fif sixty years old, Pinkie Richter: Yeah, but uh Alicia Kaywood: you're holding one of those things in your Pinkie Richter: Yeah, Alicia Kaywood: hand No, Pinkie Richter: right? Alicia Kaywood: but we're going Pinkie Richter: So Alicia Kaywood: to th make this f for a all kind of people, Mildred Fairbairn: And Alicia Kaywood: so it it Mildred Fairbairn: would Alicia Kaywood: it Pinkie Richter: Yeah, Mildred Fairbairn: it Alicia Kaywood: has Pinkie Richter: okay, Mildred Fairbairn: be easy Alicia Kaywood: to Pinkie Richter: but Alicia Kaywood: be Pinkie Richter: so Mildred Fairbairn: for them Pinkie Richter: they could Mildred Fairbairn: to use the speech recognition? Pinkie Richter: Uh I think it is. If they read a manual. Mildred Fairbairn: Because that might Alicia Kaywood: If Mildred Fairbairn: Yeah. Alicia Kaywood: you Mildred Fairbairn: Okay, Alicia Kaywood: read Edna Madison: Perhaps Alicia Kaywood: the Mildred Fairbairn: well Edna Madison: that Alicia Kaywood: manual, Edna Madison: is Pinkie Richter: Yeah, Edna Madison: one of the Pinkie Richter: alright. Edna Madison: most Alicia Kaywood: always. Edna Madison: uh Mildred Fairbairn: M Pinkie Richter: Because Mildred Fairbairn: maybe Edna Madison: Uh Pinkie Richter: it Edna Madison: because Mildred Fairbairn: that's Pinkie Richter: it's Mildred Fairbairn: the Edna Madison: a lot Mildred Fairbairn: most Pinkie Richter: not Edna Madison: of Pinkie Richter: it's Mildred Fairbairn: user Pinkie Richter: not Mildred Fairbairn: friendly Pinkie Richter: it's Mildred Fairbairn: and Pinkie Richter: it's not Mildred Fairbairn: easy to Pinkie Richter: uh difficult. Mildred Fairbairn: use. Pinkie Richter: You say you say uh Edna Madison: Channel Pinkie Richter: record Edna Madison: one, channel four, yeah. Pinkie Richter: to to the to the speech recognition, then you say the question and the answer. And that's everything it does, the speech recognition. Mildred Fairbairn: Yeah, well maybe that would make it even Pinkie Richter: Yeah. Mildred Fairbairn: more easy to use for Pinkie Richter: I Mildred Fairbairn: them. Pinkie Richter: think it would Edna Madison: Yeah, Pinkie Richter: make Edna Madison: I think Pinkie Richter: it uh Edna Madison: it does. Alicia Kaywood: So Edna Madison: Because all the people who can't uh Pinkie Richter: I would make it two. Alicia Kaywood: Also two? Pinkie Richter: Yeah. Edna Madison: Uh Alicia Kaywood: Not Edna Madison: a Alicia Kaywood: a seven Edna Madison: two. Alicia Kaywood: for this? Edna Madison: Sure, two. Oh. Mildred Fairbairn: I'd say three. Pinkie Richter: Three? Alicia Kaywood: I would also say three. Pinkie Richter: Oh. Mildred Fairbairn: Okay, Pinkie Richter: You? Mildred Fairbairn: so we have three three two two or Edna Madison: Two. Pinkie Richter: Oh. Well Mildred Fairbairn: So what are we going to do? Pinkie Richter: Two and a Mildred Fairbairn: Okay, a three, I see. Pinkie Richter: half. Mildred Fairbairn: Uh Pinkie Richter: Three? Edna Madison: Give Pinkie Richter: No. Edna Madison: Alicia Kaywood more. Mildred Fairbairn: Another question. Alicia Kaywood: Remotes overwhelmed with buttons. Pinkie Richter: No. Edna Madison: No. Mildred Fairbairn: No. Alicia Kaywood: No, that that's that's Pinkie Richter: But Alicia Kaywood: yeah. Pinkie Richter: um I mean, Alicia Kaywood: Tha Pinkie Richter: that's Alicia Kaywood: that's a one, Pinkie Richter: definitely Alicia Kaywood: I think, Pinkie Richter: one. Alicia Kaywood: that's definitely Edna Madison: That's Alicia Kaywood: a Edna Madison: definitely Alicia Kaywood: one. Edna Madison: our Pinkie Richter: Oh nee, Edna Madison: uh Pinkie Richter: oh seven is it? It is. Alicia Kaywood: No? Oh Pinkie Richter: Yeah, Alicia Kaywood: yeah. Pinkie Richter: uh the remote Edna Madison: A Mildred Fairbairn: Yeah. Edna Madison: false, Pinkie Richter: score. Mildred Fairbairn: Yeah, Edna Madison: yeah. Mildred Fairbairn: but I think you should make it one scale with with one Alicia Kaywood: Yeah, Mildred Fairbairn: being good and Alicia Kaywood: I think Mildred Fairbairn: seven being Alicia Kaywood: isn't, Mildred Fairbairn: bad, because Alicia Kaywood: this Mildred Fairbairn: otherwise Alicia Kaywood: has to be Mildred Fairbairn: we can't uh Alicia Kaywood: something Pinkie Richter: It's not Alicia Kaywood: like Pinkie Richter: overwhelmed. Mildred Fairbairn: calculate anything Alicia Kaywood: isn't Mildred Fairbairn: from Alicia Kaywood: overwhelmed. Mildred Fairbairn: the Pinkie Richter: Yeah. Mildred Fairbairn: results, so Edna Madison: Yeah, indeed. Alicia Kaywood: True. Mildred Fairbairn: Okay, Pinkie Richter: Yep. Mildred Fairbairn: a one, because we designed for that, Alicia Kaywood: Remote Mildred Fairbairn: huh? Alicia Kaywood: control has uh colours that different Pinkie Richter: Yes. Alicia Kaywood: that meet different target groups. Pinkie Richter: 'Cause we make them in different colours, so Alicia Kaywood: Yeah. Pinkie Richter: that they Edna Madison: Yeah, Mildred Fairbairn: Yeah. Pinkie Richter: uh Edna Madison: is optional. Alicia Kaywood: That's Mildred Fairbairn: Yeah, Alicia Kaywood: true. Mildred Fairbairn: and I though w we had about single colours, but you can also make uh a wood colour, not just one single colour but a Pinkie Richter: Yeah. Mildred Fairbairn: wood-like Edna Madison: Huh. Pinkie Richter: That it that it looks Mildred Fairbairn: thing, can't Pinkie Richter: like Mildred Fairbairn: you? Pinkie Richter: wood, Alicia Kaywood: Also Pinkie Richter: like Alicia Kaywood: with Pinkie Richter: something, Alicia Kaywood: rubber? Pinkie Richter: yeah. Uh I think you Mildred Fairbairn: Whether Pinkie Richter: can. Mildred Fairbairn: it looks like wood, it isn't w it Alicia Kaywood: Yeah, Mildred Fairbairn: isn't Alicia Kaywood: okay. Mildred Fairbairn: wood but Pinkie Richter: It it feels like rubber, Mildred Fairbairn: You can make Pinkie Richter: but Mildred Fairbairn: a print on rubber, can't you? Edna Madison: Yeah. Mildred Fairbairn: Yeah. Alicia Kaywood: Yeah? Pinkie Richter: Well Mildred Fairbairn: So Pinkie Richter: but Mildred Fairbairn: that's Pinkie Richter: then Mildred Fairbairn: a one Pinkie Richter: when Mildred Fairbairn: then, Pinkie Richter: you Mildred Fairbairn: huh? Pinkie Richter: scratch it it does come Alicia Kaywood: That's Pinkie Richter: off. Alicia Kaywood: a one? Okay. Edna Madison: Yeah, it Pinkie Richter: So Edna Madison: is Pinkie Richter: that's Edna Madison: it is Pinkie Richter: a bit Edna Madison: harder Mildred Fairbairn: Do you Edna Madison: to Mildred Fairbairn: have many questions? Alicia Kaywood: Uh I have Edna Madison: to like Mildred Fairbairn: Oh, okay well Pinkie Richter: Oh we have Edna Madison: Geez. Pinkie Richter: time. Mildred Fairbairn: Yeah, but we have Edna Madison: We're Mildred Fairbairn: We Edna Madison: getting Mildred Fairbairn: also Edna Madison: paid. We're Mildred Fairbairn: We Edna Madison: getting paid. Alicia Kaywood: The material Mildred Fairbairn: have to get Alicia Kaywood: used Mildred Fairbairn: to the Alicia Kaywood: is Mildred Fairbairn: money. Alicia Kaywood: spongy, that that's uh that's a one, that's m rubber. Pinkie Richter: What? Mildred Fairbairn: What Pinkie Richter: Yeah, Mildred Fairbairn: spongy. Pinkie Richter: yeah, it's very spongy. Edna Madison: Uh. Alicia Kaywood: Yeah, I th Pinkie Richter: Oh but not it's not very Alicia Kaywood: think Pinkie Richter: spongy, Alicia Kaywood: it's not Pinkie Richter: because Alicia Kaywood: the Pinkie Richter: it's Alicia Kaywood: most Pinkie Richter: hard rubber. Alicia Kaywood: spongy thing. Pinkie Richter: I think it's a three. Edna Madison: Yeah, Alicia Kaywood: Yeah. Edna Madison: it's a three, Mildred Fairbairn: Uh-huh, yeah. Edna Madison: because you want to make it uh Pinkie Richter: Hard Edna Madison: rather Pinkie Richter: but Edna Madison: flexible but not too flexible, Pinkie Richter: Yeah. Edna Madison: because Pinkie Richter: You can Edna Madison: it has Pinkie Richter: break Edna Madison: a L_C_D_ Pinkie Richter: it. Edna Madison: screen. Pinkie Richter: Yeah. Alicia Kaywood: Remote control Edna Madison: Hard Alicia Kaywood: is hard to Edna Madison: to Alicia Kaywood: lose. Edna Madison: lose, yeah it sh Pinkie Richter: Y yeah, you could you Edna Madison: and Pinkie Richter: could Edna Madison: it's Pinkie Richter: call Edna Madison: easy Alicia Kaywood: Y Edna Madison: to Pinkie Richter: it. Alicia Kaywood: you Edna Madison: find. Alicia Kaywood: can't you can't lose it if you're sixty years old. If first time see the thing you didn didn't adjust uh set the microphone, and then you Pinkie Richter: Yeah, Alicia Kaywood: lose it, then you have lost Pinkie Richter: y you Alicia Kaywood: it. Pinkie Richter: can lose it, but it isn't hard to lose. Alicia Kaywood: It isn't hard, no. I think I think this is a two, personally. Pinkie Richter: Two. That it's hard to lose? Alicia Kaywood: No. Pinkie Richter: Yeah, it it is Edna Madison: Isn't hard Pinkie Richter: there's Mildred Fairbairn: Yeah, Pinkie Richter: the Edna Madison: to Pinkie Richter: it's Edna Madison: lose. Mildred Fairbairn: so isn't Pinkie Richter: a six, Mildred Fairbairn: hard to lose Pinkie Richter: you think? Edna Madison: Isn't hard to lose, yeah. Mildred Fairbairn: you. Alicia Kaywood: Isn't hard to lose. Pinkie Richter: So it's a two. Yeah, you can lose it, so I don't Alicia Kaywood: Yeah. Pinkie Richter: you can make Alicia Kaywood: You Pinkie Richter: it Alicia Kaywood: can't Pinkie Richter: a Alicia Kaywood: lose Pinkie Richter: three Alicia Kaywood: it. Pinkie Richter: I It Alicia Kaywood: Or Pinkie Richter: does have Alicia Kaywood: if you're Pinkie Richter: an Alicia Kaywood: you're Pinkie Richter: a Alicia Kaywood: sixty Pinkie Richter: built in Alicia Kaywood: years Pinkie Richter: function. Alicia Kaywood: old, Mildred Fairbairn: Yeah, but a har Alicia Kaywood: your demands Mildred Fairbairn: A hard to lose is good. So it should this Pinkie Richter: Nee. Mildred Fairbairn: question should be hard to lose. Pinkie Richter: Hard Mildred Fairbairn: It's Pinkie Richter: to Mildred Fairbairn: difficult Pinkie Richter: lose. Mildred Fairbairn: to lose Pinkie Richter: Oh Mildred Fairbairn: it. Pinkie Richter: right. Edna Madison: Yeah, this this is Pinkie Richter: It Edna Madison: hard Pinkie Richter: is Edna Madison: to Pinkie Richter: hard Edna Madison: lose. Pinkie Richter: to lose. Yeah, so then this is it Edna Madison: This Pinkie Richter: is almost Alicia Kaywood: I Mildred Fairbairn: A two. Alicia Kaywood: think Pinkie Richter: true, so a two. Alicia Kaywood: yeah, Mildred Fairbairn: A two. Alicia Kaywood: I think also. Edna Madison: Two, yeah. Mildred Fairbairn: Okay. Edna Madison: And most all because of the option to Alicia Kaywood: Huh? Edna Madison: Whoa. Pinkie Richter: Ooh. Mildred Fairbairn: Yeah, it's okay. That happens above also. Pinkie Richter: Oh. Edna Madison: Uh. Mildred Fairbairn: But Alicia Kaywood: Yeah? Mildred Fairbairn: maybe when you scroll away Alicia Kaywood: Oh, okay. Mildred Fairbairn: and back it will be normal, but Yep. Alicia Kaywood: No. Mildred Fairbairn: Oh, Pinkie Richter: Oh well, Mildred Fairbairn: it Pinkie Richter: it Mildred Fairbairn: isn't, Pinkie Richter: doesn't. Mildred Fairbairn: well okay. Remember. Edna Madison: put the cor cursor on Alicia Kaywood: Okay Edna Madison: the. Alicia Kaywood: okay okay. Remote Edna Madison: Click. Alicia Kaywood: control mainly be sold to younger people. Edna Madison: True. Pinkie Richter: I think it will, Alicia Kaywood: Yeah? Edna Madison: True. Pinkie Richter: yeah. Alicia Kaywood: True? Very true? Edna Madison: Uh Pinkie Richter: Uh Edna Madison: yeah. Alicia Kaywood: No, Edna Madison: Uh Mildred Fairbairn: There. Pinkie Richter: well I Alicia Kaywood: I don't think very true because Pinkie Richter: a Alicia Kaywood: the colours. Pinkie Richter: a two. Alicia Kaywood: We have the colours. Um we have the buttons is aren't that that much. Edna Madison: Materials, yeah. Alicia Kaywood: Nah, the material isn't that Pinkie Richter: It's Edna Madison: Uh Pinkie Richter: it's Edna Madison: okay. Pinkie Richter: much more younger. Alicia Kaywood: So I don Edna Madison: So ma Alicia Kaywood: I Edna Madison: uh make Alicia Kaywood: think Edna Madison: it make Alicia Kaywood: I Edna Madison: it a Alicia Kaywood: think Edna Madison: two. Alicia Kaywood: it's a three. Mildred Fairbairn: Well I think it's it's uh a lower number, so better because w we designed it for young people Pinkie Richter: Yeah. Mildred Fairbairn: especially, Alicia Kaywood: Yeah, Pinkie Richter: I Alicia Kaywood: but Pinkie Richter: think Alicia Kaywood: I Pinkie Richter: it's Alicia Kaywood: uh Pinkie Richter: a Mildred Fairbairn: didn't Pinkie Richter: two Mildred Fairbairn: we? Pinkie Richter: but Alicia Kaywood: Okay, okay. Mildred Fairbairn: What do you think? Alicia Kaywood: I think Mildred Fairbairn: Questions? Edna Madison: A Alicia Kaywood: because Edna Madison: two? I think it's two. Mildred Fairbairn: Two. Alicia Kaywood: yeah? Edna Madison: I think it's two Mildred Fairbairn: Uh-huh. Edna Madison: too, two too too. Pinkie Richter: Two two two. Let's make everything Alicia Kaywood: In Pinkie Richter: a Alicia Kaywood: the Pinkie Richter: two. Alicia Kaywood: features? Mildred Fairbairn: Dissatisfy younger people. Pinkie Richter: Younger Mildred Fairbairn: Um Pinkie Richter: people. It Edna Madison: Well Pinkie Richter: has Edna Madison: perhaps not. Pinkie Richter: What Alicia Kaywood: Because younger Pinkie Richter: did Alicia Kaywood: peoples are cr critical and they wanted a lot of features on Pinkie Richter: Yeah. Alicia Kaywood: this thing. Pinkie Richter: Well Edna Madison: Well, Pinkie Richter: that it Edna Madison: n Pinkie Richter: doesn't. Edna Madison: not exactly but uh uh if it had some games on it or something like Pinkie Richter: Yeah Edna Madison: that, Pinkie Richter: bu but Edna Madison: but it's for a remote control I think it i Pinkie Richter: I think Edna Madison: it would Pinkie Richter: they Edna Madison: satisfy Pinkie Richter: like the speech. Edna Madison: those needs. Yeah, the Pinkie Richter: You Edna Madison: speech Pinkie Richter: could call Edna Madison: possibility, Alicia Kaywood: L_C_D_ Pinkie Richter: to your uh Alicia Kaywood: screen Pinkie Richter: yeah, Edna Madison: the colours. Pinkie Richter: and Alicia Kaywood: and scroll. Pinkie Richter: the screen, Edna Madison: Scroll Pinkie Richter: yeah. Edna Madison: options, yeah. Alicia Kaywood: I I think they'll be quite met with their expectations. Mildred Fairbairn: Yeah, Pinkie Richter: Right, Alicia Kaywood: No. Pinkie Richter: that that that Mildred Fairbairn: It Pinkie Richter: those Mildred Fairbairn: has Pinkie Richter: are features. Mildred Fairbairn: relatively Alicia Kaywood: It's three Mildred Fairbairn: few Alicia Kaywood: features, Mildred Fairbairn: features, Alicia Kaywood: basically, Mildred Fairbairn: with Alicia Kaywood: the L_C_D_ touch screen is feature. Edna Madison: Yeah. Alicia Kaywood: The Pinkie Richter: No, aren't Alicia Kaywood: microphone Pinkie Richter: the features Alicia Kaywood: is a feature. Pinkie Richter: the microphone's feature and that you can change the channel's feature, and that you can change Mildred Fairbairn: Yeah. Pinkie Richter: the volume is feature, and that you can change the options of the remote, Alicia Kaywood: Yeah, Pinkie Richter: uh uh Alicia Kaywood: okay. Mildred Fairbairn: Ours Pinkie Richter: something Mildred Fairbairn: had other Pinkie Richter: like that. Mildred Fairbairn: features with Alicia Kaywood: I think Pinkie Richter: Yeah. Alicia Kaywood: yeah, and then you have the Edna Madison: The Alicia Kaywood: audio Edna Madison: easy Alicia Kaywood: settings, Edna Madison: volume Alicia Kaywood: channel Edna Madison: up Alicia Kaywood: setting, Edna Madison: button. Pinkie Richter: Those Alicia Kaywood: video Pinkie Richter: are Alicia Kaywood: settings. Pinkie Richter: features. Edna Madison: Remote younger people usually use the remote control to put on the volume. Alicia Kaywood: Yeah yeah. Edna Madison: Turn uh turn Alicia Kaywood: So I've Edna Madison: up Alicia Kaywood: chos Edna Madison: the volume. Alicia Kaywood: I shou I think it's it's it's a one. Pinkie Richter: Enough features? Alicia Kaywood: Personally, yeah. I think once you've 'cause you have the channel features b uh you have the uh screen features, audio features, the you have all buttons on it which you'd like, microphone extra, L_C_D_ screen extra, scroll thing extra. Pinkie Richter: Yeah. Mildred Fairbairn: Okay, you think one, what do you think? Pinkie Richter: I think Mildred Fairbairn: You. Pinkie Richter: two or three. Mildred Fairbairn: three, yeah. Edna Madison: Two. Mildred Fairbairn: I'd say three, so Pinkie Richter: Yeah. Yeah Mildred Fairbairn: two Pinkie Richter: uh Alicia Kaywood: Make Mildred Fairbairn: it Pinkie Richter: a Alicia Kaywood: it Mildred Fairbairn: is Pinkie Richter: two Mildred Fairbairn: then Alicia Kaywood: make Mildred Fairbairn: or Alicia Kaywood: it a Pinkie Richter: a Alicia Kaywood: two. Pinkie Richter: two. Edna Madison: One two three. Alicia Kaywood: Or make Pinkie Richter: Just Alicia Kaywood: it Pinkie Richter: another Alicia Kaywood: uh Pinkie Richter: two. Alicia Kaywood: a fucking Pinkie Richter: We Alicia Kaywood: two. Pinkie Richter: like Edna Madison: Right. Pinkie Richter: two. Alicia Kaywood: You can see the remote control is R_ and R_. Pinkie Richter: Yeah, there's Edna Madison: Uh. Pinkie Richter: R_ and Mildred Fairbairn: Yeah. Pinkie Richter: R_ in front. Mildred Fairbairn: Yep. Pinkie Richter: Uh it's not the colour, so maybe you should make two, but it has R_ and Alicia Kaywood: Has Pinkie Richter: R_. Alicia Kaywood: oh yeah, do did have nah y you have the black one. Pinkie Richter: Yeah. Alicia Kaywood: And we'll probably make also a yellow one. Pinkie Richter: Yeah, Mildred Fairbairn: Yeah. Pinkie Richter: but not R_ Mildred Fairbairn: Yeah, Pinkie Richter: and R_ Mildred Fairbairn: maybe Pinkie Richter: yellow Mildred Fairbairn: maybe Pinkie Richter: I think. Mildred Fairbairn: two. Well m th Alicia Kaywood: Maybe Mildred Fairbairn: but Alicia Kaywood: two. Mildred Fairbairn: the logo Edna Madison: Okay, true, Mildred Fairbairn: is on Edna Madison: yeah. Mildred Fairbairn: on the front, so Pinkie Richter: One Alicia Kaywood: X_ Pinkie Richter: d on i Alicia Kaywood: marks Pinkie Richter: it's Alicia Kaywood: spot. Pinkie Richter: the Mildred Fairbairn: a two, Pinkie Richter: colours Mildred Fairbairn: yeah, that's Pinkie Richter: and the Alicia Kaywood: And the menu is avail that is available is easy to use. Pinkie Richter: I think it is, but I don't know what you think. Edna Madison: I think it's easier to use than a regular remote control, Alicia Kaywood: Yeah, Edna Madison: because Alicia Kaywood: tha Edna Madison: when Alicia Kaywood: that's Edna Madison: you push Alicia Kaywood: so true. Edna Madison: on the options menu, you get the the the various options uh entirely explained. Alicia Kaywood: Mm-hmm. Edna Madison: Entirely explained. Instead of uh just finding out what an icon means on a button. Alicia Kaywood: Mm-hmm. Yeah, Pinkie Richter: And Alicia Kaywood: uh Pinkie Richter: you can navigate easier, Edna Madison: Yeah, you Pinkie Richter: because Edna Madison: can navigate. Pinkie Richter: wi with the you have to push the the the arrows and with a normal Edna Madison: Uh. Pinkie Richter: T_V_ uh remote. Alicia Kaywood: I think that wou that would be quite hard to learn Edna Madison: You're not Alicia Kaywood: to Edna Madison: satisfied, Alicia Kaywood: use it. Edna Madison: okay. Alicia Kaywood: No, I'm Edna Madison: Let's start Alicia Kaywood: not not Edna Madison: over Alicia Kaywood: convinc. Edna Madison: again then. Pinkie Richter: Yeah. Let's make a different remote. Alicia Kaywood: Let's go th Pinkie Richter: Well Alicia Kaywood: for Pinkie Richter: Menu. Alicia Kaywood: I think it would be a t yeah, two. Pinkie Richter: A two? Alicia Kaywood: Now lower. Edna Madison: A two. Mildred Fairbairn: Oh, Pinkie Richter: We only Mildred Fairbairn: well Pinkie Richter: have Mildred Fairbairn: that's Pinkie Richter: twos. Mildred Fairbairn: that's pretty good, huh? Edna Madison: Oh yeah, I think so. Yeah. Pinkie Richter: Uh just Alicia Kaywood: So Pinkie Richter: twos. Alicia Kaywood: okay, Edna Madison: And Pinkie Richter: One Edna Madison: three. Alicia Kaywood: we Pinkie Richter: three Alicia Kaywood: have Pinkie Richter: and a few ones. Alicia Kaywood: one three, a one, that that have to got Pinkie Richter: Two threes. Alicia Kaywood: up. Two two two Pinkie Richter: We Alicia Kaywood: two Pinkie Richter: m Alicia Kaywood: two. Pinkie Richter: mostly have twos, Alicia Kaywood: So two, yeah. Pinkie Richter: so it's pretty good. Alicia Kaywood: The average is a two. Pinkie Richter: Yeah. Alicia Kaywood: That Edna Madison: The average. Alicia Kaywood: is quite good Pinkie Richter: Yeah. I think Alicia Kaywood: in my Pinkie Richter: so Alicia Kaywood: opinion. Edna Madison: Yeah, Pinkie Richter: too. Edna Madison: I think so. Alicia Kaywood: That Pinkie Richter: We Alicia Kaywood: Ooh. Pinkie Richter: can be happy. Edna Madison: Save. Alicia Kaywood: Ooh. Pinkie Richter: Yeah. What is it? It's like a bug Edna Madison: It's Pinkie Richter: or Edna Madison: a fly. Pinkie Richter: something. A fly, yeah. Edna Madison: Oh m Pinkie Richter: A f butterfly. Alicia Kaywood: Top. Pinkie Richter: Yeah. That's it. Alicia Kaywood: Okay. Mildred Fairbairn: That was your evaluation uh Alicia Kaywood: Yes. Mildred Fairbairn: show, okay, so we don't Pinkie Richter: Sure. Mildred Fairbairn: have to calculate anything because of um Alicia Kaywood: No, it's Mildred Fairbairn: these Alicia Kaywood: two. Mildred Fairbairn: results. Okay, good. Alicia Kaywood: The Pinkie Richter: It's Alicia Kaywood: average Pinkie Richter: good. Alicia Kaywood: is two. Mildred Fairbairn: Um Pinkie Richter: Yeah. Mildred Fairbairn: let's see oh, it isn't asked to save but it did Edna Madison: Yeah. Mildred Fairbairn: already Alicia Kaywood: Yeah, Edna Madison: Exactly. Alicia Kaywood: I uh uh I uh Mildred Fairbairn: And Alicia Kaywood: saved Mildred Fairbairn: this Alicia Kaywood: it. Mildred Fairbairn: Everything okay. Well, the next part uh might be a little bit difficult to do in a group, but I am willing to try it. Because we are going to look at the finance and I have Pinkie Richter: Yeah. Mildred Fairbairn: a nice Excel sheet to do that. Pinkie Richter: Redesign. No. Mildred Fairbairn: And um I'm not sure if I put it in the project folder. look on that. Um and we're going to calculate the production costs, Pinkie Richter: Yeah. Mildred Fairbairn: and if they are uh under or at twelve Euro fifty, we're good, Pinkie Richter: Yeah. Mildred Fairbairn: and if they're not we're going to uh re-design, Pinkie Richter: So we're going Mildred Fairbairn: but Pinkie Richter: to Mildred Fairbairn: we have to do that Pinkie Richter: erase Mildred Fairbairn: uh Pinkie Richter: features Mildred Fairbairn: very Pinkie Richter: or Mildred Fairbairn: very Pinkie Richter: something. Mildred Fairbairn: quick I think, yes. Um I don't know if I Pinkie Richter: Do you have the cost or uh Mildred Fairbairn: put the Excel sheet in the Pinkie Richter: Let's hope. Mildred Fairbairn: n not in the Alicia Kaywood: f Pinkie Richter: We're going Mildred Fairbairn: folder. Alicia Kaywood: fifty Pinkie Richter: to be here Alicia Kaywood: five Mildred Fairbairn: I Pinkie Richter: at eight Alicia Kaywood: Euros. Pinkie Richter: o'clock. Mildred Fairbairn: think it's I think it's still in my own documents folder. Pinkie Richter: We're goin still going to be here at eight o'clock. Alicia Kaywood: No. Pinkie Richter: I doubt Mildred Fairbairn: Oh shit. Pinkie Richter: it. Perhaps we've got features that don't exist Alicia Kaywood: Yeah Pinkie Richter: in the Excel Alicia Kaywood: mm Pinkie Richter: sheet. Alicia Kaywood: yeah, maybe. Mildred Fairbairn: So Alicia Kaywood: The microphone. Pinkie Richter: No, it was in my uh my Edna Madison: Yeah. Pinkie Richter: information, Edna Madison: It Pinkie Richter: so Edna Madison: i Alicia Kaywood: Yeah? Pinkie Richter: uh Edna Madison: It wasn't too much. Pinkie Richter: Yeah. Alicia Kaywood: maybe you're going scrap Edna Madison: As well as the L_C_D_ screen. Alicia Kaywood: scrap Edna Madison: Whoa. Alicia Kaywood: it. Mildred Fairbairn: Okay, Pinkie Richter: Well, Mildred Fairbairn: well Pinkie Richter: if it doesn't Mildred Fairbairn: this is Pinkie Richter: work Mildred Fairbairn: it. Um maybe I could ask one of you to uh fill it in, so that I can also uh Pinkie Richter: I Mildred Fairbairn: take Pinkie Richter: want Mildred Fairbairn: minutes, Pinkie Richter: to fill it in, Alicia Kaywood: No prob. Pinkie Richter: but uh Mildred Fairbairn: and uh maybe the other can uh use that thing to count uh numerous Alicia Kaywood: Ah. Mildred Fairbairn: functions. Pinkie Richter: But you should uh Alicia Kaywood: Count Pinkie Richter: direct Alicia Kaywood: it? Li like write Mildred Fairbairn: Well Alicia Kaywood: it Mildred Fairbairn: we have to Alicia Kaywood: be Mildred Fairbairn: count some things and we have to think about some things. Edna Madison: Count it. Mildred Fairbairn: But Edna Madison: You Mildred Fairbairn: you have Edna Madison: got Mildred Fairbairn: to fill Edna Madison: Excel Mildred Fairbairn: in Edna Madison: to count. Mildred Fairbairn: this Pinkie Richter: The number Mildred Fairbairn: column, Pinkie Richter: of Mildred Fairbairn: huh? No, uh count uh number of functions, because Edna Madison: Oh okay. Mildred Fairbairn: for every button you have to Edna Madison: Well Mildred Fairbairn: pay Alicia Kaywood: Ah, Mildred Fairbairn: and Edna Madison: I dra Alicia Kaywood: okay, Edna Madison: uh Mildred Fairbairn: there are Edna Madison: Danny, Mildred Fairbairn: different screen Edna Madison: Danny, Mildred Fairbairn: shots, Alicia Kaywood: cool. Mildred Fairbairn: so Alicia Kaywood: Huh? Edna Madison: I'll do that, because Alicia Kaywood: Yeah? Mildred Fairbairn: or Alicia Kaywood: Oh, Edna Madison: I draw Mildred Fairbairn: different Alicia Kaywood: yea yeah, Edna Madison: the Alicia Kaywood: you Edna Madison: uh Alicia Kaywood: design Mildred Fairbairn: different Alicia Kaywood: it. Mildred Fairbairn: screens, so Pinkie Richter: We've got a battery, one or t two batteries, Alicia Kaywood: Um Pinkie Richter: or not? nee one battery, with two small batteries. Alicia Kaywood: Yeah. Mildred Fairbairn: Yeah, but it's it's more about the energy source, huh? Do you Pinkie Richter: Yeah. Mildred Fairbairn: use a hand dynamo, a battery, Pinkie Richter: I would do a battery Mildred Fairbairn: kinetic or solar Pinkie Richter: we do. Mildred Fairbairn: cells? Alicia Kaywood: Solar Pinkie Richter: Right? Alicia Kaywood: cell. No it took Pinkie Richter: A Mildred Fairbairn: We'll Edna Madison: No, Pinkie Richter: battery. Alicia Kaywood: a Edna Madison: no Mildred Fairbairn: wait. Alicia Kaywood: battery? Edna Madison: solar cell, no no no no. Pinkie Richter: One battery, right? Mildred Fairbairn: Yeah. Edna Madison: No Alicia Kaywood: Yeah. Edna Madison: hand dynamo. Hand Pinkie Richter: Electronics, Alicia Kaywood: We have Pinkie Richter: simple chip advanced chip, right? Alicia Kaywood: No, we have sample speaker. Edna Madison: On advanced chip. Alicia Kaywood: But b al but we also have sample speaker, do Edna Madison: Yeah, Pinkie Richter: Yeah, Edna Madison: yeah. Pinkie Richter: so this one and this one. Uh we Alicia Kaywood: Oh, Pinkie Richter: ha Alicia Kaywood: we Pinkie Richter: we Alicia Kaywood: already Pinkie Richter: have um Alicia Kaywood: on Pinkie Richter: single Alicia Kaywood: nine. Pinkie Richter: what? Are we? Oh yay. Alicia Kaywood: We have double curved. Edna Madison: Single nee single Pinkie Richter: The single. Edna Madison: curved. Alicia Kaywood: Single. Edna Madison: Double curved was uh uh see uh ju three dimensional. But it isn't three dimensional, Alicia Kaywood: This Pinkie Richter: Oh Edna Madison: it Alicia Kaywood: one Edna Madison: isn't Alicia Kaywood: is Pinkie Richter: the Edna Madison: curved Pinkie Richter: the it's Edna Madison: in Pinkie Richter: not Edna Madison: a Pinkie Richter: going to Edna Madison: l Pinkie Richter: work uh people. We have Alicia Kaywood: This Pinkie Richter: rubber. Alicia Kaywood: one is curved like this, right. Mildred Fairbairn: I'll just Alicia Kaywood: It's Mildred Fairbairn: fill it Alicia Kaywood: curved Mildred Fairbairn: in. Alicia Kaywood: like Edna Madison: No Alicia Kaywood: this. Edna Madison: no no, single Mildred Fairbairn: Um Edna Madison: curved Mildred Fairbairn: rubber Edna Madison: is like Mildred Fairbairn: indeed? Edna Madison: this. Alicia Kaywood: Yeah, Edna Madison: Uh Alicia Kaywood: bu Edna Madison: that's Alicia Kaywood: what Edna Madison: the only curve you made, not th uh curved like that. That's uh Alicia Kaywood: Oh, but we have curves like it and it. There are two curves, Pinkie Richter: Thirteen? Alicia Kaywood: right? Oh, okay I understand, I Edna Madison: Huh? Alicia Kaywood: understand. Pinkie Richter: With a scroll wheel, right? Alicia Kaywood: Rubber. Edna Madison: Yeah. Pinkie Richter: Is he integrated? No, eh? I Alicia Kaywood: Push Pinkie Richter: don't Edna Madison: Yeah, Alicia Kaywood: button. Pinkie Richter: know. Alicia Kaywood: No, we don't have push Edna Madison: we gotta Alicia Kaywood: button. Edna Madison: integrate scroll wheel and push button, because when you push it and you w it won't just pu Pinkie Richter: Oh Edna Madison: uh Pinkie Richter: yeah, Edna Madison: makes Pinkie Richter: right, Edna Madison: possible Pinkie Richter: we want Edna Madison: to s Pinkie Richter: it to it's not it's not no. Alicia Kaywood: L_C_D_ Edna Madison: Not going Alicia Kaywood: display. Edna Madison: to work? Okay. Pinkie Richter: Yep. Fifteen, oh, too bad. Edna Madison: Okay um Pinkie Richter: Oh but with special colour we have. A special form, right? Edna Madison: But now button supplements. We don't got the button supplements. Pinkie Richter: Oh, we don't have any buttons, so Alicia Kaywood: Eighteen and a half, Pinkie Richter: Yeah, Alicia Kaywood: damn. Pinkie Richter: we need to uh Alicia Kaywood: We Edna Madison: Damn. Alicia Kaywood: have to lower it with six points. Pinkie Richter: No, Edna Madison: Okay. Pinkie Richter: uh we have fifteen and Alicia Kaywood: Twelve and half. Pinkie Richter: oh, right. We could lose the curve. Edna Madison: Nah. Alicia Kaywood: We could use Pinkie Richter: Yeah, I Edna Madison: We Pinkie Richter: would Edna Madison: could Pinkie Richter: lose Edna Madison: lose Pinkie Richter: the curve. Edna Madison: the scroll wheel. You could make it just a regular scroll wheel. Pinkie Richter: But you can't push it, so Edna Madison: Yeah, Pinkie Richter: you have Edna Madison: if you Pinkie Richter: to Edna Madison: can't Pinkie Richter: tap. Edna Madison: push it you have to tap the the options window uh button here and then uh scroll down with the d with uh with uh the Pinkie Richter: Yeah, Edna Madison: button. Pinkie Richter: alright. Mildred Fairbairn: Yeah, I think that will Pinkie Richter: So Mildred Fairbairn: be Pinkie Richter: normal scroll wheel? Mildred Fairbairn: our best Edna Madison: Normal scroll Mildred Fairbairn: bet. Edna Madison: wheel. Pinkie Richter: And I think we should lose Alicia Kaywood: I think Pinkie Richter: the curve. Alicia Kaywood: we should Edna Madison: Lose Alicia Kaywood: scrap the sample speaker. It's four pri it four units. Pinkie Richter: Yeah, but if you would i it is a new feature, it it's something Edna Madison: Okay, so Pinkie Richter: special. Edna Madison: we don't exactly need the single Alicia Kaywood: But w Edna Madison: We Alicia Kaywood: d Edna Madison: don't need Alicia Kaywood: wha Edna Madison: a curve. Pinkie Richter: No, Edna Madison: 'S possible Pinkie Richter: the curve Edna Madison: to Alicia Kaywood: Curved Edna Madison: lose Pinkie Richter: doesn't Alicia Kaywood: then Edna Madison: curve. Alicia Kaywood: it Pinkie Richter: really Alicia Kaywood: will be square. Pinkie Richter: No, then it will won't uh stand up from the table. Then Edna Madison: Okay. Alicia Kaywood: Was Pinkie Richter: it Alicia Kaywood: that Pinkie Richter: would Alicia Kaywood: does Pinkie Richter: just Alicia Kaywood: that mean to it, Edna Madison: Yeah, Alicia Kaywood: single Edna Madison: that's Alicia Kaywood: curve? Edna Madison: meant Pinkie Richter: Yeah. Edna Madison: with scr uh with s curve. The curve is uh in a dimension. Alicia Kaywood: Okay. Edna Madison: If you make it a flat Pinkie Richter: So Edna Madison: one, s n it's no curve, you got Pinkie Richter: We would Edna Madison: no Pinkie Richter: lose Edna Madison: curves. Pinkie Richter: this one? Alicia Kaywood: Yeah, but tha that Edna Madison: Yeah, Alicia Kaywood: that Edna Madison: okay. Alicia Kaywood: only is one. Pinkie Richter: Yeah, we Edna Madison: No, Pinkie Richter: could Edna Madison: two. Pinkie Richter: s yeah, a bit. Alicia Kaywood: No, one. Pinkie Richter: Sixteen Edna Madison: Oh, Pinkie Richter: point Edna Madison: okay, Pinkie Richter: three. Edna Madison: indeed. Alicia Kaywood: So we don't Pinkie Richter: So we Alicia Kaywood: Yeah, Pinkie Richter: still Alicia Kaywood: we also have to Edna Madison: Is it possible to make Pinkie Richter: Could could we do it on a regular chip on print or something? Alicia Kaywood: No, otherwise we don't have an L_C_D_ screen. Pinkie Richter: No? Ma Edna Madison: No. Pinkie Richter: y you just can't Mildred Fairbairn: And Pinkie Richter: do that, Mildred Fairbairn: what did Pinkie Richter: or Mildred Fairbairn: you Pinkie Richter: uh Mildred Fairbairn: change? You changed the Pinkie Richter: We changed th Mildred Fairbairn: uh scroll wheel and Pinkie Richter: Yeah, and the Alicia Kaywood: Single Pinkie Richter: single curved Alicia Kaywood: curved. Pinkie Richter: to uncurved. Mildred Fairbairn: Oh, Alicia Kaywood: Flat. Mildred Fairbairn: but it's just one Alicia Kaywood: Yeah, so that does doesn't Mildred Fairbairn: point, Alicia Kaywood: doesn't Pinkie Richter: No. Mildred Fairbairn: so Alicia Kaywood: that mu Mildred Fairbairn: maybe Alicia Kaywood: I think Mildred Fairbairn: you should should uh Alicia Kaywood: Scrap sample speaker? Mildred Fairbairn: Yeah, Alicia Kaywood: That Mildred Fairbairn: you Alicia Kaywood: that's Edna Madison: The Mildred Fairbairn: should Edna Madison: sample Alicia Kaywood: uh Edna Madison: speaker Mildred Fairbairn: you Edna Madison: is Mildred Fairbairn: should Edna Madison: two d Mildred Fairbairn: drop Edna Madison: wait, Pinkie Richter: Yeah, Mildred Fairbairn: the Pinkie Richter: but Edna Madison: f s Pinkie Richter: it's Mildred Fairbairn: speech Edna Madison: four Pinkie Richter: t Edna Madison: points. Mildred Fairbairn: recognition. Alicia Kaywood: Yes, four points. Pinkie Richter: Yeah, but Mildred Fairbairn: And Pinkie Richter: it Mildred Fairbairn: then Pinkie Richter: is Mildred Fairbairn: you can Pinkie Richter: uh Mildred Fairbairn: keep the curve. Pinkie Richter: it it is a new feature, it Mildred Fairbairn: Or Pinkie Richter: is Mildred Fairbairn: can't Pinkie Richter: something Mildred Fairbairn: you? Edna Madison: Yeah, uh Pinkie Richter: special. Edna Madison: becau Alicia Kaywood: Yeah, but Edna Madison: uh Alicia Kaywood: what what Edna Madison: when Alicia Kaywood: else Edna Madison: you lose Alicia Kaywood: what else Edna Madison: the Alicia Kaywood: uh do you want to scrap? F You have Pinkie Richter: I Alicia Kaywood: to Pinkie Richter: don't Alicia Kaywood: we Pinkie Richter: know. Alicia Kaywood: have to scrap four points. Pinkie Richter: Yeah, that's difficult. Edna Madison: Yeah. Mildred Fairbairn: Or make it on a hand dynamo, but I Pinkie Richter: Yeah. Mildred Fairbairn: don't think that Alicia Kaywood: Ma Mildred Fairbairn: will Alicia Kaywood: make Mildred Fairbairn: work. Alicia Kaywood: it with wood instead of rubber? Edna Madison: No, that's no. Make it Pinkie Richter: Uh. Edna Madison: w uh when you made it uh uh uh a remote control of wood? Alicia Kaywood: Yeah, it Edna Madison: You don't Alicia Kaywood: it Mildred Fairbairn: Yeah, Alicia Kaywood: i Pinkie Richter: We Edna Madison: make Pinkie Richter: could Edna Madison: a Mildred Fairbairn: mm-hmm. Edna Madison: remote Pinkie Richter: make it Edna Madison: control Alicia Kaywood: Yeah, Pinkie Richter: titanium Edna Madison: of Alicia Kaywood: it also Edna Madison: Ah. Pinkie Richter: instead of rubber. Alicia Kaywood: uh it also takes one point less. Mildred Fairbairn: Yeah, but uh a wooden remote control only helps for Pinkie Richter: Oh. Mildred Fairbairn: uh Pinkie Richter: Oh can I ask something? Mildred Fairbairn: old people we discussed, Pinkie Richter: What is Mildred Fairbairn: yes? Alicia Kaywood: Yeah. Pinkie Richter: special colour? Is that the wood uh wood uh Alicia Kaywood: I think it is. Pinkie Richter: this, Edna Madison: It Pinkie Richter: we Edna Madison: isn't. Pinkie Richter: have to have that one too? Edna Madison: What? Alicia Kaywood: Yeah. Mildred Fairbairn: Yeah, but it's only a half. But I think the only option is to Alicia Kaywood: Yeah. Mildred Fairbairn: drop the uh Alicia Kaywood: Sample speaker. Edna Madison: To knock Mildred Fairbairn: sample Edna Madison: the sample Mildred Fairbairn: speaker. Edna Madison: speaker, yeah. And sample sensor. Pinkie Richter: Th then we still have too much Alicia Kaywood: Yeah, okay, Pinkie Richter: if Alicia Kaywood: three. Pinkie Richter: we Edna Madison: But Pinkie Richter: use Edna Madison: m Pinkie Richter: the Alicia Kaywood: Point Edna Madison: yeah, Pinkie Richter: uh Alicia Kaywood: three. Edna Madison: course, but Pinkie Richter: Yeah, we we Edna Madison: What Pinkie Richter: scrap Edna Madison: we'll Pinkie Richter: that Edna Madison: have. Pinkie Richter: one? Alicia Kaywood: Huh? Edna Madison: Let's make it thirteen or fourteen. Alicia Kaywood: Point twelve. Pinkie Richter: See, a po three. We need point three. Alicia Kaywood: That's a scroll wheel. Pinkie Richter: Uh it's a colour. Don't Edna Madison: A colour. Pinkie Richter: make it wood. Alicia Kaywood: Yeah, but a wood Pinkie Richter: Make Alicia Kaywood: we can Pinkie Richter: it Alicia Kaywood: make Pinkie Richter: uh Alicia Kaywood: it brown, dark brown, not wood. Pinkie Richter: Yeah, but it's it's special colour, is it Edna Madison: Yeah, Pinkie Richter: a all Edna Madison: special colours, Pinkie Richter: kind of colours? Edna Madison: fruity colours. Pinkie Richter: It's also green Alicia Kaywood: Is it Pinkie Richter: or Alicia Kaywood: also Pinkie Richter: uh Alicia Kaywood: no Edna Madison: Yeah. Alicia Kaywood: that that's just normal colour fruit colours. Normal Pinkie Richter: Yeah, but it's Alicia Kaywood: colours, Pinkie Richter: a special Alicia Kaywood: yellow Pinkie Richter: colour than just rubber colour. You have to add something to the rubber to make it green. Edna Madison: Yeah. Pinkie Richter: You don't say here's green rubber. Edna Madison: They don't Alicia Kaywood: Yeah, Edna Madison: sell Alicia Kaywood: but then Edna Madison: green Alicia Kaywood: I Edna Madison: rubber Alicia Kaywood: d I Edna Madison: plants. Alicia Kaywood: don't think we can ever make Edna Madison: Alright. Alicia Kaywood: to a twelve and half. Pinkie Richter: Yeah, you can, you should you have to lose Alicia Kaywood: But then we have to scrap L_C_D_ display, we have to scrap uh Pinkie Richter: No, it is Edna Madison: No Alicia Kaywood: s Pinkie Richter: the scroll Alicia Kaywood: advanced Edna Madison: no no. Pinkie Richter: wheel, Alicia Kaywood: chip. Pinkie Richter: I guess. Alicia Kaywood: No then we have to scrap everything we got because how many colours we gonna make? Five? Edna Madison: If we lose Alicia Kaywood: Then we have Edna Madison: the Alicia Kaywood: two. Edna Madison: scroll wheel and make it totally uh depending uh dependent on Alicia Kaywood: S Edna Madison: uh the Pinkie Richter: A Edna Madison: touch Alicia Kaywood: touch. Pinkie Richter: push, Edna Madison: screen Pinkie Richter: yeah. Edna Madison: then it's possible to make. Alicia Kaywood: Then we Edna Madison: And Alicia Kaywood: can make Edna Madison: then you Alicia Kaywood: add Edna Madison: can Alicia Kaywood: two colours Edna Madison: and then you can Alicia Kaywood: on Edna Madison: add Alicia Kaywood: it. Edna Madison: to the colours. Alicia Kaywood: Yeah, two colours it. Edna Madison: Special c Pinkie Richter: Switch Edna Madison: Okay, Pinkie Richter: colours. Edna Madison: if you lose uh if you lose Pinkie Richter: It Edna Madison: the Pinkie Richter: was such a great idea. Edna Madison: You lose Alicia Kaywood: They can Edna Madison: this one, Alicia Kaywood: add Edna Madison: you got Alicia Kaywood: two Edna Madison: eleven Alicia Kaywood: colours. Edna Madison: point five and you make i and then you can make uh the spec single curve, for example. Alicia Kaywood: But the colours. Um how ma uh the colours like l she told, is that all the colours we add or Edna Madison: How d uh uh how many Pinkie Richter: What Edna Madison: colours? Pinkie Richter: do you mean? Edna Madison: Special colours, all the colours you want, because Alicia Kaywood: Yeah, but Edna Madison: you Alicia Kaywood: we Edna Madison: want Alicia Kaywood: we Edna Madison: to make Alicia Kaywood: we Edna Madison: p Alicia Kaywood: are we have yellow, red, uh black, titanium. Edna Madison: Yeah, but uh when you use more than one colour, it's a special colour. Alicia Kaywood: Ah Pinkie Richter: Oh. Alicia Kaywood: okay. Pinkie Richter: But I think Edna Madison: I Pinkie Richter: when Edna Madison: suppose. Pinkie Richter: you use the colour that's not originally the rubber then you use special colour, 'cause you have Edna Madison: Yeah. Pinkie Richter: to add Alicia Kaywood: Yeah, but Pinkie Richter: it. Alicia Kaywood: the rubbers alls original black. Pinkie Richter: Yeah, so you always lose the special colour. You co you could Alicia Kaywood: Yeah Pinkie Richter: make Alicia Kaywood: b Pinkie Richter: it always black, Alicia Kaywood: Yeah, but Pinkie Richter: like Alicia Kaywood: we're Pinkie Richter: normal Alicia Kaywood: gonna make Pinkie Richter: remote. Alicia Kaywood: it yellow uh red, and then you add you have two special colours on top of the one Edna Madison: Nee Alicia Kaywood: we have now. Edna Madison: we we also want to make Pinkie Richter: Oh right, Edna Madison: ano another Pinkie Richter: yeah. Edna Madison: colour. Pinkie Richter: Yeah, Alicia Kaywood: Yeah, Pinkie Richter: we Alicia Kaywood: but Pinkie Richter: should Alicia Kaywood: m Pinkie Richter: u Yeah. We have to make this like four or five Alicia Kaywood: Yeah, Pinkie Richter: or something. Alicia Kaywood: because Pinkie Richter: That's what Alicia Kaywood: we have Pinkie Richter: it means. Alicia Kaywood: more colours than only black. Mildred Fairbairn: Yeah, Pinkie Richter: Yeah. Mildred Fairbairn: but isn't it Alicia Kaywood: I Mildred Fairbairn: per Alicia Kaywood: then I think Mildred Fairbairn: remote Alicia Kaywood: I p Mildred Fairbairn: that Alicia Kaywood: I don Mildred Fairbairn: you Alicia Kaywood: I Mildred Fairbairn: pay? Alicia Kaywood: don't think they Alicia Kaywood mean Pinkie Richter: Oh right, Mildred Fairbairn: Half? Alicia Kaywood: they're special Pinkie Richter: yeah. Is it per remote? Mildred Fairbairn: I think Pinkie Richter: Yeah. Mildred Fairbairn: you pay half per remote. Pinkie Richter: Yeah, that's right, Mildred Fairbairn: So Pinkie Richter: and Mildred Fairbairn: each Pinkie Richter: you Mildred Fairbairn: remote Pinkie Richter: one colour Mildred Fairbairn: with Pinkie Richter: per Mildred Fairbairn: a special Pinkie Richter: remote. Mildred Fairbairn: colour. Edna Madison: Yeah, indeed, Pinkie Richter: So then Edna Madison: yeah. Pinkie Richter: it is one. Edna Madison: You don't need four of those Alicia Kaywood: Yeah, Edna Madison: uh Alicia Kaywood: okay Edna Madison: four Alicia Kaywood: okay, Edna Madison: of Alicia Kaywood: true. Edna Madison: those special colours in one Alicia Kaywood: True, Edna Madison: in Alicia Kaywood: true. Edna Madison: one remote. Pinkie Richter: No. Mildred Fairbairn: I Alicia Kaywood: We Mildred Fairbairn: hope. Alicia Kaywood: have two points spare. Mildred Fairbairn: So the Alicia Kaywood: Nee Mildred Fairbairn: battery, Alicia Kaywood: one point. Mildred Fairbairn: we Pinkie Richter: One. Mildred Fairbairn: have um advanced chip on print. Pinkie Richter: So it would be curved, single curve. Mildred Fairbairn: Because of thing Pinkie Richter: Or not? Mildred Fairbairn: Yeah, well Edna Madison: Hmm. Mildred Fairbairn: you can at least make it curved again. Pinkie Richter: So Edna Madison: Yeah, Pinkie Richter: y Edna Madison: single Pinkie Richter: you just Edna Madison: curve. Pinkie Richter: can't make a nice remote. Mildred Fairbairn: Because that was Pinkie Richter: It's Mildred Fairbairn: very important, Pinkie Richter: too Mildred Fairbairn: huh? Pinkie Richter: bad for the speaker. Mildred Fairbairn: So it's curved, it's still that so we we dropped the speech recognition Pinkie Richter: Should Alicia Kaywood: Mm Pinkie Richter: we Mildred Fairbairn: together Pinkie Richter: change Alicia Kaywood: yep. Mildred Fairbairn: with Pinkie Richter: that Mildred Fairbairn: the speaker. Pinkie Richter: tha that that's a one if not, or Mildred Fairbairn: We Pinkie Richter: not? Mildred Fairbairn: dropped the scroll wheel. Pinkie Richter: Could you copy it? And Mildred Fairbairn: And Pinkie Richter: make Mildred Fairbairn: the rest Pinkie Richter: it uh Mildred Fairbairn: is the same, huh? Alicia Kaywood: Y yea the Mildred Fairbairn: Am I right? Yes. Alicia Kaywood: scroll wheel Pinkie Richter: The Alicia Kaywood: is Pinkie Richter: entire Alicia Kaywood: dropped. Pinkie Richter: uh Edna Madison: Uh. Alicia Kaywood: Yep. Edna Madison: Huh. Pinkie Richter: Perhaps you can then copy page or so. Ooh. Pinkie Richter: No. Edna Madison: Okay. Pinkie Richter: Oh you you made the entire could you Edna Madison: Undo, undo. Undo. Pinkie Richter: Oh not Well. Edna Madison: So, 'kay. Twenty minutes? Pinkie Richter: Would you? By the Perhaps you can save this one, and then copy or something. Add it copy page. Select all. Mildred Fairbairn: No, but you c yeah. Pinkie Richter: Alright, something went wrong. Alicia Kaywood: Tap. Mildred Fairbairn: Okay, but this this new remote Pinkie Richter: It Mildred Fairbairn: we Pinkie Richter: doesn't Mildred Fairbairn: can afford. Pinkie Richter: work. Let's forget. Alicia Kaywood: It should've work. Edna Madison: Okay, so you had this list at start? Mildred Fairbairn: Hmm? Edna Madison: Alright. Mildred Fairbairn: No, Edna Madison: When Mildred Fairbairn: I hadn't. Edna Madison: did you receive this list? Mildred Fairbairn: I just received it. Edna Madison: Ah okay. Pinkie Richter: Yeah. Oh ignore Mildred Fairbairn: They Pinkie Richter: that. Mildred Fairbairn: don't work so hard at the finance department. Edna Madison: Ah okay. I Pinkie Richter: Well, so Edna Madison: suppose this is a Okay, so Pinkie Richter: Too Edna Madison: we Pinkie Richter: bad. Edna Madison: lose the scroll wheel, Pinkie Richter: Yeah. Edna Madison: the s Pinkie Richter: The microphone. Mildred Fairbairn: Yeah, and that's it. Pinkie Richter: Yeah. Edna Madison: And the microphone. Pinkie Richter: A and we changed something, I guess, or not? We Oh no. Alicia Kaywood: Yep. Edna Madison: Okay. Mildred Fairbairn: Twelve Euro fifty. Um and did you try to make a new design, or what Pinkie Richter: Yeah, I tried Mildred Fairbairn: were you trying Pinkie Richter: to copy Mildred Fairbairn: to do? Pinkie Richter: that one, but it didn't work. Mildred Fairbairn: It didn't work. Pinkie Richter: So we could fix it like tha that it's like this. Mildred Fairbairn: Hmm. Strange. Pinkie Richter: You could select it all, but then Edna Madison: Strange. Pinkie Richter: you can't erase. Mildred Fairbairn: Oh, you Edna Madison: You Mildred Fairbairn: can Edna Madison: can only re Mildred Fairbairn: arrange Edna Madison: erase? Pinkie Richter: Erase. Edna Madison: Oh. Pinkie Richter: When you saw th li uh Earlier when we selected it, w Edna Madison: Uh, Pinkie Richter: I couldn't erase anything. Edna Madison: no. Mildred Fairbairn: Hmm, can't you then just say copy? Edna Madison: Bling. Mildred Fairbairn: New page. Paste. Yes. Edna Madison: Ah. Mildred Fairbairn: Select none. Pinkie Richter: Just Edna Madison: just Alicia Kaywood: just Edna Madison: up Pinkie Richter: tap Edna Madison: somewhere Alicia Kaywood: tap Edna Madison: b uh Pinkie Richter: somewhere. Alicia Kaywood: somewhere. Edna Madison: besides it, right. Mildred Fairbairn: Okay, Pinkie Richter: Yeah. Mildred Fairbairn: and now you can erase. Pinkie Richter: I don't think I can, but uh we can try. Edna Madison: Uh, Mildred Fairbairn: Well Edna Madison: we already Mildred Fairbairn: it Edna Madison: try. Mildred Fairbairn: should be possible. Pinkie Richter: Oh, yeah, no, Mildred Fairbairn: Oh Pinkie Richter: ha-ha. Mildred Fairbairn: no. Well Alicia Kaywood: No? Mildred Fairbairn: you can draw over it with white Pinkie Richter: Yeah, Mildred Fairbairn: uh Pinkie Richter: we Mildred Fairbairn: pen. Pinkie Richter: tried it earlier. Mildred Fairbairn: Oh. Pinkie Richter: It's very much work. Mildred Fairbairn: Yeah. Sorry. Well but that's also useful for the evaluation, because I think uh we Alicia Kaywood: Evaluation Mildred Fairbairn: have a prototype Alicia Kaywood: drops. Mildred Fairbairn: now which we can afford and uh we only need to draw a little bit to get a good uh design. Doodle. And I think we should then move on to the production evaluation because of the time. Alicia Kaywood: And erase the mic. Pinkie Richter: Yeah, goodbye mic. Edna Madison: All I need is no mic. Mildred Fairbairn: Let's see, Pinkie Richter: Oh, I Mildred Fairbairn: we Pinkie Richter: already erased Mildred Fairbairn: can Pinkie Richter: half of the line. Mildred Fairbairn: save this now. Edna Madison: Bon chance Mildred Fairbairn: And move back to here. Pinkie Richter: Too bad, oh. Pinkie Richter: Like this? Mildred Fairbairn: Mm-hmm. Pinkie Richter: Still looks nice. Mildred Fairbairn: And then all green. Okay, well thank you. Pinkie Richter: Oh, Alicia Kaywood: Looks Pinkie Richter: that's Alicia Kaywood: like a Pinkie Richter: erase. Alicia Kaywood: iPod. Mildred Fairbairn: Oh, no. Edna Madison: No, Mildred Fairbairn: Hey, Edna Madison: add Mildred Fairbairn: but you can erase that. Pinkie Richter: Yeah, that's a bit Edna Madison: Yeah. Pinkie Richter: weird. Mildred Fairbairn: Uh-oh. Pinkie Richter: Oh, Edna Madison: S Pinkie Richter: now Edna Madison: Difference Pinkie Richter: I'm line. Edna Madison: between lines and text and the pen. Pinkie Richter: Yeah. Alicia Kaywood: Oh. Mildred Fairbairn: Right. Alicia Kaywood: All I need is mic. Mildred Fairbairn: And you can't erase this? Hmm, Pinkie Richter: No, Mildred Fairbairn: strange. Pinkie Richter: it's weird. Mildred Fairbairn: Okay, well uh just leave it at this and Alicia Kaywood: Station Mildred Fairbairn: quickly save. Alicia Kaywood: page. Mildred Fairbairn: Um Edna Madison: Huh, Mildred Fairbairn: and Edna Madison: looks Mildred Fairbairn: then Edna Madison: fucking Mildred Fairbairn: we Edna Madison: boring Mildred Fairbairn: are going Edna Madison: now. Mildred Fairbairn: to the project or product evaluation. We just did our project evaluation. Um well, I think I can sit for that since it's almost my final slide. Um what did you think about uh the process? How satisfied are we? Edna Madison: Deadlines were sometimes very short. Pinkie Richter: Yeah. Mildred Fairbairn: Mm-hmm. Pinkie Richter: Bu but stressful. Edna Madison: But Pinkie Richter: You think, Edna Madison: And Pinkie Richter: no, Edna Madison: stressful. Mildred Fairbairn: Yeah. Pinkie Richter: my presentation isn't ready. Alicia Kaywood: I think we it should be b it would be better if we worked a little bit together. Pinkie Richter: Yeah. Alicia Kaywood: Now Mildred Fairbairn: Yeah. Alicia Kaywood: we worked through each other, Mildred Fairbairn: And you could Pinkie Richter: Yeah, Alicia Kaywood: something Mildred Fairbairn: ask Pinkie Richter: you had information Alicia Kaywood: he Mildred Fairbairn: things. Alicia Kaywood: said Pinkie Richter: I didn't Alicia Kaywood: yeah, Pinkie Richter: have and Alicia Kaywood: and Pinkie Richter: then Alicia Kaywood: you Pinkie Richter: uh Alicia Kaywood: had information I also had, Pinkie Richter: Oh Alicia Kaywood: so Pinkie Richter: right. Edna Madison: Yeah. Alicia Kaywood: some some things I had Edna Madison: Yeah. Alicia Kaywood: in my presentation, they already told, so Pinkie Richter: Yeah. Mildred Fairbairn: And for Alicia Kaywood it sometimes was a surprise who was going to present what, huh? Pinkie Richter: Yeah. Mildred Fairbairn: And Alicia Kaywood: So Mildred Fairbairn: uh Alicia Kaywood: yeah, that I don't think that is the best way to work Mildred Fairbairn: Yeah. Alicia Kaywood: at Pinkie Richter: No. Alicia Kaywood: for such Mildred Fairbairn: So you would Alicia Kaywood: project. Mildred Fairbairn: say uh communicate during our individual Alicia Kaywood: Yeah, Mildred Fairbairn: uh Alicia Kaywood: no, or Mildred Fairbairn: work. Alicia Kaywood: maybe session of five minutes together or something, and then work Edna Madison: Yeah, Alicia Kaywood: separate. Edna Madison: but Mildred Fairbairn: Yeah. Edna Madison: but why not work here together, Pinkie Richter: Yeah, Edna Madison: for Pinkie Richter: you Edna Madison: example? Pinkie Richter: could Edna Madison: Why should we be separated from each other Alicia Kaywood: Yeah. Pinkie Richter: Yeah. Edna Madison: in those difference uh different Alicia Kaywood: Yeah. Edna Madison: rooms? Mildred Fairbairn: Mm-hmm. Well, Pinkie Richter: I think Mildred Fairbairn: probably Pinkie Richter: so too. Mildred Fairbairn: to simulate the whole working uh Edna Madison: Yeah. Pinkie Richter: Yeah, but then you Mildred Fairbairn: process, Pinkie Richter: can work Mildred Fairbairn: huh, Pinkie Richter: together Mildred Fairbairn: th you Pinkie Richter: too when Mildred Fairbairn: can't have a meeting uh for Alicia Kaywood: Yeah m yeah, Mildred Fairbairn: several Alicia Kaywood: like she Mildred Fairbairn: weeks. Alicia Kaywood: told. Then you can work together too by mail or by, I dunno, chat, something, Edna Madison: Huh, oh Alicia Kaywood: but now Mildred Fairbairn: No. Edna Madison: right. Pinkie Richter: A chat Alicia Kaywood: we're Pinkie Richter: would also Alicia Kaywood: completely Pinkie Richter: be uh Alicia Kaywood: separated from each other. I don't think that was the best way, but Edna Madison: But the technology was uh fantastic. Alicia Kaywood: Yeah, the technology's Pinkie Richter: Well, Alicia Kaywood: okay. Pinkie Richter: I I don't really like the board, it doesn't really work Edna Madison: Work Pinkie Richter: great. Alicia Kaywood: Yeah Edna Madison: now? Alicia Kaywood: okay, but I don Pinkie Richter: Sometimes Alicia Kaywood: I do Pinkie Richter: I think. Alicia Kaywood: I think becau that's Edna Madison: Perhaps Alicia Kaywood: because Edna Madison: it is e Pinkie Richter: It does work, but sometimes it doesn't erase Edna Madison: Yeah, Pinkie Richter: or it doesn't Edna Madison: perhaps Pinkie Richter: uh Edna Madison: it is easier to get one of those uh dig digital pens or so and Alicia Kaywood: Yeah. Edna Madison: to uh and lay it next to that keyboard over Pinkie Richter: Yeah. Edna Madison: there. So you Alicia Kaywood: Yeah, Edna Madison: can draw Alicia Kaywood: like Edna Madison: uh Alicia Kaywood: the Edna Madison: see Alicia Kaywood: f Edna Madison: it Alicia Kaywood: like Edna Madison: over Alicia Kaywood: a Edna Madison: th on the screen. Alicia Kaywood: plotters Pinkie Richter: Yeah. Alicia Kaywood: or Edna Madison: Yeah. Alicia Kaywood: something, yeah. Yep yep yep yep yep. Mildred Fairbairn: So Pinkie Richter: But Mildred Fairbairn: you don't think the SMARTboard is is really useful or Edna Madison: It's Pinkie Richter: Well Alicia Kaywood: Yeah, Edna Madison: useful, Pinkie Richter: it is Alicia Kaywood: it Pinkie Richter: useful, Alicia Kaywood: is useful, Edna Madison: but not Pinkie Richter: but Alicia Kaywood: but Edna Madison: m Pinkie Richter: it doesn't really work all the Alicia Kaywood: No. Pinkie Richter: time. Edna Madison: Because Pinkie Richter: Th Edna Madison: when you Pinkie Richter: the Edna Madison: put this Pinkie Richter: pen Edna Madison: pen Pinkie Richter: doesn't Edna Madison: on the screen uh uh Pinkie Richter: The Edna Madison: for Pinkie Richter: line Edna Madison: exam Pinkie Richter: is Edna Madison: and Pinkie Richter: a bit off. Edna Madison: line is d being drawn at at two or three centimetres uh below. Mildred Fairbairn: Yeah, so it's maybe a bit unnatural Alicia Kaywood: Yep. Edna Madison: Alright. Mildred Fairbairn: also. Pinkie Richter: Yeah, you can point to where you want the line to be. But Edna Madison: The project uh because of the deadlines you didn't had the time to uh have, you didn't have time to uh to make a very uh qualitati qualitative uh presentation. Pinkie Richter: Yeah. Edna Madison: So you used uh this uh the different PowerPoint presentations uh in which you put your uh material in the Oh. Mildred Fairbairn: That wasn't Alicia Kaywood. Uh Edna Madison: Wasn't Alicia Kaywood. Pinkie Richter: Yeah. Mildred Fairbairn: so um the means, we discussed the smart board, and what about uh this digital pen? Pinkie Richter: I Alicia Kaywood: I didn't use it at all. Pinkie Richter: I I used it, it it was you can use it, it's quite handy Mildred Fairbairn: Yeah, Edna Madison: But Pinkie Richter: I Edna Madison: I Pinkie Richter: think. Edna Madison: didn't Mildred Fairbairn: well Edna Madison: I uh Mildred Fairbairn: I use it as a a normal pen and and and only you use it to uh Pinkie Richter: Yeah, I used it to Mildred Fairbairn: get Pinkie Richter: y Mildred Fairbairn: it Pinkie Richter: to Mildred Fairbairn: on the computer, huh? Pinkie Richter: Yeah, it did work Edna Madison: I Pinkie Richter: pretty Edna Madison: used Pinkie Richter: well. Edna Madison: it too, but oh well. Alicia Kaywood: I Edna Madison: Yeah. Alicia Kaywood: didn't Pinkie Richter: I don't think Alicia Kaywood: use. Pinkie Richter: why you would want to use it Edna Madison: Yeah, Alicia Kaywood: No Edna Madison: because Pinkie Richter: actually, Alicia Kaywood: yeah. Edna Madison: it Pinkie Richter: but Edna Madison: shou Pinkie Richter: it it does work. Edna Madison: To Mildred Fairbairn: Yeah. Edna Madison: make some Alicia Kaywood: It Edna Madison: designs, Alicia Kaywood: is it Edna Madison: it Alicia Kaywood: is Edna Madison: is Alicia Kaywood: yeah, Edna Madison: very Alicia Kaywood: it Edna Madison: easy. Alicia Kaywood: is easy for to design something and Edna Madison: Yeah. Alicia Kaywood: then load it in your computer. Pinkie Richter: Yeah, and then you can show it to everybody. Alicia Kaywood: Yeah. Edna Madison: But to write it th yeah. Alicia Kaywood: Yeah. It's Pinkie Richter: It doesn't Alicia Kaywood: b Pinkie Richter: really Alicia Kaywood: bi Pinkie Richter: write Alicia Kaywood: little bit Pinkie Richter: normally. Alicia Kaywood: too big to write. Pinkie Richter: It's a bit Edna Madison: Yeah, it's too big, it's too fat. Alicia Kaywood: Yeah. Pinkie Richter: Yeah. Mildred Fairbairn: Yeah. Alicia Kaywood: Fat document, those. Mildred Fairbairn: Okay, um and what about the teamwork? Alicia Kaywood: Team work was okay. Pinkie Richter: I think it was great, Edna Madison: Yeah. Mildred Fairbairn: Yeah, Pinkie Richter: yeah. Mildred Fairbairn: well I think so too. Alicia Kaywood: Only thing Mildred Fairbairn: we Alicia Kaywood: that we worked through, past each other. Edna Madison: Right. Mildred Fairbairn: Yeah, Alicia Kaywood: With some things Mildred Fairbairn: but that Alicia Kaywood: that Mildred Fairbairn: was Alicia Kaywood: was only problem, Pinkie Richter: Yeah, Alicia Kaywood: but Pinkie Richter: but it Mildred Fairbairn: it Pinkie Richter: was Mildred Fairbairn: was Pinkie Richter: because Mildred Fairbairn: our assignment, Pinkie Richter: we didn't uh Mildred Fairbairn: huh? Pinkie Richter: Yeah. Alicia Kaywood: Yeah yeah yeah, but furthermore Mildred Fairbairn: Okay, and maybe I Alicia Kaywood: better. Mildred Fairbairn: should walk out of the room when you discuss uh this point, the leadership. Alicia Kaywood: That's Pinkie Richter: I thought it was good, but Edna Madison: Yeah. Alicia Kaywood: yeah, Pinkie Richter: uh Yeah. Alicia Kaywood: no prob. Ah. Mildred Fairbairn: Yeah well, Pinkie Richter: Yeah. Mildred Fairbairn: okay. Edna Madison: Not too much, not too too too Alicia Kaywood: Yeah. Edna Madison: too. Pinkie Richter: Yeah. Alicia Kaywood: Okay. Mildred Fairbairn: And creativity? Well, when we look at this I'd say we have been creative, huh? But Pinkie Richter: Well. Edna Madison: Yeah, or the room for it Mildred Fairbairn: There Edna Madison: was Mildred Fairbairn: was Edna Madison: the idea Mildred Fairbairn: room Edna Madison: to Mildred Fairbairn: for Edna Madison: be creative, so Pinkie Richter: Yeah. Edna Madison: You got some standard ideas in your head Alicia Kaywood: Mm-hmm. Edna Madison: and this what came Pinkie Richter: And Edna Madison: out. Pinkie Richter: you get get stuff from the Edna Madison: Yeah. Pinkie Richter: from the computer, but Edna Madison: The information uh was sometimes uh a Alicia Kaywood: Little bit uh Edna Madison: little Alicia Kaywood: lo Edna Madison: bit too late Alicia Kaywood: yeah. Edna Madison: or Pinkie Richter: Yeah. Alicia Kaywood: Too late it it it Pinkie Richter: You just Alicia Kaywood: took Pinkie Richter: sit Alicia Kaywood: a lot Pinkie Richter: there Alicia Kaywood: of Pinkie Richter: for Alicia Kaywood: time Pinkie Richter: ten Alicia Kaywood: before Pinkie Richter: minutes. Alicia Kaywood: you got your Edna Madison: Yeah. Alicia Kaywood: ema yeah. Pinkie Richter: Yeah, where is that Alicia Kaywood: I played Pinkie Richter: email? Alicia Kaywood: I think seven times Solitaire something. Mildred Fairbairn: You did? Well, Pinkie Richter: Oh Mildred Fairbairn: I didn't have Pinkie Richter: did you? Mildred Fairbairn: time Pinkie Richter: Is Mildred Fairbairn: for Pinkie Richter: it Mildred Fairbairn: that. Pinkie Richter: on there? Alicia Kaywood: Wha Pinkie Richter: Is it on there? I didn't find the Mildred Fairbairn: At Alicia Kaywood: Oh Mildred Fairbairn: some Pinkie Richter: didn't Alicia Kaywood: right, Mildred Fairbairn: times Alicia Kaywood: it is Mildred Fairbairn: I Pinkie Richter: look Alicia Kaywood: there. Pinkie Richter: but uh I Mildred Fairbairn: Sometimes Edna Madison: Was Mildred Fairbairn: I Edna Madison: searching Mildred Fairbairn: received Edna Madison: and searching. Mildred Fairbairn: like like five Pinkie Richter: didn't Mildred Fairbairn: emails Pinkie Richter: look, but Mildred Fairbairn: at at one moment, Alicia Kaywood: No, Mildred Fairbairn: and then Alicia Kaywood: I I never got that. Pinkie Richter: I Alicia Kaywood: I Pinkie Richter: got like Alicia Kaywood: always Pinkie Richter: one email after ten minutes or something. Alicia Kaywood: N yeah. Mildred Fairbairn: I even got spam. Or something like that. Pinkie Richter: That's what we Alicia Kaywood: So Pinkie Richter: said. Alicia Kaywood: does this I think lik oh and information was a bit low I think, Pinkie Richter: And Alicia Kaywood: sometimes, Pinkie Richter: it not a lot Alicia Kaywood: in in Pinkie Richter: uh Alicia Kaywood: in in the beginning I didn't understand what what to do. Pinkie Richter: No, the Edna Madison: No, Pinkie Richter: first Edna Madison: w Pinkie Richter: one. Alicia Kaywood: Yeah, Edna Madison: I Pinkie Richter: I Edna Madison: didn't Pinkie Richter: didn't Alicia Kaywood: like Edna Madison: know Pinkie Richter: know Alicia Kaywood: I Pinkie Richter: uh Alicia Kaywood: with with the remote and I never new we have t we had Edna Madison: Make Alicia Kaywood: to uh Edna Madison: a r yeah. Alicia Kaywood: yeah made Pinkie Richter: nee. Alicia Kaywood: a made a rec a remote control. Pinkie Richter: And I didn't know what to do for the first ten minutes before Alicia Kaywood: Yeah, Pinkie Richter: we got here, Edna Madison: Yeah. Pinkie Richter: so I Alicia Kaywood: so Pinkie Richter: went, right. Edna Madison: No stepping on the table and then Pinkie Richter: Yeah. Edna Madison: looking at the internet Mildred Fairbairn: And I Pinkie Richter: Just Mildred Fairbairn: was Pinkie Richter: looking Edna Madison: page. Mildred Fairbairn: working Pinkie Richter: at the Mildred Fairbairn: and Pinkie Richter: screen Mildred Fairbairn: working Pinkie Richter: and Mildred Fairbairn: and work Pinkie Richter: uh Edna Madison: No. Mildred Fairbairn: Okay, Alicia Kaywood: So, yeah. Mildred Fairbairn: well um but after all we can say uh we are satisfied, but it it could've been uh better. Alicia Kaywood: Yeah. Mildred Fairbairn: When we get uh when we have we would have gotten uh more information. Alicia Kaywood: Mm-hmm. Pinkie Richter: Yeah, Edna Madison: Yeah, more Alicia Kaywood: Faster. Edna Madison: information Pinkie Richter: an Edna Madison: about the costs. Alicia Kaywood: Yeah. Pinkie Richter: Yeah, that will be handy. Edna Madison: First of all I didn't think uh that we were able to make an L_C_D_ screen uh first point, but uh it Pinkie Richter: Yeah. Edna Madison: was possible uh Alicia Kaywood: Yeah, it only Edna Madison: uh, Alicia Kaywood: costs four units. Uh Edna Madison: yeah. Pinkie Richter: Yea Alicia Kaywood: yeah. Pinkie Richter: uh Mildred Fairbairn: Yeah. Pinkie Richter: so tha actually you could make an L_C_D_ screen but no mic, or it could make mic but no L_C_D_ Mildred Fairbairn: Yeah, Pinkie Richter: screen, Mildred Fairbairn: that Edna Madison: Yeah. Mildred Fairbairn: was a bit Pinkie Richter: when you Mildred Fairbairn: mean Pinkie Richter: look at Mildred Fairbairn: to Pinkie Richter: that. Mildred Fairbairn: put Pinkie Richter: Yeah. Mildred Fairbairn: it in the end. And uh what were the other points to to improve this whole Pinkie Richter: Uh, Mildred Fairbairn: process? Alicia Kaywood: Um Pinkie Richter: I dunno. Alicia Kaywood: Yeah. Pinkie Richter: Think that's about it. Alicia Kaywood: Nothing. Pinkie Richter: Hmm. Alicia Kaywood: I think we got it Pinkie Richter: Heavier Alicia Kaywood: already. Pinkie Richter: um less heavy laptops. Mildred Fairbairn: Yeah, Alicia Kaywood: Yeah. Edna Madison: Uh. Mildred Fairbairn: they're Edna Madison: Faster Mildred Fairbairn: pretty heavy. Edna Madison: laptop. Pinkie Richter: Yeah. Edna Madison: Uh. They Pinkie Richter: But Edna Madison: were Pinkie Richter: that's not Edna Madison: they Pinkie Richter: really Edna Madison: were just Alicia Kaywood: And Pinkie Richter: uh Edna Madison: fine. Alicia Kaywood: furthermore the the the network was okay. Pinkie Richter: Yeah. Alicia Kaywood: Everything Edna Madison: Uh. Alicia Kaywood: you loaded was also Pinkie Richter: Yeah, everything Alicia Kaywood: av available Pinkie Richter: worked. Alicia Kaywood: there. Edna Madison: Right. Mildred Fairbairn: And Alicia Kaywood: So Mildred Fairbairn: so more time uh w might have improved the the quality of work, Edna Madison: Yeah. Mildred Fairbairn: is what Alicia Kaywood: Yeah. Mildred Fairbairn: you say. Okay. Alicia Kaywood: Yeah, but that It's now half past four half past three, so Pinkie Richter: Yeah, but it's just the the off hours between Alicia Kaywood: Yeah, Pinkie Richter: that Alicia Kaywood: okay. Pinkie Richter: you will work alone. Alicia Kaywood: Yeah, okay. Pinkie Richter: Then it pops up pop up screen came. Alicia Kaywood: Mm-hm. Pinkie Richter: Five Alicia Kaywood: Mm. Pinkie Richter: minutes in the meeting. Alicia Kaywood: Yeah. Edna Madison: Mm. Pinkie Richter: No. Mildred Fairbairn: Okay, so more time during the individual work phases. Pinkie Richter: Huh. Mildred Fairbairn: Um okay well uh I just got my warning for the last five minutes, Pinkie Richter: You Mildred Fairbairn: so Pinkie Richter: did? Mildred Fairbairn: I'll Pinkie Richter: Well Mildred Fairbairn: move on to I guess my last slide, yes, which is the closing. Well uh, we managed, but we did it very quickly. I don't know if that's the best way to when it isn't is it when it is too expensive to quickly re-arrange it Pinkie Richter: Oh, Mildred Fairbairn: and say, okay, Pinkie Richter: right. Mildred Fairbairn: this is it, but we Pinkie Richter: Well Mildred Fairbairn: had to do it, huh, because we have to have a design, and that is within the budget. And we evaluated. Maybe we should re-evaluate uh the product, but we did that before, and we also evaluated the project. And I think uh everybody's uh very happy. At least I am, with the results, so Alicia Kaywood: Yeah. Mildred Fairbairn: uh celebration, Pinkie Richter: Yeah. Mildred Fairbairn: well, for the three of you, Pinkie Richter: Champagne. Mildred Fairbairn: because uh I have to write the final report now. But uh well, thank you very much for Pinkie Richter: Yeah. Mildred Fairbairn: your co-operation, and I had Edna Madison: Yeah, sure. Mildred Fairbairn: a very Alicia Kaywood: No prob. Mildred Fairbairn: nice day so far. Edna Madison: Oh thank Alicia Kaywood: Mm-hmm. Edna Madison: you. Mildred Fairbairn: Okay. Pinkie Richter: Do we get another email? Edna Madison: Bling. Alicia Kaywood: I Edna Madison: You're fired. Alicia Kaywood: think Mildred Fairbairn: Um Alicia Kaywood: you do. Pinkie Richter: I I think we have to fill in a questionnaire again, but Mildred Fairbairn: Yeah I have t I think we also have to go to our own rooms again, but Pinkie Richter: We do? Edna Madison: Mm. Mildred Fairbairn: um well I at least. But maybe you can try uh to make a screen shot of this, so I can try Pinkie Richter: Yeah. Mildred Fairbairn: to include it in the final report. Pinkie Richter: Uh th that that one? Edna Madison: You cannot you Mildred Fairbairn: Yeah, Edna Madison: can save Pinkie Richter: You Edna Madison: it. Pinkie Richter: can Mildred Fairbairn: maybe. Pinkie Richter: just Mildred Fairbairn: wants Pinkie Richter: Yeah, but it's Mildred Fairbairn: to, Pinkie Richter: it Mildred Fairbairn: but Pinkie Richter: isn't Mildred Fairbairn: at least Pinkie Richter: a picture Mildred Fairbairn: this one. Pinkie Richter: or, well, is Mildred Fairbairn: I Pinkie Richter: it? Mildred Fairbairn: know, Edna Madison: You s Mildred Fairbairn: we Edna Madison: uh Mildred Fairbairn: should remove Edna Madison: file Mildred Fairbairn: this, Edna Madison: save Mildred Fairbairn: but it won't Edna Madison: as the Mildred Fairbairn: h Edna Madison: J_ PEG Mildred Fairbairn: Okay. Edna Madison: J_ PEG. Mildred Fairbairn: And uh please put it in the project folder then, huh. Alicia Kaywood: Can you find it as a J_ PEG? Edna Madison: No. Pinkie Richter: No, isn't possible. But you can make a screen shot, I think. Mildred Fairbairn: Okay, well I uh Alicia Kaywood: No. Edna Madison: No. Mildred Fairbairn: I hereby officially close the meeting Pinkie Richter: Yeah. Edna Madison: Okay. Mildred Fairbairn: and uh I hope to see you uh soon. Alicia Kaywood: In Edna Madison: In Pinkie Richter: Uh Edna Madison: about five Pinkie Richter: oh, Edna Madison: minutes. Alicia Kaywood: uh Pinkie Richter: export. Mildred Fairbairn: Well, I think we'll be a bit a Edna Madison: Ah. Mildred Fairbairn: bit longer, but okay. Well, happy celebration, huh? Edna Madison: Oh thank you. Pinkie Richter: Images. Edna Madison: Whoo-hoo. Let's Alicia Kaywood: Celebra Edna Madison: let's have party. Alicia Kaywood: Or Pinkie Richter: How big do you want Edna Madison: Let's Pinkie Richter: the images? Edna Madison: have some fun. Alicia Kaywood: shouldn't I? Mildred Fairbairn: How big? Edna Madison: Huh? Pinkie Richter: Yeah. Mildred Fairbairn: Uh not too big. Pinkie Richter: This one? Alicia Kaywood: Six Mildred Fairbairn: Whatever Alicia Kaywood: hundred. Mildred Fairbairn: you think Alicia Kaywood: No, Mildred Fairbairn: is good. Alicia Kaywood: I yeah. Edna Madison: No that uh is one Alicia Kaywood: I Edna Madison: thousand Alicia Kaywood: think Edna Madison: twenty Alicia Kaywood: eight hundred Edna Madison: four. Alicia Kaywood: six hundred is better. Pinkie Richter: This one? Alicia Kaywood: Yeah. Edna Madison: Yeah. If it browse. Alicia Kaywood: Nah, name. Pinkie Richter: Um Edna Madison: Desktop. Pinkie Richter: Well it isn't on the desktop. Alicia Kaywood: Hey. Edna Madison: Mm? I do not know. Pinkie Richter: You can only save it in my documents. Edna Madison: Oh? Alicia Kaywood: Oh my God. Edna Madison: Yeah. Pinkie Richter: Oh. Oh, alright. Yeah. Edna Madison: Okay. Pinkie Richter: Yeah. Yeah. Three. Can Alicia Kaywood: Ten. Pinkie Richter: we stay here? Alicia Kaywood: Yeah. Ten. Pinkie Richter: Yeah. Alicia Kaywood: Uh. Edna Madison: Okay. Pinkie Richter: Yeah, alright. Why can't we stay here? Edna Madison: Alright. Pinkie Richter: Yeah. Edna Madison: Oh. Alicia Kaywood: Celebration time, come on. Edna Madison: Oh. Alicia Kaywood: Peace out nigger. Entree

Mildred Fairbairn opened the meeting and then Pinkie Richter and industrial designer presented their prototype for the remote which featured an LCD screen, a scroll button, and a battery indicator. Alicia Kaywood conducted a project evaluation of the prototype. The team found the remote to be fancy, innovative, fairly easy to use, available in different colors, fairly spongy, difficult to misplace, and targeted to younger people. Mildred Fairbairn then led the team in calculating the production costs of their remote. The team had difficulty in meeting the the target cost and had to eliminate some of the more expensive components they had hoped to include in their design. Mildred Fairbairn then led the team in an evaluation of the project process. The team found the project stressful, the equipment useful, the information available to them lacking, and their laptops to be slow and heavy.

amisum

train

Ruth Moore: Mm uh. Amelia Fann: We're Ruth Moore: Mm. Amelia Fann: the first. Ruth Moore: We're first. Amelia Fann: Marketing Expert yes, Toni Taylor: Mm. Toni Taylor: So you found your spots. Amelia Fann: Yes. Ruth Moore: Move Amelia Fann: Bling Ruth Moore: to the Amelia Fann: bling. Ruth Moore: meeting room. Amelia Fann: Yeah. Ruth Moore: Okay. Amelia Fann: Right. Toni Taylor: Okay. Amelia Fann: Uh where has my screen gone? Diane Lozano: Hi. Ruth Moore: Hello, good day. Diane Lozano: Oh yeah, Amelia Fann: Hmm. Diane Lozano: we have to talk in, huh. Ruth Moore: Yep. Amelia Fann: Yeah. My screen is gone. Oh. Toni Taylor: It's called black. Ruth Moore: Kick-off meeting, wow. Diane Lozano: I'm Ruth Moore: It's uh Diane Lozano: afraid Ruth Moore: looks Diane Lozano: I'm a Ruth Moore: uh Diane Lozano: bit Ruth Moore: nice. Diane Lozano: slow for this stuff uh. Ruth Moore: Hmm? Toni Taylor: Okay. Diane Lozano: I'm afraid I'm a bit too slow. I don't know how much preparation you guys Ruth Moore: Yeah. Diane Lozano: did, but not Amelia Fann: Yeah. Diane Lozano: a lot. Ruth Moore: No, it's it was uh Toni Taylor: You Ruth Moore: not enough. Toni Taylor: see this beautiful presentation. Amelia Fann: Yeah. Very Toni Taylor: Okay Amelia Fann: nice. Toni Taylor: let's get started. Amelia Fann: Yeah. Toni Taylor: Uh I sort of prepared this. Uh opening acquaintance, tool training, uh how to use the things here. Amelia Fann: Mm. Toni Taylor: Uh project plan discussion, and yeah then the rest of the meeting. Diane Lozano: Mm-hmm. Toni Taylor: Um we're supposed to develop a new remote control, that's both original, trendy and user-friendly. So, hope you have good ideas. I don't. Ruth Moore: I did my best. Diane Lozano: Not Toni Taylor: we're Diane Lozano: yet. Toni Taylor: work we're working uh from top to bottom. Uh functional design, then we do some in individual work, then we have a meeting to discuss the results, etcetera etcetera. And at the end of the day we should have a prototype drawn up. Uh we have available the smart board and the whiteboard. Um uh we should take some practice. I have some instructions now to do that. Amelia Fann: Yeah. Toni Taylor: Uh well you know how to the documents work. So Uh this for toolbar. You see it next. Um we have a pen. And we can use this pen to perform. Diane Lozano: Operations. Toni Taylor: Yes. So It doesn't always work. Yes. Amelia Fann: Yeah. Toni Taylor: Okay so you can draw. Amelia Fann: Draw. Toni Taylor: Okay Amelia Fann: Alright. Toni Taylor: and in the format menu you can select colour and line width, etcetera etcetera. Amelia Fann: 'Kay. Toni Taylor: Okay? Uh Okay. Each of you can uh take some practice and you should draw an animal. Uh you should explain Uh with different colours and with different pen widths. And you should explain why you draw that particular animal. So, Julian. Ruth Moore: Okay. Amelia Fann: Don't take up too much space. Ruth Moore: Um yeah. Diane Lozano: Different pen widths, how do you do that? Toni Taylor: Uh with the format menu. Diane Lozano: Oh okay. Toni Taylor: And use different colours etcetera. Diane Lozano: Are Toni Taylor: And Diane Lozano: you serious? Toni Taylor: what's that supposed to be? Ruth Moore: It's a Amelia Fann: Should it Ruth Moore: giraffe. Amelia Fann: be one Ruth Moore: Yeah. Toni Taylor: Oh yeah. Oh yeah four legs. Ruth Moore: Okay. Toni Taylor: Uh-huh. Amelia Fann: Giraffe's yellow. Ruth Moore: Uh it needs some uh some yellow uh Oh format. Amelia Fann: Can you use one blank sheet per drawing? Or Toni Taylor: Yeah. Amelia Fann: y you must save it at the end and then Toni Taylor: Yeah you can press the next button, which is uh yeah. Ruth Moore: That's some spots. Toni Taylor: I'll show Diane Lozano: I Toni Taylor: you. Diane Lozano: in the file option menu. Toni Taylor: Yeah. In file menu. Amelia Fann: Okay, then m make a new one. Diane Lozano: How much time do we have to draw anyway? 'Cause I can Toni Taylor: Yeah. Diane Lozano: take forever on this. Ruth Moore: Okay. Do I have to explain uh why I chose this uh this animal? Toni Taylor: Yeah. Ruth Moore: I think it's a it's a great animal. Toni Taylor: What is it? Ruth Moore: It's a it's a giraffe. Toni Taylor: A giraffe okay. Ruth Moore: Yeah, Toni Taylor: Yeah Ruth Moore: that's Toni Taylor: I see Ruth Moore: a Toni Taylor: a long neck but Amelia Fann: It's more like a dinosaur. Ruth Moore: Um Okay I'll will give it an uh an eye. Toni Taylor: Okay. Amelia Fann: Uh. Toni Taylor: That's nice of you. Ruth Moore: Hey. Come on. Amelia Fann: Some leaf to eat. Toni Taylor: Okay. Yeah pretty good. Uh could you press the next uh Ruth Moore: The next? Yes. Toni Taylor: Okay. Then Amelia Fann: Yeah. Toni Taylor: uh. Ruth Moore: Here you go. Amelia Fann: Thanks. Ruth Moore: Hmm. Amelia Fann: Yeah. Diane Lozano: Is this part of our a acquai or introduction Toni Taylor: Yeah Diane Lozano: to each Toni Taylor: sorry, Diane Lozano: other? Toni Taylor: introduction Amelia Fann: Uh Toni Taylor: and get acquainted and Diane Lozano: Alright. Toni Taylor: That's the idea, so Diane Lozano: Uh. Your line broke. Amelia Fann: Yeah. Alright. It's Toni Taylor: Yeah Amelia Fann: not Toni Taylor: it's Amelia Fann: that Toni Taylor: a bit Amelia Fann: fast. Toni Taylor: slow, so Amelia Fann: Yeah. Toni Taylor: Yeah. Amelia Fann: I see. It misses the spot. Toni Taylor: pressure. Diane Lozano: I'm guessing a turtle. No. I'm kidding. Amelia Fann: I say good guess. Uh Toni Taylor: Why a turtle? Diane Lozano: Because of its shell. Amelia Fann: Because it's slow. Toni Taylor: It's Ruth Moore: 'Cause Toni Taylor: slow. Ruth Moore: it's so 'cause it's Toni Taylor: You Ruth Moore: green. Toni Taylor: were slow too so Amelia Fann: Yeah I was a bit slow too. Diane Lozano: Dude you're Amelia Fann: So Diane Lozano: a good drawer. Amelia Fann: Uh some other line uh width uh Diane Lozano: Do you have a turtle pet? Amelia Fann: No. Diane Lozano: Uh okay. Amelia Fann: I dunno. Does it have legs? Diane Lozano: Yeah yeah Toni Taylor: Yeah Diane Lozano: yeah. Toni Taylor: sure. Amelia Fann: Yeah? Toni Taylor: Yeah not exactly legs but Diane Lozano: Stumpy Toni Taylor: More Diane Lozano: stuff. Toni Taylor: like fins or Amelia Fann: It's more like a tank. Yeah that's fins but I don't Diane Lozano: They Amelia Fann: know Diane Lozano: kind Amelia Fann: where. Diane Lozano: of l look like mole legs. With sharp nails Toni Taylor: Yeah. Diane Lozano: on. Amelia Fann: Some spots. Ah some eye. Toni Taylor: Yeah it's l looks Amelia Fann: Yeah Toni Taylor: very friendly. Amelia Fann: that's a fr friendly turtle I guess. Yeah well I think it's uh fair enough. Toni Taylor: Yeah okay. Diane Lozano: A little tail maybe. Amelia Fann: Right. I don't know what the position is. Does it have ears? Diane Lozano: Uh no. Toni Taylor: No. Amelia Fann: No. Ruth Moore: No. Amelia Fann: Oh okay. Diane Lozano: The little holes Amelia Fann: Can you Diane Lozano: maybe. Amelia Fann: erase ears or Toni Taylor: Yeah yeah yeah. Amelia Fann: Yeah? Toni Taylor: There's a a gum, Amelia Fann: Alright. Toni Taylor: gum Amelia Fann: Eraser. Toni Taylor: to. Diane Lozano: And Amelia Fann: So Diane Lozano: why did you choose this animal? Toni Taylor: He Amelia Fann: I Toni Taylor: said Amelia Fann: dunno. Toni Taylor: it was slow. Amelia Fann: I it just came into my mind. So Diane Lozano: Alright. Amelia Fann: there's no particular reason I pen. Toni Taylor: I like it. Amelia Fann: Yeah. Well I'm guess I'm done. Toni Taylor: Okay. Amelia Fann: That's my turtle. Toni Taylor: Your turn Diane Lozano: Alright. Toni Taylor: Niels. Amelia Fann: How to select the next or Toni Taylor: The next Amelia Fann: here. Toni Taylor: yeah. Amelia Fann: Yeah. Here you go. Toni Taylor: Makes new Diane Lozano: Colours Toni Taylor: paper. Diane Lozano: were under format right? Toni Taylor: Yeah. Diane Lozano: Let's see. Toni Taylor: Orange. Diane Lozano: How am I gonna do this? Um Diane Lozano: Mm uh. Ruth Moore: A rabbit I Toni Taylor: Kangaroo. Ruth Moore: think. Kangaroo. Diane Lozano: Not quite actually. Ruth Moore: Fox. Amelia Fann: A fox yeah. Firefox. Toni Taylor: Dog. Diane Lozano: No. Toni Taylor: Cat. Diane Lozano: Aye. Toni Taylor: It's a cat. Diane Lozano: It's a cat. Ruth Moore: Mm. Diane Lozano: Not Amelia Fann: A cat Diane Lozano: quite Amelia Fann: who Diane Lozano: yet Amelia Fann: had an Diane Lozano: through. Amelia Fann: accident or Toni Taylor: Why a cat? Diane Lozano: Uh yeah I dunno. They're my favourite pets. Toni Taylor: You have some uh? Diane Lozano: Uh I have colour already. Yeah I'm not so good at drawing with this kind of st Oh shit. Um Toni Taylor: The pen, yeah. Diane Lozano: Excuse my language. Toni Taylor: Sure. Diane Lozano: I don't know how to draw its face. But you get the idea. It's Toni Taylor: Yeah. Diane Lozano: a cat. It's Toni Taylor: Alright. Diane Lozano: my favourite uh pet animal, 'cause they're cute, they're independent and cuddly, I dunno. Toni Taylor: Okay. Diane Lozano: That's it. Or do I Toni Taylor: Yeah. Diane Lozano: need to use more colours and Toni Taylor: I think it's okay. Diane Lozano: Alright. Toni Taylor: You get idea Diane Lozano: Yeah. Toni Taylor: right? Okay um we have a financial aspect to this project. Um we can sell them at twenty five Euros. Uh the aim is to reach uh uh to sell as much as fifty million Euros. Uh that's quite a big amount of money. And the production cost should be the half of the selling price. Diane Lozano: So we have Toni Taylor: Okay Diane Lozano: to s Toni Taylor: now it's time for some discussion. Ruth Moore: Okay. Toni Taylor: Uh Ruth Moore: What uh what uh do you want to discuss? Diane Lozano: Yeah. Toni Taylor: Yeah. We should get started. Amelia Fann: Yeah. Ruth Moore: Yep. Toni Taylor: Uh I'm taking notes. Amelia Fann: Okay. Great. Toni Taylor: Um we each have a specific task, as I saw in my mail. Diane Lozano: Mm-hmm. Toni Taylor: I Amelia Fann: Yeah. Toni Taylor: didn't know if you received the same mail. Yeah? Amelia Fann: Yeah. Diane Lozano: I guess so. Toni Taylor: Okay Diane Lozano: Yeah. Toni Taylor: so the um uh this industrati Industrial Designer should produce a working design. Am I correct? Diane Lozano: True. Toni Taylor: Okay. Uh Ruth Moore should specify the technical functions. Right? Ruth Moore: Yep. Toni Taylor: Yeah? And the Marketing uh Expert should come up with user requirements. Amelia Fann: Yeah. Toni Taylor: Uh did any of you already do some work on this part or Diane Lozano: Well I started making an overview for myself, um what I had to do, 'cause we have three design steps and in every step I have Toni Taylor: Mm-hmm. Diane Lozano: a s specific task to perform or whatever. Toni Taylor: Mm-hmm. Diane Lozano: So I had to uh, I dunno, make an overview for myself about Toni Taylor: Mm-hmm. Diane Lozano: what I have to do, and kind of let it work in to get ideas about Toni Taylor: Mm-hmm. And Diane Lozano: well how Toni Taylor: do you Diane Lozano: I Toni Taylor: have Diane Lozano: have to fill Toni Taylor: any Diane Lozano: it. Toni Taylor: ideas about the product Diane Lozano: Well I started Toni Taylor: uh so far? Diane Lozano: I started with the first phase, I think was the functional. Toni Taylor: Mm-hmm. Diane Lozano: And uh let's see I had to focus on the working design, which Toni Taylor: Mm-hmm. Diane Lozano: you said. How does the apparatus work? And well I basically had two points. Uh according to the coffee uh machine example, Amelia Fann: Yeah. Toni Taylor: Yeah. Diane Lozano: I have batteries to supply energy, and we ye use button presses to activate or deactivate certain functions on Toni Taylor: Mm-hmm. Diane Lozano: the T_V_. Toni Taylor: Okay. Diane Lozano: And that's basically all I have so far. Toni Taylor: Yeah I got another point. It uses infrared light Ruth Moore: Yeah. Toni Taylor: to communicate Ruth Moore: Wireless Amelia Fann: Yeah. Toni Taylor: the Ruth Moore: uh Toni Taylor: signal Ruth Moore: huh. Toni Taylor: to Amelia Fann: Yeah. Toni Taylor: the Diane Lozano: Alright. Toni Taylor: T_V_ apparatus or stereo. Diane Lozano: Yeah. Amelia Fann: So that's very common. Ruth Moore: Uh it's uh some buttons for for the on off function. You d you already told that. And for the changing up to the to all the channels and changing the volume. That Diane Lozano: Yeah. Ruth Moore: are the the basic options for a remote control. Diane Lozano: Yeah I kept it global 'cause that it activates or deactivates specific functions, 'cause Ruth Moore: Okay, Diane Lozano: I wasn't Ruth Moore: yeah. Diane Lozano: thinking yet about that. I mean, you wanna ch ch flip Ruth Moore: Yeah. Diane Lozano: the channel but you might wanna use teletext also. Ruth Moore: Yep. Amelia Fann: Yeah. Diane Lozano: I dunno what the word is in English. Uh Toni Taylor: Same I believe. Amelia Fann: Yeah. Toni Taylor: Uh and what did Amelia Fann do? Amelia Fann: Uh well from a marketing uh perspective, um well the function des design phase uh consists out of the user requirements. Toni Taylor: Mm-hmm. Amelia Fann: Um what needs and desires are to be fulfilled? So there are a few means to reach that um by by doing research Toni Taylor: Mm-hmm. Amelia Fann: uh to see what existing products are there out in the market. I mean, what functions do they Toni Taylor: Mm. Amelia Fann: have. Um especially what are their shortcomings? Are there any Toni Taylor: Mm-hmm. Amelia Fann: new functions uh which can be added to our Toni Taylor: Mm-hmm. Amelia Fann: product? Um therefore we have to to do some internet search. Toni Taylor: Yep. Amelia Fann: For example for um well what kind of applications do current remote controls support, and what are f featur features of uh current and future televisions? Toni Taylor: Yes. Amelia Fann: So we can see uh what needs to be supported. Um and we can interview current users and future users. What w what would Toni Taylor: Okay. Amelia Fann: they like to see uh on a new remote control? Toni Taylor: Okay. Amelia Fann: Um especially for future users, uh I'm thinking of early adopters, because they they use new technology first, Toni Taylor: Mm-hmm. Amelia Fann: and they play with a lot of tools and stuff so maybe they have some good ideas to uh Toni Taylor: Okay. Amelia Fann: to add. Toni Taylor: And you can get that information? Amelia Fann: I think I can get that information, yeah. Toni Taylor: Okay. That Amelia Fann: So Toni Taylor: would be very handy. Amelia Fann: yeah. Toni Taylor: Um but have you any idea so far as what uh the user requirements are? Amelia Fann: No n not specifically. More Toni Taylor: No? Amelia Fann: to how to get them and Toni Taylor: No Ruth Moore: I Toni Taylor: okay. Ruth Moore: got some uh requirements it has Toni Taylor: Yeah? Amelia Fann: Yeah? Ruth Moore: uh it has to be user-friendly. Amelia Fann: Yeah. Diane Lozano: Yeah. Toni Taylor: Of course. Diane Lozano: Obviously. Ruth Moore: Uh really easy to use buttons, not not uh very small buttons, but not the the also the big big buttons, but just normal buttons. It has to be a small unit. It has to be uh yeah, you can take it with you uh everywhere in in your house. So it has n has not to be l yeah, gigantic uh Toni Taylor: Big, Ruth Moore: machine. Toni Taylor: mm-hmm. Amelia Fann: Yeah. Ruth Moore: Uh and a and a good uh zapping range. Toni Taylor: Uh what do you mean by that? Amelia Fann: Yeah. Ruth Moore: Uh the distance uh from your television to your uh remote control has to be, uh yeah um yeah, quite a big distance. Amelia Fann: Yeah. Ruth Moore: It has to be capable for zapping uh Amelia Fann: From the other end of the Ruth Moore: Yeah. Amelia Fann: room or something? Yeah. Toni Taylor: Okay um Well I don't think I have anything more to add at the moment. Um I think the best is to go to work. Diane Lozano: Whoa. Is that you or Toni Taylor: Yeah. Diane Lozano: alright. Toni Taylor: Okay. Amelia Fann: Any more points to discuss? Toni Taylor: Yeah. I think we can go ahead with what we have. I will summarise the things we discussed and put it in the project folder. Uh the use of Diane Lozano can work on the working design, etcetera etcetera. And it seems you get more information by email. Amelia Fann: Alright. Toni Taylor: So Diane Lozano: Alright. Ruth Moore: Okay. Toni Taylor: that was it for Amelia Fann. Amelia Fann: 'Kay. Thanks. Toni Taylor: Uh Ruth Moore: Are you going to put the the notes on the Toni Taylor: Yeah, Amelia Fann: Yeah. Toni Taylor: in the project Amelia Fann: The pro Toni Taylor: folder. Amelia Fann: okay. Ruth Moore: Okay. Toni Taylor: Yeah. Diane Lozano: Alright. Toni Taylor: I'm writing very fast. Ruth Moore: Yeah. Amelia Fann: Yeah. Okay. Toni Taylor: Hope it's readable. Amelia Fann: Uh. Ruth Moore: Yep. Toni Taylor: Okay Amelia Fann: I guess Toni Taylor: um Amelia Fann: so. Toni Taylor: anything more you want to add to the discussion? Diane Lozano: Well no I'm just a bit wondering what we're gonna do the next uh Ruth Moore: Yeah. Do we only have Diane Lozano: session? Ruth Moore: to to do uh phase one, the functional design uh? Toni Taylor: Yeah. Because then we have a Ruth Moore: After that we are going to the conceptual uh Toni Taylor: Yeah. Amelia Fann: Yeah. We're just Toni Taylor: Y Amelia Fann: working Toni Taylor: you Amelia Fann: the three Toni Taylor: do some Amelia Fann: phases. Toni Taylor: individual work, we have meeting, individual work, meeting. And at the end of the day we have a final meeting. And then I have to prepare uh I have to defend our design, so make it good. Diane Lozano: Yeah Amelia Fann: Okay. Diane Lozano: okay. We'll do our Ruth Moore: Okay. Diane Lozano: best. Toni Taylor: I Amelia Fann: Better Toni Taylor: depend Amelia Fann: make it Toni Taylor: on you. Diane Lozano: I am gonna work on the conceptual design already 'cause Toni Taylor: Yeah? Diane Lozano: yeah it's Toni Taylor: If Diane Lozano: fairly Toni Taylor: you can mix Diane Lozano: important Toni Taylor: it it's okay. Diane Lozano: to know what kind of components we want Toni Taylor: Mm-hmm. Diane Lozano: to put in. Toni Taylor: Yeah. Diane Lozano: Do we I mean, is it gonna be a multimedia control centre? Do we want to be able to use the video recorder Amelia Fann: Yeah. Diane Lozano: with it? Toni Taylor: Yeah. Amelia Fann: That is my question also because like Toni Taylor: Well Amelia Fann: new Toni Taylor: I Amelia Fann: new Toni Taylor: think Amelia Fann: functions Toni Taylor: that is the user Amelia Fann: Requirements. Toni Taylor: requirements part. Amelia Fann: Yeah. Toni Taylor: As to what Diane Lozano: Yeah. Toni Taylor: they want. Diane Lozano: True. Toni Taylor: Uh do they want all those functions on Amelia Fann: Yeah. Toni Taylor: that small Diane Lozano: But but we Amelia Fann: Unit. Diane Lozano: need good communication Toni Taylor: Yeah. Diane Lozano: about this stuff, 'cause I have to f put the components into the design. Amelia Fann: Yeah. Toni Taylor: Mm-hmm. Ruth Moore: I would Diane Lozano: So Ruth Moore: first Diane Lozano: if Ruth Moore: m Diane Lozano: I don't know what Amelia Fann: Yeah Diane Lozano: components Amelia Fann: well Diane Lozano: to put in, Amelia Fann: I I was Toni Taylor: Yeah Diane Lozano: it's kind Ruth Moore: Yeah. Diane Lozano: of Toni Taylor: I Diane Lozano: hard. Toni Taylor: understand. Ruth Moore: I I think we have first to start with the basic functions Amelia Fann: Yeah Ruth Moore: and we can uh Amelia Fann: well Toni Taylor: You Ruth Moore: expand Toni Taylor: can Amelia Fann: like Toni Taylor: always Amelia Fann: l Ruth Moore: them. Toni Taylor: add Amelia Fann: li Toni Taylor: a Amelia Fann: like Toni Taylor: few Amelia Fann: some Ruth Moore: Yeah. Amelia Fann: like some some remotes who are out there, which I know, there's one button which is very easy to switch between devices. Toni Taylor: Yeah. Amelia Fann: So you can switch to your video and Toni Taylor: Hmm, Amelia Fann: then Toni Taylor: the Amelia Fann: the same Toni Taylor: C_D_ Amelia Fann: buttons Toni Taylor: player. Amelia Fann: control your video. Toni Taylor: Yeah. Ruth Moore: Yeah. Amelia Fann: And another function I'll think of switch to your media centre, because that's getting very popular. Diane Lozano: Yeah Amelia Fann: And Diane Lozano: so Amelia Fann: then use your Windows media centre under your T_V_ with the same remote control. Toni Taylor: Yeah. Amelia Fann: So Diane Lozano: Okay. Amelia Fann: with the switch, one single switch Diane Lozano: Yeah Toni Taylor: Okay. Diane Lozano: I I know what you mean, but you'll ne need several other buttons for a video Amelia Fann: S Diane Lozano: player. You need a play Toni Taylor: Mm-hmm. Diane Lozano: and a forw fast forward and a stop Amelia Fann: Yeah Diane Lozano: function. Amelia Fann: records Diane Lozano: And Amelia Fann: and Toni Taylor: Okay. Diane Lozano: you Amelia Fann: stuff Diane Lozano: you Amelia Fann: like Diane Lozano: don't Amelia Fann: that. Diane Lozano: need that for a T_V_. Amelia Fann: No. Diane Lozano: And and for a t uh teletext Toni Taylor: You need additional Diane Lozano: you need Toni Taylor: yeah. Ruth Moore: Yeah. Diane Lozano: additional buttons as well, so Amelia Fann: Yeah. Toni Taylor: Yeah. Diane Lozano: I kind of need Toni Taylor: Uh Diane Lozano: to know what we uh need. Amelia Fann: Yeah. Diane Lozano: Whatever, I'll just put my ideas in uh Toni Taylor: Yeah. Diane Lozano: in here and then we can Amelia Fann: In Diane Lozano: discuss Amelia Fann: the project Diane Lozano: it Amelia Fann: uh Diane Lozano: with the next uh Amelia Fann: Yeah. Toni Taylor: Yeah. We could just start with the assumption Diane Lozano: meeting. Toni Taylor: that's only for T_V_ and video. And um reserve the possibility to add Diane Lozano: Okay. Toni Taylor: other features. So Diane Lozano: Okay. Toni Taylor: we have a basic starting point and you can always extend that so make sure it's extendible. Ruth Moore: Yeah Amelia Fann: Yeah. Diane Lozano: Alright. Toni Taylor: Yeah. Ruth Moore: it it has yeah it has to be user-friendly. So it's hasn't it's yeah. Toni Taylor: Th the least amount of Ruth Moore: Yeah. Toni Taylor: functions possible so it's Ruth Moore: Okay. Toni Taylor: easier to get to know Diane Lozano: Yeah. Toni Taylor: how it Ruth Moore: Yeah. Diane Lozano: I Toni Taylor: works etcetera. Amelia Fann: Yeah. Diane Lozano: understand. Yeah. Toni Taylor: Yeah? Okay Diane Lozano: Alright. Amelia Fann: Yes. Toni Taylor: and uh I'll see you again uh when the computer tells us to. Diane Lozano: Yeah. Ruth Moore: Can we Amelia Fann: Half Ruth Moore: leave now Amelia Fann: an hour. Ruth Moore: or Toni Taylor: Yeah, you're di dismissed. Diane Lozano: Thanks. Amelia Fann: You're fired. Toni Taylor: Not yet. Amelia Fann: No. Ruth Moore: Mm. Diane Lozano: Alright. Toni Taylor: Okay. Amelia Fann: Alright let's move on. Toni Taylor: Let's see what we got to do. Amelia Fann: Yeah. Diane Lozano: See you later. Amelia Fann: Yeah Ruth Moore: Okay. Toni Taylor: Yeah. Amelia Fann: see you later. Ruth Moore: Good luck. Toni Taylor: Yeah. Thank you. Amelia Fann: Well good luck. Diane Lozano: What the

When the meeting begins Toni Taylor lists the agenda and then describes the project, which is to develop a new remote control that is original, trendy, and user-friendly. The group practices using the smart board by choosing an animal to draw and then explaining why they picked it. Toni Taylor goes over the product budget and they proceed to have discussion. They each identify their individual tasks during each phase based on their role in the group. They briefly discuss characteristics of a desirable remote, including medium size buttons, small unit, and work within a good zapping range. The team again discusses their individual responsibilities and move on to ponder whether the remote will be multifunctional or only for the TV. They decide to first assume it is only for TV and video, but allowing the possibility to add more features. They close the meeting upon establishing what each person will do.

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Janna Niemi: Okay. Uh first of all I'll start with the costs, because that's going to influence Janie Freeland: Oh no. Janna Niemi: our design. Kathy Vascocu: Oh, Janna Niemi: If you Don't know if you al already had a look or not? Patricia Creech: Did you Janie Freeland: No Patricia Creech: do your Janie Freeland: n Kathy Vascocu: No. Patricia Creech: questionnaire already? Janie Freeland: I I already did it. It's not much. It's just Janna Niemi: Because Janie Freeland: one Patricia Creech: Uh Janie Freeland: question. Kathy Vascocu: Oh Janna Niemi: we have a problem. If you look closely, Janie Freeland: Yeah. Janna Niemi: you can see. Patricia Creech: It wants Janna Niemi: Um I already took the liberty to make some suggestions. Janna Niemi: At the moment we have fifteen buttons, one L_C_D_ screen, one advanced chip-on-print. We use a uh sensor, that's for the speech. Uh we use kinetic energy. And we wanted uh the buttons in a special colour. Okay. What's the first thing we should drop? The special colour of the buttons? Janie Freeland: No that's that's for the trendy uh Janna Niemi: Okay. Janie Freeland: feel and look. So Patricia Creech: Yeah Janna Niemi: Uh Patricia Creech: but everything is. Janna Niemi: Should we switch to a hand dynamo? Uh that's Kathy Vascocu: No. Janna Niemi: the still the same idea as the kinetic energy because you have to use Janie Freeland: Yeah, Janna Niemi: it Janie Freeland: b Janna Niemi: and do Kathy Vascocu: Yeah Janna Niemi: things. Janie Freeland: but Kathy Vascocu: but young people like that. So Janna Niemi: Batteries? Kathy Vascocu: just do normal battery. Janna Niemi: Batteries. Janie Freeland: I think Patricia Creech: Just Janie Freeland: the Patricia Creech: a Janie Freeland: battery Patricia Creech: normal Janie Freeland: option. Patricia Creech: battery then, yeah. Kathy Vascocu: Yeah. It has to be twelve and a half. Janna Niemi: Yeah. Kathy Vascocu: Or not? Janie Freeland: Oh. Patricia Creech: Oh my goodness. Janna Niemi: So You're going to redesign something. Janie Freeland: Oh no. Janna Niemi: Okay, so we're at twenty five. Kathy Vascocu: Uh, yeah. Janna Niemi: Um Do we keep the shape doubly curved or g do we go for single curved? Patricia Creech: Well I guess i we'll have to go for single curve then. I mean we have to drop on everything. Janna Niemi: Mm-hmm. Kathy Vascocu: But Janna Niemi: Uh Kathy Vascocu: we can keep it single curved with uh top view still curved, but from the side it's it's flat, and Patricia Creech: Yeah. Kathy Vascocu: the screen screen is just Well you just have to hold it like this then. So Janna Niemi: Yeah. Patricia Creech: How Janna Niemi: Um Patricia Creech: about Sorry. Janna Niemi: Uh another option I saw was to drop the buttons one through nine, so you can't directly access a channel, but instead use only the up and down arrows. Patricia Creech: That's what Janna Niemi: That Patricia Creech: I Janna Niemi: would Patricia Creech: was thinking. Janna Niemi: skip Janie Freeland: Yeah. Janna Niemi: nine buttons and four and a half Euros. Kathy Vascocu: Alright. Janna Niemi: Yeah? Kathy Vascocu: Let's Patricia Creech: A a Kathy Vascocu: do it then. Yeah. Janna Niemi: Uh then Janie Freeland: But Janna Niemi: we have Janie Freeland: we Janna Niemi: left Janie Freeland: don't have any basic options any more. Janna Niemi: Uh yeah. We do. Patricia Creech: And uh Kathy Vascocu: F_ Patricia Creech: 'cause Kathy Vascocu: eight. Patricia Creech: then they don't have to n They don't need special colour as well. Janna Niemi: They don't need special colours. Fine. That's more like it. Kathy Vascocu: Yeah. Janna Niemi: You were saying something. Patricia Creech: That was exactly my point. Like Janna Niemi: Yeah. Patricia Creech: let's drop all the buttons, and just make one I mean we're gonna use the L_C_D_ screen anyway. Janna Niemi: Mm-hmm. Patricia Creech: So we'll just have to use it for everything. Janna Niemi: Yeah. Patricia Creech: And then you can make an overview of channels in the screen, and select a channel, Janna Niemi: Yeah, some Patricia Creech: click Janna Niemi: more menu options. Yeah. Okay so maybe we can drop few more buttons. But um Now let's look. Janie Freeland: Yeah we c could We only need the the the the the menu arrow arrow button uh thing. Everything you can do with with menu. So Janna Niemi: Mm-hmm. Janie Freeland: With the Patricia Creech: Yeah Janie Freeland: display. Patricia Creech: we need one integrated button for everything Janie Freeland: Yeah. Patricia Creech: then. Kathy Vascocu: The joystick. Patricia Creech: Yeah. Kind of. I was Janna Niemi: Uh Patricia Creech: Because Yeah. Janna Niemi: Yeah, scroll-wheel, push-button uh Kathy Vascocu: Integrated Patricia Creech: If you if you go Kathy Vascocu: scroll-wheel Patricia Creech: to Kathy Vascocu: push-button, Patricia Creech: If Kathy Vascocu: yeah. Patricia Creech: you go to our uh view, like you if you are in the sound system there, Janna Niemi: Yeah. Patricia Creech: uh and you wanna adjust the treble for instance, Janna Niemi: Yeah. Patricia Creech: this is just uh an example, Janna Niemi: Mm-hmm. Patricia Creech: y y you wanna see a bar on which you can adjust it from Janna Niemi: Mm-hmm. Patricia Creech: zero to ten for example. Janna Niemi: Mm-hmm. Patricia Creech: But you want a sound preview of how it's gonna sound, right? So Janna Niemi: Yeah. Patricia Creech: you wanna click on it, activate it, whe and when you move it, hear the difference of the treble coming out Janna Niemi: Yeah. Patricia Creech: or going into the sound. So you'll you'll need a a kind of a joystick Kathy Vascocu: Yeah or Patricia Creech: uh Kathy Vascocu: or the Patricia Creech: button. Kathy Vascocu: integrated scroll-wheel push-button. Patricia Creech: Yeah. Kathy Vascocu: So that's kind of on your mouse and then you can click it, adjust it, click again and then you're out of it. But Patricia Creech: Exactly. Kathy Vascocu: you still But you then still need to have Well you can use the scroll-wheel as well for um maybe for the channels. But you still um Patricia Creech: Yeah it's r Yeah. Kathy Vascocu: You still have to have some some button in the Janie Freeland: So Kathy Vascocu: menu Janie Freeland: you do one Kathy Vascocu: to go Janie Freeland: inte Kathy Vascocu: back. Janie Freeland: You can do one integrated scroll-wheel push-button. Kathy Vascocu: Yeah. Janie Freeland: And then just drop all the other buttons. Janna Niemi: Uh yeah. Kathy Vascocu: Well not all. Not Janie Freeland: But Kathy Vascocu: s not sound Janie Freeland: but Kathy Vascocu: I Janie Freeland: th Kathy Vascocu: guess. Janie Freeland: the cost of one Patricia Creech: No. Janie Freeland: integrated button is far more than a few extra push-buttons. Janna Niemi: Yeah. It's uh One integrated button is five times the cost of a normal Janie Freeland: Yeah. Janna Niemi: button. Kathy Vascocu: Mm. Janie Freeland: So we Janna Niemi: So Janie Freeland: have to to make it s uh more uh It has Janna Niemi: You Janie Freeland: to be Janna Niemi: could also drop j three more of these, without losing much functionality. Kathy Vascocu: Yeah. Janna Niemi: You Kathy Vascocu: Wh Janna Niemi: just Kathy Vascocu: wh Janna Niemi: drop Kathy Vascocu: what Janna Niemi: the Kathy Vascocu: what Janna Niemi: Okay Kathy Vascocu: what Janna Niemi: and Kathy Vascocu: is Janna Niemi: the Back. Kathy Vascocu: the what is the uh sample sensor sample speaker? Janna Niemi: Oh, that's for the speech. Kathy Vascocu: Speech recognition. Janna Niemi: Yeah. Janie Freeland: Could Kathy Vascocu: Right. Janie Freeland: drop the speech recognition. Janna Niemi: S s Drop speech recognition? Patricia Creech: No but Janna Niemi: Yeah that's Janie Freeland: We Janna Niemi: possible. Janie Freeland: we d Patricia Creech: Yeah it's it's expensive, but uh we never considered the possibilities of uh speech recognition. 'Cause it can take the function of a lot of uh Janna Niemi: Buttons. Kathy Vascocu: Buttons. Patricia Creech: uh buttons. Janna Niemi: That's Janie Freeland: Yeah. Janna Niemi: not Patricia Creech: I Janna Niemi: very easy to use. Kathy Vascocu: No, Patricia Creech: No. Kathy Vascocu: it can be disturbed by by noise and Patricia Creech: Yeah Kathy Vascocu: stuff Patricia Creech: but lets Kathy Vascocu: like Patricia Creech: just say that Kathy Vascocu: that. Let Patricia Creech: the speech Kathy Vascocu: let let Patricia Creech: recognition Kathy Vascocu: Kathy Vascocu see what's more Patricia Creech: works. Kathy Vascocu: what's more popular. I guess the the screen was more popular than um than the speech recognition. Janie Freeland: Yeah. Kathy Vascocu: I have to look on that. Let Kathy Vascocu see. Uh well no I was wrong. There are more people who like speech recognition than Janna Niemi: Yep. Kathy Vascocu: an L_C_D_ screen. Janna Niemi: Okay. Because if you d Kathy Vascocu: But Janna Niemi: lose Kathy Vascocu: if it Janna Niemi: the L_C_D_ screen, Kathy Vascocu: But it Janna Niemi: we Kathy Vascocu: it it's a it's a both Janie Freeland: We Kathy Vascocu: a Janie Freeland: lose Janna Niemi: need Kathy Vascocu: hypers Janie Freeland: our Janna Niemi: a lot Janie Freeland: whole Janna Niemi: of Janie Freeland: concept. Uh Janna Niemi: Yeah. Janie Freeland: so No we Janna Niemi: We need Janie Freeland: just Janna Niemi: a Kathy Vascocu: No, Janna Niemi: lot of extra Kathy Vascocu: but Janna Niemi: buttons. Janie Freeland: We keep Kathy Vascocu: Well Janie Freeland: the Kathy Vascocu: we Janie Freeland: L_C_D_. Kathy Vascocu: Yeah we keep the screen. I mean it's it's about the same. Eight one to ninety one percent, uh Patricia Creech: We Janna Niemi: Okay Kathy Vascocu: sixty Patricia Creech: uh we Janna Niemi: so Kathy Vascocu: six Patricia Creech: we Janna Niemi: we drop Kathy Vascocu: to Patricia Creech: haven't Kathy Vascocu: seventy Janna Niemi: the speech. Patricia Creech: really Kathy Vascocu: six. Patricia Creech: integrated this the speech into the system, so we can might as well s Janna Niemi: And Patricia Creech: drop Janna Niemi: drop Patricia Creech: that. Janna Niemi: it Kathy Vascocu: Yeah. Janie Freeland: Yeah. Janna Niemi: yeah? Kathy Vascocu: Let's Janna Niemi: Okay. Kathy Vascocu: drop Janna Niemi: S Kathy Vascocu: the speech. Janna Niemi: Fo Four less Euros. Kathy Vascocu: Sixteen Janna Niemi: So Kathy Vascocu: Euros. Janna Niemi: we still have three and a half Euro to lose. Patricia Creech: We need Kathy Vascocu: But Patricia Creech: to Kathy Vascocu: y y Patricia Creech: lose some buttons. Janna Niemi: Yeah if you lose the the Back, the Okay button Uh v let's say we only have the four arrows, Kathy Vascocu: Yeah. Janna Niemi: and the Menu button. Kathy Vascocu: Yeah. Janna Niemi: Then Kathy Vascocu: And Janna Niemi: you're Kathy Vascocu: then and then use um Janna Niemi: Oh and the power button we have also. Kathy Vascocu: The the Okay. And the menu button does also does the okay function then. Janna Niemi: Yeah. Kathy Vascocu: And then when you in the menu Janna Niemi: So that's one Kathy Vascocu: S Janna Niemi: Euro. Kathy Vascocu: so so you activate the menu. Janie Freeland: If we do uh two integrated scroll-wheel push-buttons, we Janna Niemi: Yeah. Janie Freeland: can drop all the the push-buttons. Janna Niemi: Yeah? Janie Freeland: With Janna Niemi: And Janie Freeland: with one uh integrated button we can uh do the whole menu thing. Kathy Vascocu: Yeah Janie Freeland: With Kathy Vascocu: yeah. Janie Freeland: the other, we can do the the channel, the volume, et cetera. Kathy Vascocu: Yeah. Janna Niemi: That would save zero point two Euros compared to No. Janie Freeland: No it's three Euros. No? Um Janna Niemi: Yeah. Janie Freeland: No Janna Niemi: To Janie Freeland: it's Janna Niemi: This Janie Freeland: it's Janna Niemi: together Janie Freeland: n Yeah. Janna Niemi: is more expensive than Janie Freeland: Yeah yeah Janna Niemi: Oof, Janie Freeland: yeah. Janna Niemi: it's almost the same as t keeping this. Kathy Vascocu: Well okay. Janna Niemi: And we can Kathy Vascocu: For Janna Niemi: drop Janie Freeland: It's Kathy Vascocu: example Janna Niemi: these Janie Freeland: the Kathy Vascocu: if you have f Janna Niemi: two. Kathy Vascocu: f four buttons, channel up and down, uh volume Janna Niemi: Volume. Kathy Vascocu: left right Okay, I've I think we have to keep that. Janna Niemi: And the Kathy Vascocu: And Janna Niemi: power Kathy Vascocu: then Janna Niemi: button. Kathy Vascocu: and the power button. So that's five. Janna Niemi: That's the basic. Kathy Vascocu: That's basic. That that's what you need anyway. And then for the menu, um you can have a button that activates menu. Or d or do we just integrate an an an scroll-wheel with a push-button. And then if the moment you use the scroll-wheel, the the the menu gets activated, and then you can scroll, choose an option, click on it, it goes into an feature. Click on it again, selects features, scroll, adjust it. Click again, it's okay. Then you only need one button to move back. Or or under each option, you set a you set an a screen thing what says back, and you select that one, click again, and you go one step back. And in that menu, scroll, click, one step back. So that then you need five buttons, Janna Niemi: Yep. Kathy Vascocu: and one integrated scroll-wheel push-button. Patricia Creech: Which Kathy Vascocu: But Janna Niemi: Okay Kathy Vascocu: we Janna Niemi: th Kathy Vascocu: can't Janna Niemi: that's Patricia Creech: That's Kathy Vascocu: drop three buttons. But I Patricia Creech: even Kathy Vascocu: see Janna Niemi: Yeah Kathy Vascocu: that's Janna Niemi: that's one Euro more expensive. Kathy Vascocu: Yeah. So that's not a good Janna Niemi: That's Kathy Vascocu: idea. Janna Niemi: not an option. Kathy Vascocu: Because which buttons do we have now? Those five which I mentioned, and then menu, and Janna Niemi: Menu, Kathy Vascocu: then Janna Niemi: power. Kathy Vascocu: Yeah. F of the four things? Janna Niemi: Four arrows? Kathy Vascocu: Yeah, th power. Janna Niemi: Power. Uh Kathy Vascocu: Which Patricia Creech: Yeah, if Kathy Vascocu: more? Patricia Creech: you if you go to eight I don't know how to Janna Niemi: Yeah. Okay. So four arrows? Kathy Vascocu: Yeah. Janna Niemi: Uh Kathy Vascocu: Power. Janna Niemi: power I believe? Kathy Vascocu: Th Yeah that's five. Janna Niemi: Uh We have a Back and a Okay button. Kathy Vascocu: Yeah, okay that's seven, Janna Niemi: And Kathy Vascocu: and Janna Niemi: the Kathy Vascocu: one to activate the menu, Janna Niemi: Menu. Kathy Vascocu: yeah. So okay that's eight. Well we can't reduce that. We we keep the display. Oh, well Janna Niemi: Yeah, Kathy Vascocu: okay. Janna Niemi: and even if we drop three buttons from here, we still have to make some adjustments around here. So Kathy Vascocu: Yeah. Patricia Creech: Yeah, we need the chip for the for the Janna Niemi: The Patricia Creech: L_C_ Janna Niemi: L_C_D_? Patricia Creech: display. Janna Niemi: Yeah. Janie Freeland: Let's Kathy Vascocu: Yeah Janie Freeland: make Kathy Vascocu: well we Janie Freeland: the Kathy Vascocu: need Janie Freeland: Let's Kathy Vascocu: the Janie Freeland: make Kathy Vascocu: advanced Janie Freeland: the case plastic. Kathy Vascocu: Instead Janna Niemi: Then I rather Kathy Vascocu: of r Janna Niemi: make it wood. Because then also it's good in the market with the Janie Freeland: Yeah. Janna Niemi: forty five plus uh Patricia Creech: Yeah. Janna Niemi: people. Kathy Vascocu: Yeah Patricia Creech: True. Kathy Vascocu: but but that's not Janie Freeland: But Kathy Vascocu: our market. Janna Niemi: No that maybe not. But maybe it's better than plastic anyway. Kathy Vascocu: Ah no, hard plastic. Janie Freeland: Plastic Patricia Creech: Oh. Janie Freeland: with a with a special colour. A Kathy Vascocu: Yeah, Janie Freeland: woo wood Kathy Vascocu: plastic Janie Freeland: uh wood Kathy Vascocu: with special Janie Freeland: uh wood Kathy Vascocu: colour. Janie Freeland: colour. Janna Niemi: Yeah? Janie Freeland: That's Janna Niemi: Yeah Janie Freeland: an option. Janna Niemi: okay Kathy Vascocu: No Janna Niemi: uh Kathy Vascocu: but I I Because we have to use the special colour anyway. You forgot that. Janie Freeland: Yeah. Janna Niemi: Yep. Yeah, yeah. Kathy Vascocu: So Janie Freeland: So Kathy Vascocu: let's Janie Freeland: we do Kathy Vascocu: go Janie Freeland: one Kathy Vascocu: for the plastic. Janie Freeland: one s Yeah. Janna Niemi: Yeah, okay. Plastic. Kathy Vascocu: And since it's not kinetic, it doesn't have to flip Janna Niemi: Uh that's Kathy Vascocu: around Janna Niemi: easy Kathy Vascocu: that Janna Niemi: because Kathy Vascocu: much? Janna Niemi: plastic Patricia Creech: Hmm. Janna Niemi: is free. Janie Freeland: Hmm. Kathy Vascocu: We still have problem of two Euros. Janna Niemi: Yeah, okay. Uh if we dropped uh Janie Freeland: No the buttons, those are really needed. Janna Niemi: Yeah? Kathy Vascocu: Yeah Janie Freeland: Yeah Kathy Vascocu: we can't Janie Freeland: th th Kathy Vascocu: drop Janie Freeland: it's Kathy Vascocu: them. Janie Freeland: it's uh An advanced chip-on-print. Patricia Creech: Yeah uh Janna Niemi: You still need Patricia Creech: You Kathy Vascocu: Do we Janna Niemi: that. Kathy Vascocu: really need Patricia Creech: uh uh Kathy Vascocu: that advanced chip for an L_C_D_ display? Patricia Creech: Yeah. So the other option would be to go for the the sample speaker, and Which can use a regular chip, wh which is six Euros Janna Niemi: S Patricia Creech: in total. That doesn't matter. Kathy Vascocu: Oh. Janna Niemi: No, Kathy Vascocu: I rather Janna Niemi: I Kathy Vascocu: keep Janna Niemi: keep Kathy Vascocu: I rather Janna Niemi: the re Kathy Vascocu: keep the display. Janna Niemi: Yeah. Patricia Creech: Well Janna Niemi: Yeah. Patricia Creech: yeah. Janna Niemi: Because Kathy Vascocu: So Janna Niemi: we already designed for Kathy Vascocu: the Janna Niemi: it. Kathy Vascocu: only Janna Niemi: So Kathy Vascocu: option is an hand Patricia Creech: Exactly. Kathy Vascocu: dynamo. Janie Freeland: Oh Janna Niemi: Yeah Janie Freeland: that Janna Niemi: and something else. Kathy Vascocu: Oh no tha Oh that's Patricia Creech: Yeah Kathy Vascocu: one Patricia Creech: but Kathy Vascocu: Euro, Patricia Creech: the Kathy Vascocu: right. Patricia Creech: uh can't we f uh fit all the buttons in an intreg integrated scroll push-button? 'Cause that will save us one and a half Euro already. And Kathy Vascocu: And Patricia Creech: then Kathy Vascocu: then Patricia Creech: if Kathy Vascocu: integrated Patricia Creech: w Kathy Vascocu: s Yeah but that would make it not so Janna Niemi: No Kathy Vascocu: easy Janna Niemi: y Kathy Vascocu: to use. Janna Niemi: you Kathy Vascocu: I mean it's Janna Niemi: would Kathy Vascocu: not Janna Niemi: rec Kathy Vascocu: that important, easy to use, but Janna Niemi: Then you Patricia Creech: Th then we have Janna Niemi: have Patricia Creech: to scroll through a lot of menus to be able to get where you want, Janna Niemi: Then you Patricia Creech: huh? Janna Niemi: still Patricia Creech: And Kathy Vascocu: Yeah. Janna Niemi: need Patricia Creech: uh Janna Niemi: two additional buttons I believe. For Patricia Creech: Yeah Janna Niemi: the volume. Patricia Creech: d at l Janna Niemi: You Patricia Creech: Yeah. Janna Niemi: can use those Yeah. Patricia Creech: At least one for power. Janie Freeland: But Janna Niemi: Oh Janie Freeland: the Janna Niemi: yeah and power. That's Patricia Creech: Oh. Janna Niemi: three buttons and this would Patricia Creech: Yeah it's Janna Niemi: cost Patricia Creech: just as expensive as what Janie Freeland: But Patricia Creech: we Janie Freeland: the Patricia Creech: have Janie Freeland: integrated Patricia Creech: now. Janna Niemi: Yeah. Janie Freeland: uh button? How many func functions can it uh have? Janna Niemi: Three. Up, down, Patricia Creech: Yeah Janna Niemi: Okay. Patricia Creech: endlessly. I mean it can Janie Freeland: Okay. Patricia Creech: be a power button as soon as it powered on. You Kathy Vascocu: You Patricia Creech: can Kathy Vascocu: you Patricia Creech: go Kathy Vascocu: press Patricia Creech: into Kathy Vascocu: it for Patricia Creech: you Kathy Vascocu: like three Patricia Creech: in Kathy Vascocu: seconds. Patricia Creech: you main menu, you can choose uh flip channel, uh you can choose sound options, any options. Kathy Vascocu: Then then then you should do everything in the menu. Patricia Creech: Yeah. Kathy Vascocu: On the screen. Janna Niemi: Yeah, okay. It Patricia Creech: Maybe Janna Niemi: would Patricia Creech: we Janna Niemi: save Patricia Creech: should. 'Cause we Janna Niemi: enough Patricia Creech: don't have money and w we Janna Niemi: Yeah Patricia Creech: want Janna Niemi: you Patricia Creech: the Janna Niemi: can Patricia Creech: screen. Janna Niemi: choose this, drop these, then we have a half Euro left. Kathy Vascocu: Yeah. Janna Niemi: So we can maybe still use power button. Kathy Vascocu: Yeah, Janna Niemi: Yeah. Kathy Vascocu: but we'd Alright. Patricia Creech: I guess Kathy Vascocu: It Patricia Creech: we Kathy Vascocu: s Patricia Creech: have Kathy Vascocu: it saves Patricia Creech: to. Kathy Vascocu: us four Euros and it costs us two and a half. So let's see, we Patricia Creech: We'll Kathy Vascocu: we drop Patricia Creech: we'll Janna Niemi: Yeah. Patricia Creech: be Kathy Vascocu: the price Patricia Creech: on Janna Niemi: You see? Kathy Vascocu: by one and a half. But we still have thirteen Janna Niemi: Oh still Kathy Vascocu: left. Janna Niemi: Yeah? Oh then I miscalculated. Oh yeah. Shit. Kathy Vascocu: There Janna Niemi: Drop Kathy Vascocu: goes Janna Niemi: the special Kathy Vascocu: the special co Janie Freeland: Oh no. Kathy Vascocu: Well Janna Niemi: colour. Kathy Vascocu: That would make it less appealing. So that's no option. Janna Niemi: 'Kay. What else? Uncurved? Janie Freeland: No no, it has to be um Kathy Vascocu: We sure Janie Freeland: curved. Kathy Vascocu: about the advanced chip we need for the display? Janna Niemi: Yeah. Patricia Creech: Yeah it says right here. Janie Freeland: Okay. Janna Niemi: They made Kathy Vascocu: Well Janna Niemi: it very easy for us. Kathy Vascocu: yeah. yeah. We made it hard for ourselves with the display, but Janna Niemi: Ah, Kathy Vascocu: it's a cool Janna Niemi: I Kathy Vascocu: feature. Janna Niemi: don't think I can s uh persuade the management to say, this is better for the market so you sell more Janie Freeland: Okay. Janna Niemi: than Janie Freeland: Wh what we could do is um drop the the special colour, Patricia Creech: Yeah. Janie Freeland: and uh do the special colour for the buttons. Janna Niemi: Buttons. That's Oh yeah since we only have one button. Janie Freeland: Yeah. Kathy Vascocu: Yeah but I mean what is meant by special colour? Janna Niemi: I just Janie Freeland: Just Janna Niemi: m Janie Freeland: something Janna Niemi: I don't Janie Freeland: else Janna Niemi: I Janie Freeland: than Janna Niemi: think Janie Freeland: than black or white Janna Niemi: Uh Janie Freeland: I think. Janna Niemi: yeah it's I think it's grey, regular. Kathy Vascocu: S yeah. Alright. Janna Niemi: Grey and rubber. Patricia Creech: But we definitely want Janna Niemi: Of Patricia Creech: the Janna Niemi: plastic. Patricia Creech: thing to be a special colour Janie Freeland: Yeah. Patricia Creech: though. Kathy Vascocu: Yeah. So I rather Patricia Creech: Damn. Kathy Vascocu: have an hand dynamo Patricia Creech: Yeah and then Kathy Vascocu: than than drop the colour. Patricia Creech: Yeah Janna Niemi: Yeah. Kathy Vascocu: You Patricia Creech: yeah Kathy Vascocu: can still Patricia Creech: yeah Kathy Vascocu: play Patricia Creech: yeah. Kathy Vascocu: with it then I guess. I don't know. Janna Niemi: Yeah. Kathy Vascocu: Yeah, but a hand dynamo costs a lot of energy to keep the screen working. So I guess that isn't an option. Janie Freeland: The display Patricia Creech: Well, Kathy Vascocu: Yeah. Patricia Creech: you only have to Janie Freeland: The Patricia Creech: power it up when you wanna use it. Kathy Vascocu: Yeah. Janie Freeland: But if Patricia Creech: I Janie Freeland: you Patricia Creech: don't Janie Freeland: have Patricia Creech: know. Janie Freeland: to power the for ten minutes, then Janna Niemi: No Janie Freeland: the Janna Niemi: I don't think Kathy Vascocu: Yeah. Janna Niemi: the current status of uh chips are pretty uh Janie Freeland: Yeah. Janna Niemi: energy conserving, no. Kathy Vascocu: Yeah true. Patricia Creech: Yeah. Kathy Vascocu: Let's let's go for the hand dynamo then. Janna Niemi: Yeah hand dynamo? Do you want an extra button? Kathy Vascocu: Or or do we Or do we do uncurved and flat? Instead of Janie Freeland: No no it has to be curved. Kathy Vascocu: Yeah it Patricia Creech: Yeah. Kathy Vascocu: has to be curved and Janie Freeland: Yeah. Kathy Vascocu: has to have that colour. Janie Freeland: Just put Patricia Creech: Yeah. Janie Freeland: a Kathy Vascocu: And Janie Freeland: special Kathy Vascocu: a screen. Patricia Creech: Yeah. Janie Freeland: special Patricia Creech: That's Janie Freeland: colour Patricia Creech: the most Janie Freeland: of the buttons, Patricia Creech: import Janie Freeland: or something. Janna Niemi: Yep? Instead of Janie Freeland: Yeah or Janna Niemi: an Kathy Vascocu: Yeah. Janna Niemi: additional Janie Freeland: spe Janna Niemi: power Janie Freeland: special Janna Niemi: button? Janie Freeland: form? Kathy Vascocu: S what what is special f Oh yeah, special form. Janna Niemi: Yeah? Kathy Vascocu: Maybe that's nicer. Janna Niemi: It's for scroll Janie Freeland: Yeah. Kathy Vascocu: But Janna Niemi: Without Kathy Vascocu: we don't have any buttons. So Patricia Creech: We only Kathy Vascocu: do Patricia Creech: have Kathy Vascocu: d Uh make Janie Freeland: Yeah. Kathy Vascocu: it a Janie Freeland: But Kathy Vascocu: special Janie Freeland: it's Kathy Vascocu: colour Janie Freeland: it's for Kathy Vascocu: then. Janie Freeland: the integrated button, I think also. Or Kathy Vascocu: Yeah Patricia Creech: Yeah Kathy Vascocu: ma Patricia Creech: but Kathy Vascocu: make it a special colour Janna Niemi: Yeah Kathy Vascocu: then. Janna Niemi: but it's just a scroll-wheel which Janie Freeland: Yeah. Janna Niemi: you can push Janie Freeland: Okay. Janna Niemi: down. Janie Freeland: Yeah. Janna Niemi: So Kathy Vascocu: Okay. Make Janna Niemi: Yeah? Kathy Vascocu: it a special colour and then it look fancy. Janie Freeland: Yep. Janna Niemi: So Kathy Vascocu: So Janna Niemi: Woah we're within budget. Kathy Vascocu: Yeah. Janna Niemi: It's Janie Freeland: Oh Janna Niemi: a Kathy Vascocu: Let's Janna Niemi: miracle. Janie Freeland: just oh Kathy Vascocu: let's Janie Freeland: ma Kathy Vascocu: save Janie Freeland: make Kathy Vascocu: it. Janie Freeland: it two special colours, but we only have one button. Kathy Vascocu: Yeah. Janie Freeland: Okay. Kathy Vascocu: Let's do it like this, I mean, because Janna Niemi: Yeah? Kathy Vascocu: it does not lose our identity of the product as we Janna Niemi: Okay. Um, well. 'Kay, this was old. Patricia Creech: Well we come back to the drawing board then, huh? Janie Freeland: Yeah. Janna Niemi: Yeah back to work. Kathy Vascocu: Yeah all Janie Freeland: Okay. Kathy Vascocu: your Janna Niemi: Uh Kathy Vascocu: designs are uh pretty much Patricia Creech: It's Janna Niemi: Did Patricia Creech: silly Janna Niemi: I Patricia Creech: 'cause we we Janna Niemi: save Patricia Creech: should have had this Janna Niemi: it? Patricia Creech: meeting before we start drawing. Janna Niemi: Yeah. Kathy Vascocu: Yeah but that but that's the fun part of Janna Niemi: I Kathy Vascocu: it. Janna Niemi: I wanted to go, Patricia Creech: Oh yeah? Janna Niemi: but I wasn't allowed. So Patricia Creech: okay. Kathy Vascocu: Alright. Janna Niemi: Uh I just forgot to save this. Just a minute. Kathy Vascocu: Yeah what's the next uh phase? Janna Niemi: Yeah, this the last phase of course, so Kathy Vascocu: Uh the agenda. By your humble P_M_. Janna Niemi: Hmm. Kathy Vascocu: Oh f Janna Niemi: Oh. Kathy Vascocu: Frustrated. Alright. Yeah. Janna Niemi: Okay. Um Well we first should have had a uh prototype presentation. But well as you saw that hadn't made no sense, because we had to Patricia Creech: Drop Janna Niemi: drop Patricia Creech: everything. Janna Niemi: it. Kathy Vascocu: Drop, yeah. Patricia Creech: Yeah. Janna Niemi: Uh Patricia Creech: We went straight into finance? Janna Niemi: Yeah. Yeah it was more important, so Kathy Vascocu: Yeah. Janna Niemi: I Patricia Creech: For Janna Niemi: just Patricia Creech: Yeah. Kathy Vascocu: Yeah. Janna Niemi: pushed Patricia Creech: Yeah. Janna Niemi: up the agenda. Uh, evaluation criteria. You have t Kathy Vascocu: Yeah Janna Niemi: produced Kathy Vascocu: that Janna Niemi: something Kathy Vascocu: that's Janna Niemi: about that? Kathy Vascocu: Yeah. I uh I sure did. And it combines with product evaluation. Uh so Janna Niemi: Uh you put it in the. Kathy Vascocu: We all have to keep in mind what has changed now. So what we have left on the Janna Niemi: Yeah. Kathy Vascocu: Because evaluation is based on the initial uh user requirements. Alright. Janna Niemi: F_ five. Kathy Vascocu: Let's make it big. Um Well we evaluate uh the design with a seven point scale, as following. Well the remote controls according criteria blah blah blah. True or false, and then on a scale of seven points, a scale, Patricia Creech: Mm-hmm. Kathy Vascocu: as we all know it. Um Well the criteria are based on the user requirements, uh the trends from the marketing research, and the marketing strategy of the company itself. Um well they are in a Word document, which I will open now. Janna Niemi: Alt up Kathy Vascocu: Yeah. I don't know it's open yet. No. And we all have to uh agree on a certain level. What's this? Oh. I don't know. Janna Niemi: Freaky. Kathy Vascocu: Um Well the first point is the remote control matches the operating behaviour of the young user. So that means the operating behaviour was using quite a lot of functions. How do you think about that? Patricia Creech: I think it does. Because the operating behaviour of the young user was also defined in colour and shape and the use of L_C_D_, right? Janna Niemi: Yeah. Uh, of course Kathy Vascocu: Yeah Janna Niemi: we dropped Kathy Vascocu: the us Janna Niemi: a Kathy Vascocu: u Janna Niemi: little bit of those uh Kathy Vascocu: It it it's Patricia Creech: Yeah. Kathy Vascocu: it's mainly con mainly concentrating on a lot of functions, in Janna Niemi: Mm-hmm. Kathy Vascocu: this question. So do you think Patricia Creech: Well, we have extended menus, on Kathy Vascocu: Yeah. Patricia Creech: the Kathy Vascocu: You Patricia Creech: on the Kathy Vascocu: can Patricia Creech: L_C_D_ Kathy Vascocu: you can ma Patricia Creech: screen. Kathy Vascocu: Yeah, Janie Freeland: Yep. Patricia Creech: So Kathy Vascocu: you can make a lot of extended menus. That's true. I mean the the possibilities are almost unlimited, Patricia Creech: I Kathy Vascocu: to to build in menus in the screen. Patricia Creech: No. Kathy Vascocu: So on a scale from one to seven, what do you Janie Freeland: Two Kathy Vascocu: think? Janie Freeland: or three. Kathy Vascocu: Huh? Janie Freeland: Two or three. Kathy Vascocu: Two or three? Something like that? Well we Janna Niemi: Two. Kathy Vascocu: have Patricia Creech: Yeah. Kathy Vascocu: to choose one. So uh what do you say? Janna Niemi: Uh y Kathy Vascocu: I agree Janna Niemi: we should Kathy Vascocu: on two. Janna Niemi: fill this in now. Kathy Vascocu: Yeah. Janna Niemi: Yeah okay. Kathy Vascocu: I Janna Niemi: Uh Kathy Vascocu: uh I say two, personally. But Janie Freeland: Yeah. Janna Niemi: Yeah in Patricia Creech: Yeah Janna Niemi: the Patricia Creech: alright. Janna Niemi: new design I s would say it's three. But now, in original design I say Kathy Vascocu: Yeah Janna Niemi: two. Kathy Vascocu: well we have to evaluate I guess what we have now. Janna Niemi: Okay then I say three. Kathy Vascocu: Yeah? You say three, Patricia Creech: Yeah Kathy Vascocu: and you you Patricia Creech: yeah. Kathy Vascocu: said al also three? Three? Janie Freeland: Yeah. Kathy Vascocu: Okay well I say still two, but it has to be three then. Janna Niemi: Hey, you're marketing, eh. Kathy Vascocu: Yeah I know. So it's made bold. But it's Janna Niemi: Hmm. Kathy Vascocu: nah, it's Janna Niemi: M Kathy Vascocu: not very Janna Niemi: maybe Kathy Vascocu: clear Janna Niemi: underline. Kathy Vascocu: on the sc Janie Freeland: Or give it a colour. Kathy Vascocu: Maybe other colour, yeah. That's better. Uh Janna Niemi: Red. Kathy Vascocu: Yeah. Alright. Oh, it doesn't have to be bold anymore. Alright. Janna Niemi: Oh yeah very true. Kathy Vascocu: Yeah. Janie Freeland: Yeah true one. Kathy Vascocu: Um well the remote Janna Niemi: He Kathy Vascocu: control Janna Niemi: types everything. Kathy Vascocu: has Wha Patricia Creech: Definitely one. Janie Freeland: Yeah. Patricia Creech: It has to be. Kathy Vascocu: The remote control has irrelevant or less used functions. For example audio settings Janie Freeland: It Kathy Vascocu: and Janie Freeland: hides Kathy Vascocu: screen settings. Janie Freeland: uh Janna Niemi: Everything. Janie Freeland: basic functions. Janna Niemi: You don't Kathy Vascocu: Yeah. Janna Niemi: use anything Kathy Vascocu: Well, Janna Niemi: else. Kathy Vascocu: yeah. So Patricia Creech: You're Kathy Vascocu: it Patricia Creech: not gonna Kathy Vascocu: it's Patricia Creech: find Kathy Vascocu: a very Patricia Creech: them. Kathy Vascocu: true point. I mean Janna Niemi: Yeah. Yeah Kathy Vascocu: it hides Janna Niemi: okay. Kathy Vascocu: all those function. Janna Niemi: Yeah. Janie Freeland: Yeah Kathy Vascocu: But, I mean Janie Freeland: true. Kathy Vascocu: uh they're hidden in the screen. If you don't want to use them, you don't s you s just scroll over them. And you place them Janna Niemi: Mm-hmm. Kathy Vascocu: F I don't know where. So that's very true, I guess, for our case. Uh Patricia Creech: Yeah Kathy Vascocu: the Patricia Creech: the Kathy Vascocu: second Patricia Creech: next Kathy Vascocu: point. Patricia Creech: Not so much Kathy Vascocu: It Patricia Creech: so. Kathy Vascocu: shows the relevant and most used functions. Janna Niemi: Nope. Kathy Vascocu: Power button. Do we ha still have a power button? Janna Niemi: Uh Kathy Vascocu: Well yeah the button's integrated, Janna Niemi: check with the Kathy Vascocu: huh? Patricia Creech: Yeah. Janna Niemi: Excel sheet. Janie Freeland: I think Patricia Creech: Yeah Janie Freeland: we Patricia Creech: it's Janie Freeland: are Patricia Creech: uh it's integrated. Kathy Vascocu: Yeah we dropped it. You j you just push Janie Freeland: It's Kathy Vascocu: it Janie Freeland: in Kathy Vascocu: in Janie Freeland: Oh Kathy Vascocu: for Janie Freeland: yeah it was integrateds. Janna Niemi: Yeah Janie Freeland: Yeah. Kathy Vascocu: Yeah Janna Niemi: integrate Kathy Vascocu: just just Janna Niemi: it. Kathy Vascocu: push it in for th for three seconds or something, and then Patricia Creech: E exactly Janna Niemi: Yeah. Kathy Vascocu: Yeah. Patricia Creech: just like a m Kathy Vascocu: I Patricia Creech: mobile. Kathy Vascocu: don't Janna Niemi: Just go scrolling and it Kathy Vascocu: know. Janna Niemi: will Kathy Vascocu: Yeah. Janna Niemi: activate. Kathy Vascocu: Um it shows the relevant and most used functions. Yeah uh on the other uh on one side I would say yes, and the other side I would say no. So it's I don't know. Janna Niemi: It shows the most used functions and they are relevant, Janie Freeland: Can you uh Janna Niemi: but Kathy Vascocu: Yeah. Janie Freeland: change channels directly with with just one button? No, you have to Kathy Vascocu: With Janie Freeland: scroll Kathy Vascocu: the scroll Janie Freeland: through Kathy Vascocu: butt Janie Freeland: the menu, before Kathy Vascocu: Yeah and then say channel. Janie Freeland: Yeah. Kathy Vascocu: And then Janie Freeland: So it's Patricia Creech: Well Janie Freeland: it's Patricia Creech: uh we Janie Freeland: not Patricia Creech: should b build it so that if you don't kind of push into the menu or something, if When it's on, yeah, it's Kathy Vascocu: Hmm? Janna Niemi: You Patricia Creech: turned Janna Niemi: say Patricia Creech: on, Janna Niemi: you double click on the Patricia Creech: It automatically Kathy Vascocu: Yeah. Patricia Creech: has the the programme and the volume function, but as soon as you click it you go into the menu or some Kathy Vascocu: Yeah. Patricia Creech: Of you Or you double click Kathy Vascocu: But Patricia Creech: it. Kathy Vascocu: but how do you change from volume to channel? Patricia Creech: No because it has four arrows, right? Janna Niemi: No, not Janie Freeland: No. Janna Niemi: anymore. Kathy Vascocu: No. Janna Niemi: Because he's Patricia Creech: Oh Janna Niemi: now have Patricia Creech: yeah. Janna Niemi: a scroll-wheel Janie Freeland: Yeah. Janna Niemi: that you can push in. Patricia Creech: Yeah Janna Niemi: Like Patricia Creech: I was Janna Niemi: on Patricia Creech: thinking Janna Niemi: the the mouse. Patricia Creech: still about our uh integrated joystick. Kathy Vascocu: No we have n we have no buttons left. So Patricia Creech: Say. Kathy Vascocu: the joystick was not an option. Patricia Creech: Yeah that Kathy Vascocu: So Patricia Creech: is a bummer. Kathy Vascocu: so Janna Niemi: Yeah. Kathy Vascocu: you hav So you you have to double-click, I mean, for, I mean, uh Janna Niemi: To Kathy Vascocu: volume, Janna Niemi: get into menu. Kathy Vascocu: and three Janna Niemi: Yeah. Kathy Vascocu: double click for the menu, or something. Janie Freeland: Oh no. Kathy Vascocu: Yeah. Janna Niemi: Or hold it ten Kathy Vascocu: Yeah. Janna Niemi: seconds. Kathy Vascocu: Yeah. Alright. Patricia Creech: We'll make it a Morse code. Kathy Vascocu: But but ease of use was not very important, may I remind Janna Niemi: No no Kathy Vascocu: you. Janna Niemi: no. Kathy Vascocu: So Janna Niemi: Uh Kathy Vascocu: that's Janna Niemi: it should be trendy. Kathy Vascocu: Yeah but that that's not a question. Uh the remote control shows the relevant and most used functions. Well I think it's pretty much in the middle. Janna Niemi: Yeah. Four. Kathy Vascocu: You have to search for them in in the Janna Niemi: Yeah, im in the menu. Kathy Vascocu: in the s in the screen, in the menu. So Patricia Creech: Yeah. Janie Freeland: Seven. Kathy Vascocu: So maybe it's more like a f a five. Janie Freeland: Yeah. Kathy Vascocu: Or Patricia Creech: Yeah Janie Freeland: Five. Patricia Creech: I would go for five or six, yeah. Kathy Vascocu: Yeah. Five or six? Janna Niemi: Five. Patricia Creech: Okay Janie Freeland: Five. Patricia Creech: five. Janie Freeland: Yep. Kathy Vascocu: Five? Alright. Patricia Creech: Let's not diss our remote. Kathy Vascocu: Yeah. Janna Niemi: It's the weirdest Kathy Vascocu: Oh. Janna Niemi: remote control I've ever seen. So Kathy Vascocu: Yeah. Patricia Creech: Yep. Just one button. Kathy Vascocu: Yeah. Janna Niemi: Well Kathy Vascocu: Alright. Janna Niemi: it's Kathy Vascocu: Uh Janna Niemi: different. Kathy Vascocu: the the Patricia Creech: But Kathy Vascocu: remote Patricia Creech: Uh Kathy Vascocu: control Patricia Creech: yep. Kathy Vascocu: makes use of technolog technological innovation like L_C_D_ screen and speech Janna Niemi: Yeah. Kathy Vascocu: recognition. Well yeah but we dropped the speech recognition. Janna Niemi: Yeah, Kathy Vascocu: But Janna Niemi: it's Kathy Vascocu: it Janna Niemi: still Kathy Vascocu: has at least one innovation. Janna Niemi: Yeah, I say two. Kathy Vascocu: I say two Janie Freeland: Yeah. Kathy Vascocu: then. Patricia Creech: We still have the fruit and vegetable print. Kathy Vascocu: Yeah Janna Niemi: Oh, Kathy Vascocu: but Janna Niemi: that's Patricia Creech: Fr Janna Niemi: the Patricia Creech: Oh Janna Niemi: next. Patricia Creech: I Kathy Vascocu: that that's Patricia Creech: mean Kathy Vascocu: not Patricia Creech: the Kathy Vascocu: that's not this question. Patricia Creech: Oh Kathy Vascocu: Uh Patricia Creech: never Kathy Vascocu: thi Patricia Creech: mind. Kathy Vascocu: uh that's the other question. Patricia Creech: I'm a bit lost. Kathy Vascocu: This one. Janie Freeland: I think a two. Janna Niemi: Two. Kathy Vascocu: Two Janie Freeland: No. Kathy Vascocu: yeah. I think Janie Freeland: Yep. Kathy Vascocu: L_C_D_'s more useful than speech Janna Niemi: Yeah Kathy Vascocu: What? Janna Niemi: definitely. Kathy Vascocu: Oh not the bold one. Patricia Creech: It's way more practical, yeah. Kathy Vascocu: Right. Okay, it has a fancy look and feel by using fruit and vegetable prints, primary colours and sponge-like material. It should have Patricia Creech: Yeah. Kathy Vascocu: been two questions. I realise now, because sponge-like material is dropped. But the look and feel Janna Niemi: You Patricia Creech: Yeah. Janna Niemi: still have rubber d Patricia Creech: So we still Janna Niemi: Or no. Patricia Creech: uh Janie Freeland: No Patricia Creech: we still Janie Freeland: you got Patricia Creech: have the Janie Freeland: a Patricia Creech: primary Janie Freeland: plastic. Patricia Creech: colours. Kathy Vascocu: Yeah. Janna Niemi: Yeah. Patricia Creech: But only Janie Freeland: Yeah. Patricia Creech: on the on the outside, not on the button. Kathy Vascocu: The button has also colour. Patricia Creech: Yeah? Janna Niemi: Yeah. Kathy Vascocu: Yeah. Patricia Creech: Okay. Janna Niemi: The one button we have. Patricia Creech: Yeah. Kathy Vascocu: Yeah. Patricia Creech: Yeah Kathy Vascocu: The Patricia Creech: still Kathy Vascocu: one. Patricia Creech: we we dropped also on the the double uh curve. Janna Niemi: Yeah you Kathy Vascocu: Mm Janna Niemi: could check Kathy Vascocu: mm. Janna Niemi: with the Janie Freeland: Yeah. Janna Niemi: Excel sheet. Janie Freeland: You Kathy Vascocu: Yeah Janie Freeland: only Kathy Vascocu: we have Janie Freeland: have Kathy Vascocu: single Janie Freeland: one Kathy Vascocu: curve now, Janie Freeland: Yeah. Patricia Creech: And Kathy Vascocu: and no Patricia Creech: and colour. Kathy Vascocu: and no material. Patricia Creech: Yeah. S Kathy Vascocu: So maybe in the middle or Janie Freeland: Four. Kathy Vascocu: something. Janna Niemi: Yeah. Janie Freeland: Yeah. Patricia Creech: Yeah. Kathy Vascocu: Yeah, I mean it's Janna Niemi: Yeah or three. Kathy Vascocu: worth Patricia Creech: Uh Kathy Vascocu: the Yeah. Janna Niemi: We have Patricia Creech: Actually Janna Niemi: something. Patricia Creech: we d we didn't do so well on this one. Because it's basically an old one, uh with little curve on the side, and in a different colour. Still, it's still Kathy Vascocu: Yeah. Patricia Creech: hard. I mean the sponge-like and the three D_ shape, that would give it something young and Janna Niemi: New. Patricia Creech: fresh. Janna Niemi: Yeah. Kathy Vascocu: Yeah. But then we would have to drop Janie Freeland: Red. Kathy Vascocu: the screen. Oh red. Yeah. Janna Niemi: You like both. Kathy Vascocu: Yeah. I like bold. Uh the remote control displays the corporate logo. Janna Niemi: Um oh yeah. Janie Freeland: Mm yeah Patricia Creech: Of course. Janie Freeland: yeah. Kathy Vascocu: Yeah. Janna Niemi: I Kathy Vascocu: You just Janna Niemi: just Kathy Vascocu: have to draw Janna Niemi: couldn't Kathy Vascocu: it. Janna Niemi: Um, just one minute. Patricia Creech: Yeah but it Janie Freeland: It's the white Patricia Creech: be Janie Freeland: part Patricia Creech: because Janie Freeland: uh Patricia Creech: uh we couldn't hardly draw on the b s on the lower half of the screen, we could not make it big enough to actually draw in the Janie Freeland: Yeah. Kathy Vascocu: Yeah. Patricia Creech: So Janie Freeland: We have a we Patricia Creech: I Janna Niemi: So Patricia Creech: mean Janie Freeland: have a Patricia Creech: I wanted to put digits on the buttons as well. But Kathy Vascocu: But there's uh enough space for the corporate logo. I mean, if Patricia Creech: Hell Kathy Vascocu: there's only Patricia Creech: yeah. Kathy Vascocu: one Patricia Creech: If we Kathy Vascocu: thing. Patricia Creech: have only one button. Kathy Vascocu: Yeah. So I will say that is very true. Janie Freeland: Mm-hmm. Patricia Creech: And even the shape we have now uh simulates kind of an R_ and the reversed R_, doesn't it? Kathy Vascocu: Yeah. The Patricia Creech: So Kathy Vascocu: remote control is easy to use. Well I would say Patricia Creech: No. Kathy Vascocu: Skill, uh I would say six, or something. I don't think it's easy to use, or not Patricia Creech: The only Kathy Vascocu: so. Janie Freeland: Ah Patricia Creech: e the only Janie Freeland: i Patricia Creech: thing easy about it is that you don't have to move your fingers. Kathy Vascocu: Yeah. Patricia Creech: 'Cause it has only Janie Freeland: And Patricia Creech: one Janie Freeland: that Patricia Creech: button. Janie Freeland: you only have to control one button. Patricia Creech: Yeah exactly. Kathy Vascocu: Yeah. It it it has a nice screen. But Yeah. Janie Freeland: It gives visual feedback. So Kathy Vascocu: Yeah. Well I I would say a five or a six. Patricia Creech: I would Janie Freeland: I think Patricia Creech: say six. Janie Freeland: a five. Five. Kathy Vascocu: What do you say? Easy Patricia Creech: It's Kathy Vascocu: to use? Patricia Creech: really not Kathy Vascocu: Five Patricia Creech: easy Kathy Vascocu: or a Patricia Creech: to Kathy Vascocu: six? Patricia Creech: use. 'Cause Janna Niemi: No Patricia Creech: you're putting Janna Niemi: not Patricia Creech: everything Janna Niemi: anymore. Kathy Vascocu: So a six, more. Janna Niemi: Yeah. Kathy Vascocu: Yeah, uh I would go for the six too. Janie Freeland: Okay. Yeah. Kathy Vascocu: So Patricia Creech: Most votes count. Um Kathy Vascocu: Um Janie Freeland: Yeah that Kathy Vascocu: well, Janie Freeland: looks uh great. Kathy Vascocu: another question, uh the remote control is durable. I don't know if that's the correct Janie Freeland: Yeah. Kathy Vascocu: word. Patricia Creech: Definitely Kathy Vascocu: But Janie Freeland: Nah Kathy Vascocu: uh Patricia Creech: in casing, Kathy Vascocu: In Patricia Creech: 'cause Kathy Vascocu: use, Patricia Creech: we have a hard Kathy Vascocu: both Patricia Creech: plastic Kathy Vascocu: battery as casing? Patricia Creech: Yeah. Kathy Vascocu: Yeah? Patricia Creech: Yeah because the the batteries, those thingies last forever. Kathy Vascocu: True, true. Patricia Creech: And the Kathy Vascocu: And the casing is plastic, Patricia Creech: the casing, hard plastic also lasts forever. Janie Freeland: Yep. Kathy Vascocu: Yeah. Janna Niemi: Yeah. Kathy Vascocu: If you don't drop it too much, it's Patricia Creech: So Kathy Vascocu: uh should last pretty long. Patricia Creech: I would go for one. Kathy Vascocu: Yeah? But uh I think rubber compared Janie Freeland: Yeah. Kathy Vascocu: is better. Janie Freeland: S Kathy Vascocu: So I think a two is more appropriate Janie Freeland: Yep. Patricia Creech: Okay yeah. Kathy Vascocu: than Janie Freeland: Wow. Kathy Vascocu: Yeah. Logo. Janna Niemi: Yeah. Kathy Vascocu: Okay I will go go for two. Uh the last one? The remote control's a good example for company's motto, we put Patricia Creech: Oh. Kathy Vascocu: the fashion in electronics. Patricia Creech: No m Janie Freeland: No we put the electronics into the fashion. Kathy Vascocu: uh turn around. Yeah. Janna Niemi: Yeah Patricia Creech: I Kathy Vascocu: But Patricia Creech: would Kathy Vascocu: um Janna Niemi: well Patricia Creech: g Janna Niemi: yeah. Patricia Creech: I would go for four. Kathy Vascocu: Yeah? Janna Niemi: No Patricia Creech: Because we Kathy Vascocu: It's Patricia Creech: kind Kathy Vascocu: not Patricia Creech: of tried to but we kind of failed with the budget that we have. Kathy Vascocu: Yeah, true. Janna Niemi: Yeah okay. Kathy Vascocu: So a four. It's it g it g goes, it's not the best we could do, Patricia Creech: Yeah. Kathy Vascocu: I guess. But it all has to do with the budget, because it's it's not the bad idea we had, so Patricia Creech: Yeah. Yeah yeah. Janie Freeland: Yeah, four Kathy Vascocu: Alright, Janie Freeland: is okay. Kathy Vascocu: yeah. Right. Janna Niemi: So Kathy Vascocu: So Patricia Creech: That's it. Kathy Vascocu: if I understood it right, we have to count these numbers. Janna Niemi: Ooh. And Kathy Vascocu: Uh Janna Niemi: Yeah? What? Kathy Vascocu: Yeah. Mm-hmm. Oh Janna Niemi: Yeah. Kathy Vascocu: Oh Alright. Word document, the Janna Niemi: Yeah. Kathy Vascocu: Yeah Janna Niemi: That Kathy Vascocu: we have to count them. Janna Niemi: Count them. Kathy Vascocu: Uh Janna Niemi: Add them? Or Kathy Vascocu: Yeah just add them and then uh Janna Niemi: Could Kathy Vascocu: divide Janna Niemi: somebody start Kathy Vascocu: them. Janna Niemi: calculator? Kathy Vascocu: Yeah. Mm. I Patricia Creech: Ah Kathy Vascocu: all made Patricia Creech: we can Kathy Vascocu: it Patricia Creech: do Kathy Vascocu: po Patricia Creech: the Kathy Vascocu: I Patricia Creech: math. Kathy Vascocu: I all made it I all made it Patricia Creech: Uh Kathy Vascocu: possible uh for a positive questions, Janna Niemi: Mm-hmm. Kathy Vascocu: so we can count it. I mean if you have reversed Janna Niemi: Yeah, Kathy Vascocu: question, Janna Niemi: yeah. Kathy Vascocu: you have to Janna Niemi: You Kathy Vascocu: reverse Janna Niemi: have to Kathy Vascocu: the scale, uh Janna Niemi: 'Kay. Patricia Creech: Yeah. Kathy Vascocu: Yes. Janna Niemi: So four and Patricia Creech: Did you make this questionnaire or what? Kathy Vascocu: Yeah. Thanks. Janna Niemi: Nice work. Janie Freeland: Okay. Patricia Creech: Oh. Janie Freeland: Three plus? Patricia Creech: I wouldn't be able to Janna Niemi: O Patricia Creech: do Janna Niemi: one. Patricia Creech: it that fast. Janie Freeland: Plus one. Janna Niemi: Plus five. Janie Freeland: Plus five? Janna Niemi: Bo Kathy Vascocu: Oh Easy. Question number four, yeah? Janna Niemi: Uh two. Kathy Vascocu: Yeah. Patricia Creech: F Janna Niemi: Four. Janie Freeland: Oh. Wait a second. Oh. It's it's gone wrong. Kathy Vascocu: How hard is it? Janie Freeland: Okay. It's your Patricia Creech: Pretty Janie Freeland: turn. Patricia Creech: difficult. Kathy Vascocu: Yeah just Janna Niemi: Start Kathy Vascocu: use Janie Freeland: No it's Janna Niemi: over? Janie Freeland: if you press Kathy Vascocu: Oh there tho Janie Freeland: twice Kathy Vascocu: uh there's Janie Freeland: on the Kathy Vascocu: no Janie Freeland: plus Kathy Vascocu: n Janie Freeland: button, then you Kathy Vascocu: There's Janie Freeland: get Kathy Vascocu: no num Janie Freeland: s s Kathy Vascocu: pads. Janna Niemi: You can Janie Freeland: No. Janna Niemi: Oh yeah. Janie Freeland: That's why it's uh Kathy Vascocu: It's a it's a bit uh Patricia Creech: Just type in the digits. They're all one digit numbers right? And then you can count them together. Kathy Vascocu: Yeah. I think you can Janie Freeland: Just Kathy Vascocu: just Janie Freeland: count Kathy Vascocu: count Janie Freeland: it Kathy Vascocu: them Janie Freeland: to Kathy Vascocu: by a Janie Freeland: Yeah. Kathy Vascocu: Um let's move Janna Niemi: Okay. Kathy Vascocu: over. Three, plus one, Janna Niemi: Three, four, Kathy Vascocu: four. Nine. Janna Niemi: nine. Uh Kathy Vascocu: Uh, yeah. Are you here? Eleven. Patricia Creech: Eleven. Janna Niemi: Eleven, Patricia Creech: Fifteen. Kathy Vascocu: Fifteen. Janna Niemi: fifteen. Janie Freeland: Sixteen. Patricia Creech: Sixteen. Kathy Vascocu: Sixteen, yeah. Patricia Creech: Seventeen. Janna Niemi: Seventeen. Kathy Vascocu: No sixteen. Uh sixteen plus Patricia Creech: Oh Kathy Vascocu: six. Patricia Creech: what? Janie Freeland: Twenty two. Janna Niemi: S Kathy Vascocu: Twenty Patricia Creech: How Kathy Vascocu: two. Patricia Creech: hard is this? Janna Niemi: Uh Kathy Vascocu: Twenty two, yeah? Patricia Creech: Never Janie Freeland: Twenty four. Patricia Creech: mind. Kathy Vascocu: Tw Patricia Creech: Twenty four. Janie Freeland: Twenty six. Patricia Creech: Twenty eight. Janie Freeland: Oh, Kathy Vascocu: Twenty Janie Freeland: sorry. Kathy Vascocu: Twenty eight. Janie Freeland: Oh my. Janna Niemi: That was the last one. That was Patricia Creech: Twenty Janna Niemi: that. Patricia Creech: eight. Janna Niemi: Yeah. Janie Freeland: Okay. Twenty eight. Janna Niemi: So Kathy Vascocu: Twen Uh okay. Janna Niemi: divided by nine. Kathy Vascocu: By nine. Janie Freeland: Hmm. Kathy Vascocu: That's uh three uh Janna Niemi: So Kathy Vascocu: Or Patricia Creech: Yeah the Kathy Vascocu: le Patricia Creech: lower Kathy Vascocu: less Patricia Creech: the Kathy Vascocu: than a three. Patricia Creech: The lower the score the better, right? Janna Niemi: Yeah. Kathy Vascocu: Yeah. Twenty Patricia Creech: Yeah but Kathy Vascocu: eight Janna Niemi: Divided Kathy Vascocu: di Janna Niemi: by nine. Kathy Vascocu: divided by nine Janna Niemi: So Kathy Vascocu: makes Janna Niemi: thr t Kathy Vascocu: three Janna Niemi: two. Kathy Vascocu: point one one one one one Janna Niemi: So Kathy Vascocu: one Janna Niemi: we're Kathy Vascocu: one. Janna Niemi: better than average. Patricia Creech: But Kathy Vascocu: Yeah. Patricia Creech: I Are you sure we this number actually tells us somethings? Janna Niemi: No. Patricia Creech: I don't think so because some Janie Freeland: Some Patricia Creech: questions Janie Freeland: questions are Patricia Creech: are Janie Freeland: Yeah. Patricia Creech: related to positive issues and some to negative. So if you give a true to a positive, it actually means that the low the lower the better. But if you give true to a negative question Kathy Vascocu: Yeah, but there are no negative questions I guess. Patricia Creech: No? Kathy Vascocu: Good example. Durable Patricia Creech: Durable, Kathy Vascocu: use. Patricia Creech: that's good. Kathy Vascocu: Easy to use. Patricia Creech: Easy to use. Kathy Vascocu: This is good. Fancy look and feel, that's good. Patricia Creech: Yeah. Kathy Vascocu: Technology innovation was Patricia Creech: Also Kathy Vascocu: good, because Patricia Creech: good. Kathy Vascocu: of a marketing uh requirement. Re Patricia Creech: Yeah Kathy Vascocu: relevant Patricia Creech: okay. Kathy Vascocu: most used function. Patricia Creech: I guess you Kathy Vascocu: And Patricia Creech: did do it. Kathy Vascocu: hides these functions. That was also a good thing. Janie Freeland: Oh yeah. Yeah. Patricia Creech: Oh yeah Kathy Vascocu: And Patricia Creech: yeah. Kathy Vascocu: then matches Patricia Creech: No Kathy Vascocu: the opera of the user was also Janie Freeland: Yeah. Kathy Vascocu: a good thing. Patricia Creech: Okay. Kathy Vascocu: So it Patricia Creech: Okay. Kathy Vascocu: were all positive questions, Patricia Creech: Yeah true. Kathy Vascocu: by uh by purpose. So Yes, so the It tells us something, yes. Becau But Janie Freeland: Oh Kathy Vascocu: the Janie Freeland: great. Kathy Vascocu: picture would be a lot different if we didn't have to drop those uh Janna Niemi: Things, Kathy Vascocu: those Janna Niemi: yeah. Kathy Vascocu: things, Patricia Creech: Yeah Kathy Vascocu: I guess. Patricia Creech: definitely definitely. Janna Niemi: Okay. Patricia Creech: Because now it's just an average Kathy Vascocu: Yeah. Patricia Creech: It's remote. Kathy Vascocu: Nah it it's it's better than average, but Patricia Creech: Yeah okay because of the L_C_D_ screen. But Kathy Vascocu: Yeah. Patricia Creech: uh Kathy Vascocu: So Patricia Creech: it Kathy Vascocu: th Patricia Creech: looks Janna Niemi: It's still Patricia Creech: and stuff, it still Janna Niemi: yeah. Patricia Creech: uh Kathy Vascocu: Yeah. Janna Niemi: Has Patricia Creech: it's Janna Niemi: some Patricia Creech: not, Janna Niemi: shortcomings. Patricia Creech: it's not really eye-catching, except for Kathy Vascocu: No. Patricia Creech: the colour. Kathy Vascocu: The colour and the screen. Patricia Creech: Yeah. Janna Niemi: Okay so Um this we had, this we had. Patricia Creech: Product Janna Niemi: We have Patricia Creech: evaluation. Janna Niemi: to do a product evaluation. Uh prototype presentation we dropped. So Uh the finance we looked. We have redesigned. Uh not on that, but Kathy Vascocu: Yeah we we have to maybe if we have to redesign it on this Janie Freeland: Okay Patricia Creech: Shall Janie Freeland: it's your Patricia Creech: we try? Janie Freeland: turn now. Janna Niemi: So you can just make one big L_C_D_ screen. Patricia Creech: Black. Kathy Vascocu: With some casing around it, yeah. Patricia Creech: Okay uh we're still gonna go for the fancy colours? Janna Niemi: Yeah Kathy Vascocu: Yeah. Janna Niemi: uh Janie Freeland: Yeah. Patricia Creech: But are we gonna stick with the green or are we gonna do blue? Janie Freeland: Yeah we we can just uh use this one. And then uh over-paint it with uh Janna Niemi: The the button has Janie Freeland: uh Kathy Vascocu: Yeah. Janna Niemi: a special Janie Freeland: the green Janna Niemi: colour, the Janie Freeland: uh he only Janna Niemi: frame Janie Freeland: needs Janna Niemi: has a special colour. Janie Freeland: one button. Patricia Creech: One scroll Janna Niemi: It's Patricia Creech: button Janna Niemi: plastic. Janie Freeland: Yeah. Patricia Creech: and Janie Freeland: Or we have to delete this one Janna Niemi: And Janie Freeland: or Janna Niemi: single curved. Kathy Vascocu: Yeah. Janna Niemi: Oh and you might want to add a uh infrared LED. Kathy Vascocu: Oh yeah. Janie Freeland: Oh oh no. Patricia Creech: For Janna Niemi: Otherwise Patricia Creech: what? Janna Niemi: it uh doesn't function uh Janie Freeland: Okay. Janna Niemi: so well. Kathy Vascocu: Yeah. Janie Freeland: So that's Kathy Vascocu: Do we have to do other things? Janna Niemi: Well Kathy Vascocu: Or just redesign? Janna Niemi: I have to um um make an uh report of every decision we made so far. Kathy Vascocu: Alright. Janna Niemi: And I try to get chip just before uh I uh receive the Excel sheet. Kathy Vascocu: Yeah. Janna Niemi: So I Kathy Vascocu: So you made a start, right? Janna Niemi: Yeah I'm I'm somewhere, but maybe Patricia Creech: Should Janna Niemi: you Patricia Creech: give Janna Niemi: can Patricia Creech: it Janna Niemi: help Patricia Creech: some Janna Niemi: Kathy Vascocu. Patricia Creech: time? Kathy Vascocu: Yeah. Patricia Creech: Yay. Janna Niemi: Uh Janie Freeland: Okay, but how do we make the the scroll Janna Niemi: I was here. Janie Freeland: uh button? Janna Niemi: So Janie Freeland: It's just one Patricia Creech: Have to Kathy Vascocu: Alright. Patricia Creech: take this away also. Janie Freeland: yeah. Janna Niemi: Ah Patricia Creech: And this um Janie Freeland: Uh that's the infrared uh Patricia Creech: Oh Janie Freeland: thing. Kathy Vascocu: The Patricia Creech: yeah, Kathy Vascocu: the Patricia Creech: of course. Kathy Vascocu: target group has a Janie Freeland: Yeah. Kathy Vascocu: weak Patricia Creech: Um Kathy Vascocu: spot for fruit Patricia Creech: pen Kathy Vascocu: and vegetables, Patricia Creech: yeah? Kathy Vascocu: like primary Patricia Creech: Format. Kathy Vascocu: colours, spongy shape. Patricia Creech: Current Kathy Vascocu: The Patricia Creech: colour Kathy Vascocu: playfulness, Patricia Creech: red. Kathy Vascocu: we decided to use kinetic Patricia Creech: Oh Kathy Vascocu: energy as a power Patricia Creech: Yeah Kathy Vascocu: sour Patricia Creech: we did our special colour for Janie Freeland: Yeah. Patricia Creech: the Kathy Vascocu: Okay. Patricia Creech: Line Kathy Vascocu: That's Patricia Creech: widths, Kathy Vascocu: conceptual, Patricia Creech: now that's Kathy Vascocu: yes. Patricia Creech: a ten. Janna Niemi: That's enough to get started Janie Freeland: Yeah. Um, Janna Niemi: with, Janie Freeland: uh it's Kathy Vascocu: Mm. Janie Freeland: just a Patricia Creech: It's gonna Janie Freeland: scroll Patricia Creech: be one str Kathy Vascocu: How Janna Niemi: so Kathy Vascocu: many Patricia Creech: scroll. Janie Freeland: Yeah, is Kathy Vascocu: pages? Janie Freeland: it's horizontal or vertical? Janna Niemi: Uh, I just took one for every step Kathy Vascocu: Alright. Janna Niemi: and then Janie Freeland: I think Janna Niemi: a Kathy Vascocu: Y Janna Niemi: conclusion. Kathy Vascocu: you have Patricia Creech: Horizontal's Kathy Vascocu: you have done the Patricia Creech: easier Kathy Vascocu: first two. Patricia Creech: too, Janna Niemi: Yeah. Patricia Creech: 'cause you Kathy Vascocu: Okay, Patricia Creech: can Kathy Vascocu: and and the look Janie Freeland: Yeah. Kathy Vascocu: and feel is Patricia Creech: Is it more natural Janna Niemi: Well Patricia Creech: than this? Janna Niemi: I think I have to make a p Patricia Creech: So Janna Niemi: an Patricia Creech: let's Janna Niemi: issue Patricia Creech: say Janna Niemi: called finance. Patricia Creech: Whoops. 'Kay. Kathy Vascocu: Yeah. Janie Freeland: Yes. Patricia Creech: Basically. Janie Freeland: It doesn't Kathy Vascocu: The items Janie Freeland: look like Kathy Vascocu: we had Janie Freeland: uh Kathy Vascocu: to drop. Janna Niemi: Yeah. Janie Freeland: Uh it it's it's not Yeah. It's not very fashionable anymore. But uh it's okay. Patricia Creech: It's really ugly. Janie Freeland: Yeah. Kathy Vascocu: Where did we start with price? Twenty Janie Freeland: Maybe Kathy Vascocu: six Janie Freeland: m make Kathy Vascocu: and a half. Janie Freeland: it bigger? Or Janna Niemi: Mm-hmm. Kathy Vascocu: Or not? Or twenty six? Something like that. Janie Freeland: Yeah. That looks little bit more uh Maybe Patricia Creech: Oh Janie Freeland: that's a s a special colour for it. Kathy Vascocu: This? Janie Freeland: So we can make it uh special? Patricia Creech: What do you mean? Like a other colour than this one? Janie Freeland: Or or speckles in it? I dunno. Uh Kathy Vascocu: Speckles? Patricia Creech: Yeah can we do it uh uh can we do a print? Janie Freeland: I'm not sure. Patricia Creech: I think we Janna Niemi: ... I. Patricia Creech: have Janna Niemi: don't Patricia Creech: to choose, Janna Niemi: think so, Patricia Creech: yeah? Janna Niemi: if you see Kathy Vascocu: Uh Janna Niemi: the options. But Patricia Creech: Okay special colour. We do have special colour. Does it Janie Freeland: Yeah Patricia Creech: mean uh Janie Freeland: red Patricia Creech: that Janie Freeland: is already a special colour, I think. So It's Kathy Vascocu: Yeah. Janie Freeland: not very special, but uh Patricia Creech: Shall we just give it some dots to make it look pretty? Janie Freeland: Yeah. Patricia Creech: Purdy. Janie Freeland: Just Kathy Vascocu: Yeah. Janie Freeland: uh Kathy Vascocu: Some Janie Freeland: put the Kathy Vascocu: some Janie Freeland: purple Kathy Vascocu: big dots. Janie Freeland: uh purple on it. Patricia Creech: Purple? Janie Freeland: That's trendy. Kathy Vascocu: Yeah. Patricia Creech: Yeah yeah. Oh no Kathy Vascocu: ... We. have the Patricia Creech: my Kathy Vascocu: original Patricia Creech: remote Kathy Vascocu: balance Patricia Creech: has acne. Kathy Vascocu: sheet, or Janna Niemi: Yeah. Kathy Vascocu: Yeah. Janie Freeland: Woah. Patricia Creech: No. That's why we have that button. Janie Freeland: Oh yeah. Patricia Creech: It's so cute. Janie Freeland: Hmm. Oh what? Patricia Creech: Doh. Kathy Vascocu: Woah. Just cut. Control Z_. Janie Freeland: Oh no. Patricia Creech: Is that that? Kathy Vascocu: Yeah. Janie Freeland: No no. Yeah. Kathy Vascocu: Yeah. Patricia Creech: How the Janie Freeland: Oh it's Patricia Creech: We Janie Freeland: it's just Patricia Creech: did we do Janie Freeland: one Patricia Creech: that? Janie Freeland: computer? Kathy Vascocu: Just Janie Freeland: Or Kathy Vascocu: dual screen. Janie Freeland: No. But can we delete it, just with delete? Or Patricia Creech: We can try. That doesn't respond also to the undo. It looks like it's Janie Freeland: Crashed. Patricia Creech: No, Janie Freeland: Oh, no. Kathy Vascocu: Very Janie Freeland: Okay. Kathy Vascocu: nice. Patricia Creech: Where do you want some more dots? Janie Freeland: Yeah, over here. Hmm? Janna Niemi: You can't even draw anymore. Kathy Vascocu: Yeah. Janna Niemi: Even Janie Freeland: What's Kathy Vascocu: Y y Janna Niemi: children Janie Freeland: this? Kathy Vascocu: you Janna Niemi: can draw. Kathy Vascocu: you you push the button or something. Or Janna Niemi: Can you just push Janie Freeland: Oh Janna Niemi: pen Janie Freeland: yeah. Janna Niemi: and then Janie Freeland: Oh Janna Niemi: keep Janie Freeland: that's Janna Niemi: on Janie Freeland: the select button. It's Janna Niemi: Hmm. Janie Freeland: uh Patricia Creech: Okay, it's not the prettiest, I know. Janie Freeland: No, Patricia Creech: It's Janie Freeland: it Kathy Vascocu: Lot Patricia Creech: not Janie Freeland: looks Patricia Creech: so Kathy Vascocu: of options. Patricia Creech: random huh? Janie Freeland: It's okay. Specially the the R_. Kathy Vascocu: Yeah, the R_ and another R_. Patricia Creech: Yeah okay. Kathy Vascocu: It's called the Real Remote, right? Janna Niemi: Yeah. Kathy Vascocu: Maybe maybe it c it can say that. The Real Remote. Janna Niemi: Yeah just on the the m um the L_C_D_ display. Kathy Vascocu: Yeah. Welcome. Patricia Creech: We can make Janna Niemi: This Patricia Creech: a Janna Niemi: is Patricia Creech: l Janna Niemi: your Patricia Creech: a logo. Janna Niemi: Real Remote. Kathy Vascocu: Yeah. Yeah. Patricia Creech: Like uh Janna Niemi: Yeah. Patricia Creech: put it like the shape. Janie Freeland: D designed by Patricia Creech: Something like that. Janie Freeland: Okay. Patricia Creech: I mean it's not too uh That's not their logo, is it? Janie Freeland: No. Do they have a lo Oh, the here. This i this is the logo. Patricia Creech: Yeah. It's Janie Freeland: Two Patricia Creech: a Janie Freeland: R_s and a one. Janna Niemi: Yeah. You can just reuse that, because the name is the same. Kathy Vascocu: You can copy Janna Niemi: Initials. Kathy Vascocu: and paste the picture if you want. Patricia Creech: How Shall we do the logo in black or not? Janna Niemi: Mm. Janie Freeland: Yeah. Kathy Vascocu: Yeah. What is that? Look more Looks more like a campfire. Patricia Creech: Are you dissing my drawing? This one? Kathy Vascocu: Yeah. Patricia Creech: It looks like a ribbon. Kathy Vascocu: Yeah. Janie Freeland: Okay. Patricia Creech: So who wants to draw? This is actually quite fun. Do we need to do anything? I hear you Janie Freeland: Are Patricia Creech: people Janie Freeland: we uh ready? Patricia Creech: are typing. Janie Freeland: Uh Or Kathy Vascocu: Type in your report. Patricia Creech: Oh, okay. Kathy Vascocu: I don't see any new messages. So Janna Niemi: Luckily. Kathy Vascocu: Hmm? Luckily, yeah. Janie Freeland: Is this uh the last assignment? Or Janna Niemi: Yeah, it's uh Janie Freeland: Final Janna Niemi: Yeah. Patricia Creech: It's almost four. Kathy Vascocu: What time do we have to deliver the report? Four o'clock or Patricia Creech: At four, yeah, Kathy Vascocu: Or before that? Janna Niemi: Okay. Kathy Vascocu: Just Janna Niemi: And Kathy Vascocu: compare Janna Niemi: copy this. Kathy Vascocu: uh Janna Niemi: Just a minute. Patricia Creech: This is really bizarre. Janna Niemi: It's Patricia Creech: It looks like there's a It looks Janie Freeland: Um Patricia Creech: like Janie Freeland: bug. Patricia Creech: a butterfly. Janie Freeland: Bug. Janna Niemi: It's somewhere I Janie Freeland: No Janna Niemi: d Janie Freeland: it's Janna Niemi: It Janie Freeland: in inside Janna Niemi: isn't inside. Janie Freeland: the Janna Niemi: Yeah, and don't know how it's Kathy Vascocu: No it's Janna Niemi: or Kathy Vascocu: on Janna Niemi: eject Kathy Vascocu: the on Janna Niemi: it. Kathy Vascocu: the beamer I guess. Janie Freeland: No it Oh. Patricia Creech: No, but it Janna Niemi: From Patricia Creech: i Janna Niemi: up there? Patricia Creech: It's not a bu a beamer. Janna Niemi: No. Patricia Creech: B It's a normal T_V_ screen, kind of thing. Janie Freeland: Hey, Janna Niemi: Yeah it's Janie Freeland: you've Janna Niemi: somewhere Janie Freeland: got it Janna Niemi: in Janie Freeland: uh Janna Niemi: here. Janie Freeland: read only. So you have to uh Janna Niemi: Save copy. Kathy Vascocu: Yeah. Strange. This something what's projection Janna Niemi: Yeah. Kathy Vascocu: from behind, I guess. Janie Freeland: It's too uh Patricia Creech: Oh. Yeah there is some kind of projection I think. Janna Niemi: Yes. Kathy Vascocu: Yeah it it's a beamer, but then with Patricia Creech: With Kathy Vascocu: a within Patricia Creech: a Kathy Vascocu: a Patricia Creech: with a mirror, huh? Kathy Vascocu: mirror, Patricia Creech: Or something. Kathy Vascocu: yeah. Patricia Creech: Yeah. Kathy Vascocu: So it looks like a big screen, but in fact it isn't. Patricia Creech: So are we gonna Janie Freeland: It Patricia Creech: change Janie Freeland: is Patricia Creech: anything to this? I mean is Kathy Vascocu: Well Patricia Creech: it gonna Kathy Vascocu: it's it's Janna Niemi: Well Kathy Vascocu: single single Janie Freeland: It's Kathy Vascocu: curved. Janie Freeland: now single curved. So Kathy Vascocu: Th this Patricia Creech: This Kathy Vascocu: is Patricia Creech: is Janie Freeland: It's Kathy Vascocu: flat. Patricia Creech: gonna be Janie Freeland: flat. Patricia Creech: flat. Yeah Janie Freeland: Oh Patricia Creech: exactly. Kathy Vascocu: Yeah. Janie Freeland: no. Okay. It doesn't matter. It's Kathy Vascocu: But it's Janie Freeland: it's Kathy Vascocu: it's better to have in the front, this kind of shape, because it looks nice. I mean you see more of this than of that. Patricia Creech: Yeah. Kathy Vascocu: Yeah, more like that. Patricia Creech: Yeah. And this is also gonna be Kathy Vascocu: It's not very uh ideal. Patricia Creech: Nope. Kathy Vascocu: Do like this. Patricia Creech: But sometimes then uh all of a sudden it does work. Kathy Vascocu: Yeah. What's this? Janie Freeland: That's the detector uh for the Kathy Vascocu: Ooh. Janie Freeland: Okay. Kathy Vascocu: But Patricia Creech: Maybe Kathy Vascocu: I don't see a detector over there. Janie Freeland: Yeah. I don't know. Patricia Creech: No it's I think you only need two points. Or not. No, Kathy Vascocu: I Patricia Creech: you sh Kathy Vascocu: thought it was a kind of thing to put it on, and then draw right Janie Freeland: Maybe that's Kathy Vascocu: lines Janie Freeland: why Kathy Vascocu: or something. Janie Freeland: it's it's not working, because it's more Patricia Creech: Slanted yeah. Janie Freeland: Yeah. Kathy Vascocu: Yeah. Patricia Creech: Yeah. Kathy Vascocu: Or just messed it up. Patricia Creech: Well maybe. Janie Freeland: Oh. Oh yeah. Patricia Creech: Yeah Kathy Vascocu: Yeah. Patricia Creech: it it matters for the aim of this Janie Freeland: Yeah. Patricia Creech: thing. Kathy Vascocu: Yeah but it wasn't good. Janie Freeland: You've to make it s uh ninety degrees. Kathy Vascocu: Yeah it it has to touch the corners, I guess. But th this one wasn't good, because if I was drawing here, I drew a line and then it came over here. Janna Niemi: Um now you probably have to recalibrate. Janie Freeland: You have Janna Niemi: Oh, five minutes to the end of the meeting. Kathy Vascocu: Oh. Janie Freeland: Oh we're always Janna Niemi: And Janie Freeland: long. Janna Niemi: the recalibration is done using this icon here. Janie Freeland: Yeah, Kathy Vascocu: Ooh. Janie Freeland: can we t can we get to that i Oh it's not working anymore. Janna Niemi: Yeah well I just Janie Freeland: Oh Kathy Vascocu: Yeah Janie Freeland: yeah Kathy Vascocu: yeah, Janie Freeland: yeah Kathy Vascocu: it's Janie Freeland: yeah Kathy Vascocu: it's Janie Freeland: yeah, it's Kathy Vascocu: okay. Janie Freeland: it's working, it's working. Kathy Vascocu: It's working again. Patricia Creech: Yeah. Kathy Vascocu: It's better than before. Janie Freeland: Yeah. Janna Niemi: Okay. Kathy Vascocu: Yeah. Janie Freeland: We're improving uh Yeah. Janna Niemi: You go ahead. Kathy Vascocu: Yeah Janie Freeland: Yeah. Kathy Vascocu: that's improved uh pretty much. Patricia Creech: Yeah it's only a bit like to Kathy Vascocu: Yeah. Patricia Creech: that side, but that is that one by the way. Kathy Vascocu: Yeah but Patricia Creech: 'Cause Kathy Vascocu: it's better, Janie Freeland: No it Kathy Vascocu: it's Patricia Creech: this Kathy Vascocu: better Patricia Creech: one makes the angle either like this. So i if I change this, it will go there, Kathy Vascocu: Mm. Patricia Creech: if I change that, will go there. Kathy Vascocu: No. It's better than it was I guess. Patricia Creech: Mm-hmm. I will take this away 'cause it looks messy. Kathy Vascocu: Silly. Yeah. Works pretty well. Five minutes before the Janna Niemi: Yeah. Kathy Vascocu: meeting's over. And Janna Niemi: Yeah. Kathy Vascocu: then? We have Janna Niemi: Then Kathy Vascocu: to present Janna Niemi: I have to uh uh write this, and I don't know if you have to present, because I didn't receive any information about that so far. Kathy Vascocu: Alright. Patricia Creech: Maybe we will. Janna Niemi: Maybe Kathy Vascocu: So Janna Niemi: we get Kathy Vascocu: it Janna Niemi: a Kathy Vascocu: after Janna Niemi: a final Kathy Vascocu: the after Janna Niemi: mail. Kathy Vascocu: after these five minutes, Janna Niemi: Yeah. Kathy Vascocu: you have to Janna Niemi: Yeah, I have still ten minutes Patricia Creech: What's Janna Niemi: to finish Patricia Creech: this anyway? Janna Niemi: the report. Janie Freeland: So Kathy Vascocu: Alright. Janie Freeland: cake. Kathy Vascocu: After after that five minutes, Patricia Creech: It Kathy Vascocu: you have Patricia Creech: looks Kathy Vascocu: ten Patricia Creech: like Kathy Vascocu: minutes Patricia Creech: candle Kathy Vascocu: to finish Patricia Creech: wax. Kathy Vascocu: it, or Janna Niemi: Yeah. Kathy Vascocu: Alright. And we uh Janna Niemi: And you can uh just uh relax and uh have cup of coffee Kathy Vascocu: Right. Janna Niemi: or Kathy Vascocu: Chill. Janna Niemi: oh no, they don't have beer here so Kathy Vascocu: Huh. Janna Niemi: you can't celebrate. You can just if you ma finish my presentation please. Uh Kathy Vascocu: Uh Janna Niemi: over there. Kathy Vascocu: Yeah? Janna Niemi: The presentation is still open. So if you finish that then you'll see uh Yeah next. Kathy Vascocu: Next slide. Janna Niemi: Oh yeah, we have to do the project uh evaluation. Just uh do that quickly. Kathy Vascocu: Yeah? Janna Niemi: Uh Kathy Vascocu: How do you do it? Janna Niemi: Uh well basically what that says, we discuss it and um So Kathy Vascocu: Alright. Janna Niemi: how were did the project process uh go? Did you, were you all pleased with the process as it was? Or Patricia Creech: Uh Janna Niemi: are there Patricia Creech: th Janna Niemi: uh Patricia Creech: uh do you mean the the interaction between Janna Niemi: Yeah Patricia Creech: us? Janna Niemi: the interaction Patricia Creech: Or Janna Niemi: and the steps we followed, and and so forth. Patricia Creech: Yeah well at first I was really stressed. Because Kathy Vascocu: Yeah. Patricia Creech: it went a bit fast. But then as I knew the tempo that I had to be on, the second time I think I did a bit better. Kathy Vascocu: Yeah. Janna Niemi: Yeah. Patricia Creech: And the third time yeah, I Kathy Vascocu: And Patricia Creech: mean Kathy Vascocu: we move Janie Freeland: No. Kathy Vascocu: more to to working together as team, because Janna Niemi: Mm-hmm. Kathy Vascocu: at first you you make your individual contribution, and then come here, and you have no idea what the Janie Freeland: No. Kathy Vascocu: others have to make. Patricia Creech: Yeah, yeah yeah Kathy Vascocu: And then Patricia Creech: yeah. Kathy Vascocu: finally you have some idea, okay this is gonna w this is what we gonna make together and okay I will arrange this and Janna Niemi: Mm-hmm. Kathy Vascocu: you will arrange that, and you have a k a kind of idea what you can expect on the next half hour when you have to work on your own. So The Patricia Creech: Yeah Janie Freeland: Yeah. Kathy Vascocu: process, Patricia Creech: we Kathy Vascocu: I mean, the interaction between us became better and better Janie Freeland: Yeah. Kathy Vascocu: I guess. Janna Niemi: Mm-hmm. Janie Freeland: Especially Patricia Creech: Mm-hmm. Janie Freeland: after the first meeting. Kathy Vascocu: Yeah, Janie Freeland: And Kathy Vascocu: especially if f f if you see uh you se you saw the largest difference from the first to the second Janie Freeland: Yeah. Patricia Creech: Yeah. Kathy Vascocu: meeting Patricia Creech: Definitely. Kathy Vascocu: I guess. Janna Niemi: Okay and was that due to my leadership? Janie Freeland: Yeah yeah yeah. Patricia Creech: Well you did become more assertive the the second time round, so that Janna Niemi: Yeah? Patricia Creech: Yeah. Janie Freeland: Yeah. Kathy Vascocu: Yeah. Janna Niemi: That okay? Patricia Creech: You were more in charge kind of thing. Janna Niemi: Okay. Um was there uh enough room for creativity? Patricia Creech: I guess so. Kathy Vascocu: Yeah. Janie Freeland: Yeah but Patricia Creech: I mean Janie Freeland: only the the financial parts uh Kathy Vascocu: Li Limiteded Janie Freeland: Yeah. Kathy Vascocu: afterwards, but If if you don't take that into account, there's plenty Patricia Creech: I Kathy Vascocu: of room for creativ creativity. Also not only the drawing and the the making of the thing itself, but also in explaining it to the other people, by means of uh Patricia Creech: We were pretty democratic. Kathy Vascocu: the the board and uh PowerPoint and Word and stuff like Janna Niemi: So Kathy Vascocu: that. Janna Niemi: and the uh about the board digital pen? Uh was that Patricia Creech: Yeah. Janna Niemi: helpful or Kathy Vascocu: Mm Janna Niemi: Ooh. Kathy Vascocu: uh I think in in essence the digital pen is better than the SMARTboard. Because it it it just works better. I Janna Niemi: Yeah Kathy Vascocu: mean uh uh Janna Niemi: it Kathy Vascocu: I've Janna Niemi: works. Kathy Vascocu: made yeah, uh I've made several notes just to test it, and and just put the pen in into it, and then it came onto my screen and it looked perfectly. Janie Freeland: Yeah. Kathy Vascocu: So Janna Niemi: Mm-hmm. Kathy Vascocu: it it's better a better device than uh than the screen. Patricia Creech: Maybe Yeah. Kathy Vascocu: But the screen is useful, in essence, but it doesn't work that well. Patricia Creech: It's uh it's The the pen is more intuitive, 'cause we're all used to writing Janna Niemi: Use Patricia Creech: with Janna Niemi: the Patricia Creech: pen. Janna Niemi: pen. Patricia Creech: And uh as I said, uh I uh have no idea how PowerPoint works, so will take Kathy Vascocu half a day to be able to make a normal PowerPoint presentation. Kathy Vascocu: Yeah. Patricia Creech: But once I get to know the program probably, I mean, it looks better, you know. Or uh something like that. You can give it a kind of a home style, like we have i the the logo and everything. Janna Niemi: Yeah yeah. Patricia Creech: And Kathy Vascocu: Yep. Patricia Creech: I don't know. Janna Niemi: Blink. Oh. Kathy Vascocu: Warning. Finish Janie Freeland: Finish Kathy Vascocu: meeting Janie Freeland: meeting. Kathy Vascocu: now. Janna Niemi: Okay, are are there any new ideas about this? All I think I Kathy Vascocu: Well, Janna Niemi: didn't Kathy Vascocu: it Janna Niemi: really receive, Kathy Vascocu: It's use Janna Niemi: yeah. Kathy Vascocu: especially useful, I guess, to to evaluate designs and graph graphical stuff. Janna Niemi: Uh uh Kathy Vascocu: And and Janna Niemi: w uh S sorry uh Kathy Vascocu: the screen and stuff like that. Janna Niemi: Mm-hmm. Janie Freeland: I think the PowerPoint is is too limited. You can't uh draw easy in in PowerPoint. It has to be uh yeah. The drawing board has to be integrated into PowerPoint, so that you can just easily Kathy Vascocu: Yeah. Patricia Creech: Yeah the the the problem with PowerPoint for Kathy Vascocu is that you have to i put in the pre-made chunks c as Janie Freeland: Yeah. Patricia Creech: well. You Janna Niemi: Yeah. Patricia Creech: know, you can draw something on Kathy Vascocu: Yeah. Patricia Creech: the sketch-board and then take it there, or whatever. Kathy Vascocu: Yeah. But it it's useful to to show something to to Janie Freeland: Yeah Kathy Vascocu: an Janie Freeland: just Kathy Vascocu: a small Janie Freeland: for text, Kathy Vascocu: audience, and Janie Freeland: for Kathy Vascocu: then Janie Freeland: text Kathy Vascocu: to Janie Freeland: it's uh it's okay. But Kathy Vascocu: Yeah. These these kind of screens this size are useful to discuss things. So Yes. Janna Niemi: Oh. Kathy Vascocu: Check your email. Janna Niemi: Uh we should uh enter our questionnaire. Kathy Vascocu: You also. Janie Freeland: 'Kay. Janna Niemi: Ah. Woah. Patricia Creech: Alright. Kathy Vascocu: Right. Janna Niemi: Okay. Janie Freeland: Okay. Janna Niemi: Uh okay. Patricia Creech: Alright. Kathy Vascocu: Yes boss. Patricia Creech: Well, Janna Niemi: That's Patricia Creech: s Janna Niemi: the management. Patricia Creech: see you in a second huh? Kathy Vascocu: Well see you soon. Janie Freeland: Oh. Okay. Janna Niemi: Hope so. Kathy Vascocu: Yeah. Janna Niemi: Um Patricia Creech: Yeah we have to pull it this way, huh? Wait.

Janna Niemi decided to start by looking at costs instead of the prototype presentation because the original design was too expensive and had to be changed. The group discussed which features should be dropped. The group decided that the LCD screen was integral to their design, but dropped the speech recognition. They decided to drop all the buttons in favour of an integrated scroll push-button, and to use a hand dynamo instead of kinetic energy as a power source. Kathy Vascocu led the prototype evaluation, based on the new design. The group were satisfied with the overall score of 3.1. Patricia Creech and user interface designer worked on a drawing of the new design, while Janna Niemi and marketing manager worked on the final report. Janna Niemi led an evaluation of the project process. The group thought that they worked well together, especially after the first meeting. They were happy with the room for creativity, but thought they were limited by the budget. They preferred the digital pens to the SMARTboard. They had mixed feelings about using PowerPoint.

amisum

train

Helen Everett: Hi. Violet Robinson: Hi. Irene Honig: Hello. Helen Everett: Oh. Irene Honig: Good morning. Helen Everett: Good morning. Violet Robinson: Morning. Allison Covarrubias: Good morning. Irene Honig: Uh before I start with the meeting I have a few things to tell you about the the setting we're in, uh because we're uh being watched by uh Big Brother. So um Allison Covarrubias: By Big Brother? Irene Honig: Yeah. Yeah. Allison Covarrubias: Okay. Irene Honig: This uh These are cameras, so are these. Allison Covarrubias: Mm-hmm. Irene Honig: This thing uh that looks like a pie, are Allison Covarrubias: Yeah. Irene Honig: actually all microphones. Allison Covarrubias: Okay. Irene Honig: So you must be careful with uh with uh all this. uh as I can you uh you have placed your laptops uh place where must be. And that has to do with the camera settings, so we don't have our uh laptops in front of the cameras. Allison Covarrubias: Of our faces. Irene Honig: And Indeed. So they can see our faces. Okay. Irene Honig: Welcome at the kick-off meeting. My name is uh Danny Wolfs. Uh this is the agenda for today. Uh first a little opening. Uh I will introduce myself, uh and uh I think it's very uh good to introduce uh yourself. Uh then uh a little bit of acquaintance, acquaintance to uh to to ourselves. So uh we get to know each other. Uh that will be done uh with a tool training from the he these two uh smart boards. Then the project plan. What we're going to do, and how we're going to do it. Uh and discussion about that and a little closing at the end. Okay uh, my name is uh Danny Wolfs. I'm Irene Honig. What's your name? Helen Everett: I'm Juergen Toffs I'm Helen Everett. Irene Honig: User interface, okay. Violet Robinson: Hi, my uh I'm Violet Robinson. Irene Honig: Industrial, yes. Allison Covarrubias: I'm uh Tim. Um my function is Allison Covarrubias. Irene Honig: Okay, thank you. First a little about the project aim. Uh the the the aim is to make a new remote control. Uh maybe you have read uh read the website. It's a very uh, yeah, very uh ambitious uh company. They uh they wanna do something else. I w Uh there must be a new remote control. Uh first of all uh it must be original, uh and trendy. That's two things really uh close to each other. But at the same time uh user-friendly. And they have uh Yeah, that's uh very important uh for them. Uh there are three stages. There is a functional design. So uh what are we going uh to uh to do? What are we going to uh uh make f uh kind of functions in the remote? And why are we going to do it? Then the conceptual design. How are going to do it? And that's uh really global. Uh because at the detailed design, how, part two, uh we go uh to dig in uh really about how the the te the technical of If it's uh it's possible technical-wise. Uh each stage is uh uh is broken up in two uh two stages, individual work and a meeting. So it's uh it's very straightforward. Okay, the tool training. We have two smart boards. This one is for the presentations, the PowerPoint presentations or the Word presentation of whatever you uh you had. Uh and this is uh only for uh drawing. So uh we uh must let it uh stand on this uh this programme. This is called a smart board thing Allison Covarrubias: Speaks for Irene Honig: uh Allison Covarrubias: itself. Irene Honig: Yeah, it speaks for itself. Um and as you uh may have heard, the documents in the shared folder uh can be uh showed on this screen. Not in y the the My Documents. So if you wanna show something, put it in the shared folder. Uh This uh is very straightforward, with the save, the print, the undo, the blank, the select, the pen. Well, I don't uh gonna explain it all, because I think you know uh how it works. Um we must not forget uh everything we draw on here, uh all must be saved. We we may not delete anything. So uh if you have uh drawn something, save it. Never delete it. That's a very important uh thing. Okay. Uh little uh little kinda exercise to uh know each other. At uh the white board on the left. Every uh every one of us uh must draw our favourite animal, and uh tell uh tell us why we uh had uh chosen that animal. Uh important is that we use different colours, and uh different pen widths. Widths. Widths. Allison Covarrubias: I have a question. Irene Honig: Yes? Allison Covarrubias: Um this exercise, Irene Honig: Yeah. Allison Covarrubias: um did the company board tell you to do it, or uh did you just make it up yourself? Irene Honig: No no no. It's uh it's uh I I Allison Covarrubias: It's Irene Honig: I Allison Covarrubias: part Irene Honig: must Allison Covarrubias: of the Irene Honig: do Allison Covarrubias: introduction, Irene Honig: it. Yeah, yeah, yeah. Allison Covarrubias: okay. Irene Honig: 'Cause we uh really don't know each other, and uh it's kinda new. So getting used to each other, we can uh have a little fun then, before we Allison Covarrubias: Okay. Irene Honig: uh dig in really to the hard stuff. That kind of thing. Would you start with drawing your uh favourite Allison Covarrubias: Um, Irene Honig: animal? Allison Covarrubias: yeah. I don't know really how it works. But maybe Irene Honig: Okay, Allison Covarrubias: you can Irene Honig: okay. Allison Covarrubias: show us first? Irene Honig: Yeah, okay. Drawing goes with uh this thing. Do not touch your hand on uh this little uh thingy here. That's uh important. So hold it uh like Allison Covarrubias: You Irene Honig: this. Allison Covarrubias: g you get electrocuted or Irene Honig: Yeah, kinda. So, um You must p p uh push a little uh Good. Because And uh wait uh wait a few seconds. so uh Helen Everett: Ach. Irene Honig: watch it. Oh yeah. Well I'm gonna paint in the red. Helen Everett: Ooph. Irene Honig: Oh. That's the background colour. Well, undo. Um The pen? No. One minute please. Irene Honig: Yeah, that's the one. Well, five. Okay. My favourite animal huh? Allison Covarrubias: It's like Pictionary? Irene Honig: Yeah, you can guess what Allison Covarrubias: The Irene Honig: it is. Allison Covarrubias: the one who says it first gets a raise. Irene Honig: May uh paint uh next. Allison Covarrubias: It's a pork? Irene Honig: No, it's not an orc. You don't see it uh at the ears? Allison Covarrubias: Mm yeah, I have it at home. Irene Honig: You have an orc at home? Helen Everett: Very artistic. Irene Honig: Thank you. So it's a cat. Allison Covarrubias: What's it called? Irene Honig: Simba. Allison Covarrubias: Ah. Irene Honig: 'Cause uh we have a cat at home and he's called Simba. 'Cause Helen Everett: Okay. Irene Honig: he looks like the uh the the lion from The Lion King. Allison Covarrubias: Miniature Irene Honig: So we Allison Covarrubias: size? Irene Honig: uh found it kinda cool to uh name it after a lion. Allison Covarrubias: Okay. Irene Honig: He's happy with us, so uh he's smiling. Helen Everett: Wow. He does have body uh Irene Honig: No, only the face. Because Helen Everett: Huh. Irene Honig: we have we have twen twenty five minutes. Allison Covarrubias: Okay. Irene Honig: So we uh Allison Covarrubias: We have to speed up. Irene Honig: Yeah. Allison Covarrubias: Remember you use uh different colours, and different pen widths. Irene Honig: Yeah. Okay, who wants to go next? Allison Covarrubias: I Okay. Irene Honig: Yeah? So choose a colour, choose a pen width and draw a Helen Everett: You don't have to change the colour and the pen width during Allison Covarrubias: Save it. Helen Everett: uh the drawing. Or Irene Honig: Yeah. Allison Covarrubias: You have to save it. Irene Honig: Save it, okay. Allison Covarrubias: I've done it. New? 'Kay. Helen Everett: You have to draw uh push hard on the pen or uh Allison Covarrubias: Mm uh Not really. Um Irene Honig: Kind of firm touch. Allison Covarrubias: That one. Helen Everett: Oh. Uh hmm. Allison Covarrubias: Yeah? Okay. Open. Which one is it? Smart board? Okay. Helen Everett: Okay. Irene Honig: Yeah. Allison Covarrubias: And now? Allison Covarrubias: Okay. Okay, thanks. 'Kay, I've speed up. 'Kay, that's fine. Line width. Violet Robinson: By the way, why was your cat uh red? Irene Honig: Because uh my cat is red uh Violet Robinson: Oh, Irene Honig: at Helen Everett: Oh. Irene Honig: home. Violet Robinson: okay. Irene Honig: And I have red hair, so uh Helen Everett: It's Violet Robinson: Oh, Helen Everett: a very Violet Robinson: yeah, Helen Everett: bloody Violet Robinson: sure. Helen Everett: cat. Irene Honig: must be red. Helen Everett: It's a frog. Violet Robinson: No, it's a turtle. Allison Covarrubias: It's not an apple. Violet Robinson: Must be a dog. Helen Everett: A dog? Violet Robinson: Yeah. Allison Covarrubias: Hmm. Colour. Something like this. Smaller. Helen Everett: Huh? Oh, it is a turtle. Irene Honig: It is a turtle. Why a turtle? Why? Tim? Allison Covarrubias: Um 'Cause I liked Teenage Mutant Hero Turtles. Irene Honig: You watched it a lot? Allison Covarrubias: Uh? Irene Honig: You watched it a lot? Helen Everett: It's uh inside its shell. You'll be uh finished Allison Covarrubias: No, Helen Everett: sooner. Allison Covarrubias: it's uh Irene Honig: It's a scared turtle. Allison Covarrubias: No no. It's coming up. Mm. Uh. Helen Everett: Wow. Irene Honig: Okay, Allison Covarrubias: Something Irene Honig: Tim. Allison Covarrubias: like this. Irene Honig: Thank you. Allison Covarrubias: Okay, you know Very artistic. Irene Honig: Jurgen, you want to go next? Helen Everett: Yes. Okay. Allison Covarrubias: Yeah? Helen Everett: Wha Thank you. Allison Covarrubias: Here you go. Helen Everett: Yeah. Um How did it work? Irene Honig: Format? Helen Everett: Performance? Irene Honig: And then you have the the current colour, you can change. So no red or green. Helen Everett: And a pen? Irene Honig: And uh line uh width. I had five. Tim had Uh Helen Everett: Um Irene Honig: Tim, what kinda line width Allison Covarrubias: Uh Irene Honig: did you Allison Covarrubias: the Irene Honig: have? Allison Covarrubias: big lines were like nine. Irene Honig: Okay. It's a dog. Helen Everett: Well, very good. I just Violet Robinson: Uh. Helen Everett: uh thought I'd pick Irene Honig: Okay. Helen Everett: the easiest one. Irene Honig: Why a dog? You have a dog at home? Helen Everett: Well, we had a dog, Allison Covarrubias: Uh, Irene Honig: Had Allison Covarrubias: it's Helen Everett: a Irene Honig: a Helen Everett: few Allison Covarrubias: p Irene Honig: dog? Helen Everett: years ago. Irene Honig: Yeah? Helen Everett: And and it, yeah, when it died we didn't get a new one or something. Irene Honig: Ah. Allison Covarrubias: It's Helen Everett: But Allison Covarrubias: pretty good Helen Everett: uh Allison Covarrubias: uh Irene Honig: You have an artistic uh inner middle. Allison Covarrubias: An artist. Helen Everett: Uh a Graphical User Designer, so Violet Robinson: Hmm. Helen Everett: Hey. Allison Covarrubias: Think you uh picked the wrong uh function. Wrong job. Helen Everett: Oh. No. Can work together. Ah colour. Irene Honig: So I think you can see it's real uh really a easy programme to use. Not difficult at all. Allison Covarrubias: Wha Helen Everett: Well, it's Irene Honig: Okay, Helen Everett: okay. Irene Honig: thank you. Allison Covarrubias: That's enough, thanks. Irene Honig: Janus? Violet Robinson: Yeah, sure. Irene Honig: The last one? Helen Everett: Yeah. Violet Robinson: Uh thanks. Allison Covarrubias: I wonder. Irene Honig: Yeah. After a cat, a turtle and a dog. I think he's gonna draw an elephant. Violet Robinson: but I'm gonna do something much more difficult. Irene Honig: Uh-oh. Helen Everett: Uh-oh. Oh, he is the artistic design. Allison Covarrubias: I'm gonna design a remote uh remote control Helen Everett: Remote Allison Covarrubias: animal. Helen Everett: control animal. Violet Robinson: Exactly. Allison Covarrubias: Oh. Violet Robinson: Uh Allison Covarrubias: Sorry. Helen Everett: Well with the interface, it might be easier to ha to draw here and Allison Covarrubias: Yeah. Helen Everett: display there uh. Allison Covarrubias: That that might be easier. But at the other hand, uh a pen like that is easy to hold in your hand, and Irene Honig: No. Allison Covarrubias: I think it's easier to Irene Honig: Better Allison Covarrubias: draw. Irene Honig: to draw with a Allison Covarrubias: Yeah. With Irene Honig: with Allison Covarrubias: a pen Helen Everett: Than Allison Covarrubias: than with Helen Everett: on Allison Covarrubias: a Helen Everett: the, Allison Covarrubias: mouse Helen Everett: with Allison Covarrubias: mouse. Helen Everett: Yeah, I m I mean like uh like Allison Covarrubias: Mouth. Helen Everett: on here, drawing drawing Allison Covarrubias: Oh, Helen Everett: uh. Allison Covarrubias: okay. Helen Everett: And then Allison Covarrubias: Yeah. Helen Everett: displaying Allison Covarrubias: W Helen Everett: on screen, Allison Covarrubias: with Helen Everett: but Allison Covarrubias: this paper Irene Honig: But what Allison Covarrubias: it's too Irene Honig: is he Allison Covarrubias: mu Irene Honig: uh? Allison Covarrubias: too expensive. Helen Everett: Too expensive, Irene Honig: Is it a rabbit? Helen Everett: yeah. Violet Robinson: Yes. Irene Honig: Do you have a rabbit at home? Violet Robinson: No. Allison Covarrubias: It's a rabbit Helen Everett: A Allison Covarrubias: with Helen Everett: green Allison Covarrubias: uh Helen Everett: rabbit. Allison Covarrubias: broken legs? Irene Honig: Is Violet Robinson: No. Irene Honig: it a white rabbit f It's the white rabbit from The Matrix. Violet Robinson: Yeah, exactly. Irene Honig: Okay, then Helen Everett: There, Irene Honig: yeah. Helen Everett: the g white green rabbit. Violet Robinson: So. Helen Everett: He's a little bit stoned there. Violet Robinson: Uh I figured this is a pretty b good impression of a rabbit. Allison Covarrubias: Yeah. It Violet Robinson: Uh Allison Covarrubias: will Violet Robinson: uh Allison Covarrubias: do. Violet Robinson: Uh well. Irene Honig: Okay. Finishing touch and then we're going further. Allison Covarrubias: Project Manager? Uh Irene Honig: Yeah? Violet Robinson: Where does the pen go? Just Allison Covarrubias: Have Violet Robinson: uh Allison Covarrubias: you been uh counting the time? Irene Honig: Yeah, a little. Allison Covarrubias: Okay. Let's go on then. Irene Honig: Well, I think the dog is the the most uh Violet Robinson: Uh I figured Irene Honig: artistic. Violet Robinson: the rabbit was actually the most uh impressive. Irene Honig: Don't choose for youself. Violet Robinson: Oh, Irene Honig: That's Violet Robinson: sorry. Irene Honig: selfish. Okay, Allison Covarrubias: It's pretty Irene Honig: now we're Allison Covarrubias: abstract. Irene Honig: gonna dig into the to the serious stuff. Uh the selling price for the remote will be uh twenty five Euro, and the production cost uh may not be more than uh twenty and a half Euro. So uh from my point of view, I don't think it's uh gonna be very uh very high tech, high definition, uh ultra modern uh kinda remote, for twelve uh fift uh twelve and a half Euro. Uh the profit we must make with uh the new remote is uh fifty million Euro. So that's a lot. We have to sell uh a lot of uh Helen Everett: Yeah, how much is it? Allison Covarrubias: Like how much? Helen Everett: Hundred million uh remotes Irene Honig: Uh Helen Everett: or something? Irene Honig: I think uh w when the selling price is twenty five, Helen Everett: Oh Irene Honig: uh Helen Everett: yeah. Violet Robinson: Twenty million. Irene Honig: uh you got two million, Violet Robinson: Two million, oh yeah, two Irene Honig: two Violet Robinson: million. Irene Honig: million remotes. Violet Robinson: Yeah. Irene Honig: But our marketing range is uh, market range is international. So we have uh virtually the whole world we can sell uh we can sell our r remotes to. At least that uh countries which have uh Allison Covarrubias: Yeah. Irene Honig: a television. Um So now it's time uh for us to uh going uh to discuss a little uh things. You can think about uh experience with a remote control uh yourself, at home. What you think might be uh a useful uh new feature. What uh what can distinguish our new trendy remote control from all the others. Um so uh let's uh let's uh discuss a little. I'm gonna join you at the table. Well what what's the most uh important thing at a remote control? Helen Everett: Um well I think the most important thing of a remote control is that you can switch channels. And my opinion is you should keep it as basic as possible. Irene Honig: Okay. Helen Everett: Uh Irene Honig: So not a not a remote control who uh uh which can uh can be used for television and a D_V_D_ and radio and Or Allison Covarrubias: Yeah. Irene Honig: just only Allison Covarrubias: I think so. Uh but I have some points. Can I show them on the on the big screen? Irene Honig: If you Allison Covarrubias: Maybe? Irene Honig: have them on uh I Allison Covarrubias: Yeah. Irene Honig: can uh Allison Covarrubias: Yeah, I can find Uh. Irene Honig: Okay. Irene Honig: Oh, in case you want it This is a dead kind of fly. Between the the the, yeah, the the uh Allison Covarrubias: Screen? Irene Honig: Yeah, be Allison Covarrubias: Okay. Irene Honig: The screens. Helen Everett: Is it possible to open pen drawings in this uh on Irene Honig: No Helen Everett: this Irene Honig: no Helen Everett: screen? Irene Honig: no. Only All the drawings go there, at the left uh Helen Everett: Uh but um which The ones we made on the Irene Honig: Oh, that pen drawings. Uh no, I think uh when it is uh in Word and you have saved it in the Shared Documents folder, you can show it there. Helen Everett: Oh, only in Word, okay. Irene Honig: Yeah. Allison Covarrubias: Okay, I have some uh points from marketing point of view. Irene Honig: Yeah. Allison Covarrubias: Um just the standard thing li things like uh intuitive, uh small, fairly cheap. Uh it's pretty cheap, twenty five Euros. Uh brand independent. Um I think, it doesn't have to matter uh which brand your T_V_ or Irene Honig: Yeah. Allison Covarrubias: other thing is. Um Irene Honig: Okay. Five minutes. Allison Covarrubias: Five minutes? Okay, Irene Honig: Yeah. Allison Covarrubias: I'll wrap it up quickly. Um I personally think it has to be multi-purpose. Uh most Irene Honig: Yeah. Allison Covarrubias: of the remote c uh remote controls are uh just for one purpose. Irene Honig: Yeah. Allison Covarrubias: And uh by making it multi-purpose, it uh has a new feature, adds a new feature to the market, and distinguish from uh from current products. Irene Honig: Mm-hmm. Allison Covarrubias: Um maybe some other technology than infrared. Uh I rather find it very annoying um, like when someone is standing in front of the T_V_ then you can't switch it. Um think about um sending it over radio waves or bluetooth. Irene Honig: Okay. Okay. Allison Covarrubias: That might be a little bit uh expensive. Um And something like an L_C_D_ screen. Helen Everett: For what purpose? Allison Covarrubias: Um uh like I said here um Maybe it's easy. It's nice as an added feature feature, that um, when you're on a certain channel, you can see on the L_C_D_ screen uh what programmes are Irene Honig: Okay. Allison Covarrubias: coming up or Irene Honig: So it be uh a multi-purpose uh very technically uh high uh Allison Covarrubias: From my point Irene Honig: remote? Allison Covarrubias: of view, yeah. Irene Honig: Yeah, it must be really uh innovative, technical-wise? Allison Covarrubias: Yeah, it has to be uh Yeah, our company is very uh good in making new Irene Honig: Yeah. Allison Covarrubias: innovative uh things. Irene Honig: So yeah, Allison Covarrubias: So Irene Honig: I Helen Everett: We Allison Covarrubias: i Irene Honig: I agree Allison Covarrubias: i Irene Honig: with you. Allison Covarrubias: i Irene Honig: So Allison Covarrubias: i Irene Honig: we must focus on things who are really uh really add something to uh to Allison Covarrubias: To the current market. Irene Honig: Yeah. Allison Covarrubias: Look, you got some cheap uh remote controls there. They just uh Yeah, you got a dozen of 'em. Irene Honig: No. Allison Covarrubias: But when you enter a new market with a remote control Irene Honig: Mm-hmm. Allison Covarrubias: and uh wanna gain market share Irene Honig: Yeah. Allison Covarrubias: you have to do something special, Irene Honig: Yeah. Allison Covarrubias: I think. Irene Honig: But we have to keep an eye that it's Uh at the beginning of such a project, it's it's it's very uh cool to talk about, well, this would be cool, that would be cool. Allison Covarrubias: Yeah. Irene Honig: Uh but we must not uh lose uh sight of the the user uh uh friendly uh Allison Covarrubias: Yeah, of course. Helen Everett: And and Allison Covarrubias: But Helen Everett: the Allison Covarrubias: it's Helen Everett: price. Allison Covarrubias: But but this is just from marketing uh Irene Honig: Yeah okay. Allison Covarrubias: aspect. Irene Honig: Yeah. Allison Covarrubias: I don't Irene Honig: Okay. Allison Covarrubias: know anything about user interface or Helen Everett: Okay. Allison Covarrubias: design. Irene Honig: And that's because we have him. Violet Robinson: And and him. Helen Everett: And him. Irene Honig: Okay, uh next meeting will start in thirty minutes. So uh you uh will have uh individual actions where I presume uh will be some feedback, uh via the m the mail. Um the the the Industrial uh Designer has to uh look at the working design. Uh Helen Everett has to look at the technical functions. So Helen Everett: Yeah. Irene Honig: that's the Helen Everett: Um Irene Honig: thing we uh discussed. Helen Everett: one Irene Honig: Yeah? Helen Everett: thing uh, we must first agree on uh what we're going to m going to make. Do we Are we going to use um it it for multiple systems? Or uh We should have some agreement on that Irene Honig: Okay. Helen Everett: before we Irene Honig: Um Allison Covarrubias: Mm Irene Honig: wha Allison Covarrubias: uh I I don't think we have to be, we have to agree on that. Uh Violet Robinson: I figure Allison Covarrubias: I think Violet Robinson: we could get Allison Covarrubias: th that's Violet Robinson: back to Allison Covarrubias: a Violet Robinson: it Allison Covarrubias: pha Violet Robinson: on the next meeting actually. Allison Covarrubias: Yeah. That's a phase Helen Everett: Okay. Allison Covarrubias: further. Violet Robinson: Yeah. Allison Covarrubias: Ju just uh make some mock-ups, some some general ideas. Helen Everett: Ah okay. Allison Covarrubias: And and then we can plan Yeah. Irene Honig: Yeah. Allison Covarrubias: We can plan further, Irene Honig: Yeah. Allison Covarrubias: I think. Irene Honig: But maybe, because uh you are working on the user requirements, you are working on the technical functions, we uh must uh have a little or kinda uh uh uh How do you call it? Helen Everett: Consensus Irene Honig: Uh Helen Everett: on the, what Irene Honig: Uh Helen Everett: we're gonna Irene Honig: a little Helen Everett: do. Irene Honig: plan on on what we're going to do. So you don't uh uh come up with the user requirements who don't fit the the the the technical functions at all. Some basic things we co we want to going to do. Uh I think that's well uh Yeah. Will come in handy. Allison Covarrubias: Mm yeah. I don't Helen Everett: Yeah. Allison Covarrubias: know. You decide. Irene Honig: Okay. Allison Covarrubias: You're Irene Honig. Irene Honig: W He says Helen Everett: Well yeah, if the technical functions have to be designed, I I've gotta know for what kind of machines Irene Honig: Yeah. Helen Everett: they will be. Or do we use it a text screen? Or uh will it be with uh with bluetooth Irene Honig: Well, Helen Everett: or Irene Honig: th that's that's really a step further. But Helen Everett: Okay. Irene Honig: if you say uh is it uh uh one way or multi-purpose, Helen Everett: Mm-hmm. Irene Honig: that's Allison Covarrubias: Uh tha Irene Honig: a Allison Covarrubias: that's a same step further. Violet Robinson: Yeah, Irene Honig: Why? Violet Robinson: actually it is. Allison Covarrubias: Yeah. Irene Honig: Why? Violet Robinson: Then looking at Allison Covarrubias: Uh. Violet Robinson: individual components, so Allison Covarrubias: Yeah. Violet Robinson: that's actually a f step Irene Honig: Yeah. Violet Robinson: further. Allison Covarrubias: Like we all have a list of uh things that has to b that have to be in it, or how it has to be like. And then in the next meeting Irene Honig: Yeah. Allison Covarrubias: we decide Violet Robinson: Yeah, we Allison Covarrubias: w Violet Robinson: can Allison Covarrubias: what Violet Robinson: take it from Allison Covarrubias: it's Violet Robinson: there. Allison Covarrubias: gonna be. Violet Robinson: Yeah, Irene Honig: Okay. Violet Robinson: I agree Allison Covarrubias: A Violet Robinson: uh, we can take it from there. Allison Covarrubias: And then you s then you can delete uh Violet Robinson: Or edit. Allison Covarrubias: the o the obsolete uh Irene Honig: Okay. Allison Covarrubias: details. Irene Honig: So Allison Covarrubias: I think. Irene Honig: uh each individually i individually uh must think on what's uh at uh his point of view is the most important. Allison Covarrubias: Yeah. Irene Honig: And uh then we're going to fit uh all the pieces together the next meeting. Allison Covarrubias: Yeah. Irene Honig: I must finish off now, so it's over. You uh will receive specific specific instructions uh by your personal coach. And I see you in uh thirty minutes. Violet Robinson: Okay, Helen Everett: Okay. Irene Honig: Thank you. Violet Robinson: cheers. Helen Everett: Sorry. Allison Covarrubias: Damn. Irene Honig: Be careful. Helen Everett: Yes. Allison Covarrubias: Success? Helen Everett: Yeah. Helen Everett: No. Come up.

The participants introduced themselves and their roles to each other. Irene Honig introduced the aim of the project and gave a brief agenda for the entire project. He then introduced and explained how to use the meeting-room materials. The group acquainted themselves with the materials by drawing on the smartboard. Irene Honig presented the project budget and explained that the device would not be made very high-tech due to the small budget. He explained that the device would be sold internationally. The group discussed their initial ideas of features to include in the design; Allison Covarrubias discussed usability features, such as the ability to control multiple devices and an LCD screen, to make the product unique. Irene Honig instructed Violet Robinson to work on the working design and Helen Everett to research the technical functions. The group discussed the timing of when they would make decisions on the features discussed.

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train

Susan Becker: Hello again. Melissa Bridges: Hi. Susan Negron: Hello. Diana Rodriquez: Hey, Project Manager. Susan Negron: Um, Project Manager, I Susan Becker: Mm yeah. Susan Negron: have something tell you. I have a little problems with my laptop. Susan Becker: Okay. Susan Negron: And uh s s s so I had a little less time to complete. Susan Becker: Okay. Susan Negron: No, a little problem, uh big problem. I just thought Diana Rodriquez: What was it, Susan Negron: Um, Diana Rodriquez: problem? Susan Negron: it didn't work anymore. Diana Rodriquez: The laptop? Susan Negron: The entire Windows uh Diana Rodriquez: It hang hung. Susan Negron: It it hung. Diana Rodriquez: Ha-ha. Oh. Project Manager. Susan Becker: Yes. Diana Rodriquez: You're Susan Becker: Yes. Diana Rodriquez: our Project Manager. Susan Becker: Your project manager. Welcome to the conceptual design meeting for Real Reaction. Uh, hello again. Uh it's uh the same as the last time. Uh uh, also this time there will be uh three presentations. And we um must uh reach a decision on uh the remote control concepts. Um uh, and the end, I uh, when I finish it off I have some uh input from uh a master class I uh visited. information. Susan Negron: During lunch, yeah. Diana Rodriquez: Master. Susan Negron: He's the master, yeah. Diana Rodriquez: Master Susan Becker: The Diana Rodriquez: of Susan Becker: the the the the concepts on uh we uh where we uh must reach a decision on. Um uh, our from uh are of two sorts. Components concepts and user interface concepts. Uh, the first one is uh really about the the the the the total package uh with uh Well, we have decided to do a do the uh with a touch-screen that must be a case around it so uh it won't be uh uh as breakable. Uh how how about the energy? Can you uh can you reload it or uh just have batteries which you must exchange? Uh, the user interface concept. Uh, with the type and uh the the supplements. So uh where to put what button. And uh uh I would say uh Jans, can you begin? Melissa Bridges: Yeah, sure. Susan Becker: Okay. At the end, uh I will take notes uh Melissa Bridges: Okay. Susan Becker: and at the end of the minutes uh will uh be at the shared folder. Melissa Bridges: Uh, let Diana Rodriquez see. I think it's this one. Ha. Susan Negron: Wow. Melissa Bridges: Right. Uh, well, I'll be talking about the components. Uh, what I did was I reviewed previously used items uh by uh two two uh different uh age groups. Susan Becker: Mm-hmm. Melissa Bridges: Uh below forty five and above. And uh I just uh watch what the differences are and I checked uh, well, what what d do we want, and how we uh d aim a at uh the target group. Well uh what I found was that a senior um senior citizens uh Diana Rodriquez: I'm sorry. Melissa Bridges: Ye Ah, it's Diana Rodriquez: Okay. Melissa Bridges: it's Diana Rodriquez: Go Melissa Bridges: okay. Diana Rodriquez: on. Melissa Bridges: Uh They, well, they like more the they like the traditional materials, like wood and and such more. Wood and chrome. And uh uh they like uh straightforward shapes. Um, uh they they they they like luxurious uh styles, where whereas the young and dynamic, they like a more uh soft materials. Think of the Teletubbies, for instance. Uh uh, soft and fluffy and colourful and Well uh, shapes are curved and round. Y y you get the picture. And uh they like sports and gaming, and that gives them uh the vitality. Uh, so w well Susan Becker: One Melissa Bridges: uh, firs Susan Becker: one little question. Um Melissa Bridges: Yes. Susan Becker: about the the material. Melissa Bridges: Yeah. Susan Becker: Uh a soft material for a remote control? Melissa Bridges: No, I'll I'll get to that. Susan Becker: Okay. Melissa Bridges: You you'll see. Yeah. Susan Becker: Yeah. Thank you. Melissa Bridges: Uh, well f first off, let's start start with the energy. W I uh I had a choice between uh a few different uh sources. Susan Becker: Mm-hmm. Melissa Bridges: But uh the two basic sources that I found were the best possible were the battery uh versus kinetic. Uh kinetic, that's when you move something, then uh it gets energy. I figured, well that's ki kinda high-tech, when when you have a remote control that well, when you pick it up, it has power. That would be actually very nice, uh Susan Becker: Oh. Melissa Bridges: I figured. Well, we could also use a battery, that's a Diana Rodriquez: Yeah Melissa Bridges: bit Diana Rodriquez: but when the power gets low, you have to shake it or something? Melissa Bridges: Yeah. Yeah yeah, you c just you have to shake it around Diana Rodriquez: Uh, Melissa Bridges: a little bit. Diana Rodriquez: and Melissa Bridges: And Diana Rodriquez: uh Melissa Bridges: then Diana Rodriquez: uh Melissa Bridges: then it d then it has some more uh energy. Well, Diana Rodriquez: Hmm. Melissa Bridges: y you could just go for a battery. Or you can go for both? Susan Negron: Oh, have you the option of using a solar panel Melissa Bridges: Yeah, I actually did. But uh the thing is about solar panel is you have to have l uh light. Well, sunlight preferably. Susan Negron: W Melissa Bridges: Uh, Susan Negron: nah. Melissa Bridges: and you you could you could use normal light, but uh Susan Negron: Mm. Melissa Bridges: you wouldn't get the same amount of energy that you would from a battery or something. Susan Negron: Yeah. Melissa Bridges: Uh for uh ultimate b uh n uh use of uh solar panels, you could actually use uh you could use uh solar panels, but uh you ha you'd have to implement them into uh the remote control, leaving you uh a bit less space for Diana Rodriquez: Mm Melissa Bridges: the Diana Rodriquez: yeah. Melissa Bridges: interface. Susan Negron: Yeah. Diana Rodriquez: It's too Melissa Bridges: So Diana Rodriquez: less Melissa Bridges: uh Diana Rodriquez: space. Melissa Bridges: so i i it it wo what's actually I I c just in f I've figured it out that well, uh seeing that you'll always be uh within the l uh distance of T_V_, and the from T_V_ there comes a a a whole bunch of light. So it would actually power itself uh from Susan Negron: Yeah. Melissa Bridges: a T_V_. But, well you just take up all the space, and you Susan Negron: Okay. Melissa Bridges: wouldn't uh have the full amount of power actually used. Susan Becker: But you Melissa Bridges: So Susan Becker: prefer kinetic? Melissa Bridges: I I prefer kinetic because Susan Becker: Okay. Melissa Bridges: it's uh well, the costs aren't that much higher, and um, ju just a bit more high-tech than than a normal battery. I mean, Susan Becker: Yeah, Melissa Bridges: if Susan Becker: but you don't move a a remote control Melissa Bridges: No, Susan Becker: too Melissa Bridges: but Susan Becker: much. Melissa Bridges: uh d Well, you pick it up and you press buttons and y well, Susan Becker: And that's Melissa Bridges: you Susan Becker: enough to to keep the energy level uh Melissa Bridges: Yeah, well uh actually it is. Susan Becker: Okay. Melissa Bridges: And it it if it isn't, you just shake it a bit and and add add with power up again. Susan Negron: Yeah. Melissa Bridges: But, what l what Jarek said, you could you could use a battery that you'd just keep it on the recharging whenever it moves. And for rest, you'd just add juice on the battery. Susan Becker: Okay. Diana Rodriquez: And when the battery doesn't work, I usually shake too. So Like slamming on Melissa Bridges: Exactly. Diana Rodriquez: it. It's exactly the same. Melissa Bridges: And Susan Becker: Thank Melissa Bridges: so that Susan Becker: you, Tim. Melissa Bridges: Uh Uh well, f furthermore, you you we uh checked uh the cases. We have uh different options uh concerning the cases. You ha I you sim uh you simply add a basic uh standard uh model uh it was kind of square and uh I figured that's a bit boring. So you you we could go for uh the single curved or the double curved. Um, single curve, it's just a well, uh, you know, it's just uh a nice curve. Or but but you could go in a in an double curves. And that's like several different dimensions. That gives Susan Becker: Yeah. Melissa Bridges: you an whole new uh Susan Becker: Dynamic Diana Rodriquez: Hmm. Melissa Bridges: effec Susan Becker: dynamic look? Melissa Bridges: Yeah, that gives you a younger and uh more high-tech look, I f I figured. But, that uh we'll discuss later. Diana Rodriquez: But, are you going to draw it? Melissa Bridges: What? Diana Rodriquez: The Melissa Bridges: You Susan Negron: Th Melissa Bridges: want Diana Rodriquez to draw Susan Negron: th Diana Rodriquez: Yeah. Melissa Bridges: in Susan Negron: yeah. Melissa Bridges: three-D_? Diana Rodriquez: Yeah. Susan Negron: Yeah. Diana Rodriquez: Uh, I c I can't imagine. Melissa Bridges: Uh, Diana Rodriquez: I can't imagine Melissa Bridges: yeah, I ca Diana Rodriquez: how Melissa Bridges: I Diana Rodriquez: how Melissa Bridges: ca Diana Rodriquez: how Melissa Bridges: I could Diana Rodriquez: it Melissa Bridges: I Diana Rodriquez: looks Melissa Bridges: could show Diana Rodriquez: like. Melissa Bridges: you. I could show you. Well uh let's say y uh you uh Diana Rodriquez: Yeah. Melissa Bridges: Let's say that's your standard uh Diana Rodriquez: Design. Susan Negron: Yeah. Melissa Bridges: That's a bit your d standard design. Diana Rodriquez: Mm-hmm. Melissa Bridges: could actually go like uh something like this. And then uh in three-D_ effect you could go Susan Negron: Um Diana Rodriquez: Uh Melissa Bridges: So y you you just Yeah, this is a this bit uh difficulty in I didn't take a major in art. So But but you could have uh uh a whole new uh the back Diana Rodriquez: Oh, Melissa Bridges: back Diana Rodriquez: okay. Melissa Bridges: the the the depth, you could you could uh just Diana Rodriquez: Okay. Melissa Bridges: play around a bit with. You you don't have to use standard uh Diana Rodriquez: Oh, okay. Susan Becker: A little artistic. Melissa Bridges: Yeah you could y It leaves more space for creativity. Susan Becker: Okay. Diana Rodriquez: Okay. Melissa Bridges: Uh that might be an idea, but just a Well, furthermore, uh well, uh plastic versus rubber? You We could choose uh what uh what's better, plastic um or rubber. I I ch prefer rubber because it feels uh Yeah. Susan Becker: It's soft. Melissa Bridges: Yeah, it's soft and it's that Susan Becker: That's Melissa Bridges: I like Susan Becker: the material Melissa Bridges: soft. Susan Becker: the younger people want uh, Melissa Bridges: Yeah, Susan Becker: ain't Melissa Bridges: yeah Susan Becker: it? Melissa Bridges: I mean uh plastic uh is Plastic also has that cheap feeling to it, like plastic uh Your your I usually associate plastic with uh something that's cheap. Uh that's maybe just Diana Rodriquez, but Uh, we could uh uh, oh, talk about it later. Uh furthermore, buttons. Uh traditional uh or a touch screen. Well, we discussed it in a previous meeting, so I figured I'll just leave it at the L_C_D_. And uh chip set, well uh if we are going to use traditional buttons, we could go uh with a simple chip set. But uh if we decide to go on a n uh um L_C_D_ screen, we would use an uh we have to use an a advanced chip set. And that would bring uh the necessary costs with with it. So that's something we th have to keep in mind. If it isn't uh manageable uh budget-wise, we'd have to go over to uh to sim to simple buttons. Diana Rodriquez: Well, I think uh we're going to sell tell ten millions of them. So uh I bet a big company in uh Korea or Taiwan, like uh Samsung, Melissa Bridges: Yeah. Susan Negron: Yeah. Diana Rodriquez: can give us uh a big discount on the chips, so Melissa Bridges: Yeah, probably. Diana Rodriquez: U usually, chips are uh aren't more expensive than one dollar. Melissa Bridges: Yeah, probably, but Diana Rodriquez: So Melissa Bridges: But uh yeah, that's Diana Rodriquez: That that Melissa Bridges: that's Diana Rodriquez: shouldn't be a real issue, Melissa Bridges: That shouldn't Diana Rodriquez: I think. Melissa Bridges: shouldn't be uh that big a issue. I'll I'll I'll just add, uh uh I put a big summary here, so we could discuss it a bit. Uh what i what are your ideas concerning battery versus kinetic? Susan Negron: Um, I think you should use kinetic as a back-up. Melissa Bridges: Yeah, you you you should we Diana Rodriquez: Yeah, a Melissa Bridges: should Diana Rodriquez: combination. Susan Negron: A combination, Melissa Bridges: A combination. Susan Negron: yeah. Melissa Bridges: Uh, you use the battery and w charge it up with kinetic. When you pick it up, it Diana Rodriquez: Yeah. Melissa Bridges: charges up. Diana Rodriquez: Like an uh aku uh Melissa Bridges: Yeah. Diana Rodriquez: Acu uh, Melissa Bridges: Yeah Diana Rodriquez: yeah. Melissa Bridges: yeah, I know. Susan Negron: Okay. Yeah. Susan Becker: Just like the watch Diana Rodriquez: Well, Susan Becker: from Seiko. Diana Rodriquez: Yeah. Susan Negron: Psycho-kinetic. Melissa Bridges: Yeah, I con Exactly. Susan Becker: Yeah. Susan Negron: Yeah. Melissa Bridges: What uh what do you think? You agree? Susan Becker: I I uh I would prefer uh both uh too. Melissa Bridges: Yeah? Both? Diana Rodriquez: Combine Susan Becker: Yeah. Diana Rodriquez: them. Susan Becker: Combine them. Melissa Bridges: Okay. Uh, well that would bring the m m some more costs, but I mean the Who cares, Diana Rodriquez: Okay. Melissa Bridges: right. That's Susan Becker's Susan Negron: Buy Melissa Bridges: problem. Susan Negron: a fifty Diana Rodriquez: Of Susan Negron: cents Diana Rodriquez: course. Susan Negron: battery and uh Diana Rodriquez: Fifty Melissa Bridges: Yeah, Diana Rodriquez: cent. Melissa Bridges: well Fifty cent uh Uh, why doesn't And then we have single-curved versus double-curved. That Susan Negron: Well maybe I have something in my presentation to uh to cope with that. Melissa Bridges: Okay. No, we'll we'll just wait and uh Uh, plastic versus rubber. Diana Rodriquez: Rubber. Melissa Bridges: Any ideas? Susan Becker: Rubber. Melissa Bridges: Uh, Susan Becker: Yeah. Melissa Bridges: rubber? Susan Negron: Um, Melissa Bridges: You Susan Negron: isn't possible to make combination with kind of rubber is or bendable remotes where you've got a. Or do Melissa Bridges: Uh, Susan Negron: you Melissa Bridges: I Susan Negron: think Melissa Bridges: figured Susan Negron: it Melissa Bridges: it will be m rather than Susan Negron: Rubber Melissa Bridges: hard Susan Negron: casing, Diana Rodriquez: Rather Susan Negron: yeah. Diana Rodriquez: hard. Melissa Bridges: Nah, rubber c uh this is a casing, yeah. Rubber casing, because well if you use an uh d a touch-screen, uh it's just a casing uh around it. So um, Susan Negron: Yeah. Melissa Bridges: you could go for plastic, but I figured Diana Rodriquez: Yeah. Susan Negron: Um, Melissa Bridges: I Susan Negron: well Melissa Bridges: I I Susan Negron: d Melissa Bridges: would choose rubber. Susan Negron: Maybe I can ask it right now the question that I have. Uh, is it possible uh of is it necessary to make a touch-screen square? It isn't, I think, yeah? Melissa Bridges: Well, m I don't know. Diana Rodriquez: Well, Melissa Bridges: No. Diana Rodriquez: I think that touch-screens are generally square. Susan Becker: Yeah. Melissa Bridges: Yeah. Diana Rodriquez: But it's the Susan Negron: We're Diana Rodriquez: case you put around it Melissa Bridges: That Diana Rodriquez: that Susan Negron: We put Melissa Bridges: isn't Diana Rodriquez: makes Susan Negron: fashion Diana Rodriquez: the shape. Susan Negron: in electronics, so Diana Rodriquez: Hmm? Susan Negron: maybe we can uh Diana Rodriquez: Yeah okay, but if you have a square uh L_C_D_ screen, Susan Negron: Mm Diana Rodriquez: and Susan Negron: yeah. Diana Rodriquez: you put a case around it that has uh like bulbs or Susan Negron: Mm-hmm. Diana Rodriquez: that that covers part of the L_C_D_ screen. Melissa Bridges: Yeah, that would Diana Rodriquez: That Melissa Bridges: cover it. That that would solve Diana Rodriquez: That's Melissa Bridges: the problem. Diana Rodriquez: it's Susan Negron: Oh, Diana Rodriquez: custom customisable Susan Negron: yeah. Okay, Diana Rodriquez: and Susan Negron: I Susan Becker: Mm yeah. Susan Negron: I get it. Melissa Bridges: So mm Uh uh so uh so what are the opinions? Uh rubber or plastic? I I I prefer rubber. Diana Rodriquez: Yeah, Diana Rodriquez too. Susan Becker: Diana Rodriquez too. Susan Negron: Okay. Melissa Bridges: Yeah, you Susan Becker: Yeah? Melissa Bridges: too? You sure? You Susan Negron: That's good. Melissa Bridges: you Susan Negron: Well, Melissa Bridges: you seemed Susan Negron: as Melissa Bridges: to hesitate Susan Negron: long a Melissa Bridges: a bit. Susan Negron: as long as it's it's uh it's firm, and you don't uh Diana Rodriquez: Mm yeah. Susan Negron: it's not bendable or something, I th I think that goes too far. Melissa Bridges: Yeah, it it shouldn't it shouldn't Susan Becker: Okay. Melissa Bridges: flop over when you Susan Negron: Oh. Melissa Bridges: hold it in your hand uh No, that that that that's gonna The the chip set will hold it firm in place, and Susan Negron: Okay. Melissa Bridges: uh and and uh and a L_C_D_ screen also Susan Negron: It might even bounce back when you drop it on the floor. Melissa Bridges: Yeah it m might it might. Susan Negron: Okay. Melissa Bridges: Uh, tra uh traditional versus L_C_D_, well I figured we we all set on that. And uh, then also the simple versus advanced. Well I figure if we go for L_ L_C_D_, we we should have the advanced. Susan Becker: Mm Diana Rodriquez: Yeah. Susan Becker: yeah. Melissa Bridges: So that shouldn't be a problem. Okay, well that's my uh Susan Becker: Thank you. Melissa Bridges: Uh, you're welcome. Diana Rodriquez: Can I uh do my thing? Susan Becker: Yeah. Diana Rodriquez: It uh Susan Becker: Do your thing, Susan Negron: Do Susan Becker: Tim. Susan Negron: your thing. Susan Becker: Bring it on. Diana Rodriquez: Expert map. Okay uh Last week I went to uh Paris and Milan for some trend-watching. For marketing. Our research and development department and I went to Paris and Milan. In Paris and Milan, we uh asked different people, uh differing in age and in income, uh the amount of money to spend, um what they like in design uh and material nowadays. Findings. Our main audience, uh so that's people below forty, uh prefer the following. At first, the colours of fruit. Very basic colours, like Janus explained. Um, fresh colours, uh green, red, uh strawberry red, uh yellow, banana yellow. Um, considering material, um Yeah. They like spongy material, Susan Negron: Spongeball. Diana Rodriquez: like yeah a sponge-ball. Like a s soft material. Janus Susan Becker: Yeah. Diana Rodriquez: m uh mentioned it also. I think he did some uh some findings himself. Melissa Bridges: Well, Diana Rodriquez: You Melissa Bridges: the Teletubbies Diana Rodriquez: wer Melissa Bridges: sh Diana Rodriquez: you weren't in Paris? Okay. Like this. Like big uh Susan Becker: Flashy. Diana Rodriquez: g flashy colours. Susan Becker: Yeah. Diana Rodriquez: Fresh. It's nice, I think. Okay, our secondary audience, uh people above forty a forty years in age, they like the dark traditional colours. Uh Yeah, uh materials like wood Susan Becker: Yeah, Diana Rodriquez: that Susan Becker: but wood is not a not a material you which you build a a remote control of. Melissa Bridges: Well, you could. Diana Rodriquez: No Melissa Bridges: You Diana Rodriquez: n Melissa Bridges: you Diana Rodriquez: j Melissa Bridges: could. Diana Rodriquez: just Susan Becker: Yeah Diana Rodriquez: j Susan Becker: but Diana Rodriquez: just a w Susan Becker: never seen Melissa Bridges: Well uh Susan Becker: one. Susan Negron: It'll float. Diana Rodriquez: No, okay, but just just a wooden uh Susan Becker: Case. Diana Rodriquez: look. Susan Becker: Oh, a wooden Melissa Bridges: Yeah. Susan Becker: look, yeah. Diana Rodriquez: Like uh you have those fake uh Susan Negron: Tables. Diana Rodriquez: fake panels on the floor. The that isn't wood anyway, but Susan Becker: Okay. Diana Rodriquez: Okay? But, that's our secondary audience. Susan Becker: Yeah. Diana Rodriquez: So, uh we decided to take mm yeah the people below forty. Susan Becker: Yeah. Diana Rodriquez: So, that this doesn't apply. 'Kay, the third. Uh, there're some overall thoughts about new remote controls. They have to look fancy. Um, they should be technological in innovative. That means uh there have to be fancy things in. Uh, and easy to use. But that's common. My personal preferences. We have to aim at a mu at the main audience. And uh, therefore use fresh colours. Susan Becker: Would you prefer uh uh that you can choose the colour of your uh remote control Diana Rodriquez: Uh, Susan Becker: or Diana Rodriquez: I'll I'll come to that in a second Susan Becker: Okay. Diana Rodriquez: point. Here, think about removable covers, as seen Susan Becker: Okay. Diana Rodriquez: in mobile telephon telephone market. To customise your own remote control. Like the Nokia uh the Susan Becker: Yeah. Diana Rodriquez: removable covers, uh just put a red Susan Becker: Okay. Diana Rodriquez: on it and go to the shop and buy a green one. Uh, a third, material being used uh could well be stuff like rubber. Um, two advantages. Uh, it fits within the current market trends. And uh it adds safety to your remote uh when you drop it. So Uh to come back to your question, I think uh and the people in Milan and Paris also think that uh the rubber should be pretty hard. Like uh seen on regular mobile phones. Actually, they have a lot in common. The phones and the Melissa Bridges: Well, I actually saw a phone that you could use as a remote, so Diana Rodriquez: Yeah. Susan Negron: Ah. Melissa Bridges: Yeah. Diana Rodriquez: Yeah. Susan Becker: Maybe Diana Rodriquez: Okay. Susan Becker: you could use your remote as a phone. Melissa Bridges: Hey. Susan Negron: Hey. Melissa Bridges: That Susan Becker: There Melissa Bridges: might Susan Becker: are numbers Melissa Bridges: be a next Susan Becker: on Melissa Bridges: step. Susan Becker: it, so uh Diana Rodriquez: Yeah, exactly. Uh, in my second sheet of personal preferences, uh we have to reconsider the speech function uh recognition. Uh, it's very innovative. Innovative. Susan Becker: So that you say um S_P_S_S_, and it goes to Diana Rodriquez: Yeah, Susan Becker: uh Diana Rodriquez: like something. Susan Becker: Okay. Diana Rodriquez: speech recognition and stuff. But, we have to keep the cost in uh in mind, but Susan Negron: Twelve Diana Rodriquez: it Susan Negron: fifty uh Diana Rodriquez: Yeah, it it can be uh very expensive. 'Kay, second. Uh, building games like Snake or Tetris to amuse the younger users. Uh, also the link with uh mobile phones. Susan Becker: Yeah, but Diana Rodriquez: Uh Susan Becker: you don't use that th games when you watching television, Diana Rodriquez: No, Susan Becker: I think. Diana Rodriquez: but Melissa Bridges: Well, Diana Rodriquez: No, Melissa Bridges: yeah. Diana Rodriquez: okay. But you don't use games when you're d when you're making a telephone call. It's just the same. Susan Negron: When your parents are watching some boring program, you can take the remote and do something else. Diana Rodriquez: Yeah. Susan Becker: Yeah, okay. Diana Rodriquez: When you're at college. Melissa Bridges: You take Diana Rodriquez: Uh Susan Becker: You Melissa Bridges: your Susan Becker: take Melissa Bridges: uh Susan Becker: your remote Susan Negron: Take Melissa Bridges: remote Susan Becker: control Melissa Bridges: with Diana Rodriquez: No. Melissa Bridges: you to school. Susan Becker: with you. Diana Rodriquez: You al you also take Susan Negron: it. Diana Rodriquez: uh t you take your IPac and go uh play games. Yeah. Melissa Bridges: Yeah. Diana Rodriquez: Yeah. Well, I do that, but Okay, and um And third, I stick with it, the log-in functionality uh with the slogan, take parental control to a new dimension. Susan Negron: Ooh. Melissa Bridges: Very Diana Rodriquez: That's Susan Negron: S Melissa Bridges: nice. Diana Rodriquez: it. Susan Becker: Uh great. Susan Negron: Mm-hmm. Susan Negron: In Okay. Um the interface contents. Well that's a just simple PowerPoint mock-up I want to m make it more as dynamic for you so I'll draw there. But, the main concept is um take one big touch screen. Um, always display the primary buttons clear and visible. Maybe even li like this with uh u uses of a lot of space. And uh make the menu structure changeable. So if you press um system, that's Yeah, well m multiple system options can, maybe five or ten or or one, can fit in. Or maybe even a step further when you want to um t um have some other options that are not programmable with one horizontal button. And um other buttons can may be displayed here if that's necessary. And um well, how do uh do we want to look at uh uh f um Yeah Does a remote look Well, it's you've gotta hold it in one hand. So um the middle like all remotes have to be in a little bit small, so you can put it in inside your hands. And some remotes you can use with your thumb. But I think that's too difficult for this one. So you can make it s a little broader. Yeah. And here? And maybe use your thumb on the on the main buttons. And use your other hands on the menu structure. So here are gonna be the program buttons. One, two, three, four, et cetera. And the the volume control and program control maybe. And, down here, um, I added, this could be one uh big L_C_D_. Um, the menu structure. So you can use it in uh in this way. Um One thing you've gotta keep in mind, keep the remote clear of too much functions at the same time. Um, know that if you are changing the menu structure here, um And well, I still believe you should keep displaying the buttons. But if you're programming the colour of the T_V_, do not display twenty other options that are possible. Just keep it as simple as uh as possible. And do not use too many levels. Do not have to select a screen first and then brightness and then colour and un-plus, and um push plus twenty times. But just the um uh just in one button if possible. And um, well, you kn you all know the T_V_ levels. Um, channel one, two. And when you get to n to uh to ten, ye and want to go back, uh well you have a problem. Just m most most modern T_V_s, you you press one zero, and it goes to ten. And else, to one and through after that. So the s a button less. And um, things like teletext, put them in the menu. Things like um um Yeah. Diana Rodriquez: Yeah. Uh, what do you think about a back-and-forth come-up uh button? Susan Negron: Yeah, yeah Diana Rodriquez: L Susan Negron: w Diana Rodriquez: like in uh internet Susan Negron: Yeah, Diana Rodriquez: explorer. Susan Negron: I I find I must trying to uh tell it. And this is program uh plus and minus. Uh Diana Rodriquez: Yeah okay, but does it that is for uh going from four to five. Susan Negron: Yes. Diana Rodriquez: But if you go from two to Susan Negron: Or Diana Rodriquez: eight, Susan Negron: if you're watching Diana Rodriquez: and you want Susan Negron: Studio Sports on uh on seventeen, Diana Rodriquez: Yeah, Susan Negron: and Diana Rodriquez: and on Susan Negron: your Diana Rodriquez: two. Susan Negron: wife is watching Diana Rodriquez: That you Susan Negron: some Diana Rodriquez: can switch Susan Negron: soap on Diana Rodriquez: switch Susan Negron: two Diana Rodriquez: easy. Susan Negron: Well yes, I think that's a good idea. But um, well m my preference Diana Rodriquez: Yeah it Susan Negron: would Diana Rodriquez: is. Susan Negron: to be put it in the menu structure. Diana Rodriquez: Yeah. Susan Negron: And if you're using that button a lot of times, well of course the menu will still be displayed on the screen. You just don't have to play games uh in-between. But if you're really switching between two channels, you won't have time uh Diana Rodriquez: Mm Susan Negron: to Diana Rodriquez: no. Susan Negron: d use the other options. Um, yeah already already told that. Diana Rodriquez: That's Susan Negron: Yeah. Diana Rodriquez: it. Susan Negron: That's my conclusion. Diana Rodriquez: Okay. Susan Becker: Oh, okay. Uh I think we can discuss a little about the the three uh kind of revolutionary things uh Tim uh came with. The parental control, the games, and the voice recognition. Uh There's n not uh too much decision on uh that one so uh I think that parental control is a good function to uh to put in the remote. I don't know how you think Diana Rodriquez: Yeah. Susan Becker: about it. Susan Negron: Well, I agree, just put it in the menu structure somewhere. Susan Becker: Yeah. Susan Negron: Um, yeah um system Diana Rodriquez: Yeah but Susan Negron: properties, um parental control. Diana Rodriquez: What I see uh How I see it is you put it on the the remote Susan Negron: Yeah. Diana Rodriquez: and then you have like a Windows log-on screen with parents, children. Susan Negron: Mm. Diana Rodriquez: Something Susan Becker: Yeah. Diana Rodriquez: like that. Susan Negron: Um, Diana Rodriquez: And w Susan Negron: w Diana Rodriquez: when you want Susan Negron: well, Diana Rodriquez: to use Susan Negron: yeah. Diana Rodriquez: the parents uh option, Susan Negron: It it Diana Rodriquez: you Susan Negron: has Diana Rodriquez: have to Susan Negron: to be fast. You don't want to to go down and watch the news at eight o'clock and turn it on and wait twenty seconds for for uh the log-on screen and then remember your code and all kinds Diana Rodriquez: Yeah, Susan Negron: of settings. Diana Rodriquez: ok Susan Becker: No but I think most people uh find it uh much more important that their children don't watch uh sex or violence uh Susan Negron: Mm-hmm. Susan Becker: on the television, and uh wait Susan Negron: Why Susan Becker: uh ten or fifteen seconds Susan Negron: Mm-hmm. Susan Becker: longer, so they can uh finally watch it uh because Susan Negron: You c Susan Becker: of Susan Negron: may Susan Becker: that. Susan Negron: use Susan Becker: Uh Susan Negron: like when there's uh X_P_, uh a Diana Rodriquez: Yeah. Susan Negron: simple log-on, d Diana Rodriquez: Yeah. Susan Negron: you just Susan Becker: Yeah. Susan Negron: push uh one Diana Rodriquez: Yeah. Susan Negron: or two Diana Rodriquez: Pu Susan Negron: or Diana Rodriquez: push Susan Negron: three. Diana Rodriquez: parents. Susan Negron: And if Diana Rodriquez: That Susan Negron: you push Diana Rodriquez: then Susan Negron: parents, Diana Rodriquez: then Susan Negron: then Diana Rodriquez: then Susan Negron: Yeah. Diana Rodriquez: you have to uh Susan Negron: To log in. Diana Rodriquez: go to three-digit Susan Negron: Yeah. Diana Rodriquez: uh Susan Negron: And if you Diana Rodriquez: log-in. Susan Negron: puts a Diana Rodriquez: Like Susan Negron: ye Diana Rodriquez: two one three. Susan Negron: Uh-huh. Diana Rodriquez: And it's in. Susan Negron: And Susan Becker: Yeah. Susan Negron: if you w you push p children, uh you don't have to uh Diana Rodriquez: It automatically Susan Negron: log in, but Diana Rodriquez: goes Susan Negron: you can only Diana Rodriquez: Yeah. Susan Becker: Yeah. Susan Negron: watch uh children's channels or uh Susan Becker: Yeah. Susan Negron: Okay. Well Melissa Bridges: I don't know if it's worth uh the time and effort we are going to spend on it. Because well it's a simple function, but it's gonna take a lot of resources and a lot of time um to programming it. Because you'll have to start working with the profiles and such. Diana Rodriquez: Mm-hmm. Melissa Bridges: And I'm not sure if it's actually worth uh investing that much time and effort into it. I don't Susan Becker: Well Melissa Bridges: know Susan Becker: I Melissa Bridges: what Susan Becker: think that's a b there's a big market for it, because uh you Diana Rodriquez: Mm yeah. Susan Becker: Yeah, you read many times in magazines same kind of stuff, and you heard on the news that uh that he Yeah, Diana Rodriquez: V violent Susan Becker: they Diana Rodriquez: T_V_. Susan Becker: believe that children uh are influenced by the television, and uh Well, we're we're aiming uh to uh below uh forty uh years. But there are a lot of uh people will below forty who have uh children Susan Negron: Yeah. Susan Becker: in young age uh who who want um to uh not watch uh violent or uh Susan Negron: Well, maybe um some idea on that. Susan Becker: Yeah. Susan Negron: Just make through a remote as it is, Susan Becker: Yeah. Susan Negron: but make an option to insert profiles, 'cause if my Diana Rodriquez: Yeah, of Susan Negron: grandad Diana Rodriquez: course. Susan Negron: would buy this remote, he wouldn't want to bother with all all the all the Susan Becker: Yeah. Susan Negron: uh things to do. Just make it an option in menu, ins install powerful profiles or something. Susan Becker: Yeah yeah. Diana Rodriquez: Yeah. Susan Becker: That's a that's a better idea? Diana Rodriquez: Yeah, w It just has to be w when it's deliver out of the store, Susan Becker: Yeah. Diana Rodriquez: it has to be just simple and plain. But Susan Becker: Yeah, okay. Diana Rodriquez: if you want to install it personally uh If I got kids, and I could choose between uh two remote controls. One Susan Becker: Yeah, with Diana Rodriquez: uh Susan Becker: and one without. Diana Rodriquez: w with parent control and one without, and I would would buy the one with. Susan Becker: Yeah. Susan Negron: Um, b Diana Rodriquez: I Susan Negron: well, Diana Rodriquez: th Susan Negron: still Diana Rodriquez: Yeah. Susan Negron: some question I have about how to incorporate those ones. You're thinking about some channels they uh cannot see, but well, I I when I think, oh yeah, for the f for all the standard channels, and only for maybe after ten o'clock uh in the evening violent films and movies uh will come and uh maybe maybe some some timing uh will be uh needed Diana Rodriquez: Yeah. Susan Negron: instead of uh of channels, because if you're watching uh, I don't know, you're in the at day uh, cartoons will come up m on maybe Friday night. I don't know. Susan Becker: Yeah, maybe it can work with show view. Uh, you you can control your video recorder with show view. Uh, when you tick in a number, it will uh start and end uh recording. But maybe there's some option that uh that t uh the kind of show view numbers are violent, and that they are blocked out. Susan Negron: Yeah, the disadvantage vantage is that someone will has to send all the show-view numbers of the programs that Susan Becker: That's Susan Negron: they Susan Becker: true. Susan Negron: remotes Susan Becker: Yeah. Susan Negron: and edit it all, will have Diana Rodriquez: Yeah Susan Negron: to Diana Rodriquez: but Susan Negron: decide Diana Rodriquez: yeah Susan Negron: uh Diana Rodriquez: but that isn't possible. Susan Negron: That isn't possible. Susan Becker: Yeah. Melissa Bridges: But, well, if you want to I i i if we in incorporate uh the parental control, uh let's say we do, and and well whatever, cho uh child just goes up to the T_V_ and presses up for instance. Diana Rodriquez: Yeah. Melissa Bridges: Well uh, nob nobody's stopping the child from uh well checking uh the channel. Diana Rodriquez: Hmm. Susan Negron: Well, Melissa Bridges: But that Susan Negron: yeah you could say if parental control is only it it'll go from fourteen to sixteen with the page-up then, but Melissa Bridges: Well, I'm not sure because um for that Diana Rodriquez: Yeah. Melissa Bridges: to happen, you d you will have to receive a signal from the uh remote control, so it would, yeah, have to be constant uh constant signalling. Susan Negron: Mm-hmm. Melissa Bridges: What m what may be better is to incorporate an uh a separate device that uh that you can program with the remote control. And that uh provides parental control, for instance. And that's just an optional uh device. So there's n that's there's uh besides uh the remote control, you'll have a separate uh Susan Becker: I wouldn't put it in an optional device. That that then then then it becomes too much, I think. Melissa Bridges: Yeah? Susan Becker: If we do it, we Diana Rodriquez: Yeah, Susan Becker: we Diana Rodriquez: and Susan Becker: must do it in a kind of ways that like a profile, a parent profile, and a family Susan Negron: Yeah, Susan Becker: profile, Susan Negron: on a separate Susan Becker: and otherwise. Susan Negron: menu uh option. Diana Rodriquez: And and you know w uh when you install another device, uh children can still go up to the T_V_, p pop open uh the thing Susan Becker: Yeah. Diana Rodriquez: and and and g Melissa Bridges: Yeah, Diana Rodriquez: go Melissa Bridges: that's Diana Rodriquez: to a Melissa Bridges: true. Diana Rodriquez: channel. Melissa Bridges: That's true, but uh at same instant, same happens when uh you have remote control. Diana Rodriquez: Yeah, yeah of course. Melissa Bridges: So Diana Rodriquez: But Melissa Bridges: But, only difference is uh the uh the people buying the remote control will now get the f added feature of parental control, and those Diana Rodriquez: Yeah. Melissa Bridges: people wouldn't uh necessary want it. Diana Rodriquez: Ah it's Yeah. Melissa Bridges: So, you Diana Rodriquez: Yeah, okay. Melissa Bridges: you'd Diana Rodriquez: But it's Melissa Bridges: be Diana Rodriquez: just an an added feature Susan Becker: Yeah. Melissa Bridges: Yeah. Diana Rodriquez: feature. Susan Becker: Okay. And what do you uh guys think of the games in the voice recognition? I personally think that that becomes too much. Susan Negron: Yeah, well yeah, I Susan Becker: It's more like it gets you to the functionality, Susan Negron: A mail Susan Becker: but Susan Negron: too from management that it's very popular to use voice recon recognition. Susan Becker: Yeah. Susan Negron: But I don't think when you're watching T_V_ uh, hearing loud noises from Diana Rodriquez: Mm yeah. Susan Negron: the T_V_, Susan Becker: Yeah. Susan Negron: someone screaming one, and you f the channel switches, uh Yeah. Susan Becker: Yeah. Diana Rodriquez: Yeah, like f voice recognition is too much, I think. Susan Negron: Yeah. Diana Rodriquez: But Susan Becker: Okay. And games? Diana Rodriquez: games. It doesn't Melissa Bridges: Yeah. I can Susan Negron: W Melissa Bridges: see games Susan Negron: you Melissa Bridges: happening. Diana Rodriquez: Yeah. Susan Negron: can put it on chip anyway, so Melissa Bridges: Yeah. Susan Negron: uh Diana Rodriquez: That that Susan Becker: That Diana Rodriquez: doesn't Susan Becker: would Diana Rodriquez: c Susan Negron: As Diana Rodriquez: that doesn't Susan Negron: long as Diana Rodriquez: co Susan Negron: it's isn't a primary feature of the remote, but Diana Rodriquez: Yeah, Susan Negron: uh Diana Rodriquez: that that doesn't cost a lot of Susan Becker: Okay. Diana Rodriquez: extra resources, Susan Becker: So Diana Rodriquez: I Susan Becker: that Diana Rodriquez: think. Susan Becker: will uh that that that must be in it, you think? Melissa Bridges: Yeah, that will be nice. Susan Becker: Okay. So the games uh are in it. The voice recognition are not. And the parental control are Susan Negron: Optional Susan Becker: optional? Diana Rodriquez: Yeah, it's Susan Negron: in Diana Rodriquez: it's in it. But Susan Negron: But Diana Rodriquez: too ma Susan Negron: how we do it? Diana Rodriquez: I I think so, but Susan Becker: Yeah. Susan Negron: Well, I think also it's a good idea, buts very difficult to incorporate. So we should make it too complex. Is Susan Becker: Okay. Susan Negron: t some menu uh function, you choose parental control, and maybe four files will emerge from menu where put Diana Rodriquez: Yeah. Susan Negron: it on. But uh how how it's gonna work uh uh Susan Becker: Yeah, Susan Negron: will f Susan Becker: okay. Susan Negron: be a problem. Susan Becker: Uh, but uh will there uh uh Like the first idea uh from uh You can buy it without and uh with parental contr Susan Negron: Mm-hmm. Susan Becker: control? Or are we Susan Negron: Well Susan Becker: going to put it in and uh just Susan Negron: Ye Susan Becker: uh Susan Negron: I I think best would be uh to put it in and make Diana Rodriquez: To put Susan Negron: it an menu option. Diana Rodriquez: Yeah, Susan Negron: You can Diana Rodriquez: to Susan Negron: put Diana Rodriquez: put Susan Negron: on Diana Rodriquez: it in always. Susan Becker: Yeah? Susan Negron: Yeah. And you can just uh s when you buy it, you can select um personal preference, parental control on, and the password or Susan Becker: Mm yeah. Susan Negron: something. Melissa Bridges: Well, I don't know. I I figure if you had two different remotes, you could bo choose one with uh well uh uh a receiver in it. So you could actually easily uh build in uh parental control. But it would would be uh more expensive. So, a and that that way uh you could make cheap model and a expensive model. Could ma make the uh simple model and the deluxe model, uh for instance. Susan Negron: Oh, it's a p Yeah. Diana Rodriquez: Yeah, but T_V_s aren't capable of sending. Melissa Bridges: Yes they are. Diana Rodriquez: Yeah? Melissa Bridges: Yeah. Diana Rodriquez: I thought they were just Susan Becker: Yeah, Melissa Bridges: Yeah, Susan Becker: you yo Melissa Bridges: you you Diana Rodriquez: a Melissa Bridges: have Diana Rodriquez: able Melissa Bridges: some Diana Rodriquez: to Melissa Bridges: T_V_s Diana Rodriquez: receive. Melissa Bridges: any Diana Rodriquez: Yeah, some. Susan Becker: Yeah, Diana Rodriquez: But Susan Becker: but most often Melissa Bridges: Yeah. Susan Becker: not. Melissa Bridges: That is true, that is true. Susan Negron: Well, maybe you just have to restrict it to what programs, where the parent says, you cannot watch channel seven, nine, and ten, Diana Rodriquez: Yeah. Susan Negron: and you cannot watch all channels after ten o'clock. And there's just some little uh clock in Melissa Bridges: Well Susan Negron: the Melissa Bridges: yeah, Diana Rodriquez: Yeah, Susan Negron: remote. Melissa Bridges: you could Diana Rodriquez: j Melissa Bridges: you could easily Diana Rodriquez: just some rules. Susan Becker: Yeah. Melissa Bridges: you could easily you could easily to the mote control. But you still have the problem about uh the television itself. Susan Negron: No, no, it's very simple. There uh th I h I've seen some of remotes who have a clock in it. Melissa Bridges: Yeah, yeah yeah. Susan Negron: So, the remote does doesn't transmit when it's after Diana Rodriquez: Yeah, okay. Susan Negron: twelve Diana Rodriquez: But, Susan Negron: clock. Diana Rodriquez: on the T_V_ Susan Negron: Yeah? Diana Rodriquez: at least my T_V_, is a is a compartment which you can press. Susan Negron: Yeah. Diana Rodriquez: And Melissa Bridges: Yeah. Diana Rodriquez: there are buttons uh behind Melissa Bridges: Yeah. Diana Rodriquez: it Susan Negron: Yeah. Diana Rodriquez: which you can use, if Susan Negron: Well, Diana Rodriquez: you d if Susan Negron: that's Diana Rodriquez: you don't if you don't have a Susan Negron: To put it very blunt, that's not our problem. Just have um the parents buy uh some Diana Rodriquez: Yeah. Susan Negron: glue and uh Diana Rodriquez: Yeah. Susan Negron: It's not not a part of the remote. Diana Rodriquez: Yeah, of course. Melissa Bridges: Yeah, that is true. Yeah, that is true. Susan Negron: You have to f Melissa Bridges: Yeah, Susan Negron: Yeah. Melissa Bridges: you could you Susan Negron: Uh, Melissa Bridges: could you Susan Negron: or Melissa Bridges: could go Susan Negron: make Melissa Bridges: like Susan Negron: it ourselves Melissa Bridges: uh that Susan Negron: very Melissa Bridges: that would Susan Negron: diffic Melissa Bridges: actually make uh things a lot more easy. You Susan Negron: Yeah. Melissa Bridges: could just blame it on television and Susan Negron: Yeah. Melissa Bridges: uh make it their problem. Diana Rodriquez: Yeah. Melissa Bridges: Yeah, I figured I figure we could do that. Yeah, Susan Negron: Okay. Melissa Bridges: yeah, sure. Diana Rodriquez: Or Melissa Bridges: Uh, Diana Rodriquez: j Melissa Bridges: I'm Diana Rodriquez: Yeah. Melissa Bridges: not sure what marketing thinks about it, but Diana Rodriquez: Ah I have to uh consult my legal advisor about it. Susan Becker: Okay. So uh I think we have decided on the things that Uh from Janus, the energy, the combination between battery and kinetic. The case will be double-curved and uh rubber, in a fr flashy fruity colour uh that with cover is removable. The buttons will be uh touch-screen. Uh but there may not be too many buttons. And in the the menu structure, uh there must not to be uh Five minutes to go. Uh, too uh too many levels. And uh it must be easy to use. The parental control will be incorporated, but it must be not too complex. And the games are in it. So Susan Negron: Okay. Susan Becker: I think we have uh we Diana Rodriquez: Consensus. Susan Becker: have decided uh, okay. Uh, little more. Diana Rodriquez: Oh. Oh. Susan Negron: Oh. Diana Rodriquez: I I have one thing left. Susan Becker: Yeah. Diana Rodriquez: Maybe for uh Jerome. Susan Negron: Yeah? I'm listening. Diana Rodriquez: Um, the views. Maybe it's uh handy to build in an expert view and a simple view. Susan Becker: Like a like a moat or s or something. Diana Rodriquez: Yeah. Susan Becker: Yeah. Susan Negron: Um, Diana Rodriquez: Like at Melissa Bridges: User Diana Rodriquez: In Susan Negron: well Melissa Bridges: profile. Diana Rodriquez: the experts view, you have Susan Becker: Yeah, Diana Rodriquez: a lot Susan Becker: but Diana Rodriquez: of Susan Becker: you Diana Rodriquez: more Susan Becker: have that Diana Rodriquez: buttons. Susan Negron: What Susan Becker: in Susan Negron: I Susan Becker: the Susan Negron: was thinking about is just a menu structure, when you don't use it is simple. Susan Becker: Yeah. Diana Rodriquez: Yeah. Susan Negron: And Susan Becker: You Susan Negron: when Susan Becker: use Susan Negron: you push Susan Becker: the Susan Negron: uh system properties, uh entire list pops up with e ev all kind of f stuff you can program. Susan Becker: Yeah. Diana Rodriquez: Mm yeah, okay. Susan Becker: It's Diana Rodriquez: Fairly Susan Becker: already Diana Rodriquez: enough. Susan Becker: incorporated Diana Rodriquez: Yeah. Susan Becker: a little in Melissa Bridges: Well Susan Becker: that Melissa Bridges: yeah, you Susan Becker: concept. Melissa Bridges: you could actually build in a function that you can program it yourself, for the more advanced users. Diana Rodriquez: Yeah, wh which buttons you Melissa Bridges: Yeah, Diana Rodriquez: like Melissa Bridges: which Diana Rodriquez: or not. Melissa Bridges: buttons do you want to in it. Because you can Diana Rodriquez: Yeah. Melissa Bridges: you can like build in a back-forward button, and uh some po somebody would just want to watch two channels. Diana Rodriquez: Yeah. Just leave the other numbers away. Susan Becker: Okay. Melissa Bridges: Yeah, you could you could m have people want uh Susan Becker: We Melissa Bridges: want Susan Becker: take Melissa Bridges: that. Susan Becker: it to the other meeting, okay? Diana Rodriquez: Okay. Susan Becker: I have a little Diana Rodriquez: Go on. Susan Becker: w uh little Melissa Bridges: Ah, yeah, Susan Becker: chat Melissa Bridges: sure. Susan Becker: to do and uh then we uh Diana Rodriquez: A Susan Becker: finish. Diana Rodriquez: little Susan Becker: I went Diana Rodriquez: chat. Susan Becker: to uh a master class and uh uh two things uh are uh are uh can come in handy uh for us. First thing uh is uh we talked about knowledge uh management. Knowledge engineering and uh uh the fact that uh that uh that the idea of knowledge, uh sharing and learning knowledge from other companies is uh like that. It's it's uh very hot at the moment, so it's it's mostly for the management expert to to look what other Diana Rodriquez: Marketing. Susan Becker: uh marketing or did I said management? Diana Rodriquez: Management. Susan Becker: Oh. Just talking about Diana Rodriquez: Yeah, Susan Becker: myself. Diana Rodriquez: that's my function, Susan Becker: Uh Diana Rodriquez: to Susan Becker: W Diana Rodriquez: Okay. Go on. Susan Becker: What other companies uh had to uh also with the the the the marketing campaign when they put on a newer remote, just some uh Yeah. Import export. And uh Susan Negron: Som Susan Becker: another Susan Negron: some Susan Becker: one. Susan Negron: bench-marker. Susan Becker: Uh, they're a ha they're at Yeah, benchmarking, that's the word I saw. I uh couldn't uh Okay, uh another uh thing is uh there were there there was a survey, and um uh it came out that um people like to buy things from a single large provider, instead of those who uh are partnering uh with us. So, we must uh we must bring it as if uh Real Reaction is uh is big company, uh a trustful company, and uh Diana Rodriquez: How Susan Becker: it has m Diana Rodriquez: I know a marketing name for our product. Susan Becker: Okay. Diana Rodriquez: R_ th R_ to the third power. R_ three. Real Reaction remote. Susan Becker: I had a Susan Negron: Oh. Susan Becker: I had another idea to put uh uh the whole the whole idea of uh Real Reaction and uh uh uh Diana Rodriquez: Mm-hmm? Susan Becker: a single brand and uh uh that kind of thing. When you uh put on remote, you see a kind of a just like when you telephone, you see a little Susan Negron: Uh, Susan Becker: uh animation. Susan Negron: logo. Diana Rodriquez: Bling. Susan Negron: Yeah? Susan Becker: Real Reaction remote. Susan Negron: Yeah. Susan Becker: And uh with the with the with the motto, we put fashion in electronics. And Diana Rodriquez: Yeah. Susan Becker: then you go uh Diana Rodriquez: Yeah, okay, but it has to be like a split Susan Becker: The Diana Rodriquez: second, because Susan Negron: Yeah. Diana Rodriquez: you have to put in a Susan Negron: Well, Diana Rodriquez: code also and Susan Negron: you can show somebody a logo for point five seconds, they'll still remember it. Diana Rodriquez: Yeah. Susan Becker: Yeah. Susan Negron: And it it l Susan Becker: But Susan Negron: linger Susan Becker: w Susan Negron: on every time you see Susan Becker: th Susan Negron: it. Susan Becker: the idea from this uh thing is that we must present it as a as we are a a single large provider who will stand on our own. Melissa Bridges: Well, if you if you have the l L_C_D_ screen, you can you can uh have a small logo i uh at the Diana Rodriquez: Yeah. Melissa Bridges: bottom. And it could just stay Diana Rodriquez: That Melissa Bridges: there. Diana Rodriquez: spins Susan Becker: Mm Diana Rodriquez: around Susan Becker: yep, Melissa Bridges: Yeah, that Susan Becker: yeah. Melissa Bridges: spins Diana Rodriquez: like Melissa Bridges: around Diana Rodriquez: all Melissa Bridges: or Diana Rodriquez: the Melissa Bridges: something. Diana Rodriquez: time. Susan Negron: Very annoying. Susan Becker: Also also. Melissa Bridges: Hmm. Susan Becker: But we we are uh Diana Rodriquez: It it's just like a uh globe in Internet Susan Becker: Yeah Diana Rodriquez: Explorer. Susan Becker: yeah y yeah Melissa Bridges: Yeah. Susan Becker: yeah. Susan Negron: Yeah. Melissa Bridges: Yeah, something Susan Becker: Okay, Melissa Bridges: like that. Susan Becker: but Melissa Bridges: A Susan Becker: uh Melissa Bridges: small icon. Susan Negron: Yeah, Susan Becker: think about Susan Negron: I Susan Becker: that kind Susan Negron: It's Susan Becker: of Susan Negron: ok Susan Becker: things. Susan Negron: For Susan Becker: That's Diana Rodriquez: Okay. Susan Becker: what they said Susan Negron: f Susan Becker: in the master class. Susan Negron: Oh, for the next meeting, right? Susan Becker: N Uh, Diana Rodriquez: Who uh Susan Becker: next meeting starts in thirty minutes. So uh maybe you can go to Paris and Milan uh Diana Rodriquez: Who Susan Becker: once again. Diana Rodriquez: who gave you the master class? Susan Becker: The master class? Diana Rodriquez: Ronald Betenberg? Susan Becker: Franz Mehler's. Diana Rodriquez: Okay, thanks. Susan Becker: Uh, very special, uh next uh session. Uh idea that you uh the the industrial uh development uh centre and uh user interface uh will work together on a prototype. And uh will drawing it on the SMARTboard. So that's a kinda new uh thing. Diana Rodriquez: Ah. Susan Becker: And um, Diana Rodriquez will uh will uh ke he will be keeping busy with the product uh evaluation. But the most uh specific instructions will be sent to you by email. Susan Negron: Um Melissa Bridges: So we're going to work together Susan Negron: Stay here Melissa Bridges: right Susan Negron: and Melissa Bridges: now? Susan Becker: Yeah, the well, uh dids this what I uh what I heard. I Diana Rodriquez: In the master class. Susan Becker: Not in the master class. Diana Rodriquez: Yeah. Susan Becker: So you uh just wait for the specific instructions and uh Susan Negron: P_. Susan Becker: But I think it was a very uh very good uh session, uh gentlemen. Susan Negron: Ah, Melissa Bridges: Definitely. Susan Negron: no new Diana Rodriquez: Diana Rodriquez Susan Negron: email. Diana Rodriquez: too. Susan Becker: I will Susan Negron: Okay. Susan Becker: thank you all. Melissa Bridges: Well thank you too. Susan Negron: Thank you. Thank Susan Becker: And Susan Negron: you Susan Becker: uh Susan Negron: very much. Diana Rodriquez: Thank you too, Susan Becker: Give Diana Rodriquez Diana Rodriquez: lord. Susan Becker: a good evaluation. Susan Negron: Yeah. Uh-huh. Diana Rodriquez: 'Kay guys, Melissa Bridges: You wish. Diana Rodriquez: lot of success. Melissa Bridges: M Susan Negron: See you. Melissa Bridges: Aye? Cheers. Susan Becker: Cheers. See you in a half hour. Melissa Bridges: Hey. Susan Becker: But keep an eye on your uh Melissa Bridges: Yeah, uh Susan Becker: laptops Melissa Bridges: I'm not sure Susan Becker: for Melissa Bridges: if Susan Becker: a Melissa Bridges: we Susan Becker: real Melissa Bridges: uh we Susan Becker: uh Melissa Bridges: Because I saw something about individual actions. Susan Becker: Yeah, but th there's there's still the my uh instructions that you will work together. Susan Negron: Yeah. Here? Or uh Susan Becker: That's Susan Negron: Yeah. Susan Becker: not my problem. Susan Negron: If you got Susan Becker: Bye-bye. Susan Negron: a No. So Stupid Melissa Bridges: Well, Susan Negron: manager. Melissa Bridges: yeah. Susan Becker: Susan Becker always works alone. Melissa Bridges: Right. Uh Do you have new email? Susan Negron: No. Don't Melissa Bridges: Hmm. Susan Negron: get what's

Susan Becker went over the agenda. Melissa Bridges gave a presentation about the options for power source, materials and components. He recommended using kinetic energy, and having a double-curved rubber case. The group decided to combine batteries and kinetic energy. Diana Rodriquez reported on current trends among young people for fresh fruity colours and spongy material. He explained that the remote should look fancy, and be technologically innovative and easy to use. He suggested using removable customisable covers, speech recognition, installing some games into the remote, and implementing a parental control feature. Susan Negron talked about having a simple layout with not many buttons. Most features will be controlled through the menu. The group discussed the various options and decided to use games but not speech recognition. After a lot of discussion they decided to implement a simple parental control feature. Susan Becker talked about what he had learned at a masterclass on knowledge management. The group discussed how to incorporate the company logo and motto onto the remote, including having an animated logo on the touch screen. Susan Becker gave the group instructions about what to do before the next meeting.

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Helen Blackwelder: Wouldn't wanna be Project Manager. Uh what, we going to do. Um, once again I'm uh gonna take minutes. So, um no presentation for Anne Garstka. Uh, first we have a prototype presentation by G_ and G_. Frances Pesce: Yo. Anne Garstka: J_ Helen Blackwelder: Afterwards Anne Garstka: and J_. Helen Blackwelder: some uh eval eval evalu Ilona Jackson: Evaluation. Anne Garstka: Evaluation. Frances Pesce: Evaluation Helen Blackwelder: evaluation Frances Pesce: criteria. Helen Blackwelder: s sorry. Uh evaluation crit criteria. Uh, in combination with the finance I um uh I received uh a an uh an Excel uh file Anne Garstka: Hmm. Helen Blackwelder: which we have to fill in later on. Um, you see. Uh, and Anne Garstka: Hmm. Interesting. Helen Blackwelder: then we must see uh if we uh stay under the twelve Anne Garstka: Ah, Helen Blackwelder: and a Anne Garstka: okay. Helen Blackwelder: half Euro. So, that's uh Frances Pesce: Oops. Anne Garstka: Cool. Ilona Jackson: Mm-hmm. Helen Blackwelder: that's a Ilona Jackson: That's Helen Blackwelder: big Ilona Jackson: gonna Helen Blackwelder: l so Ilona Jackson: be Helen Blackwelder: let's uh wait Ilona Jackson: problem. Helen Blackwelder: it uh um Frances Pesce: Some creative Helen Blackwelder: we have we Frances Pesce: uh Helen Blackwelder: have must uh, we must have uh some time for that uh because it will be uh yeah, quite a lot Frances Pesce: Oh. Helen Blackwelder: of mathematics. Frances Pesce: Yeah. Helen Blackwelder: And after that, uh uh an evaluation of uh the process how we uh how we have done it here with the SMARTboard, with the with our laptops, with the all uh all this. And uh afterwards, uh we closing. Once again, forty minutes, so uh Frances Pesce: Ok Helen Blackwelder: let's start. Frances Pesce: okay. Helen Blackwelder: I would g give the word to um G_ and G_ for the prototype Frances Pesce: Shall I Helen Blackwelder: presentation. Frances Pesce: give a short introduction and then uh Ilona Jackson: Yeah, well sure. Anne Garstka: J_ and J_. Frances Pesce: Okay. Helen Blackwelder: J_ and J_. Anne Garstka: Jane and Jane. Frances Pesce: J_ and J_, okay. Anne Garstka: 'Kay guys, take it away. Ilona Jackson: Hi. Frances Pesce: Take it away. Frances Pesce: Um, this was our first concept. We decided to use a single touch-screen. So, we've worked out this concepts, how to how to hold it, where to put the buttons and and stuff. And um, well, we began with uh a form of, that is uh is easy to hold w in one hand, left or right handed. So, we made i it a little bit less thick and uh it has some ar artistic meaning. No? This uh isn't nothing. Idea maybe uh is better. Um well, during the meeting I showed you the concept of uh placing the buttons on top, usable with your thumb, and uh the menu structure, uh if necessary, with your other hand, so it's just gonna hold it easily. And it has to be acce accessible with your uh other hand too, of course. So we began uh working out a concept. Ilona Jackson: Yeah, uh well, and as you saw, we would just have the basic remote with the panel L_C_D_ uh screen. Well, these would be the main buttons, h you could uh change them later on in your own profile if you want to. But, well it's standard they will be delivered with this kind of uh set-up. We have the more advanced menu uh setting right here. We the sub-menus and We made a top oh, or a front view. Just so like you wanna uh back view. As you can see, this uh there, there are uh two uh weird bumps in it. This is for uh the added uh effect of uh well uh y youth and dynamic. And uh this is for the artistic effect. Well, what we figured is uh we'll show you a picture later on you have more b a better idea after that. But, idea is for to stay in balance with these two uh with Anne Garstka: Hmm. Ilona Jackson: these two. And so when you put it on the table, it will just lay down. It won't uh roll around or stuff. But it will lie more in your hand like an old telephone maybe, or like these old Helen Blackwelder: Mm. Ilona Jackson: uh phones. Y you you may get the idea. So thi this is about uh how we figured it should be. The s panel we g you would hide with some more uh rubber layers, like we discussed early on. Uh, you would s you wouldn't see the uh straight panel, but more fluidly and Frances Pesce: Yeah, Ilona Jackson: round. Frances Pesce: the panel just uh of course goes like this. Ilona Jackson: Yeah. Frances Pesce: But the overlaying layer is uh a little bit uh curved and stuff. Anne Garstka: Okay. Helen Blackwelder: No, okay. Ilona Jackson: And uh, in these bumps you could actually uh put some electronics uh that would you can make a more thinner uh Anne Garstka: Yeah. Ilona Jackson: design, and that would actually Frances Pesce: Yeah. Ilona Jackson: look very nice, yeah. And uh, about the colour, what have Frances Pesce: Yeah. Oh, we added that this um can be held with your hands for this maximum is om yeah, one and a half centimetres. So, you have room here for your battery and maybe even other um electronic chips. S Anne Garstka: Okay. Frances Pesce: and you can just be the the layer of the touchscreen and some have some wires underneath it to make Anne Garstka: Hmm. Frances Pesce: it as uh thin as possible in the middle for good grip. Ilona Jackson: Yeah, f uh, as colours, do you do you have the picture in uh Frances Pesce: Yeah. Ilona Jackson: Oh yeah. Now, well this is the idea about uh the bumps. Uh, you can see there's a v a very uh youthful uh dynamic uh exterior. It uh you just want to hold it you uh you are young and uh dynamic Anne Garstka: 'S l Ilona Jackson: like Anne Garstka: it's Ilona Jackson: us. Anne Garstka: like an uh Easter egg. Ilona Jackson: Yeah, it's Frances Pesce: Yeah. Ilona Jackson: like an e but this is for children. We we want a more adult version. But, this is like a remote control for children. Helen Blackwelder: It's called a weemote Anne Garstka: Weemote. Ilona Jackson: A weemote. Yeah. Helen Blackwelder: Weemote. Ilona Jackson: Hey, that's actually a brilliant uh marketing stand. Uh, Frances Pesce: Yeah. Anne Garstka: Wait Ilona Jackson: but Anne Garstka: what I w got in mind. Ilona Jackson: So this actually basic the idea. We we just want to build a more uh adult vers adult version of of this. Anne Garstka: Mm-hmm. Helen Blackwelder: Yeah, I can imagine that. Ilona Jackson: And and for colours, we we figured starting with basic colours like uh white or metallic grey. Those are the technological colours actually, Frances Pesce: Yeah. Ilona Jackson: so Frances Pesce: It Ilona Jackson: it Frances Pesce: would Ilona Jackson: d Frances Pesce: be best to to appeal to a broad public and make the covers exchangeable, so the young people will buy an orange and a red and Ilona Jackson: Or Frances Pesce: blue Ilona Jackson: blue Frances Pesce: and a purple, Ilona Jackson: or whatever. Frances Pesce: but when the o older people uh go in the shop and they see uh an orange um remote control, it would be less appealing than a white one. And young Anne Garstka: Hmm. Frances Pesce: people, we think, are a little bit more flexible, they think, ah I'll buy for a couple of Euros Anne Garstka: Hmm. Frances Pesce: some noi nice hip Anne Garstka: Maybe Frances Pesce: uh Anne Garstka: it's an idea to sell it without a cover, so Frances Pesce: Well, Anne Garstka: that can a in the Frances Pesce: um Anne Garstka: in the shop. Frances Pesce: I think a cover is necessary, 'cause als otherwise Anne Garstka: Yeah, okay. Frances Pesce: you'll just Anne Garstka: Yeah, okay. Frances Pesce: have the L_C_D_ screen. So, there must be some cheap standard cover, Anne Garstka: Hmm. Frances Pesce: um maybe Anne Garstka: Mm. Frances Pesce: white or something, that's could comes with it and you can buy, so we can make extra Helen Blackwelder: Yeah, Frances Pesce: money. Helen Blackwelder: but uh you Anne Garstka: Oui okay. Helen Blackwelder: d you mustn't forget that uh our target aim is younger people. Uh, we had decided to uh put uh some flashy fruity colours in it, uh and uh in the survey from uh Milan and Paris uh it uh it came out that uh uh the d the older people are uh more willing to uh to spend money on extra features. Frances Pesce: Okay. Helen Blackwelder: So I think uh it will be a better idea to have some uh flashy Frances Pesce: The other way around, Helen Blackwelder: fruity colours Frances Pesce: you mean. Helen Blackwelder: as as a standard, Ilona Jackson: Oh Helen Blackwelder: and Ilona Jackson: yeah. Helen Blackwelder: for the people who uh really want uh a more sophisticated, more traditional Frances Pesce: Uh-huh. Helen Blackwelder: look, they're willing to pay uh that. Ilona Jackson: Yeah. Helen Blackwelder: They want uh they want more luxury stuff, but they have the money to do it and Frances Pesce: Mm-hmm. Helen Blackwelder: they want to b to buy that. Frances Pesce: Okay. Helen Blackwelder: So, maybe Anne Garstka: Yeah. Helen Blackwelder: it's an idea to put that as an extra and Ilona Jackson: Yeah. Helen Blackwelder: not as a standard. Ilona Jackson: Yeah, maybe yeah, perhaps you're right. Uh, I I would I would actually agree with this sounds logical. Frances Pesce: Okay, Anne Garstka: An another Frances Pesce: yeah. Anne Garstka: idea. Uh, maybe we could uh develop a cover uh with wood style. Helen Blackwelder: Yeah. Anne Garstka: They'll please the elder users as well. Helen Blackwelder: Yeah. Frances Pesce: Well yeah, a colour of a wood style, a white c and uh a couple of h hip uh fruity colours. Helen Blackwelder: Yeah. Anne Garstka: Yes. Ilona Jackson: Nah. Frances Pesce: And lea Ilona Jackson: Yeah. Frances Pesce: uh l delivered standard with a fruity colour, but not too Anne Garstka: Not not too Frances Pesce: not too Anne Garstka: uh Frances Pesce: much. This is Anne Garstka: yeah. Frances Pesce: banana and mango, not not purple or p orange and Anne Garstka: Yeah, exactly. Frances Pesce: yellow. Helen Blackwelder: Yeah. But, Anne Garstka: Yeah. Or Helen Blackwelder: the Anne Garstka: blue Helen Blackwelder: mai I Anne Garstka: or Helen Blackwelder: think th uh the standard must be some kind of uh uh attractive flashy colours. Not Frances Pesce: Ah. Helen Blackwelder: too, but Frances Pesce: Mm-hmm. Helen Blackwelder: w a little, Ilona Jackson: Yeah, Helen Blackwelder: because Ilona Jackson: li like Helen Blackwelder: that's Frances Pesce: Yeah. Helen Blackwelder: our Ilona Jackson: like Helen Blackwelder: aim. Ilona Jackson: this like this. This Helen Blackwelder: Yeah. Ilona Jackson: isn't this isn't too Frances Pesce: Yeah, Ilona Jackson: much, Frances Pesce: okay. Ilona Jackson: is it? I Frances Pesce: No. Ilona Jackson: f Frances Pesce: Yeah. Helen Blackwelder: Well, the buttons Anne Garstka: Well Ilona Jackson: Yeah. Helen Blackwelder: don't Anne Garstka: I Helen Blackwelder: have Ilona Jackson: The Helen Blackwelder: to Anne Garstka: I Ilona Jackson: buttons, Helen Blackwelder: be Anne Garstka: I think Helen Blackwelder: uh Ilona Jackson: I Helen Blackwelder: all Anne Garstka: so. Helen Blackwelder: uh Anne Garstka: Yeah, except Helen Blackwelder: all of Anne Garstka: for the buttons it's Helen Blackwelder: yeah. Anne Garstka: it could Helen Blackwelder: It Anne Garstka: be a standard model. Frances Pesce: Okay. Helen Blackwelder: Yeah. Ilona Jackson: Yeah, uh something like this would be nice. Helen Blackwelder: Okay. Frances Pesce: Okay. Ilona Jackson: Okay, that's that's it from us. Helen Blackwelder: Thank you. Anne Garstka: 'Kay, it's my time now. Frances Pesce: It's my turn. Helen Blackwelder: Anne Garstka. Ilona Jackson: Uh-oh. Anne Garstka: Okay. During the Oh. During the design uh design life-cycle Helen Blackwelder: Sorry. Anne Garstka: we uh we made lot of requirements and trend analysis and stuff. Um, now is the time to uh evaluate our prototype concept to uh to the past requirements. So we are going to evaluate the design according to the past user requirements and trends analysis. Um, we're going to do that with a seven point scale. Opening a Word document now. Anne Garstka: Okay. One oh, okay, uh I have to expla explain something. We have to uh be consensive about about things. So, it has to be a group uh group decision. Okay? Helen Blackwelder: Okay, so Anne Garstka: Uh Helen Blackwelder: we gon we gonna evaluate Anne Garstka: We're going to Helen Blackwelder: the Anne Garstka: vote. We yeah? The Helen Blackwelder: Yeah, Anne Garstka: prototype. Helen Blackwelder: the the thing we saw. Anne Garstka: Yeah. Helen Blackwelder: Okay, just saw. Anne Garstka: Okay, one. The remote control is designed for people with age below forty. Helen Blackwelder: Yeah. Seven? Anne Garstka: Seven is false. Helen Blackwelder: Uh, true. Anne Garstka: Yeah, Helen Blackwelder: Sorry. Anne Garstka: b one or Helen Blackwelder: Yeah, one I think. Anne Garstka: Most Ilona Jackson: Why? Anne Garstka: true? Ilona Jackson: Yeah, it's not Frances Pesce: Mm. Ilona Jackson: just uh designed for people under the age of forty. It's also designed for people above Anne Garstka: Yeah, Ilona Jackson: forty. Helen Blackwelder: Yeah. Frances Pesce: Yeah. Anne Garstka: so so Ilona Jackson: So Anne Garstka: a o one is appropriate? Or, Frances Pesce: No no, a little Anne Garstka: more Frances Pesce: more Anne Garstka: like a Frances Pesce: in Anne Garstka: four. Frances Pesce: the middle. No, Ilona Jackson: I have Anne Garstka: Three. Frances Pesce: uh Ilona Jackson: I've Frances Pesce: three or yeah. Ilona Jackson: Yeah, two or three, because it's not just uh the qu question Helen Blackwelder: Okay. Ilona Jackson: is aimed at is it designed for people with age below forty. But it's also designed for people Anne Garstka: Ah, Ilona Jackson: of Anne Garstka: exactly. Ilona Jackson: age above forty. So, Anne Garstka: Exactly. Ilona Jackson: I'll say it's about Frances Pesce: Yeah, Ilona Jackson: three. Frances Pesce: it will be primary Helen Blackwelder: Okay. Anne Garstka: Three. Frances Pesce: appealing to to m minus forty, but Anne Garstka: Yeah. Frances Pesce: also appealing Anne Garstka: But also Frances Pesce: to Anne Garstka: for yeah, okay. Uh, second. The remote control is beautiful. Frances Pesce: Yeah. It's Wow. Anne Garstka: Yeah, acco according to us, it's one? Or Ilona Jackson: Yeah, Frances Pesce: Yeah, Ilona Jackson: I I think Frances Pesce: it's Helen Blackwelder: Yeah. Frances Pesce: the marketing uh Ilona Jackson: Yeah. Frances Pesce: angle on television. Anne Garstka: Yeah, p s Frances Pesce: We have a wonderful Anne Garstka: Of c of course you have to be uh very positive and uh enthusiastic about your Frances Pesce: Yeah. Anne Garstka: own product. Frances Pesce: Well, it's also fancy Anne Garstka: Three. Frances Pesce: then. Anne Garstka: Uh, the remote control looks fancy. Ilona Jackson: Yes. Helen Blackwelder: Yeah. Frances Pesce: Yeah. Anne Garstka: One? Frances Pesce: Of Ilona Jackson: Yes. Frances Pesce: course. Helen Blackwelder: Yep. Frances Pesce: We have a perfect remote. Anne Garstka: Good. Four. The remote control has big, clear channel switching buttons. Frances Pesce: Yes. Yeah yeah, oh they have to agree but Ilona Jackson: Yeah. Helen Blackwelder: Yes. Ilona Jackson: Leads to user face, yeah. Anne Garstka: Daniel. Frances Pesce: I'm the User Interface uh Expert. Anne Garstka: Uh, teletext buttons and volume buttons? Frances Pesce: Um, Helen Blackwelder: No Frances Pesce: uh Helen Blackwelder: teletext Frances Pesce: no. Helen Blackwelder: buttons. Teletext Frances Pesce: You you've Helen Blackwelder: is in the menu. Frances Pesce: different Anne Garstka: False? Frances Pesce: menu. Ilona Jackson: Yeah, false. Frances Pesce: And volume Anne Garstka: And Frances Pesce: is Anne Garstka: volume? Frances Pesce: impo yeah. Helen Blackwelder: Volume is true. Anne Garstka: True. Ilona Jackson: Uh, hmm. Anne Garstka: Big and clear? Ilona Jackson: Yeah, the Frances Pesce: Yeah Ilona Jackson: they are big Frances Pesce: yeah, Ilona Jackson: and clear. Frances Pesce: big Helen Blackwelder: Yeah, Frances Pesce: and clear. Helen Blackwelder: big and clear. Frances Pesce: But you could make a teletext Anne Garstka: Hey. Frances Pesce: button uh six. Otherwise, Anne Garstka: Hey. Frances Pesce: the people who read Anne Garstka: Hide. Frances Pesce: this uh are gonna think we have no teletext button. Ilona Jackson: Yeah, but but the teletext button. Yeah, you can ch Anne Garstka: It's Ilona Jackson: That's Anne Garstka: it's Ilona Jackson: in Anne Garstka: not Ilona Jackson: a menu. So, it's Anne Garstka: yeah, Ilona Jackson: w yeah, Anne Garstka: it Ilona Jackson: it it it it Anne Garstka: J Ilona Jackson: isn't entirely unclear, but So, I wouldn't give it a seven. I would Frances Pesce: No. Ilona Jackson: give it a more a five or a six. Frances Pesce: Yeah. Anne Garstka: Five? Okay. Ilona Jackson: Uh, I don I don't know. What Anne Garstka: Yeah, Ilona Jackson: do you think, Anne Garstka: it's it's Ilona Jackson: uh Helen Blackwelder: Oh, Ilona Jackson: Mister Anne Garstka: yeah. Helen Blackwelder: okay. Ilona Jackson: Project Helen Blackwelder: Well, Ilona Jackson: Manager? Helen Blackwelder: I agree. I was thinking Ilona Jackson: Hmm. Helen Blackwelder: very black and white. Ilona Jackson: Yeah. Frances Pesce: Black and red. Helen Blackwelder: Thank you J_. Anne Garstka: Red. Frances Pesce: Okay, Anne Garstka: Okay. Frances Pesce: don't forget to save it. Anne Garstka: Volume. Frances Pesce: Uh Anne Garstka: The remote control is easy to be found. Frances Pesce: Uh well, when we put in fancy colours, yeah and Ilona Jackson: Yeah, it has these all these fruity colours and it Frances Pesce: Yeah. Ilona Jackson: has a strange shape. Helen Blackwelder: Fruity. Ilona Jackson: So, if you so if you have Frances Pesce: But, um Ilona Jackson: trouble finding it Frances Pesce: it it's not making any sound uh, have Anne Garstka: Oh, Frances Pesce: we Anne Garstka: okay, Frances Pesce: deciding? Anne Garstka: but Frances Pesce: So Anne Garstka: If you put uh your normal uh remote control under your bed, or you throw this remote control under your bed, is it better findable? Frances Pesce: It'll make a difference. We have the better re I don't know. Yeah, I think so. My remote control's black. Anne Garstka: A li little bit maybe? Frances Pesce: A little bit, Helen Blackwelder: Yeah. Frances Pesce: but yeah. Helen Blackwelder: Well, Anne Garstka: Four? Helen Blackwelder: we p Frances Pesce: Uh Helen Blackwelder: we can Anne Garstka: Fi Helen Blackwelder: do it glow in the dark. So, Anne Garstka: I Helen Blackwelder: if Frances Pesce: K yeah. Helen Blackwelder: it's in the dark Frances Pesce: Fo Helen Blackwelder: place, Frances Pesce: fo Helen Blackwelder: you still Frances Pesce: yeah Helen Blackwelder: see Anne Garstka: Ah, Helen Blackwelder: it Frances Pesce: fo Helen Blackwelder: glowing. Anne Garstka: I Frances Pesce: five Anne Garstka: I I Frances Pesce: is. Anne Garstka: think five. It's it's it doesn't really make a lot of Ilona Jackson: Well, then uh then I'll go for four. Anne Garstka: Four? Ilona Jackson: Because uh four is between three and uh uh also between between Frances Pesce: Yeah, Ilona Jackson: true and false. Frances Pesce: okay, Ilona Jackson: Uh, Frances Pesce: you're right. Helen Blackwelder: I Ilona Jackson: so I'll Helen Blackwelder: think Ilona Jackson: I'll go for Anne Garstka: Yes, Ilona Jackson: four. Helen Blackwelder: Ah, Anne Garstka: but Helen Blackwelder: you must Anne Garstka: five Helen Blackwelder: see it as Anne Garstka: is between four and six. Helen Blackwelder: uh, Ilona Jackson: Wha Helen Blackwelder: w uh according to uh the the other uh remote controls, there may uh Frances Pesce: Yeah. Helen Blackwelder: uh Anne Garstka: B_. Helen Blackwelder: be there in your Frances Pesce: Yeah. Helen Blackwelder: uh T_V_ room, this one will stand out, I think. Ilona Jackson: Yeah, that Frances Pesce: Yeah. Ilona Jackson: that's a better question Anne Garstka: Yeah, Ilona Jackson: actually. Frances Pesce: Yeah. Anne Garstka: it Helen Blackwelder: Exa Anne Garstka: it's Helen Blackwelder: I think Frances Pesce: If your Helen Blackwelder: that Frances Pesce: uh fifteen Helen Blackwelder: that's what Frances Pesce: remotes Helen Blackwelder: it's about. Frances Pesce: in a drawer, uh you find it, yeah? Helen Blackwelder: If it if this lying on your couch, you're you're you think what's that for kinda orange Anne Garstka: Yeah, Helen Blackwelder: uh thing. Anne Garstka: yeah. But Helen Blackwelder: So Anne Garstka: but the survey under Helen Blackwelder: Yeah. Anne Garstka: users was that they uh really lost it. Frances Pesce: Yeah, that's stupid. Anne Garstka: Like, no not uh not seeing it, but lost it in the house or something. Helen Blackwelder: Okay. Frances Pesce: Uh, but when Anne Garstka: But, Frances Pesce: you Anne Garstka: okay. Frances Pesce: lost it Ilona Jackson: Well, Frances Pesce: you're just Ilona Jackson: if i if Frances Pesce: not Ilona Jackson: you see a strange shape lying somewhere, uh then you'd uh recognise it as, whoa, that is strange. Frances Pesce: Yeah, mostly Helen Blackwelder: That's Frances Pesce: when Helen Blackwelder: our Frances Pesce: you Helen Blackwelder: remote Frances Pesce: lose Helen Blackwelder: control. Frances Pesce: your Anne Garstka: Yeah, Frances Pesce: remote Ilona Jackson: Yeah. Anne Garstka: okay. Frances Pesce: control, Ilona Jackson: Yeah, Frances Pesce: it it's Ilona Jackson: what Frances Pesce: under Anne Garstka: Yeah, Ilona Jackson: is Anne Garstka: I Ilona Jackson: that. Frances Pesce: your Ilona Jackson: Uh, Anne Garstka: I agree, I agree. Okay. Ilona Jackson: so it's Frances Pesce: Most of times Anne Garstka: Eight, Frances Pesce: when you lose it you're sitting Anne Garstka: the remote Frances Pesce: on it. Anne Garstka: control Frances Pesce: Uh Anne Garstka: has fresh, fruity colours. Helen Blackwelder: True. Frances Pesce: Um I would call uh choose two, 'cause we decided not to make Anne Garstka: Yeah, Frances Pesce: two f Anne Garstka: yeah, Frances Pesce: uh fresh colours, Anne Garstka: not Ilona Jackson: Yeah. Anne Garstka: too flashy. Frances Pesce: as it would not. Anne Garstka: The remote control is made of soft material. Frances Pesce: Um, Ilona Jackson: Yeah, rubber, is kind of soft. Frances Pesce: kinda Helen Blackwelder: Yeah, Frances Pesce: soft, Helen Blackwelder: but Frances Pesce: but Helen Blackwelder: not too Frances Pesce: but Helen Blackwelder: soft Frances Pesce: not Helen Blackwelder: we have Frances Pesce: this. Helen Blackwelder: decided. Anne Garstka: Three? Frances Pesce: Yeah. Helen Blackwelder: Three, yeah. Frances Pesce: Yeah. Yeah yeah, easy to use, Helen Blackwelder: Easy to use. One. Frances Pesce: very afford. Anne Garstka: Easy to use? Helen Blackwelder: Yeah, can it be zero? Ilona Jackson: Well, I don yeah, it is Anne Garstka: Top Ilona Jackson: kind Anne Garstka: easy Ilona Jackson: of Anne Garstka: to use? It's Ilona Jackson: It Anne Garstka: it's not the most easy to use Frances Pesce: No, Ilona Jackson: No. Uh Frances Pesce: you can do two, because um Anne Garstka: It can be easier. Frances Pesce: it can be easier. Ilona Jackson: It could Anne Garstka: Jus Ilona Jackson: yeah. Anne Garstka: just with ten Frances Pesce: l Anne Garstka: buttons, Frances Pesce: yeah, Anne Garstka: that's the easiest. Frances Pesce: but then you'll lose Ilona Jackson: Functional Helen Blackwelder: Yeah. Frances Pesce: function Ilona Jackson: ability. Frances Pesce: f yeah, functionality and our fancy uh look, so. Anne Garstka: Yeah, but the most uh Frances Pesce: But Anne Garstka: easy to use Frances Pesce: It Anne Garstka: is just Frances Pesce: is r Anne Garstka: with Frances Pesce: it Anne Garstka: one Frances Pesce: is rather Anne Garstka: button Frances Pesce: easy to use, because you have Anne Garstka: on Frances Pesce: the Anne Garstka: t Frances Pesce: primary buttons always visible. Anne Garstka: Yeah, okay, but easy n not not the most easy to Ilona Jackson: No, Anne Garstka: use, Ilona Jackson: it's Frances Pesce: No. Anne Garstka: I Ilona Jackson: it Anne Garstka: think. Ilona Jackson: I I'll go for two. My vote's Anne Garstka: Two? Ilona Jackson: on two. Frances Pesce: Yeah, Helen Blackwelder: Okay, Frances Pesce: m mine Helen Blackwelder: two. Frances Pesce: too. Helen Blackwelder: Yeah, two. Anne Garstka: We also have to compare it to the uh to the remote controls on the market nowadays. So Frances Pesce: Yeah, but waits just a minutes. Inspiration. Helen Blackwelder: What's the time? We also have uh to do the evaluation, Frances Pesce: These are the Helen Blackwelder: uh Frances Pesce: m Helen Blackwelder: the production Frances Pesce: regular Helen Blackwelder: costs Frances Pesce: remotes. Helen Blackwelder: and uh stuff. Anne Garstka: Yeah yeah, I'm uh hurrying. Okay, eleven. The remote control is innovative. Helen Blackwelder: Yeah. Frances Pesce: Yes, Ilona Jackson: Yes. Frances Pesce: true, one. Anne Garstka: A very Helen Blackwelder: You're agree, Tim? Anne Garstka: of course. Helen Blackwelder: You haven't seen a more innovative uh thing in uh Anne Garstka: The remote Helen Blackwelder: Paris? Anne Garstka: control has m remova removable from Frances Pesce: Yes, Anne Garstka: Multilux. Frances Pesce: one. Very multifunctional. No. Anne Garstka: The remote control, i it has speech recognition. False. Ilona Jackson: Yes, Helen Blackwelder: False. Ilona Jackson: it Frances Pesce: This is used with speech recognition, this. Anne Garstka: The remote control has built-in games? Frances Pesce: Yes. But uh, maybe make it two, because the games are in a sub-menu and not uh it's not an entire Helen Blackwelder: Yeah, but Frances Pesce: game. Helen Blackwelder: they are built in, so it's one. Ilona Jackson: Yeah, they are built in. Anne Garstka: Yeah. Frances Pesce: Yeah, okay. Ilona Jackson: Not down. Helen Blackwelder: Okay. Anne Garstka: And the last, paren parental advisory function. Frances Pesce: Yes. Ilona Jackson: You really like the parental Helen Blackwelder: Freak. Ilona Jackson: advisory. Anne Garstka: Yes, Frances Pesce: Th did Anne Garstka: I do. Frances Pesce: you make this or Ilona Jackson: Bu Frances Pesce: the Anne Garstka: Save as. Ilona Jackson: Yeah, he made it. Frances Pesce: Yeah, It changes it maybe. Anne Garstka: Okay, I will uh Frances Pesce: Oh yay. Anne Garstka: do the the math. Frances Pesce: Oh dear. Anne Garstka: Now it's your turn. Helen Blackwelder: Okay, thank you. We'll see. Frances Pesce: Hmm? Helen Blackwelder: Mm. Helen Blackwelder: Okay, we have now to c uh to calculate the production cost. If it's under uh twelve and half Euro, then it's uh ok uh okay. But i is it if it is b Huh? No, this isn't right. Okay so, Redesign. Frances Pesce: If they're under Helen Blackwelder: Oh Frances Pesce: twelve Helen Blackwelder: yeah, Frances Pesce: fifty. Helen Blackwelder: if they under Yeah. No. Oh yeah. Frances Pesce: Yeah? Cau 'cause so Helen Blackwelder: Yeah, Frances Pesce: it's okay. Helen Blackwelder: it's sorry. Yeah, if the costs are under twelve and a half Euro, uh then we uh can uh ra uh move on to the project evaluation, as we have uh experienced it. Otherwise, we have uh do uh have to do a little uh redesign uh thingy. So to fill in the numbers of the component uh components. We have to uh fil uh, want to uh do it in and uh see uh if we stay under the twelve and a half Euro. So, do we have uh a hand dynamo? Ilona Jackson: No. Helen Blackwelder: No. That's Ilona Jackson: Anne Garstka, too. Helen Blackwelder: zero. Frances Pesce: Battery, Ilona Jackson: Yes. Frances Pesce: yes. Helen Blackwelder: Battery, Frances Pesce: One. Helen Blackwelder: one? Ilona Jackson: Yeah. Frances Pesce: One, Helen Blackwelder: Okay. Frances Pesce: yeah. Kinetic, one. Helen Blackwelder: Kinetic, Ilona Jackson: Yeah. Helen Blackwelder: one? Ilona Jackson: Yeah. Frances Pesce: Yeah. Helen Blackwelder: Okay, solar cells, zero. Ilona Jackson: Yeah. Helen Blackwelder: Okay, uh simple Ilona Jackson: Uh, Helen Blackwelder: chip on print? Ilona Jackson: n no. Anne Garstka: No. Helen Blackwelder: No? Anne Garstka: Advanced Ilona Jackson: No. Helen Blackwelder: No, Anne Garstka: chip. Frances Pesce: No. Helen Blackwelder: advanced Ilona Jackson: Yes. Helen Blackwelder: chip. Sample sensor sample speaker? Frances Pesce: No, Ilona Jackson: No. Frances Pesce: the advanced Anne Garstka: Advanced Frances Pesce: chip Anne Garstka: chip is Frances Pesce: is Anne Garstka: three. Frances Pesce: uh Helen Blackwelder: Three? Anne Garstka: Three Euros, yep. Frances Pesce: Yeah. Ilona Jackson: Uh, Helen Blackwelder: Yeah Ilona Jackson: we have Helen Blackwelder: uh, but Ilona Jackson: one. Helen Blackwelder: it Ilona Jackson: We Helen Blackwelder: it's Ilona Jackson: have Helen Blackwelder: one Ilona Jackson: one. Helen Blackwelder: one Anne Garstka: Okay, Helen Blackwelder: thing, Anne Garstka: one piece, Helen Blackwelder: it's Anne Garstka: yeah. Helen Blackwelder: three Euro. Ilona Jackson: No, Helen Blackwelder: Uh, Anne Garstka: No. Ilona Jackson: sev Helen Blackwelder: what's Ilona Jackson: zero. Helen Blackwelder: the sample sensor? Ilona Jackson: Well, that's um Anne Garstka: Speech recognition, Frances Pesce: Yeah, Ilona Jackson: yeah, Frances Pesce: you Ilona Jackson: speech Anne Garstka: I Frances Pesce: give Anne Garstka: think. Ilona Jackson: recognition Frances Pesce: it a sample, Helen Blackwelder: Okay. Ilona Jackson: and s Frances Pesce: uh one. Helen Blackwelder: Zero. Uh, uncurved flat. Frances Pesce: No. Anne Garstka: No. Ilona Jackson: A zero. Helen Blackwelder: No. But is it s Anne Garstka: No. Frances Pesce: You Helen Blackwelder: it's Frances Pesce: no. Helen Blackwelder: not made from a single uncurved thingy Ilona Jackson: No. Helen Blackwelder: and Ilona Jackson: No. Helen Blackwelder: then uh Anne Garstka: Thingy. Helen Blackwelder: and then uh no? Okay. So it's only uh once double-curved. Ilona Jackson: Yeah. Anne Garstka: Yes, Frances Pesce: Yeah, 'cause Anne Garstka: three. Frances Pesce: um the Anne Garstka: Eight. Frances Pesce: layer around it fits around the bubbles on the o on the uh Helen Blackwelder: Okay. Frances Pesce: the back Helen Blackwelder: We're Frances Pesce: of Helen Blackwelder: now in a Frances Pesce: the Helen Blackwelder: problem, 'cause uh we have uh reached eleven Euro Frances Pesce: Uh, Helen Blackwelder: yet. Frances Pesce: we don't have anything else. So Anne Garstka: Okay, go on. Helen Blackwelder: Okay, Anne Garstka: Just Helen Blackwelder: but Anne Garstka: go on. Helen Blackwelder: uh Ilona Jackson: Just Helen Blackwelder: we Ilona Jackson: go Helen Blackwelder: have Ilona Jackson: on. Then we'll see uh we'll we'll see uh wha how much we are over budget. Helen Blackwelder: Okay. Frances Pesce: Could you step a little to the Anne Garstka: Two. Frances Pesce: right ma Yeah. Oh, sorry. Anne Garstka: Two. Helen Blackwelder: Uh, rubber. Frances Pesce: Or Helen Blackwelder: You. Ilona Jackson: Zero. Frances Pesce: And Helen Blackwelder: Titanium, Frances Pesce: zero. Helen Blackwelder: no? Frances Pesce: Special uh is the special Helen Blackwelder: Special Frances Pesce: colour? Helen Blackwelder: colour? Frances Pesce: Mm. Ilona Jackson: I don't think so. No, Anne Garstka: No. Ilona Jackson: this is a standard colour. Frances Pesce: Yeah. Ilona Jackson: Yes, Anne Garstka: S Ilona Jackson: this is a special Helen Blackwelder: Yeah, Ilona Jackson: colour. Helen Blackwelder: but we want to make uh the wood colours, uh that uh Frances Pesce: Yeah, if if you're honest, we'll uh type one, Anne Garstka: Yeah, but Frances Pesce: special colour. Ilona Jackson: That's Anne Garstka: but Ilona Jackson: an add-on. Anne Garstka: D but Daniel, tha Helen Blackwelder: Yeah, Anne Garstka: that's Helen Blackwelder: one. Anne Garstka: that's another brand. That's another article to sell. Frances Pesce: Yeah. Helen Blackwelder: Yeah, but we we going to yeah yeah, that's true. But yeah, it's it's Frances Pesce: Uh, Anne Garstka: That doesn't Helen Blackwelder: it Frances Pesce: j Anne Garstka: account for this. Frances Pesce: maybe we'll finish Anne Garstka: Producing Frances Pesce: uh the Anne Garstka: this. Frances Pesce: the list first and then look back, Helen Blackwelder: Okay, Frances Pesce: aye? Helen Blackwelder: the push-button, no. Frances Pesce: No. Scroll wheel, no. Helen Blackwelder: Scroll-wheel, no. Frances Pesce: No. Helen Blackwelder: No. Oh, no. Yes, one. Frances Pesce: One, Helen Blackwelder: Uh, Frances Pesce: yeah. Helen Blackwelder: button, no. Ilona Jackson: No. Frances Pesce: No. Helen Blackwelder: No, the Frances Pesce: Mm, Helen Blackwelder: the we Frances Pesce: is Ilona Jackson: These Frances Pesce: it Ilona Jackson: three. Helen Blackwelder: don't Frances Pesce: No. Helen Blackwelder: have a s Frances Pesce: No. Ilona Jackson: Well, Helen Blackwelder: no. Ilona Jackson: we're only four Helen Blackwelder: Okay. Ilona Jackson: Euro over budget. Helen Blackwelder: Oh, okay. Frances Pesce: So Ilona Jackson: But Helen Blackwelder: So, um what's the thing we can change? Frances Pesce: No. Ilona Jackson: Well, other Frances Pesce: No. Ilona Jackson: case, we can make it single-curved or uncurved. Anne Garstka: Yeah. Helen Blackwelder: Uh, Frances Pesce: Mm, Helen Blackwelder: can I uh I Frances Pesce: single-curves. Helen Blackwelder: say something? Anne Garstka: Yeah, Helen Blackwelder: No, can Anne Garstka: of Helen Blackwelder: I Anne Garstka: course. Helen Blackwelder: say something Frances Pesce: Yeah. Helen Blackwelder: uh as Project Manager? Frances Pesce: Just cut Helen Blackwelder: The Frances Pesce: off Helen Blackwelder: kinetic Frances Pesce: the kine Helen Blackwelder: thing, Frances Pesce: yeah. Helen Blackwelder: can we just skip it, because Ilona Jackson: Yeah. Frances Pesce: Or Ilona Jackson: Okay, Helen Blackwelder: uh Frances Pesce: yeah. Ilona Jackson: sure. Helen Blackwelder: you have to shake it, but that's not really innovative. Frances Pesce: Yeah, we just put a good Anne Garstka: Yeah. Frances Pesce: battery it it. Mobile phones Anne Garstka: Daniel. Frances Pesce: nowadays. Helen Blackwelder: Yeah. Anne Garstka: Daniel, Helen Blackwelder: Yo. Anne Garstka: what do you Helen Blackwelder: Sorry, Anne Garstka: think about Helen Blackwelder: yeah, yes. Anne Garstka: Here. What do you think about uh putting a battery in it, Helen Blackwelder: Yeah. Anne Garstka: but also selling like uh the covers, a docking station just apart from the from the thing, Helen Blackwelder: Mm-hmm. Anne Garstka: so that you can uh put uh rechargeable batteries in it Helen Blackwelder: Okay. Anne Garstka: and just Frances Pesce: But you can use rechargeable batteries anyway, just you s you have to recharge Helen Blackwelder: Yeah, and not Frances Pesce: them Helen Blackwelder: really. Anne Garstka: Yeah, Frances Pesce: manual. Anne Garstka: yeah, okay. Helen Blackwelder: But we if you forget Anne Garstka: Just Helen Blackwelder: about Anne Garstka: an idea. Helen Blackwelder: the kinetic, Frances Pesce: Yeah, Ilona Jackson: Yeah, Anne Garstka: Yeah. Frances Pesce: that's Ilona Jackson: sure. Frances Pesce: a Helen Blackwelder: well Frances Pesce: cost reduc Helen Blackwelder: if we do that, we shall. Frances Pesce: Ah. Ilona Jackson: Okay, well you Helen Blackwelder: So Ilona Jackson: you can Helen Blackwelder: um Ilona Jackson: go from double-curved to single-curved. Anne Garstka: Yeah, of course. Ilona Jackson: And that would solve the budget problem. Helen Blackwelder: Uh, Frances Pesce: Yeah, Helen Blackwelder: b Frances Pesce: so we have to bake Helen Blackwelder: but Frances Pesce: the ba back Helen Blackwelder: i Frances Pesce: flat, Helen Blackwelder: but Frances Pesce: and then Helen Blackwelder: the single-curved Ilona Jackson: Yeah. Helen Blackwelder: is just Ilona Jackson: It's Helen Blackwelder: oh Ilona Jackson: just Frances Pesce: No, Ilona Jackson: yeah Frances Pesce: it's Ilona Jackson: well, the single-curve Frances Pesce: it's just Ilona Jackson: that Frances Pesce: one curve and not a back uh curved I think. Helen Blackwelder: Oh, okay, Frances Pesce: Or Ilona Jackson: Yeah. Helen Blackwelder: okay. Ilona Jackson: Exactly, yeah. Helen Blackwelder: So that's Frances Pesce: Or Anne Garstka: Yeah. Frances Pesce: are Helen Blackwelder: wh tha Frances Pesce: these two curves? Helen Blackwelder: that's Frances Pesce: Uh Helen Blackwelder: one option. And then w yeah, and then we could have it, Anne Garstka: Yeah, Helen Blackwelder: but uh it's its' well it's it's r it is the main point of the the the Frances Pesce: Yeah, but what Helen Blackwelder: the look. Frances Pesce: else uh do we have to cut out? Ilona Jackson: We Frances Pesce: No Ilona Jackson: going Frances Pesce: advanced Ilona Jackson: to cut Frances Pesce: chip, uh that's a little bit of problem. Helen Blackwelder: No, tho uh Anne Garstka: Yeah. Helen Blackwelder: that that can be done. So Frances Pesce: Although, Helen Blackwelder: uh, Frances Pesce: can we make it with a regular Helen Blackwelder: okay, Frances Pesce: chip? Helen Blackwelder: a little less uh conversation. Frances Pesce: Curvy. Anne Garstka: Hey, those ar arcs, why are there for? Helen Blackwelder: Sorry? Anne Garstka: The blue blue uh Helen Blackwelder: Fill in Just a Anne Garstka: Okay. Frances Pesce: Explanation. Helen Blackwelder: explanation. Frances Pesce: Twelve fifty. Helen Blackwelder: I Frances Pesce: Well Helen Blackwelder: can delete it for you if you want. Anne Garstka: No, no no. Helen Blackwelder: So, if we do this, uh we're on uh twelve and a half Euro. And we're done. Frances Pesce: Yeah, but does it fit with our design? Do we have to u adapt Helen Blackwelder: Uh Frances Pesce: it? Helen Blackwelder: well, the only uh thing that don't Frances Pesce: It's single-curves. Helen Blackwelder: Yeah, single-curved, Anne Garstka: Yeah. Frances Pesce: W Helen Blackwelder: but there's a curve in it. So Frances Pesce: Could we just make the bubbles uh cut off the back, and then we're uh has Ilona Jackson: Yeah, we just make it flat. Frances Pesce: Okay. Anne Garstka: But, Ilona Jackson: But, you Anne Garstka: wha Ilona Jackson: do l Anne Garstka: 'Kay, look, what is the uh If you make it double-curved, it costs one Euro Frances Pesce: More. Anne Garstka: more. Frances Pesce: Yeah. Anne Garstka: But Frances Pesce: You make it optional. Anne Garstka: No, but does it have a lot of extra Ilona Jackson: Function. Anne Garstka: uh Frances Pesce: Functional. Anne Garstka: fun function more Ilona Jackson: Worth, Anne Garstka: like Ilona Jackson: does Frances Pesce: Uh, Ilona Jackson: it Frances Pesce: there's Ilona Jackson: have Frances Pesce: an Ilona Jackson: added Frances Pesce: a Ilona Jackson: worth? Frances Pesce: a athe Anne Garstka: Yeah. Frances Pesce: aesthetic Ilona Jackson: No, Frances Pesce: value, Ilona Jackson: um Frances Pesce: but not functionality. Helen Blackwelder: Yeah, it's really Anne Garstka: Yeah, Helen Blackwelder: a Anne Garstka: uh Helen Blackwelder: static Anne Garstka: aesthetic. Helen Blackwelder: value. Yeah. Anne Garstka: I mean, uh you make like eleven and a half Euros profit instead of twelve and a half. But I don't know if twelve and a half is uh a fixed uh fixed price. Ilona Jackson: Yeah, well Helen Blackwelder: Yeah, Anne Garstka: No, we Ilona Jackson: let's Helen Blackwelder: it Anne Garstka: can't Helen Blackwelder: is. Ilona Jackson: assume Anne Garstka: go above Ilona Jackson: it is. Anne Garstka: that. Yeah? Helen Blackwelder: Oh. Ilona Jackson: We we should assume it i that it is. Helen Blackwelder: Yeah, Frances Pesce: Yeah. Anne Garstka: Yeah, Helen Blackwelder: okay. Ilona Jackson: But Anne Garstka: okay. Ilona Jackson: I I figured Anne Garstka: Then it's Ilona Jackson: that Anne Garstka: okay. Ilona Jackson: the kinetic would be a marketing promotion. R if you uh promote a kinetic um I kinetic remote control, I mean, that would b sell better than an a normal remote control. Anne Garstka: Yeah. Helen Blackwelder: Yeah. Do you think? Anne Garstka: Yeah, I Helen Blackwelder: Well, Anne Garstka: think Helen Blackwelder: now Anne Garstka: so. Helen Blackwelder: you can shake your remote control. Ilona Jackson: No, well, y I mean uh, y you can go into your neighbour and tell him, ha, my k uh remote control is kinetic. Helen Blackwelder: Kinetic. Ilona Jackson: You Frances Pesce: Yeah. Ilona Jackson: have standard old Anne Garstka: Yeah. Ilona Jackson: battery control uh remote Anne Garstka: What Frances Pesce: Yeah. Ilona Jackson: con Anne Garstka: a what about all the m the environment freaks? Not freaks, Frances Pesce: Yeah, but Anne Garstka: the Frances Pesce: it Anne Garstka: envi Frances Pesce: doesn't fit in our co cost profile. So Anne Garstka: No. Ilona Jackson: True. Anne Garstka: I I think it's it's It look like this one. Frances Pesce: You ma can make an Helen Blackwelder: Yeah? Frances Pesce: an especialised extra gold version. Helen Blackwelder: Who because if you want to go to kinetic, you're uh you're on thirteen and a half and you must go to flat, and I think now it's it's more of uh a compromise Frances Pesce: Yeah. Anne Garstka: Yeah. Helen Blackwelder: thing. And if you make the single curve ha just a big curve, then it's uh then Frances Pesce: Yeah, Helen Blackwelder: it's uh Frances Pesce: just one big Helen Blackwelder: yeah, Frances Pesce: curve. Helen Blackwelder: one big good curve. I was going to uh say nasty words, but I don't. This is strange by the way. Wood is m is is is cheaper than rubber. We Anne Garstka: Yeah. Helen Blackwelder: thought that wood would be Frances Pesce: Uh, Helen Blackwelder: more Frances Pesce: this Helen Blackwelder: expensive. Frances Pesce: uh American figures. You just cut down some trees. Helen Blackwelder: Yeah, maybe. But uh that this is this is it? Yeah. Anne Garstka: This is it. Helen Blackwelder: Okay, this Frances Pesce: Whoever Helen Blackwelder: is it. Frances Pesce: makes uh a remote Helen Blackwelder: I'm Frances Pesce: control Helen Blackwelder: gonna save Frances Pesce: out of Helen Blackwelder: it. Frances Pesce: titanium. Helen Blackwelder: Yeah. Frances Pesce: Yes. Ilona Jackson: It is possible, but you can't use double uh curves for titanium. Frances Pesce: No. Ilona Jackson: That's one of the functionability uh Helen Blackwelder: Okay, well, considering we have Anne Garstka: Ah no, we have to do all those hours again. Go back. One back? Costs on uh No redesign. Helen Blackwelder: Well, we were above, so Anne Garstka: Yeah. Helen Blackwelder: we Frances Pesce: We sue. Helen Blackwelder: did a little Anne Garstka: Yeah, Helen Blackwelder: redesign Frances Pesce: We Anne Garstka: okay, yeah. Frances Pesce: Yeah, we'll start her all o Helen Blackwelder: Okay, Frances Pesce: all over again. Helen Blackwelder: um now uh it's about time to uh talk about uh this project. Uh, some uh things. Were there uh room for uh was there room for creativity Frances Pesce: Um Helen Blackwelder: in Anne Garstka: Hmm. Helen Blackwelder: our meetings or in your individual meetings? Anne Garstka: I I didn't think so. That there was a lot of room for it. But, that's mainly because uh of the information that was delivered to us. Helen Blackwelder: Yeah. Anne Garstka: It was just fixed information and get your stuff from there, and I couldn't Helen Blackwelder: Yeah. Anne Garstka: go on on i on the internet and search Helen Blackwelder: Yeah, Anne Garstka: my own stuff. Helen Blackwelder: yeah, Anne Garstka: Bu Helen Blackwelder: yeah. That's true. I agree with that. Ilona Jackson: Well, I th I think you two, uh especially you and uh and uh Daniel, you d you you both had uh the less creative uh roles Anne Garstka: Yeah. Ilona Jackson: in the Helen Blackwelder: Yeah. Ilona Jackson: project. Helen Blackwelder: That's true. Frances Pesce: For Ilona Jackson: 'Cause Frances Pesce: us, Ilona Jackson: I Frances Pesce: there was Ilona Jackson: think Frances Pesce: a lot of Ilona Jackson: m Frances Pesce: creativity. We could just sign up an uh remote if we liked. Helen Blackwelder: Yeah. Anne Garstka: Yeah. Helen Blackwelder: Yeah, that's true. Ilona Jackson: I think Jeroen and I, we had a more design we could have more we had more room for creativity than than Helen Blackwelder: Yeah. Ilona Jackson: you two. Anne Garstka: Yeah. Yeah, that's true. Helen Blackwelder: Okay. Uh how about the leadership? Frances Pesce: Uh Anne Garstka: Leadership Ilona Jackson: Ha. Anne Garstka: was uh crappy. Frances Pesce: Crappy. Ilona Jackson: Nah, Frances Pesce: Cra Ilona Jackson: the leadership wasn't crappy, it was the leader that was crappy. Frances Pesce: Yeah. Ilona Jackson: Nah. Anne Garstka: Okay. Helen Blackwelder: Okay, Ilona Jackson: No, Helen Blackwelder: thank you very Ilona Jackson: the Helen Blackwelder: much. Ilona Jackson: leadership was Helen Blackwelder: Now Ilona Jackson: okay. Helen Blackwelder: we're done. Frances Pesce: Yeah, example of crappy leadershi Anne Garstka: No, leadership was uh Frances Pesce: Okay, yeah. Ilona Jackson: Yeah, Anne Garstka: Okay, Ilona Jackson: it was good. Anne Garstka: I thought uh the first meeting was a little bit of unstructured meeting. Helen Blackwelder: Yeah, that's Anne Garstka: Uh, Helen Blackwelder: true. Anne Garstka: you could have but uh, it was your first, no uh no disrespect or something, but you could have uh structure it a l little bit more. So Helen Blackwelder: Yeah. Anne Garstka: like, I I was talking most of the time the first meeting Frances Pesce: You could Anne Garstka: meeting, Frances Pesce: of said, shut Anne Garstka: and Frances Pesce: up you Helen Blackwelder: Yeah. Frances Pesce: fool. Anne Garstka: Yeah. Helen Blackwelder: Yeah. Anne Garstka: But Helen Blackwelder: I notice it too. I was a I was also very uh unhappy, uh very unsatisfied uh about the Anne Garstka: About Anne Garstka. Helen Blackwelder: about the first meeting. So, uh I hope uh uh the the Anne Garstka: Yeah, Ilona Jackson: Try to Helen Blackwelder: the Anne Garstka: you Ilona Jackson: learn Anne Garstka: made Helen Blackwelder: other Ilona Jackson: from Helen Blackwelder: meetings Anne Garstka: up. Ilona Jackson: your mistake. Helen Blackwelder: uh Ilona Jackson: And we will never do it again. Helen Blackwelder: get better and uh I Anne Garstka: No, Helen Blackwelder: think the Anne Garstka: it Helen Blackwelder: the last Anne Garstka: you did Helen Blackwelder: two Anne Garstka: better. Helen Blackwelder: meetings uh also we we reached uh some good decisions Frances Pesce: Yeah, Helen Blackwelder: about Frances Pesce: more Helen Blackwelder: uh Frances Pesce: more Helen Blackwelder: talk Frances Pesce: consensus. Anne Garstka: Yeah. Frances Pesce: Ev Helen Blackwelder: yeah. Frances Pesce: everybody w was Anne Garstka: Much Frances Pesce: agreeing Anne Garstka: more constructive. Frances Pesce: every Helen Blackwelder: Okay, Frances Pesce: Yeah. Helen Blackwelder: so uh that's cool. Uh, teamwork? Well, maybe that's uh only Yeah well, it's for us, Frances Pesce: Well, Helen Blackwelder: because Frances Pesce: we work Helen Blackwelder: uh Frances Pesce: together on a project, but Helen Blackwelder: Yeah. Frances Pesce: everybody has his own task. Helen Blackwelder: Yeah Frances Pesce: So, it Helen Blackwelder: and Frances Pesce: is Helen Blackwelder: it's wo Frances Pesce: a little Helen Blackwelder: more Frances Pesce: bit Helen Blackwelder: like presentation and some points were discussed. Frances Pesce: Yeah. Helen Blackwelder: But, Frances Pesce: No Helen Blackwelder: really teamwork were you two uh Anne Garstka: Two Frances Pesce: Well, Anne Garstka: guys. Frances Pesce: it went okay. Helen Blackwelder: The Ilona Jackson: Yeah, that went w it went well. It's Helen Blackwelder: Yeah? Ilona Jackson: it's just uh Helen Blackwelder: No Frances Pesce: Stupid Helen Blackwelder: hard feelings. Frances Pesce: stupid Ilona Jackson: Nah. Frances Pesce: pen, but uh Ilona Jackson: Yeah, we we had some trouble with the pen, but Helen Blackwelder: Yeah. Now you you must push a little while. Frances Pesce: Yeah, but Ilona Jackson: Yeah, Frances Pesce: but Ilona Jackson: but us Frances Pesce: draw something uh difficult. Ilona Jackson: Yeah. Frances Pesce: D uh just write your name right now. Try to write your name, Helen Blackwelder: Okay. Frances Pesce: in in writing letters, of course, yeah? Yeah, normally, uh this uh the w Block letter sign it, yeah? Helen Blackwelder: O Just Frances Pesce: Just Helen Blackwelder: uh Frances Pesce: just write your name in Helen Blackwelder: okay. Frances Pesce: in one line. If it's a little bit too small bit quicker now. It Helen Blackwelder: You Frances Pesce: didn't Helen Blackwelder: can be you can go quicker, 'cause then it it won't notice it. Frances Pesce: Uh he he knows how it works, yeah. Helen Blackwelder: I Ilona Jackson: Oh. Helen Blackwelder: follow the Master class for the SMARTboard, so I think that's the that's the main issue. Anne Garstka: Okay. Helen Blackwelder: Um, so uh Anne Garstka: Means. Helen Blackwelder: about this one you were uh you're dealing with, Frances Pesce: Y well, yeah. Helen Blackwelder: um Frances Pesce: Th the Helen Blackwelder: the the Frances Pesce: i Helen Blackwelder: the the digital pen. Frances Pesce: The idea is great, but it Helen Blackwelder: Okay. Frances Pesce: doesn't work properly. Anne Garstka: Digital Helen Blackwelder: Yeah. Frances Pesce: Uh Anne Garstka: pen, I thought uh th the first time I did individual work, I used it. Helen Blackwelder: Yeah. Anne Garstka: But, a and the first two meetings I brought it with Anne Garstka, but I didn't use it at all Helen Blackwelder: No. Anne Garstka: after the first Frances Pesce: Yeah. Ilona Jackson: No, I Anne Garstka: the first Ilona Jackson: have it Anne Garstka: meeting. Ilona Jackson: working. But, uh yeah, Anne Garstka: It's Ilona Jackson: well Anne Garstka: it's not Ilona Jackson: uh Anne Garstka: real real use for Ilona Jackson: No, Anne Garstka: Anne Garstka. Ilona Jackson: it doesn't have Helen Blackwelder: Huh. Ilona Jackson: that much added value to Frances Pesce: Nee. Ilona Jackson: the Helen Blackwelder: Well Frances Pesce: As uh as I said a m a c few moments ago, it I would like, myself, to write with a normal pen, because must um Yeah, it's almost the same concept, but Helen Blackwelder: Yeah. Frances Pesce: you can just sim more simply put it on our scanner. I it's the same concept Helen Blackwelder: M yeah. Frances Pesce: as the pen, where you f have to download the software or s uh very uh Helen Blackwelder: Yeah. Frances Pesce: slow. Helen Blackwelder: And it is still your own handwriting Frances Pesce: Yes. Helen Blackwelder: uh popping Frances Pesce: No, Helen Blackwelder: up Frances Pesce: and Helen Blackwelder: in Frances Pesce: it Helen Blackwelder: uh Frances Pesce: doesn't Helen Blackwelder: Word. Frances Pesce: give any added value. Helen Blackwelder: No, Anne Garstka: Not Helen Blackwelder: uh that's Anne Garstka: really, Helen Blackwelder: true. Anne Garstka: no. Helen Blackwelder: No. And uh the SMARTboard is uh useful, but the the pen is I uh not user-friendly, I Frances Pesce: Yeah, Helen Blackwelder: think. Ilona Jackson: Yeah. Frances Pesce: not user-friendly. Helen Blackwelder: Be it it takes a lot of time to draw things Frances Pesce: Yeah, Helen Blackwelder: and to Frances Pesce: and Helen Blackwelder: write Frances Pesce: it's Helen Blackwelder: things, Frances Pesce: it's not Helen Blackwelder: and that's Frances Pesce: very precise. Helen Blackwelder: the Frances Pesce: We're Anne Garstka: Yeah, Frances Pesce: trying to m to Anne Garstka: like when you do this. Frances Pesce: Yeah, it may um Yeah, and tr try to wri write your name uh in a in a normal uh size, yeah. Smaller. Anne Garstka: Smaller? Frances Pesce: Yeah, smaller. Just like when you're writing on a letter. Helen Blackwelder: Yeah, but that's not th the the you when you at a foreign audience, you b don't gonna wr uh write Frances Pesce: No, Helen Blackwelder: uh Frances Pesce: a as you Helen Blackwelder: small. Frances Pesce: saw on on this drawing, just open open this one or that one. It's uh th it it Yeah, uh we had more problems even here when we trying to draw these buttons, it's almost impossible to get Helen Blackwelder: Yeah. Frances Pesce: clear uh when you're uh Anne Garstka: Oh. Sorry. Helen Blackwelder: But maybe there's some function with no, it isn't. With uh Frances Pesce: And the eraser was another problem. It w t is is this large. And when you try to erase this line, Helen Blackwelder: Yeah. Frances Pesce: y Helen Blackwelder: Well, I'm gonna erase my uh name. Frances Pesce: I'm gonna erase my name there. Helen Blackwelder: Yeah, it's a big uh big Anne Garstka: Okay. Helen Blackwelder: eraser. Anne Garstka: New ideas? Frances Pesce: M Helen Blackwelder: Um Frances Pesce: Abo What kind of new ideas? Helen Blackwelder: Well, the the idea of the touch-screen is uh Frances Pesce: Yeah, uh Anne Garstka: Do you? Go on. Helen Blackwelder: I'm just uh Frances Pesce: New ideas about uh the working of this software, about about Anne Garstka: Yeah. Frances Pesce: the project, about Anne Garstka: Mm, yeah, Frances Pesce: the Anne Garstka: I think Frances Pesce: remote Anne Garstka: so. Frances Pesce: controls or Helen Blackwelder: I don't know what what I mean. Frances Pesce: Hello. Anne Garstka: Did you heard what he said? I don't Helen Blackwelder: No. Ilona Jackson: Know what Anne Garstka: I Ilona Jackson: I Anne Garstka: don't Ilona Jackson: mean. Anne Garstka: know what I mean. Oh, I have some figure. Here. The Helen Blackwelder: Oh. Anne Garstka: eva the evaluation, Helen Blackwelder: Oh yeah. Anne Garstka: the mm the mean uh number is uh one point eight one point eight six. Helen Blackwelder: That's interesting. Anne Garstka: So that's fairly uh fairly good, I think. Helen Blackwelder: Okay, Frances Pesce: Yeah. Helen Blackwelder: because what does it mean? Frances Pesce: So true. Anne Garstka: Uh, that uh Helen Blackwelder: All Anne Garstka: all Helen Blackwelder: the Anne Garstka: the Helen Blackwelder: mo Anne Garstka: requirements Helen Blackwelder: yeah, are Anne Garstka: uh are Helen Blackwelder: between Anne Garstka: true Helen Blackwelder: one and two. Anne Garstka: or very Helen Blackwelder: Yeah. Anne Garstka: true, Helen Blackwelder: Oh, okay. Anne Garstka: right. Yep. Helen Blackwelder: Yeah, okay. Thank you, expert. But the new ideas found for uh wi with working with this uh software? Frances Pesce: Not really, Helen Blackwelder: Not Frances Pesce: just Helen Blackwelder: really, yeah? Frances Pesce: they have to improve it. Uh, the concept is okay, Helen Blackwelder: Yeah, I think Frances Pesce: but it has to be quicker. Uh, it is still opening my programme, n almo almost uh my entire computer is locked up during Helen Blackwelder: Yeah. Frances Pesce: the process and it, yeah, just takes too many time. People will still feel the need to to write it quickly on uh a page Helen Blackwelder: Yeah. Frances Pesce: and not download it and save it, and Helen Blackwelder: You had expected it to to be uh more more uh Frances Pesce: More user-friendly. Helen Blackwelder: Yeah. Frances Pesce: 'Cause when you use a pen, you can just Helen Blackwelder: Yeah. Frances Pesce: draw like you d Anne Garstka: Yeah. Frances Pesce: draw normally, and Anne Garstka: May maybe Frances Pesce: you do Anne Garstka: the idea you proposed is uh a screen here. Frances Pesce: Yeah. Anne Garstka: And draw it, and Helen Blackwelder: Yeah. Anne Garstka: it's it's Frances Pesce: Yeah, that l Anne Garstka: placed over there. Helen Blackwelder: Yeah. Frances Pesce: Would be easier. Or at least when you you don't have to adapt to the technology, just you can write in the way you normally write. Anne Garstka: Hmm? No. Frances Pesce: And now you have to um keep constantly in mind that you're drawing on this screen. And that's Helen Blackwelder: Yep, Frances Pesce: a very bad concept. Helen Blackwelder: yep. Yeah, that's Anne Garstka: Ah, Helen Blackwelder: true. Anne Garstka: very bad. Frances Pesce: Nah, Anne Garstka: But Frances Pesce: okay, I I it's my Anne Garstka: I Frances Pesce: opinion Anne Garstka: think Frances Pesce: that Anne Garstka: this Frances Pesce: I Anne Garstka: is better than regular flip-overs, but Frances Pesce: Yeah, it's can be saved easier. Anne Garstka: Yeah. Frances Pesce: But if you're in normal flip-over you a lot of people write text. There's Anne Garstka: Yeah. Frances Pesce: no text option. And writing text uh, yeah, you've gotta really do your best to write Helen Blackwelder: Yeah, and Frances Pesce: some Helen Blackwelder: and maybe some uh functions for uh uh uh circle or uh a square. Frances Pesce: Yeah. Helen Blackwelder: You have to draw it yourself now. Frances Pesce: Or maybe even Anne Garstka: Yeah. Frances Pesce: insert picture. If you have uh some presentation, Helen Blackwelder: Yeah. Ilona Jackson: Or Frances Pesce: and you have Ilona Jackson: text Frances Pesce: some Ilona Jackson: function. Frances Pesce: f Ilona Jackson: Just t t type text, and that Frances Pesce: Yeah. Ilona Jackson: that would be uh excellent. Mean Helen Blackwelder: Yeah. Anne Garstka: Yeah, but insert image isn't available? Frances Pesce: 'Cause then you Anne Garstka: Here. Frances Pesce: could Anne Garstka: Picture from scanner, clip-art. Helen Blackwelder: Yeah, Frances Pesce: Oh, Helen Blackwelder: that Frances Pesce: okay. Helen Blackwelder: that can be done already. But Frances Pesce: So Helen Blackwelder: not Frances Pesce: you can Helen Blackwelder: the the the Anne Garstka: Hyperlink? Helen Blackwelder: the predefined uh squares I think uh Anne Garstka: Hey, what if you do like hyperlink? Frances Pesce: With uh Anne Garstka: Type Frances Pesce: W_W_ Anne Garstka: type it? Frances Pesce: dot Google dot com. Oh Anne Garstka: Re Frances Pesce: yeah. Maybe. Anne Garstka: Real Reaction dot N_L_. Helen Blackwelder: Hmm? Anne Garstka: Yes, Helen Blackwelder: Sorry? Anne Garstka: is now is okay. Okay? Frances Pesce: You'll just make a link in Anne Garstka: Huh. Frances Pesce: Yeah. Helen Blackwelder: Well, that's nice. Frances Pesce: There's one way to uh Helen Blackwelder: Is it Anne Garstka: 'Kay, double-click it. Frances Pesce: Maybe if if you're not using the eraser Helen Blackwelder: Here. oh. Anne Garstka: You're erasing. Helen Blackwelder: Oh, sorry. Frances Pesce: Something else th Yeah, Helen Blackwelder: Select. Frances Pesce: arrow. Anne Garstka: Double-click Helen Blackwelder: Yeah. Anne Garstka: it. Helen Blackwelder: Here, that. Frances Pesce: Okay. Well, Helen Blackwelder: So Frances Pesce: it's Helen Blackwelder: you have as you saw, you have a little uh Oh, you can Yeah, thank you. You can go uh Frances Pesce: Yeah, okay. Helen Blackwelder: there. So there the the the functionality is there, but it's Frances Pesce: But. Helen Blackwelder: not it's not ideal, and it's it's very it costs a lot of time to uh Frances Pesce: To use, yeah. Helen Blackwelder: to use. Anne Garstka: Yeah. Helen Blackwelder: And that's a pity, if you uh if you have uh thirty, forty minutes uh Frances Pesce: Yeah. Helen Blackwelder: for this kind of things, Frances Pesce: And Helen Blackwelder: and we Frances Pesce: that's Helen Blackwelder: are now Frances Pesce: m Helen Blackwelder: with four people, but it well, imagine you are here you're with the ten people and everyone Frances Pesce: That's mostly Helen Blackwelder: uh Frances Pesce: the case, from the over here with the managements you get two minutes to make your case, and if you Helen Blackwelder: Yeah. Frances Pesce: have to do all Helen Blackwelder: Two minutes Frances Pesce: this kind Helen Blackwelder: of drawing, yeah. Anne Garstka: Yep. Frances Pesce: You'll rather use PowerPoint and work it out in advance. Helen Blackwelder: Yeah. Frances Pesce: And th the one or two things you have to draw when you're Helen Blackwelder: Yeah. Frances Pesce: there, just use a flip-board. Anne Garstka: What I really miss also is uh is a d is a turtle is a decision uh decision system like um With the evaluation, you have to Polls like, what do you want, a one, a two, Helen Blackwelder: Yeah yeah. Anne Garstka: maybe a Frances Pesce: Yeah. Anne Garstka: a l a little application like uh uh give your own number and click one two three four five six seven. Helen Blackwelder: Yeah, just like he said with the with the a screen which you can write, also uh a Anne Garstka: Yeah, Helen Blackwelder: kind of Anne Garstka: j Helen Blackwelder: voting Anne Garstka: ju Helen Blackwelder: uh Anne Garstka: ju Helen Blackwelder: mechanism. Anne Garstka: yeah, v voting Ilona Jackson: Oh. Anne Garstka: application. Just Helen Blackwelder: Yeah. Anne Garstka: a little group group decision application. Helen Blackwelder: Yeah. Ilona Jackson: But uh, problem is, well you can't discuss anything well you you ca uh you can, but you will discuss a lot less than l like we did now. Anne Garstka: Yeah. Ilona Jackson: We I mean uh w w w one one person s maybe said three. But, well uh I we said uh, no I w th think two, because this and this, and then you can react uh on it. But Anne Garstka: Yeah, Ilona Jackson: if you Anne Garstka: okay. Ilona Jackson: you put a three on it, uh just figure well, everybody knows what I'm knowing, so they'll all just put a two on. Anne Garstka: Yeah, of course. But, uh you can still discuss about it, Ilona Jackson: Yeah, but Anne Garstka: but Ilona Jackson: it would yeah. Anne Garstka: but click it in an application, that's a lot easier to process. Ilona Jackson: Yeah okay, the for processing Anne Garstka: The digit. Ilona Jackson: part. Anne Garstka: Yeah. Ilona Jackson: But then uh, I think the idea of one person entering it and the rest uh discussing it, that uh isn't that bad idea, actually. Anne Garstka: Yeah. Ilona Jackson: Not that your opinion isn't valued, but but still. Anne Garstka: Yeah. Helen Blackwelder: Yeah. Anne Garstka: Okay. Frances Pesce: Okay. Helen Blackwelder: Okay, so Frances Pesce: Yo, manager. Anne Garstka: That's it? Helen Blackwelder: Uh Frances Pesce: When Helen Blackwelder: well, Frances Pesce: are w Helen Blackwelder: just about, because uh Frances Pesce: When are we going to produce it? Helen Blackwelder: Yeah, tomorrow? Anne Garstka: Celebration. Helen Blackwelder: Uh, the costs are within the budget. Uh, Anne Garstka: Yeah. Helen Blackwelder: the project is evaluated. Anne Garstka: Yeah. Helen Blackwelder: But, before we going to celebrate, uh I have uh a little question which you can't answer, because uh there must be some kind of end report. I am busy with the end report right now. You might thinking what the hell was he doing Anne Garstka: What Helen Blackwelder: uh Anne Garstka: is an end report? Helen Blackwelder: Uh about all the meetings, what we have decided, Anne Garstka: Yeah. Helen Blackwelder: a r r a report of this day. Anne Garstka: Yeah, yeah. Helen Blackwelder: Uh, that must be made, but I don't know, here is uh standing uh whoa, we can celebrate now, but the Anne Garstka: Oh, Helen Blackwelder: end report Anne Garstka: you ha you Helen Blackwelder: is Anne Garstka: have ten minutes left, I uh read. Frances Pesce: Oh. Anne Garstka: You have now ten minutes left to finish up the end Helen Blackwelder: Okay Anne Garstka: report. Helen Blackwelder: well, that uh that can be done. Maybe we can do it uh together. You can see what I've uh Anne Garstka: Yeah. Helen Blackwelder: yeah? So Ilona Jackson: Yeah, Helen Blackwelder: I Ilona Jackson: sure. Helen Blackwelder: I s I will uh put it on a story-board. You can see it. Anne Garstka: Um Helen Blackwelder: Because I think it will uh it must be uh Anne Garstka: You you already made a beta version, or Helen Blackwelder: Yeah, it's a three uh with seventy five uh Anne Garstka: Pages. Ilona Jackson: Y yikes. Helen Blackwelder: Yeah, Ilona Jackson: Seventy five pages. Helen Blackwelder: just about. Well, just a moment. End report. Anne Garstka: Okay, Daniel. Do you want a chair maybe? Frances Pesce: A chairman. Anne Garstka: Hey? Helen Blackwelder: No no no, I'm just uh Anne Garstka: Oh, okay. Helen Blackwelder: you can s you can read it and uh here here it is. End Ilona Jackson: So you Helen Blackwelder: report. Ilona Jackson: you finished it actually, and so we just have to read it and say yes or no? Frances Pesce: Yes. Helen Blackwelder: Well, this not nit it read-only. But it's not uh fully Anne Garstka: Five minutes Helen Blackwelder: finished yet. Anne Garstka: for finishing. Helen Blackwelder: Um, this is about the functional design, the Anne Garstka: Management Helen Blackwelder: things Anne Garstka: Expert, you have Helen Blackwelder: yeah yeah. Anne Garstka: to change that. Helen Blackwelder: Oh yeah. I'm uh Anne Garstka: Marketing. Helen Blackwelder: when I said it, I remember I Frances Pesce: It's Helen Blackwelder: had Frances Pesce: a Helen Blackwelder: it Frances Pesce: read-only Helen Blackwelder: here. Frances Pesce: version. Anne Garstka: Yeah, but you can save it u the under another name. Frances Pesce: Oh, okay. Helen Blackwelder: Marketing Expert, okay. Um about the three functions where uh which are most used and uh which must uh immediately be visible on our uh remote control. Um, it must be uh simple to use, very clear what to do, and at the younger people. So, this is really about wh uh what kind things uh must be in it and uh yeah. Anne Garstka: Maybe um the Frances Pesce: Uh Anne Garstka: The Helen Blackwelder: Yeah, I understand you, I Anne Garstka: Yeah. Helen Blackwelder: can talk a little bit Dutch. Anne Garstka: You Yeah. No, you have to put uh, switch channels uh at the top, because that's the most Helen Blackwelder: Oka Anne Garstka: used function Helen Blackwelder: okay, Anne Garstka: and Helen Blackwelder: okay, I Anne Garstka: teletext at the second Helen Blackwelder: I really didn't Anne Garstka: Oh Helen Blackwelder: knew Anne Garstka: nay, a Helen Blackwelder: that. Anne Garstka: volume changing, second. Helen Blackwelder: So, this one's Anne Garstka: S Helen Blackwelder: first. Anne Garstka: switch, yes. Helen Blackwelder: You go there and you go there. Anne Garstka: Yeah. Helen Blackwelder: So, okay. Anne Garstka: Okay, go on. Helen Blackwelder: Well, maybe I can then do it one two three. Anne Garstka: Yes, Frances Pesce: One Anne Garstka: very good. Frances Pesce: two three. Helen Blackwelder: If the order is in uh is Anne Garstka: Yeah. Helen Blackwelder: is uh important, Anne Garstka: Yeah. Helen Blackwelder: that's the word for. Anne Garstka: The order. Helen Blackwelder: Uh, then the conceptual design. Uh, well all the things we have uh discussed, uh the energy, which uh turn out to be uh batteries, so that's Frances Pesce: Yeah. Well, okay, maybe you can add it later Helen Blackwelder: Yeah, Frances Pesce: that we decided Helen Blackwelder: because Frances Pesce: in the end Helen Blackwelder: yeah. Frances Pesce: because of the cost. Helen Blackwelder: Uh, he here it is still double-curve, Anne Garstka: Single-curves. Helen Blackwelder: the rubber, the flashy, the fruity, the removable. Uh, Ilona Jackson: It's Helen Blackwelder: the Ilona Jackson: not Helen Blackwelder: buttons Ilona Jackson: double. Uh, Helen Blackwelder: Hmm? Ilona Jackson: it's Frances Pesce: A single-curved. Ilona Jackson: not double anymore, eh? Helen Blackwelder: Not Anne Garstka: No, okay. Helen Blackwelder: double anymore. Nay but that this is what um Ilona Jackson: Yeah, Anne Garstka: Was Ilona Jackson: okay. Anne Garstka: initial, the Helen Blackwelder: Yeah. Anne Garstka: plan. Ilona Jackson: Yeah. Anne Garstka: The initial plan. Helen Blackwelder: And the the added functions like Tetris snake, it's under the parental control, the touch-screen. Ilona Jackson: On Helen Blackwelder: So, Ilona Jackson: thing Helen Blackwelder: it's Ilona Jackson: uh Helen Blackwelder: uh just a summary of what uh we had discussed uh Ilona Jackson: One small thing uh, the added functions. Uh, was it included in the cost? I don't think so, eh? Frances Pesce: Ah, it's very cheap. Ilona Jackson: It's Helen Blackwelder: Uh, Ilona Jackson: very Helen Blackwelder: it's Ilona Jackson: cheap. Helen Blackwelder: very cheap, you you maybe you you you you come at uh Anne Garstka: No, it's it's not very cheap, but Helen Blackwelder: It's very Anne Garstka: that Helen Blackwelder: necessary. Anne Garstka: no, but it's a development inside corporation. Like, uh w we don't have to buy parental control. Our own people can Helen Blackwelder: Yeah, Anne Garstka: make Helen Blackwelder: but Anne Garstka: that, Helen Blackwelder: it Anne Garstka: I Helen Blackwelder: still Anne Garstka: think. Frances Pesce: Yeah. Helen Blackwelder: has Anne Garstka: Yeah, Helen Blackwelder: some Anne Garstka: it it has some Helen Blackwelder: yeah. Anne Garstka: cost, but Helen Blackwelder: Okay, Frances Pesce: He'll Helen Blackwelder: but Frances Pesce: do Helen Blackwelder: so Frances Pesce: it Helen Blackwelder: we Frances Pesce: in Helen Blackwelder: can Frances Pesce: his free Helen Blackwelder: discuss Frances Pesce: time. Helen Blackwelder: that Frances Pesce: So Helen Blackwelder: uh Frances Pesce: uh Anne Garstka: Yeah. Helen Blackwelder: we can discuss that kind of things I think with the with the the board of uh Frances Pesce: Of directur or directors. Helen Blackwelder: What's it what's the company called? I just keep forgetting it. Anne Garstka: Real Helen Blackwelder: Real Anne Garstka: Reaction. Helen Blackwelder: Real Reaction. Frances Pesce: Yeah. Helen Blackwelder: Real Reaction, yeah. Frances Pesce: You can ask Helen Blackwelder: Okay, Frances Pesce: your personal Helen Blackwelder: so uh anybody uh misses something here about Frances Pesce: Yeah, Helen Blackwelder: uh Frances Pesce: the end conclusion. But uh Helen Blackwelder: Yeah, okay, that's that's what Anne Garstka: Okay. Helen Blackwelder: I'm gonna write b Anne Garstka: Still the end Helen Blackwelder: between Anne Garstka: conclusion. Helen Blackwelder: now. Anne Garstka: That's Helen Blackwelder: But, Anne Garstka: all, I think. Helen Blackwelder: i in here nothing uh Frances Pesce: Um, the decision to make um the buttons on the top, and the menu on the Helen Blackwelder: Mm-hmm. Frances Pesce: on the bottom. And Helen Blackwelder: Yes. Frances Pesce: clearly Yeah, touch-screen you've mentioned. Helen Blackwelder: Yeah, touch-screen I've Anne Garstka: Yeah, Helen Blackwelder: mentioned. Anne Garstka: but but the the decisions are put in the uh conclusion, I think. Frances Pesce: Okay. Anne Garstka: Why we decided to Frances Pesce: Okay, Anne Garstka: use Frances Pesce: this Anne Garstka: a flat Frances Pesce: n Anne Garstka: uh Frances Pesce: yeah. Anne Garstka: L_C_D_. Helen Blackwelder: Yeah, okay, well I gonna redesign uh something now. Anne Garstka: Yeah. Helen Blackwelder: No. Anne Garstka: Um Frances Pesce: Party party. Helen Blackwelder: Because I think it will Oh, five minutes from to Frances Pesce: Oh, Helen Blackwelder: finish meeting. Frances Pesce: before you change anything maybe you um save Anne Garstka: Save Frances Pesce: it first. Anne Garstka: it. Anne Garstka: Hmm. Frances Pesce: You can't you can select file and export and then those J_ PEG files. Anne Garstka: Yeah, but then you had the same thing. Frances Pesce: Well, eight. And we have uh, another blank one. Anne Garstka: Example of children Frances Pesce: Did we change Anne Garstka: remote. Frances Pesce: anything? Anne Garstka: Oh wait. Wait. Frances Pesce: Wow. Yeah. It's a new uh commercial logo. Anne Garstka: Hmm. That's a pity. Frances Pesce: Don't save it, aye? Helen Blackwelder: Oh, that's cool, Tim. Frances Pesce: Uh, Helen Blackwelder: Finish meeting now. Well, Frances Pesce: why are Helen Blackwelder: I'm Frances Pesce: only Helen Blackwelder: I'm Frances Pesce: the first five SMARTboard files Helen Blackwelder: I'm going to finish my Frances Pesce: saved? Helen Blackwelder: end report. Ilona Jackson: Okay, um hereby is the meeting is finished. Anne Garstka: You declare. Helen Blackwelder: I am the one who can say that. Yeah? Hereby the meeting is finished. Yeah.

Helen Blackwelder opened the meeting and went over the agenda. Frances Pesce and Ilona Jackson presented their prototype design, describing the shape and layout of the remote. The group discussed colour options and decided to make the standard remote in fruity colours, but with the option of buying different exchangeable covers which might appeal more to older buyers. Anne Garstka led the prototype evaluation and the group were happy with their product. The group calculated the production costs. The group were 4 euros over budget, so they decided to make the case single-curved and not to use kinetic energy. Helen Blackwelder led the evaluation of the project process. The group felt that only Ilona Jackson and Frances Pesce were able to be creative and work as a team. It was felt that the first meeting was disorganised because of poor leadership but the leadership improved in the later meetings. The group were also had problems with the digital pens. The group helped Helen Blackwelder fill in the final report before the close of the meeting.

amisum

train

Norma Bell: Hello. Norma Bell: Dang it. Sherri Smith: And then you have to place your laptop on the marked spot. Norma Bell: Alright. Sherri Smith: It's important to place your laptop exactly on the marked spot over here. Denise Hanks: Okay. Denise Hanks: No, that's okay. Denise Hanks: your mouse. Norma Bell: What? Denise Hanks: No mouse needed? Norma Bell: I've got a touch-pad. Do you know Denise Hanks: Mm. Norma Bell: how how I can wake it up? Denise Hanks: A touch-pad? Norma Bell: No, my laptop. Denise Hanks: Slap it. Norma Bell: You with your brilliant ideas. I don't know if I can touch the power button. Do you know how how I can wake Denise Hanks: Is Norma Bell: it up? Sherri Smith: No. Yeah. Try the power button. Norma Bell: Oh. Come on, move it. Denise Hanks: Um Norma Bell: Now, wake up, bitch. Sherri Smith: Huh. Denise Hanks: F_ five. F_ five. Doreen Bergseng: I've lost my screen. Uh Norma Bell: Yeah, so did I. I closed Denise Hanks: I don't. Norma Bell: it. That wasn that wasn't very smart, I guess. Get back to Norma Bell. Yes. Doreen Bergseng: I closed the Norma Bell: I closed it. Denise Hanks: You've got your name. Sherri Smith: Yeah, my name is name. Norma Bell: No, I didn't restart it, I just closed it. Yes. Denise Hanks: Hope it working. Norma Bell: Alright. Doreen Bergseng: No. Denise Hanks: Never close your laptop. Sherri Smith: Yeah? Everybody's ready? Norma Bell: Great. Denise Hanks: Yeah. Sherri Smith: Great. Norma Bell: Thanks. Sherri Smith: Well, welcome to the kick-off meeting. I uh forgot to put my name over here, it's uh it's Martin. Uh, so you all know. Well, this is the agenda for today. Well, the opening I'm doing right now. Uh, we gonna do some acquaintance acquaintance things. Uh give some um examples of the tool training, project plan discussion and the closing. We have twenty five minutes. Okay, the project aim is to design a new remote control. Norma Bell: Mm-hmm. Sherri Smith: Uh, some of the oje objectives are that is has to be original, trendy, and user-friendly. So Denise Hanks: Okay. Sherri Smith: now we all know what our goal is. Um, I oh forget I forget the whole acquaintance part, but we we all know each other. We all know each other's names. Joost, Norma Bell: Yes. Denise Hanks: What Sherri Smith: Guido, Denise Hanks: is your Doreen Bergseng: Yes. Denise Hanks: name? Sherri Smith: Antek. Doreen Bergseng: Antek. Denise Hanks: Antek Ahmet. Sherri Smith: Okay. Denise Hanks: And Sherri Smith: I Denise Hanks: Joost. Sherri Smith: think we uh al already uh Denise Hanks: Okay. Sherri Smith: been through that part. Denise Hanks: Yeah. Sherri Smith: Okay, it consists of uh three levels of design. Uh we begin with the functional design, then we go to the conceptual design and the detailed design. Every uh level of design consists of some individual work, and we uh close it with a meeting. You all received an email with a example of our explanation of what uh the particular level of design uh means to the different uh functions, and uh you p you probably read that already, Norma Bell: Yes. Denise Hanks: Yes. Sherri Smith: so I don't have to tell you about that. Okay, first we're gonna um uh gonna try some different things with the tools we have over here, so you get acquainted with these uh um uh meeting tools. We have the smart-boards, uh the thes those two boards. This is the presentation boards, wh which one I'm using right now. You can uh um there's a document folder called um the sh shared document folder. You can upload your uh documents to that folder and then you can open them over here, so you can do your PowerPoint presentations on this screen. We also have the white-board. Uh, we're gonna Denise Hanks: Can Sherri Smith: skip Denise Hanks: we see the Sherri Smith: through Denise Hanks: white-board Sherri Smith: th Denise Hanks: on our laptops? Sherri Smith: No, no. Just on the on the screen over there. Denise Hanks: that Sherri Smith: Oh, no. Denise Hanks: X_B_K_ Sherri Smith: Probably is, but I don't Denise Hanks: but Sherri Smith: know if the software is on the laptop. Is is if it's mainly a thing for in the meeting, so I don't Denise Hanks: Okay. Sherri Smith: think it's I don't know if it's important. This an explanation of the smart-boards. There is a tool-bar over here. It's quite simple. You have the the pen function, eraser function. It's like a very simple uh paint application. Uh, we well, we use the same file during uh the whole day, and uh you can make new sheets by uh by pu puttin pressing on the blank button. It works like this. Oh. If pen is selected, yes. Oh, no no. Denise Hanks: With that pen? Sherri Smith: It's not But it is pen. It's not working like a pen yet. Denise Hanks: Mm. Sherri Smith: Huh. Sherri Smith: Huh. Denise Hanks: Mm. Sherri Smith: It's doing some stuff now. Denise Hanks: Little bit Sherri Smith: So Denise Hanks: slower. Sherri Smith: you can use a pen. You can use an eraser. And you can make new uh fi uh new blanks, and you can change uh the line width and the colour of the pen by pressing on forward, which y you have to select pen format. And then select current colour or line width. So, it's quite easy. Uh well, now you're all uh acquainted with the different tools. Right, we're gonna try out the electronic white-boards. Uh, every participant should draw his favourite animal and some of its favourite characteristics, on blank sheets with different colours, with different pen widths. Uh, I'll start off then. I'll use this uh same sheet. Alright. Oh, let Norma Bell think. Different colours. Oh. Sherri Smith: Well, I'm gonna draw um a p piranha. Uh, a fish. Denise Hanks: piranha. Okay. Sherri Smith: Uh. Sherri Smith: Mm-hmm. Denise Hanks: Oh. Sherri Smith: I'm gonna use some different colour now. Some a little white. Looks like a fish. Think it is. Oh. Sherri Smith: Oh. Uh, colour. This is black? I think so. Denise Hanks: Yellow Sherri Smith: Oh. Oh, this is just uh useless uh drawings but Oh teeth. I need teeth. Well, they're not supposed to be green, or whatever colour this is. Denise Hanks: Hmm. Sherri Smith: Okay. What was uh I have su to sum up Denise Hanks: Different. Sherri Smith: its favourite characteris Well, I like its uh sharp razor sharp teeth. Plus, uh the the big uh forehead and uh a small uh, well a small actual face. And I like its overall uh aggressive look and Well, that's what I like about uh piranha. Denise Hanks: Okay. Sherri Smith: I think that's kind of what uh the intention should be. Well, who wants to be next? Norma Bell: Nobody, I guess. Denise Hanks: I will Sherri Smith: You Denise Hanks: try. Sherri Smith: go, Guido? Denise Hanks: Yeah. Sherri Smith: Okay. Denise Hanks: I will try. Uh Sherri Smith: Uh, make a new sheet. Uh, it's by pressing on blank. Denise Hanks: Blank? Sherri Smith: Yep. Denise Hanks: Okay. Then pen again? Sherri Smith: Yep. Denise Hanks: Okay. Okay, um Norma Bell: Format. Denise Hanks: control. Denise Hanks: Uh Ah, purple. Um, I don't know what my uh favourite uh animal is, but the easiest animal I can think is is a bird. Uh I will Norma Bell: You know, Denise Hanks: That's my bird. Norma Bell: I thought of that actually. Denise Hanks: Yeah? Norma Bell: Yeah. Denise Hanks: Isn't it quite it's a little bit light. Uh, another colour maybe. A red one. A small one. Uh, line width. Two? Three. Oh that's okay. That's another one. Sherri Smith: Well, tell us something about Denise Hanks: Ano Sherri Smith: uh your favourite characteristics of these uh particular Denise Hanks: Uh Sherri Smith: birds. Norma Bell: Its simplicity. Denise Hanks: uh it's a Yeah, it's uh the most simple uh animal I know, I think. Um, I don't know. Maybe because uh there's there's some s uh free uh maybe in the sky Sherri Smith: Oh, okay. Denise Hanks: or something like that. Sherri Smith: Okay. Denise Hanks: Maybe a little bit. Yeah. I don't know. Sherri Smith: Okay. No, uh Denise Hanks: So Sherri Smith: it's clear. Denise Hanks: more uh birds? Sherri Smith: N no no. We get your point. Denise Hanks: Okay, Sherri Smith: Okay. Denise Hanks: okay, Sherri Smith: Who wants to be next? Denise Hanks: okay. Norma Bell: Yeah, whatever. I'll go next. Thanks. I haven't Denise Hanks: M Norma Bell: got a favourite animal too, so Denise Hanks: Pictionary. Norma Bell: Oh. What should I draw? Denise Hanks: A cow. Sherri Smith: Oh. Norma Bell: Thank you, I'll draw a penguin. Denise Hanks: Okay. Norma Bell: Yeah. I'll draw a penguin. Whatever. I can't draw, so you can start to laugh already. Sherri Smith: I'll do Norma Bell: Whatever. Sherri Smith: so. Norma Bell: Something like that. Norma Bell: Come on. Denise Hanks: Yeah, it's little bit hard. Norma Bell: Mm hmm hmm, orange. Denise Hanks: Orange, of course. Norma Bell: Whatever. Norma Bell: Oh, it's better than your bird. Denise Hanks: Uh yeah. Norma Bell: Everything's better than your bird. Denise Hanks: Yeah. True. Norma Bell: Whatever. Hey, it's blue. No. Whatever. Um, I like its ugliness and uh Yeah, whatever. The way it walks or whatever. Sherri Smith: Okay. Norma Bell: Your turn. Doreen Bergseng: 'Kay. Norma Bell: Drawing. Doreen Bergseng: I'm going to draw a cat. I don't know why, but a cat is a very uh smart animal. And you can have them at home. Which is not as the case with uh with bingwings and Sherri Smith: Well, you can have a piranha at home. Doreen Bergseng: Ye yes, Sherri Smith: Huh. Doreen Bergseng: yeah. Norma Bell: Or a line. Denise Hanks: A little Norma Bell: I Denise Hanks: bit. Norma Bell: mean a bird. Denise Hanks: Yeah. Don't mess with my birds, yeah. Norma Bell: Hmm. It's a handicapped Doreen Bergseng: from Norma Bell: cat. Doreen Bergseng: it. Denise Hanks: cat. Sherri Smith: I don't think uh I don't think uh Darwin would agree with that. Doreen Bergseng: It's Ah, it's not scared. He's crying but Sherri Smith: Okay. Norma Bell: He's crying because it's ugl because of his ugliness. Sherri Smith: What do you like about it then? Doreen Bergseng: Uh it's i most cats are small. Sherri Smith: Oh, okay. Doreen Bergseng: You can handle them. Sherri Smith: Okay. Okay. Okay, Denise Hanks: Okay. Sherri Smith: and then we are uh through the tool training, I guess. Norma Bell: I wouldn't call it training, but Sherri Smith: Okay, this is uh something about the project finance. The selling price of our remote control is gonna be twenty five Euros. And our profit aim is fifteen million Euros. We're very ambitious on this one. The market range is international, so it's gonna be sold world-wide, and the production cost should be a maximum of twelve Euro fifty per remote control. So that's clear. Yeah? Denise Hanks: Okay. Norma Bell: Alright. Sherri Smith: Okay, we're now gonna discuss some stuff when well, we're gonna brainstorm about uh what kind of kemoro romo remote control it's gonna be. Uh, well tell Norma Bell about your experiences with the remote controls. Do you have uh know what good experiences with remote controls? Or do they Doreen Bergseng: Yes. Sherri Smith: annoy you sometimes? Are they difficult to understand, or maybe they don't interact with different kind of uh Denise Hanks: Hmm. Sherri Smith: equipment Norma Bell: I don't Sherri Smith: very Norma Bell: th Sherri Smith: well? Norma Bell: I don't think the four of us got problems with remote controls, but Sherri Smith: Yeah, Norma Bell: if Sherri Smith: okay. Norma Bell: you see elderly people, all these buttons, and then they buy new Denise Hanks: Different. Norma Bell: T_V_ because their previous one was stolen or whatever. Sherri Smith: Okay. Norma Bell: And then a totally different remote control with with different functions on different places, and half of the functions a are removed, or whatever. Uh, so I think what we need is is a clear uh remote control with uh grouped buttons, you know. All th all the buttons which apply to the text functions in in one uh Sherri Smith: Different functions Norma Bell: Well, Sherri Smith: of Norma Bell: one Sherri Smith: of Norma Bell: area or Sherri Smith: uh Norma Bell: whatever, not like the button to enter text on top of the remote control and the button to um, yeah, to minimise it to this this or whatever o o Sherri Smith: Okay. Norma Bell: other functions totally somewhere else. I Sherri Smith: Yeah. Norma Bell: think we should group them. And same Sherri Smith: Okay. Norma Bell: for the for the volume buttons and the Sherri Smith: And uh, Norma Bell: the Sherri Smith: is Norma Bell: t Sherri Smith: it gonna be a remote control that's um what it can be used for different kind of equipment, like your T_V_ and your Norma Bell: Well Sherri Smith: home Norma Bell: I was Sherri Smith: stereo? Norma Bell: I was Denise Hanks: Yeah. Norma Bell: thinking Sherri Smith: Uh Norma Bell: uh since a T_V_ is uh mostly used together with a V_C_R_ or D_V_D_ player or Sherri Smith: Mm-hmm. Norma Bell: recorder, and not with a stereo, Sherri Smith: Mm-hmm. Norma Bell: I think it should be good to include functions for V_C_R_s and D_V_D_ players, Sherri Smith: But uh, Norma Bell: recorders. Sherri Smith: the D_V_D_ players and home cinema sets often Norma Bell: Yeah. Sherri Smith: double as stereo hi-fi sets probably. It's what, from Denise Hanks: But Sherri Smith: my Denise Hanks: isn't Sherri Smith: experience. Norma Bell: I Denise Hanks: it Norma Bell: don't know. Hi-fi set is uh Sherri Smith: Okay. Norma Bell: not often used uh as I know of in combination with television. Sherri Smith: But we gonna Denise Hanks: It's only for television, I thought. Norma Bell: Yes. Denise Hanks: Not Sherri Smith: Oh, it is only for televis Denise Hanks: I thought it was only for television. So Norma Bell: Yes, it is only for television, Denise Hanks: so we Norma Bell: but Denise Hanks: probably Norma Bell: uh Denise Hanks: don't Sherri Smith: So wha Denise Hanks: have Sherri Smith: what Denise Hanks: to have to uh Norma Bell: Well Denise Hanks: have Sherri Smith: What Denise Hanks: the functions Sherri Smith: wha Denise Hanks: for D_V_D_ player Sherri Smith: what Norma Bell: well Denise Hanks: or Sherri Smith: uh Norma Bell: we we're Sherri Smith: what Norma Bell: gonna Denise Hanks: V_C_R_. Norma Bell: brainstorm Sherri Smith: document Norma Bell: about that. If we think it's useful, we do it. Sherri Smith: But, where where did it uh Where did you find that? Denise Hanks: Uh, in the email. Sherri Smith: Oh, okay. Norma Bell: That's Denise Hanks: I thought Norma Bell: right. It's a television Denise Hanks: it said Norma Bell: remote Denise Hanks: uh Norma Bell: control. But Denise Hanks: Yeah, Doreen Bergseng: Yes, Denise Hanks: television Norma Bell: I Denise Hanks: remote Norma Bell: was thinking Denise Hanks: control. Norma Bell: since it Sherri Smith: Yeah, Norma Bell: is Sherri Smith: but Norma Bell: useful Sherri Smith: most Norma Bell: with Sherri Smith: television Norma Bell: D_V_D_ Sherri Smith: remote controls support other functions as well. Doreen Bergseng: Yes, that's Sherri Smith: So we can Doreen Bergseng: uh Sherri Smith: No, Denise Hanks: True. Doreen Bergseng: something Sherri Smith: we Denise Hanks: Yeah. Sherri Smith: have to Doreen Bergseng: extras. Sherri Smith: think about that. Denise Hanks: True. Sherri Smith: Okay, uh Norma Bell: Yep. Sherri Smith: but uh we've gonna put some a uh is is it so user-friendliness, is a is a pri priority in this Norma Bell: Yeah, Doreen Bergseng: Yeah. Sherri Smith: case, Norma Bell: also Denise Hanks: Yeah, Norma Bell: no Sherri Smith: or Norma Bell: one's gonna Denise Hanks: yeah. Norma Bell: buy it. Sherri Smith: Okay. Denise Hanks: Yeah. Norma Bell: I guess. Doreen Bergseng: Only the Denise Hanks: True. Doreen Bergseng: experts. Sherri Smith: Well, Norma Bell: Yeah. Sherri Smith: this the maybe is uh some aspect of the uh, or or some point at at which we can excel by making it very useful. That w Well, then you're you're the usability uh man, so this uh gonna be a Denise Hanks: Oh Sherri Smith: very Denise Hanks: my Sherri Smith: important Denise Hanks: God. Sherri Smith: task for you then. Norma Bell: Yeah. Denise Hanks: Okay. Sherri Smith: Okay. Well, other ideas? How can we make it trendy or something? Do uh by Doreen Bergseng: Uh, Sherri Smith: just sh shape Doreen Bergseng: to go Sherri Smith: and the look Doreen Bergseng: with Sherri Smith: of it? Doreen Bergseng: to go with fashion Sherri Smith: Maybe Doreen Bergseng: and Sherri Smith: a can opener underneath it? I don't Denise Hanks: For the Sherri Smith: know. Denise Hanks: bear. Sherri Smith: Or someth something Denise Hanks: Uh Sherri Smith: special, like uh M_P_ three player inside Denise Hanks: I Sherri Smith: of it, Denise Hanks: I uh, no Sherri Smith: or uh Denise Hanks: I Sherri Smith: Oh, Denise Hanks: think Sherri Smith: well Denise Hanks: it Sherri Smith: then the production costs are gonna be too high probably. Norma Bell: Yeah, Denise Hanks: Uh, Norma Bell: way Denise Hanks: I Norma Bell: too Denise Hanks: th Norma Bell: high. Denise Hanks: I think yo we have to keep it simple, to Norma Bell: Yep. Denise Hanks: get a whole market. It's international, Sherri Smith: Okay. Denise Hanks: so Sherri Smith: Maybe with different Denise Hanks: we have Sherri Smith: type Denise Hanks: to use Sherri Smith: of fronts Denise Hanks: a standard. Sherri Smith: or uh Well, m has to be something Norma Bell: Well that's an idea of course, yeah. Sherri Smith: spectacular or uh one which makes it We gonna skip back to the goals probably. Uh, Norma Bell: Mm-hmm. Sherri Smith: original, trendly, and user-friendly Well, we al also already talked about user-friendliness. Denise Hanks: Hmm. Sherri Smith: No, well something trendy and original, well that that goes hand in hand I guess. Norma Bell: Yeah. Sherri Smith: When something is original, it tends to be trendy, probably, or we should make it combination of that. 'Kay, so you the um technical part of the process is something you're gonna look after for, so you have to think about what kind of uh equipment you want to uh, you know, you want to manage with it. Well, and that's an important part for you then, Denise Hanks: Use Sherri Smith: with Denise Hanks: friendly. Sherri Smith: gogors regards to the user-friendly Denise Hanks: Yep. Sherri Smith: part of it. Well, and you uh should look out for what makes it trendy. Well, you know, y like some special feature. Or some Does it does it gets Norma Bell: Yeah. Sherri Smith: some gadgetness or something. Norma Bell: Yes, what the market wishes. Sherri Smith: Okay. Well, the closing. Next meeting starts in thirty minutes. Individual, I think so. The Doreen Bergseng will w or the working design, of course, we will uh Already s said that. Denise Hanks is it a User Inter Denise Hanks: Yeah. Sherri Smith: User Denise Hanks: Yeah, Norma Bell: Yeah. Denise Hanks: yeah. Sherri Smith: Interface Denise Hanks: Interface Sherri Smith: the technical Denise Hanks: d Sherri Smith: functions design. And the Management Expert of uh Norma Bell. User requirements specifi Well, this one was already clear to us. Specific instructions will be sent to you by your personal coach. I don't know how much time we have left. Oh, not many I guess. We started at twelve. Norma Bell: You just got a message. Sherri Smith: Oh, and what does it said? Norma Bell: And it said Denise Hanks: Oh, I don't Norma Bell: uh five minutes, so we Sherri Smith: W Norma Bell: got four and a half. Sherri Smith: Okay, well um Denise Hanks: I didn't get a message. Norma Bell: No. He's the Denise Hanks: Oh, Norma Bell: whatever. Denise Hanks: the Project Doreen Bergseng: Team Denise Hanks: Manager. Doreen Bergseng: Leader. Sherri Smith: No, Norma Bell: Team Sherri Smith: we're Norma Bell: Leader. Sherri Smith: uh ahead of schedule then. Norma Bell: He is the whatever. Sherri Smith: Yeah, close it. I'm Denise Hanks: Okay. Sherri Smith: gonna make some minutes or take some minutes. And Norma Bell: Yes. Sherri Smith: uh it's it's clear you can put the stuff in the project documents presentations. Denise Hanks: Okay. Sherri Smith: You can all Norma Bell: Project Sherri Smith: Or we're Norma Bell: joc Sherri Smith: all uh Norma Bell: project documents is for showing uh on the white-board. Sherri Smith: Yeah. Yeah, Norma Bell: Yeah. Sherri Smith: but we're all familiar with uh uh Microsoft PowerPoint, are Norma Bell: Yes. Sherri Smith: we? Denise Hanks: Yeah. Sherri Smith: Yeah, okay. I'm Norma Bell: Alright. Sherri Smith: gonna wri uh write some stuff down and then we're ready. Norma Bell: Okay. Sherri Smith: Or we can leave already I guess. or Norma Bell: Yeah. Sherri Smith: uh or sh or should we uh or is important that we leave at exact uh Doreen Bergseng: No. Norma Bell: No. Sherri Smith: Okay. Norma Bell: I don't think so. Denise Hanks: I don't think Norma Bell: Yes? Denise Hanks: Oh Sherri Smith: Yes. Norma Bell: Great. Doreen Bergseng: Oh. Sherri Smith: We'll see each other in uh thirty minutes. Norma Bell: Yeah. Good luck. Sherri Smith: Yeah, good luck. Denise Hanks: I will need it. Norma Bell: I will need it.

Norma Bell and industrial designer had problems with their laptops. Sherri Smith opened the meeting and introduced the project, to design a remote control. The remote should be trendy, original and user friendly. Sherri Smith explained how to use the SMARTboard, and the group did a tool training exercise, using the SMARTboard to draw their favourite animals. Sherri Smith talked about the budget and projected profit. The group discussed initial ideas for the remote, including that it should be a simple design with grouped buttons. They discussed whether the remote should include functions for controlling video and DVD players. Sherri Smith went over the roles of the participants and closed the meeting.

amisum

train

Aubrey Dexter: Okay, all set? Welcome Hattie Hass: Uh, Bernice Macias: Yes. Hattie Hass: okay. Aubrey Dexter: to the conceptual design meeting. The agenda. The opening. I'll again be the secretary and make minutes, take minutes, uh and it will be three presentations, just like the last meeting. So um, who wants to start off? Technical uh designer again? Hattie Hass: Again. Aubrey Dexter: Okay. Hattie Hass: Hmm. Aubrey Dexter: Uh, yeah. Uh, before we begin it, I want to say I've I've put the minutes of the uh second meeting in the shared folder, but they're still not uh quite okay. It uh it uh still some technical difficulties so the Hattie Hass: Mm-hmm. Aubrey Dexter: the first part of the minutes are very hard to read, because there are two documents that uh were layered over each other. Jeanne Kamaka: Okay. Aubrey Dexter: So But uh, from now on I won't use my pen anymore, so will be p just ordinary Hattie Hass: Uh, Aubrey Dexter: keyboard. Hattie Hass: may be better, yeah. Jeanne Kamaka: Keyboard work. Aubrey Dexter: I Jeanne Kamaka: Yeah. Aubrey Dexter: think it will will be more uh easy Hattie Hass: Yeah. Aubrey Dexter: for you to read the minutes. Jeanne Kamaka: Alright. Bernice Macias: Okay, when we talk about uh design, um it's really about the material and the and uh uh really the we build uh the remote controls of. Um, a remote control consist of uh components and the components of a remote control consist of uh properties and material. We have to choose th uh these uh wisely and it could affect uh uh a kind of grow of in uh in buying uh the remote controls. Um, the components of a remote control are of course the case Uh the properties of the case, um it has to be solid uh in hard material like uh hard plastic uh with soft rubber for uh falling and and uh uh yeah, it feels uh good in your hand. Mm the buttons has to be uh solid too, and the material is soft rubber. Uh I've got a uh email from the possibilities of Real Reaction. Um uh they're telling Jeanne Kamaka that um when we build uh a remote control of um of plastic or rubber, the uh buttons have to be uh rubber too. Mm It's okay. Yeah. I when we use a rubbled a doubled curved case, we must use a rubber push-buttons to uh the the rubber double-curved case is a is a t uh three-dimensional uh curve in the in the design, which is uh necessary when we want to be trendy. Uh Um Hattie Hass: Oh. Bernice Macias: the energy source, uh I've got a lot of possibilities for that too. Um, uh the basic battery, which I thi prefer because of its uh its non uh non-depending of of of uh um Uh here you have to have a hand uh yeah, kinetic uh energy. Also in uh this one, like in the watches, but a remote control can lie on a table for a day, and then you push uh a button and so you don't have to uh walk with it all the all the time. Mm, solar cells are also uh a bit weird for uh remote controls. Um uh also the case material, uh I think that plastic is the is the best with rubber, because uh wood or titanium would also be a bit weird. Hattie Hass: Oh titanium is probably trendy, I think. Jeanne Kamaka: That's true, I guess. Yeah. Hattie Hass: Well, maybe a little bit expensive. I don't know. Jeanne Kamaka: Huh. Bernice Macias: Uh, they don't tell anything about the cost of uh titanium. Um the chip uh the chip set uh and the board is uh all off the shelf. Also, the speaker in the remote control, when we want to retrieve it. Um, the base station is also off the shelf, all the materials and the components are uh just available in uh in our uh factory. Mm, I've told about uh the three first points. Mm, the simple electronical chip uh is is available uh with the LED transmitter uh transmitter. Uh, it's all uh off the shelf and even the speaker and the wireless retriever are all uh available in our company. Um, another possibility. I uh yeah, I looked up on was uh the L_C_D_ displays. Could be uh something special to our uh remote control, and it's possible, but it only cost a bit more, but maybe it can be uh within the limits of twenty five Euros. Aubrey Dexter: Twelve and a half. Bernice Macias: Ah yeah. Aubrey Dexter: Actually Jeanne Kamaka: Yeah. Hattie Hass: Yeah, production cost. Bernice Macias: I th I got an email with uh some examples and it these were were the most trendiest one. You see uh a covers, which can be Aubrey Dexter: What are those, t tooth uh brushes, Bernice Macias: Um, Aubrey Dexter: or so Bernice Macias: I don't know. Um Aubrey Dexter: But it's actually kind Hattie Hass: I Aubrey Dexter: of uh well, it resembles the design I had Bernice Macias: Yes. Aubrey Dexter: in mind for this Jeanne Kamaka: Yep. Aubrey Dexter: proj You know the the cartoonish Alessi kind of design. Bernice Macias: Yes, maybe we can uh bri uh bring a couple of uh Aubrey Dexter: And we can we can steal Bernice Macias: couple Aubrey Dexter: their Bernice Macias: of Aubrey Dexter: ideas. Bernice Macias: types of uh maybe a kind of uh whole uh um a whole set of uh different uh remote controls. Maybe we can Aubrey Dexter: Huh. Bernice Macias: bring a whole line uh with uh with a huge variety of uh Aubrey Dexter: Well, Bernice Macias: uh house Aubrey Dexter: it's Hattie Hass: Different Aubrey Dexter: a possibility, Bernice Macias: uh stuff. Hattie Hass: colours Aubrey Dexter: too. Hattie Hass: also. Bernice Macias: Like uh maybe radios and uh television Aubrey Dexter: Uh-uh. Bernice Macias: also uh in this in this in the same style, but Jeanne Kamaka: Yeah, that'll Aubrey Dexter: Okay. Jeanne Kamaka: be for the future, I guess. Bernice Macias: Yes, because we have to uh Aubrey Dexter: Next time we're here. Bernice Macias: we have Jeanne Kamaka: Yeah. Hattie Hass: Yeah. Bernice Macias: to we have to bring the logo and all the stuff Aubrey Dexter: Oh, Bernice Macias: uh Aubrey Dexter: okay. Bernice Macias: back into it. Jeanne Kamaka: Yeah. Definitely. Aubrey Dexter: Okay. Bernice Macias: Thank Jeanne Kamaka: Alright. Bernice Macias: you. Hattie Hass: Okay. uh Jeanne Kamaka: Yeah. That's okay. Hattie Hass: Ah. Hattie Hass: Well, I shall go to the next slide. Um um, I still don't have any information about user requirements. I was about just uh the basic functions and I got Aubrey Dexter: Oh, we Hattie Hass: uh Aubrey Dexter: decided upon that in the last meeting. Hattie Hass: Yeah, Aubrey Dexter: Didn't Hattie Hass: but Aubrey Dexter: we? Hattie Hass: but then wh I don't know when there are new user requirements. Aubrey Dexter: Oh, okay. Hattie Hass: I ha I Aubrey Dexter: Well, Hattie Hass: ha Aubrey Dexter: tha Hattie Hass: I Aubrey Dexter: I didn't Hattie Hass: have the Aubrey Dexter: receive Hattie Hass: I Aubrey Dexter: any Hattie Hass: have Aubrey Dexter: new requirements or somethi Just Hattie Hass: nothing. Aubrey Dexter: no, but we decided to use only b basic functions only. Hattie Hass: Well, I have here a couple of basic functions I could think of. Aubrey Dexter: Okay. Hattie Hass: I dunno if they're maybe a little bit more, but Aubrey Dexter: Well we maybe we can think of that later. Hattie Hass: Yeah. Aubrey Dexter: W just these are the ones you already summed up in the Hattie Hass: Yeah, I I uh well, I pointed them out here, Aubrey Dexter: Okay. Hattie Hass: just to make it a little bit easier. Um Another function uh is of course we already discuss it on the side. Um, I don't know what costs of it. Uh, I've no idea about it. Uh, I was also looking for what you said, for I got an email uh uh about uh L_C_D_ in in in front of the remote control. I don't know if that's a good idea, or maybe it's a little bit too much for twelve and a half. Production. Aubrey Dexter: Yeah. Bernice Macias: Uh-huh. Hattie Hass: If we got already uh something like a Aubrey Dexter: That Hattie Hass: base. Aubrey Dexter: might get redundant also maybe. I don't know what kind of Hattie Hass: Yeah, Aubrey Dexter: information Hattie Hass: I don't know. Aubrey Dexter: it Hattie Hass: I d Aubrey Dexter: would Hattie Hass: I Jeanne Kamaka: Mm yeah. Hattie Hass: uh ju I was just thinking about it. Then Aubrey Dexter: Yeah. Hattie Hass: I got a pop-ups Aubrey Dexter: Yeah, it's Bernice Macias: Maybe Aubrey Dexter: okay. Hattie Hass: to go Bernice Macias: we Hattie Hass: to Bernice Macias: can Hattie Hass: the meeting. Bernice Macias: bring t Hattie Hass: But Bernice Macias: uh uh teletext to the t Hattie Hass: The remote control. Bernice Macias: to the remote control. Hattie Hass: a Jeanne Kamaka: Then you Hattie Hass: little Jeanne Kamaka: and then you've got a flag Hattie Hass: uh too Jeanne Kamaka: s Aubrey Dexter: Okay. Hattie Hass: A little bit Aubrey Dexter: That's Jeanne Kamaka: Very Aubrey Dexter: not Jeanne Kamaka: big R_C_. Yeah. Hattie Hass: A little bit Aubrey Dexter: It was Hattie Hass: too Aubrey Dexter: not Hattie Hass: big, Aubrey Dexter: a good Hattie Hass: I think. Aubrey Dexter: idea. Hattie Hass: Exactly. Aubrey Dexter: Okay. Hattie Hass: Um, yeah. Well, the functions are are not more to discuss, I Aubrey Dexter: No. Hattie Hass: think. It's Aubrey Dexter: No. Hattie Hass: it's Jeanne Kamaka: No. Hattie Hass: just the base things we already discussed that the no V_C_R_ or that kind of uh, so that's very easy. Um Aubrey Dexter: But you do mention the next and previous uh button. Hattie Hass: Mm-hmm. Jeanne Kamaka: Next channel, Hattie Hass: Well, Jeanne Kamaka: previous Hattie Hass: that's next Jeanne Kamaka: channel. Hattie Hass: channel. Aubrey Dexter: Oh, Hattie Hass: I Aubrey Dexter: okay, Hattie Hass: mean Aubrey Dexter: o Hattie Hass: next channel. Aubrey Dexter: okay Hattie Hass: Uh Aubrey Dexter: okay. Hattie Hass: Um oh, I I got an email with with an uh Aubrey Dexter: Huh. Hattie Hass: a remote control with a base. So, it's uh just an idea. And I um uh thinked of the button sizes and I'm not sure uh if they have to be big or uh just small Bernice Macias: But you're the expert. Jeanne Kamaka: I think it depends on the function. Hattie Hass: Well, I'm not a e I'm the expert for user-friendly, but not for trendiness. Aubrey Dexter: Mm-hmm. Hattie Hass: Maybe Jeanne Kamaka: Well, Hattie Hass: it Jeanne Kamaka: if you save uh Perhaps uh s tiny buttons aren't user-friendly, then we wouldn't im implement that of course. Hattie Hass: Well uh okay, that's your point. Um, yeah. Yeah, okay. Yeah, I've nothing to s Aubrey Dexter: Well, Jeanne Kamaka: Oh, that's Aubrey Dexter: w Jeanne Kamaka: right. Aubrey Dexter: when we only use basic functions, we have the possibility to make the buttons larger. Hattie Hass: Uh, with a little Jeanne Kamaka: Yeah. Hattie Hass: bit larger, yeah. I thought so, but maybe with the Aubrey Dexter: Well, I think we already agreed upon the fact that the the the skip buttons and the cha and the volume buttons, th th those two have Hattie Hass: Yeah, Aubrey Dexter: yeah, Hattie Hass: that Aubrey Dexter: they have Hattie Hass: groups. Aubrey Dexter: to be large. Uh, Hattie Hass: Large? Aubrey Dexter: I mean th th the the two two basic buttons, you know, the to skip channels Hattie Hass: Yeah. Aubrey Dexter: and Jeanne Kamaka: Yep. Aubrey Dexter: to uh I think yeah, I don't know why, but I think that is that's t Hattie Hass: Most Jeanne Kamaka: Those Aubrey Dexter: trendy Jeanne Kamaka: are probably Aubrey Dexter: too, Hattie Hass: the most Jeanne Kamaka: the Aubrey Dexter: because Hattie Hass: used Jeanne Kamaka: the Aubrey Dexter: that's Jeanne Kamaka: th Hattie Hass: uh Aubrey Dexter: the mo it Hattie Hass: buttons. Aubrey Dexter: it you know, it's uh acc acc um accentu uh, how do you say it? It puts an extra accent on the the on the simplicity of Jeanne Kamaka: Yes. Aubrey Dexter: our remotes Hattie Hass: True. Aubrey Dexter: to j to make Hattie Hass: Yeah. Aubrey Dexter: these two most basic functions extra big, like Jeanne Kamaka: Those are Aubrey Dexter: t Jeanne Kamaka: probably the b four most most used buttons on the Aubrey Dexter: Yeah. Jeanne Kamaka: th in the Bernice Macias: You Jeanne Kamaka: remote Bernice Macias: did Aubrey Dexter: And Jeanne Kamaka: control. Bernice Macias: the Aubrey Dexter: you Bernice Macias: research. Aubrey Dexter: want Hattie Hass: Yeah. Aubrey Dexter: to acc accentuate that, you know. Jeanne Kamaka: Sorry? Bernice Macias: It's from your research. Jeanne Kamaka: Yeah, sure. Hattie Hass: Okay. Aubrey Dexter: So Hattie Hass: Uh, that was all y uh personal preference I didn't have. I Aubrey Dexter: Okay. Hattie Hass: didn't had any time left. So Aubrey Dexter: No uh, that's coo it's cool. Jeanne Kamaka: You don't care. No, sorry. Hattie Hass: Yeah, Jeanne Kamaka: Yeah. Oh. Go away. Jeanne Kamaka: Come Hattie Hass: It's Jeanne Kamaka: on. Hattie Hass: there. Yeah, click on it. Couple time. Jeanne Kamaka: Oh, great. Well, I've done some research again about trends on the internet. Um I've done some investigation, and uh well I uh got some information from fashion watchers from Paris and uh Milan. Some uh some findings the most important thing is fancy look and feel of the remote control. Uh, well, we were going to imply that, so that's nice. The second important thing is uh innovative technology in the R_C_. Uh, our market really likes really likes that. And uh the third point there in this uh order if of importance, the third point, is a high ease of use. And uh, well, for the idea, I've put some trends uh for the market of elderly people. Dark colours, simple recognisable shapes. So we probably won't do that. The younger market likes uh Well, the themes of of this year are uh surprisingly fruits and vegetables and spongy material. I found this image, which is uh Well, it symbolises the idea of fruits and vegetables. I don't see the spongy part in it. But with a little bit of fancy Aubrey Dexter: Well maybe c then we have to do something with Sponge Bob then. Jeanne Kamaka: Exactly. I got some ideas Uh well, yeah, pictures isn't really good word, but um some symbols of fruits or vegetables maybe. Uh, catchy colours. Fruit is uh yellow, green, red, whatever. So, Aubrey Dexter: It doesn't Jeanne Kamaka: remote Aubrey Dexter: stroke Jeanne Kamaka: controls Aubrey Dexter: with the Jeanne Kamaka: in Aubrey Dexter: with the Jeanne Kamaka: in Aubrey Dexter: dark Jeanne Kamaka: catchy Aubrey Dexter: colours. Jeanne Kamaka: colours. Uh, no, we don't want dark colours. Aubrey Dexter: Not the dark colours? Okay. Jeanne Kamaka: No, I just put them there to uh, yeah, uh for general idea. Aubrey Dexter: Okay. Jeanne Kamaka: And uh, the docking st uh I think the spongy material is is very irritating for the uh remote control itself. But to Yeah, the To implement some spongy thing, maybe we can do it in the in the docking station. At the bottom of the docking station or whatever. And uh, we could bring one line with a dark colour uh to um uh p uh yeah uh uh v how do you say? Aubrey Dexter: For diversity or something. Jeanne Kamaka: Yeah, Aubrey Dexter: Uh Jeanne Kamaka: also a bit for elderly people who are a little bit crazy and want Hattie Hass: Well, how Jeanne Kamaka: maybe Hattie Hass: uh Jeanne Kamaka: want a little younger design but still the dark colour. I mean it it it reaches a different market uh, but it it it doesn't cost really much effort to b to uh bring uh like a black R_C_ on the market or whatever. Hattie Hass: But Jeanne Kamaka: Yes. Hattie Hass: how do we use uh fruits and vegetables in Christ's sake with remote Aubrey Dexter: No, Hattie Hass: control? Aubrey Dexter: but I Jeanne Kamaka: Yeah, Aubrey Dexter: I Jeanne Kamaka: there's Aubrey Dexter: I think Jeanne Kamaka: there's Hattie Hass: Uh, Aubrey Dexter: that uh Jeanne Kamaka: always Aubrey Dexter: our Hattie Hass: make Jeanne Kamaka: a Aubrey Dexter: design Hattie Hass: it a banana? Aubrey Dexter: already resembles so a piece of fruit. It's Jeanne Kamaka: Well Aubrey Dexter: like a pear Jeanne Kamaka: there Aubrey Dexter: or Jeanne Kamaka: there's Aubrey Dexter: something. Jeanne Kamaka: always empty space of course on a remote control. I mean I think this part of the R_C_ uh well Aubrey Dexter: No, I don't think you have to do it Jeanne Kamaka: the Aubrey Dexter: like Jeanne Kamaka: upper the upper part or whatever is uh is not not used with buttons, I guess. So you you can put some fruity things Aubrey Dexter: Yeah, but it that doesn't have to remind you, you know, like explicitly of s our f of a of Jeanne Kamaka: No, Aubrey Dexter: a Jeanne Kamaka: of Aubrey Dexter: specific Jeanne Kamaka: course not. Aubrey Dexter: piece of fruit, but just, you know, like the the the the round curves. And so y I I think this Jeanne Kamaka: Especially Aubrey Dexter: y it already Jeanne Kamaka: i Aubrey Dexter: sem resembles uh something like a Hattie Hass: Yeah, Aubrey Dexter: pear Hattie Hass: but Aubrey Dexter: to Jeanne Kamaka or something. Hattie Hass: th Jeanne Kamaka: Yeah, Hattie Hass: yeah, but Jeanne Kamaka: yeah. Hattie Hass: that Jeanne Kamaka: Yeah, exactly. Hattie Hass: Yeah, Jeanne Kamaka: If we Aubrey Dexter: Yeah. Jeanne Kamaka: make it Hattie Hass: but Jeanne Kamaka: little Hattie Hass: that's Jeanne Kamaka: bit greenish. Aubrey Dexter: You do get the idea, eh? The fruity Hattie Hass: Yeah Aubrey Dexter: kind Hattie Hass: uh Aubrey Dexter: of round Hattie Hass: uh Jeanne Kamaka: A Aubrey Dexter: 'Kay. Jeanne Kamaka: and we could use one of these for the uh Aubrey Dexter: Yeah, Jeanne Kamaka: w Aubrey Dexter: uh Jeanne Kamaka: what is it? Aubrey Dexter: yeah, I don't know. Bernice Macias: Grapes. Jeanne Kamaka: Uh Isn't Aubrey Dexter: Uh, this is a b yeah. Jeanne Kamaka: Wha whatever. Hattie Hass: But d don't we need a creative artist or something like that to m Aubrey Dexter: Yeah, yeah. Hattie Hass: make Aubrey Dexter: Of Hattie Hass: it Aubrey Dexter: course Hattie Hass: to feel Aubrey Dexter: we have Hattie Hass: like Aubrey Dexter: uh Hattie Hass: a a Jeanne Kamaka: Yeah, Hattie Hass: a Jeanne Kamaka: sure. Hattie Hass: a vegetable or fruit? Jeanne Kamaka: Yeah. Aubrey Dexter: we have a very big uh Jeanne Kamaka: Well, w we can Aubrey Dexter: the s Jeanne Kamaka: uh w Bernice Macias: For a big team Jeanne Kamaka: we can Bernice Macias: of artists. Aubrey Dexter: Of d Jeanne Kamaka: we Aubrey Dexter: design Jeanne Kamaka: can produce Aubrey Dexter: team, yeah. Jeanne Kamaka: multiple uh multiple things. This is then the uh pear. I don't know the English word, Aubrey Dexter: Yeah, but Jeanne Kamaka: so forget it. Aubrey Dexter: It's pear, I guess. Jeanne Kamaka: And um, Bernice Macias: But Jeanne Kamaka: maybe, Bernice Macias: uh but I think Jeanne Kamaka: yeah, a Bernice Macias: we Jeanne Kamaka: b Bernice Macias: don't Jeanne Kamaka: a banana Bernice Macias: have to make Jeanne Kamaka: is uh is n not easy for a remote control, but m yeah. Bernice Macias: we Aubrey Dexter: No. Bernice Macias: can't make all uh ten designs. We have to make one design I th I I think. Aubrey Dexter: No, but I think it's it's Jeanne Kamaka: Mayb Aubrey Dexter: already Jeanne Kamaka: maybe two or three. Aubrey Dexter: what we were were up to. Hattie Hass: Yeah. Aubrey Dexter: Uh, it's Jeanne Kamaka: Yeah. Aubrey Dexter: it doesn't have to resemble uh what I already said, a specific piece of fruit, but just, Jeanne Kamaka: No Aubrey Dexter: you Jeanne Kamaka: sure, Aubrey Dexter: know, like Jeanne Kamaka: but Aubrey Dexter: a fruity Jeanne Kamaka: but Aubrey Dexter: thing going on. Jeanne Kamaka: B Aubrey Dexter: And it's it looks Jeanne Kamaka: but Aubrey Dexter: fruity Jeanne Kamaka: that's great, Aubrey Dexter: to Jeanne Kamaka. Jeanne Kamaka: and and and what I was what Aubrey Dexter: And Jeanne Kamaka: what Aubrey Dexter: uh, but Jeanne Kamaka: I was Aubrey Dexter: I Jeanne Kamaka: saying, Aubrey Dexter: do like Jeanne Kamaka: the catchy Aubrey Dexter: the Jeanne Kamaka: colours Aubrey Dexter: yeah, I do like uh the f uh to the idea of making a a y uh, a catchy colour design and a d because I do I think a dark colour would be nice too. Jeanne Kamaka: Yeah. Bernice Macias: But pictures of fruit, Aubrey Dexter: Maybe it's too much, Bernice Macias: vegetables Aubrey Dexter: you Hattie Hass: But, Aubrey Dexter: know. Jeanne Kamaka: Yeah, Hattie Hass: we we have Jeanne Kamaka: uh Hattie Hass: to um Jeanne Kamaka: not really. Bernice Macias: vegetables Jeanne Kamaka: Pictures was a Hattie Hass: There have to Jeanne Kamaka: was Hattie Hass: be Jeanne Kamaka: a bad Hattie Hass: the Jeanne Kamaka: word, Hattie Hass: the Jeanne Kamaka: but Hattie Hass: the the firm colours, our own Aubrey Dexter: Okay, Hattie Hass: uh Aubrey Dexter: but Hattie Hass: colours Aubrey Dexter: what Hattie Hass: has Aubrey Dexter: are Hattie Hass: to Aubrey Dexter: the Hattie Hass: be Aubrey Dexter: This Hattie Hass: in it. Aubrey Dexter: is Jeanne Kamaka: Well Aubrey Dexter: yellow. Jeanne Kamaka: we c yeah. Hattie Hass: Yellow, a Real Reaction. Bernice Macias: Yes, you can put a logo on top of it. Jeanne Kamaka: Yeah, Aubrey Dexter: But I don't Jeanne Kamaka: sure. Aubrey Dexter: think our Hattie Hass: Uh, Aubrey Dexter: our Hattie Hass: yeah. Aubrey Dexter: company colours are this fashionable. Jeanne Kamaka: Maybe we can Bernice Macias: Yes, Jeanne Kamaka: if Bernice Macias: it's really Jeanne Kamaka: if Bernice Macias: fruity. Jeanne Kamaka: we got Hattie Hass: We Jeanne Kamaka: our Hattie Hass: uh Jeanne Kamaka: docking Hattie Hass: f Jeanne Kamaka: station over here. I can't draw with this thing, but I'll try. Hattie Hass: A yellow Jeanne Kamaka: If this Hattie Hass: do Jeanne Kamaka: is our docking station, we can make Hattie Hass: Uh, yeah. Jeanne Kamaka: our logo over here. It doesn't work. And then Hattie Hass: Yeah, and the button then. Bernice Macias: With a strawberry on top. Aubrey Dexter: Yeah, on uh Jeanne Kamaka: Well, Aubrey Dexter: n uh on the bottom of the remote Jeanne Kamaka: the button Aubrey Dexter: you can Jeanne Kamaka: button Aubrey Dexter: do Jeanne Kamaka: over here or whatever, I don't Hattie Hass: Okay, Jeanne Kamaka: know. Hattie Hass: yeah. Jeanne Kamaka: On the front, of course, because else you can't find it. Hattie Hass: Okay. Jeanne Kamaka: Well, that were my ideas a little bit. I'll close Aubrey Dexter: Okay. Jeanne Kamaka: 'em down. Um, go away. Aubrey Dexter: Okay, you can you open the conceptual design Jeanne Kamaka: Conceptual Aubrey Dexter: presentation? Jeanne Kamaka: design, yes. Aubrey Dexter: See what was on the agenda. Hattie Hass: Lazy. Jeanne Kamaka: The agenda. Aubrey Dexter: This is his own remote Because. um, Hattie Hass: Yeah. Aubrey Dexter: maybe we can start with the technical uh functions, but I don't think it's there uh, yeah um, do we want to um use an L_C_D_ display, for example? Bernice Macias: Only if we Jeanne Kamaka: I don't I don't know what to display on it. Bernice Macias: Maybe Jeanne Kamaka: I mean Bernice Macias: maybe we Aubrey Dexter: Jeanne Kamaka Bernice Macias: can Aubrey Dexter: neither. Bernice Macias: make a T_V_ guide on it, for the channel you're on. Jeanne Kamaka: Yeah, but Aubrey Dexter: Yeah, but Jeanne Kamaka: it Aubrey Dexter: it's Jeanne Kamaka: should Aubrey Dexter: so Jeanne Kamaka: be li like this big, and I Bernice Macias: No, Jeanne Kamaka: don't Bernice Macias: no, Jeanne Kamaka: think Aubrey Dexter: I Bernice Macias: only Aubrey Dexter: don't think Bernice Macias: the Aubrey Dexter: we Bernice Macias: T_V_ Aubrey Dexter: should do Bernice Macias: channel Aubrey Dexter: it. Bernice Macias: with the with uh with uh four programmes. You can uh zap through them with the page up page down button. Jeanne Kamaka: Yes sure, but it it has to to show an entire title of a programme or at least a q a quite Bernice Macias: Yes, it Jeanne Kamaka: quite Bernice Macias: can Jeanne Kamaka: large part of it and then Bernice Macias: On Jeanne Kamaka: you Bernice Macias: your Jeanne Kamaka: get a very large L_C_D_ Bernice Macias: No, Jeanne Kamaka: screen, Bernice Macias: on Jeanne Kamaka: because Bernice Macias: your mobile phone you can y you can read text also. So why not on your remote? Aubrey Dexter: Yeah, but no. Jeanne Kamaka: Yeah, Aubrey Dexter: I Jeanne Kamaka: I don't Aubrey Dexter: do Jeanne Kamaka: know. Aubrey Dexter: I think it's a bit redundant, actually. And it's also not I don't th even think it it looks s like sexy Hattie Hass: Well well Aubrey Dexter: or Hattie Hass: what Aubrey Dexter: something, Hattie Hass: would you Aubrey Dexter: it's Hattie Hass: display on it then? Bernice Macias: Uh, programme uh information Jeanne Kamaka: Programme information. Bernice Macias: or Hattie Hass: But Bernice Macias: or Hattie Hass: is Jeanne Kamaka: But Hattie Hass: it Bernice Macias: or Hattie Hass: isn't Bernice Macias: or Hattie Hass: that Bernice Macias: g Hattie Hass: a already Bernice Macias: or a guide Hattie Hass: on T_V_, a lot of new T_V_s? Jeanne Kamaka: Well a lot a lot of Bernice Macias: But Jeanne Kamaka: T_V_s indeed show uh when you uh Aubrey Dexter: But you're already Jeanne Kamaka: zap Aubrey Dexter: watching Jeanne Kamaka: to Aubrey Dexter: the Hattie Hass: Yeah. Jeanne Kamaka: a Aubrey Dexter: T_V_, you're not gonna watch your remote control. Bernice Macias: Yes, but you also want to know what's next. Jeanne Kamaka: But then we also uh w need to bring out a line of T_V_s which we were planning Hattie Hass: Yeah, and Jeanne Kamaka: to, Hattie Hass: we Jeanne Kamaka: but Hattie Hass: also Jeanne Kamaka: whatever. Hattie Hass: have to Jeanne Kamaka: Because Hattie Hass: yeah. Jeanne Kamaka: the T_V_ has to send information back to the R_C_, and I don't know if that's Bernice Macias: Yes, Jeanne Kamaka: possible. Bernice Macias: that's uh really possible. Jeanne Kamaka: Yes, yes, o of course it's possible, but you gotta uh implement it in the T_V_s, and I don't think everyone's gonna buy a Real Reaction T_V_ within a month after the release of our uh remote Hattie Hass: And Aubrey Dexter: I Jeanne Kamaka: control. Aubrey Dexter: really Hattie Hass: I also Aubrey Dexter: understand you want to make your job more exciting by putting an L_C_D_ in it, but I I really don't think it's a good n goo because it also doesn't stroke with we wanted uh c When we talk about the materials, uh it's a good idea to use these plastic materials with soft rubber stuff on it. It was our idea, you know, to give it a more sturdy look and that you Jeanne Kamaka: Yeah. Aubrey Dexter: ca like you can throw with it. But I don't think a L_C_D_ display fits in that image. You know, it's like more vulnerable, and it adds Jeanne Kamaka: That's Aubrey Dexter: nothing Jeanne Kamaka: true, Aubrey Dexter: really, Jeanne Kamaka: that's Aubrey Dexter: you know. Jeanne Kamaka: true, it breaks f yeah, it it it's not very solid, it's uh frag Aubrey Dexter: Yeah, yeah. Jeanne Kamaka: fragile. Aubrey Dexter: You could make it, but it's just it it doesn't I don't think it it's coherent with the design we're after. Jeanne Kamaka: No. No. I don't think so ei either. Aubrey Dexter: But that's my opinion. Well, you you y Okay, we can vote for it. You want the L_C_D_ display. Bernice Macias: No. Aubrey Dexter: I don't want to and he doesn't, so it's up to him. If Hattie Hass: Yeah, Aubrey Dexter: we wanna Hattie Hass: I Jeanne Kamaka: Ah. Hattie Hass: dunno. Aubrey Dexter: And I've read somewhere that I've got some kind of veto veto uh rights. Hattie Hass: Oh, Jeanne Kamaka: Bastard. Hattie Hass: okay. Aubrey Dexter: So I can also say Hattie Hass: We can you Aubrey Dexter: But did Hattie Hass: away. Aubrey Dexter: we skip the Yeah, you could do m but what what i so what i but do Hattie Hass: Yeah, Aubrey Dexter: you think Hattie Hass: I don't Aubrey Dexter: we should Hattie Hass: know. Uh, uh I i if it's it's a simple Aubrey Dexter: We're not even Hattie Hass: p Aubrey Dexter: sure what what information we want to display Hattie Hass: No, Bernice Macias: No Aubrey Dexter: on Hattie Hass: that Aubrey Dexter: it. So Hattie Hass: that's right, Bernice Macias: uh Hattie Hass: and Bernice Macias: um Hattie Hass: uh I also have to think about new functions, maybe buttons or something like that to control it. Kind of L_C_D_ or something or Bernice Macias: Y yes, Jeanne Kamaka: Yeah, Bernice Macias: you Jeanne Kamaka: I guess. Bernice Macias: can use uh buttons uh uh w that are already uh on the remote control Hattie Hass: But how Bernice Macias: for Hattie Hass: does Bernice Macias: double Hattie Hass: it Bernice Macias: functions. Hattie Hass: display then? W Bernice Macias: Uh, then you Hattie Hass: when Bernice Macias: push Hattie Hass: I go to Bernice Macias: a Hattie Hass: the Bernice Macias: button. Hattie Hass: second channel, what what does it show Jeanne Kamaka? Bernice Macias: The title and the information about the programme. Hattie Hass: About Bernice Macias: But Hattie Hass: that programme? Bernice Macias: but uh yeah, what he said was right, about the televisions, they have to be uh customised Aubrey Dexter: Nah, Bernice Macias: to the Aubrey Dexter: that's not gonna work. Bernice Macias: But Jeanne Kamaka: No. Bernice Macias: maybe in future it Aubrey Dexter: Yeah. Bernice Macias: will be a giant hit, and when you are the first you Aubrey Dexter: Oh, Bernice Macias: have Aubrey Dexter: well Bernice Macias: the Aubrey Dexter: uh I've Bernice Macias: biggest Aubrey Dexter: seen it done Bernice Macias: uh Aubrey Dexter: before. Do Hattie Hass: Yeah. Aubrey Dexter: you know th like the the bigger rem uh universal remotes, they have d L_C_D_ displays, but then it's very functional to indicate which what uh uh device you are controlling. So it's that that's what I've seen. Jeanne Kamaka: Yeah, Bernice Macias: Yes, Jeanne Kamaka: that's Bernice Macias: you Jeanne Kamaka: true, Bernice Macias: can put Jeanne Kamaka: if you Bernice Macias: uh Jeanne Kamaka: uh Bernice Macias: a little Jeanne Kamaka: Yeah. Bernice Macias: L_C_D_ display on it with uh with lots of information. Aubrey Dexter: But Bernice Macias: But Aubrey Dexter: it just Bernice Macias: uh I Aubrey Dexter: it j Bernice Macias: haven't thought Aubrey Dexter: it doesn't Bernice Macias: about it. Aubrey Dexter: doesn't match with the our whole basic concept. Bernice Macias: But whe but when you put a a a transparent uh plastic uh uh screen on top of it, it i it isn't vulnerable. Aubrey Dexter: Well Bernice Macias: You can throw with Aubrey Dexter: yeah, yeah, Bernice Macias: it Aubrey Dexter: okay. Bernice Macias: and Aubrey Dexter: That's maybe not the most important, but it's just Hattie Hass: Is it fashion? Bernice Macias: When Aubrey Dexter: I don't Bernice Macias: when Aubrey Dexter: think Bernice Macias: you put Aubrey Dexter: so. Bernice Macias: uh maybe a colour L_C_D_ t uh screen on it, it's very special and very trendy to have Hattie Hass: I don't Bernice Macias: uh Hattie Hass: know. Bernice Macias: a remote Hattie Hass: That's Bernice Macias: control Hattie Hass: not up to you. That's up to Bernice Macias: from Hattie Hass: market if i if it's trendy. Aubrey Dexter: Yeah, well do you ha do you have to You haven't Jeanne Kamaka: No. Aubrey Dexter: looked after the trendiness of L_C_D_ displays, Hattie Hass: Because Jeanne Kamaka: Well, Hattie Hass: our Aubrey Dexter: have Jeanne Kamaka: I Hattie Hass: our Jeanne Kamaka: think Hattie Hass: motto Aubrey Dexter: you? Jeanne Kamaka: it's uh Hattie Hass: is Jeanne Kamaka: I think Hattie Hass: we put Jeanne Kamaka: it's pretty Hattie Hass: fashion Jeanne Kamaka: trendy, to be honest, uh but um I don't know if if if well, I'm coming back to the costs again, but I think uh we gotta build a b pretty cheap design to to stay within our limits. And I think uh especially colour L_C_D_, which is indeed pretty trendy. But I don't think Uh, I think it will be too expensive. Bernice Macias: But uh I've got a the email with uh with the possibilities. And L_C_D_ was a possibility for the remote Aubrey Dexter: Yeah yeah Bernice Macias: control. Aubrey Dexter: yeah. Bernice Macias: So why don't we use it. Jeanne Kamaka: Uh, Aubrey Dexter: Yeah, Jeanne Kamaka: did Aubrey Dexter: but Jeanne Kamaka: it Aubrey Dexter: we're Jeanne Kamaka: say Aubrey Dexter: gonna Jeanne Kamaka: a price Aubrey Dexter: if it Jeanne Kamaka: also uh for for uh monogramme uh L_C_D_ or uh coloured L_C_D_? Hattie Hass: Yeah, if you want to be trendy you have to be coloured. Coloured Jeanne Kamaka: Yeah really, if y if you Hattie Hass: If you have black Jeanne Kamaka: c i Hattie Hass: and white or something, or grey, Jeanne Kamaka: I in Aubrey Dexter: Then Hattie Hass: that's Aubrey Dexter: uh then Jeanne Kamaka: in Aubrey Dexter: you Jeanne Kamaka: two Aubrey Dexter: better Jeanne Kamaka: thousand Aubrey Dexter: don't Jeanne Kamaka: and four Aubrey Dexter: yeah, Jeanne Kamaka: you Aubrey Dexter: d Jeanne Kamaka: can't uh put something on the market which is a monogramme. Really. Bernice Macias: No, but it doesn't sa say anything about a colour or But, mm, I alf I also got a possibility to put uh a scroll button on it. But Aubrey Dexter: Uh Bernice Macias: I didn't Aubrey Dexter: uh I really Bernice Macias: think Aubrey Dexter: don't Bernice Macias: that Aubrey Dexter: feel the whole idea of an L_C_D_ display. I'm sorry. It can't co you cannot convince Jeanne Kamaka. I don't know how well how to with you guys, but I don't really feel it. We already we're Hattie Hass: It's too Aubrey Dexter: uh Hattie Hass: much uh maybe uh with Aubrey Dexter: Yeah, Hattie Hass: with Aubrey Dexter: we Jeanne Kamaka: Yeah. Hattie Hass: the Aubrey Dexter: already Hattie Hass: L_C_D_ Aubrey Dexter: have Hattie Hass: and Aubrey Dexter: the Hattie Hass: the Aubrey Dexter: the Hattie Hass: docking Aubrey Dexter: th th th Hattie Hass: station Aubrey Dexter: base station Hattie Hass: and Aubrey Dexter: gadgets, and want and it uh uh, do it has to be a simple design, which Bernice Macias: Yes, but o Aubrey Dexter: sturdy, Bernice Macias: on Jeanne Kamaka: W we've Bernice Macias: the Jeanne Kamaka: we've gotta Aubrey Dexter: which Jeanne Kamaka: find Hattie Hass: With one Jeanne Kamaka: a balance, Aubrey Dexter: soft Hattie Hass: thing Jeanne Kamaka: of course. Hattie Hass: special. Jeanne Kamaka: And I think Hattie Hass: Not a whole Aubrey Dexter: I don't Hattie Hass: package Aubrey Dexter: think Hattie Hass: of specialty. Aubrey Dexter: I j uh, and really, I don't see how the the L_C_D_ display is gonna add anything, you know, on a design level. Uh, I think it's Bernice Macias: No, Aubrey Dexter: slicker Bernice Macias: when y Aubrey Dexter: to have no L_ CEDs. Y we want to Bernice Macias: But Aubrey Dexter: it's Bernice Macias: it look Aubrey Dexter: simplicity, w you have two big buttons and you can do whatever you want Bernice Macias: Yes, but Aubrey Dexter: with these two buttons, so Bernice Macias: that Aubrey Dexter: you don't Bernice Macias: remote Aubrey Dexter: need Bernice Macias: controls Aubrey Dexter: an L_C_D_. Bernice Macias: are already on the market. Aubrey Dexter: It doesn't fit Bernice Macias: The simple Aubrey Dexter: in our philosophy uh behind the whole remote. Bernice Macias: Yes, but but when you want to have something special Aubrey Dexter: Yeah, but we already have the docking station, which is Bernice Macias: Yes, Jeanne Kamaka: We have Bernice Macias: but Jeanne Kamaka: a Hattie Hass: And Bernice Macias: you Jeanne Kamaka: pear. Bernice Macias: had Hattie Hass: uh Bernice Macias: a Hattie Hass: the Bernice Macias: picture of it from another company. Aubrey Dexter: It has to be developed, Hattie Hass: Yeah. Aubrey Dexter: but no, but it that's that's Hattie Hass: It's Aubrey Dexter: our Hattie Hass: just Aubrey Dexter: that's Hattie Hass: an Aubrey Dexter: our Hattie Hass: it's just Aubrey Dexter: killer Hattie Hass: an idea. Aubrey Dexter: feature. That's Hattie Hass: It's Aubrey Dexter: our Bernice Macias: Yes, Hattie Hass: a it's Bernice Macias: it Aubrey Dexter: what Bernice Macias: was Aubrey Dexter: makes Bernice Macias: already Aubrey Dexter: it special. Bernice Macias: made. Tha the remote control Aubrey Dexter: Yeah, Hattie Hass: True. Aubrey Dexter: we're gonna Bernice Macias: on the docking Aubrey Dexter: develop Bernice Macias: station. Aubrey Dexter: our own r Jeanne Kamaka: Is Aubrey Dexter: n Jeanne Kamaka: that Aubrey Dexter: docking Jeanne Kamaka: so? Aubrey Dexter: station. Jeanne Kamaka: Was it Bernice Macias: Yes, he Hattie Hass: Well Bernice Macias: have Jeanne Kamaka: it Hattie Hass: uh Bernice Macias: a picture Jeanne Kamaka: wasn't just Hattie Hass: I Bernice Macias: of Hattie Hass: uh Jeanne Kamaka: a Bernice Macias: it. Jeanne Kamaka: prototype? Hattie Hass: Yeah, I dunno. Jeanne Kamaka: Exactly, I've never seen it Aubrey Dexter: Uh, Jeanne Kamaka: in Aubrey Dexter: but Jeanne Kamaka: a store. Aubrey Dexter: re we really have to cut this off, I re I know you I I I I I get the idea you really like it, you know, the the L_C_D_ thing, but I I think it's it's not a good idea, and we have already mentioned all the arguments. I don't uh, do you guys agre How do you guys think? I d Hattie Hass: No, it's too much. Jeanne Kamaka: I think it's a little too much, yeah. Hattie Hass: It's overdone. Aubrey Dexter: Okay, we s skip Bernice Macias: Okay. Aubrey Dexter: the L_C_D_ display. Jeanne Kamaka: Okay. Aubrey Dexter: I'm sorry, maybe Hattie Hass: Democratically. Aubrey Dexter: you can Jeanne Kamaka: No. Aubrey Dexter: do something if we are at your own place, or make it make Bernice Macias: Mayb Aubrey Dexter: it make it happen in your basement or something. Bernice Macias: I will Aubrey Dexter: But Bernice Macias: rule the world with Jeanne Kamaka: Yeah, Aubrey Dexter: Probably Jeanne Kamaka: yeah, yeah, yeah. Aubrey Dexter: so. Okay. Bernice Macias: it. Aubrey Dexter: But for the technical part. The m material, I think uh it was a good idea to use the plastic and uh the rubber. Bernice Macias: Yes, Aubrey Dexter: Uh Bernice Macias: maybe a bit of a cushion is Aubrey Dexter: Yeah yeah yeah, p Exactly. This Jeanne Kamaka: Yeah, Aubrey Dexter: is what Jeanne Kamaka: for Aubrey Dexter: it Jeanne Kamaka: the Aubrey Dexter: w Jeanne Kamaka: spongy uh Aubrey Dexter: Yeah, but Bernice Macias: Yes. Jeanne Kamaka: feel. Aubrey Dexter: it it was already Hattie Hass: With a spongy Aubrey Dexter: what Jeanne Kamaka: Yeah. Aubrey Dexter: we're Hattie Hass: Bob feel. Aubrey Dexter: uh we're after, you know, to give it uh, you know, the soft touch in your hands Hattie Hass: Yeah. Aubrey Dexter: and also to, know, like Yeah, that is y the b airbag Bernice Macias: Like a Aubrey Dexter: kind of Bernice Macias: b Aubrey Dexter: thing. Bernice Macias: yes. Aubrey Dexter: You Hattie Hass: Yeah, Aubrey Dexter: can st Hattie Hass: you just Jeanne Kamaka: Yeah, Hattie Hass: can Jeanne Kamaka: airbag. Hattie Hass: drop it. Aubrey Dexter: throw it at your Hattie Hass: Yeah. Aubrey Dexter: little brother's Jeanne Kamaka: If you drop Aubrey Dexter: head. Jeanne Kamaka: it if you drop it the airbag comes out, Hattie Hass: Yeah. Jeanne Kamaka: yeah. Aubrey Dexter: Yeah. No no no, not that Bernice Macias: Maybe Aubrey Dexter: comfy. Bernice Macias: it but then we have to look that it uh w uh will not um be too childish to see. Aubrey Dexter: Yeah yeah. Yeah. Okay, that's a that's a good point. And that's why I like the dark t col dark colour bit, you know, Jeanne Kamaka: Yeah. Aubrey Dexter: because it may be the design uh, it's uh maybe it is a bit of Hattie Hass: But Aubrey Dexter: the Hattie Hass: not black I think. Aubrey Dexter: it's a bit nineties Jeanne Kamaka: No. Aubrey Dexter: maybe, what we're what we're up to rat fun to Hattie Hass: Well Aubrey Dexter: this point. Hattie Hass: if if it's fruit and vegetables, it have to be colourful. Aubrey Dexter: Yeah, that's Jeanne Kamaka: Yeah, Aubrey Dexter: that's true, but Jeanne Kamaka: b Hattie Hass: But Jeanne Kamaka: yeah, Hattie Hass: can Jeanne Kamaka: that's Hattie Hass: we Jeanne Kamaka: what Hattie Hass: ge uh Jeanne Kamaka: w I I Aubrey Dexter: but Jeanne Kamaka: was Aubrey Dexter: it Hattie Hass: uh Aubrey Dexter: has Jeanne Kamaka: pointing Aubrey Dexter: to be Jeanne Kamaka: at. Aubrey Dexter: a little big solid. It mustn't be too, n you know, th too overwhelming, then when you put it Hattie Hass: Can Aubrey Dexter: on Hattie Hass: we Aubrey Dexter: your Hattie Hass: combine Aubrey Dexter: just Hattie Hass: it or something? Uh with Aubrey Dexter: Yeah. Hattie Hass: uh yellow and black? Aubrey Dexter: Yeah, maybe so. Hattie Hass: Make it a bee? Jeanne Kamaka: What? Hattie Hass: A bee. Jeanne Kamaka: Oh, a bee. Oh. Aubrey Dexter: No, uh I don't like the yellow and black combination. But it is our company colours. Bernice Macias: Yes, Aubrey Dexter: Apparently. Hattie Hass: Yeah, Bernice Macias: real real Hattie Hass: it's our Bernice Macias: good colours. Hattie Hass: yeah. We we have to use yellow. Jeanne Kamaka: Yeah. Hmm. Bernice Macias: Hmm. Aubrey Dexter: I don't like yellow, and uh maybe Jeanne Kamaka: Well, Aubrey Dexter: I Jeanne Kamaka: we Aubrey Dexter: don't Jeanne Kamaka: can Aubrey Dexter: know. Jeanne Kamaka: as as I Bernice Macias: But that's not really fruity. Jeanne Kamaka: draw really nicely over there. We can put the logo on our uh on our base station. Uh, yeah. And maybe Aubrey Dexter: But Jeanne Kamaka: very very tiny on the remote control itself. But, i Aubrey Dexter: Okay, but what uh, what are other tef technical things we have to discuss? Bernice Macias: Uh fronts of the We can have uh different uh uh fronts of the Aubrey Dexter: Should we do that? Bernice Macias: telephone. Aubrey Dexter: I don't think you we should do that. Maybe just bring it Hattie Hass: Different Aubrey Dexter: out in different Hattie Hass: fronts. Aubrey Dexter: colours, but not Jeanne Kamaka: Yeah. Aubrey Dexter: af that you can Jeanne Kamaka: I Aubrey Dexter: switch Jeanne Kamaka: guess that's that's Aubrey Dexter: fronts Jeanne Kamaka: enough. Aubrey Dexter: afterwards, that's also too much. People Jeanne Kamaka: That's Aubrey Dexter: don't Jeanne Kamaka: way too Aubrey Dexter: wanna Jeanne Kamaka: Nokia. Aubrey Dexter: spend more money Hattie Hass: Yeah. Aubrey Dexter: on their remote control, I guess. Hattie Hass: Uh, you can you can l uh Bernice Macias: Are these designs? Hattie Hass: let choose the customer which colour he wants, Aubrey Dexter: Yeah, Hattie Hass: yeah. Aubrey Dexter: yeah. Jeanne Kamaka: Yeah, definitely. Hattie Hass: Yeah, Three Jeanne Kamaka: Just bring Hattie Hass: three Jeanne Kamaka: more Hattie Hass: or Jeanne Kamaka: designs Hattie Hass: four Jeanne Kamaka: on the market. Hattie Hass: uh four uh colours, Aubrey Dexter: But Hattie Hass: or Aubrey Dexter: uh, Hattie Hass: something Jeanne Kamaka: Why Aubrey Dexter: without Jeanne Kamaka: not, Hattie Hass: like that. Aubrey Dexter: gon Jeanne Kamaka: yeah. Aubrey Dexter: uh okay. So, are we through the technical part then? Bernice Macias: Yes. Aubrey Dexter: Okay. So we uh agreed upon uh n uh well, not u Bernice Macias: It Aubrey Dexter: unanimously Hattie Hass: Well, yeah, the Bernice Macias: this a real Aubrey Dexter: or how you call Bernice Macias: uh Aubrey Dexter: it, Bernice Macias: young Hattie Hass: Three Aubrey Dexter: but Hattie Hass: to one. Bernice Macias: young and dynamic Aubrey Dexter: Yeah. Hattie Hass: That's Bernice Macias: uh uh styles. Aubrey Dexter: The materials you uh mentioned in your your personal Bernice Macias: Yes. Aubrey Dexter: preferences were all were quite okay. O Hattie Hass: And Bernice Macias: Yes, Hattie Hass: tita Aubrey Dexter: o only only Hattie Hass: uh Aubrey Dexter: the Hattie Hass: titanium, Aubrey Dexter: last point your Hattie Hass: is uh is Aubrey Dexter: no titanium's Hattie Hass: is it a no? Aubrey Dexter: not not Hattie Hass: Is Aubrey Dexter: out of question, I guess. Bernice Macias: But Hattie Hass: It's Bernice Macias: also Hattie Hass: just like that, Bernice Macias: w Hattie Hass: th this titanium. Bernice Macias: Yes, b bu but Aubrey Dexter: But Bernice Macias: when Aubrey Dexter: is Bernice Macias: we Aubrey Dexter: it Bernice Macias: use Aubrey Dexter: possible Bernice Macias: s Aubrey Dexter: to use Bernice Macias: soft Aubrey Dexter: both the the Bernice Macias: mm Aubrey Dexter: plastic and so uh soft things and t p titanium, as well? Jeanne Kamaka: Sure. Aubrey Dexter: Makes Bernice Macias: Mm. Aubrey Dexter: it in a homogeneous Hattie Hass: No, not all, Aubrey Dexter: uh Hattie Hass: not all Aubrey Dexter: design. Hattie Hass: of them. Bernice Macias: But it it then it uh you can't throw it it. It will uh make a huge noise or break other stuff when you throw Aubrey Dexter: It Bernice Macias: with Aubrey Dexter: will Bernice Macias: uh Aubrey Dexter: it Bernice Macias: titanium Aubrey Dexter: will break other stuff w Bernice Macias: with Aubrey Dexter: when Bernice Macias: your remote Aubrey Dexter: it's plastic, Bernice Macias: control. Aubrey Dexter: as well. Bernice Macias: No uh, Aubrey Dexter: Yeah. Bernice Macias: titanium Jeanne Kamaka: Yeah, that's Bernice Macias: is a Jeanne Kamaka: true. Bernice Macias: bit uh Aubrey Dexter: No, but uh uh, you Bernice Macias: it's Aubrey Dexter: should Bernice Macias: a bit Aubrey Dexter: ma Bernice Macias: harder. Aubrey Dexter: Yeah. Bernice Macias: But also on the colours, the Aubrey Dexter: Okay, Bernice Macias: young Aubrey Dexter: think of the possibilities and make it in completely titanium. Well would it be more trendy? More chic? Jeanne Kamaka: Yeah, I think it Hattie Hass: Uh, I think Jeanne Kamaka: I think Hattie Hass: titanium Jeanne Kamaka: it does. Hattie Hass: nowadays is way more often used than plastic. Bernice Macias: Yes, but a titanium Hattie Hass: In trendy things. Bernice Macias: remote control, when you're uh watching T_V_ uh or your hands Jeanne Kamaka: Yeah, Bernice Macias: are Jeanne Kamaka: o Bernice Macias: a little bit sweaty, and the Jeanne Kamaka: On the other hand, if you want Hattie Hass: Yeah. Jeanne Kamaka: to make fruit fruity Hattie Hass: It's cold Jeanne Kamaka: stuff Hattie Hass: in the winter. Jeanne Kamaka: with Bernice Macias: Yes. Jeanne Kamaka: uh Aubrey Dexter: Yeah, but I I really like the idea of the the the plastic and the big kind of Hattie Hass: Yeah. Aubrey Dexter: thing. But the question is i then it's, you know, is is Jeanne Kamaka: Yeah, Aubrey Dexter: it Jeanne Kamaka: that's Aubrey Dexter: fits Jeanne Kamaka: true, Aubrey Dexter: in our Jeanne Kamaka: that's Aubrey Dexter: s philosophy Jeanne Kamaka: true. Aubrey Dexter: to make it uh sturdy and simple and uh, know, like uh Bernice Macias: Sports and gaming. Aubrey Dexter: When Bernice Macias: Define. Aubrey Dexter: you make it titanium, it becomes more like some kind of gadget you actually don't need. And when it's big and plastic, it's like some fun stuff you can always have around. It's always fun to have something big and plastic Jeanne Kamaka: Yes. Hattie Hass: You Aubrey Dexter: around. Jeanne Kamaka: Yeah. Hattie Hass: have that uh M_P_ three player of Nike, I saw. Isn't that titanium with a little bit of rubber? Bernice Macias: Yes, it's w Hattie Hass: Isn't it Bernice Macias: but it is uh plastic. Hattie Hass: Is plastic? Well, it's titanium looking. Bernice Macias: Yes, Jeanne Kamaka: What? Bernice Macias: w we can do that on Hattie Hass: Yeah, Bernice Macias: the Hattie Hass: he is. Here Bernice Macias: on the Hattie Hass: he is. Uh, the I don't know if you know the M_P_ three player of Nike. 'Kay, uh that Jeanne Kamaka: Oh, yeah. Hattie Hass: that's Jeanne Kamaka: Okay, Hattie Hass: very Jeanne Kamaka: yeah. Hattie Hass: uh with rubber, Aubrey Dexter: Yeah, Jeanne Kamaka: Yeah, Hattie Hass: so Jeanne Kamaka: I Aubrey Dexter: that's Hattie Hass: it's Jeanne Kamaka: see. Aubrey Dexter: beautiful. Hattie Hass: very Bernice Macias: We can Jeanne Kamaka: Yeah, but Bernice Macias: make Jeanne Kamaka: but Bernice Macias: this Jeanne Kamaka: but Bernice Macias: as Hattie Hass: rough. Bernice Macias: a style too. Uh, this is uh just Aubrey Dexter: Oh, Jeanne Kamaka: Yeah, Aubrey Dexter: maybe Bernice Macias: a Jeanne Kamaka: I Aubrey Dexter: th Jeanne Kamaka: th Aubrey Dexter: maybe Jeanne Kamaka: I think Aubrey Dexter: this is Jeanne Kamaka: that's Aubrey Dexter: an Jeanne Kamaka: difficult, because uh that's different material, and then you gotta have like uh uh uh two material lines Bernice Macias: No, Jeanne Kamaka: of Bernice Macias: we Jeanne Kamaka: of Bernice Macias: c we can Jeanne Kamaka: of Bernice Macias: make it from the same kind of plastic. Jeanne Kamaka: Yeah, if it's just a colour uh which you uh which you change then, I guess it's it's nice to have one of these. Uh Bernice Macias: Uh Aubrey Dexter: No, I do like the idea of maybe a t titanium kind type of body w and then with s plastic colouration around it. You Jeanne Kamaka: Yeah. Aubrey Dexter: know, like the the soft stuff, but I don't know if it's possible. Bernice Macias: I don't have the information. Uh, I I didn't got it Aubrey Dexter: But you can't make the plastic give uh the ti titanium look. Bernice Macias: Yes. Hattie Hass: True. Aubrey Dexter: But make Jeanne Kamaka: Mm-hmm. Aubrey Dexter: it just like shiny. Hattie Hass: Yeah yeah, true. Aubrey Dexter: Maybe Bernice Macias: Like Aubrey Dexter: we should Bernice Macias: the Aubrey Dexter: uh Bernice Macias: M_P_ Aubrey Dexter: shou Hattie Hass: Yeah, Bernice Macias: three player. Hattie Hass: maybe that's good idea, yeah. But if you want to la uh yeah, last longer Jeanne Kamaka: Yeah. Hattie Hass: than two weeks or something Aubrey Dexter: And Hattie Hass: like Aubrey Dexter: uh and Hattie Hass: that, you can maybe Aubrey Dexter: maybe we sh should we t I don't know if we should talk about uh, how how much time Bernice Macias: Uh, in Aubrey Dexter: have Bernice Macias: a Aubrey Dexter: we Bernice Macias: lot Aubrey Dexter: got left? Bernice Macias: of other uh Hattie Hass: I don't know. What time Aubrey Dexter: Forty Hattie Hass: does Aubrey Dexter: minutes. Bernice Macias: in a lot of other product uh categories like uh even in b in bags industry. Uh, they began with uh t typical uh leather bags, but then they became stylish, with all all si all sort of colours, and Jeanne Kamaka: Yeah. Bernice Macias: w kind of fon of uh of fronts, Aubrey Dexter: Okay. Bernice Macias: like we can use on the telephone and it Like Eastpack uh began a revolution with it with all this uh kind of bags and and colours and Aubrey Dexter: You putting Bernice Macias: and Aubrey Dexter: in different colours. Bernice Macias: Yes, and and styles. Aubrey Dexter: Okay. Bernice Macias: They have uh also uh a kind of uh um uh roses on it, a and Jeanne Kamaka: Uh Bernice Macias: uh Jeanne Kamaka: yeah, Aubrey Dexter: Okay. Jeanne Kamaka: yeah. Aubrey Dexter: Yeah, but w yeah. Well, it is. It's a possibility. But, let's think Bernice Macias: Then Aubrey Dexter: about the Bernice Macias: we Aubrey Dexter: bas Bernice Macias: can always uh use the same design for a greater resemblance, but with new uh Jeanne Kamaka: Yes. Bernice Macias: with new colours, new Jeanne Kamaka: New prints Aubrey Dexter: Mm-hmm, Bernice Macias: yes. Jeanne Kamaka: on it. Yep. Aubrey Dexter: mm-hmm. But wha th our basic idea y I mean, you gonna we're probably gonna have like two type of materials, like the d d b the plastic uh enclosure and then the the pads that surround it. And and pro and lights. We have to incorporate the lights too. But, uh do w gonna gonna are we going to give it a two-tone colour look, like the the plastic mould is in in one colour and the s the cushion pads around it are in another colour? Is that the idea? Is that a good idea? Jeanne Kamaka: How do you mean? Th th the uh Hattie Hass: The rubber. Jeanne Kamaka: base Aubrey Dexter: How many Jeanne Kamaka: in a Aubrey Dexter: colours Jeanne Kamaka: in another Aubrey Dexter: are we how many colours are we gonna we're uh uh f uh f Only five minutes left, by the way. Jeanne Kamaka: Yes. Aubrey Dexter: How many colours are we gonna give it? Like two-tone Bernice Macias: There Aubrey Dexter: colour? T Hattie Hass: Yeah. Bernice Macias: there Hattie Hass: Uh Bernice Macias: are three Hattie Hass: no, not Bernice Macias: uh components Hattie Hass: too much I think. Bernice Macias: three components type. You have the buttons, the the Jeanne Kamaka: How the buttons Bernice Macias: case Jeanne Kamaka: yeah. Bernice Macias: uh itself, Aubrey Dexter: I think maybe the case Bernice Macias: and the Aubrey Dexter: itself Bernice Macias: rubber Aubrey Dexter: should Bernice Macias: and th Aubrey Dexter: be in one colour and then the rubber of the buttons, and the cushions Bernice Macias: Yes. Aubrey Dexter: as well should be in another Hattie Hass: Or Aubrey Dexter: colour. Hattie Hass: you just Jeanne Kamaka: Yeah. Hattie Hass: make uh one colour, uh maybe with a a z a kind of like a big wave or something like uh Aubrey Dexter: Okay, but not Hattie Hass: In Aubrey Dexter: more Hattie Hass: in Aubrey Dexter: than Hattie Hass: another colour. Aubrey Dexter: Well, yeah, Hattie Hass: Not Aubrey Dexter: it's Hattie Hass: more than two colours Aubrey Dexter: No. Hattie Hass: I think. Jeanne Kamaka: No, Hattie Hass: It's Jeanne Kamaka: definitely Hattie Hass: a g a Jeanne Kamaka: not. Hattie Hass: little Aubrey Dexter: Maybe we should Hattie Hass: bit too Aubrey Dexter: talk Hattie Hass: flashy. Aubrey Dexter: about it on a l in Jeanne Kamaka: Yes, Aubrey Dexter: a Bernice Macias: Yeah, Aubrey Dexter: later meeting. Bernice Macias: or Jeanne Kamaka: definitely. Bernice Macias: or when you use the buttons as black, it you can use two colours as well Aubrey Dexter: Okay. Bernice Macias: uh Aubrey Dexter: But we have to uh think of some other uh important things. Uh oh yeah, the the functionalities Hattie Hass: The Aubrey Dexter: of Hattie Hass: funct Aubrey Dexter: the the Hattie Hass: yeah, Aubrey Dexter: buttons. Hattie Hass: I was I was thinking about th the st do we still want a joystick idea. Aubrey Dexter: No. Jeanne Kamaka: No, I think that's too vulnerable. Hattie Hass: Yeah. Aubrey Dexter: I think this is okay, the so we have the basic. Then we have the numbers. We have the power button. We have Hattie Hass: The Aubrey Dexter: we have a teletext button. Hattie Hass: volume, teletext and Aubrey Dexter: And maybe want to access a a menu or something. Jeanne Kamaka: Yeah, but Aubrey Dexter: Most Jeanne Kamaka: that's Aubrey Dexter: T_V_s Jeanne Kamaka: that's Aubrey Dexter: have a Jeanne Kamaka: I Aubrey Dexter: menu. Jeanne Kamaka: was thinking that's gotta be on the television. Aubrey Dexter: Yeah, but Hattie Hass: Yeah Aubrey Dexter: I think Hattie Hass: yeah yeah Aubrey Dexter: you ha Hattie Hass: yeah, Aubrey Dexter: I really need Hattie Hass: b Aubrey Dexter: a menu button. That's just i the Hattie Hass: Yeah, Aubrey Dexter: only Hattie Hass: but Aubrey Dexter: button Hattie Hass: wha what Aubrey Dexter: only Hattie Hass: kind of menu? Aubrey Dexter: You know, Hattie Hass: Is Aubrey Dexter: I Hattie Hass: uh isn't that different from every television? Aubrey Dexter: No, I think most T_V_s Jeanne Kamaka: Mm. Aubrey Dexter: have an uh Jeanne Kamaka: Yeah, Aubrey Dexter: a Jeanne Kamaka: if Aubrey Dexter: menu Jeanne Kamaka: it's c Aubrey Dexter: nowadays Jeanne Kamaka: if Aubrey Dexter: to access the uh uh screen settings. And Jeanne Kamaka: Yeah, Aubrey Dexter: so Jeanne Kamaka: I think it's okay to to add a menu button for uh Aubrey Dexter: But that Jeanne Kamaka: and if Aubrey Dexter: that Jeanne Kamaka: the Aubrey Dexter: covers Jeanne Kamaka: T_V_ doesn't Aubrey Dexter: all the Jeanne Kamaka: have a menu, Aubrey Dexter: all the Jeanne Kamaka: then Aubrey Dexter: other settings. It covers everything then. Bernice Macias: But then Jeanne Kamaka: Yeah. Bernice Macias: you have to put uh up and down and uh left Jeanne Kamaka: Yeah, Bernice Macias: and right Jeanne Kamaka: you Aubrey Dexter: No, Jeanne Kamaka: can Aubrey Dexter: you can Jeanne Kamaka: put Aubrey Dexter: use Jeanne Kamaka: that on Aubrey Dexter: the Jeanne Kamaka: the two eight four and six Aubrey Dexter: And you Jeanne Kamaka: or Aubrey Dexter: al Jeanne Kamaka: whatever. Aubrey Dexter: can also use the normal Bernice Macias: Okay. Aubrey Dexter: skip buttons for that. Th in that way Jeanne Kamaka: Mm, Aubrey Dexter: we Jeanne Kamaka: yeah. Aubrey Dexter: have like only the numbers, the power button, skip and volume, and then uh uh ten uh rem Jeanne Kamaka: A mute and Aubrey Dexter: uh yeah, Jeanne Kamaka: a Hattie Hass: Mute. Jeanne Kamaka: teletext Aubrey Dexter: mute. A teletext Jeanne Kamaka: and a menu. Aubrey Dexter: and a menu, and then then i Jeanne Kamaka: That's Aubrey Dexter: that's Jeanne Kamaka: all. Aubrey Dexter: it. It's all we need. Hattie Hass: Yeah. Jeanne Kamaka: Hmm. Aubrey Dexter: Okay, Jeanne Kamaka: Great. Aubrey Dexter: uh Jeanne Kamaka: Yeah. Hattie Hass: Okay, that's not mu Aubrey Dexter: another Hattie Hass: not Aubrey Dexter: stuf Hattie Hass: much functions. Aubrey Dexter: some stuff Hattie Hass: So Aubrey Dexter: about the the the design of the docking station. Something important about a s uh, no, uh which sh uh should remind us of the remote itself, I guess. Jeanne Kamaka: Yeah, definitely. Aubrey Dexter: Uh, in one colour. Jeanne Kamaka: Are we gonna Aubrey Dexter: Just Jeanne Kamaka: do Aubrey Dexter: use Jeanne Kamaka: something with the uh spongy thing there? Aubrey Dexter: I think the Bernice Macias: Uh Aubrey Dexter: spongy thing already um comes forward in the in the in the cushions, pads and Jeanne Kamaka: Yeah, Aubrey Dexter: things on the Jeanne Kamaka: that's Aubrey Dexter: s uh Jeanne Kamaka: true, Aubrey Dexter: side. Jeanne Kamaka: that's Aubrey Dexter: And we Jeanne Kamaka: true. Aubrey Dexter: will make it spongy and and uh and uh well, the fruity thing is just the shape should be fru i did I think this is kind of fruity, you know. Just round shapes with uh Jeanne Kamaka: Yeah, it's kinda fruity, and with th with catchy colours uh Aubrey Dexter: Yeah, Jeanne Kamaka: uh Aubrey Dexter: but we're gonna have Jeanne Kamaka: w Aubrey Dexter: to we really have to think I think colours is very important, because it has to be flashy, but and but it d it doesn't have to be annoying, that when you uh, know, some things is just over the top, and when you have Jeanne Kamaka: Yeah, Aubrey Dexter: it on Jeanne Kamaka: definitely. Aubrey Dexter: your table for more than two weeks, you it just gets annoying, because it's so big and flashy. Uh, it has to be some level of subtlety, but we have to still have to think of how we manage to uh to get Jeanne Kamaka: Yeah. Aubrey Dexter: to that. Okay. Jeanne Kamaka: Okay. Aubrey Dexter: Guess we're through then. Jeanne Kamaka: I Hattie Hass: Okay. Jeanne Kamaka: guess so. Aubrey Dexter: But we I think also we just so we have to do something with colour but also, I I think we have to keep the dark colour thing in mind. I think Jeanne Kamaka: Yes. Aubrey Dexter: that's Hattie Hass: Yeah. Aubrey Dexter: uh adds to the too much colour maybe m Hattie Hass: Too much Aubrey Dexter: um Hattie Hass: colour, i it uh when you got it in a living room, it's Aubrey Dexter: But Hattie Hass: too Aubrey Dexter: our Hattie Hass: much Aubrey Dexter: des Hattie Hass: maybe. Aubrey Dexter: design Jeanne Kamaka: Yea yeah. Aubrey Dexter: experts Hattie Hass: It Aubrey Dexter: will Hattie Hass: has to Aubrey Dexter: uh Hattie Hass: be Aubrey Dexter: work that out. Okay, Jeanne Kamaka: Yep. Aubrey Dexter: well Hattie Hass: Yeah. Aubrey Dexter: I think the meeting will be over within a minute. So Jeanne Kamaka: Something Aubrey Dexter: we will Jeanne Kamaka: like Aubrey Dexter: wrap Jeanne Kamaka: that. Aubrey Dexter: up. Or is there anything we'd like to discuss? Jeanne Kamaka: I guess not. Aubrey Dexter: That's right. Okay. Jeanne Kamaka: Do you, guys? Hattie Hass: No. Jeanne Kamaka: No? Aubrey Dexter: Okay. Well, you will read the minutes uh in the you can find them Jeanne Kamaka: In Aubrey Dexter: in Jeanne Kamaka: the shared Aubrey Dexter: the Hattie Hass: Oh, okay, Jeanne Kamaka: folder. Hattie Hass: yeah. Aubrey Dexter: pro probably. Yeah uh no, for su for sure because I'm will now type them out. Bernice Macias: What are we going to do now? Aubrey Dexter: Uh, Jeanne Kamaka: You'll Aubrey Dexter: y yeah. Jeanne Kamaka: see in you email, Hattie Hass: Yeah. Jeanne Kamaka: I guess. Aubrey Dexter: I think uh Jeanne Kamaka: Yeah, I don't know. I don't know. Hattie Hass: I hope so. And the other thing is that you don't have kind of prototype or something like that. You see a kinda prototype you can Bernice Macias: I Hattie Hass: a Bernice Macias: will Hattie Hass: little Bernice Macias: make one Hattie Hass: bit more Bernice Macias: in the Hattie Hass: uh Bernice Macias: next uh twenty minutes. Hattie Hass: Yeah. Jeanne Kamaka: Construct one, yeah. Aubrey Dexter: But Hattie Hass: With you laptop? Aubrey Dexter: toilet paper roll Hattie Hass: Yeah. Aubrey Dexter: and uh Okay. Hattie Hass: Oh my God. Jeanne Kamaka: Alright, shall we get back to work? Aubrey Dexter: Yep. Jeanne Kamaka: Great. Aubrey Dexter: I was waiting for Hattie Hass: Well Aubrey Dexter: the Hattie Hass: you Aubrey Dexter: l Hattie Hass: are. Aubrey Dexter: last Jeanne Kamaka: Yeah. Aubrey Dexter: message, Hattie Hass: We're not. Aubrey Dexter: but Jeanne Kamaka: Bastard. Bernice Macias: Back to the pen. Jeanne Kamaka: You lazy Aubrey Dexter: Mm yeah.

Bernice Macias talked about the options available for materials and components. He suggested that the case should be double-curved, and be made from plastic and rubber rather than wood or titanium. He also recommended using basic batteries rather than solar or kinetic power. He also mentioned the possibility of using an LCD screen to add something special. Hattie Hass went over the functions to be included in the remote. The group discussed using large buttons for the most frequently used functions. Jeanne Kamaka gave a presentation on trend watching. A fancy look and feel is most important to users, followed by technological innovation and ease of use. The younger market also likes the theme of fruit and vegetables and spongy material, which could be implemented through fruity colours and using a spongy material for the base. The group discussed how to incorporate a fruit and vegetable theme, as well as the company colours and logo. The group discussed whether to include an LCD screen, and eventually decided against it. Aubrey Dexter closed the meeting and told the group they would receive emails about their tasks for the next meeting.

amisum

train

Jacqueline Ellis: Okay. Uh door is closed. Well, begin. Because Carol Charley: I'm listening. Jacqueline Ellis: if we have as much time as the last uh meeting, Carol Charley: Right. Jacqueline Ellis: we'll have to hurry up. Um well I'll start with the presentation again, Carol Charley: Great. Jacqueline Ellis: the agenda. Yo. So. Uh This one I think. Uh yeah. Well alright. Um well, I'll show you the notes. It's not as uh interesting as it should be because we just uh had the meeting, but I'll show them. We'll get your presentations on the conceptual design. Um Then we'll have to dec decide about the control, the remote control concepts. Mary Guajardo: Mm-hmm. Jacqueline Ellis: I've put a f uh a file in the project management folder, which says exactly uh what kind of decisions we should take. So this time we exactly know what to decide about. Carol Charley: Alright, great. Jacqueline Ellis: And then we'll close again. Mary Guajardo: Alright. Jacqueline Ellis: Uh Well these are some examples, but we'll talk about them later. We'll first look at your uh presentations. Mary Guajardo: Mm-hmm. Jacqueline Ellis: Alright? Walter will uh start again Carol Charley: Yeah, great. Jacqueline Ellis: this time? Yo. Carol Charley: Alright, Trendwatch. Jacqueline Ellis: 'Kay. Carol Charley: Right. I will speak about uh latest trends trends, latest fashion updates, and uh things we must not do. Jacqueline Ellis: 'Kay. Carol Charley: Uh the trends. It's very important that uh the control is fancy looking and good uh feeling. Uh this because of our last model was very functional, but it uh people didn't like that, so our new mo model must be very good-looking. That's uh uh have to Mary Guajardo: Mm-hmm Carol Charley: take a look at. Mary Guajardo: Alright. Carol Charley: And uh the feeling has to be very great. Also the menus and things like that they have to they have to feel great. Mary Guajardo: Alright. Carol Charley: Um there's a minus uh two times here, because this is the most important point. This is uh two times as less Jacqueline Ellis: Less. Carol Charley: important, and uh same for this one. Um, technological technological innovations, that's uh regarded very highly too. Uh such as an uh L_C_D_ screen, uh speech uh acknowledgement, as we uh Jacqueline Ellis: Well, yeah. Carol Charley: talked about earlier. So we have to have uh something like that, like we uh Jacqueline Ellis: L_C_D_ and our uh our fronts. Carol Charley: Right. Uh the last point is easy to use. Well I think that uh speaks for s for itself. I don't know who's uh who's going to look at that. Mary Guajardo: Easy to use? Jacqueline Ellis: Well, Carol Charley: Yeah? Jacqueline Ellis: easy Mary Guajardo: I think Jacqueline Ellis: to use Mary Guajardo: that's your Jacqueline Ellis: uh Mary Guajardo: ta Jacqueline Ellis: s is a bit uh contradictionary with the first uh Functional is not an issue, Carol Charley: Yeah, Jacqueline Ellis: and Carol Charley: I know. Jacqueline Ellis: then easy to use. Well we have to choose one of them. Carol Charley: I think we have to go for the first Jacqueline Ellis: Yeah. Carol Charley: one. It's the most Mary Guajardo: Mm. Carol Charley: important one. So we have to uh take that one. Jacqueline Ellis: Okay. Carol Charley: So it it it isn't very important that that it works easy. Shannon Bolt: Well Carol Charley: But Shannon Bolt: something Carol Charley: it Shannon Bolt: fancy Carol Charley: has Shannon Bolt: looking Carol Charley: to look Shannon Bolt: can Carol Charley: great. Shannon Bolt: be can be easy to use. Jacqueline Ellis: Yeah. We'll we'll look at uh. Carol Charley: We'll see. Mary Guajardo: You Yeah. Yeah, yeah, you can make a very complicated uh uh remote anyway, so ease Carol Charley: Yeah, Mary Guajardo: of use Carol Charley: right. Mary Guajardo: It's not Carol Charley: But Mary Guajardo: a very Carol Charley: the most Mary Guajardo: comp Carol Charley: important Mary Guajardo: complicated Carol Charley: thing Mary Guajardo: device. Carol Charley: is that it looks great and people say wow, that's real great uh great concept. Mary Guajardo: Alright. Jacqueline Ellis: 'Kay. Carol Charley: Alright. Uh these are the new colours of this year. So it must be very bright, very colourful. People like this. So we we have to think uh in this direction. So Jacqueline Ellis: So Carol Charley: i set your mind to it. Jacqueline Ellis: Well Carol Charley: Findings? Fashion update? Fruit and vegetables are cool. I am told. Mary Guajardo: Uh you Carol Charley: The group Mary Guajardo: think? Carol Charley: we are targeting is uh very pleased with fruit and vegetables. So we we we might cons consider in front of uh in in that sort of uh Jacqueline Ellis: Yeah, Carol Charley: way. Jacqueline Ellis: well Shannon Bolt: Bananas. Carol Charley: Uh furthermore uh material, that's your part, should be very strong. I was thinking of something like uh well uh iron plate over it, maybe in a Mary Guajardo: Mm. Carol Charley: colour or something, that Jacqueline Ellis: Yeah. Carol Charley: looks so f really flashy but it it is also strong. And Jacqueline Ellis: B Carol Charley: that's uh also for the younger public. Jacqueline Ellis: Well the the handy thing about our fronts is that we can follow these trends e ev every year. Th this year it's fruits but next year it's it's Carol Charley: Yeah, Jacqueline Ellis: something Carol Charley: that's Jacqueline Ellis: totally Carol Charley: great. Jacqueline Ellis: different. Shannon Bolt: Yeah. Carol Charley: But I think we can all make the the fronts of titanium or something uh Jacqueline Ellis: Yes. Carol Charley: really thin. So it looks very heavy but you can still uh use it very easily. Mary Guajardo: Mm. Jacqueline Ellis: Yep, alright. Carol Charley: Well, the don'ts. Older people like dark colours and simple shapes. Well we don't want uh older people, we want young people. So uh we're gonna turn that around. We're Mary Guajardo: Alright. Carol Charley: gonna have real uh cool shapes and lots of colours. Right? Jacqueline Ellis: Wood Carol Charley: Okay. Jacqueline Ellis: is popular. Aha. Carol Charley: We don't want wood. Mary Guajardo: Yeah, Jacqueline Ellis: Yeah Mary Guajardo: among the old Jacqueline Ellis: yeah Mary Guajardo: people, Jacqueline Ellis: yeah. Mary Guajardo: yeah. Carol Charley: Old people. So, that's it for Carol Charley. Jacqueline Ellis: Alright. Nice, uh well show us. Mary Guajardo: Right, I am going to you the design Uh again I have uh put up the specification properties. This uh so um uh the different uh components of the of of the device. And the materials? Um I have heard several things, so I uh I'll have to change that on the way. But uh the case? Uh I suggested uh in the previous meeting hard plastic. But uh as you Carol Charley: Yeah, Mary Guajardo: indicated Carol Charley: we should change Mary Guajardo: uh Carol Charley: that. Mary Guajardo: it should be strong. It should feel strong. So maybe plastic is not uh sufficient. We should Jacqueline Ellis: Well Mary Guajardo: move Jacqueline Ellis: maybe Mary Guajardo: to uh Jacqueline Ellis: it Mary Guajardo: something Jacqueline Ellis: it it is, but it doesn't look strong. So maybe Mary Guajardo: Well yeah. Y Hard plastic i is of course uh pretty pretty tough, but it doesn't have a really really tough Carol Charley: No no no. Mary Guajardo: look. Jacqueline Ellis: But we still Mary Guajardo: So Jacqueline Ellis: have to look at our price of course. Because Mary Guajardo: Yeah. Jacqueline Ellis: uh Mary Guajardo: Also Jacqueline Ellis: if we Mary Guajardo: Yeah. Jacqueline Ellis: want an L_C_D_ uh window etcetera uh Mary Guajardo: Mm-hmm. But we'll return to that. Jacqueline Ellis: Yeah? Mary Guajardo: Uh the buttons of course rubber, I think everyone agrees. And electrical cables, copper is all pretty basic stuff. The chips made of silicon, I guess. I think that's the best uh way to do it. And infra infrared l LED is uh just a simple bulb. Then I've uh had a few findings, made a few findings. Uh the target audience product style. Um it's uh um generally the case that uh senior and wealthy people above uh forty five years old uh like, as you said, uh particularly the traditional materials as such as wood and materials such as that. They also like straightforward shapes and luxurious style. But of course that's not our uh things this. So this is things we must not do. Jacqueline Ellis: Yes. Mary Guajardo: And then we have uh young uh and dynamic uh people, which is of course our uh group, the people we aim at. Um under forty five years old. Uh they like soft materials uh with primary colours. Soft materials is of course uh agai again a bit a contradiction with uh our uh material choice of what you said, that uh it should be hard an and and and and strong looking. Carol Charley: Mm. Yeah. Mary Guajardo: But they like soft Shannon Bolt: Yeah. Mary Guajardo: materials, uh so we might uh we have to consider that. And also they like curved round shapes. So not uh too formal like like uh the older people want. And if uh also a finding but not very ap applicable here, that sports and gaming devices such as uh discmans for jogging and that those kind of devices, gaming devices, should define the characteristics of the device. But uh since we don't have a really a sports or gaming device, so we don't really have to consider that. Jacqueline Ellis: Sports uh, they're uh that uh are Shannon Bolt: Soccer Jacqueline Ellis: accessible Shannon Bolt: fronts. Jacqueline Ellis: on on your L_C_D_ uh window uh Shannon Bolt: Mm. Jacqueline Ellis: Huh? Mary Guajardo: Mm. Jacqueline Ellis: That's nice. Shannon Bolt: Hmm. Mary Guajardo: Well Jacqueline Ellis: All Mary Guajardo: I also Jacqueline Ellis: the Mary Guajardo: have Jacqueline Ellis: results? Mary Guajardo: um Carol Charley: We keep coming back to the fronts. Shannon Bolt: Yeah. Mary Guajardo: several examples of uh styles, so you can get a clear picture of uh Jacqueline Ellis: Yeah. Mary Guajardo: what I mean. Uh these are the basic uh older older peoples' stuff. Jacqueline Ellis: Yeah. Carol Charley: Yeah. Mary Guajardo: It was not very uh interesting uh, very classical looking, but that's Jacqueline Ellis: Mm-hmm. Mary Guajardo: n that's not what we want. We have Shannon Bolt: Hmm. Mary Guajardo: these kind of things. I don't know what exactly they are. It Jacqueline Ellis: Nai. Mary Guajardo: looks Jacqueline Ellis: Uh Mary Guajardo: like Well Jacqueline Ellis: no. Mary Guajardo: you know uh you recognise the shapes, it's very primary colours, uh bright colours and uh round shapes. You also uh see uh this device, it's not very round and Carol Charley: Fruity. Mary Guajardo: Fruity of course. Carol Charley: Fruity. Mary Guajardo: Yeah, it uh Jacqueline Ellis: It's t terrible. Mary Guajardo: That's true. Jacqueline Ellis: Alright. Mary Guajardo: And uh well round shapes, primary colours. You can see it all here. And of course Jacqueline Ellis: Hmm? Mary Guajardo: uh this famous device. I think as you know something uh some Jacqueline Ellis: Yeah, Mary Guajardo: devices Jacqueline Ellis: alright. Mary Guajardo: like this. So Carol Charley: Well Mary Guajardo: to give Carol Charley: it's Mary Guajardo: you an idea Carol Charley: got Mary Guajardo: of uh Carol Charley: a strong look, this. Mary Guajardo: This has a strong look. Although Carol Charley: Yeah. Mary Guajardo: it's plastic, it's Carol Charley: Yeah, Mary Guajardo: it's Carol Charley: it still Mary Guajardo: grey Carol Charley: has a strong Mary Guajardo: to Carol Charley: look. Mary Guajardo: to Jacqueline Ellis: Yeah. Mary Guajardo: to give it iron look. Jacqueline Ellis: And it's round. Mary Guajardo: That's uh Carol Charley: But then you are losing your fruity colours. Mary Guajardo: Yeah. Well we have to make Jacqueline Ellis: Well Mary Guajardo: a Jacqueline Ellis: you can make th th th that middle ring can you you can make another colour. Carol Charley: That's true. Jacqueline Ellis: So uh those Mary Guajardo: Well we Jacqueline Ellis: kind Mary Guajardo: can't Jacqueline Ellis: of Mary Guajardo: really Jacqueline Ellis: things Mary Guajardo: make Jacqueline Ellis: you can Mary Guajardo: a round Jacqueline Ellis: you can combine. Mary Guajardo: uh a round remote control. I don't think that's very practical, but Jacqueline Ellis: No, it isn't. Mary Guajardo: But uh it's important to to uh to think about Jacqueline Ellis: Okay. Mary Guajardo: the colour. Because if we make it grey or or silvery looking, it it does make it a lot more uh does make it looking a lot more stronger. Carol Charley: Yeah Jacqueline Ellis: Yes. Mary Guajardo: 'Cause Carol Charley: but Mary Guajardo: if you look at Carol Charley: the Mary Guajardo: this, it it doesn't look very very strong, becau But this is plastic, Carol Charley: But Mary Guajardo: and Carol Charley: it Mary Guajardo: and Carol Charley: doesn't Mary Guajardo: this too, Carol Charley: have to Mary Guajardo: but Carol Charley: look strong. The the results are, the feel of the material is expected to be strongy. Mary Guajardo: The feel? Carol Charley: The Mary Guajardo: Uh Carol Charley: feel. Mary Guajardo: alright. Well Jacqueline Ellis: So, if Shannon Bolt: And Jacqueline Ellis: you Shannon Bolt: it Jacqueline Ellis: ti Shannon Bolt: it doesn't have to be strong, also. Jacqueline Ellis: Well Carol Charley: Nah yeah the feel Jacqueline Ellis: You you Shannon Bolt: Only the feel. Jacqueline Ellis: Maybe you should have uh some some coloured titanium or something. So it it looks pretty but it feels strong. Carol Charley: Right. Mary Guajardo: Mm-hmm. Shannon Bolt: Oh. Carol Charley: I Mary Guajardo: And Carol Charley: agree. Mary Guajardo: I Then I have some more findings. Um uh about the energy energy source of the of the device, uh I uh suggest uh the basic battery. I uh got some other um uh uh energy sources of course. But solar energy is not very practical inside a house, because you don't have a have a lot of uh sun. And uh kinetic and and and dynamos are are not very practical, I think, for uh for a simple remote, that's a bit, oh, that's a bit uh Jacqueline Ellis: No titanium. Mary Guajardo: That's a bit uh much. Uh the disadvantage of that that you can use no titanium. That that's the information I received. If you use the curved case, uh a curved case, double curved then you Jacqueline Ellis: What do you exactly Mary Guajardo: can't use titanium. Jacqueline Ellis: mean with double curved? Mary Guajardo: Now uh this uh to give it a more modern look. And uh now the the shape, yeah, a curved case. Um yeah I think uh sort of triangle-shaped bottom or something. Uh a more modern look not plain, long box style, but Jacqueline Ellis: Double curved? Carol Charley: I dunno. Shannon Bolt: Yeah. Jacqueline Ellis: It Mary Guajardo: I'll draw Jacqueline Ellis: it mean Mary Guajardo: it, but Jacqueline Ellis: Yeah, well Mary Guajardo: maybe Jacqueline Ellis: okay. Shannon Bolt: Yeah. Mary Guajardo: later. And it makes uh it gives it a more u user friendly shape, than if you have uh. Um anyway Um f as uh for the buttons, simple push buttons. No uh otherwi uh no um difficult scroll things or some uh things like that, because it makes more complex and expensive. And, uh as we agreed, we don't use a speaker or a sensor or um uh speak uh speech uh Carol Charley: Yeah right. Mary Guajardo: controlled device. Because it makes it also more complex and expensive. But we do use an L_C_D_ screen, so we uh we do have to consider uh of we have to use a more advanced chip, which is more complex and expensive. But Jacqueline Ellis: Well Mary Guajardo: It's worth the trouble I think, Shannon Bolt: The buttons Mary Guajardo: because Shannon Bolt: can be made of an uh a soft material. Because people like that. Jacqueline Ellis: This soft material thing Mary Guajardo: Uh rubber Jacqueline Ellis: from Mary Guajardo: is a Jacqueline Ellis: uh Mary Guajardo: soft material, I guess. Jacqueline Ellis: Yeah. Carol Charley: Yeah. Mary Guajardo: Uh Shannon Bolt: Yeah. Carol Charley: Right. Shannon Bolt: Right. Mary Guajardo: soft Shannon Bolt: Yeah. Mary Guajardo: enough. So that's uh basically what I Jacqueline Ellis: Alright. Mary Guajardo: want to talk about. Jacqueline Ellis: Okay. We will take that. And then uh Mike? Jacqueline Ellis: Okay. Shannon Bolt: Yeah. Well um nah the method um we will um include the buttons as we discussed uh earlier. Um an L_C_D_ s screen will be implemented. Um we must decide where, this meeting. Um there are new developments in speech recognition um systems, um and they are already being uh used on uh coffee machines. And um well they're cheap, so we could use them Jacqueline Ellis: Oh Shannon Bolt: now. Um Jacqueline Ellis: That's interesting. Shannon Bolt: it's not really speech recognition, it's more um like you can um talk to the chip, uh record the message and record an answer, and then once you uh talk to the remote, then um he will a answer with the the prerecorded message that you left. So if Mary Guajardo: Oh, Carol Charley: Oh Shannon Bolt: I say Carol Charley: okay. Mary Guajardo: yeah, I understand. Yeah. Shannon Bolt: hi Mike, and you have recorded uh hi Mike back, then you Jacqueline Ellis: Okay. Shannon Bolt: will get that. Carol Charley: Right. Jacqueline Ellis: But you can also say that, when you say something, it does some function. Shannon Bolt: No it doesn't Carol Charley: No. Shannon Bolt: does not Jacqueline Ellis: Oh. Shannon Bolt: do anything. But Jacqueline Ellis: That's Carol Charley: But that Jacqueline Ellis: a bit Shannon Bolt: i Carol Charley: that Shannon Bolt: it's Jacqueline Ellis: uh Carol Charley: makes Shannon Bolt: just Carol Charley: it cheap. Shannon Bolt: a Carol Charley: It's Mary Guajardo: Yeah. Carol Charley: it's Shannon Bolt: Yeah Carol Charley: just Jacqueline Ellis: Yes. Shannon Bolt: it's Carol Charley: a an Shannon Bolt: it's cheap. Carol Charley: extra Jacqueline Ellis: I Carol Charley: function, Jacqueline Ellis: understand. Carol Charley: and it's cheap. Jacqueline Ellis: But it has no functionality Carol Charley: No Jacqueline Ellis: for our remote Carol Charley: but Shannon Bolt: No but Jacqueline Ellis: at Shannon Bolt: that's Jacqueline Ellis: all. Shannon Bolt: the gadget they want, Carol Charley: Yeah, Shannon Bolt: or the Carol Charley: right. Shannon Bolt: gimmicks. Mary Guajardo: But it Carol Charley: Young Mary Guajardo: it's Carol Charley: people Mary Guajardo: n Carol Charley: love Mary Guajardo: nice Carol Charley: them. Mary Guajardo: for young Shannon Bolt: Yes, Mary Guajardo: people. They Shannon Bolt: we Mary Guajardo: like Carol Charley: Yeah, Mary Guajardo: gadgets. Yeah. Carol Charley: ple Shannon Bolt: we should really uh include that one, I think. Carol Charley: Right. Mary Guajardo: If Jacqueline Ellis: Hmm. Mary Guajardo: it's Shannon Bolt: Um Mary Guajardo: cheap. Yeah. Shannon Bolt: Well, as I said uh earlier I think the uh L_C_D_ screen should be uh positioned at the lower end of the remote. Um the buttons for screen width and general settings and uh and that kind of stuff um we can also do let that kind of functions um be shown in the L_C_D_ screen, Jacqueline Ellis: So you Shannon Bolt: uh Jacqueline Ellis: put a menu Shannon Bolt: instead Jacqueline Ellis: in the Shannon Bolt: of Jacqueline Ellis: L_C_D_? Shannon Bolt: uh extra buttons. I think young people and yeah w well every user would like that. Um the buttons um should be positioned uh positioned the same way as they are on a, well, conventional remote, I think. For the learnability and uh well to keep it recognisable. A voice recognition can be uh implemented. And uh I drew an example, but it did not work quite the well uh the Carol Charley: Alright. Shannon Bolt: way I Mary Guajardo: Can you Shannon Bolt: wanted Mary Guajardo: draw Carol Charley: How Mary Guajardo: it Shannon Bolt: it Mary Guajardo: now Shannon Bolt: to do. Mary Guajardo: of uh Shannon Bolt: Hmm? Mary Guajardo: Can Jacqueline Ellis: Ah. Carol Charley: How Mary Guajardo: you Shannon Bolt: Well Mary Guajardo: draw it now? Shannon Bolt: I have the I can draw it again, and I know what I did wrong. I didn't tick the note bo box in Mary Guajardo: Mm. Shannon Bolt: the. Mary Guajardo: Alright. Shannon Bolt: Um Carol Charley: How do you uh uh give input to the menu on the L_C_D_ screen? Shannon Bolt: Um with the uh the up and down and and well Carol Charley: Alright. Shannon Bolt: buttons Carol Charley: So you have Shannon Bolt: and Carol Charley: a Shannon Bolt: the Carol Charley: menu button, and then you can go up Shannon Bolt: Well Jacqueline Ellis: But Carol Charley: and down. Shannon Bolt: I will draw what Jacqueline Ellis: then Shannon Bolt: I Jacqueline Ellis: we should Shannon Bolt: had drawn Jacqueline Ellis: also have Shannon Bolt: on Jacqueline Ellis: an Shannon Bolt: the screen. Jacqueline Ellis: uh an Okay button. Carol Charley: Yeah right. Shannon Bolt: Yes. Um I shall draw this. Mary Guajardo: button, yeah. Shannon Bolt: If it uh works. Jacqueline Ellis: Just uh There is already a blank. Yes? So Carol Charley: Yeah. Jacqueline Ellis: Yeah. Shannon Bolt: Mm so have I. Nah. Carol Charley: You have to push hard. Mary Guajardo: I suggest a banana shape. Because Carol Charley: Yeah. Mary Guajardo: of the fruity uh Carol Charley: Yeah. Mary Guajardo: fashion. Jacqueline Ellis: No m Mary Guajardo: Yellow Jacqueline Ellis: Next Mary Guajardo: and Jacqueline Ellis: year that's out. Mary Guajardo: Yeah alright, yeah. Just a hunch. Shannon Bolt: Well these little buttons are a bit difficult to uh Jacqueline Ellis: Yeah. Shannon Bolt: draw uh Mary Guajardo: Those are the Shannon Bolt: correct. Mary Guajardo: the cha the channel buttons of course? Shannon Bolt: Yeah just uh the numbers. Mary Guajardo: And then below is the L_C_D_ screen? Shannon Bolt: These these will be bigger in the the real Mary Guajardo: Alright, Shannon Bolt: design. Mary Guajardo: yeah. Shannon Bolt: This must be the Okay button used to uh interact with the L_C_D_ Mary Guajardo: Mm-hmm. Shannon Bolt: screen. And with this you can uh, Jacqueline Ellis: Yeah. Shannon Bolt: yes, go to through the menus and that can Um Carol Charley: You've Shannon Bolt: the video button should be uh an Jacqueline Ellis: Yes. Shannon Bolt: apart button, because you want it to uh t, yeah, Carol Charley: Right. Shannon Bolt: to use it fast within one uh click. Jacqueline Ellis: And Carol Charley: And you Jacqueline Ellis: what's Shannon Bolt: Um Jacqueline Ellis: the Carol Charley: you Jacqueline Ellis: menu Carol Charley: need Jacqueline Ellis: button? Carol Charley: a you Shannon Bolt: it's Carol Charley: need a speaker. For Shannon Bolt: Hmm? Carol Charley: the Shannon Bolt: This button can also be the Menu button, we use in the Jacqueline Ellis: But Shannon Bolt: menus Jacqueline Ellis: how Shannon Bolt: Well Jacqueline Ellis: did Shannon Bolt: we we can Jacqueline Ellis: How do Shannon Bolt: add Jacqueline Ellis: you get Shannon Bolt: another Jacqueline Ellis: out Shannon Bolt: button Jacqueline Ellis: of the menu Shannon Bolt: here, Jacqueline Ellis: then? Shannon Bolt: but Jacqueline Ellis: Yeah. Maybe I you could Mary Guajardo: Uh Jacqueline Ellis: j Mary Guajardo: by Jacqueline Ellis: just Mary Guajardo: pe Jacqueline Ellis: do Mary Guajardo: pressing Jacqueline Ellis: an an Mary Guajardo: the Jacqueline Ellis: exit Mary Guajardo: menu button Jacqueline Ellis: with Okay. Mary Guajardo: again. By pressing Jacqueline Ellis: Uh Mary Guajardo: the menu button again, you Carol Charley: Yeah. Mary Guajardo: go uh Shannon Bolt: Yeah. Carol Charley: Yeah. Mary Guajardo: out. It's usual the the the d kind Jacqueline Ellis: Yes, Mary Guajardo: of Jacqueline Ellis: well but Mary Guajardo: the way Jacqueline Ellis: bec because Mary Guajardo: it Jacqueline Ellis: when you Mary Guajardo: works. Jacqueline Ellis: push Menu Mary Guajardo: Yeah? Jacqueline Ellis: you get in, and Mary Guajardo: Yeah? Jacqueline Ellis: then you have to push Okay when you get to Shannon Bolt: Ah Jacqueline Ellis: a choice. Shannon Bolt: right. Mary Guajardo: Yeah. Shannon Bolt: Well Jacqueline Ellis: And Mary Guajardo: But Shannon Bolt: you Mary Guajardo: you can Shannon Bolt: you Mary Guajardo: men you can press menu again to get out. Jacqueline Ellis: Well that's also the Okay button. That's Shannon Bolt: No no, Mary Guajardo: No. Jacqueline Ellis: you Shannon Bolt: we Jacqueline Ellis: you Shannon Bolt: we Jacqueline Ellis: should have Shannon Bolt: we should Jacqueline Ellis: uh Shannon Bolt: uh add uh a extra Menu button and this Jacqueline Ellis: Or you Shannon Bolt: the Jacqueline Ellis: can Shannon Bolt: Okay button. Jacqueline Ellis: put in the L_C_D_'s uh window an option Get Out. Carol Charley: Exit. Jacqueline Ellis: Exit. Shannon Bolt: Ah once you have an extra Menu button, you don't need that that extra option. Jacqueline Ellis: Well, Shannon Bolt: You Carol Charley: But Shannon Bolt: have Jacqueline Ellis: it's Carol Charley: we Jacqueline Ellis: just Shannon Bolt: uh Carol Charley: need Jacqueline Ellis: a Carol Charley: a Shannon Bolt: redundancy. Jacqueline Ellis: choice. Carol Charley: we need a a recording recording button for the speech uh part. Or don't Shannon Bolt: Yeah, if we decide to uh to implement that, Mary Guajardo: Why Shannon Bolt: maybe Mary Guajardo: would Shannon Bolt: we Mary Guajardo: you Shannon Bolt: should. Mary Guajardo: put it uh then, and where is the recording uh the microphone? Where would Shannon Bolt: Well Mary Guajardo: you put Shannon Bolt: they Mary Guajardo: it? Shannon Bolt: that could be anywhere. That's very small. It could be uh down here. Mary Guajardo: Uh-huh. Shannon Bolt: Um. Well, not here. I yeah I suggest here. But that's just a little Carol Charley: Right, and Mary Guajardo: Microphone, Carol Charley: spea Shannon Bolt: gap. Carol Charley: speaker Mary Guajardo: yeah. Shannon Bolt: Yeah. Carol Charley: at the back, or something. Shannon Bolt: Well the speaker and the microphone, I think, are the same uh little hole thingy. Mary Guajardo: Yeah I understand. Shannon Bolt: Yeah. Mary Guajardo: Uh Carol Charley: Alright. Mary Guajardo: but uh we could uh d do, but it's perhaps more expensive, uh the Shannon Bolt: Well i Mary Guajardo: speaker on the back or something. Shannon Bolt: Um there are a all already being implemented in in coffee machines, so they won't be uh very expensive. But Jacqueline Ellis: Huh? Mary Guajardo: Alright. Carol Charley: Alright. Jacqueline Ellis: Yeah? Okay. Shannon Bolt: This is my suggested Jacqueline Ellis: Well, Shannon Bolt: design. Jacqueline Ellis: okay, alright. Shannon Bolt: Um Jacqueline Ellis: Um then let's Shannon Bolt: Yes. Jacqueline Ellis: have a look at the decisions we are going to have to make. Shannon Bolt: And oh I think as you can see so, the L_C_D_ screen does look better uh at the lower end, or Jacqueline Ellis: I'd Shannon Bolt: at the bottom. Jacqueline Ellis: I agree. Carol Charley: Yeah, Shannon Bolt: But Carol Charley: fine. Jacqueline Ellis: Fine. Carol Charley: Move on. Mary Guajardo: Well yeah yeah yeah. Jacqueline Ellis: Yeah. Shannon Bolt: Oh, um I had some uh examples. Mary Guajardo: I can live with Shannon Bolt: You Mary Guajardo: it. Shannon Bolt: can Jacqueline Ellis: Yes? Shannon Bolt: uh But I did not like it very much, but Well these are Jacqueline Ellis: Too big. Shannon Bolt: quite obvious, very ugly remote. Carol Charley: Yeah. Mary Guajardo: They do Shannon Bolt: Um Mary Guajardo: they don't look fruity enough. Carol Charley: Nei Shannon Bolt: No, Carol Charley: They're n they're not Jacqueline Ellis: They're Shannon Bolt: well Carol Charley: trendy. Jacqueline Ellis: all Shannon Bolt: th Jacqueline Ellis: black. Shannon Bolt: Yeah. Well not all. Jacqueline Ellis: Hey, that one I like. Shannon Bolt: Uh Mary Guajardo: Tho Shannon Bolt: this is Mary Guajardo: Yeah Shannon Bolt: for children Mary Guajardo: those Shannon Bolt: but Carol Charley: It doesn't Shannon Bolt: th Carol Charley: look strong. Jacqueline Ellis: No. Shannon Bolt: No. Mary Guajardo: But it doesn't uh the Shannon Bolt: W but with the colours i it's a Jacqueline Ellis: The Shannon Bolt: bit the way Jacqueline Ellis: remote. Shannon Bolt: we're going to. Carol Charley: Yeah right. Mary Guajardo: Yeah, ok Yeah. Shannon Bolt: Well this is a Jacqueline Ellis: Terrible. Carol Charley: This Shannon Bolt: terrible Carol Charley: is just crazy. Jacqueline Ellis: It's it's Shannon Bolt: Um Jacqueline Ellis: all Shannon Bolt: this Jacqueline Ellis: too Shannon Bolt: looks Jacqueline Ellis: much Mary Guajardo: But it Jacqueline Ellis: buttons. Mary Guajardo: it must Jacqueline Ellis: Too many Mary Guajardo: not look Jacqueline Ellis: buttons. Shannon Bolt: Yeah. Mary Guajardo: too childish Jacqueline Ellis: That's Mary Guajardo: of course huh? Shannon Bolt: This uh these are the L_C_D_ screens. I think we should, if it's um possible, uh one with colours, but Carol Charley: Nah th Shannon Bolt: I don't know Carol Charley: It's Jacqueline Ellis: Well, Shannon Bolt: uh Carol Charley: too expensive. Jacqueline Ellis: that's too expensive Shannon Bolt: Too expensive? Jacqueline Ellis: I think. Carol Charley: Yeah. Shannon Bolt: Alright. Well Mary Guajardo: But Jacqueline Ellis: Alright. Mary Guajardo: it Yeah. Shannon Bolt: Nah. Jacqueline Ellis: Yeah. Okay. Shannon Bolt: Ha, Jacqueline Ellis: Huh. Shannon Bolt: even more. N Jacqueline Ellis: Mm no. Carol Charley: But Jacqueline Ellis: 'Kay. Carol Charley: are we going for a strange uh form? Jacqueline Ellis: No, Carol Charley: 'Cause Jacqueline Ellis: not Carol Charley: people Jacqueline Ellis: very Carol Charley: like that. Jacqueline Ellis: strange. Mary Guajardo: Not not too strange. Carol Charley: Not too strange. Mary Guajardo: No. Carol Charley: You Jacqueline Ellis: It still Carol Charley: can make Jacqueline Ellis: has Carol Charley: the Jacqueline Ellis: t Carol Charley: the underside, you can make it more round, Jacqueline Ellis: Yes. Carol Charley: where Jacqueline Ellis: Th Carol Charley: the L_C_D_ is. Jacqueline Ellis: a a kind of bridge. So it Shannon Bolt: Well Jacqueline Ellis: f falls over the hand. Yeah? Yeah? Yeah. Carol Charley: You know? Jacqueline Ellis: Well I have at home a remote with a bridge. It's just a half round half half circle at And then it falls exactly over the hand, and that's very nice. That's It feels comfortable. Carol Charley: Yeah, but people like something uh new Mary Guajardo: Exotic Carol Charley: you know. Mary Guajardo: yeah. Carol Charley: Yeah, Mary Guajardo: We Carol Charley: different. Mary Guajardo: have t Yeah, yeah. Jacqueline Ellis: Yeah. Mary Guajardo: I will Carol Charley: Y Mary Guajardo: design Carol Charley: yis Mary Guajardo: it, we design it later. So we'll get Carol Charley: Alright. Mary Guajardo: to that later I guess. Carol Charley: Great. Jacqueline Ellis: Yeah, alright. Um where did I put it? Mary Guajardo: The specific shape. The Jacqueline Ellis: I got this from our friends. So Mary Guajardo: Our sources. Jacqueline Ellis: Uh yeah the conceptual design. These are a few examples which we have to decide about. All the the materials from the case, uh the electric cable that's all your uh your side of the story. Um Carol Charley: Your bag. Jacqueline Ellis: Yeah. Um now from the user interface, your uh package? Um where No well, that's more like the buttons where they have to come. And um B a bit of, yeah well, a bit of uh design. Shannon Bolt: Yeah, this is what we've just done. Mary Guajardo: But Jacqueline Ellis: Yes, Mary Guajardo: uh we Shannon Bolt: Right? Jacqueline Ellis: but Mary Guajardo: should Jacqueline Ellis: we have Mary Guajardo: decide Jacqueline Ellis: to decide Mary Guajardo: now. Jacqueline Ellis: about these now. Shannon Bolt: Ah right. Carol Charley: Yeah. Materials Jacqueline Ellis: And uh Carol Charley: are the most, Jacqueline Ellis: the trend-watching. Carol Charley: most impor Jacqueline Ellis: So as you said, fruity is in, well sells good. Wow. Carol Charley: Yeah. Jacqueline Ellis: Uh these things. Mary Guajardo: So we have to uh put it in one uh document. Jacqueline Ellis: Uh yes. Um so if we uh go through Mary Guajardo: Copy Jacqueline Ellis: them Mary Guajardo: paste uh this story into a into a Word document, and then uh put the answers after the subjects. Yeah. Well we have to decide all these things? Shannon Bolt: Yeah but all these examples are uh of a coffee machine. Jacqueline Ellis: Yeah well uh Mary Guajardo: W Jacqueline Ellis: Why Mary Guajardo: we can Jacqueline Ellis: should Mary Guajardo: uh Jacqueline Ellis: I uh Mary Guajardo: override them? Jacqueline Ellis: Yeah. So Mary Guajardo: Well a case? Uh that's Carol Charley. Uh I suggest Well what do I Jacqueline Ellis: What Mary Guajardo: suggest actually? Jacqueline Ellis: what kind of properties should it have? Well we just listened. Shannon Bolt: I Mary Guajardo: Uh Shannon Bolt: think Mary Guajardo: s solid, Shannon Bolt: we Mary Guajardo: yeah. Yeah. Shannon Bolt: Why don't we um use uh titanium or or a hard, yeah, some kind of metal for the uh the Carol Charley: Do you know the Shannon Bolt: the Carol Charley: new Shannon Bolt: whole Carol Charley: uh Shannon Bolt: remote except the front. That Just like um Mary Guajardo: Yeah, Shannon Bolt: most Carol Charley: No Mary Guajardo: I understand. Shannon Bolt: cell Carol Charley: no Shannon Bolt: phones are. Mary Guajardo: Yeah. So we have titanium. Carol Charley: The front is the most important. Mary Guajardo: Yeah but the non-removable elements of the of the remote, so not the front, could be titanium, to give Shannon Bolt: Yeah. Mary Guajardo: that uh strong look. Jacqueline Ellis: You know what? Mary Guajardo: And then the front is made of plastic. And you can put that on and off, and switch it. Shannon Bolt: Yeah. Carol Charley: But the feel of plastic isn't strong. Mary Guajardo: No but you Shannon Bolt: No but Mary Guajardo: have Shannon Bolt: you you Mary Guajardo: titanium Shannon Bolt: have this Mary Guajardo: of course. Shannon Bolt: Yeah. Mary Guajardo: Uh you have Carol Charley: Yeah alright, Mary Guajardo: the best Carol Charley: alright. Mary Guajardo: of both worlds. Carol Charley: 'Kay. Shannon Bolt: Yeah, you have the re remote in your hand like this. So you feel titanium. Mary Guajardo: And of course, yeah, you have the the the plastic front end. But Carol Charley: Yeah. Mary Guajardo: you also have the Carol Charley: Fronts Mary Guajardo: titanium. Carol Charley: are are cheaper than Shannon Bolt: Yeah. Carol Charley: when Mary Guajardo: Yeah Carol Charley: they're Mary Guajardo: of Carol Charley: from Mary Guajardo: course, Carol Charley: plas Mary Guajardo: but yeah you have to make a Shannon Bolt: And I don't Mary Guajardo: decision. Shannon Bolt: know if you can make steel just any way you want it to. Carol Charley: Yeah, but it it's expensive. Mary Guajardo: I guess so. Uh Shannon Bolt: Yeah. Mary Guajardo: titanium I sh I think Carol Charley: Bendable. Mary Guajardo: uh Huh? Carol Charley: Bendable. Mary Guajardo: Well, well the Shannon Bolt: Well any colour Mary Guajardo: According to my sources, uh it's it's totally possible to make an entire uh uh uh Titanium is available, and uh we can uh make uh an entire remote out of it, if we Shannon Bolt: Yeah, Mary Guajardo: want. Shannon Bolt: then you you paint it in the colour you want Carol Charley: Yeah. Shannon Bolt: it. Mary Guajardo: Mm. Shannon Bolt: The plastic is Carol Charley: Paint spray. Shannon Bolt: is the colour you want Mary Guajardo: Mm. Shannon Bolt: it. Carol Charley: Yeah alright. Shannon Bolt: So Yeah. Carol Charley: So, Jacqueline Ellis: Alright. Carol Charley: we're going for a titanium back and a Jacqueline Ellis: I've Carol Charley: plastic Jacqueline Ellis: uh Carol Charley: front? Mary Guajardo: Yeah, Shannon Bolt: Mm. Mary Guajardo: I think Jacqueline Ellis: Titanium Mary Guajardo: that's a nice Jacqueline Ellis: back, plastic Mary Guajardo: trade-off. Jacqueline Ellis: front. Okay. Um well I am going to put it in here, uh because we can Carol Charley: Yeah, Jacqueline Ellis: uh Carol Charley: great. Jacqueline Ellis: look. Shannon Bolt: Yeah. Jacqueline Ellis: I Mary Guajardo: Alright. Jacqueline Ellis: Um solid feel and trendy look. So material, um hard plastic Mary Guajardo: Yeah, Jacqueline Ellis: for Mary Guajardo: for Jacqueline Ellis: the front? Mary Guajardo: the front and Carol Charley: Yeah. Mary Guajardo: then titanium for the back. For the non-removable uh part. Carol Charley: But then you have the problem, when you have a titanium back, you can't switch it. When you want an other colour on the front, it doesn't match. Mary Guajardo: Well Carol Charley: You know? Mary Guajardo: but Shannon Bolt: Well titanium is neutral. Mary Guajardo: The titan titanium isn't isn't v very Yeah, i it doesn't uh curves. No uh I nei. Carol Charley: I Mary Guajardo: Titanium is very Carol Charley: understand. Mary Guajardo: No no no, but you Carol Charley: Yeah, Mary Guajardo: know Carol Charley: yeah, Mary Guajardo: b Titanium Carol Charley: yeah. Mary Guajardo: is very basic colour, and it doesn't Shannon Bolt: Hmm. Carol Charley: Yeah. Mary Guajardo: really matter if we have a purple front on it or Shannon Bolt: Yeah. Mary Guajardo: a orange Carol Charley: Alright. Mary Guajardo: front. I dunno if if you disagree, Shannon Bolt: Well Mary Guajardo: but I think Carol Charley: Yeah. Mary Guajardo: it's Carol Charley: Alright. Shannon Bolt: Our customers will Mary Guajardo: doesn't Shannon Bolt: use Mary Guajardo: matter Shannon Bolt: those Mary Guajardo: very Shannon Bolt: uh Mary Guajardo: much. Shannon Bolt: funky uh trendy colours, and they don't Mary Guajardo: And even Shannon Bolt: use Mary Guajardo: if it Shannon Bolt: uh Mary Guajardo: does uh doesn't Shannon Bolt: wood. Mary Guajardo: match, it will uh People Carol Charley: Funky Mary Guajardo: like Carol Charley: customers. Shannon Bolt: Mm. Mary Guajardo: mm Shannon Bolt: Yeah. Carol Charley: Alright. Jacqueline Ellis: Okay. And Mary Guajardo: colours Jacqueline Ellis: well Mary Guajardo: that Jacqueline Ellis: the Mary Guajardo: don't match. Jacqueline Ellis: the electrical cable is just normal Mary Guajardo: Cop copper Jacqueline Ellis: uh. Mary Guajardo: uh material. Shannon Bolt: Yeah. Mary Guajardo: Excuse Carol Charley? Shannon Bolt: The electrical cable Jacqueline Ellis: It's Shannon Bolt: uh Jacqueline Ellis: uh Mary Guajardo: Yeah copper Jacqueline Ellis: from Mary Guajardo: i Jacqueline Ellis: uh Mary Guajardo: just Shannon Bolt: does Jacqueline Ellis: our Mary Guajardo: a Jacqueline Ellis: coffee Mary Guajardo: ba basic Jacqueline Ellis: uh Mary Guajardo: uh Shannon Bolt: No we don't use an electrical cable. Yeah inside, but this is for Mary Guajardo: Yeah Shannon Bolt: the Mary Guajardo: in Shannon Bolt: coffee uh machine. Mary Guajardo: Yeah well inside the remote control we use a Jacqueline Ellis: Of course. Shannon Bolt: Yeah, Mary Guajardo: couple Shannon Bolt: but Mary Guajardo: of uh Shannon Bolt: that's not what's meant here, I think. Carol Charley: Nei. So external. Mary Guajardo: Oh external? Carol Charley: Yeah. Shannon Bolt: Yeah. Mary Guajardo: Well A coffee grind doesn't have Na ja. Never mind the coffee grind. Jacqueline Ellis: Well uh all the all the inside work of our remote is uh standard work. So Mary Guajardo: Right? Jacqueline Ellis: The chip is normal silicon. Uh the buttons are normal, etcetera. Okay? Mary Guajardo: Alright. Jacqueline Ellis: So that's just easy. Mary Guajardo: Mm-hmm. Jacqueline Ellis: Uh we decide about that just by looking at our competitors and our earlier uh remotes. The conceptual specification of the user interface? Um well we have our beautiful drawing. Shannon Bolt: Well I got a better one here and I will um Carol Charley: Alright. Jacqueline Ellis: Well you can put that in uh Shannon Bolt: The shared Jacqueline Ellis: into Shannon Bolt: folder. Jacqueline Ellis: the shared folder, and then I'll put it in our end report. Shannon Bolt: I will work this out uh Jacqueline Ellis: Yes, Shannon Bolt: for Jacqueline Ellis: you can Shannon Bolt: the uh next meeting. Jacqueline Ellis: Mm yeah. You can uh put some uh which button is what. Shannon Bolt: Yeah yeah yeah. Jacqueline Ellis: Okay. Um the trend-watching included these days. And what do we? We thing that fruit and bright colours are Mary Guajardo: Yeah the the the front Carol Charley: I think Mary Guajardo: w Carol Charley: we can launch a couple of packages. You can buy Shannon Bolt: Yeah. Carol Charley: a different kind of of of machine, but it's the same thing, but with another front. Jacqueline Ellis: Yes. Mary Guajardo: Mm-hmm. Carol Charley: So Jacqueline Ellis: We can also uh Shannon Bolt: Yeah Jacqueline Ellis: implement Shannon Bolt: that's the Carol Charley: And Shannon Bolt: whole Carol Charley: you Jacqueline Ellis: um Shannon Bolt: idea Carol Charley: can Shannon Bolt: of the Carol Charley: you Mary Guajardo: Yeah. Shannon Bolt: front. Carol Charley: can Jacqueline Ellis: we can also implement Mary Guajardo: Yeah. Jacqueline Ellis: fronts from um movies that are very hot. Uh Shannon Bolt: Yes. Carol Charley: Yeah right. Shannon Bolt: But Jacqueline Ellis: those Shannon Bolt: that's Jacqueline Ellis: kind Shannon Bolt: for later Jacqueline Ellis: of things. Shannon Bolt: on. The fronts y you can do anything with them. Jacqueline Ellis: Yeah. Carol Charley: Yeah but if you if you launch uh five different packages like Shannon Bolt: Yeah, Carol Charley: iPod Shannon Bolt: right Carol Charley: mini Shannon Bolt: For the uh initiative uh Carol Charley: Yeah. Shannon Bolt: launch. Mary Guajardo: For the for the launch, yeah. Carol Charley: It's Shannon Bolt: Mm. Carol Charley: good marketing. Jacqueline Ellis: Launch Mary Guajardo: So e Jacqueline Ellis: different Mary Guajardo: th then Jacqueline Ellis: lines Mary Guajardo: a c Jacqueline Ellis: at once. Mary Guajardo: couple of basic colours. Not not very uh Carol Charley: Yeah, n not too Mary Guajardo: sim Carol Charley: heavy. Mary Guajardo: Not Carol Charley: You can always take another pick. Mary Guajardo: Yeah. Jacqueline Ellis: We should not give them the m the most lovely front Carol Charley: They have Jacqueline Ellis: when Carol Charley: to Jacqueline Ellis: they Carol Charley: buy Jacqueline Ellis: buy Carol Charley: it Jacqueline Ellis: it Carol Charley: later Jacqueline Ellis: for the first Carol Charley: on. Shannon Bolt: Oh Jacqueline Ellis: time. Yeah. Carol Charley: Yeah Shannon Bolt: yeah. Carol Charley: right. Shannon Bolt: Yeah. Mary Guajardo: Yeah. Jacqueline Ellis: Come on. Carol Charley: More basic. Jacqueline Ellis: We still have to make those fifty Shannon Bolt: Yeah. Jacqueline Ellis: million, Carol Charley: Yeah. Mary Guajardo: Very Jacqueline Ellis: yeah? Mary Guajardo: boring, yeah. Shannon Bolt: Well Mary Guajardo: The most Shannon Bolt: you can you Mary Guajardo: boring Shannon Bolt: can give Mary Guajardo: fronts Shannon Bolt: them uh s Mary Guajardo: possible. Shannon Bolt: s three Jacqueline Ellis: The most Shannon Bolt: or so, so that they Jacqueline Ellis: ugly. Shannon Bolt: can uh experiment with it and Carol Charley: Yeah, Shannon Bolt: that Carol Charley: right. Shannon Bolt: they want more. Jacqueline Ellis: Two. Mary Guajardo: Yeah but you you can have some basic colours, and Shannon Bolt: Yeah. Mary Guajardo: then we come with the special patterns on them, Shannon Bolt: Red Mary Guajardo: and Jacqueline Ellis: Yeah. Shannon Bolt: red, Mary Guajardo: and Shannon Bolt: blue Mary Guajardo: uh Shannon Bolt: and Carol Charley: Yeah. Shannon Bolt: green you give them Mary Guajardo: And Shannon Bolt: or something, Mary Guajardo: uh Shannon Bolt: and then you can give them Jacqueline Ellis: Yeah. Shannon Bolt: uh Jacqueline Ellis: Alright. Shannon Bolt: other ones. Jacqueline Ellis: Um well the buttons etcetera, we get from Mike. Uh this fruit and bright colours, yeah well I think we'll have to in the next uh half an hour, we'll have to uh s s specify the different uh types we want to launch, when we uh well Mary Guajardo: Uh we Jacqueline Ellis: introduce Mary Guajardo: still have Jacqueline Ellis: our Mary Guajardo: to make Jacqueline Ellis: remote. Mary Guajardo: We have still have to make the es the the real basic design. Because Carol Charley: Yeah. Mary Guajardo: yeah we have the Carol Charley: But we Mary Guajardo: sketch but Carol Charley: we must remember that fancy look-and-feel is the most important thing. Jacqueline Ellis: Yes. Carol Charley: Else it w won't sell. So Jacqueline Ellis: Yes. Mary Guajardo: Alright, yeah. Jacqueline Ellis: Well I'll have to, before I get another warning for five minutes, I'm going to get Where is my mouse? Uh where is my mouse? Carol Charley: Lost my mouse. Jacqueline Ellis: Oh yeah. Um this is it. Carol Charley: Unbelievable. Jacqueline Ellis: Well, um this we have. Carol Charley: Yeah. Jacqueline Ellis: Uh basic stuff. Interface we have. Supplements, L_C_D_. Maybe a a cheap voice recording. Well Shannon Bolt: Yeah we should Mary Guajardo: The price? Shannon Bolt: do that. Jacqueline Ellis: Yes. Alright. Individual actions. Mary Guajardo: We all agree on that. Yeah. Shannon Bolt: Mm. Jacqueline Ellis: Industry designer, User Interface, Mike. You're going to work together on a prototype drawing on the SMARTboard. Shannon Bolt: Yeah, we can do that. Mary Guajardo: Together or uh Yeah Carol Charley: Yeah Mary Guajardo: together. Carol Charley: togeth Mary Guajardo: How Yeah yeah, but Jacqueline Ellis: That's Mary Guajardo: how Shannon Bolt: But Jacqueline Ellis: what Mary Guajardo: do I Shannon Bolt: bu Jacqueline Ellis: I got Shannon Bolt: we Jacqueline Ellis: uh Shannon Bolt: stay Jacqueline Ellis: to Shannon Bolt: we Jacqueline Ellis: hear. Shannon Bolt: stay here or something? Jacqueline Ellis: Yes well we'll get it to hear that I think. But I think so. Th they're saying SMARTboard Carol Charley: You can Jacqueline Ellis: and Carol Charley: take Jacqueline Ellis: that's Carol Charley: the Jacqueline Ellis: it Carol Charley: SMARTboard. Shannon Bolt: Ah Jacqueline Ellis: This Shannon Bolt: right. Jacqueline Ellis: is the SMARTboard, so Shannon Bolt: And take it to our rooms and uh Jacqueline Ellis: Um so you can uh you you are going to make a prototype, and y Well that's includes uh specifying the buttons Shannon Bolt: Ah, specific Jacqueline Ellis: etcetera. Shannon Bolt: instructions will be sent to you by your Jacqueline Ellis: Yeah. Shannon Bolt: personal coach. Jacqueline Ellis: So you'll get it on your em on your laptop. Um well you will go and do something else uh on the project Carol Charley: Have fun. Mary Guajardo: Some Jacqueline Ellis: yeah project Mary Guajardo: Some Jacqueline Ellis: evaluation. Mary Guajardo: non functional tasks. Jacqueline Ellis: So um, Carol Charley: 'Kay. Jacqueline Ellis: what are you going to do? Uh I don't know what product evaluation exactly means, but uh you'll get uh the specifications. Carol Charley: We don't have produ product yet, so Jacqueline Ellis: Yeah. That's why I uh Carol Charley: kind of difficult. Jacqueline Ellis: But uh Mary Guajardo: You're fired. No but Jacqueline Ellis: How long do we still have? Mary Guajardo: Well, can we talk about something else? Uh Jacqueline Ellis: Yeah. Mary Guajardo: Uh no I don't know anything, but maybe uh Shannon Bolt: Yeah. Mary Guajardo: anyone Carol Charley: Ajax. Shannon Bolt: Um Mary Guajardo: else uh Yeah? Carol Charley: Nah. Shannon Bolt: Will we use uh round buttons or square ones for the Carol Charley: Um Mary Guajardo: Round I think. Shannon Bolt: for Carol Charley: round. Shannon Bolt: the numbers? Carol Charley: Yeah. Shannon Bolt: Yeah Carol Charley: Round. Shannon Bolt: I I I also Mary Guajardo: To make it Shannon Bolt: uh Mary Guajardo: as Shannon Bolt: thought Mary Guajardo: uh Shannon Bolt: Yeah. Mary Guajardo: as round as possible. Shannon Bolt: And these uh these s these buttons Jacqueline Ellis: Why Shannon Bolt: uh Jacqueline Ellis: does Shannon Bolt: are more uh triangle-ish Carol Charley: Curvy. Shannon Bolt: shaped Carol Charley: Yeah. So you can Shannon Bolt: with Carol Charley: see Shannon Bolt: a square Carol Charley: you have Shannon Bolt: one in Carol Charley: to Shannon Bolt: the Jacqueline Ellis: Ah Shannon Bolt: middle. Jacqueline Ellis: f fuck Shannon Bolt: Yeah. Carol Charley: up or down. Jacqueline Ellis: you. Shannon Bolt: Yeah. Mary Guajardo: But now I see Carol Charley: And Mary Guajardo: the Carol Charley: this must be uh volume I think, Jacqueline Ellis: Heh? Carol Charley: and this programme. Shannon Bolt: Mm. Well Jacqueline Ellis: We Shannon Bolt: most Jacqueline Ellis: can't Shannon Bolt: of the time Jacqueline Ellis: get Shannon Bolt: uh up and down is programme and left and right are volume, I think. Mary Guajardo: Well th th th th Carol Charley: Yeah. Mary Guajardo: th that Shannon Bolt: Yeah, it depends, but Mary Guajardo: depends uh. Well we Shannon Bolt: If Mary Guajardo: uh Shannon Bolt: you turn up the volume, you always see this thingy Mary Guajardo: We Shannon Bolt: go Mary Guajardo: we j Shannon Bolt: up. Mary Guajardo: we'll just give Carol Charley: Yeah, Mary Guajardo: them Carol Charley: that's Mary Guajardo: an Carol Charley: right. Mary Guajardo: uh We'll design it, and then they Shannon Bolt: Yeah. Mary Guajardo: can give comments on it. Shannon Bolt: Yeah Carol Charley: Yeah. Shannon Bolt: alright. Jacqueline Ellis: Ts Carol Charley: Okay. Jacqueline Ellis: It doesn't work any more. We can't save them. So we'll just have them uh Carol Charley: Yeah, Jacqueline Ellis: standing Carol Charley: I noticed. Jacqueline Ellis: there. Carol Charley: You can't uh click the corners. Jacqueline Ellis: No. It's a bit uh Carol Charley: It's a Jacqueline Ellis: bit Carol Charley: real Jacqueline Ellis: a pity. Carol Charley: real Jacqueline Ellis: Well Carol Charley: great Jacqueline Ellis: we still Carol Charley: thing. Jacqueline Ellis: have uh more than five minutes. Um So what are we going to do? I as Project Manager ha don't have a clue. Carol Charley: Let's start the design. Jacqueline Ellis: Oh we can uh decide how we implement the feeling from our company into the remote. Mary Guajardo: Well Shannon Bolt: Mm. Mary Guajardo: yeah. Um I think um a logo, our company logo, and the slogan should Jacqueline Ellis: Also Mary Guajardo: be or Jacqueline Ellis: the slogan? Mary Guajardo: could be Jacqueline Ellis: On the Mary Guajardo: Yeah, why not? If there's enough space, you can put Shannon Bolt: Uh Mary Guajardo: uh Shannon Bolt: I Mary Guajardo: We'll Carol Charley: O Shannon Bolt: I'd Mary Guajardo: we'll Shannon Bolt: say only the logo. Carol Charley: Yeah. Carol Charley too. Shannon Bolt: Too much text and it gets Mary Guajardo: Well, Shannon Bolt: too Mary Guajardo: our Shannon Bolt: too Mary Guajardo: slogan Shannon Bolt: busy. Mary Guajardo: is not very long. It's just a simple What Shannon Bolt: Well Jacqueline Ellis: We Mary Guajardo: is it? Jacqueline Ellis: put the Shannon Bolt: it's Jacqueline Ellis: fashion Shannon Bolt: quite Jacqueline Ellis: in electronics. Shannon Bolt: a long phrase. Jacqueline Ellis: We put the Carol Charley: But Jacqueline Ellis: fashion in electronics. Carol Charley: we kree we Mary Guajardo: You Carol Charley: keep Mary Guajardo: c Carol Charley: adjusting to the fashion with our fronts. So Mary Guajardo: But you can put it on the back, on the titanium part. The logo and the Carol Charley: Yeah, Shannon Bolt: Ah Carol Charley: right. Shannon Bolt: the Mary Guajardo: and Shannon Bolt: logo Mary Guajardo: the Shannon Bolt: should be on Carol Charley: The Shannon Bolt: the Carol Charley: logo Shannon Bolt: top I think. Jacqueline Ellis: On the top. Yeah. Well Mary Guajardo: Yeah they do. Jacqueline Ellis: in Mary Guajardo: Well Jacqueline Ellis: in Carol Charley: Yeah. Jacqueline Ellis: in Mary Guajardo: yeah. Jacqueline Ellis: the right top corner? Shannon Bolt: Right corner, yes. Jacqueline Ellis: And well you Mary Guajardo: Right Jacqueline Ellis: c Mary Guajardo: corner, Jacqueline Ellis: On the back, Mary Guajardo: or Jacqueline Ellis: you can put Mary Guajardo: maybe Jacqueline Ellis: uh Mary Guajardo: here Jacqueline Ellis: h Mary Guajardo: in the middle? Jacqueline Ellis: At the bottom, you can put the logo with the Shannon Bolt: uh the text? Jacqueline Ellis: Yeah. Shannon Bolt: Yeah. Carol Charley: But Jacqueline Ellis: Just Carol Charley: the Shannon Bolt: Uh yeah, Carol Charley: logo Jacqueline Ellis: just Shannon Bolt: at Jacqueline Ellis: small. Shannon Bolt: the back? Carol Charley: the logo shouldn't be exchangeable, when you get Mary Guajardo: Yeah Carol Charley: off the Mary Guajardo: it Carol Charley: front. Shannon Bolt: Well Mary Guajardo: it Shannon Bolt: you Mary Guajardo: should Shannon Bolt: c Mary Guajardo: be Shannon Bolt: Well Jacqueline Ellis: Yeah Mary Guajardo: hard Jacqueline Ellis: well Mary Guajardo: on Shannon Bolt: uh Mary Guajardo: the Shannon Bolt: Yes. Mary Guajardo: on the on Carol Charley: Yeah. Mary Guajardo: the board, and Shannon Bolt: You Carol Charley: Yeah. Shannon Bolt: can Mary Guajardo: you can Shannon Bolt: The logo Mary Guajardo: remove Shannon Bolt: can Mary Guajardo: the front. Shannon Bolt: be on on every uh Carol Charley: Yeah, Shannon Bolt: front. Carol Charley: but you can scratch it off or something. It's better if you have it uh Shannon Bolt: Yeah, but then you must uh really Jacqueline Ellis: Carved Shannon Bolt: uh Jacqueline Ellis: into the material. Shannon Bolt: yeah push it in or something. Jacqueline Ellis: No, you you can carve it into the titanium at the back. Mary Guajardo: I l I like the idea of the of the slogan on the on the on the thing. But Shannon Bolt: Yeah, Mary Guajardo: am Shannon Bolt: on Mary Guajardo: I the Shannon Bolt: the Mary Guajardo: only Shannon Bolt: backside. Mary Guajardo: one, or uh Jacqueline Ellis: Well, management Shannon Bolt: Well Jacqueline Ellis: would Shannon Bolt: n Jacqueline Ellis: like Shannon Bolt: n not Jacqueline Ellis: it. Shannon Bolt: not on the front side, I think. Jacqueline Ellis: The front side, Mary Guajardo: No Jacqueline Ellis: no Mary Guajardo: not Jacqueline Ellis: no Mary Guajardo: on Jacqueline Ellis: l Mary Guajardo: the front, Jacqueline Ellis: no Mary Guajardo: but Jacqueline Ellis: slogan. Mary Guajardo: on the backside. Shannon Bolt: On the back Mary Guajardo: Uh Shannon Bolt: Yes, you you can, yeah, push that in, Jacqueline Ellis: Sorry. Shannon Bolt: so that it is Mary Guajardo: I think Shannon Bolt: always Mary Guajardo: it's a nice Shannon Bolt: be Mary Guajardo: idea, Shannon Bolt: there. Mary Guajardo: to make it more recognisable, Carol Charley: Yeah. Mary Guajardo: that the Shannon Bolt: Yeah. Mary Guajardo: next to the logo you have the slogan. Carol Charley: I agree. Mary Guajardo: To make more uh Carol Charley: But Mary Guajardo: of Carol Charley: not Mary Guajardo: an impression. Carol Charley: too big. Just Mary Guajardo: Not Carol Charley: uh Mary Guajardo: too big. No, very small. Not Carol Charley: Yeah. Mary Guajardo: on the entire back, but uh just very small. But readable enough of course. Carol Charley: Okay. Jacqueline Ellis: Yes, Mary Guajardo: But Jacqueline Ellis: slogan Mary Guajardo: we'll uh we'll Jacqueline Ellis: from Mary Guajardo: take that uh with us Jacqueline Ellis: company Shannon Bolt: Yeah Mary Guajardo: into Shannon Bolt: I Mary Guajardo: the Shannon Bolt: think Mary Guajardo: design. Shannon Bolt: over here the logo. Mary Guajardo: Lo Uh yeah. Jacqueline Ellis: on the Mary Guajardo: Or Jacqueline Ellis: back Mary Guajardo: maybe here in the middle, but we'll decide Jacqueline Ellis: with Mary Guajardo: later. Jacqueline Ellis: logo and logo also on the front but not exchange uh Uh? Hmm? Uh when changing fronts. Alright, Mary Guajardo: Do you do you see Jacqueline Ellis: that's Mary Guajardo: a Jacqueline Ellis: decided. Mary Guajardo: bit of the of the um Jacqueline Ellis: Five minutes left. Mary Guajardo: of the uh titanium? O on the front? Uh maybe if we Shannon Bolt: Yes we Mary Guajardo: make this Shannon Bolt: could Mary Guajardo: this this lower part titanium, the front is the the upper part, and the the bit with the with the L_C_D_ screen. So Jacqueline Ellis: So a bit of titanium between? Mary Guajardo: Yeah. Carol Charley: Yeah. Mary Guajardo: No no betwe of Jacqueline Ellis: That's Mary Guajardo: between Jacqueline Ellis: a bit Mary Guajardo: we Jacqueline Ellis: Oh Mary Guajardo: can Jacqueline Ellis: that Mary Guajardo: do Jacqueline Ellis: that's Mary Guajardo: but Jacqueline Ellis: that's pretty cool. Mary Guajardo: But then you have two parts Shannon Bolt: No, they Mary Guajardo: of Shannon Bolt: have Mary Guajardo: front, Carol Charley: No Shannon Bolt: two Carol Charley: no Shannon Bolt: fronts, Carol Charley: no no. Shannon Bolt: that. Mary Guajardo: two Carol Charley: You Mary Guajardo: fronts Carol Charley: have to Mary Guajardo: that Carol Charley: make Shannon Bolt: You Carol Charley: this Jacqueline Ellis: No? Shannon Bolt: you Carol Charley: titanium Shannon Bolt: can Carol Charley: too. Shannon Bolt: Yeah. Yeah. Mary Guajardo: This enti Carol Charley: Else Mary Guajardo: entire Carol Charley: you you Mary Guajardo: bottom? Carol Charley: get problems Shannon Bolt: Yeah. Carol Charley: with the L_C_D_. Shannon Bolt: Yeah. Jacqueline Ellis: Yes. Carol Charley: Like dust in it and so things like Shannon Bolt: Yeah. Carol Charley: that. When you exchange all the fronts and it's open. Jacqueline Ellis: I already Shannon Bolt: No, you Jacqueline Ellis: have Shannon Bolt: can Jacqueline Ellis: uh Shannon Bolt: you can Jacqueline Ellis: all Shannon Bolt: just Jacqueline Ellis: kinds of uh Shannon Bolt: And then not a Jacqueline Ellis: filth Shannon Bolt: straight Jacqueline Ellis: between Shannon Bolt: line Jacqueline Ellis: the Shannon Bolt: but uh Jacqueline Ellis: mobile. Shannon Bolt: some sort of wave Mary Guajardo: And then the lower part Shannon Bolt: or Mary Guajardo: is titanium? Shannon Bolt: something. This is titanium. Mary Guajardo: I think Carol Charley: Yeah. Shannon Bolt: And Mary Guajardo: that's Shannon Bolt: this Mary Guajardo: nice, Shannon Bolt: is uh Carol Charley: Some Mary Guajardo: yeah. Carol Charley: some kind of wei weight Jacqueline Ellis: Yeah. Carol Charley: in it. Yeah. Jacqueline Ellis: Round forms. Shannon Bolt: F front. Mary Guajardo: Yeah. I like that bit of uh titanium also Shannon Bolt: Yeah. Mary Guajardo: on Carol Charley: Yeah. Mary Guajardo: the Shannon Bolt: With the Mary Guajardo: uh Jacqueline Ellis: Yep. Shannon Bolt: with the Mary Guajardo: A bit Shannon Bolt: curved Mary Guajardo: like uh Shannon Bolt: edge. Mary Guajardo: a bit like your mobile phone. Maybe you can show Shannon Bolt: Yeah. Mary Guajardo: it. It also has the Shannon Bolt: Yeah. Mary Guajardo: those two distinct uh Shannon Bolt: Tada. Mary Guajardo: Mm bit like this. Shannon Bolt: Yeah. Jacqueline Ellis: Yeah. Carol Charley: Yeah, Mary Guajardo: Uh it's uh Carol Charley: you can make it go round this corner too where the logo is. Because it has to Jacqueline Ellis: What? Carol Charley: be uh there all the time Mary Guajardo: Yeah Carol Charley: you know. Mary Guajardo: yeah. Shannon Bolt: Ah. Mary Guajardo: That uh Yeah. Jacqueline Ellis: So Carol Charley: So Jacqueline Ellis: round Carol Charley: uh Mary Guajardo: Maybe Carol Charley: a Jacqueline Ellis: where? Mary Guajardo: a nice touch, yeah. Carol Charley: little corner Shannon Bolt: Yeah, Carol Charley: of Shannon Bolt: that's Carol Charley: titanium. Jacqueline Ellis: Oh, Shannon Bolt: nice finishing Jacqueline Ellis: yeah. Shannon Bolt: touch you need. Jacqueline Ellis: Yes, that also sounds uh pretty uh Carol Charley: So Jacqueline Ellis: neat. Carol Charley: this Mary Guajardo: I think I'm Carol Charley: this Mary Guajardo: going Carol Charley: is Mary Guajardo: to buy Carol Charley: the Mary Guajardo: it. Carol Charley: exchangeable part. Jacqueline Ellis: We want Shannon Bolt: Yeah, this Jacqueline Ellis: it. Shannon Bolt: is the front. Jacqueline Ellis: And it's only f twenty five Euros. Come Shannon Bolt: This Mary Guajardo: That's Jacqueline Ellis: on. Mary Guajardo: a bit too much, but No, Jacqueline Ellis: No that's nothing. Mary Guajardo: no no no, but Jacqueline Ellis: The Phillips Shannon Bolt: is Mary Guajardo: I think Jacqueline Ellis: remote Mary Guajardo: uh Jacqueline Ellis: uh costs Mary Guajardo: this Shannon Bolt: the Mary Guajardo: looks Jacqueline Ellis: more. Mary Guajardo: uh pretty nice actually. Of course, Carol Charley: Right. Mary Guajardo: because it's my design but No Shannon Bolt: My design. Mary Guajardo: our d our design, alright. Carol Charley: Taking Jacqueline Ellis: Well Carol Charley: all the Jacqueline Ellis: uh Carol Charley: credit. Jacqueline Ellis: you two are going to work together. You'll get your uh specifications on your uh laptop, and then Shannon Bolt: Yeah. Jacqueline Ellis: uh Shannon Bolt: We'll stay here I guess? Carol Charley: But Jacqueline Ellis: you Carol Charley: there's Jacqueline Ellis: uh Carol Charley: a problem. We can't uh take a blank one. Or can we? Jacqueline Ellis: Well I think we can, I just Shannon Bolt: Well we Jacqueline Ellis: It's Shannon Bolt: can uh erase an animal I guess. Carol Charley: Yeah. Shannon Bolt: Uh the Carol Charley: Nah Shannon Bolt: fourth Carol Charley: that's Shannon Bolt: one. Carol Charley: alright, Mary Guajardo: But don't Carol Charley: that's Mary Guajardo: erase Carol Charley: alright. Mary Guajardo: my cat. Jacqueline Ellis: Yeah, Shannon Bolt: Uh the Jacqueline Ellis: o Shannon Bolt: fourth one is empty, isn't it? Yeah. Jacqueline Ellis: Oh Mary Guajardo: I want to preserve it. Carol Charley: This one is empty. Shannon Bolt: Yeah. Carol Charley: You have to empty one huh? Jacqueline Ellis: Oh, we have a one. Mary Guajardo: What are you doing chief? Jacqueline Ellis: So, you Carol Charley: Alright. Jacqueline Ellis: can uh draw a Shannon Bolt: Yeah Jacqueline Ellis: Yeah. Shannon Bolt: I think we have to wait? Jacqueline Ellis: Well Mary Guajardo: Yeah Carol Charley: No Jacqueline Ellis: I'll Mary Guajardo: until Jacqueline Ellis: get a Mary Guajardo: the Jacqueline Ellis: I'll get the Mary Guajardo: until the beep Jacqueline Ellis: message. Mary Guajardo: goes. But I don't uh Do we have to stay here, or I think Jacqueline Ellis: No, Mary Guajardo: we have to return Jacqueline Ellis: I Carol Charley: Yeah. Jacqueline Ellis: think Mary Guajardo: first. Jacqueline Ellis: uh Well you'll Maybe you can uh keep your uh laptop here. Shannon Bolt: Maybe. Jacqueline Ellis: Or get your mouse. Because it's little Mary Guajardo: The Jacqueline Ellis: bit Mary Guajardo: high powers Jacqueline Ellis: uh Mary Guajardo: from above Jacqueline Ellis: hard to work with these uh plates. Mary Guajardo: will have Carol Charley: Yeah. Mary Guajardo: to tell us, yeah. Carol Charley: It's not relaxing. Jacqueline Ellis: I always have a mouse next to my laptop. I hate Carol Charley: I Jacqueline Ellis: these Carol Charley: I don't Mary Guajardo: Yeah, Carol Charley: have Mary Guajardo: touch-pads, Carol Charley: a laptop. Mary Guajardo: yeah. Jacqueline Ellis: Ugh. Mary Guajardo: We can uh do a touch-pad on our remote. Carol Charley: Yeah right. Mary Guajardo: No Shannon Bolt: Yeah. Mary Guajardo: just kidding. Carol Charley: Dream on. Mary Guajardo: Well we have uh b you have to have a bit of humour in the in the discussions too, because it becomes too Jacqueline Ellis: And in your remote control. Mary Guajardo: too too Jacqueline Ellis: So we put Mary Guajardo: too Jacqueline Ellis: a Mary Guajardo: stressy. Jacqueline Ellis: touch pad on it, and say ha ha. Shannon Bolt: Aha. This has no function. Carol Charley: Half Jacqueline Ellis: Yeah. We know you'll you'll you'll hate it but Mary Guajardo: But uh th youth doesn't care about functio functionality, Carol Charley: No. Mary Guajardo: so Jacqueline Ellis: But they do want some gadgets. Carol Charley: It's Jacqueline Ellis: So Carol Charley: all about cool things. Jacqueline Ellis: that's wha what we're doing. Mary Guajardo: Yeah. Carol Charley: And it will sell. We will be rich. Mary Guajardo: Bless you. Jacqueline Ellis: Well we won't. Our bosses will be rich. Mary Guajardo: Mm. Shannon Bolt: We've done too much in the previous meetings. Mary Guajardo: Too much? Shannon Bolt: Yes, we've got nothing to do now. Mary Guajardo: Well they Jacqueline Ellis: Well, Mary Guajardo: uh Jacqueline Ellis: that's not bad, is it? Carol Charley: No. Mary Guajardo: I think that's good. We all had uh our talk and we agree I guess on uh several thing, on most uh on things. Jacqueline Ellis: Mm. Shannon Bolt: Its the best remote ever. Jacqueline Ellis: So Shannon Bolt: Pinball. Jacqueline Ellis: Oh. Oh he's totally off again. Well Carol Charley: No man. You just have to push harder. Mary Guajardo: Yeah you have to push harder. Jacqueline Ellis: But when I start here, Mary Guajardo: Mm. Jacqueline Ellis: it's here. So Carol Charley: Yeah. Shannon Bolt: Yes, Jacqueline Ellis: is Shannon Bolt: but Jacqueline Ellis: it Shannon Bolt: you you get really close to the screen with your hand, and I don't think that's Carol Charley: Mm. Shannon Bolt: Hmm. Carol Charley: Recalibrate Jacqueline Ellis: Nope. Carol Charley: it. Mary Guajardo: Where's the good old chalk board with the Carol Charley: Yeah. Mary Guajardo: the green board with the, how do you call it, chalk, yeah. Shannon Bolt: We can better uh draw a design on this. Mary Guajardo: Yeah, maybe. Shannon Bolt: Yeah, but we can't. Mary Guajardo: Maybe if i if that thing is recalibrated, we can draw a thing quick, and then before it uh Jacqueline Ellis: Yeah. Mary Guajardo: goes Jacqueline Ellis: Let's Mary Guajardo: off Jacqueline Ellis: go. Mary Guajardo: again. Shannon Bolt: Well Carol Charley: Finish meeting now. Jacqueline Ellis: Finish the meeting now. Alright now we know what to do, so Shannon Bolt: We'll stay here? Jacqueline Ellis: Um Carol Charley: Yeah. Oh. Shannon Bolt: Or we'll get the Mary Guajardo: Maybe Shannon Bolt: email. Jacqueline Ellis: Message? Mary Guajardo: w maybe Jacqueline Ellis: No, Mary Guajardo: we Jacqueline Ellis: get Mary Guajardo: maybe Jacqueline Ellis: away. Mary Guajardo: w m Can we get email here? Huh? Yeah. Shannon Bolt: Yeah. Mary Guajardo: Guess so. Jacqueline Ellis: Um I I'm not sure. Maybe you Yeah. Well you'll have Shannon Bolt: Well Jacqueline Ellis: to Shannon Bolt: we'll Jacqueline Ellis: work on Shannon Bolt: wait Jacqueline Ellis: this one. Shannon Bolt: a few seconds Jacqueline Ellis: Yeah. Shannon Bolt: and then we'll get an email. Jacqueline Ellis: That's a good idea. Carol Charley: Alright. Have fun lads. Jacqueline Ellis: Well Shannon Bolt: Yeah. Mary Guajardo: A happy Jacqueline Ellis: Good Mary Guajardo: hol Jacqueline Ellis: luck. Mary Guajardo: happy holidays.

For the conceptual design, Carol Charley talked about the public's preference for looks and texture over technological innovation; however, they both seem to be more important than ease of use. The current fashion among younger people favours bright colours and fruit and vegetable themes: pertinent exchangeable fronts can express such trends on the remote. Materials also need to be strong: Carol Charley suggested an iron-plate or titanium front. Mary Guajardo suggested they use rubber push buttons (and no scroll wheel), simple battery (instead of solar cells or kinetic dynamo), and advanced chip. Speech recognition can be implemented, but it does not link speech commands to remote control actions. He also advised that the users within the target group prefer primary colours, soft textures and curved shapes. The team drew a provisional prototype. They placed the LCD below the buttons. If it is implemented, a recording button, microphone and speaker need to be included in the design. Finally, they decided to have a titanium case with plastic front and the company logo and slogan engraved. Packages with a variety of changeable fronts will be launched.

amisum

train

Victoria Gough: Uh fourth meeting. Debra Stahlberg: We have to do what? Victoria Gough: Some extra deciding. Lottie Waters: W what? Alri Debra Stahlberg: Oh. Lottie Waters: alright. Victoria Gough: Well Lottie Waters: We'll see. Victoria Gough: I'll show you the notes again. Very interesting. Well you'll you two will uh present us your prototype. Lottie Waters: Yeah. Victoria Gough: Then um I guess that's your bit? Celia Salmon: Yeah. Victoria Gough: I I didn't s see anything about it, so I already uh thought you uh you were to do that. So the you're uh. I'll show you how we're going to do with financing this Debra Stahlberg: Mm. Victoria Gough: uh design. Lottie Waters: Yeah, that's important too. Yeah. Victoria Gough: And then we'll Debra Stahlberg: Bit late. Victoria Gough: evaluate, after after we have redesigned it. Because uh well we'll see about the costs. Um we'll uh evaluate our p our uh production and then uh we can close. Lottie Waters: Alright. Victoria Gough: Well the finance uh we'll do later, so um firstly uh I'll show you the notes. I don't think it's very interesting. Debra Stahlberg: I think it is. Victoria Gough: Oh nei. Uh no. Alright. This is copy paste. So Lottie Waters: From Celia Salmon of course, yeah. Victoria Gough: Of course. You had Lottie Waters: Well Victoria Gough: some Lottie Waters: from us Victoria Gough: very Lottie Waters: all, yeah, Victoria Gough: strange Lottie Waters: from Victoria Gough: layout. Lottie Waters: all of us. Yeah. It's a nice chorus, yeah. Victoria Gough: Well um We ge we went through the agenda, and well we had some uh some presentations from you three. And uh I summarised what you said to us. So uh I don't think it's very interesting and go through it again. Lottie Waters: Repeat it yeah. Victoria Gough: So uh Lottie Waters: Alright. Victoria Gough: This is what we decided. It's also copy paste from what we made together. So Celia Salmon: Okay. Victoria Gough: we still know that. And then uh we can we can uh use the time better. Well uh next you two will uh present uh the pot prototype for us. Lottie Waters: Alright, we both uh will? Victoria Gough: Yeah. Lottie Waters: Or one of us will? Debra Stahlberg: Alright. Lottie Waters: Uh Debra Stahlberg: No you go and I'll uh Lottie Waters: Alright. If I Debra Stahlberg: supplement Lottie Waters: make mistakes Debra Stahlberg: you. Lottie Waters: uh you'll uh Debra Stahlberg: Yeah. Victoria Gough: Correct. Lottie Waters: Right. Uh well this is our design. Uh it's pretty uh much uh like uh Mike draw uh drew uh the in the during the last meeting. With uh the different uh perspectives of it. Uh we'll begin uh with the front. We have of course uh the the round shape uh the round uh basic shape. Um with uh the upper part being the front. Th So there's this part um which is made of hard plastic, the front. And uh we're we're using different colours. Of course for the launch we use the basic ugly colours, and Victoria Gough: Yeah. Lottie Waters: later we'll put out uh more interesting covers with different patterns Victoria Gough: Mm-hmm. Lottie Waters: and pictures and everything. But basically, different colours, bright colours not black, too dark. Fancy colours. Um then we have uh the lower part of the of the device. Uh which is of course um part of the back actually, because it's also titanium. You can see it also on the on the on the side view, that only this part is the front, and the rest of it, the under uh the under side uh of it, yeah, the back side and the lower part of the front is of course titanium made of titanium, and has the titanium colour of course, the look. Um Victoria Gough: Mm. Lottie Waters: then we have uh on back on the front uh the logo in the upper corner, uh which is uh made uh which is also part of the back, part of the titanium uh Debra Stahlberg: Yeah, it's a double R_, Lottie Waters: titanium Debra Stahlberg: but Lottie Waters: part. Yeah? Debra Stahlberg: It's a double R_. Lottie Waters: It's a double R_. Yeah the Debra Stahlberg: But Lottie Waters: logo Uh uh Debra Stahlberg: it's Victoria Gough: Yeah, Debra Stahlberg: very difficult Victoria Gough: alright. Lottie Waters: it's Debra Stahlberg: to to Lottie Waters: difficult Debra Stahlberg: draw Lottie Waters: to draw Debra Stahlberg: that in Lottie Waters: so small, but Debra Stahlberg: Yeah. Lottie Waters: it's our double R_ uh Victoria Gough: Okay. Lottie Waters: logo is in there. Victoria Gough: Yeah. Lottie Waters: Um so that's the logo in the upper lef uh right corner. Then we have the buttons. Uh it's difficult to draw again the little oval or round I think oval will be better for Debra Stahlberg: Oval Lottie Waters: the Debra Stahlberg: yeah. Lottie Waters: for the d for the different Victoria Gough: Alright. Lottie Waters: uh channel buttons. So uh oval, n those are here. And then we have the m The m Debra Stahlberg: Channel up and volume? Lottie Waters: Yeah the the con the the the, yeah, the t volume and the channel controls uh in the middle here. Um um with kind of arrow shapes, which makes it also a bit more exciting than basic round or um uh uh square buttons. And also here are the two uh buttons we agreed on. We have the Okay button. Oh nei we uh the Okay button's here in the middle Debra Stahlberg: Yeah. Lottie Waters: of Victoria Gough: Mm-hmm. Lottie Waters: the of the operators, of the channel and uh volume um changers. And then we've here the Menu button and the Victoria Gough: Alright. Debra Stahlberg: Menu for Lottie Waters: And Debra Stahlberg: the Lottie Waters: the video Debra Stahlberg: L_C_D_ Lottie Waters: button. Debra Stahlberg: screen. Lottie Waters: The Celia Salmon: Mm right. Victoria Gough: So Lottie Waters: Yeah. And of course this low part, this is the L_C_D_ screen. Victoria Gough: 'Kay. Lottie Waters: Uh this is what we made of it. You can make uh suggestions uh Victoria Gough: Well Lottie Waters: if you want. Debra Stahlberg: Well, at Victoria Gough: if Debra Stahlberg: the back Victoria Gough: I look at it, the side the side view Lottie Waters: Maybe we maybe we should finish first uh our Debra Stahlberg: Yeah. Lottie Waters: talk and then you can add Victoria Gough: Oh Lottie Waters: suggestions. Victoria Gough: yeah alright. Lottie Waters: Maybe I I don't want to Victoria Gough: Yeah. Lottie Waters: I don't want to suppress you but n I'll uh finish this uh quick. Um okay I've had everything I guess on Debra Stahlberg: No Lottie Waters: the Debra Stahlberg: the Lottie Waters: front? Debra Stahlberg: back. the Lottie Waters: Yeah Debra Stahlberg: logo Lottie Waters: the back. Yeah. Debra Stahlberg: and our uh l uh Lottie Waters: We thought about Yeah, uh the back is of course totally titanium. And we thought about the logo big in the middle. Victoria Gough: Mm-hmm. Lottie Waters: Just so again the double R_. We have Celia Salmon: Mm-hmm. Lottie Waters: then the logo on front and on the back. Maybe that's Victoria Gough: Okay. Lottie Waters: too much but Debra Stahlberg: No Lottie Waters: you Debra Stahlberg: I don't Lottie Waters: have to Debra Stahlberg: think Lottie Waters: say uh say that if you think that way. And Debra Stahlberg: And the Lottie Waters: the company slogan, we thought in a kind of arc Victoria Gough: Yeah. Lottie Waters: shape Celia Salmon: Yeah. Lottie Waters: uh above the logo. That's basically what we were thinking about, and Victoria Gough: Okay. Debra Stahlberg: And about Victoria Gough: W Debra Stahlberg: the side view um This the front won't be as thick, but Victoria Gough: Well I Debra Stahlberg: again Victoria Gough: see, but Debra Stahlberg: th the the drawing technique makes it very difficult to Lottie Waters: Oh and uh Debra Stahlberg: to Lottie Waters: before Debra Stahlberg: really Lottie Waters: I forget. Debra Stahlberg: uh Victoria Gough: Well. Lottie Waters: Yeah the the voice, Victoria Gough: Yeah Lottie Waters: of course, Victoria Gough: I see Lottie Waters: the voice Victoria Gough: it. Lottie Waters: recorder is uh at the bottom. Victoria Gough: Yes. Lottie Waters: And you can record it uh using, yeah, the the Victoria Gough: When I Lottie Waters: the Victoria Gough: look Lottie Waters: back Victoria Gough: at Lottie Waters: of Debra Stahlberg: Well, Lottie Waters: the Victoria Gough: uh Debra Stahlberg: it Lottie Waters: f Debra Stahlberg: won't Victoria Gough: when Debra Stahlberg: be visible. Victoria Gough: I look at Lottie Waters: w Victoria Gough: this Lottie Waters: device. Victoria Gough: side view, Debra Stahlberg: Mm? Victoria Gough: I think w when I have that in my hand, it's terrible. If Lottie Waters: Why? Victoria Gough: if you look if if this this is thick, and this is thin, th th then Lottie Waters: Well Victoria Gough: it that Lottie Waters: it fits Victoria Gough: it lies over your hands. Lottie Waters: uh it Victoria Gough: But Lottie Waters: it it it fits the hand, mean Debra Stahlberg: Yeah. Lottie Waters: uh the the Celia Salmon: Yeah, Victoria Gough: Well Lottie Waters: the Celia Salmon: I Lottie Waters: the Celia Salmon: agree. Victoria Gough: what what what I what I agree is that when uh when um you have such of uh an arc in the middle, so that the the a the ends and the fronts is a bit thicker, so Debra Stahlberg: If Victoria Gough: th then Debra Stahlberg: y Victoria Gough: it falls over your hands. Debra Stahlberg: If you handle a remote, you you usually don't have your hand straight Lottie Waters: In Debra Stahlberg: like Lottie Waters: the middle Debra Stahlberg: this. You Lottie Waters: in the Debra Stahlberg: you have it a bit Celia Salmon: It depends Debra Stahlberg: uh Celia Salmon: on the size. Debra Stahlberg: Yeah. Celia Salmon: If it's kinda small, this is is great. But if it's it's larger, then you want to grab it. Victoria Gough: And how Debra Stahlberg: Yeah. Victoria Gough: large is it? Celia Salmon: Yeah, that's the question. Lottie Waters: That's the question. Uh well Yeah. H What do you suggest I mean we do? This Victoria Gough: Well Lottie Waters: was Victoria Gough: uh Lottie Waters: Mike's prototype, and y you seemed to agreed on it. But now Victoria Gough: Well Lottie Waters: you Victoria Gough: the Lottie Waters: have Victoria Gough: sides Lottie Waters: a totally Victoria Gough: I Lottie Waters: different. Victoria Gough: haven't seen yet, uh? Debra Stahlberg: Well, Lottie Waters: The size? Yeah Debra Stahlberg: they Lottie Waters: well Debra Stahlberg: lay there Lottie Waters: the size Victoria Gough: They the Debra Stahlberg: all Lottie Waters: doesn't Victoria Gough: the Debra Stahlberg: the time. Victoria Gough: the Lottie Waters: really Victoria Gough: the Lottie Waters: matter Victoria Gough: the side Lottie Waters: w I mean Victoria Gough: view, Lottie Waters: Side? Uh Victoria Gough: we Lottie Waters: oh Victoria Gough: didn't Lottie Waters: the side? Victoria Gough: uh Lottie Waters: W we we he drew the s the Debra Stahlberg: Yeah Lottie Waters: side, Debra Stahlberg: yeah. Lottie Waters: but you d you weren't paying attention as usual. Well any case, we'll discuss it now. Uh I think uh this is a pretty good uh good idea. Celia Salmon: Yeah, I agree with the L_C_D_ screen. You have it in your palm like this, and you can watch uh watch the screen. And if you have it li in the middle, Victoria Gough: Yeah. Celia Salmon: your hand might be over it. Lottie Waters: But you you hold it like this. Debra Stahlberg: Yeah you Lottie Waters: You're not holding it like this Debra Stahlberg: you don't Lottie Waters: or something. Debra Stahlberg: you don't grab it, you you Lottie Waters: You, yeah, y How do you call it? Yeah. Well y y y you don't have it like this. You Victoria Gough: No Lottie Waters: have Victoria Gough: no Lottie Waters: it Victoria Gough: no. Lottie Waters: more like this. using buttons this way, or Celia Salmon: Like Lottie Waters: if you're Celia Salmon: you're Lottie Waters: right-handed, Celia Salmon: holding your telephone. Lottie Waters: this Victoria Gough: Yep. Lottie Waters: way. Debra Stahlberg: Yeah. Lottie Waters: So you Yeah. Celia Salmon: Because Lottie Waters: So Celia Salmon: if you have a screen on it, you wanna look at your screen. Debra Stahlberg: Hmm. Lottie Waters: Yeah Debra Stahlberg: That Lottie Waters: well Debra Stahlberg: way, it it falls into your hand. I think. Victoria Gough: Okay. Celia Salmon: Yeah, I Lottie Waters: And Celia Salmon: agree Lottie Waters: maybe Celia Salmon: on Lottie Waters: you Celia Salmon: this. Lottie Waters: can you can grab it a bit higher, so Well Celia Salmon: No, I don't think so. That's not uh Debra Stahlberg: No but but Lottie Waters: Well Celia Salmon: the Lottie Waters: the Celia Salmon: point Lottie Waters: the Well that's a reason to to to put the L_C_D_ screen uh of course on the upper side, but Debra Stahlberg: Well f for as far as I can see, three of us agree and Victoria Gough: Yeah Debra Stahlberg: only Victoria Gough: well Debra Stahlberg: Nils Victoria Gough: uh I think uh if you t if you three uh agree then then that's it. Debra Stahlberg: But you're Victoria Gough, you can make the hard decisions. Victoria Gough: Yes. So Lottie Waters: If Victoria Gough: uh Lottie Waters: necessary. Victoria Gough: I c Lottie Waters: But Victoria Gough: I c Lottie Waters: uh Victoria Gough: Well, Lottie Waters: are d Victoria Gough: we'll Lottie Waters: Can you Victoria Gough: we Lottie Waters: live Victoria Gough: we'll Lottie Waters: with Victoria Gough: do Lottie Waters: it? Victoria Gough: it Lottie Waters: Uh Victoria Gough: like this. Debra Stahlberg: Yeah? Victoria Gough: Alright, Lottie Waters: Y Victoria Gough: if you think that that's the Lottie Waters: Yeah, Victoria Gough: way Lottie Waters: y y Victoria Gough: it Lottie Waters: y Victoria Gough: should Lottie Waters: y you said it was totally uh unusable. Victoria Gough: No Lottie Waters: But do you Victoria Gough: No, when I I my personal taste is that I want it to fall over my hands with a thick But Lottie Waters: But d you don't think this Victoria Gough: In Lottie Waters: is Victoria Gough: the market Lottie Waters: completely unusable Victoria Gough: uh Lottie Waters: I guess. I think. Victoria Gough: No not totally. Lottie Waters: Not totally, well Victoria Gough: For Celia Salmon, I I wouldn't buy it. Let's Lottie Waters: Yeah Victoria Gough: say it Lottie Waters: but Victoria Gough: like Lottie Waters: of course Victoria Gough: that. Lottie Waters: y you are also human. We have to Victoria Gough: No Lottie Waters: take uh every everyone into Celia Salmon: And you might Lottie Waters: account. Celia Salmon: be Lottie Waters: So Celia Salmon: uh You might be target customer. Lottie Waters: Yeah. Well Victoria Gough: Yes Lottie Waters: uh who who Debra Stahlberg: Mm. Victoria Gough: but Lottie Waters: else thinks like you? We don't know. Maybe Victoria Gough: Yeah, we Lottie Waters: a Victoria Gough: don't Lottie Waters: thousand Victoria Gough: know, but Lottie Waters: people, Victoria Gough: that's Lottie Waters: or Victoria Gough: uh Lottie Waters: a million people. Victoria Gough: that's that's that's more market research. So let it be like this at uh Lottie Waters: Let Victoria Gough: at this Lottie Waters: it Victoria Gough: moment. Lottie Waters: be. Alright. Victoria Gough: Okay? Lottie Waters: So that's that. Uh any other suggestions? Victoria Gough: No, I think it's great. Celia Salmon: Yeah. Debra Stahlberg: But what about the redesigning? Victoria Gough: Comes to that later. Debra Stahlberg: Okay. Victoria Gough: Um you. Uh c You can uh Walter. Lottie Waters: You're very personal Victoria Gough: You can do the Lottie Waters: again. Victoria Gough: evaluation uh criteria on this? Celia Salmon: Alright. Great. Victoria Gough: That's more useful than just speaking. Celia Salmon: Well, this is just a short intro. I'm Victoria Gough: Yes. Celia Salmon: going to do uh the ev evaluation. That's gonna be done at the end of seven point skill criteria. So I made a I made a few questions on the hand of uh uh the impor most important requirements and Victoria Gough: Mm-hmm. Celia Salmon: trends. And we have to look if our uh if our device uh is working correctly. Well, I put some questions in a Word file. See if I can find them. Uh uh uh uh mm. Victoria Gough: 'Kay. Celia Salmon: Well Debra Stahlberg: Hmm. Celia Salmon: I uh think you have all seen uh this kind of evaluation, so uh I don't have to explain it. Uh the first question is, uh is the device good-looking? Because normal p uh most people thought that um earlier devices were ugly ugly. Seventy five percent of them. So what do we think? Lottie Waters: Well d we designed it, so of course we are very Debra Stahlberg: Mm. Victoria Gough: Yeah, Celia Salmon: Yeah Victoria Gough: we're we're not quite uh objective about Lottie Waters: Yeah. Celia Salmon: No, Victoria Gough: this. Debra Stahlberg: Well Celia Salmon: I know, but Debra Stahlberg: we designed it to be good-looking. Celia Salmon: I have to uh evaluate it. So I have to take this questionnaire. Lottie Waters: So and Victoria Gough: To Lottie Waters: we Victoria Gough: the customers? Lottie Waters: ha we have answer now? Victoria Gough: To Celia Salmon: Yeah Victoria Gough: potential Lottie Waters: Yeah. Victoria Gough: customers who have to take this Celia Salmon: Yeah, Victoria Gough: questionnaire? Celia Salmon: but I can't Victoria Gough: Nei. Celia Salmon: can Victoria Gough: Oh no. Celia Salmon: s Debra Stahlberg: Hmm. Victoria Gough: I know, I know, I know. But um Well we can go, uh because of the time, uh pretty quick through this. Uh do we find it good-looking? Well we think so. Lottie Waters: I Victoria Gough: Uh Debra Stahlberg: Yeah. Celia Salmon: Yeah, Lottie Waters: Yeah, I Debra Stahlberg: We Lottie Waters: think Debra Stahlberg: designed Celia Salmon: but Lottie Waters: it Debra Stahlberg: it Celia Salmon: uh, Debra Stahlberg: to Celia Salmon: you Debra Stahlberg: be Celia Salmon: know Debra Stahlberg: good-looking, Victoria Gough: Yeah. Debra Stahlberg: so Celia Salmon: We dis we di we designed it to be perfect. So But we have to be critic critical about it. And I have to uh take all these points and get a average at the end. So we we Victoria Gough: Well, Celia Salmon: know where we stand. Victoria Gough: one. Celia Salmon: 'Cause th there are some things we might have uh bi might have forgotten. Victoria Gough: Well so it's point four. Celia Salmon: Right, so Victoria Gough: Easy Lottie Waters: Well Victoria Gough: to find Lottie Waters: l well Victoria Gough: t Lottie Waters: let's start with the beginning, just one Celia Salmon: Right. Lottie Waters: by one. Celia Salmon: Uh is it good-looking? Lottie Waters: Well, I guess uh I think uh Victoria Gough: Two. Lottie Waters: it's uh it's it's um pointed towards the youth of course, uh if you look at the design and and the colours and everything. That was our target audience of course. But it's also not completely um uh u unacceptable for older people I guess. Uh it's it's not f a device Celia Salmon: The titanium Lottie Waters: that Celia Salmon: might be uh f Lottie Waters: Yeah, Celia Salmon: for Lottie Waters: that's Celia Salmon: older people. Lottie Waters: that's uh for older people, it's it's more that classical Celia Salmon: It you put Lottie Waters: look. Celia Salmon: uh Lottie Waters: So Celia Salmon: put a black front on it or something. Debra Stahlberg: Hmm. Lottie Waters: Uh no. I think Yeah they like black of course, but I think they'll uh they they think uh the the titanium look of it is also Uh I think it's also good for them, so I think we both uh have uh consider considered uh the youth and also a bit older people. So I Celia Salmon: Right. Lottie Waters: think it's very good-looking and not only for youth uh young people. Debra Stahlberg: I think we shouldn't discuss any points points that long, because Celia Salmon: Right. Debra Stahlberg: I don't know Victoria Gough: No. Debra Stahlberg: how how many points there Victoria Gough: I Debra Stahlberg: are Victoria Gough: totally Debra Stahlberg: but Lottie Waters: Yeah, Debra Stahlberg: uh Victoria Gough: agree. Lottie Waters: the fourteen Victoria Gough: We Debra Stahlberg: Yeah. Celia Salmon: Right, Lottie Waters: yeah. Celia Salmon: a number Victoria Gough: we have Celia Salmon: please. Victoria Gough: to get get on, Debra Stahlberg: Yeah. Victoria Gough: go Lottie Waters: Is Victoria Gough: through Lottie Waters: it Victoria Gough: this. Lottie Waters: easy to t change channels? Yeah well I think so. Celia Salmon: So the last one is seven. Easy Debra Stahlberg: Um, Celia Salmon: to change channels? Victoria Gough: No, Debra Stahlberg: no Victoria Gough: not Debra Stahlberg: it's Victoria Gough: false. Debra Stahlberg: uh Victoria Gough: It's one. Celia Salmon: Oh, sorry. Yeah, right. Victoria Gough: Well uh two? Celia Salmon: Change channels? Victoria Gough: Y Well we have to go through it. Lottie Waters: I think it's uh as easy as uh can be made. Uh Celia Salmon: Right. Lottie Waters: So I Yeah. You How can you make it any easier? Celia Salmon: The power, channel and volume Debra Stahlberg: With Celia Salmon: buttons Debra Stahlberg: two Celia Salmon: are easy Debra Stahlberg: huge Celia Salmon: accessible? Debra Stahlberg: buttons. Lottie Waters: Yeah, Victoria Gough: Yep. Lottie Waters: huge is a Yeah. Victoria Gough: Two. Celia Salmon: Two? Alright. The uh device is easy to find if you lose it? Victoria Gough: Well, no. Lottie Waters: D Victoria Gough: We didn't Lottie Waters: we Victoria Gough: implement Lottie Waters: d we don't Victoria Gough: anything about that. Lottie Waters: we don't have Debra Stahlberg: Well Lottie Waters: uh Debra Stahlberg: it's Lottie Waters: that Debra Stahlberg: easier Lottie Waters: s Debra Stahlberg: to find than a a normal black one or something, because of the colour. But Victoria Gough: Well six Celia Salmon: Yeah. Lottie Waters: Yeah. Victoria Gough: then. Celia Salmon: Six? Right. Lottie Waters: Well we don't have the device that beeps uh when you lost Victoria Gough: Are Lottie Waters: it Victoria Gough: the Lottie Waters: or so, Victoria Gough: functions Lottie Waters: but um um Victoria Gough: easy to learn? Well w I we do want we have a l f Debra Stahlberg: We have so few Victoria Gough: f Debra Stahlberg: functions, Victoria Gough: less Debra Stahlberg: so Victoria Gough: of Debra Stahlberg: Yeah. Victoria Gough: an Celia Salmon: Yeah, I agree. Victoria Gough: And the device R_S_I_ sensitive? Debra Stahlberg: Well, I should I Victoria Gough: Yeah. Debra Stahlberg: think two, because the voice recorder Victoria Gough: Ah. Debra Stahlberg: is n not Celia Salmon: Yeah. Debra Stahlberg: self learning. Lottie Waters: Yeah. Yeah. Celia Salmon: Alright. Lottie Waters: Mm? Celia Salmon: Two? Victoria Gough: Yeah, but just do some We Celia Salmon: Yeah Victoria Gough: we Lottie Waters: Are we take Victoria Gough: I th Lottie Waters: too much Victoria Gough: I th Lottie Waters: time? Victoria Gough: I think this is too time consuming. Uh not Celia Salmon: Yeah, Victoria Gough: not towards Celia Salmon: I agree. Victoria Gough: you, Celia Salmon: No. Victoria Gough: but towards this all. Th Celia Salmon: Yeah. Victoria Gough: this is Celia Salmon: Right, Victoria Gough: We you have Celia Salmon: R_ Victoria Gough: to Celia Salmon: R_S_I_ Victoria Gough: put Celia Salmon: sensitive? Victoria Gough: it to the customers. Celia Salmon: R_S_I_ sensitive? Victoria Gough: Uh well well a bit, so four. Celia Salmon: Four. Um Victoria Gough: Yes. Lottie Waters: Yeah, very much. One. Victoria Gough: One. And features included also one. And One. Celia Salmon: Yeah. Victoria Gough: Uh those uh nine uh is the fancy-looking. Uh we still think so. Lottie Waters: Yeah. Victoria Gough: Device fancy Lottie Waters: And I Victoria Gough: feeling. Lottie Waters: think fancy-feeling Victoria Gough: Yeah, Lottie Waters: too, because of the Victoria Gough: cool Debra Stahlberg: Yeah. Lottie Waters: titanium Victoria Gough: man. Lottie Waters: back. Yeah. Celia Salmon: Right. Victoria Gough: Are there enough technology? Yeah Debra Stahlberg: Yeah. Victoria Gough: well also we have two. Celia Salmon: Yeah, that's great. Debra Stahlberg: The Victoria Gough: to use? Yes we have not many buttons. Lottie Waters: So well maybe two Celia Salmon: Well, Lottie Waters: because Debra Stahlberg: Two Victoria Gough: Two, Lottie Waters: of the voice Celia Salmon: with Victoria Gough: three. Lottie Waters: recorder. Debra Stahlberg: two. Celia Salmon: the uh Three. Debra Stahlberg: T Victoria Gough: Are Lottie Waters: F Victoria Gough: the trends about fruit and vegetables implemented? Well in our covers, Debra Stahlberg: Yeah. Victoria Gough: in our fronts. So Lottie Waters: Yeah. Victoria Gough: yes, one. Lottie Waters: One or two. Victoria Gough: Is Debra Stahlberg: One Lottie Waters: Yeah. Victoria Gough: the material Debra Stahlberg: or two, another Celia Salmon: Nah Victoria Gough: attractive? Debra Stahlberg: two. Celia Salmon: f four I think. Lottie Waters: Four? Celia Salmon: If you look at this Lottie Waters: Well, it doesn't really resemble any fruit, uh that's true. Celia Salmon: No. Lottie Waters: But but we have the the the the the Victoria Gough: Oh okay. Lottie Waters: sparkly fruity Debra Stahlberg: Well Lottie Waters: colours Debra Stahlberg: three. Lottie Waters: of course. Celia Salmon: Three, Victoria Gough: Okay. Celia Salmon: alright. Lottie Waters: And you can also have front with uh with Celia Salmon: Yeah, that's true. Victoria Gough: Is Lottie Waters: fruit Victoria Gough: the material Celia Salmon: But Lottie Waters: on Debra Stahlberg: Mm. Victoria Gough: attractive? Well Debra Stahlberg: Yeah. Victoria Gough: the titanium Lottie Waters: it. Victoria Gough: is strong, and uh the rest f uh the buttons feel soft. So I would say at least two. Celia Salmon: Right. Victoria Gough: Okay. Well Yeah. Debra Stahlberg: This is the last meeting? Victoria Gough: Yes, but we Celia Salmon: The Debra Stahlberg: Yeah. Celia Salmon: average Victoria Gough: we have to design Celia Salmon: will uh Victoria Gough: much Celia Salmon: come later. Victoria Gough: more, because there was some irritating account manager coming to Celia Salmon. Lottie Waters: I Victoria Gough: Um Lottie Waters: knew things uh were going uh Victoria Gough: Oh. Lottie Waters: too smoothly. There had Victoria Gough: Uh Lottie Waters: to be some kind of trouble Debra Stahlberg: Yeah. Lottie Waters: along Victoria Gough: Yes. Lottie Waters: the way. Victoria Gough: Well, look at the costs at this point. Lottie Waters: My god. Victoria Gough: I had to fit it in. Celia Salmon: It has to go to twelve, right? Victoria Gough: I twelve and a half. Celia Salmon: Twelve and a half. Victoria Gough: So Well what costs a lot? The sample spea costs four. Lottie Waters: The what? The Victoria Gough: The sample speaker, Celia Salmon: Out. Victoria Gough: the s sensor. Celia Salmon: That's easy. Kick it out. Victoria Gough: Kick it out. Debra Stahlberg: The what? Celia Salmon: Yeah. Victoria Gough: We have to go to twelve and a Celia Salmon: The Victoria Gough: half. Celia Salmon: speaker. Victoria Gough: The speaker costs Debra Stahlberg: Oh. Victoria Gough: far, by far the most. Lottie Waters: Yeah w Celia Salmon: That's some wrong Lottie Waters: tha that's Celia Salmon: info, Lottie Waters: uh Celia Salmon: man. Lottie Waters: that's a bit an optional Victoria Gough: It Lottie Waters: option. Victoria Gough: it isn't worth it. Lottie Waters: No. Celia Salmon: No. Lottie Waters: No, d Victoria Gough: We Lottie Waters: th Victoria Gough: could make Lottie Waters: No. Victoria Gough: two Celia Salmon: It's Victoria Gough: different Celia Salmon: uh Victoria Gough: versions, one with and one without. But for Celia Salmon: It's Victoria Gough: this Celia Salmon: just extra. Kick it out. Victoria Gough: So, zero. Lottie Waters: Yeah. Victoria Gough: Then we go to fourteen point six. Celia Salmon: What more? Victoria Gough: Well the titanium I don't want to lose actually. Lottie Waters: No. Celia Salmon: Batteries are uh Victoria Gough: L_C_ Celia Salmon: quite Victoria Gough: three? Yeah hand dynamo? Y t come on, Debra Stahlberg: Um Celia Salmon: Uh no, Victoria Gough: w Celia Salmon: no Victoria Gough: a remote Celia Salmon: no Victoria Gough: control Lottie Waters: N Celia Salmon: no. Victoria Gough: has a battery. Lottie Waters: Uh well we have a bit of a problem I think. Because Debra Stahlberg: Well well Lottie Waters: uh Debra Stahlberg: why why why should we use a advanced chip? Victoria Gough: Well be for the Lottie Waters: the Victoria Gough: L_C_D_ Lottie Waters: L_C_D_ Victoria Gough: uh you Lottie Waters: screen. Victoria Gough: had said. Lottie Waters: Yeah. Debra Stahlberg: Yeah? Celia Salmon: Hmm. Debra Stahlberg: Can't we do that with a regular chip? Lottie Waters: No. Debra Stahlberg: Why not? Lottie Waters: Because uh that uh y Victoria Gough: Well Lottie Waters: because Victoria Gough: what what's the difference between Lottie Waters: my information Victoria Gough: simple Lottie Waters: says Victoria Gough: and regular? Lottie Waters: it. Huh? Victoria Gough: What's the difference between a simple Debra Stahlberg: Yeah. Victoria Gough: and Debra Stahlberg: Regular Victoria Gough: a regular chip? Debra Stahlberg: is normal. Celia Salmon: Yeah. Victoria Gough: And simple? Lottie Waters: Uh Debra Stahlberg: Simple. Lottie Waters: well Victoria Gough: Nothing. Lottie Waters: yeah I I read something about it, but Debra Stahlberg: Elementary. Victoria Gough: Well? Lottie Waters: Yeah, I Victoria Gough: Your part. Lottie Waters: I read something about it, but it wasn't very clear. I d I didn't in include it in my report. Victoria Gough: What happens if we do Lottie Waters: Single Well you have to use a chip. So Well you have Victoria Gough: How Lottie Waters: to Victoria Gough: much Lottie Waters: use Victoria Gough: do we Lottie Waters: the Victoria Gough: win? Lottie Waters: advanced Debra Stahlberg: We we Lottie Waters: chip, Debra Stahlberg: we Victoria Gough: One. Lottie Waters: if you have Debra Stahlberg: Why? Lottie Waters: the L_C_D_ screen. Debra Stahlberg: We have very little options furthermore, for the Lottie Waters: But Victoria Gough: Yeah. Lottie Waters: if you have a regular chip, you can't have the L_C_D_ screen. Debra Stahlberg: Uh well we have to put Celia Salmon: Yeah, Debra Stahlberg: that in. Celia Salmon: we need to have the the L_C_D_ Lottie Waters: That that's Celia Salmon: screen. Lottie Waters: a fact. Victoria Gough: Well, Lottie Waters: Uh Victoria Gough: we could say, well this special colour, that Celia Salmon: No Victoria Gough: isn't that that isn't there, because the the fronts they will buy it. The special colour. Celia Salmon: Yeah, Lottie Waters: Yeah, but it's Celia Salmon: but Lottie Waters: only Debra Stahlberg: Nah. Lottie Waters: one half. Celia Salmon: No, Lottie Waters: Uh Celia Salmon: that's Lottie Waters: it d Celia Salmon: n Lottie Waters: it doesn't Celia Salmon: It's not relevant. Victoria Gough: Yeah, Debra Stahlberg: Yeah, you must change Victoria Gough: then Debra Stahlberg: the Victoria Gough: you Debra Stahlberg: chip Victoria Gough: s then Debra Stahlberg: uh Victoria Gough: you only Debra Stahlberg: back. Victoria Gough: have one half left. Debra Stahlberg: You Celia Salmon: Yeah. Debra Stahlberg: must change the chip back, Nils. Victoria Gough: Uh yeah. Lottie Waters: But we d Then we have to lose the L_C_D_ screen. Celia Salmon: No, Then the whole concept is uh Lottie Waters: Yeah, I know but that's what my information says. I di I didn't uh Debra Stahlberg: Hmm. Lottie Waters: put Celia Salmon: You Lottie Waters: uh the advanced chip Debra Stahlberg: No Lottie Waters: in there for fun. Celia Salmon: You Debra Stahlberg: we Celia Salmon: can make Debra Stahlberg: oh Celia Salmon: you Lottie Waters: You Celia Salmon: can Lottie Waters: have Celia Salmon: make Lottie Waters: to use Celia Salmon: it cheaper. Lottie Waters: it. Celia Salmon: But if you don't sell Debra Stahlberg: You Victoria Gough: Yeah. Debra Stahlberg: you we have an advanced chip-on-print, and we have an L_C_ display. I think that's Victoria Gough: Yeah? Debra Stahlberg: a bit double. Y Victoria Gough: No, Debra Stahlberg: we don't need both. Victoria Gough: the advanced chip is needed to Lottie Waters: For Victoria Gough: have Lottie Waters: the L_C_D_ Victoria Gough: an L_C_D_ Lottie Waters: screen. Victoria Gough: display. Lottie Waters: Yeah. Yeah. Debra Stahlberg: Says. Victoria Gough: Says, his Uh that was in the second meeting, I think. Lottie Waters: Well uh and what do they mean with curves uh again? Because we you Victoria Gough: Well Lottie Waters: have Victoria Gough: I Lottie Waters: uncurved Victoria Gough: I did single curve to Well you said s double Debra Stahlberg: I? Victoria Gough: curved, uh he, Lottie Waters: Yeah. Victoria Gough: because uh I thought it's a b a bit cheaper already. We can Celia Salmon: No Victoria Gough: also Lottie Waters: Well Victoria Gough: make it flat. Celia Salmon: no Lottie Waters: But Celia Salmon: no Lottie Waters: what Celia Salmon: no. Lottie Waters: what Victoria Gough: But Lottie Waters: did what do n Sorry, but What do they mean with the curves? Is th Victoria Gough: Curved? Yes, Lottie Waters: Is this Victoria Gough: that's Lottie Waters: a Victoria Gough: curved. Lottie Waters: curve? One curve? Yeah, this Victoria Gough: Yes. Lottie Waters: is actually two curves, yeah. It's Victoria Gough: No, Lottie Waters: how Victoria Gough: it's Lottie Waters: you Victoria Gough: one Lottie Waters: It's Victoria Gough: curve. Lottie Waters: how you look at Debra Stahlberg: One Lottie Waters: it. Debra Stahlberg: curve. Victoria Gough: One curve, simple. Lottie Waters: Well then we have a huge problem I think. W t we can never get uh below the Victoria Gough: We Lottie Waters: twelve Victoria Gough: have a big Lottie Waters: and a Victoria Gough: financial Lottie Waters: half. Victoria Gough: problem. Debra Stahlberg: Well we make it more expensive to buy. Victoria Gough: Well, then we have two dollars less profit. Come on, if we if we if we make this fifty million, they won't hesitate to uh congratulate us, so uh Celia Salmon: If if you make people brand-aware, they are willing to pay more. But Lottie Waters: But uh I Celia Salmon: Because we we use a brand at the front and uh I dun at the back. If you have uh lots of uh marketing people might buy. Debra Stahlberg: Yeah or we could Celia Salmon: If you if Debra Stahlberg: replace Celia Salmon: you make it cool Debra Stahlberg: it Celia Salmon: to have Victoria Gough: By the way, we also have this one. Celia Salmon: Oh, that's just great. Victoria Gough: Oh, costs nothing. Celia Salmon: Oh, Victoria Gough: That's nice. Celia Salmon: alright. Victoria Gough: Plastic Lottie Waters: Hey but uh Victoria Gough: is Lottie Waters: I think you'll agree that uh that we that now we have this uh screen, it's it's very uh not practical to ha to consider this after we have designed the entire thing. Victoria Gough: Yes, but I just got it. Lottie Waters: Well Debra Stahlberg: Why Lottie Waters: that's pretty Debra Stahlberg: why Lottie Waters: uh Debra Stahlberg: don't we Lottie Waters: l Debra Stahlberg: replace Celia Salmon: That is Debra Stahlberg: the titanium Celia Salmon: pretty stupid. Lottie Waters: N Debra Stahlberg: with Lottie Waters: not Debra Stahlberg: uh Lottie Waters: very practical. Debra Stahlberg: plastic Lottie Waters: Well Debra Stahlberg: coloured titanium, uh Victoria Gough: Who? Debra Stahlberg: titanium-coloured plastic? Victoria Gough: You want to dump the titanium? Debra Stahlberg: Yeah well if we uh we we have to get cheaper. Victoria Gough: And make all plastic, then we ha then we're there. Lottie Waters: But I'm n I don't agree. Debra Stahlberg: But Lottie Waters: I think Debra Stahlberg: then we we've got to uh Victoria Gough: Th then Debra Stahlberg: run Victoria Gough: you Debra Stahlberg: through Victoria Gough: have Debra Stahlberg: the Victoria Gough: a Debra Stahlberg: eval Victoria Gough: ugly, Debra Stahlberg: evaluation Victoria Gough: stupid, Debra Stahlberg: process again. Victoria Gough: l ugly looking, dumb remote Debra Stahlberg: Ah no Victoria Gough: that Debra Stahlberg: no. Victoria Gough: that no-one would buy. Debra Stahlberg: It's not ugly looking. The looks remain the same. Victoria Gough: No, I don't think so. Celia Salmon: Y Debra Stahlberg: Well, I Lottie Waters: I Debra Stahlberg: do Lottie Waters: think Debra Stahlberg: think so. Lottie Waters: the titanium just uh provided the the tough look and Victoria Gough: Yes. Lottie Waters: the and the Victoria Gough: And the feel, Debra Stahlberg: feel. Victoria Gough: and th that it is strong, and Lottie Waters: And also the the older people will like it because of that. And Celia Salmon: Yeah, Lottie Waters: because i Celia Salmon: I Lottie Waters: Alright Celia Salmon: agree. Lottie Waters: it's not our target audience, but it's it's useful Victoria Gough: We still Lottie Waters: if it's uh Victoria Gough: we had to focus Lottie Waters: important for old Victoria Gough: to Lottie Waters: people. Victoria Gough: get more people Lottie Waters: Yeah. Victoria Gough: from the younger group, but not lose the one Lottie Waters: I think the titanium is very important. Debra Stahlberg: Yeah alright but then we we Lottie Waters: Yeah Debra Stahlberg: won't Lottie Waters: we have a Debra Stahlberg: get Lottie Waters: problem, Debra Stahlberg: there. Lottie Waters: yeah. W But you can better, yeah, dump the L_C_D_ screen Debra Stahlberg: We Lottie Waters: then. Debra Stahlberg: can dump the special colour. We l we use plastic. And plastic is already in colour I think. Celia Salmon: I don't think you should dump the L_C_D_ screen. Lottie Waters: Well what else? W I Debra Stahlberg: No, Lottie Waters: mean Debra Stahlberg: nothing. Lottie Waters: uh Celia Salmon: Or you shou Debra Stahlberg: Amen. Celia Salmon: It's Or change the titanium or dump the L_C_D_ screen. But I think you could better change Lottie Waters: Yeah. Celia Salmon: uh titanium to hard a hard kind of plastic looking like titanium Debra Stahlberg: Yeah. Celia Salmon: than lose the L_C_D_ screen. Because you have lots of functions in it too. Lottie Waters: Yeah, Debra Stahlberg: Yeah. Lottie Waters: well yeah. Alright. Victoria Gough: Why can't Lottie Waters: I Victoria Gough: I Lottie Waters: agree Debra Stahlberg: But Lottie Waters: with that. So we u we use uh Unfortunately. Um. Victoria Gough: I'll put in the report Lottie Waters: Titanium-coloured Victoria Gough: we that we think that fourteen Lottie Waters: plastic. Victoria Gough: point one is the l m lowest price you can make a remote for that's trendy d these Celia Salmon: Yeah, I Victoria Gough: days. Celia Salmon: agree. Lottie Waters: So titanium-coloured plastic for the back. Victoria Gough: I I'll talk to the managers. Debra Stahlberg: No no no no. W Titanium stays there. Victoria Gough: Titanium, I thi I think this this is this is e really good re Lottie Waters: Yeah Celia Salmon: Osl Lottie Waters: this is Victoria Gough: remote. Lottie Waters: good, but it it's not Victoria Gough: But Lottie Waters: good enough. So we have to use the ditch the titanium, I'm afraid. Victoria Gough: Ah those Debra Stahlberg: Well Victoria Gough: those account managers, what do th d what do they know? Come on. Lottie Waters: What Victoria Gough: Riot. Lottie Waters: do we Well what do we know? All we want is a is a fancy design but we don't really Victoria Gough: Yes, Lottie Waters: consider the costs. Victoria Gough: yes. Lottie Waters: So Debra Stahlberg: No because we did not know anything about Celia Salmon: If Debra Stahlberg: it. Lottie Waters: Yeah Celia Salmon: you Victoria Gough: One Celia Salmon: don't Lottie Waters: al Victoria Gough: and Celia Salmon: have Lottie Waters: alright, Victoria Gough: a Celia Salmon: the Victoria Gough: half Celia Salmon: money, Victoria Gough: Euros. Lottie Waters: yeah. Celia Salmon: you can't Lottie Waters: But Celia Salmon: make it. Victoria Gough: Hmm? Lottie Waters: we Celia Salmon: So Lottie Waters: have Celia Salmon: s Lottie Waters: to deal with it now. So Celia Salmon: If you don't have the money, you can't make it. So this is too expensive. Victoria Gough: So? Lottie Waters: So Celia Salmon: So we have to make it cheaper. Lottie Waters: Titanium gone and add plastic. Celia Salmon: Right. Debra Stahlberg: Yeah, but then we've got money left. Lottie Waters: And on plastic times two and then we uh are there? Victoria Gough: Well, no it's just uh all plastic. Lottie Waters: No Victoria Gough: Well alright. Lottie Waters: No Victoria Gough: Huh. Lottie Waters: yeah well Oh six. A lot of plastic, Celia Salmon: It's Lottie Waters: yeah. Celia Salmon: just free, man. Victoria Gough: Four. So Lottie Waters: No two for the to make it clear. Victoria Gough: But then we can add the special colour? Debra Stahlberg: Yeah. Victoria Gough: As we have money over uh left. Debra Stahlberg: Yeah. Victoria Gough: And we still Debra Stahlberg: W Victoria Gough: have money left. What do we want, guys? Lottie Waters: I want gold plating. No no Celia Salmon: Yeah right. Lottie Waters: um Celia Salmon: I want chrome. Debra Stahlberg: Well I think uh the case is double curved then. Victoria Gough: Yes. Debra Stahlberg: Because Lottie Waters: We have Debra Stahlberg: you y have that Lottie Waters: we Debra Stahlberg: curve Lottie Waters: have to Debra Stahlberg: and Lottie Waters: uh Debra Stahlberg: you have Lottie Waters: fill Victoria Gough: Y Oh Debra Stahlberg: that Victoria Gough: no. Debra Stahlberg: curve. Lottie Waters: W Debra Stahlberg: Yeah Lottie Waters: we ha Celia Salmon: Well, Debra Stahlberg: well Celia Salmon: th that Debra Stahlberg: uh Celia Salmon: that Victoria Gough: Alright. Celia Salmon: is the problem. Lottie Waters: No no no, but th that's Victoria Gough: Safe. Lottie Waters: not f um Debra Stahlberg: Well y we have curves Lottie Waters: Well Debra Stahlberg: in all Lottie Waters: you Debra Stahlberg: directions. Lottie Waters: can you can double curve, if you don't have titanium. And that we dropped, so it Victoria Gough: So Lottie Waters: it can be done. Victoria Gough: alright. Lottie Waters: But it's pretty funny. We we do want to reach twelve point five. But it Victoria Gough: Finance? Debra Stahlberg: I mean, Lottie Waters: isn't bad to to to stay Debra Stahlberg: this Lottie Waters: at eleven. Debra Stahlberg: this ain't titanium, but it looks like it. Lottie Waters: We Victoria Gough: Well, Lottie Waters: get more salary, Victoria Gough: guys? Lottie Waters: if we make Celia Salmon: Yeah. Lottie Waters: if cheaper Victoria Gough: Guys? Lottie Waters: than twelve uh Victoria Gough: We Lottie Waters: twelve Victoria Gough: have Lottie Waters: and Victoria Gough: to Lottie Waters: a Celia Salmon: Shoot. Lottie Waters: half. Victoria Gough: dump our titanium, and we'll hate the managers for that, but now we're going to Lottie Waters: Objection. Victoria Gough: evaluate our project, of uh project, Debra Stahlberg: Pro project. Victoria Gough: project. Well, satisfaction on for example, are we satisfactory about our creativity? Lottie Waters: Well I can't get no satisfaction, but uh I think it's uh Well in in if we consider the costs then this is the best, yeah. Celia Salmon: Yeah. Victoria Gough: I think it's terrible Debra Stahlberg: Yeah. Victoria Gough: that we got uh those costs at the last moment. Debra Stahlberg: Yeah. Celia Salmon: Yeah, Celia Salmon too. Victoria Gough: That's really bad. Lottie Waters: Its it's Victoria Gough: But Lottie Waters: uh ridiculous actually, Debra Stahlberg: And Victoria Gough: that Debra Stahlberg: uh Lottie Waters: but Victoria Gough: that Debra Stahlberg: unrealistic. Victoria Gough: that's that, yeah that's a reason, but also for our creativity. We had um nice design, and then you get the cost, and you had to dump all your creativity. Debra Stahlberg: Well Celia Salmon: Right. Debra Stahlberg: we we we used our creativity, but we just had to adapt it to the costs. Lottie Waters: Which isn't very practical, but Victoria Gough: Yeah. Debra Stahlberg: Nei. Lottie Waters: that's the way. Debra Stahlberg: Uh no. Victoria Gough: Well, Lottie Waters: Uh-huh. Victoria Gough: alright. Uh leadership next. Debra Stahlberg: Terrible. Victoria Gough: Uh teamwork? Celia Salmon: Leadership. Debra Stahlberg: Leadership? Celia Salmon: Well Debra Stahlberg: Well Celia Salmon: it's It was very democratic. Victoria Gough: Uh yeah Debra Stahlberg: Yeah. Victoria Gough: well I think Debra Stahlberg: Yeah. Victoria Gough: so also. I al I I've uh filled that in in a the questionnaires uh each time, so Celia Salmon: Yeah yeah. Victoria Gough: Well the managers were terrible. So, with their all their useless requirements. But o alright, Lottie Waters: Well Victoria Gough: the teamwork? Lottie Waters: uh they they didn't think of the requirements. It's the requirements of the user, uh I guess. Victoria Gough: No they said, oh we won't d uh we won't uh use Lottie Waters: Yeah. Victoria Gough: teletext, uh we won't use the D_V_D_. Lottie Waters: Yeah but they base that on on the user specifications. Victoria Gough: Alright, teamwork? Celia Salmon: Well Victoria Gough: Well great I think. Debra Stahlberg: Right Celia Salmon: Yeah, Debra Stahlberg: yeah. Celia Salmon: think so too. Victoria Gough: Uh well what do you, what did you think about the SMARTboard? Lottie Waters: It was a complete disaster. No Celia Salmon: Yeah, I Lottie Waters: Uh Victoria Gough: Well Celia Salmon: don't Lottie Waters: it it it Celia Salmon: like Debra Stahlberg: No, Lottie Waters: uh Celia Salmon: it. Debra Stahlberg: that's Lottie Waters: it is Debra Stahlberg: a SMARTboard, Lottie Waters: uh Celia Salmon: Yeah? Debra Stahlberg: and that's a digital pen. Victoria Gough: It's Debra Stahlberg: Or Victoria Gough: also Debra Stahlberg: not? Victoria Gough: a It's both Lottie Waters: No Victoria Gough: the Lottie Waters: it's Victoria Gough: SMARTboards. Lottie Waters: other way around. That's the SMARTboard. That's Victoria Gough: I liked Lottie Waters: the digital Victoria Gough: this Lottie Waters: panel. Victoria Gough: SMARTboard, Celia Salmon: This Victoria Gough: but I hated Celia Salmon: this Victoria Gough: that one. Celia Salmon: this isn't a SMARTboard, Victoria Gough: Well it's Celia Salmon: right? Victoria Gough: both a SMARTboard. Lottie Waters: That's that's the smart Celia Salmon: Yeah right. B but you This is Debra Stahlberg: Oh Celia Salmon: just Debra Stahlberg: they're both Celia Salmon: a large Debra Stahlberg: SMARTboards. Celia Salmon: t large television. Victoria Gough: No. Celia Salmon: You u you use the Lottie Waters: A televi Victoria Gough: It's both Lottie Waters: Yeah. Victoria Gough: a SMARTboard, but this one is used for a desktop, and that one is used to to Celia Salmon: Yeah, Victoria Gough: draw. Celia Salmon: but you ca This is just a beamer function. And here, on this one, you can uh draw the pictures and things Victoria Gough: Well, Celia Salmon: like that. Victoria Gough: wi w which Celia Salmon: But Victoria Gough: one did you like? Lottie Waters: Yeah. Celia Salmon: That one. Lottie Waters: Left or right? Debra Stahlberg: Yeah. Victoria Gough: That one. Celia Salmon: That one isn't accurate. It just Victoria Gough: Yeah. Celia Salmon: doesn't work. You can Debra Stahlberg: But I I think this is meant by the digital pen. Victoria Gough: Yes. Th that is so. Celia Salmon: Yeah, Lottie Waters: Well Celia Salmon: but Lottie Waters: I didn't Celia Salmon: I Lottie Waters: use Celia Salmon: think Debra Stahlberg: Yeah. Victoria Gough: We're now Celia Salmon: there's Lottie Waters: uh Victoria Gough: talking Celia Salmon: a big Victoria Gough: about Celia Salmon: distinction Victoria Gough: the SMARTboards. Celia Salmon: between the these th I don't need a SMARTboard. Lottie Waters: Nei It Debra Stahlberg: Well Lottie Waters: it's much m Debra Stahlberg: we we used that one, Celia Salmon: Yeah, Debra Stahlberg: and Celia Salmon: but Debra Stahlberg: we needed Celia Salmon: give Debra Stahlberg: it. I Celia Salmon: Celia Salmon Debra Stahlberg: think. Celia Salmon: a beamer. That's uh that's much Debra Stahlberg: Yeah Celia Salmon: uh Debra Stahlberg: alright, Celia Salmon: much Debra Stahlberg: but Celia Salmon: cheaper. Victoria Gough: Or install a laptop to a beamer, or have this one standing here in an I I like it. Celia Salmon: Right. Debra Stahlberg: Yeah I like Victoria Gough: Okay, Debra Stahlberg: that Victoria Gough: alright. Debra Stahlberg: one, but that one is terrible. Lottie Waters: But uh you can uh I I sent it about three times now. Uh a green uh board with uh chalk is much Victoria Gough: Yeah. Lottie Waters: more useful than that Celia Salmon: Yeah. Lottie Waters: thing. Victoria Gough: Yeah, it is. Lottie Waters: The simple uh Victoria Gough: So Lottie Waters: sch Celia Salmon: I agree. Lottie Waters: school board. Victoria Gough: And uh the digi the digital pen? Did uh did you like that one? Celia Salmon: No. Lottie Waters: I I didn't use it. I wrote things down but I didn't Victoria Gough: I used Lottie Waters: import Victoria Gough: it Lottie Waters: it Victoria Gough: uh Lottie Waters: into my Victoria Gough: just Lottie Waters: laptop. Victoria Gough: to check it out, but uh Celia Salmon: Yeah. Victoria Gough: You you Lottie Waters: That's Victoria Gough: can't Lottie Waters: the Victoria Gough: send that to anyone, Celia Salmon: Yeah. Victoria Gough: because you Celia Salmon: It Victoria Gough: you've Celia Salmon: isn't Victoria Gough: scrabbled Celia Salmon: practical. Victoria Gough: something on a page for yourself, Celia Salmon: Right. Victoria Gough: and then you're going to send it, yeah. Well, no. Lottie Waters: W But also y you write things down. And i you can also bring your your Celia Salmon: Your Lottie Waters: your Celia Salmon: notepad. Lottie Waters: note block. So Celia Salmon: Yeah. Lottie Waters: what's the what's Victoria Gough: It's, Lottie Waters: the Victoria Gough: no, Lottie Waters: th Victoria Gough: it Lottie Waters: what's Victoria Gough: it's useless. Lottie Waters: the point of importing it Debra Stahlberg: Well Lottie Waters: into Debra Stahlberg: I I drew this. Mm. And I made a mistake. But it it would have been uh useful, if Victoria Gough: Yes. Debra Stahlberg: I I could show this on the screen. Lottie Waters: Yeah alright. Victoria Gough: For Lottie Waters: For Victoria Gough: drawings, Lottie Waters: drawings, but Victoria Gough: yes. Debra Stahlberg: Yeah Lottie Waters: not Debra Stahlberg: for drawings. Lottie Waters: for personal notes. I think that's not very Debra Stahlberg: N notes mm. Lottie Waters: Uh I mean you can bring your paperwork along and p Well of course Victoria Gough: But Celia Salmon: Yeah, Lottie Waters: if Celia Salmon: it Lottie Waters: you Celia Salmon: might Lottie Waters: have Celia Salmon: be Lottie Waters: a lot Celia Salmon: useful Lottie Waters: of paper Celia Salmon: for drawings. Lottie Waters: If Celia Salmon: I Lottie Waters: you've Celia Salmon: I agree Debra Stahlberg: Mm. Celia Salmon: on that. Lottie Waters: If Victoria Gough: But Lottie Waters: you've Victoria Gough: for notes, it i you you have to put that in a strict Uh you have to put a name, standard date, and all those things. And notes uh for a meeting are very strict. So if you uh were to write them down for yourself, and then put that in your computer, you still have to type it over to Word. Celia Salmon: Yeah, Victoria Gough: So it Celia Salmon: right. Victoria Gough: doesn't d doesn't have any Celia Salmon: That Stefan Lottie Waters: Yeah Celia Salmon: use. Lottie Waters: I understand. But I think uh d this option is only useful if you've got a lot of paperwork. You can't It's not very uh ni Celia Salmon: No, Lottie Waters: Yeah Celia Salmon: I Lottie Waters: well Celia Salmon: don't think so. Lottie Waters: a lot of documents Celia Salmon: It's Lottie Waters: are Yeah. Celia Salmon: it's only useful if you have to Debra Stahlberg: Yeah. Celia Salmon: draw something. Debra Stahlberg: it's really useful, I think. Celia Salmon: Yeah. Victoria Gough: Yep. Alright. Lottie Waters: Mu Victoria Gough: Um Lottie Waters: Yeah right. Victoria Gough: etcetera? Well uh the laptops? Celia Salmon: Yeah, great. Victoria Gough: Of course Debra Stahlberg: Yeah. Victoria Gough: great. Celia Salmon: Yeah. Debra Stahlberg: Hmm. Lottie Waters: Can we keep them? Victoria Gough: Yeah. Lottie Waters: Uh. Victoria Gough: You can. B by my Celia Salmon: Wireless uh wireless Debra Stahlberg: Thanks Project Celia Salmon: things. Debra Stahlberg: Manager. Victoria Gough: Yeah. Other uh things we used here? I hated the cameras, I hated the microphones. Celia Salmon: Well Victoria Gough: But Celia Salmon: these Victoria Gough: No Celia Salmon: chairs, Lottie Waters: Well Celia Salmon: man. Lottie Waters: did you really uh Celia Salmon: Really great. Lottie Waters: Did you really take uh take those in account? I Victoria Gough: No. Lottie Waters: half of time I didn't Victoria Gough: No. Lottie Waters: notice they were there. Victoria Gough: I Lottie Waters: So Victoria Gough: haven't looked w one time directly at the camera. I don't care about it. Debra Stahlberg: Well Lottie Waters: But Debra Stahlberg: I Lottie Waters: we Debra Stahlberg: did. Lottie Waters: shouldn't talk about that. Because this Victoria Gough: Well Lottie Waters: is Victoria Gough: w Lottie Waters: a Victoria Gough: why Lottie Waters: realistic Victoria Gough: not? Lottie Waters: environment. Victoria Gough: Uh etcetera We Lottie Waters: Right. Victoria Gough: N new Lottie Waters: Okay. Victoria Gough: ideas found? What kind of ideas for n a future schedule What? For future um Debra Stahlberg: Well Victoria Gough: meetings you have Debra Stahlberg: I missed Victoria Gough: got? Debra Stahlberg: uh the option to uh Celia Salmon: Communicate Debra Stahlberg: to email, Celia Salmon: in between. Debra Stahlberg: yeah. Email Celia Salmon: Yeah, right. Victoria Gough: Chatting Debra Stahlberg: or chat Lottie Waters: But Victoria Gough: and Lottie Waters: yeah. Debra Stahlberg: or Victoria Gough: emailing. Debra Stahlberg: something. Lottie Waters: W Celia Salmon: Yeah. Lottie Waters: well th that's just the the environment they set us up f with. So Debra Stahlberg: Yeah alright, but that's one n new idea. Celia Salmon: Yeah, I agree. Victoria Gough: Well, new ideas found by this. Not. Nothing. Celia Salmon: Well, Victoria Gough: We Celia Salmon: more Victoria Gough: don't Celia Salmon: more Victoria Gough: want this. Celia Salmon: information in the beginning. Victoria Gough: We hate this. Debra Stahlberg: Yeah. Celia Salmon: That's Victoria Gough: Digital pen is useless. Debra Stahlberg: No Victoria Gough: So Debra Stahlberg: it isn't. Victoria Gough: Yeah, Lottie Waters: Well, Victoria Gough: for drawings. Lottie Waters: for drawing for drawings. Debra Stahlberg: Yeah. Lottie Waters: Yeah. Debra Stahlberg: So it isn't useless. Victoria Gough: But uh two t But uh th then you have to have a lot of drawings, because Lottie Waters: Well Victoria Gough: if I had a company and I'm going to uh buy those expensive huge expensive uh things, I and I have to w pay those uh papers uh that are expensive, I'm not going to uh Celia Salmon: For Lottie Waters: No Celia Salmon: people who uh sketch th the whole day, I can Debra Stahlberg: Yeah. Celia Salmon: imagine that it's useful. Victoria Gough: Well th Lottie Waters: But it's Victoria Gough: then Lottie Waters: still Victoria Gough: still Lottie Waters: an expensive Victoria Gough: they they they Lottie Waters: uh expensive Victoria Gough: should have a a nice graphics programme on the laptop. Because this is huge Celia Salmon: Well Victoria Gough: uh Debra Stahlberg: Well Victoria Gough: this Debra Stahlberg: you Victoria Gough: v Debra Stahlberg: you Victoria Gough: very Debra Stahlberg: can't you Victoria Gough: very Debra Stahlberg: can't Victoria Gough: uh Debra Stahlberg: draw Victoria Gough: expensive Debra Stahlberg: on a laptop Victoria Gough: paper. Debra Stahlberg: like you like you paint of or draw with your hand. Celia Salmon: Yeah, I agree. Debra Stahlberg: With Lottie Waters: But Debra Stahlberg: the mouse Lottie Waters: if w Debra Stahlberg: it is Lottie Waters: Yeah. Debra Stahlberg: No. Victoria Gough: Yeah. Lottie Waters: Well and Celia Salmon: Mouse Lottie Waters: if Celia Salmon: is ju just isn't working if you're sketching. Debra Stahlberg: Uh indeed. Lottie Waters: And but what if uh maybe this this board uh SMARTboard is malfunctioning or someone. But suppose it was working correctly, what uh would it be useful then, if it wasn't off all the time? Victoria Gough: Well no. I Lottie Waters: A Victoria Gough: hated to draw like that. You you can't Lottie Waters: Really? Victoria Gough: draw anything uh neat. Celia Salmon: Yeah, but he's saying if it is correct, and you can draw very, Lottie Waters: Anything you want. Any b b Celia Salmon: yeah, Lottie Waters: Yeah. Victoria Gough: I Celia Salmon: very Lottie Waters: L li Victoria Gough: if Celia Salmon: precise Victoria Gough: it Lottie Waters: li Victoria Gough: if it would be perfect following. Lottie Waters: Yeah. Victoria Gough: Well Lottie Waters: Well Victoria Gough: th Lottie Waters: it Victoria Gough: th Lottie Waters: isn't, but Victoria Gough: then Lottie Waters: maybe Victoria Gough: still Celia Salmon: Yeah, Lottie Waters: that thing Celia Salmon: mu Victoria Gough: it's Lottie Waters: is uh is Victoria Gough: it's it's very expensive uh towards a a just a green Lottie Waters: Yeah, Victoria Gough: uh Lottie Waters: board, Debra Stahlberg: Yeah, Lottie Waters: a school Debra Stahlberg: but Lottie Waters: board, Debra Stahlberg: but Lottie Waters: yeah. Debra Stahlberg: then you can Victoria Gough: school board. Debra Stahlberg: uh save it in instantly, and Lottie Waters: Yeah. Debra Stahlberg: and and Victoria Gough: Yep. Lottie Waters: I it Debra Stahlberg: re-use Celia Salmon: It Lottie Waters: has Celia Salmon: saves Lottie Waters: It Debra Stahlberg: it, Celia Salmon: time. Lottie Waters: is Debra Stahlberg: and Lottie Waters: useful. Debra Stahlberg: uh Lottie Waters: Yeah. Victoria Gough: Yeah yeah. Lottie Waters: This uh if it works correct, maybe this thing this thing is just malfunctioning. So uh if we get in uh if we get another one and you make sure it does work, Victoria Gough: Yep. Lottie Waters: I think then it's pretty useful. Victoria Gough: Yeah. Lottie Waters: Because uh yeah you can draw t things quickly and uh clearly for anyone uh in the discussion room. And then you can save it immediately. Victoria Gough: Well, they are now. Debra Stahlberg: Hmm. Celia Salmon: Celebration. Victoria Gough: It is. So, Lottie Waters: Did you type Victoria Gough: congratulations Lottie Waters: that? Debra Stahlberg: Hmm. Victoria Gough: crew. Debra Stahlberg: Celebration. Victoria Gough: Se Celia Salmon: Well Debra Stahlberg: Yeah, we can go to the bar and uh with our Victoria Gough: Finally my beer. Debra Stahlberg: newly earned money. Victoria Gough: Well, that's it I think. Debra Stahlberg: Yeah. Victoria Gough: Um I don't know how long we still have. I dunno how long uh we had for this last meeting. But uh Lottie Waters: Maybe till four o'clock or something? Well dunno. Yeah. Victoria Gough: Well yeah, it is a bit uh Well we still have to make the end report and uh all those things. I have to do that. Celia Salmon: Yeah. You better Victoria Gough: I Celia Salmon: get started. Victoria Gough: Di did you um save Debra Stahlberg: Oh. Victoria Gough: this one in the folder? Debra Stahlberg: No. Victoria Gough: Can you Debra Stahlberg: No Victoria Gough: do that? Debra Stahlberg: no no no. Lottie Waters: No we must save this thing, yeah. In the shared map map. Debra Stahlberg: But Nils you've got some work left. Victoria Gough: I don't know what you have Lottie Waters: Map, Victoria Gough: to do. Lottie Waters: is it a good word? The Celia Salmon: Huh. Lottie Waters: folder, yeah. Debra Stahlberg: I have to go to a Victoria Gough: Yeah. Debra Stahlberg: physiotherapy. Victoria Gough: Oh it worked. Two Debra Stahlberg: Wow. Victoria Gough: times quick. Celia Salmon: Oh, alright. Victoria Gough: Cool. Lottie Waters: So it is useful, Debra Stahlberg: Yeah. Lottie Waters: yeah. Debra Stahlberg: It Celia Salmon: Oh Debra Stahlberg: is Lottie Waters: No Debra Stahlberg: handy. Celia Salmon: great, Lottie Waters: but uh Celia Salmon: man. I'm gonna Victoria Gough: This Celia Salmon: buy Victoria Gough: is nice. Celia Salmon: one buy Lottie Waters: Radical. Celia Salmon: one for my bedroom. Victoria Gough: Uh Lottie Waters: Yeah. Victoria Gough: D design. Lottie Waters: Do you believe it yourself? Victoria Gough: S Oh. He saved them all ten. Well alright. Um Debra Stahlberg: Well they they wanted everything we produced, so Lottie Waters: They Victoria Gough: Yeah. Lottie Waters: also want to see my cat and his rabbit, and uh Victoria Gough: Well Debra Stahlberg: My big bird. Lottie Waters: Your big beautiful bird. Victoria Gough: Where is this? Lottie Waters: Maybe the pen is just uh uh broken and the board isn't. Of or the other way around uh Celia Salmon: Maybe you are broken. Lottie Waters: Yeah I think so too. Celia Salmon: You Debra Stahlberg: I think Celia Salmon: know. Debra Stahlberg: you have we have to make clear to her that we are ready. Celia Salmon: I think she's listening. Victoria Gough: I also think so. She Lottie Waters: Who Victoria Gough: already Lottie Waters: is Victoria Gough: knows. Lottie Waters: she you're talking about? Oh Victoria Gough: She? Lottie Waters: you mean our uh Victoria Gough: Big brother. Lottie Waters: coach, our f personal coach. Victoria Gough: Our manager. Lottie Waters: Is she also our accountant? Is she responsible for Victoria Gough: Yeah. Lottie Waters: sending that information so late? Victoria Gough: I don't think so. Lottie Waters: Oh. Debra Stahlberg: Close Lottie Waters: Because Debra Stahlberg: your laptop. Lottie Waters: then we have to confront her with our Debra Stahlberg: So she can see we're ready. Celia Salmon: I feel watched. Victoria Gough: Alright. Debra Stahlberg: Yeah. Victoria Gough: We put the fashion in Debra Stahlberg: Let's Victoria Gough: electronics, Debra Stahlberg: take this remote into Victoria Gough: but Debra Stahlberg: uh Victoria Gough: we couldn't Debra Stahlberg: production. Victoria Gough: because of the costs. That that's Lottie Waters: Yeah. That Victoria Gough: the Lottie Waters: that's Victoria Gough: title Lottie Waters: our new Victoria Gough: of Lottie Waters: slogan. Victoria Gough: our uh Celia Salmon: Yeah. Victoria Gough: end document. Lottie Waters: Yeah, I Victoria Gough: We Lottie Waters: like Victoria Gough: couldn't Lottie Waters: that. Victoria Gough: put the fashion into the electronics. Lottie Waters: Blame our accountants. Celia Salmon: Do that. Victoria Gough: Yeah, that's a nice title. Celia Salmon: Yeah. Lottie Waters: But we couldn't, yeah. Celia Salmon: Very catching. Victoria Gough: Oh. Lottie Waters: Well I th Celia Salmon: I'm Lottie Waters: Yeah. Celia Salmon: sure management would like that. Victoria Gough: Well Debra Stahlberg: She's on the move. Victoria Gough: I'm going to resign after this project anyway, so Celia Salmon: Oh, that's just great.

Lottie Waters and Debra Stahlberg presented the drawing of a prototype. It is rounded, with the front made of hard plastic in different colours. The back, as well as the lower part of the front are made of titanium. The back has the logo and slogan of the company engraved in its middle. The buttons include oval digit buttons, arrow-shaped channel and volume controls in the middle; below those, is the menu (for the LCD) and the video button. The LCD can be found at the lower section of the device. After the presentation, the product was evaluated. This was done on a scale of 1(excellent)-7(very bad) on fancifulness, ease of use, finding the device when it is lost, hi-tech features, incorporation of fashion trends, and ergonomic design. Because it was over budget, titanium was replaced by plastic and the speech recognition was discarded. They thought it would have been more sensible to have the component costs before the prototype design. Finally, the team evaluated the project process in terms of creativity (generally satisfied), leadership (the process was democratic, not happy with management), teamwork (happy with it), and means (SMARTboard was 'a disaster' and the digital pens only good for drawings).

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Eleanor Hogue: So welcome. The first kick-off meeting. What we do? First the opening, then the rest. What are we going to do. We m have to make a new remote control. It has to be original, trendy and user-friendly. So we will get back th on that. First we have to make a functional design. After that we have to make a conceptual design, and then after that a detailed design. So we'll discuss that later. First we have a look at. to we have to make a small painting. What have do we have to do. First you can save the documents. We have to do that every time we make something. You can print it. No. And we have to use the pen and the eraser. So Now. We all have to use this one. You have to make your own favourite animal. So I'll make an example. Charlotte Harden: Yep. Eleanor Hogue: First don't touch that things. You can use the pen. And then you can make um something. Diane Campos: Nice. Eleanor Hogue: Um you can change some things. Um format, line, and change it. And you can change the colour. Diane Campos: elephant. Eleanor Hogue: So that's it. So Eleanor Hogue: So and after it you have to save it. Charlotte Harden: Okay. Eleanor Hogue: Now we can make a new one. You have to paint now. Charlotte Harden: Oh. Eleanor Hogue: So you're next. Diane Campos: 'Kay. Charlotte Harden: Well we will try. Where it going? Vivian Emerson: Hmm. That's uh strange. Eleanor Hogue: What is going on? Diane Campos: pop-ups. Eleanor Hogue: What are Charlotte Harden: Hmm. Eleanor Hogue: you What? Diane Campos: What is this, Pictionary. Charlotte Harden: Uh Eleanor Hogue: Um Diane Campos: Uh Eleanor Hogue: Is Diane Campos: a Eleanor Hogue: a It Diane Campos: bird. Eleanor Hogue: is a It is a Diane Campos: Bird. Eleanor Hogue: A duck. Charlotte Harden: Mm. So Now save? Diane Campos: Yeah. Eleanor Hogue: Yes. Hmm. Charlotte Harden: Now uh blank? Eleanor Hogue: Blank, yes. Vivian Emerson: Yeah. Charlotte Harden: Yeah. Eleanor Hogue: Okay next one. Vivian Emerson: Okay. Let's try Diane Campos: Whoo. Vivian Emerson: this. Uh Charlotte Harden: Yeah, yeah. Vivian Emerson: Um. Mm-hmm. Mm. Diane Campos: Oh not. Oh. Eleanor Hogue: Oh. Diane Campos: Okay. Okay. Yeah. No problem. Shit happens. Charlotte Harden: I'm not getting anything uh on my screen now. Okay. Diane Campos: A parrot. Charlotte Harden: Wow. Diane Campos: Ish. Charlotte Harden: Oh. Diane Campos: He did it before. Vivian Emerson: Uh Vivian Emerson: No, no. Yeah. Okay. Charlotte Harden: Nice. Diane Campos: Oh. Eleanor Hogue: Very good. Vivian Emerson: Uh blank. Diane Campos: Thank you. Eleanor Hogue: Okay. Very good. So um you can always go back. So That's it. So that was two. Now next. The budget. The b Uh we will sell the t at twenty five Euros. And we have only twenty of twelve and a half Euro to make it. So now we have to think about what we will make. First I wanna hear from you. Uh what are your experiences with remote controls. So Diane Campos: Uh I will start. Eleanor Hogue: F Diane Campos: Uh Eleanor Hogue: first. Diane Campos: Big one, they are uh not easy to use. when I dropped it, uh it broke. So that won't be uh our goal, I think. Vivian Emerson: No. Diane Campos: And uh g big buttons, m uh that's easier to use than uh I think. Not all the small buttons, you Eleanor Hogue: Is Diane Campos: don't Eleanor Hogue: this Diane Campos: know Eleanor Hogue: positive or negative, that uh big buttons? Diane Campos: Big buttons, positive. Eleanor Hogue: Positive. Diane Campos: All all small buttons like when you have uh like a hundred buttons on your remote control, you won't know what they're working for. Eleanor Hogue: Okay. What are your experiences? Vivian Emerson: Uh well I think the the the goal of a remote control is that it's it it has an influence on the T_V_ set. And that Eleanor Hogue: Mm. Vivian Emerson: it controls the channels and the the volume. And uh I I I think it's positive if corner of the of the remote. So that you know it s it still has batteries on it in it. And that if you push the button the LED uh gives a light, and uh and you see that it's working. And uh yeah. Uh Eleanor Hogue: So Vivian Emerson: Yeah, Eleanor Hogue: and Vivian Emerson: but Eleanor Hogue: do they always have that? Vivian Emerson: No no no. But I my my experience is that it it it's convenient Eleanor Hogue: It's Vivian Emerson: to have Eleanor Hogue: easy Vivian Emerson: that. Eleanor Hogue: to you. Vivian Emerson: Yeah. Eleanor Hogue: Okay. Vivian Emerson: Yeah. Eleanor Hogue: 'Kay. Charlotte Harden: Uh at home we have a T_V_, a video uh recorder, a D_V_D_ player, and a satellite receiver. have uh four distinctive remote controls Diane Campos: Thank Charlotte Harden: for that. Diane Campos: you. Charlotte Harden: That's not really ea easy. Diane Campos: Help also. Charlotte Harden: So it would be nice if we have one for all. Diane Campos: Thank you. Charlotte Harden: And we also had a remote control for our radio set. But um i it it had a lot of buttons on it, and you didn't know which one was what. And it was uh uh v not easy to use. So we n barely used it. Eleanor Hogue: Okay so they have too much. So Vivian Emerson: Hmm. Eleanor Hogue: next. For our own remote control we have to think how do we make it. So what ideas do you have for it, for the new remote control? What what does it have to have? Diane Campos: The weight. Not not too heavy. Eleanor Hogue: Not too heavy. Diane Campos: Not Eleanor Hogue: Yes. Diane Campos: much buttons. Eleanor Hogue: Yeah. Diane Campos: Bust-free. That when you drop it, it won't break. Like uh some kind of rubber on it. Or hard uh hard plastic. Uh buttons not too small. Diane Campos: Uh something like when you uh lose your uh remote control, sometimes it happen. Eleanor Hogue: Yes. Diane Campos: Uh it between the couch and you can't find it. When you push a but a button on the T_V_, then you hear some uh some sort of bleep. Eleanor Hogue: Like Diane Campos: And Eleanor Hogue: a Diane Campos: then Eleanor Hogue: phone. Diane Campos: you uh, hey there there's remote control. Charlotte Harden: Yeah. Eleanor Hogue: Okay. Vivian Emerson: Yeah. Eleanor Hogue: So, Diane Campos: Next. Eleanor Hogue: that's. Vivian Emerson: Yeah well that's that are good ideas. Uh Yeah well the LED on the corner, that that indicates that it's working. If you push a button. Um Yeah. And looking on the budget, not too expensive uh material. So probably plastic or something. Uh Eleanor Hogue: Okay. Charlotte Harden: Yeah I think it uh from a marketing point of view, it also has to look nice. Or you won't sell it. Eleanor Hogue: Yes. Charlotte Harden: And um yeah uh on our website we can see what products we already have. And it should work with as many uh as possible of them. Eleanor Hogue: Okay. This is It has to be compatible with other things. Charlotte Harden: Yes. Eleanor Hogue: Okay. Diane Campos: I have one more idea. Just popped up. Eleanor Hogue: Yes? Diane Campos: Uh it it won't take a lot of batteries. So you don't won't have to change the batteries uh once a week or uh once every two weeks. Eleanor Hogue: No battery use. So more ideas? Vivian Emerson: Mm no. Eleanor Hogue: No okay. It's only the first ideas. So uh what are we going to do now is Next meeting is in half an h hour. Uh Okay. Next meeting, half an hour. Um, what you have to do. Well look on your. And Next instructions you'll get in your email. So This is the first meeting. See you later in half an hour. Vivian Emerson: Yes. Diane Campos: Okay. Charlotte Harden: Okay. Diane Campos: Thank you.

For the first meeting, the task of designing a remote control was briefly introduced along with the plan for the subsequent meetings. The group then drew animals to practise using the drawing platform. They discussed their likes and dislikes regarding current remote controls, including ease of use, multiple systems and power indicators. They then offered suggestions as to what they would like from their remote. They would like the remote to be durable, for it to include a device to help find it when lost and not use too many batteries.

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Jacquelyn Hiltz: Welcome back. Brandi Bennett: Hello. Sarah Powers: Hello. Jacquelyn Hiltz: Uh let Sarah Powers see. Brandi Bennett: There's one of mine. Jacquelyn Hiltz: Okay Roo. welcome back. Brandi Bennett: Hello, Flores. Jacquelyn Hiltz: The waiting is for Sebastian. There he is. Brandi Bennett: We Julia Bank: Is Brandi Bennett: have Julia Bank: there Brandi Bennett: a slight Julia Bank: any time Brandi Bennett: problem. Julia Bank: for a cup of coffee? Brandi Bennett: I opened uh the Jacquelyn Hiltz: Sorry? Brandi Bennett: C_D_ ROM box Julia Bank: Can I get Brandi Bennett: uh Julia Bank: a Brandi Bennett: guys. Julia Bank: cup of coffee? Jacquelyn Hiltz: Uh no. Julia Bank: Okay. Jacquelyn Hiltz: You can't, sorry. Brandi Bennett: So just cancel it. Julia Bank: Well, during my work I have no time either. So Jacquelyn Hiltz: Well, this is life. Sorry uh, Roo. Brandi Bennett: Yeah, I opened the C_D_ ROM box. Jacquelyn Hiltz: Okay. Brandi Bennett: Accidentally. Jacquelyn Hiltz: Okay. Brandi Bennett: But it's alright. Jacquelyn Hiltz: People, welcome back with the second meeting. Um for now on the schedule are a few points. Uh first of all the opening, which we are doing now. Um second, I received um some new project requirements. I'm not sure if you received them as well, um but I will tell you about it. Brandi Bennett: Mm-hmm. Jacquelyn Hiltz: Um then um the three of you uh prepared a presentation, I think? Sebastian? Julia Bank: I think so too. Jacquelyn Hiltz: Roo? Brandi Bennett: Yeah. Jacquelyn Hiltz: Ruud? Sarah Powers: Almost. Jacquelyn Hiltz: Almost, okay. Then we'll do your one uh uh as la uh the last. Um the top Brandi Bennett: But you can't Jacquelyn Hiltz: goal of Brandi Bennett: upload Jacquelyn Hiltz: this m Brandi Bennett: your presentation from here, I believe. Jacquelyn Hiltz: Um we will figure that out. Brandi Bennett: Okay. Jacquelyn Hiltz: Ca Sarah Powers: Uh Jacquelyn Hiltz: can Sarah Powers: if Jacquelyn Hiltz: you try Sarah Powers: it Jacquelyn Hiltz: to Sarah Powers: if it wireless I could just uh Jacquelyn Hiltz: Yeah, Sarah Powers: it in the. Jacquelyn Hiltz: w we will see. Brandi Bennett: I don't think it's wireless Jacquelyn Hiltz: Um Brandi Bennett: here. Julia Bank: It is. Brandi Bennett: Or it is. Jacquelyn Hiltz: it Julia Bank: It Jacquelyn Hiltz: is, Julia Bank: is. Brandi Bennett: Yeah? Jacquelyn Hiltz: yeah. Brandi Bennett: Okay, Sarah Powers: Uh okay. Brandi Bennett: great. Jacquelyn Hiltz: Yeah. Um the top goal of this meeting is to reach a decision on the product, on the target group um and and the functions of the remote control, so keep that in mind. Um we have forty minutes. So it's now Yep. Okay. Um the new project requirements, first of all, um we didn't speak about it, but we should not um support teletext in the remote, um because our b um board uh feels that uh teletext is out of date and internet is replacing teletext. So um we are not even going to try to um implement it in our product. It's a board decision. Um the remote control should only be used for television, because it's not uh f uh feasible, it's not uh Brandi Bennett: Yeah. Jacquelyn Hiltz: w uh uh we we cannot make it because of the time to market um that we have to deal Brandi Bennett: Time, Jacquelyn Hiltz: with. Brandi Bennett: yeah. Jacquelyn Hiltz: Uh the third requirement is that we should focus on customers that are younger than uh forty, which is important for you, uh Ruud, and as well for uh Roo. Because the product should um be uh interesting and and uh should be bought by people younger than forty. Um then for Roo, as well uh important, the corporate image should be recognisable in our product. So the colour colours and the slogan um do have to be uh in the product. Brandi Bennett: Yes. Jacquelyn Hiltz: Is that clear? Any questions on these requirements? No? Okay. Um the individual presentations, I th um Roo or Sebastian, who of you would like to start? Brandi Bennett: Yeah, I'll start Jacquelyn Hiltz: Uh uh Julia Bank: Yes. Jacquelyn Hiltz: yeah. Okay, great. Brandi Bennett: Um Oh, how can I uh Geez, and sli and show. Um Just uh press it. Uh yes. Alright. Um well w we uh we had discussed this already in the fin in the previous uh discussion. Uh the method of the remote control is just the function of remote control is basically to send messages to the television set. So that was the main uh important thing Jacquelyn Hiltz: Yeah. Brandi Bennett: what a remote control should do. Then I found uh two different kind of remote controls, the multi-function uh remote control with many possibilities, but um the lack of the feeling I already mentioned uh in the previous uh discussion. Jacquelyn Hiltz: Mm-hmm. Brandi Bennett: And the ease-of-use remote control with uh the less p possibilities but a great feeling in in touching the buttons. Jacquelyn Hiltz: Yeah. Brandi Bennett: Um but um yeah. My personal preferences were ease of uh the easy to use remote control, because uh the user-friendliness and uh it can be more trendy in in user design. But um your new goal f was for uh people than less than forty years old. Jacquelyn Hiltz: Uh-huh. Brandi Bennett: So maybe um the multi-function can be implemented in uh in our design. But it should b I think it should be a combination, but teletext buttons are not uh in our design. So it should uh take out, well, eight buttons or so. But my in my opinion, the the easy to use R_C_ is uh the best uh possi possibility for us. Jacquelyn Hiltz: Okay. Uh Ruud, did you get that? Sarah Powers: Yeah, Brandi Bennett: Yeah. Sarah Powers: uh b uh most. Jacquelyn Hiltz: Okay, so the important thing here is Brandi Bennett: And it's also Sarah Powers: Oh, Brandi Bennett: i Sarah Powers: user-friendly. Brandi Bennett: indeed uh uh Ruud's uh insight in the in the topic. Jacquelyn Hiltz: In the market, Brandi Bennett: Yeah, Jacquelyn Hiltz: yeah. Brandi Bennett: what what does the market want? I I don't know. Jacquelyn Hiltz: Yeah, okay, w we Brandi Bennett: Just Jacquelyn Hiltz: will s Brandi Bennett: for uh Jacquelyn Hiltz: we all Brandi Bennett: for Jacquelyn Hiltz: uh Brandi Bennett: user desi uh user uh friendliness I uh should choose for the the ease of use remote control. Jacquelyn Hiltz: Yeah. Okay. Sebastian. Julia Bank: Okay. Julia Bank: Excuse Sarah Powers. Brandi Bennett: Scusi. Julia Bank: Um Okay, it's still the right thing. Okay. Um well, there are some changes in the design requirements, so there are some changes in the method also. Um basically all this device has to do is send messages to a T_V_ set. And the m most easy way to do this is by uh sending pulses of infrared light to a T_V_ set. Well, I th I tried to uh implement a picture here, but it's Brandi Bennett: Energies Julia Bank: hardly readable. Brandi Bennett: and uh Julia Bank: Can you see it? Jacquelyn Hiltz: No, it's Julia Bank: No? Jacquelyn Hiltz: not visible. Julia Bank: Well Um, there's a energy source here. And um basically there it's connected to three things. The user interface connected to a chip, which is connected to the sender, which generates messages using uh infrared light, which are sent to the receiver. That's basically the idea. And there's a little picture, just for your imagination, how a device like this should look or can look. Okay. Um what have I found. Usually these kind of things consist of a battery, infrared diode, buttons, chips, and circuit board. That's all. It's cased together, nothing more than that. It's almost every piece of equipment um every piece of uh every T_V_ set Brandi Bennett: Yeah. Julia Bank: is controlled infrared. There are some exceptions, but most of all have uh infrared controls. And uh the more luxury uh remote controls have lithium buttons. And I think that's Brandi Bennett: The glow Julia Bank: what Brandi Bennett: in Julia Bank: we Brandi Bennett: the dark Julia Bank: w Brandi Bennett: uh concept Julia Bank: yes. Brandi Bennett: uh Julia Bank: In the and it's Brandi Bennett: we discussed. Julia Bank: a little more a little bit more fancy also. So maybe we should Jacquelyn Hiltz: Yeah. Julia Bank: consider that. Jacquelyn Hiltz: Okay. Julia Bank: Okay. I have a basic scheme of the things uh which are implemented. Um basically this is all there is. There's just one chip. There are a few buttons connected. Uh the buttons are lit. And the whole thing is transmitted by a infrared li diode, and there is not a power source here. So that's basically the total design of this piece of equipment. There's nothing Jacquelyn Hiltz: So it's Julia Bank: more Jacquelyn Hiltz: fairly Julia Bank: to it. Jacquelyn Hiltz: easy. Julia Bank: It's fairly easy. It's been done many times before, and Jacquelyn Hiltz: Okay. Julia Bank: I think we should uh Brandi Bennett: Succeed Julia Bank: we should Brandi Bennett: in it Julia Bank: c s Brandi Bennett: also. Julia Bank: succeed in in our plan to do this. Jacquelyn Hiltz: Okay, Julia Bank: So Jacquelyn Hiltz: good. Julia Bank: Okay, so uh personally I think we should infra use infrared, because uh otherwise our device cannot uh communicate with uh almost every T_V_ set. So I think that uh should be clear. Jacquelyn Hiltz: Okay. Julia Bank: Uh another important point is uh we really should use uh energy uh sparse, friendly components. Uh there are specially uh designed um energy-friendly components which consume uh far less power than uh conventional components. And um if we want to use uh a rechargeable design or uh a energy-save design, we should really implement them. Um for cost-effectiveness, we should really use a very low-cost uh circuit board, um because most of the production cost are are in this uh part of the equipment. Jacquelyn Hiltz: Okay. Julia Bank: And um the money we save on using this we can use uh for elaborate fancy lighting uh techniques, blinking LEDs and all that kind of fancy stuff. I think our uh users will really uh will really like that. Brandi Bennett: And what's the um if we use the LEDs, i does it use much more energy or Julia Bank: No, they're p f uh power friendly LEDs also. Brandi Bennett: Okay. Julia Bank: So we can use them. So that's no problem. Brandi Bennett: For the same costs, Julia Bank: Uh Brandi Bennett: it's can Julia Bank: no, Brandi Bennett: be Julia Bank: they're Brandi Bennett: uh in Julia Bank: uh Brandi Bennett: our Julia Bank: they're a little bit more expensive, but by uh um um Brandi Bennett: Combined Julia Bank: making Brandi Bennett: with the low-cost circuit board so it's Julia Bank: We can Brandi Bennett: uh Julia Bank: we can make its I think. Sarah Powers: Well you could only lit uh the buttons the buttons that are used most. So, the channel switching. Brandi Bennett: Yeah. Jacquelyn Hiltz: Yeah. Sarah Powers: Or Jacquelyn Hiltz: Yeah, but Julia Bank: Okay. Jacquelyn Hiltz: but the question is whether um two or four buttons makes uh m makes Brandi Bennett: But I Jacquelyn Hiltz: such Brandi Bennett: think Jacquelyn Hiltz: a difference in the costs if you already plan to uh include fancy lightning techniques, Julia Bank: Hmm. Jacquelyn Hiltz: I guess. Sarah Powers: Hmm, Brandi Bennett: Yeah, I Sarah Powers: true. Brandi Bennett: think it's the same as in the cell phone, just light in in the device that that shines on all the buttons, and Julia Bank: Yes. Brandi Bennett: not for Julia Bank: Well, it's not one light, it there are more lights in a in a in a Brandi Bennett: Yeah, but Julia Bank: mobile Brandi Bennett: not for Julia Bank: device. Brandi Bennett: each button Julia Bank: No Brandi Bennett: one Julia Bank: no no, Brandi Bennett: LED, I think. Julia Bank: no. That's right, that's right. Jacquelyn Hiltz: Okay. Julia Bank: So well, this uh should be it. Jacquelyn Hiltz: Okay. Julia Bank: Um have a think about it. Jacquelyn Hiltz: Yeah. Okay, Sarah Powers: Oh, Jacquelyn Hiltz: Ruud. Sarah Powers: mine is already outdated. Jacquelyn Hiltz: Okay well, we ar we Sarah Powers: Since Jacquelyn Hiltz: are Sarah Powers: uh Jacquelyn Hiltz: very curio curious to what the market um will feel about such a product. So any income is welcome. Input. Sarah Powers: Okay, make Well Uh then I'm sure the target market is uh ten million units. Brandi Bennett: Could Jacquelyn Hiltz: Okay. Brandi Bennett: you step a little bit more to the right? Yeah, Sarah Powers: But um Brandi Bennett: thank you. Sarah Powers: since uh the other part is uh forty percent of the market, I uh thought earlier we might want to constrain that portion of the market. But uh since uh the requirements changed, that's uh not a good idea. Uh well, skip this. Jacquelyn Hiltz: Yeah. Sarah Powers: Well, it's this till true, of course. That they only use ten percent the buttons. The buttons to zap are used the about uh fifteen hundred times, when uh the power button is only used one time. And the volume button's only four times. So they're obv obviously uh the most important buttons. And uh lots of people complained they kin can't find their remote control. Julia Bank: Mm. Sarah Powers: So we might want to build in a feature to uh support them. Some uh audio signal. Like Jacquelyn Hiltz: Okay. Sarah Powers: uh home phones. Or Jacquelyn Hiltz: Well, that's Julia Bank: Or Jacquelyn Hiltz: interesting. Julia Bank: a find a finding Brandi Bennett: Yeah. Julia Bank: function, Jacquelyn Hiltz: Yeah, Julia Bank: you know. That's Jacquelyn Hiltz: that's Julia Bank: quite Jacquelyn Hiltz: definitely Julia Bank: a Jacquelyn Hiltz: interesting. Julia Bank: yes. Jacquelyn Hiltz: It uh Brandi Bennett: Sound Jacquelyn Hiltz: it separates Brandi Bennett: signal. Jacquelyn Hiltz: our product from others uh Sarah Powers: Yeah. Jacquelyn Hiltz: as well. Brandi Bennett: Yeah. Jacquelyn Hiltz: Okay, Julia Bank: Yes. Jacquelyn Hiltz: go on. Sarah Powers: Well, I just said that. And uh well, this obvious, and he also said it. Jacquelyn Hiltz: Okay. So that's what the market tells us. Sarah Powers: Uh that's about it, Jacquelyn Hiltz: Yep. Sarah Powers: yes. Jacquelyn Hiltz: Okay. Brandi Bennett: The volume and uh the zap buttons are the mostly used. Sarah Powers: Uh mo uh zap Brandi Bennett: So Sarah Powers: buttons most. Volume, they are uh use a lot. But Brandi Bennett: Yeah, Sarah Powers: more than Brandi Bennett: well Sarah Powers: all Brandi Bennett: it Sarah Powers: the Brandi Bennett: should Sarah Powers: other buttons. Brandi Bennett: just Sarah Powers: So Brandi Bennett: have a design The perfect design for those only those buttons. Julia Bank: Yes. Brandi Bennett: And first um Julia Bank: Yes, we should focus on that, I guess. Brandi Bennett: Yeah. Jacquelyn Hiltz: Yep. Julia Bank: Well, the technical uh there I think there are no technical difficulties. There's no um elaborate technique uh used in this uh kind of equipment. So um I don't think we have any hiccups there. So we can fully concentrate on developing a product that is really um what the market needs. So maybe it's a good idea to think about these buttons and and Brandi Bennett: Yeah, Julia Bank: uh Brandi Bennett: the sound signal. Julia Bank: and a sound Brandi Bennett: Just one Julia Bank: signal. Brandi Bennett: thing I'm just wondering, the sound signal, from where do you Sarah Powers: Yeah, that's Brandi Bennett: execute Julia Bank: Well Sarah Powers: uh Brandi Bennett: th the s sound? Julia Bank: Yes. Th Sarah Powers: a problem. Julia Bank: that's Brandi Bennett: Another Julia Bank: a bit of Brandi Bennett: device Sarah Powers: Yeah. Brandi Bennett: is not a Julia Bank: that's Brandi Bennett: solution. Julia Bank: a problem. Jacquelyn Hiltz: Well maybe Julia Bank: Usually Brandi Bennett: It should be Jacquelyn Hiltz: maybe Brandi Bennett: uh uh Jacquelyn Hiltz: like clapping in your hands, like um Julia Bank: Oh Jacquelyn Hiltz: turning Julia Bank: yes. Jacquelyn Hiltz: on and off the the the Brandi Bennett: Yeah, Jacquelyn Hiltz: lights. Brandi Bennett: but maybe Julia Bank: Yes. Brandi Bennett: you'll uh get Julia Bank: Well, Brandi Bennett: some Julia Bank: there Brandi Bennett: new Julia Bank: there Brandi Bennett: technologies Julia Bank: are some devices Brandi Bennett: for it. Julia Bank: who uh incorporate this technique already. Um there are video sets and um they have a special button, the find the remote control button. You press it and your T_V_ set starts to make a uh kind of weird sound, and your uh remote controls then start Jacquelyn Hiltz: Reports Julia Bank: to beep. Jacquelyn Hiltz: rep Julia Bank: And Jacquelyn Hiltz: respend Julia Bank: um Jacquelyn Hiltz: response Brandi Bennett: Yeah, just Jacquelyn Hiltz: to it. Brandi Bennett: like uh Julia Bank: Yes. Yes, that's it. Brandi Bennett: the phones the Julia Bank: Yes, Sarah Powers: Yeah. Julia Bank: same thing. Jacquelyn Hiltz: But Brandi Bennett: But but Jacquelyn Hiltz: uh Brandi Bennett: T_V_s Jacquelyn Hiltz: th Brandi Bennett: don't have all uh Julia Bank: No, so we Brandi Bennett: uh buttons. Julia Bank: we Sarah Powers: And Julia Bank: should Sarah Powers: you Julia Bank: use Brandi Bennett: Uh Julia Bank: something else. Sarah Powers: Yeah, Jacquelyn Hiltz: Yeah, Sarah Powers: and usually Jacquelyn Hiltz: because Brandi Bennett: But I believe Jacquelyn Hiltz: we do not Brandi Bennett: you will Jacquelyn Hiltz: have a Brandi Bennett: have Jacquelyn Hiltz: a Brandi Bennett: an Jacquelyn Hiltz: a a a home um Julia Bank: We do not control the T_V_ set so Sarah Powers: And Julia Bank: well. Sarah Powers: even if the T_V_ set would have such a button, uh you would have to walk Julia Bank: Yes, Sarah Powers: to your T_V_, Julia Bank: m yes. S Sarah Powers: and it's Julia Bank: so it's is easy as possible for our customers, Jacquelyn Hiltz: Okay. Julia Bank: so Jacquelyn Hiltz: So Julia Bank: we should Jacquelyn Hiltz: what Julia Bank: think Jacquelyn Hiltz: about the Julia Bank: about Jacquelyn Hiltz: clapping technique? Um because Brandi Bennett: I'm Jacquelyn Hiltz: you se Brandi Bennett: convinced uh Sebastian will uh find Julia Bank: It's quite Brandi Bennett: uh one Julia Bank: complicated. Brandi Bennett: solution for Julia Bank: Well, Brandi Bennett: us. Julia Bank: it's quite complicated. Because how can you separate the clapping sound from other sounds. Sarah Powers: And Jacquelyn Hiltz: Well, you Sarah Powers: b Jacquelyn Hiltz: see it a lot in in light uh lightning Julia Bank: Yes, yes. Jacquelyn Hiltz: uh uh Julia Bank: Well, basically the characteristics uh the characteristics of clapping is just an increase in the volume, Jacquelyn Hiltz: Yeah, a Julia Bank: the amplitude Jacquelyn Hiltz: peak. Yeah. Julia Bank: of the sound, which is uh generated a few times within a uh certain period of time. Jacquelyn Hiltz: Yeah. Julia Bank: But there are many other sounds uh which are exactly the same from Sarah Powers: So Julia Bank: the Sarah Powers: if Julia Bank: point of Sarah Powers: if Julia Bank: view Sarah Powers: you'd Julia Bank: from Sarah Powers: be Julia Bank: a remote Sarah Powers: watching Julia Bank: control. Sarah Powers: a movie, it would constantly beep. Jacquelyn Hiltz: Yeah, Julia Bank: Yes, Jacquelyn Hiltz: that's true. Julia Bank: so we don't Brandi Bennett: But we Julia Bank: want Brandi Bennett: can Julia Bank: that. Brandi Bennett: have just uh uh Julia Bank: Maybe we Brandi Bennett: a Julia Bank: can Brandi Bennett: home stat uh f a base station next to the T_V_. Just a little antenna or uh something. Julia Bank: Something like that. Brandi Bennett: Well Julia Bank: Well, Brandi Bennett: if you lost Julia Bank: is there Jacquelyn Hiltz: Well Julia Bank: not Jacquelyn Hiltz: uh Brandi Bennett: th Julia Bank: something f Brandi Bennett: I Julia Bank: something Brandi Bennett: don't think Julia Bank: more Brandi Bennett: people Julia Bank: easily Brandi Bennett: would bother walking to the T_V_ and press that button Julia Bank: Well, I don't think uh. Brandi Bennett: because they lost the their remote. Uh that's Julia Bank: No, and Brandi Bennett: just Julia Bank: y Brandi Bennett: uh Julia Bank: the the most important thing for people is that there's a central point to which they can go Jacquelyn Hiltz: Yeah. Julia Bank: and uh b uh perform a a some kind of uh. And then uh the remote control uh reports itself, so w we should use have uh we should use something like that. You do not want another device, which can be uh everywhere in the house, which you have to find first before you can find your remote control. Brandi Bennett: just a base station next to the T_V_ Julia Bank: Yes, Brandi Bennett: is Julia Bank: something like that. Brandi Bennett: the best Julia Bank: But that will be very Brandi Bennett: possibility. Julia Bank: costly, I think. So Jacquelyn Hiltz: Yeah, m Julia Bank: that's Sarah Powers: Yeah. Jacquelyn Hiltz: maybe Julia Bank: not a good idea. Jacquelyn Hiltz: um w we uh we do agree on on the thing that the remote should have such a function, if it's possible within the costs and all that kind of things. Julia Bank: Mm-hmm. Jacquelyn Hiltz: Um maybe Sebastian should have uh a detailed look later Julia Bank: I will. Jacquelyn Hiltz: on and um come up with a solution, Brandi Bennett: Yeah. Julia Bank: Yes. Jacquelyn Hiltz: because that's his his field of expertise. Julia Bank: Yes. But um before I do that I w I want to warn you that uh by implementing this kind of a function the technical design will become more complicated Jacquelyn Hiltz: Mm-hmm. Julia Bank: um and it will become more costly also. Jacquelyn Hiltz: Yep. Julia Bank: Because there will be additional components which which uh will be used. And there are some Brandi Bennett: And Julia Bank: implepe Brandi Bennett: do we even Julia Bank: imp Brandi Bennett: uh prefer the sound above the the LEDs, the lightning Julia Bank: Well, Brandi Bennett: uh Julia Bank: I I think Brandi Bennett: function? Julia Bank: so, because um when you have a p newspaper Brandi Bennett: It's Julia Bank: over Brandi Bennett: a unique Julia Bank: your remote control, Brandi Bennett: item uh Julia Bank: you cannot see it. So Jacquelyn Hiltz: Yeah, it's a distinction Brandi Bennett: It will be an Jacquelyn Hiltz: in Brandi Bennett: a Jacquelyn Hiltz: the market. Brandi Bennett: unique feature Jacquelyn Hiltz: It's a different Brandi Bennett: of Sarah Powers: Yeah. Brandi Bennett: our Jacquelyn Hiltz: exactly. Brandi Bennett: remote control. Jacquelyn Hiltz: It's an uni an unique feature, Brandi Bennett: Yeah. Jacquelyn Hiltz: and um I think um it's worth um uh looking and and probably more i interesting than uh than the lights. Brandi Bennett: And just about uh the user interface, I came up with um an easy remote control and an advanced remote control. Jacquelyn Hiltz: Yeah. Brandi Bennett: What should we choose in in design? Jacquelyn Hiltz: Yeah. Well, um according to Ruud, um people do not use um Brandi Bennett: Well, the extra functions. Jacquelyn Hiltz: all the extra features very very often. So Sarah Powers: I have the numbers r I have the numbers right here. Jacquelyn Hiltz: Okay. Sarah Powers: Well, t uh we won't support teletext which which was the third-most Brandi Bennett: Used Sarah Powers: the second-most Brandi Bennett: option. Sarah Powers: used function. Jacquelyn Hiltz: Okay. Well, Julia Bank: Okay. Jacquelyn Hiltz: we we do have a wise board, so I'm not questioning that. Sarah Powers: Uh well yeah, channel selection is obviously the most important. Jacquelyn Hiltz: Yeah. Okay, so on Sarah Powers: So Jacquelyn Hiltz: the relevance scale uh the channel selection, the volume selection and the teletext. Sarah Powers: Yeah. Jacquelyn Hiltz: Well, we skip Sarah Powers: Yeah. Jacquelyn Hiltz: that. Sarah Powers: So Brandi Bennett: Well, Jacquelyn Hiltz: Okay. Brandi Bennett: so it just th the basic functions. And we don't have to use it for D_V_D_ players uh and all kind Julia Bank: No, Brandi Bennett: of stuff. Jacquelyn Hiltz: No. Brandi Bennett: So Julia Bank: no. Sarah Powers: Nope. Julia Bank: So that's out of the question. Brandi Bennett: Yeah. Jacquelyn Hiltz: Yeah. Julia Bank: So Brandi Bennett: Just through uh the easy uh design. Jacquelyn Hiltz: go Brandi Bennett: We Jacquelyn Hiltz: for Brandi Bennett: can Jacquelyn Hiltz: the Brandi Bennett: make Jacquelyn Hiltz: easier Brandi Bennett: uh Jacquelyn Hiltz: one. Brandi Bennett: a nice design Julia Bank: I Brandi Bennett: when Julia Bank: think also. Brandi Bennett: when there's not mu uh much Julia Bank: Yes. Brandi Bennett: buttons in it. So Julia Bank: Well, we Jacquelyn Hiltz: No. Julia Bank: should save costs uh by not implementing a lot of functions and uh the money that we can save from that we should use for uh having a nice design and Jacquelyn Hiltz: Yeah. Julia Bank: uh thinking about the user interface and Jacquelyn Hiltz: Okay, Ruud, how do you feel about that? Uh do you agree, do you think the market would would respond to uh a simple Sarah Powers: Uh well if we um include other uh innovative functions Jacquelyn Hiltz: Mm-hmm. Sarah Powers: uh then they uh might, 'cause young people uh like new features. Jacquelyn Hiltz: Mm Sarah Powers: So Jacquelyn Hiltz: yeah. Julia Bank: Yeah, that's right. Jacquelyn Hiltz: Okay, Julia Bank: Mm. Jacquelyn Hiltz: so this is is kind of uh Brandi Bennett: Uh just a few buttons, trendy design, nice lightning effects Julia Bank: Okay. Brandi Bennett: wh and Julia Bank: Well, Brandi Bennett: the Julia Bank: is Brandi Bennett: sound. Julia Bank: it maybe there's another possibility. You can make it look like an easy s piece of equipment, but it's quite elaborated, uh because it has many functions. Jacquelyn Hiltz: Yeah. Julia Bank: Maybe it's more important to make the make it look like a very uh friendly, easy to catch piece of equipment, but um Jacquelyn Hiltz: But but Julia Bank: nevertheless Jacquelyn Hiltz: are we not in in the in the manual uh I mean if you have few buttons, no Julia Bank: Mm-hmm. Jacquelyn Hiltz: display, Julia Bank: Mm-hmm. Jacquelyn Hiltz: um I mean uh I guess it's l it's working with with a shift functions and um one button can Julia Bank: Ok Jacquelyn Hiltz: uh Julia Bank: like that. Well, I was more thinking about a more elaborate way of controlling, by by these kinds of sticks or something like that. I don't know if if it's user-friendly. That's your field of expertise. Brandi Bennett: Yeah, Jacquelyn Hiltz: But Brandi Bennett: I don't Jacquelyn Hiltz: but how Brandi Bennett: know Jacquelyn Hiltz: does Brandi Bennett: yet. Jacquelyn Hiltz: how does the remote uh report uh r uh give back to the user w in what state it is? Because we do not implement Julia Bank: Mm-hmm. Jacquelyn Hiltz: uh a Julia Bank: There's Jacquelyn Hiltz: user Julia Bank: no, Jacquelyn Hiltz: history. Julia Bank: but there's no way to do that, because we cannot implement that kind of the system. Jacquelyn Hiltz: I know, Julia Bank: W Jacquelyn Hiltz: but but if we use uh like a stick, for example, Julia Bank: Mm-hmm. Jacquelyn Hiltz: um Julia Bank: Well, maybe we can use a light for that. When you move the stick to a to a position, maybe uh a light next to it can lit up. So you know I've just uh pushed the button, or I changed the channel or t uh turned up the volume. Something like that. Sarah Powers: And if you use that stick for volume control and channel uh selection, you have the m two most important functions Jacquelyn Hiltz: Yeah. Julia Bank: Yes. Jacquelyn Hiltz: Uh Sarah Powers: in one uh Jacquelyn Hiltz: and Sarah Powers: button. Jacquelyn Hiltz: we could Brandi Bennett: But Jacquelyn Hiltz: have Brandi Bennett: does Jacquelyn Hiltz: other Brandi Bennett: it Jacquelyn Hiltz: buttons Brandi Bennett: uh Jacquelyn Hiltz: for Brandi Bennett: I Jacquelyn Hiltz: the Brandi Bennett: then Jacquelyn Hiltz: for the Brandi Bennett: should Jacquelyn Hiltz: advanced Brandi Bennett: n just Jacquelyn Hiltz: uh Brandi Bennett: use Jacquelyn Hiltz: functions. Brandi Bennett: uh i instead of the stick, uh like many cell phones, just a round m well, should we Jacquelyn Hiltz: Yeah, Brandi Bennett: just Jacquelyn Hiltz: draw Brandi Bennett: use Jacquelyn Hiltz: draw it Brandi Bennett: a Jacquelyn Hiltz: on the board. Brandi Bennett: oh, we have a blank. Oh. Julia Bank: Oh yeah, something like that. It's Brandi Bennett: It's Julia Bank: not Brandi Bennett: just Julia Bank: really a Brandi Bennett: an Julia Bank: stick, Brandi Bennett: easy Julia Bank: but Brandi Bennett: uh way of of a round button what which can be pushed in Julia Bank: Yes. Brandi Bennett: four directions. Julia Bank: Yes. Brandi Bennett: Instead of a stick. A stick is v vulnerab vulnerable Julia Bank: Hmm. Jacquelyn Hiltz: Yeah, Brandi Bennett: when Jacquelyn Hiltz: it Brandi Bennett: it's Jacquelyn Hiltz: can Brandi Bennett: falling Jacquelyn Hiltz: break down. Brandi Bennett: down or uh Julia Bank: Yes, Sarah Powers: Yeah. Julia Bank: yes. Brandi Bennett: just a round uh button Julia Bank: And Brandi Bennett: should be the trick, I think. Julia Bank: Yes, and this also looks more fancy, I think. I think Brandi Bennett: Yeah. Julia Bank: it it will attract uh more Sarah Powers: A Julia Bank: uh uh Sarah Powers: younger Julia Bank: public, Sarah Powers: uh Julia Bank: I think. Sarah Powers: Huh. Julia Bank: But you're the marketing man. Sarah Powers: And it's also quite easy to use, so it'll it uh attract younger people because well new, and it might attract older people because it's easy to use. Brandi Bennett: Geez. Well, volume and something uh like that. Jacquelyn Hiltz: Uh-huh. Brandi Bennett: The programme up and down. Jacquelyn Hiltz: Okay, yeah. Brandi Bennett: And the vol yeah, the pen doesn't uh really does what I want. Julia Bank: Okay, that's good. Jacquelyn Hiltz: Okay, but w we still we're still in the question of uh um uh putting in advanced options. Um Ruud just told us um the market is interested in some advanced uh new techniques. Um however, uh keeping it simple is is important for the costs and all all those kind of things. We need to find a balance between Julia Bank: Mm-hmm. Jacquelyn Hiltz: uh the advanced techniques and and the user-friendliness. Brandi Bennett: But I think our our next step to look at is just that. So I don't think it's um we have something to do. Uh we can't discuss it right now, because n no one of us have has the information to discuss about that, Jacquelyn Hiltz: Um well, Brandi Bennett: I think. Jacquelyn Hiltz: for we do have to uh decide this this meeting. Brandi Bennett: Yes? Jacquelyn Hiltz: Yeah. We need to um have the uh the user function uh the functions Brandi Bennett: Mm-hmm. Jacquelyn Hiltz: decided and um Julia Bank: Okay. Jacquelyn Hiltz: uh our target audience. Brandi Bennett: 'Kay, Julia Bank: Okay. Brandi Bennett: but teletext is so uh is just Julia Bank: Do Brandi Bennett: scrapped. Julia Bank: do you want a list of functions? Do you want an explicit list? Uh which uh incorporates all function available on the device? Jacquelyn Hiltz: Um well, I do not want a full uh it's not necessary to to have a full list, but I want um the kind of functions, for Julia Bank: Okay. Jacquelyn Hiltz: example Julia Bank: Okay. Jacquelyn Hiltz: uh th the most important are volume and uh programme selecting. Julia Bank: Mm-hmm. Brandi Bennett: The ten digits. Jacquelyn Hiltz: Well, for example, that that's what we should think about. l how is the remote going to look? Brandi Bennett: Oh, Jacquelyn Hiltz: Not not in the user Brandi Bennett: and just Jacquelyn Hiltz: interface, Brandi Bennett: one function. Jacquelyn Hiltz: but Brandi Bennett: The the the the programme to programme button, the switch to uh two channels, Julia Bank: Mm-hmm. Brandi Bennett: when you have uh something on channel Julia Bank: Yes. Brandi Bennett: four and something on channel six, Jacquelyn Hiltz: Yeah. Brandi Bennett: just one button which which can uh Jacquelyn Hiltz: A Julia Bank: Change. Jacquelyn Hiltz: bit of a split Brandi Bennett: change Jacquelyn Hiltz: mode. Uh l like Brandi Bennett: yeah. Julia Bank: Yes, yes. Jacquelyn Hiltz: Yeah. Dual channel watch. Julia Bank: Yes. Brandi Bennett: Yeah. Jacquelyn Hiltz: Okay, well um m maybe I should write that down. Julia Bank: Well you're the secretary. Jacquelyn Hiltz: Uh Ruud, um what's your last name? Sarah Powers: Mielsen. Jacquelyn Hiltz: Mielsen, because I I was writing it down in the last uh Mielsen. Right. Um I put all the minutes I make into the shared folder. So if you want to have a look at it, you know where to find Julia Bank: Mm Jacquelyn Hiltz: it. Julia Bank: okay, Brandi Bennett: Alright. Julia Bank: but Jacquelyn Hiltz: Um Julia Bank: make a s make a sub-folder for it, because it's starting to fill up already. Jacquelyn Hiltz: Yeah, that's Sarah Powers: Yeah. Jacquelyn Hiltz: that's if you want to do it, Sebastian. Julia Bank: Sure. Brandi Bennett: Our B_S_C_ uh W_ uh Jacquelyn Hiltz: Okay, um Okay, so so um uh Volume. Programme. Uh dual channel. Uh Julia Bank: Yes, that's important. Jacquelyn Hiltz: And and do we want um Brandi Bennett: The Jacquelyn Hiltz: the Brandi Bennett: ten Jacquelyn Hiltz: ten Brandi Bennett: digits? Jacquelyn Hiltz: digits? Brandi Bennett: Yeah, Julia Bank: Well, Brandi Bennett: I believe so. Julia Bank: are are you sure? Sarah Powers: Well, if you want to go Julia Bank: I'm Sarah Powers: to Julia Bank: not so Sarah Powers: channel Julia Bank: sure. Sarah Powers: ninety and you have th that button. Brandi Bennett: Yeah. Julia Bank: Well, that's complicated, Jacquelyn Hiltz: Yeah. Julia Bank: but is that so relevant? Because I don't think but you should uh shou Brandi Bennett: I wouldn't Julia Bank: you should know Brandi Bennett: buy Julia Bank: that. Brandi Bennett: it personally. Julia Bank: If it Brandi Bennett: A remote Julia Bank: were so. Brandi Bennett: control without the ten digits. Julia Bank: Okay, I can Brandi Bennett: Uh Julia Bank: imagine Brandi Bennett: and I think Julia Bank: when Brandi Bennett: the Jacquelyn Hiltz: I Brandi Bennett: most Jacquelyn Hiltz: agree actually. Julia Bank: I can Brandi Bennett: Just Julia Bank: imagine Brandi Bennett: elder Julia Bank: when Brandi Bennett: elder Julia Bank: you're when Brandi Bennett: people Julia Bank: you Sarah Powers: Well Julia Bank: have a Brandi Bennett: would Julia Bank: satellite Brandi Bennett: would buy Julia Bank: decoder Brandi Bennett: it, but Julia Bank: and and you have, well, about six hundred channels, I can imagine you want this. But if you're uh a regular T_V_ user, and you just want uh to watch the the Dutch television networks, well, you can uh you can use uh about ten buttons. Jacquelyn Hiltz: But Julia Bank: That's enough. Jacquelyn Hiltz: we do Sarah Powers: But Jacquelyn Hiltz: have Brandi Bennett: Yep. Jacquelyn Hiltz: thirteen different Dutch channels. Sarah Powers: Yeah, Brandi Bennett: The older Sarah Powers: and Julia Bank: Well, Brandi Bennett: people Sarah Powers: if Julia Bank: but Brandi Bennett: only Julia Bank: how Sarah Powers: if Brandi Bennett: use Sarah Powers: we Julia Bank: how Brandi Bennett: five Julia Bank: often Brandi Bennett: of them. Julia Bank: do you watch Sarah Powers: And if Julia Bank: all Sarah Powers: we are Julia Bank: these channels? Sarah Powers: targeting Jacquelyn Hiltz: Often. Sarah Powers: at the younger audience, they will probably watch more channels than the older people. So Julia Bank: No, you're probably right. Brandi Bennett: Yeah. Julia Bank: Okay. But I think these uh ten uh buttons look a bit dull. Don't you think? Jacquelyn Hiltz: Well, it depends on the on the on the Julia Bank: The Jacquelyn Hiltz: looks, Julia Bank: design. Jacquelyn Hiltz: on the Brandi Bennett: On Jacquelyn Hiltz: on Brandi Bennett: the design. Jacquelyn Hiltz: the Julia Bank: Okay. Well, y then there should be Sarah Powers: Well Julia Bank: should done be done Jacquelyn Hiltz: You Julia Bank: something specific Jacquelyn Hiltz: c Sarah Powers: And Julia Bank: with Jacquelyn Hiltz: you Julia Bank: it. Jacquelyn Hiltz: can d make them very fancy by um I mean Nokia, they have ten digits on their phones Julia Bank: Mm-hmm. Jacquelyn Hiltz: and it still looks very fancy. Brandi Bennett: Yeah. Jacquelyn Hiltz: So I'm I'm I do not agree Uh Julia Bank: Okay, so you can experiment by uh with with shape or with size or with colour, that Jacquelyn Hiltz: Exactly, Julia Bank: kind of thing. Jacquelyn Hiltz: exactly. Julia Bank: Okay. Sarah Powers: And um there are some numbers about uh speech recognition here that uh younger people would like it. Uh it might be expensive and uh hard to implement, but it would be a solution uh Jacquelyn Hiltz: Okay, Sarah Powers: for Jacquelyn Hiltz: speech. Julia Bank: Well, maybe it can be combined with the find the remote control. Brandi Bennett: Yeah. Julia Bank: So um when you add uh speech recognition to your remote control, uh it's very easy to change uh the channel. Jacquelyn Hiltz: Yeah. Julia Bank: That's one thing. And it's very easy uh Jacquelyn Hiltz: To Julia Bank: to Jacquelyn Hiltz: find Julia Bank: find your remote control. Jacquelyn Hiltz: yeah. Julia Bank: So maybe that's a possibility, but I'm afraid it will be a bit costly. Sarah Powers: Yeah. Julia Bank: But Jacquelyn Hiltz: Uh Julia Bank: maybe when we uh Jacquelyn Hiltz: If if we would um drop the ten digits Julia Bank: Mm-hmm. Jacquelyn Hiltz: but keep the programme and the volume, because maybe Julia Bank: Okay. Jacquelyn Hiltz: people do not always want to use their voice, Julia Bank: Okay, okay. Jacquelyn Hiltz: um Sarah Powers: Especially elder people uh don't like voice recognition. So then we should implement such a but Jacquelyn Hiltz: Yeah. But we do focus on younger people. We d Julia Bank: Okay. Sarah Powers: Yes. Jacquelyn Hiltz: it it's a board Julia Bank: Well. Jacquelyn Hiltz: uh decision. Julia Bank: I I think it should uh should work, it sh we should manage that. Brandi Bennett: So we have to i Jacquelyn Hiltz: Okay. Brandi Bennett: to make um a decision between the ten digits or the voice recognition. Julia Bank: Yes. Well, the voice recognition has the main adva has another advantage. It's mas it makes it very easy for us to implement the find uh find the remote control button uh remote control Brandi Bennett: Mm-hmm. Julia Bank: function. So Jacquelyn Hiltz: Okay. Julia Bank: that's that's a big advantage, I think. Jacquelyn Hiltz: Okay, g good. Jacquelyn Hiltz: Okay. Julia Bank: There's only one disadvantage uh by implementing this. Um the power saving power saving will be a bit more difficult. So we can expect that there will be a less longer life to the batteries. Jacquelyn Hiltz: Mm. Julia Bank: But maybe can we we can think something smart about it. Jacquelyn Hiltz: Yep. Julia Bank: There are some uh hybrid hybrid devices which incorporate a solar panel and rechargeable batteries. Jacquelyn Hiltz: Okay. Julia Bank: So when you just Jacquelyn Hiltz: But Julia Bank: leave the device in a in a light room, it charges itself. You have Jacquelyn Hiltz: But Julia Bank: to do nothing Jacquelyn Hiltz: but can Julia Bank: for Jacquelyn Hiltz: we Julia Bank: it. Jacquelyn Hiltz: manage it Sarah Powers: M Jacquelyn Hiltz: bu uh for the costs? Because it seems Brandi Bennett: Twelve Jacquelyn Hiltz: like Brandi Bennett: dollar Jacquelyn Hiltz: a very Brandi Bennett: fifty. Sarah Powers: And uh if Julia Bank: Maybe, Sarah Powers: we Julia Bank: maybe not. Sarah Powers: if Julia Bank: I'll Sarah Powers: we Julia Bank: have to Sarah Powers: could Julia Bank: find that Sarah Powers: inc Julia Bank: out. Sarah Powers: uh include a c a cradle in which it could recharge, Julia Bank: Yes. Sarah Powers: then Julia Bank: So Sarah Powers: there wouldn't be uh a big problem. Julia Bank: No, that's Sarah Powers: 'Cause Julia Bank: very Sarah Powers: when Julia Bank: cheap. Jacquelyn Hiltz: Is Julia Bank: It's Jacquelyn Hiltz: a cradle very cheap? Julia Bank: Oh, it's very cheap. That's no problem. It's just a a case with two uh metal contacts. Jacquelyn Hiltz: I know, Julia Bank: It's Jacquelyn Hiltz: b uh but there should be an adapter as well. Julia Bank: Yes, but they're they're Sarah Powers: Yeah. Julia Bank: mass production. They're very cheap. So Jacquelyn Hiltz: Okay. Julia Bank: it will cost us p practically nothing. Jacquelyn Hiltz: Okay. We we have uh about ten minutes left this meeting. Um I would like to hear um maybe maybe you all have th uh things not um spoken about, yeah, but that are important. Uh Ruud, you you came up with the voice recognition uh data. Uh are there other things about the market we should know? Sarah Powers: Um I think we dealt with the most important information. Just that the younger part of uh the market isn't the forty percent we uh want to sell to. So we we should uh for least a bit uh look at the uh older people. But with Jacquelyn Hiltz: Okay. Sarah Powers: uh buttons like that, which are easy to use, we uh might attract them too. So Jacquelyn Hiltz: Okay. Sarah Powers: I don't think that's a big problem Julia Bank: Yeah. Jacquelyn Hiltz: Okay, so although we are focussing on younger people uh to make it uh profitable uh Sarah Powers: Yes. Julia Bank: Profitable. Sarah Powers: Yeah, profitable. Jacquelyn Hiltz: Profitable. We we yeah, we still need to take in account the the bit older people. Sarah Powers: Yes. Jacquelyn Hiltz: Okay. O okay. Um Roo. Brandi Bennett: I have nothing uh nothing to add, Jacquelyn Hiltz: Nothing to Brandi Bennett: I think. Jacquelyn Hiltz: add. Sebastian? Julia Bank: Um I just want to make a summary of all all things Jacquelyn Hiltz: Yeah? Julia Bank: uh spoken and uh Jacquelyn Hiltz: Great. Julia Bank: the different possibilities. Um so uh basically we've decided to implement a seemingly uh easy design. So on the outside it looks easy, but uh we can make it easy on the inside or elaborate on the inside. So that's one the those are the choices we have to make. But I think there's a big advantage in making it more elaborate by uh implementing uh speech techniques, uh Jacquelyn Hiltz: Mm-hmm. Julia Bank: voice recognition, that these kinds of things. Jacquelyn Hiltz: Yeah. Julia Bank: Um it makes it also more uh attractable, I think, to our uh audience. Um there are some advantages and some disadvantages, and the main advantage is that we can implement uh fancy techniques, which uh I think our customers will like. The disadvantage is that there are some concerns about uh the the costs and um the things like uh battery lifetime, energy saving. Jacquelyn Hiltz: Yep. Julia Bank: Uh another advantage is that the circuit board will become much more easier if we do not do not implement these buttons. If we just add uh uh a chip which does the voice recognition, uh our circuit board will become even more cheap. So Jacquelyn Hiltz: Yeah, and that was Julia Bank: that's another Jacquelyn Hiltz: the main issue, right? The Julia Bank: well, it Jacquelyn Hiltz: the Julia Bank: wa Jacquelyn Hiltz: board Julia Bank: it w it was an issue, but we also thought that we already thought we should do it as cheaply as possible. Jacquelyn Hiltz: Yeah. Julia Bank: And this even uh makes it more cheapy. So Brandi Bennett: But the cheaper the ch uh the the chip or th Julia Bank: Mm-hmm. Brandi Bennett: what was Jacquelyn Hiltz: The Brandi Bennett: it? Jacquelyn Hiltz: board. Brandi Bennett: The Julia Bank: The Brandi Bennett: circuit Julia Bank: circuit Brandi Bennett: board. Julia Bank: board. Brandi Bennett: The fewer buttons you can use Julia Bank: The Jacquelyn Hiltz: No, Julia Bank: fewer Brandi Bennett: on Jacquelyn Hiltz: it's Brandi Bennett: it. Jacquelyn Hiltz: th Julia Bank: buttons you have, Jacquelyn Hiltz: yeah. Julia Bank: the ch ch the cheaper Brandi Bennett: Yeah, Julia Bank: the circuit Brandi Bennett: okay. Julia Bank: board, Jacquelyn Hiltz: It's the other way around, Julia Bank: yes. Jacquelyn Hiltz: yeah. Brandi Bennett: Yeah. Julia Bank: And it's very cheap uh to incorporate uh uh an integrated circuit, a chip. So that's that's another Jacquelyn Hiltz: It shouldn't be Julia Bank: advantage. Jacquelyn Hiltz: a big issue. Brandi Bennett: Well it then Julia Bank: So Brandi Bennett: we should just uh take a look at the costs and Julia Bank: Yes, Brandi Bennett: uh Julia Bank: because I don't Brandi Bennett: especially Julia Bank: know Brandi Bennett: for the voice recognition. Julia Bank: Yes. I d I really don't know. So Brandi Bennett: No. Julia Bank: It Jacquelyn Hiltz: Okay. Julia Bank: can be costly. Maybe not. Jacquelyn Hiltz: I'm not sure how how we'll f uh determine the costs, I will have a look at it. Maybe you will Julia Bank: Yes. Jacquelyn Hiltz: get some information on that. Um Julia Bank: Yes, Jacquelyn Hiltz: I'm Julia Bank: I Jacquelyn Hiltz: not Julia Bank: al Jacquelyn Hiltz: sure how how Julia Bank: I Jacquelyn Hiltz: that Julia Bank: I hope my personal coach will uh Jacquelyn Hiltz: Yep. Julia Bank: have a lo uh look at it. Jacquelyn Hiltz: Okay, great. Um well, I Brandi Bennett: We're Jacquelyn Hiltz: think Brandi Bennett: done, Jacquelyn Hiltz: we're Brandi Bennett: I think. Jacquelyn Hiltz: qui quite done. Um for now we will have the lunch break. Julia Bank: How nice. Jacquelyn Hiltz: Um I'm don't know how long the break will be, but we'll find Brandi Bennett: Sarah Powers Jacquelyn Hiltz: out. Brandi Bennett: neither. Jacquelyn Hiltz: Um then we will have thirty minutes of time to perform our individual work, uh and I'm sure your personal coaches will uh assist you with it. Um I will put the minutes I just made in the project documents folder. If you want to look at it um well, just do. Um the Interface Designer, um I would like to the next meeting I would like to receive the uh components concept. Uh Roo, um from you I would Brandi Bennett: Interface Jacquelyn Hiltz: like to Brandi Bennett: industrial. Jacquelyn Hiltz: see Uh I'm sorry, yeah, Brandi Bennett: Yeah. Jacquelyn Hiltz: I'm sorry. User Julia Bank: Well, Jacquelyn Hiltz: Interface Julia Bank: we understand. Jacquelyn Hiltz: Designer, uh Roo, I would like to see the user interface c uh concept. And um Brandi Bennett: Uh the only problem is it that it depends on the divisions the decis uh decisions Sebastian makes. Julia Bank: Well Brandi Bennett: About the voice Jacquelyn Hiltz: Well, Brandi Bennett: recognition. Jacquelyn Hiltz: i it should Brandi Bennett: Well Jacquelyn Hiltz: be easy, that's w w what we concluded. It should Julia Bank: Mm yes. Jacquelyn Hiltz: be an easy interface with not so much buttons. Brandi Bennett: Yeah. Jacquelyn Hiltz: S just a a p a p a volume and a programme one. And um um yeah, some some fancy lights. I think that's what we decided. Julia Bank: So we drop the voice recognition? Jacquelyn Hiltz: No Julia Bank: Or Jacquelyn Hiltz: no no, Julia Bank: Oh. Jacquelyn Hiltz: we didn't but it shouldn't be integrated yeah, it's of course it's user interface, but um i I was talking about really the Julia Bank: Okay. Jacquelyn Hiltz: design of the Julia Bank: Well um do we really have to decide now or Jacquelyn Hiltz: No. Julia Bank: can we decide next meeting? Jacquelyn Hiltz: We can decide the next meeting. Julia Bank: Okay. Jacquelyn Hiltz: Yep. Julia Bank: Because I'll have some updated info on that uh Jacquelyn Hiltz: Yeah. I guess all of you have i updated info. I'm sure Brandi Bennett: Yep. Jacquelyn Hiltz: Sarah Powers will receive uh t uh you will do some trend watching. And I'm sure Sarah Powers: Hmm. Jacquelyn Hiltz: the market will um uh uh will change, Brandi Bennett: Adapt. Julia Bank: Adapt. Sarah Powers: Left. Jacquelyn Hiltz: adapt Sarah Powers: Hmm. Jacquelyn Hiltz: and um so we will see that. Um yeah, that's Brandi Bennett: That's Jacquelyn Hiltz: it for Brandi Bennett: it. Jacquelyn Hiltz: now. Brandi Bennett: 'Kay. Jacquelyn Hiltz: Any other questions or can we have the lunch? Julia Bank: We can have the lunch. Sarah Powers: Yeah. Jacquelyn Hiltz: Yeah, Brandi Bennett: I'll Jacquelyn Hiltz: okay. Brandi Bennett: take the lunch. Jacquelyn Hiltz: Good.

There are some new requirements for the project: the device will have to be for TV only, they should ignore the teletext function, as it is dated, and, also, the remote should be recognisable as a Real Reaction product. The target group will be people below 40. Brandi Bennett preferred an easy-to-use remote to a multi-function one. The function of the remote is relatively simple: by pressing a button a current is passed to the chip, and defines what signal is to be sent to the receiver (the TV) via infrared. The use of infrared, energy-efficient power source and cheap circuit was suggested. The remote could light up via LED's placed inside. Functions like zapping are very prevalent, as well as complaints about remotes being easy to lose. It also transpires that customers like innovative technology like speech recognition. The design can focus on such customer needs, like finding a mechanism to locate a lost remote. The functions of the remote will include a back button to switch between two channels, volume, program selection, and speech recognition, with a focus on simplicity of design.

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Connie Kachmarsky: Do you need to change anything on it Louise Frias: Um Connie Kachmarsky: Because? otherwise I will already open it. Louise Frias: Mm, don't think so. Connie Kachmarsky: Okay. Louise Frias: Unless uh things have suddenly change again. Connie Kachmarsky: Is it much changes? Louise Frias: Uh don't know. Maybe uh Connie Kachmarsky: Uh I didn't Louise Frias: you've got new information, Connie Kachmarsky: No no. I do Louise Frias: like Connie Kachmarsky: hot have Louise Frias: uh last time. Connie Kachmarsky: Only the same information. Louise Frias: Okay. Connie Kachmarsky: Hello, Sebastian. Wendy Martinez: Hello hello Mister P_M_. Connie Kachmarsky: I believe uh Miss uh Tentel is with us as well, in the control room. Wendy Martinez: Well, that's where the thinking goes on. Connie Kachmarsky: Oh, it's that Roo again, always late. Bongiorno. Rebecca Dupuis: Bongiorno. Wendy Martinez: I think you should punish him. You're the P_M_. Connie Kachmarsky: Hmm. Rebecca Dupuis: Punish. Connie Kachmarsky: I see some interesting okay. Wendy Martinez: Possibilities, Rebecca Dupuis: You wish. Wendy Martinez: yeah? Connie Kachmarsky: People, welcome back. Rebecca Dupuis: Welcome. Connie Kachmarsky: The third Rebecca Dupuis: Uh Connie Kachmarsky: meeting. Louise Frias: Oop. Connie Kachmarsky: I some points I would like to uh some some issues I would like to point out. Um first of all, um if you make minutes yourself as well, uh like Sebastian does, um could you put them on the shared folder? If you do not make minutes, no problem, but it's easy for Louise Frias to see what Rebecca Dupuis: Yeah. Connie Kachmarsky: you uh wrote down, so I could uh can uh um use that in the in the report. Um the second thing, um I was th uh s thinking to myself, I have this little remote control, and I'm talking to it, but I still need to point to the television, because it works with infrared. That's quite strange. Wendy Martinez: Yes. Connie Kachmarsky: Okay. Wendy Martinez: So Connie Kachmarsky: We'll come to that later, I g I think. Um the agenda for now uh uh are there any pre-discussion questions? Rebecca Dupuis: No. Wendy Martinez: Not at all. Louise Frias: No. Connie Kachmarsky: Okay. Um we wi we will have your individual presentations, uh then the decision on the remote control concept, um and uh the closing. Forty minutes in total for this. So um I think we we can immedis immediately start with the individual presentations, Wendy Martinez: Okay. Connie Kachmarsky: um the progress you've made. Um I think it might be smart to look at uh Ruud's um information first, Louise Frias: 'Kay. Connie Kachmarsky: because I understood there are some uh significant changes in the market Louise Frias: Hmm? Connie Kachmarsky: situation. Rebecca Dupuis: Alright. Louise Frias: Oh. Wendy Martinez: Just press the okay button, it Louise Frias: Yeah, Wendy Martinez: works. Louise Frias: Okay. Connie Kachmarsky: Um Louise Frias: Yeah. Connie Kachmarsky: yeah. Louise Frias: Yeah. My method? Wendy Martinez: How surprising. Louise Frias: Well, findings. Uh Ease of use is important, but uh innovation is more important, and a fancy look and feel is uh even more important. watchers have found out that the young target group likes fruit and vegetables in their uh clothes, shoes and furniture, and that they want spongy material. Probably watch too much Sponge Bob. Uh the older group uh still prefers dark colours. Simple shapes uh m material. But we since we are concentrating on uh the Connie Kachmarsky: Uh Louise Frias: younger Connie Kachmarsky: w Louise Frias: group Connie Kachmarsky: wait a Wendy Martinez: Oh Connie Kachmarsky: sec Wendy Martinez: wait uh wait up. Connie Kachmarsky: wait a se uh could you go to the previous slide? Um because I'm taking minutes and it Louise Frias: 'Kay. Connie Kachmarsky: Um were the important themes enclose. Yeah okay. The feel of to be spongy Wendy Martinez: Uh so do you think um when fruit and vegetables are important for clothing and shoes that they are in remote controls also? Louise Frias: Well, uh one example given was this, so um I assume they just want something colourful. Not uh Wendy Martinez: Not Louise Frias: specifically Wendy Martinez: something dull. Louise Frias: uh an apple as a Wendy Martinez: Okay. Louise Frias: remote control Rebecca Dupuis: But they Louise Frias: or Rebecca Dupuis: like Louise Frias: something. Rebecca Dupuis: dark colours, you said in Louise Frias: No, Rebecca Dupuis: the Louise Frias: uh Rebecca Dupuis: p Louise Frias: the younger group likes uh more colourful Rebecca Dupuis: Okay. Louise Frias: uh objects. Rebecca Dupuis: Well then I suggest that the Louise Frias: But Rebecca Dupuis: corporate colours are grey and yellow. I Wendy Martinez: But Rebecca Dupuis: had Wendy Martinez: can you can you go back to that slide? The Louise Frias: Which one? Wendy Martinez: uh Louise Frias: This? Wendy Martinez: just one slide back, no no no. Yes. Okay, and the feel of the material has to be spongy. Louise Frias: Yes. Wendy Martinez: Has it something to do with that uh natural feeling also, do you think? Louise Frias: Uh well, it might. But personally I wouldn't like a sponge as a remote control. But Maybe soft material or something. But not Connie Kachmarsky: Okay, so Louise Frias: a real Connie Kachmarsky: so, Louise Frias: sponge. Connie Kachmarsky: yeah, it might not be t uh it it shouldn't be too hard. It it maybe it rubber or or Louise Frias: Yeah, exactly. Connie Kachmarsky: yeah. Okay. Louise Frias: Yeah, and like uh Rebecca Dupuis: Or we could Louise Frias: the older Rebecca Dupuis: make Louise Frias: group Rebecca Dupuis: oh. Louise Frias: likes familiar materials, but that doesn't mean we should use wood, So Wendy Martinez: Okay. Louise Frias: Well, this this is an example of what they would like. But since we're conten concentrating on uh the younger group, I think we should use soft materials and uh make it colourful or uh like cell phones, exch exchangeable covers. Connie Kachmarsky: Yeah. Louise Frias: So we could provide both for the young and the old what they like. Connie Kachmarsky: Well, that's interesting. Wendy Martinez: It's quite interesting. Connie Kachmarsky: You could make a few v very colourful ones, Rebecca Dupuis: Yeah, o o Connie Kachmarsky: and uh a very traditional Wendy Martinez: Yes. Connie Kachmarsky: co Rebecca Dupuis: I'm thinking Connie Kachmarsky: cover. Rebecca Dupuis: about uh the Bananarama telephone uh telephone from uh Siemens. The yellow uh rubber Connie Kachmarsky: Yeah, yeah. Rebecca Dupuis: telephone. It's the it's the rubber uh Connie Kachmarsky: Yeah, it is, it Rebecca Dupuis: cover. Connie Kachmarsky: is i yeah. Rebecca Dupuis: And uh colourful. It Connie Kachmarsky: Yeah. Rebecca Dupuis: looks likes a banana. We have the fruit, we have the colours. Connie Kachmarsky: Do Rebecca Dupuis: We have Connie Kachmarsky: you know Rebecca Dupuis: the simple Connie Kachmarsky: the phone? Rebecca Dupuis: design. Wendy Martinez: I don't know the phone, but Connie Kachmarsky: It's the Siemens Wendy Martinez: I can imagine Connie Kachmarsky: uh Wendy Martinez: it. Connie Kachmarsky: C_ twenty five, Rebecca Dupuis: Um Connie Kachmarsky: I believe it's it's Rebecca Dupuis: thirty Connie Kachmarsky: the Rebecca Dupuis: five. Connie Kachmarsky: one the Post-bank uh gave away, Wendy Martinez: Oh, that one, Connie Kachmarsky: the Rebecca Dupuis: And Wendy Martinez: yes. Connie Kachmarsky: very Rebecca Dupuis: the b the light Wendy Martinez: Now Rebecca Dupuis: blue Wendy Martinez: I kn uh oh, I know, Rebecca Dupuis: and Wendy Martinez: I know. Rebecca Dupuis: it's also in yellow. Wendy Martinez: Yes, I I've seen it. I've seen it. Connie Kachmarsky: You kn you know, Ruud, as well? About Louise Frias: I've Connie Kachmarsky: th Louise Frias: seen it, but Connie Kachmarsky: Okay. Okay. Um uh okay. Do Louise Frias: 'Kay. Connie Kachmarsky: you have uh thit that was Louise Frias: Uh that's about it. Connie Kachmarsky: Okay. Okay, so the the m uh important findings are uh innovation is more important than ease of use for the our target group. Louise Frias: Yes. Connie Kachmarsky: And um colouring is important and and Louise Frias: Uh Connie Kachmarsky: uh Louise Frias: soft material. Connie Kachmarsky: soft materials. Okay. Wendy Martinez: So So ease of use is important, but technology is twice as important. And what was even more important? Louise Frias: Uh the fancy look and feel. Wendy Martinez: Okay. So that's the most important thing for Louise Frias: Yes. Wendy Martinez: our customers. Louise Frias: Apparently. Connie Kachmarsky: Okay, Roo, Rebecca Dupuis: Yeah. Connie Kachmarsky: could you do your presentation? Rebecca Dupuis: Mm-hmm. Well, I don't ha really have much to add, um because most of things we already said in uh the previous uh discussion. Um Connie Kachmarsky: Okay, well it's good to to sum up uh the things we already thought about. Rebecca Dupuis: Uh the previous ideas were voice recognition and uh the round button for uh the p channel programming and uh volume. Well, a few interface I uh I found on the internet are are these. These are both with uh with voice recognition, but they're very advanced and very high-tech and just um, well, a weird um Connie Kachmarsky: Shape. Rebecca Dupuis: shape. So I suggest I couldn't uh I had a small uh mock-up uh sign on the on paper. But it didn't work. My pen didn't load um the information. So I made a really simple f uh a shape on uh in um PowerPoint. But we could make uh a round uh an oval uh um Wendy Martinez: Mm-hmm. But it's it's Rebecca Dupuis: remote Wendy Martinez: kind Rebecca Dupuis: control. Wendy Martinez: of uh Rebecca Dupuis: Uh yellow. Wendy Martinez: it's kind of o organic, so that's very good. Connie Kachmarsky: Yeah. Louise Frias: Yeah. Connie Kachmarsky: And what I'm thinking about, maybe um we should make very light but um uh a grip um I mean this is how you hold a remote control. Wendy Martinez: Yes. Connie Kachmarsky: Um it shouldn't be too uh glatt, too Wendy Martinez: Slippery. Connie Kachmarsky: slippery, s because Rebecca Dupuis: But Connie Kachmarsky: um Rebecca Dupuis: if you Wendy Martinez: You have Rebecca Dupuis: have Wendy Martinez: to Rebecca Dupuis: something Wendy Martinez: grab it. Rebecca Dupuis: like uh the Siemens phone, Connie Kachmarsky: Yeah. Rebecca Dupuis: it's rubber. So Connie Kachmarsky: Yeah, exactly. Rebecca Dupuis: it's easy in your hand Uh Connie Kachmarsky: Yeah. Rebecca Dupuis: indeed. Wendy Martinez: Yes. There are there are also remote controls who have uh a little shape underneath Connie Kachmarsky: Yeah, Wendy Martinez: where Connie Kachmarsky: ex Wendy Martinez: you can put Connie Kachmarsky: for Wendy Martinez: your fingers Connie Kachmarsky: your fingers, Wendy Martinez: in, Connie Kachmarsky: yeah. Wendy Martinez: so you can get Rebecca Dupuis: Yeah. Wendy Martinez: a really good grip on it. So you you don't have to um attain much pressure to it. It's it's a lot easier. Connie Kachmarsky: Yeah. Wendy Martinez: So Connie Kachmarsky: It grips Wendy Martinez: m Connie Kachmarsky: automatically. Wendy Martinez: Yes. Connie Kachmarsky: Yeah, Wendy Martinez: But Connie Kachmarsky: okay. Wendy Martinez: I'll I'll go into that deeper in my presentation. Connie Kachmarsky: Okay, good. Rebecca Dupuis: Great. Rebecca Dupuis: Oh and um to add on um Ruud's information, in this um interface we can have uh high-tech with the voice recognition and uh, well, the the fancy colours and uh and so on, and still have the ease of use, because we have an easy interface. And all the other remote controls are high-tech in buttons Connie Kachmarsky: Yeah. Rebecca Dupuis: and uh Connie Kachmarsky: Way Rebecca Dupuis: and so Connie Kachmarsky: too Rebecca Dupuis: on. Connie Kachmarsky: much I think for Rebecca Dupuis: Yeah. Connie Kachmarsky: our goal, yeah. Rebecca Dupuis: So if you have the voice recognition, you can you can programme like thirty uh um Connie Kachmarsky: Okay, Rebecca Dupuis: thirty c Wendy Martinez: Okay, Rebecca Dupuis: uh Connie Kachmarsky: b but I think Wendy Martinez: but Rebecca Dupuis: controls Wendy Martinez: I'll Connie Kachmarsky: we'll Wendy Martinez: I'll Rebecca Dupuis: on Wendy Martinez: go Rebecca Dupuis: it. Wendy Martinez: into that, Connie Kachmarsky: yeah. Wendy Martinez: because there are are some possibilities and some impossibilities. Um I had a talk with uh our manufacturing uh division, and uh we had a talk about all the different components um who are in this design. Uh these are the things we've looked at. And of course I used the web to uh find my information. About the casing, we have three different casing possibilities. We have the uncurved or flat case. Uh that's the most common uh remote con control form uh we're used to is just a it ju it's just a box. I'm sorry I I don't have any pictures of uh of this thing. We have uh a curved one. It's uh curved in two dimensions. You have to imagine it's a bit like a wave form. So it's uh Connie Kachmarsky: Okay. Wendy Martinez: a little more advanced in its in its shape. Uh and we have an even more advanced uh shape, which is curved in three dimension. I c I think you can compare it a little bit with the uh big grey image uh you had in your presentation. Rebecca Dupuis: Yeah. Wendy Martinez: The the big remote control, Rebecca Dupuis: Right. Wendy Martinez: something like that. But it's quite uh advanced and it's it's quite daring to to use I think. Um for these casings we have uh different types of finishing. We can use plastic, which is uh very slippery and maybe not so nice, but you can give it any colour, uh which is the same for rubber, but it's not slippery. We can use wood and titanium. Well, um we cannot use the titanium on the double curve cases. And these latex cases, there's there's just the plastic ones uh won't allow the use of solar cells as an energy source source. Which brings Louise Frias to the different energy sources. Um well, we even seem to have uh hand dyn dynamos for uh powering our uh remote controls. You really have to imagine like winding Rebecca Dupuis: Great. Wendy Martinez: up your uh Connie Kachmarsky: Well, Wendy Martinez: I Connie Kachmarsky: it Wendy Martinez: d Connie Kachmarsky: would be very new to the market, but Wendy Martinez: It would be very new, but it's a kind of a retro uh style, I Connie Kachmarsky: Yeah. Wendy Martinez: think. Uh Well, this is quite interesting. Uh there's there's also a kinetic energy supply. So um when you're watching T_V_ uh or Rebecca Dupuis: Like the Wendy Martinez: when Rebecca Dupuis: watch. Wendy Martinez: you're you you have to um make some kind of energy kinetic energy by shaking the remote or throwing it against the wall, whatever you wish. It have it it has to move, that's the the sense of it. And you can store the energy in the in the thing. Connie Kachmarsky: I think um, if if I can hook on to that, um the kinetic thing Wendy Martinez: Mm-hmm. Connie Kachmarsky: is very funny. Wendy Martinez: It's very funny indeed. Connie Kachmarsky: I mean solar is of course it's nice, but it's, Wendy Martinez: Mm-hmm. Connie Kachmarsky: well, your uh your calculator has a solar panel. Wendy Martinez: Indeed. Connie Kachmarsky: Um hand Rebecca Dupuis: But Connie Kachmarsky: dynamo Rebecca Dupuis: if you're watching a movie, how many times uh you take the the remote control and and Connie Kachmarsky: Well, maybe Rebecca Dupuis: if Connie Kachmarsky: m Rebecca Dupuis: uh if you have a watch, you have the kinetic uh idea in a watch also. Connie Kachmarsky: Yeah, Wendy Martinez: Mm-hmm. Connie Kachmarsky: I know. Rebecca Dupuis: You you walk Wendy Martinez: Yes. Rebecca Dupuis: and Connie Kachmarsky: Yeah. Rebecca Dupuis: uh but Wendy Martinez: But Rebecca Dupuis: uh you you're Wendy Martinez: you Rebecca Dupuis: sitting Wendy Martinez: know Rebecca Dupuis: on a couch. Wendy Martinez: you know from your own watch your watch uses uh a minimal con it consumes a minimal amount of energy. the the shaking of your body, which is almost uh every activity makes your uh body shake, uh it charges it. But uh the problem here is that it it supplies a a very little amount of kinetic energy. So I think uh you have a problem when you're watching a movie and uh you haven't moved the remote uh i remote control in a Connie Kachmarsky: Yeah. Wendy Martinez: in an amount of time, Connie Kachmarsky: And Wendy Martinez: and you Connie Kachmarsky: wha Wendy Martinez: want t to switch uh the channel or something, well, m it might not work. So that's something you have to keep in mind. Connie Kachmarsky: Okay. Wendy Martinez: So, but maybe maybe there's a possibility com to combine it with m uh traditional batteries, on the batteries and Connie Kachmarsky: Yeah. Wendy Martinez: um when there's enough kinet kinetic energy, use the kinetic energy, and otherwise use the batteries. Connie Kachmarsky: Okay, because I guess the voice recognition feature u consumes quite a f uh a lot of power. Wendy Martinez: Uh yes, it does. Connie Kachmarsky: Yeah. Wendy Martinez: I'll come to that later. Connie Kachmarsky: Okay. Wendy Martinez: And we of course have the traditional uh solar power, which is just uh uh uh uh uh a piece of material on the remote control which transfers light energy into electricity. The user interface controls, um of course we have the push-buttons and uh we also have scroll-wheels. And these scroll-wheels can also be integrated with buttons. So it's just like a mouse. You can scroll 'em, you can also push it. Um uh in the indicators we have the L_C_D_ displays, which means uh you can watch uh in a display w Rebecca Dupuis: Mm-hmm. Wendy Martinez: which channel you have chosen or something like that of the li amount of volume which is uh currently uh and we also have double scroll-buttons, which are just two of these things. So we don't really have the the kind of button we had in mind in our uh uh in our last meeting, the the thing with the the round Rebecca Dupuis: Mm-hmm. Wendy Martinez: with the four Rebecca Dupuis: Oh, we can just make four push-buttons in a form of a round. Wendy Martinez: Yes. That is possible too. Yes. Rebecca Dupuis: But I th I don't think uh the scroll-wheels I had some I had some information about it too. Wendy Martinez: Mm-hmm. Rebecca Dupuis: I don't think there's any possibility for us to use scroll-wheels. Connie Kachmarsky: Well Rebecca Dupuis: I d I can't see uh any uh scenario where you would use a scroll-wheel with a Wendy Martinez: Well, Rebecca Dupuis: button on it. Wendy Martinez: mayb uh well, m Louise Frias neither. Maybe when you Connie Kachmarsky: This Wendy Martinez: integrate Connie Kachmarsky: will be the Wendy Martinez: some Connie Kachmarsky: remote, Wendy Martinez: functions. Rebecca Dupuis: Yeah. Connie Kachmarsky: right? Um with uh maybe a channel selector. What about integrating a scroll-bar on this side? Rebecca Dupuis: Yeah, uh that's Wendy Martinez: Uh Rebecca Dupuis: a possibility, Wendy Martinez: it's Rebecca Dupuis: but Connie Kachmarsky: Because Wendy Martinez: do it's Connie Kachmarsky: this Wendy Martinez: done Connie Kachmarsky: is Wendy Martinez: before. Connie Kachmarsky: how you keep it Wendy Martinez: Yes. Rebecca Dupuis: But Flores, Wendy Martinez: It's quite quite good, yes. Rebecca Dupuis: think about a scenario where y where you would use the scroll-button Connie Kachmarsky: Volume? Rebecca Dupuis: for Wendy Martinez: Well, it's it well, i what he means is there's an Rebecca Dupuis: A volume, Wendy Martinez: button Rebecca Dupuis: okay. Wendy Martinez: integrated in the scroll-wheel. There's no scenario where you use uh the button in the scroll-wheel. You just use the wheel. Connie Kachmarsky: Well, what about mute? Wendy Martinez: About mute. Well, Connie Kachmarsky: Thi Wendy Martinez: yes. Connie Kachmarsky: i i m I guess uh th this Wendy Martinez: Okay. Connie Kachmarsky: is my volume button. Wendy Martinez: Yes. Connie Kachmarsky: And I can either on this side or this Wendy Martinez: Well, Connie Kachmarsky: side Wendy Martinez: okay. Connie Kachmarsky: um Wendy Martinez: Well, that that that's one possibility, okay. Connie Kachmarsky: And click it to muten the device. Wendy Martinez: Well, okay. Connie Kachmarsky: And and Wendy Martinez: It's quite Connie Kachmarsky: it Wendy Martinez: goods. Connie Kachmarsky: makes it different from the traditional uh devices on this market. So I'm looking for a way to uh make it a little different than the traditional Wendy Martinez: Mm-hmm. Connie Kachmarsky: ones. Wendy Martinez: Yes. Connie Kachmarsky: So maybe um I guess that that's something you two uh Rebecca Dupuis: Yeah. Connie Kachmarsky: need to think about. Uh Ruud, wha what do you thing about uh a scroll-bar? Louise Frias: Um Connie Kachmarsky: Uh scroll-wheel. Rebecca Dupuis: Wheel. Louise Frias: Uh well, it's obvious obviously new. So it might attract uh the young customers. Wendy Martinez: Hmm. Connie Kachmarsky: Okay. Wendy Martinez: But it's done before, uh there are many other devices um like uh telephones and our uh radio, pocket radios. We use this. Connie Kachmarsky: Yeah. Wendy Martinez: And Well, it's it's been done years ago and I don't see it anywhere now. So Connie Kachmarsky: Well, Wendy Martinez: maybe Connie Kachmarsky: all Wendy Martinez: it's Connie Kachmarsky: the Sony Wendy Martinez: not no. Connie Kachmarsky: telephones use it, for example, for volume. but on their side th the the volume button is on the side, because Wendy Martinez: Hmm. Connie Kachmarsky: you gri grab it like this. Wendy Martinez: Yes, but it uses two separate buttons. Connie Kachmarsky: Yeah. I know, Wendy Martinez: It Connie Kachmarsky: it's Wendy Martinez: doesn't Connie Kachmarsky: not really Wendy Martinez: use Connie Kachmarsky: a Wendy Martinez: a. Connie Kachmarsky: scroll-wheel. No. Yeah. Wendy Martinez: Well. Uh something for uh Connie Kachmarsky: For Wendy Martinez: Roo Connie Kachmarsky: you too, Wendy Martinez: here. Connie Kachmarsky: yeah. Rebecca Dupuis: Yeah, I believe uh if you have uh what we've earlier said, um the grip uh places in in the remote control. You have your hand on one place on the remote control, so you have to place all the buttons in a range Wendy Martinez: Wi within Rebecca Dupuis: of your Wendy Martinez: reach. Rebecca Dupuis: thumb. Wendy Martinez: Yes, you have to. Rebecca Dupuis: So in that Wendy Martinez: Yes. Rebecca Dupuis: case uh the volume button on the side uh Wendy Martinez: yes. Rebecca Dupuis: of the remote control would be perfect. Wendy Martinez: Yeah, yeah. Connie Kachmarsky: Okay. Wendy Martinez: Okay. Connie Kachmarsky: Sebastian. Um Wendy Martinez: Okay, um we have to know, if you want to use uh these rubber double-curved c uh case, um you must use these push uh push-buttons. There's no way you can integrate L_C_D_ displays. There's no way you can integrate scroll-wheels, because it's all curved. There's Connie Kachmarsky: Yeah. Wendy Martinez: there are no uh flat areas where you can incorporate these things. So that's a limitation. About um the components, uh just the hardware. We basically have uh three types of chips we can use and uh these chips incorporate all the Logica and um um uh hardware that is needed to send uh to send a signal. Uh we have a simple, regular and advanced chip. And there is something like a sample sensor and sample speaker, which is a little cryptic uh to Louise Frias. But I think that's the the voice recognition thing that we are uh thinking Rebecca Dupuis: Yeah Wendy Martinez: about. Rebecca Dupuis: yeah, you can um I have some information about it. Uh in the voice recognition you say a word you can Wendy Martinez: Mm-hmm. Rebecca Dupuis: programme words like Wendy Martinez: Okay. Rebecca Dupuis: uh v uh volume up. Wendy Martinez: Okay. So Rebecca Dupuis: Of mute, let's Wendy Martinez: so Rebecca Dupuis: say mute. Wendy Martinez: okay. Rebecca Dupuis: Um you programme it, you m mute and you g you give um an uh an action to it Wendy Martinez: Mm-hmm. Rebecca Dupuis: that that's really the mute function Wendy Martinez: Yeah. Rebecca Dupuis: and uh when you speak in the the remote control, it repeats uh your saying. So that's the sample sensor. Wendy Martinez: Okay. Rebecca Dupuis: So if you say mute, it says mute again, Wendy Martinez: Mm-hmm. Rebecca Dupuis: and then it's um well, I believe Connie Kachmarsky: It Rebecca Dupuis: it's Connie Kachmarsky: performs Rebecca Dupuis: uh Connie Kachmarsky: the action. Rebecca Dupuis: Yeah, and Connie Kachmarsky: Yeah. Rebecca Dupuis: then uh he he Wendy Martinez: Okay. Rebecca Dupuis: repeats its action what which he believes it is. So you Connie Kachmarsky: Yeah. Rebecca Dupuis: say mute, he repeats mute and you makes a computer sound mute, and then goes to the mute Wendy Martinez: Okay. Rebecca Dupuis: function. Wendy Martinez: Okay, so that's basically the the voice recognition item we were searching for. Okay. This sample sensor uh requires an regular chip, I thought. Um no op I'm not very sure. No, it's not in here. If we want to use the L_C_D_ display, we really need the advanced version, which is a bit l little bit more costly. If we want to use the scroll-wheels we need the regular version. And if we don't want to use uh any of these uh more advanced functions we can keep with the simple uh chip, which is a bit cheaper. Connie Kachmarsky: Okay. Uh well Wendy Martinez: Okay. Connie Kachmarsky: uh d did we already decide on the display? To Wendy Martinez: Um no, but I think that's something for uh Roo here Rebecca Dupuis: Yeah. Wendy Martinez: to Rebecca Dupuis: Well, Wendy Martinez: think about. Rebecca Dupuis: I don't have um I haven't looked for uh for information about it, but I don't think information uh y I don't think you need it on a display. Connie Kachmarsky: No. Rebecca Dupuis: Especially Wendy Martinez: I I don't Rebecca Dupuis: when Wendy Martinez: think Rebecca Dupuis: when Wendy Martinez: either. Rebecca Dupuis: we have to look at a cost, I don't think uh Wendy Martinez: No. I Rebecca Dupuis: 'cause Wendy Martinez: don't think Rebecca Dupuis: uh Wendy Martinez: you need it. Rebecca Dupuis: uh all any T_V_ can uh can uh view Connie Kachmarsky: On Rebecca Dupuis: a Connie Kachmarsky: screen Rebecca Dupuis: digit Connie Kachmarsky: display. Rebecca Dupuis: on uh on screen, yeah. Connie Kachmarsky: Yeah. Wendy Martinez: Okay. Connie Kachmarsky: Okay th Wendy Martinez: Okay, well my conclusion, um unfortunately the market has decided the a little uh other than I thought. I thought um the market would like uh a sort m sort of titanium casing, but they seem to like natural uh stuff. So maybe we should think about uh wood finish. Um I've chosen the more battery with solar cell uh solution for the energy. It's more reliable, it's cheaper. Connie Kachmarsky: Okay. Wendy Martinez: So I Connie Kachmarsky: Good. Wendy Martinez: don't think we should use the dynamo Connie Kachmarsky: Kineti Wendy Martinez: thing. Connie Kachmarsky: okay. Wendy Martinez: The Louise Frias: Hmm. Wendy Martinez: kinetic thing it it's it's a possibility. It's it's more advanced, but I'm I think you should combine it with batteries. Connie Kachmarsky: Okay, it's Wendy Martinez: Otherwise Connie Kachmarsky: maybe Wendy Martinez: it will Connie Kachmarsky: a bit Wendy Martinez: not Connie Kachmarsky: too too Wendy Martinez: too Connie Kachmarsky: flashy, Wendy Martinez: advanced, Connie Kachmarsky: too Wendy Martinez: uh well. Connie Kachmarsky: yeah. Wendy Martinez: It's in in in some way it can give us an advance, because you will save on your batteries. But Connie Kachmarsky: Yeah, but that that's the same with the solar cell. Wendy Martinez: Yes. Connie Kachmarsky: That's no Wendy Martinez: And Connie Kachmarsky: different. Wendy Martinez: I think it's more robust. It's Connie Kachmarsky: Yeah. Wendy Martinez: more uh Connie Kachmarsky: Okay. Rebecca Dupuis: But what Wendy Martinez: Uh Rebecca Dupuis: about Wendy Martinez: it's more Rebecca Dupuis: um Wendy Martinez: functional. Rebecca Dupuis: the markets uh wants colourfuls uh designs? So if you use titanium Connie Kachmarsky: No no, but the uh um Wendy Martinez: The titanium Connie Kachmarsky: that's what Sebastian Wendy Martinez: thing uh Connie Kachmarsky: said. He said uh Wendy Martinez: we Connie Kachmarsky: this Wendy Martinez: have to Connie Kachmarsky: is Wendy Martinez: skip Connie Kachmarsky: what Wendy Martinez: it. Connie Kachmarsky: uh this is my personal preference. Rebecca Dupuis: Okay. Connie Kachmarsky: But but yet, I understood that the market is different. Rebecca Dupuis: Oh, sorry. Yeah. Connie Kachmarsky: So Wendy Martinez: So Connie Kachmarsky: um Wendy Martinez: I think we should skip the titanium uh stuff, Rebecca Dupuis: Yeah. Wendy Martinez: and we should uh use wood or something like that. Louise Frias: And Rebecca Dupuis: And I Louise Frias: yeah, Rebecca Dupuis: would Connie Kachmarsky: No, Rebecca Dupuis: think Louise Frias: the Connie Kachmarsky: r rubber with colours. Louise Frias: yeah, the older people liked wood. Wendy Martinez: Oh okay, sorry. So it Louise Frias: No Wendy Martinez: it Louise Frias: the Wendy Martinez: needs to be rubber. Connie Kachmarsky: Colourful Louise Frias: Yeah, the younger Wendy Martinez: Okay. Louise Frias: people Connie Kachmarsky: and Louise Frias: liked soft material. Wendy Martinez: Okay, Connie Kachmarsky: Yeah. Wendy Martinez: spongy materials. Louise Frias: Yeah. Wendy Martinez: Okay, um well um these scroll-wheels, I think uh they they can be they can be handy. So Rebecca Dupuis: And they can be implemented with a regular chip? Wendy Martinez: Yes, they can. But they really need the regular chip, you cannot use Rebecca Dupuis: Okay, Wendy Martinez: the sa Rebecca Dupuis: but we Wendy Martinez: simple Rebecca Dupuis: also uh we already need the regular chip for the sample uh Wendy Martinez: Well, I'm not Rebecca Dupuis: sensor Wendy Martinez: very sure. Rebecca Dupuis: speaker Wendy Martinez: Maybe that's an Rebecca Dupuis: oh, Wendy Martinez: uh Connie Kachmarsky: But but Wendy Martinez: a different Connie Kachmarsky: do Rebecca Dupuis: evalu Connie Kachmarsky: we want the curved uh uh design, or Wendy Martinez: I think so, if you if you stick with the the simple uh straight-forward uh not curve design, Connie Kachmarsky: I it's Wendy Martinez: i uh Connie Kachmarsky: too Wendy Martinez: it's too Connie Kachmarsky: dull. Wendy Martinez: dull. Louise Frias: Yeah. Connie Kachmarsky: Yeah. Wendy Martinez: I don't think c our customers will like it. And um if you uh take the double-curved, uh then you cannot um you can only use the rubber buttons Connie Kachmarsky: Yeah. Wendy Martinez: and you cannot use the scroll-wheels. So Connie Kachmarsky: Okay. Wendy Martinez: I Connie Kachmarsky: Okay. Wendy Martinez: think this is the best of two worlds. Connie Kachmarsky: Okay, what about um the issue I um addressed at the beginning of the meeting? Um the voice function w with the infrared uh issue. Wendy Martinez: Yes. Connie Kachmarsky: Because it it's of Wendy Martinez: It's Connie Kachmarsky: cour Wendy Martinez: it's uh I uh I can imagine it's very dull to talk to a device w if you have to point to another device. Connie Kachmarsky: Yeah. Wendy Martinez: It's very unlogical. Rebecca Dupuis: infrared uh remote controls don't have to be pointed at all. Wendy Martinez: Well the Connie Kachmarsky: Well Wendy Martinez: there has to be some pointing at. But Connie Kachmarsky: It depends Rebecca Dupuis: Well, Connie Kachmarsky: also Rebecca Dupuis: if you Connie Kachmarsky: on Rebecca Dupuis: if Connie Kachmarsky: your Rebecca Dupuis: you Connie Kachmarsky: on Rebecca Dupuis: take your Connie Kachmarsky: your Rebecca Dupuis: hand before it, okay, it won't work, but you can point it just Connie Kachmarsky: Well, it depends Rebecca Dupuis: to the other Connie Kachmarsky: on Rebecca Dupuis: wall. Connie Kachmarsky: your walls actually. If you Rebecca Dupuis: Yeah. Connie Kachmarsky: have uh have um smooth walls, it it it probably you're probably right. But if you have carpets on the wall, Wendy Martinez: All Connie Kachmarsky: which Wendy Martinez: lights get Connie Kachmarsky: our Wendy Martinez: absorbed, Connie Kachmarsky: natural Wendy Martinez: yeah. Connie Kachmarsky: loving friends probably do have, then um yeah, th th it might be a bit more of a issue. Wendy Martinez: Yes, because Connie Kachmarsky: So Wendy Martinez: the walls they they reflect the infrared light. Connie Kachmarsky: Yeah. Wendy Martinez: So it has an it's easier. Um I suggest we use the the sensor sample. Uh the sample sensor and sample speaker. Um Rebecca Dupuis: And the regular Wendy Martinez: with a Rebecca Dupuis: chip. Wendy Martinez: with a regular chip. I think uh it gives us the advantage Rebecca Dupuis: And and Wendy Martinez: of Rebecca Dupuis: the scroll uh scroll-wheels. Wendy Martinez: Yes, Rebecca Dupuis: Yeah. Wendy Martinez: yes. Connie Kachmarsky: I Wendy Martinez: And Connie Kachmarsky: like the Wendy Martinez: uh Connie Kachmarsky: scroll Wendy Martinez: skip Connie Kachmarsky: wheels uh idea. Wendy Martinez: and skip the L_C_D_ part. Connie Kachmarsky: Yeah. Wendy Martinez: I don't think it it's any uh value added Rebecca Dupuis: No. Wendy Martinez: thing. So Rebecca Dupuis: Think so too. Connie Kachmarsky: Well, it looks Wendy Martinez: Okay. Connie Kachmarsky: uh yeah, well um according to Ruud, the the the market likes um Wendy Martinez: Technology. Connie Kachmarsky: new flashy technology, and Wendy Martinez: Yes. Connie Kachmarsky: I mean L_C_D_ Wendy Martinez: It's Connie Kachmarsky: is Wendy Martinez: not very flashy and Connie Kachmarsky: well, Wendy Martinez: new. Connie Kachmarsky: ok I know, but it's m it's less um s Louise Frias: Standard? Connie Kachmarsky: standard than than Well, we are not very w we do not know uh much about the the f the financial part. That's the problem. Wendy Martinez: Mm-hmm. Connie Kachmarsky: Because if we do have enough um space in in our finance, Wendy Martinez: Mm-hmm. Connie Kachmarsky: I would say do integrate it, because it it adds a little ext extra Wendy Martinez: Yes. Connie Kachmarsky: high-tech feeling to it. Rebecca Dupuis: But we already have the scroll-wheels, the sp uh the speaker uh the speak recognition, Connie Kachmarsky: Mm yeah. Rebecca Dupuis: the rubber, Wendy Martinez: Uh I think our customers Rebecca Dupuis: the fancy Wendy Martinez: will go Rebecca Dupuis: colours. Wendy Martinez: insane. Connie Kachmarsky: Okay, okay. Wendy Martinez: It's it's too much. Connie Kachmarsky: Yeah. Okay, I I agree. I think i Ruud, do you have any um anything you would like to um add or or maybe thoughts or Louise Frias: Nah, um n no, I don't think so. M Connie Kachmarsky: No? Sebast uh nee, Roo? Roo, do you Rebecca Dupuis: Um Connie Kachmarsky: have any other Rebecca Dupuis: no. Nothing more. Connie Kachmarsky: Nothing more. Um Wendy Martinez: Okay. Uh the n the next Connie Kachmarsky: Sebas Wendy Martinez: phase will be um the um not the what is the next phase f Flores? Connie Kachmarsky: Well, we we need to describe uh decisions now. Wendy Martinez: Okay. Connie Kachmarsky: So um Wendy Martinez: So i Connie Kachmarsky: on the energy, Wendy Martinez: Okay. Connie Kachmarsky: well, we decided. Chip. Wendy Martinez: Okay. Connie Kachmarsky: The case uh rubber with uh c one Wendy Martinez: Okay, Connie Kachmarsky: one Wendy Martinez: okay. Connie Kachmarsky: uh one curve. User interface um Rebecca Dupuis: Uh but uh can't scroll-wheels uh work with one uh one-curved case? Wendy Martinez: Yes, Rebecca Dupuis: Yeah, Wendy Martinez: they can Rebecca Dupuis: okay. Wendy Martinez: work. Rebecca Dupuis: Sorry, Wendy Martinez: They Rebecca Dupuis: yeah. Wendy Martinez: cannot work with double-curved. Rebecca Dupuis: Oh, sorry. Wendy Martinez: That's that's Rebecca Dupuis: Yeah. Wendy Martinez: problem. I'll check it for you. Connie Kachmarsky: Um then the corporate identity should be uh in the product. I guess that is something for Roo and Sebastian. Uh you talked about it before, the colours, grey and yellow. Rebecca Dupuis: Yeah. Connie Kachmarsky: Keep it in mind. And um the buttons, well we talked about it now. The next phase, um Sebastian, um Wendy Martinez: Yes. Connie Kachmarsky: is um the design of the look and feel. Wendy Martinez: Mm-hmm. Connie Kachmarsky: The user interface design. And for you, the product evaluation. Um I'm sure your personal coach will give you more information on that. Um and uh the I_D_ and the U_I_D_ need to work together on the prototype drawing on the SMARTboard. Wendy Martinez: Okay. Connie Kachmarsky: And I'm going uh to plan my holidays. Wendy Martinez: Okay. So you will Rebecca Dupuis: The project Wendy Martinez: be on the Bahamas. Rebecca Dupuis: drawing is Wendy Martinez: Uh Rebecca Dupuis: for the next Connie Kachmarsky: Yeah, it's it's uh when we come back in Rebecca Dupuis: Yeah, Connie Kachmarsky: thirty minutes, Rebecca Dupuis: right. Connie Kachmarsky: uh you will have a uh prototype ready. Wendy Martinez: Okay. So can you uh give us a summary of all uh decisions we've made? Connie Kachmarsky: Yeah? I can. Um maybe one of you could write it down. Wendy Martinez: I'll do. Connie Kachmarsky: Great. Um Uh you you need to help Louise Frias. Um Wendy Martinez: Okay. W start with the casing. Connie Kachmarsky: The casing is curved, Rebecca Dupuis: Single-curved. Wendy Martinez: Okay, Connie Kachmarsky: single-curved. Wendy Martinez: single-curved case. Okay. What about the energy source? Connie Kachmarsky: Traditional batteries uh and solar. Rebecca Dupuis: But can there be uh wor can they work together? Or do we have to choose between them? 'Cause if we Connie Kachmarsky: No, Rebecca Dupuis: have to Connie Kachmarsky: they Rebecca Dupuis: choose Connie Kachmarsky: can be complementary. Wendy Martinez: I Connie Kachmarsky: Uh Rebecca Dupuis: yeah? Wendy Martinez: I Connie Kachmarsky: al Wendy Martinez: think they can. Connie Kachmarsky: al Wendy Martinez: Yes. Connie Kachmarsky: I uh Rebecca Dupuis: Okay. Wendy Martinez: Well, uh Rebecca Dupuis: What Connie Kachmarsky: Every Rebecca Dupuis: if not? Connie Kachmarsky: device Wendy Martinez: It it should be. There should be really no problem. They Rebecca Dupuis: Okay. Wendy Martinez: can be supplementary. That's no problem. Connie Kachmarsky: Yeah. Wendy Martinez: So Connie Kachmarsky: Okay, um Wendy Martinez: So Connie Kachmarsky: th Wendy Martinez: uh uh just uh the energy source is um Connie Kachmarsky: Battery Wendy Martinez: the batteries and Connie Kachmarsky: and Wendy Martinez: the Connie Kachmarsky: solar, Wendy Martinez: solar. Okay. Connie Kachmarsky: yeah. Wendy Martinez: What about uh the finishing of the case? We have decided we wanted to use the rubber? Connie Kachmarsky: Yeah, Rebecca Dupuis: Yeah. Connie Kachmarsky: with colourful rubber. Uh if it's possible with uh different um covers, but I'm not sure if our suppliers can uh can help us with uh with such uh uh a wish. Wendy Martinez: Okay, and I think we should use the company colours. Something like black and red. uh black and yellow. Connie Kachmarsky: Uh grey and yellow Rebecca Dupuis: Grey and Connie Kachmarsky: or Rebecca Dupuis: yellow. Connie Kachmarsky: black and Wendy Martinez: Grey Connie Kachmarsky: yellow. Wendy Martinez: yellow, Connie Kachmarsky: Yeah. Wendy Martinez: okay. Rebecca Dupuis: Yellow case and grey buttons, I think. Connie Kachmarsky: Yeah, although Louise Frias: Hmm. Connie Kachmarsky: I don't think that's very colourful. Except for the yellow of course, but um I could think of a more uh attractive uh c uh set Wendy Martinez: Oh, Connie Kachmarsky: of colours. Wendy Martinez: I think it's uh it's not very dull. It's quite modern actually. Don't you think? Connie Kachmarsky: Well, I was Rebecca Dupuis: I believe Connie Kachmarsky: more thinking Rebecca Dupuis: the Connie Kachmarsky: about the fruit colours that the Ruud showed us before. Rebecca Dupuis: But you have already um you must have a red uh on and off button. And um Connie Kachmarsky: Well, it it doesn't Rebecca Dupuis: Well Connie Kachmarsky: have to be red. Rebecca Dupuis: well Connie Kachmarsky: Uh I mean th uh I think these colours are really what our young people are looking for. Um so maybe it shouldn't even be two colours, it should be a full Wendy Martinez: Hmm. Connie Kachmarsky: colour cover with such an image or or I mean Wendy Martinez: Okay. Connie Kachmarsky: thinking in two colours is is too black and white for our m uh c uh market group, I guess. Louise Frias: Or black and yellow. Connie Kachmarsky: Black and yellow, yeah. Wendy Martinez: Okay, but uh I'm afraid it's not possible to print a picture on uh the device. Because uh I agree it would be nice to have have something like that on the device itself. But Rebecca Dupuis: Well, there is. Just a week ago, a keyboard manufacturer Wendy Martinez: Oh, I've Rebecca Dupuis: would Wendy Martinez: read. Rebecca Dupuis: print, Louise Frias: Yeah. Wendy Martinez: Yes. Rebecca Dupuis: with and uh Wendy Martinez: Yes, but our manufacturing department is not so advanced in its uh techniques. They're actually very slow Rebecca Dupuis: No. Wendy Martinez: in its techniques. Connie Kachmarsky: Okay, Wendy Martinez: So Connie Kachmarsky: so we have to deal with wh what's possible here. Wendy Martinez: So I'm afraid it's not possible. Connie Kachmarsky: Yeah. Okay. Um more f more more decisions we made. Um Um Rebecca Dupuis: A scroll-wheel. Connie Kachmarsky: The scroll-heel. Yes, the voice recognition we Rebecca Dupuis: Voice Connie Kachmarsky: already Rebecca Dupuis: recognition, Connie Kachmarsky: decided. Rebecca Dupuis: of course. Wendy Martinez: Okay, so scroll-wheel. But there will be some additional buttons, I guess. Connie Kachmarsky: Yeah. Wendy Martinez: And th the they should be spongy also, because they're they're rubber too. Connie Kachmarsky: Uh I'm going to leave that up to you two. Rebecca Dupuis: What what did you say? Wendy Martinez: Well uh you can use well, when you use the buttons, they'll they'll be made of rubber too. So Rebecca Dupuis: Yeah. Wendy Martinez: it has th the spongy uh feel also. Connie Kachmarsky: Yeah. Wendy Martinez: So I I think that's okay. Rebecca Dupuis: Yeah, or you could use plastic buttons. In the rubber. Connie Kachmarsky: I think rubber is nice. Because it uh i I mean what do you touch the button, and what do they want spongy uh uh devices, Rebecca Dupuis: Yeah, b Connie Kachmarsky: or or i Rebecca Dupuis: But then you just have the the fact that um the drawings on the buttons will disappear eventually. What I said in the in the first uh discussion, uh the digit six on the button, it will disappear when it's from rubber. Connie Kachmarsky: Uh is that uh does our our Rebecca Dupuis: It Connie Kachmarsky: supplier Rebecca Dupuis: is not uh Connie Kachmarsky: say Rebecca Dupuis: something Connie Kachmarsky: so? Rebecca Dupuis: uh it's no information I read about it or so, but Louise Frias: Uh Rebecca Dupuis: it's Louise Frias: didn't Rebecca Dupuis: just from Louise Frias: did we inc uh include the digi digits or uh leave them Rebecca Dupuis: No, Louise Frias: to the Rebecca Dupuis: but Louise Frias: speech Rebecca Dupuis: but Louise Frias: recognition? Rebecca Dupuis: uh it Louise Frias: 'Cause things like uh volume could be uh placed next to the button. Connie Kachmarsky: Yeah. You could place a um Louise Frias: There Connie Kachmarsky: uh Louise Frias: the Connie Kachmarsky: this Louise Frias: icons. Connie Kachmarsky: this would be the button. The scroll-wheel, I mean. Rebecca Dupuis: Yeah, Connie Kachmarsky: And Rebecca Dupuis: b Connie Kachmarsky: you could Rebecca Dupuis: yeah. Connie Kachmarsky: place the indica Wendy Martinez: Yes. Connie Kachmarsky: th th the signals the Louise Frias: So you don't Wendy Martinez: That's okay. Rebecca Dupuis: Yeah, Louise Frias: touch Rebecca Dupuis: that's possible, Louise Frias: the icons that Rebecca Dupuis: but Louise Frias: much. Rebecca Dupuis: then you have still the images on the rubber of the case. So still then, if you feel uh li uh if you feel your remote control, you just rub on the cover, so you rub on the painting. Connie Kachmarsky: No no, there's no painting, only uh Rebecca Dupuis: Yeah. Connie Kachmarsky: yellow or But it's into Rebecca Dupuis: Yeah, but Connie Kachmarsky: the Rebecca Dupuis: but Connie Kachmarsky: rubber. Rebecca Dupuis: the the plus or the minus. Wendy Martinez: Yes, the Rebecca Dupuis: You Wendy Martinez: signs. Rebecca Dupuis: have to draw Connie Kachmarsky: Yeah, but Rebecca Dupuis: the Connie Kachmarsky: this is on the pla yeah, Rebecca Dupuis: Yeah, Connie Kachmarsky: I Rebecca Dupuis: it's Connie Kachmarsky: know. Rebecca Dupuis: on the cover. Connie Kachmarsky: Um Rebecca Dupuis: So if you uh Connie Kachmarsky: I think uh I know which you understand af uh I know Rebecca Dupuis: You Connie Kachmarsky: what Rebecca Dupuis: just Connie Kachmarsky: you mean. Rebecca Dupuis: move the problem. Connie Kachmarsky: What about um making this rubber and making this plastic? Wendy Martinez: Uh I see what you mean. Well, maybe that's possible, because um uh our manufacturing division also offers plastic finishing. So maybe they can combine these two. Connie Kachmarsky: Yeah. Well actually, we should have it the other way around, I guess. A plastic cover with rubber finishing. I mean, this is this is the finishing. This is um what's on the edge. What you feel. Wendy Martinez: Yeah. Connie Kachmarsky: But the front, on which the the buttons are doesn't Wendy Martinez: Mm-hmm. Connie Kachmarsky: have to be rubber. I Wendy Martinez: Well, Connie Kachmarsky: mean Wendy Martinez: I'm I'm not so sure, I think Rebecca Dupuis: Y Wendy Martinez: it Rebecca Dupuis: uh can Wendy Martinez: c should Rebecca Dupuis: you separate Wendy Martinez: be Rebecca Dupuis: these uh these Wendy Martinez: Well, I'm not sure, I have to ask with manufacturing, but I'm I'm not sure that's what you want, because our customers specifically ask for the spongy feel, and that's what you get with rubber. So if you want the spongy feel, you need uh to make these buttons all all of rubber. Connie Kachmarsky: I know, but do you touch this or do you touch this? I Wendy Martinez: I Connie Kachmarsky: mean, Wendy Martinez: think Connie Kachmarsky: I Wendy Martinez: both. Connie Kachmarsky: I never touch between the buttons. Rebecca Dupuis: I do. Wendy Martinez: I do. Rebecca Dupuis: Or the s uh the sideways. Wendy Martinez: I think Rebecca Dupuis: Or the Connie Kachmarsky: Yeah, the side, Rebecca Dupuis: the Connie Kachmarsky: exactly, Rebecca Dupuis: back. Or Connie Kachmarsky: the Rebecca Dupuis: the Connie Kachmarsky: sideways. Rebecca Dupuis: back. Connie Kachmarsky: The side, but Rebecca Dupuis: I Connie Kachmarsky: do you Rebecca Dupuis: think Connie Kachmarsky: touch between the the these buttons? Rebecca Dupuis: Yes, especially when there are l a few buttons on it, you have uh a lot of space to touch. So you just have it in your hand completely or or Connie Kachmarsky: Okay. Rebecca Dupuis: i Connie Kachmarsky: Well, Rebecca Dupuis: you Connie Kachmarsky: we Rebecca Dupuis: play Connie Kachmarsky: do Rebecca Dupuis: with Connie Kachmarsky: not Rebecca Dupuis: it. Connie Kachmarsky: have very much time uh left. Um I guess you two have to figure that out. Rebecca Dupuis: Yeah. Connie Kachmarsky: I'm going to leave the decision to you, um because you have to make its prototype, and um yeah y you have the most knowledge about the suppliers, the possibilities and uh Rebecca Dupuis: Yeah. Wendy Martinez: Okay. Connie Kachmarsky: so I'm going to leave it the decision with you. Um Sebastian, did you write enough decisions down? Wendy Martinez: Um not quite. Um what about uh the chips? We use the regular chip? Rebecca Dupuis: Regular. Wendy Martinez: Okay. Connie Kachmarsky: Yeah. Wendy Martinez: And Rebecca Dupuis: Use with. Wendy Martinez: Well no, I think that's about it. Yes. Connie Kachmarsky: Okay. With those regular chips we can still uh control advanced functions. The chip is is not really Wendy Martinez: The only difference between the advanced and the regular version is that the advanced uh version of the chip supports L_C_D_. Connie Kachmarsky: Okay, Wendy Martinez: That's Connie Kachmarsky: well. Wendy Martinez: all. And we've decided not to use L_C_D_. Connie Kachmarsky: Yeah. Wendy Martinez: So Connie Kachmarsky: Okay. Um okay, then I think we are uh quite finished. Um I'll see you guys in thirty minutes and um Rebecca Dupuis: For the finishing touch. Connie Kachmarsky: Yeah? Yeah, Wendy Martinez: Okay. Connie Kachmarsky: um if you write wrote anything down, uh could you put it on the shared folder? Wendy Martinez: Okay. Rebecca Dupuis: Uh yeah. Connie Kachmarsky: Yeah. Rebecca Dupuis: But um Sebastian has everything. Connie Kachmarsky: I know, but well Wendy Martinez: I'll put it online. Connie Kachmarsky: Great. Connie Kachmarsky: Right.

For the conceptual design, Louise Frias talked about the public's preference for looks over technological innovation; however, they both seem to be more important than ease of use. The current fashion among younger people favours bright colours and fruit and vegetable themes and spongy materials: pertinent exchangeable fronts can express such trends on the remote, and could also provide themes for other target groups. They could also add some rubber to provide easy grip of the device. Cases can be flat, single- or double-curved. They can be made of plastic, rubber, wood or titanium. Hand or kinetic dynamos, batteries, and solar cells can be used as energy sources. Possible interfaces are push buttons, scroll wheels, and LCDs. A way to make this device different would be to use a scroll-wheel on the side with integrated button for volume control and mute. Speech recognition can be implemented by adding a sample sensor and speaker on the remote. The final decisions also included combined battery with solar cells. The team will design a single-curved device with a scroll wheel and speech recognition, in black and yellow, the company colours.

amisum

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Christin Hobbs: That's the same as uh on the top of it uh with the the round uh Nina Reynolds: Like Christin Hobbs: button. Nina Reynolds: this one. Christin Hobbs: But uh we don't uh we don't uh we do think it's um well Nina Reynolds: It's Christin Hobbs: what Nina Reynolds: important. Christin Hobbs: if with ease of use, w which prefers the which the the customer of Nina Reynolds: Uh Christin Hobbs: the Nina Reynolds: I Christin Hobbs: user Nina Reynolds: think Christin Hobbs: prefers. Nina Reynolds: th this is device which which has a learning curve. Um novice users u use this device as uh normal users use uh a c a remote control. And after a while they start to develop uh some skills in the the voice recognition functions, and then they will not use this dial as often. But other Felicia Vadenais: Okay. Nina Reynolds: users who are new to this device need something like that. They n they need understand what uh channels and uh change the volume, so it's easier for them Felicia Vadenais: Could could I see the scroll bar as as as a sort of shortcut? Nina Reynolds: Yeah, maybe Felicia Vadenais: A Nina Reynolds: so. Felicia Vadenais: a and Nina Reynolds: Yes, Felicia Vadenais: the voice Nina Reynolds: it's Felicia Vadenais: recognition as well, th maybe you could uh Nina Reynolds: Well, Felicia Vadenais: could Nina Reynolds: it's Felicia Vadenais: uh Nina Reynolds: it's it's another approach, it's more that our um. There are there are many ways of doing uh things uh on such a device. Felicia Vadenais: Yeah. Nina Reynolds: It's Felicia Vadenais: Okay. Nina Reynolds: it's quite easy. Felicia Vadenais: Okay, good. And and the case is is rubber? Nina Reynolds: Yes, rubber? Felicia Vadenais: And the buttons? Christin Hobbs: Plastic Nina Reynolds: There are Christin Hobbs: or rubber. Nina Reynolds: plastic Christin Hobbs: Well, Nina Reynolds: or rubber. Christin Hobbs: yeah. Felicia Vadenais: Okay, and uh the colouring? Nina Reynolds: Uh yellow with uh Felicia Vadenais: with with grey or black. Nina Reynolds: grey or black or something like that. Whatever cost uh cost uh the least. Felicia Vadenais: Okay, we'll we'll come to that later. Um okay. Anything else to add or Nina Reynolds: No. Uh maybe we should uh think about these buttons. Felicia Vadenais: Yeah. Maria Hacker: Well, you Nina Reynolds: But Maria Hacker: could use two of them to um channels on the channel button, 'cause Nina Reynolds: Yes, Maria Hacker: you have Nina Reynolds: but Maria Hacker: to Nina Reynolds: it but these Maria Hacker: assign Nina Reynolds: are tasks Maria Hacker: two channel Nina Reynolds: that are only Maria Hacker: new channels. Nina Reynolds: executed once, I think. Felicia Vadenais: M uh Nina Reynolds: Or Felicia Vadenais: yeah. Nina Reynolds: not? Felicia Vadenais: M m but maybe you Maria Hacker: You Felicia Vadenais: want a button to uh for example the voice recognition, or Nina Reynolds: Well Felicia Vadenais: train Nina Reynolds: okay. Felicia Vadenais: the voice. Nina Reynolds: Okay, yeah, that's right. Or something Christin Hobbs: And Nina Reynolds: li Christin Hobbs: a button Nina Reynolds: like that. Christin Hobbs: for disabling the voice recognition. Felicia Vadenais: Yeah al although by pressing the button for I n don't know two, three seconds, you could also say it you'd disable it Nina Reynolds: Yes. Felicia Vadenais: with a little beep and Christin Hobbs: Yeah. Felicia Vadenais: and but o okay, that that's not really really important. Christin Hobbs: That's the basic idea, yeah. Felicia Vadenais: The basic okay. Christin Hobbs: Of our prototype. Felicia Vadenais: Okay. Um you thought of some evaluation crit criteria? Maria Hacker: Yes. Felicia Vadenais: Okay. Maria Hacker: Uh my name is not name but Felicia Vadenais: You are nameless. Maria Hacker: Uh well, I used the the uh documents. And these uh were the most important criteria. It should be. yeah, Nina Reynolds: Is it spongy? Maria Hacker: that's uh how the fashion guys uh state it. Fancy look and feel. So Christin Hobbs: So just walk through it step by step. mean, is it fancy, everything I believe uh Maria Hacker: Uh well Christin Hobbs: I Maria Hacker: appar Christin Hobbs: believe it's fancy. Nina Reynolds: I believe it's fancy too. Maria Hacker: Yeah, Felicia Vadenais: No. Christin Hobbs: Oh, Maria Hacker: So Christin Hobbs: sorry. Nina Reynolds: Okay. Felicia Vadenais: Okay, so this these are the cr uh the criteria. Maria Hacker: Yeah, I think these are the most important Felicia Vadenais: Okay, Maria Hacker: criteria. Felicia Vadenais: well Maria Hacker: So uh that's about Felicia Vadenais: the Maria Hacker: it. Felicia Vadenais: then we'll switch to my presentation. Um Felicia Vadenais: The production costs. The costs are not under Can I Felicia Vadenais: Um this is the Christin Hobbs: Twenty two. Felicia Vadenais: Yeah, it's it's Christin Hobbs: Yikes. Felicia Vadenais: w way above um uh above the the the twelve Euro fifty. And what makes it very expensive is uh for example the solar cell. Nina Reynolds: Well it's Felicia Vadenais: So Nina Reynolds: very expensive. Felicia Vadenais: I guess we should skip that, because it's not that important. Nina Reynolds: Okay. Christin Hobbs: Why does the price and and the s oh, one uh exa Felicia Vadenais: Yeah, the Christin Hobbs: yeah. Felicia Vadenais: the price, the the number Christin Hobbs: The number Felicia Vadenais: of items Christin Hobbs: of uh Felicia Vadenais: and Christin Hobbs: yeah. Felicia Vadenais: the the sum. Nina Reynolds: Okay. Felicia Vadenais: Um well, this is what I would call our luxury model. Um Christin Hobbs: And and Felicia Vadenais: if you Christin Hobbs: does Felicia Vadenais: would Christin Hobbs: it Felicia Vadenais: if you look at the uh w w w what we could do to make it more um to make it just between the twelve Euro fifty, um then I did the following changes. Twelve Euro forty cents I came up with by leaving out the solar cells, Nina Reynolds: Mm-hmm. Felicia Vadenais: um by not using the voice recognition feature, Nina Reynolds: Mm-hmm. Felicia Vadenais: because it's uh it's a four Euro uh addition to the price. Um Yeah, I believe Uh, push-button, well It makes it the thirteen yeah. Push-buttons are buttons are are not the most expensive, but do add extra cost. Nina Reynolds: Hmm. Felicia Vadenais: So um yeah, th this design is not um within our price model. Nina Reynolds: Okay. Felicia Vadenais: Um Nina Reynolds: But I'm afraid it's not complete. Because we use spec uh specic uh special materials, the last item. And you have not added one item there. Felicia Vadenais: Yeah. Nina Reynolds: So it's c way too expensive. Felicia Vadenais: It's still too expensive, yeah. Christin Hobbs: But Felicia Vadenais: Um Christin Hobbs: that's that's only for the buttons. So Felicia Vadenais: I I guess Christin Hobbs: the button Felicia Vadenais: if we Christin Hobbs: we Felicia Vadenais: leave Christin Hobbs: can use Felicia Vadenais: the Christin Hobbs: plastic. Felicia Vadenais: if we leave this one out, um oh. And uh maybe not Christin Hobbs: And Felicia Vadenais: use Christin Hobbs: the pla Felicia Vadenais: the Christin Hobbs: uh Felicia Vadenais: special form. Christin Hobbs: And a plastic b just plastic buttons, Nina Reynolds: But Christin Hobbs: a plas Nina Reynolds: it Christin Hobbs: uh instead of rubber. Felicia Vadenais: It becomes a very dull remote Nina Reynolds: Yes. Felicia Vadenais: control, I know. But it's the board decision. Um And um yeah. Nina Reynolds: Well, b basically it when when this is our only option, we should even consider changing the casing, because I think there's very little added value in Felicia Vadenais: Yeah. Nina Reynolds: uh an enhanced case with these dull functions. Felicia Vadenais: Yeah, I Nina Reynolds: So Felicia Vadenais: know. Maybe we should look at an uh focus on another uh Nina Reynolds: Type of m maybe Felicia Vadenais: Yeah, Nina Reynolds: another Felicia Vadenais: m Nina Reynolds: market Felicia Vadenais: uh maybe Nina Reynolds: segment. Felicia Vadenais: not not all that fancy, but just way way more easy uh uh Nina Reynolds: Yeah. Felicia Vadenais: um basic Nina Reynolds: Yes. Felicia Vadenais: and uh m maximise the profits and um Nina Reynolds: That's maybe that's better. Felicia Vadenais: Yeah. Nina Reynolds: Maybe we could uh we should go for straight and simple, Felicia Vadenais: Yeah. Nina Reynolds: but that's not what uh has been asked. Felicia Vadenais: I know, I know. Nina Reynolds: So we should kick the board's uh Well Felicia Vadenais: Yeah. Although I think we yeah, but we could still make uh a remote control that ap uh um applies um more to young people uh by giving it another colour already. Nina Reynolds: Hmm. Felicia Vadenais: Um so it is possible to make uh uh a device that attracts a little bit more to young people. Nina Reynolds: Yes. Felicia Vadenais: Um but uh I agree it's it's not a fancy high-tech uh device. Definitely not, no. It's not that innovative. Or however you s pronounce that. Um Christin Hobbs: Yeah, too bad. Felicia Vadenais: so, okay. Um Oh, this is the wrong one. So uh that means redesign. We do not have the time o uh now to to redesign the product. Christin Hobbs: Mm-hmm. Felicia Vadenais: Um but we can evaluate the process and um uh uh the satisfaction on how things went. Um I'm not sure if we need to evaluate uh the device first. I guess Maria Hacker: Um well, since we're not gonna manufacture it anyway Felicia Vadenais: Yeah. Yeah, that's true. Nina Reynolds: Well, maybe it's good to do it anyway, because if we Felicia Vadenais: We Nina Reynolds: evaluate Felicia Vadenais: l we can learn. Nina Reynolds: it, we we can also determine if our Felicia Vadenais: Yeah. Nina Reynolds: objectives are good. Felicia Vadenais: Yeah. Nina Reynolds: So Felicia Vadenais: I agree. Well Nina Reynolds: Is it fancy? Felicia Vadenais: I d it Maria Hacker: Uh Felicia Vadenais: is it is Maria Hacker: Yay. Is it? Is it fancy? Felicia Vadenais: Yeah, Christin Hobbs: Um Felicia Vadenais: I think Christin Hobbs: the yellow Felicia Vadenais: so. Christin Hobbs: rubber, Nina Reynolds: I think so. Christin Hobbs: I think so. Felicia Vadenais: You like the rubber, uh Roo. Christin Hobbs: I'm into it. Maria Hacker: So uh one? Nina Reynolds: But Felicia Vadenais: Yeah. Nina Reynolds: it's not that fancy. Felicia Vadenais: No, Nina Reynolds: I Felicia Vadenais: I'll Nina Reynolds: mean Felicia Vadenais: I'll I'll give it a two. Nina Reynolds: I think uh I think it would have been more fancy if we used the titanium housing the casing. It would be Felicia Vadenais: You Nina Reynolds: even Felicia Vadenais: like Nina Reynolds: more Felicia Vadenais: tita Nina Reynolds: oh, you really like titanium. I'm I'm into it. Felicia Vadenais: That's a flavour as well. Nina Reynolds: It has flavour. Yes, that's right. You should taste it. Felicia Vadenais: Right. Um Maria Hacker: Is it uh Felicia Vadenais: Yeah, I know, but but it but that's fancy in the way um I mean fancy has has a lot of Nina Reynolds: It has to do with fashion, I guess. Felicia Vadenais: Yeah. Nina Reynolds: So do Christin Hobbs: It's trendy Maria Hacker: And Christin Hobbs: trendy, Maria Hacker: w Christin Hobbs: fun Maria Hacker: yeah, Christin Hobbs: yeah. Maria Hacker: w what they want wanted was uh colours and soft materials. So Felicia Vadenais: Yeah. Maria Hacker: in that way Felicia Vadenais: It applies. It Maria Hacker: It Felicia Vadenais: yeah. Maria Hacker: it's fancy. Christin Hobbs: Well, just Nina Reynolds: Okay. Christin Hobbs: give it a two. Felicia Vadenais: Yeah. Nina Reynolds: Yes. I Christin Hobbs: It's Nina Reynolds: think Christin Hobbs: not the Nina Reynolds: I Christin Hobbs: ultimate Nina Reynolds: th I think Christin Hobbs: uh fancy Nina Reynolds: it would have Christin Hobbs: two, Nina Reynolds: been Christin Hobbs: but Nina Reynolds: I would have think uh it could have been more fancy by using the double-curved case. It would have been even more fancy, but we decided not to, because if we use a double-curved Christin Hobbs: Yeah, but that's sti that's Nina Reynolds: case, Christin Hobbs: uh Nina Reynolds: we could not use solar. So Christin Hobbs: Looking at the user uh needs, we only uh don't we don't have the double-curved case. We w we do have uh the rubber, we do have the colours. That's two out of three. Nina Reynolds: Yes. Christin Hobbs: So I believe uh we are close uh to Felicia Vadenais: Yeah, Christin Hobbs: two. Felicia Vadenais: I I agree. Nina Reynolds: Yes, I agree too. It's okay. We did yes, we did good. Maria Hacker: Okay, and uh was it innovative? Felicia Vadenais: Well, with the voice recognition feature and uh Christin Hobbs: But that's not in it. Maria Hacker: Yep. Christin Hobbs: Ov or can we Felicia Vadenais: No, Nina Reynolds: Well, Felicia Vadenais: we Nina Reynolds: let's Felicia Vadenais: are Nina Reynolds: let's Felicia Vadenais: evaluating Nina Reynolds: this Felicia Vadenais: this Nina Reynolds: product. Felicia Vadenais: this uh design Christin Hobbs: Okay. Felicia Vadenais: now. Nina Reynolds: So Felicia Vadenais: This Nina Reynolds: I Felicia Vadenais: prototype. Nina Reynolds: I I think it is. I think it's innovative. Felicia Vadenais: Yeah. Christin Hobbs: And the scroll uh wheel. The solar not many remotes have the solar, I think. Nina Reynolds: No. It could have been a little bit more innovative u by using the kinetic uh energy source, Maria Hacker: Yeah, Nina Reynolds: but Maria Hacker: and Nina Reynolds: it's Maria Hacker: uh Nina Reynolds: it's Felicia Vadenais: That Nina Reynolds: way Felicia Vadenais: would Nina Reynolds: too Felicia Vadenais: have been a thrill. Nina Reynolds: yes, but Maria Hacker: So uh also a Nina Reynolds: I Maria Hacker: uh Nina Reynolds: think Maria Hacker: two? Nina Reynolds: uh Felicia Vadenais: Yep. Nina Reynolds: it's a two. Maria Hacker: Is it easy to use? Felicia Vadenais: I'm Christin Hobbs: Yeah. Felicia Vadenais: not sure. I'm not sure. Christin Hobbs: Well yeah, the voice recognition of course is hard to learn, I think. Well, hard it's not for the for the e for the elderly. Nina Reynolds: Well, Christin Hobbs: They won't use it. Nina Reynolds: but there are two parts in this remote control. What you see here is is the basic part. Everybody can use it, so that's easy to use. Felicia Vadenais: Yeah. Nina Reynolds: That's for a novice user. When you have a more advanced, elaborate user, well, such a user really would like to explore all these additional functions. So in that in that way it is advanced, Felicia Vadenais: Yeah. Nina Reynolds: and I think it's easy to use for for both uh types of users. So Christin Hobbs: I think Nina Reynolds: uh It's maybe it's not very uh Christin Hobbs: I Nina Reynolds: easy Christin Hobbs: think a three. Nina Reynolds: for Christin Hobbs: Wouldn't give it more. Felicia Vadenais: Uh I'm doubting doubting as well. Um Maria Hacker: Well the p the most important function is easy to use. Felicia Vadenais: Yeah. Maria Hacker: The the zapping, channel switching, volume. But the more advanced functions are probably a bit harder. Felicia Vadenais: Okay. Uh two or three? Three? Wha wh what would be your guess? I mean Nina Reynolds: Okay. Felicia Vadenais: ease of use um does not only apply to the most basic functions. It's the uh it's it's overall. Is the device easy to use? Nina Reynolds: Yeah, that's right. You're right in that, but I I guess uh an advanced user will will find the voice recognition function easy to use, Felicia Vadenais: Yeah. Nina Reynolds: because he is already he or she is already an advanced user. Felicia Vadenais: Yeah. Nina Reynolds: So After Felicia Vadenais: Um Nina Reynolds: all, I think personally I would give a two. But Felicia Vadenais: Okay. Uh Roo, a three? Christin Hobbs: Yep. Felicia Vadenais: Ruud? Maria Hacker: Good question. Uh I'll go uh for the two. Felicia Vadenais: Okay. Nina Reynolds: So, it's two, two and three. Two threes. So that's Felicia Vadenais: So I could Nina Reynolds: ten. Felicia Vadenais: make it Christin Hobbs: If Felicia Vadenais: e easy? Christin Hobbs: you make it a four Nina Reynolds: So that's Christin Hobbs: it will be three Nina Reynolds: w Christin Hobbs: in general. Nina Reynolds: No, two and a half. Christin Hobbs: If he makes it a four. Nina Reynolds: Six Christin Hobbs: Not a three. Nina Reynolds: and four. Six and four is ten. Divided by four is two and a half. So Christin Hobbs: Darn. Nee. Maria Hacker: Hmm? Nina Reynolds: Yes. Felicia Vadenais: Roo. Maria Hacker: Huh? Christin Hobbs: A seven, a three No. Maria Hacker: Yeah. Christin Hobbs: A four Maria Hacker: I Christin Hobbs: and Maria Hacker: yeah. Christin Hobbs: a three together. Nina Reynolds: Four? Christin Hobbs: Yeah, you Maria Hacker: Yeah, Christin Hobbs: have a two, Maria Hacker: two, Christin Hobbs: he Maria Hacker: two, Christin Hobbs: has Nina Reynolds: Two? Christin Hobbs: a two. Maria Hacker: three Christin Hobbs: Three? And Felicia Vadenais: No, Christin Hobbs: a three? Maria Hacker: No. Christin Hobbs: Nee. I know. Felicia Vadenais: Okay, but if I would say a three, then it's six, and four is ten. Nina Reynolds: Divided by four. Felicia Vadenais: Divided by four is two point Christin Hobbs: Yes. Felicia Vadenais: five. Christin Hobbs: So if you want to have the conclusion as a three three. Then you would make a four. If you fill out a four Nina Reynolds: That's Felicia Vadenais: But Nina Reynolds: not Felicia Vadenais: I'm Nina Reynolds: even Felicia Vadenais: filling in a three. Does it will so it will be a two point five. Nina Reynolds: But that's not possible to fill in, Felicia Vadenais: Yes, Nina Reynolds: so Felicia Vadenais: it Nina Reynolds: we have Felicia Vadenais: is. Nina Reynolds: to round it. Felicia Vadenais: I have a veto. Exactly. It's not about the content, it's about okay, um Maria Hacker: Is Felicia Vadenais: is Maria Hacker: it Felicia Vadenais: it Maria Hacker: easy Felicia Vadenais: easy Maria Hacker: to Felicia Vadenais: to Maria Hacker: find? Felicia Vadenais: f Yeah, definitely. Nina Reynolds: Yes. Christin Hobbs: Yeah, we haven't re uh re uh really worked it out, but you Nina Reynolds: It Christin Hobbs: c you Nina Reynolds: it most Christin Hobbs: can Nina Reynolds: definitely Christin Hobbs: you Nina Reynolds: is Christin Hobbs: can Nina Reynolds: it's Christin Hobbs: just Nina Reynolds: very Christin Hobbs: say find Nina Reynolds: easy. Christin Hobbs: and he repeats find. Felicia Vadenais: Yeah, or beeps or yeah. Christin Hobbs: Yeah, but Nina Reynolds: Yes. Christin Hobbs: that's the that's the the Nina Reynolds: Maybe Christin Hobbs: basic idea Nina Reynolds: Uh Christin Hobbs: of the the Nina Reynolds: I Christin Hobbs: speaker Nina Reynolds: I think Christin Hobbs: uh Nina Reynolds: I Felicia Vadenais: I'm Nina Reynolds: think Felicia Vadenais: here, I'm here. Nina Reynolds: something like that. Maybe you have to uh programme it once, Felicia Vadenais: Yeah. Nina Reynolds: so to that l respond to uh a certain word or a Felicia Vadenais: Yeah. Nina Reynolds: certain sentence, something Christin Hobbs: But even Nina Reynolds: like Christin Hobbs: without Nina Reynolds: where Christin Hobbs: it Nina Reynolds: are you, and then it will sing I'm here. Felicia Vadenais: Yeah. Nina Reynolds: So something like that. So Felicia Vadenais: Well, I Nina Reynolds: I, th Felicia Vadenais: uh we should not uh stay too long on this subject uh because of the time, but Christin Hobbs: Yeah. Felicia Vadenais: I personally give it a one. Um Sebastian? Nina Reynolds: Yeah, Maria Hacker too. Christin Hobbs: Maria Hacker too. Maria Hacker: Yeah, I agree. Felicia Vadenais: Right, well. The feel of the remote control is spongy. Well, uh it can't be more spongy. So Nina Reynolds: Well, it can be. There are cases um in which the outside casing is um can be uh how d how do you prono is Christin Hobbs: Was Nina Reynolds: is Christin Hobbs: it one of our options? Nina Reynolds: moldable. No, it's not Maria Hacker: No. Nina Reynolds: one of our option, Maria Hacker: Uh Felicia Vadenais: No Maria Hacker: this Felicia Vadenais: okay, Nina Reynolds: but Christin Hobbs: So, Felicia Vadenais: but Christin Hobbs: in Maria Hacker: this Christin Hobbs: the Felicia Vadenais: but Nina Reynolds: when Maria Hacker: was Christin Hobbs: in Nina Reynolds: you look Maria Hacker: a most Nina Reynolds: in the market, Maria Hacker: spongy option. Nina Reynolds: when Felicia Vadenais: for the Nina Reynolds: you Felicia Vadenais: options Nina Reynolds: look Felicia Vadenais: given, it's the most Nina Reynolds: Uh Felicia Vadenais: spongy Nina Reynolds: yes, Felicia Vadenais: one. Nina Reynolds: but Christin Hobbs: Yeah. Nina Reynolds: that's not that's not uh what they are talking about, I think. Because we compare all these uh characteristics characteristics with uh market uh with Felicia Vadenais: Yeah. Nina Reynolds: with the real market. So Felicia Vadenais: Yeah. Nina Reynolds: there are uh remote controls out there which are a lot more spongy. They're Felicia Vadenais: They're Nina Reynolds: out Felicia Vadenais: out Nina Reynolds: there. Christin Hobbs: But Felicia Vadenais: there. Christin Hobbs: I think in this case in this case we've done the best we could. Nina Reynolds: Yes, Felicia Vadenais: Yeah. Nina Reynolds: but it's not good enough, so it's a two. Felicia Vadenais: I'll give it a one. Christin Hobbs: I wan I'll take one. Nina Reynolds: You take one? What do you give it? Maria Hacker: Well yeah, it depends, 'cause it's the most spongy we could Felicia Vadenais: Yeah, I know, but you have Maria Hacker: but Felicia Vadenais: to name a fig uh a Maria Hacker: yeah. Felicia Vadenais: number. Because we need to go on in for the time. Maria Hacker: Well, if I give it a one Christin Hobbs: It will be a Maria Hacker: there'll Christin Hobbs: one. Maria Hacker: be one hell of a calculation. So I'll just give it a two and make this a one point five. Nina Reynolds: No no no. Uh I'll I'll change it, I'll make it m my my mark will be a four. Felicia Vadenais: You are okay. The remote control offers enough features. Well, Ruud, what what do you think about it? Maria Hacker: Well, the basic layout doesn't offem offer much, but the voice recognition could add a lot. So Nina Reynolds: Basically Maria Hacker: Yeah, depends. Nina Reynolds: it's it's completely programmable. Felicia Vadenais: Yeah. Nina Reynolds: You can add very m much functionality by uh using the voice recognition mode. Felicia Vadenais: Yeah, I Nina Reynolds: So Felicia Vadenais: know. Nina Reynolds: it's quite advanced. Felicia Vadenais: What what we didn't talk Christin Hobbs: Yeah, Felicia Vadenais: about Christin Hobbs: but Felicia Vadenais: is Christin Hobbs: it Felicia Vadenais: um Christin Hobbs: ha Felicia Vadenais: uh Christin Hobbs: doesn't has the digits. I believe it's If you uh ask yourself it offers enough features, I don't I don't think it is it has all the features um a normal remote has. Felicia Vadenais: I think it has. Maria Hacker: Uh depends on what you Felicia Vadenais: Yeah. Maria Hacker: uh implement Felicia Vadenais: Bec Maria Hacker: in the speech Felicia Vadenais: because Maria Hacker: feat Felicia Vadenais: you can um we didn't talk about it, but you do have uh remote controls that are able to adapt another signal. Nina Reynolds: Yes. Felicia Vadenais: So, you place a a regular uh remote control in front of the other one, hit the one or the two or the three, whatever, and it r records the uh the um the Nina Reynolds: Has Felicia Vadenais: the Nina Reynolds: uh the signals Maria Hacker: Signal. Nina Reynolds: sent Christin Hobbs: Yeah. Nina Reynolds: to Felicia Vadenais: signals. Nina Reynolds: it. Felicia Vadenais: So you could uh uh uh enter any comment you like, as long it's able to as long as our device is able to reproduce the infrared signal. So I think th this uh this is uh a a remote control with a very high level of features. Nina Reynolds: Absolutely. Felicia Vadenais: Although there are i a few buttons, but Nina Reynolds: Yes. Felicia Vadenais: the inside is is quite Nina Reynolds: But Felicia Vadenais: uh Nina Reynolds: that that's its Felicia Vadenais: advanced. Nina Reynolds: power, I guess, because uh a regular programmable uh remote control contains, well, uh really a lot of buttons. Felicia Vadenais: Yeah. Nina Reynolds: At at least uh forty buttons. Felicia Vadenais: Yeah. Nina Reynolds: So it's it's quite s complicated to get uh to get used to. And this is quite s simple. You can Felicia Vadenais: Yep. Nina Reynolds: use your voice to to programme it. It's Felicia Vadenais: Yeah. Okay, um let's give it a number. I'll give it uh a one. For for the for this t uh type of market, I think it's a one. Christin Hobbs: I'll give a two. Nina Reynolds: Yeah, I'll give it a one. Maria Hacker: Um I think think a one, 'cause v with a voice recognition you could add anything you want, so that's like um Nina Reynolds: Yes. I I've I think we've uh succe succeed in in developing a product that's actually quite good, but not for this kind of market, and not for this kind of price. So Felicia Vadenais: Yeah. So high quality, low Nina Reynolds: Hmm. Felicia Vadenais: acceptance. The product is is is uh b high qua uh has a high quality and and is uh advanced. Nina Reynolds: Yes. Felicia Vadenais: But whether or not our clients are are um willing to pay twenty five Euros Nina Reynolds: Mm-hmm. Felicia Vadenais: for this kind of device is doub is well, is not sure. Nina Reynolds: Mm-hmm. Felicia Vadenais: D do you agree? Nina Reynolds: Yes, I agree. Maria Hacker: Maybe Nina Reynolds: I Maria Hacker: even because it doesn't look advanced. Felicia Vadenais: Yeah. Nina Reynolds: Yeah, okay. Felicia Vadenais: Maybe Nina Reynolds: But Felicia Vadenais: we should have a radar uh function. Nina Reynolds: Yes. Christin Hobbs: But we could couldn't uh what what's the selling price? Fifty? Felicia Vadenais: Twenty Christin Hobbs: Uh Felicia Vadenais: five Euros. Christin Hobbs: twenty five. And costs were twelve fifty. Felicia Vadenais: Yeah. Christin Hobbs: But even now, if only our production costs w uh were exceeded the double, Think. Production cost was were t uh was twenty two? Felicia Vadenais: Mm-hmm. Christin Hobbs: So uh selling price uh would be uh Nina Reynolds: M about fifty Euros. Christin Hobbs: yeah. Nina Reynolds: That's quite ex Christin Hobbs: That's Nina Reynolds: well, Christin Hobbs: price, Nina Reynolds: it's Christin Hobbs: but Nina Reynolds: not Christin Hobbs: w w Nina Reynolds: it's not very expensive for a remote control that Christin Hobbs: No. Nina Reynolds: that has this functionality. Christin Hobbs: An original remote control of any T_V_ kind, uh a Phillips remote control, Nina Reynolds: Yes, Christin Hobbs: y you Nina Reynolds: it's Christin Hobbs: pay uh Nina Reynolds: more than fifty Euros. It's quite expensive, Christin Hobbs: Yeah, I kn Nina Reynolds: yes. Christin Hobbs: I know uh from a few years ago, it it Felicia Vadenais: Bu Christin Hobbs: it Felicia Vadenais: but Christin Hobbs: costed hundred Felicia Vadenais: well Christin Hobbs: Gilders. Felicia Vadenais: yeah, I know, but you're paying for th for the brand, because there are uh remote controls which control your stereo, television, D_V_D_, C_D_ Nina Reynolds: Yes. Felicia Vadenais: player, Nina Reynolds: Yes, Felicia Vadenais: for Nina Reynolds: but you can Felicia Vadenais: under Nina Reynolds: you Felicia Vadenais: twenty Nina Reynolds: c Felicia Vadenais: five Euros. Nina Reynolds: Yes, but you can learn this thing, all these functions. And it's Felicia Vadenais: Yeah. Nina Reynolds: easier to use because those uh remote controls don't offer voice recognition and this one does. Felicia Vadenais: Yeah. Nina Reynolds: So I think it's worth its price. Felicia Vadenais: Okay. Um you had an overall rating. Um Maria Hacker: Yeah, but uh Felicia Vadenais: That's counting. Maria Hacker: with these ratings uh Nina Reynolds: Well, it's it's about Maria Hacker: should be about Nina Reynolds: one Christin Hobbs: Four Nina Reynolds: point Maria Hacker: one point Christin Hobbs: six Nina Reynolds: five. Christin Hobbs: seven Maria Hacker: s seven, Christin Hobbs: eight. Nina Reynolds: Something like Maria Hacker: yeah. Nina Reynolds: that. Felicia Vadenais: Okay. Christin Hobbs: Nine divided by six. Felicia Vadenais: Okay. Um we'll go further on with the the rest of the evaluation. Felicia Vadenais: About the project itself, not about the product. Um What did you think about uh the process, the project process? Ruud? Felicia Vadenais: Try Nina Reynolds: Well Felicia Vadenais: to translate that. Christin Hobbs: Hmm. Felicia Vadenais: Any any other Uh, Nina Reynolds: Well, Christin Hobbs: Yeah, Felicia Vadenais: Roo? Christin Hobbs: I think Nina Reynolds: I think Maria Hacker: Ye Christin Hobbs: uh Felicia Vadenais: Roo. Christin Hobbs: The process was good. But w um we weren't aware of the prices of the costs. Felicia Vadenais: Yeah. Christin Hobbs: And and that was the the big deal. Nina Reynolds: Mm. Christin Hobbs: I if we knew that before, Nina Reynolds: Actually, Christin Hobbs: we c we Nina Reynolds: we had Christin Hobbs: could have made the the choice Felicia Vadenais: Better Christin Hobbs: between Felicia Vadenais: decision. Nina Reynolds: Yes. Christin Hobbs: what yeah. Nina Reynolds: We had we had too little information actually. Felicia Vadenais: Yeah. Nina Reynolds: So And uh um the the the well, looking at room for creativity, there was w way too the the choice Felicia Vadenais: Less. Nina Reynolds: of components was way too narrow. So Felicia Vadenais: Yeah. Nina Reynolds: there was not really a process of uh Felicia Vadenais: So we could we we could be we could've been creative. But um Nina Reynolds: Well Felicia Vadenais: it was tempered by the choice of components and the Nina Reynolds: Yes. Maria Hacker: The prices. Felicia Vadenais: the price. Nina Reynolds: Well, in the first meeting we we already were very creative. We we Felicia Vadenais: Yeah. Nina Reynolds: thought of possibilities who are not possible uh with the the current uh offer of uh manufacturing components. So Felicia Vadenais: Yeah. Nina Reynolds: We're tempered by that, yes. Felicia Vadenais: Okay, Roo? Any other thoughts on that? Christin Hobbs: No, no. Felicia Vadenais: Ruud? Maria Hacker: I agree. Felicia Vadenais: You agree, okay. Uh leadership. Christin Hobbs: Fantastic. Felicia Vadenais: Okay, Roo's on for his promotion. Nina Reynolds: Yeah, okay. Felicia Vadenais: Okay. Nina Reynolds: I think we're a good team. Felicia Vadenais: I think so too, it's it's it's uh of course a laboratory environment. I missed it um to be able to contact you in between Nina Reynolds: Yes. Christin Hobbs: Yeah. Felicia Vadenais: and uh say uh, hey Roo uh. Um Nina Reynolds: Well, I tried once, but that was not allowed. Felicia Vadenais: Yeah. So um Yeah, but but si uh w w w when taken in account the the situation, uh I think we performed pretty well. Nina Reynolds: I think so too. Christin Hobbs: Yeah. Felicia Vadenais: Yeah. Um the means, the SMARTboard, the digital pen. Did you like Nina Reynolds: Uh. Felicia Vadenais: 'em? Nina Reynolds: The digital pen was okay, but SMARTboard was really bad. Christin Hobbs: Yeah. Nina Reynolds: It Felicia Vadenais: Because Nina Reynolds: it's Felicia Vadenais: of the response or Nina Reynolds: The response Christin Hobbs: Response Nina Reynolds: is Christin Hobbs: and Nina Reynolds: very slow and the possibilities are very limited. It's not accurate. Felicia Vadenais: Okay. Christin Hobbs: Uh it it Felicia Vadenais: Uh Christin Hobbs: has yeah. Yeah, it's not accurate. The p the pointing of the pen is not um the place where it it writes its um uh where it uh Maria Hacker: Draws. Christin Hobbs: Yeah, where it draws. It's uh the drawing on on the b on the board is r right from the pen. Felicia Vadenais: Okay, so it Christin Hobbs: So Felicia Vadenais: it Christin Hobbs: uh Felicia Vadenais: had to be um Christin Hobbs: You to take Felicia Vadenais: better Christin Hobbs: in account Felicia Vadenais: aligned, Christin Hobbs: that Felicia Vadenais: or Christin Hobbs: your Felicia Vadenais: what's Christin Hobbs: you Felicia Vadenais: the Christin Hobbs: m Felicia Vadenais: word? Uh Christin Hobbs: yeah uh Felicia Vadenais: yeah. Nina Reynolds: Maybe it's it needs to be calibrateds. Christin Hobbs: It's too slow Felicia Vadenais: It it was calibrated just before this meeting. Uh Nina Reynolds: It Felicia Vadenais: the Nina Reynolds: is? Felicia Vadenais: one before, the third meeting. Nina Reynolds: Okay. Felicia Vadenais: So uh it's not the calibration, it's the thing itself, Christin Hobbs: Hmm. Nina Reynolds: Okay. Felicia Vadenais: I think. Uh Ruud, w uh did you use the pen a lot? Or Maria Hacker: No. Felicia Vadenais: not at all? Not Maria Hacker: Not Felicia Vadenais: at all. Maria Hacker: really. Felicia Vadenais: Okay. I thought it was quite a handy Nina Reynolds: I Felicia Vadenais: uh Nina Reynolds: I think Felicia Vadenais: thing, Nina Reynolds: so too. Felicia Vadenais: although I would like to see um O_C_R_. Nina Reynolds: Yes. Christin Hobbs: Yep. Nina Reynolds: Yes. Christin Hobbs: If it has O_C_R_, uh I think uh I would use, but uh I I just uh took notes Felicia Vadenais: Yeah. Christin Hobbs: for myself and and and that's it. It w it w yeah. It was necessary for Maria Hacker to uh Felicia Vadenais: To digitise them. Christin Hobbs: Yeah, type it. Felicia Vadenais: Yeah. Nina Reynolds: Mm-hmm. Christin Hobbs: I type faster than I write. So Felicia Vadenais: Yeah. Nina Reynolds: But I think it's a great solution for uh for uh a known problem, uh writing down some notes, some some inf uh information, and then um forgetting your notebook somewhere Felicia Vadenais: Yeah. Nina Reynolds: and losing all that information. Because you have everything in one place and it's quite easy quite easy it's it's possible to make this information digital and share it with others in Felicia Vadenais: Yeah. Nina Reynolds: a quite easy way. I think it's a good product. I only think it's th the the shape of the pen is too big. Felicia Vadenais: Yeah. Nina Reynolds: It's not quite uh ergonomic. Christin Hobbs: Economic. Nina Reynolds: Eco ergonomic. Felicia Vadenais: I know. Yeah. Okay. Um What w Uh Ruud, what did you think about the SMARTboards? Maria Hacker: Oh, I only use it to draw a rabbit, Felicia Vadenais: Yeah. Maria Hacker: so Felicia Vadenais: Okay, you can't really Maria Hacker: can't say Felicia Vadenais: decide. Maria Hacker: much about it. Felicia Vadenais: No. I missed a feature to easily select uh a slide and uh distribute it to the laptops. I think that would be very easy if you could say okay, I want to use this for my own work or my own presentation further on or Nina Reynolds: Yes. Maria Hacker: No, or the other Christin Hobbs: Yeah. Maria Hacker: way around. Felicia Vadenais: Or the other way around, that you Nina Reynolds: Yes, Felicia Vadenais: could Nina Reynolds: yes. Felicia Vadenais: show but m Nina Reynolds: That's Christin Hobbs: But Nina Reynolds: quite what Maria Hacker: Yeah. Nina Reynolds: PowerPoint Christin Hobbs: y you Nina Reynolds: does. Christin Hobbs: can if Felicia Vadenais: I Christin Hobbs: you Felicia Vadenais: know. Christin Hobbs: save this image, you can open it in your shared work folder. Felicia Vadenais: I know, but Christin Hobbs: So it's almost yeah. Felicia Vadenais: I know, but we couldn't use that feature, so I missed it. Christin Hobbs: Yep. Felicia Vadenais: We weren't able to do that. At least the um I wasn't explained how to Christin Hobbs: Mm-hmm. Felicia Vadenais: do such Christin Hobbs: A Felicia Vadenais: a th Christin Hobbs: and the function of of filling an an uh Nina Reynolds: An object, Christin Hobbs: an oval or Nina Reynolds: yes. Christin Hobbs: an an object. Nina Reynolds: Yes. The drawing Christin Hobbs: I Nina Reynolds: cap Christin Hobbs: it's not Nina Reynolds: capabilities Christin Hobbs: possible Nina Reynolds: are very limited. Christin Hobbs: yeah. Felicia Vadenais: Okay. Nina Reynolds: And and uh w you were when you're using uh Windows, you're used to a certain interface and certain buttons, uh which you can use for drawing. Felicia Vadenais: Yeah. Nina Reynolds: And a lot of these buttons don't appear here. So Christin Hobbs: Oh Nina Reynolds: it's Christin Hobbs: it looks Felicia Vadenais: Okay, Christin Hobbs: like Felicia Vadenais: so Christin Hobbs: paint Felicia Vadenais: y it it's Christin Hobbs: actually. Felicia Vadenais: not even as advanced as paint. Nina Reynolds: Not not uh n not way. Felicia Vadenais: Yeah. Nina Reynolds: It's quite uh limited. Felicia Vadenais: Okay. Uh no. Yeah, the project is evaluated. Um but, well, we need to redesign uh Nina Reynolds: Okay. Felicia Vadenais: the product. Nina Reynolds: Oh, very good, celebration. Felicia Vadenais: Celebrate. Nina Reynolds: Pop Christin Hobbs: Great. Nina Reynolds: uh pop up the champagne. Christin Hobbs: It Felicia Vadenais: Okay. Christin Hobbs: was a privilege working with you. Felicia Vadenais: Um you're dismissed. No, I think we are uh ready. Nina Reynolds: Okay. Christin Hobbs: To private rooms? Nina Reynolds: I see some action over there. Felicia Vadenais: Private room, Roo. That sounds quite scary. Nina Reynolds: Okay. Felicia Vadenais: No, let's find uh the way to. Nina Reynolds: uh we're done, we're finished, I believe. So, are there any more cycles in this process? I think not. Felicia Vadenais: I don't believe so. Well, maybe we'd get an email. Thank you for your Nina Reynolds: But um how much time did we get for this meeting? Felicia Vadenais: Forty minutes. Nina Reynolds: And how much time is left? Felicia Vadenais: A minute or or ten maybe. M Nina Reynolds: Ten minutes. Felicia Vadenais: Yeah, ten or five. Nina Reynolds: Okay. Okay. Felicia Vadenais: So, we can uh redesign our uh Uh I would like to Nina Reynolds: Well, I think we we we all know what the redesign should be. A simple, dull, uh one-coloured box. Maria Hacker: And no added value. Nina Reynolds: No, it's Maria Hacker: At Nina Reynolds: it's Maria Hacker: all. Nina Reynolds: just the Maria Hacker: So Nina Reynolds: same product that is already on the market. Felicia Vadenais: Oh. Christin Hobbs: But you see the problem, y Felicia Vadenais: Yeah. Christin Hobbs: you can't continue your uh your line. Well, it's fluffy alright. Spongy. Nina Reynolds: What is that? Christin Hobbs: A giraffe? Felicia Vadenais: Yeah. Nina Reynolds: It's a giraffe eating a eating leaves from a tree. Felicia Vadenais: It's blue Maria Hacker: In Felicia Vadenais: tongue. Maria Hacker: interesting design. Felicia Vadenais: Yeah. This is a new model. But Nina Reynolds: So you're actually promoting Bluetooth. Or blue tongue. Felicia Vadenais: Blue tongue. Maria Hacker: Oh uh it it does uh have a natural uh feeling. So Felicia Vadenais: It's spongy. Maria Hacker: Yeah. Felicia Vadenais: That Nina Reynolds: Blue Felicia Vadenais: is Nina Reynolds: tongue. Felicia Vadenais: uh it's a new feature next to Bluetooth to um disable all Bluetooth devices. Nina Reynolds: Okay. Felicia Vadenais: Um Christin Hobbs: Right. Nina Reynolds: Let's wrap it up. Felicia Vadenais: Yeah, we're done here. Gentlemen, thank you for your cooperation. Nina Reynolds: Thank you Mister manager. Now, let's have uh a bottle of champagne. Christin Hobbs: Leave it here. Felicia Vadenais: Yes. Christin Hobbs: That's alright.

Christin Hobbs and Nina Reynolds presented a prototype drawing of the remote control design. It can be used as a normal remote, but the speech recognition also provides a more advanced alternative interface. The speech recognition works as a finding mechanism as well. The rubber case is yellow with grey or black, with buttons either made of plastic or rubber. An extra button could activate/deactivate the voice recognition. The prototype proved extremely over budget. The main contributing factors were the solar cell and speech recognition. One way to compensate for the loss of features, but still attract their target group, would be to add more colour to the design. After the costing, the original prototype was evaluated on a scale of 1(excellent)-7(very bad). The criteria used were fancifulness (2), technological innovation (2), ease of use (2.5), whether it is easy to find (1), sponginess (1.5), number of features (1). Finally, the team evaluated the project process in terms of creativity (choices too narrow), leadership and teamwork (happy with it, but they missed communicating in between meetings), and means (SMARTboard was not satisfactory, but the digital pens were alright, but not too useful). The delay in providing costs of components was criticised.

amisum

train

Maria Farrior: Wait for the marketing director actually, so. Anyways. Uh. Maria Farrior: See, shall we wait? I'm not sure if he's late or delayed or whatever, so I'm gonna start soon, we have now don't have much time anyway. Rose Couper: Oh, there he Kimberly Toth: Yes. Angeline Blount: Okay, Rose Couper: is. Maria Farrior: There Angeline Blount: we Kimberly Toth: Sorry, Maria Farrior: you are, okay. Kimberly Toth: a little bit of pl Maria Farrior: Uh no Kimberly Toth: little Maria Farrior: problem. We're Kimberly Toth: with Maria Farrior: about Kimberly Toth: computer. Maria Farrior: to start, so have a seat. Okay, welcome again. Today, functional design phase. I'll take you over the minutes of last last meeting. Okay, that was just to Kimberly Toth: Uh. Maria Farrior: get to know each other have, a little thoughts on what your vision is and on this project, so I put the minutes on the I made on the on the p the the project share, so if you wanna review them, they're there. I will do so after every meeting, so if you have some information you wanna take back you can find it there. Anyways, um today three presentations, from every one of you. Um after that I got some new project requirements from project board, so we're gonna go af go after over this later. But I wanna start with uh stuff you did first, so we can see what everybody came up with. And after that we can have the new requirements and share some thoughts, so. Who would like wanna go first? Kimberly Toth: Yeah, sure, no problem. Rose Couper: Go ahead. Maria Farrior: Take it. Kimberly Toth: Um there was a little problem with my computer so not uh the whole uh presentation uh Maria Farrior: Anyway, let's see what you have. Kimberly Toth: Yeah. Um Kimberly Toth: Okay, and Maria Farrior: Uh it's still a bit open. Kimberly Toth: I want to open the my s oh no. Maria Farrior: You should close it on your own notebook, I guess. Yeah. Kimberly Toth: Oh no, Maria Farrior: So Kimberly Toth: that's Maria Farrior: there? Okay. Kimberly Toth: okay. Uh slide show. Yes. The functional requirements, it's uh uh very important for uh the user, he he wants to yeah. The the method used not m a slide because it went wrong, but the method we use uh, um we tested it w uh with uh a hundred uh men, and we asked them to w uh what the remote uh f feel uh like and uh what what's uh important. Maria Farrior: If I Kimberly Toth: Uh Maria Farrior: can cut in, is it people or men? Kimberly Toth: People, sorry. Maria Farrior: Is it people, okay. Kimberly Toth: Both Maria Farrior: 'Cause I Kimberly Toth: women Maria Farrior: thought it was Kimberly Toth: and Maria Farrior: only Kimberly Toth: men, Maria Farrior: men, so Kimberly Toth: yeah. Okay. Maria Farrior: 'Kay. Kimberly Toth: Uh the findings um uh seventy five percent of the users find most remote controls ugly. Um Rose Couper: That's shocking Maria Farrior: So we Kimberly Toth: Yeah, Maria Farrior: have Rose Couper: uh. Maria Farrior: to s we have to do something Kimberly Toth: and Maria Farrior: about that. Kimberly Toth: yeah, most th th they want to spend money for a better system, for better remote control, so we can do uh a l a little uh nice things with it, and um they use yeah, they use zap a lot, um uh fifty percent say they only So that's the most important things. Maria Farrior: Okay. Kimberly Toth: Um oh yeah, not all of it is it on mine on my PowerPoint presentation, Maria Farrior: Okay, Kimberly Toth: but Maria Farrior: just talk Kimberly Toth: um Maria Farrior: ahead. Kimberly Toth: uh the relevant buttons are the power, the channel selection and the volume selection. It's Maria Farrior: Mm-hmm. Kimberly Toth: uh the most basic buttons that a user wants uh to use. Uh less important is tel teletext, Maria Farrior: Mm-hmm. Kimberly Toth: uh um they use it, but it's not uh very uh important uh on the scale of zero to ten they six and a half uh Maria Farrior: Okay, that's okay. Kimberly Toth: and but not important is the channel selection, the the hmm? Maria Farrior: That's a little weird. Kimberly Toth: Oh, the Rose Couper: Which channel Kimberly Toth: the Rose Couper: selection? Kimberly Toth: no no no no no, that's very important, but uh w and not important in the audio settings, display settings and Maria Farrior: Okay, Kimberly Toth: uh Maria Farrior: we can we Rose Couper: Oh, Maria Farrior: can Rose Couper: okay. Maria Farrior: hide those under Kimberly Toth: Yeah. Maria Farrior: a menu or something, okay. Kimberly Toth: Um new preferences preferences. Uh um um beep to find your control, was that Maria Farrior: That's Kimberly Toth: was Maria Farrior: like Kimberly Toth: in Maria Farrior: a Kimberly Toth: the Maria Farrior: button Kimberly Toth: test, Maria Farrior: on your T_V_? Kimberly Toth: the the most people uh f find it uh irritating uh when they cannot find a rem Angeline Blount: Mm. Kimberly Toth: their remote Maria Farrior: Remote, Kimberly Toth: control, Maria Farrior: okay. Kimberly Toth: so uh I think it's a bee beep to sound it and uh you can find it. And another thing uh they want was uh speech recognition um so they can say uh what they want to let's go to channel one and uh Maria Farrior: Okay. Kimberly Toth: that's uh kind of things. And they want maybe an uh L_C_D_ screen um to to look it um wh what's on every channel uh and uh what Maria Farrior: We wanna Kimberly Toth: do Maria Farrior: have Kimberly Toth: I want Maria Farrior: a little preview Kimberly Toth: with it? Maria Farrior: on the remote control. Kimberly Toth: Yeah. Maria Farrior: Preview what's on the channel. Okay. Rose Couper: Is that manageable? 'Cause it sounds pretty expensive too. Maria Farrior: That sounds Kimberly Toth: Yeah. Maria Farrior: too It's possible, but uh I think it's expensive, but do continue. Rose Couper: Okay. Kimberly Toth: Yeah. Um Uh my personal preferences is uh a button for my favourite channel, so I can uh I dunno, so I can zap to my uh f uh quick uh to my favourite channel wh what I uh so, the remote mu must see or um must um see wha what mine preferences are for which Maria Farrior: Okay, Kimberly Toth: channel, Maria Farrior: you don't Kimberly Toth: so Maria Farrior: set it yourself, Kimberly Toth: I can Maria Farrior: it just Kimberly Toth: zap t Maria Farrior: remembers Kimberly Toth: to Maria Farrior: the channel that you are on most, for example. Kimberly Toth: What? Maria Farrior: You want the you want it to be programmed, for example Kimberly Toth: Yeah. Maria Farrior: y programmed f or Kimberly Toth: Yeah. Maria Farrior: you want it to recognise your favourite channel? Kimberly Toth: Recognise Maria Farrior: Let's see, you you spend twenty minutes each day on that channel, Kimberly Toth: Yeah. Maria Farrior: so it recognises your favourite channel. Kimberly Toth: Yeah, that's uh what my personal preference Maria Farrior: Okay, Kimberly Toth: like. Maria Farrior: so it's it it does it recognise itself, you don't have to set Kimberly Toth: No, Maria Farrior: it Okay. Kimberly Toth: itself. Maybe it's easier to to sell it, but Maria Farrior: Okay. Kimberly Toth: I don't know it's manageable, but we Maria Farrior: I see. Kimberly Toth: will uh we will see. Yeah, it's a little bit uh it's the end of it. It's Maria Farrior: Okay. Kimberly Toth: a little bit Rose Couper: Okay. Kimberly Toth: uh I lost it, the computer uh crashed, so. Maria Farrior: No problem, it's it's okay, that's Rose Couper: Shall I go? Maria Farrior: Yeah, go Rose Couper: Okay. Maria Farrior: ahead. Kimberly Toth: Yeah. Rose Couper: So, some technical Kimberly Toth: Darn Rose Couper: functions. Kimberly Toth: computer. Rose Couper: Basically I have some issues which you discussed earlier. Kimberly Toth: Yeah. Rose Couper: Uh let's just start with the method. It sounds really easy, what does the user do, what does the th remote control do, but there are quite some issues. So the things I'm going to concentrate on are the user aspect, because the technical aspect, that's pretty much covered. We can do that. What goes wrong at the user. Gets the remote control. Where is the remote control? We've all had it once, I want Kimberly Toth: Yeah. Rose Couper: to watch some television, where's the remote control? That was one of your ideas which you posted Kimberly Toth: Yeah. Rose Couper: in the network folder, Maria Farrior: That seems Rose Couper: a Maria Farrior: very Rose Couper: really Maria Farrior: good. Rose Couper: good idea. Uh these are just the issues. I come to some uh personal experience, findings, possible solutions later. Searches for the button. There are many buttons on a remote control which are not clear. Uh so either we lose those or we try to make it a little bit more clear. Kimberly Toth: Mm uh. Maria Farrior: Mm-hmm. Rose Couper: Uh also symbols tend to fade after a while. There's nothing more annoying than faded symbols, because you don't know which channel is this button, so possibly we could find Maria Farrior: Okay, Rose Couper: uh Maria Farrior: so have it more make it more Rose Couper: something Maria Farrior: durable Rose Couper: for that, Maria Farrior: actually. Rose Couper: yes. Maria Farrior: Okay. Rose Couper: Uh covered that. Oh yes, user presses the button. Um usually when you have a lot of buttons, buttons are small. So you press more once remote control goes Maria Farrior: Okay, so Rose Couper: kablouey Maria Farrior: the buttons should Rose Couper: or something Maria Farrior: be Rose Couper: like that, so we have to pay attention not to put too mun too many buttons on Maria Farrior: Mm-hmm. Rose Couper: uh the remote control. Maria Farrior: Yeah. Rose Couper: And possibly also the size, so Maria Farrior: Wow. Rose Couper: more important buttons, Maria Farrior: The s Yeah. Rose Couper: bigger Maria Farrior: Make it Rose Couper: si Maria Farrior: make them bigger. Even Rose Couper: So Maria Farrior: more Rose Couper: this Maria Farrior: durable Rose Couper: is basically Maria Farrior: uh. Rose Couper: what I h had in mind in the fade-proof symbols, locator, a sound, uh so clear we should stick to existing symbols, but maybe we could do a little uh investigation to see whether some symbols are uh need to be replaced by others. Maria Farrior: Okay. Rose Couper: Uh This I pretty much covered. So what we want to go to is not this one, but more Maria Farrior: Yeah, it's true. Kimberly Toth: Yeah. Rose Couper: less buttons, easy, some bigger buttons. So that's basically uh Maria Farrior: Yeah, Rose Couper: what Maria Farrior: that's Rose Couper: I had Maria Farrior: clear. Rose Couper: in mind. This is not the final design, this Maria Farrior: No, Rose Couper: is just Maria Farrior: of course Rose Couper: a general Maria Farrior: uh Rose Couper: idea of Maria Farrior: Yeah. Rose Couper: how I'd like to see uh Maria Farrior: I must Rose Couper: basically Maria Farrior: say that Rose Couper: the Maria Farrior: it Rose Couper: general idea. Maria Farrior: Hmm. Rose Couper: So that was it. Maria Farrior: That was it. Okay, that was good. So we agree on the the part that we need to get something on the on the remote to find it somewhere Rose Couper: Yeah, Maria Farrior: and Rose Couper: I think Maria Farrior: increase Rose Couper: it's a Maria Farrior: it Rose Couper: really good idea. Maria Farrior: the durability of of the thing, so Rose Couper: Yeah. Maria Farrior: The other aspects, we'll just see how what you came up with and what's possible for that budget. Rose Couper: Yeah. Maria Farrior: Okay. Angeline Blount: Okay, that's fine Um. Okay, now work a little with Kimberly Toth. Okay. Well, let's start it as it is. Okay, uh the method. There are a few questions that need to be answered, uh you already uh talked about it a little bit. Which buttons are wanted, uh is our remote control universal or should it be programmable. Uh if it should be programmeab grammeale then we need um something like a mode that you can switch it. buttons have to send out a different signal then they would normally do. Maria Farrior: Mm-hmm. Angeline Blount: And uh how big is the remote control uh going to be? I'll tell you why that's important to Kimberly Toth. Um there are a lot of technical parts in the remote control, so uh uh that's why I also would like to say uh go a little bit easy on the designs, uh I heard ab uh you talking about beeps and about uh video screens, but uh the material inside and the technical aspects are quite complex already. Maria Farrior: Mm-hmm. Angeline Blount: So keep in mind that everything that you keep uh think of, it has to b to be built. So it's Maria Farrior: Yeah. Angeline Blount: that's Maria Farrior: Of course, Angeline Blount: not as easy as Maria Farrior: hmm. Angeline Blount: it s Rose Couper: Okay. Angeline Blount: might look like. Uh material study, I'm working on that um for the the costs. I have to check out how far I can go with that. Normally, a circuit board is made of fibreglass uh and the wires are made of copper. Uh that is how it is done and all the remote controls work that way, I think we can just go on with that. Um then I've read more integration of materials means less cost for the production. The more we can make uh at once uh in one piece, uh that is cheaper. Maria Farrior: You mean integrate them all into the circuit board. Angeline Blount: Exactly, Maria Farrior: Okay. Angeline Blount: so if we make a circuit board with the the connections already on it, then that's cheaper. Maria Farrior: Yeah, Angeline Blount: So we Maria Farrior: okay. Angeline Blount: have to Maria Farrior: So you have Angeline Blount: make something that's not too difficult in design again. This is what look like uh looks like if you press one button, so this is not the entire thing. You have the the power coming in, then you have like a switch. The switch uh uh uh if you p press it then some electrical charge goes into the processor, that thinks over a Morse code, that's how you should see it. The Morse code goes to the amplifier, then uh the signal is sent to two uh light bulbs. You have infrared and an interv um uh how to say it? Uh a light in indication, light that you know Maria Farrior: Mm-hmm. Angeline Blount: that it's functioning. Uh here again, that's my story about the different modes, if you do want to make remote uh universal, then the processor has to uh make up a different Morse code when some button is pressed. That makes it much more complex, so we really need to have a look, do we want that or not. Uh I don't have any personal p uh preferences uh so far, except for uh Maria Farrior: Okay. Angeline Blount: the materials to be used uh light, that they are light. Maria Farrior: Okay. That was it? Angeline Blount: That was Maria Farrior: I'll get Angeline Blount: it. Maria Farrior: back to my thing then. Uh Maria Farrior: Okay, back this up to the screen. So I got some new information on the project specifications are changing a little. Like you said uh teletext is not not very popular anymore because the uh the internet, nowadays people don't use the teletext anymore or hardly, so it can either Well, I don't think we should remove the button, because there are always people who are using it. Rose Couper: Yeah. Maria Farrior: But I don't think it should be very it should be one of the big buttons for example. Just put it somewhere or under second option or whatever. It's not important anymore. Um we're targeting young people now, because our um This is a new product and with this new product we want to appeal to Kimberly Toth: Uh. Maria Farrior: younger people, which are um the younger Kimberly Toth: Yeah. Maria Farrior: people were defined under forty. Angeline Blount: Hmm. Maria Farrior: I so I think it's Kimberly Toth: B Maria Farrior: that's also good with the fashion and everything, so Kimberly Toth: Yeah, Maria Farrior: yeah. Kimberly Toth: and they want to pay for it and uh Maria Farrior: They want to pay for it, people are willing to spend money actually to buy a um remote that they like. Kimberly Toth: With Maria Farrior: If they like Kimberly Toth: more Maria Farrior: the way it looks, the way it functions, so they're actually gonna spend uh spend money on it. Kimberly Toth: Where with more technical specifications Maria Farrior: Yeah. Kimberly Toth: in the Maria Farrior: see how far we can go with it anyway, so Kimberly Toth: Yeah. Maria Farrior: And one thing that should be important is that the corporate l colour and slogan are recognisable, and yellow, but I'm not sure if we I think we should keep the the logo in mind, because with colours you can uh have a lot of uh fashionable colours and everything on it, which suits everybody's taste. So With that concept I started thinking, so why not just steal Nokia's idea and just make changeable Rose Couper: Oh. Maria Farrior: covers for your I mean those cost hardly anything I think, Angeline Blount: Yeah. Maria Farrior: and people could even spend extra money on buying a cover and so have an entire new remote control that they like to see. Or we can sh for example we can make a different a basic design. And sell the covers separately, for example. That's just a little marketing idea that could be applied, so you can p it appeals to really everyone. So you don't have to I think you don't have to make entire remote controls. We make a basic one and manufacture this cover separately. Angeline Blount: Mm-hmm. Maria Farrior: So that was that was my idea on what we could do to appeal this product to everyone. Angeline Blount: Hmm. Maria Farrior: So just I'm not sure if you came up with anything in the meantime, after making a presentation. Kimberly Toth: Yeah. Maria Farrior: Would you like to share? Angeline Blount: No, I think this is a good idea. Maria Farrior: Okay. Angeline Blount: But Kimberly Toth: But Rose Couper: Is Kimberly Toth: oh? Rose Couper: it manageable? Angeline Blount: Go ahead. Kimberly Toth: Yeah, Rose Couper: Is it easy? Kimberly Toth: with with an L_C_D_ screen you can Maria Farrior: Oh yeah. I think Angeline Blount: Y Maria Farrior: we should lose the L_C_D_ screen, like you Angeline Blount: Yes, Maria Farrior: said. Kimberly Toth: Why? Rose Couper: Yeah. Maria Farrior: I Angeline Blount: I Maria Farrior: think Angeline Blount: think so too. Kimberly Toth: Nokia Maria Farrior: for example it's Kimberly Toth: w Maria Farrior: it's huge I think the L_C_D_ is huge, it consumes batteries like hell. Kimberly Toth: Uh. Maria Farrior: I think it takes up a lot of Angeline Blount: Yeah. Maria Farrior: a lot of power. Rose Couper: And it costs too much Maria Farrior: It costs Rose Couper: to fabricate, Maria Farrior: a lot, Rose Couper: so Maria Farrior: I think. Angeline Blount: Okay, Kimberly Toth: Okay. Angeline Blount: uh Rose Couper: we're Maria Farrior: What Rose Couper: on a Maria Farrior: we Rose Couper: tight Maria Farrior: could do, Rose Couper: budget here. Maria Farrior: what could be possible, is maybe not an L_C_D_ screen but with a preview, but y I'm not sure if it's even possible. Angeline Blount: Mm. Maria Farrior: For example, a little T_V_ guide. Angeline Blount: Hmm. Maria Farrior: Like you have a little just just a text only, not Angeline Blount: Mm-hmm. Kimberly Toth: Yeah. Maria Farrior: colour, just a little text thing so you can use your remote as a T_V_ guide. I'm not sure Angeline Blount: Hmm. Maria Farrior: it's even Angeline Blount: I Maria Farrior: possible, but Angeline Blount: have to check that Maria Farrior: maybe Angeline Blount: out, I'm Maria Farrior: okay, Angeline Blount: not sure. Maria Farrior: make it Yeah, find a little compromise in that, but Kimberly Toth: Yeah. Maria Farrior: What did I write down? I think the p yeah, the beep is a very simple thing to imple implement, just Angeline Blount: That must Maria Farrior: make Angeline Blount: be Maria Farrior: a Angeline Blount: possible. Maria Farrior: button on your T_V_ and just hit the button, it beeps somewhere. I Angeline Blount: Ja. Maria Farrior: think it's easy to implement, we should Angeline Blount: I'm Maria Farrior: go for Angeline Blount: sorry, Maria Farrior: that. Angeline Blount: whe Rose Couper: And Maria Farrior: Uh speech Rose Couper: it's Angeline Blount: where do Maria Farrior: recognition. Angeline Blount: you wanna hit the T_ you wanna we want a button on the television. Maria Farrior: I thin Yeah, I mean where Angeline Blount: In Maria Farrior: else should you Angeline Blount: th Maria Farrior: put it? Angeline Blount: okay, but that rules out a universal remote control. Because that's Maria Farrior: Yeah, Angeline Blount: not possible Maria Farrior: but Angeline Blount: uh. Maria Farrior: how are you gonna use that if your I mean if your remote control is Angeline Blount: Uh. Maria Farrior: lost, how Angeline Blount: Yeah. Maria Farrior: are you gonna press where are you gonna press the button? Angeline Blount: Exactly. Rose Couper: Maybe just a slap-on sticker with a button which sends out a small Maria Farrior: A slap-on Rose Couper: signal. Maria Farrior: sticker. Oh, you mean as like a separate thing you can attach Kimberly Toth: Mm uh. Maria Farrior: to your T_V_. Rose Couper: Yeah, Maria Farrior: Yeah, that could Rose Couper: exactly. Maria Farrior: be possible. A little little box you can attach Angeline Blount: Okay, Maria Farrior: to your T_V_ is fine Angeline Blount: then Maria Farrior: then, okay. Angeline Blount: uh I'd I'd like to know now if we want the uh universal remote control or not, because that's uh Maria Farrior: I think it's Angeline Blount: determines Maria Farrior: universal. Angeline Blount: everything I'm gonna do. Maria Farrior: I think we should Angeline Blount: If not Maria Farrior: go for universal, because Angeline Blount: Okay. Maria Farrior: apparently we're a separate company making separate c remote controls to sell to a lot of diverse Kimberly Toth: Yeah. Maria Farrior: people. I think universal remote control Kimberly Toth: Um Maria Farrior: should be possible. Angeline Blount: Okay, Kimberly Toth: Everyone Angeline Blount: then I go for that. Kimberly Toth: uh wants to buy it, so Maria Farrior: Yeah, I think Angeline Blount: Yeah. Kimberly Toth: we Maria Farrior: we're targeting Kimberly Toth: w Maria Farrior: everyone, Kimberly Toth: yeah. Maria Farrior: so Angeline Blount: Okay. Maria Farrior: remote Angeline Blount: No, it's fine with Kimberly Toth, but then I know what to look Maria Farrior: Okay, Angeline Blount: for. Maria Farrior: universal is good. Speech recognition, I think it's very hard, because we're selling across multiple countries. So I think Kimberly Toth: Yeah. Maria Farrior: implementing speech recognition is such a small um Kimberly Toth: Or one. Maria Farrior: apparatus, it's very hard to do. Kimberly Toth: Or Rose Couper: And it's Kimberly Toth: when you say one two uh i it uh it's Maria Farrior: Yeah, Kimberly Toth: enough, Maria Farrior: but I Kimberly Toth: right? Maria Farrior: don't see Kimberly Toth: But Maria Farrior: Arabian people speaking Kimberly Toth: Oh Maria Farrior: one, Kimberly Toth: yeah. Maria Farrior: two uh whatever. Rose Couper: Besides that, the technology isn't really super yet, so that Maria Farrior: It's Kimberly Toth: Yeah. Maria Farrior: Yeah. Rose Couper: is a problem in Maria Farrior: It's Rose Couper: implementing Maria Farrior: not a mature technology, Rose Couper: this. Kimberly Toth: Okay. Maria Farrior: I think it takes a lot of memory and everything in in a remote control, Rose Couper: It's a good Maria Farrior: so Rose Couper: idea, but it's just not I don't think the market's ripe for that yet. Maria Farrior: I don't think it should be implemented in a remote control yet uh. Angeline Blount: Uh-huh. Kimberly Toth: Yeah. Maria Farrior: What else do we have? Um well you should you should look into the in into the materials that are real durable. Angeline Blount: Mm-hmm. Maria Farrior: So the the the symbols won't fade, maybe a little Angeline Blount: Exactly. Maria Farrior: harder plastic Angeline Blount: I Maria Farrior: or especially Angeline Blount: already noted Maria Farrior: li Angeline Blount: that. Maria Farrior: we don't maybe we don't have have to do all the buttons, but especially the ones that are um the popular buttons, Angeline Blount: Mm, Maria Farrior: so Angeline Blount: okay. Maria Farrior: those always fade first. Angeline Blount: Okay. Maria Farrior: Mm the thing is the most important things that we have now. Angeline Blount: Hmm. Maria Farrior: Let's see. Angeline Blount: If we uh make a remote control with changeable covers, then we can also make uh a cover for every language area. That's Maria Farrior: For Angeline Blount: fo Maria Farrior: example? Angeline Blount: is uh especially for older people, that they can read it read Maria Farrior: Well, Angeline Blount: it in their Maria Farrior: we're Angeline Blount: own Maria Farrior: not Angeline Blount: language. Maria Farrior: we're not Kimberly Toth: Yeah. Maria Farrior: targeting older people, we should remember that. Everything Angeline Blount: That's Maria Farrior: we target is under Angeline Blount: okay, Maria Farrior: forty, so. Angeline Blount: okay. Maria Farrior: You assume that that they read correctly and Angeline Blount: Huh. Maria Farrior: I think they're The most Kimberly Toth: But Maria Farrior: important Kimberly Toth: b Maria Farrior: thing about young people is that they're really sensitive to to trends that are passing through the world, Angeline Blount: Uh Maria Farrior: so Angeline Blount: okay. Rose Couper: But should the exchangeable covers include the buttons themselves or just Maria Farrior: No, of Rose Couper: the Maria Farrior: course. No, I think it's just something you you put over them, because Angeline Blount: Hmm. Maria Farrior: Yeah we c Yeah, you ca Kimberly Toth: But Maria Farrior: Well, Kimberly Toth: every Rose Couper: C Maria Farrior: tha that's Rose Couper: that's Maria Farrior: not Rose Couper: a Maria Farrior: a that's Rose Couper: problem Maria Farrior: not a Rose Couper: with Maria Farrior: bad Rose Couper: the with Maria Farrior: that's Rose Couper: the Maria Farrior: not Rose Couper: text Maria Farrior: even Rose Couper: then. Maria Farrior: it's not even a bad idea. Angeline Blount: Hmm. Maria Farrior: I mean, for example, if you're if you're into the durability issue you could For example, if your buttons are faded, after Angeline Blount: Mm. Maria Farrior: I mean if you make a durable remote, they are faded, you can just buy a new cover. Uh Angeline Blount: Okay. Maria Farrior: I'm not sure it's it's hard to make. Angeline Blount: Uh Maria Farrior: So it's Angeline Blount: but Maria Farrior: a good Angeline Blount: I know Maria Farrior: and a Angeline Blount: that Maria Farrior: bad idea. Angeline Blount: the buttons are like a Nokia telephone on uh one sleeve, so you Maria Farrior: Mm-hmm. Angeline Blount: don't have to change your whole cover. Uh we can make something that you can only remove the sleeve. Know Kimberly Toth: Oh. Angeline Blount: what Rose Couper: Oh Angeline Blount: I mean? Rose Couper: yeah, I know what you Angeline Blount: It Rose Couper: mean. Angeline Blount: works the same as a Nokia telephone, it's it's in my Maria Farrior: Yeah, I Angeline Blount: uh Maria Farrior: know, it's just Angeline Blount: 'kay. Maria Farrior: just Kimberly Toth: Yeah. Maria Farrior: a one one piece of rubber for example, Angeline Blount: Exactly. Maria Farrior: okay. Rose Couper: Yeah. Maria Farrior: Yeah, that's what I something I have to look into. Either either change both the buttons and and the cover or just the cover, I'm not sure which Angeline Blount: Hmm. Maria Farrior: which is easier, so Um anyway, yeah, this is what we're gonna do afterwards, just lunch break and have more individual work after that, so let's see what we let's see we So you have to come up with a components concept, yeah. I want some you should do some trend-watching, because Kimberly Toth: Yeah. Maria Farrior: even if we're if we're gonna do those covers and everything, what people really want, that's what we need Kimberly Toth: Yeah. Maria Farrior: to know in this phase, because that's gonna be the essential final design that we're gonna come up with. Kimberly Toth: Okay. Maria Farrior: Um Yeah, I think user interface is fairly obvious. I mean it Rose Couper: Pretty Maria Farrior: should Rose Couper: straightforward. Maria Farrior: be very intuitive, s Yeah, it should speak for itself. Uh for example I bought a remote control last week with a new T_V_, it was it l it's like all buttons and you have no idea what it does at first, and I'm total T_V_ new, anyway. So I think it should be have less or l very little buttons and maybe a second second level menu for the advanced things. Or maybe just stick 'em under a menu, like you said the um the sound options and the surround and whatever, they're more complicated, just stick 'em under one menu and uh give it a just put it in in s in a software piece, you can menu and you can uh select Angeline Blount: Mm. Maria Farrior: everything you want to to set on your T_V_. Rose Couper: Is it techni technically possible to uh send a signal to a television and then Angeline Blount: Yeah. Rose Couper: pops up a menu, because we're working with different types of television, so we're going to work Maria Farrior: That Rose Couper: with that? Maria Farrior: is true. Angeline Blount: I don't think so. Maria Farrior: No, that's true. Angeline Blount: No, I don't think so. Because the television needs to respond to Maria Farrior: Yeah, Angeline Blount: the signal, Maria Farrior: that's true. Rose Couper: It's Angeline Blount: and if Rose Couper: an Angeline Blount: it doesn't Rose Couper: in-built Angeline Blount: know how, Rose Couper: menu, Angeline Blount: it's Rose Couper: isn't it? Yes. Angeline Blount: Exactly, that's not possible. Rose Couper: So basically we Maria Farrior: I'm not sure if it's impossible, but uh there's a chance it's not, so. Rose Couper: Or we could use a double-sided for less used functions you Maria Farrior: A double-sided remote control? Rose Couper: Yeah, Maria Farrior: I don't think that's useful. Rose Couper: with the cover. I it's basically an idea to overcome these issues, because Maria Farrior: Yeah, but then you're gonna have a lot of wasted buttons. For example you have a Sony T_V_ and the half of the buttons won't function if you have Angeline Blount: Hmm. Maria Farrior: a for a Sony Rose Couper: No, Maria Farrior: that Rose Couper: but Kimberly Toth: Yeah. Maria Farrior: won't Rose Couper: basic Maria Farrior: for Rose Couper: functions Maria Farrior: a Philips T_V_. Rose Couper: but functions which are not frequently used. Because Maria Farrior: I don't Rose Couper: if Maria Farrior: think Rose Couper: we Maria Farrior: we Rose Couper: use Maria Farrior: should Rose Couper: a Maria Farrior: Yeah, Rose Couper: universal Maria Farrior: for exam Rose Couper: remote control, we're going to have to have most buttons on it, so Kimberly Toth: Mm Maria Farrior: I'm not s Kimberly Toth: yeah. Maria Farrior: yeah, for ex you have to make it a little decision between the part if you want a universal remote control that it should do what people usually do with their T_V_s, not Angeline Blount: Mm. Maria Farrior: not the very complicated settings that you Angeline Blount: Mm. Maria Farrior: can usually do that with uh either a old old remote control if they really hate that thing, but Angeline Blount: But that Maria Farrior: you Angeline Blount: might Maria Farrior: can't Angeline Blount: be broken. Maria Farrior: you cannot take into consideration all the different brands of T_V_s. I think there's I think there is a standard for Angeline Blount: Hmm. Maria Farrior: example between uh because usually the the menu is the menu button is is usable Angeline Blount: Hmm. Maria Farrior: between different brands. Especially the big ones, the Angeline Blount: Hmm. Maria Farrior: big brands, so. 'Cause everybody I have a universal remote control and it can use the menu button, Angeline Blount: Hmm. Maria Farrior: so I think I'm not sure, if you can put some research into that, if it's possible. Uh Angeline Blount: Mm okay. Maria Farrior: I think just a b and the navigation is very basic, it's usually the same thing. Angeline Blount: For instance, if your old remote control is broken and you buy ours, then uh you Maria Farrior: Yeah. Angeline Blount: should be able to get everything out of the television that's in it. Maria Farrior: Yeah, that's Kimberly Toth: Yeah. Rose Couper: Yeah. Maria Farrior: true. Angeline Blount: Because Maria Farrior: I Angeline Blount: otherwise Maria Farrior: think Angeline Blount: you'll Maria Farrior: so Kimberly Toth: Yeah. Angeline Blount: lose Maria Farrior: uh Angeline Blount: functions Maria Farrior: we need Angeline Blount: by Maria Farrior: to put Angeline Blount: buying Maria Farrior: some research Angeline Blount: our Maria Farrior: into that if if we can open the menu, I think it's possible, Angeline Blount: Okay, Maria Farrior: just the way how to. Angeline Blount: I thi I think so too. Kimberly Toth: Yeah, yeah. Maria Farrior: Yeah, then then you could do everything I suppose, because usually the T_V_s have tha that inside in this other little piece of software, so it's okay. Angeline Blount: And I think that our r remote control should not look like uh any other. For instance uh Sony makes all their remote controls exactly the same Maria Farrior: Mm-hmm. Angeline Blount: for all their devices, and you always grab the wrong one because formatting of the buttons is exactly Maria Farrior: Yeah. Angeline Blount: the same, only the labels are different. Maria Farrior: Yeah I think Angeline Blount: We should Maria Farrior: it Angeline Blount: not Maria Farrior: should Angeline Blount: do Maria Farrior: be Angeline Blount: that. Maria Farrior: a little distinct from everything else, Angeline Blount: Exactly. Maria Farrior: because it's Kimberly Toth: Yeah. Maria Farrior: either it's both Rose Couper: Yeah, I have Maria Farrior: mayb Rose Couper: some ideas. Maria Farrior: maybe the shape can be a little different. Rose Couper: I Maria Farrior: Maybe Rose Couper: have Maria Farrior: it's Rose Couper: some Maria Farrior: a little Rose Couper: ideas. Kimberly Toth: Um Maria Farrior: more Angeline Blount: Mm Maria Farrior: curves Angeline Blount: that's your Maria Farrior: or whatever. Angeline Blount: uh Kimberly Toth: yeah. Angeline Blount: division. Kimberly Toth: And uh with Maria Farrior: So um Kimberly Toth: different colours uh. Rose Couper: I'll put some on paper and present them next time uh Maria Farrior: Yeah, Rose Couper: the ideas Maria Farrior: this. Rose Couper: that I have. Maria Farrior: Not Kimberly Toth: Okay. Maria Farrior: sure what because we have forty minutes, I'm not sure how much time we have left for the meeting anyway, so. Rose Couper: I heard a beep Maria Farrior: Yeah, but Rose Couper: go. Maria Farrior: it wasn't Kimberly Toth, it was him closing Kimberly Toth: Yeah. Maria Farrior: something. So anyway, yeah, we could do some i do some work now on on the design for example. I mean what do you want, do you want, but Rose Couper: Yeah, but we like some some curves or Maria Farrior: Yeah, may maybe something like this. But though smooth inside. So you have the transmitter here for example. Rose Couper: Yeah. Maria Farrior: Let's see that you what would be Kimberly Toth: Uh. Maria Farrior: handy. I think that the the buttons should be the channel buttons should Kimberly Toth: And a Maria Farrior: be Kimberly Toth: light uh Maria Farrior: uh on their own. Let's see one, two God damn it. Rose Couper: Oh, we get the general ideas, yes. Maria Farrior: Yeah, okay. Another one here. Let's see what I think this should these are always on top of the of the control, Angeline Blount: Hmm. Maria Farrior: so they should be here. Rose Couper: Yeah, and since you're holding it like this, I suggest you put Maria Farrior: Think it's Rose Couper: the Maria Farrior: like this. Rose Couper: channel Kimberly Toth: Volume. Rose Couper: up channel down and volume Maria Farrior: Withi within Rose Couper: yeah Maria Farrior: the Yeah, Rose Couper: yeah. Maria Farrior: just take it. Rose Couper: So you have the up channel the down channel the volume, do we want that horizontal or vertical? Maria Farrior: Do you take triangles or Kimberly Toth: Uh it's it's fine, Maria Farrior: Um Kimberly Toth: I think. Maria Farrior: I think Rose Couper: This Maria Farrior: it Rose Couper: is Maria Farrior: should Rose Couper: basically Maria Farrior: be Rose Couper: what people are accustomed Maria Farrior: I think Rose Couper: to, Maria Farrior: it Angeline Blount: Yeah. Rose Couper: so Maria Farrior: Maybe we should make 'em bigger or whatever. Rose Couper: Yeah, but Kimberly Toth: Oh Rose Couper: this Kimberly Toth: d Rose Couper: is just a g Maria Farrior: Yeah. Rose Couper: general idea. Uh maybe the menu button can go i Maria Farrior: Yeah, in the middle. It's Rose Couper: in the Maria Farrior: it's Rose Couper: middle. Maria Farrior: usually uh there, but Rose Couper: Whoa. Maria Farrior: Mm. Angeline Blount: Perhaps we should also make uh something like a flash on it, if you if it's lost, for people that are deaf. They they won't Kimberly Toth: Yeah. Angeline Blount: hear the the beep. Maria Farrior: Yeah, but for example if it's lost in your armchair, we'll Rose Couper: You Maria Farrior: not Angeline Blount: Yeah. Rose Couper: won't Maria Farrior: see Rose Couper: be able Maria Farrior: the flash. Rose Couper: to find it. Maria Farrior: And flash Angeline Blount: Uh. Maria Farrior: takes up a lot of batteries again. Angeline Blount: Yeah, it's true, but it's it's only has to do so when you press the button that Kimberly Toth: Just Angeline Blount: it's lost. Maria Farrior: Yeah. Rose Couper: We could make Angeline Blount: So. Rose Couper: a combination that it goes beep and that you that some Kimberly Toth: And Rose Couper: light Kimberly Toth: L_E_D_ Rose Couper: lights Kimberly Toth: uh Angeline Blount: deaf Rose Couper: up. Angeline Blount: people? Kimberly Toth: on Maria Farrior: Yeah, Kimberly Toth: it. Maria Farrior: I thought about for deaf people for example, so. We could do that. Kimberly Toth: Just Maria Farrior: Uh Kimberly Toth: a light Maria Farrior: let's see. Kimberly Toth: on it or Rose Couper: So we have the basic channels we've got here, uh the power button Maria Farrior: Oh yeah, it's Rose Couper: somewhere Maria Farrior: true. Rose Couper: over here? Maria Farrior: Um that Kimberly Toth: Very Maria Farrior: thing Kimberly Toth: important. Maria Farrior: should be central. You shouldn't be you uh shouldn't press it by accident, but it shouldn't be stacked Kimberly Toth: Oh, Maria Farrior: away somewhere. Rose Couper: I usually Kimberly Toth: that's Rose Couper: press Kimberly Toth: It's Rose Couper: it on top. At least Maria Farrior: Yeah. Rose Couper: that's what I'm accustomed to. Angeline Blount: I Maria Farrior: Yeah, Angeline Blount: have another idea, Maria Farrior: like that's Angeline Blount: I'm Maria Farrior: gonna work. Kimberly Toth: And Angeline Blount: not sure if it's possible. Rose Couper: What would you like to? Maria Farrior: Yeah, I thought maybe we should Kimberly Toth: But you Maria Farrior: move Kimberly Toth: r Maria Farrior: the buttons down and Kimberly Toth: And you are Maria Farrior: put Kimberly Toth: reading Maria Farrior: it here Kimberly Toth: from Maria Farrior: for Kimberly Toth: the Maria Farrior: example Kimberly Toth: t Maria Farrior: to Kimberly Toth: you always read from the top to the the bottom Maria Farrior: From Kimberly Toth: of Maria Farrior: top Kimberly Toth: it. Maria Farrior: to bottom. Yeah, Kimberly Toth: Yeah, Maria Farrior: that's Kimberly Toth: so Maria Farrior: true, you should Angeline Blount: Mm. Kimberly Toth: it's Maria Farrior: I think the bu the power button should be on top, 'cause Kimberly Toth: Yeah. Maria Farrior: it's the first thing you do, turn it on. So power button on top. Um Rose Couper: Okay, mute button. Maria Farrior: Mute. Rose Couper: Is that Maria Farrior: Do we Rose Couper: somewhere Maria Farrior: hardly Rose Couper: here? Maria Farrior: I think it should be at the bottom Rose Couper: Is Kimberly Toth: So Maria Farrior: somewhere. Rose Couper: that Kimberly Toth: i Rose Couper: used Kimberly Toth: it's Rose Couper: often? Kimberly Toth: sorry? Rose Couper: The mute button? Maria Farrior: Mute. Rose Couper: Do people Maria Farrior: Turn the Rose Couper: use Maria Farrior: sound Rose Couper: that Maria Farrior: off. Kimberly Toth: No, Rose Couper: often? Kimberly Toth: it's no. Rose Couper: here, Kimberly Toth: Uh. Rose Couper: at least Kimberly Toth: Hmm. Rose Couper: in general, but Maria Farrior: I don't think it's important, Rose Couper: It's Maria Farrior: but Rose Couper: not Maria Farrior: I Rose Couper: that Maria Farrior: think Rose Couper: important, Maria Farrior: it Rose Couper: no. Maria Farrior: I think it should be you c you could put Kimberly Toth: Or Maria Farrior: it somewhere here. Kimberly Toth: or with the volume selection. Maria Farrior: No, because it Yeah, people are accustomed Kimberly Toth: Around Maria Farrior: to that, it's Kimberly Toth: uh not uh not at top at the around the volume selection. Maria Farrior: Can I have that? Kimberly Toth: I don't Rose Couper: Sure. Kimberly Toth: know where Maria Farrior: That's j Kimberly Toth: exactly, but Maria Farrior: Take this out and here see Uh are we gonna take triangles anyway? I'm drawing triangles, but Rose Couper: That's pretty much what people are accustomed to, aren't they? Maria Farrior: Yeah, it's maybe a bigger lesser than thing. So anyway, I think this is should be the channels and Kimberly Toth: Wha Maria Farrior: or Rose Couper: Well, Maria Farrior: sh Rose Couper: I'm accustomed to Kimberly Toth: No. Rose Couper: the channels Kimberly Toth: Yeah. Rose Couper: being Angeline Blount: Yeah, Rose Couper: on Angeline Blount: Kimberly Toth Maria Farrior: Here, Angeline Blount: too. Rose Couper: top. Maria Farrior: okay. Kimberly Toth: Yeah, that's better. Maria Farrior: Okay, Kimberly Toth: On Maria Farrior: should we Kimberly Toth: the Maria Farrior: chan Kimberly Toth: right. Maria Farrior: okay, this two, channel up and Angeline Blount: Shall Maria Farrior: down. Angeline Blount: we uh also look if it's possible to make a rechargeable remote? That you don't have to Kimberly Toth: Yeah. Angeline Blount: buy Maria Farrior: Well, Angeline Blount: new batteries Maria Farrior: for Angeline Blount: if Maria Farrior: that Angeline Blount: every Maria Farrior: is it's on one part it's um it's Kimberly Toth: Maybe Maria Farrior: a good Kimberly Toth: it's Maria Farrior: thing Kimberly Toth: more Maria Farrior: to recharge Kimberly Toth: ex Angeline Blount: Mm, Kimberly Toth: expensive. Maria Farrior: it Angeline Blount: yeah. Maria Farrior: Maybe we should what what could be possible is Angeline Blount: Uh. Maria Farrior: one with rechargeable batteries for example. You have just put Penlite batteries that are rechargeable, Angeline Blount: But that's Maria Farrior: because Angeline Blount: already Rose Couper: But Maria Farrior: it's Angeline Blount: possible. Maria Farrior: an it's Rose Couper: isn't Maria Farrior: it's Rose Couper: that expensive in the Maria Farrior: it's Rose Couper: entire Maria Farrior: very annoying. Rose Couper: package? Maria Farrior: I'm not sure y I'm not sure it's if it's expensive, but just take a look at it, because it might be a very good idea. Because if it's it's uh useful to have it rechargeable, Angeline Blount: Yes. Maria Farrior: but at the same time, if you don't want recha if you forgot to recharge it and you wanna watch T_V_ now, Angeline Blount: Yes. Maria Farrior: you wanna be able to put different batteries in it, use it now and not in half an hour. Angeline Blount: Okay. Uh you could make a device, but I'm not sure how that uh is possible with the costs, that you can put in normal Maria Farrior: How about Angeline Blount: batteries, rechargeable, but Maria Farrior: I Angeline Blount: it Maria Farrior: think I have a nice idea. Angeline Blount: you're the remote also can act as a recharger. So then you can choose, you have every decision. Know what I mean? Maria Farrior: Not exactly Angeline Blount: You can Maria Farrior: uh. Angeline Blount: uh put in normal Penlites, rechargeable Penlites, Kimberly Toth: Hmm. Angeline Blount: but they can also be recharged with the remote, Kimberly Toth: Yeah Angeline Blount: with Kimberly Toth: yeah. Angeline Blount: a wire. Maria Farrior: I think it's uh it's a pretty good Angeline Blount: So Maria Farrior: idea to have Kimberly Toth: Yeah, Maria Farrior: uh like Angeline Blount: but Maria Farrior: sort of a Kimberly Toth: that's Maria Farrior: maybe Kimberly Toth: g Maria Farrior: a base station that you put on the T_V_. Could be flat, you could insert your uh remote into it. Angeline Blount: But I think that will cost a lot. Uh Maria Farrior: I'm Angeline Blount: a normal Maria Farrior: not sure. Angeline Blount: wire would be better. Like a Maria Farrior: A what? Angeline Blount: like a P_D_A_, a hand-held. You can uh just put it in the electricity and it charges itself, you Maria Farrior: Well, Angeline Blount: don't need Maria Farrior: we Angeline Blount: basic Maria Farrior: were Angeline Blount: station. Maria Farrior: talking about the fact that we wanted to insert either a beep or a flash into Angeline Blount: Yes. Maria Farrior: the thing with a little separate signal or So you Angeline Blount: That Maria Farrior: could Angeline Blount: is Maria Farrior: put that Angeline Blount: possible, Maria Farrior: on a T_V_ Angeline Blount: that's true. Maria Farrior: for example. It could be very flat, Kimberly Toth: But Maria Farrior: could be very small. It's a very Kimberly Toth: Which Maria Farrior: small Yeah, I'm drawing it big now, but So you can put Angeline Blount: Mm. Maria Farrior: your remote on flat for example. Kimberly Toth: Yeah. Maria Farrior: And at the backside of remote just just just a little hole Angeline Blount: Yeah. Maria Farrior: for example um you just put it down, it Angeline Blount: Yeah. Maria Farrior: recharges for example. I don't think it's very Rose Couper: But again, Maria Farrior: expensive. Rose Couper: isn't Kimberly Toth: Yeah. Rose Couper: that too expensive? 'Cause that means Maria Farrior: I'm not Rose Couper: that Maria Farrior: sure Rose Couper: we Maria Farrior: if it Rose Couper: have Maria Farrior: costs Rose Couper: to implement Maria Farrior: a lot, that Angeline Blount: Mm. Maria Farrior: that's Rose Couper: rechargeable Maria Farrior: what he r Rose Couper: batteries, a docking Maria Farrior: That's that Rose Couper: station Maria Farrior: you that's what you buy yourself. Angeline Blount: Yes. I'm going to try to find that out. I'm not sure if there's information Maria Farrior: It's just Angeline Blount: available Maria Farrior: an Kimberly Toth: But Maria Farrior: idea, Angeline Blount: on this, Maria Farrior: we Angeline Blount: but Maria Farrior: have to find out if it's Rose Couper: And Maria Farrior: possible. Rose Couper: do people actually want that? Kimberly Toth: Yeah, they Rose Couper: To Kimberly Toth: want Rose Couper: pay extra Kimberly Toth: to pay for it. Maria Farrior: Do they want Rose Couper: they want Maria Farrior: but Rose Couper: to Maria Farrior: they Rose Couper: pay Maria Farrior: want Rose Couper: for Maria Farrior: a Kimberly Toth: Yeah. Maria Farrior: rechargeable Rose Couper: rechargeable? Maria Farrior: one? I'm not sure, you should find out if Kimberly Toth: Th uh Maria Farrior: it's if rechargeable is important. Kimberly Toth: there was not a el ask esque Angeline Blount: Hmm. Maria Farrior: Yeah. Angeline Blount: These are uh comfort issues. Kimberly Toth: But Angeline Blount: So I think people will pay they wanted to pay for comfort. Well, this Maria Farrior: They want Angeline Blount: is Maria Farrior: to Angeline Blount: comfort. Maria Farrior: pay for comfort, we just assu we we could either make a separate Kimberly Toth: But f Maria Farrior: station which Kimberly Toth: hmm. Maria Farrior: just sends a signal to the remote control to either beep or flash Angeline Blount: Yes. Maria Farrior: to find it, um and Yeah, we have to either that Angeline Blount: Hmm. Maria Farrior: or make it integrated with a with a docking Angeline Blount: Yeah. Maria Farrior: station. Angeline Blount: Exactly. I think this is a brilliant product. I would buy Maria Farrior: I Angeline Blount: it myself. Maria Farrior: think it would be good actually. I like the beep Angeline Blount: Uh. Maria Farrior: part anyway. So um let's go Angeline Blount: I Maria Farrior: through Angeline Blount: like Maria Farrior: the Angeline Blount: the covers. That's a brilliant idea. Rose Couper: Can can we Angeline Blount: I never Rose Couper: save Angeline Blount: thought Maria Farrior: Covers Rose Couper: this Maria Farrior: is Rose Couper: or Maria Farrior: covers is good. Yeah, it's Oh we can save this. Up and saved. We even saved the ant. Um Okay. So what we have is you have I think you have to do a lot of work on if it's possible for the cost. Angeline Blount: I hope if I have information about Maria Farrior: Maybe Angeline Blount: that, I'm gonna Maria Farrior: yeah, or Rose Couper: Yeah. Kimberly Toth: Yeah. Maria Farrior: maybe you can find out i what people are willing to pay. We are going for twenty five Euros Kimberly Toth: Yeah, Maria Farrior: sales Kimberly Toth: okay. Maria Farrior: price, but just try to find out what they're willing to pay for Kimberly Toth: Yeah Maria Farrior: it, because Kimberly Toth: yeah yeah. Maria Farrior: if they're willing to pay more, we could lose a little profit and maybe attract Angeline Blount: Mm. Maria Farrior: more customers, uh we Angeline Blount: Yeah. Maria Farrior: just have to Kimberly Toth: Yeah. Maria Farrior: see what it looks like. Angeline Blount: I would like to make a decision. What it costs and what kind of materials that we can uh choose what we want Maria Farrior: Yeah, Angeline Blount: in Maria Farrior: if Angeline Blount: it Maria Farrior: you have Angeline Blount: and Maria Farrior: some financial information that Angeline Blount: exactly, I need it. Maria Farrior: that'd be nice, so. Hmm. Rose Couper: Could you post some other essentials of what people want, so that I can work with some buttons, where to put it Kimberly Toth: Yeah. Rose Couper: You seem to have information on that, I'd like to uh see some of it. Angeline Blount: Was it not possible to uh send emails around the office? Maria Farrior: No, it wasn't Rose Couper: No, Maria Farrior: wasn't Rose Couper: it's not. Maria Farrior: allo Angeline Blount: Not. Maria Farrior: it was possible, not Rose Couper: No. Maria Farrior: allowed, so. So that's Kimberly Toth: Yeah. Maria Farrior: um why I'm not sure that you're allowed to share Kimberly Toth: My computer Maria Farrior: documents Kimberly Toth: crashed, Maria Farrior: on the on the draft. Kimberly Toth: so Angeline Blount: Yeah, Kimberly Toth: uh Angeline Blount: okay. Maria Farrior: I don't care. Kimberly Toth: I Maria Farrior: I Kimberly Toth: lost Rose Couper: Oh, your computer. Maria Farrior: haven't Kimberly Toth: my Maria Farrior: heard Kimberly Toth: uh Maria Farrior: any Kimberly Toth: presentation, Maria Farrior: complaints Rose Couper: Okay. Maria Farrior: yet, so. Kimberly Toth: but Maria Farrior: Um Kimberly Toth: I have the uh Rose Couper: Well, I have your PowerPoint presentation, I can get some Kimberly Toth: Yeah, but Rose Couper: inf Kimberly Toth: I Rose Couper: information out of that. Kimberly Toth: Here I have the Rose Couper: Let's see. Kimberly Toth: the s the homepage of uh our internet, Maria Farrior: Yeah, the Kimberly Toth: and Maria Farrior: oh, Kimberly Toth: here Maria Farrior: they Kimberly Toth: is Maria Farrior: inc Kimberly Toth: my Maria Farrior: uh they include the new one. Or Rose Couper: Oh, Maria Farrior: just Rose Couper: where Maria Farrior: for you. Rose Couper: would we Kimberly Toth: here is my marketing report, maybe you ca Maria Farrior: Oh Kimberly Toth: you Maria Farrior: no, Kimberly Toth: can Maria Farrior: I didn't Kimberly Toth: look Maria Farrior: have Kimberly Toth: at Maria Farrior: that. Kimberly Toth: uh that and Rose Couper: Where would we want the uh teletext Kimberly Toth: Ah yeah. Rose Couper: button? Because we Kimberly Toth: And Rose Couper: decided Maria Farrior: All Kimberly Toth: one Maria Farrior: it tells Rose Couper: that Maria Farrior: just Rose Couper: it's n not that important. Maria Farrior: let's Rose Couper: Do we Maria Farrior: make Rose Couper: put Maria Farrior: make Rose Couper: it Maria Farrior: a new Rose Couper: somewhere Maria Farrior: tick Rose Couper: over Maria Farrior: the new Rose Couper: here? Maria Farrior: one. Um other side. Yeah, let's increase it a little because Kimberly Toth: And uh wha what people Rose Couper: Or Kimberly Toth: want, Rose Couper: maybe this is something for the next meeting, Kimberly Toth: I've Rose Couper: I can Kimberly Toth: uh Rose Couper: draw out some Maria Farrior: Yeah, Rose Couper: ideas. Maria Farrior: draw us up some some designs of of Kimberly Toth: I Maria Farrior: possible Kimberly Toth: have another thing Maria Farrior: just Kimberly Toth: uh Maria Farrior: keep in mind that the important buttons should be on top Rose Couper: Yeah. Maria Farrior: and either big, so the Rose Couper: Well, Maria Farrior: more Rose Couper: we have Maria Farrior: less important Rose Couper: decided more or less the Maria Farrior: More Rose Couper: basic Maria Farrior: or less. Rose Couper: structure. I can put the other buttons Maria Farrior: Just Rose Couper: in Maria Farrior: play a little with this, put l shift a little up Rose Couper: Yeah. Maria Farrior: or down and we'll see what looks best. Angeline Blount: What uh what did you wanna say? Maria Farrior: Or Kimberly Toth: Yeah. Maria Farrior: just po post your Kimberly Toth: Um Maria Farrior: designs from time to time on the Rose Couper: Yeah. Maria Farrior: product share. Kimberly Toth: Uh what I al already said is the Rose Couper: Maybe Kimberly Toth: the uh Rose Couper: another idea Kimberly Toth: the remote controls Rose Couper: uh. Kimberly Toth: are always lost, but it it's also for people, they want to learn it fast, not uh Angeline Blount: Mm. Kimberly Toth: they Angeline Blount: Mm. Kimberly Toth: want to Maria Farrior: Yeah, so we don't want we want very Kimberly Toth: No Maria Farrior: little buttons, just the buttons Angeline Blount: Mm. Maria Farrior: you use a lot. Kimberly Toth: It's yeah, it's easy to learn Rose Couper: Yes, but Kimberly Toth: wi Rose Couper: it Kimberly Toth: and Rose Couper: should Kimberly Toth: uh Rose Couper: cover all the functions, so possibly, Maria Farrior: Well what Rose Couper: just an Kimberly Toth: Um Rose Couper: idea that Maria Farrior: we had Rose Couper: popped Maria Farrior: function Rose Couper: in Maria Farrior: that what people do, so. People change channels, people they change the volume and they they change channel, they turn T_V_ off and on, for example. That's the basic fu that's what you do I'm not sure who present that again, but those are the basic function that people use it for, so those should be very well represented. Rose Couper: Yeah, Kimberly Toth: And Rose Couper: but we could go a step further, because some T_V_s have the uh possibility Kimberly Toth: The Rose Couper: to adjust brightness, Kimberly Toth: If Rose Couper: that kind of menus. Maria Farrior: That's true, but that's what we stick under the menu button. Everything is you Rose Couper: Yes, Maria Farrior: say in Rose Couper: but Maria Farrior: every Rose Couper: it Maria Farrior: T_V_ that's configured under the menu. Angeline Blount: But Rose Couper: Because Angeline Blount: that's the question, Rose Couper: we're making Angeline Blount: is Kimberly Toth: Um Angeline Blount: it? Because it needs to be configured in the television under the menu. Maria Farrior: Yeah, but Angeline Blount: If it isn't, then we cannot reach it. Rose Couper: We need to adjust Maria Farrior: But Rose Couper: to Maria Farrior: I think Rose Couper: the Maria Farrior: most modern T_V_s Rose Couper: technology. Maria Farrior: have it Angeline Blount: I think Maria Farrior: in Angeline Blount: so Maria Farrior: their Angeline Blount: too. Maria Farrior: menu. Angeline Blount: I think Rose Couper: True. Angeline Blount: so too. Uh isn't there a possibility to do research on that, so we know that for sure? If you rule out functions, then uh and that gets known, then people are not gonna buy it. Then the Rose Couper: No, Angeline Blount: consumer Rose Couper: I thi Angeline Blount: bond or something says uh you cannot do this and that with it. Kimberly Toth: If um Angeline Blount: That's a bad bad com commercial Maria Farrior: Uh we'll Angeline Blount: for Maria Farrior: we'll see what we can come up with. Kimberly Toth: Another Angeline Blount: okay. Kimberly Toth: thing I want to say is that uh we are looking at the market for the age uh Maria Farrior: Under Kimberly Toth: younger Maria Farrior: forty. Kimberly Toth: than forty. Maria Farrior: Yeah? Angeline Blount: That's true. Kimberly Toth: Um on my report, I didn't uh ish I didn't show it in my uh presentation, Maria Farrior: Mm-hmm. Kimberly Toth: because my computer crashed. Maria Farrior: Yeah yeah. Kimberly Toth: Um they want to pay for an L_C_D_ screen Angeline Blount: Hmm. Kimberly Toth: and speech recognition. Angeline Blount: Hmm. Maria Farrior: The want to Kimberly Toth: So Maria Farrior: pay for Oh. Angeline Blount: Did they really said Kimberly Toth: i Angeline Blount: it like that? Kimberly Toth: yeah. Angeline Blount: Those two things. Kimberly Toth: Yeah, and Angeline Blount: Do they realise Maria Farrior: Uh Angeline Blount: how Maria Farrior: shall Angeline Blount: much Maria Farrior: we? Angeline Blount: that costs? That's Kimberly Toth: Yeah. Angeline Blount: almost undoable. Rose Couper: Oh, Maria Farrior: Younger, Rose Couper: we're not going Maria Farrior: age Rose Couper: to be able Kimberly Toth: Uh Maria Farrior: sixteen Rose Couper: to sell it Maria Farrior: and Rose Couper: for Maria Farrior: forty Rose Couper: twenty-five Kimberly Toth: but Maria Farrior: five. Rose Couper: then, with Maria Farrior: That's Rose Couper: an L_C_D_ Maria Farrior: all here, here Rose Couper: screen. Maria Farrior: it says Angeline Blount: No, that's that's. Even if i if Maria Farrior: Yeah, Angeline Blount: we have Maria Farrior: age Angeline Blount: this Kimberly Toth: If Maria Farrior: sixteen Kimberly Toth: if Angeline Blount: lost Maria Farrior: forty Kimberly Toth: they Angeline Blount: unit, Maria Farrior: fi interest Angeline Blount: then Maria Farrior: in main features Angeline Blount: we Maria Farrior: more Angeline Blount: cannot Maria Farrior: critical. Angeline Blount: do it for that price. Maria Farrior: Okay, so we're not focusing on this. Um All the interest in features, not really the L_C_ oh here. Would you pay for uh speech recognition in a remote control. Hmm, okay? Angeline Blount: Yeah, that's true. Kimberly Toth: So uh we can Maria Farrior: Speech recognition is Kimberly Toth: We Maria Farrior: quite Kimberly Toth: can look at the possibilities for an uh L_C_D_ and uh Angeline Blount: Mm. Maria Farrior: Yeah, just look Kimberly Toth: I Maria Farrior: at Kimberly Toth: dunno. Maria Farrior: the possibilities Kimberly Toth: Yeah. Maria Farrior: then, because if apparently Angeline Blount: Hmm. Maria Farrior: it's what people want, Kimberly Toth: How Maria Farrior: it's Kimberly Toth: much it Maria Farrior: supposed Kimberly Toth: will cost Maria Farrior: to be a luxurious Angeline Blount: Uh. Kimberly Toth: and Maria Farrior: remote, maybe it's not even that expensive. Or find a compromise, maybe just a black and white Angeline Blount: Uh Maria Farrior: or Angeline Blount: I Maria Farrior: for some extra Kimberly Toth: Um Maria Farrior: information Rose Couper: Well Maria Farrior: on it, Rose Couper: I doubt it, but Angeline Blount: But Maria Farrior: on your Angeline Blount: I Maria Farrior: programmes. Angeline Blount: really need finance information. Maria Farrior: Kimberly Toth too. I mean we all do. Angeline Blount: We all do. Kimberly Toth: It Maria Farrior: Right. Kimberly Toth: will come uh Maria Farrior: I think it's something we should put into consideration. Apparently it's what people want, so. Angeline Blount: Mm. Maria Farrior: We should see if what it costs, if it's possible. Angeline Blount: Uh. Kimberly Toth: Yeah. Maria Farrior: Yeah. Yeah, we should do a little thing about design, because it looks boring really to Kimberly Toth. Even if you put it even if you put a different cover on it, it looks still Kimberly Toth: Different Maria Farrior: looks boring, Kimberly Toth: colours Maria Farrior: so. Angeline Blount: Hmm. Kimberly Toth: maybe. Angeline Blount: And the design, Kimberly Toth: But Angeline Blount: it should differ. This Kimberly Toth: all Angeline Blount: is Philips, huh? Philips has Maria Farrior: I Angeline Blount: this. Maria Farrior: have no clue. Rose Couper: Well, Maria Farrior: I just Rose Couper: I had basically Maria Farrior: drew something what Angeline Blount: Okay. Maria Farrior: which would fit into your hand easily. Angeline Blount: Hmm. Uh. Rose Couper: Something like this. To make it kind of futuristic. Angeline Blount: Mm. Oh, I realise if we make it small, then it needs to be a little thicker, Maria Farrior: I Angeline Blount: because Maria Farrior: think Angeline Blount: I Maria Farrior: it's Angeline Blount: need Maria Farrior: a Angeline Blount: to Maria Farrior: very Angeline Blount: put all the electronics in it. Maria Farrior: Sorry? Angeline Blount: If we make it s uh smaller, uh less wide, Maria Farrior: Yeah? Angeline Blount: then we need to m make it a little thicker, because I have to put all the electronics Maria Farrior: Okay. Angeline Blount: in it. Maria Farrior: Mm-hmm. Yeah, but you have Kimberly Toth: Okay. Maria Farrior: to j just keep in mind it shouldn't be too heavy. I mean we can stick it in in there, I think. Angeline Blount: No. Maria Farrior: Huh Rose Couper: So what Maria Farrior: even Rose Couper: kind Maria Farrior: if Rose Couper: of Maria Farrior: in the worst case we can even Could you give Kimberly Toth the pen back? Rose Couper: Yeah, sure. Maria Farrior: So let's say that people would want an L_C_D_ thing. Let's take take the basic design again, what we oh, crap uh came up with. I'll just make it a little bigger now. So a transmitter here. Anyway. We could let's say we have an L_C_D_ screen, people want an L_C_D_ screen. So then we should probably put it here. It doesn't have to be really big, but Angeline Blount: Hmm. Maria Farrior: just just have to be has to be there. Think it's a good place, people don't Kimberly Toth: If you're reading from top to bottom, I think it's better to put it uh at Maria Farrior: No? Kimberly Toth: the top. Maria Farrior: It's not that Angeline Blount: Kimberly Toth Maria Farrior: uh it's Kimberly Toth: It's Angeline Blount: too. Maria Farrior: not Kimberly Toth: j Maria Farrior: the most important function, it's just Angeline Blount: Ah Maria Farrior: an extra thing, it just Kimberly Toth: Uh. Maria Farrior: you press the buttons Angeline Blount: but. Maria Farrior: on top, because Kimberly Toth: But Maria Farrior: your Kimberly Toth: i Maria Farrior: finger is Kimberly Toth: if Maria Farrior: on top. Kimberly Toth: you if you are going to uh put the L_C_D_ on it, I think it's very important to use it, uh because it's use it uh Maria Farrior: How can you use an L_C_D_ screen? Kimberly Toth: But nee the function of it. So you can use it maximum, because uh it's a lot it costs a lot. So Maria Farrior: Yeah, but why I I'm Rose Couper: Now Maria Farrior: not sure. Rose Couper: it's pretty much tucked away in your hand. Maria Farrior: Uh if you t Angeline Blount: Hmm. Maria Farrior: if you press a button, you can see it, ri I'm not sure wha I'm trying to imagine myself Angeline Blount: No. Maria Farrior: what it would look like. Angeline Blount: M I Rose Couper: I'm Angeline Blount: personally would prefer it on the top. Maria Farrior: You would prefer Kimberly Toth: Yeah. Maria Farrior: it n Okay. Angeline Blount: Huh. Maria Farrior: So we have three people saying it should be on top. Okay, Angeline Blount: But Maria Farrior: but then Angeline Blount: it Maria Farrior: you would would s have to stack away your buttons somewhere else. Angeline Blount: Hmm. Maria Farrior: Anyways. Kimberly Toth: It's expensive to build it, so Angeline Blount: Mm. Maria Farrior: Uh this Kimberly Toth: you Rose Couper: I'm Maria Farrior: looks Kimberly Toth: must Rose Couper: still Maria Farrior: a little Rose Couper: not Kimberly Toth: use Rose Couper: convinced Kimberly Toth: the maximum Rose Couper: of Kimberly Toth: of it. Rose Couper: the Maria Farrior: About the L_C_D_s thing. Rose Couper: Yeah. Angeline Blount: Hmm. Maria Farrior: Well if it if it's if it's possible wi Angeline Blount: They Maria Farrior: if Angeline Blount: want Maria Farrior: it's Angeline Blount: it uh. Maria Farrior: not too expensive, we should include it, because it's it's cool. Angeline Blount: We should just try to make that if it's possible. If it is possible we should really do it, but we need that information. Kimberly Toth: Huh. Uh. Angeline Blount: Also Kimberly Toth: But Angeline Blount: keep in mind Kimberly Toth: uh Angeline Blount: again, the L_C_D_ screen is very flat, but it needs transistors, resistors, I don't know what more and that needs space. So I have to look if that's possible. Kimberly Toth: Yeah, I know uh. Angeline Blount: But if Rose Couper: So basically Angeline Blount: we Rose Couper: can I Maria Farrior: Uh we have Rose Couper: what Maria Farrior: green Rose Couper: we have Maria Farrior: now Rose Couper: to decide Maria Farrior: uh Rose Couper: now is uh what goes on top. Do we put the volume control and the channel control here, or do we put it on he Would we like Kimberly Toth: In Rose Couper: to press Kimberly Toth: middle Maria Farrior: Or Kimberly Toth: of Maria Farrior: maybe Rose Couper: it Kimberly Toth: it. Maria Farrior: we should m Rose Couper: in the Maria Farrior: we Rose Couper: middle? Maria Farrior: could uh draw Kimberly Toth: In the middle. Maria Farrior: draw something a bit that has it on on on the bottom. Maybe in a circle for example, like we like in this example. I think this is not good, but for we could make circular buttons for example. Angeline Blount: Hmm. Maria Farrior: For up Rose Couper: Yes, Maria Farrior: and Rose Couper: but Maria Farrior: down, Rose Couper: we Maria Farrior: ma Rose Couper: do agree Maria Farrior: make Rose Couper: that Maria Farrior: it a circle Rose Couper: we Maria Farrior: on it, because it Rose Couper: keep this at the centre, because it's basically Kimberly Toth: Yeah. Rose Couper: the most important Maria Farrior: I think the channel Kimberly Toth: It's the Maria Farrior: button Kimberly Toth: most Rose Couper: function. Maria Farrior: should Kimberly Toth: import Maria Farrior: be in the centre. Kimberly Toth: yeah. Maria Farrior: Channel button should be st stick together, for example here in this section. Because it's Rose Couper: Well, that Maria Farrior: uh Rose Couper: would make them quite small. Maria Farrior: We're not sure Rose Couper: So maybe Maria Farrior: about the size Rose Couper: you'd put Maria Farrior: anyway, Rose Couper: them here. Maria Farrior: just a general design. You can make it as big as you want. For example if Rose Couper: Yes, Maria Farrior: you take Rose Couper: but a big remote Maria Farrior: uh Rose Couper: control probably not something which Angeline Blount: Hmm. Rose Couper: people Maria Farrior: No, Rose Couper: would like. Maria Farrior: let's see. For example Angeline Blount: If Maria Farrior: just Angeline Blount: we have a a space issue, we can also lose one battery. It is rechargeable, so we can stick with one instead Maria Farrior: Yeah. Angeline Blount: of two. That Maria Farrior: I Angeline Blount: might Maria Farrior: don't Angeline Blount: be Maria Farrior: think Angeline Blount: an option. Maria Farrior: if we if we even use an L_C_D_ screen, we need to, definitely. Angeline Blount: Yeah, but if we need two batteries and an L_C_D_ screen, that means a lot of space that we need. Maria Farrior: Yeah, but Angeline Blount: But it Maria Farrior: we Angeline Blount: has Maria Farrior: have Angeline Blount: to be a little Maria Farrior: to Angeline Blount: bit Maria Farrior: see what Angeline Blount: heavier. Maria Farrior: the si what the size is. Angeline Blount: Okay. Maria Farrior: The L_C_D_ doesn't have to nee doesn't need to be very big. Angeline Blount: No, but the things behind it. space. Maria Farrior: Mm let's see. Angeline Blount: Like Kimberly Toth: Finish Angeline Blount: a process uh. Kimberly Toth: meeting now. It's Maria Farrior: Finish Kimberly Toth: on Maria Farrior: meeting Kimberly Toth: your computer. Maria Farrior: now. Okay, we will. Rose Couper: So would Maria Farrior: So Rose Couper: we Maria Farrior: either Rose Couper: like this or would we like the Maria Farrior: We either we have to decide what Angeline Blount: I like Maria Farrior: what Angeline Blount: this Maria Farrior: people Angeline Blount: one Maria Farrior: want. Angeline Blount: more. Maria Farrior: Either this one, this this could be the luxurious one. So we have channel buttons here. I'm just drawing something uh. Uh I think this would this would look cool. You could have it for example small Kimberly Toth: Uh. Maria Farrior: buttons here for some extra functions, so if your basic function's here, we should like we decided before, programmes up and down, Angeline Blount: Mm. Maria Farrior: and Rose Couper: Let's Kimberly Toth: Or Maria Farrior: volume Rose Couper: see Maria Farrior: here. Rose Couper: what we have here. Kimberly Toth: And uh what about speech recognition uh Maria Farrior: Well you can just no, I'm not Kimberly Toth: Yeah, Maria Farrior: sure if we can do that, but Kimberly Toth: yeah, Maria Farrior: we could Kimberly Toth: but Maria Farrior: put a microphone Kimberly Toth: or Maria Farrior: in Kimberly Toth: or Maria Farrior: here Kimberly Toth: an Maria Farrior: for Kimberly Toth: L_C_D_ Maria Farrior: example. Kimberly Toth: or an uh speech. Angeline Blount: Mm. Kimberly Toth: I think it's L_C_D_ is better now. Maria Farrior: Just to do research into both, w what it costs and what it Kimberly Toth: Yeah. Maria Farrior: takes for space. Angeline Blount: I'll try Kimberly Toth: Yeah. Angeline Blount: to. Maria Farrior: But let's cut the meeting for now Angeline Blount: One more Maria Farrior: yes. Angeline Blount: uh thing I'd like to say, uh let's give this uh a name, and not like some vague serial number that no one understands, like Rose Couper: Okay. Angeline Blount: with cars. Kimberly Toth: Yeah, okay, Angeline Blount: Shall we Kimberly Toth: yeah, Angeline Blount: all try uh to think about a name? Rose Couper: So I think Kimberly Toth: that's Rose Couper: of a name. Kimberly Toth: yeah, that's Maria Farrior: Yeah, Kimberly Toth: okay. Maria Farrior: let's think of a name, okay. Uh okay. Kimberly Toth: Oh, good. Maria Farrior: Okay, at anyways, Rose Couper: So Maria Farrior: the the minutes will be on the on the web shortly, so there we go Rose Couper: Yes, Maria Farrior: uh. Rose Couper: go and finish up and I'll see you at lunch. Kimberly Toth: Yeah. Angeline Blount: Good luck. Maria Farrior: Yeah, to all. Kimberly Toth: Same. Rose Couper: Yeah. Angeline Blount: Yeah, I've Do we uh save the?

Customers are willing to pay more for fancier looking remotes. They like innovative technology like speech recognition and LCD screens. It also transpires that remotes are easy to lose. Everyone agreed that they need to incorporate a locating mechanism in their design, and that changeable covers could make appealing-looking remotes. The need for clarity of button functions was mentioned. On the other hand, materials should be more durable. The function of the remote is relatively simple: by pressing a button a current is passed to the chip, and defines what signal is to be sent to the receiver (the TV) via infrared. There are some new requirements: the target group will be people below 40, the device will have to be for TV only, they should ignore the teletext function, and, also, the remote should be recognisable as a Real Reaction product. They drew some of their ideas, and discussed the positioning of the buttons and the LCD. The most used buttons are going to be placed on top. It might be possible to use a charger for the remote. The concept of the design will be finalised in the next meeting.

amisum

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Lisa Thompson: Did you manage? Diane Wright: Yeah, sh not quite. Lisa Thompson: Okay. Diane Wright: You will uh Lisa Thompson: Ah. Hello. Ruth Thompson: Hello. So, are you d what were j you guys discussing? Lisa Thompson: No, just uh ask if if he Diane Wright: Woah. Lisa Thompson: could manage. Diane Wright: Yeah. Ruth Thompson: Okay. Did you find anything new? Diane Wright: Mm uh nothing special. Uh Ruth Thompson: Mm-hmm. Lisa Thompson: I have a lot Diane Wright: Yeah, Lisa Thompson: of Diane Wright: the Lisa Thompson: new information. Diane Wright: for uh Ruth Thompson: Great, Diane Wright: the trendy Ruth Thompson: great. Diane Wright: uh stuff. A little Ruth Thompson: Come Diane Wright: bit. Ruth Thompson: on. Diane Wright: I uh now will show it. Lisa Thompson: Hey, everything alright. Kimberly Chapman: Well, I had Lisa Thompson: Did you Kimberly Chapman: just Lisa Thompson: manage? Kimberly Chapman: a little bit of time so Lisa Thompson: Okay. Diane Wright: Okay. Kimberly Chapman: I hope it's something Ruth Thompson: What's uh here. Kimberly Chapman: uh we can work with. But Diane Wright: Yeah, I had the same. It just uh Lisa Thompson: Do you have a lot of Diane Wright: shuts Lisa Thompson: new information? Diane Wright: itself down and Kimberly Chapman: Hmm? Lisa Thompson: Do you have a lot of new information? Kimberly Chapman: Well, I heard that there was a new uh component speech recognition component, Diane Wright: Oh. Kimberly Chapman: which was Lisa Thompson: That's true. Ruth Thompson: And there Kimberly Chapman: pretty Ruth Thompson: we are. Kimberly Chapman: much up to standard, so Lisa Thompson: Huh. Kimberly Chapman: we might use that I put that in my drawing, but again I didn't not have that much time. So Lisa Thompson: Alright. I have a lot Ruth Thompson: What Lisa Thompson: of Ruth Thompson: the Lisa Thompson: new Ruth Thompson: f oh, yeah Lisa Thompson: information. I have Ruth Thompson: uh. Lisa Thompson: a complete list of Ruth Thompson: It doesn't Lisa Thompson: uh Ruth Thompson: do what I want Lisa Thompson: everything that Ruth Thompson: it Lisa Thompson: we can use, all the components that all av available. Kimberly Chapman: Okay, that's just super. Let Diane Wright just Lisa Thompson: I still don't have any finance information, but at least we have a lot more to go on now Kimberly Chapman: uh Ruth Thompson: Okay fine, that's too bad. Kimberly Chapman: You need to Ruth Thompson: Yeah, I have Kimberly Chapman: start Ruth Thompson: to start Kimberly Chapman: it up first? Ruth Thompson: our Kimberly Chapman: Okay Ruth Thompson: 'Kay. Okay, go again. Well second phase, conceptual design. It's fine, everybody knows what we're talking about So. Diane Wright: Yep. Ruth Thompson: take you past the minutes of last meeting again. Again you get your three presentate to see what you came up with. So too bad we don't have any finance information apparently. So that's too bad. So then we'll just have to d uh have to go on, you know, the information that we have to make the make final decisions on uh on a conceptual design. So Here we go. Anyway, last w last w what discussed last time, you all remember that, that we have to keep the electronics size in mind. Same goes for you. We have to have an easy design with big buttons which are durable and there are people actually spen willing to spend money to do to get more features and uh among those features L_C_D_ screen and voice recognition are very popular. So we have to make a move on that area, I guess. S especially s when when the new uh component is applicable in our uh product, we'll be fine. Anyways, well teletext wasn't important and that's what I took. And the consumer, yeah, we aim for young consumers, so that's fine. And well actually we yeah, we did need some more data on finances, but w yeah we still don't have that apparently. Diane Wright: Mm uh-huh. Ruth Thompson: That's too bad. Yeah, we need to im de we are going to implement the beep and the flash thing to recover your remote. So one of these interchangeable covers apparently which will make it a more fashionable product. So anyway. Guess we'll have to do this after the after the you give your presentations. So I'll just close this one now, and let's uh let's see, Kimberly Chapman: Okay, Diane Wright: I Kimberly Chapman: what Diane Wright: bet Kimberly Chapman: t Ruth Thompson: We have a lot to tell. You had a lot to go on. So uh how Lisa Thompson: Yep, Ruth Thompson: about Lisa Thompson: that's Ruth Thompson: you Lisa Thompson: right. Ruth Thompson: go first. Kimberly Chapman: Okay, yeah. Diane Wright: Oh okay. Lisa Thompson: Let's see where my presentation is. Okay, um this I mentioned before. Every feature for our remote control needs to have their own operating electronic devices. We need to take care of that. Then warning, uh there has to be a chip in our remote control. And the chip requirements uh needed for a normal button uh is just a simple chip, uh scroll-wheel, and L_C_D_ is an advanced. Of course this is more expensive than this. So we have to decide on that in a minute. Ruth Thompson: Okay. Lisa Thompson: The available uh components for energy are, we have a basic battery, a hand an uh dynamo, like in uh old torches. We have a kin uh kinetic provision, then you have to shake the remote control to get the energy. And we have solar cells. I suggest that we uh decide on that one uh immediately. Then I have all lists. So My personal Diane Wright: Um Lisa Thompson: uh fav favourite is the kinetic provision because uh Ruth Thompson: Does it provide Lisa Thompson: I ha Ruth Thompson: enough energy? Lisa Thompson: I think so, yes. Ruth Thompson: Also if if we were choose the the L_C_D_ option, Lisa Thompson: Yes. Ruth Thompson: would it give enough energy Okay, Lisa Thompson: Yes. Ruth Thompson: that's the Lisa Thompson: Because Ruth Thompson: just assume Lisa Thompson: I had Ruth Thompson: it Lisa Thompson: the Ruth Thompson: takes. Lisa Thompson: information uh you take uh the remote control, you pick it up at least two times a day. So then it's already shaken and gives Ruth Thompson: Well, Lisa Thompson: energy. Ruth Thompson: I'm not sure if it's Kimberly Chapman: Is Ruth Thompson: shaken Kimberly Chapman: that enough? Ruth Thompson: enough, because Kimberly Chapman: Because I don't really see people Lisa Thompson: Or Kimberly Chapman: shaking their remote Ruth Thompson: No, Kimberly Chapman: control Ruth Thompson: I don't Kimberly Chapman: before Ruth Thompson: think so, Kimberly Chapman: using Ruth Thompson: because Kimberly Chapman: it. Ruth Thompson: uh watches can go on kinetic Lisa Thompson: Think Ruth Thompson: energy because they move all the time. But I'm sure t I mean remotes lie Lisa Thompson: Hmm. Ruth Thompson: still I think like Lisa Thompson: Hmm. Ruth Thompson: ninety nine percent of the time. So I don't think that's a really good the other alternative were solar cells. I don't think that's applicable Lisa Thompson: Other Ruth Thompson: because Lisa Thompson: options are solar Kimberly Chapman: No. Lisa Thompson: cells, hand dynamo and basic battery. Ruth Thompson: I thin Kimberly Chapman: And Ruth Thompson: why Kimberly Chapman: what Ruth Thompson: why Kimberly Chapman: does Ruth Thompson: shouldn't Kimberly Chapman: the Ruth Thompson: we Kimberly Chapman: hand Ruth Thompson: take a basic Kimberly Chapman: dynamo Ruth Thompson: battery? Diane Wright: Yeah. Kimberly Chapman: oh, Diane Wright: A Kimberly Chapman: sorry. Diane Wright: rechargeable maybe. Lisa Thompson: Only basic battery? Okay, Ruth Thompson: Why Lisa Thompson: but Ruth Thompson: not? Lisa Thompson: I think Diane Wright: Re Ruth Thompson: I mean Lisa Thompson: this Ruth Thompson: everybody Lisa Thompson: is Diane Wright: rechargeable Lisa Thompson: not a r. Ruth Thompson: everybody Diane Wright: basi Ruth Thompson: knows how to use that. It's it's common. So and it's available Lisa Thompson: Yeah. Ruth Thompson: everywhere. So why sh Lisa Thompson: Yeah, Ruth Thompson: mm Lisa Thompson: but Ruth Thompson: I Lisa Thompson: I think Ruth Thompson: think Diane Wright: Yeah. Lisa Thompson: this rules Ruth Thompson: better. Lisa Thompson: out our unit our rechargeable unit. This is really a Ruth Thompson: Yeah, Lisa Thompson: really Ruth Thompson: but Lisa Thompson: basic Ruth Thompson: it's Lisa Thompson: battery, a normal battery. Ruth Thompson: Yeah, uh Kimberly Chapman: Oh. Ruth Thompson: it wasn't it wasn't in the options, Lisa Thompson: Huh? Ruth Thompson: a rechargeable m module actually. Lisa Thompson: Okay, that's uh. Okay? Ruth Thompson: Okay yeah, Diane Wright: Yep. Ruth Thompson: b you c of course you Diane Wright: Basic. Ruth Thompson: could place re re-chargeable batteries. But that's up to the consumer himself. So Lisa Thompson: Okay, but then we don't offer a re-chargement function. That's what it says. Ruth Thompson: Well, mm it's not in the list. So we cannot choose from it. So Lisa Thompson: Exactly. Ruth Thompson: Okay, Lisa Thompson: Alright. Ruth Thompson: will just Lisa Thompson: Right. Ruth Thompson: take regular batteries. Lisa Thompson: Yep. Diane Wright: Okay. Lisa Thompson: Next one is curving. Uh we can make a model that has one curve, two or three. And uh Kimberly Chapman: Curves being? Lisa Thompson: uh th uh the shape. Of course uh the more Diane Wright: Okay. Kimberly Chapman: Of Lisa Thompson: curves Kimberly Chapman: the Lisa Thompson: the more expensive. Kimberly Chapman: remote control Lisa Thompson: Exactly. Diane Wright: But Kimberly Chapman: itself, Lisa Thompson: Yes. Kimberly Chapman: okay. Diane Wright: But It Kimberly Chapman: I Diane Wright: dep Kimberly Chapman: was thinking along the line of one curve. I'll show that in my design. Diane Wright: But Lisa Thompson: Hmm. Ruth Thompson: Okay, we'll get back Kimberly Chapman: So Ruth Thompson: on that Kimberly Chapman: we'll Ruth Thompson: later. Kimberly Chapman: get Diane Wright: Yeah. Kimberly Chapman: back to that. Ruth Thompson: Just Lisa Thompson: Hmm. I think one Diane Wright: Yeah. Lisa Thompson: curve is uh Ruth Thompson: But Lisa Thompson: fine. Ruth Thompson: what were the implications Diane Wright: Depends Ruth Thompson: if you if Diane Wright: on the Ruth Thompson: put Diane Wright: user. Ruth Thompson: more curves it it's gets more expensive. Lisa Thompson: More expensive. Ruth Thompson: Okay, Lisa Thompson: More difficult Ruth Thompson: so I Lisa Thompson: to Ruth Thompson: think Lisa Thompson: make. Ruth Thompson: with with the extras that we had there it's two curves I suppose. Lisa Thompson: Exactly. Ruth Thompson: Okay. Lisa Thompson: And I believe even that the r the number of options we have on putting things in it uh goes down Ruth Thompson: Also decreases, Lisa Thompson: with Ruth Thompson: okay. Lisa Thompson: exactly. Material. I have to offer a plastic, rubber, wood or titanium. Uh if we choose plastic, we cannot choose solar cells for energy. If Ruth Thompson: Okay. Lisa Thompson: we choose titanium, uh we cannot use more than one curve. But we don't Ruth Thompson: More Lisa Thompson: have that Ruth Thompson: than Lisa Thompson: so Ruth Thompson: one Lisa Thompson: fast. Ruth Thompson: curve, uh yeah Kimberly Chapman: Okay, Ruth Thompson: okay. Kimberly Chapman: I t Ruth Thompson: We'll just go Kimberly Chapman: I'd Ruth Thompson: uh Kimberly Chapman: go for plastic because Ruth Thompson: 'Cause Kimberly Chapman: I Ruth Thompson: it Kimberly Chapman: have Ruth Thompson: yeah, Kimberly Chapman: a Ruth Thompson: I'm Kimberly Chapman: couple Ruth Thompson: not sure. Kimberly Chapman: of curves in my Lisa Thompson: Mm. Kimberly Chapman: design. Diane Wright: Yeah. Lisa Thompson: Mm. Kimberly Chapman: Well, g let's Ruth Thompson: We'll discuss Kimberly Chapman: just Ruth Thompson: that Kimberly Chapman: get Ruth Thompson: later. Kimberly Chapman: back Ruth Thompson: Okay, Kimberly Chapman: to Ruth Thompson: we have Kimberly Chapman: that. Diane Wright: Yeah. Ruth Thompson: so I think Lisa Thompson: Okay. Ruth Thompson: we can rule out um I'm not sure we can rule anything out. We'll do that Lisa Thompson: No. Ruth Thompson: when y when you get your design. Lisa Thompson: But I think wood is not an option either. Kimberly Chapman: No, wood's Ruth Thompson: No, wood Kimberly Chapman: not Ruth Thompson: i wood's Kimberly Chapman: an Ruth Thompson: not Kimberly Chapman: option. Ruth Thompson: an option. Kimberly Chapman: No. Ruth Thompson: Well Lisa Thompson: Okay. Ruth Thompson: it it's stylish, but we can yeah, Lisa Thompson: Hmm. Ruth Thompson: but you can Diane Wright: No. Ruth Thompson: change your covers anyway. Lisa Thompson: Okay. My personal thought was uh rubber because I had an email, I believe it was from you, Ruth Thompson: Yeah, is Lisa Thompson: uh Ruth Thompson: it Lisa Thompson: f Ruth Thompson: keep in Lisa Thompson: against Ruth Thompson: mind that Lisa Thompson: falling. Ruth Thompson: it it's it's uh it fal uh remote controls fall a lot on the ground. So you don't want it to break. So either have rubber edges Lisa Thompson: Hmm. Ruth Thompson: or a rubber remote control is Lisa Thompson: Okay. Ruth Thompson: very durable. But Kimberly Chapman: Yeah, Lisa Thompson: Uh Ruth Thompson: Continue. Kimberly Chapman: but it doesn't Diane Wright: No. Kimberly Chapman: have to be unbreakable, because we Ruth Thompson: Don't have to be un-breakable, Kimberly Chapman: do need Ruth Thompson: it's Kimberly Chapman: to keep Ruth Thompson: p it's Kimberly Chapman: selling Ruth Thompson: a Kimberly Chapman: these thing Ruth Thompson: it's not supposed to Lisa Thompson: Mm. Ruth Thompson: ju yeah, break after one use. Kimberly Chapman: Okay, Lisa Thompson: Yeah. Ruth Thompson: I mean Kimberly Chapman: well Ruth Thompson: it Kimberly Chapman: that Ruth Thompson: they they Kimberly Chapman: that's Ruth Thompson: fall a lot. Kimberly Chapman: definitely Ruth Thompson: So Kimberly Chapman: true. Lisa Thompson: Mm. I think we have to decide on this anyway. Uh because if we make removeable covers, it has to be one of those mat materials. We have no more than this. So Kimberly Chapman: Because it well, ru will rubber actually protect the remote control itself? Because Ruth Thompson: Well, Kimberly Chapman: it Ruth Thompson: you have for if you if for example if you take hard plastic. If it falls it might crack. And rubber uh kind of Kimberly Chapman: Yeah, but Ruth Thompson: softens Kimberly Chapman: then you buy Ruth Thompson: the fall. Kimberly Chapman: a new cover. But Ruth Thompson: I'm Kimberly Chapman: rubber Ruth Thompson: not sure if it's the it's the entire cover you change. Uh, it's Lisa Thompson: Mm-hmm. Diane Wright: Are Ruth Thompson: could Diane Wright: are Ruth Thompson: be. Diane Wright: we focussi focussing Ruth Thompson: You know Diane Wright: on on the Ruth Thompson: what, th we're focusing very much on the covers now. Diane Wright: But Ruth Thompson: we're going for the basic design. If we wanna expand our options, f be fashionable, then we can get changeable covers. But I think the basic Diane Wright: But Ruth Thompson: thing Lisa Thompson: Mm-hmm. Ruth Thompson: let's just rule out wood for now and Lisa Thompson: Okay. Ruth Thompson: continue. Diane Wright: Not that but are we focussing on the uh younger people or the elder people? Ruth Thompson: We're definitely focussing on the younger Diane Wright: Younger, Ruth Thompson: people, 'cause Diane Wright: okay. Ruth Thompson: that was Diane Wright: Yeah, Ruth Thompson: our Diane Wright: that's okay. Ruth Thompson: main goal. Diane Wright: Nah, that's Lisa Thompson: Alright. Then I proceed, but I need to know after this meeting. So Ruth Thompson: Okay okay, Kimberly Chapman: Okay. Ruth Thompson: we will. Lisa Thompson: Interface, uh I have four things to offer, pu uh normal push-buttons of course. Um uh we have a lot of expertise on that one. We have a large history, our company, on Ruth Thompson: Mm-hmm. Lisa Thompson: push-buttons. Scroll-wheels, uh those can be pushed as well, although that is more expensive. Um liquid crystal colour display and um What is this? Okay, and if we use rubber, I already mentioned that, we can only use rubber buttons. So rubber can only match with rubber. Ruth Thompson: Mm-hmm. Lisa Thompson: Which one of those are we gonna use? Push-buttons, that's b uh I think Ruth Thompson: Evident. Lisa Thompson: basic. Ruth Thompson: Yeah, o of course we're gonna use. But I didn't Kimberly Chapman: Yeah, Lisa Thompson: Huh. Kimberly Chapman: of Ruth Thompson: I didn't Kimberly Chapman: cour Diane Wright: But Ruth Thompson: go on the thought of a scroll-wheel actually. I'm still deciding Lisa Thompson: No. Ruth Thompson: on what what what could you use it for. Maybe Lisa Thompson: I Ruth Thompson: for Lisa Thompson: think Ruth Thompson: volume Lisa Thompson: the channels. Ruth Thompson: control. Channel, I think that would be annoying Lisa Thompson: Oh. Ruth Thompson: because it might accidentally scroll onto another channel. Lisa Thompson: Yeah. Ruth Thompson: I think a push-button for channel would be better. I mean it for volume control it's Lisa Thompson: Huh? Ruth Thompson: it's a smoother Lisa Thompson: Huh. Ruth Thompson: motion, you can just increase or decrease. But Lisa Thompson: Hmm. Kimberly Chapman: Yeah, Ruth Thompson: not Kimberly Chapman: but Ruth Thompson: sure. Kimberly Chapman: there Ruth Thompson: For Kimberly Chapman: is Ruth Thompson: channels Kimberly Chapman: a Lisa Thompson: But Kimberly Chapman: is Ruth Thompson: will Kimberly Chapman: it Ruth Thompson: be good. Kimberly Chapman: really necessary 'cause a normal Ruth Thompson: I don't think so. I haven't I haven't Kimberly Chapman: push-button Ruth Thompson: taken it Kimberly Chapman: can Ruth Thompson: into Kimberly Chapman: do Ruth Thompson: consideration. Kimberly Chapman: that Lisa Thompson: Huh? Kimberly Chapman: job. Lisa Thompson: Oh. Diane Wright: But Lisa Thompson: Ah Diane Wright: th Lisa Thompson: so but Diane Wright: the Ruth Thompson: I Lisa Thompson: it Ruth Thompson: don't Lisa Thompson: looks Diane Wright: younger Ruth Thompson: think Lisa Thompson: cool. Ruth Thompson: we really Diane Wright: people Ruth Thompson: need one. Lisa Thompson: Mm Diane Wright: my Lisa Thompson: no. Diane Wright: investigation turns out that the younger people want a little bit uh material Lisa Thompson: Oh. Diane Wright: that that Lisa Thompson: Ah. Diane Wright: is uh Lisa Thompson: flashy Diane Wright: spongy Lisa Thompson: and yeah. Diane Wright: and uh Lisa Thompson: I think Diane Wright: So Lisa Thompson: would be cool, scroll-wheel. It's not that much uh if we take Diane Wright: A Lisa Thompson: a normal Diane Wright: sc Lisa Thompson: scroll-wheel without the pushing, then it's not expensive. We can do that. Ruth Thompson: But why Kimberly Chapman: Yeah, Ruth Thompson: do Kimberly Chapman: but Lisa Thompson: Think. Ruth Thompson: we need Kimberly Chapman: why Ruth Thompson: it? Kimberly Chapman: would we use it? Lisa Thompson: Ah we don't need it, Diane Wright: Yeah. Lisa Thompson: but it's uh it's Ruth Thompson: If we don't Lisa Thompson: design Ruth Thompson: need it, why Lisa Thompson: a design Ruth Thompson: put it in your Lisa Thompson: thing. Ruth Thompson: why Diane Wright: Yeah, Ruth Thompson: put it Diane Wright: you Ruth Thompson: in your Diane Wright: get Ruth Thompson: in your if it's if it's not something people are looking for or is useful. Diane Wright: No. Lisa Thompson: I think they are looking for that. Of course we Ruth Thompson: Are Lisa Thompson: have Ruth Thompson: they? Lisa Thompson: uh a young target group. So they might find that Diane Wright: Scroll-wheel? Ruth Thompson: Yeah, but Lisa Thompson: attractive Ruth Thompson: if it's Diane Wright: Uh Lisa Thompson: in Ruth Thompson: if Diane Wright: I don't Lisa Thompson: a remote Ruth Thompson: it's Diane Wright: know. Ruth Thompson: not Lisa Thompson: con Ruth Thompson: useful, I don't think it I don't think it gives an extra Diane Wright: Yeah, Ruth Thompson: function Diane Wright: that's it. Ruth Thompson: to the remote. Anyway Lisa Thompson: Okay. So push-buttons we will use. Uh L_C_D_ screen? Kimberly Chapman: Perhaps. I Lisa Thompson: Is that Kimberly Chapman: have Ruth Thompson: What Lisa Thompson: s Ruth Thompson: you Kimberly Chapman: t Ruth Thompson: what Kimberly Chapman: I have Ruth Thompson: what'd you Kimberly Chapman: two Ruth Thompson: get on Kimberly Chapman: different Diane Wright: Yeah. Ruth Thompson: the L_C_D_ screen? Is it expensive? Does it Lisa Thompson: chip in it. And that is more Ruth Thompson: And Lisa Thompson: expensive. Ruth Thompson: how much more expensive is that? Lisa Thompson: I Ruth Thompson: Or Lisa Thompson: have no idea. I have no absolute numbers. Ruth Thompson: No Kimberly Chapman: Okay. Lisa Thompson: I Ruth Thompson: absolute Lisa Thompson: only have Ruth Thompson: numbers, but it's just more expensive and takes more room I suppose in your in your Lisa Thompson: Yeah, but Ruth Thompson: design. Lisa Thompson: I don't think room is really an issue. Ruth Thompson: Don't think it's an issue, okay. Oh let's go for let's say because it is uh very hot in n our target group I think, we should take it take it t to consideration to build an L_C_D_ screen in it. Kimberly Chapman: I have two designs, one including uh Diane Wright: For the Kimberly Chapman: an Diane Wright: future. Kimberly Chapman: L_C_D_ screen, Ruth Thompson: Okay. Kimberly Chapman: wh which is basically Diane Wright: Yeah. Kimberly Chapman: the deluxe edition. And then I also have a standard edition, which wi we can also choose Ruth Thompson: Which basically Kimberly Chapman: to Ruth Thompson: has Kimberly Chapman: develop Ruth Thompson: the same functionality, Kimberly Chapman: too. Ruth Thompson: but Diane Wright: Yep Ruth Thompson: lacks the L_C_D_ screen. Kimberly Chapman: Exactly. Ruth Thompson: Okay. Kimberly Chapman: But Ruth Thompson: We'll Kimberly Chapman: we'll Ruth Thompson: pick a we'll pick from uh we'll just combine everything later. Lisa Thompson: Mm-hmm. Okay. Electronics, uh the first one is the chip. Uh that's no longer an option, it has to be an advanced one now. 'Cause we have the L_C_D_ Kimberly Chapman: Yep. Lisa Thompson: screen. Then we have an infrared sender, I think that's basic, we cannot do Kimberly Chapman: Basically, Lisa Thompson: without. Diane Wright: Yep. Kimberly Chapman: it Lisa Thompson: Otherwise it's not s a remote Ruth Thompson: Mm-hmm. Lisa Thompson: control. And we have the sample sensor and speaker, the voice recognition thing. Are we gonna do that or not? Ruth Thompson: Once Kimberly Chapman: Oh, Ruth Thompson: again I was Kimberly Chapman: I Ruth Thompson: would Kimberly Chapman: got Ruth Thompson: ask you if it's expensive, but apparently you don't have any data. Lisa Thompson: I Ruth Thompson: So Lisa Thompson: only have uh uh relative Ruth Thompson: Well what d what Lisa Thompson: information. Ruth Thompson: was exact what you got on the on the Kimberly Chapman: I Ruth Thompson: new Kimberly Chapman: got Ruth Thompson: component? Kimberly Chapman: an email that it's relatively small. Ruth Thompson: That's small. So we can implement it. Kimberly Chapman: Yes, let Ruth Thompson: So Kimberly Chapman: Diane Wright just Ruth Thompson: why why if it's small and we can imp why shouldn't we? Kimberly Chapman: Get back. Lisa Thompson: Oh how did Ruth Thompson: And Lisa Thompson: you Ruth Thompson: there's um Lisa Thompson: That Ruth Thompson: get Lisa Thompson: goes also Ruth Thompson: your mar Lisa Thompson: for the scroll-wheel, Ruth Thompson: marketing Lisa Thompson: by Ruth Thompson: report? Lisa Thompson: the way. Ruth Thompson: What was uh the last number of how many people were interested in voice recognition? Diane Wright: Um uh Ruth Thompson: Although it's hard for different countries of course. Diane Wright: The most of them um Ruth Thompson: But you have to programme it yourself, I suppose, with your own voice. Diane Wright: Um uh more than uh sixty percent. Ruth Thompson: More than sixty percent of the people would like Diane Wright: Yeah. Ruth Thompson: voice recognition. Diane Wright: Mean of uh seventy percent I think. Lisa Thompson: Hmm. Diane Wright: Uh I'm I have to look it up. Ruth Thompson: If it's small, if it's fits, Lisa Thompson: Yeah. Ruth Thompson: if if people like it, why not? Lisa Thompson: Hmm. But don't Ruth Thompson: So Lisa Thompson: we have any w uh information about scroll-wheel? Scroll-wheel. If people Diane Wright: No. Lisa Thompson: would like that. Diane Wright: No, Lisa Thompson: That's strange, because that's the same Diane Wright: only Lisa Thompson: story. It's it's not necessary Diane Wright: Ah. I don't Lisa Thompson: like Diane Wright: know. Lisa Thompson: an L_C_D_, but it's just it adds something to the Ruth Thompson: Yeah, but we got some data Lisa Thompson: design. Ruth Thompson: on people that actually are int are interested in that, and I Lisa Thompson: Hmm. Ruth Thompson: don't think a scroll-wheel offers new functionality, Diane Wright: On the most Ruth Thompson: whereas Diane Wright: spee Lisa Thompson: No. Ruth Thompson: speech recognition and L_C_D_ screen Diane Wright: But Ruth Thompson: do offer new functionality in Lisa Thompson: Oh Ruth Thompson: your Lisa Thompson: that's Ruth Thompson: product. Lisa Thompson: r But I think uh we now already have to uh implement uh an advanced chip. Ruth Thompson: Uh I think Lisa Thompson: So Ruth Thompson: so, because Lisa Thompson: it's Ruth Thompson: if Lisa Thompson: m Ruth Thompson: I Diane Wright: Yeah, Ruth Thompson: think we're Diane Wright: for Ruth Thompson: specially Diane Wright: the future. Ruth Thompson: w if you're going maybe uh if you have the two editions you wanna wanna give out, probably you have one with uh with speech recognition and Kimberly Chapman: Well, they b they basically can have speech recognition. I mainly focused Ruth Thompson: Um Kimberly Chapman: on the L_C_D_ uh aspect. Ruth Thompson: Yeah, hold on a minute. Were were you we're finished? Or Lisa Thompson: No, but that's that's okay. Ruth Thompson: Oh. Because if there's something that Kimberly Chapman: 'Cause you wanted to see them, Lisa Thompson: There Ruth Thompson: 'Cause Kimberly Chapman: right? Lisa Thompson: is Ruth Thompson: have Lisa Thompson: still Ruth Thompson: did Lisa Thompson: time. Ruth Thompson: you have all the materials? Or everything Lisa Thompson: Yes, Ruth Thompson: that you Lisa Thompson: this Ruth Thompson: desc Lisa Thompson: was uh the last M_S_. I have Ruth Thompson: Okay, Lisa Thompson: a clear Ruth Thompson: so Lisa Thompson: picture. Ruth Thompson: uh just just go for design for now. Just m have a seat for a second. Uh We'll combine everything Kimberly Chapman: So this Ruth Thompson: after Kimberly Chapman: is basically Ruth Thompson: this. Kimberly Chapman: the deluxe edition. Ruth Thompson: Why is Kimberly Chapman: I Ruth Thompson: it Kimberly Chapman: j Ruth Thompson: s why is it squared? Kimberly Chapman: Why is it square? Ruth Thompson: Why did you pick square? Or Kimberly Chapman: It Ruth Thompson: uh not Kimberly Chapman: 'cause it's Ruth Thompson: square, Kimberly Chapman: designy. Ruth Thompson: but why is it yeah, sharp Kimberly Chapman: It's basically Ruth Thompson: corners. Kimberly Chapman: it has some futuristic Potentially, Diane Wright: Yeah. Kimberly Chapman: yeah. I don't really know. But I just Diane Wright: People Kimberly Chapman: thought that Ruth Thompson: Looks Kimberly Chapman: uh Ruth Thompson: like Kimberly Chapman: in Ruth Thompson: a Star Trek Kimberly Chapman: normal Ruth Thompson: phaser. Kimberly Chapman: remote controls you have like smooth curves and this and that, and this is something new, this is something different, something fresh. Ruth Thompson: It's true. Kimberly Chapman: And basically what you Diane Wright: Ri Kimberly Chapman: can see here is that it has a little, yeah, let's say gap which you can put Ruth Thompson: Yeah. Kimberly Chapman: your finger Ruth Thompson: Or Kimberly Chapman: in. Ruth Thompson: Okay, so just yeah, Diane Wright: So Ruth Thompson: you Diane Wright: only Ruth Thompson: can rest Diane Wright: r Kimberly Chapman: So Ruth Thompson: it on Diane Wright: right-handed. Kimberly Chapman: you Ruth Thompson: your Kimberly Chapman: can Ruth Thompson: finger. Kimberly Chapman: you can Ruth Thompson: Okay. Kimberly Chapman: hold it really comfortable, that's Ruth Thompson: Mm-hmm. Diane Wright: But Kimberly Chapman: basically Diane Wright: it Kimberly Chapman: the Diane Wright: but Kimberly Chapman: idea. Diane Wright: it's only right-handed then. Not Kimberly Chapman: Or Ruth Thompson: No, Diane Wright: for Kimberly Chapman: left Diane Wright: the left. Kimberly Chapman: hand. Ruth Thompson: it Diane Wright: Or Ruth Thompson: just Kimberly Chapman: I doesn't Ruth Thompson: uh it's Kimberly Chapman: really matter. Ruth Thompson: a curve inside a thing. Lisa Thompson: Hmm. Ruth Thompson: So Kimberly Chapman: As you can Diane Wright: Where? Kimberly Chapman: see, this is the Diane Wright: Wher Ruth Thompson: It's on the back. Kimberly Chapman: remote control Diane Wright: Oh in the back, okay. Kimberly Chapman: Uh you can't really see Diane Wright: Oh Kimberly Chapman: it Diane Wright: yeah Kimberly Chapman: that Diane Wright: yeah. Kimberly Chapman: well, but this is the L_C_D_ screen. Diane Wright: Okay. Kimberly Chapman: So just imagine it goes that way. Ruth Thompson: Yeah, Diane Wright: Oh Ruth Thompson: I think it's Diane Wright: yeah Ruth Thompson: okay. Kimberly Chapman: Then Diane Wright: yeah. Kimberly Chapman: you can Diane Wright: Okay. Kimberly Chapman: see you can hold Diane Wright: Yeah. Kimberly Chapman: it Diane Wright: Yeah yeah. Kimberly Chapman: in your left or in your right hand. And Diane Wright: Yeah. Kimberly Chapman: I also made Diane Wright: I Kimberly Chapman: a Diane Wright: thought it Kimberly Chapman: quick image, 'cause I did not have that much time, of the standard edition which has basically the keys are pretty much the same. Ruth Thompson: Keys are probably the n the number keys, I suppose. Kimberly Chapman: Yeah. I had to do this really fast. So excuse Diane Wright for the uh inconvenience Ruth Thompson: Okay. Kimberly Chapman: here, but as you can see, the keys moved. Ruth Thompson: Well, you can work on the actual concept or actual Kimberly Chapman: Yeah. Ruth Thompson: design later with him. Kimberly Chapman: So these Ruth Thompson: But Kimberly Chapman: are basically the two types we have. So if we were to select the L_C_D_ screen, the transmitter here, you can see the light i Ruth Thompson: Well, I think what you have to keep in mind is that um you're moving the the the number keys from the top. Uh in the the simple design you have them at a top, and the uh complex design you have them at the bottom. So it would that would give us a totally different design. So which actually making a whole different product instead of two different models. I think it would be very expensive to produce two whole different products. Kimberly Chapman: Well we can Ruth Thompson: So Kimberly Chapman: shift that. But normally, as you can see there, we put the uh number buttons right on top. Whereas because we had the L_C_D_ screen here, we had to move them downward, so Ruth Thompson: Yeah, uh Kimberly Chapman: what Ruth Thompson: or Kimberly Chapman: you could say Ruth Thompson: for Kimberly Chapman: is Ruth Thompson: example, Kimberly Chapman: that Ruth Thompson: why did you pick the mm the numbers uh all the way below, and the and the channels and volume Kimberly Chapman: Because Ruth Thompson: control Diane Wright: Well Kimberly Chapman: these are basically Diane Wright: it it's Kimberly Chapman: the functions Diane Wright: yeah. Kimberly Chapman: you use the most. So if you hold it in your hand like this, you put your finger in the gap, this is the m most easy part. Ruth Thompson: Okay. Kimberly Chapman: Bit. Lisa Thompson: Hmm, Kimberly Chapman: For zapping, Ruth Thompson: That's Lisa Thompson: I agree. Ruth Thompson: fine. Diane Wright: Yeah. Kimberly Chapman: cau Ruth Thompson: That's Kimberly Chapman: because Ruth Thompson: fine. Kimberly Chapman: people are zapping Ruth Thompson: Just as long Kimberly Chapman: most Ruth Thompson: as you Kimberly Chapman: of the time. Ruth Thompson: tak took it into consideration what people would prefer. Uh, okay if Lisa Thompson: Hmm. Ruth Thompson: you all agree, I'm fine with it. But Diane Wright: Yeah. Kimberly Chapman: Okay. So that's pretty much ha which I had in mind. As you can see here, this can be spaced for extra keys, which is the design Ruth Thompson: Okay. Kimberly Chapman: thingys. Diane Wright: No it maybe it's better to look uh what the people want. Ruth Thompson: Yeah, Diane Wright: So I Ruth Thompson: I Diane Wright: can Ruth Thompson: think Diane Wright: uh Ruth Thompson: we'll Diane Wright: show my uh investigation. Ruth Thompson: I think we're going towards the deluxe edition anyway, because that seems Diane Wright: Yeah, Ruth Thompson: to be Diane Wright: maybe Ruth Thompson: what the Diane Wright: it's Ruth Thompson: people Diane Wright: better. Ruth Thompson: want. But let's see what's Kimberly Chapman: Yeah. Ruth Thompson: what they want Diane Wright: Especially Ruth Thompson: now. Diane Wright: for young people. Ruth Thompson: Mm-hmm. Diane Wright: Um where is that? Where is th Ruth Thompson: That's mine. Diane Wright: Oh. Uh Ruth Thompson: No, you should send it to the f to the folder first. Diane Wright: Yeah. Mm Ruth Thompson: Okay Diane Wright: I forgot Ruth Thompson: um, Diane Wright: that. Ruth Thompson: let's just assume we go to forty one. Diane Wright: Okay, now it must be there. Yeah, here it is. Oh yeah. Diane Wright: Okay, uh the investigation turns out that the most appear uh people want um um uh look and feel likes is uh uh the s the same as before, but it must be w a little bit fancier than uh the the look of it. Um the second important thing is um the it must be uh technol technological uh innova vative. So that's the L_C_D_ screen is perfect, I think, and not uh Kimberly Chapman: Speech recognition. Diane Wright: Yeah, tha that's uh very important. And a third thing is um yeah, it's uh should be easy to use, so not not too much bu buttons and uh channel selection. I think that's uh what you showed is uh perfect. And what the pe young people want is uh in Paris and and in Milan uh it showed out that the fruit and vegetables are uh are trendy. Ruth Thompson: Mm-hmm. Diane Wright: Th they you s you see it in the clothes and everything. And um the contrast uh of it, it must uh the the buttons must a little bit spongy material. So uh Lisa Thompson: Hmm. Diane Wright: rubber, I think uh th that's Lisa Thompson: No. Diane Wright: the best. Ruth Thompson: Mm-hmm. Kimberly Chapman: Then Lisa Thompson: Yeah, Kimberly Chapman: rubber Lisa Thompson: uh Kimberly Chapman: would Lisa Thompson: I agree. Kimberly Chapman: be the best as a material Diane Wright: No. Kimberly Chapman: indeed. Ruth Thompson: I think so. Diane Wright: So Kimberly Chapman: If Diane Wright: we Kimberly Chapman: that Diane Wright: are Kimberly Chapman: is Diane Wright: uh Kimberly Chapman: the uh Diane Wright: we were focussing uh Lisa Thompson: Okay, Diane Wright: on the Lisa Thompson: agreement. Diane Wright: younger people. Ruth Thompson: Okay. Diane Wright: So the elder, yeah, they wanted a little bit of wood in it and uh that's uh th that's not uh important Ruth Thompson: Okay, Diane Wright: now. Ruth Thompson: so we're definitely Kimberly Chapman: It could Ruth Thompson: going Kimberly Chapman: be Ruth Thompson: for Kimberly Chapman: a c Ruth Thompson: rubber. Kimberly Chapman: it could be a Diane Wright: Yeah. Kimberly Chapman: cover. But it's not. Diane Wright: Yeah, Kimberly Chapman: Our focus Ruth Thompson: Let's just Kimberly Chapman: is Diane Wright: but Ruth Thompson: go Kimberly Chapman: the young audience. So let's Diane Wright: Yeah. Kimberly Chapman: stick to that. Ruth Thompson: Uh-huh. Diane Wright: 'Cause uh n I I I I thought uh it makes a young uh classic remote with uh Ruth Thompson: Nah, I think we're in this case you're losing the the focus on the Diane Wright: Yeah, Ruth Thompson: young group, because Diane Wright: that's Ruth Thompson: we're Diane Wright: why I I d Ruth Thompson: that's what Diane Wright: uh Ruth Thompson: we're focussing on. So I think Diane Wright: decided Ruth Thompson: the spongy feel gives us rubber. Lisa Thompson: Mm-hmm. Diane Wright: With a fruit uh Ruth Thompson: Yeah, w th apparently Diane Wright: cover ov or something Ruth Thompson: Yeah, Diane Wright: like that. Uh Ruth Thompson: apparently yeah, maybe also yeah, I tend to disagree with with uh with a sharp form. I suppose it basi if you're uh saying fruits and vegetables, maybe it's supposed to be a little little Diane Wright: Yeah, Ruth Thompson: more round. Diane Wright: in in form of an uh vegetable or an uh fruit, Ruth Thompson: Yeah, for exa Diane Wright: maybe. Ruth Thompson: maybe like Kimberly Chapman: Yeah, Ruth Thompson: uh Kimberly Chapman: but Ruth Thompson: like Kimberly Chapman: that's Ruth Thompson: a Kimberly Chapman: just Ruth Thompson: pear Diane Wright: And Ruth Thompson: or Kimberly Chapman: more Ruth Thompson: something. Kimberly Chapman: a se a seasonal, Diane Wright: Oh, where is your Kimberly Chapman: a trend thing. Lisa Thompson: That's true. Ruth Thompson: That's what Kimberly Chapman: The Ruth Thompson: we're doing. Kimberly Chapman: idea now is is Diane Wright: A Kimberly Chapman: is Diane Wright: trendy Kimberly Chapman: that you can uh put a cover on it, for example, with fruit, like a shape Ruth Thompson: Mm. Kimberly Chapman: or whatever. Lisa Thompson: Hmm. Ruth Thompson: I think shape Kimberly Chapman: But Ruth Thompson: is Kimberly Chapman: not Ruth Thompson: is important, Diane Wright: Here he Kimberly Chapman: 'cause Ruth Thompson: because Kimberly Chapman: a Diane Wright: here Kimberly Chapman: n next Diane Wright: you can Ruth Thompson: they s Kimberly Chapman: year Diane Wright: put Ruth Thompson: they Kimberly Chapman: it Diane Wright: a Ruth Thompson: really Kimberly Chapman: will it'll Ruth Thompson: extend. Kimberly Chapman: be something Lisa Thompson: Hmm. Kimberly Chapman: completely different. Lisa Thompson: Oh, Kimberly Chapman: And Lisa Thompson: that's Kimberly Chapman: then Lisa Thompson: true. Kimberly Chapman: you have your apple-shaped remote control, which is not trendy anymore. So Ruth Thompson: Yeah, Kimberly Chapman: I think Ruth Thompson: but now Kimberly Chapman: that's Ruth Thompson: you have Kimberly Chapman: more Ruth Thompson: your Kimberly Chapman: something Ruth Thompson: your Kimberly Chapman: you can Ruth Thompson: like Kimberly Chapman: focus Ruth Thompson: your Star Trek phaser thing shaped control. So I I th Kimberly Chapman: Well, you Ruth Thompson: the Kimberly Chapman: can Ruth Thompson: edges Kimberly Chapman: s Diane Wright: Uh maybe Ruth Thompson: are really Diane Wright: it Ruth Thompson: really sharp. I'm Kimberly Chapman: What Ruth Thompson: uh Kimberly Chapman: you Ruth Thompson: not Kimberly Chapman: can Ruth Thompson: su Kimberly Chapman: do is smooth the edges indeed. But that will bring extra c expenses. Lisa Thompson: Mm-hmm. Ruth Thompson: Or maybe just make it make Diane Wright: But Ruth Thompson: it up into into a low a smooth curve instead of just less Diane Wright: Yeah. Ruth Thompson: sharp twist Diane Wright: All Ruth Thompson: on the outside. Diane Wright: uh veg uh fruit and vegetables are round. So it's Lisa Thompson: Mm-hmm. Diane Wright: better Ruth Thompson: I think I think there needs to be a little I think it's too too sharp. The edges are too sharp. The Diane Wright: Yeah. Ruth Thompson: bottom is fine of course if it's square. But maybe just th make uh the top a little round it off on the sides. So Lisa Thompson: But I think, Ruth Thompson: I mean Lisa Thompson: according Ruth Thompson: y Lisa Thompson: to my information, this would be two curves. Ruth Thompson: That Diane Wright: Two? Ruth Thompson: would Lisa Thompson: We Ruth Thompson: be Lisa Thompson: have Ruth Thompson: two Lisa Thompson: one Ruth Thompson: curves. Lisa Thompson: left and one right, and that disables what was it again? Diane Wright: But Lisa Thompson: It's Diane Wright: it Lisa Thompson: some it's something that we cannot do then. Ruth Thompson: One cur you could also make the curve go through of course. But that would make Kimberly Chapman: Well Ruth Thompson: make the top round. Lisa Thompson: Okay, that's not a problem. Kimberly Chapman: For the Lisa Thompson: That's Kimberly Chapman: gap. Lisa Thompson: only for the titanium. We don't have. Diane Wright: But it's that that's for Kimberly Chapman: And we Diane Wright: the Kimberly Chapman: could Diane Wright: comfort. Kimberly Chapman: have one here. Diane Wright: It's it's not for the trendy thing of it. Kimberly Chapman: No, no no no no. What I'm just 'cause you mentioned that more curves the more expensive, so I'm just Diane Wright: Yeah? Kimberly Chapman: taking that Diane Wright: Okay, Kimberly Chapman: into account. Lisa Thompson: Yes. Diane Wright: yeah. Ruth Thompson: But let's see, titanium would give us only one Lisa Thompson: Then Ruth Thompson: curve. Lisa Thompson: w yeah, but we don't Ruth Thompson: So but Lisa Thompson: have Ruth Thompson: we're Lisa Thompson: that. Ruth Thompson: not Lisa Thompson: So Ruth Thompson: d we're Lisa Thompson: we have Ruth Thompson: not Diane Wright: So Ruth Thompson: using Diane Wright: the Ruth Thompson: titanium. Diane Wright: no. Lisa Thompson: We have Kimberly Chapman: Well Lisa Thompson: no. Kimberly Chapman: we picked rubber, right? Ruth Thompson: Right, we did. So Lisa Thompson: But they Diane Wright: We Lisa Thompson: uh Kimberly Chapman: So basically Diane Wright: m Kimberly Chapman: what we can do is m Ruth Thompson: Just doodle Kimberly Chapman: make Ruth Thompson: something Kimberly Chapman: these Diane Wright: form. Ruth Thompson: on the board on Kimberly Chapman: edges Ruth Thompson: the left. Kimberly Chapman: a little bit less sharp. But the problem then is that it will start to resemble m the remote controls as we have them today. We were looking at something fresh, something trendy Ruth Thompson: Well actually, we're setting ourselves apart from by technology alone actually. So that let's see what you're doing. Lisa Thompson: They th these wha are what they call the curves. This side, Ruth Thompson: Oh, Lisa Thompson: this Ruth Thompson: okay. Lisa Thompson: side, this is Kimberly Chapman: Okay. Lisa Thompson: how Ruth Thompson: I don't Lisa Thompson: they count. Ruth Thompson: think like that. Not not really the curves on the on the side of the Lisa Thompson: No Ruth Thompson: remote. Lisa Thompson: no. This is what they uh what they mean. Kimberly Chapman: Okay, Lisa Thompson: Okay, that's not Kimberly Chapman: so Lisa Thompson: really Kimberly Chapman: that's basically Ruth Thompson: Okay, Lisa Thompson: a Ruth Thompson: now Lisa Thompson: good. Kimberly Chapman: silly. Ruth Thompson: I uh of course now I understand why they have more uh like um Why the curves um decrease the the um the size the electronics that can be inside. So Okay. I don't think the outside would be called as a curve really. Diane Wright: Yeah. Lisa Thompson: It's like this. Ruth Thompson: I think it's for all the basic well, looking from the side anyway. Well, if you see what I have to come up with some designs fast anyway. So Diane Wright: But you can Lisa Thompson: Hmm. Diane Wright: make uh if you want to use a fruit in uh in uh Ruth Thompson: Okay. Kimberly Chapman: But isn't Diane Wright: Uh Kimberly Chapman: the f the fruit like a cover thing, because we Ruth Thompson: Well, you shouldn't focus on the mostly Diane Wright: Hey, Ruth Thompson: on the covers, Diane Wright: you Ruth Thompson: because lot of things we came up with, shouldn't be too really too much shouldn't Diane Wright: You Ruth Thompson: be Diane Wright: can Ruth Thompson: too Diane Wright: make Ruth Thompson: focussed Diane Wright: it like Ruth Thompson: on the covers because Lisa Thompson: Hmm. Kimberly Chapman: No, Ruth Thompson: it's kind Diane Wright: Like Kimberly Chapman: but Ruth Thompson: of an Diane Wright: this. Ruth Thompson: idea of our own, but we're not sure if Kimberly Chapman: But Ruth Thompson: we can Kimberly Chapman: if Ruth Thompson: actually Kimberly Chapman: we put that Ruth Thompson: make Kimberly Chapman: directly Ruth Thompson: that. Kimberly Chapman: into the design, we limit ourselves extremely. Because it that's just for one Ruth Thompson: That's Kimberly Chapman: seasonal Ruth Thompson: the one Diane Wright: Well Ruth Thompson: thing I'm also Kimberly Chapman: trend. Ruth Thompson: afraid of with this one because it Diane Wright: Oh. Ruth Thompson: the edges are really um they might Diane Wright: As Ruth Thompson: stick Diane Wright: a Lisa Thompson: Hmm. Diane Wright: example. Ruth Thompson: out on the on the side Diane Wright: But Ruth Thompson: for example. If you have Diane Wright: I Ruth Thompson: a Diane Wright: d Ruth Thompson: basic design, a little m a little smaller on the on the s on the edges, you could put more covers on it, y one one with square or um sharp corners Kimberly Chapman: Okay, Ruth Thompson: if you want to. Kimberly Chapman: so that's Ruth Thompson: So Kimberly Chapman: well, that's Ruth Thompson: M Kimberly Chapman: probabl, Ruth Thompson: just round it off a little, I guess, because Lisa Thompson: Hmm. Ruth Thompson: so we have more options Kimberly Chapman: you'd just Ruth Thompson: I suppose. Kimberly Chapman: like it to go a little bit more like this. Ruth Thompson: I think so because it looks leaner and Kimberly Chapman: Okay. Ruth Thompson: we should just go with that. Anyway, Diane Wright: Hmm. Ruth Thompson: you have all the time in the world to make to make the final design in a minute with him. So So we decided on what what did you guys wanna know again because this is um anyway, I'll fire up my thing. So so Kimberly Chapman: Did Ruth Thompson: we come Kimberly Chapman: you Ruth Thompson: to a decision. Kimberly Chapman: present e everything you wanted to? Lisa Thompson: Yep. Kimberly Chapman: Okay. Lisa Thompson: So I can uh qui Ruth Thompson: Uh Lisa Thompson: oh. I can quickly Ruth Thompson: what Lisa Thompson: make a conclusion Ruth Thompson: the Lisa Thompson: of what we have decided so far. Kimberly Chapman: Uh we still need to decide on a couple of things you Ruth Thompson: Ah. Kimberly Chapman: you needed to know. Ruth Thompson: Yeah. Okay, anyway. Uh energy, we choose regular regular batteries. Diane Wright: Yeah. Ruth Thompson: The chip is advanced because we have the advanced features. The case, it will be the material will be rubber, suppose. Wouldn't the b the design we talked about. Uh user interface, type. Well I think we took all the components separately what we want. Um let's see um supplements. I'm not sure what they mean by that. Anyway, um apparently you guys, you should work together on the final design, both on internal and external design. So Yeah, you should you should probably find out how the product will fall into the market, how uh Diane Wright: Yeah. Ruth Thompson: what's gonna happen with the final design as we have it now. So Diane Wright: Yeah Ruth Thompson: Yeah, of course you've got your specific instruction as usual. So Lisa Thompson: Hmm. Ruth Thompson: Wanna spend some more um I think we're in a pretty much in agreement actually, which Lisa Thompson: Hmm. Ruth Thompson: is good. So Kimberly Chapman: Are we all in agreement about the, well, the primary structure of the of my design? Ruth Thompson: Lef let's Kimberly Chapman: Except for Ruth Thompson: see, Kimberly Chapman: the Ruth Thompson: where Kimberly Chapman: edges. Ruth Thompson: the pen go? Here. Kimberly Chapman: Like the keys there. Ruth Thompson: Yeah uh open your thing again. Let's see what if you can come up with anything new. Um I'll just do a next one. So what would give us your ne your design would be the lights would be on top, right? Uh one Kimberly Chapman: Yeah. Ruth Thompson: on each one on each side. Kimberly Chapman: To create a kind of disco effect when you That was basically Ruth Thompson: Is Kimberly Chapman: what Ruth Thompson: it Kimberly Chapman: w Ruth Thompson: is it the lights for for finding the finding remote or lights that it Kimberly Chapman: Light for Ruth Thompson: that Kimberly Chapman: the finding of the remote. We can also use one light for showing that the signal is being sent. But Ruth Thompson: Yeah, I think that should just be a simple LED or something. Like that that's not that important of course. It just like a matter of a a beep if you pre that you just know that that there's context. So I don't think that's super important. But Hmm. Kimberly Chapman: So we have the teletext we have here, we have the mute. Ruth Thompson: Uh sh Kimberly Chapman: L_C_D_ screen. This Ruth Thompson: Oh. Kimberly Chapman: is the on off button. Diane Wright: And speech w recognition. Are we Kimberly Chapman: Speech recognition, I Diane Wright: We Kimberly Chapman: where did I imagine. I did that pretty Diane Wright: Little Kimberly Chapman: much over Diane Wright: uh Kimberly Chapman: here, Diane Wright: voice Kimberly Chapman: so that you could Diane Wright: uh Kimberly Chapman: use it like this Diane Wright: Record and a uh Kimberly Chapman: and Diane Wright: no. Kimberly Chapman: speak to it. Then you have the uh extra keys for teletext, mute, two buttons which can be pretty much anything or nothing. We can also just not use them. Ruth Thompson: Let's see, I'll just make Kimberly Chapman: Main controls and a key-pad. Diane Wright: Yeah. Ruth Thompson: One light here. And just make it red now. But it could be any colour. So Kimberly Chapman: Will be fine. Ruth Thompson: Okay, whatever. Fine, anyway. What do we have here? M I'll make it um are we gonna use square buttons or round ones actually? Personally I would prefer round ones. Lisa Thompson: Diane Wright too. Kimberly Chapman: Yeah, but that Diane Wright: Form Kimberly Chapman: would this Diane Wright: of fruit. Kimberly Chapman: was just in Diane Wright: It's Kimberly Chapman: the design. Diane Wright: better. Kimberly Chapman: Because if you Lisa Thompson: Hmm. Ruth Thompson: Yeah, Kimberly Chapman: I had Ruth Thompson: for Kimberly Chapman: a square design. So I had Ruth Thompson: Okay. Kimberly Chapman: square buttons. But in that case the round buttons would be Ruth Thompson: Okay, Kimberly Chapman: more appropriate. Ruth Thompson: I assume it for so we take a r take a round power button right here. Whatever. Uh back to black. Uh not too big though. See this would be good. Um let's see. Are these for any extra controls? Kimberly Chapman: Yeah. The Ruth Thompson: Okay. Kimberly Chapman: left one is teletext and the right one is mute. And these two buttons are or not Ruth Thompson: Okay. Kimberly Chapman: necessary or Ruth Thompson: If we go for for round buttons in general, do we want to the menu key in the middle to be round? For example, if you let's see, put it this here. I think we'll go with the triangles that Come on. Kimberly Chapman: Yeah, the triangles would be best indeed. Ruth Thompson: Triangles are good. Yeah, they're a little too big now. But Anyway, okay. So do you want for example a round button in the middle or square one? Kimberly Chapman: I personally think that a round b Lisa Thompson: Hmm. Kimberly Chapman: button looks bit silly, but Ruth Thompson: I'm Diane Wright: Yeah. Ruth Thompson: not sure uh, I just just came up with it. This aligns nicely. So Okay. We'll just take the take the round button, suppose. Uh oh the square button, sorry. Kimberly Chapman: Does everybody agree on that? Diane Wright: Yep. Ruth Thompson: I suppose Lisa Thompson: I would prefer Ruth Thompson: so. Lisa Thompson: round. But doesn't Kimberly Chapman: You Lisa Thompson: matter, Kimberly Chapman: prefer a round? Lisa Thompson: doesn't matter. Kimberly Chapman: Okay. Ruth Thompson: Okay. Lisa Thompson: That's not a big deal, think. Ruth Thompson: So there's our numbers. Think we need an extra button here of course for yeah, like you had for the higher numbers. And you could include a button here for the mute, I suppose. For something else, just to Kimberly Chapman: Yeah, Ruth Thompson: mirror Kimberly Chapman: you can. Ruth Thompson: mirror Kimberly Chapman: But it Ruth Thompson: the effect Kimberly Chapman: but it's not Ruth Thompson: with this. Kimberly Chapman: necessary, becau Ruth Thompson: That's not necessary because it you can take this away, but there it looks like there's a hole there, just to mirror the effect. Okay, so we have Kimberly Chapman: We could Ruth Thompson: a Kimberly Chapman: put Ruth Thompson: few Kimberly Chapman: our logo there. Ruth Thompson: Nah, I think it it would be nice to put the logo here, for example, if you have some buttons here. We could put a logo here because it's very Diane Wright: And what Ruth Thompson: always Diane Wright: about Ruth Thompson: in your field of vision. If you're watching Diane Wright: Oh. Ruth Thompson: it, the L_C_D_ screen, blah blah. Diane Wright: What about a button for your uh favourite channel? Kimberly Chapman: Oh that Ruth Thompson: Well Kimberly Chapman: could Ruth Thompson: we could Kimberly Chapman: be Ruth Thompson: we Kimberly Chapman: that Ruth Thompson: could include Kimberly Chapman: b Ruth Thompson: either Diane Wright: Uh Ruth Thompson: here Diane Wright: yeah. With the extra controls. Ruth Thompson: or here, Diane Wright: Uh Ruth Thompson: for example. But you think Kimberly Chapman: Well Ruth Thompson: here Diane Wright: Uh Kimberly Chapman: now Ruth Thompson: or here? Diane Wright: one Kimberly Chapman: it's getting Diane Wright: one set Kimberly Chapman: a little bit too crowded up Ruth Thompson: I know. Kimberly Chapman: there. So Diane Wright: Yeah, Kimberly Chapman: Is your Diane Wright: up uh Kimberly Chapman: So it can basically be the button down below or one of the four buttons Ruth Thompson: No, we could Kimberly Chapman: up there. Ruth Thompson: put Kimberly Chapman: Because Ruth Thompson: this one as favourite Diane Wright: One of Ruth Thompson: channel Diane Wright: the four. Ruth Thompson: for exam Diane Wright: Uh, it's better than, I think. Ruth Thompson: What Kimberly Chapman: One Ruth Thompson: are these Kimberly Chapman: of Ruth Thompson: for? Kimberly Chapman: the four Ruth Thompson: Okay. Kimberly Chapman: is Diane Wright: It's a favourite Kimberly Chapman: better, I Diane Wright: channel. Kimberly Chapman: suppose. Ruth Thompson: What? Diane Wright: What? Nee, uh one of the four uh Kimberly Chapman: Because it's Diane Wright: It's Kimberly Chapman: a little Diane Wright: better Kimberly Chapman: bit Diane Wright: th Kimberly Chapman: confusing to have twelve buttons down there, because you're only accustomed to eleven, I'd say. Ruth Thompson: You're accustomed to eleven? My uh okay, have it your way. I mean, think this looks rather Kimberly Chapman: Oh, we still need Ruth Thompson: like Kimberly Chapman: an okay Ruth Thompson: like there's something Kimberly Chapman: button. Ruth Thompson: missing for example. I mean why wouldn't you include a 'cause there is a um a piece of electronics under there anyway. So why not Lisa Thompson: Hmm. Ruth Thompson: give it a function. Lisa Thompson: Hmm. Ruth Thompson: Let's say I mean could be anything. Kimberly Chapman: Well, you could Ruth Thompson: But Kimberly Chapman: also Ruth Thompson: th Kimberly Chapman: shift the two buttons to be nicely aligned. Ruth Thompson: No, I don't think because this is a zero. But you want Diane Wright: Yeah. Ruth Thompson: zero to be mis-aligned with the rest. Anyway, so this is the basic design, we wanna have um on and off what are we missing? Kimberly Chapman: Oh, Ruth Thompson: If Kimberly Chapman: we're Ruth Thompson: it Kimberly Chapman: pretty Ruth Thompson: looks Kimberly Chapman: much missing Ruth Thompson: um Kimberly Chapman: an okay button, but we have a button up there Ruth Thompson: Okay, Kimberly Chapman: which is still Ruth Thompson: so Kimberly Chapman: free. Ruth Thompson: we want the Kimberly Chapman: So Ruth Thompson: remote to be the s the side view actually, what I'm gonna draw. So Um probably think you want the curve to be here. So have your finger under here like this, Kimberly Chapman: Yeah, Ruth Thompson: I suppose? Kimberly Chapman: pretty much. Ruth Thompson: Okay. Just gonna be sh Diane Wright: Hmm. Ruth Thompson: Yeah. Want this straight or what? Let's keep it at this. So it would be like this. Do we want something interesting with it or see. Would give us a light here. Maybe it's boring. You want it curved or what? Maybe you want Kimberly Chapman: Well, I think Ruth Thompson: Should Kimberly Chapman: it Ruth Thompson: like Kimberly Chapman: looks Ruth Thompson: this? Kimberly Chapman: better curved. But that's probably uh Ruth Thompson: Will give us Diane Wright: Mm. Ruth Thompson: design Lisa Thompson: Huh. Ruth Thompson: problem because we have Lisa Thompson: It can be Diane Wright: Why? Lisa Thompson: curved. Kimberly Chapman: It can be curved, because Lisa Thompson: Yes. Kimberly Chapman: that yeah, it's a little bit more Ruth Thompson: It can be Kimberly Chapman: trendy Ruth Thompson: curved. Kimberly Chapman: to Ruth Thompson: Okay? Kimberly Chapman: be curved. Ruth Thompson: I think so. That's why I asked you. Okay. So Lisa Thompson: I would curve the whole actually. Kimberly Chapman: Hmm? Lisa Thompson: I would curve the whole. Like um like it hangs over your hand a little bit. Ruth Thompson: Oh crap. Diane Wright: Yeah. Lisa Thompson: Then it will bounce and you don't drop it so easily. Ruth Thompson: Yeah. Oh. Anyway, so you want to a little more like this? Lisa Thompson: Yeah, something like that, Diane Wright: Uh-huh. Lisa Thompson: yes. Ruth Thompson: And just s s Lisa Thompson: Yes, exactly. Ruth Thompson: Stop the curve here or continue it Lisa Thompson: I think continue like that. Diane Wright: Yep. Lisa Thompson: Then there's also Ruth Thompson: So we Lisa Thompson: enough Ruth Thompson: have our L_C_D_ Lisa Thompson: room for the Ruth Thompson: screen. Lisa Thompson: electronics. Ruth Thompson: Let's see. Kimberly Chapman: But Ruth Thompson: In Kimberly Chapman: it pretty much looks like a banana already. Lisa Thompson: Yeah. Kimberly Chapman: Uh Diane Wright: Yeah. Lisa Thompson: Let's make Diane Wright: Perfect. Lisa Thompson: it yellow Ruth Thompson: Bana Lisa Thompson: then. Ruth Thompson: it's Lisa Thompson: Uh Ruth Thompson: banana vision. Kimberly Chapman: It's fruit. Diane Wright: Yeah, Kimberly Chapman: Yeah. Diane Wright: it's perfect. Ruth Thompson: So you have your L_C_D_ screen right here, suppose. Um that would make We use the colours now. But Um Lisa Thompson: Maybe once we can make a special edition in according with Chiquita. Have ourselves sponsored. Ruth Thompson: You got sponsor, now you get a free one with every pack of Chiquita. Lisa Thompson: Uh but it's a good trade-off for them if they can have their logo on it. Ruth Thompson: So it would give the buttons Kimberly Chapman: Or Ruth Thompson: here. Kimberly Chapman: they can design their own cover. Lisa Thompson: Mm-hmm. They might Kimberly Chapman: We Lisa Thompson: wanna Kimberly Chapman: could Ruth Thompson: I Lisa Thompson: be Kimberly Chapman: set Lisa Thompson: the Ruth Thompson: suppose Lisa Thompson: first Kimberly Chapman: up a Lisa Thompson: ones Ruth Thompson: I suppose Lisa Thompson: to Kimberly Chapman: a Lisa Thompson: uh Kimberly Chapman: marketing Ruth Thompson: we can Kimberly Chapman: uh Ruth Thompson: put Diane Wright: Yeah. Ruth Thompson: um Kimberly Chapman: agreement. Ruth Thompson: let's see. Um Lisa Thompson: Oh, perhaps they can use it. Or give a special edition uh Ruth Thompson: Uh I suppose Lisa Thompson: with with Ruth Thompson: we can put the batteries in here because it has the most space, for example. Kimberly Chapman: Won't that be a problem with the L_C_D_ screen? Ruth Thompson: I don't think so because it's the biggest part of the Lisa Thompson: Mm. Ruth Thompson: uh of the uh Kimberly Chapman: Yeah, but the L_C_D_ screen probably needs quite Ruth Thompson: Let's Kimberly Chapman: the chip. Lisa Thompson: I think this is possible. Ruth Thompson: I think it's possible. Kimberly Chapman: Okay. Ruth Thompson: I think it's the best place yeah, you could also Lisa Thompson: Huh. Ruth Thompson: put 'em here. But Lisa Thompson: It doesn't matter. You can actually uh place a chip for the L_C_D_ screen and at the bottom, and and wire it. Doesn't Ruth Thompson: Okay, Lisa Thompson: matter. Kimberly Chapman: Okay, that's not a Diane Wright: Okay. Kimberly Chapman: problem. Ruth Thompson: so Kimberly Chapman: Okay. Ruth Thompson: we put the batteries here. That's fine. Yep. Blah. Kimberly Chapman: I think we get the idea. Ruth Thompson: Um, any other com what what are we missing here? Something a speech recognition. Um where do we want the microphone, for example, to be? On the side Diane Wright: Top? Ruth Thompson: or on the or, Kimberly Chapman: Oh, Ruth Thompson: for Diane Wright: W Ruth Thompson: example, on top? Diane Wright: On Kimberly Chapman: basically Diane Wright: there. Ruth Thompson: Like here. Kimberly Chapman: the idea that I had Lisa Thompson: I think Kimberly Chapman: was it Lisa Thompson: on Kimberly Chapman: to Lisa Thompson: top. Kimberly Chapman: be pretty Ruth Thompson: To be Kimberly Chapman: much in combination with the transmitter. 'Cause you can talk to it like this. Ruth Thompson: Okay, I w thought Diane Wright: No. Ruth Thompson: maybe it's either be here or because it's mi it might interfere with the transmitter, I'm not sure. But 'Cause transmitter would be Kimberly Chapman: Well, Ruth Thompson: here. Kimberly Chapman: the email said it was a quite a small component. So I don't Ruth Thompson: Why uh Kimberly Chapman: see Ruth Thompson: once again, Kimberly Chapman: that. Ruth Thompson: like you said, the component can be somewhere at the bottom while we wire the microphone up there. Anyway. Um yeah, it could be either be here or make a double microphone. Lisa Thompson: Mm-hmm. Ruth Thompson: I wouldn't mind. Lisa Thompson: It is, I believe, also able to talk. Ruth Thompson: It's able to talk to you. Kimberly Chapman: It's Lisa Thompson: I have a Kimberly Chapman: a Lisa Thompson: sample uh sample sensor and the speaker sensor. Ruth Thompson: A speaker sensor. Lisa Thompson: Uh the speaker sensor we already have, but s I don't know what they exactly mean by a sample sensor. Could it talk back? Like uh g uh give confirmation or something. I think it can. I think if you have a a speech Kimberly Chapman: Well, Lisa Thompson: recognition Kimberly Chapman: the Lisa Thompson: component, then Ruth Thompson: I Lisa Thompson: a Ruth Thompson: think Lisa Thompson: s Ruth Thompson: so, it Lisa Thompson: speaking Ruth Thompson: I think it could. Lisa Thompson: component is not that hard to to put in either. Ruth Thompson: Yeah. Diane Wright: Mm-hmm. Ruth Thompson: I mean it could be a all this stuff could be integrated into the L_C_D_ screen, which Lisa Thompson: Hmm. Ruth Thompson: you could navigate with this, I suppose. Navigate Lisa Thompson: Hmm. Ruth Thompson: through everything. Lisa Thompson: Hmm. Ruth Thompson: If Kimberly Chapman: Yeah, Ruth Thompson: you have Kimberly Chapman: but do Ruth Thompson: I Kimberly Chapman: you Ruth Thompson: think Lisa Thompson: But Ruth Thompson: you sh I Kimberly Chapman: actually Ruth Thompson: think the Kimberly Chapman: need Ruth Thompson: advanced Kimberly Chapman: the remote Ruth Thompson: options Kimberly Chapman: talking Ruth Thompson: should be Kimberly Chapman: back? Lisa Thompson: Mm-hmm. Ruth Thompson: I think it sh Lisa Thompson: Yeah. Ruth Thompson: the advanced option could also be integrated in the L_C_D_ screen, of course, because you don't have to have a button for everything. You can just navigate Lisa Thompson: Hmm. Ruth Thompson: through th m your menu that you have here for advanced Lisa Thompson: Hmm. Ruth Thompson: options with this. Think that would be fine. Lisa Thompson: Mm. Ruth Thompson: So that's w m would be making use of the L_C_D_ screen. Lisa Thompson: Hmm. Ruth Thompson: Mm. Lisa Thompson: We already have a sound component, by the way, for the beep. So Ruth Thompson: Beep. Lisa Thompson: beep. Kimberly Chapman: Beep. Diane Wright: Beep. Ruth Thompson: Um, so the flashing of the beep, we have well anything. We could Yeah, but you could put a speaker or something on on Kimberly Chapman: At Ruth Thompson: the side Kimberly Chapman: the back, yeah. Ruth Thompson: for example. Lisa Thompson: Hmm. Kimberly Chapman: Like that. Or at the side. Ruth Thompson: For Kimberly Chapman: Which is. Ruth Thompson: how do you draw that again? Uh whatever, looks stupid. Kimberly Chapman: So what's basically edi the editi idea, sorry, now? Ruth Thompson: I Kimberly Chapman: We Ruth Thompson: think Kimberly Chapman: need Ruth Thompson: this Kimberly Chapman: to stay Ruth Thompson: is Kimberly Chapman: here Ruth Thompson: pretty Kimberly Chapman: and work out that. Lisa Thompson: I'm not sure. Diane Wright: Oh. Lisa Thompson: I Ruth Thompson: I Lisa Thompson: should be Ruth Thompson: think Lisa Thompson: getting Ruth Thompson: you have to stay Lisa Thompson: new information, Ruth Thompson: here Lisa Thompson: I Ruth Thompson: because Lisa Thompson: guess. Ruth Thompson: we are supposed to five minutes to finish the meeting. Oh, like my the info that I got was that you're uh we're gonna work on our own because you're gonna do the market market Diane Wright: Yep. Ruth Thompson: uh analysing I'm supposed to do the little work on the year-end report. So the project report. Diane Wright: Okay. Ruth Thompson: Hmm. Okay, I Kimberly Chapman: Well, Ruth Thompson: think we're Kimberly Chapman: I suppose we'll Ruth Thompson: everybody satisfied with the with the current design we have? Lisa Thompson: Yes. Ruth Thompson: So we're s Diane Wright: Ah, that's fine. Ruth Thompson: supposed to be rubber. Kimberly Chapman: Pretty much. Ruth Thompson: I think well, I think the Diane Wright: Round. Ruth Thompson: the remote control is gonna be black because we we forgot to Diane Wright: Wh Ruth Thompson: talk about I Diane Wright: Why? Ruth Thompson: mean the the company colours are important apparently. So we have Lisa Thompson: But Ruth Thompson: the Lisa Thompson: we Ruth Thompson: logo Lisa Thompson: have Ruth Thompson: up there. Lisa Thompson: any Ruth Thompson: So Lisa Thompson: company Ruth Thompson: are we gonna Lisa Thompson: logo. Ruth Thompson: base Lisa Thompson: We have Ruth Thompson: colour is black? Lisa Thompson: yes, but and yellow. Ruth Thompson: And yeah, of course we could use yellow buttons or yellow navigation or whatever. Lisa Thompson: I would change. I would take a yellow Ruth Thompson: Yellow Lisa Thompson: remote Ruth Thompson: but Lisa Thompson: control. Ruth Thompson: yellow control. It's Lisa Thompson: To have it flashy, to have it it's for young people. Kimberly Chapman: Yeah, but when Ruth Thompson: Okay. Kimberly Chapman: you use covers, Lisa Thompson: Need do be different. Kimberly Chapman: it Diane Wright: It's the colour of Kimberly Chapman: basically Ruth Thompson: Well, Diane Wright: a Ruth Thompson: don't don't stick Kimberly Chapman: easier Ruth Thompson: yourself on the Kimberly Chapman: to Ruth Thompson: covers Kimberly Chapman: have a Ruth Thompson: right Kimberly Chapman: n Ruth Thompson: now. Kimberly Chapman: have a neutral colour on the base. Ruth Thompson: But don't stick yourself on the cover because Lisa Thompson: Hmm. Kimberly Chapman: No, we're designing the remote control now, but taking Lisa Thompson: But we need to Kimberly Chapman: that Lisa Thompson: be different. Kimberly Chapman: into consideration, it's better Ruth Thompson: Nah. Kimberly Chapman: to have a neutral base colour than to have a flashy Ruth Thompson: Yeah, but the info. I think Diane Wright: But, Ruth Thompson: we should Diane Wright: the Ruth Thompson: go Diane Wright: you Ruth Thompson: with uh with the company colour because what specific Lisa Thompson: Mm-hmm. Ruth Thompson: info that I got from the project board. So I Diane Wright: The young Ruth Thompson: think Diane Wright: people Ruth Thompson: we should go Diane Wright: want Ruth Thompson: with that. Diane Wright: uh a trendy uh Ruth Thompson: They want Diane Wright: remote Ruth Thompson: something Diane Wright: control. Ruth Thompson: trendy. Diane Wright: So Lisa Thompson: Huh. It's Diane Wright: colourful Lisa Thompson: either Diane Wright: uh is Lisa Thompson: black cover with yellow buttons or vice versa. And I would say take a yellow cover and black buttons. Kimberly Chapman: It is more trendy. That's Ruth Thompson: I Lisa Thompson: To Ruth Thompson: think Lisa Thompson: be Kimberly Chapman: definitely Ruth Thompson: we Lisa Thompson: different. Ruth Thompson: should th Kimberly Chapman: true. Ruth Thompson: then Diane Wright: Yeah. Ruth Thompson: take it take yellow. Take what you c yellow remote control. So let's see if if we can do the LED onto it. Diane Wright: You have the basic colours, blue, Ruth Thompson: Uh Diane Wright: green, Ruth Thompson: oh. Diane Wright: red. Lisa Thompson: Yeah, we have so many colours already. So Ruth Thompson: You know what? Diane Wright: Oh, it's Ruth Thompson: I'm Diane Wright: okay. Ruth Thompson: not gonna do this. Lisa Thompson: Oh no, that Ruth Thompson: That's up Lisa Thompson: I Ruth Thompson: to Lisa Thompson: think Ruth Thompson: you guys. Lisa Thompson: it's good thing to be different than Diane Wright: Yeah. Ruth Thompson: You doodle Diane Wright: Colourful, Ruth Thompson: a doodle Diane Wright: you Ruth Thompson: us a nice Diane Wright: you Lisa Thompson: Well Ruth Thompson: nice design for for the next Lisa Thompson: Mm-hmm. Ruth Thompson: meeting, we'll be done. I think Diane Wright: Yep. Ruth Thompson: we're all happy now. Lisa Thompson: I still Ruth Thompson: Yeah. Lisa Thompson: don't have Diane Wright: Yeah. Lisa Thompson: my scroll-wheel though. Ruth Thompson: Stupid Lisa Thompson: Uh Kimberly Chapman: Oh, Lisa Thompson: that's Ruth Thompson: scroll-wheel. Kimberly Chapman: where would you Diane Wright: Yeah. Kimberly Chapman: like to put it? Lisa Thompson: Nah, that's true. Ruth Thompson: 'Kay I'm not sure uh I really, I'm no I have no clue what we could use the scroll-wheel for. Kimberly Chapman: Uh you could use it for Lisa Thompson: No, Kimberly Chapman: the channels Lisa Thompson: forget it. Kimberly Chapman: and Diane Wright: Oh yeah. Kimberly Chapman: for the volume. But Lisa Thompson: No Kimberly Chapman: it's Lisa Thompson: look, Diane Wright: You Lisa Thompson: it Kimberly Chapman: has Diane Wright: can Kimberly Chapman: no Ruth Thompson: It takes space, a Kimberly Chapman: real Ruth Thompson: lot of space. Kimberly Chapman: added value. Lisa Thompson: No, Ruth Thompson: And Lisa Thompson: that's Ruth Thompson: it Lisa Thompson: not Ruth Thompson: could Lisa Thompson: my point. It's not because it's functional, but it's just to add to the design, to have it flashy. Diane Wright: Ah Lisa Thompson: It Diane Wright: may Lisa Thompson: it Kimberly Chapman: Yeah, Lisa Thompson: has Kimberly Chapman: but if Lisa Thompson: no Kimberly Chapman: it Lisa Thompson: function, Kimberly Chapman: has Lisa Thompson: I Kimberly Chapman: no function, Lisa Thompson: agree. Ruth Thompson: I'm not Lisa Thompson: I Ruth Thompson: sure Lisa Thompson: agree. Kimberly Chapman: then Ruth Thompson: if it if it has no function, why even put it there? Lisa Thompson: Oh, so Ruth Thompson: And Lisa Thompson: many things Diane Wright: But Lisa Thompson: have Ruth Thompson: th Lisa Thompson: no Ruth Thompson: that's Lisa Thompson: function, Ruth Thompson: just so Diane Wright: uh Ruth Thompson: much Diane Wright: uh Ruth Thompson: things Diane Wright: scroll Lisa Thompson: just Ruth Thompson: that Lisa Thompson: design. Ruth Thompson: make Diane Wright: for Ruth Thompson: it look flash Diane Wright: a channel s selection or volume Lisa Thompson: Mm-hmm. Hmm. Ruth Thompson: I think channel selection would be annoying Diane Wright: Ma Ruth Thompson: because it just c you could scroll past the channel Lisa Thompson: Mm-hmm. Ruth Thompson: or Lisa Thompson: Let's vote Diane Wright: Oh Lisa Thompson: on Diane Wright: okay. Lisa Thompson: it. Then we Ruth Thompson: Hmm. Lisa Thompson: don't have to talk about it any longer. Diane Wright: Oh okay. Lisa Thompson: What do you want? In or out? Kimberly Chapman: Basically out. I Lisa Thompson: Okay. Kimberly Chapman: don't see the Lisa Thompson: You are out of course. You Diane Wright: Out. Lisa Thompson: are okay, clear. Ruth Thompson: No r no scroll-wheel. Okay. Um I don't see anything missing really. Yeah, we should Kimberly Chapman: Do you Ruth Thompson: too Kimberly Chapman: have Ruth Thompson: bad we Kimberly Chapman: all Ruth Thompson: don't Kimberly Chapman: your Ruth Thompson: have the Kimberly Chapman: answers? Ruth Thompson: finance. We could've Lisa Thompson: I have all my answers, yes. Kimberly Chapman: Okay. Ruth Thompson: Yeah, it's I'm not sure if we're if we're gonna get finance anyway because I thought we cou I thought Diane Wright: I Ruth Thompson: it was Diane Wright: have Ruth Thompson: gonna be Diane Wright: to Ruth Thompson: an Diane Wright: call Ruth Thompson: issue Diane Wright: this in a form. Ruth Thompson: at Lisa Thompson: Hmm. Ruth Thompson: the first time we started. I thought it was Lisa Thompson: Hmm. Ruth Thompson: gonna be a cost issue which Lisa Thompson: Hmm. Ruth Thompson: material we were gonna take Lisa Thompson: There is I Ruth Thompson: relative Lisa Thompson: have one Ruth Thompson: to Lisa Thompson: question. Ruth Thompson: the advanced chips or anything. So you just do whatever Lisa Thompson: Hmm. Ruth Thompson: you like and Lisa Thompson: Hmm. Ruth Thompson: uh Lisa Thompson: I only Ruth Thompson: doesn't Lisa Thompson: have one Ruth Thompson: care Lisa Thompson: question Ruth Thompson: what it costs. Lisa Thompson: with the material, but I don't have information that. We've Ruth Thompson: I think Lisa Thompson: chosen Ruth Thompson: we're Lisa Thompson: rubber. Ruth Thompson: rubber is not expensive. Lisa Thompson: No, Ruth Thompson: Definitely. Lisa Thompson: but can we make yellow rubber? I think so Ruth Thompson: You can make Kimberly Chapman: Yes, Ruth Thompson: rubber in any Diane Wright: Ah. Kimberly Chapman: you Ruth Thompson: colour. Kimberly Chapman: can colour Ruth Thompson: In Lisa Thompson: Okay. Ruth Thompson: any Kimberly Chapman: rubber, Ruth Thompson: colour. So Kimberly Chapman: yeah. Ruth Thompson: I mean you can't make yellow titanium, but Diane Wright: But Ruth Thompson: you Diane Wright: we ha Ruth Thompson: can make Diane Wright: w Lisa Thompson: Mm. Ruth Thompson: yellow rubber. Diane Wright: we Lisa Thompson: Okay. Diane Wright: don't uh use our reco uh we uh removable cover? Ruth Thompson: Uh yeah Diane Wright: No, Ruth Thompson: we can Diane Wright: huh? Ruth Thompson: make uh for example it's just something you can click on it like uh that's but it's not som not apparently that's not something we're working with in the Diane Wright: Maybe Ruth Thompson: basic design. Diane Wright: maybe Ruth Thompson: So. Diane Wright: later, maybe Lisa Thompson: Hmm. Diane Wright: we can Ruth Thompson: Yeah, it Diane Wright: uh Ruth Thompson: could be. It can be done, for e

For the conceptual design, Lisa Thompson suggested to use kinetic dynamo as energy source. The decision veered towards the basic battery option with no recharging station. They also decided to go for a single-curved design. The available materials for the casing are plastic, wood, rubber and titanium. Possible interfaces are push buttons, scroll wheels, and LCDs. The inclusion of advanced features, like LCD screen and speech recognition, can only be speculative, because the team have no pricing information. Kimberly Chapman presented two provisional designs, standard and luxury. The latter has an LCD screen at the top. They are both rectangular with a curve grooved in where the finger rests. There are two lights to help find the remote, all the standard buttons and speech recognition. Diane Wright talked about the public's preference for looks over technological innovation; however, they both seem to be more important than ease of use. The current fashion among younger people favours bright colours and fruit and vegetable themes and spongy materials: pertinent exchangeable fronts can express such trends on the remote. Based on Kimberly Chapman's drawing, they designed another version shaped slightly like a banana, and discussed the positions of buttons and all other components.

amisum

train

Christi Friend: Can Krystle Fitzpatrick: Uh Christi Friend: I close this? Krystle Fitzpatrick: we don't have any changes, do we So? Christi Friend: Oh, Krystle Fitzpatrick: no. Christi Friend: okay. Christi Friend: There we go. Okay, here we are again. Detailed design oh, come on. Well Ah s Forgot to insert the minutes, but it's about the same thing we discussed before. Uh Could open that anyway, think. Christi Friend: Other design anyway, we took as we took w we took rubber as as the material last time. We also that you're just busy with it. Took the advanced chip to t implement the advanced features. Well, we discussed the design, no sharp corners, we rounded it off, like you see on the other screen, which is fine. Um we agreed that the colour should be b uh yellow and black. Yellow in the back because it's m trendy, more trendy than black anyway. So then we ca yeah. We agreed that we would implement both the L_C_D_ and speech recognition, but I'll get to that in a moment. 'Cause some changes in the finances have left us implications anyway. So so, Linda Lopez: Hmm. Christi Friend: like I said, we had no insight in finances, no prices, but we have 'em now, and it's bad. Anyway. We are Oh. Prototype presentation, well first you guys built the prototype. So you could could present that. But um let's see what be handy to do. Nee no, you just go ahead and present the w we'll scrap it later because Rachel Wethington: I think it's more or less the as we had. Christi Friend: What? Krystle Fitzpatrick: It's basically Linda Lopez: Hmm? Krystle Fitzpatrick: what we agreed upon, Christi Friend: Oh Krystle Fitzpatrick: but just Christi Friend: that's Krystle Fitzpatrick: a little bit Rachel Wethington: No much Krystle Fitzpatrick: more specified. Rachel Wethington: s Christi Friend: hasn't changed that much, huh? Rachel Wethington: No no no, not at Christi Friend: I Rachel Wethington: all. Christi Friend: didn't expect anyway. You just coloured it. Krystle Fitzpatrick: Uh s Final design. Krystle Fitzpatrick: Basically in what we discussed, cover and buttons will be made of rubber, yellow colour, black components, as you can see right over here. Christi Friend: Mm-hmm. Krystle Fitzpatrick: We Christi Friend: I like the menu. Krystle Fitzpatrick: chose a different type of colour for the menu. A bit darker yellow so that it com really shows in this keypad. Christi Friend: Mm-hmm. Krystle Fitzpatrick: If you black, it's really that good a contrast. So Christi Friend: And I suppose the the the yellow is not printed on the on the rubber. It's it's part of the rubber, I suppose. Krystle Fitzpatrick: Probab Yeah. Christi Friend: I think that's more Krystle Fitzpatrick: That's Christi Friend: I think Krystle Fitzpatrick: the be Christi Friend: that's more durable anyway than Rachel Wethington: Hmm. Christi Friend: printed on to Krystle Fitzpatrick: And it I guess it's more easier to just paint Rachel Wethington: Yeah, of course. Krystle Fitzpatrick: it on the rubber than to uh Linda Lopez: Mm Rachel Wethington: That's Linda Lopez: yeah. Rachel Wethington: uh the integration story again. Linda Lopez: Okay. Krystle Fitzpatrick: So we Christi Friend: Oh Krystle Fitzpatrick: have Christi Friend: yeah. Krystle Fitzpatrick: it's a bit round shaped, that's what we had uh We chose the buttons to be uh teletext, okay button, favourite channel and the mute. Christi Friend: Mm-hmm. Krystle Fitzpatrick: So that's basically what we chose there. Christi Friend: Okay. Krystle Fitzpatrick: If you have anything to add, please interrupt Rachel Wethington: No, Krystle Fitzpatrick: Linda Lopez. Rachel Wethington: uh this is just a description of what we see there. So Christi Friend: Yeah. Linda Lopez: Yeah Krystle Fitzpatrick: Oh. Rachel Wethington: Speaks for itself. Krystle Fitzpatrick: That's pretty much it. Christi Friend: Okay. Now it's my time to ruin everything. Well, not ruin everything, but Krystle Fitzpatrick: Oh Christi Friend: no, Krystle Fitzpatrick: sorry. Christi Friend: nah. Finances, that's what we have here, what you drew. We have battery power, we have advanced chips and the sam the sensor. The sample sensor and uh for speak recognition anyway. So which you see the which is de o one of the most expensive parts. So well, we have sin one curve, a design. Rubber design. And we had a special colour. Suppose yellow is a special colour. So just half a Euro for You have pushbuttons and an L_C_D_ display. You have the total of seventeen Euros in Rachel Wethington: Hmm. Christi Friend: production cost, which is higher than the twelve and a half that we are permitted to use. So, Linda Lopez: Hmm. Christi Friend: easy. What do we scrap. Well Rachel Wethington: I Christi Friend: think Rachel Wethington: d Christi Friend: I had the best solution that I came up with is just to s take out the speech recognition. Rachel Wethington: Yeah. Krystle Fitzpatrick: I'd say that Christi Friend: Because Krystle Fitzpatrick: too. Christi Friend: the L_C_D_ has more support on customer Rachel Wethington: Hmm. Christi Friend: side. There are ninety one percent of uh the people, or something like that. But ninety percent who favour an L_C_D_ display, and only sixty percent that favour speech recognition. I think it's Krystle Fitzpatrick: Uh we don't Christi Friend: also Krystle Fitzpatrick: really Christi Friend: harder Krystle Fitzpatrick: have Linda Lopez: Yeah. Christi Friend: to. Krystle Fitzpatrick: a extra function with the speech sample, which you can't do with a normal Rachel Wethington: Hmm. Krystle Fitzpatrick: remote control, which people already do. So Christi Friend: So I ju I took that out. So and so it's still stuck with thirteen, so I had to take out the special colour I suppose. And, yeah, I didn't see anything else I could take out. Yeah, Linda Lopez: Pushbut Christi Friend: I could take out the push-buttons, but we need those. Rachel Wethington: Huh. Christi Friend: So, Linda Lopez: Special colour, Christi Friend: generally Linda Lopez: yeah. Christi Friend: what I came up with, in order to be cou to to have production cost of twelve and a half Euros, spe scrap speech recognition and the separate covers can account for the if people want it, we'll just then we'll do it in black. We'll just deliver it in black, have the it has all the function that it's supposed to have, and if you want it if you want the custom design, then you can buy the separate covers. You Krystle Fitzpatrick: Well, Christi Friend: make it Krystle Fitzpatrick: I'd Christi Friend: d orange Krystle Fitzpatrick: I tend Christi Friend: or whatever Krystle Fitzpatrick: to Christi Friend: you want. Krystle Fitzpatrick: disagree with you on that, because the trend issue was a big issue when Christi Friend: It Krystle Fitzpatrick: we Christi Friend: was Krystle Fitzpatrick: started Christi Friend: a big Krystle Fitzpatrick: designing Christi Friend: issue, but Krystle Fitzpatrick: this. So can't we just Christi Friend: I'll Krystle Fitzpatrick: basically Christi Friend: just go back. Uh let's Krystle Fitzpatrick: extend Christi Friend: just let's Krystle Fitzpatrick: it Christi Friend: see Krystle Fitzpatrick: to Christi Friend: what Krystle Fitzpatrick: thirteen? Christi Friend: okay, let's just see what we no, we we have to be Linda Lopez: Yeah, Christi Friend: under Linda Lopez: it Christi Friend: twelve and a half. It Linda Lopez: The Christi Friend: it's Linda Lopez: p Christi Friend: not uh Rachel Wethington: Okay, Christi Friend: the project Rachel Wethington: but there's Christi Friend: is a Rachel Wethington: another Christi Friend: no-go Linda Lopez: And Rachel Wethington: problem. Christi Friend: if Linda Lopez: the Christi Friend: we Linda Lopez: p Christi Friend: go over twelve and a half, Krystle Fitzpatrick: Okay. Christi Friend: so. Rachel Wethington: But there's another Linda Lopez: What Rachel Wethington: problem. we take cover, for instance black, then we need button, 'cause black and black doesn't work obviously. Christi Friend: I think you that's what you were ass assigned to do really, to Rachel Wethington: Huh. Christi Friend: to see how b th both those work together. Rachel Wethington: Huh. Yeah. Christi Friend: So I think yeah, it's I think it's y one of the it's a good way to um to help people Rachel Wethington: Hmm. Christi Friend: uh to make to keep the product trendy too. Rachel Wethington: Hmm. Christi Friend: Just keep you just make new covers for the for Rachel Wethington: Right. Christi Friend: it, like we agreed before. Rachel Wethington: I agree. Christi Friend: And everything that's left is is the basic function that uh that we want our product to have. Because the expensive parts are in either the advanced chip. But we need that for the L_C_D_ Krystle Fitzpatrick: Yeah. Christi Friend: display. Rachel Wethington: Mm-hmm. Krystle Fitzpatrick: We do. Christi Friend: Then again, we have the L_C_D_ display, which is also expensive. B yeah, but those go together. And yeah, we could take out the curve. Rachel Wethington: Or say let's Krystle Fitzpatrick: We Rachel Wethington: lose Krystle Fitzpatrick: could take Rachel Wethington: rubber, Krystle Fitzpatrick: out Rachel Wethington: take Krystle Fitzpatrick: a Rachel Wethington: plastic. Krystle Fitzpatrick: curve indeed. Christi Friend: Could we could take out the curve. Is that an option? Rachel Wethington: Yes. Christi Friend: you? Rachel Wethington: Although Linda Lopez: But uh Rachel Wethington: we are Krystle Fitzpatrick: I Rachel Wethington: demolishing Krystle Fitzpatrick: think the colour Rachel Wethington: a Linda Lopez: the Rachel Wethington: little Krystle Fitzpatrick: is Rachel Wethington: bit Krystle Fitzpatrick: more Rachel Wethington: the style. Krystle Fitzpatrick: important than Rachel Wethington: But Krystle Fitzpatrick: the Linda Lopez: and Christi Friend: Yeah. Krystle Fitzpatrick: really the curve, because if you just end up with an entirely black remote Linda Lopez: Yeah. Christi Friend: I think Krystle Fitzpatrick: control Christi Friend: it's it it Linda Lopez: The Christi Friend: does Linda Lopez: people Christi Friend: ruin it, but Rachel Wethington: Yeah. Christi Friend: the fact that I t took that decision or t Took this example actually, not really decision, but the example is because we do offer the um the possibility of adding your own custom covers. So you can change any colour you want. So it's just you deliver a basic remote control with a possibility to change you into whatever you want. Rachel Wethington: Can we then not also uh change the material? We take plastic for the basic cover Christi Friend: You can take Rachel Wethington: and Christi Friend: plastic, but I d it's something that's stuck into my mind is that something that really came forward from the marketing research is that people like the the the the squishy Linda Lopez: Spongy, Christi Friend: feeling of Linda Lopez: yeah. Christi Friend: the spongy feeling of the Rachel Wethington: We can put Linda Lopez: Yeah. Christi Friend: and Rachel Wethington: those Christi Friend: it really Rachel Wethington: to the Christi Friend: makes it Rachel Wethington: to the other covers. Christi Friend: also makes it different from the existing remote controls, Linda Lopez: And Christi Friend: because they're all plastic. Rachel Wethington: That's Christi Friend: So Rachel Wethington: true. Christi Friend: which in in turn Rubber would increase Rachel Wethington: But Christi Friend: durability Rachel Wethington: okay. Christi Friend: because it doesn't break. Rachel Wethington: But what do you then suggest we'd lose? Because we have to lose two things and I Christi Friend: I Rachel Wethington: guess. Christi Friend: al like I said, Linda Lopez: But Christi Friend: I lost the speech recognition Rachel Wethington: Yes. Christi Friend: and I lost the special colour, which would make this Rachel Wethington: Okay, and that's enough? Christi Friend: black a black and grey. Yeah, that's that that that's enough, Krystle Fitzpatrick: So Christi Friend: because Krystle Fitzpatrick: black and grey is okay. Christi Friend: I guess those are the Linda Lopez: But Christi Friend: basic colours. So Rachel Wethington: Hmm. Krystle Fitzpatrick: Which we can Christi Friend: Oh. Krystle Fitzpatrick: fabricate, okay. Linda Lopez: The Christi Friend: I think those Linda Lopez: people Christi Friend: are basic col Linda Lopez: want to pay for for it, so Christi Friend: They want Linda Lopez: why Christi Friend: to Linda Lopez: why uh do we have to keep us uh uh um Christi Friend: To Linda Lopez: on Christi Friend: ensure Linda Lopez: the twelve Christi Friend: the profit. Linda Lopez: and a half? Christi Friend: That that's th that's the order. We're just uh we're the project team and we got our our orders from the pro from Linda Lopez: Yeah. Christi Friend: the boss of our company which say we don't Linda Lopez: But Christi Friend: wanna Linda Lopez: we Christi Friend: spend Linda Lopez: can Christi Friend: more Linda Lopez: take Christi Friend: than Linda Lopez: a risk. Christi Friend: twelve fifty for this. But that's not for our that's not our decision to take. Krystle Fitzpatrick: No, we Christi Friend: We have Krystle Fitzpatrick: basically Christi Friend: a budget Linda Lopez: yeah Christi Friend: of twelve fifty Rachel Wethington: Hmm. Christi Friend: per product. Krystle Fitzpatrick: We Christi Friend: So Krystle Fitzpatrick: need to stick to that. Christi Friend: Stick that. I don't think it's really bad either. I mean if we we have the the backup of or the backup design thing Linda Lopez: I hope the people will like it, but Christi Friend: to have I think they would do. Th I think they do like because yo we you we agree upon that the that the the the cover thing was a nice idea, because p you could have all sort of designs while at the same time just manufacturing one product, Linda Lopez: Yeah. Christi Friend: one basic product which you could turn into any any taste you want. So I think it's the best solution Rachel Wethington: Perhaps Christi Friend: to Rachel Wethington: we should Christi Friend: make Rachel Wethington: make Christi Friend: those Linda Lopez: Yeah. Christi Friend: cu custom Rachel Wethington: m Christi Friend: covers for the design aspect Rachel Wethington: Huh. Christi Friend: and keep the functionality between of within the th the boundaries of the your f uh your Linda Lopez: The first sheet. Christi Friend: budget. So Rachel Wethington: Perhaps we should make clear to our customer that we had to do this to stay under the cost. And that's uh they know that this is an option and that we had to drop the option to stay under the cost, that they know that. Christi Friend: Well I don't think Yeah. Rachel Wethington: Perhaps they Christi Friend: Is it Rachel Wethington: decide Christi Friend: worth Krystle Fitzpatrick: But they Christi Friend: is Rachel Wethington: tha Krystle Fitzpatrick: don't Christi Friend: it is it does it mean anything to the customer? Like, it like, Rachel Wethington: Of course. Christi Friend: we don't Rachel Wethington: Perhaps Christi Friend: care Rachel Wethington: they Christi Friend: we don't Rachel Wethington: uh Christi Friend: care that you had to Rachel Wethington: no, but perhaps they think uh okay, the cover is such a nice idea, uh let's that that then they uh that allow us to make some more costs. We ca we uh we Christi Friend: True, Rachel Wethington: can at least Christi Friend: but Rachel Wethington: tell Christi Friend: we did Rachel Wethington: them Christi Friend: we Rachel Wethington: that Christi Friend: didn't get that. So Rachel Wethington: You don't know Christi Friend: I Rachel Wethington: that. Christi Friend: think it's it should either be a pack, Krystle Fitzpatrick: Well Rachel Wethington: Huh. Christi Friend: maybe we sh that should be sold in in the s in stores with with a standard cover or something. Rachel Wethington: No, I'm not Christi Friend: But Rachel Wethington: uh talking about that cost but the one that g has given us the order to design this. We could at least m uh make it like Christi Friend: They could, Rachel Wethington: this, Christi Friend: but Rachel Wethington: like Christi Friend: uh Rachel Wethington: you said, and then tell them okay, we had to drop this and that, just that you know. It is an still an option, but Christi Friend: It's Rachel Wethington: not Christi Friend: an option, Rachel Wethington: for this Christi Friend: but Rachel Wethington: price. Christi Friend: yeah, it's true. So actually uh it's not that much of an increase, but yeah. Krystle Fitzpatrick: And Christi Friend: We Krystle Fitzpatrick: if Christi Friend: cannot Krystle Fitzpatrick: we Christi Friend: contact them. It's just Rachel Wethington: Exactly, Linda Lopez: Yeah. Christi Friend: the order that Rachel Wethington: but Christi Friend: we got. So that's what we gotta go with. So it's either one fi just just to get it f just to get it through final, it's either turned into plastic, drop the squishy feel, make it make it more Linda Lopez: Yeah. Christi Friend: breakable, Rachel Wethington: Hmm. Christi Friend: um or turn it yellow. So It's uh something we have to decide on. Rachel Wethington: I'd say lose the curve Christi Friend: I say Rachel Wethington: and Christi Friend: lose Rachel Wethington: the colour Christi Friend: the curve. Rachel Wethington: and Christi Friend: Oh that's true, we could lose the c yeah, I forgot that, sorry. Uh the curve. So Krystle Fitzpatrick: So which curve is that ba that's basically Christi Friend: That's just Krystle Fitzpatrick: that Christi Friend: this Krystle Fitzpatrick: curve. Christi Friend: one just d this is the banana curve. Rachel Wethington: Hmm. Linda Lopez: Yeah, Christi Friend: So Linda Lopez: that's Krystle Fitzpatrick: So Christi Friend: this Linda Lopez: better. Krystle Fitzpatrick: we could Christi Friend: would Krystle Fitzpatrick: u Christi Friend: this Krystle Fitzpatrick: still Christi Friend: would Krystle Fitzpatrick: have Christi Friend: be straight. Krystle Fitzpatrick: the comfort. Christi Friend: No, uh no, that would be a curve inside the thing, I guess. No, would ju then it would just be a straight remote. Just like like that. Rachel Wethington: Hmm. Christi Friend: Which would, yeah, turn it into something far more ordinary. we could make Krystle Fitzpatrick: I Christi Friend: it yellow then, but Krystle Fitzpatrick: second that. Christi Friend: You second that, you second that we lose the curve. Krystle Fitzpatrick: No, that it would turn out to be a pretty straight-forward remote control. Christi Friend: Okay, Krystle Fitzpatrick: So that's Linda Lopez: Yeah. Christi Friend: yeah. Krystle Fitzpatrick: not really Linda Lopez: Yeah. Christi Friend: So I think it Krystle Fitzpatrick: that Christi Friend: would be a good idea to keep the curve to separate it from the rest of the remote control Rachel Wethington: Hmm. Christi Friend: world, so to speak. So we keep the curve. So Krystle Fitzpatrick: I would Christi Friend: the only only solution is either to use the l y lose the yellow or lose the rubber. And I'm in favour of keeping the rubber, because it has more Rachel Wethington: Oh. Christi Friend: more advantages Rachel Wethington: I agree. Christi Friend: than the colour yellow Krystle Fitzpatrick: Yeah. Christi Friend: has. Krystle Fitzpatrick: I would Rachel Wethington: No. Krystle Fitzpatrick: say Linda Lopez: Yep. Krystle Fitzpatrick: I would agree with you on the colour, because that's an extra option, an extra service we can deliver for Christi Friend: Mm-hmm. Krystle Fitzpatrick: a little bit of more money. So Christi Friend: Yeah, um I guess Krystle Fitzpatrick: we Christi Friend: people Krystle Fitzpatrick: can always Christi Friend: are Krystle Fitzpatrick: do Christi Friend: willing Krystle Fitzpatrick: that. Christi Friend: to pay for that. So I think we can Linda Lopez: Yeah. Christi Friend: take that Rachel Wethington: Hmm? Christi Friend: option and just with uh with the idea in the back of our head that you can customise your remote control. So Rachel Wethington: Yes. Christi Friend: I think that would still make it a nice product. Okay, we're final on that. So it's too bad we can't make the whole super thing. But anyways we're here. Um Krystle Fitzpatrick: Which Christi Friend: yeah. Krystle Fitzpatrick: is basically what we discussed. Christi Friend: This we discussed just now. That's just now just we could just discuss how the project went. I mean, was kind of Linda Lopez: And I want to Christi Friend: I Linda Lopez: do Christi Friend: sort Linda Lopez: that. Christi Friend: of expected that everything would turn out this way, but because you yeah, everything cannot be for free. We didn't I think it was too bad we didn't have the financial info the last time. Because Krystle Fitzpatrick: Yes, Christi Friend: that Rachel Wethington: Huh. Christi Friend: was I th Krystle Fitzpatrick: we Christi Friend: it was Krystle Fitzpatrick: could Christi Friend: really Krystle Fitzpatrick: have Christi Friend: essential really to ma because we spent uh uh entire stage designing a product of which we had no idea what Rachel Wethington: Hmm. Christi Friend: it would cost. So we just Linda Lopez: Yeah. Christi Friend: put something I think it's really nor not in stroke with reality actually. So Rachel Wethington: Linda Lopez too, I felt a bit blind throughout the project, because Christi Friend: Yeah. Rachel Wethington: in the beginning I had no list of Christi Friend: Yeah, I Rachel Wethington: available Christi Friend: think Linda Lopez: Yeah. Christi Friend: would Rachel Wethington: materials, Christi Friend: have been. Rachel Wethington: and then I d Linda Lopez: But Christi Friend: Materials Rachel Wethington: had not list Christi Friend: would Rachel Wethington: of Christi Friend: be Rachel Wethington: available Christi Friend: ok Rachel Wethington: c finances. Christi Friend: at least Rachel Wethington: So Christi Friend: the last meeting I would have expected had to have that. So I suppose Linda Lopez: Let's um see um Christi Friend: Yeah, let's see if it sells. I mean I suppose this sells, Linda Lopez: Um Christi Friend: because it's very very extended. But Krystle Fitzpatrick: Well I hope it Linda Lopez: Let's Krystle Fitzpatrick: sells. Linda Lopez: Uh Rachel Wethington: Hmm. Christi Friend: I suppose it sells, because it's good. Linda Lopez: Oh. Christi Friend: I mean it's got everything for the for the reasonable price, because we didn't Rachel Wethington: Hmm. Christi Friend: know what it's gonna cost anyway. Linda Lopez: Hmm. Okay, let's eval evaluate uh the product of us, our design. Um I have some uh a method, a requirements and scale of. I uh will pre present uh some statements and we will decided together wha what if it's true or false and Christi Friend: Okay. Linda Lopez: uh then we see uh if the requirements of the user Christi Friend: Have Linda Lopez: are Christi Friend: been Linda Lopez: fulfilled Christi Friend: met, Linda Lopez: or not. Christi Friend: okay. Linda Lopez: And I will uh make a new blank sheet. Christi Friend: Yeah. Linda Lopez: So so the buttons, the look and feel. I thought it was okay, but the advanced uh settings, um screen, audio and channel Krystle Fitzpatrick: Which are basically Christi Friend: They're stuck under menu. Krystle Fitzpatrick: accessible Linda Lopez: We are not Krystle Fitzpatrick: through the menu Christi Friend: For Krystle Fitzpatrick: button. Christi Friend: the menu. Rachel Wethington: Hmm. Christi Friend: I think those are totally met, because Linda Lopez: Oh Christi Friend: we Linda Lopez: the menu button Christi Friend: we really Linda Lopez: is Christi Friend: took Krystle Fitzpatrick: Yeah. Linda Lopez: it. Christi Friend: them for the Linda Lopez: Hi Christi Friend: they Linda Lopez: Oh, okay. Christi Friend: have the feel they want, they have the simplicity they want. Linda Lopez: Then it's all uh Christi Friend: I think it's very uh very well met. Either two Linda Lopez: S Christi Friend: or Rachel Wethington: One. Christi Friend: one Linda Lopez: it's Christi Friend: maybe. Linda Lopez: true. Christi Friend: I think we took that everything they wanted into consideration. Linda Lopez: Yeah. Christi Friend: So it could either be a two or a one. Linda Lopez: So d Oh wait. Christi Friend: One and a half. Linda Lopez: Uh pen. Krystle Fitzpatrick: Which Linda Lopez: The Krystle Fitzpatrick: is not Linda Lopez: p Krystle Fitzpatrick: an option. Linda Lopez: Oh yeah, it's red, Christi Friend: Just Linda Lopez: okay, Christi Friend: create our Linda Lopez: but Christi Friend: own option. Linda Lopez: Look and feel is everybo it's true. Christi Friend: Yeah. Linda Lopez: So Anyone? And the next one uh yeah, when it's Christi Friend: It's Linda Lopez: lost Christi Friend: perfect. Linda Lopez: uh you can find Christi Friend: Even Linda Lopez: it. Christi Friend: for deaf people, Linda Lopez: It's Christi Friend: yeah. Rachel Wethington: Hmm. Christi Friend: It's I don't think it's perfect, but we did everything possible to to Krystle Fitzpatrick: To Christi Friend: get Krystle Fitzpatrick: make Christi Friend: it back. Krystle Fitzpatrick: it that Christi Friend: Because Krystle Fitzpatrick: way, Christi Friend: if Krystle Fitzpatrick: yeah. Christi Friend: it's stuck in you couch, you can see the light. Maybe you can hear it. But Linda Lopez: Yeah. Christi Friend: I mean we tried, so Linda Lopez: And it's Christi Friend: I think it that's that deserves a one. Linda Lopez: and it's yeah. Christi Friend: Definitely. Linda Lopez: To. That's okay then. And the next one. How is that? Uh w we had we don't have an uh Rachel Wethington: Manual. Linda Lopez: manual, yeah. But Rachel Wethington: I Linda Lopez: I think Rachel Wethington: think Linda Lopez: that's Rachel Wethington: the Linda Lopez: a Rachel Wethington: L_C_D_ display Linda Lopez: part of it. But Rachel Wethington: could be a little Christi Friend: I'd Rachel Wethington: bit more Christi Friend: use an Rachel Wethington: difficult Christi Friend: remote control. Rachel Wethington: then a normal remote control, Krystle Fitzpatrick: Mm yeah. Rachel Wethington: but then again, it's for young people. So Linda Lopez: Yeah, an L_C_D_, it tells a lot about uh Rachel Wethington: Yeah, I Krystle Fitzpatrick: And Rachel Wethington: th Krystle Fitzpatrick: it's pretty straight-forward, you have Rachel Wethington: Exactly. Christi Friend: It's Krystle Fitzpatrick: a Christi Friend: pretty straight-forward, Krystle Fitzpatrick: navigation Christi Friend: uh-huh. Rachel Wethington: No, Krystle Fitzpatrick: no Rachel Wethington: that's Krystle Fitzpatrick: keys Rachel Wethington: true. Krystle Fitzpatrick: to navigate through the L_C_D_ Rachel Wethington: I think it won't Krystle Fitzpatrick: menus. Rachel Wethington: be Linda Lopez: Yeah. Rachel Wethington: a big problem. Krystle Fitzpatrick: So Linda Lopez: So it's a one or Krystle Fitzpatrick: One Linda Lopez: a Krystle Fitzpatrick: I Linda Lopez: I Krystle Fitzpatrick: d no, Linda Lopez: don't know. Krystle Fitzpatrick: actu Christi Friend: I think but we didn't Linda Lopez: For Christi Friend: even Linda Lopez: the advanced Christi Friend: there was Linda Lopez: uh Christi Friend: no Linda Lopez: settings. Christi Friend: issue on making a manual actually. We didn't Linda Lopez: No okay, Christi Friend: really Linda Lopez: that Christi Friend: discuss Linda Lopez: uh that's Christi Friend: it, Linda Lopez: true. Christi Friend: but I don't think it takes no, it really does doesn't take time to learn, I think. We took Krystle Fitzpatrick: No, Christi Friend: it Linda Lopez: Oh, Christi Friend: s Krystle Fitzpatrick: it Christi Friend: it's Linda Lopez: so Krystle Fitzpatrick: it Christi Friend: so Linda Lopez: it Krystle Fitzpatrick: is Christi Friend: easy, we Krystle Fitzpatrick: pretty Christi Friend: have so Krystle Fitzpatrick: straight-forward. Christi Friend: little button, everything speaks for itself really. So Rachel Wethington: Ah. Christi Friend: I think Rachel Wethington: Um Christi Friend: that's yeah, we didn't it's Linda Lopez: Takes Christi Friend: either Linda Lopez: no Christi Friend: two Linda Lopez: ti Christi Friend: or one, I guess. Maybe it's a two, because d uh the L_C_D_ is a little is a little new and Rachel Wethington: With Christi Friend: there Rachel Wethington: the Christi Friend: is Rachel Wethington: more Christi Friend: there are some Rachel Wethington: important Christi Friend: option Rachel Wethington: functions Christi Friend: hidden under Linda Lopez: Yeah. Rachel Wethington: on. Christi Friend: the menu button. So I might Krystle Fitzpatrick: Yeah. Christi Friend: make this a two instead of a one, I Krystle Fitzpatrick: Yeah. Christi Friend: guess. Linda Lopez: And the L_C_D_, you have to see it. Christi Friend: So just make that a two. Linda Lopez: Um mm Oh, it's a little bit learning. Okay. Uh yeah it's uh a little bit same. But Rachel Wethington: Mm-hmm. Linda Lopez: it tells you Christi Friend: You Linda Lopez: or Christi Friend: can use the Linda Lopez: not? Christi Friend: L_C_D_ in a good way. I think so. I think it's perfect, the w where it is, what it can do, if it useful. I think Linda Lopez: But wha Christi Friend: so. Linda Lopez: w Rachel Wethington: Mm-hmm. Linda Lopez: oh, yeah. What are we uh displaying on the L_C_D_ screen? Just uh only the channels and or Rachel Wethington: the menus uh Linda Lopez: What Rachel Wethington: Things Linda Lopez: uh? Rachel Wethington: like brightness and uh those kind of things we've put in the menu, because we have no buttons for Krystle Fitzpatrick: Well, Rachel Wethington: those. Krystle Fitzpatrick: basically the menu options indeed. But Linda Lopez: Oh, in the L_C_D_ Christi Friend: No, y Linda Lopez: screen. Christi Friend: I mean Rachel Wethington: Yes. Christi Friend: in the L_C_D_ screen, the small screen. What Linda Lopez: And Christi Friend: does it Linda Lopez: for Christi Friend: display? Linda Lopez: a channel selection, uh or Christi Friend: Well I Linda Lopez: that's Christi Friend: thought it was Linda Lopez: not Christi Friend: I thought it was I thought that people wanted previews on their I'm Linda Lopez: Yeah, Christi Friend: not sure Linda Lopez: I Christi Friend: if Linda Lopez: thought Christi Friend: that even possible, Linda Lopez: I thought Christi Friend: but Linda Lopez: too but yeah. Christi Friend: 'cause it's this requires a quite quite a bit of band-width. I don't think it's possible really. But the Linda Lopez: But Christi Friend: they didn't really define in what should be used for. Linda Lopez: Maybe Krystle Fitzpatrick: No. Linda Lopez: a T_V_ guide or something Christi Friend: But I think in Linda Lopez: in Christi Friend: for Linda Lopez: your Christi Friend: example Linda Lopez: L_C_D_ Christi Friend: like Rachel Wethington: Mm. Linda Lopez: uh Christi Friend: T_V_ guides, I think that's Linda Lopez: Yeah. Christi Friend: that th that you can transmit through it and everything. Just for extra information on your programmes. Linda Lopez: Yeah, it must be clear Christi Friend: But Linda Lopez: then Christi Friend: also Linda Lopez: what Christi Friend: things like Linda Lopez: what Christi Friend: like Linda Lopez: what for Christi Friend: like Linda Lopez: we Christi Friend: menus Linda Lopez: use it. Christi Friend: or p how about preferences of your uh with configuring your remote control for Krystle Fitzpatrick: Yeah. Christi Friend: favourite your favourite channel for example, Linda Lopez: Yeah. Christi Friend: how do you configure that. So that could be done by L_C_D_ display. I think it's good. No, maybe it's not a one because it's we're not using it perfectly. We didn't give it I don't thing over-discussing. Now we gave it enough thought though. Linda Lopez: Yeah. Christi Friend: I think we d should just lower this. Maybe maybe it's a three though. We could've used it more effectively probably. Linda Lopez: Yeah, indeed. So everybody's agree with an uh three on it, it's Rachel Wethington: Yes. Krystle Fitzpatrick: Yeah. Christi Friend: Yeah, we Krystle Fitzpatrick: Two Christi Friend: are using Krystle Fitzpatrick: or Linda Lopez: W Christi Friend: it, but Krystle Fitzpatrick: three. Christi Friend: it's not Linda Lopez: Yeah. Krystle Fitzpatrick: So Christi Friend: it's not poorly used, but it's not efficiently used, I think. We could have ev even lost the selection button and uh done everything via L_C_D_ selection. Linda Lopez: Yeah. Christi Friend: It's now it's just extra to illustrate im Linda Lopez: Yeah, Christi Friend: uh Linda Lopez: I Christi Friend: extra features, but okay. Linda Lopez: A three. Rachel Wethington: Nah, it's not really only an extra. Krystle Fitzpatrick: You Linda Lopez: Ah, Rachel Wethington: No Krystle Fitzpatrick: can Rachel Wethington: menus. Linda Lopez: nothing, Rachel Wethington: Think about Linda Lopez: that's Krystle Fitzpatrick: seven. Linda Lopez: A seven. Uh that's uh Christi Friend: Can you talk Krystle Fitzpatrick: Or Christi Friend: to Krystle Fitzpatrick: we Christi Friend: remote Krystle Fitzpatrick: could Christi Friend: control? Krystle Fitzpatrick: say Christi Friend: Well, Krystle Fitzpatrick: it Christi Friend: it can't talk anymore. Linda Lopez: Yeah. Christi Friend: So we scrap that. Krystle Fitzpatrick: Or we could say neutral, we Christi Friend: Oh yeah Krystle Fitzpatrick: 'cause we scratched the Christi Friend: Just Krystle Fitzpatrick: C Christi Friend: to be a prick, but of course you can talk Linda Lopez: Yeah Christi Friend: to your remote control, it doesn't do Linda Lopez: yeah Christi Friend: anything. But Linda Lopez: yeah Christi Friend: you Linda Lopez: yeah. Christi Friend: c you can talk to Linda Lopez: Not Christi Friend: it. Linda Lopez: with the speech recognition. Uh yeah, all the trends and no colours uh anymore. So Christi Friend: Well, we did take everything into consideration of course. Uh the Linda Lopez: Yeah, Christi Friend: shape i shape Linda Lopez: uh Christi Friend: is i Linda Lopez: um Christi Friend: I think Linda Lopez: only Christi Friend: we Linda Lopez: in the Christi Friend: yeah, Linda Lopez: curves. Christi Friend: I think that's okay. Linda Lopez: But the colours, we don't have special Krystle Fitzpatrick: No, Linda Lopez: colours Krystle Fitzpatrick: we Linda Lopez: on Krystle Fitzpatrick: don't Linda Lopez: it. Krystle Fitzpatrick: have the colour. Christi Friend: Yeah, Krystle Fitzpatrick: So Christi Friend: special Krystle Fitzpatrick: I Christi Friend: co but we took into consideration the fact that it's customisable Linda Lopez: Yeah, but Christi Friend: to the Linda Lopez: we Christi Friend: fashi Krystle Fitzpatrick: Yes, but Linda Lopez: yeah, Krystle Fitzpatrick: the Rachel Wethington: Hmm. Linda Lopez: we don't have Krystle Fitzpatrick: end Linda Lopez: it, Krystle Fitzpatrick: product Linda Lopez: so d Krystle Fitzpatrick: So Christi Friend: We don't have it we Linda Lopez: In Christi Friend: do have Linda Lopez: the end Christi Friend: it, Linda Lopez: product. Christi Friend: it's Rachel Wethington: But Christi Friend: just sold as a package. It does it's not Rachel Wethington: M Christi Friend: part of the basic product. Rachel Wethington: Changing covers is also trend that Christi Friend: It Rachel Wethington: we followed. Christi Friend: that that's what I call trendy. I mean the shape is trendy. The the sh the the functions are trendy. It's just the colours that are not supporting the basic model. Linda Lopez: Now Christi Friend: Because you ha it's just not affordable Linda Lopez: But it's Krystle Fitzpatrick: Maybe Linda Lopez: not a Krystle Fitzpatrick: we Christi Friend: at Linda Lopez: one. Krystle Fitzpatrick: should Christi Friend: the moment. Krystle Fitzpatrick: go with a two then, because it's not perfect, Linda Lopez: Yeah. Krystle Fitzpatrick: because we can't do it initially, but Linda Lopez: Oh. Rachel Wethington: Mm-hmm. Christi Friend: It's possible, Krystle Fitzpatrick: we Christi Friend: but you have to pay extra for the for the possibility of having it in a f a different colour. Linda Lopez: Oh well Oops. Linda Lopez: Oh it's a two, right? Krystle Fitzpatrick: Yeah. Rachel Wethington: Mm-hmm. Linda Lopez: On the last one. Uh that n that's Krystle Fitzpatrick: Overall Christi Friend: Overall Linda Lopez: all. Christi Friend: score. Krystle Fitzpatrick: score. Linda Lopez: Overall. It's um Christi Friend: One two Linda Lopez: ten, Christi Friend: three. sixteen. Linda Lopez: sixteen three uh Christi Friend: Two two point Linda Lopez: two Christi Friend: some Linda Lopez: two Christi Friend: two Linda Lopez: point Christi Friend: point something. Linda Lopez: seven Rachel Wethington: Hmm. Linda Lopez: or something like that. I don't know why. Krystle Fitzpatrick: Ten, sixteen, divided by Rachel Wethington: Six. Linda Lopez: Six. Krystle Fitzpatrick: Is two two third. Christi Friend: Two and two thirds. Linda Lopez: Um So we can say it's it's the product is it's okay. Christi Friend: It's okay, Linda Lopez: Y Christi Friend: but Linda Lopez: not Rachel Wethington: Mm-hmm. Christi Friend: that's yo m mostly Krystle Fitzpatrick: There's Christi Friend: it's it's influenced by the fact that we didn't have enough resources to implement speech recognition. Rachel Wethington: Mm-hmm. Christi Friend: 'Cause yeah, that gives you a seven, which ruins your your average. Linda Lopez: Yeah. Christi Friend: Without that it would be like under it wouldn't yeah, it would be under two. So I think we have Linda Lopez: Woah. Christi Friend: even with this it's reasonable. Krystle Fitzpatrick: Yeah, if we make it into a four, as in neutral, because we didn't implement it, so we can't say that we Linda Lopez: Yeah. Krystle Fitzpatrick: that it's really not well implemented. We come out on a average of two one eighth. Christi Friend: Well I think it's two is okay. Krystle Fitzpatrick: So which is pretty w Rachel Wethington: Mm-hmm. Krystle Fitzpatrick: good. Christi Friend: Yeah, two is Krystle Fitzpatrick: It's Christi Friend: pretty Krystle Fitzpatrick: at Christi Friend: good. Krystle Fitzpatrick: least on the positive side. So Rachel Wethington: Hmm, Christi Friend: Definitely. Krystle Fitzpatrick: We Linda Lopez: Yeah. Rachel Wethington: of Krystle Fitzpatrick: could Rachel Wethington: course. Krystle Fitzpatrick: definitely have done better if we've had more resources, but Christi Friend: Yeah, I think it's Rachel Wethington: Mm-hmm. Christi Friend: probably Linda Lopez: Yeah. Christi Friend: I I do admit that we d did miss a little or didn't sp didn't talk talk enough about the possibility of the L_C_D_ display. We could Linda Lopez: Yeah. Christi Friend: have used it more efficiently, we just didn't think of it that Krystle Fitzpatrick: Yeah. Christi Friend: way. Linda Lopez: Yeah, with. Krystle Fitzpatrick: True. Christi Friend: So like I said, changing Linda Lopez: The scale. Christi Friend: channels, everything hidden in your L_C_D_ display, so you just need the navigation buttons to do everything. Rachel Wethington: But I think for this price, this is it's really a reasonable product. Christi Friend: I Rachel Wethington: It's Christi Friend: think Rachel Wethington: a good Christi Friend: we Rachel Wethington: product. Christi Friend: div I think we did very well, uh ev even Linda Lopez: Yeah. Christi Friend: if you look at this score, we did quite well. Linda Lopez: With Rachel Wethington: Oh. Linda Lopez: an L_C_D_ screen. Christi Friend: It just looking for improvements what what Rachel Wethington: Oh. Christi Friend: you could have improved. Rachel Wethington: Yeah. Christi Friend: So. Rachel Wethington: But if pep people really want speech recognition, then they must be prepared to pu to pay more, because it's Linda Lopez: Yeah, Rachel Wethington: cannot Christi Friend: They sh Rachel Wethington: be Linda Lopez: you Rachel Wethington: done Linda Lopez: can Rachel Wethington: for Linda Lopez: make Christi Friend: they should Rachel Wethington: this. Linda Lopez: 'em another Christi Friend: get kids, Linda Lopez: one. Christi Friend: and just stick 'em in T_V_ and say change Rachel Wethington: Hmm Christi Friend: the channel. Rachel Wethington: yeah. Ah but for this price uh you cannot ask that. Christi Friend: I don' think Rachel Wethington: You Christi Friend: so. Rachel Wethington: cannot Christi Friend: Uh Rachel Wethington: th Christi Friend: it's just Rachel Wethington: think Christi Friend: not Rachel Wethington: of Christi Friend: it Rachel Wethington: that Christi Friend: it's not affordable. Rachel Wethington: No, Christi Friend: Or your Rachel Wethington: it's Christi Friend: sh Rachel Wethington: not. Christi Friend: you should lose the L_C_D_ screen probably, but I think Rachel Wethington: Mm-hmm. Christi Friend: that's I think the L_C_D_ screen is more worth than speech Rachel Wethington: Oh Christi Friend: recognition. Rachel Wethington: It's also more attractive. Christi Friend: Definitely. Okay, that was that. Linda Lopez: Yeah. Yeah. Christi Friend: So that's the final Krystle Fitzpatrick: So Christi Friend: product Krystle Fitzpatrick: did you Christi Friend: without the speakers, I guess. Let's see, what was left in the the Another one. Christi Friend: Hmm. Yeah, we evaluate the product. General project, what's i in For example, I thou I thought we were pretty creative in what we created. We took the whole new approach of making exchangeable cover for example, which I thought was pretty creative, because it was never never ever listed somewhere. Rachel Wethington: Hmm. Linda Lopez: Favourite channel. Christi Friend: Well Anyways. Yeah, leadership is up to you. I mean perhaps I screwed up because I d put a put a speech recognition into it. But that's not for Linda Lopez: Yeah, Christi Friend: Linda Lopez to decide. Linda Lopez: I know. Christi Friend: I think Linda Lopez: Yeah. Christi Friend: we did pretty well as team-work though. Because, yeah Rachel Wethington: Yes. Christi Friend: was very hard to work with one another if you cannot Rachel Wethington: Hmm. Christi Friend: communicate in the meantime, because Rachel Wethington: Hmm. Christi Friend: when Linda Lopez: Yeah, Christi Friend: I got Linda Lopez: you're Christi Friend: the when Linda Lopez: working Christi Friend: I got the Linda Lopez: separate. Christi Friend: input for the financial results, Rachel Wethington: Yeah. Christi Friend: initially of course I wanted to contact you. Say, look, Linda Lopez: Yeah. Christi Friend: this is Rachel Wethington: Huh. Christi Friend: you're doing the wrong thing, you're s you're wasting your time now, because we're implementing Krystle Fitzpatrick: Yeah. Christi Friend: stuff that Linda Lopez: Yeah, Christi Friend: we cannot Rachel Wethington: Hmm. Linda Lopez: yeah Christi Friend: afford. Linda Lopez: yeah. Christi Friend: So Rachel Wethington: Hmm. Christi Friend: it would be better if y if there was more communication between Linda Lopez: Yeah yeah Christi Friend: uh Linda Lopez: yeah. Direct Krystle Fitzpatrick: And we Christi Friend: because Krystle Fitzpatrick: could Christi Friend: that's Krystle Fitzpatrick: share Linda Lopez: uh communication Christi Friend: that's Krystle Fitzpatrick: information Christi Friend: what would w you what Linda Lopez: with Krystle Fitzpatrick: which Christi Friend: you would Krystle Fitzpatrick: we Christi Friend: normally Krystle Fitzpatrick: received. Christi Friend: do, Linda Lopez: yeah. Christi Friend: either call or email someone. So Rachel Wethington: Hmm. Christi Friend: that was too bad con was impossible here anyways. Rachel Wethington: That's the same thing that I had in the beginning. Everybody was using materials that s I didn't have. So Christi Friend: It didn't Linda Lopez: Yeah. Christi Friend: have or didn't knew what they costs Rachel Wethington: Oh. Christi Friend: or whatever. There was just Krystle Fitzpatrick: Yeah. Christi Friend: too little information about what things actually cost and Rachel Wethington: Hmm. Christi Friend: if you could use them. So that was a little unclear I suppose. I think a SMARTboard SMARTboard is pretty cool. I think uh s especially for design issues, Linda Lopez: My handwriting Christi Friend: it's very Linda Lopez: is Christi Friend: easy Linda Lopez: little Christi Friend: just Linda Lopez: bit Christi Friend: to Linda Lopez: yeah. Christi Friend: give your give your thoughts a little Linda Lopez: Yeah. Christi Friend: it's easier to share them. Rachel Wethington: Hmm. Krystle Fitzpatrick: Although for actual design I'd say Christi Friend: It's Krystle Fitzpatrick: the Christi Friend: a little Krystle Fitzpatrick: response Christi Friend: less Krystle Fitzpatrick: time Christi Friend: it the Krystle Fitzpatrick: should Christi Friend: response time Krystle Fitzpatrick: be Christi Friend: is Krystle Fitzpatrick: a Christi Friend: le Krystle Fitzpatrick: little bit Christi Friend: it's Krystle Fitzpatrick: higher, Christi Friend: very bad. Rachel Wethington: Hmm. Krystle Fitzpatrick: because Christi Friend: It's good to visualise everything, but I think the response time should could be a lot better. Krystle Fitzpatrick: The digital Linda Lopez: But Krystle Fitzpatrick: pen Linda Lopez: th Krystle Fitzpatrick: was Linda Lopez: that's Krystle Fitzpatrick: definitely better to draw my Christi Friend: Definitely. Krystle Fitzpatrick: ideas Rachel Wethington: Mm-hmm. Krystle Fitzpatrick: and to Christi Friend: Yeah, Linda Lopez: Yeah, okay. Krystle Fitzpatrick: further Christi Friend: it's Krystle Fitzpatrick: elaborate Christi Friend: true. Krystle Fitzpatrick: on that. So Rachel Wethington: But there's uh also one problem with this I noticed. Uh you have to finish a page before Christi Friend: No, you don't Rachel Wethington: going Christi Friend: have Rachel Wethington: to a Christi Friend: to. Rachel Wethington: n Linda Lopez: No. Christi Friend: No, you don't. I jin Linda Lopez: You Rachel Wethington: Oh. Christi Friend: I Linda Lopez: can Christi Friend: didn't check the finish button. I just you just ditch Linda Lopez: Done Christi Friend: it and Linda Lopez: and Christi Friend: you Linda Lopez: then Christi Friend: can Linda Lopez: it's Christi Friend: copy Linda Lopez: okay. Christi Friend: it or whatever. Rachel Wethington: Okay, I saw that uh Christi Friend: Uh only if you uh check the notes or press done. Then it um then you can then it exports to Word Rachel Wethington: Hmm. Christi Friend: automatically. But it's not necessary to check either one of those two. You Rachel Wethington: Yeah, Christi Friend: can Rachel Wethington: but Christi Friend: just Rachel Wethington: I made Christi Friend: preview Linda Lopez: Oh, Christi Friend: your p you Linda Lopez: okay. Christi Friend: can just preview your page in the in the programme. Rachel Wethington: Okay, Linda Lopez: Okay, Rachel Wethington: but I made three pages Linda Lopez: yeah. Rachel Wethington: and they were not finished. And when the third one was finished, I wanted to download it and then it was not possible anymore, because you have to close all the pinnits uh the pages before going further. Christi Friend: Okay, before starting Linda Lopez: Okay. Christi Friend: a ne a new page. Okay, Rachel Wethington: Exactly. Christi Friend: that could Rachel Wethington: So Christi Friend: be Rachel Wethington: we cannot Christi Friend: b. Rachel Wethington: work on more Linda Lopez: Oh. Rachel Wethington: than one page at same time. That's not possible. Linda Lopez: Hmm. Rachel Wethington: You Christi Friend: Okay. Rachel Wethington: have to finish Krystle Fitzpatrick: Oh can Rachel Wethington: it completely, Krystle Fitzpatrick: you? Rachel Wethington: then Krystle Fitzpatrick: Okay. Rachel Wethington: download it, it's then start a new one. Christi Friend: Yeah, okay. Rachel Wethington: That's not very uh handy, but Christi Friend: That's Rachel Wethington: if you know that, then Christi Friend: Yeah, Rachel Wethington: it's not a Christi Friend: it's Rachel Wethington: problem. Christi Friend: understandable, okay. Any new ideas? Yeah, more communication between between uh that's the thing I noticed, that communication is very um Linda Lopez: Important Christi Friend: very Linda Lopez: to mm Christi Friend: important, because if you get new information, it's essential f for the other team-mates to know that as soon as possible, because you would avoid making doing extra work, because you were doing extra work now uh m working on the on the speech recognition, Linda Lopez: Yeah. Christi Friend: you have limitation both on the technical on the d on the design side. So I think that could have been better. But that's I think it's more of a a setting here that you cannot communicate Rachel Wethington: Hmm. Christi Friend: than uh than somewhere else. So Krystle Fitzpatrick: Yeah, well it could also possibly be well, is it a more real-time information base, so we can all see Christi Friend: Yeah, I think so. And l less Krystle Fitzpatrick: which Christi Friend: p Krystle Fitzpatrick: information Christi Friend: less spam Krystle Fitzpatrick: is available Christi Friend: probably. I'm Krystle Fitzpatrick: to Christi Friend: not Rachel Wethington: Mm-hmm. Krystle Fitzpatrick: one Christi Friend: sure Krystle Fitzpatrick: another. Christi Friend: i I'm not sure you got spammed as well, but I get spammed like every t every two minutes there Rachel Wethington: Ah. Christi Friend: was a there Rachel Wethington: Well Christi Friend: was another email about master classes or something. So Rachel Wethington: Hmm. Christi Friend: which were totally useless actually. I thought I should probably look into them, but they were all useless. So I just Krystle Fitzpatrick: Well, I personally Linda Lopez: Mm Krystle Fitzpatrick: did not have that, but Christi Friend: Oh okay. Krystle Fitzpatrick: That's probably your l description. But I also didn't not really. But still, you had that as well. Rachel Wethington: Huh. Krystle Fitzpatrick: Is that we finished up the design and then we checked the website, and Rachel Wethington: Yeah. Krystle Fitzpatrick: then there Linda Lopez: Yeah, Krystle Fitzpatrick: was Linda Lopez: after Krystle Fitzpatrick: just extra information. Linda Lopez: After five minutes, uh Rachel Wethington: Yeah, Krystle Fitzpatrick: There was a little delay in the Linda Lopez: Yeah. Krystle Fitzpatrick: bit Christi Friend: I didn't have Krystle Fitzpatrick: of a Christi Friend: any Krystle Fitzpatrick: c Christi Friend: uh more information, it's just Krystle Fitzpatrick: crucial Christi Friend: always Krystle Fitzpatrick: delay. Christi Friend: the same here. Rachel Wethington: Mm. Christi Friend: So that's that's kind of a Linda Lopez: Email uh Christi Friend: It would change, but not for Linda Lopez. So I'd I had no extra information to go Rachel Wethington: Hmm. Christi Friend: on that one than what you give Linda Lopez Rachel Wethington: Hmm. Christi Friend: actually. I couldn't do any research myself or Rachel Wethington: Hmm. Christi Friend: I see, that's yeah, w I could have done a little extra work probably, then Linda Lopez: it's Christi Friend: But I was busy enough anyway. So Rachel Wethington: Hmm. Linda Lopez: Yeah. Christi Friend: Any new ideas found? Or is that a 'cause Rachel Wethington: No. Christi Friend: uh yeah, it's well, probably Krystle Fitzpatrick: How much Christi Friend: is. Krystle Fitzpatrick: time do we have for this anyway? Christi Friend: I have no clue. That's like oh,but it Should i if the project is evaluated and it was it was in b within budget, we should celebrate. So Rachel Wethington: Okay, bring out the beer. Krystle Fitzpatrick: Yeah. Champagne. Christi Friend: Uh okay, Linda Lopez: I want one Christi Friend: think that's Linda Lopez: for Christi Friend: about Linda Lopez: my own. Christi Friend: it. Uh I'm not sure what we should still do though uh t let's see what all your tasks were finished, right? Linda Lopez: Yeah. Christi Friend: What you ha Rachel Wethington: I have Christi Friend: from Rachel Wethington: no Christi Friend: your Rachel Wethington: more email. Christi Friend: assistant. So Rachel Wethington: My Christi Friend: let's Rachel Wethington: coach is uh being very silent now. Linda Lopez: Yeah, Christi Friend: Okay, Linda Lopez: my Christi Friend: I Linda Lopez: personal Christi Friend: should Linda Lopez: coach Christi Friend: I think Linda Lopez: i Christi Friend: I sh I still have the the total report to finish up. I think we took very little time now, because Yeah, we're in agreement, everything the design is okay. The one thing we missed though, we don't Linda Lopez: What Christi Friend: have a product name. How about you Rachel Wethington: we Krystle Fitzpatrick: Product Christi Friend: cook a how Rachel Wethington: haven't Krystle Fitzpatrick: name. Rachel Wethington: think Christi Friend: about Rachel Wethington: above Linda Lopez: Yeah, Christi Friend: you Rachel Wethington: about Christi Friend: cook Rachel Wethington: that. Christi Friend: up a product Linda Lopez: name. Christi Friend: name? Rachel Wethington: Huh. It's better than thi I think than a serial number. Sony uh T_R_ something uh Linda Lopez: Or Rachel Wethington: f Christi Friend: Just Linda Lopez: fruit Rachel Wethington: means nothing Linda Lopez: name. Rachel Wethington: to Linda Lopez. Christi Friend: oh, think of a catchy name. Rachel Wethington: Uh Christi Friend: I'll be working on this until the beep until it beeps. So Rachel Wethington: Like fruit names. Linda Lopez: Fruit name or something like that. The Christi Friend: What? Linda Lopez: banana Christi Friend: Fruit? Linda Lopez: remote or something. Christi Friend: You don't want Linda Lopez: I Christi Friend: it to Linda Lopez: don't Christi Friend: resemble Linda Lopez: know. Christi Friend: a banana. Linda Lopez: Yeah, it's the form Krystle Fitzpatrick: The Linda Lopez: of Christi Friend: It's Krystle Fitzpatrick: bana Linda Lopez: it. Christi Friend: not yellow anyway. Krystle Fitzpatrick: 'cause it's not yellow Linda Lopez: Yeah Krystle Fitzpatrick: anymore. Christi Friend: It's not Linda Lopez: oh, Christi Friend: yellow anymore. Linda Lopez: yeah. Christi Friend: It is curved, but Linda Lopez: Uh yeah. Krystle Fitzpatrick: Well, Linda Lopez: Uh Krystle Fitzpatrick: uh I was going for the R_C_ deluxe, but it's not really a catchy name or anything, it's more Christi Friend: No, it's Rachel Wethington: Uh Christi Friend: Hmm. Rachel Wethington: at least it's not something with numbers. Numbers are so meaningless to the Linda Lopez: Yeah. Rachel Wethington: people. I mean. Krystle Fitzpatrick: Something Linda Lopez: That's true. Krystle Fitzpatrick: with our company name, can we do anything with that? Linda Lopez: Reaction, Krystle Fitzpatrick: Maybe there's something Linda Lopez: Real Krystle Fitzpatrick: on Linda Lopez: Reaction. Krystle Fitzpatrick: the website which will help us out. Rachel Wethington: Real Reaction. Krystle Fitzpatrick: The reaction Christi Friend: Real Reaction Krystle Fitzpatrick: deluxe. Christi Friend: future R_C_. Step into the future of of remote controlling your T_V_. Krystle Fitzpatrick: Is that a name or a c Christi Friend: No Krystle Fitzpatrick: campaign? Christi Friend: that's a that's a catchy slogan. Krystle Fitzpatrick: Yeah. Or Christi Friend: Control Krystle Fitzpatrick: the Christi Friend: your remote control. Krystle Fitzpatrick: The real reactor. Rachel Wethington: Real react. Christi Friend: I go for future R_C_ probably. Something like It's Rachel Wethington: The Christi Friend: short Rachel Wethington: Real Reactor, Christi Friend: f Rachel Wethington: I don't find that uh that bad at all. Christi Friend: Real reactor? Rachel Wethington: Yeah. Because Christi Friend: Uh Rachel Wethington: our Christi Friend: that Rachel Wethington: name Christi Friend: that's Rachel Wethington: is Real Reaction. Krystle Fitzpatrick: a an option. Christi Friend: That makes Linda Lopez think of different products than a remote control really. I'm not sure. Real reaction in a real Linda Lopez: Zapping. The Krystle Fitzpatrick: So that's one option. Christi Friend: Real reactor. Christi Friend: Didn't notice. Rachel Wethington: I'm looking for things in the name. Christi Friend: Mm. Rachel Wethington: So that the first three letters are s Krystle Fitzpatrick: Should I Rachel Wethington: the Krystle Fitzpatrick: write Rachel Wethington: same. Krystle Fitzpatrick: the banana Rachel Wethington: R_E_A_ Krystle Fitzpatrick: down Rachel Wethington: R_E_A_. Krystle Fitzpatrick: or Linda Lopez: Yeah, sure. Christi Friend: I take f yeah, Krystle Fitzpatrick: Sure? Christi Friend: take a banana. Linda Lopez: The banana. Christi Friend: Hmm. Linda Lopez: Remote. Banana recei Rachel Wethington: The triple Linda Lopez: R_C_. Rachel Wethington: R_. Real Reaction remotes Linda Lopez: Remote. Rachel Wethington: control. Krystle Fitzpatrick: Well I Rachel Wethington: Triple R_. Linda Lopez: R_ three C_. Krystle Fitzpatrick: Uh do you mean it like Linda Lopez: R_ three C_. Rachel Wethington: yeah. Krystle Fitzpatrick: You mean it like this? Rachel Wethington: Yeah, that. Linda Lopez: Real Reaction Remote Control. R_ three C_. Oh yeah. Christi Friend: No, not like that. It should be it should be longer, because it's not a product name that you f Rachel Wethington: I Christi Friend: print Rachel Wethington: think Christi Friend: on a box. Rachel Wethington: triple R_. Doesn't Christi Friend: Just Rachel Wethington: sound? Christi Friend: write out triple, Linda Lopez: Yeah, triple Christi Friend: like a word Linda Lopez: R_. Christi Friend: triple R_C_, triple Rachel Wethington: Yeah. Christi Friend: stripe Oh. Triple Linda Lopez: Triple Rachel Wethington: Ah. Christi Friend: dash Linda Lopez: R_C_. Christi Friend: R_ dash s s C_. Linda Lopez: The triple R_C_, yeah. Christi Friend: Yeah. Linda Lopez: R_ s R_ three C_. Christi Friend: R_ dash C_. Krystle Fitzpatrick: Dash Rachel Wethington: I Krystle Fitzpatrick: C_? Rachel Wethington: think I like it Christi Friend: Dash. Rachel Wethington: like this more. Christi Friend: Triple R_ or triple R_C_? Krystle Fitzpatrick: Like a Linda Lopez: Triple Krystle Fitzpatrick: C_ right Linda Lopez: R_ dash. Krystle Fitzpatrick: now or a dash in a C_? Christi Friend: How about do both? Sure if it looks stupid. Uh I think that the the R_C_ together takes away the the the image of it's a triple Rachel Wethington: Hmm. Christi Friend: Uh the first the Rachel Wethington: Mm. Christi Friend: first one looks like it's a triple Linda Lopez: That Christi Friend: remote control, but it's only a single remote control. And it's especially on the triple R_ that's important. Linda Lopez: Yeah, Rachel Wethington: I Christi Friend: The Real Rachel Wethington: would Christi Friend: Reaction Linda Lopez: this Christi Friend: Remote. Rachel Wethington: huh. Linda Lopez: yeah. Rachel Wethington: I would lose the C_ and just name it triple Krystle Fitzpatrick: Is it triple Rachel Wethington: R_. Krystle Fitzpatrick: R_C_s? No. Rachel Wethington: It sounds like uh thinking about two Linda Lopez: Triple Rachel Wethington: different Linda Lopez: remote. Rachel Wethington: things and combining it. I would just say triple R_s triple R_ Linda Lopez: Yeah. Christi Friend: Yeah, Krystle Fitzpatrick: Well, Christi Friend: triple Krystle Fitzpatrick: that's another Christi Friend: R_ Krystle Fitzpatrick: option. Christi Friend: yeah, you can Rachel Wethington: That's also short, Linda Lopez: It's okay. Rachel Wethington: catchy. Krystle Fitzpatrick: Okay, Christi Friend: Yeah, triple Krystle Fitzpatrick: so which Christi Friend: R_. Krystle Fitzpatrick: ones are we going to scratch definitely? Linda Lopez: The banana. Rachel Wethington: Banana. Christi Friend: Banana Linda Lopez: Banana. Christi Friend: remote. Krystle Fitzpatrick: I say this one as well. Linda Lopez: Yeah, the deluxe. Christi Friend: I think we're all in agreement about the triple R_. I think Rachel Wethington: Yes. Linda Lopez: The Christi Friend: triple R_ Linda Lopez: r Krystle Fitzpatrick: Triple Christi Friend: is cool. Krystle Fitzpatrick: R_? Linda Lopez: triple R_. Krystle Fitzpatrick: Triple Christi Friend: And it Linda Lopez: Yeah. Christi Friend: looks Krystle Fitzpatrick: R_ Christi Friend: cool Krystle Fitzpatrick: it is. Christi Friend: when you print it in font, looks pretty cool. Rachel Wethington: did you do now? Christi Friend: Just like this just and you just print triple R_, Rachel Wethington: Yeah. Christi Friend: it looks doesn't look bad, it's short, it's okay. Rachel Wethington: Yeah. Christi Friend: So have to write my report now, I guess. Um Um Yeah, so we have everything. We have the product, we have the costs, Rachel Wethington: Yep. Christi Friend: we have Linda Lopez: It can't Christi Friend: the Linda Lopez: work. Christi Friend: possibility Linda Lopez: That will not Christi Friend: of everything. Okay. I think it's adjourned. Retire to my lair and finish the report. That was a short meeting. Rachel Wethington: Mm-hmm. Christi Friend: But efficient though. Rachel Wethington: The boss is always the last one to go home. So Christi Friend: Probably. See. Okay, Linda Lopez: Okay. Christi Friend: goodbye. Rachel Wethington: See you in a minute. Linda Lopez: Damn. I will write that one in a Word uh document. Rachel Wethington: Okay. Christi Friend: Could you guys draw Linda Lopez a picture of the final design to put on the cover of the Krystle Fitzpatrick: Yeah, Christi Friend: report? Krystle Fitzpatrick: sure. Rachel Wethington: Can't we take this one? Linda Lopez: Oh sh Rachel Wethington: Otherwise we have to Linda Lopez: Um Rachel Wethington: do it all over again. Krystle Fitzpatrick: I don't really know whether we can save it as a picture or no. Rachel Wethington: Is it okay if I try? Is that okay with Krystle Fitzpatrick: Sure. Linda Lopez: Yeah, Rachel Wethington: you? Linda Lopez: okay, I will ask you when uh Rachel Wethington: I'll put it Linda Lopez: I Rachel Wethington: back Linda Lopez: need Rachel Wethington: in Linda Lopez: the Rachel Wethington: a minute. Linda Lopez: information. So it's oh. Rachel Wethington: Okay, it has been saving something, but Linda Lopez: Uh Rachel Wethington: where to I don't know. Linda Lopez: Oh. Merge. Rachel Wethington: Oh, can I say exp yes, I can. Linda Lopez: Sucks. Rachel Wethington: Export as J_ PEG. Rachel Wethington: Okay, can I not put this wherever I wants. My document is the wrong one, huh. Linda Lopez: Yeah, but Rachel Wethington: I cannot. Krystle Fitzpatrick: Network Linda Lopez: I don't know. Krystle Fitzpatrick: places. Linda Lopez: Smart no. Ma it's maybe it's not on the network of uh the rest. Rachel Wethington: I don't think so. Linda Lopez: That one is. Rachel Wethington: Document and settings. Krystle Fitzpatrick: I wouldn't pick that one, no. Rachel Wethington: That's a pity. That means that we have to gonna draw it again. Are you gonna do that? Krystle Fitzpatrick: Sure. Rachel Wethington: Okay. Krystle Fitzpatrick: Oh. Rachel Wethington: That Yes. Okay. Okay. Okay. Yes, that's correct. Linda Lopez: Yeah. Okay. Rachel Wethington: Okay. No. Oh, it's export. Linda Lopez: Oh yeah, Rachel Wethington: Okay. Linda Lopez: Can I see scores? Uh, Rachel Wethington: Oh, of course. Sorry. Linda Lopez: one one, two threes, two Okay, then we'll overall, two points. Yes. Krystle Fitzpatrick: I see you later. Linda Lopez: Yeah. Linda Lopez: Mm.

Krystle Fitzpatrick and Rachel Wethington presented a prototype drawing of the remote control design. The rubber case is yellow with black buttons and dark yellow for the menus. There are buttons for teletext, favourite channel, mute and OK. It incorporates both LCD screen and speech recognition. The prototype proved over budget (17 euros). The main contributing factors were the LCD and speech recognition. The latter was taken out, along with the special colour. Everyone agreed that the financial information should not have been given to them at the last moment. After the costing, the original prototype was evaluated on a scale of 1(excellent)-7(very bad). The criteria used were look and feel (1), whether it is easy to find (1), whether it is easy to learn (2), use of LCD (3), speech recognition (7), trendiness (2). Finally, the team evaluated the project process in terms of creativity (satisfactory), leadership and teamwork (happy with it, but they missed communicating in between meetings), and means (SMARTboard could be improved in terms of response time, the digital pens could not be used on more than one page at the same time). Finally, the decided to call their design Triple-R.

amisum

train

Brendan Craig: Is that alright now? Okay. Sorry? Okay, everybody all set to start the meeting? Okay, we've got half an hour for this one Albert Lingerfelt: Could you plug Brendan Craig: um Albert Lingerfelt: Albert Lingerfelt in? Brendan Craig: to uh discuss the um functional design. Albert Lingerfelt: Okay. Thanks. Brendan Craig: All ready to go? Okay. Albert Lingerfelt: Okay. Brendan Craig: Um so hopefully you've all been working away, and I've put the minutes of the last meeting in the project folder. Um so I guess just to to recap on uh what we did last time. Um kind of uh got to each other a little bit and uh got familiar with all the equipment and started to discuss um a bit about the project, you know, cost-wise how much how much money we had to s Brendan Craig: Um just want to tell you that you have three new requirements, um which is the The first one is that um uh the company's decided that teletext is outdated uh because of how popular the internet is. Nobody uses teletext very much anymore, Albert Lingerfelt: 'Kay. Brendan Craig: so we don't really need to consider that in the functionality of the of the remote control. Um they've also suggested that we um we only use the remote control to control the television, not the V_C_R_, D_V_D_ or anything else. I think the worry is that if the project becomes too complex then it'll affect um how long it takes us to get it into into production, the time to market. Albert Lingerfelt: Okay. Brendan Craig: So um, we're just gonna keep it simple and it'll just control the T_V_. And the other thing was that the company want the corporate colour and slogan to be implemented in the new design. Um I'm not entirely sure what the corporate colour is. It might be yellow, because there seems to be a lot of yellow everywhere. Albert Lingerfelt: And the slogan, like the actual written slogan, or just to embody the idea of the slogan? Brendan Craig: Well that's the thing, I'm I'm not sure um uh th because on the the company website, uh what does it say Albert Lingerfelt: 'Bout Brendan Craig: Uh something Albert Lingerfelt: putting the fashion in electronics. Brendan Craig: Yeah, Bruce Harding: Mm yeah. Brendan Craig: I mean do they Is that something they want actually written on it, 'cause it's quite long. Um or yeah, just the idea, but I'm not sure. So that's something we can discuss as well. So those are the three things, just not to worry about teletext, uh only control the T_V_, and um and uh incorporate the uh colour and slogan of the company. Um so is everybody okay with any of that, or do you want Albert Lingerfelt to recap at all? Bruce Harding: Nope, we're all set. Brendan Craig: Right um, time for presentations then. Who would like to go first? Mathew Morse: I'll go first. Albert Lingerfelt: Sure. Brendan Craig: Okay, cool. Mathew Morse: Alright um, I st steal this from the back of your laptop? Brendan Craig: Oh Mathew Morse: Uh Brendan Craig: yeah, of course, yeah. G go on ahead. Mathew Morse: so this is the technical functions design. Um Right to do the um the design I have I've had a look online, I've had a look at the homepage, which has given us um some insp inspiration from previous products. Brendan Craig: Mm-hmm. Mathew Morse: Um I've had a look at the previous products to see what they offer about the design at the end of the meeting. Um unfortunately we're not allowed to talk outside the meeting room, so Albert Lingerfelt: Right. Brendan Craig: Okay. Mathew Morse: Um, having a look at the existing products, I found out that um it tends to come in sort of two extremes, there's either um a very complicated one that's got lots of buttons, lots of colours, very confusing, you don't know what you're doing. Um in that case the the labelling tends to be very bad. Um there's an example I'll show you at the end, um sh show you now. Uh Brendan Craig: Alright. Mathew Morse: here um the button there and there. This one's prog. Sorry. That one's perg and that one's prog, and it doesn't really tell you what it does. Mathew Morse: Um, not sure if you had a a look at the other um control in that example. Um it's a very simple one. It's got only the basic functions mm but um it's the same size as the the Brendan Craig: Oop. Mathew Morse: hard to use one. Uh it looked a bit clunky. They're very big and not very much use for buttons. Um, and it's just very hard to access the advanced functions. There's there's nothing for instance for a slow motion button. Um, my own preferences, I prefer the the clunky one. Um it's very easy to use. Um but unfortunately it does lack the advanced functions which I I quite like having on the controls. Um so I believe the the advanced functions should maybe be hidden in a drawer, or something like tha from the bottom of it. So, now I'd like to ask for your preferences. Um not sure of how long we've got, uh Brendan Craig: Um. Well we can chat away for uh for five minutes or so I think at Albert Lingerfelt: Mm-hmm. Brendan Craig: at most. Just a couple of minutes anyway. Albert Lingerfelt: M yeah, like a lot of a lot of what I've um read and prepared for this meeting fits in really closely with what with what Craig's just gone over. So in part I could I could give you some of my personal preferences but I could also th add some to this which is just about sort of um sort of market research. Brendan Craig: Mm-hmm. Albert Lingerfelt: But anyway, um Brendan Craig: Shall we sh well Albert Lingerfelt: we might Brendan Craig: we'll Albert Lingerfelt: come Brendan Craig: stick Albert Lingerfelt: to that later. Bruce Harding: Which Brendan Craig: to kind Bruce Harding: which Brendan Craig: of Bruce Harding: is Brendan Craig: your Bruce Harding: the clunky Brendan Craig: area Bruce Harding: one, Brendan Craig: for now. Bruce Harding: the one on left Mathew Morse: Um, Bruce Harding: or Mathew Morse: the Bruce Harding: on Mathew Morse: clunky Bruce Harding: the Mathew Morse: one Bruce Harding: right?.. Mathew Morse: is the one on the right. Bruce Harding: Okay. Brendan Craig: Yeah. Albert Lingerfelt: Um clunky in what sense, like um h heavier? Larger? Mathew Morse: Um I think it's supposed to be the same size, but um it's got much fewer buttons. It's, you know, Albert Lingerfelt: I see, so Mathew Morse: it's Albert Lingerfelt: it's more Mathew Morse: very Albert Lingerfelt: just Mathew Morse: spread out Brendan Craig: Looks Mathew Morse: and Albert Lingerfelt: basic. Brendan Craig: kind Mathew Morse: kind Brendan Craig: of Mathew Morse: of Brendan Craig: Yeah. Albert Lingerfelt: Right, okay. Mathew Morse: you know, I get the idea it'd be sort of about this size. Albert Lingerfelt: Yeah. Mathew Morse: got very few buttons on Albert Lingerfelt: Yeah. Mathew Morse: it and Albert Lingerfelt: Sure. Brendan Craig: Well I think it's a valid point. I mean like the one on the left looks quite um quite complicated, and that P_R_T_ p P_R_O_T_ thing is incredibly confusing. Um so I see I see why yo you know you might prefer the simpler design, but yeah you don't want to lose out on, you know, what it does, Albert Lingerfelt: Mm-hmm. Brendan Craig: so maybe you know you know you get a lot of remote controls where you kind of flip the thing open, I think that's a Albert Lingerfelt: Mm-hmm. Brendan Craig: good idea. I Albert Lingerfelt: Mm-hmm. Brendan Craig: think it's a good idea. Albert Lingerfelt: Mm-hmm. Mathew Morse: Um, do we have any functions that um we'd want on it? I mean so far I've got um on and off, Brendan Craig: Mm-hmm. Mathew Morse: um switch the channel up and down, and put the volume up and down. Brendan Craig: Uh-huh. Mathew Morse: Um they're just the the very basics you could use for a T_V_. Brendan Craig: Uh-huh, and then actual numbers for channels as well, yeah. Mathew Morse: Okay. Um, you say that's a h a required one or a requested one? Albert Lingerfelt: Which Mathew Morse: Would you Albert Lingerfelt: was that? Mathew Morse: like um the channels like the the numbers Albert Lingerfelt: Up Mathew Morse: on Albert Lingerfelt: the numbers, Mathew Morse: thing, Albert Lingerfelt: or the up down? Brendan Craig: God, Mathew Morse: um Brendan Craig: I wou I would say that's required, I mean there's no way anybody's gonna buy a remote control these days when if you can't actually individually Albert Lingerfelt: Yeah. Brendan Craig: select channels, I mean would anybody disagree Albert Lingerfelt: Yeah. Brendan Craig: with that? Um, what else, uh So don't need to worry about teletext, don't need to worry about V_C_R_, uh any kind of Albert Lingerfelt: We Brendan Craig: like Albert Lingerfelt: don't? Brendan Craig: display Albert Lingerfelt: No? Brendan Craig: controls at all do you think we need to worry about, you know like Albert Lingerfelt: Yeah. Brendan Craig: brightness and contrast? Albert Lingerfelt: Well I think I think es essentially what we're doing right now is we're categorising. We're saying well we want this to be a product that offers all the Brendan Craig: Mm. Albert Lingerfelt: sort of more tricky features but we want them to be in another area? Is that right? Is that what we're Brendan Craig: Yeah. Mathew Morse: Um, Albert Lingerfelt: we're doing? We're kind Mathew Morse: yeah. Albert Lingerfelt: of like sorting them an Or Mathew Morse: Um Albert Lingerfelt: are we actually eliminating things we just don't want the product to have? Brendan Craig: I think are you are you maybe kind of thinking what we absolutely have to have and what would Mathew Morse: Uh, Brendan Craig: be nice? Mathew Morse: to start with um sort of a bit both, um we need to find out exactly what we have to have Brendan Craig: Mm-hmm. Mathew Morse: um and after that we can add things if they're possible. Brendan Craig: Okay, right. Well, do you wanna maybe just, at this point decide on what we absolutely must have as Albert Lingerfelt: Yeah. Brendan Craig: a p as a function of this. Albert Lingerfelt: Yep. Brendan Craig: Um, so so far, just to recap you've got Mathew Morse: There's um Brendan Craig: volume Mathew Morse: on and off, Brendan Craig: and channel Mathew Morse: um Brendan Craig: control and Mathew Morse: volume and channel, and skip to certain channels with the numbers. Brendan Craig: Right okay. Um Albert Lingerfelt: Well, one one way I would look at this um would be that we a approach the different controls in terms of um like control types, so that for the user it's very clear what they want to do where they Brendan Craig: Mm-hmm Albert Lingerfelt: go. Brendan Craig: yeah. Albert Lingerfelt: Uh and also think maybe a little bit about sorta w w what would just wanna be acc easily accessible. For example Brendan Craig: Oka Albert Lingerfelt: if we had audio controls, those could be something people set up very rarely. Maybe they're un they're they're they're in a little area Brendan Craig: Mm-hmm. Albert Lingerfelt: but covered up um, things like channel and volume um are used all the time, so we just have them right out on top, um very just very sort of self-explanatory. Um so maybe we need to think about having three or more groupings of controls, you know like one which are just the the habitual ones that should be right within your natural grip. And others that are uh also available and then others that are concealed. Something Brendan Craig: Okay. Albert Lingerfelt: like that. Brendan Craig: Uh well, just to to wrap up quickly on this this little section Have I just lost Oh no. Um, uh do you think maybe that's the only kind of uh essential requirements, and then maybe just things that would be nice if it could do would be things like audio set up and display set up and things like that, maybe like a mute button, that sort of thing. Albert Lingerfelt: Yeah. Brendan Craig: Any of you anything to add to that at all? Bruce Harding: No. Brendan Craig: No. Bruce Harding: I'll add it later, I guess the Brendan Craig: Okay, Albert Lingerfelt: Mm-hmm. Bruce Harding: presentation. Brendan Craig: right. Albert Lingerfelt: Yeah. Brendan Craig: Um okay, if we can move on to next presentation then please. Albert Lingerfelt: Sure. Brendan Craig: Um Mathew Morse: Do Brendan Craig: Do Mathew Morse: you Brendan Craig: you wanna Mathew Morse: want to Albert Lingerfelt: Can Mathew Morse: switch places? Albert Lingerfelt: this can this pl reach? Can this plug Bruce Harding: No. Albert Lingerfelt: come across? Brendan Craig: Probably Bruce Harding: No. Brendan Craig: not, actually. Albert Lingerfelt: No. So why don't I just pick up and move Brendan Craig: Yeah. Albert Lingerfelt: then. Here, I'll just Why don't I just Albert Lingerfelt: Mm Mathew Morse: Just just switch them. Albert Lingerfelt: er, can you go up behind Albert Lingerfelt? Kinda This is so This Brendan Craig: bit complicated. It'd Albert Lingerfelt: I'm all in Brendan Craig: be Albert Lingerfelt: a Brendan Craig: nice Albert Lingerfelt: knot Brendan Craig: if everything Albert Lingerfelt: now. Brendan Craig: was wireless, wouldn't it? Albert Lingerfelt: Okay. Brendan Craig: Right. Albert Lingerfelt: Um. So I can I can say already, I dunno whether this is for good or for bad but there'll be a lot of kind of uh redundancy in the in the the issues and the the uh Brendan Craig: Oh, like Albert Lingerfelt: the things. Brendan Craig: overlap between Albert Lingerfelt: Yeah, Brendan Craig: what you said? Albert Lingerfelt: yeah. Which Brendan Craig: that Albert Lingerfelt: is ma not Brendan Craig: that'll happen. Albert Lingerfelt: necessarily a bad thing, but may what I've already started doing is cr I created a slide in in my presentation here so um so that we kind of think well what's the cumulative effect of what we've taken from your ideas and and mine, because certainly I I have a hard time separating separating things completely. Obviously Brendan Craig: Mm hard to know what Albert Lingerfelt: obviously Brendan Craig: where your Albert Lingerfelt: what Brendan Craig: role Albert Lingerfelt: you've just Brendan Craig: ends, Albert Lingerfelt: told Brendan Craig: yeah. Albert Lingerfelt: Albert Lingerfelt what you've just told Albert Lingerfelt impacts a lot on what um like market research mm that that I've been So Brendan Craig: Okay. Albert Lingerfelt: how do I how do I get Bruce Harding: Um Albert Lingerfelt: this Bruce Harding: function Albert Lingerfelt: up? Bruce Harding: F_ eight. Brendan Craig: Uh pr yeah, press Albert Lingerfelt: Okay. Brendan Craig: function and F_ eight, yeah. Albert Lingerfelt: Okay. Alright. So F_ eight? Bruce Harding: Function, the blue button. Next to the control on the left. Albert Lingerfelt: Oh, and F_ Bruce Harding: Yeah. Brendan Craig: Mm. Albert Lingerfelt: eight. Bruce Harding: You Albert Lingerfelt: Okay. Bruce Harding: have to push it together. Albert Lingerfelt: Mm-hmm. Bruce Harding: Yep. Albert Lingerfelt: Okay, I think that that's doing it now. Bruce Harding: Nope. Try that again. Albert Lingerfelt: Uh, again? Mathew Morse: Think maybe the Bruce Harding: Wait. Mathew Morse: the wire in the back might be loose. Albert Lingerfelt: Okay. Brendan Craig: Yeah, you wanna Albert Lingerfelt: Um, Brendan Craig: Oh oh here Bruce Harding: Yep, Brendan Craig: we Albert Lingerfelt: okay Bruce Harding: there Brendan Craig: go. Bruce Harding: we Albert Lingerfelt: great. Bruce Harding: go. Brendan Craig: There you go. Albert Lingerfelt: Okay. Just um Before I bring this up what I'll just say is um what I've what I've done is tried to collect some information so that I can then relay this to to you guys so that it's now becomes a collective thing. And then kind of lead us in the direction of deciding, 'kay what what are our options, what should we decide and do you know what I mean, so. Bruce Harding: Increase Brendan Craig: Um Bruce Harding: that 'cause see the Albert Lingerfelt: Okay. Brendan Craig: Okay. Bruce Harding: That's much better. Brendan Craig: Right. Can you um Bruce Harding: There Brendan Craig: Right, Bruce Harding: you go. Brendan Craig: okay. Albert Lingerfelt: Okay. Alright. That would be Okay. So um does that make sense? So what I basically got is I just looked into some information and sort of th tried to think about how how we could review it and how we could and what kind of decisions we could take away from it and then maybe by the end of just looking at some of these things we can think about what are our priorities. 'Cause certainly there's lots of different information to go through. So um I'm thinking here about uh primarily about customer needs, that we start with the customer, and w you know, what they want and what are issues with with um existing products. Uh to think about trends and also about try and connect that as you see with the company vision which is about fashion in electronics. Um and then, as I say uh w we'd like to prioritise our design features from this and um Bruce Harding: Bouncing on top. Albert Lingerfelt: Dunno. Okay. Brendan Craig: Yeah. Albert Lingerfelt: Um. found here, um a lot of this is new to Albert Lingerfelt, so we'll just read through together. Um, users dislike the look and feel of current remote controls. So they find them ugly. Most people find them ugly. Um the vast majority would spend more money for it to look fancy as well, we'll see later, the vast majority would spend more money for um slightly more intuitive control, such as Brendan Craig: Mm-hmm. Albert Lingerfelt: voice recognition. Okay I'm gonna we'll look at that in a second. Um most people use only a f a very slim portion of all the controls. So I guess what we're looking at here is people want this h technology, they tend to use the most simple controls and overall they find remote controls to be something they don't doesn't really appeal to them. Brendan Craig: Mm-hmm. Albert Lingerfelt: So I think what we're doing is we're trying to take like if for Albert Lingerfelt this is sorta like three different different um inspirations, you know, one is that we want uh something that's high-tech but we want it to seem easy. And in spite of the primitive side of it and the very high-tech side, we want it to just be an appealing piece of equipment in people's hands. Um, frustrations. They get lost a lot, s as it came up in our last meeting. Um, takes time to learn how to use them. This is uh why I mention when Craig was uh showing us some ideas that we actually try and group controls, so d it doesn't just look like a big panel, kinda like when you you look at, you know, a new computer keyboard, or something that is quite explanatory. If you want audio, if you want visual, then you have those. Um and I will admit I don't know what R_S_I_ stands for. Brendan Craig: Repetitive strain injury. Bruce Harding: Is installing a new remote control something that people Albert Lingerfelt: Uh, no, that did not come up at all. Um so here here is another um sort of a a review here of the main things. I also found that most people would uh adults at least would pay more for voice recognition. Now apparently we do have access to all the tech cutting edge technology in remote control. So I dunno if that's possible we might consider getting into it. Um. And and again here as we sort of move m sort of thin start thinking about how we wanna sell and market this, I think a recurring theme here is the company wants it to be wants us to make something that's fashionable and sleek Brendan Craig: Mm-hmm. Albert Lingerfelt: and trendy. Um people uh additionally aren't aren't liking the appearance of their products, so we wanna think about as we take all the sort of the techie features how we can um put that into a unit which is which people like. You know, Brendan Craig: Okay. Albert Lingerfelt: they like the aesthetics and the ergonomics. Brendan Craig: So want something that looks good and is easy to use, Albert Lingerfelt: Yeah. Brendan Craig: big priorities. Albert Lingerfelt: Yeah, Brendan Craig: Okay. Albert Lingerfelt: so you know just c looking at what what Craig um Craig's i uh ideas are s sorta tell Albert Lingerfelt that maybe what we wanna do is try and um separate the different things that we wanna include in this. So if we do say well we want there to be all the technology will we try and make that almost be like optional technology. You know, it's like like I find a lot of T_V_s these days, something really like about 'em is if you wanna just turn 'em on and off you can, but they have little panels where you click Brendan Craig: Mm. Albert Lingerfelt: and there's just like tons of features Brendan Craig: So Albert Lingerfelt: you Brendan Craig: it Albert Lingerfelt: go Brendan Craig: you Albert Lingerfelt: through. Brendan Craig: wanna group all the different kind of Albert Lingerfelt: Yeah. Brendan Craig: types of functions together, you know. That's I think Albert Lingerfelt: Yeah. Brendan Craig: it's a good idea. Albert Lingerfelt: That's s that's sort of the um But I I'm my hope here is that I'm putting out this information so that we can then say okay, well how do we collectively move Brendan Craig: Mm-hmm. Albert Lingerfelt: on with it. Um Brendan Craig: Okay. Albert Lingerfelt: I I haven't brought out one specific marketing idea, although my sense is that what we should try and think about is what are the current trends in materials and shapes and styles, Brendan Craig: Mm-hmm. Albert Lingerfelt: and then use that. But not let that confine us technologically. Brendan Craig: Okay. Albert Lingerfelt: So Brendan Craig: Right. Albert Lingerfelt: Alright? Any um comments on all of that? Brendan Craig: Well, um Albert Lingerfelt: That's Brendan Craig: one Albert Lingerfelt: uh Brendan Craig: of the things that we have to decide on by the end of the meeting is who we're gonna be um who's our our target audience, our target market. Albert Lingerfelt: Yeah. Brendan Craig: Um, so if we want something that that looks good and is easy to use, but has y is fairly powerful product, whatever, who do we really want to aim that at? Albert Lingerfelt: Okay. Brendan Craig: I mean Albert Lingerfelt: Where's the money, maybe. Brendan Craig: Yeah, who wou who would have the money to spend. Albert Lingerfelt: Yeah. Brendan Craig: Well i if Albert Lingerfelt: And who watches Brendan Craig: if like Albert Lingerfelt: T_V_. Brendan Craig: twenty five Euro is our is our selling price Albert Lingerfelt: Mm-hmm. Brendan Craig: then you can imagine, well I don't I'm not really sure how much that will Albert Lingerfelt: Mm. Brendan Craig: retail at. But you want it's somebody who's not gonna just use the remote that comes with their telly, I suppose, Albert Lingerfelt: Mm-hmm. Brendan Craig: they're gonna actually go out and buy one. Albert Lingerfelt: Yeah. Brendan Craig: So, who do you think we're aiming this at? Bruce Harding: Um, I think it'll be the mid range to the high end market, in terms of people. 'Cause twenty five Euros for a remote, how much is that lo locally in pounds? Brendan Craig: It's about sixteen, seventeen pounds, I think. Bruce Harding: Is that too is that a lot of money to buy an extra remote or a replacement Brendan Craig: Yeah, Bruce Harding: remote? Albert Lingerfelt: Mm-hmm. Brendan Craig: okay. Bruce Harding: Right. Um so maybe not the high end range, but maybe middle, middle up-ish. Brendan Craig: Okay. Bruce Harding: Kind of. You know how much? I dunno I guess you pay, Brendan Craig: Okay. Bruce Harding: what, ten ten quid for a remote? Like a simple replacement, Brendan Craig: Yeah. Bruce Harding: right. I mean if you lost your remote and the first thing Brendan Craig: Yeah, Bruce Harding: you just wanna go Albert Lingerfelt: Yeah. Bruce Harding: out and get, Brendan Craig: yeah. Albert Lingerfelt: This Bruce Harding: would you Albert Lingerfelt: this Bruce Harding: how much Albert Lingerfelt: kinda Bruce Harding: would you Albert Lingerfelt: touches Bruce Harding: pay? Albert Lingerfelt: on your comments there, David. These are the age groups which we Bruce Harding: Yeah. Albert Lingerfelt: have information on and these are this is a table of h what people would pay more for a certain feature. Just Brendan Craig: Okay Albert Lingerfelt: gives us a rough idea of where the w the will to spend money on T_V_ equipment is. Brendan Craig: Okay. Albert Lingerfelt: Mostly focused around the twenty five age group. Brendan Craig: Yeah, so do you think we're we're aiming at a fairly young market then? Bruce Harding: Yep. Albert Lingerfelt: Sort of young professional, kind Brendan Craig: Yeah, Albert Lingerfelt: of. Mm-hmm Brendan Craig: okay. Mathew Morse: Um Brendan Craig: Um do you think then uh voice recognition is something we should really seriously consider? What what do you think, Craig? Mathew Morse: Well, did you not say it was the the adults that were going for the the voice recognition? Sort of the Albert Lingerfelt: Uh, Mathew Morse: the older Albert Lingerfelt: yeah, Mathew Morse: group. Albert Lingerfelt: it's the Yep. Mathew Morse: Uh Albert Lingerfelt: It Mathew Morse: f Albert Lingerfelt: does it does fit with the market that we're sort of identifying, Brendan Craig: N yeah. Albert Lingerfelt: in terms of Brendan Craig: I think we are gonna have to narrow it down, to say let's target these Albert Lingerfelt: Okay. Brendan Craig: people and give them what they want and Albert Lingerfelt: Yeah. Brendan Craig: 'cause you know, Albert Lingerfelt: Sure. Brendan Craig: there needs to be some kind of Albert Lingerfelt: Sure. Brendan Craig: selling point to Albert Lingerfelt: Yeah. Brendan Craig: it. So um anybody anything there to add Just kind of young professionals, uh th like if we are going to include speech recognition, it's kind of between fifteen and thirty five seems to be like a really high response to that. Albert Lingerfelt: Mm-hmm. Brendan Craig: So we could say Bruce Harding: I Brendan Craig: that Bruce Harding: I Brendan Craig: was Bruce Harding: think Brendan Craig: our target. Bruce Harding: twenty five to thirty five is is is fair to add that in as Brendan Craig: Yeah. Bruce Harding: a group Albert Lingerfelt: Mm-hmm. Bruce Harding: as well because Albert Lingerfelt: Yeah. Bruce Harding: that's more than half your group of people who are willing to at least try Albert Lingerfelt: Yeah, Bruce Harding: and use your technology. Brendan Craig: Mm-hmm. Albert Lingerfelt: yeah. Brendan Craig: Okay, so fifteen to thirty five, look fairly young. Albert Lingerfelt: Yeah. Bruce Harding: Yeah. Brendan Craig: You know, they have bit of expendable income to spend on this sort of thing. Albert Lingerfelt: Mm-hmm. Bruce Harding: I think perhaps that age group is significant as well because those are people who use the computer, Albert Lingerfelt: Mm-hmm. Bruce Harding: who are familiar with their with computers in in their everyday work. Brendan Craig: Yeah. Albert Lingerfelt: Mm-hmm. Bruce Harding: I think people who are maybe about Albert Lingerfelt: Mm-hmm. Bruce Harding: I wouldn't say thirty five, but people who are about Albert Lingerfelt: Mm-hmm. Bruce Harding: forty-ish and above now Albert Lingerfelt: Mm-hmm. Bruce Harding: would Albert Lingerfelt: But Bruce Harding: not Albert Lingerfelt: yeah. Bruce Harding: be so dependent and reliant on a computer Brendan Craig: Yeah. Bruce Harding: or Albert Lingerfelt: Yeah, Bruce Harding: a mobile Albert Lingerfelt: sure. Bruce Harding: phone or something like that. Brendan Craig: So Albert Lingerfelt: Mm-hmm. Bruce Harding: So these are people who are gadgety, right? People Brendan Craig: Yeah. Bruce Harding: who are u growing up used to, you know in schools and in universities, when you go on to their working lives, Brendan Craig: Yeah. Bruce Harding: people who would Brendan Craig: So Bruce Harding: you Brendan Craig: they'll Bruce Harding: know regular Brendan Craig: not sh not shy Bruce Harding: Yeah. Brendan Craig: away from something Bruce Harding: Yeah. Brendan Craig: quite high-tech. Albert Lingerfelt: Yeah. Brendan Craig: That that's Bruce Harding: Mm. Brendan Craig: that's a good point. Um okay, so um so shall we make the decision uh to include speech recognition Albert Lingerfelt: If we can. Brendan Craig: if we can. Bruce Harding: I I think Mathew Morse: Yeah. Bruce Harding: one thing we should try not to avoid is not to say we have to use speech recognition right now, Albert Lingerfelt: Yeah. Brendan Craig: Okay. Bruce Harding: because Brendan Craig: Why is that? Bruce Harding: um, based on what you've go y everybody's saying, right, you want something simple. You want basic stuff and you want something that's easy to use. Speech recognition might not be the simplest thing Albert Lingerfelt: Right. Bruce Harding: for somebody Brendan Craig: Okay. Bruce Harding: to use. Albert Lingerfelt: Could it be an on off thing? Bruce Harding: Um, Albert Lingerfelt: Like if you want it Brendan Craig: Where you can Bruce Harding: but Brendan Craig: activate Bruce Harding: what Albert Lingerfelt: on Bruce Harding: I'm saying Brendan Craig: it and Bruce Harding: is Brendan Craig: deactivate Bruce Harding: that we're Brendan Craig: it? Albert Lingerfelt: Yeah. Bruce Harding: we're trying to lock ourselves into a s particular kind of technology, Brendan Craig: Yeah. Albert Lingerfelt: Yeah. Bruce Harding: rather than focusing on on exactly what are the features that we're Albert Lingerfelt: Yeah. Bruce Harding: gonna say, Brendan Craig: Okay. Bruce Harding: and then, you know, Albert Lingerfelt: Sure. Bruce Harding: say speech recognition is good for this, speech recognition is not good for this. Albert Lingerfelt: Sure. Bruce Harding: So Brendan Craig: Okay. Bruce Harding: maybe we should I suggest Albert Lingerfelt: Yeah. Bruce Harding: that we think about speech recognition, Albert Lingerfelt: Sure. Bruce Harding: anyway it's a it's something that can be used to fulfil a function, but Brendan Craig: Uh-huh. Bruce Harding: at end of the day we don't look at the technology, but Albert Lingerfelt: Yeah. Bruce Harding: we look at the function first. Brendan Craig: Okay. Albert Lingerfelt: Sure. Yep. Brendan Craig: Uh okay, well do you wanna um give us your presentation Bruce Harding: Okay, sure. Brendan Craig: and then then we can I Albert Lingerfelt: Yep. Brendan Craig: don't know um might have been a good idea to all deliver our presentations and then discuss, Albert Lingerfelt: Yeah, Brendan Craig: but Albert Lingerfelt: it's Brendan Craig: this is Albert Lingerfelt: good Brendan Craig: this Albert Lingerfelt: well Brendan Craig: is Albert Lingerfelt: it's Brendan Craig: how we're Albert Lingerfelt: good to get ideas out while Brendan Craig: Yeah, Albert Lingerfelt: they're fresh in mind. Brendan Craig: exactly, yeah. Albert Lingerfelt: Um Brendan Craig: Oh it's something that's just occurred to Albert Lingerfelt as well is if we make it um speech reco if we incorporate speech recognition, that's appealing to people um maybe with Albert Lingerfelt: Not Brendan Craig: a physical disability as well. Albert Lingerfelt: Yeah. Brendan Craig: Um. Albert Lingerfelt: And not losing. And also it helps in terms of people not losing this, you know they Brendan Craig: Yeah. Albert Lingerfelt: they're saying oh it's I lose it in the couch. Brendan Craig: Yeah. Albert Lingerfelt: like we're kind of what we're b sort of getting in into here is mating different uh design features Brendan Craig: Mm-hmm. Albert Lingerfelt: together that they Mathew Morse: I reckon one problem with speech recognition is um I've actually seen one of them used and uh the technology that was in that one wasn't particularly amazing, so you end up yelling at the control for hours. Brendan Craig: Really? Albert Lingerfelt: Right. Mathew Morse: Channel up. Albert Lingerfelt: Oh really, you've seen one before. Brendan Craig: Do you think maybe we need like Mathew Morse: Um Brendan Craig: further advances in that kind of area until it's worthwhile incorporating Mathew Morse: I think it'd Brendan Craig: it Mathew Morse: probably Brendan Craig: though? Mathew Morse: quite expensive Bruce Harding: Sorry, do Mathew Morse: to Bruce Harding: you mind passing Brendan Craig: Mm. Mathew Morse: put in. Bruce Harding: Albert Lingerfelt my Brendan Craig: Course Bruce Harding: notepad. Brendan Craig: not. Bruce Harding: Thanks. Cool, Brendan Craig: There you go. Bruce Harding: um. Okay. Um. Brendan Craig: Right. Bruce Harding: Well this is just the working design Brendan Craig: Mm-hmm. Bruce Harding: um. Well this is just what how I would go about it. Um I guess I try to define like what we're doing now, try to define what we're trying to get done. Um Albert Lingerfelt: Right. Bruce Harding: I think in a practical way, we kind of know what it is. We've used it, we're familiar with it, but we're we can't n we haven't narrowed down um exactly what the things we're trying to fulfil, like Besides the basics, I think back in the back of our minds we know what the basics are. Has to change channels, has to change volume, but in like specifics, right, which one of the basics are you trying to target. Albert Lingerfelt: Mm-hmm. Bruce Harding: Um are there certain parts of the basics that are more important or less important than the basics? Um and I just the idea is just to get everybody to um I usually have a have have a design that's there as a basic, so, you know, things that to start everything going. But I guess everybody does have some idea, so I don't think um there's a need for that. Um okay this finding things is a little bit confusing, so I'll go into the diagram first. It just explains how the process goes through, Brendan Craig: Mm-hmm. Bruce Harding: from a from the basic technology point of view, the basic steps that you need um in the diagram and in this slide probably works better. Um okay, you need some power source. 'Kay, a battery or something, Brendan Craig: Mm-hmm. Bruce Harding: to keep it going. Um and that power source is important because it ties you down to um how long the device will last. Brendan Craig: Uh-huh. Bruce Harding: Um it ties you down perhaps a bit later on in terms of the technologies um how far you can transmit the signal or the complexity of the functions Albert Lingerfelt: Mm-hmm. Bruce Harding: that you want. Like for example, voice recognition, right. might be constrained because that you might need to power a microphone, you might need to power other things, so that's one perhaps constraint there. Um Th Okay, the basic thing is there's a user interface where people punch a button or talk into it or smile to it or blink their eyes, whatever. Brendan Craig: Hmm. Bruce Harding: You know, and that um picks up an input from a user, um uh a logic a series of logic has to decide what the user is telling the device, and the device has to r you know, based on you push button A_, so I will do something with button A_. So maybe button Albert Lingerfelt: Mm-hmm. Bruce Harding: A_ is the power button, Brendan Craig: Mm-hmm. Bruce Harding: okay. Um and then it needs to be able to send the signal out to the device itself which is the receiver here. Um and I think that's about it in terms of my design um. It's fairly general, um and I guess the purpose of this is also not to restrict you Brendan Craig: Mm-hmm. Bruce Harding: in in the way you're thinking, like um voice recognition, right, um, if it's something which is important then we just add more power rather than having a thing that we don't have enough power. So it's not Brendan Craig: Okay. Bruce Harding: really a constraint in that sense, Albert Lingerfelt: Mm-hmm. Bruce Harding: but I mean these are functionally, you know, the base, Albert Lingerfelt: Mm-hmm. Bruce Harding: what Albert Lingerfelt: Okay. Bruce Harding: the technology has to do. Brendan Craig: Okay. Albert Lingerfelt: Mm-hmm. Bruce Harding: Um so I guess the rest of it I think we should maybe you you wanna go back to what the functions are? I think that's Albert Lingerfelt: 'Kay. Brendan Craig: Uh. Bruce Harding: more relevant to a discussion? Brendan Craig: Well, do Albert Lingerfelt: Sure. Brendan Craig: you wan do you wanna finish up Albert Lingerfelt: Sure. Brendan Craig: your your whole presentation Bruce Harding: Yeah, w I'm done. Brendan Craig: then? Are you are you all done? Bruce Harding: More or less. Yeah. Ps Oh, it's just putting the rest of it into words, but it's essentially Albert Lingerfelt: Yep. Bruce Harding: the same thing. Brendan Craig: Mm. Bruce Harding: Um you have a transmitter, an input Brendan Craig: Okay. Bruce Harding: device, logic chip, you know, stuff Brendan Craig: Okay. Albert Lingerfelt: Right. Bruce Harding: like that. Um Brendan Craig: Right. Albert Lingerfelt: And like on the means Bruce Harding: I guess this would Albert Lingerfelt: b Bruce Harding: be Albert Lingerfelt: Since we're on the topic of the technology, Bruce Harding: Yep. Albert Lingerfelt: uh are there any like what are our options? Alright, what's what i in Is this the only way that we go about it, or are there Bruce Harding: Um, Albert Lingerfelt: other Bruce Harding: these these Albert Lingerfelt: thin Bruce Harding: aren't technology options in that sense. Albert Lingerfelt: Right. Bruce Harding: This is just um Albert Lingerfelt: The basic Bruce Harding: a Albert Lingerfelt: principle Bruce Harding: basic Albert Lingerfelt: of Bruce Harding: principles Brendan Craig: Okay. Bruce Harding: and Albert Lingerfelt: 'Kay. Bruce Harding: basic components that are needed. Albert Lingerfelt: Right. Brendan Craig: Mm-hmm. Bruce Harding: For example, if you needed um if you needed to add uh a voice recognition, right, then your user interface would be split, broken down into more components, Albert Lingerfelt: Okay. Brendan Craig: Mm-hmm. Bruce Harding: right, which you have a microphone, Brendan Craig: Oh. Bruce Harding: the V_R_ Albert Lingerfelt: Okay. Bruce Harding: and stuff like that. Brendan Craig: So this just show how Bruce Harding: Uh Brendan Craig: we're kind of modularising the whole Bruce Harding: Yep. Brendan Craig: thing. Okay. Bruce Harding: Yep. So each component represents one function, Brendan Craig: Mm-hmm. Bruce Harding: but I think the basic functions are the logic, the transmitter, um and the receiver, Albert Lingerfelt: Mm-hmm. Bruce Harding: okay, and the power are things that you won't have to care about. Albert Lingerfelt: Mm-hmm. Brendan Craig: Yeah. Bruce Harding: Um and those are things that based on what your user interface requires then Brendan Craig: Mm-hmm. Bruce Harding: we'll add more functionality to it. Brendan Craig: Okay. Bruce Harding: Um there might be one other consideration which would be that the the transmission between the remote control and the T_V_ for example. Brendan Craig: Okay. Bruce Harding: Okay, Albert Lingerfelt: Okay. Bruce Harding: um are we gonna restrict ourselves to using the traditional technologies of infra-red Brendan Craig: Okay. Bruce Harding: thing? Because that's something you need to actually be physically be pointing to. Brendan Craig: Okay. Albert Lingerfelt: Right. Bruce Harding: Right. Brendan Craig: Well well a worry that was was expressed in the new requirements was that if we made this too complex it would e it would effect um how long how long it took us to get this to market, so I th suspect it might be a good idea just to restrict our kind of our creative influence on this on the user interface and not worry so much about uh how we transmit it Bruce Harding: Yep. Brendan Craig: um because I mean it it's tried and tested intra-red, so Bruce Harding: There might Brendan Craig: we Bruce Harding: be Brendan Craig: could Bruce Harding: one Brendan Craig: stay with tha Bruce Harding: other problem with the transmission, um in particular right now, since we're talking about voice recognition. Um if somebody's gonna h talk to the device, you ideally Brendan Craig: Mm-hmm Bruce Harding: want them to hold it to them. Brendan Craig: Oh, Bruce Harding: I it Albert Lingerfelt: Right. Brendan Craig: yeah. Bruce Harding: you may not require that, but Albert Lingerfelt: Right. Bruce Harding: you know, um it's it's it's something very natural, I guess, Brendan Craig: Yeah, Bruce Harding: you know, to Brendan Craig: mm-hmm. Bruce Harding: hold it, to signal to the user, and push a button maybe to start s talking Brendan Craig: Okay. Bruce Harding: about it. Then you need to send the signal out, so Brendan Craig: Mm. Bruce Harding: because if you're using infra-red, the line of sight Brendan Craig: Mm. Bruce Harding: um say the T_V_'s at that chair, and I'm standing in front of here and the transmitter is here, Brendan Craig: Yeah. Bruce Harding: it blocks it. Brendan Craig: Okay. Bruce Harding: So in that sense, there's not really a restriction but it's something which Albert Lingerfelt: Right. Bruce Harding: you may have to think about later on in the process. Albert Lingerfelt: Okay. Bruce Harding: Not so much Brendan Craig: Okay. Bruce Harding: further Albert Lingerfelt: And Bruce Harding: down. Albert Lingerfelt: um just a clarification before we finish this. Uh does c is our controller is it have the option of being um on a standard uh frequency as all of the other equipment, so that the one controller can control Bruce Harding: There's there's not much specific Albert Lingerfelt: several pieces of Bruce Harding: specific Albert Lingerfelt: equipment? Bruce Harding: information, Brendan Craig: W Bruce Harding: but I think that um one indication of infra-red mean that you're just targeting traditional devices. Brendan Craig: Yeah. Albert Lingerfelt: Okay. Bruce Harding: Because Brendan Craig: W Bruce Harding: infra-red is something which everybody has. Brendan Craig: Well well we've um In the new requirement spec they said just to focus Albert Lingerfelt: Just Brendan Craig: on Albert Lingerfelt: to Brendan Craig: the T_V_, Albert Lingerfelt: T_V_, okay. Brendan Craig: so that's what we should do for now I think. Albert Lingerfelt: Okay. Brendan Craig: Something I was wondering about was the power. Um, is it worth considering like having like a charging unit as opposed to just regular batteries? I mean is that something we really want to go into, do you think, or should we Bruce Harding: There's Brendan Craig: just consider Bruce Harding: a there's Brendan Craig: running Bruce Harding: Okay, Brendan Craig: on Bruce Harding: from Brendan Craig: regular Bruce Harding: from Brendan Craig: batteries? Bruce Harding: a from a component point of view there's added complexity, Brendan Craig: Uh-huh. Bruce Harding: and you add cost to it, Brendan Craig: Uh-huh. Bruce Harding: um and then there's probably the fact that you need another physical component. You need a docking cradle, for Albert Lingerfelt: Mm-hmm. Bruce Harding: example, Brendan Craig: Yeah. Bruce Harding: for you to Albert Lingerfelt: Mm-hmm. Bruce Harding: put it in to charge. Brendan Craig: Okay. Bruce Harding: Or you need to get the user to plug it in. Um Brendan Craig: Okay, so Bruce Harding: and most users are very f use already used to the idea of buying batteries and putting it into Brendan Craig: Yeah. Bruce Harding: the controller. But unless the controller's gonna consume a lot of batteries, like he's gonna run through like Brendan Craig: Yeah. Bruce Harding: twenty batteries a month, then I don't think rechargeable is something we should you know, we Albert Lingerfelt: Yeah. Brendan Craig: Okay, Bruce Harding: really Brendan Craig: so Bruce Harding: need Brendan Craig: just Bruce Harding: to Brendan Craig: stick to to regular Bruce Harding: care about. Um. Brendan Craig: Okay. Um, right. So basically the um I'm just gonna just recap uh what I said at the start, was that um the the whole point of this meeting was to f absolutely finalise who we're gonna aim this at, and Albert Lingerfelt: Okay. Brendan Craig: what exactly the product's gonna do. Albert Lingerfelt: Okay. Brendan Craig: So um just to recap on Are we all happy about the idea of um aiming the product at um the fifteen to thirty five bracket? Albert Lingerfelt: Yeah, Brendan Craig: Um Albert Lingerfelt: that's Brendan Craig: and Albert Lingerfelt: good. Brendan Craig: also the funct the the actual functions of what it's gonna do. Do you wanna recap on that, Craig? Mathew Morse: Um. I think we just say that it was gonna be the the most basic stuff possible. Um on off, up and down channels, up and down volume and uh skip to a channel. Brendan Craig: Okay, Mathew Morse: Ta. Albert Lingerfelt: And Brendan Craig: right. Albert Lingerfelt: is it going to include any of the uh the more advanced features, or are we gonna eliminate those? Mathew Morse: Um I think we include mute, but apart from that um I think we just we'll go for the simpleness. Albert Lingerfelt: Okay. Brendan Craig: Okay. Bruce Harding: Okay, Albert Lingerfelt: R Bruce Harding: I Albert Lingerfelt: is Bruce Harding: think Albert Lingerfelt: it is it is it s is it not an option still that we include some things just as a sort of under like sort of under a door Brendan Craig: Yeah, Mathew Morse: Yeah. Brendan Craig: it's Albert Lingerfelt: or Brendan Craig: as Albert Lingerfelt: some Brendan Craig: optional functions. Albert Lingerfelt: 'Cause what what I'm I'd be a bit worried about is if someone was h had previously developed habits of expecting to control surround sound or this and that with their controller and then and then they, you know, w they get ours and w it's doesn't have that. I dunno Brendan Craig: Okay. Albert Lingerfelt: if that'd be a problem. Bruce Harding: Another thing that you were saying about categorising the controls? Brendan Craig: Mm-hmm. Bruce Harding: Um maybe I could suggest we we break them down into three simple categories. Albert Lingerfelt: Yeah. Okay. Bruce Harding: One would be audio controls, Brendan Craig: Mm-hmm. Bruce Harding: one would be video controls, Albert Lingerfelt: Okay. Bruce Harding: and the other one would be a device. Um this may not map very well to advanced functionality especially, but I think that um from a manufacturer's point of view, Albert Lingerfelt: Yeah. Bruce Harding: from a person designing the device, but I think from a point of view of a person using the device, you know a T_V_ is something they see and something they hear, Brendan Craig: Mm-hmm. Bruce Harding: um it's something they do other things to like turn it on and turn it off. Brendan Craig: Yeah. Bruce Harding: I mean like Albert Lingerfelt: Right. Bruce Harding: so what we could have is like three buckets, right, where we could throw things into, like if we want this feature, let's throw it into there, Albert Lingerfelt: Yeah. Bruce Harding: and then from there decide whether it's basic, or it's non-basic. Albert Lingerfelt: 'Kay, okay. Bruce Harding: I mean Albert Lingerfelt: Like Bruce Harding: it Albert Lingerfelt: that. Bruce Harding: might help with the visualisation. Albert Lingerfelt: Okay. Bruce Harding: And it would actually help with the component build Albert Lingerfelt: Mm-hmm. Bruce Harding: as well. Brendan Craig: Okay, Albert Lingerfelt: Mm okay, great. Brendan Craig: right. Um, okay well I gotta kind of got five minutes to wrap up now. Um next thing we're doing is having lunch. Whoohoo. Um and then we're gonna have thirty minutes of working on the next stage. Um so I'll be putting the minutes of this uh this meeting into the project documents folder. Albert Lingerfelt: Mm-hmm. Brendan Craig: Um so uh I guess just to just to confirm that we know what we're doing in the next well Albert Lingerfelt: Mm-hmm. Brendan Craig: in the thirty minutes after lunch anyway, um for uh our Industrial Designer, you're gonna be thinking about the components concept. Um User Interface Designer gonna be thinking about our user interface, and marketing you're gonna be thinking about trend watching. Um and you'll all get specific instructions as well. So um I dunno, just just to to ask now if you've got anything else you've thought about while we've been talking. Um, do you wanna start with David. Anything else to say at all? Bruce Harding: Mm no, not Brendan Craig: No, Bruce Harding: really. Brendan Craig: okay. Albert Lingerfelt: Um Brendan Craig: Andrew? Albert Lingerfelt: yeah, just I just wanted to ask then before we wrap up, shall we agree for sake of um sort of clarity and when we when we r resume that we'll u use this idea David's proposed, where we think of these three sort of buckets and Brendan Craig: Yeah, Albert Lingerfelt: anything Brendan Craig: yeah I think Albert Lingerfelt: anything Brendan Craig: that's definitely Albert Lingerfelt: we discuss Brendan Craig: a good Albert Lingerfelt: about Brendan Craig: idea. Albert Lingerfelt: them is sort of, okay, we're talking about this. Brendan Craig: Uh-huh. Albert Lingerfelt: Shall we Bruce Harding: Mm. Albert Lingerfelt: do that, then? Brendan Craig: Yeah. Albert Lingerfelt: Okay, great. Mathew Morse: Um just about the three buckets, um what would go in the the device functions one? Bruce Harding: Um things like on off. Because they don't have anything to do with what you see. Brendan Craig: Yeah. Bruce Harding: I Albert Lingerfelt mean in terms of picture and the entertainment value, you know, um Brendan Craig: Okay. Bruce Harding: so um Albert Lingerfelt: And Mathew Morse: Um Albert Lingerfelt: and channel. Bruce Harding: And channel. Albert Lingerfelt: Right. Bruce Harding: Because the on off also goes, you know, like on off like power, not on off sound. Not Brendan Craig: Yeah. Bruce Harding: on off video. Although you don't turn off the video on your T_V_, but um you Brendan Craig: Okay. Bruce Harding: might wanna you know turn off the sound, say you wanna pick up the phone, there's a mute button, right, so Brendan Craig: Okay. Bruce Harding: you you have you have a choice of putting it on to um others or a device. Device is basically anything which we can't categorise, right. Brendan Craig: Okay, Bruce Harding: We Brendan Craig: so Bruce Harding: put it Brendan Craig: you're Bruce Harding: out. Brendan Craig: gonna have um audio which is gonna be like you know your bass settings and Albert Lingerfelt: Mm-hmm. Brendan Craig: actual volume Bruce Harding: Yeah, anything to do with Brendan Craig: hi Bruce Harding: what you hear, right. Brendan Craig: Okay. Albert Lingerfelt: Mm-hmm. Bruce Harding: You you put that into audio. Brendan Craig: Okay, Albert Lingerfelt: Mm-hmm. Bruce Harding: And Brendan Craig: and then Bruce Harding: then Brendan Craig: visual Bruce Harding: video is anything that you can see. Albert Lingerfelt: Mm-hmm. Brendan Craig: Okay, Bruce Harding: Um. Brendan Craig: so brightness, contrast, Bruce Harding: Yep. Brendan Craig: things like that, Albert Lingerfelt: Colour, yeah. Brendan Craig: and then just actual device things, Bruce Harding: Yep. Brendan Craig: like Albert Lingerfelt: Sure. Brendan Craig: what channel you're watching, Albert Lingerfelt: Sure. Brendan Craig: turning on an off, Bruce Harding: Yep. Albert Lingerfelt: Okay. Brendan Craig: stuff like that. Okay, Albert Lingerfelt: And Brendan Craig: um Albert Lingerfelt: then k I suppose quite likely what would happen is in the d device category there might be some which are just like the habitual standard and then others which are maybe a bit more Bruce Harding: Like Brendan Craig: Mm-hmm. Bruce Harding: random which we Albert Lingerfelt: Yeah. Bruce Harding: have no other place to put, Brendan Craig: Yeah. Albert Lingerfelt: Sure, Bruce Harding: but we Albert Lingerfelt: okay. Bruce Harding: need it somewhere there. Brendan Craig: Okay. Albert Lingerfelt: Okay. Bruce Harding: Um even even if it doesn't map very clearly what happens is that people at least have some in their mind. It's easy to use, I think that's one thing that um and I guess from the component point of Brendan Craig: Okay. Bruce Harding: view it's easy to build as well 'cause things are like fixed. Albert Lingerfelt: Okay. Brendan Craig: Okay. Um so yeah, I guess just things to think about are you know like the fact it's gotta look good, because of who we're we're, you know, targeting this at. Um something maybe kind of quirky in design maybe. Albert Lingerfelt: Mm-hmm. Brendan Craig: Make it kind of ergonomic kind of to Albert Lingerfelt: Mm-hmm. Brendan Craig: hold, you know, things like that. Um, so I guess I guess that's it. Albert Lingerfelt: Great. Brendan Craig: That's the meeting over. Whoohoo. Albert Lingerfelt: Then we get to go find out what was picked up for lunch for us.

Brendan Craig briefed the team on some new requirements to consider when designing the remote. Mathew Morse presented two existing products and discussed what was wrong with each product. The team discussed how to create a remote which did not include the problems present in the existing products presented by the interface specialist. Albert Lingerfelt presented consumer preferences and requirements and the team discussed who their target demographic should be and whether to include speech recognition in their product. Bruce Harding discussed the interior workings of a remote and the team discussed various options for components and energy sources. The team then discussed features to include in the remote and what they could do to figure out how to categorize them.

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John Hines: 'S to do now is Anthony Smudrick: Yeah. John Hines: to decide how to fulfil what your stuff is, so Alan Mcintosh: Okay. John Hines: in that sense Anthony Smudrick: Yeah, John Hines: so Anthony Smudrick: sure. John Hines: it does kind of Alan Mcintosh: Okay, John Hines: make Anthony Smudrick: It John Hines: sense, Alan Mcintosh: well Anthony Smudrick: kinda John Hines: yeah. Anthony Smudrick: does make, doesn't it, because when we get into the end of meeting we're kind of talking about action and design as opposed John Hines: Yep. Anthony Smudrick: to background. Alan Mcintosh: Okay. Anthony Smudrick: Everything I have is kinda background. Alan Mcintosh: Okay we to go? John Hines: Yep. Alan Mcintosh: Well how um on the in this meeting then if we um I'll just just recap on the minutes from the last meeting. And we uh decided on John Hines: Yep. Alan Mcintosh: decided on our our target group being fifteen to thirty five, Anthony Smudrick: Mm-hmm. Alan Mcintosh: and we decided that it was gonna be non-rechargeable battery-powered, that we're gonna group our audio-visual and other functions into into those categories, um. And I told you guys about the three requirements about ignoring, except the T_V_, and trying to incorporate the corporate colour slogan. Um so that was the last meeting. Is there John Hines: Mm-hmm. Alan Mcintosh: anything have I forgotten anything? John Hines: No. Anthony Smudrick: Uh Alan Mcintosh: Is that Anthony Smudrick: that Alan Mcintosh: everything? Anthony Smudrick: sounds. Alan Mcintosh: Okay. Um so if we have the three presentations, and then if you have anything to kind of that you know you're gonna want to discuss, maybe just make a note of it, and we'll have all the discussion at the end. That might Anthony Smudrick: Sure. Alan Mcintosh: be a better idea this time. And so Anthony Smudrick: Okay. Alan Mcintosh: if we start off uh with Andrew and then Craig and then David, if that's Anthony Smudrick: Sure. Alan Mcintosh: alright. Um John Hines: Yep. Alan Mcintosh: and then after that we'll have to make some decisions about stuff, Anthony Smudrick: Yeah, Alan Mcintosh: right. Anthony Smudrick: cool. Alan Mcintosh: So if Anthony Smudrick: Why don't Alan Mcintosh: you wanna Anthony Smudrick: I get that? Alan Mcintosh: take this. Anthony Smudrick: Hmm. Alan Mcintosh: Screwed in quite tightly. Uh what did uh how did we leave it with speech recognition now? We did we say we were gonna try maybe incorporate it but we hadn't made a definite John Hines: Mm-hmm. Alan Mcintosh: decision on that? Right. Oh I should also point out that um the you know the kind of final objective of this meeting is to reach a decision on the concepts of the product. Anthony Smudrick: Okay. Alan Mcintosh: So um that's kind of the end result hopefully. Anthony Smudrick: Okay. Um alright so c is it function F_ eight? Alan Mcintosh: Uh-huh. Hopefully Anthony Smudrick: Hmm. Alan Mcintosh: appear in a wee second. Anthony Smudrick: Come on. I think it's working. Alan Mcintosh: Up there we go. Anthony Smudrick: great let Anthony Smudrick just start this. Okay great. So um uh s move on. Uh-huh oh where'd it all go? It's not good. Alan Mcintosh: Oh no. Anthony Smudrick: Okay lemme just see where I can find it. Anthony Smudrick: This looks more like it. I think I just opened up the template. Sorry Alan Mcintosh: Oh Anthony Smudrick: about that. Alan Mcintosh: right. Anthony Smudrick: Okay alright so let's have a look here. Okay so Alan Mcintosh: Here Anthony Smudrick: this Alan Mcintosh: we go. Anthony Smudrick: was the method that um I've taken. Uh basically what I wanna do here, before we get into it uh too far, is I want to show you all the background information I have that I think we need to acknowledge if we want this to be successful. Alan Mcintosh: Okay. Anthony Smudrick: And uh and then sorta g go through some of the way that I've dealt with that information, and then sort of bring us all together into it to see sorta see how this fits in with the overall vision. Um so I've tried to take a whole lot of market research and summarise it for us, and then ide identify uh trends that are are sort of in sync and are important to our our uh p project plan that we have so far, and then uh initiate a kind of discussion on design options so that it sorta helps us to to narrow in on on aspects that will inform other uh other elements of the of the project. Does that make sense, Alan Mcintosh: Mm-hmm. Anthony Smudrick: tha John Hines: Yep. Anthony Smudrick: that sort of strategy? I thought that that will impact on the rest of what we do, so that's why I suggested Alan Mcintosh: Aye a Anthony Smudrick: we Alan Mcintosh: fair Anthony Smudrick: get Alan Mcintosh: point Anthony Smudrick: in this. Alan Mcintosh: definitely. Anthony Smudrick: Okay so out of um different uh figures and ratings ob uh of people in general, um consumers in general, the number one thing that was found was that uh the br t television remote control, a fancy look and feel, okay, and not, it specified, not a functional look or or feel, Alan Mcintosh: Okay. Anthony Smudrick: uh b f f fancy. Um however, this is where we kinda have to be very, I think, creative about it. Number two was that it be innovative. Okay so that tells Anthony Smudrick that we have to find a way to be innovative without a adding just unnecessary um sort of functional bits to it. Uh and third priority uh for ease of use, so again that kind of gives us a general picture of how it has to be, um quite user friendly while still having technology. So it I'll just say right away as a bit of a foreshadowing into how we proceed with this in terms of m marketing, is that I think um what we should think about is how the um about how the innovation uh contributes to the look and feel, and not so much to the functionality of it. For example Alan Mcintosh: Aye right. Anthony Smudrick: like when you pick it up and push it like it all lights up or something, you know what I mean, like, or it's got something else to it Alan Mcintosh: Uh-huh. Anthony Smudrick: that just seems innovative because obviously the thing that the message here is ease of use. So how do you make innovation make something more more easy to use? Well that's I guess where we're gonna go with this. Alan Mcintosh: Okay. Anthony Smudrick: Okay then there's the other aspect of the back the the market um research I have here is on fashion style, okay, which as we've agreed is a priority. Uh top European fashion trend um that I read about says there's this emerging theme of fruit and vegetables, okay, especially in clothes and furniture. And when I first saw that I thought hmm, well do we want to actually try and think about this trend and how we add something to it, or we get right into it, or we completely steer away from it, do you know what I Alan Mcintosh: Okay Anthony Smudrick: mean? Alan Mcintosh: okay. Anthony Smudrick: So my my feeling is that we w do want to observe this trend, but we want to think also about the fact that it sort of has to fit in with something which is not specifically electronics. Um 'cause I think what we're in what we're in is partly sort of home decor, partly something like a computer, um so I think we might wanna be careful about how you know how quickly we create like a remote control in the shape of an apple or something, I think that would be pushing it. And then in terms of m material trends are for things to be soft and spongy and sort of, you might say ergonomic or or friendly to handle, which is which also in indicated that last year this was this was not the case. So um probably a lot of the competition on the market will be still in last year's mode, so if we try and really capitalise on that, I think that'll be in our favour. Um So these this is the summary of everything. market of who we're selling to. Uh innovative design technology's also a must in that it's seen it'd be seen to be uh cutting edge, uh but ease of use t has to be insured throughout. That was like the number three thing. And then at the end there are vibrant natural colours um that's the way I interpreted it anyway, softness in materials, shape, and function, and so I've written at written at the bottom to give us sort of a context of discussion, Mac iPods, Alan Mcintosh: Mm-hmm. Anthony Smudrick: something which is, I'd have to say very high-tech, ten gigabytes, whatever, but when you hold it in your hand there's like no buttons. You know Alan Mcintosh: Mm Anthony Smudrick: what a Mac Alan Mcintosh: that's Anthony Smudrick: iPod Alan Mcintosh: true, Anthony Smudrick: is? Alan Mcintosh: yeah. Anthony Smudrick: I'm thinking however Mac iPod is sort of last year's because it's very hard and sort of glassy and glossy, so I'm thinking if we imagine that we're taking some of the features of a Mac iPod and we're then making it s more of like a more of like a comfortable type of or more of like a maybe more vibrant to friendly thing to have. Um and then so this is w with all that information what I'm what I'm suggesting in this slide here is that we we take these ideas, and as we get into more the more um techni like sort of production side of things, that we think about shape, materials, and themes or series that go throughout. Sort of like a I dunno like um we think of some kind of a thin theme that unifies it all, that we agree on, uh sorta like a marketing identity. Um Does that make sense? Yeah. So so like I threw out a few ideas there just to kinda get us thinking along those lines like lemon, lime, I dunno, green colours, pe whatever, it's just an idea, 'cause I'm thinking that some of these ideas will seem quite coherent if we use them in terms of their what people associate this them with in terms of texture, shape, colours, things like that. Alan Mcintosh: Mm 'kay. Great. Anthony Smudrick: Like um the ones the ones which I'm most fond of in terms of giving like a theme to it would be like um like lemon or something like that, you know something which is, like you see a lot in in other areas. Like I see lots of websites and things that seem to associate with like lemon and lime and Alan Mcintosh: Okay. Anthony Smudrick: So anyway it's just just an idea. Alan Mcintosh: Yeah. Anthony Smudrick: I'm thinking maybe we could incorporate some of these features into a fairly um into something which is which seems to have something to it which is almost gimmicky because like um like something to do with like lighting within it. Like you know just within Alan Mcintosh: Ah. Anthony Smudrick: the simple sense, when you pick up a phone and touch a button it uh lights up, q usually the buttons light up. How can we build on that? Maybe like it could light up in different colours or something or or people could buy the buy the control and then it comes with different like covers or something so. Alan Mcintosh: Okay. Anthony Smudrick: Anyway those are that's all I have, but Alan Mcintosh: That's Anthony Smudrick: uh Alan Mcintosh: great. Anthony Smudrick: hopefully we can we can revisit those ideas Alan Mcintosh: Uh-huh. Anthony Smudrick: when we get into Alan Mcintosh: Okay great. Um thank you for that. Uh Anthony Smudrick: Yep. Alan Mcintosh: Craig do you wanna uh plug yours in then? Daniel Donelson: Is it working? Alan Mcintosh: Mm. Not quite. Anthony Smudrick: Did you press F_ eight? John Hines: It's probably not sending. Yeah. Alan Mcintosh: Oh something coming John Hines: Yep, Alan Mcintosh: now, John Hines: there Alan Mcintosh: yeah. John Hines: it is. Alan Mcintosh: There we go. Daniel Donelson: And so think of this concept. Um to research it I've um had a look on the the homepage again. It's provided Anthony Smudrick with more examples of um previously existing c remote controls. Um there's a wee bit of discussion about the other existing ones there, um so I've taken the um suggestions from them and tried to incorporate them into this um So then this we're looking for um suggestions on size th um size of control and the buttons, um the shape of the control, whereabout the buttons should be located on the control. Alan Mcintosh: Mm. Daniel Donelson: Um what I found from the research is that most the current controls are just basically big bricks with loads of buttons all over them. Um they're not very attractive to look at, and they're not very comfortable to hold, they're I just hold 'em like big bricks, and they're very easily lost. Um they tend to be very dark colours, so if there are shadowy places down the side of couches you can't really see them. Alan Mcintosh: Mm-hmm. Daniel Donelson: Um the the controls themselves tend to use a very inconsistent colour scheme. Um for instance, the stand-by button isn't always red, uh it really should be. It's uh something the user then uh identify with. This is a red switch off, that's how it should be. Um I'm not sure if there's any other examples of that, but something to look out for. Um there's a problem that I've I've got couple of preferences for the the end control um I get 'em with the the red colour button for stand-by and s the other examples of that um The buttons should be large. They shouldn't be tiny little things like you get on some mobile phones. They should be easy to press, very comfortable. Um one of the examples given on the homepage was um there's an up and down volume button but both of them have a V_ on them, Alan Mcintosh: Mm-hmm. Daniel Donelson: so the up volume button looks like it should be a down volume button, that's kinda confusing. Um should avoid s things like that. Um if the the corporate colour scheme allows it we should have a very bright colour so that it can be easily identified anywhere. Alan Mcintosh: Okay. Daniel Donelson: Um obviously trying trying to avoid being tacky there, but it could um tie-in very easily with your Anthony Smudrick: Yeah. Daniel Donelson: your lime Anthony Smudrick: Okay, Daniel Donelson: and lemon idea. Anthony Smudrick: do we have a corporate colour scheme? I didn't Alan Mcintosh: I Anthony Smudrick: know. Alan Mcintosh: think it's yellow because like the website is yellow and Anthony Smudrick: Okay. Alan Mcintosh: there's a band at the bottom is yellow, so John Hines: And the Play-Doh Anthony Smudrick: Okay. John Hines: 's yellow. Alan Mcintosh: yellow, lemon, Daniel Donelson: Fantastic. Alan Mcintosh: you know definitely food for thought there, Anthony Smudrick: Okay. Alan Mcintosh: but keep going and we'll discuss it Daniel Donelson: Um Alan Mcintosh: after. Anthony Smudrick: Yeah. Daniel Donelson: any extra features we add beyond the basic ones should be m hidden, they shouldn't be on the um shouldn't be visible without something be opened or Alan Mcintosh: Mm-hmm. Daniel Donelson: some sort of special extra effort. Um if we did decide to go for voice activation there sh should always be a button as alternative, possibly hidden in the the opened up section um making that something is wrong with it or with somebody's voice, maybe they got a cold or Um we should definitely avoid the big square block look. That's just wrong. Anthony Smudrick: Mm-hmm. Alan Mcintosh: Mm 'kay. Daniel Donelson: And um we got an email uh from I think it's the the research department, and they've said th the voice control um can now talk back if you ask it a question. Alan Mcintosh: Mm. Daniel Donelson: So it sh it could be good to have them um confirm any action you take Alan Mcintosh: Aye Daniel Donelson: and Alan Mcintosh: that's a good idea, Daniel Donelson: possibility. Alan Mcintosh: yeah. Daniel Donelson: Right and these are problems I've had with it. Um I don't know where the slogan should go, or really what the slogan is. I think it's um, fashion into electronics. Alan Mcintosh: Yeah. Daniel Donelson: And we don't know how flexible the colour scheme is. I mean you say you wanted the the corporate colours, but they don't say you know if we can use Anthony Smudrick: Mm. Daniel Donelson: any other colours at all or Anthony Smudrick: Mm. Alan Mcintosh: Okay. Daniel Donelson: That's John Hines: Cool. Daniel Donelson: it. Alan Mcintosh: Okay. Anthony Smudrick: Great. Lots of good information there. Alan Mcintosh: Yeah that John Hines: Mm-hmm. Alan Mcintosh: that was very good, and John Hines: Mm Alan Mcintosh: uh John Hines: 'kay Alan Mcintosh: now with John Hines: um. Alan Mcintosh: David. Daniel Donelson: I think I'm cool. Anthony Smudrick: It's a shame the cable wasn't just in the middle Alan Mcintosh: I know Anthony Smudrick: of the table, Alan Mcintosh: it'd be handy, Anthony Smudrick: huh? Alan Mcintosh: wouldn't it. Anthony Smudrick: Just um John Hines: Oops. Alan Mcintosh: Do y do you wanna sit in the the line of sight of this John Hines: Yeah Alan Mcintosh: um John Hines: okay. Let Anthony Smudrick just get this Alan Mcintosh: Yeah. John Hines: going first. Ah there it is. Anthony Smudrick: It takes a second, doesn't it? John Hines: 'Kay, that should it. Okay um I guess the same thing again, I started with something very basic. So just so you guys have some idea of what's involved in my process, Anthony Smudrick: Mm-hmm. John Hines: um and then you can just work through it and we 'll either modify it or start from scratch um depending on what your needs are. Um the components are exactly the same. Alan Mcintosh: Mm-hmm. John Hines: Um I think, like what you guys said, um the most input that's needed is basically in the user interface. The rest of the components um they do have an impact in terms of cost and complexity. Um like you said time to market was a problem, um and how many components are physically in there in cost. And the power is basically a factor of that. Um and the lower components, the power, the logic, the transmitter, and the infrared, um they affect you in terms of the size of your device, um and that would have some inte impact on how y I think more how you hold rather than um the actual use using the the remote control because um like we've said we've defined, like we only want the basic things that to be visible, and the rest of them we try to hide. Anthony Smudrick: Mm-hmm. John Hines: So um you know it's just a matter of working out space. So I guess three things, um cost, um complexity, and the size. These are the three things that um will have an impact on you. So just go through it in the components. Um these are the options that are available to you, um I'm not very sure about the voice thing 'cause I got another email and it was in fact quite sketchy on what n the voice options are. Daniel Donelson: Right. John Hines: Um it said it could talk to you, but it never said anything about being able to listen. I it said something about a sensor but never clarified that. Anthony Smudrick: Mm. Alan Mcintosh: Hmm. John Hines: So maybe if you well I could see the other email that they sent you, um 'cause they got back to Anthony Smudrick with like different requirements, or different offerings of what components availa Okay so Daniel Donelson: Right. John Hines: your basic components are buttons, Alan Mcintosh: Mm. John Hines: okay and you have a wheel available, like a mouse scroll wheel, Anthony Smudrick: Mm-hmm. John Hines: okay there's an L_C_D_ display, um I think these are quite standard things. Anthony Smudrick: They're standard, aren't they? John Hines: No um they're well in the sense that these are all the options available for you. I'll explain to you the complexity and the cost thing again a bit Anthony Smudrick: Yeah. John Hines: later. Okay um then there's um how the case actually looks. It can actually be flat or it can be curved, um and then the different types of materials that you can use, um I don't think you can use them in a combination, Alan Mcintosh: Mm-hmm. John Hines: um but um I could check back for you, but I don't think you can actually use them in a combination. Alan Mcintosh: We you couldn't have like plastic and rubber? John Hines: Um I think plastic and rubber would be fine, but plastic, rubber, and wood, I wasn't I'm not very sure about the titanium. Alan Mcintosh: Yeah. John Hines: They had some restrictions Anthony Smudrick: Hmm. John Hines: on using the rubber and the titanium. Alan Mcintosh: Mm John Hines: Um Alan Mcintosh: 'kay. John Hines: the rubber was a restriction on the kind of power source you could use, but the titanium had a different kind of things on the shape of the Alan Mcintosh: Okay. John Hines: thing, so I think that there is some restriction on um I think you could probably group plastic and rubber together, Alan Mcintosh: Mm-hmm. John Hines: wood and titanium, but you know it might be easier from a cost perspective and a Anthony Smudrick: Mm-hmm. John Hines: complexity just to use one. Anthony Smudrick: Mm-hmm. John Hines: You know as opposed to two. Anthony Smudrick: Mm-hmm. John Hines: Um and the other components are logic chips, um again I'll I'll go back to the component chips. The com how complex or how easy the logic is, it depends on how many functions you have on the on the unit um and that impacts cost. Um Anthony Smudrick: Mm-hmm. John Hines: I don't think the logic chip has a issue about size 'cause they Anthony Smudrick: Mm-hmm. John Hines: should be about the same size. Power consumption should be about the same. Um Anthony Smudrick: Hmm. John Hines: I think the main impact is complexity, um and the other thing is um the power options. Um the first one is a standard battery. Okay the second one I think is more of a gimmick then actually a useable thing, it's a wind-up Alan Mcintosh: I'll clear John Hines: you know, Alan Mcintosh: one of these John Hines: a Alan Mcintosh: things John Hines: crank. Alan Mcintosh: for you. Just Anthony Smudrick: Hmm. Alan Mcintosh: by moving John Hines: Yeah Alan Mcintosh: it yeah. John Hines: but that that might be something I think that's more of a look and feel decision because I don't think you can have one power source if you're using the alternative power sources. I think whatever it is you still need a battery 'cause Alan Mcintosh: Mm. John Hines: I don't think anybody wants to keep doing one thing. Anthony Smudrick: No. John Hines: Okay the other ones Anthony Smudrick: Yeah. John Hines: are a solar powered cell, which may not be a great idea in Europe or any country that has seasons 'cause half the year you'd be dead. a battery Anthony Smudrick: Mm-hmm. John Hines: and something else. Alan Mcintosh: Mm-hmm. John Hines: Um and the kinetic one I guess for Anthony Smudrick is the most interesting one because it's movement and people like to fiddle with their Alan Mcintosh: Mm. John Hines: and it's a nice sales gimmick I think. From a marketing Anthony Smudrick: Mm-hmm. John Hines: gimmick it it's a technology thing, it's a shake it it doesn't work, shake it, knock it or something. You know Alan Mcintosh: W Anthony Smudrick: Hmm. Alan Mcintosh: yeah. John Hines: you know you Alan Mcintosh: Uh John Hines: have you had Alan Mcintosh: yeah John Hines: those Alan Mcintosh: yeah, John Hines: balls, Alan Mcintosh: I see. John Hines: you know those Anthony Smudrick: Yeah. John Hines: stress balls where you bounce the ball and it and it lights up and it goes, you know that might be a gimmick combined with rubber. Anthony Smudrick: Hmm. John Hines: You know just to Alan Mcintosh: Yeah. John Hines: if you get frustrated wi remote control you can throw it, kind of you know just uh Anthony Smudrick: Hmm. Alan Mcintosh: I know what you mean yeah. John Hines: you know um so. Um okay my from my role, I don't think that personal preferences but role preferences, I think um something comfortable to hold, Anthony Smudrick: Mm-hmm. John Hines: um small and slim I guess that's more in the sense of small and slim in terms of comfortable not so small you can't, you know like a phone Alan Mcintosh: Mm-hmm. John Hines: or something, too small phone. Um and the other thing is from a production point of view um the less components we use and the simpler the components means you reduce your cost and you increase your profit. Alan Mcintosh: Mm-hmm. John Hines: Um and also the time to market and the complexity of developing Anthony Smudrick: Mm-hmm John Hines: designing Anthony Smudrick: mm-hmm John Hines: and debugging Anthony Smudrick: mm-hmm. John Hines: it um so. Anthony Smudrick: Mm-hmm. John Hines: Um okay let Anthony Smudrick just go back and talk about some of the restrictions. Um The user interface restrictions basically means that if you use more complicated features, like the buttons are standard okay, the L_C_D_ panel and the scroll wheel you need more complicated logic. Alan Mcintosh: Mm. John Hines: Um the case okay with a rubber case you can't have the solar panels. Okay with the titanium case, let Anthony Smudrick just check that um, titanium case can't be curved, it has to be square. Alan Mcintosh: Okay. John Hines: Okay um there's no restriction on the plastic, Anthony Smudrick: It can't John Hines: and Anthony Smudrick: be curved. John Hines: it can't be curved Anthony Smudrick: Okay. John Hines: on the wood. So that's again, I don't think you can use them in a combination, Alan Mcintosh: Okay. John Hines: um especially the titanium I I suspect they're Alan Mcintosh: Right. John Hines: very fixed to a particular need. So um mixing them may not be a good idea Alan Mcintosh: Okay. John Hines: um yep. Alan Mcintosh: Right John Hines: That's Anthony Smudrick: Uh John Hines: it. Anthony Smudrick: question Alan Mcintosh: can Anthony Smudrick: on Alan Mcintosh: I Anthony Smudrick: can I ask a question? Alan Mcintosh: Yeah well yeah it's just I'm quite keen to get the discussion going with the time we've left so Anthony Smudrick: Okay. Alan Mcintosh: but yeah you c ask Anthony Smudrick: Can Alan Mcintosh: away. Anthony Smudrick: we uh power a light in this? Can we get a strong enough battery to power a light? John Hines: Um I think we could because the L_C_D_ panel requires power, and the L_C_D_ is a form of a light Alan Mcintosh: Mm. Anthony Smudrick: Okay. John Hines: so that Anthony Smudrick: So maybe one of the things we can just try and include is a really good battery. Alan Mcintosh: Why what kind of light do you want are you thinking Anthony Smudrick: Well Alan Mcintosh: of? Anthony Smudrick: I mean I'm thinking it might be That for uh this to be a high-tech thing it's Alan Mcintosh: Uh-huh. Anthony Smudrick: gonna have to have something high-tech about it Alan Mcintosh: Yeah. Anthony Smudrick: and that's gonna take battery power, and to make that to make that a realistic goal I think one of the issues that will come up later is, John Hines: Are Anthony Smudrick: can John Hines: you Anthony Smudrick: the John Hines: thinking Anthony Smudrick: battery power John Hines: are you Anthony Smudrick: it? John Hines: thinking of of a light in the sense of um a light light, or a light in the sense of Anthony Smudrick: Illuminate John Hines: it glows Anthony Smudrick: the buttons. John Hines: kind of Anthony Smudrick: Yeah John Hines: you Anthony Smudrick: it John Hines: know Anthony Smudrick: glows. John Hines: Frankenstein, it's alive. Anthony Smudrick: Well m I'm thinking along the lines of you're you're in the dark watching a D_V_D_ John Hines: Okay. Anthony Smudrick: and you um you find the thing in the dark and you go like this, and that's what everybody does. Oh where's the volume button in the dark, Alan Mcintosh: Yeah yeah yeah. John Hines: Okay. Anthony Smudrick: and uh y you just touch it, or you just pick it up, and it lights up or something. Alan Mcintosh: Like a phone John Hines: Okay. Anthony Smudrick: Like Alan Mcintosh: yeah, Anthony Smudrick: a phone, Alan Mcintosh: like Anthony Smudrick: yeah Alan Mcintosh: the backlight Anthony Smudrick: yeah. Alan Mcintosh: in a phone. Okay cool. Anthony Smudrick: Whereas with phones, people charge them once a week. Alan Mcintosh: Yeah. Anthony Smudrick: We're gonna need to put in a really good battery so people don't have to charge their r remote control every few days. John Hines: Um that's why I think the option of the the kinetic thing which basically means as long as you shake it like a watch, like an automatic Anthony Smudrick: But are people gonna John Hines: watch Alan Mcintosh: Mm. Anthony Smudrick: wanna shake their movie controller? John Hines: um it's probably sensitive enough when you fiddle it. Anthony Smudrick: Right. John Hines: So Anthony Smudrick: Sure. Alan Mcintosh: Mm. John Hines: you could trigger that to a light, like I said the bouncing ball thing, or you Alan Mcintosh: Okay. John Hines: could trigger that to use that to power Anthony Smudrick: Okay. John Hines: the light as opposed to Anthony Smudrick: Right. John Hines: so when they pick it up, right, and then Alan Mcintosh: Okay. John Hines: that that sorta triggers Anthony Smudrick: Mm-hmm. John Hines: the Alan Mcintosh: Right John Hines: glowingness. Alan Mcintosh: okay Anthony Smudrick: Okay, Alan Mcintosh: um Anthony Smudrick: great. Alan Mcintosh: well let's just go right back to the marketing ideas for a start, and just giving an John Hines idea on the time, we've got about fifteen minutes to play with at most. Anthony Smudrick: Okay. Alan Mcintosh: So um yeah so just t to bear in mind that the ultimate goal of this meeting is to reach an decision on the the the concepts of the product. So Anthony Smudrick: Okay. Alan Mcintosh: back to your idea about um incorporating the idea of like fruit and veg, and Anthony Smudrick: Yeah. Alan Mcintosh: the corporate colour, and things like that. Anthony Smudrick: Yeah. Alan Mcintosh: Um I mean what does everybody think about Does anybody have any ideas of about how we can fit all that in together? I mean that's kind of the user interface type of thing, what are your thoughts on that? Daniel Donelson: Um I think we could go for like um maybe not a p a fruit shape but a very sort of curvy type shape. Um you could have the same sort of texture and colour as a fruit. Alan Mcintosh: So maybe do y are we thinking something that like s could sit in your hand comfortably, or do you th you'd hold onto comfortably or Daniel Donelson: Um probably something that s sits in your hand comfortably, sort of Alan Mcintosh: So Daniel Donelson: feels Alan Mcintosh: something Daniel Donelson: right in Alan Mcintosh: quite Daniel Donelson: your hand. Alan Mcintosh: curvy? Okay um right okay. Colour-wise I mean you made a re uh was it you or uh I can't remember who made the point about how if you've a nice bright colour you'll not lose it, was that Whose John Hines: I think Anthony Smudrick: What's John Hines: he Anthony Smudrick: that? John Hines: made that. Alan Mcintosh: about how if you have a bright colour you'll not lose it so much. Anthony Smudrick: Yeah. Alan Mcintosh: Um and when the corporate colour is yellow, I mean maybe we could think about about the colour of the whole product being Anthony Smudrick: Okay. Alan Mcintosh: yellow I don't know. Um And then obviously the uh the materials when it Anthony Smudrick: Well Alan Mcintosh: That's all. Anthony Smudrick: I mean I'm thinking that what we need to do is have something that kind of unifies a lot of the different concepts, and Alan Mcintosh: Mm-hmm. Anthony Smudrick: if we think that what we are w our number one marketing motive is um the look and feel. Alan Mcintosh: Mm-hmm. Anthony Smudrick: So for the look and feel to seem coherent and not just sorta bits and bits and pieces of of concept and technology or or whatever or fashion, then we should have it kind of come back to one thing that we kind of all sorta can visualize. Um maybe what we could do is t th think about a concept which touches b back to the on the um the colour, you said Alan Mcintosh: Mm-hmm. Anthony Smudrick: company colour yellow. I mean if we think of something, like I was saying also lime Alan Mcintosh: Mm-hmm. Anthony Smudrick: and lemon you know, what can we come up with something where we we try and associate it with with like the series. We just come up with something like that we kind of use it as a theme to inspire the Alan Mcintosh: Okay. Anthony Smudrick: shapes and things. Alan Mcintosh: Right. John Hines: Is there a particular shape that you're interested in? Like does marketing have any research on does it need to be long? Does it need with Alan Mcintosh: Oh John Hines: a square Alan Mcintosh: you know like John Hines: thing Alan Mcintosh: in circular John Hines: wha Alan Mcintosh: in shape or John Hines: Yeah 'cause that will n help narrow down the choice of Anthony Smudrick: Yeah. Alan Mcintosh: Choice of material John Hines: Like fruit. Alan Mcintosh: yeah. 'Cause John Hines: I'm Daniel Donelson: See John Hines: thinking Alan Mcintosh: I I Daniel Donelson: I'm John Hines: fruits Alan Mcintosh: I John Hines: in Alan Mcintosh: was John Hines: my head, Alan Mcintosh: kinda John Hines: but that's Alan Mcintosh: thinking John Hines: tacky. Alan Mcintosh: about as well you know how you get these shock resistant mobile phones, and they're plastic but then also have like rubber on the outside, and it kinda feels it feels kind of warmer to the touch. It feels Anthony Smudrick: Yeah. Alan Mcintosh: a bit more comfortable, and maybe we could incorporate plastic and rubber into it. And then then we could have curved shapes, 'cause wood or titanium, yeah, it's gonna have to be boxy and rectangular and I think we might be moving away from that you know so um Well I'm do we really want it in like the shape of a lemon or Anthony Smudrick: No no no Alan Mcintosh: no I don't think we do either. Anthony Smudrick: not at all. It's more more just that we we think about like what it is we're trying to achieve, so and then we have one one sorta theme that we stick with. Do you Alan Mcintosh: Okay Anthony Smudrick: know what I mean? Alan Mcintosh: right well um so thoughts about the actual shape of the thing. Daniel Donelson: I'd quite like a sort of uh snowman type shape. Alan Mcintosh: A snowman shape? Daniel Donelson: Um so a p sort of larger bit sits in your hand, Alan Mcintosh: Uh-huh. Daniel Donelson: and then you got maybe another bubble at the top for just any other function you need. Alan Mcintosh: That's quite Anthony Smudrick: Right, Alan Mcintosh: a distinctive shape, that Anthony Smudrick: sure. Alan Mcintosh: would be good wouldn't it. Anthony Smudrick: Yeah. Alan Mcintosh: Yeah so yeah should we go with that? Anthony Smudrick: Um can we yeah like to and wha like do you have a Alan Mcintosh: Do you wanna draw Anthony Smudrick: Can you Alan Mcintosh: it on Anthony Smudrick: like Alan Mcintosh: the board? Anthony Smudrick: yeah just t we can visualize it. Daniel Donelson: Um something like that um you got two groups there um maybe it could fold up and you get a third group inside Anthony Smudrick: Okay. Alan Mcintosh: Ooh Daniel Donelson: or Alan Mcintosh: that'd be good. Daniel Donelson: uh you have volume controls about there. Anthony Smudrick: Okay. Alan Mcintosh: Mm-hmm. Anthony Smudrick: Yep. Alan Mcintosh: So call it the snowman-shape trademark. Yeah that's cool. Um and I mean colour-wise what does everybody think? I think it is quite important to get yellow in there somewhere. I mean do you want the whole thing yellow, maybe like yellow and white do you want Anthony Smudrick: Mm. Alan Mcintosh: something Daniel Donelson: So I reckon it'd look quite nice if we just had um this here, had a sorta background yellow, Alan Mcintosh: Uh-huh. Daniel Donelson: and then have sort of a nice bold colour for the buttons. Alan Mcintosh: Okay cool. Um and also I mean how are we going to incorporate the slogan in? The fact that it talks to you, I mean it might be quite cool if when you first start using it it says, what is it, putting fashion into electronics or something, I dunno. Or when you like or if you turn it off or something if Daniel Donelson: I think Alan Mcintosh: it Daniel Donelson: that Alan Mcintosh: can Daniel Donelson: might Alan Mcintosh: speak Daniel Donelson: scare Anthony Smudrick. Alan Mcintosh: if it could actually say the slogan it might be a bit more powerful than just having it written on it somewhere. I d I d any thoughts on that at all? Daniel Donelson: I think that'd probably scare Anthony Smudrick. You turn it on your control possessed s. Alan Mcintosh: I know. Um unless an a I mean if you also would that work if we wanted to incorporate um an L_C_D_ display, where would we put that? Would we put that on the inside or Daniel Donelson: Um John Hines: Do we need an L_C_D_ display? What what's the functionality Alan Mcintosh: It's John Hines: of Alan Mcintosh: bound John Hines: that? Alan Mcintosh: to increase the cost of it a lot, I John Hines: Yeah but the Alan Mcintosh: would've John Hines: question Alan Mcintosh: thought. John Hines: is what Anthony Smudrick: What would John Hines: are Anthony Smudrick: it John Hines: we Anthony Smudrick: achieve? John Hines: using it what would we what would we achieve from it? Putting Anthony Smudrick: Well John Hines: in lights is cheap but putting in an L_C_D_ panel Anthony Smudrick: L_C_ John Hines: just Anthony Smudrick: well John Hines: to make it glow is Anthony Smudrick: I'd John Hines: a bit Anthony Smudrick: when John Hines: of Anthony Smudrick: you used John Hines: a Anthony Smudrick: to mention the L_C_D_ I'd think I wonder what that would be about. And the th the thing I could see it helping with would be if it was somehow connected with um listings. So as Alan Mcintosh: Yeah. Anthony Smudrick: you scroll through, 'cause we said we might have a jog dial, so John Hines: Mm-hmm. Anthony Smudrick: as you scroll through your stations you can y it actually tells you what it is. John Hines: I think that will be a problem because we don't have an input device to get the listings into Anthony Smudrick: Right, John Hines: it, Anthony Smudrick: okay. John Hines: so Alan Mcintosh: Mm John Hines: um Alan Mcintosh: oh John Hines: it's Alan Mcintosh: yeah John Hines: a bit Alan Mcintosh: that's John Hines: nuts Alan Mcintosh: true. John Hines: to get the Alan Mcintosh: Yeah. John Hines: Monday Tuesday Alan Mcintosh: So Anthony Smudrick: Mm-hmm. John Hines: Wednesday Anthony Smudrick: Mm-hmm. Alan Mcintosh: so John Hines: you Alan Mcintosh: no John Hines: know. Alan Mcintosh: need for an L_C_D_ display? John Hines: Um I I'm not saying there's no need for an L_C_D_ display, but um Alan Mcintosh: I think that would John Hines: it's Alan Mcintosh: make it very John Hines: what's Alan Mcintosh: complex. John Hines: what what would it tell the user, 'cause the L_C_D_ tends to be an output as Alan Mcintosh: Yeah. John Hines: uh as opposed to an input so Alan Mcintosh: Yeah. John Hines: um does the remote control need to talk back to the Anthony Smudrick: Mm John Hines: user? Anthony Smudrick: not real John Hines: We have the option of the speaker as well the sa the same thing goes for the speaker, is there a need for the remote control to Alan Mcintosh: I Anthony Smudrick: Mm-hmm. Alan Mcintosh: don't know if there is John Hines: to Alan Mcintosh: really, John Hines: talk back? Daniel Donelson: Nah. Alan Mcintosh: no um John Hines: Um Alan Mcintosh: I would say no need for a talk-back. Uh does anybody disagree with that? Anthony Smudrick: No. John Hines: You could Alan Mcintosh: No? John Hines: put a game on it. Alan Mcintosh: Easy. John Hines: When the T_V_ dies you can play with the remote control. Anthony Smudrick: Mm Alan Mcintosh: Okay Anthony Smudrick: mm. Alan Mcintosh: um right so you're gonna have the three different sets of of functionalities, um I mean do you wanna group them into s head of the snowman, body of the snowman, inside of the snowman, is that what you're thinking? Daniel Donelson: Um well I think the advanced ones the the ones you don't usually use could be hid inside. Alan Mcintosh: Okay. Daniel Donelson: B um I think the we had were fairly basic ones, they'd have to go on the the front somewhere. Alan Mcintosh: Okay right um what else do you need to talk about? Anthony Smudrick: Well i John Hines: Where Anthony Smudrick: I was John Hines: would Anthony Smudrick: just John Hines: you physically position the buttons? Um I think that that has some impact on Anthony Smudrick: Yeah. John Hines: on on many things. Anthony Smudrick: Yeah. Daniel Donelson: Um John Hines: Um maybe you wanna draw onto the Alan Mcintosh: So I'm just gonna um pop this in here 'cause I have a slide about decision making John Hines: Yep. Alan Mcintosh: which I'd forgotten about. Alan Mcintosh: Oh sh God we've got five minutes um okay uh back we go. Um energy what do you think that's suggesting we're how we're powering the thing? I really like the idea of this kinetic thing where you'd have the back-up of the battery, Anthony Smudrick: Yeah, Alan Mcintosh: but have Anthony Smudrick: sure. Alan Mcintosh: have kinetic power, Anthony Smudrick: Um Alan Mcintosh: I mean what does Anthony Smudrick: I've Alan Mcintosh: anybody Anthony Smudrick: had Alan Mcintosh: think Anthony Smudrick: kinetic Alan Mcintosh: about that? Anthony Smudrick: things before, and the the the one issue we need to keep in mind with them is that you're committing the user to moving it, and John Hines: No, like I said we Anthony Smudrick: watches John Hines: have a h Anthony Smudrick: yeah John Hines: hybrid kind of thing, Anthony Smudrick: Sure, John Hines: so it's not gonna Anthony Smudrick: okay, John Hines: charge the battery, Anthony Smudrick: right, okay. John Hines: it's just Alan Mcintosh: Okay. Anthony Smudrick: Support for it. I mean John Hines: Yeah. Anthony Smudrick: just it's just worth pointing out because like I've I've known I've known people to have kinetic watches that they wear all the time, Alan Mcintosh: Mm-hmm. Anthony Smudrick: and it's just like magic because it's always powered and there's no battery. I've also known people to have things like like a jewellery watch they wear from time to time, and they eventually just say it's just too much of a nuisance because Alan Mcintosh: Yeah. Anthony Smudrick: I don't wear John Hines: Yep. Anthony Smudrick: it all the time. Like remote control is similar, you're away on vacation, I dunno whatever, you something, Alan Mcintosh: Yeah. Anthony Smudrick: and it just starts to get worn down. So Alan Mcintosh: Well Anthony Smudrick: we should Alan Mcintosh: I suppose that if Anthony Smudrick: think Alan Mcintosh: you're Anthony Smudrick: about Alan Mcintosh: if you're away and you're not using it, then you're not using any power either. So you'd have the battery as the kind of to keep it ticking over Anthony Smudrick: Yeah. Alan Mcintosh: idea I'm really sorry we're gonna have to wrap up quite quickly, we don't have as much time as I thought. Anthony Smudrick: Yep. Alan Mcintosh: Um so I think that's what energy is referring to here. Chip on print, is that that's an industrial design thing, is it David? John Hines: Yes yes. Alan Mcintosh: Okay um as for the case, kind of discussed that Anthony Smudrick: And this size here, I'd suggest this be small, Alan Mcintosh: Yeah I Anthony Smudrick: like Alan Mcintosh: know we're gonna Anthony Smudrick: quite Alan Mcintosh: have like Anthony Smudrick: small. Alan Mcintosh: rubber buttons that feel kind of Daniel Donelson: Yeah Alan Mcintosh: Okay. Daniel Donelson: I think so yeah. Anthony Smudrick: Um just a a lot of the um I mean one of the things running through my mind right now, I realise we're being efficient to wrap up the meeting Alan Mcintosh: Mm-hmm. Anthony Smudrick: and have lots of decisions made, um but we are leaning quite a bit to the side of being low-tech, rubber buttons plastic frame, it's almost like we're reproducing the same old remote control Alan Mcintosh: Mm 'kay. Anthony Smudrick: that's out there. Should we think about how we are actually getting this high-tech user friendly uh um theme like what is it that we're u we're using to to achieve those goals? Like Alan Mcintosh: Could have things like backlighting the buttons and Anthony Smudrick: Okay Alan Mcintosh: stuff like Anthony Smudrick: so Alan Mcintosh: that. Anthony Smudrick: so backlighting, John Hines: Or even Anthony Smudrick: that John Hines: a Anthony Smudrick: would John Hines: clear Anthony Smudrick: be good. John Hines: case. Um Anthony Smudrick: Yeah clear, that'd be John Hines: you Alan Mcintosh: Aye John Hines: know a Alan Mcintosh: that John Hines: a Alan Mcintosh: would be John Hines: glowing Alan Mcintosh: a Anthony Smudrick: Okay. Alan Mcintosh: good idea. John Hines: a a glowing yellow type case where the yellow is showable, but in the dark it sort of, it's alive. Anthony Smudrick: Yeah sure. John Hines: Um in Alan Mcintosh: S John Hines: in a Alan Mcintosh: so John Hines: slight Alan Mcintosh: like John Hines: subtle Anthony Smudrick: Yeah that'd John Hines: way. Anthony Smudrick: be really Alan Mcintosh: cur Anthony Smudrick: good. Alan Mcintosh: slightly transparent John Hines: Yeah Alan Mcintosh: case, so John Hines: yeah. Alan Mcintosh: it's yellow, Anthony Smudrick: Yeah. Alan Mcintosh: like tinted yellow, but John Hines: Yeah. Alan Mcintosh: you can maybe see through it. Is that what John Hines: Or Alan Mcintosh: you mean? John Hines: or there might be a light running through it like a mouse. Anthony Smudrick: Sure. John Hines: You know you have cordless mice and they don't eat that much power Anthony Smudrick: Yeah, John Hines: right. So the power the Anthony Smudrick: yeah. John Hines: battery in that sense, maybe Anthony Smudrick: Yeah. John Hines: you have one or two stratig strategically placed lights Anthony Smudrick: Sure. John Hines: that sort of Anthony Smudrick: Yeah they they emanate a light through it. John Hines: Yeah Alan Mcintosh: Okay. John Hines: but because the case is transparent Alan Mcintosh: Lights. John Hines: so it Anthony Smudrick: 'Kay. John Hines: gives it a little bit of a glow, Anthony Smudrick: Yeah, mm-hmm. John Hines: doesn't Alan Mcintosh: Okay. John Hines: make it freaky. Anthony Smudrick: Um and then the other thing that we we're s we've committed ourselves to achieving is simplicity, and so I'm thinking maybe should we try and think about having something like um some kind of an innovative concept about how the um the volume and the channels are controlled, 'cause that's the main thing people will f wanna Alan Mcintosh: Mm. Anthony Smudrick: do. Could we use like a jog dial, like a nice just sort of round, somewhere on it where you just John Hines: The question Anthony Smudrick: roll John Hines: is Anthony Smudrick: it? John Hines: when you're rolling Anthony Smudrick: Or John Hines: it, how do you wanna roll it? Do you want 'em to roll it like that? Do you want 'em to roll it like that? 'Cause in a mouse your hand's in a position Daniel Donelson: Mm. Anthony Smudrick: Yeah. Alan Mcintosh: Yeah. John Hines: to roll it, whereas the other thing about having it jog dial this way, it tends to get moved accidentally. Anthony Smudrick: Mm-hmm. Alan Mcintosh: Yeah Anthony Smudrick: Well Alan Mcintosh: if Anthony Smudrick: why Alan Mcintosh: you Anthony Smudrick: don't we Alan Mcintosh: are Anthony Smudrick: do Alan Mcintosh: holding Anthony Smudrick: it like Alan Mcintosh: it Anthony Smudrick: a Alan Mcintosh: in your Anthony Smudrick: mouse Alan Mcintosh: hand Anthony Smudrick: then? Alan Mcintosh: you could you could do that, couldn't you? If you're holding it in your hand John Hines: That's Alan Mcintosh: you could John Hines: a very unnatural motion Alan Mcintosh: Do you think? John Hines: to yeah. Alan Mcintosh: Okay. John Hines: Can you imagine you have to scroll a lot. Um it might work for volume, Anthony Smudrick: Yeah. John Hines: and maybe some of the brightness controls and stuff like that, Alan Mcintosh: Mm. John Hines: but not for channels right. If you have a Telewest box you've got like, you Anthony Smudrick: Mm-hmm. John Hines: don't have to buy all the channels, you've about fifty channels, can you imagine Alan Mcintosh: Yeah John Hines: trying Anthony Smudrick: Yeah. John Hines: to. Alan Mcintosh: okay okay Anthony Smudrick: Yeah, John Hines: Um Anthony Smudrick: sure. Alan Mcintosh: um John Hines: and I don't think having that you know too quick too Anthony Smudrick: Mm. John Hines: slow kin Daniel Donelson: Well, John Hines: it's confusing Daniel Donelson: but John Hines: to the Daniel Donelson: then John Hines: I dunno. Daniel Donelson: for um for skipping a large amount of channels you do have to uh to skip the channel button, the Alan Mcintosh: Yeah. John Hines: But Daniel Donelson: number John Hines: users Daniel Donelson: part. Anthony Smudrick: Yeah. John Hines: tend to tend to want to use that and once they lose out on the user experience they're like Alan Mcintosh: Okay. Daniel Donelson: Uh but John Hines: Because that's becomes the most accessible Alan Mcintosh: Okay. John Hines: thing Anthony Smudrick: But that's John Hines: in front Anthony Smudrick: not a bad John Hines: of Anthony Smudrick: thing is it? Alan Mcintosh: Just Anthony Smudrick: Because when you think about it, the alternative is to go push Daniel Donelson: Yeah. Anthony Smudrick: the button. John Hines: Yeah. Anthony Smudrick: Jog dials are much easier than that. Alan Mcintosh: Okay Anthony Smudrick: You Alan Mcintosh: um Anthony Smudrick: just roll. Alan Mcintosh: right well wouldn't it we do need to make a decision on whether we want to incorporate a jog dial in nice and quickly. Um I'm all for them actually, I think they're quite you Anthony Smudrick: Yeah. Alan Mcintosh: know th very quick to m to use. Anthony Smudrick: Yeah. Alan Mcintosh: So does anybody oppose the idea of of incorporating one into the design at all? No. And the other thing was um can we think of any way of getting the slogan into this thing? Anthony Smudrick: Yeah like I mean if we if if we keep coming back to this board here, Alan Mcintosh: Uh-huh. Anthony Smudrick: I wouldn't be surprised if we could take this idea, imagine that, I dunno, that it's within the shape of the hand, it's quite small Alan Mcintosh: Uh-huh ooh okay, Anthony Smudrick: I dunno. Alan Mcintosh: we really gotta wrap up so Anthony Smudrick: Yeah. Alan Mcintosh: yeah. Anthony Smudrick: It's small, and that we've got like the the l slogan somewhere like on the casing Alan Mcintosh: Okay Anthony Smudrick: at the side, Alan Mcintosh: well if we can do Anthony Smudrick: and that Alan Mcintosh: that, great. Anthony Smudrick: yeah Alan Mcintosh: Yeah okay. Anthony Smudrick: well I mean isn't that what we just h said said we s just have to decide now? Alan Mcintosh: Yeah let's let's try and get the slogan on there Anthony Smudrick: Yeah. Alan Mcintosh: um, and Anthony Smudrick: And then John Hines: So Anthony Smudrick: like John Hines: you Anthony Smudrick: a John Hines: wanna Anthony Smudrick: jo John Hines: expand the shape of the Anthony Smudrick: And then like a jog dial somewhere that fits in with the shape of it like I dunno like here, in with John Hines: That Anthony Smudrick: the John Hines: that might have one problem in terms of um Anthony Smudrick: It would get bumped, it's doesn't John Hines: in terms Anthony Smudrick: really fit John Hines: of Anthony Smudrick: with your John Hines: whether Anthony Smudrick: hand. John Hines: you're left handed or you're right handed Anthony Smudrick: Yeah. John Hines: you Alan Mcintosh: Mm. John Hines: might be locking yourself in. Anthony Smudrick: Or maybe Daniel Donelson: Mm. Anthony Smudrick: just fit John Hines: Could Anthony Smudrick: it John Hines: I just Anthony Smudrick: in like down the middle Alan Mcintosh: Okay. Anthony Smudrick: here. John Hines: could I just jump in and suggest something Alan Mcintosh: Right Anthony Smudrick: A John Hines: quickly? Alan Mcintosh: I'm Anthony Smudrick: jog Alan Mcintosh: gonna have Anthony Smudrick: di Alan Mcintosh: to I'm really gonna have to hurry you on here 'cause we're we're Anthony Smudrick: Yeah. Alan Mcintosh: actually over time. Anthony Smudrick: It's kind Alan Mcintosh: Um Anthony Smudrick: of Alan Mcintosh: is there anything Anthony Smudrick: yeah Alan Mcintosh: anybody's unsure about? Just for in closing just the next meeting's gonna be in thirty minutes, and so you can see in the screen here what each of you are gonna hopefully be doing, Anthony Smudrick: Yeah. Alan Mcintosh: uh I know that the designers are gonna be working with Play-doh on that. So um that'll Anthony Smudrick: Huh. Alan Mcintosh: be that'll be good. Um and I'll get the the minutes up as soon as possible. Anything at all you think we haven't discussed that we need to? Is everybody Anthony Smudrick: Um Alan Mcintosh: kind of happy about John Hines: Um Alan Mcintosh: what they're gonna be doing? John Hines: I think one thing would be the jog dial 'cause that's gonna have quite a big impact on Anthony Smudrick: Yeah I think John Hines: the thing Anthony Smudrick: the jog John Hines: um Anthony Smudrick: dial, you know it just after you drew that, what if it was flat and you just John Hines: Yeah Anthony Smudrick: spun John Hines: that's what Anthony Smudrick: it, John Hines: I was thinking Anthony Smudrick: that'd be great. John Hines: the a slide, because Anthony Smudrick: Yeah. John Hines: then you you don't have to put the hand. Anthony Smudrick: Yep. John Hines: I think incorporating a logo is quite straight forward. There's Alan Mcintosh: Okay. John Hines: lots of space for it um Alan Mcintosh: That's kind of a design thing that you guys can John Hines: Yeah Alan Mcintosh: can discuss, John Hines: but it's Alan Mcintosh: yeah. Anthony Smudrick: Sure, John Hines: also a a marketing Anthony Smudrick: yeah, John Hines: and a function Anthony Smudrick: yeah Alan Mcintosh: Okay. Anthony Smudrick: and materials we sorta said we'd do plastic and rubber, didn't John Hines: Yeah. Anthony Smudrick: we, Alan Mcintosh: Yeah. Anthony Smudrick: and I think maybe we should try and stay away from just the big protruding rubber buttons, 'cause that'd just be so standard. Alan Mcintosh: To make something flush with the case? Anthony Smudrick: Something a bit more flush, yeah, Alan Mcintosh: Okay right. Anthony Smudrick: or maybe have rubber incorporated into the case as well, so Alan Mcintosh: Okay. Anthony Smudrick: that it has and also t plastic Alan Mcintosh: Sp kinda Anthony Smudrick: I've Alan Mcintosh: grippy? Anthony Smudrick: seen can get really textured, so you can get plastics that actually feel soft in your hand. John Hines: Feel like fruit. Alan Mcintosh: Okay. John Hines: Fruits kids. Anthony Smudrick: They feel kind of like um, you get pens John Hines: No like Anthony Smudrick: now and then that you'd think that John Hines: Yeah Anthony Smudrick: they were John Hines: yeah. Anthony Smudrick: rubber but they're not, they're actually just plastic that's textured, kind John Hines: Yeah Anthony Smudrick: of a John Hines: yeah Anthony Smudrick: little John Hines: kinda Anthony Smudrick: bit Alan Mcintosh: Okay Anthony Smudrick: like John Hines: like that yeah. Alan Mcintosh: I'm gonna have to I'm gonna have to call this to a close 'cause we're way over time. So um that's really good, like we've s had much to talk about that um pretty much run Anthony Smudrick: Okay. Alan Mcintosh: out of time to do so. So off Anthony Smudrick: Okay. Alan Mcintosh: you go and design stuff wooh. John Hines: Play-doh time. Alan Mcintosh: Yeah quite jealous actually. John Hines: You got to choose first. No, we're kidding. Okay, can I just swipe your power cable, I don't think it matters. Okay lemme okay, I'm gonna pull everybody out first and then put in whoever needs to be left. It's you. John Hines: Argh. This is a real hassle and a oops. I'm gonna take the microphones, 'cause it's too lazy t take them off again. Cool.

Alan Mcintosh recapped the decisions made in the previous meeting. Anthony Smudrick discussed his findings from trend watching reports, stressing the need for a product that has a fancy look and feel, is technologically innovative, is easy to use, and incorporates some aspect of fruit and vegetables in its design. The interface specialist presented research on the appearance of current remotes, concluding that current remotes are generally unappealing in terms of look and usability. The interface specialist presented ideas on how to remedy the unappealing aspects of current remotes in the team's design and also how to incorporate the corporate color scheme into the design. John Hines presented options for materials, components, and batteries and discussed the restrictions involved in using certain materials. The team then discussed options for the shape and color scheme of the remote, as well as what components, batteries, and materials to use.

amisum

train

Steve Hilburn: Okay we all all set? Right. Well this is the uh final detailed design meeting. Um we're gonna discuss the look and feel design, the user interface design, and we're gonna evaluate the product. And the end result of this meeting has to be a decision on the details of this remote control, like absolute final decision, um and then I'm gonna have to specify the final design in the final report. So um just from from last time to recap, we said we were gonna have a snowman shaped remote control with no L_C_D_ display, no need for talk-back, it was hopefully gonna be kinetic power and battery uh with rubber buttons, maybe backlighting the buttons with some internal L_E_D_s to shine through the casing, um hopefully a jog-dial, and incorporating the slogan somewhere as well. Anything I've missed? Walter Ringel: No. Steve Hilburn: Okay um so uh if you want to present your prototype go ahead. Tory Nielsen: Uh-oh. This is it? Walter Ringel: Ninja Homer, made in Japan. Tory Nielsen: Um, a few changes we've made. Um, Steve Hilburn: Okay. Tory Nielsen: well look at the expense sheet, and uh Steve Hilburn: Mm. Tory Nielsen: it turned to be quite a lot expensive to have open up and have lots of buttons and stuff inside, Steve Hilburn: Mm-hmm. Tory Nielsen: so instead we've um this is gonna be an L_C_D_ screen, um just a a very very basic one, very small um with access to the menu through the the scroll wheel and uh confirm um button. Antonio Falkowski: Mm 'kay. Walter Ringel: And there isn't uh d it doesn't open up to the advanced functions? So the advanced functions are still hidden from you, but they're hidden in the sense that um they're not in use. Antonio Falkowski: Where are they? Walter Ringel: Um they're in the L_C_D_ panel and the jog-dial? Antonio Falkowski: Ah, right. Walter Ringel: Okay Antonio Falkowski: Great. Walter Ringel: 'cause Steve Hilburn: So w what kind of thing uh is gonna be Walter Ringel: The L_C_D_ panel just displays um functionally what you're doing. If you're using Antonio Falkowski: Right. Walter Ringel: an advanced function right, like um c brightness, contrast, whatever, Antonio Falkowski: Okay. Walter Ringel: it will just say You know it's like only has four columns, it's a very simple L_C_D_ like, Antonio Falkowski: Right. Walter Ringel: whereas many the minimum amount we need that the user will automatically know like this is brightness or this is contrast. Steve Hilburn: Mm-hmm. Antonio Falkowski: Right, Steve Hilburn: Okay cool. Walter Ringel: It might even Antonio Falkowski: 'kay. Walter Ringel: be one, a bit more complex L_C_D_ panel with Antonio Falkowski: Okay. Walter Ringel: pictures like maybe the sun or the, you know, the the symbols of the various Antonio Falkowski: Mm-hmm, Steve Hilburn: Oh Walter Ringel: functions. Steve Hilburn: right okay. Antonio Falkowski: and what is Steve Hilburn: Cool. Antonio Falkowski: this here? Walter Ringel: That's a number pad. Antonio Falkowski: Okay so the number pad is Steve Hilburn: Where Antonio Falkowski: 'Kay, Steve Hilburn: are we gonna Antonio Falkowski: great. Steve Hilburn: have the slogan? Walter Ringel: Um Tory Nielsen: You know, just like Walter Ringel: they're al along Tory Nielsen: right Walter Ringel: this Tory Nielsen: inside Walter Ringel: Yeah. Tory Nielsen: there. Steve Hilburn: Okay cool. Walter Ringel: You have this space here, and then you have this thing on the side as well, or at the bottom. Steve Hilburn: Okay. Walter Ringel: 'Cause slogans are usually quite small, right, they're not like Antonio Falkowski: Mm. Walter Ringel: huge so they're s Antonio Falkowski: Yep. Walter Ringel: Say a button's Steve Hilburn: Okay. Antonio Falkowski: Looks Walter Ringel: about Antonio Falkowski: good. Walter Ringel: say a button's about this size, right, Antonio Falkowski: Yep. Walter Ringel: so you would still have plenty Antonio Falkowski: Mm-hmm. Walter Ringel: of space for a slogan, say even Steve Hilburn: So Walter Ringel: for that. Steve Hilburn: if this isn't to scale, what kind of dimensions are you thinking about here? Tory Nielsen: Well we want the other buttons to be big enough to push easily Steve Hilburn: Mm-hmm. Tory Nielsen: with a finger so we reckon maybe that'll be about the same size as the palm Antonio Falkowski: Okay. Tory Nielsen: of your hand. Walter Ringel: Yep so that would be about a centimetre for a button, so one two three four centimetres. Plus maybe half Antonio Falkowski: Mm-hmm. Walter Ringel: o five Antonio Falkowski: About nine Walter Ringel: six Antonio Falkowski: in total. Steve Hilburn: Six, Walter Ringel: seven Steve Hilburn: seven, Walter Ringel: eight, Steve Hilburn: eight, nine, ten. Walter Ringel: about Steve Hilburn: So Walter Ringel: yeah nine total. Steve Hilburn: we're Antonio Falkowski: That Steve Hilburn: talking Antonio Falkowski: sounds Steve Hilburn: about Antonio Falkowski: good. Steve Hilburn: ten Antonio Falkowski: Yeah. Steve Hilburn: centimetres. That would be Antonio Falkowski: Yep. Steve Hilburn: good. So Walter Ringel: Nine, Steve Hilburn: ten Walter Ringel: ten. Steve Hilburn: centimetres in height. Walter Ringel: Yep. Steve Hilburn: Okay um. Antonio Falkowski: That'd be good, in fact a pen is about ten centimetres usually, so that would be that sounds a really good size Steve Hilburn: Yeah. Antonio Falkowski: if, you see it there. Steve Hilburn: That's great and it's very bright as well. Antonio Falkowski: Mm. Steve Hilburn: So um okay. Antonio Falkowski: Is it possible uh I'm just gonna bring up the idea of colours. Is these are these the colours that of production, Tory Nielsen: Well I'm Antonio Falkowski: or is this just what we had available? Tory Nielsen: We're gonna have again the the sort of the foggy um yellow from last time that lit up when you pushed the button. Antonio Falkowski: Right. Tory Nielsen: Um Steve Hilburn: Okay so just could you just list all the things that it does s so I can write them in the report. Tory Nielsen: But um this button um, because it's red it's sort of very prominent, we're gonna use it as uh it can be the power button if you hold it for maybe two seconds it'll Steve Hilburn: Mm-hmm. Tory Nielsen: send a stand-by signal. Um apart from Walter Ringel: Excuse Tory Nielsen: that Walter Ringel: Antonio Falkowski. Tory Nielsen: it's gonna Walter Ringel: Sure. Tory Nielsen: be used as a confirm button for the L_C_D_ screen Steve Hilburn: Okay. Tory Nielsen: and you use this as a jog-dial. Steve Hilburn: Okay so that's like an okay button, right. Antonio Falkowski: Mm-hmm. Walter Ringel: Oh we've discussed Tory Nielsen: I don't Walter Ringel: how Tory Nielsen: know. Walter Ringel: h high it is, but how wide is it? Steve Hilburn: Okay. Antonio Falkowski: How high is it? Walter Ringel: No as in the height, Antonio Falkowski: Yeah. Walter Ringel: but what about the width? Tory Nielsen: Didn't Steve Hilburn: Oh Tory Nielsen: put five Steve Hilburn: oh Tory Nielsen: centimetres. Steve Hilburn: like depth of the actual Walter Ringel: Do we need five? Steve Hilburn: thing. Walter Ringel: I don't think Tory Nielsen: Um. Walter Ringel: five is be about th three and a half. Antonio Falkowski: Okay. Tory Nielsen: Something Steve Hilburn: Oh is this Tory Nielsen: by Steve Hilburn: k Tory Nielsen: there. Steve Hilburn: to get an idea of scale Walter Ringel: Yeah, Steve Hilburn: from your Antonio Falkowski: Sure. Steve Hilburn: from your Walter Ringel: yeah. Steve Hilburn: thing there okay. So you can power on and off, Antonio Falkowski: Three and Steve Hilburn: what else Antonio Falkowski: a half. Steve Hilburn: can you do? Tory Nielsen: Um you can skip straight to a channel using these buttons. Steve Hilburn: Okay. Tory Nielsen: Um, were gonna have the volume control here, but um because we've got the the L_C_D_ and the jog-dial we just thought we'd um use that as the volume. Steve Hilburn: Okay jog-dial for volume. And what Antonio Falkowski: Mm-hmm. Steve Hilburn: else do you do with the jog-dial? Tory Nielsen: Um you can use it for um more advanced functions like contrast, colour and Steve Hilburn: Contrast, brightness, Tory Nielsen: Um yeah. Steve Hilburn: yeah, and anything else? Tory Nielsen: Um just whatever else we wanted to include as the advanced functions, um we didn't actually go through and specify the Steve Hilburn: Well of the designers what are they? Tory Nielsen: Uh what can a T_V_ do? Walter Ringel: Okay things like um brightness, contrast, Steve Hilburn: Uh-huh. Walter Ringel: um maybe tuning the channels. Steve Hilburn: Okay channel tuning. Walter Ringel: Um. Steve Hilburn: That's a good one. Walter Ringel: What else? Um the various inputs. Are you having a V_C_R_, are you Antonio Falkowski: Mm-hmm, Walter Ringel: having Antonio Falkowski: mm-hmm. Walter Ringel: you know which input do you have? Steve Hilburn: Okay auxiliary Antonio Falkowski: Mm-hmm, probably Steve Hilburn: inputs. Walter Ringel: Um. Antonio Falkowski: colour or sharpness. Walter Ringel: Yep, colour, sharpness. Steve Hilburn: Sharpness. Walter Ringel: Um a lot of these things will have to be um free and open for users to define them. Antonio Falkowski: Mm-hmm. Steve Hilburn: Okay what about uh sound settings? Uh d can you change any of those at all? Antonio Falkowski: Audio. Walter Ringel: Audio, we have like Tory Nielsen: Um. Walter Ringel: your basic y your base, your mid-range, your high range. Um. Tory Nielsen: the the balance hmm. Walter Ringel: Yep, left-right balance, um maybe even pre-programmed sound modes, like Steve Hilburn: Okay. Walter Ringel: um the user could determine like a series of sound modes, and then Antonio Falkowski: Mm-hmm. Walter Ringel: what could happen would be um when you click on that then it would go to that setting. Steve Hilburn: Okay, Antonio Falkowski: Mm 'kay. Walter Ringel: Yeah. Steve Hilburn: is there anything else at all it can do? That 'cause that's that's fine. Just need to know so I can write it down. Okay um right I g I guess that's it, so we can now um We can now have a little look at the the Excel sheet and price listing, and see if we need to Tory Nielsen: Mm-hmm. Steve Hilburn: um if we need to rethink anything at all. So um for this first part here power-wise, have we Walter Ringel: The Steve Hilburn: got Walter Ringel: battery. Steve Hilburn: battery? Do we have kinetic as well? Walter Ringel: No. Steve Hilburn: No. Okay, Walter Ringel: Um. Steve Hilburn: just battery. Walter Ringel: We need an Steve Hilburn: And that's because of cost restraints Walter Ringel: Yep. Steve Hilburn: is it? Tory Nielsen: Yeah. Steve Hilburn: Okay um Walter Ringel: Yeah advanced Steve Hilburn: what about the Walter Ringel: chip. Steve Hilburn: electronics here? Walter Ringel: We Steve Hilburn: Advanced Walter Ringel: need an advanced Steve Hilburn: chip. Walter Ringel: chip I think, yep. Let Antonio Falkowski just confirm that. Yes I think so. Yep. Steve Hilburn: Okay um the case, what does it mean by single and double, do you know? Tory Nielsen: Um I think single would just be sort of one sort of oval whereas double is this sort of thing. Walter Ringel: Yeah. Steve Hilburn: So we want double-curved? Walter Ringel: Yep. Steve Hilburn: Okay. Um. Walter Ringel: Plastic. Steve Hilburn: Is there any rubber at all in the buttons Walter Ringel: I think we're Steve Hilburn: or any Walter Ringel: gonna have to skip the rubber. Steve Hilburn: Okay, Walter Ringel: Um. Steve Hilburn: um and we wanted special colours didn't Walter Ringel: Yep. Steve Hilburn: we? So I'll have to put that Oh no wait we ho how many colours have we got there? Walter Ringel: For the case itself, one colour. It's one special colour. Steve Hilburn: Just one colour, okay. Walter Ringel: 'Cause the case unit itself, the rest of our components Steve Hilburn: Okay Walter Ringel: go on top Antonio Falkowski: Mm. Walter Ringel: of it. Steve Hilburn: so interface-wise, is it this third option we Walter Ringel: Yes. Steve Hilburn: have, the two of them there? Walter Ringel: One and the L_C_ display. Steve Hilburn: Okay and then buttons, Walter Ringel: How many Steve Hilburn: we have what, Tory Nielsen: Um we have Steve Hilburn: two Tory Nielsen: um Steve Hilburn: colours? Tory Nielsen: got some Antonio Falkowski: Or even Tory Nielsen: push buttons Antonio Falkowski: clear. Tory Nielsen: as well. Walter Ringel: We've got push buttons as well. Steve Hilburn: Like uh Tory Nielsen: 'Kay. Steve Hilburn: oh wait so push button and integrated scroll wheel push okay. Tory Nielsen: So I reckon we've got one button for this thing 'cause it's just one big sheet of rubber. Steve Hilburn: Uh-huh. Tory Nielsen: I'm not sure if that counts but Steve Hilburn: Okay. Walter Ringel: Okay let's just be safe and put like say four buttons for that one. Steve Hilburn: Okay. Walter Ringel: Okay um and maybe a special colour for the buttons, so maybe four again. Steve Hilburn: Four. Tory Nielsen: You can see we're we're all very Steve Hilburn: So Tory Nielsen: far Steve Hilburn: w Tory Nielsen: beyond Steve Hilburn: why Tory Nielsen: the Steve Hilburn: are we arriving at the number four? Where does the number four come from? Walter Ringel: 'Cause that's one button by its the complexity of twelve buttons. Steve Hilburn: Okay right, so Walter Ringel: So Steve Hilburn: we're writing Walter Ringel: we're Steve Hilburn: down Walter Ringel: just Steve Hilburn: four. Walter Ringel: estimating that yeah it would be less. Steve Hilburn: Okay. How about these? Are we wanting them in Walter Ringel: No. Steve Hilburn: no they're just is Walter Ringel: Yep. Steve Hilburn: everything gonna be plastic? Walter Ringel: Yep. Steve Hilburn: Okay. So we're w w quite far over. Now we're gonna something's gonna have to go. Um we're at sixteen point eight and Antonio Falkowski: Uh how mm-hmm how are we going to achieve this high-end product if Steve Hilburn: Well we h something has to Antonio Falkowski: We Steve Hilburn: go Antonio Falkowski: only have Steve Hilburn: to the tune Antonio Falkowski: very Steve Hilburn: of Antonio Falkowski: sparse Steve Hilburn: two point t three Euro, so let Antonio Falkowski see, what are we Antonio Falkowski: Two Steve Hilburn: I mean Antonio Falkowski: point three? Four point three no? Steve Hilburn: oh yes sorry, four point three. My maths is all out. Tory Nielsen: Well we could take out ones by making it single curved, just fill in those bits. Steve Hilburn: Yeah. Antonio Falkowski: And then where Walter Ringel: How Antonio Falkowski: is Walter Ringel: much Antonio Falkowski: the Walter Ringel: would that save us? Steve Hilburn: How much would that save Walter Ringel: That Steve Hilburn: us? Walter Ringel: will only save Tory Nielsen: That Walter Ringel: you one. Tory Nielsen: is one. Steve Hilburn: One. Walter Ringel: The other thing could be that um you could take away the L_C_D_ panel and the advanced chip together, um because when you do something on the T_V_, Antonio Falkowski: Mm-hmm. Walter Ringel: the T_V_ responds and reacts as well, so the user could be looking at the T_V_ and pushing his thing Tory Nielsen: That's Walter Ringel: so Tory Nielsen: fair Walter Ringel: we Tory Nielsen: enough, Walter Ringel: may Tory Nielsen: yeah. Walter Ringel: not need to Antonio Falkowski: Mm-hmm. Walter Ringel: so when we scroll we need just some way to Antonio Falkowski: Mm-hmm. Walter Ringel: get the T_V_ to respond, Steve Hilburn: Okay Antonio Falkowski: Mm-hmm. Steve Hilburn: so Walter Ringel: which I think is a technically doable thing so Antonio Falkowski: Mm-hmm. Steve Hilburn: So w what's our reviewed suggestion? Um take away the L_C_ display? Walter Ringel: Yep. And Antonio Falkowski: Mm-hmm. Walter Ringel: the advanced chip goes away as well. Steve Hilburn: To be replaced with a Walter Ringel: Regular chip. Steve Hilburn: regular chip. Walter Ringel: Yep. Antonio Falkowski: Mm-hmm. Steve Hilburn: Okay. Walter Ringel: So what that means is that Steve Hilburn: And Walter Ringel: um Steve Hilburn: so we've got point three to get rid of. Um and we ha where are the four the four push buttons are where exactly now? Walter Ringel: The twelve buttons that you see there. Steve Hilburn: Twelve buttons. Tory Nielsen: That's um one piece of rubber but it's gonna have twelve button Steve Hilburn: Yeah. Tory Nielsen: things underneath Walter Ringel: Functionally Tory Nielsen: so Walter Ringel: you're gonna have to intercept So four is a good estimate for Steve Hilburn: Do you think? Walter Ringel: Yeah, so you can't actually cut It's like three times the number of Steve Hilburn: Like Walter Ringel: buttons, Steve Hilburn: is Walter Ringel: four, eight, twelve. Steve Hilburn: is that one big button or is it twelve buttons, how Walter Ringel: It Steve Hilburn: can it be something in between? Walter Ringel: It needs to be more than one big button because if you open up your phone, underneath Antonio Falkowski: Mm-hmm. Walter Ringel: there's actually Steve Hilburn: Mm. Walter Ringel: one button underneath, it's just that the panel itself is a single panel. Antonio Falkowski: Mm-hmm. Steve Hilburn: Okay well we have point three to get rid of somewhere. Walter Ringel: We just Steve Hilburn: Mm. Walter Ringel: report that it has to be over budget, or the colours, you Steve Hilburn: No Walter Ringel: could Steve Hilburn: can Walter Ringel: take away Steve Hilburn: do. Walter Ringel: s colours for th for the buttons. Antonio Falkowski: Yeah we could just go with Tory Nielsen: Yeah w Antonio Falkowski: um Walter Ringel: Normal coloured buttons. Steve Hilburn: Well do you want colour differentiation here? Walter Ringel: No Tory Nielsen: Um Walter Ringel: that's not the button we're talking Steve Hilburn: Oh yeah Walter Ringel: about. Steve Hilburn: sorry Walter Ringel: That's Steve Hilburn: yeah then. Walter Ringel: the buttons only refer to the pad so Steve Hilburn: Right so Walter Ringel: Should we take that off uh? Steve Hilburn: Ah. Walter Ringel: Hey Steve Hilburn: That's Walter Ringel: it's back Steve Hilburn: it. Walter Ringel: to the original. Antonio Falkowski: Hmm. Walter Ringel: Um so then these just become normal coloured buttons, Antonio Falkowski: Mm-hmm. Walter Ringel: so that might be some some way of cutting the cost. Antonio Falkowski: Mm. Steve Hilburn: Okay, ach that's a shame. Um right, so take away that completely? Ah. And now we're under budget. So we do have point five Euro to play with if we wanted. Um Tory Nielsen: So I reckon Antonio Falkowski: How about with embossing the logo, isn't that going to cost us some money? Steve Hilburn: Doesn't say so. Antonio Falkowski: Yeah. That's Tory Nielsen: Reckon that Antonio Falkowski: a freebie. Tory Nielsen: probably counts as a special form for the buttons. Walter Ringel: Yeah. Steve Hilburn: a good idea. Just one? Does that mean that one button has a special form or Tory Nielsen: I think there's just one button so Steve Hilburn: Yeah Tory Nielsen: handy. Steve Hilburn: okay. Well well there we go. So I'm just gonna have to redraw this now. So we're not gonna have the L_C_D_ anymore, and we'll just gonna have an on t on the T_V_ it'll show you what you're doing, which I think is fair enough, and so this is gonna be one big thing here. Um. Antonio Falkowski: Was the goal in your in your prototype design that it be as low profile as possible? Walter Ringel: What do you mean by Tory Nielsen: Yeah. Walter Ringel: profile? Antonio Falkowski: Sort of flat as possible. Walter Ringel: No. Tory Nielsen: You see I envision it as being um quite deep sort of Antonio Falkowski: Yeah. Tory Nielsen: deep enough to be comfy to hold in your hands Antonio Falkowski: Yeah that's Tory Nielsen: rather Antonio Falkowski: what I Tory Nielsen: than Antonio Falkowski: was Tory Nielsen: being Antonio Falkowski: thinking, Tory Nielsen: wide Antonio Falkowski: to Tory Nielsen: and flat. Antonio Falkowski: Sure, Walter Ringel: We Antonio Falkowski: okay. Walter Ringel: didn't have enough Play-Doh to make it three Antonio Falkowski: Yeah Walter Ringel: D_. Antonio Falkowski: alright yeah fair enough. Okay, just thought I'd ask. Walter Ringel: So there's one more dimension to the thing Antonio Falkowski: Mm-hmm. Walter Ringel: which we need to to add, and you might want to add in the report, height. Steve Hilburn: Right okay. Walter Ringel: Yeah. Steve Hilburn: So just to well to be thorough then, width-wise we're looking at about what three centimetres or something? Walter Ringel: Yeah. Steve Hilburn: Okay and then so Antonio Falkowski: Hmm. Steve Hilburn: height-wise How how tall do you envisage it being? About Tory Nielsen: Yeah Steve Hilburn: that Tory Nielsen: it works, Steve Hilburn: big? Walter Ringel: Two. Tory Nielsen: yeah. Steve Hilburn: About two centimetres, okay. Antonio Falkowski: Two's not very high at all though. Maybe Walter Ringel: This Antonio Falkowski: a bit Walter Ringel: is Antonio Falkowski: higher? Walter Ringel: about this is about two. Slightly more than Tory Nielsen: See, Walter Ringel: two, Antonio Falkowski: Yeah. Walter Ringel: so Tory Nielsen: about that thick. Steve Hilburn: Okay. Antonio Falkowski: Maybe closer Steve Hilburn: Ach, that Antonio Falkowski: to Steve Hilburn: is Antonio Falkowski: three even Steve Hilburn: Yeah. Walter Ringel: Okay. Antonio Falkowski: or two and a half. Steve Hilburn: Okay we'll s we'll say two point five. Okay um so we have it within cost anyway. Um so yeah project evaluation is this point. Um. Antonio Falkowski: Mm-hmm. Steve Hilburn: Right uh. Okay so can we close that? This is what it's the final spec that it's gonna be. Antonio Falkowski: Mm-hmm. Steve Hilburn: Someone is gonna have to yeah that's fine that's fine. Antonio Falkowski: Um it's probably just I dunno if it's worth getting into, but um just in in that we want this to be stylish, should we think a little bit more out of the box in terms of a button grid, because I've seen there's lots of devices out there that that instead of taking your standard nine nine square grid, and they have it sort of stylized or in different concept that that Walter Ringel: I think that's something that's very hard to catch, Antonio Falkowski: Yeah. Walter Ringel: so you you restrict the number of people who wanna try something. Antonio Falkowski: Sure, okay. Walter Ringel: The the look and the colour is something which is cool, Antonio Falkowski: Yeah, alright. Walter Ringel: but I think that there's also that factor of if it's too unfamiliar Antonio Falkowski: Okay, Walter Ringel: then Antonio Falkowski: sure. Walter Ringel: um because when you put Antonio Falkowski: What about Walter Ringel: it on the Antonio Falkowski: button Walter Ringel: shelf Antonio Falkowski: shape? Square buttons? Walter Ringel: Yeah button shape might be a good idea to change, Antonio Falkowski: Okay. Walter Ringel: rather than rather than positioning, Antonio Falkowski: Yeah. Walter Ringel: 'cause I think positioning is Antonio Falkowski: Sure. Walter Ringel: we're kinda engrained into the Tory Nielsen: Yeah. Walter Ringel: the telephone kind Antonio Falkowski: Yeah. Walter Ringel: of Steve Hilburn: Okay. Walter Ringel: pad. Steve Hilburn: Right um. So at this point we uh, let Antonio Falkowski see, discuss uh how satisfied we all are with um with these four points, with the room for creativity in the project, and leadership and teamwork, and the stuff we had around Antonio Falkowski: Mm 'kay. Steve Hilburn: us I guess. Um, let Antonio Falkowski see uh Antonio Falkowski: Do you want Antonio Falkowski to d um Do you want Antonio Falkowski to do my um design evaluation last? Walter Ringel: Maybe Steve Hilburn: Yeah I wasn't Walter Ringel: we should Antonio Falkowski: Or Steve Hilburn: really Walter Ringel: do the Steve Hilburn: sure Walter Ringel: design evaluation Steve Hilburn: what that was Walter Ringel: first. Steve Hilburn: Yeah, Antonio Falkowski: Evaluation. Steve Hilburn: yeah go for that first. I wasn't entirely sure what uh Antonio Falkowski: Okay. Steve Hilburn: who was supposed to be doing that, but Antonio Falkowski: Sure. Steve Hilburn: y you go for it. Antonio Falkowski: Um, alright so the way this works, I'm gonna need to plug into PowerPoint, Steve Hilburn: Okay. Antonio Falkowski: I'll try and do it as quick as possible. Steve Hilburn: Okay. Antonio Falkowski: Um, this is um I'll just go over your head if that's okay. Steve Hilburn: Yeah. Walter Ringel: I don't think you need the power, so Antonio Falkowski: What's that? Walter Ringel: No, that's okay that's okay. Antonio Falkowski: I don't need the PowerPoint? Walter Ringel: No, the power cord itself. Antonio Falkowski: Oh course, Walter Ringel: Yeah, Antonio Falkowski: yeah that's Walter Ringel: so Antonio Falkowski: true. Walter Ringel: then you have Antonio Falkowski: Let Walter Ringel: a Antonio Falkowski: Antonio Falkowski Walter Ringel: bit Antonio Falkowski: get Walter Ringel: more Antonio Falkowski: that. Walter Ringel: freedom to Antonio Falkowski: A bit more. Okay, Walter Ringel: You you still have your blue Antonio Falkowski: so Walter Ringel: fingers. Antonio Falkowski: what this is is a set-up for us to Tory Nielsen: Is it? Antonio Falkowski: um Walter Ringel: You Antonio Falkowski: uh use Walter Ringel: killed Antonio Falkowski: a kind Walter Ringel: a monster. Antonio Falkowski: of a like a The idea is that I've set up I've reviewed all of the um the points of discussion from the beginning, and used that as a criteria of evaluation for the um uh for the current design uh th or the plan, and uh so we can review that. Uh I think it's gonna end up being sort of elementary because we're sort we're in n we're not gonna probably use it to change anything but Doesn't seem like it's going, does it? Steve Hilburn: Oh there it is. Antonio Falkowski: Yeah, okay great. Uh and I'm gonna write up our results on the board, so this'll be a way for us to go through and decide if we're um sort of review where we stand with it. Okay, so um So to sort of b bring together two things, sort of design goals and also the market research that we had, uh when we rate this, one is v high in in succeeding or fitting to our original aim and seven is low, okay. Steve Hilburn: Mm 'kay. Antonio Falkowski: So these i these i th are the and um we've been asked to uh to collectively rate this, so what we can do is try and just y work on a consensus system so we just come to an agreement. Steve Hilburn: Okay. Antonio Falkowski: Okay? So the first one uh, stylish look and feel. Walter Ringel: I rate that pretty highly. Steve Hilburn: Well yeah, Tory Nielsen: Yeah. Steve Hilburn: I mean compared to most Antonio Falkowski: Yeah. Steve Hilburn: remote controls you see that's pretty good. I dunno Antonio Falkowski: Yeah. Steve Hilburn: like a six or something. Antonio Falkowski: Yeah Steve Hilburn: What Antonio Falkowski: um Steve Hilburn: does anybody else think? Antonio Falkowski: Antonio Falkowski uh my only reservation with it was that we basically went with yellow because it's the company's colour, Steve Hilburn: Mm. Antonio Falkowski: and I don't know if yellow's gonna really be a hit. Steve Hilburn: Mm. Antonio Falkowski: But Steve Hilburn: Okay. Tory Nielsen: I'm seeing five then. Antonio Falkowski: What do you guys think? Steve Hilburn: I would say five or six. Antonio Falkowski: Okay. Steve Hilburn: David? Walter Ringel: Yep I'm fine with that. Antonio Falkowski: Okay let's go with five then. Steve Hilburn: Okay. Antonio Falkowski: Fi oh uh just Walter Ringel: It's Antonio Falkowski: actually Walter Ringel: one Antonio Falkowski: the opposite. Walter Ringel: to seven, right? Antonio Falkowski: The Steve Hilburn: Oh yes sorry Antonio Falkowski: So it meant Steve Hilburn: then, then I would say two Antonio Falkowski: three, Steve Hilburn: or three. Antonio Falkowski: okay. Walter Ringel: Wait, what's the scale, one to seven, Tory Nielsen: One's Walter Ringel: right? Steve Hilburn: Yeah. Tory Nielsen: high-ish Antonio Falkowski: Yeah, Tory Nielsen: isn't it? Antonio Falkowski: one is high. Tory Nielsen: Ah, okay so yeah, two or three. Antonio Falkowski: 'Kay Walter Ringel: Okay, it's Antonio Falkowski: Let's Walter Ringel: upside-down. Antonio Falkowski: go with two point five then. Okay, um control high tech innovation. Steve Hilburn: Well it Antonio Falkowski: We Steve Hilburn: has Antonio Falkowski: had to Steve Hilburn: the Antonio Falkowski: remove Steve Hilburn: wee jog-dial but Antonio Falkowski: Yeah, so we've had to remove a few of our features we Steve Hilburn: Mm. Antonio Falkowski: wanted, but jog-dial 's Steve Hilburn: I'd Antonio Falkowski: good. Walter Ringel: Say Steve Hilburn: go with Walter Ringel: it's more Steve Hilburn: three Tory Nielsen: Eight Steve Hilburn: or Tory Nielsen: three. Steve Hilburn: four, Walter Ringel: medium, Steve Hilburn: maybe three. Walter Ringel: but going towards a little bit higher than medium Antonio Falkowski: Okay, Walter Ringel: kind of Steve Hilburn: Yeah Walter Ringel: thing. Steve Hilburn: about Antonio Falkowski: three? Steve Hilburn: three, okay. Walter Ringel: Yep. Antonio Falkowski: Okay, um Style reflects a fruit inspired colour, design. I Walter Ringel: Lemon. Antonio Falkowski: shouldn't have said colour, but just Steve Hilburn: Well that's Walter Ringel: Okay, Steve Hilburn: kind Walter Ringel: the Steve Hilburn: of Walter Ringel: blue Tory Nielsen: Yeah. Walter Ringel: the blue Antonio Falkowski: Sorta. Walter Ringel: colours and don't re don't actually represent the colour, except Antonio Falkowski: Yeah. Walter Ringel: for the b the the red button, they because for want of a Steve Hilburn: But Antonio Falkowski: Right. Steve Hilburn: the yellow, I mean it could be Antonio Falkowski: Yeah, Steve Hilburn: a lemon Antonio Falkowski: could Steve Hilburn: yellow Antonio Falkowski: be. Yeah. Steve Hilburn: colour, Walter Ringel: Yeah, the Steve Hilburn: couldn't Walter Ringel: the yellow Steve Hilburn: it? Walter Ringel: is more representative of the colour, but Antonio Falkowski: Okay. Walter Ringel: the Steve Hilburn: Yeah. Walter Ringel: button itself, the blue can be anything else. Antonio Falkowski: Okay so we'll go two. Steve Hilburn: Mm-hmm. Antonio Falkowski: Yeah? Okay, and um design is simple to use, simple in features. Steve Hilburn: Well yeah, I mean it's really basic Antonio Falkowski: F Steve Hilburn: looking Antonio Falkowski: f Steve Hilburn: isn't it? I Antonio Falkowski: yeah Steve Hilburn: mean I'd give that nearly a one. Antonio Falkowski: f fairly basic, you guys think? Tory Nielsen: Yeah one. Walter Ringel: Yep, Antonio Falkowski: Yeah, one? Walter Ringel: that's Antonio Falkowski: Okay. Walter Ringel: fine. Antonio Falkowski: Um, soft and spongy, have we achieved that? We've used mostly plastic in the end so it's going to be quite Tory Nielsen: Yeah I think Antonio Falkowski: a bit Tory Nielsen: it's Antonio Falkowski: of Tory Nielsen: about Antonio Falkowski: a compromise Tory Nielsen: five. Antonio Falkowski: for price. Five? Steve Hilburn: Five? That's Tory Nielsen: Yeah Steve Hilburn: really low. Well Tory Nielsen: well we have to use uh plastic so it's Steve Hilburn: Yeah Tory Nielsen: probably Steve Hilburn: I Antonio Falkowski: That's Tory Nielsen: gonna Steve Hilburn: suppose Tory Nielsen: be Steve Hilburn: mm 'kay. Antonio Falkowski: Um Walter Ringel: Yeah, Antonio Falkowski: could Walter Ringel: company Antonio Falkowski: we have Walter Ringel: logo. Antonio Falkowski: used an entirely rubber frame to it? Was that an option? Tory Nielsen: I think I'd probably Walter Ringel: I think Tory Nielsen: increase Walter Ringel: it'll Tory Nielsen: the cost. Walter Ringel: be cost Tory Nielsen: We've only Antonio Falkowski: It Walter Ringel: prohibitive, Antonio Falkowski: would Tory Nielsen: got Antonio Falkowski: cost more than plastic. Tory Nielsen: like what, Walter Ringel: yeah. Tory Nielsen: ten Antonio Falkowski: Okay, Tory Nielsen: cents left Antonio Falkowski: logo, Tory Nielsen: so Antonio Falkowski: we've got it in there, haven't we? Walter Ringel: Yep. Steve Hilburn: Yep. Gonna have that on the side, aren't we, like there or something? Antonio Falkowski: Huh. And um it's within budget, yep. It is, isn't it? Tory Nielsen: Yeah. Antonio Falkowski: Okay, so we can say then that uh out of a possible or what would be our goal here? Steve Hilburn: Out of forty nine, I guess. Antonio Falkowski: Yeah, out of forty nine with with zero being the highest. We are at uh two, seven, eight, ten, fifteen point five. Steve Hilburn: 'S pretty Antonio Falkowski: So Steve Hilburn: good. Antonio Falkowski: it's pretty good. Translates to something like about approximately seventy two percent efficacy of our original goal. Right? Steve Hilburn: Uh Antonio Falkowski: I think Steve Hilburn: yeah. Antonio Falkowski: 'cause if you turn that into a hundred it would be about Steve Hilburn: Twice that, Antonio Falkowski: about thirty Steve Hilburn: about thirty Antonio Falkowski: one, Steve Hilburn: one. Antonio Falkowski: and then invert that, it's Steve Hilburn: So yeah ab well yeah about sixty nine, seventy percent Antonio Falkowski: Oh right, Steve Hilburn: yeah. Antonio Falkowski: about seventy, yeah seventy percent. Steve Hilburn: It's pretty good. Antonio Falkowski: Okay, good. That was just a little formality for us to go through. Steve Hilburn: Okay. Antonio Falkowski: Yep, oh hundred pound pen. Sorry alright. Steve Hilburn: Nobody saw it, honestly. Antonio Falkowski: No. Walter Ringel: The cameras did. Antonio Falkowski: Hmm. Steve Hilburn: Is that you all have all finished, or Antonio Falkowski: Yeah that's that's Antonio Falkowski. I did have one other um one other frame I thought, I mean I I d not knowing how we would deal with this information, I thought okay in theory this kind of a process would be about refining our design, revisiting Steve Hilburn: Uh-huh. Antonio Falkowski: our original goals. It's not something I need to p push through, but I thought should we thinking more about the dimensions, um sort of like more of a three dimensional shapes as well as opposed to just that flat um Steve Hilburn: Mm-hmm. Antonio Falkowski: Could our design involve a series of colours so that it's more of like a line where we have like sort of the, Walter Ringel: Yep. Antonio Falkowski: I don't know like the harvest line or the vibrant, I dunno the Whatever just some theme and then we have different tones, lime green, lemon. Steve Hilburn: Okay. Antonio Falkowski: It's just discussion. I mean obviously we can just abandon this, it's fine. I'm just thinking about what we originally set out to do. Um, Steve Hilburn: Right. Antonio Falkowski: yep so there. That's all. Steve Hilburn: Okay, great um are you submitting the the um evaluation criteria or am I? I don't know what your instructions have been. Antonio Falkowski: Um, I think to record it and uh I haven't been asked to submit it yet. Yeah. Steve Hilburn: Okay, uh just wondering if I need to include it in the minutes, because if you're submitting it anyway Antonio Falkowski: I Steve Hilburn: then Antonio Falkowski: will, yeah. Steve Hilburn: Okay great. Walter Ringel: It keeps getting too big. Steve Hilburn: Cool. Um right, uh well next up then, because we've done finance, is the project evaluation. Walter Ringel: 'Kay I'm I'm listening I'm just trying to incorporate the logo into the Steve Hilburn: Oh right, Walter Ringel: the Steve Hilburn: okay. Walter Ringel: thing, so I'm playing with the Play-Doh as well. Just in case you're wondering, Antonio Falkowski: Huh. Walter Ringel: why is he still playing with the Play-Doh? Walter Ringel: Just about right L_E_G_O_ Lego. Tory Nielsen: My leg. Steve Hilburn: Right, okay. Um well do you wanna um just individually say what you think about about these four points and or not those four points, my four points, sorry, forgotten that. You got a different uh Antonio Falkowski: Yep. I like those printer cables that just have the two little butterfly clips Steve Hilburn: Oh yeah, Antonio Falkowski: like that. Steve Hilburn: they're good Antonio Falkowski: It's Steve Hilburn: aren't Antonio Falkowski: really Steve Hilburn: they, yeah. Antonio Falkowski: quick. Steve Hilburn: Right Antonio Falkowski: To use. Steve Hilburn: okay, um yeah here we are. Uh as a note we'll do this alphabetically. Um do you wanna start Antonio Falkowski: Sure, Steve Hilburn: Andrew? Antonio Falkowski: um so what is it you're asking of Antonio Falkowski now? Steve Hilburn: I don't know, just um your opinion on those four those four points really and how we Antonio Falkowski: Or sort of our work Steve Hilburn: used Antonio Falkowski: on Steve Hilburn: them. Antonio Falkowski: setting this up. Steve Hilburn: Yeah. Antonio Falkowski: Yeah. Well, is it uh okay I'll just go through your system then. The the room uh is fairly institutional, but um the main thing is, I think um our use of this space is more just to report on things as opposed to be creative and constructive and it would probably help to um have l sort of a cumulative effect of we have ideas and we come back and then the ideas are still in discussion, you know, as Steve Hilburn: Uh-huh. Antonio Falkowski: in other words this this room is sort of a centre point of creativity, whereas in reality as we've gone through this, it's not really the centre point of creativity, it's more just a Steve Hilburn: Well d do Antonio Falkowski: d Steve Hilburn: you feel Antonio Falkowski: debating Steve Hilburn: though that that you were able to have quite a lot of creative input into the Antonio Falkowski: Yeah, Steve Hilburn: thing? Antonio Falkowski: yeah but that's just the thing is the quest in terms of the the first point there, the room, it feels as though the creativity goes on when we leave, and then we come here and then we kind of put out our ideas and then, you Steve Hilburn: But Antonio Falkowski: know. Steve Hilburn: I don't I don't think it means the room as in this room. I think Antonio Falkowski: Oh, Steve Hilburn: it means like you Antonio Falkowski: oh right right, oh Steve Hilburn: know Antonio Falkowski: right okay Steve Hilburn: Yeah. Antonio Falkowski: room for creativ Oh right I just looked up and saw okay whiteboard, Steve Hilburn: Room. Antonio Falkowski: digital pens, the room. Steve Hilburn: Oh yeah. Antonio Falkowski: No, of course, yeah. Steve Hilburn: Well I dunno do you th Antonio Falkowski: Sorry. Steve Hilburn: I think it means um Antonio Falkowski: Huh. Steve Hilburn: I think it means did you feel Antonio Falkowski: Yeah. Steve Hilburn: you were able to give creative input so Antonio Falkowski: Yeah I th okay on th um yeah dif answering the question uh in those terms I'd say that actually there's sort of a tease of creativity because we're asked to work through this, but actually the guidelines are fairly contrived in terms of Steve Hilburn: Mm-hmm. Antonio Falkowski: um okay fashion trends, say fruit and vegetable colour scheme, but then i then we're told okay use the co company Steve Hilburn: Mm. Antonio Falkowski: company colours. So what do we do. We're told okay um think in terms of style and look and feel and technology, but build something for twelve and a half pounds, Steve Hilburn: Okay. Antonio Falkowski: so actually the creativity was more more of like a um a f sort of a f formality then an actual Walter Ringel: You Steve Hilburn: Okay. Walter Ringel: feel like you're caged within Antonio Falkowski: Yeah Walter Ringel: whatever Antonio Falkowski: within the constraints Walter Ringel: y It's Antonio Falkowski: the Walter Ringel: like a balloon in a cage, it can Antonio Falkowski: Yeah. Walter Ringel: only go so big and not hit the side. The Antonio Falkowski: Yeah, Walter Ringel: constraints Steve Hilburn: Okay Antonio Falkowski: yeah. Steve Hilburn: uh Walter Ringel: do come Steve Hilburn: do Antonio Falkowski: So Steve Hilburn: you know Walter Ringel: in Steve Hilburn: what, Walter Ringel: very fast. Steve Hilburn: actually let's take each point and everybody discuss it, I think. Antonio Falkowski: Yeah. Steve Hilburn: Yeah. So still on the topic of room for creativity uh next up is Craig. Tory Nielsen: Um I agree with his point it's um it is quite a lot of fun t to go and then you have sort of hit the end then go right, gotta cut everything out 'cause we don't have enough money. Steve Hilburn: Yeah. Walter Ringel: Yeah. Antonio Falkowski: Yep. Walter Ringel: I think another point is that the meetings um are more brainstorming sessions than Antonio Falkowski: Yeah. Walter Ringel: meetings, so time is also a very s um strong factor, and structure. Steve Hilburn: Yeah. Antonio Falkowski: Yeah. Walter Ringel: Because for a brainstorming meeting you want a structure that allows you to allows ideas to get tossed, Antonio Falkowski: Mm-hmm, Steve Hilburn: Mm. Walter Ringel: um Antonio Falkowski: mm-hmm. Walter Ringel: to be evaluated, and to be reviewed, and to get feedback and Antonio Falkowski: Yeah, Walter Ringel: come back. And Antonio Falkowski: yeah. Walter Ringel: I guess that point about the room not being r very friendly to that, I think Antonio Falkowski: Yeah. Walter Ringel: that's a very big thing, and I think the fact that we're wearing these things Antonio Falkowski: Yeah, Walter Ringel: restricts Antonio Falkowski: sure. Walter Ringel: I feel it 'cause I wear Steve Hilburn: Yeah. Walter Ringel: m my glasses, right, and that but that irritates Antonio Falkowski right Antonio Falkowski: Yeah. Walter Ringel: it it it does actually you know affect Antonio Falkowski: New creativity. Walter Ringel: how, w whether you feel comfortable to communicate. I feel like I'm hiding behind the equipment, Antonio Falkowski: Yep. Walter Ringel: rather than the equipment is helping Antonio Falkowski, and Antonio Falkowski: Right. Steve Hilburn: So you Walter Ringel: you Steve Hilburn: think Walter Ringel: know. Steve Hilburn: a more relaxed atmosphere would be more kind of conducive Walter Ringel: Not not so much Steve Hilburn: to Walter Ringel: an Steve Hilburn: creative Walter Ringel: atmosphere, Steve Hilburn: thought Walter Ringel: the atmosphere Steve Hilburn: or Walter Ringel: is very relaxed, but Steve Hilburn: Yeah, Walter Ringel: the Steve Hilburn: but actual Walter Ringel: the Steve Hilburn: environment? Walter Ringel: gear yeah you know that creates Antonio Falkowski: Mm. Walter Ringel: boundaries to that um Antonio Falkowski: Mm-hmm. Walter Ringel: and Steve Hilburn: Okay. Walter Ringel: and the time the time given also Antonio Falkowski: Mm-hmm. Steve Hilburn: Okay. Walter Ringel: restricts Steve Hilburn: Very good. Um what about leadership? I don't know if that means like, if I did a good job or something. I don't really know. Antonio Falkowski: Yeah, well well I mean my sense on that is sort of what kind of guidance and direction, encouragement Steve Hilburn: From like your personal coach person and stuff like that, do you think maybe? Antonio Falkowski: Yeah from and you as well I think, just sort of acting as team leader. Steve Hilburn: Okay. Antonio Falkowski: Um yeah I think I think it's Walter Ringel: Excuse Antonio Falkowski: I think Walter Ringel: Antonio Falkowski. Antonio Falkowski: it's good. I mean my personal views on on leadership is that effective effective leadership sort of um gives people a certain room for freedom and delegation, but then to come back with something that they take great ownership and Steve Hilburn: Mm-hmm. Antonio Falkowski: you know, innovative thought with. In in reality I think here the the different elements of leadership such as the the original b briefing and then the personal coach and the and then you know having having you with your the meeting agenda is actually quite a quite a quite a con confining framework to work within. And so it is leadership almost to the point of sort of disempowering the the the team member, Steve Hilburn: Uh-huh, Antonio Falkowski: so Steve Hilburn: okay. Antonio Falkowski: But it's not bad leadership, it's just sort of s fairly strong, you know. It turns it turns the individual into more of like a um sort of a predetermined mechanism, as opposed to a Steve Hilburn: So you think maybe Antonio Falkowski: sort of a free Steve Hilburn: a little too controlling or Antonio Falkowski: Yeah, oh yeah, without Walter Ringel: I think Antonio Falkowski: without Walter Ringel: controlling Antonio Falkowski: a doubt. Walter Ringel: is not the right word, I think Antonio Falkowski: Yeah maybe not Walter Ringel: the Antonio Falkowski: co Walter Ringel: interactions Antonio Falkowski: confining. Walter Ringel: are very structured. I Antonio Falkowski: Yeah. Walter Ringel: think structure is probably Antonio Falkowski: Yeah, Walter Ringel: what you're saying that, Antonio Falkowski: yeah. Walter Ringel: each individual is structured to one particular Antonio Falkowski: Mm-hmm, Walter Ringel: task, Antonio Falkowski: mm-hmm. Walter Ringel: and Steve Hilburn: Okay. Walter Ringel: one parti rather than controlling. I don't think there's Antonio Falkowski: Mm-hmm. Walter Ringel: a sense of control 'cause Antonio Falkowski: Mm-hmm. Walter Ringel: all the decisions have been made in terms of a, like a consensus Antonio Falkowski: Mm-hmm, Walter Ringel: right, Antonio Falkowski: mm-hmm. Walter Ringel: we go around and we think about it, but Steve Hilburn: Uh-huh. Walter Ringel: that Antonio Falkowski: Mm-hmm, Walter Ringel: you know process actually Antonio Falkowski: mm-hmm. Walter Ringel: says you have to do it in a certain way. Antonio Falkowski: Mm-hmm. Steve Hilburn: Okay. Walter Ringel: It doesn't tell you, you know, some ways that you might wanna be a bit more Antonio Falkowski: Mm. Walter Ringel: creative in terms Antonio Falkowski: Mm-hmm, Walter Ringel: of the Antonio Falkowski: mm-hmm. Walter Ringel: process you Antonio Falkowski: Yeah. Walter Ringel: know, not the Steve Hilburn: Okay, uh what about teamwork? Antonio Falkowski: Um did, you Tory Nielsen: Uh, Antonio Falkowski: wanna comment Tory Nielsen: reckon Antonio Falkowski: Craig? Tory Nielsen: that was a bit hard because we could only discuss things in the meeting. Antonio Falkowski: Yeah. Steve Hilburn: Yeah. Tory Nielsen: If we could just go up to somebody outside the meeting and have a quick talk with them, that would've been a lot easier. Antonio Falkowski: Yeah. Steve Hilburn: Okay. Antonio Falkowski: Fully Walter Ringel: I think you Antonio Falkowski: agree. Walter Ringel: tried to use the common share folder to to to to communicate, but um it just comes back to us so slow in the email Steve Hilburn: Mm. Antonio Falkowski: Yeah. Walter Ringel: um it it doesn't have a, you know, a messenger will go. Steve Hilburn: Did Antonio Falkowski: Yeah. Steve Hilburn: uh did you guys get the email I sent you? Tory Nielsen: Not just yet. Walter Ringel: Yeah. Steve Hilburn: Oh that's Antonio Falkowski: Yeah, Steve Hilburn: alright. I was Antonio Falkowski: got Steve Hilburn: wondering Antonio Falkowski: the email. Steve Hilburn: if that got Walter Ringel: Okay. Steve Hilburn: there okay. Okay, um so um to s to to summarize the teamwork issue, saying that if we could communicate outside the meeting, you know just like quick questions, quick thoughts, whatever, Antonio Falkowski: Yeah. Steve Hilburn: it probably would be Antonio Falkowski: Yeah, Steve Hilburn: bit Walter Ringel: I think Steve Hilburn: easier. Walter Ringel: the Antonio Falkowski: in Walter Ringel: tools Antonio Falkowski: it Walter Ringel: that they were given, the tool set that were given to us are fancy but they don't support collaboration, Antonio Falkowski: Mm-hmm, Walter Ringel: I think that's the Antonio Falkowski: mm-hmm, Walter Ringel: word. They don't Antonio Falkowski: mm-hmm, Walter Ringel: support the Steve Hilburn: Oh Walter Ringel: team Antonio Falkowski: exactly. Steve Hilburn: right, Walter Ringel: working Steve Hilburn: okay. Walter Ringel: together, Antonio Falkowski: Yeah, Walter Ringel: you Antonio Falkowski: I mean Walter Ringel: know, Antonio Falkowski: if you Walter Ringel: they're still very individual tools. Antonio Falkowski: Yeah, I mean sort of taking upon that idea, w the way I see this i is that it's uh the the s the structure in which we've we've approached this whole task is quite contrary to the p principle of teamwork because the the tasks were d d sort of um divided, and then the work went on in isolation Steve Hilburn: Mm. Antonio Falkowski: I I don't know what you guys did while you were together, maybe that was a bit different, but Walter Ringel: We had Antonio Falkowski: um Walter Ringel: Play-Doh fun. Antonio Falkowski: yeah, but um but actually if you if you imagine not entire the completely same task given to us but us said okay, first thing we have to do is come up with um let's say um a design concept, and we sit here together and do it, Steve Hilburn: Yeah. Antonio Falkowski: well that's what teamwork is. To s to say okay go off and don't talk to each other, Steve Hilburn: Yeah. Antonio Falkowski: it's actually p sort of predisposes you to quite the contrary of teamwork. Steve Hilburn: Okay. Antonio Falkowski: Um not that we haven't done I think the best we could have done. Steve Hilburn: Okay. Antonio Falkowski: I'm not dissatisfied with it. Steve Hilburn: Right, uh anything else to say on teamwork at all? Walter Ringel: No, not really. Steve Hilburn: Okay, um what about the you know how we used the whiteboard, the digital pens, the projector, stuff like that? Um did Antonio Falkowski: Mm-hmm. Steve Hilburn: anybody think anything was like really useful, anything was pretty un f unsupportive? Antonio Falkowski: I think the whiteboard, for Antonio Falkowski, is the kind of thing I would use all the time, but it's um not quite as useful as to us as it could have been, maybe just in the way that we we use it, in the sense that once we have an idea out there or while work was going on in between meetings, that could have been up on a board Steve Hilburn: Mm. Antonio Falkowski: uh you know as opposed to in like in text. Um, and then we could then keep our ideas sort of building on that. I know that people who design cars and you know in aviation they quite often just have a simple like fibreglass prototype and it's completely you know um abs abstract from Steve Hilburn: Mm-hmm. Antonio Falkowski: the final product, but they use it as a kind of a context to sort Steve Hilburn: Yeah. Antonio Falkowski: of walk around and puzzle and Steve Hilburn: And point Antonio Falkowski: and Steve Hilburn: at? Antonio Falkowski: point and discuss Steve Hilburn: Yeah. Antonio Falkowski: and and and in a way everybody's as we discuss things in the in theoretically and out of our notebooks, we're just we're actually just each of us discussing something that's in each of our own minds. It wasn't until we had Steve Hilburn: Yeah. Antonio Falkowski: this here, you know, like at one point I peeked across and looked at Craig's paper and I'm like, now I know what he's thinking 'cause I Steve Hilburn: Ah. Antonio Falkowski: saw his book. But the b the b whiteboard could've actually been this kind of continuing um Steve Hilburn: So do you think producing a prototype earlier in the process woulda been a good idea? Antonio Falkowski: Think could be, yeah. Walter Ringel: I think um the the focus of it a lot was the PowerPoint as opposed Steve Hilburn: Yeah. Walter Ringel: to the to the Antonio Falkowski: Yeah, Walter Ringel: whiteboard, and Antonio Falkowski: yeah. Walter Ringel: I think that m um Antonio Falkowski: Yeah. Walter Ringel: is also does Antonio Falkowski: Yeah, yeah. Walter Ringel: you know hinder us and things I think. Antonio Falkowski: Mm-hmm. Walter Ringel: It will be cooler to have the whiteboard rather Antonio Falkowski: Mm-hmm. Walter Ringel: than the the PowerPoint, or Antonio Falkowski: Yeah. Walter Ringel: maybe the whiteboard and the PowerPoint in the same place, Antonio Falkowski: Yeah, Steve Hilburn: Okay. Antonio Falkowski: yeah. Walter Ringel: you know in the centre of Antonio Falkowski: Yeah, Walter Ringel: the Antonio Falkowski: because the PowerPoint was provided to us while we had time to prepare, whereas I can imagine if I'd been encouraged to use Paintbrush, for example, Steve Hilburn: Alright. Antonio Falkowski: or whatever, I would've actually used it, um 'ca you know, just 'cause that's sorta how we what we were set up to to use while we had our time. Steve Hilburn: Okay Walter Ringel: I Steve Hilburn: uh Walter Ringel: think that there were too many PowerPoints in the meetings. Antonio Falkowski: Mm-hmm. Tory Nielsen: Yeah. Walter Ringel: 'Cause the plug-in Steve Hilburn: Yeah. Walter Ringel: and the plugging spent we spent Antonio Falkowski: Yeah. Walter Ringel: a lot of time doing that. And a Steve Hilburn: Yeah. Walter Ringel: lot of the information on the PowerPoints, I don't think, you know, we needed to Antonio Falkowski: No, Walter Ringel: actually it could have, Antonio Falkowski: not Walter Ringel: we Antonio Falkowski: quite. Walter Ringel: could have gone through it verbally, especially Antonio Falkowski: Yeah. Walter Ringel: my slides, I felt that Antonio Falkowski: Yeah. Walter Ringel: they just Steve Hilburn: Okay. Walter Ringel: you know as opposed to having Antonio Falkowski: Yeah. Walter Ringel: to present them. Steve Hilburn: What about the digital pens, did you find them easy enough to use? Tory Nielsen: Oh they're a Antonio Falkowski: Sure, Tory Nielsen: bit clunky. Antonio Falkowski: yeah. Walter Ringel: Yep clunky. Agreed. Steve Hilburn: Yeah. Antonio Falkowski: Yeah. Yep. Steve Hilburn: Clunky, okay. Antonio Falkowski: Mm. Steve Hilburn: Um Walter Ringel: Having to tick it before you go off was a bit hindering as well, Antonio Falkowski: Mm. Walter Ringel: 'cause you're Steve Hilburn: Yeah. Walter Ringel: half way through a thought, and then you run out of paper and then you have to jump. Steve Hilburn: I know, I think Antonio Falkowski: Yeah. Steve Hilburn: at the very start of today I like wrote a whole load of stuff, didn't click note on one, then went back and wrote one tiny wee thing on the another page, but then did click note, Antonio Falkowski: Hmm. Steve Hilburn: and so I'm quite worried that I've just written over the top Antonio Falkowski: Hmm. Steve Hilburn: of it Antonio Falkowski: Mm-hmm, Steve Hilburn: or something, Antonio Falkowski: mm-hmm. Steve Hilburn: but they'll have my paper anyway um Antonio Falkowski: Hmm. Steve Hilburn: and haven't done that Walter Ringel: But I Steve Hilburn: since. Walter Ringel: think the pen is v is very intuitive, everybody knows how to use it, we don't Antonio Falkowski: Mm-hmm, Walter Ringel: have Steve Hilburn: Yeah, Walter Ringel: to worry. Antonio Falkowski: mm-hmm, Walter Ringel: So Steve Hilburn: yeah. Walter Ringel: I think the pen's good. Antonio Falkowski: mm-hmm. Walter Ringel: It's about the best thing. Antonio Falkowski: And o on the topic of the technology, it just occurred to Antonio Falkowski that we actually didn't need to move our computers because each computer has all of the files. Steve Hilburn: Yeah. Antonio Falkowski: It just occurred to Antonio Falkowski that they Walter Ringel: Yeah Antonio Falkowski: all Walter Ringel: we only needed one computer Antonio Falkowski: We only actually Walter Ringel: and Antonio Falkowski: needed one computer. Steve Hilburn: Yeah, Antonio Falkowski: If there Steve Hilburn: that's Antonio Falkowski: had been Steve Hilburn: true. Antonio Falkowski: a fifth, that coulda Tory Nielsen: Good Antonio Falkowski: just Tory Nielsen: point. Antonio Falkowski: been sitting there ready to go the whole Walter Ringel: And Antonio Falkowski: time. Walter Ringel: the computer may not um be conducive to a meeting because Antonio Falkowski: Yeah. Walter Ringel: um you tend to look at your computer and wanna have Antonio Falkowski: Yeah. Walter Ringel: the urge to check something, Antonio Falkowski: Yeah. Steve Hilburn: Yeah. Walter Ringel: you know, it's useful but Steve Hilburn: Do you think the computers just provide distraction in a meeting? Walter Ringel: I think too many computers are just Tory Nielsen: Yeah. Walter Ringel: distracting. Steve Hilburn: Okay. Walter Ringel: Um Steve Hilburn: I know I I like to have things written down in front of Antonio Falkowski actually, Antonio Falkowski: Mm-hmm. Steve Hilburn: like a lot of the stuff that was emailed Antonio Falkowski: Yep. Steve Hilburn: to Antonio Falkowski I ended up you know like Antonio Falkowski: Mm-hmm. Steve Hilburn: writing down there Walter Ringel: Yep. Steve Hilburn: or something so I could look at it Antonio Falkowski: Mm-hmm. Steve Hilburn: really quickly and not have the distraction of all of that, um I don't know about anybody Antonio Falkowski: Mm-hmm. Steve Hilburn: else. Um what else uh any wh I do I'm not really sure what they're looking for when they say new ideas found. Um Tory Nielsen: Is this Steve Hilburn: I don't Tory Nielsen: for Steve Hilburn: know Tory Nielsen: the project Steve Hilburn: is could you think of like Tory Nielsen: or Steve Hilburn: anything else that would have been helpful today at all? Antonio Falkowski: Well, the w main one for Antonio Falkowski is that uh the process na in a natural f context would not have been interrupted by this necessity to discommunicate ourselves Steve Hilburn: Mm. Antonio Falkowski: from each other. So, Steve Hilburn: Yeah if we just Antonio Falkowski: that's Steve Hilburn: had Antonio Falkowski: kind Steve Hilburn: uh Antonio Falkowski: of a new idea for Antonio Falkowski is like just sort of that idea, well you know it's kind of s hard to keep f working forward on a team a team based project Steve Hilburn: Mm-hmm. Antonio Falkowski: when when you're told you must now work away from your team. Steve Hilburn: Yeah I I dunno I think it was quite good that we had time limits on the meetings because they really could have run on and like my experience Antonio Falkowski: Oh Steve Hilburn: with meetings Antonio Falkowski: yeah. Steve Hilburn: is that they really do, and Antonio Falkowski: Yeah, Steve Hilburn: you can spend a lot Antonio Falkowski: yeah. Steve Hilburn: of time talking about The only thing is though like when we had our meeting about the conceptual design, I thought there maybe another fifteen minutes would have been useful there but Antonio Falkowski: Mm-hmm, Steve Hilburn: um Antonio Falkowski: mm-hmm, mm-hmm. Steve Hilburn: yeah. I really thi i I think maybe if we'd like all been working in the one room, and they just said you know like every hour or something everybody make sure yo you know Antonio Falkowski: Mm-hmm. Steve Hilburn: just have a have a short meeting and then just Antonio Falkowski: Mm-hmm. Steve Hilburn: c just to have like something written down, Antonio Falkowski: Mm-hmm. Steve Hilburn: just like you know a a milestone if you like um rather than having meetings, but There you Antonio Falkowski: Hmm. Steve Hilburn: go. Um so in closing, I haven't got my five minutes to go. Thin Oh there it i Five minutes to go. Wonderful. Okay um are the costs within the budget, yes they are. And is the project evaluated, yes it is. So now celebrate. Antonio Falkowski: Great. So Walter Ringel: And we Antonio Falkowski: it Walter Ringel: have Ninja Homer. Antonio Falkowski: So now Tory Nielsen: Oh Antonio Falkowski: we Tory Nielsen: yeah. Steve Hilburn: Well apparently now I write the final report. Tory Nielsen: Do we know what Steve Hilburn: What Tory Nielsen: the Steve Hilburn: are you Tory Nielsen: other Steve Hilburn: guys Tory Nielsen: ones are? Steve Hilburn: doing now? Antonio Falkowski: I I don't know. Steve Hilburn: You dunno? Tory Nielsen: Oh wow. Antonio Falkowski: Hmm. Steve Hilburn: That is lovely. Tory Nielsen: Hey yeah, I said Ninja Homer. Antonio Falkowski: What did you call it? Walter Ringel: Ninja Homer. See it looks like Homer Simpson Antonio Falkowski: Huh, huh. Walter Ringel: but it's Steve Hilburn: So Walter Ringel: electronic Steve Hilburn: is that j Walter Ringel: so it's made Steve Hilburn: is that Walter Ringel: in Antonio Falkowski: Logo. Walter Ringel: Japan. Steve Hilburn: just is that just a logo or does it do anything? Walter Ringel: Yeah it's just a logo. Steve Hilburn: Just a logo and Antonio Falkowski: Huh. Steve Hilburn: then like Ninja Walter Ringel: Ninja Steve Hilburn: Homer, Walter Ringel: Homer. Steve Hilburn: right okay. Antonio Falkowski: Mm. Walter Ringel: The the red is supposed to represent the whatever else you wanna print on the side of it. Antonio Falkowski: Mm-hmm. Steve Hilburn: I think it's Antonio Falkowski: Fashion Steve Hilburn: quite nice. Antonio Falkowski: technology or something. Walter Ringel: You can wear Homer, you can throw Homer when you're frustrated, doh. Antonio Falkowski: Hmm, hmm, hmm. Steve Hilburn: Oh no, that's cool, it's got I'm kind Antonio Falkowski: Hmm. Steve Hilburn: of Walter Ringel: It's Steve Hilburn: I'm Walter Ringel: clunky. Steve Hilburn: slightly gutted that we couldn't get plastic and rubber, I think that would have been nice. Antonio Falkowski: Yeah, yeah. Steve Hilburn: Ah well, maybe from now on real reaction Antonio Falkowski: Mm-hmm. Steve Hilburn: should give us more money. Walter Ringel: Oh, Antonio Falkowski: Hmm. Walter Ringel: I did learn something new, Play-Doh is useful. Steve Hilburn: Play-Doh Walter Ringel: No Steve Hilburn: s Walter Ringel: it is it is. It is useful and in Antonio Falkowski: Huh. Walter Ringel: in in in in in in um Antonio Falkowski: Huh. Walter Ringel: conceptualizing, in being creative. Steve Hilburn: Really? Walter Ringel: 'Cause like you say, it's something you can put your hands on and feel and touch Antonio Falkowski: Yeah. Steve Hilburn: Yeah. Walter Ringel: and get a sense for. Like we were playing with the Play-Doh and the ideas came with the Play-Doh Steve Hilburn: Did they? Walter Ringel: rather than with everything else. You might wanna write that Antonio Falkowski: Yeah. Walter Ringel: down. It's just, Steve Hilburn: Okay. Walter Ringel: I'm just fiddling with the Play-Doh, and I'm going yeah Steve Hilburn: Play-Doh. Walter Ringel: yeah it's kinda Antonio Falkowski: No, Walter Ringel: cool. Antonio Falkowski: it's true, yeah. Tory Nielsen: Guess I'd forgot how good s Play-Doh smells. Antonio Falkowski: Hmm. Steve Hilburn: Yeah, it smells funny doesn't it. Antonio Falkowski: And Steve Hilburn: Um Antonio Falkowski: some Play-Dohs are actually I think edible aren't they? Walter Ringel: No, Steve Hilburn: Yeah Walter Ringel: all Steve Hilburn: like Walter Ringel: Play-Doh Steve Hilburn: the stuff Walter Ringel: is Steve Hilburn: for Tory Nielsen: I Walter Ringel: edible. Tory Nielsen: think they're all non-toxic Steve Hilburn: I think Tory Nielsen: 'cause Steve Hilburn: it has Tory Nielsen: it's aimed Steve Hilburn: to Tory Nielsen: for like Steve Hilburn: be, yeah. Tory Nielsen: two-year-olds. Walter Ringel: It's just wheat, it's the stuff that your mom could make with preservatives and uh Antonio Falkowski: Wow, Steve Hilburn: Yeah Antonio Falkowski: hmm. Steve Hilburn: um so to wha what are your summarising words about Play-Doh? Walter Ringel: It's helpful to the creative Antonio Falkowski: Huh. Walter Ringel: process. Um Steve Hilburn: Okay. Walter Ringel: it engages all your senses not just your sight, but your sense Antonio Falkowski: Yep. Walter Ringel: of feel your sense of touch. And Antonio Falkowski: Taste. Walter Ringel: it helps you to understand dimension as well. I think that Steve Hilburn: Yeah. Walter Ringel: that's very helpful because Antonio Falkowski: Yeah. Walter Ringel: it it starts to pop up, whereas on a piece of paper, on a computer, on Steve Hilburn: Yeah. Antonio Falkowski: Mm-hmm, Walter Ringel: a board, Antonio Falkowski: yep. Walter Ringel: um Antonio Falkowski: Yeah. Walter Ringel: even with a three D_ graphic thing it still, it requires Tory Nielsen: Yeah Walter Ringel: a Tory Nielsen: it's not Walter Ringel: lot Tory Nielsen: very Walter Ringel: of Antonio Falkowski: Yeah. Tory Nielsen: tangible. Walter Ringel: yeah Steve Hilburn: Mm-hmm. Walter Ringel: tangible, Antonio Falkowski: Mm-hmm, Walter Ringel: that's a nice Antonio Falkowski: mm-hmm, Walter Ringel: word. Antonio Falkowski: mm-hmm. Walter Ringel: It becomes tangible. Antonio Falkowski: Mm-hmm. Steve Hilburn: Tangible. Okay uh Mm. I don't know if there's anything else Walter Ringel: Nope. Steve Hilburn: we needed to discuss. That that's about it really. Just sit still I guess for a little while. Antonio Falkowski: Do we retreat to our, to continue our Walter Ringel: I think we Steve Hilburn: Um Walter Ringel: could probably do Antonio Falkowski: r Walter Ringel: it here Antonio Falkowski: reporting Walter Ringel: as long as we Antonio Falkowski: or Walter Ringel: don't Antonio Falkowski: what i Steve Hilburn: Well Walter Ringel: collaborate. Steve Hilburn: I dunno. Um I'm sure the little uh the little thing'll pop up any minute now. Walter Ringel: Can we turn off the microphones? Steve Hilburn: Yeah, yeah if the meeting's over then yeah I guess so.

Steve Hilburn recapped the decisions made in the previous meeting and two team members presented their prototype and discussed the features the prototype contained. The team then looked at the production costs of the remote and had to decide which features to retain or lose in order to maintain the target cost. In maintaining the target cost, the team had to lose a number of features which they originally wanted, such as a kinetic battery, an LCD display, and various color options. The team then evaluated the prototype on the basis of its appearance, technological innovation, and spongy quality. The prototype did fairly well in the evaluation. The team then conducted an evaluation of the project process. The team felt that their creativity was hindered by the project budget and their inability to discuss the project outside of their meetings and that the structure of the task did not foster teamwork.

amisum

train

Ken Clingan: Okay, well I think we're ready to begin Right. my name's Adam Duguid, we're here because of real reaction, um, we have in the group Jordan Garner: Oh, Ebenezer Ademesoye. Would you Jordan Garner to that S Ken Clingan: Um, yeah, go for it mate. Jordan Garner: Um, N_E_Z_ Ken Clingan: N_ E_ Z_. Jordan Garner: E_R_. Ken Clingan: Ebenezer. And your role is? Jordan Garner: I'm Jordan Garner. Ken Clingan: You're Jordan Garner, okay. Next we have? Hiram Money: Tarik Rahman. T_A_R_I_K_. Ken Clingan: T_ R_ I_ K_. And your role in this is? Hiram Money: Industrial Designer. Ken Clingan: Industrial Designer. And, lastly we have? Edward Baez: Uh, Dave Cochrane. Ken Clingan: And you're going to be the User Interface, Edward Baez: User Ken Clingan: is Edward Baez: Interface Ken Clingan: it? Edward Baez: Defin Ken Clingan: Designer. Okay. Edward Baez: yes. Ken Clingan: Right. This is the agenda for today's meeting. As you can see, w opening, acquaintance, tool training, project plan discussion, and closing. Um, we already got n through opening, and partially through acquaintance. So, the reason we're here, we're gonna design a new remote control, as you probably all know. The very broad overview is original, trendy, and user-friendly. Course, we'll have to go into a bit more um detail than that, but uh personally I think that the original is gonna be a very key aspect to this design. Um, there's a lot of remote controls out there anyway, so we're gonna need something that's really gonna set it apart. This is how today seems to be going to work. We're gonna have the three kay phases, as you've probably already been told, the functional, architectural, and the detailed design. Um First one's gonna be covering the user requirement spec, technical functions, working design. Second seems to be conceptual components, properties, materials, and the last one is a detailed analysis of our design so far. Of course, you've all got the similar emails, I believe, right. What can I say? Ebenezer, you wanna have a you wanna draw your favourite animal? Jordan Garner: Sure. Whiteboard. 'Kay. S okay. I will make this quick, since we don't have much time. Um. Jordan Garner: 'Kay, so it's not the best picture in the world. Here we have an elephant. First point, begins with an E_, same like Ebenezer. Also, elephants have a very good memory, much like myself, and I can't remember but I think I used to have a pet elephant. So elephants are big, strong and gentle, and they have great memories, and they begin with the letter E_, just like Ebenezer. Ken Clingan: Brilliantly done. Jordan Garner: Thank Ken Clingan: Thank Jordan Garner: you. Ken Clingan: you. Tarik, would you like to have a shot at a bit of artistry? Jordan Garner: Oh. Ken Clingan: Oh, um, Jordan Garner: Oh Ken Clingan: you Hiram Money: Do Ken Clingan: can Hiram Money: we take Ken Clingan: clip Hiram Money: them Ken Clingan: them Hiram Money: off? Ken Clingan: to your belt. Jordan Garner: oh I think you Hiram Money: Oh right, Jordan Garner: ga Hiram Money: okay. Ken Clingan: You should also l um Jordan Garner: The Ken Clingan: have your the Jordan Garner: little Ken Clingan: lapel mic on as well. Hiram Money: Ah-ha. Jordan Garner: The the Oh that's good, we can clip them on. Okay. Yeah, there Hiram Money: Now where do I put the Jordan Garner: Just um somewhere Ken Clingan: Yep, the, it's just across there, that's it. Yep. Hiram Money: Is this supposed to be clipped as well? Jordan Garner: I think so. Ken Clingan: Yeah. It'll follow you if you Jordan Garner: Yeah. There you go. Ken Clingan: You can probably just stick it in your pocket for now, I wouldn't worry too much. Should have good range. Hiram Money: Uh, destroying your elephant here. Hiram Money: Uh, here we have a tiger. Uh I've always loved tigers. They're just they're big, they're biggest cats, uh I did a project on cats in the wild when I was a kid, just 'cause it was looks the best, the stripes, orange. My dad used to talk about he's from Bangladesh so he used to tell Jordan Garner all about them when he was when I was a kid. And uh they're just the most feared of of uh animals in the wild. So uh that's why I like them. Didn't say an anything about Jordan Garner really but Ken Clingan: Excellent, thank you very much. Dave, if you'd like to uh have a dash. Edward Baez: Um Edward Baez: Um, the monkey, um. The one f uh in fact this is a somewhat oblique reference in fact to uh well my I have a three uh three y year old daughter who h who who who is affectionately known as Miss Monkey. Um, monkeys have attitude. Which I think is a good thing. evolution they and other primates are terribly interesting. Um, so I like monkeys. And and th th th th thi thi this one seems to have perhaps more attitude than most. Ken Clingan: Cheers. Ken Clingan: Hardly what I'd call the best drawing in the world but it'll do for now. Also not quite as feared as your average tiger, but uh cats are one of my favourite animals, they're very independent, they're snotty as hell at the best of times, and uh, what can you say, you got to love those qualities in an animal. Right. I think we've all managed to master the whiteboard there by looks of it, so, on to it. Project finance. As you can see, twelve point five Euros per unit. That's not a terrible lot as far as I'm aware, and we're hoping to sell them for twenty five. If we're aiming for fifty million Euros we're gonna have to be selling an awful lot of them. Jordan Garner: Oh, that was profiting, that was an amount, so that's the amount made, Ken Clingan: Yep. Jordan Garner: okay. Ken Clingan: Well, fifty million, and if you're making twelve point five Euros on each one, then, Jordan Garner: Yeah. Ken Clingan: awful lot need to be sold. Okay. Now we better actually just get on with the uh the meat of the project. So I'm gonna guess that we've all used remote controls. Any ideas of where you think a new remote control could go into this market? Edward Baez: Well, one thing I'm aware of is, th there uh um at the sort of v very high price end of the market there's there's a em emerging market for sort of touch screen L_C_D_ remotes that can be uh programmed in m much more sophisticated ways than sort of conventional models, so you get the sort of you get um you you can redesign the interface to your own needs, you can programme in macros, and you get a much greater degree um um I mean you get in these sort of three in one, five in one, whatevers, but you can get integration between the different uh the the the diff the different things that it's designed to control, to a much greater extent, and you can have one uh you know one macro to turn the uh you know turn the T_V_ to the right channel, get the uh re uh rewind the tape in the V_C_R_ and get it to play once it's rewound, for instance. Ken Clingan: Okay. Edward Baez: Um b it occurs to Jordan Garner there might be a niche for uh for a remote that aimed towards some of that sort of functionality but using a just conventional push button design. And therefore putting it into a um well much lower price bracket. Ken Clingan: Okay, yeah, tha that's true, with the price range we're looking at, going for a touch screen would probably be possibly Edward Baez: Absolutely Ken Clingan: out of Edward Baez: prohibitive, Ken Clingan: our yeah. Edward Baez: yeah. Jordan Garner: Oh. Ken Clingan: But you think uh again something to control multiple units in uh a simple fashion. Edward Baez: Yeah, I mean I wouldn't like to say you g I mean you get ones that you can switch between multiple units, but something that could um operate between multiple units in a more integrated fashion. Some and ideally something into which it would have some at least limited facility for um running macros. Ken Clingan: Would the the idea something along the lines of, one on button would turn on say the video recorder, the T_V_, maybe the sound system as well, all in one go, is that Edward Baez: For Ken Clingan: kind Edward Baez: instance, Ken Clingan: of Edward Baez: um let's say oh oh um, or um you know you pr uh you press uh say the play button for the D_V_D_ player and it turns the T_V_ on and onto the right channel as well, um Ken Clingan: Okay, that Jordan Garner: 'Kay Ken Clingan: sounds like a a good strong idea. Um Any takes on this? Jordan Garner: Well um I've noticed that uh gaming c is becoming quite popular with television, um when I was younger we used to e play games using our cable, using the cable subscribed the cable providers, Edward Baez: Mm-hmm. Jordan Garner: but our remote controls would get worn out really easily, and the remote control was not a great kind of keyboar, um keypad, for playing games. So Ken Clingan: Okay. Jordan Garner: perhaps one that was more um specialised for game playing or interactive television. They they've recently brought out this new remote control, for people to set their favourite channels, or um to record things. Instead of people entering in what time things start, you simply stri slide a bar to say what time it begins, and slide Ken Clingan: Okay. Jordan Garner: another bar to say what time it ends, you know that's Ken Clingan: Yeah I've heard I've seen the Hiram Money: Mm. Ken Clingan: bar-code design before, yeah. Edward Baez: Mm-hmm. Jordan Garner: Yeah, it's it's taken out the Y you don't have to be uh really clever to use a remote control. I think for gaming, you know you want you want some big buttons for up, down, left and right, shoot. Uh, you wanna be able to change angles in interactive television, so you need buttons to change the television angle, the camera angles and stuff like that. Ken Clingan: Okay, Hiram Money: 'Kay. Ken Clingan: well we're beginning to run out of time now, so, Jordan Garner: Yeah. Ken Clingan: we've got a couple of ideas, we can we'll have to work fast, um, alright as you can see we've got thirty minutes until the next meeting, so we'll have to try and decide on some of the basic functionality, um, how the user interface might work, that'll be a key aspect especially if the idea of um some kind of macros facility because you have to program it, you have to have a lot of response back, or at least some kind. Edward Baez: Mm-hmm. Ken Clingan: Um And we're gonna maybe n try and have to figure out Jordan Garner: What the user wants Ken Clingan: what Jordan Garner: uh. Ken Clingan: the user wants, yes. Jordan Garner: Okay. Ken Clingan: Um, right. Has anybody got anything they'd like to add at this stage, anything they think that might have been missed so far? Hiram Money: Well when you're talking about gaming and stuff, do you think they should have some sort of stick on it, rather than Jordan Garner: Oh. Hiram Money: buttons? Jordan Garner: Okay, Hiram Money: Like uh control pads, you know of games, but Jordan Garner: Mm-hmm. Hiram Money: or is that a bit ridiculous? Ken Clingan: I I don't see why not, almost everybody is probably used to a console by now, and all of them incorporate small keypads on them, even the mobile phones these days are beginning to use them as well, so Hiram Money: Yeah. Ken Clingan: it's probably an interface that most people are used to. Um and that could allow n easy navigation, used as a joystick as well. Edward Baez: Mm-hmm. The other key feature that uh that would be a good idea built into it is t is is to make something you know fairly sort of ergonomic, something that just fits fits as comfortably as possible into the hand. But of course, uh al al also allows for the possibility of a more sort of slightly unconventional or attractive uh sha Ken Clingan: Okay. Edward Baez: shape for it overall, Ken Clingan: So, small, Edward Baez: A Ken Clingan: stylish, Edward Baez: curve, mm-hmm. Ken Clingan: and something that's Edward Baez: Something Ken Clingan: just Edward Baez: sort Ken Clingan: a little Edward Baez: of Ken Clingan: different. Edward Baez: sort of sl slightly sort of biomorphic in form, uh which it would need to be to sort of conform to the shape of the hand more efficiently anyway. Ken Clingan: Okay. That's definitely something that we should be able to do quite easily. I would I would have hoped so anyway. Um, right. I'd say we finish this one up, we get started, I'll get in, I'll write up what we've um kind of quickly done, and I'll get that out to everybody. Jordan Garner: 'Kay. Ken Clingan: Yeah? Jordan Garner: So. Ken Clingan: Okay. Um, as far as I'm aware we leave the microphones here, um unless we get told otherwise, and just take the laptops with us.

The team members introduced themselves to each other by name and by their roles in the project. Ken Clingan introduced the upcoming project to the team and then the team members participated in an exercise in which they drew their favorite animal and discussed why they liked the animal. Ken Clingan discussed the project finances and selling prices. The team then discussed various features to consider in producing the remote such as gaming options, an LCD screen, and combining functionality so as to control multiple devices.

amisum

train

Timothy Perrigan: Alright, yeah. crack on Okay. so we'll start off with a quick overview of the minutes. I think to sum up the last meeting, would be to say um the requirements that we've um set out. Those are we were going to go for what seemed to be a fairly minimal design based on uh a small joystick, L_C_D_ and a couple of other buttons for navigation um with power being I suppose one of the main single purpose buttons. Um we were also going to use novelty of being able to locate the remote control again via a small transmitter with any luck, the idea to try and separate us and also because of the minimal design um looks like we'll be able to be fairly adventurous in the actual physical shape of our remote control with any luck. Um that pretty much sums up the last one. So we'll just crack on, um like to maybe start with Mark Couch if it's possible. Mark Couch: Uh Timothy Perrigan: Um Mark Couch: uh okay. Timothy Perrigan: uh Mark Couch: I'll just Timothy Perrigan: the con today is the concep today. This uh meeting is the conceptual design phase and is um Sorry about this. And is to cover things like um what the parts might be made of, um, can we uh outsource these from elsewhere, um will we have to construct any items ourselves? Mark Couch: Uh I have a presentation I just saved it in the uh Timothy Perrigan: Yeah, okay Mark Couch: the Timothy Perrigan: well I'll just uh Mark Couch: folder. Timothy Perrigan: I'll load it up then. Um. Which one Mark Couch: Uh. Timothy Perrigan: do y Oh, interface concept? Cleveland Martin: Yeah, that's Bernard Sanders. Timothy Perrigan: That's you. We've got trend watching, that's Mark Couch: It's Timothy Perrigan: you. Mark Couch: uh Components design. Timothy Perrigan: Components design. Timothy Perrigan: Okay. Mark Couch: Alright. So Uh. The case uh le that's what I wrote first of all, could be plastic our plastic. Uh but later on we found out that um it can be rubber as well, or titanium or even wood. So uh we decide what it's gonna be. Probably plastic. Uh we need infra-red transmitter. Get that off the shelf. Uh joystick we'll probably if we're gonna use it, um could be plastic w or rubber even as well. Um if you go on to the next slide. Uh If you go on to f uh findings, it's like two or three slides down. Right. Timothy Perrigan: Okay. Mark Couch: So, this is what I found we can use. Uh three different types of batteries. Um can either use a hand dynamo, or the kinetic type ones, you know that they use in watches, or Timothy Perrigan: Okay. Mark Couch: else uh a solar powered one. Um. Timothy Perrigan: Now, the kinetic one, Bernard Sanders: Cost Timothy Perrigan: we've Bernard Sanders: is Timothy Perrigan: 'cause that's the ones where like you the movement causes Bernard Sanders: Yeah. Mark Couch: Yeah. Timothy Perrigan: it. Um the bat uh the battery for a a watch wouldn't require a lot of power, would be my one query. Is Cleveland Martin: Mm. Timothy Perrigan: a kinetic one going to be able to supply enough power? Cleveland Martin: There's Timothy Perrigan: Do Cleveland Martin: also Timothy Perrigan: you Mark Couch: Uh. Timothy Perrigan: think? Cleveland Martin: a watch moves around a great deal more. Timothy Perrigan: W Mark Couch: Yeah, Bernard Sanders: Yeah. Mark Couch: I don't think it would. Um. And solar cells, I dunno about that. Bernard Sanders: yeah. Mark Couch: Uh. We should probably just use conventional batteries. Um, just like in usual remote controls. Timothy Perrigan: Which I suppose Mark Couch: Um. Timothy Perrigan: as well would allow us to go off the shelf again, you'd say? Mark Couch: Yeah. Um. And these are three different types of or two different types three different types of shapes you can have. Uh one is a flat one, and then more original ones are single curved one or one with a double curved. Um the materials are tha there as you can see, but uh you can't have a titanium one for a double curved, uh which would Bernard Sanders: Titanium, Mark Couch: be Bernard Sanders: the really strong metal, titanium? Mark Couch: Yeah, Bernard Sanders: Is it not Mark Couch: and Bernard Sanders: also Mark Couch: light. Bernard Sanders: it's expensive? Mark Couch: Uh, i think so as well, yeah. They make Timothy Perrigan: Um. Mark Couch: mountain bikes out of that, don't they. Timothy Perrigan: Um. Mark Couch: So it's really light as well. Timothy Perrigan: Curious. Um, I don't know if you'd be able to off the top of your head or not, the single curved and double curved, would you be able to give an example? Mark Couch: Um. Timothy Perrigan: Um could you maybe Mark Couch: T Timothy Perrigan: draw Mark Couch: yeah. Timothy Perrigan: something? I you don't doesn't have to be perfect, it's just 'cause I'm not quite sure if I understand the difference between the two. Mark Couch: Uh. Well for a curved, well I was thinking to f for to sit in your the palm of your hand. Uh maybe like this, with the uh joy pad here. Joystick here. And maybe um an okay button around here, so that the thumb can uh use it quite easily. Um I don't exactly Double curved. It probably means this is probably double curved. Uh whereas a single curved would be like that. I guess. Or not necessarily. Timothy Perrigan: So it might literally just be Bernard Sanders: Two curves. Timothy Perrigan: okay. Mark Couch: Yeah like that. Whereas this is two curves. Um so I guess that's what they mean Timothy Perrigan: Alright. Mark Couch: by uh double curve. Um which obviously it looks better than the single curve, but uh you can't have it in titanium, which is uh a nice material. Timothy Perrigan: Mm. Mark Couch: Uh and for the buttons, um it can have the scroll wheel which they use in mouses for com P_C_s. Uh but um it requires a more expensive chip to use, and if you wanna use L_C_D_ it's even more expensive. So you have to decide, there's trade-offs there. Um if you want the buttons to be oh yeah, if you have a double curve uh control and it's rubber, then you have these rubber buttons as well. But you're gonna ha I reckon you're gonna have to have uh key a number keypad anyway for the amount of channels these days. You wouldn't want to just have to scroll through all the channels to get to the one you want. You wanna enter just the number of it, if you know it. So um I reckon we're gonna have to have a number keypad anyway. Do you think? Timothy Perrigan: Okay, that was definitely something we can talk about. Um so you've got a little bit about the the chip that we might require as well? Mark Couch: Yeah. So, depends where gonna spend the money if you want the f fancy L_C_D_ display. Timothy Perrigan: Um, do you have any idea so far, like when we're saying that we'd need an advanced chip for an L_C_D_, does that in shoot the cost up by a drastic amount? Or? Bernard Sanders: Need an advanced chip for the L_C_D_. Is that did I Timothy Perrigan: Well I think compared Mark Couch: Yep. Timothy Perrigan: to say just pressing buttons. Bernard Sanders: Advanced, like Timothy Perrigan: if you press Bernard Sanders: three eight Timothy Perrigan: a Bernard Sanders: six Timothy Perrigan: button Bernard Sanders: advance. Timothy Perrigan: that sends a certain transmission through the infra-red, whereas I think if we're controlling the L_C_D_ we definitely require a much more powerful chip. Bernard Sanders: Okay. Timothy Perrigan: Just compared to the chip you would use for pushing buttons I think is the Bernard Sanders: Okay, Timothy Perrigan: the Bernard Sanders: sure. Timothy Perrigan: point being made. Cleveland Martin: Mm. Timothy Perrigan: If I've not over-stepped. Yeah? Mark Couch: Yeah i Timothy Perrigan: Okay, um should I go on, or go back? Mark Couch: Um Bernard Sanders: Mm, if we only have twelve Pounds fifty, twelve Euros, not even twelve Pounds. Twelve Euros, what's that, like eight pounds or something like that, nine Pounds? Timothy Perrigan: Well we'd also be relying on the um the bulk buying in producement and such. Bernard Sanders: Okay, that's Timothy Perrigan: I Bernard Sanders: good Timothy Perrigan: assume. Bernard Sanders: point. Timothy Perrigan: We have to look into the costs of those. So, sorry. Mark Couch: Uh the previous slides just explain what's in the internal components of the uh remote control. If you go to the one before that uh so it just says what it does, translate the key press into an infra-red signal and this is received by the T_V_. Uh the chip just needs to detect the signal or detect the key press and then uh it'll send it to the tr the amplifier. Timothy Perrigan: Okay. Mark Couch: And uh then the next slide just shows how the uh copper wires uh interact with the buttons, the rubber buttons, uh to uh get sent to the chip. So that's just how the control works inside. Um we have to decide on what buttons we're gonna use. Timothy Perrigan: Okay. Um. So in the information that you've been supplied, how feasible would you say that the idea of using an L_C_D_ looks? Mark Couch: Um I think we can do it if uh we use conventional batteries and not have solar cells or kinetic. Um and then maybe use single curved uh case. Because we might need it to be curved for the uh thumb to use the joyst joystick easily. Um and then you'll need the advanced chip obviously for the L_C_D_. Timothy Perrigan: Um I mean that sounds like quite a good requirement to Bernard Sanders. Um conventional battery would seem to make sense. Um Cleveland Martin: Mm-hmm. Timothy Perrigan: I'm not sure if there's any cost differences between single and double curved and I'm I don't know about anybody else, but plastic or rubber as a traditional form of casing would seem to be Cleveland Martin: Mm. Timothy Perrigan: a good way forward? Cleveland Martin: Um I'm actually gonna be bold and go oo go straight for rubber um for reasons I'll go into Timothy Perrigan: Okay. Cleveland Martin: uh Bernard Sanders: I also Cleveland Martin: in more Bernard Sanders: have Cleveland Martin: detail. Bernard Sanders: a preference for rubber. Timothy Perrigan: Okay, well um Bernard Sanders: Based on my research. Timothy Perrigan: Yeah, well will we move on to user interface, and yeah? Um Cleveland Martin: Mm. Timothy Perrigan: sorry, as long as were you? Mark Couch: Yep I'm finished. Timothy Perrigan: Yeah. Okay. Um and d d d interface concept. Cleveland Martin: Yep. Now I'm gonna have to work between the uh the slides and the uh Timothy Perrigan: Yeah. Cleveland Martin: and the white board 'cause I actually I have some fairly concrete things this time. Uh um I was given a H_T_M_L_ file giving um various ideas from uh from other previous remote control designs, and pretty much decided to just dump them all. I wasn't very impressed by them and they didn't seem to re uh nothing I saw seemed to meet the sorts of design specifications that we're going for today. Um so what I ra rather than looking at other remotes, uh ra oomp be better to simply look at the human hand. Um and try and f um and try and figure out a way of laying out the elements we've already decided on, um so that if r a if so that the finger is e each finger or thumb is wherever it needs to be already. Um so uh next slide, if you please. Um and what we've basically decided on was the the um the joy uh the joystick, two function buttons and the L_C_D_, just keep it paired down to the absolute minimum. I don't actually think we need the um the numeric keypad because if you m because one of the menus that we could have available um v via via the L_C_D_ is one where you scroll through channels, so if there's something f and be bear in mind since this isn't meant to work for um Bernard Sanders: digital. Mark Couch: Ah, okay. Cleveland Martin: f f f for di for digital or um or for or for cable, whatever, you're basically looking at four or five terrestrial channels, and then um your V_C_ uh and then the channel through your V_C_R_ and or D_V_D_ player. And or um box. So it's not I'm not really excessively concerned about that. You must have two two modes, basic mode, where um the joystick's uh left right left right for channels, up down for volume, um and the uh uh and the menu mode for uh further functions. Um now the reason I was particularly interested in using rubber for this is that if we're going to have a highly ergonomic design, um it needs to be ergonomic for left or right handed people. Um, Timothy Perrigan: Can I Cleveland Martin: so you Timothy Perrigan: just jump in slightly there? Cleveland Martin: Mm-hmm. Timothy Perrigan: That would suggest the double curved design's probably going to be most appropriate, then. Cleveland Martin: Yes, absolutely. Timothy Perrigan: okay. Cleveland Martin: Um, basi basically what I basically what the what be having um, I would say, the the whole thing articulated at two points, so that if you if you're handing it from a lef uh left or right handed user you can adjust it so that the um the L_C_ the L_C_D_ and the uh The joystick would be in the right place. And Timothy Perrigan: Mm. Cleveland Martin: also this is a rather nicer de uh design gimmick that the the um you know the whole thing you know it should have sort of organic feel to it that it should be, you know, soft to touch and can be moved around all nice. Um Timothy Perrigan: Okay. Cleveland Martin: okay Timothy Perrigan: Um, Cleveland Martin: on to Timothy Perrigan: yeah. Cleveland Martin: on to the next uh to the next slide. Timothy Perrigan: Just to let you know we'll probably be quite tight for time as well, Cleveland Martin: Okay. Timothy Perrigan: because I think you've probably got a lot you'd like to say, I guess. Cleveland Martin: Yeah, 'kay basically um I can add pretty pictures to this. The um Assuming the hand the hand to be in about sort of this position, um hol uh holding the remote, the um the joystick unit should rest over the uh the joint of the f of the uh four finger so that it's directly accessible for the thumb. Um and it would need t there would need to be a it would need to be articulated just below that so that it could be switched around for uh left or right handed users. So. You then have a grip section that can be more or less the same irrespective of handedness. You just have big two big buttons that cover most of the area so it can in the upper part, one for the four finger, one for the middle finger. Um, Bernard Sanders: Is this the Cleveland Martin: and Bernard Sanders: joystick? Cleveland Martin: that Th this part here is the joystick. This would be the actual grip. Probably where you'd want to have the battery as well. Bernard Sanders: Okay. Cleveland Martin: That would be probably the bulkiest part. And you then have, at the uh at the bottom, the L_C_D_, and this would need to be articulated as well. And basically I'd want this to rest here, right at the base of the wrist. So it would fit just nicely in the hand. And again, this part could be rotated, so it can So so so that it can be adjusted to either left or right handed user. Um So the t uh the top function button in basic mode would be the on off switch and menu mode would be the enter button. And then the bottom function buttons switches between between modes. Um now programming it actually thi this is one thing I've found with um the replacement remote control. Programming them can be a right pain. So I thought th the simplest way around that would be to have um a cable to connect it to the computer some fair iv fairly fairly simple software on the computer just so that you on your computer just so that you could um pr program it at a rather in a rather more comfortable interface. And you could download programs for it from uh for uh T_V_s from all sort of main manufacturers. Um though you i it would be necessary to have uh have a m uh have a ha have a mode for programming it without the computer, uh just in case there are there are still people left out there who don't have them yet. Bernard Sanders: Mm. Cleveland Martin: Um. But uh. Yeah. Timothy Perrigan: Okay. Cleveland Martin: That's that's my idea. Timothy Perrigan: Excellent, right. Bernard Sanders: Mm. Timothy Perrigan: Um uh. Bernard Sanders: 'Kay. Timothy Perrigan: File open. Bernard Sanders: We go. Timothy Perrigan: Trend watching. Bernard Sanders: Okay. So uh to gather my research, two basic methods. We compared uh whether people want the remote control to do a lot of stuff or they want it to look cool. And then we we research uh fashion trends in Europe, what's what's the new black, you know, as it goes. Next slide please. Timothy Perrigan: Okay. Bernard Sanders: Uh we found, in order of importance, people want the remote control to look cool more than they want it to to be cool. As in they want it to do a lot of good s they want it to look like it does a lot, and if it does do a lot that's a bonus, but they don't care so much, you know. They want it to be that's sounds a bit like a contradiction. Technology technical technologically innovative. People want it to be that, but s still they care more about the way it looks than what it does. So like the interface is really important. And easy to use, it it just so happens that uh from the second point to the third point is twice as important I mean the second point is twice as important as the third point. People want it I is it has to be cooler than easy to use, you know, if it has the newest features, even if it's difficult to use, prefer it to have the newest features. And if it's easy to use that's a bonus. The fashion, now this is seems a bit odd to Bernard Sanders, but fruit and veg is the new is the new black for furniture, for clothes, for shoes. How that relates to a remote control I don't know. But I I see I come on to that in the next in the next slide. Spongy. I've als I've been saying everything's the new black. Well spongy's the new black as well. So we have the choice between rubber and plastic. If it's the type of rubber that you can squeeze, you know, it's spongy, then Mark Couch: Oh Bernard Sanders: can Mark Couch: yeah, Bernard Sanders: I Mark Couch: I Bernard Sanders: skip Mark Couch: forgot to Bernard Sanders: the Mark Couch: mention Bernard Sanders: rest? Mark Couch: that. The uh rubber material is the type of stress ball material, Bernard Sanders: Okay. Mark Couch: not just normal rubber. Bernard Sanders: Okay, Mark Couch: Forgot Bernard Sanders: so Mark Couch: to say that. Bernard Sanders: kinda spongy material. So Timothy Perrigan: Okay. Bernard Sanders: um so my personal opinion? Um we want something fancy and techni technologically innovative, obviously. But what we what we need is something that looks like it's from the future that looks cool, that's that's different, you know, that's everyone has a white remote control, black remote control, you need something cool. Like, titanium is cool but it's expensive. And maybe it's a bit of overkill for a remote control. Um now the fruit and veg options, either we we go in that direction or we stay totally away from it. Um I mean the research did come up with fruit and veg, so maybe it is important for it's the up to the interface guy. So if we stay away from it, s you know stay away from it, but if we're gonna go along with it then it doesn't necessarily have to be like an apple or something like that, or a kiwi fruit. It could be something like, I say potato peeler but I'm sure you guys have a have a much cooler idea than I do. So I think cool is the key. Few questions about a spongy remote control. I've never seen one before. I've seen plastic remote controls. I think maybe they were I don't know, back in the day when they first came up with remote controls, they had a reason for it being Timothy Perrigan: Mm-hmm. Bernard Sanders: sturdy, you know. For being strong and sturdy. So um if we want something strong and sturdy, I say stay with plastic or titanium, but if we go with spongy, we can stress that you can drop this as many times as you want, it doesn't matter, it's spongy material, it's not gonna break, you know. I just don't know how the L_E_D_ and the lights are gonna fit into a spongy material because it's not gonna be completely squeezable. So how do things fit it? And if we are gonna use spongy, we can say it's long lasting, you know it's damage resistant and stuff like that, so. So just to summarise, people want stuff that's cool, that's that looks like it's cool, and if it is cool then that's a bonus doesn't have to be um people like fruit and veg. We can either go down that alley or stay totally away from it. People like spongy material. we have to think of how practical it is, and how we can further promote that idea. And also, this was this year. So, things change all the time, every year you know they they always talk about this year, this is the new black. Well next year something else is gonna be the Timothy Perrigan: Mm-hmm. Bernard Sanders: new black and we're stuck with last year's fruit and veg type stuff. 'Kay. Timothy Perrigan: Okay. Bernard Sanders: That's Bernard Sanders. Timothy Perrigan: Well, um I would say that the most you could probably hope for is gaining a year's lead on most people anyway. You always have to bring out new designs, so if we can get next year then that's possibly a good place to start anyway. Cleveland Martin: Mm-hmm. Timothy Perrigan: Um. Seems like a a lot of the components could be off the shelf, so I don't exactly what cost would be incurred. Um I can see your point about the number keypad, but I've I would say that we can probably incorporate it into the menu system Mark Couch: Yeah. Cleveland Martin: Mm-hmm. Timothy Perrigan: if you need to do traversal of a large number of channels. would be that even if at a later date this was to be taking control of um boxes as well um having the use of the L_C_D_ and the joystick would probably allow you to manipulate enough channel numbers for you to be Cleveland Martin: Yeah, actually if you've got a lot of channels, the number keypad can be quite annoying as well, becau it's you know if you're trying to remember what uh, you know, what number's the discovery channel or whatever. It's just Bernard Sanders: That's Cleveland Martin: irritating. Bernard Sanders: a good point. You can Timothy Perrigan: Mm-hmm. Bernard Sanders: incorporate Cleveland Martin: But if you Bernard Sanders: names Cleveland Martin: h but but Bernard Sanders: into Cleveland Martin: but Bernard Sanders: the Cleveland Martin: if Bernard Sanders: menu. Cleveland Martin: you have a Bernard Sanders but if you have a menu structure, then you can sub-group them. Bernard Sanders: Okay. Cleveland Martin: So Bernard Sanders: Even Timothy Perrigan: Okay. Cleveland Martin: you Bernard Sanders: news, music. Like they do on uh sky digital kinda. Cleveland Martin: Yeah. Bernard Sanders: Yeah. Timothy Perrigan: So what it looks like to Bernard Sanders is we'll use a large number of standard components, um, say something like um lithium ion battery, the kind that you find in most um small hand held devices now. Um Looks like we going for a double curved design. Um I don't know what cost implications there are in that. Um, looks like we're pretty much decided on some kind of flexible rubber. Though I'd have to say depending on how flexible it is, we might need to have some kind of inner frame. Cleveland Martin: Yeah, I I would say definitely, I mean I mean I mean the the idea of having it sort of articulated i th there would be basically two points of articulation. W um one below and one above the m the uh the main sort of grip. Timothy Perrigan: Do you Cleveland Martin: So Timothy Perrigan: think there's any way we could maybe remove the articulation? I can see why it looks appealing, but it could be a weak point in um the structure, do you think? That would Cleveland Martin: Mm. Timothy Perrigan: be a worry of mine. Mark Couch: If you're going with the fruit and veg thing, looks like a banana. F if you wanna design it that way. Cleveland Martin: I d I don't thi I don't think that it would be a a structural weakness, I mean if you have a firm s sub-structure, you can then incorporate articulation into that. If you then have a sort of outer skin of mm flexible, spongy rubber then you have something that is you know very much you know organic, and I think would look rather co I mean mi rather cool. I mean my drawing there doesn't doesn't do it justice, it makes it makes it look more a little bit more like a vibrator than a than a uh than a remote control, but uh. Timothy Perrigan: Yeah, we won't add that functionality. Bernard Sanders: Okay. Course not. Timothy Perrigan: However, one interesting point is, I don't know how serious you were there, but we if we take some of the ideas why don't we make the damn thing yellow to incorporate Mark Couch: Yeah. Timothy Perrigan: the des the colour of the logo? Bernard Sanders: Sure, Mark Couch: Okay. Bernard Sanders: yeah. Timothy Perrigan: I dunno. It's an Cleveland Martin: Mm-hmm. Timothy Perrigan: certainly a different colour from your average um Cleveland Martin: Make it harder to lose, as well. Mark Couch: Yeah. Timothy Perrigan: That's Bernard Sanders: Sure. Timothy Perrigan: true. Was there anything in your research Bernard Sanders: The noise for when you lose the banana, um f yeah, for when you lose the remote control, it could be like a a monkey noise or something like that, rather than a standard beep beep. Y you know, you lose the monkey the banana, y Mark Couch: monkey. Bernard Sanders: you lose the banana, you press a button, and you hear like monkey screams or something like that to direct you towards the banana. Cleveland Martin: I th uh I mean if it I think that's something that could perhaps be programmable, though maybe have monkey as default. Bernard Sanders: S Cleveland Martin: Um. Bernard Sanders: oh, I was gonna talk about the programmable remote control. Now I think it'd be cool if you had one remote control that could work with all T_V_s, you know you s you click a button and it finds the frequency that works with your particular television. Cleveland Martin: Mm-hmm. Bernard Sanders: But why you'd need to program it like as as a standard feature, I I don't know. Cleveland Martin: Well basi basically the um for f for uh I mean e each manufacturer will have a partic will have a particular command set that uh Timothy Perrigan: Mm-hmm. Cleveland Martin: the T_V_ responds to. It's Bernard Sanders: Yeah. Cleveland Martin: not simply a matter of frequency. So um usually what's done is you have this big booklet full of different possi you'll have all of them sort of programmed in to the uh remote, and you'll have this little booklet of codes Bernard Sanders: Mm-hmm. Cleveland Martin: you then find your um ma uh find your manufacturer and try the different codes that Bernard Sanders: Mm-hmm. Cleveland Martin: come under that manufacturer's name 'til you find the right one. Bernard Sanders: That's Cleveland Martin: It's Bernard Sanders: because televisions, they don't give the remote control any type of feedback when you send it. Cleveland Martin: Yeah, that's right. Bernard Sanders: Okay. Cleveland Martin: So that's that's quite annoying and we probably would still have to do that. But if we had um some sort of hook-up to your computer as an option, then if you've got a computer you can avoid that rather irritating thing. Timothy Perrigan: An interesting point is that if the person doesn't have the computer, we can still make the process easier because instead of having to look up codes, maybe we can have it that one of the options they have is that they look up the name of the company on the L_C_D_ and then Cleveland Martin: Yeah. Timothy Perrigan: they maybe look up different names Cleveland Martin: Yeah. Timothy Perrigan: of um different actual units that have been produced. Or we have the remote control just go through them until it's like does this do the correct function, and such. Bernard Sanders: Is it is it actually a book of names to digits, or is it like a few pages? Cleveland Martin: Um booklet. Some pages. Bernard Sanders: I was just thinking, if we were to store this information, some type of mapping. This person probably need to use this feature like once, you know, when you first buy the remote control, or whenever they buy a new television, so once Cleveland Martin: Yeah. Bernard Sanders: every Timothy Perrigan: Doesn't have Bernard Sanders: s Timothy Perrigan: to be used very often that's right, yeah. Bernard Sanders: Yeah, Cleveland Martin: Yeah. Bernard Sanders: and it's Cleveland Martin: But it's a but it's a nuisance. And it's a nuisance very close to the to um to actually purchasing it, Bernard Sanders: Mm. Cleveland Martin: so it's something that you're likely to be thinking about. If you if there's w i if there's one in the shop that's that says it can avoid much of that nuisance, you might be Bernard Sanders: Mm. Cleveland Martin: favourably inclined towards it. Um mm. Timothy Perrigan: Okay, this just to give us a Bernard Sanders: Mm. Timothy Perrigan: rough idea of what we're meant to be doing for the next stage. I'm pretty sure that you got that anyway. This is the conceptual one. Um. I think we've come up I think we've covered everything we need to here. Um I think we've decided on what, you know, decided on standard items for most of um rubber and such, so we're now looking at the detailed design and what we need to be doing for the next meeting. Um So for example, um I'll just start at the top, you've got yourself and Mark Couch gonna be working quite closely at this stage 'cause it'll be hard not to, obviously. Um looking from prototyping of some des description using clay. Um I suppose you'll be told a lot more about that as uh progress. Um The user interface design, They're kind of it looks they're the idea I've pushed forward so far is maybe more of a physical one there, whereas possibly be more interested in maybe how the L_C_D_'s going to incorporate, do you think? Or Cleveland Martin: Mm. Timothy Perrigan: do you s perceive that most the design design decisions still need to be based on the physical layout? Cleveland Martin: Um well I I think other than ge getting a sort of more aesthetically pleasing form for it, um mo most of the sort of layout design decisions are are made, I would say. Um but then again, the um the menu structure to to a considerable extent that's gonna vary according to the model of television, and also any customisations that the user might wish to incorporate. So um and one of the nice things about having an L_C_D_ and a menu structure is that there is that flexibility to it. Timothy Perrigan: Mm-hmm, that's very true. Um. Okay. Um got product evaluation as well. Bernard Sanders: Yeah, Timothy Perrigan: Um. Bernard Sanders: you see I don't some of these things kinda logically follow the others. How can t product evaluation, doesn't that come after actually seen a product Timothy Perrigan: I Bernard Sanders: prototype. Timothy Perrigan: I think we'd be yeah, no, it'd be more a case of how do we envisage us performing the product evaluation once we have a model to test with. Bernard Sanders: Oh, that's the okay, sure sure sure. Timothy Perrigan: Um so it'd be a case of do you think that just bringing users in to have them test it out, uh maybe putting a certain number of products into the field in certain places Bernard Sanders: Mm-hmm. Timothy Perrigan: which I suppose is quite similar. Or just kind of hitting the streets and you know saying this is a new remote control, what do you think of the look of it? Bernard Sanders: Okay, sure. Timothy Perrigan: Um Bernard Sanders: At this stage we still have no no target audience or Timothy Perrigan: I think the target audience is pretty much anybody under the age of say maybe sixty or something ludicrous. Bernard Sanders: 'Kay. Timothy Perrigan: Um the reason I'm saying that is we're just looking at a a replacement remote control, something that's stylish, so maybe you're even just maybe you're narrowing down your target audience simply by saying Bernard Sanders: And it's stylish. Timothy Perrigan: if they're buying it that often or they're maybe looking to replace something then, they've got a bit of free cash, so that puts them potentially in the younger age bracket. Bernard Sanders: Mm-hmm. Timothy Perrigan: Maybe even single, just for the reasons of um uh excess cash flow. Bernard Sanders: Mm. Timothy Perrigan: Although of course I mean at twenty five Euros, I don't think we're looking at charging the earth for the uh device. Bernard Sanders: Yep. Cleveland Martin: Yeah. Timothy Perrigan: Think that's Bernard Sanders: Okay. Timothy Perrigan: well within the normal bracket. Um your idea of the U_S_B_ would I think would largely depend on the cost. U_S_B_'s definitely one of the cheapest interfaces out there, but it might push the cost of the overall unit up 'cause it would require not just the connection but the chip for communicating with the rest of the system. That one Bernard Sanders: Programmable Timothy Perrigan: might have to be based Bernard Sanders: memory Timothy Perrigan: on Bernard Sanders: as well. Mark Couch: The U_S_B_ for which? Bernard Sanders: For the remote control. Timothy Perrigan: The the idea was that maybe it could connect up for um allowing a software interface on the P_C_ Mark Couch: Oh Timothy Perrigan: for Mark Couch: right, Timothy Perrigan: a Mark Couch: okay. Timothy Perrigan: larger programming due to the fact that we've gone for such a nice, easy minimal design, normally. Bernard Sanders: We've w Timothy Perrigan: Um. Bernard Sanders: definitely talking some type of Mark Couch: But didn't they just say it's just for T_V_, or are we gonna Timothy Perrigan: It's just for T_V_, but for Bernard Sanders: Different. Timothy Perrigan: programming it to use your T_V_, you Mark Couch: Okay, Timothy Perrigan: might hook Mark Couch: yeah. Timothy Perrigan: it up to the P_C_. I I'm not sure, but I'm thinking maybe that the additional cost of the U_S_B_ might be prohibitive. Cleveland Martin: Mm. Timothy Perrigan: We don't know unless it would make sense to. Bernard Sanders: But Cleveland Martin: Yeah, Bernard Sanders: you're Cleveland Martin: I mean Bernard Sanders: gonna Cleveland Martin: it's Bernard Sanders: need some type of flash memory or something. Well something that doesn't you Cleveland Martin: Yeah. Bernard Sanders: wouldn't have to redo the whole thing once the batteries are changed, you know, once Cleveland Martin: Yeah. Bernard Sanders: you turn off the power. Cleveland Martin: The other thing I mean it I mean it would need to ha it would need to have um some sort of on board memory Bernard Sanders: Yeah. Cleveland Martin: anyway. Um f for one for one thing because I do think that the menu system should be um uh I mean although you know, it's not going to be terribly complicated if it's just controlling one device, the menu system ought to be um o ought to be customisable and Bernard Sanders: Different Cleveland Martin: uh Bernard Sanders: languages, uh different skins Timothy Perrigan: Mm-hmm. Bernard Sanders: and stuff like Cleveland Martin: Mm-hmm. Bernard Sanders: that. Timothy Perrigan: W Cleveland Martin: How uh how uh how you want say the um the the menu structure for flicking through channels if you've got lots of channels. Bernard Sanders: Sure. I Cleveland Martin: That sort Bernard Sanders: if Cleveland Martin: of Bernard Sanders: it Cleveland Martin: thing. Bernard Sanders: was customisable as in different languages and stuff, that does open it is supposed to be international, right? So. Timothy Perrigan: It would make sense to. Bernard Sanders: It would make sense Timothy Perrigan: I would Bernard Sanders: if Timothy Perrigan: say Bernard Sanders: you could Timothy Perrigan: to. Um and we'd better be careful about the time as well. Bernard Sanders: Okay. Timothy Perrigan: We've already had the five minute warning, so. Um. I would say yeah. International would make sense. Um you're gonna look at product evaluation. I'm I'd better start writing up a hell of a lot of crap. Um you're gonna look a bit more at the kind of the physical make up you say. Um looks Cleveland Martin: Yeah. Timothy Perrigan: like we're gonna need a maybe a kind of prototype in clay. Uh we'll see how that goes. Um. Cleveland Martin: Are we going to be supplied with the clay is what I want to know. Where is the clay? Timothy Perrigan: So um do I think we've got an idea of where we need to go for the next meeting, would you say? Bernard Sanders: Yeah. Cleveland Martin: Mm-hmm. Mark Couch: they're going with the fashion thing, like Bernard Sanders: The fruit and Mark Couch: the Bernard Sanders: veg. Mark Couch: design, spongy Bernard Sanders: This one. Mark Couch: rubber. Yeah. Cleveland Martin: Mm. Timothy Perrigan: Yeah, I would s that would be my Cleveland Martin: I Timothy Perrigan: my Cleveland Martin: th Timothy Perrigan: feeling. Cleveland Martin: I think I would largely want to actually steer clear of the whole sort of fruit and veg thing. Bu but um but the spongy idea I like. I like it a lot. Timothy Perrigan: We Bernard Sanders: Yeah. Timothy Perrigan: seem to have quite a general consensus that the idea of the the r rubber could be quite Bernard Sanders: Yeah. Cleveland Martin: I having it i having it sort of br bright yellow I think that's quite a good idea, though maybe we could have options for colours as well. Bernard Sanders: Yeah. Cleveland Martin: and again this has the advantage of being harder to lose. Bernard Sanders: Sure. I mean we are trying to promote a remote control, but we wanna keep the company brand as well, so. Cleveland Martin: Mm-hmm. Timothy Perrigan: Yeah. So we always need to remember that somewhere we're meant to be getting the slogan on. Possibly I'm think I'm not sure but I'm seeing a little bit of space around maybe the joystick area which could Cleveland Martin: Mm. Timothy Perrigan: be used. Cleveland Martin: Yeah. Timothy Perrigan: Um. Cleveland Martin: I was like like I said before I I think we should have the R_R_ on the uh on the top function button. Timothy Perrigan: Okay. And I think that says it all really. Bernard Sanders: I think so too. Timothy Perrigan: Right. See Bernard Sanders: Sa Timothy Perrigan: everybody in a half hour.

Timothy Perrigan recapped the decisions made in the previous meeting. Mark Couch presented options for batteries, materials and shapes to use for the case, buttons, and chips. Cleveland Martin discussed how to create an interface for an ergonomic remote which conforms to the shape and movements of the human hand, as well as an option in which users could connect their remotes to computers in order to download program settings. Bernard Sanders discussed findings from trendwatching reports, which indicated a need for products which look fancy, are technologically innovative, are easy to use, have a fruit and vegetable theme, and are spongy. The team then discussed what materials and components to use, the color of the remote, and programming options for the remote.

amisum

train

Carl Loder: That should hopefully do the trick, um. Carl Loder: 'Kay. Sorry about the small delay. Falling a little bit behind schedule. And that's uh fifteen twenty five. Okay. So just to try and roughly go over what we agreed in the last one, um we're gonna go for something uh uh how was it? Uh The new black, I believe. Um something that looks good 'cause that seems to be in preference to actual functionality in the end, though we should never avoid functionality, of course. Uh of our components are gonna be standard, off the shelf, but it seemed like we were gonna require at least an advanced chip and we were still very much for the idea of using an L_C_D_ display. Um other things were we were hoping to use rubber, most likely gonna be double curved, etcetera. Okay. So um due to your hard work, we might as well let the uh two designers go first, and uh show us the prototype. Stephen Mccullough: Okay, it's a Carl Loder: Quite how the best way to do this is, I'm not sure, Stephen Mccullough: I Carl Loder: but Stephen Mccullough: think if we step up and uh outline our ideas. Okay. Now do uh doing the prototype gave us a bit more insight into the ergonomics of the design. Um for one thing, it turned out that the only point at which it needs to be articulated for handedness is um is h i is down here for the uh L_E_D_. As it turned out, the whole thing transfers from the right to left hand fairly well the point of view operating the function buttons and joystick, though it might be an idea to be able to a adjust the positions for the base of the joystick just a little bit for Carl Loder: Okay. Stephen Mccullough: uh ju just a thought. You could simply have a slightly ovoid shaped joystick that could then just be turn uh twisted round, so that the uh sticky uh so that the bit that sticks out a bit more is on one side or the other. But as you as you see with the uh with holding it in the left hand, the L_ uh the L_C_D_ is nowhere useful, so that would need to be articulated uh if we're going to retain ergonomic design. Um now I I got your note about uh keeping the cost down. Carl Loder: I'm afraid yeah. Stephen Mccullough: Yeah. Carl Loder: We'll go into that a bit more, but please go on. Stephen Mccullough: this design could be done with um with uh plastic casing. Though I would recommend around the grip part here in the middle, having maybe just a rubber grip over that which would allow for a slightly more sort of bio-morphic form, and a bit more ergonomic as well. As for the um as for the single curve, um well this edge and this edge, like I say it would be nice to have some curvature to it, but it's not absolutely necessary. Really the curve that's most needed is the underside so that the jo so that the joystick rests over the the edge of the hand like this. Um and you have the uh transmitter here and a wee speaker for the uh for the uh for the uh fi uh for the remote control finder. So. Any further comments? Michael Pierre: Um obviously it's gonna be bulkier looks, because it's gonna be flat on one side, so the L_C_D_ will be s sticking down like this, won't it? Stephen Mccullough: Mm-hmm. Yeah. Michael Pierre: 'Cause it you can't get it curved. Uh Stephen Mccullough: Yeah, I mean the Michael Pierre: because of costs. Stephen Mccullough: uh Michael Pierre: And it's Stephen Mccullough: Yeah. Michael Pierre: plastic as well, so it won't be as comfortable on the hand. Carl Loder: Mm. Stephen Mccullough: Yeah. I mean with the with the rubber design it could i you know it could pretty much mould very much to the to the user's hand. One nice wee feature if we could if we could still do the rubber, I though of was to have the uh rubber extend beyond the end of the uh of the rigid substructure. So it has a wee sort of tail that you just drape over your wrist so it stays in position nicely. Mm. Lovely. Um. Michael Pierre: Yeah, Carl Loder: Okay, yeah. Great. Billy Mcdaniel: Right. Carl Loder: Um. Billy Mcdaniel: Yeah I've got a if load up my evaluation Carl Loder: Yeah, okay. Billy Mcdaniel: document. Stephen Mccullough: Okay. Carl Loder: Excellent work. Billy Mcdaniel: Mm. Carl Loder: Um. Billy Mcdaniel: Uh evaluation. Billy Mcdaniel: Basic point uh have a list of criteria that we need to rate the prototype by. Um then we will it's a seven s um seven seven step kinda evaluation process. So um not seven steps, seven scale. So after we've finished doing all the ratings for each criteria, we average that and that will give us some type of uh confidence in our prototype. And uh the on Real Reactions' kinda and policies, marketing strategies also those I put together from the user requirements. 'Kay. Um if you flip the So, those are the criteria. And uh perhaps I could have put 'em a bit better, but you notice a few things that we've totally abandoned, which means that uh the product will score very badly on some of those points. Put it mildly. So we have um true? One, t Seven, eight, oh. Fourth. Okay, so we have to go through each point. If we imagine it's actually straight, and just give it a a score. So um how well would you say the prototype is uh how well have we realised the dream of being able to stop remotes from from being lost, or to be able to find them once they are lost. I mean, uh is the homing thing still the locator, is that still Stephen Mccullough: Yeah, that's still part of the design. Billy Mcdaniel: Sure. And Adam, we can keep that in? Carl Loder: Yeah, I believe so. So Billy Mcdaniel: Okay. Carl Loder: I mean I don't think anybody could actually stop a remote being lost, 'cause that would mean doing something about the human Billy Mcdaniel: Sure. Carl Loder: element, but I'd like Billy Mcdaniel: T Carl Loder: to think that we've done something about finding Stephen Mccullough: Mm. Carl Loder: the damn thing once we have. Billy Mcdaniel: Sure. Stephen Mccullough: Mm. And making it a bright colour helps with the personally I would have gone for purple. Billy Mcdaniel: Mm. Bright colour. So we still have that noise thing, yeah? Stephen Mccullough: Mm-hmm. Billy Mcdaniel: Os on a scale of one to seven, how would you guys rate it for finding finding it once it's lost? Stephen Mccullough: I'd say number one. Billy Mcdaniel: Number Michael Pierre: One. Billy Mcdaniel: one? Michael Pierre: Yeah. Billy Mcdaniel: Okay. Number number one for the first criteria. Stephen Mccullough: I think w if it was just the sounder then th I mean something I've found with uh w w with say tr trying to find uh a cordless phone or a m mobile, you can hear it, but you can't quite pin it dow pin down where it is. Billy Mcdaniel: Yeah you can tell what room the mobile is Stephen Mccullough: Bu Michael Pierre: find remote. Suppose you have to go to the T_V_ and Billy Mcdaniel: Yeah. Michael Pierre: do it manually. Stephen Mccullough: Yeah. Michael Pierre: Mm. Carl Loder: Mm. Billy Mcdaniel: Yeah. Michael Pierre: Like Carl Loder: Um Michael Pierre: y you wouldn't hear the speaker. Billy Mcdaniel: Mm-hmm. Carl Loder: just before we go through all of the steps Billy Mcdaniel: You wanna say something? Carl Loder: here, um well what we'll do is um if we can look at the criteria you're gonna evaluate, and then we'll come back to the product evaluation if that's alright. Billy Mcdaniel: That's fine. Carl Loder: Yeah, is that Billy Mcdaniel: Oh that's that's fine. Carl Loder: Um so is there anything here that you that you wanted to cover as in the criteria that you've covered? And then we'll come back pretty much promptly to this. Billy Mcdaniel: What do you mean cr is there anything I Carl Loder: I Billy Mcdaniel: wanna Carl Loder: is there any of these criteria that need any explaining? Or is there anything that yous thought tha really would stand out compared to the others? Billy Mcdaniel: Um, a few. Something I neglected from my initial research is that Real Reactions has a a goal strategy that all of the products be inspired by material fashion, and clothing fashion. That is why fruit and veg being popular in the home and in clothing was important and they want all their products to be somehow inspired by current trends in fashion. So they say we put the fashion in electronics, well they really mean it they they're very big on fashion, so. Carl Loder: Okay. Billy Mcdaniel: That's this bit right here. And uh this bit is this one easy to use for visitors or for anybody? I guess it's just the same as saying easy to use interface, so it's kinda condensed into one. And we can come back to it, you said. So. Carl Loder: Okay. No and which we will do very very shortly. Um. Okay. Slight problem we had was that we have an amazing four Euros over budget for what we were hoping to do. Um most of it stems from the use of the L_C_D_ which I think in the end accounted for about half of our expenditure because of course we required a chip as well. Um the only way to get this down was either to ditch the a L_C_D_, at which point we've removed a large part of how we were gonna interface, require more buttons, etcetera. Or what we did was that we um we as in I as I was quickly going over it was altering the actual structure. Um changing it to plastic and a solid unit with a single curve design would allow us to come back into the um proposed costs and we're just scraping it in, we've got point two of a Euro left over there. So we're just managing it really. Even then as well, um there was no criteria technically defined for a joystick so I've used what I think's appropriate. With any luck that won't mean that we've incurred more cost than we can actually afford to. It blows a lot of our really good ideas kind of slightly to one side, for example the possibility of having a U_S_B_ connection is definitely not viable now. Um. Billy Mcdaniel: Different languages? Carl Loder: That should still be viable. We've got an advanced chip, we've got the use of the L_C_D_. So being able Billy Mcdaniel: Yeah. Carl Loder: to communicate in multiple languages is still very much a possibility. Um but what's something we need to decide on is how we're gonna go from here. We do need to try and come up with an idea which could be continued with other people if need be. Um. We can I can bring the excel up sheet up and uh show you if you wish um. I really think as m much as it pains Billy Mcdaniel is that we might have to go with plastic and some kind of solid design, possibly meaning that the L_C_D_ wouldn't be in this perfect place. It might be s stuck like slightly between what would be good for left handed and what would be good for a right handed person. Stephen Mccullough: Mm-hmm I suppose o one thing that could be done is h is have it um circular and have it s so that the uh the pink actually goes a bit over the pinkie finger. Carl Loder: Okay. Stephen Mccullough: Mm. Billy Mcdaniel: Mm. Stephen Mccullough: So that uh th Carl Loder: It very much is about making concessions, unfortunately. Um. Stephen Mccullough: Mm. Billy Mcdaniel: Do you have any data on how much um different prints cost? I mean can you get the entire thing printed with a design um? Carl Loder: Um b b b da is you mean on the plastic, or? Let's have a look. You now have as much information as I do. Billy Mcdaniel: Yeah, yeah. Carl Loder: Um. So as you can see here, for example, the battery really not very little choice in that one. We've gone for one of the cheaper options as well. Unfortunately we require the advanced chip if we're gonna do what we're needing to. I've said single curved. We really do need it to be that way for the ergonomics of it. Um plastic for some reason incurs no cost, which I've had to very much make advantage of, despite the fact that rubber's only got a value of two Euros per unit. Problem comes here as you can see in the interface. Um save point five of a Euro here in that it's not per push button. That might make sense, because then a numeric keypad would come in at um what, four point five Euros, which is an awful lot, so that could well be wrong. Even if we save point five there, it would just mean that we're most likely placing it in actually just gaining a colour for the unit, which has had to be put to one side. As you can see, the use of an L_C_ display um advanced chip and what would determine the scroll wheel here as well because it's an integrated scroll scroll wheel push button that wasn't quite what I think they had in mind with a joystick. Billy Mcdaniel: Why would why would that be more expensive than an individual push button and scroll wheel together? That's quite significantly expensive. Carl Loder: I that's something you'll have to take up with the bean counters. Um Stephen Mccullough: Mm. yeah. Carl Loder: as you can see I mean that's taken up well over half of the price. Billy Mcdaniel: Yeah. Carl Loder: So um I'm very much open to suggestions of where we go, but because we need to shed what was four Euros off of the um the price of for what we really desired, this one comes in under price as you can see, but this was the one that sacrificed the material for the case and for the actual case design. Billy Mcdaniel: We don't even have uh speakers here. The like uh we uh what about speakers and transmitters and stuff like that? Have we factored that in? Michael Pierre: Mm. Carl Loder: Uh no, we haven't, Billy Mcdaniel: Transmitter, Carl Loder: not Billy Mcdaniel: receiver, speakers. Plus the extra device itself that's gonna be on a T_V_. Is that gonna be a button, or Carl Loder: That'll it literally would just be a button. Billy Mcdaniel: Yeah. Michael Pierre: That's Carl Loder: We might have to Michael Pierre: too expensive isn't it? Carl Loder: It looks like almost nothing Mm. Oh good call, I missed that. Billy Mcdaniel: I I mean it's not on here, but um. Carl Loder: that's a very valid point. Billy Mcdaniel: Did they s do we have to use an advanced chip for the L_C_D_? Michael Pierre: Yeah. Billy Mcdaniel: Okay. Well that's Carl Loder: So Billy Mcdaniel: yeah. Carl Loder: if we're gonna go with the L_C_ display, then that's Billy Mcdaniel: What's a hand dyna dynamo? You have to wind it up? Carl Loder: I believe so, yeah. That would probably not be in keeping with the um Billy Mcdaniel: Technology. Carl Loder: the fashion Michael Pierre: Fashion. Carl Loder: statement Billy Mcdaniel: Yeah. Carl Loder: and such, yeah. Billy Mcdaniel: Okay. Michael Pierre: So basically the only new thing is the L_C_D_ on the Carl Loder: Being Michael Pierre: remote Carl Loder: manipulated Michael Pierre: now. Carl Loder: by the joystick, yeah. Michael Pierre: Oh, and joystick, yeah. Carl Loder: Which I'm defining as scroll wheel. Um. Billy Mcdaniel: And we couldn't replace the joystick, right? Because we would need four extra buttons to replace it, up down left and right, and that would be more expensive than a but is a scroll wheel Stephen Mccullough: Mm. Billy Mcdaniel: not just back and forward? Carl Loder: Yeah it's just because there was no actual definition for what a joystick might be, that that's what I've labelled it for Michael Pierre: So Carl Loder: the purposes of this evaluation. Michael Pierre: The L_C_D_ basically is the big selling point of Carl Loder: If we remove the L_C_ display, Michael Pierre: the remote. Carl Loder: we could save ourselves a fair amount. Which you could Michael Pierre: But that's what makes it uh original though, isn't Stephen Mccullough: Mm. Michael Pierre: it? Billy Mcdaniel: Yeah. Stephen Mccullough: I think if we remove the the L_C_ display then there was absolutely no point to any of these meetings and we just we could just put our branding on any other remote control. Billy Mcdaniel: Yeah. Yeah. Um. Uh k Carl Loder: It's a shame. We should possibly have If we could've increased the price we could've manufactured that and we could've got something far closer to what we were Billy Mcdaniel: Does this Carl Loder: hoping to. Billy Mcdaniel: does this bear in mind that I mean it's a bit ridiculous that they're gonna charge us what is it, like this much money for three million if we're gonna buy three million components, you know. Carl Loder: Again, you'll have to argue with the accountants on that Billy Mcdaniel: Mm. Carl Loder: one. Um but for the purposes of this meeting, I'm we're gonna have to stick with these figures. Billy Mcdaniel: 'Kay. Carl Loder: So, I would say that it would seem like the general opinion is we're gonna keep the L_C_ display 'cause it's about what really separates us, Billy Mcdaniel: I Carl Loder: despite Billy Mcdaniel: think so. Carl Loder: the cost it's gonna incur. Um are people maybe not happy with, but are willing to go ahead with this in going for a plastic solid case, to keep the L_C_D_? Stephen Mccullough: Mm-hmm. Um yeah I mean one thing, I mean ho uh how much extra would it be to to keep I mean keep the um the articulation? Carl Loder: It's hard to tell. Um I would say Stephen Mccullough: This is Carl Loder: that Stephen Mccullough: what I'm wondering. Carl Loder: you're at least gonna take double curved, and even then I'm not quite sure if that's incorporating the idea of articulation. Billy Mcdaniel: Yeah. Stephen Mccullough: Oh no, I think I I it d that it needn't require it to be double Michael Pierre: It can Stephen Mccullough: curved. Michael Pierre: be s yeah, it can still be single curved, but Stephen Mccullough: It's uh it's Michael Pierre: You just. Carl Loder: Single Stephen Mccullough: just it's Carl Loder: curved with Stephen Mccullough: just Carl Loder: articulation? Stephen Mccullough: it's just that the case would come in t would be made in two parts and then joined together with an articulation. Billy Mcdaniel: Could we could we not get rid of the curvy the curvous the curvaceousness and focus on the menu being the best interface? 'Cause like we do we have re restrictions on software? Michael Pierre: That's what we need for the joystick I think though. Billy Mcdaniel: Oh but Stephen Mccullough: Mm. Billy Mcdaniel: there has to Stephen Mccullough: Yeah, Billy Mcdaniel: be Stephen Mccullough: I mean and I mean the uh I mean if you look uh if you look closer at the uh at the prototype here, the lines here along the grip are actually quite straight. Um I mean yeah, Carl Loder: But Stephen Mccullough: on the Carl Loder: the curves all o over Stephen Mccullough: on Carl Loder: hand, is it? Stephen Mccullough: the L_C_D_ I mean although we've done it with a curve it could just as easily be done um without curves. The curve that's really needed is up here, Billy Mcdaniel: joystick. Stephen Mccullough: to put uh to keep the joystick in a good ergonomic position for it to have it rest on the top of the hand. Billy Mcdaniel: Okay. Sure. Okay, my bad. Carl Loder: We wouldn't actually save a lot by reducing it anyway, so I mean for the purposes of this meeting maybe we can state that single curve still allows articulation. Stephen Mccullough: Mm. Carl Loder: Um unless we hear otherwise we could go ahead with that proposal. Billy Mcdaniel: So I think the product is not gonna perform so well for my criteria. Carl Loder: Which is what we can get onto now. As long as so are we gonna say w we have to keep an eye on the time as well, but we're gonna say um Billy Mcdaniel: Oh, wait Carl Loder: single Billy Mcdaniel: a minute. Carl Loder: curved design Billy Mcdaniel: Sample speaker? What is a sample speaker? Is that somewhat similar to what we want? Carl Loder: It could well be, Stephen Mccullough: Mm Carl Loder: but Stephen Mccullough: no Carl Loder: at a cost Stephen Mccullough: that's Carl Loder: of Stephen Mccullough: that voice response Michael Pierre: Costs Stephen Mccullough: thing Michael Pierre: four. Stephen Mccullough: that we got the email about. Billy Mcdaniel: Yeah. Stephen Mccullough: But I thought it was just completely pointless. Billy Mcdaniel: You got a email about voice response? Stephen Mccullough: Yeah. Billy Mcdaniel: I did not, so. Stephen Mccullough: Alright. B i basically it was saying that our labs had come up with a chip that you could, you know, say hello to, and it would say hello back in a friendly female voice. Carl Loder: Okay, yeah we'll definitely won't go with that one. Billy Mcdaniel: We won't go with that one, did you say? I mean Carl Loder: Yeah, Billy Mcdaniel: I Carl Loder: that's Billy Mcdaniel: we Carl Loder: voice recognition, so. Billy Mcdaniel: Okay, okay. Carl Loder: Um. So, okay yeah, battery definitely, Billy Mcdaniel: So it looks like we're gonna get rid of the whole loca locator thing. Carl Loder: It Michael Pierre: Yeah. Carl Loder: looks like it unless we can manage to put it in under point two Euros, Billy Mcdaniel: Okay. Carl Loder: um. Billy Mcdaniel: Okay. Carl Loder: Maybe even Stephen Mccullough: Mm-hmm. Carl Loder: slight well oh yeah, pretty much point two Euros, I'd say. So we'll leave that one for now. we'll Michael Pierre: Are we Carl Loder: just Michael Pierre: going Carl Loder: have Michael Pierre: for a special colour at all? Carl Loder: It's uh a case of um I'm uh slightly unsure. One point five of a Euro for one push button doesn't sound quite right. So maybe it's a case of a push button is maybe one or more. Um. Stephen Mccullough: Mm. Michael Pierre: Well I was Carl Loder: At which point Michael Pierre: for Carl Loder: if Michael Pierre: a case. Or had you already incorporated that? Billy Mcdaniel: Oh, special colour for the case. Carl Loder: Well you got point five there. It's literally a case of whether or not this is correct. I'm not quite sure if they're I don't think they mean point five Euros per button. Billy Mcdaniel: Mm-hmm. Stephen Mccullough: Okay, well l let's Carl Loder: So Stephen Mccullough: say that and then we can have our special coloured case and then we at least have make it a little harder to lose. Carl Loder: There we go. Stephen Mccullough: that gets camouflaged under any pile of crap in a Billy Mcdaniel: W Stephen Mccullough: living Billy Mcdaniel: what's Stephen Mccullough: room. Billy Mcdaniel: the default colour? White or black? Carl Loder: Black's probably the normal colour you'd say, Stephen Mccullough: Or Carl Loder: yeah. Stephen Mccullough: grey. Billy Mcdaniel: Right. Carl Loder: I quite like that Stephen Mccullough: Yellow. Carl Loder: colour that you're fetching there, it's uh definitely for make it glow in the dark even better. Billy Mcdaniel: Yeah. Carl Loder: So will we go with that then? Stephen Mccullough: Okay. Billy Mcdaniel: Yeah. Carl Loder: It's not and we can see we'll come back to Billy Mcdaniel: Sure. Carl Loder: uh your evaluation which you're probably now going to pan us but Billy Mcdaniel: Okay. Carl Loder: there we go. Billy Mcdaniel: Okay. So uh Carl Loder: Just to give you an idea, um you want to go maybe a bit quickly as well, I'm not sure how much time. We've not hit the five minute mark Billy Mcdaniel: Right Carl Loder: warning Billy Mcdaniel: okay. Carl Loder: yet, but. Billy Mcdaniel: Okay. Michael Pierre: Think it's ten minutes left. Carl Loder: Ten. Billy Mcdaniel: 'Kay. Ability to stop remotes from being lost or to find them once they are lost. Um. Okay. Michael Pierre: Special colour. Billy Mcdaniel: Special colour. Carl Loder: Mm Billy Mcdaniel: Uh Carl Loder: mm four? Billy Mcdaniel: uh four. Carl Loder: Three? Mm. Billy Mcdaniel: Three if Stephen Mccullough: Three. Billy Mcdaniel: we're being generous, Stephen Mccullough: I Billy Mcdaniel: I Stephen Mccullough: think Billy Mcdaniel: feel. Stephen Mccullough: we can do three. Michael Pierre: Three. Billy Mcdaniel: Think we're being generous Stephen Mccullough: Th Billy Mcdaniel: here with three. Stephen Mccullough: the special colour doesn't would I think make a difference. It makes it stand out from you know it's Billy Mcdaniel: Mm. Stephen Mccullough: lost in a big pile of crap, it stands out from the rest of the crap. Billy Mcdaniel: Yeah. Carl Loder: Okay. Billy Mcdaniel: Okay. Reduce the number of unused buttons. We're down to t two buttons, is it? Carl Loder: Two Stephen Mccullough: Two Carl Loder: buttons. Stephen Mccullough: buttons and a joystick. Billy Mcdaniel: Okay, so that's a one. You know, where Stephen Mccullough: Totally. Billy Mcdaniel: that's Carl Loder: Yeah. I'd say we're doing well there. Billy Mcdaniel: Okay, that was good. Easy to use interface, buttons menu, menus that's yeah that's good. 'Kay that's we're not doing so badly. Um easy to use oh okay, let's forget that one. Carl Loder: Mm-hmm. Billy Mcdaniel: Fancy looking. Carl Loder: As he Stephen Mccullough: It Carl Loder: models Stephen Mccullough: doesn't Carl Loder: the Stephen Mccullough: get much fancier. Billy Mcdaniel: Sure. And we could do whatever we like with the L_ L_C_D_. Yeah let's just assume it's a good L_C_D_ display. Maybe I was panicking for no Michael Pierre: Are Billy Mcdaniel: reason. Michael Pierre: we going one on? I'd say we go two, 'cause like f the fanciest would be the double curved. Billy Mcdaniel: Yeah, Michael Pierre: Wouldn't Carl Loder: I'd Michael Pierre: it? Stephen Mccullough: Mm. Billy Mcdaniel: w maybe you'd be a bit Carl Loder: Yeah. Billy Mcdaniel: too yeah. Michael Pierre: With the articulators. Billy Mcdaniel: There we go. Yeah, Michael Pierre: With Billy Mcdaniel: that's Michael Pierre: bells Billy Mcdaniel: m Michael Pierre: on it. Billy Mcdaniel: that's that's better too. More accurate numbers. Technologically innovative. Well, we're getting rid of the locator thing which Carl Loder: Which is a shame. Billy Mcdaniel: which yeah. Stephen Mccullough: Mm. I'd give Michael Pierre: No need Stephen Mccullough: it a three Michael Pierre: for teletext. Stephen Mccullough: for this for that. Yeah. I mean Billy Mcdaniel: 'Kay. Stephen Mccullough: the menus thing is something you don't normally see on um on a remote, but you see it in a lot of other places. Billy Mcdaniel: Yeah, mobile phones. Carl Loder: Mm. Billy Mcdaniel: And y what you're doing is moving the menu from the television to the remote control, so it's Stephen Mccullough: Mm-hmm. Billy Mcdaniel: You say three? I might go as far as two on that. Three. Stephen Mccullough: I'd give Carl Loder: I'd Stephen Mccullough: it Carl Loder: be Stephen Mccullough: a three. Carl Loder: tempted with three, Billy Mcdaniel: Three. Carl Loder: yeah. Billy Mcdaniel: Okay. Okay. Carl Loder: We'll get panned on the next one, anyway. Billy Mcdaniel: Materials that people find pleasing. Sponginess Carl Loder: Yeah, w Billy Mcdaniel: is what they really would have wanted, apparently. Carl Loder: It is, yeah. Don't blame them. Um because of the way that we've minimalised the number of buttons and such. Billy Mcdaniel: Yeah. Carl Loder: Plastic, it sucks. But it's no worse than any of the other pl remote controls we have. Billy Mcdaniel: That's true. It's not a step backwards. Stephen Mccullough: Mm-hmm. Michael Pierre: five? Six? Stephen Mccullough: I'd s I I'd give it a six, Michael Pierre: Six, Stephen Mccullough: to be honest. Billy Mcdaniel: Yeah, okay let's give it a six. Okay, that's totally thrown everything off balance. Inspired by the latest interior and clothing fashion. W we could. What colour were we gonna Michael Pierre: Put Billy Mcdaniel: make Michael Pierre: a leopard Billy Mcdaniel: it? Michael Pierre: print on Stephen Mccullough: Well I Michael Pierre: it. Stephen Mccullough: I I would sa I would say give a s give a selection of colours. Um we Billy Mcdaniel: I Stephen Mccullough: went Billy Mcdaniel: know, Stephen Mccullough: with Billy Mcdaniel: but Stephen Mccullough: yellow we went with yellow for the prototype 'cause we had yellow. If I were buying one, I'd go for purple. Leopard print would be cool. Billy Mcdaniel: But um by this I think it's more a case of Michael Pierre: Yeah Billy Mcdaniel: fruit Michael Pierre: we gotta. Billy Mcdaniel: and veg, Michael Pierre: I'd Billy Mcdaniel: Yeah. Michael Pierre: say the colour of the border there world you'd find that, that's that'd stand out. Carl Loder: Like yellow, yeah. It would also help keep the the product placement Michael Pierre: Logo, Carl Loder: s yeah. Billy Mcdaniel: Mm. Michael Pierre: brand. Mm Billy Mcdaniel: But Carl Loder: Is it inspired Michael Pierre: 'kay. Carl Loder: by clothing fashion? Billy Mcdaniel: Th th they're referring to the fruit and veg thing. Is this like a banana type colour? Could we stretch no Carl Loder: Yes. Billy Mcdaniel: still, it's not shaped like a banana is Carl Loder: It's Stephen Mccullough: That's Carl Loder: kind Stephen Mccullough: kinda Carl Loder: o it probably Stephen Mccullough: i it won't be when it's been Billy Mcdaniel: Oh is that 'cause it's flat? Stephen Mccullough: budgeted. Billy Mcdaniel: What is what fruit or veg is flat? Stephen Mccullough: I I think s I I think this isn't not particularly fruit and veggie. Billy Mcdaniel: Yeah. Stephen Mccullough: Um. Billy Mcdaniel: Or we might have to suffer badly Michael Pierre: Yellow Billy Mcdaniel: for this one as Michael Pierre: courgette. Billy Mcdaniel: well. Carl Loder: Well I mean it's probably more fruit and veg than most other things out there bar fruit and veg, so, what, four? Billy Mcdaniel: Four? Oh that's Carl Loder: Is that being Billy Mcdaniel: it's Carl Loder: too generous? Billy Mcdaniel: very ambitious, Stephen Mccullough: Mm. Billy Mcdaniel: yeah, um. Stephen Mccullough: I'd I'd I don't think fruit and veg is the sole criterion. Carl Loder: Oh dear, Billy Mcdaniel: Sure. Stephen Mccullough: Is the sole criterion for being um Billy Mcdaniel: Inspired Stephen Mccullough: fashion Billy Mcdaniel: by. Stephen Mccullough: fashionable or inspired by current fashions. Um I'd g I'd rate I'd rate this fairly highly from that point of view actually. Michael Pierre: Well this this what we're gonna t this is their motto, like. Billy Mcdaniel: Yeah. Michael Pierre: And we're we're not doing well on it. Billy Mcdaniel: This is their strategy. I m imagine we actually had some money invested in this and the amount that we invest is gonna be proportional to the marks. Might we might wanna be a bit more skepible sceptical about this one. Carl Loder: What would you think yourself? Billy Mcdaniel: I would say I mean it's it's not at all, right? In any way or shape or form. We Carl Loder: Well, Billy Mcdaniel: didn't Carl Loder: it's Billy Mcdaniel: m Carl Loder: kind of curved and we can make it yellow, and that's pretty much banana like. Billy Mcdaniel: Okay, the the yellow banana like thing is I think is okay. Carl Loder: Si it's got a curve to it. Billy Mcdaniel: Right five. Is that sound reasonable? Carl Loder: Am I Michael Pierre: Yeah, Carl Loder: do you think Michael Pierre: I'll go Carl Loder: I'm Michael Pierre: with Carl Loder: stretching Michael Pierre: five. Carl Loder: the Billy Mcdaniel: Five. Carl Loder: uh the use of the banana? Billy Mcdaniel: Yeah. 'Kay, so we have one, two, three, four, five, six, seven. So five, seven, ten, sixteen, twenty one. Which gives us an average of three. It's well this would be in the middle. So we it's it's not bad. It's in the good section. Carl Loder: It's not bad and considering the don't pick the pen. Billy Mcdaniel: Oops. Sorry. Carl Loder: Um. Billy Mcdaniel: I'm I'm sorry. Carl Loder: Y oh and you've knocked batteries out. Um right Michael Pierre: 'S Carl Loder: okay Michael Pierre: bad Carl Loder: it's Michael Pierre: design, that thing. Carl Loder: considering the price we had to get this in, Billy Mcdaniel: Mm-hmm. Carl Loder: to have a positive you know, even based on the four of us being heavily biased, um Billy Mcdaniel: Yeah. Carl Loder: it was gonna be quite hard to get anything standing out I'd say possibly, based on um the the cost features. Michael Pierre: Mm, Stephen Mccullough: Mm. Billy Mcdaniel: Even Michael Pierre: yeah. Billy Mcdaniel: if we were to increase this entire thing by by seven, we were to go down a grade to to four, we would have to do I mean we didn't we weren't that kinda optimistic too optim overly optimistic. You know like we didn't we didn't add we didn't subtract a whole seven points from these things, so I think we're definitely on the good bit. Even if we gave this one seven and this one seven, that's still only three extra points over seven. You know, it's Stephen Mccullough: Mm. Billy Mcdaniel: yeah, we did it w it was okay. It was good. Stephen Mccullough: Personally, I think given that the product um only replaces a single remote control that you've already got, are people really gonna shell out twenty five Euros for something that's only marginally good? Michael Pierre: Well, it depends who your who's what the target people are, like you'd say maybe the fashion conscious Carl Loder: Maybe it's Michael Pierre: women Carl Loder: been targeted Michael Pierre: would be going, oh look at that, 's cool, it looks like a Billy Mcdaniel: Mm-hmm. Michael Pierre: it's yellow, looks like a banana, it's cool it's gotta look good in the sitting room. Carl Loder: Hide it in the Michael Pierre: Rather Carl Loder: fruit Michael Pierre: than Carl Loder: basket. Michael Pierre: the L_C_D_ whereas uh more technical like like more uh people in with the latest technology it's good, it's got an L_C_D_ screen 's only got two buttons and a joystick. So, which which kind of people would be more likely to buy it? Carl Loder: Probably the people technologically. They're usually the ones that buy pointless stuff. Billy Mcdaniel: I think so. I mean my mum still has not learnt how to use text messaging on her phone, and she's had it for a long time, you know. She uses it to make phone calls and that's it. Yeah. So I think if sh if my mum saw a remote control like this with only two buttons and a joystick, I mean that'll probably be the first one she decides not to buy, you know. Carl Loder: Mm-hmm. Billy Mcdaniel: She'd be like is this a remote control, I don't how do you use it, and stuff like that. So even if it is really user friendly to us, but we're used to using menus all the time. Stephen Mccullough: Mm-hmm. I s I suppose one thing is that b because it's technically innovative, um for someone who's sort of technophobic, the fact that it simply looks unfamiliar Billy Mcdaniel: Yeah. Stephen Mccullough: would be daunting. Billy Mcdaniel: Yeah. I Stephen Mccullough: Um. Billy Mcdaniel: think it's totally uh radical to have a remote control with no no Michael Pierre: Yeah. Billy Mcdaniel: numbered buttons, yeah. Michael Pierre: Yeah. Billy Mcdaniel: But like radical good, maybe. Carl Loder: Okay. Um don't know how lo much longer we've got. At least five minutes I think. Um quickly we'll pop onto project evaluation. Um. So, we've got these uh four criteria here for uh satisfaction. Does anybody want to um um do you have any opinions on any of them? For example um we'll work backwards I suppose. The ability to work on this project using the technology we've been presented with. Um people made good use of the uh pen and paper? I would Stephen Mccullough: Yeah, Carl Loder: say Stephen Mccullough: got notes Michael Pierre: Yeah. Stephen Mccullough: and doodles. Billy Mcdaniel: Wrote nearly a page, but not. Carl Loder: I'm not quite sure what the advantage for us using a digital pen might be. Billy Mcdaniel: I think Stephen Mccullough: Well I think this Billy Mcdaniel: tracking. Stephen Mccullough: is a I think the digital pen's mostly for the benefit Carl Loder: Mm. Stephen Mccullough: of the uh of the researchers studying this. It's all p goes into their corpus. Though Carl Loder: It Stephen Mccullough: it Carl Loder: must Stephen Mccullough: would have been nice to be able to transfer the um transfer our n our paper notes onto the uh computer ourselves. Billy Mcdaniel: Yeah, that woulda been pretty good. Carl Loder: It does seem like the paper's still a heavy consideration for taking notes. So maybe this is literally just a way around it. Um I dunno. How are people satisfied with the teamwork we've managed to display today? Michael Pierre: Good. Billy Mcdaniel: I'd yeah I liked it, yeah. Carl Loder: Leadership. As much as can be leadered in this uh Michael Pierre: Very good. Carl Loder: thing. Billy Mcdaniel: I li yeah, top marks. Carl Loder: Um last one we've got is room for creativity. Billy Mcdaniel: Well Carl Loder: Now, Stephen Mccullough: Unti uh uh Carl Loder: I Stephen Mccullough: until Carl Loder: think we Stephen Mccullough: uh Carl Loder: got Stephen Mccullough: until accounts came along, squish. Michael Pierre: We're burs Billy Mcdaniel: yeah. Michael Pierre: bursting with creativity. Billy Mcdaniel: We we're not lacking in ideas, you know it's that was not the problem. Carl Loder: Yeah I think of in the end, ideas that can be used sadly. Not so much that we weren't full of ideas, but of ones that are gonna allow us to actually build the thing. Billy Mcdaniel: Mm-hmm. Carl Loder: It's a bit of a pity. Um I would have to agree on that. I think we needed a larger budget. Billy Mcdaniel: Yeah. Carl Loder: If you're going to aim your a um product maybe at the technological kind of sector, then you can afford to maybe jack the price up slightly from what it is. Because Stephen Mccullough: Yeah. Carl Loder: they will pay outrageous cash to Stephen Mccullough: Mm. I Carl Loder: first Stephen Mccullough: mean I Carl Loder: on Stephen Mccullough: th Carl Loder: the Stephen Mccullough: I Carl Loder: market. Stephen Mccullough: mean I think to r retaining the s the more sort of bio-morphic form in the articulation would gain more in s uh would gain more profit in sales than it would lose in uh in added expense. Carl Loder: Mm. Michael Pierre: And the price was like it was twice the w assembly cost. And would it have to be twice that? It could be like coulda had the assembly like maybe fifteen Euro. Carl Loder: It Michael Pierre: We'll Carl Loder: could Michael Pierre: still Carl Loder: even Michael Pierre: settle for twenty five. Carl Loder: That's Michael Pierre: Maybe. Carl Loder: true, yeah. Um I suppose these are all that will have to be taken up with a at a different group at I guess. As to a the costs involved. But I mean we've got a a prototype. Stephen Mccullough: Such as it is. Carl Loder: So I dunno, I I think it's gone okay today, considering the information that we've had at our disposal, and um Billy Mcdaniel: Maybe Carl Loder: such. Billy Mcdaniel: the counts wou woulda been better if we had a list or more Yeah, to begin with. Michael Pierre: In the beginning, yeah. Billy Mcdaniel: Yeah. Carl Loder: Probably would have mean we could have come up with a lot more solid Billy Mcdaniel: Yeah. Carl Loder: design in the end, I would have to agree. It is very much a pity to um get so far into the stage and then find out that maybe some of your ideas are just a bit too expensive. Always hard to tell until you know the costs. Um. Okay. Are the costs within budget? Well, they are now that we have our slightly less than capable product. Billy Mcdaniel: Okay. Carl Loder: We've evaluated it, and we can say that we came out with a value of three. Billy Mcdaniel: Yeah. Stephen Mccullough: Actually I want th one thing I would say I mean something that could perhaps be part of the product mm the um m product testing market research process would be to uh produce mock-ups of both versions and see just how much of a difference the over going over-budget um m would make to sales. Carl Loder: It's yeah? Billy Mcdaniel: And like response from consumers. Stephen Mccullough: And we could even you know, market two versions. Wee cheapie version with the nice bio-morphic rubber. Carl Loder: And then the final one where you get to call it Hal. But we'll Stephen Mccullough: Yes. Carl Loder: go into that later. Billy Mcdaniel: Sure. Carl Loder: Right um is there anything else that anybody would like to to add, um anything they think that's not been covered, before I quickly write up a final report. Um I dunno, I mean we've got a product. We maybe aren't as happy with it as we'd like to be, but we've got something we think we can maybe stick onto the the market and sell. And of course something we have been avoiding talking about 'cause of we've no information is selling them directly to the manufacturers. Billy Mcdaniel: Yeah. Carl Loder: There is a huge market. I mean we've briefly touched on it but we've no more knowledge then there's little we can say on that. Billy Mcdaniel: Yeah. Stephen Mccullough: Mm. Carl Loder: Yeah. So um unless anybody's got anything they'd like to add, we can maybe round this up slightly earlier than we'd need to and then we can Stephen Mccullough: And Carl Loder: finish Stephen Mccullough: I can get Carl Loder: up the Stephen Mccullough: my bus. Carl Loder: writing and such. Yeah? Stephen Mccullough: Okay. Billy Mcdaniel: Yeah. Okay, let's Carl Loder: Uh thank you for your participation. Billy Mcdaniel: Thank you. Stephen Mccullough: Thank you. Billy Mcdaniel: I was actually kind of upset you know at the budget, and that we had to cut a lot of stuff. It's like man, we we can't have the locator thing. And s yeah that's just bad. Do you think maybe the prices were were made? Carl Loder: That a question we can ask.

Carl Loder recapped the decisions made in the previous meeting and two team members presented a prototype for the remote the team is designing and discussed its ergonomic appearance and its features. Billy Mcdaniel began to lead the team in conducting an evaluation of the prototype but was interrupted when Carl Loder shifted the discussion to examining the production costs of the team's product. The original specifications of the team's product proved to be too expensive and so the team had to discuss which features to lose and which to maintain in order to meet the target cost. After discussing costs, the team returned to conducting their product evaluation. The prototype was evaluated on the basis of its ability to be located when misplaced, ease of use, appearance, technological innovativeness, and sponginess. Overall, the prototype received average marks. The team then evaluated the project process, finding that they were happy overall but quite displeased with the small budget.

amisum

train

Dennis Noga: I'll wait until you're all um hooked up. Joseph Horn: Oh good grief. 'Kay. Dennis Noga: Okay. Joseph Horn: Oh. Dennis Noga: Put it on in that Wayne Arnold: Oops. Dennis Noga: way. Thanks. Dennis Noga: Okay. Wayne Arnold: Mm. Dennis Noga: Welcome back everybody, Wayne Arnold: After lunch. Dennis Noga: hope you've had fun. Wayne Arnold: Yeah. Dennis Noga: Right um this is our conceptual design meeting, Wayne Arnold: Mm-hmm. Dennis Noga: um I think we're slightly ahead of ourselves from the last meeting, Robert Carroll: Yeah, Wayne Arnold: Mm-hmm. Dennis Noga: I Robert Carroll: yeah Dennis Noga: th Robert Carroll: I was getting that Dennis Noga: I Robert Carroll: impression as Dennis Noga: I Robert Carroll: well. Dennis Noga: think Joseph Horn: Mm. Dennis Noga: yeah um. This is where we talk about um properties, materials, user-interface and Robert Carroll: Etcetera. Dennis Noga: trend-watching. Joseph Horn: Mm-hmm. Dennis Noga: So I think we've touched on a few things to do with that already, but we'll just go. Um the minutes from the last time. Um we had a couple of um changes in our plans in that we couldn't use teletext, it wasn't gonna be a control for everything um and that we had to incorporate the image of the company into it somehow. Um we have decided on a leaving out the voice recognition, we've decided on there being a flip design and um a different shape from what's normal. We were thinking a shell, but something along those lines, just a different shape from what's normal, um. You were going to look into the rechargeable batteries Robert Carroll: Yeah. Dennis Noga: and we were gonna think about the port and an alarm for getting it lost, Robert Carroll: Yeah. Dennis Noga: things like that, um and our market was going to be young, business, kind of range. Wayne Arnold: 'Kay. Dennis Noga: Okay, so shall we start with the first presentation? Joseph Horn: Shall I? Wayne Arnold: Yep. Dennis Noga: Yes Joseph Horn: Okay. Dennis Noga: if you feel Joseph Horn: We just connect up. Thank you. Joseph Horn: There we go. Okay um so we decided on our market and so this feedback from the marketing department is really about trend watching. Um the methods we used to decide on uh current trends and so on, market trends, were that we did our traditional uh our usual market research study uh with a hundred subjects and the the general feedback from them is that the most im uh w I'm sorry I'm slightly tongue-tied after lunch, sorry Dennis Noga: It's Joseph Horn: Project Dennis Noga: okay. Joseph Horn: Manager. Um we decided on the most important aspect i uh required in a remote control device and we'll come to that later. So that was one of the first things we did. Also with our company um being forerunners in uh putting fashion into technology, we also looked at a fashion update um using our consultants on fashion and design in Paris and Milan. Uh so the general findings from that was uh in the market trends the most important aspect for remote controls were people want a fancy look and feel, rather than the the current functional look and feel of remote controls. They also also want a remote control to be technologically innovative, and of course, as we predicted, that it should be easy to use. Now I should point out that the first of those findings, fancy look and feel, is the most important, is twice as important as the second, technologically innovative, which is in turn twice as important as being easy to use. So possibly that the feature that we put first is actually third is still important, but it's third in order of preference for the the subject group we looked at. Dennis Noga: Yeah. Joseph Horn: Okay, um, now the fashion update which relates to very personal preferences among our subject group, um we found from our um consultants in Paris and Milan who des attended all the design and fashion fairs there, that fruit and vegetables are going to be the theme for clothes, shoes and furniture. So should we be thinking of using something like that in our remote control design too? There also seems to be um a trend towards a spongy feel to materials, uh again in contrast to last year. So a lot of interesting feedback there, both from our market research departments and from our people in Paris and Milan. Be interesting to see what our design people make of that. Wayne Arnold: 'Kay. Dennis Noga: Okay thank you very much. Um Wayne Arnold: Yep. Dennis Noga: let's start from the inside and work our way out. Wayne Arnold: Fine. Robert Carroll: Yeah, Wayne Arnold: It's okay Robert Carroll: okay. Wayne Arnold: with Joseph Horn. Joseph Horn: Unless anyone has any questions about that? Not Dennis Noga: I Joseph Horn: yet? Dennis Noga: don't think so, not Joseph Horn: 'Kay. Dennis Noga: yet. Um, yes, thank you. Robert Carroll: That screwed Joseph Horn: Okay. Robert Carroll: in? Dennis Noga: I hate those little things Robert Carroll: Yeah. Dennis Noga: especially if you do them on too tight and you can't get the leverage on them to undo Joseph Horn: I know. Dennis Noga: them. Robert Carroll: 'Kay, Dennis Noga: Okay. Robert Carroll: Okay. Um this is uh all about the design of the actual components and the availability of the components we have in stock at the moment. Okay, first uh the Into the method. The the main idea of the whole thing is just so you sh you just press buttons and it should activate things on the T_V_ and we discussed last meeting that it should be easy to find. Um also in this study I've looked into the availability of some of the materials, 'cause some of the things that we looked at last time aren't un unfortunately aren't available. Dennis Noga: 'Kay. Robert Carroll: Um, findings, I've got my nice little picture there. This is uh the chip called the T_A_ double one eight three five which is what's used in pretty much every remote control 'cause it sends out standard signals, based on your input and um it's pretty much used for all all T_V_ Dennis Noga: 'Kay. Robert Carroll: remotes at the moment. Um and then we we're loo looking into battery options. There's um actually no rechargeable option available, so we I saw the um the standard double A_ and triple A_ which we thought were a bit bit too bulky at the moment, dynamo charging, I thought that that might be a bit silly to be Dennis Noga: Wa Robert Carroll: to be honest, Dennis Noga: can you explain Robert Carroll: people won't Dennis Noga: that? Robert Carroll: it's it's basically Dennis Noga: Like a Robert Carroll: like wind-up radio. Dennis Noga: right, okay. Robert Carroll: So you wind up your remote control before you use it. Dennis Noga: How what Robert Carroll: It Dennis Noga: kind Robert Carroll: might Dennis Noga: of how l long can you get out of that, I mean can you Robert Carroll: You Dennis Noga: pick it up and then wind it for two minutes and then that's it for the night? Robert Carroll: Yeah, Dennis Noga: Or Robert Carroll: yeah, oh yeah I presu you wouldn't have to wind it for very long, but I don't I don't think it's really sort of necessary when you th you think of the next two options, like the the solar charging, 'cause most people have the light on in the room anyway so they could get Dennis Noga: That Robert Carroll: when Dennis Noga: doesn't count though Robert Carroll: when Joseph Horn: Does Dennis Noga: does Robert Carroll: you Joseph Horn: does Robert Carroll: got Dennis Noga: it? Joseph Horn: light Robert Carroll: T_V_. Joseph Horn: charge as as sunlight Dennis Noga: I thought Joseph Horn: does? Dennis Noga: it was Joseph Horn: Artificial Dennis Noga: U_V_ Robert Carroll: No. Joseph Horn: light? Robert Carroll: Is Dennis Noga: like Robert Carroll: it? Alright i Joseph Horn: Has to be solar. Dennis Noga: Any, any Wayne Arnold: Yep. Regarding those sizes, which one you think will be light because we we have to take into consideration size also, so maybe a standard triple A_ might take lesser space or and dynamo might take more Robert Carroll: Yeah Wayne Arnold: space. Robert Carroll: it would the d yeah the dynamo would take more space 'cause you actually need a physical sort of handle to wind up. Dennis Noga: I'm pretty sure that solar is from the sun. Robert Carroll: Yeah, Joseph Horn: Mm. Robert Carroll: okay. Dennis Noga: Uh, I don't think it counts Joseph Horn: Artificial Dennis Noga: electric Joseph Horn: light, Dennis Noga: lights Joseph Horn: no. Dennis Noga: no, but I mean Joseph Horn: That's Dennis Noga: not Joseph Horn: going to Dennis Noga: many you don't want to limit your market. I mean people who live in basement flats there's not that many people, Joseph Horn: I know, different Dennis Noga: but Wayne Arnold: Uh Dennis Noga: there Robert Carroll: But Joseph Horn: parts Dennis Noga: are Joseph Horn: of the world Dennis Noga: people. Joseph Horn: too, if we're if we're marketing internationally. Robert Carroll: Yeah and most Wayne Arnold: Right. Robert Carroll: people most people also watch T_V_ in the in the Wayne Arnold: Night. Robert Carroll: night anyway. Dennis Noga: Mm, but then it would be charging through the day, I think the point is that it charges through the day and then you've got it charged Robert Carroll: But Dennis Noga: for Robert Carroll: I Dennis Noga: the Robert Carroll: I think Dennis Noga: evening. Robert Carroll: I think the the next one's the best Dennis Noga: Okay. Robert Carroll: anyway. The the kinetic charging which is like you get it in r you get it in wrist watches Dennis Noga: Yeah I've Robert Carroll: and Dennis Noga: seen Robert Carroll: you d you don't even notice it. I mean the amount the amount of probably moving around you'd be doing all the time would would charge it up, I don't think you'd ever need to actually physically start shaking it up to make it work. Wayne Arnold: And are these like uh what are the life of the kinetic battery, it like it runs for long time? Robert Carroll: Um yeah it's it charges into um some form of it's a smaller cell Wayne Arnold: Mm-hmm. Robert Carroll: which it charges into and uh the si the size sort of a watch a watch battery, 'cause they use them quite frequently Wayne Arnold: Okay. Robert Carroll: in watches. And that'll that would l would last for um well I do I d I'm not entirely sure how long it would last but I've never seen one run out. Dennis Noga: But then Wayne Arnold: We c Dennis Noga: if you think about a watch, it's on your wrist so it's on your whole bod it's on your body the whole time Robert Carroll: Yeah. Dennis Noga: so you're walking around, you're doing things, it is moving a lot of the time. Robert Carroll: Yeah Dennis Noga: If Robert Carroll: and Dennis Noga: you'd I mean you switch the T_V_ on, then you put it on the side, then Joseph Horn: Mm-hmm. Dennis Noga: you pick it up to change it and then you put it on the side. Robert Carroll: Yeah but then Dennis Noga: Is Robert Carroll: again Dennis Noga: it really gonna be enough? Robert Carroll: I I think it is because if you think about it, the watch, although it's only a tiny amount it's it's um it's always moving for the whole day and they don't run out over night when you leave them on the side. Dennis Noga: Okay. Robert Carroll: And th for the same the same reason, you're only using it for a v incredibly short amount of time just to send the signal and then you're finished with it Joseph Horn: Hmm. Dennis Noga: So it's Robert Carroll: and Dennis Noga: not Robert Carroll: you Dennis Noga: the Robert Carroll: put Dennis Noga: draw Robert Carroll: it Dennis Noga: on it isn't Joseph Horn: Mm-hmm. Robert Carroll: no no I do I don't Joseph Horn: Mm. Robert Carroll: think the Dennis Noga: Okay. Joseph Horn: Could Robert Carroll: the Joseph Horn: I Robert Carroll: draw Joseph Horn: just Robert Carroll: on it Joseph Horn: ask Robert Carroll: would be Joseph Horn: referring back to solar charging, is that Robert Carroll: Mm. Joseph Horn: compatible with um standard batteries? I mean, could people put standard batteries in but with a s you know they could leave it in the sunlight for solar charging Robert Carroll: Ye Joseph Horn: or the two things not compatible? Robert Carroll: yeah I think Dennis Noga: Like a Robert Carroll: I Dennis Noga: dual Robert Carroll: th uh g y Dennis Noga: kind Robert Carroll: you Dennis Noga: of. Robert Carroll: could have a dual um power thing but the the thing with the solar cells is you would need to put them on the case and they because, if you lie on a calculator they Joseph Horn: Mm. Robert Carroll: they're qui they're quite big and they all they all look i identical. Joseph Horn: So that affects Wayne Arnold: Solar Joseph Horn: the exterior Wayne Arnold: would be Joseph Horn: design. Dennis Noga: Expensive Wayne Arnold: slightly Dennis Noga: as Wayne Arnold: expensives. Dennis Noga: well. Robert Carroll: They're they're Dennis Noga: What Robert Carroll: expensive, Dennis Noga: kind of price Robert Carroll: they don't Dennis Noga: are we looking at for I presume Wayne Arnold: It's Dennis Noga: the Wayne Arnold: twelve Dennis Noga: normal Wayne Arnold: point f Dennis Noga: batteries are the cheapest? Robert Carroll: Yeah the normal batteries would be the cheapest I'd presume then it would actually be the the solar charging ones, um but the It's i I think they're not very resistant to dropping, 'cause if you Dennis Noga: Solar. Robert Carroll: drop stuff yeah if you if you have Dennis Noga: Well they're Robert Carroll: y Dennis Noga: not designed Robert Carroll: the size you'd need to charge a remote wouldn't be that big but I mean if remotes always get thrown around and stuff, so. Y Dennis Noga: Practical-wise Robert Carroll: I think yeah, Dennis Noga: okay. Robert Carroll: practically. I mean calculators you don't really throw around a lot whereas remotes you do, they Dennis Noga: You Robert Carroll: can Dennis Noga: do get Robert Carroll: t Dennis Noga: a bit of wear but don't calculators have a battery in them Robert Carroll: Yeah Dennis Noga: as Robert Carroll: they Dennis Noga: well? Robert Carroll: do, they yeah they've got dual things, Joseph Horn: Mm. Robert Carroll: but they're Dennis Noga: Mm. Robert Carroll: the batteries are smaller I think. Wayne Arnold: Another Joseph Horn: Again Wayne Arnold: question Joseph Horn: it de Wayne Arnold: is like sorry. W w which one would last the longest, because we don't want customers to be like you know charging like a mobile phone every day. Robert Carroll: Mm. Wayne Arnold: A remote Robert Carroll: W Wayne Arnold: control, like, so Joseph Horn: Mm. Robert Carroll: m yeah so Wayne Arnold: we Robert Carroll: the Wayne Arnold: have to s look at the life also. Robert Carroll: Yeah the the s if you if you had something du uh using the standard batteries and the solar charging, um, I don't think you'd I think the it would d well you know how long the standard double A_s would last in or Joseph Horn: It would Robert Carroll: triple Joseph Horn: just detract Robert Carroll: A_s would last. Joseph Horn: from the attractiveness of the of the whole feature, Robert Carroll: Yeah Joseph Horn: i it's Robert Carroll: I think Joseph Horn: not gonna Robert Carroll: i I Joseph Horn: add Robert Carroll: think Joseph Horn: anything, Robert Carroll: it would, Joseph Horn: okay. Robert Carroll: yeah. Dennis Noga: Okay, can we add in uh an attachment to closing feature? Wayne Arnold: Okay. Dennis Noga: Can we think about that? 'Cause if we're doing the kinetic thing Robert Carroll: Yeah. Dennis Noga: and Joseph Horn: Shouldn't we do some Dennis Noga: it's Joseph Horn: market research on that first before we add it in because I I personally Dennis Noga: Well add it in to think about Joseph Horn: right, okay. Dennis Noga: um because, where am I? If it is the kinetic thing and it is small and it is portable and it is a different shape Robert Carroll: Yeah. Dennis Noga: and the kinetic is something people don't do kind of we're doing something original and different um but if you wore it if it's something you could just clip on your pocket then you would have that less, you you wouldn't lose it Robert Carroll: Yeah. Dennis Noga: so much. But then maybe Robert Carroll: Yeah. Dennis Noga: that's looking at someone who's just sitting on their own rather than the eternal battle for control of the controls. Joseph Horn: It's not something that's come up in any of our uh focus groups and market research, Dennis Noga: No. Joseph Horn: it's not a thing that people are looking for Dennis Noga: Okay. Joseph Horn: when we threw it open Wayne Arnold: So Joseph Horn: to the field yeah. Robert Carroll: Okay. Joseph Horn: But it's something to put on the side to think about maybe. Dennis Noga: Okay, right. Robert Carroll: Okay, well I'll move on. Dennis Noga: Mm-hmm. Robert Carroll: Um, my second part of my findings uh the mo most current remotes use this silicone uh P_C_B_ board which pr printed circuit board, has these contacts that are really close together and then when you press down on the rubber button, it'll connect the circuit and each each switch is connected to two uh different legs on the chip and so sends a different message and that then uh gets translated by the chip into a code and then it's fired out of this L_E_D_ in the sequence of l on and off bursts. Dennis Noga: What kind of things do we have to consider there? Can we what kind of size, does it come in varying sizes or is it just one size Robert Carroll: Well Dennis Noga: and we would have to fit the Robert Carroll: well Dennis Noga: design Robert Carroll: this Dennis Noga: of Robert Carroll: the thi the thing about is um they they can be as big or as small as you want them to be because you can you can print circuit board like that that it's it's simply spaced like that so you can have fit the n the size of the nine buttons in. If you if you see how thin the tracks are, Dennis Noga: Mm-hmm. Robert Carroll: you could you could s you could put them virtually right next to each other and have a much smaller switch on each one, if Dennis Noga: Okay. Robert Carroll: you if you wanted to but um the there is an option to do to do it like that, or you could have some sort of array of switches which I'll speak about in the next bit Dennis Noga: Okay. Robert Carroll: so that And then to uh yeah, so to conserve battery life the remote should be in a standby mode no while not being used. Now what I was thinking about that was 'cause sometimes when y when you have these things, they've got little lights on behind the buttons, so you can see what all the buttons are, like on a mobile phone, they Dennis Noga: Mm-hmm. Robert Carroll: do it more Wayne Arnold: Mm-hmm. Robert Carroll: often than on a than on a T_V_ remote, but you could you could have lights behind the buttons and um after like five or ten seconds of not being used I'd have that turned off, if we decided to go for buttons that could light up. Wayne Arnold: Okay. Robert Carroll: Um, the case material, I've a been sent what the factory can actually give us, the there's the plastic which I think we were gonna go for anyway as the main case Dennis Noga: Mm-hmm. Robert Carroll: case housing and the the main problems with the well you could go for wood but I think it would be a bit impractical. Titanium um very expensive just to process, which Dennis Noga: Mm. Robert Carroll: to make it is expensive, and rubber, well you're saying that people like this uh spongy feel this Joseph Horn: Mm. Robert Carroll: year, so perhaps uh some something made of rubber, but I was thinking more of the buttons, because the buttons which they've they've said that they've they've put across are what is used in some stress ball manufacture Joseph Horn: Okay. Robert Carroll: and it's meant to be anti R_S_I_. Dennis Noga: Mm-hmm. Robert Carroll: I'm no I'm not sure how that would work because surely your fingers would still be moving over the short distances but that's what they said. Um the problem with the casing is that uh there's quite um there's quite a few design restrictions that they've got on the shape of the case. If you go for titanium they can only do a standard box shape, whereas if you come to plastic they can they can be a little more they can they can do sort of curved shapes. But whether whether or not because we'd have it in two separate units Wayne Arnold: Second Robert Carroll: for Dennis Noga: Hinged, Wayne Arnold: thing Robert Carroll: the flip Wayne Arnold: is Robert Carroll: phone. Dennis Noga: yeah. Wayne Arnold: yeah and second question is like, a mobile you can change the cover, Robert Carroll: Yeah. Wayne Arnold: you call it a skin or whatever. So in this case if you're looking at like a customer can change the colour like from green, parrot Joseph Horn: Mm. Wayne Arnold: green to chilli red or something like that. Robert Carroll: Yeah I th Wayne Arnold: So is that feature available in like uh titanium, or it's Robert Carroll: Uh. Wayne Arnold: like only specific to plastic Robert Carroll: Yeah Wayne Arnold: or Robert Carroll: in in titanium I don't I don't think it would be available at all really, Joseph Horn: Mm-hmm. Robert Carroll: the ju just it w well you could make it available in the titanium, it was just it would be so expensive to buy a new case for it, Wayne Arnold: Mm-hmm. Robert Carroll: because of the expense of how much titanium is is it's light and strong but I think it should be left for aircraft design rather than for Joseph Horn: It does Robert Carroll: for Joseph Horn: mark Robert Carroll: a remote. Joseph Horn: quite easily too if you let it fall. I've got a mobile phone myself which is titanium and it does Robert Carroll: Yeah, Joseph Horn: mark very easily Robert Carroll: yeah. Joseph Horn: if you drop it. I was just wondering if we make the basic mould out of plastic but have like a rubber cover that goes Robert Carroll: Rubber, Joseph Horn: over, Robert Carroll: yeah. Joseph Horn: that would give the spongy feel, that also allows us to kind of have different fasciae Robert Carroll: And you can Joseph Horn: for Robert Carroll: peel Joseph Horn: the phone. Robert Carroll: them off yeah. Dennis Noga: So Wayne Arnold: Yeah. Dennis Noga: instead of the fascia that comes off being plastic, the fascia that comes Joseph Horn: Like Dennis Noga: off Joseph Horn: a rubber Dennis Noga: would Joseph Horn: sleeve Dennis Noga: be the rubber, Joseph Horn: almost, yeah. Robert Carroll: Yeah. Wayne Arnold: Something Dennis Noga: like those Wayne Arnold: like Dennis Noga: pens that you get with the grip, Robert Carroll: Yeah. Joseph Horn: Mm. Wayne Arnold: Alright. Dennis Noga: that you can Wayne Arnold: That Dennis Noga: you can Wayne Arnold: could Dennis Noga: pull Wayne Arnold: be a good Dennis Noga: that Wayne Arnold: idea. Dennis Noga: off. Joseph Horn: Mm. Robert Carroll: Hmm. Wayne Arnold: It Dennis Noga: Okay. Wayne Arnold: could it would be comfortable to hold on also. Dennis Noga: Mm. Joseph Horn: Very Robert Carroll: T Joseph Horn: cheap way of changing the look of it and people can just buy a new one Robert Carroll: Yeah. Joseph Horn: if they want to. Dennis Noga: Well that's been really popular with mobile phones so I don't Joseph Horn: Mm. Dennis Noga: see why not. Joseph Horn: Yeah. Robert Carroll: Also the Dennis Noga: 'Kay. Robert Carroll: just just going back to the interface designs with the buttons, the I kno we were planning to do some sort of touch Dennis Noga: Mm-hmm. Robert Carroll: screen. Now what I was saying before about instead of having you could have just a bare P_C_B_ circuit board and I'm sure you could probably get it in different colours and so just by touching it with your finger it'd make the connection over if you had them close enough, that would be one option. Um the second option th they offer rubber buttons, but I thought that an L_C_D_ type of screen 'cause one they're incredibly thin um and don't take up much space, two they you can have them in a sort of array and you can arrange the buttons on the screen in a sort of set thing and you could have them like a touch Wayne Arnold: Sorry I didn't Robert Carroll: display. Wayne Arnold: get the last part, you're talking of Robert Carroll: Uh what what Wayne Arnold: Just what you said I I didn't get the uh meaning of it completely, you're saying Robert Carroll: Oh Wayne Arnold: like Robert Carroll: on the on the L_C_D_ screen Wayne Arnold: Uh-huh. Robert Carroll: you could becau you could fit it the problem with it basically is that it's flat and so you can't do lots of curve Wayne Arnold: Okay. Dennis Noga: Mm-hmm. Robert Carroll: curved things with it, but um you can you wouldn't have with the L_C_D_ you'd have the wires coming off, you wouldn't have that with the with the L_C_D_, you'd only have that with the printed Joseph Horn: Mm. Robert Carroll: circuit board. With W Joseph Horn: I Robert Carroll: also Joseph Horn: don't s Robert Carroll: with Joseph Horn: sorry Robert Carroll: the Joseph Horn: to interrupt, I don't see why the curved thing is a problem, if we for example had a shell, Robert Carroll: Yeah. Dennis Noga: Oh Joseph Horn: once Dennis Noga: it would be Joseph Horn: we Dennis Noga: flat Joseph Horn: open that Dennis Noga: inside. Joseph Horn: yeah, so Robert Carroll: You Joseph Horn: it'd Robert Carroll: could Joseph Horn: be Robert Carroll: have Joseph Horn: f Robert Carroll: a Joseph Horn: yeah, Robert Carroll: flat screen inside, Joseph Horn: yeah. Dennis Noga: Mm. Robert Carroll: yeah, Joseph Horn: Have Robert Carroll: but I'm Joseph Horn: I Robert Carroll: just Joseph Horn: misunderstood Robert Carroll: wondering whether Joseph Horn: you? Robert Carroll: we want an L_C_D_ screen inside. It wouldn't be like full colour, it would just be black and white, Joseph Horn: Mm-hmm. Robert Carroll: but there'd be touch touch buttons, so you Wayne Arnold: 'Kay. Robert Carroll: wouldn't be pressing down on 'em, w or we could have rubber buttons which are made of this material which is anti-R_S_I_. Joseph Horn: Mm-hmm. Dennis Noga: I think it would be good to have a contrast between, if the whole thing is gonna Robert Carroll: Is Dennis Noga: be Robert Carroll: rubber. Dennis Noga: this rubber thing it would be good to open it up and see something quite fancy looking Joseph Horn: Yeah. Dennis Noga: inside. Robert Carroll: Mm. Dennis Noga: I mean Robert Carroll: Yeah I hadn't I Dennis Noga: Uh Robert Carroll: hadn't really thought of Joseph Horn: I just Robert Carroll: that Joseph Horn: had another idea, Robert Carroll: to be Joseph Horn: I don't Robert Carroll: honest. Joseph Horn: know if it helps with that, but just to do with the R_S_I_. Is it possible, just as an option, when we open it up, people can use their fingers to press the button, or we have inside like a small pointer thing Robert Carroll: Yeah Joseph Horn: when Robert Carroll: you Joseph Horn: people Robert Carroll: could, Joseph Horn: want Robert Carroll: you Joseph Horn: to. Robert Carroll: could have some sort of stylus Dennis Noga: Like one Robert Carroll: that you Dennis Noga: of Robert Carroll: could Dennis Noga: the palm Robert Carroll: pull Dennis Noga: pop Robert Carroll: out Dennis Noga: thing. Robert Carroll: but Joseph Horn: Mm. Robert Carroll: I I think they could get a bit easily lost, Joseph Horn: Yeah. Wayne Arnold: Absolutely, Robert Carroll: 'cause I had Wayne Arnold: f Joseph Horn: They're Dennis Noga: It Joseph Horn: easy Dennis Noga: would have Joseph Horn: to Dennis Noga: to Joseph Horn: replace Dennis Noga: be attached. Joseph Horn: as Wayne Arnold: for Joseph Horn: well, Wayne Arnold: somebody who Joseph Horn: cheap. Wayne Arnold: very often, Robert Carroll: Hmm. Wayne Arnold: if he would a person who switches channels very often or does use a particular function very often Robert Carroll: Yeah. Wayne Arnold: will find it very irritating to use a Robert Carroll: Yeah. Joseph Horn: Mm-hmm. Wayne Arnold: and he might spoil the touch-pad very fast compared to a button like, Robert Carroll: Yeah. Wayne Arnold: if Joseph Horn: Mm. Wayne Arnold: you keep punching with an pointer or whatever. Robert Carroll: Yeah Joseph Horn: Yeah Robert Carroll: okay. Joseph Horn: just a thought they wouldn't actually need one and they could use anything they've got, couldn't they? A pencil or a pen, so they wouldn't really need a Dennis Noga: Okay, we'll talk about that so if you finish your and Robert Carroll: Yeah Dennis Noga: we'll come Robert Carroll: that's Dennis Noga: back to that. Robert Carroll: yeah that Dennis Noga: That's Robert Carroll: that's Dennis Noga: you, Robert Carroll: the end of m my Wayne Arnold: And Dennis Noga: right Wayne Arnold: just one Dennis Noga: okay. Wayne Arnold: small question before like you are, regarding the circuit, since we are hav having a flip-top, we Robert Carroll: Yeah. Wayne Arnold: can customise the two circuits for different type of buttons like we are keeping the standard buttons on the top and Robert Carroll: Uh Wayne Arnold: the more Robert Carroll: yeah. Wayne Arnold: complex buttons under this thing, so we can divide the circuit like you know. Robert Carroll: Yeah yeah that that would be fairly simple, I mean you'd Wayne Arnold: Mm-hmm. Robert Carroll: you'd actually have two separate you'd Wayne Arnold: Okay. Robert Carroll: have two separate circuit boards but they'd be joined by wires or Wayne Arnold: Okay. Robert Carroll: like some cabling between them, Joseph Horn: Mm-hmm. Robert Carroll: 'cause in the in the actual flip bit you'd have some linking. Joseph Horn: another point while it occurs to Joseph Horn, it kind of applies to both our designers here, so I'm not sure how it Robert Carroll: Mm. Joseph Horn: would fit in. If we flip open, now you know how you've got some mirrors in nightclubs that are mirrors when you turn to them and you turn away and it gives like an advertising display, you seen those? Dennis Noga: No. Joseph Horn: And they kind of respond to the turn of your body. Is it possible that when we open our flip-top shell it's a little compact mirror and when you press a button it then goes onto the phone display th uh the remote control display thing. Dennis Noga: We're Robert Carroll: Um. Dennis Noga: marketing to guys as much as we are to women. Joseph Horn: They don't look at themselves? Just a thought. Dennis Noga: Well it's a remote control, you were sitting watching T_V_ Joseph Horn: Yeah. Dennis Noga: are you gonna want to sort of open it and say Joseph Horn: I Dennis Noga: oh Joseph Horn: know what Dennis Noga: shit Joseph Horn: you mean, Dennis Noga: I should Joseph Horn: it's Dennis Noga: go Joseph Horn: with Dennis Noga: and Joseph Horn: us Dennis Noga: have Joseph Horn: using Dennis Noga: a Joseph Horn: the ideas Dennis Noga: shower Joseph Horn: for a mobile Dennis Noga: and Joseph Horn: ph Dennis Noga: do my hair before I put the T_ Joseph Horn: it's with us using the ideas for mobile phones I kinda got Dennis Noga: Yeah, Joseph Horn: sidetracked Dennis Noga: no, Joseph Horn: onto that I think, okay. Dennis Noga: no. Joseph Horn: trying to think of other features we can build in that wouldn't cost too much Dennis Noga: Mm. Joseph Horn: but maybe we'll leave that one on the side. Robert Carroll: Yeah. Joseph Horn: 'Kay. Dennis Noga: Okay. Robert Carroll: I mean you can you could do it, you could have a 'cause if you if you just put the full charge through an L_C_D_ display it'll completely blank it out, Joseph Horn: Mm. Robert Carroll: but I don't know if you could get any mirror effect on it, Joseph Horn: Oh I think Robert Carroll: I'm not sure Joseph Horn: forget Robert Carroll: about Joseph Horn: about the mirror that was just a very quick passing thought yeah. Dennis Noga: Okay, okay. Wayne Arnold: Okay, uh would like to share something which I did here. First thing is uh basically on design we just took the input from the previous meeting, especially from the marketing and industrial design, to check on the customer needs and feasibility. Second is we checked into competitors, the picture here shows one of the standard models offered by competitors here. So y you generally see there's not much of variety Dennis Noga: Mm. Wayne Arnold: and like marketing team said uh, people need trendy, they are bored of black and white. So Robert Carroll: Yeah. Wayne Arnold: you generally see rectangular shape, very monotonous kind of designs here. And uh second thing is there's too much of confusion here. Dennis Noga: Mm. Wayne Arnold: No particular remote is standard. Like, some some people have a Here you see this? This is on a I I I found th that uh only common feature is the ch uh channel control and uh volume control, rest other buttons, they are in a very disorganized and they are not consistent th with other models and all. Dennis Noga: Okay. Wayne Arnold: Okay, and second as already discussed with William, we are going to have m maybe a G_ G_U_I_ interface in the Robert Carroll: Yeah. Wayne Arnold: f in the middle of the flip-top Joseph Horn: Sorry what Wayne Arnold: and Joseph Horn: does that Dennis Noga: Which Joseph Horn: stand Dennis Noga: means Wayne Arnold: g Joseph Horn: for? Wayne Arnold: graphic user interface basically Joseph Horn: Okay. Wayne Arnold: which is what we d do in computer, have Robert Carroll: Yeah. Wayne Arnold: icons or touch pad or whatever, which Robert Carroll: If Wayne Arnold: is Robert Carroll: you if yeah if you have like buttons that appear on the screen in this L_C_D_ screen. Wayne Arnold: Like you have on a l uh icons or something y you have is a good example of G_U_I_ graphic user interface. Robert Carroll: Yeah. Dennis Noga: Okay. Wayne Arnold: So basically not point or click Press any particular device, he just has to click on that particular icon Dennis Noga: Okay. Wayne Arnold: to simplify. And on the top m repetitive buttons which are like volume or channel changing and all could be on the pointing device, that means the use of button. So he need not use a pointer to keep changing the channel if a person is frequent surfer. Dennis Noga: Mm-hmm. Wayne Arnold: So we are having a combination of boards, so f on the s simpler board, on the top we have this button, rubber buttons, to keep frequently changing the channels. Dennis Noga: Can we swap that round so th that the ones that we use all the time are on the bottom part? 'Cause if you're thinking about holding it you would be using your thumbs to press, just like a mobile phone. Robert Carroll: Yeah. Joseph Horn: No you'd hold it you don't if you flip it open then you'd be Wouldn't you? Isn't that the idea? You us if we just use the shell as an example Dennis Noga: Yeah. Joseph Horn: again, you open that, you've got your L_C_D_ display there and you've got the buttons there so you're holding Robert Carroll: Yeah, Joseph Horn: it in Dennis Noga: That's Joseph Horn: the palm Dennis Noga: what Joseph Horn: of your Dennis Noga: I was Joseph Horn: hand, Robert Carroll: yeah Dennis Noga: just saying, Joseph Horn: yeah. Robert Carroll: but you Dennis Noga: and Wayne Arnold: But Robert Carroll: can Dennis Noga: then Robert Carroll: do Dennis Noga: have Robert Carroll: it with your Dennis Noga: the Robert Carroll: thumb li Dennis Noga: and then have the L_C_D_ at the top Joseph Horn: Mm-hmm. Wayne Arnold: Mm-hmm. Dennis Noga: and then be able to touch that for the Joseph Horn: Mm-hmm. Dennis Noga: other Wayne Arnold: Okay Dennis Noga: controls, Wayne Arnold: and you mean to Dennis Noga: so Wayne Arnold: the Dennis Noga: have the um the volume and the programme, things like that, Wayne Arnold: And the lower distance. Dennis Noga: on the lower Wayne Arnold: Oh f Dennis Noga: side. Wayne Arnold: perfect. Joseph Horn: Hmm. Dennis Noga: Okay. Wayne Arnold: So the findings are too many cluttered buttons. Repetition of certain but buttons which I already explained, example the volume and channel control buttons. All are confusing and in inconsistent. Okay we had a latest finding of voice recognition, there was a mail which mentions that our division has developed a new speech recognition s feature. We have to check into the for financial f feasibility whether we can incorporate it this at a low cost, but for like we had g um s response from the customers that they would like to have the feature of finding Robert Carroll: Yeah. Wayne Arnold: it. So it could be like, where is the remote, and the remote answers I am here. Robert Carroll: Yeah. Wayne Arnold: Some kind of thing or it gives a b bleep sound or some kind of sound Joseph Horn: Mm. Wayne Arnold: this can be incorporated this would be more uh you can say trendy also? And technologically innovative also. Robert Carroll: Yeah. Wayne Arnold: So we we can check into the financial feasibility of incorporating this. My personal preferences would be like, as already uh marketing department, they want something to do with fruit so I wouldn't say the design should be like a fruit, but yeah we can take inspiration from fruit colours, like the vibrant colours, Joseph Horn: Mm. Wayne Arnold: uh red chilli Robert Carroll: Yeah. Wayne Arnold: uh tomato red or whatever and second thing is cer certain standard buttons we should have, like for example, i if you see the previous slide uh Robert Carroll: Well, yeah we Wayne Arnold: I think most of the users would now be well acquainted with this cer central pattern, here, Robert Carroll: Yeah. Wayne Arnold: so we we we would not change h that particular pattern because i this is the most consistent thing in all remote controls. Dennis Noga: I can't see that, is that play and stop and things? Wayne Arnold: This is central one, the one you Dennis Noga: Or is that volume and Wayne Arnold: yeah volume and Dennis Noga: channel? Wayne Arnold: channel. So keep that m that standardised because that's the most common feature across all models, if you look at all the models, it's here. This and voice recognition. Dennis Noga: Okay. Right. Okay. Um I'm not sure how long we've got left, but we need to make a decision about um the things we've discussed. So, we agree on Do we agree on the battery? Joseph Horn: Kinetic? Wayne Arnold: The kinetic. Dennis Noga: Yeah. Robert Carroll: Yeah. Dennis Noga: Um, that means that there's no function for li the port, you know that it sits in, then pressing Robert Carroll: Mm. Dennis Noga: the button then having so we could incorporate voice recognition Robert Carroll: Yeah Dennis Noga: for the Robert Carroll: I Dennis Noga: finding Robert Carroll: think Dennis Noga: it. Robert Carroll: I mean Dennis Noga: It's Robert Carroll: if Dennis Noga: a bi i it's like a g it's a gadget, it's a Robert Carroll: Yeah it is it is Dennis Noga: selling Robert Carroll: qui Dennis Noga: point. Robert Carroll: it's quite a cool feature to have and also if they've got it if they've got these parts already in stock, Wayne Arnold: Mm-hmm. Robert Carroll: then it won't be cheap to re-manufacture them, uh or it will be cheap sorry to re-manufacture them. So do you reckon that's a good idea that, where's the remote, I'm here thing? I think that would be quite Joseph Horn: Mm. Robert Carroll: fun. Dennis Noga: I think the only I think the only pitfall that we would have would be how much it's going to cost Robert Carroll: Yeah. Dennis Noga: if that means we have to cut down somewhere else, but I think pretty much we've used cheap Robert Carroll: Yeah. Dennis Noga: relatively cheap and Joseph Horn: Mm. Dennis Noga: simple things. Robert Carroll: Yeah Dennis Noga: The Robert Carroll: to Dennis Noga: L_C_D_'s Robert Carroll: s Dennis Noga: not cheap. Robert Carroll: th well Joseph Horn: Hmm. Robert Carroll: it's it's not as expensive as it would be if it was full colour 'cause if we've just got a black and white one, I mean they use them in calculators so. Dennis Noga: Yeah, okay. Wayne Arnold: Maybe we could start with the black and white. Robert Carroll: Yeah. Wayne Arnold: That Dennis Noga: And you Wayne Arnold: that Dennis Noga: could Wayne Arnold: way we could Dennis Noga: yeah. Wayne Arnold: upgrade later. Joseph Horn: Yeah, Dennis Noga: Okay. Joseph Horn: we talked about Wayne Arnold: Mm. Joseph Horn: kinetic charging, we've deci seem to have decided on that, did we decide on double A_ or triple A_ batteries? Wayne Arnold: Mm. Robert Carroll: Well you cou um. Dennis Noga: Do you want like a back-up? Joseph Horn: No, one of the decisions we had to make was whether we had double A_ or triple A_ batteries 'cause they've still got to be charged this way haven't Robert Carroll: K no the Joseph Horn: they? Robert Carroll: kinetic Joseph Horn: I Robert Carroll: ones Joseph Horn: oh I Robert Carroll: come Joseph Horn: see. Robert Carroll: come with um a sort of w watch a battery that goes in a watch. Joseph Horn: Right, okay, got you. Robert Carroll: So it's a lot smaller, so it would Joseph Horn: Got you on that okay, didn't realise. Dennis Noga: Um, okay so we've got battery. The inside components is pretty standardised across the board isn't it? Robert Carroll: Yeah. Wayne Arnold: Yeah. Dennis Noga: So there's not a really a decision to be made there, um. The buttons what did you give us as our The bare-board L_C_D_ Robert Carroll: Yeah Dennis Noga: or Robert Carroll: the well I think were we're going for the L_C_D_ on that one, on the buttons, on the on the on on the top one Dennis Noga: On Robert Carroll: we're Dennis Noga: the top Robert Carroll: gonna Dennis Noga: one okay you've got the touch Robert Carroll: yeah. Dennis Noga: okay and then Robert Carroll: On the bottom we were gonna have the rubber, the rubber ones, the anti-R_S_I_ ones. Dennis Noga: Okay, okay. Joseph Horn: Sorry could you repeat that last part? Robert Carroll: Um, okay on Joseph Horn: L_C_D_ Robert Carroll: we've got the flip Joseph Horn: screen. Robert Carroll: the flip-screen, Joseph Horn: Mm-hmm. Robert Carroll: the top one is gonna be the L_C_D_ and the bottom one is gonna be the rubberised buttons. Joseph Horn: Okay. Wayne Arnold: And for the sorry. Dennis Noga: No, it's fine. Wayne Arnold: For the body design I think plastic, Robert Carroll: Plastic, Wayne Arnold: uh w yeah Robert Carroll: okay. Wayne Arnold: we could Dennis Noga: For Wayne Arnold: use Dennis Noga: the Wayne Arnold: the Dennis Noga: inside. Wayne Arnold: body, for the inside and Robert Carroll: Yeah. Wayne Arnold: uh rubber as a padding or for the grip, something like to add to the design. Dennis Noga: Mm-hmm. Joseph Horn: Mm-hmm, so we decided on a rubber casing for the plastic shell, Wayne Arnold: Plast right. Joseph Horn: a variety Dennis Noga: Oh I think Joseph Horn: of designs, Dennis Noga: so, I Joseph Horn: okay. Dennis Noga: think so. Joseph Horn: and it is just uh although it's rubberised and spongy, apart from that we're just going to go for sort of vegetable and fruit colours, we're not gonna try and make it actually a vegetable or fruit design or anything else, Robert Carroll: Mm Joseph Horn: like Robert Carroll: no. Joseph Horn: a shell that we discussed, Dennis Noga: No Joseph Horn: just Dennis Noga: I think Joseph Horn: go for the colours. Dennis Noga: I Wayne Arnold: It's Dennis Noga: we don't wanna be tacky if we've got Joseph Horn: Okay. Dennis Noga: a kind of different shape anyway um the fact the m the material that we would be using would be cheap, so we could make it red, we could make it um psychedelic, you know, we could make Joseph Horn: Mm-hmm. Dennis Noga: it black and white zebra stripes, but that's not really what we're focusing on, what we're focusing on is the m you know Joseph Horn: The feel. Dennis Noga: yes. So we could Joseph Horn: 'Kay. Dennis Noga: just pick anything. Joseph Horn: Mm-hmm. Is that going to be this image I've got in my head of something kind of shaped like that, maybe about that size, made of plastic, fits into the palm of the hand, rubberised cover that's spongy. Is that really going to fit fancy look and feel which was the major thing that people wanted, market research, is that Dennis Noga: It's Joseph Horn: fancy? Wayne Arnold: Uh Dennis Noga: just Wayne Arnold: I Dennis Noga: different Wayne Arnold: it's different. Dennis Noga: it's just different from everything else and I mean, I'm trying to imagine um clean looking Joseph Horn: Mm. Dennis Noga: houses, sort of beige and black Joseph Horn: Mm-hmm. Dennis Noga: um so you either want something that goes with that, which is what's Joseph Horn: Mm-hmm. Dennis Noga: on the market anyway, Joseph Horn: Mm-hmm. Dennis Noga: or you want something that contrasts as Robert Carroll: Mm. Dennis Noga: you know like you get clocks now that Joseph Horn: Mm-hmm. Dennis Noga: are more of a talking point than an actual clock Joseph Horn: Yeah. Dennis Noga: because they're so interesting Joseph Horn: I'm just kind of pushing Dennis Noga: and Joseph Horn: at that to see if you came out with anything else, but I mean I totally agree. We looked at those remotes, I mean they are kind of anonymous, very similar looking things. Dennis Noga: Mm. Joseph Horn: This would definitely be different enough, I just wondered if anybody could come up with something even more Dennis Noga: And you would just have an across the b you would have so many different options that you could do, you could have um a plain black one, you could have sparkly pink glittery Joseph Horn: Well the thing Dennis Noga: ones Joseph Horn: is the rubberised Dennis Noga: for your little Joseph Horn: covers are going to be s relatively cheap to produce, that if in a year's time we we get feedback from the design fairs that show something else is coming I mean it's so easy for us Dennis Noga: Mm. Joseph Horn: to just produce that and it can be slipped on, Dennis Noga: And Wayne Arnold: Right. Dennis Noga: ones Joseph Horn: which is another Dennis Noga: tha Joseph Horn: beauty of it. Dennis Noga: ones that have rubbery spikes y you know, Robert Carroll: You Dennis Noga: you Robert Carroll: can Dennis Noga: could just Robert Carroll: you can Dennis Noga: go Robert Carroll: just Dennis Noga: so Wayne Arnold: Acupressure, Dennis Noga: far Wayne Arnold: you Dennis Noga: with Robert Carroll: Yeah. Wayne Arnold: could Dennis Noga: it, Wayne Arnold: talk of acupressures. Dennis Noga: like a puffer fish, you could just, you could take it wherever, so I think that's quite a Robert Carroll: Yeah. Dennis Noga: flexible Wayne Arnold: And finally Dennis Noga: thing. Wayne Arnold: the body should be retouchable, may maybe ch you can change the body or the case casing the case outside, Dennis Noga: Yes. Wayne Arnold: it should be moulded it with the design in such a way you can change it every time. Robert Carroll: Yeah, yeah j with these rubber these rubberised ca not Dennis Noga: Mm. Robert Carroll: the actual uh plastic outside Wayne Arnold: Okay. Robert Carroll: case, just the rubber Wayne Arnold: The rubber. Dennis Noga: Yeah. Robert Carroll: thing that goes round the outside. Dennis Noga: Okay we've got five minutes, um, or that might've been up Joseph Horn: Mm, Dennis Noga: for Wayne Arnold: Fine. Dennis Noga: a while. Joseph Horn: so can I just recap uh Sarah, Wayne Arnold: Yeah. Joseph Horn: for the decisions that we've made, kinetic charging, the watch-type batteries, um L_C_D_ display on th the top side of the flip top, rubberised buttons on the bottom side, we're gonna use fruit and vegetable colours for the rubber cover, the case itself is plastic. That's how far we've got, what else do we have to add to our decisions here? Wayne Arnold: Fine, uh we were talking of voice recognition also Joseph Horn: Mm. Dennis Noga: Mm-hmm. Wayne Arnold: because that we are not for how to look it uh remote control if it's lost. So, Joseph Horn: Yes, Wayne Arnold: are Joseph Horn: it was Wayne Arnold: we Joseph Horn: just, Wayne Arnold: looking Joseph Horn: there was Wayne Arnold: at Joseph Horn: just Wayne Arnold: voice? Joseph Horn: a cost issue with that, but it's a good idea we just need to check on the cost, Wayne Arnold: Or Joseph Horn: is Wayne Arnold: maybe Joseph Horn: that right? Wayne Arnold: like uh William was suggesting in the last thing some devices you put on key chains. For Robert Carroll: Oh Wayne Arnold: l Robert Carroll: yeah, yeah Wayne Arnold: yeah, Robert Carroll: the whistle ones, yeah. Wayne Arnold: the whistle. So we can if financially voice recognition is not feasible we could go for a whistle. Joseph Horn: And incorporating the company logo? Wayne Arnold: Yep. Dennis Noga: Have you Wayne Arnold: Uh sorry I didn't mention this, but we'll be incorporating in the design. Joseph Horn: Mm. 'Cause Dennis Noga: Okay. Joseph Horn: I took it from the feedback you gave in the last meeting from y from y your report, it's not just a case of having a little R_R_ hidden somewhere, they do want it to be obvious that it's our product don't Dennis Noga: Well they Joseph Horn: they? Dennis Noga: do, but I think we can Joseph Horn: Since it's Dennis Noga: you Joseph Horn: the only Dennis Noga: could Joseph Horn: one of its kind on the market Dennis Noga: well Joseph Horn: it's obviously Dennis Noga: it is, Joseph Horn: gonna Dennis Noga: it Joseph Horn: be ours. Dennis Noga: is, I think you just address that with um advertising. Joseph Horn: Yeah. Dennis Noga: Um, you associate the name with the individual product Robert Carroll: Yeah. Dennis Noga: that it is Joseph Horn: Okay. Dennis Noga: and that does the work for you. Obviously it'll have a logo on it just like everything, but everything else has a logo on it. The point is that it's got to stand out somehow differently Joseph Horn: Okay. Dennis Noga: but I think it does, without that so I'm not worried about that. Joseph Horn: Okay. Did we I know at the last meeting we spoke about a beeper, I think that was you talked about a beeper for a location, have we just rejected that in favour of voice recognition then? Dennis Noga: Depending on how i Robert Carroll: Yeah, depending on the expense of it. Dennis Noga: I mean we've got this memo saying that it's something that the company's looking into, so Robert Carroll: And they've got in stock, so yeah. Dennis Noga: um that seems to make sense, but if it turns out that it's hugely expensive we'd have to cut down somewhere else, then it's worth thinking about. But I think we'll find out more about cost Robert Carroll: Yeah. Dennis Noga: afterwards. Right Robert Carroll: Okay. Dennis Noga: I'm going to wrap it up there. Wayne Arnold: Fine. Dennis Noga: I got a end meeting now message on my Wayne Arnold: Mm-hmm. Dennis Noga: mo Robert Carroll: Did it? Dennis Noga: yeah Wayne Arnold: Yeah. Dennis Noga: so. Wayne Arnold: Again Dennis Noga: Um Wayne Arnold: a questionnaire huh? Dennis Noga: so I think we've probably got it Joseph Horn: You Dennis Noga: says, Joseph Horn: got to go through. Dennis Noga: closing we have forty minutes so I um think we've probably got about that time before we come back. It's either that or we only had forty minutes to discuss what we just discussed and don't know how long that took. Wayne Arnold: I think we are pretty going in a clear direction now. Dennis Noga: Is everyone happy? Okay.

Dennis Noga reviewed the decisions from the previous meeting. Joseph Horn made a presentation on trend watching, including trends in user requirements and trends in fashion. Robert Carroll presented all the components of the device and announced that several of the features already discussed would not be available. He suggested substituting a kinetic battery for the rechargeable batteries and using a combination of rubber and plastic for the materials. Wayne Arnold presented his main interface design, which included buttons for the most frequently used features and a graphic user interface on the LCD screen for other functions, to keep frequently used features easy to use. He announced that speech recognition was still an option to consider, depending on price. Dennis Noga then began a discussion to decide what was going into the final design. It was decided that a kinetic battery would be used in place of a rechargeable battery, that the remote will feature an LCD screen and rubber casing and rubber buttons, and that interchangeable rubber covers in fruit colors will be available. Speech recognition may be included if it is not too costly.

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John Player: If you leave them on the whole time you get to look like a noodle the whole time. John Poole: Hmm. Thomas Huston: Is that someone's? John Player: Is that. John Poole: Thank you. John Player: three, apparently. John Poole: Hmm. Hmm. John Player: Okay, you all Thomas Huston: Okay. John Player: switched on. John Poole: Yep Thomas Huston too. John Player: I presume we're good to go. Okay, um minutes um we decided to use a kinetic charger, John Poole: Mm-hmm. John Player: standard chip, um 'cause it can come in various different sizes, it wasn't uh uh gonna be a problem factor. We wanted a stand-by function. The case material is gonna be soft, rubbery, changeable. Um buttons with a combination of L_C_D_ and rubber according to the design. Um bright funky designs inspired by fruit, keeping with the hip kind of feel. Um and to try and incorporate voice recognition software into our design until we can find out more about the cost of things like that. Um and the rubber buttons that we'll use will be anti-R_S_I_. Okay? Prototype presentation. Alex Reed: Is that for us? John Player: I think John Poole: Yep. John Player: that would be you. Alex Reed: Okay. John Poole: Thomas Huston and William worked on a prototype, and I think William is going to make a p presentation on that. Alex Reed: Yeah shall, I show? John Poole: Yeah. Alex Reed: I'll show. Though do you do you wanna John Player: Make Alex Reed: do you John Player: sure Alex Reed: wanna John Player: the John Poole: I Alex Reed: sh John Player: camera's John Poole: can hold it like Alex Reed: do you wanna hold it and I'll John Poole: Yeah, Alex Reed: I'll John Poole: so Alex Reed: show you the presentation. Can I just nick John Player: Yes, Alex Reed: your John Player: yes you can. Wait a second, I'll get it out. Alex Reed: Whoa. John Poole: It John Player: Um John Poole: looks Alex Reed: Going a bit crazy over here. John Poole: crazy. John Player: Okay. Alex Reed: Thank you. John Player: You John Poole: Um not now. John Player: should have one of John Poole: Oh. John Player: those things and you can just take it off. John Poole: Yeah. John Player: Ta-da. John Poole: Oh, where are the hinges? Alex Reed: Okay, so this is John Player: Right. Alex Reed: our look and feel presentation, John Player: Mm Alex Reed: the John Player: 'kay. Alex Reed: final our final presentation. And we'll first look at the exterior of what we've uh come up with over there. Um John Poole: 'Kay. Alex Reed: It's John Poole: You able Alex Reed: have John Poole: to look? Alex Reed: a a plastic body John Poole: Yep. Alex Reed: um with a sort of standard colour, either we're thinking some something fairly neutral like a a white or a light blue or something. This is underneath the rubberised John Player: Mm-hmm. Alex Reed: the rubberised uh outer casing um which there'd be sort of a wide choice they would be attached, but we can we can come up with that. John Player: Okay. Alex Reed: Um the um wide choice of colours and sort of patterns, so you've got you've got a lot of customisation with it. Um it's obviously an a sort of clam-shell design and uh the um the top L_C_D_ screen that you can see that would b would be sort of um how do you say, John Poole: The Alex Reed: it's John Poole: black and white touch screen Alex Reed: yeah John Poole: wherein Alex Reed: yeah, it would John Poole: people Alex Reed: be sort John Poole: can Alex Reed: of inset into the into John Player: Mm. Alex Reed: the top John Player: So Alex Reed: and John Player: it's Alex Reed: the John Player: flush. Alex Reed: buttons at the bottom John Poole: Right. Alex Reed: would d so so it'll fully close flat. John Player: Oh right, okay, Alex Reed: Yeah, John Player: yeah. Alex Reed: yeah. And working on the inside we've um already said d decided on the kinetic batteries, which actually, thinking about it now, could y could also probably attach to the flipping open and shut as well, so that you could probably get John Player: So Alex Reed: a John Player: put Alex Reed: bit John Player: it Alex Reed: of John Player: in the top section rather than the bottom sections, Alex Reed: Yeah. John Player: 'cause John Poole: Mm-hmm. John Player: it's the top Alex Reed: Yeah. John Player: part that's okay. Alex Reed: Um we decided that um the voice recognition system, it did actually say on the email that they were sort of coming in and they were fairly easy to get a-hold of, so we presumed that they'd also be quite cheap. So you'd have something like where you'd shout out, where where is the remote and it'll shout back, I'm here, or something. And Thomas Huston: Or something. Alex Reed: then yeah. It wo it won't shout out I'm here or something. It'll just shout out I'm here, John Player: Okay. John Poole: 'Kay. Alex Reed: or something John Player: I'm under Alex Reed: to John Player: the sofa. Alex Reed: similar effect. John Poole: Ah John Player: Or, that would be too complicated. John Poole: oka Alex Reed: Uh yeah, if it was going like I d well tha that could be something for next time, maybe. You can have a remote that tells you exactly where it is. Um the standard, there's be a standard transmission with the T_V_ using using all the standard chips that we've talked about. John Player: Infrared. Alex Reed: Um it would it would have obviously 'cause it's split over two two different layers, it would need two separate P_C_B_s, so it would be joined at the hinge through some sort of cabling. And uh because, obviously, all T_V_s use this, the same infrared medium, we'd just be using using the same thing to transmit the data. And the infrared um sender would be on the on one of the bot the bottom layer, just at the front of the we haven't I don't think we actually John Player: Like Alex Reed: put it on. John Player: here. Alex Reed: Yeah, yeah, something like that. John Player: Okay. John Poole: Infrared could be John Player: Actually, John Poole: here John Player: no, John Poole: also. John Player: it would be it would have to Alex Reed: Yeah, John Player: be on Alex Reed: on John Player: the John Poole: Yeah, Alex Reed: the front John Poole: here. Alex Reed: on the John Player: on Alex Reed: front John Player: the front. Alex Reed: side of that, yeah. John Player: Oh right, yeah, okay, John Poole: So when John Player: yeah, John Poole: it's John Player: I've got John Poole: even John Player: you. John Poole: if it's open here, the John Player: It's John Poole: signals Alex Reed: So John Player: still Alex Reed: when John Poole: would John Player: pointing, John Poole: go. Alex Reed: you've actually got John Player: yes. Alex Reed: it open, it would be John Poole: Yeah. Alex Reed: facing the T_V_. John Player: Yeah, that would make sense. Alex Reed: And then finally um on to the interface. The top screen, as we said, is would be an inset um black and white L_C_D_ s touch screen which John Poole: This one right here. Alex Reed: yeah would uh have all of all of the the available functions for for the remote on it, uh whereas the bot the bottom screen would just contain the standard buttons, like the vo volume up and down, channel up and down, power on and off, John Player: Okay. Alex Reed: and uh things to that effect. And now we've we also decided on the inside, we could possibly either have um some some kind of sort of bezzled uh logo on it, or something inset, or maybe an engraving of the logo on the top. John Poole: Which John Player: But John Poole: is John Player: not interfering with Alex Reed: No John Player: the Alex Reed: d John Player: outside Alex Reed: not John Player: kind John Poole: No. Alex Reed: not John Player: of Alex Reed: actually. John Player: look of the product Alex Reed: No, John Player: once Alex Reed: not John Player: it's Alex Reed: uh interfering with l the whole look of John Poole: Look up Alex Reed: the John Poole: to it. Alex Reed: the John Player: Okay. Alex Reed: product when it's uh on the thing. And finally that's how we put the fashion back into electronics, as John Player: Thank Alex Reed: that John Player: you Alex Reed: is John Player: very much. Alex Reed: that's John Poole: Yay. Alex Reed: the company logo. John Player: Wrapping it all up, Thomas Huston: Well done. John Player: okay. Um I've now got evaluation criteria. Thomas Huston: Certainly. John Poole: So this is the one. Sorry. John Player: It's to be presented. Alex Reed: There Thomas Huston: Logged in? Thank you. Alex Reed: you go. Thomas Huston: Oops. John Player: Okay. John Poole: Evaluation. John Poole: Mm um I I think this is chip. John Player: It's quite similar to what it was before, though. Thomas Huston: Okay. John Player: Sorry. Thomas Huston: This stage of the evaluation is really for us as a team to evaluate if we have now got a product specification and prototype design that meets the the criteria that we got from our market research. So this is the first stage of the evaluation. Now, the collection of the criteria, as we saw in our meeting, was based on the user requirements and trends found in the marketing reports and marketing strategy of our company. So it's what we've discussed in the last meeting, are we actually meeting those trends and requirements? Now the findings that we came up with, just a recap, are here. The criteria that we want in this remote control are a fancy look and feel, technological innovation, it should be easy to use, it should incorporate current fashion trends, and those the two main ones, they were the spongy texture John Poole: Mm-hmm. Thomas Huston: and the fruit and vegetable strong design colours. The design should minimise R_S_I_ and be easy to locate and we were still um uh slightly ambivalent as to whether to use voice recognition there, though that did seem to be the favoured strategy, but there was also, on the sideline, the though of maybe having a beeper function. Okay, so we can come back to that slide, if you don't have a note of those. I'll just show you how we're going to evaluate our own feedback to this, to what we have so far. We're going to use a seven point scale, where one is true and seven is false. We look at each of those criteria that I've just mentioned, I'll call that slide back up, and I will just Alex Reed: Yeah. Thomas Huston: do a preliminary rating of all those criteria on the whiteboard here. John Poole: Mm-hmm. Thomas Huston: Does that seem clear? Any questions there? John Poole: Ah, it's perfect. Thomas Huston: So we're going to look at these John Poole: Is it Thomas Huston: crite John Poole: everybody is going to evaluate, or just the Thomas Huston: Yes, John Poole: Market okay. Thomas Huston: we're going to come to w we'll discuss each one John Player: Mm-hmm. Thomas Huston: and we'll come to a consensus rating between one and seven. John Player: Okay. Thomas Huston: Is that okay? John Poole: 'Kay. Thomas Huston: One is true, seven is false. Right. So I won't write all of that out again. It will just be criteria one, two, three, four, five, six, or A_, B_, C_, D_, E_, F_ to confuse it with the number rating. B_, C_, D_, E_, F_. This is where I realise how tiny I actually am. John Player: Just write small. Thomas Huston: Criteria and rating. Actually, it might be an idea, if we each did give our own individual rating, and we could take an average at the end. How about that? John Player: Yeah. John Poole: Yeah, Alex Reed: Yeah, John Poole: so Alex Reed: okay. John Poole: you John Player: That John Poole: can Thomas Huston: Okay. John Player: works. Thomas Huston: So I'll just separate the ratings by obliques, and if we go one, two, three, four, we know who's who. Alex Reed: Yeah. John Player: Mm-hmm. Thomas Huston: Okay. Criteria A_, the fancy look and feel. How do we feel about this prototype model relating to fancy it is a fancy look and feel. One is true, seven is false. My own rating for that would be a two. One is true and seven is false. John Player: I would agree. Alex Reed: Yeah, Thomas Huston: I'll just Alex Reed: I'd Thomas Huston: go Alex Reed: uh Thomas Huston: this way. John Player: Okay. Alex Reed: yeah I'd John Poole: 'Kay. Alex Reed: probably put it uh two yeah, two Thomas Huston: Two. Alex Reed: or three. No, three. Three. Thomas Huston: Okay. John Player: I would say two. Thomas Huston: Two. John Poole: I would say four. Thomas Huston: A four, okay. John Poole: Mm-hmm. Thomas Huston: Adding those up, we've got a six and a five, eleven divided by four is what? Uh two and three quarters, Alex Reed: Mm Thomas Huston: it that Alex Reed: yeah. John Poole: Almost Thomas Huston: right. John Poole: three. Thomas Huston: Two and three quarters? John Poole: I think yeah. Alex Reed: Yeah, yeah. Thomas Huston: Okay. Two point seven five, there we go. Okay, criteria B_, criterion B_, technologically innovative. I would give that a three. Alex Reed: I'd give it a one. Thomas Huston: Okay. Not that you're biased Alex Reed: No, no, Thomas Huston: in Alex Reed: not Thomas Huston: that Alex Reed: at Thomas Huston: it Alex Reed: all. Thomas Huston: the designer. John Player: A two. John Poole: Oh sorry, I I got it wrong. The first one rating, I'm sorry. Can you just make it two? Thomas Huston: The average John Poole: The first. Thomas Huston: oh, John Poole: Yeah, Thomas Huston: for you? John Poole: I I just it Thomas Huston: You John Poole: the Thomas Huston: want John Poole: other Thomas Huston: your John Poole: way. Thomas Huston: rating to be a two? John Poole: Uh in Thomas Huston: Is that what you're saying? John Poole: Yep, I just Thomas Huston: Okay. John Poole: got Thomas Huston: So, I'll work out the average for that again at the end. It's a very slightly altered Okay, and we're just John Poole: two Thomas Huston: waiting John Poole: point f Thomas Huston: for your John Player: It's Thomas Huston: rating John Player: just two Thomas Huston: f John Player: point five for that one. Thomas Huston: Two Alex Reed: Yeah. Thomas Huston: point five, okay. Losing one decimal place, John Poole: One is Thomas Huston: that's John Poole: a, Thomas Huston: okay. John Poole: seven is false, okay. Thomas Huston: So what are you rating for this one, Paw? John Poole: Two. Thomas Huston: Two, okay. So that is eight. That brings it down to two, nice Alex Reed: Two. Thomas Huston: and simple, yeah. Okay, ease of use. Easy to use? Based on what you've said there, I would say a one, true. Alex Reed: Two. Thomas Huston: Two. John Player: I would say a two. Thomas Huston: A two, okay. John Player: I would say a two. John Poole: Two. Thomas Huston: Two. I should've said a two to make the arithmetic easy, shouldn't I? We'll just put almost two, because John Player: One Thomas Huston: I'm not John Player: point Thomas Huston: gonna get John Player: seven Thomas Huston: into silly decimal John Player: f five. Thomas Huston: places. Alex Reed: Yeah. John Player: Okay, Thomas Huston: Okay. John Player: mm-hmm. Thomas Huston: Or we or if we want to really bring it down, we can do later. Um Alex Reed: D_. Thomas Huston: mm now we're looking at it incorporates current fashion trends, now that's particularly Alex Reed: One. Thomas Huston: in relation to our market research findings about the spongy texture to the exterior and the fruit and vegetable design colours. Alex Reed: Yeah. Thomas Huston: Right. So I'm just thinking, before I give it my rating, you were limited in the use of materials for your prototype here. Alex Reed: Yeah, Thomas Huston: Is this Alex Reed: that's Thomas Huston: actually going to be the colours that you Alex Reed: No, Thomas Huston: would use? Alex Reed: no, the the base colour was um John Poole: White. With Alex Reed: white John Poole: for the plastic? Alex Reed: or or John Poole: Uh Alex Reed: like John Poole: blue. Alex Reed: or l sort of a light blue, but Thomas Huston: Right. Alex Reed: the changeable fa faces would uh allow you to get any basically John Poole: Any Alex Reed: any one of a number of colours that uh Thomas Huston: So Alex Reed: th it's Thomas Huston: we could Alex Reed: full Thomas Huston: use Alex Reed: sort Thomas Huston: any Alex Reed: of customised. Thomas Huston: strong fruit and veg colours and that's what John Poole: Right. Thomas Huston: we're Alex Reed: Yeah, Thomas Huston: intending to do. John Player: Mm-hmm. Alex Reed: yeah, John Poole: Mm-hmm. Alex Reed: yeah Thomas Huston: Okay. And the Alex Reed: and Thomas Huston: spongy feel is no problem with that. Alex Reed: No, John Poole: Yeah, Alex Reed: no, John Poole: because Alex Reed: 'cause John Poole: you'll Alex Reed: th John Poole: be Alex Reed: that's John Poole: having a Alex Reed: that's the the spongy feel would be John Poole: Because Alex Reed: in John Poole: of the Alex Reed: the John Poole: rubber Alex Reed: rubber John Poole: case. Alex Reed: that you put round it, that Thomas Huston: Okay. Alex Reed: otherwise it's just sort of hard plastic. Thomas Huston: to be a one for Thomas Huston. Alex Reed: Yeah, I'll give it a one as well. Thomas Huston: Yep. Everybody? John Player: One. Thomas Huston: Okay. John Poole: One. Thomas Huston: That part was nice and easy. Alex Reed: Yeah. John Poole: Mm. Thomas Huston: Okay. Uh moving on to does the design minimise repetitive strain injury. I Alex Reed: Mm. Thomas Huston: don't think we've really touched on that Alex Reed: No. Thomas Huston: a lot. We've we've discussed it, we haven't really come up with anything that we felt could feasibly reduce that. We've talked about pointers, but the very use of a remote control, if you're someone who's zapping, who's sitting Alex Reed: Yeah. Thomas Huston: like that, and we found so many people did, how do you minimise that on such a small device? John Player: Well the type of button that we're gonna use in the bottom half, the material, minimises Thomas Huston: Mm-hmm. Alex Reed: to be. John Player: R_S_I_ it's meant to. Thomas Huston: Mm-hmm. John Player: Um maybe because it's slightl with the size that we've got it's quite small, but with the amount of stuff we're putting on it isn't that much. Thomas Huston: Mm. John Player: So maybe because there's more space, it's not kind of moving around trying to Thomas Huston: Mm-hmm. John Player: hit accurately the buttons in between. Thomas Huston: Right. John Player: It's quite obvious just big buttons. Thomas Huston: Right. John Player: Um Thomas Huston: I think I'm gonna have to be neutral on that and give it a four. Alex Reed: Yeah. Yeah, I'd uh I'd f I'd go for a five, Thomas Huston: A Alex Reed: actually, Thomas Huston: five, okay. Alex Reed: 'cause John Player: Four. Thomas Huston: Four and John Poole: Four. Thomas Huston: a four okay. Twenty one is that twenty one? So that's four point two five. Alex Reed: Yep. Thomas Huston: And finally, last but not least, easy to locate. Now we talked about voice recognition, we talked about a beeper, have we really have the Alex Reed: Yeah. Thomas Huston: designers come to any Alex Reed: Yeah, Thomas Huston: dec Alex Reed: it was Thomas Huston: real decision Alex Reed: it was Thomas Huston: on that? Alex Reed: uh a John Poole: Voice Alex Reed: voice John Poole: r recognition. Thomas Huston: It was the Alex Reed: voice Thomas Huston: I'm here Alex Reed: recognition, Thomas Huston: thing, yep. Alex Reed: yeah. Thomas Huston: And are we happy with the costs on that? That is going to Alex Reed: Yeah, Thomas Huston: be feasible, Alex Reed: yeah, that Thomas Huston: cost-wise. Alex Reed: yeah, that's feasible. Thomas Huston: That sounds good then. I'd go for a I ca we can adjust the volume on that, just as we could volume on T_V_. Alex Reed: Um I think Thomas Huston: So if sombody's Alex Reed: it would Thomas Huston: in the Alex Reed: r Thomas Huston: other room or if T_V_s in different rooms, or. Alex Reed: I think it would probably be a John Player: A standard. Alex Reed: a stand it would be a stand it would be quite loud. John Player: It would Thomas Huston: Right. John Player: be. Thomas Huston: Okay. Alex Reed: So it would be Thomas Huston: You Alex Reed: s Thomas Huston: built into Alex Reed: p John Player: And Thomas Huston: the John Player: if Thomas Huston: feature. John Player: you didn't Alex Reed: yeah. John Player: hear it in the room that you were standing in, then you'd realise that it wasn't in that room, Thomas Huston: Okay. John Player: you'd go into another Alex Reed: Yeah. John Player: room. Thomas Huston: Logical. That's a one for Thomas Huston. Alex Reed: Yeah, one. Thomas Huston: One John Player: One. Thomas Huston: and one, good. Alex Reed: I do realise that we might be being fairly biased, 'cause it is our product, but Thomas Huston: So, how do we feel about this? We've got our our we've got the highest rating of meeting the specifications that is definitely true for two of the uh six criteria there. That is for um incorporates current fashion trends and is easy to locate. The lowest rating we've got, which is really n it's not terribly low, i it's close around neutral is for uh the minimisation of repetitive strain injury. Do we feel on the basis of tha of these evaluation findings that we can go ahead and now produce this as a prototype and market it, or do we have to make further modifications? John Player: I don't think so. Alex Reed: W I thin yeah, Thomas Huston: We happy Alex Reed: I Thomas Huston: to Alex Reed: think Thomas Huston: go ahead? John Player: I think we yeah. Alex Reed: yeah. John Player: I Thomas Huston: Yeah. John Player: think we're set. Thomas Huston: I think for most of those ratings that it's high enough at the upper end of the scale for us to go ahead with that, and I really doubt if on the basis of current technology and our current capabilities, we could actually do much John Player: Do Thomas Huston: more John Player: much Thomas Huston: to minimise John Player: apart from having Thomas Huston: that. John Player: a Alex Reed: Mm. John Player: huge big Thomas Huston: I know. Okay. Well, I hope that's uh clear to the team. Is there anything you would like to to ask Thomas Huston about the findings before I sum up? John Player: Don't think Alex Reed: No. John Player: so. Thomas Huston: Good. Fine then. I'll just leave it there. Oops. John Player: Okay, thank you. John Poole: Hmm. John Player: Okay, I've got finance here now. I'm gonna plug this in so you can all see it, if that's okay. Um. Thomas Huston: Oh yes. John Poole: You want Thomas Huston to b unplug that? John Poole: That's all. Yes. John Player: Thanks. John Player: Right. John Poole: Okay. John Player: Now I presume that the screen will go blank, that um Okay. We just type numbers into this and we come out with the final value. So are we still on for kinetic? Alex Reed: Yeah. Thomas Huston: Yes. John Player: Okay. See, it woulda been handy to have this at the beginning. Um it might have influenced our choice. Right, what's happening with the electronics? Alex Reed: It was a regular chip John Poole: Chip Alex Reed: on John Poole: on print. Alex Reed: print and John Player: Double-curved. Alex Reed: Oh, no, no, no, the um Yeah, it's you you've put in three for the number of kinetic cells, there should just be one. In the top, it's the number of c John Player: Oh, Alex Reed: yeah. John Player: right, okay. Thanks. Alex Reed: Yeah, and John Player: So, would there be two? Alex Reed: yeah, just a no, one reg v uh John Player: One chip. Alex Reed: Yeah, one of them and one sample sensor and sample speaker. John Poole: Okay. John Player: Okay. John Poole: Yep. Alex Reed: And they're double curved. No. Y John Poole: Single-curved. John Player: One double curve. Alex Reed: Two, 'cause it's John Poole: Two Alex Reed: two. John Poole: curves, yeah. Thomas Huston: But it has a slightly flattened bottom so it can sit. So it John Player: So Thomas Huston: can John Player: what's Thomas Huston: rest. John Player: a single curve then? Alex Reed: Yeah, I'd say I'd say Thomas Huston: It Alex Reed: it Thomas Huston: would Alex Reed: was Thomas Huston: just Alex Reed: w Thomas Huston: be a flat bottom Alex Reed: yeah, Thomas Huston: with Alex Reed: I Thomas Huston: one Alex Reed: think Thomas Huston: curve. like Alex Reed: I Thomas Huston: a domed Alex Reed: think Thomas Huston: thing. Alex Reed: it's John Player: So John Poole: Single-cu. John Player: just one double Thomas Huston: Mm. Alex Reed: One double-curved. John Player: Yeah. Alex Reed: And John Player: Um Alex Reed: one no, John Poole: Plastic Alex Reed: 'cause one John Poole: and rubber. Alex Reed: yeah, one's double-curved, and then Thomas Huston: The other Alex Reed: the Thomas Huston: curves Alex Reed: other one's Thomas Huston: at the sides, but it's slightly flattened at the bottom so it doesn't roll over. John Player: Mm. Thomas Huston: Yeah. John Player: Um Alex Reed: a plastic. John Player: we've got plastic and rubber, haven't we? Alex Reed: Yeah. John Poole: Yeah. Plastic one and Alex Reed: And John Poole: maybe Alex Reed: special John Poole: rubber point Alex Reed: colour. John Poole: five. No I think John Player: Um John Poole: rubber, since it's being used just as a casing, we can put point five. Alex Reed: Yeah. John Player: Do you think? John Poole: Yeah, I think it allows the point five, yeah. We can use that. Alex Reed: Yeah. John Player: Okay. Thomas Huston: What does it mean if you put point five for that? John Poole: It means we are not using a lot of rubber actually. We're using John Player: It would John Poole: just John Player: be like saying we're using John Poole: a very low quantity of rubber compared to plastic. John Player: See, it says case material. Thomas Huston: Mm-hmm. John Player: So we're not actually using plastic in the case, Alex Reed: No, John Player: are we? Alex Reed: no, that's it's as John Player: It's Alex Reed: an John Player: including, Alex Reed: extra. John Player: it's including. Thomas Huston: Right, okay. Alex Reed: So that shouldn't that shouldn't be actually on there, because that's not incorporated in the cost of the remote you get. Thomas Huston: But it is gonna be part of the total cost, and there's nowhere else we can we can put that in, is there? There's nowhere else we can code for the the rubber used in the casing. So do we not have to account for it in the cost somewhere there? John Player: Okay, we'll just put it in as we'll put in as half. Thomas Huston: Okay. John Player: Or sh we should just put it in as one, because the plastic is zero anyway. Alex Reed: Yeah, Thomas Huston: Mm. Alex Reed: okay. John Player: No, we don't step on anyone's toes. Okay, special colour, do we need that? Thomas Huston: Might do, if we go for some of the more exotic John Player: N yeah, Thomas Huston: aubergines John Player: okay. Thomas Huston: and such like colours. John Player: Interface. John Poole: Push-button. Alex Reed: Yeah, the push-button's John Poole: One. Alex Reed: one and L_C_ John Poole: An Alex Reed: display one. John Poole: One. Alex Reed: And buttons John Player: Buttons Thomas Huston: S John Poole: I think we could change the battery also. Instead of going for kinetic how about going for a standard battery. Thomas Huston: Has that not made any d if you click off that square now, has that not made any difference? Alex Reed: Well Thomas Huston: Is it John Player: Has Thomas Huston: oh, Alex Reed: yes. Thomas Huston: it's John Player: that Thomas Huston: brought John Player: not Thomas Huston: it John Player: gone Thomas Huston: slightly John Player: up? Oh no, Thomas Huston: down. John Player: it was seven five it's changed not Thomas Huston: So John Player: a Thomas Huston: is John Player: lot. Thomas Huston: is uncurved completely and just actually making the rubber case the curved thing, is Alex Reed: Yeah. Thomas Huston: that going to make a difference? John Poole: Uncurved, flat. Thomas Huston: Oh, it's not made any difference, has it?. Alex Reed: No, Thomas Huston: It's John Poole: No, Alex Reed: we'll Thomas Huston: gone up Alex Reed: have Thomas Huston: again. John Poole: it just John Player: Oh, it's John Poole: surprises John Player: not calculated John Poole: one. Alex Reed: No, no, John Player: it. Alex Reed: you've got Thomas Huston: Oh. Alex Reed: to click off to calculate it again. John Player: Okay, there we go. Thomas Huston: It's brought it down slightly. Alex Reed: C John Player: It's Alex Reed: it John Player: not Alex Reed: might John Player: a lot though. Alex Reed: uh you might you might be assuming that that is in Euros. It could be in Dollars. And then it would be fine, because the exchange range would make it about twelve. Thomas Huston: Is John Player: We Thomas Huston: there John Player: haven't Thomas Huston: anything on John Poole: I John Player: been John Poole: don't Thomas Huston: the menu John Player: dealin John Poole: think so. John Player: we haven't been dealing with dollars Thomas Huston: No. John Player: though, I think Alex Reed: No. John Poole: Ri I think it's in Euro. John Player: Okay, so the highest we've got is the electronics here. Um Thomas Huston: If we John Player: and Thomas Huston: tr John Player: the Thomas Huston: um. John Player: interface. Thomas Huston: If we moved away from our much loved idea of a kinetic battery and just John Poole: And Thomas Huston: went John Poole: going Thomas Huston: with the John Poole: to Thomas Huston: standard John Poole: a regular bat Thomas Huston: batteries, would that make a huge difference? Alex Reed: Yeah, the John Poole: Yeah. Alex Reed: standard, it um it would make one difference. The biggest one would be taking away if you took away John Poole: What I feel is, customers never said Alex Reed: If you John Poole: anything Alex Reed: to John Poole: about the battery. It's internal, nobody looks into the battery. Alex Reed: Yeah. John Poole: But shape and colours, Thomas Huston: And people are John Poole: that's Thomas Huston: used John Poole: something Alex Reed: If Thomas Huston: to buying John Poole: we Alex Reed: if John Poole: shouldn't Thomas Huston: batteries, Alex Reed: you take John Poole: comprimi Thomas Huston: they're not Alex Reed: away Thomas Huston: gonna Alex Reed: the Thomas Huston: say Alex Reed: voice, Thomas Huston: I'm not getting Alex Reed: I Thomas Huston: this, 'cause Alex Reed: I Thomas Huston: I've got Alex Reed: do Thomas Huston: to Alex Reed: I Thomas Huston: buy Alex Reed: don't Thomas Huston: a Alex Reed: like Thomas Huston: battery Alex Reed: to say Thomas Huston: for a Alex Reed: it, Thomas Huston: remote Alex Reed: but if you Thomas Huston: control. Alex Reed: take away the voice recognition, then you've got it. John Poole: Where's that special form? Mm mm Thomas Huston: Should John Poole: mm. Thomas Huston: we see what difference it makes? John Player: Where's the Alex Reed: Yeah i yeah. No John Player: where's Alex Reed: 'cause Thomas Huston: Um John Player: the voice recognition? Alex Reed: it's samples sens sample speaker. John Player: Right, Alex Reed: If you John Player: okay. Alex Reed: took away that, that'll make it twelve point three five. John Player: Well the kinetic is three. If we change it to the battery it's that's Alex Reed: They John Player: minus three. Alex Reed: n n yeah, but you p minus three plus two. John Player: Oh, right. I keep seeing zero. John Player: it some other way, we can do it doesn't have to be voice recognition. We could do the voice recognition for, you know, business class or something, you Thomas Huston: Yeah. John Player: know, like an upgraded version. Alex Reed: Yeah. Thomas Huston: Sure. John Poole: Mm-hmm. John Player: You could choose to have that Alex Reed: But they John Player: or not. Alex Reed: but I mean in I don't see why we have to sell it for twenty five Euros now, because they w they were saying they were quite willing to pay more for better product. Thomas Huston: But we're still working to John Player: So Thomas Huston: um John Player: should we just change the Thomas Huston: head John Player: design Thomas Huston: o John Player: specification then? Thomas Huston: We can put in our recommendations. John Poole: Make it Thomas Huston: If John Poole: costly. Thomas Huston: we if we're John Player: Yes. Thomas Huston: working to head office specifications as this is what this project team's working for, we can Alex Reed: Yeah. Thomas Huston: put in our recommendations for what we've we've found and what we the consensus that we've come to as a result John Player: Mm-hmm. Thomas Huston: of Alex Reed: We Thomas Huston: the meetings. Alex Reed: c we could Thomas Huston: But we Alex Reed: s Thomas Huston: need to work to that specification to start with. Alex Reed: Yeah, John Player: Mm-hmm. Thomas Huston: And Alex Reed: we Thomas Huston: I Alex Reed: could say Thomas Huston: think the voice recognition sounds wonderful, but our object is so distinctive that that in itself is gonna make it easier to locate as a f you know in a first instance. Um as you say, we can offer the voice recognition initially to business class customers and so John Player: Okay, we can Alex Reed: Yeah, I John Player: make Alex Reed: s John Player: the price fit, and then say if Alex Reed: And John Player: we'd Alex Reed: then say John Player: had Alex Reed: we John Player: our Alex Reed: recommend John Player: budget, we Thomas Huston: Mm. John Player: would've had this, Alex Reed: Yeah. Thomas Huston: Yeah. John Player: because it also sets it apart from Thomas Huston: 'Cause John Player: the crowd. Thomas Huston: we've done all the background work John Player: They like Thomas Huston: to go John Player: their Thomas Huston: for John Player: gadgets, Thomas Huston: that if they want John Player: they like Thomas Huston: it. John Player: something that's completely different. Alex Reed: Yeah. John Player: It's Thomas Huston: Yeah. John Player: s something completely different associated with your company. Right, okay, so Thomas Huston: So if we take voice recognition out Alex Reed: That'll do it. Twelve point three John Poole: Yeah Alex Reed: five. John Poole: we are close Thomas Huston: we are. John Poole: to the budget. Alex Reed: Is it twelve point fif John Poole: Two John Player: It's John Poole: five. Alex Reed: was it twelve John Player: two Alex Reed: point John Player: point Alex Reed: fifty? John Player: five. No, it's twelve point two five. Thomas Huston: Are you sure? Sorry, not meaning to doubt your words John Player: Yeah well two, Thomas Huston: there. John Player: twelve point two five times two is Thomas Huston: Right. John Player: twenty five, Thomas Huston: Are they John Player: isn't Thomas Huston: really John Poole: It's John Player: it? Thomas Huston: going John Poole: twelve Thomas Huston: to quibble John Poole: point five Thomas Huston: about John Poole: maybe, Thomas Huston: ten John Poole: then. Thomas Huston: P_? Or point zero one of a Euro? Which is less than ten P_. John Poole: I don't know what it said fifty percent of the cost. So John Player: I think John Poole: half of John Player: the agenda John Poole: the price would John Player: one John Poole: be John Player: was where the um price was, wasn't it? No. John Poole: I think it is the first one. Thomas Huston: That's today's kick off meeting, John Player: Twelve point five. Thomas Huston: Mm. Alex Reed: Ah. John Poole: So we Thomas Huston: I John Poole: are under Thomas Huston: thought John Poole: the Thomas Huston: that's John Poole: budget. Thomas Huston: what it was. John Player: Well done, people. Thomas Huston: So we're okay. Alex Reed: Okay. John Player: So is that uh got us covered for the electronics then? We don't need Alex Reed: Yeah. John Player: something else to take that place? Alex Reed: No. John Player: Okay. Alex Reed: 'Cause that that was just a bought-on extra, you could just take that out and that would be fine, John Player: Okay. Alex Reed: yeah. John Poole: Seems fine. Alex Reed: Yeah, I think that's brilliant. John Poole: Except voice recognition, everything is John Player: Right, so we've done that. Okay. Product evaluation. We've done room for creativity, haven't we? Alex Reed: Yeah. John Player: Because John Poole: Yeah. John Player: we've got decisions that we would have made that we weren't didn't feel able to make. Um I presume we discussed leadership and teamwork. John Poole: Mm-hmm. Alex Reed: Yes. John Poole: Yeah. John Player: um in the sense that um did you feel like a team? Or did you feel like uh Alex Reed: Yeah, I'd say, as a team. Thomas Huston: Although we had our separate John Poole: I think John Player: autonomy? John Poole: we Thomas Huston: tasks, John Poole: had a nice time. Thomas Huston: there was Alex Reed: Yeah. Thomas Huston: so much interaction, so much that we needed to um Alex Reed: Find out Thomas Huston: bounce Alex Reed: from Thomas Huston: off Alex Reed: each other, Thomas Huston: each Alex Reed: yeah. Thomas Huston: other. And I've certainly felt heard, listened to in that in relevant areas we've been able to, you know, give and take and adjust our remit Alex Reed: Yeah. John Player: Mm-hmm. Thomas Huston: where necessary. John Poole: Yeah, I think there was uh very constructive feedback by everybody. It's not like people trying to cut each other. There is more of uh true cohesive teamwork. We came to a very predic creative design, yeah. Yeah, and uh Yeah, I think. And Sarah, you coordinated the work very well. John Player: Thank you. How did you find it? Alex Reed: Yeah, no, I thought it it went really well and I yeah, I I feel that everyone was listened to and all the points that were raised seem to have been sorted out, although we didn't quite make the voice recognition in there, but that's that's good. John Player: Yeah. Alex Reed: I think it would have made it into the final product if it was actually if if if we'd seen the marketing before the initial specification was put out, I think maybe it would've come out a d little different, but John Player: Yeah. Alex Reed: yeah. John Player: I liked the fact that we could say an idea and it'd be suggested that that wasn't the best idea, but no one felt like shot down, Alex Reed: Yeah. John Poole: Yeah. John Player: you know, y it didn't matter it saying what you thought, because if it wasn't something that was that relevant, then it didn't matter, 'cause it was just another idea in the field. Alex Reed: Mm. John Player: I like that. Thomas Huston: Yeah. John Player: Um teamwork. Well you two created that wonderful specimen of a Play-Doh model. Alex Reed: Yeah, well. John Poole: I John Player: Um John Poole: think that was the best part of the John Player: uh I'm still not caught up. But that's nothing to do with the teamwork at all. Um Thomas Huston: Maybe we should think of branching out into children's toys and John Player: Maybe. Thomas Huston: fake mobile phones as a side line. And fake John Poole: 'Kay. Thomas Huston: R_C_s. John Player: No, that was quite fun. Um means, whiteboard, digital pens, etcetera, what does that mean? Any Thomas Huston: How do John Player: ideas? Thomas Huston: we evaluate Alex Reed: Discuss Thomas Huston: the materials Alex Reed: which ones Thomas Huston: we had for communicating Alex Reed: yeah. Thomas Huston: and sharing information? Alex Reed: Yeah. Thomas Huston: Could it've been better, was it adequate? Alex Reed: Yeah, I think I think we probably woulda used the outer email system more, had we actually John Player: Had time to kind of Thomas Huston: Mm. Alex Reed: had had more time and if we'd been separated more. John Player: Yeah, 'cause we could just sort of say, Alex Reed: Yeah. John Player: sorry what did you say about that or what do you think about that, Alex Reed: Yeah. John Player: rather than having to email it, yeah. Alex Reed: Yeah. Thomas Huston: Yeah. John Player: But it was nice having it there. Um like the whole picture of the thing. John Poole: Yeah, moving around the room. Thomas Huston: Yeah. John Poole: But I think it's good, like uh we spent times individually. John Poole: I never thought of a remote control with a flip top. John Player: Yeah, I think it's new Thomas Huston: It's John Player: ideas Thomas Huston: really borrowing John Player: in general, Thomas Huston: from John Player: rather Thomas Huston: other areas, Alex Reed: Yeah. John Player: than Thomas Huston: it's, you know, bringing things from other areas in, it so it's I mean nothing is new, John Player: Mm. Thomas Huston: but it's applying it to a d in a different area. Alex Reed: Vegetables. John Poole: That's mine. Alex Reed: Yeah. John Player: Yeah, no. John Poole: Yeah, it's John Player: Well they have to come from somewhere, don't Thomas Huston: Absolutely, John Player: they? Thomas Huston: yeah. John Poole: The thing John Player: And John Poole: is John Player: as sh as w sorry, you John Poole: Yep, sorry, go on Sarah. John Player: go. Um as was shown by your presentation with all of the other controls, remote controls, no one's thought about it Alex Reed: No. John Player: particularly. Thomas Huston: Mm-hmm. John Player: I mean they're slightly different, so if someone's been shut in the room and said make ours a bit different from everyone else's, 'cause it's Thomas Huston: Mm-hmm. John Player: w something we should think about, but obviously no one's put any Alex Reed: Yeah, John Player: great Alex Reed: I John Player: deal Alex Reed: do John Player: of thought into it. Alex Reed: I don't think the the companies are really concerned. They're just like we've got a D_V_D_ player, does anyone remember the remote control? Can't you get the one that we used for the last one? Yeah, Thomas Huston: Yeah. Alex Reed: just jazz it up a bit. John Player: Mm. Alex Reed: Uh Thomas Huston: Yeah. Alex Reed: d they don't really think about it, because normally, the remote control isn't the product which they're trying to ship. They're trying to ship Thomas Huston: Yeah, Alex Reed: the D_V_D_ Thomas Huston: the focus Alex Reed: player, Thomas Huston: isn't on Alex Reed: the video Thomas Huston: to that, Alex Reed: player, Thomas Huston: yeah. John Player: But then when Alex Reed: the T_V_. John Player: it everything is really smart, Alex Reed: Yeah. John Player: and you've just got this big chunk of black Alex Reed: Yeah. John Player: thing sitting on your coffee table, it doesn't go, I Alex Reed: No. John Player: mean if you could have something that's a proper funky Alex Reed: Yeah. John Player: thing, a funky item that's individual, individual to you, I mean they could even go into um you go in with an idea and they design it on Photoshop and then they just get it printed on the plastic, Alex Reed: Yeah. John Player: you would pray you would pay a lot extra, because it's individually being a plastic was being made for you. Alex Reed: Yeah. John Player: But people could have anything that they wanted. Alex Reed: Mm. John Poole: Surprising John Player: Because of the John Poole: to John Player: produ John Poole: Thomas Huston is like uh people give a lot of attention to modifying mobile phones, John Player: Mm. John Poole: like a real want to see a new launch or something like that. Alex Reed: Yeah. John Poole: And new f television products coming up, but nobody giving uh much idea to this. Thomas Huston: I think John Poole: Like Sarah Thomas Huston: it's John Poole: was telling, Thomas Huston: really John Poole: everything's Thomas Huston: good that this has been very market research based, John Poole: Right. Thomas Huston: because just going back to mobile phones, I mean this is the first change in remote control devices that I can really, you know, say is is obvious and visible. We see it in mobile phones a lot, and tha that's where we've borrowed a lot of our ide our ideas from. There are innovations in that that people don't really want. John Player: Yes. Alex Reed: Yeah. Thomas Huston: I see people wanting a model of the phone they were really happy with, and they can't get it anymore John Player: Yeah. Thomas Huston: and it's innovation for innovation's sake, and I think it's wonderful our company's so R_ and D_ based. John Player: Well, it's John Poole: Mm-hmm. John Player: innovation for money's sake. The Thomas Huston: Yeah. John Player: the people have to keep Thomas Huston: But John Player: buying. Thomas Huston: forcing it onto people, John Player: Yeah. Thomas Huston: yeah. It's things that, you know, they might want to buy the thing they John Player: And Thomas Huston: really John Player: you Thomas Huston: want. John Player: can't get you've got your handset that works fine, but you can't get the battery anymore Thomas Huston: Mm. John Player: for that type of phone, Thomas Huston: Mm. John Player: because the phones have moved on, things like Thomas Huston: Or John Player: that. Thomas Huston: there isn't a cover to fit it or John Player: Yes. Thomas Huston: whatever, yeah. John Player: It's madness. Um Thomas Huston: See I think John Player: In closing There we go. Um our costs are below budget with recommendations that they the budget be increased, but I think I don't know, d what do you think? Do you think that's takes into account um overheads like us being well paid kind of a thing? And the heating Alex Reed: Well. John Player: for the building, do you think our budget includes everything, all the costs that are going out? Thomas Huston: I think it was just the produc uh just Alex Reed: I Thomas Huston: the Alex Reed: think Thomas Huston: production Alex Reed: that was just Thomas Huston: cost Alex Reed: the Thomas Huston: of the phone. Alex Reed: the physical. John Player: So it looks well it looks like it's gonna be fifty percent profit, you've Alex Reed: Yeah. John Player: still got Thomas Huston: Mm-hmm. John Player: all of the overheads to come out of that. So Alex Reed: Yeah. John Player: maybe increasing it, you would also have to increase the price that it's sold at. John Poole: Maybe Alex Reed: Yeah, John Poole: fifty Alex Reed: I John Poole: percent John Player: But Alex Reed: think John Player: I John Poole: more. John Player: think but you were saying that that's quite Alex Reed: yeah Thomas Huston: But Alex Reed: I Thomas Huston: I Alex Reed: don't Thomas Huston: think in the remit Alex Reed: from Thomas Huston: that Alex Reed: the market Thomas Huston: we were given, Alex Reed: research. Thomas Huston: it was very specific. I think we've done what we were required to do, John Player: Hmm. Thomas Huston: and I think there'll have to be another project team or a new project for us to look at at those kind of things. I don't think that's something we have to look at John Player: Yeah. Thomas Huston: and Alex Reed: No. Thomas Huston: find a way of raising the cash for. Alex Reed: Yeah, it Thomas Huston: I Alex Reed: was Thomas Huston: think we've done very well to get within budget and John Player: Mm. Thomas Huston: it still makes such an innovative item John Player: Yeah. Thomas Huston: that I think people are really gonna want. John Poole: Yeah. John Player: It's a shame it won't ever get made. Thomas Huston: I know. John Player: Maybe Thomas Huston: Maybe John Poole: Who John Player: it Thomas Huston: it John Poole: knows? Thomas Huston: will. John Player: will. Thomas Huston: Maybe they are gonna steal John Player: Maybe Thomas Huston: our ideas John Player: someone'll Alex Reed: I Thomas Huston: and Alex Reed: it's Thomas Huston: sell John Player: r Thomas Huston: it. John Player: run Alex Reed: top secret. John Player: down and patent it. Alex Reed: Um it's it is it's a conspiracy going on here. John Player: Um Alex Reed: That's what it is. John Player: the project has been evaluated well and truly. John Poole: Yeah. Thomas Huston: Mm-hmm. John Player: Um and we've got the meeting survey and questionnaire. John Poole: There's a final questionnaire. John Player: Oh, so we've got about fifty minutes to catch up with everything that I fell behind with, so I'll be delegating in my um Alex Reed: In John Player: role Alex Reed: your John Player: as Alex Reed: yeah. John Player: Project Supervisor, so good luck. John Poole: Celebration, you didn't talk about that. John Player: I think the celebration is the twenty five pounds. Either that or we'll be dancing on the desks. Oh. Thomas Huston: Questionnaire. Alex Reed: Okay. Is that it then? John Player: Um yeah, just the last, I think. Alex Reed: Awesome. John Player: I think I've got minutes for two of the meeting and the last thingy. Thomas Huston: Questionnaire done. Oh, I didn't have to rate you on how much you influenced the meeting this time. Alex Reed: Was that not the questionnaire for the how you felt you'd done in your thing? Thomas Huston: Oh, right. But Alex Reed: I Thomas Huston: do we not Alex Reed: don't Thomas Huston: sometimes Alex Reed: think. Thomas Huston: evaluate in these meetings Alex Reed: Yeah, the Thomas Huston: too? Yeah. Alex Reed: the s yeah. I think yeah, questionnaire seven was the one I did just before the meeting. John Poole: Yeah. Alex Reed: Mm. John Player: I just got con

John Player went over decisions from the previous meeting. Alex Reed presented the prototype and discussed its look, its internal components, and its interface. Thomas Huston evaluated the product according to the initial product goals. The group then decided that enough of this criteria had been satisfied for the project to continue. John Player presented the final cost of the device which exceeded the initial projected price point. The group decided to remove speech recognition but to propose to the management that it remain in the design. The group then discussed their effectiveness as a team. All members felt that they interacted well and that they felt they could be creative. Thomas Huston felt that the market-research based approach would help the project's success with consumers. The group did express, however, that the budget was overly constraining. John Player instructed the group to fill out a final evaluation questionnaire.

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Randall Wilson: Okay. John Weller: Okay, almost there. Robert Atkison: Okay. We'll sta I'll use the PowerPoint I. How was that, was that fun? Randall Wilson: Mm. John Weller: Yeah, yeah. Randall Wilson: Very fun. Robert Atkison: Okay. Uh oh I've forgotten to mail you the minutes, but I will do. John Weller: Okay. Robert Atkison: Upsidaisy. Richard Paulino: Hmm. Robert Atkison: Um Um Richard Paulino: E Robert Atkison: we Richard Paulino: excuse Richard Paulino I forgot Robert Atkison: Yeah. Richard Paulino: my Robert Atkison: Alright, Richard Paulino: copy. Robert Atkison: okay, yeah. He's gonna get his pen. Randall Wilson: Oh right. Robert Atkison: Um Will you guys first with your prototype um before we get to the good news? John Weller: Yeah, there's good news? Robert Atkison: Uh John Weller: Oh. Randall Wilson: Mm. Robert Atkison: we have budget problems. John Weller: Oh. Cutbacks. Robert Atkison: I'm afraid you're all sacked. Oops. I don't even have on. John Weller: Hmm. Robert Atkison: Okay, have you John Weller: Okay. Robert Atkison: got a presentation to make? Richard Paulino: No, not Robert Atkison: No. Richard Paulino: mine Robert Atkison: Okay Richard Paulino: yet. Robert Atkison: so it's John Weller: Oh. Robert Atkison: just your your show. John Weller: Um maybe we should bring so that the camera can see. Yeah. Randall Wilson: Okay. Sure. John Weller: Okay. Randall Wilson: We made three Robert Atkison: Three? Randall Wilson: for you. Robert Atkison: Oh. Randall Wilson: Um one's based on the banana, one's based on the tomato and Robert Atkison: Tomato? Randall Wilson: the other one Robert Atkison: What tomato? Randall Wilson: is st Robert Atkison: I don't recall a tomato. Randall Wilson: Look. Oh yeah, well yeah, we had v some red left over. So. Robert Atkison: Ah I see, okay. Randall Wilson: Okay, so this is the um non to non uh no buttons one, or as mm few buttons as possible, Robert Atkison: Mm-hmm. Randall Wilson: mainly speak recognition. The yellow there is the um Robert Atkison: Logo. Randall Wilson: the slogan, yeah, Robert Atkison: Okay, Randall Wilson: incorporate, Robert Atkison: brilliant. Randall Wilson: it's very simple. If you do need buttons, you can flip it over, and there's some there, Robert Atkison: Okay. Randall Wilson: um but mainly it's speech recognition. Robert Atkison: Okay, so the buttons would be like, you know individual users, or Randall Wilson: Yeah. Robert Atkison: Yeah. Randall Wilson: Yeah and yeah they might project things onto the screen which you can do on there. Robert Atkison: Alright, okay. Randall Wilson: Mm I'm not sure about that. Um and this one is the one w more like the one w that we looked at earlier. Robert Atkison: Right. Randall Wilson: Yeah, you guys can Robert Atkison: That's Randall Wilson: have Robert Atkison: groovy. Randall Wilson: a look at that Richard Paulino: Yeah. Randall Wilson: if you want. Richard Paulino: Uh can Robert Atkison: Well I like the Richard Paulino: I Robert Atkison: feel of it, Richard Paulino: have Randall Wilson: Yeah, Robert Atkison: I like the feel Randall Wilson: sure. Robert Atkison: of it. Randall Wilson: Um that one is Richard Paulino: Oh sorry Randall Wilson: Oh Richard Paulino: s Robert Atkison: At Oh Randall Wilson: no, it's delicate. Robert Atkison: dear. Randall Wilson: That's that's already got its stand that one. That's it stand. Robert Atkison: Alright, Randall Wilson: It does Robert Atkison: okay. Randall Wilson: also lie flat, but that's the that yellow stand there represents the the charging stand. Robert Atkison: Okay, Randall Wilson: Um Robert Atkison: brilliant mm. Randall Wilson: the black on the back is the slogan. Robert Atkison: Okay, nice and obvious Randall Wilson: Uh Robert Atkison: there, Randall Wilson: yeah, that Well, we Robert Atkison: if it's Randall Wilson: did think Robert Atkison: standing Randall Wilson: of Robert Atkison: up, Randall Wilson: that. Robert Atkison: I guess, yeah. Randall Wilson: Yeah, if it's standing up it's it's on there, but also we're gonna have the company name on the front, which is the little black kind of line in Robert Atkison: Oh Randall Wilson: the Robert Atkison: right, Randall Wilson: middle. Robert Atkison: okay, brilliant. Like Randall Wilson: So Robert Atkison: that Randall Wilson: um Robert Atkison: from its centre. Randall Wilson: and that's the um transmit the L_E_D_ thing. These are the s two scroll ones which we thought could be channel up and down and volume up and down. We n were weren't sure about putting them there, because um i it's it kind of could get bashed. Robert Atkison: Where you're, yeah, uh were you're holding it kind of Randall Wilson: Yeah. Well, if you hold it, you can you all can hold it, is it does actually feel quite ergonomic, Robert Atkison: Mm-hmm. Randall Wilson: if you've got small hands. Robert Atkison: Yeah. John Weller: Mm. Randall Wilson: Um, Robert Atkison: Okay. Randall Wilson: obviously I don't think that's real sized. It would Robert Atkison: Yeah, Randall Wilson: have Robert Atkison: okay. Randall Wilson: to be a bit Robert Atkison: Yeah, Randall Wilson: bigger. Robert Atkison: scale model, yeah. Randall Wilson: Okay. Um that's a speaker at the top, so you can speak into it like a little walkie-talkie as well for speak recognition. Robert Atkison: Mm-hmm. Randall Wilson: Um and um then the buttons. Yeah kind of self-explanatory, just buttons whenever you need them. Tried to keep it simple. Oh that's the charging base prongs at the bottom. We used those. And um then the Robert Atkison: Alright, excellent. Randall Wilson: big red button in the middle is the on and off one. It's Robert Atkison: Okay. Randall Wilson: not in the traditional place, Robert Atkison: No. Randall Wilson: but um Robert Atkison: It's out of Randall Wilson: it's Robert Atkison: the way Randall Wilson: quite an Robert Atkison: as Randall Wilson: obvious Robert Atkison: well, I Randall Wilson: place. Robert Atkison: suppose, so. Excellent. Randall Wilson: So there we go and and um we have the banana-based John Weller: Oh yeah, yeah. Randall Wilson: one too. Robert Atkison: Yep. John Weller: This one is uh, I suppose for the younger audiences. Robert Atkison: Okay, John Weller: A a more friendly Robert Atkison: so John Weller: type Robert Atkison: so John Weller: of Robert Atkison: Barney the banana. John Weller: Right, right. It's to uh induce more television watching I suppose Robert Atkison: Ah John Weller: or Robert Atkison: excellent, just what we need. Randall Wilson: Yeah. John Weller: Yeah. Richard Paulino: Mm-hmm. Robert Atkison: Lo Sort of Loch Ness banana. Randall Wilson: Mm-hmm. John Weller: Right, right. Robert Atkison: Cool yeah. Well, nice to have uh options at least. Randall Wilson: Yeah. John Weller: Yep. Robert Atkison: 'Kay Randall Wilson: So Robert Atkison: and Randall Wilson: are there any um improvements or issues John Weller: It won't Randall Wilson: or John Weller: stand. Robert Atkison: Oh there are issues, oh there are issues. John Weller: Just let it lie down, it wont stand. Robert Atkison: Um main problem that we have unfortunately being finance. Randall Wilson: Oh. Robert Atkison: Uh, let's just enter in the um evaluation criteria. Um unfortunately the unit we are currently going to produce minus the extra scroll buttons, uh it's gonna cost Richard Paulino: Mm. Robert Atkison: us fourteen point six Euros. Randall Wilson: Oh. Robert Atkison: So John Weller: What's Robert Atkison: we have John Weller: on the Robert Atkison: to John Weller: uh Robert Atkison: rea John Weller: on the left? Robert Atkison: Sorry, I've accidentally highlighted somehow Um. There we go. John Weller: Okay. Robert Atkison: Oh god, Randall Wilson: Ooh. Robert Atkison: why is it doing that? There we go. So basically, um in order to save our two Euros um I was thinking that we could have essentially the same shape, but just have it flattened. Randall Wilson: Mm-hmm. More like Robert Atkison: Um. Randall Wilson: a traditional remote control. Robert Atkison: Yeah, I mean it's already got a kind of cool shape, Randall Wilson: Mm-hmm. Robert Atkison: so but it wouldn't have to be curved sort Randall Wilson: Mm-hmm. Robert Atkison: of in and out. And by doing so Oh no, hold on. Doesn't save us quite as much. I don't know what's going on with this again. John Weller: W why is the uh double curved two of them? Robert Atkison: Oh, good point. Richard Paulino: And Robert Atkison: Um. Richard Paulino: double curve on both sides? Curve. Yeah, this Robert Atkison: That's Richard Paulino: is double-curve, Robert Atkison: sort Richard Paulino: no? Robert Atkison: of curve Richard Paulino: This John Weller: Is Richard Paulino: is John Weller: i Richard Paulino: double-curve. Robert Atkison: in and Richard Paulino: It Robert Atkison: out. Richard Paulino: This one is single curve. John Weller: Mm. Richard Paulino: 'Cause this is single curve, this is curved on both sides. So double-curve. Robert Atkison: No, I think it means double curved as in um Randall Wilson: Like an S_ shape. Robert Atkison: like uh a single curve on that bottom half, and the double curved would be if it was that similar curve Randall Wilson: Okay. Robert Atkison: upward. Okay, I might be wrong though. Richard Paulino: Like this, one curve on this side, one curve on that side. Robert Atkison: I don't think that counts as a curve, I think Richard Paulino: Hmm. Robert Atkison: that's just a shape. Randall Wilson: Okay. Robert Atkison: A curvature is like the this Richard Paulino: Maybe. Robert Atkison: case. Randall Wilson: Okay. John Weller: 'Cause that's the uh the biggest expense there, right. Robert Atkison: Yeah, John Weller: got Robert Atkison: and why John Weller: two Robert Atkison: why John Weller: of them Robert Atkison: I've got it two, I don't know, I can't seem to select any more however. John Weller: Okay. Well we can work around that um Randall Wilson: Mm-hmm. Robert Atkison: Right. No. John Weller: Cut things out. But you think it should be one. Robert Atkison: It's meant to be one, yeah, I don't know why I put two in there, John Weller: Okay. Robert Atkison: but um Hold on till I find it, I think this shift button might be stuck again. No maybe the shift button's stuck in. John Weller: Yeah. Robert Atkison: Um Richard Paulino: Mm. Robert Atkison: okay, so Richard Paulino: Should Robert Atkison: that would take away three, which would give us Oh that's fine. John Weller: Yeah, so Robert Atkison: Eleven John Weller: we're Randall Wilson: Cool. Robert Atkison: uh eleven Euros sixty. Randall Wilson: Cool. Robert Atkison: Um Randall Wilson: So we could even add something. Robert Atkison: We cou Oh not quite, John Weller: We should fire Robert Atkison: have the scroll-wheel, John Weller: the accountants. Robert Atkison: unfortunately. What? John Weller: Fire the accountants. Ah yeah, we could add things. Maybe if you click back in that bottom right cell, where you're starting from, Robert Atkison: Yeah. John Weller: and then use the arrow keys. Does that work? Robert Atkison: Yeah, I know, that John Weller: No Robert Atkison: just extends John Weller: mm. Robert Atkison: it as well. Richard Paulino: Uh you Robert Atkison: I Richard Paulino: can Robert Atkison: don't Richard Paulino: do Robert Atkison: know. Richard Paulino: one thing. You just select one box outsi yeah, this box. Then move it with the help of this Okay. Robert Atkison: It One of the buttons Richard Paulino: Just Robert Atkison: is sticking, Richard Paulino: uh just Robert Atkison: I don't know. Richard Paulino: uh Okay, just a minute. Okay. No input, like this. Shift. No Robert Atkison: No, it's Richard Paulino: it's Robert Atkison: 'cause Richard Paulino: not. Robert Atkison: the uh the shift button's stuck, Richard Paulino: Yeah, Robert Atkison: or something. Richard Paulino: it's not working. John Weller: Is Richard Paulino: Should John Weller: it the Richard Paulino: we John Weller: other Richard Paulino: ask John Weller: shift Richard Paulino: Meli John Weller: button maybe? Richard Paulino: Should we ask our technical expert Melissa? Robert Atkison: No that's fine. Um we've worked out what it would be anyway. John Weller: Did you try both shift buttons? It could be Robert Atkison: Yeah. John Weller: the other side. Robert Atkison: Cancel. Piss off. John Weller: That's too bad. Robert Atkison: Oh well, never mind. Um. Right, so that's finances and I dunno what we what could we reckon we could add? Um Randall Wilson: Well maybe we could add something, but maybe if What Robert Atkison: Well I suppose Randall Wilson: do you Robert Atkison: that's Randall Wilson: th Robert Atkison: our that's Randall Wilson: We're Robert Atkison: that's Randall Wilson: trying Robert Atkison: our Randall Wilson: to Robert Atkison: design Randall Wilson: save Robert Atkison: that Randall Wilson: money, Robert Atkison: we've got. Randall Wilson: so. Yeah, Robert Atkison: So Randall Wilson: if we're happy with the design there's no point in spending money, if we don't have to. Robert Atkison: Yeah. Randall Wilson: But if there is anything you think we've missed out there, then, you know, feel free to add it. Maybe I mean obviously it would be bigger so there might be more space for the the slogan on the front, because it's Robert Atkison: Yeah Randall Wilson: not in an Robert Atkison: yeah. Randall Wilson: ideal place right now. Robert Atkison: Well that's that's uh Okay, so project evaluation. We have under twelve Euros fifty. Project process, how do we think that went? Are we happy? John Weller: Oh. Randall Wilson: Mm. John Weller: Yeah I think we have a a winning product. Robert Atkison: Okay. Evaluation. Oh we've been writing this up for m Randall Wilson: I think Robert Atkison: months. Randall Wilson: it went quite smoothly. Robert Atkison: Uh room for creativity, were we happy with that? Randall Wilson: W I think we were very creative. Robert Atkison: No, I mea I think it means sort of individually. Randall Wilson: Oh right, okay. Robert Atkison: Yes, no, maybe? Randall Wilson: Mm-hmm. Robert Atkison: Okay. Groovy. So uh we're just gonna. Uh yeah, okay. Teamwork? Leadership, sorry. John Weller: Great Randall Wilson: Excellent John Weller: leadership. Randall Wilson: leadership. Robert Atkison: Thank you very much. You're all get you're all getting a raise. Uh teamwork. I thought went well. John Weller: Yeah, Richard Paulino: Yeah. John Weller: yeah. Randall Wilson: Yeah, Robert Atkison: Yeah. Randall Wilson: everyone got enough input, I think. Robert Atkison: Uh and well means, yeah. Richard Paulino: Yeah, Robert Atkison: The Richard Paulino: we Robert Atkison: technical stuff was brilliant. Let's Randall Wilson: Yeah. Robert Atkison: buy more. Richard Paulino: Yeah. John Weller: These Robert Atkison: I don't John Weller: pens Robert Atkison: know what, new John Weller: are Robert Atkison: ideas John Weller: are neat Robert Atkison: found, John Weller: though. Robert Atkison: means, to be honest. Richard Paulino: Yeah, these are new ideas, like glow-in-the-dark or something like that. We discussed all the new ideas, but of course we couldn't reach any proper goals, we couldn't use these, but we h we are using these scroll buttons like this. Randall Wilson: Mm-hmm. Robert Atkison: Mm-hmm. Richard Paulino: These are new ideas we And new shapes, everything. Randall Wilson: Yeah. Robert Atkison: Mm 'kay. Richard Paulino: At le Robert Atkison: Groovy. Richard Paulino: Yeah. Robert Atkison: So just general thumbs up for all of us then. Richard Paulino: Hmm. Robert Atkison: That kind of unfortunately is too quick. Randall Wilson: Okay. Richard Paulino: Hmm. John Weller: Okay. Randall Wilson: Well um. Robert Atkison: Uh. I suppose yeah. John Weller: Uh Robert Atkison: Um. John Weller: so let's talk about our bonuses and the raises we're getting Robert Atkison: That's John Weller: for this, Robert Atkison: it, John Weller: right. Robert Atkison: um I think another couple of days holiday pay might be Randall Wilson: Mm. Robert Atkison: well in order for all of you. John Weller: Right, right. Robert Atkison: Uh Let's see if I can get this bloody thing to work. John Weller: Uh Robert Atkison: Whoops. John Weller: maybe we should start cleaning up the clay. Randall Wilson: Yeah, maybe. Richard Paulino: So Robert Atkison: Does it go back in, does it? Reusable. John Weller: Something we Robert Atkison: I John Weller: should Robert Atkison: don't know John Weller: get. Robert Atkison: what this is Richard Paulino: So Robert Atkison: but it's really really annoying. Richard Paulino: Uh Brian, have Robert Atkison: Uh-huh. Richard Paulino: you have you finished? Robert Atkison: Um Richard Paulino: Uh Robert Atkison: I have, yes. Richard Paulino: mine needs also this. Robert Atkison: Huh? Richard Paulino: At last mine is also the presentation. Robert Atkison: Oh right, okay, you've got more, Randall Wilson: Oh, Robert Atkison: okay. Randall Wilson: you got Richard Paulino: Yeah, Randall Wilson: a presentation, Robert Atkison: Sorry Randall Wilson: sorry. Robert Atkison: uh. Richard Paulino: yeah. John Weller: Oh ok Robert Atkison: It didn't bother to tell Richard Paulino: S Robert Atkison: Richard Paulino that on this thing. Is it? Okay. Richard Paulino: Uh Robert Atkison: Doesn't tell Richard Paulino. Richard Paulino: is the project evaluated, that is mine. Robert Atkison: Oh you're doing that. Richard Paulino: Yeah. Robert Atkison: We evaluated ourselves, we thought we were great. Randall Wilson: Yeah. John Weller: Uh. Randall Wilson: Mm, love to eat that John Weller: Anybody Randall Wilson: now. Kind of a green Robert Atkison: Mm. Randall Wilson: banana now. John Weller: Clay covered banana. Randall Wilson: It's this as well, sorry, we forgot to mention it'll be made out of kind of a rubbery latex, new material that we've got. Robert Atkison: O okay, Randall Wilson: I've got. Robert Atkison: hold on. John Weller: blue. Robert Atkison: I wonder w which cell do I want. John Weller: It's fun to touch. Randall Wilson: Yeah. Richard Paulino: So. Robert Atkison: Okay, Richard Paulino: Yeah. Robert Atkison: I didn't realise you had that bit. Randall Wilson: Oh could you pass the tomato Richard Paulino: So. Randall Wilson: please. Sorry. Thank you. Richard Paulino: So now is the final evaluation, final evaluation of the uh uh of our product. Randall Wilson: Mm-hmm. Richard Paulino: How we are going to means uh at what standard what standard whether it meets our standards or not. How mu What rating we will give to these products. So of course this is will be a team work, w we together have to decide wha what rating we will give to this product and everything. Robert Atkison: Okay. Richard Paulino: So what methodology I will tell you on what basis we are going to discuss all this. We will give the rating to this product based on the user requirements, whether it meets the user requirements or not, this product. Then trends, whether it is as fashion trends or not? Means because we have already stated that people do prefer fashionable things nowadays. Randall Wilson: Mm-hmm. Richard Paulino: So this is also an important factor for our evaluation also. Then marketing strategy of the company. As we have already discussed that our company is quite in the market, not only in terms of providing quality products, not only in pro providing latest technologies, but also in terms of providing environmental s Randall Wilson: Sorry. Sorry, carry on. Richard Paulino: Yeah. So but also in terms of providing environmental safe products, uh yeah like uh keeping uh keeping in mind all the safety issues. So Now comes the criteria rating with seven point scale. Robert Atkison: Okay. Richard Paulino: I'm having this scale this scale, Randall Wilson: Mm-hmm. Richard Paulino: so we have to do it on a board. Randall Wilson: Okay. Robert Atkison: Alright, okay. The board working again, is Richard Paulino: the Robert Atkison: it? Richard Paulino: user requirem I think. John Weller: Do we have the uh the marker for the board? Randall Wilson: Um. Robert Atkison: Uh. John Weller: There it is. Richard Paulino: Thank you. So. Richard Paulino: So these are the three crite criterias for our evaluation of our product. Randall Wilson: Mm-hmm. Richard Paulino: First of all uh comes user requirement. So we will see whether this product meets all user requirements or not. I I will first I would like to have your views, what do you think whether it meets all user requirements or not? Randall Wilson: Um I think Yeah, it did. It Richard Paulino: S Randall Wilson: had all the basic buttons that they needed as well as the uh new technology that people said they wanted. Robert Atkison: Yeah. Randall Wilson: Um Robert Atkison: When Randall Wilson: so. Robert Atkison: the user requirement is essentially just to operate Randall Wilson: Does it Robert Atkison: the Randall Wilson: work? Robert Atkison: T_V_, so Randall Wilson: Yeah. Robert Atkison: yeah, of Randall Wilson: So. Robert Atkison: course we haven't Richard Paulino: So Robert Atkison: actually got a working Richard Paulino: what do Robert Atkison: model Richard Paulino: you think Robert Atkison: yet. Richard Paulino: you will personally give. Randall Wilson: I would say seven. Richard Paulino: Seven. Uh. Randall Wilson: Seven is good, yeah, isn't it? I can't True or false? No sorry tr one Robert Atkison: One, yeah. Randall Wilson: is true. Richard Paulino: Uh one is means highest ranking, Randall Wilson: Yeah. Richard Paulino: okay. But I think highest ranking is seven, Robert Atkison: No Richard Paulino: or one? Robert Atkison: it's John Weller: No Robert Atkison: it's John Weller: that's Robert Atkison: like John Weller: false. Robert Atkison: true is one end, Richard Paulino: Okay, Robert Atkison: and false Richard Paulino: right Robert Atkison: is the oth Richard Paulino: right. Randall Wilson: Okay, so Richard Paulino: So Randall Wilson: one. Richard Paulino: it's one for from your point of view. Randall Wilson: Yep. Richard Paulino: And what do you say our Industrial John Weller: Uh. Richard Paulino: Expert? John Weller: It's hard to know. I I give it a two. Richard Paulino: Uh d you can you can tell on on the like I think she has given her views on the basis of design, because she was our i Interface Expert. John Weller: Okay. Richard Paulino: But you can give your views based on technology, whether the technology meets the requirements of the customers or not? John Weller: Um yeah, I think i it might even exceed it um. But I guess there is a kind of a shortage of buttons. Um I'm gonna give it a two. Richard Paulino: Two. John Weller: Two. Richard Paulino: And what about uh you, Brian? Robert Atkison: Oh, I'll go for a one. Richard Paulino: You will go for one. Robert Atkison: Basic requirements Richard Paulino: Okay. Robert Atkison: but of the pro of the project. Richard Paulino: Uh for Richard Paulino personally it is everything fine, it may be having good design, it may be uh meeting all the requirements of the customers like technology-wise, price-wise, but there is one thing which limits the customers, like we are having only two, three designs, like we are having one banana design and the other one is orange, Randall Wilson: Mm Richard Paulino: and Randall Wilson: yellow. Richard Paulino: Uh yeah, lower Robert Atkison: Yeah Richard Paulino: end. And the third Robert Atkison: th Richard Paulino: one is what you ge uh that is not a f fruit look. Randall Wilson: Uh-huh. Richard Paulino: But if Robert Atkison: Come Richard Paulino: a Robert Atkison: on Richard Paulino: person Robert Atkison: that was the tha Richard Paulino: doesn't like banana, or orange, you are limiting him. Randall Wilson: Uh-huh. Richard Paulino: No, don't Robert Atkison: 'Kay. Richard Paulino: buy our product, because we are l we like this only. Randall Wilson: Okay. Richard Paulino: So we are showing our preference for particular fruits, two or three kinds rather, and Robert Atkison: Being fruitist. Richard Paulino: Yeah. Randall Wilson: Is that Richard Paulino: So. Randall Wilson: no is that not trends? Richard Paulino: Uh no, uh personally as a Marketing Expert I don't believe that, because whatever companies they launch their products in the shape of fruits, they give a range of products, a range of shapes, Randall Wilson: Mm-hmm. Richard Paulino: Some children like to buy banana shape, some apple shape, some even pineapple shape, some orange shape. Randall Wilson: Mm-hmm. Richard Paulino: So you can what shape a person will like. So in this case giving only one or two choices we are lim limiting our customers. And by Randall Wilson: Uh-huh. Richard Paulino: limiting them, we are limiting our sales, limiting our profit also. Randall Wilson: But in electronics, I think, it's not q always quite so um you don't always have so many choices as with chocolates. Randall Wilson: We were coming up with one product. Richard Paulino: Uh maybe. Okay but Randall Wilson: No, Richard Paulino: I Randall Wilson: I mean Richard Paulino: will Randall Wilson: uh obviously Richard Paulino: I will Randall Wilson: your Richard Paulino: personally Randall Wilson: opinion, I'm just trying to Richard Paulino: won't give it beyond three. Randall Wilson: Okay. Richard Paulino: So we can Robert Atkison: He's a tough cookie. Richard Paulino: Yeah, on an average we can think three, four sevenths, maybe. Three or four? Uh, no sorry, it should Robert Atkison: Six. Richard Paulino: be Robert Atkison: Five or six. Randall Wilson: What are we doing? Richard Paulino: No John Weller: What are Richard Paulino: sorry, John Weller: we doing? Richard Paulino: sorry, sorry, Randall Wilson: Adding Richard Paulino: sorry, Randall Wilson: them Richard Paulino: we Randall Wilson: up? Richard Paulino: are doing a very John Weller: We're gonna Richard Paulino: wrong John Weller: average Richard Paulino: thing. John Weller: them? Richard Paulino: Yeah, yeah, we are taking everything, John Weller: Okay. Richard Paulino: and that's Randall Wilson: Oh. Richard Paulino: I have taken John Weller: So Richard Paulino: it very John Weller: seven Richard Paulino: wrongly. John Weller: fourths. Richard Paulino: Yeah uh John Weller: About one Richard Paulino: three John Weller: point Richard Paulino: four four John Weller: f Richard Paulino: two six John Weller: one point Richard Paulino: seven John Weller: eight. Richard Paulino: seven sev Yeah one pe exactly. So we can say one or two. John Weller: Okay. Randall Wilson: Okay. Richard Paulino: because it is one point eight Robert Atkison: Oh I see. Richard Paulino: uh two, so we will do John Weller: Yeah Richard Paulino: two. John Weller: round it up to two. Richard Paulino: Yeah. Randall Wilson: Okay, yeah. Richard Paulino: So John Weller: So trends. Richard Paulino: where were the trends. John Weller: Can you explain what you want us to write there? Richard Paulino: Sorry? John Weller: How it how conforms to the current trends? Richard Paulino: Yeah, again the the fashion trends, this also like whether it it will be fashionable to have these products in the Randall Wilson: Mm-hmm. Richard Paulino: uh as a fruit shape or something. Randall Wilson: Okay. Richard Paulino: Uh. Randall Wilson: Well um going on uh the specifications that we had, that fruit and vegetables are quite popular, and that people like something that is good to look at and not many buttons, I would give it um, well, because it's hard to make a fruit good to look at, that that looks cool, you know, so I would actually give it a three. Tha three or four, I'm not sure. Three. Richard Paulino: Okay. Randall Wilson: Go Richard Paulino: Yeah. Randall Wilson: for three. That's fine. Richard Paulino: Uh John Weller: 'Kay. As far as the uh technology it its' got the latest trends in speech technology, but it's missing the screen, as we said, um but it does have the push-buttons, or the scroll-buttons, um but it doesn't have that fancy solar power or the the vibrating energy mechanism. So I give it a a four. I'd give it a kinda middle of the road for Randall Wilson: Mm. John Weller: for technology. Robert Atkison: Yeah, I am sort of pret uh Just the fruit does Richard Paulino in, I mean uh it might it might be trendy to some, but I'm just not swallowing the fruit, so Randall Wilson: Yeah. Robert Atkison: um Uh also uh I would have liked to have seen the L_C_D_ screen in it. Um so yeah I'd say about four as well. Richard Paulino: Okay. Uh personally I wi uh I think that in terms of trends, these products are quite good, like, these products are in fruit shape, because that wha people now our fashion trend shows that people like everything all f everything that is being advertised, like clothes, shoes, and everything is being Randall Wilson: Mm-hmm. Richard Paulino: advertised in the form of fruits and vegetables, or getting them or showing some association with them. So and in this way our product is good. And the second thing, now people don't want any complicated or bulky products and ours is quite simple and quite handy. Randall Wilson: Mm-hmm. Richard Paulino: So that is also ef that also Our product meets the f the fashion uh trends of the market. And yes. It is cus spongy also. So they can play with it, it's quite good. So then I think, maybe I can give it two. So four five ten thirteen thirteen. So we can Is it fine? So what John Weller: Yeah. Richard Paulino: about company strategy? John Weller: Well Randall Wilson: Um. John Weller: it was yellow. Randall Wilson: Yeah, the company strategy, okay. Um there was lot of discussing, that was good. Um I feel I got my say. Um so I'd give the company strategy a two. Richard Paulino: Okay. John Weller: Well, I think it's the the remote control conforms to the the company strategy. Randall Wilson: Okay. Robert Atkison: Yeah, John Weller: Is that the question? Robert Atkison: yeah. Randall Wilson: Is it? Okay. John Weller: Um. Randall Wilson: Okay, so one or two. John Weller: Yeah. Randall Wilson: One. Okay, just leave it, it's fine. John Weller: I'll go with two. Richard Paulino: So what about you, Brian? Robert Atkison: Um yeah, a three. Pretty much kept to the company strategy, so I would go for a a one, as we not only kept it, but we were limited by Randall Wilson: Mm. Richard Paulino: Yeah, and Richard Paulino also, like, this product Richard Paulino uh Richard Paulino uh Richard Paulino uh this meets all company strategy like our product should be as per customers' requirement, as per latest technology, and it should be environmental safe. So since our product meets all these requirements, so I would also prefer to give it rank one. So four six John Weller: So one Richard Paulino: six John Weller: and a half. Randall Wilson: Yeah, Richard Paulino: half. Randall Wilson: one. Richard Paulino: So we can say two or one John Weller: A two. Richard Paulino: Okay. So th seven seven. Uh overall we are getting two something, but we can round it as two. John Weller: Yep. Randall Wilson: Okay. Robert Atkison: Cool, Richard Paulino: Yeah. Robert Atkison: groovy. Richard Paulino: So I John Weller: S Richard Paulino: think overall uh evaluation of our product is quite good. Robert Atkison: Cool. Richard Paulino: So we can launch it. Yeah. Robert Atkison: Brilliant. Randall Wilson: Woo-hoo. Robert Atkison: In which case we are done. 'Cause we've evaluated and we are within budget. Randall Wilson: Cool. John Weller: Okay. Richard Paulino: So Robert Atkison: Champagne lunch Richard Paulino: yeah. Randall Wilson: Yeah. Robert Atkison: anyone? John Weller: Uh. Richard Paulino: Great.

Randall Wilson and John Weller presented their prototypes to the group. Two prototypes featured different fruit shapes, with one including speech recognition instead of a large number of buttons. It also featured scroll wheels for channel control. The other prototype was designed like a banana with children users in mind. Robert Atkison announced to the group that with all of their desired features, the project would go over the alotted budget; after a reanalysis of the features of the prototype, the project came in under the budget instead. It was decided that another feature could possibly be added. The group evaluated their effectiveness as a team and felt that all members worked well together and could be creative, and that the project had very good leadership. Richard Paulino led an evaluation of the prototype according to the initial project goals; the evaluation showed that most of the goals had been sufficiently satisfied in order to launch the product.

amisum

train

Thomas Siegrist: ... Bobby Oliver: Okay. So, this is uh first meeting of design project. Um and I um like to show you the agenda for the meeting, I don't know if it was sent round to all of you. Thomas Siegrist: Mm, yeah. Bobby Oliver: Maybe Thomas Siegrist: I Bobby Oliver: not. Thomas Siegrist: receive Bobby Oliver: Anyway, Thomas Siegrist: it. Bobby Oliver: this is the the plan for today's meeting is um firstly just to introduce the project briefly, um although I'm sure you've actually got some of the information already. Then the main purpose is to so that we get to know each other a little bit more. Joshua Jackson: Mm-hmm. Bobby Oliver: Um then we practice using some of the tools that we'll be using during the the course of the design project and the meetings um specifically the whiteboard over there. Um then we need to go through the specifics of our project plan um and discuss come up with some preliminary ideas about it. And then that's it. So we've got twenty five minutes to do that, that's until eleven twenty five. S so any Joshua Jackson: so sh. Bobby Oliver: any questions? Is i Thomas Siegrist: Not at this point. Bobby Oliver: not at this point. So this is our project. What we're aiming to do is to create a new remote control for a television. Um we want it to be something original, something trendy and also something user friendly, so it has to be quite intuitive that people are able to use this product. Bobby Oliver: The method that we're going to use to complete the project, that has three components as such. There's the functional design of the the remote control. We're going the way we'll do that I think is to to work individually initially and then come together for meetings to to work on that. Um similarly with the conceptual design, we'll start off by working individually with our own expertise on our own laptops and then we'll bring what we've done together. Um and then the detailed design will come after that. We'll pull it all together. Joshua Jackson: I'm a bit confused about uh what's the difference between the functional design and conceptual design? Uh i is it just uh more detail, uh as I understand it? Bobby Oliver: I think it th w we're talking the the functional design is more your um area of things where you'll be we want to look at what functions we need in the remote control and Joshua Jackson: Right. Bobby Oliver: what what specific things it it has to do but the conceptual design is um perhaps bigger than that and includes the Joshua Jackson: How Bobby Oliver: how people Joshua Jackson: how Bobby Oliver: are going Joshua Jackson: it Bobby Oliver: to Joshua Jackson: will Bobby Oliver: use Joshua Jackson: be done. Bobby Oliver: it and and that kind of thing. Joshua Jackson: So whe where do we identify the components of our uh product? Uh I think it's it's in the conceptual design phase that we identify the it's in the conceptual design phase that we identify the components of our product? Bobby Oliver: Um I think we'll we'll start that initially with the functional design Joshua Jackson: Okay. Bobby Oliver: already but then yeah. Okay, so that's just a brief overview of the p the the project itself. Um what I'd like us to do now is simultaneously introduce ourselves and start using some of the tools that we're using for for the project, specifically the whiteboard. Joshua Jackson: Hmm. Bobby Oliver: So each person in turn, I'd like us to go up to the whiteboard, the pen's just underneath it there and draw your favourite animal and then tell everyone what the f your favourite characteristics of that animal are and while you're doing that tell us your name, what your role is and perhaps how your animal relates to the role that you're taking in this project. Michael Sharpton: Why are you looking at Michael Sharpton? Bobby Oliver: Would you like to go first? Michael Sharpton: Do I have a choice? Okay. Ooh ooh, Bobby Oliver: Oh, Michael Sharpton: things falling everywhere. Bobby Oliver: yeah, Michael Sharpton: Right, okay. Bobby Oliver: p put them in pockets. Michael Sharpton: Cool. Bobby Oliver: You Michael Sharpton: Okay. Bobby Oliver: don't have to hurry, we've got plenty of time. Michael Sharpton: So, my name's Cat and I'm really not very good at this whole drawing malarkey so um Michael Sharpton: Okay. Bobby Oliver: It's got no eyes. Michael Sharpton: Oh, good point. Ah, the eyes always ruin it. Right. Okay, what do it's eyes like? Michael Sharpton: Okay, cool. Um this is a rabbit. Bobby Oliver: I thought it might be a cat. Thomas Siegrist: Yeah well origi uh at first I thought it was going to be cat. Michael Sharpton: Yeah, I don't think it's furry enough, Thomas Siegrist: Yeah Michael Sharpton: make Thomas Siegrist: now Michael Sharpton: it a Thomas Siegrist: I Michael Sharpton: fluffy Thomas Siegrist: now Michael Sharpton: rabbit. Thomas Siegrist: I understand now, yeah. Bobby Oliver: Yeah I can see by the ears. Thomas Siegrist: Yeah. Michael Sharpton: Okay, right, it's a fluffy rabbit, blue. Rabbits don't come in blue but you know. Um okay and I like it because it's small Bobby Oliver: Mm. Michael Sharpton: and it's fluffy. And one day you'll be able to getical genetically modify them and they will come in pink. Thomas Siegrist: Ah. Michael Sharpton: Okay? Bobby Oliver: Excellent, Joshua Jackson: Mm. Bobby Oliver: and what's your what's your role within the team? Michael Sharpton: I am the um I need my notebook, mm ooh top banana. Thank you. Okay, cool, I am Michael Sharpton um so like I'm gonna be doing the apparently according to the little guy in the computer that knows everything the user g requirements specification of the functional design, um Joshua Jackson: Mm-hmm. Michael Sharpton: trend watching in the conceptual design and product evad-valuation in the detailed design Bobby Oliver: Mm-hmm. Joshua Jackson: Okay. Michael Sharpton: um so yeah. Bobby Oliver: And more Joshua Jackson: 'Kay. Bobby Oliver: about yourself, you're from? Michael Sharpton: Um I'm from Leicester, Bobby Oliver: Mm-hmm. Michael Sharpton: um second year. Um what else do you want to know? I like sports um yeah, aerobics, kickboxing, spinning um and uh Bobby Oliver: But not with rabbits. Michael Sharpton: not with rabbits, no Joshua Jackson: Mm. Michael Sharpton: no. And vets, I like vets as well. And yeah um and I like cocktails, especially pink ones. Okay? Joshua Jackson: Cool. Bobby Oliver: Excellent, Michael Sharpton: Cool. Bobby Oliver: to match the rabbit. Thomas Siegrist: Okay. Um so my name is Maarika. Where's the pen? Okay. Bobby Oliver: There's a an if you have not enough room there's an eraser there and you can rub Thomas Siegrist: Yeah, Bobby Oliver: it off. Thomas Siegrist: well, or I can make it smaller. Uh so um um I'm the Interface Designer in this project and my favourite animal I, m I mean I'm not so sure because I'm not so so very um familiar with all kinds of animals, but I do like dogs. Oh, sorry, maybe I should have shouldn't have said it beforehand but Joshua Jackson: Mm. Thomas Siegrist: mm hmm. Um well, there are different kinds of dogs, but okay um. Joshua Jackson: That's not bad at Bobby Oliver: Ah Joshua Jackson: all. Bobby Oliver: it looks like a dog. Joshua Jackson: Yep. Thomas Siegrist: Okay. Michael Sharpton: Is a bit more impressive than my rabbit. I think it needs four legs if it's gonna walk though. Thomas Siegrist: Yeah, maybe it has some colourful patches, yeah. Um Bobby Oliver: the other Thomas Siegrist: yeah Bobby Oliver: legs Thomas Siegrist: and Bobby Oliver: are on the other Thomas Siegrist: I Bobby Oliver: side. Thomas Siegrist: do like dogs because they are good friends to people and they are loyal. Mm, well that's compared to some other animals like cats. Um they're really much more fun because they are not so independent. Um yeah maybe maybe the fact that they protect their home as well, yeah. Um what it has to do with with my role in the project is hard to say. Uh I hope to be loyal to the project and not to n not to um let people doing similar projects know the details of our project or something, yeah. Bobby Oliver: And where where are you from? Thomas Siegrist: I'm from Estonia uh, Bobby Oliver: Estonia. Thomas Siegrist: yep. Um so is there anything else you'd like to know? Oh, right, my roles, um so um in the different um stages of the design, so at first I will be responsible for um for yeah, designing the technical functions of the um um of the remote control uh then in the in the conceptual design stage I need to um come up with uh interface concept and then in the last um stage I will be responsible for the int infa for the user interface design. Okay, Joshua Jackson: Thank you. Thomas Siegrist: that's it. Joshua Jackson: Okay um I'll do some I'll rub the features and let the drawing stay. 'Kay um my name is Gaurav. Um my favourite animal one of my favourite animals is a cow. I've got no idea how to draw a cow. Bobby Oliver: Good luck. Joshua Jackson: Uh this is going to be Michael Sharpton: They're not just like a big round body and then some really skinny legs and then just Joshua Jackson: Yeah, Michael Sharpton: some Joshua Jackson: that'll Michael Sharpton: horns. Joshua Jackson: do. Okay, so let let Michael Sharpton draw the body first. Bobby Oliver: Mm. Joshua Jackson: Big, round body, really skinny legs and they've got a long tail and a long face. Bobby Oliver: It's eating. Michael Sharpton: It looks like Eeyore. Joshua Jackson: And there is some grass there. Bobby Oliver: Yeah. Joshua Jackson: So this is what I like about cows that Michael Sharpton: Horns, Joshua Jackson: they just keeps Michael Sharpton: draw some Joshua Jackson: sitting Michael Sharpton: horns. Joshua Jackson: there eating grass, they do not disturb anybody um they're kind of Buddhist in a way. So yeah, I like cows. Um my my role in the project is um uh Joshua Jackson, so I'm supposed to design all the details of of the product um ho how it works and whatever it'll mm take during the functional role, what are the various functions that have to be performed by it uh during the um conceptual design, what are the various components of it and um finally, I'm not too sure what was the last part. Um the detailed design, I I guess it will again be the identification of the components and how they integrate with each other. Um I'm from India. Uh I'm doing my P_H_D_ in Psycholinguistics, I sit at the Department of Psychology. Yeah. Bobby Oliver: Excellent. Joshua Jackson: Thank you. Thomas Siegrist: Thanks. Bobby Oliver: Right, now now it's my turn obviously. Bobby Oliver: Okay, Joshua Jackson: That doesn't Bobby Oliver: here's Joshua Jackson: look Bobby Oliver: a space. Joshua Jackson: like a cow, does Thomas Siegrist: It Joshua Jackson: it? Thomas Siegrist: looks very very cute. Bobby Oliver: Yeah, I like the cow. I'm Thomas Siegrist: Yeah. Bobby Oliver: Jen. Thomas Siegrist: Mm-hmm. Bobby Oliver: Um I like dogs too, but I can't do that already because I can't draw a dog as well as you can. I like Mm. Michael Sharpton: Is that a lizard? Joshua Jackson: No way. Bobby Oliver: Hmm. Thomas Siegrist: Wow. Bobby Oliver: It's a gecko. Thomas Siegrist: Ah, Joshua Jackson: Ah Thomas Siegrist: a gecko, Joshua Jackson: okay. Thomas Siegrist: okay. Bobby Oliver: Yeah. Michael Sharpton: Is there a difference? Thomas Siegrist: Is a ar Bobby Oliver: They're Thomas Siegrist: are they also like lizards or are they Bobby Oliver: Yeah, Thomas Siegrist: yeah, Bobby Oliver: they're l Thomas Siegrist: they Bobby Oliver: it's Thomas Siegrist: are Bobby Oliver: a kind of lizard. Thomas Siegrist: mm-hmm. Bobby Oliver: And I I like geckos because they remind Michael Sharpton of warm places Thomas Siegrist: Ah. Bobby Oliver: and, Joshua Jackson: Uh-huh. Bobby Oliver: and where I was living in Cambodia they used to live in my house and they were on the ceiling and they would make little gecko noises Thomas Siegrist: Mm-hmm. Bobby Oliver: in Thomas Siegrist: I hope Bobby Oliver: the Thomas Siegrist: you Bobby Oliver: evening. Thomas Siegrist: don't like snakes, do you? Bobby Oliver: I don't like snakes. I come Thomas Siegrist: Okay. Bobby Oliver: from Australia and we have nasty snakes. Thomas Siegrist: Mm-hmm. Bobby Oliver: That's where I'm from, Australia. I'm from Melbourne and I'm your Project Manager for today and Joshua Jackson: Mm. Bobby Oliver: my role is basically to keep things going and make sure that you all work together in a productive way, so that by the end of the day we come up with a great product. Thomas Siegrist: Wonderful. Bobby Oliver: Okay. Joshua Jackson: Thank you. Bobby Oliver: So, let's see what's next in the PowerPoint presentation. So, Michael Sharpton: If Bobby Oliver: I've Michael Sharpton: you Bobby Oliver: just Michael Sharpton: right Bobby Oliver: thought Michael Sharpton: click Bobby Oliver: yeah Michael Sharpton: on it Bobby Oliver: I've Michael Sharpton: you Bobby Oliver: just Michael Sharpton: can Bobby Oliver: thought about this that we could even put it much more professionally Joshua Jackson: Mm-hmm. Bobby Oliver: as there we go. Okay, so this is the um overall budget for our project. We've got um we're planning to sell these remote controls for that means we've got five minutes. Um we're planning to sell the remote controls for twenty five Euros each. Um and with that we're aiming for a profit of fifty million Euros. And that's selling them on the international market, not just in the U_K_. Um so to do that our finance people estimate that we need production costs of maximum twelve and a half Euro so that we can reach that profit target. Bobby Oliver: So that's something to keep in mind while you're designing. Okay. Hmm. This is let Michael Sharpton just skip ahead to see that's the last thing, okay. We've only got a couple of minutes. Does anyone have any first ideas to bounce around about um what we're thinking of this Thomas Siegrist: Yep. Bobby Oliver: remote control? Thomas Siegrist: I'm just wondering whether whether there is like any special feature that we want to have w want this remote control have as opposed to the already existing ones. Bobby Oliver: Mm-hmm. I think that's probably something that w it's best if we take away with us, but if Joshua Jackson: Mm-hmm. Bobby Oliver: we all have a think, when we go away from the meeting, what specific things could be um included in this remote control that that Joshua Jackson: I think uh Bobby Oliver: are out Joshua Jackson: i Bobby Oliver: of Joshua Jackson: in Bobby Oliver: the ordinary. Joshua Jackson: the beginning uh one thing was that was mentioned was that it should be mm trendy, user friendly and original so um I think your point is relevant as far as the originality is concerned, that we should provide some features that are quite unique Bobby Oliver: Something Joshua Jackson: to this. Bobby Oliver: something new. Michael Sharpton: Yeah, I was looking Joshua Jackson: Mm. Michael Sharpton: at the website, and the other things that they've made and I like put down some like inspirational words like that I got from looking at the pictures. Bobby Oliver: Mm-hmm. Michael Sharpton: So the motto is um we put the fashion in electronics and um so it's something that is sleek and stylish but it's still functional, Bobby Oliver: Mm-hmm. Michael Sharpton: you know? So I'm kind of thinking, you know like those phones that they have, the new generation ones, where they don't actually have any buttons on them and stuff like that. Bobby Oliver: Uh-huh. Joshua Jackson: Alright. Michael Sharpton: You know, so something heading towards that, so it's not overly I mean I don't know what h most of the buttons do on my remote controls, so I figure how many do you need, you know? Bobby Oliver: Mm-hmm. Joshua Jackson: Mm. Michael Sharpton: Okay. Bobby Oliver: So perhaps some sort of menu-based thing, or Michael Sharpton: Something that's a little less crowded than this, like Bobby Oliver: Mm-hmm. Michael Sharpton: I mean you know, theoretically you can do all kinds of things with your T_V_, right? Bobby Oliver: Yeah. Michael Sharpton: But what do most people do? They turn it on, they watch Joshua Jackson: Yeah. Michael Sharpton: certain specified channels, Bobby Oliver: Yeah. Michael Sharpton: you know, and then they turn it off again. Joshua Jackson: There is a Michael Sharpton: Sometimes Joshua Jackson: lot of functionality Michael Sharpton: they play a movie. Joshua Jackson: in there that is not used ninety percent of the time, Michael Sharpton: Yeah, Bobby Oliver: Yeah. Joshua Jackson: but Michael Sharpton: so Joshua Jackson: will be used ten percent of the time, Michael Sharpton: there's no Bobby Oliver: So, Joshua Jackson: yeah. Michael Sharpton: need to have buttons on it to Bobby Oliver: no. Michael Sharpton: do that, maybe to Joshua Jackson: Yep. Michael Sharpton: do Bobby Oliver: It could be one button for a menu or something, if Michael Sharpton: Yeah. Bobby Oliver: you Thomas Siegrist: Mm-hmm. Bobby Oliver: really Joshua Jackson: And Bobby Oliver: need Joshua Jackson: then Bobby Oliver: to go Joshua Jackson: use Bobby Oliver: and do Michael Sharpton: So, Joshua Jackson: the Bobby Oliver: that. Michael Sharpton: if you're the kind of sad case that knows how your remote control works, then you know Joshua Jackson: Mm. Michael Sharpton: that's fine and you can do it on the screen rather than everybody else having to have those buttons, which just confuse them. Bobby Oliver: Mm-hmm. Michael Sharpton: Hmm. Bobby Oliver: Excellent. Michael Sharpton: 'Cause like if you look at the train, it's just very like, there's no extra bits on it, the train on the website and I dunno if Bobby Oliver: Oh I Michael Sharpton: you Bobby Oliver: haven't Michael Sharpton: can put Bobby Oliver: had Michael Sharpton: it Bobby Oliver: a look Michael Sharpton: up on Bobby Oliver: yet, Michael Sharpton: the thing Bobby Oliver: yep. Michael Sharpton: um but it is just like a long like thing used for mu moving people, but it looks really pretty too. Bobby Oliver: Mm-hmm. Great. Any other immediate thoughts Joshua Jackson: Mm. Bobby Oliver: before we move along? Joshua Jackson: Uh we can aim for I mean we can think about all these little things, but we can aim for something wi that gives a high battery life, although Bobby Oliver: Mm-hmm. Joshua Jackson: I don't think that um it's a huge problem for remote controls anyway, battery life, uh every now and then you need to replace the batteries. Bobby Oliver: Yeah. Joshua Jackson: Um Thomas Siegrist: Yeah but Joshua Jackson: Hmm. Thomas Siegrist: uh I mean e even though it has to be re original we shouldn't uh go like too far away from from the usual ones, because otherwise Joshua Jackson: Yeah. Thomas Siegrist: the new users will just have a Joshua Jackson: A Thomas Siegrist: lot Joshua Jackson: big learning Thomas Siegrist: of problems Joshua Jackson: curve, Thomas Siegrist: with l Joshua Jackson: yeah. Bobby Oliver: Mm-hmm. Thomas Siegrist: learning, yeah, yeah. Joshua Jackson: Yeah. So, i it should kind of fit in as well, and Bobby Oliver: It's like Joshua Jackson: the Bobby Oliver: those fancy websites Joshua Jackson: stereotype of a Thomas Siegrist: Hm-hmm. Joshua Jackson: yeah. Bobby Oliver: that you can't access because you have no idea how to get in, but the designers thought they were great. Okay, so we need to wrap it up now, so that we can go away and get on with some of this. Um we've got another meeting in thirty minutes, so you're you'll be getting specific instructions once you go back to your workspace, but im basically you're looking at the working design, Joshua Jackson: Alright. Bobby Oliver: you're looking at the technical functions design, and for you it's the user requirements specification, Michael Sharpton: Mm-hmm. Bobby Oliver: like you said at the start. Okay? Thomas Siegrist: Okay. Bobby Oliver: Thanks for that. Thomas Siegrist: Thank you. Bobby Oliver: Uh I'll see you in half an hour. Thomas Siegrist: See you. Bobby Oliver: Carry the laptops back again. Joshua Jackson: Hmm. Bobby Oliver: Do we need to unplug things? Probably.

Bobby Oliver opens the meeting by going over the agenda. She explains the project, which is to create a new remote control for television that should be original, trendy, and user-friendly. The three components of completing the project will be functional, conceptual, and detailed design. They introduce themselves by going up to the white board and stating their name, role, drawing their favorite animal, and sharing their favorite characteristic about the animal. After they talk about their overall budget, they discuss what special features they want to include in this remote control that existing ones do not have. They discuss making a menu-based remote which would be less crowded with buttons and therefore stylish and sleek but functional. They end the meeting with Bobby Oliver going over the task each member is to complete before the next meeting.

amisum

train

Ryan Cron: All hooked up. Okay, so now we are here at the functional design meeting. Um hopefully this meeting I'll be doing a little bit less talking than I did last time 'cause this is when you get to show us what you've been doing individually. The agenda for the meeting, I put it in the sh shared documents folder. I don't know if that meant that you could see it or not. Did anyone? John Ahlman: No. Gregory Jackson: Mm. Ryan Cron: No. Oh well. Um I'll try and the meeting as well so if you check in there, there's a shared project documents folder. Um and it should be in there. John Ahlman: Mm. Um um wi on on a what? Oh project project documents, yeah, Ryan Cron: Project John Ahlman: yeah, Ryan Cron: documents, John Ahlman: yeah, okay. Ryan Cron: yeah. So I'll put it in John Ahlman: Oh okay, Ryan Cron: there. Is John Ahlman: yeah. Ryan Cron: it best if I send you an email maybe, to let you know it's there? John Ahlman: Yes, Ryan Cron: Yep. John Ahlman: I think so. Ryan Cron: I'll do that next time. Um I'll act as secretary for this meeting and just take minutes as we go through, and then I'll send them to you after the meeting. The main the main focus of this meeting is your presentations that you've been preparing during the time, so we'll go through each of you one by one. Um then we need to briefly discuss the new project requirements that were sent to us. I John Ahlman: Yeah, Ryan Cron: just John Ahlman: the Ryan Cron: sent John Ahlman: last minute, yeah, Ryan Cron: at the last minute, John Ahlman: yeah. Ryan Cron: I'm sorry about that, but we can see how that affects what John Ahlman: Yeah. Ryan Cron: you were you were doing. Um and then we need to, by the end of the meeting come to some kind of decision on who our target group's going to be and what the functions of the remote control that's the the main goal is to come up with those two things, target group and functions of the remote control. And we've got forty minutes to do that in. So I would Gregory Jackson: You said Ryan Cron: say Gregory Jackson: uh targ Ryan Cron: yeah? Gregory Jackson: target groups, what mean? Ryan Cron: As John Ahlman: Um Ryan Cron: uh who it is that we're going to be trying to sell this thing to, Gregory Jackson: Uh okay, 'kay. Ryan Cron: yeah. Gregory Jackson: So are Ryan Cron: So we need to yeah, we need to have a fairly defined group Gregory Jackson: Okay. Ryan Cron: that that we want to focus on and then look at the functions um of the dem remote control itself. So with that I think it's best if I hand over to you. Does anyone have Gregory Jackson: Alright. Ryan Cron: a preference for going first? Gregory Jackson: I can go first, Ryan Cron: You wanna go John Ahlman: Okay. Ryan Cron: first? Gregory Jackson: yeah. Ryan Cron: Okay, John Ahlman: Hmm. Ryan Cron: so we need to unplug my laptop and plug in yours. I assume we just pull it out? John Ahlman: Mm. Gregory Jackson: Right. Um so f from the Ryan Cron: Just before you start, to make it easier, would you three mind emailing Salvador Bailey your presentations? Once we you don't have John Ahlman: Okay, Ryan Cron: to do it now John Ahlman: yeah, Ryan Cron: but when John Ahlman: afterwards, yeah, Ryan Cron: once John Ahlman: okay. Ryan Cron: you go back, Gregory Jackson: Right sure. Ryan Cron: just so that I don't have to scribble everything down. Gregory Jackson: Uh okay. So n uh with uh with regard to the uh working design of this uh uh remote control uh I've identified um a few basic uh components of the remote and uh se uh from the design, functional design perspective um c we can now uh know wha what exactly components are and how how they work together with each other. So this is the method that uh I'll mostly be following in my um in my uh role. Um the identification of the components, uh and uh since since I'm dealing only with the technical aspects, I would need feedback from the marketing person uh and uh from the user interface person. Ryan Cron: Hmm. Gregory Jackson: Uh we'll then integrate this into the product design at a technical level and uh basically update and come up with a new design, so it's a cyclical process. Okay, so these were the basic findings from today. The last three bullets have been integrated from uh the last minute uh email. Uh I just quickly jotted them down. Um so basically uh the as I told you the identification of how the remote control works and what are the various parts to it uh and what are the different processes um and how the parts uh communicate with each other. Um okay, so e the mee email said that teletext is now outdated, so we need to do away with that functionality of the remote control. Um also uh the remote control should be used only for television, because incorporating other features um makes it more comp complex. And the reason why teletext is outdated because uh of internet and uh the availability of internet over television. How however, our our remote control would only be dealing uh with the the use for television, in order to keep things simple. Um also the management wants that um our design should be unique uh it so it should incorporate um colour and the slogan uh that our company um has it as its standard. Okay, so he he here is a functional overview of the remote control. Um there's basically an energy source at the heart uh which feeds into the chip and the user interface. The user interf interface communicates with the chip, so I'll basic go over to the Gregory Jackson: Okay. So if uh if this is our energy source and this is a cell, uh it communicates uh it feeds energy into the into the chip, which basically finds out h uh how how to do everything. There is a user interface here. So whe when the user presses a button, it feeds into the chip and the chip then generates a response and takes the response to an infrared terminal, um which then so the output of the chip is an infrared bit code, which is then communicated to the remote site, which h has an infrared receiver. Um the there can be uh a bulb here or something to indicate whether the remote is on or communicating. Um so these are the essent so a all the functionality of the remote control, whatever new functions that we need to do, um make the chip more complicated uh Ryan Cron: Mm-hmm. Gregory Jackson: and bigger, basically. Gregory Jackson: Okay. Um so i in my personal preferences um I'm hoping that we can ke keep the design as simple and clear as possible. This would uh help us uh to upgrade our technology at a future point of time. And uh also if we can incorporate uh the latest features in our chip design, so that our um uh remote control does not become outdated soon and it's compatible with mot most uh televisions. That's about it. So Ryan Cron: Okay. John Ahlman: Thanks. Gregory Jackson: anything that you would like to know or Ryan Cron: Do you have any um i idea about costs at this point? Gregory Jackson: No, Ryan Cron: Br Gregory Jackson: I don't have any idea about what each component costs. Um Ryan Cron: Okay. Gregory Jackson: yeah. Ryan Cron: 'Cause that's something Gregory Jackson: Anything else? Ryan Cron: to consider, I guess, if we're Gregory Jackson: Yeah. Ryan Cron: if we're using more advanced technology, it might Gregory Jackson: Certainly, yeah. So Ryan Cron: increase Gregory Jackson: so tha yeah, Ryan Cron: the Gregory Jackson: we Ryan Cron: price. Gregory Jackson: definitely need to operate within our constraints, Ryan Cron: Yeah. Gregory Jackson: but um unfortunately I I do not have any data, so uh I just identified the functional components for Ryan Cron: That's Gregory Jackson: that. Ryan Cron: fine. Are there any more questions, or shall we just skip straight to the next one and then we can discuss all of them together John Ahlman: I Ryan Cron: at John Ahlman: think Ryan Cron: the end? John Ahlman: we need like some general discussion at the end Ryan Cron: Yeah, John Ahlman: probably. Gregory Jackson: Yeah, Ryan Cron: I think that will do. John Ahlman: Yeah. Gregory Jackson: okay. Ryan Cron: Okay, so do you want to John Ahlman: Yeah, I think since since we were discussing some um issues then Ryan Cron: Yes, John Ahlman: I I Ryan Cron: shall John Ahlman: I would like to continue Ryan Cron: shall John Ahlman: okay, Ryan Cron: we pull this John Ahlman: yeah. Ryan Cron: up? I think that has to come out of Gregory Jackson: Yeah. Ryan Cron: there. Gregory Jackson: Mm Ryan Cron: Yeah. Gregory Jackson: 'kay. John Ahlman: Thanks. Ryan Cron: Yeah, I thought John Ahlman: Oh i Ryan Cron: those last minute things, they're gonna hit you the worst. John Ahlman: Okay, I hope wait. Should it just Gregory Jackson: I it'll take some time. Ryan Cron: It ta takes a little John Ahlman: There's just Ryan Cron: Oh, John Ahlman: nothing. Ryan Cron: and have you you need to then also press on yours, John Ahlman: Oh right, right, right, Ryan Cron: function John Ahlman: um Ryan Cron: F_ eight, so the blue function key at the bottom John Ahlman: Okay. Ryan Cron: and F_ eight. John Ahlman: Nothin okay, Gregory Jackson: Oh, John Ahlman: something Gregory Jackson: there it is, yeah. John Ahlman: is coming Ryan Cron: Now John Ahlman: up. Ryan Cron: it's coming, Gregory Jackson: It'll come up, it Ryan Cron: computer Gregory Jackson: um uh John Ahlman: No signal? Ryan Cron: no Gregory Jackson: no signal. Ryan Cron: signal. John Ahlman: Why? Ryan Cron: Maybe again? Gregory Jackson: Yeah yeah, it says something now, John Ahlman: Oh. Gregory Jackson: adjusting John Ahlman: My my computer went blank now. Ryan Cron: Okay, John Ahlman: Adjusting. Ryan Cron: adjusting. John Ahlman: But I don't see Ryan Cron: There John Ahlman: anything Ryan Cron: we go, Gregory Jackson: Okay. Ryan Cron: there we go. John Ahlman: I don't see anything on my computer now. This Gregory Jackson: Oh, that's John Ahlman: is the Ryan Cron: Oh, John Ahlman: problem, Ryan Cron: if Gregory Jackson: strange. Ryan Cron: you John Ahlman: but Ryan Cron: press if you press function and that again there's there's usually three modes, one where it's only here, one where Gregory Jackson: Okay. Ryan Cron: it's only there, and one where it's both. John Ahlman: Um. Gregory Jackson: And Ryan Cron: Okay, so one Gregory Jackson: one Ryan Cron: more Gregory Jackson: more time. Ryan Cron: time. John Ahlman: Uh now it's okay. No? No. Ryan Cron: Should Gregory Jackson: Mm. Ryan Cron: yeah just wait for a moment, adjusting. John Ahlman: Oh okay. Okay, Ryan Cron: Okay. John Ahlman: that's fine, that's good. Okay, let's start from the beginning. So I'm going to speak about technical functions design uh just like some some first issues that came up. Um 'kay, so the method I was um adopting at this point, it's not um for the for the whole um period of the um all the project but it's just at th at this very moment. Ryan Cron: Mm-hmm. John Ahlman: Um uh my method was um to look at um other um remote controls, uh so mostly just by searching on the web and to see what um functionality they used. And then um after having got this inspiration and having compared what I found on the web um just to think about what the de what the user really needs and what um what the user might desire as additional uh functionalities. And yeah, and then just to um put the main function of the remote control in in words. Ryan Cron: Mm-hmm. John Ahlman: Um so the findings uh were um that the main function of the remote control is is just sending messages to the television set, so this quite straightforward. And uh w some of the main functions would be switching on, switching off, uh then the user would like to switch the channel um for example just m changing to the next channel to to flip through all all of the possible channels, or then mm uh the other possibility would be that um she might just want to choose one particular channel, so we would need the numbers. And and also the volume is very important. Um um Gregory Jackson: Sorry, John Ahlman: I Gregory Jackson: cou John Ahlman: als Gregory Jackson: could you go back for John Ahlman: okay. Gregory Jackson: a second? Uh switching on off channel, uh volume, okay, that's great. John Ahlman: 'Kay. Um um among the findings I found that m m most of the curr mm presently available remote controls also include other mm functionalities um in their design, like operating a V_C_R_, but they don't seem to be able to deal with D_V_D_ players, but then there are surely there are many other functionali functions that could possibly be added to them, but according to the last minute update um Ryan Cron: Mm-hmm. John Ahlman: actually um we do not want to have all this complicated functions added to our design. So my personal preferences would be uh to keep the mm the whole remote control small um just like the physical size. And then it must be easy to use, so it must follow some conventions um like whereabouts you find the on off button and maybe the colour tends to be red or something. Um then yeah, the must-have buttons would be on off and then the channel numbers and then um the one that allows us to go to the next or the previous channel, and then volume has to be there. But then um other functionalities um could be just uh there could be a menu button and you could change things on the screen then, um for example brightness and mm similar functions could be just um done through the menu. And yeah, the last question I had about whether we wanted to incorporate n uh more functionalities, the answer was already no because of the last minute update. Ryan Cron: Mm-hmm. John Ahlman: So at the for the time being that's uh that's all. If you Ryan Cron: Yeah. John Ahlman: have questions Ryan Cron: If I mean that was the the directive that came through from management, but if we had a a decent case for that we really think it's important to include video and D_V_D_, I could get back to them and see. It's w it's just whether it's worth arguing about. John Ahlman: Yeah, and also it's it's um other question is uh because there are so many different And there are so many different things that could possibly be included because Ryan Cron: Mm-hmm. John Ahlman: besides video and D_V_D_ there are the mm um video C_D_s and whatever, so Ryan Cron: Yeah. John Ahlman: it might be problematic to to choose between Ryan Cron: Mm-hmm. John Ahlman: all these possible things. Ryan Cron: Okay. Are there any questions for clarification of Maarika before we go on to the next one? Gregory Jackson: So in the u user interface requirements uh uh uh we we have been able to identify what are the basic buttons that we do want. Um but um so so at this stage, uh how we go about implementing those button we will not identify or I mean in we can completely do away with buttons But uh is is there any uh uh any thoughts on that? John Ahlman: Um well, I think the buttons are still mm kind of the most um easy for the user to use, I mean Gregory Jackson: Right. John Ahlman: um what other options would you have? A little screen or something, but this would be really Gregory Jackson: Yeah, John Ahlman: kind of Gregory Jackson: and John Ahlman: I Gregory Jackson: it'll John Ahlman: think a lot Gregory Jackson: make John Ahlman: of Gregory Jackson: the John Ahlman: learning Gregory Jackson: costs John Ahlman: for the user Gregory Jackson: yeah. John Ahlman: and and I mean the user just wants to get um get a result um quickly, not to spend time in like um giving several orders um Gregory Jackson: Right. John Ahlman: I dunno. Ryan Cron: Mm-hmm. John Ahlman: I think I th I would I would think the put the buttons, but if if you have other mm proposals Gregory Jackson: Uh I John Ahlman: um. Gregory Jackson: think the Ryan Cron: Mm. Gregory Jackson: co costs will also play a big role when we come to know about them. So John Ahlman: Yeah. Ryan Cron: Mm. Gregory Jackson: well we can probably wait until t we have more knowledge on that. John Ahlman: Yeah. Gregory Jackson: Uh i if the if the costs allow, we can have like an L_C_D_ display and uh with um because we do want something fancy and fashionable as well. John Ahlman: Mm-hmm. Gregory Jackson: So Ryan Cron: Mm-hmm. Gregory Jackson: yeah? John Ahlman: Yep. Gregory Jackson: Cool. Ryan Cron: Sure, we can discuss that maybe after the next one. Salvador Bailey: Cool. Ryan Cron: Do Salvador Bailey: Do Ryan Cron: you want Salvador Bailey: wanna Ryan Cron: to Salvador Bailey: give Salvador Bailey the little cable thing? Ryan Cron: yeah. John Ahlman: Uh am I going in the right direction? No. Wait. Salvador Bailey: Yeah. Ryan Cron: Oh, I'm John Ahlman: comes. Ryan Cron: getting hungry. John Ahlman: Okay, here you are. Salvador Bailey: Cool. Salvador Bailey: Ah, that's why it won't meet. Okay, cool. Ryan Cron: You set? Salvador Bailey: Yep, cool. Okay, functional requirements. Ryan Cron: Uh we need to do the function key thing so that it comes up on Salvador Bailey: Alright, Ryan Cron: here. Salvador Bailey: yeah. Ryan Cron: Hello. Gregory Jackson: try Ryan Cron: Is Gregory Jackson: to Ryan Cron: it Gregory Jackson: press Ryan Cron: plugged Salvador Bailey: It's working. Ryan Cron: in Gregory Jackson: oh, Ryan Cron: prop Gregory Jackson: okay, Ryan Cron: it's working? Okay. Gregory Jackson: yep. Ryan Cron: Excellent. Salvador Bailey: Cool, okay. So what I have, wh where I've got my information from is a survey where the usability lab um observed remote control use with um a hundred subjects and then they gave them a questionnaire. Um so it was all about, you, how people feel about the look and feel of the remote control, you know. What's the most annoying things about remote controls and um the possibility of speech recognition and L_C_D_ screens in remote control. Not that they actually gave Salvador Bailey any answers on the L_C_D_ screens, so I should have taken that bit out, but anyway. Um okay, so. What they found is that people don't like how current remote controls are, so you know, definitely you should be looking at something quite different. Um seventy five percent of users find most remote controls ugly. Uh the other twenty five percent have no fashion sense. Uh eighty percent of users would spend more to get um you know, a nice looking remote control. Um current remote controls, they don't match the user behaviour well, as you'll see on the next slide. Um I dunno what zapping is, but Ryan Cron: It's um switching between channels, sort of randomly going through. Salvador Bailey: Oh, right. But you have that little thing that comes up at the bottom and tells you what's on. Um okay, Gregory Jackson: Mm. Salvador Bailey: fifty percent of users say they only use ten percent of the buttons, so that's going back to what, you know, we were saying earlier about, you Gregory Jackson: Right. Salvador Bailey: know, do you need all the buttons on the remote control, Ryan Cron: Mm. Salvador Bailey: they just make it look ugly. Okay? Cool. Um so this is my little Ryan Cron: Ooh, Salvador Bailey: graph Ryan Cron: that's Salvador Bailey: thing. Ryan Cron: a bit difficult to see. Salvador Bailey: Mm Ryan Cron: If Salvador Bailey: k Ryan Cron: you explain it to us it'll be fine. Salvador Bailey: Okay, well, I can send it to all of you. Ryan Cron: Yeah. Salvador Bailey: What it is is um it's cones, 'cause I thought they'd be more exciting. Um Ryan Cron: I Salvador Bailey: but Ryan Cron: liked the, I liked Salvador Bailey: ooh Ryan Cron: the litt ooh Salvador Bailey: where's it go? Ryan Cron: come back. Salvador Bailey: Back. Oh. Ryan Cron: No. Salvador Bailey: Oh yes, cool. Okay, I'm gonna stop playing with the little pointy thing. Gregory Jackson: Mm-hmm. Salvador Bailey: Um okay, so like what it shows is how much things are used relatively and what Ryan Cron: Okay. Salvador Bailey: you can clearly see from that is the thing that's used most is the channel selection. What you can't see is volume selection, it's a little bit higher than all the others. Ryan Cron: Mm-hmm, that's the next one along, yeah? Salvador Bailey: Yeah, so what the graph shows is that, you know, power, channel selection and volume selection are important, and the rest of them, you know, nobody really uses Ryan Cron: Mm-hmm. Salvador Bailey: and so that's the the numbers along the top represent their like um their importance, you Ryan Cron: Mm-hmm. Salvador Bailey: know, so on a scale of one to ten, how important is that and, you know, channel selection and volume selection are absolutely essential, and the power, well it's not quite so essential, apparently, although I don't understand how it couldn't be, um and everything else, I think, you know, you can forget about having those buttons on the remote control, 'cause they're just not needed, and they're not used. Ryan Cron: Mm-hmm. Salvador Bailey: Okay. This is the bit that the email messed up for Salvador Bailey and that's what I was fiddling about with at the beginning of the thing. Okay, cool. So um okay, so this is what people find annoying about remote controls. Uh that they get lost, that the uh you know, they're not intuitive and that they're bad for repetitive strain injury. Ryan Cron: Mm-hmm. Salvador Bailey: I think if you're watching enough T_V_ to get repetitive strain injury from um you Ryan Cron: The remote Salvador Bailey: know, watching Ryan Cron: control. Salvador Bailey: T_V_, then that's the least of your problems, but you know, Gregory Jackson: Mm. Salvador Bailey: it's up there. Um that yeah. Okay, so um I mean the the R_S_I_ thing would be that, like when you have the computer keyboards and you keep your wrists up would be Gregory Jackson: Right. Salvador Bailey: something that encourages you want something with an ergonomic t design that encourages good use of the remote control and Ryan Cron: Mm-hmm. Gregory Jackson: Mm-hmm. Salvador Bailey: you know, not straining your wrists watching T_V_. Gregory Jackson: Hmm. Salvador Bailey: Yes. Okay, cool. Right, um sorry this is pink because I was copying and pasting the table, and I didn't have time to white it out again. Ryan Cron: That's alright. Salvador Bailey: Um okay, but that shows how people whether they would pay more for voice recognition software. So you can see from that that, you know, younger people to the age of thirty five are quite likely to pay quite a lot more f well quite are quite likely to pay more for voice recognition software, whereas as people get older, they're a bit more sceptical about it and they're less willing to to try it. Um so clearly voice recognition is something to think about, but um you know I d I do wonder how well that would work given that a T_V_, you know, tends to be people talking Ryan Cron: Mm. Salvador Bailey: and um, you know, how are you going to stop it from just flipping channels whilst watching T_V_. Gregory Jackson: Right. Salvador Bailey: Um okay? Cool. Um okay, so these are my personal preferences. So you have sleek, stylish, sophisticated, you know, so something that's, you know, a bit cool. you know, functional, so it's useful, but minimalist. Um there's a there's an important thing that, you know, people use when, you know, when you're filling up your home, you know, a lot of people fill up their home with bits of crap, basically, you know, and you've got all this stuff, and you're just like, what the hell is that, who is ever gonna use it? You know, so things should either be functional or beautiful or preferably both, so I think we need to aim Gregory Jackson: Mm. Salvador Bailey: for both. Gregory Jackson: Mm. Salvador Bailey: Um okay, then a long battery life, like you were talking about earlier and um, you know, I was thinking that solar power would be quite cool because, you know, your remote control just sits there, and you could just sit it in the sunshine and save the environment a bit. Um and then like a locator, so you know, kind of like you have for a mobile phone or not Gregory Jackson: Mm. Salvador Bailey: a mobile phone Gregory Jackson: Some kind Ryan Cron: Keys Gregory Jackson: of a ring, Ryan Cron: and things Gregory Jackson: some Ryan Cron: like Salvador Bailey: Yeah, Ryan Cron: that, Salvador Bailey: that's it, you know. Ryan Cron: Whistle and it Salvador Bailey: I know, it's Ryan Cron: screams Salvador Bailey: weird. Ryan Cron: at you, Salvador Bailey: My flatmate Ryan Cron: yeah. Salvador Bailey: and I were talking about this on the way into uni this morning and I was like I need to get one for everything. So yeah, so maybe something where you clap and then it beeps, something a kind of sound that you don't often hear on the T_V_, Ryan Cron: Mm-hmm. Gregory Jackson: Right. Salvador Bailey: you know, 'cause you don't want your remote control beeping every five minutes, 'cause you you'd then deliberately lose it by throwing it out the window or something. So okay? Gregory Jackson: Hmm. Salvador Bailey: Cool. That's Salvador Bailey. Ryan Cron: That's you, Gregory Jackson: Okay, Ryan Cron: excellent. John Ahlman: Um that's Gregory Jackson: that's great, John Ahlman: very good, Gregory Jackson: thanks. John Ahlman: very interesting. Ryan Cron: Um. I'm just gonna tick yes. So, we've got about ten, fifteen minutes to Gregory Jackson: Mm. Ryan Cron: discuss Gregory Jackson: I think one of the very interesting things that came up in um uh Ka Kate Salvador Bailey: Cat's. Gregory Jackson: Cat Cat's Salvador Bailey: Ca. Gregory Jackson: uh presentation was um uh this this issue of uh uh like voice recognition being more popular with uh younger people. So if we need to have a target group um then uh I think as far as the m motto of our company is concerned, if we want to have something sleek and uh you know, good looking uh we are better off targeting a younger audience then um you know, people who are comparatively elderly. Um. Ryan Cron: Mm-hmm. Salvador Bailey: Yeah, I mean that's the thing is that it didn't say in the survey, you know, Gregory Jackson: Right. Salvador Bailey: whether, you know, these are the people that will pay more for a more stylish remote control, but I'm assuming, you know, yes. Gregory Jackson: Right. Bu Ryan Cron: Yeah. Gregory Jackson: but John Ahlman: Mm-hmm. Gregory Jackson: but the survey did say that f things like voice recognition are more popular with them, so if you want to put in something stylish, then uh Ryan Cron: Mm-hmm. Gregory Jackson: th it'll certainly be more popular with this i ye with the younger people as compared to older Ryan Cron: Yeah. Gregory Jackson: people, yeah. Ryan Cron: Then again I guess the th where it was most popular was the fifteen to twenty five bracket Gregory Jackson: Right, Ryan Cron: and Gregory Jackson: and Ryan Cron: the I don't know how often they're buying televisions. Gregory Jackson: Right. Salvador Bailey: Well, Gregory Jackson: Mm. Salvador Bailey: that's when you go to uni, isn't it? So, Ryan Cron: Yeah, Salvador Bailey: you Ryan Cron: but you don't Salvador Bailey: know Ryan Cron: have much money, John Ahlman: Yeah. Ryan Cron: generally. John Ahlman: Yeah, Ryan Cron: I would've John Ahlman: you share Ryan Cron: thought it's John Ahlman: a television or something that yeah. Ryan Cron: it's more that twenty five to thirty five, when people are really moving out and they've got their first job and they want their nice toys and Gregory Jackson: Right. Salvador Bailey: Yeah. Gregory Jackson: But uh still, if if you can go back to that slide and Ryan Cron: O Gregory Jackson: uh, Ryan Cron: oh Gregory Jackson: how Ryan Cron: it's Salvador Bailey: Oh, I've Ryan Cron: on Gregory Jackson: popular Ryan Cron: sorry, Salvador Bailey: unplugged Gregory Jackson: was Ryan Cron: we unplugged Gregory Jackson: it? Salvador Bailey: it. Do you want Gregory Jackson: Oh, Ryan Cron: it. Gregory Jackson: oh, Salvador Bailey: Salvador Bailey to Gregory Jackson: okay. Ryan Cron: Here, let Salvador Bailey Gregory Jackson: That's alright, if you can just look it up on your computer, Ryan Cron: Yeah. Salvador Bailey: Yeah. Gregory Jackson: wh uh um people between twenty five to thirty five, uh how popular Salvador Bailey: Seventy Gregory Jackson: was Salvador Bailey: six John Ahlman: It was Salvador Bailey: point John Ahlman: seventy Gregory Jackson: so it was Salvador Bailey: three Gregory Jackson: sti John Ahlman: something, Salvador Bailey: percent. Gregory Jackson: still John Ahlman: yeah, Gregory Jackson: still quite popular John Ahlman: yeah. Gregory Jackson: amongst them. Salvador Bailey: Yeah. Ryan Cron: Mm-hmm. Gregory Jackson: So even they are seventy six percent, is that high Salvador Bailey: Yeah, Gregory Jackson: amount? Ryan Cron: Yeah. Salvador Bailey: I kn I mean I know what you're saying about the fifteen to twenty five year olds, but I mean it has been proven that that people of that age group have a higher disposable income because they don't have like I mean, you know, Ryan Cron: Yeah, Salvador Bailey: if Ryan Cron: they've Salvador Bailey: you're at Ryan Cron: got Salvador Bailey: university, Ryan Cron: no commitments Salvador Bailey: you're paying Ryan Cron: and Salvador Bailey: your rent, but you don't have a mortgage, you don't have a life insurance policy, Gregory Jackson: Alright. Ryan Cron: usually Salvador Bailey: you don't Ryan Cron: not a car and all Salvador Bailey: normally Ryan Cron: of those Salvador Bailey: have Ryan Cron: things. Salvador Bailey: a car, yeah, so. Ryan Cron: Kids. Gregory Jackson: Yeah. Salvador Bailey: You're Ryan Cron: Yeah. Salvador Bailey: still Gregory Jackson: So you're Salvador Bailey: learning Gregory Jackson: more Salvador Bailey: to drive Gregory Jackson: likely to Salvador Bailey: actually, Gregory Jackson: b Salvador Bailey: so that just costs more than a car, Gregory Jackson: Yeah. Salvador Bailey: but yeah. Um so I mean like it is an age group to target, really, Ryan Cron: Yeah, Salvador Bailey: I think. Ryan Cron: and if we're if we're talking twenty five Euros as a price, that's not unaffordable, even for Salvador Bailey: No, I mean that's Ryan Cron: young Salvador Bailey: what, Ryan Cron: people. Salvador Bailey: that's like fifteen Pounds? Ryan Cron: Yeah. Salvador Bailey: You know, I John Ahlman: Yeah this this Salvador Bailey: think John Ahlman: is not unaffordable, but the problem is whether people need it, whether they do have a T_V_ to Ryan Cron: Yeah. John Ahlman: use its full Salvador Bailey: Yeah, Gregory Jackson: Yeah. Salvador Bailey: I d I don't know many people without a T_V_. John Ahlman: Yeah. Ryan Cron: But Salvador Bailey: We Ryan Cron: do Salvador Bailey: didn't Ryan Cron: they Salvador Bailey: have a T_V_ last year, and everyone thought we were off our heads, you Ryan Cron: But Salvador Bailey: know. Ryan Cron: the T_V_s are often kind of John Ahlman: Common, Ryan Cron: someone's John Ahlman: the students Ryan Cron: old John Ahlman: yeah, Ryan Cron: T_V_ John Ahlman: yeah. Ryan Cron: that's John Ahlman: The s Ryan Cron: blah John Ahlman: the Ryan Cron: blah John Ahlman: stu Ryan Cron: and John Ahlman: yeah, and Ryan Cron: be a bit John Ahlman: the Ryan Cron: strange John Ahlman: remote control Ryan Cron: to have a John Ahlman: might Ryan Cron: fancy John Ahlman: not yeah, Ryan Cron: rome remote. John Ahlman: it might Gregory Jackson: Mm. John Ahlman: not even function with the old T_V_. Salvador Bailey: Yeah, I d Ryan Cron: Mm. Salvador Bailey: well we've we've Gregory Jackson: Bu Salvador Bailey: got quite Gregory Jackson: but even Salvador Bailey: a d decent Gregory Jackson: even in Salvador Bailey: T_V_. Gregory Jackson: the case of twenty five to thirty five it's John Ahlman: Yeah, Gregory Jackson: quite John Ahlman: we're still Gregory Jackson: popular, Ryan Cron: Yeah. John Ahlman: yeah. Gregory Jackson: right? So mm uh are John Ahlman: Or Salvador Bailey: Yeah. John Ahlman: w maybe Gregory Jackson: are John Ahlman: we can Gregory Jackson: are John Ahlman: just kind of uh uh Salvador Bailey: I think I think the fact that, you know, ninety one point two percent of fifteen to twenty five year olds are saying yes, I would pay more for a voice recognition Ryan Cron: Yeah. Gregory Jackson: Mm. Salvador Bailey: remote control, does say quite a lot really. You know, so I Ryan Cron: Yeah. Salvador Bailey: mean that and the disposable income and I don't think it's something to ignore, you know. John Ahlman: Yeah, but at the same time I think maybe we can we can just decide to to have both of these groups as our Ryan Cron: Yeah. John Ahlman: target, because actually I mean they're all still Salvador Bailey: Is John Ahlman: re young Salvador Bailey: not a massive John Ahlman: people. Salvador Bailey: difference, John Ahlman: Yeah. Salvador Bailey: you know. Ryan Cron: Yeah, Salvador Bailey: No, Ryan Cron: if we Salvador Bailey: do Ryan Cron: ta if Salvador Bailey: totally. Ryan Cron: we take Gregory Jackson: Mm. Ryan Cron: fifteen to thirty five, but that John Ahlman: Yeah. Ryan Cron: then does imply that we should try and incorporate voice recognition. Is that gonna Gregory Jackson: Um Ryan Cron: have a an implication Gregory Jackson: I Ryan Cron: for the Gregory Jackson: was having a a Ryan Cron: technical Gregory Jackson: general Ryan Cron: specs? Gregory Jackson: outlook on um m most like sophisticated features, but voice recognition itself I'm not very sure about, because one of the p uh things that Cat pointed out was uh uh how do we go about implementing it? Ryan Cron: Mm-hmm. Gregory Jackson: Uh and Salvador Bailey: You do Gregory Jackson: uh Salvador Bailey: have it in your mobile phone though, don't you? Because you have like I mean every Ryan Cron: Yeah. Salvador Bailey: mobile phone now has like call this person and Gregory Jackson: Yeah. Salvador Bailey: it calls them. Gregory Jackson: But how frequently John Ahlman: Yeah. Gregory Jackson: do we use it anyway and um John Ahlman: Yeah. Gregory Jackson: uh h ho how good is it, you know uh voice recognition softwares are still Salvador Bailey: I don't know. Gregory Jackson: quite Ryan Cron: Yeah. With Gregory Jackson: uh Ryan Cron: um John Ahlman: An Ryan Cron: but with a T_V_ remote it's gonna be quite limited if we're t saying the main things people want to do is on Gregory Jackson: Yeah. Ryan Cron: off channel John Ahlman: Yeah. Ryan Cron: five, Salvador Bailey: Yeah. Gregory Jackson: Right. Ryan Cron: louder, Salvador Bailey: S Ryan Cron: tha Salvador Bailey: so Gregory Jackson: Right. Ryan Cron: that should be relatively simple. Gregory Jackson: Okay. Salvador Bailey: y you'd Gregory Jackson: O Salvador Bailey: maybe need a code word. Do you know what I mean? Gregory Jackson: Right. Ryan Cron: Mm. Salvador Bailey: So like when you say change, except that's being said quite a lot on T_V_, so maybe like, you know, remote. I mean how often do people say remote on T_V_? Ryan Cron: Yeah. Gregory Jackson: Mm. Salvador Bailey: Although I only watch Charmed, so really I wouldn't know but like so you'd just say remote five, you Gregory Jackson: Right. Salvador Bailey: know, remote ten, Gregory Jackson: Yeah. Ryan Cron: Mm-hmm. Salvador Bailey: remote one two nine. Gregory Jackson: Okay, so it seems John Ahlman: Yeah. Gregory Jackson: like a feasible thing to implement Ryan Cron: Yeah, but Gregory Jackson: uh Ryan Cron: maybe if you Gregory Jackson: for Ryan Cron: wanna look Gregory Jackson: for Ryan Cron: into Gregory Jackson: a limited Ryan Cron: that just to just Gregory Jackson: yeah. Ryan Cron: to check. Um, so if we go for the the fifteen to thirty five age group John Ahlman: Yeah but Ryan Cron: and John Ahlman: uh Ryan Cron: then of course John Ahlman: um Ryan Cron: we're going to get th anyone who's older than thirty five who wants to look young and hip and trendy John Ahlman: Yeah, Ryan Cron: and John Ahlman: yeah Ryan Cron: has John Ahlman: sure, Ryan Cron: the money, then they'll John Ahlman: yeah, yeah. Ryan Cron: they'll still go for the same John Ahlman: Yeah. Ryan Cron: advertising. Salvador Bailey: I don't think there's a lot of uh voice recognition remote John Ahlman: Yeah, Salvador Bailey: controls. John Ahlman: w well now the v the voice recognition if if it works wonderfully w we could possibly do away with all buttons, but I think this is not really the right moment yet, because people are just so used to buttons and Ryan Cron: Yeah, John Ahlman: um, yeah it's it's kind Ryan Cron: I think John Ahlman: of Gregory Jackson: Mm. Ryan Cron: we need John Ahlman: safer, Ryan Cron: both. John Ahlman: so Gregory Jackson: W John Ahlman: we we need both, Gregory Jackson: What John Ahlman: so the voice Gregory Jackson: uh John Ahlman: recognition would be just an extra, it wouldn't really Ryan Cron: Yeah. John Ahlman: reduce the size of the remote. Gregory Jackson: Mm. Ryan Cron: Mm. Gregory Jackson: What wh uh what I was thinking is that there is this uh separation between what the channels are on T_V_ and how they are numbered on the remote control. If we can do with away with that, our product can be really popular uh in the sense that uh a person can say, I want to watch uh I_T_V_ one instead of saying that I want to go onto Ryan Cron: Uh-huh. Gregory Jackson: channel number forty five. Salvador Bailey: Yeah, Ryan Cron: Uh-huh. Gregory Jackson: Yeah, Salvador Bailey: that Gregory Jackson: so Salvador Bailey: would be another Gregory Jackson: if Salvador Bailey: way Gregory Jackson: uh if Salvador Bailey: to do it. Gregory Jackson: something like that can be incorporated, Ryan Cron: So that if that was in the the Gregory Jackson: some Ryan Cron: voice Gregory Jackson: kind of Ryan Cron: recognition, that Salvador Bailey: Yeah, Ryan Cron: would be Salvador Bailey: but Ryan Cron: great. Salvador Bailey: then the code word would be even more important, because I mean Sky Ryan Cron: Yeah. Salvador Bailey: advertise on every channel, don't Ryan Cron: Yeah. Gregory Jackson: Mm-hmm. Salvador Bailey: they, you know, so then it would be you'd be watching Charmed, and then the Sky advert would come on and it would change to Sky. Ryan Cron: Watch Sky and Salvador Bailey: Yeah, Gregory Jackson: Alright. Ryan Cron: yeah. Salvador Bailey: yeah, and Gregory Jackson: Yeah, Salvador Bailey: that Gregory Jackson: that's Salvador Bailey: would be really annoying. Gregory Jackson: Right. Ryan Cron: Mm-hmm. But that's John Ahlman: Yeah Ryan Cron: definitely John Ahlman: but Gregory Jackson: Mm. Ryan Cron: a John Ahlman: m but on the other Ryan Cron: possibility. John Ahlman: hand, remote control isn't as close to you you probably might just just uh speak into it and Ryan Cron: Yeah. John Ahlman: and the T_V_ would be already further away, so it might not Salvador Bailey: Yeah. John Ahlman: pick up the other things coming Salvador Bailey: Do John Ahlman: from Salvador Bailey: you not John Ahlman: there. Salvador Bailey: think that defeats the object of having voice recognition on a remote control though? Ryan Cron: So that you can yell at it, Salvador Bailey: Yeah, you know, so Ryan Cron: yeah. Salvador Bailey: you have to have the remote control. It's more like if you lost it and it's down the sofa sometime, you can yell at it and it'll just change it, you can look for it later, Ryan Cron: Yeah. Salvador Bailey: yeah. Ryan Cron: Alright. John Ahlman: Yeah, but then the remote control I think I mean um the idea is kind of it's it's not that it's sitting there on on top of the television, because then you could already yell at the television and you wouldn't you you wouldn't need the remote control, so the remote control is still something you keep n Salvador Bailey: Yeah, John Ahlman: near yourself. Salvador Bailey: yeah, I suppose nearer to you but a b like if you have surround sound then Gregory Jackson: Mm Ryan Cron: Mm. Gregory Jackson: yeah and it might become very difficult from a distance for the television to understand what you're saying because of the noise John Ahlman: Yeah, Gregory Jackson: factor John Ahlman: yeah, Ryan Cron: Yeah. John Ahlman: yeah. Gregory Jackson: for the remote control being cl John Ahlman: No, but Gregory Jackson: I John Ahlman: I I Gregory Jackson: mean John Ahlman: I Gregory Jackson: it'll John Ahlman: was Gregory Jackson: it'll John Ahlman: just defending the Gregory Jackson: mm. John Ahlman: the Ryan Cron: Yeah. John Ahlman: fact why why we want to keep the remote control close to us, a Gregory Jackson: Yeah. John Ahlman: and Ryan Cron: Yeah. John Ahlman: uh not to yell at it from the distance. Gregory Jackson: Mm. Ryan Cron: Yeah. Gregory Jackson: So uh wh another thing uh that can be used is that uh there can be a beeper button on the T_V_, so you can go and press that button and Ryan Cron: Mm-hmm. Gregory Jackson: um and the remote control, wherever it is, it'll beep, so Ryan Cron: That's Gregory Jackson: we we can probably John Ahlman: Okay. Gregory Jackson: come to Ryan Cron: but Gregory Jackson: know Salvador Bailey: Yeah. Ryan Cron: then Gregory Jackson: where Ryan Cron: if Gregory Jackson: it Ryan Cron: you're Gregory Jackson: is. Ryan Cron: buying the remote separately, but y you could have John Ahlman: Oh Ryan Cron: something, John Ahlman: yeah, yeah. Ryan Cron: but i if it was something that you could like stick onto the T_V_ or something, Gregory Jackson: Right, yeah, John Ahlman: Okay, Ryan Cron: some Gregory Jackson: yeah, Ryan Cron: like a John Ahlman: yeah, Ryan Cron: two p Gregory Jackson: yeah. Ryan Cron: if you bought John Ahlman: mm-hmm. Ryan Cron: it in a two part pack, so one part attaches Salvador Bailey: Yeah, Ryan Cron: to Salvador Bailey: 'cause Ryan Cron: the T_V_. Salvador Bailey: it's it's quite important that you don't lose the the bit Ryan Cron: The Salvador Bailey: to Ryan Cron: l Salvador Bailey: locate the remote control. Ryan Cron: Well Gregory Jackson: Alright, Ryan Cron: that's right, Gregory Jackson: yeah. Ryan Cron: but it solves the problem of having different noises. Salvador Bailey: Yeah, definitely, yeah. Ryan Cron: Yeah. Okay, I think we're gonna have to wrap this up um. But if we go away with that that kind of general um specification in mind that we're looking at fifteen to thirty five year olds, we want it to look simple, but still have the buttons so it's easy to use, but only those key John Ahlman: The Ryan Cron: buttons, John Ahlman: major ones, Ryan Cron: the major John Ahlman: yeah. Ryan Cron: buttons and then one sort of menu one, and then voice recognition included as an option John Ahlman: Mm-hmm. Gregory Jackson: Right. Ryan Cron: um but that obviously needs a little bit more working out as to whether it's really feasible Gregory Jackson: Okay. Ryan Cron: and some of those problems we were mentioning um. What we have to do now is to go back to our little places, complete our questionnaire and some sort of summarisation, which y you'll get immediately by email. Send Salvador Bailey your presentations so that I can use them to make the minutes, and then we've got a lunch break John Ahlman: Mm-hmm. Ryan Cron: and after lunch we go back to our own little stations and have thirty minutes more work. Um I'll put the minutes in that project documents folder, but I'll send you an email when I do it, so Gregory Jackson: So Ryan Cron: that you know. Gregory Jackson: where Ryan Cron: It should Gregory Jackson: exactly Ryan Cron: be on your desktop, Gregory Jackson: is this i Ryan Cron: so on the Gregory Jackson: Ah, okay. Ryan Cron: yeah. Gregory Jackson: Yeah. John Ahlman: Yeah. Ryan Cron: So I'll put it I'll put them there as soon as I've written John Ahlman: Did you Ryan Cron: them. John Ahlman: find it? It's Gregory Jackson: Yeah, John Ahlman: just Gregory Jackson: yeah John Ahlman: yeah, Gregory Jackson: in that John Ahlman: yeah. Gregory Jackson: one, right yeah. Ryan Cron: Yeah, and email them round. Salvador Bailey: Oh, so y you want our um PowerPoint presentations in there, Ryan Cron: Yeah, Salvador Bailey: hey? Ryan Cron: that would be great. Salvador Bailey: Okay. John Ahlman: Oh so so we'll just put Ryan Cron: Oh John Ahlman: them Ryan Cron: yeah, John Ahlman: i there, Ryan Cron: put them John Ahlman: we Ryan Cron: in John Ahlman: we Ryan Cron: there. John Ahlman: yeah, Ryan Cron: Yeah, John Ahlman: w Salvador Bailey: There John Ahlman: we Salvador Bailey: you go. John Ahlman: won't Ryan Cron: then you don't John Ahlman: even Ryan Cron: have to John Ahlman: okay. Ryan Cron: email them. Salvador Bailey: But is everyone's called functional requirements? Ryan Cron: No, Gregory Jackson: No. Ryan Cron: they're all called something slightly different. Technical requirements Salvador Bailey: Okay, Ryan Cron: and something something, Salvador Bailey: so that's good. Ryan Cron: yeah. John Ahlman: Yeah. Salvador Bailey: That's Ryan Cron: So, Salvador Bailey: Salvador Bailey done. Ryan Cron: if you put them in there, we'll all be able to see them and refer to them if we need to. Salvador Bailey: Okay, cool. Ryan Cron: Um as to where we're going from here, you're going to look at the components concept. Gregory Jackson: Right. Ryan Cron: Yeah? Whatever that means. John Ahlman: Yeah. Ryan Cron: Yeah. Gregory Jackson: I guess I'll find out. Ryan Cron: You'll be looking you'll be looking at the user interface John Ahlman: Uh something Ryan Cron: concept, John Ahlman: conceptual, yeah. Ryan Cron: on something conceptual and you're watching trends to see how we go and surely voice recognition'll fall off the map or something that um we'll Gregory Jackson: Wha Ryan Cron: keep keep Gregory Jackson: what Ryan Cron: our Gregory Jackson: was Ryan Cron: options Gregory Jackson: it again Ryan Cron: op hmm? Gregory Jackson: that I was supposed to look into? Con Ryan Cron: Components, Gregory Jackson: components, oh. John Ahlman: Hmm. Sorry, but Ryan Cron: yeah. John Ahlman: um the next meeting um are we going to have it um right after lunch or shall Ryan Cron: No, John Ahlman: we prepare Ryan Cron: we have John Ahlman: our Ryan Cron: we have after lunch we have thirty minutes John Ahlman: To Ryan Cron: to John Ahlman: prepare, Ryan Cron: ourselves John Ahlman: okay, Ryan Cron: to prepare, John Ahlman: yeah, that's Ryan Cron: so John Ahlman: good. Ryan Cron: that's fine, w before lunch we just have to complete the questionnaire and some sort of summary. John Ahlman: Okay. Ryan Cron: Okay? Right John Ahlman: Cool. Ryan Cron: on time. Okay, so you can I guess we'll see you for lunch in John Ahlman: Okay, Ryan Cron: a sec? John Ahlman: see you.

Ryan Cron opens the meeting by stating that they will address functional design and then going over the agenda. Gregory Jackson gives his presentation, explaining how remote controls function and giving personal preference to a clear, simple design that upgrades the technology as well as incorporates the latest features in chip design. The interface specialist gives her presentation next, addressing the main purpose of a remote control. She pinpoints the main functions of on/off, channel-switching, numbers for choosing particular channels, and volume; and also suggests adding a menu button to change settings such as brightness on the screen. She gives preference to a remote that is small, easy to use, and follows some conventions. The group briefly discusses the possibility of using an LCD screen if cost allows it, since it is fancy and fashionable. Salvador Bailey presents, giving statistical information from a survey of 100 subjects. She prefers a remote that is sleek, stylish, sophisticated, cool, beautiful, functional, solar-powered, has long battery life, and has a locator. They discuss the target group, deciding it should be 15-35 year olds. After they talk about features they might include, Ryan Cron closes the meeting by allocating tasks.

amisum

train

Willie Fournier: Mm-hmm? Willie Fournier: Okay. Willie Fournier: Ooh. Michael Zamudio: So we're 'kay? On the or No. I dunno where to put it 'cause the Okay. Could you s take it off? James Lowery: Is that alright? or Okay. Michael Zamudio: Okay. James Lowery: Keeps coming off. 'S fiddly. Willie Fournier: Hmm. James Lowery: Right. Willie Fournier: How we sta wa how do we start Does anybody know? James Lowery: Oh, another one. Willie Fournier: So that's this Oh okay, right. Michael Zamudio: Are we free to take notes uh Okay. Willie Fournier: Uh. Willie Fournier: Hmm. Okay, just hang on a second everybody. I haven't actually looked at this yet. James Lowery: Ah. Willie Fournier: um James Lowery: Very nice. Willie Fournier: I haven't looked at it, but let's just start it off and we'll see what happens. If you're all ready. Joseph Long: Yeah. Willie Fournier: So is the agenda? Opening, acquaintance, tool training and project plan then closing. Project aim is a new remote control. It's original, uh trendy and it's user-friendly. James Lowery: 'Kay. Willie Fournier: Project method, functional design, individual work, another meeting, conceptual design, individual work, and a meeting of details design, individual work and a meeting. Tool training. Try out the whiteboard, every participant should draw their favourite animal and sum up their favourite characteristics of that animal. James Lowery: Okay. Willie Fournier: Um. Uh Miss Industrial Designer, would you like to Michael Zamudio: Okay. Willie Fournier: go first? Michael Zamudio: So are we supposed to bring the little things for the Willie Fournier: Yeah, why don't you just c, I think just clip on clip do you have a belt? James Lowery: Clip. Michael Zamudio: Mm. Willie Fournier: Or put 'em in your pocket, Michael Zamudio: Yeah. Willie Fournier: yeah. Michael Zamudio: okay. So my favourite animal Willie Fournier: Yeah, what's your favourite animal? Michael Zamudio: 'Kay um James Lowery: Ah. Willie Fournier: Is it rude? James Lowery: It's an elephant. Willie Fournier: That's a very good elephant. Joseph Long: The back end of an elephant. James Lowery: Oh my gosh, I'm never gonna be able to draw that well. Willie Fournier: 'Kay, and you want to write up on there, it says you've gotta sum up your f f your favourite characteristics of that animal. Michael Zamudio: Um okay, it's big, it's got a great memory. James Lowery: Does it? Oh. Michael Zamudio: Supposed to have a great memory, Willie Fournier: Mm. James Lowery: Mm. Michael Zamudio: And uh dunno know why but looks like nice to James Lowery. Willie Fournier: Okay. Michael Zamudio: Nice animal. Willie Fournier: Wonderful, well done. Do you want to use the wipe the m the Michael Zamudio: Okay. Willie Fournier: wiper and wipe it off? And Mister aesthetics designer do you wanna Joseph Long: Aesthetic Willie Fournier: go next? Joseph Long: yep, James Lowery: I have no Joseph Long: sure. James Lowery: idea what my favourite animal is. Joseph Long: 'Kay, my favourite animal, uh let's see. James Lowery: Oh. It's Joseph Long: Dunno if any of you have seen Napoleon Dynamite before. It's a liger, Willie Fournier: No. James Lowery: A what? Joseph Long: a combination of a lion and tiger. James Lowery: Alright. Joseph Long: Have James Lowery: How. Joseph Long: you not seen Napoleon Dynamite? Willie Fournier: No. Michael Zamudio: No. James Lowery: No. Joseph Long: Oh it's a hilarious movie. You have to see it. And and it's best characteristic is it's pretty much the awesomest animal. But you have to see the movie to fully appreciate it. Willie Fournier: Okay, well done. James Lowery: Great. James Lowery? Willie Fournier: Yeah. Miss mar Miss Marketing? James Lowery: Okay. quite sure how this is gonna work. Cool. Uh well I'll try my best to draw. James Lowery: Can I just draw the face? Willie Fournier: Um yeah, I think you can just draw the face, but then you'll have to describe in writing how the rest of it looks. James Lowery: Ooh. It's a cat. Willie Fournier: That's a very pr pretty cat. James Lowery: Which also has what? A big fat body and big and a long tail. Willie Fournier: Okay, do y do you wanna do some write you wanna just write some words about it? James Lowery: Why? Because um cuddly. And usually cats are very friendly. Usually. And they're healing as well. They heal. And they can feel when a human's Willie Fournier: Wow, James Lowery: got problems so Willie Fournier: so they're kinda spiritual. James Lowery: So, that's why I like cats. Willie Fournier: Well done. James Lowery: There we are, that's James Lowery. Willie Fournier: Okay. James Lowery: Mm. Willie Fournier: Um, I don't actually have a favourite animal, but for the for th for this meeting I'll s draw a little James Lowery: Mm-hmm. Willie Fournier: Uh. I honestly can't draw for toffee. Uh. Michael Zamudio: Really? Oh Willie Fournier: Yeah. Michael Zamudio: that's a Willie Fournier: no Joseph Long: A prairie dog? Willie Fournier: no uh Joseph Long: Oh a squirrel? Willie Fournier: That's exactly what it is. Uh not a very good one Michael Zamudio: Not bad I would say. Joseph Long: Yeah, that's pretty good. Willie Fournier: Okay, well, you got it's a s It's a squirrel, and I like them, because they're cute and stupid. Michael Zamudio: Very good. James Lowery: Ah. Joseph Long: Alright. Willie Fournier: Right. Okay, so, I guess that was the test to see if this equipment is all working. Mm. Let's move on to the next page. Okay, project finance, selling price twenty five Euros, profit aim fifty million Euros. James Lowery: Market range internationally sold. Willie Fournier: Yeah. Production cost, ah right it's gotta be James Lowery: Ah right Willie Fournier: can't James Lowery: okay. Willie Fournier: cost any more than twelve fifty to make. experience with with remote control, so talk about who who's used what. Any ideas? Stuff like that. Next meeting starts in thirty minutes. At quarter to twelve. Joseph Long: So I think before we close uh, we are expected I mean the last slide wanted us to maybe discuss longer what our what our ideas where. I mean if you wanna go back to the last slide. Uh Willie Fournier: Yeah. James Lowery: Yeah. Joseph Long: S Yeah, I think we're I mean before we close the meeting, we're supposed to come up with some ideas for Willie Fournier: Oh k so we're actually supposed to be doing this discussion like right now are we James Lowery: Yeah. Willie Fournier: or Joseph Long: Yeah. Michael Zamudio: Mm. Willie Fournier: oh okay. Joseph Long: Yeah. Willie Fournier: I thought this was just t giving us instructions for the re to do next, Joseph Long: Yeah, Willie Fournier: but Joseph Long: I think this is just the preliminary, get some rough ideas for what our experiences with remote controls have been and and what we would roughly what we would incorporate into a new one maybe. Willie Fournier: Okay. Right, who's got experiences with remote controls then? Pretty much everybody. Michael Zamudio: Yeah. Joseph Long: Yeah, I think we've all got James Lowery: Uh. Willie Fournier: Um. Michael Zamudio: Is this a T_V_ one we are supposed to make? James Lowery: Yeah. Yeah it's a T_V_ remote control. Michael Zamudio: Okay. Willie Fournier: 'Kay James Lowery: Well. Willie Fournier: um. Michael Zamudio: T James Lowery: A new remote control for T_V_. What would I like? Willie Fournier: W what James Lowery: Um. Willie Fournier: You want it big do you want it small. James Lowery: Medium. Willie Fournier: Are we are we going for like like telephones are going little teeny tiny things or we are going for something that's Joseph Long: Mm. Willie Fournier: that's big and Joseph Long: Yeah it seems like there's like there's sort of a tension between two ideas, I mean, you want you want one remote that maybe can work uh all all of the functions of T_V_ and if you have whatever associated with T_V_ the D_V_D_ player, or Willie Fournier: Video Joseph Long: something like that, Willie Fournier: and ts hi-fi Joseph Long: but like at Willie Fournier: and Joseph Long: the Willie Fournier: stuff. Joseph Long: same time you don't wanna really busy remote with a thousand buttons on it or something. Willie Fournier: Maybe you Joseph Long: Mm. Willie Fournier: yeah now th that's the other thing is it's gotta be cheap. Joseph Long: Yeah. Willie Fournier: 'Cause I I I mean I was thinking something that's got different like maybe a a an L_C_D_ display on it that's got different pages for different devices, James Lowery: Mm. Willie Fournier: but that would p that would probably be quite expensive. Michael Zamudio: But how do we know how much uh, I mean, how much do we have per how James Lowery: Twelve Michael Zamudio: much? James Lowery: fifty. Michael Zamudio: Twelve Joseph Long: It Michael Zamudio: fifty. Joseph Long: g can't be more James Lowery: Each. Joseph Long: than twelve fifty per unit. Willie Fournier: Per unit, yeah. Joseph Long: Cost. Michael Zamudio: So do we have to be realistic within the budget or Willie Fournier: Well Michael Zamudio: Close Willie Fournier: at the James Lowery: Guess Willie Fournier: moment Michael Zamudio: pr I don't Willie Fournier: we could, Michael Zamudio: know Willie Fournier: wa Michael Zamudio: how Willie Fournier: I Michael Zamudio: much Willie Fournier: mean we Michael Zamudio: it Willie Fournier: 'cause Michael Zamudio: would Willie Fournier: we Michael Zamudio: cost. Willie Fournier: this Michael Zamudio: Yeah. Willie Fournier: is what we th what we're doing at the moment is just saying what what we'd like, and then after we after we've found out what we can like, some different ideas, we can then go and do the research to find out if these any of these ideas are feasible Michael Zamudio: Right. Willie Fournier: or not. So would be nice to have something that that controls lots of different things. Joseph Long: Yeah. Willie Fournier: Um. James Lowery: Couldn't we have like one that comes out? Like so you have one in like Michael Zamudio: Yeah. James Lowery: mm it doesn't have to be really thick. I mean remote controls can be thin bits. And then you have one for your D_V_D_ and you sort of slide it out, and then you have another one, you slide it out. Willie Fournier: 'Kay. James Lowery: have slides. And then it all comes compact Willie Fournier: Okay, that's. James Lowery: into one. So it's not you actually just putting three or four different remotes together but making them thinner, and um into one basically. Willie Fournier: Th that's an idea. Joseph Long: Yeah. James Lowery: So you just flip them out. Willie Fournier: Okay. Michael Zamudio: Um have uh one very complicated one on one side with all the D_V_D_ and V_C_R_ access and stuff, and then on the other side o one uh a remote control that would be very very simple with just the channel, program plus and minus, and the just the mute button, for example. I can real keep it really really simple on one side and the other side be very complicated. Willie Fournier: One side for kids, one side for adults. Michael Zamudio: Yeah. Joseph Long: I'm not sure Michael Zamudio: Or grandma Joseph Long: if that's like Michael Zamudio: as well, you know it's like what is Joseph Long: I'm Michael Zamudio: the Joseph Long: not Michael Zamudio: mute Joseph Long: sure if Michael Zamudio: button. Joseph Long: it's a good idea to have a two sided remote though, 'cause it would be very hard to use in the way that you Michael Zamudio: No, but you Joseph Long: mani Michael Zamudio: would slide Joseph Long: manipulate Michael Zamudio: it Joseph Long: it. Michael Zamudio: into uh someth like something on the back would hold like you wouldn't Joseph Long: Oh. Michael Zamudio: be able to press the buttons, Joseph Long: Oh okay. Willie Fournier: Like Michael Zamudio: but Willie Fournier: it or Joseph Long: Yeah. Willie Fournier: something like a flip telephone, something like that maybe. Joseph Long: Okay. James Lowery: That would be cool. I was thinking Willie Fournier: F flip James Lowery: that Willie Fournier: it open James Lowery: like a Willie Fournier: and you've James Lowery: flip. Willie Fournier: got all the buttons, or you flip it closed and you've just got the basic buttons on the outside maybe. Joseph Long: Mm-hmm. Willie Fournier: Um, oh we've got five minutes left. Michael Zamudio: Start breaking up. James Lowery: Okay. Willie Fournier: But okay. James Lowery: Um. Willie Fournier: Well we've got a k we've got a few ideas there. Joseph Long: Yeah, we should uh I guess by the end of this meeting we should have at least a a rough conception you know stage one was technical functions design, what effect the apparatus should have. Okay. Um so I mean we still have time in our next meeting to come up with the actual concept for the user interface, but the the functions that we're sure that we want are that it can control the T_V_, but also devices connected to the to the T_V_, I mean, Willie Fournier: Yeah. Joseph Long: be able to operate D_V_D_ players, things like that. Willie Fournier: I have got I think we should also have a back-up plan of I 'cause I I I just think that it might be expensive to make something that I mean we don't, we haven't been told it has to be something that will control everything. Joseph Long: Yeah. Michael Zamudio: Yeah. Joseph Long: Okay. Right. Willie Fournier: What do you reckon? Joseph Long: Yeah, I mean. Willie Fournier: See 'cause, I'm just thinking bearing in mind th we've gotta we have to have something that's cheap to make. Joseph Long: Yeah, that's true, maybe we should just concentrate on having a a good T_V_ remote, and have it be um Willie Fournier: I think we'll be able to come up with ideas and stuff a lot quicker. Joseph Long: have it be like ergonomic Willie Fournier: Yeah. Joseph Long: so it's comfortable to use, uh simple to use, and looks decent Willie Fournier: May Joseph Long: and Willie Fournier: w you James Lowery: But what'll Willie Fournier: know, maybe James Lowery: make Willie Fournier: even James Lowery: it what'll make it interesting for people to buy though? Willie Fournier: Or James Lowery: I mean Willie Fournier: maybe James Lowery: if it's Willie Fournier: even James Lowery: if Willie Fournier: so James Lowery: it's Willie Fournier: something James Lowery: just like Willie Fournier: that's for disabled people or so people that uh b don't see very well or big buttons for touchy buttons for Joseph Long: Sorta find a niche for our remote, like market it to a certain Willie Fournier: Yeah. Joseph Long: kind Michael Zamudio: Yeah. Joseph Long: of p kind of people, certain Willie Fournier: Or just Joseph Long: certain demographic Willie Fournier: one that looks really fucking cool. James Lowery: Mm-hmm. Joseph Long: Yeah, no Michael Zamudio: Could Joseph Long: I think Michael Zamudio: be Joseph Long: you're Michael Zamudio: really Joseph Long: right. Michael Zamudio: light or, I dunno, something special. Joseph Long: Yeah, rathe rather than focus on Willie Fournier: Otherwise Joseph Long: Y Willie Fournier: we'll be we'll be here all day talking about do this let's do Joseph Long: Yeah. Willie Fournier: that n I think we sh I think Michael Zamudio: Yeah, Willie Fournier: we Michael Zamudio: 'cause Willie Fournier: should Michael Zamudio: at the end of the day if it says just T_V_ remote, doesn't say com combination Joseph Long: Yeah. Willie Fournier: Yeah. Michael Zamudio: with all all the r Willie Fournier: I mean obviously everyone we're uh you know uh sounds like we're all a bit sort of gadget heads and we like things that do everything at once, but you know, that's Joseph Long: Remotes spinning out from other remotes and Willie Fournier: Yeah. James Lowery: Mm. Joseph Long: having little nested remotes inside. Willie Fournier: Yeah, that's right. Yeah. I mean I'd like one that makes tea as well, but that's not gonna happen. James Lowery: I think a flip up thing, 'cause you always have this problem of like if it's on this well I did anyway, like we had five or six remotes and they would be lying on the c on the coach, and you'd come and sit down and ooh, the telephone's the television switched on or something. So maybe something that like does have a lid or closes, so you don't accidentally press a button or Willie Fournier: Okay, like James Lowery: record Willie Fournier: a lock James Lowery: button Willie Fournier: f like James Lowery: for something. Willie Fournier: a lock functs function on it like you have on your telephones, James Lowery: Yeah. Willie Fournier: yeah. James Lowery: But make it like really snazzy and cool people will want it. So make it Yeah. Willie Fournier: Yeah, it's gotta be sellable. James Lowery: Yeah. Willie Fournier: Yeah. Joseph Long: Yeah, that's true what you were saying, I mean it doesn't have to have a flip function, it can just have a lock function, so James Lowery: Mm. Joseph Long: that it's Willie Fournier: Yeah. Michael Zamudio: Mm. Joseph Long: not uh not usable when you don't want it to be usable. James Lowery: Yeah. Willie Fournier: Okay. James Lowery: And even for kids as well. It's um it's safer for them, I guess. Like they don't flick onto channels and all that sl flick onto. Willie Fournier: No porn channel for children. Michael Zamudio: Okay. Willie Fournier: Okay. Um alright, so we've got some ideas, we've got um Joseph Long: I guess that's Willie Fournier: Let's move on. Joseph Long: good good for now. James Lowery: Mm. Willie Fournier: Oops, let's close that. Next meeting, uh James Lowery: W Willie Fournier: okay. James Lowery: What does I_D_V_I_D_N_M_E_ stand for? Willie Fournier: Industrial Designer James Lowery: Ah Willie Fournier: um James Lowery: ri okay. Willie Fournier: which is James Lowery: these are requirement specification. Michael Zamudio: That's Willie Fournier: Um. James Lowery: And I'm marketing. Michael Zamudio: Mm. Willie Fournier: Yeah, there you go. So User Interface Designer, that's Joseph Long: That's James Lowery. Willie Fournier: that's Joseph Long: Okay. Willie Fournier: that's you, so you gotta you go, you're you're gonna be the one that's working out what what buttons Joseph Long: Right. Willie Fournier: we need. Joseph Long: Right. Willie Fournier: Um. Industrial Designer, you are the one, you know, you're gonna be working out kind of box it goes in, I guess so, um whether it's what goes into the box, somehow. Michael Zamudio: Mm. Har how it works an Willie Fournier: And in marketing James Lowery: These Michael Zamudio: Bu James Lowery: are requirement specification. Willie Fournier: User requirements specifications. James Lowery: So what the user requires Willie Fournier: Yeah, Michael Zamudio: Do you think James Lowery: in Willie Fournier: what James Lowery: a remote. Michael Zamudio: our two kind of overlap, Willie Fournier: Right, okay, yeah. Michael Zamudio: because Joseph Long: Yeah, it does James Lowery: I Joseph Long: seem James Lowery: guess Joseph Long: like our James Lowery: that's Willie Fournier: You Joseph Long: our Willie Fournier: two James Lowery: what Joseph Long: responsibilities James Lowery: it says. Joseph Long: have Willie Fournier: you two are gonna Joseph Long: some Willie Fournier: be Joseph Long: overlap. Willie Fournier: just, I think, you just double up, you know, Michael Zamudio: Yeah. Willie Fournier: you working Joseph Long: Yeah. Willie Fournier: together. You're the one that's gotta go and find out do th do the research, see what people want in a remote, what buttons are used more often, and s James Lowery: Mm. Willie Fournier: stuff like that. Oh, we've been warned to finish the meeting now. Okay. Okay everyone, well done. Good meeting. Joseph Long: Alright, see you in thirty minutes. Willie Fournier: Yeah. James Lowery: So, do we take these off? Michael Zamudio: I don't

Willie Fournier introduced the upcoming project to the team and then the team members participated in an exercise in which they drew their favorite animals and discussed why they liked those particular animals. Willie Fournier discussed the project finances and the team engaged in a brainstorming session about various features to consider in designing a remote. Willie Fournier then further discussed the roles of the team members.

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